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书于元初至元十九年(1282)前后，作者时年二十八岁左右。此书用笔细腻，结体端庄秀逸，笔圆墨润，筋丰骨健，给人以神定气闲，虚和宛朗。\n公元759年，杜甫为避“安史之乱”，携妻儿由陕西入四川，寓居成都，依靠四川节度使严武等亲友的接济维持生活。765年四月，严武病逝，杜甫失去依凭，于是伴同家族，离开成都，乘舟沿江东下，先是寓居夔州，在夔州（今四川奉节）住了两年左右的时间，后转徙于湘鄂之间。公元770年冬，死在由长沙到岳阳的一条破船上。\n在寓居夔州两个年头里，杜甫时年五十五岁，已处在人生之秋，眼看晚年多病，知交零落，壮志难酬，心境非常寂寞、抑郁。当此秋风萧瑟之时，不免触景生情，感发诗兴，故曰《秋兴》。\n《秋兴》八首是公元766年秋天杜甫滞留夔州时惨淡经营的一组七言律诗。这八首诗是一个完整的乐章，命意蝉联而又各首自别，时代苦难，羁旅之感，故园之思，君国之慨，杂然其中，历来被公认为杜甫抒情诗中沉实高华的艺术精品。\n《秋兴》第一首，是组诗领起之作，八诗之纲领。（《读杜心解》云：“首章，八诗之纲领也。明写秋景，虚含兴意；实拈夔府，暗提京华。”）诗人用铺天盖地的秋色将渭原秦川与巴山蜀水联结起来，寄托自己的故国之思；又用滔滔不尽的大江把今昔异代联系起来，寄寓自己抚今追昔之感。诗中那无所不在的秋色，笼罩了无限的宇宙空间；而它一年一度如期而至，又无言地昭示着自然的岁华摇落，宇宙的时光如流，人世的生命不永。",[23,24,25,26,27,28,29,30,31,32,33,7,34,35],"高清","长卷","书法","行书","孤舟","夕阳","明月","秋风","江","山","花","波浪","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F225a92b33186e851e63bc3e6ab6711d5.jpg","绢本","纵23.5厘米，横261.5厘米","书法精选",[39],161,3,"BDBDBD",{"id":45,"slug":46,"title":47,"dynasty":48,"author":49,"museum":50,"description":51,"tags":52,"thumbUrl":63,"material":64,"size":64,"collection":64,"collections":65,"showCount":66,"zanCount":67,"manualWeight":11,"mainColor":68},228485,"qiao-lin-bai-que-tu-juan-lin-liang-228485","乔林百雀图卷","明","林良","藏地不详","整卷以水墨挥毫，枯木槎枒间百雀各呈其态，飞栖鸣集无一雷同。劲爽墨笔勾勒禽鸟翎羽，干湿浓淡晕出绒羽蓬松质感，枯林苍劲荒疏，与群雀喧腾相映，在萧索冬日漾出盎然生趣。\n笔墨简括老辣，融院体工致与文人写意于一体，将小雀的灵动狡黠描摹入微，于长卷间铺展野逸灵动的自然意趣，尽显水墨花鸟纵逸格调，是水墨禽鸟画中极具表现力的佳构。",[23,53,54,24,55,56,57,58,59,7,60,61,62],"国画","书画","水墨","写意","花鸟","乔木","鸟","树枝","石头","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f738b6a6309084a7933eb775da10da.jpg","",[],71,1,"795548",{"id":70,"slug":71,"title":72,"dynasty":73,"author":74,"museum":50,"description":75,"tags":76,"thumbUrl":84,"material":85,"size":86,"collection":64,"collections":87,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":68},230785,"yan-xiu-lin-ju-tu-ye-xia-gui-230785","烟岫林居图页","宋","夏圭","此图以近、远景的安排构成整幅之大势。远景轻淡，一片空漾，在云雾掩映间现出突兀的山峰；山峰偏左，让出画面右边的空间，使人有云天苍茫、辽阔无际之感。中景平湖河道若隐若现，似有似无。近景则笔健墨浓，是画家着意描绘的对象。临河斜岸树木茂盛，木桥接岸，一人弓背持杖漫步于林间小路，岸左又有长满树木山石的一角。画中树干用双钩，浓墨攒笔随意点染树叶，用笔虽简，却意趣横生。远山及坡石很少用笔皴擦，主以浓淡墨晕染，把山石的立体质感和烟云变幻莫测的动态表现得恰到好处。",[23,53,54,77,78,55,79,80,7,81,82,83],"名画","册","皴法","山水","山峦","烟雾","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7707d298daece160ecc6b1e0761dcde9.jpg","未知","Xcm*Xcm",[],68,{"id":90,"slug":91,"title":92,"dynasty":48,"author":93,"museum":94,"description":95,"tags":96,"thumbUrl":110,"material":111,"size":112,"collection":64,"collections":113,"showCount":114,"zanCount":11,"manualWeight":11,"mainColor":68},231375,"qiu-jiang-dai-du-tu-chou-ying-231375","秋江待渡图","仇英","台北故宫博物院","此画属于院体一类，造型严谨，用笔不苟，刻画十分精细。只要展开画卷仔细观察，其中无沦一砖一瓦，一枝一叶，一草一木，还是人物表情，都描绘得极其精妙。即是远景、远岸的重山峻岭，山峦连绵，也画得很瓷实，一潭宽阔无际的秋水，宛如镜面。白云下的房舍屋宁、树林画得虽细小，但十分精工，所以把白云上面的山推向远处。近景为此画的核心，近岸山峦很高，村庄座落其间，显得十分细小，但画得十分精致。画面上的树林杂木众多，通过画家的笔触，画得各有特色，成为整幅画上的重要组成部分。这是一幅煌煌巨制的画作。景界开阔，但不觉疏散。他运用自己高超的技法，特别注重意境的刻画，在他笔下的屋可居，山可游，生活气息浓郁，有着诗一般的意境。设色温和清秀，并不艳俗。所画的人物比例虽小，但通过精致刻画，神形俱全。确属雅俗共赏之作。\n这一作品画面不大，但由于构图布局得当，远处的山峦，近处的茫茫秋水和近岸的山丘与树林，空间关系处理得当，使人感到境界十分开阔，具有咫尺千里之妙。同时，秋高气爽的季节特点也得到了很好的体现。从具体画法上看，无论是景物的一枝一叶，还是人物的表情，都描绘得十分精细。与那些远离现实、表现隐逸思想的某些文人画家的山水画相比，这一作品就显得具有浓厚的生活气息，可以激起人们对生活的热爱。",[53,97,98,99,80,100,81,7,27,101,102,103,104,105,106,107,108,109],"山水画","工笔","设色","秋水","人物","房舍","村庄","秋高气爽","咫尺千里","雅俗共赏","精工细作","生活气息浓郁","意境悠远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda34b84f047fd2cff2c3894ed7617045.jpg","绢本,设色","纵155．4厘米，横133.4厘米",[],44,{"id":116,"slug":117,"title":118,"dynasty":119,"author":120,"museum":50,"description":121,"tags":122,"thumbUrl":136,"material":85,"size":86,"collection":137,"collections":138,"showCount":139,"zanCount":67,"manualWeight":11,"mainColor":43},225925,"field-of-yellow-irises-at-giverny-1887-mo-nai-225925","Field of Yellow Irises at Giverny, 1887","不详","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[123,124,125,126,127,7,128,129,130,131,132,133,134,135],"印象派","油画","田野","黄色鸢尾花","草地","天空","云彩","花卉","自然景观","绿色植被","户外风景","色彩丰富","笔触轻快","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4efacf5197b0328112515b63a23a001a.jpg","油画精选",[137],42,{"id":141,"slug":142,"title":143,"dynasty":144,"author":145,"museum":146,"description":147,"tags":148,"thumbUrl":152,"material":64,"size":64,"collection":64,"collections":153,"showCount":139,"zanCount":11,"manualWeight":11,"mainColor":43},220546,"xi-ma-la-ya-shan-zhi-yi-xu-bei-hong-220546","喜马拉雅山之一","民国","徐悲鸿","中央美术学院美术馆","以泼墨晕染翻涌的云海林雾，苍茫混沌间烘托出主峰的高绝伟岸。下半重墨铺就深幽林海云烟，裹挟着湿润朦胧的山野之气，而上半处以留白糅合淡粉提亮雪峰，将积雪覆峰的冷冽圣洁具象化。\n突破传统山水程式，融西画光影写实于水墨写意中，把雪域高原雄浑辽远的气魄尽显笔下，既有东方水墨的氤氲空灵，又兼具写实的巍峨质感，让观者恍若立于云海之上，仰望这方冷峻壮美的神山胜景，尽展创作者开阔的襟怀与独特的山水表达。",[53,55,99,149,80,150,151,81,7],"渲染","雪山","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec56556922f3bab21e0c7a8fd702ad1e.jpg",[],{"id":155,"slug":156,"title":157,"dynasty":18,"author":158,"museum":94,"description":159,"tags":160,"thumbUrl":165,"material":166,"size":167,"collection":168,"collections":169,"showCount":171,"zanCount":67,"manualWeight":11,"mainColor":43},221728,"shi-jing-you-tan-fang-cong-yi-221728","石径幽探","方从义","方从义善画，又兼工诗文、书法。其画初师 他的画风格潇洒，笔致跌岩，意境苍茫，无尘俗之气，以幽为其画特色。他善画云山墨戏，笔下的景色多是冷寞，幽闭，尘俗绝少的地方：高山奇峰，深谷幽涧，古树老屋，野水孤舟，给人以深沉、奇特和悲壮之感。他早年的画严谨，晚年不拘于形，用笔奔放，满含激情。传世不多，人以礼求之，始为出其一二。尝言：“太行、居庸天下之岩险，其雄杰奇丽，皆古之名画，余所顾见者今皆见之，而有以慊吾志，充吾操，吾非若世俗者区区而至也。”盖学仙之颖然者，由无形而有形，虽有形终归无形，画能如是，其至矣乎？",[23,53,54,55,79,80,81,161,162,151,163,7,164,56],"树木","石径","平坡","墨色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92196c9b18f889805fafd87dc1ac75a2.jpg","纸本","91.3x63.5厘米","山水画精选",[168,170],"水墨画精选",20,{"id":173,"slug":174,"title":175,"dynasty":176,"author":177,"museum":50,"description":178,"tags":179,"thumbUrl":185,"material":85,"size":86,"collection":168,"collections":186,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":43},237389,"shan-shui-tu-ce-xue-xuan-237389","山水图册","清","薛宣","薛宣（生卒年不详），字赣君，东海郡郯县（今山东省郯城县）人。西汉丞相，汉宣帝刘询的女婿。\n精通律法，起家廷尉书佐、都船狱吏，出任不其县丞、乐浪郡丞。举茂才出身，出任宛句县令，迁长安令，颇有政绩。汉成帝时期，历任御史中丞、临淮陈留二郡太守、左冯翊、少府卿、御史大夫，赏罚分明，威德并施，功劳卓著，迎娶敬武长公主。鸿嘉元年（前20年），出任御史大夫，代替张禹出任丞相，册封高阳侯。永始二年（前15年），办理邛成太后丧事不周，辞去丞相之职。\n汉哀帝时，免为庶人，最终在家中去世。",[53,99,78,80,32,180,181,182,183,81,184,7],"水","树","小船","柳树","坡岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6087b7a29c377aafef71cea9d8bd43f7.jpg",[168],19,{"id":189,"slug":190,"title":191,"dynasty":119,"author":120,"museum":50,"description":121,"tags":192,"thumbUrl":195,"material":85,"size":86,"collection":137,"collections":196,"showCount":197,"zanCount":67,"manualWeight":11,"mainColor":68},226136,"the-willows-1885-mo-nai-226136","The Willows, 1885",[124,123,183,7,193,194],"水岸","光影色彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb71dfd54e7a3c5c760dc2a63173ef565.jpg",[137],18,{"id":199,"slug":200,"title":201,"dynasty":119,"author":120,"museum":50,"description":121,"tags":202,"thumbUrl":209,"material":85,"size":86,"collection":137,"collections":210,"showCount":211,"zanCount":11,"manualWeight":11,"mainColor":68},225975,"les-tuileries-1876-mo-nai-225975","Les Tuileries, 1876",[124,123,203,7,204,205,206,207,208],"花园","池塘","石桥","行人","古建筑","城市远景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5b5ae3a45729694565553e17dcf627b.jpg",[137],15,{"id":213,"slug":214,"title":215,"dynasty":119,"author":120,"museum":50,"description":121,"tags":216,"thumbUrl":221,"material":85,"size":86,"collection":137,"collections":222,"showCount":223,"zanCount":11,"manualWeight":11,"mainColor":68},225938,"haystack-at-giverny-1886-mo-nai-225938","Haystack at Giverny, 1886",[124,123,217,218,219,220,7],"干草堆","田园风景","农舍","花田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F456bf3a4abcbbc2cd0ab328203333193.jpg",[137],14,{"id":225,"slug":226,"title":227,"dynasty":176,"author":228,"museum":229,"description":230,"tags":231,"thumbUrl":238,"material":239,"size":64,"collection":64,"collections":240,"showCount":241,"zanCount":11,"manualWeight":11,"mainColor":43},215028,"fang-gu-shan-shui-ce-3-wang-jian-215028","仿古山水册-3","王鉴","私人收藏","王鉴（1669-1725）是清朝时期著名的画家，以其精湛的仿古山水画而闻名。王鉴出生于江苏省，自幼便对绘画有着浓厚的兴趣。他从小就开始学习绘画，后来在北京的私塾深造，并在考试中取得了优异的成绩。\n\n王鉴的仿古山水画以其精细的笔法和优美的构图而著称。他的画作经常使用细腻的线条和深浅不一的色彩来表现山水的美感。王鉴的作品常常充满了沉静、凝重的气氛，能够让人感受到中国古代山水画的韵味。\n\n王鉴的仿古山水画在当时广受欢迎，并且被广泛收藏和传承。他的画作经常被收录在仿古山水册中，并被视为中国古代山水画的经典之作。王鉴的画风对后代画家也产生了深远的影响，被认为是清朝时期仿古山水画的代表人物之一。",[53,54,232,233,79,234,80,83,161,235,236,237,7],"水墨画","仿古","册页","小桥","流水","房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf51937c7fa8c49c5ec3f6019215bc8d.jpg","纸本,设色",[],13,{"id":243,"slug":244,"title":245,"dynasty":119,"author":120,"museum":50,"description":121,"tags":246,"thumbUrl":260,"material":85,"size":86,"collection":137,"collections":261,"showCount":262,"zanCount":11,"manualWeight":11,"mainColor":68},226051,"the-bridge-at-argenteuil-1874-mo-nai-226051","The Bridge at Argenteuil, 1874",[123,247,248,249,250,251,252,253,254,255,7,128,256,257,258,259,131],"光影","色彩","笔触","水面倒影","河流","船只","桅杆","石拱桥","塔楼","云朵","建筑","1874","户外","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F221d7867ff2d1bca89f685ab2d4e3019.jpg",[137],11,{"id":264,"slug":265,"title":266,"dynasty":119,"author":120,"museum":50,"description":121,"tags":267,"thumbUrl":275,"material":85,"size":86,"collection":137,"collections":276,"showCount":262,"zanCount":11,"manualWeight":11,"mainColor":68},225990,"olive-tree-wood-in-the-moreno-garden-1884-mo-nai-225990","Olive Tree Wood in the Moreno Garden, 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)","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[124,294,7,295,161,296,297,259],"后印象派","灌木丛","藤蔓","绿植","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b663238660a4ed0b834f202f2bce4f9.jpg",[137],"37474F",{"id":302,"slug":303,"title":304,"dynasty":119,"author":291,"museum":50,"description":292,"tags":305,"thumbUrl":307,"material":85,"size":86,"collection":137,"collections":308,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":68},225860,"trees-july-1887-fan-gao-225860","Trees July 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1836年1月8日—1912年6月25日）是英国维多利亚时代的知名画家，他的作品以豪华描绘古代世界（中世纪前）而闻名。\n生于荷兰的德龙赖普（Dronrijp），他的父亲彼得·塔德玛（Pieter Tadema）是一名公证人，在他4岁时便去世了。阿尔玛是他教父的名字，他的生母是他父亲的第二名妻子，家庭人口相当众多。家里原准备让他继承父业，但他表现出了对艺术的强烈偏好，因此将他送至安特卫普，在1852年进入了那里的艺术学院，并在亨德利克·利思（Hendrik Leys）的画室学习。",[124,328,329,127,7,330,272,247],"写实","古树","树干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F617c34eb2e58635fc64551c8fdccb4d6.jpg",[],6,{"id":335,"slug":336,"title":337,"dynasty":119,"author":120,"museum":50,"description":121,"tags":338,"thumbUrl":341,"material":85,"size":86,"collection":137,"collections":342,"showCount":333,"zanCount":11,"manualWeight":11,"mainColor":300},225982,"luncheon-on-the-grass-left-panel-1865-mo-nai-225982","Luncheon on the Grass, Left Panel, 1865",[124,123,7,127,101,339,340],"复古服饰","户外场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47409e58fc711bcd5de099ee3562e0ed.jpg",[137],{"id":344,"slug":345,"title":346,"dynasty":176,"author":347,"museum":50,"description":348,"tags":349,"thumbUrl":356,"material":64,"size":64,"collection":64,"collections":357,"showCount":358,"zanCount":11,"manualWeight":11,"mainColor":68},239006,"shan-shui-ce-li-dong-239006","山水册","李栋","康熙四十一年（一七o二）中顺天乡榜，授内阁中书。工诗文，善篆隶，兼画山水，尤工小李将军法，名震江、淮间。著自怡堂稿、楚游杂记。《图绘宝鉴续纂》、《高邮州志》、《兴化县志》。",[53,54,78,99,79,80,350,83,351,161,352,353,354,7,355],"枯树","马","坡地","水面","亭","石堆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0e5bc217d192b673344b8a2d8cf36cf.jpg",[],4,{"id":360,"slug":361,"title":362,"dynasty":176,"author":363,"museum":50,"description":364,"tags":365,"thumbUrl":369,"material":85,"size":86,"collection":64,"collections":370,"showCount":358,"zanCount":11,"manualWeight":11,"mainColor":43},237446,"wu-gu-xiang-zhang-lin-xing-lv-shan-mian-wu-gu-xiang-237446","吴穀祥长林行旅扇面","吴穀祥","吴谷祥（1848—1903）清代画家。原名祥，字秋农，初字蓉甫，别号瓶山画隐，晚号秋圃老农，浙江嘉兴人。山水远宗文、沈，近法戴熙，亦善花卉、仕女，用笔苍劲，设色清丽。俞曲园评其画为“神品”。清末在上海鬻画，时画风习尚纵横草率，而其独能不落时尚。因当时吴石仙正以西法融云烟山水盛名沪上，而秋农画艺为其所掩，胡公寿颇为不平，说：“其人抑何聩聩，有目而不识秋农丹青之佳胜也。”",[53,54,366,55,79,80,7,367,368],"扇面","行旅","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2fd5838ebe2ac32e29e76e9fa5c712c.jpg",[],{"id":372,"slug":373,"title":374,"dynasty":119,"author":375,"museum":50,"description":376,"tags":377,"thumbUrl":384,"material":85,"size":86,"collection":64,"collections":385,"showCount":386,"zanCount":11,"manualWeight":11,"mainColor":68},288794,"pierre-antoine-baudouin-la-nuit-night-yi-ming-288794","Pierre Antoine Baudouin--La Nuit (Night)","佚名","暮色如纱笼罩幽林，小爱神雕像静立一旁，似是这场爱恋的沉默见证者。鎏金华服与柔粉长裙缱绻相拥，树影在衣料褶皱间晕开暧昧朦胧的光晕。\n\n林间水雾裹挟草木甜香漫溢，远处瀑布碎光揉进夜色晕染出湿润浪漫，明暗晕染勾勒出私密缱绻的相拥时刻，将洛可可式的柔美揉进晚风里，让耳鬓厮磨的心动，化作一帧温柔又私密的午夜恋歌，把偷来的片刻温情，凝固为永恒的温柔剪影。",[124,101,378,379,380,7,381,130,382,383],"情侣","小爱神","月夜","瀑布","浪漫","古典风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd555ecb86c926cbd489ce2e5a49986d8.jpg",[],2,{"id":388,"slug":389,"title":390,"dynasty":176,"author":391,"museum":392,"description":393,"tags":394,"thumbUrl":396,"material":397,"size":398,"collection":64,"collections":399,"showCount":386,"zanCount":11,"manualWeight":11,"mainColor":43},233926,"dai-lu-fang-bei-tu-ce-huang-yi-233926","岱麓访碑图册","黄易","北京故宫博物院","图名里的“岱”即指位于山东省中部的泰山。《岱麓访碑图》册共24开，以左文右图的形式描绘黄易在清嘉庆二年（1797年）由济宁到泰山访碑的种种情形。据作者本人题跋可知，其中一部分册页记录泰山的碑刻情况，如“岱顶”、“开元磨崖碑”、“石经谷”、“王母池”等，另一部分则是记录作者在往返途中所见的碑刻情况，如“大明湖”、“孟子庙”、“孔林”、“孔子庙”、“大汶口”等。除此之外，作者还在题跋中介绍了碑刻的具体状况，为后人研究提供了资料。\n黄易一生致力于金石碑版的研究，曾经四处寻访存世的残碣断碑，并较为系统地加以整理与著录，对我国传统金石学的发展起到了积极的作用。与众不同的是，他亲自用画笔将每次寻访古碑的过程都完整地记录下来，绘制成许多作品，被当时的艺术家们广为称颂。《岱麓访碑图》册便是其中的一套作品。\n纵观整套册页，作者采用了水墨与浅绛两种中国画表现技法，但呈现出的艺术风格却是统一的。具体而言，他注重线条的断续与转折，多用粗笔短线描写碑刻所在地周围的景色，使得画面景致简明，意境幽僻清寂，有平淡天真的艺术趣味。",[53,54,78,99,55,25,26,161,368,7,237,101,395],"石碑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F973d04a7f30cf9ab4261c52297ab6b40.jpg","纸本，设色","纵17.4厘米，横50.8厘米",[],{"id":401,"slug":402,"title":403,"dynasty":119,"author":404,"museum":50,"description":405,"tags":406,"thumbUrl":414,"material":85,"size":86,"collection":64,"collections":415,"showCount":386,"zanCount":11,"manualWeight":11,"mainColor":68},232543,"mi-lai-si-87-yue-han-ai-fu-li-te-mi-lai-si-232543","米莱斯87","约翰·埃弗里特米莱斯","John Everett Millais十九世纪英国画家，是拉斐尔前派的三个创始人中年龄最小、才华最高的一位，其它两位是亨特和布朗。其油画《基督在自己父母家中》(1850)中体现了该派精神，以画风细腻著称。\n米莱斯是拉斐尔前派中最有才华的一个。他出生于南埃普顿，幼年就表现出非凡的绘画才能。10岁时，他的绘画就获得了艺术协会颁发的银质奖章。据说当时他的个子还没有讲台高，只能站在凳子上领奖。两年后，他的天赋为马丁·希伊勋爵发现，转入皇家美术学院的附属学校(希伊后来是皇家美术学院院长)，以后又转入皇家美术学院，以后又多次获奖，并在18岁那年获得金质奖章，是学院公认的高材生。",[124,328,99,101,407,7,161,408,409,410,411,412,413],"小女孩","植物","白色裙装","粉色饰带","捧物","背景植物","写实人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab4c9ff0f5e13e70280dfed354d28b24.jpg",[],{"id":417,"slug":418,"title":419,"dynasty":119,"author":375,"museum":50,"description":420,"tags":421,"thumbUrl":427,"material":85,"size":86,"collection":64,"collections":428,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":43},289285,"paul-ce-zanne-bathers-by-a-bridge-recto-study-after-houdon-s-ecorche-yi-ming-289285","Paul Cézanne--Bathers by a Bridge (recto); Study after Houdon's 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Infants","郊野林间暖意融融，坐卧的女子怀抱着幼婴，周遭裸身孩童或围拢依偎，伸手探向怀中同伴，或肆意嬉闹张望。灵动松弛的线条勾勒出孩童娇憨天真的神态，粗朴笔触晕染出郊野的慵懒氛围，远景林木草草铺陈，将视线牢牢锚定在这场温柔相聚里。稚拙笔意揉合着母性柔软与童年烂漫，仿佛将无忧午后永久定格，朴素画面里满溢着田园牧歌般的治愈诗意，把孩童嬉闹的鲜活与亲子依偎的温情娓娓道来。",[435,436,437,438,7,259,439,422],"素描","人物画","女性","裸婴","线描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11705b1beb2d4b2ce621422d7ebfda6c.jpg",[],{"id":443,"slug":444,"title":445,"dynasty":119,"author":375,"museum":50,"description":446,"tags":447,"thumbUrl":451,"material":85,"size":86,"collection":64,"collections":452,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":43},289164,"goya-the-stabbing-images-of-spain-album-53-yi-ming-289164","Goya--The Stabbing, Images of Spain Album, 53","以棕褐淡墨晕染林间荒场，粗粝率性的笔触定格下施暴瞬间。施暴者佝偻着身躯，肌肉紧绷如蓄力的兽，恶狠狠将受害者按于地上，神情狰狞狠厉。受害者四肢瘫软，面庞写满惊惧绝望，肢体因痛苦无助地扭曲。\n\n朦胧晕开的背景林木刻意弱化，将所有张力收拢于二人身上。没有精致描摹，仅用奔放的速写语言就将暴力的窒息感砸向观者，直白撕开人性暴戾的褶皱，把街头暴行的残酷刹那永远定格，粗粝的真实感裹挟着刺骨寒意，将暴力的野蛮赤裸地呈现眼前。",[101,435,55,448,449,259,7,450],"刺杀","暴力","压抑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0372f16afa28bbacde343db0544103ca.jpg",[],{"id":454,"slug":455,"title":456,"dynasty":119,"author":375,"museum":50,"description":457,"tags":458,"thumbUrl":462,"material":85,"size":86,"collection":64,"collections":463,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":43},289098,"jean-honore-fragonard-a-gathering-at-woods-edge-yi-ming-289098","Jean Honoré Fragonard--A Gathering at Woods' Edge","以赭色排线晕染铺陈光影，疏密交错的笔触勾勒出古木苍劲肌理，繁叶层叠簇拥将浓荫铺满画幅。留白的流云柔化天际，为沉郁林景晕开透气的轻盈。\n\n郊野浓荫隔绝暑热，林间空地的旅人或卧或坐，舒展松弛的姿态消解山野荒寂，将闲逸慵懒揉入清旷林景。以素描的质朴质感，铺展出避世偷闲的悠然意趣，将乡野漫游的松弛心境，藏进每一缕枝叶纹路与憩息身影之中。",[435,459,306,436,7,368,127,128,256,460,461],"淡彩","林间聚会","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf242e51e3e60ea81e6c8b4cc9185fd1.jpg",[],{"id":465,"slug":466,"title":467,"dynasty":119,"author":375,"museum":50,"description":468,"tags":469,"thumbUrl":473,"material":85,"size":86,"collection":64,"collections":474,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":300},289094,"jean-jacques-lagrene-e-landscape-with-a-scene-from-fe-nelon-s-yi-ming-289094","Jean Jacques Lagrenée--Landscape with a Scene from Fénelon's","月夜郊野晕染在幽蓝底色之上，淡墨铺就林影与云絮，朦胧柔润。滩涂弃舟静卧，和林间翩然舞动的身影形成静动对冲。远处古堡隐在月色云霭间，将郊野实景揉进幻梦叙事里。\n\n灵动群像打破夜色沉郁，带着古典牧歌式的松弛浪漫，让山野月夜化作神话逸事的舞台。光影借月色铺陈出幽谧氛围，晕染笔触将自然与人文叙事相融，在静谧夜色与欢愉群像的碰撞中，晕开复古诗意，把浪漫遐想藏进朦胧底色里。",[124,380,7,251,27,101,470,471,129,472],"舞蹈","古典风景","神话场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F405126ff43080dc98027c73148a0bcc6.jpg",[],{"id":476,"slug":477,"title":478,"dynasty":119,"author":375,"museum":50,"description":479,"tags":480,"thumbUrl":483,"material":85,"size":86,"collection":64,"collections":484,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":43},289079,"jonas-umbach-march-one-of-a-series-representing-the-labors-yi-ming-289079","Jonas Umbach--March (one of a series representing the labors","以红棕粉笔晕开乡野劳作图景，林边空地漫着浅淡烟火气。左侧农人扬巾呼喝，似在招呼同侪，身畔负斧老者歇坐，皱纹里藏着劳作的疲怠。右侧农人与稚童合力拽扯枝桠，将乡野协作的日常鲜活铺陈。\n\n线条松弛精准，粗粝排线晕染出林木苍劲肌理，人物衣褶随动作自然堆叠，将农人舒展质朴的神态一一勾勒。没有繁复修饰，以速写般的鲜活，把初春备耕伐木的片段凝于纸上，粗朴又生动地定格了郊野春日劳作的温热瞬间，满溢着乡野生活的原生暖意。",[435,481,101,259,7,482],"风俗画","劳作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F961c21388294a9abb79ba5488bcea101.jpg",[],{"id":486,"slug":487,"title":488,"dynasty":119,"author":375,"museum":50,"description":489,"tags":490,"thumbUrl":497,"material":85,"size":86,"collection":64,"collections":498,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":43},289063,"karel-van-mander-i-the-challenge-of-the-pierides-yi-ming-289063","Karel van Mander I--The Challenge of the Pierides","这幅素描以棕调晕染铺陈，构图繁而不乱。石台之上的阿波罗沉静俯瞰，成为画面锚点。左侧缪斯衣袂舒展，神色带着诘问的锋芒；右侧神女或拨弦展卷，伸臂抗辩，将诗艺竞逐的张力拉满。林间天使翔集，古木虬枝掩映出幽谧神域氛围，地面弃置的乐器暗合竞技主题。\n线条兼具柔婉与劲挺，衣褶的垂坠柔感与神祇躯体的硬朗轮廓形成鲜明反差，明暗层次区分开空间远近，把神话里的诗艺对决定格为充满戏剧感的林间盛景，肃穆叙事感与素描松弛质感相融，尽显古典主题的庄重张力。",[435,101,491,492,493,7,62,494,495,496],"神话","天使","乐器","美人","裸像","集会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d6867cfb173b35621fa05c5bcdbb3bb.jpg",[],{"id":500,"slug":501,"title":502,"dynasty":176,"author":503,"museum":50,"description":504,"tags":505,"thumbUrl":511,"material":55,"size":64,"collection":64,"collections":512,"showCount":67,"zanCount":11,"manualWeight":11,"mainColor":43},216814,"zhan-zheng-tong-ban-hua-34-lang-shi-ning-216814","战争铜版画-34","郎世宁","这一系列铜质战争版画是由清朝乾隆皇帝旨令制作的，描绘了他在位期间在内陆省份和边疆的军事行动场景。这些版画主要由当时在宫廷服务的欧洲传教士绘制，如郎世宁、王志成、艾启蒙和安德烈。柏林国家图书馆的东亚部分拥有五个系列的64幅版画。",[77,506,507,508,101,351,80,161,83,509,510,81,7,328],"清代","铜版画","战争","兵器","战场","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a68d52ddf21b567078e13e757bb15a8.jpg",[],{"id":514,"slug":515,"title":516,"dynasty":176,"author":375,"museum":50,"description":517,"tags":518,"thumbUrl":520,"material":521,"size":64,"collection":64,"collections":522,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":43},215590,"tian-xia-ming-shan-tu-33-yi-ming-215590","天下名山图-33","这幅山水图以水墨勾勒铺陈，山峦层叠绵延，远近错落间尽显章法。墨线或轻或重，勾勒出峰峦的轮廓与肌理，淡墨晕染处似有云雾氤氲，添了几分空濛。山间林木以简笔点染，疏密有致，仿佛能闻得松风轻吟。画面中几处题字标注峰名，与山水相映成趣，更添古雅之韵。整体构图舒展，笔墨古朴苍劲，虽无浓艳色彩，却以黑白灰的层次变化，营造出悠远静谧的山林意境，尽显传统山水的笔墨意趣与自然之美。",[53,54,78,80,55,79,32,180,161,519,251,7,81,353],"山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56c78dda31f83ddbcaa9c31a4bdeb156.jpg","纸本,水墨",[],1777535713627]