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横128.5厘米","水墨画精选",[75],87,"37474F",{"id":80,"slug":81,"title":82,"dynasty":65,"author":83,"museum":67,"description":84,"tags":85,"thumbUrl":89,"material":90,"size":91,"collection":38,"collections":92,"showCount":93,"zanCount":11,"manualWeight":11,"mainColor":42},222630,"fang-tang-yin-qiu-lin-shu-wu-tu-gao-jian-222630","仿唐寅秋林书屋图","高简","此幅所绘的《仿唐寅秋林书屋图》绘山峰高耸，云蒸霞蔚；山脚下溪水潺潺，秋树苍茂，主人于书斋静读。\n高简擅长于模仿唐寅，几可乱真，清秀之气可比肩唐寅。左上自题：“仿唐解元秋林书屋图。癸未冬十月一云山人高简。”左上有作者后裔高侪鹤题识。癸未为康熙四十二年，公元1703年，作者时年70岁。\n高简(1634-1707)〔清〕字澹游、德园，号旅云、澹游子、一云山人、旅云山人、娱晖老人，江苏苏州人。能诗，工山水，画学元四家，喜倪云林(瓒)，有“小云林”印。精于尺幅小品，秀洁妍雅，颇有风趣。所作笔墨简淡清臞，布置深稳，脱尽纵横习气。善画梅，好画梅花书屋图，冷隽雅逸。传世作品有康熙六年(1667)作《寒林诗思图》轴，图录于《肥遁庐藏名人山水集》；九年(1670)作《仿曹知白山水图》轴、三十五年(1696)作《夕照落雁图》轴均藏故宫博物院；九年(1670)作《仿古山水册》十二帧、顺治十年(1653)作《仿宋元山水八帧》卷藏上海博物馆；康熙四十二年(1703)作《仿唐解元秋林书屋图》轴藏旅顺博物馆；《青山积翠图》轴藏南京博物院；《仿徐贲山水图》册页藏辽宁省博物馆。",[23,24,25,26,27,86,28,29,87,31,33,7,54,88],"临摹","枯树","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41c09d80ba903d033ff21d82621e036e.jpg","绢本设色","96cmx56cm",[38],78,{"id":95,"slug":96,"title":97,"dynasty":47,"author":98,"museum":99,"description":100,"tags":101,"thumbUrl":111,"material":112,"size":112,"collection":112,"collections":113,"showCount":114,"zanCount":41,"manualWeight":11,"mainColor":115},233788,"gui-hua-shu-wu-zhou-shen-zhou-233788","桂花书屋轴","沈周","北京故宫博物院","这类将屋舍置于山林中的作品，寓意“尘远六街身世别”;又在书屋旁环栽秋桂、梧桐等，桂树风姿绰绰，书屋内所藏甚丰，堆满书籍的书桌旁侧坐一老者，一童捧物趋亭而至，情志恰如乾隆所题：“幽人结屋桂花阴，叶叶绿琼穗穗金。彼自悠然无世念，小山动我白驹心。”为诗人所津津乐道的隐逸生活，作为一种文化现象，在我国古代社会可谓源远流长。《易经》有云：“不事王侯，高尚其事”，儒家有“天下有道则见，无道则隐”。“邦有道则仕，邦无道则可卷而怀之”的待时之隐，老庄哲学有“道隐无名”思想，可以说，儒道思想分别为我国的仕宦文化、隐逸文化提供了哲学上的依据。在两种文化思维的相互碰撞、交融之下，中国士人每每被整合成“内道外儒”的人格类型，表现在士人的生存方式上就是“隐逸”。",[24,102,103,104,28,26,29,105,106,7,107,54,108,109,55,110],"水墨画","设色","文人画","树","桂花","人物","石头","庭院","小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4adb9b5e6ec91eec93c0bbe3a7175244.jpg","",[],73,"BDBDBD",{"id":117,"slug":118,"title":119,"dynasty":65,"author":120,"museum":121,"description":122,"tags":123,"thumbUrl":127,"material":128,"size":129,"collection":112,"collections":130,"showCount":131,"zanCount":41,"manualWeight":11,"mainColor":115},290003,"mei-hua-shu-wu-tu-zhou-hong-ren-290003","梅花书屋图轴","弘仁","藏地不详","该图画一座房屋，一棵梅树，景物简洁。该图干墨皴擦，但在亭子上用淡墨渲染，形成大对比。用笔很少，但意趣很丰富。",[24,27,26,7,87,124,125,52,126,29],"竹","书法","雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F157a432cd94e76aaf0d5824a4e063eb9.jpg","未知","Xcm*Xcm",[],46,{"id":133,"slug":134,"title":135,"dynasty":47,"author":136,"museum":20,"description":137,"tags":138,"thumbUrl":143,"material":73,"size":144,"collection":112,"collections":145,"showCount":146,"zanCount":41,"manualWeight":11,"mainColor":115},290887,"qiu-lin-shu-wu-tu-zhou-dong-qi-chang-290887","秋林书屋图轴","董其昌","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[24,27,51,139,7,87,31,33,140,54,141,125,52,28,142],"秋景","小桥","山峦","隐逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9db59da3812da6dde86cc332da23c731.jpg","54.4x58.1",[],29,{"id":148,"slug":149,"title":150,"dynasty":65,"author":151,"museum":121,"description":152,"tags":153,"thumbUrl":155,"material":128,"size":129,"collection":112,"collections":156,"showCount":157,"zanCount":41,"manualWeight":11,"mainColor":115},289887,"xiu-huang-shu-wu-tu-dai-xi-289887","修篁书屋图","戴熙","戴熙（公元1801—1860年），清代画家。字醇士，号鹿床、榆庵、松屏、莼溪、井东居士等，浙江钱塘（今杭州）人。咸丰翰林，官至兵部右侍郎，辞官归里后主持崇文书院。擅画山水，学王恽笔墨，兼师宋元诸家，尤善花卉及竹石小品，能治印，著有《习苦斋集》《题画偶录》等。画作有《云岚烟翠图》《忆松图》《满门风华》等。",[24,154,25,26,103,51,124,87,33,54,7,55,28],"名画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc77b483372d1953c6b8b568e436085b.jpg",[],27,{"id":159,"slug":160,"title":161,"dynasty":65,"author":162,"museum":99,"description":163,"tags":164,"thumbUrl":166,"material":167,"size":168,"collection":38,"collections":169,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":115},236127,"song-xi-shu-wu-tu-zhou-lu-zun-shu-236127","松溪书屋图轴","陆遵书","陆授诗、陆遵书兄弟是清朝宫廷内的兄弟画家，下面介绍一下。陆授诗、陆遵书这两位宫廷兄弟画家的姓名，都见于胡敬所著的《国朝院画录》。\n陆氏兄弟的作品流布并不很广，《石渠宝笈》一书中陆授诗的作品只有一件册页被收入，陆遵书的作品也只有三件册页收录在其中，二人都属于作品进入《石渠宝笈》数量很少很少的宫廷画家，尤其是哥哥陆授诗。",[24,25,26,27,29,28,165,54,7,33,32],"松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa366e0c0db1f68c15306c566b60c3904.jpg","纸本，设色","纵173.2厘米 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