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横28.8厘米",[65],708,{"id":250,"slug":251,"title":252,"dynasty":49,"author":253,"museum":20,"description":254,"tags":255,"thumbUrl":261,"material":64,"size":64,"collection":64,"collections":262,"showCount":263,"zanCount":234,"manualWeight":43,"mainColor":69},231008,"que-hua-qiu-se-tu-hua-xin-zhao-meng-fu-231008","鹊华秋色图画芯","赵孟頫","鹊华秋色图，元代画家 于元贞元年（1295）回到故乡浙江为好友 所作的纸本水墨设色 ，现藏于 。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带 ，画境清旷恬淡，表现出恬静而悠闲的田园风味。\n采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。\n《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。\n在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。\n画题就是由这两座山而起的。\n鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。\n画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。\n水边轻舟数叶，舟中渔叟正安静地工作。\n其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。\n然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n《鹊华秋色图》上存在收藏者的众多题跋和印鉴。\n用御笔将“鹊华秋色”四个字题写于引首，并且加有“神品”“乾隆御览之宝”“古稀天子”“太上皇帝”等多枚玺印，上面还有“嘉庆御览之宝”“宣统鉴赏”等玺章。\n整个画面上加盖大小、形状各异的印章五十七枚，画面之右侧前隔水处有印章十六枚，画面左侧后隔水处有印章九十五枚。\n其中有作者题款，拖尾有爱新觉罗·弘历、钱溥、 、范杼、 等人题跋。\n作者在画中题款：“公谨父，齐人也。\n余通守齐州，罢官来归，为公谨说齐之山川，独华不注最知名，见于左氏，而其状又峻峭特立，有足奇者，乃为作此图，其东则鹊山也。\n命之曰鹊华秋色云。\n元贞元年十有二月。\n吴兴赵孟頫制。\n” 爱新觉罗·弘历题跋：“此卷久贮内府，已载入《石渠宝笈》。\n” 钱溥录 跋并题云：“吴兴公蚤岁戏墨，深得物外山水笔意。\n虽一木一石，种种异于人者。\n且风尚古俊，脱去凡迹。\n政如王谢子弟，倒冠岸帻，与天下公子斗举止也。\n百世后，可为一代规式，士大夫当共宝秘之。\n” 杨载题跋：“羲之摩诘，千载书画之绝，独兰亭序、辋川图尤得意之笔。\n吴兴赵承旨以书画名当代，评者谓能兼美乎二公。\n兹观鹊华秋色一图，自识其上，种种臻妙，清思可人，一洗工气，谓非得意之笔可乎。\n诚羲之之兰亭，摩诘之辋川也。\n” 范杼题跋：“赵公子昂，书法晋，画师唐，为一代之冠。\n荣际于五朝，人得其片楮，亦夸以为荣者，非贵其名而以其实也。\n今观此卷，殊胜于别作。\n仲弘所谓公之得意者，信矣。\n” 董其昌录张南诗题云：“弁阳老人公谨父，周之孙子犹怀土。\n南来寄食弁山阳，梦作齐东野人语。\n济南别驾平原君，为貌家山入囊褚。\n鹊华秋色翠可食，耕稼陶渔在其下。\n吴侬白头不归去，不如掩卷听春雨。\n” 董其昌题跋：“文敏一生得意笔，不减伯时《莲社图》”。\n另有题跋云：“吴兴此图，右、北苑二家画法。\n有底人之致，去其纤，有北宋之雄，去其犷。\n故曰师法舍短，亦如书家，以肖似似古人不能变体为书奴也。\n万历三十三年，晤画武昌公席题。\n其昌。\n” 从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。\n这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。\n与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。\n作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者虽然受召于元朝，遭到众多宋氏遗臣的诟病，却终其一生都对隐而不仕的南宋遗臣表达出相当程度的理解和尊重。\n从这个意义上说，《鹊华秋色图》也是在向那些对南宋一朝忠心耿耿而隐居不仕的士人传达作者自己的真实意图。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。\n两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。\n在刚柔对比中，更显得华不注山的险峻奇突。\n图中中景、近景表现出一片辽阔苍茫的景象。\n平川洲渚，红树芦荻，房舍隐现。\n图中林木种类颇多，红绿相间，枯润相杂。\n树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。\n在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。\n用笔似乎旋转，线条往复重叠，增添了树干的质感。\n画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。\n鹊山用披麻，皴法较密。\n华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。\n侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。\n汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。\n房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。\n作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。\n其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。\n明 《泥古录》：山头皆着青绿，全学王右丞与董源。\n在《鹊华秋色图》中，作者以深湛的笔墨功力诠释了即达放逸的山水意境，不仅丰富了文人山水画的表现手段和内涵，更初步确立了元代山水画坛清远自然的整体风格和蕴藉典雅的审美格调，为后世的中国山水画奠定了基础。\n1989年1月5日，中国台湾以横四连形式印制发行了《鹊华秋色图》邮票。\n《鹊华秋色图》由作者赠给周密后，周密又转送给一个名为君锡的人。\n到明代又相继为文徴明、文彭父子收藏，后又转到明代书画收藏家 手中。\n项元汴之后，又为宜兴吴之矩收藏。\n据画上印章，可知此画落到山东胶州张若、张应甲父子手里，不过很快又为书画收藏家 所有；后又辗转为 所得，传给其子 ；从纳兰性德手里，又落入收藏家梁青标之手。\n康乾年间，皇室征集民间书画名迹，梁青标遂将此图献归御府收藏。\n1949年，国民党撤离南京，退选台湾，将故宫等地文物也运往台湾，其中就包括《鹊华秋色图》。\n《鹊华秋色图》被运到台湾后，收藏于台北故宫博物院，直到今日。\n赵孟頫（1254—122年），字子昂，号松雪道人、水精宫道人。\n湖州（今浙江吴兴）人。\n宋太祖十一世孙。\n宋末时为真州司户参军。\n宋亡入元后，授兵部郎中，又历任渐江等地学提举，后官至输林学士承旨。\n赵孟頫不但精于音律、诗文曲，也是元代画家、书法家，著有《 》。",[25,54,26,28,55,56,196,195,194,58,80,7,242,256,257,258,259,260],"河流","小船","芦苇","村落","平原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6c66c5e8289621fa42a98cbcd5da28.jpg",[],666,{"id":265,"slug":266,"title":267,"dynasty":95,"author":268,"museum":76,"description":269,"tags":270,"thumbUrl":274,"material":275,"size":64,"collection":122,"collections":276,"showCount":277,"zanCount":110,"manualWeight":43,"mainColor":44},216963,"guan-fu-xi-ying-tu-su-han-chen-216963","灌佛戏婴图","苏汉臣","婴戏图即描绘儿童游戏时的画作，又称“戏婴图”，是中国人物画的一种。因为以小孩为主要绘画对象，以表现童真为主要目的，所以画面丰富，形态有趣。中国很早已有绘画婴孩的传统，到了唐宋时期技巧渐趋成熟，宋代更是婴戏图的黄金时期，使之成为中国绘画中极受欢迎的画类。\n\n宋代是婴戏图发展的全盛时期，不但取材多样化，而且描绘技巧高超。有的采用鲜艳颜色以衬托婴孩游玩时的愉快心情，营造热闹快乐的气氛；有的利用简洁的线描，刻划平民的市井风情。市井之民虽生于低下阶层，物质生活不甚丰富，但小孩的天真、贪吃贪玩的性情仍溢于纸上。在婴孩的形体构图方面，孩子面貌及身形比例准确，不再是“身小而貌壮”或“妇人之貌”。而且画家每每绘画小孩穿上轻纱薄衣，使观者能通过薄衣透视小孩丰满圆润的身段。婴孩面部表情亦十分丰富，喜怒哀乐活灵活现。宋代婴戏图的兴盛和成功，奠定了婴戏图的基础，亦创新了不少题材，使后世仿效之作甚多。",[25,24,54,27,28,101,271,241,7,272,273],"牡丹","假山","栏杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc85835c28e628810548dd2c93dbfbd.jpg","纸本,设色",[122],525,{"id":279,"slug":280,"title":281,"dynasty":74,"author":282,"museum":76,"description":283,"tags":284,"thumbUrl":286,"material":275,"size":287,"collection":65,"collections":288,"showCount":289,"zanCount":220,"manualWeight":43,"mainColor":69},221977,"pin-cha-tu-zhou-wen-zheng-ming-221977","品茶图轴","文徵明","此作为文徵明自绘与友人陆子傅於林中茶舍品茗的场景。\n图中草堂环境幽雅，小桥流水，苍松高耸，堂舍轩敞，几榻明净。堂内二人对坐品茗清谈，从跋文可知正是作者和友人陆子傅。几上置书卷、笔砚、茶壶、茗盏等。茶寮内泥炉砂壶，炉火正炽，童子身后几案上摆有茶罐及茗盏。",[23,25,54,79,28,58,101,195,196,27,56,80,285,118,82,212,7,59],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed1341fed0de54ecd60de1c41932b58e.jpg","142.31X40.89cm",[65,88],498,{"id":291,"slug":292,"title":293,"dynasty":74,"author":294,"museum":51,"description":295,"tags":296,"thumbUrl":297,"material":63,"size":298,"collection":65,"collections":299,"showCount":300,"zanCount":169,"manualWeight":43,"mainColor":69},217038,"you-jian-xing-shan-tu-yao-sui-217038","幽涧行山图","姚绥","幽涧行山图 是明朝画家姚绥的一幅杰作。这幅画描绘了一座山的全景，非常细腻地表现了山的各个部分，包括山顶、山谷、溪流、森林、花草、岩石等。画中还有许多人物，每个人物都有自己的故事和生活经历。\n\n姚绥是明朝时期的一位著名画家，他的画风非常独特，以精细、细腻而闻名。他的作品多描绘自然风景，充分展现了他对大自然的敬畏和喜爱。 幽涧行山图 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山水图","黄公望","此作用笔简淡松灵，以披麻皴慢写江南山峦，墨色干湿互济，晕染出峰峦浑厚苍润的质感。平缓坡峦间，杂木错落萧疏，枝桠以枯笔勾勒，尽显清秋疏朗之态。江畔茅舍临水而栖，静水无澜，铺陈出林泉幽寂的空阔意境。\n\n画面右上题跋与山水相映成趣，诗画交融，以笔墨寄寓林泉之志，褪去雕琢刻画之迹，直抒胸中丘壑，尽显文人山水简淡悠远的意韵，藏万千丘壑于浅淡之间，尽得元人山水萧散简远的风神。",[25,55,57,56,58,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F378b06d34e0b7e450bf7a6cb0c9d4047.jpg",[65],270,{"id":583,"slug":584,"title":585,"dynasty":74,"author":586,"museum":51,"description":587,"tags":588,"thumbUrl":592,"material":275,"size":593,"collection":65,"collections":594,"showCount":595,"zanCount":536,"manualWeight":43,"mainColor":44},217036,"bi-shan-qi-shu-tu-tang-yin-217036","碧山琪树图","唐寅","唐寅在画画方面有很高的造诣，他的作品涵盖了许多不同的题材，包括自然风景、人物、花鸟、山水、古典寓言故事等。\n\n碧山琪树图是唐寅的一幅著名作品。这幅画描绘了一片美丽的山林，山顶上有一棵琪树，下面是茂盛的松柏林。唐寅用笔轻柔地勾勒出了各种山石、枝叶、花草的线条，使画面看起来栩栩如生。",[25,79,58,28,56,80,7,118,81,82,308,285,589,590,591],"草木","小径","屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf99aba7e79792d4e1f74ad4b1015736.jpg","123x58cm",[65],268,{"id":597,"slug":598,"title":599,"dynasty":18,"author":600,"museum":20,"description":601,"tags":602,"thumbUrl":603,"material":64,"size":604,"collection":65,"collections":605,"showCount":606,"zanCount":43,"manualWeight":43,"mainColor":69},238025,"hong-ren-shan-shui-tu-ce-hong-ren-238025","弘仁山水图册","弘仁","弘 仁（1610-1664），清画家。俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪立瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等。",[25,54,57,55,56,58,83,212,242,7,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9315c7f3e025c62edc1ed00bd692088d.jpg","50×36",[65,140],249,{"id":608,"slug":609,"title":610,"dynasty":74,"author":468,"museum":355,"description":611,"tags":612,"thumbUrl":614,"material":615,"size":616,"collection":65,"collections":617,"showCount":618,"zanCount":43,"manualWeight":43,"mainColor":69},220909,"shan-shui-ce-3-dong-qi-chang-220909","山水册3","《仿古山水图》册，明，董其昌绘，8开。\n此册画于“戊午”（明万历四十六年，1618年），董其昌时年64岁。墨笔六开，构图缜密，笔笔精到；设色二开，格调高远，艳而不俗，皆极经意之品。从鉴藏印可知，此册为董氏传与其子董祖源珍藏，又经王时敏赏鉴，故应是真笔无疑，可作鉴定之样本。",[23,24,25,54,57,55,56,58,80,7,459,308,613],"松林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc3082909ebf023228c05c4c870b6fad.jpg","纸本，水墨和设色","纵26.3厘米，横25.5厘米",[65,88],248,{"id":620,"slug":621,"title":622,"dynasty":74,"author":468,"museum":132,"description":623,"tags":624,"thumbUrl":626,"material":63,"size":627,"collection":65,"collections":628,"showCount":618,"zanCount":43,"manualWeight":43,"mainColor":69},219732,"quan-shi-qing-song-tu-dong-qi-chang-219732","泉石青松图","以淡墨晕染层叠山峦，留白铺就出空寂清灵的幽远氛围。近景苍松虬曲古拙，扎根嶙峋怪石，枝干舒展自带灵动生机。中景幽谷藏村居，流泉蜿蜒穿林而过，山林郁秀空灵。\n\n以干笔皴擦勾勒山石肌理，淡墨晕出山岚氤氲，笔墨简淡却意蕴悠长，尽显文人画萧散简远之趣。题诗与画面浑然相融，诗画一体，寄寓着林泉高致的隐逸情怀，整体格调清润雅致，将笔墨意趣与山水意境相融，尽显通透疏朗的超然意态，是文人山水的绝佳范本。",[23,25,54,55,56,79,58,80,30,213,7,625],"泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed6f3dc782262e9a048daaa49bede99f.jpg","纵95.2横41.1厘米",[65,88],{"id":630,"slug":631,"title":632,"dynasty":95,"author":317,"museum":76,"description":633,"tags":634,"thumbUrl":639,"material":640,"size":641,"collection":64,"collections":642,"showCount":643,"zanCount":169,"manualWeight":43,"mainColor":349},223425,"song-ren-xi-mao-tu-zhou-yi-ming-223425","宋人戏猫图轴","本幅传为宋人所画，在庭园一角嬉戏的大小猫咪一共八只。画栏围绕，锦障高下相连，使园中彷佛别有洞天。群猫嬉戏於湖石、竹丛、桃树、牡丹之间，或静或动，生态盎然。画家观察入微，以瞳孔缩成线状的猫眼，点出了这场猫戏的时序，应该是日光强烈的日间。",[23,24,25,79,28,27,178,635,180,7,636,637,638],"兽","家具","器","鸟笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4ef8f54780c0c3ec5ce4fde928d99fc.jpg","轴 绢本","139.8x100.1cm",[],241,{"id":645,"slug":646,"title":647,"dynasty":49,"author":576,"museum":355,"description":648,"tags":649,"thumbUrl":652,"material":216,"size":653,"collection":65,"collections":654,"showCount":655,"zanCount":536,"manualWeight":43,"mainColor":44},220764,"tian-chi-shi-bi-tu-huang-gong-wang-220764","天池石壁图","此图描绘的是苏州城西吴县境内天池山的景色。天池山与灵岩山、天平山一脉相连，峰巅矗立巨石，远望巧若莲花，人称“华山”。山一侧的半山坳中长年积有一泓碧水，名曰“天池”，故山之这一面亦被称为“天池山”。\n画面兼用高远和深远的构图方法。近景丘陵溪涧，长松茂树。山径迂曲，通向主峰。画面正中层峦叠嶂，天池居于右上，两侧石壁对峙，池中水阁数椽。主峰两侧烟云流润，使画面虚实相生。\n此幅构图繁复，高坡陡崖错落分布，雄秀多姿。画家状物之笔虽较简略，杂树多用横点，山石作披麻皴，但线条却显得自然流畅，起落有序；笔法朴厚苍润，变化多端。设色采用“浅绛法”，多用淡赭，并以墨青、墨绿合染，冷暖互补，极佳地表现出山色的青葱与阳光的和煦。正如清吴修所云：“赭色微黄画里春，墨青墨绿染精神。”\n黄公望擅长的“浅绛法”在中国古代山水画的发展中具有重要地位，此图即其典范作品。另，本幅柳贯长题中称黄公望为“吴兴室内大弟子”，说明黄公望曾就学于赵孟頫，这是画史研究中的重要资料。",[23,56,55,28,58,498,650,651,228,308,7,118],"石壁","林木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1df5e8d7eaf93e6a6599ee59965a71b.jpg","纵139.4厘米，横57.3厘米",[65,88],237,{"id":657,"slug":658,"title":659,"dynasty":18,"author":456,"museum":328,"description":660,"tags":661,"thumbUrl":662,"material":275,"size":663,"collection":65,"collections":664,"showCount":655,"zanCount":11,"manualWeight":43,"mainColor":69},216993,"fang-song-yuan-shan-shui-ce-wang-jian-216993","仿宋元山水册","王鉴（1598-1677），字玄照，后改字符照、圆照，号湘碧、染香庵主，江苏太仓人。王世贞曾孙。崇祯六年（1633）以荫授南京左府都事，约十一年（1638）至北京改任比部郎，十二年（1639）任廉州知府，仅两年即罢职归太仓，从此未入仕途。工画山水，得董其昌亲授，追踵董源、巨然，多拟仿宋元诸家。著有《染香庵跋画》。\n是册临宋元各家，淡墨层层积累、细腻丰富，水墨设色兼能、皴染兼长。在“四王”山水画中，王鉴的设色山水与其他三家有所差异。王鉴擅长青绿山水设色，用色只在青、绿、赭少数几种中选择，但色彩鲜明，特别是青绿两色的运用，清润高华。而仿陈惟允（陈汝言）一开可见其见识广博，陈汝言为元末明初人，后人临宋元山水鲜少涉及，这与他的个人收藏及交游圈不无关系。\n据其自跋：“予今岁偶来南翔（今属上海嘉定），谛交文庶社长，见其丰神超迈，雅善丹青，深得古人三昧，余因复临陈（陈廉）本赠之。”谓王时敏曾将所藏宋元各家真迹，嘱华亭陈明卿缩成一册，此册又临陈本。按，王时敏有缩临宋元各家山水册，董其昌为题“小中现大”者，为世所著称，此册除四页外，余俱与之相同，而所题各家名氏亦有异同。至所言王时敏一册出于陈明卿手，未见详细记述，或为另一册。\n陈廉（生卒年不详），字明卿，华亭（今上海松江）人。赵左弟子，年少时从赵左学习绘画，工巨幅山水，其笔墨清标，无烟火气，传世作品较少，上海博物馆藏《云间诸家书画散页》有其山水一开。王时敏《题陈明卿廉雪》卷云：“（陈廉）初以赵文度（赵左）为宗，既从余家纵观宋元真迹，多有悟入，所诣益深。为余摹诸名图，以寻丈巨轴，缩为方册，使能笔墨酷肖，毫发不遗，真画史之绝技。”又《题陈明卿仿黄子久》卷云：“明卿为赵文度高足弟子，初至娄时，尚守其师法，继为余临宋元诸名迹，缩小为本，因此大有悟入，画格遂为一变……”（《王奉常书画题跋》卷上）可与是册王鉴自跋相印证。",[23,25,445,28,58,56,531,57,212,82,118,7,59,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a18fc942c1098dabc52e73dc3535442.jpg","纵55.4厘米，横36.0厘米",[65],{"id":666,"slug":667,"title":668,"dynasty":49,"author":480,"museum":76,"description":669,"tags":670,"thumbUrl":671,"material":63,"size":672,"collection":65,"collections":673,"showCount":674,"zanCount":536,"manualWeight":43,"mainColor":69},220787,"jiang-ting-shan-se-zhou-ni-zan-220787","江亭山色轴","倪云林 《江亭山色》于2012年核定为重要古物，所绘的内容有山峦、陂陀、树木、茅亭，其结构萧散，是倪云林特意为外游时相识的一位友人焕伯高士留别而绘。\n款识：焕伯高士嗜古尚义於友道於医学尤精隐居养亲不求知於也余过娄江踰月与仆甚相好戏写江亭山色并作长歌以留别二月廿五日瓒。\n题签：倪云林山水真迹。玉带砚斋藏。\n释文：娄江之东天宇宽。左瞰青海阴漫漫，樱桃花落杂飞霰。桃李欲动春风寒，我去松陵自子月。忽惊归雁鸣江干，风吹归心如乱丝。不能奋飞身羽翰。身羽翰，度春水。胡蝶忽然梦千里，剥剥啄啄闻叩门。推枕倒裳为君起，持杯劝我径饮之。有酒如渑胡不喜，看朱成碧纷醉眼。碧草春波暎疏绮，醉吐胸中之磊块。一笑濡豪烂盈纸，白鸥明处白云生。历历青山镜光里，翡翠鵁鶄满兰芷。壬子。\n倪瓒的书法也是极具传统功力与个人特色的。他的书法受褚遂良影响较大，有些点画如“戈”法明显是褚体之法，写的十分妩媚。其书法还掺杂了隶书与六朝写经的风格，这可能与他信奉道教熟悉经体有关，从而使他的书法具有一种仙风道骨的古意与洒脱。他题画有时飘逸草率，多有连笔，如北京故宫藏《竹枝图》。有些写的则工工整整，一笔不苟，如《江亭山色图》、《容膝斋图》，书体为小楷，楷中含隶，毫无泄怠，极见功力。字数如此多的小楷题画，在其画作中极少见。\n倪云林的画乍一看为其荒疏感到意外，多看了则觉单调，几乎千篇一律，皆是疏林坡岸，浅水遥岭，但是自然的反应了他的内心，也反应了他的修养。倪云林《江亭山色》典型的“云林皴法”，且款题甚长，书法精妙，堪称倪云林一生山水画的代表作。",[25,54,79,55,58,118,7,241,30,56,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb42f2a048eafcf667755bea02ad618.jpg","94.7x43.7",[65,88],236,{"id":676,"slug":677,"title":678,"dynasty":18,"author":541,"museum":542,"description":543,"tags":679,"thumbUrl":681,"material":275,"size":547,"collection":65,"collections":682,"showCount":683,"zanCount":536,"manualWeight":43,"mainColor":69},219994,"shan-shui-hua-chu-chun-wang-shi-min-219994","山水画-初春",[25,54,55,58,56,80,164,7,212,103,680,196],"建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dae35075de48bf89446b66f24d13410.jpg",[65],235,{"id":685,"slug":686,"title":687,"dynasty":74,"author":586,"museum":132,"description":688,"tags":689,"thumbUrl":692,"material":37,"size":693,"collection":122,"collections":694,"showCount":695,"zanCount":220,"manualWeight":43,"mainColor":44},219530,"tao-gu-zeng-ci-tu-tang-yin-219530","陶穀赠词图","唐寅（1470—1523年），字伯虎，一字子畏，号六如居士，吴县（今江苏苏州）人。出身商人家庭，自幼聪明伶俐。20余岁时家中连遭不幸，父母、妻子、妹妹相继去世，家境衰败，在好友祝允明的规劝下收心读书，29岁参加应天府公试，得中第一名“解元”，30岁赴京会试，却受考场舞弊案牵连被斥为吏。此后遂绝意进取，以卖画为生。正德九年（1514年）曾应宁王朱宸濠之请赴南昌半年余，后察觉宁王有图谋不轨，遂佯狂得以脱身而归。晚年生活困顿，54岁即病卒。他玩世不恭而又才气横溢，诗文擅名，与祝允明、文徵明、徐祯卿并称“江南四才子”，画名更著，与沈周、文徵明、仇英并称“吴门四家”。 其绘画擅长山水、人物、花鸟各科。画法早年受沈周、文徵明影响，多“吴派”痕迹，30余岁时拜周臣为师，主宗南宗“院体”一路，后泛学宋元诸家，自成一体。山水画有粗、细两种风格：粗笔一路源自周臣，仿学南宋“院体”，然于刚劲雄健中别具清俊秀逸之韵；细笔画属其本色，更多文人画笔意，景色简约清朗，用笔纤细有力，皴法灵活多变，墨色淋漓多变，风格奇峭而又秀润。人物画造诣也很深，兼善工笔重彩、工笔淡彩、白描、水墨写意诸法，形神俱备。",[23,25,24,79,28,27,101,135,7,180,637,690,691],"衣帽","乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4160d60f87f2087cb65dd4c2c4d435.jpg","纵171横103.8厘米",[122],231,{"id":697,"slug":698,"title":699,"dynasty":74,"author":468,"museum":76,"description":700,"tags":701,"thumbUrl":704,"material":63,"size":705,"collection":65,"collections":706,"showCount":707,"zanCount":536,"manualWeight":43,"mainColor":69},214589,"zhou-xing-shi-jing-jiang-an-wang-shan-dong-qi-chang-214589","舟行十景-江岸望山","董其昌是明代著名画家，他的《舟行十景》系列画作中的《江岸望山》是一幅以山水为主题的画作。这幅画中，董其昌绘制了一条河流，河流两岸绿树成荫，清新的水面上划着许多小船，画面中央是一座山峰，山峰高耸入云，周围是葱郁的森林。董其昌在画中运用了自然透视法，使得这幅画呈现出浓郁的立体感。同时，董其昌还细致地描绘了河流两岸的居民生活，使得这幅画不仅有美好的山水风光，还有丰富的人文内涵。",[24,25,55,58,56,57,80,7,702,703,196],"江水","江岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff107ac474552fe8a646073313322cb10.jpg","28.8x17.7cm",[65],230,{"id":709,"slug":710,"title":711,"dynasty":18,"author":712,"museum":20,"description":713,"tags":714,"thumbUrl":716,"material":717,"size":718,"collection":65,"collections":719,"showCount":720,"zanCount":536,"manualWeight":43,"mainColor":69},222620,"shan-shui-tu-juan-1-gong-xian-222620","山水图卷-1","龚贤","全图为长卷形式，重山复岫横向展开，绵延起伏，用平远构图。山石短笔皴擦，树木以横竖排点画出，整卷结构缜密，气韵苍莽，幻景与实境交融，可观、可游、可居，“引人着胜地”。后纸行书长题，论及学道、读书、性情、嗜好，表达了画家对待艺术和生活的态度，兹录如下：\n“画于众技中最末。及读杜老诗，有云：刘侯天机精，好画入骨髓。世固有好画而入骨髓者矣！余能画，似不好画，非不好画也，无可好之画也。曾见唐、宋、元、明初诸家真迹，亦何尝不坐卧其下，寝食其中乎？问之好画者，曰：士生天地间，学道为上，养气读书次之，即游名山川、出交贤豪长者皆不可少，余力则工词赋、书画、棋琴。夫天生万物，惟人独秀，人之所以异于草木瓦砾者，以有性情，有性情便有嗜好，一无嗜好，惟恣饮啖，何异马牛而襟裾也。不能追禽而之踪，便当居一小楼，如宗少文张图绘于四壁，抚弦动操则众山皆响。前贤之好画往往如是，乌能悉数！余此卷借从心中肇造，云雾、丘壑、屋宇、舟船、梯凳、溪径，要不背理，使后之玩者可登可涉、可止可安，虽曰幻境，然自道眼观之，同一实境也。引人著胜地，岂独酒哉！戊辰秋杪半亩龚贤画并题。”\n下钤“龚贤”朱文印、“钟山野老”白文印。鉴藏印有“虚斋秘玩”等七方。戊辰为康熙二十七年（1688年），龚贤71岁。",[23,24,25,54,26,55,56,58,80,30,7,715,81,228,118],"云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa47f0e3c3d0ffbbbc50ccb661ca0951c.jpg","纸本，墨笔","纵28.8厘米，横404.1厘米",[65,88],229,{"id":722,"slug":723,"title":724,"dynasty":95,"author":725,"museum":726,"description":727,"tags":728,"thumbUrl":734,"material":37,"size":735,"collection":39,"collections":736,"showCount":737,"zanCount":11,"manualWeight":43,"mainColor":44},219276,"xue-an-yuan-yang-tu-ma-lin-219276","雪岸鸳鸯图","马麟","耶鲁大学艺术博物馆","枯木虬枝横斜，皴擦间藏着岁月的肌理，寒梅疏花点点，似是雪夜里悄然绽放的星子。滩头双鸳相偎，绒羽层叠如软云，翅尖墨色晕染，静卧间漫出暖融的依偎。枝上雀鸟敛翅，瞳仁如豆，似在聆听风过梅梢的轻响。雪岸清寂，却因这几处生灵的动静相映，添了几分温润的生气。淡赭铺就的寒汀，与浓墨点染的枝干相衬，工致笔触里藏着写意的疏朗，宋人的雅致与对生命的细腻观照，尽在这方寸画卷里流转，每一处留白都似凝着冬日的清寒，却又裹着一丝不易察觉的暖。",[23,25,24,27,28,35,729,730,7,731,344,732,733,29],"鸳鸯","梅","鸟","岸","枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a755de7d0ae42e6354319de9befc494.jpg","188.5cmx99.8cm",[39,140,107],226,{"id":739,"slug":740,"title":741,"dynasty":95,"author":317,"museum":20,"description":742,"tags":743,"thumbUrl":744,"material":37,"size":745,"collection":107,"collections":746,"showCount":747,"zanCount":536,"manualWeight":43,"mainColor":44},218615,"ming-huang-xing-shu-tu-yi-ming-218615","明皇幸蜀图","层峦叠嶂间，松枝虬劲，草木葱茏。人马穿行于山道，或扬鞭疾驰，或缓辔徐行，或俯身为马整鞍，神态各异，细节毕现。山石以劲挺线条勾勒，皴染结合，质感厚重；林木疏密有致，生机盎然。整幅画将旅途的奔波与蜀地山水的雄奇融为一体，既有宋代山水画的精工细致，又蕴含着历史事件的沉郁感。于方寸纨扇间，展现出宏大叙事与悠远意境，笔墨古朴，意韵绵长，尽显古典绘画的精妙与深厚底蕴。",[23,25,24,54,28,56,58,101,510,7,59,196,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76ac70443078c834c82bd324884285ea.jpg","30.5x30.5",[107],222,{"id":749,"slug":750,"title":751,"dynasty":49,"author":50,"museum":76,"description":752,"tags":753,"thumbUrl":754,"material":63,"size":755,"collection":65,"collections":756,"showCount":757,"zanCount":43,"manualWeight":43,"mainColor":44},218912,"hua-xi-yu-yin-tu-wang-meng-218912","花溪渔隐图","整幅画的笔触密集而精炼，所画的柳与赵孟𫖯在《鹊华秋色》卷中所画的柳相似。",[23,25,54,55,56,58,80,164,7,358,118,228,308,360,242,590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a92477288d4af6ca2566c9078e40883.jpg","129x58.3cm",[65],221,{"id":759,"slug":760,"title":761,"dynasty":74,"author":75,"museum":20,"description":762,"tags":763,"thumbUrl":764,"material":64,"size":64,"collection":64,"collections":765,"showCount":766,"zanCount":536,"manualWeight":43,"mainColor":69},228834,"qing-yuan-tu-shen-zhou-228834","清园图","此图绘湖山秋色。\n该图结构严整均衡，局部富于穿插变化，使画面景物参差有致，一派清幽逸趣。\n在用笔上，该图多用秃笔中锋，将勾、皴、擦、点有机配合，实中求虚。\n【名称】《 青园图 》 【年代】明代 【作者】沈周 【简介】长卷，纸本，设色，纵19.1厘米，横188.7厘米。\n旅顺博物馆藏。\n沈周（1427年—159年）明代杰出画家。\n字启南、号石田、白石翁、玉田生、有居竹居主人等，是明中叶画坛上四大艺术家（另三人为文徵明、唐寅、仇英）之一，人称江南“吴门画派”的班首，在画史上影响深远。\n沈家世代隐居吴门，居苏州相城,故里和墓在今相城区阳澄湖镇。\n沈周的曾祖父是王蒙的好友，父亲恒吉，又是杜琼的学生，书画乃家学渊源。\n父亲、伯父都以诗文书画闻名乡里。\n沈周一生家居读书，吟诗作画，优游林泉，追求精神上的自由，蔑视恶浊的政治现实，一生未应科举，始终从事书画创作。\n他学识渊博，富于收藏。\n交游甚广，极受众望，平时平和近人，要书求画者“屦满户外”，“贩夫牧竖”向他求画，从不拒绝。\n甚至有人作他的赝品，求为题款，他也欣然应允。\n有曹太守其人，新屋落成欲图其楹庑，搜罗画家，沈周亦在其中，隶往摄之，沈周曰：“毋惊老母，旦夕往画不敢后”客人颇不平曰：“太守不知先生，何贱先生于此？渴贵游可勿往。\n”沈周答曰：“往役义也，岂有贱哉？谒而求免，乃贱耳。\n”沈周的书画流传很广，真伪混杂，较难分辨。\n文征明因此称他为飘然世外的“神仙中人”。\n沈周在元明以来文人画领域有承前启后的作用。\n他书法师黄庭坚，绘画造诣尤深，兼工山水、花鸟，也能画人物，以山水和花鸟成就突出。\n所作山水画，有的是描写高山大川，表现传统山水画的三远之景。\n而大多数作品则是描写南方山水及园林景物，表现了当时文人生活的幽闲意趣。\n在绘画方法上，沈周早年承受家学，兼师杜琼。\n后来博取众长，出入于宋元各家，主要继承董源、巨然以及元四家黄公望、王蒙，吴镇的水墨浅绛体系。\n又参以南宋李、刘、马、夏劲健的笔墨，融会贯通，刚柔并用，形成粗笔水墨的新风格，自成一家。\n沈周早年多作小幅，4岁以后始拓大幅，中年画法严谨细秀，用笔沉着劲练，以骨力胜，晚岁笔墨粗简豪放，气势雄强。\n沈周的绘画，技艺全面，功力浑朴，在师法宋元的基础上有自己的创造，发展了文人水墨写意山水、花鸟画的表现技法，成为吴门画派的领袖。",[23,25,54,26,55,28,58,118,485,7,82,196,194,195,242,59,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee310328773a26ff40d5f949cac4d0f3.jpg",[],219,{"id":768,"slug":769,"title":770,"dynasty":771,"author":772,"museum":161,"description":773,"tags":774,"thumbUrl":776,"material":37,"size":777,"collection":65,"collections":778,"showCount":779,"zanCount":536,"manualWeight":43,"mainColor":44},220072,"jian-ge-xue-zhan-tu-wang-wei-220072","剑阁雪栈图","唐","王维","此图栈道着墨不多，主要是表现剑阁山川，雪景布置，积雪盈道。倘若鉴定无误的话，此图应属现存最早的一幅反映古栈道题材的山水画了。当然，它也就是最早的一幅蜀山栈道图。",[23,25,54,58,79,28,56,80,308,7,344,775],"栈道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1f73cf8b8868701ceb5e30b67a1f890.jpg","187.0X96.2",[65],215,{"id":781,"slug":782,"title":783,"dynasty":49,"author":253,"museum":355,"description":784,"tags":785,"thumbUrl":787,"material":788,"size":789,"collection":39,"collections":790,"showCount":791,"zanCount":536,"manualWeight":43,"mainColor":44},220867,"qiu-jiao-yin-ma-tu-juan-zhao-meng-fu-220867","秋郊饮马图卷","赵孟頫擅长人马图，总体追求刻意写实，一笔不苟。具体画风有两类：一是宗唐人韩干之法，马尚丰肥，用色华丽，衬以山水树石背景，人、马、景合为一体；一是仿北宋李公麟之作，笔墨清淡，着力于线条，注重描法与形象、质感的统一，不施色彩，以墨代色加以轻染。人马画中的人物均著唐装，风格既具“复古”的唐画之韵，又带浓郁的文人气息，有一定的创新性。\n此图属仿唐人的工笔设色画法。清秋郊野，一唐装圄官在池畔牧马，红色衣袍在大青绿的草坪映衬下显得尤为夺目，有力地突出了主体人物。所率十匹骏马均骨肉停匀，活跃多姿，它们或奔腾追逐，或徐步缓行，或俯首就饮，或引颈长鸣，意态生动。\n此图在布局上富有特色，以中景露地不露天及右开式构图，把平视、仰视、俯视三种造景方式有机地加以揉合，灵活地处理景物，使画面开阔舒展，疏密有致。画法亦将唐人的青绿重彩法与宋以来的文人笔墨法加以融合，别具新意。如人物线描工细劲健，又类似篆籀用笔，古朴中见隽秀；树石、坡陀行笔凝重，勾、皴、破、染并用，工谨中含清逸；青绿、大红重色中又兼施赭石、水墨，于浓丽中显清雅。总体风格行、利相兼，妙、逸并具，精逸技巧与文人雅韵结合，反映了赵孟頫晚年成熟的人马画面貌。",[23,25,54,26,28,27,195,194,510,101,7,786,102,82,196],"秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F923838da80859608e45f25b27e081087.jpg","绢本，设色","纵23.6厘米，横59厘米",[39,140],206,{"id":793,"slug":794,"title":795,"dynasty":74,"author":796,"museum":51,"description":797,"tags":798,"thumbUrl":799,"material":275,"size":800,"collection":65,"collections":801,"showCount":802,"zanCount":169,"manualWeight":43,"mainColor":44},217879,"feng-ye-chun-yu-tu-chen-huan-217879","枫野春雨图","陈焕","枫野春雨图是明朝画家陈焕的著名作品之一。这幅画描绘了一个清新的春天景象，画面中有花开的枫树和悠扬的柳树，还有漫天的淡蓝色的春雨。\n\n陈焕是明朝时期的一位著名画家，他的作品多以山水画见长，枫野春雨图也是其中的杰作。这幅画不仅描绘了自然的美景，还有足够的空间来表达艺术家的情感和思想。枫野春雨图中的春雨表现出了明朝时期人们对自然和谐的向往，而枫树和柳树的生机勃勃则象征着明朝的繁荣和繁茂。\n\n总的来说，枫野春雨图是一幅优美而富有感情的山水画，它不仅展示了陈焕的艺术才华，还反映了明朝时期人们对自然和谐的向往。",[23,25,28,58,27,56,80,164,7,118,358,359,212,82,59,459,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb9b68f66e9d9331884c00f7b78f3e3f.jpg","33.5x65.7cm",[65,140],204,{"id":804,"slug":805,"title":353,"dynasty":95,"author":806,"museum":20,"description":807,"tags":808,"thumbUrl":809,"material":37,"size":810,"collection":65,"collections":811,"showCount":812,"zanCount":536,"manualWeight":43,"mainColor":44},218591,"yu-fu-tu-xia-gui-218591","夏圭","苍劲古木虬枝横斜，墨色浓淡间晕染出岁月纹理。近岸水波轻漾，似有渔舟隐于荫下；远处山峦以淡墨点染，云雾缭绕中透着空濛。简括笔触删繁就简，将渔父隐逸之趣藏于边角留白——晚风拂过林梢，渔歌是否在烟霭里隐约？整幅画以“一角半边”之构，融自然清旷与文人幽思，水墨淋漓间尽是南宋山水的空灵悠远，引观者沉湎于那份与世无争的恬淡。",[24,25,54,79,55,28,56,58,7,358,732,61,360],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff03e35c72c989c0d7a10d5ee03dfc9.jpg","74.5x46",[65],201,{"id":814,"slug":815,"title":816,"dynasty":95,"author":817,"museum":161,"description":818,"tags":819,"thumbUrl":820,"material":63,"size":821,"collection":65,"collections":822,"showCount":812,"zanCount":11,"manualWeight":43,"mainColor":69},218565,"yun-shan-yan-shu-tu-mi-fei-218565","云山烟树图","米芾","画中的山峰高耸入云，层峦叠嶂，岸边停靠着一艘船，堤坡上生长着几棵树，墨色浓郁；左边可以看到两座小屋，可以看到一个学者在窗边认真读书或写字。这幅画是米氏山水画的特点，但应归于明代。",[25,54,24,79,55,58,56,80,715,7,118,358,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6782374152ab7d32375f6c3507c0a5f3.jpg","103.4x37.6cm",[65],{"id":824,"slug":825,"title":826,"dynasty":74,"author":75,"museum":542,"description":827,"tags":828,"thumbUrl":831,"material":216,"size":832,"collection":65,"collections":833,"showCount":834,"zanCount":203,"manualWeight":43,"mainColor":44},222134,"qing-shan-hong-shu-tu-shen-zhou-222134","青山红树图","图绘秋天山林间红绿相映的醉人美景，用笔细致，多淡墨勾勒，赋色明艳。远山、坡石用披麻皴表现山峦的青翠秀逸，近景是被秋风染红的树木，摇曳生姿；一长者持杖伫立在溪岸旁饱览山色。题识：“千树秋风万叶飞，林蹊苔径步斜晖。履声历落啄歌去，犹有余红点着衣。沈周。”",[23,25,54,79,28,56,58,101,7,829,830,212,82,308],"青山","红树","https:\u002F\u002Foss.chuangqi.store\u0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近处作平坡， 上植数枝树木， 间或缀以茅舍亭阁；远处作峦头或低矮的土坡。作为近景与远景之间的过渡部分则多为大片空白， 不着一墨， 是为湖水。\n画中落款“壬子岁七月五日，云林生写”，又自题诗云：“屋角春风多杏花，小斋容膝度年华；金棱跃水池鱼戏，彩凤栖林涧竹斜。叠叠清谈霏玉屑，萧萧白发岸乌纱。而今不二韩康价，市上悬壶未足夸。”\n倪瓒少小聪明， 早年专意读书， 家中清閟阁藏书数千卷， 经史子集， 佛道经典， 他都专心阅读批校， 所藏法书名画， 亦悉心临学。其书法天然古淡， 有魏晋人风格。倪瓒隐居于太湖四周的宜兴、常州、湖州、松江一带， 常领略这里秀丽清幽的湖光山色， 他的画也多取材于此。\n此画作于明太祖洪武五年（1372），时年倪攒七十有二，两年后离世，因此也有“绝笔之作”一说。此画最初赠予其友檗轩，两年后又请倪瓒为其补题，寄赠予同乡的潘子仲医师。容膝斋是潘仁仲休闲居处。\n画家对佛道思想的追求，注重对尘世羁绊的超脱，这种思想映射到艺术创作中丰富了艺术品的文化内涵。《容膝斋图》中设置空亭但不见人，倪瓒有“亭下不逢人，夕阳滤秋影”的名句。空空的亭子和无人的山水，后人多认为这种设置是倪瓒内心的表达，是“今世那复有人”的悲叹。\n此图以墨笔画坡陀林屋，远山一角。近景处画山坡石陀，平平的一二层山石，山石皴法是渴笔方折，似有折带皴意，用笔总是干笔皴擦，有时墨色并没有透入纸背，但却没有丝毫纤弱单薄的弊端。近景一带坡岸及坡上植有杂树和瘦竹数株。高短参差不齐，树木偶用蟹爪鹿角技法，以干笔为主，树身多复笔。远岸岚岫绵延，在整个画最上端，使整个画面有深远之感。中景以湖塘相隔，画有草茅亭子，坐落在树木的右侧，对面为横卧的山坡。均出以简笔疏朗，自有一种空阔高旷的境界。这与倪云林的那种甘于寂寞，与世无争的性格十分相近。此画最为典型的即是简约，既不作高枝繁叶，又不为高山大壑，而常常采用疏林浅坡，简淡平远的构图，笔墨极为淡雅，画树墨色层次较多，中锋多于侧笔。近坡皴多染少，皴笔亦特觉清劲。点染皴擦也求简约，不作华奢之状。\n该图采用三段平远式的空间布局。前景是几棵枯树、坡石和屋舍，中景是一坡山，远景水天一色。这样的布局使人感到平实恬淡，简约单纯。这种近坡杂树数枝，远景云山一抹，中隔湖水一汪，最早出现在《六君子图》中，而在《容膝斋图》中发挥得更充分。这种比较稳定的“一河两岸”式的图式所表现的意境，使他的绘画风格达到了“萧疏淡远”的极致。\n该图布置前景时，常用粗而挺劲的线条勾勒出挺拔而气宇轩昂的几棵高大的树。这些树的穿插非常讲究，几棵主株，或高或低，俯仰成趣。或前或后，顾盼照应，让树有自然的深浅和层次，并且讲究穿插避让，使画面生动有变化。《容膝斋图》中的树少有树叶点缀，是几棵枯树，这与倪瓒平时讨厌落叶有关。",[25,55,484,56,194,196,58,118,7,83,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3db52534f3fee435e691757d2ad794f5.jpg","纵74.7cm，横35.5cm",[],193,{"id":885,"slug":886,"title":887,"dynasty":49,"author":888,"museum":51,"description":889,"tags":890,"thumbUrl":891,"material":275,"size":892,"collection":39,"collections":893,"showCount":894,"zanCount":536,"manualWeight":43,"mainColor":44},216665,"ba-jun-tu-zhao-yong-216665","八骏图","赵雍","该幅画平畴林野牧马的景致，画骏马五匹或磨肩，或依偎，或觅食于树荫下，不管在结构或造形上，皆显示画家对马匹曾做仔细的观察与了解，轻而易举地掌握复杂的造型。圉人倚松假寐，状至悠闲逍遥。人马以中锋钩画，人物表情生动，马匹结体雄壮。树叶以近似图案的工整格式画出，装饰性强，饶古拙之趣。画家更利用平镜无纹的湖水，及罗列的远山，加强空间的推衍及层次感，呈现阔远松秀的画面。其青绿设色及用笔虽颇有唐人遗意，但因结合设色与皴法，远较唐之青绿山水雅淡，充分地发挥笔墨情趣。\n\n这幅画是赵雍为色目人官员─孛颜忽都所画的。画风主要承袭自隋唐时代"青绿山水"，设色主要填染了石青、石绿，色彩浓丽；还有，如画树叶先勾出轮廓，再填入颜色，正是工笔画中"夹叶填彩"的画法。此外，马匹高大肥硕的体型，也是追法唐代画马的意趣。不过，赵雍的这幅画还揉合了五代画家董、巨一派的笔意，例如：表现远山质感、那种类似苎麻纤维的线纹，叫做"披麻皴:。综而观之，《元赵雍骏马图轴》的人物、马匹及山水背景，虽具唐宋古意遗韵，但在构图上一水两岸的平远景致，依旧是典型的元人特色。赵雍在元代复古的风潮中，也开拓了新的时代风格。",[25,54,26,27,28,510,7,83,194,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F774a3902ef0909cc4272f189e62ad7bd.jpg","36x270cm",[39],192,{"id":896,"slug":897,"title":898,"dynasty":74,"author":899,"museum":132,"description":900,"tags":901,"thumbUrl":904,"material":37,"size":905,"collection":39,"collections":906,"showCount":907,"zanCount":11,"manualWeight":43,"mainColor":44},216730,"hua-niao-tu-lv-ji-216730","花鸟图","吕纪","吕纪明朝画家，也被称为吕笃简。他是著名的花鸟画家，并且在当时期间担任过朝廷画家。吕纪的花鸟画精细细腻，注重画面的组合构图，对后世的花鸟画产生了很大的影响。他的著名作品有《花鸟图》和《四季花卉图》。",[23,25,27,28,35,229,902,29,60,903,7],"鸭子","花枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc9c824b65ade19907e1c12b75fb4b1.jpg","200x102.8cm",[39],185,{"id":909,"slug":910,"title":911,"dynasty":95,"author":912,"museum":355,"description":913,"tags":914,"thumbUrl":923,"material":924,"size":925,"collection":64,"collections":926,"showCount":927,"zanCount":43,"manualWeight":43,"mainColor":44},232940,"qing-ming-shang-he-tu-juan-zhang-ze-duan-232940","清明上河图卷","张择端","《清明上河图》描绘的是清明时节北宋都城汴京（今河南开封）东角子门内外和汴河两岸的繁华热闹景象。全画可分为三段：\n首段写市郊景色，茅檐低伏，阡陌纵横，其间人物往来。\n中段以“上土桥”为中心，另画汴河及两岸风光。中间那座规模宏敞、状如飞虹的木结构桥梁，概称“虹桥”，正名“上土桥”，为水陆交通的汇合点。桥上车马来往如梭，商贩密集，行人熙攘。桥下一艘漕船正放倒桅杆欲穿过桥孔，艄工们的紧张工作吸引了许多群众围观。\n后段描写的是市区街道，城内商店鳞次栉比，大店门首还扎结着彩楼欢门，小店铺只是一个敞棚。此外还有公廨寺观等。街上行人摩肩接踵，车马轿驼络绎不绝。行人中有绅士、官吏、仆役、贩夫、走卒、车轿夫、作坊工人、说书艺人、理发匠、医生、看相算命者、贵家妇女、行脚僧人、顽皮儿童，甚至还有乞丐。他们的身份不同，衣冠各异，同在街上，而忙闲不一，苦乐不均。城中交通运载工具，有轿子、驼队、牛、马、驴车、人力车等。 车辆有串车、太平车、平头车等诸种，再现了汴京城街市的繁荣景象。高大的城门楼名东角子门，位于汴京内城东南。\n全卷画面内容丰富生动，集中概括地再现了12世纪北宋全盛时期都城汴京的生活面貌。\n此画用笔兼工带写，设色淡雅，不同一般的界画，即所谓“别成家数”。构图采用鸟瞰式全景法，真实而又集中概括地描绘了当时汴京东南城角这一典型的区域。作者用传统的手卷形式，采取“散点透视法”组织画面。画面长而不冗，繁而不乱，严密紧凑，如一气呵成。画中所摄取的景物，大至寂静的原野，浩瀚的河流，高耸的城郭；小到舟车里的人物，摊贩上的陈设货物，市招上的文字，丝毫不失。在多达500余人物的画面中，穿插着各种情节，组织得有条不紊，同时又具有情趣。",[23,24,25,54,26,27,915,28,101,211,212,82,916,510,100,7,917,918,242,256,420,919,920,921,680,922],"界画","船","街市","商铺","舟楫","行人","车马","城墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f05d58052a2ead98a4c56702572a1ed.jpg","绢本，淡设色","纵24.8厘米，横528厘米",[],181,{"id":929,"slug":930,"title":931,"dynasty":49,"author":480,"museum":76,"description":932,"tags":933,"thumbUrl":934,"material":85,"size":935,"collection":65,"collections":936,"showCount":937,"zanCount":43,"manualWeight":43,"mainColor":69},220790,"zi-zhi-shan-fang-tu-zhou-ni-zan-220790","紫芝山房图轴","《元倪瓒紫芝山房图轴》是元末明初画家倪瓒所创作，水墨画河岸、疏树、竹林和小亭，对岸山峦起伏，构图简洁，具清逸萧疏之趣。此幅墨色淡雅，现藏于台北故宫博物院。\n《元倪瓒紫芝山房图轴》侧笔写山石轮廓，苍劲沉着，画竹之笔尤为遒劲有力，是云林精品。",[25,54,79,55,484,56,83,118,241,7,61,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eb4dbc8f6b09feeea9d0d31f7abefaf.jpg","80.5x34.8",[65,88],177,{"id":939,"slug":940,"title":941,"dynasty":18,"author":942,"museum":943,"description":944,"tags":945,"thumbUrl":948,"material":37,"size":949,"collection":122,"collections":950,"showCount":951,"zanCount":536,"manualWeight":43,"mainColor":44},220442,"chun-ye-yan-tao-li-yuan-tu-lv-huan-cheng-220442","春夜宴桃李园图","吕焕成","旅顺博物馆","此图与吕焕成的传世作品《春山听阮图》（现藏旅顺博物馆）、《西溪图》（上海博物馆）的画法相类似，勾皴挺拔秀劲，人物生动细劲，意境幽深，既有“北宗”画法的崇高峻美，也有“南宗”画法的秀润笔致。\n此幅绘李白春夜宴桃李园故事，人物刻画生动，桃园布置幽雅，桃树夭夭，灼灼其华，湖石玲珑，远山壮美。用笔细劲，敷色精诣，吕吉文做为清初吴门画派领军人物，此作名不虚传。",[23,25,54,79,27,28,101,58,136,30,946,947,7],"宴乐","饮酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25b1cce1cef029536624dbe6f4f8c3e5.jpg","199X96cm",[122,140],174,{"id":953,"slug":954,"title":955,"dynasty":18,"author":956,"museum":20,"description":957,"tags":958,"thumbUrl":964,"material":965,"size":966,"collection":64,"collections":967,"showCount":968,"zanCount":43,"manualWeight":43,"mainColor":69},223091,"hua-niao-tu-li-zhou-ren-xun-223091","花鸟图立轴","任薰","任薰(1835-1893)，字 舜琴 ，又字阜长，其父任椿，兄 任熊 都是画家。少丧父，从兄学画，青年时在 宁波 卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、 任预 均从其习画。人物与其兄同师 陈洪绶 ，常用高古游丝、铁线、行云流水、兰叶几种描法。\n任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与 顾文彬 子顾承相友善，曾为设计怡园。 1888年54岁时双目失明，后病卒于苏州。 与任熊、任颐时称三任，合任预为四任，并为 海上画派 代表画家之一。\n任薰作画题材广泛，对人物、山水、花卉、翎毛、走兽(马、羊等)无所不能，更擅长花鸟、人物。粗写意、细双勾。技法初学其兄谓长，后吸取陈老莲的传统技法。用笔沉着力。\n在构图上有其特长，在大小不同的画面上，创作出许多新颖、宽广、意境深远的作品，尤其适应扇面上的表现技法，能笔随意转，在极小的团扇、折扇画面上，开拓出广阔、妙趣盎然的意境。\n任薰作品在结构上比较严谨，很重视疏密虚实的主从关系，无论一人、一花、一鸟的主从关系都能巧心安排得体。平淡中亦能出奇，宁静中又能生动。画面上给人一种空灵明快之感。\n他的另一特点是工于着色，浓淡相宜，清新可爱，绝无柔媚习气。他尤长于使用重彩着色，能把对比鲜明的色彩调和统一起来，使画面上的景色更显壮丽，又能从鲜艳色彩中透出古朴的意趣。任薰人物画，线条遒劲圆韧。尤其晚年人物衣褶，运笔如同书法中行草，似有行云流水之感，形态多奇伟的身躯，出乎 寻常容貌，带有性格的神态，别出心匠。",[23,959,25,54,79,27,28,35,960,961,7,962,963],"清代","鹦鹉","花","枝干","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ea923f5fc4a6a88156616b48b14abb.jpg","立轴 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由此可见画家的绘制初衷和生活情趣。\n引首自书“卧游”，钤“沈氏启南”朱文印。鉴藏印：“士元珍藏”朱文印，“朱卧庵收藏印”朱文印，“查映山氏收藏图书”朱文印。\n仿倪山水，自题：“苦忆云林子，风流不可追。时时一把笔，草树各天涯。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印，“士元”朱文印，“昆山王成宪画印”朱文印，“映山珍藏”朱文印。\n杏花。自题：“老眼于今已敛华，风流全与少年差。看书一向糢糊去，岂有心情及杏花。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n秋葵。自题：“秋色韫仙骨，淡姿风露中。衣裳不胜薄，倚向石阑东。沈周。” 钤“启南”朱文印。鉴藏印：“士元”朱文印，“卧庵所藏”朱文印，“昆山王成宪画印”朱文印。\n秋柳鸣蝉。自题：“秋已及一月，残声绕细枝。因声追尔质，郑重未忘诗。沈周。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“䒶机流动”朱文印。“卧庵所藏”朱文印。\n平坡散牧。自题：“春草平坡雨迹深，徐行斜日入桃林。童儿放手无拘束，调牧于今已得心。沈周。”钤“启南”朱文印两方。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“之”“赤”朱文联珠印。\n栀子花。自题：“花尽春归厌日迟。玉葩撩兴有新栀。淡香流韵与风宜。帘触处、人在酒醒时。 生怕隔墙知。白头痴老子，折斜枝。还愁零落不堪持。招魂去、一曲（按：此字点去）阙小山词。右词寄小玉山，沈周。”钤“启南”朱文印，“吴言”朱文印。“石田翁”白文印。鉴藏印：“之”“赤”朱文联珠印，“朱卧庵收藏印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n秋景山水。自题：“淡墨疏烟处，微踪仿佛谁。梅花庵里客，端的是吾师。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印。\n芙蓉。自题：“芙蓉清骨出仙胎，赭玉玲珑轧露开。天亦要妆秋富贵，锦江翻作楚江来。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“卧庵所藏”朱文印、“昆山王成宪画印”朱文印、“竹南藏玩”白文印。\n枇杷。自题：“弹质圆充饤，蜜津凉沁唇，黄金作服食，天亦寿吴人。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印,“卧庵所藏”朱文印、“昆山王成宪画印” 朱文印。\n秋山读书。自题：“高木西风落叶时，一襟萧爽坐遥遥。闲披秋水未终卷，心与天游谁得知。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“卧庵所藏”朱文印。\n石榴。自题：“石榴谁擘破，群琲露人看。不是无藏韫，平生想怕瞒。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n雏鸡。自题：“茸茸毛色半含黄，何独啾啾去母傍。白日千年万年事，待渠催晓日应长，沈周。”钤“启南”朱文印，“白石翁”白文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印、“朱卧庵收藏印”朱文印。\n秋江钓艇。自题：“满池纶竿处处缘，百人同业不同船。江风江水无凭准，相并相开总偶然。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“卧庵所藏”朱文印。\n菜花。自题：“南畦多雨露，绿甲已抽新。切玉烂蒸去，自然便老人。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印，“昆山王成宪画印”朱文印。\n江山坐话。自题：“江山作话柄，相对坐清秋。如此澄怀地，西湖忆旧游。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印、“昆山王成宪画印”朱文印。\n仿米山水。自题“云来山失色，云去山依然。野老忘得丧，悠悠柱杖前。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n雪江渔夫。自题：“千山一白照人头，簑笠生涯此钓舟。不识江湖风雪里，可能干得庙堂忧。沈周。”钤“白石翁”白文印。鉴藏印：“昆山王成宪画印”朱文印、“卧庵所藏”朱文印。\n题跋。自题：“宗少父四壁揭山水图，自谓卧游其间。此册方可尺许，可以仰眠匡床，一手执之，一手徐徐翻阅，殊得少文之趣。倦则掩之，不亦便乎？于揭亦为劳矣。真愚闻其言，大发笑。沈周跋。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印，“芃园曹氏平生真赏”朱文印，“麓云楼书画记”朱文印，“康饴”朱文印，“只可自怡悦”白文印，“朱卧庵收藏印”朱文印，“依竹居士鉴赏书画印”朱文印。",[24,25,54,57,55,56,58,7,59,212,101,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F904338a5938de41cde644a080fbf2525.jpg","纵27.8厘米，横37.3厘米",[],165,{"id":1021,"slug":1022,"title":1023,"dynasty":18,"author":327,"museum":20,"description":1024,"tags":1025,"thumbUrl":1027,"material":64,"size":64,"collection":88,"collections":1028,"showCount":1029,"zanCount":11,"manualWeight":43,"mainColor":69},235889,"yuan-ji-huang-shan-you-tu-ce-shi-tao-235889","原济黄山游图册","此作用笔疏密相宜，淡墨铺陈烟林远景，以浓墨点染近木。几株杂木高低错立，或繁枝遒劲，或疏桠寥落，极简笔触便写尽枯荣姿态。篱边茅斋素朴安然，黛瓦白墙隐于林间，将江南山居的清寂野趣娓娓铺展。\n\n右上角题诗与画作相映成趣，诗书画印融为一体，禅意漫溢其间。笔墨间藏着春日山居的悠然意趣，把胸中林泉化作纸上丘壑，淡远清和，朴拙天真，观之恍若踏入画中，静赏春景，沉潜于物我两忘的幽谧意境之中。",[25,54,55,57,56,58,7,1026,485,196],"茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04027f2c689ff46da102ff937cdb3245.jpg",[88,65],163,{"id":1031,"slug":1032,"title":1033,"dynasty":95,"author":817,"museum":161,"description":1034,"tags":1035,"thumbUrl":1036,"material":63,"size":1037,"collection":65,"collections":1038,"showCount":1039,"zanCount":203,"manualWeight":43,"mainColor":126},218566,"yun-shan-tu-mi-fei-218566","云山图","这幅画画的是烟波浩渺的海岸上的渔船，雾锁山腰，笔墨淋漓。山峰都是用米氏的方法画的，用的是湿笔，虽然有后人伪造的痕迹，但仍然是难得的水墨游戏杰作。",[25,54,79,55,56,58,715,7,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa252b41bf8de2207a07dcd8bb3debcc4.jpg","55.2x27.7cm",[65],162,{"id":1041,"slug":1042,"title":1043,"dynasty":74,"author":415,"museum":191,"description":1044,"tags":1045,"thumbUrl":1047,"material":1048,"size":1049,"collection":65,"collections":1050,"showCount":1051,"zanCount":536,"manualWeight":43,"mainColor":44},221994,"tao-yuan-wen-jin-tu-quan-juan-wen-zheng-ming-221994","桃源问津图全卷","全图画远山冈峦，叠翠连绵，溪水横流，树木葱郁，屋舍村字，掩映其间，有老者山道边策杖观瀑沉思，有妇人携幼拄杖于院篱门口问路，屋内四男子席地而坐，饮酒高谈。图中线条粗细旋转富于变化，墨色浓淡干湿，层次丰富。该图款识：“嘉靖甲寅二月既望。徵明识。时年八十有五。”嘉靖甲寅年为1556年。",[23,25,58,80,164,7,28,26,421,152,1046],"舟船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5be4d911f0f1c59073981b4c71b9d7db.jpg","纸本设色","纵23厘米，横578.3厘米",[65,140],158,{"id":1053,"slug":1054,"title":1055,"dynasty":74,"author":225,"museum":76,"description":1056,"tags":1057,"thumbUrl":1062,"material":37,"size":1063,"collection":122,"collections":1064,"showCount":1065,"zanCount":536,"manualWeight":43,"mainColor":44},218222,"ying-xi-tu-chou-ying-218222","婴戏图","孩子们在花园里玩耍的快乐场景。他们可能在弹钢琴、骑木马或看书，显示出对儿童生活的兴趣。",[25,54,27,28,101,1058,7,32,868,1059,1060,1061],"孩童","玩耍","传统绘画","明式风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F605a2acb64c38c0548f9ab700825bd08.jpg","182x58.9",[122],157,{"id":1067,"slug":1068,"title":1069,"dynasty":18,"author":1070,"museum":51,"description":1071,"tags":1072,"thumbUrl":1074,"material":275,"size":64,"collection":65,"collections":1075,"showCount":1076,"zanCount":43,"manualWeight":43,"mainColor":44},214603,"fang-gu-shan-shui-ce-wang-hui-214603","仿古山水册","王翚","王翚（1768年－1849年）是清代著名的画家，他出生于江苏省南京市，是清代名门望族，他的祖父王恭是清代名将王莽的儿子。王翚早年曾在父亲的教导下学习书法和绘画，后来又师从著名画家黄庭坚学习。\n\n王翚擅长画山水，他的作品《仿古山水册》是他的代表作之一。这本册子包含了王翚的许多优秀作品，其中包括了他的山水画、人物画、花鸟画等，作品风格秀丽自然，富有感染力。《仿古山水册》被誉为王翚代表作之一，在当时颇受欢迎。\n\n王翚的画风受到了清代著名画家黄庭坚的影响，但他也在此基础上创造出了自己独特的画风。他善于运用墨色，擅长表现山水的秀美和雄伟，并融入了自己的个人特色。王翚的画作经常带有浓郁的文化气息，富有哲理性和艺术性。\n\n总的来说，王翚的《仿古山水册》是一部优秀的山水画集，值得一看。",[25,55,56,1073,58,80,164,7,243,228,81,308,211,57],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd97c1595d846d11221e221903e359a62.jpg",[65],155,{"id":1078,"slug":1079,"title":1080,"dynasty":74,"author":75,"museum":76,"description":1081,"tags":1082,"thumbUrl":1084,"material":1085,"size":1086,"collection":65,"collections":1087,"showCount":1088,"zanCount":536,"manualWeight":43,"mainColor":44},222102,"chun-yun-die-zhang-tu-shen-zhou-222102","春云叠嶂图","春云叠嶂图，绢本墨笔，故宫博物院藏。其款题：十日消闲障子成，看君堂上白云生。 有人若问谁持赠，万叠千重是我情。文美赵君，知余老，报拙静远，以汉鼎为赠，用助萧斋日长，焚沉悦性，其惠多矣，文美读书好古，于书画尤萃意焉。因作春云叠嶂报之，愧莫敌施也。弘治新元七夕日，沈周。 此作在康熙年间，被高士奇收藏，并著录于其《江村消夏录》。其题画诗见于《四库全书*列朝诗集》明代五十六丙集第八。",[23,25,54,484,55,56,80,715,7,82,59,118,1083,197,228,545],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb54811e543fce13bf211196f60045fc.jpg","绢本墨笔","152 2x43 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2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[1003,1096,28,101,1145,1146,7,27],"敦煌","唐代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4418173c3cc1ad02ff65e163e5c89e84.jpg","未知","Xcm*Xcm",[],140,{"id":1153,"slug":1154,"title":1155,"dynasty":174,"author":404,"museum":97,"description":1156,"tags":1157,"thumbUrl":1159,"material":64,"size":64,"collection":64,"collections":1160,"showCount":1151,"zanCount":536,"manualWeight":43,"mainColor":44},226703,"xi-shan-lan-re-tu-ju-ran-226703","溪山兰若图","此图高耸云表的山峦雄居于画幅上部，山头布有矾头状的卵石，犹是巨然本色，下部冈阜林木葱郁，掩隐楼阁屋宇，前部有坡岸溪水，展示一片宁静清谧的意境。画幅右上有“巨五”编号，当是六幅通景屏风中的第五幅，仅为大幅山水的一部分。",[23,25,24,79,55,56,58,80,7,59,228,1158,1096],"寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff18e1550c2f9295b94665ebbfbacce7b.jpg",[],{"id":1162,"slug":1163,"title":1164,"dynasty":74,"author":1165,"museum":132,"description":1166,"tags":1167,"thumbUrl":1168,"material":37,"size":1169,"collection":65,"collections":1170,"showCount":1171,"zanCount":11,"manualWeight":43,"mainColor":44},219811,"hua-long-tu-wu-wei-219811","画龙图","吴伟","吴伟（1459年—1508年），字次翁，又字士英、鲁夫，号小仙，江夏（今湖北武汉）人，明代著名画家。画院待诏，孝宗时授锦衣卫百户及赐“画状元”的图章。龆龄流落至海虞（今江苏常熟），收养于钱昕家，伴其子读，时窃弄笔墨，画山水人物之状，钱见而奇之，曰：“若作画工耶？”即与笔札厚给养之。弱冠至金陵画名遂起。",[23,25,55,79,101,853,58,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccae79785c4f93074462241752e72c09.jpg","139.5x94cm",[65],135,{"id":1173,"slug":1174,"title":1175,"dynasty":18,"author":327,"museum":132,"description":1176,"tags":1177,"thumbUrl":1179,"material":275,"size":1180,"collection":64,"collections":1181,"showCount":1182,"zanCount":536,"manualWeight":43,"mainColor":69},214886,"shan-shui-tu-ce-6-shi-tao-214886","山水图册-6","大英博物馆在1965年7月购进的这套八开本《山水图》册是一件相当出色的石涛真迹精品。\n该图分别画夜泊采石太白楼下、游浦汀溪、登灵隐飞来峰、登雨花台、登岳阳楼、登幕山大观亭、登天印山、访东山等八景，涉及苏、浙、皖三地的名胜，亦可谓是“搜尽奇峰汇成册”，这个时期，他已从新安画派集中表现黄山险境的格局中脱离了出来，更加注重广取博揽天下有特性的景物。其画渐渐趋于老，行笔凝重沉静，用花青、赭石轻轻淡染，顿显生机；其构图巧用“Z”形和“S”形，十分灵活且紧凑，变化自然，动感鲜明，景象开阔深邃，令人遐想无限。",[23,25,55,56,57,58,211,7,59,242,61,459,680,243,868,1178],"浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f36b552940e2b7131526b7cd389c0cb.jpg","20.3x27.5cm",[],133,{"id":1184,"slug":1185,"title":1055,"dynasty":18,"author":1186,"museum":328,"description":1187,"tags":1188,"thumbUrl":1189,"material":37,"size":64,"collection":122,"collections":1190,"showCount":1191,"zanCount":43,"manualWeight":43,"mainColor":44},218250,"ying-xi-tu-luo-pin-218250","罗聘","孩子们被描绘成在一棵树下以不同的姿势玩耍，有非常不同的、诙谐的行为。",[25,54,28,27,101,1058,7,485,212,273,102,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe10da7efee8c25f6e93f8c2460e80de8.jpg",[122],132,{"id":1193,"slug":1194,"title":1195,"dynasty":74,"author":75,"museum":97,"description":1196,"tags":1197,"thumbUrl":1200,"material":152,"size":1201,"collection":64,"collections":1202,"showCount":1203,"zanCount":11,"manualWeight":43,"mainColor":69},231544,"huang-ju-dan-gui-tu-shen-zhou-231544","黄菊丹桂图","沈周（1427—1509），字启南，号石田、白石翁、玉田生、有竹居主人，明代绘画大师，吴门画派的创始人，明四家之一，长洲（今江苏苏州）人。生于明宣德二年，卒于明正德四年，享年八十二岁（虚八十三岁）。\n沈周一生家居读书，吟诗作画，优游林泉，追求精神上的自由，蔑视恶浊的政治现实，一生未应科举，始终从事书画创作，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。\n王渊（公元13世纪-14世纪中叶），元代画家。字若水，号澹轩，一号虎林逸士，钱塘（今浙江杭州）人。工于花鸟、人物、山水。天历年间曾与唐棣在南京龙翔寺曾画过壁画，尤精于花鸟，堪称元代花鸟画巨擘。\n《黄菊丹桂图》明沈周仿自元画家王若水之作，图绘菊花，桂树，芙蓉，翠竹。并一双飞鸟巨石，画面静雅，傅色清新，所绘繁多而布置深稳，是石田习古佳作。",[23,25,28,79,27,56,7,1198,731,83,180,29,1199],"菊","丹桂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe69bac105908ae029d92cf2cc1b6e776.jpg","288.5X106.3\u002F397.1x127.4厘米",[],129,{"id":1205,"slug":1206,"title":1207,"dynasty":74,"author":75,"museum":1208,"description":1209,"tags":1210,"thumbUrl":1212,"material":152,"size":1213,"collection":64,"collections":1214,"showCount":1215,"zanCount":43,"manualWeight":43,"mainColor":69},220059,"hu-qiu-shi-er-jing-tu-ce-8-shen-zhou-220059","虎丘十二景图册-8","美国克利夫兰美术馆","图册画吴中地区之虎丘山、玄墓山、虎山桥、南峰、横塘、光福山、天池山、贺九岭、上方山、觉海寺、姑苏台、莲花峰等十二处胜景。",[23,25,55,58,57,56,211,1211,7,82,916,101,59],"塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0478c2e27a123b03cd04587242f18298.jpg","31.1×40.2cmx12",[],127,{"id":1217,"slug":1218,"title":1219,"dynasty":95,"author":381,"museum":51,"description":1220,"tags":1221,"thumbUrl":1222,"material":37,"size":1223,"collection":107,"collections":1224,"showC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101.4",[107],123,{"id":1227,"slug":1228,"title":1229,"dynasty":95,"author":1230,"museum":76,"description":1231,"tags":1232,"thumbUrl":1234,"material":37,"size":1235,"collection":107,"collections":1236,"showCount":1237,"zanCount":11,"manualWeight":43,"mainColor":44},220356,"feng-yu-gui-mu-tu-li-di-220356","风雨归牧图","李迪","绘两牧童沿柳岸归牧，风雨大作，柳枝、丛芦在风雨中摇荡。牧童策牛逆风徐行，一牧童披蓑衣俯身紧拉住斗笠，另一牧童的斗笠被风吹落。画家善于从江南乡村常见的景象中挖掘出美感，非常富有生活气息。全图用笔工细严谨，牧童的神情、水牛的憨态也都描绘得很真切。",[23,25,27,28,56,100,635,101,7,359,1233],"风雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdacf6fa6d8af2dba4881d869e5c6742d.jpg","纵120.7cm，横102.8cm",[107],122,{"id":1239,"slug":1240,"title":1241,"dynasty":18,"author":327,"museum":355,"description":1242,"tags":1243,"thumbUrl":1245,"material":447,"size":1246,"collection":65,"collections":1247,"showCount":1248,"zanCount":43,"manualWeight":43,"mainColor":69},234296,"yuan-ji-shan-shui-tu-ce-shi-tao-234296","原济山水图册","原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,25,54,57,28,55,56,58,7,101,242,61,1244,196],"近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff66ce93c8dd6e2917b723381f2a32347.jpg","纵33.2cm，横22.8cm",[65,140],121,{"id":1250,"slug":1251,"title":1252,"dynasty":95,"author":806,"museum":355,"description":1253,"tags":1254,"thumbUrl":1255,"material":152,"size":1256,"collection":64,"collections":1257,"showCount":1248,"zanCount":11,"manualWeight":43,"mainColor":44},233211,"lin-liu-fu-qin-tu-ye-xia-gui-233211","临流抚琴图页","宋代郭熙《林泉高致》云：“山以水为血脉”、“山得水一活”，水是山的眼睛，关乎画面的神采，最难画活。宋代的山水画中多以密致的线条勾出水纹，如现存李唐的《江山小景图》、马远的《水图》等都是以工致的笔法画出水纹。在这幅画中，溪水则以简练的线条勾勒，部分留白，盘曲掩映，时隐时现，难觅其踪，表现出流水的清澈和流动感。夏圭是善于在绘画中“用虚”的大师，在这幅画中，他利用了留自来表现江山湖泊的辽阔深远，虽未着一笔，却能“无画处皆成妙境”，给人无限遐想的空间。画中的人物也很有特点，没有过多地描绘细节，而是注重表现身体的动势，笔简而神全。抚琴者似在弹奏，让人不禁联想到琴声的悠扬。\n作为一个欣赏者，我们可能更多地关注的是画面的内容和技法的运用，往往忽视了绘画材料本身。古人云：“皮之不存，毛将焉附?”画面的效果和气氛的营造，一方面取决于画家的精神境界和绘画技巧，另一方面取决于绘画的材料即媒材。唐、宋时期绘画尚用绢，至明末，画家皆用熟纸。夏圭此画作于熟绢之上，绢本细腻的质地适于表现笔墨的流利劲健，他充分利用了绢的特性，笔势纵横生动。\n元代庄肃的《画继补遗》中评价夏圭：“画山水人物极俗恶。宋末世道凋丧，人心迁革，圭遂滥得时名，其实无可取，仅可知时代姓名而已。”此论可谓偏颇至极。夏圭的山水画，用笔外露，非是缺点，而是其特点。夏文彦《图绘宝鉴》称赞夏圭说：“院人中画山水，自李唐以下，无出其右者也。”宋代绘画是中国传统绘画的精华，它来源于画家“外师造化，中得心源”，并非是抛弃自然的笔墨游戏。如宋代郭熙的《林泉高致》中提到画家对待绘画用“敬”的态度“凡一景之画，不以大小多少，必须注精以一之”、“必神与俱成之”、“必严重以肃之”、“必恪勤以周之”，不可“以轻心挑之”、“以慢心忽之”。夏圭正是以这种敬业的精神以及“心源”颖悟，在方寸之内，写出如此之大气象、大境界。\n宋、元以后文人画开始居于画坛的主流地位，夏圭的山水画不断遭到文人画家不公正的指责和排挤，虽偶有师法者，但已是落日余晖，失去了往日的辉煌。然而被文人画家“嗤之以鼻”的夏圭的山水画却跨越了国界，深深地影响了日本的绘画，出现了周文、雪舟等一批绘画大家，纷纷模仿夏圭的山水画。\n《临流抚琴图》是画家夏圭创作的一幅作品，该图是国家一级文物，图中绘一高士临流而坐，气象萧疏，意境深远。\n墨笔急扫之后，迅速以水笔接染，笔墨衔接自然，一气呵成。由于墨与水的使用恰到好处，使得整幅画面颜色透亮，一股清新之气扑面而来。画树木，得其形而又取其势，意笔写出枝干，偃仰屈曲，苍健老硬，有蛟龙惊虬之势；树叶点染而成，疏密有致，虚实相生，浓淡相宜，看似不经意，实则惨淡经营。茅屋隐现于树后，以墨笔勾出轮廓，再施以规则的点皴，极具装饰意味。画水有独特之处。",[25,24,54,976,55,56,58,101,82,7,59,691],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10b6e2189c33e42f16457ba45586676b.jpg","25.5X26厘米",[],{"id":1259,"slug":1260,"title":518,"dynasty":74,"author":468,"museum":76,"description":1261,"tags":1262,"thumbUrl":1263,"material":216,"size":64,"collection":65,"collections":1264,"showCount":1248,"zanCount":43,"manualWeight":43,"mainColor":44},220919,"shan-shui-li-zhou-dong-qi-chang-220919","董其昌虽以古人为师，不过反对单纯机械地模拟蹈袭。因为随着阅历的增加与思想的成熟，的临摹是有选择地取舍，融入自己的创意。董认为如果离开了自己的创意，古人的精神也难以表达，因此应以自己独创的形式再现古人的“风神”。董其昌的临古可谓开一代先河。影响了后来许多的画家",[23,25,54,79,55,56,58,80,164,7,213,308,118,732],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc897e2980b28ca1fb5a57c61fadbb250.jpg",[65,88],{"id":1266,"slug":1267,"title":1268,"dynasty":95,"author":1269,"museum":1270,"description":1271,"tags":1272,"thumbUrl":1273,"material":37,"size":1274,"collection":65,"collections":1275,"showCount":1248,"zanCount":43,"manualWeight":43,"mainColor":44},220123,"han-shan-xue-ji-tu-guo-xi-220123","寒山雪霁图","郭熙","圣路易斯艺术博物馆","郭熙(1023年--约1085年)，字淳夫、河阳(今河南温县)人，北宋绘画大师。宋神宗熙宁元年(1068年)奉诏入图画院，初为“艺学”，后任翰林待诏直长。宋神宗赵顼深爱其画，曾“一殿专皆熙作”。王安石变法时新立中书、门下两省和枢密院、玉堂等墙上壁画。皆为其所作。郭熙擅画山水，无师承，早年风格较工巧，后取法李成，画艺大进，到晚年落笔益壮，能自放胸臆 ，炉火纯青。其画论有《林泉高致》，提出高远、深远、平远“三远法”。画山石多用“卷云”或“鬼脸”皴；画树枝如蟹爪下垂，笔势雄健，水墨明洁。传世作品有《早春图》(台北故宫博物院藏)、 《窠石平远图》 (北京故宫博物院藏)，以及《树色干远图》《早春图》《关山春雪图》《山林图》《秋山行旅图》《幽谷图》等。",[23,25,24,79,56,55,28,58,80,344,243,990,358,101,510,30,7,916,81,1111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c60aecd1eeb13e336efcac40bcc130b.jpg","147.6x78.1",[65],{"id":1277,"slug":1278,"title":1279,"dynasty":18,"author":1280,"museum":20,"description":1281,"tags":1282,"thumbUrl":1284,"material":64,"size":64,"collection":122,"collections":1285,"showCount":1286,"zanCount":536,"manualWeight":43,"mainColor":69},234263,"ren-wu-gu-shi-ce-fan-xue-yi-234263","人物故事册","范雪仪","范雪仪〔清〕女，本姓淑，嫁范氏为妻，江苏苏州人，生卒年不详。\n康熙(1662-1722)间吴郡(今苏州)妇女善书画者甚多，范雪仪与傅德容两人才能最为突出，两人均擅人物画，范尤在傅上，为吴门女画家之翘首，所画内容多历史故事、神话传奇。所作用笔工细，线条流畅，神态生动，设色艳丽。传世作品有《张敞画眉图》《寿阳梅花妆图》《班昭续汉书图》《苏蕙织锦回文图》《木兰从军图》《公孙大娘舞剑器图》《白傅姬人试舞图》《秦女吹箫图》《裴航兰桥遇仙图》《交甫解佩图》及《月宫折桂图》扇、《采药图》扇，藏故宫博物院。",[23,27,28,915,101,135,211,7,637,868,273,1283],"台阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d3ccc5f64642ebe7afbee730b09f5c1.jpg",[122,140],119,{"id":1288,"slug":1289,"title":1290,"dynasty":74,"author":1291,"museum":76,"description":1292,"tags":1293,"thumbUrl":1298,"material":37,"size":1299,"collection":140,"collections":1300,"showCount":1286,"zanCount":43,"manualWeight":43,"mainColor":44},219456,"jiu-an-da-ji-tu-lu-zhi-219456","久安大吉图","陆治","苍劲古木虬枝盘结，葫芦藤蔓攀援其上，累累硕果垂挂如盏，青绿叶片间点缀嫩黄，生机漫溢。枝头红羽轻栖，喙啄新晴，似与藤蔓私语。树下草间，数只鹌鹑闲步，羽纹细腻如织，憨态可掬。葫芦谐音福禄，藤蔓绵延喻长久；鹌鹑踱步藏“安”意，红鸟报喜兆吉昌。赭黄绢本为底，设色清雅却层次分明，古木苍朴与蔬果鲜活相映，禽鸟灵动与草石静谧相谐。将俗世祈愿化作笔底清欢，尽显文人画“托物言志”的雅趣，观之如沐春风，心随画境渐入平和吉庆之境。",[25,27,28,79,7,1294,731,1295,1296,1297],"葫芦","藤蔓","叶子","花鸟题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa955d93748bcf719728ffee49b118d33.jpg","189.4×81.4cm",[140],{"id":1302,"slug":1303,"title":1304,"dynasty":74,"author":75,"museum":355,"description":1014,"tags":1305,"thumbUrl":1306,"material":447,"size":1017,"collection":64,"collections":1307,"showCount":1308,"zanCount":203,"manualWeight":43,"mainColor":69},233834,"wo-you-tu-ce-qiu-bai-yun-shen-zhou-233834","卧游图册－秋白云",[25,55,58,57,56,80,715,7,164,59,196,54,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4868fee16962b07ce024455e75393200.jpg",[],118,{"id":1310,"slug":1311,"title":1312,"dynasty":74,"author":468,"museum":355,"description":1313,"tags":1314,"thumbUrl":1315,"material":63,"size":1316,"collection":65,"collections":1317,"showCount":1318,"zanCount":43,"manualWeight":43,"mainColor":69},220096,"fang-ju-ran-shan-shui-tu-dong-qi-chang-220096","仿巨然山水图","本幅近景画丘坡茅亭、高树疏林，中部为碧波平湖，远处绘峰峦苍莽、草木华滋。用笔松秀灵活，用墨清妍润泽，意境萧散飘逸。\u2028　　画中自题仿巨然，但仔细观之，该画除立意、布景略有巨然遗风外，更多地显现的是董其昌晚年秀逸潇洒的风格。",[23,25,58,55,56,531,194,195,196,80,7,285,1026,590,308,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67492efb0d8fa7648850e9c9e7471a69.jpg","纵101.7厘米，横46.7厘米",[65,88],115,{"id":1320,"slug":1321,"title":1322,"dynasty":74,"author":899,"museum":1323,"description":1324,"tags":1325,"thumbUrl":1326,"material":434,"size":1327,"collection":64,"collections":1328,"showCount":1329,"zanCount":11,"manualWeight":43,"mainColor":44},222394,"si-ji-hua-niao-tu-qiu-lv-ji-222394","四季花鸟图-秋","日本京都国立博物馆","吕纪（1429～1505），字廷振，号乐愚，鄞（今浙江宁波）人。明代画家。\n其花鸟初师边景昭，又学林良，并广泛师法唐宋诸家，所作有工笔重彩和水墨写意两种画法，前者描绘精工，色彩富丽，法度谨严；后者粗笔挥洒，随意点染，简练奔放，富有气势和动感。其山水宗法马远、夏圭，以大斧劈皴画山石，苍劲有力。人物亦法南宋院体，衣纹线条简练顿挫。初学边景昭工笔法，亦受林良水墨法影响，后临仿唐宋诸家名迹，遂自成一体，独步当代。其花鸟画风呈两种面貌，一作工笔重彩，精工富丽，多绘凤鹤、孔雀、鸳鸯之类，辅以树木坡石、滩渚流泉背景，既具法度，又富生气。另一类为水墨写意画，粗笔挥洒，简练奔放，接近林良的风格。他亦兼善人物、山水，宗法南宋马远、夏圭画法。他的花鸟画风在当时宫廷内外影响甚大，继承者不乏其人。\n明弘治年间，入值仁智殿，官至锦卫指挥使，是明代与边景昭、林良齐名的院体花鸟画代表画家。其绘画风格可分为两大类，一类是以水墨为主略淡彩，用笔较为豪纵，另一类则是设色浓丽，用和工致，具有富丽的宫廷装饰趣味。吕纪由水墨淡色画转为工笔重设色画，更直接的原因是为了适应不同皇帝的不同口味，具体说来就是弘治皇帝朱祐樘的欣赏口味不同于他的父辈成化皇帝朱见深，从而造成了吕纪多画凤凰、雉鸡、仙鹤、孔雀、鸳鸯之类，杂以花木草石，具有生气。工笔着色与水墨写意能，并善于将两体结合。吕纪初学唐宋各家和同时代的边景昭，后形成自己的风格。他的花鸟设色鲜艳，生气奕奕，被称为明代花鸟画第一家。据说吕纪在画作上常用寓意手法对皇帝劝谏，皇帝知其用心，曾说：“工执艺事以，谏吕纪有之。”其代表作品有《新春双雉图》《桂花山禽图》《残荷鹰鹭图》《秋鹭芙蓉图》《五德大吉图》 《狮头鹅图》等。\n吕纪，1477年生，鄞州（今浙江宁波）人。字廷振，号乐愚，弘治间（1488-1505）供事仁智殿，弘治间征入宫廷，为宫廷作画，供奉仁智殿，官锦衣卫指挥。擅画临古花鸟，初学边景昭，后研习唐宋诸家名作，继承两宋“院体”，以工笔重彩，又在水墨写意方面受林良影响。\n远宗南宋院体格，廷续了黄筌工整细致的画风及钩勒笔法，并予以发扬，多以凤凰、仙鹤、孔雀、鸳鸯之类鸣禽为题材，杂以浓郁花树，画面绚丽。亦作粗笔水墨写意者，笔势劲健奔放，与林良相近，与边景昭同为明代院体花鸟画中的临古派代表。传世作品有《桂菊山禽图》《榴花双莺图》《雪景翎毛图》《浴凫图》等。除画花鸟外，偶尔也画人物山水。他主要是以工整精丽的院体传统作画，造型准确，设色鲜艳。但也能画活泼生动兼工带写的花鸟画。他的画生动，笔墨清新，是当时与边景昭、林良齐名的花鸟名家。他作画时，常以寓意手法规谏皇帝，故明孝宗曾说：“工执艺事从谏，吕纪有之”。他是与边景昭、林良齐名的院体花鸟画代表作家。《狮头鹅图》，绢本，设色。纵191厘米，横104厘米。工笔画狮头鹅，侧身曲颈回顾古梅，鹅身洁白如玉，眼睛刻划有神，形象生动。古梅干枝苍劲，生机勃勃。树下衬以太湖石、月季花，石后有双勾竹隐露，色彩艳丽，衬托出狮头鹅之白身红冠。是明代院体花鸟画的杰作。款署“吕纪”。现藏辽宁省博物馆。\n《榴花双莺图》写石榴一枝，蘩花盛开，一对黄鹂栖于枝头，一上一下，鸣啼相应，神态活泼。工笔重彩，钩勒填色，绚丽多彩为明代中期院体画的典型风格。\n相比画家，吕纪的另一个身份更令人吃惊——历经明代成化、弘治、正德三代，官至锦衣卫指挥使(秘密警察头目)。吕纪的花鸟绘画，水墨淋漓，气势宏大，甚至是日本屏风画的来源之一。《柳荫双鸭图》和《幽涧双鹭图》曾在日本出版的《听松清鉴》中著录，郑振铎在上世纪四十年代遍访流传在海外的中国名画，并在其所编的《域外所藏中国名画》中收录。吕纪的两幅作品不仅是明代全景花鸟画的杰作，也是中国绘画影响日本绘画的证据代表作。",[23,25,27,28,35,7,103,60,29,271,902],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1873779d421c2c6c0dad9edf14f98573.jpg","176.0×100.8",[],114,{"id":1331,"slug":1332,"title":1333,"dynasty":74,"author":317,"museum":76,"description":1334,"tags":1335,"thumbUrl":1339,"material":37,"size":1340,"collection":122,"collections":1341,"showCount":1342,"zanCount":43,"manualWeight":43,"mainColor":44},218437,"shi-jia-mu-ni-fu-yi-ming-218437","释迦牟尼佛","该图像描绘了佛祖坐在三个小孩子的身体上，这种仪式很少见。台北故宫的这幅画是由一位不知名的明代艺术家所作，但与宋旭的佛像画有一定的联系，面板上也有他的印记和印章，所以可以说是他的作品。",[25,28,27,1096,79,101,1336,1337,7,1338],"佛","小鬼","衣纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7058a98101b5e16f2e6e599d46b8955b.jpg","135.7x76.8",[122],112,{"id":1344,"slug":1345,"title":1346,"dynasty":49,"author":1347,"museum":355,"description":1348,"tags":1349,"thumbUrl":1355,"material":717,"size":1356,"collection":65,"collections":1357,"showCount":1358,"zanCount":203,"manualWeight":43,"mainColor":69},221721,"wu-jia-he-hui-juan-zhao-yong-wang-mian-zhu-de-run-zhang-guan-fang-cong-yi-221721","五家合绘卷","赵雍 王冕 朱德润 张观 方从义","《元五家合绘》卷，元，赵雍、王冕、朱德润、张观、方从义作。\n此卷包括元代5位画家的5件绘画作品，作品尺幅相近，后人将其合裱为一卷。\n其一《松溪钓艇图》，元，赵雍作，纸本，墨笔，纵30厘米，横52.8厘米。\n款署：“至正二十年二月既望仲穆画。”钤“仲穆”、“魏国世家”。另有清乾隆皇帝御题诗及鉴藏印。至正二十年为1360年，赵雍时年72岁。图绘近岸坡石双松，孤舟钓叟，隔水平峦远岫，意境清幽，笔墨苍润。\n（二）《墨梅图》，元，王冕作，纸本，墨笔，纵31.9厘米，横50.9厘米。\n自题：“吾家洗研池头树，个个花开淡墨痕。不要人夸好颜色，只流清气满乾坤。王冕元章为良佐作。”钤“元章”、“文王子孙”。另有清乾隆皇帝御题诗及鉴藏印。画面中一枝梅花横出，枝干秀挺，花朵疏朗。以淡墨点染花瓣，再以浓墨勾点萼蕊，墨色清润，高情逸趣溢于笔端，表达了作者藉墨梅标榜清高孤洁的思想情感。\n曾经清人梁清标和清内府收藏，《石渠宝笈·续编》著录。\n（三）《松溪放艇图》，元，朱德润作，纸本，墨笔，纵31.5厘米，横52.6厘米。\n自题：“丑石半蹲山下虎，长松倒卧水中龙。试君眼力知多少，数到云峰第几重。朱泽民。”钤“朱泽民氏”。另有清乾隆皇帝御题诗及鉴藏印。\n图绘巨石怪松，孤舟徐行。画松枝用笔爽利迅捷，坡石皴法温润，人物用白描法，笔简意浓。\n曾经明沈周、清安岐收藏。\n（四）《疏林茅屋图》，元，张观作，纸本，墨笔，纵25.8厘米，横59.6厘米。\n款署：“至正戊戌八月，张观制。”另有清乾隆皇帝御题诗及安岐鉴藏印。至正戊戌为元至正十八年（1358年）。\n图画平坡老树，茅舍掩映，水阔山远，清雅控幽。树木勾点结合，错落有致，坡石用墨湿润，画风承北宋李成、郭熙一脉。\n（五）《山水图》，元，方从义作，纸本，墨笔，纵26.5厘米，横45.3厘米。\n款署：“方方壶作。” 另有清乾隆皇帝御题诗及明项元汴等多家鉴藏印。\n图画密林茅舍，小桥流水。画面景物丰满，墨色浓淡相间，笔法灵活潇洒。",[23,25,54,26,55,56,196,58,7,197,358,730,59,60,1350,101,1351,732,1026,962,961,285,243,1352,1353,1354,589,979],"渔船","远岫","岸滩","船只","山间","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ad6676a3f8f4d776bd2cf92396b87c9.jpg","纵30cm，横52.8cm",[65,88],111,{"id":1360,"slug":1361,"title":1033,"dynasty":95,"author":1362,"museum":1363,"description":1364,"tags":1365,"thumbUrl":1366,"material":63,"size":1367,"collection":65,"collections":1368,"showCount":1358,"zanCount":11,"manualWeight":43,"mainColor":69},218637,"yun-shan-tu-mi-you-ren-218637","米友仁","费城艺术博物馆","画面上群山耸立，半山腰上云雾缭绕，山脚下隐约可见一排排房屋、一座座小桥和船只，泥泞的平原上有几棵水墨画般的树木，树干细长，枝叶茂密。",[23,25,54,55,56,195,58,715,80,7,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F370b493c400d975bccc00e55e62a050b.jpg","27.8x23.5",[65],{"id":1370,"slug":1371,"title":1372,"dynasty":18,"author":19,"museum":132,"description":1373,"tags":1374,"thumbUrl":1376,"material":37,"size":1377,"collection":39,"collections":1378,"showCount":1379,"zanCount":536,"manualWeight":43,"mainColor":44},219043,"que-tu-tu-shen-quan-219043","鹊兔图","画面上是初春的小河，凉风习习，梅花和茶花盛开，三只野兔和三只鸟已经感受到春天的气息，出来觅食和活动。这幅画的风格与沈铨的风格不同，尤其是画的野草和流水，与沈铨的美术风格不一致，这幅画不是沈铨的作品。",[23,25,28,27,35,635,1375,29,730,7,961],"兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c22d6c57cb0a16f7d500ffac33a3533.jpg","纵140横63.8厘米",[39],110,{"id":1381,"slug":1382,"title":48,"dynasty":74,"author":468,"museum":355,"description":1383,"tags":1384,"thumbUrl":1385,"material":152,"size":1386,"collection":65,"collections":1387,"showCount":1388,"zanCount":11,"manualWeight":43,"mainColor":69},220918,"shan-shui-ce-dong-qi-chang-220918","《仿古山水图》册，明，董其昌绘，8开，纸本，墨笔6开，设色2开，每开纵42cm，横29.6cm，北京故宫博物院藏。\n\n此册画于“戊午”（明万历四十六年，1618年），董其昌时年64岁。墨笔六开，构图缜密，笔笔精到；设色二开，格调高远，艳而不俗，皆极经意之品。从鉴藏印可知，此册为董氏传与其子董祖源珍藏，又经王时敏赏鉴，故应是真笔无疑，可作鉴定之样本。",[23,25,55,56,57,194,195,196,58,80,164,7,30,83,242,715,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3477349258756401379299bbf5a6cf8a.jpg","纵26.4cm，横16cm",[65,88],108,{"id":1390,"slug":1391,"title":1392,"dynasty":771,"author":1393,"museum":20,"description":1394,"tags":1395,"thumbUrl":1396,"material":216,"size":1397,"collection":64,"collections":1398,"showCount":1399,"zanCount":11,"manualWeight":43,"mainColor":349},232270,"luo-han-tu-zhou-wu-dao-zi-232270","罗汉图轴","吴道子","吴道子又名道玄，被后人称为“画圣”，开元年间以善画被召入宫廷，擅佛道、神鬼、人物、山水、鸟兽、草木、楼阁等，尤精于佛道、人物，长于壁画创作。存世作品有《送子天王图》，《八十七神仙卷》，《罗汉图立轴》等。",[23,24,25,54,79,1096,101,1004,28,7,308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce47e1d86e72735b929b272c4c741b4c.jpg","148.4x76.6厘米",[],107,{"id":1401,"slug":1402,"title":1403,"dynasty":95,"author":1404,"museum":20,"description":1405,"tags":1406,"thumbUrl":1409,"material":64,"size":64,"collection":64,"collections":1410,"showCount":1411,"zanCount":110,"manualWeight":43,"mainColor":44},227801,"gong-nv-tu-liu-song-nian-227801","宫女图","刘松年","桐荫覆满深院，围栏外花木萦回，三位宫女消磨着悠长白日。红衣女子斜身倚过小杌，抬手遥遥指向前方，似唤榻上友人共赏景致，罗裙纹饰随抬手动作柔婉舒展。榻上宫女支颐托腮，目光追着前者指尖，眉眼浸着慵懒娇柔。立在侧旁的侍女垂眸静立，敛着恭谨自持。\n\n全幅设色古雅妍丽，衣物质感纤毫毕现，花木围栏皆以细笔晕染，棕褐绢底衬得满幅宁和。画中无宫闱沉郁，只将深宫日常里松弛闲散的片刻定格，把少女间的娇憨意趣藏在细腻笔触中，晕开宋时独有的雅致闲淡。",[23,25,24,54,976,27,28,101,135,7,331,1407,1408,690],"凳子","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febc5296a5a36c0ab6eb8605bdcbdefd0.jpg",[],105,{"id":1413,"slug":1414,"title":1415,"dynasty":18,"author":1416,"museum":850,"description":1417,"tags":1418,"thumbUrl":1421,"material":1422,"size":1423,"collection":65,"collections":1424,"showCount":1411,"zanCount":43,"manualWeight":43,"mainColor":69},220969,"lin-wen-zheng-ming-ce-yun-shou-ping-220969","临文徵明册","恽寿平","文征明的书画造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗白居易、苏轼，文受业于吴宽，学书于李应祯，学画于沈周。其与沈周共创“吴派”。在画史上与沈周、唐伯虎、仇英合称“明四家”（“吴门四家”）。在诗文上，与祝允明、唐寅、徐祯卿 并称“吴中四才子”。",[23,25,24,54,1419,28,195,194,531,7,1296,1420,196],"册页","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1f9a9d7eae5ddf59a5433237393b6bf.jpg","纸本 册","20.6 x 30.5 cm",[65,140],{"id":1426,"slug":1427,"title":1055,"dynasty":95,"author":317,"museum":20,"description":1428,"tags":1429,"thumbUrl":1433,"material":37,"size":1434,"collection":140,"collections":1435,"showCount":1411,"zanCount":536,"manualWeight":43,"mainColor":44},219054,"ying-xi-tu-yi-ming-219054","苍树虬枝荫蔽下，一架斜搭的棚架成了稚子的欢闹场。红衣孩童伏在架面，似要顺着木纹滑下，姿态憨拙可爱；旁侧小儿伸手引伴，另一个正手脚并用地向上攀爬，顶端的孩子扬臂欢笑，满是得意。笔墨细腻处，衣纹的褶皱、孩童的发髻皆清晰可见，质朴的色调晕染出温润的氛围。画面无繁复修饰，却将童年的天真烂漫描摹得淋漓尽致，仿佛能听见稚子的嬉笑声穿透时光，让观者也不禁被这份纯粹的欢愉所感染，沉醉在那片无忧的童趣里。",[24,25,54,27,28,101,1430,7,1431,1432],"婴孩","围栏","婴戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cdaf16c7bbadec7066e3e97e58d9b97.jpg","22.3x20.7",[140],{"id":1437,"slug":1438,"title":1439,"dynasty":95,"author":381,"museum":51,"description":1440,"tags":1441,"thumbUrl":1442,"material":37,"size":64,"collection":65,"collections":1443,"showCount":1411,"zanCount":11,"manualWeight":43,"mainColor":349},218584,"tao-hua-chun-shui-tu-ma-yuan-218584","桃花春水图","春波漾开绢本的暖褐底色，山影如黛晕染天边。几树桃枝轻绽，粉蕊隐在苍松与杂树间，似有若无的艳色，恰衬出春水的清寂。近坡散卧的石群、浅滩上的细浪，与远景淡墨勾勒的峰峦虚实相映，留白处尽是烟波浩渺的余韵。笔墨简劲，山石斧劈皴显刚健，松枝如屈铁见骨力，却在水纹轻描中柔化棱角，刚柔相济。整幅画如清绝小令，不肆铺张，却将春日温润与山水悠远藏进每一处笔墨转折，读来心尖漫过淡淡春愁与旷远，余味绵长。",[25,24,54,58,28,56,79,80,164,7,136,82,100,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3487685dfafca30f80a992cf8814f4dd.jpg",[65],{"id":1445,"slug":1446,"title":1447,"dynasty":49,"author":1448,"museum":542,"description":1449,"tags":1450,"thumbUrl":1452,"material":37,"size":1453,"collection":65,"collections":1454,"showCount":1455,"zanCount":536,"manualWeight":43,"mainColor":44},218229,"qing-shan-hong-xing-tu-ma-wan-218229","青山红杏图","马琬","青山红杏图是中国元朝时期著名的画家马琬的杰作之一。这幅图像是一幅山水画，描绘了一片山峰环绕的山谷，谷底有一条清澈的小溪流过。山峰上绿油油的树木点缀着几朵红色的杏花，与苍翠的山峰形成鲜明的对比。整幅画非常细腻，笔触流畅，给人以清新自然的感觉。\n\n马琬是元朝时期著名的画家，他的画风独特，善于描绘自然风光。他的作品中常常出现山水、花鸟、山峰和小溪的景象，并融入了自己的想象力和创造力。青山红杏图就是马琬这种画风的经典代表之一。",[25,24,54,445,28,58,56,80,7,1451,59],"杏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F210df1734801534a679e4b785cd61260.jpg","24.2x22.7cm",[65],104,{"id":1457,"slug":1458,"title":1459,"dynasty":1460,"author":1461,"museum":20,"description":1462,"tags":1463,"thumbUrl":1475,"material":1148,"size":1149,"collection":1476,"collections":1477,"showCount":1478,"zanCount":43,"manualWeight":43,"mainColor":69},225894,"antibes-seen-from-the-salis-garden-1888-mo-nai-225894","Antibes seen from the Salis Garden, 1888","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。",[1464,1465,1466,1467,1468,7,1469,1470,1471,1472,59,60,680,979,1473,1474],"油画","印象派","点彩","光影捕捉","色彩交融","湖水","城镇","天空","花园","远景","春天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66591dc12d3fde82a8664f11526e454f.jpg","油画精选",[1476],102,{"id":1480,"slug":1481,"title":1482,"dynasty":95,"author":1404,"museum":76,"description":1483,"tags":1484,"thumbUrl":1486,"material":152,"size":1487,"collection":64,"collections":1488,"showCount":1489,"zanCount":11,"manualWeight":43,"mainColor":44},231401,"xi-yuan-ya-ji-tu-liu-song-nian-231401","西园雅集图","宋刘松年西园雅集卷绘宋代雅士高僧苏轼、黄庭坚、米芾、圆通大师等盛会于王诜西园。十六人分四组：王诜、蔡肇和李之仪围观苏轼写书法；秦观听陈景元弹阮；王钦臣观米芾题石；苏辙、黄庭坚、晁补之、张耒、郑靖老观李公麟画陶潜归去来图；刘泾与圆通大师谈无生论。西园雅集世传多个版本。\n西园为北宋驸马都尉王诜之第，当代文人墨客多雅集于此。元丰初，王诜曾邀同苏轼、苏辙、黄庭坚、米芾、蔡肇、李之仪、李公麟、晁补之、张耒、秦观、刘泾、陈景元、王钦臣、郑嘉会、圆通大师（日本渡宋僧大江定基）十六人游园。苏轼是宋代著名诗人、文学家、书画家。京中文人学士围绕在苏轼周围，拥戴他为文坛盟主。史称“西园雅集”，众人认为可与晋代王羲之“兰亭集会”相比。",[23,25,54,26,27,28,56,101,58,212,82,7,485,285,103,118,691,947,1485,961],"笔墨纸砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0ec0fd785b62b366399fa57e2029f4f.jpg","34×191cm",[],101,{"id":1491,"slug":1492,"title":1493,"dynasty":1000,"author":1494,"museum":20,"description":1495,"tags":1496,"thumbUrl":1499,"material":64,"size":64,"collection":64,"collections":1500,"showCount":1489,"zanCount":43,"manualWeight":43,"mainColor":69},227059,"chen-tian-mu-yun-hai-tu-gu-ye-wang-227059","陈天目云海图","顾野王","顾野王(519-581年)，原名顾体伦，字希冯， 南朝梁陈间官员、文字训诂学家、史学家。\n\n因仰慕西汉冯野王，更名为顾野王，希望自己取得冯野王一样在文学方面取得成绩。人称顾亭林。历梁武帝大同四年太学博士、陈国子博士、黄门侍郎、光禄大夫，博通经史，擅长丹青，著有《玉篇》",[25,54,484,28,56,80,1497,7,308,1498,471],"云海","远峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe5ccca982ec419a5b2128d3f72740fd.jpg",[],{"id":1502,"slug":1503,"title":1504,"dynasty":95,"author":381,"museum":850,"description":1505,"tags":1506,"thumbUrl":1507,"material":434,"size":1508,"collection":107,"collections":1509,"showCount":1510,"zanCount":11,"manualWeight":43,"mainColor":69},221537,"guan-pu-tu-ma-yuan-221537","观瀑图","在中国历代传统绘画作品中，有相当数量的佳作，在画面风格和审美意趣上都具有某种明确的思想倾向，而这种倾向又多集中体现在对儒、道、释文化的承载上，比如宋代山水画的绘画形式和意境传达，除了受宋代理学的影响外，又常和老庄思想及佛教文化中的出世情怀相关联，但与一般意义的宗教绘画教化功用又有所不同，该绘画作品往往会透露出作者内心的情感思绪，特别是对出世情怀的向往，从而使画面呈现出独特的风格特点和意境营造，这类作品在以后的历史阶段着实影响了不少画家，南宋的马远就是这样一个例子。",[23,25,54,976,58,55,56,81,7,59,101,82,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fef887806591c0a160593aa1c4c9e00.jpg","30×30cm",[107,65,140],100,{"id":1512,"slug":1513,"title":1514,"dynasty":95,"author":1515,"museum":76,"description":1516,"tags":1517,"thumbUrl":1520,"material":37,"size":1521,"collection":107,"collections":1522,"showCount":1510,"zanCount":43,"manualWeight":43,"mainColor":44},218946,"liu-ting-xing-lv-tu-zhao-ling-rang-218946","柳亭行旅图","赵令穰","虽然不像立轴和长卷那样令人印象深刻，但宋代的山水画往往相当宁静，充满异国情调，具有诗意。在当时的小景构图中，以平坦清晰的山水为多见，坡堤沙岛，遥对远山，烟波浩渺，仿佛自然界真有这样的风景，又仿佛处于一种诗意的境界，引人深思回味无穷。赵令郎是宋代宗室的儿子，在绘画史上以小品山水闻名。",[23,25,54,976,55,58,27,1518,1519,118,257,164,61,732,7,101],"淡设色","柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5910d4105b18023ce4324b9aa16013c.jpg","23.2x24.2",[107,65],{"id":1524,"slug":1525,"title":1526,"dynasty":74,"author":468,"museum":355,"description":1527,"tags":1528,"thumbUrl":1529,"material":717,"size":1530,"collection":65,"collections":1531,"showCount":1532,"zanCount":11,"manualWeight":43,"mainColor":69},220908,"mo-juan-chuan-yi-tu-dong-qi-chang-220908","《墨卷传衣图》","《董其昌墨卷传衣图轴》是明代画家董其昌创作的一幅水墨画。\n本幅自识：“己丑南宫墨卷五策，为好事者所藏，得岸上人袖以示予。\n风檐仓卒，书道殊劣，何烦碧纱笼袭之三十五年也。",[23,25,55,79,56,58,7,242,30,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a079cbefa1eeb6917c512cd94e24bd.jpg","纵101.5厘米，横46.3厘米",[65,140],99,{"id":1534,"slug":1535,"title":1536,"dynasty":74,"author":225,"museum":355,"description":1537,"tags":1538,"thumbUrl":1540,"material":788,"size":1541,"collection":64,"collections":1542,"showCount":1543,"zanCount":203,"manualWeight":43,"mainColor":44},233748,"yu-dong-xian-yuan-tu-zhou-chou-ying-233748","玉洞仙源图轴","画面奇峰峻岭，苍松翠柏，琼楼水阁，溶洞流溪，云烟缥缈其间，山壑或隐或现。溪水潺湲的溶洞前，一隐士临流盘膝，停琴静坐，侍童们忙着煮茶、端盘、陈设古玩，俨然人间仙境。这类隐逸题材作品十分多见，而仇英在幽美宁静的意境中表现了一种明快的情调，健康的意趣，在同类作品中颇具特色。\n作品取景宏阔，结构严整，层次清晰，布局有序，景物繁杂而不拥塞，人物虽小但刻画精细，位置突出，反映出画家在驾驭复杂场景、安排主从次序方面精深的造诣。此图用大青绿设色，细劲的线条勾勒轮廓，浓艳的石青石绿渲染山石，同时融以细密的皴法，追求色调的和谐，在宗法南宋青绿山水大家赵伯驹的基础上有所变化，代表了仇英青绿山水的典型画风。",[25,54,79,28,27,445,58,101,211,212,82,285,1539,459,59,118,680,715,472,30,7],"山洞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F705c7a9ce596ceca751a614dbc006b66.jpg","纵169厘米，横65.5厘米",[],98,{"id":1545,"slug":1546,"title":1547,"dynasty":74,"author":1548,"museum":76,"description":1549,"tags":1550,"thumbUrl":1551,"material":275,"size":1552,"collection":65,"collections":1553,"showCount":1543,"zanCount":43,"manualWeight":43,"mainColor":69},218371,"wu-yue-jiang-shen-tu-wen-bo-ren-218371","五月江深图","文伯仁","画面以对角线构图，一边布置葱郁的山林，一边则为浩瀚的江天；山林中隐蔽数间屋舍，有一人独倚栏杆远眺江景，传达出僻地幽居的情景。",[25,79,28,56,196,58,80,164,7,308,81,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c0b946e829e4768e353c4fcb8e2f88a.jpg","110.3x45.3cm",[65],{"id":1555,"slug":1556,"title":1557,"dynasty":95,"author":1558,"museum":191,"description":1559,"tags":1560,"thumbUrl":1562,"material":1563,"size":1564,"collection":64,"collections":1565,"showCount":1566,"zanCount":536,"manualWeight":43,"mainColor":69},221396,"bai-lian-she-tu-quan-juan-zhang-ji-221396","白莲社图全卷","张激","该画运用连环画的形式，描绘了东晋元兴年间，高僧惠远在庐山东林寺同18位贤士建白莲社专修净土法门，并与陆修静、陶渊明、谢灵运相善故事。\n全卷主要描绘了经筵会讲、金像赞佛、笺经校义三个情节，全图共分八段，绘高僧名士19人，僮仆12，采用的是李公麟开创的白描手法，树和山石的线条极富质感，枝叶多用尖笔鹰爪法，苍劲挺秀。人物淡墨须眉，浓墨点睛，神采毕现。图中还画了虎、豹、驯鹿等动物，并表现了驯服怡悦的神态，突出了高僧文士们的神秘生活状态，画作整体表现出清淡、高洁、幽雅的风格。",[23,25,26,1004,55,1096,101,58,7,30,82,118,1561,196],"桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedeaf58a1fb7e1565730651e19bdb961.jpg","纸本水墨","纵34.9厘米，横848.8厘米",[],97,{"id":1568,"slug":1569,"title":1570,"dynasty":49,"author":253,"museum":355,"description":1571,"tags":1572,"thumbUrl":1574,"material":1575,"size":1576,"collection":65,"collections":1577,"showCount":1566,"zanCount":169,"manualWeight":43,"mainColor":44},220878,"shu-dao-nan-zhao-meng-fu-220878","蜀道难","此图描写了大自然动人心魄的奇险与壮伟，给人以回肠荡气之感。诸多的画面此隐彼现，无论是山之高，水之急，河山之改观，林木之荒寂，连峰绝壁之险，皆有逼人之势，其气象之宏伟，其境界之阔大，确非他人可及。再从总体来看，其变化极速，愈变愈奇，又往往出人意料，使人目不暇接。正如清代诗评家沈德潜所盛称：“笔势纵横，如虬飞蠖动，起雷霆于指顾之间。”",[23,25,28,58,101,510,7,59,459,418,680,1573,56],"红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54697ce08d4ec72533884797c61458dd.jpg","立轴，纸本设色","纵154.4厘米，纵56.6厘米",[65,140],{"id":1579,"slug":1580,"title":1581,"dynasty":74,"author":75,"museum":1208,"description":1209,"tags":1582,"thumbUrl":1583,"material":152,"size":1213,"collection":64,"collections":1584,"showCount":1566,"zanCount":43,"manualWeight":43,"mainColor":44},220061,"hu-qiu-shi-er-jing-tu-ce-6-shen-zhou-220061","虎丘十二景图册-6",[23,25,55,56,57,58,211,82,916,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72248fc90bb40e68bc86e816e76412c9.jpg",[],{"id":1586,"slug":1587,"title":1588,"dynasty":95,"author":381,"museum":51,"description":1589,"tags":1590,"thumbUrl":1591,"material":37,"size":64,"collection":65,"collections":1592,"showCount":1593,"zanCount":11,"manualWeight":43,"mainColor":44},217999,"xue-an-guan-tiao-tu-ma-yuan-217999","雪岸观眺图","马远是宋朝时期的一位著名画家，他的作品中有一幅名为“雪岸观眺图”的水墨画，被认为是宋朝画坛上的杰作之一。\n\n这幅画描绘了一段冬日的景象，画面中的山峦积雪，河水冰冻，极富冬日特色。在画中，可以看到许多游客在观眺这片壮丽的景色。画中还有许多树木，它们的枝条被白雪覆盖，显得格外的美丽。\n\n马远在这幅画中运用了许多水墨画的技巧，包括“写意”和“虚实”。“写意”指的是画家用自己的感受来描绘景象，而“虚实”则指画家在画面中运用虚实对比来表现深浅、空间感等效果。在“雪岸观眺图”中，马远巧妙地运用了这些技巧，使得画面充满了生动的气氛和浓郁的冬日气息。\n总的来说，“雪岸观眺图”是宋朝画坛上的一幅杰作，它不仅展现了宋朝时期画家对冬日景色的传统描绘方式，还体现了马远对水墨画艺术的精湛技艺",[23,24,25,54,79,28,27,56,58,118,7,344,101,308,732],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86c2a7d7b855598a8f3c175345fe606f.jpg",[65],96,{"id":1595,"slug":1596,"title":1597,"dynasty":95,"author":317,"museum":76,"description":1598,"tags":1599,"thumbUrl":1601,"material":37,"size":1602,"collection":39,"collections":1603,"showCount":1593,"zanCount":536,"manualWeight":43,"mainColor":44},216214,"xi-ma-tu-yi-ming-216214","洗马图","洗马图是宋朝时期的一幅著名图画，其作者不详。这幅图展示了一群人在洗马，图中人物栩栩如生，每个人都有自己独特的表情和动作。洗马图被认为是中国古代绘画史上的杰作，其精细的绘画技巧和生动的人物造型吸引了许多观众的眼球。\n\n洗马图是在宋朝时期创作的，当时中国的绘画艺术正处于高峰期。在宋朝时期，绘画艺术得到了极大的发展，许多著名的绘画家都涌现出来，创作出了许多传世的杰作。洗马图就是其中的一例，其精细的绘画技巧和生动的人物造型使其成为了中国古代绘画史上的杰作。\n\n目前，洗马图被认为是中国古代艺术宝藏之一，并被收藏在台北故宫博物院之中。许多人都向往能够看到这幅珍贵的图画，并为其中的细节所惊叹。洗马图是中国古代艺术的杰作，值得我们去探究和珍视。",[25,54,24,27,28,101,510,7,915,1600],"宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5b0938793c42dc54607d2778cc0ab9b.jpg","55x60.8cm",[39],{"id":1605,"slug":1606,"title":94,"dynasty":95,"author":317,"museum":1607,"description":1608,"tags":1609,"thumbUrl":1610,"material":37,"size":1611,"collection":107,"collections":1612,"showCount":1593,"zanCount":11,"manualWeight":43,"mainColor":44},215141,"mu-niu-tu-yi-ming-215141","日本大阪市立美术馆","柳树下母子牛与牧童幽然自得，老牛正舔小水牛，使人很自然想起舔犊情深的成语。一牧童依坐在柳树下打盹欲睡，远处池塘水波拂动，柳树及所有青草一齐飘拂一边，显然是春风和熙的春天情境。",[23,25,27,28,101,100,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb029c7a8756d57f421eeee8d256b9e45.jpg","24.7x25.6cm",[107,39],{"id":1614,"slug":1615,"title":1616,"dynasty":49,"author":1617,"museum":355,"description":1618,"tags":1619,"thumbUrl":1620,"material":63,"size":1621,"collection":65,"collections":1622,"showCount":1623,"zanCount":536,"manualWeight":43,"mainColor":69},218254,"ge-an-wang-shan-tu-zhao-zhong-218254","隔岸望山图","赵衷","此图为《张观等五家集绘卷》之一。近岸画坡石高树，参差错落，一人坐平坡上隔江遥望烟云笼罩的远山。坡前湖面宽阔浩渺，意境清幽。近树用笔精工细致，生动写实。对岸远山以简率的笔墨轻勾淡染，远树点笔为形，概括取象，给人以旷远迷离之感。人物形象虽小，造型却生动准确。全图用笔秀润，墨色淡雅。",[25,55,58,54,80,164,7,101,308,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1885be14f4847ee54f72c9a387e606e3.jpg","纵30厘米，横50.1厘米",[65],95,{"id":1625,"slug":1626,"title":1627,"dynasty":74,"author":1628,"museum":76,"description":1629,"tags":1630,"thumbUrl":1631,"material":37,"size":1632,"collection":65,"collections":1633,"showCount":1623,"zanCount":203,"manualWeight":43,"mainColor":44},217059,"xun-mei-tu-zhu-duan-217059","寻梅图","朱端","朱端，字克正，海盐人，出身渔樵，弘治末入宫，正德时期（1506－1521）直仁智殿，官「锦衣指挥」，曾获赐「钦赐一樵图书」，遂更号「一樵」。\n\n朱端的山水画取法郭熙（约1020-约1100）、马远。全幅采取半边的构图型式，以左方占据画面约二分之一高的双松为骨干，框出策杖撑伞的老翁和两位童子，他们正准备渡江至对岸的赏梅。冬天踏雪寻梅，一直被视为文人雅趣，从弘治时期（1488－1505）开始，这一类诗意图像逐渐增加，题材的转变似乎也反映了宫廷皇帝品味的变化。",[25,54,58,79,56,55,28,101,212,82,83,29,213,730,118,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674c65022384eae968e9c438b4fd0ecb.jpg","145x66cm",[65],{"id":1635,"slug":1636,"title":1637,"dynasty":18,"author":1638,"museum":20,"description":1639,"tags":1640,"thumbUrl":1643,"material":275,"size":64,"collection":122,"collections":1644,"showCount":1623,"zanCount":43,"manualWeight":43,"mainColor":69},215098,"tui-bei-tu-ce-8-jiao-bing-zhen-215098","推背图册-8","焦秉贞","焦秉贞是中国清朝时期著名的画家，他被认为是中国水墨画史上最伟大的画家之一。其中最著名的作品是他的推背图册，其中包含了十幅推背图。推背图是一种特殊的水墨画，它们通常是用单一的墨色在纸上描绘的，并且使用了特殊的技巧来创造出立体感。焦秉贞的推背图册在当时被认为是一件杰出的艺术品，并且至今仍然备受赞赏。",[23,25,54,57,28,27,101,1641,1642,7,1096,635,35],"猴","鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe4d07410d2bb7ccfcf7622ce2e9c2ff.jpg",[122],{"id":1646,"slug":1647,"title":48,"dynasty":18,"author":1648,"museum":1649,"description":1650,"tags":1651,"thumbUrl":1652,"material":152,"size":1653,"collection":64,"collections":1654,"showCount":1655,"zanCount":43,"manualWeight":43,"mainColor":69},231387,"shan-shui-ce-zhu-da-231387","朱耷","故宫出版社","朱耷，明太祖朱元璋第十七子朱权九世孙，本名朱统托，字雪箇，号八大山人、箇山 、人屋、道朗等，江西南昌人。其他别号，尚有箇山驴、驴屋、驴汉、人屋、刃庵、拾得、何园、洛园、黄竹园、书年、书疾、八还等，不一而足。其祖父朱多炡、父朱谋觐、叔父朱谋垔均能诗善画。\n朱耷八岁即能诗，十一岁能画山水，悬腕写米家小楷。明亡朱耷为僧为道，所作写意花鸟，形象夸张，笔墨凝練，风格雄奇；山水笔致简洁，静穆疏旷。 花甲始用八大山人署名，常四字连缀，仿佛哭之笑之，为清初四僧之一。",[25,54,57,55,58,83,241,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c452f4285c6312c00652736062c93d6.jpg","纵二六厘米，横四一厘米",[],94,{"id":1657,"slug":1658,"title":1659,"dynasty":74,"author":75,"museum":76,"description":1660,"tags":1661,"thumbUrl":1662,"material":64,"size":1663,"collection":64,"collections":1664,"showCount":1655,"zanCount":43,"manualWeight":43,"mainColor":44},222109,"fang-fan-kuan-shan-shui-shen-zhou-222109","仿范宽山水","沈周（1427-1509）明代杰出画家。字启南，号石田，又号白石翁、玉田生、有居竹居主人等。长洲（今江苏苏州）人。性情敦厚、博学多才，长于文学，亦工诗画，善画山水、花卉、鸟兽、虫鱼，皆极神妙。常草草点缀，即得意趣。亦常题诗词于画上，当时人称他为“二绝先生”。画宗黄大疾、吴镇，自成一家笔法。亦工墨笔花鸟，和他的学生文征明并称为“吴派”两大家。又与文征明、唐寅、仇英称“明四家”。他每画一画，落笔点苔，绝不苟且。他能从多方面摹习古人，又加自己的创造，更参以二米的笔趣，善用粗笔，圆润挺劲，厚重凝炼。出入于宋元名家，创作态度极为慎重。",[23,25,55,28,58,7,59,101,56,531],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a75f134440ced5f01d925c27d12f935.jpg","54.2x99.5厘米",[],{"id":1666,"slug":1667,"title":1668,"dynasty":95,"author":1669,"museum":20,"description":1670,"tags":1671,"thumbUrl":1672,"material":64,"size":64,"collection":122,"collections":1673,"showCount":1674,"zanCount":43,"manualWeight":43,"mainColor":349},228895,"bai-miao-fo-xiang-di-san-zun-zhe-li-gong-lin-228895","白描佛像第三尊者","李公麟","此作用笔兼具铁线之刚劲与游丝之柔韧，行云流水般勾勒出尊者清癯沧桑的风骨。眉峰微蹙垂目凝神，仿佛正于幽林静悟禅机，沉静淡然的禅意溢于眉眼之间。衣褶线条随体态利落转折，纱罗布料的垂坠轻薄之感呼之欲出，将静坐的松弛动态尽显。旁侧挺劲棕榈与层叠奇石，以淡墨轻擦晕染，寥寥数笔铺陈出空山幽寂的林下氛围。整幅以白描立骨，不施浓艳敷色，尽显素雅古拙的韵致，将禅家内敛沉静的气度融于笔墨，尽显清雅文人意趣。",[23,25,54,79,1004,1096,101,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b0cb0ff09215be2d518fb581eea61d.jpg",[122],92,{"id":1676,"slug":1677,"title":1678,"dynasty":49,"author":1679,"museum":355,"description":1680,"tags":1681,"thumbUrl":1682,"material":63,"size":1683,"collection":65,"collections":1684,"showCount":1674,"zanCount":203,"manualWeight":43,"mainColor":126},218304,"jiang-shan-xue-ji-tu-wu-jin-218304","江山雪霁图","吴瑾","寒江雪霁，天地归于素净。孤峰列峙，覆雪的岩壁透着冷峭；疏林枯木，枝桠苍劲如铁，似在寒风中守着一份清寂。江面上薄雾轻笼，一叶扁舟漾开微澜，舟中隐见人影，独对这空阔山水。笔墨淡润，山石以简皴晕染，留白处尽现雪的洁净；树木勾勒简练却含古意，每一笔都藏着文人的疏阔心境。整幅画无喧嚣，唯有静谧漫溢——雪落的轻响、江风的微痕，都凝在这方天地里，将冬日的清寒与悠远，酿成一杯可饮的孤寂，又透着几分超脱尘俗的淡然。",[25,24,54,55,56,484,80,344,7,358,702,308,497,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc709be6367a49457c47bb2faa4ff5bf3.jpg","30x58.3cm",[65],{"id":1686,"slug":1687,"title":1688,"dynasty":18,"author":1070,"museum":20,"description":1689,"tags":1690,"thumbUrl":1691,"material":64,"size":64,"collection":65,"collections":1692,"showCount":1693,"zanCount":43,"manualWeight":43,"mainColor":69},235778,"ming-xian-ji-jin-ce-fang-guan-tong-shan-shui-ye-wang-hui-235778","名贤集锦册-仿关仝山水页","此作用笔追摹北派山水意趣，危峰崚嶒拔地而起，以硬朗繁复的皴法刻画岩壁肌理，将山石的苍劲厚重尽数铺展。山间古木虬曲错落，枝叶攒簇尽显苍郁生机。山坳处山居隐现，为雄奇冷峭的山水晕开一缕悠然烟火气，留白的溪山道途让画面疏密有致，暗合虚实相生之理。\n\n画作师法关仝却自存灵秀，把北宗山水的雄浑刚劲与南宗笔墨的秀润雅致相融，笔力苍劲不失隽秀，整幅画面静穆悠远，尽显林泉高致的文人雅趣，是师古而化的精妙之作。",[25,55,56,531,57,58,80,7,242,308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a4175456b66ebb696d2bb21cd59305c.jpg",[65],91,{"id":1695,"slug":1696,"title":1697,"dynasty":74,"author":225,"museum":1323,"description":1698,"tags":1699,"thumbUrl":1701,"material":788,"size":1702,"collection":65,"collections":1703,"showCount":1693,"zanCount":43,"manualWeight":43,"mainColor":44},222207,"liu-yuan-ren-xing-shan-shui-tu-chou-ying-222207","柳园人形山水图","柳园里建筑整齐划一，假山和房屋非常考究，屋内三三两两侃侃而谈。运用点缀法，在灌木上点上白色，以示花开。仇英，明代画家，与唐寅、文征明、沈周并称“明四家”。",[23,25,27,28,915,58,211,101,197,7,680,1700],"园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00b13a4847e9f398ceeef59dd35da828.jpg","21.5*21cm",[65,140],{"id":1705,"slug":1706,"title":1707,"dynasty":771,"author":1708,"museum":355,"description":1709,"tags":1710,"thumbUrl":1711,"material":216,"size":1712,"collection":65,"collections":1713,"showCount":1693,"zanCount":43,"manualWeight":43,"mainColor":44},221092,"peng-lai-fei-xue-tu-ye-yang-sheng-221092","蓬莱飞雪图页","杨升","《杨升蓬莱飞雪图》是元代诗人柯九思创作的一首七言绝句。\n仙山一夕遍琼瑶，万木森森长玉苗。\n处处楼台相掩映，素娥白鹤正逍遥。\n柯九思： 元台州临海人，字敬仲，号丹丘生。\n依附怀王图帖睦尔(文宗)。\n文宗即位，授典瑞院都事，迁奎章阁鉴书博士。\n文宗死，流寓江南。\n博学能文，善楷书，工画墨竹，能以书法为之。\n又善鉴识鼎彝古器。",[23,25,54,57,28,27,58,211,212,7,344,101,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82511192a16c3e0b49ca5d24aa8f0676.jpg","75x68cm",[65,140],{"id":1715,"slug":1716,"title":1717,"dynasty":1718,"author":1719,"museum":1720,"description":1721,"tags":1722,"thumbUrl":1723,"material":64,"size":64,"collection":64,"collections":1724,"showCount":1693,"zanCount":43,"manualWeight":43,"mainColor":69},220530,"shuang-mao-xu-bei-hong-220530","双猫","民国","徐悲鸿","中央美术学院美术馆","幽蓝繁枝澹叶垂落，晕开清寂雅致的底色。两只狸奴静踞石上，一醒一眠相映成趣。左侧玄纹花猫抬眸平视，蓬松绒毛以淡墨晕染留白，将软绒质感描摹入微，神情警觉又暗含温驯灵动。右侧花斑小猫蜷身假寐，柔润笔触晕出慵懒憨态。\n\n下方顽石以泼墨写意而成，枯涩苍劲的笔墨衬出朴拙厚重，与猫的柔润形成鲜明刚柔对照。整幅画作融中西技法，以写实造型捕捉生灵鲜活意态，又以文人水墨营造幽澹氛围，将闲庭猫趣定格纸面，尽显悠然松弛的闲适意韵。",[23,24,25,54,79,55,28,421,178,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd12e40cf83c19d7df05c2ff1a576a69e.jpg",[],{"id":1726,"slug":1727,"title":1728,"dynasty":74,"author":1729,"museum":355,"description":1730,"tags":1731,"thumbUrl":1732,"material":63,"size":1733,"collection":65,"collections":1734,"showCount":1693,"zanCount":536,"manualWeight":43,"mainColor":69},220110,"mo-bi-shan-shui-tu-chen-chun-220110","墨笔山水图","陈淳","陈氏以写意花卉享誉画坛，与徐谓并称“青藤白阳”，传世山水作品并不多见，此作显示出他在山水画方面别有一番造诣。图中近景绘平坡古树，树下一人翘首远眺，远景高岩耸立，秀木成林，烟云缭绕，掩映着溪流的尽头。画家用笔写意韵味很浓，笔迹放纵老到，淋漓疏爽，细看似乎笔笔皆不经意，纵览全幅却是结构严密，墨色轻重有别，虚实得当。画面中清雅空幽、萧散闲逸的意境流露出来自文氏门下的师承传统。",[23,25,54,79,55,56,58,7,285,212,82,101,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae7c7f71b3d4294315661e3a9f670632.jpg","纵107.8厘米，横67.8厘米",[65,88],{"id":1736,"slug":1737,"title":1033,"dynasty":49,"author":1738,"museum":1363,"description":1739,"tags":1740,"thumbUrl":1742,"material":63,"size":1743,"collection":65,"collections":1744,"showCount":1693,"zanCount":11,"manualWeight":43,"mainColor":44},217908,"yun-shan-tu-gao-ke-gong-217908","高克恭","云山图是元朝时期画家高克恭的代表作之一。它是一幅山水画，以精细的笔墨和色彩表现出美丽的山水风光。画中的山川曲折，云雾缭绕，景色壮美。高克恭在画中运用了多种技法，包括透视法、深浅对比和色彩叠加，使得画面栩栩如生，充满了立体感。\n\n高克恭的云山图吸引了众多观众的目光，因为它不仅展现了美丽的山水风光，还展现了元朝时期画家对自然的深刻观察和对细节的精确捕捉。同时，云山图还蕴含着对中国传统文化的热爱和尊重。画中的山水景观被渲染得如此逼真，令人流连忘返。高克恭的云山图是中国传统山水画的精品，值得欣赏和珍藏。",[25,55,56,58,715,7,1741],"山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89c75652c5efc54f87590867c62f5b03.jpg","114x52cm",[65],{"id":1746,"slug":1747,"title":1748,"dynasty":95,"author":806,"museum":850,"description":1749,"tags":1750,"thumbUrl":1752,"material":1753,"size":1754,"collection":107,"collections":1755,"showCount":1756,"zanCount":43,"manualWeight":43,"mainColor":69},221664,"qing-jiang-gui-zhao-tu-juan-xia-gui-221664","晴江归棹图卷","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[23,25,54,26,55,56,58,358,1751,7,1741,459],"江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69a2f6dbc10edb0bfb220d50ae3f71d2.jpg","纸本 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，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n王翚在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[25,54,79,445,28,58,101,510,211,7,59,56,418,212,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccd3324ba8d0e045e5d6ab0a5260113f.jpg","152.4x78.7",[65],83,{"id":1844,"slug":1845,"title":1846,"dynasty":95,"author":381,"museum":51,"description":1847,"tags":1848,"thumbUrl":1849,"material":245,"size":64,"collection":39,"collections":1850,"showCount":1842,"zanCount":11,"manualWeight":43,"mainColor":349},218909,"song-xia-qun-lu-tu-ma-yuan-218909","松下群鹿图","松枝如铁线盘曲，苍劲中透着清逸，松针细密如织，筛下斑驳光影。鹿群或静立凝神，或缓步石间，与松涛山影相融成趣。远山以淡墨晕染，云雾似轻纱流转，留白处尽展天地空阔。笔墨简练却意境悠远，枯润相生的笔触里，藏着宋人对自然的敬畏与诗意栖居的向往。边角构图见乾坤，每一处细节都透着匠心，将山水的静谧与生灵的灵动悄然铺展，让观者在静谧中感受山林间的和谐共生，沉醉于宋画独有的雅致与哲思。",[23,25,197,58,80,164,7,55,421,79,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6bebd7f7819200a7a40265b7a859bb3.jpg",[39,65],{"id":1852,"slug":1853,"title":1854,"dynasty":18,"author":160,"museum":161,"description":162,"tags":1855,"thumbUrl":1856,"material":152,"size":166,"collection":64,"collections":1857,"showCount":1842,"zanCount":43,"manualWeight":43,"mainColor":44},214346,"san-jue-shan-shui-ce-17-hua-yan-214346","三绝山水册-17",[23,25,57,28,58,80,7,118,164,715],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c80597d2f71227e356f687abf8c999.jpg",[],{"id":1859,"slug":1860,"title":1861,"dynasty":771,"author":1862,"museum":20,"description":1863,"tags":1864,"thumbUrl":1865,"material":64,"size":64,"collection":64,"collections":1866,"showCount":1867,"zanCount":43,"manualWeight":43,"mainColor":44},227256,"xi-ma-tu-ye-li-yu-227256","戏马图页","李煜","李煜（937年5月5日－978年8月15日），又称李后主，为南唐的末代君主，徐州人。李煜原名从嘉，字重光，号锺山隐士、锺锋隠者、白莲居士、莲峰居士等。李煜在南唐灭亡后被北宋俘虏，但是却成为了中国历史上首屈一指的词人，获誉为“千古词帝”，作品千古流名。",[23,24,25,54,28,27,101,510,7,635],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0f5c0df0888c4e88dad6808987fed8e.jpg",[],82,{"id":1869,"slug":1870,"title":1229,"dynasty":95,"author":1230,"museum":76,"description":1871,"tags":1872,"thumbUrl":1873,"material":216,"size":1874,"collection":107,"collections":1875,"showCount":1867,"zanCount":43,"manualWeight":43,"mainColor":44},221597,"feng-yu-gui-mu-tu-li-di-221597","《风雨归牧图》描绘的是两个牧童赶牛归家的场景，整个画面勾点结合，浓淡相济，层次丰富，朦朦胧胧，带来了凤雨欲来，细雾先到的清润之感。\n这幅画表现的是风雨刚来的一刹那，柳梢被风吹得摇摆，两个骑牛的牧童，急忙地往家跑。一个匍匐在牛背，用手扯住牧笠，挡住急风骤雨；另一个帽子已被风吹落，在迷濛的空间，可以依稀看到倾斜的雨流。诗堂有题诗一首写道：“冒雨衔风两牧儿，笠蓑低绾绿杨枝，深宫玉食何从得，稼穑艰难岂不知。”署款“缉熙殿书”，钤“御前之印”一玺。",[23,24,25,54,27,28,100,635,7,102,1233],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F640cb098d037ce82eb11fa48ec2f370e.jpg","纵123.7厘米，横102.8厘米",[107,122,140],{"id":1877,"slug":1878,"title":1879,"dynasty":771,"author":1880,"museum":76,"description":1881,"tags":1882,"thumbUrl":1883,"material":1884,"size":1885,"collection":140,"collections":1886,"showCount":1867,"zanCount":11,"manualWeight":43,"mainColor":44},221076,"yuan-ma-tu-han-gan-221076","猿马图","韩干","此幅绘竹石树林，三猿戏于枝间石上，其下绘黑白双骏。画上宋徽宗题字和「御书」一玺，及理宗「缉熙殿宝」玺皆伪，当为后加。然画中不论猿、马、树石、枝叶，皆描绘细腻，或为南宋作品。",[23,24,25,54,79,1146,28,27,1641,510,7,308,485,635],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad40c5024213011775af0c15a6fe1dac.jpg","绢","136.8x48.4",[140,1887],"竹石精选",{"id":1889,"slug":1890,"title":1891,"dynasty":49,"author":354,"museum":51,"description":1892,"tags":1893,"thumbUrl":1894,"material":63,"size":1895,"collection":65,"collections":1896,"showCount":1867,"zanCount":536,"manualWeight":43,"mainColor":69},220090,"shan-chuang-ting-yu-tu-wu-zhen-220090","山窗听雨图","《山窗听雨图》卷末有吴镇年款和一首题诗，是其作于元顺帝至元四年(1338年)的夏天，当时吴镇59岁，根据存世作品，已知也是作于这一年五月的还有南京博物院收藏的《松泉图》以及美国大都会博物馆收藏的《高节凌云》。在吴镇的存世作品中，《山窗听雨图》应属于隐逸一类的题材。\n2016年12月6日晚上20：30，北京匡时秋拍“澄道——中国古代书画夜场”在北京国际饭店会议中心举槌，共推出29件拍品。其中，吴镇《山窗听雨图》以估价待询的形式上拍，起拍价为6000万元，最终以1.5亿元落槌，1.725亿元成交，同时刷新了吴镇作品的拍卖纪录。",[23,25,54,26,55,58,56,194,195,196,80,164,7,212,358,241,258,61,459,990],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc61a830e17247e97273543be5760f0e3.jpg","28x203厘米",[65],{"id":1898,"slug":1899,"title":1900,"dynasty":95,"author":1901,"museum":51,"description":1902,"tags":1903,"thumbUrl":1904,"material":37,"size":64,"collection":65,"collections":1905,"showCount":1906,"zanCount":11,"manualWeight":43,"mainColor":44},214826,"gui-zhuang-tu-li-xi-cheng-214826","归庄图","李希成","李希成（约1086年—约1158年）是一位著名的宋代画家。他的代表作之一是《归庄图》，这幅画描绘了一位老人归还到他的庄园。老人骑着马，身后是一排竹林，前面是一座庄园。整幅画给人以温馨、宁静的感觉。《归庄图》是李希成的一个经典作品，代表了他扎实的技术和对自然的精准描绘。\n\n李希成还创作了许多其他优秀的作品，包括《山水图》、《虎图》和《鹿图》。他的作品常常被描绘成清新、宁静的景观，捕捉到了大自然的精髓。李希成是宋代“四大画家”之一，与黄庭坚、苏轼和韩愈并称。他对中国画的发展产生了深远的影响，是中国画史上不可磨灭的巨匠。",[23,25,54,976,58,28,56,80,164,101,242,7,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f6e45b2e30a82967b3ef0547a95e5ba.jpg",[65],81,{"id":1908,"slug":1909,"title":1910,"dynasty":74,"author":282,"museum":76,"description":1911,"tags":1912,"thumbUrl":1916,"material":63,"size":1917,"collection":1918,"collections":1919,"showCount":1906,"zanCount":11,"manualWeight":43,"mainColor":44},214310,"shu-wu-yan-lv-shi-wen-zheng-ming-214310","书五言律诗","文征明是一位书法和绘画的大师，他掌握了所有的书法风格。在他的中年时期，王羲之是他的主干，但在晚年，他转向了黄庭坚，因为他的书法风格很棒。这幅画是一首诗，是为溪山欲雪图所赋诗作。",[23,54,194,79,195,55,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“花池深桃”的构想。",[23,25,55,79,58,56,80,81,7,715,308,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb78e056810e1f7dd2565d481fd90d58f.jpg","绢本，水墨","54x188.6cm",[65,88],78,{"id":1986,"slug":1987,"title":1988,"dynasty":74,"author":1989,"museum":850,"description":1990,"tags":1991,"thumbUrl":1992,"material":1048,"size":1993,"collection":65,"collections":1994,"showCount":1984,"zanCount":11,"manualWeight":43,"mainColor":44},221922,"lan-ting-xiu-xi-tu-qian-gu-221922","兰亭修禊图","钱毂","《兰亭修禊图》卷为明代画家钱榖绘。画作题材取自东晋王羲之《兰亭序》，描绘东晋永和九年，王羲之、谢安等人在浙江山阴的兰亭溪上修禊，作曲水流觞之会的故事，卷前有王榖祥题「蘭亭修禊」，卷后有钱榖书《兰亭序》及集诗。",[23,25,54,26,27,28,58,101,7,485,103,82,118,194,195,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db27d84328228253e4fe5c410dbf47f.jpg","24.1×435.6cm",[65,140],{"id":1996,"slug":1997,"title":1998,"dynasty":18,"author":1999,"museum":355,"description":2000,"tags":2001,"thumbUrl":2003,"material":275,"size":2004,"collection":122,"collections":2005,"showCount":1984,"zanCount":43,"manualWeight":43,"mainColor":69},219631,"feng-yu-du-qiao-tu-ren-yi-219631","风雨渡桥图","任颐","狂风卷着冷雨席卷而来，柳丝如乱发狂舞，将滂沱之势尽显。渡桥二人缩肩弓背，撑伞者竭力护着身旁同伴，浓淡墨色晕染出湿衣的沉坠褶皱，仓促步履间却带着相携的温情，将风雨里的窘迫暖意定格。\n\n石桥以枯笔泼墨绘就，苍劲厚重，和柔媚翻飞的柳丝形成刚柔反差。水面以淡墨晕开朦胧水雾，暗藏雨打涟漪的空濛，左下角水草斜偃，呼应着肆虐风势。画作以大写意笔墨铺陈天候之烈，又于人物眉眼间刻画入微，将外在风雨与内在人情相融，落笔酣畅洒脱，意韵悠长动人。",[23,25,79,55,28,421,101,212,7,1233,2002],"渡桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb7f921eff5817be7c13f4bae6cb7363.jpg","155.5x43.5厘米",[122,140],{"id":2007,"slug":2008,"title":2009,"dynasty":74,"author":317,"museum":20,"description":2010,"tags":2011,"thumbUrl":2012,"material":1148,"size":1149,"collection":65,"collections":2013,"showCount":2014,"zanCount":43,"manualWeight":43,"mainColor":69},234924,"dong-qi-chang-shan-shui-ce-yi-ming-234924","董其昌山水册","此作用笔松秀虚灵，以淡墨晕染开鸿蒙云气，将远山隐入烟岚，留白衬出无尽空茫。近岸苍松蟠曲，浅渚连山层层延展，平远之境悠悠铺陈。\n墨色清润淡雅，简淡皴擦间，漾开了水泽的空濛静穆。题印落于留白处，与山水相映成趣，书画印浑然相融。整幅画萧散简远，以极简笔墨勾勒出幽寂清远之境，尽显文人画平淡天真的意趣，观之便觉心随山水沉静，独得幽居之乐。",[25,54,57,55,58,80,7,715,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd808de803d791f66197ab19d95eb2ca7.jpg",[65],77,{"id":2016,"slug":2017,"title":2018,"dynasty":74,"author":415,"museum":542,"description":2019,"tags":2020,"thumbUrl":2021,"material":1048,"size":2022,"collection":39,"collections":2023,"showCount":2014,"zanCount":43,"manualWeight":43,"mainColor":69},221992,"song-shi-gao-shi-tu-wen-zheng-ming-221992","松石高士图","据蔡羽序记，正德十三年二月十九日，文徵明与好友蔡羽、王守、王宠、汤珍等人至无锡惠山游览，品茗饮茶，吟诗唱和，十分相得，事后便创作了这幅记事性作品。画面采用截取式构图，突出“茶会”场景，在一片松林中有座茅亭泉井，诸人冶游其间，或围井而坐，展卷吟哦，或散步林间，赏景交谈，或观看童子煮茶。人物面相虽少肖像画特征，大都雷同，动态、情致刻画却迥异，饶有生意，并传达出共通的闲适、文雅气质，反映了文人画家传神胜于写形的艺术宗旨。同时，青山绿树、苍松翠柏的幽雅环境，与文人士子的茶会活动相映衬，也营造出情景交融的诗意境界。",[23,25,58,80,164,7,28,421,79,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c92706428937b31f81e452f3db90dc6.jpg","纵71cm，横35cm",[39,140],{"id":2025,"slug":2026,"title":2027,"dynasty":18,"author":317,"museum":20,"description":2028,"tags":2029,"thumbUrl":2031,"material":37,"size":64,"collection":122,"collections":2032,"showCount":2014,"zanCount":11,"manualWeight":43,"mainColor":349},218125,"fu-hua-luo-han-jiu-zhang-lao-xiang-yi-ming-218125","佛画·罗汉九长老像","佚名的佛画 "罗汉九长老像" 是一幅清朝时期的佛教画作，描绘了九位罗汉，这些罗汉是佛教中的超凡脱俗的人物，他们拥有超凡的智慧和慈悲之心，并且被视为佛教中的榜样。\n\n在这幅画中，佚名以精细的笔触描绘了九位罗汉的形象，每一位罗汉都面带慈祥的微笑，身着精致的法衣，体现出他们超凡的品德和修行的成果。画面中还有许多佛教的装饰元素，如佛像、佛经、菩提树等，为整幅画作增添了浓厚的佛教气息。\n\n总的来说，佚名的 "罗汉九长老像" 是一幅非常精美的佛教画作，其中所传达出的超凡慈悲和修行成果，对于追求佛道的人来说是一种极大的启发和鼓励。",[23,1096,28,27,445,101,7,59,2030,715],"瑞兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a09e08d048331cf689d6066907fd6fc.jpg",[122],{"id":2034,"slug":2035,"title":2036,"dynasty":49,"author":2037,"museum":2038,"description":2039,"tags":2040,"thumbUrl":2041,"material":2042,"size":2043,"collection":64,"collections":2044,"showCount":2045,"zanCount":11,"manualWeight":43,"mainColor":69},221749,"jiu-ge-tu-ji-ci-juan-zhu-ti-zhang-wo-221749","九歌图及词卷主体","张渥","吉林省博物院","《九歌图》卷共十一段，每段一图，画屈原像及楚辞《九歌》中的《东皇太一》《云中君》《湘君》《湘夫人》《大司命》《少司命》《东君》《河伯》《山鬼》《国殇》十章内容。该图笔法流畅工整，秀劲宛转，线条纤细飞扬，体现了元代的白描风格。",[23,24,25,54,26,1004,55,101,194,196,715,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19bda932e8c57e252c3f7db62b08b53.jpg","纸","纵28 厘米 横62.4 厘米",[],76,{"id":2047,"slug":2048,"title":2049,"dynasty":49,"author":2050,"museum":76,"description":2051,"tags":2052,"thumbUrl":2053,"material":63,"size":2054,"collection":65,"collections":2055,"showCount":2045,"zanCount":536,"manualWeight":43,"mainColor":69},218911,"shan-yin-yun-xue-tu-fang-cong-yi-218911","山阴云雪图","方从义","这幅画的构图相当简单，只是在山顶和树上有一股烟和雾。水墨的使用非常丰富，给树木、岩石、云朵和山峰带来不同的表情和质感。画笔充满了水分，云朵和烟雾似乎随着水分漂浮和移动。虽然这幅画很小，但它显示了一种令人兴奋的水墨节奏。",[23,25,54,79,55,56,196,194,195,58,80,715,344,7,81,59,459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6ec60bc5870f2b71d67a4af41f89a6c.jpg","62.6x25.5厘米",[65],{"id":2057,"slug":2058,"title":2059,"dynasty":771,"author":2060,"museum":132,"description":2061,"tags":2062,"thumbUrl":2063,"material":245,"size":2064,"collection":39,"collections":2065,"showCount":2066,"zanCount":43,"manualWeight":43,"mainColor":44},219041,"shuang-niu-tu-han-huang-219041","双牛图","韩滉","这幅画画在一个平坦的斜坡上，左边是一棵断裂枯萎的老树，画面中间是两头牛，一前一后，正在前进，前面的牧童骑着牛，后面的牧童跟着牛。",[23,25,26,55,27,100,101,7,59,197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe648b205f631048024faea7c42d32cae.jpg","纵35.6横93.5厘米",[39],75,{"id":2068,"slug":2069,"title":2070,"dynasty":49,"author":2071,"museum":147,"description":2072,"tags":2073,"thumbUrl":2074,"material":37,"size":2075,"collection":39,"collections":2076,"showCount":2066,"zanCount":43,"manualWeight":43,"mainColor":44},218239,"cang-jiang-heng-di-tu-sheng-mao-218239","沧江横笛图","盛懋","此图所描绘的是一幅江畔秋景。画面远处烟波浩渺，青山伏卧，一派江南平淡幽远的山水景色。近处岸边斜伸出几棵大树，阵风吹过，落叶萧然，惊起的三、五只雀鸟，或飞或栖，自在悠然。树下渔人临风横笛，神情专注。",[25,79,28,58,101,7,29,691,702,61,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f90e787aa60094f0aca0e0ed0c9958b.jpg","纵84.8厘米，横47.1厘米",[39,65],{"id":2078,"slug":2079,"title":2080,"dynasty":74,"author":75,"museum":355,"description":2081,"tags":2082,"thumbUrl":2086,"material":64,"size":64,"collection":64,"collections":2087,"showCount":2088,"zanCount":11,"manualWeight":43,"mainColor":69},233788,"gui-hua-shu-wu-zhou-shen-zhou-233788","桂花书屋轴","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”。",[25,483,28,2083,56,79,58,7,2084,2085,101,82,103,868,61,590],"文人画","桂花","书屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4adb9b5e6ec91eec93c0bbe3a7175244.jpg",[],73,{"id":2090,"slug":2091,"title":2092,"dynasty":95,"author":2093,"museum":355,"description":2094,"tags":2095,"thumbUrl":2097,"material":63,"size":2098,"collection":122,"collections":2099,"showCount":2088,"zanCount":11,"manualWeight":43,"mainColor":69},219698,"you-jun-shu-shan-tu-liang-kai-219698","右军书扇图","梁楷","图绘王羲之为老妪书扇故事。本幅右边有梁楷题款，系后人添加，卷尾有元初赵由儁、张渊、钱良右、张世昌、石岩等人题跋，简笔人物的风格系仿自梁楷。",[23,25,55,26,2096,101,7,194,195,196],"简笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f0b5917d813d0d1d8a70b22a64c5bf.jpg","纵27.9厘米，横66.2厘米",[122,1918],{"id":2101,"slug":2102,"title":2103,"dynasty":49,"author":253,"museum":132,"description":2104,"tags":2105,"thumbUrl":2106,"material":37,"size":64,"collection":39,"collections":2107,"showCount":2088,"zanCount":11,"manualWeight":43,"mainColor":44},219321,"shuang-ma-tu-zhao-meng-fu-219321","双马图","双驹并立，一昂首嘶鸣似欲穿云，鬃毛飞扬如带劲风；一垂首静立若凝幽思，身躯敦实暗含沉稳。线条如篆籀般圆劲，勾勒出马身健硕肌理，淡墨晕染与浓墨点染相映，既显写实之功，又含文人写意之韵。古木虬枝盘结，根系深扎如铁，与马的灵动形成刚柔相济的张力。以书入画的笔意贯穿始终，每一笔皆带书法筋骨，让静态画面流动着笔墨生命力。画面不止状物，更藏文人对精神境界的追寻——既有驰骋天地的豪情，也有沉潜内省的淡然，在方寸间演绎出动静相宜的生命哲思。",[23,25,54,79,28,27,510,7,194,195,196,635],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fe56f2039c3f73dc94111684a5a5117.jpg",[39],{"id":2109,"slug":2110,"title":2111,"dynasty":49,"author":2112,"museum":2113,"description":2114,"tags":2115,"thumbUrl":2116,"material":63,"size":2117,"collection":65,"collections":2118,"showCount":2119,"zanCount":536,"manualWeight":43,"mainColor":69},217990,"lin-ting-yuan-xiu-tu-tao-xuan-217990","林亭远岫图","陶铉","香港中文大学文物馆","“林亭远岫图”是陶铉的代表作之一，是一幅山水画。这幅画以其精美的线条、细腻的笔触和丰富的层次感而闻名。画中，陶铉用浓密的线条勾勒出了山峰、悬崖、峡谷和溪流等山水景观。通过对色彩的运用，他将画面分成了几个不同的层次，使得画面看起来格外丰富。\n\n陶铉的“林亭远岫图”是元朝山水画的杰作，具有极高的艺术价值。它不仅是陶铉本人的代表作，也是元朝画坛的瑰宝。至今，“林亭远岫图”仍是中国绘画史上最著名的山水画之一，并被许多人所熟知和欣赏。",[25,54,55,79,58,56,118,61,7,241,59,82,1026],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb9601a60ed15025f72dd5d7116adea.jpg","58x31.7cm",[65,88],72,{"id":2121,"slug":2122,"title":2123,"dynasty":74,"author":2124,"museum":76,"description":2125,"tags":2126,"thumbUrl":2130,"material":37,"size":2131,"collection":39,"collections":2132,"showCount":2119,"zanCount":43,"manualWeight":43,"mainColor":44},216217,"san-yang-tu-zhu-zhan-ji-216217","三羊图","朱瞻基","三羊图是明朝朱瞻基所作的一幅画。这幅画描绘了三只羊在草地上吃草，背景是一片美丽的山景。三羊图被认为是朱瞻基最优秀的作品之一，其细腻的笔巧和生动的写实手法得到了广泛的赞誉。这幅画象征着平静和安宁，也被认为是对中国传统和谐社会的赞颂。",[24,25,54,79,28,27,101,2127,7,308,2128,635,2129],"羊","山坡","明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c63505c5c8038bbaf86c97b7a1cf2b.jpg","105.3x58.3cm",[39],{"id":2134,"slug":2135,"title":2136,"dynasty":49,"author":888,"museum":20,"description":2137,"tags":2138,"thumbUrl":2139,"material":37,"size":2140,"collection":122,"collections":2141,"showCount":2142,"zanCount":43,"manualWeight":43,"mainColor":44},218447,"ming-huang-guan-ji-tu-zhao-yong-218447","明皇观鸡图","两位人物和马匹的技法是用方正的铁线来描绘的，线条粗壮而精细，更让人联想到北宋李公麟柔和细腻的笔触，表现出人物的大衣、马匹的鬃毛和尾巴在风中飞舞的动作。色彩呈现出唐代的富丽堂皇，又不失文人的优雅，将厚重和明亮的色彩融为一体。树木是双层的，线条坚硬有力，继承了李唐甚至马远和夏圭的朴素。",[25,24,54,79,28,27,101,510,1642,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9647a159defd4650bccc45e107b570.jpg","118x67",[122],71,{"id":2144,"slug":2145,"title":1155,"dynasty":174,"author":404,"museum":97,"description":2146,"tags":2147,"thumbUrl":2148,"material":64,"size":64,"collection":64,"collections":2149,"showCount":2150,"zanCount":43,"manualWeight":43,"mainColor":44},227598,"xi-shan-lan-re-tu-ju-ran-227598","《宋巨然溪山兰若图》为宋代画家巨然创作的一幅绢本墨笔画，现于美国克利夫兰博物馆藏。\n\n此图高耸云表的山峦雄居于画幅上部，山头布有矾头状的卵石，犹是巨然本色，下部冈阜林木葱郁，掩隐楼阁屋宇，前部有坡岸溪水，展示一片宁静清谧的意境。画幅右上有“巨五”编号，当是六幅通景屏风中的第五幅，仅为大幅山水的一部分。\n\n巨然，五代宋初画家。江宁（今江苏南京）人。南唐亡，至开封（今属河南省），为开元寺僧。多以长披麻皴画山水，山顶多作矾头（石块），与董源并称“董巨”，为南方山水画派之祖。",[23,25,55,58,79,56,80,164,7,680,308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F284d1d8ee4ace39214acee2790ee85be.jpg",[],70,{"id":2152,"slug":2153,"title":2154,"dynasty":95,"author":317,"museum":51,"description":2155,"tags":2156,"thumbUrl":2158,"material":37,"size":64,"collection":107,"collections":2159,"showCount":2150,"zanCount":536,"manualWeight":43,"mainColor":44},218537,"e-xi-tu-yi-ming-218537","鹅戏图","这幅画描绘了一个池塘，漂浮着如盘子般碧绿的荷叶，点缀着鲜红的荷花，四只白天鹅在水中嬉戏，一只领头，两只尾随，最后一只正在奋力追赶。\n这幅画色彩淡雅，薄而透明，色彩与水墨相得益彰，整体上没有浓墨重彩，导致前景的四只白天鹅特别明亮。",[23,25,54,976,28,27,2157,150,7,164,196],"鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde4cd89f1d562c9fdb8d729cb3008bbc.jpg",[107,39],{"id":2161,"slug":2162,"title":2163,"dynasty":74,"author":1729,"museum":20,"description":2164,"tags":2165,"thumbUrl":2166,"material":64,"size":64,"collection":64,"collections":2167,"showCount":2168,"zanCount":536,"manualWeight":43,"mainColor":69},228498,"yan-shu-ban-qiao-tu-chen-chun-228498","烟树板桥图","此作用水墨写就山林野趣，取高远、平远错落构图，峰崖高耸以阔笔皴擦，墨色层叠间衬出云气空濛，飞瀑隐于峭岩之间，幽庐藏于繁林深处，将山野幽寂之态铺陈开来。\n\n近景烟树错落，信笔点染出枝叶婆娑之姿，板桥横溪，策杖行人缓步其上，茅舍错落林间，尽现村居恬然意趣。水墨干湿浓淡相生，逸笔草草间尽显文人写意随性，将江南山乡的湿润清旷，与林下幽居的闲散自在融为一体，淡远空灵中尽显林下风流。",[25,55,58,7,212,101,81,56,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb68d5200227df0e2d65abef6d9fb122f.jpg",[],69,{"id":2170,"slug":2171,"title":2172,"dynasty":95,"author":317,"museum":328,"description":2173,"tags":2174,"thumbUrl":2177,"material":434,"size":2178,"collection":64,"collections":2179,"showCount":2168,"zanCount":536,"manualWeight":43,"mainColor":44},223525,"ge-le-tu-yi-ming-223525","歌乐图","《歌乐图卷》描绘了南宋宫廷歌乐女伎演奏、排练的场景。画面中九位女伎、一位老乐官和二位女童于庭院中一字排开，手持笛、鼓、排箫、琵琶等多种乐器。画中人物均穿着南宋时期的典型服饰：九位女伎身材修长，穿着红色窄袖背子，高髻上饰以角状配饰；男性乐官佩戴朝天幞头，女童则戴簪花幞头。此卷所绘的人物及场景是南宋社会文化生活的生动写照。\n在技法上，《歌乐图》设色细腻鲜艳，用笔精细而能够随物应形，通过不同的笔法表现不同物象的特定质感，如衣纹流畅、竹叶劲挺、树石沉雄，写实且富于意趣。画面构图疏朗简洁，节奏感强，整体上呈现出相当高的艺术水平。而以歌乐女伎为表现题材的作品在南宋人物画中极为少见，具有相当高的历史、艺术价值。\n画面右侧为一棵棕榈树，树干以淡墨晕染，树叶双钩，并填以石绿色，上层的树叶以树身为轴呈对称状；地面上点缀了几丛花草，草叶以没骨写意法画出，地面上白色的小花以浑点点出；地面局部晕染石青，并勾勒有平行的水平线表现地面质理。画面左侧的配景，靠右边为太湖石和竹丛的组合，地面点缀花草，花草的描绘方式与右侧配景中的花草一致。太湖石的轮廓线比较粗犷、写意，石面以石青晕染，局部施以皴擦表现质理。太湖石后的竹子，竹竿和竹叶双钩，中间几株竹竿以石青晕染。太湖石和后面的竹丛也呈中轴对称状。左边有一段栏杆，栏杆后绘有一棵盛开着白色花朵的树，似为梨树，树干双钩，树身晕染，树叶为瓜子形点叶，白色的花瓣以椭圆形的点进行表现，画面美感十足。\n画中所绘九女子，皆披褙子外衣，此服饰出现于北宋年间，流行于南宋时代。在河南禹县白沙一号北宋墓壁画《伎乐图》，和传世的南宋《瑶台步月图》页中都可见到。此外，女子梳高髻并簪有三朵花状饰物的发式与南宋《瑶台步月图》页和《荷亭儿戏图》页中的女子发式相近。图中另二个女孩装扮官员样，所戴直脚幞头也是宋时官帽样式。另一位手抱琵琶的男艺人，穿圆领窄袖袍衫，戴曲脚幞头，与河北宣化辽墓壁画《散乐图》中的吹乐艺人相同。从此图人物的服饰和幞头考察，有宋制和辽制混合的形迹。",[23,25,54,26,28,27,101,135,1058,691,241,7,30,273,868,181,2175,331,2176],"发饰","棕榈树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88da24574fef71de8346deb557e6bfd1.jpg","25.5x158.7厘米",[],{"id":2181,"slug":2182,"title":2183,"dynasty":49,"author":480,"museum":2184,"description":2185,"tags":2186,"thumbUrl":2187,"material":275,"size":2188,"collection":88,"collections":2189,"showCount":2168,"zanCount":43,"manualWeight":43,"mainColor":69},220800,"shui-zhu-ju-tu-ni-zan-220800","水竹居图","中国国家博物馆","此图以青绿设色绘江南初秋景色。\n山势低平，山前溪水渚坡坡上杂树五株，树后茅屋丛篁。\n画中笔墨沉实，赋形具体，山色苍翠，画法谨严运笔圆滑苍劲，略有董、巨遗法。\n此图写一仙居景致，其中静水潺潺，间以坡石、水渚、小桥相错；近岸处坡石层累，其上疏木参差偃仰，虬枝繁叶；近岸平地，一茅舍院落掩映树间，若隐若现；栅外修竹环绕，浴风飒飒；远处群峦竞秀，青翠欲滴；山下岸处坡石簇簇，林木深深。\n图右上倪瓒自题：“至正三年，癸未岁八月望日，进道过余林下，为言僦居苏州城东有水竹之胜。",[23,25,55,484,56,195,194,196,1959,421,164,241,7,59,61,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7872a100371101d8e6bbd7f53608e4.jpg","80 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CM",[88,1887],{"id":2191,"slug":2192,"title":2193,"dynasty":74,"author":282,"museum":76,"description":2194,"tags":2195,"thumbUrl":2196,"material":275,"size":2197,"collection":140,"collections":2198,"showCount":2168,"zanCount":536,"manualWeight":43,"mainColor":69},219341,"yu-yu-chun-shu-tu-wen-zheng-ming-219341","雨余春树图","全幅中间为一条宽阔溪水，将其画面纵切成上、下两段，上段即画幅远处崇山叠嶂，山峰耸立，主峰两侧的山峰较矮小，隐约可见。中间山峰顶平壁峭，山上和山坡处树木成林，郁郁葱葱，山脚临河处座落着几间屋宇草舍，掩映在丛树荫下。河滩上有二位高士边闲聊边观赏风景。在溪水夹岸，即此画幅的下段，这是此幅画的主题。夹岸坡陀叠起，崎岖不平，有的坡陀伸展至水上，坡陀上长有几棵高大的松树和其他杂树。古松萧疏错落，坡陀上的平台相参，临溪处筑有一小亭，累见高士策杖优游，间吟望远悠闲自在，展现出一派隐逸文人的诗画境界",[25,54,28,58,7,118,82,59,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad5d61d2c68ecef13e5225b2f2d4ac4b.jpg","纵94.3厘米，横30.3厘米",[140],{"id":2200,"slug":2201,"title":2202,"dynasty":95,"author":2203,"museum":355,"description":2204,"tags":2205,"thumbUrl":2207,"material":216,"size":2208,"collection":107,"collections":2209,"showCount":2210,"zanCount":43,"manualWeight":43,"mainColor":44},221426,"guan-shan-ji-xue-tu-yan-su-221426","关山积雪图","燕肃","燕肃(991-1040)字穆之，一字仲穆，一署上谷，青州益都(今山东益都)人。文学治行，缙绅推之，胸次潇洒，巧思过人。真宗大中祥符间进士，官至龙图阁直学士，以礼部尚书致仕，人称“燕龙图”。工诗善画，以诗入画，意境高超，浑然天成，为文人画之先驱。善画山水寒林，与王维相上下。亦擅人物、牛马、松竹、翎毛，在京师太常寺、翰林学士院作屏风画，景宁坊寓所及睢、颍、洛等佛寺中都有其巨幅壁画(今皆湮没无存)。《宣和画谱》著录御府所藏其作品有《春岫渔歌图》《夏溪图》《春山图》《冬晴钓艇图》等37件。",[23,25,54,58,56,28,2206,80,7,212,82,118,196],"积雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff61c590823c9480548dd523165486396.jpg","40×30cm",[107,65,88],68,{"id":2212,"slug":2213,"title":2214,"dynasty":18,"author":19,"museum":20,"description":2215,"tags":2216,"thumbUrl":2218,"material":1148,"size":1149,"collection":64,"collections":2219,"showCount":2220,"zanCount":43,"manualWeight":43,"mainColor":44},230894,"bai-lu-tu-shen-quan-230894","柏鹿图","此图绘在柏树之下、溪流岸边，两只梅花鹿一立一卧，均仰视远方。图中鹿的描绘十分工整、细腻，山石的点染、溪波的勾勒也有类似笔调，尤为细致而并非完全写实，画面既真实又不泥于细节。",[23,25,24,79,27,28,635,978,2217,7,59,1134,1641],"柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea79f7002a6ea446d7dfdde2fe39384c.jpg",[],67,{"id":2222,"slug":2223,"title":2224,"dynasty":18,"author":2225,"museum":76,"description":2226,"tags":2227,"thumbUrl":2228,"material":275,"size":2229,"collection":39,"collections":2230,"showCount":2220,"zanCount":43,"manualWeight":43,"mainColor":69},218810,"e-mo-niao-tu-yang-da-zhang-218810","额摩鸟图","杨大章","画面中两只额摩鸟姿态悠然，昂首者似欲引吭，俯身者若寻幽草。翎羽纤毫毕现，颈间蓝红绒羽如霞披覆，肌理质感细腻入微。旁侧牡丹姹紫、玉兰皎洁，枝桠间燕语呢喃，石畔小雀啄食，生机盎然。青绿山石晕染温润，皴擦有致，与禽鸟花木相映成趣。上下题跋为御制诗文，笔墨苍劲，典重之气扑面而来。整幅画作工写兼备，设色妍丽却不失清雅，奇禽异卉共构一堂，既有自然生趣，亦含皇家苑囿的雍容气象，堪称清代宫廷花鸟走兽画的精品之作。",[24,25,54,79,27,28,35,731,271,7,59,194,196,29,961],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe680768fee9dc27723523539b928bca7.jpg","149.8x101cm",[39],{"id":2232,"slug":2233,"title":94,"dynasty":771,"author":2234,"museum":51,"description":2235,"tags":2236,"thumbUrl":2237,"material":275,"size":64,"collection":39,"collections":2238,"showCount":2220,"zanCount":43,"manualWeight":43,"mainColor":69},216664,"mu-niu-tu-dai-song-216664","戴嵩","牧牛图 是一幅画作，出自唐朝时期的画家戴嵩。它是一幅水墨画，描绘了一头牛在田野里放牧的场景。这幅画被认为是戴嵩的代表作之一，因为它体现了戴嵩独特的画风和技巧。牧牛图在唐朝时期广受欢迎，并被认为是中国水墨画的杰出作品。",[25,54,55,28,101,100,7,102,194,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55f31192c42e51a9881f491e3d50c022.jpg",[39],{"id":2240,"slug":2241,"title":2242,"dynasty":74,"author":468,"museum":76,"description":2243,"tags":2244,"thumbUrl":2246,"material":275,"size":2247,"collection":65,"collections":2248,"showCount":2220,"zanCount":43,"manualWeight":43,"mainColor":69},214590,"ji-you-hua-ce-jiao-shan-yan-yu-chang-shan-dong-qi-chang-214590","纪游画册-焦山烟雨常山","董其昌是明代著名的画家，他的作品《焦山烟雨常山》是一本纪游画册，记录了他对焦山和常山的游览所作的绘画。这本画册中包含了许多令人惊叹的景观画作，描绘了焦山和常山的自然景观，包括山峦、河流、树木和山水。\n\n董其昌的画风具有浓厚的写实主义倾向，他擅长运用细腻的笔触和精确的色彩渲染，使得他的作品生动形象，充满了真实感。他善于捕捉山水景观的细微变化，表现出了对自然的敬畏之情。\n\n在《焦山烟雨常山》中，董其昌运用了各种不同的画法和技巧，将焦山和常山的自然景观表现得栩栩如生。他擅长运用水墨画的质朴和透明感，使得山水画作充满了韵味。此外，他还注重色彩的运用，运用暖色和冷色的对比，使得画面更加丰富多彩。\n\n总的来说，董其昌的《焦山烟雨常山》是一本绝妙的纪游画册，值得收藏和品味。它不仅体现了董其昌的出色的绘画技巧，而且也展现了他对自然的敏锐观察力和对传统山水画的热爱。董其昌的作品中蕴含着深厚的文化内涵，是中国传统艺术的瑰宝。",[25,54,57,55,56,58,2245,80,7,459,59],"烟雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb86795e50c1a5356ae611c865f7019e.jpg","31.9x17.5cm",[65],{"id":2250,"slug":2251,"title":2252,"dynasty":95,"author":2253,"museum":20,"description":2254,"tags":2255,"thumbUrl":2256,"material":64,"size":64,"collection":64,"collections":2257,"showCount":2258,"zanCount":43,"manualWeight":43,"mainColor":44},227943,"xi-que-ye-tu-tu-li-yong-227943","喜鹊野兔图","李永","此作用笔工细兼具写意，清幽雅致尽显宋画意趣。坡岸之上两只野兔灵动憨态毕现，一只抬耳警觉张望，耳尖绒毛根根分明，一只俯身啮草，蓬松皮毛质感逼真鲜活。\n\n右侧古木虬曲苍劲，枝桠疏朗间两只喜鹊顾盼对鸣，啾啾啼声似破郊野静谧，动静相映成趣。整幅以留白衬出郊野空寂清旷，草木山石朴拙苍润，将林间一隅的灵动瞬间定格，把自然意趣融于笔墨之间，恬淡悠然，尽显鸟兽形神兼备的精妙写实功底，将郊野闲情尽数铺陈。",[23,24,25,54,27,28,635,29,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19cfe887d378e40901d42db72d3de1e7.jpg",[],66,{"id":2260,"slug":2261,"title":2262,"dynasty":18,"author":2263,"museum":76,"description":2264,"tags":2265,"thumbUrl":2267,"material":85,"size":2268,"collection":65,"collections":2269,"showCount":2258,"zanCount":536,"manualWeight":43,"mainColor":44},224488,"yun-bai-shan-qing-tu-juan-wu-li-224488","云白山青图卷","吴历","此幅山水画作於1668年（三十七岁），临摹古画功力极深，於青绿著色者尤有独到之处，气息颇近似宋元人作品，通卷皆用青绿红白重色，而能不觉躁浊，於清虚灵动中妙造自然。",[23,25,26,445,28,58,80,715,7,29,680,590,81,59,1111,242,545,2266,228],"雾气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86f1f40e927b107f59c209c6dfc46117.jpg","该幅25.9x117.2公分；隔水一14.6公分；隔水二 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31.5cm",[65,140],{"id":2290,"slug":2291,"title":2292,"dynasty":74,"author":75,"museum":147,"description":148,"tags":2293,"thumbUrl":2294,"material":275,"size":153,"collection":64,"collections":2295,"showCount":2258,"zanCount":43,"manualWeight":43,"mainColor":69},220023,"dong-zhuang-tu-ce-zhi-zhuo-xiu-an-shen-zhou-220023","东庄图册之拙修庵",[23,24,25,54,57,55,56,241,7,59,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc2b518925bd20025e17b8dbe1929b9c.jpg",[],{"id":2297,"slug":2298,"title":2299,"dynasty":95,"author":317,"museum":328,"description":2300,"tags":2301,"thumbUrl":2302,"material":37,"size":2303,"collection":65,"collections":2304,"showCount":2258,"zanCount":11,"manualWeight":43,"mainColor":44},217074,"hua-wu-zui-gui-tu-yi-ming-217074","花坞醉归图","这幅画描绘了一座远山，山上各处的桃花盛开，一头驴子在山脚下的木桥上驼着醉酒的主人，向前方的小屋方向走去，后面跟着一个挑着担子的随从。",[23,25,54,976,28,58,101,212,510,59,7,961,196,29,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ef29ccb362d192e6510a542bc5044d0.jpg","23.8x25.3cm",[65],{"id":2306,"slug":2307,"title":48,"dynasty":18,"author":712,"museum":355,"description":2308,"tags":2309,"thumbUrl":2311,"material":717,"size":2312,"collection":65,"collections":2313,"showCount":2314,"zanCount":11,"manualWeight":43,"mainColor":44},233970,"shan-shui-ce-gong-xian-233970","此册作于乙卯年（清熙十四年，1675年）。现藏故宫博物院。本图册中第一四、八、十一、十三、十四开属于“白龚”，图中的山石、树木均以古、健、老、活的中锋勾勒轮廓线，物象具有方而不板，结而不滑的特点。本图册中第二、五、七、九、十二、十七、十九开属于“黑龚”。作者以灰墨勾出大体轮廓和经络，然后层层皴染和点染。其皴染取自宋人范觅的雨点皴而稍有变化，为头实尾虚的短笔皴。",[25,55,58,56,57,80,7,242,459,197,2310],"积墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45fe2dfc70ed8a77ffac3d0fb8c75a90.jpg","纵22.2厘米，横33.2厘米",[65],65,{"id":2316,"slug":2317,"title":2318,"dynasty":74,"author":415,"museum":191,"description":2319,"tags":2320,"thumbUrl":2321,"material":1048,"size":2322,"collection":65,"collections":2323,"showCount":2314,"zanCount":11,"manualWeight":43,"mainColor":44},221981,"shan-zhuang-ke-zhi-tu-wen-zheng-ming-221981","山庄客至图","描绘的是友人前来拜访的场景，山水亭榭、花草树木一派世外桃源的景致。整幅作品以S型构图，山石皴然兼施，多有抬点，笔致气魄洋溢。是典型的文人画作，淡于仕进，优游林下，以诗文书画自娱，表现自己的品格情怀。此画描绘的是友人前来拜访的场景，山水亭榭、花草树木一派世外桃源的景致。",[23,25,211,58,80,164,7,419,28,79,421,152,420],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F677782faafd32968920256e48cddfb04.jpg","纵87.5厘米，横27.3厘米",[65,140],{"id":2325,"slug":2326,"title":2327,"dynasty":49,"author":1738,"museum":76,"description":2328,"tags":2329,"thumbUrl":2330,"material":2331,"size":2332,"collection":65,"collections":2333,"showCount":2314,"zanCount":43,"manualWeight":43,"mainColor":44},221690,"hua-chun-shan-qing-yu-zhou-gao-ke-gong-221690","画春山晴雨轴","高克恭（1248－1310），号房山。其先回鹘人，占籍大同，后居武林。字彦敬，号房山老人，仕至刑部尚书。画山水，学米氏父子，造诣精绝。后学董源、李成、巨然笔法，专取写意气韵，亦擅长墨竹。高克恭画盛名盖世，而流传作品不多。此幅画溪边小景，云影满山，用笔含蓄凝练，用墨温婉蕴藉，突出宁静的氛围。",[23,25,79,55,28,56,58,80,715,7,285,82,308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcbf1df459b73c36527176870aa88973.jpg","绢本浅设色","125.1 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99.7cm.",[65,88],{"id":2335,"slug":2336,"title":2337,"dynasty":771,"author":2338,"museum":20,"description":2339,"tags":2340,"thumbUrl":2341,"material":64,"size":64,"collection":64,"collections":2342,"showCount":2343,"zanCount":11,"manualWeight":43,"mainColor":44},230931,"song-yin-tu-li-zhao-dao-230931","松荫图","李昭道","此作山峦以皴笔写就，淡墨晕染远山，铺展出沉浑苍劲的山水底色，幽壑层叠间漾出清远意境。近景村舍错落檐下，酒客围坐谈笑，道旁行骑缓辔徐行，田埂间牛犊悠游，草木扶疏间尽是乡野烟火气。将山水幽寂与市井温情相融，以精工笔致摹写太平乡居日常，盛唐雄浑的山水意趣间揉进鲜活的俗世意韵，绘出盛世里的田园悠然图景，尽显大唐乡野风物的温煦情致。",[25,28,58,56,80,164,7,510,100,101,212,82,59,118,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2028546aabb46cc23747564a9c5f49d.jpg",[],64,{"id":2345,"slug":2346,"title":2347,"dynasty":74,"author":2124,"museum":76,"description":2348,"tags":2349,"thumbUrl":2350,"material":275,"size":2351,"collection":39,"collections":2352,"showCount":2343,"zanCount":43,"manualWeight":43,"mainColor":69},222420,"san-yang-kai-tai-zhu-zhan-ji-222420","三羊开泰","画幅正中绘着三只羊。以羊寓阳，以太同泰，寓意“三羊开泰”。依据八卦，正月为泰卦，一阳生于下，冬去春来，阴消阳长，万物复苏，所以，它是祥瑞的象征。三只羊集于一起一白二黑，衬以古木竹石。:羊开泰取意吉祥。三羊的形象皆从写生中来，前者一只小羊，正在低首食草，弯弓着背，短尾微粗，除两腿和头顶处呈白色，其余儿乎全为黑驹黝绒密的黑毛，后面一只小羊，正在低首缓步前行，双目下视，似作觅食之状，四条腿的下肢和头顶部分呈白色，其余为黑黝黝的绒毛。两乳羊柔顺之态，宛然如生。一只大羊略作俯瞰侧面，两角竖立向外伸展，呈倒“八字”，角尖如尖刀似的，身躯圆滚，毛长腿粗，头部、双耳、背部等处为黑色，及长长的黑色的颈毛，双日炯炯有神，传达出了生动的姿态和准确的头、颈、身躯关系。",[23,25,54,79,28,27,2127,7,241,83,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F373b5a7d9c34426c6e0ebc149bc2c324.jpg","纵211.6厘米,横142.5厘米",[39,140],{"id":2354,"slug":2355,"title":2356,"dynasty":1718,"author":1719,"museum":1720,"description":2357,"tags":2358,"thumbUrl":2360,"material":64,"size":64,"collection":64,"collections":2361,"showCount":2343,"zanCount":43,"manualWeight":43,"mainColor":69},220541,"san-ma-tu-yue-sheng-xu-bei-hong-220541","三马图(月升)","画面构图错落雅致，上方三马各有意趣。两匹垂首缓行，鬃毛垂顺，低首啮食尽显温驯松弛，水墨晕染间将骏马肌理骨相勾勒分明。另一匹昂首提蹄，鬃尾飞扬，筋骨勃发满是奔腾的野逸生气，寥寥数笔便将骏马的灵动与劲硕全然彰显。\n\n右下角晚秋枯树以淡赭点染残叶，清冷萧疏的静气，恰好衬得骏马愈发蓬勃俊朗。左侧题字笔力苍劲，与画中笔墨融作一体。整幅落笔简劲写意，以形写神，将生灵的蓬勃生机与沉静氛围感交织，尽显写意画的含蓄韵致，把骏马神形风骨尽现笔端。",[23,24,25,54,55,28,2359,421,510,7,961],"写实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93e961915d8db09e0e734cbfad68664.jpg",[],{"id":2363,"slug":2364,"title":2365,"dynasty":74,"author":75,"museum":147,"description":148,"tags":2366,"thumbUrl":2367,"material":152,"size":2368,"collection":64,"collections":2369,"showCount":2343,"zanCount":43,"manualWeight":43,"mainColor":69},220021,"dong-zhuang-tu-ce-zhi-xu-gu-tang-shen-zhou-220021","东庄图册之续古堂",[23,25,54,57,28,55,56,58,118,241,7,59,680,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23226a9c2a97b03509df6c47524c86ca.jpg","28.6cm×33cm",[],{"id":2371,"slug":2372,"title":2373,"dynasty":18,"author":2374,"museum":132,"description":2375,"tags":2376,"thumbUrl":2377,"material":63,"size":2378,"collection":122,"collections":2379,"showCount":2343,"zanCount":43,"manualWeight":43,"mainColor":69},218382,"luo-han-tu-jin-nong-218382","罗汉图","金农","这是一幅长须罗汉坐在棕榈树下，神态安详的画，他已经获得了大罗汉的果位。这幅画是金农人物画的代表作。",[23,25,54,79,1096,1004,55,101,7,196,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb75ebb87baf372dcdb84c225c1bba02a.jpg","69.1x25.5",[122],{"id":2381,"slug":2382,"title":2383,"dynasty":18,"author":2384,"museum":355,"description":2385,"tags":2386,"thumbUrl":2387,"material":788,"size":2388,"collection":122,"collections":2389,"showCount":2390,"zanCount":43,"manualWeight":43,"mainColor":69},238204,"duan-yang-gu-shi-tu-ce-xu-yang-238204","端阳故事图册","徐扬","此图册各开分别描绘了端阳节期间的重要民俗活动，集中表现了历代各地的风俗习惯。每开均以隶书题写画名，并以行书对画作加以注释，以便读者进一步理解画面内容。乾隆皇帝作为出身于满族的清王朝统治者，将顺民心、近民俗视为稳定朝政的一条治国的根本之道，他常谕令宫廷画家以写实的绘画技法表现汉族的民俗事象，除谕令徐扬绘本图册之外，还谕令徐扬绘《姑苏繁华图》、《京春诗意图》，以及命宫廷画家周鲲绘《村市生涯图》等等，以便对汉民族的风俗传统有更为形象的认知。\n第一开名《射粉团》，题：“射粉团，唐宫中造粉团角黍饤盘中，以小弓射之，中者得食。”\n第二开名《赐枭羹》，题：“汉令郡国贡枭为羹赐官以恶鸟，故食之。”\n第三开名《採药草》，题：“五日午时蓄採众药治病，最效验。”\n第四开名《养鸲鹆》，题：“取鸲鹆儿毛羽新成者去舌尖，养之皆善语。”\n第五开名《悬艾人》，题：“荆楚风俗以艾为人悬门户上，以禳毒气。”\n第六开名《系采丝》，题：“系采丝，以五色丝系臂，谓之长命缕。”\n第七开名《裹角黍》，题：“以菰叶裹粘米为角黍取阴阳包裹之义，以赞时也。”\n第八开名《观競渡》，题：“观競渡，聚众临流称为龙舟胜会。”\n此图册构图严谨精妙，人物造型秀逸生动，线条遒劲流畅，色彩明丽典雅，显示出作者较强的写实功底和乾隆朝宫廷绘画工整清丽的笔墨特点。\n图册上钤有乾隆皇帝诸方玺印：“乾隆鉴赏”、“三希堂精鉴玺”、“宜子孙”等。",[25,54,57,27,28,101,7,196,637],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23165b22fac125b7d6ddb6e8f6f1549e.jpg","每开纵20.7厘米，横18.2厘米",[122,140],63,{"id":2392,"slug":2393,"title":2394,"dynasty":49,"author":480,"museum":76,"description":2395,"tags":2396,"thumbUrl":2401,"material":152,"size":2402,"collection":64,"collections":2403,"showCount":2390,"zanCount":11,"manualWeight":43,"mainColor":69},232254,"tong-lu-qing-qin-tu-ni-zan-232254","桐露清琴图","元代画家倪瓒喜爱梧桐，相传他每日令童子汲水清洗院中的桐树，“门前杨柳密藏鸦，春事到桐花。敲火试新茶。想月珮，云衣故家。苔生雨馆，尘凝锦瑟，寂寞听鸣蛙。芳草际天涯。蝶栩栩，春晖梦赊。”春日阶前桐花开，画家试新茶时想起故家，有如庄周梦蝶，已是芳草天涯。这首《太常引 伤逝》题在一幅画作中，可惜画作已不见。《桐露清琴图》中几株挺拔的桐树立于竹舍茅屋边，不知是不是就是画家心中的故园呢？\n“桐花快落春风老，梅子微酸晚雨晴。从此嬉游时节少，不须日日报诗成。”春风与桐花归去后，无须整日游春赋诗，不如在雨后夏夜多读几本书吧。",[25,55,58,56,195,196,80,7,485,242,83,2397,2398,2399,1960,2400,372,228,308],"平远构图","题款","枯笔","疏林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fd543601d23d9eda41aecdc51d37c2e.jpg","90.1x30 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　　图绘江南水乡渔人作业生活的场景。作者细腻地捕捉渔人们各种动作，扣鱼、撒网、垂钓、捞虾、织网等，以及他们天真自然的神态，表现他们淳朴的性情和一种于生计中寻找乐趣的生活态度，刻画入微，生动明快。同时，传达出文人心目中渔隐的回归思想。绘画技法上，人物以勾写塑其形廓，薄色淡染，衣纹施镢头描，水画波线显其动态，坡石以湿墨皴染，笔法纯熟率逸，出自宋人写实的绘画风格。",[23,25,26,55,27,101,358,7,256,258,360,56,916,2706],"渔具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F091dcc3a0f131e4c9e7d128fe9d0850c.jpg","纵32厘米，横239厘米",[122],{"id":2711,"slug":2712,"title":2713,"dynasty":49,"author":317,"museum":20,"description":2714,"tags":2715,"thumbUrl":2717,"material":55,"size":64,"collection":88,"collections":2718,"showCount":2689,"zanCount":43,"manualWeight":43,"mainColor":44},218496,"dong-po-qi-lv-tu-yi-ming-218496","东坡骑驴图","驴背人影衣袂掀动，似携一身野风穿行于淡墨峰峦间。松枝斜出如笔，与天边流云共织清寂，驴蹄轻踏处，草叶簌簌声仿佛随墨色漫开。笔墨简劲却藏深情，没有繁复设色，仅以水墨勾勒人物的孤远与从容——那是坡公贬谪途中的淡然，也是画者对先贤心境的隔空呼应。峰峦的淡皴如旧梦晕染，松风与驴鸣似在耳畔低回，简淡画面里，沉潜着文人遭际中的旷达文心。每一道笔触都像在诉说：纵使前路风雨，仍以悠然姿态，踏遍山河。画面虽简，意蕴却厚，如陈酒浅酌，余味漫过时光。",[23,25,54,79,55,421,1004,101,2716,7,59,485],"驴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66f93ebd14f269b38bf81415ee2b5a2d.jpg",[88],{"id":2720,"slug":2721,"title":2722,"dynasty":18,"author":456,"museum":355,"description":2723,"tags":2724,"thumbUrl":2725,"material":63,"size":2726,"collection":65,"collections":2727,"showCount":2689,"zanCount":43,"manualWeight":43,"mainColor":69},218390,"fang-ni-yun-lin-xi-ting-shan-se-tu-wang-jian-218390","仿倪云林溪亭山色图","图绘秋湖静水、疏林远岫的江南风景。王鉴一生推崇元人倪瓒自然淳雅的画面，乐此不疲地到处找寻其画作并且加以临摹，仅仿倪氏的《溪亭山色图》就有数件之多，此图是其中最有代表性的一幅。从一河两岸式的构图到山石树枝的方折用笔，再到以淡墨层层擦染的施墨法，均可见作者晚年对倪氏画风的摹仿已达到炉火纯青的窘境。",[23,25,55,58,56,531,80,164,118,7,83,82,243,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe03d588fe722f33791954b625b63098.jpg","纵81.3厘米，横51.2厘米",[65],{"id":2729,"slug":2730,"title":2731,"dynasty":74,"author":2408,"museum":76,"description":2732,"tags":2733,"thumbUrl":2734,"material":216,"size":2735,"collection":64,"collections":2736,"showCount":2737,"zanCount":43,"manualWeight":43,"mainColor":44},231347,"fang-zhang-seng-yao-shan-shui-tu-lan-ying-231347","仿张僧繇山水图","该幅《明蓝瑛仿张僧繇山水图》轴便充分体现了蓝瑛的绘画风貌。纵观全画，山水相接，红树青岩、小桥流水、白云缭绕，好一派洁净幽奇、绝妙脱俗的仙境！画中水天交融，近处流淌的湖水与远处的天际自然地连接在—起，从而产生一种宽阔辽远之感，同时也把山、石、树木自然地烘托出来。山石的突兀和树木的复杂变化与水天合一的平静简洁形成了鲜明的对比。河岸上峦石林立、叠叠错错，石崖间挺立着各种姿态野逸、遒劲的树木，它们深深地扎根于硬石之中，充分展现了其顽强的生命力。层层推远的山石和错落有致的树木逶迤远去，一直延伸至远处群山的云雾升腾处，引导观者将视线层层推进。",[25,54,79,531,28,445,58,7,118,715,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5c68735d15e53cd740fe2ea977fefb3.jpg","纵177厘米，横91厘米",[],55,{"id":2739,"slug":2740,"title":2741,"dynasty":49,"author":888,"museum":850,"description":2742,"tags":2743,"thumbUrl":2744,"material":1048,"size":2745,"collection":122,"collections":2746,"showCount":2737,"zanCount":536,"manualWeight":43,"mainColor":44},221862,"xian-xian-tu-juan-zhao-yong-221862","先贤图卷","赵雍，字仲穆，吴兴（今浙江湖州）人，元代书画家，赵孟頫之子。擅山水画，尤精人物鞍马，亦作界画。书法善长正书，行书，草书和篆书，精通鉴赏。",[23,25,54,26,28,27,101,58,510,7,30,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8403e17bbe756dab1b941b50b1cce0ba.jpg","纵29.3厘米，横208.7厘米",[122,140],{"id":2748,"slug":2749,"title":2750,"dynasty":18,"author":2470,"museum":850,"description":2751,"tags":2752,"thumbUrl":2753,"material":63,"size":64,"collection":65,"collections":2754,"showCount":2737,"zanCount":43,"manualWeight":43,"mainColor":69},219709,"fan-zhao-tu-cha-shi-biao-219709","泛棹图","近岸苍松枯柳错落，枝桠虬曲疏朗，将江渚萧疏尽数铺展。扁舟之上幽人独坐，静看烟水微茫，远山以淡墨轻扫晕染，清润空濛，似笼着秋日薄雾。\n\n作画笔触简淡松秀，以干笔皴擦山石，墨色干湿浓淡相生，脱前人之形而得清逸神韵。通篇清远冷寂，将幽人寄情山水、物我两忘的心境融于空茫江色之间，淡墨晕染里藏着林下闲静之风，寥寥数笔便勾勒出超脱尘俗的空濛雅境，尽显文人画疏淡孤高的逸趣。",[25,55,58,358,359,7,61,60,732,421,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6896344e0526eaae4fe9dad4d459f05c.jpg",[65],{"id":2756,"slug":2757,"title":2758,"dynasty":95,"author":317,"museum":76,"description":2759,"tags":2760,"thumbUrl":2763,"material":37,"size":2764,"collection":107,"collections":2765,"showCount":2737,"zanCount":43,"manualWeight":43,"mainColor":69},218837,"xi-yang-gui-du-tu-yi-ming-218837","夕阳归犊图","这幅画描绘了两头大牛在夕阳下涉水过河的情景，还有一头小牛在恐惧和害怕中伸出前蹄。笔触简单，牛和人物都没有形态，不像是专业画家的作品，也不像是普通文人的俏皮笔触。",[23,25,976,28,58,27,2761,100,7,61,2762,56],"夕阳","坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21a03dda9ca27d426983bebcf6e6d089.jpg","22.4x22.4",[107,65],{"id":2767,"slug":2768,"title":2769,"dynasty":18,"author":327,"museum":1607,"description":2770,"tags":2771,"thumbUrl":2772,"material":275,"size":64,"collection":65,"collections":2773,"showCount":2737,"zanCount":43,"manualWeight":43,"mainColor":69},214831,"dong-po-shi-xu-shi-yi-tu-ce-shi-tao-214831","东坡时序诗意图册","石涛是一位著名的清代画家，他的东坡时序诗意图册是他的一部杰作。这本图册包含了许多精美的图画，描绘了东坡时期的生活情景。东坡是一位著名的宋代诗人，他的诗歌富有感性和诗意，与石涛的画风十分契合。石涛在这本图册中描绘了东坡时期的各种生活场景，包括山水风景、城市景观、家庭生活、社会活动等。他的画作富有浓郁的诗意气息，充满了东坡诗歌中的感性情感。整本图册是一部经典的艺术作品，值得一看。\n\n石涛，原名石炯，字涛，号青山，是一位著名的清代画家。他生于清朝康熙年间，擅长画山水、人物、花鸟。石涛的画风浓郁诗意，被称为“诗画一体”。他的代表作品有《东坡时序诗意图册》、《石涛画集》等。他的画作曾多次在国内外展览中展出，并受到广泛好评。",[23,25,57,28,55,58,194,195,56,421,80,164,7,242,118,212,82,101,83,197,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41710880fbba161352187f5a38967874.jpg",[65],{"id":2775,"slug":2776,"title":2777,"dynasty":18,"author":600,"museum":20,"description":2778,"tags":2779,"thumbUrl":2780,"material":1148,"size":1149,"collection":64,"collections":2781,"showCount":2782,"zanCount":43,"manualWeight":43,"mainColor":69},237962,"hong-ren-shan-shui-ye-hong-ren-237962","弘仁山水页","弘仁（1610—1663年），俗姓江，名韬，字六奇，出家后释名弘仁，号渐江学人，又号无智、梅花古衲，安徽歙县人。明亡后入武夷山为僧，云游各地后回歙县，住西郊太平兴国寺和五明寺，常往来于黄山、白岳之间。善画山水，早年从学于孙无修，中年师萧云从。其画取法元代倪瓒、黄公望，构图洗练简逸，笔墨苍劲整洁，善用折带皴和干笔渴墨。他重视师法自然，善画黄山、武夷山诸景，传达山川之美，意境伟峻秀逸，“得黄山之真性情”，与石涛、梅清同成为“黄山画派”的代表人物。在安徽与查士标、孙逸、汪之瑞并称“海阳四家”，形成“新安派”。同时，与石涛、八大、髡残合称“清初四僧”。",[25,55,56,57,58,80,30,7,83,498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b3848dc7a70e5c11a9d7c7ea91e38be.jpg",[],54,{"id":2784,"slug":2785,"title":2786,"dynasty":18,"author":317,"museum":20,"description":2787,"tags":2788,"thumbUrl":2789,"material":64,"size":64,"collection":64,"collections":2790,"showCount":2782,"zanCount":43,"manualWeight":43,"mainColor":69},235610,"hong-ren-xi-yan-song-xue-tu-zhou-yi-ming-235610","弘仁西岩松雪图轴","以淡墨勾勒皴擦，笔致清劲洗练，将冬日萧寒山境铺陈眼前。危崖层叠凌然耸立，石壁方折硬挺如刀削斧劈，尽显山石孤高嶙峋之态。留白晕染出漫山积雪，素净莹洁，与虬曲枯松相映，愈添荒寒清寂之意。\n\n山间石阶、崖顶幽居藏于苍茫雪景中，似隔绝尘寰烟火，恍若世外幽境。画作以极简笔墨营造出空灵淡远的禅意，清冷孤高的意境直透纸背，尽显静穆萧散的山水逸趣，将冬日山居的幽寂出尘之美尽数铺陈开来。",[25,79,55,58,56,213,344,308,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febca332b4a42388ea31a1981cf2e1c04.jpg",[],{"id":2792,"slug":2793,"title":2794,"dynasty":18,"author":160,"museum":20,"description":2795,"tags":2796,"thumbUrl":2798,"material":64,"size":64,"collection":64,"collections":2799,"showCount":2782,"zanCount":43,"manualWeight":43,"mainColor":44},234249,"bai-shou-tu-hua-yan-234249","百兽图","华喦[yán]，清朝人。他生于康熙，卒于乾隆，经历“康乾盛世”，却一生贫苦。\n他年轻时因被乡绅羞辱，拒绝他为宗族祠堂作画。他一气之下，连夜在祠堂墙壁上画下高山云鹤、水国浮牛、悬崖青松、倚马题诗四幅画作，然后愤然离乡出走。\n他中年辗转于江南各地，与“扬州八怪”交往密切，成为扬州画派的代表人物，传世佳作皆被世人奉若珍宝。\n他晚年书、画、诗俱全，被称为“三绝”，人物、花鸟走兽、山水自然无不精通，终成一代名家。乃至后来者如吴昌硕、齐白石、徐悲鸿等大师也学习他绘画技法。\n在这里要特别提到的是，他笔下的画作，和别的艺术大师有些不同。\n嵒，通“岩”。华喦，人如其名。他的艺术成就如同山峰一般耸立在清代画坛，令无数后来者敬仰。自古以来善画走兽者甚多，但很少有人能画出百兽图。因此珍藏于北京故宫博物院的一幅《百兽图》便显得格外珍贵，它的作者便是华喦。\n此作为长卷画作，画面自右向左依次出现狗、牛、羊、马、鹿、狼、虎、猴、熊等动物，而一头老虎位居画面正中却面露囧态。画面中的动物们被华喦描绘的生动传神，栩栩如生，各具亮点。每一处局部独立展示便是一幅小品佳作，而纵览全画便犹如置身深山老林之中，处处散发着自然的生命力。\n画面最右侧，首先映入眼帘的是人类生活中常见的狗、牛、羊、马。\n接下来画面中来到河畔旁的草地上，一众动物在枫叶美景中悠闲地嬉戏打闹，但河对岸一只麋鹿正此刻正和一只灰狼对峙，凭添了几分紧张的气息。\n镜头继续向左转移，一只老虎在山坡的另一侧独自矗立。虽说老虎是百兽之王，可它此刻的面部表情却十分窘迫，甚至引得巨石上的猴子驻足观看。想来应该是它在头疼这森林的管理问题吧。\n随着我们的视角不断向左深入，画面中山石林立，藤叶纷飞，显得更加原始。而这里的主角变成了一群热闹的猴子，和两只争食的黑熊。\n整幅画作的最左侧，两只大黑熊在互相夺食，而另一只小黑熊却呆在山洞里悠闲地睡着懒觉，顿时令观者啼笑皆非。\n值得一提的是，华喦这幅《百兽图》除开陆地上生活的一群动物外，空中无鸟，水中无鱼。本应威武凶狠的老虎虽出画面正中心，却毫无威仪感，甚至显得有些窘迫。不知作者当时为何会如此创作。",[23,25,26,28,27,56,58,635,1641,100,7,30,31,29,2797,2127,978],"犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd8e66486eac6115b5e7d13a3b541fdc.jpg",[],{"id":2801,"slug":2802,"title":2803,"dynasty":74,"author":2804,"museum":191,"description":2805,"tags":2806,"thumbUrl":2808,"material":152,"size":2809,"collection":65,"collections":2810,"showCount":2782,"zanCount":11,"manualWeight":43,"mainColor":69},222578,"zhu-lu-shan-fang-zhou-shen-zhen-222578","竹炉山房轴","沈贞","该图画山峦耸立、老树槎桠，叶竹围绕山房，生意昂然。此图时代风格极为鲜明，与刘珏、杜琼诸家接近，从而得以探明沈周画风的出处，了解承前启后的脉络。",[23,25,54,79,28,56,27,58,241,7,242,82,101,308,2807,590,589],"茅舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04ce7c6cd7d2c7863041083e3b58f8f4.jpg","纵115.5厘米，横35厘米",[65,140],{"id":2812,"slug":2813,"title":2814,"dynasty":49,"author":253,"museum":161,"description":2815,"tags":2816,"thumbUrl":2817,"material":37,"size":2818,"collection":122,"collections":2819,"showCount":2782,"zanCount":536,"manualWeight":43,"mainColor":69},220304,"shen-qi-tu-zhao-meng-fu-220304","神骑图","赵孟頫（1254年10月20日 －1322年7月30日 ），字子昂，汉族，号松雪道人 ，又号水晶宫道人（一说水精宫道人 ）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。",[23,26,27,28,194,196,510,635,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57852e2c7d3771acfec8f2e8b15502eb.jpg","16.8x87厘米",[122,140],{"id":2821,"slug":2822,"title":2823,"dynasty":49,"author":317,"museum":328,"description":2824,"tags":2825,"thumbUrl":2830,"material":37,"size":2831,"collection":39,"collections":2832,"showCount":2782,"zanCount":11,"manualWeight":43,"mainColor":44},219254,"xing-hua-yuan-yang-tu-yi-ming-219254","杏花鸳鸯图","老干虬曲盘折，枝桠间素白杏花轻绽，似碎雪点染枝头，清妍雅致。水畔鸳鸯相倚，羽色温润柔和，与浅滩细草、零星苔石相映，添得几分闲逸生趣。画面色调古雅沉敛，笔墨简淡却意韵悠长，于静谧中藏生机，尽显元代文人画的清逸之致，观之如沐春风，心归恬淡。",[23,2826,24,25,54,35,27,28,2827,729,7,164,103,2828,2829,180],"元代","杏花","杂草","禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3807ab913238f9ab10fab7e5d2ba0d67.jpg","纵163横98.2厘米",[39],{"id":2834,"slug":2835,"title":2836,"dynasty":49,"author":2837,"museum":51,"description":2838,"tags":2839,"thumbUrl":2840,"material":63,"size":2841,"collection":65,"collections":2842,"showCount":2782,"zanCount":11,"manualWeight":43,"mainColor":44},218256,"xi-ting-shan-se-tu-lu-guang-218256","溪亭山色图","陆广","峰峦层叠如黛，飞瀑如练悬垂崖间，水汽似漫过纸面。坡岸旁枯木疏枝意态萧散，秋意清寂尽现。临流筑榭，隐者凭栏或对谈，时光缓缓流淌。笔墨苍润兼具，皴擦间见山石肌理，线条灵动藏古雅韵致。整幅画清幽淡远，文人丘壑化为纸上烟霞，尽显元人山水空灵超脱。观之如入静谧之境，尘心渐息，仿佛能闻瀑声松涛，触到溪畔清风。",[25,79,55,56,58,118,7,81,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F143810d1b0b02dc21227e0b62f9768c8.jpg","89.1x25.4cm",[65],{"id":2844,"slug":2845,"title":2846,"dynasty":18,"author":2847,"museum":76,"description":2848,"tags":2849,"thumbUrl":2850,"material":63,"size":2851,"collection":65,"collections":2852,"showCount":2782,"zanCount":43,"manualWeight":43,"mainColor":69},216780,"si-mei-ju-he-fu-tu-dong-bang-da-216780","四美具合幅图","董邦达","明末，顾从义收藏有顾恺之的《女史箴图》、李公麟的《湘妃卧榻图》、《蜀江图》和《九歌图》。这四卷书后来遗失了，在乾隆十一年，它们被逐渐转移到皇室。梁实秋、王玉盾和张若昀的画跋中提到，乾隆十年，他把这幅画和《雪》、《秋》、《博远图》一起保存在三希堂，这四位美女 其实是相互映衬的。此图为董其昌《四美图》两卷中的右幅。",[25,54,24,79,55,56,58,212,82,118,101,100,7,241,242,61,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54f2473dd5a6c940a97462bec011f41a.jpg","171.7x111.8",[65],{"id":2854,"slug":2855,"title":2856,"dynasty":49,"author":2050,"museum":161,"description":2857,"tags":2858,"thumbUrl":2859,"material":275,"size":2860,"collection":65,"collections":2861,"showCount":2782,"zanCount":43,"manualWeight":43,"mainColor":69},214383,"yu-le-tu-fang-cong-yi-214383","鱼乐图","画面中，一个樵夫与渔民在岸边上喝酒，反映了工人的简单情感和生活细节。一棵垂柳树耸立在画中，映衬着翠绿的山丘和海滩。这幅画是素描，笔触强烈而尖锐，色彩明亮而优雅。虽然这幅画是由方从义题写的，但其风格更接近明代的戴进和吴伟的风格。",[23,25,54,79,55,56,58,7,256,101,2441,83,360],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00272ba6a9af3a5abb90b8e961a2292f.jpg","143.8x43.2",[65],{"id":2863,"slug":2864,"title":2865,"dynasty":18,"author":2866,"museum":943,"description":2867,"tags":2868,"thumbUrl":2870,"material":216,"size":2871,"collection":64,"collections":2872,"showCount":2873,"zanCount":43,"manualWeight":43,"mainColor":69},230103,"hong-lou-meng-184-sun-wen-230103","红楼梦184","孙温","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[25,27,28,101,135,118,715,7,690,2869],"饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabfc332f8765efb0858e3cb67140d24d.jpg","纵43.3厘米、横76.5厘米",[],53,{"id":2875,"slug":2876,"title":2877,"dynasty":74,"author":586,"museum":76,"description":2878,"tags":2879,"thumbUrl":2880,"material":85,"size":2881,"collection":65,"collections":2882,"showCount":2873,"zanCount":43,"manualWeight":43,"mainColor":69},222364,"zhen-ze-yan-shu-tu-tang-yin-222364","震泽烟树图","诗塘 御题行书(乾隆甲辰御题。诗文不录)。\n鉴藏宝玺 乾隆御览之宝。古稀天子。五福五代堂古稀天子宝。八徵耄念之宝。避暑山庄。钤於诗塘。文津阁宝。钤於左边幅。太上皇帝之宝。钤於右边幅。五玺全。嘉庆鉴赏。三希堂精鉴玺宜子孙。三印钤於右边幅。宝笈三编。",[23,25,55,58,358,241,7,59,60,196,56,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f664c5ad22e60535497a22874ce361.jpg","纵47厘米，横37.8厘米",[65,88],{"id":2884,"slug":2885,"title":2886,"dynasty":18,"author":2887,"museum":76,"description":2888,"tags":2889,"thumbUrl":2890,"material":63,"size":2891,"collection":65,"collections":2892,"showCount":2873,"zanCount":11,"manualWeight":43,"mainColor":69},219481,"shan-shui-zhou-huang-ding-219481","山水轴","黄鼎","这幅画中，江亭空旷，江山深邃，秀美。",[25,55,79,56,196,58,7,59,212,1026,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff353d9af0a3e032c79871c2d0edac77a.jpg","78x39.3",[65],{"id":2894,"slug":2895,"title":2896,"dynasty":74,"author":2408,"museum":76,"description":2897,"tags":2898,"thumbUrl":2899,"material":37,"size":2900,"collection":65,"collections":2901,"showCount":2873,"zanCount":43,"manualWeight":43,"mainColor":44},219397,"shan-shui-tu-yi-hai-qiu-zhong-lan-ying-219397","山水图-已亥秋仲","画面层峦叠嶂隐于烟霭，远山如黛，近岫含翠。苍松劲柏立岸而生，枝干虬劲，墨色浓淡相宜；水面波光粼粼，一叶扁舟悠然泛波，岸边茅屋隐于林间，野趣横生。中段亭榭临溪，飞檐翘角与周遭林木相映成趣。山石皴法刚健，兼具浙派风骨与文人雅致，墨色晕染自然，设色淡雅温润。秋仲清寂悠远尽显笔端，仿佛可闻林间风声、水面桨声，引人步入静谧山水之境，体味超然物外的闲适安宁。",[25,54,79,28,58,118,82,358,7,59,1026,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc24749ccb3e2b4cacaa976f90dcd98.jpg","145.8x71.6",[65],{"id":2903,"slug":2904,"title":2905,"dynasty":771,"author":2234,"museum":76,"description":2906,"tags":2907,"thumbUrl":2909,"material":216,"size":64,"collection":88,"collections":2910,"showCount":2873,"zanCount":43,"manualWeight":43,"mainColor":69},219232,"hua-niu-dai-song-219232","画牛","戴嵩 ，生卒年不详，唐代画家。韩滉弟子，韩滉镇守浙西时，嵩为巡官。擅画田家、川原之景，画水牛尤为著名，后人谓得“野性筋骨之妙”。相传曾画饮水之牛，水中倒影，唇鼻相连，可见之观察之精微。明代李日华评其画谓：“固知象物者不在工谨，贯得其神而捷取之耳。”与韩干之画马，并称“韩马戴牛”。",[1146,25,54,24,55,28,27,100,101,7,2908,103,196],"小狗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf1d4166525a0816f7b92f6d8b121fdb.jpg",[88],{"id":2912,"slug":2913,"title":2914,"dynasty":74,"author":2915,"museum":76,"description":2916,"tags":2917,"thumbUrl":2920,"material":275,"size":2921,"collection":122,"collections":2922,"showCount":2873,"zanCount":43,"manualWeight":43,"mainColor":44},217034,"bai-ma-tuo-jing-tu-ding-yun-peng-217034","白马驮经图","丁云鹏","白马驮经图是中国明朝时期画家丁云鹏所作的一幅著名的中国画。这幅画描绘了一匹白马背负着丰满的袋子，路过田野、山谷和小村庄，显然是在途中运送物资。\n\n丁云鹏是明朝时期著名的画家，他的作品风格独特，被称为“丁式画法”。他的作品中经常出现农村生活的题材，善于捕捉农民劳作的真实生活。白马驮经图就是其中的一幅代表作。\n这幅画的特点在于对光影的运用，丁云鹏巧妙地运用阴影和明暗来突出画面的立体感，让人感觉白马和背负的袋子都是立体的，充满了生命力。此外，画中的风景也很优美，景色宁静而美好，给人带来深刻的视觉冲击。\n\n总的来说，白马驮经图是一幅充满生命力和美感的中国画，值得一看。",[23,25,54,27,28,1096,101,510,7,58,59,102,256,196,2918,2919],"侍从","经箱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74fd292e518fbf95bea5b9e942631f6c.jpg","130.9x54.5",[122],{"id":2924,"slug":2925,"title":2926,"dynasty":74,"author":468,"museum":355,"description":2927,"tags":2928,"thumbUrl":2929,"material":717,"size":1530,"collection":1918,"collections":2930,"showCount":2931,"zanCount":43,"manualWeight":43,"mainColor":69},237781,"mo-juan-chuan-yi-tu-zhou-dong-qi-chang-237781","墨卷传衣图轴","此图取倪瓒二段式构图，简远平阔。近景画坡石岸渚，树木几株，枝叶葱郁。中部以留白手法表现平缓的湖水，缓缓过渡到远处的山岭以及山下的村舍民居，一派温润清幽的江南丽景。作品用笔秀逸率真，精妙地运用了水墨之浓淡、干湿变化，并兼以黄公望之枯笔短皴勾擦山石，笔致浑厚润泽而不失苍率之趣，堪称董氏晚年山水画佳构。\n在董其昌的自题中表明了画此图的用意。其自题大意为：35年前（明万历十七年，即1589年）参加殿试得中进士，所作五道策文后被好书之人所收藏。今有从事书画交易的中间人携来再观，虽觉彼时书法因时间紧迫而不佳，但作为自己成就功名的试卷，便以此图换回墨卷，交付孙子董庭保存，以昭示诗书传家之意。\n在这段自题中，出现了两个关键词语“南宫”、“策”。“南宫”一词原意指南方星宿，汉时以南宫一词比拟尚书省，后代又称礼部为南宫。明清时期，殿试由皇帝主持，除以王、公等为监试外，由礼部尚书为总管。“策”为文体之一种，古时科举试士用“策”对之，尤其是殿试之时，只考“制策”一场，故亦称策试。据《明史》卷二二八《董其昌传》所载：“万历十七年进士，改庶吉士”，则可以肯定，作者自题中所述“己丑南宫墨卷五策”，其意所指为作者当年殿试时所作五卷策文。至于十分重要的殿试策文如何能够为好事者所得，尚有待考定。",[25,54,79,55,56,24,58,80,7,242,256,257,103,285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12dfe63490e986e77004199f4eeab82f.jpg",[1918],52,{"id":2933,"slug":2934,"title":2935,"dynasty":95,"author":2936,"museum":2937,"description":2938,"tags":2939,"thumbUrl":2940,"material":152,"size":2941,"collection":64,"collections":2942,"showCount":2931,"zanCount":11,"manualWeight":43,"mainColor":44},232776,"si-ji-shan-shui-tu-juan-li-tang-232776","四季山水图卷","李唐","日本京都高桐院","作品以开阔的画面展示了从卷头的春景开始到卷末的冬景结束，连续画出了四季山水的变迁。仔细观摩之，这一春夏秋冬的四季也分别画成孟、仲、季三景，并且通过巧妙的布置而连成一景。一卷四季变化实属罕见。",[23,24,25,54,26,28,58,56,27,80,164,358,7,118,29,212,82,360,101,83,197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc6192ff70fbb361ec6c27ae7f9dd2de.jpg","纵32厘米，横515.5厘米",[],{"id":2944,"slug":2945,"title":2946,"dynasty":18,"author":712,"museum":20,"description":2947,"tags":2948,"thumbUrl":2949,"material":64,"size":64,"collection":64,"collections":2950,"showCount":2931,"zanCount":43,"manualWeight":43,"mainColor":69},229007,"shui-mo-shan-shui-ce-gong-xian-229007","水墨山水册","此作用笔沉郁苍润，以积墨手法反复皴染，将山石的厚重朴拙、林木的葱郁劲健尽皆铺陈。左侧丘峦缓坡之上，山居孑立，檐角轻挑隐于青嶂间，似藏幽人栖居之趣。右侧林木错落，浓淡墨色分出层叠深浅，与留白的水色相映，晕染出空濛悠远的江上晚景。\n整幅画境清寂萧散，墨色的虚实相生里藏着绝尘避世的安宁，题款与画作相映，更添文人情致，将江南山水的静穆淡远揉进方寸之间，尽显幽淡空和的林下之风。",[25,54,24,55,56,58,118,7,59,459,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30802f84640b4220fab4b0c4f3708cb1.jpg",[],{"id":2952,"slug":2953,"title":2954,"dynasty":95,"author":317,"museum":20,"description":2955,"tags":2956,"thumbUrl":2960,"material":64,"size":64,"collection":64,"collections":2961,"showCount":2931,"zanCount":43,"manualWeight":43,"mainColor":69},227561,"mo-zhou-fang-gong-ji-diao-qin-tu-quan-juan-yi-ming-227561","摹周昉宫妓调琴图全卷","《调琴啜茗图》，又名《弹琴仕女图》、《宫妓调琴图》，传为周昉所作，并为其仕女画的代表之作。图绘三位坐于庭院的贵妇，在两位侍女的陪伴下，或把弹调音、或托盏品茶，表现出贵族妇女闲散恬静的生活。《调琴啜茗图》现存多幅摹本，如纳尔逊-阿特金斯艺术博物馆收藏的完成于宋代的绢质摹本、弗利尔美术馆收藏的绘制于明代的纸质摹本、京都国立博物馆收藏的带有仇英款的绢质摹本。极为巧合的是辽宁省博物馆收藏有两卷《调琴啜茗图》，一件为清宫旧藏，曾经《石渠宝笈》续编著录，署款“周昉”，实为后人仿本。另一件则为清代扬州画家管希宁所摹。两件与前述作品均作同一主题内容，今展出者为清宫旧藏之本。",[23,25,24,26,531,27,28,101,135,2957,691,2958,83,7,196,1408,2959],"宫妓","琴","木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86a8be6ac76555b6613aa727cae2fb3c.jpg",[],{"id":2963,"slug":2964,"title":2965,"dynasty":1460,"author":1461,"museum":20,"description":1462,"tags":2966,"thumbUrl":2971,"material":1148,"size":1149,"collection":1476,"collections":2972,"showCount":2931,"zanCount":11,"manualWeight":43,"mainColor":69},225896,"antibes-in-the-morning-1888-mo-nai-225896","Antibes, in the Morning, 1888",[1465,1464,7,1469,2967,1471,2968,2969,2970],"远景建筑","晨光","户外风景","色彩晕染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4690a3c61855dff8f682ba5b4f0b5e0f.jpg",[1476],{"id":2974,"slug":2975,"title":1033,"dynasty":95,"author":317,"museum":76,"description":2976,"tags":2977,"thumbUrl":2978,"material":63,"size":2979,"collection":88,"collections":2980,"showCount":2931,"zanCount":43,"manualWeight":43,"mainColor":69},218986,"yun-shan-tu-yi-ming-218986","这幅画描绘了一位科学家在山区雨后拜访一位朋友的情景，当时烟云尚未散去，清澈的溪水升起。这幅画采用了米氏的云山法，使云烟变幻莫测，消失不见。",[23,25,55,484,56,80,715,164,7,118,103,101,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5cc7d830dfbd686250666d42029b9ac.jpg","24.3x53.1",[88],{"id":2982,"slug":2983,"title":2984,"dynasty":95,"author":317,"museum":76,"description":2985,"tags":2986,"thumbUrl":2989,"material":37,"size":2990,"collection":39,"collections":2991,"showCount":2931,"zanCount":536,"manualWeight":43,"mainColor":44},218707,"han-tang-qun-yan-tu-yi-ming-218707","寒塘群雁图","这是一幅描绘池塘一角的画，岸边有枯草和树叶，给人一种寒意。几只大雁聚集在一起，其中一只飞向空中，与伸出头来的那只大雁遥相呼应，形成一个生动的画面。笔触和色彩的灵感来自于崔白。",[23,25,24,54,27,28,2653,29,2987,7,2441,164,2988,2829],"池塘","岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71dfdb429461da18280483cbdee873a7.jpg","194.4x109.2",[39],{"id":2993,"slug":2994,"title":48,"dynasty":18,"author":2470,"museum":20,"description":2995,"tags":2996,"thumbUrl":2997,"material":1148,"size":1149,"collection":65,"collections":2998,"showCount":2999,"zanCount":43,"manualWeight":43,"mainColor":69},235509,"shan-shui-ce-cha-shi-biao-235509","查士标，查士标（1615-1698） ，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。安徽休宁人。\n查士标（1615-1698）与弘仁、孙逸、汪之瑞称“新安四大家”。在新安四家中，是位高产书画家，就技法而言，以他为最高，作品也最多。后流寓扬州、镇江、南京。善书画、工诗文、精鉴赏。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。\n山水师法黄公望、吴镇、倪瓒、董其昌，笔墨疏简，格调秀远，书法受董其昌影响。在新安四家中，是位高产书画家，他学倪黄，但能广泛吸收前人各家各派画法。就技法而言，以他为最高，作品也最多。\n其作品高达百万，甚至数百万。\n最早提出“新安画派”名称的是清朝康熙所间的艺术理论家张庚，张庚之后，人多沿用，“新安画派”遂成定称。新安画派成员众多，力量雄厚。画艺可观者近80人，其中卓然自成一家者约有20人，分为四个层面：先驱程嘉燧、李永昌、李流芳；画派领袖僧渐江；鼎盛期主要成员方式玉、王瘭素、吴山涛、程邃、汪家珍、戴本孝、吴龙、顺田生、程正揆、郑旼、汪之瑞、孙逸、查士标、汪洪度、雪庄；现代后继者黄宾虹。",[25,54,57,55,58,80,715,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a4280bacbc5da11ddb8e014095b837d.jpg",[65],50,{"id":3001,"slug":3002,"title":3003,"dynasty":95,"author":1093,"museum":20,"description":3004,"tags":3005,"thumbUrl":3006,"material":64,"size":64,"collection":64,"collections":3007,"showCount":2999,"zanCount":43,"manualWeight":43,"mainColor":44},227742,"lou-ge-tu-li-song-227742","楼阁图","李嵩(1166—1243)，宋钱塘（今杭州）人。出身贫寒，年少时曾以木工为业。好绘画，颇远绳墨。被宫廷画家李从训收为养子，承授画技，终成一代名家。宋光宗、宋宁宗、宋理宗三朝（1190—1264）画院待诏，时人尊之为“三朝老画师”。工画人物道释，得从训遗意，尤长于界画。人物画用笔细致，神采奕奕；花鸟画精丽严谨，不觉繁缛呆滞；山水画以意匠经营，情留象外，引人入胜；界画不用界尺，而宫苑楼阁规矩绳墨皆备，不同凡响。绘画题材丰富多彩，从宫廷到民间、从城市到农村、从生产到生活、从吃喝到娱乐、从仙山到龙宫、从历史到现实均在画中有所反映，以反映农村风土和农民生活的居多，所作有精工鲜丽之院体画，作品甚丰，仅著录者就达50多幅。如《明皇斗鸡图》《花篮图》；有白描淡色之风俗画，如《货郎图》；也有水墨渲染之山水画，如《西湖图》等。\n\n传世作品有嘉定四年（1211）作《货郎图》卷、《花篮图》页、《骷髅幻戏图》轴藏故宫博物院；《西湖图》卷藏上海博物馆；《听阮图》、《夜月看湖图》及传为李嵩的山水小品画《水殿招凉图》等藏台北故宫博物院。传世作品还有《椿溪渡牛图》、《服田图》、《采莲图》和《观潮图》等，题材后世论画者题其画说：“李师最识农家趣”。\n\n李嵩的风俗画更为知名，他画过许多表现下层社会生活的农村生活风俗画，把劳动人民的生活作为审美对象来描绘，这在中国古代美术发展史上有着重要的意义。 其《货郎图》有多种本子存世，以故宫博物院收藏的一卷为最佳。此画描写一挑担货郎在乡村被孩童围住的情景，充满浓厚的乡土气息。藏于故宫博物院的《骷髅幻戏图》轴，人物表情甚佳，衣纹丁头鼠尾，多用直线，细而有力。",[25,54,915,27,28,58,211,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feee79b8cdce1dc5eed5659beb992a37f.jpg",[],{"id":3009,"slug":3010,"title":94,"dynasty":95,"author":317,"museum":20,"description":3011,"tags":3012,"thumbUrl":3013,"material":245,"size":64,"collection":107,"collections":3014,"showCount":2999,"zanCount":11,"manualWeight":43,"mainColor":44},218663,"mu-niu-tu-yi-ming-218663","墨色晕染间，郊野清趣缓缓铺展。两头水牛憨态可掬：一头低首缓步，似嗅草间露气；一头驮着牧童悠然前行，弯弯牛角衬得身形愈发敦实。侧旁幼童牵绳随行，稚态尽显。左侧林木疏朗，枯枝横斜，藤蔓垂挂如帘，与右侧孤树相映，添了几分野逸之韵。山石起伏处，草木隐现，一派自然清旷。整幅画以淡墨勾染，线条温润细腻，将田园间的闲适宁静凝于绢素。似能闻得牛蹄踏土的轻响，牧童随口哼出的短调，尽显宋人笔下的生活意趣与山水情怀，将平凡日常淬炼成诗意的画面。",[23,25,54,27,56,100,101,7,58,1083,197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37756075c4b31aef394ddd6fd16cfcfe.jpg",[107],{"id":3016,"slug":3017,"title":3018,"dynasty":49,"author":317,"museum":51,"description":3019,"tags":3020,"thumbUrl":3021,"material":37,"size":64,"collection":65,"collections":3022,"showCount":2999,"zanCount":11,"manualWeight":43,"mainColor":44},217985,"zhong-ling-chun-se-tu-yi-ming-217985","重岭春色图","重岭春色图这幅画以其精美的绘画技巧和优美的风景吸引了许多人的目光。画中的景观描绘了一座重岭，周围是翠绿的树林，清新的空气中弥漫着春天的气息。轻轻飘荡的云彩似乎都在为这片美景增添一份神秘感。\n\n尽管这幅画作的作者是佚名，但它仍然是元朝时期艺术史上的一个重要作品。它的出现说明了元朝时期艺术家们对自然风光的描绘的技巧和热爱。如今，这幅画作仍然是许多人喜爱的艺术品，它代表了中国古代艺术的精华。",[25,54,58,55,56,80,7,1083,197,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13ad62fdde2984f5c83ea59ddf31b1f0.jpg",[65],{"id":3024,"slug":3025,"title":3026,"dynasty":18,"author":3027,"museum":355,"description":3028,"tags":3029,"thumbUrl":3031,"material":275,"size":3032,"collection":39,"collections":3033,"showCount":2999,"zanCount":43,"manualWeight":43,"mainColor":69},216233,"shi-jun-quan-tu-ai-qi-meng-216233","十骏犬图","艾启蒙","图为乾隆皇帝在宫中豢养的欧洲纯种猎犬画像。作者以西方的素描技法，运用解剖学，以短细的笔触一丝不苟地刻画出猎犬健美的体态和皮毛的质感，具有极强的写实性。每幅图的对开上均标明犬名，对宫廷御用犬的研究具有极高的史料价值。图中的衬景山水是中国画家创作的。中西画家携手创作是乾隆朝宫廷绘画的一大特色。\u2028　　款署：“臣艾启蒙恭绘。”钤“臣艾启蒙”白文印、“恭画”朱文印。每图对开页有嵇璜书写的乾隆朝大学士汪由敦和梁诗正撰写的题赞。鉴藏印有“乾隆鉴赏”、“宜子孙”等。\u2028　　此图旧藏紫禁城内的乐寿堂。《石渠宝笈》著录。",[23,959,25,27,28,3030,196,635,2797,59,7,82],"楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ffec4435ecb0b05c797d72ed5d75aa9.jpg","纵24.5厘米，横29.3厘米",[39],{"id":3035,"slug":3036,"title":3037,"dynasty":18,"author":1070,"museum":20,"description":3038,"tags":3039,"thumbUrl":3040,"material":1148,"size":1149,"collection":64,"collections":3041,"showCount":3042,"zanCount":43,"manualWeight":43,"mainColor":69},235564,"lin-ni-zan-xi-ting-shan-se-tu-shan-mian-wang-hui-235564","临倪瓒溪亭山色图扇面","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[25,54,976,55,531,56,194,196,58,118,7,59,81,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9946beb712e3f30922fe588e598acbf8.jpg",[],49,{"id":3044,"slug":3045,"title":3046,"dynasty":74,"author":75,"museum":355,"description":3047,"tags":3048,"thumbUrl":3049,"material":717,"size":3050,"collection":64,"collections":3051,"showCount":3042,"zanCount":43,"manualWeight":43,"mainColor":69},233147,"fang-dong-ju-shan-shui-tu-zhou-shen-zhou-233147","仿董巨山水图轴","五代南唐董源、巨然的风格受到明代吴门画家的重视，成为他们效仿、取法的对象，根据本幅左上角画家自题，图中仿董巨的风格是受民度本人所请。该图在狭长的尺幅中作长林巨壑之景，近处松石陂陀，中间有较大面积的湖水，水面上二人乘小舟垂钓，一座桥从画外延伸至山脚下的彼岸，桥上一文士策杖而行，岸上有茅亭屋舍。再往上山势连绵，景致层层深入，中间一条“S”形的山谷使两边的山峰在狭长的构图中并不显得拥挤，凸显了高远、深远的特色。图中皴笔短促繁密，圆润松秀，用笔注重层层渲染，笔锋内敛，具有外柔内刚的特点。该图在构图、笔墨上受到“董巨”的影响，但是画家融合古人的笔意而又有自己的特点，用笔颇为苍润醇厚，此外策杖归来、舟上垂钓均为当时吴门文士生活的真实写照。",[25,54,79,55,56,531,58,80,164,7,213,1561,118,228,308,590,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14e5c45557f6c8377677e6b12b06ec41.jpg","纵163.4厘米，横37厘米",[],{"id":3053,"slug":3054,"title":3055,"dynasty":18,"author":3056,"museum":20,"description":3057,"tags":3058,"thumbUrl":3061,"material":64,"size":64,"collection":64,"collections":3062,"showCount":3042,"zanCount":11,"manualWeight":43,"mainColor":69},230118,"xie-sheng-hua-niao-tu-qu-zhao-lin-230118","写生花鸟图","屈兆麟","此作以工笔设色绘就庭院清秋小景，桂树新枝缀着嫩绿叶瓣与细碎繁花，枝头双雀依偎和鸣，另有群雀或振翅掠空，或伫立于朱漆栏杆，将灵雀憨态描摹得鲜活入微。\n\n下方幽石错落，阔叶草木舒展柔姿，淡色小花点缀其间，晕染出静谧雅致的庭间氛围。设色清妍柔和，线条匀净秀润，兼具院体花鸟的工致写实，又暗含文人写意的清幽意趣，将寻常庭院的花鸟日常，晕染为一方诗意盎然的雅致画境，尽显写生花鸟的细腻妙趣。",[23,25,54,79,27,28,35,29,7,962,1296,3059,3060,103,961],"麻雀","栅栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0eac61a99c9ad9c38167017ba4112f0.jpg",[],{"id":3064,"slug":3065,"title":3066,"dynasty":95,"author":2936,"museum":20,"description":3067,"tags":3068,"thumbUrl":3070,"material":64,"size":64,"collection":64,"collections":3071,"showCount":3042,"zanCount":43,"manualWeight":43,"mainColor":44},227966,"gui-qu-lai-xi-tu-juan-li-tang-227966","归去来兮图卷","此作将陶潜归田之思铺陈于绢素之上，前段平远旷阔，烟波轻笼田舍村墟，农人往来、隐者凭栏，尽显乡居安闲意趣；后段峰峦崔嵬，林木蓊郁，幽涧流泉间高士策杖寻幽。\n笔墨糅合北宋山水的雄浑与苍劲院体笔法，勾勒简括，皴染厚重，丘壑幽邃与田园清逸相融。搭配纵逸题笔，诗书画印浑然一体，把守拙归园、寄情山水的林下襟怀淋漓展现，萧散静穆的隐逸气象扑面而来。",[24,25,54,26,55,28,58,101,211,212,82,118,7,59,3069,194,196,56],"舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a5cc3cee1ceef518ee7b74df05ac966.jpg",[],{"id":3073,"slug":3074,"title":3075,"dynasty":74,"author":282,"museum":1953,"description":3076,"tags":3077,"thumbUrl":3078,"material":63,"size":3079,"collection":65,"collections":3080,"showCount":3042,"zanCount":43,"manualWeight":43,"mainColor":44},219925,"zhu-ju-tu-wen-zheng-ming-219925","竹居图","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。",[25,54,55,28,56,58,241,118,7,83,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F292ecae83b68849fed901d8ead40a667.jpg","71.5x41cm",[65],{"id":3082,"slug":3083,"title":3084,"dynasty":74,"author":1729,"museum":132,"description":3085,"tags":3086,"thumbUrl":3089,"material":245,"size":64,"collection":65,"collections":3090,"showCount":3042,"zanCount":43,"manualWeight":43,"mainColor":69},219893,"zhou-jin-tang-ji-chen-chun-219893","昼锦堂记","陈淳(1483-1544)，字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲(今江苏苏州)人，明代绘画大师。",[23,25,54,26,195,3087,3088,55,28,101,211,212,82,358,118,7,59,196],"草书","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba68ea872e59a506e45fdc29a7bc85d6.jpg",[65,1918],{"id":3092,"slug":3093,"title":3094,"dynasty":49,"author":442,"museum":76,"description":3095,"tags":3096,"thumbUrl":3097,"material":37,"size":3098,"collection":122,"collections":3099,"showCount":3042,"zanCount":11,"manualWeight":43,"mainColor":44},219694,"san-yuan-song-xi-tu-qian-xuan-219694","三元送喜图","本幅描绘庭院一角，有两株梧桐傍石而生，桐荫下，三名童子聚精会神的观赏著画。轴中画的花禽，分别是香椽与喜鹊，与三 “元” 送 “喜” 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树，拾阶而上，屋内共有三人，红袍青冠者为许之渐之父，毕恭毕敬，端坐者为许之渐的祖母，其身后有一侍从。",[23,25,54,28,58,56,80,164,7,211,459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f7ef221145f30db6d05c465cc6f85fd.jpg","40×70厘米",[65,140],{"id":3239,"slug":3240,"title":3241,"dynasty":74,"author":317,"museum":850,"description":3242,"tags":3243,"thumbUrl":3244,"material":434,"size":3245,"collection":64,"collections":3246,"showCount":3220,"zanCount":43,"manualWeight":43,"mainColor":349},223577,"hou-lu-tu-yi-ming-223577","猴鹿图","画面既有对峙的情绪，又不失诙谐，展示出猕猴调皮的一面。",[23,25,27,28,635,1641,978,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3990bd328b807f7169b28a5e1559bb9a.jpg","17.8x22.2",[],{"id":3248,"slug":3249,"title":3250,"dynasty":174,"author":317,"museum":76,"description":3251,"tags":3252,"thumbUrl":3254,"material":1884,"size":3255,"collection":65,"collections":3256,"showCount":3220,"zanCount":43,"manualWeight":43,"mainColor":44},223343,"wu-dai-ren-qiu-lin-qun-lu-zhou-yi-ming-223343","五代人秋林群鹿轴","在尽情展露盛夏的绿意之后，秋天这个令人舒爽怡然的季节跟著悄然到来，所有的树叶在此时染上了缤纷的色彩，深红、淡橘、浅黄、碧蓝……似乎要赶在严冬来临之前，释放所有的美丽。鹿群抵不住诱人的秋色，踩著轻快脚步进入这片色彩斑斓的秋林，瞧鹿儿所呈现的各种姿态，彷若与眼前丰美的景色唱和起舞。\n《秋林群鹿》主要在描写鹿群于秋林中活动的各式神情，作画的人已经佚失，只知道曾经是属于元代皇帝的收藏。从作品的形式风格而言，充满装饰趣味的空间陈置，以及如此丰富的色彩勾填，都不常见于人们所熟知的中国绘画作品中，有学者推测，这件作品与邻近国家如辽国，甚至更远的中亚之间，存有十分密切的关系",[23,25,79,28,3253,978,7,635],"秋林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66f45cd68073dee3a98e941f2ee82b50.jpg","118.4x63.8公分",[65,140],{"id":3258,"slug":3259,"title":3260,"dynasty":95,"author":1230,"museum":355,"description":3261,"tags":3262,"thumbUrl":3263,"material":434,"size":3264,"collection":107,"collections":3265,"showCount":3220,"zanCount":203,"manualWeight":43,"mainColor":44},221560,"su-wu-mu-yang-tu-li-di-221560","苏武牧羊图","李迪（生卒年不详），南宋画家，河阳（今河南孟州南）人。供职于孝宗、光宗、宁宗三朝画院。擅写生，花鸟、竹石、走兽皆精，亦作山水小景。大幅气象豪迈，小品精细入微，晚年犹能作纤入毫笔的刻画。存世作品有《雪树寒禽图》《枫鹰雉鸡图》《风雨归牧图》等。",[23,24,25,54,976,28,1004,101,2127,635,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceaa42b0901bb55ad17260f047b24a30.jpg","24.4x21.5厘米",[107,122,140],{"id":3267,"slug":3268,"title":3269,"dynasty":771,"author":1880,"museum":76,"description":3270,"tags":3271,"thumbUrl":3272,"material":85,"size":3273,"collection":65,"collections":3274,"showCount":3220,"zanCount":11,"manualWeight":43,"mainColor":44},221073,"yuan-ma-zhou-han-gan-221073","猿马轴","该幅无款，旧题唐代韩干作。韩干，大梁人（河南开封），亦有作长安或蓝田人。公元742－755年（天宝）召入宫中为供奉。曾师曹霸，以画马而得名，唐张彦远极为推崇之。此幅绘竹石树林，三猿戏於枝间石上，其下绘黑白双骏。画上宋徽宗题字和“御书”一玺，及理宗“缉熙殿宝”玺皆伪，当为后加。然画中不论猿、马、树石、枝叶，皆描绘细腻，或为南宋作品。",[23,25,79,27,28,635,1641,510,7,59,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf7b8bdb4c78758314a20784df579585.jpg","48.58X136.8",[65,88],{"id":3276,"slug":3277,"title":3278,"dynasty":95,"author":3279,"museum":3280,"description":3281,"tags":3282,"thumbUrl":3284,"material":37,"size":3285,"collection":122,"collections":3286,"showCount":3220,"zanCount":43,"manualWeight":43,"mainColor":44},219624,"fu-nie-pan-tu-lu-xin-zhong-219624","佛涅槃图","陆信忠","奈良国立博物馆","本作品描绘了释迦在跋堤河边的婆罗双树之间圆寂的情景，是佛教传说中的一个重要场景。以法隆寺五重塔塔本塑像为首，日本早有表现涅槃场景的造像，而以涅般图为本尊像的涅槃法会，也于平安时代初期起成为惯例。涅槃图受到来自中国的影响，同时通过各个时代宗派盛行制作并独立发展开去。\u2028本图在涅槃图之中也具有非常独特的形式，绘制于中国南宋时代的贸易之都宁波，后被日本求得。娑罗树被描绘成两颗宝树，而释迦周围的众弟子并无悲伤表情，胡人打扮的人物围着香炉起舞，似在赞叹涅槃，这一点也实属罕见。有人设想这种图画形式形成的背景是当时宁波成熟的信仰文化。\u2028 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王蒙是赵孟𫖯的外孙，所受影响，不仅技法而已。",[23,25,54,55,56,58,358,82,7,59,360,196,1026,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4f2f4aff7c235556ddedd556c4afb9c.jpg",[],{"id":3406,"slug":3407,"title":1279,"dynasty":18,"author":1280,"museum":20,"description":3408,"tags":3409,"thumbUrl":3410,"material":1148,"size":1149,"collection":64,"collections":3411,"showCount":3412,"zanCount":43,"manualWeight":43,"mainColor":69},235284,"ren-wu-gu-shi-ce-fan-xue-yi-235284","女，本姓淑，嫁范氏为妻，江苏苏州人，生卒年不详。",[25,54,57,28,27,101,211,868,180,273,135,680,7,637],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4969cf7e7182473f0293efe286f13572.jpg",[],44,{"id":3414,"slug":3415,"title":3416,"dynasty":49,"author":888,"museum":76,"description":3417,"tags":3418,"thumbUrl":3419,"material":37,"size":3420,"collection":64,"collections":3421,"showCount":3412,"zanCount":43,"manualWeight":43,"mainColor":44},231404,"jun-ma-tu-zhao-yong-231404","骏马图","此画中主题与关键字是春景、高士（士人、隐士）、官员（臣）、马，描写平野放牧的景致，空旷幽远的构图布局中，五匹骏马安逸地散游在水边的几棵杂树之间；驯马人倚靠着松树，竟然打起瞌睡来，一副安然自在的样子。后方平静的湖水与秀丽的山峦连成一片，气氛更显得静穆、祥和。\n该幅《骏马图》，描写平畴牧马景致，画中山水的分量极重，布局空阔而幽远。水滨画杂树林立，骏马五匹散游其间，自得其乐；圉人（饲马的胡人）倚松假寐，神情极为逍遥；湖水如镜，远岫屏列，益觉一派静穆祥和。马匹结体壮硕，颇有唐代画马名家曹霸、韩干的遗意。配景设色则以青绿为之，夹叶填彩的表现法，已近乎图案形式，实滥觞于隋唐所盛行的青绿传统。唯远山掺用披麻皴纹，透露出董源、巨然山水风格的影响辙痕。\n早在秦汉时期，马匹造形即被广泛运用于殉葬的明器当中，魏晋的陵墓壁画，亦不乏骑马、射猎等生活写照。有唐一代，随着养马风尚高涨，画马的艺术也臻于极峰，举凡曹霸、陈闳、韩干、韦偃等人，均有作品传世。\n宋元以后，画马风气受到山水画勃兴的影响，逐渐趋向式微，除却李公麟的白描人马尚自具一格外，鲜少能超迈前贤的力作。而赵雍置身于复古思想炙热的元代，笔端吞吐着浓郁的唐人风范，诚属“汲古以创新”的心态所使然。事实上，赵雍画马已不似唐马那般丰肥，线条的感觉较为柔婉、秀丽，加上揉合青绿设色与董、巨披麻皴纹的山水配景，致使全画于装饰意味之外，犹未失却文人作画所特有的儒雅本色。显然，赵雍笔下的人马业已展现出元朝的时代风貌，不复为单纯的临摹与仿古了。\n该幅画平畴林野牧马的景致，画骏马五匹或磨肩，或依偎，或觅食于树荫下，不管在结构或造形上，皆显示画家对马匹曾做仔细的观察与了解，轻而易举地掌握复杂的造型。圉人倚松假寐，状至悠闲逍遥。人马以中锋钩画，人物表情生动，马匹结体雄壮。树叶以近似图案的工整格式画出，装饰性强，饶古拙之趣。画家更利用平镜无纹的湖水，及罗列的远山，加强空间的推衍及层次感，呈现阔远松秀的画面。其青绿设色及用笔虽颇有唐人遗意，但因结合设色与皴法，远较唐之青绿山水雅淡，充分地发挥笔墨情趣。\n这幅画是赵雍为色目人官员─孛颜忽都所画的。画风主要承袭自隋唐时代青绿山水，设色主要填染了石青、石绿，色彩浓丽；还有，如画树叶先勾出轮廓，再填入颜色，正是工笔画中夹叶填彩的画法。此外，马匹高大肥硕的体型，也是追法唐代画马的意趣。不过，赵雍的这幅画还揉合了五代画家董、巨一派的笔意，例如：表现远山质感、那种类似苎麻纤维的线纹，叫做披麻皴:。综而观之，《元赵雍骏马图轴》的人物、马匹及山水背景，虽具唐宋古意遗韵，但在构图上一水两岸的平远景致，依旧是典型的元人特色。赵雍在元代复古的风潮中，也开拓了新的时代风格。",[25,24,54,79,27,28,510,7,59,102,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd50ae8022a673be0e735a42f54526d7.jpg","186x106",[],{"id":3423,"slug":3424,"title":3425,"dynasty":74,"author":586,"museum":20,"description":3426,"tags":3427,"thumbUrl":3428,"material":64,"size":64,"collection":64,"collections":3429,"showCount":3412,"zanCount":43,"manualWeight":43,"mainColor":44},228468,"shi-ming-tu-juan-tang-yin-228468","事茗图卷","此作为诗书画印合璧的长卷，绘江南山居幽景：茅舍临溪，主人幽坐煎茶，苍松倚石，烟云绕峰，飞瀑藏于远山淡霭之间，尽展林泉雅寂的隐逸氛围。\n\n书法由榜书大字开篇，笔力沉凝苍劲；行书题诗俊逸疏朗，收尾小楷《事茗辩》端秀清雅。将品茶雅事寄寓山水，把日常茶事升为精神栖居，尽显明代文人茶中寻幽、以茶寄怀的林下风流，诗书画印浑融无间，是写意文人雅趣的绝佳之作。",[23,24,25,54,26,55,28,484,56,194,195,196,58,7,242,101,59,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F055da1b43b081819b900223c28def283.jpg",[],{"id":3431,"slug":3432,"title":3433,"dynasty":95,"author":2936,"museum":20,"description":3434,"tags":3435,"thumbUrl":3436,"material":64,"size":64,"collection":64,"collections":3437,"showCount":3412,"zanCount":11,"manualWeight":43,"mainColor":44},227965,"qi-zi-du-guan-tu-juan-li-tang-227965","七子度关图卷","此卷以苍林古道铺展荒寒底色，将避乱行旅的群像铺陈于绢素。旅人或策驴徐行、或驻马待发，仆从牵驮辎重、神色仓皇，将乱世迁客的羁旅劳顿藏在蹙额的神情、驱驰的动态之间，写实工细又带着沉郁的氛围感。\n\n卷后篆额古拙雄奇，行书题跋笔墨隽秀，书画合璧晕开史事余韵。既有宋画的精工写实，又兼具文人画幽远意趣，将乱世怆然与丹青雅致融于一卷，尽显古画的厚重底蕴与迁客流离的沉痛感怀。",[23,25,54,26,27,28,101,510,7,59,418,194,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd484ab2362b165a1f08fdab816e5527.jpg",[],{"id":3439,"slug":3440,"title":3441,"dynasty":74,"author":2459,"museum":20,"description":3442,"tags":3443,"thumbUrl":3444,"material":3445,"size":3446,"collection":65,"collections":3447,"showCount":3412,"zanCount":43,"manualWeight":43,"mainColor":44},221883,"you-ting-ting-quan-tu-chen-hong-shou-221883","幽亭听泉图","此图近取元人曹云西，远承宋郭熙，而皴染趋于尖瘦淡婉，自与郭、曹异趣。造境则为江浙一带水乡风光，与轻清的笔墨同一情调。",[23,25,79,55,28,56,58,118,7,243,285,308,82,61,83,590,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8a3a0f57a4a8b67a66a4490e0f32ca7.jpg","设色绢本","64.5×26.3cm",[65,140],{"id":3449,"slug":3450,"title":3451,"dynasty":49,"author":2071,"museum":132,"description":3452,"tags":3453,"thumbUrl":3454,"material":37,"size":64,"collection":65,"collections":3455,"showCount":3412,"zanCount":43,"manualWeight":43,"mainColor":44},219779,"shan-zhong-guan-shu-tu-er-sheng-mao-219779","山中观书图(二)","盛懋（生卒年未详），字子昭。父洪，临安（今杭州）人，寓魏塘，业画。懋承家学，善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用批麻皴或解索皴，笔法精整，设色明丽。主要代表作有《秋林高士图》轴（台湾故宫博物院藏）、《秋江待渡图》轴（北京故宫博物院藏）、《沧江横笛图》轴（南京博物院藏）、《溪山清夏图》轴（台湾故宫博物院藏）和《松石图》轴（北京故宫博物院藏）等。",[23,25,54,79,28,58,101,7,485,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ec8a9ca384d405f22ee92e8e1f18d52.jpg",[65],{"id":3457,"slug":3458,"title":3459,"dynasty":18,"author":456,"museum":355,"description":3460,"tags":3461,"thumbUrl":3462,"material":3463,"size":3464,"collection":65,"collections":3465,"showCount":3466,"zanCount":43,"manualWeight":43,"mainColor":69},236458,"dou-he-mi-lin-zhou-wang-jian-236458","陡壑密林轴","故宫博物院藏有康熙壬寅年（1662）年王鉴五十四岁作《陡壑密林图》轴，作品为纸本墨笔，纵56厘米，横35厘米。王鉴在画中自题：“黄子久有《陡壑密林图》为董思翁所藏，后归奉常烟翁，余时得纵观。雨窗岑寂，戏弄笔砚，漫师其法，不求形似也。壬寅小春望日写于染香庵中。王鉴。”下钤“王鉴之印”白文正方，起首钤“染香庵”朱文长方。画轴外题签：“廉州太守仿子久陡壑密林图山水真迹。辛丑三月重装。镂香阁惕庵珍秘。”为嘉兴王祖锡（1858－1908）旧物，画幅右下亦钤其鉴藏印：“惕安藏廉州画。”王祖锡藏有王鉴作品多件，如王鉴《溪山渔隐图》等。",[25,54,55,56,58,80,30,7,242,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38a7957963c9eb5d48d2effbd1e72a07.jpg","纸本，水墨","纵56厘米，横35厘米",[65,88,1918],43,{"id":3468,"slug":3469,"title":3470,"dynasty":95,"author":3471,"museum":3472,"description":3473,"tags":3474,"thumbUrl":3476,"material":28,"size":3477,"collection":107,"collections":3478,"showCount":3466,"zanCount":536,"manualWeight":43,"mainColor":44},221317,"jiu-ge-shu-hua-juan-zhang-dun-li-221317","九歌书画卷","张敦礼","美国波士顿博物馆","《九歌》是《楚辭》篇名。原為傳說中的一種遠古歌曲的名稱，戰國楚人屈原據民間祭神樂歌改作或加工而成。共十一篇：《東皇太一》、《雲中君》、《湘君》、《湘夫人》、《大司命》、《少司命》、《東君》、《河伯》、《山鬼》、《國殤》、《禮魂》。《國殤》一篇，是悼念和頌讚為楚國而戰死將士;多數篇章，則皆描寫神靈間的眷戀，表現出深切的思念或所求未遂的傷感。王逸說是屈原放逐江南時所作。但現代研究者多認為作於放逐之前，僅供祭祀之用。",[23,25,24,54,26,28,27,101,58,715,7,194,196,181,3475],"神仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F799e28b7c8a53f49ea8a67fbad151b43.jpg","23.5 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明 杨慎 《和章水部沙坪茶歌》：“君作茶歌如作史，不独品茶兼品士。” 柳亚子 《寄毛主席延安》诗：“云天倘许同忧国， 粤海难忘共品茶。”",[25,28,27,57,101,1519,7,30,637,3577],"品茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F212e19a5991a4ce291daf341239a17f2.jpg","纵29cm,横29.2cm",[],{"id":3582,"slug":3583,"title":3584,"dynasty":18,"author":3585,"museum":76,"description":3586,"tags":3587,"thumbUrl":3588,"material":3589,"size":3590,"collection":65,"collections":3591,"showCount":3562,"zanCount":43,"manualWeight":43,"mainColor":69},223240,"song-ting-wang-yuan-wang-quan-223240","松亭望远","王铨","明天启二年（1623）进士，入清官至大学士，谥文安。高爽博学，好古，工诗古文。行草宗二王，正书出钟繇，亦能自出胸臆，有山园法帖，名重当代，与董其昌并称。画山水宗刑、关，丘壑峻伟，皴擦不多，以晕染作气，传以淡色，意趣自别。山水花木竹石皆用书中关钮。尝与戴明说书云：画寂寂无余情，如倪云林（瓒）一流，虽略有淡致，不免枯干，尪羸病夫，奄奄气息，即谓之轻秀，薄弱甚矣。大家弗然。间作兰竹梅石，洒然有象外意。卒年六十一。《图绘宝鉴续纂》、《国（清）朝画徵录》、《桐阴论画》、《无声诗史》",[23,25,54,58,57,55,56,80,213,118,30,7,81,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bed544a1c100f42958631d8249c351.jpg","浅设色","34.7x29厘米",[65,88],{"id":3593,"slug":3594,"title":3595,"dynasty":18,"author":2470,"museum":987,"description":3596,"tags":3597,"thumbUrl":3598,"material":152,"size":3599,"collection":65,"collections":3600,"showCount":3562,"zanCount":43,"manualWeight":43,"mainColor":44},220238,"nan-xu-shan-shui-tu-cha-shi-biao-220238","南徐山水图","查士标（1615-1698），字二瞻，号梅壑散人，安徽休宁人，后寓扬州。出身望族，博雅好古。富收藏，家藏古铜器和宋、元人书画真迹甚多，因此精于鉴赏。他早年作画师从倪云林，以后参用吴镇、董其昌笔法，用笔简练，惜墨如金，皴染不重，风神懒散，气韵荒寒，被推为“逸品”，画史把他和弘仁、汪云瑞、孙逸合称为“新安四家”。",[23,25,54,79,55,56,58,7,30,118,101,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b746ab0c70caf76479ceb2c83727f26.jpg","138×52厘米",[65],{"id":3602,"slug":3603,"title":3604,"dynasty":74,"author":2597,"museum":726,"description":3605,"tags":3606,"thumbUrl":3607,"material":63,"size":3608,"collection":65,"collections":3609,"showCount":3562,"zanCount":11,"manualWeight":43,"mainColor":349},219869,"qian-shan-xue-ji-tu-song-xu-219869","千山雪霁图","宋旭（1525―1606年后），字初穤，号石门、石门山人，（明画录作字初旸，式古堂书画汇考作字初旸，号石门）。后为僧，法名祖玄，又号天池发僧、景西居士。湖州（今浙江省湖州市）人，为“苏松画派”的先声，为吴门派支流。博宗内外典，通禅理。善山水，兼长人物。万历间名重海内。师沈周，学有师承，故出笔逈不犹人。其山头树木，苍劲古拙，巨幅大幛，颇有气势。与云间莫廷韩，入芟山社绘白雀寺壁，时称妙绝。赵左、沈士充、宋懋晋等都出于他的门下。其识款喜用八分书。万历三十三年（一六o五）作罗汉图、平沙落雁图，时年八十一。《嘉兴府志》、《明画录》、《无声诗史》、《图绘宝鉴续纂》、《读画辑略》、《珊瑚网》。传世作品有藏于故宫博物院的《五岳图》卷及上海博物馆藏《天香书屋图》轴等。",[25,55,56,79,58,344,80,7,243,212,82,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c9e6bf704b2ff11a1d07aa4c3c75b19.jpg","151.8x79cm",[65],{"id":3611,"slug":3612,"title":3613,"dynasty":49,"author":317,"museum":76,"description":3614,"tags":3615,"thumbUrl":3617,"material":37,"size":3618,"collection":122,"collections":3619,"showCount":3562,"zanCount":43,"manualWeight":43,"mainColor":44},219494,"qiu-jing-xi-ying-zhou-yi-ming-219494","秋景戏婴轴","秋郊明月下，六婴儿穿各色绣花长衫，在大树坡石间嬉戏，或捧花提篮，或抚弄兔儿，或招呼同伴，前有盤，盛秋季应时水果。",[25,79,28,27,101,1058,786,7,59,180,3616,1432],"水果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1427670394fd3c7c1a634e14fcc05070.jpg","127x61公分；全幅 85.4公分",[122],{"id":3621,"slug":3622,"title":3623,"dynasty":95,"author":317,"museum":519,"description":3624,"tags":3625,"thumbUrl":3626,"material":63,"size":3627,"collection":122,"collections":3628,"showCount":3562,"zanCount":43,"manualWeight":43,"mainColor":44},218602,"shi-liu-luo-han-tu-yi-ming-218602","十六罗汉图","墨线勾勒间，十六罗汉神态各异：或静立松下凝思，或拄杖徐行于林麓，或与猿猴嬉戏、鹤鹿为邻。松竹掩映，怪石嶙峋，山野之趣与禅意相融。人物衣袂飘举，线条简练却见风骨，寥寥数笔便传神情——有的须眉微蹙似在参禅，有的笑靥舒展如悟真机，有的俯身逗猴尽显自在。画面清寂中藏生机，简淡里见深致，以自然景致衬罗汉超脱之态，笔墨洗练却形神兼备，尽显古代绘者对禅林世界的诗意描摹，亦让观者于尺幅间感受那份远离尘嚣的宁静与旷达。",[23,25,54,26,1004,55,1096,101,1005,1641,978,635,213,241,7,30,196,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf090e8c5463c31d1dff3f90f8004b00.jpg","32.7x848.4",[122],{"id":3630,"slug":3631,"title":1033,"dynasty":49,"author":2050,"museum":726,"description":3632,"tags":3633,"thumbUrl":3634,"material":275,"size":3635,"collection":65,"collections":3636,"showCount":3562,"zanCount":43,"manualWeight":43,"mainColor":69},217890,"yun-shan-tu-fang-cong-yi-217890","这幅图画描绘了云山之间的壮丽景色。方从义精细地捕捉了云山间的层次感，并使用清晰的线条勾勒出了山体的轮廓。同时，他还运用了多种不同的颜色来表现云山的美丽，让图画整体看起来十分生动。\n\n除了描绘自然景色，云山图中还有许多人物和动物的身影。这些人物和动物与山体相互呼应，使图画看起来更加真实。\n\n总的来说，云山图是一幅令人惊叹的艺术杰作，值得一看。",[25,54,976,55,56,58,715,80,7,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F027831a0ebcaf82168a5a483608c7ea1.jpg","22.9x25.1cm",[65],{"id":3638,"slug":3639,"title":3640,"dynasty":74,"author":3641,"museum":328,"description":3642,"tags":3643,"thumbUrl":3644,"material":275,"size":3645,"collection":64,"collections":3646,"showCount":3562,"zanCount":536,"manualWeight":43,"mainColor":69},214669,"san-jue-tu-5-yao-shou-214669","三绝图-5","姚绶","姚绶（1536年－1627年）是中国明朝时期著名的画家、书法家和诗人。他在明朝末年和清朝初年期间活跃，是中国古代四大书法家之一。姚绶的“三绝图册”是他的代表作之一，是他在晚年创作的一组绘画作品集。\n\n“三绝图册”共有三册，分别为“绝境图册”、“绝岭图册”和“绝川图册”。这三册作品均采用水墨画的方式，描绘了天山、岭川、峡谷等山水风光。姚绶的绘画风格具有浓郁的民族特色，笔墨简洁而凌厉，构图巧妙，色彩明快。这三册作品被认为是中国古代山水画的精品，被广泛收藏和展览。",[25,54,28,58,56,57,80,7,242,257,82,101,196,197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F623804a452b8a760df0fe03f12280c68.jpg","纵31.2 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厘米",[],{"id":3648,"slug":3649,"title":3650,"dynasty":18,"author":1999,"museum":355,"description":3651,"tags":3652,"thumbUrl":3653,"material":64,"size":64,"collection":39,"collections":3654,"showCount":3655,"zanCount":43,"manualWeight":43,"mainColor":69},236932,"shu-shi-zhou-ren-yi-236932","树石轴","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。",[25,54,79,28,56,55,58,7,30,1573],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F247e360fb7e59b111c8c0d5ee3fec789.jpg",[39,88],40,{"id":3657,"slug":3658,"title":48,"dynasty":49,"author":3659,"museum":355,"description":3660,"tags":3661,"thumbUrl":3662,"material":447,"size":3663,"collection":65,"collections":3664,"showCount":3655,"zanCount":43,"manualWeight":43,"mainColor":44},233170,"shan-shui-ce-cao-zhi-bai-233170","曹知白","故宫博物院藏有曹知白《山水册》一套，共八幅山水小景，由明代董其昌题诗，经项元汴、刘恕等藏。纸本墨笔，纵33.1cm，横27.4cm。\n在这套画册中，曹知白巧妙地把北方山水中特有的萧瑟寒林融入进恬淡氤氲的南方地貌中，形成了柔美却不失凝重的风格，可谓刚柔相济。",[25,54,57,55,56,58,80,164,7,118,212,285,59,194,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5ceab44884d9db9693abf1ae763ef66.jpg","纵33.1cm，横27.4cm",[65,1918],{"id":3666,"slug":3667,"title":3668,"dynasty":49,"author":2050,"museum":20,"description":3669,"tags":3670,"thumbUrl":3671,"material":64,"size":64,"collection":64,"collections":3672,"showCount":3655,"zanCount":43,"manualWeight":43,"mainColor":44},228270,"feng-yu-gui-zhou-tu-fang-cong-yi-228270","风雨归舟图","以水墨晕染铺就漫天雨雾，峰峦在烟岚中若隐若现，焦墨勾勒的山石苍劲朴拙，与朦胧水汽形成虚实对照。孤舟扬帆穿雨而归，渺小的舟楫在浩渺烟雨中衬出江湖寥廓，暗合归人冒雨赶路的匆匆意绪。\n近景以淡墨点染丛木，斜逸的松树带着风雨飘摇之姿，呼应着满幅湿冷雨意。整幅画作以留白晕染营造空濛苍茫氛围，将山野骤雨之景绘得灵动写意，把江南雨中山水的空寂清冷与旅人归思相融，尽显元代文人山水空灵简远的意趣。",[23,25,55,58,56,358,7,459,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe18e3d81d317532706d52b707a3c30e9.jpg",[],{"id":3674,"slug":3675,"title":3676,"dynasty":95,"author":1230,"museum":20,"description":3677,"tags":3678,"thumbUrl":3679,"material":64,"size":64,"collection":64,"collections":3680,"showCount":3655,"zanCount":11,"manualWeight":43,"mainColor":44},227958,"mu-yang-tu-juan-li-di-227958","牧羊图卷","此作用工写兼融之笔，铺展秋日郊原之景。沙渚浅坡晕染淡赭，细草缀以青绿，衬出疏阔静穆的荒寒氛围。林间枯木虬劲苍古，残叶间点缀秋红，暗合塞晚秋光。\n\n群羊姿态各异，或卧地慵憩，或垂首啮草，或两两相逐，毛发蓬松温润，刻画细腻灵动，尽显羊只闲适之态。整卷设色雅致柔和，既有院体画的精工写实，又暗含文人画的淡逸意趣，将牧羊日常化为悠远诗意，把塞北秋原的宁和生机，尽数融于长卷之中，意韵清寂悠长。",[23,25,24,54,26,27,28,56,2127,635,7,197,102,228,29,194,196,59,3133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2dfddaef68b627b4fae245934cf60aa.jpg",[],{"id":3682,"slug":3683,"title":3684,"dynasty":74,"author":415,"museum":355,"description":3685,"tags":3686,"thumbUrl":3687,"material":717,"size":3688,"collection":65,"collections":3689,"showCount":3655,"zanCount":43,"manualWeight":43,"mainColor":69},221998,"xi-qiao-ce-zhang-tu-zhou-wen-zheng-ming-221998","溪桥策杖图轴","本幅行书自题七绝诗一首：“短策轻衫烂漫游，暮春时节水西头。日长深树青帏合，雨过遥山碧玉浮。”后钤“文徵明印”、“玉磬山房”印。右下角有“玉兰堂印”鉴藏印，画心有“世美堂印”、“马寒中印”等鉴藏印。裱边及外签有当代书画家狄葆贤（平子）题诗并记，钤藏印“平等阁主人”等。题记详述了此作原为其父于清同治末年购得，而他本人则在甲子年（1924年）夏六月重新装裱的递藏过程。\n画中描绘古木森郁，山谷幽静，溪上水波不兴，一人伫立桥头，策杖观流。作品明显地带有取法“元四大家”中倪瓒、吴镇的痕迹，作者很好地将倪瓒细笔疏皴的山石和吴镇粗笔浓墨的树木结合在一起，用笔沉稳雄健，韵致醇厚，加上近景的细致刻画和远景的虚化表现，突出了文人优游山林、怡然自得的精神状态。",[23,25,212,82,58,80,164,7,420,55,421,79,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe2362b6efd04d72a6c9344c9188f272.jpg","纵95.8厘米，横48.7厘米",[65,88],{"id":3691,"slug":3692,"title":3693,"dynasty":74,"author":468,"museum":355,"description":1383,"tags":3694,"thumbUrl":3695,"material":615,"size":616,"collection":64,"collections":3696,"showCount":3655,"zanCount":43,"manualWeight":43,"mainColor":69},220912,"shan-shui-ce-6-dong-qi-chang-220912","山水册6",[23,25,55,56,57,58,80,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84d454b71b8d54a070f37dccb8b6aedc.jpg",[],{"id":3698,"slug":3699,"title":3700,"dynasty":49,"author":317,"museum":3701,"description":3702,"tags":3703,"thumbUrl":3706,"material":37,"size":3707,"collection":140,"collections":3708,"showCount":3655,"zanCount":43,"manualWeight":43,"mainColor":44},219180,"lin-yuan-shuang-yang-tu-yi-ming-219180","林原双羊图","四川博物馆","此幅为纨扇，工笔。画面溪水静流，草木丛生，古树歪斜，一双羊正埋头觅食。纨色古雅。左上角钤朱文篆刻收藏印“刘氏春禧所藏”，右下角有朱文篆印“忠”字。无款，为元人所绘，稀有难觅。",[23,24,25,54,28,27,2127,635,7,3704,3705,2441,80],"林","原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece76ddc27e36003fe0c487787bb73e0.jpg","纵26厘米，横27厘米",[140],{"id":3710,"slug":3711,"title":3712,"dynasty":18,"author":1416,"museum":20,"description":3713,"tags":3714,"thumbUrl":3715,"material":64,"size":64,"collection":64,"collections":3716,"showCount":3717,"zanCount":43,"manualWeight":43,"mainColor":69},235913,"xiao-shan-zhu-shu-ye-yun-shou-ping-235913","小山竹树页","此作以修竹为画面核心，几竿新篁挺拔清劲，竹叶以浓淡墨色点染，攒聚错落间尽显阴阳开合，笔力爽利，将竹的清健风骨跃然纸上。\n远景山峦以淡墨晕染勾勒，留白为水，不着一笔却见湖光悠悠，湖畔茅亭极简勾勒，野逸闲淡之趣自生。\n全作用笔简净空灵，以少胜多，舍弃繁复皴擦，借浅淡水墨写尽丘林幽致。右上角题识与朱印呼应，书画相融，为画面添了雅致文气，将江南小景的清寂空阔藏在尺幅之中，尽显萧散淡远的文人意韵，借花木山水寄寓了幽远襟怀。",[25,55,58,241,7,118,83,56,1419],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4220102cf9fcc83ce62cc8c4a1a42f1e.jpg",[],39,{"id":3719,"slug":3720,"title":3721,"dynasty":74,"author":75,"museum":355,"description":3722,"tags":3723,"thumbUrl":3724,"material":152,"size":3725,"collection":64,"collections":3726,"showCount":3717,"zanCount":43,"manualWeight":43,"mainColor":69},234089,"wu-zhong-shan-shui-ce-shen-zhou-234089","吴中山水册","明代中期以来，吴门艺术力追此类典雅的意趣。作为吴门艺术的领袖，沈周的绘画最得其中精神。如今藏于故宫博物院的《吴中山水册》十六开，是沈周的得意之作，记录的是诗人生活中的所见所感，乃沈周极擅长的粗笔水墨之作。\u2028 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》、《树石平远图》等。",[23,25,54,26,484,55,28,56,27,194,195,196,58,7,358,212,82,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F133bd0410f393e8330e8a86e03d40536.jpg","纵32.4厘米，横104.8厘米",[107,65,88],{"id":3776,"slug":3777,"title":3778,"dynasty":74,"author":468,"museum":2113,"description":3779,"tags":3780,"thumbUrl":3781,"material":57,"size":3782,"collection":64,"collections":3783,"showCount":3717,"zanCount":43,"manualWeight":43,"mainColor":64},220754,"fang-ge-jia-shan-shui-2-dong-qi-chang-220754","仿各家山水-2","此作用淡墨晕染远山，勾勒的山石尽显嶙峋之态，留白作云气晕出空濛山意。近岸林木笔法松秀苍润，浓墨点苔添得生机勃发。山坳村居、溪畔茅舍隐于丘壑之间，板桥行人又让林泉染上烟火暖意。\n\n题字错落左上，笔墨清雅萧散与画境相融。全画以干笔皴擦营造淡远空灵意境，简淡中见层次藏雅趣，将幽居林泉的闲逸藏于尺幅之间，尽显文人山水的疏朗清旷，观之如临寂寂山林，得自然清和之味。",[23,25,54,55,56,58,80,164,7,30,81,591,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcf0109cf2086c3efd9441201dea3d94.jpg","30.5 × 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布。字宣仲，号射泽老农。楚州山阳（今江苏省淮安）人。妙年登科，官至武学博士，以张邦昌婿，负才不得用。后居绍兴，既绝仕宦之念，以诗酒自娱。画山水，尤工枯木丛竹、奇石松柏、种种飘逸，师东坡而青出于蓝。",[23,25,24,28,27,101,510,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc845275590a4df7a346a1debac89576f.jpg",[],{"id":3866,"slug":3867,"title":3868,"dynasty":95,"author":317,"museum":355,"description":3869,"tags":3870,"thumbUrl":3871,"material":434,"size":3872,"collection":107,"collections":3873,"showCount":3846,"zanCount":43,"manualWeight":43,"mainColor":44},223532,"shui-ge-feng-liang-tu-yi-ming-223532","水阁风凉图","绘古木掩映下一茅亭临江而建，远处山色空蒙，中为平川水田。宁外巨石错落，泉水奔流，亭内置一方桌，一折衣长者袖手停立桌前，仆人执扇侍立一侧。",[23,25,54,58,28,56,211,7,59,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37929b949c027168c6a1aef447280eae.jpg","22.5x21.1厘米",[107,65,88],{"id":3875,"slug":3876,"title":3877,"dynasty":74,"author":415,"museum":20,"description":3878,"tags":3879,"thumbUrl":3880,"material":3881,"size":3882,"collection":65,"collections":3883,"showCount":3846,"zanCount":43,"manualWeight":43,"mainColor":44},221982,"shan-shui-juan-wen-zheng-ming-221982","山水卷","此时文征明的山水画有两种比较典型的风格：“粗文”和“细文”。他的粗笔山水主要取法沈周和吴镇，在粗简中表现出层次和韵味；细笔山水则取法于赵孟頫、王蒙，用笔细密，布景繁密。设色多以青绿重彩或间施浅绛绘之，清雅宁静，具有很强的装饰意味。文征明性情温和儒雅，尤推崇秀润、细丽、含蓄的画风，作品以细笔山水为主。这与沈周的雄强刚健、粗犷张扬的画风明显不同。收藏界历来有“粗文细沈”之说，他的粗笔山水因数量较少而更受藏家钟爱。",[23,25,58,80,164,7,419,55,421,26,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52df3fbb11765a08980333fe573ddc8e.jpg","纸本，手卷，设色","纵25厘米、横333厘米",[65,88],{"id":3885,"slug":3886,"title":3887,"dynasty":74,"author":3888,"museum":76,"description":3889,"tags":3890,"thumbUrl":3891,"material":63,"size":3892,"collection":88,"collections":3893,"showCount":3846,"zanCount":43,"manualWeight":43,"mainColor":69},221877,"yun-lin-shu-shi-zhou-gu-zheng-yi-221877","云林树石轴","顾正谊","顾正谊 ， 明代画家、诗人。字仲方，号亭林。华亭（今上海松江）人。父中立，官至参知政事。正谊以父荫，于万历时由太学生官中书舍人。晚年筑小亭园于江畔以终老，故号亭林。工画，早年即以诗画驰名江南，后游长安，名声大噪。董其昌曾记云：“吾郡画家，顾仲方中舍最著。其游长安，四方士大夫求者填委，几欲作铁门限以却之，得者如获拱璧。”",[23,25,55,79,56,7,485,83,194,196,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca8b4dda7acc4293094d57d245fb08e.jpg","92.6 x 38.8 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永兴弟任薰舜琴写”，钤“任薰”白文方印。",[25,79,28,27,101,3940,7,30,3941,3942,3943,102,3944,690],"芝","篮子","拐杖","柳叶","苔藓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F660fdaf34b7e404657c4f40b3ede7755.jpg","纵137.5厘米，横39.5厘米",[122],{"id":3949,"slug":3950,"title":3668,"dynasty":74,"author":3951,"museum":76,"description":3952,"tags":3953,"thumbUrl":3954,"material":55,"size":3955,"collection":88,"collections":3956,"showCount":3846,"zanCount":43,"manualWeight":43,"mainColor":44},219359,"feng-yu-gui-zhou-tu-lin-shan-219359","林山","绢本泛黄，墨痕疏淡间，风雨江天的意趣徐徐铺展。一叶扁舟斜横水面，舟中人身形隐约，似在风雨里寻着归途，船桨轻点的弧度，漾开几分仓促又安然的韵致。岸边垂柳被风牵曳，枝条如乱丝垂落，墨线的轻飏里，藏着风的姿态。近处草木以浓墨点染，与远山淡晕的朦胧相映，空阔的江天更显清寂。整幅画以简笔写意，水墨的浓淡交织出萧索与生机的平衡，归舟的动态打破了江天的静穆，却又融于这份空灵之中，尽显文人画的悠远之味。",[24,25,54,79,55,58,358,359,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe53b1a4c4aee7fb87b3e765521a76a33.jpg","130.9x63",[88],{"id":3958,"slug":3959,"title":3960,"dynasty":18,"author":3961,"museum":76,"description":3962,"tags":3963,"thumbUrl":3964,"material":37,"size":3965,"collection":39,"collections":3966,"showCount":3846,"zanCount":11,"manualWeight":43,"mainColor":44},218879,"xian-quan-tu-liu-yi-218879","仙犬图","刘亿","几只仙犬或蜷卧小憩，或嬉戏逗趣，毛羽勾勒得柔润细腻，神态憨态可掬，似含灵韵。近旁老枝盘曲，素花点缀枝头，暗香仿佛随风轻溢；石矶以墨色皴染，苍劲中带着朴拙。背景淡褐晕开，虚实相映，留白处漾着空濛意趣，更衬出犬儿的灵动与花木的清雅。笔墨浓淡相宜，细腻却不刻意，将生灵之趣与幽境之美融于尺幅间，似能感受到画者对自然生灵的温柔观照，观之令人心生悠然，满是沁人的雅致。",[25,54,24,28,27,635,2797,7,30,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc59a546e228caa4b665afbe19974a9f.jpg","42.2x56.8cm",[39],{"id":3968,"slug":3969,"title":3970,"dynasty":18,"author":1952,"museum":355,"description":3971,"tags":3972,"thumbUrl":3973,"material":37,"size":3974,"collection":65,"collections":3975,"showCount":3846,"zanCount":11,"manualWeight":43,"mainColor":44},218508,"qing-shan-die-cui-zhou-wang-yuan-qi-218508","晴山叠翠轴","山峦层叠如浪，墨色皴擦间见苍劲骨力，干笔积染出岩壑的厚重肌理。云雾轻笼谷口，牵起远近峰峦的呼吸，让重山不显壅塞，反生空濛之趣。\n\n溪流蜿蜒穿林，石岸错落间，几座亭台隐于松荫下，似有琴音随波漫散。松枝如铁，竹叶含翠，笔墨间藏着岁月的温润——既见北地山水的雄浑骨架，又融江南草木的秀逸情致。\n\n整幅画如一卷徐徐展开的清梦，每一笔皴擦都浸着文人的静穆心思，将自然丘壑凝练成纸上的悠远意境，让人观之忘俗，仿佛能踏入那片松风竹影里，听山涧流水，享片刻清宁。",[23,25,54,79,58,56,28,80,7,82,212,242,59,459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65267561fee9a2d6709bd2cb30d8768c.jpg","139.5x61cm",[65],{"id":3977,"slug":3978,"title":3979,"dynasty":95,"author":317,"museum":76,"description":3980,"tags":3981,"thumbUrl":3984,"material":37,"size":3985,"collection":122,"collections":3986,"showCount":3846,"zanCount":11,"manualWeight":43,"mainColor":44},216946,"luo-han-zhou-yi-ming-216946","罗汉轴","罗汉轴是一种古代中国的手卷绘画。它们通常以佚名作者为代表，出现在宋朝（960-1279年）时期。罗汉轴的主题通常是佛教经典和寺庙仪式中的罗汉（即被提升到超凡脱俗境界的佛教徒）。这些绘画通常画在绢上，并装在木质卷轴架上。它们是当时中国绘画艺术的重要组成部分，被视为宝贵的艺术品。",[25,54,79,1096,27,28,101,7,3982,3983],"童子","坐具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F802b4b5465a9970a4423478868b05daf.jpg","105.5x55.6",[122],{"id":3988,"slug":3989,"title":3990,"dynasty":18,"author":862,"museum":20,"description":3991,"tags":3992,"thumbUrl":3993,"material":64,"size":64,"collection":39,"collections":3994,"showCount":3995,"zanCount":43,"manualWeight":43,"mainColor":44},238134,"tian-ma-xian-rui-tu-zhou-ding-guan-peng-238134","天马献瑞图轴","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。",[25,54,79,28,27,101,510,29,58,7,228,102,2762,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F555d4db6996ce7a4c36e4c570f989413.jpg",[39,122,140],36,{"id":3997,"slug":3998,"title":3999,"dynasty":18,"author":600,"museum":20,"description":4000,"tags":4001,"thumbUrl":4002,"material":64,"size":64,"collection":64,"collections":4003,"showCount":3995,"zanCount":43,"manualWeight":43,"mainColor":69},235935,"tao-an-tu-zhou-hong-ren-235935","陶庵图轴","《弘仁陶庵图轴》是清代 本幅是作者送友人汪尧德的写生之作。\n汪尧德（162—1685年），字子陶，号陶庵、子翁居士，歙县潜口人(见《康熙歙县志》)。\n早年客居松江，与 、 等文人交往。\n晚年家居年，以书画自娱。\n此图是弘仁与友人罗逸（字远游，歙县人）游 经过潜口时所绘汪尧德隐居之所。\n其屋舍傍山而筑，临溪而建，一片离尘幽美之景。\n作者以 和干笔渴墨表现山石，得徽地清幽冷峻的山林之美；以苍劲整洁的线条勾出柳丝，得生机盎然之趣。\n其洗练简逸的笔墨与汪氏简朴的居所相得益彰，映衬出汪氏志在清高自守、乐在林泉云游的脱俗之气。\n款署：“渐江学者为子翁居士作陶庵图。\n”钤“弘仁”朱文印、“渐江僧”白文印。\n画幅上方有罗逸题七律一首，款署：“八十五老友罗逸为子陶先生题。\n”钤“罗逸之印”朱文印、“远游”白文印。\n鉴藏印有“礼耕堂”等二方。\n画右中部有篆书“庚子”二字。\n“庚子”是清顺治十七年（166年），作者时年51岁。",[24,25,54,79,55,56,58,80,7,118,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5771af356858a98b85a075031e46a14a.jpg",[],{"id":4005,"slug":4006,"title":4007,"dynasty":49,"author":317,"museum":20,"description":4008,"tags":4009,"thumbUrl":4010,"material":1148,"size":1149,"collection":64,"collections":4011,"showCount":3995,"zanCount":11,"manualWeight":43,"mainColor":44},228201,"bi-hua-tu-ye-yi-ming-228201","壁画图页","壁画，墙壁上的艺术，即人们直接画在墙面上的画。作为建筑物的附属部分，壁画的装饰和美化功能使它成为环境艺术的一个重要方面。壁画为人类历史上最早的绘画形式之一。\n早在汉朝就有在墙壁上作画的记载，多是在石窟、墓室或是寺观的墙壁，到了现在结合了现代工艺和文化气息，墙壁作画越来越多元、个性地发展，更多地被人们在装修时应用。",[23,1003,25,54,28,27,101,135,7,58,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7378d93b9a62ea1e98536887833518d0.jpg",[],{"id":4013,"slug":4014,"title":4015,"dynasty":95,"author":4016,"museum":76,"description":4017,"tags":4018,"thumbUrl":4019,"material":216,"size":64,"collection":64,"collections":4020,"showCount":3995,"zanCount":43,"manualWeight":43,"mainColor":44},227397,"hu-xi-san-xiao-tu-xiao-zhao-227397","虎溪三笑图","萧照","宋代佚名《虎溪三笑图》，绢本设色，纵26.4厘米，横47.6厘米，无款印，钤“宣统御览之宝”、“珍秘”等鉴赏印四枚，现收藏在台北故宫博物院。画面中，古树参天，虎溪蜿蜒奔流，水花飞溅，红叶飘洒，雾霭沉沉；三位老者气宇轩昂，肢体夸张，面对淙淙虎溪，相识无语，仰天长笑；左一童子肩负包袱、右二童子牵驴等候，样子朴实天真。图中笔细劲锐，设色古雅，远山以淡墨勾染，古树细笔勾勒，浓墨点小树，山石则淡青色皴染，墨线勾勒轮廓，整幅画面相融一气，极富立体灵动之感，体现了宋人卓越的绘画成就。",[23,25,24,28,56,58,101,100,82,7,59,418,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F709f3a195d6a3665c242433604b692d1.jpg",[],{"id":4022,"slug":4023,"title":4024,"dynasty":74,"author":415,"museum":20,"description":416,"tags":4025,"thumbUrl":4026,"material":152,"size":4027,"collection":65,"collections":4028,"showCount":3995,"zanCount":11,"manualWeight":43,"mainColor":44},221989,"shou-juan-quan-juan-wen-zheng-ming-221989","手卷全卷",[23,25,194,58,80,164,30,7,419,55,421,26,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07cc0fc779d8f58a62155659cdff9839.jpg","27×637cm",[65,88],{"id":4030,"slug":4031,"title":4032,"dynasty":18,"author":317,"museum":76,"description":4033,"tags":4034,"thumbUrl":4035,"material":37,"size":4036,"collection":122,"collections":4037,"showCount":3995,"zanCount":43,"manualWeight":43,"mainColor":69},219595,"wan-nian-bu-lao-ce-yao-chi-chun-yan-yi-ming-219595","万年不老册-瑶池春宴","此作分上下二幅，上方以墨绿为底，泥金小楷端正隽秀，古雅沉静。下幅工笔设色，绘就瑶池春宴盛景。烟波之上，仙宾乘槎踏浪而来；苍松翠峦间，群仙或围坐清谈，或悠然伫立，麋鹿仙鹤闲游林泉，自在怡然。笔触精细工致，敷色妍丽明净，晕染出山石松涛的温润质感，将神话仙境的缥缈出尘，融于人间雅集的恬和悠然之中，把瑶池宴饮铺作世外清景，尽显工笔仙佛题材的雅致意趣，氤氲着清宁出尘的仙家气韵。",[24,25,54,57,28,27,101,3475,32,978,7,715,59,118,2030,637],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba36c2019ede989fac397469dd36396.jpg","39x57.5厘米",[122],{"id":4039,"slug":4040,"title":4041,"dynasty":95,"author":317,"museum":76,"description":4042,"tags":4043,"thumbUrl":4046,"material":37,"size":4047,"collection":107,"collections":4048,"showCount":3995,"zanCount":43,"manualWeight":43,"mainColor":69},218888,"shen-shu-mao-tang-tu-yi-ming-218888","深树茅堂图","浓荫匝地，苍树如幄，茅堂隐于深翠间，似被林岚轻裹。堂内几榻疏朗，有人凭窗闲坐，或观叶动，或听风吟，意态萧然忘尘。笔墨细处见神：树石的皴染层叠生幽，茅舍的勾勒简净含韵，人物姿态虽小却活脱，尽显宋人对闲居之趣的精微捕捉。无艳色张扬，仅以墨色浓淡铺陈山林静谧，每一处线条皆藏着对自然的敬畏与对隐逸的向往，将宋画小品的雅致含蓄，凝作一方可居可游的林下清境，引人静赏其间悠然。",[23,25,976,55,28,58,7,4044,1026,4045,56],"茅堂","深树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99bf3482e94900427162b996b767bc75.jpg","24.1x23.5",[107],{"id":4050,"slug":4051,"title":4052,"dynasty":95,"author":317,"museum":76,"description":4053,"tags":4054,"thumbUrl":4056,"material":37,"size":4057,"collection":107,"collections":4058,"showCount":3995,"zanCount":43,"manualWeight":43,"mainColor":69},218853,"lv-rong-mu-di-tu-yi-ming-218853","绿茸牧羝图","画中有一群肥羊在草地上玩耍，两棵柳树枝叶茂盛，在风中摇曳，一个牧羊少年站在树枝上用赶羊棍逗弄小鸟，让人觉得是一个快乐的年。这幅画画得很密，但羊群太厚了，以至于它们显示变现。",[23,25,28,27,216,2127,102,7,4055,635],"牧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F329bebc3a227441ca972027caf511e53.jpg","22.6x23.8",[107,140],{"id":4060,"slug":4061,"title":4062,"dynasty":18,"author":317,"museum":3175,"description":4063,"tags":4064,"thumbUrl":4065,"material":152,"size":64,"collection":64,"collections":4066,"showCount":3995,"zanCount":43,"manualWeight":43,"mainColor":349},216877,"xi-xiang-ji-tu-ce-6-yi-ming-216877","西厢记图册-6","庭院深深，草木清嘉。前景双姝衣袂翩然，低语间神态温婉，衣纹细腻如织；背景二人立于阶上，衣袍素雅，与朱红窗棂相映成趣。虬曲的古树枝叶婆娑，绿草点缀阶前，笔墨勾勒间尽显生趣。淡彩晕染出清雅色调，建筑的庄重与人物的灵动交织，空间层次错落有致。画面将古典情境凝于方寸，人物互动自然生动，似能窥见西厢故事中的温婉瞬间，尽显传统绘画的细腻韵味与含蓄意境。",[25,54,57,27,28,101,135,211,7,868,1283],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09efc3508687631c699e7cb591e4d1b6.jpg",[],{"id":4068,"slug":4069,"title":4070,"dynasty":18,"author":1952,"museum":355,"description":4071,"tags":4072,"thumbUrl":4073,"material":4074,"size":4075,"collection":65,"collections":4076,"showCount":4077,"zanCount":43,"manualWeight":43,"mainColor":69},233160,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233160","草堂十志图册","此册山水是王原祁据唐代卢鸿《草堂十志图》图意，分别仿宋、元诸家笔意，重新加以艺术创作而成。卢鸿原作早已失传，今尚存宋人的临仿本，与此册相较甚殊，是画家师其意而不师其迹之作。该册无纪年，以画笔之苍劲，当是画家晚年之作。10页画，有6开设色，并兼用墨笔，色、墨兼施，浑然一体，清丽中有苍厚之致，为画家毕生努力所形成的特色。其晚年曾请告老还乡，屡为康熙帝所挽留，难免有“身在魏阙，心存江湖”之想，此图册似即追慕前贤草堂之隐的无奈心境的写照，为其晚年代表作。",[25,54,57,28,58,56,80,164,7,680,196,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16167bc107fdf43a3be3d557727deba3.jpg","纸本，墨笔或设色","纵29厘米，横29.5厘米",[65,140],35,{"id":4079,"slug":4080,"title":4081,"dynasty":95,"author":1404,"museum":20,"description":4082,"tags":4083,"thumbUrl":4084,"material":64,"size":64,"collection":64,"collections":4085,"showCount":4077,"zanCount":43,"manualWeight":43,"mainColor":44},227414,"shuai-qin-xie-zhi-yin-tu-liu-song-nian-227414","摔琴谢知音图","《摔琴谢知音图》中正截取了伯牙摔琴的这个画面，图中一人正恭敬行礼，似在向伯牙告知什么，伯牙则抱琴正要往地上摔，满脸悲怆，似是得知了子期的死讯，悲痛交加，当场破琴绝弦。\n\n子期不在对谁弹，欲觅知音难上难。这是一段世人都为之动容的友谊，自古以来，不知有多少人羡慕并追求这样的友谊。由于弹琴本身就是一件高雅的事情，能从琴声中辨知音，识好友，那就更是一件令人欣喜的事情了。因而在携琴访友图这个主题中，也有着古人对友谊的向往之情。",[23,25,54,24,28,27,58,101,591,7,59,691,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd917d7111fdf8bc88c1057a2db4b2247.jpg",[],{"id":4087,"slug":4088,"title":4089,"dynasty":74,"author":208,"museum":355,"description":4090,"tags":4091,"thumbUrl":4093,"material":788,"size":4094,"collection":65,"collections":4095,"showCount":4077,"zanCount":43,"manualWeight":43,"mainColor":69},222027,"san-gu-cao-lu-tu-dai-jin-222027","三顾草庐图","画面描绘的是家喻户晓的刘备“三顾茅庐”拜访诸葛亮的故事。人物的描绘生动而细致，例如刘备恭敬的神态、张飞的深色面庞及武夫样的站姿都描绘得十分传神。人物的动态掌握得非常准确。画山石用大斧劈皴法，松枝颀长，明显继承了南宋马远的画风，用笔简劲。整体画面墨色清雅。\n在明代宫廷画中以“招贤纳士”为题材的历史故事画为数不少，反映了当政皇帝求贤的迫切心情。",[23,25,484,56,28,101,213,4092,241,118,59,81,7,2128,214],"草庐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6f5519f01f671699f57d3b1bc3dfe2e.jpg","纵172.2cm，横107cm",[65,88],{"id":4097,"slug":4098,"title":4099,"dynasty":74,"author":415,"museum":76,"description":4100,"tags":4101,"thumbUrl":4102,"material":85,"size":4103,"collection":122,"collections":4104,"showCount":4077,"zanCount":43,"manualWeight":43,"mainColor":69},221991,"qiao-lin-zhu-ming-tu-zhou-wen-zheng-ming-221991","乔林煮茗图轴","不见鹤翁今几年，如闻仙骨瘦于前。\n只应陆羽高情在，坐荫乔林煮石泉。",[23,25,58,80,164,7,55,421,79,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0950965539805b38e2ff08fe774e3851.jpg","本幅 84.1x26.4公分、全幅 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《新安逸韵图册》 是他的代表作之一，也是他的最后一部作品。这本书由三卷组成，收录了郑旼创作的大量诗歌、书法作品和图画。《新安逸韵图册》的内容丰富，涵盖了许多不同的题材，如自然风光、人物生活、历史故事等。\n\n郑旼在 《新安逸韵图册》 中结合了文字、图画和韵律，创造出了一种独特的艺术形式。他的诗歌融合了中国传统的五言绝句和七言律诗的形式，并加入了自己的创新和个人风格。郑旼的书法作品也颇具特色，他善于运用自然的笔法，使字体看起来更加流畅和优美。\n\n郑旼的 《新安逸韵图册》 被认为是一部杰出的艺术作品，对中国的文学、艺术和文化发展都产生了重要的影响。它不仅是郑旼的代表作，也是中国文学史上的一座里程",[23,25,54,57,55,195,196,58,80,7,56,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59e97b172d0eb3c9c22236592b7cdd2a.jpg","30.6x20.7cm",[65],{"id":4224,"slug":4225,"title":4226,"dynasty":74,"author":468,"museum":51,"description":4129,"tags":4227,"thumbUrl":4228,"material":275,"size":64,"collection":64,"collections":4229,"showCount":4150,"zanCount":43,"manualWeight":43,"mainColor":69},217032,"fang-gu-shan-shui-ce-liu-kai-3-dong-qi-chang-217032","仿古山水册六开-3",[23,25,54,57,55,56,195,194,196,58,7,308,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe610f6ed407a4bd2308e029df1f6c21f.jpg",[],{"id":4231,"slug":4232,"title":4233,"dynasty":49,"author":4234,"museum":51,"description":4235,"tags":4236,"thumbUrl":4238,"material":63,"size":64,"collection":39,"collections":4239,"showCount":4150,"zanCount":43,"manualWeight":43,"mainColor":44},216725,"yi-yin-geng-shen-tu-du-ben-216725","伊尹耕莘图","杜本","伊尹耕莘图，又名伊尹莘图，是一部被认为是元朝最优秀的地图作品之一，是由元朝时期的地理学家杜本所创作的。\n\n该地图主要描述了中国当时的地理概况，包括各省、城市、河流、山脉、道路等信息。其中，最为突出的特点是对中国各省的精细描述，其中包括了各省的地理位置、面积、人口、资源、经济情况等信息。\n\n伊尹耕莘图被认为是中国历史上最为精确的地图之一，并被广泛应用于当时的军事、经济、文化等方面。它的创作也标志着中国地图制作技术的巨大发展，对中国地图学的发展产生了深远的影响。",[25,54,26,55,27,1004,56,101,100,7,59,2579,228,4237],"农具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2087df4b0af8e6ce8e4200bf6af9f34a.jpg",[39],{"id":4241,"slug":4242,"title":4243,"dynasty":74,"author":468,"museum":328,"description":469,"tags":4244,"thumbUrl":4245,"material":63,"size":64,"collection":64,"collections":4246,"showCount":4150,"zanCount":43,"manualWeight":43,"mainColor":44},214657,"qiu-xing-ba-jing-tu-ce-2-dong-qi-chang-214657","秋兴八景图册-2",[24,25,54,57,55,28,56,1004,101,7,103,590,786,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F883a53c2374ee28565293f083f1f9beb.jpg",[],{"id":4248,"slug":4249,"title":4250,"dynasty":74,"author":468,"museum":328,"description":469,"tags":4251,"thumbUrl":4252,"material":275,"size":64,"collection":64,"collections":4253,"showCount":4150,"zanCount":43,"manualWeight":43,"mainColor":69},214652,"qiu-xing-ba-jing-tu-ce-6-dong-qi-chang-214652","秋兴八景图册-6",[25,54,57,55,445,28,58,80,7,459,196,194,195,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff817eee9f0599f9ebafe594d2a16d4ab.jpg",[],{"id":4255,"slug":4256,"title":4257,"dynasty":74,"author":468,"museum":355,"description":4258,"tags":4259,"thumbUrl":4260,"material":447,"size":616,"collection":64,"collections":4261,"showCount":4262,"zanCount":43,"manualWeight":43,"mainColor":69},233805,"shan-shui-tu-ce-dong-qi-chang-233805","山水图册","明代画坛流派叠现，异彩纷呈。晚期更有华亭派、武林派等异军突起，影响远泽有清一代。其中，华亭派领袖人物董其昌推崇倡导的摹古风气对后世画坛的影响尤为深刻。对于学习绘画，董其昌认为应先以古人为师，对古人画迹悉心摹写，将其笔墨技法、布局构图于心中融汇贯通，从而得古人笔墨意趣，然后再师法自然，汲取创作灵感。他对自己的主张是身体力行的。\n这套《仿古山水》册共８开，皆为仿唐及宋元诸家如杨昇、惠崇、李公麟、倪瓒等的小幅册页，是董其昌仿古一类绘画中不可多得的妙品。董氏水墨山水名重于世，设色山水也别具一格。此册中“仿唐杨昇”一开青绿山水，以没骨法为之，丛树峰峦等都用石青、石绿、朱砂、赭石等色染出，鲜有勾皴，与李思训一派线条硬劲的青绿山水情趣各异。董其昌曾遍临名家画作，而用功最勤的则是元四家。册中有“仿倪元镇”一开山水，构图布局和树、石、山、亭的画法无不毕肖于倪瓒之作，可谓得其三昧，登堂入室。此套册页虽每开均以“仿”字冠名，其实画面却不尽然，因为每幅都有自出新意之处。再以“仿倪元镇”一开为例，与倪瓒之画呈现的寂寥疏淡的面目相比，此图使人感受到的是勃勃生机，这是董氏取诸家笔墨之长，再运用自身的学养识见加以变化而直抒胸臆、独树风标的不凡魅力，后世众多摹古画家始终无法企及。",[25,54,57,55,56,58,7,83,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fc0101e770c5965b8981d382075a663.jpg",[],33,{"id":4264,"slug":4265,"title":4266,"dynasty":74,"author":4267,"museum":355,"description":4268,"tags":4269,"thumbUrl":4270,"material":1563,"size":4271,"collection":64,"collections":4272,"showCount":4262,"zanCount":43,"manualWeight":43,"mainColor":69},233475,"ren-wu-hua-hui-ce-xu-wei-233475","人物花卉册","徐渭","该册十八页，其中画十五页，分别作写意山水人物、写生花卉，内容有婴戏、对弈、牡丹、兰花、稻穗螃蟹等等。笔墨简括豪放，随意自然。选其二页，可窥真趣。",[25,54,57,55,101,7,83,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9a3afdd86f7423d4b7c78bbcbdc370.jpg","纵26.9厘米 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宁静悠远的郊野之中，心随牛群漫步，意伴稚童欢嬉，沉醉于这份恬淡自在的烟火气里。",[23,25,26,28,27,100,101,7,102,256,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F930c8aa569d3e32ea734c96bb3a9529f.jpg",[39,65],{"id":4365,"slug":4366,"title":4367,"dynasty":74,"author":317,"museum":132,"description":4368,"tags":4369,"thumbUrl":4371,"material":275,"size":64,"collection":64,"collections":4372,"showCount":4262,"zanCount":43,"manualWeight":43,"mainColor":69},217949,"ming-ren-shan-shui-hua-ce-liu-yi-ming-217949","明人山水画册(六)","明朝是中国历史上一个重要的朝代，它的艺术创作也十分丰富多彩。其中，佚名的《明人山水画册》是一部非常著名的山水画集，被认为是明朝山水画发展的里程碑之一。\n\n《明人山水画册》收录了许多佚名画家的作品，这些画家均擅长运用山水画的技巧，描绘出了美丽的山水景观。这些画作以其精细的线条和细腻的色彩闻名，能够表现出山水的神韵和灵动。\n此外，《明人山水画册》还收录了一些诗文，这些诗文与画作形成了很好的呼应。这使得这部画册不仅是一部艺术作品，而且是一部文学作品。\n\n总的来说，《明人山水画册》是一部十分珍贵的艺术作品，它为我们展示了明朝山水画的高超技巧和精湛工艺，同时也为我们呈现了明朝文化的瑰丽风貌。",[23,25,55,56,57,58,7,59,82,61,4370,83],"近树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2020fb7e4bf77496f47c6fab3f8b8ac7.jpg",[],{"id":4374,"slug":4375,"title":4376,"dynasty":95,"author":317,"museum":76,"description":4377,"tags":4378,"thumbUrl":4379,"material":37,"size":4380,"collection":122,"collections":4381,"showCount":4262,"zanCount":43,"manualWeight":43,"mainColor":44},216992,"shi-ba-luo-han-tu-di-shi-er-na-zha-la-ha-ba-la-zhui-za-zun-zhe-yi-ming-216992","十八罗汉图-第十二那楂拉哈拔喇錣襍尊者","十八罗汉图是宋朝佚名所作的一幅绘画，其中包含了十八个佛教罗汉的形象。其中之一就是第十二那楂拉哈拔喇錣襍尊者。\n\n第十二那楂拉哈拔喇錣襍尊者，是佛教中的一位辅助佛的菩萨。他有着平和的容颜和慈悲的心态，被认为是帮助人们解决烦恼的菩萨。在十八罗汉图中，他的形象通常是被描绘成端庄的姿态，身着红色的衣服，头戴金色的冠冕。",[25,54,79,1096,101,28,27,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab69505d8bf8f8029094fac0e5776be4.jpg","128.5x74.8",[122],{"id":4383,"slug":4384,"title":4385,"dynasty":18,"author":4386,"museum":943,"description":4387,"tags":4388,"thumbUrl":4389,"material":63,"size":64,"collection":64,"collections":4390,"showCount":4262,"zanCount":43,"manualWeight":43,"mainColor":69},214491,"fang-gu-shan-shui-tu-2-cheng-ting-lu-214491","仿古山水图-2","程庭鹭","清代画家程庭鹭的仿古山水图是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了程庭鹭对自然的热爱和对传统文化的尊重。他运用了仿古山水画的特点，使得整件作品显得舒缓而优美。\n\n程庭鹭是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在仿古山水图中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，程庭鹭的仿古山水图是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了程庭鹭对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到程庭鹭的画风魅力，还能了解中国传统的山水风情。",[23,25,1073,28,58,358,82,101,32,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e5615a13e6125147c6c829aecba1190.jpg",[],{"id":4392,"slug":4393,"title":4394,"dynasty":18,"author":2480,"museum":355,"description":4395,"tags":4396,"thumbUrl":4397,"material":4398,"size":4399,"collection":65,"collections":4400,"showCount":4401,"zanCount":43,"manualWeight":43,"mainColor":44},236384,"huang-shan-tu-zhou-mei-qing-236384","黄山图轴","此图绘黄山的莲花峰。作者以超绝的想象力，运用夸张的手法将莲花峰描绘成秀出天半的青莲，它巍峨不失俏丽，高贵而典雅。山岩的石面以浓淡墨交织的线条混皴，纹理繁密，气象峥嵘，与石上灵动的苔点相交融，显示了作者对黄山景物善于摹写、精于刻画的深厚功力。",[24,25,54,79,55,56,58,80,30,7,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3d0b5065c8022b488432001bfb86239.jpg","绫本，设色","纵186.8厘米，横57厘米",[65],32,{"id":4403,"slug":4404,"title":4405,"dynasty":18,"author":4406,"museum":20,"description":4407,"tags":4408,"thumbUrl":4409,"material":64,"size":64,"collection":64,"collections":4410,"showCount":4401,"zanCount":11,"manualWeight":43,"mainColor":44},235561,"wan-shan-cang-cui-tu-zhou-gao-cen-235561","万山苍翠图轴","高岑","《万山苍翠图》是中国清代画家高岑的国画作品，又称《清高岑万山苍翠图》，是一幅描绘山水景色的水墨画，作品收藏于 。\n《万山苍翠图》是皇家手绘精品，万山苍翠逼寒空，细路迂回古木中，澹澹夕阳堪倚杖，霜枫几点上衣红。\n此款产品是一幅手绘山水图。\n山体层层叠叠，伸向远方，悬崖上的苍松巍然屹立，代表了高洁的志向和昂扬的斗志。\n寓意：意境高远，勇攀高峰。\n《万山苍翠图》笔墨严谨劲秀，披麻皴画山石，淡墨渲染。\n老树挺拔，树木繁多，密而不乱，树叶以夹叶、点叶并用。\n树石罩以淡花青赭石色。\n山川林木茂密，万山苍翠。\n古寺、楼阁、村舍、山泉、船艇，设景似是江南秀丽富饶之乡。\n老者策杖过桥，农者田间劳动，富有生活气息。\n笔墨秀峭，气势雄伟。\n自题：“万山苍翠逼寒空，细路纡回古木中，澹澹夕阳堪倚杖，霜枫几点上衣红。\n画并题呈学迂先生教正。\n石城高岑。\n” ，生卒年不详，清初画家。\n字善长，又字蔚生，浙江 人，居 （今江苏南京）。\n阜（宇康生）弟。\n好学中、晚唐诗，并学画。\n初师僧七处，后自出机杼。\n山水迹近蓝瑛，用笔精到，无粗犷气；写意花卉，清秀入神。\n与龚贤、樊圻、邹桔、吴宏、叶欣、胡糙、谢荪为金陵八家。\n传世作品有《秋山万木图》、《林荫评古图》、《凤台秋月图》、《 》。",[24,25,54,79,28,56,58,80,164,7,213,242,358,243,459,259,59,651,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a51013b654eb01b06e59743d39cf6f0.jpg",[],{"id":4412,"slug":4413,"title":4266,"dynasty":74,"author":4267,"museum":355,"description":4268,"tags":4414,"thumbUrl":4415,"material":1563,"size":4271,"collection":64,"collections":4416,"showCount":4401,"zanCount":43,"manualWeight":43,"mainColor":69},233474,"ren-wu-hua-hui-ce-xu-wei-233474",[25,54,57,55,101,83,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb541473a22dea986bb6946d6197738c6.jpg",[],{"id":4418,"slug":4419,"title":4420,"dynasty":74,"author":2124,"museum":76,"description":4421,"tags":4422,"thumbUrl":4424,"material":717,"size":4425,"collection":64,"collections":4426,"showCount":4401,"zanCount":43,"manualWeight":43,"mainColor":69},222424,"hua-zhu-shu-shuang-que-zhu-zhan-ji-222424","画竹树双鹊","明宣宗朱瞻基（1399年3月16日 －1435年1月31日），号长春真人 ，明成祖朱棣之孙，明仁宗朱高炽长子，明朝第五位皇帝（1425年5月29日-1435年1月31日在位）、书画家，年号“宣德”。\n明宣宗朱瞻基生于北平燕王府 。幼年聪颖，深得祖父朱棣喜爱。永乐九年（1411年），册立为皇太孙，多次跟随明成祖朱棣征讨蒙古。 洪熙元年（1425年）即位。宣德元年（1426年），平定汉王朱高煦叛乱。在政治上，重视整顿吏治和财政，提升内阁地位，任用“三杨”、蹇义、夏原吉等；教导宦官读书参政。经济上，实行休养生息，缓和社会矛盾的措施。对外关系上，进行第七次郑和下西洋；停止用兵交趾；于宣德三年（1428年）出塞，并修建永宁、隆庆诸城。明宣宗的一系列措施使得社会经济空前的发展，与其父明仁宗统治时期合称“仁宣之治”。同时明宣宗在书画方面极有造诣，翰墨图书，极为精致。“点墨写生，遂与宣和（宋徽宗）争胜”， 书法能于圆熟之外见遒劲。工于绘事，山水、人物、走兽、花鸟、草虫均佳，曾钤“广运之宝“、”武英殿宝”及“雍熙世人”等印章。\n宣德十年（1435年），明宣宗去世，终年三十六岁 ，庙号宣宗，谥号宪天崇道英明神圣钦文昭武宽仁纯孝章皇帝，葬于景陵。著《明宣宗御制乐府》一卷，至今已佚，存词二首。传位长子朱祁镇。",[23,25,54,57,55,27,241,7,731,4423],"鹊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F580b1d5613a0bce82743a005bf875250.jpg","37x46.6厘米",[],{"id":4428,"slug":4429,"title":4430,"dynasty":49,"author":1738,"museum":355,"description":4431,"tags":4432,"thumbUrl":4433,"material":1048,"size":4434,"collection":107,"collections":4435,"showCount":4401,"zanCount":43,"manualWeight":43,"mainColor":44},221694,"chun-yun-xiao-ai-tu-zhou-gao-ke-gong-221694","春云晓霭图轴","用花青与墨渲染，用色较重，而矾头多露白，对比强烈，使人有雨后晴山的感觉。曾著录于《大观录》、《江村销夏录》。此图正是运用了米点皴法，但在学米的同时又参用董源的画法，故山水画的浑厚、重大，而烟云环抱山峦，一线瀑布飞下，又使群山飘渺起来，气象万千。石涛《画语录》“境界章”中提到山水画的“分疆”，认为画面可作“三叠两段”的处理，三叠是指“一层地，二层树，三层山”，所谓“两段”是指“景在下，山在上，云在中”，将画隔做两段。古代作品中不发此类画例，如明人王孟端的《溪山深秀图》、文嘉的《天地山月图》等。该件高克恭的“春云晓霭图”也大致属此。当然，“三叠两段”是一种山水画中曾出现过的章法，而不是法则，我们不可刻舟求剑。",[23,25,484,79,56,28,80,715,7,591,212,82,29,1211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eafa9868d9774cd0d4a19bc06632019.jpg","纵138.1厘米，横58.5厘米",[107,65,140],{"id":4437,"slug":4438,"title":4439,"dynasty":74,"author":4440,"museum":76,"description":4441,"tags":4442,"thumbUrl":4443,"material":37,"size":4444,"collection":140,"collections":4445,"showCount":4401,"zanCount":43,"manualWeight":43,"mainColor":44},219973,"xi-qiao-fang-you-tu-wang-e-219973","溪桥访友图","王谔","明代画家。字廷直，奉化（今浙江奉化）人，世居奉化城内西锦里。 初以绘事供事仁智殿。尝师里人萧凤，尽其术，乃肆力於唐、宋名家。凡奇山怪石，古木惊湍之类，尽摹其妙。以画名东南，其画树石多著烟霭之态，势如泼墨，而无四面枝干丛生疏密之意。宋惧、卢镇 皆师谔。 惧所作山水、人物与谔无二。镇字砚溪，能画美人 。 镇子沛，字小溪，亦工画。一生主要学习马远的画法，就其画法当属浙派。长于人物，画格 出吴伟 之上。 王谔则以山水画被孝宗朱瞻基 称为“当代马远”。 弘治正德中官锦衣千户。工山水，师南宋马远。他的画较之马远笔触更细，稍有放笔，体现了明代中期院体的时代风格。",[23,25,58,28,56,79,212,82,118,7,59,510,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60261b5b6f84e0898253e1dd71ffe7c9.jpg","纵 172.1厘米 横105.8厘米",[140],{"id":4447,"slug":4448,"title":4449,"dynasty":74,"author":3795,"museum":76,"description":4450,"tags":4451,"thumbUrl":4453,"material":37,"size":4454,"collection":65,"collections":4455,"showCount":4401,"zanCount":43,"manualWeight":43,"mainColor":69},219465,"gu-shan-fang-he-tu-xiang-sheng-mo-219465","孤山放鹤图","项圣谟（1597-1658），字孔彰，浙江嘉兴人，著名收藏家项元汴之孙，其画精赡，不同时俗。孤山在浙江杭州西湖，宋代高士林逋（968-1028）隐居于此，种梅养鹤，不仕不娶，人谓「梅妻鹤子」。相传其泛舟湖中时，如友朋来访，家童即纵鹤飞报，遂归。然本幅却将孤山场景，融入苏轼名篇〈放鹤亭记〉（亭在江苏徐州云龙山）的内容，故绘鹤归来兮，山人相迎。而长堤迤逦，分明是西湖；数点梅花，又扣回林逋故事。实景、掌故与文章，在画家的想像里交织。画采俯瞰视角，以长堤环抱，横切狭长画幅，独具一格。画家二度题识，其一自署「再生丁酉人」，盖项氏生于万历丁酉年，至此又一甲子，故此作极有可能为其暮年所为。",[25,54,79,55,56,58,118,1211,7,242,196,194,195,29,4452],"孤山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4d720118a917ab54392b2fa1433c93.jpg","94.8x32.7",[65],{"id":4457,"slug":4458,"title":4459,"dynasty":18,"author":4460,"museum":20,"description":4461,"tags":4462,"thumbUrl":4464,"material":64,"size":64,"collection":65,"collections":4465,"showCount":4466,"zanCount":43,"manualWeight":43,"mainColor":69},239415,"fang-gu-shan-shui-ping-qin-zu-yong-239415","仿古山水屏","秦祖永","此作为浅绛山水，取高远、深远构图，层峦叠嶂渐次推展。山石以干笔皴擦，兼施淡赭花青晕染，松苍枫艳，满溢秋意。林麓间山居隐现，山道上行旅往来，山口茅亭有人闲坐，处处缀出悠然的山居烟火气。\n画作师法前贤，笔致松秀温润，设色清雅柔和，题诗呼应画意，将宋元山水的苍浑气象，揉入文人画的秀逸雅致中，尽显静穆淡远的林下雅趣，是晚清仿古山水中极具意韵的佳构。",[25,28,58,56,1073,80,7,118,101,214,59,285,4463,196,212,418,242,920,786,3535,445,55,79],"枫树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa922d4fea8744735b2bda1b5ca2a1160.jpg",[65,140],31,{"id":4468,"slug":4469,"title":4154,"dynasty":18,"author":1070,"museum":20,"description":4155,"tags":4470,"thumbUrl":4471,"material":64,"size":64,"collection":64,"collections":4472,"showCount":4466,"zanCount":43,"manualWeight":43,"mainColor":69},237585,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237585",[54,25,55,56,1419,1073,58,80,164,7,243,212,242,103,459,590,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e1a7ac5676d946e121ae4810deb4f1.jpg",[],{"id":4474,"slug":4475,"title":4476,"dynasty":18,"author":4189,"museum":20,"description":4477,"tags":4478,"thumbUrl":4479,"material":64,"size":64,"collection":65,"collections":4480,"showCount":4466,"zanCount":43,"manualWeight":43,"mainColor":69},236455,"zheng-min-fang-huang-gong-wang-shan-shui-zhou-zheng-min-236455","郑旼仿黄公望山水轴","郑旼（1632—1683）， 字号：慕倩、穆倩、慕道人、神经证史、雪痕后人，安徽歙县郑村贞白里人，擅长山水。传世作品有康熙二十一年作《雨气真寂图》及《林泉小亭图》二轴，现藏安徽省博物馆；《溪山泛舟图》轴藏浙江省博物馆；康熙十三年作《香烟诗意图》轴藏香港刘均量虚白斋；十二年作《九龙潭图》轴藏故宫博物院；同年作《山水图》轴藏上海博物馆。",[25,54,79,55,56,58,80,7,358,164,308,243,1498,60,732,916],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff8571e4fc1fdafcef4bca07b79e41e.jpg",[65,88],{"id":4482,"slug":4483,"title":4484,"dynasty":18,"author":4485,"museum":20,"description":4486,"tags":4487,"thumbUrl":4488,"material":64,"size":64,"collection":64,"collections":4489,"showCount":4466,"zanCount":43,"manualWeight":43,"mainColor":69},234697,"fang-wu-li-shan-shui-shan-mian-qian-wei-qiao-234697","仿吴历山水扇面","钱维乔","钱维乔（1739~1806），字树参，号竹初居士等，武进（今江苏常州）人，钱维城弟。工书画、擅戏曲。在山水画创作上承袭董其昌的绘画理念，推崇宋元诸家的绘画风格，强调笔墨技法，追求蕴藉平和的审美意趣。\n钱维乔以笔笔有古意为创作宗旨，此图是他仿黄公望、吴镇法，绘制的江南景致。山石的皴擦点染以及树木的勾描，均可见钱氏已能熟练地运用黄、吴的笔墨技法，表现其平淡娟雅的山水意境。",[25,54,976,55,28,56,58,80,7,308,196,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea4796b8f97833f8f76881a0e589dcc.jpg",[],{"id":4491,"slug":4492,"title":4493,"dynasty":74,"author":4494,"museum":20,"description":4495,"tags":4496,"thumbUrl":4498,"material":64,"size":64,"collection":64,"collections":4499,"showCount":4466,"zanCount":203,"manualWeight":43,"mainColor":44},228735,"jiang-cun-feng-yu-tu-lv-wen-ying-228735","江村风雨图","吕文英","吕文英（1421—155），括苍（今浙江丽水）人。\n擅画人物，亦写山水，为明代 名家之一。\n孝宗弘治间（1481－155）与 同以指挥知直 。\n文英以人物、吕纪以 而受宠，人呼文英为“小吕”， 为“大吕”。\n卒年八十五。\n传世作品有《江村风雨图》、《货郎图》等。\n吕文英（1421~155），字阔苍，括苍（今浙江丽水）人。\n著名画家。\n尤擅人物，兼画山水。\n成化朝 、弘治朝 二帝，均擅画，时宫廷画院兴盛，名家云集。\n弘治元年（1488），文英以 在武英、仁智殿供职，受 恩宠。\n人呼文英为“小吕”， 为“大吕”。\n传世作品有人物画《货郎图》春夏秋冬4幅 资料馆藏、山水画《《江村风雨图》现藏美国克利夫美术馆。\n此外，还有《嬉春》图轴2幅、《宫妆娃娃》图轴等。\n文英还多次与 合作创作，有《竹园寿集图》、《龙女斩蛇图》等。\n216版《 》中所刊与宁波有关的两幅画：《姚大梅诗意图册之白猿渡水页》和《竹园寿集图》。\n《竹园寿集图》说的是明弘治己未，户部尚书周经、吏部尚书屠滽、御史侣锺三人同值六十大寿，诸僚至周经私宅置酒同庆的故事。\n当年祝寿人群中，还有两位锦衣卫，“大吕”吕纪和侄子“小吕”吕文英，恰是两位画家。\n二人常合作作画。\n当天主人周经援引《杏园雅集图》事，要二吕仿效，也将此次聚会画下来。\n二吕欣然摹写，将在场的28人皆入画中。\n其中屠滽着红衣，执笔立于竹下，边上有童子捧砚，诗已写成，面容自得。",[23,25,28,58,56,80,7,197,1083,164,358,308,4497,1233,1751,916,242],"村舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c1761f60f5cdcb5ef6ccf0cd2c5695.jpg",[],{"id":4501,"slug":4502,"title":4503,"dynasty":95,"author":4504,"museum":20,"description":4505,"tags":4506,"thumbUrl":4507,"material":64,"size":64,"collection":64,"collections":4508,"showCount":4466,"zanCount":11,"manualWeight":43,"mainColor":44},227813,"qiu-jiang-du-diao-tu-ma-he-zhi-227813","秋江独钓图","马和之","此作用笔简淡秀雅，以大片空濛绢面烘托出秋水寥廓。虬曲老木垂挂残叶，将深秋萧寒之意晕开，寒江扁舟泊于江岸，渔翁披蓑戴笠斜倚船舷，似在静候鱼信，又像醉卧江风，将江湖散人的疏旷随性尽显。\n\n不着重繁复刻画，仅以淡墨晕染出水气空茫，留白处尽是秋江清寂，把秋日江上萧索又悠然的意趣铺陈开来，将文人寄情山水、不与世俗同流的隐逸心境藏在尺幅之间，淡远空灵，余韵悠长。",[23,25,54,976,28,58,358,101,7,360,702,359],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30e495b04e398eb0a3186bc1849f299f.jpg",[],{"id":4510,"slug":4511,"title":4512,"dynasty":74,"author":2408,"museum":76,"description":4513,"tags":4514,"thumbUrl":4516,"material":64,"size":4517,"collection":65,"collections":4518,"showCount":4466,"zanCount":43,"manualWeight":43,"mainColor":44},222585,"fang-zhao-ling-rang-he-xiang-qing-xia-lan-ying-222585","仿赵令穰荷乡清夏","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。\n蓝瑛 （1585-1664），一作（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂”，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n蓝瑛一生以绘画为职业，曾漫游南北，饱览名胜，眼界开阔，因而不断丰富了创作内容。他的传派，直接继承衣钵的有蓝氏一家子孙，如蓝孟、蓝深、蓝涛等，弟子刘度、王奂等都各有成就。明末同时和稍后的如陈洪绶以及金陵八家等著名画家，也都受他的影响。\n蓝瑛绘画对明末清初影响很大，被后人称为“武林派”。画史上称之为“后浙派”，将其与戴进、吴伟合称“浙派三大家”。 [2] 但实际上他的画风与戴进等不同，不能完全附属于“浙派”之后。蓝瑛字田叔，号蜨叟，晚号石头陀，又号东郭老农，所居榜额曰“城曲茅堂”。\n蓝瑛是我国明末清初的画家，曾有美术史家把他列为“浙派”，对此，有专家学者提出异议认为：蓝瑛与戴进之间既无师承关系，在绘画面貌、艺术风格上也大相径庭，故不应因二人同处浙江杭州而列为同一画派“浙派”。\n清代沈宗骞在《芥舟学画编》中提出“蓝瑛倡为武林派”，蓝瑛和他的追随者们应称为“武林派”。我们知道，画史上有一些画家因种种原因没有留下更多的生平资料，使后人很难从他们一生的行踪、生活背景、个性脾气、思维方式中去了解他们所形成的艺术风格、审美理念，只能从他们留存于世的绘画作品中去洞察其艺术之轨迹，蓝瑛就是这众多画家中的一位。长期以来，学术界对文人画家及其作品比较重视，由于蓝瑛是一位职业画家，又没有诗文和著作留存于世，因此在画史上很少有关于他的记载和涉及。本文试通过对蓝瑛绘画作品的具体分析，来阐述蓝瑛山水绘画的艺术特色和所取得的成就。\n画家的创作理念和他个人所生活的时代、环境、文化素养、审美标准是分不开的。蓝瑛作为明末清初的画家，他的绘画风格同样也脱离不开他所生活的时代。因此，在探讨蓝瑛山水绘画的艺术特色之前，我们首先要对蓝瑛的生平及师承有所了解。\n蓝瑛，生于公元1585年，卒年不详，1664年尚在，字田叔，号蜨叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号西湖外民、西湖外史、东郭老农、吴山农等，所居榜额曰“城曲茅堂”。生长于“浙派”发源地钱塘(今浙江杭州)，二十三岁寓居松江，后来长期活动于杭州、嘉兴、南京、扬州、绍兴等地，卖画授徒，影响深远，追随者主要集中于杭州一带，被称为“武林派”(武林为今杭州别称)，在明末万历到清初康熙年间足以与“松江派”抗衡。其画风融合南北两宗，自成一家，属于一位文人画的职业画家。清代以来不少学者把蓝瑛称为“浙派”的“后劲”或“殿军”。\n他工书善画，长于山水、竹石、梅兰、人物、花鸟等，技法全面，尤以山水画著名，是明末清初颇具影响力的山水画家。他的绘画特点比较明显的是用笔有顿挫，以疏秀苍劲取胜，善写秋景。在其作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”等，实则所画均为他自己的面目。他的山水绘画画法有两种：一种作钩勒浅绛法，另一种作没骨法，设色鲜艳夺目，所画青山、红树、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水绘画作品。蓝瑛享年八十有余，一生以绘画为职业，笔耕不辍，传世的绘画作品面貌多样，数量众多。\n从蓝瑛传世的作品看，他的山水画创作大致可分为早、中、晚三个时期。早期为其五十岁以前。从现存蓝瑛早期的绘画作品中可以看出，他在临习古人绘画作品的过程中，打下了扎实的笔墨功底。在艺术成就的取得上，他主要得益于黄公望、王蒙、倪瓒、吴镇的助力。元四家的笔墨虽不尽相同，但蓝瑛在学习他们的绘画技法时却能择良而取，并注意吸取对自己有用的东西，藉以丰富个人的表现能力。博采众长，应该是一个艺术家取得成就的途径之一，这也是我国艺术史上久经证明的成功经验。此时蓝瑛作品呈现出的面貌基本是以中锋运笔，皴法以长披麻皴、解索皴、荷叶皴为主。山石的画法润泽浑圆，没有过多的棱角，苔点圆润。树木的画法则是多种多样，体现了他绘画技法的娴熟。在构图上，近景的树木与远景的山峦之间具有明显的空间感。设色平淡和润，风格秀润清和，疏松简略。\n《溪山秋色图》为癸丑新秋(1613年)，画家29岁时创作的一件传世绘画佳作。画卷右起为辽阔的水域，远山朦胧，云气蒸腾。中部山石突起，溪水潺潺，蜿蜒的水流从山石间缓缓淌过，坡石上零星地分布着杂草树木。整幅画作淡泊宁静，用笔柔和，山石少皴，偶有淡淡的荷叶皴，构图松秀，设色清和，墨色滋润，从中可看出蓝瑛此时的绘画受“松江派”绘画风格影响之痕迹。\n《仿李唐山水图》是蓝瑛早年创作的一件绘画作品。图中景物茂密，近景岩石累累，形成坡坨，处于曲流之畔。坡石上树木茂蔚，造型古朴，刻画细致，疏密枯润，各显生态。树林间有一茅亭临于溪边，亭内二隐士对坐畅聊。隔溪远景是巨石高峰，岩石突兀奇特，下有瀑布，泻入清溪。整个画面山石崚嶒，古树结节，山石的皴法，以小斧劈皴、刮铁皴相济并用，稍以色彩点簇，水墨晕染，刚中见柔。布局稳当，气氛清谧。远山近树，继承了李唐院体画派的风范而自有发挥，作品较多地留有宋代遗风。\n中期为五十至六十五岁之间。这时他不但取法郭熙、李唐及马远、夏圭，而且对二米、云山也精心研究，对黄公望的画更是悉心尤力。时人吴门画派沈周、文徵明的笔法他也热心师效。加之他漫游南北涉猎广泛，眼界宽广，兼融南北，形成了苍劲雄强、骨力刚硬的个人风格，此时的蓝瑛已经达到能“分别宋元家数，某人皴梁法脉，某人蹊径勾点，毫不差谬”的水平。他以自己对各家绘画特色的见解，以中锋、侧锋交替运笔，用各种皴法、点苔法熟练地画出各种形态的山石、树木。以各家的典型构图，或高远或平远，或简或繁，显现出一种笔墨苍劲、气势雄浑的境界，反映出他在三十余年仿古绘画的实践中渐渐脱开单纯的临与仿，开始形成了自己独立的绘画风格。\n《仿古山水册》作于乙亥春仲(1635年)，画家时年51岁。此山水画册的风格以临黄子久为主，笔触粗短，用笔方折，山石少皴，偶用折带、荷叶皴，略加修饰，山石敷以淡青绿和浅绛，加浓墨苔点醒神，用笔简练，设色淡雅。全册共计十二幅，每幅均可见蓝瑛中年绘画之风格。首幅水墨画枯树数株，槎枒矗立，画上题云：“云林之法，妙在简远。瑛法之，未必耳。笑笑。”第二幅浅设色画，一红衣士人立于松下，隔岸观瀑，画上题云：“偶法郭河阳画。西湖外史蓝瑛。”第三幅设色画临水岩上，桃红满树，舟人浮江而行，款“蓝瑛画”。第四幅设色画村舍数间，丛树环绕，小桥流水，画上自题：“赵令穰画法，蓝瑛。”第五幅设色画层峦飞瀑，草阁间士人独坐，画上自题“蓝瑛法大痴画”；第六幅水墨画水畔虚亭，自题：“梅华道人画法，画于富春之吉祥山房。蓝瑛。”第七幅设色画青山红树，画上题云：“元之高彦敬尚书画法米南宫，有白云红树画。蓝瑛仿之。”第八幅设色画层峦蓊郁，群树繁茂，士人独坐水岸，观泉听瀑，自题“王黄鹤听泉图。蓝瑛法。”第九幅设色画苍松红树，孤舟临岸，画上题云：“赵仲穆画似其翁，一段秀古，自成别门。蓝瑛法。”第十幅设色画秋林丹翠，篷舟沿溪，自题：“乙亥春仲法李唐画。西湖外史蓝瑛。”第十一幅设色画秋林丛聚，清雾弥漫，士人独行，自题：“法松雪斋秋林觅句。蓝瑛。”第十二幅设色画，白雪覆树，水岸亭间，士人观景，自题：“乙亥春仲法右丞画。蓝瑛田叔。”\n《乔岳松年图》是蓝瑛55岁时为宁庵祝寿时所绘。画上的景物，笔墨苍劲，山石突兀嶙峋，白云在山间缭绕，远处的楼阁隐现于流动的烟雾之中，时隐时现，增加了画面的动感。画之近处有九株苍干虬枝的古松，繁密的松针，碧绿青翠，使得画面苍浑郁茂，平添了清新的气氛。在松树的掩映下有一茅亭，亭内一老者正在观赏那飞流而下的瀑布。整个画面笔墨精到，用色灵巧，再加上山石间有规律的点以苔藓，使得画中的景物更加雄奇壮观。\n晚年为六十五岁以后，这是蓝瑛一生中最精彩的时期。此时他在融会贯通前人技法的基础上，自立门户，形成了自己的绘画风貌。有人评其晚年画风“绝似仲圭，复似启南”，一语道出蓝瑛画风在渊源上与文人画的关系和晚年苍劲雄浑的画风。从此时期的作品来看，笔法苍劲疏宕，伟峻老练，画风呈多种面貌，有些作品笔墨含蓄隽雅，有些作品青绿重设色，画法工细，色调浓丽，愈老而愈工。这一时期他主要以敏捷快速的粗笔山水为主，山石的轮廓线短小、破碎、躁动，以破笔点苔，以侧锋皴擦；树木的画法更加曲屈苍老和类型化。构图上也基本形成了一种统一的样式：巍峨雄伟的山体以棱角分明的几何体组成并繁复堆积，占据画面的大部分且多偏向一侧，而于另一侧留出一定的空间，山顶突出。山间有飞瀑丛树，山脚以渔樵隐士、老树茅屋点缀。同时出现了山体的立轴画中纵向拉长，在手卷中则横向延伸的变形现象。晚年的作品中没有了早期所保留的一定的空间感，代之以一种逼人的气势，无论是仿荆浩、董源还是仿黄公望，在风格和笔墨上已经没有了差别，它们都已化为蓝瑛的典型山水样式。蓝瑛晚年的作品，笔益精良，构图高嶂巨壁，丘壑深远，重山叠翠，更加苍浑古朴。\n《华岳高秋图》作于1652年，画家时年68岁。画中远景，高山耸立，山顶作平台状，山隈深处，楼阁崔嵬，流泉飞溅，山石勾勒线条硬折，运用荷叶皴、折带皴和牛毛皴，树草稀少，显得崚嶒。中景，群山环绕之中，筑有楼榭，溪流淙淙而下，老树粗壮，用短笔勾成，树叶采用双勾夹叶填色，松针用传统笔法，排列有序，挺拔有力，不失古气。水口用笔转折生硬，受南宋影响，类似浙派。近景，山径迂回，满山红树，二高士漫步小道，观瀑笑语。构图气势雄伟，笔势刚健豪迈。山石用荷叶皴，参以折带皴加水墨渲染，罩花青赭色，树木苍劲，枫叶明丽，描绘出华岳的深秋景色。\n《秋壑飞泉图》为蓝瑛74岁时所作的传世佳作。该画尺幅巨大，气势磅礴，画心高近四米，颇见蓝氏构图设景之能力所在，作品凝聚了画家毕生的技艺与功力。画面层峦耸翠，幽谷深邃，轻岚浮动，红树青山。山谷间的飞瀑和桥上的高士顾盼有情，高远及深远相结合，是典型的蓝氏山水画之模式。画中的高山巨峰，上部的山石重叠峻峋，瀑布悬崖，飞泉溅落。中部巨石杂树间有一茅亭，一人于内赏景，稍下建筑数座，红叶映天，浮桥卧地，小桥上二叟持杖交谈，颇有生活意趣。从这幅绘画的技法上，可以看出他在融汇前人技法方面的成就，也能看出他在创新方面的景物。作者采用“荷叶皴”，在形式与内容方面得到了和谐的结合，取得了较好的效果。那独具特点的置苔，尤显得画面苍润而厚重。有些树叶以赭色画出，突出了节令气氛，使画面秋意盎然。该画构图雄伟，气势阔大，足见蓝瑛博大精深的笔墨造诣。\n纵观蓝瑛早、中、晚三个时期的绘画作品，大体可以得到这样一些认识：早年的作品，是学宋代诸大家的笔法，尤其是学元四家的作品。此时笔法较细润，明显地呈现出某派的笔法痕迹。中年，在学习前人技法的基础上开始变法，也就是向开创独特风格的途程上逐步迈进。晚年则开创了一种雄伟浑穆的独特面貌，画不离苔以及多画秋景，善施赭色，巧用荷叶皴等等，也都是蓝瑛作品的特点。\n蓝瑛的山水画艺术成就，得益于他“性耽山水”。虽然他下苦功夫临习了晋唐宋元诸家，并达到了精妙乱真的程度，但他不以摹仿为能事。他不仅擅于师古人之意进行变革创新，而且还注重生活，注重行万里路，饱游饫看，“游闽粤荆襄，历燕秦晋落，涉猎既多，眼界弘远”。因为他胸中有真丘壑的观察积累，眼界开阔，所以能落笔纵横，水墨淋漓，独创一格一派—武林派。蓝瑛的绘画，影响广泛，师法他的人可分成三类：一类是蓝瑛的嫡传弟子，如早期的刘度、蓝孟等人；第二类是出自蓝瑛的嫡传弟子门下或模仿蓝瑛画风的职业画家，如蓝涛等；第三类是早年曾经出自蓝氏门下，后来自立门户创立了独立画风的陈洪绶、禹之鼎等。千百年来，为祖国锦绣山河传神写貌的画家，能够开宗立派的屈指可数。蓝瑛的绘画崛起于江南，熔铸古今，独开门庭，这是难能可贵的。",[23,25,54,57,28,58,531,56,80,7,164,150,4515],"荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c941eb7e0ba93f6e83eaf6dcf7cf0a3.jpg","72.6x60.8厘米",[65,88],{"id":4520,"slug":4521,"title":4522,"dynasty":74,"author":415,"museum":850,"description":416,"tags":4523,"thumbUrl":4524,"material":4525,"size":4526,"collection":65,"collections":4527,"showCount":4466,"zanCount":11,"manualWeight":43,"mainColor":69},222007,"ju-gui-zhai-tu-shou-juan-wen-zheng-ming-222007","聚桂斋图手卷",[23,25,211,194,58,30,7,419,28,421,26,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6bcbef7bb3e97e60135879e28a13a3a.jpg","水墨设色","31.6x56.2厘米",[65,140],{"id":4529,"slug":4530,"title":4531,"dynasty":18,"author":4532,"museum":943,"description":4533,"tags":4534,"thumbUrl":4535,"material":28,"size":64,"collection":65,"collections":4536,"showCount":4466,"zanCount":43,"manualWeight":43,"mainColor":69},219058,"shan-shui-tu-shan-yue-ming-qiu-si-shang-rui-219058","山水图扇-月明秋思","上睿","扇面之上，月色如纱轻覆山林。疏林间几树浅黄晕开秋意，墨色浓淡交织出枝叶层叠的生趣，或深或浅的笔触里藏着自然的韵律。小径上三五身影闲步，衣袂飘飘似在共赏明月、低语秋思。右侧茅舍隐于树后，檐角与草木相映，静谧中透着烟火气。\n\n笔墨清润灵动，水墨晕染出空濛月色，秋意与清辉交融成悠然雅致的氛围。仿佛能触到秋夜微凉，望见月光流转的温柔，文人的闲情与秋日的清寂，凝于这一方扇面，满纸皆是诗意的秋思。",[23,25,976,28,58,1420,7,118,101,715,59,786,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11813952ce248c3a101af6a0ec5aea6f.jpg",[65],{"id":4538,"slug":4539,"title":4540,"dynasty":18,"author":1648,"museum":51,"description":4541,"tags":4542,"thumbUrl":4543,"material":63,"size":64,"collection":64,"collections":4544,"showCount":4466,"zanCount":43,"manualWeight":43,"mainColor":69},214395,"shan-shui-tu-ce-3-zhu-da-214395","山水图册-3","淡墨皴出的山影若隐若现，疏枝横斜如写胸中丘壑。半露的小亭孑立山坳，似在静待清风叩扉。墨色枯润相济，浓处见骨，淡处生烟，留白处恰是山岚流动的空隙。画面无繁复铺陈，却于极简中藏着幽远的荒寒之境——似有人迹罕至的静谧，又含遗世独立的清寂。每一笔都似与天地对谈，将喧嚣滤尽，只留心与自然的默然相望。简淡笔墨里晕开的余韵，如一首冷寂的禅诗，让人见之忘俗，仿佛能听见山风掠过枝桠的轻响，触到水墨间流淌的清旷。",[23,25,55,57,56,58,118,7,59,196,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcff80993fccdfe78a8262678da749c0a.jpg",[],{"id":4546,"slug":4547,"title":3509,"dynasty":18,"author":317,"museum":76,"description":4548,"tags":4549,"thumbUrl":4553,"material":64,"size":64,"collection":140,"collections":4554,"showCount":4555,"zanCount":43,"manualWeight":43,"mainColor":44},238933,"qing-ren-qun-xian-zhu-shou-tie-luo-yi-ming-238933","云端仙袂翩跹，分群御风而来，祥龙隐于霭雾，漫溢祥瑞清贵之气。下方山道水畔，凡世之人或骑行牵犊，或执乐赶路，各携贺礼奔赴寿典，满是人间欢悦之态。\n\n此作以缂丝技艺织就，设色古雅柔和，线条细腻灵动。仙凡同贺的祝寿盛景虚实相映，将福寿绵长的美好祈愿，藏在每一处衣褶与云纹里，让悠远的祥瑞意趣缓缓流淌而出。",[25,27,28,101,853,58,4550,510,2127,7,715,59,589,4551,4552],"骆驼","波浪","祝寿场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ce35673770dccb61bbc8a5bd24e3c42.jpg",[140],30,{"id":4557,"slug":4558,"title":4559,"dynasty":74,"author":3795,"museum":355,"description":4560,"tags":4561,"thumbUrl":4562,"material":717,"size":4563,"collection":65,"collections":4564,"showCount":4555,"zanCount":43,"manualWeight":43,"mainColor":69},237696,"yu-man-shan-zhai-tu-zhou-xiang-sheng-mo-237696","雨满山斋图轴","图绘高山深壑，飞瀑清流，寺庙掩映在繁密的林木和耸峻的峰峦间，高士执杖步桥寻幽。山石取法元代黄公望，勾皴用笔浑厚质朴。树木的画法结合宋人笔意，枝干及叶片、苔点皆中锋运笔，苍秀沉着。画面意境深邃出尘。作者通过描写自己在暮秋的山林优游吟赏的活动体现了明末文人士大夫厌倦仕途隐居避世的心境。",[25,54,79,55,56,58,80,7,197,81,82,212,59,118,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff50a5814b2e1a349f1fca44e2d702518.jpg","纵121.4厘米，横32.4厘米",[65],{"id":4566,"slug":4567,"title":4568,"dynasty":18,"author":4569,"museum":355,"description":4570,"tags":4571,"thumbUrl":4572,"material":788,"size":64,"collection":65,"collections":4573,"showCount":4555,"zanCount":43,"manualWeight":43,"mainColor":69},236130,"huang-yue-shan-xi-fang-zhao-tu-zhou-huang-yue-236130","黄钺山溪放棹图轴","黄钺","黄钺（1750--1841），字左田，又名左君，号壹斋、左庶子。先祖七世自当涂迁居芜湖，乾隆十五年八月初五未时（即公元1750年9月5日13时至15时），生于芜湖西门外升平桥旧第，幼丧父母，由外祖父母抚养，及长，敏而好学。清乾隆年间，“以廪贡挑录议叙吏目”。乾隆三十三年（1768）四月，黄钺与安徽巡道李世杰在芜湖赭山滴翠轩创建中江书院，招员授业。乾隆五十五年庚戌恩科(1790年)，殿试中二甲第六名进士，授户部主事，因与和珅意左，告假回芜，“掌教皖南北书院十载”",[25,28,58,56,79,80,3542,3069,7,118,308,82,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2c0e84037a99a0fea090328209329ab.jpg",[65,140],{"id":4575,"slug":4576,"title":4577,"dynasty":74,"author":1942,"museum":20,"description":4578,"tags":4579,"thumbUrl":4580,"material":64,"size":64,"collection":64,"collections":4581,"showCount":4555,"zanCount":43,"manualWeight":43,"mainColor":69},235220,"xue-cun-fang-you-zhou-zhou-chen-235220","雪村访友轴","此作用斧劈皴写山石，棱角方硬冷峻，刻画出隆冬雪山的苍莽寒气。枯木虬曲伸展，枝桠尽脱，尽显萧寒之态。画面下方茅舍暖光隐现，柴扉外访客策杖过桥，童子相从，踏雪而来，为冷寂山野晕开一缕访友的融融温情。画作以浓淡墨色区分雪色留白与山石肌理，笔力老辣雄劲，将冬日山林的荒寒静谧，与文人雅聚的闲逸温情相融，于萧索冷寂中暗藏脉脉人情，铺陈出悠远沉静的山居意境。",[25,54,79,55,56,58,344,80,7,101,990,308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9a0cc2f32f7248830263c39900a75c6.jpg",[],{"id":4583,"slug":4584,"title":4585,"dynasty":18,"author":4586,"museum":20,"description":4587,"tags":4588,"thumbUrl":4589,"material":447,"size":4590,"collection":122,"collections":4591,"showCount":4555,"zanCount":43,"manualWeight":43,"mainColor":69},234297,"hua-ji-chan-yin-tu-ce-xiao-chen-234297","滑稽禅隐图册","萧晨","此作笔墨秀隽，意境清寂澹远。画面之中，长衫文士仰面抬首，凝睇枝桠初花，神色悠然沉谧，似在静赏春信、体悟幽怀。身旁小童捧壶恭谨侍立，主仆情态一动一静，衬出文人林下幽栖的淡然意趣。\n\n作者以淡墨轻皴岩壁，枯树枝干苍劲虬曲，点染花枝轻俏雅致，设色浅净柔和，留白铺陈出萧疏空寂的林下氛围，将文人耽于林泉、静悟禅意的雅趣融于简淡笔墨之中，尽显清润雅致的书卷气息，是兼具雅致意趣与文人情怀的小品佳作。",[25,54,57,28,101,7,59,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb108253a57ede07e91c1de652b22bfe6.jpg","19×24.2cm",[122,140],{"id":4593,"slug":4594,"title":4595,"dynasty":49,"author":4137,"museum":4596,"description":4597,"tags":4598,"thumbUrl":4599,"material":152,"size":4600,"collection":64,"collections":4601,"showCount":4555,"zanCount":43,"manualWeight":43,"mainColor":44},231491,"xue-zhong-lu-tu-zhou-yuan-231491","雪中鹿图","美国弗瑞尔美术馆","虬曲老梅横亘画幅上端，朱红花朵破开沉褐底色，积雪凝缀枝梢，晕开冬日清寒。白鹿身形劲健修长，莹润雪色皮毛以淡墨晕染而出，犄角舒展，垂首静立在覆雪坡石间，安然沉静，与周遭萧寒景致浑然相融。枯涩墨线勾勒梅枝苍劲筋骨，淡墨轻晕出积雪的蓬松虚灵，冷色调底纸烘托出冬夜荒寂空濛，冷冽氛围里，白鹿的温驯清逸更显动人，将冬日的萧寒与生命静雅相融，晕开一卷幽淡空寂的林泽冬景。",[25,54,24,79,28,635,978,344,7,2441,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d6ce42914c8804d95d64ffa52147924.jpg","179.7x92.4厘米",[],{"id":4603,"slug":4604,"title":4605,"dynasty":49,"author":253,"museum":191,"description":4606,"tags":4607,"thumbUrl":4608,"material":3881,"size":4609,"collection":122,"collections":4610,"showCount":4555,"zanCount":43,"manualWeight":43,"mainColor":69},220872,"hong-yi-xi-yu-seng-tu-juan-zhao-meng-fu-220872","红衣西域僧图卷","《红衣罗汉图》重彩画一红衣僧人，头上有光环，坐于大树下，满头深褐色短发，络腮胡须浓密，鼻子隆起，耳佩金环，目光深邃，皮肤黝黑，寿眉朱唇，座下铺朱红毛毡，身傍置一双红色僧鞋，面带微笑，表情静穆而慈祥，左手伸出，手心向上。\n《红衣罗汉图》是借悼念去逝的萨迦派帝师胆巴之名， 隐喻正在萨迦大寺做总持的故宋恭帝（瀛国公），以寄托画家内心的哀婉情思\n《红衣罗汉图》，全画无论人物、衣饰、树石，均用勾勒法，其风格并非写实，而系仿古手法。\n《红衣罗汉图》绘一红色袈裟的僧人，盘膝端坐在嘉树下的坡石上。此僧浓眉深眼，大鼻隆突，胡须络腮，肤色黝黑，一看就不像是汉人。其目光深邃，面容慈祥，左手向前平伸，掌心向上，右手抱入红衣之内，身后藤蔓缠绕着菩提树。似在说法布道，而头后有光环，则显示此僧已经得道修成，是一个了脱生死的罗汉了。这不是一个普通的僧人，而是一个来自印度的罗汉。\n赵孟頫在元初画坛中，无论在画艺上或理想上，都居于领导地位。他提倡古意之说。主要是以为南宋晚年，画风过于浮薄，于是提倡古意，从古画中吸取古人写真实人物牛马山水精神，而再创出新的作风。人物画到了宋代，其重要地位已为山水画代替。但到了元初，赵孟頫，钱选等仍希望从魏晋以来的古画中，吸取其传统的精神，而开创新的道路。《红衣罗汉图》就代表了赵孟頫及元初复古过程中的一个重要阶段。\n赵孟頫长时期提学江南，南宋的故国山河实在太容易使他这样的宗室后裔触景生情，浮想连翩，远在西南做萨迦寺总持的灜国公，也使他同样难以忘怀。转辗传来的萨迦方面的消息，不管是直接的或间接的与少帝有关，都会在赵孟頫的心头激起波澜，当他闻知曾与瀛国公有来往的胆巴喇嘛过世时，就情不自禁地挥动起画笔，以唐人的古意为准范，借西域僧的形象，一吐心中的情愫。\n红衣袈裟是萨迦派喇嘛的象征，背景中小青绿的树石，将此鲜红的记号衬托得更为夺目。尤其是赵孟頫对喇嘛手印的处理，似乎亦有寓意。左手掌平直伸出，大拇指贴掌微翘，罗汉的手印，此“吉尼印”，取外道邪法之意，修其法者得自在之通力。赵孟頫的方外好友释大诉好象通晓此义，故以“岩石宁须着幼奥，陵烟不必求诸将”的典故隐喻之。这是一种对大唐盛世的追慕来补偿眼前赵宋皇帝无可奈何的境遇，对赵孟頫和释大诉来说，瀛国公无疑是《红衣罗汉图》名实关系中最终亮相的主角了。\n《红衣罗汉图》中，僧盘腿而坐，全身披红衣，仅胸部稍露，胸毛甚多。此外其左手伸出，掌向上。以印度之手势而言，当为施恩之意。僧头部之背后，有光环，表示此僧已成罗汉。僧座石上，眥后亦有大石数堆，并有一大树，枝开两旁，一部分树叶垂下；全画中，罗汉之衣及坐下之兽皮与脚下之皮履，均为红色；地下及石块，均用青绿，树干则用褐色。全画无论人物衣饰、树石，均用勾勒法，其风格井非写实，全系仿古。\n《红衣罗汉图》与前代的一些作品相比，也具有明显变化：人物采用工笔画法，衣纹用遒劲圆畅的中锋作铁线勾描，洋红底上晕染朱砂，色彩效果鲜艳而厚重。背景采用小青绿山水的画法，地面和石头以较细而灵活的线条勾出轮廓，每以干笔侧锋作粗略的麻点皴，在浅草绿底色上薄薄地晕染一层石绿，地面凹陷处，轻扫几笔淡赭色，而在僧人背后，则画了一棵根深叶茂、古藤缠绕的大树。树和藤的画法染色，又与坡石不同，更显得古拙而苍秀。树根、石缝以及石头与地面相接处，均以墨绿色剔画小草十数丛，穿插其间，笔笔见力，起到一种统一协调的作用。僧人前边，又画小花两株，亦用双勾法，花着洋红，茎叶染石绿，看上去画法似不甚经意。\n《红衣罗汉图》把人物画与山水画的技法结合起来，在色彩运用和线条的变化等方面进行大胆的尝试，充分发挥出了自己的特长，为研究者研究元代的重彩人物画，提供了宝贵的资料。",[23,25,54,26,28,27,1096,101,7,59,196,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F933dfda15f02d818beff78391ced69d4.jpg","（画心）纵25.7厘米、横51.3厘米；（全卷）纵31厘米、横168.2厘米。",[122,140],{"id":4612,"slug":4613,"title":4614,"dynasty":1718,"author":4615,"museum":4616,"description":4617,"tags":4618,"thumbUrl":4619,"material":64,"size":64,"collection":64,"collections":4620,"showCount":4555,"zanCount":11,"manualWeight":43,"mainColor":69},220483,"hua-yuan-li-de-nv-shi-men-lin-feng-mian-220483","花园里的女士们","林风眠","Hong Kong Museum of Art","林风眠（1900年11月22日—1991年8月12日），家名绍琼，字凤鸣，后改风眠，画家、艺术教育家、国立艺术院（现更名为中国美术学院）首任院长。自幼喜爱绘画。代表作品有《春晴》、《江畔》、《仕女》等。林风眠从法国巴黎国立高等美术学院毕业后，出任国立北平艺术专科学校（现中央美术学院）校长兼教授，后受蔡元培之邀赴杭州主持筹办国立艺术学院（现中国美术学院）并任院长。",[25,28,135,118,7,212,1472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F234c27c6f796494ae7f1dd0aa3d3eaa3.jpg",[],{"id":4622,"slug":4623,"title":4624,"dynasty":18,"author":507,"museum":132,"description":508,"tags":4625,"thumbUrl":4626,"material":37,"size":512,"collection":64,"collections":4627,"showCount":4555,"zanCount":43,"manualWeight":43,"mainColor":69},218336,"shen-xian-gu-shi-tu-ce-3-leng-mei-218336","神仙故事图册-3",[23,25,54,57,27,28,101,715,7,635,1096,959],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71d868c90b4a5cfb55ce8fe0fb510ec9.jpg",[],{"id":4629,"slug":4630,"title":4631,"dynasty":18,"author":317,"museum":20,"description":4632,"tags":4633,"thumbUrl":4634,"material":37,"size":64,"collection":64,"collections":4635,"showCount":4555,"zanCount":43,"manualWeight":43,"mainColor":44},216719,"hong-lou-meng-fu-tu-ce-6-yi-ming-216719","红楼梦赋图册-6","疏朗亭廊下，草木扶疏，远处青芜与浅水隐约相连，清旷意境漫溢画面。亭中二人相对而立：一者素衣垂首，似含温婉心事；一者衣袂沉稳，姿态间藏着关切。笔墨柔婉，设色淡雅，亭柱的质朴纹理、草木的葱郁生机，与人物的娴静气质相融相生。画面虽简，却暗合红楼深处的细腻情愫——那段园林里的无声絮语，似将旧梦的雅致与怅惘，凝于尺幅之间，引人沉入古典仕女图的娴静韵致，遐想不尽。",[23,25,27,28,57,101,118,2441,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1ab6e5f06f547d4f83b04b352a321ef.jpg",[],{"id":4637,"slug":4638,"title":4639,"dynasty":18,"author":317,"museum":20,"description":4640,"tags":4641,"thumbUrl":4642,"material":37,"size":64,"collection":64,"collections":4643,"showCount":4555,"zanCount":43,"manualWeight":43,"mainColor":44},216711,"hong-lou-meng-fu-tu-ce-13-yi-ming-216711","红楼梦赋图册-13","树荫匝地，顽石旁聚起数人。或围案对弈，指尖起落藏着雅趣；或凭石闲立，衣袂轻扬映出闲情。远处水色朦胧，近处枝叶扶疏，漫着江南园林的温润气息。人物眉眼细腻，衣纹流转如溪，举手投足尽是红楼儿女的鲜活模样——低头凝思的，可是忖度棋路？浅笑低语的，又在说些什么闺中絮语？淡墨晕染的背景里，时光似慢了下来，将一段红楼旧梦，静静铺展在这尺幅之间。画面以工笔细描见真章，色彩淡雅却藏着人物情态的生动，于细微处勾连起小说里的诗意日常，让观者不自觉沉入那旧时风月的温柔里。",[23,25,57,28,27,101,135,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F439ee78c66287f6b6759f6e9f650c91f.jpg",[],{"id":4645,"slug":4646,"title":4647,"dynasty":18,"author":4648,"museum":20,"description":4649,"tags":4650,"thumbUrl":4651,"material":64,"size":64,"collection":64,"collections":4652,"showCount":4653,"zanCount":43,"manualWeight":43,"mainColor":69},239053,"shan-shui-hua-niao-ce-yang-jin-239053","山水花鸟册","杨晋","杨晋 ，字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。",[25,54,57,55,58,241,7,83,2807,61,56,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e340cdb6f9a982c4336e6e154f1d51a.jpg",[],29,{"id":4655,"slug":4656,"title":4657,"dynasty":18,"author":456,"museum":355,"description":4658,"tags":4659,"thumbUrl":4660,"material":64,"size":64,"collection":65,"collections":4661,"showCount":4653,"zanCount":43,"manualWeight":43,"mainColor":69},236460,"fang-huang-gong-wang-shan-shui-tu-zhou-wang-jian-236460","仿黄公望山水图轴","王鉴（1609-1677，旧作1598-1677），字圆照（圆字一作元，或玄，或员），一作元炤，号湘碧，别号染香庵主，因官廉州(今广西合浦县)知府，世称王廉州，江苏太仓人，为明南京刑部尚书王世贞曾孙。康熙元年后，王鉴因避讳，将玄照改为圆照，往往又写作元照、员照或元炤。王鉴与王时敏同为董其昌弟子，三人同为“画中九友”。王鉴精通画理，摹古尤长，于董源、巨然尤为深诣，被称为“后学津梁”。有清秦祖永辑录的《染香庵跋画》传世。",[25,54,79,55,56,531,58,7,308,81,1741,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf2a8130da7b657943ce3313f4b98b7.jpg",[65,88],{"id":4663,"slug":4664,"title":4665,"dynasty":18,"author":600,"museum":355,"description":4666,"tags":4667,"thumbUrl":4668,"material":3463,"size":4669,"collection":64,"collections":4670,"showCount":4653,"zanCount":11,"manualWeight":43,"mainColor":69},233827,"you-ting-xiu-mu-tu-zhou-hong-ren-233827","幽亭秀木图轴","“辛丑”为清顺治十八年(1661年)，受赠者名罗衮期，字岳生，安徽歙县呈坎人，是一位信奉佛教的儒生。图上有罗衮期小跋：“启悟师久慕渐江笔意，属予代索，遂以寄予者转赠之。”又有弘仁侄江注题诗“吾师漫写倪迂意，古木孤亭水石幽。优钵昙花题品在，禅门珍秘抗王侯。为启公题家师笔”。\n作为明遗民画家，弘仁曾在民族危难之时挺身而出，参加抗清活动，明亡后，遁迹江湖，寄兴诗画。他眷怀故国，作诗曰：“偶将笔墨落人间，绮丽楼台乱后删。花草吴宫皆不问，独余残渖写钟山。”钟山是明太祖先元璋的陵墓所在地，此诗悲凉沉郁，感怀至深，表达了弘仁不忘故国的坚贞气节，正是这种情怀，使他的绘画倾向于倪瓒的风格，倪画中荒寒萧瑟的意境引起了他心灵的共鸣。此图是弘仁晚年居住在歙县五明寺时所作。画风为倪瓒的变格，作平远布局，近处坡岸茅亭，亭前后有松杉杂木高耸，略去浅水遥岑，使前景成为独立的主体，加强了山石结构的表现，产生较为平和的亲切感。画上坡石用笔为倪瓒独特的折带皴，若淡若疏，骨力内蕴。树木的勾勒点染也出之以简疏的笔法，中锋下笔，复笔皴擦，看似简淡，实含腴润。正如杨翰《归石轩画谈》评述的“于极瘦削处见腴润，极细弱处见苍劲，虽淡无可淡，而饶有余韵。”弘仁仿倪，绝不是以追求倪瓒的画法为目的，他广泛吸收前人的成果，取其意，而不在笔墨迹象间，师法倪瓒、黄公望，同时以自然为师，抒己胸臆，从而形成了其山水画的基本面貌。此画中亦可见一斑。",[25,54,24,79,55,56,118,7,58,83,196,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbedb8101e25e0b3da1b9d79531e46d3b.jpg","纵68厘米，横50.4厘米",[],{"id":4672,"slug":4673,"title":4674,"dynasty":18,"author":317,"museum":20,"description":4675,"tags":4676,"thumbUrl":4677,"material":64,"size":64,"collection":64,"collections":4678,"showCount":4653,"zanCount":11,"manualWeight":43,"mainColor":69},230332,"yan-qin-yi-qing-12-zhen-qing-nei-fu-she-se-ku-juan-ben-yi-ming-230332","燕寝怡情12帧清内府设色库绢本","此作取景雅致园林，流水萦回、林木扶苏，朱红栏槛衬着浅粉繁花，晕染出静谧柔美的底色。案边佳人才子偎依一处，女子纤纤素手调弄笔墨，二人神情亲昵缱绻，将闺中日常的温存缓缓铺展。\n\n衣褶纹饰晕染细腻雅致，设色秀润柔和，无浓艳堆砌，仅以清浅色调晕染出世家眷侣的闲情雅致。画师以精细工笔勾勒情态，将眷侣间无言的温情融在园林幽境里，把烟火日常晕染成诗意缱绻的中式浪漫，尽显古典闺阁温情之美。",[18,25,28,27,216,101,135,690,7,273,961,868,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feec9393ecbd0a1b95daea5afdfb8cdcc.jpg",[],{"id":4680,"slug":4681,"title":4682,"dynasty":95,"author":806,"museum":20,"description":1749,"tags":4683,"thumbUrl":4684,"material":64,"size":64,"collection":64,"collections":4685,"showCount":4653,"zanCount":43,"manualWeight":43,"mainColor":44},227728,"liu-yin-mu-niu-tu-xia-gui-227728","柳荫牧牛图",[23,25,24,54,976,28,101,1519,100,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F179c42d2f8f6243fd9a831f72ed6fb5e.jpg",[],{"id":4687,"slug":4688,"title":4689,"dynasty":74,"author":415,"museum":76,"description":4690,"tags":4691,"thumbUrl":4692,"material":85,"size":4693,"collection":64,"collections":4694,"showCount":4653,"zanCount":43,"manualWeight":43,"mainColor":69},222008,"cha-shi-tu-zhou-wen-zheng-ming-222008","茶事图轴","图绘青山之下郁树成荫，两间茅屋在藩篱之内，主人趺坐于室内，书、壶伴其左右，另一间屋内侍茶的童子正在煮水。从款署中得知，明嘉靖十三年谷雨前三天，苏州的天池、虎丘等地正举行茶叶品评盛会，作者因病未能参加，其好友送来几种好茶，于是令小童汲泉、吹火、煮茶，自斟，自饮，自己品评茶叶之高下，自得其乐。不禁想到唐代诗人皮日休《茶中杂咏·茶具》、陆龟蒙《和茶具十咏》诗，于是缅怀他们的唱和雅趣，诗兴所至,亦追和了十首。画面构图充盈，横狭而纵高，主题突出，笔法细劲，用墨澹雅，蕴藉着浓郁的文人儒雅气质。\n本幅上方自题“茶具十咏”五言律诗十首，分别为茶坞、茶人、茶笋、茶籝、茶舍、茶灶、茶焙、茶鼎、茶瓯、煮茶。后款署：“嘉靖十三年岁在甲午，谷雨前三日，天池、虎丘茶事最盛，余方抱疾偃息一室，弗能往与好事者同为品试之会。佳友念我走惠二三种，乃汲泉吹火烹啜之，辄自第其高下，以适其幽闲之趣。偶忆唐贤皮陆辈‘茶具十咏’，因追次焉，非敢窃附于二贤后，聊以寄一时之兴耳。漫为小图，遂录其上。衡山文徵明识。”钤“徵”“明”朱方联珠印。嘉靖十三年即1534年，文徵明时年65岁。右下钤“徵仲父印”白文方印、“衡山”朱文方印。",[23,25,28,194,58,80,164,7,419,55,421,79,152,420],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1516f91f0ee98d8bbe93d23b0f607e3a.jpg","纵136.1cm，横26.8cm",[],{"id":4696,"slug":4697,"title":4698,"dynasty":1718,"author":4615,"museum":4616,"description":4617,"tags":4699,"thumbUrl":4700,"material":64,"size":64,"collection":64,"collections":4701,"showCount":4653,"zanCount":43,"manualWeight":43,"mainColor":69},220486,"qiu-tian-de-feng-jing-lin-feng-mian-220486","秋天的风景",[25,28,58,80,7,242,459,786],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfade6bcbd19b6de8e2bb0e680d9ab09.jpg",[],{"id":4703,"slug":4704,"title":1879,"dynasty":771,"author":1880,"museum":20,"description":4705,"tags":4706,"thumbUrl":4708,"material":1148,"size":1149,"collection":64,"collections":4709,"showCount":4710,"zanCount":43,"manualWeight":43,"mainColor":349},289728,"yuan-ma-tu-han-gan-289728","此幅绘竹石树林，三猿戏於枝间石上，其下绘黑白双骏。画上宋徽宗题字和“御书”一玺，及理宗“缉熙殿宝”玺皆伪，当为后加。然画中不论猿、马、树石、枝叶，皆描绘细腻，或为南宋作品。",[23,25,24,79,28,510,1641,635,7,4707,241],"怪石","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南宋画家。隆兴初（约1163年）任画院祗候，授将仕郎。父仲，曾任宣和及绍兴画院待诏。继承家学，而画艺超过其父。擅绘山水、人物，尤工画牛，颇为生动。画法近李唐。存世作品有《牧牛图》等。弟次于，亦善画。",[23,25,55,28,27,56,58,7,100,4751,786],"田野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0571f2ca0a021ab1e67ffbdcbdde86ef.jpg",[],{"id":4755,"slug":4756,"title":4757,"dynasty":1460,"author":4758,"museum":20,"description":4759,"tags":4760,"thumbUrl":4776,"material":1148,"size":1149,"collection":1476,"collections":4777,"showCount":4710,"zanCount":11,"manualWeight":43,"mainColor":69},225727,"by-the-seine-1887-fan-gao-225727","By the Seine 1887","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。",[1464,4761,4762,4763,7,256,4764,101,1471,2988,4765,4766,4767,4768,4769,4770,4771,4772,4773,4774,4775],"后印象派","笔触明显","色彩明快","沙滩","光影表现","户外场景","自然景观","人物活动","绿色植物","蓝色水体","黄色沙地","蓝天白云","河岸风光","动态笔触","色彩对比","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7d6cb3c9107504f4e656a3b855bad2f.jpg",[1476],{"id":4779,"slug":4780,"title":4781,"dynasty":18,"author":541,"museum":20,"description":4782,"tags":4783,"thumbUrl":4784,"material":64,"size":64,"collection":64,"collections":4785,"showCount":4710,"zanCount":11,"manualWeight":43,"mainColor":44},224424,"yun-feng-shu-se-tu-wang-shi-min-224424","云峰树色图","《云峰树色图》是清代画家王时敏创作的绢本设色画，现藏于 。\n此图以“高远”法取势，构图呈“S”形循环上升。\n山石沉浑雄健，树木苍厚繁密，画风凝重古朴。\n王时敏（1592—168年），字逊之，号烟客，晚号西庐老人，江苏太仓人。\n其祖父是明礼部尚书兼 王锡爵，父亲是明翰林编修王衡。\n明万历二十九年（161年）举进士，崇祯初以荫仕至太常寺卿，崇祯十三年（164年）辞官隐居，入清不仕。\n工隶书，善画山水，以元黄公望、倪瓒为宗，又受董其昌影响。\n他极力主张恢复古法，反对自出新意，是清初画坛正统派的领袖，后世称“娄东派”，与王鉴、王石谷、王原祁合称“四王”，位列“清初四王”之首，在当时有很大影响。",[23,25,54,79,28,58,56,80,715,7,213,30,82,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97c21bc9c7b497cbaa4d829b8d874e53.jpg",[],{"id":4787,"slug":4788,"title":4789,"dynasty":49,"author":317,"museum":76,"description":4790,"tags":4791,"thumbUrl":4792,"material":63,"size":4793,"collection":65,"collections":4794,"showCount":4710,"zanCount":11,"manualWeight":43,"mainColor":69},221700,"bai-yun-shan-fang-tu-zhou-yi-ming-221700","白云山房图轴","此画是陈贞为大空道者写白云山房。画面上远山叠嶂，山头似乎被云雾笼罩，只露出平坦的山顶和山段，再近些一座山峰在充溢着水气的墨色中浅淡生幽。右上侧较为空旷，只有时隐时现的小山头。画中部为崎岖不平的山石、树木和杂草丛生，山坡的左侧几间屋宇、茅亭座落山坡一侧，用简笔描绘出几间房屋楼阁。近景有较为宽阔的河道，河道的右侧为一座小山岗，上面长有几株树木；河道的左侧为山坡湖石，点缀着数株乔木。此幅图中树木堪称一绝，姿态不一，品种各异，有的枝叶稀疏，有的枝叶低垂，有的高大繁茂葱郁，还有的枝干虬然。此图的画法，图中巨冈坡石和主峰，运用凝重柔和的披麻皴层层皴擦，表现出浑厚伟峻的形势。远山和树丛的表现，充分吸收了米氏云山技徠法垍頭，或用條水墨轻染淡抹，或用浓淡墨色纵横点染。此图在水墨皴染的基调上，还巧妙地敷施色彩。如山峦坡陀罩染一层淡淡青绿，山巅向阳面敷薄薄的赭石，树叶点染花青。画家善于把山峦、溪水、草木、烟云有机地组成一体，使画面气脉流通，神彩焕发，塑造出白云山房奇丽意境。款识“至正辛卯秋九月既望。陈贞履元为大空道者写白云山房。",[23,25,54,79,55,56,58,715,7,30,82,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d2bce35e6488169e35f98daeffd676d.jpg","103.8x35.4厘米",[65,88],{"id":4796,"slug":4797,"title":4798,"dynasty":18,"author":1070,"museum":51,"description":1071,"tags":4799,"thumbUrl":4800,"material":275,"size":64,"collection":64,"collections":4801,"showCount":4710,"zanCount":43,"manualWeight":43,"mainColor":69},214591,"fang-gu-shan-shui-ce-13-wang-hui-214591","仿古山水册-13",[25,54,57,28,56,1073,58,1420,715,7,82,103,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39f501390a2a4e60586411f7d7211255.jpg",[],{"id":4803,"slug":4804,"title":4805,"dynasty":74,"author":1989,"museum":20,"description":4806,"tags":4807,"thumbUrl":4810,"material":64,"size":64,"collection":65,"collections":4811,"showCount":42,"zanCount":43,"manualWeight":43,"mainColor":44},239459,"qian-gu-jiu-long-shan-tu-zhou-qian-gu-239459","钱穀九龙山图轴","此作以全景式铺陈山川灵秀，主峰巍峨雄峙，层岩峻壑以细密披麻皴写就，笔致苍润松灵，尽现山石肌理的沉厚质感。近景松林蓊郁，古木虬枝俯仰生姿，掩映间梵宇茅舍错落，行旅缓行其间，为清寂山林晕染烟火意趣。\n\n远景烟波空蒙，屿渚如螺点染水天，留白铺就悠远虚灵的诗性意境。笔墨兼取元人山水的空灵雅致与北宋山水的苍浑丘壑，将林泉幽致与隐逸禅思融于一卷，既绘就九龙山的磅礴生机，又暗合文人寄情烟霞的林下襟怀，是气韵悠长的山水佳构。",[25,54,79,55,28,56,58,80,7,213,118,29,82,59,4808,4809],"林间建筑","山间小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f77f7d990ba45fa42fb050c3a5d5b05.jpg",[65],{"id":4813,"slug":4814,"title":4815,"dynasty":74,"author":4816,"museum":20,"description":4817,"tags":4818,"thumbUrl":4820,"material":152,"size":64,"collection":1918,"collections":4821,"showCount":42,"zanCount":43,"manualWeight":43,"mainColor":69},237410,"shi-hu-xiao-jing-zhou-wen-jia-237410","石湖小景轴","文嘉","文嘉（151年～158），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。\n大书画家 次子。\n吴门派代表画家。\n初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。\n精于鉴别古书画，工石刻，为明一代之冠。\n画得徵明一体，善画山水，笔法清脆，颇近 ，着色山水具幽澹之致，间仿 皴染，亦颇秀润，兼作花卉。\n明人 评：“其书不能如兄，而画得待诏（ ）一体。\n”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。\n” 吴门派代表画家文徵明的次子，兄 。\n是明清篆刻的一代宗师。\n文家后来还出了位名气极大的人： 。\n长洲（今江苏苏州）人。\n文嘉精于鉴古，临古之功也深，画风传乃父衣钵，惟所闻古人名迹至多，故下笔能脱去习俗，颇不易得。\n文嘉初为 ，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。\n精于鉴别古书画，工石刻，为明一代之冠。\n继承家学，小楷轻清劲爽，宛如瘦鹤，稍大，便疏散不结束，迳寸行书亦然，皆不逮父兄，画得征明一体，善画山水，笔法清脆，颇近 ，着色山水具幽澹之致，间仿 皴染，亦颇秀润，兼作花卉。\n明人 评：“其书不能如兄，而画得待诏（ ）一体。\n”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。\n”然，文嘉一生一直在追求，王世懋在《跋文嘉书古诗十九首》后称：“休承晚年书奇进，几不减京兆。\n”传世作品有嘉靖十九年（154）作《 》十开，现藏 ，二十年（1541）作《垂虹亭图》卷藏苏州市博物馆；万历元年（157）作《寒林钟馗图》轴藏南京博物院；《江南春色图》卷藏 ；《水亭觅句图》轴、《设色山水图》轴藏 ；《秋塘红藕图》藏 ；《石湖小景图》轴、《夏山高隐图》轴、《 》轴、二年（1574）作《 》轴藏故宫博物院；《沧江渔笛图》、《曲水园图》卷藏 。\n著有《钤山堂书画记》、《和州诗》。\n享年八十三岁。\n他还对藏书亦不遗余力，藏书楼有“归来堂”，藏书印有“五峰山人”、“元珠室”、“五峰樵客”、“肇锡余以嘉名”等。\n精于书画和鉴别古籍，著名藏书家项元汴每遇到宋椠元刻时，则聘文彭、文嘉兄弟，为其鉴定版本，故项墨林藏书皆精妙绝伦。\n文氏藏书散佚约在明万历末年至崇祯间，清代藏书家如张均衡、张金吾等曾收藏有文氏旧藏，多是宋刻善本。\n著有《和州诗》、《严氏书画记》等。\n孙文从鼎，字定之，继承藏书，并另有藏书处为“心远阁”、“园贤堂”、“惜阴斋”等。\n孙文从简（1574～1648），字彦可，号枕霞老人，亦能藏书，有“开云楼”。\n关系 姓名 简介 祖父 文林（1445—1499），字宗儒，世称交木先生。\n长洲人。\n成化壬辰进士，授为永嘉知县，改博平，后升任南京太仆寺丞，迁知温州府。\n为政斐然。\n有《文温州集》、《琅琊漫钞》等。\n父亲 文徵明（147.11.28—1559..28），原名壁（或作璧），字徵明，明代杰出画家、书法家、文学家。\n四十二岁起，以字行，更字徵仲。\n因先世衡山人，故号“衡山居士”，世称“文衡山”，汉族，长州（今江苏苏州）人。\n文徵明的 造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗 、 ，文受业于 ，学书于 ，学画于沈周。\n其与沈周共创“吴派”。\n在画史上与 、 、 合称“ ”（“吴门四家”）。\n在诗文上，与 、 、 并称“ ”。\n伯父 文徵静（1469—156）读书善笔札，生平气义自胜，不为贵势拙折，喜好交诗友书画。\n兄长 文彭（1498—157）字寿承，号三桥，别号渔阳子、三桥居士、国子先生， （今江苏苏州）。\n长子。\n以 第一，授秀水训导。\n官国子监博士。\n工书画，尤精篆刻，能诗，有《博士诗集》。\n堂弟 文伯仁（152—1575）明代画家，字德承，号五峰、摄山长、葆生、摄山老农、 人、五峰樵客，汉族，湖广 人， （今江苏苏州）。\n侄子 儿子 （1554—1589）明代画家。\n字子长，号虎丘，明湖广衡山人，系籍长州（今江苏苏州）。\n孙， 之子。\n幼承家学，书画逼真其父。\n坦率好施。\n文元善擅画龙，也绘作山水木石，殊多逸致。\n传世作品有《墨龙图》等。\n惜早逝，未竟其能。\n卒年三十六。\n妇翁王穉登，铭其墓曰：“画品第一，诗品第二。\n” 孙子 （1574—1648），明末画家。\n字彦可，号枕烟老人，明代湖广衡山人，系籍 （今 ）。\n曾孙， 孙， 之子。\n崇祯十三年（164年）拔贡，入清后退居林下，以书画自娱。\n传世画作有《长林徙倚图》、《 风物图》、《潇湘八景图》、《望云图》、《松江高土图》、《江山平远图》、《幡溪通兴图》、《介石书院图》、《寒山寺图》等。\n曾孙女 (1595—164)明代著名女画家。\n长洲（今江苏苏州）人。\n明代画家 女， 孙女，文徵明玄孙女，嫁赵灵均，与丈夫一同隐居。\n精于花草虫蝶画的创作，长于写生，多画幽花异卉、小虫怪蝶，能曲肖物情，颇得生趣。\n作品笔墨细秀，风格娟丽，深得时人赏识。\n有《花卉》册、《萱石图》等传世。\n第一代 第二代 第三代 第四代 第五代 第六代 第七代 第八代 第九代 文定聪 文惠（入赘苏州人张声远家，遂迁居长洲） 文洪（成化1465举人，涞水县学教谕，配陈氏、顾氏、吕氏） 文林（成化1472进士，温州知府，配祁守端） 文征静 文伯仁（画家） 文征明（娶昆山吴愈第三女） 文彭（国子监博士） 文元发（卫辉府同知，娶彭氏，继娶周氏） 文震孟（状元，东阁大学士，娶陆氏） 文秉、文乘 文震亨（画家，武英殿给事） 文嘉（画家） 文元善（画家） 文从简 文俶（女画家，嫁赵灵均） 文台 文室 文森（成化1487进士，右佥都御史） 文彬（赐同进士出身） 文微臣（庠生） 十九年（154年）作 《山水花卉图册》 嘉靖二十年（1541年）作 《垂虹亭图》，现藏 万历元年（157年）作 《寒林钟馗图》，现藏 《江南春色图》，现藏 《水亭觅句图》轴、《设色山水图》轴，现藏 《秋塘红藕图》，现藏天津市艺术博物馆 《石湖小景图》轴、《夏山高隐图》轴、《琵琶行图》轴、 万历二年（1574年）作 《溪山行旅图》轴，现藏故宫博物院 《沧江渔笛图》《曲水园图》卷，现藏 万历八年（158年）作 《村径稻香图》轴 《钤山堂书画记》 《和州诗》 太湖石畔种芭蕉，色映轩窗碧雾摇。\n瘦骨主人清似水，煮茶香透竹间桥。\n山斋雨坐漫焚香，几净窗明竹树凉。\n午睡起来无一事，自翻残墨写潇湘。\n不到天平三十载，每于图画忆登临。\n何时倚杖苍松侧，来看峰头万笏林。\n己卯秋日茂苑文嘉。\n钤“休承”、“文水道人”印。\n收藏印钤“颐椿庐通理藏”。\n“己卯”为明万历七年（1579年），文嘉时年79岁。\n《七绝诗》为文嘉自撰七绝诗首。\n书法清丽秀气，简净劲爽。\n通篇笔画圆曲、细长，运笔正斜、曲直、连断、轻重、虚实表现自然得当。\n体势疏密相间，多取斜势。\n文嘉书受其父 风格的影响，又有所变化。\n《昨日歌》 昨日兮昨日，昨日何其好！昨日过去了，今日徒烦恼。\n世人但知悔昨日，不觉今日又过了。\n水去汩汩流，花落日日少。\n万事立业在今日，莫待明朝悔今朝！ 《今日歌》 今日复今日，今日何其少！今日又不为，此事何时了？人生百年几今日，今日不为真可惜！若言姑待明朝至，明朝又有明朝事。\n为君聊赋《今日诗》，努力请从今日始！ 《明日歌》 明日复明日，明日何其多！日日待明日，万事成蹉跎。\n世人皆被明日累,明日无穷老将至。\n晨昏滚滚水东流,今古悠悠日西坠。\n百年明日能几何？请君听我《 》。\n关于《 》的作者，有两种版本。\n一为明代的文嘉，一为同为明朝的 。\n钱鹤滩生于公元1461年，卒于公元154年。\n如两种版本确实有联系，则原本《 》的著作权应归钱鹤滩，文嘉版本系修改而成。\n该砚石品集石眼、焦叶白、青花、鱼脑、火捺、虫蛀皮于一身，极为难得。\n砚首部随形镌刻金鲤戏水深浮雕，虚实相间，形神俱佳。\n砚背面的刻款更是诗、书、印、刻，水乳交融，精彩完美。\n刻款内容是一首咏笔的绝句：“紫竹纤毫线扎成，如龙似虎伴书生。\n渴来玉砚池中饮，饱向花笺纸上行。\n”书法劲挺秀美，正是文嘉最为擅长的小楷行书；诗句也工正流畅，其对书画艺术的热爱之情跃然而出。\n刻工刀随笔势，具铁划银勾之力而又细致入微，非深谙书法点画之美者莫为。\n落款“文水道人”下刻有“文嘉”阳文印，与《倪瓒真书江南春词图卷》（152年）和《文嘉两洞记游图册》（1544年）上的“文嘉”用印如出一辙，毫无二致。\n可以想见，笔、墨、纸、砚文房四宝在文嘉的生活中扮演了多么重要的角色。\n他动用了诗歌、书法、绘画、雕刻的各种手法，将对文房四宝的深厚感情和文学艺术的深厚造诣熔铸在这方端溪佳石上，使得该砚具备了丰富的审美内涵，而文嘉多方面的艺术才华也由此得到了极生动难得的彰显。",[25,54,79,55,58,56,194,196,195,7,59,358,82,61,4819],"岸坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47b9b6f08b360d0a0c34b2a0a751e093.jpg",[1918],{"id":4823,"slug":4824,"title":4825,"dynasty":18,"author":4826,"museum":355,"description":4827,"tags":4828,"thumbUrl":4829,"material":447,"size":4830,"collection":65,"collections":4831,"showCount":42,"zanCount":43,"manualWeight":43,"mainColor":69},236126,"song-xi-shui-ge-tu-zhou-lu-zun-shu-236126","松溪水阁图轴","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。",[25,54,79,55,56,58,213,991,7,59,242,256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c11ac229528d618fc9599ceaa6d6a55.jpg","纵173.2厘米 横51厘米",[65,88],{"id":4833,"slug":4834,"title":4835,"dynasty":74,"author":4836,"museum":20,"description":4837,"tags":4838,"thumbUrl":4839,"material":1148,"size":1149,"collection":64,"collections":4840,"showCount":42,"zanCount":43,"manualWeight":43,"mainColor":69},234835,"fang-gu-kai-zhi-qing-shan-bai-yun-shan-gu-ning-yuan-234835","仿顾恺之青山白云扇","顾凝远","顾凝远（1580? —1645后），号青霞。吴郡（今江苏苏州）人。为人好学，于古今坟典艺志无所不窥，喜蓄商周秦汉文物。画山水师董、巨、又出入荆、关，兼精画理。",[25,54,976,445,28,531,58,358,101,3808,7,83,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff11fd43f6398ebbe444dac28d65fc0fd.jpg",[],{"id":4842,"slug":4843,"title":3721,"dynasty":74,"author":75,"museum":355,"description":3722,"tags":4844,"thumbUrl":4845,"material":152,"size":3725,"collection":64,"collections":4846,"showCount":42,"zanCount":43,"manualWeight":43,"mainColor":69},234086,"wu-zhong-shan-shui-ce-shen-zhou-234086",[54,25,55,57,195,58,7,2442,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48adc97417d1815506faccdbda051647.jpg",[],{"id":4848,"slug":4849,"title":4850,"dynasty":18,"author":2374,"museum":20,"description":4851,"tags":4852,"thumbUrl":4853,"material":1148,"size":1149,"collection":64,"collections":4854,"showCount":42,"zanCount":43,"manualWeight":43,"mainColor":69},230232,"ren-wu-shan-shui-tu-ce-jin-nong-230232","人物山水图册","金农（1687年—1763年），男，字寿门、司农、吉金，号冬心先生、稽留山民、曲江外史、昔耶居士等，因其人生历经康熙、雍正、乾隆三朝，所以自封“三朝老民”的闲号，钱塘（今浙江杭州）人，布衣终身。清代书画家，扬州八怪之首。\n他好游历，卒无所遇而归。晚寓扬州，卖书画自给。嗜奇好学，工于诗文书法，诗文古奥奇特，并精于鉴别。书法创扁笔书体，兼有楷、隶体势，时称“漆书”。五十三岁后才工画。其画造型奇古，善用淡墨干笔作花卉小品，尤工画梅。\n代表作有《东萼吐华图》《空捍如洒图》《腊梅初绽图》《玉蝶清标图》《铁轩疏花图》《菩萨妙相图》《琼姿俟赏图》等。著有《冬心诗集》《冬心随笔》《冬心杂著》等。",[25,54,57,1004,101,7,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d534484c4febdde66051967bc32ca71.jpg",[],{"id":4856,"slug":4857,"title":1836,"dynasty":49,"author":2071,"museum":20,"description":4858,"tags":4859,"thumbUrl":4860,"material":64,"size":64,"collection":64,"collections":4861,"showCount":42,"zanCount":43,"manualWeight":43,"mainColor":69},228045,"qiu-shan-xing-lv-tu-sheng-mao-228045","此作用淡墨皴染山峦，层层铺展出秋日山林的萧疏苍润，飞泉自崖间垂落，点活了幽寂山境。坡岸松林苍劲错落，细笔勾勒枝叶，兼具挺秀与萧散之致。山径行旅人影点缀其间，衬出林山空阔辽远。\n\n画作以淡赭轻敷，晕染出秋高气清的氛围感，笔法兼得院体精工与文人雅致，将秋日山野的静谧悠远与行旅意趣相融，尺幅间铺展出声色俱寂却暗蕴生趣的山水诗境，尽显元代山水尚简淡、重意境的风神。",[23,25,54,24,58,55,56,28,80,7,82,81,1795,59,196,786],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F957c8bac516a56247b6613d7daeb6e4e.jpg",[],{"id":4863,"slug":4864,"title":4865,"dynasty":74,"author":4866,"museum":20,"description":4867,"tags":4868,"thumbUrl":4869,"material":55,"size":4870,"collection":65,"collections":4871,"showCount":42,"zanCount":43,"manualWeight":43,"mainColor":126},222140,"yu-zhong-shan-se-tu-li-liu-fang-222140","雨中山色图","李流芳","李流芳的《雨中山色图》手卷，可见画面全貌近似宋人笔意与董华亭画法而稍露方折，整体图画层次明晰又显出笔墨清润，构图完满又富有变化。顺形追踪，开卷就顿见留有“米家云山”之痕迹，持续读去又感山石含有董源披麻皴遗法，全图结尾处似乎蕴有沈周秀润散淹墨法。若拈笔墨技法论，画家大胆以泼墨、积墨、渗墨、破墨为主，间以少许勾勒皴染。名士奚冈曾跋李流芳山水册时赞云：“流芳以笔墨诗酒自娱，……擅长山水，尤好吴仲圭，布白奇古，笔笔有意，墨痕浑化，神味盎然，亦善写生，出入宋元，逸气飞动，水墨浅深，韵味深永。”此手卷从一定层面反映出李流芳的笔墨修炼已达纯青火候，心胸境界已臻上乘。\n李流芳（1575～1629年），字长蘅，一字茂宰，号檀园、香海、古怀堂、沧庵，晚号慎娱居士、六浮道人，南直隶徽州歙县（今安徽歙县）人，侨居嘉定（今上海嘉定），明代诗人、书画家。\n三十二岁中举人，后绝意仕途。诗文多写景酬赠之作，风格清新自然。与唐时升、娄坚、程嘉燧合称“嘉定四先生”。擅画山水，学吴镇、黄公望，峻爽流畅，为“画中九友”之一，亦工书法。崇祯二年，卒于檀园，享年五十五岁。",[23,25,26,55,56,58,80,7,242,459,259,1498,4751],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79c2fd96e90502f2d98d5cc83b16fe4c.jpg","27x278",[65,88],{"id":4873,"slug":4874,"title":4875,"dynasty":18,"author":1070,"museum":147,"description":4876,"tags":4877,"thumbUrl":4882,"material":63,"size":4883,"collection":65,"collections":4884,"showCount":42,"zanCount":43,"manualWeight":43,"mainColor":69},219913,"su-yu-xiao-yan-tu-wang-hui-219913","宿雨晓烟图","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。",[25,54,55,58,56,7,459,59,4878,4879,4880,4881,498,651,2266],"烟霭","传统山水画技法","水墨写意","自然景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff62056f5499481d2ef5d82d187387f38.jpg","48.8x33.5cm",[65],{"id":4886,"slug":4887,"title":4888,"dynasty":95,"author":317,"museum":76,"description":4889,"tags":4890,"thumbUrl":4891,"material":37,"size":4892,"collection":65,"collections":4893,"showCount":42,"zanCount":43,"manualWeight":43,"mainColor":69},218815,"liu-an-he-tang-tu-yi-ming-218815","柳岸荷塘图","这幅画描绘了一个芦苇茂盛的荷塘，荷叶田田，五支老箭极为茂盛，说明这里是陶渊明的隐居之地，过了小桥就能看到南山。",[23,24,25,28,58,976,56,1519,150,4515,7,80,164,732],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15878898e2639dfb24e355516ff4dd5f.jpg","25.4x26.4",[65],{"id":4895,"slug":4896,"title":4897,"dynasty":18,"author":1761,"museum":76,"description":4898,"tags":4899,"thumbUrl":4900,"material":275,"size":4901,"collection":122,"collections":4902,"showCount":42,"zanCount":43,"manualWeight":43,"mainColor":69},216976,"hao-liang-tu-jin-ting-biao-216976","濠梁图","庄子和惠施在濠梁上游泳时，看到一只白麋鹿的小鬼在平静地游泳，就讨论是否知道鱼的乐趣。",[25,28,27,56,101,58,82,7,59,590,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F191f0402066ce0f5d7d6c21fe12d46c9.jpg","165.4x95.4",[122],{"id":4904,"slug":4905,"title":4906,"dynasty":18,"author":2384,"museum":76,"description":4907,"tags":4908,"thumbUrl":4909,"material":63,"size":4910,"collection":122,"collections":4911,"showCount":42,"zanCount":43,"manualWeight":43,"mainColor":69},216953,"ying-zhen-tu-xu-yang-216953","应真图","这是一幅罗汉在树下看神兽的画作，整幅画没有颜料，用淡墨和细色，露出没有灰尘的清晰镜面。该画法来自明末的丁云鹏，比较规整。",[25,54,1004,55,1096,101,635,7,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F915a8ecf7dac326cda5abdac6afe273e.jpg","94.1x67",[122],{"id":4913,"slug":4914,"title":4915,"dynasty":18,"author":1070,"museum":20,"description":4916,"tags":4917,"thumbUrl":4918,"material":64,"size":64,"collection":64,"collections":4919,"showCount":4920,"zanCount":43,"manualWeight":43,"mainColor":69},235856,"shan-yuan-jia-qu-zhou-wang-hui-235856","山园佳趣轴","《王翚山园佳趣》是清代诗人弘历创作的一首七言绝句。\n仙馆洞房绿荫稠，隔溪书屋更清幽。\n高人挈杖闲来往，流水行云意不留。\n弘历， 即爱新觉罗·弘历。\n清朝皇帝。\n世宗第四子。\n雍正十一年封和硕宝亲王。\n十三年八月嗣位，次年改元乾隆。\n即位后驱逐在内廷行走之僧道；释放被幽禁之允(胤)禵等，恢复允(胤)禵等宗室身份；又将宗室诸王所属旗人，均改为“公中佐领”，即归皇帝掌握。\n对汉族知识分子，采用笼络与惩罚并行手段，既于乾隆元年开博学鸿词科，三十八年开《四库全书》馆；又大兴文字狱，前后大案不下数十起，并借修书之便，销毁或窜改大量书籍。\n对西北方面，平定准噶尔部，消灭大小和卓木势力，解决康、雍以来遗留问题。\n在位时六次南巡，多次进行镇压土司叛乱、农民起事战争，耗费大量钱财。\n晚年任用和珅，吏治腐败；陶醉于“十全武功”，自称十全老人，对敢于指斥时弊之官吏，常严加斥责。\n同时，对各省亏空严重、督抚多不洁身自爱之状，知之甚详。\n五十八年，接见英国特使马嘎尔尼，拒绝英国所提出之侵略性要求，然并未引起任何警惕之心。\n六十年，宣布明年禅位皇十五子颙琰。\n次年正月，举行授受大典，自称太上皇帝，仍掌实权。\n在位六十年。\n谥纯皇帝。",[25,54,79,55,58,56,118,241,7,212,196,214,59,228,868],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c84613f5fdccf3f412dbdbbae14912d.jpg",[],26,{"id":4922,"slug":4923,"title":4266,"dynasty":74,"author":4267,"museum":355,"description":4268,"tags":4924,"thumbUrl":4925,"material":1563,"size":4271,"collection":64,"collections":4926,"showCount":4920,"zanCount":43,"manualWeight":43,"mainColor":69},233472,"ren-wu-hua-hui-ce-xu-wei-233472",[25,55,421,57,101,7,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c7e30513fa4f6a77701b9e32ce02e35.jpg",[],{"id":4928,"slug":4929,"title":4930,"dynasty":49,"author":442,"museum":355,"description":4931,"tags":4932,"thumbUrl":4933,"material":4934,"size":4935,"collection":64,"collections":4936,"showCount":4920,"zanCount":43,"manualWeight":43,"mainColor":69},232986,"gu-shan-tu-juan-qian-xuan-232986","孤山图卷","本幅设色，左方自题七绝一首，款：”吴兴钱舜举“。题跋：引首陈沂篆书”溪诗画“本幅上面弘历题诗，后隔水弘历书诗，后幅文征明书林逋诗数首，梁诗正书赋。印记：引首四方，本幅及前后隔水有项子京，乾隆，宣统等引49方，半印一方，后幅印24方。",[23,25,54,26,58,28,27,194,196,118,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12955f6e35b97926ac45250b8c8c005a.jpg","纸本 ，设色","纵92.5cm，横23.4cm",[],{"id":4938,"slug":4939,"title":4940,"dynasty":95,"author":1269,"museum":20,"description":4941,"tags":4942,"thumbUrl":4945,"material":64,"size":64,"collection":64,"collections":4946,"showCount":4920,"zanCount":43,"manualWeight":43,"mainColor":44},227543,"guan-chao-tu-ye-guo-xi-227543","观潮图页","郭熙（约1000～约1090年），北宋杰出画家、绘画理论家。字淳夫，河阳府温县（今属河南）人。他出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。山水师法李成，山石创为状如卷云的皴笔，后人称为“卷云皴”。 他画山水注重深入体察生活，能真实、细致、微妙地表现出不同地区、季节、气候的特点，得“远近浅深，四时朝暮，风雨明晦之不同”，创造出极其丰富优美动人的意境，另外他还长于影塑，在墙壁上用泥堆塑浮雕式的山水，别具情趣。\n\n郭熙有《早春图》《关山春雪图》《窠石平远图》《幽谷图》《古木遥山图》等传世。其中《早春图》成功地表现出冬去春来、大地复苏、万物甦醒的细致季节变化。在绘画理论上郭熙亦有很高建树，其理论集中反映在他的《林泉高致》一书中。",[23,25,54,58,55,56,57,4943,7,4944],"山崖","潮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fd2704c889b3485019347aec338e950.jpg",[],{"id":4948,"slug":4949,"title":4950,"dynasty":18,"author":1999,"museum":542,"description":4951,"tags":4952,"thumbUrl":4954,"material":1048,"size":4955,"collection":64,"collections":4956,"showCount":4920,"zanCount":43,"manualWeight":43,"mainColor":69},223236,"qun-ji-zi-shou-tu-ren-yi-223236","群鸡紫绶图","绘篱笆外一棵紫薇风劲叶摆，篱笆墙内二只老鸡带着一群小鸡觅食玩耍，公鸡大红色的鸡冠，伸长了脖子，圆瞪着眼，警惕的盯着四周动静，母鸡紧盯着一群小鸡仔，母爱洋溢，一幅乡村农家的温馨景象映入眼帘。",[23,25,54,24,79,28,55,35,2829,1642,7,4953,2441],"篱笆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef31e39a6fb133ccbf71818592553fc3.jpg","134cmx65cm",[],{"id":4958,"slug":4959,"title":4960,"dynasty":18,"author":2866,"museum":943,"description":2867,"tags":4961,"thumbUrl":4962,"material":216,"size":2871,"collection":64,"collections":4963,"showCount":4920,"zanCount":43,"manualWeight":43,"mainColor":44},223023,"hong-lou-meng-148-sun-wen-223023","红楼梦148",[23,25,27,28,58,101,211,212,118,82,30,344,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f0cacb77d3ba2f18dc3c0c17699474e.jpg",[],{"id":4965,"slug":4966,"title":4967,"dynasty":1718,"author":4968,"museum":4969,"description":4970,"tags":4971,"thumbUrl":4972,"material":4973,"size":64,"collection":64,"collections":4974,"showCount":4920,"zanCount":43,"manualWeight":43,"mainColor":69},220511,"jing-guan-pu-xin-she-220511","景观","溥心畬","The Baltimore Museum of Art","此作用笔清劲秀雅，以高远法绘山林幽居之景。危崖巍峨，以淡赭轻罩、花青晕染，勾勒皴擦间尽显山石嶙峋质感。近岸苍虬古木扎根岩隙，枝叶扶苏，与崖畔林木相互掩映。画面留白铺陈虚境，恰似空谷平湖，烘托出空山幽寂之韵。\n题画诗与景致相融，将松风泉响的山林意趣诉诸笔端，尽显文人山水的诗意内核。整体气息清逸出尘，承续北宗山水笔法，兼具南派的秀润雅致，把林泉高致的幽淡意境描摹尽致，尽显传统文人画的隽永风骨。",[23,54,25,58,79,55,28,56,80,30,7,1969,197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F289a35de63ffa4fc6160756dba5a74e6.jpg","Ink and color on paper",[],{"id":4976,"slug":4977,"title":4978,"dynasty":1460,"author":317,"museum":76,"description":4979,"tags":4980,"thumbUrl":4981,"material":216,"size":4982,"collection":65,"collections":4983,"showCount":4920,"zanCount":43,"manualWeight":43,"mainColor":44},219368,"wu-kuan-xi-shan-shu-wu-zhou-yi-ming-219368","无款溪山书屋轴","绢色沉古，墨痕淡远。近岸老木扶疏，枝干如铁，叶影婆娑间漏下天光；溪石横卧，水纹隐现，似有泠泠声在耳。中麓书屋半掩，窗内人影悄坐，或展卷，或凝思，与林泉为邻，得山水之趣。远岫层叠，云气轻飘，将天地拉得悠远。笔致工细却含野逸，皴擦点染皆见匠心，无一处不藏着对自然的敬畏与对闲居的向往。置身画前，仿佛能踏过溪石，走近书屋，与画中人共沐山风，静听溪语，忘了尘嚣。",[25,54,24,79,58,55,56,7,59,82,591,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36f9e3df3cb8b48d6cea0818948aa5a4.jpg","148.6x74.5",[65],{"id":4985,"slug":4986,"title":4987,"dynasty":49,"author":317,"museum":76,"description":4988,"tags":4989,"thumbUrl":4990,"material":37,"size":64,"collection":65,"collections":4991,"showCount":4920,"zanCount":43,"manualWeight":43,"mainColor":69},218656,"xi-shan-ji-yu-yi-ming-218656","溪山积玉","雪覆层峦如积玉，淡墨晕染出远山的温软轮廓，却藏着冬日清寂。坡岸老柳垂丝，枝条似淡烟轻笼，笔意疏朗间见自然生趣。林间茅舍隐现，仿佛有暖意暗涌，与天地素净相映成趣。\n\n画面无喧嚣，只余山水静穆与生机暗涌——雪的冷、树的疏、屋的暖，在对比里藏着文人对山水的眷恋、对闲居的向往。笔墨不刻意求工，简淡中见深致，恰是元人山水意韵：以心观物，以笔写情，每一寸雪色都浸着悠然禅意，让观者于静谧中触到自然与人心的共鸣。",[23,25,54,57,55,28,58,7,118,82,56,197,733,61,591,1178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ae9bfc8cfcf642803d8d009b93b445d.jpg",[65],{"id":4993,"slug":4994,"title":4995,"dynasty":18,"author":317,"museum":76,"description":4996,"tags":4997,"thumbUrl":4998,"material":37,"size":64,"collection":64,"collections":4999,"showCount":4920,"zanCount":43,"manualWeight":43,"mainColor":69},215194,"sheng-ping-le-shi-tu-ce-10-yi-ming-215194","升平乐事图册-10","升平乐事图册是一部描绘升平乐事的图册，它是一部描述清朝时期升平乐事的图册。升平乐事是一种演出形式，通常在清朝皇帝登基或加冕时举行。这部图册记录了当时的升平乐事，包括演出的服装、舞蹈、音乐和道具等细节。",[25,57,28,27,101,135,1058,7,730,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc7f1602648ee0adcb4a7a28e023748.jpg",[],{"id":5001,"slug":5002,"title":5003,"dynasty":49,"author":888,"museum":76,"description":5004,"tags":5005,"thumbUrl":5006,"material":37,"size":3420,"collection":64,"collections":5007,"showCount":5008,"zanCount":43,"manualWeight":43,"mainColor":44},287536,"jun-ma-tu-zhuang-biao-zhao-yong-287536","骏马图（装裱）","赵雍（1289年－1369年），字仲穆，吴兴（今浙江湖州）人。元代书画家。赵孟頫之子。擅山水，尤精人物鞍马，亦作界画。书善正、行、草，亦长篆书。精鉴赏。传世作品有《兰竹图》《溪山渔隐》《饮中八仙图》等。",[25,24,79,28,510,7,58,635],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffee0277c8089b8cad8ab79a366d9c789.jpg",[],25,{"id":5010,"slug":5011,"title":5012,"dynasty":18,"author":5013,"museum":20,"description":5014,"tags":5015,"thumbUrl":5016,"material":1148,"size":1149,"collection":64,"collections":5017,"showCount":5008,"zanCount":43,"manualWeight":43,"mainColor":44},239033,"cong-lin-hu-xiao-tu-zhou-gao-qi-pei-239033","丛林虎啸图轴","高其佩","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。\n康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。",[24,25,79,55,58,1005,635,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae7f05aa9d00239500201819793d58e0.jpg",[],{"id":5019,"slug":5020,"title":48,"dynasty":18,"author":5021,"museum":20,"description":5022,"tags":5023,"thumbUrl":5024,"material":64,"size":64,"collection":65,"collections":5025,"showCount":5008,"zanCount":43,"manualWeight":43,"mainColor":69},238148,"shan-shui-ce-yun-xi-238148","允禧","此作用淡墨晕染出清寂湖山，近岸坡石虬松错落，幽居隐于林木间，远山澹澹衔着烟水，飞泉垂落打破岑寂，将山林幽居的闲逸禅意融于尺幅。笔墨简淡秀雅，不事浓丽雕琢，尽显空灵悠远之致。题诗与画意相映，诗画合璧，把寄情林泉的出世襟怀藏在留白之中，尽显文人山水静穆萧散的雅趣。",[25,54,57,55,56,58,80,164,7,30,81,358,194,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d49518b2e5f38132c3ad663c86af5e3.jpg",[65,140],{"id":5027,"slug":5028,"title":5029,"dynasty":18,"author":5030,"museum":355,"description":5031,"tags":5032,"thumbUrl":5033,"material":3463,"size":64,"collection":65,"collections":5034,"showCount":5008,"zanCount":43,"manualWeight":43,"mainColor":44},236140,"fang-yuan-ren-shan-shui-ce-he-yi-236140","仿元人山水册","赫奕","赫奕 [清]一作颐(？-1744年)，字澹士，号南谷，别号碧岩箫史，一作碧箫外史，姓赫舍里氏，满州正黄旗人。清朝大臣、文人。内弘文院大学士希福之孙，工部尚书帅颜保之子，辅政大臣公索尼堂侄。\n侍卫入仕，后任总管内务府大臣。康熙五十二年十二月己卯，接替满笃，担任工部尚书。\n性澹泊，琴书之外专事于画。初学黄鼎，继为王原祁弟子。山水宗法元人，而独开生面，迥异时流。时有南王北赫之称。康熙五十五年（一七一六）作辋川诗意图。参见《国[清]朝画徵录、桐阴论画、读画辑略、宋元明清书画家年表》 等书。\n赫奕著有诗集《青霭山房诗集》。\n赫奕出身名门望族，是赫舍里氏家族的第六代子孙，亲族中的不乏名臣，赫奕作为内弘文院大学士希福之孙，礼部尚书帅颜保之子，在康熙年间任内务府主管，并兼任工部尚书，核定全国屯田、水利、工程、交通事项，以刚正闻名朝野。\n赫奕的绘画作为南宗正脉，在清代画坛地位崇高。但翻看有关这幅画作的“履历”足以发现它的命运多舛。在收录清朝内府藏画的《石渠宝笈》初篇中，《烟树山亭》被记录在案，画上钤盖着乾隆、嘉庆、宣统三位皇帝的“御览之宝”印章，足以说明它被几位皇帝珍视。赫奕所画的这幅《烟树山亭》以2530万元的天价拿下匡时秋拍古画专场的第一名，这含金量与康熙帝的御题字不无关系。赫奕所作《烟树山亭》上手书：“士人作画，当以草隶奇字之法为之。树如屈铁，山如画沙，脱去甜俗蹊径，乃为士气。不尔，纵俨然入格，已落画师魔界，不复可救药矣。若能解脱绳束，便是透网鳞也。”这是康熙帝亲笔御题的《临董其昌论画》。康熙帝将这段话题在赫奕的画上，正是他对这幅画的肯定与褒奖，康熙非常崇尚明代书画大家董其昌的画风，在赏过这幅《烟树山亭》，便题字称赞赫奕的这幅画颇有董其昌画作遗风。更为难得的是，和乾隆帝比，康熙从不轻易在别人的画作上留下痕迹，也就是说，能得到康熙墨宝的“他人画作”简直是凤毛麟角。据记载，虽然康熙御题字的画作不多，但赫奕一人独得数件。",[25,54,57,531,58,56,55,7,82,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38fc6046312eb9e183e0137504ff4f40.jpg",[65,88],{"id":5036,"slug":5037,"title":48,"dynasty":18,"author":5038,"museum":20,"description":5039,"tags":5040,"thumbUrl":5041,"material":64,"size":64,"collection":39,"collections":5042,"showCount":5008,"zanCount":43,"manualWeight":43,"mainColor":69},235323,"shan-shui-ce-wen-dian-235323","文点","此作用笔清劲简淡，近景双松虬枝舒展，扎根嶙峋石畔，旁生细草杂木，野趣悠然。白衣高士静踞溪岸，凭虚远眺，将幽居林泉的澹泊心境寄于山水间。\n画面以留白代秋水，远山以浅墨轻晕，烟岚弥漫，虚实相生间，萧疏淡远的氛围油然而生。题识小诗与景致相融，愈发衬出画面简净空灵的意趣，尽显文人画澄怀观道的雅逸格调，将观者带入这无尘烟嚣的静穆天地，共赴林泉高致之约。",[25,54,57,55,56,58,7,59,101,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b31c251154b62abd3e860a5dabf4c58.jpg",[39,65],{"id":5044,"slug":5045,"title":1279,"dynasty":18,"author":1280,"museum":20,"description":3408,"tags":5046,"thumbUrl":5047,"material":1148,"size":1149,"collection":64,"collections":5048,"showCount":5008,"zanCount":43,"manualWeight":43,"mainColor":69},235279,"ren-wu-gu-shi-ce-fan-xue-yi-235279",[25,54,57,28,27,915,101,211,868,273,7,30,3762],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc796da6635cb8d980b065b7a7bb52c60.jpg",[],{"id":5050,"slug":5051,"title":2009,"dynasty":74,"author":468,"museum":20,"description":5052,"tags":5053,"thumbUrl":5054,"material":64,"size":64,"collection":64,"collections":5055,"showCount":5008,"zanCount":43,"manualWeight":43,"mainColor":69},234978,"dong-qi-chang-shan-shui-ce-dong-qi-chang-234978","此册尺幅虽小，但笔墨极精。董其昌只书款而未钤印，是其当日自留收藏的得意之笔。册后有王时敏、笪重光二跋。从王时敏跋可知，此册为他的旧藏，后赠予王翚。佳作已在二跋文字中尽言，特录出跋文：\n“文敏于短笺小册作残山剩水，笔墨酣放，烟云灭没，俨然具万里势。真得简淡高人之致。余购藏之已二十余年。适石谷兄过小斋，见之叹赏不置，遂以诒之。非但高山流水得遇赏音，其气韵正相类也。戊申夏王时敏题。”\n“文敏每过京口，必馆于张氏园亭。所作小幅戏墨最多。余时从友人则之借观，爱其题跋，蝇头细书，未忍释手。即文敏当日亦殊自为珍重也。此册墨法天真幽淡，与张氏收藏极相类，烟客石谷两公之争赏，有以也夫。江上外史笪在辛漫识。”",[25,54,57,55,56,58,118,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04d6512d006560515fe7d39ca6ee3f5c.jpg",[],{"id":5057,"slug":5058,"title":5059,"dynasty":18,"author":327,"museum":355,"description":5060,"tags":5061,"thumbUrl":5062,"material":5063,"size":5064,"collection":64,"collections":5065,"showCount":5008,"zanCount":11,"manualWeight":43,"mainColor":69},233422,"yuan-ji-shan-shui-ce-shi-tao-233422","原济山水册","本册10开，或墨笔或设色，末开自款“时甲子新夏呈阆翁火词宗夫子，清湘秃发济”，钤“冰雪悟前身”，（白文方印）每开上“忍庵图书”一印。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[25,54,57,55,58,56,80,7,590,196,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92e990046d184cb379e8605e984086c1.jpg","纸本 ，设色\u002F墨笔","纵27.7cm，横39.7cm",[],{"id":5067,"slug":5068,"title":5069,"dynasty":95,"author":1362,"museum":20,"description":5070,"tags":5071,"thumbUrl":5072,"material":64,"size":64,"collection":64,"collections":5073,"showCount":5008,"zanCount":43,"manualWeight":43,"mainColor":44},227941,"yun-shan-tu-juan-mi-you-ren-227941","云山图卷","以水墨晕染写就烟峦百态，峰岫浮沉在流岚雾霭之中，汀渚林木隐现于云水之间。不施勾勒皴擦，纯以墨色浓淡晕出山之体态，尽显江南山水氤氲空濛的烟雨气象。\n运笔简率萧散，信笔挥洒间便将润泽秀雅的江天景致铺展卷上。一叶孤舟泛于江上，更衬江天寥廓悠远，尽显“墨戏”的写意特质，于虚灵中藏沉厚，平淡里见悠远，将江南烟岚朝暮的朦胧诗意定格卷间，尽显寄兴笔墨的文人雅趣。",[23,25,54,26,55,56,58,715,358,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f0dedd99ab89fbc71fe9e1671080a2e.jpg",[],{"id":5075,"slug":5076,"title":5077,"dynasty":18,"author":327,"museum":20,"description":5078,"tags":5079,"thumbUrl":5080,"material":64,"size":64,"collection":64,"collections":5081,"showCount":5008,"zanCount":11,"manualWeight":43,"mainColor":69},224518,"shan-shui-tu-ce-8-kai-5-zhang-da-qian-jiu-cang-shi-tao-224518","山水图册8开-5-张大千旧藏","这幅画以板桥通幽开篇，苍虬古木引向临渊茅舍，二人松下晤谈，岸柳轻拂添了灵动生机。远景群峰用枯涩皴笔写就，墨色干湿浓淡交织，于简淡勾勒间见出层峦雄浑之态。\n整幅以笔意载山乡幽怀，将林下隐逸的桃源意趣藏于尺幅。题字纵逸朴拙，与山水笔墨浑然相合，不见雕琢之痕。观之如踏入烟岚溪山，俗虑尽消，尽显笔底丘壑的林下清趣。",[23,24,25,54,57,55,56,58,7,101,82,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1db64bd599b59aa160742e31ee3c7ca.jpg",[],{"id":5083,"slug":5084,"title":5085,"dynasty":95,"author":317,"museum":76,"description":5086,"tags":5087,"thumbUrl":5088,"material":85,"size":5089,"collection":64,"collections":5090,"showCount":5008,"zanCount":43,"manualWeight":43,"mainColor":44},223426,"song-ren-song-yan-xian-guan-zhou-yi-ming-223426","宋人松岩仙馆轴","静处江山，层楼逶迤。长松之下，人物容与于其间。全幅画山，尽用焦墨钩勒，近轮廓处，稍稍以淡墨横加皴纹，隐约几不可辨。画树极细致而详尽，夹叶点中并及筋络。人物亦细笔，劲挺而须眉毕具。无间远近，同此一法。与世传唐画有脉息相通处，或是宋人所摹旧本。",[23,25,54,79,55,56,58,213,385,211,7,59,61,459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb29c46de45092ebaff5ce785caa37a19.jpg","171x115.7公分",[],{"id":5092,"slug":5093,"title":5094,"dynasty":18,"author":2866,"museum":943,"description":2867,"tags":5095,"thumbUrl":5098,"material":216,"size":2871,"collection":64,"collections":5099,"showCount":5008,"zanCount":43,"manualWeight":43,"mainColor":69},222951,"hong-lou-meng-76-sun-wen-222951","红楼梦76",[23,25,27,28,445,58,101,916,853,1561,118,211,7,5096,82,5097],"灯笼","对联","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfdcdd2b0e6efbaf7ad7defbef1bc16c.jpg",[],{"id":5101,"slug":5102,"title":5103,"dynasty":74,"author":415,"museum":76,"description":5104,"tags":5105,"thumbUrl":5106,"material":85,"size":5107,"collection":65,"collections":5108,"showCount":5008,"zanCount":43,"manualWeight":43,"mainColor":69},222006,"lv-yin-cao-tang-wen-zheng-ming-222006","绿荫草堂","《绿荫草堂图》绘山中村落之景，于崇山环抱中见开阔。一瀑飞泻，汇成清清池塘。村居数间皆掩映于绿荫之下。山中闲居，有客拄杖来访。其意态优容，尽显隐士风流。画上除作者自书两题外，尚有蔡羽、王宠、陆师道诸家题记。",[23,25,211,82,58,80,164,7,419,715,28,421,79,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4007e2b20e82443bd2644ea7ebe072f.jpg","纵80.5厘米，横29厘米",[65,140],{"id":5110,"slug":5111,"title":5069,"dynasty":49,"author":2050,"museum":850,"description":5112,"tags":5113,"thumbUrl":5114,"material":1048,"size":5115,"collection":64,"collections":5116,"showCount":5008,"zanCount":43,"manualWeight":43,"mainColor":69},221726,"yun-shan-tu-juan-fang-cong-yi-221726","方从义（约1302—1393），元末著名道士画家，江西贵溪人。字无隅，号方壶、又号上清羽士、不芒道人、金门羽客、鬼谷山人。早年入道，师从永嘉人金月岩修道家之学，为龙虎山上清宫正一派道士，金月岩去世后，他离开龙虎山游历全国各地，往来于大江南北，至正三年（1343）曾至大都（今北京），结交了不少文人、画家和达官贵人，名臣危素称他为“方外之交”，画家张彦辅曾为之绘《圣井山图》相赠，在当时很有名气，由于不喜谈论时事，独好画，不久即思南归，但这次北游使他大开眼界，对他的画有很大促进。\n美国大都会艺术博物馆藏方从义《云山图》卷的风格与北京故宫博物院藏《 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明亡后，当局礼聘，却之，与董瑒、王雨谦、陈洪绶、罗坤等结“云门十子”社，日与老衲蒲团相对，谈世外烟霞。甲申（1644）后，隐梅市卖画代耕。字学 山水 间作花卉，亦多逸致，康熙八年（1669）作山水图。",[25,54,55,56,58,80,164,7,242,59,459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3b7a30ec1fa285757ae00f8f0aa4f15.jpg",[65],23,{"id":5196,"slug":5197,"title":2886,"dynasty":18,"author":541,"museum":355,"description":5198,"tags":5199,"thumbUrl":5200,"material":717,"size":5201,"collection":64,"collections":5202,"showCount":5194,"zanCount":43,"manualWeight":43,"mainColor":69},234845,"shan-shui-zhou-wang-shi-min-234845","此幅构图为王时敏所作之常见格局，峰峦叠嶂，林木丛生，溪流小桥，屋舍隐现，一派江南的山水景象。用笔古秀，布局深远，以披麻皴写山石，浓墨点苔，意境近黄公望，为王氏代表作。",[24,25,55,79,58,56,80,7,285,242,228,308,81,498,651],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d58442ca928e49e5aad06b4764cbc2.jpg","纵135厘米，横63厘米",[],{"id":5204,"slug":5205,"title":48,"dynasty":18,"author":2470,"museum":20,"description":5206,"tags":5207,"thumbUrl":5208,"material":64,"size":64,"collection":65,"collections":5209,"showCount":5194,"zanCount":43,"manualWeight":43,"mainColor":69},234638,"shan-shui-ce-cha-shi-biao-234638","查士标（1615-1698），字二瞻，号梅壑散人，懒老。新安（今安徽休宁）人，流寓江苏扬州。明末秀才，入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。他的闲散情怀决定了他的绘画气质亦是风神懒散、气韵高逸。",[25,54,24,57,55,28,58,7,30,164,195,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22d726fef1640e5e482b9d8d3b16c206.jpg",[65],{"id":5211,"slug":5212,"title":5213,"dynasty":49,"author":888,"museum":355,"description":5214,"tags":5215,"thumbUrl":5216,"material":447,"size":3331,"collection":64,"collections":5217,"showCount":5194,"zanCount":43,"manualWeight":43,"mainColor":44},232980,"xie-dan-you-qi-tu-zhou-zhao-yong-232980","挟弹游骑图轴","画中一乌帽朱衣人，乘黑花马于平坡上缓缓而行，手执弹弓，悠然仰望，似在搜寻猎物，眉目生动传神。图上人马先以淡墨勾线，后施色彩，晕染匀净。树木则用双勾填色，工整精细。全图画风古朴雅致，有唐人笔意。\n古今以游骑射猎为题材的图画不可胜数，但大多是对射猎场面的描绘，如此图般绘写游猎之人闲适地搜寻猎物的作品则寥若晨星，别具巧思，耐人寻味。赵雍独具一格、匠心独运的绘画风格于此可见一斑。",[25,54,79,27,28,101,510,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F848f21392a4c6285d5e3775686b5b4c0.jpg",[],{"id":5219,"slug":5220,"title":5221,"dynasty":95,"author":806,"museum":20,"description":5222,"tags":5223,"thumbUrl":5224,"material":64,"size":64,"collection":64,"collections":5225,"showCount":5194,"zanCount":43,"manualWeight":43,"mainColor":44},227982,"xi-yuan-tu-xia-gui-227982","戏猿图","画面以边角取景，右侧老槎盘曲，苔痕苍古，藤蔓附枝斜曳，左侧苍猿长臂勾挂柔条，探身悠荡，圆目灵动，肢体舒展如在乘风嬉游。\n\n以水墨晕染出空茫寒寂的汀渚水岸，淡墨扫出远天荒阔，枯笔勾勒长草随风偃仰，将猿猴的跳脱野趣，融于萧疏冷逸的江天氛围中。简劲洗练的笔墨衬出灵猿鲜活生机，虚实相映间，把山野幽趣藏在淡远空寂里，于尺幅间写尽林皋间自在天真的意趣。",[23,95,25,54,24,55,28,635,1641,7,979,2441,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f519ea9d84cee61338c616ca4061ccf.jpg",[],{"id":5227,"slug":5228,"title":5229,"dynasty":18,"author":2480,"museum":20,"description":5230,"tags":5231,"thumbUrl":5232,"material":64,"size":64,"collection":65,"collections":5233,"showCount":5194,"zanCount":43,"manualWeight":43,"mainColor":44},224341,"ming-quan-tu-mei-qing-224341","鸣泉图","此作用高远取景，层叠飞瀑自云山深处奔涌而下，跌水层层相续，水雾漫过山峦，将空山的幽寂尽数铺展。崖巅红衣旅人持杖伫立，凝听泉音，以人物的静，衬出飞瀑轰鸣，一动一静间，山野清绝之趣尽显。\n\n笔墨糅合纵逸与温润，山石以皴擦晕染写出苍莽质感，虬松古木点染灵动苔痕，浅赭淡晕晕开幽渺空蒙的氛围。题诗与山水相映，诗画交融，将观泉听涛的林泉雅志藏入尺幅，尽显出世幽怀与山水禅意。",[23,25,54,79,28,58,82,80,7,101,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1af8d90ec82816cfa1ccb2770015b814.jpg",[65],{"id":5235,"slug":5236,"title":5237,"dynasty":95,"author":317,"museum":355,"description":5238,"tags":5239,"thumbUrl":5240,"material":152,"size":5241,"collection":65,"collections":5242,"showCount":5194,"zanCount":43,"manualWeight":43,"mainColor":44},223479,"mo-lu-hong-cao-tang-shi-zhi-tu-juan-quan-juan-yi-ming-223479","摹卢鸿草堂十志图卷全卷","《草堂十志》相传是卢鸿所撰的十段文字，描写他隐居处所附近的十个景点，画者即是根据他的文字绘制成图卷，故称《卢鸿草堂十志图》。后来的人因为误将卢鸿当作是画卷的作者，所以出现真伪的争议。实则，原画者并没有署名。传世三种《草堂十志图》卷，虽然都不是卢鸿的画作，却可以看到它们之间有很多相似之处，证明它们同出一源。其中品质及艺术水准以台北故宫博物院本《草堂十志图》卷为最高，至于对后世书画家的影响也最大。\n全卷水墨画十景，每景自成一段，每段前有褚、颜、柳等书写之 〈草堂十志〉 词，与十景相间。所绘皆为自然园林景致，其配置乃注重与周围自然环境相结合，树石造型古拙，用笔方硬，水墨渲染颇工。此作无名款，旧传为卢鸿之作。学界对此幅的断代，虽无定论，然时代应非为唐。虽非唐代画作，然有研究者订为五代十世纪，可能是与唐代卢鸿原本最为接近之摹本，为早期文人隐居山水的重要祖型，对中国历代隐居山水的图像表现，影响深远。",[23,25,54,26,531,55,56,58,7,81,308,118,82,101,83,212,243,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ea4dd01e44e803413f2814c10d58aa2.jpg","纵25.6cm，横711.6cm",[65,88],{"id":5244,"slug":5245,"title":5246,"dynasty":95,"author":317,"museum":355,"description":5247,"tags":5248,"thumbUrl":5249,"material":216,"size":5250,"collection":107,"collections":5251,"showCount":5194,"zanCount":43,"manualWeight":43,"mainColor":44},223470,"zheng-ren-xiao-fa-tu-yi-ming-223470","征人晓发图","此为南宋民间风俗画。 茂密的山林中，树木葱郁，远处的树荫下有三间小屋。 农夫在他身后嬉戏，一头驴子站在角落里，扭头看主人忙碌。 远郊一家三口客栈的生活即将浮出水面，形象刻画。",[23,25,24,27,28,915,101,510,242,7,59,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf409b97531dc0d89d051eddaf8a0f4d.jpg","51x68",[107],{"id":5253,"slug":5254,"title":2123,"dynasty":95,"author":317,"museum":355,"description":5255,"tags":5256,"thumbUrl":5257,"material":434,"size":5258,"collection":64,"collections":5259,"showCount":5194,"zanCount":43,"manualWeight":43,"mainColor":44},223332,"san-yang-tu-yi-ming-223332","彩绘柳树伞下的气球在坡草间游荡觅食。 蓬松的，富有一定的。 用笔擦干树干，笔变粗。",[23,25,24,54,104,27,28,635,2127,7,30,2441],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b7a68d3cb18be30324ec6098db75923.jpg","21.2x20厘米",[],{"id":5261,"slug":5262,"title":1659,"dynasty":74,"author":3919,"museum":76,"description":5263,"tags":5264,"thumbUrl":5265,"material":1048,"size":5266,"collection":64,"collections":5267,"showCount":5194,"zanCount":43,"manualWeight":43,"mainColor":69},222183,"fang-fan-kuan-shan-shui-zhao-zuo-222183","本幅收在赵左《山水册》第八开。近景画寒林、古刹，远处一峰高起，瀑悬其间。\n全画布置简洁，着墨无多，以淡柔雅逸取胜。左方题：「仿范宽。」刘道醇《宋朝名画评》（1057）称范宽（约950-1031间）画冬景好作「冒雪出云之势」，此作或系追摹此意。",[23,25,54,531,56,28,57,58,80,7,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53718b9f1aaaa21bae715bc637496395.jpg","23x21.5.",[],{"id":5269,"slug":5270,"title":5271,"dynasty":74,"author":75,"museum":191,"description":5272,"tags":5273,"thumbUrl":5275,"material":447,"size":5276,"collection":64,"collections":5277,"showCount":5194,"zanCount":43,"manualWeight":43,"mainColor":69},222120,"pen-ju-you-shang-tu-quan-juan-shen-zhou-222120","盆菊幽赏图全卷","图中平坦幽静之处立一小亭，亭四周树木蓊郁；亭两侧摆放数盆菊花，盆中菊花绽放，红白花朵，煞是好看；亭内三人对饮，一僮持壶侍立，一派秋高气爽的意境。",[23,24,25,54,26,55,28,195,194,196,56,2083,118,7,212,82,101,5274,59,29],"菊花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dae7349998c775da2fdf56e74c90c5f.jpg","23.4×86cm",[],{"id":5279,"slug":5280,"title":5281,"dynasty":49,"author":2071,"museum":850,"description":5282,"tags":5283,"thumbUrl":5284,"material":924,"size":5285,"collection":64,"collections":5286,"showCount":5194,"zanCount":43,"manualWeight":43,"mainColor":44},221758,"qiu-lin-yu-yin-tu-sheng-mao-221758","秋林渔隐图","《传世名画题诗品赏》是26年 出版的图书。\n本书以“一图一文”的组合形式构成，为每幅名画配上一篇品赏文字，内容包括画幅收藏处，画家、诗人生平简介，画幅技巧、布局、意境的评述，诗篇词语典故的诠释，技巧、诗境的阐发等。\n开本: 2开 ISBN: 72224564 条形码: 978722245644 尺寸: 21 14.2 4.2 cm 重量: 721 g 绘画艺术品受战乱兵燹等社会因素和风化水蚀等自然因素的损毁和破坏，大量散佚，很难传留。\n因此，传世名画更显名贵，成为我国文化遗产宝库中的重要部分，值得珍视。\n画上题诗，是诗画艺术结合的产物，“诗书画”三绝，构成一件艺术珍品，使图像、线条、色彩、笔情、墨趣、诗境、画意，和谐地融合在一起，形成东方民族美学的独特艺术形态，集中反映和体现华夏民族的审美观念和文化精神，足以屹立于世界艺术之林。\n为帮助爱好诗画艺术的朋友们欣赏传世名画上的题画诗，笔者特意从海内外各大博物馆（院）以及私家收藏的传世名画中，遴选出若干幅作品，品赏评析画上题诗，编撰成这本《传世名画题诗品赏》，并就题画诗的艺术特质和艺术功能，题画诗的发展轨迹，以及本书的编写体例等问题，详作阐述，以说明笔者的编撰意图。\n上篇 两宋 第一图 赵佶《蜡梅山禽图》 第二图 徐禹功《雪中梅竹图》 第三图 马远《踏歌图轴》 第四图 梁楷《泼墨仙人图》 第五图 马麟《层叠冰绡图》 第六图 马麟《漳冷梅康馨图页》 第七图 赵孟坚《墨兰图》 第八图 龚开《骏骨图》 元代 第九图 玉涧《庐山瀑布图》 第十图 陆文圭《扁舟傲睨图》 第一一图 钱选《归去来辞图》 第一二图 钱选《 》 第一三图 钱选《山居图卷》 第一四图 钱选 《牡丹图》 第一五图 高克恭《黑竹坡石图》 第一六图 赵孟頫《人骑图卷》 第一七图 赵孟頫《秀石疏林图》 第一八图 黄公望《天池石壁图》 第一九图 曹知白《疏松幽岫图轴》 第二十图 吴镇《松石图》 第二一图 吴镇《芦花寒雁图轴》 第二二图 吴镇《草亭诗意图》 第二三图 吴镇《多福图轴》 第二四图 吴镇《松泉图》 第二五图 吴镇《芦滩的艇图》 第二六图 吴镇《渔父图》 第二七图 张渥《竹西草堂图》 第二八图 王渊《牡丹图卷》 第二九图 盛懋《秋江待渡图》 第三十图 盛懋《秋林渔隐图》 第三一图 王冕《墨梅图》 第三二图 王冕《墨梅图卷》 第三三图 王冕《寒梅图》 第三四图 王冕《南枝春早图》 第三五图 倪瓒《古木幽篁图》 第三六图 倪瓒《江岸望山图》 第三七图 倪瓒《虞山林壑图》 第三八图 倪瓒《梧竹秀石图》 第三九图 倪瓒《琪树秋风图》 第四十图 倪瓒《六君子图》 第四一图 倪瓒《幽涧寒松图》 第四二图 倪瓒《秋林新兴图》 第四三图 倪瓒《水竹居图》 第四四图 倪瓒《秋亭嘉树图》 第四五图 倪瓒《雨后空林图》 第四六图 倪瓒《渔庄秋霁图》 …… 明代 下篇 清代 下册",[23,25,976,55,56,58,3253,358,29,360,7,59,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264a3578244bd0799ebe3b6cf74625e3.jpg","26.7×33.7cm",[],{"id":5288,"slug":5289,"title":5290,"dynasty":74,"author":468,"museum":2113,"description":5291,"tags":5292,"thumbUrl":5293,"material":57,"size":3782,"collection":64,"collections":5294,"showCount":5194,"zanCount":43,"manualWeight":43,"mainColor":64},220748,"fang-ge-jia-shan-shui-8-dong-qi-chang-220748","仿各家山水-8","此作用淡墨绘就秋山暮色，以高远、平远之境错落排布。右侧层峦以干笔慢皴，山石清癯松秀，苍润雅逸间尽显文人笔意。山坳古木交错，点叶萧疏，晕开浓浓秋意。左侧平湖留白见水，浅渚林树迤逦，漾开空濛水汽。近景茅亭孤峙林间，朴拙淡然，暗合林泉寄兴的文人雅趣。\n以书法笔意入画，运笔松灵虚和，墨色枯润相生，淡而不薄。悠悠铺展出秋日山林空寂暮色，尽显平淡天真的画中逸韵，藏着晚明文人独有的简淡玄远意境。",[23,25,54,55,56,531,58,80,7,118,308,196,194,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F470a985f6179e58049d2632275feb9fc.jpg",[],{"id":5296,"slug":5297,"title":5298,"dynasty":95,"author":4504,"museum":328,"description":5299,"tags":5300,"thumbUrl":5301,"material":37,"size":5302,"collection":122,"collections":5303,"showCount":5194,"zanCount":11,"manualWeight":43,"mainColor":69},219400,"zhao-nan-ba-pian-tu-ma-he-zhi-219400","召南八篇图","马和之，南宋画家，浙江钱塘人。高宗绍兴（1131-1162）时进士，官至工部侍郎，或说画院待诏。擅画人物、佛像、山水，用柳叶描（一作马蝗描），人物画仿吴道子，行笔飘逸，着色轻淡，“务支华藻”，人称“小吴生”。高宗赵构、孝宗赵昚，深重其笔，每写《诗经》，命他补图，内容包括草虫、花鸟楼阁、走兽、人物、山水，煌煌巨制，无所不备。\n此卷为《诗经▪召南》的补图，共八幅，分别为“羔羊”、“殷其雷”、“摽有梅”、“小星”、“江有汜”、“野有死麕”、“何彼穠矣”、“騶虞”。此卷历经梁清标、清内府、　励宗万收藏，每幅前有清弘历（高宗）对题《诗经·召南》诗句。",[23,24,25,54,26,28,27,195,194,196,101,58,1005,7,211,715,3492],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d92061e7f287db0b26cbfe3b1f0887b.jpg","纵26厘米，横40.2-44.9厘米",[122],{"id":5305,"slug":5306,"title":5307,"dynasty":49,"author":3659,"museum":76,"description":5308,"tags":5309,"thumbUrl":5310,"material":63,"size":5311,"collection":65,"collections":5312,"showCount":5194,"zanCount":43,"manualWeight":43,"mainColor":69},218769,"xu-ting-zhu-qu-tu-cao-zhi-bai-218769","虛亭竹趣图","这幅画描绘了秋天小河岸边的一个空亭子，旁边有一群竹子。篆书非真迹，画风更类似于清代的倪瓒。",[23,25,54,55,56,58,118,241,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F529ca6f843e4147fa9a2dc02717fed44.jpg","25.2x28.7",[65],{"id":5314,"slug":5315,"title":5316,"dynasty":74,"author":317,"museum":132,"description":4368,"tags":5317,"thumbUrl":5318,"material":275,"size":64,"collection":64,"collections":5319,"showCount":5194,"zanCount":43,"manualWeight":43,"mainColor":69},217948,"ming-ren-shan-shui-hua-ce-qi-yi-ming-217948","明人山水画册(七)",[23,25,54,57,55,56,58,80,7,197,59,591],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265893252de5c9f63ff7626980bdf4ce.jpg",[],{"id":5321,"slug":5322,"title":5323,"dynasty":74,"author":317,"museum":132,"description":4368,"tags":5324,"thumbUrl":5325,"material":275,"size":64,"collection":64,"collections":5326,"showCount":5194,"zanCount":43,"manualWeight":43,"mainColor":44},217937,"ming-ren-shan-shui-hua-ce-zhi-shi-er-yi-ming-217937","明人山水画册之(十二)",[23,25,54,55,56,57,58,101,7,2807,30,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c54ac9ee30e801bdac132949220f58a.jpg",[],{"id":5328,"slug":5329,"title":5330,"dynasty":18,"author":1648,"museum":51,"description":5331,"tags":5332,"thumbUrl":5333,"material":63,"size":64,"collection":64,"collections":5334,"showCount":5194,"zanCount":43,"manualWeight":43,"mainColor":69},214386,"shan-shui-tu-ce-10-zhu-da-214386","山水图册-10","画面以水墨写意出山水之姿，简劲墨线勾勒山石轮廓，嶙峋之态跃然纸上。枯木虬枝疏斜而立，疏叶点点似含清愁，与山石相映成趣。大片留白化作云雾，虚虚实实间，山之深远、境之空蒙尽出。笔墨极简却意蕴无穷，冷逸中藏着孤傲风骨，仿佛将天地间的孤寂与清旷凝于尺幅。每一笔都似随心而至，却暗合自然之理，于简淡中见深邃，于静默中传幽情，尽显写意山水的空灵之美与文人画的超然气度。",[23,25,55,57,56,58,80,7,241,83,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc383ea57664533dbea7a24ba4a9d67c6.jpg",[],{"id":5336,"slug":5337,"title":5338,"dynasty":18,"author":5339,"museum":20,"description":5340,"tags":5341,"thumbUrl":5343,"material":64,"size":64,"collection":65,"collections":5344,"showCount":5345,"zanCount":43,"manualWeight":43,"mainColor":69},238514,"shan-shui-xiao-ce-qian-wei-cheng-238514","山水小册","钱维城","此作用平远之法铺展秋郊山居：前景田亩纵横，村舍错落，农人俯身耕织，晕开融融烟火意趣。中层峰峦叠翠，林木蓊郁苍润，山石以细密皴法勾勒晕染，干湿浓淡间尽显丘壑层次。远景山峦清寂空灵，淡赭轻敷点染秋光。\n\n题诗与画作相映成趣，笔致工稳秀润，既有严整的山水法度，又揉入江南田园的悠然野趣，将秋日郊野的静穆生机诉诸笔端。文人雅致与村居烟火相融，把山居秋日的澹然闲逸刻画得淋漓尽致，尽显传统山水的抒情意韵。",[25,54,57,28,56,58,80,7,259,4751,82,59,589,242,5342],"梯田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44002ec93ae585ef891e8d628bc9422f.jpg",[65,140],22,{"id":5347,"slug":5348,"title":4257,"dynasty":18,"author":5349,"museum":20,"description":5350,"tags":5351,"thumbUrl":5352,"material":1148,"size":1149,"collection":65,"collections":5353,"showCount":5345,"zanCount":43,"manualWeight":43,"mainColor":69},235916,"shan-shui-tu-ce-mei-chong-235916","梅翀","梅翀，明末清初画家，字培翌、培翼，号鹿墅，安徽宣城人，生卒年不详，艺术家，代表作《幽林探胜图》等。",[25,54,57,55,28,56,58,80,7,29,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d9e4c67409d1d348e7ede1eed98b32c.jpg",[65],{"id":5355,"slug":5356,"title":1279,"dynasty":18,"author":1280,"museum":20,"description":3408,"tags":5357,"thumbUrl":5359,"material":1148,"size":1149,"collection":64,"collections":5360,"showCount":5345,"zanCount":43,"manualWeight":43,"mainCol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1632-1683年 传世作品有康熙二十一年作《雨气真寂图》及《林泉小亭图》二轴，现藏安徽省博物馆；《溪山泛舟图》轴藏浙江省博物馆；康熙十三年（1674）作《香烟诗意图》轴藏香港刘均量虚白斋；十二年（1673）作《九龙潭图》轴藏故宫博物院；同年作《山水图》轴藏上海博物馆。著有《拜经斋集》《致道堂集》《正己居集》等。",[25,54,57,55,56,195,58,80,7,308,590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb34c32d893f22e763f30d2b17213649.jpg",[65,88],{"id":5377,"slug":5378,"title":5379,"dynasty":18,"author":5380,"museum":355,"description":5381,"tags":5382,"thumbUrl":5383,"material":5384,"size":5385,"collection":64,"collections":5386,"showCount":5345,"zanCount":43,"manualWeight":43,"mainColor":69},234113,"yi-song-tu-juan-dai-xi-234113","忆松图卷","戴熙","该画颇有“北宋”山水的气势，在意境上突破了“四王派”末流的萧淡枯寂，一定程度上表现了雄浑沉厚，山石形态及皴法。\n《忆松图》是戴熙“师造化”的最好例证。画家跋云：“地近方山，山有龙池云洞诸胜，多松，漫溪弥谷，旷望无际，常月夜行万松中，遇要氏兄弟，结苑读书其下，赋诗赠答，慨然有卜邻之志。后来京师，每值风和月霁，辄追忆之，嘱写《忆松图》，落落五年末有以报，丁未早春，侨居都下颇忆故山松径……”\n戴熙（1801—1860）浙江钱塘（今杭州）人，字醇士（一作莼溪），号榆庵、松屏，别号鹿牀居士（一作樚牀）、井东居士。道光十一年进士，十二年翰林，官至兵部侍郎，后引疾归，曾在崇文书院任主讲。咸丰十年太平天国克杭州时死于兵乱。谥号文节。工诗书，善绘事。山水早年师法王翚，进而摹拟宋元诸大家，对于王蒙、吴镇两家笔意更有所得。晚年观摩巨然真迹，在用墨方面有深切的领会。道光时宫廷书画多出于其手。又能画花、人物，以及梅竹石，笔墨皆隽妙。秦祖永的评论是：“临古之作形神兼备，微嫌落墨稍板，无灵警浑脱之致，盖限于资也。所写竹石小品停匀妥帖，尚为蹊径所缚，未能另立门庭也。”\n他的山水画属“虞山”一派，因受奚冈的影响，所以他的画风也接近于“娄东”派，他的山水多用擦笔，山石以干墨作皴，然后以湿笔渲染，颇得物象的形象和神髓，世人谓之蝉翼皴。他晚年所画的《山水长卷》笔致醇朴。有《习苦斋集》、《习苦斋花絮》等。",[25,26,55,58,56,194,195,196,80,164,213,7,30,81,590,242,459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff00379ba924bd77a66435a66df038176.jpg","纸本墨色","纵37.7厘米，横123.2厘米",[],{"id":5388,"slug":5389,"title":5390,"dynasty":18,"author":541,"museum":20,"description":5391,"tags":5392,"thumbUrl":5393,"material":64,"size":64,"collection":64,"collections":5394,"showCount":5345,"zanCount":43,"manualWeight":43,"mainColor":69},230181,"xi-shan-gao-yin-shan-shui-tu-wang-shi-min-230181","溪山高隐山水图","此作用笔圆厚松润，以干笔淡墨层层皴染，糅合黄公望披麻皴意趣，山峦层叠间，高远、深远之境兼具。主峰雄踞上端，峦头苍郁厚重，山腹林麓间村落错落，溪谷萦回穿绕，板桥渔隐点缀其间，将山川雄浑与山居恬和相融。\n笔墨苍秀灵逸，皴擦点染井然有序，于淡墨晕染间铺陈出山林的温润郁茂，把隐逸山居的清逸之思寄寓在层叠丘壑之中，平淡天真里藏着静穆悠远的林下之风，是师古而自出机杼的佳构。",[23,25,54,24,79,55,56,58,80,164,7,211,212,1026,59,459,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6371f7bbde6fac2e4d55f85cd76ed00e.jpg",[],{"id":5396,"slug":5397,"title":5398,"dynasty":18,"author":541,"museum":20,"description":5399,"tags":5400,"thumbUrl":5401,"material":64,"size":64,"collection":64,"collections":5402,"showCount":5345,"zanCount":43,"manualWeight":43,"mainColor":69},230177,"fang-gu-tu-ce-wang-shi-min-230177","仿古图册","《清王翚仿古山水册》是清代 作者创作的画册。\n纸本设色。\n此册共二十开，是王石谷早期刻意继承古人传统画法的代表作。\n此册由苏州过云楼后人捐赠。\n现收藏于常熟博物馆。\n王翚作。\n纸本设色。\n此册共二十开，是王石谷早期刻意继承古人传统画法的代表作。\n其中，仿董源、范宽各二开，仿王维，关仝、高克明、李成、郭熙、王诜、宋徽宗、阎次平、李唐、刘松年、赵伯驹、赵大年、夏圭、黄公望、赵孟頫、王蒙各一开。\n此册由苏州过云楼后人捐 赠。\n21年， 与 强强联手，共同打造了数字化、立体化的权威知识普及平台： 之 。\n该数字馆通过陶瓷器馆、铜器馆、金银器等分馆，全方位展示了 的众多珍贵展品。\n【简介】 纸本，水墨，纵：25.6厘米，横：2.5厘米。\n《 》共计十二页，其中设色二页，水墨十页。\n仿董源、巨然、米芾、赵大年、赵孟頫、吴镇、倪瓒、王蒙、黄公望、管道升、曹知白、陈汝言等而作。\n每幅均自题七律一首，末开款署“壬寅六月王翚”，册尾有顾复初题跋。\n前选一图，系仿曹云西山水，写柳汀板桥、芦荻孤舟，晓风残月，雁影徘徊。\n笔墨疏秀，意境苍莽迷蒙。\n得名家传授，又博览古人佳作和游历真山实水，画艺日臻成熟，4岁时即名闻海内。\n王翚出生于绘画世家，他的曾祖王伯臣、祖父王载仕、父亲王云客都是画家，幼时即得到家学熏陶，初学画于同乡画家张珂。\n顺治年间王鉴游虞山时，见王翚画扇，极为赏识，赞其天资超人，收为弟子。\n后转师王时敏，得以临摹许多历代名家真迹，镕铸造南北画派于一炉，技艺大进。\n尝与王时敏遍游大江南北，广识著名收藏家，观摹宋、元真迹。\n其摹古功力极得王时敏赞赏：“（石谷）凡唐宋诸名家无不摹仿逼肖，偶一点染展卷即古色苍然，毋论位置溪径，宛然古人，而笔墨神韵一一夺真，且仿某家，则全是某家，不杂一他笔，使非题款，虽善鉴者，不能辨。\n”于是他在摹古仿古的基础上，综合诸家之长，晚年画风简练苍浑，有独到的艺术风格，在“四王”中，王翚的艺术成就最为显著，门生弟子很多，以杨晋较为著名，其山水画的影响极为深广。\n王翚（162—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。\n后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。\n在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，融会南北诸家之长，创立了所谓南宗笔墨、北宗丘壑的新面貌，故王时敏称“画有南北宗，至石谷而合为一”。\n在王翚5岁到6岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。\n时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。",[25,55,57,531,56,58,7,82,242,83,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c633d3f56a943ca1180e458ba8904cf.jpg",[],{"id":5404,"slug":5405,"title":5406,"dynasty":18,"author":507,"museum":20,"description":5407,"tags":5408,"thumbUrl":5409,"material":64,"size":64,"collection":64,"collections":5410,"showCount":5345,"zanCount":43,"manualWeight":43,"mainColor":44},230146,"shi-gong-ci-tu-ce-leng-mei-230146","十宫词图册","《避暑山庄图》是清代画家 创作的一幅绢本设色画，该画现收藏于北京故宫博物馆 。\n此画景物右至武烈河及东部山区，左至西岭山区为止，并从山庄东部崖殿“万壑松风”殿座开始，一层层向北展开，包罗四围秀岭，十里湖湘的整个湖区、平原区主要建筑和自然风貌，体现了冷枚高度的概括能力和精湛的艺术技巧，历史与艺术价值很高 。\n画中青山环抱，绿树成荫，后山一股清泉，流入山庄，湖水荡漾，荷花盛开，岸柳垂荫，亭台、水榭、宫室、高楼，因地制宜，聚散错落 。\n图中湖泊东侧低岩上耸立的那座仿造宝塔，似乎是从镇江金山寺移植过来的。\n苑中树木郁郁葱葱，清幽宁静，左右两侧绵延起伏的群山，于巍峨壮观中又透出几分灵秀。\n丘壑相连，迤逦苍茫，呈现出一派江山无限的景象 。\n画幅右下角自题：“小臣冷枚恭画”楷书款，下钤“臣冷枚”朱白文印和“夙夜匪懈”白文方印。\n另有乾隆、嘉庆、宣统藏印五方 。\n避暑山庄，又称“承德离宫”、“热河行官”，在今河北承德市区东北。\n它始建于清康熙四十二年（17年），乾隆时又进行了大规模的扩建，是清朝皇帝夏、秋季避暑的行宫 。\n《避暑山庄图》绘于康熙五十二年（公元171年），这时避暑山庄刚建成“万壑松风、芝径云堤、无暑清凉、镜水云岭、曲水荷香、四面云山、暖流渲波”等三十六景，冷枚以鸟瞰的形式俯视整座园林，把三十六景中的三十景都囊括其中 。\n此图采用鸟瞰式构图，描绘了实景的山水画。\n图中表现的是清代一处皇家园林——避暑山庄。\n画面的前部是工整细巧的宫殿，稍后是一组具有江南园林格调的建筑物，从画面上还可以看到一座仿照镇江金山寺而建的木结构高塔，画面的后部是高耸起伏的山峦，整座山庄由逶迤曲折的石墙围绕，最右方是承德的一处奇特景观——棒锤峰。\n冷枚具有传统工笔界画的基础，描绘建筑物时又适当参用了欧洲的透视画法，从而加强画面的纵深感 。\n此画描绘了十里澄湖、后苑建筑及周围山岭。\n由于冷枚既擅长运用传统的界画技法，又了解西方绘画的透视法，因而将避暑山庄中的建筑物表现得错落有致，造型准确、细腻 。\n此画以全景式的表现手法，充分展现了避暑山庄的整体风貌，根据画面的描绘再结合文献记载考察，大致可以断定此图画的是乾隆时扩建山庄之前的面貌，这对于人们了解避暑山庄的原始格局具有重要价值 。\n217年6月至1月中旬，《避暑山庄图》在香港文化博物馆举办的“八代帝居——故宫养心殿文物展”中展出 。\n冷枚（约1669—1742），字吉臣，号金门画史，山东胶州人。\n是清代画家，曾在宫廷中担任过画职，是当时大画家焦秉贞的弟子。\n他的绘画题材有人物也有山水楼台，人物主要以仕女为主，所画人物工丽妍雅，笔墨洁净，色彩韶秀，画面精美。\n其画法兼工带写，生动有致，他的主要作品有《养正图册》、《十宫词图册》、《罗汉图册》、《避暑山庄图》、《连生贵子图》等 。",[25,54,57,27,28,915,195,196,194,101,211,135,853,3069,164,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F535a93f1cb226249d9c611dcdae64e41.jpg",[],{"id":5412,"slug":5413,"title":5414,"dynasty":74,"author":586,"museum":161,"description":5415,"tags":5416,"thumbUrl":5417,"material":64,"size":64,"collection":64,"collections":5418,"showCount":5345,"zanCount":43,"manualWeight":43,"mainColor":69},228476,"meng-xian-cao-tang-tu-juan-tang-yin-228476","梦仙草堂图卷","《梦仙草堂图》是明朝 的绘画作品。\n《 》此幅题为“东原先生写图”，从作者题款透露着构思的意想：闲来隐几枕书眠，梦入壶中别有天。\n仿佛希夷亲面目，大还真诀得亲传。\n横图（见图）右实左虚，实处写崇山峻岭，苍松、修竹、瀑布、幽径，优美的环境中草堂坐落其中，成为画面的视觉中心。\n堂中有一 伏案作“枕书眠”状。\n虚处约略作连绵山头，空蒙处置一宽袍大袖的士大夫，衣饰整洁，大袖随风飘动似有飘然于仙境之感。\n图中将“枕书眠”的真实表现引伸到“梦入壶中”的幻想境界，将真与幻，现实与想象相结合来构成富有幻想色彩的画意，使观赏者产生梦幻境界的联想，在一定的时空中创造可视的审美形式。\n在“ ”中沈（周）画深厚；文（征明）画清婉；仇（英）精细，而唐（寅）画则以 见长，明王世贞评 的画“秀润缜密而有 ”，大体上概括了其画风的审美特征。\n此图石法最能体现 风格特点。\n一、细笔长线匡廓，爽利而缜密的丛线， 、细秀、流畅，兼以 方折、密集、利落的皴纹。\n二、这种皴法是吸收传统中披麻、斧劈、乱柴、钉头等几种笔法。\n小斧劈中兼用披麻法，一变南宋斧劈皴法，并融汇元人方法，演变为细长柔劲线条略带写意的画法。\n三、山体凸处用线简括疏朗，至凹处皴纹稠密，湿时化线为面（“破墨”，湿时晕染），有效地体现出阴阳向背的体、质感。\n皴笔以湿笔为主，墨色淋漓润泽，所谓带水长皴，连皴带染的方法，基本上一次完成。\n用墨单纯明快，具庄丽清润的审美效果，和元人一笔中强调中、侧锋、较重快慢、干湿浓淡，靠复笔逐步深入，最后达到“浑厚 ”苍茫含蓄的“ ”画法不同。\n从石法上最能体现出 取法南宋李唐、刘松年等人的画法，并融合元人的韵致，将苍劲刚健和淡雅秀逸的风格相结合，整体上属北格南韵的气格。\n(147--152)字伯虎,号桃花庵主，晚年信佛，有六如居士等别号。\n江苏苏州人。\n举乡试第一( )。\n后因科场舞弊案受牵连，功名受挫，又遭家难，经历坎坷。\n后半生在 西北桃花坞建一“桃花庵”，以 鬻画闻名天下。\n时与 , ,文徵明,切磋文艺,号“ ”。\n唐寅“ 不羁，颇嗜声色”，自署印“江南第一风流才子。\n”他博学多能，吟诗作曲，能书善画，是我国绘画史上杰出的大画家,擅人物、山水、花鸟。\n唐寅书法为画名所掩，主要学 ，更受 影响，笔画俊逸挺秀，婉转流畅，笔力稍弱，钩挑绵软，看不出一丝狂态。\n评曰：“伯虎入吴兴堂庑，差薄弱耳。\n”(《州山人稿》)流传墨迹有《自书诗》、《联句诗》、《落花诗卷》等。",[23,25,54,26,58,28,55,195,3030,196,56,80,164,118,7,308,715],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f172726d9fa486d3ca8271b1624e3a.jpg",[],{"id":5420,"slug":5421,"title":5422,"dynasty":49,"author":442,"museum":20,"description":5423,"tags":5424,"thumbUrl":5425,"material":64,"size":64,"collection":64,"collections":5426,"showCount":5345,"zanCount":43,"manualWeight":43,"mainColor":44},228175,"tong-xi-tu-qian-xuan-228175","童戏图","古柳垂荫，榴花绽艳，庭院间三个稚童正嬉游作乐。矮凳上狸奴蜷卧，一孩童伸指逗弄，身侧同伴探首凝神，满眼好奇。最后小童攥着花枝蹑步而来，似要悄然加入嬉玩。\n\n整幅画笔法工细柔婉，设色古澹沉静，将幼童的娇憨鲜活尽数铺展。花木湖石衬出悠然闲趣，把孩童嬉游的日常瞬景定格，晕开旧时光里的融融暖意，尽显婴戏画的温婉雅致，将稚拙童趣藏进古雅绢色之中。",[23,25,24,54,79,28,27,101,7,961],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb9b5cb209a420e718e41ff884f85df8.jpg",[],{"id":5428,"slug":5429,"title":5430,"dynasty":771,"author":2234,"museum":20,"description":5431,"tags":5432,"thumbUrl":5434,"material":64,"size":64,"collection":64,"collections":5435,"showCount":5345,"zanCount":43,"manualWeight":43,"mainColor":44},227249,"dou-niu-tu-dai-song-227249","斗牛图","《斗牛图》传为唐代画家 所画的绢本水墨画，现藏于台北故宫博物院。\n此图绘两牛相斗的场面，风趣新颖。\n一牛前逃，似力怯，另一牛穷追不舍，低头用牛角猛抵前牛的后腿。\n双牛用水墨绘出，以浓墨绘蹄、角，点眼目、鬃毛，传神生动地画出斗牛的肌肉张力、逃者喘息逃避的憨态、击者蛮不可挡的气势。\n牛之野性和凶顽，尽显笔端。\n图中画两牛相斗，一头牛用角觝触，另一牛却旋转著身子，好像虽败而欲再迎战。\n此幅画牛，身驱颇为健壮，大有蛮劲足以力仆万人之慨。\n图中右上方有乾隆题诗：“角尖项强力相持，蹴踏腾轰各出奇。\n想是牧童指点后，股间激露尾垂垂。\n” 中国人对于牛的图腾崇拜，可以追溯到4年前的大禹治水时期。\n传说大禹每治好一处水患，就要铸铁牛投入水底，以示镇压，等到了唐代，就将镇水的铁牛改设岸上了。\n在中国老百姓的眼中，牛更多的美德是埋头苦干而从无怨言的品质，是勤劳的象征。\n然而，野牛的彪悍好斗却也是人所共知的。\n世界上不少民族都有“斗牛”的传统风俗，而我国的斗牛习俗，则要溯源至公元前2年春秋战国时期。\n据《水经注》记载：秦李冰治蜀，为根治水患造福蜀地百姓而修建“都江堰”，触怒了江神，两者化作两头公牛激烈搏斗，李冰在下属的帮助下刺杀了江神，从此蜀地再无水患。\n蜀人敬仰李冰的勇敢果决，遂将体格健壮的青年称作“冰儿”，而斗牛也就成为蜀人历史悠久的习俗：宋初编纂的《太平广记》就记载汉晋之后蜀地已流行斗牛之戏。\n出身书香门第的戴嵩从小热衷书画，水牛画得很好，年少即有名。\n《斗牛图》就是他创作的关于“牛”题材绘画之一。\n关于此图是否是戴嵩真迹还有争议，从其画风观之，此作或属明中期以前辗转流传的摹本。\n画面上一牛昂首腾空，前蹄离地，作躲闪状，看似已斗不过，也许在作迂回战，以逃状作避，伺机反扑；另一牛，鼓足力气，急速猛冲，低头侧目，四肢有力蹬地，将一只垮角猛击逃牛的后腿。\n呈现出一场激烈厮杀的惊险场面。\n画家用水墨淋漓、笔触刚健的艺术形式，画出一窜一追、一抵一昂、一冲一跃的两头牛，浑身绷紧的肌肉，显示牛的强壮有劲；前头那腾空的蹄，那踢蹴的腿，那昂首喘气的憨态；后头那低头猛击的蛮劲，很有将对方挑起猛摔之势；活灵活现地表现了斗牛的野性与凶顽，以及进攻与防御双方的伎俩；此画之所以颇见风趣和新意，是由于画家对牛的牛活和特性有朴殊感受，善于对于一定情势下的牛的特殊表现，作出别出心裁的处理；两牛相斗的动人情节，不止于外形的逼真，而是有情趣的牛的描写，体现了画家的笔墨熟练和细心观察。\n从构图看，画家选择了两牛相斗高潮似刚过去、但搏斗仍在继续这一瞬间的场面，加以刻画，颇见风趣和新意。\n作者以清淡朦胧的背景，在于使人有置于茫野的感受，其目的为了突出主题 。\n烟台大学教授、中国美术家协会会员 ：透过《斗牛图》精湛的表现力，我们还可以体验到作者在哲学上的良好修养。\n那主体、背景的浓、淡对比，那寓静于动的玄妙构图，那失去平衡的稳态造型，无不渗透着本民族古典哲学的精髓。\n这一点在唐以前的作品中是很少见到的。\n由图上题跋可知，该图曾经入清宫，经乾隆帝鉴赏。\n现藏于台北故宫博物院。\n该图收录于：盛京故宫书画录（卷一） ，第一册；故宫书画录（卷八），第四册；故宫书画图录，第十五册。\n戴嵩，唐代画家。\n最初学画时，以 为师，韩滉镇守浙西时，嵩为巡官。\n擅画田家、川原之景，写水牛尤为著名，后人谓得“野性筋骨之妙”。\n相传曾画饮水之牛，水中倒影，唇鼻相连，可见之观察之精微。\n明代李日华评其画谓：“固知象物者不在工谨，贯得其神而捷取之耳。\n”与韩干之画马，并称“韩马戴牛”。\n传世作品有《斗牛图》。\n牛有青出于蓝的声誉，又擅长于农家风景。\n他的弟弟 也以画牛而闻名。",[23,25,55,24,1146,100,635,101,7,30,5433],"斗牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F585082e468b1730f72d9bc88f06964e5.jpg",[],{"id":5437,"slug":5438,"title":5439,"dynasty":18,"author":5440,"museum":20,"description":5441,"tags":5442,"thumbUrl":5443,"material":1148,"size":1149,"collection":64,"collections":5444,"showCount":5345,"zanCount":43,"manualWeight":43,"mainColor":69},224158,"fang-zhao-da-nian-zhou-li-224158","仿赵大年","周笠","周笠，字牧山，清嘉定人，周颢之侄。善刻竹，与周颢齐名。擅长绘画，山水师法元四家，水墨花卉生意盎然。周笠少时与周颢同学画，同刻竹，但各得其意，各不相袭。清人评其作品“生意远出，神气内涵，万点当虚，千层叠起，浑厚中自露秀色”。周笠晚年客居扬州，六十岁而病卒，今传世作品较少。",[23,25,28,58,118,101,7,531,196,194,445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe513da2bebf872dfea6fb96b6d62e632.jpg",[],{"id":5446,"slug":5447,"title":5448,"dynasty":18,"author":2866,"museum":943,"description":2867,"tags":5449,"thumbUrl":5450,"material":216,"size":2871,"collection":64,"collections":5451,"showCount":5345,"zanCount":43,"manualWeight":43,"mainColor":69},222935,"hong-lou-meng-60-sun-wen-222935","红楼梦60",[23,25,27,28,241,7,211,101,135,715],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5db42a90d6fe4e64e16bda3b725d04a4.jpg",[],{"id":5453,"slug":5454,"title":3823,"dynasty":18,"author":712,"museum":20,"description":3824,"tags":5455,"thumbUrl":5456,"material":717,"size":3827,"collection":64,"collections":5457,"showCount":5345,"zanCount":11,"manualWeight":43,"mainColor":69},222623,"shan-shui-shan-mian-3-gong-xian-222623",[23,25,54,976,55,56,58,7,59,118,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e3bf5c009d2a486816b700ff2873d73.jpg",[],{"id":5459,"slug":5460,"title":5461,"dynasty":74,"author":2915,"museum":76,"description":5462,"tags":5463,"thumbUrl":5464,"material":28,"size":5465,"collection":122,"collections":5466,"showCount":5345,"zanCount":43,"manualWeight":43,"mainColor":44},222379,"san-jiao-tu-ding-yun-peng-222379","三教图","图中所绘的是孔子、老子、红衣罗汉坐于树下共同探究玄理的情景。作品现收藏于台北故宫博物院。\n该作品所绘的三位智慧长者面目严肃，神情专注，孔子儒雅敦厚，循循善诱，正发表言论；老子道貌岸然，谨慎而善辩，他注视着对方，似乎准备随时发问；红衣罗汉双目低垂，安详而平静，从他紧锁的眉头可以看出他已沉于思索之中。图左下款署“善男子丁云鹏敬写”。钤“丁云鹏印”“南羽氏”。画上有陈继儒题记。\n明代，随着儒、道、释三教的融合，宗教题材的绘画也随之有了世俗化的倾向，此画中的宗教人物与作为供养的神仙不同，脱离了程式化的因素，有着鲜明的个性特征和情绪化色彩，同时融入了文人的审美情趣。其人物造型古拙、气质端庄文雅，体现了明后期文人画注重表现个性的风尚。画法上，运用“高古游丝描”，细劲而“笔力伟然”，既有古朴之感，又具有时代气息。设色古妍冷隽，尤其是人物服饰的红色、兰色与赭色，赋色沉稳和谐。山石树木勾勒添色，取法文徵明，小青绿设色，文静典雅，营造了一种静谧清淡的意境，引人入胜。",[23,25,54,24,27,28,101,1096,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ff1c843045c703266db9a9adca98c31.jpg","纵115.6cm，横55.7cm",[122,140],{"id":5468,"slug":5469,"title":5470,"dynasty":74,"author":415,"museum":20,"description":416,"tags":5471,"thumbUrl":5472,"material":3463,"size":5473,"collection":65,"collections":5474,"showCount":5345,"zanCount":43,"manualWeight":43,"mainColor":69},221995,"shui-ting-shi-si-tu-wen-zheng-ming-221995","水亭诗思图",[23,25,58,80,164,7,419,55,421,79,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b4c5da43adfb3612de6ee83625cd7e2.jpg","73.3x28cm",[65,140],{"id":5476,"slug":5477,"title":5478,"dynasty":95,"author":1404,"museum":76,"description":5479,"tags":5480,"thumbUrl":5484,"material":216,"size":5485,"collection":64,"collections":5486,"showCount":5345,"zanCount":43,"manualWeight":43,"mainColor":44},221553,"luo-han-tu-5-liu-song-nian-221553","罗汉图5","刘松年 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将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[25,54,57,55,28,56,58,80,7,242,459,2529],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54a1147384ebec720ae9dfe5d6b1add9.jpg",[65,140],{"id":5572,"slug":5573,"title":5574,"dynasty":74,"author":468,"museum":20,"description":4146,"tags":5575,"thumbUrl":5576,"material":1148,"size":1149,"collection":64,"collections":5577,"showCount":5552,"zanCount":43,"manualWeight":43,"mainColor":69},237850,"fang-ni-zan-shan-shui-shan-dong-qi-chang-237850","仿倪瓒山水扇",[976,25,55,531,58,7,30,56,60,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fe56f94b85cc2111160b5c9a7022474.jpg",[],{"id":5579,"slug":5580,"title":4257,"dynasty":18,"author":5581,"museum":20,"description":5582,"tags":5583,"thumbUrl":5584,"material":1148,"size":1149,"collection":65,"collections":5585,"showCount":5552,"zanCount":43,"manualWeight":43,"mainColor":69},237479,"shan-shui-tu-ce-yao-song-237479","姚宋","姚宋（1648—1721），字雨金，一作雨京，号野梅。安徽新安（今安徽歙县）人。清代画家。\n姚宋寓居芜湖。擅长山水画，其初学弘仁，后期广学诸家，成为新安派画家之一。姚宋所画人物、花鸟、鱼虫、兰竹、无不工致。",[25,54,57,55,58,56,195,196,80,164,7,212,242,118,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F386dd09a026bd7288f1b27e4adf58aca.jpg",[65],{"id":5587,"slug":5588,"title":5589,"dynasty":18,"author":1070,"museum":76,"description":5590,"tags":5591,"thumbUrl":5592,"material":152,"size":64,"collection":64,"collections":5593,"showCount":5552,"zanCount":43,"manualWeight":43,"mainColor":69},237205,"shan-shui-zhu-shi-ce-wang-hui-237205","山水竹石册","王翚（1632-1717），子石谷，号耕烟散人，清晖主人等，江苏常熟人。幼即嗜画，年二十师事王鉴，复经王鉴引荐，师王时敏。王时敏尽出家藏，与之临摹，相与参究，他的摹古能力在清六家中首屈一指。除擅长山水之外，偶亦画花鸟竹石。王翚在艺术实践中能排除门户之见，综合南北之长，汲取诸家技法，冶为一炉，形成自家风格。他的作品章法变化多，墨笔和青绿皆精，山石树法清润秀雅，风格清逸秀丽。王翚60岁时奉康熙帝诏赴京师，任绘制《康熙南巡图》主笔。历经六年，完成了12卷总长达半华里的历史巨作。康熙帝赐“山水清晖”四字。遂自号“清晖主人”。从此“声名震海内”，追随者甚众，为“虞山派”之开山祖，有“画圣”之誉。",[25,54,57,55,58,7,30,82,56,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdef44c46debc96ae64d8e2e55d88d995.jpg",[],{"id":5595,"slug":5596,"title":48,"dynasty":18,"author":2470,"museum":20,"description":5597,"tags":5598,"thumbUrl":5599,"material":64,"size":64,"collection":65,"collections":5600,"showCount":5552,"zanCount":43,"manualWeight":43,"mainColor":69},237099,"shan-shui-ce-cha-shi-biao-237099","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。",[25,54,57,55,56,58,80,164,7,118,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F168aeb0486c41328f6e24fb32764dd3a.jpg",[65],{"id":5602,"slug":5603,"title":5604,"dynasty":74,"author":5605,"museum":20,"description":5606,"tags":5607,"thumbUrl":5608,"material":64,"size":64,"collection":65,"collections":5609,"showCount":5552,"zanCount":43,"manualWeight":43,"mainColor":69},236923,"ju-jie-shan-shui-zhou-ju-jie-236923","居节山水轴","居节","画史记载居节“尚气节，虽窭甚，惟以丹青自娱，不曳侯门裾” (《无声诗史》)。这样看来，如果说画面的前半部分是类文徵明的细劲、秀丽，那么远景山水的画法可不可以说是居节“尚气节”的“清高”和“骨气”的表现呢?我以为，也正是这种略显枯硬的画法，让他的山水画在吴派绘画基本风格的基础上又具有了宋人雄浑、劲健、简率的作风。\n从这幅作品中，我们看到了居节的文雅与气节两个方面的表现，可称为他的代表作。另外，从居节传世作品《潮满春江图》(镇江博物馆藏)、《万松小筑图》(上海博物馆藏)都可以看出居节在这两方面所做的努力。",[25,54,79,55,56,58,7,81,59,228,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fe76918b84b330009e95a81e2db08f7.jpg",[65,88],{"id":5611,"slug":5612,"title":5613,"dynasty":74,"author":5614,"museum":20,"description":5615,"tags":5616,"thumbUrl":5618,"material":64,"size":64,"collection":64,"collections":5619,"showCount":5552,"zanCount":43,"manualWeight":43,"mainColor":44},228862,"tian-jia-chun-dou-tu-juan-zhang-chong-228862","田家春斗图卷","张翀","此作以兼工带写之笔铺展乡野春景，古木虬枝环抱着错落村舍，水畔田埂间，村民们角力摔跤，呼喝喝彩之声似随画卷扑面而来。妇孺围立笑观，稚童穿梭嬉闹，田家烟火意趣尽显。画家精于人物情态捕捉，衣褶灵动简约，村野景致皴染朴拙细腻，将江南春日乡野的鲜活生机与质朴活力，尽数凝于绢素，画风古雅淳厚，把民间春日嬉游的松弛野趣刻画得淋漓尽致，尽显风俗画描摹世俗民生的动人特质。",[23,25,54,24,26,27,28,195,101,2440,591,7,59,5617,178,3106,56],"春景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F592ca4cfbdcded52aaada6264e96bf35.jpg",[],{"id":5621,"slug":5622,"title":5623,"dynasty":95,"author":5624,"museum":20,"description":5625,"tags":5626,"thumbUrl":5628,"material":64,"size":64,"collection":64,"collections":5629,"showCount":5552,"zanCount":43,"manualWeight":43,"mainColor":69},227686,"liu-tang-mu-ma-tu-chen-ju-zhong-227686","柳塘牧马图","陈居中","《柳塘牧马图》原载《历代名笔集胜册》第一册。签题陈居中作。耿昭忠题云：陈居中柳塘牧马图，虽纤细如绳，悉具乘风破浪之势。昔评云：“布景设色，不亚黄宗道。今观其气韵生动，精神物态，全形缣素间，即谓超佚前人，岂为过当。”这评赞是确当的。在小小的纨扇的面上，画着二十多个人，五十多匹马，而姿态活跃异常，那功力是深厚的。",[23,25,54,28,27,1519,5627,510,7,164,101,635,196],"塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece9ab741023d625ae0a528e2f8fb9c8.jpg",[],{"id":5631,"slug":5632,"title":5633,"dynasty":18,"author":5634,"museum":20,"description":5635,"tags":5636,"thumbUrl":5638,"material":64,"size":64,"collection":64,"collections":5639,"showCount":5552,"zanCount":43,"manualWeight":43,"mainColor":44},224210,"yun-shan-shui-tu-wu-chang-shuo-224210","云山水图","吴昌硕","以篆籀笔法入山水，阔笔泼墨点染远山苍莽朴拙，山居错落隐于林麓，野意横生。留白写江面悠悠，一叶扁舟随波，铺展出空寂淡远的烟江暮色。近岸老木虬曲、修竹横斜，用笔纵老苍劲，干湿浓淡的水墨交织晕染。\n题诗与画境相融，将暮山寻幽的闲逸心境诉诸笔端，突破柔隽山水的陈格，以写意风骨绘就晚秋江南萧疏淡远之致，笔墨间金石气裹挟着文人雅趣，简淡中见雄浑大气，尽显诗画合璧的文人风神。",[23,24,25,54,26,55,58,56,7,243,30,257,82,61,485,5637],"滩涂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99b3ba3916d6e873f7fe5bd0cbbb0434.jpg",[],{"id":5641,"slug":5642,"title":5643,"dynasty":74,"author":5644,"museum":328,"description":5645,"tags":5646,"thumbUrl":5647,"material":64,"size":64,"collection":64,"collections":5648,"showCount":5552,"zanCount":11,"manualWeight":43,"mainColor":69},222510,"shen-xian-tu-ce-16-zhang-lu-222510","神仙图册16","张路","张路（1464—1538 ，一作1464—1537）明代画家。字天驰，号平山，汴梁（今河南省开封）人，明代画家。绘人物，师法吴伟，山水学戴进“狂态”，用笔豪放纵逸，水墨酣畅淋漓，与朱端、蒋嵩、汪肇等同为“浙派”名家 。亦工鸟兽、花卉。\n早年画学戴进，临摹能肖其神，画法工细。至南京后，又宗法吴伟，变为粗笔写意。他善画人物，多绘神仙、士子、渔夫，形象质朴，神态清朗，具高昂向上的气质。景致简略，笔墨遒劲，风格豪放，然少秀逸和蕴藉之致；为浙派健将，亦开后来学者粗率之风。他具有典型风貌的水墨写意作品较多，人物多用顿折的重墨线条勾勒，山石以粗犷的笔触作大斧劈皴，运笔迅捷，水墨淋漓，具有豪放动荡的气势。亦能画写意花鸟。",[23,25,54,57,55,28,101,635,83,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F340c19a73646ea3d6a0139ee88b385e9.jpg",[],{"id":5650,"slug":5651,"title":5652,"dynasty":74,"author":75,"museum":76,"description":5653,"tags":5654,"thumbUrl":5655,"material":28,"size":5656,"collection":64,"collections":5657,"showCount":5552,"zanCount":43,"manualWeight":43,"mainColor":69},222115,"shu-yin-chui-diao-tu-shen-zhou-222115","树阴垂钓图","老树三株，点叶笔极老辣。平坡上坐一老者垂纶，笔细挺而有致。对山数石，横波数抹。",[23,25,976,55,58,7,360,196,194,195,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e71db6d9e06df008768db3647fc1e04.jpg","纵18.5公分，横50公分",[],{"id":5659,"slug":5660,"title":5661,"dynasty":74,"author":586,"museum":355,"description":5662,"tags":5663,"thumbUrl":5664,"material":63,"size":5665,"collection":39,"collections":5666,"showCount":5552,"zanCount":43,"manualWeight":43,"mainColor":69},219627,"feng-mu-tu-tang-yin-219627","风木图","画面中央，唐寅以水墨画出两株枯木，依稀可见随风摇曳之姿。树间一人身靠蒲墩，以袖掩面，似是触景伤情，悲痛不已。笔法纯熟，人物简练，却余韵无穷。古人云，画为心声，唐寅年轻时亦遭遇丧乱，风木之思自然流露笔端。\n此幅构图简洁，寥寥数笔，便迅速将读者带入画中人的内心世界，产生情感的共鸣，陷入悲伤苍凉的氛围之中。诗、书、画、印结合巧妙，图文并茂，以景传情，展现出文人画的悲怆之美。在众多描绘秋景的绘画中独树一帜，实乃不朽佳作。",[23,25,54,26,55,28,7,195,197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce0b76420cef1b27b31d3d541920360f.jpg","纵108cm，横28.5cm",[39],{"id":5668,"slug":5669,"title":5670,"dynasty":18,"author":507,"museum":132,"description":508,"tags":5671,"thumbUrl":5672,"material":37,"size":512,"collection":64,"collections":5673,"showCount":5552,"zanCount":43,"manualWeight":43,"mainColor":69},218330,"shen-xian-gu-shi-tu-ce-7-leng-mei-218330","神仙故事图册-7",[23,25,28,27,101,58,211,7,59,590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90a6d18f63cd7053041df309952abe6d.jpg",[],{"id":5675,"slug":5676,"title":5677,"dynasty":74,"author":225,"museum":20,"description":5678,"tags":5679,"thumbUrl":5680,"material":37,"size":64,"collection":64,"collections":5681,"showCount":5552,"zanCount":11,"manualWeight":43,"mainColor":44},216287,"er-shi-si-xiao-tu-1-chou-ying-216287","二十四孝图-1","二十四孝图是明朝时期著名的书画作品，由仇英创作。它描绘了中国传统文化中的二十四种孝道场景。二十四孝图的内容涵盖了人生各个阶段的孝道行为，从小学阶段的“孝悌忠信”到晚年的“慈孝双全”。这幅作品在明朝时期广受欢迎，并被视为一部重要的文化遗产。",[25,54,27,28,101,635,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a201c122e43a69fe2dbf9bbc6f891c4.jpg",[],{"id":5683,"slug":5684,"title":5685,"dynasty":74,"author":225,"museum":20,"description":5678,"tags":5686,"thumbUrl":5687,"material":37,"size":64,"collection":64,"collections":5688,"showCount":5552,"zanCount":43,"manualWeight":43,"mainColor":44},216281,"er-shi-si-xiao-tu-10-chou-ying-216281","二十四孝图-10",[25,27,28,915,101,118,7,273,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcecd8ded062398fdd76d11bcd1fba569.jpg",[],{"id":5690,"slug":5691,"title":5692,"dynasty":18,"author":5693,"museum":20,"description":5694,"tags":5695,"thumbUrl":5696,"material":64,"size":64,"collection":64,"collections":5697,"showCount":5698,"zanCount":43,"manualWeight":43,"mainColor":69},238245,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238245","山静日长图册","张雨森","张雨霖，初名雨，字作霖，一字紫琅，号苍野，安徽当涂人，经子，工山水，得文家风韵。善泼墨，惜用墨皆渗以胶。亦善画花鸟。乾隆时曾供奉内廷。乾隆时供奉内廷，乾隆帝题其《山水图》有“悬之高堂六月凉，助我清兴生吟席”句，又题其《仿沈周山水图》“吴中沈周清狂客，雨森笔似人亦肖”句。画迹有摹燕文贵《江干雪霁图》卷，著录于《石渠宝笈初编》。",[25,54,28,27,56,57,58,101,7,59,715,214,680],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F736080caf8a60380e1e550c8695a5962.jpg",[],20,{"id":5700,"slug":5701,"title":599,"dynasty":18,"author":600,"museum":20,"description":601,"tags":5702,"thumbUrl":5703,"material":64,"size":604,"collection":64,"collections":5704,"showCount":5698,"zanCount":43,"manualWeight":43,"mainColor":69},238026,"hong-ren-shan-shui-tu-ce-hong-ren-238026",[25,54,57,55,56,58,7,59,715,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd878af4f1ee29a1194aa9d7c0a0456e.jpg",[],{"id":5706,"slug":5707,"title":5708,"dynasty":74,"author":5709,"museum":20,"description":5710,"tags":5711,"thumbUrl":5713,"material":28,"size":64,"collection":122,"collections":5714,"showCount":5698,"zanCount":43,"manualWeight":43,"mainColor":44},237892,"wang-zhao-she-se-ying-yang-tu-zhou-wang-zhao-237892","汪肇设色婴羊图轴","汪肇","汪肇［明］（15世纪末至16世纪初），字德初，号海云，安徽休宁人，工山水、人物、花鸟。多用粗笔水墨，风格近吴伟、张路。传世作品有故宫博物院的《起蛟图》轴、《芦雁图》轴及《柳禽白鹇图》轴等。",[25,54,79,28,5712,2127,7,1519,730,101,635],"婴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2fcf07bc0d8591e32b1885f907d45e8.jpg",[122],{"id":5716,"slug":5717,"title":5718,"dynasty":18,"author":600,"museum":20,"description":2778,"tags":5719,"thumbUrl":5720,"material":1148,"size":1149,"collection":64,"collections":5721,"showCount":5698,"zanCount":43,"manualWeight":43,"mainColor":69},237795,"hong-ren-shan-shui-shan-hong-ren-237795","弘仁山水扇",[25,54,24,976,58,241,59,7,242,55,28,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffee2deb1860be3554b6c635c695732f0.jpg",[],{"id":5723,"slug":5724,"title":5725,"dynasty":74,"author":317,"museum":20,"description":5726,"tags":5727,"thumbUrl":5729,"material":64,"size":64,"collection":64,"collections":5730,"showCount":5698,"zanCount":43,"manualWeight":43,"mainColor":69},237612,"you-qiu-pin-gu-tu-zhou-yi-ming-237612","尤求品古图轴","此作用淡墨铺就庭院雅集，右侧古木盘根虬曲，苍皮皴裂间枝繁叶茂，湖石芭蕉相衬，晕出院内清幽静雅。堂中文士围案环坐，展玩古物，或蹙眉细观，或颔首低语，神态灵动鲜活；僮仆随侍左右，奉茶侍立，动静之间尽显闲雅松弛。\n\n笔线细劲秀逸，淡墨晕染出清雅氛围，将文人耽于博古清赏的雅趣，娓娓铺陈在画面之中，处处浸透闲适古雅的文人情致。",[25,54,79,55,27,1004,101,866,1058,7,213,241,869,30,865,5728,196],"古器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c72ed92b7852720229e817e865720c.jpg",[],{"id":5732,"slug":5733,"title":2009,"dynasty":74,"author":468,"museum":20,"description":5052,"tags":5734,"thumbUrl":5735,"material":64,"size":64,"collection":64,"collections":5736,"showCount":5698,"zanCount":43,"manualWeight":43,"mainColor":69},234977,"dong-qi-chang-shan-shui-ce-dong-qi-chang-234977",[25,55,56,57,58,7,212,82,59,61,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3eaf428da4b947634930dd08ae3803a.jpg",[],{"id":5738,"slug":5739,"title":5740,"dynasty":18,"author":2470,"museum":20,"description":5741,"tags":5742,"thumbUrl":5743,"material":64,"size":64,"collection":64,"collections":5744,"showCount":5698,"zanCount":43,"manualWeight":43,"mainColor":69},234203,"fang-mi-you-ren-yun-shan-tu-juan-cha-shi-biao-234203","仿米友仁云山图卷","查士标在《秋林暮霭图》的款识中曾说自己的山水画初学米芾，后学倪瓒，并且寻根求源，以自己的绘画实践追溯董、巨，从中探索绘画源流的发展变化。而创造米点山水的米芾和米友仁，他们在绘画上开创了水墨山水的新风尚，为了抒写胸臆而不求工细，即在董源水墨山水的基础上，挥洒出了江南烟雨空濛的景象。米芾长子米友仁，继承家学，作画尤其在于尽兴，自称“墨戏”。总体来看，“二米”山水多作江南平远景色，突破了前人运用线条表现峰峦、云水、树木的画格，另辟蹊径。山石不作轮廓，而用清水笔墨润泽出大概，再以淡墨渍染，然后用稍浓的墨笔破出并皴擦大体层次，趁笔墨尚湿之时再以大小错落的浓墨、焦墨横点叠垛。山体上部用墨稍浓，用笔较密，下部用墨稍淡，用笔较疏。云气以淡墨空勾并加以渲染。树木枝干多用浓墨一笔画出，以大浑点作叶。山脚坡岸用浓淡适中的水墨横扫，多数不加皴斫。整个过程显得随意而自然，表现出江南山水烟雨蒙眬、丘陵晦明、丛林隐现的意境，大大丰富了中国山水画的表现技法。这种新的山水风格，对元以后的水墨山水产生了较大影响。从目前所见画迹来看，查士标最早一幅仿米家山水的作品，是顺治十七年（1660）夏四月所作《山谷闲云图》。其题诗有云：“闲云无四时，散漫此山谷。\n幸乏霖雨姿，何妨媚幽独。”该幅作品完全仿学米氏云山，横点山、树之形，间及渲染，烟雨空濛之景跃然纸上。题诗也不乏自得之意，可以见出查士标在米家山水方面下过较大的功夫。除此之外，查士标临仿米家山水的作品尚有很多，如北京荣宝斋藏查士标康熙二年（1663）嘉平月六日夜作《云树江村图》、扬州市博物馆藏查士标康熙五年（1666）六月作《云山图》、故宫博物院藏查士标康熙十一年（1672）作《鹤林烟雨图》、山西省博物馆藏查士标康熙十三年（1674）秋天作《米家云山图》和故宫博物院藏查士标康熙十九年（1680）六月作《南山云树图》等，这些作品都是他学习米家山水的优秀代表。其中，扬州市博物馆所藏《云山图》，是查士标52岁时仿学米友仁《楚山清晚图》而作。该画主峰突起，衬以远山，近处桥屋树木，均寥寥数笔，然墨气淋漓，大有烟雨空濛之感。在作品中，查士标抓住了米友仁自称“墨戏”的特点—写意大于写形，因此在构图形式与笔墨变化上，较米友仁更为肆意潇洒。米友仁在画中以横点水墨的浓淡积染，分出山体的层次，试图摆脱轮廓线的束缚，但画中的墨点还是显得比较严谨、缜密，细察之下还有无形的轮廓线在羁绊着笔墨的灵动。而到了查士标这里，画面近乎泼墨，充分体现了他在用墨上的灵动变化。特别是上述故宫博物院藏其康熙十九年（1680）六月作《南山云树图》长卷，作品以“迷远法”构图，图中云雾占有大半。卷首云海弥漫，山峦隐约可见，远山坡脚随着云气的浮动变幻，逐渐显露，并重叠起伏地展开，远处峰峦终于出现在团团白云之中。中段主峰耸立，林木扶疏，表现出远近层次。全卷云树掩映，峰峦明灭，处处体现出生意郁勃的造化生机和苍莽雨雾的特殊韵致。画面水墨淋漓，少见笔触，形象不作具体细致的刻画，含蓄自然，浑然一体，给人留下了远景云山空濛的印象。查士标在款识中有云：\n康熙庚申六月，余客润州。再登金山，留宿慈云阁。雨中为德润禅兄画南山云树，仿米家笔意，累日乃竣事。\n根据他的款识记载，我们知道这件作品是他在润州（今镇江）登金山，看到烟江缥缈的景致后，联想起米家山水的粉本，触景生情而作。这件作品也得到了后人的称赞，如清人张熊在题跋中评说：\n此卷仿米家泼墨云山，简淡清新，直欲上追宋元。洵是罕见逸品，岂浅学者所能梦见耶。",[23,25,55,26,531,58,80,715,7,212,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c02eb2b2d562b653515952d5eb03d8.jpg",[],{"id":5746,"slug":5747,"title":5748,"dynasty":95,"author":806,"museum":355,"description":5749,"tags":5750,"thumbUrl":5753,"material":216,"size":5754,"collection":64,"collections":5755,"showCount":5698,"zanCount":43,"manualWeight":43,"mainColor":44},234035,"wu-zhu-xi-tang-tu-ye-xia-gui-234035","梧竹溪堂图页","此画设色画修竹、梧桐、茅屋、远山。这是一幅近似正方构图的小品山水画面。画中主要突出近景，近景描绘细致而写真，远景则粗淡而画虚，又是一幅虚实结合的山水风景画。近景是高大而扭曲的夹叶梧桐树，及挺立而柔姿的翠竹，在微风中摆动，互相交映，茅屋及草堂在树荫下显露。在这幽静的环境里，一位隐士在草堂中，面对高山溪水观景赋诗，敞开胸怀，歌颂大自然的美景。在茅屋与草堂前有护栏同着的院庭，主人在庭院里闲散时，可以听到溪水潺潺声，树叶的沙沙声，以及远处山风的呼啸声，同时可以怀诗朗颂；远景朦胧中有山峰映显，是山溪水的升腾，使山峰尤如在云雾中飘移。这水声、风声及诗人在山水问的朗渎声，可以组成人间大自然美好交响乐章，这就是夏圭山水中的具笔墨淋漓、云烟变态，饶有士大夫风骨的画面。\n此画设色画梧桐、修竹、茅屋、远山。构图上采用“一角”画法。画竹、树疏朗简洁，布局巧妙。全画笔法苍老劲健，下笔疾速果断。画中茅屋随手勾出，显得严谨而活泼。整幅画面层次鲜明，用浓墨写近景，再用淡墨画栏杆，远山则用花青略加渲染，使画面产生了强烈的空间感。\n构图上采用所谓“一角”、“半边”之法，主要景色都集中在画面下部，左侧取其大自然中真实一角，与右旁渺无人烟的画面，只有山影在茫茫的雾气中浮动，构成了意境深远的山水画。所画竹、树疏朗简洁，布局巧妙，作者以粗笔浓墨勾出梧桐树干及叶丛，用中锋画竹竿，以楷书写竹叶，堂宇、栏杆画得破有成规，近处山石棱焦清晰，并有青苔点簇，树林中蕴现的秀石以浅墨勾出，又以淡水墨染之，与装饰性的梧竹，形成色差的对比。画中茅屋，不用界尺，随手勾出，显得严谨而活泼。远远的山形与天色几乎相混，只见有一笔勾之，远山用花青略加渲染，造成的深远景色，只能让观者在意境中识别，这是夏画中的意取胜的展现。在此幅画中，见到了作者较富装饰性的山水画。以自识“夏圭”款二字于左方树干上。\n《梧竹溪堂图》画面简明地分成虚实两块，正是典型的“夏半边”构图。画中树木干枝曲折多弯，亦与马远树法相同。惟其用笔苍润含蓄，不似马远瘦硬刚劲，这大概与夏圭好用秃笔有关。建筑物也是用毛笔信手勾勒出来的，透视、比例都很合理，虽不及马远的界画法工细，却也别有韵味。若再细看，不难看到房柱、栏杆之类建筑构件是以较严谨、沉稳的线条组成，画屋顶茅草的线条则显得疏松、随意，这一细节透露出画家信手勾勒时仍很有分寸。由于画小景物不多，夏圭善用墨色的特点在《梧竹溪堂图》中表现得不是非常充分，然其墨色浓淡相济，足以将画面空间交待得层次分明，使景物密集处也有了几分空灵感。",[25,24,57,195,55,28,56,58,241,5751,5752,212,82,7,30,273,680,194],"梧","堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0eaba403757890198eedd65e6a3143f.jpg","纵23厘米，横26厘米",[],{"id":5757,"slug":5758,"title":5759,"dynasty":95,"author":806,"museum":355,"description":5760,"tags":5761,"thumbUrl":5764,"material":5765,"size":5766,"collection":64,"collections":5767,"showCount":5698,"zanCount":43,"manualWeight":43,"mainColor":44},233212,"yan-xiu-lin-ju-tu-ye-xia-gui-233212","烟岫林居图页","图中绘一老者走过板桥，沿小径而行，远处山林后隐现房舍一角，意境幽深。近景树石着重墨，中景以淡墨勾染，至远景则以极浅淡的水墨渲染出一片雾色，拉开空间层次。用笔轻松简洁，皴中带染，染中有皴，整体风格不失精致秀润。构图是夏圭惯用的半边式。\n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。\n在此扇面上，远处一片空旷、开阔，烟雾飘渺，在云雾笼罩下，左边露出峭秀的山峰，突兀的山峰耸立在群山之巅。山峰偏左，让出右边的空间。使人有云天苍茫，辽阔无际之感，显得轻浅。远景小河流水隐约可见，这是虚；中景平湖河道若隐若现，似有似无，渐渐伸向远处而消失在山谷树丛之中。近景则实，以浓墨笔健画出树丛j组，错落于山石、土坡上，是画家着意描绘的对象，以“树为君，山为辅”的方式构图，主从分清，疏密有致，中问一组起着支撑作用，树高干粗叶茂，两边各一组为辅，只取陪衬作用。处理得自然合乎情理。近景石坡树丛间，小桥曲径隐现，林间幽居的房舍，可见人物行踪。一人转过山石，过小桥，沿着弯曲的小路向坡下的茅屋走去，可见这是一幅诱人的静谧境界。\n整个画面虚实相映，以虚代实，虚实结合。善于利用空白来体现大自然的辽阔、深远。整个画面上疏下密，左实右虚，起到虚实相间，疏密有致，且显示了黑白对比的强烈。全画构图简赅而意蕴深远，前后层次分明，笔墨苍润，水墨淋漓。它不是江南景色的写生，而是以少胜多，以简就繁，以精致的笔墨表达无尽的诗意。而笔法简劲、墨气潮润。作者善用水笔涂抹画面，再用墨笔破之，以此拖泥带水皴法，水墨淋漓之气来表现江南烟雨迷漾之韵致。画近景坡石以秀笔作斧劈皴，充满质感及力度。此画树法以点线为主，树枝干用草率而劲健；山石土坡以线条勾勒轮廓，做到勾皴结合，线面互用，皴中有染，染中有皴，带水斧劈，一气呵成，呈现出水墨淋漓的效果，因此，夏圭山水艺术灵活多样，纵横奔放，精致秀润兼而有之。款署“夏圭”二字，此幅有项元汴、高士奇等藏印共五方。\n陈文璟：《烟岫林居图》营造的正是一种烟云境界，近处以重墨勾勒树木、山石、人物，皴染却以淡墨扫出，显得浓重透出空间来，使节奏感明快而庄重，而远山渺渺，烟雾缭绕，使背景和前景的对比更加突出，则人物所居，自然是“只在此山中，云深不知处”。尤为人不可及的当然是线条的凝练畅快，显示出画者的心态安定而悠闲忘机，既不媚世求欢，也不率意而狂狷，彬彬然，霭霭然，内敛而外平，越品味越觉意味深远，不免有“珠玉在侧，觉我形秽”的感慨。\n陈振濂：《烟岫林居图》为小团扇——这是宫廷内多见的特殊形式。笔墨皆一遍施足，不重复皴染——这是步骤的简；树木繁纷，但却以粗笔为之，形成几个团块组合，外形并不过于曲折回环——这是造型的简。远山一二而已，空白处尽量加多，以见旷达之趣、约略之景——这是构图的简。最后，并无峰回路转、溪桥重叠、丘壑幽深的气韵：一切都是平淡的、直率的、简约的。这三种简复合起来，即构成一个简洁的减笔夏挂。",[25,24,54,58,55,56,1419,80,7,3704,5762,5763,59],"居处","烟雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73197fa365d71fb00c132cb41deb0b52.jpg","绢本 ，墨笔","纵25cm，横26.1cm",[],{"id":5769,"slug":5770,"title":5771,"dynasty":95,"author":973,"museum":20,"description":5772,"tags":5773,"thumbUrl":5776,"material":216,"size":5777,"collection":64,"collections":5778,"showCount":5698,"zanCount":43,"manualWeight":43,"mainColor":44},232628,"qiu-jing-zhang-yuan-tu-juan-yi-yuan-ji-232628","秋景獐猿图卷","郭若虚《图画见闻志》成书于成熙七年(1074)，是最早记载易元吉生平的典籍。此后成书于宣和二年（1120）的《宣和画谱》、至正二十五年（1365）的《图绘宝鉴》之类画史著作所录的易元吉传，都来源于《图画见闻志》中的这段文字：\n易元吉，字庆之，长沙人。灵机深敏，画制优长。花鸟蜂蝉，动臻精奥。始以花果专门，及见赵昌之迹，乃叹服焉。后志欲以古人所未到者驰其名，遂写獐猿。尝游荆湖间，入万守山百余里，以觇猿狖獐鹿之属，逮诸林石景物，一一心传足记。得天性野逸之姿，寓宿山家，动经累月，其欣爱勤笃如此。又尝于长沙所居舍后疏凿池沼，间以乱石丛花、疏篁折苇，其间多蓄诸水禽，每穴窗伺其动静游息之态，以资画笔之妙。治平甲辰岁，景灵宫建孝严殿，乃召元吉画迎厘斋殿御扆。其中扇画太湖石，仍写都下有名鹁鸽及雒中名花，其两侧扇画孔雀。又于神游殿之小屏画牙獐，皆极其思。元吉始蒙其召也，欣然闻命，谓所亲曰：“吾平生至艺，于是有所显发矣。”未几，果敕令就开先殿之西庑张素画《百猨图》，命近要中贵人领其事，仍先给粉墨之资二百千。画猨才十余枚，感时疾而卒。元吉平日作画，格实不群，意有疏密。虽不全拘师法，而能伏义古人。是乃超忽时流，周旋善誉也。向使元吉卒就《百猨》，当有遇于人主；然而遽丧，其命矣夫。有獐猿、孔雀、四时花鸟、写生蔬果等传于世。建隆观翊教院殿东獐猿林石绝佳。(又尝于余杭后市都监厅屏风上画鹞子一只，旧有燕二巢，自此不复来止。)\n这段文字共四百一十八个字，在《图画见闻志》所有画家传记中字数最多。后世大名鼎鼎的画家很多，其传记也就几十字到三百多字不等，如董源七十二字，范宽九十四字，郭熙九十五字，黄筌二百二十八字，徐熙一百四十六字，崔白二百四十三字，武宗元三百二十三字，等等。传记文字的数量与传主的分量是成正比的，由此可见易元吉在郭若虚心目中的地位。\n秦汉以来，士人取名好引经据典，至宋尤盛。南宋俞成说：“尝观《进士同年录》：江南人习尚机巧，故其小名多是好字，足见自高之心；江北人大体任真，故其小名多非佳字，足见自贬之意。”唐代贞观元年（627），天下为十道，江南道范围包括今湖北南部、江西、湖南。这段文字用来形容长沙人易元吉的取名，也无不可。易姓在北宋时期的长沙是大姓。易元吉之名字，应当来源于《易经》的履卦“上九”象传：“元吉在上，大有庆也。”据此以“元吉”为名，“庆之”为字。姓“易”而以《易经》的文字来命名，比其他任何用《易经》文句取名的姓氏都要显得浑然天成，也可见易元吉的父辈当并非普通白丁。\n郭若虚的这篇传记没有具体记载易元吉的生卒年，只能大体推断出他的活动时间。易元吉于治平甲辰岁（1064）入宫绘制屏风，则此之前应当是名家。从“未几……感时疾而卒”来看，易元吉的去世时间当在入宫后不久，所以其主要活动时间是在宋仁宗（1022—1063年在位）时期。由于《图画见闻志》中关于易元吉入宫的时间只出现年份而不见月份，只能推测他大概于宋英宗治平二年（1064）末或者治平三年（1065）初去世。\n易元吉有多方面才能，而绘画方面特别突出。在整个宋代，被载入美术史的湖南画家只有易元吉一人，但一些资料显示，当时在长沙及周边一带的书画交易十分兴盛，从侧面反映出当时的长沙有一个规模较大的画家群体。例如，张南本的水陆画，“后来为人模写，窃换真迹，鬻与荆湖商贾。”米芾（1051—1107）《画史》载：“长沙富民收水鸟芦花六幅。”《图画见闻志》没有记载易元吉的直接师承，他“以花果专门”之后才见到赵昌的作品，而且毅然改换绘画题材，才有了后来以“猿獐”名世的易元吉。他的师父不会很有名，甚至有可能是自学成才。在长沙期间，易元吉于家舍附近种花养禽，随时写生。他在园圃中观察自然对象研习绘画的形象成为画史上的经典，直到清代的文人仍旧对此充满想象：“易元吉于圃中畜鸟兽，伺其饮啄动止，而随态图之。”",[23,24,25,26,28,445,27,58,7,1573,5774,5775,59,81,196],"獐","猿猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f627a5c8207974fc409e1ac152f093c.jpg","36.7x321",[],{"id":5780,"slug":5781,"title":5782,"dynasty":1460,"author":5783,"museum":20,"description":5784,"tags":5785,"thumbUrl":5786,"material":1148,"size":1149,"collection":64,"collections":5787,"showCount":5698,"zanCount":43,"manualWeight":43,"mainColor":69},231741,"an-tu-tao-shan-shi-dai-gui-tu-ping-feng-shou-ye-yong-de-231741","安土桃山时代 桧图屏风","狩野永德","狩野永德（1543年～1590年），日本画家。名州信，通称源四郎。1543年1月13日生于山越国（今京都），卒于1590年9月14日。他的传世作品还有《唐狮子屏风》、《桧图屏风》及《洛中洛外图屏风》等。",[23,24,25,54,484,28,58,7,82,59,715,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40c0049bfcdc4c1a73a70e15f916753b.jpg",[],{"id":5789,"slug":5790,"title":5791,"dynasty":74,"author":225,"museum":20,"description":5792,"tags":5793,"thumbUrl":5794,"material":1148,"size":1149,"collection":64,"collections":5795,"showCount":5698,"zanCount":43,"manualWeight":43,"mainColor":69},228856,"shan-mian-hua-xuan-chou-ying-228856","扇面画选","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[23,25,54,976,27,28,101,358,58,7,360],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fc80210af56788cd85ba9dc0cd734cc.jpg",[],{"id":5797,"slug":5798,"title":5799,"dynasty":95,"author":317,"museum":20,"description":5800,"tags":5801,"thumbUrl":5802,"material":434,"size":5803,"collection":64,"collections":5804,"showCount":5698,"zanCount":43,"manualWeight":43,"mainColor":44},223376,"chu-ping-mu-yang-tu-yi-ming-223376","初平牧羊图","此图不知原载何册，也没有作者姓氏。但画法甚为高超，人物尤精。在描绘人物动态和神情方面，画家具有高超的技艺。",[23,25,54,976,28,27,101,2127,7,59,60,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8d3b9f87123433d8f4bab4bb4d8cd5e.jpg","23.5*24.6厘米",[],{"id":5806,"slug":5807,"title":5808,"dynasty":18,"author":317,"museum":355,"description":5809,"tags":5810,"thumbUrl":5814,"material":5815,"size":5816,"collection":64,"collections":5817,"showCount":5698,"zanCount":11,"manualWeight":43,"mainColor":69},223366,"guang-xu-nian-jian-bai-duan-di-guang-xiu-san-yang-kai-tai-gua-ping-xin-yi-ming-223366","光绪年间白缎地广绣三阳开泰挂屏心","此挂屏心是在白色缎地上施五彩绣。画面中一轮红日高挂，草木葱郁，山石玲珑，3只羊嬉戏于湖边草地上，9只瑞鸟飞鸣栖息于花间树梢，展现出一派春光明媚、万物滋生的美好景象。作品采用了洒插针、辫子股针、扭针、刻鳞针、打籽针和风车针等针法，针工细密，有较强的立体感。三只羊形态各异，刻画逼真，羊身上用辫子股针绣成一圈圈凸起的圈线，颇具毛绒感。画面施以浅驼、驼、古铜、沉香、灰、驼黄、黄、绿、蓝、石青和大红等色，色彩艳而不俗，富于装饰性，充分体现了广绣独特的风格。\n此挂屏心的主题以“羊”与“阳”的谐音寓意“三阳开泰”，作为新年伊始的祝福。此为广绣的杰作。",[23,959,5811,5812,28,2127,635,29,7,715,5813,103,102,31,5532],"广绣","刺绣","太阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7ff1a6d481f46a46864196ab03a7f3b.jpg","屏心","高67厘米，宽52厘米",[],{"id":5819,"slug":5820,"title":5821,"dynasty":18,"author":456,"museum":328,"description":660,"tags":5822,"thumbUrl":5823,"material":63,"size":663,"collection":64,"collections":5824,"showCount":5698,"zanCount":43,"manualWeight":43,"mainColor":69},216987,"fang-song-yuan-shan-shui-ce-4-wang-jian-216987","仿宋元山水册-4",[24,25,54,58,531,56,55,497,80,7,285,308,590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d8a6e4e3c8f721685a6e5d0aeeef07a.jpg",[],{"id":5826,"slug":5827,"title":5828,"dynasty":18,"author":1070,"museum":51,"description":1071,"tags":5829,"thumbUrl":5830,"material":275,"size":64,"collection":64,"collections":5831,"showCount":5698,"zanCount":43,"manualWeight":43,"mainColor":69},214593,"fang-gu-shan-shui-ce-11-wang-hui-214593","仿古山水册-11",[24,25,54,57,28,55,58,56,1073,118,212,82,101,7,4953],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8c1d131f029dfc768e60ded3c71e002.jpg",[],{"id":5833,"slug":5834,"title":4714,"dynasty":74,"author":1291,"museum":20,"description":4715,"tags":5835,"thumbUrl":5836,"material":1148,"size":1149,"collection":64,"collections":5837,"showCount":5838,"zanCount":11,"manualWeight":43,"mainColor":69},237418,"shan-shui-shan-lu-zhi-237418",[25,54,976,58,56,28,80,7,118,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4dc2286a29440d23512f2e1af77a0ce.jpg",[],19,{"id":5840,"slug":5841,"title":4257,"dynasty":18,"author":5842,"museum":20,"description":5843,"tags":5844,"thumbUrl":5846,"material":1148,"size":1149,"collection":65,"collections":5847,"showCount":5838,"zanCount":43,"manualWeight":43,"mainColor":69},237389,"shan-shui-tu-ce-xue-xuan-237389","薛宣","薛宣（生卒年不详），字赣君，东海郡郯县（今山东省郯城县）人。西汉丞相，汉宣帝刘询的女婿。\n精通律法，起家廷尉书佐、都船狱吏，出任不其县丞、乐浪郡丞。举茂才出身，出任宛句县令，迁长安令，颇有政绩。汉成帝时期，历任御史中丞、临淮陈留二郡太守、左冯翊、少府卿、御史大夫，赏罚分明，威德并施，功劳卓著，迎娶敬武长公主。鸿嘉元年（前20年），出任御史大夫，代替张禹出任丞相，册封高阳侯。永始二年（前15年），办理邛成太后丧事不周，辞去丞相之职。\n汉哀帝时，免为庶人，最终在家中去世。",[25,28,57,58,80,164,7,257,229,498,3133,5845],"树林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6087b7a29c377aafef71cea9d8bd43f7.jpg",[65],{"id":5849,"slug":5850,"title":5851,"dynasty":18,"author":2470,"museum":20,"description":5852,"tags":5853,"thumbUrl":5854,"material":64,"size":64,"collection":64,"collections":5855,"showCount":5838,"zanCount":43,"manualWeight":43,"mainColor":69},235649,"lin-ting-shan-se-zhou-cha-shi-biao-235649","林亭山色轴","《林亭山色图》是典型的学习元人的作品。\n查士标的山水以松秀生辣为自己的风格，是新安画派的大家。\n此为清查士标的《林亭山色图》。\n南京博物院藏。\n他的用笔吸取了倪云林和董其昌的风格，在生峭和如锥画沙中找到了一种平衡。\n看他的画你会发现他的心态是平和安详的，每一笔和一点都徐徐落下，有条不紊。\n他的画面总是带着灰色调，如同是有点雾气在其间往来。\n这好像是新安画派画家的共同特点，而他的作品中间反映得更加充分些。\n查士标（1615-1698年）字二瞻，号梅壑散人，安徽休宁人，明诸生，明亡之后则弃举业专事书画。\n家中多藏鼎彝及宋元人的作品，精于鉴别。\n书法学习米芾、董其昌，画学倪瓒。\n晚年的绘画技法高超，直入元人的堂奥。",[25,54,24,79,55,58,118,241,83,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff352ce355a4c9c2cf81b84fb1dc3c7c0.jpg",[],{"id":5857,"slug":5858,"title":5859,"dynasty":74,"author":317,"museum":20,"description":5860,"tags":5861,"thumbUrl":5862,"material":64,"size":64,"collection":64,"collections":5863,"showCount":5838,"zanCount":43,"manualWeight":43,"mainColor":69},235608,"you-qiu-hong-fu-tu-zhou-yi-ming-235608","尤求红拂图轴","此作用白描淡墨绘就，线条细劲圆转如游丝萦回，尽显雅致风神。庭院古木虬曲、湖石玲珑，案几清供衬出厅堂雅静。榻上主人神态端凝自有威仪，仕女身姿柔婉，红拂悄然凝睇李靖，暗露倾慕之意，其余侍女恭谨侍立，奏乐乐师专注投入，下方侍女缓步持物，灵动自然。\n\n画作定格风尘三侠初遇瞬间，人物排布疏密得宜，素淡墨色铺展传奇开篇，笔意秀润含蓄，将古典侠情的缱绻意境描摹尽致，淡远雅致间古意悠悠。",[24,25,54,79,1004,55,28,101,7,30,869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc3a9f3843074eab8d3ca0495e164b6c.jpg",[],{"id":5865,"slug":5866,"title":5867,"dynasty":18,"author":5868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一个花瓶，跟在后面。 老人和两个少年，一副活泼的姿态，热切地相互呼应。 整幅画淡漠，充满野趣。 作者用双勾填彩竹，用白粉点花，用浓墨去山石，用淡墨擦。\n此图描绘的是陶渊明和采菊的故事。",[25,54,24,57,27,28,101,961,7,83,59,589],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa3829cc71d2b5bb96c58a1efbea7b43.jpg","绢本 设色","24.1x25.2厘米",[],{"id":5885,"slug":5886,"title":5887,"dynasty":49,"author":317,"museum":76,"description":5888,"tags":5889,"thumbUrl":5890,"material":5891,"size":5892,"collection":64,"collections":5893,"showCount":5838,"zanCount":43,"manualWeight":43,"mainColor":44},231399,"qiu-shan-tu-yi-ming-231399","秋山图","在这幅画中，峰峦叠嶂，溪流嶙峋，飞瀑流泉在薄雾之中。 是文人墨客睡觉的理想场所。 构图十分多样，笔墨精美，色彩点缀恰到好处。",[25,54,58,56,55,28,80,7,82,59,786,308,651,228,498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95db5f648889bd0b3227e7193ab2e761.jpg","绢本 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size":5961,"collection":122,"collections":5962,"showCount":5838,"zanCount":43,"manualWeight":43,"mainColor":69},218738,"xiang-shan-jiu-lao-tu-yi-ming-218738","一棵巨大的松树被画出来，将场景一分为二。面板右侧是两个人在对弈，一个人坐着观看，一个孩子拿着扇子站在他们旁边。画板左边有六个人，一个人拿着花在跳舞，三个人边走边说，还有两个孩子跟着他们。两人站在一个石炉后面，一起拿着卷轴，拿着卷轴的孩子从竹子里走出来。这幅画描绘了多夫特贝格的九个老人的故事。......，以胡高、济民、郑载、刘桢、陆贞、张勋、狄堪木和陆贞为主角，他们都是晚年无为的人，被人们所欣赏，被画成一幅九老图。这幅画没有标记，但其风格与刘松年的画相似。这是《花样年华相册》第十九板块的内容。",[23,25,976,28,27,56,101,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F775ae482fdba366ef82d43d1b797fa51.jpg","23.8x24.8",[122],{"id":5964,"slug":5965,"title":5966,"dynasty":18,"author":317,"museum":76,"description":4996,"tags":5967,"thumbUrl":5968,"material":37,"size":64,"collection":64,"collections":5969,"showCount":5838,"zanCount":43,"manualWeight":43,"mainColor":69},215199,"sheng-ping-le-shi-tu-ce-6-yi-ming-215199","升平乐事图册-6",[25,28,27,57,101,135,1058,136,7,118,273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ed03b9eec74522513d72406bad1568.jpg",[],{"id":5971,"slug":5972,"title":2886,"dynasty":74,"author":3795,"museum":20,"description":5973,"tags":5974,"thumbUrl":5975,"material":64,"size":64,"collection":65,"collections":5976,"showCount":90,"zanCount":43,"manualWeight":43,"mainColor":44},237146,"shan-shui-zhou-xiang-sheng-mo-237146","项圣谟，生于明代万历二十五年（1597年），卒于清代顺治十五年（1658年），初字逸，后字孔彰，号易庵，别号甚多，已知者有子璋、子毗、胥山樵、胥樵、古胥山樵人、兔鸣叟、莲塘居士、松涛散仙、大酉山人、存存居士、烟波钓徒、狂吟客、鸳湖钓叟、逸叟、不夜楼中士、醉疯人、烟雨楼边钓鼇客等，浙江嘉兴人。祖父项元汴，为明末著名书画收藏家和画家。伯父项德新也善画。项圣谟自幼受家庭熏陶，精研古代书画名作，虽然曾由秀才举荐为国子监太学生，但不求仕进，而把兴趣投入到书画中，从而在绘画创作上，他很早就显现出了多方面的才能，山水、人物、花鸟无一不精，曾得到明末两位最为著名的鉴赏家，董其昌和李日华的高度评价。董其昌在他的画册上题跋，称“古人论画，以取物无疑为一合，非十三科全备，未能至此。范宽山水神品，犹借名手为人物，故知兼长之难。项孔彰此册，乃众美毕臻，树石屋宇，皆与宋人血战，就中山水，又兼元人气韵，虽其天骨自合，要亦工力至深，所谓士气、作家俱备。项子京有此文孙，不负好古鉴赏百年食报之胜事矣”，李日华称赞他的画风“英思神悟，超然独得”，是“崛起之豪”。",[24,25,54,79,55,58,56,7,118,30,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6d5cf14ad2087901e0d4f16e53aa4cf.jpg",[65],{"id":5978,"slug":5979,"title":4154,"dynasty":18,"author":317,"museum":20,"description":5980,"tags":5981,"thumbUrl":5982,"material":64,"size":64,"collection":65,"collections":5983,"showCount":90,"zanCount":43,"manualWeight":43,"mainColor":69},236056,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236056","此作以水墨晕染铺就冬日丘林雪色，山峦皆素雪覆身，轮廓圆柔温润，尽数褪去嶙峋锐气，好似天地初敛锋芒的清寂时刻。枯木错落挺劲，枝桠疏朗，屋舍山居藏于林麓溪谷间，板桥跨溪，山道盘桓，将幽居烟火融于清寂雪景。\n\n浅皴轻擦勾勒山石肌理，以留白尽显雪意空濛，无繁复设色，只以水墨层次烘托萧寒清旷。冷寂的山野间藏着隐世悠然的栖居意趣，简淡笔墨里晕开悠长的文人山水情致，将冬日山林的幽宁静穆娓娓铺陈。",[25,54,57,28,56,531,58,80,7,212,82,242,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad0c42948774d9c91db514caf3db0343.jpg",[65],{"id":5985,"slug":5986,"title":5987,"dynasty":95,"author":381,"museum":355,"description":5988,"tags":5989,"thumbUrl":5990,"material":1981,"size":5991,"collection":64,"collections":5992,"showCount":90,"zanCount":43,"manualWeight":43,"mainColor":44},234071,"shi-bi-kan-yun-tu-ye-ma-yuan-234071","石壁看云图页","此图为典型的南宋院派山水画风格的作品，构图简练，根据需要把自然山水理想化，选景皆为主题服务，给人以联想的空间.",[25,55,28,56,57,58,83,101,715,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a3308367e3d067d9670be8e7a73643.jpg","23.7厘米，横：24厘米",[],{"id":5994,"slug":5995,"title":1033,"dynasty":49,"author":1738,"museum":20,"description":5996,"tags":5997,"thumbUrl":5998,"material":152,"size":5999,"collection":64,"collections":6000,"showCount":90,"zanCount":43,"manualWeight":43,"mainColor":44},231593,"yun-shan-tu-gao-ke-gong-231593","在元六家中，高克恭虽不算家喻户晓，但许多人认为其作品无论是用墨还是笔法，都体现着元代绘画极高的艺术水准。虽带有异域血统，但他却凭借自己对汉文化的刻苦钻研，成为一代大师。\n高克恭是色目人，色目是当时对少数民族的统称，他与父辈在元朝时迁居至燕京。相传他生于哈萨克斯坦，异域血统让他连长相都有些与众不同。好友朱德润评价其为“高侯回纥长髯客，唾洒冰纨作秋色”。从后世流传的画像中，我们也能看到他卷发虬须、五官深邃，带有几分外国人的模样。\n作为古代少有的几位少数民族书画大师之一，高克恭在山水画方面造诣极高，包括董其昌、张大千在内的艺术家纷纷模仿其画作。其创作的《仿米氏山水手卷》以299万人民币的价格在2012年的北京春拍中成交，创下其个人作品最高成交纪录。\n“国朝名笔谁第一，尚书醉后妙无敌。”是人们评价高克恭的溢美之词。能被冠以如此高的评价不仅仅是因他对后世书画创作的影响，其在为人处世方面的成就让他在世人心中的形象进一步升华。\n高克恭从小就在父亲的引导下发奋学习，潜心研究各家经典。对他而言，书画创作从不是独取一家所长，而是在融会贯通中诞生出全新内涵。\n他初学米芾、米友仁的画风，后又吸收了董源、巨然作品中的用笔，将“点”的运用发挥到了极致。但在创作一段时间后，他发现这种画风只是一味地模仿前人，并不能真正地表达自己心目中的山水形象。\n在多次钻研且不断尝试后，高克恭发现画家李成笔下的山水是有“骨架”的。他选择引线入点，将三位大师的创作融合起来。这种表现手法既能凸显出江南云山烟树的朦胧缥缈，又能不失山川的挺峻硬朗之感。\n对当时的大多数书画家来说，米芾、董源、巨然等人是可望不可及的书画名家。人们争相学习，将其绘画手法奉为圭臬，又有几个人能提出反对意见？像高克恭这样，在发现问题后并加以改进的画家更是少之又少。有时，大师只比我们多了一份质疑。\n除了融合多家技法特点，高克恭的画作中还有几分西方画法的韵味。他的创作绝不仅仅是单凭印象，而是在仔细观察后动笔。在写实方面，西方画作凭借色彩变化、光影明暗表现画面，而中国山水画则靠用墨浓淡展现层次。\n高克恭便是山水画用墨的佼佼者。其开创“积点法”，以墨色渲染层次，表现山水意境。近代画家黄宾虹的积墨山水就是在此基础上发展而成。",[23,24,25,54,55,58,56,80,715,7,242,164,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20b1cdab788f221b5a3d716dbd9ef70e.jpg","32×63cm",[],{"id":6002,"slug":6003,"title":6004,"dynasty":18,"author":6005,"museum":20,"description":6006,"tags":6007,"thumbUrl":6008,"material":64,"size":64,"collection":65,"collections":6009,"showCount":90,"zanCount":43,"manualWeight":43,"mainColor":69},223248,"shan-shui-1-pu-hua-223248","山水1","蒲华","蒲华（1832—1911）字作英，亦作竹英、竹云，浙江嘉兴人。号胥山野史、胥山外史、种竹道人，斋名九琴十砚斋、九琴十研楼、芙蓉庵，夫蓉盦、剑胆琴心室等。晚清著名书画家，与虚谷、吴昌硕、任伯年合称“海派四杰”。\n早年科举，仅得秀才，遂绝念仕途，潜心书画，携笔砚出游四方，后寓居上海，卖画为生。善花卉、山水，尤擅画竹，有“蒲竹”之誉。书法淳厚多姿；其画燥润兼施，苍劲妩媚，风韵清健。\n晚清民国时期著名画家，与任伯年、吴昌硕、虚谷合称“海派四杰”。\n与海上名家广有交往， 同吴昌硕尤为密切。蒲华长吴昌硕十二岁，昌硕幼时便闻蒲华画名，关系在师友之间，互取所长，风貌因之相近。\n善用湿笔，水墨淋漓，光彩照人。善花卉、山水，尤擅画竹，有“蒲竹”之誉。\n吴昌硕作十二友诗，记蒲华曰：“蒲作英善草书、画竹，自云学天台傅啸生，仓莽驰骤、脱尽畦畛。家贫，鬻画自给，时或升斗不继，陶然自得。余赠诗云：蒲老竹叶大于掌，画壁古寺苍涯琏。墨汁翻衣吟犹着，天涯作客才可怜。朔风鲁酒助野哭，拔剑斫地歌当筵。柴门日午叩不响，鸡犬一屋同高眠”。\n吴昌硕为蒲华所作《芙蓉庵燹馀草》作序言：“作英蒲君为余五十年前之老友也，晨夕过从，风趣可挹。尝于夏月间，衣粗葛，橐笔两三枝，诣缶庐，汗背如雨，喘息未定，即搦管写竹，墨沈淋漓。竹叶如掌，萧萧飒飒，如疾风振林，听之有声，思之成咏。其襟怀磊落，逾恒人也如斯。”\n谢稚柳论言：“蒲华的画竹与李复堂、李方膺是同声相应的，吴昌硕的墨竹，其体制正是从蒲华而来”。\n蒲华中年尤勤书学，寝馈旭、素，斗墨千纸，数日而尽。至于元明各家书帖，也常把玩临摹。以书入画，酣畅恣肆。\n蒲华晚年，笔老墨精。其书法，淳厚多姿；其绘画，燥润兼施，苍劲妩媚。尤喜画大幅巨幛，莽莽苍苍，蔚为大观。所作山水大轴或册页，虽多为山居、读书等传统题材，但布局新颖，风韵清隽。\n蒲吴两家粗豪奔放的画风，使因袭纤巧之时风大为逊色，一新画派崛起于沪上画坛。\n癖好古琴，遇即购藏，视为心爱之物，名其居屋为“九琴十砚楼”。",[23,25,54,79,55,28,56,58,80,7,285,308,459,101,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c51f44fe7b66a6cb2fe829666045ef9.jpg",[65,88],{"id":6011,"slug":6012,"title":6013,"dynasty":18,"author":2866,"museum":943,"description":2867,"tags":6014,"thumbUrl":6015,"material":216,"size":2871,"collection":64,"collections":6016,"showCount":90,"zanCount":43,"manualWeight":43,"mainColor":44},222891,"hong-lou-meng-16-sun-wen-222891","红楼梦16",[23,25,27,28,101,211,58,241,7,868,212,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62e0bcdc03ad6933ac92ed47d7a71e18.jpg",[],{"id":6018,"slug":6019,"title":6020,"dynasty":74,"author":415,"museum":76,"description":6021,"tags":6022,"thumbUrl":6023,"material":6024,"size":6025,"collection":65,"collections":6026,"showCount":90,"zanCount":43,"manualWeight":43,"mainColor":69},222003,"pan-gu-xu-zhang-ruo-ai-tu-wen-zheng-ming-222003","盘谷叙（张若霭图）","张若霭[清]（1713—1746）字晴岚（读画辑略作字景采，号晴岚），室名藕香书屋，安徽桐城人。张若霭有家学，祖父张英、父亲张廷玉均为雍正、乾隆朝大学士。雍正十一年（1733）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房，官至礼部尚书，袭伯爵。",[23,25,82,58,80,164,7,419,55,421,26,152],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b650b4925f0f0747575859ea9d269c6.jpg","纸本长卷","纵15.8厘米，横129.7厘米",[65,88],{"id":6028,"slug":6029,"title":6030,"dynasty":74,"author":225,"museum":328,"description":6031,"tags":6032,"thumbUrl":6034,"material":37,"size":6035,"collection":64,"collections":6036,"showCount":90,"zanCount":43,"manualWeight":43,"mainColor":44},219778,"lin-song-ren-hua-ce-2-chou-ying-219778","临宋人画册-2","《临宋人画册》凡十五开，题材涉及了山水画、花鸟画、仕女图、文人画、界画、鞍马等，乃为仇英临摹宋人的集成之作，画风皆为典型的南宋院体风格，而其中数开现在尚可找到宋画原作，两相对照，确实可见仇英落笔乱真的妙技；又如其中《滕王阁》之类的扎实界画工夫，在文人画逸笔草草的时代，早已难得一见。",[24,25,54,976,27,28,531,101,135,6033,635,7,2441,273,3762],"小孩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b3411bd2288e57ce8b2f954e1d79e30.jpg","27.2x25.5厘米",[],{"id":6038,"slug":6039,"title":6040,"dynasty":74,"author":225,"museum":76,"description":6041,"tags":6042,"thumbUrl":6043,"material":37,"size":6044,"collection":64,"collections":6045,"showCount":90,"zanCount":43,"manualWeight":43,"mainColor":69},218178,"chun-xiao-tu-3-chou-ying-218178","纯孝图-3","仇英是中国明朝时期的一位著名画家。他出生于江苏省的一个艺术世家，从小就对绘画和书法有浓厚的兴趣。仇英擅长画花鸟，尤其擅长画山水。他的画作以精细的笔法和精致的画风著称，并且被认为是当时中国画坛的佼佼者之一。\n\n整幅画渲染出了浓浓的母爱之情和孝顺之心。它成为了中国传统文化中关于孝道的经典代表作之一，并被广泛收藏和喜爱。",[25,54,28,27,101,635,2640,29,58,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71bda439eb3eb85356e82377734aec1d.jpg","32.8x21.9",[],{"id":6047,"slug":6048,"title":6049,"dynasty":74,"author":225,"museum":20,"description":5678,"tags":6050,"thumbUrl":6051,"material":37,"size":64,"collection":64,"collections":6052,"showCount":90,"zanCount":43,"manualWeight":43,"mainColor":44},216273,"er-shi-si-xiao-tu-19-chou-ying-216273","二十四孝图-19",[24,25,54,27,28,915,101,637,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F710acee1da100d8112e16ea27cbc3fe7.jpg",[],{"id":6054,"slug":6055,"title":6056,"dynasty":18,"author":317,"museum":76,"description":4996,"tags":6057,"thumbUrl":6058,"material":37,"size":64,"collection":64,"collections":6059,"showCount":90,"zanCount":43,"manualWeight":43,"mainColor":69},215202,"sheng-ping-le-shi-tu-ce-5-yi-ming-215202","升平乐事图册-5",[25,54,57,28,27,101,118,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80b66be545962c4fc4be968a79c1d91b.jpg",[],{"id":6061,"slug":6062,"title":6063,"dynasty":18,"author":327,"museum":355,"description":6064,"tags":6065,"thumbUrl":6068,"material":64,"size":64,"collection":1918,"collections":6069,"showCount":142,"zanCount":43,"manualWeight":43,"mainColor":69},240036,"yuan-ji-shu-guang-ling-shu-xia-zuo-shi-shi-tao-240036","原济书广陵树下作诗","原济(1642一1707)，俗姓朱。名若极，字石涛，号大涤子，广西全州人。明藩靖江王朱守谦后裔，父亲在明末被追杀，时若极五岁，削发为僧得以存活。法名原济，一作元济，自称苦瓜和尚。与弘仁、髡残、朱耷合称“四僧”。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。对后来扬州画派和近代画风，影响极大。",[194,195,164,715,6066,118,80,3549,6067,7,32,196],"孤云","烟岚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff15ca7091459c0f80d077ebe7c568a8b.jpg",[1918],{"id":6071,"slug":6072,"title":6073,"dynasty":18,"author":6074,"museum":20,"description":6075,"tags":6076,"thumbUrl":6084,"material":1148,"size":1149,"collection":64,"collections":6085,"showCount":142,"zanCount":43,"manualWeight":43,"mainColor":44},239758,"shu-hong-li-song-xia-jing-shan-shui-shi-er-yong-shi-ce-he-shen-239758","书弘历颂夏景山水十二咏诗册","和珅","和珅（1750年7月1日—1799年2月22日），钮祜禄氏，本名善保，字致斋，自号嘉乐堂、十笏园、绿野亭主人，奉天府开原县（今辽宁省清原县）人，满洲正红旗。清朝中期权臣、商人。\n和珅门荫入仕，精明强干。通过李侍尧案，巩固身份地位，深得乾隆帝宠信，并将十公主嫁给和珅长子丰绅殷德，促使和珅大权在握，成为皇亲国戚。先后担任和兼任众多关键职务，主要包括内阁首席大学士、领班军机大臣、吏部尚书、户部尚书、刑部尚书、理藩院尚书，兼任内务府总管、翰林院掌院学士、《四库全书》正总裁官、领侍卫内大臣、步军统领等数十个重要职务，拜文华殿大学士，封一等忠襄公。随着权力地位的成长，私欲日益膨胀。利用职务之便，结党营私，聚敛钱财，打击政敌。亲自经营工商业，开设当铺七十五间，设大小银号三百多间，建立同英国东印度公司、广东十三行的商业往来。\n嘉庆四年（1799年），清仁宗下旨将和珅革职下狱。乾隆帝死后十五天，清仁宗赐和珅自尽，时年四十九岁。",[3030,194,54,1419,58,7,6077,6078,6079,3542,3704,6080,1519,6081,6082,6083],"涧","水田","村","野塘","鹭","波","夏景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c706ca362dd92ad9aff46683c23a07.jpg",[],{"id":6087,"slug":6088,"title":6089,"dynasty":18,"author":456,"museum":20,"description":1933,"tags":6090,"thumbUrl":6091,"material":64,"size":64,"collection":65,"collections":6092,"showCount":142,"zanCount":43,"manualWeight":43,"mainColor":69},237872,"yun-shan-tu-zhou-wang-jian-237872","云山图轴",[25,54,79,55,56,58,715,80,7,212,82,118,680,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d4f86feecf65a9d018a086dddca5822.jpg",[65,88],{"id":6094,"slug":6095,"title":4154,"dynasty":18,"author":1070,"museum":20,"description":4155,"tags":6096,"thumbUrl":6098,"material":64,"size":64,"collection":64,"collections":6099,"showCount":142,"zanCount":43,"manualWeight":43,"mainColor":69},237586,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237586",[25,55,56,531,57,58,80,164,7,241,61,4370,6097,196],"平野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45599eac91929665304e792add47aaa3.jpg",[],{"id":6101,"slug":6102,"title":6103,"dynasty":18,"author":1070,"museum":76,"description":6104,"tags":6105,"thumbUrl":6106,"material":152,"size":64,"collection":65,"collections":6107,"showCount":142,"zanCount":43,"manualWeight":43,"mainColor":69},237342,"fang-dong-shan-shui-ce-zhuang-zhou-wang-hui-237342","仿董山水册装轴","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王”，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n王翚 在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”\n王翚自幼嗜画，继承家学，又随学黄公望画法的同乡张珂学画，很早便表现出非凡的绘画才能。王翚师从王时敏、王鉴。但他所画山水不拘于一家，广采博揽，集唐宋以来诸家之大成，熔南北画派为一炉。王翚在王时敏、王鉴发展南宗画派的基础上，借鉴北宗的某些技法，比较全面地对山水画传统进行整理，形成具有综合概括性质的法则。王翚将黄公望、王蒙的书法性用笔与巨然、范宽的构图完美地结合起来，创造出一种华滋浑厚、气势勃发的山水画风格。因而他所画的江南小景往往生趣盎然，清幽灵动。王翚作画喜好干笔、湿笔并用，而且多以细笔皴擦，画面效果比较繁密。曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。他早期画风清丽工秀，晚期则倾向苍茫浑厚。章法富于变化，水墨与浅绛渲染得法。也有评者指出王翚用笔过于圆熟，某些画则显得刻露，墨法少有变化，构图略感壅塞。",[25,54,57,55,531,56,196,58,118,7,243,61,1244,590,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc7bbd6a2fa761e8a9d5c62b9b73fbe.jpg",[65],{"id":6109,"slug":6110,"title":4257,"dynasty":18,"author":6111,"museum":20,"description":6112,"tags":6113,"thumbUrl":6114,"material":64,"size":64,"collection":65,"collections":6115,"showCount":142,"zanCount":43,"manualWeight":43,"mainColor":69},235895,"shan-shui-tu-ce-guan-quan-235895","官铨","此作以干笔积墨绘山居小景，近岸乱石错落，平田晕着淡墨天光，茂林掩映间茅舍隐现，林叶以点簇堆叠，苍苍莽莽，尽显深幽林下的清寂意趣。\n\n笔墨沉厚朴拙，以密皴铺陈山石林木，墨色干湿互济，淡晕田块与浓墨林梢相映，糅合出温润苍润的质感。左侧题书笔意纵逸，与山水静穆形成动静相生的妙趣，文画呼应，将丘壑藏于尺幅间，暗合幽居忘世的林下襟怀，尽显以笔写心的文人雅逸品格。",[25,54,57,55,56,195,58,7,59,82,212,990],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24e9011e0c250b9fb2f2e0483defd6da.jpg",[65],{"id":6117,"slug":6118,"title":1023,"dynasty":18,"author":327,"museum":20,"description":6119,"tags":6120,"thumbUrl":6121,"material":64,"size":64,"collection":64,"collections":6122,"showCount":142,"zanCount":43,"manualWeight":43,"mainColor":69},235890,"yuan-ji-huang-shan-you-tu-ce-shi-tao-235890","此作以淡墨晕染出空山清寂之境，湿笔披麻皴扫过坡石，带着氤氲水汽，将丘壑的温润苍古尽显。几株苍松虬枝简括，疏朗点苔，自带清瘦劲挺之姿。策杖幽人简笔勾勒，衣袂飘然，于山隅驻足，似在静听松风，又似寻幽访旧。\n左上题笔行书朴拙苍劲，诗画相融，将寻石听松的雅趣和山林空寂的意境合而为一。全幅笔墨简淡却意蕴悠长，淡墨轻岚间漾着悠然禅意，将山居清旷之景与幽人萧散心境完美契合，尽显山水寄情的文人意趣。",[25,54,57,55,58,101,83,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4be577e5e9240c95abe5fc1a640d2f39.jpg",[],{"id":6124,"slug":6125,"title":6126,"dynasty":18,"author":6127,"museum":20,"description":6128,"tags":6129,"thumbUrl":6131,"material":1148,"size":1149,"collection":64,"collections":6132,"showCount":142,"zanCount":43,"manualWeight":43,"mainColor":69},235528,"cai-sang-tu-zhou-min-zhen-235528","采桑图轴","闵贞","闵贞（1730--1788年）字正斋，湖北武穴人，扬州八怪之一。其画学明代吴伟，善画山水、人物、花鸟，多作写意，笔墨奇纵，偶有工笔之作。人物画最具特色，线条简练自然，形神逼肖。传世作品有《蕉石图》《花卉图》等。",[25,79,55,1004,101,7,308,6130],"桑叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6824a5da2c4646ec33ce68ffdaee5241.jpg",[],{"id":6134,"slug":6135,"title":1241,"dynasty":18,"author":327,"museum":20,"description":6136,"tags":6137,"thumbUrl":6138,"material":1148,"size":1149,"collection":64,"collections":6139,"showCount":142,"zanCount":43,"manualWeight":43,"mainColor":69},235516,"yuan-ji-shan-shui-tu-ce-shi-tao-235516","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[24,25,54,57,55,56,58,82,103,7,2442,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71841c15cb618845d5db6ccb80c74caa.jpg",[],{"id":6141,"slug":6142,"title":48,"dynasty":18,"author":2470,"museum":20,"description":2995,"tags":6143,"thumbUrl":6144,"material":1148,"size":1149,"collection":64,"collections":6145,"showCount":142,"zanCount":43,"manualWeight":43,"mainColor":69},235512,"shan-shui-ce-cha-shi-biao-235512",[25,54,57,55,56,58,7,59,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bf7e157e72d37c48a54a51b3ad40a28.jpg",[],{"id":6147,"slug":6148,"title":6149,"dynasty":18,"author":317,"museum":20,"description":6150,"tags":6151,"thumbUrl":6152,"material":64,"size":64,"collection":64,"collections":6153,"showCount":142,"zanCount":43,"manualWeight":43,"mainColor":44},234418,"qing-ren-fang-su-han-chen-ying-xi-dan-ye-yi-ming-234418","清人仿苏汉臣婴戏单页","“婴戏”是中国画的一个重要的题材，从唐宋到元明清时期，孩童们的可爱淘气、天真烂漫无不是画家笔端的灵感。“婴戏图”既体现了人们自古至今对孩童的无限关爱与期望，又表达了人们对美好幸福生活的无限憧憬和祝愿。婴戏花、婴戏球、婴戏水、荡船、钓鱼、放爆竹、蹴鞠、放风筝、捉迷藏、对弈、习武、攀枝娃娃、莲生贵子、喜报多子、庭院婴戏、郊外婴戏、傀儡戏、婴孩读书、十六子、百子、五子登科等情境，被一代又一代的画家所描绘。",[25,54,57,531,27,28,101,1432,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b209cc1ff1f79f754a1dc846afdeb5.jpg",[],{"id":6155,"slug":6156,"title":6157,"dynasty":74,"author":6158,"museum":355,"description":6159,"tags":6160,"thumbUrl":6161,"material":3463,"size":64,"collection":64,"collections":6162,"showCount":142,"zanCount":43,"manualWeight":43,"mainColor":69},234239,"luo-han-juan-li-shi-da-234239","罗汉卷","李士达","李士达的生活年代大约是十六世纪中叶到十七世纪初。在万历二年（公元1574年）考中进士，泰昌元年（公元1620年）还画过一幅《关山风雨图》，活了八十多岁。\n[明]号仰槐，一作仰怀，陕西省三原县人。万历元年（一五七三）癸酉乡试中举 [1] ，入雁塔题名碑，万历二年（一五七四） [2] 进士。画人物、山水名世。万历间隐居新郭。尝论画有五美云：“苍、逸、奇、远、韵。”五恶云：“嫩、板、刻、生、痴。”人谓其深得画理。寿至八十外。泰昌元年（一六二o）尝作关山风雨图。《明画录》、《无声诗史》、《吴县志》、《故宫周刊》。主要作品《松阴搔背》、《松竹高士》、《坐听松风》、《蕉阴独酌》、《西园雅集》、《寒林钟馗》、《罗汉卷》、《仙山楼阁》、《三驼图》。",[23,25,54,26,1096,1004,55,101,164,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb95e683ca4c609b9d25fb50ba7fdf047.jpg",[],{"id":6164,"slug":6165,"title":6166,"dynasty":18,"author":6167,"museum":20,"description":6168,"tags":6169,"thumbUrl":6174,"material":1148,"size":1149,"collection":64,"collections":6175,"showCount":142,"zanCount":11,"manualWeight":43,"mainColor":69},230210,"hua-niao-ce-ye-lang-shi-ning-230210","花鸟册页","郎世宁","郎世宁（Giuseppe Castiglione，1688.7.19-1766.7.16），原名朱塞佩·伽斯底里奥内，圣名若瑟，天主教耶稣会修士、画家，意大利米兰人。\n1715年（清康熙五十四年）来中国传教，随即入皇宫任宫廷画家，历经康熙、雍正、乾隆三朝，在中国从事绘画50多年，并参加了圆明园西洋楼的设计工作，为清代宫廷十大画家之一。 郎世宁擅绘骏马、人物肖像、花卉走兽，风格上强调将西方绘画手法与传统中国笔墨相融合，受到皇帝的喜爱，也极大地影响了康熙之后的清代宫廷绘画和审美趣味。\n其主要作品有《十骏犬图》《百骏图》《乾隆大阅图》《瑞谷图》《花鸟图》《百子图》《聚瑞图》《仙萼长春图册》《心写治平图》（《乾隆帝后妃嫔图卷》）等。",[23,24,25,54,1419,27,28,6170,2359,35,7,903,6171,6172,6173,962,194,195,196],"中西合璧","红花","白花","绿叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd86884ab1f15d686ff36b410f28ce7da.jpg",[],{"id":6177,"slug":6178,"title":6179,"dynasty":18,"author":6180,"museum":20,"description":6181,"tags":6182,"thumbUrl":6183,"material":64,"size":64,"collection":64,"collections":6184,"showCount":142,"zanCount":43,"manualWeight":43,"mainColor":69},228937,"fang-gu-shan-shui-tu-ce-8-zhen-lu-han-228937","仿古山水图册8帧","陆汉","此作用浅绛糅合青绿晕染山峦，远山以淡墨轻笼云气，晕开幽谷空濛之态。近坡苍松虬曲，桃枝缀花，点染出春日融融生机。溪桥田舍错落排布，渔人操舟、乡人行聚，将武陵桃源的恬适日常铺陈开来。\n\n线条细劲秀雅，皴染柔和，将山水清润与村居和乐融为一体，笔墨间藏着对隐逸田园的向往，把出世之思揉进烟火日常的描摹里，恬淡悠然，意趣绵长。",[25,28,445,58,57,56,212,82,358,118,29,7,242,136,241,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1d30e9ffc96d3a4b2b4aa3622ccefd3.jpg",[],{"id":6186,"slug":6187,"title":6188,"dynasty":74,"author":1548,"museum":20,"description":6189,"tags":6190,"thumbUrl":6191,"material":64,"size":64,"collection":64,"collections":6192,"showCount":142,"zanCount":43,"manualWeight":43,"mainColor":69},228853,"si-wan-shan-shui-tu-wen-bo-ren-228853","四万山水图","以极简淡墨铺陈江天，大片留白漾开空濛水色，将天地浩渺揉入卷中。近岸枯木虬根盘错，浅滩蒲草疏疏曳动，扁舟横卧，渔翁静憩，野逸闲趣暗藏其间。远景山峦以淡墨轻扫出柔缓轮廓，恍如黛色浮于云水之畔。数点飞雁列阵划破空寂，愈发衬出江天寥廓。题款小字错落留白之上，诗画相映，晕开江南秋闲的空阔清远。笔致松秀简淡，不见繁缛皴染，却将平远山水的空灵通透娓娓道来，尽显寄情丘壑、淡远萧散的文人意趣，观之如沐江风，心随水色一同沉敛安宁。",[23,25,55,79,58,358,29,7,83,61,60,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fa85fe8825904bddc6b0c2e6a9aa859.jpg",[],{"id":6194,"slug":6195,"title":6196,"dynasty":74,"author":317,"museum":20,"description":6197,"tags":6198,"thumbUrl":6199,"material":64,"size":64,"collection":64,"collections":6200,"showCount":142,"zanCount":43,"manualWeight":43,"mainColor":44},228779,"fang-li-tang-hao-pu-tu-juan-yi-ming-228779","仿李唐濠濮图卷","此作用斧劈皴写山石，棱角方硬苍劲，两岸危崖叠峙、古木盘根虬曲，浓墨点染的林木蓊郁深秀，暗带秋意。溪谷水面留白晕出浅波，汀渚碎石错落，衬出涧谷幽寂空远。右侧平石之上，雅士简笔勾勒，凭坐观流，恬淡静穆，尽显林泉遁世的悠然意趣。画作兼取北派山水的雄劲与文人画的萧散，将山水之胜与林下雅兴相融，把秋日溪畔的幽寂雅情绘得淋漓尽致，尽显古意山水里的文人心境。",[23,25,26,531,56,28,58,7,308,82,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fcd1d7c4fadcfa69c00bdc8807b573b.jpg",[],{"id":6202,"slug":6203,"title":6204,"dynasty":49,"author":2071,"museum":20,"description":6205,"tags":6206,"thumbUrl":6207,"material":64,"size":64,"collection":64,"collections":6208,"showCount":142,"zanCount":43,"manualWeight":43,"mainColor":44},228047,"guan-chao-tu-sheng-mao-228047","观潮图","咫尺尺幅铺展江天寥廓，右下方白衣高士踞坐石矶，抬眸望江，神思随浪涛远走，静穆出尘。右侧老树枝叶垂覆如翠幄，掩映出幽寂观潮之地。远景山峦以澹墨轻晕，烟霭空濛，将天地晕染成一片浑茫。\n\n笔墨简括柔润，浅设色温婉清和，以大片留白暗喻江潮浩渺，以静写动，未着潮声却似能耳闻浪拍长岸，把文人耽游林泉、寄情山水的雅怀藏在留白间。简淡画面中晕开悠远诗意，将凝神观潮的忘我意态，融在烟水山色里，尽显山水以景寄兴的悠然意境。",[23,25,55,28,56,58,101,7,164,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82a29a6ce0c5bedcec8cc9a7d7960888.jpg",[],{"id":6210,"slug":6211,"title":6212,"dynasty":18,"author":6213,"museum":20,"description":6214,"tags":6215,"thumbUrl":6216,"material":64,"size":64,"collection":64,"collections":6217,"showCount":142,"zanCount":43,"manualWeight":43,"mainColor":69},226635,"si-shi-shan-shui-08-pu-ru-226635","四时山水08","溥儒","溥儒(1895-1963)，满族，北京人。近代国画大师，出身清皇族，姓爱新觉罗，字心畲，又号羲皇上人﹑西山逸士。曾留学德国，笃嗜诗文、书画，皆有成就。画工山水、兼擅人物、花卉及书法，昔时与张大千有“南张北溥”之誉，又与吴湖帆并称“南吴北溥”。",[23,25,54,57,55,56,58,358,118,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eea02cc99e83b92777a52ae8be0545e.jpg",[],{"id":6219,"slug":6220,"title":6221,"dynasty":18,"author":2470,"museum":20,"description":6222,"tags":6223,"thumbUrl":6225,"material":152,"size":64,"collection":65,"collections":6226,"showCount":142,"zanCount":43,"manualWeight":43,"mainColor":44},224258,"zhuo-se-shan-shui-tu-cha-shi-biao-224258","着色山水图","查士标(1615--1698)，字二瞻，号梅壑散人，懒老。新安(今安徽歙县、休宁)人，流寓江苏扬州。明末生员，家富收藏，故精鉴别，擅画山水，为海阳四家之一。清初著名画家，书法家和诗人。与孙逸、汪之瑞、僧弘仁等书画家一起被称为'新安四家'。专事书画，家多鼎彝，及宋元人真迹，遂精鉴别。画初学倪高士，后春梅华道人、董文敏笔法。用笔不多，惜墨如金，风神飘散，气韵荒寒，逸品也。与同里孙逸、汪之瑞、僧弘仁合称四大家。晚年画益超迈，直窥元人之奥。朱漫堂不轻许可人，独以得其狮子林画册为快。说者谓其晓起最迟，凡应酬，临池挥洒，必于深夜，不以为苦，八十余，尚童颜。商丘宋漫堂牵为之立传，并序行其诗。书法襄阳，极似董文敏。艺舟双揖评其行书为佳品上。",[23,25,54,28,58,56,80,7,118,212,82,214,59,228,4158,472,6224],"山间路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cfc9de1d2902bcb919c9edfaed550ab.jpg",[65],{"id":6228,"slug":6229,"title":6230,"dynasty":18,"author":2470,"museum":20,"description":6231,"tags":6232,"thumbUrl":6233,"material":64,"size":64,"collection":64,"collections":6234,"showCount":142,"zanCount":43,"manualWeight":43,"mainColor":69},224257,"xi-ting-du-tiao-tu-cha-shi-biao-224257","溪亭独眺图","《新安画派·查士标-中国古代画派大图范本-二》是212年 出版的图书，作者是査士标。\n中国古代画派大图范本·新安画派二：溪亭独眺图，ISBN：97875481188，作者：杨东胜",[23,25,55,79,58,118,7,212,82,83,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e830b7b27daf04d27a64ae0f32cc68.jpg",[],{"id":6236,"slug":6237,"title":6238,"dynasty":18,"author":2866,"museum":943,"description":2867,"tags":6239,"thumbUrl":6241,"material":216,"size":2871,"collection":64,"collections":6242,"showCount":142,"zanCount":43,"manualWeight":43,"mainColor":44},223008,"hong-lou-meng-133-sun-wen-223008","红楼梦133",[23,25,27,28,915,959,101,135,868,211,7,59,5158,6240],"红楼梦题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf26e4e88f54c31f8e46f2b4f6017f7c.jpg",[],{"id":6244,"slug":6245,"title":6246,"dynasty":18,"author":6247,"museum":1323,"description":6248,"tags":6249,"thumbUrl":6250,"material":788,"size":6251,"collection":64,"collections":6252,"showCount":142,"zanCount":11,"manualWeight":43,"mainColor":44},222804,"yang-tu-zhao-fu-222804","羊图","赵福","此画绘制了五只羊在野外寻吃玩耍的情景，岸上、河边水草丰富。一棵树静立河边，虬枝绿叶，生机勃勃。远处河面广阔，一片苍茫。",[23,25,54,28,27,635,2127,7,59,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34fcfa0a17edf603e84901a66ac413fa.jpg","24.8×25cm",[],{"id":6254,"slug":6255,"title":6256,"dynasty":49,"author":6257,"museum":355,"description":6258,"tags":6259,"thumbUrl":6260,"material":216,"size":6261,"collection":65,"collections":6262,"showCount":142,"zanCount":43,"manualWeight":43,"mainColor":44},221701,"bi-wu-cang-shi-tu-zhou-lu-xing-zhi-221701","碧梧苍石图轴","陆行直","图绘椭圆巨石一块，表面露出花朵般的花纹，左侧二棵梧桐傍石而长，树杆修长，树叶苍翠。技法上，湖石以繁皴密染，树叶勾点兼用，用笔仓劲。陆行直，字季道，洪武时期授予\u0016翰林典籍，书、画皆精。",[23,25,54,79,55,83,7,5751,194,195,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5580b26937d367bc6093e7f1025fa9de.jpg","107x53.2cm",[65,88],{"id":6264,"slug":6265,"title":6266,"dynasty":95,"author":317,"museum":51,"description":6267,"tags":6268,"thumbUrl":6269,"material":37,"size":64,"collection":39,"collections":6270,"showCount":142,"zanCount":11,"manualWeight":43,"mainColor":44},218766,"mu-di-tu-yi-ming-218766","牧笛图","老牛踏草缓行，牧童斜倚牛背，似将竹笛轻吹——虽无乐器入画，却由姿态暗合悠然意趣。旁侧古木虬枝盘结，墨色浓淡晕染出苍劲生机，枝叶如盖遮半亩阴凉。远处茅舍隐于烟霭，几缕炊烟与云气相融，野趣横生。\n\n淡墨勾染的线条温婉见骨，牛的憨态、牧童的自在，寥寥数笔便鲜活。林间静谧与笛声悠扬形成虚实呼应，仿佛风穿叶隙的沙沙声，正和着牧歌在山野轻荡。这方小品以简驭繁，捕捉田园瞬间，藏着宋人对寻常生活的诗意观照，把山野牧歌绘成清宁悠远的梦境，引人沉醉于那份与世无争的恬淡。",[23,25,55,976,58,101,100,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F012b567c42582e5820a81aa0027bc612.jpg",[39],{"id":6272,"slug":6273,"title":6274,"dynasty":18,"author":6275,"museum":20,"description":6276,"tags":6277,"thumbUrl":6278,"material":1148,"size":1149,"collection":65,"collections":6279,"showCount":125,"zanCount":43,"manualWeight":43,"mainColor":69},239467,"qing-chu-shi-si-jia-shu-hua-ji-jin-ce-fang-jing-hao-shan-shui-ye-wu-chong-239467","清初十四家书画集锦册-仿荆浩山水页","吴宠","吴宏（1615 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Color":44},228056,"xi-ma-tu-ye-zhao-meng-fu-228056","洗马图页","枯林之下，奚官执扇为白马拂除尘秽、驱走飞蝇，马上圉人俯身假寐，神态松弛慵懒。画面写实中带着文人写意的闲淡，白马丰腴神骏，毛发晕染柔和细腻，将良驹的质感尽显，人物衣纹简劲利落，服饰细节朴拙写实。枯木勾勒苍劲古雅，褪去了院体鞍马画的精工秾丽，以古旧绢色衬出林下幽寂氛围，将日常洗马的闲散瞬间凝住，把鞍马题材从仪仗的肃穆转向幽居的闲逸，尽显悠远沉静的隐逸雅趣，意韵绵长。",[23,24,25,54,57,27,28,101,510,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F254f9dafbb6196819987369a5b0bd4cd.jpg",[],{"id":6418,"slug":6419,"title":6420,"dynasty":49,"author":2071,"museum":20,"description":6421,"tags":6422,"thumbUrl":6423,"material":64,"size":64,"collection":64,"collections":6424,"showCount":125,"zanCount":43,"manualWeight":43,"mainColor":69},228040,"shan-shui-ye-sheng-mao-228040","山水页","此作以咫尺扇面铺展山水清境，近景崖石盘结，苍木层生，干笔皴擦写出岩体苍厚肌理，点染间见林木错落生机。远景以淡墨晕染远山，江天留白处轻舟横渡，晕开烟波浩渺的空寂诗意。\n\n笔墨兼工带写，既承精工之态，又融萧散简淡的意趣，浓淡墨色铺陈出深远空间层次，将林泉幽致藏于方寸之中，尽显文人寄情山水的悠远襟怀，清雅古淡之间，留存山水小品独有的静谧余韵。",[24,25,54,57,55,28,56,58,7,358,61,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77d8beb27fb73713a6098a1128fdf4ce.jpg",[],{"id":6426,"slug":6427,"title":6428,"dynasty":18,"author":327,"museum":20,"description":6429,"tags":6430,"thumbUrl":6431,"material":64,"size":64,"collection":64,"collections":6432,"showCount":125,"zanCount":43,"manualWeight":43,"mainColor":69},224516,"shan-shui-tu-ce-8-kai-4-zhang-da-qian-jiu-cang-shi-tao-224516","山水图册8开-4-张大千旧藏","此作笔墨纵逸灵秀，近景矶石层叠错落，古松浓荫如盖，半山楼阁隐现其间，扁舟系于石畔，漾出静雅思致。水面留白悠远，远景以淡墨晕染平峦，淡青轻覆山尖，虚实相生间晕开江南水畔的清寂底色。\n\n笔意枯湿浓淡随性自然，将山林幽居的萧散野趣尽显无余，题书朴拙苍劲，与画境浑然相融，藏着寄情林泉的隐逸襟怀，寥寥数笔便勾勒出静穆淡远的诗意山水。",[23,25,55,28,57,56,58,358,118,7,59,61,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffcb11f13f60708864df487319738a70.jpg",[],{"id":6434,"slug":6435,"title":6436,"dynasty":18,"author":160,"museum":20,"description":6437,"tags":6438,"thumbUrl":6439,"material":64,"size":64,"collection":64,"collections":6440,"showCount":125,"zanCount":43,"manualWeight":43,"mainColor":44},224179,"shu-shu-gui-qin-tu-hua-yan-224179","疏树归禽图","此作以灵动笔墨绘就暮秋小景，枯干疏枝间，两只禽鸟相偎理羽，亲昵悠然，下方赤羽朱雀振翅穿掠，生机暗涌。竹叶清劲舒展，丹红叶蕊点染秋色，水墨晕染的苔石衬出清冷秋韵。\n\n笔意兼工带写，禽鸟羽色晕染细腻柔润，枝叶则以写意之笔率性挥洒，设色妍雅柔和，冷暖色调相映成趣。留白疏朗悠然，将暮色归禽的安闲意趣缓缓铺展，兼具文人画的秀逸格调与写生鲜活之态，晕染出深秋暮色里的淡然诗意。",[23,25,54,28,35,7,731,241,1573,59,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6562933f06d277d64e828ddb05214ca5.jpg",[],{"id":6442,"slug":6443,"title":6444,"dynasty":74,"author":6445,"museum":850,"description":6446,"tags":6447,"thumbUrl":6448,"material":216,"size":6449,"collection":65,"collections":6450,"showCount":125,"zanCount":43,"manualWeight":43,"mainColor":44},222575,"ting-zhou-fang-mei-tu-zhao-zi-jun-222575","停舟访梅图","赵子俊","绘远山近水，河岸山石之上，松柏修长翠绿，梅花朵朵盛放，一人坐于梅下，抬头观望赏梅，梅下岸边河边船只停泊。另一边数座房屋呈现，房前屋后翠竹茂盛，梅花灼灼。画面疏密有致，意境辽阔清雅。",[23,25,54,976,28,58,730,358,285,1026,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b03376e9df78efc27198473fd5577ce.jpg","40x50",[65],{"id":6452,"slug":6453,"title":414,"dynasty":74,"author":6454,"museum":355,"description":6455,"tags":6456,"thumbUrl":6457,"material":6458,"size":6459,"collection":64,"collections":6460,"showCount":125,"zanCount":43,"manualWeight":43,"mainColor":69},222429,"shan-shui-tu-li-zhou-li-yong-chang-222429","李永昌","李永昌（生卒年不详），主要活动于明崇祯元年戊辰(公元1628年)至清顺治元年甲申(公元1644年)之司。字周生，号黄海。休宁皂荚树下村人。家境殷实，多藏古物；游历甚广，善于书画。诗亦超迈，著有《画响姜绍书》、《无声诗史》赞其音调清越，阐扬画理与董其昌齐名，是新安四家汪之瑞的老师。画近宗黄子久，远追董巨、二米等南宋诸家，善用董巨山势结构结合米点铺染，并能将沈周的雄浑劲厚和倪瓒的逸笔草草演绎为墨法沉重、生气勃勃的特质。",[23,25,55,56,79,58,80,164,7,118,308,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F714cf7213aa4d3425ff5eb21e577c96b.jpg","纸本设色画","101x 46.3",[],{"id":6462,"slug":6463,"title":6464,"dynasty":18,"author":600,"museum":355,"description":6465,"tags":6466,"thumbUrl":6467,"material":152,"size":6468,"collection":64,"collections":6469,"showCount":125,"zanCount":43,"manualWeight":43,"mainColor":69},220297,"huang-shan-tu-ce-29-hong-ren-220297","黄山图册-29","《黄山图册》共六十开，装裱成六册，又有题跋一册。可以说是弘仁在黄山纪游写生的最集中展现，在他的每一幅作品上都题写了纪游写生的地名，著名的有天都峰、莲花庵、小心坡、观音岩、一线天、光明顶、白龙潭、慈光寺、文殊院、桃花沟等等。",[23,25,55,57,58,56,80,30,7,82,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcca96a3f38b9650f54cfc9ba540d628b.jpg","21.5x18.3厘米",[],{"id":6471,"slug":6472,"title":6473,"dynasty":18,"author":1648,"museum":51,"description":6474,"tags":6475,"thumbUrl":6477,"material":63,"size":64,"collection":64,"collections":6478,"showCount":125,"zanCount":43,"manualWeight":43,"mainColor":69},214391,"shan-shui-tu-ce-7-zhu-da-214391","山水图册-7","淡墨皴染的山峦线条如篆般凝练，丘壑间藏着远意。疏枝横斜，墨色浓淡交织出枯荣之态，似在风中低语清愁。山间屋舍隐现，似有烟火却又疏离，与冷寂景致相融。画面简而不空，虚实处见真意，笔墨间凝着孤高遗世的心境。留白处似有风过，拂过山水也撩动思绪。每一笔浑然天成，将深藏的孤寂与超脱化作纸上清辉，引人沉入这简淡却深沉的意境，触摸那份无声的倾诉。墨韵里的枯荣、景致中的疏离，皆成心迹的写照，让观画者在简淡中读懂那份超脱尘俗的孤高与清愁。",[23,25,55,57,56,58,7,30,6476,1083,197,196],"山岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad63b7cc181b0c3145c798fa4c811082.jpg",[],{"id":6480,"slug":6481,"title":6482,"dynasty":74,"author":317,"museum":20,"description":6483,"tags":6484,"thumbUrl":6485,"material":1148,"size":1149,"collection":64,"collections":6486,"showCount":6487,"zanCount":43,"manualWeight":43,"mainColor":69},237828,"zhang-chong-liu-ge-du-shu-shan-ye-yi-ming-237828","张翀柳阁读书扇页","柔丝垂绦的古柳虬劲苍然，将水面草阁半掩其中，似有幽人于阁中静读。淡墨晕染远水空蒙，虚实相映间，漾开江南水岸的温润清寂。\n\n画师以细笔摹写柳条柔媚舒展，老干皴擦苍劲古拙，刚柔相生尽显林木意态。行书题款墨色清雅，与画面浑然相融，将幽居林泉、静享闲读的林下幽思藏于尺幅之中，简淡萧疏，意韵悠长，尽显小品雅致之趣。",[976,25,55,28,58,1519,211,101,1816,7,56,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9111a4ba59046cdd4b28ebbdc0ef377.jpg",[],15,{"id":6489,"slug":6490,"title":6491,"dynasty":74,"author":6492,"museum":20,"description":6493,"tags":6494,"thumbUrl":6495,"material":1148,"size":1149,"collection":64,"collections":6496,"showCount":6487,"zanCount":43,"manualWeight":43,"mainColor":69},237819,"hu-shan-wan-yue-shan-zhang-hong-237819","虎山玩月扇","张宏","张宏（1577年－1652年后），字君度，号鹤涧，江苏苏州长洲县人，明代画家、篆刻家。善画山水、人物、翎毛。擅长山水，颇有意趣，亦能画兰，笔墨有元人古意，是明末吴门画坛的中坚人物。吴中学者尊崇之。另外近代学者指出他擅长“地图式绘画”，描绘旅游所见景色，是与其他吴派画家不同之处。",[25,54,976,55,58,212,211,7,1420,510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa46bf4220d1645be60da2305a7e7aca.jpg",[],{"id":6498,"slug":6499,"title":2886,"dynasty":18,"author":4293,"museum":20,"description":6500,"tags":6501,"thumbUrl":6502,"material":434,"size":64,"collection":65,"collections":6503,"showCount":6487,"zanCount":43,"manualWeight":43,"mainColor":69},237688,"shan-shui-zhou-sun-yi-237688","孙逸(1604—约1658) ，字无逸，号疎林，亦号石禅，明朝末清朝初海阳（今安徽休宁）人，与萧云从齐名，合称孙萧，与弘仁、汪之瑞、查士标为新安派四大家；字仲举。\n山水得黄公望法，人以为文徵明后身。淡而神旺，简而意足。尝画歙山二十四图。亦工花卉。传世作品有崇祯十二年（1639）与李永昌、汪度、弘仁、刘上延为李生白联作《冈陵图》合卷，每人画一段依次相接，孙逸所画第四段，墨色变化层次分明，质朴洁静，萧疏清逸，现藏上海博物馆；十六年（1643）作《茅屋长松图》轴藏故宫博物院；《仿云林山水图》扇页，自题：“云林不是人间笔，胸次无尘腕下仙，摹得东冈草堂法，两三株树小亭边。旋吉词兄属涂并题，正。孙逸。”藏安徽省博物馆；顺治十一年（1654）作《秋山图》轴、十四年作《仿黄公望山水图》扇页、康熙十九年（1680）作《山水》册页著录于《中国书画家印鉴款识》。从艺活动约于康熙前期。",[25,54,79,55,56,58,7,241,213,242,59,212,82,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08dd0626551da2c6ee84d50acbd958e6.jpg",[65],{"id":6505,"slug":6506,"title":6507,"dynasty":18,"author":6508,"museum":20,"description":6509,"tags":6510,"thumbUrl":6511,"material":1148,"size":1149,"collection":64,"collections":6512,"showCount":6487,"zanCount":11,"manualWeight":43,"mainColor":69},237491,"fang-cha-shi-biao-shan-shui-shan-wu-da-cheng-237491","仿查士标山水扇","吴大澂","吴大澂[chéng]（1835年—1902年），初名大淳，字止敬，又字清卿，号恒轩，晚号愙斋，江苏吴县（今江苏苏州）人。清代官员、学者、金石学家、书画家，民族英雄。清同治七年（1868年）进士。善画山水、花卉，精于篆书。皆得力于金石鉴赏修养。\n在第二次鸦片战争之后的1886年，吴大澂与沙俄谈判。他据理力争，迫使沙俄重立土字碑、并对中国的出海权进行妥协：图们江口的出海权虽不能共享，但中国船只可以借道出海，俄国不得阻止。吴大澂又设法延长谈判，迫使沙俄归还了黑顶子山地区（今吉林珲春敬信镇）。其战略眼光与爱国精神令后人称颂。",[25,976,55,58,531,7,59,242,61,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53e33f5203017dc01a2a7c4c8e095cef.jpg",[],{"id":6514,"slug":6515,"title":6516,"dynasty":18,"author":317,"museum":20,"description":6517,"tags":6518,"thumbUrl":6519,"material":64,"size":64,"collection":64,"collections":6520,"showCount":6487,"zanCount":43,"manualWeight":43,"mainColor":69},235865,"nv-dao-zi-fang-zhu-shan-shui-ye-yi-ming-235865","女道子仿朱山水页","此作用水墨写意铺展山林幽境，以淡墨晕染远山，烟岚裹挟群峰，主峰奇峭挺秀，留白晕化出空濛雾霭，将山野清寂之态尽数铺陈。近岸林木苍郁错落，掩映一隅山居茅舍，笔致简淡却意态饱满，寥寥数笔便勾勒出林泉栖居的静穆意趣。\n\n左侧行书题文以文人典故衬出品鉴雅意，书画相映成趣。整作墨色干湿相济，淡墨取韵、浓墨提神，于简淡苍润间尽显清逸萧散的林下之风，寄寓着文人寄情林泉、静守丘壑的幽怀。",[25,54,57,55,56,195,58,118,7,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d82adf3f8cec5ebf66ff3fb046aab3a.jpg",[],{"id":6522,"slug":6523,"title":1069,"dynasty":18,"author":5842,"museum":20,"description":5843,"tags":6524,"thumbUrl":6525,"material":1148,"size":1149,"collection":65,"collections":6526,"showCount":6487,"zanCount":43,"manualWeight":43,"mainColor":69},235741,"fang-gu-shan-shui-ce-xue-xuan-235741",[25,55,57,56,1073,58,80,7,344,308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F136fc8aa37cb09e67e01143752c61481.jpg",[65],{"id":6528,"slug":6529,"title":6530,"dynasty":74,"author":4816,"museum":20,"description":6531,"tags":6532,"thumbUrl":6533,"material":64,"size":64,"collection":64,"collections":6534,"showCount":6487,"zanCount":43,"manualWeight":43,"mainColor":69},235593,"hua-wang-bai-gu-ban-ji-an-tu-zhou-wen-jia-235593","画王百穀半偈庵图轴","《王百谷半偈庵图》是明代画家 创作的纸本设色画，现藏于 。\n该图绘明代王百谷所居地半偈庵景色，院落中有湖石、青竹、松木等，石旁立有小石碑，晥门外有2人相立而谈。\n此图笔秀润简淡，构图巧妙别致。\n此画的构图和景物比较简洁，画有工日谷寓所——半偈庵，庭院中立有一湖，造型奇特，玲珑剔透。\n又有数棵树木，枝叶疏散，后有屋舍二间，陈设简陋，前后排列，前房供佛，后房中一榻一几，有一位上人独坐于床榻上，双日凝视，若有所思，屋子左侧有一束修竹，枝叶茂盛，近景有一道围墙，山间有一门楼，围墙两侧的右侧一树，左侧为一棕树。\n墙外有二人对话，一位作拱手状，一位持有策杖，姿态悠闲自在。\n此情此景，足以反映当时文人墨客优雅的生活环境及他们的志趣，王百谷半偈庵就是文人士大夫们所追求的优雅生活的写照。\n全图其画景物和作者自题识及王穉登等诗几乎各占一半，上诗、下图，相配十分得体。\n此画是文嘉7岁的作品，描绘当时文人王穉登所居半偈庵景色。\n王穉登（155—1612），字伯谷，也作百谷，长洲人，少时即以善作诗文著称，长而骏发，名满吴会，善书法，诸体兼备，文徵明没后，风雅归之穉登。\n全图用笔相当简练，湖石和竹树基本上继承了家学的传统，画法近学文徵明，远受元朝画家的影响，疏淡中蕴含秀润，树木用干笔勾皴后，用细墨点叶。\n用笔颇为老峭，加上构图过分简洁，使画面的意境稍嫌疏落之感。\n但由于画幅上面有文嘉的长段题识，起到了弥补此画构图的疏落之嫌…上诗塘又有王穉登录顾孟先、沈少卿宿半偈庵诗、这些自题识和王穉登题诗，为此画增色颇多，成为此画重要的组成部分。\n文嘉（151—158），明代画家，字休承，号义水，长洲（今江苏苏州）人，文徵明次子。\n官和州学正，继承家学，工小楷，擅画山水，笔法清脱，颇近倪瓒，着色山水，具幽澹之致，间仿卫蒙皴染，亦颇秀润，兼作花卉。\n精于鉴别古书画。\n传世作品有《赤壁夜游图》、《秋塘红藕图》、《沧山渔笛图》、《临董源溪山行旅图》轴，并著有《钤山堂书画记》。",[25,54,79,55,195,194,211,241,7,83,868,680],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44b4680056f3221272054815ba8098c4.jpg",[],{"id":6536,"slug":6537,"title":6538,"dynasty":74,"author":4173,"museum":20,"description":6539,"tags":6540,"thumbUrl":6541,"material":1148,"size":1149,"collection":64,"collections":6542,"showCount":6487,"zanCount":43,"manualWeight":43,"mainColor":126},235525,"pu-xian-xiang-tu-zhou-wu-bin-235525","普贤像图轴","吴彬（1550—1643），字文中，又字文仲，明代绘画大师，别字质先，别称文中父、文中子，自号壶谷山樵、遵道生、织履生、一枝栖、枝隐生、枝隐居士、朱湖太生洞天居士、枝隐庵主、枝庵发僧、枝隐头陀、枝隐庵头陀和“金粟如来”等，兴化府（今福建省莆田市）黄石人。流寓金陵（今江苏省南京市）。万历年间，明神宗朱翊钧召见吴彬，试殿中第一，授中书舍人，历工部主事。供职于宫廷画院。工山水，布置绝不摹古，佛像人物，形状奇怪，迥别前人，自立门户。中国国画大师，明代宫廷大画家，晚明人物“变形主义画风”和“复兴北宋经典山水画风”的主要倡导者和领导者之一，享有“画仙”之誉。1988年11月，其名作《文杏双禽图》被收入《中国历代绘画》，列为中国上下五千年的28幅绘画杰作之一。2009年，北京保利秋拍吴彬名作《十八应真图卷》最终以1.6912亿元高价成交，创下当时中国画拍卖价格新的世界纪录。",[25,79,1096,28,101,27,7,961,3167],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69a55ed020ed5e4a29aa325fe5eb2a5a.jpg",[],{"id":6544,"slug":6545,"title":48,"dynasty":18,"author":2470,"museum":20,"description":2995,"tags":6546,"thumbUrl":6547,"material":1148,"size":1149,"collection":64,"collections":6548,"showCount":6487,"zanCount":43,"manualWeight":43,"mainColor":69},235514,"shan-shui-ce-cha-shi-biao-235514",[25,54,57,55,56,58,59,7,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec8508d46704e30fe1ea407061c10d75.jpg",[],{"id":6550,"slug":6551,"title":48,"dynasty":18,"author":1648,"museum":20,"description":6552,"tags":6553,"thumbUrl":6555,"material":64,"size":64,"collection":64,"collections":6556,"showCount":6487,"zanCount":43,"manualWeight":43,"mainColor":69},235172,"shan-shui-ce-zhu-da-235172","此作以极简淡墨绘就山水丘壑，大片留白铺陈出空濛辽远的天地气韵。中锋淡墨轻皴山峦，朴拙苍润，山隅林木仅以数笔攒点，便见葱郁幽寂。浅滩汀岸简笔勾描，村舍隐于坡岸，远岫淡影浮沉在虚白间，似有无相融。\n\n画面疏朗至极，将萧澹冷逸的意趣藏于笔底，寥寥笔墨便勾勒出幽绝空寂的山水天地。题款与朱印错落点缀，虚实相衬，恰是以少胜多的极致手笔，澹泊天真中晕染出孤高清冷的襟怀，尽得山水写意的空灵真味。",[25,54,57,55,58,7,61,6554,196,56],"近坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa395e40423e5f0fab2d9ec2b55841c14.jpg",[],{"id":6558,"slug":6559,"title":6560,"dynasty":74,"author":317,"museum":20,"description":6561,"tags":6562,"thumbUrl":6563,"material":64,"size":64,"collection":64,"collections":6564,"showCount":6487,"zanCount":43,"manualWeight":43,"mainColor":44},235054,"shen-shi-lan-ting-xiu-xie-tu-juan-yi-ming-235054","沈时兰亭修褉图卷","此作用青绿设色铺陈林泉雅集，苍松茂柳环合掩映，青绿山石古雅沉静，将林下幽境晕染得清旷悠然。左侧文士或围坐清谈，或凭石闲憩，神态萧散清和，衣袂舒展自带林下风流，暗合流觞曲水之雅意。林间隐着简雅亭台，衬出集会的雅致氛围。右侧水扁舟轻泛，对岸轩阁凭栏，将林泉之景延展得悠远空灵。\n\n画作工写兼具，古旧绢色晕染出温润古意，将文会吟咏唱和的悠然光景复刻于卷上，漫溢出文人集会的从容风雅，尽显林泉雅集的清逸意趣。",[25,54,26,28,27,101,118,82,358,7,59,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F455cd376df096daa4f2307bb08f68e66.jpg",[],{"id":6566,"slug":6567,"title":2009,"dynasty":74,"author":317,"museum":20,"description":6568,"tags":6569,"thumbUrl":6570,"material":1148,"size":1149,"collection":64,"collections":6571,"showCount":6487,"zanCount":43,"manualWeight":43,"mainColor":69},234925,"dong-qi-chang-shan-shui-ce-yi-ming-234925","此作用干笔淡墨铺陈丘壑，以极简皴擦绘出山峦层叠错落之态，苍润相生间尽显松秀空灵。萧疏林木散缀崖畔溪旁，不作繁饰，寥寥笔致便将山中秋寂清寒晕染开来。画面留白通透清灵，虚实相生间铺展出静穆澹远的林下幽境，笔墨间浸透着幽寂出尘的雅韵，观之如卧游林泉，俗尘尽涤。",[25,55,57,56,58,83,7,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cce78038cdde42a8656f3ea715d8201.jpg",[],{"id":6573,"slug":6574,"title":6157,"dynasty":74,"author":6575,"museum":355,"description":6576,"tags":6577,"thumbUrl":6580,"material":152,"size":64,"collection":64,"collections":6581,"showCount":6487,"zanCount":43,"manualWeight":43,"mainColor":69},234161,"luo-han-juan-li-lin-234161","李麟","李麟（1558—？），字次公，四阴（今浙江宁波）人，明朝画家。\n李麟善白描，作佛像下笔如莼条，用焦墨而不觉其枯，眉目粗而不觉其重。尤长写貌，亦以焦墨粗钩为之。师丁南羽（云鹏）有出蓝之誉。自署龙眠后身，崇祯八年（1635）尝写文殊维摩图，时年七十八。又有参寥子像卷，现藏故宫博物院。（《无声诗史》、《画髓元铨》、《图绘宝鉴续纂》、《宁波志》、《中国名画集》）",[23,24,25,54,26,28,27,1096,101,5483,1005,7,6578,6579],"墨色","佛教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb2afad23ebaf7357b70a3be598dccc1.jpg",[],{"id":6583,"slug":6584,"title":6585,"dynasty":18,"author":6586,"museum":355,"description":6587,"tags":6588,"thumbUrl":6593,"material":6594,"size":6595,"collection":64,"collections":6596,"showCount":6487,"zanCount":11,"manualWeight":43,"mainColor":69},233720,"hua-wang-yu-yan-xie-lan-tu-xiang-pan-gong-shou-bu-tu-zhou-ren-xiong-233720","画王玉燕写兰图像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著有《种书堂遗稿》等。",[25,54,79,55,56,58,7,485,59,2529,61,471,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02a9a3da242b3c3d9e8b2c2e4295b165.jpg",[],{"id":6816,"slug":6817,"title":48,"dynasty":18,"author":2470,"museum":20,"description":6811,"tags":6818,"thumbUrl":6819,"material":64,"size":64,"collection":64,"collections":6820,"showCount":6761,"zanCount":43,"manualWeight":43,"mainColor":69},234275,"shan-shui-ce-cha-shi-biao-234275",[25,54,57,55,58,7,80,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3081eba6012e76f1db4406bd622364d3.jpg",[],{"id":6822,"slug":6823,"title":6824,"dynasty":49,"author":6825,"museum":355,"description":6826,"tags":6827,"thumbUrl":6829,"material":152,"size":6830,"collection":64,"collections":6831,"showCount":6761,"zanCount":43,"manualWeight":43,"mainColor":44},233785,"gou-lei-zhu-juan-zhang-xun-233785","钩勒竹卷","张逊","张逊 (约13世纪末～14世纪中)字仲敏,号溪云，吴(今江苏苏州)人。此图纸本，水墨，纵 43.4 厘米，横 686厘米。画坡陀间双钩竹数丛，枝干劲挺，竹叶扶疏，间作老松披佛偃仰。石用中锋圆笔钩皴，有董源、巨然遗意。本幅后楷书自题记上款“伯时”，下署“至正九年四月卅日，吴郡张逊题于吴氏舍馆”。钤“张逊私印”。作于1349年，是张逊晚年用心之作。\n后纸有察伋、倪瓒、张绅、梁用行、王汝玉、张间、钱溥、刘钮、陈鉴、严树、陆广、谢希曾、徐渭仁、黄芳、宝熙等人题以及谢希曾等鉴藏印 150余方。《朱氏铁网珊瑚》、《佩文斋书画谱》、《式古堂书画汇考》等书著录。现藏故宫博物院。",[24,25,54,26,1004,6828,241,101,510,7,196],"钩勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2630f34cd123917126bd47636aae1dec.jpg","纵 43.4 厘米，横 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怀古一何深》：描绘一位着布衣宽袍的老者临溪而立。老者远望青山，脚下溪水流淌。面对满目凄凉、空无一人的山水，主人公似思绪万千，发思古之幽情。画家借此图深刻而恰当地表达了自己零丁孤苦、怀才不遇之情。构图采用一水两岸的自然分疆法。画面上只见弥漫的云山、层山断处的房舍和半露的松林而不见山脚，山顶则似露非露地隐现。树木用水墨渍出，以衬托山腰白云的动感。",[25,54,57,195,194,55,28,421,56,101,7,213,1519,59,590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08b5ac46bfdfbb00f6719c0a94a89517.jpg","纵27厘米，横21.3厘米",[],{"id":6842,"slug":6843,"title":6844,"dynasty":95,"author":317,"museum":355,"description":6845,"tags":6846,"thumbUrl":6849,"material":447,"size":6850,"collection":64,"collections":6851,"showCount":6761,"zanCount":43,"manualWeight":43,"mainColor":44},233197,"xiao-ting-xi-ying-tu-ye-yi-ming-233197","小庭戏婴图页","童年，是每个人必然的经历。儿时玩乐点滴，更是许多人依旧难忘的回忆。“婴戏图”是以儿时玩乐情景为题材的中国绘画类型，为一项自宋代开始流行的重要画题。孩童形象早见于秦汉以前的工艺艺术，以绘画呈现的例子也可追溯到六朝，唐代逐渐出现在单一画面中以孩童玩耍情景为主的表现，发展至宋元以后，成果斐然。",[24,25,54,57,27,28,101,6847,7,30,6848,637],"婴童","庭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F060276d9cf4de298334a3beda4f2d371.jpg","69x73cm",[],{"id":6853,"slug":6854,"title":48,"dynasty":49,"author":3659,"museum":355,"description":3660,"tags":6855,"thumbUrl":6856,"material":447,"size":3663,"collection":64,"collections":6857,"showCount":6761,"zanCount":43,"manualWeight":43,"mainColor":44},233177,"shan-shui-ce-cao-zhi-bai-233177",[25,54,57,55,56,58,80,7,680,61,459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7c56a42fde601ecf5f7dd11e23e93b3.jpg",[],{"id":6859,"slug":6860,"title":6861,"dynasty":74,"author":415,"museum":355,"description":6862,"tags":6863,"thumbUrl":6864,"material":152,"size":6865,"collection":64,"collections":6866,"showCount":6761,"zanCount":43,"manualWeight":43,"mainColor":69},232962,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232962","文徵明山水册","根据图册末页张风翼等人的跋得知，此图册是文徴明为教授徒弟朱朗而绘制的山水画作，其中有他摹学五代董源、巨然的笔法，亦有他师法元四家黄公望、王蒙、倪瓒等人的笔墨。",[25,54,57,55,28,56,195,194,196,58,7,59,211,212,82,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb74cf6574391d8f609ec56377466c02c.jpg","28.5×15.8厘米",[],{"id":6868,"slug":6869,"title":6870,"dynasty":95,"author":1404,"museum":76,"description":6871,"tags":6872,"thumbUrl":6873,"material":152,"size":6874,"collection":64,"collections":6875,"showCount":6761,"zanCount":43,"manualWeight":43,"mainColor":69},231411,"ren-wu-tu-shuang-ye-liu-song-nian-231411","人物图双页","刘松年，南宋画家，钱塘（今浙江省杭州）人，居清波门，俗称“暗门”，因有“暗门刘”之称。淳熙年间为画院学生，其师张敦礼是李唐的学生，故画风与李唐一脉相承，而笔法俊秀，墨色亦显清淡，绍熙年间升至画院待诏，历经南宋孝宗、光宗、宁宗三朝，其画作有“院人中绝品”之名。工人物、山水、界画，是“南宋四家”中画风最为精致细微的一家。",[25,54,24,57,27,28,195,101,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde61b5e1de6fecb202d7da5f1239102b.jpg","纵117公分 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，字无逸，号疎林，亦号石禅，明朝末清朝初海阳（今安徽休宁）人，与萧云从齐名，合称孙萧，与弘仁、汪之瑞、查士标为新安派四大家；字仲举。",[25,28,58,56,57,80,7,285,308,590,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb82fbab533a40aec5a30eb23e8fb78a.jpg",[],{"id":7024,"slug":7025,"title":4714,"dynasty":74,"author":2597,"museum":20,"description":2598,"tags":7026,"thumbUrl":7027,"material":1148,"size":1149,"collection":64,"collections":7028,"showCount":68,"zanCount":43,"manualWeight":43,"mainColor":44},236675,"shan-shui-shan-song-xu-236675",[976,25,54,24,55,56,58,118,7,59,82,358,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba22b3a71b4c6c07ffcf56d6d73b8ea7.jpg",[],{"id":7030,"slug":7031,"title":7032,"dynasty":18,"author":7033,"museum":20,"description":7034,"tags":7035,"thumbUrl":7036,"material":64,"size":64,"collection":64,"collections":7037,"showCount":68,"zanCount":43,"manualWeight":43,"mainColor":69},235682,"fang-yuan-ren-xiao-jing-zhou-da-chong-guang-235682","仿元人小景轴","笪重光","此展品为清代的书画，描绘奇峰飞泉，寒林亭舍，一高士立于桥上悠然观瀑。\n整幅以渴笔淡墨皴擦，布局高远，雅致有元人笔意。\n现收藏于 。\n此图为167年王翚为笪重光所作。\n描绘奇峰飞泉，寒林亭舍，一高士立于桥上悠然观瀑。\n整幅以渴笔淡墨皴擦，布局高远，雅致有元人笔意。\n题跋：“石谷为予作此图，自云深得元人笔意，未可与不知者道。\n时心契其旨而藏之七载于兹矣。\n彦标爱画同余，慕王生有年。\n以□持赠，一如在□子阁中，非明珠之漫投也。\n庚申夏四月毘陵舟中题。\n种菽翁笪在辛” 钤印：朱文“重光”、“江上外史”印。\n王翚（162-1717年）字石谷，号耕烟散人、剑门樵客、乌目山人等。\n江苏常熟人。\n工山水，为清初四王之一。\n有清初画圣之称。\n其宗学者形成“虞山派”。",[25,54,79,55,195,196,58,7,212,242,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5b500ccd1e7724fc2219bd60bdb65f9.jpg",[],{"id":7039,"slug":7040,"title":1241,"dynasty":18,"author":327,"museum":20,"description":7041,"tags":7042,"thumbUrl":7043,"material":64,"size":64,"collection":64,"collections":7044,"showCount":68,"zanCount":43,"manualWeight":43,"mainColor":44},235520,"yuan-ji-shan-shui-tu-ce-shi-tao-235520","淡墨皴擦出层叠山峦，带着苍莽野逸之气，蜿蜒山道串起深谷山居，晕开雨后初霁的湿润空濛。前景林木错落，虬曲枝干间点叶疏密有致，将江南山野的幽寂鲜活铺展。\n\n右上角题诗与画面呼应，诗画交融，暗合山乡行路的澹然况味。笔意纵恣却不失秀润，干湿墨色互用，让山石肌理灵动自然，全无刻硬之感，尽显山水清灵雅致。将天地间静穆生机凝于尺幅，随性旷达的文人意趣藏在每一处笔墨里，是意韵悠长的山水佳构。",[25,54,55,56,57,421,58,80,7,418,59,2630,498,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d5c6622bc1fcd2c25c587e7049d8fce.jpg",[],{"id":7046,"slug":7047,"title":2009,"dynasty":74,"author":317,"museum":20,"description":7048,"tags":7049,"thumbUrl":7050,"material":1148,"size":1149,"collection":64,"collections":7051,"showCount":68,"zanCount":43,"manualWeight":43,"mainColor":69},234927,"dong-qi-chang-shan-shui-ce-yi-ming-234927","此作用笔清润松灵，近景古木虬曲苍劲，枝桠舒展自带古拙意趣，坡岸留白晕开浅淡水汽，衬得林下村居愈发幽寂安闲。中远景山峦层叠，以淡墨轻勾慢皴，山石轮廓秀逸温润，将江南丘壑的清润质感藏于简淡笔墨之中。画面留白与钤印错落相映，晕开雅致沉静的书卷气，以尺幅之地铺陈出萧散淡远的林下闲居之境，尽显平淡天真的文人意趣，观之如临幽寂山林，静享山居清宁。",[24,25,54,57,55,56,58,80,7,242,59,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F409ff81a6d88494802fde213820a8874.jpg",[],{"id":7053,"slug":7054,"title":7055,"dynasty":18,"author":2470,"museum":20,"description":7056,"tags":7057,"thumbUrl":7060,"material":64,"size":64,"collection":64,"collections":7061,"showCount":68,"zanCount":43,"manualWeight":43,"mainColor":69},234175,"xi-xi-cao-tang-tu-juan-cha-shi-biao-234175","西溪草堂图卷","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。\n查士标专事书画，家藏甚富，鼎彝及宋、元真迹皆有，遂精鉴赏。\n他的山水画，笔墨疏简，风神嫩散，气韵荒寒，晚年画风突变，直窥元人之奥。",[23,25,26,55,58,56,80,164,118,7,242,358,308,732,1351,1026,229,7058,7059,29],"峭壁","沙洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f1795bf78bf2ed221b26be8f6242dad.jpg",[],{"id":7063,"slug":7064,"title":7065,"dynasty":49,"author":1773,"museum":20,"description":7066,"tags":7067,"thumbUrl":7068,"material":6361,"size":7069,"collection":64,"collections":7070,"showCount":68,"zanCount":43,"manualWeight":43,"mainColor":44},233700,"shan-ju-shuo-ting-tu-ye-tang-di-233700","山居说听图页","《山居说听图页》绘山水之景，远处山峦起伏，近处山石陡峭，树木苍翠；山脚下凉亭数间，亭内两人对坐饮茶，一童子执长扇一边伺侯；亭前溪水流淌，泛起层层水纹。唐棣（1296-1364年)，字子华，号遁斋,祖籍今浙江杭州，因先世在吴兴做官，迁徙今浙江湖州。唐棣父唐清，元初赠承务郎，任归安县令。唐棣幼聪颖好学，文思敏慧，能诗善画，有“奇童”之称，为赵孟頫、马煦赏识，弱冠时便拜赵孟頫为师，常出入赵府，交往益深，不久马煦升为刑部尚书，遂携唐棣至京，延佑初进荐仁宗，以绘画侍奉宫廷，在嘉熙殿画屏风“挥洒立就，天子称赏”，待诏集贤院，因而有机会遍览历代书法名画。此时赵孟頫也奉召至京，任翰林侍读学士。唐棣在朝廷中与文臣交往，诗文、书画得到虞集、偈傒斯、赵孟頫指授，技艺更趋成熟。元文宗天历二年应诏在南京龙翔寺绘制画壁，至顺四年第二次北上大都，奉诏在宫廷作画。在郴州、处州、江阴、嘉兴、休宁、兰溪州、吴江等地均做过官，有政绩。工山水，近学赵孟頫，远师李成、郭熙，亦工诗文，晚年返乡埋头读书作画，生活较凄苦。",[25,54,1419,28,58,7,59,242,82,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F967792a94d3373becb0b178e35ab2182.jpg","纵24厘米，横24.8厘米",[],{"id":7072,"slug":7073,"title":7074,"dynasty":95,"author":317,"museum":355,"description":7075,"tags":7076,"thumbUrl":7077,"material":216,"size":7078,"collection":64,"collections":7079,"showCount":68,"zanCount":43,"manualWeight":43,"mainColor":44},233206,"chi-shi-cheng-yang-tu-ye-yi-ming-233206","叱石成羊图页","叱石为羊，事本晋葛洪《神仙传·黄初平》：“黄初平者，丹溪人也。年十五，家使牧羊。有道士见其有良谨，便将至金华山石室中，四十余年，不复念家。其兄初起，行山寻索初平，历年不得。后见市中有一道士初起召问之曰：‘吾有弟名初平，因令牧羊，失之四十余年，莫知生死所在，愿道君为占之。’道士曰：‘金华山中，有一牧羊儿姓黄，字初平，是卿弟非疑。’初起闻之。即随道士去求弟，遂得相见，悲喜语毕，问初平羊何在，曰：‘近在山东耳。’初起往视之不见，但见白石而还。谓初平曰：‘山东无羊也。’初平曰：‘羊在耳，兄但自不见之。’初平与初起俱往看之。初平乃叱曰：‘羊起!’于是白石皆变为羊数万头。”",[25,54,57,27,28,101,2127,7,59,635],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f511db52d3d4cb1ab54c232c6ad6ab1.jpg","77.81x68.14cm",[],{"id":7081,"slug":7082,"title":7083,"dynasty":49,"author":7084,"museum":355,"description":7085,"tags":7086,"thumbUrl":7087,"material":216,"size":7088,"collection":64,"collections":7089,"showCount":68,"zanCount":43,"manualWeight":43,"mainColor":69},233204,"qiu-lin-chui-diao-tu-ye-zhu-ze-min-233204","秋林垂钓图页","朱泽民","画上一老翁坐于船头专心致志钓鱼，岸上二株松树耸立，画面简洁、幽静。朱德润，字泽民，号睢阳山人，善诗文，工书法，格调遒丽。",[24,25,54,55,56,58,3704,7,358,359,3134,3253],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7b4212db7815938d8172fc55510bf7a.jpg","28.1X26.6cm厘米",[],{"id":7091,"slug":7092,"title":7093,"dynasty":1460,"author":7094,"museum":20,"description":7095,"tags":7096,"thumbUrl":7099,"material":1148,"size":1149,"collection":64,"collections":7100,"showCount":68,"zanCount":43,"manualWeight":43,"mainColor":44},231753,"mu-ma-tu-ping-feng-di-yi-ping-zhang-gu-chuan-deng-bo-231753","牧马图屏风第一屏","长谷川等伯","长谷川东白（长谷川等伯，1539年－1610年3月19日）是日本 画家，长谷川画派的创始人。\n他被认为是安土桃山时代（1573-1603 年）的伟大画家之一，最著名的是他的屏风",[23,25,54,7097,28,27,510,101,7,80,102,164,7098],"屏风","牧马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29ae7c460b8c7fa4288de97a20837dfb.jpg",[],{"id":7102,"slug":7103,"title":7104,"dynasty":18,"author":2847,"museum":20,"description":7105,"tags":7106,"thumbUrl":7107,"material":64,"size":64,"collection":64,"collections":7108,"showCount":68,"zanCount":43,"manualWeight":43,"mainColor":44},230961,"xia-shan-yu-yu-tu-dong-bang-da-230961","夏山欲雨图","《董邦达夏山欲雨图》是淸 云痴不舍峰，雨到先鸣树。\n涧口归渔人，林端起群鹜。\n浑脱房山法，妙蕴丹阳句。\n伫待吟溟濛，遥天镇微露。\n即爱新觉罗·弘历。\n清朝皇帝。\n世宗第四子。\n雍正十一年封和硕宝亲王。\n十三年八月嗣位，次年改元乾隆。\n即位后驱逐在内廷行走之僧道；释放被幽禁之允(胤)禵等，恢复允(胤)禵等宗室身份；又将宗室诸王所属旗人，均改为“公中佐领”，即归皇帝掌握。\n对汉族知识分子，采用笼络与惩罚并行手段，既于乾隆元年开博学鸿词科，三十八年开《四库全书》馆；又大兴文字狱，前后大案不下数十起，并借修书之便，销毁或窜改大量书籍。\n对西北方面，平定准噶尔部，消灭大小和卓木势力，解决康、雍以来遗留问题。\n在位时六次南巡，多次进行镇压土司叛乱、农民起事战争，耗费大量钱财。\n晚年任用和珅，吏治腐败；陶醉于“十全武功”，自称十全老人，对敢于指斥时弊之官吏，常严加斥责。\n同时，对各省亏空严重、督抚多不洁身自爱之状，知之甚详。\n五十八年，接见英国特使马嘎尔尼，拒绝英国所提出之侵略性要求，然并未引起任何警惕之心。\n六十年，宣布明年禅位皇十五子颙琰。\n次年正月，举行授受大典，自称太上皇帝，仍掌实权。\n在位六十年。",[23,25,54,26,55,58,80,715,7,81,29,228,61,4370,59,459,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62cdb96f4e97e9b848732bd4506f3fe0.jpg",[],{"id":7110,"slug":7111,"title":972,"dynasty":95,"author":317,"museum":20,"description":7112,"tags":7113,"thumbUrl":7114,"material":64,"size":64,"collection":64,"collections":7115,"showCount":68,"zanCount":43,"manualWeight":43,"mainColor":44},227899,"yuan-lu-tu-yi-ming-227899","此作上下分景，将灵趣与恬然相融。枝头灵猿身姿轻捷，毛发晕染细腻蓬松，长臂挂于虬枝，正侧目窥望下方，机警灵动之态跃然绢上。地面母鹿抬首回望，幼鹿依偎身侧，躯体线条温婉柔和，满是温驯安然。\n\n淡墨轻色晕染枝叶，舒展自然，岩石皴擦朴拙写实，衬出山林的清寂野趣。工细笔触兼顾写意格调，将猿的机敏与鹿的恬和彼此呼应，把空山一隅的悠然生机静静铺展，尽显对自然生灵的细腻体察与雅致审美。",[24,25,54,28,27,635,1641,978,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e67f98101322a96090bdd8e26302696.jpg",[],{"id":7117,"slug":7118,"title":7119,"dynasty":18,"author":7120,"museum":20,"description":7121,"tags":7122,"thumbUrl":7123,"material":64,"size":64,"collection":64,"collections":7124,"showCount":68,"zanCount":11,"manualWeight":43,"mainColor":69},224245,"shang-sai-jin-lin-tu-guan-huai-224245","上塞锦林图","关槐","《上塞锦林图》是中国清代画家 的国画作品。\n该画为立轴，纸本设色，纵142.6厘米，横64.6厘米，现藏于 。\n关槐，生卒年不详，清代画家。\n字晋卿，一宇晋轩，号云岩，一号曙笙，仁和(今杭州)人，官至礼部侍郎。\n善画山水，供奉内廷。\n画风学习宋元诸家，笔法苍润恬静。\n活动于乾隆时期。\n《上塞锦林图》描绘我国长城以北塞外的锦绣风光。\n绿色的灌木丛，红彤彤的柞枫树，错落于曲流之间，真实生动，俨然另逞独特面貌。\n用笔工细，设色鲜丽而又和谐。\n上方有高宗弘历御笔题七绝四首，借此图简述其先祖及弘历本人在北塞骑猎、武功的思念，以“祖德勤承告后人”。",[23,25,54,79,28,58,56,80,7,256,102,1573,545,196,194,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cefaa23d51965608581f81fade69f67.jpg",[],{"id":7126,"slug":7127,"title":7128,"dynasty":49,"author":317,"museum":20,"description":7129,"tags":7130,"thumbUrl":7131,"material":64,"size":64,"collection":64,"collections":7132,"showCount":68,"zanCount":43,"manualWeight":43,"mainColor":44},223626,"he-ting-dui-yi-tu-ye-yi-ming-223626","荷亭对弈图页","《荷亭对弈图页》是元代画家佚名创作的一幅绢本设色画，现收藏在故宫博物院。\n本幅无作者款识。\n收藏印钤“庞莱臣珍藏宋元真迹”、“项墨林父秘笈之印”二方。\n图中描绘 边敞轩水榭，绿柳掩映，塘中莲花片片，碧水微波。\n水榭中二高士对坐 ，全神贯注，另有一人侧卧床榻，一手支颐，不知是弈后的疲惫小憩还是战前的养精蓄神；又有三 ，一执扇，一伏案，一取水，整幅意境悠闲雅淡 此画将青绿山水与界笔楼阁有机结合，是南宋院画楼阁小品的沿展，只是风格更加清新活泼。\n此页旧题签“赵伯骕荷亭对弈”，实为元人所作。",[23,24,25,54,57,28,915,27,101,211,118,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ea73aea37bb0f5cf60b79d0bc39c0e2.jpg",[],{"id":7134,"slug":7135,"title":7136,"dynasty":18,"author":6586,"museum":355,"description":7137,"tags":7138,"thumbUrl":7139,"material":7140,"size":7141,"collection":64,"collections":7142,"showCount":68,"zanCount":43,"manualWeight":43,"mainColor":7143},223143,"shi-wan-tu-ce-7-ren-xiong-223143","十万图册7","《十万图》册是任熊晚年创作的10幅山水精品，因题目均以“万”字起首而得名，即“万卷诗楼”、“万点青莲”、“万峰飞雪”、“万笏朝天”、“万竿烟雨”、“万松叠翠”、“万林秋色”、“万壑争流”、“万丈空流”、“万横香雪”，以寓至多尽善、完满俱足之意。该图册多取材于苏州太湖一带的山水而内容又有所扩大，如“万笏朝天”、“万横香雪”即以苏州天平山和香雪海为素材，“万点青莲”描绘的应是杭州西湖的景色，而“万丈空流”、“万竿烟雨”则是想象中的海岛和潇湘奇景。总之，画家是以“十”、“万”来概括天下美景与赏心乐事。作品笔法细腻，构思精微，意境深邃，并富有装饰趣味，于写实中充满浪漫情调。尤其是作者充分运用金笺纸的底色作用，使青绿设色逾显得绚丽多彩，浓艳华贵而不失雅逸的艺术效果。",[23,25,24,54,57,27,28,58,211,7,680],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7a1b10828519dc13f4704bee941031.jpg","泥金笺，设色","纵26.3厘米，横20.5厘米",[],"FF9800",{"id":7145,"slug":7146,"title":7147,"dynasty":18,"author":2866,"museum":943,"description":2867,"tags":7148,"thumbUrl":7151,"material":216,"size":2871,"collection":64,"collections":7152,"showCount":68,"zanCount":43,"manualWeight":43,"mainColor":69},222907,"hong-lou-meng-32-sun-wen-222907","红楼梦32",[23,25,54,27,28,915,101,211,868,241,7,59,6682,135,242,7149,6694,7150],"花木","室外场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365e9f1d82d6ef78a2bca3d92337f7fb.jpg",[],{"id":7154,"slug":7155,"title":7156,"dynasty":18,"author":6247,"museum":1323,"description":7157,"tags":7158,"thumbUrl":7159,"material":788,"size":7160,"collection":64,"collections":7161,"showCount":68,"zanCount":43,"manualWeight":43,"mainColor":44},222803,"you-tu-zhao-fu-222803","犹图","图绘院落一角，湖石耸立，形状奇特，石上方一树枝伸出，白花朵朵点缀枝头；湖石四周杂草丛生，前方二只狗相互对望，淡黄色毛浓密，体格健壮。技法上，狗的毛发以细皴绘制，惟妙惟肖，湖石以深蓝色晕染，更显立体感。",[23,25,27,28,635,83,961,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876d1b2cf62983e4ca8dfa4acb71cb2c.jpg","24.4×24cm",[],{"id":7163,"slug":7164,"title":7165,"dynasty":49,"author":2112,"museum":2113,"description":7166,"tags":7167,"thumbUrl":7168,"material":7169,"size":7170,"collection":64,"collections":7171,"showCount":68,"zanCount":11,"manualWeight":43,"mainColor":64},220658,"you-ting-yuan-xiu-tu-tao-xuan-220658","幽亭远岫图","《幽亭远岫图》为陶铉现存仅知的作品，画幅左上方有陶氏款识，说明是至正五年（1345）为友人王迪简所绘。陶铉生平仅元代夏文彦《图绘宝鉴》中有简短记载，谓陶氏号菊村 ，金陵人，山水画法学自五代北宋间的李成。\n\n此幅为元代流行的平远构图，乃来自李成作品中常见的低平荒野样式。近景有树竹数株，挺然直立；河岸低平曲折，将观者视线引向层层后退的中远景。陶铉以精简的枯笔干墨，擦出山石的结体轮廓，兼以苔点、墨染增加山头与石脚层次感的画法，让人联想到元四家之一的倪瓒。上海博物馆所藏倪瓒《六君子图》与此幅同样绘于至正五年，亦是以秀润的隔江山色替换李成的萧瑟荒原，但倪瓒的作品仍保留运用前人笔法（如董源披麻皴）的痕迹，而陶铉的作品则未见借用特定前人的笔法。\n\n此画上方另有清人高士奇对陶铉与受画者王迪简的简评。王迪简，字庭吉，号蕺隐，为元初的南宋遗民。元代戴表元曾于《蕺隐记》中记述王迪简隐居于蕺山南侧，其居所人迹罕至，半里之内为空阔的郊原，故视野辽阔，周边景致可一览无遗。虽然在现存文献中未见有陶铉与王迪简交往的具体资料，但《幽亭远岫图》的画面，却与《蕺隐记》中描绘的王迪简隐居环境相吻合。\n\n元朝以异族入主中国，士人纷纷因不愿仕进或不得荐举，而选择避世隐居，从而出现许多以隐居为题的文学与绘画作品。 《幽亭远岫图》无疑亦可视为此类与隐逸题材相关的作品。",[23,25,24,79,55,56,58,118,7,241,103,164,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaa811f1b0d64254a434b2a8336e41e4.jpg","水墨,纸本,立轴","画心：58×31.7厘米 装裱：199.5×50.5厘米",[],{"id":7173,"slug":7174,"title":7175,"dynasty":95,"author":5491,"museum":3197,"description":5492,"tags":7176,"thumbUrl":7180,"material":37,"size":5495,"collection":64,"collections":7181,"showCount":68,"zanCount":11,"manualWeight":43,"mainColor":44},220116,"shi-liu-luo-han-tu-di-ba-zun-zhe-jin-da-shou-220116","十六罗汉图-第八尊者",[23,25,1096,101,28,27,5483,7177,7,7178,7179],"侍者","光环","杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa096f31a4172545a1bb5916fc205061f.jpg",[],{"id":7183,"slug":7184,"title":7185,"dynasty":95,"author":5491,"museum":3197,"description":5492,"tags":7186,"thumbUrl":7187,"material":37,"size":5495,"collection":64,"collections":7188,"showCount":68,"zanCount":11,"manualWeight":43,"mainColor":44},220109,"shi-liu-luo-han-tu-di-shi-san-zun-zhe-jin-da-shou-220109","十六罗汉图-第十三尊者",[23,25,54,79,1096,28,27,101,7,308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa93d557f47177bc97fadbfffda394a.jpg",[],{"id":7190,"slug":7191,"title":7192,"dynasty":74,"author":225,"museum":328,"description":6031,"tags":7193,"thumbUrl":7196,"material":37,"size":6035,"collection":64,"collections":7197,"showCount":68,"zanCount":43,"manualWeight":43,"mainColor":44},219776,"lin-song-ren-hua-ce-4-chou-ying-219776","临宋人画册-4",[25,54,57,531,27,28,101,100,7,868,680,1058,7194,1956,7195],"廊下","生活场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febd8183940ebe2dfca2cacdae3b16abf.jpg",[],{"id":7199,"slug":7200,"title":7201,"dynasty":95,"author":317,"museum":76,"description":7202,"tags":7203,"thumbUrl":7204,"material":37,"size":7205,"collection":122,"collections":7206,"showCount":68,"zanCount":11,"manualWeight":43,"mainColor":69},219601,"liu-tang-hu-du-tu-yi-ming-219601","柳塘呼犊图","画上是清澈的小溪旁，杨柳垂荫、青草茂密。一阵风来，将柳絮吹得犹如满天纷飞的绿雪。树下一名驼了背脊、衣衫褴履的老牧人，正眯着眼、掩面伫着木杖打盹。牛喝足了水，迎着风，使尽全力，「哞－哞－」地叫着：像是要提醒老牧人，也像在呼唤顽皮、跑远的小牛：该回家罗！\n如诗般的江南风光、如歌般的田园生活，不只令现今的都会人心生向往，也是许多的在朝为官 的宋代士大夫们，对于「故乡」最美好的记忆。当他们告老还乡时，最大的心愿之一，莫过于徜佯在这片青草地上，伴随着自在悠闲的牛儿，作一名安闲平凡的牧人。正如一位北宋诗人所说的：「人生愿望无数，能达成的又有多少呢？我想，若能拥有百亩良田以及一只牛的陪伴，也就心满意足了吧！」",[23,25,24,54,57,28,27,1519,100,101,7,5627,164,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f94cf9b5d56f49c5f99cdb42a8ad360.jpg","纵24.9厘米 横26.6厘米",[122],{"id":7208,"slug":7209,"title":1069,"dynasty":74,"author":468,"museum":328,"description":7210,"tags":7211,"thumbUrl":7212,"material":64,"size":64,"collection":65,"collections":7213,"showCount":68,"zanCount":43,"manualWeight":43,"mainColor":7214},203456,"fang-gu-shan-shui-ce-dong-qi-chang-203456","这幅册页书画相映，笔墨间流淌着古雅清韵。山水构图简远空灵，山峦以淡墨皴擦出深浅层次，线条如书法般灵动婉转，树木疏朗有致，几间小屋隐于林麓水畔，似藏幽居之趣。墨色清润虚实相生，尽显“平淡天真”的文人意趣，师法宋元而自出机杼，于仿古中见个人笔意。左侧书法笔势流畅，与山水气韵相契，书画互衬更添雅致。整体画面疏秀旷远，仿佛可感林泉之静，尽得文人画逸致风骨。",[23,57,55,56,194,196,58,80,30,7,242,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F393d5fb0f235db2ee56340f47f4db6f0.jpg",[65],"9e927d",{"id":7216,"slug":7217,"title":48,"dynasty":74,"author":3840,"museum":20,"description":7218,"tags":7219,"thumbUrl":7220,"material":64,"size":64,"collection":64,"collections":7221,"showCount":234,"zanCount":11,"manualWeight":43,"mainColor":69},239546,"shan-shui-ce-shen-hao-239546","此作以淡墨轻皴绘就雪后清晓之景，浅赭晕染远山，留白处隐见残雪覆于峦岫，起伏连绵间尽显空蒙萧寒。枯林错落萧疏，淡写枝干无叶之态，暗合冬日荒寂。山径间旅人策蹇缓行，为冷寂山水晕开一缕烟火暖意。\n\n画面与题诗清雅相融，以极简笔墨铺陈悠远画境，将冬日郊野的静谧诗意缓缓晕开，尽显文人画空灵淡远之致，于简淡疏朗间藏着清旷余韵，淡而不薄，枯而不涩，尽显幽远的林下诗意。",[25,54,57,55,56,58,80,7,590,101,83,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5f5f8405bde5b52b15b6edd3558efa.jpg",[],{"id":7223,"slug":7224,"title":48,"dynasty":18,"author":4293,"museum":355,"description":7019,"tags":7225,"thumbUrl":7226,"material":447,"size":64,"collection":64,"collections":7227,"showCount":234,"zanCount":43,"manualWeight":43,"mainColor":69},237191,"shan-shui-ce-sun-yi-237191",[25,58,57,28,56,80,30,213,7,164,118,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed226bcb7451e0855a0e8ac8e024d137.jpg",[],{"id":7229,"slug":7230,"title":48,"dynasty":74,"author":7231,"museum":20,"description":7232,"tags":7233,"thumbUrl":7234,"material":64,"size":355,"collection":65,"collections":7235,"showCount":234,"zanCount":43,"manualWeight":43,"mainColor":69},236603,"shan-shui-ce-ye-xiang-rong-236603","叶向荣","此作用一角取景，主峰高拔奇崛，干笔皴擦勾勒山石肌理，苍朴厚重的质感尽显。山间苍木错落遒劲，茅舍隐于林麓之间，暗合幽居寄怀的雅趣。近岸汀渚星罗，浅波澹澹，留白铺就清远空寂的余韵。\n笔墨简淡松秀，以水墨晕染出山峦氤氲之态，将文人林泉高致寄于尺幅间，尽显平淡天真的意趣，晕开静谧清旷的隐逸氛围，藏着独属于传统山水的悠然禅意。",[2129,25,54,55,56,57,58,80,7,30,1498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee02916708781e551032b579ae9e6eae.jpg",[65,88],{"id":7237,"slug":7238,"title":7239,"dynasty":74,"author":317,"museum":20,"description":7240,"tags":7241,"thumbUrl":7242,"material":64,"size":64,"collection":65,"collections":7243,"showCount":234,"zanCount":43,"manualWeight":43,"mainColor":69},236428,"shu-zhi-shan-shui-ce-yi-ming-236428","殳执山水册","此作以淡墨晕染萧寒冬日，留白铺陈天地素雪，远山如裹素衾，棱线隐在氤氲灰雾中，愈显清寂辽远。近岸双松孑然挺立，虬枝错落，虽针叶落尽，仍带着苍劲意气。溪石隐于薄雪之下，寒水曲折蜿蜒，牵起林麓间山居茅舍。屋舍隐在枯木之后，淡笔勾出檐角，似有幽居之人避世于此。左侧题字朱印点缀，添就文人情致。\n\n整幅用墨清润简淡，以虚带实，将冬日山野的空静萧疏尽数铺展，素白清冷间藏着淡远悠长的隐逸之趣，尽显传统山水的空灵意境。",[24,25,54,57,55,56,58,7,242,59,497,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe695c61998a56f0f49ab8e14dab8f8f.jpg",[65,88],{"id":7245,"slug":7246,"title":7247,"dynasty":18,"author":600,"museum":20,"description":2778,"tags":7248,"thumbUrl":7251,"material":1148,"size":1149,"collection":64,"collections":7252,"showCount":234,"zanCount":43,"manualWeight":43,"mainColor":69},235614,"hong-ren-shan-shui-ce-hong-ren-235614","弘仁山水册",[24,25,54,1419,55,2399,1960,56,7249,7250,58,80,30,7,242,590,3133,259],"简约","清冷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F786ec573adabfb43ca01bf811898821a.jpg",[],{"id":7254,"slug":7255,"title":48,"dynasty":18,"author":2263,"museum":355,"description":7256,"tags":7257,"thumbUrl":7258,"material":717,"size":7259,"collection":64,"collections":7260,"showCount":234,"zanCount":43,"manualWeight":43,"mainColor":69},235017,"shan-shui-ce-wu-li-235017","此图册布局饱满，笔墨苍拙，文人画气息浓郁，具有作者所追求的“神逸”韵味。无年款，从书画笔法来看，应为吴氏晚年画作精品。\n第一开：自识：“月中疏处最秋多，叶叶斜斜映浅波。曾折长条赠行客，只今黄落未归何。予秋柳诗也，并书。墨井道人。”钤“延陵”、“墨井” 朱文印二方。\n第二开：自识：“远岫接烟光，斜阳在钓航。众渔归已尽，独自过横塘。东楼暑薄写此。墨井。”钤“渔山”朱文印二方。\n第三开：自识：“林鸠唤雨不成雨，山鹊呼晴亦未晴。尽日声声是何意，欲催泼墨米图成。梅雨乍霁。延陵历。”钤“吴历”朱文印、“吴历之印”白文印。\n第四开：自识：“春事已云莫，落花门外无。何为井上树，四月尚如枯。渔山子。”钤“渔山”、“墨井”朱文印二方。\n第五开：自识：“墨井道人雨窗拟古，竹醉日。”钤“延陵”、“墨井” 朱文印二方。\n第六开：自识：“萧萧踈踈，木落草枯。空山无人，夜吼於菟。墨井道人。”钤“吴历之印”白文印、“延陵”朱文印。\n第七开：自识：“写元人画，大抵要简澹趣多，曲折有韵。五月小尽日，墨井历。”钤“吴历”、“渔山” 朱文印二方。\n第八开：自识：“石激水流处，天寒松色间。墨井道人。”钤“渔山”、“墨井” 朱文印二方。\n第九开：自识：“前人草草涂抹，自然天真绚烂。小重阳后一日，渔山子。”钤“延陵”朱文印、“吴历之印”白文印。\n第十开：自识：“不是看山定画山，的应娱老不知还。商量水阔云多处，随意茆茨着两间。墨井道人从上洋归，写于东楼。”钤“吴历之印”白文印、“延陵”朱文印、“墨井”朱文印。\n鉴藏印有“虚斋审定”、“莱臣心赏”等17方。",[25,55,58,57,56,118,7,59,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14a9bf9b278d1b6f75273acc3fd1ce95.jpg","23.2厘米，横28厘米",[],{"id":7262,"slug":7263,"title":2009,"dynasty":74,"author":317,"museum":20,"description":7264,"tags":7265,"thumbUrl":7266,"material":1148,"size":1149,"collection":64,"collections":7267,"showCount":234,"zanCount":43,"manualWeight":43,"mainColor":69},234928,"dong-qi-chang-shan-shui-ce-yi-ming-234928","此作用淡墨晕染铺就烟岚空濛之境，主峰以浓墨积染，浑朴厚重，与周遭浅墨晕开的云气虚实相映。近中景林木以焦墨点簇，错落苍润，坡岸留白代水，尽显江南山水氤氲迷离之态。\n\n题字与印章错落排布，书画印相映成趣，笔墨简淡却意韵悠长。以极简的水墨层次，勾勒出山川幽寂淡远之致，尽显文人画尚意重韵的特质，将山水的空灵沉静融于尺幅之间，观之如身临烟林丘壑，静享林泉雅趣。",[25,54,57,55,58,80,7,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8b1ebdfd39c580d7febf30a48d510a.jpg",[],{"id":7269,"slug":7270,"title":7271,"dynasty":74,"author":4816,"museum":355,"description":6802,"tags":7272,"thumbUrl":7273,"material":447,"size":6805,"collection":64,"collections":7274,"showCount":234,"zanCount":43,"manualWeight":43,"mainColor":69},234814,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-xing-chun-qiao-tu-ye-wen-jia-234814","吴门诸家寿袁方斋三绝册-行春桥图页",[25,24,54,57,55,28,58,7,212,194,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feea626d77f19824c78c24784154a0e1b.jpg",[],{"id":7276,"slug":7277,"title":7278,"dynasty":18,"author":7279,"museum":20,"description":7280,"tags":7281,"thumbUrl":7282,"material":64,"size":64,"collection":64,"collections":7283,"showCount":234,"zanCount":43,"manualWeight":43,"mainColor":69},234677,"shan-shui-ce-ye-tong-yu-xiu-234677","山水册页","佟毓秀","佟毓秀生卒年不详，字钟山，襄平（今辽宁辽阳）人，汉军正蓝旗人。\n光绪版《中国人名大辞典》云佟氏“仕至甘肃巡抚，善画山水。”除甘肃巡抚，佟毓秀还在康熙二十七年（1688）出仕云南巡抚。\n《中国美术家人名辞典》称其：“曾游钱封之门。山水率笔纵横排奡，与蓝瑛相似，惟嫌气格过于粗豪。老年又以枯涩见长。卒年八十余。”钱封工画山水，落笔高古，品格绝尘，一时名人从游者众。蓝瑛明末清初名山水画家，宗法宋元，又自成一家，落笔秀润，晚年笔力苍劲，气象峻迈。从辞书上悉，佟毓秀的山水是以粗率为特点的。",[25,55,57,58,118,7,59,164,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d83db5cfac4b04eaabd238ebe03ace5.jpg",[],{"id":7285,"slug":7286,"title":7287,"dynasty":74,"author":2408,"museum":20,"description":7288,"tags":7289,"thumbUrl":7290,"material":64,"size":64,"collection":64,"collections":7291,"showCount":234,"zanCount":43,"manualWeight":43,"mainColor":69},234637,"fang-ni-yun-lin-shan-shui-shan-ye-lan-ying-234637","仿倪云林山水扇页","蓝瑛（1585-1664），一说（1585-约1666），明代画家。字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民。又号东郭老农，所居榜额曰“城曲茅堂” 。钱塘（今浙江杭州）人。工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻 ，与文征明、沈周并重。",[25,54,976,55,531,56,58,7,59,61,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1600bed19ce55d40b46ed0b1d4f262d8.jpg",[],{"id":7293,"slug":7294,"title":7295,"dynasty":18,"author":7296,"museum":20,"description":7297,"tags":7298,"thumbUrl":7299,"material":64,"size":64,"collection":64,"collections":7300,"showCount":234,"zanCount":43,"manualWeight":43,"mainColor":69},234612,"shan-shui-wan-shan-zhang-zhi-wan-234612","山水纨扇","张之万","张之万，字子青，直隶南皮人（今河北省南皮县人）。道光二十七年（１８４７）以一甲一名中进士，授翰林院修撰，咸丰二年（１８５２）出督河南学政，累迁内阁学士，擢礼部侍郎，兼署工部。尝与太常寺卿许彭寿等总结历代帝王及垂帘事迹，汇辑成《治平宝鉴》，以备帝王借鉴自省。同治元年（１８６２），署理河南巡抚，时捻军起义，张之万在河南汝洲、开封等地多次围剿捻军，捷报频传，赏头品顶戴、赐花翎。之后调任江苏巡抚、迁浙闽总督。光绪八年（１８８２）起兵部尚书，调刑部。光绪十年（１８８４）入军机，兼署吏部，光绪十五年（１８８９），授体仁阁大学士，转东阁，赐双眼花翎，并赐用紫缰（清代对于皇室近支和有功勋的官员，特许骑马用紫缰）。光绪丁酉年（１８９７）卒，年８７，赠太傅，谥文达。\n张之万生平襟怀旷远，不见欣戚之色；其在师中，临危制变，不动声色；善于择将，拔张曜、宋庆等于稠人之中，这些将领均以战功显明于世；居政府１３年，让功推能，人尤称其相度。\n世人或知张之万政绩卓著，战功显赫，然其生性儒雅，工书善画能诗也许少为人知。石家庄市博物馆收藏有张之万书画作品数幅，现择取有代表性的两幅与诸君共赏。",[24,25,54,976,55,56,80,81,118,7,59,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d8481e7d89e0da642dc11c5e031fd6b.jpg",[],{"id":7302,"slug":7303,"title":6765,"dynasty":74,"author":7304,"museum":355,"description":7305,"tags":7306,"thumbUrl":7307,"material":64,"size":64,"collection":64,"collections":7308,"showCount":234,"zanCount":43,"manualWeight":43,"mainColor":44},234478,"shan-shui-shan-ye-guan-si-234478","关思","关思，明朝，生卒年不详，字何思，号虚白（明画录谓字九思，后以字行，更字仲通）。乌程（今江浙吴兴）人。万历（一五七三至一六二○）间名重海内，与宋旭齐名。善画山水，骨法气韵入二李、三王之微，拟王蒙、倪瓒更妙。初年的山水构图繁密，蹊径水口，犹多重叠，至晚年山头石面，粗疏数笔，林树离披，略加墨叶，人物飘然，舟室古雅，令人阅之，眼界肃清。崇祯三年（一六三○）作月夜行旅图、溪山雨霁图。《图绘宝鉴续纂、画史会要、无声诗史、乌程志、明画录、广印人传补遗》",[976,25,58,55,56,7,59,242,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2b19b47dd17306afbd33ff18f0c8dd7.jpg",[],{"id":7310,"slug":7311,"title":7312,"dynasty":18,"author":1416,"museum":355,"description":7313,"tags":7314,"thumbUrl":7315,"material":3463,"size":64,"collection":64,"collections":7316,"showCount":234,"zanCount":43,"manualWeight":43,"mainColor":69},234248,"yi-zhu-zhai-juan-yun-shou-ping-234248","一竹斋卷","《一竹斋图》卷上的落款是“甲子春正月”，即为康熙二十三年二月（1684年），是恽寿平51岁时，于他人生中最后的一个十午岁月初始时，为他的好友一竹斋主人唐若营所画的命题创作。此图是一幅短小而精悍的横幅山水画作，画面中有作者的一段自题以及杨（雪臣）、蔡元宸和济永三家的题诗。画迹本身的尺寸并不长，不过画前引首处裱有一条和画幅几乎等大的暗黄色绢面的题额，",[23,25,54,26,55,1004,195,3030,196,241,58,7,118,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb79c676d0d4d8a8903713389711c9e2d.jpg",[],{"id":7318,"slug":7319,"title":7320,"dynasty":74,"author":1942,"museum":355,"description":7321,"tags":7322,"thumbUrl":7323,"material":3463,"size":64,"collection":64,"collections":7324,"showCount":234,"zanCount":43,"manualWeight":43,"mainColor":69},234240,"ting-qiu-tu-juan-zhou-chen-234240","听秋图卷","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。\n中国明代中期的著名职业画家。他生活在成化至嘉靖年间。字舜卿，号东村，吴（今江苏苏州）人，生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。他有两个学生特别著名，一个唐寅，另一个仇英。唐寅、仇英青出于蓝，风格上极为接近，但当时名气已超过老师。\n周臣山水师承陈暹。曾刻苦临摹李成、郭熙、李唐、马远等作品，其主要取法于李唐派系。画山石坚凝，章法严谨，用笔纯熟。曾与戴进并驱，则互有所长。人物画也非常出色，古貌奇姿，绵密萧散，各极意态。南京博物院收藏的周臣代表作《柴门送别图》 ，描绘一文人携琴访友后，主客分别时依依不舍的情景，明月早已挂在高空，船工也已在船头熟睡，直至客人快要上船了，他还未酲来，说明主客送别时间之长，友谊之深，这其中也融含周臣画体的“院体画”与“文人画”的相融之处。周臣被人们称为非院派的“院派”画家。\n周臣是个丰产画家，流传下来的作品也不少，仅上海博物馆收藏《春山游踪图》 等大幅作品7幅，小扇页14幅，故宫博物院收藏《春山游骑图》《春泉山隐图》等 ，济南博物馆收有《访友图》 ，及台湾、国外大博物馆内也收藏一些作品。周臣这些流存至今的作品件件结构精整，幅幅见功力，下笔不苟。",[23,25,54,26,55,195,3087,101,7,485,29,58,60,1828],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc39bceafc9a156609910412949d149.jpg",[],{"id":7326,"slug":7327,"title":6861,"dynasty":74,"author":415,"museum":355,"description":6862,"tags":7328,"thumbUrl":7329,"material":152,"size":6865,"collection":64,"collections":7330,"showCount":234,"zanCount":43,"manualWeight":43,"mainColor":69},232964,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232964",[25,54,57,55,56,194,196,58,241,7,59,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe151099e591c78c5ae8b3d97b15ade62.jpg",[],{"id":7332,"slug":7333,"title":7334,"dynasty":18,"author":456,"museum":51,"description":7335,"tags":7336,"thumbUrl":7337,"material":152,"size":7338,"collection":64,"collections":7339,"showCount":234,"zanCount":43,"manualWeight":43,"mainColor":44},231489,"fang-huang-zi-jiu-qiu-shan-tu-wang-jian-231489","仿黄子久秋山图","王时敏和王鉴都直接受教于董其昌，属于“南宗”。董其昌是华亭（上海松江县）人。万历间进士，官至礼部尚书，是江南有名的大豪绅。史书上说他“性和易，通禅理，萧闲吐纳，终日无俗语，人拟之米芾、赵孟俯云”。在绘画方面，他主张以古人为师、以下天为师，以求达到“形、手相凑而相忘”的目的。他苦临苦摹，废寝忘食，以“血战宋元”的精神，教育子弟，启发后人。王时敏与王鉴在普遍学习董其昌“南宗”的基础上，各有侧重，王时敏主要着力于黄公望，他自己曾说：“元季四家，当推子久，得其神者，惟董宗伯，得其形者，余不敢让。”而王鉴主要是学习董源与巨然，风格面貌较王时敏多，笔墨变化也比王时敏丰富。所以当时的人们评论说他：“能运笔中锋，其合作处，堪与董华亭对垒”，甚至有的说：“吾谓画中龙，国朝（指清朝）四大家中惟廉州实能当之”。\n王鉴是明朝时刑部尚书、文坛复古运动倡导者王世贞的孙子。生于明万历二十六年戊戌（公元一五九八年），卒于清康熙十六年丁巳（公元一六七七年），享年七十九岁。明崇祯六年（公元一六三三年）中举，两年后，官廉州太守。明朝亡覆前夕罢官归里。因为家富收藏，又自小受名书家熏陶，养成了对书画的特殊爱好，更因为在明清易代、战乱频繁的时期，他虽然未能投身反抗清军的行列，但也不愿甘当清廷的贰臣，于是便“布衣懒自入侯门”，“向人欲仿赵王孙”，去做一名在野的文画家了。",[23,25,54,79,58,28,56,531,80,7,256,308,214,545],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3743a1569f5a7068db31e49355667a3.jpg","98×52cm",[],{"id":7341,"slug":7342,"title":7343,"dynasty":74,"author":586,"museum":20,"description":7344,"tags":7345,"thumbUrl":7346,"material":64,"size":64,"collection":64,"collections":7347,"showCount":234,"zanCount":43,"manualWeight":43,"mainColor":44},228483,"wen-dao-tu-ye-tang-yin-228483","问道图页","此作为绢本设色团扇小品，取边角式构图，右侧古木虬曲苍劲，疏枝带叶，晕染出清寂秋意。江岸石径之上，策鹿老翁宽袍缓行，神态悠然自得，侍童负杖紧随其后，主仆二人身影闲逸萧散。远景江波澹澹，远山隐现于烟霭间，留白烘托出悠远空寂的林下氛围。\n\n笔墨清简写意，人物线条简练传神，老者的安闲与灵鹿的轻跃相互映衬，将文人幽游林泉的隐逸雅趣，融于咫尺团扇之中，尽显萧散淡远的林下高致。",[23,25,54,57,28,101,58,7,978,635,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ec7fe90818314ddf0126d45643bc90.jpg",[],{"id":7349,"slug":7350,"title":7351,"dynasty":74,"author":2408,"museum":20,"description":7352,"tags":7353,"thumbUrl":7354,"material":64,"size":64,"collection":64,"collections":7355,"showCount":234,"zanCount":43,"manualWeight":43,"mainColor":44},228428,"chu-shan-qiu-ji-tu-zhou-lan-ying-228428","楚山秋霁图轴","危峰穿破流云，干湿浓淡的墨色皴擦出岩体质感，云雾轻笼半山，将丘壑裁作数重，虚实相生间铺展出山林深邃意境。山腰隐现山居屋舍，斜松探入烟霭，丹黄枝叶点染浓浓秋意。\n\n山麓飞瀑漱石汇成浅溪，策杖行人于危桥上徐行，野趣悠然自生。整画兼得元人写意简淡与宋人丘壑之实，晕染清润，烘托出秋霁初晴的空濛澄澈。简淡笔墨里藏着朴茂苍劲，将楚山秋日的高旷明洁尽藏尺幅间，尽显浙派晚期山水苍劲秀润的独特风貌。",[23,25,54,79,28,55,56,58,7,285,212,101,211,103,459,786],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ee7d130be7372a1498bcb77806080ed.jpg",[],{"id":7357,"slug":7358,"title":7359,"dynasty":18,"author":541,"museum":20,"description":7360,"tags":7361,"thumbUrl":7362,"material":1148,"size":1149,"collection":64,"collections":7363,"showCount":234,"zanCount":43,"manualWeight":43,"mainColor":44},224425,"yun-feng-shu-se-tu-zhou-zhuang-biao-wang-shi-min-224425","云峰树色图轴（装裱）","王时敏（1592年－1680年），初名赞虞，字逊之，号烟客，晚号西庐老人，直隶太仓州（今江苏太仓市）人，明末清初重要画家。万历首辅王锡爵孙，翰林王衡独子。崇祯初年荫官为太常寺少卿，入清后不仕。\n王时敏擅画山水，少时学董其昌，并临摹家藏宋元名作，以黄公望为宗，笔墨含蓄，浑厚清逸，唯构图略少变化。王时敏开创了山水画的“娄东派”，对清代画坛影响很大。他与王鉴、王翚、王原祁并称“四王”，加上恽寿平和吴历，合称“清六家”。王翚、吴历皆出其门下，孙王原祁亦得其指授。",[23,25,54,79,28,445,56,58,531,80,715,7,213,30,82,680,545],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb013ea1a092bbe1e7b0683866b99698e.jpg",[],{"id":7365,"slug":7366,"title":7367,"dynasty":18,"author":712,"museum":328,"description":3824,"tags":7368,"thumbUrl":7369,"material":2042,"size":6928,"collection":64,"collections":7370,"showCount":234,"zanCount":43,"manualWeight":43,"mainColor":69},222618,"shan-shui-ba-jing-8-gong-xian-222618","山水八景-8",[23,25,54,57,55,56,58,80,7,197,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F767dc9c30cf5c0bb08d7677bfa84cf4e.jpg",[],{"id":7372,"slug":7373,"title":7374,"dynasty":49,"author":7375,"museum":1323,"description":7376,"tags":7377,"thumbUrl":7378,"material":788,"size":7379,"collection":64,"collections":7380,"showCount":234,"zanCount":43,"manualWeight":43,"mainColor":44},221798,"shan-shui-tu-ren-kang-min-221798","山水图","任康民","［宋］汴（今河南开封）人。工界画。宣和（一一一九至一一二五）时入画院，每与贺真合作山水图轴。一日安先作横披，当中界楼阁，分布亭榭满中以困真，真止作坡岸于下，上则层峦叠嶂出于屋妙，更觉壮观，遂成名作。《画继》",[25,54,55,56,58,7,30,498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb12f6cee56717d7d6e8377aa930422af.jpg","23.8X21",[],{"id":7382,"slug":7383,"title":7384,"dynasty":74,"author":317,"museum":726,"description":7385,"tags":7386,"thumbUrl":7387,"material":37,"size":64,"collection":39,"collections":7388,"showCount":234,"zanCount":43,"manualWeight":43,"mainColor":349},219269,"xue-shu-shuang-jiu-tu-yi-ming-219269","雪树双鸠图","绢本的古雅色泽里，冬日的清寂缓缓铺展。虬枝盘曲如铁铸，枝桠间薄雪若碎玉，清冷中透着岁月的苍劲。双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横16.0厘米",[],{"id":7468,"slug":7469,"title":7470,"dynasty":18,"author":7471,"museum":20,"description":7472,"tags":7473,"thumbUrl":7475,"material":64,"size":64,"collection":64,"collections":7476,"showCount":186,"zanCount":43,"manualWeight":43,"mainColor":69},234783,"mo-xie-bin-hua-fu-shan-xiang-zhou-wang-yin-zhai-234783","摹谢彬画傅山像轴","王荫斋","傅山（1607—1684年），字青竹，后改青主，一字仁仲，别署公之它（一作他），号朱衣道人等，阳曲（今山西太原）人。明亡后隐居不仕，以行医为生。清康熙十七年（1678年）举博学鸿词科，强征至京，以死拒，放归。能绘画，精医学。书法篆、隶、真、行、草无所不精，以草书最富特色，笔力雄奇恣肆，追求生拙真率的艺术境界，是清初书坛大家。有《霜红龛集》行世。《清史稿》列传二百八十八有传。",[25,54,79,28,101,7,59,1026,4751,7474,531,196],"伞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a7897ca39a968a036ec4605782e1aa5.jpg",[],{"id":7478,"slug":7479,"title":7480,"dynasty":18,"author":7481,"museum":20,"description":7482,"tags":7483,"thumbUrl":7484,"material":64,"size":64,"collection":64,"collections":7485,"showCount":186,"zanCount":43,"manualWeight":43,"mainColor":69},234622,"wang-fang-fang-gua-chou-shan-shui-wan-shan-wang-fang-234622","汪昉仿瓜畴山水纨扇","汪昉","汪昉（一七九九－一八七七），字叔明，号菽民，又号啜菽老人，江苏阳湖（今江苏常州）人。清书画家。\n他的仕途经历是道光二十四年（一八四四）举人，官至山东莱州府同知。豪饮善诙谐。初游汤贻汾幕中，与赵兰舟、费丹旭朝夕论画，因善山水。笔意松秀，墨法淹润，不失元人规矩。中年所作，邱壑浑成，树石苍润，颇臻妙境。惜晚年颓废，顿失奏致。书临赵孟頫，姿态秀逸，间作分、隶、尤精鉴赏。有《梦衲贪集》。卒年七十九。《武阳县志、墨林今话续编、桐阴论画、读画辑略、畊砚田斋笔记、清画家诗史》。\n汪昉的山水画在清代来说，属于“四王”正统画派的山水画；他的书法出自赵孟頫书风。读画史，能知道他是从元代文人画入手的，继攻“四王”，当时与以后的评论者评他的早年的山水是“笔意松秀，墨法淹润，不失元人矩矱。中年所作，邱壑浑成，树石苍润，颇臻妙境。”说他的书法，“姿态秀逸”。他的山水画受当时正统山水画派的一代领袖汤贻汾的影响很大。",[25,976,58,28,56,531,118,7,59,61,60,358,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F903eaaac4280761f254d8a113782ecc4.jpg",[],{"id":7487,"slug":7488,"title":7295,"dynasty":18,"author":7489,"museum":7490,"description":7491,"tags":7492,"thumbUrl":7493,"material":64,"size":7494,"collection":64,"collections":7495,"showCount":186,"zanCount":43,"manualWeight":43,"mainColor":69},234519,"shan-shui-wan-shan-dai-yi-heng-234519","戴以恒","萧山博物馆","戴以恒(1826～1891)，字用伯，钱塘(今杭州)人，戴熙次子，承家传，擅山水，工刻印，有《醉苏斋书诀》。",[25,976,55,56,58,7,242,59,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff01f32cc520c460a18e50766dccc11c2.jpg","纵17.2厘米，横49.5厘米",[],{"id":7497,"slug":7498,"title":2479,"dynasty":18,"author":2480,"museum":355,"description":2481,"tags":7499,"thumbUrl":7500,"material":447,"size":2484,"collection":64,"collections":7501,"showCount":186,"zanCount":43,"manualWeight":43,"mainColor":69},233891,"huang-shan-tu-ce-mei-qing-233891",[25,54,57,55,28,58,56,194,196,1741,7,459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F291696afa7319434a5c86ab9e6c655f8.jpg",[],{"id":7503,"slug":7504,"title":7505,"dynasty":49,"author":317,"museum":850,"description":7506,"tags":7507,"thumbUrl":7508,"material":1048,"size":7509,"collection":64,"collections":7510,"showCount":186,"zanCount":43,"manualWeight":43,"mainColor":44},232802,"liu-jun-tu-juan-yi-ming-232802","六骏图卷","《六马图卷》旧传出自赵伯驹之手，卷分两段，非出一手，后段末缘下有伪款“千里”及伪印“赵伯驹氏”，清高宗弘历在后半上两题，一为七言古风，一为识语，知款印俱伪，书于同日。此卷曾入张大千手并加跋语四行。\n乾隆皇帝题识：平川苜蓿丰且滋。清泉映带沙冈披。戎人习马知马性。此处调马实所宜。牵者樴者二皆駵，白驹黑鬛绁柳枝，昻蔵翘足骊其色，一戎跨背鞍不施，紫骝回首嘶厥匹，有駓龁草意自怡，骥不称力称其德，况复一一皆英奇，作者寓意应有在，夏官遗法谁深知，即今大宛致汗血，骨格皆合图中姿，亦不渥洼诩作瑞，亦不交河资兴师，迥立阊阖詄荡荡，欲起王孙走笔为。",[23,25,26,28,27,196,194,101,510,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51563118f42df0d8b09f57e6f52a9b14.jpg","纵46.2厘米，横168.3厘米",[],{"id":7512,"slug":7513,"title":7514,"dynasty":95,"author":317,"museum":20,"description":7515,"tags":7516,"thumbUrl":7517,"material":64,"size":64,"collection":64,"collections":7518,"showCount":186,"zanCount":43,"manualWeight":43,"mainColor":44},227851,"shan-ju-dui-yi-tu-yi-ming-227851","山居对奕图","此作以边角取景，尽显空灵淡远的韵致。右侧山居隐于苍松荫翳之下，屋舍素朴雅致，藏着林泉高隐的闲趣。古松虬曲苍劲，墨色苍润勾勒出老干新枝的清劲姿态，左侧松枝斜出，与右侧景致遥相呼应。\n\n大片留白晕染出烟岚空濛的远山，虚渺朦胧如幻似真。设色淡雅清润，水墨晕染出江南山霭的柔婉，尺幅之间铺陈出世外幽居的恬然意境，将林泉高致藏于简淡取景之中，于方寸间见天地悠远，尽显山水小品以小见大的隽永之美。",[23,24,25,54,976,28,56,58,7,118,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe44c22249e2b9611ed2dc25841e8fab.jpg",[],{"id":7520,"slug":7521,"title":7522,"dynasty":95,"author":973,"museum":20,"description":7523,"tags":7524,"thumbUrl":7525,"material":64,"size":64,"collection":64,"collections":7526,"showCount":186,"zanCount":43,"manualWeight":43,"mainColor":44},227535,"yuan-lu-tu-yi-yuan-ji-227535","猿鹭图","易元吉（生卒年不详，公元11世纪左右），字庆之，湖南长沙人。北宋时期著名画家。天资颖异，灵机深敏，尤善画猿猴，并因此而闻名天下。古代绘画评论家把獐猿画看成是易元吉的专工独诣，认为是“世俗之所不得窥其藩”的绝技。",[23,25,28,27,635,1641,29,7,979],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04cd6b97e915aeed8c1ec2cec2231d8a.jpg",[],{"id":7528,"slug":7529,"title":7530,"dynasty":18,"author":6720,"museum":20,"description":7531,"tags":7532,"thumbUrl":7533,"material":64,"size":64,"collection":64,"collections":7534,"showCount":186,"zanCount":43,"manualWeight":43,"mainColor":69},224358,"tong-qin-tu-zhou-yu-zhi-ding-224358","桐禽图轴","《桐禽图》是清代画家禹之鼎于康熙年间创作纸本墨笔画，现藏于故宫博物院。\n画家用劲健的粗笔描绘树干，笔断意不断；树叶先用深浅不同的墨点出，然后以浓墨勒出叶筋；小鸟用淡墨勾轮廓，然后染出躯干，最后再用焦墨画两翅和头部。\n用笔雄健豪迈，奇宕多变，用墨层次丰富，厚而不滞，轻而不淡。\n本幅左上自题：“余摹蓝田叔先生《得子图》非一本也。\n乙亥后两日，偶于京邸，因秋实老翁谈及故园风景，又属（嘱）写此幅，感其嗜痴，不知丑耳。\n广陵禹之鼎识。\n”钤“慎斋禹之鼎印”、“广陵涛上渔人”印二方。\n乙亥为清 三十四年（ ），禹之鼎时年49岁。\n从自题中得知画家此年寓居京师。\n此图用大写意法画 几枝，引来两只飞鸟栖息。\n树枝错落穿插有致，一鸟啄叼桐籽，回首张望，一鸟展翅凌空，疾飞而来。\n画面左虚右实，而左边高飞的小鸟和左上的题记不仅平衡了画面，还使画面平添了几许盈然的生机。\n自题中的“蓝田叔”指明末清初著名的山水画家 ，虽然尚无直接证据可证明禹之鼎曾直接师从蓝瑛，但禹之鼎时常临摹蓝瑛的绘画，所以从此画的笔墨来看还是深得蓝瑛之意的。\n（1647—1716年），字尚吉，号慎斋，江都(今江苏 )人。\n清康熙二十年(1681年)官鸿胪寺序班，以画供奉入 。\n善画人物、山水，尤精写真。\n初师蓝瑛，兼学宋元诸家。\n肖像画面貌多样，对 、墨骨法、江南法都有研究，所绘人物形神兼备，独具一格，一时名公小像多出其手，其肖像画在清代中期有“当代第一”之誉。",[23,25,79,55,35,29,7,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31935bf7d16f8ac9256d4a6e3fe14339.jpg",[],{"id":7536,"slug":7537,"title":7538,"dynasty":18,"author":7539,"museum":20,"description":7540,"tags":7541,"thumbUrl":7543,"material":1148,"size":1149,"collection":64,"collections":7544,"showCount":186,"zanCount":43,"manualWeight":43,"mainColor":349},224130,"fu-luo-han-kanakavatsa-tang-ka-224130","佛罗汉Kanakavatsa","唐卡","唐卡（Thang-ga）也叫唐嘎，唐喀，系藏文音译，指用彩缎装裱后悬挂供奉的宗教卷轴画。唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。\n唐卡是藏族文化中一种独具特色的绘画艺术形式。具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，用明亮的色彩描绘出神圣的佛的世界；颜料传统上是全部采用金、银、珍珠、玛瑙、珊瑚、松石、孔雀石、朱砂等珍贵的矿物宝石和藏红花、大黄、蓝靛等植物为颜料以示其神圣。这些天然原料保证了所绘制的唐卡色泽鲜艳，璀璨夺目，虽经几百年的岁月，仍是色泽艳丽明亮。因此被誉为中国民族绘画艺术的珍品，被称为藏族的”百科全书”也是中华民族民间艺术中弥足珍贵的非物质文化遗产。\n传统唐卡的绘制要求严苛、程序极为复杂，必须按照经书中的仪轨及上师的要求进行，包括绘前仪式、制作画布、构图起稿、着色染色、勾线定型、铺金描银、开眼、缝裱开光等一整套工艺程序。制作一幅唐卡用时较长，短则半年完成，长则需要十余年。",[1096,28,27,101,7,59,715,635,7542,445],"日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F104cace312feb421db8b1985ddc37e4b.jpg",[],{"id":7546,"slug":7547,"title":7548,"dynasty":49,"author":317,"museum":20,"description":7549,"tags":7550,"thumbUrl":7551,"material":1148,"size":1149,"collection":64,"collections":7552,"showCount":186,"zanCount":43,"manualWeight":43,"mainColor":44},223554,"shen-shan-ta-yuan-tu-ye-yi-ming-223554","深山塔院图页","原为团扇,试变其章法,略师其笔意。未知能得董巨幽淡天真之境否。",[23,25,24,54,57,28,56,58,211,1211,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89109ce6e6723a87ee1887eb4a597da7.jpg",[],{"id":7554,"slug":7555,"title":7556,"dynasty":18,"author":7557,"museum":76,"description":7558,"tags":7559,"thumbUrl":7560,"material":28,"size":7561,"collection":64,"collections":7562,"showCount":186,"zanCount":43,"manualWeight":43,"mainColor":69},223100,"fang-fan-kuan-hua-fu-zhou-tang-dai-223100","仿范宽画幅轴","唐岱","唐岱（1673年—1752年之后），字毓东，号静岩，又号知生、爱庐、默庄，满洲正蓝旗人，清代著名画家。承祖爵，任骁骑参领，官内务府总管，以画祗候内廷。山水画初从焦秉贞学，后与王敬铭、张宗苍同为王原祁弟子，名动京师。康熙帝甚赏其画，常召作画，赐称“画状元”。",[23,25,54,79,484,28,56,531,80,30,7,459,990],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e0f7f8016183e9f28c29a883a1292e5.jpg","123.5x69.3",[],{"id":7564,"slug":7565,"title":7374,"dynasty":74,"author":7566,"museum":76,"description":7567,"tags":7568,"thumbUrl":7569,"material":64,"size":64,"collection":64,"collections":7570,"showCount":186,"zanCount":43,"manualWeight":43,"mainColor":69},222442,"shan-shui-tu-yang-wen-cong-222442","杨文聪","杨文聪（1596—1646）明末画家、抗清官员。字山子、龙友，号陈龙、鹤巢、雪盦，原籍贵州贵阳，流寓金陵（今江苏南京）。万历四十七年举人，官至兵部郎中，清兵入闽，被执不屈而死。博学好古，善画山水，为”画中九友”之一。\n其父杨师孔，曾任浙江参政（约相当于副省级长官）。杨文聪于万历二十四年（1596），诞生于贵阳城南郊的石林精舍少怀壮志，学兼文武，善书画，有文采，万历末期举于乡。此后屡试不第，年已30，仍功名不就，因之落魄江湖，纵情山水。他爱南京栖霞山风物，曾读书山中，暇时常登峰顶，眺望长江。数年后，回忆这段生活，曾绘《江中望栖霞》，并题咏其上，以抒怀念之情。\n崇祯十六年（1643）已近中年时，他才谋得江宁知县一职，但不久又被劾罢官。失意之余，遂盘桓于秦淮风月场中。原来秦淮内河自明太祖定都南京就异常繁华，从东水关到西水关长达十里，彻夜灯船，尽笙歌。杨文聪为人豪侠，性爱交游，不仅与素淮名妓往来甚密，而且与复社名流侯方域等结为至友。以扇血点染桃花的韵事，很有可能就发生在这时。此事本传不载，然据近人考证，在孔尚任《桃花扇》成书之前，姜实节为杨文聪题画时就有“记否桃花留扇底，一回首处一消魂”之句。由此可知，杨文聪以扇血点染桃花，并非虚构，而是实有其事。\n崇祯十七年（1644）三月十九日，李自成攻下北京，明思宗朱由检自杀。吴三桂引清兵入关，合力扑灭了李自成农民起义军的烈火。明南京兵部尚书史可法、凤阳总督马土英等拥立福王朱由崧即位南京。杨文聪和马士英是同乡，又系姻亲，同时他在武备方面也有一定才能，因此被起用，监军京口（今镇江）。其时的镇江金山尚在长江水中，他认为金山控制南北，地形利于防守，奏请筑城以资守御，很快得到允准。\n清顺治二年（1645）初，杨文聪升任兵备副使，分巡镇、常两府。到清兵逼近长江时，文聪正驻军金山，控制江防。同年五月，他被提任为右佥都御史（中央监察机关长官）兼督沿江诸军。文聪遂还驻京口，和大将郑鸿适等军合兵长江南岸，与清兵隔江相持。九日夜，清兵乘大雾偷渡，直到接近南岸才被甘露寺守军发现，遂仓皇迎敌，但被清兵冲散。杨文聪败退至苏州。十三日，清兵攻陷南京，南明文武大臣、勋戚除逃亡外，大部迎降。清将曾派人往苏州劝降文聪，说客却被杨文聪所杀，并退军处州（今属浙江）。此时唐王自立于福州，文聪遣使奉表称贺，被拜为兵部右侍郎兼右金都御史，提督军务，图谋收复南京。文聪受命于国破之际，孤军奋战，虽曾扼守仙霞岭，屡挫清军，终因众寡悬殊，于1645年7月兵败被俘，不屈而死，全家36口人同时遇难。",[23,25,54,976,58,55,28,56,80,7,212,591,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff191db746df3d8994d076a97913dd8b.jpg",[],{"id":7572,"slug":7573,"title":7574,"dynasty":18,"author":317,"museum":3175,"description":7575,"tags":7576,"thumbUrl":7577,"material":152,"size":64,"collection":64,"collections":7578,"showCount":186,"zanCount":43,"manualWeight":43,"mainColor":349},216857,"xi-xiang-ji-tu-ce-22-yi-ming-216857","西厢记图册-22","墨色晕染的亭榭倚着清波，树影婆娑间，衣袂轻扬的女子立于廊桥，眉目温婉似含轻愁；亭中执扇的男子凝眸相望，衣袍素雅间藏着几分专注。花枝轻垂如低语，石畔苔痕似藏着时光的温柔，水面潋滟映着亭台的檐角，将古典的婉约静静铺展。\n\n画面以清雅设色晕开园林的静谧，格子窗棂漏出细碎光影，草木的淡彩与水墨的浓淡交织，似把西厢记里含蓄的情愫揉进了景物里。人物的姿态流转着脉脉情思，没有直白的诉说，却让园林的每一处角落都浸着古典爱情的温婉与朦胧。整幅画如一首浅吟的诗，将中式园林的雅致与人物的细腻心绪融于笔端，在恬淡的笔墨间，晕开一段千古流传的温柔片段。",[25,28,27,57,118,212,82,101,135,7,31,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bd8dabc6fad39c7b5cffd01ab2b6583.jpg",[],{"id":7580,"slug":7581,"title":7582,"dynasty":74,"author":2459,"museum":20,"description":7583,"tags":7584,"thumbUrl":7585,"material":63,"size":64,"collection":64,"collections":7586,"showCount":186,"zanCount":43,"manualWeight":43,"mainColor":44},216315,"xi-xiang-ji-zhen-ben-tu-ce-10-chen-hong-shou-216315","西厢记真本图册-10","墨线如铁，勾出棕榈曳影，人物凭坐凝思，衣纹简劲却藏温婉之态。右侧水际云生，题字暗合西厢情节，山水与人物相映，静中藏幽情。笔力古拙奇崛，造型独运匠心，每根线条皆见筋骨，将故事里的细腻心绪凝于尺幅。画面分栏却气韵相连，古雅氛围漫溢，细节处藏叙事之妙，尽显传统绘画的韵致与张力，引人沉湎于古典情境之中。",[25,54,57,1004,101,135,7,30,164,58,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0893984422c01e4c9df8e342609ccfab.jpg",[],{"id":7588,"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[2]\n他是明末清初著名诗人，与钱谦益、龚鼎孳并称“江左三大家”，又为娄东诗派开创者。长于七言歌行，初学“长庆体”，后自成新吟，后人称之为“梅村体”。",[25,976,58,56,55,80,7,242,82,1351,7664],"近林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc92477073469b42ac6c7ee701b34fa5.jpg",[],{"id":7668,"slug":7669,"title":48,"dynasty":74,"author":7670,"museum":20,"description":7671,"tags":7672,"thumbUrl":7673,"material":1148,"size":1149,"collection":64,"collections":7674,"showCount":7602,"zanCount":43,"manualWeight":43,"mainColor":69},235351,"shan-shui-ce-zhang-fu-yang-235351","张复阳","张复阳(约1403—1490)， 明代画家。名复， 以字行，号南山，浙江平湖人(一作秀水人)，道士，居浙江洞霄宫一枝堂。工书法，善画山水，师法吴镇，画风多作写意，水墨淋漓。",[25,54,57,55,56,195,194,196,58,7,101,1641],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c5698b1319643a835571b882c6b69db.jpg",[],{"id":7676,"slug":7677,"title":7678,"dynasty":18,"author":7679,"museum":20,"description":7680,"tags":7681,"thumbUrl":7683,"material":1148,"size":1149,"collection":64,"collections":7684,"showCount":7602,"zanCount":11,"manualWeight":43,"mainColor":69},235117,"shan-shui-shan-mian-huang-yuan-jie-235117","山水扇面","黄媛介","黄媛介，字皆令，浙江嘉兴人，出身儒士之家，生活于明清鼎革之际，在世俗、女德与生计的多重挤压下，或鬻书画，或师闺塾，在风云幻化的江南大地上为养家糊口而羁旅转徙，与名卿士大夫、与名媛闺秀交往酬唱，用诗、词、赋的文学样式及山水花卉的绘形写神，淋漓尽致地释放着心灵的感悟，入木三分地抒写着人生感慨。有着金闺兔苑才的黄媛介，其创作独特的社会价值与艺术魅力将咏絮才女谢道韫开创的林下风推向高峰，既彰显着承前启后的因素，也催发着女性意识的觉醒，影响绵远。",[24,25,54,976,7682,55,56,58,7,680,196],"金笺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91474d58e35571bd28c6edbbbb7ef528.jpg",[],{"id":7686,"slug":7687,"title":7688,"dynasty":74,"author":7689,"museum":20,"description":7690,"tags":7691,"thumbUrl":7692,"material":64,"size":64,"collection":64,"collections":7693,"showCount":7602,"zanCount":43,"manualWeight":43,"mainColor":44},235091,"xi-shan-tu-yong-juan-chen-yi-235091","西山图咏卷","陈沂","此作以两幅并置铺展双重意趣。左幅层岩叠嶂，以短健皴笔勾勒山石嶙峋肌理，古木虬枝错落崖间，山道蜿蜒向幽，山居隐于林峦间，尽显高旷幽寂的林下栖居之美。\n\n右幅以淡墨晕染烟霭，远山如浅黛浮沉雾中，近岸松林参差列植，虚实相生间铺展秋江平远的清疏空阔。笔墨苍秀并济，将山之沉郁与江之空濛相融，尽显寄情林泉的文人雅逸襟怀。",[25,26,55,56,58,80,30,7,680],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabf3165f1773a184dc5208aeba3af1a9.jpg",[],{"id":7695,"slug":7696,"title":48,"dynasty":18,"author":2263,"museum":355,"description":7256,"tags":7697,"thumbUrl":7698,"material":717,"size":7259,"collection":64,"collections":7699,"showCount":7602,"zanCount":43,"manualWeight":43,"mainColor":69},235019,"shan-shui-ce-wu-li-235019",[25,28,56,58,7,59,29,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfe2e9b957ab7cd12fa01a25587da41f.jpg",[],{"id":7701,"slug":7702,"title":6420,"dynasty":18,"author":1952,"museum":20,"description":7703,"tags":7704,"thumbUrl":7705,"material":1148,"size":1149,"collection":64,"collections":7706,"showCount":7602,"zanCount":43,"manualWeight":43,"mainColor":69},234712,"shan-shui-ye-wang-yuan-qi-234712","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」",[25,55,56,54,57,58,7,242,59,2529,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4568b2d6872a4bb289ea167f4b7a84c.jpg",[],{"id":7708,"slug":7709,"title":7710,"dynasty":74,"author":317,"museum":20,"description":7711,"tags":7712,"thumbUrl":7713,"material":64,"size":64,"collection":64,"collections":7714,"showCount":7602,"zanCount":43,"manualWeight":43,"mainColor":44},234696,"ming-ren-song-lin-wan-shan-yi-ming-234696","明人松林纨扇","扇面画的历史源流，据张彦远《历代名画记》记载，三国时，曹操就有请杨修为其画扇的故事。到了唐代画扇之风更为盛行，当时的扇子还是圆形的，故称团扇。宋代宫廷画家更是画扇成风，且留下扇面画也很多，扇子的形制出现了芭蕉形的扇子。集书法、绘画于一扇，则始于明代，这是因为折扇形式的出现。国人历来都有这种习性，一件实用品总要给它艺术化，扇面画就是这样经过明清书画家的匠心经营，从而逐步确定了其作为一种独特的艺术品种而广泛普及、流传下来，继而也逐步形成了扇面画独立的审美体系。及至清代、民国，扇面画都是书画家乐于染翰和文人雅士乐于把玩、收藏的艺术品。",[25,976,28,58,213,7,59,56,635],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffab455c347d55fb44751c40020af2b13.jpg",[],{"id":7716,"slug":7717,"title":48,"dynasty":18,"author":2470,"museum":20,"description":5206,"tags":7718,"thumbUrl":7719,"material":64,"size":64,"collection":64,"collections":7720,"showCount":7602,"zanCount":43,"manualWeight":43,"mainColor":69},234645,"shan-shui-ce-cha-shi-biao-234645",[25,54,57,55,195,56,58,118,7,61,1244,83,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c45098315924d5068c0fa9dad5a669e.jpg",[],{"id":7722,"slug":7723,"title":6765,"dynasty":74,"author":2408,"museum":20,"description":7288,"tags":7724,"thumbUrl":7725,"material":64,"size":64,"collection":64,"collections":7726,"showCount":7602,"zanCount":43,"manualWeight":43,"mainColor":69},234636,"shan-shui-shan-ye-lan-ying-234636",[25,54,976,55,56,58,80,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51a448f7356b9dea489ff04bc13fe9bc.jpg",[],{"id":7728,"slug":7729,"title":7730,"dynasty":74,"author":2408,"museum":20,"description":7288,"tags":7731,"thumbUrl":7732,"material":64,"size":64,"collection":64,"collections":7733,"showCount":7602,"zanCount":43,"manualWeight":43,"mainColor":69},234630,"fang-huang-gong-wang-shan-shui-shan-ye-lan-ying-234630","仿黄公望山水扇页",[25,54,976,58,55,56,531,80,7,242,61,471],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F581d8b3fe9cac690ab9750926dfbb899.jpg",[],{"id":7735,"slug":7736,"title":7278,"dynasty":18,"author":7737,"museum":20,"description":7738,"tags":7739,"thumbUrl":7740,"material":64,"size":64,"collection":64,"collections":7741,"showCount":7602,"zanCount":43,"manualWeight":43,"mainColor":69},234483,"shan-shui-ce-ye-wu-ji-shan-234483","吴继善","吴继善，字志衍,明朝官员。南直隶太仓人，中崇祯十年（1637年）进士，崇祯十六年（1643年）任成都知县。",[25,54,57,55,56,58,7,242,61,471,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1a40848c5916e5cd036669177fab251.jpg",[],{"id":7743,"slug":7744,"title":7745,"dynasty":74,"author":7746,"museum":355,"description":7747,"tags":7748,"thumbUrl":7749,"material":64,"size":64,"collection":64,"collections":7750,"showCount":7602,"zanCount":11,"manualWeight":43,"mainColor":69},234200,"xue-ting-tu-juan-zhao-han-234200","雪亭图卷","赵汉","此作以淡墨晕染出群峰雪意，素净浑茫间，山坳雪亭幽然独立，枯木覆雪点染出清寂萧寒的冬日意境。整卷书画合璧，数段题书风格各异，行书秀逸苍劲，草书纵逸跌宕，擘窠大字雄健厚重。题诗文笔清隽，尽数铺展出林泉高致，将冬日幽居的清冷旷达与归隐忘俗的雅趣相融，笔墨间呼应画中逸韵，尽显诗画同源、以书入画的文人审美意趣。",[23,25,54,26,55,58,195,56,118,80,7,344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc873cb1136ddbd79b8abebe8260093.jpg",[],{"id":7752,"slug":7753,"title":7754,"dynasty":95,"author":317,"museum":355,"description":7755,"tags":7756,"thumbUrl":7757,"material":216,"size":7758,"collection":64,"collections":7759,"showCount":7602,"zanCount":43,"manualWeight":43,"mainColor":44},234078,"zhu-jian-yuan-yang-tu-ye-yi-ming-234078","竹涧鸳鸯图页","图绘坡石斜立于画面的右侧，坡上翠竹摇曳，枝页纷披。坡下竹笋破土而出，小草丛生，小溪潺缓，一派生机蓬勃景象。两只鸳鸯仰头眺望天空中飞来的一只鸟，把观赏者的目光引向画外。图中竹页、竹竿勾勒精细，山石淡染轻勾，色彩柔和自然。构图疏朗，静中有动，为南宋晚期花鸟画佳作。",[25,54,57,28,27,35,241,729,7,59,82,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e9fa1363f0a7140aaa21f8cc99e5309.jpg","24.8*24.8厘米",[],{"id":7761,"slug":7762,"title":7763,"dynasty":18,"author":1186,"museum":355,"description":7764,"tags":7765,"thumbUrl":7766,"material":447,"size":7767,"collection":64,"collections":7768,"showCount":7602,"zanCount":43,"manualWeight":43,"mainColor":69},233444,"ren-wu-shan-shui-ce-luo-pin-233444","人物山水册","中国清代画家罗聘传世代表作。罗聘(1733～1799)，字遯夫，号两峰，又号花之寺僧，安徽歙县人。善画人物、佛像、花卉、山水。此图纸本，设色，纵24.2厘米，横30.7厘米。计12开：\n春柳行舟。一人站立船头。自书七言诗，并题:“冬心先生句并摹其用笔”。钤“两”“峰”印。\n春景山水。桃花盛开，一人站立桥头。自书七言诗，钤“罗聘私印”印。\n夜景山水。一人曳杖于池上行走。自书七言诗。钤“两”“峰”印。\n绿柳红桥。一人策杖立于树下。自书七言诗，钤“两”“峰”印。\n月波吹笛。自书冬心先生自度曲意。钤“遯夫”印。\n芦萍画舫。自题七言诗。印“罗两峰”印。土台流泉。二人松窗弈棋。自书七言诗。钤“遯夫”印。\n婡洎竹頭樤林僧人领鹤。自书七言诗。钤“遯夫”印。\n荷塘柳亭。自书冬心先生自度曲。钤“罗聘私印”。\n秋风落叶。一人独立空亭。自书七言诗。钤“罗聘私印”。\n晚风归舟。墨笔画。自书七言诗，钤“罗聘私印”。\n闭门赏梅。自书七言诗。款“广陵罗聘”,钤“两”“峰”印。\n无年款，似罗聘中年用心之作。\n后幅勒方锜题记。现藏故宫博物院。",[25,55,57,58,101,7,1026,4953,485],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F309f20246632383db65250f12e281fba.jpg","纵24.2厘米，横30.7厘米",[],{"id":7770,"slug":7771,"title":48,"dynasty":49,"author":3659,"museum":355,"description":3660,"tags":7772,"thumbUrl":7773,"material":447,"size":3663,"collection":64,"collections":7774,"showCount":7602,"zanCount":43,"manualWeight":43,"mainColor":44},233171,"shan-shui-ce-cao-zhi-bai-233171",[25,54,57,55,56,58,7,59,256,197,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b6408584eed70bd48c077607537a093.jpg",[],{"id":7776,"slug":7777,"title":7778,"dynasty":95,"author":317,"museum":355,"description":7779,"tags":7780,"thumbUrl":7782,"material":5881,"size":7783,"collection":64,"collections":7784,"showCount":7602,"zanCount":43,"manualWeight":43,"mainColor":44},233019,"song-yin-ce-zhang-tu-ye-yi-ming-233019","松阴策杖图页","艺术史学家高居翰(James Cahill)在《图说中国绘画史》一书中赞叹宋画之美：“在他们的作品中，自然与艺术取得了完美的平衡。他们使用奇异的技巧，以达到恰当的绘画效果，但 是他们从不纯以奇技感人；一种古典的自制力掌握了整个表现，不容流于滥情。艺术家好像生平第一次接触到了自然，以惊叹而敬畏的心情来回应自然。他们视界之 清新，了解之深厚，是后世无可比拟的。”",[25,24,28,27,58,101,213,7,3982,61,102,7781],"策杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5575f00a384fb24df04d011160151d6.jpg","28x28.6厘米",[],{"id":7786,"slug":7787,"title":7788,"dynasty":18,"author":6005,"museum":943,"description":7789,"tags":7790,"thumbUrl":7791,"material":7792,"size":7793,"collection":64,"collections":7794,"showCount":7602,"zanCount":43,"manualWeight":43,"mainColor":69},231348,"fang-wu-zhong-gui-shan-shui-tu-pu-hua-231348","仿吴仲圭山水图","峡江峻岭，山林葱茂，渔人垂钓，一派水国风光。用笔粗犷，气势豪放。自识“霜落蒹葭水国寒，浪花云影上渔竿。画成未拟将人去，茶熟香温且自看。写仲圭诗意，蒲华”。",[23,25,54,55,28,56,531,58,358,241,7,59,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28b812ad538091df8d2f313f8cd5e494.jpg","纸本 设色","167cmx92cm",[],{"id":7796,"slug":7797,"title":7798,"dynasty":74,"author":7799,"museum":20,"description":7800,"tags":7801,"thumbUrl":7803,"material":1148,"size":1149,"collection":64,"collections":7804,"showCount":7602,"zanCount":43,"manualWeight":43,"mainColor":69},228274,"gu-xiu-xiu-song-yuan-ming-ji-ce-6-fu-han-xi-meng-228274","顾绣－绣宋元名迹册.6幅","韩希孟","韩希孟，明代女工艺家，武林（今浙江杭州）人。北宋名相韩琦五世孙，明嘉靖进士顾名世孙媳，顾寿潜妻。居上海。善画花卉，工刺绣，所绘绣宋元画家真迹，最为传神，多用朱绣名款，传世作品较多，为世所珍， 称为“韩媛绣”。",[57,5812,28,101,510,7,7802,194],"水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1776922f8ad1efebd11dc493d1b54d3d.jpg",[],{"id":7806,"slug":7807,"title":7808,"dynasty":18,"author":1070,"museum":20,"description":7809,"tags":7810,"thumbUrl":7811,"material":64,"size":64,"collection":64,"collections":7812,"showCount":7602,"zanCount":43,"manualWeight":43,"mainColor":69},224450,"xia-wu-yin-mei-wang-hui-224450","夏五吟梅","《王翚夏五吟梅图轴》是清代王翚创作的一幅画。\n此图画成时王翚已是8岁高龄，然而画面丝毫看不出有衰老的迹象，线条细若游丝，劲如屈铁，笔力老练纯熟，画风细润明快，融合了众家笔法之长。\n构图布景显示出画家胸有成竹，景物的配置自然写实，气度不凡。",[23,25,24,54,79,28,58,56,212,82,118,29,7,59,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F794bca20f35e023f5002c7199254ad74.jpg",[],{"id":7814,"slug":7815,"title":7816,"dynasty":95,"author":317,"museum":20,"description":7817,"tags":7818,"thumbUrl":7819,"material":64,"size":64,"collection":64,"collections":7820,"showCount":7602,"zanCount":43,"manualWeight":43,"mainColor":69},223687,"gao-ge-ling-kong-tu-yi-ming-223687","高阁凌空图","这幅小品以截取之笔，将凌空高阁悄然铺展。只取楼阁西南一隅，陡斜飞梯衔接重楼飞檐，勾勒出层叠舒展的宋式营造之美，斗拱瓦当皆细致入微，暗合宋人营造的极致工巧。\n\n楼中隐见几缕人影凭栏伫立，为冷峻的木构楼宇晕开一抹暖融融的烟火气，让凌霄高阁脱离孤冷，多了人间意趣。左下角苍松虬枝斜探，古拙松针掩映楼角，为画面添了山野清寂。大片虚淡的暗褐色背景，将建筑与古松托举而出，烘托出楼阁凌云的空寂高旷，尽显宋画小品以小见大、静中生境的雅致意趣。",[23,25,54,915,27,28,211,101,7,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4344c1c96fa89fc78daa9c322978feb4.jpg",[],{"id":7822,"slug":7823,"title":7824,"dynasty":49,"author":317,"museum":7825,"description":7826,"tags":7827,"thumbUrl":7828,"material":447,"size":7829,"collection":64,"collections":7830,"showCount":7602,"zanCount":43,"manualWeight":43,"mainColor":69},223511,"liu-yin-gui-mu-tu-yi-ming-223511","柳荫归牧图","波士顿美术馆","绘牧童放牛晚归的情景。临溪草坡上，一牧童牵牛前行，一牧童伏于牛背上小憩，天真自在，一小牛紧跟中间牛一侧。四周杨柳依依，境界静谧雅逸。此画旧传为南宋张符所绘。",[23,25,54,55,28,101,100,1519,7,196,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1db759fec0e5d7199a96bca38222f29.jpg","42.5x37.3cm",[],{"id":7832,"slug":7833,"title":7834,"dynasty":18,"author":862,"museum":2038,"description":7835,"tags":7836,"thumbUrl":7838,"material":447,"size":7839,"collection":64,"collections":7840,"showCount":7602,"zanCount":43,"manualWeight":43,"mainColor":69},223315,"fa-jie-yuan-liu-tu-juan-9-ding-guan-peng-223315","法界源流图卷-9","该作品的艺术价值堪与北宋名画《清明上河图》媲美，被誉为世界“佛文化、绘画”艺术颠峰之作，世界无价之宝。\n丁观鹏摹张胜温法界源流图卷，是中国艺术史上的一件瑰宝，规模宏伟，人物众多，用笔十分精细认真，如此长卷在世界的佛教绘画中是罕见的。面对这一人物众多，内容复杂，描绘精良的宏篇巨制，不能不令人信服地赞叹中国传统绘画刚健的生命力。由此引起世界上学术界和观赏者的深切关注，也就是非常自然的事情了。\n该卷中所描绘的形象非常繁多，既有佛界诸宗派的人物形象，也有各种动植物和各种佛具法器，均描绘精细，不仅比例准确，而且神态生动。这些形象的汇集与成功的描绘，不由地使人对该画的作者产生由衷敬佩。虽然他的生平事迹不见任何记载，他这件辉煌作品就足以使他在美术史乃至佛教史上永远放射着巨大的光芒。\n该作品用笔细致非凡，设色浓丽，端庄典雅，是清代画家丁观鹏精心创作杰作之一。",[23,26,25,27,28,1096,101,5483,7837,1336,58,7,30,29,978,3762],"菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcddbcbc20c8caa936bf7c1992dcad6c5.jpg","纵33厘米、横1635厘米",[],{"id":7842,"slug":7843,"title":7844,"dynasty":49,"author":7845,"museum":20,"description":7846,"tags":7847,"thumbUrl":7848,"material":5881,"size":7849,"collection":64,"collections":7850,"showCount":7602,"zanCount":43,"manualWeight":43,"mainColor":44},221718,"shi-liu-luo-han-tu-juan-yan-hui-221718","十六罗汉图卷","颜辉","在画法上，能作细致的工笔描绘，但大多喜作水墨粗笔，用笔劲健豪放。笔法粗犷，有梁楷遗法，以水墨画居多。颜辉的作品流传日本较多，对日本室町时代的绘画有较大影响。亦工山水，得北宋李成、郭熙法。所作人物，造型奇特，性格突出。笔法粗厚，钩勒粗细咸宜，起伏有致，渲染精到，以水墨烘晕，使画面衬托出阴暗凹凸，富立体感，有“笔法奇绝，八面生意”之称，这是一种前无古人之创新画法，柳贯赞之为“收揽奇怪一笔摸”，与梁楷、法常一脉相承。所画铁拐李目光咄咄逼人，形貌粗陋却一身正气，反映出仇视当权者之强烈情绪。亦善画猿，曾作《百猿图》，时人戴良释解其画意为褒扬“猿之仁也”。",[23,24,25,54,26,1096,28,101,241,7,637,1005,635,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddac756f2f89593d787704e92b86bde9.jpg","25x256",[],{"id":7852,"slug":7853,"title":7854,"dynasty":1718,"author":7855,"museum":7856,"description":7857,"tags":7858,"thumbUrl":7859,"material":64,"size":64,"collection":64,"collections":7860,"showCount":7602,"zanCount":43,"manualWeight":43,"mainColor":69},220458,"shi-men-guan-liang-220458","石门","关良","龙美术馆西岸馆","关良，字良公，广东番禺人。长于中国画、油画。1917 年入日本川端画学校学习油画，1918-1923 年于太平洋美术学校学习油画。1923 年回国，任上海美术专科学校教授。参加过北伐战争，任政治部艺术股长。三十至四十年代辗转于广州、上海、重庆等地的艺术院校任教，并于名山大川旅行写生。曾任浙江美术学院教授、上海中国画院画师。著有《关良艺事随谈》、《关良回忆录》。出版《关良京戏人物水墨画》、《关良油画集》等。",[25,28,58,7058,82,118,916,7,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0ebef99d6af837be20ccb7bdc022a25.jpg",[],{"id":7862,"slug":7863,"title":7864,"dynasty":95,"author":7865,"museum":76,"description":7866,"tags":7867,"thumbUrl":7868,"material":216,"size":64,"collection":64,"collections":7869,"showCount":7602,"zanCount":43,"manualWeight":43,"mainColor":44},218674,"xi-hu-shi-jing-tu-duan-qiao-can-xue-ye-xiao-yan-218674","西湖十景图-断桥残雪","叶肖岩","雪落断桥，淡墨晕开湖山的朦胧。枯枝疏朗，似凝住冬日清寒；远山如黛，薄雪轮廓在烟霭中隐现。水墨笔触轻缓，将雪的柔、山的静、桥的孤融于一纸。断桥卧于雪色间，像守着时光的老者，静看湖山更迭；岸边松竹墨线简练，道尽寒冬里的坚韧疏朗。淡墨远山与近景残雪相映，铺展“断桥残雪”的清冷诗意，仿佛能嗅到雪中梅香清冽，触到湖面微风微凉。静谧中藏着江南冬日婉约，残雪未消处，似有游人踏雪屐痕轻浅，引人欲赴一场雪中湖山之约。",[23,25,54,57,28,58,56,80,7,212,344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2cae48ac35dd4101f07a41be498b1dd.jpg",[],{"id":7871,"slug":7872,"title":7873,"dynasty":74,"author":2459,"museum":20,"description":7874,"tags":7875,"thumbUrl":7876,"material":63,"size":64,"collection":64,"collections":7877,"showCount":7602,"zanCount":43,"manualWeight":43,"mainColor":44},216296,"xi-xiang-ji-zhen-ben-tu-ce-28-chen-hong-shou-216296","西厢记真本图册-28","仕女立于树畔，衣袂轻扬间藏着西厢故事的幽微心绪。陈洪绶以古拙奇崛的笔墨，将人物造型略作夸张却神韵毕肖——眉眼间的柔婉，身姿的含蓄，皆在凝练如铁线的线条中尽显。庭院花木疏朗，枝桠伸展如写意，与人物的细腻形成呼应，既保留了戏曲场景的氛围感，又融入文人画的清雅意趣。笔墨不多却意境悠远，仿佛能窥见剧中人隐秘的情愫，尽显其“高古奇骇”的艺术格调，让古典故事在纸上流转出永恒的韵致。",[25,54,57,1004,101,135,7,273,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3561343f935dbdb25c67479a62daea6.jpg",[],{"id":7879,"slug":7880,"title":7881,"dynasty":74,"author":282,"museum":355,"description":7416,"tags":7882,"thumbUrl":7883,"material":63,"size":7419,"collection":64,"collections":7884,"showCount":7602,"zanCount":43,"manualWeight":43,"mainColor":69},214870,"shan-shui-ce-10-wen-zheng-ming-214870","山水册-10",[23,25,54,57,55,28,58,7,59,82,118,56,194,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facd277b11b6610c2bd7c039c5093ab69.jpg",[],{"id":7886,"slug":7887,"title":7888,"dynasty":18,"author":4189,"museum":51,"description":7889,"tags":7890,"thumbUrl":7891,"material":63,"size":64,"collection":64,"collections":7892,"showCount":7602,"zanCount":43,"manualWeight":43,"mainColor":69},214513,"shui-mo-tu-ce-5-zheng-min-214513","水墨图册-5","郑旼是清代著名的画家，他的水墨图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了郑旼对自然的热爱和对传统文化的尊重。他运用了水墨画的特点，使得整件作品显得舒缓而优美。\n\n郑旼是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在水墨图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，郑旼的水墨图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了郑旼对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到郑旼的画风魅力，还能了解中国传统的山水风情。",[25,54,57,55,195,56,58,80,7,990],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bc0141316cc60b4a71f2c1adb54b234.jpg",[],{"id":7894,"slug":7895,"title":7896,"dynasty":18,"author":7897,"museum":328,"description":7898,"tags":7899,"thumbUrl":7902,"material":64,"size":64,"collection":122,"collections":7903,"showCount":7602,"zanCount":43,"manualWeight":43,"mainColor":7904},203212,"ying-xi-tu-ce-hua-nie-203212","婴戏图册","华喦","稚童嬉戏的鲜活场景跃然纸上：或围雪塑型，小手翻飞间雪人渐成；或树下捉迷藏，身影攒动藏于枝叶后；或旷野放风筝，线轴轮转伴笑声飞扬。笔墨简洁灵动，人物神态鲜活，衣纹勾勒流畅自然，设色淡雅清新，于方寸册页间铺展童真意趣。画面无繁复布景，却以日常嬉戏细节触动人心，尽显生活之趣与艺术之美。",[25,57,28,55,101,1432,7,344,7900,3535,7901,23],"风筝","童真","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8eda1a6c24bac18c35e7aa7fafd07c3.jpg",[122],"a4a7a5",{"id":7906,"slug":7907,"title":7908,"dynasty":18,"author":2847,"museum":20,"description":7909,"tags":7910,"thumbUrl":7911,"material":64,"size":64,"collection":64,"collections":7912,"showCount":7913,"zanCount":43,"manualWeight":43,"mainColor":69},238738,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238738","画弘历和江文通诗意图册","淡墨晕开山居幽境，古木虬枝环抱书斋，凭窗士子凝眸静思，似正沉湎诗中逸怀。庭院山石错落苍润，远景丘林烟岚轻笼，将咫尺画幅晕染出悠远空濛的林下雅意。\n\n右上角题诗与画境相映成趣，笔致清隽温润，舍去浓艳设色，仅以水墨干湿浓淡铺陈萧散简淡的文人意趣。将诗文里的知己之思、林居之寂融在咫尺山水庭院中，淡远空灵，把文人心底的幽怀与林下栖居的雅静合二为一，尽显中式水墨留白的澹澹禅意。",[25,54,57,55,1004,27,56,194,196,101,118,197,59,868,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4dc78376cec2516a555084645f9b74d.jpg",[],9,{"id":7915,"slug":7916,"title":7908,"dynasty":18,"author":2847,"museum":20,"description":7917,"tags":7918,"thumbUrl":7919,"material":64,"size":64,"collection":64,"collections":7920,"showCount":7913,"zanCount":43,"manualWeight":43,"mainColor":69},238732,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238732","以淡墨写就清润雅致的幽居之景，堂内文士凭窗静思，案头琴樽宛然，暗合诗中闲寂文心。坡岸怪石嶙峋，修竹婆娑弄影，古木交柯成荫，淡墨晕染出草木苍润之态，留白铺陈出空阔悠然的意境。\n题画诗与景致呼应交融，以极简笔墨勾勒出林泉雅舍的沉静氛围，将文人幽居悟怀的林下风致藏于笔底。笔意简淡松灵，诗画合一，尽显古典文人心底的静雅意趣，余韵悠长。",[25,54,57,55,27,56,101,118,7,30,241,194,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd301652b0efeb1460046b050b55b468a.jpg",[],{"id":7922,"slug":7923,"title":2458,"dynasty":18,"author":7924,"museum":20,"description":7925,"tags":7926,"thumbUrl":7928,"material":64,"size":64,"collection":64,"collections":7929,"showCount":7913,"zanCount":11,"manualWeight":43,"mainColor":69},238272,"ren-wu-zhou-zhuang-yu-de-238272","庄豫德","此作绘三星雅聚庭院，设色清雅古雅，笔墨细腻温婉。长者神态各殊，展卷者悠然、持芝者端方、捧花者和悦，尽显仙风道骨。身旁稚童灵动俏皮，为画面添上鲜活生机，衬出满堂祥和吉庆的氛围。庭中古梅虬枝初绽，案头文房清供点缀雅意，园林布景雅致悠然，将世俗祈盼的福寿祥瑞，融于文人雅集的闲淡场景中。衣纹勾勒流畅婉转，人物形神兼备，把传统吉庆主题与文人意趣相融，尽显工笔人物画的雅致意韵。",[25,54,79,28,27,101,730,7,30,4304,2429,7927,273],"老者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00a8e723639013a07c230b867f95ce5e.jpg",[],{"id":7931,"slug":7932,"title":6765,"dynasty":74,"author":6766,"museum":20,"description":6767,"tags":7933,"thumbUrl":7935,"material":1148,"size":1149,"collection":64,"collections":7936,"showCount":7913,"zanCount":43,"manualWeight":43,"mainColor":69},237967,"shan-shui-shan-ye-sun-zhi-237967",[25,54,976,58,55,56,80,164,7,243,212,358,103,82,680,61,7934],"近景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547b5fb35dd83eb1ff533e6308387920.jpg",[],{"id":7938,"slug":7939,"title":7940,"dynasty":18,"author":4648,"museum":20,"description":7941,"tags":7942,"thumbUrl":7943,"material":64,"size":64,"collection":64,"collections":7944,"showCount":7913,"zanCount":43,"manualWeight":43,"mainColor":69},237880,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237880","杨晋仿古山水册","杨晋 （1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。\n杨晋是清代宫廷画家，以画界画见长，他能恰到好处地发挥传统工笔界画的特长，把人工建筑的楼阁台榭及人物举止和天然山水景色紧密结合起来，在结构上作了极好的剪裁，满而不闷，画风细致明秀、娟丽清新，层次过渡非常自然。《石谷骑牛图》绘石谷悠然骑于牛背之上，神态安详平和，状写简逸传神。石谷即清代大画家王翚，也是杨晋的老师。",[25,54,57,55,28,58,241,7,83,195,196,531],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61175dbfe080a1ad3dc87a345d7c1ae4.jpg",[],{"id":7946,"slug":7947,"title":7948,"dynasty":74,"author":7949,"museum":20,"description":7950,"tags":7951,"thumbUrl":7952,"material":1148,"size":1149,"collection":64,"collections":7953,"showCount":7913,"zanCount":43,"manualWeight":43,"mainColor":69},237844,"fang-huang-gong-wang-shan-shui-shan-sheng-dan-237844","仿黄公望山水扇","盛丹","盛丹，明代画家。字伯含，金陵（今南京）人。工画山水、花卉、兰竹等。山水得黄公望笔墨之法，萧疏风致。传世作品有《拟唐棣山水册页》等。",[25,54,976,55,56,531,58,118,7,30,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1be4664a340f3b42f11f52ed49c37e5.jpg",[],{"id":7955,"slug":7956,"title":4257,"dynasty":18,"author":5581,"museum":20,"description":5582,"tags":7957,"thumbUrl":7958,"material":1148,"size":1149,"collection":64,"collections":7959,"showCount":7913,"zanCount":43,"manualWeight":43,"mainColor":69},237490,"shan-shui-tu-ce-yao-song-237490",[25,54,57,28,195,56,80,30,7,211,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19a227ab991caac1a9cf1943ec96dae.jpg",[],{"id":7961,"slug":7962,"title":7963,"dynasty":18,"author":7964,"museum":20,"description":7965,"tags":7966,"thumbUrl":7967,"material":1148,"size":1149,"collection":64,"collections":7968,"showCount":7913,"zanCount":43,"manualWeight":43,"mainColor":69},237447,"wu-gu-xiang-ye-yue-qiu-du-shan-mian-wu-gu-xiang-237447","吴穀祥夜月秋渡扇面","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。”",[976,25,54,28,55,56,58,1420,358,7,29,60,258,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8712b0fc72e34be9d880bfd2082aeef6.jpg",[],{"id":7970,"slug":7971,"title":7972,"dynasty":18,"author":7973,"museum":20,"description":7974,"tags":7975,"thumbUrl":7976,"material":1148,"size":1149,"collection":64,"collections":7977,"showCount":7913,"zanCount":43,"manualWeight":43,"mainColor":69},236950,"jiu-ru-zhi-ji-ce-wang-gai-236950","九如治迹册","王概","王概，又作王槩。初名匄，一作改，亦名丐，字东郭，又字安节，后改今名，秀水（今浙江嘉兴）人，久居江苏金陵（今南京）。兄王蓍，初名尸，字宓草。以花鸟擅名，兼善诗文、治印。",[25,54,57,28,101,211,58,27,195,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42a2d2d9da2686115d82c0adb31f4bb9.jpg",[],{"id":7979,"slug":7980,"title":4714,"dynasty":74,"author":7981,"museum":20,"description":7982,"tags":7983,"thumbUrl":7984,"material":1148,"size":1149,"collection":64,"collections":7985,"showCount":7913,"zanCount":43,"manualWeight":43,"mainColor":69},236807,"shan-shui-shan-wang-sheng-236807","王声","此作用金笺铺底，细笔皴写江岸坡石，修竹杂木错落布陈，枝叶扶疏间漾出清润生机。水面汀渚星罗，茅亭临水而建，亭中文士凭栏晤谈，将江南水畔的幽居雅趣，收于咫尺扇面。\n\n笔墨秀雅温润，设色浅淡明净，带着清雅淡远的画中意趣，简淡构图里藏着萧散闲逸的文人韵致，把林下清谈的悠然之态晕染开来，于尺幅间尽显山水雅集的淡远意境，是小品山水里的精妙佳构。",[976,25,58,28,56,241,83,212,82,118,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F380490f5ce5ab387cf014456c62944a1.jpg",[],{"id":7987,"slug":7988,"title":4714,"dynasty":74,"author":7989,"museum":20,"description":7990,"tags":7991,"thumbUrl":7992,"material":1148,"size":1149,"collection":64,"collections":7993,"showCount":7913,"zanCount":43,"manualWeight":43,"mainColor":44},236690,"shan-shui-shan-zheng-yuan-xun-236690","郑元勋","郑元勋（1598-1645年），字超宗，号惠东，扬州广陵(今扬州市广陵区)人。明末画家，江左名流。\n崇祯十六年(1643年)，考中进士，官至清吏司主事。工诗善画，善山水，宗于吴镇，尤工山水小景，措笔洒落，士气得韵。\n顺治二年，“因悍镇分地临扬，欲纾难而出语小误，为众击惨死，时论惜之，卒年四十七”。（参见徐沁《明画录》卷五记载）",[25,54,976,55,56,58,7,59,61,101,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F922e65e34deded605e999c2d99c2a359.jpg",[],{"id":7995,"slug":7996,"title":7997,"dynasty":74,"author":1729,"museum":20,"description":7998,"tags":7999,"thumbUrl":8000,"material":1148,"size":1149,"collection":64,"collections":8001,"showCount":7913,"zanCount":43,"manualWeight":43,"mainColor":69},235953,"fang-wu-zhen-shan-shui-shan-chen-chun-235953","仿吴镇山水扇","陈淳（1483年—1544年），字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲（今江苏苏州）人，明代绘画大师。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。",[976,25,55,58,7,118,196,531,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F649442b846db5f45bd2a309255d302df.jpg",[],{"id":8003,"slug":8004,"title":4257,"dynasty":18,"author":2263,"museum":20,"description":8005,"tags":8006,"thumbUrl":8007,"material":64,"size":64,"collection":64,"collections":8008,"showCount":7913,"zanCount":43,"manualWeight":43,"mainColor":69},235641,"shan-shui-tu-ce-wu-li-235641","这幅山水以淡墨晕染出空濛烟雨之境，层叠远山隐在烟霭间，虚实相生，将江南雨后的山岚雾气尽数铺展。近景村居错落依偎松林修竹，屋舍俨然，带着悠然野逸的田园意趣。笔墨松秀苍润，以留白衬出烟林清润的朦胧质感，既有元人山水的萧散简淡，又晕染出温润的烟火暖意。边角题诗与笔墨意境呼应，诗画交融，将文人幽居林泉的理想铺陈开来，整体清和淡远，藏着静穆安宁的山居诗意，尽显江南山林雨后的静谧清润之美。",[25,54,57,55,58,80,7,242,118,459,56,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9887841a41a50cb5eb71badbb3c5ccfe.jpg",[],{"id":8010,"slug":8011,"title":4257,"dynasty":18,"author":160,"museum":20,"description":8012,"tags":8013,"thumbUrl":8014,"material":64,"size":64,"collection":64,"collections":8015,"showCount":7913,"zanCount":43,"manualWeight":43,"mainColor":69},235071,"shan-shui-tu-ce-hua-yan-235071","此作用淡墨晕染出江南水乡之景，近岸芦苇轻曳，矮树傍临村居屋舍，江波留白隐现水色空濛，远山层叠以淡墨晕开，氤氲间尽显清寂淡逸。画作线条秀雅灵动，摒弃繁复皴擦，以简淡笔墨勾勒出幽远澹泊的林下栖居之境，将山水野居相融，寄寓林泉高致。左侧题诗与画面相生相合，诗境衬映画中澹然意趣，诗画合璧尽显文人雅致审美，整体意境清和疏旷，尽显传统文人山水画的悠然意韵。",[25,54,57,55,56,58,7,241,242,61,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8c2278aaa9259d175772ba1ab608e8c.jpg",[],{"id":8017,"slug":8018,"title":4154,"dynasty":18,"author":1070,"museum":20,"description":3038,"tags":8019,"thumbUrl":8020,"material":1148,"size":1149,"collection":64,"collections":8021,"showCount":7913,"zanCount":43,"manualWeight":43,"mainColor":69},234963,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234963",[25,54,57,55,56,531,58,7,212,82,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2c2256c7c79abd27570bee507128938.jpg",[],{"id":8023,"slug":8024,"title":8025,"dynasty":74,"author":2408,"museum":20,"description":8026,"tags":8027,"thumbUrl":8028,"material":1148,"size":1149,"collection":64,"collections":8029,"showCount":7913,"zanCount":43,"manualWeight":43,"mainColor":69},234840,"fang-bei-yuan-shan-shui-shan-ye-lan-ying-234840","仿北苑山水扇页","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。",[976,25,484,56,28,80,7,59,82,61,7934,197,590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f39de867eab103772580eacab4813bc.jpg",[],{"id":8031,"slug":8032,"title":2479,"dynasty":18,"author":8033,"museum":355,"description":8034,"tags":8035,"thumbUrl":8036,"material":447,"size":64,"collection":64,"collections":8037,"showCount":7913,"zanCount":43,"manualWeight":43,"mainColor":69},234766,"huang-shan-tu-ce-jiang-zhu-234766","江注","江注（1626～1685），字允凝，号若米舫。一些美术画论和辞典称其又字允冰，徽州歙县桃源坞人，僧渐江之侄，能诗善画，著有《允凝诗草》，幼从渐江学画，意境幽僻，用笔清劲，笔墨苍古，清远冷峻，常年隐于黄山，曾陪伴弘仁在黄山纪游写生，搜胜穷幽，颇得渐江真传，与姚宋、祝昌、吴定并称为“渐江四弟子”。\n江注《黄山图册》册页五十帧，现收藏于故宫博物院。由于渐江亲授，在绘画思想和风格上“酷肖弘仁”。他常和渐江结伴出游，一样痴迷黄山，有“渐公坐文殊台上吹笛，江允凝倚歌和之，发音嘹亮，上彻云表”之故事。",[25,54,57,55,56,194,195,196,58,83,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5dea837a9d05ce0a8212a104026573d.jpg",[],{"id":8039,"slug":8040,"title":48,"dynasty":18,"author":2470,"museum":20,"description":5206,"tags":8041,"thumbUrl":8042,"material":64,"size":64,"collection":64,"collections":8043,"showCount":7913,"zanCount":43,"manualWeight":43,"mainColor":69},234644,"shan-shui-ce-cha-shi-biao-234644",[25,54,57,55,195,58,7,118,212,82,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7e9d06e411b9b13d70f95bc92270295.jpg",[],{"id":8045,"slug":8046,"title":48,"dynasty":18,"author":2470,"museum":20,"description":5206,"tags":8047,"thumbUrl":8048,"material":64,"size":64,"collection":64,"collections":8049,"showCount":7913,"zanCount":43,"manualWeight":43,"mainColor":69},234642,"shan-shui-ce-cha-shi-biao-234642",[25,54,57,55,195,194,58,7,59,101,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bd571a94f7c6223027c110d269704e0.jpg",[],{"id":8051,"slug":8052,"title":8053,"dynasty":18,"author":1186,"museum":20,"description":8054,"tags":8055,"thumbUrl":8056,"material":447,"size":64,"collection":64,"collections":8057,"showCount":7913,"zanCount":43,"manualWeight":43,"mainColor":69},234191,"xiang-mu-zhi-bu-jing-xiong-di-zhu-lin-xiang-juan-luo-pin-234191","项穆之补景兄弟竹林像卷","罗聘(1733—1799年)，字遯夫，号两峰，又号花之寺僧等。原籍安徽歙县，其先辈已迁居扬州。博闻好学，20余岁随金农学画，常为之代笔。曾三赴京师，因画《鬼趣图》轰动当时文坛，其才华横溢。人物、花鸟、山水兼善，画法受金农、石涛、华岩等人的影响，笔力雄厚，以清奇、拙奥、生冷见长。他所画人物造型准确，尤精于画鬼，借以揭露世态。花鸟尤以梅花突出，其妻方婉仪及子均工画梅，被称为罗家梅派。",[23,25,54,26,55,1004,101,241,7,196,195,3087],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47abff1d1b94387afac381e7af98b587.jpg",[],{"id":8059,"slug":8060,"title":48,"dynasty":74,"author":468,"museum":355,"description":4258,"tags":8061,"thumbUrl":8062,"material":447,"size":616,"collection":64,"collections":8063,"showCount":7913,"zanCount":43,"manualWeight":43,"mainColor":69},233802,"shan-shui-ce-dong-qi-chang-233802",[25,54,57,55,58,7,196,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F554c42ef112494200aba5efc6ef761fb.jpg",[],{"id":8065,"slug":8066,"title":8067,"dynasty":1460,"author":8068,"museum":20,"description":8069,"tags":8070,"thumbUrl":8071,"material":1148,"size":1149,"collection":64,"collections":8072,"showCount":7913,"zanCount":43,"manualWeight":43,"mainColor":44},230502,"shi-ting-shi-dai-si-ji-shan-shui-tu-chun-xue-zhou-230502","室町时代 四季山水图（春）","雪舟","雪舟（1420～1506） Sesshū 日本画家。名等杨，又称雪舟等杨。生于备中赤浜（今冈山县总社市）。曾入相国寺为僧，可能随同寺的山水画家周文学过画。作品广泛吸收中国宋元及唐代绘画风范。后被维也纳世界和平大会通过决定公认他为世界文化名人。",[23,25,54,24,79,56,55,28,58,80,7,308,680,61,3367,590,472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d2e56b5d98f493acc8eca2d65f97ffa.jpg",[],{"id":8074,"slug":8075,"title":8076,"dynasty":74,"author":8077,"museum":20,"description":8078,"tags":8079,"thumbUrl":8081,"material":64,"size":64,"collection":64,"collections":8082,"showCount":7913,"zanCount":43,"manualWeight":43,"mainColor":69},228737,"jiang-tian-mu-xue-tu-ye-fan-yun-lin-228737","江天暮雪图页","范允临","淡墨晕染层叠远山，雪色晕开清寒暮色，留白与浅灰晕织出山峦的空濛萧寒。近岸村居错落依偎，老树槎桠间点缀残红，破开些许冷意。一叶扁舟独行寒江，将天地岑寂揉入漾漾水波。\n\n左侧书法笔意疏朗俊逸，诗画相映，把冬日江村的幽隐野趣尽数铺展。简淡笔触写尽江天暮雪的冷旷萧散，将文人林下幽居的寄怀藏进每一处留白，尽显山水间的诗意雅致。",[23,25,54,1419,28,55,195,196,194,58,80,344,7,242,8080,56,60],"扁舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc905d1d8dceb3f5033dad9b40e17dc4.jpg",[],{"id":8084,"slug":8085,"title":8086,"dynasty":74,"author":586,"museum":20,"description":8087,"tags":8088,"thumbUrl":8089,"material":64,"size":64,"collection":64,"collections":8090,"showCount":7913,"zanCount":43,"manualWeight":43,"mainColor":349},228482,"wen-dao-tu-jing-xin-tang-yin-228482","问道图镜心","此作用苍古暮色铺就底色，虬曲古木错立林间，枝叶以淡墨晕染，晕开幽寂沉敛的林下氛围。画面里旅人卸担驻足，与隐者对坐晤谈，人物情态宛然鲜活，衣纹线条清劲顿挫，兼取院体工致与文人写意之妙。\n\n整体色调沉郁古雅，古旧绢面更添静穆萧散的林下意趣，将寻问道义的幽寂心绪，与明代文人的林下襟怀融于尺幅之间，笔墨简淡却藏悠远禅意，尽显吴门画派雅致淡远的笔墨风神。",[23,25,54,28,27,101,510,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a33040bcc2b7fb57b1d476668426699.jpg",[],{"id":8092,"slug":8093,"title":8094,"dynasty":95,"author":317,"museum":20,"description":8095,"tags":8096,"thumbUrl":8097,"material":64,"size":64,"collection":64,"collections":8098,"showCount":7913,"zanCount":43,"manualWeight":43,"mainColor":44},227877,"liu-yin-zui-gui-tu-ye-yi-ming-227877","柳荫醉归图页","淡墨晕染出朦胧暮色，岸旁垂柳虬曲柔条拂垂，晕染出郊野空寂慵懒的氛围。画面里二人踉跄前行，袒胸老者脚步虚浮、眉眼惺忪，同伴侧身相挽，将酒后酣醉的神态描摹得鲜活传神。衣纹以简练折线勾勒，灵动写意，袒露的胸腹更添随性不羁之感。细笔点染的苔石杂草，衬出初夏郊野的闲散意趣。\n\n整幅小品以小见大，将市井酒徒的闲散意趣刻画入微，于淡墨轻岚间尽显宋人雅致的日常烟火，把酒后踉跄相依的鲜活模样定格，是极具生活意趣的风俗佳作。",[23,24,25,54,976,55,28,1004,101,1519,7,82,2988],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb07731deb8fe6e8511dbfea680bcab0c.jpg",[],{"id":8100,"slug":8101,"title":8102,"dynasty":1460,"author":4758,"museum":20,"description":4759,"tags":8103,"thumbUrl":8107,"material":1148,"size":1149,"collection":1476,"collections":8108,"showCount":7913,"zanCount":43,"manualWeight":43,"mainColor":349},225852,"the-sower-june-fan-gao-225852","The sower (June - 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en-dian-237560","文点（一六三三―一七o四），字与也，号南云山樵，长洲（今江苏苏州）人。 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目，其中的柏树形象和一般文人画家所描绘的形象不同，这是因为柏树的形象比较适合傅山的用笔、用墨习惯。柏树的叶、干，既可用大笔粗写，表现厚重的感觉，又可用细笔碎点，使墨的干、湿、浓、淡得以充分展现。在粗写和细点之间，有很大的创作空间，这对于不守古法的傅山来说，柏树形象无疑是他传递内心情感的极好媒介。\n就体现时代精神而言，傅山的绘画虽然不及八大、石涛等人的作品醒目和逼真，表现技巧也显得有些业余，但蕴含于绘画中的笔墨和精神与其书法应是相通的。分析其绘画作品，无疑能加深对其书风转变的理解。从这一点说，傅山绘画自有其存在的艺术价值。",[25,54,57,195,194,55,58,1211,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7207aa4714a6c40bb3a6c5365c536f07.jpg","纵36.5厘米，横37厘米",[39,65],{"id":8388,"slug":8389,"title":48,"dynasty":74,"author":468,"museum":355,"description":4258,"tags":8390,"thumbUrl":8391,"material":447,"size":616,"collection":64,"collections":8392,"showCount":451,"zanCount":43,"manualWeight":43,"mainColor":69},233801,"shan-shui-ce-dong-qi-chang-233801",[25,54,57,55,56,80,7,243,213,59,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50182159ae20d4f8f94ae49233c0d9d2.jpg",[],{"id":8394,"slug":8395,"title":48,"dynasty":49,"author":3659,"museum":355,"description":3660,"tags":8396,"thumbUrl":8397,"material":447,"size":3663,"collection":64,"collections":8398,"showCount":451,"zanCount":43,"manualWeight":43,"mainColor":44},233172,"shan-shui-ce-cao-zhi-bai-233172",[25,54,57,55,56,58,80,7,212,82,459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F358988cca645453495c37e3807d5abeb.jpg",[],{"id":8400,"slug":8401,"title":4070,"dynasty":18,"author":1952,"museum":355,"description":4071,"tags":8402,"thumbUrl":8403,"material":4074,"size":4075,"collection":64,"collections":8404,"showCount":451,"zanCount":43,"manualWeight":43,"mainColor":69},233162,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233162",[25,58,28,56,57,196,80,30,7,82,590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d16fc8d6f6d21d7a77d781c5c0e6642.jpg",[],{"id":8406,"slug":8407,"title":8408,"dynasty":18,"author":160,"museum":20,"description":8409,"tags":8410,"thumbUrl":8411,"material":152,"size":8412,"collection":64,"collections":8413,"showCount":451,"zanCount":43,"manualWeight":43,"mainColor":69},231937,"xie-jin-ren-shi-yi-hua-ce-14-zhen-hua-yan-231937","写晋人诗意画册14帧","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、离垢居士等，老年自喻“飘篷者”，福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。",[23,25,54,57,28,55,101,83,241,7,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30afb35e63e0280c3daa8a0cb5eff010.jpg","43x52cm",[],{"id":8415,"slug":8416,"title":8417,"dynasty":1460,"author":8068,"museum":20,"description":8069,"tags":8418,"thumbUrl":8420,"material":1148,"size":1149,"collection":64,"collections":8421,"showCount":451,"zanCount":43,"manualWeight":43,"mainColor":69},231584,"shi-ting-shi-dai-po-mo-shan-shui-tu-xue-zhou-231584","室町时代 破墨山水图",[23,25,24,79,8419,55,56,54,195,194,196,58,358,7,80,164,118],"破墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F290b31d7c168a2b0926e1abccc4c3c9b.jpg",[],{"id":8423,"slug":8424,"title":8425,"dynasty":18,"author":2847,"museum":76,"description":8426,"tags":8427,"thumbUrl":8428,"material":152,"size":8429,"collection":64,"collections":8430,"showCount":451,"zanCount":43,"manualWeight":43,"mainColor":44},231528,"fan-zhao-gui-yun-tu-dong-bang-da-231528","返照归云图","董邦达(1699-1769)清代官员、书画家。字孚闻、非闻，号东山，浙江富阳人。雍正十一年进士，乾隆二年授编修，官礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虔山派之间。与董源、董其昌并列。",[25,484,56,28,80,164,715,2761,7,308,3069],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f125d5afb06632e727c6826a0b7fadd.jpg","251.1cmX158.6cm",[],{"id":8432,"slug":8433,"title":8434,"dynasty":95,"author":317,"museum":76,"description":8435,"tags":8436,"thumbUrl":8437,"material":245,"size":8438,"collection":64,"collections":8439,"showCount":451,"zanCount":43,"manualWeight":43,"mainColor":44},231043,"ping-chou-hu-du-tu-yi-ming-231043","平畴呼犊图","《四季牧放》是24年上海书画出版社出版的图书。\n属于《国宝在线》的一册，是中国画中有关四季放牧图的。\n出版社: 上海书画出版社; 第1版 (24年5月1日) 丛书名: 国宝在线 平装: 44页 开本: 8开 ISBN: 7867285 条形码: 97878672855 尺寸: 29.6 22.4 .6 cm 重量: 299 g 欣赏和学习中国画，离不开对画史上经典名作的了解。\n中国画的历史源远流长，由于种种原因，古代流传至今的绘画名作非但数量十分稀少，而且散佚于世界各地。\n缘于此，上海书画出版社编辑了这套《国宝在线》丛书，按绘画题材、风格技法等要素重新进行分类，将中国画史上的国宝级名作聚于一堂，精心印制，并尽量放大至原寸，为学画者提供了下真迹一等的范本。\n此外，我们还对书中收入的每一幅名画进行了详尽的介绍与分析，叙述这些流传千年的国宝背后的故事，并插入与之相关的其他名画的照片与材料，为广大喜爱中国艺术的读者提供了丰富的欣赏素材和参考资料。\n书评 大慨因传说中佛祖和比丘僧为恶牛说法，使之死后转世到仞利天宫，得须陀还果，从此牛以其温厚忠良的形象出现在人们面前。\n除了任劳任怨、辛勤耕作之外，牛似乎还具有着一种人格的隐喻和象征。\n连圣人之师老子也选择骑青牛西去函谷关，在关内太初宫留下了五千言的《道德经》；南朝陶弘景也曾以画牛自喻婉拒梁武帝诏其出山，留下了『山中宰相』的美名。\n古往今来，牛的形象被喜爱它的人们再三图绘表现，不论是嘉峪关的砖画还是敦煌壁画，我们都可以看到许多无名氏的画牛作品。\n即以大家比较熟悉的卷轴画来说，至迟在晚唐五代时期，画家就对这个题材投入了相当的热情和精力，唐代的名家如韩湿和戴嵩，都擅长画牛。\n这些作品，既体现了唐人的努力生产，也反映出唐代那种以现实题材入画的风尚和社会生活的情调。\n当时戴嵩画水牛尤为著名，《唐朝名画录》谓其得『野性筋骨之妙』。\n不过，起初戴嵩画牛还闹过笑话。\n据说，他有次画了一幅斗牛图，观者大加称赞，可是偏偏有位牧童看了之后却拊掌大笑。\n戴嵩觉得奇怪，问其原因。\n牧童解释说：两牛角斗时，尾巴是夹在两股之间的，你怎么把它画成摇着尾巴呢?牧童的善意批评，对戴嵩启发很大，自那以后，他就深入乡间，与牧童交友，以造化为师，画艺自然精进不已，由此可见唐人作画对写生的重视。\n而韩混的《五牛图》，除了准确自然地表现了牛的生活形态外，更是充满了人格化的魅力，甚至可以从中看出每头牛的个性与年龄来，难怪有些研究者认为其中可能含有某种寓意。\n到了北宋，以描绘畜兽包括牛为内容的绘画被归于特殊的门类，如郭若虚撰写《图画见闻志》，就把畜兽、鱼龙、屋木等题材的作品皆归为『杂画』，与山水、人物、花鸟并列，在一定程度上反映了画牛队伍的逐渐壮大。\n从目前存世的作品看，宋代是牧放题材创作的鼎盛时期。\n不论是作品数量还是艺术水准，都是其他时代准以比似的。\n之昕以如此，笔者以为有几方面原因。\n首先，宋代皇家画院在招贤选才方面，可谓后世之楷模。\n由于采取考试制度，使得一大批有才华的民间画家得以进入社会上层，从而有机会更好地施展他们的艺术特长。\n这些原本长期生活在民间的画家把他们熟悉的富于乡土气息的绘画题材带入禁中，以身边熟悉的人和物为描绘对象，表现其自然朴素的情趣。\n因此，在两宋时期，画院里出现不少牧放题材的作品，直观地反映了宋代的农村生活。\n其次，宋代城市工商业的繁荣乃是以农村经济为基础的，画院画家通过描绘农村劳动生活的甘苦，来贯彻统治者劝喻农桑的意图。\n同时，城市工商经济的繁荣又反过来带动了农村经济的发展，从而使得丰年乐业的广大农民，对于自己的生活取得了新的认识，提出了新的要求。\n作为这种新认识、新要求的形象描绘，牧放题材与其说是农村田园生活的真实再现，毋宁说是对通过劳动生活而使人与自然达到本真契合的淳朴情性进行歌颂，与此同时，这其中又在很大程度上掺入了文人士大夫返璞归真的理想，从而使作品获得了更深刻的寓意。\n从画家个体来说，之所以创作出这么多高水准的艺术作品还在于他们能够正确处理观察生活和运用艺术表现语言之间的关系。\n在对生活的体验和观察方面，后世极少有像宋代画家那样精谨细致、具体人微的。\n所以，这类作品不管是高轴长卷，还是案头小品，它们所具有的生活情趣，无论是丰富性还是真实性，都令后人殊难超越。\n从宋人的画牛作品看，画家的用笔，是从对象出发，以对象的形态为旨归，将朴素的情感蕴藏在精妙的笔法中，这与后来文人画家所追求的『单纯化』表现，所谓『逸笔草草，不求形似』相比照，其问的差异是不喻自明的。\n中国传统绘画讲究诗情画意，这些牧题材的作品同样有着诗意盎然、妙趣横生的意境，这是此一题材自身所具有的魅力。\n在喧嚣的尘世中，面对这些笔佳墨妙的作品，想见烟云清雨，牛羊在野，湖岸风来，轻裾致爽，应该也算偷得浮生半日闲了吧。\n唐韩滉五牛图 唐韩滉五牛图之一 唐韩滉五牛图之二 唐韩滉五牛图之三 唐韩滉五牛图（局部） 唐韩滉五牛图（局部） 宋李唐乳牛图 宋李唐彩薇图 宋阎次平四季牧牛图 宋阎次平四季牧牛图之一 宋阎次平四季牧牛图之二 宋阎次平四季牧牛图之三 宋阎次平四季牧牛图之四 宋阎次平四季牧牛图之四（局部） 宋李迪风雨归物图 宋李迪风雨归物图（局部） 宋李迪风雨归物图（局部） 宋佚名平畴呼犊图 宋佚名平畴呼犊图（局部） 宋佚名牧牛图 ……",[25,54,28,27,100,635,7,2441,30,4751],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c3a60a9cd87946a5051cb9b8246487f.jpg","97x52.4",[],{"id":8441,"slug":8442,"title":8443,"dynasty":49,"author":317,"museum":20,"description":8444,"tags":8445,"thumbUrl":8446,"material":64,"size":64,"collection":64,"collections":8447,"showCount":451,"zanCount":43,"manualWeight":43,"mainColor":44},228226,"mao-wu-yun-shan-tu-yi-ming-228226","茅屋云山图","此作用水墨晕染出空濛云山之境，远景山峦以淡墨轻皴间杂晕染，云雾如缕缠绕峰腰，将雄奇山势揉入烟霭，虚实相生间，拓开幽渺深远的天地。\n\n中景以留白代雾，让山与林隐没在烟岚之中，消融了实景的边界，恍如天地融于一片淡墨氤氲。近岸枯木虬劲，枝桠疏朗，坡脚茅舍三两，笔简意足，暗合山居清寂之趣。\n\n整幅画作尽显元画尚意之风，以简淡笔墨写尽萧散静穆的林下幽居之境，将文人隐逸的闲雅藏入烟峦疏木，观之便觉尘嚣尽褪，沉醉在这淡墨晕开的云山深寂里。",[23,25,55,56,79,54,24,58,1026,7,212,82,715,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe77b80704d6df259ffd4d9ffeefb4eae.jpg",[],{"id":8449,"slug":8450,"title":8451,"dynasty":95,"author":96,"museum":20,"description":8452,"tags":8453,"thumbUrl":8454,"material":64,"size":64,"collection":64,"collections":8455,"showCount":451,"zanCount":43,"manualWeight":43,"mainColor":69},227971,"fang-mu-tu-ye-li-chun-227971","放牧图页","虬曲老树枝叶扶苏，浓荫之下牧童闲坐，垂首专注把玩手边小物，全然沉浸在郊野的松弛意趣之中。浅滩溪岸，老牛垂首缓步涉水，皮毛厚重写实、肌理鲜活细腻，憨态小牛亦步亦趋紧随其后，灵动稚态尽显。\n\n整幅小品疏密得宜，设色浅淡柔和，以精妙工笔描摹物象形神，将乡野放牧的日常闲景铺陈得鲜活动人，既以细致笔触还原郊野生灵的自然情态，又晕染出田园牧歌式的悠然氛围，把乡野间的闲散温情凝于尺幅间，于平淡日常中尽显雅致隽永的宋画意韵。",[23,24,25,28,27,1419,100,101,7,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1e3f18c16b1455c2e6e91367d1f9459.jpg",[],{"id":8457,"slug":8458,"title":8459,"dynasty":95,"author":317,"museum":20,"description":8460,"tags":8461,"thumbUrl":8463,"material":64,"size":64,"collection":64,"collections":8464,"showCount":451,"zanCount":43,"manualWeight":43,"mainColor":69},227376,"yuan-hou-zhai-guo-tu-yi-ming-227376","猿猴摘果图","《宋人画猿猴摘果图》是宋代佚名创作的一幅扇面画。\n此图绘深山野林中，三只 攀援栖止于树枝上。\n其中两猿正品果嬉戏，另一猿右臂抓树，左臂摘取红果，形象生动可爱。\n作者运用极为工细的笔法，描绘猿猴茸茸的细毛、灵巧的动态以及老树的虬枝和枯叶，显示出深厚功力。\n图中坡石用小斧劈皴，枝叶用双钩填色，笔法精工巧丽。\n深秋季节只猿猴攀援于树枝上嬉戏摘果的情景。\n猿猴和景物都集中在画的右半边，为典型的南宋画构图方式。\n猿猴神情毕肖，尤其是茸毛的绘制极为细致严谨。\n树叶用勾勒填色法，色彩并未完全填满，显得自然随意。\n黑白色对比使画面更具动感，红色的小果实在整幅画面中十分醒目。\n深山野林中，黑白二色的三只猿猴攀援栖止于树枝上。\n其中两猿相互逗趣，另一猿右臂抓着树枝，左臂摘取红果，其贪婪、欣喜之态刻画得形神兼僃。\n点景中枯黄的树页、红色的果实，以及丛生的小草和细竹，不仅打破了山石的呆板，而且渲染了秋天萧瑟的气氛，从而增添画面的自然之趣。\n画面钤有「黔宁王子子孙孙永保之」、「都尉耿信公书画之章」、「信公珍藏」、「安国珍玩」等印多方。\n对幅有清代著名收藏家耿昭忠题记，此图曾经沐璘、耿昭忠、安岐收藏。\n《石渠宝笈》著录。",[24,25,54,976,28,635,5775,7,979,8462,196],"果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a544e331d094ac541c1cff0a7db7c25.jpg",[],{"id":8466,"slug":8467,"title":8468,"dynasty":771,"author":317,"museum":20,"description":8469,"tags":8470,"thumbUrl":8471,"material":64,"size":64,"collection":64,"collections":8472,"showCount":451,"zanCount":43,"manualWeight":43,"mainColor":126},227215,"shu-xia-ren-wu-tu-juan-yi-ming-227215","树下人物图卷","《树下人物图》是唐代佚名创作的纸本设色画，新疆吐鲁番阿斯塔那古墓出土。现藏日本东京国立博物馆。\n\n此幅人物画保存完整，绘制在一块长方形的绢上。画面的背景是郊外的草地，有一棵枝繁叶茂的树，树叶是绿色，树干是土黄色。树下可见两身妇女立姿形象。左侧之人，面向右方，左手衣袖被身旁之人握持，其右手曲臂上举正揪住罩在头上的黑色头衣。此人身穿土红色长袍，腰系带，脚穿黑靴。画面右侧之人，面向右方，两手握住左侧之人的左袖。她身着蓝色长袍，腰系带，脚穿黑靴。从画面看，此二人似为主仆关系。",[23,24,25,54,26,27,28,101,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F160f39ddeaeb222d5d6049efe9969bd0.jpg",[],{"id":8474,"slug":8475,"title":8476,"dynasty":18,"author":160,"museum":20,"description":8477,"tags":8478,"thumbUrl":8479,"material":1148,"size":1149,"collection":64,"collections":8480,"showCount":451,"zanCount":43,"manualWeight":43,"mainColor":69},224174,"gan-li-tu-quan-juan-hua-yan-224174","敢荔图全卷","华喦（1682-1756），字德嵩，号秋岳、又号新罗山人、新罗生、白砂山人，别号东园生、布衣生、老年自喻“飘篷者”。福建上杭人。华少时酷爱绘画，常替人作山水、花鸟、人物故事画，还在寺堂庙祠画壁画。花鸟画最负盛名，吸收明代陈淳、周之冕、清代恽寿平诸家之长，形成兼工带写的小写意手法。既有大局的的挥洒简逸，又有细节的精微描写，如画禽鸟，能将蓬松的羽毛玲珑剔透地表现出来。敷色鲜嫩不腻，时用枯笔干墨淡彩。这种工写结合、清新俊秀的花鸟画风格，对后世产生了积极影响。",[23,25,54,26,28,101,58,7,194,195,3088,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e347c76a16901f1b2b37187d2892d85.jpg",[],{"id":8482,"slug":8483,"title":8484,"dynasty":18,"author":7539,"museum":20,"description":7540,"tags":8485,"thumbUrl":8489,"material":1148,"size":1149,"collection":64,"collections":8490,"showCount":451,"zanCount":43,"manualWeight":43,"mainColor":349},224128,"pantaka-tang-ka-224128","Pantaka",[1096,28,27,101,635,58,7,30,8486,8487,1058,8488,3106],"台案","供品","猴子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb0daf70fd92bb2c8a4f1651237bd70e.jpg",[],{"id":8492,"slug":8493,"title":8494,"dynasty":74,"author":586,"museum":76,"description":8495,"tags":8496,"thumbUrl":8497,"material":85,"size":8498,"collection":64,"collections":8499,"showCount":451,"zanCount":43,"manualWeight":43,"mainColor":1800},222342,"hua-kan-shan-tu-bing-zi-shu-qi-yan-jue-ju-cheng-shan-tang-yin-222342","画看山图并自书七言绝句成扇","唐寅（1470年－1524年）明代著名画家、文学家。字伯虎，又字子畏，以字行，号六如居士、桃花庵主、逃禅仙吏等，南直隶苏州吴县人。吴中四才子之一。在画史上又与沈周、文征明、仇英合称“明四家”或“吴门四家”。\n据称唐寅作画时间甚早，而且无师自通。吴一鹏在《贞寿图卷》上提款：“岁丙午，子畏年止十七，而山石树枝如篆籀，人物衣褶如铁丝。少诣如是，岂非天授！”早年唐寅可能也跟文征明一样，向沈周学画。如王稚登在《吴郡丹青志》中的《沈周先生传》里写：“一时名士，如唐寅文壁（征明）之流，咸出龙门，往往致于风云之表。”但如今所看到唐寅的 中，有沈周影响的风格很少，可能早年作品亦多不存，所以难以知道。\n唐寅较为人所理解的，是拜画家周臣为师。研究认为他也许是在泄题案之后，才开始向周臣请益。由于周臣的画风远摹南宋画家李唐、刘松年，所以唐寅的作品也多被人认为有李刘风格。美术史对唐寅山水画的讨论中有周臣代笔的问题，目前仍没有比较清晰的理解。唐寅的作品以山水画、人物画出名，亦有花鸟竹石的作品存世。一般而言，都将唐寅的绘画风格分做三期，但由于许多有纪年的作品多集中在唐寅的晚年，早年的风格分期便有许多争议。唐寅 亦好，早年的书风比较靠近颜真卿，后来比较接近李邕、赵孟睢\n自明末以来，在讨论唐寅作品，均把他分到吴派，并与沈周、文征明、仇英等画家并称“吴门四家”，或称“明四大家”。但唐寅的画风与沈周、文征明并不相同，而严格来说，也不能将唐寅的风格迳归为吴派。因为相较于一般吴派多追随元四大家的画风，唐寅作品里元四家的影响相当的少，反而有比较多南宋院画家的影子。但多数的人，都称唐寅是揉合“南”、“北”的重要画家。",[25,54,976,55,56,28,58,80,7,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08762db3758031108dc836b87e1b6d4d.jpg","31.7x49.5",[],{"id":8501,"slug":8502,"title":8503,"dynasty":18,"author":8504,"museum":76,"description":8505,"tags":8506,"thumbUrl":8508,"material":275,"size":64,"collection":64,"collections":8509,"showCount":451,"zanCount":43,"manualWeight":43,"mainColor":69},218037,"tian-wang-xiang-6-yao-wen-han-218037","天王像-6","姚文瀚","蓝面金冠的护法天王立于画面中央，火焰纹如炽烈云霞环绕身侧，宝饰琳琅间透出赫赫威严。他手持长剑，姿态雄健挺拔，衣袂飘带似流云翻卷，动感十足。下方护法身形灵动，与主尊沉稳形成呼应。背景中山石苍劲，林木葱郁，祥云缭绕间隐现的人物更添层次。整幅画工笔细腻，线条精准如铁线，设色浓艳却不失雅致，金蓝红交织出富丽氛围。既展现护法神祇震慑邪魔的神圣力量，又以精致细节与生动气韵，彰显清代佛画融合宫廷精致与宗教庄严的独特风貌，每处笔触藏匠心，每抹色彩传庄严，尽显艺术与信仰交织的精湛造诣。",[24,25,54,28,27,1096,101,7,59,8507,196],"云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e31efb6ce02249bc44488c1c14ad1eb.jpg",[],{"id":8511,"slug":8512,"title":8513,"dynasty":18,"author":456,"museum":51,"description":8514,"tags":8515,"thumbUrl":8516,"material":275,"size":64,"collection":64,"collections":8517,"showCount":451,"zanCount":43,"manualWeight":43,"mainColor":44},215024,"fang-gu-shan-shui-ce-6-wang-jian-215024","仿古山水册-6","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。",[25,55,58,56,80,7,212,1073],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71ba1b67e300dd1a9f8df0ed1482d390.jpg",[],{"id":8519,"slug":8520,"title":8163,"dynasty":74,"author":282,"museum":355,"description":7416,"tags":8521,"thumbUrl":8522,"material":63,"size":7419,"collection":64,"collections":8523,"showCount":451,"zanCount":43,"manualWeight":43,"mainColor":69},214874,"shan-shui-ce-6-wen-zheng-ming-214874",[23,25,54,57,55,28,56,195,196,58,7,59,990,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7df6172fccb4c60a4fb3395ec04a2632.jpg",[],{"id":8525,"slug":8526,"title":8527,"dynasty":18,"author":1952,"museum":20,"description":8528,"tags":8529,"thumbUrl":8530,"material":64,"size":64,"collection":64,"collections":8531,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":69},239463,"qing-chu-liu-da-jia-ji-ce-xia-shan-tu-ce-ye-wang-yuan-qi-239463","清初六大家集册-夏山图册页","此作用笔苍浑老辣，以干笔积墨反复皴擦，山峦层叠间云气横生，将高远、深远之境相融，衬出山林空阔幽深。坡岸林木错落，或虬劲或葱郁，溪桥村居隐于林泉间，暗合题句里长夏山居的悠然意趣。\n\n画面笔墨沉厚苍秀，于繁密皴法中透出灵透，既得宋元山水的苍茫元气，又自具朴拙静穆的文人雅韵，将夏日山林的清寂悠长晕染开来，尽显静谧澹远的山居之美。",[25,54,57,28,56,58,80,82,212,7,308,459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56b08c3e176452e8260dd64640da9e37.jpg",[],{"id":8533,"slug":8534,"title":4459,"dynasty":18,"author":4460,"museum":20,"description":8535,"tags":8536,"thumbUrl":8537,"material":64,"size":64,"collection":64,"collections":8538,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":69},239416,"fang-gu-shan-shui-ping-qin-zu-yong-239416","此作用淡墨晕染山峦，似覆薄雪，浅赭留白铺就清寒山野底色。枯木虬劲萧疏，错落村居隐于山石林麓间，行旅身影点缀溪桥山道，让空寂冬景暗蕴烟火生机。\n\n笔墨简淡秀润，以干笔皴擦勾勒山石肌理，脱却繁缛雕琢，尽显文人画雅逸格调。题诗与雪景画意呼应，以仿古笔法写冬日山居，既有古雅意趣，又自出机杼，将清寒冷寂的山野氛围与悠然乡居意趣相融，意境清寂出尘。",[25,28,56,1073,79,58,80,164,118,7,242,590,510,101,243,103,285],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9243e182898ce097ba5078d7a41d8150.jpg",[],{"id":8540,"slug":8541,"title":2596,"dynasty":74,"author":2597,"museum":20,"description":2598,"tags":8542,"thumbUrl":8543,"material":1148,"size":1149,"collection":64,"collections":8544,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":69},239186,"shan-chuan-ming-sheng-ce-song-xu-239186",[25,54,24,57,28,55,58,7,211,60,358,2761,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d58d3fc454b87ee29b083f3fbe22d6c.jpg",[],{"id":8546,"slug":8547,"title":8217,"dynasty":74,"author":317,"museum":20,"description":8548,"tags":8549,"thumbUrl":8550,"material":1148,"size":1149,"collection":64,"collections":8551,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":69},238572,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238572","此作为工笔重彩道释佳制，以虹桥殿宇铺展天界朝贺盛景。祥云翻卷簇拥腾云而来的仪卫仙官，朱栏虹桥衔接殿庭，殿宇丹楹碧瓦，端庄巍峨。\n画面左右开合有序，朝贺仙僚神态端凝雍容，仪仗罗列森然，衣袂纹饰勾染精细，衣褶流转自然。石青石绿与赤金朱红交织晕染，色调浓妍富丽，将仙班翊赞升平的庄重祥瑞尽数铺陈，尽显工笔重彩的精工造诣，把天界朝会的肃穆仪轨与华贵意趣相融无间。",[2129,25,27,28,915,101,211,212,82,853,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8024fa21f554e5c7921c4369ae0b80ba.jpg",[],{"id":8553,"slug":8554,"title":8217,"dynasty":74,"author":317,"museum":20,"description":8555,"tags":8556,"thumbUrl":8557,"material":1148,"size":1149,"collection":64,"collections":8558,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":69},238566,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238566","此作以工笔重彩铺陈神霄盛会，青蓝穹庐托举赤霞朝日，仙山石崖凌云而起。诸天神将乘云拥簇，旌旗飘曳宝光流转，衣袂灵动飞扬，尽显仪卫雍容肃穆。下方仙官稽首仰望，祥云缠裹山峦，疏密布局层次分明。\n\n设色浓丽沉厚，冷暖撞色晕染出仙灵玄虚之气，人物刻画精微生动，将升平赞贺的祥瑞意蕴凝于尺幅，尽显道释绘画的工致精妙，把神境恢宏气象铺展于绢素之上，带着庄重华美的古雅气韵。",[25,54,57,28,27,101,58,853,7542,715,7,59,211,3492],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42cc9ce683acc8f68f43092e035d2500.jpg",[],{"id":8560,"slug":8561,"title":48,"dynasty":18,"author":7557,"museum":20,"description":8562,"tags":8563,"thumbUrl":8564,"material":64,"size":64,"collection":64,"collections":8565,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":69},238205,"shan-shui-ce-tang-dai-238205","此作为青绿设色的江南夏景，山峦层叠以石青、石绿晕染，间以赭石提点坡岸，草木蓊郁的盛夏之意呼之欲出。近岸林木扶疏，屋舍隐于浓荫之下，开阔水面映着淡晕远山，将山居清旷闲适铺陈开来。\n\n搭配题诗书画合璧，诗句与画境两两呼应，把江南夏日水村的安谧悠然尽数定格。笔致秀雅清润，兼具院体画的精致妍丽与文人山水的澹远意趣，观之如沐熏风，恍若踏入这幽寂又充满生机的世外洲渚，尽览水乡闲逸之致。",[25,28,445,56,57,58,80,7,164,118,459,59,82,591],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89e8ef9ddf63f7acbc3c067569205b9a.jpg",[],{"id":8567,"slug":8568,"title":48,"dynasty":18,"author":5021,"museum":20,"description":8569,"tags":8570,"thumbUrl":8572,"material":64,"size":64,"collection":64,"collections":8573,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":69},238139,"shan-shui-ce-yun-xi-238139","允禧字谦斋，号紫琼，亦作紫噊，别号紫琼崖道人、春浮居士等。康熙皇帝二十一子。善书画，该图层次分明，笔法老到，颇具文人画之风韵。",[25,28,56,57,58,80,164,118,212,7,1573,8571,30,680,214],"黄叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F345590e9287c67a0fd54122250c5b6a4.jpg",[],{"id":8575,"slug":8576,"title":7940,"dynasty":18,"author":4648,"museum":20,"description":7941,"tags":8577,"thumbUrl":8578,"material":64,"size":64,"collection":64,"collections":8579,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":69},237877,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237877",[25,54,57,55,56,1073,58,80,7,358,680,256,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02e91f0bc7b811b87878217c1b5bff2b.jpg",[],{"id":8581,"slug":8582,"title":8583,"dynasty":74,"author":317,"museum":20,"description":8584,"tags":8585,"thumbUrl":8586,"material":1148,"size":1149,"collection":64,"collections":8587,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":69},237804,"shao-mi-guan-pu-tu-shan-yi-ming-237804","邵弥观瀑图扇","此作用边角取景，以淡墨晕染嶙峋峭壁，留白虚写飞瀑，隐现泉流的灵动。虬曲苍劲的古树枝桠斜出枝头，几朵新花点破清寂。凭崖而立的文士衣袂简括，静望飞泉，似在听赏訇然水声。\n\n整幅笔墨简淡清疏，以空灵留白衬出山景的幽寂，将林泉高致融于尺幅扇面，尽显文人寄情山水、静悟自然的闲雅意趣。泛黄的扇底晕开浅淡赭色，为画面更添古雅沉静的旧时光晕，极简的画面铺陈出清远深邃的山水意境。",[25,54,976,55,56,58,101,7,59,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1af9bea2148ad7c70c4cc2589e8de2f3.jpg",[],{"id":8589,"slug":8590,"title":8591,"dynasty":74,"author":3795,"museum":20,"description":8592,"tags":8593,"thumbUrl":8594,"material":64,"size":64,"collection":64,"collections":8595,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":44},237704,"shan-shui-hua-guo-ce-xiang-sheng-mo-237704","山水花果册","项圣谟，生于明代万历二十五年（1597年），卒于清代顺治十五年（1658年），初字逸，后字孔彰，号易庵，别号甚多，已知者有子璋、子毗、胥山樵、胥樵、古胥山樵人、兔鸣叟、莲塘居士、松涛散仙、大酉山人、存存居士、烟波钓徒、狂吟客、鸳湖钓叟、逸叟、不夜楼中士、醉疯人、烟雨楼边钓鼇客等，浙江嘉兴人。祖父项元汴，为明末著名书画收藏家和画家。伯父项德新也善画。项圣谟自幼受家庭熏陶，精研古代书画名作，虽然曾由秀才举荐为国子监太学生，但不求仕进，而把兴趣投入到书画中，从而在绘画创作上，他很早就显现出了多方面的才能，山水、人物、花鸟无一不精，曾得到明末两位最为著名的鉴赏家，董其昌和李日华的高度评价。董其昌在他的画册上题跋，称“古人论画，以取物无疑为一合，非十三科全备，未能至此。范宽山水神品，犹借名手为人物，故知兼长之难。项孔彰此册，乃众美毕臻，树石屋宇，皆与宋人血战，就中山水，又兼元人气韵，虽其天骨自合，要亦工力至深，所谓士气、作家俱备。项子京有此文孙，不负好古鉴赏百年食报之胜事矣”，李日华称赞他的画风“英思神悟，超然独得”，是“崛起之豪”。\n项圣谟的作品，以山水为多，也是他成就的主要方面。他早年从学习文徵明入手，但很快就跳出了文徵明画法画风的局限，而直接向古人学习。这主要是受益於其家族富甲天下的历代名画收藏，从而可以使他很快改学宋人用笔的周密严谨、兼取了元人的韵致。除了宗乳於祖辈的丰富家藏，亦得力其自身的观察自然、远游写生的经验，使其画面布局大开大合，意境明净清雅，结构严谨而富于变化，笔法简洁秀逸，气韵高雅，极富书卷气，具有很高的品格和思想内涵。\n他的画有两点最值得称道，也是当时其他画家所不及的。其一是强烈的政治色彩，他用画反映民间疾苦，寄托对人民的同情和对明王朝的忠贞。在先后经历了“甲申”和“乙酉”之变，满清入主中原后，项圣谟在画上就不再题写朝代的纪年，仅用干支，并钤盖“江南在野臣”、“大宋南渡以来辽西郡人”、“皇明世胄之中嘉禾处士”等印，以彰其志节。此段时间的作品，大多借用绘画抒写胸中郁愤，表现强烈的遗民感情，由徐树铭题项圣谟清顺治三年（1646）所作《山水诗画册》：“六月雪篇有时变之感，望扶桑篇有故国之思，诗史之董狐也。”于画作中寓写深意，反应时代，以画为史。李铸晋认为其在亡国后的作品，蕴含著效忠前朝，表达亡国之痛的图画象徵，如：红色，以“朱”为明朝；枝干壮硕却无叶的树木，喻为国家，虽历风雨，枝干仍傲然挺立，有著不可折屈的精神；在暮色中栖息的飞鸟是无处可归，何处为家之意等。现藏北京故宫之《大树风号图》的题跋“风号大树中天立，日落西山四海孤。短策且随时旦莫，不堪回首望菰蒲”可作其心境写照。\n其二是极其严谨的画风和写实态度。项圣谟善于从生活中摄取素材，他的画贴近现实，造型准确，严肃不苟，一反当时潦草粗疏，追求“逸笔草草”的画风。吴山涛在题项圣谟《秋声图轴》曾说到：“孔彰先生为予老友，作画必凝神定志，一笔不苟，予常嗤其太劳。君曰：我辈笔墨，欲流传千百世，岂可草草乎？旨哉其言也。”可见项圣谟这种严肃认真的好的作风，直接影响到他的画风，使他的绘画在当时的画坛上别树一帜，而赢得了“士气作家俱备”的称誉。\n项圣谟喜画高大的乔木，尤喜画松树，树木勾，擦，染精细，树干之嶙峋，历历几可扪捉，有强烈的凹凸感，而留出的受光部分则颇具体积感，与一般文人画示意性的画法迥然有别，故明时有“项松之名满东南”之誉。他画的大树，树干挺直，刚强伟岸，拟人化的画面形象鲜明强烈，具有强大的人格力量。\n在花鸟画的创作上项圣谟同样具有自己鲜明的特色，尤其讲究造型，经意构图，善于表现花叶和花瓣的层次，向背以及受光点的明暗，从而有别于当时其他花鸟画家的画风。项圣谟很认真地吸收了黄筌画派精谨慎严的审物造物精神，但在画法上，受写意画影响，形成一种工写结合的形式，酲酿了黄筌画派工笔花鸟画新的发展趋势。在技法上，大都以水墨或略施淡彩，有时也纯用色彩作没骨法，色彩淡而不薄。在用笔上，十分凝重秀逸，故而虽有姣妍之色相，却寓嶙峋之风骨，整个调子和气氛，非常飘洒雅致，不同凡俗，好似有一股冷艳暗香浮动其间。他的这种风格在之后的恽寿平、蒋廷锡等人的作品中都有所体现。\n除绘画外，项圣谟亦精书法，善赋诗。其书法端庄严谨，峻拔出脱中不失书卷气。其诗多为题画诗，除了描绘山光水色、自然美景的山水诗外，还有许多是表达其对人民疾苦的同情和对故国的怀念，文辞警策凝重，格调悲壮慨然，反映出他的个性为人。因国破家亡，其晚年家贫，却志存高洁，不结交权贵，靠卖画自给。著有《朗云堂集》、《清河草堂集》、《历代画家姓氏考》、《墨君题语》。",[25,55,56,57,58,118,7,59,82,61,459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b2dbd22238bbd19b7e9d9eb235dcc5d.jpg",[],{"id":8597,"slug":8598,"title":48,"dynasty":18,"author":8599,"museum":20,"description":8600,"tags":8601,"thumbUrl":8602,"material":1148,"size":1149,"collection":64,"collections":8603,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":44},237529,"shan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江都（今江苏扬州）人，居常熟。善画，亲炙王翚，颇得趋向。山水著笔落墨不多，其浑沦劲挺之致，亦是专家。花卉翎毛钩染妍雅，赋色荷花得古人逸法。",[25,28,27,57,101,7,103,102,3941,8643],"桑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5360a1d0283c9bf6d7f9dafd9816b6d.jpg",[],{"id":8647,"slug":8648,"title":8649,"dynasty":18,"author":8650,"museum":355,"description":8651,"tags":8652,"thumbUrl":8653,"material":788,"size":8654,"collection":64,"collections":8655,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":69},236115,"shan-shui-lou-ge-ce-chen-mei-236115","山水楼阁册","陈枚","陈枚在绘画上受到郎世宁的影响，运用了一些西洋的透视画法，表现出物象的立体感。他曾“以海西法于寸纸尺缣图群山万壑，峰峦林木，屋宇桥梁。”此册以中西合璧的绘画技法展现出圆明园中西融会的建筑与宫殿园林的完美结合，使人对这座“万园之园”产生无尽的遐想。咸丰十年（1860年），英法联军焚毁圆明园，因而该册的艺术价值弥足珍贵。",[25,54,57,915,28,58,211,118,7,195,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cbfe808da717a098e41cdf59ea94bd1.jpg","纵31厘米，横25.3厘米",[],{"id":8657,"slug":8658,"title":4154,"dynasty":18,"author":317,"museum":20,"description":8659,"tags":8660,"thumbUrl":8661,"material":64,"size":64,"collection":64,"collections":8662,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":69},236070,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236070","此作以淡墨浅绛绘就山居秋景，高远层峦以披麻皴写就，烟岚轻笼远山，虚实相生间拓开幽渺意境。近岸林木枯荣交错，苍松与落叶杂树错落生姿，林麓间茅舍隐现，清溪蜿蜒环合，衬出山野幽寂安闲。右上角题识朱印相映，诗画交融，暗合文人寄兴山水的雅趣。笔墨秀润松灵，勾勒皴擦兼具法度，淡墨晕染出空濛氤氲的清秋氛围，将山居闲逸之态融于山水间。简淡中见苍润，清和悠远，尽显传统山水的抒情意致，藏着林下幽居的恬然诗意。",[25,54,57,55,56,1073,58,80,164,7,118,308,61,472,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b2801cbb27b7da50b448aa8767dbe9c.jpg",[],{"id":8664,"slug":8665,"title":8666,"dynasty":74,"author":317,"museum":20,"description":8667,"tags":8668,"thumbUrl":8669,"material":64,"size":64,"collection":64,"collections":8670,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":69},235842,"qian-gu-tuo-lin-tu-ye-yi-ming-235842","钱榖拓林图页","以淡赭晕染江岸沙碛，营垒依山临江矗立，堞楼严整森然。山道间商旅驿骑络绎往来，滩涂处役夫行迹历历分明，写实中带着文人画的雅致松弛。\n\n左侧行书题跋点明此地形胜，笔墨清隽疏朗，与画面淡远的色调浑然相融。全作用笔朴拙简淡，未以繁复皴擦堆叠层次，却将江海交汇的荒远之境，与江防重地的沉凝肃整烘托尽致，把纪实的地理描摹与文人的写意意趣融为一体，是兼具实景价值与审美意韵的小品佳作。",[25,28,58,56,57,118,418,510,82,101,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f88f6cc4a23d0081160f45341b41ff9.jpg",[],{"id":8672,"slug":8673,"title":8674,"dynasty":74,"author":3795,"museum":20,"description":8675,"tags":8676,"thumbUrl":8677,"material":64,"size":64,"collection":64,"collections":8678,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":69},235685,"shan-shui-hua-hui-ce-xiang-sheng-mo-235685","山水花卉册","此作以淡墨晕染远山，如笼轻烟，隐现于空濛水汽之间，平远水面留白铺陈，漾开冷寂空阔的江天寒意。近岸古松虬曲苍劲，积雪凝梢，枯笔写尽枝干嶙峋之态，松针覆雪仍见清挺之姿，凛凛风骨跃然纸上。\n\n画面简淡秀雅，以留白造境，寥寥笔墨便将雨中江渚的萧寒清旷铺展开来，再佐以题印点缀，诗画相融，尽显静穆澹远的文人意趣，将冬日江天的幽寂之美藏于极简笔墨中，冷澹空濛，余韵悠长。",[25,55,57,58,197,80,164,7,56,1004,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbced07023bb716611aacdd4b768ab0d8.jpg",[],{"id":8680,"slug":8681,"title":8682,"dynasty":18,"author":8683,"museum":20,"description":8684,"tags":8685,"thumbUrl":8686,"material":1148,"size":1149,"collection":64,"collections":8687,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":69},235345,"cai-sang-tu-shan-ye-wu-guan-dai-235345","采桑图扇页","吴观岱","吴观岱近现代（1862―1929）名宗泰，又字念康，40岁改字观岱；号觚庐、洁翁，晚号江南布衣。生于清同治元年(1862年)，无锡人。",[976,25,54,28,55,101,135,7,29,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37c4b7386884e8e5a7dc2341928bd01e.jpg",[],{"id":8689,"slug":8690,"title":48,"dynasty":18,"author":5038,"museum":20,"description":8691,"tags":8692,"thumbUrl":8693,"material":64,"size":64,"collection":64,"collections":8694,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":69},235334,"shan-shui-ce-wen-dian-235334","此作用笔松秀简淡，以水墨写就林泉幽居之景。左侧怪石嶙峋、茂林匝地，围合出静谧茅舍，屋内有人凭窗闲坐，静享林间清趣。竹篱轻隔院落，稚童缓步空庭，更添悠然生机。远景苍松下，负手行者缓步林间，衬得山野愈加深幽。\n\n全幅无浓艳敷色，仅以淡墨勾勒皴擦，萧疏淡远的氛围里，铺陈出文人幽居日常的恬然隐逸，藏着寄情山水、安闲自适的林下雅意，尽显中式文人画独有的清寂淡远之美。",[25,54,57,55,58,7,103,242,101,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F439e6fe608aad922cdc6827d484baa80.jpg",[],{"id":8696,"slug":8697,"title":48,"dynasty":18,"author":2263,"museum":355,"description":7256,"tags":8698,"thumbUrl":8699,"material":717,"size":7259,"collection":64,"collections":8700,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":69},235021,"shan-shui-ce-wu-li-235021",[25,54,57,55,58,7,241,59,60,29,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab1dee56f3a544603f9d6636ee69a7ce.jpg",[],{"id":8702,"slug":8703,"title":2009,"dynasty":74,"author":317,"museum":20,"description":8704,"tags":8705,"thumbUrl":8706,"material":1148,"size":1149,"collection":64,"collections":8707,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":69},234926,"dong-qi-chang-shan-shui-ce-yi-ming-234926","此作以三段式章法铺展山水意趣，远景山峦以淡墨晕染，隐于云霭之中，虚渺悠远如笼薄纱；中景云气横隔，茂林苍润，墨色沉郁间带着氤氲水汽，晕出空濛层次。近景村居依古松而立，老干虬枝苍劲有神，岸边苇草轻曳，野趣悠然。\n\n整幅以水墨干湿浓淡营造出幽远空寂的文人意境，留白巧作云与水，将江南林泉的灵秀尽显，笔意简淡萧散，尽显山水间的闲雅之致，仿佛带人踏入烟霞深处的幽居佳境，意蕴绵长清逸。",[25,54,57,55,56,58,7,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb26fab96591c5bf76f2e63c4d1a34fc1.jpg",[],{"id":8709,"slug":8710,"title":8711,"dynasty":18,"author":8712,"museum":355,"description":8713,"tags":8714,"thumbUrl":8716,"material":5881,"size":8717,"collection":64,"collections":8718,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":69},234916,"xue-jing-gu-shi-ce-sun-hu-234916","雪景故事册","孙祜","孙祜的作品流传下来的大部分收藏于故宫博物院内，《雪景故实图》册即其中之一，该图册为绢本设色画，每页纵32.2厘米、横26厘米，分别画有与冬日雪景相关的历史故事，分别为“东郭履雪”、“苏卿啮雪”、“袁安卧雪”、“赤脚嚼雪”、“谢庭咏雪”、“王恭涉雪”、“谢庄点雪”、“孙康映雪”、“陶榖烹雪”和“程门立雪”等十个故事。\n这特套册页最后一页上有作者的署款：“孙祜恭画”，署款的姓名前没有加上“臣”字，说明此图册不是为皇帝所画的。图册每页上均有对题，由梁诗正书写尚为“宝亲王”弘历的诗，图册作于“雍正乙卯”，即雍正十三年（1735年）。说明在雍正时期，画家孙祜是在“宝亲王”王府内当过差，后来作为王府的人员转入皇宫继续供职的。\n这套册页中山水、人物、楼阁、树木具备，很显示画家的功力。画中的山石颇具唐岱的风貌，孙祜与唐岱在宫中共过事，而且唐岱年纪显然要大于孙祜，山水画的风格受其影响，也是意料中的事情；图册里楼阁界画又甚为工致，应当来自于与陈枚的交流，同样孙祜与陈枚也有过合作的经历。所以这套册页画充分展现了画家孙祜多方面的技艺。\n孙祜（公元18世纪）江苏人，生卒年不详。工人物、山水，宗法王原祁。乾隆（1736-1795）时供奉内廷，为宫廷画家。乾隆元年（1736）曾与陈枚、金昆、戴洪、程志道绘《清明上河图》卷进呈，得邀乾隆帝审题，五年（1740）与陈枚、金昆、程志道、丁观鹏合作《庆丰图》册，六年（1741）又与周鲲、丁观鹏合作《汉宫春晓图》卷。传世作品有《雪景故事》册共计十开，绢本，设色，现藏故宫博物院。",[25,28,27,58,344,80,30,7,101,8715],"寒枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0196aec0e68461a313cd5b42ab78c39c.jpg","纵31．5厘米 横25．6厘米",[],{"id":8720,"slug":8721,"title":8722,"dynasty":74,"author":317,"museum":355,"description":8723,"tags":8724,"thumbUrl":8725,"material":5765,"size":8726,"collection":64,"collections":8727,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":44},234772,"ming-ren-mu-niu-dan-ye-yi-ming-234772","明人牧牛单页","绘初春时节，一边无叶的树枝上红花灼灼，空中一只燕子拍翅而来；树下一头体格强壮肥牛爆了脾气，似不愿听从牧童引导，故而孩童骑在牛角上，似与壮牛一比高低，童趣十足。",[25,54,55,57,100,635,101,241,58,83,7,7402],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F853a9009361ea4d001207b2469b897ea.jpg","纵23cm，横24cm",[],{"id":8729,"slug":8730,"title":1069,"dynasty":18,"author":1070,"museum":20,"description":8731,"tags":8732,"thumbUrl":8733,"material":3463,"size":8734,"collection":64,"collections":8735,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":69},234716,"fang-gu-shan-shui-ce-wang-hui-234716","《仿古山水册》共计十二页，其中设色二页，水墨十页。仿董源、巨然、米芾、赵大年、赵孟頫、吴镇、倪瓒、王蒙、黄公望、管道升、曹知白、陈汝言等而作。每幅均自题七律一首，末开款署“壬寅六月王翚”，册尾有顾复初题跋。前选一图，系仿曹云西山水，写柳汀板桥、芦荻孤舟，晓风残月，雁影徘徊。笔墨疏秀，意境苍莽迷蒙。\n王翚得名家传授，又博览古人佳作和游历真山实水，画艺日臻成熟，40岁时即名闻海内。王翚出生于绘画世家，他的曾祖王伯臣、祖父王载仕、父亲王云客都是画家，幼时即得到家学熏陶，初学画于同乡画家张珂。顺治年间王鉴游虞山时，见王翚画扇，极为赏识，赞其天资超人，收为弟子。后转师王时敏，得以临摹许多历代名家真迹，镕铸造南北画派于一炉，技艺大进。尝与王时敏遍游大江南北，广识著名收藏家，观摹宋、元真迹。其摹古功力极得王时敏赞赏：“（石谷）凡唐宋诸名家无不摹仿逼肖，偶一点染展卷即古色苍然，毋论位置溪径，宛然古人，而笔墨神韵一一夺真，且仿某家，则全是某家，不杂一他笔，使非题款，虽善鉴者，不能辨。”于是他在摹古仿古的基础上，综合诸家之长，晚年画风简练苍浑，有独到的艺术风格，在“四王”中，王翚的艺术成就最为显著，门生弟子很多，以杨晋较为著名，其山水画的影响极为深广。",[25,54,57,55,58,213,241,59,82,118,7,56,196,531],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c4ad8c583772a1f582c6129c6abb9f6.jpg","25.6厘米，横：20.5厘米",[],{"id":8737,"slug":8738,"title":48,"dynasty":18,"author":2470,"museum":20,"description":5206,"tags":8739,"thumbUrl":8740,"material":64,"size":64,"collection":64,"collections":8741,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":69},234641,"shan-shui-ce-cha-shi-biao-234641",[24,25,54,57,55,195,56,58,7,30,990,3133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21d9e861acc45aa892e05b5dca2b8d72.jpg",[],{"id":8743,"slug":8744,"title":8745,"dynasty":18,"author":317,"museum":20,"description":8746,"tags":8747,"thumbUrl":8749,"material":1148,"size":1149,"collection":64,"collections":8750,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":69},234435,"qing-ren-da-mo-zun-zhe-yu-er-tian-wang-xiang-zhou-yi-ming-234435","清人达摩尊者与二天王像轴","画面上部尊者仪容温婉，随伴灵虎踏于青山之间，顶上方佛与化现法身氤氲祥光，衬着松石淡彩的澄澈天地。下方二天王怒发焰张，身覆威重甲胄，气势雄浑悍烈，护法之威尽显无余。\n\n整作以明丽饱和的矿物颜料晕染，带着厚重华美的质感，藏地唐卡的装饰性与宗教意蕴相融，线条劲挺流转，既勾勒出尊者的温婉灵动，又凸显出天王的刚猛威仪，将神界清寂与护法肃杀的氛围巧妙调和，静穆庄重中藏着灵动生机。",[25,28,27,79,1096,101,1005,7,715,58,8748],"火焰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18103742301021a7603713052c166cce.jpg",[],{"id":8752,"slug":8753,"title":8754,"dynasty":74,"author":7689,"museum":355,"description":8755,"tags":8756,"thumbUrl":8757,"material":152,"size":64,"collection":64,"collections":8758,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":69},234127,"feng-shan-tang-ji-yong-juan-chen-yi-234127","封山堂集咏卷","陈沂（一四六九-一五三八）[明]，字号：宗鲁、鲁南、石亭、小坡 浙江鄞县(今浙江宁波)人，擅长书法及山水，以医籍居南京。初学宗鲁﹝应系初字宗鲁之讹﹞，后改鲁南，号石亭。少年时慕苏轼学行，因号小坡。正德十二年进士，官编修，嘉靖中以行太仆卿致仕。工诗文书画，与顾璘、王韦称“金陵三俊”。相传他在六七岁时就能模仿前人画迹。年长，好画山水，在翰林院时与名画家文徵明为同僚友好，经常切磋研讨，对于技法有进一步的提高。他在做官的历程中，对于所经历的名山大川，都留心观察，临写成为画卷。",[23,25,54,26,195,28,27,55,58,211,212,82,118,241,7,242,194,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d473dace969ff798d1dc4cd5242fb1.jpg",[],{"id":8760,"slug":8761,"title":8762,"dynasty":95,"author":317,"museum":355,"description":8763,"tags":8764,"thumbUrl":8766,"material":434,"size":8767,"collection":64,"collections":8768,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":44},233999,"shan-ju-dui-yi-tu-ye-yi-ming-233999","山居对奕图页","此图写二士人于草屋对弈，屋外树木横生，远处山峦隐约，一派世外桃园之景。作者描绘树枝用方折笔写枝干伸展之势，远山淡墨轻描，景观处理浓淡适宜，表现出作者心境之素雅。",[25,54,976,28,56,58,101,7,59,498,591,8765,196],"对弈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96e8bb8ea37344ac15c722d5c33af964.jpg","24x24.8厘米",[],{"id":8770,"slug":8771,"title":48,"dynasty":18,"author":712,"museum":355,"description":2308,"tags":8772,"thumbUrl":8773,"material":717,"size":2312,"collection":64,"collections":8774,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":44},233984,"shan-shui-ce-gong-xian-233984",[25,24,54,57,55,56,58,7,118,197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42f29f18b9b87227933839758e1c857f.jpg",[],{"id":8776,"slug":8777,"title":8778,"dynasty":95,"author":317,"museum":20,"description":8779,"tags":8780,"thumbUrl":8781,"material":64,"size":64,"collection":64,"collections":8782,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":44},233765,"shan-shui-tu-ye-yi-ming-233765","山水图页","本幅墨笔画荔枝，柿子树二枝，上方自题“庚子元旦即兴”诗一首，款“右进作一首侑以荔柿图，奉吾宿田老兄新春一笑，周再拜”钤“启南”朱方印一。右下方收藏印“绍庭审定”等二方。\n沈周（1427—1509年），字启南，号石田，晚号白石翁，长洲（今江苏苏州）人。世代隐居吴门，父亲恒古、伯父贞吉均善画。他早年承受家学，兼师杜琼，后博学宋元诸家，自成一格。一生布衣，优游林下，为人敦厚，笃于友谊，性情随和，胸襟磊落，是吴中众望所归的贤达长者。 绘画上擅长山水、花鸟，尤以山水著称，有粗、细两种面貌。早年主宗王蒙，上追董、巨，以细笔为主；40岁以后博取诸家，着意于黄公望，风格逐渐变粗，形成粗笔风貌；60岁后汲取吴镇画法，笔墨疏简苍劲，格调雄健宏阔。其成熟时期的山水，笔墨上既吸收了宋院体和明浙派的硬度和力感，又保留了元人的含蓄笔致，于苍中带秀，刚中见柔。构图造境方面，无论繁复或简略，都强调山川宏阔之“势”，一改元人空寂之境，又着意于朴实的“质”，于拙中藏巧。他开创了“吴派”画风，与文徵明、唐寅、仇英并称“吴门四家”。",[25,976,28,56,58,7,680,59,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a7cd2f464622e9175f7f283010efb0f.jpg",[],{"id":8784,"slug":8785,"title":8786,"dynasty":1460,"author":317,"museum":20,"description":8787,"tags":8788,"thumbUrl":8789,"material":1148,"size":1149,"collection":64,"collections":8790,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":44},230556,"ba-jiao-ye-yu-tu-ri-ben-shi-ting-shi-dai-yi-ming-230556","芭蕉夜雨图-日本室町时代","轻烟晕染远山淡影，茅庐偎依芭蕉古松，板桥隐没于空蒙水雾间，将秋夜听雨的清寂铺展于卷上。湿冷的潮气仿佛浸透纸面，夜雨敲打着芭蕉叶，声声都揉着羁旅幽愁。\n\n整幅以画载情，上部题满唱和诗书，笔墨错落间，将寒宵孤坐的怅惘与同侪酬和的共情融为一体，书画相映，把蕉下听雨的清冷意绪，晕染得愈发绵长醇厚。",[23,25,54,55,56,195,194,196,58,869,7,3546,80,164,30,715,6753,2442,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff965d35070656840bce03fd2737af2ec.jpg",[],{"id":8792,"slug":8793,"title":8794,"dynasty":1460,"author":8795,"museum":20,"description":8796,"tags":8797,"thumbUrl":8798,"material":1148,"size":1149,"collection":64,"collections":8799,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":69},230489,"an-tu-tao-shan-shan-shui-tu-ping-feng-di-yi-ping-yun-gu-deng-yan-230489","安土桃山 山水图屏风-第一屏","云谷等颜","云谷等颜（1547～1618）画家。初学狩野派，后学雪舟水墨画。",[23,25,54,55,56,58,7,285,680,83,459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F959bfd52b542f4f8e07d6bd3acfd9022.jpg",[],{"id":8801,"slug":8802,"title":7374,"dynasty":18,"author":160,"museum":20,"description":8803,"tags":8804,"thumbUrl":8805,"material":64,"size":64,"collection":64,"collections":8806,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":69},230183,"shan-shui-tu-hua-yan-230183","此作笔致秀逸清灵，以淡赭晕染层叠崖壁，勾勒垂落飞泉，孤松虬枝斜倚崖侧，疏朗带风。画中高士凭岩端坐，临流观瀑，尽显林泉高致。远景山峦淡晕朦胧，留白铺就空寂辽远的天地，将山野幽居的萧散之趣尽数铺陈。四周题跋密布，书画交融，更添文雅古意，把文人耽爱林泉、静悟山水的隐逸心境藏入尺幅之间，淡远空灵，尽显幽寂出尘的林下之风，将山水清旷与书卷雅韵相融，尽显高古清幽的隐逸之美。",[23,25,54,28,56,195,194,58,101,7,81,308,197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bb52b9cce7c0aec2faa81b9a65f6fa2.jpg",[],{"id":8808,"slug":8809,"title":976,"dynasty":18,"author":8810,"museum":20,"description":8811,"tags":8812,"thumbUrl":8813,"material":64,"size":64,"collection":64,"collections":8814,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":69},230165,"shan-mian-lin-xing-230165","林行","此作用淡赭晕染山峦，以短披麻皴勾勒山石肌理，厚重朴拙间见温润质感。留白作溪云环萦，虚实相映，让山水生出空濛灵秀之态。\n左侧板桥之上，三两策杖行人徐行，为幽寂山水添上鲜活烟火气；右侧竹篁深秀间茅舍隐现，暗合山居幽栖之趣。\n笔墨舒缓柔和，不见剑拔弩张的锋芒，将江南林麓的清寂安闲铺展开来，动静相融间，把文人心中林下幽居的悠然诗意，藏在淡墨轻岚之中。",[25,54,976,55,56,58,80,30,7,241,212,82,591],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e978dfc087b2b735d0da2f091cf4fad.jpg",[],{"id":8816,"slug":8817,"title":8818,"dynasty":74,"author":8819,"museum":20,"description":8820,"tags":8821,"thumbUrl":8829,"material":1148,"size":1149,"collection":64,"collections":8830,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":44},228347,"huang-zhou-zhu-lou-ji-shen-zao-228347","黄州竹楼记","沈藻","沈藻，字凝清，一字仲藻，华亭（今松江属上海市）人，明代书法家沈度之子。",[194,195,196,8822,80,3539,6082,715,241,2958,8823,8824,3069,7,32,2653,2442,8825,8826,8827,8828],"竹楼","酒","茶","城","滩濑","素月","清风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f132ee553de624622d081448aee353c.jpg",[],{"id":8832,"slug":8833,"title":8834,"dynasty":49,"author":317,"museum":20,"description":8835,"tags":8836,"thumbUrl":8837,"material":64,"size":64,"collection":64,"collections":8838,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":44},228211,"fang-mu-tu-yi-ming-228211","放牧图","以浓墨点染左侧垂柳，苍润枝叶随性舒展，余下大片淡墨留白铺就水泽，晕染出空濛悠然的郊野暮色。\n\n两头水牛一静一动，一者卧于水间，牧童伏背酣眠，恬然自适；一者垂首浅滩饮水，姿态松弛憨拙。全作以水墨写意，舍去繁缛刻画，以留白烘托萧散悠远的意境，将乡野放牧的日常闲趣，融于简淡笔墨之中，尽显平淡天真的隐逸意趣，把田园野趣与尚简重情的审美完美契合，尽显小品画的灵动生机与悠远情致。",[23,24,25,54,55,27,100,7,164,102,635],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fa8ce8aadda59dc845081b49d325826.jpg",[],{"id":8840,"slug":8841,"title":8842,"dynasty":95,"author":317,"museum":20,"description":8843,"tags":8844,"thumbUrl":8845,"material":64,"size":64,"collection":64,"collections":8846,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":44},223659,"wen-chuan-tu-juan-yi-ming-223659","问喘图卷","此作用淡墨白描写就，右侧古木虬劲苍郁，浓墨点簇枝叶，衬出林间幽寂。画面左侧水畔空濛悠远，平沙浅滩愈发衬出乡野静穆。\n\n画中士人抬手问询，田夫敛袖作揖应答，神态恳切自然，身后侍童恭立持扇，氛围悠然庄重。耕牛垂首缓行，身姿朴拙生动，将典故融于乡野实景。\n\n构图疏密相宜，淡墨晕染水色空濛，简练线条精准勾勒人物神情与物态，设色简淡素雅，尽显清雅意趣，暗含体恤民生的古韵深意，平淡画面间尽显含蓄悠远的古典风雅。",[23,25,26,1004,28,196,101,100,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae80987d2d826d7b80a5a3b01b261be.jpg",[],{"id":8848,"slug":8849,"title":8850,"dynasty":74,"author":317,"museum":850,"description":8851,"tags":8852,"thumbUrl":8853,"material":434,"size":8854,"collection":64,"collections":8855,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":44},223574,"mu-yang-tu-yi-ming-223574","牧羊图","绘春郊野外，羊群于坡岸吃草放牧的情景，羊群刻画生动，奔走俯首等姿态栩栩如生，有母子舔犊情深、有结伴奔跑嬉戏、有独自悠闲觅食。荒草并不丰茂，但却充满生机，平稳均衡的画面布局又隐藏着山坡横向的动感和柳树上扬下垂的起伏变化，而正在攀爬柳树的牧童，更是给看似安静的画面增添了活眼。",[23,25,976,28,101,2127,7,2128,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d76828bbf7925e25c75ff00155b1967.jpg","24.1×24.8cm",[],{"id":8857,"slug":8858,"title":8859,"dynasty":74,"author":317,"museum":76,"description":8860,"tags":8861,"thumbUrl":8863,"material":434,"size":8864,"collection":64,"collections":8865,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":69},223392,"ping-hu-xue-ji-yi-ming-223392","平湖雪霁","此水墨小品以暗绢托出雪意清寒。近岸枯木寒枝错落斜欹，茅舍隐于林渚间，三两渔舟泊在冰封浅滩，天地间凝着凛凛寒意。远景以淡墨轻晕远峦寒雾，留白作漫天寒雪，虚实相生间晕开空濛冷寂。\n\n未用浓墨重彩，仅以极简笔墨铺陈湖山冬日疏旷萧寒。霜风仿佛正掠过镜面平湖，冷意顺着绢面漫开，将江天雪后的岑寂澹远藏进方寸画幅，把追慕幽寂山水的雅趣融在素淡墨色里，叫人坠入这万籁俱静的清寒意境中。",[25,976,55,58,497,8862,7,732,54,196],"湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35e5b81a7081e638b4129936f8fc4768.jpg","38.9x81",[],{"id":8867,"slug":8868,"title":8869,"dynasty":18,"author":8870,"museum":2113,"description":8871,"tags":8872,"thumbUrl":8873,"material":8874,"size":8875,"collection":64,"collections":8876,"showCount":562,"zanCount":43,"manualWeight":43,"mainColor":64},220744,"shan-shui-ji-3-wang-shi-min-weng-ling-wu-hong-deng-220744","山水集3","王時敏,翁陵,吳宏等","此作用笔苍劲老辣，以披麻皴写山峦层叠，淡墨晕染间烟岚轻笼，尽显山川空濛灵秀。山脚村居错落掩映，古木扶疏，干笔点叶尽显虬枝苍劲，林泉间野趣悠然。\n\n画面兼具高远、平远之致，山峦逶迤舒展，将山野幽居的静穆闲逸融于尺幅，题款古雅朴拙，与画面意境相得益彰。整体清寂淡远，既有传统山水的章法意趣，又带着疏放的文人笔墨情致，藏着画师对林泉高致的栖心向往，淡墨轻岚间绘出江南山居的悠然意韵。",[25,55,56,57,58,80,7,242,82,59],"https:\u002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“负薪”、 “有客”、“坐石”、“步月”、“枕流”、“径行”（高景逸有《和西筑咏》八首，七题与同，无“径行”，而别有“卧雪”一题），迥然森秀，眼为一洗。\n《引泉》，高诗曰：“次第竹根来，相将得到家。鸟啼春雨后，流出满山华。”\n《负薪》，高诗曰：“采薪松岩下，日暮负盈肩。还思天际鹤，或恐避荼烟。”\n《径行》，高诗无之，另《卧雪》曰：“山上雪连屋，山僧拥褐眠。下方来往绝，身在几禅天。”\n《步月》，高诗曰：“独坐松堂下，参差静影来。西湖歌吹歇，推却小窗开。”\n《种竹》，高诗曰：“自将山竹种，岂望便成林。一竿明月里，聊尔步清阴。”\n《有客》，高诗曰：“偶随白云出，不掩白云扉。有客坐来久，山僧归未归。”\n《坐石》，高诗曰：“裴回涧边石，小憩一悠然。不知山月吐，已满竹窗前。”\n《枕流》，高诗曰：“春涧鸣幽鸟，春华欲满山。不知人世事，一枕石泉闲。”\n瑛姓名见汪玉水《珊瑚网》，玉水开檇李崇祯画社，戊辰（1628）广征诸家作《摩诘句图》，得百余帧，存录者廿七人，其三“清夜何悠悠，扣舷明月中。”署款“啸海朱瑛”，啸海其号也（《西筑》册钤印“山公”，当亦别号）。",[25,54,57,55,58,241,7,212,82,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a1b34f36d3d366d7b85519eef1bbba0.jpg",[],{"id":9043,"slug":9044,"title":1069,"dynasty":18,"author":9045,"museum":355,"description":9046,"tags":9047,"thumbUrl":9048,"material":447,"size":64,"collection":64,"collections":9049,"showCount":220,"zanCount":11,"manualWeight":43,"mainColor":44},236820,"fang-gu-shan-shui-ce-zhao-cheng-236820","赵澄","[明]（一五八一至？）晚年得铜汉章改名澄，字雪江，一字湛之，颍州（今安徽阜阳）布衣。山水泼墨、细谨两擅其长。学宗董源、范宽、李唐诸家。又善临摹，见大内所藏皆缩为小幅，无一笔不肖。又仿古二十幅极精，为琉球国王所得，永为海外珍宝。并工写照，得意之作皆用铜章。以博学能诗称。顺治十一年（一六五四）仿各家山水册时年七十四。《国[清]朝画徵录、读画录、图绘宝鉴续纂、桐阴论画》",[25,54,57,28,58,80,715,164,358,7,591,1573],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a30aa2fa945692c7adc8c743f499f66.jpg",[],{"id":9051,"slug":9052,"title":9053,"dynasty":74,"author":317,"museum":20,"description":9054,"tags":9055,"thumbUrl":9056,"material":1148,"size":1149,"collection":64,"collections":9057,"showCount":220,"zanCount":43,"manualWeight":43,"mainColor":44},236698,"zhang-long-zhang-guan-quan-shan-yi-ming-236698","张龙章观泉扇","此水墨扇面小品以枯木湖石营构幽境，虬曲古木斜出，枝桠带叶，苍劲中隐有生机。玲珑湖石皴染兼具，朴拙奇崛。高士斜倚木下，衣纹清劲简练，神态悠然静穆，正观听眼前流泉。整体笔墨简逸秀雅，萧散淡远。左侧题字朱印与画面相映，融书画于一体，将文人遁世丘园、寄情林泉的闲淡襟怀藏于尺幅之间，尽显林下幽居的隐逸意趣，是文人写意画中寄畅山水的典型佳作。",[2129,25,54,976,55,27,56,101,83,7,625,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F404a2ba9065e81af3f80a09faa1b453c.jpg",[],{"id":9059,"slug":9060,"title":4714,"dynasty":74,"author":9061,"museum":20,"description":9062,"tags":9063,"thumbUrl":9064,"material":1148,"size":1149,"collection":64,"collections":9065,"showCount":220,"zanCount":43,"manualWeight":43,"mainColor":44},236686,"shan-shui-shan-lin-zhi-jing-236686","林之菁","此作用笔简率老辣，借扇面形制铺展山水丘壑，取景疏密相宜。左处远山奇崛，枯笔短皴勾勒嶙峋石质，留白摹作平湖，一叶扁舟轻泛，晕开清寂烟波。右侧近林错落，以浓淡墨色分出枝叶层叠意趣，掩映水畔草堂，尽显幽居闲致。\n水墨晕染简淡清逸，题款笔墨随性自然，与画面浑然相融，尽显文人画萧散悠远之态，将林泉雅怀寄于尺幅之间，铺展出静穆雅致的山水幽境。",[25,54,976,55,56,195,196,58,7,2442,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F447bd42652dd8d564104ff7ff58498f8.jpg",[],{"id":9067,"slug":9068,"title":9069,"dynasty":18,"author":9070,"museum":355,"description":9071,"tags":9072,"thumbUrl":9073,"material":64,"size":64,"collection":64,"collections":9074,"showCount":220,"zanCount":43,"manualWeight":43,"mainColor":69},236651,"cha-shi-biao-shu-fa-ti-wang-zhi-rui-shan-shui-ce-wang-zhi-rui-236651","查士标书法题汪之瑞山水册","汪之瑞","汪之瑞，字无瑞，号乘槎，清朝安徽休宁人，清初画家。为明末新安画家李永昌高足。“新安四家”之一。\n查士标（1615-1698），字二瞻，号梅壑散人，懒老。新安（今安徽休宁）人，流寓江苏扬州。明末秀才，入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。他的闲散情怀决定了他的绘画气质亦是风神懒散、气韵高逸。",[25,54,57,55,195,196,58,118,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8e25e07014b20d25a46053e1615f944.jpg",[],{"id":9076,"slug":9077,"title":9078,"dynasty":74,"author":9079,"museum":20,"description":9080,"tags":9081,"thumbUrl":9082,"material":1148,"size":1149,"collection":64,"collections":9083,"showCount":220,"zanCount":43,"manualWeight":43,"mainColor":69},236293,"you-xi-shen-mei-shan-sheng-mao-jiong-236293","幽溪深梅扇","盛茂熲","此作用笔苍润兼具，以湿墨晕染烟岚空濛，将山林笼在江南烟雨之中。左侧古木虬枝舒展，浓墨点叶尽显苍劲生机，淡墨铺陈林野虚境。山径上策杖的行人缓步徐行，暗合林泉雅游的闲趣。右侧溪桥半隐在烟霭里，远山随墨色淡去，留白处尽显空茫雨意。干湿笔墨互衬，焦墨苔点醒出画面层次，把文人寄情丘壑、耽爱林泉的幽怀，融在朦胧烟色之中，空灵悠远，尽显山水雅韵。",[25,976,55,56,58,7,101,59,228,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11b9a94bd01a08c384b70bd69f97a006.jpg",[],{"id":9085,"slug":9086,"title":48,"dynasty":18,"author":1952,"museum":20,"description":9087,"tags":9088,"thumbUrl":9089,"material":64,"size":64,"collection":64,"collections":9090,"showCount":220,"zanCount":43,"manualWeight":43,"mainColor":69},236045,"shan-shui-ce-wang-yuan-qi-236045","此作用淡墨渴笔绘就，近处危石嶙峋，修竹劲挺清疏，古木倚石而立，林梢后隐见草庐，漾出幽居世外的闲寂。平湖横陈中景，远山以干笔皴擦，淡墨晕染，山峦错落朦胧，似笼着轻烟，晕出空寂萧疏的氛围感。\n笔墨简淡松秀，以留白造境，凭虚实相生勾勒山川丘壑的静穆悠远，不着浓艳敷色，全以笔墨意趣铺就清旷淡远的禅意，观之如临幽寂林泉，心下悠然沉静。",[25,54,57,55,56,58,118,7,241,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F730960dc4a489440549caf97a31a5c00.jpg",[],{"id":9092,"slug":9093,"title":9094,"dynasty":74,"author":9095,"museum":20,"description":9096,"tags":9097,"thumbUrl":9098,"material":64,"size":64,"collection":64,"collections":9099,"showCount":220,"zanCount":43,"manualWeight":43,"mainColor":69},236001,"zhu-shi-zhou-xiang-de-xin-236001","竹石轴","项德新","此画以水墨写意幽寂小景，枯树挺立于中，笔法简练老辣，将老树经霜的苍劲之态尽显，虬枝间淡墨点染木叶，疏朗雅致。奇崛湖石皴染结合，兼具厚重沉稳之质与通透空灵之姿。旁侧修竹清瘦秀逸，竹叶俯仰有姿，和老树顽石相映成趣，衬出画面萧疏淡远的意韵。\n笔墨松秀灵动，墨色层次清和淡润，以极简构图诠释文人画尚简重意的旨趣，将林下澹然雅趣融于方寸，尽显古淡空灵的文人意境。",[25,79,55,241,30,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F213b420bb2e5f92a41046051b19c364e.jpg",[],{"id":9101,"slug":9102,"title":48,"dynasty":74,"author":4866,"museum":20,"descriptio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“文窗刺绣”、十一月“围炉博古”、十二月“踏雪寻诗”。通过这一幅幅生动的画面体现了宫廷生活与民间生活的密切关联。嫔妃们的活动内容，在民间生活中均习以为常，只不过由于宫廷的特殊地位，而令这些活动从内容到形式都具有更加富贵、繁琐及典制化的特点。\n作者在人物创作的审美取向上有别于唐代张萱、周昉笔下体态丰腴的嫔妃形象，而以明代唐寅、仇英笔下的仕女画为审美标准，追求秀润飘逸的情致。画家以工细流畅的线条和亮丽鲜活的色彩将嫔妃们描绘成身材修长、体态轻盈、“倚风娇无力”之貌。她们三五成群地行进在以界画表现的亭台楼阁内或是细笔勾染皴点的花石下。富贵闲逸的宫苑生活令她们的物质生活十分充足，也使她们的精神世界极度贫乏。在技法上，此图所绘人物造型生动准确，笔致工细严谨，源于宋代院体画风。图中的楼台房室建筑则采用西洋焦点透视法绘成，根据图中透视线斜度的变化，可以准确地推求出灭点的具体位置，从而加强了平面画幅的立体、纵深效果，在有限的画面上扩展出无限的空间。此图册于乾隆三年（1738年）绘成后深得乾隆皇帝的赞赏。\n乾隆帝于六年谕令皇宫“造办处”的优秀匠人，如擅镶嵌技艺的常存，擅牙雕工艺的陈祖章、陈观泉父子及顾彭年、萧汉振等，以陈枚的这本图册为画稿，用象牙、玉石等进行雕刻。匠人们精雕细琢，密切结合牙雕和镶嵌的技艺特点，令画面层次分明，富有立体感。这件雕有103人的牙雕精品被称作“百美图”。乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[27,28,194,196,101,211,7,59,497,135,868,1283,7474,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00b1973c46c586d785e4a0d0caa553b6.jpg",[],{"id":9166,"slug":9167,"title":9168,"dynasty":18,"author":1952,"museum":20,"description":9169,"tags":9170,"thumbUrl":9171,"material":152,"size":9172,"collection":64,"collections":9173,"showCount":220,"zanCount":43,"manualWeight":43,"mainColor":69},234891,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234891","王原祁仿古山水册","丁巳为康熙十六年（1677年），王原祁时年三十六岁。册前王时敏款署西庐八十七老人题，应为康熙十七年（1678年）所题，即王原祁创作该册后的次年所书。以丁巳下推至庚午，不足十五年，而自跋中今阅十五年，当是王原祁笔误。\n画前副页有王时敏隶书灵心自悟四大字。画册后跋纸为王原祁自题：此余丁巳春间往云间笔也。先奉常见之谓余为'可教'，题识四字。个阅十五年矣，于古人笔墨终未梦见，殊愧先大父指授，为之泫然。康熙庚午长夏观于毘陵舟次谨题，原祁。钤原祁之印（白文）、麓台（朱文）、兴与烟霞会（白文），画册首副页，尾纸只有庞元济藏印11方。\n该册仿古山水，是王原祁早期绘画的代表作品。所仿元六家山水各具形貌，笔墨或设色又颇具苍润、恬淡、秀丽等不同特点，所以王时敏以灵心自悟夸赞其孙王原祁在仿古的同时，边学习古人的画法，同时又寻求开创个人独特艺术特点的创作方向。该册是研究工原祁早期绘画的宝贵材料。",[1073,28,56,195,196,58,80,30,7,213],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9008f59216e7f132cb809ba7a4207ec.jpg","纵21厘米，横27厘米",[],{"id":9175,"slug":9176,"title":48,"dynasty":18,"author":2847,"museum":355,"description":9177,"tags":9178,"thumbUrl":9179,"material":64,"size":64,"collection":64,"collections":9180,"showCount":220,"zanCount":43,"manualWeight":43,"mainColor":69},234794,"shan-shui-ce-dong-bang-da-234794","董邦达生于康熙三十八年(1699年)，字孚存，号东山，又号非闻，浙江富阳人。他幼年家贫，致力于学，于雍正元年(1723年)被选拔为贡生。后赴京应试，屡试不第，落魄在京，期间得刑部尚书励廷仪赏识。几经周折，他终于雍正十一年中进士，被授庶吉士。“文臣画家”是董邦达的重要身份。\n乾隆二年(1737年)，董邦达被授编修一职，先后参与编修《石渠宝笈》《秘殿珠林》二书初编以及《西清古鉴》《明史纲目》《皇清文颖》《盘山新志》《热河志》诸书。乾隆三年，任陕西乡试考官，上疏官卷量少，建议用民卷补充，以便朝廷招贤纳才。不久，升任右中允，再迁侍读学士。乾隆十二年，受命入直南书房，擢升为内阁学士。乾隆十五年，迁任侍郎，历任职于户、工、吏诸部，官至礼部尚书。乾隆三十四年(1769年)卒，谥文恪。\n董邦达长于诗，且书画俱精，尤善山水。其画用笔深得古人之法，山水上窥五代董源、巨然及元黄公望，近学明人董其昌，论者称之“古今三董相承”。邱雯对三董相承有过深入阐述：董源山水写南京一带的浑厚华滋，董其昌山水写松江一带的清润宁和，董邦达山水写富春、杭州一带的秀远疏放。董邦达继承董其昌的高雅审美意识，追求山水的自然、自由、可观、可赏、可游、可居，以寄托文人的自由理想，在作品中体现为书卷气以及“和平中正”的审美取向，儒家一贯追求的清、真、雅成为其绘画的重要特征。\n董邦达广习历代名家技艺，除吸收董巨皴法及黄公望浅绛画法，还受“清初四王”影响颇深。但与“四王”不同的是，他更加重视绘画的生气，作品既能迎合皇帝喜爱的盛世升平气象，又有文人画家所追求的幽远意境。其画作中年秀润，晚年苍浑，用笔在不生不熟之间，绝无狂废之态。尤其晚年之作沉雄朴茂，极具生拙野逸之趣，所呈现的文人意趣，继承南宗笔墨的野逸疏放，与董源、董其昌异曲同工。他将文人逸气带入宫廷，与清代宫廷职业画家的工丽装饰明显不同，成为当时宫廷中雅文化的代表。\n董邦达为官35年，深得乾隆皇帝厚爱。他70岁时得乾隆钦赐“紫禁城骑马”。他以年老多病请辞引归，乾隆说：“礼部事不繁，给假安心调治，不必解任。”他不久病逝，乾隆赐其祭葬，并亲自撰写碑文，在文中悲叹：“呜呼！眷文学侍从之劳，松楸影；著老成典型之望，琬琰流辉。裕及后昆，承兹休命。”\n乾隆帝对董邦达的山水画推崇有加。董邦达作品大幅寻丈、小幅寸许，不下数百，许多都“上邀宸眷”，蒙赐御题。乾隆曾赞扬其山水画激发了自己的诗兴，感叹道：“为他山水幽佳处，往往寻题趣有余。”乾隆在评价画坛时弊以及董氏艺术时称：“吾于达也无间然，丰不觉繁俭不欠。前称北苑后香光，艺林都被卿家占。”将董邦达看作画理上的无间知己，谓其山水繁简皆佳、运转自如，认为其笔墨独到，可与画史上最具权威的“南宗”大师北苑(董源)、香光(董其昌)齐驱，可见其山水画在宫廷中地位之高。",[25,55,28,57,58,7,241,59,118,196,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F875ca397370e0f4af62fcea9fca3f34f.jpg",[],{"id":9182,"slug":9183,"title":2479,"dynasty":18,"author":8033,"museum":355,"description":8034,"tags":9184,"thumbUrl":9186,"material":447,"size":64,"collection":64,"collections":9187,"showCount":220,"zanCount":43,"manualWeight":43,"mainColor":69},234757,"huang-shan-tu-ce-jiang-zhu-234757",[25,54,57,55,28,195,194,56,58,80,30,7,459,9185],"奇峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07be6bbf7f5a59544ae1e4a3e17092d5.jpg",[],{"id":9189,"slug":9190,"title":9191,"dynasty":74,"author":317,"museum":20,"description":9192,"tags":9193,"thumbUrl":9196,"material":64,"size":64,"collection":64,"collections":9197,"showCount":220,"zanCount":43,"manualWeight":43,"mainColor":44},234509,"ming-ren-mo-jing-tu-dan-ye-yi-ming-234509","明人磨镜图单页","铜镜是古人用来妆饰理容的一种生活用品。中国的铜镜使用史非常悠久，上起新时器时代晚期的齐家文化，下至明清，约有近四千年发展演变的进程，几乎与中华民族的古代文明史相始终，可谓源远流长。\n铜镜由青铜铸造而成，和空气接触时间长了，会逐渐变得黯淡无光，无法用以映照形影，古人很形象地称之为“昏镜”。这种情况需要重新磨拭镜面才能让铜镜光可鉴人。《朱子语类》对此有很简洁的表述：“镜本明，被尘垢昏之，用磨擦之工，其明始现。”似乎只需要简简单单的擦拭便能将铜镜打磨光洁，可实际上磨镜蕴含的技术含量并不低，甚至还能体现古代的一些科技成就",[25,54,28,27,57,101,135,1058,7,4515,9194,637,868,273,9195],"荷塘","磨镜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa46add39fa3b81871137ed0f724d7205.jpg",[],{"id":9199,"slug":9200,"title":9201,"dynasty":18,"author":317,"museum":20,"description":9202,"tags":9203,"thumbUrl":9204,"material":64,"size":64,"collection":64,"collections":9205,"showCount":220,"zanCount":43,"manualWeight":43,"mainColor":69},234399,"dao-guang-di-xi-yi-qiu-ting-tu-zhou-yi-ming-234399","道光帝喜溢秋庭图轴","此作工致细腻，以秋日庭院为卷，铺陈出融融天伦之景。廊下帝王安坐静赏，妃嫔垂侍身侧。庭院之中，妃嫔携稚子逗弄猫狗，孩童们或跑或立，自在嬉闹。亭台轩榭配衬湖石虬松，花木盛放点缀清秋，处处皆是雅致意趣。衣装纹饰皆精工描摹，设色柔丽雅致，褪去朝堂肃穆，将皇家日常的松弛温情尽数晕开，尽显深宅秋日里的脉脉暖意，藏着寻常又珍贵的阖家闲逸。",[25,54,79,18,27,28,101,868,118,7,1198,180,211,6033,272,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002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绢素，于疏淡之中蕴藏着饱满蓬勃的生命力，尽显以简驭繁的写意妙趣。",[23,25,24,54,79,28,27,100,83,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd528a92ff060f51045a85b2c95ebad86.jpg",[],{"id":9271,"slug":9272,"title":9273,"dynasty":18,"author":1952,"museum":20,"description":9274,"tags":9275,"thumbUrl":9277,"material":64,"size":64,"collection":64,"collections":9278,"showCount":220,"zanCount":43,"manualWeight":43,"mainColor":44},224403,"gao-ling-ping-chuan-tu-wang-yuan-qi-224403","高岭平川图","《王原祁画论译注》由俞丰译注，荣宝斋出版社出版。\n雨窗漫笔 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罗汉九长老像 是一幅清朝时期的佛教画作，描绘了九位罗汉，这些罗汉是佛教中的超凡脱俗的人物，他们拥有超凡的智慧和慈悲之心，并且被视为佛教中的榜样。\n\n在这幅画中，佚名以精细的笔触描绘了九位罗汉的形象，每一位罗汉都面带慈祥的微笑，身着精致的法衣，体现出他们超凡的品德和修行的成果。画面中还有许多佛教的装饰元素，如佛像、佛经、菩提树等，为整幅画作增添了浓厚的佛教气息。\n\n总的来说，佚名的 罗汉九长老像 是一幅非常精美的佛教画作，其中所传达出的超凡慈悲和修行成果，对于追求佛道的人来说是一种极大的启发和鼓励。",[23,25,54,1096,28,27,101,7,59,79,1408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f8b7321a3923f5cb90a14a5c9abb2cf.jpg",[],{"id":9326,"slug":9327,"title":9328,"dynasty":18,"author":317,"museum":355,"description":9329,"tags":9330,"thumbUrl":9332,"material":28,"size":64,"collection":64,"collections":9333,"showCount":220,"zanCount":43,"manualWeight":43,"mainColor":69},217289,"gu-xiu-wu-shi-san-can-tu-ce-26-yi-ming-217289","顾绣·五十三参图册-26","绣线如笔，勾勒出一方禅意清境。老者席地而坐，衣纹细腻宛转，尽显悠然之态；童子俯身趋前，神态恭谨，似在聆听教诲。旁侧枝桠垂落，花叶错落有致，云霞轻卷于天际，红日晕染出暖光。顾绣以针代墨，将笔墨韵致凝于丝缕之间，人物情态生动传神，景物层次分明。淡雅的色彩晕染，细腻的针脚排布，把五十三参故事中的虔诚与宁静悄然铺展，每一处细节都藏着匠心，仿佛能透过绣面，触碰到那份古雅的禅意与对善知识的敬仰。",[5812,28,27,101,1058,7927,7,715,7542,2441,9331],"坐垫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed188d7380173ff127512dc022e92d08.jpg",[],{"id":9335,"slug":9336,"title":9337,"dynasty":18,"author":1638,"museum":20,"description":1639,"tags":9338,"thumbUrl":9341,"material":275,"size":64,"collection":64,"collections":9342,"showCount":220,"zanCount":43,"manualWeight":43,"mainColor":69},215103,"tui-bei-tu-ce-5-jiao-bing-zhen-215103","推背图册-5",[23,24,25,57,27,28,7,59,102,9339,3106,9340,635],"猪","鼠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6667ce90fb304c0134c02c613a0234dc.jpg",[],{"id":9344,"slug":9345,"title":8898,"dynasty":18,"author":8164,"museum":328,"description":8165,"tags":9346,"thumbUrl":9347,"material":275,"size":8168,"collection":64,"collections":9348,"showCount":220,"zanCount":43,"manualWeight":43,"mainColor":69},214700,"shan-shui-ce-8-gao-xiang-214700",[25,54,57,55,1004,58,80,7,241,591,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fa54a23c9bab028b8b5b02081e0d29b.jpg",[],{"id":9350,"slug":9351,"title":7881,"dynasty":18,"author":8164,"museum":328,"description":8165,"tags":9352,"thumbUrl":9353,"material":63,"size":8168,"collection":64,"collections":9354,"showCount":220,"zanCount":43,"manualWeight":43,"mainColor":69},214698,"shan-shui-ce-10-gao-xiang-214698",[25,55,57,56,58,7,242,61,7934,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3eab95424d49319149dcee15d4bf78f.jpg",[],{"id":9356,"slug":9357,"title":9358,"dynasty":74,"author":2459,"museum":51,"description":9359,"tags":9360,"thumbUrl":9361,"material":63,"size":64,"collection":64,"collections":9362,"showCount":220,"zanCount":43,"manualWeight":43,"mainColor":69},214540,"mo-gu-ce-ye-11-chen-hong-shou-214540","摹古册页-11","摹古册是指模仿古代的书写方式进行写字的一种书法形式。陈洪绶是一位著名的明代书法家，他的书法风格被认为是对古代书法的很好的摹写。\n\n陈洪绶，字仲容，号凤阁山人，原籍江苏无锡，生于明朝洪武十五年（1382年）。他是明朝著名的书法家，也是《颜氏书苑》的编辑之一。他的书法被认为是对古代书法的很好的摹写，具有浓郁的古典气息。他的书法作品有《陈洪绶书法集》和《陈洪绶书法精选》等。",[25,54,57,1004,531,7,30,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09736a539dc5463769f6d2d01f8c886e.jpg",[],{"id":9364,"slug":9365,"title":9366,"dynasty":18,"author":317,"museum":20,"description":9367,"tags":9368,"thumbUrl":9372,"material":1148,"size":1149,"collection":64,"collections":9373,"showCount":110,"zanCount":43,"manualWeight":43,"mainColor":69},257753,"kang-xi-kuan-wu-cai-shi-er-yue-hua-hui-wen-bei-lu-yi-ming-257753","康熙款五彩十二月花卉纹杯-露","此杯撇口深腹，器型秀巧玲珑。杯身以五彩绘就花树，苍劲枝干舒展虬曲，翠叶间丹红花朵次第绽露，妍丽雅致。蓝彩晕染坡石，间缀幽草闲花，布局疏朗空灵。\n\n莹白釉色温润似玉，五彩发色明妍鲜亮，设色层次柔和协调。笔触写实细腻，将秋日花木清隽之态尽藏杯壁，把文人写生意趣融于瓷艺工巧之中，方寸杯身间，尽显古雅温婉的静美韵致，是彩瓷小品里的隽秀之作。",[9369,9370,28,27,180,7,9371,637],"陶瓷","五彩","露","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba4f2941e4e9c863345b51fa874b007.jpg",[],{"id":9375,"slug":9376,"title":9377,"dynasty":18,"author":317,"museum":20,"description":9378,"tags":9379,"thumbUrl":9381,"material":1148,"size":1149,"collection":64,"collections":9382,"showCount":110,"zanCount":43,"manualWeight":43,"mainColor":44},251028,"qing-yu-wang-xi-zhi-ai-e-tu-yi-shan-zi-yi-ming-251028","青玉王羲之爱鹅图意山子","此作以温润青白玉随形雕琢，取文人雅事入题。山峦起伏间苍松虬曲盘绕，松叶层叠细密，尽显古木苍劲之姿。松下二人对晤，衣袂舒展，神态生动恭谨，将求鹅问字的悠然雅兴尽显。一侧清波漾漾，白鹅浮于水面，意态闲适。\n\n匠师以圆雕、透雕相融施艺，山石皴理自然，细节写实传神。玉料浅褐沁色晕染，更添古朴沉静质感。将玉质天然温润与人文典故相合，把林下雅集的隐逸意趣凝于方寸玉石，尽显清代玉雕的精妙工法与雅致审美，是融文思与匠意的佳作。",[959,9380,9244,58,101,2157,7,637],"玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7265687c3e4f36a40ece1544484e49a3.jpg",[],{"id":9384,"slug":9385,"title":9386,"dynasty":74,"author":317,"museum":20,"description":9387,"tags":9388,"thumbUrl":9391,"material":1148,"size":1149,"collection":64,"collections":9392,"showCount":110,"zanCount":43,"manualWeight":43,"mainColor":349},248880,"kuan-cai-you-yue-gong-tu-cha-ping-yi-ming-248880","款彩游月宫图插屏","此件以款彩工艺成作，黑漆为地，刀刻轮廓间填饰彩料、描金点缀。画面里众人凌波徐行，侍从擎伞随侍，众人抬首望向天际，祥云之间月宫琼楼隐现，仙意悠然弥散。配色沉古雅致，朱红、金彩与墨色底地相映，愈发衬出画面幽谧出尘的仙气。边框缠草金纹匀净华丽，与画面相得益彰。整体构图虚实相宜，将赴月寻仙的浪漫遐想具象呈现，尽显古朴悠远的仙道意趣，是一件韵味独具的漆绘珍品。",[2129,9389,9390,28,101,715,58,1420,853,2959,7,3304],"款彩","漆器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac2e59b2acda225877e8f28cd175e52b.jpg",[],{"id":9394,"slug":9395,"title":9396,"dynasty":18,"author":9397,"museum":20,"description":9398,"tags":9399,"thumbUrl":9404,"material":1148,"size":1149,"collection":64,"collections":9405,"showCount":110,"zanCount":43,"manualWeight":43,"mai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ion":9544,"tags":9545,"thumbUrl":9546,"material":1148,"size":1149,"collection":64,"collections":9547,"showCount":110,"zanCount":43,"manualWeight":43,"mainColor":44},236687,"shan-shui-shan-chen-huan-236687","陈焕（公元16-17世纪初），字子文，号尧峰，尧峰山人，吴县（今江苏苏州）人，陈镒后裔。\n陈焕寄情翰墨，工画山水，取法沈周并得宋元气脉，私淑侯懋功，候早卒，焕能继其业。所画山水用笔苍秀茂密，动合法度，展对间清思扑人眉睫，以画著称于万历间。\n陈焕事迹见《吴县志》、《画史会要》、《画引》、《图绘宝鉴续纂》。",[25,54,976,55,56,58,7,59,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd42294b7ca53c624ecd45e7983a79f02.jpg",[],{"id":9549,"slug":9550,"title":9551,"dynasty":18,"author":1070,"museum":20,"description":9552,"tags":9553,"thumbUrl":9554,"material":64,"size":64,"collection":64,"collections":9555,"showCount":110,"zanCount":43,"manualWeight":43,"mainColor":69},236447,"ni-qian-ren-shi-yi-ce-wang-hui-236447","拟前人诗意册","王翚（1632—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。祖上五世均善画，曾祖王伯臣，善画花鸟，祖父王载仕，擅长山水、人物、花卉；父亲王云客也善画山水，画风秀雅。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，融会南北诸家之长，创立了所谓南宗笔墨、北宗丘壑的新面貌，故王时敏称“画有南北宗，至石谷而合为一”。在王翚35岁到60岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 不及以前的作品生动清新。",[25,54,57,55,56,195,196,531,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb6b85eae8a4526c99d22be1a7967383.jpg",[],{"id":9557,"slug":9558,"title":48,"dynasty":18,"author":8331,"museum":20,"description":9559,"tags":9560,"thumbUrl":9561,"material":64,"size":64,"collection":64,"collections":9562,"showCount":110,"zanCount":43,"manualWeight":43,"mainColor":69},236077,"shan-shui-ce-shen-zong-jing-236077","此作以半边危崖配平林茅亭，虚实相映意境幽辽。苍松虬曲伴柔柳相依，松下茅亭孑然独立，暗合林泉隐逸之趣。崖外空茫间，扁舟一人随波泛远，更添江湖闲寂。\n\n笔墨清隽淡雅，淡墨皴擦写尽崖壁嶙峋肌理，点染间见草木苍润生机。留白空灵悠远，将山野幽居的澹泊之思藏于尺幅间，尽显文人画简淡静穆的雅韵，寥寥数笔便勾勒出出世忘机的悠然之境。",[25,54,57,55,28,56,58,358,118,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65a0a885c772e2c9c78b09dfb92b60c9.jpg",[],{"id":9564,"slug":9565,"title":4154,"dynasty":18,"author":317,"museum":20,"description":9566,"tags":9567,"thumbUrl":9568,"material":64,"size":64,"collection":64,"collections":9569,"showCount":110,"zanCount":43,"manualWeight":43,"mainColor":69},236057,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236057","这幅小品以云气为脉络铺陈春山景致，虚实相生，意境空濛。前景苍松虬曲盘桓，老干苍劲带着古拙意趣，与右侧烟霭里的粉艳桃枝相映，刚柔相济。青绿敷色清润雅致，山石晕染柔和无浓艳浮躁之感，浅淡石色晕开山峦肌理，衬得云海愈发舒卷通透。远山隐没在留白云涛之中，尽显天地的空阔幽谧。整作追摹古贤山水的雅逸格调，将春山温润秀灵与云烟清寂融于一处，仿若可踏入烟峦春晓，静赏林泉雅致，尽显传统山水空灵悠远的隽永美感。",[25,54,57,28,58,80,715,7,308,531],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd09ae05db7b0ad208deb7681ba373b2.jpg",[],{"id":9571,"slug":9572,"title":48,"dynasty":74,"author":4866,"museum":20,"description":9573,"tags":9574,"thumbUrl":9575,"material":64,"size":64,"collection":64,"collections":9576,"showCount":110,"zanCount":43,"manualWeight":43,"mainColor":69},235826,"shan-shui-ce-li-liu-fang-235826","此作笔墨简率松灵，枯木虬枝或苍劲挺拔，或柔婉舒展，柳丝轻曳漾开幽淡逸趣。坡石以淡墨晕染，留白衬出空濛幽寂之境，茅舍隐于林隅，愈发衬出山野清宁。\n诗画相融，随性点染间尽得萧散出尘的林下风致，以极简构图传递静穆淡远的文人情思，笔墨带着疏朗雅致的文人意趣，不刻意雕琢却意韵悠长，尽显寄心林泉的隐逸襟怀。",[24,25,54,57,55,56,58,7,485,103,990],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1e466953c256a2680a68a00e9f2bea8.jpg",[],{"id":9578,"slug":9579,"title":8925,"dynasty":18,"author":456,"museum":20,"description":9580,"tags":9581,"thumbUrl":9582,"material":64,"size":64,"collection":64,"collections":9583,"showCount":110,"zanCount":43,"manualWeight":43,"mainColor":69},235775,"qing-chu-liu-da-jia-ji-ce-shan-shui-ye-wang-jian-235775","此作以淡墨铺就江南山居，层峦叠嶂缓缓铺陈，坡岸蜿蜒勾连散落村居，虚实相生间漾开幽寂清宁的氛围。笔墨以干笔皴擦写山峦肌理，披麻皴淡晕出丘壑温润质感，墨色清润苍秀，兼得元人萧散简远与苍浑沉厚。林间枝桠疏朗有致，衬出林泉静谧。\n\n题诗与山水浑然相融，点破涧水幽鸣、尘意尽褪的意境，观之恍若身临无人林泉，俗念皆消。全作画简意丰，平和静穆之中藏着文人画独有的清空之韵，将江南丘壑的雅致与隐逸襟怀相融，尽显淡远深秀的文人山水意趣。",[25,55,56,58,7,242,103,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f82ad621b27ff4881bea84eff05f49.jpg",[],{"id":9585,"slug":9586,"title":1069,"dynasty":74,"author":3840,"museum":20,"description":9587,"tags":9588,"thumbUrl":9589,"material":64,"size":64,"collection":64,"collections":9590,"showCount":110,"zanCount":43,"manualWeight":43,"mainColor":69},235627,"fang-gu-shan-shui-ce-shen-hao-235627","此作用笔苍劲老辣，左上主峰巍峨矗立，山石以干笔皴擦勾斫，尽显嶙峋厚重，带着古拙山野意趣。山间古松虬枝舒展，松下茅舍临溪而建，板桥横卧通幽，寥寥数笔便勾勒出世外幽居图景。远景山峦以淡墨晕染，虚实相映，铺陈出山林的悠远空寂。画面留白恰到好处，搭配右上角题诗，笔墨清逸雅致，将文人幽居林泉、寄情山水的雅趣尽藏其中，以简淡布景传递静谧禅意，尽显文人山水画抒情寄兴的悠然意韵。",[25,54,57,55,58,56,196,80,7,242,590,213,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F814c6c822e532304dd3b9f3a1c18071e.jpg",[],{"id":9592,"slug":9593,"title":7660,"dynasty":74,"author":3919,"museum":20,"description":9594,"tags":9595,"thumbUrl":9596,"material":1148,"size":1149,"collection":64,"collections":9597,"showCount":110,"zanCount":43,"manualWeight":43,"mainColor":69},235578,"shan-shui-tu-shan-ye-zhao-zuo-235578","赵左(1573-1644)左一作佐，字文度。活跃于明代后期。万历、崇祯时华亭(今上海松江)人。赵左，为诸生时，诗文即出众，曾赴北京，以一首秋草诗一鸣惊人，人呼为'赵秋草'。后得顾正谊赏识，让他与宋懋晋向好友宋旭学画，此后画名渐显。山水师法董源，兼学黄公望、倪瓒。画云山以己意出之，有似米(芾)非米之妙。善用干笔焦墨而又长于烘染，后受董其昌的画风影响，形成笔墨灵秀、设色雅致的风格。他与弟子沈士充、朱轩、叶有年、陈廉、李肇亨等构成的艺术群体，被人们称为'苏松派'。论画主张要得所画物象之势，应取势布景交错而不繁乱。因一生穷困，曾为董其昌代笔。以画山水最为擅长，主要师法'明四家'之一的沈周，风格雄劲古拙，为'松江派'之祖。赵左的山水画是以宋旭为基础，上溯源流，追摹董源、倪瓒笔意，兼采米氏云山与黄子久浅绛法，善用干笔焦墨，长于烘染，水墨湿润，极富神韵。他创作的山水画，亦力求体现这些思想。景物大多较为繁复，有时画烟岚云雾流动于层峦叠嶂、坡谷幽溪涧;并以斜径、溪桥、房屋、树木,掩映穿插。笔墨方面,或用浓、湿、浅、淡的墨色染出山峦向背，同时渍出浮动的白云;或作浅绛设色，与笔墨的运用相融。",[25,976,55,28,58,7,80,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd189094003a77b7c2c9b0169311cfa5.jpg",[],{"id":9599,"slug":9600,"title":48,"dynasty":18,"author":9601,"museum":20,"description":9602,"tags":9603,"thumbUrl":9604,"material":64,"size":64,"collection":64,"collections":9605,"showCount":110,"zanCount":43,"manualWeight":43,"mainColor":69},235552,"shan-shui-ce-zhu-chang-235552","祝昌","此作用笔松秀简淡，以平远之景铺陈幽居野趣。溪岸缓坡错落，几间村居隐于林木水滨，浓墨点染的古木葱郁苍润，淡墨晕染的远山轻笼烟岚。留白空灵悠远，将江南水畔的闲静山居意境晕染开来，不见行人车马，却暗合枕流漱石的幽寂襟怀。墨色层次柔和清润，淡扫轻勾间尽显萧散静穆的文人意趣，仿若将山野间的清寂闲逸尽数藏于尺幅之中，意致悠长淡远，尽显清寂雅洁的山水韵致。",[25,54,57,55,58,56,7,118,30,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F922b866d7ca7ad62a0de0ee1bcc62536.jpg",[],{"id":9607,"slug":9608,"title":4257,"dynasty":74,"author":9609,"museum":20,"description":9610,"tags":9611,"thumbUrl":9612,"material":64,"size":64,"collection":64,"collections":9613,"showCount":110,"zanCount":43,"manualWeight":43,"mainColor":69},235452,"shan-shui-tu-ce-pan-zheng-235452","潘徵","此作用干笔淡墨写就，近岸苍松挺劲，坡石以短披麻皴绘出朴拙质感，留白作汀洲水色，烟水空濛间远林隐隐澹澹。山岩盘桓而上，矾头堆叠出嶙峋山势，山腰幽居藏于葱郁林木间，暗合文人幽栖寄怀之趣。\n\n笔墨层次清雅秀润，勾勒皴擦间兼具元人山水的萧散简远，又带着温润整饬的意韵，将平远、深远景致相融，缓缓铺展山野幽寂的林下之趣，观之如身临幽栖林泉，心神自可沉潜于这静穆淡远的意境之中。",[24,25,54,57,55,56,58,80,164,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf82c4fd6630bb7f02cf054c62233f0.jpg",[],{"id":9615,"slug":9616,"title":4257,"dynasty":74,"author":9609,"museum":20,"description":9617,"tags":9618,"thumbUrl":9619,"material":64,"size":64,"collection":64,"collections":9620,"showCount":110,"zanCount":43,"manualWeight":43,"mainColor":69},235451,"shan-shui-tu-ce-pan-zheng-235451","这幅水墨山水以虚实相生的笔意晕染烟岚江南。主峰以浓墨皴擦，棱线苍劲，在淡墨晕开的烟霭中卓然挺立，和周遭隐现的远山形成强烈虚实对比。汀洲松林以简笔点簇，萧疏错落，带着山野清寂之趣。湖面留白写意，以数点淡墨轻描渔舟，愈发衬出天地空阔。浅岸小径蜿蜒向林麓，藏露之间引人遐思山隅深处的幽居。\n全作用笔极简，以水墨干湿浓淡铺就迷蒙诗意，没有繁复勾勒，却将湖山静穆悠远的意境全然铺展，尽显文人画的空灵意趣，仿佛能让人浸在山野湿润的雾气里，静赏这份林下幽寂的悠然。",[25,54,57,55,56,58,7,212,358,459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c47be9871ca1901d2d2ae09e1224f3f.jpg",[],{"id":9622,"slug":9623,"title":9624,"dynasty":18,"author":160,"museum":20,"description":9138,"tags":9625,"thumbUrl":9626,"material":1148,"size":1149,"collection":64,"collections":9627,"showCount":110,"zanCount":43,"manualWeight":43,"mainColor":69},235058,"za-hua-ce-hua-yan-235058","杂画册",[25,54,57,28,55,635,7,2441,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76c35dd6e2ea7e9508497d33a9df9a0f.jpg",[],{"id":9629,"slug":9630,"title":9168,"dynasty":18,"author":1952,"museum":20,"description":9169,"tags":9631,"thumbUrl":9632,"material":152,"size":9172,"collection":64,"collections":9633,"showCount":110,"zanCount":43,"manualWeight":43,"mainColor":69},234885,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234885",[25,54,57,55,56,58,80,7,308,418,194,196,195,531],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9073c04adacda2ea064849fa4a8e4b9d.jpg",[],{"id":9635,"slug":9636,"title":9168,"dynasty":18,"author":1952,"museum":20,"description":9169,"tags":9637,"thumbUrl":9638,"material":152,"size":9172,"collection":64,"collections":9639,"showCount":110,"zanCount":43,"manualWeight":43,"mainColor":69},234881,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234881",[25,54,57,55,56,58,7,30,196,531],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6608a6236c610bbb986bc9265d647d09.jpg",[],{"id":9641,"slug":9642,"title":6765,"dynasty":74,"author":9643,"museum":20,"description":9644,"tags":9645,"thumbUrl":9646,"material":1148,"size":1149,"collection":64,"collections":9647,"showCount":110,"zanCount":43,"manualWeight":43,"mainColor":44},234710,"shan-shui-shan-ye-jiang-song-234710","蒋嵩","蒋嵩 ，字三松，号徂来山人、三松居士，江宁（今江苏南京）人。生卒年不详，从艺活动约在成化、嘉靖间。",[25,55,56,976,58,7,80,242,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac4bb7b697b3d9731b05ee283046707.jpg",[],{"id":9649,"slug":9650,"title":9651,"dynasty":18,"author":9652,"museum":355,"description":9653,"tags":9654,"thumbUrl":9655,"material":64,"size":64,"collection":64,"collections":9656,"showCount":110,"zanCount":43,"manualWeight":43,"mainColor":69},234625,"ting-bei-dai-yue-tu-wan-shan-sha-fu-234625","停杯待月图纨扇","沙馥","沙馥（1831年—1906年），字山春，号粟庵，别署香泾外史，江苏苏州人，晚清画家。出身绘画世家，马仙根弟子，工人物、仕女、花鸟，笔意纵意饶富韵致。\n沙馥善画人物、仕女、花卉，以此为业，为苏州阊门外山塘年画铺中最著名画家。初慕陈老莲；咸丰间任熊至吴门，曾问业于任熊；任熊去世后，又与任薰关系甚密。后因自愧画学不如任薰雄伟恣肆，遂弃老莲法，转学改琦、费丹旭，并专攻仕女、花卉，遂自成一家，卒年七十六。",[25,54,976,28,27,101,7,241,1420,947,866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ee5f9716eafa22ef7e9a25ec8ef9557.jpg",[],{"id":9658,"slug":9659,"title":9660,"dynasty":18,"author":6508,"museum":355,"description":9661,"tags":9662,"thumbUrl":9663,"material":1048,"size":9664,"collection":64,"collections":9665,"showCount":110,"zanCount":43,"manualWeight":43,"mainColor":69},234473,"he-ting-fan-ting-shan-wu-da-cheng-234473","荷汀泛艇扇","吴大澂[chéng]（1835年—1902年），初名大淳，字止敬，又字清卿，号恒轩，晚号愙斋，江苏吴县（今江苏苏州）人。清代官员、学者、金石学家、书画家，民族英雄。清同治七年（1868年）进士。善画山水、花卉，精于篆书。皆得力于金石鉴赏修养。\n题跋：旧藏宋人集册，有此一帧，不署画款，爱其疏散有致，约略拟此。黼卿大兄大人雅鉴。吴大澂。\u2028 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所作的一副画作，现收藏于 。\n该画山水立意新颖，构图巧妙，笔墨工整，结构严谨，千丘万壑层出不穷，气势磅礴，闻名于时。\n兼工花卉，所作桃花、杨柳娟妍工丽，颇具神韵。\n与萧晨(灵曦)齐名。\n李寅（生卒年不详），字白也，号东柯，江苏扬州人。\n是清代顺治、康熙年间活跃于扬州地区、以卖画为生的职业画家。\n他善画花卉，所作桃花、杨柳堪称神品。\n亦工山水，千丘万壑，层出不穷。\n他的楼阁画更能在继承前人传统的基础上独辟蹊径，造诣精深，对清初界画的发展产生了相当大的影响。",[23,24,25,54,79,58,28,56,80,344,3492,7,242,308,228,101,4550,243,9734],"石径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c585251d21d98664a221476948c56ae.jpg",[],{"id":9738,"slug":9739,"title":9740,"dynasty":18,"author":9741,"museum":20,"description":9742,"tags":9743,"thumbUrl":9744,"material":1148,"size":1149,"collection":64,"collections":9745,"showCount":110,"zanCount":43,"manualWeight":43,"mainColor":69},224242,"shan-mian-shan-shui-wang-wu-tian-224242","扇面山水","王无忝","清河南孟津人，字夙夜。康熙九年进士，官金华知府。善画山水。词语分解忝的字典解释忝ǎ 辱，有愧于，常用作谦辞：忝在知交。忝属知己。忝列门墙（愧在师门）。",[23,25,54,976,58,55,56,80,7,308,498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd23abd32e524767448b47b66f8b4a9a.jpg",[],{"id":9747,"slug":9748,"title":9749,"dynasty":18,"author":317,"museum":20,"description":9750,"tags":9751,"thumbUrl":9754,"material":1148,"size":1149,"collection":64,"collections":9755,"showCount":110,"zanCount":43,"manualWeight":43,"mainColor":349},224047,"qing-jin-shi-xiao-shan-zi-yi-ming-224047","青金石小山子","青金石（英文：lazurite或Lapis lazuli，来源于拉丁语）在中国古代称为璆琳、金精、瑾瑜，青黛等。佛教称为吠努离或璧琉璃，是古代东西方文化交流的见证之一。资料显示，青金石是通过“丝绸之路”从阿富汗传入中国。其通常为集合体产出，呈致密块状、粒状结构。颜色为深蓝色、紫蓝色、天蓝色、绿蓝色等。青金石还是天然蓝色颜料的主要原料。\n青金石在选择上以色泽均匀无裂纹，质地细腻无金星为佳，无白洒金次之，洒金指金星均匀分布如果黄铁矿含量较低，在表面不出现金星也不影响质量。但是如果金星色泽发黑、发暗，或者方解石含量过多在表面形成大面积的白斑，则价值大大降低。\n青金石与绿松石、锆石同为十二月的生辰石。",[959,9752,9244,80,7,635,29,59,9753],"青金石","石雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F341752f635d05478b24ce8602ecc807d.jpg",[],{"id":9757,"slug":9758,"title":9759,"dynasty":74,"author":317,"museum":20,"description":9760,"tags":9761,"thumbUrl":9762,"material":64,"size":64,"collection":64,"collections":9763,"showCount":110,"zanCount":43,"manualWeight":43,"mainColor":69},223679,"gu-xiu-shi-liu-ying-zhen-ce-12-yi-ming-223679","顾绣十六应真册12","林间崖畔，罗汉安坐于兽纹华座，神态安然静定，座前猛虎俯首顺服，尽敛凶煞之态。两侧侍者躬身侍立，一人持器，一人奉供，神态恭谨肃穆。\n\n画面以铁线白描为骨，劲挺流畅的线条勾勒出人物衣褶的繁复层次，将织物柔润华美尽显无遗，树石轮廓苍劲简练，衬出林间幽寂禅意。猛虎斑纹晕染细腻，毛发质感逼真生动。整幅画作清逸古雅，暗藏罗汉威德镇服猛兽的禅理，尽显精湛工力，意境幽远沉静。",[23,25,54,57,1004,1096,101,1005,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41420e3d7b2b1cd03e2f46ae6145720b.jpg",[],{"id":9765,"slug":9766,"title":9767,"dynasty":95,"author":317,"museum":20,"description":9768,"tags":9769,"thumbUrl":9770,"material":64,"size":64,"collection":64,"collections":9771,"showCount":110,"zanCount":43,"manualWeight":43,"mainColor":44},223646,"xi-yan-mu-se-tu-ye-yi-ming-223646","西岩暮色图页","此作用墨沉润苍郁，以边角取景铺展暮色空山。近岸孤舟横斜，系着晚归的余绪，坡岸林木蓊翳，松枝偃仰间带着黄昏倦意。崖壁山石以硬朗皴法写就，隐没在渐深的暮色烟霭中，虚实相生间将山野黄昏的幽寂缓缓铺陈。\n\n墨色随着暮色层次晕染，浓淡过渡里晕化出薄暮氤氲的朦胧，不见白日明丽，只留萧疏静谧的山野况味，将暮色西岩时分天地归于岑寂的氛围感藏在水墨晕染间，观之如身临空山向晚，揽尽黄昏里山野沉静的余韵。",[23,24,25,54,57,55,56,58,7,308,358,2761],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c5bd45ee326f56e10fc3030c6df6c33.jpg",[],{"id":9773,"slug":9774,"title":9775,"dynasty":49,"author":317,"museum":76,"description":9776,"tags":9777,"thumbUrl":9779,"material":37,"size":64,"collection":64,"collections":9780,"showCount":110,"zanCount":43,"manualWeight":43,"mainColor":44},218186,"ying-zhen-xiang-zhou-4-yi-ming-218186","应真像轴-4","罗汉趺坐古石之上，袒胸露腹间肌理隐现，袈裟轻覆，衣纹线条婉转如流水。他手持莲花状法器，目光低垂，神情肃穆中藏着几分悠然。身旁松枝苍劲，墨色浓淡相宜，与浅赭底色相映，衬出人物沉静气质。草鞋的编织纹理、石上的苔藓痕迹，皆刻画入微见匠心。画风古朴雅致，以简练笔墨传神，人物与自然相融，尽显禅意悠然的古雅意境，仿佛能窥见千年之前的宁静瞬间。",[25,54,79,28,1096,101,83,7,2441,9778,196],"饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd50f6affb27ab7c6b5a6526c5947016f.jpg",[],{"id":9782,"slug":9783,"title":9784,"dynasty":18,"author":317,"museum":355,"description":9785,"tags":9786,"thumbUrl":9787,"material":28,"size":64,"collection":64,"collections":9788,"showCount":110,"zanCount":43,"manualWeight":43,"mainColor":69},217292,"gu-xiu-wu-shi-san-can-tu-ce-21-yi-ming-217292","顾绣·五十三参图册-21","这幅绣品以细腻针法勾勒文人意趣，左右两页场景相映成趣。左侧长者踞地闲坐，衣袂舒展间透着悠然，孩童嬉戏于侧，器物陈设雅致；右侧人物持杖而立，与童子互动自然，柳枝轻垂、梅枝点缀，景物清疏有致。绣线色泽温润，针脚细密如毫，将人物神态、草木纹理刻画入微，既有笔墨的灵动韵致，又具丝线的肌理质感。构图疏密得当，色彩淡雅和谐，于方寸间传递古朴雅致气息，尽显融画入绣的精湛技艺与艺术匠心。",[959,6653,28,27,101,1058,7927,7,285,229,103,1641,9340,3762,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F049d431d3c836386f0cc9f93c43abb83.jpg",[],{"id":9790,"slug":9791,"title":9792,"dynasty":74,"author":2915,"museum":76,"description":9793,"tags":9794,"thumbUrl":9795,"material":63,"size":9796,"collection":64,"collections":9797,"showCount":110,"zanCount":43,"manualWeight":43,"mainColor":69},217070,"ying-zhen-xiang-si-zhou-3-ding-yun-peng-217070","应真像四轴-3","用笔实而有力，颇具装饰意味。时年丁云鹏已经67岁了，这是他晚年的风格。",[25,54,79,1096,1004,55,101,1005,635,7,30,3762,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76ca28f83e511df1c2d6393e5e7fff88.jpg","141.4x66",[],{"id":9799,"slug":9800,"title":9801,"dynasty":74,"author":317,"museum":20,"description":9802,"tags":9803,"thumbUrl":9805,"material":1148,"size":1149,"collection":64,"collections":9806,"showCount":169,"zanCount":43,"manualWeight":43,"mainColor":69},256494,"qing-hua-ying-xi-wen-wan-yi-ming-256494","青花婴戏纹碗","青花瓷（blue and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[9369,9804,2129,1432,101,7,241,637],"青花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F051b4048eff8ce85b42e06f3546acbe6.jpg",[],{"id":9808,"slug":9809,"title":9810,"dynasty":18,"author":317,"museum":20,"description":9811,"tags":9812,"thumbUrl":9819,"material":1148,"size":1149,"collection":64,"collections":9820,"showCount":169,"zanCount":43,"manualWeight":43,"mainColor":44},249231,"hua-fa-lang-kai-guang-niao-shou-tu-hai-tang-shi-shou-lu-yi-ming-249231","画珐琅开光鸟兽图海棠式手炉","清代的玉炉很多，但用芙蓉石制作的炉却极少，这是因为做炉需要较大块的料，而芙蓉石一般裂纹很多不宜使用。中国芙蓉石的产量小，颜色与质地亦欠佳。",[18,9813,9814,28,27,9815,978,7,58,180,9816,9817,9818],"画珐琅","开光","鸟兽","手炉","珐琅器","海棠式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2cfb8fcbf492f6abf3e0aa0757746bd.jpg",[],{"id":9822,"slug":9823,"title":48,"dynasty":18,"author":9824,"museum":20,"description":9825,"tags":9826,"thumbUrl":9827,"material":1148,"size":1149,"collection":64,"collections":9828,"showCount":169,"zanCount":43,"manualWeight":43,"mainColor":69},239366,"shan-shui-ce-wang-san-xi-239366","王三锡","王三锡(1716—？) 太仓人。字怀邦，自号竹岭，清代画家。王昱从子，承家学，善山水，得其祖笔法，丘壑位置，不作寻常蹊径，运笔别致雅逸。",[24,25,54,57,55,56,58,211,7,1969,485],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F210a43366824ee0218286cb020d6ec8a.jpg",[],{"id":9830,"slug":9831,"title":48,"dynasty":18,"author":9824,"museum":20,"description":9832,"tags":9833,"thumbUrl":9834,"material":64,"size":64,"collection":64,"collections":9835,"showCount":169,"zanCount":43,"manualWeight":43,"mainColor":69},239363,"shan-shui-ce-wang-san-xi-239363","此帧水墨山水以简驭繁，近岸坡石苔点苍润古拙，几株竹木依偎而生，竹枝清劲挺拔，墨叶浓淡交叠，笔法秀灵兼具，将草木舒展之态尽显。淡墨晕染远山，留白化作浩渺平湖，一叶扁舟随波轻漾，远山以淡笔虚写，虚实相生间晕开空寂悠远的江上秋意。\n\n画面墨色干湿层次分明，简淡萧疏中藏清雅意趣，以寥寥笔墨铺陈出江南水畔的幽寂闲情，尽显文人水墨的写意之妙，观之如临静谧江天，畅怀林下之思。",[25,54,57,55,56,58,7,103,61,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49a8d1fc5f32840958329e9dfcb8df88.jpg",[],{"id":9837,"slug":9838,"title":48,"dynasty":18,"author":2470,"museum":20,"description":2995,"tags":9839,"thumbUrl":9840,"material":1148,"size":1149,"collection":64,"collections":9841,"showCount":169,"zanCount":43,"manualWeight":43,"mainColor":69},239328,"shan-shui-ce-cha-shi-biao-239328",[25,54,57,55,58,7,118,195,196,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31f4ab800b5b8e48eb760bb84c2c7d29.jpg",[],{"id":9843,"slug":9844,"title":7010,"dynasty":18,"author":7011,"museum":20,"description":9845,"tags":9846,"thumbUrl":9847,"material":1148,"size":1149,"collection":64,"collections":9848,"showCount":169,"zanCount":43,"manualWeight":43,"mainColor":69},239127,"shan-shui-he-hui-ce-zhang-zong-cang-239127","张宗苍（1686-1756），字默存，江苏苏州人，画家。\n师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。",[25,57,55,56,58,7,241,118,61,471,2529,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d2093dac5beacc3643d478b8d5b2aca.jpg",[],{"id":9850,"slug":9851,"title":7908,"dynasty":18,"author":2847,"museum":20,"description":9852,"tags":9853,"thumbUrl":9854,"material":64,"size":64,"collection":64,"collections":9855,"showCount":169,"zanCount":43,"manualWeight":43,"mainColor":69},238724,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238724","此作用淡墨晕染出空濛水岸，远山以留白晕开，愈显清旷悠远。左侧坡岸竹树苍润，两位文士相对晤谈，神态悠然尽显林下雅意，隔水洲渚垂柳依依，掩映屋舍，幽寂雅致。右上角题诗呼应画意，诗画相融。笔触清隽秀雅，以简淡笔墨铺陈林泉之致，将诗中寄怀烟水、相逢林下的闲逸情愫，尽数融于尺幅之中，意境简澹幽远，尽显文人高致雅怀。",[25,55,56,57,101,241,7,242,58,194,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53573bcded433e098bb06431006acdb3.jpg",[],{"id":9857,"slug":9858,"title":7908,"dynasty":18,"author":2847,"museum":20,"description":9859,"tags":9860,"thumbUrl":9861,"material":64,"size":64,"collection":64,"collections":9862,"showCount":169,"zanCount":43,"manualWeight":43,"mainColor":69},238721,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238721","此作以淡墨绘就烟江林峦，近渚之上，高士曳杖徐行，侧首远眺烟水间的迤逦远山，林木苍润秀拔，姿态舒展灵动。\n笔墨清隽秀润，以简练皴擦写尽山峦肌理，淡墨晕染出空濛水汽，虚实相生间铺展出悠远淡宕的山水意境。左上题诗与画境呼应，诗画交融，将送别怀友的缱绻心绪融在林泉烟霭之中，褪去浓丽色彩，以素净水墨尽显澹泊雅致的文人意趣，把古典山水的沉静襟怀与诗意共情合二为一，尽显中式文人画独有的清雅韵致。",[25,54,57,55,56,58,101,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c619325979390fa1e762a1233424d98.jpg",[],{"id":9864,"slug":9865,"title":7908,"dynasty":18,"author":2847,"museum":20,"description":9866,"tags":9867,"thumbUrl":9868,"material":64,"size":64,"collection":64,"collections":9869,"showCount":169,"zanCount":43,"manualWeight":43,"mainColor":69},238716,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238716","此作用白描绘就雅集盛景，左畔古木怪石环抱幽亭，右方水榭远山含藏烟波。汀洲之上文人两两揖晤，衣袂舒展、仪态温恭，尽显林下酬唱的清逸闲趣。\n\n画师以铁线勾勒写形，山石皴擦简淡却见丘壑层次，古木虬枝挺拔苍劲，笔致秀挺洗练。题诗与画境呼应，诗画交融，将文人雅聚的风流意韵尽藏卷中，笔墨间浸透着古典山水人文的悠然意趣。",[25,54,57,55,56,101,58,7,30,118,211,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dc51b9748c6e4f11f137e26f6f94113.jpg",[],{"id":9871,"slug":9872,"title":9873,"dynasty":18,"author":9874,"museum":20,"description":9875,"tags":9876,"thumbUrl":9883,"material":1148,"size":1149,"collection":64,"collections":9884,"showCount":169,"zanCount":43,"manualWeight":43,"mainColor":69},238455,"mian-yi-mian-hua-tu-ce-mian-yi-238455","绵亿棉花图册","绵亿","绵亿（1764年9月10日－1815年4月14日），直隶省顺天府大兴县（今北京市）人，清高宗弘历之孙，荣纯亲王永琪第五子，母侧福晋索绰罗氏，左都御使观保之女。",[25,57,28,27,101,118,7,242,868,865,3943,9877,1283,472,9878,9879,9880,9881,9882],"石砌","庭院景物","桌几","瓦顶","竹树","石基","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff75a685fb8c4582f9d5cc825071c52a1.jpg",[],{"id":9886,"slug":9887,"title":48,"dynasty":18,"author":7557,"museum":20,"description":9888,"tags":9889,"thumbUrl":9890,"material":64,"size":64,"collection":64,"collections":9891,"showCount":169,"zanCount":43,"manualWeight":43,"mainColor":44},238198,"shan-shui-ce-tang-dai-238198","此作以干笔皴擦写寒林丘壑，嶙峋山石间枯木萧疏，淡墨晕染远山如笼薄烟，与混茫天色相融，将冬日山野的荒寂清冷铺陈开来。边角取景，愈显天地空阔、幽绝尘寰。\n\n左侧题诗与画境相契，山空人绝、孤鸟独飞，把世外幽隐的清苦禅意晕开，朱红古印沉朴雅致，与水墨冷调相映成趣。尺幅之间藏林泉高致，将文人幽居寄情山水的意趣尽显无余，笔底皆是沉静淡远的林下之风。",[25,54,57,55,28,56,194,196,80,344,7,59,212,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d955d2c00347e29d254ec2a2f46329b.jpg",[],{"id":9893,"slug":9894,"title":48,"dynasty":18,"author":9472,"museum":20,"description":9473,"tags":9895,"thumbUrl":9896,"material":1148,"size":1149,"collection":64,"collections":9897,"showCount":169,"zanCount":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，字渔仙，号桃溪居士，后号墨井道人，江苏常熟人。曾笃信天主教，并往澳门逗留。工诗、善画山水，师事王时敏 (1592-1680)与王鉴 (1598-1677) ，连同王翚 (1632-1717)、王原祁 (1642-1715)和恽寿平 (1633-1690) 合称「四王吴恽」或称「清初六家」，为清代正统派绘画代表。\n\n该画为吴历应友人侯大年（约1641-约1710）之命所作，并以友人之号「凤阿」命名，绘于康熙十六年（1677）之后，为吴氏中晚年之作。画面山峦起伏，高树竹丛、屋舍数间，屋前小桥流水，一人策杖过桥。整幅作品尺幅虽不大，却构图繁密，墨色苍润，流露对笔墨的追求与讲究，是吴历的精品。事实上，吴历与侯大年交谊深厚，曾应命绘制多幅《凤阿山房图》，以表达侯氏「述祖德，守先业」并归隐的志向，然而凤阿山房终未建成。据记载，侯大年在吴历绘制完立轴后，另请他绘制小册并请诸友题咏，正是此册。全册共分上、下两册，引首朱彝尊　(1629-1709) 书「凤阿山房」，后有吴历、朱彝尊、姜宸英、梁佩兰、宋骏业、王撰、陆遵、梅庚、钱大昕等六十六家诗题，其中陆遵、梅庚补图并题诗。吴历此作无疑是全册点睛之笔，见证了他与侯大年的交谊。",[23,25,54,57,55,56,58,7,81,2630,118,196,194,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0947d8a7d1ff2847a29d70d56bed1f9b.jpg","水墨,设色,纸本,册页","18×34.5厘米",[],{"id":10163,"slug":10164,"title":10165,"dynasty":74,"author":10166,"museum":20,"description":10167,"tags":10168,"thumbUrl":10169,"material":152,"size":64,"collection":64,"collections":10170,"showCount":169,"zanCount":43,"manualWeight":43,"mainColor":349},217175,"shui-hu-quan-tu-18-du-jin-217175","水浒全图-18","杜堇","杜堇的人物画宗法李公麟，笔法精劲流畅，别具秀逸之态，因此他被推为当时画坛的白描高手。其人物画大都表现古代传说故事或逸闻趣事，并以山水及园林景致为衬景，有的还题诗作赋，显示着一派文入画的格调。",[25,54,57,1004,101,7,103,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00fdef24bee5e2337be741da56cebfe5.jpg",[],{"id":10172,"slug":10173,"title":10174,"dynasty":74,"author":2459,"museum":20,"description":10175,"tags":10176,"thumbUrl":10177,"material":63,"size":64,"collection":64,"collections":10178,"showCount":169,"zanCount":43,"manualWeight":43,"mainColor":44},216307,"xi-xiang-ji-zhen-ben-tu-ce-13-chen-hong-shou-216307","西厢记真本图册-13","墨线如铁线盘屈，却牵出柔婉韵致。月夜松影横斜，泼洒清寂；石畔人物衣袂轻垂，眉目间凝着西厢故事的幽微心绪。陈洪绶以古拙笔意勾勒景物，松枝虬劲、衣纹流转皆见匠心。构图疏密相生，左页月色空濛与右页人物情态相映，诗画交织间，将古典传奇的细腻情愫凝于尺幅。笔端既有金石般刚健，又藏水样温婉，让这帧图册成为穿越时光的深情注脚。",[25,54,57,1004,55,28,101,135,1420,7,83,637],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f62cdd513daf3995abe71d428418eeb.jpg",[],{"id":10180,"slug":10181,"title":10182,"dynasty":74,"author":2459,"museum":20,"description":10183,"tags":10184,"thumbUrl":10185,"material":63,"size":64,"collection":64,"collections":10186,"showCount":169,"zanCount":43,"manualWeight":43,"mainColor":44},216304,"xi-xiang-ji-zhen-ben-tu-ce-21-chen-hong-shou-216304","西厢记真本图册-21","铁线般的线条勾勒出山石嶙峋与草木疏朗，人物姿态含蓄，眉眼间凝着幽微心事，暗合《西厢》里情愫暗生的意趣。淡雅设色中藏着古雅厚重，笔墨间流转着西厢风月的缱绻。每一处细节都似在诉说那段古典爱情的细腻，岁月沉淀的韵味在画面中静静流淌，尽显传统工笔的精妙与深情。山石的肌理、草木的脉络皆见笔力，人物的一颦一笑皆含戏味，古雅构图里，将《西厢》的缠绵悱恻悄然铺展，让观者在笔墨间触碰到那段跨越时空的浪漫。",[25,54,57,1004,55,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc44c36f67b7d2c3d1f90863cf9305cb5.jpg",[],{"id":10188,"slug":10189,"title":10190,"dynasty":18,"author":3027,"museum":355,"description":3028,"tags":10191,"thumbUrl":10192,"material":275,"size":3032,"collection":64,"collections":10193,"showCount":169,"zanCount":43,"manualWeight":43,"mainColor":44},216230,"shi-jun-quan-tu-4-ai-qi-meng-216230","十骏犬图-4",[23,25,54,57,27,28,194,2797,635,7,31,59,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84b67d91c612e146fffb0f50b1db6b09.jpg",[],{"id":10195,"slug":10196,"title":10197,"dynasty":18,"author":3027,"museum":355,"description":3028,"tags":10198,"thumbUrl":10199,"material":275,"size":3032,"collection":64,"collections":10200,"showCount":169,"zanCount":43,"manualWeight":43,"mainColor":69},216229,"shi-jun-quan-tu-5-ai-qi-meng-216229","十骏犬图-5",[23,959,25,27,28,57,635,58,7,30,961],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc471e2afe2ca9b321efcbf5d83bc5b.jpg",[],{"id":10202,"slug":10203,"title":10204,"dynasty":18,"author":3027,"museum":355,"description":3028,"tags":10205,"thumbUrl":10207,"material":275,"size":3032,"collection":64,"collections":10208,"showCount":169,"zanCount":43,"manualWeight":43,"mainColor":126},216226,"shi-jun-quan-tu-8-ai-qi-meng-216226","十骏犬图-8",[23,25,54,57,27,28,635,7,59,10206,194,2359],"草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33da5bba78d3d6b81c9c53452a16f2d7.jpg",[],{"id":10210,"slug":10211,"title":10212,"dynasty":18,"author":10213,"museum":328,"description":10214,"tags":10215,"thumbUrl":10216,"material":64,"size":64,"collection":64,"collections":10217,"showCount":169,"zanCount":43,"manualWeight":43,"mainColor":10218},203433,"chui-xiao-shi-nv-tu-zhou-fei-dan-xu-203433","吹箫仕女图轴","费丹旭","古木荫浓下，两位仕女姿态闲雅。一者倚石吹箫，箫声似若萦绕林间；一者坐于树侧，捧物低眉凝思。衣纹以工笔细描，线条流畅婉转，尽显罗裳轻柔质感。设色淡雅温润，肤色晕染细腻，眉眼间流露温婉娴静之态。树下牡丹盛放，花叶舒展，与苍劲古木相映成趣，添几分生机雅致。画面意境清幽恬淡，将仕女的柔美与自然景致融合，尽显传统仕女画的含蓄韵致与细腻笔情。",[25,54,79,27,28,101,135,691,7,271,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd889d4ef1989404aa7e468314ecefa7.jpg",[],"ac7d54",{"id":10220,"slug":10221,"title":4257,"dynasty":18,"author":10222,"museum":328,"description":10223,"tags":10224,"thumbUrl":10225,"material":64,"size":64,"collection":65,"collections":10226,"showCount":169,"zanCount":43,"manualWeight":43,"mainColor":10227},203169,"shan-shui-tu-ce-wang-jian-203169","王鑑","画面以水墨晕染层叠山峦，皴法细腻勾勒山石肌理，树木葱茏间隐现茅舍，瀑布自崖间垂落，溪流蜿蜒映带前后。笔墨苍润雅致，构图疏密得宜，既承传统山水章法之严谨，又蕴清寂悠远的文人意趣，仿佛将观者带入“山静似太古”的静谧之境，尽显画家对山水神韵的深刻把握与笔墨功力。",[55,56,58,7,990,81,25,57,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f0eadd5ae849dc63cfc89b72924f06f.jpg",[65],"d2cac5",{"id":10229,"slug":10230,"title":10231,"dynasty":18,"author":317,"museum":20,"description":10232,"tags":10233,"thumbUrl":10234,"material":1148,"size":1149,"collection":64,"collections":10235,"showCount":203,"zanCount":43,"manualWeight":43,"mainColor":44},256535,"cheng-hua-kuan-wu-cai-ying-xi-tu-wan-yi-ming-256535","成化款五彩婴戏图碗","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。",[9369,9370,28,1432,101,7,273,1058],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bc1a4b42c607e7eb9ab463bd3bc1b4f.jpg",[],{"id":10237,"slug":10238,"title":10239,"dynasty":18,"author":10240,"museum":10241,"description":10242,"tags":10243,"thumbUrl":10245,"material":10246,"size":10247,"collection":1918,"collections":10248,"showCount":203,"zanCount":43,"manualWeight":43,"mainColor":69},241090,"wu-yan-shi-zhou-jiang-chen-ying-241090","五言诗轴","姜宸英","四川省博物馆","姜宸英（1628－1699年），明末清初书法家、史学家，与 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2Foss.chuangqi.store\u002Fthumbweb\u002F0978ddaa473830209794d2453e5c0d4b.jpg","纵17.4厘米，横50.8厘米",[],{"id":10572,"slug":10573,"title":10565,"dynasty":18,"author":8979,"museum":355,"description":10566,"tags":10574,"thumbUrl":10575,"material":447,"size":10569,"collection":64,"collections":10576,"showCount":203,"zanCount":43,"manualWeight":43,"mainColor":69},233919,"dai-lu-fang-bei-tu-ce-huang-yi-233919",[25,54,57,55,56,58,7,242,118,101,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd63e48803653cf8ce3794c4e792854a.jpg",[],{"id":10578,"slug":10579,"title":10580,"dynasty":74,"author":10581,"museum":20,"description":10582,"tags":10583,"thumbUrl":10584,"material":64,"size":64,"collection":64,"collections":10585,"showCount":203,"zanCount":43,"manualWeight":43,"mainColor":69},233361,"shi-zhu-zhai-pu-ce-hu-ri-cong-233361","十竹斋谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[25,54,57,55,28,7,83,82,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3721b3bf32a1f3c05e8d60cd0cb2cc46.jpg",[],{"id":10587,"slug":10588,"title":10589,"dynasty":1460,"author":317,"museum":20,"description":10590,"tags":10591,"thumbUrl":10592,"material":1148,"size":1149,"collection":64,"collections":10593,"showCount":203,"zanCount":43,"manualWeight":43,"mainColor":69},231777,"fu-fu-cao-zi-hui-juan-wei-shan-zheng-zhen-mo-yi-ming-231777","福富草子绘卷 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细枝上小红果点缀，生机暗蕴。笔墨虚实相济，设色淡雅清润，既得写生之真，又含写意之趣。背景留白疏朗，与景物相映成趣，将菊之高洁、石之沉稳、树之疏逸融于一体，传递出文人画清逸脱俗的审美意韵。",[25,79,28,27,83,35,1198,30,7,24,10742],"书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c8971a1599f1dbf0257b11d4fe116e9.jpg",[],"d8c5a5",{"id":10747,"slug":10748,"title":10749,"dynasty":18,"author":317,"museum":20,"description":10750,"tags":10751,"thumbUrl":10753,"material":1148,"size":1149,"collection":64,"collections":10754,"showCount":536,"zanCount":43,"manualWeight":43,"mainColor":349},249158,"qia-si-fa-lang-san-xing-tu-cha-ping-yi-ming-249158","掐丝珐琅三星图插屏","景泰蓝（Cloisonne），中国的著名特种金属工艺品类之一，到明代景泰年间这种工艺技术制作达到了最巅峰，制作出的工艺品最为精美而著名，故后人称这种金属器为“景泰蓝”。景泰蓝正名“铜胎掐丝珐琅”，俗名“珐蓝”，又称“嵌珐琅”，是一种在铜质的胎型上，用柔软的扁铜丝，掐成各种花纹焊上，然后把珐琅质的色釉填充在花纹内烧制而成的器物 。因其在明朝景泰年间盛行，制作技艺比较成熟，使用的珐琅釉多以蓝色为主，故而得名“景泰蓝”。",[10752,28,101,7,29,978,32,58,2959,9244,637],"掐丝珐琅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ea35644cbda8383f128b519d8853a95.jpg",[],{"id":10756,"slug":10757,"title":10758,"dynasty":18,"author":10759,"museum":20,"description":10760,"tags":10761,"thumbUrl":10767,"material":1148,"size":1149,"collection":64,"collections":10768,"showCount":536,"zanCount":43,"manualWeight":43,"mainColor":69},241206,"li-zhang-ji-jue-ju-zhou-wu-kai-sheng-241206","李长吉绝句轴","吴闿生","吴镇（1280年—1354年），字仲圭，号梅花道人，浙江嘉兴人。元代画家、书法家、诗人。\n吴镇擅画山水、梅花、竹石，与黄公望、倪瓒、王蒙合称“元四家”。\n由于吴镇以董巨起家，其画中山、石、树、水、房屋、小桥都显得格外宁静、平和，但吴镇有时也着意打破这种气氛，使宁静中增几分动荡，那就是近景大树和山石的表现，特别是三两棵树的表现尤其明显。如果说吴画山、石、水、小桥、屋舍、群树的表现乃至整体气息是以董巨面目出现的话，那么其局部的大树则主要是以马夏的面目出现的。结构布局上立于近景，形象表现上夸张变形，树种的选择上以松柏寓人格。这种形象的树出现在平和、宁静的境界里显得格外突出。它们或直立挺拔、俯势向上；或倚斜偃蹇、欲倒还立；或技条倒挂、曲折盘桓。而且吴镇对大树的形象也是情有独钟的，几乎每幅山水画均有此类形象。这一个个形象频繁出现于其笔下，有何深刻含义？如果联系一下元代的民族岐视政策，联系一下同样比邻而居，盛氏求画者门限为穿，自家之门阒然的事实，或许透露出个中消息。在大树的塑造上，如果把吴镇放在“元四家”其他三家中做一比较，吴镇的独特个性尤能充分展现。黄公望、王蒙为了表现高士的居住环境，用平和、冷静的笔触画群山诸峰，力量均匀，气势平缓，树木郁郁葱葱，均为山的点缀，很少突出某一大树。倪瓒、吴镇在景物取舍上有极强的一致性，均喜画几棵树。倪瓒的树是纤细、弱小的，树干上长出几条树枝，枝上顶着几片叶子，立在空旷的荒野里显得孤独而又凄凉。而且倪瓒的树往往是叫不出名字的，并无具体所指；吴镇在树的种类上往往是有选择的，他最喜欢选取被赋予隐逸人格象征的古松来充实画面。在近景中吴镇很少画杂树而是喜爱强调几棵大树，个个粗壮而枝叶茂密，富有顽强的生命力。",[194,79,195,196,164,241,961,3539,731,30,9371,1198,80,3545,10106,6589,1519,10762,2653,1561,1751,3069,344,2761,6066,7,10763,10764,10765,10766,6590,6592],"杜","苔","黄","绿","钩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94389ea4a9f9f206dbf7cb997ca6384e.jpg",[],{"id":10770,"slug":10771,"title":9396,"dynasty":18,"author":10772,"museum":355,"description":10773,"tags":10774,"thumbUrl":10777,"material":10778,"size":10779,"collection":1918,"collections":10780,"showCount":536,"zanCount":43,"manualWeight":43,"mainColor":69},240703,"shi-juan-cha-ji-zuo-240703","查继佐","释文：\n一片山花落笔床，石桥寺里最清凉。寄书河上神明宰，玉帛朝回望帝乡。为政心闲物自闲，一州横制浙江湾。百花仙酝能留客，野屐同登竹外山。不将富贵碍高情，树里南湖一片明。杭越风光诗酒主，琵琶起舞换新声。愿得相从一问师，论交却忆十年时。轻舟共泛花边水，南国争传五字诗。西湖清宴不知回，雨过南山积翠来。近得麻湖书信否，五云多处是三台。英雄见事若通神，不薄今人爱古人。蚤晚得为同舍旅，道光谁不仰清尘。燕蹴飞花落舞筵，蓝田日暖玉生烟。河边淑气迎芳草，琴瑟同谐愿百年。心在重霄鬓未华，不知春思落谁家。城中车马应无数，阁道回看上苑花。生平诗誉复谁过，银箭金壶漏水多。内史笔锋光案牍，江南江北望烟波。苏小门前柳万条，酒醒时得广离骚。无劳海上寻仙客，王母新开一树桃。朝野俱欢庆寿晖，山光物态弄春辉。雄如宝剑冲牛斗，再为苍生入翠微。才子襟期本上清，黄云捧日瑞升平。东风小饮人皆醉，试向文园问长卿。右集唐十二绝为石翁张老师寿。治门生钓史查继佐书并政。\n款署：“右集唐十二绝为石翁张老师寿。治门生钓史查继佐书并政。”钤“查继佐印”白文印、“伊璜氏”朱文印，引首印为“紫微房”朱文印。\n此书是查继佐自集唐诗十二首为老师祝寿而作，当中每一首七言绝句都是从四首唐诗中分别选取一句，组合成为一首。整件作品共涉及36位唐代诗人的48首诗， 如岑参、王昌龄、白居易、高适、杜甫、李商隐、刘禹锡、温庭筠、杜牧等人的诗作。个别字句与原诗略有出入。其书学颜真卿，用笔劲健、爽利，分间布白极其匀称。查家在清初遭受了文字狱之灾，当时保存查氏墨迹可能会引起杀身之祸，所以查继佐的传世作品较少，此件则更为珍贵。",[23,194,26,195,55,196,10775,10776,3544,3546,8862,961,3539,3545,7,731,3069,1561,82,2761,1420,418,118,29,358,58,730,6589,241,1198],"江南","芳草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36541a0829df7cb68ef275f1e2b9ee33.jpg","绫本，行书","纵450厘米，横33.3厘米",[1918],{"id":10782,"slug":10783,"title":10784,"dynasty":18,"author":8917,"museum":20,"description":8918,"tags":10785,"thumbUrl":10786,"material":1148,"size":1149,"collection":64,"collections":10787,"showCount":536,"zanCount":43,"manualWeight":43,"mainColor":69},239496,"shan-shui-ce-8-shang-guan-zhou-239496","山水册8",[25,57,55,28,56,58,212,101,510,7,80,715,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19ea919d3ef3fe9511db8b8ab46d8471.jpg",[],{"id":10789,"slug":10790,"title":48,"dynasty":18,"author":2470,"museum":20,"description":2995,"tags":10791,"thumbUrl":10792,"material":1148,"size":1149,"collection":64,"collections":10793,"showCount":536,"zanCount":43,"manualWeight":43,"mainColor":69},239329,"shan-shui-ce-cha-shi-biao-239329",[25,54,57,55,195,196,56,58,7,30,485],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a9b7532bf38467f3202f625fd982d01.jpg",[],{"id":10795,"slug":10796,"title":9416,"dynasty":18,"author":9417,"museum":20,"description":10797,"tags":10798,"thumbUrl":10799,"material":64,"size":64,"collection":64,"collections":10800,"showCount":536,"zanCount":43,"manualWeight":43,"mainColor":69},239197,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239197","此帧以枯淡水墨绘就山林胜景，层峦错落雄峙，云气在山谷溪涧间蜿蜒漫溢，将峰石晕染出空濛悠远之态。山脚林木错落，以简括笔触点染，苍朴古雅。\n画面左侧题字笔意萧散简劲，书画合璧，尽显幽寂襟怀。整幅笔墨疏淡清旷，不事雕琢，以极简皴擦勾勒写尽丘壑意趣，淡墨间漾着静穆出尘的隐逸之思，藏着寄迹林泉的清冷孤高。",[25,54,57,55,56,195,196,58,7,715,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f25b6bf35c3adb10577e662e851804d.jpg",[],{"id":10802,"slug":10803,"title":8674,"dynasty":18,"author":10804,"museum":20,"description":10805,"tags":10806,"thumbUrl":10807,"material":64,"size":64,"collection":64,"collections":10808,"showCount":536,"zanCount":43,"manualWeight":43,"mainColor":69},239166,"shan-shui-hua-hui-ce-chen-heng-ke-239166","陈衡恪","陈衡恪(1876-1923) ，中国民国初年天才横溢的画家，美术教育家。字师曾，号槐堂、朽道人，祖籍江西义宁(今修水)，1876年3月12日出生于湖南凤凰县。著名诗人陈三立长子，陈寅恪之兄。曾留学日本，攻读博物学。归国后从事美术教育与研究。擅山水花鸟人物，其花鸟画浑厚绮丽，山水画钩多皴少，人物画带速写情趣。又工篆刻、书法，能诗，出奇造意，矫柔为刚。由于陈师曾的人品、学问及诗、书、画、印“四全”，因此被公认为民国初年北京画坛最有名望的画家。梁启超称他为“现代美术界具有艺术天才、高人恪、不朽价值的第一人”。著有《中国绘画史》、《中国文人画之研究》。",[25,55,57,56,58,80,7,8983,459,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9d6d3b1021fc74e183b7371dc5a4dc3.jpg",[],{"id":10810,"slug":10811,"title":48,"dynasty":18,"author":10812,"museum":20,"description":10813,"tags":10814,"thumbUrl":10815,"material":64,"size":64,"collection":64,"collections":10816,"showCount":536,"zanCount":43,"manualWeight":43,"mainColor":69},239041,"shan-shui-ce-wu-lin-239041","吴麐","此作取景疏空灵透，远山以淡墨轻勾慢染，笔致简括却见层峦起伏，留白代云气，将山峦虚实衔连，晕染出空濛悠远的烟岚之态。近岸苍松错落，干枝挺拔苍劲、松针攒簇有致，坡石以短皴带染，拙朴厚重间不失温润质感。左侧题字朱印与画面相映成趣，诗画合璧尽显文人雅韵。全幅以水墨写意，不施重彩，却将江南山水的清寂淡远融于尺幅，以极简笔情墨韵传递出林泉高致的幽寂心境，尽显文人山水画的空灵意趣。",[25,54,57,55,56,58,7,80,83,2762],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd76dc3dbada10613fbee6ad216f6da18.jpg",[],{"id":10818,"slug":10819,"title":10820,"dynasty":18,"author":10821,"museum":20,"description":10822,"tags":10823,"thumbUrl":10824,"material":1148,"size":1149,"collection":64,"collections":10825,"showCount":536,"zanCount":43,"manualWeight":43,"mainColor":44},239022,"fang-zhao-zhong-mu-shan-shui-zhou-zhang-wei-239022","仿赵仲穆山水轴","张囗","此作用高远之法开篇，主峰崔嵬矗立，以干淡笔墨勾勒皴擦，石骨嶙峋尽显苍古气质。山腰云气轻笼，掩映出林麓人家，藏露之间尽显山居幽寂。近岸古松挺秀，杂木丰茂，林下二人凭眺闲观，为冷寂山林添了几分雅逸文趣。\n\n画作师法前贤，用笔萧散松灵，墨色层次疏淡柔和，复刻出元人山水的空灵简远意趣，暗合尚古的文人意韵，淡冶之中带着沉静书卷气，将山林幽居的闲雅意境缓缓铺陈，尽显仿作中自有的文人丘壑。",[25,79,55,56,531,58,80,7,213,118,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81d16440a1822a67aa8e7220b902d9a4.jpg",[],{"id":10827,"slug":10828,"title":10829,"dynasty":18,"author":5557,"museum":20,"description":10830,"tags":10831,"thumbUrl":10832,"material":64,"size":64,"collection":64,"collections":10833,"showCount":536,"zanCount":43,"manualWeight":43,"mainColor":69},238977,"shan-shui-ce-wei-zhu-ze-min-wang-chen-238977","山水册－囗朱泽民","此作用淡墨干皴层层晕染，以平远构图铺陈丘壑。左岸古木姿态苍古，枝叶简括却见生拙意趣；右方危崖高耸，留白透气尽显空濛。汀洲茅舍孑立水畔，萧散清寂。\n\n画面配题小诗，将晚峰云影、水亭幽怀相融，以元代逸笔写胸中丘壑，笔墨松秀简淡，脱去甜熟，尽显苍润生拙。整体意境空濛淡远，将幽人林下独处的静穆心境藏于尺幅之中，尽显清逸萧疏的林下雅风，淡去匠气，只留简淡静穆的文人雅韵。",[25,54,57,55,56,58,7,59,118,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7879ad72df17bfc8c9be3231cc5125f2.jpg",[],{"id":10835,"slug":10836,"title":659,"dynasty":18,"author":5566,"museum":20,"description":10837,"tags":10838,"thumbUrl":10839,"material":64,"size":64,"collection":64,"collections":10840,"showCount":536,"zanCount":43,"manualWeight":43,"mainColor":69},238909,"fang-song-yuan-shan-shui-ce-dong-gao-238909","此作用笔老辣，以渴笔勾勒山石骨架，皴擦点染间晕出山岩苍劲嶙峋的肌理，层叠山峦奇崛错落，暗合古法山水的苍浑意趣。近处林木萧疏，遒劲枯枝与柔垂柳丝相映，刚柔并济，为冷寂山景添几分灵动生气。林麓间掩映古寺，藏露得宜，衬出山居林壑的幽寂清远。\n全幅水墨晕染干湿互用，浓淡相宜，兼具北派山水的沉雄质感，又浸透南宗文人画的秀逸简淡。笔意松脱却章法谨严，师法前贤又自出机杼，将林泉幽居的静穆淡远徐徐铺陈，尽显山林间恬寂出尘的意致。",[25,58,57,55,56,531,80,7,308,61,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdba4c3b537d7a8f15181986835247d4.jpg",[],{"id":10842,"slug":10843,"title":10272,"dynasty":18,"author":2847,"museum":20,"description":10844,"tags":10845,"thumbUrl":10846,"material":64,"size":64,"collection":64,"collections":10847,"showCount":536,"zanCount":43,"manualWeight":43,"mainColor":69},238743,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238743","这幅画以淡墨晕染平沙秋野，远山轻描淡写，恍若烟霭浮空。近岸枯木疏朗，衰草漫覆荒坡，清寂萧索的秋意浸透纸面。崖边士人负手远眺，似在牵惹羁旅乡思，身侧童子牵马静立，暗合行游倦憩之意。淡简笔墨不施浓艳，以留白铺展出平阔辽远的郊野空境，诗画相融，将行旅中的怅惘幽思寄寓荒寒淡远的景致里，笔意清润含蓄，尽显秋日行吟的澹泊诗意。",[25,54,57,55,56,58,101,510,7,418,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa459ca736e3a0c1534d05ecafdaf3c.jpg",[],{"id":10849,"slug":10850,"title":48,"dynasty":18,"author":2847,"museum":20,"description":10851,"tags":10852,"thumbUrl":10853,"material":1148,"size":1149,"collection":64,"collections":10854,"showCount":536,"zanCount":43,"manualWeight":43,"mainColor":44},238679,"shan-shui-ce-dong-bang-da-238679","董邦达（1696－1769），清代官员、书画家。字孚存、争存，号东山、非闻，浙江富阳人。雍正十一年进士，乾隆二年授编修，官终礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虞山派之间。与董源、董其昌并称“三董”。",[25,55,56,57,58,80,7,118,164,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca0d826c9fe0ea0c6d69891578f8e1b5.jpg",[],{"id":10856,"slug":10857,"title":48,"dynasty":18,"author":2847,"museum":20,"description":10851,"tags":10858,"thumbUrl":10859,"material":1148,"size":1149,"collection":64,"collections":10860,"showCount":536,"zanCount":43,"manualWeight":43,"mainColor":44},238672,"shan-shui-ce-dong-bang-da-238672",[25,54,57,55,56,58,7,242,59,498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecd0f05989e2d36aaba672801a054641.jpg",[],{"id":10862,"slug":10863,"title":10864,"dynasty":18,"author":5339,"museum":20,"description":10308,"tags":10865,"thumbUrl":10866,"material":1148,"size":1149,"collection":64,"collections":10867,"showCount":536,"zanCount":43,"manualWeight":43,"mainColor":44},238537,"chun-jing-shan-shui-ce-qian-wei-cheng-238537","春景山水册",[25,55,195,196,57,56,58,80,7,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74de15983a7e569f1f45091ea1bb6b78.jpg",[],{"id":10869,"slug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十六罗汉像","罗汉乃阿罗汉一词之略称，是指断除一切烦恼、证得修行最高果位，堪受世间大众供养的佛弟子或证见正理之圣者。释迦的十六位高徒，亦即罗汉，据说在释迦决意入涅盘之际，承佛命永住世间、普渡众生，并于各地护持弘扬佛法",[23,24,25,54,79,1096,28,27,101,7,731,635,308,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb43f09e40688c53ffec58bebf4c9e71c.jpg",[],{"id":11172,"slug":11173,"title":11174,"dynasty":1460,"author":317,"museum":20,"description":11175,"tags":11176,"thumbUrl":11177,"material":1148,"size":1149,"collection":64,"collections":11178,"showCount":536,"zanCount":43,"manualWeight":43,"mainColor":69},230519,"fang-gu-ren-wu-fen-ben-shou-ye-jia-tu-juan-yi-ming-230519","仿古人物粉本(狩野家图卷)","此卷以淡墨晕染铺陈意境，分段构绘诸般景致。仙翁伴瑞鹿白羊，执杖徐行，古意悠然；枯木红枫间隐士独坐，萧散出尘。江渚行旅衬以空濛山水，意境清旷；怒浪之中神游渡海，奇诡奇幻。末段稚童嬉闹鲜活灵动，尽显世俗意趣。\n\n笔墨写意简劲，设色淡雅清隽，将仙逸、幽隐、百态日常融于一卷。笔致松脱随性，留白营造出悠远空寂的东方意境，兼具文人画的萧散情致与叙事意趣，是笔墨与意韵俱佳的佳构。",[23,25,54,26,1004,55,28,531,101,978,730,7,715,3743,196,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F155773197d4e4fc6f85f53673b323d53.jpg",[],{"id":11180,"slug":11181,"title":11182,"dynasty":18,"author":317,"museum":20,"description":11183,"tags":11184,"thumbUrl":11186,"material":1148,"size":1149,"collection":64,"collections":11187,"showCount":536,"zanCount":43,"manualWeight":43,"mainColor":349},229284,"qing-jin-yi-ming-229284","青金","此作随石赋形，以浓匀宝蓝的质地为底色，将山林禅境收于一方。古松虬枝斜出，苍劲灵动，掩映出龛内趺坐的罗汉，他垂首展卷，幽寂安然。松下案几陈炉置花，暗合禅房清供之意。岩壁填金题诗，将金石文气融入山林静境。\n\n刀工柔润贴合石身肌理，依形勾勒出层叠山石，把材质自带的沉静贵气，与雕刻出的世外幽居意趣相融，将文人心底的隐逸禅思凝于石间，尽显案头清供的隽永雅致，是匠意与文思相合的雅逸之作。",[9380,9244,101,7,30,11185],"篆刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee5952f966e74fec59bf714b7009f0f5.jpg",[],{"id":11189,"slug":11190,"title":11191,"dynasty":1460,"author":317,"museum":20,"description":11192,"tags":11193,"thumbUrl":11195,"material":64,"size":64,"collection":64,"collections":11196,"showCount":536,"zanCount":43,"manualWeight":43,"mainColor":69},225397,"fu-shi-hui-154-yi-ming-225397","浮世绘154","清冷薄雪晕染出冬日底色，枯枝凝霜点染萧寂氛围，篱落覆雪衬出天地清寒。画中歌舞伎演员步履闲散，背负黑熊形制的表演道具，手持小鼓与长柄道具，眉眼低垂慵懒，神情漫不经心带着淡淡诙谐，将舞台上松弛倦怠的神态定格。服饰以留白搭配朱红、玄色，与浅淡雪景柔和相融，线条简练洗练，将演员的闲散意态和冬日清寂巧妙结合，尽显浮世绘独具的市井意趣与雅致格调，把歌舞伎舞台的片刻余韵，凝在素淡雪色里。",[9715,9716,28,101,7,11194,3762,690],"雪地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad4cc9a8948c83c54f4eb36d98c95f49.jpg",[],{"id":11198,"slug":11199,"title":11200,"dynasty":18,"author":541,"museum":20,"description":11201,"tags":11202,"thumbUrl":11204,"material":64,"size":64,"collection":64,"collections":11205,"showCount":536,"zanCount":43,"manualWeight":43,"mainColor":126},224416,"shu-hua-shi-liu-kai-2-wang-shi-min-224416","书画十六开-2","此作为行书小品，笔墨秀逸苍劲，起收间可见沉稳功底，点画顾盼有情，线条随章法灵动变奏，粗细提按尽显节奏韵律。字间疏密得宜，行气贯通浑然，兼具妍雅意趣与朴拙质感。\n书文为寻幽佳句，笔墨与诗意相融，将林泉雅趣藏于笔底。素纸古色衬出墨色浓淡层次，朱红钤印点缀晕染出沉静古雅的文人书卷氛围，笔墨舒缓的节奏里，恰似把幽居寻游的隐逸心境缓缓铺展，是兼蓄笔墨法度与文人情思的佳构。",[23,25,54,57,195,194,55,32,6077,7,11203,1420],"峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0a8f524714afbea1ce5e6b2234491c.jpg",[],{"id":11207,"slug":11208,"title":11209,"dynasty":18,"author":7539,"museum":20,"description":7540,"tags":11210,"thumbUrl":11212,"material":1148,"size":1149,"collection":64,"collections":11213,"showCount":536,"zanCount":43,"manualWeight":43,"mainColor":349},224140,"gopaka-tang-ka-224140","Gopaka",[959,11211,28,1096,101,7,59,178,29,637,27],"唐卡风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefce59483b38b10e270695cf5df9eab1.jpg",[],{"id":11215,"slug":11216,"title":11217,"dynasty":18,"author":11218,"museum":20,"description":11219,"tags":11220,"thumbUrl":11221,"material":64,"size":64,"collection":64,"collections":11222,"showCount":536,"zanCount":43,"manualWeight":43,"mainColor":69},224108,"shan-shui-hua-hui-ce-jiu-fu-mei-224108","山水花卉冊(九)","傅眉","此作以扇面取景，分作两段景致。上部烟柳笼堤，淡墨晕染远山，云气朦胧悠远，柳枝如烟似雾，苍劲枝干托曳柔条，刚柔相济，汀渚水色空濛，漾出幽寂春寒之意。下半幅叠石临流，水榭孤悬矶石之上，碧波萦回石畔，古松盘曲于岩岫之间，笔墨苍润朴拙。\n全作用浅赭铺陈底色，墨色浓淡掩映，将江南水岸早春的清寂闲雅凝于尺幅，既有文人画的简淡空灵，又带着质朴厚重的笔致，意境萧散淡远，尽显静穆幽隽的林下之致，雅静悠然，余韵悠长。",[23,25,55,28,57,58,118,82,212,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F812487675da15e438230aa404acdf6dc.jpg",[],{"id":11224,"slug":11225,"title":11226,"dynasty":18,"author":8155,"museum":850,"description":11227,"tags":11228,"thumbUrl":11229,"material":4525,"size":11230,"collection":64,"collections":11231,"showCount":536,"zanCount":43,"manualWeight":43,"mainColor":69},222639,"shan-shui-shu-fa-ce-liu-kai-5-gao-feng-han-222639","山水书法册六开-5","高凤翰 （1683—1748）清朝，原名翰，字西园，号南村，别号因地、因时、因病等40多个，晚署南阜左手等，山东胶州人。一说“扬州八怪”之一。自幼能诗画，诗宗陆游，画先从父，后从胶州李世锡、淄州靳秋水、安邱张氏父子等，早年即已成名〔清雍正六年（1728）以前的画，现各地珍藏多幅〕。19岁时，中秀才，后应乡试不第。雍正五年，应“贤良方正”特试，名列第一。赴任前，漫游山东、河南、江西等地，广交名人，并有诗集《击林集》、《湖海集》。金石书画造诣很高，治砚更有独到研究。\n工书、画，善山水，纵逸不拘于法，纯以气胜，兼北宋之雄浑，元人之静逸。花卉亦妙是天趣。老年患风 ，右臂不仁，用左手作画，笔益苍辣，故号尚左生，归云老人，博学精艺，尤豪于诗，早为王士祯所赏识。性嗜砚，所藏至千余，大半手琢，自为铭词。因刻“丁巳残人”“尚左生”二印，官徽州绩溪县令，有政声，康熙五十九年（1720）客安邱张卯居家，张为作《南村草堂图》，西园为作《杞城别墅图》以报之，乾隆十二年（1747）为其孙攀鳞作《寒香图》卷，有《砚史》、《南阜诗抄》。卒年六十六岁。（按高凤翰生卒年，王伯敏《中国绘画史》作（16338-1719），享年八十二岁；秦岭云《杨州八家丛话》作（1863-1749）六十七岁。其说不一，待考。\n雍正十一年官泰州巡盐分司。去职后流寓扬州。工于山水，花卉，山水师法宋人，近赵令穰、郭熙一路，中年以后，到了江南，与扬州画派画家如金农、郑燮、高翔、李方膺、边寿民等相往还，画风相互影响，多作花卉树石，笔法奔放，纵逸不拘成法。亦能画人物，造型准确，神态潇洒秀逸。晚年则趋于奔放纵逸。乾隆二年丁巳右臂病发，坚持用左臂，自号后尚左先、丁巳残人，艰苦力学，书、画为之一变，生拗苍劲，更富奇趣，为时所称。传世画迹有南京博物院藏《层雪炉香图》轴、中央美术学院藏《秋山读书图》轴等。\n工书法，善篆刻，喜收藏，精鉴赏，曾收藏秦汉印章及明清名家制印至万余方，各制有谱录，又收藏砚石至千百方，并制有铭词，手书后大半自行刻凿，著有《砚史》等行世。\n亦被列为扬州八怪之一。有《南阜山人全集》等著作传于世。",[23,25,54,57,55,56,58,7,59,2442],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa294dc34fbb71dfc595cc5beb0297a16.jpg","31.8x24.8厘米",[],{"id":11233,"slug":11234,"title":10154,"dynasty":18,"author":10155,"museum":2113,"description":10156,"tags":11235,"thumbUrl":11236,"material":10159,"size":10160,"collection":64,"collections":11237,"showCount":536,"zanCount":43,"manualWeight":43,"mainColor":64},220682,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220682",[23,25,54,57,55,56,58,7,59,485,242,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc7fb8a923ddd44cc33a6ffd0cf90834.jpg",[],{"id":11239,"slug":11240,"title":11241,"dynasty":18,"author":317,"museum":20,"description":9321,"tags":11242,"thumbUrl":11243,"material":37,"size":64,"collection":64,"collections":11244,"showCount":536,"zanCount":43,"manualWeight":43,"mainColor":349},218119,"fu-hua-luo-han-jiu-zhang-lao-xiang-5-yi-ming-218119","佛画·罗汉九长老像-5",[23,25,1096,28,27,101,7,59,164,959],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9042b0479b68821858f712e9f660642.jpg",[],{"id":11246,"slug":11247,"title":11248,"dynasty":74,"author":10166,"museum":20,"description":10167,"tags":11249,"thumbUrl":11251,"material":152,"size":64,"collection":64,"collections":11252,"showCount":536,"zanCount":43,"manualWeight":43,"mainColor":349},217169,"shui-hu-quan-tu-25-du-jin-217169","水浒全图-25",[25,54,57,1004,101,7,30,11250],"水洼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb202f21977bfd9ed029b2365a48c2988.jpg",[],{"id":11254,"slug":11255,"title":11256,"dynasty":74,"author":10166,"museum":20,"description":10167,"tags":11257,"thumbUrl":11258,"material":152,"size":64,"collection":64,"collections":11259,"showCount":536,"zanCount":43,"manualWeight":43,"mainColor":349},217150,"shui-hu-quan-tu-46-du-jin-217150","水浒全图-46",[25,54,57,1004,101,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac3dcad0f1252f1064c790cda2c0dbf3.jpg",[],{"id":11261,"slug":11262,"title":11263,"dynasty":74,"author":10166,"museum":20,"description":10167,"tags":11264,"thumbUrl":11265,"material":152,"size":64,"collection":64,"collections":11266,"showCount":536,"zanCount":43,"manualWeight":43,"mainColor":349},217146,"shui-hu-quan-tu-48-du-jin-217146","水浒全图-48",[25,54,1004,57,2129,101,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7bbdbe7e54439e62ec84557282c52e3.jpg",[],{"id":11268,"slug":11269,"title":11270,"dynasty":18,"author":11271,"museum":51,"description":11272,"tags":11273,"thumbUrl":11274,"material":275,"size":11275,"collection":64,"collections":11276,"showCount":536,"zanCount":43,"manualWeight":43,"mainColor":69},217013,"ruan-yuan-yi-shi-shi-jing-tu-ce-2-wang-yun-217013","阮元遗事十景图册-2","汪鋆","阮元遗事十景图册是清朝时期汪鋆的一部作品。汪鋆（1735-1815年）是一位著名的清代画家，他的作品主要描绘人物、山水、花鸟等题材。阮元遗事十景图册是一部十幅图册，每幅图画都是汪鋆根据阮元的遗事描绘的人物和景象。阮元是一位著名的文学家，他的作品富有感染力，深受读者喜爱。汪鋆的这部作品通过艺术手法，将阮元的遗事生动地呈现在读者面前。",[25,54,57,28,55,27,241,7,680,83,196,590,589],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb94257423282e8468e199f742fb12f4.jpg","27.9x33cm",[],{"id":11278,"slug":11279,"title":11280,"dynasty":18,"author":317,"museum":3175,"description":11281,"tags":11282,"thumbUrl":11283,"material":37,"size":64,"collection":64,"collections":11284,"showCount":536,"zanCount":43,"manualWeight":43,"mainColor":44},215999,"di-jian-tu-shuo-cai-hui-ben-12-yi-ming-215999","帝鉴图说彩绘本-12","红柱青瓦的庭院间，古木荫蔽石阶。上层廊下，华服者与侍从对语；阶前官员肃立，神态恭谨。画面色彩明丽却不失古雅，线条工细流畅，将朝堂的庄重与人物互动的生动融于一体。构图层次分明，建筑错落间显空间感，核心场景突出。笔墨间藏着对贤明政治的期许，每处细节流露传统伦理温度。彩绘本的细腻质感，让历史片段鲜活如昨，仿佛能窥见古人治国理政的点滴智慧，尽显传统叙事画的生动与厚重。",[25,28,915,27,101,211,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74063c7e6ca9cc8f72fa6dfb2b8c1454.jpg",[],{"id":11286,"slug":11287,"title":11288,"dynasty":18,"author":317,"museum":3175,"description":11289,"tags":11290,"thumbUrl":11291,"material":37,"size":64,"collection":64,"collections":11292,"showCount":536,"zanCount":43,"manualWeight":43,"mainColor":44},215948,"di-jian-tu-shuo-cai-hui-ben-57-yi-ming-215948","帝鉴图说彩绘本-57","层叠的庭院建筑错落有致，青瓦朱栏相映成趣。画面分几重场景，人物活动各有侧重：上层廊下，衣袂飘飘的身影或立或行，姿态从容；中层阶前，人群聚集，似有雅谈或仪事；下层小筑旁，松石点缀，人物互动更显生动。笔墨细腻处见匠心，衣纹线条流畅，建筑细节规整。色彩明丽却不失古雅，红柱绿瓦与人物服饰的斑斓交织，将古代生活的一隅定格成帧，尽显传统工笔重彩的韵味与底蕴，仿佛能窥见彼时的仪度与风情。每一处线条都藏着细腻的观察，每一抹色彩都晕染着古典的雅致，让静态的画面流淌出鲜活的气息。",[25,28,915,27,101,211,868,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc06f8ac5e04a13e6fb9f27fbcc649740.jpg",[],{"id":11294,"slug":11295,"title":11296,"dyna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Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[9369,9244,11813,635,7,11814],"模印","古拙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d259be56a1f7f99eaca0e65b3499190.jpg",[],{"id":11818,"slug":11819,"title":11820,"dynasty":95,"author":317,"museum":20,"description":11821,"tags":11822,"thumbUrl":11825,"material":1148,"size":1149,"collection":64,"collections":11826,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":69},253190,"lu-ji-huai-ju-zhuan-yi-ming-253190","陆绩怀橘砖","砖上浮雕定格了奉橘的瞬间，躬身的孩童双手递上怀中藏橘，端坐的长者抬手相迎，眉眼间皆是温煦动容。篱院两侧青松探枝，衬出庭院的悠然静谧。浅刻的纹路朴拙细腻，将孺慕温情尽数藏入砖石肌理，把怀橘奉亲的孝义典故揉进日常烟火。匠人以刀代笔，把重孝的风骨凝作方寸间的永恒，让细碎孝行成为跨越时空的温情注脚，尽显世俗风物里的古典意趣。",[95,11823,11824,9244,101,7],"砖雕","浮雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d3c943048072a79e91b754a2bb8cceb.jpg",[],{"id":11828,"slug":11829,"title":11830,"dynasty":18,"author":317,"museum":20,"description":11831,"tags":11832,"thumbUrl":11833,"material":1148,"size":1149,"collection":64,"collections":11834,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":69},252223,"qing-yu-ren-wu-tu-shan-zi-yi-ming-252223","青玉人物图山子","玉质莹润素白，随形造势，将山林雅集融于一方玉料之中。苍松虬枝舒展，松针细密写实，古亭藏于山石掩映间，晕染出深山幽寂的朦胧意韵。\n\n骑驴高士策行徐缓，侍童携琴负杖紧随，对面儒者拱手相迎，将古人郊野相逢的悠然雅兴定格。人物衣袂婉转灵动，神态鲜活传神，山石皴刻简练却见丘壑起伏，整体章法疏密得当，把文人山水的隐逸意趣凝于刀下。\n\n刀工温润内敛，不彰锋芒，以玉为纸、以刀为笔，将中式山水的悠远意境与玉石的莹润质感完美融合，静赏间似能耳闻松风，恍若窥见古人知己晤谈的清雅片刻。",[959,9380,9244,101,80,7,118,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52487be083bf7d1197794f22c4deeb28.jpg",[],{"id":11836,"slug":11837,"title":11838,"dynasty":18,"author":317,"museum":20,"description":11319,"tags":11839,"thumbUrl":11840,"material":1148,"size":1149,"collection":64,"collections":11841,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":349},249580,"hua-fa-lang-hua-guo-kai-guang-ren-wu-tu-bi-ping-yi-ming-249580","画珐琅花果开光人物图壁瓶",[9813,9814,28,9817,101,211,7,11725,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec4bfa41714c2cf3c9112ebb0683045c.jpg",[],{"id":11843,"slug":11844,"title":11845,"dynasty":18,"author":317,"museum":20,"description":11846,"tags":11847,"thumbUrl":11850,"material":1148,"size":1149,"collection":64,"collections":11851,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":69},247102,"qian-long-kuan-ti-hong-shan-shui-ren-wu-tan-chan-tu-hai-tang-shi-he-yi-ming-247102","乾隆款剔红山水人物谈禅图海棠式盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[9390,9244,11848,58,101,30,7,9818,18,11849,211],"剔红","谈禅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc24ac30081fc8e52a4c51e97bf607a48.jpg",[],{"id":11853,"slug":11854,"title":11855,"dynasty":18,"author":317,"museum":20,"description":11846,"tags":11856,"thumbUrl":11857,"material":1148,"size":1149,"collection":64,"collections":11858,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":126},247035,"qian-long-kuan-ti-hong-shan-shui-ren-wu-huan-e-tu-bian-yuan-he-yi-ming-247035","乾隆款剔红山水人物换鹅图扁圆盒",[18,9390,11848,9244,58,101,7,637],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe113fd96b6ecba76aba52d2216246244.jpg",[],{"id":11860,"slug":11861,"title":11862,"dynasty":18,"author":317,"museum":20,"description":11846,"tags":11863,"thumbUrl":11866,"material":1148,"size":1149,"collection":64,"collections":11867,"showCount":43,"zanCount":43,"manualWeight":43,"mainColor":69},247019,"qian-long-kuan-ti-hong-shan-shui-ren-wu-fan-zhou-tu-bian-yuan-he-yi-ming-247019","乾隆款剔红山水人物泛舟图扁圆盒",[959,9390,11848,9244,58,101,11864,11865,7,30],"泛舟","扁圆盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc546780bc104442ec4c7a99ea001f950.jpg",[],{"id":11869,"slug":11870,"title":11871,"dynasty":18,"author":317,"museum":20,"description":11714,"tags":11872,"thumbUrl":11874,"material":1148,"size":1149,"collection":64,"collections":11875,"showC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