[{"data":1,"prerenderedAt":12583},["ShallowReactive",2],{"subject-song-shu":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},43,"song-shu","松树","松树画高清赏析","精选中国历代松树题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff91b26d9e666e9cbccab8cbcfbaca997.jpg",0,1383,[14,45,65,83,106,124,142,155,167,180,195,208,221,235,250,267,281,294,308,322,333,349,357,373,387,399,409,422,433,444,455,466,477,490,503,514,526,536,547,556,568,579,588,599,610,620,633,648,660,671,683,695,707,719,729,744,754,768,787,798,811,824,834,843,852,866,877,892,904,914,924,933,945,955,965,974,993,1002,1011,1023,1035,1044,1054,1065,1076,1090,1102,1113,1133,1142,1153,1163,1174,1187,1197,1210,1221,1230,1243,1255,1267,1286,1296,1307,1316,1326,1338,1349,1359,1370,1380,1396,1404,1413,1421,1432,1452,1462,1474,1485,1494,1503,1513,1523,1534,1548,1561,1572,1583,1594,1604,1615,1625,1634,1642,1652,1663,1673,1683,1693,1704,1714,1724,1734,1744,1756,1766,1775,1787,1797,1807,1817,1826,1837,1846,1856,1867,1877,1887,1897,1905,1916,1926,1934,1945,1955,1968,1978,1988,1998,2007,2018,2032,2041,2050,2062,2073,2082,2095,2104,2113,2123,2136,2144,2155,2162,2170,2183,2193,2203,2215,2225,2234,2243,2253,2263,2274,2284,2295,2304,2311,2321,2330,2339,2347,2357,2367,2377,2386,2397,2408,2418,2425,2432,2442,2453,2463,2471,2481,2494,2503,2511,2518,2531,2541,2552,2563,2570,2583,2593,2602,2614,2625,2635,2644,2665,2678,2687,2698,2710,2717,2726,2738,2751,2760,2771,2783,2793,2804,2814,2825,2834,2843,2855,2865,2875,2886,2894,2904,2914,2922,2933,2941,2950,2960,2972,2984,2994,3004,3015,3025,3033,3042,3054,3066,3077,3084,3093,3102,3108,3117,3126,3135,3144,3155,3166,3175,3183,3191,3202,3212,3223,3232,3242,3250,3259,3271,3279,3288,3299,3308,3317,3325,3334,3341,3350,3361,3371,3379,3393,3402,3412,3421,3430,3438,3445,3454,3463,3471,3481,3488,3495,3503,3514,3524,3535,3547,3556,3564,3572,3584,3593,3601,3607,3619,3630,3639,3648,3660,3668,3676,3687,3696,3705,3714,3725,3733,3743,3751,3758,3769,3778,3787,3795,3804,3812,3823,3834,3844,3854,3863,3876,3887,3898,3907,3918,3925,3933,3945,3954,3964,3972,3981,3990,4000,4011,4022,4031,4040,4050,4059,4068,4077,4087,4096,4105,4113,4122,4133,4157,4167,4176,4183,4190,4202,4211,4220,4229,4237,4245,4253,4260,4270,4280,4289,4297,4306,4314,4322,4333,4343,4352,4362,4371,4381,4391,4401,4409,4418,4427,4435,4443,4452,4463,4471,4482,4490,4500,4509,4518,4526,4535,4543,4551,4563,4572,4585,4593,4601,4609,4618,4628,4638,4648,4658,4669,4677,4686,4697,4706,4714,4724,4732,4740,4749,4758,4768,4778,4788,4797,4807,4816,4826,4835,4845,4857,4867,4877,4884,4891,4904,4911,4920,4931,4939,4947,4957,4965,4975,4992,5001,5010,5019,5028,5037,5046,5055,5065,5074,5082,5091,5098,5109,5116,5124,5132,5140,5150,5161,5169,5178,5188,5199,5206,5213,5222,5231,5241,5249,5259,5269,5277,5286,5295,5305,5313,5322,5333,5342,5354,5364,5372,5379,5387,5396,5408,5419,5427,5437,5447,5454,5466,5474,5482,5491,5500,5509,5517,5525,5531,5538,5546,5554,5562,5571,5579,5587,5596,5604,5611,5618,5625,5634,5643,5652,5660,5670,5680,5688,5696,5703,5711,5719,5727,5734,5743,5750,5761,5769,5778,5789,5798,5806,5814,5823,5832,5840,5848,5856,5865,5875,5888,5898,5906,5915,5923,5934,5942,5950,5959,5967,5976,5986,5995,6005,6015,6025,6033,6042,6050,6058,6067,6074,6084,6091,6101,6110,6118,6126,6135,6143,6153,6160,6168,6177,6187,6197,6205,6213,6225,6234,6244,6253,6263,6272,6280,6289,6299,6307,6316,6323,6332,6339,6347,6356,6363,6372,6382,6391,6400,6407,6414,6424,6431,6440,6447,6455,6465,6475,6482,6489,6497,6508,6519,6526,6534,6543,6551,6559,6567,6576,6587,6597,6605,6613,6622,6631,6640,6649,6656,6663,6670,6678,6687,6696,6707,6714,6721,6729,6736,6746,6755,6765,6772,6780,6789,6795,6805,6814,6821,6830,6838,6846,6853,6863,6872,6880,6888,6898,6908,6915,6923,6934,6943,6951,6959,6970,6978,6986,6994,7003,7011,7020,7027,7036,7045,7053,7062,7072,7080,7087,7094,7104,7113,7123,7133,7144,7151,7159,7168,7176,7185,7194,7202,7211,7218,7227,7238,7246,7255,7271,7279,7285,7296,7305,7312,7320,7334,7341,7347,7355,7365,7374,7380,7388,7398,7407,7416,7424,7432,7439,7446,7455,7464,7473,7482,7490,7499,7508,7518,7525,7536,7543,7553,7562,7570,7579,7587,7596,7605,7614,7622,7628,7636,7644,7652,7661,7667,7678,7686,7694,7716,7724,7733,7741,7749,7758,7767,7776,7786,7795,7803,7813,7821,7830,7838,7846,7854,7861,7867,7876,7886,7893,7900,7908,7915,7922,7930,7938,7948,7957,7965,7971,7980,7990,7998,8005,8018,8026,8034,8040,8046,8053,8060,8069,8077,8084,8093,8100,8108,8120,8128,8137,8145,8155,8166,8174,8181,8188,8196,8205,8213,8225,8232,8240,8248,8255,8264,8271,8279,8286,8295,8305,8315,8322,8331,8339,8347,8356,8366,8373,8381,8389,8396,8403,8413,8421,8430,8439,8448,8455,8462,8469,8477,8484,8494,8502,8509,8518,8526,8535,8544,8550,8559,8567,8575,8583,8590,8597,8604,8611,8619,8629,8636,8643,8652,8661,8671,8681,8689,8697,8706,8714,8721,8733,8740,8753,8761,8770,8778,8785,8792,8798,8806,8815,8824,8834,8844,8852,8861,8870,8877,8885,8892,8899,8908,8917,8927,8937,8946,8953,8961,8969,8977,8989,8996,9003,9009,9019,9032,9040,9049,9057,9065,9073,9081,9087,9093,9099,9108,9117,9126,9135,9144,9153,9161,9169,9180,9192,9201,9208,9215,9222,9231,9240,9250,9259,9268,9278,9285,9295,9305,9313,9321,9329,9339,9346,9353,9360,9369,9377,9386,9394,9402,9408,9417,9424,9432,9439,9448,9455,9464,9473,9483,9492,9502,9513,9521,9530,9541,9549,9558,9567,9575,9582,9589,9596,9603,9610,9618,9625,9632,9642,9649,9660,9668,9678,9685,9693,9701,9708,9718,9724,9730,9739,9746,9754,9761,9771,9778,9784,9790,9799,9808,9815,9824,9832,9838,9844,9853,9861,9876,9885,9896,9905,9912,9920,9929,9937,9950,9958,9966,9974,9982,9991,10004,10012,10022,10030,10038,10048,10055,10065,10077,10086,10095,10105,10114,10123,10130,10139,10151,10157,10168,10176,10184,10192,10198,10204,10212,10220,10227,10233,10240,10248,10255,10263,10270,10280,10288,10294,10301,10310,10317,10325,10333,10341,10352,10359,10368,10378,10388,10398,10405,10412,10420,10427,10435,10447,10456,10465,10475,10482,10490,10496,10502,10514,10523,10531,10540,10546,10555,10561,10567,10573,10579,10586,10594,10600,10609,10615,10624,10631,10637,10644,10656,10662,10668,10680,10688,10696,10705,10712,10722,10732,10741,10751,10759,10770,10778,10786,10793,10800,10808,10817,10825,10833,10840,10847,10854,10863,10869,10876,10883,10892,10901,10910,10916,10922,10928,10934,10940,10946,10952,10963,10972,10981,10989,10995,11003,11011,11020,11028,11035,11043,11051,11060,11067,11074,11085,11093,11102,11110,11118,11126,11134,11142,11151,11160,11168,11177,11184,11193,11202,11210,11218,11225,11235,11244,11252,11259,11268,11275,11284,11292,11303,11310,11317,11325,11334,11344,11355,11362,11371,11379,11386,11394,11402,11411,11420,11430,11439,11447,11456,11464,11471,11477,11484,11490,11496,11502,11511,11521,11530,11537,11543,11549,11558,11564,11572,11580,11589,11598,11607,11615,11624,11633,11640,11647,11655,11662,11673,11681,11690,11697,11704,11711,11719,11727,11735,11743,11751,11759,11769,11777,11786,11794,11803,11813,11824,11834,11842,11852,11861,11869,11878,11886,11896,11905,11913,11920,11928,11937,11946,11954,11964,11972,11979,11987,11994,12002,12011,12018,12026,12034,12042,12050,12058,12066,12074,12082,12089,12096,12103,12111,12119,12126,12133,12140,12147,12154,12164,12172,12180,12187,12195,12203,12213,12222,12230,12238,12247,12254,12262,12270,12277,12285,12293,12301,12309,12316,12323,12331,12339,12347,12355,12362,12370,12378,12385,12393,12400,12407,12414,12423,12430,12436,12442,12453,12462,12469,12475,12482,12490,12499,12507,12515,12525,12536,12546,12555,12564,12574],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":37,"material":38,"size":39,"collection":40,"collections":41,"showCount":42,"zanCount":43,"manualWeight":11,"mainColor":44},218464,"pin-cha-tu-wen-zheng-ming-218464","品茶图","明","文徵明","台北故宫博物院","文徵明出身文人世家，一生大多优游山林，追求自然。作品中多为生活写照。一生嗜茶，曾自谓：「吾生不饮酒，亦自得茗醉。」他以茶入诗、入画、入书法，画中所表现的文人品茶，亦颇具代表性。　　此图绘与友人品啜雨前茶的场景。环境幽雅的草堂中，二人对坐品茗清谈，几上置茶壸、茶碗；堂外一人正过桥行来。茶寮内一童煽火煮泉，准备茶事，一场小型的文人茶会即将展开。",[23,24,25,26,27,28,29,30,31,7,32,33,34,35,36],"高清","国画","书画","立轴","设色","工笔","行书","山水","人物","小桥","流水","印章","山石","树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cdac6d6888fc88e0be28c8cfb98e03d.jpg","纸本,设色","88.3x25.2cm","山水画精选",[40],1044,13,"BDBDBD",{"id":46,"slug":47,"title":48,"dynasty":49,"author":50,"museum":20,"description":51,"tags":52,"thumbUrl":58,"material":59,"size":60,"collection":40,"collections":61,"showCount":63,"zanCount":64,"manualWeight":11,"mainColor":44},220150,"ni-zan-wang-meng-he-zuo-shan-shui-ni-zan-220150","倪瓒王蒙合作山水","元","倪瓒","独坐古松下。萧条遗世音（音字点去）心。青山列屏幛。流水奏鸣琴。安得忘机士。与我息烦襟。幽情寄豪楮。跫然闻足音。岁辛丑（西元一三六一年）四月五日东海倪瓒画松石望山图。并赋五言。奉寄文伯友兄。且以督屡约屡失期云。",[23,24,25,53,30,54,55,33,56,7,57],"水墨","皴法","瀑布","岩石","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb857cc032888c84957bee595df2de89a.jpg","纸本,水墨","本幅 119.9x56.1公分、全幅 58公分",[40,62],"水墨画精选",972,4,{"id":66,"slug":67,"title":68,"dynasty":69,"author":70,"museum":20,"description":71,"tags":72,"thumbUrl":75,"material":76,"size":77,"collection":78,"collections":79,"showCount":80,"zanCount":81,"manualWeight":11,"mainColor":82},221574,"wan-he-song-feng-tu-li-tang-221574","万壑松风图","宋","李唐","这幅画采取近观的“高远”表现法。近景为苍松石岸；中景为岗峦郁盘，穿插流泉悬瀑；远景的主峰突兀高耸，峰顶丛树密集，这三段景沿着画面的中轴线，由下往上堆栈，形成“高远”。画家藉由扩大前景，使画中的景物逼近观者，再将远景的主峰满塞画面，如一堵巨大的屏障，形成封闭的空间，让观者面对深幽的山谷，如临真景。",[73,24,25,26,54,53,27,30,7,35,55,36,56,74],"名画","溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F048d34f5c9c56804fbd20be818ef50e4.jpg","绢本","188.7×139.8公分","宋画精选",[78,40,62],912,10,"795548",{"id":84,"slug":85,"title":86,"dynasty":87,"author":88,"museum":89,"description":90,"tags":91,"thumbUrl":98,"material":99,"size":100,"collection":101,"collections":102,"showCount":104,"zanCount":105,"manualWeight":11,"mainColor":82},236166,"yong-zheng-shi-er-yue-xing-le-tu-yi-ming-236166","雍正十二月行乐图","清","佚名","北京故宫博物院","这是一组表现雍正皇帝日常生活的作品，按春、夏、秋、冬四季十二个月的顺序排列，分别为“正月观灯”、“二月踏青”、“三月赏桃”、“四月流觞”、“五月竞舟”、“六月纳凉”、“七月乞巧”、“八月赏月”、“九月赏菊”、“十月画像”、“十一月参禅”和“腊月赏雪”。每幅图轴纵188.2厘米，横102.2厘米。从描绘的景物判断，表现的对象应为圆明园。\n画面以山水楼阁为主，建筑描绘细腻，其中既有中式园林建筑，又有西式亭台楼阁，更有中西合璧者，画面的景观可能是画家以圆明园的建筑结合自己的想象而创作的。圆明园是雍正作皇子时的封赐，他解释说“圆明园”的赐名大有深意：“圆而入神，君子之时中；明而普照，达人之睿智也。” 雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这十二幅行乐图展现了其在圆明园生活的各个场景，也表现了十二个月的不同节令风俗。",[24,27,28,92,93,30,94,7,95,96,35,31,97],"界画","行乐图","楼阁","飞鸟","池塘","中式园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa170ee7ea987eca05f818f0474a20d1.jpg","绢本，设色","纵188.2厘米，横102.2厘米","人物画精选",[101,103],"设色画精选",568,3,{"id":107,"slug":108,"title":109,"dynasty":110,"author":111,"museum":112,"description":113,"tags":114,"thumbUrl":117,"material":118,"size":119,"collection":120,"collections":121,"showCount":122,"zanCount":123,"manualWeight":11,"mainColor":82},289801,"jiang-fan-lou-ge-tu-li-si-xun-289801","江帆楼阁图","唐","李思训","台北故宫博物馆","该画描绘的是游春情景，是作者以“青绿山水”与“金碧山水”创作的国画山水作品，画中山、树、江水和游人融汇一处，江上泛舟、山中树木茂盛，游人穿梭其中。远处江水荡漾，几叶扁舟漂浮，近处树木葱葱，楼阁庭院若隐若现，坡岸上游人穿行。其意境隽永奇伟、用笔遒劲、风骨峻峭、色泽匀净而典雅，画风精密严整、意境高超、笔力刚劲、色彩繁富，独树一帜。",[23,73,24,26,115,27,28,30,94,116,31,33,7,34],"青绿","孤舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7533e67426c0003e89910674d0b6ce8c.jpg","未知","Xcm*Xcm","",[],556,6,{"id":125,"slug":126,"title":127,"dynasty":18,"author":128,"museum":89,"description":129,"tags":130,"thumbUrl":136,"material":137,"size":138,"collection":40,"collections":139,"showCount":140,"zanCount":141,"manualWeight":11,"mainColor":44},220920,"fang-gu-shan-shui-tu-dong-qi-chang-220920","仿古山水图","董其昌","《董其昌仿巨然山水轴》是明代画家董其昌创作的一幅水墨画。\n本幅自题：“岚影川光翠荡磨，春风江上听渔歌。",[23,24,25,73,26,27,30,54,131,132,133,7,32,74,56,36,134,135],"仿古","山","水","远山","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31b52edc5116cc2683a64ad29378bccd.jpg","纸本，墨笔","纵101.7厘米，横46.7厘米。",[40,103],549,1,{"id":143,"slug":144,"title":68,"dynasty":145,"author":146,"museum":147,"description":148,"tags":149,"thumbUrl":152,"material":118,"size":119,"collection":120,"collections":153,"showCount":154,"zanCount":123,"manualWeight":11,"mainColor":82},289890,"wan-he-song-feng-tu-ju-ran-289890","五代十国","巨然","藏地不详","图中烟岚松涛，山中层岩丛树，山顶矾头重叠，深谷里瀑泉奔涌，溪畔浓荫森森，并架一木桥。沿着曲折的山脊，是一片片浓密的松 林，“丰”字形的松树随风摇曳，百姿千态，栩栩如生。沟壑里聚起团团云雾，缓缓地向上升腾。山脚下的林木中坐落着数间茅屋，其中一榭依石临水，有白衣人坐其中。此乃世外桃源里之人间烟火。从白衣人的房后望去，蜿蜒山路沿谷涧上去。在两山之间、谷涧之上，有一巨大的楼阁，且又有山楼水榭、远寺长桥，掩映在万松山壑间。",[23,73,24,53,30,26,54,7,55,33,32,94,150,151],"山峦","溪谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ab2e4354bdfebe101d6dc37437481b2.jpg",[],523,{"id":156,"slug":157,"title":158,"dynasty":18,"author":19,"museum":20,"description":159,"tags":160,"thumbUrl":163,"material":38,"size":164,"collection":40,"collections":165,"showCount":166,"zanCount":123,"manualWeight":11,"mainColor":44},221977,"pin-cha-tu-zhou-wen-zheng-ming-221977","品茶图轴","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。",[23,24,25,26,27,30,31,29,34,28,54,132,7,161,33,32,162,35],"亭","树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed1341fed0de54ecd60de1c41932b58e.jpg","142.31X40.89cm",[40,62],498,{"id":168,"slug":169,"title":170,"dynasty":87,"author":171,"museum":172,"description":173,"tags":174,"thumbUrl":176,"material":59,"size":177,"collection":40,"collections":178,"showCount":179,"zanCount":105,"manualWeight":11,"mainColor":82},220423,"shan-shui-qing-yin-tu-shi-tao-220423","山水清音图","石涛","上海博物馆","该画作未明是画何地方，但从画面上来看，描绘的地方明显是黄山景色。虽是黄山景色，但却不知是哪一个黄山景色。图中峭壁大岭，飞泉湍急，新松夭矫，丛篁滴翠。水阁凉亭间，两位高士正对坐桥亭，默参造化的神机。画面上重重叠叠的坡陀峰峦，或直耸、或斜出、或横卧，把境界推向深远，右侧则以峭壁贯通天地，构造新颖。",[23,24,53,54,26,30,55,7,35,175,33,36],"房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F296cf8c8039f22c3cd7610cdf01cbd29.jpg","纵102.6厘米，横42.5厘米",[40,62],469,{"id":181,"slug":182,"title":183,"dynasty":18,"author":19,"museum":172,"description":184,"tags":185,"thumbUrl":189,"material":190,"size":120,"collection":101,"collections":191,"showCount":192,"zanCount":193,"manualWeight":11,"mainColor":194},219411,"hui-shan-cha-hui-tu-wen-zheng-ming-219411","惠山茶会图","这幅画描绘了文徵明与朋友在无锡惠山茶会的情景。惠山泉水甘冽，号称“天下第二泉”，相传曾为陆羽亲品，历来是煮茶的佳选。文徵明等于正德十三年戊寅（1518）在此举行了一次茶会并绘此图，卷后由吴门书家蔡羽楷书惠山茶会序。",[23,24,25,186,27,30,31,36,187,7,188,29,34,28,54],"长卷","茅屋","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c42cd6efe145c59f556f00949dd7fff.jpg","绢本,设色",[101,40],452,5,"F48FB1",{"id":196,"slug":197,"title":198,"dynasty":69,"author":199,"museum":147,"description":200,"tags":201,"thumbUrl":204,"material":190,"size":205,"collection":101,"collections":206,"showCount":207,"zanCount":64,"manualWeight":11,"mainColor":82},218652,"song-xia-tan-qin-tu-ma-yuan-218652","松下弹琴图","马远","这幅画的构图是马远的绘画风格，有岩石、松树和一个和尚，或者是 伯牙鼓琴 的典故。树木的叶子是用双钩和填充的方法进行层压和绘画的。石头的纹理是用斧头表达的，这使它们具有很好的质感。松针画得非常仔细，笔法严谨而纯粹。",[23,24,25,27,31,7,35,36,202,203,54,28,30],"童子","乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaf693032a9cf5c8cec0275d6ef70b42.jpg","166.50x99厘米",[101],402,{"id":209,"slug":210,"title":211,"dynasty":69,"author":199,"museum":212,"description":213,"tags":214,"thumbUrl":216,"material":190,"size":217,"collection":78,"collections":218,"showCount":219,"zanCount":220,"manualWeight":11,"mainColor":44},218077,"song-di-ming-ti-ce-ma-yuan-218077","宋帝命题册","私人收藏","这画册共含十页，每页左侧为一幅绘画，右侧配一书法。画心尺寸长28厘米、高27厘米，设色绢本，水墨与青绿设色间有。\n在“开禧北伐”之后，宋败给了金国，还有了“嘉定议和”。议和之后的宋宁宗便失去了大权。之后，宋宁宗开始钟情于山水。本十开册页描绘的是当时临安凤凰山皇宫的十个不同景点。\n根据考证，图中的白衣高士均是宁宗的化身，他将自己融入到自然山水中，写下了这10幅诗，再命当时的御前画师马远配图。\n10幅画作皆是根据杨万里、王安石等前贤及宋徽宗的诗句而创作，册页里的10幅配诗书法作品皆为宋宁宗所书。",[23,73,24,25,215,92,27,54,30,94,7,134,35,36,135,161],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f18219cdd8de698e8ca906fbb1bca8.jpg","纵28厘米、横27厘米",[78,40],397,2,{"id":222,"slug":223,"title":224,"dynasty":49,"author":225,"museum":226,"description":227,"tags":228,"thumbUrl":230,"material":231,"size":232,"collection":40,"collections":233,"showCount":234,"zanCount":141,"manualWeight":11,"mainColor":82},221810,"song-xuan-chun-ai-tu-zhou-zhang-yu-221810","松轩春霭图轴","张羽","美国大都会艺术博物馆","此图表现了春山“纵使晴明天雨色，入云深处亦沾衣”的意态。近景处坡石曲折，树林阴翳，一湾溪水逶迤而过，茅舍数椽隐于林中，静谧无人；中景山腰白云缭绕，亭台楼阁闪现其间；远景画一主峰突兀，山色浓重浑然。山石的结构以披麻皴勾写，层次丰富，脉络井然；山体以米氏横点层层积染，并以墨点和色点相互交错。尤其是主峰的刻画，丰富而充满生机，能与高克恭相媲美。全图笔调粗放，墨色氤氲，青、蓝、墨、赭，融合于一片春色之中。",[23,24,25,26,53,27,30,7,135,150,36,54,35,229],"建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bbf82b9a395bf951704715997109750.jpg","纸本设色","纵91.5cm，横31.5cm",[40,103],396,{"id":236,"slug":237,"title":238,"dynasty":49,"author":239,"museum":89,"description":240,"tags":241,"thumbUrl":245,"material":246,"size":247,"collection":40,"collections":248,"showCount":249,"zanCount":220,"manualWeight":11,"mainColor":44},220822,"ge-zhi-chuan-yi-ju-tu-wang-meng-220822","葛稚川移居图","王蒙","元代道教盛行，表现道教题材的绘画作品为数众多，此图描绘的是晋代著名道士葛洪携家移居罗浮山修道的故事，截取了葛洪在移居路上的一段情景。\n画面以山水为主体，重山复岭，丹柯碧树，飞瀑溪潭，茅亭草舍，一派深秋山林佳境。全画构图繁复，但层次井然，飞瀑、山径引导观者的视线层层深入，使画面气脉贯通，虽满而不迫塞。图中山石纯用水墨，皴擦点染兼参，干湿浓淡互用，勾画缜密，而树木、人物、屋宇则施以赭石、藤黄、花青，设色沉稳浑厚，极富古雅的韵致。整个画面谨严、深秀，创造出一幅理想的隐居环境。\n王蒙与葛洪虽然年代相隔久远且身份迥异，但在许多方面却有着相同之处：二人皆出自名门，都欲入世作官，却均遭世弃，最终都选择了避世隐居。此图是反映王蒙避世隐居思想的最具代表性的作品。",[23,73,24,25,26,27,54,30,31,242,243,32,33,7,56,244,175,34],"马","牛","山路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1720976154baf26a78451dd84987d4a2.jpg","纸本，设色","纵139厘米，横58厘米",[40,103],385,{"id":251,"slug":252,"title":253,"dynasty":18,"author":128,"museum":89,"description":254,"tags":255,"thumbUrl":262,"material":263,"size":264,"collection":40,"collections":265,"showCount":266,"zanCount":11,"manualWeight":11,"mainColor":44},220902,"shan-shui-ce-2-dong-qi-chang-220902","山水册2","此图册是董其昌于明天启元年（1621年）游武林（今杭州）时创作的，董氏时年67岁。图册分别仿杨升、卢鸿、惠崇、米友仁、李公麟、吴镇、倪瓒、王蒙等唐宋元诸家山水。画面集取古人不同的山水画景观，同时融入画家自己对于天地、山川的感受，“以意取之”，“各出意造”。在构图上虽与古人相似，但在审美情趣上董其昌追求的是一种平淡古雅的意境和逸趣。如仿唐杨昇山水，在画法上使用没骨设方法，摒弃了原作者金碧山水的华丽浓艳，继承了其中的古拙和典雅，寓丰富而鲜艳的色彩于平稳和谐的色调之中，笔法精妙秀雅，笔致轻松生动，从而使画面传达出一种平静而不淡泊、明媚而不躁动的美感，具有董氏自己的特点。又如米友仁芾画潇湘烟雨之景，以董、巨笔法皴染山石，用笔沉着稳重，通过墨色干湿浓淡的变化烘染出远山近水的空间感以及烟云雾气的变化。树木及房屋用笔多变化，墨色酣畅淋漓，层次丰富。这种董其昌笔下的米家山水，平淡之中更见秀雅。其他几开山水画同样反映了董其昌所追崇的文人画情趣，均以董源、巨然为归依。在仿古山水画中，他尝试运用各种不同的绘画形式诠释古法，同时表现出对于古法的继承和发展，从而阐述了自己的审美观，这是他创作众多仿古山水画最为重要的意义。此外，此件作品对开中董其昌的题记对于人们认识董其昌的艺术同样具有重要的史料价值。",[23,73,24,25,256,54,27,53,257,30,7,35,258,243,36,134,259,74,260,135,261],"山水画","文人画","河流","近树","坡岸","红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1d5fcdccb54e4ad4c6519be4ed88cbc.jpg","纸本，水墨和设色","每开纵26.3厘米，横25.5厘米。",[40,103],371,{"id":268,"slug":269,"title":270,"dynasty":87,"author":271,"museum":20,"description":272,"tags":273,"thumbUrl":278,"material":190,"size":279,"collection":40,"collections":280,"showCount":266,"zanCount":141,"manualWeight":11,"mainColor":44},214285,"fang-fan-kuan-shan-shui-tu-tang-dai-214285","仿范宽山水图","唐岱","唐岱（1779-1853）是清代著名的画家，他擅长仿范宽山水画，其作品被视为中国画史上的杰出代表作。\n\n唐岱的画风受到范宽的影响，他追求写实，注重山水造型的和谐美。他在画山水的同时，还注重人物的写实，将人物融入山水之中，使作品更加生动。\n\n唐岱的代表作有《山水图》、《松鹤楼图》、《赏鸟图》等。这些作品展现了他对山水的深刻理解和传统山水画的精湛技艺。他的作品常常被收藏家所喜爱，具有很高的收藏价值。",[73,24,25,26,27,30,54,274,34,275,135,36,7,56,276,150,277],"临摹","山峰","亭子","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3962d8e255212dd550a88ad89458204f.jpg","287.2x155.2",[40],{"id":282,"slug":283,"title":284,"dynasty":49,"author":285,"museum":89,"description":286,"tags":287,"thumbUrl":289,"material":246,"size":290,"collection":40,"collections":291,"showCount":292,"zanCount":293,"manualWeight":11,"mainColor":82},221710,"shan-ju-tu-qian-xuan-221710","山居图","钱选","卷尾作者自题：“山居惟爱静，日午掩柴门。寡合人多忌，无求道自尊。鷃鹏俱有志，兰艾不同根。安得蒙庄叟，相逢与细论。吴兴钱选舜举画并题。”钤“舜举印章”、“舜举”、“钱选之印”三方。卷后隔水有明人俞贞木、刘敏、周传等题记。\n作者以自己的隐居生活为题材创作此图。细劲柔韧的笔致勾勒出山石林木的轮廓，施青绿重彩，并以金粉点缀，画面绚丽清雅，富装饰意味，于工致精巧中又不失古拙秀逸之气，是钱选继承唐宋“金碧山水”画法并用以体现文人意兴的代表作。\n《庚子销夏记》著录。",[23,73,24,25,186,115,27,28,54,188,34,30,132,133,162,7,32,33,175,116,57,288],"老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb59edde58b928401f4e8dc20a01a633c.jpg","纵26.5厘米，横111.6厘米",[40,103],368,8,{"id":295,"slug":296,"title":297,"dynasty":18,"author":298,"museum":299,"description":300,"tags":301,"thumbUrl":304,"material":190,"size":305,"collection":40,"collections":306,"showCount":307,"zanCount":141,"manualWeight":11,"mainColor":82},219436,"chun-xi-mi-ju-tu-shen-zhou-219436","春溪觅句图","沈周","美国弗利尔美术馆","画面中山峰巍峨，峭壁如削，墨色皴染间尽显苍劲之势。松枝虬劲，枝叶繁茂，与嶙峋山石相映成趣。近景处，文人拄杖而立，衣袂飘飘，似于春溪之畔凝思觅句。山间云雾轻笼，流水潺潺，松涛与泉声相和，营造出清幽雅致的意境。笔墨苍润浑厚，线条灵动，将自然之美与文人的诗意情怀融为一体，尽显吴门画派的雅致风骨，观者仿佛能随画中人步入山林，感受那份远离尘嚣的宁静与悠然。",[24,25,26,53,54,30,31,7,302,35,74,303],"竹子","小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa57fb947c644f27d6774a57fced47050.jpg","横54.5纵162cm",[40],359,{"id":309,"slug":310,"title":311,"dynasty":18,"author":312,"museum":20,"description":313,"tags":314,"thumbUrl":318,"material":76,"size":319,"collection":40,"collections":320,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":82},222033,"chun-han-tu-dai-jin-222033","春酣图","戴进","《春酣图》纵长近三公尺，是传世戴进作品当中，尺幅最大的一件立轴。但是从叙事性、构图或是笔墨特征来判断，此画可能不是戴进的真迹，而应该是活动于正德到嘉靖年间之浙派画家郑文林。图中描绘春日祭祀村民醉酒而归之景。画中主山一分为二高耸入云，在此主山堂堂气势磅礡看似严肃的大山水下，画家以松树和蜿蜒的山径切割成的各个小画面空间中展现一组组人间戏剧，彼此之间眼神与动作，互动频繁多样，有一种充满俚俗的市井趣味。",[23,24,73,30,27,54,31,7,32,33,116,288,315,35,135,316,317],"春景","行旅","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3790bef21f3bd884f29002f2c7fcfc15.jpg","纵291.3cm，横171.5cm",[40,103],340,{"id":323,"slug":324,"title":325,"dynasty":110,"author":326,"museum":172,"description":327,"tags":328,"thumbUrl":329,"material":76,"size":330,"collection":101,"collections":331,"showCount":332,"zanCount":123,"manualWeight":11,"mainColor":82},221083,"gao-yi-tu-sun-wei-221083","高逸图","孙位","《高逸图》是孙位唯一存世的作品，也为目前屈指可数的几件唐代作品之一。画中表现的是魏晋时期著名的“竹林七贤”，目前画面仅剩四人，经考证是山涛、王戎、刘伶与阮籍。在技法上，孙位继承了顾恺之“劲紧连绵如吐丝”的行云流水的风格，但更加成熟。线条的变化更丰富，人物造型刻画更真实细致。《高逸图》著录于宋徽宗的《宣和画谱》里，画上钤印“宣和七玺”。作品的装裱保留了北宋的形式。",[23,24,25,186,27,31,57,7,28,34,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb83ff393ed82ede490cdbdd60bca7d62.jpg","纵45.2厘米，横168.7厘米",[101,103],326,{"id":334,"slug":335,"title":336,"dynasty":337,"author":338,"museum":339,"description":340,"tags":341,"thumbUrl":345,"material":346,"size":120,"collection":120,"collections":347,"showCount":348,"zanCount":141,"manualWeight":11,"mainColor":44},220455,"song-ying-pan-tian-shou-220455","松鹰","民国","潘天寿","中央美术学院美术馆","此作以顶天立地的章法铺陈画面，斜出的苍松老干以赭墨勾绘，皴点兼具，苔斑错落，尽显虬劲古拙；浓焦墨写出的松针如戟，攒簇之间满溢森然气势。\n踞于高枝的雄鹰以泼墨写就翎羽，黑墨酣畅厚重，留白衬出羽间层次，利喙劲爪刻画传神，昂首远眺间，桀骜猛悍的英豪气魄喷薄而出。\n左侧题款排布奇崛，篆隶笔意融于书法，与画面刚健气质浑然一体，以书入画尽显金石风骨。整幅笔墨苍雄老辣，将古松坚韧与雄鹰悍勇相融，沉雄霸悍的写意风骨尽显无遗。",[23,24,53,342,7,343,344],"写意","鹰","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F895cd60cb9d35a171c557835ae11656f.jpg","纸本水墨",[],316,{"id":350,"slug":351,"title":352,"dynasty":49,"author":239,"museum":212,"description":353,"tags":354,"thumbUrl":355,"material":59,"size":120,"collection":120,"collections":356,"showCount":348,"zanCount":141,"manualWeight":11,"mainColor":44},214569,"shan-shui-ce-8-wang-meng-214569","山水册-8","王蒙是一位中国元朝时期的著名文人、画家、书法家。他最著名的作品之一是《山水册》。\n\n《山水册》是一本包含王蒙的山水画作品的册子。这本册子包含了王蒙的许多杰出的山水画作品，其中包括他的著名作品《黄山图》。王蒙的山水画作品以其精细的线条、细腻的填充和浓郁的气氛而闻名。他的画作展现出自然界的美丽和神奇，表达了他对自然的敬畏和尊重。\n\n王蒙的《山水册》是中国山水画史上的一个重要里程碑，对后世的山水画家产生了深远的影响。这本册子被誉为“中国山水画的经典之作”，至今仍广为流传。",[24,53,27,54,215,30,7,187,150,344,36,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa979705b9e03b4cc5259e511244f05ad.jpg",[],{"id":358,"slug":359,"title":360,"dynasty":69,"author":361,"museum":362,"description":363,"tags":364,"thumbUrl":369,"material":190,"size":370,"collection":78,"collections":371,"showCount":372,"zanCount":141,"manualWeight":11,"mainColor":82},220073,"xue-jing-shan-shui-tu-fan-kuan-220073","雪景山水图","范宽","大英博物馆","范宽（约950—约1032），又名中正，字中立，陕西华原（今陕西铜川耀州区）人，宋代绘画大师。因为性情宽厚豁达，时人称之为“宽”，遂以范宽自名。范宽、董源、李成，并称“北宋三大家”。艺术成就使得范宽与李成齐名，并称“李范”，又与同为华原人的柳公权合称“柳范”。\n初学李成，后感悟“与其师于人者，未若师诸造化”，遂隐居终南、太华，对景造意，写山真骨，自成一家。其画峰峦浑厚端庄，气势壮阔伟岸，令人有雄奇险峻之感。用笔强健有力，皴多雨点、豆瓣、钉头，山顶好作密林，常于水边置大石巨岩，屋宇笼染黑色。作雪景亦妙。\n存世作品有《谿山行旅图》《雪山萧寺图》《雪景寒林图》等。\n2004年，美国《生活》杂志将范宽评为“上一千年对人类最有影响的百大人物”第59位。",[23,73,24,25,186,30,365,54,53,27,132,366,162,367,7,368,150],"雪景","石","枯树","雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54eeadf145b59befb0339a43d1468bb6.jpg","31.6X422",[78,40],315,{"id":374,"slug":375,"title":376,"dynasty":337,"author":377,"museum":89,"description":378,"tags":379,"thumbUrl":382,"material":59,"size":383,"collection":384,"collections":385,"showCount":386,"zanCount":141,"manualWeight":11,"mainColor":44},216929,"wu-ya-song-shu-tu-qi-bai-shi-216929","乌鸦松树图","齐白石","乌鸦松树图是齐白石的一幅著名画作。这幅画描绘了一棵古老的松树，上面停满了乌鸦。树上的乌鸦象征着松树的历史和沧桑。这幅画被认为是齐白石最伟大的作品之一，因为它成功地将自然与人类的悲剧融合在一起。乌鸦松树图也被认为是中国画中最具有感染力的作品之一。",[23,24,53,26,29,380,7,381,342],"乌鸦","松果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ba80710e587f7a5c2c36e7bf418b96d.jpg","182.8x48.7cm","花鸟画精选",[384],300,{"id":388,"slug":389,"title":390,"dynasty":18,"author":298,"museum":226,"description":391,"tags":392,"thumbUrl":395,"material":346,"size":396,"collection":40,"collections":397,"showCount":398,"zanCount":64,"manualWeight":11,"mainColor":44},222100,"si-song-tu-ce-ye-shen-zhou-222100","四松图册页","四松图册页》画的是山野小景，虽然画面的中央是四棵形态各异的松树，但仔细观察会发现画的左下角杂树掩映之下，有小径通向人家。也正是这幽径人家，给充塞画面的寂静山野增添了活力。整幅作品分三个层次，前景是松树和人家，中景是以墨笔勾皴的浅绛山石，远景是以没骨法描绘的远山。从山石的画法看，既不属于前期的“细沈”，亦不属于晚年的简约“粗沈”，风格介乎二者之间。皴法以短披麻皴为主，有王蒙牛毛皴的影子。墨笔为主的整体基调，间以淡赭和花青点染，营造出视觉上很舒服的隽雅格调。",[23,73,24,25,393,257,53,54,30,7,35,394,150,342],"册页","林木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8a9aeacd8f3be7883b8b8e7a825467d.jpg","纵154厘米，横60.39厘米",[40,103],290,{"id":400,"slug":401,"title":68,"dynasty":69,"author":70,"museum":147,"description":402,"tags":403,"thumbUrl":405,"material":118,"size":119,"collection":120,"collections":406,"showCount":407,"zanCount":220,"manualWeight":11,"mainColor":408},287739,"wan-he-song-feng-tu-li-tang-287739","《万壑松风图》画面山峰高峙，山石巉岩，峭壁悬崖间有飞瀑鸣泉，山腰间白云缭绕清岚浮动。深山中幽僻的崖谷间，奔跃的泉水和郁茂的松林，衬托山峰高峙，山石危岩。其在构图上，大胆裁剪、提炼，整体看来空间立体感强，层次分明。双峰交错，堂堂正正，厚重而拙实，给人以浑厚大气之感，表现为“万壑松风”之境。\n《万壑松风图》为简括画的表现开了先河，对南宋初期的山水画具有开派作用。 其与郭熙《早春图》、范宽《溪山行旅图》，合称为“宋画之三大精品”",[73,24,256,53,54,35,7,33,404,55],"山谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a14a762dc0039a1efab5f1ab4cdccfa.jpg",[],285,"37474F",{"id":410,"slug":411,"title":412,"dynasty":18,"author":413,"museum":147,"description":414,"tags":415,"thumbUrl":419,"material":118,"size":119,"collection":120,"collections":420,"showCount":421,"zanCount":64,"manualWeight":11,"mainColor":82},287566,"dou-cha-tu-tang-yin-287566","斗茶图","唐寅","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[73,24,25,31,27,28,7,416,417,418],"茶具","斗茶","文人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd293d5a9de59641719f10323cd0d6158.jpg",[],281,{"id":423,"slug":424,"title":425,"dynasty":69,"author":426,"museum":147,"description":427,"tags":428,"thumbUrl":429,"material":190,"size":430,"collection":40,"collections":431,"showCount":432,"zanCount":105,"manualWeight":11,"mainColor":82},218542,"qing-lv-shan-shui-tu-wang-shen-218542","青绿山水图","王诜","绢本之上，青绿设色古雅沉静。石青与石绿随山石肌理晕染，既有郭熙山水的雄健气势，又含文人画的清逸韵致。近处山石皴染结合，松枝苍劲挺拔；山间云雾淡墨轻扫，牵起远近峰峦呼应，营造深远空间感。林麓间隐现的小屋，与葱茏草木相映，藏着古人林泉高致的向往。古朴绢色衬出岁月沉淀的温润，自然山水的雄浑与文人情怀的雅致在此相融共生，尽显北宋青绿山水的独特韵味。",[24,25,115,27,54,30,150,36,35,74,229,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa963a4c7fe39c603be18f16b97851252.jpg","93x36",[40],268,{"id":434,"slug":435,"title":436,"dynasty":18,"author":413,"museum":212,"description":437,"tags":438,"thumbUrl":441,"material":38,"size":442,"collection":40,"collections":443,"showCount":432,"zanCount":220,"manualWeight":11,"mainColor":82},217036,"bi-shan-qi-shu-tu-tang-yin-217036","碧山琪树图","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。",[24,26,30,27,54,132,162,161,55,33,56,7,439,303,440],"草木","屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf99aba7e79792d4e1f74ad4b1015736.jpg","123x58cm",[40],{"id":445,"slug":446,"title":447,"dynasty":49,"author":239,"museum":20,"description":448,"tags":449,"thumbUrl":451,"material":190,"size":452,"collection":40,"collections":453,"showCount":454,"zanCount":141,"manualWeight":11,"mainColor":82},218657,"song-shan-shu-wu-tu-wang-meng-218657","松山书屋图","山峦重叠，以干笔牛毛皴皴擦，松林杂树，蓊蓊郁郁，几密不透风。高士一人，展卷于茅屋中。左上角以小篆题曰「松山书屋」，通幅画作与题识方式，均展现王蒙古拙圆浑的笔韵。此帧完成于至正九年，是王蒙四十二岁之作。",[23,24,25,26,53,54,30,132,7,450,36,35,74],"书屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F688ec184ac7c5bc54e55285cace16b57.jpg","113x51.7cm",[40],262,{"id":456,"slug":457,"title":458,"dynasty":18,"author":459,"museum":20,"description":460,"tags":461,"thumbUrl":462,"material":38,"size":463,"collection":40,"collections":464,"showCount":465,"zanCount":141,"manualWeight":11,"mainColor":44},218535,"zhu-lou-tu-qing-gao-zong-yu-ti-chou-ying-218535","竹楼图清高宗御题","仇英","画中湖光山色，长松亭榭，文人观水赏竹，画风接近文征明，也可能是文、丘在山水画上互相借鉴。",[73,24,25,26,28,27,92,30,94,7,32,33,31,35,36,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d460703bfb3096969313beb6e056693.jpg","115.3x33.3cm",[40],257,{"id":467,"slug":468,"title":469,"dynasty":87,"author":470,"museum":147,"description":471,"tags":472,"thumbUrl":473,"material":231,"size":474,"collection":40,"collections":475,"showCount":476,"zanCount":11,"manualWeight":11,"mainColor":44},236335,"lin-shen-zhou-lu-shan-gao-tu-huang-ding-236335","临沈周庐山高图","黄鼎","黄鼎（1650—1730），字尊古，号旷亭，又号闲圃、独往客，晚号净垢老人，江苏常熟 人。善画山水，初学画于邱屿雪，既而师王原祁，尤以王蒙法见长。\n此图根据明代画家沈周《庐山高图》临摹。此摹本比例与原幅不同，但是画幅的基本造型形象，笔法特点和许多细节，又都是忠实于原作，沈周原作今藏“台北故宫博物院”。",[73,24,25,274,27,54,30,55,7,35,74,135,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F663115a6e324514c054ddfbcd72b999f.jpg","226×83.4厘米",[40,62],255,{"id":478,"slug":479,"title":480,"dynasty":18,"author":481,"museum":172,"description":482,"tags":483,"thumbUrl":486,"material":38,"size":487,"collection":40,"collections":488,"showCount":489,"zanCount":220,"manualWeight":11,"mainColor":44},214674,"san-jue-tu-yao-shou-214674","三绝图","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。",[24,25,27,53,30,31,7,484,344,317,134,485],"草","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd490e9ed3930554b04863c0b5aa07e4.jpg","纵31.2 厘米 横48.3 厘米",[40],254,{"id":491,"slug":492,"title":493,"dynasty":69,"author":494,"museum":226,"description":495,"tags":496,"thumbUrl":498,"material":499,"size":500,"collection":78,"collections":501,"showCount":502,"zanCount":11,"manualWeight":11,"mainColor":82},221189,"zhang-song-shan-shui-tu-ma-lin-221189","长松山水图","马麟","《长松山水图》是马麟传世作品中的经典之作，也是南宋院体山水画的代表作之一。\n由山崖蜿蜒转入山寺的路上，一位流连与山水之间的高士，在一株爬满枯藤的古松之下徜徉，仿佛与起伏的远山融为一体，构成了一幅人与自然合而为一的完美景象。画面构图简洁而高旷，下半部分的实与上半部分的虚形成鲜明对比，进而产生高而深远的意境。二者之间以一棵长松相连，使画面自然而然成为一个整体。由实及虚的三段递进，将最写实的建筑、虚实相间的山崖坡石以及淡远的山峦，组成了位于高处的平远构图。山石采用小斧劈皴简略画出，画面的层次主要依赖点染进行刻画。画的中央，摇曳的藤蔓是全画的点睛之笔，山水之间，清风徐来，画面一下子动了起来，让人感受到一种清凉与惬意。",[24,73,25,497,27,54,30,7,288,161,34],"宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d7532cb2d0174426dfa5dc1b1abb0a.jpg","绢本设色","25.1×26cm",[78,40,62],252,{"id":504,"slug":505,"title":506,"dynasty":69,"author":199,"museum":20,"description":507,"tags":508,"thumbUrl":510,"material":190,"size":511,"collection":40,"collections":512,"showCount":513,"zanCount":193,"manualWeight":11,"mainColor":82},218612,"song-jian-yin-yue-tu-ma-yuan-218612","松间吟月图","本幅写松荫下，高士独坐对月。林间，曲水绕栏，薄雾掩映，一派宁谧之气，溢于画表。右下角石隙，虽署有「马远」款，但就画风论，应出自传承马夏流派的明人之手。",[24,25,26,53,27,54,30,7,288,31,32,509,35,135,303],"明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b110f511e2b2dadd28b074b660cdf18.jpg","144.6x76.3cm",[40],250,{"id":515,"slug":516,"title":517,"dynasty":18,"author":128,"museum":20,"description":518,"tags":519,"thumbUrl":521,"material":522,"size":523,"collection":40,"collections":524,"showCount":525,"zanCount":105,"manualWeight":11,"mainColor":44},220932,"fang-ni-zan-shan-yin-qiu-he-tu-zhou-dong-qi-chang-220932","仿倪瓒山阴丘壑图轴","本幅题名倣倪瓒，原本欲倣陈永年所藏之倪瓒〈山阴丘壑〉，但因未留图稿，乃改学巨然〈关山雪霁〉作成此图，係透过回溯倪瓒风格，再辅以想像自运。\n此作大胆新颖且别出心裁地突破既往倣古作法，巧妙结合折带皴与披麻皴，结组出既具倪瓒式清亮、兼有黄公望式浑厚的山石，可谓熔倪瓒与黄公望风格一炉而冶的集大成之作。陈继儒于题跋中点出此图融合董源、巨然以及倪瓒风格，可谓知论。",[23,73,24,25,26,53,54,274,257,30,36,35,175,258,134,259,367,7,520],"村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d99d6768867f84e687ae3dcbbc87ba9.jpg","纸本墨笔","96.3 x 44.8cm",[40,62],246,{"id":527,"slug":528,"title":529,"dynasty":18,"author":312,"museum":89,"description":530,"tags":531,"thumbUrl":532,"material":190,"size":533,"collection":40,"collections":534,"showCount":535,"zanCount":105,"manualWeight":11,"mainColor":82},216244,"san-gu-mao-lu-tu-dai-jin-216244","三顾茅庐图","这幅画描绘了刘备在 三顾茅庐 拜访诸葛亮的故事。人物的刻画生动而细致，如刘备的恭敬神态、张飞的黝黑面孔和他的武艺高强的姿态，都让人浮想联翩。人物的动态变化掌握得非常准确。岩石采用大斧劈法，松枝高长，明显继承了南宋马远的风格，用笔简洁有力。这幅画的整体色彩清晰而优雅。明代宫廷画中有很多以 招贤纳士 为主题的历史叙事画，反映出皇帝寻找贤人的心情是多么迫切。",[23,24,73,25,26,27,54,30,31,7,35,187,302,33,161,244,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb04d74abf76131e7ffb35a7870d8a078.jpg","172.2x107",[40],244,{"id":537,"slug":538,"title":539,"dynasty":87,"author":171,"museum":89,"description":540,"tags":541,"thumbUrl":542,"material":543,"size":544,"collection":40,"collections":545,"showCount":546,"zanCount":141,"manualWeight":11,"mainColor":44},233123,"yuan-ji-shan-shui-ce-shi-tao-233123","原济山水册","本册共八开。设色画山水小景。\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。",[24,342,27,53,215,54,30,7,161,31,35,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F123c2863fe8464093b6bc302b984f3bf.jpg","纸本","纵33.2cm，横22.8cm",[40,103],235,{"id":548,"slug":549,"title":360,"dynasty":69,"author":88,"museum":212,"description":550,"tags":551,"thumbUrl":553,"material":38,"size":120,"collection":40,"collections":554,"showCount":555,"zanCount":64,"manualWeight":11,"mainColor":44},217118,"xue-jing-shan-shui-tu-yi-ming-217118","宋朝是中国历史上的一个朝代，时间为960年至1279年。宋朝的艺术创作较为繁荣，其中的山水画尤为著名。关于宋朝的山水画，很多都是佚名的。\n\n佚名的雪景山水图是一幅典型的宋朝山水画作品，其中描绘了雪景的美丽景色。这幅画作品中，佚名使用了极为精细的笔法和巧妙的色彩搭配，成功地表现了雪景的冷冽和自然的美。在这幅画中，佚名运用了层次感、对比和拓扑结构等技巧，使得画面更加立体生动。\n\n整幅画作品中，佚名还融入了许多细节，比如深夜里的月色和落雪的景色，以及山谷中的松柏和溪流。这些细节使得画面更加丰富，也增加了画面的视觉冲击力。\n\n总的来说，佚名的雪景山水图是一幅极具艺术价值的作品，它能够令人感受到宋朝山水画的魅力，也是中国艺术史上的经典之作。",[23,24,25,73,552,53,54,30,365,7,132,133],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdec5092287a9b92f01696f225b920248.jpg",[40],228,{"id":557,"slug":558,"title":559,"dynasty":69,"author":560,"museum":212,"description":561,"tags":562,"thumbUrl":564,"material":38,"size":565,"collection":384,"collections":566,"showCount":567,"zanCount":220,"manualWeight":11,"mainColor":82},218942,"he-tu-mu-xi-218942","鹤图","牧溪","鹤独立苍岩畔，长颈微俯，似敛神听风。羽翅以墨色分层晕染，绒羽轻细如絮，飞羽劲挺带势，墨痕间藏自然生趣。背景淡墨虚笼，松枝疏影横斜，留白处若含烟岚，无一笔繁饰却得空寂之境。禅意融于笔墨，不逐形骸而追神韵，鹤的清逸与天地的虚静相契，尽显南宋文人画的空灵韵致，观之如临幽境，心随鹤远。",[552,24,25,73,26,53,342,563,7],"鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc77380f8e0d7d4b9318d3de05bfb0672.jpg","129x80.5cm",[384],215,{"id":569,"slug":570,"title":571,"dynasty":18,"author":413,"museum":20,"description":572,"tags":573,"thumbUrl":575,"material":53,"size":576,"collection":40,"collections":577,"showCount":578,"zanCount":141,"manualWeight":11,"mainColor":44},219331,"kong-shan-guan-pu-tu-tang-yin-219331","空山观瀑图","唐寅（1470—1523），字伯虎，一字子畏，号六如居士、桃花庵主、鲁国唐生、逃禅仙吏等，据传于明宪宗成化六年庚寅年寅月寅日寅时生，故名唐寅。汉族，吴县（今江苏苏州）人。他玩世不恭而又才气横溢，诗文擅名，与祝允明、文征明、徐祯卿并称“江南四才子”，画名更著，与沈周、文征明、仇英并称“吴门四家”。",[24,25,26,53,54,30,7,55,35,31,574,74],"峭壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c0f9b1868f56ffcbda8eabd2eb3efa9.jpg","60.5x38.6公分",[40],213,{"id":580,"slug":581,"title":582,"dynasty":87,"author":171,"museum":147,"description":583,"tags":584,"thumbUrl":585,"material":118,"size":119,"collection":120,"collections":586,"showCount":587,"zanCount":220,"manualWeight":11,"mainColor":44},287968,"shan-shui-li-zhou-shi-tao-287968","山水立轴","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。",[24,73,25,26,53,30,57,7,161,34,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff04d5c206c3321255a29bfe472c9932e.jpg",[],200,{"id":589,"slug":590,"title":591,"dynasty":49,"author":592,"museum":20,"description":593,"tags":594,"thumbUrl":595,"material":190,"size":596,"collection":101,"collections":597,"showCount":598,"zanCount":220,"manualWeight":11,"mainColor":82},216989,"peng-lai-xian-hui-tu-hu-ting-hui-216989","蓬莱仙会图","胡廷晖","本幅画描绘仙山之中，泉瀑奔泻其间。亭台楼阁沿着山势流泉而筑，有仙人道服持麈，端坐于榻上。石径上、殿阁中，另有仙人游荡徘徊。山石均先用粗笔钩绘轮廓，再以细笔作皴。晕染石青、石绿以外，更佐以泥金，赋彩金碧辉煌，益增仙境之佳妙。旧题订为元代胡廷晖（西元十三世纪后期），画幅右方虽有「胡廷晖制」款，但不真。整体风格，较近于明代中晚期，应系后世能手托名之作。",[73,24,27,92,28,54,30,94,32,31,7,135,161,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02bf4df273b86d68444f76fb893c8d7d.jpg","201.5x121.8",[101,40],197,{"id":600,"slug":601,"title":602,"dynasty":87,"author":603,"museum":172,"description":604,"tags":605,"thumbUrl":606,"material":543,"size":607,"collection":40,"collections":608,"showCount":609,"zanCount":141,"manualWeight":11,"mainColor":44},219857,"ba-jing-shan-shui-tu-gong-xian-219857","八景山水图","龚贤","这一卷山水，全卷共分八段，绘江南湖光潋滟、烟雨朦胧之色。卷内，水墨，设色之景相互穿插，较为全面的展现出龚贤山水画的多种面貌。\n龚贤画山水，用墨以层层积墨见长，虽不用泼墨，效果却极强烈，具有浑厚、苍秀、沉郁的独特风格，成功地表现了江南山水茂密、滋润、幽深的特征。",[24,73,25,53,54,30,32,33,161,7,187,56,55,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F755626b038e7687bb9727373859aa345.jpg","24.4x49.7厘米",[40],191,{"id":611,"slug":612,"title":613,"dynasty":87,"author":614,"museum":20,"description":615,"tags":616,"thumbUrl":617,"material":120,"size":120,"collection":384,"collections":618,"showCount":619,"zanCount":11,"manualWeight":11,"mainColor":82},224119,"song-shu-tu-qian-long-224119","松树图","乾隆","展现了松树形神。其岁逾千年，貌古形诡，苍皮斑驳，树干粗壮，虬枝盘结，瘿瘤凸起，树根部透朽空洞却卓立干云，拔地拏天。树冠部三两根大枝斜逸而出，如同鲲鹏展翅，枝头嫩叶婆娑，一派生机欣荣。",[23,24,25,53,34,188,29,288,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F803b229b3381cb122dae4322e059d18d.jpg",[384,62],189,{"id":621,"slug":622,"title":623,"dynasty":49,"author":624,"museum":20,"description":625,"tags":626,"thumbUrl":628,"material":629,"size":630,"collection":40,"collections":631,"showCount":632,"zanCount":141,"manualWeight":11,"mainColor":82},221788,"shan-shui-tu-cao-zhi-bai-221788","山水图","曹知白","《山水图》本幅画隔水江岸，主山峰峦水墨淋漓，前中景作双松耸立，笔墨造型皆从北宋李郭传统中汲取特色，再以焦浓黑墨提醒主题，营造出更有墨趣的元代李郭画风新意。",[23,73,24,53,30,7,150,627,35,34,188],"江岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3665a4d5c8569bf27af312555ab7bab.jpg","纸本，水墨","纵86.1厘米横34.3厘米",[40,62],184,{"id":634,"slug":635,"title":636,"dynasty":18,"author":459,"museum":299,"description":637,"tags":638,"thumbUrl":644,"material":190,"size":645,"collection":120,"collections":646,"showCount":647,"zanCount":11,"manualWeight":11,"mainColor":82},216360,"xi-xiang-ji-tu-ye-5-chou-ying-216360","西厢记图页-5","清人绘，款仇英",[24,27,28,92,215,31,639,94,7,563,640,641,642,643,418],"庭院","花卉","台阶","栏杆","仕女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43a5e3f5202e2bf3cce13b4a1c90134a.jpg","18.5*38",[],182,{"id":649,"slug":650,"title":651,"dynasty":18,"author":459,"museum":20,"description":652,"tags":653,"thumbUrl":655,"material":656,"size":657,"collection":120,"collections":658,"showCount":659,"zanCount":11,"manualWeight":11,"mainColor":82},228437,"shang-lin-fu-tu-juan-chou-ying-228437","上林赋图卷","此幅图写司马相如上林赋意，卷末并附有署文徵明款之隶书全文。相如此赋乃为献汉武帝而作，以华美靡丽之词句，铺陈颂扬皇家园囿上林苑之堂皇富丽，与天子射猎场面之壮阔伟盛。画中极力描绘各种水陆神兽、奇花异卉，宫殿巍耸，人马迤逶，以见天子声威之浩大。人马树石造型精谨，用笔工细，设色浓豔亮丽，与赡丽之赋文相辉映。此类工笔重设色青绿山水常被标为仇英作品，但应为后人所伪托",[23,24,73,25,186,115,27,28,30,31,94,7,95,35,36,134,654,639,33],"近山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c9816e974a23c3473ddacef5f4392ab.jpg","白纸本","44.8x1208",[],180,{"id":661,"slug":662,"title":663,"dynasty":69,"author":664,"museum":20,"description":665,"tags":666,"thumbUrl":669,"material":190,"size":120,"collection":78,"collections":670,"showCount":659,"zanCount":141,"manualWeight":11,"mainColor":44},219191,"song-zhi-huang-li-zhao-ji-219191","松枝黄鹂","赵佶","黄鹂栖于松枝，喙微张似欲啼鸣，羽色暖润如凝脂，翼尖墨痕利落，尾羽晕染出自然层次。松针以劲挺线条勾勒，疏密有致，苍劲中见清逸。古绢底色沉雅，衬得禽鸟鲜活灵动，仿佛能闻其婉转之声。笔墨精工却不刻板，于细节处藏着对生命的细腻体察，尽显宋画工致与生机交融的雅致韵致，将瞬间的灵动定格为永恒的诗意。",[23,73,24,25,215,28,27,667,7,668],"花鸟","鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74de9e3f8a19ac72f67df2bc65ede2d5.jpg",[78,384],{"id":672,"slug":673,"title":674,"dynasty":69,"author":675,"museum":20,"description":676,"tags":677,"thumbUrl":680,"material":190,"size":681,"collection":78,"collections":682,"showCount":659,"zanCount":220,"manualWeight":11,"mainColor":82},218917,"guan-pu-tu-xia-gui-218917","观瀑图","夏圭","画中的笔触平静而简练，水墨淋漓。近景突出，构图层次分明，实与虚、疏与密、远与近、开与合的对应关系明显，人物、树木、岩石的指向都是一步步画出来的，自然景物的细节更多是叠加的。这可能与夏圭的典型风格略有不同。",[23,24,53,27,678,54,30,7,55,679,35,161,33],"扇面","小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda09cc87c5f596f8d71593807efe86cf.jpg","24.7x25.7",[78],{"id":684,"slug":685,"title":686,"dynasty":69,"author":687,"museum":299,"description":688,"tags":689,"thumbUrl":691,"material":190,"size":692,"collection":40,"collections":693,"showCount":694,"zanCount":141,"manualWeight":11,"mainColor":82},214518,"ba-qiao-feng-xue-tu-wu-jun-chen-214518","灞桥风雪图","吴俊臣","这幅画描绘了一位身穿朱衣的老人在风雪中骑着驴子的情景。画的右上角的沟壑似乎暗示了行人的方向。这幅画的主要部分是一个突兀的岩石坡，有一些水墨。岩石都是用小斧头凿出来的，笔触犀利清晰，类似于王履的《华山图册》。这幅画也很受宋朝人的欢迎，画中的山峦起伏，山峰高耸。虽然这幅画没有标记，但它是明代山水画的杰作。",[24,73,26,53,54,30,32,242,31,367,7,35,690],"古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d557b70cd8249aa75223779299161f7.jpg","191x94.4",[40],176,{"id":696,"slug":697,"title":698,"dynasty":69,"author":199,"museum":699,"description":700,"tags":701,"thumbUrl":703,"material":190,"size":704,"collection":101,"collections":705,"showCount":706,"zanCount":141,"manualWeight":11,"mainColor":82},218409,"yu-le-tu-ma-yuan-218409","渔乐图","耶鲁大学艺术博物馆","山石以斧劈皴斫出棱线，苍松虬枝斜探，似要牵住远山的雾影。水面留白如镜，载一扁舟静泊，船篷半掩着渔获的细碎声响。近岸处两渔者对坐，或执竿轻叩地面，或捧物低语，衣袂随微风舒展，满是江湖散淡的意趣。\n\n马远以“一角”之景框定天地，却让渔樵的闲逸漫出画外——没有庙堂的车马喧，只有松风穿叶、水波轻漾的自在。笔墨简劲却藏着温软，将宋人的雅致与山野的旷达揉作一处：你看那渔者的笑纹，似能触到日光的暖；那松枝的弧度，恰如心尖的舒展。叫观者也想随这舟子，枕着松涛入眠，把尘事都忘在烟水之外。",[24,73,25,53,54,30,31,116,7,134,702,485],"近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7c4fbdc76e30016d94462c310d63003.jpg","218.2x148",[101],175,{"id":708,"slug":709,"title":710,"dynasty":18,"author":88,"museum":711,"description":712,"tags":713,"thumbUrl":716,"material":38,"size":717,"collection":40,"collections":718,"showCount":706,"zanCount":141,"manualWeight":11,"mainColor":82},217914,"fang-ma-yuan-shan-shui-tu-yi-ming-217914","仿马远山水图","费城艺术博物馆","仿马远山水图是明朝时期的一种山水画风格，它是以著名画家马远的作品为蓝本进行模仿创作的。\n\n明朝时期，由于对绘画艺术的高度重视，山水画风格得到了很大的发展。马远是当时最著名的山水画家之一，他的作品以其精细的写实技巧和丰富的想象力而闻名。他创作的山水画给人以自然、宁静、雅致的感受，为后世的山水画家提供了很大的启发。\n\n仿马远山水图是在明朝时期由许多艺术家模仿马远的作品创作的山水画。这种山水画风格的特点是注重写实，力求将自然景观如实再现。在这种画风中，山水景观往往是主要的构图元素，山峰、河流、树木等都被描绘得栩栩如生。同时，仿马远山水图也注重用色，使用柔和的色彩来表现自然界的美。\n\n总的来说，仿马远山水图是明朝时期山水画艺术的一个重要流派，其精细的写实技巧和丰富的想象力为后世的山水画家所借鉴和启发。",[73,24,25,186,30,53,54,274,7,116,134,714,574,36,679,715,135],"近水","亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04ecb12a12eb5a7e8edd5189b39040a.jpg","27.8x96cm",[40],{"id":720,"slug":721,"title":722,"dynasty":18,"author":723,"museum":20,"description":724,"tags":725,"thumbUrl":726,"material":59,"size":727,"collection":40,"collections":728,"showCount":706,"zanCount":64,"manualWeight":11,"mainColor":82},214827,"cao-tang-yun-shu-tu-wang-fu-214827","草堂云树图","王绂","这幅画描绘了一个溪边的小屋，一个高士在看喷泉和看书；岩石上潦草地画着荷叶，树干和树叶用各种笔法画着，都是王绂的原创风格。",[23,24,25,26,53,54,30,36,55,74,187,7,134,135,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3942008c8970d09809b068a18c45de0e.jpg","118x38.7",[40],{"id":730,"slug":731,"title":732,"dynasty":87,"author":733,"museum":147,"description":734,"tags":735,"thumbUrl":741,"material":118,"size":119,"collection":120,"collections":742,"showCount":743,"zanCount":220,"manualWeight":11,"mainColor":82},290019,"qian-long-di-sui-chao-xing-le-tu-zhou-lang-shi-ning-290019","乾隆帝岁朝行乐图轴","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。",[23,24,26,27,28,92,31,94,639,736,7,737,365,738,739,740],"雪山","梅","岁朝行乐","宫廷","欢乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c7cec0bd92f397ff05871378734d78.jpg",[],171,{"id":745,"slug":746,"title":747,"dynasty":18,"author":298,"museum":748,"description":749,"tags":750,"thumbUrl":751,"material":543,"size":752,"collection":120,"collections":753,"showCount":743,"zanCount":11,"manualWeight":11,"mainColor":44},220065,"hu-qiu-shi-er-jing-tu-ce-2-shen-zhou-220065","虎丘十二景图册-2","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。",[23,24,53,54,215,92,30,94,161,31,36,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefb0d3e152596b1384655b09d2103c65.jpg","31.1×40.2cmx12",[],{"id":755,"slug":756,"title":757,"dynasty":49,"author":758,"museum":759,"description":760,"tags":761,"thumbUrl":764,"material":190,"size":765,"collection":40,"collections":766,"showCount":767,"zanCount":105,"manualWeight":11,"mainColor":82},218439,"song-shui-ou-meng-tu-zhao-meng-fu-218439","松水鸥盟图","赵孟頫","沃雪斋","远处山峰高耸，云雾缭绕，近处河面宽阔，岸边三个高大粗壮的白衣古松文士坐在树荫下，悠闲地望着两只白鸥在芦苇和水面之间相互呼应。人物面容古雅，衣冠楚楚，笔墨沉雄。",[23,24,25,762,27,115,30,7,33,763,31,35,439],"元代","鸥鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54c8c63b2cb7b75579753f1fc9c80340.jpg","150x95cm",[40],170,{"id":769,"slug":770,"title":771,"dynasty":87,"author":772,"museum":212,"description":773,"tags":774,"thumbUrl":783,"material":499,"size":784,"collection":384,"collections":785,"showCount":786,"zanCount":11,"manualWeight":11,"mainColor":82},223164,"bai-niao-chao-feng-hou-bu-fen-shen-quan-223164","百鸟朝凤（后部分）","沈铨","长卷以四季景色变化，绘禽鸟约近三百只，树木百余棵，四季花卉绽放；天空百鸟聚集，地上百花开放，寓意天下一片详和。长卷色彩艳丽，气势恢弘，堪称国之瑰宝。沈铨，字衡之，号南苹，清代画家，其画远师黄筌画派，近承明代吕纪。",[23,73,24,25,186,28,27,95,667,36,35,775,776,777,640,778,7,779,74,56,780,781,782],"荷花","仙鹤","禽鸟","柳树","草地","孔雀","水禽","花丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e5a549e10ca658a58fc3c8da817825d.jpg","45cm*1600cm",[384,103],166,{"id":788,"slug":789,"title":790,"dynasty":87,"author":733,"museum":212,"description":791,"tags":792,"thumbUrl":794,"material":38,"size":795,"collection":384,"collections":796,"showCount":797,"zanCount":141,"manualWeight":11,"mainColor":82},216739,"bai-ying-tu-lang-shi-ning-216739","白鹰图","郎世宁（1736-1801）是清朝时期的画家，他的《白鹰图》是一幅有名的山水画作品。这幅画描绘了一只白鹰展翅高飞的场景，在画中，白鹰的身体线条优美，动作十分生动，同时还富有寓意。郎世宁的《白鹰图》被认为是他的代表作之一，并被广泛欣赏。",[73,24,28,27,667,793,7,55,26],"白鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F729904f32b9a01e6d59da946aa7e639b.jpg","248.3x134cm",[384],165,{"id":799,"slug":800,"title":801,"dynasty":18,"author":802,"museum":299,"description":803,"tags":804,"thumbUrl":807,"material":190,"size":808,"collection":384,"collections":809,"showCount":810,"zanCount":11,"manualWeight":11,"mainColor":82},218959,"yuan-yang-hua-niao-tu-lv-ji-218959","鸳鸯花鸟图","吕纪","这幅画描绘了夏天溪边成双成对的鸟儿，包括白头鹅、鸳鸯、红嘴蓝鹊等，其形态准确真实，着色精妙。这幅画的作者是吕纪，题目是南宋的，也就是说，这是吕纪早年的作品。",[23,24,73,28,27,7,805,95,667,640,288,485,806],"鸳鸯","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0191004ce3982d50bfff75380fa7ddd.jpg","185.7x108.5cm",[384],162,{"id":812,"slug":813,"title":814,"dynasty":18,"author":815,"museum":20,"description":816,"tags":817,"thumbUrl":820,"material":76,"size":821,"collection":40,"collections":822,"showCount":823,"zanCount":64,"manualWeight":11,"mainColor":82},222599,"bai-yun-hong-shu-tu-zhou-lan-ying-222599","白云红树图轴","蓝瑛","此幅用没骨法以石青、石绿色画山石，用朱砂画小草，树叶也用浓艳的红、黄、青、绿没骨点出，云用白粉渲染。画面色彩浓重丰富，却又典雅清新。自识“张僧繇没骨法”，实为画家自己独创的画风，此幅为蓝瑛青绿重彩画的代表作。",[23,24,26,115,27,54,30,818,819,35,33,32,31,7,135],"白云","红树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56139497977653ee9c9be5bfb32552a0.jpg","纵189.4厘米，横48厘米",[40,103],159,{"id":825,"slug":826,"title":827,"dynasty":69,"author":828,"museum":299,"description":829,"tags":830,"thumbUrl":831,"material":190,"size":832,"collection":101,"collections":833,"showCount":823,"zanCount":11,"manualWeight":11,"mainColor":82},220448,"song-xia-dui-yi-tu-li-cheng-220448","松下对弈图","李成","李成（919~967年），字咸熙，号营丘，京兆长安（今陕西省西安市）人。五代宋初画家，与董源、范宽并称“北宋三大家”，苏州刺史李鼎的孙子。\n博学多才，胸有大志，无处施展，醉心于书画。乾德五年，病逝于陈州，时年四十九岁。\n擅于山水画，师承于荆浩、关仝，自成一家，喜欢画郊野平远旷阔的风景。平远寒林，画法简练，气象萧疏，好用淡墨，“惜墨如金”；绘画山石如卷动的云，人称“卷云皴”；绘画寒林，开创“蟹爪”法，对于山水画的发展有重大影响。作品有《读碑窠石图》《寒林平野图》《晴峦萧寺图》《茂林远岫图》等。",[23,24,73,25,26,53,54,30,31,7,35,55,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2dc15899bec8d07f16b7c9e8e68853c.jpg","155.1x99.1cm",[101,78],{"id":835,"slug":836,"title":837,"dynasty":69,"author":199,"museum":226,"description":838,"tags":839,"thumbUrl":840,"material":841,"size":120,"collection":40,"collections":842,"showCount":823,"zanCount":220,"manualWeight":11,"mainColor":82},218590,"gui-zhuang-tu-ma-yuan-218590","归庄图","虬劲的松枝如墨线盘绕，斜覆在山间幽居之上，松针似点似染，苍润中藏着清劲。屋舍窗明几净，隐于松荫下，与远处淡墨晕染的峰峦、烟水相映。一人素衣独行，身影在空濛的天地间轻淡如尘。笔墨简括却意韵悠长，留白处尽是山水的空灵与归隐的恬淡，仿佛能听见松风掠过檐角，看见云气漫过山腰，将宋代文人心中的林泉之趣，凝在这一方绢素之中。",[23,24,73,26,53,54,30,161,7,31,35,175,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99b1435174880a33165f3ee3dd1c464e.jpg","绢本,水墨",[40],{"id":844,"slug":845,"title":846,"dynasty":69,"author":70,"museum":147,"description":847,"tags":848,"thumbUrl":849,"material":120,"size":120,"collection":120,"collections":850,"showCount":851,"zanCount":141,"manualWeight":11,"mainColor":44},228898,"cai-wei-tu-li-tang-228898","采薇图","《采薇图》是宋代画家 创作的绢本水墨淡设色画，此画现藏于北京故宫博物院。\n此卷画商末 、 不食周粟，在首阳山饿死的故事。\n图绘半山之腰，苍藤、古松之荫，伯夷与叔齐采摘薇蕨之余，正在休息对话的情景。\n画中正坐一人即为伯夷，他面带忧愤，目光炯炯，注视着叔齐。\n叔齐一手按地似在说着什么。\n图中人物刻画生动传神，衣纹简劲爽利，衬托出人物刚直不阿的性格。\n树石笔法粗简，墨色湿润。\n该图以山石为背景，绘二人在树下席地而坐，进行交谈。\n二人均束发系巾，长须，着宽袖粗服，穿草履，正面者领口略袒，着力突出了他们高士的形象。\n二人身侧还置有装薇的篮子和锄头，表示二人采薇而食，采薇是他们身份的象征。\n图中石壁上有题款两行：“河阳李唐画伯夷、叔齐”。\n引首有明代李擢公书“首阳高隐”，拖尾有元宋杞、明俞允文、清永瑆、翁方纲、蔡之定、阮元、林则徐、吴荣光、潘霄汉等题记。\n本幅钤项元汴、吴荣光等鉴藏印十六方，半印九方，拖尾有诸家藏印五十四方、半印三方。\n《采薇图》是一幅历史题材的绘画作品，以殷末伯夷、叔齐“不食周粟”的故事为题。\n伯夷和叔齐是殷的诸侯孤竹君的两个儿子，兄弟二人出走后先后投奔了西伯姬昌。\n姬昌死后，其子姬发要兴兵讨伐纣王。\n伯夷、叔齐叩马谏阻，认为臣子造反、讨伐君王是大逆不道的行为。\n姬发不听，灭殷后建立了周朝。\n伯夷和叔齐决心不吃从周朝土地上长出来的粮食，于是隐居首阳山（今山西永济县境），以采食野菜充饥度日，最后双双饿死在山里，临死前还作了一首《采薇歌》以表示坚决不屈的志向。\n李唐初以卖画为生，宋徽宗赵佶朝补入画院，深得赵佶赏识。\n1127年金兵攻陷汴京，高宗南渡，李唐亦颠沛流离，逃往临安（今杭州），以卖画度日。\n南宋恢复画院后，李唐经人举荐，进入画院，以成忠郎衔任画院待诏，时年近八十。\n偏安一隅之耻，家国离乱之悲，让画家感慨万端，他赞扬那些保持气节的人，谴责南宋统治者投降变节的行为。\n正是在这种心绪下，他创作了《采薇图》。\n这幅画的主题思想，据跋尾宋杞说：“……且意在箴规，表夷齐不臣于周者，为南渡降臣而发也。\n”表明作者的创作意图是借着伯夷叔齐不食周粟的故事，用来讽刺宋高宗南渡后，留在汴京投降金人的降臣而画的。\n它的含义，用当时历史背景衡量，是有它的特殊意义的。\n李唐的《采薇图》给了一个伯夷、叔齐两人的近镜头描写，浓重的背景环境衬托出两个淡设色的人物。\n悬崖峭壁间一块坡石，两人相对而坐，周围只有古树山石，远处河流平原离得很遥远，很简洁便将两人隐居的生活环境交代得恰如其分。\n背向观画者的是叔齐，一手撑地，一手笔划，在很投入地向伯夷说着什么。\n李唐对伯夷这个人物的刻画非常成功，画中的伯夷面容清瘦，双手抱膝，倚树而坐，胡子已经很长时间没有打理，双眉微颦，眼神并没有落在某个实处，似乎在听着叔齐说话，又似乎没有在听，不过目光中的坚定却是不容怀疑的，也许有些无奈，可毫无悔意，整个人物给人一种很平静安然的感觉，他只是在默默地坐着，不露一点声色，不为物喜，不为己悲，前面采野菜的小锄和篮筐还摆在一边，生活的困苦可想而知，可是这位伯夷只是如过去坐在厅堂中一般倚树席地而坐，尊贵依然，坚定依然。\n作品用笔精练而又富于变化，简劲锐利，线条挺拔，轻重顿挫似有节奏，墨法枯润适中，突出表现了衣服的麻布质感。\n肌肉部分的用线较为柔和，须眉用笔精细且多变化，显得蓬松软和。\n背景部分画家用笔较为豪放粗简，老松主干两边用浓墨侧峰，用浓墨细笔勾出松鳞，充分表现出了老松厚重的量感和体积；柏叶点染细密，浓淡变化细微。\n图中山石用极豪迈的大斧劈皴，以各种不同深浅、枯润的墨色有力涂抹，表现了山石奇峭的风骨和坚硬的质感。\n画家对树丛中远去的河流轻毫淡墨，近处的山石焦墨浓厚，丰富了画面的空间感。\n清代画家 《浦山论画》： “二子席地对坐相话言，其殷殷凄凄之状，若有声出绢素。\n” 中国当代画家 《采薇图画册》：“至人物神情之华贵、高妙，是与米兰藏达·芬奇之耶稣与门必藏三勒之使徒同为绘画的极峰。\n” 中国当代画家 《画史上的名作 中国卷》：整幅画大刀阔斧，坚实有力，刚直不阿，气象森然，使人想到李唐作画时激荡的心情。\n由于他的节操受人尊敬，此画历来颇受珍视。\n《采薇图》在《清河书画舫》，《汪氏珊瑚纲》，《佩文齐书画谱》，《式古堂书画汇考》等书著录。\n《采薇图》历经明代项元汴、清代吴荣光收藏，晚清入宫，现收藏于北京故宫博物院。\n215年4月日—6月29日，《采薇图》在北京故宫武英殿举办的215春季书画特展中展出。\n（166～115），宋代画家。\n字唏古，河阳三城（今河南孟县）人。\n初以卖画为生，宋徽宗赵佶时入画院。\n南渡后以成忠郎衔任画院待诏。\n擅长山水、人物。\n变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。\n晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。\n兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。\n并以画牛著称。\n与刘松年、马远、夏圭并称“南宋四大家”。",[23,24,73,186,25,27,54,31,30,7,35,36,74,34,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16c214e4ea812a28066aaad9585915a2.jpg",[],158,{"id":853,"slug":854,"title":855,"dynasty":69,"author":199,"museum":147,"description":856,"tags":857,"thumbUrl":863,"material":118,"size":119,"collection":120,"collections":864,"showCount":865,"zanCount":141,"manualWeight":11,"mainColor":82},288321,"xi-yuan-ya-ji-tu-ma-yuan-288321","西园雅集图","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[23,73,24,186,53,31,30,7,367,55,35,94,32,33,858,859,860,861,862],"竹丛","舟船","马匹","文人雅集","宴饮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef6165e95977efed01ca7108e9daefd.jpg",[],150,{"id":867,"slug":868,"title":869,"dynasty":69,"author":675,"museum":147,"description":870,"tags":871,"thumbUrl":873,"material":190,"size":874,"collection":40,"collections":875,"showCount":876,"zanCount":11,"manualWeight":11,"mainColor":82},220045,"ting-qin-kan-pu-tu-xia-gui-220045","听琴看瀑图","危崖飞瀑垂落千仞，斧劈皴勾勒山石棱骨，墨色苍劲凝练，将峭壁雄浑之势尽显。虬松盘曲展枝，松下平坡之上，抚琴者席地拨弦，知音侧耳凝听，童子垂手侍立，寥寥数笔便将人物悠然意态勾勒传神。\n\n画面以局部取景，大片留白晕染出空濛悠远，将林泉雅集的闲逸与山川清旷相融，虚实之间，把静赏飞瀑、闲听雅琴的幽趣铺陈开来，藏着寄情丘壑、静悟天机的风雅，笔简而意无穷，尽得空灵禅寂之美。",[73,24,25,26,53,54,30,55,7,31,872,56,33],"琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23b1f6772d48a16ed101d54e26afa835.jpg","142.2 × 70 cm",[40],147,{"id":878,"slug":879,"title":880,"dynasty":18,"author":881,"museum":362,"description":882,"tags":883,"thumbUrl":888,"material":190,"size":889,"collection":101,"collections":890,"showCount":891,"zanCount":105,"manualWeight":11,"mainColor":82},219564,"huo-lang-tu-cui-zi-zhong-219564","货郎图","崔子忠","明代流传至今的《货郎图》绘者如计盛、吕文英、崔子忠、姜隐，还有诸佚名的《货郎图》，虽风格不一，或设色或白描，但大部分的货郎都是挑着华丽的货担，货架精雕细琢、所售器物五花八门，孩子们前簇后拥，玩着猴子、蟋蟀、皮影、书籍、花枝，不亦乐乎，场景往往热闹非凡。",[23,24,28,27,26,884,31,885,886,7,35,806,95,887,36],"风俗画","孩童","货郎","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73c1b2b4649dfef47e2ac975b98f223.jpg","纵205横125厘米",[101,103],145,{"id":893,"slug":894,"title":895,"dynasty":49,"author":896,"museum":89,"description":897,"tags":898,"thumbUrl":900,"material":76,"size":901,"collection":40,"collections":902,"showCount":903,"zanCount":141,"manualWeight":11,"mainColor":82},220779,"xi-shan-gao-yin-tu-wu-zhen-220779","溪山高隐图","吴镇","《溪山高隐图》是元代画家吴镇创作的绢本墨笔画，现藏于北京故宫博物院。\n图绘高山巨石层峦重叠，远山云雾朦胧栈道顺山崖伸延，迂回盘绕，树林后溪水一湾，水榭半露，充满夏日中葱郁气氛，山石以水墨渲染，淡施披麻皴，圆点浓墨点苔。笔法稳健，墨气湿润。全画构图呈长方形，上不留天，下不留地，构图虽饱满，但密而不塞，疏密相间，故布局十分得宜。\n该图以深远式构图，远处高山叠嶂，群峰突起，高高耸起，山巅处云蒸霞蔚，山色柔和绵连。山坡和山坳处荆棘和杂木丛生。中间山腰处山石嶙峋突兀，山石或纵立，或横卧于山腰间，山径顺山脚伸延，蜿蜒迂回盘旋，成为上下山的一栈道、近景茂密的丛林后有溪水一湾，在山脚下临溪边有一间水榭，在山石和丛树的掩映下半露半隐，环境十分清静幽雅，充满夏日丰饶葱茏的气氛。\n吴镇的绘画题材大多为渔父、古木、竹石之类，均表现江南名山景色。《溪山高隐图》是他山水画中的代表作之一。《溪山高隐图》是其取法”巨然的一张典型作品。因为和巨然的作品《秋山问道图》比较，《溪山高隐图》似乎是临摹《秋山问道图》而比较萧散的作品。\n作者纯用水墨，利用其深浅浓淡，创造出一个静谧安详的环境，画幅较为孤寂、冷清的情凋也是画家处世态度的生动写照。山石以水墨渲染，淡披麻皴。这种皴法从巨然披麻皴出，把笔拉得垂直。他后来创造的“刮铁皴”，仿佛又硬又直，却硬中有婉，直中有收，笔头不枯硬，灵气从笔端间轻轻逸出，以圆点浓墨点苔，笔法稳健，墨气湿润，画法源于董源、巨然一路。近处坡石的用墨，以及秃笔随意点写树叶苔草的画法，是他的典型风格。\n《溪山高隐图》皴笔沉厚，坡角山边用笔大胆，横扫而出，用笔意味更似写意。主要山石皴笔提按变化明显，用笔奔放，是“写”出而非“皴”出。此图主峰最上部有一组巨石，用横侧笔势刷出，显然出自李唐马夏一系的斧劈皴。\n宋画研究学者寿勤泽：这幅画气势不凡，层峦叠岭，雄伟高峻，下方丛树溪水，临溪筑有草房两间，屋旁有小径通向山间。仅一片房屋处略施淡赭，通篇皆水墨。此图和常见的吴镇画有所区别，皴法以长披麻皴为主，法巨然画派画格，但线条较长，细长而且疏朗，似有不胜其力之感。",[23,24,25,899,26,53,54,30,150,35,36,7,33],"古画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b125a83a0553db70e8f576523b37fb5.jpg","纵160.5厘米，横73.4厘米",[40,62],144,{"id":905,"slug":906,"title":907,"dynasty":69,"author":199,"museum":147,"description":908,"tags":909,"thumbUrl":910,"material":59,"size":911,"collection":62,"collections":912,"showCount":913,"zanCount":141,"manualWeight":11,"mainColor":44},218564,"song-gao-zong-yu-zhi-xi-gong-yan-tu-ma-yuan-218564","宋高宗御制西宫宴图","马远绘侍宴图传世三件中的其中一幅",[24,73,25,26,92,53,30,94,7,35,36,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2b00e67510889e575c54629198f5565.jpg","122.5x52.2",[62],143,{"id":915,"slug":916,"title":917,"dynasty":18,"author":298,"museum":172,"description":918,"tags":919,"thumbUrl":920,"material":190,"size":921,"collection":40,"collections":922,"showCount":923,"zanCount":193,"manualWeight":11,"mainColor":82},218247,"lin-dai-wen-jin-xie-an-dong-shan-tu-shen-zhou-218247","临戴文进谢安东山图","沈周（1427-1509年），字启南，号石田、白石翁，苏州人，不应科举，以诗文书画为事，山水师黄公望、吴镇，书法法黄庭坚，名重一时，吴中名家如文徵明、唐寅等都出其门下。与文徵明、唐寅、仇英合称“明四家”。\n本图是沈周五十四岁时所作，临摹的是比他略早的浙派著名画家戴进的《谢安东山图》，描绘东晋著名宰相谢安隐居东山时，携妓出游，纵情山水的情景。\n沈周的山水画，师法元代黄公望与吴镇，远溯五代董源、巨然，而戴进宗法的是南宋马远、夏圭，以风格而论，一为南方山水与水墨画的传统，一为北方山水与宫廷著色画的传统。沈周画多仿元人，此画风格在他的作品中既是一件孤品，也是一件奇品，堪称绝无仅有。\n此图高头大轴，青绿设色，山石轮廓明朗，皴笔似马牙、卷云而不若其蜷曲，似斧劈而不若其方硬，似披麻而不若其疏放绵长，这种皴法与戴进常用的源自马、夏的长斧劈皴不同，融合了南、北方山水的皴法特点。图画设色明朗鲜润，一部分山石近乎空勾，是宋代以来大青绿的设色方法。沈周一生所作山水，多为水墨，亦有浅绛，如此大轴青绿，实属平生仅见。其中人物亦造型端庄，服饰俨然，线条健爽，是明人追绍宋代院体画的风格。\n沈周此图或属偶一为之，却显示出画家不拘于一格的绘画能力以及兼收并蓄，广采博纳的眼界与胸襟。\n根据翁同龢1902年的日记，此画是翁氏因戊戌之变被黜归里后，其旧仆李元为其在北京购得的。",[23,24,25,73,26,27,30,31,94,7,35,55,36,150,274,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4136bf4cc51a9c489487d6a27dbe7d3a.jpg","纵170.0厘米，横89.0厘米",[40],139,{"id":925,"slug":926,"title":927,"dynasty":18,"author":298,"museum":748,"description":749,"tags":928,"thumbUrl":930,"material":543,"size":752,"collection":120,"collections":931,"showCount":932,"zanCount":141,"manualWeight":11,"mainColor":44},220064,"hu-qiu-shi-er-jing-tu-ce-3-shen-zhou-220064","虎丘十二景图册-3",[23,73,24,25,215,53,54,30,94,929,7,32,134],"竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F111612596e2e7ea00726bc18bd6e599c.jpg",[],138,{"id":934,"slug":935,"title":936,"dynasty":87,"author":937,"museum":362,"description":938,"tags":939,"thumbUrl":941,"material":190,"size":942,"collection":101,"collections":943,"showCount":944,"zanCount":11,"manualWeight":11,"mainColor":82},218356,"zhong-kui-tu-lv-xue-218356","钟馗图","吕学","图中描绘的是钟馗手持宝剑，两个小孩子手持灵芝，背着书卷。这些人物是以浙江画派的风格用犀利的笔触画出来的。",[23,24,25,26,940,53,31,7],"白描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24e129c128c96a4adf8e82487a264110.jpg","167.7x95.6",[101],137,{"id":946,"slug":947,"title":948,"dynasty":69,"author":88,"museum":147,"description":949,"tags":950,"thumbUrl":951,"material":190,"size":952,"collection":78,"collections":953,"showCount":954,"zanCount":141,"manualWeight":11,"mainColor":82},218583,"song-xia-jing-si-tu-yi-ming-218583","松下静思图","悬崖边的松树上画着一根粗壮有力的杆子，伸向远方，而一个高大的男人盘腿坐在下面的蒲团上，凝视着下方；远处，一轮明月挂在天上，圆盘般的月亮象征着农历的新月之夜。",[24,25,27,28,31,7,57,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F732621ebc2bf8ef9ef1e43c8b6b51669.jpg","21x21",[78],136,{"id":956,"slug":957,"title":958,"dynasty":337,"author":377,"museum":339,"description":959,"tags":960,"thumbUrl":962,"material":522,"size":120,"collection":120,"collections":963,"showCount":964,"zanCount":141,"manualWeight":11,"mainColor":44},220600,"song-ying-zhou-qi-bai-shi-220600","松鹰（轴）","右上狂草长题与左侧苍松对角铺陈，虚实相映，章法奇崛沉稳。\n老松以枯笔写出虬曲主干，浓淡墨色分出嶙峋肌理，松针劲挺利落，尽显风霜淬炼的苍古之姿。\n石上雄鹰是画面焦点，焦墨勾出如钩利喙与锐利鹰眼，神彩凛凛；泼墨积墨晕染羽翮，块面层次分明，将猛禽雄悍桀骜的气度展露无遗，钢爪紧扣顽石，尽显睥睨寰宇的威严。\n整作以书入画，文人笔意与写生意趣相融，以朴拙老辣的笔墨寄寓凌云壮气，尽显写意花鸟的雄浑风骨。",[23,24,25,26,53,342,7,343,95,961],"兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffede21b825405a236afb47189b88ee67.jpg",[],135,{"id":966,"slug":967,"title":968,"dynasty":69,"author":828,"museum":20,"description":969,"tags":970,"thumbUrl":972,"material":543,"size":120,"collection":78,"collections":973,"showCount":964,"zanCount":11,"manualWeight":11,"mainColor":82},220247,"xie-qing-chao-yi-pin-tu-li-cheng-220247","写清朝一品图","李成（919~967年），字咸熙，号营丘，京兆长安（今陕西省西安市）人。五代宋初画家，与董源、范宽并称“北宋三大家”，苏州刺史李鼎的孙子。\n博学多才，胸有大志，无处施展，醉心于书画。乾德五年，病逝于陈州，时年四十九岁。\n擅于山水画，师承于荆浩、关仝，自成一家，喜欢画郊野平远旷阔的风景。平远寒林，画法简练，气象萧疏，好用淡墨，“惜墨如金”；绘画山石如卷动的云，人称“卷云皴”；绘画寒林，开创“蟹爪”法，对于山水画的发展有重大影响。",[23,24,73,25,26,53,54,30,7,116,31,35,258,36,971],"远峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ecb114ae83d161ba1539feb347adb9.jpg",[78],{"id":975,"slug":976,"title":977,"dynasty":87,"author":978,"museum":979,"description":980,"tags":981,"thumbUrl":988,"material":989,"size":990,"collection":40,"collections":991,"showCount":992,"zanCount":220,"manualWeight":11,"mainColor":44},221002,"hua-dao-xi-yang-tu-yun-shou-ping-221002","花岛夕阳图","恽寿平","日本京都国立博物馆","恽寿平山水画初学元黄公望、王蒙，深得冷澹幽隽之致。又以没骨法画花卉、禽兽、草虫，自谓承徐崇嗣没骨花法。创作态度严谨，认为“惟能极似，才能传神。”“每画一花，必折是花插之瓶中，极力描摹，必得其生香活色而后已”。他画法不同一般，是“点染粉笔带脂，点后复以染笔足之”，创造了一种笔法透逸，设色明净，格调清雅的“恽体”花卉画风，而成为一代宗匠。对明末清初的花卉画有“起衰之功”，被尊为“写生正派”，影响波及大江南北，史载：“近日无论江南江北，莫不家家南田，户户正叔，遂有‘常州派'之目”。",[23,24,27,53,186,30,982,150,135,36,679,187,33,95,54,983,984,134,985,778,7,986,987],"夕阳","芦苇","沙洲","近景","平坡","烟波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2703852885af6a04ae01bf1fbdb64d9d.jpg","纸本 设色","26cmx111cm",[40,103],134,{"id":994,"slug":995,"title":996,"dynasty":49,"author":758,"museum":20,"description":997,"tags":998,"thumbUrl":999,"material":27,"size":1000,"collection":40,"collections":1001,"showCount":992,"zanCount":141,"manualWeight":11,"mainColor":44},220862,"hua-shan-shui-zhou-zhao-meng-fu-220862","画山水轴","赵孟頫（1254—1322），字子昂，号松雪，松雪道人，又号水精宫道人、鸥波，中年曾作孟俯，汉族，吴兴（今浙江湖州）人。元代著名画家，楷书四大家（欧阳询、颜真卿、柳公权、赵孟頫）之一。赵孟頫博学多才，能诗善文，懂经济，工书法，精绘艺，擅金石，通律吕，解鉴赏。特别是书法和绘画成就最高，开创元代新画风，被称为“元人冠冕”。他也善篆、隶、真、行、草书，尤以楷、行书著称于世。",[23,73,24,25,26,27,54,30,7,35,33,161,31,135,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11161ca0c1ec964671f7c7a6ecbebf4e.jpg","该幅 57x30.9公分、全幅 56公分",[40,103],{"id":1003,"slug":1004,"title":1005,"dynasty":87,"author":603,"museum":226,"description":1006,"tags":1007,"thumbUrl":1009,"material":59,"size":120,"collection":40,"collections":1010,"showCount":992,"zanCount":141,"manualWeight":11,"mainColor":82},219708,"yun-shan-yin-ju-tu-gong-xian-219708","云山隐居图","龚贤（1618-1689），又名岂贤，字半千，又字野遗、岂贤，号半亩，又号柴丈人，江苏昆山人，流寓金陵清凉山。龚贤的艺术造诣居金陵八家之首，现代著名画家黄宾虹、李可染都从他的画法中得到了启迪。一般讲求墨韵者往往以湿墨涂抹，而龚贤明确指出：“墨言韵，明其非湿也，润墨鲜，湿墨死”，具体指出；“皴法先干后湿，故外润而有骨，若先湿后干，则死墨也。” 在他看来，“墨韵”当以“润”为准绳，其意为湿度适可，若太湿，则为“死墨”；且皴染时应先施以干笔，后湿笔晕染，反之则亦为“死墨”。此幅画即湿润得体，笔墨层次分明，以积墨法层层点染，无怪乎时人曰“半千之所以独有千古更在墨”。",[24,26,53,54,30,1008,187,7,35,74,188,34],"云山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29001769a3aff696777c6883d1eedcd1.jpg",[40],{"id":1012,"slug":1013,"title":1014,"dynasty":18,"author":1015,"museum":1016,"description":1017,"tags":1018,"thumbUrl":1019,"material":231,"size":1020,"collection":40,"collections":1021,"showCount":1022,"zanCount":64,"manualWeight":11,"mainColor":44},221947,"wan-he-zheng-liu-tu-zhou-wen-zheng-ming-221947","万壑争流图轴","文徴明","南京博物馆","图绘峡峨山势，山泉争流而下，山下溪水淙淙，坡上林木葱郁。画山用湿润的披麻破，行笔细节秀润，满纸青绿，场面壮观。\n满纸青绿设色，其法是先将浅赭色普染山石，然后留下石根之赭色，再将石绿、石青，而至墨青(花青和墨)色，薄薄地按序自下而上，分层积染。但文徵明匠心独运：其一，青绿中调和淡墨，清润幽雅，已不似以往大青绿之奇艳夺目；其二，石色薄敷，不掩墨骨，故仍是元初赵孟頫青绿设色方法的演变，无愧为文徵明晚年细笔青绿山水中的精品。",[23,24,25,26,27,30,54,33,36,35,31,55,7,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23ec8b65dd08d53416021b6376bc9a1c.jpg","纵132.4cm，横35.2cm",[40,103],132,{"id":1024,"slug":1025,"title":1026,"dynasty":87,"author":733,"museum":89,"description":1027,"tags":1028,"thumbUrl":1031,"material":99,"size":1032,"collection":40,"collections":1033,"showCount":1034,"zanCount":141,"manualWeight":11,"mainColor":44},236176,"qian-long-huang-di-ci-hu-tu-lang-shi-ning-236176","乾隆皇帝刺虎图","本图绘30余岁的乾隆皇帝与侍卫手握长戟，跨步向前欲刺猛虎的场面。作者运用对比的艺术手法，通过表现猛虎在乾隆皇帝的威逼下，止步不前的受惊情景，衬托出乾隆皇帝临危不惧的帝王之气。在形象上，作者为了烘托乾隆皇帝的高大，将本是兽中之王的猛虎，画得既小又弱，全然一副虎落平阳被犬欺的可怜之相。全图笔法细腻，准确地描绘出不同身份的人物所具有的不同举止及表情。从笔法上分析，画面上虽然无作者款印，但乾隆皇帝画像当为擅长写真的郎世宁所绘，虎及树木、山石等出自中国宫廷画家之手。\n作为游牧民族出身的满族皇室，乾隆皇帝从12岁开始便随祖父康熙皇帝前往热河、南苑打猎。继帝位后，骑马射箭更是成为其宫廷生活中最重要的一部分，对此，乾隆皇帝谕令宫廷画家创作了大批表现其行猎瞬间的作品，以为纪念。通过这些作品可见飞禽走兽尽在其巡狩之列。",[1029,24,73,25,27,28,31,30,242,1030,961,7,367,56,244],"清代","虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f287578983583f550284907240b486.jpg","纵258.5厘米，横171.9厘米",[40,103],131,{"id":1036,"slug":1037,"title":623,"dynasty":87,"author":1038,"museum":1039,"description":1040,"tags":1041,"thumbUrl":1042,"material":59,"size":120,"collection":40,"collections":1043,"showCount":1034,"zanCount":11,"manualWeight":11,"mainColor":44},219900,"shan-shui-tu-hong-ren-219900","弘仁","印第安纳波利斯艺术博物馆","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”。",[23,24,25,26,53,54,30,161,7,35,440,36,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F643c9cf138484b785236419257db6754.jpg",[40],{"id":1045,"slug":1046,"title":1047,"dynasty":69,"author":1048,"museum":147,"description":1049,"tags":1050,"thumbUrl":1051,"material":118,"size":119,"collection":120,"collections":1052,"showCount":1053,"zanCount":220,"manualWeight":11,"mainColor":44},283691,"chun-shan-rui-song-tu-mi-fei-283691","春山瑞松图","米芾","《宋米芾春山瑞松图》是宋代书画家米芾创作的一幅纸本画，原存清宫内府斋宫，现为台北故宫博物院藏。图中描绘云雾掩映的山林景色，图中白云满谷，远山耸立云端，近处古松数株隐显于雾气中。松下有亭，空无一人。山峦青绿晕染，再加“米点” (亦称“落茄被”)，松树笔法细致、严密。",[24,256,53,54,132,7,161,135,29,188,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd05154bc7bf74f850c5b1be5832c607b.jpg",[],128,{"id":1055,"slug":1056,"title":1057,"dynasty":69,"author":88,"museum":20,"description":1058,"tags":1059,"thumbUrl":1062,"material":190,"size":1063,"collection":78,"collections":1064,"showCount":1053,"zanCount":141,"manualWeight":11,"mainColor":82},218801,"tao-li-yuan-tu-yi-ming-218801","桃李园图","这幅画描绘了一座山，上面有一条高高的、遥远的溪流。山的四角有水榭亭台，有渔人在溪边垂钓，无所谓岁月。这幅画是南宋时期的作品，但当你仔细观察其笔触时，它看起来更像是吴镇或其流派的画家的作品。",[23,24,73,27,92,28,54,30,94,161,31,7,1060,1061,35,36],"桃","李","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2a3b07bae6cc5546e3f59ca75ecae6e.jpg","19.7x24.3",[78],{"id":1066,"slug":1067,"title":1068,"dynasty":49,"author":239,"museum":147,"description":1069,"tags":1070,"thumbUrl":1073,"material":118,"size":119,"collection":120,"collections":1074,"showCount":1075,"zanCount":141,"manualWeight":11,"mainColor":82},287593,"chun-shan-du-shu-tu-wang-meng-287593","春山读书图","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[24,73,53,26,30,54,7,35,161,187,1071,1072,188,31,150],"读书","山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08f4beaf0ca1e1f9e9ad8ca3a4d4a7f2.jpg",[],126,{"id":1077,"slug":1078,"title":1079,"dynasty":18,"author":1080,"museum":20,"description":1081,"tags":1082,"thumbUrl":1086,"material":59,"size":1087,"collection":1088,"collections":1089,"showCount":1075,"zanCount":11,"manualWeight":11,"mainColor":44},214213,"xing-shu-qi-yan-lian-xu-wei-214213","行书七言联","徐渭","释文：水夕苍蚊残夏扇。河间红树早秋棃。秋霜先生咲览。天池山人徐渭书。",[23,24,25,188,26,1083,29,53,819,7,1084,1085],"对联","秋水","梨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cccc9d7148d5550a49ac995d9474fe6.jpg","132.2x32.4","书法精选",[1088],{"id":1091,"slug":1092,"title":1093,"dynasty":69,"author":828,"museum":20,"description":1094,"tags":1095,"thumbUrl":1098,"material":76,"size":1099,"collection":78,"collections":1100,"showCount":1101,"zanCount":11,"manualWeight":11,"mainColor":82},221413,"song-quan-pan-shi-zhou-li-cheng-221413","松泉磐石轴","本幅之题材与风格，属松石格之作品，描绘双松挺立于磐石上，两侧有枯木为伴，兼具寒林之景象。寒林之后隐约可见清涧折曲而来，至磐石处急泻而下，激起漩涡与浪花。 松石格是兴起于八世纪的绘画，或画松石、树石，含松柏及其他树木。它是山水画范围的一部分。\n飞泉激漱于涧石之间，下潴成窟，浪花腾溅。两松劲挺立於涧右，树身扭曲，多瘤杈枒。松针作圆形，先用浓墨画，再用淡墨罩一次，又用墨水烘渍，最后用小弹弓弹墨花于其上，如宋人弹雪法。涧左枯树两株，较两松更甚，画小枝用李郭蟹爪。树后层滩叠渚，愈远愈淡，上接烟霾天宇，一门浑囵。松身结体，颇似武元直赤壁图卷；烘染厚润，颇似李山风雪杉松图卷。",[24,25,26,53,54,30,7,1096,1097,32,33,35,36],"泉水","磐石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab46279c4e10e9f75620f23fefae0de6.jpg","160.3x96.8cm",[78,40,62],123,{"id":1103,"slug":1104,"title":1105,"dynasty":87,"author":1106,"museum":1107,"description":1108,"tags":1109,"thumbUrl":1110,"material":38,"size":1111,"collection":40,"collections":1112,"showCount":1101,"zanCount":11,"manualWeight":11,"mainColor":44},219996,"shan-shui-hua-mu-chun-wang-ri-xiao-qi-ou-zuo-wang-shi-min-219996","山水画-暮春望日小憩偶作","王时敏","天津博物馆","王时敏出身于仕宦之家，祖父王锡爵是万历内阁首辅大臣。由于父亲王衡早逝，而他又是独子，自小就是和祖父生活在一起。《国朝画征录》记载，王锡爵极为喜爱这个孙子，专心培养他的“好古之心”。王时敏在董其昌和陈继儒等的辅导下，绘技大进。董其昌把他视为南宗画派的不二继承人，“可备传灯一宗，真源嫡派”。王时敏受祖荫出仕后担任尚宝丞和太常寺少卿等官，降清后作为明朝的遗民，退隐山野，专心绘事。他继承和扩大了南宗画派影响，发展了清代绘画的笔墨，创建了著名的娄东画派，成为当时艺术界不可撼动的泰斗，被视为清代正统画派的开山鼻祖。",[24,73,30,53,54,132,7,36,175,56,135,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ec524ddf8e33ee5c0b0f3dafea580e.jpg","22.5x27.5",[40],{"id":1114,"slug":1115,"title":1116,"dynasty":87,"author":733,"museum":89,"description":1117,"tags":1118,"thumbUrl":1129,"material":246,"size":1130,"collection":101,"collections":1131,"showCount":1132,"zanCount":105,"manualWeight":11,"mainColor":44},222773,"hong-li-guan-hua-tu-lang-shi-ning-222773","弘历观画图","此幅利用画中画的构图方式，表现乾隆皇帝弘历在清风中欣赏《洗象图》的情景。《洗象图》描绘的是扮作普贤菩萨的乾隆皇帝正在观看众人为普贤的坐骑白象洗刷的场景。\n乾隆皇帝在其统治期间建立了一套完整的佛教文化体系，同时他还自诩是佛教中 “文殊”、“普贤”的化身，给自己罩上了一层神秘的宗教光环，意味着他不仅是人间的帝王，也是佛界的要神。因此该画在创作意图上是幅宣扬乾隆皇帝宗教信仰的作品。\n此图无作者名款，从创作手法上分析应该是中西画家的合璧之作。图中乾隆皇帝的肖像是由擅长写实画的郎世宁绘制。作者运用解剖学，以西洋绘画技法表现人物面部，五官的刻画细腻、清晰，富有层次、立体感。乾隆皇帝的服饰则由中国画家以传统的人物画“战笔描”表现，衣纹线条抖动弯曲，极具动感。图中的小童、房舍、树木等亦是由中国画家联手完成的。东、西方绘画艺术风格呈现在同一幅作品中无疑丰富了宫廷绘画创作的表现形式，这也是乾隆朝宫廷绘画的一大特色。",[23,24,27,28,1119,1120,1121,1122,1123,7,302,32,33,35,1124,1125,1126,1127,1128],"人物画","画中画","佛教","普贤菩萨","文殊菩萨","帝王","侍从","白象","西洋写实技法","战笔描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc096af4b80506a97a712105edd6edc41.jpg","纵136.4厘米，横62厘米",[101,103],120,{"id":1134,"slug":1135,"title":1136,"dynasty":18,"author":459,"museum":172,"description":1137,"tags":1138,"thumbUrl":1139,"material":190,"size":1140,"collection":40,"collections":1141,"showCount":1132,"zanCount":11,"manualWeight":11,"mainColor":82},219780,"lin-song-ren-hua-ce-chou-ying-219780","临宋人画册","《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。",[24,73,25,215,274,28,27,30,95,57,33,288,7,56,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbed6bd597703f54b095befe2d3e1dd07.jpg","27.2x25.5厘米",[40,101],{"id":1143,"slug":1144,"title":1145,"dynasty":69,"author":199,"museum":1146,"description":1147,"tags":1148,"thumbUrl":1149,"material":27,"size":1150,"collection":78,"collections":1151,"showCount":1152,"zanCount":141,"manualWeight":11,"mainColor":82},221525,"song-shou-tu-ma-yuan-221525","松寿图","辽宁省博物馆","此图是马远典型的山水小景画布局风格，描绘山崖一角，苍松斜伸。一文人闲坐石台之上，仰目远眺，旁侧一童子持杖侍立。临溪疏竹丛生，远山寥寥而成。山石用斧劈皴，松树用笔奇崛。右下角行书“马远”单款，画幅上端有宋宁宗赵扩行书七言诗：“道成不怕丹梯峻，髓宝常欺石榻寒，不恋世间名与贵，长生自得一元丹。赐王都提举为寿”。",[23,24,25,26,27,30,31,54,7,35,202,418,302,288,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa6f346761d8847499876d6085320103.jpg","纵122厘米，横52.7厘米",[78,40,62],119,{"id":1154,"slug":1155,"title":1156,"dynasty":87,"author":1157,"museum":299,"description":1158,"tags":1159,"thumbUrl":1160,"material":543,"size":1161,"collection":120,"collections":1162,"showCount":1152,"zanCount":11,"manualWeight":11,"mainColor":82},214359,"san-jue-shan-shui-ce-5-hua-yan-214359","三绝山水册-5","华嵒","华岩的十六页中描绘了一幅清晰、优雅和空灵的风景。新罗山人擅长花鸟和人物，但山水也可以纳入收藏。",[23,24,53,256,54,215,7,55,57,31,35,485],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2278d8fef17ce39c9b91175a537f50d.jpg","23.4x15.8",[],{"id":1164,"slug":1165,"title":1166,"dynasty":49,"author":50,"museum":20,"description":1167,"tags":1168,"thumbUrl":1170,"material":841,"size":1171,"collection":40,"collections":1172,"showCount":1173,"zanCount":11,"manualWeight":11,"mainColor":44},220170,"song-lin-ting-zi-tu-ni-zan-220170","松林亭子图","此画写的是江南山庄的景色，平远为山水，较为隐约，近处为山坡，坡陀上山石横卧。中幅画有数棵穿天大树，大树下画有一亭子，座落在远山、近石之间。\n画面左上方有倪瓒于至正十四年（1354）的一段赠友人的题跋：“亭子长松下，幽人日暮归。清晨重来此，沐发向阳晞。至正十四年初冬，倪瓒为长卿茂异写松林亭子图，并诗其上。” 幅上有潘纯题。",[23,24,25,26,53,54,30,7,276,302,134,1169,344,36],"水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ebd82fa0184f444978c623ab494f284.jpg","纵83.4厘米，横52.9厘米",[40],118,{"id":1175,"slug":1176,"title":1177,"dynasty":87,"author":733,"museum":20,"description":1178,"tags":1179,"thumbUrl":1182,"material":1183,"size":1184,"collection":384,"collections":1185,"showCount":1186,"zanCount":141,"manualWeight":11,"mainColor":44},222775,"hua-shi-jun-quan-jin-chi-xian-zhou-lang-shi-ning-222775","画十骏犬金翅猃轴","画中十条品种高贵的名犬，这些名犬大都是当时周边部落首领进献给皇帝的，，均为郎世 宁写生作品。由于他深谙动物的解剖结构，所以其笔下的名犬形象非常准确，且富于立体感。在笔法上，他以细碎的小笔触来表现动物皮毛的质感，使得入 画的名犬栩栩如生。\n十条品种高贵的名犬，分别命为：苍水虬、斑锦彪、金翅猃、蓦空鹊、墨玉璃、茹黄豹、睒星狼、霜花鹞、雪爪卢、苍猊犬。其中，前九条狗都属小头长吻、腰腹收缩、四肢细劲那类品种，均为出色的擅长奔跑的猎手，敏捷强壮，速度耐力惊人，成为皇帝一行围猎时的好帮手;最后那条威猛的苍猊犬，应当是藏獒。\n从画面上看，图中的犬，无疑是由画家郎世宁所绘，因为狗采用的是西方的素描画法，造型立体具有质感，欧洲风味很足;而图画背景部分的花草坡石，讲究皴法、勾勒，追求平面的装饰效果，与动物的画法相比较，二者有很大的差异，这应当是由供奉宫廷的中国画家用传统画法补画的，但署名只有郎世宁一人。作品用中国的毛笔、纸绢和色彩，却以欧洲的绘画方式来诠释动物的结构、体积感及皮毛的质感，使得动物造形准确、生动，立体效果强。在这幅作品中骏犬的描绘用素描式的方法，通过光影明暗的变化，来达到栩栩如生的效果。但环境的描绘却遵循中国绘画的传统技法，勾、皴、点、染，兼工带写，以工为主，营造出中国花鸟画所特有的清秀明丽的韵味。\n《十骏犬》册中的每幅图都有当朝的文职大臣的题诗赋词。据史料记载，乾隆皇帝拿到时，大加赞赏，百看不厌，爱不释手。这幅册页，艺术水准相当高，郎士宁使用的是中国的软笔，却按西画的透视和光感等技巧，把犬的形态和神态表现出来，体现了高超的写生功夫和创意能力，画得相当精细，栩栩如生，立体感极强。比如犬的毛是单笔渐入，虽然用的不是画油画的油彩，却根根呈现，逼真到让人忍不住触手去摸，中国画是散点透视，西画是高光点和近光点，一点透视。这种透视效果在这两幅册页中充分体现出来。这些技法对后来中国画的发展都有很大的影响。",[26,28,27,961,1180,7,288,1181,484,57,34],"犬","花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3d9b7654a0339edd6a81f4425fe0115.jpg","绢本 设色","每幅纵246.6厘米，横163.9厘米",[384,103],117,{"id":1188,"slug":1189,"title":1190,"dynasty":87,"author":1191,"museum":699,"description":1192,"tags":1193,"thumbUrl":1194,"material":38,"size":1195,"collection":40,"collections":1196,"showCount":1186,"zanCount":11,"manualWeight":11,"mainColor":82},220430,"you-gu-tu-kun-can-220430","幽谷图","髡残","髡（kūn）残(1612-1692)，清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、残道者、电住道人。湖广武陵(今湖南常德)人。与石涛合称“二石”。髡残一生中大部分时间都在山水中度过，经常驻足于名山大川，在山林泽薮之间，侣烟霞而友泉石，踯躅峰巅，留连崖畔，以自然净化无垢之美，对比人生坎坷、市俗机巧，从中感悟禅机画趣。\n髡残在明末遗民中享有很高的声望，他的画也为世人所瞩目。当时著名的文人兼大鉴赏家周亮工就十分景仰、看重髡残的人品和画学，在《读画录》中为他写小传，谓：“人品笔墨俱高人一头地……绘事高明，然轻不为人作。”张怡在髡残的《仿米山水册》中是这样评价这位心灵相契的老友的：“举天下言诗，几人发自性灵?举天下言画，几人师诸天地?……此幅自云效颦米家父子，正恐米家父子有未到处，所谓不恨我不见 髡残古人，恨古人不见我耳。”他认为髡残的诗，是写出了自己的性灵；髡残的画是直师造化，甚至比宋代米芾父子还好；髡残的佛学是直指本心，而没有出家人开堂说法的那种俗套。张庚《国朝画征录·髡残传》云：“奥境奇辟，缅邈幽深，引人入胜。笔墨高古，设色精湛，诚元人之胜概也。此种笔法不见于世久矣!” [4] 这段话说明髡残的画深得元季四大家的精髓。总之，三百多年来，髡残一直以其人品与画品并重的高华之气，影响着画坛，成为画家心目中的丰碑",[23,24,25,26,30,27,54,94,33,35,36,135,31,404,7,574],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784ed53c41b7939b3a557817b650a269.jpg","143.19 × 59.21",[40,103],{"id":1198,"slug":1199,"title":1200,"dynasty":69,"author":1201,"museum":147,"description":1202,"tags":1203,"thumbUrl":1207,"material":190,"size":1208,"collection":101,"collections":1209,"showCount":1186,"zanCount":193,"manualWeight":11,"mainColor":82},216738,"ren-wu-gu-shi-tu-juan-liu-song-nian-216738","人物故事图卷","刘松年","人物故事图卷是宋朝时期的一部传统文学作品，由刘松年编撰。这部作品记录了中国历史上许多杰出人物的生平故事，内容涵盖了从周朝到宋朝的历史时期。人物故事图卷以简要的文字和生动的图画讲述了各个人物的故事，并通过对比和描述来展示他们的性格、品质和道德。这部作品对了解中国历史和文化具有重要意义，并且今天仍然是中国传统文学研究的重要参考资料。",[23,28,27,186,29,188,92,31,94,639,36,35,642,641,1204,161,1205,1206,778,7],"衣冠","车马","人物故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06547500b479d14c237b5c8c3448d3ed.jpg","26.1x446.5",[101],{"id":1211,"slug":1212,"title":1213,"dynasty":18,"author":19,"museum":362,"description":1214,"tags":1215,"thumbUrl":1218,"material":38,"size":120,"collection":40,"collections":1219,"showCount":1220,"zanCount":141,"manualWeight":11,"mainColor":82},220428,"you-jian-zhuo-zu-tu-wen-zheng-ming-220428","幽涧濯足图","图绘深山幽涧，高士濯足涤俗。山石皴法不作奇峭之笔，徐徐擦出，崖上之树叶全用细笔点染，全幅清气出尘，观之使人爽然。",[23,73,24,25,26,27,30,31,36,56,1216,33,7,54,1217,34],"洞穴","苔点","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6ce959c12441f921b6cc387711c038.jpg",[40,101,103],115,{"id":1222,"slug":1223,"title":1224,"dynasty":18,"author":128,"museum":89,"description":1225,"tags":1226,"thumbUrl":1227,"material":59,"size":1228,"collection":40,"collections":1229,"showCount":1220,"zanCount":11,"manualWeight":11,"mainColor":44},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。",[23,24,30,53,54,274,188,29,34,132,162,7,187,303,56,365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67492efb0d8fa7648850e9c9e7471a69.jpg","纵101.7厘米，横46.7厘米",[40,62],{"id":1231,"slug":1232,"title":1233,"dynasty":18,"author":1234,"museum":1235,"description":1236,"tags":1237,"thumbUrl":1239,"material":99,"size":1240,"collection":384,"collections":1241,"showCount":1242,"zanCount":220,"manualWeight":11,"mainColor":82},221940,"bai-he-tu-juan-bian-wen-jin-221940","百鹤图卷","边文进","四川省博物馆","此图笔墨精炼，色调明快，绘白鹤近百只，皆丹顶白毛黑尾长腿，或空中盘旋、或水中嬉戏、或伏地栖息、或飞鸣啄食、或舒翼理毛……神态各异，莫不栩栩如生，各臻其妙。鹤群栖息之处鲜花绽放、松树遒劲、水流奔腾、湖石耸立，群鹤和睦，情景融融。",[23,24,186,28,27,667,563,7,1238,35,36,95,30],"桃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb94bd1c5f39208d59af0aa9219a8508f.jpg","25.4*241.33cm",[384,103],114,{"id":1244,"slug":1245,"title":1246,"dynasty":110,"author":1247,"museum":20,"description":1248,"tags":1249,"thumbUrl":1251,"material":190,"size":1252,"collection":101,"collections":1253,"showCount":1254,"zanCount":141,"manualWeight":11,"mainColor":82},221114,"yan-le-tu-zhou-zhou-fang-221114","演乐图轴","周昉","大松下五位士人围长案雅聚，童子张琴，仕女抱阮或备茶，人物器用俱以中锋细笔钩勒，顿起顿收，转折挺劲，如画树的枝桠。画上无作者款印，旧传周昉作。按周昉（活动于八世纪末）是陕西长安人，唐代著名人物画家，画史称其人物善于刻画个别的性格，并能掌握特定环境下的情态。本幅构图似是取自其他作品拼凑而成，如士人围坐的构图便是摹仿传世十八学士的一段。",[23,24,25,26,28,27,31,203,7,95,1250],"器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb21b1bfe7ff31574b4855b09db89917a.jpg","165.6x84.4",[101,103],113,{"id":1256,"slug":1257,"title":1258,"dynasty":69,"author":1259,"museum":89,"description":1260,"tags":1261,"thumbUrl":1262,"material":1263,"size":1264,"collection":120,"collections":1265,"showCount":1266,"zanCount":11,"manualWeight":11,"mainColor":82},221675,"wan-song-jin-que-tu-juan-quan-juan-zhao-bo-su-221675","万松金阙图卷全卷","赵伯骕","该图画江南的湖畔松岭和楼阁，松树茂密，山巅蜿蜒，上有琼楼金阙。\n该图属青绿山水，笔法清细繁复，格调柔丽雅洁，显示出南宋皇家贵胄的审美情趣。\n该图的出现，标志着宋代山水画的表现对象从北方雄浑的山川转移到江南的青山绿水。\n图绘南宋都城临安郊外风凰山一带景色碧波万顷，红日初升，茂林长松，惊起翔鹤飞鸿，川间琼楼金阙隐约可见。\n该图尾纸有元代赵孟頫、倪瓒、张绅题跋。\n赵伯骕唯一存世的画迹是《万松金阙图》卷，幅上虽无作者款印，但后纸有宋宗室后裔元代赵孟頫的鉴定题记，将此作定为赵伯骕的奉敕之作。\n图中所画是临安皇城之北的万松岭，“金阙”是特指皇帝的宫殿。\n绍兴八年（118年），赵构定都临安，以行宫为基础，东起凤山门，西至凤凰山麓，南抵笤帚湾，北达万松岭，在这方圆18里的范围内营造了南宋皇朝宫殿。\n万松岭相当于宫城的后花园，在那里，有供皇室四季游玩的亭台楼阁，如夏季可在翠寒宫避暑。\n冬季可在明远楼避寒，中秋可在依桂阁赏月，还有专供醉卧用的钟美堂……。\n赵伯骕所绘的“万松”和“金阙”正是此处，画中的金阙周围有许多仙鹤和瑞禽，皇家宫阚掩映在万松之中，在万松的尽头，是钱塘江畔，在潮起潮落之后，是一片宁静，一轮初升的太阳映照山川，其画意在于祷祝宋室江山如松林常青、似日月永年。\n赵伯骕是一位富有艺术情感的画家，他认为： “画家类能具其相貌，但吾辈胸次。\n自应有一种风规，俾神气悠然，韵味清远，不为物态所拘，便有佳处。 况吾所存，无媚于世而能合于众情者，要在悟此。\n”所以，这是一位皇族画家在受到皇帝恩典后发自内心的无限感激和祈祝之后创作的绘画。\n不过，也有学者认为，《万松金阙图》主要描绘了平江府天庆观及其周围的景致，图中金阙（楼阁）是天庆观内三清殿等为皇家祈福的道教圣殿，是一幅粉饰太平、歌颂孝宗赵昚的绘画作品。\n全图的笔法清细随意，并参用了一些意笔，格调柔丽雅洁，毫无匠气，意味着南宋青绿山水画的崛起。\n这件山水长卷的超越前人之处在于摆脱了自六朝以来青绿山水以钩廓填色的艺匠手法，有机地融进了一些文人意笔。\n使两者巧妙地糅合为一体，画家大量地运用了墨点，横点联树成片，竖点作青苔，手法较为自由随意，这在当时是极富有创意的笔墨技巧。\n山间布置几处“金阙”建筑，用没骨法涂金敷色而成，突出于万松之表。\n几处建筑虽只露顶部，仍可见其造型的准确。\n近景的山石用皴笔为之，浑厚凝重，透视感强。\n此图同时还吸收了马和之等文人画家的笔墨新形式、新趣味，形成了笔法清细繁复、格调清新秀雅的新风格。\n此图开卷作海天杳渺，月明霞青，高松数株挺拔而立，群鹤翔集。\n海岸延伸至海中的礁石嶙峋黝黑，海浪平静起伏。\n坡岸上绿草成茵，围绕松树有一片桃林，红花点点相映其间，仅此开卷一段便有无穷景致。\n起伏层叠的峰岗构成了画面主体，或远或近，或平或伏，皆郁郁葱葱。\n《万松金阙图》显示了赵伯骕在继承传统和改革创新的成功尝试：构图和设色继承唐代李思训《江帆楼阁图》的绘画传统，但又有所突破。\n因此，《万松金阙图》可以视为宋代青绿山水从追求北方的雄浑之美向江南水乡清雅之美转变的一件典型作品，为其后元代文人山水画的发展开创了新局面。\n从该图钤印可知，该图历经清梁清标、安岐、乾隆帝、宣统帝收藏，民国初年被溥仪盗出宫外，新中国成立后被国家收购，195年由文化部文物局（今国家文物局）拨交北京故宫博物院。\n该图曾经《墨缘汇观》、《大观录》著录。\n217年9月15日至12月14日，《万松金阙图》在故宫午门正殿展厅举办的“千里江山——历代青绿山水画特展”中展出。\n赵伯骕（1124～1182） ，南宋宗室，寄居平江府（治今江苏苏州），字希远。\n燕懿王赵德昭后裔。\n绍兴初，荫补入仕，为承节郎、监绍兴府馀姚县酒税。\n历任侍卫马军司干办公事、浙西安抚司干办官。\n隆兴二年（1164），擢浙西兵马副部监兼职德寿宫。\n进浙西兵马钤辖。\n乾道七年（1171），副中书舍人赵雄出使金朝，贺金主生日。\n还朝，自武翼郎超转武翼大夫，俄升浙西副总管。\n淳熙中，累迁浙西提点刑狱，官终武功大夫、和州防御使。\n善画山水花木，傅染轻盈，颇有生意。\n作品有《万松金阙图》、《仙峤白雪图》等。",[23,24,73,186,115,27,28,54,30,7,94,35,135,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1377606a06e9e5e04495fcfb385c4f1.jpg","绢本青绿设色","纵27.7厘米，横136厘米",[],112,{"id":1268,"slug":1269,"title":1270,"dynasty":49,"author":1271,"museum":89,"description":1272,"tags":1273,"thumbUrl":1282,"material":137,"size":1283,"collection":40,"collections":1284,"showCount":1285,"zanCount":105,"manualWeight":11,"mainColor":44},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。",[23,24,25,186,53,54,34,30,162,288,116,737,35,485,1274,31,1275,1276,187,1277,1181,7,367,1278,1279,1280,439,1281],"渔船","远岫","岸","枝干","岸滩","船只","山间","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ad6676a3f8f4d776bd2cf92396b87c9.jpg","纵30cm，横52.8cm",[40,62],111,{"id":1287,"slug":1288,"title":1289,"dynasty":49,"author":88,"museum":147,"description":1290,"tags":1291,"thumbUrl":1293,"material":118,"size":119,"collection":120,"collections":1294,"showCount":1295,"zanCount":141,"manualWeight":11,"mainColor":82},290164,"mo-li-zhao-dao-ming-huang-xing-shu-tu-yi-ming-290164","摹李昭道明皇幸蜀图","此图可能为宋代摹本，但比较接近李思训、李昭道父子的画风，是反映唐代山水画面貌的重要传世作品。宋代苏轼对此图的艺术手法曾有过一段描写，从马的特征认出骑马的便是唐明皇李隆基。",[24,274,115,27,30,31,242,690,7,35,1292],"历史画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ddcfa9101a675f217a7063e8075a829.jpg",[],110,{"id":1297,"slug":1298,"title":1299,"dynasty":87,"author":978,"museum":147,"description":1300,"tags":1301,"thumbUrl":1305,"material":120,"size":120,"collection":120,"collections":1306,"showCount":1295,"zanCount":11,"manualWeight":11,"mainColor":44},233906,"hua-hui-shan-shui-ce-yun-shou-ping-233906","花卉山水册","恽寿平（1633-1690年），初名格，后以字行，又字正叔，别号南田，一号白云外史、云溪外史、东园客、巢枫客、草衣生、横山樵者。江苏武进人。清代著名画家。与“四王”、吴历并称“清初六大家”。其父恽日初诗文杰出，为“复社”中人。叔父恽向（道生）为著名山水画家，自创一派。恽寿平是清朝初期最享盛名的花鸟画家。其画作多写生，人称“写生正派”；更以徐崇嗣为宗，兼取各家之长，极大的发展了没骨画。所画花卉，很少勾勒，以水墨着色渲染，用笔含蓄，画法工整，明丽简洁，天趣盎然。恽寿平不仅画作出众，风格独具，而且兼工诗书，题句清丽流畅，诗格脱俗超逸，为“昆陵六逸”之冠。恽南田《山水花卉册》八帧，其中包括山水，花鸟及情景兼容的人物，攘括了恽南田所有的画种。画中有退耕堂藏印。退耕堂为徐世昌的室名。\n恽寿平一生坎坷，饱经困苦，他幼年聪颖玲利，遭遇战乱，与兄皆被俘，与父亲失散，后遇灵隐寺方丈相救，才得以与家人团聚，归家后，发奋读书学画。经刻苦钻研，于古文、诗词、书画无不精擅。他崇尚气节，誓不应科举，少时的忧患，留下深深的创痛，一生未尝忘情。却在绘画上取得了很高的成就；恽南田曾致书王（翚）说：“格于山水，终难打破一字关，曰‘窘’，良由为古人规矩法度所束缚耳。”又说：“君独步矣！吾不为第二手也”。于是恽寿平转攻花鸟，以后山水不过偶而为之。可见其艺术抱负。《山水花卉册》中的山水，取黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，吸取王蒙、二米等人之长，渐脱刻极。40岁左右作品最为精采，如43岁的《山水花鸟册》，技法灵活多变，表达各家风貌准确，艺术已臻成熟。他的花鸟画成就最为突出，取法徐崇嗣的没骨法，他的没骨花卉，揉合了黄（筌）、徐（熙）两派技法，既重视写生，力求形似，“每画一花，必折是花插之瓶中，极力描摹，得其生香活色而后已。”又强调“与花传神”。力去华靡，追求“ 澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[24,1029,215,1302,27,34,778,7,1303,509,1304],"没骨","鱼","落花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45310b0b5b6eed41b29e10791b123347.jpg",[],{"id":1308,"slug":1309,"title":1310,"dynasty":87,"author":733,"museum":20,"description":1311,"tags":1312,"thumbUrl":1313,"material":99,"size":1314,"collection":384,"collections":1315,"showCount":1295,"zanCount":141,"manualWeight":11,"mainColor":44},222778,"bai-gu-tu-lang-shi-ning-222778","白鹘图","乾隆十六年，郎世宁六十二岁作山涧里，一湾小瀑，松干横空而出，一白鹘踏枝上，似闻声惊起。画白鹘以白粉精细描绘，松石配景全然中国写意笔墨，清代白鹘图为大学士忠勇公傅恒所进。郎世宁六十二岁作。\n图中白鹘栖息于涧松之上,于传统画法中,参用光影透视,遂使画面突出于绢上 落款：乾隆十六年间五月初十日大学士忠勇公傅恒进百鹘一架，命海西臣郎世宁绘图。",[23,73,24,25,28,27,95,7,35,55,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa618ea27a0bd8af02383347a6e3a0f11.jpg","纵121.7×横64公分",[384,103],{"id":1317,"slug":1318,"title":1319,"dynasty":18,"author":413,"museum":20,"description":1320,"tags":1321,"thumbUrl":1322,"material":656,"size":1323,"collection":101,"collections":1324,"showCount":1325,"zanCount":220,"manualWeight":11,"mainColor":44},222366,"yin-he-tu-tang-yin-222366","饮鹤图","《六如居士饮鹤图》画中主人公山中给鹤饮水一事。右侧，有唐寅的题字，为唐寅传世不多的精品之作。历史上的唐伯虎尽管才华出众，有理想抱负，是位天才的画家，但他那愤世嫉俗的狂傲性格不容于这个社会。他一生坎坷，最后潦倒而死，年仅54岁。他临终时写的绝笔诗就表露了他刻骨铭心的留恋人间而又愤恨厌世的复杂心情：“生在阳间有散场，死归地府又何妨。阳间地府俱相似，只当飘流在异乡。”",[23,24,186,53,54,188,34,30,7,31,563,55,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5ec58d2f56c2e7c9e604b90f864ec56.jpg","30x210",[101,62],109,{"id":1327,"slug":1328,"title":1329,"dynasty":87,"author":1330,"museum":1331,"description":1332,"tags":1333,"thumbUrl":1334,"material":38,"size":1335,"collection":40,"collections":1336,"showCount":1337,"zanCount":11,"manualWeight":11,"mainColor":44},219932,"fang-wen-zheng-ming-shan-shui-tu-gu-yun-219932","仿文徵明山水图","顾澐","辛辛那提艺术博物馆","顾澐（1835-1896），字若波，号云壶、壶翁，以字行。吴县（今属江苏苏州）人。工山水，泽古功深，汇四王、吴、恽诸家之长。清丽疏古，气韵秀出，间作花卉、人物，近于新罗。光绪十四年（1888）游日本，遍览东京诸胜，所画一树一石皆备受赞赏。长期鬻画沪上。出版有《顾若波山水集册》。",[23,24,25,73,26,27,115,54,30,7,32,31,175,35,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6067fbcb05b4099e0dad02acc22a97e5.jpg","123.2x37.3厘米",[40],108,{"id":1339,"slug":1340,"title":674,"dynasty":69,"author":88,"museum":226,"description":1341,"tags":1342,"thumbUrl":1344,"material":1345,"size":1346,"collection":78,"collections":1347,"showCount":1348,"zanCount":141,"manualWeight":11,"mainColor":82},223647,"guan-pu-tu-yi-ming-223647","图中危崖耸立，瀑布垂挂直落谷底，水雾弥漫。雅士于园林一角。凭栏观飞泉，神态怡然陶醉，超然清逸之趣溢于画外。 山石全以斧劈皴出之，描绘树木勾点并用。整幅图有峻峭秀逸之气。",[23,24,25,256,27,54,35,55,161,7,33,1343,288,32],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2237080d6dc050c086dee19035000720.jpg","水墨，淡设色","纵178厘米，横104厘米",[78,40],106,{"id":1350,"slug":1351,"title":1352,"dynasty":18,"author":459,"museum":89,"description":1353,"tags":1354,"thumbUrl":1356,"material":99,"size":1357,"collection":40,"collections":1358,"showCount":1348,"zanCount":105,"manualWeight":11,"mainColor":82},222185,"lin-xi-shui-ge-tu-chou-ying-222185","临溪水阁图","仇英“初为漆工，兼为人彩绘栋宇，后徙而业画，工人物楼阁。”或许是出身的关系，其笔下的楼阁多用界笔，刻画精工，但与纯界画不同的是，仇英的绘画技艺同时受到职业画师和文人画家的双重影响。此幅亦是将文人山水与界笔水阁巧妙结合的作品，追求含蓄蕴藉的格调，着意塑造文人高士所欣赏的艺术形象。",[23,24,27,28,30,274,1355,33,7,35,55,31,150],"水阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d90792ff94d1f0e49ced0c4da982ca0.jpg","纵41.1厘米，横33.8厘米",[40,103],{"id":1360,"slug":1361,"title":1362,"dynasty":69,"author":1363,"museum":147,"description":1364,"tags":1365,"thumbUrl":1367,"material":190,"size":1368,"collection":78,"collections":1369,"showCount":1348,"zanCount":11,"manualWeight":11,"mainColor":82},219006,"song-yin-xian-zuo-tu-li-song-219006","松荫闲坐图","李嵩","苍松覆荫，烟岚轻笼远山，黛色隐于薄雾间。近树虬枝盘曲，叶色深浓如墨，似将尘嚣隔绝。林间空地上，一人闲坐石畔，或凝思或望远，身旁童子悄然侍立，动静相衬，幽趣自生。\n\n笔墨简淡却意韵悠长：山石以斧劈皴略施渲染，显峻秀之态；树木枝干苍劲，线条灵动如舞。整幅画于静谧中藏生机，简远中见雅致，恰是宋人山水小品里“天人合一”的写照——将文人寄情林泉、超然物外的心绪，融于每一笔墨、每一处留白，读来如沐清风，心向往之。",[23,24,25,26,53,54,30,7,1366,288,31,35],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70413899e21118c8e47102d3e86827c9.jpg","118x57",[78],{"id":1371,"slug":1372,"title":1373,"dynasty":69,"author":675,"museum":147,"description":1374,"tags":1375,"thumbUrl":1377,"material":120,"size":120,"collection":120,"collections":1378,"showCount":1379,"zanCount":11,"manualWeight":11,"mainColor":194},227724,"zuo-kan-yun-qi-xia-gui-227724","坐看云起","《坐看云起图》为南宋画家夏圭所绘。左侧山石处款署“夏圭”。\n图绘江流滚滚，一人坐于临江高台上，旁放一高杖。身后峭壁有一古松，盘虬曲折。\n\n夏圭，临安人（杭州），生卒年不详，字禹玉，中国著名山水画大家，南宋四家之一，与马远、刘松年、李唐齐名。在南宋画坛，他与著名画家马远合称“马夏”。他没有入官，但进入过南宋画院担任待诏工作。\n\n据文献记载，夏圭在绘画上入手学习的是人物画，但不久以后他转入了山水并作为主攻方向。夏圭学习过李唐、范宽、米芾、米友仁的山水画技术，并主要以李、范为根基。夏圭在笔墨构建上，倾向于苍劲、开张、有力的特色，所以他的山水画有滋润淋漓之美。山水画技术中，有一种皴法泥里拔钉皴，就是夏圭首先运用的。这种皴法先用淡墨铺底染，然后根据其湿度状况，加以浓墨勾皴，使得浓淡墨达到理想的交融状态，视觉上有层次丰富之效果。\n\n夏圭更为人称道的是他的构图法。他经常只取景施绘在画面的一部分，而空出另一部分。这种处理法的好处是将重点突出，让欣赏者有更佳的代入感。因此人们将夏圭这种方式称作“夏半边”，它与马远的“马一角”并称南宋画坛。\n\n夏圭的作品传世至今尚有不少珍品，其中冠名为他的绘画有长卷画《江山清远图》、《长江万里图》等。有其他立轴、方幅画《溪山无尽图》、《溪山奇观图》、《山川钟秀图》、《雪山图》、《松崖客话图》、《溪山清远图》等。这些作品大多收藏在北京故宫博物院、台北故宫博物院等著名机构中。",[23,73,24,53,30,678,54,31,7,33,57,1376],"云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a8e1bea9257f9b429a7874901d3a2ca.jpg",[],105,{"id":1381,"slug":1382,"title":1383,"dynasty":69,"author":199,"museum":20,"description":1384,"tags":1385,"thumbUrl":1391,"material":1392,"size":1393,"collection":78,"collections":1394,"showCount":1395,"zanCount":11,"manualWeight":11,"mainColor":82},221518,"han-yan-ji-xue-tu-zhou-ma-yuan-221518","寒岩积雪图轴","季节的变化，为大自然改换面貌、增添新色，冬天时万物凋零，呈现一片幽寂的景象，最适宜入画。画中白雪覆盖了整个溪岸与山峰。长松挺立在庭园中央，屋宇周围处梅花绽开，在静谧的气氛中增添生气。屋内坐着两位秉烛谈心的文人，微弱的烛光，也为幽寂昏暗的景色带来丝丝地暖意。",[23,73,24,25,26,53,27,54,30,509,1386,1387,7,367,31,1388,56,1389,1390],"寒岩","积雪","轩","湖面","柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe690130e1e87bba26c0e4e9523fbab3e.jpg","绢本浅设色","纵：156.7厘米，横：82.4 厘米",[78,40,62],104,{"id":1397,"slug":1398,"title":30,"dynasty":337,"author":1399,"museum":339,"description":1400,"tags":1401,"thumbUrl":1402,"material":120,"size":120,"collection":120,"collections":1403,"showCount":1395,"zanCount":141,"manualWeight":11,"mainColor":44},220477,"shan-shui-fu-bao-shi-220477","傅抱石","此作用笔秀润，设色雅致，以烟岚晕染远山，黛色层叠间漾出空濛秋意。中景丹枫与青松交错，赭石铺就秋山暖调，村居隐于林麓，野趣横生。近畔水榭临流，凭栏二人闲对，静赏天光云影，将秋日江村的幽寂闲恬铺陈开来。题画诗与笔墨相映，文心入画，将文人寄情山水、栖居林泉的诗意愿景藏于尺幅之间，观之如临清秋江村，尽揽山居雅趣。",[24,27,54,30,94,36,134,714,261,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7d127d461e95daec85dc02446a8bd1d.jpg",[],{"id":1405,"slug":1406,"title":1407,"dynasty":87,"author":1106,"museum":20,"description":1408,"tags":1409,"thumbUrl":1410,"material":190,"size":1411,"collection":40,"collections":1412,"showCount":1395,"zanCount":11,"manualWeight":11,"mainColor":44},219653,"song-yan-jing-le-tu-wang-shi-min-219653","松岩静乐图","烟客画山水，宗法元四家，晚年尤倾力黄公望，逐入痴翁堂奥，巽笔湿笔，自具心裁。此为七十九岁老年之作，笔墨犹不脱秀润之色。",[24,27,54,30,7,35,33,36,175,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe485b1637050632062640af0dec5e5eb.jpg","168x76.3",[40],{"id":1414,"slug":1415,"title":1416,"dynasty":87,"author":171,"museum":147,"description":583,"tags":1417,"thumbUrl":1418,"material":120,"size":120,"collection":40,"collections":1419,"showCount":1420,"zanCount":11,"manualWeight":11,"mainColor":44},237762,"yuan-ji-shan-shui-tu-ce-shi-tao-237762","原济山水图册",[24,25,215,53,54,34,30,7,55,33,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2602ace4f9f01cb00770af8e9295051f.jpg",[40,103],102,{"id":1422,"slug":1423,"title":855,"dynasty":69,"author":1201,"museum":20,"description":1424,"tags":1425,"thumbUrl":1428,"material":543,"size":1429,"collection":120,"collections":1430,"showCount":1431,"zanCount":141,"manualWeight":11,"mainColor":82},231401,"xi-yuan-ya-ji-tu-liu-song-nian-231401","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。",[23,24,25,186,28,27,54,31,30,32,33,162,302,7,344,161,203,1426,1427,1181],"饮酒","笔墨纸砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0ec0fd785b62b366399fa57e2029f4f.jpg","34×191cm",[],101,{"id":1433,"slug":1434,"title":1435,"dynasty":49,"author":50,"museum":89,"description":1436,"tags":1437,"thumbUrl":1449,"material":629,"size":1450,"collection":40,"collections":1451,"showCount":1431,"zanCount":11,"manualWeight":11,"mainColor":44},220795,"you-jian-han-song-tu-zhou-ni-zan-220795","幽涧寒松图轴","《倪瓒幽涧寒松图轴》是元代画家倪瓒创作的一幅纸本水墨画。\n此幅是为友人周逊学所作，并题五言诗：“秋暑多病暍，征夫怨行路。瑟瑟幽涧松，清荫满庭户。寒泉溜崖石，白云集朝暮。怀哉如金玉，周子美无度。息景以桥对，笑言思与晤。”\n倪瓒清高持节，一生不仕，他“白眼视俗物，清言屈时英。富贵乌足道，所思垂今名。不仅自己抱守出世的生活态度，而且对朋友们的入世为官也坚决反对。此幅一为友人赠别，更是劝友人“罢”征路，“息”仕思，含有强烈的“招隐之意”。平远画溪涧幽谷，山石依次渐远，二株松树挺立于杳无人迹的涧底寒泉，意境荒寒，超然出尘，似乎暗寓着仕途的险恶和归隐的自得。构图不用常见的“一河两岸”两段式章法，但画幅上方和其大多数作品一样，留出大片空白，让观者分不清哪里是水，哪里是天。山石墨色清淡，笔法秀峭，渴笔侧锋作折带皴，干净利落而富于变化。松树取萧疏之态，笔力劲拔。倪瓒此幅，笔墨无多但意境深幽，“疏而不简”，“简而不少”。他的这种笔简形具，注重抒写性灵的画格被后人称之为“逸品”。到了明代，更是“江南人家以有无为清浊”，其清标高格，在历代文人士大夫心目中始终被尊为“高士中的高士”。\n此幅作品简淡超逸，虽未署年款，但从书法由竖长变为扁方以及名款和画风来看，当是晚年之作。",[23,24,53,30,7,1438,1439,1440,32,35,54,1441,1442,1443,1444,1445,1446,1447,1448,188],"溪涧","幽谷","寒泉","折带皴","渴笔","逸品","荒寒","超然出尘","简淡超逸","意境深幽","招隐之意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8c44e7f6172187fb1022fb560336ac0.jpg","纵59.7cm，横50.4cm",[40,62],{"id":1453,"slug":1454,"title":1455,"dynasty":87,"author":772,"museum":1107,"description":1456,"tags":1457,"thumbUrl":1459,"material":190,"size":1460,"collection":384,"collections":1461,"showCount":1431,"zanCount":141,"manualWeight":11,"mainColor":82},219129,"shou-tian-bai-lu-tu-shen-quan-219129","受天百禄图","这是一幅“玩谐音梗”的作品：梅花鹿的“鹿”谐音为“禄”，松柏谐音为“百”，“鹿”和“百”同时出现在一幅画上时，画面内容就不仅仅是“梅花鹿和柏树”了，而变成了富有“百（柏）世荣禄（鹿）”这样子吉祥寓意的祥瑞之图了。试问谁收到这样一幅承载了满满祝福的美图不会开心到起飞呢～\n这幅作品以工笔细描的手法将鹿、柏描绘得非常精细。鹿身比例较为协调，体格健硕；鹿身上的绒毛非常细密，双目圆睁，神采奕奕。画的下方角落里还有潺潺流水，水波粼粼，浪花细密。水边野花三三两两，错落有致，作者将星星点点的花蕊也绘制得十分细腻。",[23,24,25,26,27,28,961,1458,7,35,806],"鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09e758b63a73d9571d6bba802a1c5942.jpg","纵199厘米，横97.5厘米",[384],{"id":1463,"slug":1464,"title":1465,"dynasty":49,"author":1466,"museum":226,"description":1467,"tags":1468,"thumbUrl":1472,"material":190,"size":120,"collection":40,"collections":1473,"showCount":1431,"zanCount":105,"manualWeight":11,"mainColor":82},214843,"gu-he-heng-jiang-tu-zhao-yong-214843","孤鹤横江图","赵雍",""孤鹤横江图" 是由赵雍创作的一幅绘画作品，属于中国元代时期的艺术作品。这幅画描绘了一只孤独的鹤立在江边，四周环境荒凉，鹤自身也显得孤单寂寞。赵雍被认为是中国元代时期的杰出画家，他的作品常常描绘出自然的美丽和人性的温柔。"孤鹤横江图" 是赵雍的经典作品之一，其中蕴含着许多哲理性的内涵。",[23,24,25,30,678,53,27,7,35,1469,116,31,150,1470,1471],"江水","红叶树","孤鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06b5ac680d970d8fc5d20adb7ce936dc.jpg",[40],{"id":1475,"slug":1476,"title":1477,"dynasty":87,"author":1478,"museum":147,"description":1479,"tags":1480,"thumbUrl":1482,"material":120,"size":120,"collection":120,"collections":1483,"showCount":1484,"zanCount":220,"manualWeight":11,"mainColor":194},236105,"mu-dan-shuang-shou-tu-zhou-yu-sheng-236105","牡丹双绶图轴","余省","桃花双绶图轴 清 余省 桃花双绶图轴 绢本设色 纵12厘米 横5厘米。",[73,24,25,26,27,28,667,1481,7,668,35,806],"牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5c4c0d3181e223fbb9eb02524df05a4.jpg",[],100,{"id":1486,"slug":1487,"title":1488,"dynasty":18,"author":1015,"museum":20,"description":1489,"tags":1490,"thumbUrl":1491,"material":76,"size":1492,"collection":40,"collections":1493,"showCount":1484,"zanCount":64,"manualWeight":11,"mainColor":82},221974,"gu-mu-han-quan-tu-zhou-wen-zheng-ming-221974","古木寒泉图轴","一松一柏，相旁而生。柏树老干分披，杈枒四出；其后松树两干并伸，参云直上。背景石壁与松柏紧贴，塞地漫天，几无余地，忽于绝高处界出飞泉一道，数折而下，遂使通幅于紧迫繁复之中，遽尔空灵疏朗，确为神来之笔。",[23,24,26,53,27,54,30,288,33,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd84d499504792f62282c466eaa4ed0af.jpg","194.1x59.3cm",[40,103],{"id":1495,"slug":1496,"title":1497,"dynasty":18,"author":413,"museum":147,"description":414,"tags":1498,"thumbUrl":1500,"material":118,"size":119,"collection":120,"collections":1501,"showCount":1502,"zanCount":141,"manualWeight":11,"mainColor":194},290851,"shan-shui-zhou-tang-yin-290851","山水轴",[73,24,26,53,30,7,187,31,35,33,188,34,54,1499],"闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F107880d5a5ec31ccbe0869de6e5ceedf.jpg",[],98,{"id":1504,"slug":1505,"title":1506,"dynasty":18,"author":459,"museum":89,"description":1507,"tags":1508,"thumbUrl":1510,"material":99,"size":1511,"collection":120,"collections":1512,"showCount":1502,"zanCount":105,"manualWeight":11,"mainColor":82},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。",[24,25,26,27,28,115,30,31,94,32,33,7,1509,135,35,161,229,1376,36,366,162],"山洞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F705c7a9ce596ceca751a614dbc006b66.jpg","纵169厘米，横65.5厘米",[],{"id":1514,"slug":1515,"title":1516,"dynasty":18,"author":413,"museum":20,"description":1517,"tags":1518,"thumbUrl":1520,"material":76,"size":1521,"collection":40,"collections":1522,"showCount":1502,"zanCount":11,"manualWeight":11,"mainColor":82},219972,"hua-xi-yu-yin-tu-tang-yin-219972","花溪渔隐图","此作用淡墨晕染远空平林，湖山杳渺清旷，尽显江南水色的空濛柔婉。近景苍松虬曲倚立怪石，流泉绕石萦回，草木华滋鲜润。扁舟渔父悠然独坐于花溪之上，随波信游，静览周遭春景。\n\n画作将诗意与画境相融，以秀润灵逸的笔墨写尽渔隐江湖的自在。既有院体山水的精整工致，又带文人画的萧散简淡，把幽居林泉、超脱尘俗的文人理想寄寓在清寂山水之间，尽显江南隐逸的淡远雅趣，藏着一份避世忘机的闲适安然。",[23,24,25,53,27,54,30,7,56,33,116,31,36,1519,34],"藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac1791960d880f80ab89155121d9e3fe.jpg","74.7x35.8",[40],{"id":1524,"slug":1525,"title":1526,"dynasty":69,"author":199,"museum":20,"description":1527,"tags":1528,"thumbUrl":1531,"material":190,"size":1532,"collection":40,"collections":1533,"showCount":1502,"zanCount":11,"manualWeight":11,"mainColor":82},219001,"shan-shui-ren-wu-tu-ma-yuan-219001","山水人物图","在松树的阴影下，两个人面对悬崖的对面站着，各自做着倾斜和弯曲的动作，似乎在练习呼气的艺术。岩石用横笔侧画，松枝扭曲僵硬，布满雾气，用笔墨画出了南宋的风格。这幅画的年代大约是在元朝和明朝初期。最初它可能是一个屏幕，但现在它以卷轴的形式被框住了。",[23,73,24,25,30,31,7,35,32,53,27,54,1529,1530],"南宋风格","边角构图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2c415298a6ebf1893920cac4c8f6236.jpg","77.1x126.4",[40],{"id":1535,"slug":1536,"title":1537,"dynasty":69,"author":1538,"museum":212,"description":1539,"tags":1540,"thumbUrl":1545,"material":190,"size":1546,"collection":40,"collections":1547,"showCount":1502,"zanCount":220,"manualWeight":11,"mainColor":82},217869,"qiu-lin-die-zhang-tu-jiang-can-217869","秋林叠嶂图","江参","秋林叠嶂图描绘的是一片秋天的山林，这片山林位于海拔较高的地方，因此能看到远处的秋天的山林。这幅画的画面非常宁静，令人感到非常舒适。画中有许多树木，其中有许多松树，还有一些枫树。这些树木都长得非常茂盛，充满了生机。画中还有许多山峰，山峰之间相互倚靠，形成了一道道叠嶂。画中还有几只鸟儿，它们在枫树的枝头上唱着歌。\n\n总的来说，这幅秋林叠嶂图是一幅非常优秀的山水画作品，江参的画风独特，山水画作品非常出名。这幅画的描绘的秋天的山林非常真实，令人感觉非常自然，是一幅非常美丽的画作。",[24,256,1541,1542,7,1543,95,33,94,1544],"秋林","叠嶂","枫树","宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1988e2d8ba1187067f488aa5793dcca.jpg","168.7x96.3cm",[40],{"id":1549,"slug":1550,"title":1551,"dynasty":18,"author":1552,"museum":362,"description":1553,"tags":1554,"thumbUrl":1558,"material":190,"size":120,"collection":101,"collections":1559,"showCount":1560,"zanCount":220,"manualWeight":11,"mainColor":82},219555,"ying-xi-tu-you-qiu-219555","婴戏图","尤求","孩子们骑着竹马，拉着彩色的战车，在松木庭院的树荫下拿着中国的盖子，敲打着锣鼓，仿佛在模仿国王或王子出征。孩子们张开的脸是相似的，在他们的衣服上使用了沉重、笨拙的笔触，与尤秋的传统笔触相差甚远。",[23,24,25,73,27,28,31,885,7,1555,1556,1557,344],"竹马","灯笼","鼓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8800e97a0f44aa56d05b931855ed98b.jpg",[101,103],97,{"id":1562,"slug":1563,"title":1564,"dynasty":69,"author":1565,"museum":226,"description":1566,"tags":1567,"thumbUrl":1568,"material":27,"size":1569,"collection":78,"collections":1570,"showCount":1571,"zanCount":11,"manualWeight":11,"mainColor":82},221254,"chu-shi-bei-jiang-tu-yang-bang-ji-221254","出使北疆图","杨邦基","杨邦基，生卒年不详。金画家。字德懋，号息轩，陕西华阴人。幼孤，好学。擅画山水、人物、鞍马。人物画有李公麟格调；山水学李成。潇洒脱俗，令人渺然有江湖尘外之思。存世作品有《聘金图》。\n《金史》称：杨邦基，字德懋，华阴人。父綯，宋末为易州州佐。宗望伐宋，蔡靖以燕山降，易州即日来附，綯被杀，邦基年十余岁，匿僧舍中，得免。既长，好学。天眷二年，登进士第，调滦州军事判官，迁太原交城令。太原尹徒单恭贪污不法，托名铸金佛，命属县输金，邦基独不与。徒单恭怒，召至府，将以手持铁拄杖撞邦基面，邦基不动。秉德廉察官吏，尹与九县令皆免去，邦基以廉为河东第一，召为礼部事。以兵部员外郎摄吏部差除，坐铨注李庆之、大奉国臣，与高衎等皆贬官，邦基降坊州宜君簿。转高密令。大定初，尚书省拟邦基刑部郎中，世宗曰：“县官即除郎中，如何？”太师张浩对曰：“邦基前为兵部员外郎矣，且其人材可用。”上许之。改太府少监，知登闻检院，为秘书少监，迁翰林直学士，再迁秘书监兼左谏议大夫，修起居注。中都警巡使张子衍与邦基姻家，子衍道中遇皇太子卫仗，立马市门不去伞，卫士诃之，子衍以鞭鞭卫士诃己者。御史台劾奏子衍，邦基见台官为子衍求解，及入见显宗，求脱子衍罪。诏削子衍官两阶。邦基坐削官一阶，出为同知西京留守事，徙山东东路转运使，永定军节度使，致仕。大定二十一年，卒。邦基能属文，善画山水人物，尤以画名当世云。",[23,24,73,186,27,54,30,7,161,242,31,134,135,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc8f70601233fd8feaa8e2ebbb9c268.jpg","26.7×142.2 cm",[78,40,62],95,{"id":1573,"slug":1574,"title":1575,"dynasty":87,"author":1576,"museum":1577,"description":1578,"tags":1579,"thumbUrl":1580,"material":59,"size":1581,"collection":384,"collections":1582,"showCount":1571,"zanCount":11,"manualWeight":11,"mainColor":44},216113,"song-ying-tu-gao-qi-pei-216113","松鹰图","高其佩","旅顺博物馆","高其佩的指画，墨法得力于吴镇，形象近于吴伟，以减笔写意法见长，尤喜画虎、画钟馗。在技巧方面，他在《述画诗》中道：“吾画从吾手，甲骨掌背俱，手落尚无物，物成手却无。”可见他的指画运用了手的各个部分。他的指画有“叱石成羊”之妙，人物形象极为生动，面部用尖指甲细勾，简练传神，画衣纹指尖指甲并用，顿挫自如，冠靴用指掌涂抹，墨色浑然；花鸟画则随意点染的浓淡干湿墨色，飞动不露笔痕的粗细线条，蹲鹰的蓬松羽毛，老树的苍劲之质均表现得十分出色。\n高其佩以指画在画坛独树一帜，指画作品清、奇、简淡浑厚，而神韵尤在指墨之外，其艺术成就，对后世影响很大。在他之后，出现了很多知名指画家，其中包括他的徒弟“扬州八怪”的罗聘，李鱓和黄慎亦擅指画，清晚期著名的指画家就有一百多人，现代国画大师潘天寿、钱松岩等都深受其影响。他的指画创作则信手一挥，倾刻数十幅，令人惊讶，一生的作画数量极为惊人。主要作品有：《饱虎图》、《雁行图》、《怒容钟馗图》、《梧桐喜鹊图》、《虬松莫岫图》、《高冈独立图》、《稻穗螳螂图》、《松阴小琪图》、《指画人物》册等。",[23,24,73,53,342,54,26,288,7,343,95,667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff940dda9a789d8da923f8b9917eaad90.jpg","172x90cm",[384],{"id":1584,"slug":1585,"title":1586,"dynasty":87,"author":171,"museum":89,"description":1587,"tags":1588,"thumbUrl":1590,"material":543,"size":1591,"collection":120,"collections":1592,"showCount":1593,"zanCount":141,"manualWeight":11,"mainColor":44},233956,"yuan-ji-shan-shui-heng-zhou-shi-tao-233956","原济山水横轴","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。",[24,25,1589,53,54,30,56,36,33,116,31,55,7,35],"横轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff862291aff18cd6d44ac688b5b35c856.jpg","纵46.5cm，横30.7cm",[],94,{"id":1595,"slug":1596,"title":1597,"dynasty":49,"author":239,"museum":20,"description":1598,"tags":1599,"thumbUrl":1601,"material":38,"size":1602,"collection":40,"collections":1603,"showCount":1593,"zanCount":141,"manualWeight":11,"mainColor":44},220806,"dong-shan-cao-tang-tu-wang-meng-220806","东山草堂图","《东山草堂图》是元四家之一的王蒙创作的一幅隐居题材的山水画。描绘了东山之中隔水相望的草堂，\n这幅画描绘了隔水草堂，画中巨石重叠，秋林疏爽，高士闲居。松树、柏树以及山石都刻画得极其密实、精细。 《东山草堂图》画于元顺帝至正三年，即王蒙四十岁以后所作。\n此时，王蒙已初具自家风貌，用笔切实稳厚、灵活松快，笔墨已有一种稳重苍郁的意象。画面上松树、柏树以及山石都刻画得极其密实、精细。全图以淡赭色罩染，“水晕墨章”的绘画方法丰富了中国绘画的表现技法。",[23,24,53,27,54,30,36,7,35,229,74,150,175,1600,394,303],"崖壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18bd6ec16eba615a58d99aa211fdc5e2.jpg","纵111.4cm，横86.1cm",[40,62],{"id":1605,"slug":1606,"title":1607,"dynasty":87,"author":1608,"museum":20,"description":1609,"tags":1610,"thumbUrl":1612,"material":190,"size":1613,"collection":384,"collections":1614,"showCount":1593,"zanCount":11,"manualWeight":11,"mainColor":44},220405,"song-jian-wo-hu-tu-a-er-bai-220405","松间卧虎图","阿尔粺","清代阿尔粺绘。阿尔粺是一位满族画家，字香榖，舒穆禄氏，满洲镶蓝旗人。阿尔粺善画虎、鹰等，《啸亭杂录》云 “精于绘事，以画虎闻名，赏鉴家宝之”。画轴中之虎双目微睁，前爪平放，脊背伸长，似乎是一只刚刚睡醒正在伸懒腰的睡虎，画面上下的松树恰好将虎包围起来，给人一种虎躺在窝中安逸祥和之感。此幅现藏于台北故宫博物院，绢本设色。",[23,73,24,25,27,28,7,1611,35,961,1029],"老虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffcc39579ce3a98b7f5b622e8f5b4f35.jpg","70.5x46.7",[384,103],{"id":1616,"slug":1617,"title":1618,"dynasty":87,"author":1619,"museum":147,"description":1620,"tags":1621,"thumbUrl":1622,"material":118,"size":119,"collection":120,"collections":1623,"showCount":1624,"zanCount":11,"manualWeight":11,"mainColor":44},288092,"yuan-ben-qing-ming-shang-he-tu-chen-mei-288092","院本清明上河图","陈枚","《清明上河图》是北宋相当流行的题材，其中以张择端《清明上河图》最为有名，他以清明时节作为引子，展开对汴京的精描细绘，是写实风俗画的杰作，受到历代喜爱。明末清初，苏州大量仿制《清明上河图》散落民间，后来纷纷进入清内府，一时间鱼龙莫辩。清宫不得不组织画工，另起炉灶，并于乾隆元年（1736年），由清宫画院的五位画家——陈牧、孙祜、金昆、戴洪、程志道参照各朝的仿本协作又画了一张《清明上河图》，故今人称之为清院本。\n清院本是集各家所长之作品，加之受西洋画风影响，街道房舍均以透视原理作画，并有西式建筑行置其中。从画面细节来看，结婚、戏台、船上生活、耍猴戏、虹桥、校场、饭馆、走索、小儿科、荡秋千、书画摊、画家、学堂、比武和鹿苑等等活动情节非常丰富，特别是虹桥市景已由张本木桥上的几个草棚凉亭和仇本石桥上的几个木售货亭，演进为石桥上两排统一规范且固定的商店，形成了整齐而繁华的桥上商业街区，画中人物也增加到超过4000人，尺寸较“仇本”及“张本”长许多，进而更加充分地展现了清初民俗风情，实为院画中的精品之作。",[24,92,186,28,27,94,161,7,31,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b3f7497bacbc0ee63d999b8bc543f10.jpg",[],91,{"id":1626,"slug":1627,"title":1628,"dynasty":69,"author":199,"museum":20,"description":1629,"tags":1630,"thumbUrl":1631,"material":499,"size":1632,"collection":78,"collections":1633,"showCount":1624,"zanCount":11,"manualWeight":11,"mainColor":82},221514,"hua-deng-shi-yan-tu-juan-ben-ma-yuan-221514","华灯侍宴图绢本","描绘了杨次山父子在上元节侍宴的场面，记述了南宋宫廷的重大活动。该画以俯视的角度写华灯初上时分官员们随皇帝宴饮观舞的情景，并在全景山水的描写中，烘托出了室内的豪华与欢乐气氛。图中隐约可见几位官员属身随侍皇帝饮宴官殿之外，乐舞的宫女摇曳着身姿，大殿之外的树木，好似也随着音乐起舞，姿态横生。这些树林，由近面远，渐渐隐设于雾色之中，只见宫殿后盛立着几棵松树，和远处云雾中抹青山。中景的松树刻而很具特色，用笔瘦硬如屈铁，枝条长面斜向出。\n画中，远山眉黛，松枝逶迤，前庭梅树十余棵，数名宫女执灯起舞于梅林中，舞姿曼妙。殿宇华厦，灯火明亮，有几位大约是官员的人物，背向微躬，恭谨陪侍酒宴。内堂则幽深不可窥测。\n宋宁宗题一首御制诗，云：“朝回中使传宣命，父子同班侍宴荣。酒捧倪觞祈景福，乐闻汉殿动驩声。宝瓶梅蕊千枝绽，玉栅华灯万盏明。人道催诗须待雨，片云阁雨果诗成。”\n款署“臣马远”，钤有乾卦圆印、双龙圆印、御笔之宝。乾隆跋中点明：“盖当时作此图，以侈一时盛事”。\n对于该画的主题，不同学者提出不同观点，毕嘉珍提出画中描绘的是“奢侈的赏梅盛宴”。彭慧萍则从画师的视角出发，指出此图反映了“深夜禁中大内的当差场景”。高居翰的分析是“马远想出了一个富于诗意的构图”，将宴席隐藏在向后延伸的宫殿图像里，只以庭园中的演艺者和侍从来传达娱乐的场景。\n也有观点指出，这次宴会是宋宁宗为迎接签订“嘉定和议”的丞相史弥远而举办的，所谓“朝回中使传宣命”，并召马远及其子马麟陪侍，马远用绘画记录了这一重大时刻。\n构图:一座孤零零的殿宇，矗立在远山近林中。阶墀下方极少渲染。殿内的君臣侍从沉浸在一片歌舞之中。视线由梅树上顶之势领起，沿华堂左侧引上，由屋脊折而向右，绕出一个反S形，而到达松树与远山，然后下垂，落空于远方薄暮中。观者除了感受宴饮之乐，还可能被近景的梅树、中景的松树、远景的山及苍茫的夜空所吸引\n技法:此图以俯视的角度写华灯初上时分豪门达官酒宴的情景，但作者的兴趣并不是放在细写堂内宴席与众宾客的活动上，他的独特构思在于成功表现外部环境上，描写烘托出室内的豪华与欢乐气氛。图中表现松树很具特色，用笔瘦硬，如屈铁，枝条颀长，而斜向出，下笔严正，以雄奇简练的笔法，表现树枝的坚挺有力，有“拖枝马远”之称。",[23,24,25,26,27,92,28,30,94,31,7,188,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea1753402e13e92e3ed1f1221ce3c99.jpg","纵125.6厘米，横46.7厘米",[78,40,62],{"id":1635,"slug":1636,"title":1637,"dynasty":87,"author":171,"museum":147,"description":1638,"tags":1639,"thumbUrl":1640,"material":38,"size":1591,"collection":40,"collections":1641,"showCount":1624,"zanCount":220,"manualWeight":11,"mainColor":44},220124,"cai-shi-tu-zhou-shi-tao-220124","采石图轴","石涛(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。",[23,24,25,26,53,27,30,57,7,1343,135,134,161,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda809bfbd4f3ca60ab1f69468e34e8e1.jpg",[40],{"id":1643,"slug":1644,"title":1645,"dynasty":18,"author":1646,"museum":89,"description":1647,"tags":1648,"thumbUrl":1649,"material":59,"size":1650,"collection":40,"collections":1651,"showCount":1624,"zanCount":220,"manualWeight":11,"mainColor":44},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。",[23,24,25,26,53,54,30,162,7,32,33,31,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae7c7f71b3d4294315661e3a9f670632.jpg","纵107.8厘米，横67.8厘米",[40,62],{"id":1653,"slug":1654,"title":1655,"dynasty":69,"author":664,"museum":1656,"description":1657,"tags":1658,"thumbUrl":1660,"material":38,"size":1661,"collection":384,"collections":1662,"showCount":1624,"zanCount":220,"manualWeight":11,"mainColor":82},219085,"qu-yu-tu-zhao-ji-219085","鸜鹆图","南京博物院","枯松虬枝如铁，松针细劲如丝，三只鸜鹆各呈姿态——枝上者振翅欲起，喙微张似唤侣；空中双鸟俯冲而下，羽翼翻飞间尽显灵动。鸟羽的绒质感与松皮的粗糙纹理形成鲜明对比，笔致工细却不失生趣。旁侧瘦金书题跋笔锋挺劲，与画面的苍劲灵动相映成趣，加之错落的朱印，更添古朴雅致。整幅画作将写实工笔与文人意趣融于一体，动静相宜，形神兼备，尽显宋代院体画的精妙与雅致。",[24,73,25,28,667,95,7,1659,53,27,188,34],"枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d5e3b05c779fc2ee02230a1b9ba12cd.jpg","纵88.2横52厘米",[384],{"id":1664,"slug":1665,"title":1666,"dynasty":18,"author":413,"museum":1577,"description":1667,"tags":1668,"thumbUrl":1669,"material":99,"size":1670,"collection":120,"collections":1671,"showCount":1672,"zanCount":220,"manualWeight":11,"mainColor":82},222344,"song-lin-yang-bian-tu-tang-yin-222344","松林扬鞭图","图绘春雪消融，鲜花盛开的季节，文人逸士策马扬鞭结伴郊游的美好景致。画心左上角有画家自题七言诗一首：“女几山前春雪消，路傍仙杏发柔条。心期此日同游赏，载酒扬鞭过野桥。”署款“唐寅”。钤“南京解元”、“六如居士”二印。",[23,24,53,27,54,26,7,31,242,35,150,36,690,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb41ce84768985f365b4a778ba934bd0d.jpg","145.3cm 横：72.5cm。",[],90,{"id":1674,"slug":1675,"title":1676,"dynasty":49,"author":896,"museum":1677,"description":1678,"tags":1679,"thumbUrl":1680,"material":59,"size":1681,"collection":40,"collections":1682,"showCount":1672,"zanCount":141,"manualWeight":11,"mainColor":82},219974,"song-quan-tu-wu-zhen-219974","松泉图","南京市博物馆","此图用秃笔勾勒树石,干墨皴擦,描绘松针则用笔尖,可看出画家的特有风格。画上有画家的自题诗:“长松兮亭亭,流泉兮泠泠, 漱白石兮散晴雪,舞天风兮吟秋声。景幽佳兮足静赏,中有人兮眉青青。松兮泉兮何所拟,研池阴阴兮清澈底,挂高堂兮素壁间,夜半风雷兮忽飞起。”署款“至元四年夏至日,奉为子渊戏作松泉，梅花道人书。”钤有“嘉兴吴镇,仲圭书画记”。",[23,24,25,26,53,54,30,7,1096,35,188,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdefdfbd5e2d90e3f8ec272a86ef27862.jpg","105.3厘米 横31.7厘米",[40],{"id":1684,"slug":1685,"title":1686,"dynasty":87,"author":1687,"museum":89,"description":1688,"tags":1689,"thumbUrl":1690,"material":59,"size":1691,"collection":40,"collections":1692,"showCount":1672,"zanCount":141,"manualWeight":11,"mainColor":44},218520,"yan-qi-gao-shi-tu-wang-hui-218520","岩栖高士图","王翚","此图是王翚盛年山水画代表作。该图以高远式构图，画高岩幽壑，长松平湖，岩崖间古木盘虬，杂草丛生，山径盘陀，叠叠山泉涌出峡谷，流入湖中。峡谷间山馆水榭或半隐于崖畔，或横架于流泉之上。近岸平坡松荫下一人仰坐，似在欣赏幽雅的湖光山色。此画结构严谨，意境清幽。据记载明代唐寅曾有之，画家虽未言仿唐寅画法，然所画山石用元人干笔皴擦，参用宋人斧劈皴法，苍劲秀润，用墨干湿相济，变化多端，极富逸趣与韵味，似应是画家早期精研唐寅画法后的变化所得，体现了画家这一时期山水画的典型风貌。\n图中王翚自识虽未署年款，但笪重光题跋书于壬子年，即清康熙十一年（1672年），王石谷时年41岁，此图应作于当时或稍前。本幅上方王翚自题七言诗：“高士岩栖趣自幽，白云天半读书楼。银河落向千峰裹，长和松涛万壑秋。”又笪重光、恽寿平题和。从三人题诗中得知，此图作于毗陵（今江苏武进）舟次，时三人聚会于此，研讨绘画达40余日，以诗书画互赠，堪称“艺林盛事”。此图乃王翚画赠笪氏之作。",[23,24,25,26,53,54,30,31,7,55,35,229,33,288,1519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e2e386c670104c6002b4b8f716d6d0a.jpg","纵122.7厘米，横31.5厘米",[40],{"id":1694,"slug":1695,"title":1696,"dynasty":69,"author":1363,"museum":1697,"description":1698,"tags":1699,"thumbUrl":1701,"material":190,"size":120,"collection":101,"collections":1702,"showCount":1703,"zanCount":220,"manualWeight":11,"mainColor":44},219576,"hua-shan-huo-lang-tu-li-song-219576","画扇货郎图","圣路易斯艺术博物馆","《货郎图》把劳动人民的生活作为审美对象来描绘，在中国古代美术发展史上有着重要的意义。该画作对了解宋代风俗也具有重大价值。",[24,28,27,215,31,1700,36,887,885,7,779],"货郎担","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf12b7ebb458d226c09221c94572f4e8.jpg",[101],89,{"id":1705,"slug":1706,"title":1707,"dynasty":18,"author":413,"museum":20,"description":1708,"tags":1709,"thumbUrl":1710,"material":656,"size":1711,"collection":120,"collections":1712,"showCount":1713,"zanCount":220,"manualWeight":11,"mainColor":82},222338,"shan-lu-song-sheng-tu-tang-yin-222338","山路松声图","此图绘层岩邃壑，飞瀑流泉。山腰苍松葱郁，虬枝老干，掩映画面。山下平湖一湾，清澈见底。一条崎岖不平的野路，蜿蜒通向山间，以增加画面的幽深感。一隐者凭眺倚栏，静听松风，侍者囊琴随后。该图用笔清润、缜密而有韵味。",[23,24,256,27,54,132,133,7,55,33,32,56,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd48db7aab0e53558f48e3527907dacf3.jpg","纵194.5厘米，横102.8厘米",[],88,{"id":1715,"slug":1716,"title":1717,"dynasty":69,"author":1201,"museum":20,"description":1718,"tags":1719,"thumbUrl":1720,"material":1721,"size":1722,"collection":78,"collections":1723,"showCount":1713,"zanCount":141,"manualWeight":11,"mainColor":82},221545,"yao-chi-xian-shou-tu-liu-song-nian-221545","瑶池献寿图","《瑶池献寿图》是南宋画家刘松年所创作，此图描绘了仙山楼阁的神仙世界，是当时上层社会的做寿喜庆场面。\n人物的用笔细劲畅利，神态生动。画山石以刚硬的线条勾写形体，加斧劈皴，用淡墨横抹，显得浓厚的线条突出。图中的松树也较为突出，松针先以墨笔疏疏画出，再以草绿色间点、复勾。全画构图饱满而丰富，人物与树石穿插自然，充满着幽静雅趣。而且此图在艺术处理上有一个特点：动与静的对比。瑶池仙女们飘逸潇洒的舞姿与幽美的山林的静谧形成一种对比和互补。",[23,24,28,27,54,92,30,31,94,7,35,36,135,715],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20358360b91c23dd09f3758afe3d4ad8.jpg","立轴 绢本 设色","纵198.7厘米，横109.1厘米",[78,101,103],{"id":1725,"slug":1726,"title":1727,"dynasty":18,"author":88,"museum":20,"description":1728,"tags":1729,"thumbUrl":1731,"material":190,"size":1732,"collection":103,"collections":1733,"showCount":1713,"zanCount":11,"manualWeight":11,"mainColor":82},219347,"mo-xi-yuan-ya-ji-tu-yi-ming-219347","摹西园雅集图","本幅描绘历史上有名的“西园雅集”情形，在附马都尉王诜家的这次雅集，聚集了北宋当时顶尖的文人雅士，由米芾的一篇记流传后世，历代多有画作。此幅传明人所作，细观或是周臣老画师临摹刘松年原画所作，在历代临摹本中属上品。",[73,24,25,26,27,31,30,7,35,34,274,1730],"西园雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F593962859ed60f1a0711ce80559eaffd.jpg","191.2 x 98.3cm",[103],{"id":1735,"slug":1736,"title":1737,"dynasty":49,"author":1738,"museum":172,"description":1739,"tags":1740,"thumbUrl":1741,"material":190,"size":1742,"collection":40,"collections":1743,"showCount":1713,"zanCount":220,"manualWeight":11,"mainColor":82},218274,"song-yin-ju-yin-tu-tang-di-218274","松阴聚饮图","唐棣","此图近景画河畔数棵长松高耸，树后露出数间茅屋。松荫下四位长者席地而坐，正举杯畅饮。旁有两人手捧壶盘侍候，一人抱矮案前来。对岸中景是古树茅舍。远景群山蜿蜒。图中描绘对饮者解衣盘腿，不拘礼仪，生动地表现出村民野老酒酣兴豪的生活乐趣。此图岗峦坡石笔墨圆润婉和，存有赵氏遗法。长松勾勒苍劲精巧，细枝似蟹爪，则从郭熙法中得之。",[24,53,30,31,7,26,54,132,162,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4259c6c43bf240ae46222348c74993e.jpg","纵14.4厘米，横97.1厘米",[40],{"id":1745,"slug":1746,"title":1747,"dynasty":87,"author":171,"museum":89,"description":1748,"tags":1749,"thumbUrl":1752,"material":246,"size":1753,"collection":384,"collections":1754,"showCount":1755,"zanCount":11,"manualWeight":11,"mainColor":44},233771,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233771","原济陶渊明诗意册","本图册是作者根据东晋著名诗人陶渊明诗句而创作。陶渊明是中国田园诗的创始者，他的诗不仅反映出田园生活的美好与自然，更流露出他徘徊于出仕与归隐之间的矛盾。绘画者显然非常赞赏这种避身独处、与世无争、乐天安命的人生哲学，通过描绘回归自然、淡于荣禄、不与统治者合作的隐士陶渊明来表现自己美好的理想。\n这里择两开赏析。\n第二开《悠然见南山》：陶渊明的许多诗篇中都有关于菊花的诗句：“采菊东篱下，悠然见南山”、“秋菊有佳色，裛露掇其英”均写出了他远离世俗的心境和陶醉于自然的乐趣。他常以菊自喻，借菊花凌秋傲霜的品质表达自己清高的节操和情怀。石涛仰慕陶渊明的高尚情操，故此图借陶渊明爱菊寄寓了画家自己的思想感情。画中篱笆院中菊花盛开，一高士手持菊花观赏，悠然之态可见。此图结构精巧，人物用笔细密。远山以墨笔烘染，山腰云雾密布，不见山脚，以此表现烟云飘渺的动态和气势。这种中锋、细勾、渍染相结合的画法使画面有动有静，虚实结合，意趣无穷。\n第六开《遥遥望白云 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。",[73,24,25,393,1029,53,27,30,188,29,54,7,187,150,1750,1751,31,35,175,303],"平原","烟树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa60253ab4b37909a1fca2e563c4ae780.jpg","纵27厘米，横21.3厘米",[384,40,103],87,{"id":1757,"slug":1758,"title":1759,"dynasty":18,"author":298,"museum":89,"description":1760,"tags":1761,"thumbUrl":1762,"material":1763,"size":1764,"collection":120,"collections":1765,"showCount":1755,"zanCount":11,"manualWeight":11,"mainColor":82},233710,"song-shi-tu-zhou-shen-zhou-233710","松石图轴","《松石图轴》笔墨简逸而又沉着，物象写实而又生动，画法兼具写生、写意之妙，诚如王世贞所评：“石田氏乃能以浅色淡墨作之，而神采更自翩翩，所谓妙而真也。”本图小楷自题：“从来松老方生子 ，老得儿郎必定贤，况是先生年未老，生儿当后见参天。春雨先生有佳子后生久矣...”。款识：成化十六年（1480年）四月七日沈周写。",[24,25,26,53,54,7,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1665f1137e2b1d28bb1c98d93298150.jpg","纸本 ，墨笔","纵156.2cm，横72.9cm",[],{"id":1767,"slug":1768,"title":1769,"dynasty":69,"author":199,"museum":147,"description":1770,"tags":1771,"thumbUrl":1773,"material":120,"size":120,"collection":120,"collections":1774,"showCount":1755,"zanCount":141,"manualWeight":11,"mainColor":82},227819,"yue-ye-tu-ma-yuan-227819","月夜图","虬松盘崖而上，枝干屈铁盘旋，松针劲挺如攒，垂挂的松萝更添古寂幽邃。右侧高台层楼凭山而建，飞檐半隐于松荫，似浸在溶溶月色里。远景山峦晕作淡黛，隐没在昏褐夜色中，空濛虚灵，将天地拉得辽远空阔。\n\n全画以边角取景，淡墨轻皴营造月夜朦胧氛围，不见月华，却处处浸着凉润夜色，似可闻松涛伴着凉风掠过廊檐。尺幅之间以少胜多，留白造境，将秋夜清寂雅致藏在一隅，尽显空灵简远的意境，把江南月夜的幽柔静谧铺陈在绢素之上，余韵悠长。",[23,73,24,25,30,53,27,1772,7,94,134,509,35,36,34],"斧劈皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06766d95c6eacad089745833c8a26ebb.jpg",[],{"id":1776,"slug":1777,"title":1778,"dynasty":145,"author":1779,"museum":147,"description":1780,"tags":1781,"thumbUrl":1785,"material":120,"size":120,"collection":120,"collections":1786,"showCount":1755,"zanCount":141,"manualWeight":11,"mainColor":82},226708,"wen-yuan-tu-juan-zhou-wen-ju-226708","文苑图卷","周文矩","《文苑图》卷，五代，周文矩作，绢本，设色，纵37.4厘米，横58.5厘米。\n本幅无作者款印，根据图左宋徽宗“瘦金体”题字：“韓滉文苑圖，丁亥御劄”，下书“天下一人”押，遂定为唐代韩滉作。然从时代风格看，少唐画气息，最明显的是衣纹线条颤动曲折，极似五代周文矩所创的“战笔描”。另外人物头戴的“工脚上翘”的幞头形式，亦至五代才出现。同时，美国大都会博物馆藏有一本周文矩的《琉璃堂人物图》卷，后半段画面与此图完全一样，故可肯定《文苑图》作者是周文矩，所画内容为琉璃堂人物故事。至于两图孰为原本？抑或均属摹本？据考，美国的《琉璃堂人物图》卷水平较差，人物面相稍欠神采，衣纹用笔颇见柔弱，且图首宋徽宗题“周文矩琉璃堂人物圖，神品上妙也”和下钤“ 內府圖書之印”均伪，故此图当为宋以后摹本。而《文苑图》人物神采奕奕，笔墨功力深厚，本幅右下角又有南唐墨钤“集賢院御畫印”，证明此图不会晚于五代，极可能即周文矩原迹，惟前半段已佚，也许周文矩又重临了后半段，亦不排除为同时高手临仿本。总之《文苑图》属五代真迹名品，殊无疑义。\n作品所绘琉璃堂人物故事，据考即唐玄宗时著名诗人王昌龄任江宁县丞期间，在县衙旁琉璃堂与朋友宴集的故事，与会者可能有其诗友岑参兄弟、刘眘虚等人。《文苑图》绘四位文士围绕松树思索诗句，有倚壘石持笔觅句者，有靠松干构思者，有两人并坐展卷推敲改诗者，情态各异，形神俱备。所缺前半段从《琉璃堂人物图》中可以看到，是画四人围坐议论，其中有一位僧人，还有侍奉的童仆。从全卷场面可领略当时宴集之盛况。\n此图画法与《琉璃堂人物图》及周文矩另一幅《重屏会棋圈》卷(宋摹本)相比较，风格相似，都呈周氏典型面貌，但水平却有高下之分。本图人物衣纹所运“战笔描”细劲有力，曲折中见流畅，圆润中具轻重，树石勾染细致，富层次和立面感，人物情态尤富神采，个性各异。作为五代一幅真迹，确反映了该时代所达到的水平。\n此图见于《石渠宝笈·初编》和明·詹景凤《玄览编》著录，可能曾入南唐后主李煜《阁中集》，后又入北宋徽宗《宣和睿览集》。",[23,73,24,25,186,28,27,31,7,1782,887,34,418,1783,1784],"石桌","古代服饰","题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dcc12af75f41000fa86d14d7b6bf9fe.jpg",[],{"id":1788,"slug":1789,"title":1790,"dynasty":18,"author":1791,"museum":89,"description":1792,"tags":1793,"thumbUrl":1794,"material":59,"size":1795,"collection":40,"collections":1796,"showCount":1755,"zanCount":11,"manualWeight":11,"mainColor":194},220395,"song-shi-tu-li-yong-chang-220395","松石图","李永昌","李永昌(公元17世纪)，生卒年不详。字周生，安徽休宁人。善画，尤工山水，仿元人笔意，与董其昌齐名，为新安派先锋。此图坡石前一棵老松，左曲右折的松干顶端零星地伸出几个枝桠，疏落凋枯的针叶无言地表明它已进入了暮年。松旁不远，几株杂树簇聚一团，在寥阔的天地间，显得渺小、孱弱，无依无靠。画的右上角自题：“醉剧松可倚，诗成石可刊，何须慕岩穴，咫尺是林峦。甲戌初夏画并题，拟待先社兄览笑。",[23,24,25,26,53,54,7,35,57,288],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2546621a64c9e5e0abeb01db4b8a812.jpg","纵111cm，横54.5cm",[40,62],{"id":1798,"slug":1799,"title":1800,"dynasty":18,"author":1801,"museum":699,"description":1802,"tags":1803,"thumbUrl":1804,"material":190,"size":1805,"collection":40,"collections":1806,"showCount":1755,"zanCount":11,"manualWeight":11,"mainColor":82},218261,"song-xia-wen-yu-tu-wu-wei-218261","松下问渔图","吴伟","虬松盘曲如铁，枝桠垂覆江畔。两位士人对坐石上促膝清谈，旁侧渔舟静泊，篙楫斜倚。远山含黛，烟霭轻笼，天地间漫着淡远暮色。笔墨苍劲洒脱，松干以浓墨皴擦显肌理，人物衣纹简括传神，寥寥数笔便现悠然神态。山水用淡墨晕染，虚实相生，烟波浩渺中藏无尽悠远。士人问渔，似叩问江湖意趣，亦或人生真味？画面动静相契，渔舟静谧与松风隐动、士人低语与山水无言交织，成一段清雅林下之思。笔墨纵逸却不失韵致，融山水之幽与人文之趣，尽显笔势见长的意趣盎然，引人沉潜其中。",[23,24,53,27,54,31,7,116,35,485,134,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf277986b88ae0aa20f1e4c29aa19150.jpg","218.2x148cm",[40],{"id":1808,"slug":1809,"title":1810,"dynasty":87,"author":1811,"museum":89,"description":1812,"tags":1813,"thumbUrl":1814,"material":346,"size":120,"collection":40,"collections":1815,"showCount":1816,"zanCount":11,"manualWeight":11,"mainColor":44},236909,"fang-dong-qi-chang-shan-shui-zhou-wang-jian-236909","仿董其昌山水轴","王鉴","王鉴（1598年－1677年），明末清初画家，“四王”之一。字元照，一字圆照，号湘碧，又号香庵主，江南太仓人。王世贞曾孙，王士骐之孙。 任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。\n王鉴的祖父王世贞（1526年— 1590年）是晚明著名文人、鉴藏家和显宦，官至南京刑部尚书，精古诗文，与李攀龙等并称“后七子”，为文坛盟主；富收藏，尔雅楼中藏书万卷，书画文物无数；著有《弇州山人四部稿》、《艺苑后言》等。父王士骥，万历十七年（1589年）进士，官吏部员外郎。王鉴出身于这样一个文学世家和官宦门第，自幼即受到良好的文化教养和艺术熏陶，“缔岁即好点染”，他亦自述：“自幼习董熟耳。”表明他最早学画是从董源入手的。以后又追踪巨然和元四家，万历四十五年（1617年）时的《仿云林山水轴》和天启元年（1621年）拟巨然的《山水图》，可证其最早的画学渊薮。",[73,24,25,26,53,54,274,30,150,36,7,56,175,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf306104ba0c6a8ac6ec5a3d3c69cc3.jpg",[40,62],86,{"id":1818,"slug":1819,"title":1759,"dynasty":49,"author":1820,"museum":89,"description":1821,"tags":1822,"thumbUrl":1823,"material":629,"size":1824,"collection":40,"collections":1825,"showCount":1816,"zanCount":141,"manualWeight":11,"mainColor":82},221756,"song-shi-tu-zhou-sheng-mao-221756","盛懋","本幅左上款署：“至正己亥仲秋廿二日武唐盛懋子昭作此图为祐祯寿。”下钤“子昭”、“盛懋”印。“至正己亥”为至正十九年（1353年），受画人“祐祯”不知为何许人。本幅左下钤鉴藏印“囗公读过”、“见阳图书”、“寒云珍藏元人名迹”、“子安珍藏记”。\n此图为元代晚期著名画家盛懋所作，是一幅为人祝寿的作品。图绘一株古松，几乎占据了整个画面，上端枝干下垂，松针细劲，树下绘山坡秀石，溪水流淌，衬以荆棘，无背景。画法工稳，笔墨苍劲浑厚，隐隐透露出刚猛之气魄，又不乏水墨滋润洒脱之风神。图中松树画法颇具特色，用淡墨皴染树干，浓墨点苔，从而增加了其厚重感与树皮的质感。松针则用细笔浓墨画出，笔法挺劲，笔势爽利尖峭，既有南宋院体风格的遗意，又有自己工写相兼的独特处理方法，别具一格。坡石以水墨晕染为主，浓墨点苔，皴擦并用，意态生动。",[23,73,24,25,26,53,54,7,344,57,288,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484705e5dcac0a31f081986fc89320e9.jpg","纵77.4厘米，横27.2厘米",[40,62],{"id":1827,"slug":1828,"title":1829,"dynasty":87,"author":1830,"museum":147,"description":1831,"tags":1832,"thumbUrl":1833,"material":346,"size":1834,"collection":40,"collections":1835,"showCount":1836,"zanCount":11,"manualWeight":11,"mainColor":44},224169,"song-shu-tu-gua-zhou-li-fang-ying-224169","松树图挂轴","李方膺","李方膺（1695年—1755年），字虬仲，号晴江，别号秋池，抑园 ，白衣山人等，江南通州（今江苏南通）人。寓居金陵借园，自号借园主人。中国清代诗画家、官员，能诗，擅画松竹兰菊，尤长写梅。用笔倔强放纵，不拘成法，苍劲有致，为“扬州八怪”之一。为官刚正不阿，廉洁爱民。出身官宦之家，曾任乐安县令、兰山县令、潜山县令、代理滁州知州等职，为官时有惠政，人德之，后因遭诬告被罢官，去官后寓南京借园，自号借园主人，常往来扬州卖画。与李鱓、金农、郑燮等往来，工诗文书画，擅梅、兰、竹、菊、松、鱼等，注重师法传统和师法造化，能自成一格，其画笔法苍劲老厚，剪裁简洁，不拘形似，活泼生动。被列为扬州八怪之一。有《风竹图》《游鱼图》《墨梅图》等传世。著《梅花楼诗钞》。善画松、竹、兰、菊、梅、杂花及虫 鱼，也能人物、山水，尤精画梅。作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼诗草》，仅二十六首，多数散见于画上。",[23,24,25,26,53,54,7,57,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93021041cb164b00da3dbc86d0eb5b96.jpg","100x45",[40],83,{"id":1838,"slug":1839,"title":1840,"dynasty":18,"author":88,"museum":299,"description":1841,"tags":1842,"thumbUrl":1843,"material":190,"size":1844,"collection":103,"collections":1845,"showCount":1836,"zanCount":141,"manualWeight":11,"mainColor":82},219251,"dong-shan-wo-hu-tu-yi-ming-219251","冬山卧虎图","寒岩之上，猛虎蜷卧。斑纹以墨线精准勾勒，间杂赭色轻晕，皮毛的蓬松质感似触手可及。虎目微阖，似憩非眠，虽无咆哮之威，却藏沉潜气势。旁侧古松虬曲，枝干如铁，松针疏密有致；岩石皴法朴拙，斑驳处隐见残雪，透出冬日清寂。笔墨兼工带写，动物造型生动传神，山水布景简括古雅。整幅画于静谧中蕴张力，既见画师对生灵姿态的细腻捕捉，亦显对冬日山景的深刻体察，在沉郁色调里，铺展一段自然与生命的悠然对话。",[24,25,27,28,1030,961,30,7,35,365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4902029b2d5488e3af7e90169c94e1c.jpg","26.1x40.6厘米",[103],{"id":1847,"slug":1848,"title":1849,"dynasty":49,"author":758,"museum":20,"description":1850,"tags":1851,"thumbUrl":1852,"material":76,"size":1853,"collection":40,"collections":1854,"showCount":1855,"zanCount":11,"manualWeight":11,"mainColor":82},220849,"song-yin-wan-zhao-tu-zhou-zhao-meng-fu-220849","松阴晚棹图轴","为学日益，为道日损：翩然世间的道家风格\n祸兮福之所倚，福兮祸之所伏：老子的智慧\n鲲鹏展翅，水击三千里：敞开自我的庄子境界\n朝三暮四，名实未亏而喜怒为用：庄子的寓言\n朴素而天下莫能与之争美：自然与本真的守护",[23,24,25,26,27,30,7,116,31,35,36,1389,1276,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde18f9b7e341d9b204fbc08d35aed1b4.jpg","152.6x79厘米",[40,103],82,{"id":1857,"slug":1858,"title":1859,"dynasty":87,"author":1860,"museum":89,"description":1861,"tags":1862,"thumbUrl":1864,"material":59,"size":1865,"collection":40,"collections":1866,"showCount":1855,"zanCount":11,"manualWeight":11,"mainColor":44},218482,"he-lin-yan-yu-tu-cha-shi-biao-218482","鹤林烟雨图","查士标","查士标（1615-1698）字二瞻，号梅壑散人，懒老。安徽休宁人，后寓扬州。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。专事书画，家藏甚富，鼎彝及宋、元真迹皆有，遂精鉴赏，他的山水画，笔墨疏简，风神嫩散，气韵荒寒，晚年画风突变。是明末清初新安派“海阳四家”（江韬、查士标、孙逸、汪之瑞）之一。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。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。山水初学倪瓒，后参用吴镇、董其昌法，笔墨疏简，空旷荒寒。与弘仁、孙逸、汪之瑞并称“新安四大家”（即海阳四家）。著有《种书堂遗稿》等。",[23,24,25,26,53,54,30,135,7,275,187,1863,35,36],"烟雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6f5fc63963b4d7a5fd292f187630f0.jpg","159.5x53.3cm",[40],{"id":1868,"slug":1869,"title":1870,"dynasty":49,"author":896,"museum":20,"description":1871,"tags":1872,"thumbUrl":1873,"material":841,"size":1874,"collection":120,"collections":1875,"showCount":1876,"zanCount":11,"manualWeight":11,"mainColor":82},290134,"qiu-jiang-yu-yin-tu-wu-zhen-290134","秋江渔隐图","此图起手处画清石水草于水中，后有一渔父坐船垂钓，当中一洲．上植二树，对岸是连绵山丘，远处高峰 图中用略浓而有变化的墨勾山石轮廓，略淡的线条作披麻状皴之，复加湿墨衬染，湿墨略分浓淡，罩在线条上面．使线半隐半显，使面透明而光亮。最后再以焦墨浓墨点苔：远山用淡墨没骨抹出。两棵树，以浓淡来区分，所以数百年之后，仍有“幛犹湿”之感。",[73,24,53,30,26,116,317,33,57,7,188,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c51f1c201cfa513a49117cc20e56993.jpg","189.1x88.5",[],81,{"id":1878,"slug":1879,"title":1880,"dynasty":18,"author":413,"museum":172,"description":1881,"tags":1882,"thumbUrl":1883,"material":522,"size":1884,"collection":40,"collections":1885,"showCount":1886,"zanCount":141,"manualWeight":11,"mainColor":44},222357,"feng-tian-xing-du-tu-zhou-tang-yin-222357","葑田行犊图轴","此图取材于唐代李密的故事，史记李密骑牛住缑山拜访名士包恺，牛角挂一卷《汉书》，边走边读。本图并没有强调此一情节。而是突出了“行过松阴懒着鞭”的悠闲之意。图绘一老者手执长鞭骑牛前行，老者表情悠闲，一路观景，牛身形壮硕，四肢有力；上面松枝繁茂，郁郁葱葱。",[23,24,25,26,53,54,188,31,243,7,35,288,1519,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa190e60a0b5555ac9e73c97a4767161f.jpg","纵74.7，横42.7厘米",[40,62],80,{"id":1888,"slug":1889,"title":1890,"dynasty":69,"author":1891,"museum":172,"description":1892,"tags":1893,"thumbUrl":1894,"material":190,"size":1895,"collection":101,"collections":1896,"showCount":1886,"zanCount":141,"manualWeight":11,"mainColor":82},219429,"ba-gao-seng-tu-liang-kai-219429","八高僧图","梁楷","《南宋梁楷八高僧故事图卷》分别描绘南北朝至唐代佛教禅宗八个高僧的故事。各个人物的神态、举止和服饰刻画入微、传神；山石多为斧劈皴，笔法简洁洗练，动静相映以烘托出人物的情绪。是梁楷作品中较为工整的一路。每幅之后，均附有明初人用行书撰写的文字说明，内容简明扼要。",[23,940,27,28,31,30,7,302,116,188,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1587fabe100285596e73694b143eae99.jpg","纵 26.6 厘米 横64.1 66.4 64.7 厘米",[101],{"id":1898,"slug":1899,"title":1900,"dynasty":18,"author":312,"museum":20,"description":1901,"tags":1902,"thumbUrl":1903,"material":53,"size":120,"collection":62,"collections":1904,"showCount":1886,"zanCount":141,"manualWeight":11,"mainColor":82},219339,"fu-song-guan-pu-tu-dai-jin-219339","抚松观瀑图","虬松横斜如探身老者，枝桠间松针攒簇，墨色浓淡相济，尽显苍劲古拙之姿。飞瀑自崖壁垂落，线条如练，与朦胧山雾相融，添几分空濛悠远。松下二人或立或俯，似低语，又或凝听瀑声，神态悠然，将文人雅士闲适心境藏于山水间。左侧亭台半隐松荫，木质结构线条简洁，与自然景致浑然一体。山石皴擦刚健，草木点染灵动，笔墨兼具挺劲与秀逸。整幅画山水相映，人物点睛，传递出远离尘嚣、寄情林泉的淡泊之韵，仿佛能闻松涛与瀑声交织，引人沉醉于这份林泉雅趣中。",[24,25,26,30,54,27,7,55,161,31,35,33,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff224b7dc4b4561098e04194164c63257.jpg",[62],{"id":1906,"slug":1907,"title":1908,"dynasty":18,"author":1909,"museum":20,"description":1910,"tags":1911,"thumbUrl":1912,"material":231,"size":1913,"collection":40,"collections":1914,"showCount":1915,"zanCount":11,"manualWeight":11,"mainColor":44},222372,"song-quan-shi-si-zhou-zhou-chen-222372","松泉诗思轴","周臣","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。",[23,24,25,26,53,27,30,7,35,1096,31,54,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9ced993c13860c65afb437b92e109b6.jpg","114.6x53.1",[40,103],79,{"id":1917,"slug":1918,"title":1919,"dynasty":49,"author":239,"museum":1920,"description":1921,"tags":1922,"thumbUrl":1923,"material":38,"size":1924,"collection":101,"collections":1925,"showCount":1915,"zanCount":220,"manualWeight":11,"mainColor":82},220437,"bi-hu-zhu-shu-tu-wang-meng-220437","闭户著书图","美国克利夫兰艺术博物馆","王蒙绘画风格可分为早、中、晚三个阶段；早期宗学家法，即师法外家赵氏风范；中期泛学前代诸家，也是自己独特画风的初创期，这一时期大约自至正初年隐居开始，持续至至正二十年（1360）左右；后期则是其风格的成熟期，大约自至正二十年后至卒于狱中。\n本图应为其风格初创时期的作品，笔墨、题材、画面空间等诸多方面都体现了这一时期的显著特点：笔墨上已脱离了早期的摹古阶段，开始形成皴法繁复、苔点密集的风格特征；用笔跳跃扭动，浓墨、淡墨、焦墨混用，苔点看似杂乱，实则经过精心安排，这种笔墨技巧十分适合表现江南山川圆润多土、草木茂密之感。",[23,24,25,53,54,30,132,7,288,175,32,33,57,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6951eeaade3bf163e7f25141c8ece86f.jpg","49.1×70.5cm",[101,103],{"id":1927,"slug":1928,"title":1929,"dynasty":49,"author":88,"museum":711,"description":1930,"tags":1931,"thumbUrl":1932,"material":190,"size":120,"collection":101,"collections":1933,"showCount":1915,"zanCount":220,"manualWeight":11,"mainColor":82},219585,"yue-xia-chang-e-tu-yi-ming-219585","月下嫦娥图","云霭舒卷漫过夜空，朗月悬垂，清辉铺洒幽林。古松虬枝蟠曲如苍龙探云，松针层叠细密，尽显苍劲古拙之态。嫦娥素衣翩跹，独立岩畔，隐在松影云气间，身姿娴静缥缈，自带出尘仙气。\n\n此作用笔简淡清逸，以水墨晕染营造空寂灵幻的月夜氛围，摒弃浓丽金碧，将仙家幽渺之境与山林夜色相融。笔意含蓄却神完气足，把月宫清寒与林下幽寂糅为一处，让人恍如踏入清虚之境，遥想广宫寒寂，体悟藏在仙踪里的清远意趣。",[678,24,27,31,509,7,1376,35,188,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff447cc4f9a954ca5bb219c6d7be81a21.jpg",[101,103],{"id":1935,"slug":1936,"title":1937,"dynasty":87,"author":1938,"museum":89,"description":1939,"tags":1940,"thumbUrl":1941,"material":99,"size":1942,"collection":40,"collections":1943,"showCount":1944,"zanCount":11,"manualWeight":11,"mainColor":82},223285,"shan-shui-si-tiao-ping-yang-zhou-si-jing-wan-song-die-cui-yuan-yao-223285","山水四条屏-扬州四景-万松叠翠","袁耀","四条屏分别自题：“春台明月”、“平流涌瀑”、“万松叠翠”、“平岗艳雪”，款署“戊戌仲夏邗上袁耀画。”钤“袁耀”、“昭道”印2方。\n这组画屏是袁耀晚年的作品，所绘为扬州北郊的四处名胜景点，均为写生之作。 “春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色淡雅。“平流涌瀑”画夏日高树浓荫，茂茂森森，以浓厚的墨色点染，华滋苍润。“万松叠翠”写秋时萧瑟之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的松树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以传统界画的精湛技法把扬州当时“两堤花柳全依水，一路楼台直到山”的繁荣景象真切形象地展现在观者面前。",[23,24,27,92,28,30,7,94,161,1279,35,135,485,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38be0bee0f8a26f4537528925c9e91e0.jpg","纵57cm，横66.1cm",[40,103],78,{"id":1946,"slug":1947,"title":1948,"dynasty":87,"author":1949,"museum":1577,"description":1950,"tags":1951,"thumbUrl":1952,"material":499,"size":1953,"collection":40,"collections":1954,"showCount":1944,"zanCount":11,"manualWeight":11,"mainColor":82},222630,"fang-tang-yin-qiu-lin-shu-wu-tu-gao-jian-222630","仿唐寅秋林书屋图","高简","此幅所绘的《仿唐寅秋林书屋图》绘山峰高耸，云蒸霞蔚；山脚下溪水潺潺，秋树苍茂，主人于书斋静读。\n高简擅长于模仿唐寅，几可乱真，清秀之气可比肩唐寅。左上自题：“仿唐解元秋林书屋图。癸未冬十月一云山人高简。”左上有作者后裔高侪鹤题识。癸未为康熙四十二年，公元1703年，作者时年70岁。\n高简(1634-1707)〔清〕字澹游、德园，号旅云、澹游子、一云山人、旅云山人、娱晖老人，江苏苏州人。能诗，工山水，画学元四家，喜倪云林(瓒)，有“小云林”印。精于尺幅小品，秀洁妍雅，颇有风趣。所作笔墨简淡清臞，布置深稳，脱尽纵横习气。善画梅，好画梅花书屋图，冷隽雅逸。传世作品有康熙六年(1667)作《寒林诗思图》轴，图录于《肥遁庐藏名人山水集》；九年(1670)作《仿曹知白山水图》轴、三十五年(1696)作《夕照落雁图》轴均藏故宫博物院；九年(1670)作《仿古山水册》十二帧、顺治十年(1653)作《仿宋元山水八帧》卷藏上海博物馆；康熙四十二年(1703)作《仿唐解元秋林书屋图》轴藏旅顺博物馆；《青山积翠图》轴藏南京博物院；《仿徐贲山水图》册页藏辽宁省博物馆。",[23,24,25,26,53,274,54,30,367,7,35,450,33,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41c09d80ba903d033ff21d82621e036e.jpg","96cmx56cm",[40],{"id":1956,"slug":1957,"title":1958,"dynasty":69,"author":1959,"museum":212,"description":1960,"tags":1961,"thumbUrl":1965,"material":190,"size":1966,"collection":40,"collections":1967,"showCount":1944,"zanCount":220,"manualWeight":11,"mainColor":82},218233,"shen-shan-fang-yin-tu-yu-jian-218233","深山访隐图","玉涧","枯松斜倚崖边，松针以墨线疏疏勾出，苍劲中带着荒寒之韵。山石轮廓用简练笔触皴擦，肌理分明，层层向远延伸，山岚似轻烟漫过谷间，模糊了远近界限。林麓深处，几椽屋舍隐现，被松影与雾气轻掩，恰是访隐者追寻的幽居。画面色调古雅，绢本沉郁质感衬得水墨清寂。墨笔题识错落右上角，文气与画意相融，似诉说访隐心境。整幅画以简淡之笔勾勒深山静谧幽深，每一线条、每块墨色都透着对隐逸之境的向往，让人仿佛听见山风穿松的轻响，触摸到林间清寒气息。",[24,53,256,54,342,30,7,35,134,36,1962,574,1963,135,1964],"小屋","路径","深山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46171ff02094154282d5be54ddfea031.jpg","93x40cm",[40],{"id":1969,"slug":1970,"title":1971,"dynasty":87,"author":1972,"museum":226,"description":1973,"tags":1974,"thumbUrl":1975,"material":38,"size":1976,"collection":120,"collections":1977,"showCount":1944,"zanCount":141,"manualWeight":11,"mainColor":44},216247,"jing-fu-si-qi-dong-jing-tu-10-qian-wei-cheng-216247","景敷四气冬景图-10","钱维城","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n赭英粉萼共争新，不独迎春且探春。大矣乾元善资始，物犹如此况乎人。钤印：妙意写清快",[24,25,27,30,94,7,35,135,303,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32a0ecdde6718846ff99634ffe2046cb.jpg","21.9 × 30.2cm",[],{"id":1979,"slug":1980,"title":1981,"dynasty":18,"author":1982,"museum":147,"description":1983,"tags":1984,"thumbUrl":1985,"material":120,"size":120,"collection":103,"collections":1986,"showCount":1987,"zanCount":141,"manualWeight":11,"mainColor":44},239038,"xian-shan-lou-ge-tu-sheng-mao-ye-239038","仙山楼阁图","盛懋烨","盛茂烨，生卒年不详。明画家。号念庵、一作研庵，长洲（今江苏苏州）人，善山水，有烟林清旷之概。",[24,25,26,27,30,54,188,94,7,35,134,715],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab740f67c531848bac66c388d0ad2130.jpg",[103],77,{"id":1989,"slug":1990,"title":1991,"dynasty":87,"author":1992,"museum":147,"description":1993,"tags":1994,"thumbUrl":1995,"material":120,"size":120,"collection":120,"collections":1996,"showCount":1997,"zanCount":11,"manualWeight":11,"mainColor":44},230198,"xi-hu-quan-jing-tu-ping-zhou-shang-wen-230198","西湖全景图屏","周尚文","此作用大青绿设色晕染山峦，石青石绿敷色明丽雅致，兼以勾勒皴擦表现山体肌理，糅合浅绛晕染的柔和质感。山峦层叠排布，以留白烘衬云气，虚实相生间烘托出空濛悠远的江南湖山意境。山间苍松虬劲古雅，林木错落点缀，将温润灵秀的山水气质尽显。构图错落递进，层层铺展出悠远舒展的山水格局，尽显工丽秀雅的格调，把江南湖山的清润诗意融于笔底，兼具可观可游之趣。",[23,24,25,115,27,54,30,7,275,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c1d10b61a0a4df84f3479e4933db94a.jpg",[],76,{"id":1999,"slug":2000,"title":2001,"dynasty":49,"author":285,"museum":89,"description":2002,"tags":2003,"thumbUrl":2004,"material":246,"size":2005,"collection":40,"collections":2006,"showCount":1997,"zanCount":141,"manualWeight":11,"mainColor":82},221711,"you-ju-tu-juan-qian-xuan-221711","幽居图卷","此图是钱选所绘的青绿山水画作之一。图中湖光山色静谧幽淡，展卷之始见三五秀石零落坡边岸角，青松虬曲其上，村居掩映树石之间，一叶小艇驶向水平如镜的湖中，对岸碧峰起伏，参差错落，楼阁为茂林所环抱，茅舍隐现丛树兀石之后，幽居之景、之境、之情、之趣毕现于纸上。其画山石树木皆用方折的线条勾出轮廓，不作皴法，敷以青、绿、赭等色，山脚处略施金粉，于严整工致中见古拙秀逸之气。图的右上方自题“幽居图”三字，其中“幽”字残缺严重，形近“山”字，故亦被称作“山居图”。本幅及前后隔水有“怡亲王宝”等印共29方，尾纸上有纪仪、纪堂、高士奇、邵松年等人的题跋。\n钱选的山水画以青绿设色为主，近师南宋赵伯驹，远溯杨隋展子虔、李昭道，运笔有生拙之趣，设色明快不失艳丽，布局张弛得度，疏密有致，自成风貌。我院另藏《山居图》一卷，虽与《幽居图》构图相异，但笔法、设色同出一源，两者堪为“双璧”。《浮玉山居图》卷（藏上海博物馆）则是钱选以水墨为主的代表作，卷中山石的阴阳向背用墨笔勾皴来表现，花青淡施丛树小草之上，清逸秀润之气溢出卷外，别具一格，与其青绿山水有异曲同工之妙。\n论成就，钱选跳出两宋院体的窠臼，追求晋唐作风，在元初画坛独树一帜，对开创一代画风起了积极的作用。然而，由于赵孟頫与“元四家”的山水画更符合文人重笔墨、尚意趣的审美观念，和他们相比，钱选对后世的影响便略逊一筹了。",[23,73,24,25,186,27,28,188,34,30,36,175,679,35,7,134,714,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8cf429f09a10060fba89347fd3819ea.jpg","纵27厘米, 横115.9厘米",[40,103],{"id":2008,"slug":2009,"title":2010,"dynasty":18,"author":88,"museum":1146,"description":2011,"tags":2012,"thumbUrl":2015,"material":190,"size":2016,"collection":101,"collections":2017,"showCount":1997,"zanCount":141,"manualWeight":11,"mainColor":82},219537,"qi-ying-sheng-hui-tu-yi-ming-219537","耆英胜会图","《耆英胜会图》为辽宁省博物馆首次对外展出，画作反映了北宋年间，“耆英会”的成员们日常闲聚的场景。整幅画作人物栩栩如生，将那一时期士大夫们不问政事、优哉游哉的画面描绘了出来。画作上，在几个主要人物旁边都写有姓名，这为辨识“耆英会”成员提供了方便。辽宁省博物馆工作人员分析认为，这些姓名可能是作者在画完之后特意写上的。\n在《耆英胜会图》的左半部，画有一个案几，司马光静坐在案几后，右手持笔，摆出了想要落笔书写的样子。案几上，纸张铺开，砚中有墨。在司马光的右手边，富弼端坐着，双手互揣衣袖，慈祥地静观着他。\n因为二人在这幅画里有距离感，按照常规视觉，司马光在画里的形象应该大于富弼，但实际上却恰恰相反。“中国古代绘画与西方绘画不同，在人物构图上，更强调尊卑观念。也就是说，在一幅画里，要凸显尊者、主人公的形象。”《民国辽沈金石书画史》作者、沈阳故宫博物馆副研究员沈广杰对画作进行了解读。他说，就《耆英胜会图》来看，从年龄上，富弼要长于司马光，而如果从官职上，前者也要高于后者，所以富弼的形象大于司马光就在情理之中了。",[23,24,186,27,1119,28,861,7,2013,1427,188,2014,1499],"案几","士大夫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32aec312de9de2887e7eb87c9352fd6c.jpg","纵47横344厘米",[101,103,1088],{"id":2019,"slug":2020,"title":2021,"dynasty":87,"author":2022,"museum":1107,"description":2023,"tags":2024,"thumbUrl":2027,"material":2028,"size":2029,"collection":101,"collections":2030,"showCount":2031,"zanCount":11,"manualWeight":11,"mainColor":82},222523,"zhu-shou-tu-zhou-wang-wen-wei-222523","祝寿图轴","王文炜","寿星和梅花鹿是这一题材必备的图像，婴戏图表示多子，也代表了吉祥的寓意，除此之外本图中还描绘了对坐书案的两位文仕，为本图平添了高雅的情趣。画面设色妍雅，笔墨生动。",[23,24,25,73,26,27,28,31,885,2025,1458,7,35,33,2026],"老人","祝寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca9cf9fe0adff55e94e42726ea4c7077.jpg","绢","80X160",[101,103],75,{"id":2033,"slug":2034,"title":2035,"dynasty":18,"author":128,"museum":20,"description":2036,"tags":2037,"thumbUrl":2038,"material":346,"size":2039,"collection":40,"collections":2040,"showCount":2031,"zanCount":11,"manualWeight":11,"mainColor":44},220944,"shi-deng-fei-liu-zhou-dong-qi-chang-220944","石磴飞流轴","石磴飞流图是董其昌72岁时游昆山玉峰山途中在船上所画，此时他刚辞去南京礼部尚书回乡。这幅作品为董氏艺术成熟期的作品，虽不是他一生众多画作中最重要之作，但却是“以笔墨精妙论山水不及画”的笔墨论实践之作。\n董其昌自22岁学画，到中年时期与陈继儒联手反对“吴门”末学之俗，开创并打造儒雅的松江画派，“与古人血战”，临仿了大量古画后，在晚年更加注重笔墨表现，注重内心表达。他用极高的书法造诣，以“南宗”自诩，追求“一超直入如来地”之境，把绘画视为笔墨游戏。",[23,24,25,26,53,54,188,29,30,366,33,7,36,57,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fda8d74c54c52559b8ba3589a42552e.jpg","147.1×55.8cm",[40,62],{"id":2042,"slug":2043,"title":2044,"dynasty":49,"author":1466,"museum":20,"description":2045,"tags":2046,"thumbUrl":2047,"material":38,"size":2048,"collection":40,"collections":2049,"showCount":2031,"zanCount":193,"manualWeight":11,"mainColor":44},219010,"cai-ling-tu-zhao-yong-219010","采菱图","树木的笔触是受李成和郭熙的笔触启发。船只沿着溪流漂浮，叶子上满是水葫芦，没有留下任何空隙。然而，在上图中，天空是半圆的，给人一种河流和天空的开放感。这幅画完成于1342年（至正二年十月），时年54岁。",[23,24,53,27,54,188,34,30,7,35,175,36,485,1279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41588ce7a9410018582e96d9a4f91e8e.jpg","107.6x35.1",[40],{"id":2051,"slug":2052,"title":2053,"dynasty":87,"author":2054,"museum":172,"description":2055,"tags":2056,"thumbUrl":2058,"material":38,"size":2059,"collection":101,"collections":2060,"showCount":2061,"zanCount":11,"manualWeight":11,"mainColor":44},219425,"shui-hui-yuan-ya-ji-tu-zhou-dai-cang-219425","水绘园雅集图轴","戴苍","此画记录了冒辟疆等名士在其私家园林水绘园中的一次雅集。园中山水清远，松荣菊艳，一位僧人打坐石下。两位文人在树下品茶论茗，神态怡然。画面中心石桌前一位老者展卷沉吟，正要落笔作画，另一人据案闲坐，须发尽白，是座中年纪最长的，据画上题跋，已有八十三岁。而画面正中扶手竹椅上坐着的正是此时六十五岁的水绘园主人冒辟疆，他正慈祥看着自己的孙子若有所思。",[73,24,25,26,27,28,31,30,36,56,7,2057,416,861],"桌案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed7cdd29f797fe827316b5107f1946d5.jpg","纵146厘米，横72.9厘米",[101],74,{"id":2063,"slug":2064,"title":2065,"dynasty":18,"author":2066,"museum":226,"description":2067,"tags":2068,"thumbUrl":2069,"material":190,"size":2070,"collection":40,"collections":2071,"showCount":2072,"zanCount":220,"manualWeight":11,"mainColor":82},219716,"song-xi-qin-ke-tu-xie-shi-chen-219716","松溪琴客图","谢时臣","危峰层叠巍峨，苍松盘桓于崖壁间，飞瀑隐入烟岚。中部水面空濛留白，汀渚间楼宇半掩，将山野空寂的悠远铺展开来。近岸老松郁茂，清溪蜿蜒穿林，松下雅士围坐，琴韵似随溪水潺潺漫溢山林。\n\n笔墨兼取刚劲与秀润，皴擦点染勾勒出山石肌理的苍劲，淡墨晕染烟霭，虚实相生间，将雄阔山水之壮与林泉雅集之逸相融，把文人寄情丘壑、静享幽居的意趣藏进每一处留白，绘就出一卷兼具大气与闲雅的山居清景。",[24,25,73,26,53,27,54,30,7,33,55,31,35,36,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa866c2cd2f276fdb3cca85d0d64f70.jpg","141x71.1厘米",[40],73,{"id":2074,"slug":2075,"title":2076,"dynasty":69,"author":675,"museum":147,"description":2077,"tags":2078,"thumbUrl":2079,"material":118,"size":119,"collection":120,"collections":2080,"showCount":2081,"zanCount":141,"manualWeight":11,"mainColor":82},288245,"yan-xiu-lin-ju-tu-xia-gui-288245","烟岫林居图","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。",[23,24,678,53,30,150,7,135,32,1072,1544,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29dd1c63e1b60626ee479c62c6069bd4.jpg",[],72,{"id":2083,"slug":2084,"title":2085,"dynasty":69,"author":828,"museum":147,"description":2086,"tags":2087,"thumbUrl":2093,"material":120,"size":120,"collection":120,"collections":2094,"showCount":2081,"zanCount":11,"manualWeight":11,"mainColor":82},227546,"song-quan-pan-shi-tu-li-cheng-227546","松泉磐石图","《宋人松泉磐石轴》是宋代画家李成的画作，中国古画，访幅之题材与风格，属“松石格”之作品，描绘双松挺立于磐石上，两侧有枯木为伴，兼具寒林之景象。寒林之后隐约可见清涧折曲而来，至磐石处急泻而下，激起漩涡与浪花。",[24,899,256,26,53,7,2088,1097,2089,33,2090,2091,2092],"枯木","寒林","清涧","浪花","漩涡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3403b986d1807ecdd059fbd28f5b4be6.jpg",[],{"id":2096,"slug":2097,"title":2098,"dynasty":145,"author":146,"museum":147,"description":2099,"tags":2100,"thumbUrl":2102,"material":120,"size":120,"collection":120,"collections":2103,"showCount":2081,"zanCount":11,"manualWeight":11,"mainColor":82},226702,"hu-shan-chun-xiao-tu-ju-ran-226702","湖山春晓图","《五代·巨然湖山春晓图》是216年安徽美术出版社出版的图书，作者是陈传席。\n《五代·巨然 湖山春晓图》没有作为主骨干的山石轮廓线，皴染较简，云雾留白，主要以淡墨描绘出山川炯润之意。\n树干勾染，树叶用墨点簇而成，画面清淡。\n从风格上来判定，此图应是元代以后的仿古之作。",[23,73,24,25,26,53,27,54,2101,30,132,133,135,56,7,36,74,440,31],"披麻皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901fdac3aebb6e4d054546a5db41e1b8.jpg",[],{"id":2105,"slug":2106,"title":2107,"dynasty":69,"author":1201,"museum":89,"description":2108,"tags":2109,"thumbUrl":2110,"material":499,"size":2111,"collection":120,"collections":2112,"showCount":2081,"zanCount":220,"manualWeight":11,"mainColor":44},221510,"lu-tong-peng-cha-tu-juan-liu-song-nian-221510","卢仝烹茶图卷","此画画山石瘦削，有松槐生石罅，下覆茅屋。卢仝拥书坐，赤脚。婢治茶具，长须奴肩壶汲泉。款落刘松年，蝇头小楷，署在松节。后幅有唐寅跋：“右玉川子烹茶图，乃宋刘松年作。玉川子豪宕放逸，傲睨一世，甘心数间之破屋，而独变怪鬼神于诗。观其《茶歌》一章，其平生宿抱忧世超物之志，洞然于几语之间，读之者可想见其人矣。松年复绘为图，其亦景行高风，而将以自企也。夫玉川子之向，洛阳人不知也，独昌黎知之。去昌黎数百年，知之者复寒矣。而松年温之，亦不可不为之遭也。予观是图于石湖卢臬副第，喜其败炉故鼎、添火候鸣之状宛然在目，非松年其能握笔乎书此以俟具法眼者。唐寅。”",[23,24,25,186,53,28,31,36,175,7,302,1250,188,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89a801a8050e41c693fef9c47af61fc7.jpg","24.1x44.7",[],{"id":2114,"slug":2115,"title":2116,"dynasty":49,"author":758,"museum":147,"description":2117,"tags":2118,"thumbUrl":2120,"material":118,"size":119,"collection":120,"collections":2121,"showCount":2122,"zanCount":11,"manualWeight":11,"mainColor":82},288978,"xie-you-yu-qiu-he-tu-zhao-meng-fu-288978","谢幼舆丘壑图","《谢幼舆丘壑图》画江岸峰峦秀起，雾霭微茫，江面平静如镜。境界旷远。整个画面宛如宇宙万象被过滤提升成晶莹剔透般充满着音乐性的宁静世界。笔法秀润、清旷，虽系学李成、郭熙 画法而来，但一变宋人工整刻划之体。\n该图绘东晋谢鲲故事。鲲字幼舆，好老庄，善奏琴，寄迹山林。图绘茫茫山川， 荫荫松林，幼舆独坐水畔丘壑，观水流潺潺，听松涛阵阵，意态悠闲，神性超脱。图卷布局甚奇，绘法古拙，学晋、唐风格，一洗宋人旧习。",[73,24,186,115,27,30,7,31,2119],"幽居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1102a9d9b42da6940a786b6d7fe6427.jpg",[],71,{"id":2124,"slug":2125,"title":2126,"dynasty":87,"author":88,"museum":147,"description":2127,"tags":2128,"thumbUrl":2134,"material":118,"size":119,"collection":120,"collections":2135,"showCount":2122,"zanCount":220,"manualWeight":11,"mainColor":82},281507,"dong-yang-duan-xiu-song-he-bi-yi-yi-ming-281507","东洋缎绣松鹤壁衣","清王朝时段推行剃发易服，顺治九年（1652），钦定《服色肩舆条例》颁行，从此废除了明朝的冠冕、礼服以及汉族的一切服饰，但满族服饰同时吸收了明朝服饰的纹理图案。明代男子一律蓄发挽髻，着宽松衣，穿长统袜、浅面鞋；清时则剃发留辫，辫垂脑后，穿瘦削的马蹄袖箭衣、紧袜、深统靴。但官民服饰一律泾渭分明。 清朝是以满族统治者为主的政权机构，满族八旗服饰随朝代的变更冲进关内。旗人的风俗习惯影响着广大的中原地区。从公服开始逐渐推向常服。",[2129,2130,563,2131,7,667,2132,2133],"刺绣","缎绣","鸢尾花","衣帽","织物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7f04495b67bba5e42cdac956fecd321.jpg",[],{"id":2137,"slug":2138,"title":2139,"dynasty":87,"author":1106,"museum":147,"description":2140,"tags":2141,"thumbUrl":2142,"material":120,"size":120,"collection":120,"collections":2143,"showCount":2122,"zanCount":220,"manualWeight":11,"mainColor":82},224431,"song-feng-die-zhang-tu-wang-shi-min-224431","松风叠嶂图","此作用全景式构图铺展丘壑，主峰崔嵬凌天，层峦迤逦延展，兼具高远之雄与深远之幽。以披麻皴写山石肌理，笔触松秀温润，浅绛设色晕染柔和，古雅苍润间带着清和明丽。\n苍松虬枝横斜，涧谷飞泉隐现，山居茅舍错落掩映于林麓间，处处透着幽寂闲逸的林下意趣。题款书法清雅隽秀，与山水笔墨浑然相融，尽显宋元文人画平淡天真的意韵，将林泉高致的静穆之美，尽数凝于尺幅之间，是追摹古意又暗含己心的山水佳制。",[23,24,256,27,54,7,275,33,36,35,187,32,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84858b1ff2685d5dbd3bc173639e5d99.jpg",[],{"id":2145,"slug":2146,"title":2147,"dynasty":18,"author":2148,"museum":1146,"description":2149,"tags":2150,"thumbUrl":2152,"material":190,"size":2153,"collection":384,"collections":2154,"showCount":2122,"zanCount":141,"manualWeight":11,"mainColor":408},221885,"dou-cao-tu-chen-hong-shou-221885","斗草图","陈洪绶","这幅画作描绘的是端阳时节，仕女五人围坐石下斗草为戏的情节。人物神态生动微妙，各具神韵。湖石上盘曲老松，质量厚实，与疏朗的人物布局构成鲜明的对比，有利于打破构图的呆板。陈氏画风变形夸张，用笔谨劲连绵，如行云游丝，转折有力；设色艳而不俗。此作正是画家典型风格的代表作。款署[庚寅秋，老莲洪绶画于护兰书堂]。庚寅为清顺治七年，系公元一六五○年，陈洪绶时年五十三岁。款下钤[洪绶]朱文长方印。",[23,73,24,25,28,940,27,2151,7,35,31],"美人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0622469e201b8215901cfacb0c5aa797.jpg","纵134.3、横48厘米",[384,103],{"id":2156,"slug":2157,"title":1497,"dynasty":18,"author":88,"museum":20,"description":2158,"tags":2159,"thumbUrl":2160,"material":53,"size":120,"collection":62,"collections":2161,"showCount":2122,"zanCount":11,"manualWeight":11,"mainColor":82},219345,"shan-shui-zhou-yi-ming-219345","峰峦叠嶂间云雾氤氲，墨色皴擦出山石肌理，浓淡相宜间尽显丘壑之姿。松枝苍劲，竹影婆娑，掩映着几椽屋舍，屋前似有人凭栏凝思，桥边或有客缓步寻幽。流水潺潺绕石矶，与远山朦胧相映成趣。画作以简练线条勾勒景致，留白处见空灵，墨韵间藏生机，将山水静谧与文人雅趣融于一体，仿佛能闻林间清风，听案上琴音，尽显东方美学的含蓄悠远。",[24,25,26,53,54,30,132,7,175,32,36,135,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d07f8a98cf77e3944329d1fc96a3eb6.jpg",[62],{"id":2163,"slug":2164,"title":2165,"dynasty":87,"author":733,"museum":147,"description":734,"tags":2166,"thumbUrl":2167,"material":99,"size":120,"collection":384,"collections":2168,"showCount":2169,"zanCount":141,"manualWeight":11,"mainColor":82},222776,"hua-bai-ying-zhou-lang-shi-ning-222776","画白鹰轴",[23,24,73,26,27,28,95,961,7,288,55,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8821bbc34360056591a52a75a4e58a03.jpg",[384,103],70,{"id":2171,"slug":2172,"title":2173,"dynasty":69,"author":2174,"museum":147,"description":2175,"tags":2176,"thumbUrl":2179,"material":2180,"size":2181,"collection":78,"collections":2182,"showCount":2169,"zanCount":141,"manualWeight":11,"mainColor":82},221599,"luo-han-xi-yi-gua-zhou-lin-ting-gui-221599","罗汉洗衣挂轴","林庭珪","整作以苍劲古松与幽寂崖谷铺陈出世外氛围，将罗汉洗衣的日常绘得意趣盎然。下方罗汉或俯身浣洗布帛、或用力拧绞衣物，动态憨朴自然，衣袂褶皱随动作舒展，质感写实入微。上方二僧持物旁观，神态松弛闲适，崖边悬垂的僧衣晕染出柔和的色彩层次，暗合僧家清简日常。\n\n笔墨兼具工致与写意，山石松木以浓墨勾勒皴擦，尽显苍浑老辣，罗汉面容细节刻画精细，褪去神像的肃穆高远，还原僧众山间悠游的烟火日常，在禅意与世俗意趣间寻得精妙平衡，尽显宋代人物写生的细腻共情与雅致格调。",[23,73,24,25,26,2177,28,27,31,56,7,33,2178],"宗教","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dc5e0c2176d701ed80a3ec70560fa41.jpg","立轴绢本","112.3x53",[78,101,103],{"id":2184,"slug":2185,"title":2186,"dynasty":87,"author":1938,"museum":147,"description":2187,"tags":2188,"thumbUrl":2190,"material":118,"size":119,"collection":120,"collections":2191,"showCount":2192,"zanCount":11,"manualWeight":11,"mainColor":82},230158,"peng-lai-xian-jing-tu-ping-12-tiao-ping-yuan-yao-230158","蓬莱仙境图屏-12条屏","袁耀（生卒年不详），清朝画家，字昭道，江都（今江苏扬州）人。袁江之侄。",[23,24,27,92,28,54,30,94,7,35,135,2189],"波浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54bd480a9dcef63f008711c8e7e61623.jpg",[],69,{"id":2194,"slug":2195,"title":2196,"dynasty":18,"author":2197,"museum":20,"description":2198,"tags":2199,"thumbUrl":2200,"material":190,"size":2201,"collection":101,"collections":2202,"showCount":2192,"zanCount":11,"manualWeight":11,"mainColor":82},216948,"luo-han-tu-song-xu-216948","罗汉图","宋旭","这是一幅达摩面对水面的画作，看起来很疲惫，嘴唇紧闭在思考。笔触重而不浊，是宋旭的原画风格。",[24,26,27,31,30,7,57,135,54,2177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cd87f722f408a0c00a88f3338e2dc80.jpg","140.6x36.3",[101],{"id":2204,"slug":2205,"title":2206,"dynasty":69,"author":199,"museum":147,"description":2207,"tags":2208,"thumbUrl":2212,"material":120,"size":120,"collection":120,"collections":2213,"showCount":2214,"zanCount":141,"manualWeight":11,"mainColor":82},227821,"song-feng-ting-tu-ye-ma-yuan-227821","松风亭图页","这幅小品以边角取景，将山水意趣藏于尺幅之间。右侧虬松苍劲盘曲，枝干如铁，松针攒簇劲挺，斜斜探向半空，似携着穿林松风。古松之畔，山亭飞檐翘角，半掩于松石间，雅致清寂。左侧留白晕染远山，淡墨轻描，虚实相映，衬出山林空阔萧散的意境。\n\n用笔刚简老辣，墨色干湿浓淡错落，勾勒皴擦间，山石枯涩、古松苍润的质感尽显，以少胜多，把林泉幽居的静谧禅意铺陈开来，藏着文人心中归向林泉的高远意趣，尺幅之中意蕴悠长。",[23,73,24,25,256,92,161,7,35,134,53,27,54,2209,2210,2211,34],"边角取景","静谧","禅意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa207a22d1b0e544e2ed8382683769b21.jpg",[],68,{"id":2216,"slug":2217,"title":2218,"dynasty":87,"author":2219,"museum":1146,"description":2220,"tags":2221,"thumbUrl":2222,"material":231,"size":2223,"collection":40,"collections":2224,"showCount":2214,"zanCount":141,"manualWeight":11,"mainColor":44},224388,"shan-zhong-zao-chun-tu-wang-yuan-qi-224388","山中早春图","王原祁","此画写重山复岭，纵向逶迤，松溪水榭，亭桥山居，错落其间，层次深远。构图平中带险，笔法秀劲，气韵苍润，色调沉着凝重，不失为晚年之佳作。",[23,24,256,27,54,132,133,36,7,56,229,74,134,702],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb20b6bf1f9e17cdf68c0ce52a990f7.jpg","纵100cm，横44.7cm",[40],{"id":2226,"slug":2227,"title":2228,"dynasty":49,"author":88,"museum":20,"description":2229,"tags":2230,"thumbUrl":2231,"material":2232,"size":120,"collection":40,"collections":2233,"showCount":2214,"zanCount":11,"manualWeight":11,"mainColor":408},219179,"fang-song-ren-xue-jing-tu-yi-ming-219179","仿宋人雪景图","雪覆层岩，天地浸于清寂。山峦巍峨，积雪厚积处晕染得韵，山石轮廓以墨线勾勒，皴擦见骨，显峻峭之势。寒林枝桠虬曲如铁，向空伸展，似欲刺破冬云。涧水凝碧，蜿蜒穿石而过，清冽之态可感。山隅茅舍隐现，添几分人间气息，却未破山林幽寂。笔墨兼融宋工与元逸，于寒寂中藏生机，尽展冬日山林的幽远之趣，观之如临其境，心亦随之沉静。",[23,24,256,274,54,27,365,35,367,33,175,134,259,7,74,2089],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0292fcbd3b7c8dbf3f1351f9a5a7dc06.jpg","设色,绢本",[40],{"id":2235,"slug":2236,"title":2237,"dynasty":69,"author":70,"museum":212,"description":2238,"tags":2239,"thumbUrl":2240,"material":190,"size":2241,"collection":384,"collections":2242,"showCount":2214,"zanCount":141,"manualWeight":11,"mainColor":82},218970,"yu-yu-fang-mu-tu-li-tang-218970","雨余放牧图","雨后的山野浸着清润气息，山峦如黛，轻烟似纱晕染其间，远近层次在水墨中渐次铺展。老松虬枝盘结，苍劲枝干斜倚崖边，松针上似还挂着未干的雨珠。坡地间，牛群散卧或缓行，有的低头啃食带露青草，有的两两相依，蹄印浅浅印在湿润泥土上。远处山影朦胧，几只飞鸟掠过天际，更衬出天地静谧。整幅画将田园悠然与自然清旷融于一体，每一笔都带着岁月温润，仿佛能嗅到雨后泥土芬芳，听见风过松林轻响，让人沉醉在这份与世无争的安然里。",[24,25,30,54,53,27,243,7,95,35,36,288,134,779],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b23892c23ea69db3c885cc88ea4dc2d.jpg","纵204横96厘米",[384],{"id":2244,"slug":2245,"title":2246,"dynasty":18,"author":19,"museum":212,"description":2247,"tags":2248,"thumbUrl":2250,"material":190,"size":2251,"collection":40,"collections":2252,"showCount":2214,"zanCount":11,"manualWeight":11,"mainColor":82},218417,"bi-yin-zuo-diao-tu-wen-zheng-ming-218417","碧荫坐钓图","前景中的松树高大而紧密，松针参差不齐，一个男孩的仆人提着锅回村，一只白鹤望着敞开的大门，坡脚的岩石与水面之间。",[24,25,26,27,30,7,116,2249,35,33,1962,317,54,28,36],"蓑笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa42da8f8261a31fc6bd4174fd7e6ed3a.jpg","163x61cm",[40],{"id":2254,"slug":2255,"title":2256,"dynasty":18,"author":312,"museum":20,"description":2257,"tags":2258,"thumbUrl":2259,"material":99,"size":2260,"collection":40,"collections":2261,"showCount":2262,"zanCount":11,"manualWeight":11,"mainColor":82},222038,"zhang-song-wu-lu-zhou-dai-jin-222038","长松五鹿轴","这幅画的主题是长松和鹿，长松代表长寿，鹿因与「禄」谐音，带有「福禄」或「俸禄」的意思，所以这张画具有祝寿或是祈福的功能。本画的构图与戴进一般作品不同，垂直的松林、形状像石笋的山峰和围绕的祥云几乎塞满画面全部的空间，让整幅画充满平面装饰的趣味。",[23,24,26,27,30,7,1458,961,54,35,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb8af83ff4d6f77521d790ed2136c0af.jpg","纵：142.5厘米 横：72.4厘米",[40,103],67,{"id":2264,"slug":2265,"title":2266,"dynasty":18,"author":2267,"museum":20,"description":2268,"tags":2269,"thumbUrl":2270,"material":2271,"size":2272,"collection":40,"collections":2273,"showCount":2262,"zanCount":141,"manualWeight":11,"mainColor":44},221935,"xi-yan-tu-zhou-chen-luo-221935","洗砚图轴","陈裸","陈祼（公元1563~约1639年），初名瓒，字叔祼，后去掉“叔”字，号道樗、白室，江苏吴县（今江苏苏州）人。\n善画山水，远宗赵伯驹、赵孟俯﹝赵孟頫﹞诸家，近师文征明。摹古人笔法逼真，能工书。晚年居虎丘，以吟咏自娱。作品有《石梁飞瀑图轴》，《秋山高隐图轴》。\n所图必深林叠嶂，曲径回塘，以扇面为多。能诗工书，善行楷，晚年居虎丘，以吟咏自娱。传世作品有崇祯九年(1636)作《竹溪花坞图》轴，图录于《故宫书画集》；崇祯十一年(1638)作《山水扇面》，图录于《明代名人画扇集》。崇祯二年(1629)作《雪山行旅图册页》，表现雪山的手法学夏珪，画石用小斧劈皴，画树枝笔触多带有钉头，颇具匠心。曾由吴平斋收藏，后为南京十竹斋藏品。著有《妪解集》。",[23,24,25,26,27,54,30,7,175,55,35,303,31,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe91618ed8c738d3b3545416a0e57f159.jpg","纸本浅设色","122.4x51.5厘米",[40,62],{"id":2275,"slug":2276,"title":2277,"dynasty":87,"author":2278,"museum":147,"description":2279,"tags":2280,"thumbUrl":2281,"material":190,"size":2282,"collection":101,"collections":2283,"showCount":2262,"zanCount":11,"manualWeight":11,"mainColor":44},214835,"fang-li-xi-gu-cai-wei-tu-quan-juan-xiao-chen-214835","仿李晞古采薇图全卷","萧晨","在右边，伯益坐在山坡上，双膝弯曲，认真听着舒淇的讲话，舒淇俯身向前致意，面前放着一把锄头和一筐野菜。萧琛，字灵溪，号仲素，清代画家，善诗，精画，山水人物，师承唐宋。",[23,24,25,186,274,27,28,54,31,7,35,36,34,1250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F341cd77a009ea4082f79b83c8e83756d.jpg","\u001659.2x27.1",[101],{"id":2285,"slug":2286,"title":2287,"dynasty":69,"author":494,"museum":20,"description":2288,"tags":2289,"thumbUrl":2291,"material":841,"size":2292,"collection":120,"collections":2293,"showCount":2294,"zanCount":11,"manualWeight":11,"mainColor":82},289562,"jing-ting-song-feng-tu-ma-lin-289562","静听松风图","图绘迎风高松三株，偃仰盘曲，宛若苍龙。枝干遒劲，山风阵阵，枝叶飘洒，藤条飞舞。一老者屈腿悠然坐于临岸松树下，衣襟微开，姿态随意，似侧耳聆听松涛，神气舒畅，有道骨仙风，一童执扇立于前。此画中树干用浓墨线密皴，用笔密实，细枝用线刚劲又不乏柔挺之意。山石用小斧劈皴，远山以线条勾勒后多用水墨渲染，使画面更为清润。人物衣纹劲利流畅，秀逸柔润。",[23,73,24,25,26,27,54,31,30,7,35,33,2290,1499],"松风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf04368e056b821d8008c1e1d3ddd623.jpg","226.6x110.3",[],66,{"id":2296,"slug":2297,"title":2298,"dynasty":87,"author":2299,"museum":147,"description":2300,"tags":2301,"thumbUrl":2302,"material":118,"size":119,"collection":120,"collections":2303,"showCount":2294,"zanCount":11,"manualWeight":11,"mainColor":44},287970,"song-shu-shuang-lu-tu-zhu-da-287970","松树双鹿图","朱耷","描绘了一角山崖，崖边上一株古松遒然挺立，崖下一公一母两只梅花鹿亲密相偎。背景中的山崖及苍松画面疏淡，笔墨劲简；山崖上草石与古松以浓墨点画而出，近景处的双鹿则以淡墨着笔。外侧犄角雄健的公鹿于站立中作回首状，而内侧的母鹿墨色更淡，接近画幅底色，以缠绕公鹿的形态与公鹿亲密，情深状貌跃然纸上。松与鹿均表现超然的气质；而以一公一母两鹿如此亲密的形象入画，确是于超然中又见温情，似乎寓意作者既欲超脱又回顾留恋的情愫。",[23,24,73,25,26,53,961,1458,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7008f1ca40741a720f4ee5a8350ea2da.jpg",[],{"id":2305,"slug":2306,"title":2307,"dynasty":18,"author":413,"museum":147,"description":414,"tags":2308,"thumbUrl":2309,"material":118,"size":119,"collection":120,"collections":2310,"showCount":2294,"zanCount":220,"manualWeight":11,"mainColor":44},228480,"shi-shan-mian-tang-yin-228480","诗扇面",[23,73,24,25,678,53,27,54,7,35,31,33,188,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F428870f13c665e4f89795e5b5dc817a0.jpg",[],{"id":2312,"slug":2313,"title":2314,"dynasty":69,"author":199,"museum":20,"description":2315,"tags":2316,"thumbUrl":2318,"material":190,"size":2319,"collection":101,"collections":2320,"showCount":2294,"zanCount":11,"manualWeight":11,"mainColor":82},219611,"song-quan-shuang-niao-tu-ma-yuan-219611","松泉双鸟图","画士人执拂麈坐于松根，溪涧泉石环绕于前，双鹊低飞饮啄，生意盎然。水色烟岚气氛，画面留出空白，表现旷阔之空间及浓郁诗意。人物衣纹细笔勾勒，松石简笔浅触。以斧劈皴表现坚石挺劲，松树枝桠笔势斜偃劲疾，有如屈铁，故有拖枝马远之称。",[23,24,73,27,28,54,7,1096,95,31,35,33,2317],"古树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fbf9bf28988f8ff5408f7b8b0a37cf5.jpg","26.8x53.8cm",[101],{"id":2322,"slug":2323,"title":2324,"dynasty":87,"author":88,"museum":212,"description":2325,"tags":2326,"thumbUrl":2328,"material":190,"size":120,"collection":384,"collections":2329,"showCount":2294,"zanCount":11,"manualWeight":11,"mainColor":82},219273,"qun-hou-xi-shui-shuang-ping-yi-ming-219273","群猴戏水双屏","松枝虬曲横斜，松针如簇。枝间群猴灵动，或攀附树干探头探脑，或倒挂金钩似的垂落，长尾轻摆，神态憨然。树下涧边，几只小猴追逐打闹，或掬水顽劣，或投石逗趣，更有仰头望枝上同伴者，姿态各异，满是天真野趣。远处淡墨晕染出山水轮廓，一轮清月隐现天际，绢色沉润如古酿，笔墨简淡却意韵盎然。整幅画将猴群的活泼与山林的静谧相融，既见自然生机，又含悠然意韵，观之令人莞尔，心生清趣。",[24,25,26,53,27,961,2327,7,302,30,509,28],"猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbea5c0347eed9f967050d2b173b7446b.jpg",[384],{"id":2331,"slug":2332,"title":2333,"dynasty":69,"author":199,"museum":20,"description":2334,"tags":2335,"thumbUrl":2336,"material":190,"size":2337,"collection":120,"collections":2338,"showCount":2294,"zanCount":11,"manualWeight":11,"mainColor":44},218574,"hua-niao-shan-shui-xiao-pin-ce-song-ge-yuan-tiao-ma-yuan-218574","花鸟山水小品册-松阁远眺","分别绘茶花、牡丹、葡萄、桃子，色彩鲜艳，用笔精致。山水绘山阁远眺，策杖登高，孤棹泛波，意趣悠然。",[23,73,24,25,215,92,1772,27,7,94,134,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35074db5951596b169a46678d71c13fd.jpg","33*19",[],{"id":2340,"slug":2341,"title":2342,"dynasty":69,"author":199,"museum":212,"description":213,"tags":2343,"thumbUrl":2345,"material":190,"size":217,"collection":120,"collections":2346,"showCount":2294,"zanCount":11,"manualWeight":11,"mainColor":44},218039,"song-di-ming-ti-ce-shi-ma-yuan-218039","宋帝命题册(十)",[23,24,25,215,53,27,54,2344,30,7,275,135,188,34],"边角山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c290a29cb2476ddf0147882bbc77cf5.jpg",[],{"id":2348,"slug":2349,"title":2350,"dynasty":69,"author":199,"museum":20,"description":2351,"tags":2352,"thumbUrl":2353,"material":841,"size":2354,"collection":120,"collections":2355,"showCount":2356,"zanCount":11,"manualWeight":11,"mainColor":82},289758,"dui-yue-tu-zhou-ma-yuan-289758","对月图轴","此图峰势奇伟，悬涯峭壁间古松摧劲，向外伸展。峰下坪上老者对山而歌，侍者立其旁。用笔泼辣粗放，粗斗见细。该图特点是笔线粗重有力，树石皴法采用侧笔直刷浓淡一笔而成的画法，用特重烘染的手法来制造出月夜朦胧的景色，给人一种境界高简、意象幽邃的趣味，发人深思。",[73,24,26,53,30,7,35,509,31,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd205d820e47aa10f383f7de358596958.jpg","149.7x78.2",[],65,{"id":2358,"slug":2359,"title":2360,"dynasty":18,"author":2361,"museum":89,"description":2362,"tags":2363,"thumbUrl":2364,"material":246,"size":2365,"collection":40,"collections":2366,"showCount":2356,"zanCount":11,"manualWeight":11,"mainColor":44},237760,"song-shi-zhou-cheng-jia-sui-237760","松石轴","程嘉燧","图绘高士依孤松远眺、小童携琴相随以及青山与江水相隔之景，颇有晋人陶渊明《归去来辞》中“策扶老以流憩，时矫首而遐观。云无心以出岫，鸟倦飞而知还。景翳翳以将入，抚孤松而盘桓”之诗意。本幅款署：“崇祯四\n年秋九月，孟阳画于虞山耦耕堂。”钤“程嘉燧印”白文印。崇祯四年即1631年，作者时年67岁。\n此幅构图取法倪瓒“一江两岸”式，重点突出孤松与高士，点明了高逸的主题。山体采用疏散的披麻皴，有元人笔意。人物神情凝重，刻画入微，笔法细腻舒朗。设色清雅，以花青入色，山色青翠，古松秀郁，整体画面呈现出儒雅清丽的韵致。",[24,25,73,26,53,54,940,7,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d79694e9f66eba28b952c2654a5b11e.jpg","纵130.2厘米，横31.2厘米",[40],{"id":2368,"slug":2369,"title":2370,"dynasty":49,"author":2371,"museum":20,"description":2372,"tags":2373,"thumbUrl":2374,"material":1392,"size":2375,"collection":40,"collections":2376,"showCount":2356,"zanCount":11,"manualWeight":11,"mainColor":82},221690,"hua-chun-shan-qing-yu-zhou-gao-ke-gong-221690","画春山晴雨轴","高克恭","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。",[23,24,26,53,27,54,30,132,1376,162,7,33,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcbf1df459b73c36527176870aa88973.jpg","125.1 x 99.7cm.",[40,62],{"id":2378,"slug":2379,"title":2380,"dynasty":69,"author":88,"museum":2381,"description":2382,"tags":2383,"thumbUrl":2384,"material":190,"size":120,"collection":78,"collections":2385,"showCount":2356,"zanCount":11,"manualWeight":11,"mainColor":408},220255,"xia-jing-shan-shui-tu-yi-ming-220255","夏景山水图","日本久远寺","此图绘深山幽谷，山雨欲来，树木摇曳，云雾弥漫，一隐士拄杖欲过溪桥，侧首观赏林泉，怡然自乐。本图为四季山水四条幅中的一幅，其中春景图早已遗失，其内容不详；秋景图和冬景图流失于日本后，经大内氏、明智院传到金地院；此图在日本由滨松城主太田资宗施给久远寺。各幅在构图、景物刻画上既相互联系，又富于变化，每幅上都有流失日本前钤的二枚鉴藏印。后日本收藏者足利三代将军义满又在画幅上钤『天山』鉴藏印。这三幅图是目前流传下来的宋代四季山水图中最早的作品，体现了南宋画院早期山水画的风格特征。",[23,24,73,256,26,53,27,54,28,30,7,35,135,31,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd810dc2b018ad6e47852a0c78483968.jpg",[78],{"id":2387,"slug":2388,"title":2389,"dynasty":87,"author":2390,"museum":172,"description":2391,"tags":2392,"thumbUrl":2395,"material":38,"size":120,"collection":101,"collections":2396,"showCount":2356,"zanCount":141,"manualWeight":11,"mainColor":44},219427,"zhu-cha-xi-yan-tu-zhou-qian-hui-an-219427","煮茶洗砚图轴","钱慧安","此画作于同治十年辛未（1870）。画一文士安坐水榭，石案上摆放着陶壶瓷杯、古鼎铜尊，与琴书相伴。两个小童一人正在煮茶，另一人则在溪边洗刷砚台，水面清透，可见金鱼数条。画上篆书画题“煮茶洗砚”，钤“吉生”朱文钱形印。",[24,25,28,27,31,161,33,57,1250,7,776,2393,2394],"砚","墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67c2c4a3ab8226ebbe0005936e35de5b.jpg",[101],{"id":2398,"slug":2399,"title":2400,"dynasty":69,"author":675,"museum":20,"description":2401,"tags":2402,"thumbUrl":2404,"material":2028,"size":2405,"collection":120,"collections":2406,"showCount":2407,"zanCount":11,"manualWeight":11,"mainColor":82},288371,"chang-jiang-wan-li-tu-hou-juan-xia-gui-288371","长江万里图后卷","《长江万里图》是一幅长超过11公尺的手卷，画卷的前半段，以接近平视的角度近景特写岩块、林木，以及江行的舟船，表现长江三峡险峻和波涛汹涌的景观；后半段则是以俯视和远观的角度描绘江面上的活动，以及沿途所见秀丽的景色。从逼近观者的景物，转换到辽阔空旷的视野，这种构图的方式具有戏剧性的效果。在画卷最后，有元代鉴藏家柯九思的题字，鉴定这幅画作者是南宋夏珪。但是柯九思题字是后人伪造，所以这样的意见值得强烈怀疑。从时代风格来看，这种山水长卷的构图方式流行于明初，而在笔墨技巧方\n宋夏圭长江万里图卷\n宋夏圭长江万里图卷\n面，本幅的“斧劈皴”用同一方向的侧锋表现，而水纹的描绘也刻意强调浪花的造型和装饰效果，这些特征显示〈长江万里图〉的创作时代为十四世纪末至十五世纪初，可能是一张与明代宫廷画院风格密切相关的作品。",[23,24,186,53,256,54,150,2403,116,715,7,135,1600,134],"江景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc17ed61dd6a5972ee7a6aea3bd1ee1f2.jpg","该幅26.8x1115.3公分；隔水一 11.3公分；引首 26.8x75.7公分；隔水二 13.7公分；隔水三 11.3公分；拖尾 26.9x241公分",[],64,{"id":2409,"slug":2410,"title":2411,"dynasty":87,"author":1687,"museum":20,"description":2412,"tags":2413,"thumbUrl":2415,"material":38,"size":2416,"collection":40,"collections":2417,"showCount":2407,"zanCount":11,"manualWeight":11,"mainColor":44},220382,"qing-wang-hui-fang-zhao-meng-fu-chun-shan-fei-pu-wang-hui-220382","清王翚仿赵孟俯春山飞瀑","细皴粗染入神知。春水初生落涧迟。书识重光诗正叔。天瓶小册合评时。辛亥（西元一七九一年）新正用恽寿平韵。御题。",[24,25,27,115,28,54,274,30,2414,7,35,574,36,74],"飞瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3734e913cfe0bffb73c6f8b6b761edf6.jpg","89.5x37.7",[40,103],{"id":2419,"slug":2420,"title":2421,"dynasty":69,"author":199,"museum":212,"description":213,"tags":2422,"thumbUrl":2423,"material":190,"size":217,"collection":120,"collections":2424,"showCount":2407,"zanCount":141,"manualWeight":11,"mainColor":44},218066,"song-di-ming-ti-ce-san-ma-yuan-218066","宋帝命题册(三)",[23,24,25,215,53,54,188,29,34,30,7,31,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23c1925505197c148c13f3497d28a207.jpg",[],{"id":2426,"slug":2427,"title":2428,"dynasty":87,"author":1157,"museum":299,"description":1158,"tags":2429,"thumbUrl":2430,"material":543,"size":1161,"collection":120,"collections":2431,"showCount":2407,"zanCount":11,"manualWeight":11,"mainColor":82},214347,"san-jue-shan-shui-ce-13-hua-yan-214347","三绝山水册-13",[23,24,25,53,54,215,30,57,36,135,7,302],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf04188718fcb81c7be51f07fefa49c1.jpg",[],{"id":2433,"slug":2434,"title":2435,"dynasty":87,"author":2436,"museum":147,"description":2437,"tags":2438,"thumbUrl":2439,"material":120,"size":120,"collection":120,"collections":2440,"showCount":2441,"zanCount":11,"manualWeight":11,"mainColor":44},226639,"shan-shui-shan-mian-pu-ru-226639","山水扇面","溥儒","出身皇室的溥儒（溥心畲），除了自身的天赋才华，从小接受严格的正统教育，加上皇室有大量的书画收藏得以临摹，绘画创作得力诗词文的涵养，使他成为诗、书、画三绝的代表性画家，30年代中期与张大千（1899-1983）齐名，享有「南张北溥」的美誉，移居台湾后，与张大千、黄君璧三人同属台湾画坛中的最杰出的国画大师，被大众称为「渡海三家」，溥儒的山水画宗法宋元，风格淡雅，艺术家重视线条的?画，总呈现出和谐宁静的气氛。 〈山水〉是溥儒1945年的作品，风景自古是文人喜爱的绘画题材，艺术家从小浸淫汉学儒家思想，笔墨功力扎实，善于形塑令人向往的文人境界，〈山水〉流露出雅致的古典气息，画作属纸本立轴。题识： 「尺素生秋水，苍然浦漵分，尚含千峰雨，疑落万峰云。江上鸣瑶瑟，岩前忆隐君。青猿声断续，应是隔溪闻。」 行书行云流水，雅逸自然，配合画面挺拔的山壑与清澈湖水，诗书画三者结合，设色清新淡雅，使人玩味再三，前景的松树是溥儒喜爱的题材，它代表文人高尚的节操，高大的山石生长着茂密的植物，浓淡不一的墨色表现了丰富的层次，值得我们细细品味，而隐居在山林里的小房子甚是可爱，蕴含着隐居的心境。在用色方面，艺术家总以多层薄彩敷色，细腻的笔调，使景物生动自然，营造出柔和辽阔的意境，画面的左半面是空旷的湖面，刻意留白的处理与右半边的景物形成对比，两艘小船为全画增添生命力，整体而言，是幅意境深远的画作，流露出一股天真脱俗的气质。",[23,24,678,30,27,7,31,35,33,34,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1194f3f821239671a24fdd604c5306ed.jpg",[],63,{"id":2443,"slug":2444,"title":2445,"dynasty":69,"author":2446,"museum":2447,"description":2448,"tags":2449,"thumbUrl":2450,"material":76,"size":2451,"collection":78,"collections":2452,"showCount":2441,"zanCount":11,"manualWeight":11,"mainColor":82},221437,"song-hao-xuan-ming-shi-qin-tu-hu-shun-chen-221437","送郝玄明使秦图","胡舜臣","日本大阪市立美术馆","传世作品有宣和四年(1122)作《送郝玄明使秦图》卷，自题诗款：“丛桂方招隐，君犹赋远游。青枫初试降，白露正宜秋。玉叠浮云暮，秦关王气收。离情付图画，怅我一登楼。宣和四年九月二日，玄明大参有使秦之命，作此纪别。胡舜臣。”卷后有蔡京(1047-1126)书题“送郝玄明使秦一首：送君不折都门柳，送君不设阳关酒。惟取西陵松树枝，与尔相看岁寒友。蔡京。”继后有吴睿、莫昌、袁华、周鼎史、沈周观署，钱樾、吴荣光、伯荣、刘墉、翁方纲题跋等。",[23,24,73,25,186,53,54,30,150,36,7,135,32,33,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7ddf81b15095c5a22ac6defde70da2.jpg","30x111",[78],{"id":2454,"slug":2455,"title":1981,"dynasty":49,"author":2456,"museum":147,"description":2457,"tags":2458,"thumbUrl":2460,"material":120,"size":120,"collection":120,"collections":2461,"showCount":2462,"zanCount":141,"manualWeight":11,"mainColor":82},228244,"xian-shan-lou-ge-tu-chen-ru-yan-228244","陈汝言","此作为典型的元人青绿山水，承续唐宋青绿遗韵。层叠峰峦以石青、石绿晕染勾勒，色泽古雅厚重，虽经岁月稍褪，仍可见旧时明丽。苍松虬劲错落，扎根于岩岫之间，楼阁屋舍隐现幽谷林泉，几处文人逸士或策杖徐行、或凭栏晤谈，衬出山居空寂幽深。\n\n整幅疏密得宜，将仙山秘境的超脱清灵铺展于绢素，既带着青绿山水的富丽端严，又融入元人山水独有的萧散意趣，把世外山居的恬然仙气尽数勾勒，尽显缥缈出尘的隐逸雅意。",[23,73,24,25,762,115,27,256,28,54,26,2459,94,7,32,33,31,35,36,135],"仙山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e76427d011700fd2ac0d5e310c74ac.jpg",[],62,{"id":2464,"slug":2465,"title":2466,"dynasty":87,"author":171,"museum":147,"description":583,"tags":2467,"thumbUrl":2468,"material":120,"size":120,"collection":40,"collections":2469,"showCount":2470,"zanCount":141,"manualWeight":11,"mainColor":44},237470,"yuan-ji-tao-shi-cai-ju-tu-zhou-shi-tao-237470","原济陶诗采菊图轴",[24,53,26,30,54,132,7,367,56,187,1217],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3235b3438219ed07d2bd0482e005116.jpg",[40,62],61,{"id":2472,"slug":2473,"title":2474,"dynasty":87,"author":2475,"museum":147,"description":2476,"tags":2477,"thumbUrl":2479,"material":120,"size":120,"collection":120,"collections":2480,"showCount":2470,"zanCount":141,"manualWeight":11,"mainColor":82},235273,"gao-shan-liu-shui-tu-zhou-mei-qing-235273","高山流水图轴","梅清","《梅清高山流水图轴》是清代梅清创作的一幅画。\n图绘景象奇伟的山川之貌，陡峭的山石于群峰中傲然而立，如练的瀑布从山壁上飞流而下。\n瀑布与山峦点明高山流水的主题，亦营造出清幽疏旷的意境。\n款题虽言系仿“石田老人笔意”（沈周）之作，但体现出的完全是梅氏晚年粗笔皴擦、焦墨点苔、笔力老健的画风特点。\n款署：“高山流水。\n仿石田老人笔意。\n甲戌中秋前一日，瞿山梅清时年七十有二。\n”钤“矍硎清”白文印、“渊公”朱文印、“老去看山眼倍青”白文印、“天延阁图书”朱文印。\n鉴藏印有“槃斋秘玩”等。\n“甲戌”是清康熙三十三年（1649年），梅清时年72岁。",[24,25,26,53,54,30,2478,33,7,56,31,55,134],"高山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F576afd75771412f0b050afdd574d2698.jpg",[],{"id":2482,"slug":2483,"title":2484,"dynasty":18,"author":88,"museum":147,"description":2485,"tags":2486,"thumbUrl":2492,"material":120,"size":120,"collection":120,"collections":2493,"showCount":2470,"zanCount":220,"manualWeight":11,"mainColor":82},234932,"ming-ren-xia-jing-huo-lang-tu-zhou-yi-ming-234932","明人夏景货郎图轴","这张画描绘了一位乔装打扮的冷饮博士在皇宫花园里为一位年轻的桑亚西倒冰饮。茶壶上的龙雕表明这不是一个普通的家庭，或者说明朝的御用画家为适应某些场景而绘制了皇帝的御用造型，比如今天的 "角色扮演"，皇帝、嫔妃、公主和小王子都是演员。",[24,27,28,31,7,642,640,1250,2487,2488,2489,1700,366,484,2490,2491],"儿童","妇女","男性","灌木","地面植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab8a6a7974ea6f9fa050bef2d57c5eda.jpg",[],{"id":2495,"slug":2496,"title":2497,"dynasty":49,"author":758,"museum":147,"description":2498,"tags":2499,"thumbUrl":2500,"material":543,"size":2501,"collection":40,"collections":2502,"showCount":2470,"zanCount":11,"manualWeight":11,"mainColor":82},220850,"lou-ge-ting-tai-tu-zhao-meng-fu-220850","楼阁亭台图","赵孟頫绘画，山水取法董源、李成；人物、鞍马师法李公麟和唐人；工墨竹、花鸟，皆以笔墨圆润苍秀见长，以飞白法画石，以书法用笔写竹。力主变革南宋院体格调，自谓“作画贵有古意，若无古意，虽工无益”，遥追五代、北宋法度，论者谓：“有唐人之致去其纤；有北宋人之雄去其犷。”开创了元代新画风。 交友甚广，与高克恭、钱选、王芝、李衎、郭祐之等相互切磋；直接受其指点的有陈琳、唐棣、朱德润、柯九思、黄公望、王蒙等。能诗文，风格和婉。兼工篆刻，以“圆朱文”著称。",[23,24,25,92,28,53,94,715,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96226abc23ad0fb3649a6ae892730ae5.jpg","纵40.5cm、横37.3cm",[40,62],{"id":2504,"slug":2505,"title":623,"dynasty":18,"author":1791,"museum":89,"description":2506,"tags":2507,"thumbUrl":2508,"material":38,"size":2509,"collection":40,"collections":2510,"showCount":2470,"zanCount":220,"manualWeight":11,"mainColor":44},218374,"shan-shui-tu-li-yong-chang-218374","层岩叠嶂间，笔墨勾勒出山川苍劲骨力。主峰巍峨，披麻皴皴染结合显浑厚质感；侧峰错落，林木点缀其间，松针挺劲，杂树枯枝带萧散之态。山间屋舍隐于林麓，或傍崖或临溪，似有幽人栖居之意。\n\n线条简劲，墨色层次分明，干笔皴擦见苍率，湿墨点染显润泽。近景树木扶疏，中景峰峦起伏，远景云雾含藏，虚实相生间得山水深远之致。整幅画存宋元遗韵，又具新安画派初兴的清逸之气，简淡中见古雅，丘壑间寄幽情，仿佛可闻林泉响，可感山居静。",[23,24,53,54,26,34,30,35,36,367,7,175,1072],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547c8176db772742ccf265437f537614.jpg","纵125.7cm，横58.8cm",[40],{"id":2512,"slug":2513,"title":2514,"dynasty":69,"author":199,"museum":212,"description":213,"tags":2515,"thumbUrl":2516,"material":190,"size":217,"collection":120,"collections":2517,"showCount":2470,"zanCount":11,"manualWeight":11,"mainColor":44},218055,"song-di-ming-ti-ce-liu-ma-yuan-218055","宋帝命题册(六)",[23,24,25,215,27,54,7,31,30,188,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0b3aa4b6ef4e2b674f3089d196e80f2.jpg",[],{"id":2519,"slug":2520,"title":2521,"dynasty":87,"author":2522,"museum":226,"description":2523,"tags":2524,"thumbUrl":2526,"material":2527,"size":2528,"collection":40,"collections":2529,"showCount":2530,"zanCount":11,"manualWeight":11,"mainColor":82},222849,"shan-shui-tu-juan-zhang-ci-ning-222849","山水图卷","张赐宁","群山环抱，两棵树耸立，水面平静，叶小舟去作画。和其他水墨画一样，这幅画用墨较多，有层次感。",[23,24,25,186,53,27,30,54,132,133,258,116,7,175,56,134,2525],"近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F245cd1b249d8216f4f7f6e4b49950088.jpg","纸本 水墨 设色","41.3 x274.0厘米",[40,62],60,{"id":2532,"slug":2533,"title":2534,"dynasty":18,"author":2535,"museum":89,"description":2536,"tags":2537,"thumbUrl":2538,"material":137,"size":2539,"collection":40,"collections":2540,"showCount":2530,"zanCount":11,"manualWeight":11,"mainColor":44},222674,"ting-song-tu-zhou-xiang-sheng-mo-222674","听松图轴","项圣谟","本幅自题：“偶寻鹿迹来游此，坐听松风亦爽然。庚寅登高日寓江城西郊，喜此二言，骤笔补图。项圣谟。”钤“胥山樵项伯子”等印3方。“庚寅”乃清顺治七年（1650年），项氏54岁。“登高”为重阳节之古俗。据题可知此图系项氏于顺治七年重阳节与友人登高时为吟得佳句而绘。\n作品画云崖雾涌，长松虬枝，高士临流吟赏。树石用笔浑厚沉着，人物线条圆秀朴拙，意境清旷高古，具项圣谟山水人物画的典型风貌。",[23,24,53,26,30,7,31,56,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb76a9e06e51c1074aa07a48f7d377c6c.jpg","纵138.5厘米，横60厘米",[40,62],{"id":2542,"slug":2543,"title":2544,"dynasty":145,"author":88,"museum":20,"description":2545,"tags":2546,"thumbUrl":2549,"material":190,"size":2550,"collection":101,"collections":2551,"showCount":2530,"zanCount":141,"manualWeight":11,"mainColor":82},216986,"xian-xiu-san-xing-tu-yi-ming-216986","线绣·三星图","画上绣有十九个人，场景从上到下分为四层，第一层从左到右分别是禄、福、寿三颗星。身穿绿色斗篷的 若 星挥舞着羽毛扇，一只鹿跪在他身边，嘴里叼着一朵花，鹿 与 若 谐音，代表着职业道路。中间站着的幸运星，身穿宽大的蓝袍，带着玉柄和带流苏的葫芦形皇冠，象征着运气的延续。右边是微笑着的慈祥老人--长寿星，手持绣有 福禄寿 字样的玉盘，前面是一只手持 寿 字的仙鹤，象征着长寿。",[2547,27,2177,31,7,32,1458,668,2548,961,887,229],"线绣","祥云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ea885cec07fde0e2c751ced9d734b95.jpg","194.3x111.2",[101],{"id":2553,"slug":2554,"title":2555,"dynasty":69,"author":70,"museum":147,"description":2556,"tags":2557,"thumbUrl":2560,"material":118,"size":119,"collection":120,"collections":2561,"showCount":2562,"zanCount":11,"manualWeight":11,"mainColor":82},288223,"qiu-dong-shan-shui-tu-li-tang-288223","秋冬山水图","李唐（1066—1150），南宋画家。字晞古，河阳三城（今河南孟州）人。初以卖画为生， 宋徽宗赵佶时入画院。南渡后以成忠郎衔任画院待诏。擅长山水、人物。变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。并以画牛著称。与刘松年、马远、夏圭并称“南宋四大家”。存世作品有《万壑松风图》《清溪渔隐图》《烟寺松风》《采薇图》等。",[24,256,53,54,367,7,55,35,2558,2559],"秋冬","寒寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec7f5b52580af7e7f6660f1752608c3.jpg",[],59,{"id":2564,"slug":2565,"title":2566,"dynasty":87,"author":1038,"museum":147,"description":1040,"tags":2567,"thumbUrl":2568,"material":118,"size":119,"collection":40,"collections":2569,"showCount":2562,"zanCount":141,"manualWeight":11,"mainColor":44},235611,"hong-ren-shan-shui-ce-hong-ren-235611","弘仁山水册",[24,25,53,30,94,7,1343,35,574,393,54,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff9adc4adea84818538ce7cff5131eed.jpg",[40],{"id":2571,"slug":2572,"title":2573,"dynasty":18,"author":2574,"museum":20,"description":2575,"tags":2576,"thumbUrl":2580,"material":190,"size":2581,"collection":384,"collections":2582,"showCount":2562,"zanCount":11,"manualWeight":11,"mainColor":82},219319,"qu-ge-jie-shou-tu-zhou-zhi-mian-219319","衢歌介寿图","周之冕","周之冕(1521-?)，明代画家。字服卿，号少谷，长洲(今江苏苏州)人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。",[2577,899,24,25,26,76,27,667,640,777,7,35,2578,2579],"明代","勾花点叶","兼工带写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F345b4913e090ae3d73841591489baea3.jpg","138.1×56.7cm",[384],{"id":2584,"slug":2585,"title":2586,"dynasty":87,"author":2587,"museum":147,"description":2588,"tags":2589,"thumbUrl":2590,"material":120,"size":120,"collection":40,"collections":2591,"showCount":2592,"zanCount":11,"manualWeight":11,"mainColor":44},239411,"fang-wang-hui-shan-shui-juan-qin-bing-wen-239411","仿王翬山水卷","秦炳文","秦炳文（一八O三至一八七三），字砚云，号谊亭，江苏无锡人。道光二十年（1840）举人，官户部主事。三上春闱，留京八载，尝一返里，挈子俱北。寄情诗酒，广交游，精鉴赏，所藏皆精品。画擅山水，初师王鉴，后宗黄公望、吴镇，臻其胜境。\n为晚清“娄东画派”主要画家之一，其画作列入国家文物局《精品和各时期代表作品不准出境者》名单。",[24,25,186,53,274,54,30,32,33,116,161,288,35,31,7,778,175,679,134,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8187a166c877f30e4c6d5a06b1680c9.jpg",[40],58,{"id":2594,"slug":2595,"title":2596,"dynasty":337,"author":2597,"museum":339,"description":2598,"tags":2599,"thumbUrl":2600,"material":120,"size":120,"collection":120,"collections":2601,"showCount":2592,"zanCount":141,"manualWeight":11,"mainColor":44},220549,"san-ma-tu-xu-bei-hong-220549","三马图","徐悲鸿","此作融贯中西绘艺，古松虬枝苍劲，以传统笔墨铺就清旷郊野底色，皴擦点染间尽显古木沉雄苍浑的气韵。三马姿态各殊，白马静立垂眸，神气温驯柔润；黑马昂首徐行，筋骨舒展俊朗；幼驹灵动跃动，尽显稚拙生机。创作者以西方写实技法晕染皮毛肌肉，精准还原骏马的光影层次与质感肌理，又以东方写意笔墨捕捉马匹灵动神韵，将鞍马题材的意趣与写实表现力相融，让骏马的蓬勃生气跃然纸上，尽显精湛笔力与贯通东西的审美意趣。",[24,27,242,7,779,57,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6df961ea9771a654e3dbac5c726ff8b.jpg",[],{"id":2603,"slug":2604,"title":2605,"dynasty":87,"author":2606,"museum":212,"description":2607,"tags":2608,"thumbUrl":2611,"material":190,"size":2612,"collection":40,"collections":2613,"showCount":2592,"zanCount":11,"manualWeight":11,"mainColor":82},220422,"shou-shi-tu-jiang-pu-220422","寿石图","蒋溥","蒋溥（清），大学士蒋廷锡长子，字质甫，号恒轩，江苏常熟人，清朝大臣，画家，善画花卉，深得家传。雍正8年（1730）二甲第一名进士，官至东阁大学士兼户部尚书。性情宽厚而警敏，任职后，精心奉职，勤于政事，是乾隆时期的重臣，亦是蒋派花鸟画艺术的重要代表。乾隆26年(1761)四月，病逝于任上。乾隆皇帝亲临祭奠，加赠太子太保，谥曰文恪，入祀贤良祠。",[23,24,28,27,26,667,7,35,2609,2610,288],"海浪","日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa74aae3d6d0e66ce7cd8ad41fc531baf.jpg","141×41.5cm",[40,103],{"id":2615,"slug":2616,"title":2617,"dynasty":49,"author":1466,"museum":147,"description":2618,"tags":2619,"thumbUrl":2622,"material":190,"size":2623,"collection":101,"collections":2624,"showCount":2592,"zanCount":11,"manualWeight":11,"mainColor":82},218448,"tai-zong-chu-lie-tu-zhao-yong-218448","太宗出猎图","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。",[73,24,27,31,242,7,2620,2621],"狩猎","铁线描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F475cc26186ca387c2bdcd4b595d81ae6.jpg","118x67",[101],{"id":2626,"slug":2627,"title":2628,"dynasty":69,"author":675,"museum":147,"description":2629,"tags":2630,"thumbUrl":2632,"material":118,"size":119,"collection":120,"collections":2633,"showCount":2634,"zanCount":11,"manualWeight":11,"mainColor":82},289947,"song-xi-fan-yue-tu-xia-gui-289947","松溪泛月图","为夏圭的典型之作，近景几株松树，渔翁泛舟江上，明月高悬，烟波浩淼，水天一色。简洁的用笔，渲染出深远的意境，四位点景人物以寥寥数笔绘出，亦觉生动形象。边角剪裁的构图，空灵巧妙，情景交融，富有浓浓诗意，显示出含蓄蕴藉的艺术魅力。",[23,678,24,73,53,54,7,116,509,30,2631,34,1499],"泛舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f2945a3cf2401ced6554359bde119ad.jpg",[],57,{"id":2636,"slug":2637,"title":2638,"dynasty":87,"author":2436,"museum":20,"description":2639,"tags":2640,"thumbUrl":2641,"material":543,"size":2642,"collection":120,"collections":2643,"showCount":2634,"zanCount":11,"manualWeight":11,"mainColor":44},231958,"song-shu-ren-wu-tu-zhou-pu-ru-231958","松树人物图轴","松树画的苍劲有力。不过，要说到画松树的高手，还是要提到明代的听松老人过仪，他画的松树是最值得称道的。\n溥心畬[yú]（1896年9月2日—1963年11月18日），满族，原名爱新觉罗·溥儒，初字仲衡，改字心畬，自号羲皇上人、西山逸士，北京人，著名书画家、收藏家。为清恭亲王奕訢之孙。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，与张大千有“南张北溥”之誉，又与吴湖帆并称“南吴北溥”。",[23,24,53,54,26,7,31,30,57,135,35,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03cbbd4de942e3134374eef408c4a33d.jpg","130x32cm",[],{"id":2645,"slug":2646,"title":2647,"dynasty":49,"author":896,"museum":20,"description":2648,"tags":2649,"thumbUrl":2661,"material":2662,"size":2663,"collection":40,"collections":2664,"showCount":2634,"zanCount":141,"manualWeight":11,"mainColor":82},231383,"qing-jiang-chun-xiao-tu-wu-zhen-231383","清江春晓图","图画清江两岸的美丽风光。江之左岸，高山耸立．巍峨壮观，笔直的山峰直插云天。远山采用水墨渲染，用淡墨勾勒出山之轮廓，隐约可见连绵起伏之势。主景画平缓的山坡，坡上的苍松翠梧只是用笔尖画出一些小点点，但山泉和因落差形成的瀑布倒挂于两山之间，却清晰可见。主景的高山，巨峰陡然耸立，占据了画面的二分之一强。山峰采用渴笔擦皴法，山峰壁削，山坡平缓都画得非常形象逼真。山巅之上，花草树木也是采用写意的画法，用笔尖墨点来表现。只有山角下、河岸边的松林方可见其真面目，树干、树叶等，一一画出。幽寂的山谷间，有亭台楼阁，有的画其全貌，有的只画楼之一角。山脚坳中有平房数间，掩映在松树林中。从左至右，平房所处的山石之间，有三座木桥相连。清江右岸江心岛上，也有平房数间，由坡岸到江心岛，由两座木桥相连。可谓小桥流水人家，一派世外桃源的平和景象。江中心一叶扁舟，顺流而下。船上四人，或高谈阔论，或尽情欣赏清江两岸的大好风光。这些舟桥，既以其小巧与大山相映成趣；又起到了将画面各处景物连贯为一个有机整体的作用，在构图上很见匠心。 ‘\n此图描绘清江两岸的美丽风光。此画可以分为远景、中景、近景三段式。远景即江之左岸，山峦叠嶂，山峰林立，山巅主峰耸立，直插云天，整体山势巍峨壮观，山坡左侧的山泉和落差形成的瀑布倒挂于两山之间，奔腾直泻，如一匹银白帛布在风中吹拂似的。山坳或山坡平坦处筑有庙宇亭台楼阁，有的仅露出一角，有的半露半隐，屋宇楼阁，用笔工整细致，近似界画。山脚下河岸旁，树木成林，排列齐整，在丛林荫下座落几间房舍，溪水两岸有一座板桥相连接。中景为宽阔的河水，河面平静如镜，无一丝波纹，唯有小扁舟在河面中心荡漾，小舟上坐有四五人，十分悠闲自然，或论经说道，或尽情地观赏清江两岸的山山水水。人物用笔极简练，寥寥数笔一挥而就，但各人的神情、姿态各异，生动逼真，可见作者有着极强的写实能力。近处即为此画的主景，在崎岖不平的丘陵上，山势较为平缓，平坡上长有苍松翠柏，江心岛上也有房舍数间，各江心岛皆架有木桥，用来接连坡岸。可谓小桥流水人家，一派世外桃源的平和景象。这些舟桥，虽比例较小，不曾起眼，但它们却以其小巧与大山相映成趣，又将整个画面各处景物连贯在一起，有机地组成一个和谐的整体，在构图上别具匠心。此画远山采用水墨渲染，用淡墨勾勒出山之轮廓，然后加以皴擦，坡上的苍松翠柏只是用笔尖勾画出一些小点点，以介字点树叶，山峰采用渴笔皴法，山巅上的花草树木采用写意的画法，用笔尖墨点来表现。",[24,256,53,2650,342,92,54,2478,134,55,2651,2652,2653,2654,2655,2656,7,2657,404,2658,31,2659,2660],"渴笔皴法","山泉","亭台楼阁","房舍","木桥","清江","扁舟","丛林","江心岛","世外桃源","平和","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78c6ab37569f3f8b0024781bd1f59370.jpg","墨笔画","纵114．7厘米，横100．6厘米",[40],{"id":2666,"slug":2667,"title":2668,"dynasty":69,"author":2669,"museum":2670,"description":2671,"tags":2672,"thumbUrl":2675,"material":190,"size":2676,"collection":120,"collections":2677,"showCount":2634,"zanCount":141,"manualWeight":11,"mainColor":408},217002,"wu-bai-luo-han-zhi-guan-she-li-guang-tu-zhou-ji-chang-217002","五百罗汉之观舍利光图","周季常","波士顿美术馆","画的顶部是一个高高的悬崖，有一个瀑布，太阳照在云层之上，有三道灵光照下来，每道灵光都有一个小孩子拿着棍子。下面，在松树、柏树和岩石之间，五个罗汉庄严地抬头。",[23,73,24,25,26,2177,28,27,31,7,56,2673,2674],"袈裟","舍利","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71d808b00c043beec536d0cda92fa28f.jpg","111.5x53.1",[],{"id":2679,"slug":2680,"title":2681,"dynasty":69,"author":675,"museum":147,"description":2682,"tags":2683,"thumbUrl":2684,"material":120,"size":120,"collection":120,"collections":2685,"showCount":2686,"zanCount":11,"manualWeight":11,"mainColor":44},227726,"song-xia-guan-pu-xia-gui-227726","松下观瀑","《松下观瀑图》为南宋画家夏圭所作。右下山石处款署“夏圭”。\n\n图绘一瀑布飞流，水边峭壁悬一古松。一高士坐于松下观赏飞瀑。\n夏圭，临安人（杭州），生卒年不详，字禹玉，中国著名山水画大家，南宋四家之一，与马远、刘松年、李唐齐名。在南宋画坛，他与著名画家马远合称“马夏”。他没有入官，但进入过南宋画院担任待诏工作。\n\n据文献记载，夏圭在绘画上入手学习的是人物画，但不久以后他转入了山水并作为主攻方向。夏圭学习过李唐、范宽、米芾、米友仁的山水画技术，并主要以李、范为根基。夏圭在笔墨构建上，倾向于苍劲、开张、有力的特色，所以他的山水画有滋润淋漓之美。山水画技术中，有一种皴法泥里拔钉皴，就是夏圭首先运用的。这种皴法先用淡墨铺底染，然后根据其湿度状况，加以浓墨勾皴，使得浓淡墨达到理想的交融状态，视觉上有层次丰富之效果。\n\n夏圭更为人称道的是他的构图法。他经常只取景施绘在画面的一部分，而空出另一部分。这种处理法的好处是将重点突出，让欣赏者有更佳的代入感。因此人们将夏圭这种方式称作“夏半边”，它与马远的“马一角”并称南宋画坛。\n\n夏圭的作品传世至今尚有不少珍品，其中冠名为他的绘画有长卷画《江山清远图》、《长江万里图》等。有其他立轴、方幅画《溪山无尽图》、《溪山奇观图》、《山川钟秀图》、《雪山图》、《松崖客话图》、《溪山清远图》等。这些作品大多收藏在北京故宫博物院、台北故宫博物院等著名机构中。",[23,24,25,73,678,53,54,30,7,55,31,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea35dcf8553220d48caebb48114605af.jpg",[],56,{"id":2688,"slug":2689,"title":2690,"dynasty":87,"author":733,"museum":89,"description":2691,"tags":2692,"thumbUrl":2695,"material":190,"size":2696,"collection":384,"collections":2697,"showCount":2686,"zanCount":11,"manualWeight":11,"mainColor":82},219870,"song-xian-ying-zhi-tu-zhou-lang-shi-ning-219870","嵩献英芝图轴","正中是一只兀立于石上的白鹰，画面的右边是一棵弯曲盘绕的老松，还有一棵藤萝攀绕着松树枝干，松树的根部和石头的缝隙之间有灵芝数株，画幅左边为坡石以及急湍的溪流。 图中所绘苍松、雄鹰、灵芝、山石、流水，在中国文化中多有强健、长寿和吉祥的美好寓意。但在色彩上，鹰白、松绿、芝棕红、土坡绛色和藤萝花粉紫，却是不同于中国传统、属于郎世宁风格的鲜明、绚丽和浓重。",[23,73,24,25,26,28,27,2693,7,55,35,793,2694],"中西合璧","灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35ede8b111d7cac1c43336e0de1b2972.jpg","纵242.3cm，横157.1cm",[384],{"id":2699,"slug":2700,"title":2701,"dynasty":18,"author":1801,"museum":172,"description":2702,"tags":2703,"thumbUrl":2707,"material":59,"size":2708,"collection":101,"collections":2709,"showCount":2686,"zanCount":11,"manualWeight":11,"mainColor":44},219405,"tie-di-tu-wu-wei-219405","铁笛图","《铁笛图》表现的是一位文人雅士饮酒作歌的场景。画面的背景为古松森森、四寂无人的僻静之处；画的当中为一文士，焚香而坐，手端酒杯，其态陶然欲醉；侧边有一侍女，双手棒着一支尺许铁笛。此画技法精湛，松树以浓墨描画而成，令人一睹之下有雄健劲硕之感；画中人物线条流畅，神态毕肖，奇逸潇洒，分外动人。",[24,25,940,31,7,366,2704,2394,2705,2393,2706,203,34],"笔","纸","扇子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e37d0c161bcf80421932b82d79808e2.jpg","纵32.1厘米，横155.4厘米",[101],{"id":2711,"slug":2712,"title":2713,"dynasty":69,"author":199,"museum":212,"description":213,"tags":2714,"thumbUrl":2715,"material":190,"size":217,"collection":120,"collections":2716,"showCount":2686,"zanCount":11,"manualWeight":11,"mainColor":44},218043,"song-di-ming-ti-ce-jiu-ma-yuan-218043","宋帝命题册(九)",[23,24,25,215,27,30,54,7,1962,365,134,135,34,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7726c39dbc3e8cdc7addde7e073c08e0.jpg",[],{"id":2718,"slug":2719,"title":2720,"dynasty":69,"author":675,"museum":147,"description":2721,"tags":2722,"thumbUrl":2723,"material":118,"size":119,"collection":120,"collections":2724,"showCount":2725,"zanCount":11,"manualWeight":11,"mainColor":44},289444,"gao-shi-guan-hua-tu-xia-gui-289444","高士观花图","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。",[678,24,53,256,92,54,7,94,30,31,1499,1169,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff727011fb484f5d3322b69ceb8e8e28c.jpg",[],55,{"id":2727,"slug":2728,"title":2729,"dynasty":18,"author":2730,"museum":147,"description":2731,"tags":2732,"thumbUrl":2736,"material":120,"size":120,"collection":384,"collections":2737,"showCount":2725,"zanCount":11,"manualWeight":11,"mainColor":82},237577,"bai-xian-zhou-wang-wei-lie-237577","白鹇轴","王维烈","王维烈[明]花鸟在周之冕下，高阳之上。泰昌元年（一六二o）作树石孔雀图。南京博物院藏有其崇祯十三年（一六四o）作寒雀争梅图。",[24,27,28,26,667,2733,7,302,35,1481,2734,95,2735],"白鹇","水仙","古木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7a3695a1f1f05cfc401f1714fd482ef.jpg",[384,103],{"id":2739,"slug":2740,"title":2741,"dynasty":18,"author":2742,"museum":147,"description":2743,"tags":2744,"thumbUrl":2749,"material":543,"size":120,"collection":40,"collections":2750,"showCount":2725,"zanCount":11,"manualWeight":11,"mainColor":44},222422,"lian-peng-tu-song-yin-tu-zhu-zhan-ji-222422","莲蓬图松荫图","朱瞻基","画卷破裂为两段，一段为莲蒲段，一段为松荫段。此画为莲蒲段画面。画面绘荷叶、莲蓬、小鸟、湖石、水草。极少勾勒，类似没骨画法，用浓淡墨色晕染，格调简逸质朴。封面为铜版纸印刷，作品为宣纸印刷。",[23,24,25,27,28,667,2745,668,7,344,2746,2747,134,2748,34],"莲蓬","枯荷","水草","云朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87a1522d7865cbf91ab2342631f19567.jpg",[40,62],{"id":2752,"slug":2753,"title":2754,"dynasty":18,"author":312,"museum":212,"description":2755,"tags":2756,"thumbUrl":2757,"material":59,"size":2758,"collection":40,"collections":2759,"showCount":2725,"zanCount":11,"manualWeight":11,"mainColor":194},219993,"yan-he-gu-zhou-tu-dai-jin-219993","岩壑孤舟图","戴进精于山水，兼于人物，在笔墨的运用上，善以斧劈描绘山石，皴染兼施。《岩壑孤舟图》的构图并不繁琐，石头嶙峋奇状，蓄意营建，斧劈顺着轮廓线短砍，更助长质感。凡斧劈之处，皆能体现山石的多面之感。近景有细微的墨色变化，增加立体感与厚实感。马、夏的构图方式，有“马一角”、“夏半边”之称，戴进在自己的作品中，也继承了这种特征，并颇能吸收马夏斜向布置景物的特质。而且近景所占画面的比例以及人物动向皆可看出他对近景的强调，这一点和马夏也是相合的。\n戴进笔下的人物，线条一向简单有力，却能注意到人体身态的描写及社会身分的表达。《岩壑孤舟图》中的渔夫，其刻画人物佝偻的形象，既是完成衣纹，也是完成身型的简单有力的线条，还能表达出渔夫的年迈。",[23,24,53,26,54,30,116,2249,31,7,1343,33,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb07f653fe9da537ea27bcd571089a78a.jpg","纵91.2厘米，横35厘米",[40],{"id":2761,"slug":2762,"title":623,"dynasty":18,"author":2763,"museum":20,"description":2764,"tags":2765,"thumbUrl":2768,"material":59,"size":2769,"collection":40,"collections":2770,"showCount":2725,"zanCount":11,"manualWeight":11,"mainColor":44},214729,"shan-shui-tu-qian-gu-214729","钱谷","这幅画描绘了一位士子读书，一位客人拿着琵琶来访。完全基于文征明的方法，这幅画的构图密集而优雅，充满了书卷气。",[24,25,26,53,54,1784,34,30,35,36,161,7,275,303,135,244,2766,574,2767,2735,1072],"林间","层岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F455082ac469620323dfec9e54692861c.jpg","117.6x24.6",[40],{"id":2772,"slug":2773,"title":2774,"dynasty":49,"author":2775,"museum":20,"description":2776,"tags":2777,"thumbUrl":2779,"material":190,"size":2780,"collection":40,"collections":2781,"showCount":2782,"zanCount":141,"manualWeight":11,"mainColor":82},220239,"song-he-guan-quan-tu-ma-wan-220239","松壑观泉图","马琬","马琬，生卒年不详，元末画家。宇文璧，号鲁钝生，灌园人，秦淮（今江苏南京）人，元末客居松江（今属上海市）。少时就学于杨维祯。1370年（明太祖洪武三）官抚州知府。擅画山水，远法董源、巨然和米芾，近师黄公望，笔墨清润，构图密茂。颇负时誉。",[23,24,25,26,53,54,30,7,2778,35,161,36,74,34],"泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39cd60e15a5e9385b875c42233475d64.jpg","60.8x29.3公分",[40],54,{"id":2784,"slug":2785,"title":2786,"dynasty":87,"author":2787,"museum":147,"description":2788,"tags":2789,"thumbUrl":2791,"material":27,"size":120,"collection":384,"collections":2792,"showCount":2782,"zanCount":11,"manualWeight":11,"mainColor":82},220145,"chang-nian-bai-zi-fu-gui-tu-li-shan-220145","长年百子富贵图","李鱓","李鱓，（1686年—1756年），字宗扬，号复堂，别号懊道人、墨磨人，清康熙二十五年（1686）生，乾隆二十一年（1756）卒，江苏扬州府兴化人，明代状元宰相李春芳第六世孙。清代著名画家，“扬州八怪”之一。\n工细笔法放逸，以泼墨等画法，创作出了生动、鲜活、淋漓、奔放、形神兼备的花鸟画作品，“纵横驰骋，不拘绳墨”，以至于被后人视为“怪物”。",[23,24,25,26,27,53,342,667,7,1481,1519,2790,1277],"怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda79c3a547dcbd57a9fa5702339cdc28.jpg",[384],{"id":2794,"slug":2795,"title":2796,"dynasty":69,"author":88,"museum":172,"description":2797,"tags":2798,"thumbUrl":2801,"material":190,"size":2802,"collection":78,"collections":2803,"showCount":2782,"zanCount":11,"manualWeight":11,"mainColor":82},218619,"yuan-lu-tu-yi-ming-218619","猿鹭图","在画山的一棵老松树上，一只猴子右手抱着一只苍鹭，左手挥舞着，似乎在吓唬坐在树顶的另一只苍鹭，尽管树顶的苍鹭确实受到了惊吓，它张着尖嘴，翅膀微微张开，似乎准备逃走了。紧握着的游隼张开的嘴，似乎在呼救。",[23,73,24,25,678,27,28,34,2799,2800,7,302,57,288,95,961],"猿","鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe68a43a8dfe0798f567015c2597b7b30.jpg","23.3x23.8",[78],{"id":2805,"slug":2806,"title":2807,"dynasty":18,"author":459,"museum":20,"description":2808,"tags":2809,"thumbUrl":2810,"material":190,"size":2811,"collection":40,"collections":2812,"showCount":2813,"zanCount":141,"manualWeight":11,"mainColor":82},290878,"song-ting-shi-quan-tu-zhou-chou-ying-290878","松亭试泉图轴","画中峰峦峥嵘，在云雾间半藏半露，近处陡峭的山岩间，一挂飞瀑跌成数叠，曲折流至松林溪间，临溪一歇山重檐松亭，亭中隐士品茶赏景，童子蹲着煮茶，亭外溪边一童子正持瓶汲泉。作者画出了一片娱性怡情的天地。",[73,24,26,27,28,30,161,7,31,33,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16d3e2d68807da9d43ef17fbb8fb40a7.jpg","128.1x61",[40],53,{"id":2815,"slug":2816,"title":2817,"dynasty":87,"author":88,"museum":89,"description":2818,"tags":2819,"thumbUrl":2821,"material":2822,"size":2823,"collection":101,"collections":2824,"showCount":2813,"zanCount":11,"manualWeight":11,"mainColor":44},236179,"hong-li-sui-chao-xing-le-tu-xiang-yi-ming-236179","弘历岁朝行乐图像","暖阁里主仆围聚，主人逗弄怀中幼童，满堂融融暖意弥散。阶下有人持笛奏乐、孩童嬉闹，檐下案头陈设瓶花清供，雅趣横生。近旁苍松虬劲古朴，崖石覆雪添了冬日清寒，远景烟霭轻笼，亭台隐没云间，冷暖景致相映成趣。\n\n整幅工笔妍丽细腻，将皇家岁朝的闲温情致，与园林雅致意趣揉合一处，把佳节天伦之乐绘得鲜活动人，尽显华贵静谧的宫廷年味图景。",[24,73,28,27,92,31,94,7,35,639,885,887,2820],"服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9cf7690222da77f1a730090ee748426.jpg","绢本 ，设色","纵384cm，横160.3cm",[101,103],{"id":2826,"slug":2827,"title":2828,"dynasty":49,"author":88,"museum":2829,"description":2830,"tags":2831,"thumbUrl":2832,"material":543,"size":120,"collection":120,"collections":2833,"showCount":2813,"zanCount":11,"manualWeight":11,"mainColor":82},231496,"fang-liu-song-nian-song-xia-lun-dao-tu-yi-ming-231496","仿刘松年松下论道图","美国弗瑞尔美术馆","苍松虬曲如卧龙，扎根危岩之间，飞泉叠落撞碎成雪，循着层岩汇入深涧。右下角平坡上，二人相对晤谈，一人敛衽凝神静听，一人凭石畅意抒怀，山林幽寂将这场论辩衬得愈发悠然。\n\n画作以水墨晕染层叠山势，皴擦勾勒出岩壁嶙峋肌理，松枝笔触老辣苍劲，将山野清旷出尘之态尽数铺展。以景托人，把林下寄情、坐而论道的隐逸雅趣融于山水烟岚，尽显文人寄心林泉的林下风流，笔墨间萧散简远，于沉静古雅色调晕染出出世闲情。",[23,24,53,27,54,274,30,7,55,33,31,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ece85a22e089d31138e99f0a6f7bf48.jpg",[],{"id":2835,"slug":2836,"title":2837,"dynasty":87,"author":2838,"museum":147,"description":2839,"tags":2840,"thumbUrl":2841,"material":120,"size":120,"collection":120,"collections":2842,"showCount":2813,"zanCount":141,"manualWeight":11,"mainColor":82},230191,"chun-shan-ting-ruan-tu-lv-huan-cheng-230191","春山听阮图","吕焕成","《春山听阮图》是清代画家吕焕成创作的一幅绢本设色画。\n关于清代画家 ，《 》中记载：“擅人物、花卉，兼长山水，好作斧劈皴，风格颇似戴文进。\n”他创作的道士、佛神像，皆笔法工整，设色古雅。\n在这幅《春山听阮图》轴中，作者一改以往的艺术特色，不见斧劈痕迹，风格却似 作品的格调。\n不过这倒使我们从另一个角度领略到画家对不同艺术境界的探求。\n山间的瀑布、亭宇、林木相互掩映，在烟岚缭绕的气氛中若隐若现。\n近景溪边的亭台上有一人正在弹阮，他神情怡然，气质脱俗，想必正沉浸在乐曲独特的旋律之中；他的身边有一人正聚精会神地聆听着，想必是其朋友，那坐卧斜倾的姿态，看上去像是完全被阮音优美的旋律所醉倒。\n右边的低崖上有二人正在观景，或许是回荡在山谷里美妙的阮音打断了他们的话题，使他们不由得回转过头，听着佳音赏着眼前的美景。\n我们虽然听不到这美妙的乐音，但早已被这些生动的描绘带入“春山听阮”的意境，从听阮者那专注的神情里，可以想像到这位高士弹奏的高妙之处，从那溪水与闲云的流动中，那绿石、苍松融融的气息间，更感受到春的惬意。\n因为有这委婉动听的阮音回绕，这春山，这草木，这流水，这自然之机，便清雅宜人，恍若梦中的仙境。\n该作为竖构图，满布局，结构严谨，层次分明，经营有序，不见壅塞。\n笔法工细挺秀，轻皴淡染，设色艳丽。\n溪边人物虽小，但刻画细致入微，形神毕俱。\n山石是勾勒后，稍加皴制，不露笔痕，然后再以石青、石绿轻轻晕染。\n松树以淡墨层层染之，桃花用少许胭脂染成，使得整幅画面不仅构图饱满而且颜色丰富，典雅超逸。\n此画左上角自题“舜江吕焕成写”。\n轴纵观此图气势超逸，高雅脱俗。\n画中一座座雄伟的山峰拔地而起，前呼后拥，左右相迎；山势陡绝、奇丽，从近到远层层推移，既高大又深远，既峭峻又缥缈，给人一种于壮美中见超然的 。\n吕焕成（16-175），清初画家。\n字吉文，号祉园山人，浙江余姚人。\n擅长嘶人物、山水，兼画花卉。\n笔法工整，设色古雅。\n吕焕成是明代书画家文征明的外孙女婿，正因这特殊身份，使其始终执迷于“吴派”绘画。\n清代初期，他坚持“吴派”山水作风。\n作品既有“北宗”画法的崇高峻美，也有“南宗”画法的秀润笔致。\n时时透露出一股清新和洒脱的气息。\n传世作品较少，主要有《春山听阮图》轴。",[23,24,25,26,115,27,28,92,30,31,94,7,35,33,303,1238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbd09de321dae177cef791720d8eb004.jpg",[],{"id":2844,"slug":2845,"title":2846,"dynasty":87,"author":2847,"museum":2848,"description":2849,"tags":2850,"thumbUrl":2852,"material":231,"size":2853,"collection":40,"collections":2854,"showCount":2813,"zanCount":141,"manualWeight":11,"mainColor":44},224495,"tao-fu-song-ju-tu-wu-li-224495","陶甫松菊图","吴历","中国国家博物馆","绘群山连绵，山峰高耸入云，山上松树成林，高大茂盛；山脚下房屋隐现，人影绰绰，泉水潺潺，秋景宜人。技法上，皴染浑穆，层峦叠障，气韵深沉。用笔纯用中锋，谨严厚朴，气魄雄厚。此图笔墨幽微，拟元代大画家王蒙的风格，有一种空幻的感觉，令人有悠然远隔尘嚣之想，巧妙地体现了陶圃主人陆廷灿的思想境界：在出世与入世之间。",[23,24,27,54,26,30,35,33,116,7,2851,161,36],"菊花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d825f00689d43da1412df9f4ac0c81e.jpg","纵178.68CM 横75.01CM",[40,62],{"id":2856,"slug":2857,"title":2858,"dynasty":18,"author":815,"museum":2859,"description":2860,"tags":2861,"thumbUrl":2862,"material":499,"size":2863,"collection":40,"collections":2864,"showCount":2813,"zanCount":11,"manualWeight":11,"mainColor":82},222582,"yun-he-gao-yi-tu-lan-ying-222582","云壑高逸图","安徽省博物馆","图绘高山大岭，如坠欲倾。山间飞云腾雾，峡谷流泉落瀑，绿松、红枫相映。\n林下一隅一高士结庐独坐，屋外板桥横担，有朋自远方来。\n全图构象饱满，层次分明，笔力苍劲雄厚。既有山林泉壑的自然景观，又有人事活动的细节描绘，加之浓郁的诗意气氛，视野开阔，古韵动人，把读者带到这一“风景这边独好”的境地，尽情地享受着眼观耳听的乐趣。图左上自题“云壑高逸画于西溪梅花香雪阁，甲午春三月七十山公蓝瑛”。钤“蓝瑛之印”、“田叔父”印。",[23,24,73,26,30,27,54,161,32,33,7,35,55,31,367,1376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44481e7379a6f6ddec878c0676e82e74.jpg","172.7x67厘米",[40,62],{"id":2866,"slug":2867,"title":2868,"dynasty":49,"author":2869,"museum":20,"description":2870,"tags":2871,"thumbUrl":2872,"material":499,"size":2873,"collection":40,"collections":2874,"showCount":2813,"zanCount":11,"manualWeight":11,"mainColor":82},221823,"lin-xia-ming-qin-zhou-zhu-de-run-221823","林下鸣琴轴","朱德润","画面为江边数棵参天古松，松下围坐三位逸士。一人抚琴，二人静听。江中渔夫垂钓，似为琴声吸引。江面辽阔，空中一行芦雁。对岸峰峦迭翠，亭台楼宇掩映其间。山峦皴笔有如卷云，古松秃枝形似鹰爪。画法取乎郭熙而又自立新意。",[23,24,53,54,26,30,7,116,31,33,288,1366,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff739ee5a552d9953abf1bb9e06365a6a.jpg","239X62.5",[40,62],{"id":2876,"slug":2877,"title":2878,"dynasty":87,"author":2879,"museum":2880,"description":2881,"tags":2882,"thumbUrl":2883,"material":59,"size":2884,"collection":62,"collections":2885,"showCount":2813,"zanCount":11,"manualWeight":11,"mainColor":44},220418,"fang-yao-shou-shan-shui-tu-xi-gang-220418","仿姚绶山水图","奚冈","昆仑堂美术馆","此幅是奚铁生仿姚公绶所做山水图，布置可以看出是倪云林的一河两岸式构图，盖因录姚绶是学倪瓒，故铁生学姚氏，亦是学云林。",[23,24,53,54,25,30,161,36,7,35,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0d17a8733a36b0f1f967ce40e437690.jpg","横36，纵124",[62,40],{"id":2887,"slug":2888,"title":2889,"dynasty":49,"author":2869,"museum":20,"description":2890,"tags":2891,"thumbUrl":2892,"material":190,"size":120,"collection":40,"collections":2893,"showCount":2813,"zanCount":11,"manualWeight":11,"mainColor":44},219617,"song-jian-heng-qin-tu-zhu-de-run-219617","松涧横琴图","画面中下部，是一条左低右高的石磵，且清且浅的河水自远及近蜿蜒跳跃而下，俞远愈淡。近岸左右有两松矗立，一直一曲，一高一低。左边的松树高而直，以一浓一淡两棵杂树副之。右边的松树似虬龙一样盘曲左伸，松下则是磵边开阔微斜的石头滩地，三位老者盘腿对坐在蒲团之上，中间有一盘食物，置三酒杯。一人双手放在琴上，眼睛左看，似正在弹琴并与左边的朋友目光交流，右边的老者则闭目笼袖，似乎听得很是入神。画面的右上角，署名“朱泽民”并有题句：峰阳之桐，声越冰泉；天然宫商，松风画弦。\n该画的人物、场景及构图，非常类似其立轴大画《林下鸣琴图》，似是一图多本。不过可能因画幅太小尚不盈尺，故而画得更为简洁，无法画出对岸的坡陀岗峦。就画中人物而言，这种扮相与组合曾出现在其他画中，显然就不仅仅是文人雅士简单的时尚风雅，而有着特定的时代的情感映射。或许，这既是“七匠八娼九儒十丐”历史境遇中被侮辱被边缘化的元代知识分子的实际生存状态，也是其理想化的精神家园。",[23,24,25,678,53,54,30,7,33,31,203,35,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03fe743673cf85aafc314641bd35833e.jpg",[40],{"id":2895,"slug":2896,"title":2897,"dynasty":18,"author":128,"museum":89,"description":2898,"tags":2899,"thumbUrl":2900,"material":137,"size":2901,"collection":1088,"collections":2902,"showCount":2903,"zanCount":11,"manualWeight":11,"mainColor":44},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。",[24,25,26,53,54,73,30,132,162,175,258,679,344,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12dfe63490e986e77004199f4eeab82f.jpg","纵101.5厘米，横46.3厘米",[1088],52,{"id":2905,"slug":2906,"title":2907,"dynasty":87,"author":1106,"museum":89,"description":2908,"tags":2909,"thumbUrl":2911,"material":137,"size":2912,"collection":40,"collections":2913,"showCount":2903,"zanCount":11,"manualWeight":11,"mainColor":44},237574,"song-he-gao-shi-tu-zhou-wang-shi-min-237574","松壑高士图轴","本幅款署：“松壑高士图。辛丑秋日为耿庵社长先生六十初度寿，弟王时敏。”钤“王时敏印”白文印，“西庐老人”、“西田”朱文印二方。鉴藏印有：“荫北鉴藏”、“壶中墨缘”、“莱臣心赏”、“虚斋审定”共四方。\n“辛丑”是清顺治十八年（1661年），王时敏时年70岁。\n据款题而知，此图是作者为祝好友金俊明（耿庵）60寿辰所作。因此，图中特别突出地表现了具有长寿寓意的峰峦和松柏，以此寄托其祝福友人“寿比南山”的美好意愿。图中山石、树木以娴熟的笔墨皴擦点染，于苍润浑厚中不失清幽秀雅，颇得董源、黄公望“平淡天真”的神韵，是王时敏晚年山水画的典型之作。",[24,53,26,30,54,7,275,55,33,440,36,32,35,135,2910],"高士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5d169b622a802e787ceb891fe543c00.jpg","纵79厘米，横47.8厘米",[40,62],{"id":2915,"slug":2916,"title":2917,"dynasty":87,"author":171,"museum":89,"description":2918,"tags":2919,"thumbUrl":2920,"material":629,"size":120,"collection":120,"collections":2921,"showCount":2903,"zanCount":141,"manualWeight":11,"mainColor":44},234145,"yuan-ji-shan-shui-ren-wu-tu-juan-shi-tao-234145","原济山水人物图卷","石涛（1630-1724），清初画家。法名原济，一作元济、道济。石涛本姓朱，名若极，字石涛，又号苦瓜和尚、大涤子、清湘陈人等，汉族，广西全州人，晚年定居扬州。明靖江王之后，出家为僧。半世云游，饱览名山大川，工诗文，善书画。所画山水，笔法恣肆，离奇苍古而又能细秀妥帖，画花卉也别有生趣。与弘仁、髡残、石涛、八大并称画坛“四僧”。\n出生于帝王胄裔，国破家亡之痛，感触尤深。但其出家更多只是一种政治姿态，这与渐江的“受性偏孤”不同，石涛性格中充满“动”而身处佛门心向红尘。康熙南巡时，石涛曾两次接驾，主动进京交结达官显贵，企图出人头地，但权贵们仅将其当作一名会画画的和尚，并未与之计较，故而功败垂成。因此其在清高自许与不甘岑寂之间矛盾地渡过了一生，但他巧妙地把这种矛盾发泄到画作之中，使作品纵横排闼、闪转腾挪，充满了动感与张力，这也正是其异于常人的高明之处。\n石涛具有创新才能且创作题材广泛，为一多产画家。他的表现手法富于变化，又能将独特、和谐统一为自己的风格特色。一生游历过广西、江西、湖北、安徽、浙江、江苏和北京等地，在自然的真实感受和探索中加以对前人技法长处的融会。对绘画创作强调“师法自然”，把绘画创作和审美体系构成为“借笔墨以写天地而陶泳乎我也”。石涛的画似有一种超凡脱俗的意境，无论是山水、人物、还是花卉、走兽都有很高的艺术成就，“搜尽奇峰打草稿”是其绘画艺术取得成功的重要关键。\n擅山水，兼工兰竹。山水不局限于师承某家某派，而广泛师法历代画家之长，将传统的笔墨技法加以变化，又注重师法造化，从大自然吸取创作源泉，并完善表现技法。作品笔法流畅凝重，松柔秀拙，尤长于点苔，密密麻麻，劈头盖面，丰富多彩；用墨浓淡干湿，或笔简墨淡，或浓重滋润，酣畅淋漓，极尽变化；构图新奇，或全景式场面宏阔，或局部特写，景物突出，变幻无穷。尤其善用“截取法”以特写之景传达深邃之境，无论是黄山云烟，江南水墨，还是悬崖峭壁，枯树寒鸦，或平远、深远、高远之景，均力求布局新奇、意境翻新。画风新颖奇异、苍劲恣肆、纵横排奡、生意盎然。\n其作花鸟、兰竹亦不拘成法，自抒胸臆，笔墨爽利峻迈，淋漓清润，极富个性。花鸟继承徐渭等人的大写意花鸟传统，并自探“灵苗”，以天骨开张的艺术魅力表现其对生命与自然的热爱。作花卉墨竹，纵横肆意，于无法中有法，直抒性灵，并讲求诗意与绘画的结合生发，开拓了作品的意蕴。\n代表作品有《泼墨山水卷》、《山水清音图》、《苦瓜和尚妙谛册》等。著有《苦瓜和尚画语录》，以“一画”的命题把山水画理论提高到哲理的高度。",[23,24,186,53,54,29,940,30,31,116,35,36,778,7,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58b8c89ebfd89cb31b396bff027a9532.jpg",[],{"id":2923,"slug":2924,"title":2925,"dynasty":49,"author":2926,"museum":20,"description":2927,"tags":2928,"thumbUrl":2930,"material":2028,"size":2931,"collection":40,"collections":2932,"showCount":2903,"zanCount":220,"manualWeight":11,"mainColor":82},221771,"heng-qin-gao-shi-tu-zhou-ren-ren-fa-221771","横琴高士图轴","任仁发","老松古柏，盘生崖上。树下一人穿红袍，坐溪畔弹琴。崖壁及山石碧绿青翠，与红衣相互辉映，色彩艳丽雅致。自题：“横琴秋水拨冰弦，一曲平沙韵自然。领取此中无限乐，松枝垂露远山烟。月山老人任仁发。",[23,24,27,28,54,30,31,7,35,2929,33,288],"古琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75285fc767e213ca6f2d98a962219552.jpg","146.3×55.8",[40,103],{"id":2934,"slug":2935,"title":1575,"dynasty":337,"author":2597,"museum":2936,"description":2937,"tags":2938,"thumbUrl":2939,"material":120,"size":120,"collection":120,"collections":2940,"showCount":2903,"zanCount":11,"manualWeight":11,"mainColor":44},220547,"song-ying-tu-xu-bei-hong-220547","龙美术馆西岸馆","以浓焦墨铺写振翅飞鹰，翎羽以皴擦兼施，笔力沉雄又不失蓬松质感，利爪筋肉紧绷如凝铁，目光锐如寒钩，雄悍气势扑面而来。下方老松盘虬伸展，鳞皴枝干古拙苍劲，团簇松针攒聚如戟，尽显风霜淬炼后的坚韧。\n\n画面以留白铺就辽远虚境，衬出飞鹰俯冲的凌厉动感，水墨干湿浓淡层次分明，写意之中暗合写实精准，将猛禽的傲岸与古松的刚劲相融，托物言志，把不屈的铮铮风骨寄寓笔下，尽显襟怀气度。",[23,24,25,53,26,95,7,667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b5c2f09b18339bfae82aeea79798023.jpg",[],{"id":2942,"slug":2943,"title":2944,"dynasty":69,"author":675,"museum":20,"description":2945,"tags":2946,"thumbUrl":2947,"material":190,"size":2948,"collection":40,"collections":2949,"showCount":2903,"zanCount":11,"manualWeight":11,"mainColor":44},218682,"han-xi-chui-diao-tu-xia-gui-218682","寒溪垂钓图","这幅画描绘的是月光下的寒流，隐者披头散发，环境非同一般，笔触特别冰冷，署名夏圭。",[23,24,25,678,53,54,30,116,33,7,2249,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb060226a5cefc9cdcb37f39b8b4c4a.jpg","24.5x25.7cm",[40],{"id":2951,"slug":2952,"title":2953,"dynasty":87,"author":88,"museum":89,"description":2954,"tags":2955,"thumbUrl":2958,"material":27,"size":120,"collection":101,"collections":2959,"showCount":2903,"zanCount":141,"manualWeight":11,"mainColor":44},217311,"gu-xiu-wu-shi-san-can-tu-ce-yi-ming-217311","顾绣·五十三参图册","绣线流转间，善财童子的虔诚跃然绢上。顾绣以针代笔，将山水的淡远、人物的温煦凝于丝缕：或见童子俯身问法，衣袂飘举间藏着求道的恳切；或观善知识拈花含笑，眉眼舒展处透着慈悲的从容。针脚细密处晕染出虚实层次，丝线的柔光与笔墨的雅致相融，似有禅意悄然流淌。草木的舒展、山石的肌理，皆以灵动针法勾勒——既存画之韵致，更显绣之精工。每一幅皆是一段求道的缩影，绣工于细节处藏巧思，尽显明清绣艺与释教题材结合的雅致深味，让观者在丝缕交织里触碰到那份千年不变的虔诚与静穆。",[2956,2129,28,27,2177,31,30,36,35,33,7,202,2957,215],"顾绣","菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca39984ae1662855dc39ec30e30b1f4.jpg",[101],{"id":2961,"slug":2962,"title":2963,"dynasty":49,"author":896,"museum":20,"description":2964,"tags":2965,"thumbUrl":2967,"material":2968,"size":2969,"collection":120,"collections":2970,"showCount":2971,"zanCount":220,"manualWeight":11,"mainColor":82},231333,"zhong-shan-tu-yuan-dai-ji-jin-zhi-si-wu-zhen-231333","中山图-元代集锦之四","《中山图》绘逶迤起伏的层峦迭嶂。画家以淡墨皴染群山，浓墨画丛树点苔，勾皴时见乾笔，笔墨雄浑厚重。\n吴镇的艺术精髓在这副平淡无比的画作中体现无遗，《中山图》平铺直叙的描绘了再平凡不过的景象：七座山头大致左右对称簇拥一座主峰，即画题中的“中山”。较高大的山峰全都是特殊的平顶圆锥形，侧面微微隆起，这是吴镇绘画典型的造型。这几座山峰周边散布着山峦丘陵起起伏伏，一如荡漾的波浪；无论大小浓淡全都只有几种简单的形状；山峦没有真正的远近之别。谷间的树木被描绘得相当大，还有山头上灌木丛，几座山峰相形之下也显得不那么高峻。\n画中没有溪流、瀑布、人物、屋宇，甚至小径等等点缀。画面也没有表现任何能够显示季节和气候的特征，更没有云雾这种“通山川之气”的物象可以暗示流动或变化，全画沉浸在一种永恒的沉寂之中。即使在元代绘画之中也很难找到另外一幅画比《中山图》更显平静的。画中疏朗闲放的笔法，反复出现的简单物象在视觉上安抚镇定的效果，充分体现了平淡的境界。",[24,25,53,30,54,132,2966,36,7,186],"峰峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa75ab4b46854a6856c1d08010e0d4333.jpg","纸本 墨笔","26.4cmx90.7cm",[],51,{"id":2973,"slug":2974,"title":2975,"dynasty":18,"author":2976,"museum":20,"description":2977,"tags":2978,"thumbUrl":2981,"material":231,"size":2982,"collection":40,"collections":2983,"showCount":2971,"zanCount":141,"manualWeight":11,"mainColor":82},222175,"tian-chi-shi-bi-zhou-lu-zhi-222175","天池石壁轴","陆治","陆治（1496－1576），字叔平，明代画家。吴县（今江苏苏州）人，因居包山，自号包山。倜傥嗜义，以孝友称。\n陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[23,24,26,256,27,54,2979,275,36,7,715,2980,35,135,34],"石壁","江河","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd07d9dc6fb51d4ebd3729366331c84f8.jpg","本幅 70.6x30.3公分、全幅 44.5公分",[40,62],{"id":2985,"slug":2986,"title":2987,"dynasty":87,"author":2988,"museum":147,"description":2989,"tags":2990,"thumbUrl":2991,"material":120,"size":120,"collection":120,"collections":2992,"showCount":2993,"zanCount":11,"manualWeight":11,"mainColor":82},238227,"qian-long-huang-di-song-yin-hui-bi-heng-zhou-zhang-zong-cang-238227","乾隆皇帝松荫挥笔横轴","张宗苍","《张宗苍等乾隆皇帝松荫挥笔横轴》是清乾隆时期 等绘制的一幅画。\n款识：“乾隆十八年四月臣张宗苍奉勅恭绘。\n”下钤二朱文方印“张”、“宗苍”。\n“ 十八年”即175年，乾隆皇帝时年4岁。\n画幅右上乾隆皇帝御题五言诗：“松石流泉间，阴森夏亦寒。\n构思坐盘陀，飘然衫带宽。\n能者尽其技，劳者趁此闲。\n谓宜入图画，匪慕竹皮冠。\n癸酉夏日题。\n”下钤“即事多所欣”白文方印、“乾隆御笔”朱文方印。\n该诗文与张宗苍于同一年奉勅绘的《 》轴所题内容相同。\n图绘 一身文士装扮，提笔创作的形象。\n乾隆皇帝作为清王朝盛世期的统治者，闲暇之余广学博览，不仅孜孜不倦地学习汉文化，并且积极地参与文学创作，其诗文绝大部分是其从政、巡幸、筵宴、读书、玩赏等活动中的即兴之作，诗意多平淡，缺少文学艺术性，但具有一定的史料价值。\n据统计，其仅御制诗就达4万余首，尚不包括他即位之前的《 》7余首和其他零星作品，虽然其中有的诗是经翰林词臣们润色或代笔，并为之作注的，但是，其作品数量之大，仍然冠历朝作者之首。\n乾隆皇帝出于对写诗作文的喜爱，常谕令宫廷画家们绘制他在创作时的儒雅形象，此图便是其中之一。\n图中乾隆皇帝的画像写实逼真，其冥思苦想的表情传神生动。\n山石连皴带染，以无规则的墨点作苔点，既得厚重之力，又得灵动之美。\n挺拔的松树以劲键有力、娴熟的笔法表现，营造出满目苍翠的神仙之境，与乾隆皇帝洒脱高逸的文人形象相契合。\n张宗苍（1686—1756年），字默存，一字墨岑，号篁村、蔗翁、太湖渔人，晚称瘦竹，吴县（今江苏苏州）人。\n师承清代娄东画派的传人黄鼎，擅画山水。\n初以主簿理河工事。\n清乾隆十六年 （1751年）高宗南巡，以绘《吴中十六景》画册敬献，称旨，命入都祗候内廷。\n十九年（1754年）授户部主事。\n其山水画用笔沉着，山石多加积染，表现出深远的意境，具有苍劲秀雅之风，深得高宗皇帝赏识，成为乾隆朝宫廷的重要画家。\n《石渠宝笈》著录画作116件。\n71岁时卒于故里。",[73,24,25,1589,53,27,54,7,31,30,56,55,74,1376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8df7f2229ff6e2483b5711f97d5f894d.jpg",[],50,{"id":2995,"slug":2996,"title":2997,"dynasty":87,"author":2998,"museum":147,"description":2999,"tags":3000,"thumbUrl":3002,"material":120,"size":120,"collection":120,"collections":3003,"showCount":2993,"zanCount":141,"manualWeight":11,"mainColor":44},224543,"shan-shui-hua-juan-luo-mei-224543","山水画卷","罗枚","此卷水墨山水以平远之境铺陈开，山峦层叠逶迤，林舍错落点缀溪谷间。线条清劲简括，皴染淡逸萧疏，留白虚处见云水空濛，尽显丘壑幽寂。题诗与画境相融，笔墨脱略凡俗，以淡墨写林泉雅意，简而不薄，淡而有味，将林峦清润之态化为纸上幽境，尽显寄情山水的文人雅怀，清寂出尘的意韵溢满卷间。",[23,24,25,186,53,940,54,30,35,36,715,258,150,1275,985,3001,7,574,520,135,32],"远景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007e50ac54acef202389bbd66e88ceb5.jpg",[],{"id":3005,"slug":3006,"title":3007,"dynasty":69,"author":3008,"museum":89,"description":3009,"tags":3010,"thumbUrl":3012,"material":76,"size":3013,"collection":78,"collections":3014,"showCount":2993,"zanCount":11,"manualWeight":11,"mainColor":44},221469,"ling-feng-bo-ge-tu-lu-zong-gui-221469","玲峰鹁鸽图","鲁宗贵","绘鹁鸽两羽，全身白色，只留尾巴黑色，一只立于湖石上，微张的尖嘴似与地面上的另一只打招呼；画面竹枝繁茂，花团锦簇，春光融融。鲁宗贵，南宋画家，工花竹、禽鸟、窠石，用笔意趣有余，描染佳妙。",[23,73,24,25,28,27,667,668,7,344,3011],"植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac548a4d2e561d376899c9dbecd6e64.jpg","28 × 52 cm",[78,384,103],{"id":3016,"slug":3017,"title":3018,"dynasty":87,"author":978,"museum":2859,"description":3019,"tags":3020,"thumbUrl":3021,"material":3022,"size":3023,"collection":40,"collections":3024,"showCount":2993,"zanCount":11,"manualWeight":11,"mainColor":82},220972,"shuang-song-liu-quan-tu-yun-shou-ping-220972","双松流泉图","双松流泉图描绘巍峨高耸的远山被浮云游雾隔于天外，远处的瀑布从山崖之间逶迤婉转地涌出，因矶石抵柱而迥旋激荡，如同泉流。近景堤岸沙坡之上灵石伫立，苔草凝碧；临水的山角处双松并峙，针茂如冠，楮竹相生，杂然成林。一溪春水波光粼粼，仿佛正有和煦春风从水面掠过。画上虽然杳无人迹尘嚣，但并不荒疏冷寂。回荡壑谷的风声，击石鸣涧的水声，松涛如潮的树声，或许还有空山飞鸟的啼声，都为这本来幽静的画面平添了许多的幽趣，共同唱响一曲自然生趣的清歌，大有声情并茂的韵味。上端有画家自题语和款署：“双松流泉图，为六朋词兄六十寿。”落款：“毗陵恽寿平。”",[23,24,25,26,53,30,7,33,35,54,302,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2b3e81025a8acac7cd4862aa16daff2.jpg","轴，卷本设色","纵172厘米，横67厘米",[40,62],{"id":3026,"slug":3027,"title":3028,"dynasty":87,"author":1576,"museum":2447,"description":3029,"tags":3030,"thumbUrl":3031,"material":38,"size":120,"collection":40,"collections":3032,"showCount":2993,"zanCount":11,"manualWeight":11,"mainColor":44},219488,"song-yin-mu-ma-tu-gao-qi-pei-219488","松荫牧马图","虬干古松下，巨石错落横陈。苍松枝桠奇崛舒展，枯笔皴擦出斑驳肌理，尽现岁月经年的苍劲风骨。\n林下白衣高士凭石闲坐，神色悠然，童子恭立身侧，一旁骏马垂首缓行，静中藏动。淡墨点染疏草矮木，晕开山野清寂逸趣。\n整幅以指墨写意，笔意简括洗练，寥寥数笔便将人物情态尽展，寄情林泉的超然雅趣藏于淡墨轻岚之间，尽显幽远出尘的林下之风。",[24,25,26,53,27,7,35,31,242,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8484813b251832063d3488c3306199e.jpg",[40,101,103],{"id":3034,"slug":3035,"title":3036,"dynasty":87,"author":271,"museum":20,"description":3037,"tags":3038,"thumbUrl":3039,"material":38,"size":3040,"collection":40,"collections":3041,"showCount":2993,"zanCount":141,"manualWeight":11,"mainColor":44},219332,"gui-yin-tu-tang-dai-219332","归隐图","画山水师法王原祁，官内务府总管，以画只候内廷，康熙赐「画状元」。本幅画幽岩架屋，秋色满林，石磴盘空，泉流萦抱。用笔细致，山石多用干笔，带皴带擦，特重山势向背。",[24,25,30,27,54,35,36,150,161,74,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1876c740f1a043e94f3409e2f9793278.jpg","86.2x48.4",[40],{"id":3043,"slug":3044,"title":3045,"dynasty":87,"author":88,"museum":20,"description":3046,"tags":3047,"thumbUrl":3051,"material":27,"size":3052,"collection":101,"collections":3053,"showCount":2993,"zanCount":220,"manualWeight":11,"mainColor":44},218509,"san-xing-tu-song-yi-ming-218509","三星图颂","图中绘有代表幸福、繁荣和长寿的三颗星，还有一个婴儿的玩偶，虽然是编织的，但与图像无异，代表了清朝时期宫廷的编织水平。",[24,28,27,31,3048,885,7,35,2548,640,3049,3050,887,639],"老者","传统服饰","祥瑞题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22f2d6afa3a98fe6874490590030f7ca.jpg","182x83.3",[101],{"id":3055,"slug":3056,"title":3057,"dynasty":49,"author":88,"museum":147,"description":3058,"tags":3059,"thumbUrl":3063,"material":118,"size":119,"collection":120,"collections":3064,"showCount":3065,"zanCount":141,"manualWeight":11,"mainColor":82},290145,"chang-e-wang-yue-tu-yi-ming-290145","嫦娥望月图","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。",[24,678,27,28,31,2151,3060,509,7,2548,3061,30,3062],"嫦娥","神话","孤寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe276658f8ba399b9ffd66097b8fbe89b.jpg",[],49,{"id":3067,"slug":3068,"title":3069,"dynasty":69,"author":199,"museum":20,"description":3070,"tags":3071,"thumbUrl":3074,"material":499,"size":3075,"collection":120,"collections":3076,"showCount":3065,"zanCount":11,"manualWeight":11,"mainColor":82},288416,"xian-lv-guan-pu-tu-ma-yuan-288416","仙侣观瀑图","此画精妙之处莫过于两位相对而坐的文士所面对的一大片空白——悬瀑飞下，能量极大，激起大量水气，蒸腾弥漫，善用留白的马远在此便以大幅空白来体现。根据透视原理画成的近处的山石和松树体积稍大，略有压迫感，更衬出所留空白通透自然，难能可贵。马远素有“马一角”之名，喜作边角小景。此画虽为立轴，但如此空灵有趣的布局与笔墨，也仍见马远的功力与志趣。",[24,73,26,53,54,30,31,55,7,56,33,3072,3073],"仙侣","观瀑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54f922f451d46e8658cf24b0f7a66217.jpg","148.1x80.1cm",[],{"id":3078,"slug":3079,"title":3080,"dynasty":69,"author":675,"museum":147,"description":2721,"tags":3081,"thumbUrl":3082,"material":118,"size":119,"collection":120,"collections":3083,"showCount":3065,"zanCount":11,"manualWeight":11,"mainColor":82},288224,"song-xia-guan-pu-tu-xia-gui-288224","松下观瀑图",[23,73,24,678,53,30,7,55,35,31,54,3073,1499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc28ecc0a7025721416ab7cb43a1afd43.jpg",[],{"id":3085,"slug":3086,"title":3087,"dynasty":87,"author":3088,"museum":362,"description":3089,"tags":3090,"thumbUrl":3091,"material":190,"size":120,"collection":101,"collections":3092,"showCount":3065,"zanCount":11,"manualWeight":11,"mainColor":82},219835,"cai-zhi-tu-yu-bing-shun-219835","采芝图","禹秉舜","此作以青绿晕染烟霞山峦，古松虬枝横斜，苍劲的松针间裹挟流云，将山林晕染出空寂出尘的仙气。下方溪桥之上，仕女衣袂翩跹徐行，侍女手捧灵芝紧随其后，人物眉目温婉情态娴静，衣纹勾勒细腻雅致。\n\n画作兼用工写之法，山石松干以粗笔淡墨皴擦出苍润古意，人物则精细描摹，明丽设色衬出雅致格调，将林下寻芝的隐逸雅趣融于山水之间，淡远清和，尽显温婉古韵。",[23,24,27,28,26,7,35,135,2151,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3adb0c561ceeb62412f8daaea5ff098e.jpg",[101],{"id":3094,"slug":3095,"title":3096,"dynasty":69,"author":3097,"museum":20,"description":3098,"tags":3099,"thumbUrl":3100,"material":190,"size":120,"collection":78,"collections":3101,"showCount":3065,"zanCount":11,"manualWeight":11,"mainColor":44},218935,"song-xiu-yu-cun-tu-gao-ke-ming-218935","松岫渔村图","高克明","在画作中央的山坡上画着一栋村舍，它与右边的坡石由一座木桥连接，桥下的溪水流淌着，仿佛在鸣叫。桥上的一个男人正向村子走去，后面跟着一个孩子。坡岸上有房屋和树木，远处的山峰上也有树木；远处的山峰被涂上了鲜艳的色彩，还有蒸腾的雾气，这种场景类似于中国南方的晚春日落。这幅作品的构图是典型的边缘化，场景本身只占整个画面的一半，形成一条从远处山顶的树梢到倾斜的海岸的对角线。虽然这是一部小作品，但它具有巨大和深远的潜力。笔触低调，构图和主题一再显示出与马夏画派的亲和力。",[23,24,678,30,7,35,36,33,116,54,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a818024b4d6462ac770c4d1cfc69bc.jpg",[78],{"id":3103,"slug":3104,"title":2333,"dynasty":69,"author":199,"museum":20,"description":2334,"tags":3105,"thumbUrl":3106,"material":190,"size":2337,"collection":120,"collections":3107,"showCount":3065,"zanCount":11,"manualWeight":11,"mainColor":44},218572,"hua-niao-shan-shui-xiao-pin-ce-song-ge-yuan-tiao-ma-yuan-218572",[23,73,24,25,215,27,54,30,94,7,36,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a243811f9d11bd8f802140177b34ff7.jpg",[],{"id":3109,"slug":3110,"title":3111,"dynasty":49,"author":758,"museum":147,"description":3112,"tags":3113,"thumbUrl":3114,"material":118,"size":119,"collection":120,"collections":3115,"showCount":3116,"zanCount":11,"manualWeight":11,"mainColor":82},290892,"song-yin-gao-shi-tu-zhou-zhao-meng-fu-290892","松阴高士图轴","赵孟頫[fǔ]（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。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远。",[24,73,26,27,115,31,30,7,35,2910],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6154f78d6a189c4f588ad38f90341d9f.jpg",[],48,{"id":3118,"slug":3119,"title":3120,"dynasty":18,"author":459,"museum":147,"description":3121,"tags":3122,"thumbUrl":3124,"material":118,"size":119,"collection":120,"collections":3125,"showCount":3116,"zanCount":11,"manualWeight":11,"mainColor":82},287608,"yu-dong-xian-yuan-tu-chou-ying-287608","玉洞仙源图","该画作描绘长松参天，洞壑奔雷，云塞幽谷，松涛掩映楼阁，一人临流静坐停琴，童子四人，趋走前后。该画作勾勒精工，秀雅纤细，布局严谨，极有气势，设色沉静。",[23,73,24,25,26,28,115,27,30,94,32,33,31,7,135,3123],"仙境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd125a8b06ed17f67b28f7bb73d33cafd.jpg",[],{"id":3127,"slug":3128,"title":3129,"dynasty":18,"author":88,"museum":147,"description":3130,"tags":3131,"thumbUrl":3133,"material":118,"size":119,"collection":120,"collections":3134,"showCount":3116,"zanCount":11,"manualWeight":11,"mainColor":82},287563,"ming-ren-pin-cha-tu-yi-ming-287563","明人品茶图","苍松虬劲，古藤垂绕，将山林幽寂晕染开来。林下雅士围坐，一人展卷吟哦，一人捧盏凝思，眉宇间尽是松弛自在。旁侧童子煨火煮茶，溪畔稚童俯身汲水，动静相映，把春日雅集的闲逸铺陈开来。\n\n笔墨朴拙古雅，山石皴染厚重，人物意态舒展，将文人寄情林泉、品茶论书的林下之趣勾勒尽致。松涛泉声仿佛随画卷漫出，隔绝喧嚣，只余清茗香气与书卷文思，尽显雅致风流，把静心忘俗的意趣藏在寸寸绢素之中。",[24,26,27,31,7,35,33,3132,416,73,25],"品茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f61d450f734bcdaa1462c5372d5cf5.jpg",[],{"id":3136,"slug":3137,"title":3138,"dynasty":87,"author":3139,"museum":147,"description":3140,"tags":3141,"thumbUrl":3142,"material":120,"size":120,"collection":40,"collections":3143,"showCount":3116,"zanCount":11,"manualWeight":11,"mainColor":44},238823,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238823","董诰墨庄览胜图册","董诰","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 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”。",[24,25,215,27,30,54,35,36,7,175,32,33,135,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa443f86659d1246ce2824ef78b06a3ac.jpg",[40,103],{"id":3145,"slug":3146,"title":3147,"dynasty":87,"author":1576,"museum":20,"description":3148,"tags":3149,"thumbUrl":3151,"material":3152,"size":3153,"collection":120,"collections":3154,"showCount":3116,"zanCount":141,"manualWeight":11,"mainColor":44},222658,"lu-shan-pu-bu-tu-zhou-gao-qi-pei-222658","庐山瀑布图轴","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[23,24,26,3150,53,54,30,55,7,31,33,56,188,34],"指画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b0731b38bbf14d460f6ddc5b90c3f50.jpg","绢本，水墨，浅设色","纵98.4厘米，横49.9厘米",[],{"id":3156,"slug":3157,"title":3158,"dynasty":49,"author":3159,"museum":3160,"description":3161,"tags":3162,"thumbUrl":3163,"material":190,"size":3164,"collection":40,"collections":3165,"showCount":3116,"zanCount":11,"manualWeight":11,"mainColor":82},220084,"lou-ge-shan-shui-tu-sun-jun-ze-220084","楼阁山水图","孙君泽","日本静嘉堂文库","孙君泽（生卒年不详），元代画家，生活在14世纪，杭州人。工山水人物，宗法马远、夏圭，画风工致谨细，对明代以后浙派绘画的发展有直接的影响。他的作品广见于日本旧藏中。孙君泽的山水是在继承和吸收了马、夏的画法的基础上加以发展和创造，进而形成自己风格的。",[23,24,25,30,92,27,54,31,94,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa91562f156e7a92824fb05acd2a8fa7a.jpg","135×76.5",[40],{"id":3167,"slug":3168,"title":3169,"dynasty":87,"author":1938,"museum":89,"description":3170,"tags":3171,"thumbUrl":3172,"material":190,"size":3173,"collection":40,"collections":3174,"showCount":3116,"zanCount":141,"manualWeight":11,"mainColor":82},219142,"yang-zhou-si-jing-tu-wan-song-die-cui-yuan-yao-219142","扬州四景图-万松叠翠","这组画屏是袁耀晚年的佳作，所绘为南京北郊的到处名胜景区，均为写生之作。 “春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色典雅。“平流涌瀑”画夏日高树掩映，茂茂森森，以独特的落墨点染，华滋苍润。“万松叠翠”写秋时寂寥之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的柳树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以特色界画的娴熟技法把扬州曾经“两堤花柳全依水，一路楼台直到山”的繁盛景象真切形象地展现在观者面前。",[24,27,92,28,30,132,7,94,485,679,135,36,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a93c9e40d1b6c3cd9ff1febf520eea.jpg","纵57厘米，横66.1厘米",[40],{"id":3176,"slug":3177,"title":623,"dynasty":87,"author":1811,"museum":89,"description":3178,"tags":3179,"thumbUrl":3180,"material":59,"size":3181,"collection":40,"collections":3182,"showCount":3116,"zanCount":11,"manualWeight":11,"mainColor":44},218511,"shan-shui-tu-wang-jian-218511","此幅是祝寿题材画，作者在构图上巧意安排：近景绘常青不衰有贺寿寓意的苍松以突出主题；远景绘起伏叠嶂的山峦，寓寿比南山、生命连绵持续之意。中景是清波碧水，其曲折的水面不仅为画面增添了诗意，而且将远、近景有机地相连成一体，令全图的空间层次分明，同时不失画面的完整性。",[23,24,25,30,53,54,26,7,35,258,32,175,36,134,714],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c28b0ebb2012e66eb252820326bc507.jpg","纵155.3厘米，横86.9厘米",[40],{"id":3184,"slug":3185,"title":1551,"dynasty":18,"author":1552,"museum":362,"description":1553,"tags":3186,"thumbUrl":1558,"material":190,"size":3189,"collection":101,"collections":3190,"showCount":3116,"zanCount":141,"manualWeight":11,"mainColor":82},218365,"ying-xi-tu-you-qiu-218365",[23,24,25,26,28,27,31,885,7,1556,3187,1557,1555,3188],"伞","婴戏","89.3x53.4",[101],{"id":3192,"slug":3193,"title":3194,"dynasty":69,"author":1201,"museum":147,"description":3195,"tags":3196,"thumbUrl":3199,"material":118,"size":119,"collection":120,"collections":3200,"showCount":3201,"zanCount":105,"manualWeight":11,"mainColor":44},288356,"qiu-chuang-du-yi-tu-liu-song-nian-288356","秋窗读易图","这件作品笔墨工致严谨，气格宁静雅逸，具有一种宫廷的富贵气息，是刘松年细腻、典雅画风的杰出代表。也有专家认为，他的山水画是把李唐开创的风格“向后拉”(所谓“向后拉”，就是把李唐刚猛的画风进行减缓和柔化)，而马远、夏圭则是把李唐的画风“向前拉”，此说颇为形象。画面表现的是读书的场景。水畔树石掩映之下，书斋门窗敞开，主人在窗前展卷沉思，一书童在门外侍立。景色清幽，主人儒雅，童子恭敬，各尽其态。房屋、院落、树木、篱笆墙，都是精工细写，一丝不苟，将秋天的氛围渲染得恰到好处。一片湖光水色之外，更有远景的山石隐现。山石的画法明显是学自李唐，先用健朗的线勾轮廓，然后施以斧劈皴，精巧、有力，青绿设色，杂树用夹叶法，这些都是典型的南宋画法。但细读之下，却也不尽然。《秋窗读易图》同时呈现出另一种风貌。我们拿这张作品和刘松年的《四景山水图》做比较，就会发现这个问题。《四景山水图》画山石用斧劈皴和淡墨渲染，具有刚硬的特点。树的弯曲，用笔偏于方折，远山仅画一角。虽然画面的总体感觉上是湿润的，但具体景物却是干裂的。再看《秋窗读易图》的山石画法，很明显地具有董源、巨然的风格——长披麻皴的运用和具有江南柔美的韵致。另外，从树木、苔点、远山、秀水的画法中，我们可以感觉得到一种萧散和淳厚，这又具有元人的绘画风韵。\n总体而言，《秋窗读易图》较之《四景山水图》，硬朗之风略逊，而优雅、闲适之气则胜之。从这个意义上讲，刘松年的作品突破了时代的风格，以典雅、秀丽的风貌预示了元代山水画的走向。虽然元代山水画的一个典型的特征是排斥南宋绘画传统，但刘松年绘制的这件作品，正好从另一个方面说明了元代山水画家或者说南宗山水画家将反对的对象集中在马远和夏圭上的主要原因。",[23,24,678,25,27,28,92,30,7,94,188,29,34,3197,3198],"秋景","读易","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c6dadc0e51fb4a03d05372ce1324e11.jpg",[],47,{"id":3203,"slug":3204,"title":3205,"dynasty":18,"author":3206,"museum":89,"description":3207,"tags":3208,"thumbUrl":3209,"material":246,"size":3210,"collection":120,"collections":3211,"showCount":3201,"zanCount":141,"manualWeight":11,"mainColor":44},232954,"wan-he-song-feng-tu-zhou-wen-bo-ren-232954","万壑松风图轴","文伯仁","作者绘高峰巨嶂、松竹叠翠和隐庐数间，构图和笔墨、造型尽得元代王蒙的形与神。构图繁密而不拥塞，行笔细密却不琐碎，山路松声，云壑泉涌，满幅风动。气韵浑然一体，纯系文徵明传派的风韵。",[24,25,26,30,53,54,7,35,55,404,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f80f6c03b7173bd4fc3b16e9e9bfec6.jpg","纵104.7厘米，横25.8厘米",[],{"id":3213,"slug":3214,"title":3215,"dynasty":87,"author":3216,"museum":1577,"description":3217,"tags":3218,"thumbUrl":3220,"material":76,"size":3221,"collection":120,"collections":3222,"showCount":3201,"zanCount":11,"manualWeight":11,"mainColor":44},230105,"hong-lou-meng-186-sun-wen-230105","红楼梦186","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",[24,25,28,27,92,31,2151,94,639,36,367,7,35,642,3219,175],"回廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4501237256ff4155c35bcd53221f87ba.jpg","纵43.3厘米、横76.5厘米",[],{"id":3224,"slug":3225,"title":3226,"dynasty":49,"author":239,"museum":147,"description":3227,"tags":3228,"thumbUrl":3230,"material":120,"size":120,"collection":120,"collections":3231,"showCount":3201,"zanCount":11,"manualWeight":11,"mainColor":82},228083,"shuang-song-tu-wang-meng-228083","双松图","此作用双松撑起画面骨架，古松扎根嶙峋顽石，枝干虬曲扭转如苍龙探海，松针攒簇苍劲，带着历经岁月的沉凝古拙。\n以干笔皴擦写出斑驳松皮，枯墨见笔力，淡墨晕染远景平沙远渚，留白疏朗空寂，以简淡衬出双松的雄浑厚重，将高远与平远意境相融。\n错落题跋与画面相映成趣，诗文的林下幽怀和萧散画境合二为一，笔墨间满溢林泉隐逸之趣，仿佛能让人枕松听浪，静看云卷云舒，尽显元人尚意的画中真味。",[23,73,24,25,26,53,54,342,7,35,30,36,187,3229],"土地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8baca3f8b4fccb2a156d2bb5fa09314a.jpg",[],{"id":3233,"slug":3234,"title":3235,"dynasty":87,"author":1687,"museum":1107,"description":3236,"tags":3237,"thumbUrl":3238,"material":3239,"size":3240,"collection":40,"collections":3241,"showCount":3201,"zanCount":11,"manualWeight":11,"mainColor":44},224463,"shui-ge-you-shan-tu-wang-hui-224463","水阁幽山图","作者称此图仿云西老人（曹知白）画法。曹知白工画山水，兼师宋李成、郭熙、董源、巨然诸古代大家。然此图并非具体临摹曹氏作品，乃是融合宋、元绘画的不同画法的创作。王翚曾言，以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成。该图正是典型作品之一",[23,24,30,54,53,27,1355,132,162,33,55,56,7,303,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70e27b235c5ee9ec6af8ea24552f3e55.jpg","纸本、设色","纵25cm，横236cm",[40,62],{"id":3243,"slug":3244,"title":571,"dynasty":69,"author":88,"museum":20,"description":3245,"tags":3246,"thumbUrl":3247,"material":190,"size":3248,"collection":78,"collections":3249,"showCount":3201,"zanCount":11,"manualWeight":11,"mainColor":44},218852,"kong-shan-guan-pu-tu-yi-ming-218852","画面上画的是悬崖上的松树，枝干粗壮，分叉有致，一位高僧坐在松树下的空位上，看着叮咚作响的泉水，俗话说得好。智者乐水。这幅画复制了李唐和夏圭的笔法，但笔法过分转折，可能是明代浙派画家的作品。",[23,24,25,73,53,54,30,55,7,56,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cd35279e156a6ba9386da672ffb1e86.jpg","23.4x25.5",[78],{"id":3251,"slug":3252,"title":3253,"dynasty":87,"author":1687,"museum":89,"description":3254,"tags":3255,"thumbUrl":3256,"material":38,"size":3257,"collection":40,"collections":3258,"showCount":3201,"zanCount":220,"manualWeight":11,"mainColor":44},218369,"dou-he-ben-quan-tu-wang-hui-218369","陡壑奔泉图","此图为王翚于康熙十五年（1676年），时年四十五岁时所作，仿王蒙画法，皴法细腻，墨色干湿相间，层次分明，气韵秀润。该图为清宫旧藏。",[23,24,25,26,53,54,30,36,7,35,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F843436601bf77f374d0da682061f8e02.jpg","纵74.3厘米，横31.4厘米",[40],{"id":3260,"slug":3261,"title":3262,"dynasty":49,"author":3263,"museum":89,"description":3264,"tags":3265,"thumbUrl":3267,"material":246,"size":3268,"collection":120,"collections":3269,"showCount":3270,"zanCount":11,"manualWeight":11,"mainColor":44},233745,"dan-ya-yu-shu-tu-zhou-huang-gong-wang-233745","丹崖玉树图轴","黄公望","图中山峦重叠，高松杂树遍布窠石坡岸之上，梵寺仙观掩映于山石林木之中，溪流迴转，云烟缭绕，一派深远优美的意境。黄公望曾谓：“作山水者，必以董为师法，如吟诗之学杜也。”此图便是以董源、巨然创造的披麻皴手法写成，并以水墨浅绛设色。\n由于是在纸本上作画，作者较其《天池石壁图》、《九峰雪霁图》等绢本作品更充分地发挥了笔墨融合的韵味，用笔松秀，点染随意，潇洒自如，在不着笔处衬出迷蒙浮动的云烟雾气，虚实开合，愈增添了山水的灵秀，故虽崇山满纸而无迫塞之感。王原祁评黄氏画作曾云：“每见其布景用笔，于浑厚中仍饶逋峭，苍莽中转见娟妍，纤细而气益闳，填塞而境愈廓，意味无穷。”此作堪为代表。",[24,25,26,30,53,54,3266,36,7,35,150,34],"山崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1070ac311ec6c2b81b3e0fff9701a55d.jpg","纵101.3厘米，横43.8厘米",[],46,{"id":3272,"slug":3273,"title":996,"dynasty":87,"author":3274,"museum":147,"description":3275,"tags":3276,"thumbUrl":3277,"material":120,"size":120,"collection":120,"collections":3278,"showCount":3270,"zanCount":11,"manualWeight":11,"mainColor":44},224589,"hua-shan-shui-zhou-zou-yi-gui-224589","邹一桂","此作以浅绛绘就山居胜景，层峦叠嶂以干笔皴擦出嶙峋肌理，淡赭晕染衬出山骨清奇。古松虬曲苍劲，斜斜探向溪谷，枝叶攒簇尽显老郁生机。板桥横溪，行人策杖徐行，林麓间山居掩映，茅亭凭山而设，溪泉潺潺隐于岩岫，将幽寂山居之趣铺陈开来。\n\n笔墨简淡秀雅，设色清和柔润，题诗钤印与山水景致相融，尽显文人画诗画合一的意趣，把林泉高致的萧散闲逸藏在每一处笔触中，观之如临幽林深谷，静享世外恬然。",[23,24,26,27,54,30,32,33,161,7,35,94,31,55,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97b45691176ef9d6ddb5230768b87ab9.jpg",[],{"id":3280,"slug":3281,"title":3282,"dynasty":87,"author":1687,"museum":1920,"description":3283,"tags":3284,"thumbUrl":3285,"material":3286,"size":3240,"collection":40,"collections":3287,"showCount":3270,"zanCount":11,"manualWeight":11,"mainColor":44},224461,"song-qiao-tang-tu-juan-wang-hui-224461","松乔堂图卷","图绘远处山峦连绵，树木苍翠；近处右侧河面一片平静，中部数座楼阁、回廊依山而建，院落外翠竹环绕，院内树木高大，白鹤踱步，屋内人们或谈天，或端坐，或忙碌，大隐于此，岂不快哉！",[23,24,25,186,53,27,30,54,188,29,34,132,133,7,94,36,57,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c51ae3cb96668d6ecb508f9cd46a47.jpg","纸本，淡设色",[40,62],{"id":3289,"slug":3290,"title":3291,"dynasty":87,"author":3292,"museum":362,"description":3293,"tags":3294,"thumbUrl":3296,"material":190,"size":3297,"collection":384,"collections":3298,"showCount":3270,"zanCount":220,"manualWeight":11,"mainColor":82},219032,"tao-que-tu-xia-wen-xuan-219032","桃雀图","夏文铉","绢本泛黄如时光沉淀的暖光，数只雀鸟或栖枝梳羽，或振翅欲飞，羽色赭褐与墨黑相间，神态鲜活灵动。梅枝疏朗横斜，淡粉花瓣点染梢头，似携清寒暗香；松针苍劲如笔，与柔枝相映成趣。画面留白开阔，笔墨简淡却意韵悠长，将禽鸟的生趣与花木的清雅融于一方素绢，尽显文人画的雅致风骨。观之令人心宁神悦，仿佛触到了春日的轻暖气息，于细微处见生机，于简淡中藏深情，是一幅兼具意趣与格调的佳作。",[23,73,24,25,28,27,667,1238,3295,7],"麻雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282866ed8d516c58dc487f5bdc68d7c8.jpg","纵39.1横26.5厘米",[384],{"id":3300,"slug":3301,"title":3302,"dynasty":69,"author":70,"museum":20,"description":3303,"tags":3304,"thumbUrl":3305,"material":190,"size":3306,"collection":40,"collections":3307,"showCount":3270,"zanCount":11,"manualWeight":11,"mainColor":44},218822,"guan-shan-xing-lv-tu-li-tang-218822","关山行旅图","这幅画展示了河流景观的美丽景色，一座古寺隐藏在山中，一群旅行者在河边的水池边跌跌撞撞。这幅画的旧题是《李唐游山图》，仔细观察这幅画的岩石景观和松树的拖曳枝条，可以看出这幅画是由明代艺术家按照马远的风格所画。",[23,73,24,25,215,30,33,116,94,56,7,29,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a9c9b894cd1cf749503a5a856729ab8.jpg","32x33",[40],{"id":3309,"slug":3310,"title":3311,"dynasty":49,"author":88,"museum":20,"description":3312,"tags":3313,"thumbUrl":3315,"material":190,"size":120,"collection":101,"collections":3316,"showCount":3270,"zanCount":141,"manualWeight":11,"mainColor":82},218189,"ying-zhen-xiang-zhou-yi-ming-218189","应真像轴","应真袒胸倚石而坐，憨态可掬的笑容里满是悠然自在。衣纹以婉转流畅的墨线勾勒，晕染得宜，既显布料垂坠质感，又衬出人物丰腴体态。身旁松石苍劲，松针如簇，笔法细致中见洒脱；石根处几丛细竹点缀，更添清逸之气。整幅作品笔墨刚柔并济，人物神态鲜活，似在静享林间清寂，禅意氤氲其间。观者仿佛能透过古雅的纸本，触摸到那份远离尘嚣的平和安然，尽显宋元禅画的空灵韵味。",[24,25,26,2177,31,7,3314,27],"墨笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc52266544324141923cba9b32a02b8.jpg",[101],{"id":3318,"slug":3319,"title":3320,"dynasty":18,"author":128,"museum":172,"description":3321,"tags":3322,"thumbUrl":3323,"material":38,"size":120,"collection":120,"collections":3324,"showCount":3270,"zanCount":141,"manualWeight":11,"mainColor":44},214653,"qiu-xing-ba-jing-tu-ce-5-dong-qi-chang-214653","秋兴八景图册-5","此册描绘苏州到镇江一带的山水景色，或仿古，或写景，笔法虽然以师古人为主，但具有不少个性色彩。采取以颜色直接勾勒、渲染、皴擦等“没骨法”，又连用水墨，干湿兼施，层次分明。落笔细润清雅，色彩明亮秀丽。画笔较为谨严，从中可以品味出他学巨然、赵令穰、赵孟頫、黄公望等人的痕迹，但从整体来看，还是他独特画风的不同表现。\n款署“庚申（1620年）九月重九前一日书，是月写设色小景八幅，可当秋兴八首，玄宰”，为其66岁时的精心之作。",[24,25,215,27,115,53,54,29,188,30,132,133,36,7,982,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb893b7c0fa8f94f84a419b7b87e6439e.jpg",[],{"id":3326,"slug":3327,"title":3328,"dynasty":69,"author":199,"museum":147,"description":856,"tags":3329,"thumbUrl":3331,"material":118,"size":119,"collection":120,"collections":3332,"showCount":3333,"zanCount":11,"manualWeight":11,"mainColor":408},290154,"fang-you-tu-ma-yuan-290154","访友图",[73,24,25,26,53,92,30,31,94,32,33,7,35,242,3330],"访友","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f58872533feea15d4e46dc492f9ff5f.jpg",[],45,{"id":3335,"slug":3336,"title":2085,"dynasty":69,"author":828,"museum":147,"description":3337,"tags":3338,"thumbUrl":3339,"material":118,"size":119,"collection":120,"collections":3340,"showCount":3333,"zanCount":11,"manualWeight":11,"mainColor":82},289657,"song-quan-pan-shi-tu-li-cheng-289657","访幅之题材与风格，属“松石格”之作品，描绘双松挺立于磐石上，两侧有枯木为伴，兼具寒林之景象。寒林之后隐约可见清涧折曲而来，至磐石处急泻而下，激起漩涡与浪花。",[23,24,73,26,53,30,7,1096,57,367,33,54,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f220f1417c19f0f96eedf7c750a5ade.jpg",[],{"id":3342,"slug":3343,"title":3344,"dynasty":87,"author":3345,"museum":89,"description":3346,"tags":3347,"thumbUrl":3348,"material":120,"size":120,"collection":101,"collections":3349,"showCount":3333,"zanCount":11,"manualWeight":11,"mainColor":82},237550,"shang-rui-xiu-gu-song-chun-tu-juan-shang-rui-237550","上睿绣谷送春图卷","上睿","上睿（1634―？）清代康熙年间僧人。字静睿、浔微，一作浔浚、浔睿，号目存、蒲室子、童心和尚、童心道人、童心行者、卧云人。江苏吴县（今江苏苏州）人。博学多才，工诗文",[24,25,186,27,28,54,30,94,31,36,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54d5b813ae5e5ea9f4cfb1e7bcd2096a.jpg",[101],{"id":3351,"slug":3352,"title":3353,"dynasty":18,"author":128,"museum":89,"description":3354,"tags":3355,"thumbUrl":3357,"material":3358,"size":3359,"collection":120,"collections":3360,"showCount":3333,"zanCount":11,"manualWeight":11,"mainColor":82},234171,"zhong-jia-shan-yin-wang-ping-yuan-cun-jing-tu-juan-dong-qi-chang-234171","钟贾山阴望平原村景图卷","画中山石用中锋细笔勾写轮廓，继以短笔浓点或卧笔长皴表现其阴阳向背。画树运笔率意，注重枝枒曲直姿态。构图平远开阔，呈现出江山无尽的悠远之趣。董其昌将历史上的山水画家分为南北两个派系，自己崇“南”抑“北”，追求笔墨沉稳雅致。董氏以自己提倡的南方山水画名家惠崇、巨然的笔意绘制此图，愈加体现出从容恬静中蕴含的冲淡平和的文人气息。",[23,24,25,186,53,30,54,188,34,940,36,3356,32,33,134,1750,175,7],"村庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d659f24b6f6cd77b8ff45c08be3e4a9.jpg","金笺，墨笔","纵28.2厘米，横252厘米",[],{"id":3362,"slug":3363,"title":3364,"dynasty":87,"author":1687,"museum":147,"description":3365,"tags":3366,"thumbUrl":3369,"material":120,"size":120,"collection":120,"collections":3370,"showCount":3333,"zanCount":141,"manualWeight":11,"mainColor":82},229018,"song-shan-cao-tang-tu-li-zhou-wang-hui-229018","嵩山草堂图立轴","此作以高远、深远之法铺展画面，主峰奇崛巍峨，层岩叠嶂间流泉隐现，尽显山川雄浑苍劲。苍松虬曲盘桓，枝叶繁茂掩映山居草堂，山道萦回穿梭林麓，藏露有度。山脚烟岚轻笼水渚，村居错落生息，晕染出幽寂的林下栖居意趣。\n笔墨糅合南北二宗意趣，干笔皴擦勾勒山石肌理，苔点攒簇皴染，朴拙厚重中不失秀润灵韵，将山野林泉的隐逸雅致与山川壮美联为一体，尽显林泉幽居的清逸意境。",[23,24,25,26,27,54,30,35,36,7,3367,229,3368,303],"草堂","竹林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F537957a672adead014ed280a86cc9ac3.jpg",[],{"id":3372,"slug":3373,"title":3374,"dynasty":18,"author":1909,"museum":147,"description":3375,"tags":3376,"thumbUrl":3377,"material":120,"size":120,"collection":120,"collections":3378,"showCount":3333,"zanCount":11,"manualWeight":11,"mainColor":82},228365,"xiang-shan-jiu-lao-tu-zhou-chen-228365","香山九老图","《香山九老图》是明代画家 创作的一幅绢本设色画，该画现藏于 。\n名称：香山九老图轴 作者：周臣 年代：明代 周臣，明代中期的著名职业画家。\n他生活在成化至嘉靖年间，生卒年不详。\n字舜卿，号东村，吴（今江苏苏州）人，生年不详，卒于明世宗嘉靖14年（即155年）。\n擅长画人物和山水，画法严整工细。\n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。\n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。\n画山石坚凝，章法严谨，用笔纯熟。\n曾与戴进并驱，则互有所长。\n人物画也非常出色，古貌奇姿，绵密萧散，各极意态。\n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。\n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。\n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。",[23,24,25,27,28,54,31,30,7,36,56,203],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaaa0c43decd43702693cac01a030852.jpg",[],{"id":3380,"slug":3381,"title":3382,"dynasty":87,"author":3216,"museum":1577,"description":3217,"tags":3383,"thumbUrl":3391,"material":76,"size":3221,"collection":120,"collections":3392,"showCount":3333,"zanCount":11,"manualWeight":11,"mainColor":44},223071,"hong-lou-meng-57-sun-wen-223071","红楼梦57",[23,24,28,27,186,31,242,229,36,639,2132,3384,1783,3385,715,3386,7,3387,3388,3389,3390],"场景画","户外场景","围墙","古典建筑","群像","鞍马","宅院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7449b7a68c5da3b640620fef4f209e9.jpg",[],{"id":3394,"slug":3395,"title":3396,"dynasty":87,"author":1038,"museum":89,"description":3397,"tags":3398,"thumbUrl":3399,"material":543,"size":3400,"collection":120,"collections":3401,"showCount":3333,"zanCount":11,"manualWeight":11,"mainColor":44},220329,"huang-shan-tu-ce-2-hong-ren-220329","黄山图册-2","《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。",[23,24,53,54,215,30,132,7,55,33,31,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1784059c41c0edc0bd66e2212bbbb5cc.jpg","21.5x18.3厘米",[],{"id":3403,"slug":3404,"title":3405,"dynasty":87,"author":3406,"museum":20,"description":3407,"tags":3408,"thumbUrl":3409,"material":59,"size":3410,"collection":101,"collections":3411,"showCount":3333,"zanCount":141,"manualWeight":11,"mainColor":82},219594,"sui-chao-zhong-kui-tu-zhang-zhong-xue-219594","岁朝钟馗图","张仲学","该幅画岁除时节，钟馗搦管书桃符。桃木自古即被视同可以制鬼避邪的灵物。",[24,53,26,31,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7d7d656b930f10e70ec46acf48de3e4.jpg","127.5×63.5公分",[101],{"id":3413,"slug":3414,"title":3415,"dynasty":49,"author":1820,"museum":89,"description":3416,"tags":3417,"thumbUrl":3418,"material":53,"size":3419,"collection":101,"collections":3420,"showCount":3333,"zanCount":11,"manualWeight":11,"mainColor":44},219275,"li-er-shou-jing-tu-sheng-mao-219275","李耳授经图","盛懋，字子昭，浙江嘉兴人，约活动于元至正年间(1341--1367年)。其家世代以画为业，他继承家学，善画人物、山水，风格近董源和赵孟頫，用笔较尖峭繁细，山石多用披麻、解索皴，设色明丽，主体面貌属董巨派系。",[23,24,25,186,940,28,31,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7141c0d84eb6efa5c43db7928d3b5e.jpg","24.8x117.7厘米",[101],{"id":3422,"slug":3423,"title":3424,"dynasty":87,"author":1687,"museum":89,"description":3425,"tags":3426,"thumbUrl":3427,"material":38,"size":3428,"collection":40,"collections":3429,"showCount":3333,"zanCount":11,"manualWeight":11,"mainColor":44},218367,"teng-bi-qiao-song-tu-wang-hui-218367","藤薜乔松图","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。",[23,24,26,27,30,7,56,34,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4939b85389cc00563a2e6e13f75696e.jpg","45.4x20.5cm",[40],{"id":3431,"slug":3432,"title":3433,"dynasty":87,"author":171,"museum":147,"description":583,"tags":3434,"thumbUrl":3435,"material":118,"size":119,"collection":120,"collections":3436,"showCount":3437,"zanCount":11,"manualWeight":11,"mainColor":44},289930,"dan-ya-ju-he-tu-zhou-shi-tao-289930","丹崖巨壑图轴",[24,25,53,54,30,56,7,74,31,188,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff090c35d7e1dcc8c4a08bd16d3b69000.jpg",[],44,{"id":3439,"slug":3440,"title":3441,"dynasty":69,"author":675,"museum":20,"description":2401,"tags":3442,"thumbUrl":3443,"material":2028,"size":119,"collection":120,"collections":3444,"showCount":3437,"zanCount":11,"manualWeight":11,"mainColor":82},288370,"chang-jiang-wan-li-tu-qian-juan-xia-gui-288370","长江万里图前卷",[23,73,24,186,53,30,54,150,1469,7,94,161,116,135,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e9a3edd0ece6ad4727600c15137ec4.jpg",[],{"id":3446,"slug":3447,"title":3448,"dynasty":87,"author":3449,"museum":147,"description":3450,"tags":3451,"thumbUrl":3452,"material":120,"size":120,"collection":40,"collections":3453,"showCount":3437,"zanCount":11,"manualWeight":11,"mainColor":82},237464,"xi-yuan-ya-ji-tu-zhou-zhang-ling-237464","西园雅集图轴","张翎","这幅全景式园林雅集图，以山石林木划分出数处雅聚小境。苍松虬劲、蕉竹扶苏，池苑溪桥蜿蜒其中。文人们三两成群，或围案观摩友人挥毫落墨，或凭栏远眺私语清谈，或坐卧林泉观鱼赏景，动静之间尽显林下风流。淡墨勾勒山石肌理，晕染出温润质感，枝叶点染细致秀逸，淡设色衬出雅致恬淡的氛围，将文人雅聚的闲散意趣与从容气度尽皆铺展于绢素之上，尽显古典文人群聚的清隽韵味。",[24,53,27,28,54,31,30,32,7,302,35,861,36,56,639,2057],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1abbe124c0e31104ad7c8467b2cb3887.jpg",[40,101],{"id":3455,"slug":3456,"title":3457,"dynasty":18,"author":298,"museum":89,"description":3458,"tags":3459,"thumbUrl":3460,"material":543,"size":3461,"collection":120,"collections":3462,"showCount":3437,"zanCount":11,"manualWeight":11,"mainColor":44},234090,"wu-zhong-shan-shui-ce-shen-zhou-234090","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 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）。不应科举，专事诗文、书画，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”。",[24,25,215,53,30,29,34,54,94,7,116,288],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8cc85b8ca75b41a1903f016a2209202.jpg","28.5*25.5cm",[],{"id":3464,"slug":3465,"title":3466,"dynasty":69,"author":199,"museum":147,"description":3467,"tags":3468,"thumbUrl":3469,"material":120,"size":120,"collection":120,"collections":3470,"showCount":3437,"zanCount":141,"manualWeight":11,"mainColor":82},227818,"chun-you-fu-shi-tu-juan-ma-yuan-227818","春游赋诗图卷","《春游赋诗图·溪山无尽图》是216年中信出版集团、中信出版社出版的图书，作者是马远。\n《春游赋诗图》描绘乡间春景：枝头萌绿，万象更新，柳条飘拂，新竹摇曳，溪水潺湲，小桥连岸。\n路上有驮物的驴马，水中有渔归的小舟，但在廊前溪边，已有三三两两的踏青者。\n古松下的案桌前，更是围满了人，文人学子即兴赋诗，一人执笔而书，周旁还有妇人幼童嬉戏。\n山间泉源，几个小童在洗杯煮茶，一派平和融乐的场景。\n《溪山无尽图》全卷以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。\n山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。\n马远（约114－约1225后），字遥父，号钦山，祖籍河中（今山西永济），生长在钱塘（今浙江杭州）。\n出身绘画世家，南宋光宗、宁宗两朝画院待诏。\n擅画山水，取法李唐，能出新意，下笔遒劲严整，设色清润。\n山石以带水笔做大斧劈皴，方硬有棱角；树叶有夹笔，树干浓重，多横斜之态；楼阁界画精工，且加衬染。\n喜作边角小景，世称“马一角”。\n又工画水，兼精人物、花鸟。\n与李唐、刘松年、夏圭并称“南宋四家”。",[23,24,25,186,28,54,31,36,32,33,35,229,242,116,1426,7,367,258,1278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafce01da288b5c16fd5d96849da68c3d.jpg",[],{"id":3472,"slug":3473,"title":3474,"dynasty":18,"author":2148,"museum":147,"description":3475,"tags":3476,"thumbUrl":3477,"material":3478,"size":3479,"collection":40,"collections":3480,"showCount":3437,"zanCount":11,"manualWeight":11,"mainColor":82},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。",[23,24,26,53,27,54,30,161,162,367,7,56,33,134,57,303,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8a3a0f57a4a8b67a66a4490e0f32ca7.jpg","设色绢本","64.5×26.3cm",[40,103],{"id":3482,"slug":3483,"title":3484,"dynasty":69,"author":199,"museum":147,"description":856,"tags":3485,"thumbUrl":3486,"material":118,"size":119,"collection":120,"collections":3487,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":82},289328,"song-shi-guan-pu-tu-ma-yuan-289328","松石观瀑图",[73,24,26,53,30,7,35,55,31,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35cd96a142e4b4b4d479be3ef608f9e2.jpg",[],{"id":3489,"slug":3490,"title":3491,"dynasty":69,"author":675,"museum":147,"description":2721,"tags":3492,"thumbUrl":3493,"material":118,"size":119,"collection":120,"collections":3494,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":82},283639,"song-yin-guan-pu-tu-zhou-xia-gui-283639","松荫观瀑图轴",[23,73,24,25,26,53,30,7,55,35,31,3073,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2244bd7660b66c06c86a83b72fb12eb0.jpg",[],{"id":3496,"slug":3497,"title":3498,"dynasty":18,"author":2148,"museum":89,"description":3499,"tags":3500,"thumbUrl":3501,"material":543,"size":120,"collection":120,"collections":3502,"showCount":5,"zanCount":141,"manualWeight":11,"mainColor":44},234107,"wen-dao-tu-juan-chen-hong-shou-234107","问道图卷","陈洪绶字章侯，号老莲，浙江诸暨人，明末清初画坛奇才。他的画既继承传统，又自辟乾坤，富有革新精神和独创风格，与当时居于北京的崔子忠齐名，有“南陈北崔”之称。他的人物画创作，上承六朝、盛唐的优良传统，又不为传统所囿，大胆创新，使衰微了近六百年的中国人物画再度复兴，打破了明末清初以山水花鸟画为主的格局，不仅在当时画坛独放异彩，其画风还深刻影响了此后近三百年的中国绘画。又以绣像人物插图闻名于世，所作《水浒叶子》《博古叶子》等酒牌，在民间广为流传，是古代版画史上的传世名作。",[24,73,25,186,28,940,31,30,36,56,302,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0aead138bc40c60ea9bc5ee98fc06ec.jpg",[],{"id":3504,"slug":3505,"title":3506,"dynasty":87,"author":3507,"museum":2848,"description":3508,"tags":3509,"thumbUrl":3510,"material":3511,"size":3512,"collection":40,"collections":3513,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":82},222633,"tian-tai-bai-song-tu-gao-feng-han-222633","天台白松图","高凤翰","绘松树两棵，松杆粗壮，松针茂密；灵芝依树而生，形状如耳。此幅图亦是一幅祝寿图，松树寓长寿，灵芝是长生，瑞草有“松树延年 灵芝祥瑞”的寓意。图上自题：“天台白松 高凤翰左手 祝”。",[23,73,24,25,26,53,7,35,54,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F108d7a22714402bfdc04e275079a27eb.jpg","绢本，水墨","105x34cm",[40,62],{"id":3515,"slug":3516,"title":3517,"dynasty":18,"author":723,"museum":20,"description":3518,"tags":3519,"thumbUrl":3521,"material":3522,"size":120,"collection":40,"collections":3523,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":82},222526,"mo-bi-shan-shui-zhou-wang-fu-222526","墨笔山水轴","明代画家王绂（1362-1416）为无锡人，号九龙山人、鳌叟。其画以墨竹最为知名，山水则承续元代文人画风，为吴派前驱。王绂密布层迭岩垒及林木，近景临岸渔船，一艘似正炊煮，一艘则在用餐，船上张挂着披晒的衣物；中景船只则正收拾风帆；右方山路行旅也疾疾赶路入城，一派日暮归人景致。\n乾隆皇帝于旅程中欣赏此图时，并非草草展阅山水大势，而是连小小的舟中生活都注意到了，并成为他吟咏的重心，由此可感受到他品画时的细腻与留心。",[24,3520,26,54,30,36,7,35,135],"水墨画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8f6a38fa5ce0f20cabdeca5c267ff32.jpg","绢本墨笔",[40,62],{"id":3525,"slug":3526,"title":3527,"dynasty":18,"author":3528,"museum":1107,"description":3529,"tags":3530,"thumbUrl":3532,"material":246,"size":3533,"collection":40,"collections":3534,"showCount":5,"zanCount":220,"manualWeight":11,"mainColor":82},222386,"shi-jia-mu-ni-tu-zhou-ding-yun-peng-222386","释迦牟尼图轴","丁云鹏","此图重色绘山石、松木，佛祖释迦牟尼坐于蒲团之上，着宽袍，双手搭膝，下巴置于手上沉思悟道。画面以青绿山水的画法绘环境，古松粗壮茂盛，松针描画精细，白衣人物在山石的青绿之间格外突出。",[23,24,73,26,2177,28,27,31,30,7,56,3531,1216],"草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52cc841ece026ee2bfb0bfd92cfa7b8b.jpg","140.7×58cm",[40,103],{"id":3536,"slug":3537,"title":3538,"dynasty":87,"author":3539,"museum":3540,"description":3541,"tags":3542,"thumbUrl":3544,"material":59,"size":3545,"collection":40,"collections":3546,"showCount":5,"zanCount":141,"manualWeight":11,"mainColor":44},220098,"zong-qing-qiu-he-tu-xiao-yun-cong-220098","纵情丘壑图","萧云从","洛杉矶博物馆","萧云从(1596年-1673年) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。\n云从国画，师法古人而创新，师造化而独特。山水画，融宋元诸家笔墨、丘壑于一体，“以黄公望的瘦树、山石为之纵横，润以马远泼墨之法”，而能随意成卷丈余。其间丘壑布置，千变万化，层出不穷，使人观之不厌；岩石林木的表现，深厚坚实，穿插有致；不论水墨着色，皴擦喧染，都苍劲秀润，呈现出空间深度；点景人物，自然生动，屋宇、舟车、驮马安排得体。",[23,24,25,186,53,54,30,35,36,175,1279,134,714,7,3543,135,1278,229,31],"丘壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef9382c6c6129fee9bfc87b3661bc7a8.jpg","23.81x429.9",[40],{"id":3548,"slug":3549,"title":3550,"dynasty":49,"author":2456,"museum":20,"description":3551,"tags":3552,"thumbUrl":3553,"material":190,"size":3554,"collection":40,"collections":3555,"showCount":5,"zanCount":141,"manualWeight":11,"mainColor":82},218167,"jing-xi-tu-chen-ru-yan-218167","荆溪图","《元陈汝言荆溪图》是一幅中国古画，作者是陈汝言，现为台北故宫博物院收藏。此图画是应当地望族王氏后人的请求而画。近景以平房为主体，全用直线，随意交错；远山近树及宽阔溪流的描绘，笔法工致细微。于古画中亦为奇格。",[23,24,25,30,53,54,27,132,133,162,7,32,33,161,520],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaa2acf84548c365b1717352065375a2.jpg","纵129厘米 横52.7厘米",[40],{"id":3557,"slug":3558,"title":3559,"dynasty":18,"author":88,"museum":362,"description":3560,"tags":3561,"thumbUrl":3562,"material":38,"size":120,"collection":120,"collections":3563,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":44},217952,"ming-ren-shan-shui-hua-ce-san-yi-ming-217952","明人山水画册(三)","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。",[23,24,25,215,53,27,30,161,32,57,7,288,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F239dd48d883d23420a8004f26072dd6a.jpg",[],{"id":3565,"slug":3566,"title":623,"dynasty":18,"author":88,"museum":362,"description":3567,"tags":3568,"thumbUrl":3569,"material":841,"size":3570,"collection":40,"collections":3571,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":82},214694,"shan-shui-tu-yi-ming-214694","这幅画描绘的是江村的一座古庙，深藏在一个大峡谷中，远处是风帆和山脉。这幅画没有标记，但仔细观察，其风格接近于浙江画派的蒋宋。",[23,24,53,54,30,116,7,56,485,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f5ab4f76c39dddea71108f0742f713f.jpg","161.5x100",[40],{"id":3573,"slug":3574,"title":3575,"dynasty":18,"author":481,"museum":172,"description":482,"tags":3576,"thumbUrl":3582,"material":38,"size":487,"collection":120,"collections":3583,"showCount":5,"zanCount":141,"manualWeight":11,"mainColor":44},214665,"san-jue-tu-7-yao-shou-214665","三绝图-7",[24,27,115,30,667,7,288,779,344,3577,95,74,737,3578,3579,3580,3581],"兔子","坡地","小景","设色山水","花鸟草虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa54f0685222a43fdbe009095cf200829.jpg",[],{"id":3585,"slug":3586,"title":3587,"dynasty":87,"author":88,"museum":147,"description":3588,"tags":3589,"thumbUrl":3590,"material":120,"size":120,"collection":103,"collections":3591,"showCount":3592,"zanCount":11,"manualWeight":11,"mainColor":82},239527,"qian-long-guan-kong-que-kai-ping-tie-luo-yi-ming-239527","乾隆观孔雀开屏贴落","《乾隆观孔雀开屏贴落》是清代佚名创作的绢本设色画。\n这是一幅表现乾隆皇帝宫廷生活的巨幅作品，曾张贴于圆明园某殿内。\n图中乾隆端坐在亭台之上，闲适地观赏庭院中一对美丽的孔雀。\n此画虽无作者款识，但从技法和水平分析，人物肖像、两只孔雀和建筑的主要部分应出自郎世宁之手。\n其中楼阁的描绘无论前后、远近，大小的比例关系均适当，将西洋绘画的透视原则把握得恰到好处，具有强烈的空间感和纵深层次。\n由于篇幅宏大，描绘真实，使人有身临其境之感。\n正是由于郎世宁等西洋传教士画师的到来，使中国传统的楼阁画发生了变化，最终促使清代宫廷建筑绘画“中西合璧”的画风形成。",[73,24,25,28,27,92,94,31,780,35,36,639,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14b7e348cc7f93d2fc0fa76bd64ebef5.jpg",[103],42,{"id":3594,"slug":3595,"title":3596,"dynasty":87,"author":1687,"museum":147,"description":3597,"tags":3598,"thumbUrl":3599,"material":118,"size":119,"collection":120,"collections":3600,"showCount":3592,"zanCount":11,"manualWeight":11,"mainColor":44},235229,"fang-dong-ju-song-yue-tu-zhou-wang-hui-235229","仿董巨嵩岳图轴","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。”",[24,256,26,53,54,274,132,56,7,36,55,74,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7312c6d75e4c03872d13ce1a4136a20.jpg",[],{"id":3602,"slug":3603,"title":3457,"dynasty":18,"author":298,"museum":89,"description":3458,"tags":3604,"thumbUrl":3605,"material":543,"size":3461,"collection":120,"collections":3606,"showCount":3592,"zanCount":141,"manualWeight":11,"mainColor":44},234084,"wu-zhong-shan-shui-ce-shen-zhou-234084",[24,25,215,53,54,29,34,30,94,161,7,35,36,134,985],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feca6fe60aab5ac5d2bd9165817433d9c.jpg",[],{"id":3608,"slug":3609,"title":3610,"dynasty":69,"author":3611,"museum":20,"description":3612,"tags":3613,"thumbUrl":3615,"material":3616,"size":3617,"collection":78,"collections":3618,"showCount":3592,"zanCount":11,"manualWeight":11,"mainColor":44},221259,"yan-guan-gu-si-jia-shi-gu-221259","岩关古寺","贾师古","圖中夜幕將降，夕輝猶存，上半部完全空白，構圖學馬遠“一角”的形式。山石皴法，雜用短釘頭，長括鐵、小斧劈諸皴法，由於夕照偏西，山體黝黑，石塊畫得岐蹭堅凝。山端聳有幾棵羅漢青松和一批古杉，石骨披滿勁硬的山草，通幅上色，染以汁綠，山石的中央一段用赫石水亮出，遂覺森嚴氣氛中有了點媚柔態，這是作者創作部署獨具匠心處。",[23,73,24,25,215,28,27,54,30,56,7,3614,150,134],"古寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54bd4bd45db684e8e12f58b035f0a870.jpg","絹本，設色","縱40.0×橫40.0公分",[78,40,62],{"id":3620,"slug":3621,"title":3622,"dynasty":18,"author":3623,"museum":89,"description":3624,"tags":3625,"thumbUrl":3627,"material":190,"size":3628,"collection":40,"collections":3629,"showCount":3592,"zanCount":11,"manualWeight":11,"mainColor":82},220373,"jiang-ge-yuan-tiao-tu-wang-e-220373","江阁远眺图","王谔","此图为设色人物山水，大江水云渺茫，靠岸边殿阁一座，阁上一人面向江左眺望，面前方几上设花瓶、香炉、果盘，二童子侍立，屋内一童点烛，一童托盒走来。阁前水边，大石，芦苇，小船一艇，一人伏卧船中，石上苍松古柏，石后山崖杂树，烟雾迷濛。大江对岸，山峦，屋宇，庙塔，一座城门女墙环山，绕成圆形，岸边停泊大小船二十余只，远山隐现在云海间。\n描绘楼阁吸取了南宋院体状物精微的写实风格而更加纤巧富丽，树石山崖取马远大斧劈皴法，水纹以墨线勾描，画法工细。",[23,73,24,25,256,27,54,3626,94,134,7,1279,485,35,36,161],"江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd4c9f65db6578d2b8f3b0006690a99f.jpg","纵143.2厘米，横229厘米",[40],{"id":3631,"slug":3632,"title":3633,"dynasty":69,"author":88,"museum":20,"description":3634,"tags":3635,"thumbUrl":3636,"material":190,"size":3637,"collection":40,"collections":3638,"showCount":3592,"zanCount":11,"manualWeight":11,"mainColor":82},219927,"xi-shan-rui-xue-tu-zhou-yi-ming-219927","溪山瑞雪图轴","此作用全景式构图铺陈雪后山川，远景层岩覆雪，隐在烟霭之中，如琼楼玉宇浸在寒雾里，萧寒静谧。中景平林远渚，寒水如镜，板桥孤悬，策蹇旅人踏雪独行，为清寂天地添上一缕幽渺生趣。近景苍松挺拔，枝梢凝霜，山石以留白晕染摹写积雪厚重，墨色干湿浓淡铺陈开雪后清润空蒙的空气感。\n\n全图以水墨晕染替代重彩勾勒，以淡墨烘出空濛雪意，不着艳色，仅以墨色层次区分山林丘壑，将冬日山野的荒寒幽寂尽数铺陈，把雪后山乡的静谧澹泊揉进笔墨之间，尽显含蓄悠远的山水意趣。",[23,24,25,73,26,53,54,30,368,7,32,961,35,36,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc39c4cc1ff9e95f273a558411882121.jpg","131.5x56.9",[40],{"id":3640,"slug":3641,"title":3642,"dynasty":49,"author":1820,"museum":362,"description":3643,"tags":3644,"thumbUrl":3645,"material":190,"size":3646,"collection":40,"collections":3647,"showCount":3592,"zanCount":11,"manualWeight":11,"mainColor":82},219783,"shan-zhong-guan-shu-tu-yi-sheng-mao-219783","山中观书图(一)","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。",[23,24,3520,27,28,54,30,31,7,302,778,35,33,36,3531],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bca7bc079a6d5dcc5b4be19f4c16a7a.jpg","纵97.3横29.2",[40],{"id":3649,"slug":3650,"title":3651,"dynasty":18,"author":3652,"museum":147,"description":3653,"tags":3654,"thumbUrl":3657,"material":543,"size":120,"collection":40,"collections":3658,"showCount":3659,"zanCount":11,"manualWeight":11,"mainColor":82},237431,"song-shi-lan-zhi-tu-zhou-wang-gu-xiang-237431","松石兰芝图轴","王穀祥","王谷祥（1501年－1568年），字禄之，号酉室，南直隶苏州府长洲县（今苏州）人。嘉靖八年（1529年）进士，授工部主事。历吏部员外郎，持法不阿，忤尚书汪鋐，贬真定通判。持身峻洁，不妄交一人，有清望。家世名医，性颖敏，善书画古文词。\n王谷祥于嘉靖八年（1529年）登进士第，官至吏部员外郎。善写生，渲染有法度，意致独到，即一枝一叶，亦有生色。为士林所重。中年绝不肯落笔，凡人间所传者，皆赝本也。书仿晋人，不随羲之、献之之风，篆籀八体及摹印，并臻妙品。卒年六十八（生平见《明史·文徵明传》、《吴中往哲像赞》、《姑苏名贤小纪》、《无声诗史》、《艺苑卮言》、《图绘宝鉴续纂》、《名山藏》、《司勋集》、《广印人传》等）。",[24,26,27,28,54,7,57,3655,2694,3656],"兰草","梅枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb09eb8dbe0e0bba76c76d97e88eb3b3f.jpg",[40,103,1088],41,{"id":3661,"slug":3662,"title":3663,"dynasty":87,"author":1860,"museum":147,"description":3664,"tags":3665,"thumbUrl":3666,"material":120,"size":120,"collection":40,"collections":3667,"showCount":3659,"zanCount":11,"manualWeight":11,"mainColor":44},236571,"zha-mei-he-shan-shui-shi-zhen-cha-shi-biao-236571","樝梅壑山水十帧","查士标（1615—1698），字二瞻，号梅壑、懒老，安徽休宁人。擅山水，宗法元人倪瓒、吴镇。用笔疏简超逸，意境荒寒清旷。与渐江、孙逸、汪之瑞并称“新安四大家”（又名“海阳四家”）。著有《种书堂遗稿》。\n查士标用笔以方折线条为主，笔墨疏简的风格中有吴镇的温润、苍茫，又有倪瓒的高逸、舒秀，别具自家风貌。\n这几开山水，群峰起伏，林木葱蘢，山径盘区，溪水横流；高士行吟于林壑之间，屋宇坐落于幽深之地，画面极赋诗情画意，虽 用笔不多，却风神飘散，气韵荒寒，为不可多得的佳品！",[24,25,215,53,29,34,54,30,7,31,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97aaddabf21fec2cdc2cda2b7408da7e.jpg",[40,1088],{"id":3669,"slug":3670,"title":3671,"dynasty":87,"author":1811,"museum":147,"description":3672,"tags":3673,"thumbUrl":3674,"material":120,"size":120,"collection":40,"collections":3675,"showCount":3659,"zanCount":11,"manualWeight":11,"mainColor":44},235336,"fang-gu-shu-hua-ce-wang-jian-235336","仿古书画册","此作绘冬日山居雪景，峰峦素雪覆顶，苍松虬劲错落，枝桠缀雪愈见清寒古雅。山坳村居隐于林间，溪涧凝冰，冷寂空蒙。以淡墨晕染山峦肌理，留白铺陈出漫林雪意，萧疏静谧间尽显古山水的苍浑意趣。\n\n对开行书笔意疏朗清逸，诗句呼应画中深巷积素、残晖映雪之境，书画相映，将冬日山居的幽寂淡远凝于尺幅，于简淡笔墨间尽显隽永雅致，藏着沉厚的仿古功力。",[24,25,215,53,27,30,274,29,34,132,162,32,33,175,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1df774cba5454f3e332ba7b07901837.jpg",[40,103],{"id":3677,"slug":3678,"title":3679,"dynasty":69,"author":1201,"museum":147,"description":3680,"tags":3681,"thumbUrl":3684,"material":76,"size":3685,"collection":120,"collections":3686,"showCount":3659,"zanCount":11,"manualWeight":11,"mainColor":82},232875,"guan-shan-xing-lv-tu-juan-liu-song-nian-232875","关山行旅图卷","刘松年（约1155-1218）〔南宋〕钱塘人，淳熙间画院学生，绍熙间升画院待诏。宁宗时进《耕织图》被朝廷看重，赐金带，为“南宋四大家”之一。",[23,73,24,25,186,30,54,27,150,94,36,161,690,3682,367,35,7,74,1343,3683,229],"行人","寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac782a163ae7808c98a9f752060c3b4.jpg","34.3x307厘米",[],{"id":3688,"slug":3689,"title":3690,"dynasty":18,"author":815,"museum":20,"description":3691,"tags":3692,"thumbUrl":3693,"material":76,"size":3694,"collection":40,"collections":3695,"showCount":3659,"zanCount":11,"manualWeight":11,"mainColor":82},222596,"xi-shan-xue-ji-tu-lan-ying-222596","溪山雪霁图","画面上远处层峦迭嶂，悬崖峭壁，山顶披上雪装，白雪皑皑，山顶部衰草疏落。中景为乱石连绵，山坡间杂树丛生，树木枝干挺拔，似乎在傲视寒雪，绝无凄凉之感。近景坡石堤岸下为宽阔的溪流，河中杂有碎石。近景最下部有几棵穿天的松柏，松树阑珊，枝叶茂密。树下坐有一位身穿红袍的长者，独自在观赏溪山的雪景，显得悠闲自得。",[23,24,27,54,30,365,116,2249,367,7,35,74,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cec5c7e6892c4274ddda8daa901a500.jpg","纵82.3厘米，横28.9厘米",[40,103],{"id":3697,"slug":3698,"title":3699,"dynasty":18,"author":1015,"museum":20,"description":3700,"tags":3701,"thumbUrl":3702,"material":499,"size":3703,"collection":40,"collections":3704,"showCount":3659,"zanCount":11,"manualWeight":11,"mainColor":44},221973,"qian-yan-jing-xiu-wen-zheng-ming-221973","千岩竞秀","画面底部，两位高士对坐于参天巨木之下，临飞瀑溪泉而谈。巨木引看画者的视线上升，进入由丘陵、碎石、坡壁、悬崖交织结合的复杂山体。\n繁密的山体多采用吴中文人画家较为推崇的短披麻皴表现，但又将披麻皴的柔润转变为尖锐。飞泉上部耸立突出的山崖高踞在厚重的基座之上，而基座山体又不断曲折延伸，形成了一条极为深远的脉络。这条脉络以“S”形向上延展，串联起无数细碎的山体和林木苔点，形成兼具向上生长又左冲右突、相互挤压的骚动之势。\n如此狭长的画幅，往往与其他画作构成条屏。文徵明也确实创作了与《千岩竞秀图》配成一对的《万壑争流图》。按照当时的风气，一旦作配对之画，则这种创作会立即显得专注于装饰、商业、礼仪，具有了某种功利性。然而，文徵明却在《万壑争流图》上明言“余性雅不喜作配幅，然于默川不能终却，漫尔涂抹，所谓一解不如一解也”，以此强调自己创作的非功利性。\n在经营位置方面，《千岩竞秀图》略微体现了郭熙所言的“自山下而仰山巅”的高远，更颇为夸张地突出了“自山前而窥山后”的深远，唯独忽略了“自近山而望远山”的平远。不仅如此，《千岩竞秀图》在用墨上完全没有使用近浓远淡的手法制造透视的效果，墨色笔触鲜有变化，在浅绛设色上也基本用平涂法，使得画上群山好像都生长在另一些山峰之上，而不是向远方延伸。\n此外，文徵明在画中还特别强调了山水平面的不可进入性——画中的高士走不出画纸，也并不生活在画中，而观画者更无法有“可行、可望、可游、可居”之感。画面与现实的凛然隔绝，其实也暗含着画家内心和现实之间的隔绝，并以此将精神寄寓在平淡无聊、郁郁无为的现实生活之外。",[23,24,27,54,26,30,35,36,7,33,31,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76a88c6378825cac7e0dc34f649fe26e.jpg","画长142.6厘米，宽仅34厘米",[40,103],{"id":3706,"slug":3707,"title":3708,"dynasty":87,"author":978,"museum":89,"description":3709,"tags":3710,"thumbUrl":3711,"material":59,"size":3712,"collection":40,"collections":3713,"showCount":3659,"zanCount":11,"manualWeight":11,"mainColor":44},220105,"mao-lin-shi-bi-zhou-yun-shou-ping-220105","茂林石壁轴","恽寿平（公元1633—1690年），清代书画家。初名格，字寿平，后以字行，改字正叔，号南田、白云外史等，江苏武进人。他一生坎坷，以卖画为生。其山水宗宋、元诸家，尤得益于黄公望。后改习花鸟，其没骨花卉创一代新风，为“清初六大家”之一。 亦工诗、朽，著有《瓯香馆集》、《南田诗抄》。传世作品有《落花游鱼图》轴、《锦石秋花图》轴等。",[23,24,26,53,30,54,35,2979,394,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5da1eec41de8c823ec9d4768363849cc.jpg","纵118厘米，横57厘米",[40,62],{"id":3715,"slug":3716,"title":3717,"dynasty":87,"author":3718,"museum":2859,"description":3719,"tags":3720,"thumbUrl":3722,"material":543,"size":3723,"collection":40,"collections":3724,"showCount":3659,"zanCount":11,"manualWeight":11,"mainColor":44},219991,"shan-jing-po-zhou-tu-dai-ben-xiao-219991","山径泊舟图","戴本孝","戴本孝（1621年－1691年），和州（今安徽省和县）人。字务旃，号前休子，终生不仕，以布衣隐居鹰阿山，故号鹰阿山樵，别号黄水湖渔父、太华石屋叟等，清代新安派画家之一。",[23,24,53,54,26,30,57,7,94,116,3721],"山径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04e7c0febcd0f56ffa4fd38b837a6abc.jpg","132cm×60cm",[40],{"id":3726,"slug":3727,"title":3728,"dynasty":18,"author":88,"museum":20,"description":3729,"tags":3730,"thumbUrl":3731,"material":76,"size":120,"collection":384,"collections":3732,"showCount":3659,"zanCount":11,"manualWeight":11,"mainColor":408},219978,"shuang-xi-tu-yi-ming-219978","双喜图","古松虬曲苍劲，皴笔勾勒出嶙峋肌理，两只鹊鸟栖于枝桠，一者侧目远眺，一者敛羽静立，灵动生姿暗破幽寂。坡石间野卉柔婉绽放，灵芝丛生，青绿与赭石晕染出幽润山意。工写兼施，勾勒细腻却无板滞之感，沉古设色晕染出静谧雅致的氛围，将山野一隅的清宁生机铺陈开来，藏祥瑞意趣于林泉小景，尽显雅致悠远的林下况味，把幽居山野的恬然意趣凝于笔墨方寸间。",[24,27,28,26,667,95,7,35,640,2694,36,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88f61b9d977cd1947a41502e7a1ac6a3.jpg",[384],{"id":3734,"slug":3735,"title":3736,"dynasty":87,"author":3737,"museum":20,"description":3738,"tags":3739,"thumbUrl":3740,"material":27,"size":3741,"collection":101,"collections":3742,"showCount":3659,"zanCount":11,"manualWeight":11,"mainColor":44},219894,"fang-guan-xiu-hua-luo-han-tu-xu-yang-219894","仿贯休画罗汉图","徐扬","苍松虬枝凝霜，松针攒簇自带古拙寒意。画面分两处铺陈意趣：上方罗汉展卷沉读，侍童敛神研墨，案几陈设清雅，尽显禅房读经的静谧悠然。下方罗汉斜倚松干，捻珠垂眸，似在神游禅境。\n\n衣纹勾勒劲挺流畅，浓艳衣色与枯淡山石松枝相映成趣。淡墨皴擦山石，晕染出嶙峋肌理，人物神态灵动入微，将世外清修的雅寂禅意铺展开来，笔底藏着古意传承，静穆里暗淌悠然文心。",[24,25,73,26,27,274,2177,31,7,344,887],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20de6f165137428706a16cb3088a0ff5.jpg","128.5x54.3",[101],{"id":3744,"slug":3745,"title":3746,"dynasty":18,"author":459,"museum":147,"description":3747,"tags":3748,"thumbUrl":3749,"material":190,"size":120,"collection":120,"collections":3750,"showCount":3659,"zanCount":11,"manualWeight":11,"mainColor":82},216286,"er-shi-si-xiao-tu-6-chou-ying-216286","二十四孝图-6","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。",[73,24,25,28,27,31,7,1376,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9c672e15bc395ed9888e1075631c823.jpg",[],{"id":3752,"slug":3753,"title":3754,"dynasty":18,"author":481,"museum":172,"description":482,"tags":3755,"thumbUrl":3756,"material":38,"size":487,"collection":120,"collections":3757,"showCount":3659,"zanCount":141,"manualWeight":11,"mainColor":44},214672,"san-jue-tu-3-yao-shou-214672","三绝图-3",[24,25,27,53,54,30,116,31,288,7,983,134,95,317],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67ad5f71e8a0537085abdb8c153b4b0f.jpg",[],{"id":3759,"slug":3760,"title":3761,"dynasty":87,"author":3762,"museum":89,"description":3763,"tags":3764,"thumbUrl":3765,"material":231,"size":3766,"collection":101,"collections":3767,"showCount":3768,"zanCount":11,"manualWeight":11,"mainColor":44},238295,"shi-liu-luo-han-ce-jia-quan-238295","十六罗汉册","贾全","贾全，生卒年不详，乾隆时供奉内廷。工画人物及马。此册画不同形象的罗汉十六尊。佛像采用中国传统人物画技法，勾线填色。人物神态平和，面部晕染有致，衣纹流畅，背景简率。",[24,25,215,27,28,53,2177,31,961,30,33,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9d73bf3f1eb13ad969126a5b8ecc69d.jpg","纵31.5厘米横25厘米",[101,103],40,{"id":3770,"slug":3771,"title":3772,"dynasty":18,"author":2197,"museum":147,"description":3773,"tags":3774,"thumbUrl":3776,"material":118,"size":119,"collection":120,"collections":3777,"showCount":3768,"zanCount":11,"manualWeight":11,"mainColor":44},237927,"qiu-chuang-du-shu-tu-zhou-song-xu-237927","秋窗读书图轴","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。",[24,26,53,27,30,7,187,31,35,3775,36,54],"塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaebd32b4026d7b73f0eaa9c2c5d7b62.jpg",[],{"id":3779,"slug":3780,"title":3781,"dynasty":49,"author":624,"museum":89,"description":3782,"tags":3783,"thumbUrl":3784,"material":246,"size":3785,"collection":40,"collections":3786,"showCount":3768,"zanCount":11,"manualWeight":11,"mainColor":82},233170,"shan-shui-ce-cao-zhi-bai-233170","山水册","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。",[24,25,215,53,54,30,132,133,162,161,32,7,35,188,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5ceab44884d9db9693abf1ae763ef66.jpg","纵33.1cm，横27.4cm",[40,1088],{"id":3788,"slug":3789,"title":1497,"dynasty":87,"author":3790,"museum":147,"description":3791,"tags":3792,"thumbUrl":3793,"material":120,"size":120,"collection":120,"collections":3794,"showCount":3768,"zanCount":141,"manualWeight":11,"mainColor":44},224218,"shan-shui-zhou-wu-chang-shuo-224218","吴昌硕","此作以高远章法铺陈，主峰雄踞上部，以篆隶笔法入皴，枯涩苍劲的线条勾勒山石肌理，朴拙雄浑间尽显厚重金石气。下半幅山林幽居藏于层林之中，屋舍错落临溪而建，溪桥横陈，枯木与青柯相映。\n\n水墨间晕染淡赭、花青，为清秋山林添上柔和暖意。题诗与画境呼应，将隐逸山居的静穆雅逸，融于雄朴的笔墨之中，把林泉高致的清隽滋味藏于苍辣笔意内，尽显冲淡高古的文人意趣，是典型的文人山水风貌。",[23,24,26,53,27,54,25,30,32,33,175,367,7,35,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eab5e3cd8b5a1741b2652c294477895.jpg",[],{"id":3796,"slug":3797,"title":3798,"dynasty":18,"author":3539,"museum":172,"description":3799,"tags":3800,"thumbUrl":3801,"material":246,"size":3802,"collection":40,"collections":3803,"showCount":3768,"zanCount":11,"manualWeight":11,"mainColor":82},222838,"qiu-ling-shan-quan-tu-xiao-yun-cong-222838","秋岭山泉图","萧云从在作品中所表现的超脱世俗的人生态度，实际上包含了他对历史、人生的深切感悟，是通过笔墨画境而表现显露其审美意象的深刻意蕴。这种淡远无尘、清墨涩笔创作出来的超然冷寂澹泊的境界，是逸的真实表述。萧云从的山水画在历史上之所以为众人推崇，即在于其反映生活的“真”和“美”。",[23,24,25,26,27,53,30,35,33,55,36,7,261,175,31,54,3197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F777621cf6ec8952e48ae2dbb0be5b7fc.jpg","165cmx45.6cm",[40,103],{"id":3805,"slug":3806,"title":2196,"dynasty":87,"author":88,"museum":147,"description":3807,"tags":3808,"thumbUrl":3809,"material":190,"size":3810,"collection":101,"collections":3811,"showCount":3768,"zanCount":141,"manualWeight":11,"mainColor":82},217061,"luo-han-tu-yi-ming-217061","罗汉图是清朝时期的一张著名图画。这张图画描绘了一个罗汉，也就是佛教中的一种超凡脱俗的人物。罗汉图通常都会描绘罗汉坐在一个莲花座上，并且脸部表情非常平静。罗汉图被认为是一张具有深刻哲学意义的图画，它可以帮助人们思考人生、审视自己内心世界的问题。",[23,24,27,28,2177,31,7,35,640,777,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f0f92db8d3a95be73cc37fc1f75a538.jpg","63x39",[101],{"id":3813,"slug":3814,"title":3815,"dynasty":87,"author":3816,"museum":20,"description":3817,"tags":3818,"thumbUrl":3820,"material":190,"size":3821,"collection":384,"collections":3822,"showCount":3768,"zanCount":11,"manualWeight":11,"mainColor":82},216212,"suan-ni-zhou-liu-jiu-de-216212","狻猊轴","刘九德","刘九德（Liu Jiude）是一位清朝的画家，他的狻猊图是他最著名的作品之一。狻猊图是一幅大型油画，描绘了一只狮子在草原上的场景。这幅画以其精细的细节、生动的色彩和传神的描绘而闻名。刘九德在创作狻猊图时，深受中国传统山水画的启发，并结合自己的独特艺术风格。狻猊图被认为是中国清朝时期最优秀的艺术作品之一，并被广泛收藏。",[24,25,26,27,28,961,3819,7,35,302],"狮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce7c5161fa971df7d7b5ae04c0307600.jpg","176.8x238.5cm",[384],{"id":3824,"slug":3825,"title":3826,"dynasty":18,"author":3827,"museum":20,"description":3828,"tags":3829,"thumbUrl":3830,"material":499,"size":3831,"collection":101,"collections":3832,"showCount":3833,"zanCount":11,"manualWeight":11,"mainColor":82},222550,"xuan-yuan-wen-dao-tu-juan-shi-rui-222550","轩辕问道图卷","石芮","这张画是石锐（石芮）替一位「延右观」的杨姓道长所绘的画作。描述上古时代有位仙人「广成子」隐居在崆峒山，轩辕氏（黄帝）听说他的道行高深，前往拜访的故事。因为这个事件带有许多神仙的色彩，所以在道教界十分盛行。",[23,24,186,28,27,31,30,94,7,35,135,134,92,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90506c85bbeab4041895ff4e32c7a3b0.jpg","32cmx152cm",[101,103],39,{"id":3835,"slug":3836,"title":3837,"dynasty":18,"author":3838,"museum":20,"description":3839,"tags":3840,"thumbUrl":3841,"material":120,"size":3842,"collection":40,"collections":3843,"showCount":3833,"zanCount":11,"manualWeight":11,"mainColor":44},222329,"hua-jiao-yuan-shi-er-jing-ce-liang-xin-tang-shen-shi-chong-222329","画郊园十二景册－凉心堂","沈士充","沈士充，明代画家，生卒年不详。字子居，华亭（今松江属上海市）人。出宋懋晋之门，兼师赵左。郡人能画者多师之\n他擅长画山水画，笔法松秀，墨色华淳，皴染淹润，画山很少有突兀之势，清蔚苍古.所作山水，丘壑蓓葱，皴染淹润，为云间正传。松江画派的正宗人。他常为董其昌代笔.陈继儒（一五五八-一六三九）札云：“子居老兄：送去白纸一幅，润笔三星，烦画山水大堂。明日即要，不必落款，要董思老出名也。”今赝董画充塞天下，若沈士充、赵文度（左）作，已为上驷矣。万历四十六年（一六一八）作山水扇，见风雨楼扇粹，崇祯六年（一六三三）作寒林浮霭图、四时山水卷。《明画录、无声诗史、图绘宝鉴续纂、桐阴论画、松江志》\n沈士充是明末“松江派”的画家，陈继儒写给他求为董其昌代笔作画的一封信，已成了后世美术史家研究董其昌与松江绘画的重要史料。其实他的画笔，与董其昌判然有别。沈氏长于构图，皴染周至，是技巧纯熟的作家画；董氏用笔生秀，不拘形模，是但称己意的士夫画。有：《仿古山水图》卷及《天香书屋图》轴，现藏故宫博物院；《山楼观稼图》 轴、《寒塘渔艇图》轴 、《寒林浮霭图》轴 [3] 现藏故宫博物院；《秋林水阁图》轴，藏南京博物院；《仿黄公望天池石壁图》卷，辑入《沈子居陈眉公书画合壁》单印本。",[23,24,25,215,27,53,30,54,32,33,367,7,3368,35,229,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdffa2c0791df43a9dd53e4e0c8c7774a.jpg","69.4x52.5厘米",[40,103],{"id":3845,"slug":3846,"title":3847,"dynasty":87,"author":3848,"museum":172,"description":3849,"tags":3850,"thumbUrl":3851,"material":190,"size":3852,"collection":101,"collections":3853,"showCount":3833,"zanCount":141,"manualWeight":11,"mainColor":44},219428,"gu-kou-you-ju-tu-gao-cen-219428","谷口幽居图","高岑","高岑，字蔚生，号榕园。浙江钱塘（今杭州）人。明崇祯至清康熙间画家。居金陵（今南京），高阜弟，为“金陵八家”之一。初师同里朱睿营，晚乃以己意行之。擅山水及水墨花卉，写意入神。",[24,256,26,53,27,54,35,55,33,116,175,7,367,74,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fee21b39327abc0b64688cf74652603.jpg","纵332厘米，横80 厘米",[101,40],{"id":3855,"slug":3856,"title":3857,"dynasty":18,"author":2742,"museum":147,"description":3858,"tags":3859,"thumbUrl":3860,"material":38,"size":3861,"collection":103,"collections":3862,"showCount":3833,"zanCount":11,"manualWeight":11,"mainColor":82},219152,"gao-shi-tu-zhu-zhan-ji-219152","高士图","扇面铺展如弯月，松荫匝地，虬枝盘曲间漏下细碎天光。高士凭石闲坐，衣袂轻扬似携林风，眉宇间漫溢着散淡悠然；红衣童子侍立身侧，青苍草木衬得那抹艳色愈发清寂。山石以淡墨皴染，纹理宛然；流泉隐于岩隙，潺潺声似可穿透纸面。笔墨细腻处见真章：松针如毫，线条挺劲如铁；设色淡雅却饶韵致，青褐与米白交织，像浸在晨雾里的旧卷。构图随扇弧铺陈，景物错落有致——静思的高士、潺潺的流泉、摇曳的松影，将文人林下的悠然意趣凝于方寸。读来心魂俱静，仿佛踏入那片清幽之境，与松风流水共赴一场无声的对谈。",[23,24,25,678,27,28,54,31,7,35,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F744352c238455c8d77b8d278bbb3f379.jpg","59.5x152",[103],{"id":3864,"slug":3865,"title":3866,"dynasty":87,"author":3867,"museum":362,"description":3868,"tags":3869,"thumbUrl":3873,"material":59,"size":3874,"collection":101,"collections":3875,"showCount":3833,"zanCount":11,"manualWeight":11,"mainColor":44},218384,"wang-shi-zhen-yu-zhu-yi-zun-he-xiang-luo-pin-218384","王士禛与朱彝尊合像","罗聘","苍松虬劲，藤蔓垂丝，幽涧边两位长衫文人对坐清谈——或拄杖凝思，或持卷浅笑，眉宇间尽是林下风致。画面以淡墨皴染山水，线条简练却神形兼备，松针的挺劲、衣袂的飘举皆见笔力。四周密布的题跋，墨色浓淡相间，与山水人物相映成趣，既是对画中人物的追慕，也为画面增添了厚重的文化底蕴。整幅作品融山水、人物、书法于一体，既展现了文人雅集的闲适氛围，也传递出对先辈的敬仰之情，笔意间流淌着传统文人画的气韵与风骨，仿佛能听见松风里的清谈声，望见涧水边的诗思流转。",[23,53,940,28,54,3870,7,31,35,74,1519,2735,303,30,3871,3872,36,3578],"书画结合","题跋","文人形象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F389765da7665ff9ada03940d3872f88d.jpg","167.5x56.6",[101],{"id":3877,"slug":3878,"title":3879,"dynasty":3880,"author":3881,"museum":172,"description":3882,"tags":3883,"thumbUrl":3884,"material":120,"size":120,"collection":40,"collections":3885,"showCount":3833,"zanCount":11,"manualWeight":11,"mainColor":3886},202796,"shan-shui-tu-zhou-huang-bin-hong-202796","山水图轴","近代","黄宾虹","此作笔墨苍劲浑厚，山石以浓淡干湿的墨色层层积染，皴擦交错间尽显山峦嶙峋质感。山间云雾以留白与淡墨晕染相济，虚实相生，营造出深远空间层次。近景松枝挺劲，枯荣树木旁小桥横跨溪涧，几间屋舍隐于林麓，添生活意趣。整体构图疏密有致，墨色浓淡相宜，既见传统山水笔墨功底，又透自然野逸生机，尽显对山水意境的深刻体悟。",[24,25,26,53,54,30,7,32,35,135,440,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25aacda9025fc8a3234c1b0924a10e3a.jpg",[40],"e1d9cb",{"id":3888,"slug":3889,"title":3890,"dynasty":18,"author":459,"museum":147,"description":3891,"tags":3892,"thumbUrl":3895,"material":118,"size":119,"collection":120,"collections":3896,"showCount":3897,"zanCount":11,"manualWeight":11,"mainColor":82},290950,"yu-dong-shao-dan-juan-chou-ying-290950","玉洞烧丹卷","乍辞紫府出仙都。来问丹成事有无。云雾衣裳芝作馔。桃花颜色雪为肤。壶中满贮长生药。卷内同看太极图。寄语群仙机尽息。何须更问玉蟾蜍。仇英实甫画玉洞烧丹图。精细工雅。深得松年千里二公神髓。诚当代绝技也。雨窓无聊。据案展阅。不觉情思飞扬。漫赋短句。嘉靖壬子（1552）征明识。",[24,186,28,27,115,31,30,7,135,3893,3894],"炼丹","道教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feea85c55f212fc077fd9230bbed9a7f2.jpg",[],38,{"id":3899,"slug":3900,"title":3901,"dynasty":87,"author":3718,"museum":147,"description":3902,"tags":3903,"thumbUrl":3905,"material":118,"size":119,"collection":120,"collections":3906,"showCount":3897,"zanCount":11,"manualWeight":11,"mainColor":82},287746,"lin-quan-gao-yin-tu-dai-ben-xiao-287746","林泉高隐图","戴本孝（1621－1691），和州（今安徽省和县）人。字务旃，号前休子，终生不仕，以布衣隐居鹰阿山，故号鹰阿山樵，别号黄水湖渔父、太华石屋叟等，清代画家。",[24,73,53,26,30,31,7,367,33,35,188,34,54,3904],"隐逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F936e6c157d246e78b89fdcc3c590faef.jpg",[],{"id":3908,"slug":3909,"title":3910,"dynasty":87,"author":88,"museum":147,"description":3911,"tags":3912,"thumbUrl":3916,"material":118,"size":119,"collection":120,"collections":3917,"showCount":3897,"zanCount":141,"manualWeight":11,"mainColor":44},267673,"ci-xiu-mu-dan-shou-dai-tu-zhou-yi-ming-267673","刺绣牡丹绶带图轴","此作针丝如笔，织就清逸佳景。上端苍松虬枝蟠绕，松针苍劲、松果累累，自带古拙清隽之意。两只绶带鸟羽色鲜亮柔润，蓝尾曳垂如丝，正栖于枝头顾盼相依，灵动生趣扑面而来。\n\n下端湖石以蓝调施绣，纹理宛然似水墨写意，旁侧牡丹雍容绽蕊，瓣色由淡转浓，与幽淡兰草、细柔秀竹相映，柔媚雅致。左题“延年益寿”，针脚匀整朴拙，点出吉庆题旨。\n\n整幅配色柔雅相宜，绣工灵动细腻，将苍松之劲、花鸟之柔、奇石之秀相融，暗藏福寿吉意，把刺绣匠心与中式雅趣揉合为一，尽显温婉隽永的东方意韵。",[2129,26,667,1481,3913,7,3914,27,3915],"绶带鸟","湖石","延年益寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04c4866c7ad44ad2ed56d39a176da0a5.jpg",[],{"id":3919,"slug":3920,"title":3921,"dynasty":87,"author":1687,"museum":89,"description":3425,"tags":3922,"thumbUrl":3923,"material":120,"size":120,"collection":40,"collections":3924,"showCount":3897,"zanCount":11,"manualWeight":11,"mainColor":44},236459,"fang-ke-jiu-si-xiao-jing-zhou-wang-hui-236459","仿柯九思小景轴",[24,26,53,54,274,30,7,302,35,33,95,32,57,288],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91841eaba7f22bffc8d14d98e83c8bd9.jpg",[40,62,1088],{"id":3926,"slug":3927,"title":3781,"dynasty":18,"author":2361,"museum":147,"description":3928,"tags":3929,"thumbUrl":3931,"material":120,"size":120,"collection":40,"collections":3932,"showCount":3897,"zanCount":11,"manualWeight":11,"mainColor":44},235969,"shan-shui-ce-cheng-jia-sui-235969","此作用极简白描写就，古松枝干盘曲苍劲，松针攒簇尽显虬结风神，松下三人意态萧散，衣纹清瘦简括，将山林晤谈的幽雅氛围勾勒尽致。\n左侧题诗行书清隽疏朗，书画合璧浑融无间。整幅以少胜多，淡墨浅笔间，寄寓幽栖丘壑的林下襟怀，尽得简淡空灵之致，把林泉雅集的澹远意趣浓缩在尺素之上，尽显文人画以意驭笔、以韵胜形的审美意趣，藏雅逸之思于笔墨边角。",[24,25,215,940,53,29,7,31,418,3930],"童仆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d4b1c51b4c7439aeed9b8e939710c82.jpg",[40],{"id":3934,"slug":3935,"title":3936,"dynasty":87,"author":1191,"museum":89,"description":3937,"tags":3938,"thumbUrl":3942,"material":246,"size":3943,"collection":120,"collections":3944,"showCount":3897,"zanCount":141,"manualWeight":11,"mainColor":44},233917,"yun-dong-liu-quan-tu-zhou-kun-can-233917","云洞流泉图轴","此图作于髡残53岁时。表现的是他晚年居地南京城郊牛首祖堂山幽栖寺一带的景致。本幅自题诗：“端居兴未索，觅径恣幽讨。沿流戛琴瑟，穿云进窈窕。源深即平旷，巘杂入霞表。泉响弥清乱，白石净如扫。兴到足忘疲，岭高溪更绕。前瞻峰如削，参差岩岫巧。吾虽忽凌虚，玩松步缥缈。憩危物如遗，宅幽僧占少。吾欲饵灵砂，巢居此中老。”此图尺幅不大，但具有宏伟壮阔的气势，构图严谨，虚实互衬，繁密的山石、林木与空疏的云、水、天构成疏密明暗的变化。运笔施墨张驰有度，粗犷娴熟，浓淡墨相宜，干湿笔相生，全图一气呵成，意境幽邃高远。此幅堪称髡残的精品佳作。",[24,25,26,30,54,53,27,1376,3939,3940,7,94,35,36,3941,55,2966,229,277],"洞","流泉","雾气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62778fcf1da11e7c4313da023f47a86a.jpg","纵110.3厘米，横30.8厘米",[],{"id":3946,"slug":3947,"title":3948,"dynasty":18,"author":1015,"museum":89,"description":3949,"tags":3950,"thumbUrl":3951,"material":522,"size":3952,"collection":120,"collections":3953,"showCount":3897,"zanCount":11,"manualWeight":11,"mainColor":44},233169,"wen-zheng-ming-yi-lan-shi-tu-juan-wen-zheng-ming-233169","文徵明猗兰室图卷","文徵明花鸟、人物、山水皆擅，尤其以山水画成就最高，虽然他到过北京，但毕竟居苏州为多，画园林小景尤真。绘画分为“粗”、“细”两种突出的风格。其中“细”画最具特色，成就也最高。\n此图构图严谨缜密，境界幽雅清旷，用笔精细而苍秀，无一笔随意，沉稳而文静，自成一种工秀清苍的风格。这正是文徵明细笔画的突出特征，也是明画不同于元画，更不同于宋画的突出特征。\n虽然文徵明细笔画精工细谨，为宋、元画所不及，但其笔墨的生动性却较宋、元画为逊色。虽有大幅、小幅、设色和水墨之别，大抵皆如此。",[24,25,186,53,28,188,29,34,7,175,31,639,35,439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c87cd8f162906ee461fcf682ad41ec4.jpg","纵26.3CM 横67CM",[],{"id":3955,"slug":3956,"title":3957,"dynasty":3958,"author":3959,"museum":147,"description":3960,"tags":3961,"thumbUrl":3962,"material":118,"size":119,"collection":40,"collections":3963,"showCount":3897,"zanCount":11,"manualWeight":11,"mainColor":82},230500,"shi-ting-shi-dai-si-ji-shan-shui-tu-dong-xue-zhou-230500","室町时代 四季山水图（冬）","不详","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。",[23,24,256,26,54,27,30,35,7,367,175,1387,36,258],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365df2d00150d1369082f0a9ceeb720c.jpg",[40],{"id":3965,"slug":3966,"title":3967,"dynasty":87,"author":171,"museum":147,"description":3968,"tags":3969,"thumbUrl":3970,"material":120,"size":120,"collection":120,"collections":3971,"showCount":3897,"zanCount":11,"manualWeight":11,"mainColor":44},224519,"shan-shui-tu-ce-8-kai-6-shi-tao-224519","山水图册8开-6","此作以极简笔墨铺陈林泉幽境，虬松苍劲盘曲，焦墨攒写松针，古拙老辣尽现岁寒风骨。茅舍板桥轻勾淡染，野朴天真。浅赭花青晕染远山，留白代水，虚实相生间漾开空濛淡远的烟岚之气。\n\n桥头渔翁寥寥数笔，便勾画出垂纶忘机的闲淡模样，暗合寄情丘壑、与世无争的林下襟怀。全幅笔致纵逸灵秀，以水墨浅绛写就幽居逸趣，淡而愈远，简中见雅，将文人幽栖林泉的意趣藏入每寸笔墨，悠悠然漾出静穆清和的林下之风。",[23,73,24,25,215,53,54,30,32,187,7,2249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47caab48b06d630ce9946e368b7e7336.jpg",[],{"id":3973,"slug":3974,"title":3975,"dynasty":87,"author":1972,"museum":20,"description":3976,"tags":3977,"thumbUrl":3978,"material":543,"size":3979,"collection":40,"collections":3980,"showCount":3897,"zanCount":141,"manualWeight":11,"mainColor":44},219441,"xue-pu-gui-fan-tu-zhou-qian-wei-cheng-219441","雪浦归帆图轴","积雪覆岩如素缣裹玉，远峰巍峨耸峙，寒气沁入笔墨肌理。中浦波静似镜，一叶轻舟破寒烟而来，帆影斜掠水面，漾开细碎的清寂。近岸石皴木瘦，寒林疏枝以焦墨勾勒，松针如簇仍带苍劲，间杂几间茅舍隐于崖侧，柴门半掩似待归人。山石用干笔皴擦显其骨，积雪以留白衬其洁，墨色层次淡远如雾笼寒川。天地间尽是清旷气，归帆的暖意却悄悄融于冷寂——笔墨间藏着冬日山水的幽寂与生机，将文人对自然的体察、对烟火的温柔打量，都凝在这素净疏旷的帧幅里。",[24,25,73,26,53,28,54,30,368,116,36,32,33,35,161,367,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaf3f03012d111bbabd7ea73ecb7622c.jpg","114.9x64.4",[40],{"id":3982,"slug":3983,"title":3984,"dynasty":18,"author":2197,"museum":20,"description":3985,"tags":3986,"thumbUrl":3987,"material":27,"size":3988,"collection":101,"collections":3989,"showCount":3897,"zanCount":11,"manualWeight":11,"mainColor":44},219336,"jie-da-huan-xi-tu-zhou-song-xu-219336","皆大欢喜图轴","宋旭（1525－1605之后），浙江嘉兴人。自号石门，出家为僧后，法名祖玄。又号天池发僧、景西居士，善画山水与人物。本幅苍松与云岫隔岸相对，松下三位罗汉，临滨或行或止；其一敞胸露肚，捧钵引鹊，眉目含笑，状甚欢愉。造形自在无碍，与工笔重彩、正襟危坐的「说法图」，意匠明显有别。画幅右上方宋旭自题「皆大欢喜」，即指此而言。",[24,25,26,53,27,2177,31,7,95,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64bff71ae0fb7c4ca151db366883cb86.jpg","114.3x56.1",[101],{"id":3991,"slug":3992,"title":3993,"dynasty":18,"author":88,"museum":699,"description":3994,"tags":3995,"thumbUrl":3997,"material":190,"size":3998,"collection":384,"collections":3999,"showCount":3897,"zanCount":11,"manualWeight":11,"mainColor":408},219270,"ying-xiong-tu-yi-ming-219270","鹰熊图","苍鹰踞石而立，羽翼丰劲，墨色浓淡间晕染出猛禽的威仪；下方熊罴隐于岩隙，憨态中藏沉雄之气。飞瀑垂涧，古松虬枝盘错，山石皴染朴拙，草木点缀出野趣盎然的自然之境。鹰熊谐音“英雄”，寄寓着对刚毅品格的颂赞。笔墨兼具工细与写意，线条劲健而气韵生动，既捕捉了鸟兽的形神特质，又以山水为衬，营造出雄浑苍劲的氛围，尽显明代花鸟走兽画中自然意趣与人文寄托的交融之妙。",[23,24,25,27,28,343,3996,7,35,55,33,961,95],"熊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a0c2d82ce05428ae5bc504a7efbc7e1.jpg","254 × 107.4cm",[384],{"id":4001,"slug":4002,"title":4003,"dynasty":18,"author":88,"museum":89,"description":4004,"tags":4005,"thumbUrl":4008,"material":190,"size":4009,"collection":101,"collections":4010,"showCount":3897,"zanCount":11,"manualWeight":11,"mainColor":82},219204,"zhu-zhan-ji-dou-an-chun-tu-yi-ming-219204","朱瞻基斗鹌鹑图","图中所绘为明宣宗朱瞻基在御园观看斗鹌鹑的情景。画面上朱瞻基居中端坐，周围有宦官、侍从和童仆服侍。方桌上置一方形围墙，两名宦官正在斗弄圈中的鹌鹑，旁边的侍从捧着笼子，其中是备用的鹌鹑。民间游戏以“斗蟋蟀”、“斗鸡”比较常用，此图别开生面地让后人见识了明代“斗鹌鹑”的场景。实际上朱瞻基最喜好的只是斗蟋蟀，其偏爱的程度或者让他得了个“促织（蟋蟀的俗称）天子”的称号。\n此图是对明代帝王宫廷生活的具象描绘。明代宫廷的记实题材绘画留存并不很多，主角为宣宗朱瞻基的也有体现其出行游猎的《行乐图》和体现宫廷文体活动的《宫中行乐图》。",[23,24,25,27,28,31,7,4006,229,4007,2577],"芭蕉","斗鹌鹑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4991c6089f0912291e903a8de50ea8e2.jpg","纵67厘米，横71 厘米",[101],{"id":4012,"slug":4013,"title":4014,"dynasty":18,"author":413,"museum":212,"description":4015,"tags":4016,"thumbUrl":4019,"material":59,"size":4020,"collection":40,"collections":4021,"showCount":3897,"zanCount":11,"manualWeight":11,"mainColor":44},217037,"song-xi-cao-tang-tu-tang-yin-217037","松溪草堂图","画面上，远处是连绵起伏的山丘，山丘与右侧的开阔水域之间隐约可见亭台楼阁，左侧的山脚下松树成荫，竹林环绕，泥滩上有几间小屋，中间的房子里坐着一个书生，似乎在欣赏远处的风景。",[23,73,24,186,53,30,29,7,3368,1962,4017,4018,1169,2652,3367],"书生","山丘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07684cc52a756294820958df277e4be3.jpg","26x102cm",[40],{"id":4023,"slug":4024,"title":4025,"dynasty":87,"author":171,"museum":89,"description":4026,"tags":4027,"thumbUrl":4028,"material":543,"size":120,"collection":40,"collections":4029,"showCount":4030,"zanCount":141,"manualWeight":11,"mainColor":82},237409,"yuan-ji-tai-bai-shi-yi-shan-shui-tu-zhou-shi-tao-237409","原济太白诗意山水图轴","清初的画坛上，和尚画家之多，在中国绘画史上是极其罕见的。更为人所熟知的，便是弘仁、髡残、八大山人、石涛这四位活跃于明末清初的僧人画家，他们与清初“四王”分庭抗礼，在画史上合称“四僧”。为了让读者更加了解他们的生平及书画创作风格，文藏特将此作为系列文章形式展现给大家。\n石涛是中国艺术史上一位颇具研究话题的人物，他的身世经历、佛老信仰，交游关系，书画理论、诗文解读、作品辨伪，无不令后世的书画爱好者、鉴藏者和研究者们着迷。然而他的这些话题之所以会引起后世如此巨大的关注度，正是源自他的书画艺术，在历经三百多年的沉淀之后，依旧散发着无穷的魅力，给人以新鲜之感。这种魅力便是其每幅作品中无不体现着的诗境、书境和画境的完美结合。\n石涛原名朱若极，广西桂林人，是明宗室后裔，明靖江王朱亨嘉的长子，他晚年常自署款「阿长」、「极」，并有「赞之十世孙阿长」等印，以表明自己的身世。石涛出生仅两年明王朝就灭亡了，随后，他的父亲朱亨嘉又在南明朝廷内部的权力斗争中失败被杀。此时，年仅四岁的石涛，不得不由家中仆臣护送逃至全州躲藏，后在当地湘山寺出家为僧，法名原济，字石涛；他的仆臣也一同在此出家，法名原亮，字喝涛。从此二人以佛门师兄弟相称。在明末清初政权更迭的时候，很多不愿降清的明室宗亲和文人旧臣除了以死殉国，就只能选择隐藏身份出家为僧这一条路了，而石涛更要躲避来自清王朝和南明政权的双重追杀。\n隐居期间，石涛读书临帖，研习书画，同时跟随师兄喝涛旅居武昌，游历两湖地区，后又从武昌顺江而下，经庐山、南京、松江至杭州，再由越中到宣城。石涛居宣城十四年，在此结识了施闰章、吴肃公、梅清、梅庚等当地遗民诗人画家，经常与他们结伴游览黄山、敬亭山。他们一起不仅以诗文相唱和，绘画创作亦相互影响，于笔墨和构图上探索求新。这期间，石涛与喝涛还曾同拜旅庵本月为师，正式确立了在禅林中的地位。然而，佛门身份和朋友交游，并没有抹去石涛在自己身份上的孤寂感与逃避感，他在作品中，常借山水、人物等题材来表达其孤、隐之意。他这一时期所创作的《山水人物图》卷、《山水图》册、《陶诗采菊图》轴等书画，都有这种心境的流露。\n石涛在第二次接驾康熙时得识博尔都，则让他看到希望。作为清室皇族，博尔都是一位颇具慧眼的书画鉴赏家，石涛从他的赏识中找到了艺术认同感，故接受了博尔都北游的邀请。在北京期间，石涛为博尔都创作了大量书画，博尔都也利用各种机会向京城名流推介石涛的作品。但这些努力并没有让石涛被主流画坛所接受，遂于一六九二年秋离京南返，再次回归他徜徉于江南山水间的闲逸生活。然而内心的孤独与苦闷依旧。石涛在五十八岁时画《太白诗意山水图》轴自题云：「李白将进酒。此诗何可画？虽似任达放浪，然太白素抱用世之才而不遇合，亦自慰解之词耳。吾亦借此诗，写此画，消吾之岁月云。」这些都是石涛晚年回到扬州后，孤独失落心境的真实写照。",[24,25,26,342,53,54,30,175,36,7,35,33,31,188,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0671f77e48690f57096fdd8ba83ed84c.jpg",[40,1088],37,{"id":4032,"slug":4033,"title":4034,"dynasty":18,"author":2066,"museum":147,"description":4035,"tags":4036,"thumbUrl":4038,"material":120,"size":120,"collection":120,"collections":4039,"showCount":4030,"zanCount":11,"manualWeight":11,"mainColor":82},235238,"xue-jing-shan-shui-zhou-xie-shi-chen-235238","雪景山水轴","整幅画作晕染出萧寒静谧的冬日元气。危崖覆雪，古松虬曲苍劲，松针凝着残雪，愈显老干挺秀。山居茅屋藏于寒林之中，屋中人围炉闲坐，暗生融融暖意，山道上仆童瑟缩徐行，一动一静、一暖一寒，反差鲜活。右侧寒木疏朗，烟霭漫过江渚，远景虚茫朦胧，将冬日荒寒漫漶开来。以浓墨衬积雪，虚实相生，把山野间清寂萧索的冬意铺陈尽致，又暗藏幽居避世的温情意趣，题诗衬景，诗画相融，尽显冬日山居的澹远意境。",[24,25,26,53,54,30,365,7,175,31,367,35,303,4037,1387],"寒枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ec8ecd49d56bdd396f437f4e4ea846e.jpg",[],{"id":4041,"slug":4042,"title":4043,"dynasty":18,"author":298,"museum":89,"description":4044,"tags":4045,"thumbUrl":4046,"material":4047,"size":4048,"collection":120,"collections":4049,"showCount":4030,"zanCount":11,"manualWeight":11,"mainColor":44},233413,"jiang-ting-bi-shu-tu-shan-ye-shen-zhou-233413","江亭避暑图扇页","此图是幅笔笔紧贴诗意的画作。图绘夕阳下，高士策杖至江亭避暑的小景。扇面构图为左右开合式，设色以绿色为主，其青翠明洁的色调与简约的景致相呼应。清爽、平淡的审美意趣与消除烦燥求得清凉的避暑主题相契合，烘托出远离市俗寻幽独行高士其清逸雅淡的心境。",[24,25,678,53,27,54,30,161,7,35,31,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8f7c91afe93a2c98ff6b01f36ce6f9d.jpg","金笺，设色","纵18厘米，横46厘米",[],{"id":4051,"slug":4052,"title":4053,"dynasty":18,"author":1909,"museum":89,"description":4054,"tags":4055,"thumbUrl":4056,"material":99,"size":4057,"collection":120,"collections":4058,"showCount":4030,"zanCount":11,"manualWeight":11,"mainColor":44},233406,"chun-shan-you-qi-tu-zhou-zhou-chen-233406","春山游骑图轴","此图以传统的春山行旅为题材，描绘高山石崖险峻陡峭，楼阁房舍掩映其间，错落有致。近景山溪岸边春花几树，山溪湍流，小桥流水，主仆一行三人正在过桥。山上苍松浓郁，遒劲多姿。舍后绿树成荫，一派春机昂然的景象。画家在全景式的构图中突出前景，着意表现春山、游骑、桃花、虬松，以此点明题意。\n作品构图繁复而不失明旷，稳健周密，雄中寓秀，密中呈疏；设色清妍秀丽，笔法劲健明秀；人物用细线淡色，笔意流畅，是周臣代表作品之一。本幅山石方折峻嶒，勾皴细密硬朗，松树略为倒挂多杈，斧劈皴挺括，造景雄奇，其艺术风格主要继承了南宋的“院体”画传统，也融合了北宋李成、郭熙的画法。",[24,25,26,53,54,30,32,33,242,31,36,35,175,7,258],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49fc7872baa9dc7316ddebbdb9b0a10e.jpg","纵185.1厘米， 横64厘米",[],{"id":4060,"slug":4061,"title":4062,"dynasty":3958,"author":4063,"museum":147,"description":4064,"tags":4065,"thumbUrl":4066,"material":120,"size":120,"collection":120,"collections":4067,"showCount":4030,"zanCount":11,"manualWeight":11,"mainColor":82},230483,"an-tu-tao-shan-guan-feng-tu-ping-feng-shou-ye-xiu-lai-230483","安土桃山 观枫图屏风","狩野秀赖","的命名缘于当时的统治者织田信长，丰臣秀吉所在居城的地名而来，这个时代的文化被称为桃山文化（或安土桃山文化）。\n安土指织田信长的居城安土城，桃山指秀吉晚年的居城伏见城。\n为何伏见城又叫做桃山呢？是因为元和9年（162）幕府下令废弃伏见城，并在遗址上种植了很多桃树的原因。\n这个时期的文化主要体现在大名，豪商等阶层的繁荣奢华以及佛教影响力衰弱，西洋文化开始传播等方面。\n历来作为军事据点的城郭，由于领国经营等政治上的原因，从中世以来一直利用天险防御为中心的山城形态，渐渐过渡到小山丘上的平山城，最终形成通过濠（护城河），石垣来防御的平地上建筑的平城。\n在近世更是由于城下町的发达成为政治经济的中心。\n城郭内部的建设在这个时期也很出名，壮丽的 为军事和政治的中心，也是权力的象征，外围二丸三丸等环城和橹。\n这个时代的代表城郭有，平山城形态的有有 之美名的 （兵库县，附图2），有日本最古老的天守阁的犬山城（也称白帝城，爱知县）和彦根城（也称金龟城，滋贺县）；平城的代表有 ，松本城（又名深志城，长野县）。\n秀吉在京都的居所聚乐第，伏见城的城郭和书院式建筑的内部曾用黄金建造，光彩夺目，窗格采用镂空的雕刻。\n虽然现在已不存在，但是通过从被认为是聚乐第伏见城被拆毁时迁筑的建筑物身上可以推断出来。\n聚乐第的遗址是德大寺唐门和 飞云阁，伏见城的遗址为都久夫须麻神社本殿和西 书院·唐门。\n都久夫须麻神社为 的竹生岛上的神社。\n室内的隔扇·屏风上采用类似于浓绘的障壁画（障屏画）。\n障壁画有水墨画和金碧浓彩画两种，后者也可算作 浓绘，余白以金色和银色为地，采用绿青红等的浓彩的画法。\n障壁画的主流是狩野派。\n狩野派的奠基人 把室町时期盛行的水墨画和日本传统的大和绘巧妙的融合，运用丰富的色彩和强力的线描，雄大的构图等优点于一体的集大成者。\n永德的门人狩野山乐等创作了大量的障壁画。\n狩野永德的代表作品有《唐狮子图屏风》，《桧图屏风》（浓绘）；狩野山乐则有《松鹰图》，《牡丹图》。\n其他的还有海北派的始祖海北友松，长谷川派的始祖 等，也有很多优秀的浓绘和水墨画传世。\n海北友松的代表作《山水图屏风》（水墨画），长谷川等伯的《智积院袄绘》（浓绘）《松林图屏风》（水墨画）。\n另外，以都市和百姓生活，风俗等为题材的风俗画也很盛行。\n狩野永德所做描画京都内外名所和市民生活的《洛中洛外图屏风》。\n狩野长信的《花下游乐图屏风》，狩野吉信的《职人尽屏风图》，狩野秀赖的《高雄观枫图屏风》等为风俗画的代表作。\n武将和富裕的町众（町内的有力者）专注于茶道（茶会）和花道（插花）。\n， ， （后两人与千利休并称三宗匠）等茶人的出现，特别是 主张的“侘び茶”（静茶）由于受到秀吉和诸大名的赏识而广为流传。\n侘び茶指的是在小屋中举行茶会，感受茶道极致的意思。\n千利休的茶室以妙喜庵待庵为代表，侘び茶的精神在草庵风的单层屋顶的茶室里得到了极至的体现。\n其他的茶室如织田有乐斋的如庵也很有名。\n织田有乐（斋），即是织田信长的弟弟 。\n相对于侘び茶的茶室，秀吉修建了“黄金茶室”。\n叠的茶室里，使用大量的金和金箔。\n对于茶道的理解不同也导致了后来发生的悲剧。\n天正15年（1587），秀吉召开北野大茶会，不问身份贫富皆可参加，（但由于佐佐成政的肥后 爆发），预定1日的茶会不得不在一天就结束，极大地损害了为茶会奔走的堺商人的脸面。\n后又由于在 山门前的木像事件，愤怒的秀吉令利休切腹。\n伴随着茶道的盛行，茶室以外诸如茶器和庭园文化也得到了长足的进步。\n代表庭院为醍醐寺三宝院庭园。\n以高向寺荫绘有名。\n陶瓷器方面，乐烧为代表。\n是以京都的乐家的烧制为基础，初代的长次郎在聚乐第烧制为由而命名的。\n乐家以外的烧制者也很多。\n在桃山时代，美浓烧，赖户烧，备前烧，伊贺的 ，京的乐烧所制的陶器最受茶人们的欢迎。\n出兵朝鲜的将领中有抢抓朝鲜的陶工回国做工的事情发生。\n借由此，九州等西部沿海地区的陶业开始了急速的发展，其中 的有田烧（李参平创始）， 的上野烧， 的沙萨摩烧， 的高取烧，毛利辉元的萩烧的最为有名。\n此时，甲胄的制作也有了长足的进步。\n以 的歌舞伎，高三隆达的隆达节（曲），人形净琉璃最为盛行。\n阿国歌舞伎是指由阿国开创的かぶき踊り（歌舞）。\nかぶき踊り指异样的服装和 ，其中加入了能狂言（日本表演艺术的种类）和当时流行的念佛舞。\n阿国是就算不是首演者，也会是这项演出的来由者。\n关于阿国的最早记录是天正1年（1582） 的春日神社若宫拜殿的“ややこ踊”演出，出自于兴福寺的记录。\n“阿国自称为出云大社的巫女，边唱神歌或小歌边舞蹈。\n随后又开始念佛跳舞，更有女扮男装男扮女装的所作事（舞蹈剧名），再加入简单的动作跳かぶき踊り，这就是阿国歌舞伎的开始。\n” 庆长年间京都的四条河原等地风行，后来甚至波及到伏见城。\n由于人气的激增，模仿者辈出，才有了女歌舞伎到今天的发展。\n但是，在当时歌舞伎发展的初期，还是以歌舞为主兼带卖淫业务的，因此歌舞伎者被冠以“河原乞食”，“小屋者”，“芝居者”等蔑称，后来发展到野郎歌舞伎的时候，技艺才受到了普遍的重视。\n隆达节是界的商人高山隆达谱曲，重复吟唱《闲吟集》的小歌，也包含当时的恋歌和自作词。\n人形净琉璃是指搭配运用三味线和净琉璃来操作木偶的表演艺术。\n三味线是中国元代创作的三弦，在永禄年传来。\n本体用蛇皮包裹，故称蛇皮线，还有就是日本特有的猫皮线。\n由于国内的统一，和平的背景下都市顺利发展，生活文化也有着向上的趋势。\n服装方面，代表风格的小袖十分流行。\n小袖就是缩短了袖子的服装。\n另外木棉代替了麻成为了普通百姓的衣原料。\n豪华的表演服也出现来。\n住宅方面书院式建筑普及，京都还出现了2层的建筑。\n食文化方面，一日三餐的形式开始普及，调味料品新增了酱油和白糖。\n受到南蛮文化的广泛熏陶也是这一时期的文化特征之一。\n在绘画方面狩野派的画家有很多都是以南蛮人的风俗或和南蛮人做交易场景为主题来作画的。\n代表作品有根据舶来品世界图扩展摹写的《世界地图屏风》和据说是 命造的描画南欧骑马王侯战姿的《泰西王侯骑马图屏风》。\n许多新技术也通过贸易的开展而传入，耶稣会的传教士Valignano（意大利人）带来了西方的活字印刷术。\n出版了基督版（天草版）书籍，其中以全文葡萄牙语系罗马字记录的《天草版平家物语》和《天草版伊曾保物语》最为有名。\n另有说出兵朝鲜时也被传入印刷术，但是两者都在 被废止，原因是重版的时候非活字的方法比较经济实用。\n另外，航海术，造船术乃至天文，地理，医学等海外知识源源传入。\n服装和食物方面的专用名词也是在这个时代被定格的。\nパン、カステラ、ジュバン、タバコ、ラシャ是葡萄牙语系的外来语，ガラス、コーヒー是荷兰外来语，メリヤス、ビロード是西班牙语系。\nパン为面包，カステラ为蛋糕，ジュバン为和服的内衬衣，タバコ为烟草，ラシャ为毛衣，ガラス为杯子，コーヒー为咖啡，メリヤス为针织品，ビロード为绒毛衫",[23,27,28,31,1543,7,35,30,261],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F565459c5684f9f641815ea8b1c04085c.jpg",[],{"id":4069,"slug":4070,"title":4071,"dynasty":49,"author":624,"museum":20,"description":4072,"tags":4073,"thumbUrl":4074,"material":841,"size":4075,"collection":40,"collections":4076,"showCount":4030,"zanCount":11,"manualWeight":11,"mainColor":82},221787,"shuang-song-tu-zhou-cao-zhi-bai-221787","双松图轴","滨水石坡上两棵虬松，拔地而起，势如参天，背衬以杂树，掩映在烟霭中，渐远渐晦。并立双松，干顶枝条向周围虬蟠伸长，旁配以远水，成无尽景，画成于1329（天历二年），时年曹知白五十八。以松树成为山水画中描摹的一重点，概与元朝整个大环境有关，画家藉事物明志，而松之坚拔，使双松正可作为友情坚贞之象徵\n在元画中这类作品甚夥，如朱德润、唐棣等大家之作。审视诸家之双松，皆可找出从李衎以来，所持有李郭派描写树石的严谨传统。但和诸家笔下略带书法性夸张的松树相较，先生在树形及用笔上，展现了平实的个人风貌。\n画家以直线皴配合鳞皴表现松干皮，并在树身上加上齐列的横点苔，显得工整规律，但伸展曲折诡谲的松枝经营，枝梢回转上仰之姿，和向四面散射细疏的松针，打破了松身的平整。杂树枯枝则取蟹爪笔法，和其晚年七九岁所作《群峰雪霁图》前景三松简淡笔墨对照，此幅用笔显得严整而厚实。",[23,24,25,26,53,54,30,7,35,36,1277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e1cce535f431daf2980dd1b72ee3a27.jpg","132.1x57.4公分",[40,62],{"id":4078,"slug":4079,"title":4080,"dynasty":18,"author":4081,"museum":89,"description":4082,"tags":4083,"thumbUrl":4084,"material":246,"size":4085,"collection":120,"collections":4086,"showCount":4030,"zanCount":11,"manualWeight":11,"mainColor":82},220390,"you-song-tu-du-qiong-220390","友松图","杜琼","此画无款，钤“东原斋”、“杜用嘉”、“一丘一壑”三印。\n后有文伯仁跋，说明为杜琼之作。据张丑《清河书画舫》著录：“东原先生为其姊丈魏友松写号图，当时有题诗，不知何时脱落，尚赖刘完庵长句具存，足称艺林双璧。”又据杜琼文集中有关魏友松的诗文可知，杜琼姊丈魏本成，号友松，魏氏一家都是仕宦文人。",[24,25,186,30,27,28,54,32,33,35,36,7,175,642,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b1af06046dc35154b5afb75f3032f83.jpg","纵28.8厘米，横92.5厘米",[],{"id":4088,"slug":4089,"title":4090,"dynasty":87,"author":2847,"museum":89,"description":4091,"tags":4092,"thumbUrl":4093,"material":59,"size":4094,"collection":40,"collections":4095,"showCount":4030,"zanCount":11,"manualWeight":11,"mainColor":44},220138,"quan-sheng-song-se-tu-wu-li-220138","泉声松色图","整幅构图分远、中、近铺设，层次分明。山峦层层叠嶂;溪水，曲行贯穿;树木，更加苍劲。整个画面，以凝练的笔法，展现出山水间、自然界的浑重拙朴、深醇沉郁的气韵。皴法繁密，明暗分明。较之前面两幅，笔力显得更加雄浑，墨色更加酣畅，色彩对比更加强烈。整个画面，上上下下，有众多房屋，而不见人影;有桥梁，却无人来渡;除水声外，不见人声，不闻鸟鸣，一切处在自然界的凝静之中;远山近壑之上，铺设着一层雪的白色，虽有苍劲的“松色”似有增色，但同时告知我们，此时节尚处在寒冷之中。",[23,24,53,54,30,33,7,132,32,56,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfdf71ac6b48f01aaabe84b1e9f192c8.jpg","纵64.8厘米 横38厘米",[40],{"id":4097,"slug":4098,"title":4099,"dynasty":87,"author":2219,"museum":89,"description":4100,"tags":4101,"thumbUrl":4102,"material":190,"size":4103,"collection":40,"collections":4104,"showCount":4030,"zanCount":11,"manualWeight":11,"mainColor":44},218507,"fang-shan-qiao-shan-shui-zhou-wang-yuan-qi-218507","仿山樵山水轴","干笔皴擦的峰峦如黛，层层积墨间藏着云气轻烟。近处松枝横斜，溪畔孤舟静泊，山间隐约露人家檐角。笔墨苍劲却不失秀润，构图繁复仍显空灵，将山樵淡远意境与自家沉雄笔力相融。尺幅间铺展静谧悠远的山水天地，峰峦跌宕里见林木繁密，溪涧蜿蜒处映云雾缭绕，尽显文人画的气韵生动与笔墨精神，仿佛能听见山风掠过松涛、溪水潺潺流过石滩的轻响，把传统山水的沉雄气象凝于一纸之上。",[23,24,26,53,54,30,275,35,36,7,33,116,715,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c6d1ab3c13a67e13f50739433bb5efa.jpg","纵95.5cm，横51.5cm",[40],{"id":4106,"slug":4107,"title":4108,"dynasty":18,"author":128,"museum":212,"description":4109,"tags":4110,"thumbUrl":4111,"material":38,"size":120,"collection":120,"collections":4112,"showCount":4030,"zanCount":11,"manualWeight":11,"mainColor":44},217015,"fang-gu-shan-shui-ce-liu-kai-6-dong-qi-chang-217015","仿古山水册六开-6","董其昌是明朝时期著名的画家，他的仿古山水册六开是他的代表作之一。这本册子包含了六幅仿古山水画，每幅画都经过精心绘制，画面细腻，线条流畅，再现了古代山水的美感。董其昌在绘制这些画的时候，采用了仿古的手法，借鉴了古代画家的画风，使得这些画看起来非常传统和古朴。这本册子被广泛认为是董其昌最优秀的作品之一，也是明朝仿古山水画的典范。",[23,24,25,215,53,54,30,35,7,32,276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c6211ae8ca6eddfebd49ee0a2f4aec4.jpg",[],{"id":4114,"slug":4115,"title":4116,"dynasty":87,"author":1038,"museum":147,"description":4117,"tags":4118,"thumbUrl":4119,"material":118,"size":119,"collection":120,"collections":4120,"showCount":4121,"zanCount":11,"manualWeight":11,"mainColor":44},290002,"xi-yan-song-xue-tu-zhou-hong-ren-290002","西岩松雪图轴","此幅作于清顺治十八年（1661年），时画家52岁。画面以局部特写山峰雄伟之势，以勾勒为主，画雪景“借地为白”，略加渲染，山石阳面留白，阴面着墨，树木墨色较浓。构图繁密，笔法清健，意境高古。画面着意刻画了象征高尚、纯洁的松树和白雪，形象简洁，是作者精神高度净化后的影迹，给人以伟峻、静穆、圣洁、一尘不染的美感。",[24,26,53,30,7,365,57,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecb1fc927cf89126469bd4684c9e8f62.jpg",[],36,{"id":4123,"slug":4124,"title":4125,"dynasty":69,"author":1201,"museum":20,"description":4126,"tags":4127,"thumbUrl":4130,"material":190,"size":4131,"collection":78,"collections":4132,"showCount":4121,"zanCount":11,"manualWeight":11,"mainColor":82},287640,"tang-wu-xue-shi-tu-liu-song-nian-287640","唐五学士图","图中人物的头形轮廓线显出轻重、缓疾之别，很能传达出人物的年龄特征。再有衣纹处理也很老到、简洁、明确，毫不拖泥带水，一撇一勾都交代得一清二楚，这些都足见刘松年绘画艺术的功力。《图绘宝鉴》卷四讲他“帅张敦礼，工画人物山水，神气精妙，名过于师”。",[24,73,25,31,27,28,7,4128,4129],"亭阁","雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff255d9c9acafdadea239abac7ee4f1f7.jpg","174.7x106.6",[78],{"id":4134,"slug":4135,"title":4136,"dynasty":87,"author":4137,"museum":20,"description":4138,"tags":4139,"thumbUrl":4154,"material":231,"size":4155,"collection":120,"collections":4156,"showCount":4121,"zanCount":141,"manualWeight":11,"mainColor":44},223325,"tai-ping-chun-shi-tu-juan-ding-guan-peng-223325","太平春市图卷","丁观鹏","画成于乾隆七年(1742年)，描绘新春时节乡欢庆过年情景，从乡人互相打躬作揖，摊贩卖爆竹，打太平鼓，耍猴戏，跑旱船，瞎眼看相人，戏棚上演掌中班，货郎担，游人市贩，竹篱人家，松树桃竹，画得非长生动而逼真。画面展示了爆竹、太平鼓、果品、鸟鱼挑摊，以及各种行业的耍猴货郎、算命、跑旱船、演傀儡戏的表演艺人。松树下文士席坐品茶闲聊，朱漆托盘内置有紫砂大壶与青花碗，盛装泉水则用绿地花卉大壶、茶铫。挑夫担子盛放糕点使用的是青花与描红龙纹碗、盘，均是乾隆时期宫廷用器，可知街上买卖艺人都是由宫中侍仆所装扮。",[23,73,24,25,186,27,28,31,4140,4141,4142,4143,4144,4145,4146,1700,4147,4148,3132,416,4149,7,4150,4151,4152,4153],"新春","乡市","拜年","爆竹","太平鼓","耍猴","傀儡戏","算命","跑旱船","餐具","桃竹","竹篱人家","艺人","游人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf9318a6d8afcb23dedc43ae2cc2b434.jpg","纵30.3厘米，横233.5厘米",[],{"id":4158,"slug":4159,"title":4160,"dynasty":49,"author":1466,"museum":20,"description":4161,"tags":4162,"thumbUrl":4164,"material":27,"size":4165,"collection":40,"collections":4166,"showCount":4121,"zanCount":220,"manualWeight":11,"mainColor":82},221860,"jiang-shan-fang-ting-tu-zhou-zhao-yong-221860","江山放艇图轴","村屋几家，散置在坡旁石侧，远处烟岚横隔了高峻的山岭。在飘渺的山脚，一道溪泉缓流而来。溪面上，有人乘舟悠游，一种清逸之气，浮动在朴实而宁静的画面里。明董其昌认为这幅画是赵雍的真迹。",[23,24,256,73,26,54,27,30,116,36,35,33,175,7,679,150,4163,394],"岸石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd740c6e19802a334b71ce2b65171c6ec.jpg","该幅 160.6x104.9公分；诗塘 17.3x104.6公分；全幅 107公分",[40,62],{"id":4168,"slug":4169,"title":4170,"dynasty":337,"author":2597,"museum":339,"description":4171,"tags":4172,"thumbUrl":4174,"material":120,"size":120,"collection":120,"collections":4175,"showCount":4121,"zanCount":11,"manualWeight":11,"mainColor":44},220531,"xin-sheng-ming-huo-yue-qi-lai-xu-bei-hong-220531","新生命活跃起来","画面以淋漓水墨绘就奔腾雄狮，鬃毛肆意飞卷，四肢舒展腾跃，将百兽之王的雄健悍勇尽数铺展。作者以写实造型融入写意笔墨，精准捕捉雄狮迸发的蓬勃力道，野性生命力跃然纸面。\n\n背景山石苍简古拙，虬松横斜造势，以简淡衬雄浑，让醒狮冲破沉郁，似要踏过山巅，暗喻着挣脱桎梏的觉醒之气。整幅画将民族精神寄于狮形，借跃动醒狮传递出冲破混沌、昂扬奋进的时代强音，笔墨刚柔并济，把写意的洒脱与造型的精准相融，让猛兽的野性与新生的朝气交织碰撞，成为那个时代民族心气的生动注脚。",[24,53,342,961,4173,7,35,337],"狮子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e2f73da70e9963040779c5153e13dd7.jpg",[],{"id":4177,"slug":4178,"title":4179,"dynasty":87,"author":1038,"museum":89,"description":3397,"tags":4180,"thumbUrl":4181,"material":543,"size":3400,"collection":120,"collections":4182,"showCount":4121,"zanCount":11,"manualWeight":11,"mainColor":44},220323,"huang-shan-tu-ce-7-hong-ren-220323","黄山图册-7",[23,73,24,215,53,54,30,1343,7,175,135,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6273e3416479027eeb1ab9d4d8cccedb.jpg",[],{"id":4184,"slug":4185,"title":4186,"dynasty":18,"author":128,"museum":172,"description":3321,"tags":4187,"thumbUrl":4188,"material":38,"size":120,"collection":120,"collections":4189,"showCount":4121,"zanCount":11,"manualWeight":11,"mainColor":44},214650,"qiu-xing-ba-jing-tu-ce-7-dong-qi-chang-214650","秋兴八景图册-7",[24,25,215,27,53,30,7,35,33,134,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eb9268879396f8710f133d9d82f4354.jpg",[],{"id":4191,"slug":4192,"title":4193,"dynasty":69,"author":4194,"museum":20,"description":4195,"tags":4196,"thumbUrl":4198,"material":190,"size":4199,"collection":120,"collections":4200,"showCount":4201,"zanCount":11,"manualWeight":11,"mainColor":82},287654,"ting-qin-zhai-ruan-tu-zhao-bo-ju-287654","停琴摘阮图","赵伯驹","此幅写松石间瓜果堆盤，一人袒衣席地拨阮咸，一人背坐握羽扇倾听，横琴于膝，二童子捧壶执卷。人物、配景俱用钩勒填彩法敬谨写就，间或辅以胡粉重提、晕染，黑白相映，分外照人眼明。",[23,73,24,26,27,115,31,30,203,95,33,7,861,4197],"闲情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe887b9cd6b04bdd3756bf42bb21b33d3.jpg","125.7x51.2",[],35,{"id":4203,"slug":4204,"title":4205,"dynasty":87,"author":1038,"museum":147,"description":4206,"tags":4207,"thumbUrl":4208,"material":120,"size":4209,"collection":120,"collections":4210,"showCount":4201,"zanCount":11,"manualWeight":11,"mainColor":44},238032,"hong-ren-shan-shui-tu-ce-hong-ren-238032","弘仁山水图册","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。",[24,53,54,393,30,7,35,574,302,33,57,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ebf488d534c551f08afd778cd7b6d19.jpg","50×36",[],{"id":4212,"slug":4213,"title":4214,"dynasty":87,"author":171,"museum":89,"description":4215,"tags":4216,"thumbUrl":4217,"material":4218,"size":1591,"collection":120,"collections":4219,"showCount":4201,"zanCount":11,"manualWeight":11,"mainColor":44},233957,"yuan-ji-cai-shi-tu-zhou-shi-tao-233957","原济采石图轴","《采石图》中石头峻峭奇丽，独具一格。石涛石涛山水画非常大胆新奇，他对景物的勾勒描绘灵活多变，意境高深，他人很难模仿，他笔下的景物有一种灵性和生命，是中国山水画的珍品。",[24,53,54,26,30,57,7,35,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a194ee879f1e77435ad72edf054ce3b.jpg","纸本 ，设色",[],{"id":4221,"slug":4222,"title":4223,"dynasty":18,"author":1909,"museum":89,"description":4224,"tags":4225,"thumbUrl":4226,"material":246,"size":4227,"collection":120,"collections":4228,"showCount":4201,"zanCount":141,"manualWeight":11,"mainColor":82},233233,"chun-quan-xiao-yin-tu-juan-zhou-chen-233233","春泉小隐图卷","此图为别号图，是周臣为一位裴姓，号春泉的文人所作。画面起首以裴君的草堂为中心展开，草堂轩敞明亮，陈设简洁，堂外古松盘曲。主人正伏案假寐，堂外一童子持帚清扫，体现出闲雅出尘之趣。其后，板桥连岸，春水潺湲，远处青山逶迤，平湖无涯。中国画中往往绘文人隐士昼眠以示对外界的漠不关心，暗示他们与作官者有不同的享受，宣扬自我解脱、自我慰籍的处世哲学。画家巧妙地突出近景的板桥流水，以示“春泉”之意，又以假寐表示“小隐”，点明主题。\n此件作品在艺术风格上继承了南宋的“院体”画传统，构图洗练紧凑，状物准确生动，人物线条细劲流畅，情态传神。树石用笔刚劲峭利，多为小斧劈皴，墨色浓重而清润，显示了画家高超的绘画技巧。",[24,186,53,28,54,30,32,33,31,161,7,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1304a7914be5bc7d69117e298de3e6c9.jpg","纵26.3厘米，横85.5厘米",[],{"id":4230,"slug":4231,"title":3679,"dynasty":69,"author":1259,"museum":147,"description":4232,"tags":4233,"thumbUrl":4234,"material":76,"size":4235,"collection":120,"collections":4236,"showCount":4201,"zanCount":11,"manualWeight":11,"mainColor":82},232877,"guan-shan-xing-lv-tu-juan-zhao-bo-su-232877","赵伯骕（1124—1182），字希远，应天府（今河南商丘）人，南宋著名画家，宋朝宗室，著名画家赵伯驹之弟。兄弟皆妙于金碧山水。除山水、人物外，擅长花鸟，界画亦精。传世作品有《五金阙图》《番骑猎归图》等。",[23,497,24,25,186,115,27,28,54,30,150,36,367,7,94,161,32,33,31,242,175,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe216901204382cc7cea56a1c3e25af7b.jpg","26.4x197.3厘米",[],{"id":4238,"slug":4239,"title":4240,"dynasty":87,"author":2299,"museum":147,"description":4241,"tags":4242,"thumbUrl":4243,"material":120,"size":120,"collection":120,"collections":4244,"showCount":4201,"zanCount":11,"manualWeight":11,"mainColor":44},230278,"za-hua-ce-zhu-da-230278","杂画册","此帧以极简笔墨绘就松下双鹿，苍松横斜，枯干缀以寥寥松针，山石空灵淡远。双鹿姿态悠然，犄角挺秀，躯体线条清劲凝练，于幽寂山隅流露自在生机。\n\n配书题诗笔致圆劲古雅，朴拙疏朗，诗画相生，将世外丘壑的清逸冷寂尽藏其间。清冷笔墨下暗涌细腻意趣，荒简构图里饱含澹泊襟怀，尽显简远空灵的禅意逸韵，将天地生灵与林泉幽境融为一体，尽释超然物外的文人意趣。",[24,25,215,53,1458,961,7,35,188,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7626f6421259e86c2bb63e5b96a3926d.jpg",[],{"id":4246,"slug":4247,"title":4248,"dynasty":69,"author":494,"museum":147,"description":4249,"tags":4250,"thumbUrl":4251,"material":120,"size":120,"collection":120,"collections":4252,"showCount":4201,"zanCount":141,"manualWeight":11,"mainColor":82},227634,"shan-shui-tu-ye-ma-lin-227634","山水图页","马麟（？－？），中国南宋画家，原籍河中（今山西省永济），南渡后三代居钱塘，遂为钱塘（今浙江省杭州市）人。\n\n马麟之父马远是宋光宗、宋宁宗两朝（1190-1224）画院待诏，马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。宁宗嘉泰（1201-1204）间授画院祗候，颇得宋宁宗赵扩、皇后杨氏称赏，每于父子画上题句。在《层叠冰绡图》中题诗云：“浑如冷蝶宿花房，拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。”《画史会要》谓：“麟不逮父。远爱其子，多于己画上题麟，盖欲其章也。”",[23,24,73,27,54,215,30,116,31,288,7,35,485],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98bf0a985bd51c41419d7d05703c8a3d.jpg",[],{"id":4254,"slug":4255,"title":4256,"dynasty":18,"author":3528,"museum":1107,"description":3529,"tags":4257,"thumbUrl":4258,"material":246,"size":3533,"collection":40,"collections":4259,"showCount":4201,"zanCount":11,"manualWeight":11,"mainColor":82},222385,"shi-ga-mou-ni-tu-ding-yun-peng-222385","释伽牟尼图",[23,73,24,25,26,2177,28,27,31,30,7,56,779,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f70fcd46abbbbd0f95a6777026a70c0.jpg",[40,103],{"id":4261,"slug":4262,"title":4263,"dynasty":87,"author":4264,"museum":147,"description":4265,"tags":4266,"thumbUrl":4268,"material":190,"size":120,"collection":40,"collections":4269,"showCount":4201,"zanCount":141,"manualWeight":11,"mainColor":44},220258,"tian-chi-xiu-xie-tu-juan-qian-du-220258","天池修褉图卷","钱杜","钱杜画法文徵明细笔一路，文雅秀润。以恬静的书卷之气擅名一时。此卷写湖水初涨，夹岸杨柳绽绿，桃杏吐芳，碧草满坡，一派风暖日丽的早春气象。水边林下，有人结伴寻胜；草亭之中，有人闲话清吟；高阁之上，则有高士倚栏远眺。读钱氏自题诗，知是写朋友清明修禊故事。其典雅清丽的笔墨，与文人雅集的闲适情怀正合。是他即景生情，悠然命笔的精心之作。",[23,27,28,54,30,36,35,32,33,161,95,31,242,187,1963,367,7,4267,1275],"舟楫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f81ae9bb1ca4b38dd9cd77551e6d9ed.jpg",[40],{"id":4271,"slug":4272,"title":4273,"dynasty":18,"author":4274,"museum":20,"description":4275,"tags":4276,"thumbUrl":4277,"material":59,"size":4278,"collection":101,"collections":4279,"showCount":4201,"zanCount":11,"manualWeight":11,"mainColor":44},220022,"shan-cai-ding-li-tu-xiang-yuan-bian-220022","善财顶礼图","项元汴","项元汴（明 1525—1590）字子京，号墨林，别号墨林山人、香严居士、退密庵主人、退密斋主人、惠泉山樵、墨林嫩叟、鸳鸯湖长、漆园傲吏\n明鉴藏家。国子生。精于鉴赏，辨别真赝，析及毫发，当时无人可比。尝得铁琴一，上有“天籁”二字，因以名阁。又曾遴选能工巧匠制作各种器具，凡几榻、架柜、奁盒等，镌以铭识，都极精巧。 工绘画，兼擅书法。有《墨林山人诗集》、《蕉窗九录》等。",[24,25,26,53,30,31,57,33,7,35,135,34,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6608705547db80176fd9fd3ef2b8ff11.jpg","130*30.5cm",[101],{"id":4281,"slug":4282,"title":4283,"dynasty":69,"author":88,"museum":20,"description":4284,"tags":4285,"thumbUrl":4286,"material":190,"size":4287,"collection":40,"collections":4288,"showCount":4201,"zanCount":141,"manualWeight":11,"mainColor":44},219040,"shui-xuan-hua-xie-tu-yi-ming-219040","水轩花榭图","露台建在岩石上，有一个开放的亭子，下面是一片树林。一条走廊半藏在绿色景观中，其另一端通向两个大厅堂。建筑物的主要部分被小心翼翼地放在画的下半部分，这样，[上半部分]的白色空间就变得更加宽广，而背景是月亮的天空，则非常遥远！。这是南宋微型山水画中典型的空间表达方式。画中的建筑画得很精致，具有逼真写实的艺术风格。画中的人物都有宋人纤细的体态，摆放祭品和攀登亭子可能是官家在仲夏夜的活动写照。",[23,24,678,27,92,28,94,161,7,642,35,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60c80f01916371f7568e1b5d290868c0.jpg","24.8x25.8",[40],{"id":4290,"slug":4291,"title":1870,"dynasty":49,"author":896,"museum":20,"description":1871,"tags":4292,"thumbUrl":4294,"material":841,"size":1874,"collection":120,"collections":4295,"showCount":4296,"zanCount":11,"manualWeight":11,"mainColor":82},290135,"qiu-jiang-yu-yin-tu-wu-zhen-290135",[73,24,25,26,53,30,116,4293,35,7,33,175,188,34,54],"渔隐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6825a9b589672b07f1adb448c8239461.jpg",[],34,{"id":4298,"slug":4299,"title":4300,"dynasty":18,"author":312,"museum":1920,"description":4301,"tags":4302,"thumbUrl":4303,"material":76,"size":4304,"collection":120,"collections":4305,"showCount":4296,"zanCount":11,"manualWeight":11,"mainColor":82},232646,"xi-bian-yin-shi-tu-dai-jin-232646","溪边隐士图","戴进早年受画工父亲戴景祥的影响，从锻工改学绘画，擅长工笔。并且常为寺观做佛像，以精工、细巧见长。同时也受到南宋“院体”的影响。中年时，进京入宫，供奉仁智殿，但因呈献得意之作《秋江独钓图》时，遭馋言而被贬斥，最终离开画院。可以说，这一意外的打击是他绘画生涯的转折点。在京城的后十余年中，他泛学诸家，广交文人画家和士大夫公卿，将宋元文人画家的传统渗入到自己的艺术中。晚年，他离京返乡，卖画课徒。并发展了马、夏苍劲的水墨山水，以更为坚劲、雄阔的笔墨，创造出更具运动感和阳刚气势的山水画新风貌，经后世发扬，遂成“浙派”。\n戴进的坎坷经历是他形成复杂性格的直接原因。由于仕途的失败，理想的破灭，使他采取与世无争的态度，开始淡泊名利，洁身自好，借诗文翰墨来怡养性情。因此，画面中的整体氛围是安逸、祥和的。然而作品虽静、幽却没有元人画中的那种消极、凄凉之感。这是因为戴进不同于那些高蹈远行、浪迹山林的文人画家。他是一位在社会上谋生的职业画家，虽然与世无争却并不回避现实，以于世有补的态度来面对人生。他胸怀旷达、志趣高雅，广泛交友，被誉为“博雅之士”。\n画中描绘了一位超凡脱俗的隐士斜坐在山石之上，在他旁边放着一根拐杖，大概是旅途劳累，故在山中休憩。隐士的神情平和，裸露前胸，从微微低垂的眼神中，可看出他正在倾听身旁潺潺的流水声，真是悠哉、闲适的生活。周围的景物只有山石和树木，一片寂静，惟有小溪的“乐音”萦绕整座山林，一直传进幽深之处。人物悠闲的心态与恬淡的景致自然地融合在一起，一切都是那样的自由，那样的随和，在不经意间透露着一种文人的气息。这是作者艺术风格的简逸一面，但这又不同于元人画风的那种淡泊。画中山石勾勒，坚实峻拔，并运用了南宋马、夏的斧劈皴，皴法迅捷刚韧，犹如石斧雕凿一般。看那偃斜多姿的拖枝松是如此的苍劲有力，它身如虬龙，扎根于硬石之中，直冲云天。其曲折的枝干，每一曲，每一折都流露着倔强与刚烈。好似一位坚强不屈战士，又似一位清高绝俗的雅士，傲然挺立于山巅之上。这种刚毅的气质与平静、幽寂的情境形成了鲜明的对比。而二者又在通情达意之间互为补充，取得了完美的平衡。\n作品在题材、布局和画法上，基本是仿效南宋马远一派。如，通过松树和远山、近石形成的对角线构图，山石运用潇洒利落的斧劈皴，松柏的遒劲挺拔，还有人物衣纹细劲顿挫的勾勒等，都极似马麟的绘画风格。本画为水墨淡彩，整体以水墨为主，只是在山石、树木和人物衣服上都略施以淡淡的绿色。这种淡雅的色彩正体现了画的清逸与闲淡之韵。",[23,24,25,26,53,27,30,31,7,33,56,54,288,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920c1d68ed02e2884a6e69185f76dca3.jpg","纵137.9厘米，横75.1厘米",[],{"id":4307,"slug":4308,"title":4309,"dynasty":69,"author":70,"museum":147,"description":4310,"tags":4311,"thumbUrl":4312,"material":120,"size":120,"collection":120,"collections":4313,"showCount":4296,"zanCount":11,"manualWeight":11,"mainColor":82},227775,"chi-bi-sheng-you-tu-ye-li-tang-227775","赤壁胜游图页","赤壁之战是中国历史上极为著名的战争；它是用灵活战术发挥以寡击众的成功战例。战争从双方集结到交战，前后历时几个月，但却传颂了一千多年，至今不歇。后世以诗词歌赋、艺术书法，戏剧歌曲，各种方式称颂这场战争及参与这场历史盛会的英雄。\n\n赤壁之战除了战争前魏、蜀、吴三方阵营斗智、权谋攻防的尔虞我诈，战争过程中极富戏剧性的发展脍炙人口外，战后的影响也是令后世热衷讨论、研究的焦点。一般说来，魏、吴、蜀三分天下的契机奠定于这场战争。然而，三国鼎立的局面虽然出现了，但最后统一的局面，并非由参与这场战争的任何一方完成。历史的发展，曲折迂迴似乎没有必然的逻辑。\n\n赤壁之战引起后世无尽的兴味，还有一项重要的原因，即为参与这场战争的「与会者」，都成为后世讨论的对象。在中国历史上，很少有一个时代突然出现那麽多人才。就人才分佈而言，各方阵营济济多士、猛将如云。长久以来，后世习惯立场的选择，加上《三国演义》小说、戏剧的推波助澜；因此，读史时便无意中流露出对历史人物的偏爱了。\n\n后世歌咏赤壁的艺术绘画、书法作品众多，我们选辑一批，不用亲临，在纸上感受千年以来赤壁的风云际会。",[23,73,24,25,215,53,27,30,116,7,56,33,31,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe85967083dcbba194a327a2d2f6d7070.jpg",[],{"id":4315,"slug":4316,"title":4317,"dynasty":87,"author":2436,"museum":147,"description":4318,"tags":4319,"thumbUrl":4320,"material":120,"size":120,"collection":120,"collections":4321,"showCount":4296,"zanCount":11,"manualWeight":11,"mainColor":44},226629,"si-shi-shan-shui-02-pu-ru-226629","四时山水02","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”。",[23,24,25,73,26,53,27,30,57,7,95,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5fbaef9558d710642e3f6aa6b5a09eb.jpg",[],{"id":4323,"slug":4324,"title":4325,"dynasty":3958,"author":88,"museum":147,"description":4326,"tags":4327,"thumbUrl":4331,"material":120,"size":120,"collection":120,"collections":4332,"showCount":4296,"zanCount":11,"manualWeight":11,"mainColor":44},225299,"fu-shi-hui-20-yi-ming-225299","浮世绘20","以平远视角铺展幽谧山水，青绿与浅赭晕染层叠丘峦，远景丹峰隐现薄雾间。苍松错落点缀崖岸水畔，清劲枝条勾勒古拙苍劲的意态。蜿蜒水泽以留白代雾霭，将远近景致朦胧晕开，崖间飞瀑垂落，松林深处掩映山居小屋，暗合隐逸幽居的雅趣。\n\n敷色淡雅柔和，线条清简雅致，将山居逸趣融于山水之间，带着恬淡禅意，把林泉山水的空灵悠远定格于纸面，尽显东方山水美学里悠然出世的诗意。",[4328,27,4329,30,55,7,74,135,134,175,56,36,4330,1169],"浮世绘","木刻","天空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3d34a0a4546fef429a300e8f75a2d43.jpg",[],{"id":4334,"slug":4335,"title":4336,"dynasty":87,"author":1811,"museum":1146,"description":4337,"tags":4338,"thumbUrl":4339,"material":4340,"size":4341,"collection":40,"collections":4342,"showCount":4296,"zanCount":11,"manualWeight":11,"mainColor":82},224487,"yuan-shan-gang-luan-tu-wang-jian-224487","远山岗峦图","构图繁而不乱，山石错落有致，而且笔法华润圆细，秀逸中不失严谨，纤细而不流于柔弱，刚柔并济，浓淡兼施，皴染同举，别有风采。\n这幅作品虽然是仿古，但是作者也是在临摹古画的基础上又融入了自己的思想而创作的，有他自己的特色。纵观全图，坡岸上石矶堆砌、层叠向上，远处山体高耸，峭壁悬崖，气势壮观。山上林木葱茏、青翠、茂盛，清气袭人。远处山涧，瀑布飞流直下，泻入溪中。岸边、山腰上建有水榭亭台、屋宇楼阁，或隐或现。一高士神态安详，端坐于水榭中，环视着四周淡远的景色。他那悠然自得、轻松惬意的神情深深地感染着观者。\n此画为竖构图，景物布置得繁而不塞、杂而不乱，可谓层次分明、经营有序。画家用浅赭色染树干、坡脚及屋墙，树叶和崖顶的平台用石绿色染出。由于山石多次以淡墨皴染，又用焦墨反复 积加，所以画面显得浑厚壮观。不过，山石用笔含蓄内敛，丝毫没有外露的痕迹，皴法细密、刻画准确、墨色浓润，所以又为画面增添了灵秀之气。再加之少量的赭色晕染，使画面达到了刚劲与柔美、雄浑与雅秀的统一。更值得一提的是，画家在设色上并非勾勒填彩，而是将石绿、淡赭、水墨自然地融合在一起，故此画没有以往青绿山水画的俗艳之气，而是别有一种雅淡之韵、灵逸之趣。王鉴在青绿设色上是少有的高手，据说清代三百年间的山水画家中很少有人能超过他。这一点，由此图可窥见一斑。\n此图款署“庚戌九秋，仿黄子久笔意，王鉴”，下钤“王鉴之印”。王鉴的画大多题“仿”古人，如“仿北苑”、“仿令穰”、“仿雪松”、“仿江贯道”、“仿董源”、“仿巨然”等。但他的“仿”并不是简单地模仿古人的笔墨技巧、构图布局，而是重在体味、吸收、融汇前人的笔墨结构，以形成自己的山水画语言。此图便是画家以模仿黄公望的笔意为主，又融合董源、巨然两家之萧散、平淡的风格绘成的。画家用墨色由淡及浓地层层晕染，使作品虚实有致、层次丰富。此画较黄公望的画更加清润、明洁，有一股清雅的书卷气。王时敏称王鉴的画“以秾丽为宗，然高华、秀逸兼而有之”。",[23,24,27,54,30,150,36,7,187,74,56,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b666d72fb7f59c63cabf0b46996ab26.jpg","绢本设色.","151cmx66cm",[40],{"id":4344,"slug":4345,"title":4346,"dynasty":87,"author":271,"museum":20,"description":4347,"tags":4348,"thumbUrl":4349,"material":27,"size":4350,"collection":120,"collections":4351,"showCount":4296,"zanCount":11,"manualWeight":11,"mainColor":44},223098,"fang-wang-meng-shan-shui-zhou-tang-dai-223098","仿王蒙山水轴","此幅描繪滿是白雪覆蓋的山國中，峰巒陡直林立，澗水曲折回流，寒林散列各處，由畫面中傳來一股凜冽的寒氣。\n唐岱字毓東，號靜岩，又號知生、愛廬、默莊。山水師法王原祁，遠承董、巨、黃、王之遺脈，用筆沉厚，布局深穩，但為適應宮廷需要，其畫風更趨纖秀細膩，瑣碎繁複，富於裝飾性。存世作品有《仿倪瓚清閟閣圖》，《仿范寬秋山瀑布軸》，《仿王蒙山水軸》等。",[23,24,30,26,274,54,27,132,133,7,229,32,56,36,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5fcde53a099914404cada415fc2c26f.jpg","310x123厘米",[],{"id":4353,"slug":4354,"title":4355,"dynasty":18,"author":4356,"museum":20,"description":4357,"tags":4358,"thumbUrl":4359,"material":190,"size":4360,"collection":103,"collections":4361,"showCount":4296,"zanCount":141,"manualWeight":11,"mainColor":44},219327,"ling-yan-ji-xue-tu-liu-yuan-qi-219327","灵岩积雪图","刘原起","积雪如絮覆层峦，岩岫叠嶂间清寒弥漫。枯木疏枝裹银装，青松攒雪挺劲立，枝桠凝霜似玉。曲径蜿蜒入幽，茅舍隐于林间，溪面冰凝如镜，偶见踏雪痕浅。远山朦胧，塔影依稀，似有古寺钟声隐现。笔墨淡逸，留白衬雪色之净，枯笔写疏林之寂，意境静谧雅致，尽显冬日山林的幽旷与清宁，恍若尘外之境，引人沉心入画。",[24,25,30,28,27,54,34,132,368,7,367,175,258,32,3775],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64a1a1cbb5ed0b803e372ed42714c4d8.jpg","63.3x31.6",[103],{"id":4363,"slug":4364,"title":3448,"dynasty":18,"author":459,"museum":147,"description":4365,"tags":4366,"thumbUrl":4368,"material":118,"size":119,"collection":120,"collections":4369,"showCount":4370,"zanCount":11,"manualWeight":11,"mainColor":44},290875,"xi-yuan-ya-ji-tu-zhou-chou-ying-290875","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”。",[24,26,940,53,31,161,7,32,642,4367,203,34,861,1730],"园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feca9a6719c6a923f6b44368996834625.jpg",[],33,{"id":4372,"slug":4373,"title":4374,"dynasty":18,"author":459,"museum":20,"description":4375,"tags":4376,"thumbUrl":4378,"material":656,"size":4379,"collection":120,"collections":4380,"showCount":4370,"zanCount":11,"manualWeight":11,"mainColor":44},290872,"song-yin-qin-ruan-zhou-chou-ying-290872","松阴琴阮轴","本幅绘高士二人，对坐松林泉石之间，一人拨阮，另一人停琴聆听。全画构景清旷，笔墨简赅，人物衣纹用游丝描，石用披麻皴，于仇画中极为罕见，殆有意迴避院体鲜丽精巧的面目，转而追求文徵明式简淡、雅逸的格调。 幅左篆书款署嘉靖己酉（一五四九），时仇英约五十六岁。左下角「剑光阁」、「华氏明伯」两印，均华云所有，故此画应是仇英为华氏所作",[24,73,25,26,940,53,31,7,203,34,4377],"闲逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79ccceac39e78de66c277baf5ea414e1.jpg","54.9×28.4",[],{"id":4382,"slug":4383,"title":4384,"dynasty":69,"author":4385,"museum":20,"description":4386,"tags":4387,"thumbUrl":4388,"material":841,"size":4389,"collection":120,"collections":4390,"showCount":4370,"zanCount":11,"manualWeight":11,"mainColor":82},290866,"peng-lai-xian-hui-zhou-zhao-da-heng-290866","蓬莱仙会轴","赵大亨","与卫松曾同为赵伯驹、赵伯骕家仆，侍候赵氏兄弟作画，生卒年不详。",[24,73,92,256,27,94,7,150,31,3061,3123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0a7a3f49e465910b9499299b136f5e0.jpg","54.2x86.4",[],{"id":4392,"slug":4393,"title":4394,"dynasty":87,"author":4395,"museum":147,"description":4396,"tags":4397,"thumbUrl":4399,"material":118,"size":119,"collection":120,"collections":4400,"showCount":4370,"zanCount":11,"manualWeight":11,"mainColor":44},290593,"yu-yuan-mu-chun-shi-zhou-zhang-ruo-ai-290593","御园暮春诗轴","张若霭","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。",[24,25,256,27,54,30,175,7,778,32,35,1238,29,34,4398],"暮春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba828b43d4a0f1aabbf6021ad4427947.jpg",[],{"id":4402,"slug":4403,"title":4404,"dynasty":69,"author":494,"museum":20,"description":4405,"tags":4406,"thumbUrl":4407,"material":841,"size":2292,"collection":120,"collections":4408,"showCount":4370,"zanCount":11,"manualWeight":11,"mainColor":82},290333,"jing-ting-song-feng-tu-zhou-ma-lin-290333","静听松风图轴","马麟，麟一作驎，钱塘（今浙江杭州）人。南宋画家。马世荣之孙，马远之子。\n生卒年不详。其父马远是宋光宗、宋宁宗两朝（1190～1224）画院待诏，马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。宁宗嘉泰间（1201～1204）授画院祗候，颇得宁宗赵扩、恭圣皇后杨氏及杨妹子称赏，每于父子画上题句。在《层叠冰绡图》中题诗云：“浑如冷蝶宿花房，拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。”",[73,24,25,26,30,31,7,35,33,53,54,1499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c0deb7cf38921a741612cf702fb534c.jpg",[],{"id":4410,"slug":4411,"title":4412,"dynasty":69,"author":4413,"museum":147,"description":4414,"tags":4415,"thumbUrl":4416,"material":118,"size":119,"collection":120,"collections":4417,"showCount":4370,"zanCount":11,"manualWeight":11,"mainColor":82},290301,"guan-fu-xi-ying-zhou-su-han-chen-290301","灌佛戏婴轴","苏汉臣","此图画中的孩子们在玩“过家家”：一个孩子跪下模仿大人礼佛，一个孩子手抬佛像，还有一个孩子手持水瓶灌佛，另一孩童手捧花篮，装扮成佛教信徒模样，模仿浴佛仪式。",[73,24,25,26,28,27,31,3188,7,929,1481,642,2177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02cabf428605fa1ae6a542421c58c633.jpg",[],{"id":4419,"slug":4420,"title":4421,"dynasty":69,"author":426,"museum":147,"description":4422,"tags":4423,"thumbUrl":4425,"material":118,"size":119,"collection":120,"collections":4426,"showCount":4370,"zanCount":141,"manualWeight":11,"mainColor":194},289929,"qiu-lin-he-yi-tu-wang-shen-289929","秋林鹤逸图","王诜[shēn]（公元约1048年—公元约1104年），字晋卿，太原（今山西太原）人，后迁汴京（今河南开封），北宋画家。\n北宋熙宁二年（1069年）娶英宗女蜀国大长公主，拜左卫将军、驸马都尉。元丰二年，因受苏轼牵连贬官均州。元祐元年（1086年）复登州刺史、驸马都尉。擅画山水，学王维、李成，喜作烟江云山、寒林幽谷，水墨清润明洁，青绿设色高古绝俗。亦能书，善属文。其词语言清丽，情致缠绵，音调谐美。存世作品有《渔村小雪图》《烟江叠嶂图》《溪山秋霁图》等。",[678,24,256,27,7,1541,563,134,95,94,4424,3904],"湖水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F623db88646b4856450cfc34a8a105256.jpg",[],{"id":4428,"slug":4429,"title":4430,"dynasty":69,"author":494,"museum":147,"description":4405,"tags":4431,"thumbUrl":4433,"material":118,"size":119,"collection":120,"collections":4434,"showCount":4370,"zanCount":11,"manualWeight":11,"mainColor":82},288970,"song-feng-lou-guan-tu-ma-lin-288970","松风楼观图",[73,24,256,92,27,28,94,7,4432,30],"雨天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbb4382d26e8d220766465beb138783c.jpg",[],{"id":4436,"slug":4437,"title":4438,"dynasty":87,"author":1687,"museum":147,"description":4439,"tags":4440,"thumbUrl":4441,"material":120,"size":120,"collection":120,"collections":4442,"showCount":4370,"zanCount":11,"manualWeight":11,"mainColor":44},237589,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237589","王翚仿古山水册","王翚（1632-1717），字石谷，臞樵，号乌目山人，耕烟散人，又号耕烟外史，剑门樵客，清晖老人，室名清晖阁，江苏常熟人。王翚祖上几代均染指丹青。四世祖王伯臣擅长花鸟，师崔白画风，祖父王载仕山水花鸟皆擅，父亲王云客专攻山水，画风秀雅。王翚幼喜丹青，十六岁时拜同乡张珂为师，后入王鉴、王时敏之门，遍临他们所藏宋、元名迹，在承袭传统的基础上，又外师造化，逐渐形成了华滋清逸的画风，当时的名公巨卿、文人学士争相交之。六十岁时以布衣征召供奉内廷，主持绘制康熙《南巡图》，被赐“山水清晖”，为清初“虞山派”领袖。著有《清晖画跋》，辑有《清晖赠言》、《清晖赠贻尺牍》，与恽寿平合著《画筌评》。",[24,25,73,53,54,131,30,36,175,32,33,57,302,7,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1e7fc3f6bc11163dc26121234f9369f.jpg",[],{"id":4444,"slug":4445,"title":4446,"dynasty":18,"author":4447,"museum":147,"description":4448,"tags":4449,"thumbUrl":4450,"material":120,"size":120,"collection":40,"collections":4451,"showCount":4370,"zanCount":11,"manualWeight":11,"mainColor":82},236896,"shan-shui-hua-hui-ce-shao-mi-236896","山水花卉册","邵弥","此作用笔秀逸松灵，取景简括却意韵悠长。虬曲古松扎根危崖，苍枝舒展间满含劲挺生机。白衣策杖之人缓步山道，形神安闲，恍若幽居之士暂寄林泉。山涧清泉漱石潺潺，流云轻笼天际，衬出空山清寂之境。整体意境萧疏散淡，带着静穆淡远的文人意趣，将幽人栖隐丘壑的雅怀尽数铺展，尽显超然出尘的林下之风。",[24,25,73,215,27,54,30,7,35,135,31,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90685468beeb5f9c37cf6bf844517d26.jpg",[40,384,103],{"id":4453,"slug":4454,"title":4455,"dynasty":69,"author":664,"museum":89,"description":4456,"tags":4457,"thumbUrl":4460,"material":99,"size":4461,"collection":120,"collections":4462,"showCount":4370,"zanCount":11,"manualWeight":11,"mainColor":82},232935,"ting-qin-tu-zhou-zhao-ji-232935","听琴图轴","此幅描绘官僚贵族雅集听琴的场景。主人公道冠玄袍，居中端坐，凝神抚琴，前面坐墩上两位纱帽官服的朝士对坐聆听，左面绿袍者笼袖仰面，右面红袍者持扇低首，二人悠然入定，仿佛正被这鼓动的琴弦撩动着神思，完全陶醉在琴声之中。叉手侍立的蓝衫童子则瞪大眼睛，注视着拨弄琴弦的主人公。作者以琴声为主题，巧妙地用笔墨刻画出“此时无声胜有声”的音乐的意境。画面背景简洁，如盖的青松和摇曳的绿竹衬托出庭园高雅脱俗的环境，而几案上香烟袅袅的薰炉与玲珑石上栽植着异卉的古鼎与优雅琴声一道，营造出一种清幽的氛围。\n画面上方有宰相蔡京手书七言绝句一首，右上有宋徽宗赵佶瘦金书题“听琴图”三字。\n作品构图简净，人物举止形貌刻画生动传神，衣纹线描劲挺略带战笔，树石器具描写工致而毫无呆板，着色浑厚而不失清丽，是宋代宫廷人物画的代表作品。\n由于作品本幅有徽宗题名与画押，作品一度被认为是赵佶所画，后经学者考证，此幅为宣和画院画家描绘徽宗赵佶宫中行乐的作品，而图中抚琴者，正是赵佶本人。",[73,24,25,26,28,27,31,7,929,872,34,418,203,4458,4459,3011],"桌","凳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a06d38e220a4cfb38a1f63704749fe0.jpg","纵147.2厘米，横51.3厘米",[],{"id":4464,"slug":4465,"title":4466,"dynasty":18,"author":2148,"museum":147,"description":4467,"tags":4468,"thumbUrl":4469,"material":120,"size":120,"collection":120,"collections":4470,"showCount":4370,"zanCount":11,"manualWeight":11,"mainColor":82},228292,"li-fo-tu-chen-hong-shou-228292","礼佛图","此作用笔清劲圆韧，尽显高古奇逸之风。崖上枯松虬曲苍劲，枝桠裹挟冷冽清气，石崖趺坐的尊者素衣宽博，神色澹然，以丝缕牵出云端佛影，引渡下界向佛之心。下方沙弥合掌长跪，衣褶层叠温婉，满脸至诚恭敬。\n\n玲珑剔透的太湖石错落排布，衬出画面空灵疏朗的禅意，设色清雅柔和，仅以淡赭、浅青晕染，将出世的静穆禅韵融于尺幅之间，笔端藏着静水流深的禅思，把礼佛的虔敬化作悠远澄澈的画境。",[23,24,25,26,2177,28,940,27,31,57,367,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c721a086c33d6299e0b1c0e20fa17b.jpg",[],{"id":4472,"slug":4473,"title":4474,"dynasty":87,"author":4475,"museum":20,"description":4476,"tags":4477,"thumbUrl":4478,"material":4479,"size":4480,"collection":40,"collections":4481,"showCount":4370,"zanCount":11,"manualWeight":11,"mainColor":44},222843,"hua-wan-he-xiang-yun-zhou-hong-wu-222843","画万壑祥云轴","弘旿","弘旿（1743-1811），为康熙帝玄烨孙，字恕斋，又字醉迂，号一如居士、瑶华道人，官封固山贝子。兼工诗、书、画，有三绝之誉。画初学董邦达（1699-1769），又上追宋、元，笔墨秀润，山水特为蓊郁华滋。本幅为全景式布局，画松壑重重高起，山中并见烟云缭绕，景境幽深。居中的主峰，峰顶矾头错落，并用短笔点簇密林，饶有浑厚峻拔的气势。右下方自题「恭仿范宽笔意」，惟皴山多用长笔披麻，已去范宽（约950-1031间）风格甚远。",[23,24,26,30,53,27,54,132,1376,7,32,33,175,35,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb6dc0050c390fb85ef72eff1bad4a7b.jpg","立轴，纸本，设色","112.2×53cm",[40,103],{"id":4483,"slug":4484,"title":1526,"dynasty":18,"author":815,"museum":2848,"description":4485,"tags":4486,"thumbUrl":4487,"material":3511,"size":4488,"collection":120,"collections":4489,"showCount":4370,"zanCount":11,"manualWeight":11,"mainColor":44},222586,"shan-shui-ren-wu-tu-lan-ying-222586","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。",[23,24,53,54,26,30,31,116,7,55,35,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F396b38187718c407d8aa9bcd3330f957.jpg","纵151CM 横51CM",[],{"id":4491,"slug":4492,"title":4493,"dynasty":18,"author":4494,"museum":20,"description":4495,"tags":4496,"thumbUrl":4497,"material":38,"size":4498,"collection":40,"collections":4499,"showCount":4370,"zanCount":141,"manualWeight":11,"mainColor":44},222408,"qi-xia-shan-tu-zhou-zhang-hong-222408","栖霞山图轴","张宏","此画以浓密如屏的树丛遮掩了其下山腰的轮廓，在这里，观画者必须先穿过树丛方能找到通往寺庙之路。张宏所要呈现的并非等览庙宇的经验，而是从雨中远眺的感受。他在题款中写道：“甲戌初冬，明止挈游栖霞，冒雨登眺，情况颇饶，归而图此。”由画幅下半部的细节，我们更可见出张宏的手法。张宏只画了庙门，这扇门也只画了局部，并且明显地按照远近比例法缩小。对岩壁间石刻壁龛的描写生动简洁，与石壁和树荫融合为一个视觉整体。画家秉承了传统的笔法，忠实地再现视觉经验。一张摄于1930年的千佛岩照片，肯定了张宏画中形象的忠实性：佛龛位于岩壁间，有一部分为树木所掩盖，从我们这个距离看去，仅能依稀辨认。张宏将此景压缩为因应挂轴裱式的垂直画面，布局也较乍看之时来得更具巧思；虽则如此，十一英尺有余的画幅本身，亦强化了如大银幕电影或电视超大画面般的临场感，宰制了我们大部分的视野。画面的主体千佛岩，在林木的掩映下显得古朴典雅。一望无际的森林覆盖着栖霞山，似有微风吹过，树影婆娑中透出清凉之气，引观者共鸣，一同去体会那清爽的栖霞山风光。",[23,24,25,26,27,54,30,161,7,35,36,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81fe3ad4eebcd3b96e914c3432a49117.jpg","341.9x101.8",[40,103],{"id":4501,"slug":4502,"title":4503,"dynasty":69,"author":1201,"museum":89,"description":4504,"tags":4505,"thumbUrl":4506,"material":499,"size":4507,"collection":120,"collections":4508,"showCount":4370,"zanCount":11,"manualWeight":11,"mainColor":44},221547,"shan-guan-du-shu-tu-liu-song-nian-221547","山馆读书图","《山馆读书图》描绘的是文人雅士所向往的闲适生活。长松掩映之下，长案临窗，清风徐来，窗外传来书童打扫落叶的声音，间或闻得几声鸟鸣，宁静悠闲，倚案展卷，何等惬意。",[23,24,25,28,27,92,30,94,7,31,639,36,929,188,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F234be9e86cbf67a38bc347e7b4419eed.jpg","24.3×24cm",[],{"id":4510,"slug":4511,"title":4512,"dynasty":87,"author":4513,"museum":20,"description":4514,"tags":4515,"thumbUrl":4516,"material":38,"size":120,"collection":103,"collections":4517,"showCount":4370,"zanCount":11,"manualWeight":11,"mainColor":44},219464,"zhang-song-tu-lu-ri-wei-219464","长松图","陆日为","陆日为善画山水，初学米芾、米友仁及高克恭之法，同时亦能融入自己的特色，形成了独特的艺术风格。",[73,24,25,26,53,54,7,288],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa819d15028698afffdb6a55ce8aa31d8.jpg",[103],{"id":4519,"slug":4520,"title":4521,"dynasty":69,"author":199,"museum":147,"description":1341,"tags":4522,"thumbUrl":4523,"material":118,"size":119,"collection":120,"collections":4524,"showCount":4525,"zanCount":11,"manualWeight":11,"mainColor":82},288431,"gao-shi-guan-pu-tu-ma-yuan-288431","高士观瀑图",[24,25,27,31,30,7,55,35,2910,1499,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd14d033ddc1a880a6b71d2fb206a1cf.jpg",[],32,{"id":4527,"slug":4528,"title":4529,"dynasty":87,"author":3216,"museum":147,"description":4530,"tags":4531,"thumbUrl":4533,"material":118,"size":119,"collection":120,"collections":4534,"showCount":4525,"zanCount":11,"manualWeight":11,"mainColor":44},288410,"jia-zheng-you-da-guan-yuan-tu-jing-shi-sun-wen-288410","贾政游大观园图景十","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。",[24,28,27,31,32,33,94,778,7,4367,4532],"红楼梦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F253141a09ec95bc00071139df195e1f0.jpg",[],{"id":4536,"slug":4537,"title":4538,"dynasty":49,"author":3159,"museum":147,"description":4539,"tags":4540,"thumbUrl":4541,"material":118,"size":119,"collection":120,"collections":4542,"showCount":4525,"zanCount":11,"manualWeight":11,"mainColor":82},287577,"shan-shui-ren-wu-sun-jun-ze-287577","山水人物","工山水人物，宗法马远、夏圭，画风工致谨细，对明代以后浙派绘画的发展有直接的影响。他的作品广见于日本旧藏中。",[24,30,31,7,57,982,32,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7e6badd43c05bf2f375442199b1e38f.jpg",[],{"id":4544,"slug":4545,"title":4546,"dynasty":87,"author":2606,"museum":147,"description":4547,"tags":4548,"thumbUrl":4549,"material":120,"size":120,"collection":120,"collections":4550,"showCount":4525,"zanCount":141,"manualWeight":11,"mainColor":44},238484,"hua-hong-li-han-shan-xue-hai-shi-yi-juan-jiang-pu-238484","画弘历寒山雪海诗意卷","此作用淡墨晕开云涛，以干笔皴擦山石肌理，苍松虬踞崖畔，丹叶点染峰峦，将翻涌海波与凌天奇山揽入卷中。云雾缠裹岩岫，虚实相生间，尽显山海雄奇又清寂的高旷意境。\n\n卷尾题诗与画意呼应，书画合璧，把缥缈出尘的山海胜境，凝作可赏可游的具象图景，将诗意中的仙幻空灵落于笔端，尽显山海灵奇，是诗画交融的精妙佳构。",[24,25,186,30,53,27,132,1376,7,56,188,29,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e07fc6c731d6d48ebf6f49830545eac.jpg",[],{"id":4552,"slug":4553,"title":4554,"dynasty":18,"author":4555,"museum":89,"description":4556,"tags":4557,"thumbUrl":4560,"material":543,"size":4561,"collection":40,"collections":4562,"showCount":4525,"zanCount":11,"manualWeight":11,"mainColor":82},237436,"bi-shu-qing-bo-zhou-wen-jia-237436","碧树晴波轴","文嘉","文嘉（1501年～1583），字休承，號文水，南直隸蘇州府長洲（今江蘇蘇州）人。大書畫家文徵明次子。\n吳門派代表畫家。初為烏程訓導，後為和州學正。\n能詩，工書，小楷清勁，亦善行書。精於鑑別古書畫，工石刻，為明一代之冠。畫得徵明一體，善畫山水，筆法清脆，頗近倪瓚，着色山水具幽澹之致，間仿王蒙皴染，亦頗秀潤，兼作花卉。明人王世貞評：“其書不能如兄，而畫得待詔（文徵明）一體。”詹景鳳亦云：“嘉小楷輕清勁爽，宛如瘦鶴，稍大便疏散不結束，徑寸行書亦然，皆不逮父。”",[24,25,26,53,54,257,30,36,161,4558,35,367,134,259,4559,7,74],"水波","平台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9d9fc885c6617d281bea024eab1ab57.jpg","长88cm 宽32.5 cm",[40],{"id":4564,"slug":4565,"title":4566,"dynasty":69,"author":675,"museum":89,"description":4567,"tags":4568,"thumbUrl":4569,"material":499,"size":4570,"collection":120,"collections":4571,"showCount":4525,"zanCount":11,"manualWeight":11,"mainColor":82},234070,"song-xi-fan-yue-tu-ye-xia-gui-234070","松溪泛月图页","夏圭《松溪泛月图》是《宋元集萃册》中之一开，纨扇式小品画。图中绘清朗的月夜，数人乘一叶扁舟畅游湖上，微风徐拂，月明如镜，水天一色，在一派澄净中，只有溪流与松风的和奏飘荡在水面上。\n简洁的用笔，渲染出深远的意境，四位点景人物以寥寥数笔绘出，亦觉生动形象。\n边角剪裁的构图，空灵巧妙，情景交融，富有浓浓诗意，显示出含蓄蕴藉的艺术魅力。作者以极为简括的构图和痩劲的线条反映了文人士大夫在当时的时代背景下追求心灵自由、亲近自然山水的诉求，艺术风格朴素清逸，可称是夏圭山水画的代表作品。\n夏圭（生卒年不详），一作夏珪，字禹玉，钱塘（今浙江杭州）人。南宋画家，与李唐、刘松年、马远并称“南宋四大家”。宁宗时任画院待诏，赐金带。善画山水，属水墨苍劲一派，喜用秃笔，下笔凝重，继承发展了李唐的大斧劈皴。取景简练，常以半边景物表现空间，与马远有异曲同工之妙，有“马一角，夏半边”之称。",[24,73,25,393,53,27,54,30,7,33,116,509,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b1dcf60be19a97c3123327632de9860.jpg","24.7×25.2cm",[],{"id":4573,"slug":4574,"title":4575,"dynasty":49,"author":4576,"museum":147,"description":4577,"tags":4578,"thumbUrl":4582,"material":76,"size":4583,"collection":120,"collections":4584,"showCount":4525,"zanCount":11,"manualWeight":11,"mainColor":82},232636,"jin-ji-tu-li-zhou-chen-lin-232636","锦鸡图立轴","陈琳","陈琳，（生卒年不详），字仲美，钱塘（今浙江杭州）人。南宋画院待诏珏子，琳世其叶。善画花鸟、山水、人物\n陈琳得赵孟頫指授，多所资益，故其画不俗，尤善临摹古迹。\n陈琳存世花鸟画仅有一件，即《溪凫图》（台北故宫博物院），作于大德五年(1301)，是在赵孟頫松雪斋中画成的。画中有赵孟頫的润饰和题字，称这幅画为陈琳的游戏笔墨，推重备至。作品特色鲜明，工笔略带写意，粗细兼用，笔墨潇洒流畅，浓淡墨色富于变化，形象生动，风格古朴，具有文人水墨写意画的韵致。这幅画既反映了陈琳的绘画特色，也代表了元代花鸟画嬗变的时代特征。陈琳还有山水画传世，如《秋山行旅图》、《苍崖古树图》等，都属于水墨写意画法。",[23,24,26,27,28,667,7,4579,805,36,640,35,4580,4581],"锦鸡","元代风格","传统技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70a7d3753eac78e2098c6e0fef1789f7.jpg","117x70厘米",[],{"id":4586,"slug":4587,"title":4588,"dynasty":18,"author":413,"museum":147,"description":4589,"tags":4590,"thumbUrl":4591,"material":120,"size":120,"collection":120,"collections":4592,"showCount":4525,"zanCount":11,"manualWeight":11,"mainColor":44},230992,"shao-yao-tu-tang-yin-230992","烧药图","《烧药图》是明朝诗人唐寅所作诗词。\n明 人来种杏不虚寻，彷佛庐山小径深。\n常向静中参大道，不因忙里庆清呤。\n愿随化雨之春泽，未许云间一片心。\n老我近来多肺疾，如另紫雪把 。",[73,24,25,186,53,27,54,29,188,34,31,30,7,288,35,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e987fb42398f70635b32fd13cd9023.jpg",[],{"id":4594,"slug":4595,"title":4596,"dynasty":49,"author":2456,"museum":147,"description":4597,"tags":4598,"thumbUrl":4599,"material":120,"size":120,"collection":120,"collections":4600,"showCount":4525,"zanCount":11,"manualWeight":11,"mainColor":82},228245,"xian-shan-lou-ge-tu-quan-juan-chang-juan-chen-ru-yan-228245","仙山楼阁图全卷（长卷）","此作用色古雅沉静，以青绿晕染层叠山峦，石质坚凝、林壑深秀，苍松错落植于岩岫之间，古意盎然。楼阁屋舍隐于林泉幽处，烟霞缈缈间，勾勒出超脱尘俗的世外仙乡意境。\n\n笔致精细秀润，既承唐宋青绿山水的明艳厚重，又融入元人写意的简逸格调，将洞天福地的灵逸之气晕染于绢素之上。拖尾题跋与画作相映成趣，文墨合璧，更添古雅意蕴，尽显画中幽居绝尘的雅逸之美。",[23,24,25,186,115,27,30,94,32,33,7,35,135,92,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5759faa7d805c7b52e01d396e95034f3.jpg",[],{"id":4602,"slug":4603,"title":4604,"dynasty":49,"author":1820,"museum":147,"description":4605,"tags":4606,"thumbUrl":4607,"material":120,"size":120,"collection":120,"collections":4608,"showCount":4525,"zanCount":141,"manualWeight":11,"mainColor":82},228043,"fan-zhou-tu-ye-sheng-mao-228043","泛舟图页","层岩峻拔耸峙，细密皴笔勾勒出山石嶙峋肌理，峰巅林木点染，翻涌云气半掩山峦，晕开缥缈出尘的幽远意境。下方碧波湍流，古松虬曲苍劲，旁生花树缀满淡蓝繁花，为幽寂晕开一抹清润生机。\n\n扁舟之上，隐者凭舷闲坐，纵览烟霞林泉。全作设色清雅古拙，构图疏密得宜，将山海林泉的静穆幽远，与幽人悠游林下的自在相融，以景托志，尽显尚意抒情的特质，绘出超脱世俗的林下风流。",[23,24,25,27,53,30,116,33,31,7,35,28,4267,4163,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F279077b856a63fb919bda2ad8a79d75b.jpg",[],{"id":4610,"slug":4611,"title":4612,"dynasty":69,"author":88,"museum":147,"description":4613,"tags":4614,"thumbUrl":4616,"material":120,"size":120,"collection":120,"collections":4617,"showCount":4525,"zanCount":11,"manualWeight":11,"mainColor":194},227934,"qing-shan-bai-yun-tu-yi-ming-227934","青山白云图","近岸苍松虬曲古雅，枝桠探向水面，滩石错落，静水无波晕染出空濛雾气。远山隐现于烟岚之中，以淡墨轻擦出朦胧山形，留白托出云气舒卷的清旷。\n\n画侧题诗与山水呼应，行书隽秀飘逸，以诗点题，将青山朝暮、白云青松的幽寂山居铺陈在尺幅团扇间。墨色温雅清润，寥寥数笔便勾勒出世外林泉的闲逸意趣，尽显以小见大、诗画合璧的雅致审美，把文人心中的栖居理想藏在淡墨烟霞里。",[23,24,25,678,30,53,54,4615,818,7,36,35,135,509,95,1169],"青山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c120fff0efbccec8c077e1732729a70.jpg",[],{"id":4619,"slug":4620,"title":4621,"dynasty":87,"author":4622,"museum":147,"description":4623,"tags":4624,"thumbUrl":4625,"material":99,"size":4626,"collection":103,"collections":4627,"showCount":4525,"zanCount":11,"manualWeight":11,"mainColor":82},224539,"xie-qin-you-shan-tu-zhang-gu-224539","携琴游山图","章谷","绘山峰险峻，山中松柏高大遒劲，山涧中一道清流顺山而下，数座房屋隐现于山中，山脚溪流奔腾不息，山路上一童子手抱古琴紧随一老者前行。章谷，清代善画山水和人物肖像，书法工篆、隶书",[23,24,25,73,26,30,54,53,35,7,55,175,161,36,32,31,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddea37d7d189707368095454cc36c726.jpg","纵211.7CM 横90CM",[103],{"id":4629,"slug":4630,"title":4631,"dynasty":87,"author":271,"museum":20,"description":4632,"tags":4633,"thumbUrl":4635,"material":989,"size":4636,"collection":120,"collections":4637,"showCount":4525,"zanCount":11,"manualWeight":11,"mainColor":44},223101,"fang-fan-kuan-qiu-shan-pu-bu-zhou-tang-dai-223101","仿范宽秋山瀑布轴","图绘峰峦高耸，幽谷溪流，缥缈的岚气中，有瀑布奔泻而下。\n是文人雅士卧游的理想之地。构图极富变化，笔墨精妙，设色点缀恰到好处。",[23,73,24,25,26,27,54,274,30,4634,55,7,35,74,32,36,135],"秋山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5329ade25972de17d15cf4d5af47324.jpg","325.8x89.5",[],{"id":4639,"slug":4640,"title":4641,"dynasty":87,"author":2278,"museum":20,"description":4642,"tags":4643,"thumbUrl":4645,"material":190,"size":4646,"collection":40,"collections":4647,"showCount":4525,"zanCount":11,"manualWeight":11,"mainColor":82},219538,"feng-nian-rui-xue-tu-xiao-chen-219538","丰年瑞雪图","画面冰天雪地，天寒地冻，一片雪花映照好年景。 河岸有竹屋，雪重柳。 木桥过河，两人缓步走来，一个打着伞，一个戴着帽子，戴着兜帽。",[24,25,26,27,28,30,365,94,32,33,31,4644,7,35,175,36],"垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F938f0ddeacfed55963e5531bd7262d12.jpg","109.8x56.1厘米",[40],{"id":4649,"slug":4650,"title":4651,"dynasty":87,"author":4652,"museum":20,"description":4653,"tags":4654,"thumbUrl":4655,"material":59,"size":4656,"collection":101,"collections":4657,"showCount":4525,"zanCount":220,"manualWeight":11,"mainColor":44},219442,"ling-xian-zhu-shou-tu-zhou-qian-zai-219442","灵仙祝寿图轴","钱载","虬松盘空，松针攒簇如墨星缀枝，枝干皴擦见苍劲老骨；旁逸修竹数竿，叶影疏斜带清韵。坡间灵菌隐现，伴以细草繁花，笔墨细劲却含生机，淡墨晕染衬出野趣。全图以水墨写就，浓淡干湿相生，于清雅笔墨间藏祝寿吉意。既有文人画的疏朗气韵，又含对福寿康宁的温婉期许，帧中留白更显意境悠远。观之如沐林下清风，心随画境渐宁，仿佛能闻松涛竹语，见灵秀之气漫溢纸间，笔墨里的雅致与吉庆悄然相融，尽显传统文人画的韵致与温度。\u003C\u002Fthink_never_used_51bce0c785ca2f68081bfa7d91973934>",[24,25,73,26,53,28,7,302,2694,640,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e85c969be4769322ad7f0290fce1fef.jpg","185.3x79.3",[101],{"id":4659,"slug":4660,"title":4661,"dynasty":87,"author":4662,"museum":147,"description":4663,"tags":4664,"thumbUrl":4666,"material":120,"size":120,"collection":40,"collections":4667,"showCount":4668,"zanCount":11,"manualWeight":11,"mainColor":44},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。",[24,27,30,54,131,132,162,161,31,1963,35,7,1543,34,32,690,175,3682,3197,4665,115,53,26],"笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa922d4fea8744735b2bda1b5ca2a1160.jpg",[40,103],31,{"id":4670,"slug":4671,"title":4672,"dynasty":87,"author":3790,"museum":147,"description":4673,"tags":4674,"thumbUrl":4675,"material":120,"size":120,"collection":120,"collections":4676,"showCount":4668,"zanCount":11,"manualWeight":11,"mainColor":44},239285,"song-shu-tu-zhou-wu-chang-shuo-239285","松树图轴","此作用篆籀笔法写就老松，主干以苍辣浓墨挥扫，嶙峋树皮尽显饱经岁月的古拙质感，松针攒簇如戟，笔力沉雄凝练，仿佛将穿林风骨锁于纸间。\n\n右侧长款行草笔势奔腾跌宕，与画面笔墨意趣融为一体，诗书画印相映成趣。暑日挥毫，汗透衣衫仍笔底生风，将老松傲骨峥嵘的姿态尽致展现，苍郁雄浑的气韵扑面而来，尽显吴氏金石写意的典型风貌，把文人笔墨意趣与古松坚韧生机完美相融。",[24,25,26,53,7,188,34,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69e5299d3cfddb23c06d20f3f2c9ff8b.jpg",[],{"id":4678,"slug":4679,"title":4680,"dynasty":18,"author":4681,"museum":147,"description":4682,"tags":4683,"thumbUrl":4684,"material":120,"size":120,"collection":40,"collections":4685,"showCount":4668,"zanCount":11,"manualWeight":11,"mainColor":82},237905,"shan-shui-ren-wu-zhou-peng-shun-qing-237905","山水人物轴","彭舜卿","乾隆庚戌年间画家",[73,24,25,26,53,27,30,31,116,7,35,485,54,317],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b7e18d3fc7112b55080a3774d15b883.jpg",[40],{"id":4687,"slug":4688,"title":4689,"dynasty":87,"author":4690,"museum":89,"description":4691,"tags":4692,"thumbUrl":4694,"material":99,"size":4695,"collection":103,"collections":4696,"showCount":4668,"zanCount":11,"manualWeight":11,"mainColor":82},237494,"ti-shan-tu-zhou-yu-zhi-ding-237494","题扇图轴","禹之鼎","本幅右上自题“题扇图”，“都门客窗摹刘松年笔意。恭颂定翁老先生荣寿千春，广陵禹之鼎。”钤“慎斋禹之鼎”白文印，“广陵涛上渔人”朱文印，左下钤朱方印“必逢佳士亦写真”。\n据题款“都门客窗”知此图为画家寓居京城时期所作，从画风判断应为其早年摹诸家技法时的作品。图中所绘为“羲之题扇赠老姥”的故事。书圣王羲之见乡间老妇苦于生计，便为其所卖之扇题字，嘱老妇言“是王右军书，以求百钱”。老妇哪知其中奥妙，面露迟疑，不想人们竞相购买，一时传为佳话。\n此图青绿设色。画面上石崖高耸突兀，两棵古松挺拔苍劲，喻“益寿延年”。图中羲之坐于石桌旁落笔题字，老妇目露期盼，僮仆于溪畔洗砚，主题鲜明，生动自然。山水、人物用笔精细，设色艳丽明快，追求南宋院体画工整严谨的风格。",[24,25,26,27,28,31,7,35,779,4693,202,3048,1519,3011],"桌子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7da342761f02fee861163ccd509fa22e.jpg","纵132厘米，横55.8厘米",[103],{"id":4698,"slug":4699,"title":4700,"dynasty":87,"author":1811,"museum":20,"description":4701,"tags":4702,"thumbUrl":4704,"material":543,"size":120,"collection":40,"collections":4705,"showCount":4668,"zanCount":141,"manualWeight":11,"mainColor":44},237076,"xia-shan-tu-zhou-wang-jian-237076","夏山图轴","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。\n王鉴出生于书香门第，为明代著名文人王世贞曾孙，家藏古今名迹甚富，丰富的家藏，为王鉴学习临摹历代名画真迹提供了良好的条件。摹古工力很深，笔法非凡，擅长山水。与王时敏、王翚、王原祁、恽寿平、吴历齐名，并称四王吴恽或清初六家，成为画坛正宗。为“清初六家”之一。\n与明末北方著名书画收藏家睢阳袁枢（袁可立子）交从甚密，袁以收藏董源、巨然作品为最，王鉴从中受益者颇多，书画往来相互题赠。王鉴《仿巨然真迹图》：“董宗伯所藏巨然真迹，今归袁环中（袁枢）使君，昨在其署中出此相示。”\n王鉴和王时敏、袁枢一样，早年曾经得到过董其昌的亲自传授，他一生的画业就是沿着董其昌注重摹古的方向发展，继续揣摩董源、巨然、吴镇、黄公望等诸多前辈大家的笔意，仿古吸收并转化古人的笔墨结构，形成了自己丰富的山水画语言。\n王鉴画的坡石取法黄公望，点苔学吴镇，用墨学倪瓒。尤其是他的青绿设色山水画，缜密秀润，妩媚明朗，综合了沈周、文征明清润明洁的画风，清雅的书卷气跃然纸上，历来为后人所称道。擅长山水，远法董（源）、巨（然），近宗王蒙、黄公望。运笔出锋，用墨浓润，树木丛郁，后壑深邃，皴法爽朗空灵，匠心渲染，有沉雄古逸之长。间作青绿重色，亦能妍丽融洽。信云林山水意极绵密。仿山樵山水，仿赵大年《春景》没骨山水、仿洪谷子设色山水，疏密奇正，纯以篆法写轮廓。仿子久《秋木山色图》《仿黄公望烟浮远岫图》、摹沈石田山水、仿董源《秋山图》仿范华设色山水、仿巨然山水，骨重气轻。其作品大多摹古，信效名家，缺乏独创，并具有浓厚的复古思想和形式主义画风。",[24,25,73,26,27,54,30,150,74,36,7,302,56,4703],"水岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71226ba5bbfe4157e33f7a5a4fc9a2aa.jpg",[40],{"id":4707,"slug":4708,"title":4709,"dynasty":18,"author":128,"museum":20,"description":4710,"tags":4711,"thumbUrl":4712,"material":543,"size":120,"collection":120,"collections":4713,"showCount":4668,"zanCount":141,"manualWeight":11,"mainColor":44},231420,"fang-gu-shan-shui-ce-di-er-kai-fang-yan-wen-gui-bi-yi-dong-qi-chang-231420","《仿古山水册》第二开：仿燕文贵笔意","天启二年（1622），董其昌看了北宋燕文贵（967-1044）画卷而倣作此图，但改采立轴表现。画中几株秀树聚于带有倾侧之势的山石上；中景处大胆移置一段远山；画幅上部的远景却出现了视觉比例上更接近观者的中景山石坡林。全作笔墨秀润，构思状似平淡却大胆奇特，为其传世佳作。",[24,25,215,274,54,27,30,367,7,35,33,34,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9af16821e2b753ddcf5d5ee76ac26bc.jpg",[],{"id":4715,"slug":4716,"title":4717,"dynasty":49,"author":624,"museum":20,"description":4718,"tags":4719,"thumbUrl":4721,"material":59,"size":4722,"collection":120,"collections":4723,"showCount":4668,"zanCount":141,"manualWeight":11,"mainColor":44},231413,"qun-feng-xue-ji-tu-cao-zhi-bai-231413","群峰雪霁图","《元曹知白群峰雪霁图》是元代大画家曹知白晚年创作的一幅纸本水墨中国画作品，该作尺寸纵129.7公分，横56.4公分，现藏 。\n在技法上已经达到了融会贯通的境界。\n画面的左下方，几株松树巍然矗立，在这银装素裹的冰雪世界里更显现出一派凛然不屈的丈夫气概；从构图上看，又与右侧庭榭周围的另外几株树遥相呼应。\n在这幅作品中，画家通过对树木长短远近、虚实疏密的变化处理，使画面产生出强烈的纵深效果，进而使景象开阔，意境深幽。\n此作虽然是描绘雪景，却没有给人萧瑟荒凉的感受，相反，在这冰天雪地的景色之中，似乎还隐约能够感受到一丝融融的春意。\n一道在山崖间飞泻直下的流泉，虽然只是一处看似寻常的点缀之笔，却为画面增添了动感，使作品有声有色，更富有观赏情趣。\n此作的构图布局采用的是“高远法”，整体山势不以险峻取胜。\n平稳和缓的峰峦，带有明显的江南景象的特征，重重叠叠，层层递进，大有江山无尽之感。\n【名称】元曹知白群峰雪霁图 【类别】中国 【 【 【 【简介】 图轴，纸本，水墨画，纵：129.7公分，横：56.4公分。\n该画以白颜色为主要色调，技法表现看似简单，实则匠心独运，法度森严，虚实得当，计白当黑，尤其是在水榭、树木这些细微之处更见功夫。\n用笔简约疏朗，刚柔相济；用墨润燥相间，清淡温和；巧妙地把北方山水所特有的苍浑巍峨的“河朔气象”融入恬淡雅逸的江南景色的韵味，形成了柔美、宁静、凝重的风格。\n观者在一望之间，即能体会到北方山川的厚重沉稳，也能品味出南方山水的内在之美。\n另外，有学者认为「雪图」，可能是 早年精仿宋人之作。\n曹知白（1272-155年），字又玄，一字贞素，号云西，华亭（今属上海松江）人。\n工诗文，善画山水，画法师李成、郭熙，笔墨清润，全无俗气。\n晚年笔法苍简，自成一格。\n对后世绘画有一定的影响。",[24,3520,256,26,54,34,4720,365,55,36,175,150,485,367,7],"群峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a999b20c2e336d2ab5e434cb134b279.jpg","纵129.7厘米，横56.4厘米",[],{"id":4725,"slug":4726,"title":4727,"dynasty":69,"author":199,"museum":147,"description":4728,"tags":4729,"thumbUrl":4730,"material":120,"size":120,"collection":120,"collections":4731,"showCount":4668,"zanCount":11,"manualWeight":11,"mainColor":82},227826,"she-se-shan-shui-tu-ma-yuan-227826","设色山水图","《黄宾虹浑厚华滋的山水画》内容简介：黄宾虹是一位学者型的画家，也是我国杰出的山水画大师。\n他既师古人，更师造化。\n其山水画色调浓黑，浑厚华滋。\n他的山水画黑、密、厚、重，淋漓尽致、大气磅礴，而具有浑厚华滋、意境深邃的特色。\n黄宾虹山水画特别强调线条质量，他以金石篆书的线条来强化画的风骨，使之苍劲老辣、浑厚古拙。\n《黄宾虹浑厚华滋的山水画》由 出版。\n黄宾虹作为中国近现代绘画史上高标独立的画家，其一生经历丰富，学养深厚。\n在文史研究及中国画实践中造诣非凡。\n本图书以图文并茂的形式，充分诠释黄宾虹将古典山水绘画向近现代山水绘画转变的伟大界标作用。\n在古典与现代关捩处 黄宾虹早期山水作品 拟龚贤山水图册 拟古人山水图册之一 拟古人山水图册之二 拟古人山水图册之三 拟古人山水图册之四 拟古人山水图册之五 拟古人山水图册之六 仿宋人画意图轴 临倪瓒山水图轴 林亭孤坐图轴 溪山亭树图轴 丹崖翠壁图轴 江上雨霁图轴 古木幽岸图轴 曲径云峰图轴 轻舟夜色图轴 歙县渔梁图册 设色山水屏之一 设色山水屏之二 设色山水屏之三 设色山水屏之四 山疏水浅图轴 拟宋人画意图轴 松阴听泉图轴 登高望远图轴 黄宾虹中期山水作品 临王维画稿 临赵令穰、关仝画稿 临赵孟烦画稿 临巨然、高克恭画稿 临董源画稿 临范宽画稿 临王维、荆浩画稿 临黄公望画稿 临黄公望、马远画稿 临李唐画稿 临郭熙画稿 临米芾画稿之一 临米芾画稿之二 临范宽画稿 临李成画稿 临倪瓒画稿 临马远画稿之一 临马远画稿之二 黄山写生画稿之一 黄山写生画稿之二 黄山写生画稿之三 黄山写生画稿之四 黄山写生画稿之一 黄山松写生画稿之一 黄山松写生画稿之二 黄山松写生画稿之三 黄山松写生画稿之四 鼋峰写生画稿 江郎山写生画稿 武夷写生画稿之一 武夷写生画稿之二 武夷写生画稿之三 武夷写生画稿之四 武夷写生画稿之五 武夷写生画稿之六 武夷写生画稿之七 武夷写生画稿之八 武夷写生画稿之九 武夷写生画稿之十 武夷写生画稿之十一 武夷写生画稿之十二 武夷写生画稿之十三 武夷写生画稿之十四 桂林写生画稿 香港九龙写生画稿之一 香港九龙写生画稿之二 香港九龙写生画稿之三 香港九龙写生画稿之四 临安写生画稿之一 临安写生画稿之二 临安写生画稿之三 南海写生画稿之一 南海写生画稿之二 四川写生画稿之一 四川写生画稿之二 设色山水图册 奔泉图轴 设色山水图册之一 设色山水图册之二 设色山水图册之三 设色山水图册之四 设色山水图册之五 设色山水图册之六 丛林折瀑图轴 深山烟岚图轴 松山静坐图轴 古寺松云图轴 设色山水图轴 湘水秋山图轴 浙东纪游图轴 设色山水图轴 金华万罗山居图轴 设色山水图册 山居车水图轴 设色山水图轴 峨山风景图轴 雁荡三折瀑图轴 拟宋人江山无尽图轴 设色山水图册 设色山水图册之一 设色山水册图之二 设色山水图册之三 设色山水图册之四 设色山水图轴 黄宾虹晚期山水作品 栖霞晓望图轴 深山古寺图轴 设色山水图轴 水墨山水图轴 烟霭空漾图轴 设色山水图轴 设色山水图轴 设色山水图轴 设色山水图轴（背面画） 设色山水图横幅 设色山水图册 设色山水图册 设色山水图册之一 设色山水图册之二 设色山水图轴 设色山水图轴 设色山水图轴 设色山水图横幅 设色山水图轴 玉泉纪游图轴 用范宽法山水图轴 设色山水图轴 水墨山水图轴 水墨山水图轴 设色山水图轴 焦墨山水图轴 设色山水图轴 水墨山水图横幅 蜀中山水图轴 雨景山水图轴 拟巨然山水图轴 湖山初霁图轴 溪桥烟雨图轴 溪桥烟霭图轴 水墨山水图横幅 水墨山水图横幅 设色山水图轴 水墨山水图轴 雁荡诸峰图轴 桃花溪图轴 拟元人简笔山水图轴 拟程邃山水图轴 夜山图轴 设色山水图轴 设色山水图轴 设色山水图册之一 设色山水图册之二 设色山水图册之三 设色山水图册之四 设色山水图册之五 设色山水图册之六 设色山水图册之七 设色山水图册之八 设色山水图册之九 设色山水图册之十 设色山水图册之十一 设色山水图册之十二 设色山水图册之十三 设色山水图册之十四 设色山水图册之十五 设色山水图册之十六 行松盘岭图轴",[23,24,25,678,27,30,94,7,116,35,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd31156cf1201e56c7733b85aa29d871a.jpg",[],{"id":4733,"slug":4734,"title":4735,"dynasty":87,"author":1687,"museum":147,"description":4736,"tags":4737,"thumbUrl":4738,"material":120,"size":120,"collection":120,"collections":4739,"showCount":4668,"zanCount":11,"manualWeight":11,"mainColor":44},224443,"fang-li-song-gu-mu-he-qun-wang-hui-224443","仿李嵩古木鹤群","此作画境清寂古雅，半边绘苍虬古木，枝干蟠曲交错，松针层叠如织，丹鹤或栖于枝梢理羽，或振翼掠林，姿态闲逸舒展。另一半以浅绛晕染出山峦坡陀，淡绿点染草木苔痕，空灵淡远。\n\n工写兼施法追摹古意，将院体精工与文人画淡逸相融，设色柔润清和。苍木古拙硬挺，衬出丹鹤秀雅灵动，山林幽寂与天际空阔相生，将林下闲逸的幽情藏于尺幅之间，引人坠入清远出尘的林泉之境。",[24,25,28,27,54,274,34,288,95,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd25c7958a10ee40cc2e1e5c90df00a4.jpg",[],{"id":4741,"slug":4742,"title":4743,"dynasty":87,"author":3539,"museum":362,"description":4744,"tags":4745,"thumbUrl":4746,"material":38,"size":4747,"collection":40,"collections":4748,"showCount":4668,"zanCount":11,"manualWeight":11,"mainColor":44},219855,"qiu-shan-tu-xiao-yun-cong-219855","秋山图","萧云从(1596年-1673年) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。",[23,24,25,186,27,30,54,188,29,34,31,94,36,35,33,161,7,367,261,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac94aed01aba754dc8c5c87a314abc26.jpg","27.5x224cm",[40],{"id":4750,"slug":4751,"title":4752,"dynasty":49,"author":2869,"museum":20,"description":4753,"tags":4754,"thumbUrl":4755,"material":76,"size":4756,"collection":101,"collections":4757,"showCount":4668,"zanCount":11,"manualWeight":11,"mainColor":44},219637,"song-jian-heng-qin-tu-zhu-de-run-219637","松涧橫琴图","这幅小品以边角构图铺展幽致，古松虬曲苍劲，枝干如铁铸般舒展，松针攒簇尽显老辣风骨。涧水轻流隐于石畔，林下三人身姿写意灵动，一人转轴拨弦，两人凝神静听，茶盏置于石上，松风裹着琴音漫过溪谷。\n\n笔墨简淡清逸，枯笔皴擦出松干嶙峋肌理，淡墨晕染空濛远水，人物简笔勾勒却神态宛然，将文人士大夫幽居林泉、鸣琴寄怀的雅趣尽显无余。题款错落雅致，与画面浑融一体，淡远疏朗间藏着静穆萧散的文人襟怀，是水墨小品中寄兴抒怀的绝佳之作。",[23,24,73,25,53,54,30,7,33,31,203,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44ae67e46a51dca0820b767303d728b9.jpg","24.7x26.9厘米",[101],{"id":4759,"slug":4760,"title":4761,"dynasty":69,"author":4762,"museum":299,"description":4763,"tags":4764,"thumbUrl":4765,"material":190,"size":4766,"collection":120,"collections":4767,"showCount":4668,"zanCount":141,"manualWeight":11,"mainColor":44},216921,"xiang-shan-jiu-lao-tu-3-ma-xing-zu-216921","香山九老图-3","马兴祖","画的是唐贞观五年，白居易率领九位老者在河南洛阳的斗姆山聚会和宴请的故事。马兴祖是南宋画家，是马远的祖父，他的作品有花鸟、人物、山水和各种画作，特别擅长做精细的艺术家。此卷是由后来的艺术家复制的，与马兴祖没有关系。",[23,24,73,25,186,28,27,54,31,288,7,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22d337f51df2c79cfd347b373f8b121f.jpg","27.1x217.2",[],{"id":4769,"slug":4770,"title":4771,"dynasty":69,"author":88,"museum":20,"description":4772,"tags":4773,"thumbUrl":4774,"material":190,"size":4775,"collection":78,"collections":4776,"showCount":4777,"zanCount":11,"manualWeight":11,"mainColor":82},289747,"song-yue-tu-zhou-yi-ming-289747","松月图轴","此画以古松为骨，虬干扭转斜出，鳞皴苍劲，松针攒簇如黛，垂丝摇曳间尽见古拙风姿。近岸坡石上，高士席地闲坐，侍童默立身侧，似共赴松间夜话，静揽山月清辉。远景山峦以淡墨晕染，林庐隐在烟岚之中，溪桥轻架水岸，虚实相映间晕开空濛夜色。\n\n笔墨简逸苍劲，干湿浓淡层次分明，将松间幽寂的清旷之境铺陈开来，把林泉高致的隐逸襟怀藏于水墨留白中，观之如踏入松月夜境，浸沉在清远淡宕的古雅意趣里。",[24,53,26,30,7,31,440,509,1499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb2c182bc3c9569195506d170a7daf1a.jpg","129.8x74",[78],30,{"id":4779,"slug":4780,"title":4781,"dynasty":87,"author":88,"museum":147,"description":4782,"tags":4783,"thumbUrl":4786,"material":118,"size":119,"collection":120,"collections":4787,"showCount":4777,"zanCount":11,"manualWeight":11,"mainColor":44},288000,"sheng-ping-le-shi-tu-ce-bai-xiang-hua-deng-yi-ming-288000","升平乐事图册-白象花灯","松荫庭院里，仕女怀幼凭栏，笑看阶前稚童嬉游牵灯。白象花灯驮负宝幢璎珞，瑞气盈盈。画作设色明柔秀雅，线条婉丽细腻，将孩童的娇憨灵动、仕女的温婉沉静一一铺陈，处处透着工致细腻。寻常阖家赏灯的升平暖意，在绢素间晕染开来，把旧时上元佳节的融融喜乐定格，尽显雅致韵致，将岁时节庆的温情意趣娓娓道来。",[24,215,27,28,31,885,643,1126,4784,639,7,4785],"花灯","喜庆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b0a7ebacab67c70fb04c55841643bea.jpg",[],{"id":4789,"slug":4790,"title":4791,"dynasty":87,"author":4792,"museum":89,"description":4793,"tags":4794,"thumbUrl":4795,"material":120,"size":120,"collection":40,"collections":4796,"showCount":4777,"zanCount":11,"manualWeight":11,"mainColor":44},236883,"shan-shui-ce-zhuang-zhou-zou-zhe-236883","山水册装轴","邹喆","邹喆，生卒年不详，清代画家。字方鲁，江苏吴县人。自幼随父亲客游金陵。他的画宗其父，山水工稳而有古气，富简淡清逸的情趣。兼长水墨花卉，勾勒敷彩渲染有元人王渊的体格。“金陵八家”之一",[24,25,215,53,54,30,7,35,135,94,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9508b3d511d77b3b1bf9fcd09d4a6ac.jpg",[40,62],{"id":4798,"slug":4799,"title":4800,"dynasty":87,"author":3737,"museum":20,"description":4801,"tags":4802,"thumbUrl":4803,"material":4804,"size":4805,"collection":40,"collections":4806,"showCount":4777,"zanCount":11,"manualWeight":11,"mainColor":44},222821,"chi-song-huang-shi-er-xian-tu-zhou-xu-yang-222821","赤松黄石二仙图轴","绘赤松一板凳，粗壮笔真，松枝弯曲自然，松针繁多清晰；黄石耸立，形状奇异；地面翠竹、杂草生机勃勃。",[23,24,26,27,28,7,302,344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F053720c8ce76759a8f675e7ff855123d.jpg","设色 纸本","172.1x71厘米",[40],{"id":4808,"slug":4809,"title":4810,"dynasty":49,"author":88,"museum":20,"description":4811,"tags":4812,"thumbUrl":4813,"material":76,"size":4814,"collection":40,"collections":4815,"showCount":4777,"zanCount":11,"manualWeight":11,"mainColor":82},219492,"qiu-shan-tu-zhou-yi-ming-219492","秋山图轴","危崖层叠高耸，以干笔皴擦勾绘山石肌理，浓墨点苔醒出苍劲质感，留白铺陈云雾，将上下景境轻隔，铺就空濛辽远的秋山底色。山涧飞泉垂落，撞碎岑寂。近岸处苍松交柯、红叶点染，秋意漫溢林泉。水畔茅亭临波，白衣二人策杖晤谈，林下闲逸尽落画卷。\n笔墨糅合干皴湿染，既刻画出丘壑静穆之态，又晕开秋日山岚的氤氲柔韵，将山川灵秀与文人寄情林泉的雅怀相融，尽显简淡萧散的林下意趣。",[24,25,26,53,54,30,36,55,135,161,31,35,7,3197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37dad853c0db062ff1df66acbf38cd7f.jpg","115.3x36.9公分，全幅58公分",[40],{"id":4817,"slug":4818,"title":4819,"dynasty":87,"author":4820,"museum":20,"description":4821,"tags":4822,"thumbUrl":4823,"material":190,"size":4824,"collection":384,"collections":4825,"showCount":4777,"zanCount":11,"manualWeight":11,"mainColor":44},219389,"bai-ying-zhou-ai-qi-meng-219389","白鹰轴","艾启蒙","白鹰昂首立于岩巅，翎羽皎洁若初雪，纹理细密如织，双目炯炯透着凛凛锐气。旁侧红叶灼灼似燃，与苍劲山石相映，添几分艳色却不掩清旷。山石皴法古拙，枯枝虬劲，而白鹰造型写实入微，翎羽的轻盈与岩石的厚重形成张力。中西技法相融，既得禽鸟生动之态，又存传统山水的古雅意境。淡远的背景晕染出空濛，更衬出主体的傲然独立，整幅画气韵生动，尽显自然灵趣与生命的雄健风骨。",[24,26,27,28,793,57,261,56,7,1277,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11345bfb0ef7050087f410e403155550.jpg","179.2x95",[384],{"id":4827,"slug":4828,"title":4829,"dynasty":69,"author":88,"museum":711,"description":4830,"tags":4831,"thumbUrl":4832,"material":190,"size":4833,"collection":40,"collections":4834,"showCount":4777,"zanCount":11,"manualWeight":11,"mainColor":44},218634,"zhang-song-lou-tai-tu-yi-ming-218634","长松楼台图","长松倚崖而立，虬干如铁，松针密簇，苍劲中藏秀逸之态。山间楼阁隐于林麓，飞檐翘角，廊柱分明，尽显匠作之精。远山层叠，云雾轻萦，墨色由近及远渐淡，留白处意蕴悠长。近景山石皴法细腻，纹理毕现；远景写意晕染，天地清旷。笔墨刚柔相济：树石之劲健与云雾之轻柔相映，楼台之工整与山水之雄浑相衬。画面静谧悠远，似有松涛穿林，山风拂檐，将宋时文人对自然的眷恋凝于尺幅。虽为小品却含大气象，尽显“天人合一”的审美意趣，笔墨间藏着宋画独有的清旷与雅致，观之如临幽境，忘尘俗之扰。",[23,24,25,678,27,92,30,7,94,35,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24d5aa0817149a9d7ed920480d9f97cf.jpg","24.8x23.5",[40],{"id":4836,"slug":4837,"title":4838,"dynasty":69,"author":4839,"museum":299,"description":4840,"tags":4841,"thumbUrl":4842,"material":59,"size":4843,"collection":101,"collections":4844,"showCount":4777,"zanCount":141,"manualWeight":11,"mainColor":44},217974,"shi-liu-ying-zhen-tu-fan-long-217974","十六应真图","梵隆","本卷采用李公麟的白描风格，描写了16罗汉的境界，每一种境界都通过他所达到的三昧而表现出不同的奇异境界。",[23,24,25,940,2177,31,7,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F882d16fbc634607e2716bf2bb96a0708.jpg","30.5x1062.5",[101],{"id":4846,"slug":4847,"title":4848,"dynasty":87,"author":88,"museum":20,"description":4849,"tags":4850,"thumbUrl":4854,"material":190,"size":4855,"collection":120,"collections":4856,"showCount":4777,"zanCount":11,"manualWeight":11,"mainColor":44},214663,"qian-long-ke-si-shan-shui-gua-ping-si-zhou-2-yi-ming-214663","乾隆缂丝山水挂屏四轴-2","此四轴用挑经显纬的刻丝之法绘就仙山楼阁，有仙鹤和白云，象征着吉祥如意。在山体的岩石部分用蓝色和赭石绘制的织品，使其与丝绸和纸上的绘画完全相同，显示出乾隆时期丝绸织品的精致。",[4851,27,24,30,7,275,95,1376,94,4852,35,4853],"缂丝","瓶","水浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9418f3bf0b0fc968da053932573886c.jpg","93.8x25.6",[],{"id":4858,"slug":4859,"title":4860,"dynasty":3880,"author":4861,"museum":172,"description":4862,"tags":4863,"thumbUrl":4864,"material":120,"size":120,"collection":40,"collections":4865,"showCount":4777,"zanCount":11,"manualWeight":11,"mainColor":4866},202821,"she-se-shan-shui-tu-zhou-pu-jin-202821","设色山水图轴","溥伒","画面以淡墨设色晕染山水，皴擦结合勾勒嶙峋山石肌理，苍劲松枝斜倚崖边，添几分清逸。山间隐现亭台藏幽居之趣，山下流水潺潺，一叶孤舟泛江，舟中人物闲适尽显渔乐之境。远景云雾轻笼，山峦层叠渐淡，营造悠远空濛意境。笔墨兼具传统文人画雅致与自然生机，淡彩晕染柔和，山石厚重与流水灵动形成对比，整体格调清旷淡远，引人入胜。",[24,27,30,116,54,317,161,7,33,35,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7e6cdc3de82c80ac891e36313045737.jpg",[40],"c1bfb3",{"id":4868,"slug":4869,"title":4870,"dynasty":18,"author":128,"museum":20,"description":4871,"tags":4872,"thumbUrl":4873,"material":59,"size":4874,"collection":120,"collections":4875,"showCount":4876,"zanCount":141,"manualWeight":11,"mainColor":44},290887,"qiu-lin-shu-wu-tu-zhou-dong-qi-chang-290887","秋林书屋图轴","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[24,53,256,3197,450,367,7,35,32,33,150,188,34,54,3904],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9db59da3812da6dde86cc332da23c731.jpg","54.4x58.1",[],29,{"id":4878,"slug":4879,"title":4880,"dynasty":18,"author":459,"museum":147,"description":4365,"tags":4881,"thumbUrl":4882,"material":118,"size":119,"collection":120,"collections":4883,"showCount":4876,"zanCount":11,"manualWeight":11,"mainColor":82},290868,"zhou-jin-tang-zhou-chou-ying-290868","昼锦堂轴",[73,24,26,115,27,28,92,30,31,94,7,1238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99e9aebcd712fe1da73003fe9d86eb96.jpg",[],{"id":4885,"slug":4886,"title":4887,"dynasty":69,"author":199,"museum":147,"description":856,"tags":4888,"thumbUrl":4889,"material":118,"size":119,"collection":120,"collections":4890,"showCount":4876,"zanCount":11,"manualWeight":11,"mainColor":82},289804,"han-yan-ji-xue-tu-ma-yuan-289804","寒岩积雪图",[73,24,26,53,30,365,1386,1387,509,7,367,440,31,1426,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f93ef862367b2ca55ea4ca66889a885.jpg",[],{"id":4892,"slug":4893,"title":4894,"dynasty":18,"author":88,"museum":20,"description":4895,"tags":4896,"thumbUrl":4901,"material":2028,"size":4902,"collection":120,"collections":4903,"showCount":4876,"zanCount":11,"manualWeight":11,"mainColor":82},287976,"chu-jing-tu-juan-yi-ming-287976","出警图卷","《出警入跸图》乃是中华民族的珍贵国宝。《出警图》绘皇帝骑马，由陆路出京，《入跸图》画皇帝坐船，走水路还宫。这两幅图是台北故宫博物院所收藏手卷画作中最长的两幅（《出警图》的宽26米，《入跸图》超过30米），人物众多，场面宏伟，是历代绘画作品中少见的超级巨作。\n这两幅作品，均未署名作者姓名。但可以确定是许多宫廷画师的合力创作，才能完成这两幅布局精采生动的巨作。《出警图》与《入跸图》虽是各自分开的两幅长卷，但是所绘的却同是扫墓、巡视的过程，因而通常被合称为《出警入跸图》。 画家将皇室谒陵的整个时空历程出发→抵达→返回，浓缩于两幅长卷之中。传统观赏《出警图》是由右往左；《入跸图》则由左往右。\n这幅画描绘出明朝皇帝出京谒陵盛况的宫廷画卷。描绘的是皇帝在宫廷侍卫的护送下，骑马出京，声势浩大的来到京郊的十三陵拜先祖，然后再坐船返回北京的情景。皇帝一出一入，相互呼应，气势壮观，栩栩如生。",[23,73,24,186,27,28,1292,31,860,7,94,30,4897,4898,4899,4900],"宫殿","仪仗","帝王出行","鞍马画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f612a4c13fe43c6ae1dd2d169566a19.jpg","本幅 92.1x2601.3公分",[],{"id":4905,"slug":4906,"title":4907,"dynasty":49,"author":758,"museum":147,"description":3112,"tags":4908,"thumbUrl":4909,"material":118,"size":119,"collection":120,"collections":4910,"showCount":4876,"zanCount":11,"manualWeight":11,"mainColor":82},287529,"guan-quan-tu-zhao-meng-fu-287529","观泉图",[24,73,26,27,30,31,7,35,33,34,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe18ccffe8a3c3cabe7d0bb04da6a7a08.jpg",[],{"id":4912,"slug":4913,"title":4914,"dynasty":18,"author":2148,"museum":147,"description":4915,"tags":4916,"thumbUrl":4918,"material":118,"size":119,"collection":40,"collections":4919,"showCount":4876,"zanCount":11,"manualWeight":11,"mainColor":44},287451,"mo-gu-ce-ye-chen-hong-shou-287451","摹古册页","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[24,393,53,30,7,4917,2088,34,188,274,54,3062],"孤山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64eebb7edbcb8537c7f5ef1326afd6bb.jpg",[40],{"id":4921,"slug":4922,"title":4923,"dynasty":18,"author":4924,"museum":89,"description":4925,"tags":4926,"thumbUrl":4928,"material":99,"size":4929,"collection":40,"collections":4930,"showCount":4876,"zanCount":141,"manualWeight":11,"mainColor":82},236837,"xiang-shan-jiu-lao-tu-zhou-peng-shun-xiang-236837","香山九老图轴","彭舜乡","唐中期，古都洛阳闻名九州的“香山九老会”，被人称颂至今百世永流芳。“香山九老”指的是：洛中遗老李元爽136岁；禅僧如满95岁；胡臬89岁；吉皎88岁；刘真87岁；郑据85岁；卢真83岁；张浑77岁；白居易74岁。九位老人在洛阳龙门的香山结成“九老会”。周臣《香山九老图》就是以绘画述此盛事。",[24,25,26,27,53,30,31,7,55,35,288,4927],"聚会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc18d69c3d3633e4ee928dc95b38525.jpg","纵一九八厘米 横一〇四·五厘米",[40,103],{"id":4932,"slug":4933,"title":539,"dynasty":87,"author":171,"museum":89,"description":1587,"tags":4934,"thumbUrl":4935,"material":4936,"size":4937,"collection":120,"collections":4938,"showCount":4876,"zanCount":11,"manualWeight":11,"mainColor":44},233423,"yuan-ji-shan-shui-ce-shi-tao-233423",[24,25,215,53,54,30,57,288,7,175,56,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F206f61189ac2d29273e312c7d8b2dc6c.jpg","纸本 ，设色\u002F墨笔","纵27.7cm，横39.7cm",[],{"id":4940,"slug":4941,"title":4942,"dynasty":87,"author":171,"museum":147,"description":4943,"tags":4944,"thumbUrl":4945,"material":120,"size":120,"collection":120,"collections":4946,"showCount":4876,"zanCount":220,"manualWeight":11,"mainColor":44},224515,"shan-shui-tu-ce-8-kai-4-shi-tao-224515","山水图册8开-4","淡墨晕染出山峦肌理，远山隐在烟岚之中，如笼轻绡。左崖飞瀑垂落，为静寂山林注入灵动生机。坡上苍松错落虬劲，撑起山野清寂风骨，茅舍静立平坡，素朴安然，似藏幽人栖居之趣。\n\n此作用干淡笔墨皴擦山体，湿墨点染松针，简淡见苍润。留白烘衬出空濛云烟，寥寥数笔铺陈开林泉幽寂，笔意松秀清脱，尽显萧散淡远的林下意趣，观之便如踏入幽僻山居，尘俗烟火尽涤。",[23,24,53,27,215,54,30,132,55,7,187,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2ad686bc962b57eed356778454ad1df.jpg",[],{"id":4948,"slug":4949,"title":4950,"dynasty":87,"author":1687,"museum":147,"description":4951,"tags":4952,"thumbUrl":4954,"material":38,"size":4955,"collection":120,"collections":4956,"showCount":4876,"zanCount":11,"manualWeight":11,"mainColor":44},220133,"mo-gu-shan-shui-hua-3-wang-hui-220133","摹古山水画3","王翚，清初山水画巨匠“四王”之一，他研习山水画走的也是一条摹古之路，造就了深厚、扎实、宽泛的传统功力，他深入学习宋元一众大家，逐渐形成自己画面清新、笔墨纯正的山水画风格。",[23,24,25,4953,27,54,30,7,35,135,175,31,74,36,134,303],"摹古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c95d2ba722189a59771f6f1eb36950e.jpg","30.5×21.5",[],{"id":4958,"slug":4959,"title":4960,"dynasty":87,"author":1687,"museum":147,"description":4951,"tags":4961,"thumbUrl":4962,"material":4963,"size":4955,"collection":120,"collections":4964,"showCount":4876,"zanCount":11,"manualWeight":11,"mainColor":44},220129,"mo-gu-shan-shui-hua-6-wang-hui-220129","摹古山水画6",[23,24,25,53,27,54,30,32,33,7,31,55,35,36,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc808d878e086f7d7fabf09d7e670b506.jpg","设色,纸本",[],{"id":4966,"slug":4967,"title":4968,"dynasty":87,"author":4969,"museum":362,"description":4970,"tags":4971,"thumbUrl":4972,"material":190,"size":4973,"collection":101,"collections":4974,"showCount":4876,"zanCount":11,"manualWeight":11,"mainColor":82},219838,"san-jiao-tu-chen-shi-jun-219838","三教图","陈士俊","苍松虬枝横斜，山岚轻笼幽林，铺就出古雅澹泊的林下晤面之景。三位宗师神态各殊，执白羽者清逸出尘，宽袍束带者端方持重，抱婴老者垂眉慈和，身旁侍童稚态可掬，为沉静氛围添了几分灵动生机。\n\n画师笔致精细，衣纹走线舒展流畅，将人物的风神气度描摹得形神兼备，山林晕染层次雅致，把三教汇流、圣贤交融共生的平和意涵，藏进这悠然的雅集场景中，兼具叙事意趣与人文深味。",[23,24,25,26,27,28,31,30,7,35,36,3048,885,2820,2706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d3abea62ef10bb38e32d5963e7b16a1.jpg","纵121厘米 横58.9厘米",[101],{"id":4976,"slug":4977,"title":4978,"dynasty":18,"author":4494,"museum":20,"description":4979,"tags":4980,"thumbUrl":4989,"material":38,"size":4990,"collection":384,"collections":4991,"showCount":4876,"zanCount":11,"manualWeight":11,"mainColor":44},218794,"bai-lu-tu-zhang-hong-218794","百禄图","张宏，字君度，号鹤涧，江苏吴县人。生于明神宗万历七年（西元一五七七年），至清圣祖康熙八年（西元一六六八年）尚健在。工山水，笔意古拙，墨法清润。人物写意，天然入格。\n本幅画乔松古柏，岩鹿群游。款：「辛巳秋八月，吴门张宏写。」鹿向被认为是长寿之仙兽，且「鹿」「禄」「柏」「百」谐音，故题名「百禄」，以取富贵爵禄之意。",[24,53,27,54,30,961,1458,7,35,33,36,4981,2579,394,74,56,4982,4983,4984,4985,4986,4987,4988,342,28],"淡彩","鹿群","古松","山景","自然景观","传统绘画","明代风格","笔墨技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89428a5fc63b071b5b27d40c46585043.jpg","170.4x77.2cm",[384],{"id":4993,"slug":4994,"title":4995,"dynasty":49,"author":624,"museum":147,"description":4996,"tags":4997,"thumbUrl":4998,"material":118,"size":119,"collection":120,"collections":4999,"showCount":5000,"zanCount":11,"manualWeight":11,"mainColor":44},290159,"shi-an-gu-song-tu-cao-zhi-bai-290159","石岸古松图","曹知白（1272～1355），元代画家，藏书家。字又玄，贞素，号云西，人称贞素先生，松江华亭（今上海青浦）人。从小机敏颖悟，很有见识，爱读书，好黄老之学。家有藏书数千卷，也喜蓄字画。曾被荐为昆山教谕，不久辞去。结交赵孟頫、邓文原、虞集、王冕等名流，与倪瓒、黄公望交往最密，常以书画相唱和。 咸淳八年 （1272年）三月廿八日出生。至元三十一年 (1294年)曹知白在开凿吴淞江中功绩居多。大德八年(1304年)提出填阏成堤之法，取得良好效果。至正十五年 乙未 (1355年)二月五日，曹知白逝世。三月，葬于松江修竹乡干山之源。",[24,25,53,26,30,7,134,702,188,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F220744a1d28d0000d5efd43b1543c4f4.jpg",[],28,{"id":5002,"slug":5003,"title":5004,"dynasty":110,"author":1247,"museum":147,"description":5005,"tags":5006,"thumbUrl":5008,"material":118,"size":119,"collection":120,"collections":5009,"showCount":5000,"zanCount":11,"manualWeight":11,"mainColor":82},290021,"yan-le-tu-zhou-fang-290021","演乐图","周昉（生卒年不详），字仲朗、景玄，京兆（今陕西西安）人，唐代著名画家。出身显贵，先后任越州、宣州长史。\n他能书，擅画人物、佛像，尤其擅长画贵族妇女，容貌端庄，体态丰肥，色彩柔丽，为当时宫廷士大夫所喜爱；是中唐时期继吴道子之后而起的重要人物画家，当时有名的宗教画家兼人物画家。早年效仿过张萱，后来加以变化，别创一体。周昉创造的最著名的佛教形象是“水月观音”。\n周昉的佛教画曾成为长期流行的标准，被称为“周家样”。传世作品有《簪花仕女图》卷、《挥扇仕女图》卷、《调琴啜茗图》卷等。",[73,24,26,27,31,203,5007,639,7,2151,28],"演乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F421f24aa0929e0b9618cf66d7493b9d6.jpg",[],{"id":5011,"slug":5012,"title":5013,"dynasty":69,"author":199,"museum":20,"description":5014,"tags":5015,"thumbUrl":5016,"material":99,"size":5017,"collection":120,"collections":5018,"showCount":5000,"zanCount":11,"manualWeight":11,"mainColor":82},289839,"ban-qiao-ta-xue-tu-ma-yuan-289839","板桥踏雪图","为第六次南巡携行的作品，御题诗纪年“甲辰”，应作于闰三月间回銮途经的扬州一带。题诗末两句的“题者能画复能诗，蒙古岂无人中玉”，所指即为右方题诗者伯颜不花。他正是约十日前乾隆皇帝品题《古壑云松》一图的作者，故有“题者能画复能诗”之句。\n此画左下角“河中马远”出于后添，观察画中岩块造型、人物轮廓、衣褶勾勒习惯、树木出枝角度等部分，应出自明代马轼（活动于十五世纪前、中期）手笔。此作也确实表现出马远绘画的风格特色，难怪乾隆皇帝视之为马远佳作。",[24,73,26,53,30,31,32,7,35,95,365,54,188,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F636557144d63e628304ba78221c9a8b3.jpg","纵99cm，横59.1cm",[],{"id":5020,"slug":5021,"title":5022,"dynasty":18,"author":459,"museum":147,"description":4365,"tags":5023,"thumbUrl":5026,"material":118,"size":119,"collection":120,"collections":5027,"showCount":5000,"zanCount":11,"manualWeight":11,"mainColor":82},288006,"yuan-xi-tu-juan-chou-ying-288006","猿戏图卷",[23,24,186,28,27,115,30,2327,7,95,5024,394,961,5025],"奇石","猿戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173b1647909b1d0665386cc866230520.jpg",[],{"id":5029,"slug":5030,"title":5031,"dynasty":49,"author":1738,"museum":20,"description":5032,"tags":5033,"thumbUrl":5034,"material":841,"size":5035,"collection":120,"collections":5036,"showCount":5000,"zanCount":11,"manualWeight":11,"mainColor":82},287578,"shuang-pu-gui-yu-tu-tang-di-287578","霜浦归渔图","图画坡石间乔松、枯木及杂树丛立，暮色已起，林边小径上渔人负罾罩等渔具罢渔而归。丛树占据画幅的主要部分，远处的丛林树梢在云霭中隐现，令人遐想。并立的乔松，虬曲多节的枯树，杂树树叶或用夹叶法，或用渍点法。该图人物线描熟练准确，形神俱得。",[24,30,31,7,33,56,317,27,54,288,34,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddb5e9c27ef08409b1d4699a1ce19e76.jpg","144x89.7",[],{"id":5038,"slug":5039,"title":5040,"dynasty":87,"author":5041,"museum":147,"description":5042,"tags":5043,"thumbUrl":5044,"material":120,"size":120,"collection":120,"collections":5045,"showCount":5000,"zanCount":11,"manualWeight":11,"mainColor":44},224355,"zhi-yang-dong-hu-tu-juan-jian-jiang-224355","芝昜东湖图卷","渐江","此作用淡墨晕染湖山，浅赭轻敷屋宇路径，清润雅洁。平远构图铺陈东湖胜景：波心渔舟缓行，沿岸村舍错落衔连，山麓古寺朱墙醒目，远山淡抹空灵悠远。\n\n笔墨师法宋元却自出机杼，既得元人萧散简淡的意境，又以宋法布陈细节，秀逸清劲却不失周密，绝无板滞或空疏之弊，将水乡丘壑的静穆淡和尽绘纸上，尽显澄怀观道的山水意趣，平淡里藏着深秀丘壑，是师古化新的精妙之作。",[23,24,25,186,53,27,54,274,34,188,30,94,36,7,367,33,116,161,520,3775,134,714,229,32,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52fdc9987ea396b2047437152f739a3a.jpg",[],{"id":5047,"slug":5048,"title":5049,"dynasty":49,"author":88,"museum":89,"description":5050,"tags":5051,"thumbUrl":5052,"material":76,"size":5053,"collection":40,"collections":5054,"showCount":5000,"zanCount":141,"manualWeight":11,"mainColor":408},223399,"shang-shan-si-hao-tu-zhou-yi-ming-223399","商山四皓图轴","此图画汉初“商山四皓”故事中使臣迎请四皓一节。画面左下角有一队人马，为首者正与童子对话。山间小路崎岖，云雾缭绕，溪水潺潺。画幅偏右画有数人：二老者对弈，一老者拄杖观棋，二童子左右陪侍，上方一老者正拄杖下行，身后一童子捧果盘相随。山势高耸，乔松挺秀，烘托出一派幽静清逸之气，将四皓闲适的生活恰如其分地表现出来。\n本幅无作者名款，画面上方有挖补之痕，其真正的作者已难考究。旧题为南宋刘松年的作品，然其画法风格实近元代盛懋一派。本幅钤有残印一角，印文不辨。",[23,24,25,26,27,115,28,30,31,7,35,135,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e3dddb7ee87e220228e39d7b36a9eee.jpg","纵155.3厘米，横77.2厘米",[40,103],{"id":5056,"slug":5057,"title":5058,"dynasty":69,"author":88,"museum":5059,"description":5060,"tags":5061,"thumbUrl":5062,"material":190,"size":5063,"collection":40,"collections":5064,"showCount":5000,"zanCount":141,"manualWeight":11,"mainColor":82},219867,"song-ren-fang-chang-jiang-ji-xue-tu-yi-ming-219867","宋人仿长江积雪图","火奴鲁鲁艺术博物馆","此作为平远雪景长卷，以淡墨晕染出空濛寒雪，山峦覆雪如凝脂玉砌，留白尽显素净冷寂。江岸枯木虬曲，偶缀浅蓝霜色的苍松，于冰寒中透出些许生机；汀渚错落铺陈，江波敛息如镜，将雪色天光尽数揽入。\n\n用笔清简秀润，以留白代积雪，淡墨轻勾慢皴山体肌理，冷色调晕开冬日萧寒，铺陈开千里江天雪境，将冬日江野的空阔清寒融于尺幅，尽显静穆辽远的荒寒之美，带着雅致空灵的宋韵，把雪锁江山的清冷孤寂与天地一色的澹然意境刻画入微，观之如临朔雪江天。",[23,24,186,27,256,54,1387,132,133,367,7,95,116,56,175,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41bff8e8782f9331d1bdca574626f790.jpg","纵28.8厘米，横449.3厘米",[40],{"id":5066,"slug":5067,"title":5068,"dynasty":87,"author":3507,"museum":89,"description":5069,"tags":5070,"thumbUrl":5071,"material":190,"size":5072,"collection":101,"collections":5073,"showCount":5000,"zanCount":11,"manualWeight":11,"mainColor":82},219636,"gao-feng-han-zi-hua-xiang-gao-feng-han-219636","高凤翰自画像","此画中的主人翁为作者自己。高凤翰身着白色宽服长袍，头戴斗笠，长髯垂胸，双手相合，双目凝视，侧身依石坐于断壁悬崖的石台上。其背景截取山河的一角。山石险峻陡峭，造型奇特。悬崖和山腰松柏怪生，有的矗立山腰平坡处，有的倒悬在悬崖壁，有的横卧在悬崖上，崖下为宽阔的江河、波涛澎湃。在画面左下侧江面上，陡峭巨石冲出水面，似一根巨大的石柱，巨石顶端屹立数株松柏，与对岸悬崖上的卧松遥相呼应，点缀着美好的湖光山色。在这幽雅谧静的环境中，作者正在俯视水面，突然长空中有孤鹤飞翔而来。",[23,24,27,31,30,57,7,54,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facddc378a306e418671feb475b1a42ed.jpg","纵106厘米，横53.4厘米",[101],{"id":5075,"slug":5076,"title":5077,"dynasty":69,"author":88,"museum":172,"description":5078,"tags":5079,"thumbUrl":5080,"material":59,"size":120,"collection":101,"collections":5081,"showCount":5000,"zanCount":11,"manualWeight":11,"mainColor":82},219516,"song-xia-qi-ji-tu-yi-ming-219516","松下憩寂图","淡墨晕染开幽寂林泉，松枝斜斜探入空濛烟霭，似将山岚轻轻挑起。袒腹老僧倚石而卧，袈裟半敞，眉眼松弛自在，将浮生俗虑尽数抛却。\n\n身旁药葫芦悬于松根，石上摊开素纸，案边置着煮茶陶釜，静水流淌在咫尺之外，把山野清旷揉进笔墨里。画面以留白衬出空寂禅意，虚实相生间，将林下幽居的松弛与禅家的静穆融作一处，淡远萧散的笔意，晕开了宋人偏爱的林下雅趣，将喧嚣隔在烟岚之外，只留山风松涛伴幽人一枕清梦。",[24,53,27,31,7,57,30,2177,28,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3adcc3f030428c1fdabd00c0eee7d3b7.jpg",[101],{"id":5083,"slug":5084,"title":5085,"dynasty":18,"author":1801,"museum":147,"description":5086,"tags":5087,"thumbUrl":5088,"material":118,"size":119,"collection":120,"collections":5089,"showCount":5090,"zanCount":11,"manualWeight":11,"mainColor":44},290014,"hua-shan-shui-wu-wei-290014","画山水","吴伟（1459年－1508年），字次翁，又字士英、鲁夫、号小仙，江夏（今湖北省武汉）人，明朝画家。",[24,73,25,26,53,30,7,35,31,3904,1499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5adda250c4b650045490b5fb7b6f0a22.jpg",[],27,{"id":5092,"slug":5093,"title":5094,"dynasty":18,"author":459,"museum":147,"description":4365,"tags":5095,"thumbUrl":5096,"material":118,"size":119,"collection":120,"collections":5097,"showCount":5090,"zanCount":11,"manualWeight":11,"mainColor":82},289611,"ren-wu-gu-shi-ce-chou-ying-289611","人物故事册",[24,215,27,115,28,30,31,7,1072,33,4377],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f11f6d7c4c8cd8fe72e4bdca237d88.jpg",[],{"id":5099,"slug":5100,"title":5101,"dynasty":69,"author":5102,"museum":20,"description":5103,"tags":5104,"thumbUrl":5106,"material":190,"size":5107,"collection":120,"collections":5108,"showCount":5090,"zanCount":11,"manualWeight":11,"mainColor":82},288457,"shi-quan-bao-xi-tu-lin-chun-288457","十全报喜图","林椿","林椿，南宋钱塘（今浙江杭州）人，生卒年不详，南宋孝宗淳熙（1174—1189）间画院待诏，赐金带。 林椿为南宋时期画家，孝宗淳熙年间曾为画院待诏。生卒年不详，浙江钱塘（今浙江杭州）人，南宋时期画家。孝宗淳熙年间曾为画院待诏。绘画师法赵昌，工画花鸟、草虫、果品，设色轻淡，笔法精工，设色妍美，善于体现自然的形态，所绘小品为多，当时赞为“极写生之妙，莺飞欲起，宛然欲活”。传世作品有：《梅竹寒禽图》册页，藏于上海博物馆。《果熟来禽图》《葡萄草虫》《枇杷山鸟图》，藏于北京故宫博物院。",[23,24,73,25,26,667,28,27,95,7,35,640,5105],"报喜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feceae8d01d0cfba39399adf662cee49c.jpg","173.2x97.6",[],{"id":5110,"slug":5111,"title":5112,"dynasty":69,"author":199,"museum":147,"description":856,"tags":5113,"thumbUrl":5114,"material":118,"size":119,"collection":120,"collections":5115,"showCount":5090,"zanCount":11,"manualWeight":11,"mainColor":82},288357,"song-yin-wan-yue-tu-ma-yuan-288357","松荫玩月图",[24,73,256,53,54,7,35,33,134,509,31,1499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22b9dc13d47c8a3cbf2cc568c8a58485.jpg",[],{"id":5117,"slug":5118,"title":5119,"dynasty":87,"author":1972,"museum":147,"description":5120,"tags":5121,"thumbUrl":5122,"material":120,"size":120,"collection":40,"collections":5123,"showCount":5090,"zanCount":11,"manualWeight":11,"mainColor":194},238935,"qi-xia-shan-quan-tu-juan-qian-wei-cheng-238935","棲霞山全图卷","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。\n钱维城自幼甚喜绘画，开始从族祖母陈书学习画写意折枝花果，勾描渲染，随类赋形，气联意合，整体协调。后来得到了画家董邦达指导，学画山水。所画山水，山势逶迤，流泉飞泻，烟霭飘浮，水光荡漾。构图井然，意境清幽。山石多用皴笔。他的绘画远学元代四家即黄公望、倪瓒、吴镇、王蒙，近学清初四王即王时敏、王鉴、王徽、王原祁。。《桐阴论画》说他的山水画“笔意亦临摹仿麓台，邱壑幽深，树石灵秀，颇臻妙境。”钱维城投身科举时，很少有人知道他擅长书画，直到状元及第后，在随乾隆的一次狩猎中，乾隆射中一只老虎，于是钱维城受命创作“射虎图”，作品完成后乾隆连连称赞，并下令将此画刻在木兰围场的石头上，从此钱维城在画坛上名声大振。在钱维城的绘画中，带棱角的石形、双勾少皴的树干，以及中锋含蓄的细笔、淡墨勾皴的线条，都存有董邦达的笔意，但他更擅长缜密的用笔和青绿、赭石相间的设色，其中也显示出清初“四王”的流派风格，他的作品经常呈现出来的是一派宫廷富贵的气息。在乾隆的收藏目录《石渠宝芨》中，收录的钱维城作品有160多幅，由此可见乾隆皇帝对钱维城作品的赏识程度。著名的有《九秋图卷》。\n钱维城擅长书法，工整精细，“宗磐工书，书法东坡。”他师法宋朝书法四大家之一的苏东坡。落笔苍润，秀骨天成。也能吟诗，以杜少陵为宗。人称“钱文敏尚书，诗宗少陵，书规苏文忠。”可谓诗、书、画一体。",[24,186,53,30,54,116,34,36,35,135,258,94,3356,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e39f32ceb97c4b748313f235bf3e3ee.jpg",[40,62],{"id":5125,"slug":5126,"title":5127,"dynasty":18,"author":88,"museum":147,"description":5128,"tags":5129,"thumbUrl":5130,"material":120,"size":120,"collection":120,"collections":5131,"showCount":5090,"zanCount":141,"manualWeight":11,"mainColor":44},235633,"song-xu-wan-shan-qiu-se-tu-zhou-yi-ming-235633","宋旭万山秋色图轴","此作用高远章法铺展秋山全景，层峦叠嶂间沟壑纵深，飞泉漱石、山溪蜿蜒贯穿始终。以淡赭晕染山骨铺就秋意底色，朱砂醒点丹枫，勾勒皴擦兼用，将嶙峋山石、虬曲古木的苍劲之态尽皆写就。幽谷深处隐现山居屋舍，林泉间尽显隐逸清寂之趣。整幅画面笔墨清灵雅致，把深秋万山层林尽染的高旷冷寂意境铺陈开来，尽显文人山水崇尚的幽淡空灵林下之风，是极具韵致的秋山绘作。",[24,25,26,73,27,54,30,275,33,36,7,35,94,303,261,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdffc1c6bbcb02615aab2d7bb1eb1a7e.jpg",[],{"id":5133,"slug":5134,"title":5135,"dynasty":87,"author":2847,"museum":147,"description":5136,"tags":5137,"thumbUrl":5138,"material":118,"size":119,"collection":120,"collections":5139,"showCount":5090,"zanCount":11,"manualWeight":11,"mainColor":82},230137,"qiu-song-qiao-bi-tu-wu-li-230137","虬松峭壁图","吴历（1632年—1718年）清初书画家，天主教传教士。字渔山，号墨井道人、桃溪居士，江南常熟（今属江苏）人 。少时学诗于钱谦益，学画于王鉴、王时敏。康熙二十一年入天主教，继至澳门进耶稣会，前后在嘉定、上海等处传教三十年。著有《墨井诗钞》《三巴集》《桃溪集》《墨井画跋》。",[23,24,26,53,54,34,30,7,574,35,94,33,36,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2360df74dde1940bb17a7183928f6ea7.jpg",[],{"id":5141,"slug":5142,"title":5143,"dynasty":87,"author":88,"museum":20,"description":5144,"tags":5145,"thumbUrl":5147,"material":656,"size":5148,"collection":120,"collections":5149,"showCount":5090,"zanCount":141,"manualWeight":11,"mainColor":82},223555,"qing-qian-long-xiu-yun-shan-lou-ge-zhou-yi-ming-223555","清乾隆绣云山楼阁轴","此图由乾隆绘制，民间艺人绣于锦帛上。图绘仙境中金色云朵光芒耀眼，画面顶端楼宇飞檐翘壁，气势恢宏；从山底到达山顶的台阶数以千级，在山中蜿蜒向上；画上题：道洽三登",[23,1029,2129,26,92,27,30,94,161,7,5146,35],"石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99ea82acf26ee7a9c9b7346c798aedd8.jpg","246.5x50.4cm",[],{"id":5151,"slug":5152,"title":5153,"dynasty":18,"author":815,"museum":20,"description":5154,"tags":5155,"thumbUrl":5159,"material":76,"size":3694,"collection":40,"collections":5160,"showCount":5090,"zanCount":11,"manualWeight":11,"mainColor":82},222591,"xi-shan-xue-ji-zhou-lan-ying-222591","溪山雪霁轴","面上远处层峦迭嶂，悬崖峭壁，山顶披上雪装，白雪皑皑，山顶部衰草疏落。中景为乱石连绵，山坡间杂树丛生，树木枝干挺拔，似乎在傲视寒雪，绝无凄凉之感。近景坡石堤岸下为宽阔的溪流，河中杂有碎石。近景最下部有几棵穿天的松柏，松树阑珊，枝叶茂密。树下坐有一位身穿红袍的长者，独自在观赏溪山的雪景，显得悠闲自得。",[23,24,27,54,26,30,368,36,74,55,56,1962,31,367,7,35,365,5156,2089,5157,5158],"水榭","雪景山水","工笔兼写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F175e6c5d512e356a22e68bb4c89a57b4.jpg",[40,103],{"id":5162,"slug":5163,"title":5164,"dynasty":49,"author":285,"museum":20,"description":5165,"tags":5166,"thumbUrl":5167,"material":190,"size":120,"collection":40,"collections":5168,"showCount":5090,"zanCount":11,"manualWeight":11,"mainColor":44},218781,"tao-sheng-song-yun-tu-qian-xuan-218781","涛声松韵图","松枝盘曲如篆，墨色苍润间见清劲；流泉漱石，涛声似可闻于纸上。山石以细劲线条勾廓，皴染相济显丘壑层次；松针挺劲如钉，笔笔含力，透出苍然生机。浅赭设色温润，衬得山林幽寂。天际孤鸟轻掠，为静景添丝灵动，更衬天地空阔。整幅画不重繁复布景，却以简淡之笔营造“天人合一”的清旷意境，藏着文人对自然的深情与尘外之境的向往。笔墨间漾着宋元之际文人的散淡襟怀，不追形似而重神韵，观之如置身林泉，心随松涛泉响，渐入澄明之境。",[23,24,678,27,54,30,7,33,95,35,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2f58b1ae6d25b570dc4eefb629ed142.jpg",[40],{"id":5170,"slug":5171,"title":5172,"dynasty":69,"author":199,"museum":147,"description":5173,"tags":5174,"thumbUrl":5175,"material":118,"size":119,"collection":120,"collections":5176,"showCount":5177,"zanCount":11,"manualWeight":11,"mainColor":82},290325,"song-jian-yin-yue-zhou-ma-yuan-290325","松间吟月轴","该幅写松荫下，高士独坐对月。林间，曲水绕栏，薄雾掩映，一派宁谧之气，溢於画表。右下角石隙，虽署有「马远」款，但就画风论，应出自传承马夏流派的明人之手。",[73,24,26,53,27,30,7,288,31,32,33,509,1499,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b5499ddfdf61e30afc97a7fce10525.jpg",[],26,{"id":5179,"slug":5180,"title":5181,"dynasty":145,"author":5182,"museum":20,"description":5183,"tags":5184,"thumbUrl":5185,"material":841,"size":5186,"collection":120,"collections":5187,"showCount":5177,"zanCount":11,"manualWeight":11,"mainColor":82},289924,"dong-tian-shan-tang-tu-dong-yuan-289924","洞天山堂图","董源","厚厚的白云拥抱着巍峨的群峰，深沟巨壑中，山道弯弯，涧流清澈。山林白云深处，阁楼显露峥嵘，如此美景可谓别有“洞天”。此图用笔坚实，用墨浓重，山石以长皴短点相间，再复加染以浓重墨色，显出一种浑雄苍郁的气派。\n此画无款，图绘白云吞吐飘浮于山间， 山谷中松林茂密，清溪流淌，隐露楼观，境界清幽，鲜明地表现了世外仙境。画幅右上楷书“洞天山堂” 四宇， 点明了全画主题。诗堂有王铎跋语：“神理气韵，古秀灵通，入于口微，董源此图，当属玄化，丙戌端阳后二日题于琅华馆。”故此遂被定为董源手笔。然此图笔墨苍劲，景色茂密，云朵以白粉染绘，与董源之淡墨轻岚颇不相类，更近于1 2世纪后之山水画风貌，按金代很多山水画承袭董、巨而有所变化，故拟此画为金代之作似更为恰当。",[73,24,25,26,53,54,30,94,32,7,135,35,161,33,34,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7328b7152d7bab59353adc48e47affbb.jpg","183.2x121.2",[],{"id":5189,"slug":5190,"title":5191,"dynasty":69,"author":5192,"museum":147,"description":5193,"tags":5194,"thumbUrl":5197,"material":118,"size":119,"collection":120,"collections":5198,"showCount":5177,"zanCount":11,"manualWeight":11,"mainColor":82},289339,"song-gang-mu-se-tu-zhao-ling-rang-289339","松冈暮色图","赵令穰","赵伯驹（生卒不详），宋代画家，字千里，宋宗室。主要活动在12世纪中前期。工山水、花果、翎毛、楼台，青绿山水尤善。他将水墨山水的趣味与技法融入唐代李思训、李昭道父子的大青绿画法中，形成了一种介于院体画和文人画之间的“精工之极，又有士气”的风格。",[678,24,73,256,7,150,5195,5196,53,54,2210],"暮色","雾霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1045ff175934a36d2831e2fc740593d1.jpg",[],{"id":5200,"slug":5201,"title":4193,"dynasty":69,"author":4194,"museum":20,"description":4195,"tags":5202,"thumbUrl":5204,"material":190,"size":4199,"collection":120,"collections":5205,"showCount":5177,"zanCount":11,"manualWeight":11,"mainColor":44},288507,"ting-qin-zhai-ruan-tu-zhao-bo-ju-288507",[23,24,73,26,115,27,31,30,203,95,7,32,33,4129,418,5203],"抚琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5417e9836f0d1106f15840755d8c5aae.jpg",[],{"id":5207,"slug":5208,"title":5209,"dynasty":69,"author":675,"museum":147,"description":2721,"tags":5210,"thumbUrl":5211,"material":118,"size":119,"collection":120,"collections":5212,"showCount":5177,"zanCount":11,"manualWeight":11,"mainColor":408},288427,"ji-liu-tu-xia-gui-288427","激流图",[73,24,53,256,54,35,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51dcb4372ba2ed4ad1e0add3806dd667.jpg",[],{"id":5214,"slug":5215,"title":5216,"dynasty":18,"author":5217,"museum":147,"description":5218,"tags":5219,"thumbUrl":5220,"material":120,"size":120,"collection":101,"collections":5221,"showCount":5177,"zanCount":11,"manualWeight":11,"mainColor":82},239072,"fu-lu-xian-ren-tu-zhou-zhang-lu-239072","蝠鹿仙人图轴","张路","明代著名画家，擅山水、人物，行笔劲峻顿挫，力可扛鼎。少年聪慧，见吴道子、戴进所画人物，临摹肖其神，以画成名，是明代追随戴进、吴伟的重要浙派画家，在人物上师法吴伟，但秀逸不足，狂放过之，山水上有戴进的风致。张路的绘画艺术很受世人赞誉，明朝詹景风就盛赞他“足当名家”。在当时，缙绅们咸加推重，得其真迹，如若拱壁。",[24,25,26,27,53,31,1458,961,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66513b154ce8bc8446bfcf5794e6680b.jpg",[101,103],{"id":5223,"slug":5224,"title":5225,"dynasty":87,"author":5226,"museum":147,"description":5227,"tags":5228,"thumbUrl":5229,"material":120,"size":120,"collection":40,"collections":5230,"showCount":5177,"zanCount":11,"manualWeight":11,"mainColor":44},238188,"wan-nian-zeng-mao-tu-zhou-wang-cheng-pei-238188","万年增茂图轴","汪承霈","汪承霈（？－1805），清朝大臣。字受时，一字春农，号时斋，别号蕉雪，汪由敦之子，浙江钱塘人，原籍安徽休宁。由敦既卒，丧终，承霈以赐祭葬入谢。傅恒为言承霈书类由敦，授兵部主事，充军机处章京。累迁郎中，除福建邵武知府。时母年八十，请军机大臣为陈情，留京供职，复补户部郎中。三十六年，师讨小金川，上命户部侍郎桂林出督饷，以承霈从。三十七年，阿尔泰、宋元俊劾桂林以金与土酋赎所掠军士，辞连承霈，命逮治。俄，事白，仍以郎中充军机处章京。累迁工部右侍郎。甘肃冒赈事发，部议凡在甘肃纳捐监生，应禁革毋许应试，及自别途出身。承霈奏人数甚多，乞开自新之路，令纳金如例，许考试及自别途出身，得旨俞允。四十年，上校射，承霈连发中的，赏花翎。调户部右侍郎。五十四年，坐监临顺天乡试失察，左迁通政使。累迁复至侍郎。",[24,25,26,27,28,30,31,7,32,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3625bf23b098742f89243db0ca847449.jpg",[40,103],{"id":5232,"slug":5233,"title":5234,"dynasty":87,"author":5235,"museum":89,"description":5236,"tags":5237,"thumbUrl":5238,"material":246,"size":5239,"collection":40,"collections":5240,"showCount":5177,"zanCount":11,"manualWeight":11,"mainColor":194},237239,"yun-shan-qing-zhi-tu-zhou-wang-gai-237239","云山清峙图轴","王概","此图轴是石涛晚年之作，此时他的山水画构图新颖大胆，出奇制胜，极尽含蓄隐约之妙。图中打破一层地、二层树、三层山的“三叠式”和北宋式的上留天、下留地、中间设景的构图程式，而是用“截取法”直接截取景致中最优美、最有代表性的一段。作者描绘半露的山体，树木间以水墨渍出云态，天空用淡墨渲染，以显现出云的白净和飘浮的动感。",[24,25,26,53,27,30,7,367,161,33,35,135,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4163719da424fc23033d449dcac4cfde.jpg","纵45.1厘米，横30.8厘米",[40],{"id":5242,"slug":5243,"title":5244,"dynasty":18,"author":2148,"museum":147,"description":5245,"tags":5246,"thumbUrl":5247,"material":120,"size":120,"collection":120,"collections":5248,"showCount":5177,"zanCount":11,"manualWeight":11,"mainColor":44},228285,"shan-shui-shi-hua-ce-chen-hong-shou-228285","山水诗画册","此作对页诗画合一，右侧绘虬曲古松下，高士席地安坐，衣袂舒展悠然，静享林泉幽寂。古松苍劲奇崛，松针层叠清润，石畔苔点幽微，笔致高古静穆，尽显林下幽居的散淡意趣。\n左侧书法清隽挺秀，诗文与画境呼应，禅意悠然。整体以极简笔墨，勾勒出世外风雅，将林下幽栖的禅寂通透相融，传递出超脱世情的澹泊襟怀，是诗画相映的雅致佳构，尽显文人的林下襟怀与静穆审美。",[23,24,25,215,29,53,27,31,7,35,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886cc4e13292bed024a0da93b5746e38.jpg",[],{"id":5250,"slug":5251,"title":5252,"dynasty":87,"author":5253,"museum":147,"description":5254,"tags":5255,"thumbUrl":5257,"material":120,"size":120,"collection":120,"collections":5258,"showCount":5177,"zanCount":141,"manualWeight":11,"mainColor":82},224344,"xiao-pin-1-qiao-gu-224344","小品1","樵谷","此作为绢本设色仙山图景，画面分上下两段铺陈。上方松下仙岛，长髯高士安坐，侍童持如意随侍，丹顶鹤啄衔芝草，意态闲和疏朗。下方仙鹿曳车，车载灵卉仙酿，海雾裹挟红鲤翻涌而出，恍若灵气蒸腾。\n\n笔墨细劲清逸，设色古雅沉静，人物刻画悠然恬淡，瑞兽仙禽生动传神。布景疏密相宜，晕染出道家虚缈出尘的仙境氛围，藏纳福寿绵长的吉祥意趣，尽显传统仙道题材的雅致意韵。",[23,24,25,26,27,28,31,242,563,1303,7,35,1376,5256],"车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff7ab3700c076272c9bf608fb083bfbf.jpg",[],{"id":5260,"slug":5261,"title":5262,"dynasty":87,"author":5263,"museum":20,"description":5264,"tags":5265,"thumbUrl":5266,"material":656,"size":5267,"collection":40,"collections":5268,"showCount":5177,"zanCount":11,"manualWeight":11,"mainColor":44},223110,"ceng-luan-song-cui-zhou-dong-bang-da-223110","层峦耸翠轴","董邦达","绘层峦叠嶂，延绵不绝，山涧中云雾缭绕，微风吹过，松涛阵阵；山脚下流水潺潺，两间小屋依山傍水，清雅安静",[23,24,25,26,53,54,30,150,7,55,161,175,74,56,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e367094ca3e4f79f2de8319b6088256.jpg","88.1x30.9厘米",[40,62],{"id":5270,"slug":5271,"title":5272,"dynasty":18,"author":815,"museum":1107,"description":4485,"tags":5273,"thumbUrl":5274,"material":499,"size":5275,"collection":120,"collections":5276,"showCount":5177,"zanCount":141,"manualWeight":11,"mainColor":82},222594,"jiang-gao-fei-xue-tu-li-zhou-lan-ying-222594","江皋飞雪图立轴",[23,24,25,26,30,27,54,7,367,35,1962,31,365,134,2089],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e6635bdf6b12960c4fed02b92366856.jpg","148cmx46cm",[],{"id":5278,"slug":5279,"title":5280,"dynasty":337,"author":5281,"museum":2936,"description":5282,"tags":5283,"thumbUrl":5284,"material":120,"size":120,"collection":120,"collections":5285,"showCount":5177,"zanCount":11,"manualWeight":11,"mainColor":44},220482,"song-tao-lin-feng-mian-220482","松涛","林风眠","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。",[24,27,53,342,30,7,116,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ecbc10766dc69df7ee10b85fc7ffb66.jpg",[],{"id":5287,"slug":5288,"title":5289,"dynasty":49,"author":624,"museum":20,"description":4996,"tags":5290,"thumbUrl":5291,"material":59,"size":5292,"collection":120,"collections":5293,"showCount":5294,"zanCount":11,"manualWeight":11,"mainColor":44},290954,"zhen-song-bai-xue-xuan-tu-cao-zhi-bai-290954","贞松白雪轩图",[73,24,25,26,53,30,7,367,440,32,33,35,95,188,34,365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cc9328cd8f464761861cb541b87a36e.jpg","125.9x49.7",[],25,{"id":5296,"slug":5297,"title":4223,"dynasty":18,"author":1909,"museum":147,"description":5298,"tags":5299,"thumbUrl":5303,"material":118,"size":119,"collection":120,"collections":5304,"showCount":5294,"zanCount":11,"manualWeight":11,"mainColor":82},290783,"chun-quan-xiao-yin-tu-juan-zhou-chen-290783","画面起首以裴君的草堂为中心展开，草堂轩敞明亮，陈设简洁，堂外古松盘曲。主人正伏案假寐，堂外一童子持帚清扫。其后，板桥连岸，春水潺湲，远处青山逶迤，平湖无涯。 画中环境清静美，确为理想的隐居之处。该图布局疏密有序，人物景致描写严谨准确，色调富于变化",[23,24,186,27,53,30,31,32,33,187,7,35,134,4424,5300,34,5301,5302],"隐居","伏案","洒扫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63e5dc319d728780ab969bd3b16b9003.jpg",[],{"id":5306,"slug":5307,"title":5308,"dynasty":69,"author":199,"museum":147,"description":5309,"tags":5310,"thumbUrl":5311,"material":118,"size":119,"collection":120,"collections":5312,"showCount":5294,"zanCount":11,"manualWeight":11,"mainColor":82},289840,"song-yin-guan-lu-tu-ma-yuan-289840","松荫观鹿图","绘一高士傍山斜依石栏而坐，溪水蜿蜒而来，一鹿低头啜水，远山雾朦苍穹，近景危崖峭壁老松虬劲。构图繁复错落分布，笔法朴厚苍润，变化多端。人物技法简洁，杂树多用横点，山石作披麻皴，线条自然流畅，起落有序",[23,73,24,53,31,961,7,30,642,34,54,1499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e5f8dfb5caafa61a406ed4392b75413.jpg",[],{"id":5314,"slug":5315,"title":5316,"dynasty":87,"author":88,"museum":147,"description":5317,"tags":5318,"thumbUrl":5320,"material":118,"size":119,"collection":120,"collections":5321,"showCount":5294,"zanCount":141,"manualWeight":11,"mainColor":44},272873,"ci-xiu-yu-zhi-ti-tong-yin-wan-he-tu-gua-ping-yi-ming-272873","刺绣御制题桐荫玩鹤图挂屏","此作将刺绣工艺与文人雅趣相融，松石苍劲雅致，蓝调山石以绣线晕出层叠肌理，晕染出空寂清逸的山居意趣。近景林下两位高士相对而坐，一人拨弦、一人凝神静赏，将林下雅集的悠然氛围尽显。\n\n绣线设色温婉沉静，米底配青蓝绣线，将水墨淡彩的雅致晕染尽致。题诗以针代笔，走线细腻还原笔墨意趣，完美复刻文人题咏的书卷气。整幅以绣为画，得国画留白写意之妙，把文人寄情山水、乐享雅集的审美意趣尽数铺展，是诗、绣、画三者相融的佳品，尽显东方传统雅致美学。",[2129,5319,25,27,30,7,31,188,4377],"挂屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca190663de32fd118433b415c91cade2.jpg",[],{"id":5323,"slug":5324,"title":5325,"dynasty":87,"author":5326,"museum":89,"description":5327,"tags":5328,"thumbUrl":5331,"material":120,"size":120,"collection":384,"collections":5332,"showCount":5294,"zanCount":141,"manualWeight":11,"mainColor":44},236189,"hua-mei-xi-fan-ting-liang-shi-zheng-shu-feng-guan-long-jing-ti-ming-cheng-shan-sun-you-236189","画梅溪泛艇梁诗正书奉观龙井题名成扇","孙祐","孙佑[清]佑一作祜。江苏人。\n山水宗娄东（王原祁）乾隆（一七三六至至一七九五）时供奉内廷，曾同陈枚，金昆、戴洪、程志道绘清明上河图，乾隆六年（一七四一）与周昆、丁观鹏合作汉宫春晓图卷。《熙朝名画录、国（清）朝画徵录》",[678,24,25,27,28,30,737,5329,5330,32,7,35,31,188,29],"溪","艇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b354b57fa498851ae8a5f5ae8d64860.jpg",[384,103],{"id":5334,"slug":5335,"title":5336,"dynasty":18,"author":312,"museum":89,"description":5337,"tags":5338,"thumbUrl":5339,"material":246,"size":5340,"collection":120,"collections":5341,"showCount":5294,"zanCount":11,"manualWeight":11,"mainColor":44},233967,"guan-shan-xing-lv-tu-zhou-dai-jin-233967","关山行旅图轴","本幅署款“静庵”，无年款，从趋于成熟的集大成面貌判断，当作于戴进晚年的天顺年间（1457—1464年）。\n作品所取题材和布局均源自北宋李成、郭熙派系。图绘高远、深远的全景山水，主山居中，巍然屹立，高峻雄伟，左右诸景相衬，呈金字塔形的稳定构图，气势宏阔。诸景系连紧密自然，高远和深远感主要依仗景色之间的内在联系加以体现，如中景布置村落，有坡堤、土路与前景的垒石、松树、河面、板桥相连，丛林、山道又与远景的峻岭、城阙相接，由此可由近及远，从下至上。布景已克服了画家中年时期欠成熟的痕迹，即藉不自然的树石堆砌或人为的烟云安插来制造高和远，表明戴进晚年已较好地领悟了北宋山水的优长，重视天然布势，力求真实自然。\n画面展现的生活场景真实生动，富有生机。近处板桥上三驴踯躅而行，两位行旅者挑担、背筐后随，显出长途跋涉后即将歇息的放松状态。中景村落中几间简陋茅屋，诸多人物活动其间，有卸担询问的行旅人，有招待客人的店家，有闲坐嬉玩的稚童，还有小狗守立村头，这些情节真实地传达出僻远山村简朴、平和的生活气氛。远景山道上又有拉驴上山者，躬腰挑担下山者，另显一番艰辛情状。环境可居可游，观者如身临其境，如北宋郭熙在《林泉高致》中所倡导的：“可行可望，不如可居可游之为得。”\n此图画法呈集大成面貌。山川体势取诸家之长，高峻主山近李唐，近处垒石如郭熙，劲直松干仿刘松年，繁密苔点和树丛又取自盛懋，而且结合得妥帖自然，少中年时的拼凑、失真痕迹，整体气势既雄伟又浑厚，既郁茂又清朗，体现出画家力图融南北山水特色于一体，集阳刚阴柔于一身的追求。笔墨方面亦不拘一格，根据物象灵活运用。勾皴点染结合，干湿浓淡交融，中锋侧笔并用，圆润劲健交替，皴法多样，有斧劈、披麻、点子诸皴，点叶丰富，有夹叶、点叶、攒针诸法，显示出富有变化又十分纯熟的技艺。此图堪称戴进晚年精品。",[24,73,26,53,54,30,7,56,258,175,150,36,316,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ac0a0c15fc8e857f3e1f36e5c19ea41.jpg","纵61.8厘米，横29.7厘米",[],{"id":5343,"slug":5344,"title":5345,"dynasty":3958,"author":5346,"museum":147,"description":5347,"tags":5348,"thumbUrl":5352,"material":118,"size":119,"collection":120,"collections":5353,"showCount":5294,"zanCount":11,"manualWeight":11,"mainColor":44},231747,"an-tu-tao-shan-shi-dai-song-lin-tu-ping-feng-di-yi-ping-zhang-gu-chuan-231747","安土桃山时代 松林图屏风-第一屏","长谷川","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",[23,5349,5350,7,36,53,27,54,5351,256],"屏风","松林","日本画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96e031bd61161a28d9a520f501cd87ba.jpg",[],{"id":5355,"slug":5356,"title":5357,"dynasty":49,"author":5358,"museum":20,"description":5359,"tags":5360,"thumbUrl":5361,"material":59,"size":5362,"collection":120,"collections":5363,"showCount":5294,"zanCount":141,"manualWeight":11,"mainColor":44},231412,"yan-ling-diao-tai-tu-sa-dou-ci-231412","严陵钓台图","萨都刺","诗塘款题云：\n山川牵惹心我旌。迢递驱驰万里程。蹻步薜分声柝柝。瀑流涧汇响砰砰。钓竿台上无形迹。丘壑亭中有隐名。富贵可遗志不易。鼎彝犹似羽毛轻。予自都门历南。跋涉驱驰。奔走几半万里。闻严台钓矶。山秀寰拱。碧水澄渊。余强冷启敬共登。既而游归。启敬强余绘图。漫为作此。至元己卯（1339年）八月燕山天锡薩都剌写。并题於武林。",[23,24,53,29,188,54,34,25,30,116,7,1343,175,134,702],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F375ad6aa0e419933d8c53ef10dae7dd4.jpg","58.7 x 31.9cm",[],{"id":5365,"slug":5366,"title":623,"dynasty":145,"author":5367,"museum":147,"description":5368,"tags":5369,"thumbUrl":5370,"material":118,"size":119,"collection":120,"collections":5371,"showCount":5294,"zanCount":11,"manualWeight":11,"mainColor":82},230841,"shan-shui-tu-gui-guan-230841","珪观","珪观，唐代画家，代表作有《山水图》。",[73,24,25,678,54,27,30,132,7,31,242,690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa92278b55313173802c39eb57a8cf6.jpg",[],{"id":5373,"slug":5374,"title":5375,"dynasty":87,"author":2436,"museum":147,"description":4318,"tags":5376,"thumbUrl":5377,"material":120,"size":120,"collection":120,"collections":5378,"showCount":5294,"zanCount":11,"manualWeight":11,"mainColor":44},226632,"si-shi-shan-shui-05-pu-ru-226632","四时山水05",[23,24,53,54,30,7,35,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d1a4e3f15c64dc930ae6a157ad9e18.jpg",[],{"id":5380,"slug":5381,"title":5382,"dynasty":87,"author":1106,"museum":147,"description":5383,"tags":5384,"thumbUrl":5385,"material":120,"size":120,"collection":120,"collections":5386,"showCount":5294,"zanCount":11,"manualWeight":11,"mainColor":82},224427,"nan-shan-ji-cui-tu-wang-shi-min-224427","南山积翠图","《南山积翠图》是清代画家 晚年创作的一副绢本设色画，现收藏于 。\n画面布置有序，层次井然，笔墨清隽秀润，沉静淡雅，毫无躁气，具有温厚而博大之美。\n《南山积翠图》，该作品按远、中、近三景均采用大量的笔墨描绘。\n画作尺幅虽大，用笔却毫不松懈。\n尤其是中景，刻画得更为精谨。\n草木繁茂、山势蜿蜒，却丝毫没有迫塞感。\n山体曲折、盘桓，观者置身画中，沿山间小路仿佛可以直达无人之境。\n此作题“壬子长夏写南山积翠图，奉祝蓉翁太老亲台七襄大寿并祈粲正。\n弟王时敏时年八十有一”。\n由此题款可知，这是画家为人贺寿之作。\n画作近景刻画了松树，松枝翠绿，枝干姿态各异，暗含“贺寿”这一主题。\n画家刻意将松叶所用的墨色加以区分，墨色浓淡不同、虚实相生，使松树充满生机。\n而对近景山石的处理，他主要师法黄公望———用笔苍劲，多矾头，随意的长披麻皴疏松、秀雅。\n不过，他并不满足于师法一家。\n从对画中山石的点苔来看，他亦受王蒙画法的影响———用浓墨表现。\n可见，他在吸收古人之法时并不是一味地照搬，而是融会贯通，有自己的特点。\n与近景相比，中景的山体更险要，重峦叠嶂。\n为烘托山石奇险之势，画家有意将瀑布、雾霭穿插于山间。\n瀑布顺流而下，隐于山林之间；雾霭从远处飘来，势若蛟龙。\n作品虽未画人物，但中景的房屋却暗示了人物的存在。\n整幅画面虽气势磅礴、山势险峻，却并不冷清。\n山中的楼阁似山林主人居住之所，又似游人休息之处；似画家凭栏独赏之所，又似文人品茗、畅谈之阁，具有浓郁的文人画意味。\n远景中间，山峰如柱，是整个画面的气魄所在。\n山脉随景之推深而愈加陡峭，以浓墨绘就的苍松亦愈加繁茂。\n由此，我们可以感受到画家对生命的敬畏和对受画者大寿的美好祝愿。\n作品构图繁复、行笔缜密、墨色沉静，毫无躁气，给人一种清新、温润的感觉。\n王时敏的《南山积翠图》虽在一定程度上沿袭了前人“三段式”的构图，但细看，不难发现其创新之处。\n画面虽分为远、中、近三景，但呈现出一层坡、二层树、三层山的格局。\n而且，画家还有意识地在构图中加入了起伏、开合之势，为后来王原祁“积石为山”的“龙脉”构图理论打下了基础。\n218年8月15日，该画在辽宁博物馆中国古代绘画展中展出。\n王时敏（1592—168），字逊之，号烟客，江苏太仓人。\n祖父王锡爵在明朝万历时期曾任礼部尚书兼 ，父王衡任翰林院编修，他以荫官任太常寺玺卿，升太常寺少卿，后辞官回乡。\n入清后不仕，以书画自娱。\n自少年起绘画即受到董其昌的指授，又认真观摩和研习家藏及董其昌所藏的诸多前代名画。\n他将古代名家丘壑布景、笔墨技法、意境气韵等元素进行梳理，加以规范化和格式化。\n他尤其尊仰黄公望，深得黄氏笔墨浑厚苍茫的真髓，最终形成布景平稳中寓变化，笔墨圆厚、虚和、雄浑、蕴藉的艺术风格，引领着清初摹古的艺术潮流。",[23,24,25,26,256,54,53,27,30,7,55,135,35,175,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac2ddc38beea10fbc512f633554005c.jpg",[],{"id":5388,"slug":5389,"title":5390,"dynasty":87,"author":1860,"museum":147,"description":5391,"tags":5392,"thumbUrl":5394,"material":120,"size":120,"collection":120,"collections":5395,"showCount":5294,"zanCount":11,"manualWeight":11,"mainColor":44},224255,"tao-yuan-tu-cha-shi-biao-224255","桃园图","此作用笔松秀简淡，以浅绛设色晕染出桃源幽境。左侧村舍错落隐于林樾间，田陇横斜延展，数位乡贤执礼晤谈，稚童随行、家犬嬉游，晕开融融烟火意趣。右侧崖壁清峭苍古，松枝偃仰遒劲，江流宛转萦回，扁舟静泊汀岸，淡施花青赭石点染枝梢，晕开春日柔润清和。\n全画以留白衬出空寂幽远的氛围，将林泉静穆与村居恬和相融，把文人心中避世归乡的桃源理想，化作可感的山水村居图景，尽显萧散简远的审美意趣。",[23,24,25,186,53,54,30,31,175,36,7,1238,116,5393],"狗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14ee26c49185665d7885d138604cf597.jpg",[],{"id":5397,"slug":5398,"title":5399,"dynasty":18,"author":5400,"museum":362,"description":5401,"tags":5402,"thumbUrl":5405,"material":190,"size":5406,"collection":101,"collections":5407,"showCount":5294,"zanCount":11,"manualWeight":11,"mainColor":408},219572,"xia-zhen-yi-xiang-chen-yuan-219572","夏真逸像","陈远","作品有作者自跋：“真逸处士夏君既衣之九年，其子璇陈中复氏图游旧之景，而小像于其中。一日，携示九灵山人，求为赞。予虽不识处，然言述以铭其墓矣，焉春可辞？公侯于蠛蠓，政布家庭而直，功名于秕糠。是盖艺和义以为基，家孝又而象乡者也。当其云弄泉以、游戏、即丘壑而相辛。但见清却松林之风华，夺云锦之裳，而不知泽被民物光焕朝章者，消逝各梦而同床也邪！”作品有明代揭汯题跋：“温温之客，翼翼之恭。慈惠之至，孝友之隆。誉流搢绅，安林壑。幅巾消摇，自有其乐。豫章揭汯”。 明代乌斯道题跋：“守躬以礼，泣之衣也。养心以静，福之基也。笃于兄弟，家之肥也。诉先裕后，志无递也。胤善继续续，续有辉也。斯真逸处士，熟其非也？乌斯道”。",[23,24,25,31,27,28,7,30,134,779,36,5403,5404],"长袍","持杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad73948b5383d12c65013d9bdad1a100.jpg","120.5x44.9厘米",[101],{"id":5409,"slug":5410,"title":5411,"dynasty":18,"author":3528,"museum":20,"description":5412,"tags":5413,"thumbUrl":5416,"material":59,"size":5417,"collection":101,"collections":5418,"showCount":5294,"zanCount":11,"manualWeight":11,"mainColor":44},217073,"ying-zhen-xiang-si-zhou-ding-yun-peng-217073","应真像四轴","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。",[24,25,26,2177,31,940,53,28,7,35,34,202,5414,5415,961],"罗汉","僧袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4b77fffbd3df97a2f3f4068623a1de4.jpg","141.4x66",[101],{"id":5420,"slug":5421,"title":5422,"dynasty":18,"author":481,"museum":172,"description":482,"tags":5423,"thumbUrl":5425,"material":38,"size":487,"collection":120,"collections":5426,"showCount":5294,"zanCount":141,"manualWeight":11,"mainColor":44},214671,"san-jue-tu-4-yao-shou-214671","三绝图-4",[24,53,30,54,116,2249,367,7,983,134,702,4424,5424,34],"渔翁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd41a69055627a18111545189016a9a46.jpg",[],{"id":5428,"slug":5429,"title":5430,"dynasty":87,"author":5431,"museum":172,"description":5432,"tags":5433,"thumbUrl":5434,"material":120,"size":120,"collection":40,"collections":5435,"showCount":5294,"zanCount":11,"manualWeight":11,"mainColor":5436},201793,"xia-shan-yu-yu-tu-zhou-zhang-yin-201793","夏山欲雨图轴","张崟","画面以云雾为脉络，层叠山峦在烟霭中虚实相生，夏山欲雨的朦胧氛围扑面而来。近处苍松挺劲，枝繁叶茂，掩映着山间亭榭；溪流潺潺绕过嶙峋怪石，清幽静寂。笔墨细腻工致，皴擦点染间尽显山水神韵，既得自然野趣，又含文人雅意，松涛与水声似在耳畔相和，将瞬间的诗意凝于尺幅。",[24,30,26,27,54,161,7,74,135,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92b9918f8b20e1a9cbd4b6d171d72668.jpg",[40],"afaca5",{"id":5438,"slug":5439,"title":5440,"dynasty":69,"author":1201,"museum":20,"description":5441,"tags":5442,"thumbUrl":5443,"material":38,"size":5444,"collection":120,"collections":5445,"showCount":5446,"zanCount":11,"manualWeight":11,"mainColor":44},290865,"si-lun-tu-zhou-liu-song-nian-290865","丝纶图轴","刘松年 （约1131-1218），号清波，南宋画家，历孝宗、光宗、宁宗三朝，浙江省金华市汤溪镇宅口人。刘松年与刘龟年兄弟随父亲宦居钱塘清波门，以住地自号刘清波，因清波门又称南“暗门”，故外号宋“暗门刘”。\n刘松年工山水人物，山水皴法受李唐影响，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[73,24,25,26,27,31,2151,94,7,57,188,34,28,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ff443d84c94d6f9882bd0d0f95d4233.jpg","98.9x33.2",[],24,{"id":5448,"slug":5449,"title":5450,"dynasty":87,"author":4395,"museum":147,"description":4396,"tags":5451,"thumbUrl":5452,"material":118,"size":119,"collection":120,"collections":5453,"showCount":5446,"zanCount":11,"manualWeight":11,"mainColor":44},290591,"zhen-hai-si-xue-jing-zhou-zhang-ruo-ai-290591","镇海寺雪景轴",[24,25,26,30,365,94,32,33,7,3683,27,54,34,2177,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafaaf25a4a84a0d50516cc3589bc39e7.jpg",[],{"id":5455,"slug":5456,"title":5457,"dynasty":69,"author":5458,"museum":20,"description":5459,"tags":5460,"thumbUrl":5463,"material":118,"size":5464,"collection":120,"collections":5465,"showCount":5446,"zanCount":11,"manualWeight":11,"mainColor":82},290586,"wei-lu-bo-gu-tu-zhou-zhang-xun-li-290586","围炉博古图轴","张训礼","庭中松树挺立，梅花盛开。屏风前三文士围束腰长桌而坐，其中二文士坐於榻上，榻下壶门开光，一观画，一盥手回首；靠背扶手椅上文士手作研磨状，似为点茶备茶。一文士园中踱步吟诗。",[24,26,27,31,1250,7,5461,5462,28,4129],"室内","围炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff04a72728e2a82a3232cf50b6d709cdf.jpg","138x72.7",[],{"id":5467,"slug":5468,"title":5469,"dynasty":69,"author":70,"museum":147,"description":5470,"tags":5471,"thumbUrl":5472,"material":118,"size":119,"collection":120,"collections":5473,"showCount":5446,"zanCount":11,"manualWeight":11,"mainColor":44},289589,"song-hu-diao-yin-tu-li-tang-289589","松湖钓隐图","该图运用简单的笔触，浓淡适宜的色彩，为我们刻画出一幅渔翁船头垂钓的画面。画中高山石用小斧劈皴，松树画法显得严密，松针繁茂，充分表现出松树的状态。整幅画面具有娴静而舒雅的情韵。",[24,25,678,30,188,29,34,116,57,7,53,54,317],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f3730c80edaffa52d15c03bd52adedf.jpg",[],{"id":5475,"slug":5476,"title":5477,"dynasty":69,"author":199,"museum":147,"description":5478,"tags":5479,"thumbUrl":5480,"material":118,"size":119,"collection":120,"collections":5481,"showCount":5446,"zanCount":11,"manualWeight":11,"mainColor":44},289361,"yi-song-tu-ce-ma-yuan-289361","倚松图册","该藏品是一幅表现文人寄情山水、抚琴赋诗、畅抒情怀、怡然自乐的画作。在尺幅大小的画面上，马远把一老一少两人安排在松姿奇特、湖光波动、远山绵延的自然环境中。他们或许是行走在归途中，倦时倚松稍作小憩。书童站在前面，上身着浅蓝色长布衣，下身穿白色裤子，双手抱着用布裹着的琴，两眼炯炯有神地欣赏着周围的景色，流露出一股天真无邪的稚气。书童衣纹简洁流畅，形象生动自然。松树后面，这位文人雅士倚松而立，左臂弯曲着靠在松树上，右臂自然下垂，作休息状；头部微侧，两眼凝视着波光荡漾的湖水，若有所思。画中的人物面部虽小如黄豆，但却造型准确，很好地表现了人物的神态和心理活动。作品用墨富有变化，笔法工整而不呆板，造型简练而不失神韵，衣纹用笔浓重而不失飘逸，线条疏密、长短有致。画家将人物与山水和谐地结合在一体，丰富了整个画面。《倚松图》虽然画幅不大，但内涵却极为丰富，真可谓“笔墨有尽意无穷”。",[24,215,53,27,31,7,57,30,1499,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b30e7cfff86aa986cfc3066e580c045.jpg",[],{"id":5483,"slug":5484,"title":5485,"dynasty":69,"author":88,"museum":20,"description":5486,"tags":5487,"thumbUrl":5489,"material":499,"size":119,"collection":120,"collections":5490,"showCount":5446,"zanCount":11,"manualWeight":11,"mainColor":82},288258,"shuang-song-hua-niao-tu-yi-ming-288258","双松花鸟图","这幅工笔花鸟画没有作者名款，目前归属为宋人的作品。作者透过长期细密的观察，将大自然中禽鸟的生态描绘出来，是典型的宋人写生风格。松针用细劲的笔触，一笔一笔攒聚成荫，密而不乱。花草、禽鸟在细笔钩勒之後，用色彩层层渍染，匀净自然。透过色调的深浅，传达花叶的正反面和羽毛生长的层次。其中细微之处，令人赞叹，精准到无可增减一分的程度。",[23,24,25,667,26,27,28,7,95,4579,5488],"兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F603ed2ce314011e52027abb39fcaf464.jpg",[],{"id":5492,"slug":5493,"title":5494,"dynasty":87,"author":5495,"museum":147,"description":5496,"tags":5497,"thumbUrl":5498,"material":118,"size":119,"collection":120,"collections":5499,"showCount":5446,"zanCount":11,"manualWeight":11,"mainColor":82},287969,"song-ge-fu-qin-tu-li-zhou-li-yin-287969","松阁抚琴图立轴","李寅","李寅，清代扬州画家，字白也，号东柯，江都（今江苏扬州）人，擅画山水，楼阁及花鸟，画风工细，设色娟妍。",[24,25,26,73,30,7,94,33,31,872,54,27,1499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb15e2546efd6385412ac7e4bd64a9be.jpg",[],{"id":5501,"slug":5502,"title":5503,"dynasty":87,"author":5504,"museum":147,"description":5505,"tags":5506,"thumbUrl":5507,"material":120,"size":120,"collection":384,"collections":5508,"showCount":5446,"zanCount":11,"manualWeight":11,"mainColor":44},237960,"mo-song-si-ye-hu-yu-kun-237960","墨松寺页","胡玉昆","山水有家法，用笔虚无缥缈，咫尺千里。兼长花卉、兰竹。为胡氏一门之杰，称逸品。康熙八年（一六六九）与会周亮工宴于南京，九年（一六七o）作碧梧依山图，十二年（一六七三）作金陵古迹册。有栗园集。《明画录、读画录、桐阴论画、墨香居画识、香祖笔记、赖古堂集、青溪遗稿、赖古堂书画跋、画传编韵、清画家诗史》",[24,53,27,30,7,35,134,303,34,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03a7c2f35cdcb613b2a1c9bba86f824d.jpg",[384,103],{"id":5510,"slug":5511,"title":5512,"dynasty":18,"author":4494,"museum":147,"description":5513,"tags":5514,"thumbUrl":5515,"material":120,"size":120,"collection":384,"collections":5516,"showCount":5446,"zanCount":11,"manualWeight":11,"mainColor":82},237920,"shan-song-se-zhou-zhang-hong-237920","山松色轴","字君度，号鹤涧，明代绘画大师，南直隶苏州府吴县（今江苏省苏州)人。善画山水，重视写生，笔力峭拔、墨色湿润、层峦叠嶂、秋壑深邃、有元人古意；他画石面皴染结合作为其特色。所作写意人物，形神俱佳，散聚得宜，是明末吴门画坛中的中坚人物，吴中学者尊崇之。",[73,24,26,53,54,30,7,35,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf66bb758d89c6cdfc0908d408a0d49c.jpg",[384,62],{"id":5518,"slug":5519,"title":5520,"dynasty":87,"author":2475,"museum":147,"description":5521,"tags":5522,"thumbUrl":5523,"material":120,"size":120,"collection":40,"collections":5524,"showCount":5446,"zanCount":11,"manualWeight":11,"mainColor":44},237690,"mei-qing-qu-xing-shi-shi-tu-zhou-mei-qing-237690","梅清瞿硎石室图轴","梅清（1623-1697），清初画家、诗人。原名士羲，后改今名，字渊公，号瞿山、敬亭山农，宣城（今属安徽）人。世祖顺治十一年（1654）举人，四次 北上会试，不第告终。与石涛交往友善，相互切磋画艺。石涛与梅清，皆有“黄山派”巨子的誉称。后遭家落，屏迹稼园，郁郁无所处，寄情诗画自娱。屡登黄山，观烟云变幻，银涛起伏，印心手随，景象奇伟。笔法松秀，墨色苍浑；后人称 梅清、梅庚、石涛，戴本孝等为黄山派。传世作品有《山村清景图》、《黄山图》、《黄山十九景图》、《黄山炼丹台图》等。",[24,26,53,30,31,7,57,54,34,188,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4980073cdbde0a994569769bb864028f.jpg",[40],{"id":5526,"slug":5527,"title":4438,"dynasty":87,"author":1687,"museum":147,"description":4439,"tags":5528,"thumbUrl":5529,"material":120,"size":120,"collection":384,"collections":5530,"showCount":5446,"zanCount":11,"manualWeight":11,"mainColor":44},237594,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237594",[24,25,215,53,54,274,30,7,55,35,36,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae0c88738c7130fc52a28d7ea721399c.jpg",[384,103],{"id":5532,"slug":5533,"title":1416,"dynasty":87,"author":171,"museum":147,"description":5534,"tags":5535,"thumbUrl":5536,"material":120,"size":120,"collection":120,"collections":5537,"showCount":5446,"zanCount":11,"manualWeight":11,"mainColor":44},235883,"yuan-ji-shan-shui-tu-ce-shi-tao-235883","此开以淡墨晕染出夜江空濛之境，远山如笼轻烟，朦胧柔婉。坡岸古松虬曲苍劲，枝叶疏密交错，暗合晚风拂林之态。浅滩扁舟静泊，舱内灯影隐约，将羁旅夜泊的清寂诗意缓缓铺陈。\n\n行书题诗与画面相映成趣，笔意疏朗清逸，诗句将烟月横塘的缱绻旅思娓娓道来，诗画交融无间。整幅以简驭繁，淡设色烘托出静谧悠远的晚江氛围，寥寥数笔便写尽江湖寄兴的闲淡意绪，尽显文人画诗画合璧的雅致风神，把幽寂淡远的羁愁融于尺幅之间。",[24,25,215,53,27,30,7,1962,150,29,188,34,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d386381e3f4f6870eb0fa126626adb4.jpg",[],{"id":5539,"slug":5540,"title":5541,"dynasty":87,"author":2475,"museum":147,"description":5542,"tags":5543,"thumbUrl":5544,"material":120,"size":120,"collection":120,"collections":5545,"showCount":5446,"zanCount":220,"manualWeight":11,"mainColor":44},235673,"huang-shan-tu-zhou-mei-qing-235673","黄山图轴","《梅清黄山图轴》是清代画家梅清创作的一幅纸本设色画。\n图绘被世人称为“黄山绝胜处”的文殊台。\n群峰松林以平行的斜线构成，白云蒸腾而上，气势雄浑。\n作者用豪放、泼辣的笔法突出了黄山奇、峻、险、秀的意境，山石以皴勾画，繁而不乱，松树枝叶墨气浓郁，独树一帜，别开生面。\n本幅自题诗一首，款署：“瞿山梅清并题”，钤“瞿山清”白文印、“渊公”朱文印。\n梅清（1624—1697年），原名士羲，后改梅清，字渊公，号瞿山、敬亭山农，宣城（今属安徽省）人。\n清初画家、诗人。\n工诗善画，以画山水、松石、梅花著称，时有“画山水入妙品”，“松入神品”，画梅花“枝干奇古”之评。\n山水画大多是黄山景致，风格雄奇豪放，为宣城地区画坛领袖。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。\n他的创作最重师法自然，曾在各地游历名山大川，终日面对青山描摹写生。\n黄山和家乡宣城是梅清绘画中最着力表现的题材。\n著有《天延阁集》、《梅氏诗略》等书。",[24,25,26,53,54,30,7,135,275,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e76d80fe37e232fb28534fb90d10bcd.jpg",[],{"id":5547,"slug":5548,"title":5549,"dynasty":87,"author":1860,"museum":89,"description":5550,"tags":5551,"thumbUrl":5552,"material":120,"size":120,"collection":120,"collections":5553,"showCount":5446,"zanCount":11,"manualWeight":11,"mainColor":44},234790,"bu-duo-hou-song-po-du-zuo-tu-xiang-zhou-cha-shi-biao-234790","补多侯松坡独坐图像轴","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，为海阳四家之一。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。",[24,26,53,31,7,288,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47325813bace357ceaf9d97d5cd3f2f3.jpg",[],{"id":5555,"slug":5556,"title":5557,"dynasty":18,"author":88,"museum":2829,"description":5558,"tags":5559,"thumbUrl":5560,"material":120,"size":120,"collection":120,"collections":5561,"showCount":5446,"zanCount":11,"manualWeight":11,"mainColor":82},231510,"yue-ye-gui-zhuang-tu-yi-ming-231510","月夜归庄图","这一张明代不知名画家的作品，一张月夜归庄图，如今这一张作品被珍藏在了美国弗利尔美术馆之中，普通人想要见它一眼还真的不容易。\n这一张作品被研究古画的专家给出价格超过1500万，甚至更高。而给出高价的原因也比较有意思，那就是这一张画太有意境感了，画的是古人月夜下主人骑马晚归的场景，如李白诗句里面的场景一样。\n且不说一模一样吧，但看到这一种距今已经超过600多年的山水与人物写意作品，肯定是给一个高价没有错，另外看这一张作品是谁画的？时代背景如何，如果真的是出自名家之手，那就是真正的精品好作品了。\n仔细看这一张作品，其实它应该算是当时的一个赝品，为什么这么说呢？首先从作品的笔法与绘画的水墨风格来讲，这是属于当时浙派的全面模仿风格。因为在当时那一个时代范围内，这一类的绘画作品出现太多，而且是同一时间出现的。\n所以专家说这一张作品并不是真迹，但它对于现代人来讲，却是距今600多年的真迹，不管管是谁画的，作品是好作品，而且是到代的作品，很不错。\n这一幅画的原题取名是：唐卢浩然月夜归庄图真迹。但研究者表示这是古人的信口之说，应该是明代画家所画，但不是出自当时的名家之手，仅仅只是属于当时一个没有名气的画家之手。\n但尽管是没有多少名气，可仔细看作品，主人骑在一匹马的身上，然后由一个童子牵着这一匹马，马儿比较累的样子，但很壮实。另外前面的空地上还放着一个古代的担子，一个穷苦的农人正在开门。\n既然是夜归，马儿的累，主人的归意，都写在了作品之中，真不愧是一张好作品。",[23,24,53,27,30,54,509,7,35,31,242,187,33,135,36,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66ac5f742455c4c915baf05cc2a8e766.jpg",[],{"id":5563,"slug":5564,"title":3226,"dynasty":49,"author":896,"museum":20,"description":5565,"tags":5566,"thumbUrl":5568,"material":76,"size":5569,"collection":120,"collections":5570,"showCount":5446,"zanCount":11,"manualWeight":11,"mainColor":82},231382,"shuang-song-tu-wu-zhen-231382","全作的笔力雄劲，墨气沈厚，有一种平淡天真的韵致。\n两松平地直立，上顶天，下立地，几乎占据了整个画面。两树均挺拔茂盛、枝叶桠槎、形势奇古。左松树身中下部曲成弧形，卧于地，中部挺直、劲健，顶部突然探向右方；右松直立挺拔，上部一个近于直角的弯曲，伸向右，于左松一树枝的上方又一个近于直角的弯曲，然后冲向高空。这样两松空中交插，成为X形，一种挺拔、孤傲、相依相扶的形象展示于画面。两松枝叶间点缀以清溪茅舍、远山丛树，更显出双松的高大、雄伟。\n画中双树擎天而立，树后有一条蜿蜒的溪流渐渐地向后推延，几户房舍坐落在岸边，空间深邃。虽然这件画轴的画题是「双松图」，可是从画上两棵树的枝干看来，吴镇画的应该是桧树才对。画中桧树的枝纠结，仍然保存了李成、郭熙画树的风貌。树皮以长披麻皴来表现，笔法又和董源、巨然相似。坡岸多作矾头，也是董巨山水画的重要特色。",[24,25,53,54,26,30,7,35,134,36,3578,5567],"石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaf0fcc10dffdd8cca23f577240f388d.jpg","纵180厘米横111.4厘米",[],{"id":5572,"slug":5573,"title":5574,"dynasty":87,"author":171,"museum":147,"description":5575,"tags":5576,"thumbUrl":5577,"material":120,"size":120,"collection":120,"collections":5578,"showCount":5446,"zanCount":11,"manualWeight":11,"mainColor":44},224512,"shan-shui-tu-ce-8-kai-2-zhang-da-qian-jiu-cang-shi-tao-224512","山水图册8开-2-张大千旧藏","这幅山水以留白铺就江天空寂，右侧危崖飞瀑直落，笔墨苍莽朴拙，尽显山石嶙峋质感。左侧崖巅孤松斜曳，茅舍孑立，归雁成阵掠过长空，远江帆影悠悠往来。\n\n简淡设色晕染山石松枝，寥寥数笔便勾勒出山野清寂之境。题款朱印错落于崖侧，与水墨相映成趣，以写意之笔铺陈出天人相融的幽远意趣，尽显简淡疏朗的林下之风，将江乡山居的空阔自在藏于尺幅之中。",[23,73,24,25,393,53,54,342,30,116,7,276,55,95,35,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcffdcba7a6958b40f93316c1d03b2b96.jpg",[],{"id":5580,"slug":5581,"title":3879,"dynasty":18,"author":815,"museum":147,"description":5582,"tags":5583,"thumbUrl":5584,"material":120,"size":5585,"collection":120,"collections":5586,"showCount":5446,"zanCount":11,"manualWeight":11,"mainColor":82},222589,"shan-shui-tu-zhou-lan-ying-222589","蓝瑛绘画特点较明显的是用笔有顿挫，以疏秀苍劲取胜。善写秋景。在作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”、“用云法”等，实则所画都是他自己的面目。",[23,24,26,27,54,30,35,7,175,161,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3137530f69bbbbed7b90a40b906f24f9.jpg","70x38",[],{"id":5588,"slug":5589,"title":5590,"dynasty":87,"author":1687,"museum":362,"description":5591,"tags":5592,"thumbUrl":5593,"material":38,"size":5594,"collection":120,"collections":5595,"showCount":5446,"zanCount":11,"manualWeight":11,"mainColor":44},217211,"fang-gu-shan-shui-shi-er-kai-qi-wang-hui-217211","仿古山水十二开(七)","此册王翚仿古十二开",[24,53,27,54,215,7,35,134,1962,302,33,36,3531,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c32ce4200c41428eb08270af482d9f5.jpg","25x35.4cm",[],{"id":5597,"slug":5598,"title":5599,"dynasty":87,"author":88,"museum":20,"description":5600,"tags":5601,"thumbUrl":5602,"material":190,"size":120,"collection":120,"collections":5603,"showCount":5446,"zanCount":11,"manualWeight":11,"mainColor":44},215198,"sheng-ping-le-shi-tu-ce-4-yi-ming-215198","升平乐事图册-4","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。",[24,27,28,215,31,2487,7,961,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff998227d287d831c6291e1b5887b07c2.jpg",[],{"id":5605,"slug":5606,"title":5607,"dynasty":87,"author":88,"museum":20,"description":5600,"tags":5608,"thumbUrl":5609,"material":190,"size":120,"collection":120,"collections":5610,"showCount":5446,"zanCount":11,"manualWeight":11,"mainColor":44},215196,"sheng-ping-le-shi-tu-ce-9-yi-ming-215196","升平乐事图册-9",[24,27,28,215,31,2151,885,7,32,1181,1250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50a2cc9698a5344d8809d368f396c948.jpg",[],{"id":5612,"slug":5613,"title":5614,"dynasty":87,"author":88,"museum":20,"description":4849,"tags":5615,"thumbUrl":5616,"material":190,"size":4855,"collection":120,"collections":5617,"showCount":5446,"zanCount":11,"manualWeight":11,"mainColor":44},214662,"qian-long-ke-si-shan-shui-gua-ping-si-zhou-3-yi-ming-214662","乾隆缂丝山水挂屏四轴-3",[4851,27,30,7,94,35,1376,563,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaf80093bfe86ebc9b027f55b157dd87.jpg",[],{"id":5619,"slug":5620,"title":4521,"dynasty":69,"author":199,"museum":147,"description":856,"tags":5621,"thumbUrl":5622,"material":118,"size":119,"collection":120,"collections":5623,"showCount":5624,"zanCount":11,"manualWeight":11,"mainColor":44},289127,"gao-shi-guan-pu-tu-ma-yuan-289127",[24,73,256,1119,28,54,27,7,55,35,2910,1499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22af0766a92228005907352af710c863.jpg",[],23,{"id":5626,"slug":5627,"title":5628,"dynasty":18,"author":459,"museum":147,"description":4365,"tags":5629,"thumbUrl":5632,"material":118,"size":119,"collection":120,"collections":5633,"showCount":5624,"zanCount":11,"manualWeight":11,"mainColor":44},287527,"xie-jing-huan-cha-tu-juan-chou-ying-287527","写经换茶图卷",[23,73,24,186,25,28,27,31,7,639,5630,188,34,5631],"写经","文人雅事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18af42865495de6c46ac5d9c98431caa.jpg",[],{"id":5635,"slug":5636,"title":5637,"dynasty":87,"author":5638,"museum":147,"description":5639,"tags":5640,"thumbUrl":5641,"material":120,"size":120,"collection":40,"collections":5642,"showCount":5624,"zanCount":11,"manualWeight":11,"mainColor":44},238243,"sai-shan-er-shi-si-jing-ce-zhang-ruo-cheng-238243","塞山二十四景册","张若澄","以淡墨勾勒皴擦，写尽峰峦层叠之态，危岩高耸，林木依石而生，留白处似云气萦回山谷，将幽寂的山巅清景铺展开来。笔致苍秀细腻，山石纹理尽显嶙峋质感，枯松错落萧疏，带着塞地萧寒之气，仿佛可闻山风穿林而过。\n\n右侧大片留白与左侧繁密山景形成强烈虚实对照，朱红鉴藏印点缀素纸，墨色丹印相映成趣，既有荒寒山境的冷逸清寂，又添古雅金石意趣，将塞上山川的静穆荒寒凝于尺幅，悠悠古意扑面而来。",[24,25,53,28,54,215,30,132,7,35,574,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3004413fb4a3a4c945a56f3045298730.jpg",[40],{"id":5644,"slug":5645,"title":5646,"dynasty":87,"author":5647,"museum":147,"description":5648,"tags":5649,"thumbUrl":5650,"material":118,"size":119,"collection":120,"collections":5651,"showCount":5624,"zanCount":11,"manualWeight":11,"mainColor":44},235808,"shan-shui-ren-wu-shan-fan-qi-235808","山水人物扇","樊圻","樊圻（1616年—1694年之后），生于明万历四十四年，卒于清康熙三十三年之后，清画家。字会公，江宁（今江苏省南京）人。擅画山水、花卉、人物。为“金陵八家”之一。",[24,678,30,31,27,53,54,7,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F018c25de95b8ba299cd7eb0feb4ec252.jpg",[],{"id":5653,"slug":5654,"title":1497,"dynasty":87,"author":1106,"museum":89,"description":5655,"tags":5656,"thumbUrl":5657,"material":137,"size":5658,"collection":120,"collections":5659,"showCount":5624,"zanCount":11,"manualWeight":11,"mainColor":44},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。",[73,24,53,26,30,54,132,162,7,175,74,56,55,150,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d58442ca928e49e5aad06b4764cbc2.jpg","纵135厘米，横63厘米",[],{"id":5661,"slug":5662,"title":5663,"dynasty":87,"author":1811,"museum":89,"description":5664,"tags":5665,"thumbUrl":5667,"material":246,"size":5668,"collection":120,"collections":5669,"showCount":5624,"zanCount":141,"manualWeight":11,"mainColor":44},233826,"fang-shu-ming-zhang-song-xian-guan-tu-zhou-wang-jian-233826","仿叔明长松仙馆图轴","画面下方近水的岩石与长松交错，松涛阵阵似可听闻，幽径蜿蜒于松林之中通向山中馆舍，山馆四周碧树环绕，其后丘壑万千，青峰壁立，苍郁秀润，另有茅屋布于山腰处。整幅图画描绘出郁郁葱葱的青山峻岭，清幽静谧的山居茅舍，传达了绝意仕途的士大夫情系山水之间悠然自得的意趣，此图实为作者托物言志之作。\n王鉴的作品有三种面目，即水墨、青绿设色、浅绛设色。浅绛山水创自五代董源，成于黄公望，元末王蒙又略加变化，在水墨的基础上以赭石勾填于局部，风神独具。王鉴此作正是师法王蒙，在树干、屋宇、山石、坡脚等处微染赭石，使画面的层次丰富，也增添了灵秀的韵味。题款中言“仿叔明”，画幅上不只在设色方面模仿王蒙，从构图、山石皴法中亦能看到王蒙的影响。如图中采用王氏惯用的重山复岭的构图形式，气势浑厚雄奇。再如山石多施王氏擅长的解索皴，把山石的质感刻划得细致入微。同时，画面也表现了王鉴的个人风貌，他那恬淡平缓的风格，雅致松秀的气韵，使观者静意自生。\n此图是王鉴晚年浅绛山水画的一幅精妙作品。",[24,26,53,54,30,7,35,36,33,5666],"馆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4f7b2e3736315f79037ba03c6678939.jpg","纵138.2厘米，横54.5厘米",[],{"id":5671,"slug":5672,"title":5673,"dynasty":87,"author":5674,"museum":89,"description":5675,"tags":5676,"thumbUrl":5677,"material":989,"size":5678,"collection":120,"collections":5679,"showCount":5624,"zanCount":11,"manualWeight":11,"mainColor":44},233410,"ren-song-yun-xiang-zhou-ren-yi-233410","任淞云像轴","任颐","任伯年乃是处于中国古代社会与近现代交界线上的一位人物，而他的绘画在清末画坛犹如奇峰崛起，代表着传统艺术的一个新的高度。\n他的人物画既具有总结性，又富有前瞻性。上接陈洪绶、八大山人、华嵒、闵贞、费丹旭、任渭长、任阜长之衣钵，下启徐悲鸿及蒋兆和之新一代画风。他不仅是“海派”中的佼佼者，而且也是中国绘画史上的一位大师。",[24,25,26,27,53,31,367,35,261,7,33,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb450c7a206e3c836cbe9cd017f905d9d.jpg","173.1cm×47.3cm",[],{"id":5681,"slug":5682,"title":5683,"dynasty":87,"author":1811,"museum":147,"description":5684,"tags":5685,"thumbUrl":5686,"material":120,"size":120,"collection":120,"collections":5687,"showCount":5624,"zanCount":11,"manualWeight":11,"mainColor":44},230194,"yun-he-song-yin-tu-wang-jian-230194","云壑松阴图","清王鉴云壑松荫图轴是清代时期的文物，现收藏于上海博物馆。\n王鉴（1598-1677），字元照，号湘碧、染香庵主，有“王廉州”之称，太仓（今江苏）人。\n山水以元四家为宗，用墨浓润，风格沉雄，“清初六家”之一。\n此图作于康熙乙卯(1675)，时年七十八岁。\n布局转折多姿，笔法细密灵活，画面显得滋润、整洁而明净。",[23,24,25,26,53,30,54,7,33,56,36,1376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd7dcd1f06106fa7ea0da3e5cfff9089.jpg",[],{"id":5689,"slug":5690,"title":5691,"dynasty":18,"author":2066,"museum":147,"description":5692,"tags":5693,"thumbUrl":5694,"material":120,"size":120,"collection":120,"collections":5695,"showCount":5624,"zanCount":11,"manualWeight":11,"mainColor":82},228748,"e-mei-xue-tu-xie-shi-chen-228748","峨嵋雪图","此作笔墨兼具工致与写意，以留白淡晕铺就雪色，尽显峨眉雪岭的荒寒厚重。层叠峰峦覆着蓬松积雪，墨笔勾勒出山岩棱线，衬出雪景清寂辽远。山寺错落隐于雪岭寒林，古木虬枝仍带冬意生机。下方溪桥之上，驮队徐行，为冷绝天地晕开一抹人间暖意。\n\n整幅画将蜀地冬山的磅礴大气与羁旅意境相融，既有山川壮伟之态，又藏细腻生活意趣，绘就雪后峨眉空蒙萧寒的独特意境，是明代雪景山水的精妙之作。",[23,24,25,26,30,27,54,736,7,94,32,33,690,31,242,35,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a28ce0b8585d7df837cf6392eac40f.jpg",[],{"id":5697,"slug":5698,"title":5699,"dynasty":87,"author":2436,"museum":147,"description":4318,"tags":5700,"thumbUrl":5701,"material":120,"size":120,"collection":120,"collections":5702,"showCount":5624,"zanCount":11,"manualWeight":11,"mainColor":44},226634,"si-shi-shan-shui-07-pu-ru-226634","四时山水07",[23,24,25,53,27,54,30,161,7,35,175,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb559be15cbf0d7b675d5eeea0f7e508f.jpg",[],{"id":5704,"slug":5705,"title":5706,"dynasty":87,"author":1687,"museum":147,"description":5707,"tags":5708,"thumbUrl":5709,"material":120,"size":120,"collection":120,"collections":5710,"showCount":5624,"zanCount":141,"manualWeight":11,"mainColor":82},224447,"fang-huang-he-shan-ren-shan-shui-wang-hui-224447","仿黄鹤山人山水","此作用全景铺展秋山胜境，取法黄鹤山人苍浑繁密之致。峰崖高拔，以解索皴写山石肌理，苔点错落，尽显岩壑古拙苍劲。山间云气轻笼，虚实相生，拉开层叠景深。\n下半幅转绘幽居水乡，屋舍错落滨水，渔人泛棹、庭内闲寂，将林泉隐逸的悠然意趣融于山水间。\n笔墨干湿互济，浓淡相宜，既恪守元人笔墨的苍茫厚重，又暗合江南山水温润灵秀之态，师古而不泥古，尽显秋山静穆雅致的林泉高致。",[23,24,25,256,26,54,53,27,30,7,35,55,175,303,36,276,74,1343],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8123656d7dfc46d899cd09ac6309fce.jpg",[],{"id":5712,"slug":5713,"title":5714,"dynasty":69,"author":88,"museum":147,"description":5715,"tags":5716,"thumbUrl":5717,"material":118,"size":119,"collection":120,"collections":5718,"showCount":5624,"zanCount":11,"manualWeight":11,"mainColor":82},223553,"shen-shan-hui-qi-tu-yi-ming-223553","深山会棋图","该画青绿设色，主要表现一士人策杖而行，身后跟随二童仆，一仆携琴，另一仆则肩扛巨大的葫芦，暗示道教的“壶中天”；主仆三人正走向山洞洞门，门后高山耸立，山后却别有天地，象征道教中的“洞天”；“洞天”内则琼楼玉宇，二仙人正在弈棋。\n此类画作，无款无印，是专于墓葬的使用而创作，喻示死者能够仙化，从而进入人所仰慕的神仙世界。此画是中国古代“洞天”和“仙弈”等思想观念的体现。",[23,24,25,30,53,54,27,35,7,94,31,33,1964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30288ef13f2034087c552c24805539d6.jpg",[],{"id":5720,"slug":5721,"title":68,"dynasty":337,"author":5722,"museum":2936,"description":5723,"tags":5724,"thumbUrl":5725,"material":120,"size":120,"collection":120,"collections":5726,"showCount":5624,"zanCount":11,"manualWeight":11,"mainColor":44},220510,"wan-he-song-feng-tu-huang-jun-bi-220510","黄君璧","层叠峰岩以赭红晕染崖顶，苍劲古松扎根嶙峋山石间，挺秀卓立尽显风神。两道飞瀑自云端峭壁垂落，撞碎成白练跌汇入溪涧，流水穿绕矶石，带着鲜活生机破山而出。山间云气轻笼远峰，虚实掩映间晕开空濛烟岚，将雄浑山势揉进柔婉留白中。\n\n笔墨兼具北派山水的刚健苍劲与岭南画韵的秀润清灵，斧劈皴刻画出山石硬朗肌理，松针攒簇尽显苍郁意态，以动静相生的章法，将松涛与泉鸣交融的山林幽寂盛境铺展眼前，藏着天人共生的东方山水意趣。",[23,24,25,26,27,54,30,7,55,56,135,74,275,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bb4ec9913ffc4e9d465df3a7b1c47b3.jpg",[],{"id":5728,"slug":5729,"title":5730,"dynasty":87,"author":1038,"museum":89,"description":3397,"tags":5731,"thumbUrl":5732,"material":543,"size":3400,"collection":120,"collections":5733,"showCount":5624,"zanCount":11,"manualWeight":11,"mainColor":44},220325,"huang-shan-tu-ce-5-hong-ren-220325","黄山图册-5",[23,24,25,215,53,54,30,57,7,31,574,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc48c1a6440b9359b890d503ad1a69aae.jpg",[],{"id":5735,"slug":5736,"title":5737,"dynasty":18,"author":5738,"museum":1656,"description":5739,"tags":5740,"thumbUrl":5741,"material":543,"size":120,"collection":40,"collections":5742,"showCount":5624,"zanCount":11,"manualWeight":11,"mainColor":44},220149,"qiu-shan-qing-xing-tu-chen-huan-220149","秋山清兴图","陈焕","陈焕是明代吴门画派画家，他是苏州人，生活在明代中后期。陈焕的传世作品不多，画史中关于他的记载仅有三两句，其中最关键的一句说他私淑侯懋功。私淑是文化人的说法，指不能拜入师门但心存向往，一心临习。侯懋功是文徵明一脉的后辈弟子，画风雅致，在江南一带名气很大。从私淑二字就可以看出来，陈焕的学画之路并不顺畅，不过再多的坎坷也阻挡不住他对艺术的向往。",[23,24,53,26,30,35,36,7,32,161,54,3197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45500562d0218a2947f633f2ac87f1e3.jpg",[40],{"id":5744,"slug":5745,"title":5746,"dynasty":87,"author":1687,"museum":362,"description":5591,"tags":5747,"thumbUrl":5748,"material":38,"size":5594,"collection":120,"collections":5749,"showCount":5624,"zanCount":11,"manualWeight":11,"mainColor":44},217212,"fang-gu-shan-shui-shi-er-kai-liu-wang-hui-217212","仿古山水十二开(六)",[24,215,53,30,7,55,175,35,54,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ad3402979059ae1473273bbfba5698a.jpg",[],{"id":5751,"slug":5752,"title":5753,"dynasty":87,"author":5754,"museum":147,"description":5755,"tags":5756,"thumbUrl":5758,"material":118,"size":119,"collection":120,"collections":5759,"showCount":5760,"zanCount":11,"manualWeight":11,"mainColor":82},290382,"bai-niao-tu-juan-jiang-ting-xi-290382","百鸟图卷","蒋廷锡","蒋廷锡（1669年－1732年），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，清朝康熙、雍正时期官员、画家、文献学家、藏书家。\n蒋廷锡为康熙四十二年（1703年）进士，授翰林编修。雍正帝即位后历任礼部侍郎、户部尚书等职。雍正六年（1728年）拜文华殿大学士，仍兼理户部事，并任《明史》总裁。次年（1729年）加太子太傅。累封一等阿达哈哈番。雍正十年（1732年）卒于任内，谥号“文肃”。\n蒋廷锡在官秉公抚政、剔除积弊，声誉甚著。为人博学精敏，尤善诗画。擅长花鸟，以逸笔写生，奇正率工，敷色晕墨，兼有一幅，能自然洽和，风神生动，得恽寿平韵味。点缀坡石，偶作兰竹，亦具雅致。曾画塞外花卉70种，被视为珍宝收藏于宫廷。今有《牡丹扇面》《岁岁久安图》《桃花鹦鹉图》《竹石图》轴及《花卉图》等传世。",[23,24,186,5757,95,7,302,27],"花鸟画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4220530ed51478e9da3375c4925bc9f.jpg",[],22,{"id":5762,"slug":5763,"title":5764,"dynasty":49,"author":896,"museum":147,"description":5765,"tags":5766,"thumbUrl":5767,"material":118,"size":119,"collection":120,"collections":5768,"showCount":5760,"zanCount":11,"manualWeight":11,"mainColor":82},290263,"cang-qiu-tu-ke-luo-ban-wu-zhen-290263","苍虬图 （珂罗版）","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。",[23,24,73,26,53,7,188,34,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c4af6f1f1656e866d4a31edc64f1ff0.jpg",[],{"id":5770,"slug":5771,"title":5772,"dynasty":69,"author":5773,"museum":147,"description":5774,"tags":5775,"thumbUrl":5776,"material":118,"size":119,"collection":120,"collections":5777,"showCount":5760,"zanCount":11,"manualWeight":11,"mainColor":44},289842,"song-he-ceng-lou-tu-zhang-dun-li-289842","松壑层楼图","张敦礼","熙宁元年选尚英宗女祁国长公主，授左卫将军、驸马都尉，迁密州观察使。元祐初，疏言：“变法易令，始于王安石，成于蔡确。近者退确进司马光，以臣观之，所得多矣。”进武胜军留后。",[23,24,25,92,30,94,7,27,188,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72ca23e05a4be037ccdf9ee69a4cddc8.jpg",[],{"id":5779,"slug":5780,"title":5781,"dynasty":49,"author":5782,"museum":20,"description":5783,"tags":5784,"thumbUrl":5787,"material":118,"size":119,"collection":120,"collections":5788,"showCount":5760,"zanCount":11,"manualWeight":11,"mainColor":82},287530,"lao-zi-qi-niu-yan-hui-287530","老子骑牛","颜辉","颜辉，字秋月，生卒年不详，庐陵（今江西吉安）人，一作浙江江山人。宋末元初时人物画家，擅人物、佛道，亦工鬼怪，兼能画猿。其造型奇特，用笔虽见刻露，却笔法怪异，有生动传神之趣，在画法上喜作水墨粗笔，用笔劲健豪放，笔法粗犷，有梁楷遗法。元代由于山水画、文人画兴起，作为人物画家的颜辉在中国画史埋没无闻，由于其作品流传日本较多，颜辉在日本受评甚高，对日本室町时代的绘画有较大影响。传世代表作有《钟馗雨夜出游图》，《蛤蟆仙人像》，《李仙像》，《猿图》。",[24,25,26,31,940,53,243,5785,5786,7,202],"道家","老子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdec6acefc1a511537d785d80eee4c4a2.jpg",[],{"id":5790,"slug":5791,"title":5792,"dynasty":87,"author":5793,"museum":147,"description":5794,"tags":5795,"thumbUrl":5796,"material":120,"size":120,"collection":120,"collections":5797,"showCount":5760,"zanCount":141,"manualWeight":11,"mainColor":82},235832,"qiu-shan-cao-tang-tu-zhou-wu-hong-235832","秋山草堂图轴","吴宏","此作用淡墨皴擦写层叠秋山，崖峦渐远晕出空濛秋韵。近畔枯木虬曲苍劲，苍松卓然挺立于茅舍之侧，篱径萦回板桥通幽，溪岸渔舟横斜，静穆山居秋景宛然眼前。枯笔短皴勾勒山石质感，淡赭轻敷晕染秋意，简淡笔墨见出苍浑朴拙。右上角题诗衬景，诗画相融，将秋日山野萧疏安闲的意趣尽显，暗合文人幽居丘壑、寄情林泉的雅逸襟怀。",[24,25,26,53,27,54,30,36,367,7,32,33,35,229,3367,1963],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7717b800d6cee60d4bf59a3f525be6ec.jpg",[],{"id":5799,"slug":5800,"title":5801,"dynasty":87,"author":1860,"museum":147,"description":5802,"tags":5803,"thumbUrl":5804,"material":120,"size":120,"collection":120,"collections":5805,"showCount":5760,"zanCount":11,"manualWeight":11,"mainColor":44},234692,"ri-zhang-shan-jing-tu-zhou-cha-shi-biao-234692","日长山静图轴","《查士标日长山静图轴》是清代的图轴。\n自题：“日长山静净无尘，风下松花满葛巾。\n自是人间清回处，辋川盘谷总天真。\n丙辰九月画。\n请象老道年翁教正。\n弟查士标。\n”钤“士标私印”白文印、“查二瞻”朱文印。\n款识中的“丙辰”为清康熙十五年（1676年），查士标时年62岁。\n图绘远景山峦高耸如壁。\n近水岸边，长松杂树。\n一高士携童子踱桥而至。\n布局以高远法取势，笔法轻快疏秀，墨气华润蕴藉，意境荒寒清旷，是作者在仿倪瓒的基础上的变体画，堪称其艺术成熟期的代表作。",[24,25,26,53,30,54,35,36,7,31,32,33,574,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23b3052f2ac3b856b3b70c157b198284.jpg",[],{"id":5807,"slug":5808,"title":5809,"dynasty":87,"author":1687,"museum":226,"description":3425,"tags":5810,"thumbUrl":5811,"material":499,"size":5812,"collection":120,"collections":5813,"showCount":5760,"zanCount":11,"manualWeight":11,"mainColor":44},234202,"xi-shan-xue-yi-tu-juan-wang-hui-234202","溪山雪意图卷",[23,24,186,30,53,54,27,365,150,258,36,367,7,175,32,188,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee8941243ea2d3a259d941be6a2a0dce.jpg","纵41厘米，横241.3厘米",[],{"id":5815,"slug":5816,"title":5817,"dynasty":18,"author":312,"museum":147,"description":5818,"tags":5819,"thumbUrl":5821,"material":120,"size":120,"collection":120,"collections":5822,"showCount":5760,"zanCount":11,"manualWeight":11,"mainColor":82},228847,"xue-shan-lv-xing-tu-dai-jin-228847","雪山旅行图","以留白晕染苍山积雪，笔锋勾勒出山棱的硬挺苍劲，虬松如铁错落崖间，尽显冬山萧寒清旷之意。\n层叠山势铺展出高远纵深，山坳间山居错落，谷口行旅络绎，将冷寂雪景揉进人间烟火。水墨浓淡铺陈出雪色的虚实层次，枯涩笔触绘出松针遒劲，凛冽荒寒中晕开暖意，把羁旅匆匆、山居安闲藏在冰封山峦里，苍硬画风裹着细腻温情，落笔见苍劲风骨，于萧寒山水间晕染出鲜活的冬日山居意趣。",[23,24,25,73,53,30,54,132,7,94,32,242,175,365,33,5820,244,2414],"旅人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a46623cccdb86806a1cec8ab50c3264.jpg",[],{"id":5824,"slug":5825,"title":5826,"dynasty":49,"author":5827,"museum":147,"description":5828,"tags":5829,"thumbUrl":5830,"material":120,"size":120,"collection":120,"collections":5831,"showCount":5760,"zanCount":141,"manualWeight":11,"mainColor":82},227991,"wan-song-tu-juan-gu-chao-227991","万松图卷","顾超","此作用笔松灵秀润，以披麻皴晕染山峦，淡墨铺就出氤氲山林清气。近景苍松虬曲苍劲，坡岸错落间村居掩映，野趣横生。中景湖水萦回柔婉，轻描水纹分割出虚实层次，让画面灵动不滞。远景层峦间万松层叠，与山色相融，烘托出萧散空寂的林下氛围。整体简淡中见苍润，脱却匠气，以文人意趣勾勒林泉高致，将隐逸之思藏在笔墨留白间，引观者步入静穆幽远的山林之境，尽显寄情丘壑的林下风流。",[23,24,25,73,186,53,54,30,7,35,33,32,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1128d13ce286d88d7dc81f940e410197.jpg",[],{"id":5833,"slug":5834,"title":5835,"dynasty":69,"author":3611,"museum":147,"description":5836,"tags":5837,"thumbUrl":5838,"material":118,"size":119,"collection":120,"collections":5839,"showCount":5760,"zanCount":11,"manualWeight":11,"mainColor":44},227329,"yan-guan-gu-si-tu-ye-jia-shi-gu-227329","严关古寺图页","贾师古，生卒年不详，南宋画家。汴（今河南开封）人，善画道释人物，师法李公麟。高宗绍兴时为画院祗候。白描人物，颇得闲逸自在之状。尝作《归去来图》，有所谓“一笔法”，甚古雅。梁楷为其高足，名过其师。传世作品有《岩关古寺图》、《大士像》等。",[23,24,25,215,27,54,34,30,7,35,3614,134,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f001dee4f7caf5c80f9cbb0734173ec.jpg",[],{"id":5841,"slug":5842,"title":5843,"dynasty":87,"author":3274,"museum":147,"description":5844,"tags":5845,"thumbUrl":5846,"material":120,"size":120,"collection":120,"collections":5847,"showCount":5760,"zanCount":11,"manualWeight":11,"mainColor":44},224587,"tai-gu-yun-lan-zhou-zou-yi-gui-224587","太古云岚轴","以淡墨晕染烟岚，山峦在云气间浮沉隐现，留白与晕染相济，铺展出太古悠远空蒙的意境。前景平坡错落村舍，枯木疏林覆着薄雪，山野意趣悠然澹泊。\n\n笔致清隽秀雅，皴擦细腻妥帖，以淡墨烘托雪后山峦温润静穆的质感，云雾吞吐开合，将远山藏敛，咫尺画幅尽显辽远空寂的古淡气象，将冬山萧寒与幽寂禅意相融。文人题诗错落排布，诗画映合，兼收院体的规整细腻与文人画秀逸气质，淡远清和间，尽展天地初霁的浑茫雅致。",[23,24,26,30,54,53,150,135,36,175,74,7,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3480fc595a4ab95a8ecddd2b8bc62744.jpg",[],{"id":5849,"slug":5850,"title":5851,"dynasty":87,"author":2475,"museum":147,"description":5852,"tags":5853,"thumbUrl":5854,"material":120,"size":120,"collection":120,"collections":5855,"showCount":5760,"zanCount":11,"manualWeight":11,"mainColor":82},224342,"huang-shan-tian-dou-feng-tu-mei-qing-224342","黄山天都峰图","《梅清黄山天都峰图轴》是清代梅清创作的纸本墨笔画。\n本幅款署：“十年幽梦系轩辕，身历层岩始识尊。\n天上云都供吐纳，江南山尽列儿孙。\n峰抽千仞全无土，路入重霄独有猿。\n谁道丹台灵火息，朱砂泉水至今温。\n天都峰。\n仿荆关笔意。\n瞿山梅清并题。\n”钤“瞿硎清”白文印、“渊公”朱文印。\n天都峰为黄山三大主峰之一。\n古时有“群仙所都”之称，意为天上都会，故名。\n此峰卓立地表，险峭雄奇，气势博大，最为雄伟壮丽。\n图中天都峰陡立奇险，冲出云天，山腰间云气缭绕，矮岩上的古寺为林木掩映，两位文士静立观赏山的峻峭与云的变幻。\n在艺术表现手法上，画家突出表现天都峰奇险雄秀的气势而不求形似，通过顶天立地式的布局与弥漫山间的浮云相配合，从侧面烘托了画面气氛，避免直白的艺术表现，增加了观者的空间感，展示出兼具雄浑奔放和清秀空灵的绘画风格，给人以强烈的艺术感染。\n此外，墨色的浓淡相宜既显示了画家非比寻常的绘画技巧，也使得画面完整而统一，没有杂乱无章之感。\n梅清（1624—1697年），原名士羲，后改梅清，字渊公，号瞿山、敬亭山农，宣城（今属安徽省）人。\n清初画家、诗人。\n工诗善画，以画山水、松石、梅花著称，时有“画山水入妙品”，“松入神品”，画梅花“枝干奇古”之评。\n山水画大多是黄山景致，风格雄奇豪放，为宣城地区画坛领袖。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。\n他的创作最重师法自然，曾在各地游历名山大川，终日面对青山描摹写生。\n黄山和家乡宣城是梅清绘画中最着力表现的题材。\n著有《天延阁集》、《梅氏诗略》等书。",[23,24,25,30,53,54,26,275,7,135,161,31,34,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fead2c64c87e758f439ebdbbe68526dc0.jpg",[],{"id":5857,"slug":5858,"title":5859,"dynasty":18,"author":815,"museum":20,"description":5860,"tags":5861,"thumbUrl":5862,"material":190,"size":5863,"collection":40,"collections":5864,"showCount":5760,"zanCount":11,"manualWeight":11,"mainColor":82},222597,"xi-ge-qing-yan-tu-lan-ying-222597","溪阁清言图","此图的灵感来源是元代画家赵雍。画山石的时候，先用“披麻皴”来描绘质理，然后上面再轻轻罩染一层石青、石绿的颜料。山峰上的苔点和攀附松身的女萝，也是用冷色调的石青敷填，显得十分醒目。蓝瑛灵活地运用元代绘画的模式，将它转化成新的绘画语汇，再融入自己的创作之中。",[23,24,25,26,27,54,30,7,94,35,74,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5032344b2a24faa1cebce70996974eca.jpg","纵167.5cm，横48.3cm",[40,103],{"id":5866,"slug":5867,"title":5868,"dynasty":18,"author":5869,"museum":20,"description":5870,"tags":5871,"thumbUrl":5872,"material":656,"size":5873,"collection":120,"collections":5874,"showCount":5760,"zanCount":141,"manualWeight":11,"mainColor":44},222579,"fang-wang-meng-shan-shui-jiang-qian-222579","仿王蒙山水","蒋乾","这幅画是浙派画家蒋嵩之子蒋乾，所留存下来的少数画作之一。画面中，山峦层层迭迭，几乎将画幅填塞地密不透风。画的右侧有一道瀑布高悬，在山谷间制造深入的空间感。而近景山石有长松挺立，山屋茅舍隐蔽山中，是十分适合文人读书休憩的地方。",[23,24,25,26,53,54,274,30,7,35,55,74,1962,36,150,1343,303,277,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccffe975f2ab77aa3a44ef972534e795.jpg","98.1厘米，横：34厘米",[],{"id":5876,"slug":5877,"title":5878,"dynasty":18,"author":5879,"museum":1146,"description":5880,"tags":5881,"thumbUrl":5885,"material":629,"size":5886,"collection":120,"collections":5887,"showCount":5760,"zanCount":11,"manualWeight":11,"mainColor":44},222432,"ren-wu-cao-chong-tu-quan-juan-du-da-cheng-222432","人物草虫图全卷","杜大成","明代·杜大成（生卒年不详）。十六—十七世纪初，字允修，号三山狂生，一作山狂生。苏南京人。嗜声诗，工音律，善画禽虫花木，嫣秀生动。传世作品有《花卉草虫图册》，纸本，墨笔，现藏辽宁省博物馆。从艺活动约在嘉靖、万历间。名画家杜大成的《人物草虫图》寥寥几笔，似不经意，而花叶、草虫却生意盎然，栩栩如生。",[23,24,73,25,186,940,53,28,34,188,31,5882,7,302,5488,57,95,5883,5884,887],"草虫","棕榈","桌椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbc23865987ff0a8c397d24a26b83c9f.jpg","30x336",[],{"id":5889,"slug":5890,"title":5891,"dynasty":18,"author":5892,"museum":20,"description":5893,"tags":5894,"thumbUrl":5895,"material":231,"size":5896,"collection":101,"collections":5897,"showCount":5760,"zanCount":11,"manualWeight":11,"mainColor":44},222069,"yao-wang-yao-shang-wu-bin-222069","药王药上","吴彬","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。",[23,24,27,28,2177,31,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8464651afd041440ffbf677cd35bc33f.jpg","62.3x35.3",[101,103],{"id":5899,"slug":5900,"title":5901,"dynasty":87,"author":1038,"museum":89,"description":3397,"tags":5902,"thumbUrl":5904,"material":543,"size":3400,"collection":120,"collections":5905,"showCount":5760,"zanCount":11,"manualWeight":11,"mainColor":44},220321,"huang-shan-tu-ce-8-hong-ren-220321","黄山图册-8",[23,24,25,215,53,30,35,7,1343,150,54,5903,574],"干笔淡墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F164a5154287c4247eb45586ab3ab5bbe.jpg",[],{"id":5907,"slug":5908,"title":5909,"dynasty":18,"author":88,"museum":5910,"description":5911,"tags":5912,"thumbUrl":5913,"material":190,"size":120,"collection":101,"collections":5914,"showCount":5760,"zanCount":11,"manualWeight":11,"mainColor":82},218477,"shou-lao-tu-yi-ming-218477","寿老图","九州国立博物馆","宽袍博带的老者立于苍松之下，高冠映着古意，长髯垂落如银丝泻地。手中雕龙拐杖蜿蜒似活，杖首隐现灵物，与松间隐现的瑞气相映。衣纹用线简练却见筋骨，每一道折痕都藏着岁月的从容。老者眉眼间含着温和笑意，似在凝视世间烟火，又似已超然物外。背景松针如簇，枝干盘曲如苍龙，与老者的福寿之气交融成一幅祥瑞画卷。墨色淡雅却韵味悠长，线条勾勒出的不仅是人物形态，更是一种跨越时空的安宁与祝福，仿佛能让人触摸到那份古朴的寿考康宁之美。",[24,25,26,940,27,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a0db04911c59011c94079d25eb88d6b.jpg",[101],{"id":5916,"slug":5917,"title":2975,"dynasty":18,"author":2976,"museum":147,"description":5918,"tags":5919,"thumbUrl":5920,"material":118,"size":119,"collection":120,"collections":5921,"showCount":5922,"zanCount":11,"manualWeight":11,"mainColor":82},290915,"tian-chi-shi-bi-zhou-lu-zhi-290915","陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[73,24,26,256,27,54,2979,7,94,116,34,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F156a8f9e74871624d3b962e84bd74d5c.jpg",[],21,{"id":5924,"slug":5925,"title":5926,"dynasty":18,"author":5927,"museum":20,"description":5928,"tags":5929,"thumbUrl":5931,"material":38,"size":5932,"collection":120,"collections":5933,"showCount":5922,"zanCount":141,"manualWeight":11,"mainColor":44},290316,"sui-chao-tu-zhou-yuan-shang-tong-290316","岁朝图轴","袁尚统","岁朝，是指一岁之始，此时一元复始，万象更新，历代画家作岁朝图含有元旦开笔、预祝一年万事吉利之意。图绘山村一隅，诸多孩童在院中敲锣、打鼓、放鞭炮，尽情嬉戏玩乐，屋内三位长者同桌对饮，观看儿童嬉耍。树石勾勒填色后皴擦，远山以花青淡淡涂染，笔法稳健苍老，画风质朴古拙。丙申为清顺治十三年（1656年），袁尚统时年87岁。",[24,26,73,53,54,30,94,32,33,35,288,7,639,31,161,34,188,29,5930],"岁朝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0196a7d4a11e4bd118161ffb68611fa1.jpg","115.3x58.2",[],{"id":5935,"slug":5936,"title":5937,"dynasty":87,"author":88,"museum":147,"description":5938,"tags":5939,"thumbUrl":5940,"material":118,"size":119,"collection":120,"collections":5941,"showCount":5922,"zanCount":11,"manualWeight":11,"mainColor":44},272895,"zi-tan-mu-bian-hua-bo-li-sui-chao-tu-gua-ping-yi-ming-272895","紫檀木边画玻璃岁朝图挂屏","这幅玻璃画以庭院岁朝为景，松奇石秀、亭台临池，花木缀点雅致清趣。数十孩童穿梭其间，或燃爆竹贺岁，或擎吉庆仪仗，或结伴嬉游，朱衣鲜亮憨态可掬，将新春的喧闹喜乐铺陈开来。\n\n它以玻璃为底施彩，笔触细腻柔润，设色明丽雅致，把传统岁朝图祈福纳祥的意涵融于童趣盎然的场景中，将清代年节阖家欢庆的融融暖意定格，尽显民俗意趣与工艺匠心，是极具生活温度的民俗画佳作。",[24,28,27,5319,31,885,94,32,33,7,35,640,639,4785,5930],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb445ec805358d1411b7730a9844048d0.jpg",[],{"id":5943,"slug":5944,"title":3781,"dynasty":87,"author":5945,"museum":147,"description":5946,"tags":5947,"thumbUrl":5948,"material":120,"size":120,"collection":40,"collections":5949,"showCount":5922,"zanCount":11,"manualWeight":11,"mainColor":44},239361,"shan-shui-ce-wang-san-xi-239361","王三锡","此作用淡墨晕染崖石，清润苍朴，古松横斜倚立，枯笔写出的松针苍劲蓬松，自带古拙生机。飞瀑自岩间垂落，以留白暗喻水势，撞石溅浪后顺着浅滩汇入清溪，浅纹细波将流水的清浅柔缓尽数写出。\n\n右下角溪岸双鹤幽立，姿态闲雅，衬出林涧的空寂安谧。左侧题诗与画境相融，将“岩前花落，涧上月明”的幽寂禅思藏进笔墨之间，整体意境淡远疏朗，寥寥数笔勾勒出世外幽居的清雅意趣，尽显文人山水的空灵雅致。",[24,25,215,53,54,29,34,30,7,33,35,563],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f2220afc42963645c5176b9924a2ca1.jpg",[40,103],{"id":5951,"slug":5952,"title":5953,"dynasty":87,"author":5954,"museum":147,"description":5955,"tags":5956,"thumbUrl":5957,"material":120,"size":120,"collection":40,"collections":5958,"showCount":5922,"zanCount":141,"manualWeight":11,"mainColor":44},239037,"hou-tu-zhou-zhu-chang-fu-239037","厚图轴","祝昌阜","此作以高远章法铺陈，主峰斜曳横贯，以斧劈皴利落勾勒石体质感，淡墨晕染出崖壁的苍莽雄浑，自带冷峭荒寒的山野意趣。\n\n崖畔孤松虬曲凌云，枝干舒展如展翼，松针攒簇见精神，扎根绝壁尽显傲骨。旁侧枯木寒枝错落，苔点墨色浓重，衬出山境的清寂寥落。画面留白疏朗，铺陈出天地空茫之意，笔墨简淡萧散，以写意笔法尽抒林下幽怀，将山水的荒寒之美与文人逸致相融，寥寥数笔便勾勒出清寂出尘的林泉意韵，淡远悠长。",[24,26,53,54,30,7,35,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2151157b14216f4511adb2ab721e9afa.jpg",[40,62],{"id":5960,"slug":5961,"title":3781,"dynasty":87,"author":5962,"museum":89,"description":5963,"tags":5964,"thumbUrl":5965,"material":120,"size":120,"collection":40,"collections":5966,"showCount":5922,"zanCount":11,"manualWeight":11,"mainColor":44},237551,"shan-shui-ce-wen-dian-237551","文点","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。 明代著名画家文徵明之子文彭的玄孙。清初著名书画家。\n文点\n工诗文，善书、画。山水能传徵明家法，用笔细秀，染晕迷离，盖以墨者胜也。兼善人物，尤长松竹小品，笔墨及其文雅，松身好点苔，时人戏曰：“文点松，文也文，点也点。”清介不求闻誉。之京师，人欲以国子博士荐之不就。父殁，依墓田以居，弃举子业，以书、画自娱给衣食。卒年七十二。著南云集。《吴县志、长洲县志、文氏族谱续集、国[清]朝画徵续录、曝书亭集、桐阴论画、画传编韵》",[24,25,215,53,54,30,7,35,32,31,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9ad5700825cb73019c96712ef15dc32.jpg",[40,62],{"id":5968,"slug":5969,"title":5970,"dynasty":18,"author":5971,"museum":89,"description":5972,"tags":5973,"thumbUrl":5974,"material":543,"size":120,"collection":40,"collections":5975,"showCount":5922,"zanCount":11,"manualWeight":11,"mainColor":44},237452,"qing-xue-zhang-song-tu-zhou-zhang-rui-tu-237452","晴雪长松图轴","张瑞图","张瑞图书法、绘画兼精。书法得张旭、怀素神韵，与董其昌等并称“明末四大书家”，但其书法风格则迥异他人，风貌奇倔狂逸，后世称“瑞图书法奇逸，钟、王之外，另辟蹊径。”绘画则学黄公望，风格苍劲，点染清逸。他的画作大多是偶然兴至所作，故而传世作品甚少，其大幅画作特点是笔墨粗放，构景空疏。此图墨笔绘清泉细石，苍松之上落满积雪，全图面貌苍润，用笔皴染结合、勾点交错，笔力浑厚，足见张氏笔墨功力精到。\n本幅自题：“冻泉依细石，晴雪落长松。庚午春仲果亭图写”，钤“瑞图”朱文方印，“张长公”朱文方印。题字结体狂怪，笔画劲健纵逸，气韵外露，颇富“奇异”之态。据此，可知此图作于崇祯三年（1630），张瑞图时年60岁，正是他罢官遣归之年。图中题句出自杜甫诗《谒真谛寺禅师》。",[24,25,26,53,30,7,35,365,54,36,1277,3314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0c986419dee5327b255f01afe2fab23.jpg",[40,62],{"id":5977,"slug":5978,"title":5979,"dynasty":18,"author":815,"museum":89,"description":5980,"tags":5981,"thumbUrl":5983,"material":99,"size":5984,"collection":120,"collections":5985,"showCount":5922,"zanCount":11,"manualWeight":11,"mainColor":82},233697,"yun-he-cang-yu-tu-zhou-lan-ying-233697","云壑藏渔图轴","此图为蓝瑛73岁（1657年）时的力作。该图构图奇险，尤其是画幅的上半部，一段奇峭耸立的山峰嵯峨壮观，于危峙耸拔呼之欲倒的险迫中，又具“去天不盈尺”的崇高感，显示出作者较强的造景生势能力。蓝瑛在树木的表现上亦有较强的造型能力，他能准确而生动地把握各种树木的形态特征，伸枝布叶，饶有情致。树叶的表现技法极为丰富，有以线勾双边的夹叶法，以墨直接卧笔横点的点叶法，还有松针勾簇、罩以淡彩的勾染结合法。山石皴法，仿宋人李希古（李唐）笔意，以粗犷的墨笔勾勒石之轮廓，以侧锋横擦的小斧劈皴皴擦石面，成功地显现出山岩凝重的质感。该图既有职业画家的行业气，又有文人画家的书卷气，二者巧妙地融汇贯通，表明蓝瑛不愧是明末职业画家向文人绘画靠拢的代表人物。",[24,25,26,27,30,54,1376,5982,116,7,1238,35,55,317],"壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad4d2c8bdbaefa91e4ad1677373af496.jpg","纵369厘米，横98厘米",[],{"id":5987,"slug":5988,"title":5989,"dynasty":87,"author":171,"museum":147,"description":5990,"tags":5991,"thumbUrl":5992,"material":543,"size":5993,"collection":120,"collections":5994,"showCount":5922,"zanCount":11,"manualWeight":11,"mainColor":44},233389,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233389","原济金山龙游寺诗意册","本幅墨笔山水画金山龙游寺风景。共12开，每开均有自印，第十二开上方有自题一段。印记：“子英秘玩”，“蜀客”，“浙东陆钢鉴藏之印”等印45方。后页二方。题跋：后页姚虞琴题记一段。\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。",[24,25,215,53,54,30,36,175,1343,134,7,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dd07e263d6842255d1b2f9f64607308.jpg","纵24.6cm横17.6cm",[],{"id":5996,"slug":5997,"title":5998,"dynasty":3958,"author":5999,"museum":147,"description":6000,"tags":6001,"thumbUrl":6003,"material":118,"size":119,"collection":120,"collections":6004,"showCount":5922,"zanCount":141,"manualWeight":11,"mainColor":82},231724,"jiang-hu-shi-dai-ge-wu-ji-ping-feng-tu-di-er-ping-ling-chuan-shi-xuan-231724","江户时代 歌舞伎屏风图 第二屏","菱川师宣","菱川师宣是江户时代的浮世绘画家。有「浮世绘之祖」之称。菱川师宣最为知名的作品是见返り美人図。此外，他也画过很多春画。在他的故乡千叶县锯南町有菱川师宣记念馆。",[23,4328,27,28,5349,31,94,7,6002,639,2820,4927],"樱花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dc25d93284b4cce552e9c3926b8f372.jpg",[],{"id":6006,"slug":6007,"title":6008,"dynasty":18,"author":6009,"museum":20,"description":6010,"tags":6011,"thumbUrl":6012,"material":543,"size":6013,"collection":120,"collections":6014,"showCount":5922,"zanCount":11,"manualWeight":11,"mainColor":44},231416,"fang-wang-meng-ge-hong-yi-ju-tu-zheng-zhong-231416","仿王蒙葛洪移居图","郑重","明郑重仿王蒙葛洪移居图，中国古画，1612年（明神宗万历四十年）作。原属故宫博物院旧藏，现藏于台北故宫博物院。该幅作品描绘葛洪移居情景。布居窄长，用笔仿王蒙之焦墨來臫頭、渴樤苔，设色清雅。题材虽属道教故实，然人物比例远逊于山川林屋，观此画例，足证元明以降，山水画已蔚成国画作之主导。\n來臫頭《葛樤洪移居图》绘道教故事，晋代著名道士葛洪移居情景。葛洪为晋朝句容人，自号抱朴子，习炼丹术于郑隐，后闻交趾出丹砂，携子侄赴广东罗浮山炼丹。画中妻子鲍氏怀抱孩童，葛洪在后，俱骑牛。一童牵牛，一童担家具，一童捧鹅背药瓢。又有一羊二犬。画中山峦层层，用笔茂密，正是王蒙风格，点景人物，亦生动活泼。",[23,24,25,26,27,54,274,34,30,31,94,32,33,242,7,55,244,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37d01a20b306b009a195204eafa7223.jpg","该幅135.8x29.1公分；全幅50.7公分",[],{"id":6016,"slug":6017,"title":6018,"dynasty":18,"author":6019,"museum":147,"description":6020,"tags":6021,"thumbUrl":6023,"material":120,"size":120,"collection":120,"collections":6024,"showCount":5922,"zanCount":11,"manualWeight":11,"mainColor":44},230938,"han-ya-ji-xue-tu-zhao-zuo-230938","寒崖积雪图","赵左","此作用淡墨晕开寒雾，远山隐没其中，高岭悬崖覆着素雪，以留白衬出积雪清寒厚重，山石勾勒硬朗古拙，尽显崖壁巍峨肃穆。\n\n中景枯木虬曲苍劲，枝桠舒展，雪覆槎丫，林麓间山居掩映，篱舍静谧安闲，似能隔绝冬日霜寒。近处石径蜿蜒，策杖行人缓步徐行，暗合冬日寻幽的雅趣。\n\n整体笔墨简练老辣，以空寂清冷的意境，将山野萧寒与幽居恬然相融，尽显文人寄情林泉、静悟山水的隐逸雅兴。",[24,25,26,53,54,30,6022,1387,367,7,35,175,31,150,135],"寒崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff69f419c727c300955afc9fed11ab0b8.jpg",[],{"id":6026,"slug":6027,"title":6028,"dynasty":18,"author":312,"museum":147,"description":6029,"tags":6030,"thumbUrl":6031,"material":120,"size":120,"collection":120,"collections":6032,"showCount":5922,"zanCount":11,"manualWeight":11,"mainColor":82},228845,"ji-shan-gao-yin-tu-zhou-dai-jin-228845","箕山高隐图轴","画面以雄奇山水铺陈意境，斧劈皴勾勒出山岩棱角刚硬，危峰迭起直入烟霭。古松虬曲苍劲，盘崖绕谷，枝干舒展如腾龙，松针攒簇尽显苍郁生机。\n\n松下高士坦襟趺坐，凭石观山，意态萧散悠然，将山野林泉间的隐逸闲趣尽显。整作以刚劲笔墨绘就山川风骨，又以简淡笔触描摹人物风神，将北宗山水的雄浑大气与文人高隐的清雅意趣相融，尽抒林泉高致，恍见太古幽情。",[23,24,25,26,53,54,30,31,7,35,55,1343],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb2ac4e2251e083f824252fb1f3869f.jpg",[],{"id":6034,"slug":6035,"title":6036,"dynasty":69,"author":199,"museum":20,"description":6037,"tags":6038,"thumbUrl":6039,"material":499,"size":6040,"collection":120,"collections":6041,"showCount":5922,"zanCount":11,"manualWeight":11,"mainColor":44},221526,"song-quan-shuang-niao-ma-yuan-221526","松泉双鸟","画士人执拂尘坐于松根，溪涧泉石环绕于前，双鹊低飞饮啄，生意盎然。水色烟岚气氛，画面留出空白，表现旷阔之空间及浓郁诗意。人物衣纹细笔勾勒，松石简笔浅触。以斧劈皴表现坚石挺劲，松树枝枒笔势斜偃劲疾，有如屈铁，故有拖枝马远之称。",[23,24,25,53,27,30,7,95,57,1096,54,186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31ef069753d13621bc1dbd599e4da8c.jpg","41.5x60厘米",[],{"id":6043,"slug":6044,"title":6045,"dynasty":18,"author":88,"museum":711,"description":6046,"tags":6047,"thumbUrl":6048,"material":841,"size":120,"collection":40,"collections":6049,"showCount":5922,"zanCount":11,"manualWeight":11,"mainColor":82},219897,"jun-ling-tu-yi-ming-219897","峻岭图","危峰拔地直插烟岚，苔痕皴染崖壁，凭添苍古荒寒之意。山巅与幽谷间云气漫漶，虚实相生衬出峰峦巍峨雄浑。下方虬松横斜出枝，蟠曲如游龙，苍劲松针攒簇，尽现山野老松的疏狂之姿。\n\n山麓茅亭敞轩，高士偃卧假寐，篱舍隐于浅渚林泉间，枯木荒坡错落排布，淡墨晕染出空寂萧散的汀岸野趣。全作用笔兼具勾勒皴擦，水墨干湿浓淡层叠铺陈，将山水的宏阔与林下幽居的静穆相融，尽显林泉高致的隐逸意趣，于尺幅间铺展出文人心底旷远高逸的林下襟怀。",[24,25,26,53,30,7,35,36,229,31,161,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaeb6304a00605300597860cc5dd69c6.jpg",[40],{"id":6051,"slug":6052,"title":6053,"dynasty":69,"author":88,"museum":20,"description":6054,"tags":6055,"thumbUrl":6056,"material":190,"size":120,"collection":101,"collections":6057,"showCount":5922,"zanCount":11,"manualWeight":11,"mainColor":44},219647,"xie-qin-kan-shan-tu-yi-ming-219647","携琴看山图","苍松虬曲斜伸，撑起画面骨架，枝桠间松针层叠如盖，疏梅横斜于松下添了几分清寒意趣，淡墨晕染的远山如黛，漾开空濛暮色。\n士人携琴偕仆驻步松下，二人遥望远山，似正指点烟岚丘壑，僮仆捧炉侍立，将林泉雅意藏进细微情态里。设色沉雅温润，皴染兼具，远景山水虚淡悠远，虚实相生间烘托出江南暮色的清寂，将宋人寄情山水、寻幽访胜的隐逸意趣凝缩在尺幅扇面，尽显林下风流的雅逸格调。",[24,27,54,215,30,31,7,872],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb902321b31609328d6c2e1c91ceb4c44.jpg",[101],{"id":6059,"slug":6060,"title":6061,"dynasty":18,"author":4274,"museum":20,"description":6062,"tags":6063,"thumbUrl":6064,"material":543,"size":6065,"collection":40,"collections":6066,"showCount":5922,"zanCount":11,"manualWeight":11,"mainColor":44},219466,"shan-cai-ding-li-tu-xiang-yuan-bian-219466","善才顶礼图","项元汴（西元一五二五－一五九0年）字子京，别字墨林居士，为江南的大收藏家，家藏既多，薰习之久，亦能自运。其山水学元黄公望、倪瓒，尤醉心于倪，得其胜趣。此幅画松石崖瀑，用笔秀劲流畅，构景命意皆静穆之甚。善才童子向空顶礼，取势生动，似见仇英风范。虽云画佛，仍是山水画格局。右下有其孙项圣谟之题识「天童弟子通变天籁阁孙男圣谟。壬辰（一六五二）中秋日拜题」。",[24,25,26,53,30,31,35,36,258,7,135,54,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fadde91c721a075251422a51b21041e.jpg","130x30.5",[40],{"id":6068,"slug":6069,"title":6070,"dynasty":18,"author":88,"museum":362,"description":3560,"tags":6071,"thumbUrl":6072,"material":38,"size":120,"collection":120,"collections":6073,"showCount":5922,"zanCount":11,"manualWeight":11,"mainColor":44},217941,"ming-ren-shan-shui-hua-ce-zhi-shi-yi-ming-217941","明人山水画册之(十)",[24,25,215,940,53,30,7,57,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe642084064b9a9dd6b35437b724efcfc.jpg",[],{"id":6075,"slug":6076,"title":6077,"dynasty":87,"author":6078,"museum":212,"description":6079,"tags":6080,"thumbUrl":6081,"material":841,"size":6082,"collection":120,"collections":6083,"showCount":5922,"zanCount":11,"manualWeight":11,"mainColor":44},216327,"jin-nong-ba-kai-hua-niao-tu-7-jin-nong-216327","金农八开花鸟图-7","金农","八开花鸟图是清朝时期金农所绘的著名图画作品之一。金农是清朝时期著名的画家，他的八开花鸟图是他最著名的作品之一。\n\n这幅画中，金农绘制了许多花和鸟的形象，这些花和鸟形象都非常生动，充满了生机和活力。画中的花和鸟共同组成了一个浓郁的自然风景，让人们感受到花园中的清新与自然。\n\n金农的八开花鸟图被认为是中国画史上的杰作，在当时也广受欢迎，被认为是一幅非常优秀的作品。",[24,25,73,215,53,7,288,667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe15d974850009d2f1c163bcd9891bfa7.jpg","30.5x40.9cm",[],{"id":6085,"slug":6086,"title":6087,"dynasty":87,"author":88,"museum":20,"description":5600,"tags":6088,"thumbUrl":6089,"material":190,"size":120,"collection":120,"collections":6090,"showCount":5922,"zanCount":11,"manualWeight":11,"mainColor":44},215192,"sheng-ping-le-shi-tu-ce-7-yi-ming-215192","升平乐事图册-7",[24,215,28,27,31,7,642,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9afbca9057d013d2344091e267bac83f.jpg",[],{"id":6092,"slug":6093,"title":3226,"dynasty":49,"author":6094,"museum":20,"description":6095,"tags":6096,"thumbUrl":6097,"material":841,"size":6098,"collection":120,"collections":6099,"showCount":6100,"zanCount":11,"manualWeight":11,"mainColor":82},290962,"shuang-song-tu-li-kan-290962","李衎","此图画两株巨松拔地而起并肩矗立，遒劲的枝干直入天际，簇簇松针深郁苍劲。画家用浓墨圈点出老干的节疤，用浓淡不同的墨色钩出树下，树身愈近根部则用墨愈淡，最后山坡石溶为一体，显出苍松坚实的根基。苍松的荆棘及地面上的小竹，既衬托了松的高大，又给画面增添了生机。全画笔法苍劲工稳，显示出作者深厚的艺术功力。",[73,24,25,26,53,7,2088,5024,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1458bc273c20fbad2801bc26ee47df1.jpg","156.7x91.2",[],20,{"id":6102,"slug":6103,"title":6104,"dynasty":18,"author":4555,"museum":147,"description":6105,"tags":6106,"thumbUrl":6108,"material":118,"size":119,"collection":120,"collections":6109,"showCount":6100,"zanCount":11,"manualWeight":11,"mainColor":44},290890,"fang-lu-shan-shi-hua-zhou-wen-jia-290890","仿庐山诗画轴","文嘉（1501年～1583），字休承，号文水，南直隶 苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。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。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”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。”",[73,24,26,53,27,30,31,32,33,161,35,55,7,6107,188,34,274],"栈道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F899bf88344a7d97e4c15d38f0af5a263.jpg",[],{"id":6111,"slug":6112,"title":6113,"dynasty":69,"author":88,"museum":147,"description":6114,"tags":6115,"thumbUrl":6116,"material":118,"size":119,"collection":120,"collections":6117,"showCount":6100,"zanCount":141,"manualWeight":11,"mainColor":82},289009,"huo-lang-xing-lu-tu-yi-ming-289009","货郎行路图","古松虬曲苍劲，扎根山巅，皴笔老辣尽显风霜古意，远景山峦晕染朦胧，铺就悠远沉静的山野底色。下方行旅众人姿态鲜活各异，挑夫负货疾行，货郎持物徐走，稚童嬉闹相随，把乡野行路的日常烟火铺陈开来。\n\n线条简括灵动，将赶路的仓促、孩童的嬉跃描摹得鲜活传神。设色沉雅古拙，以淡墨晕染山水底色，浓笔勾勒人物衣纹与古松肌理，将山野萧疏清寂与人间温煦日常相融，以写实笔意，定格平凡行旅里的质朴意趣，尽显写实功底与诗意情致。",[24,26,27,31,7,30,886],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b18612be4072358567e55a595f33ebe.jpg",[],{"id":6119,"slug":6120,"title":6121,"dynasty":87,"author":88,"museum":147,"description":6122,"tags":6123,"thumbUrl":6124,"material":118,"size":119,"collection":120,"collections":6125,"showCount":6100,"zanCount":11,"manualWeight":11,"mainColor":82},288296,"fang-xia-gui-jiang-shan-qing-yuan-tu-juan-yi-ming-288296","仿夏圭江山清远图卷","此作用夏圭一角半边取景意趣，长卷铺展江天胜景。崖岸之上虬松古拙苍劲，盘根错节间尽显老辣笔力，斧劈皴利落勾出山岩棱线，墨色干湿层叠，晕染出山石的厚重质感。江上古桥连亭，汀洲幽寂，远山澹濛隐现，天际江帆点点，将江南水岸的寥廓清寂徐徐铺陈。\n\n全画简淡空灵，复刻出南宋院体山水的清远意韵。卷后题跋笔墨苍秀，字画合璧，摹古之中自有沉静雅致，把江天浩渺、林泉幽寂的诗意缓缓晕开，尽显水墨山水的简远之美。",[23,24,186,53,256,54,7,35,32,161,116,134,33,188,29,274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c6e74ac76f0fa05870332bd8feadb13.jpg",[],{"id":6127,"slug":6128,"title":6129,"dynasty":18,"author":1909,"museum":147,"description":6130,"tags":6131,"thumbUrl":6133,"material":118,"size":119,"collection":120,"collections":6134,"showCount":6100,"zanCount":11,"manualWeight":11,"mainColor":44},287434,"xie-qin-kan-shan-tu-shan-mian-zhou-chen-287434","携琴看山图扇面","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。他生活在成化至嘉靖年间。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。",[678,24,73,25,53,30,31,7,35,6132,34,188],"携琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4b9284f4e45132c5dde01f7afc8f670.jpg",[],{"id":6136,"slug":6137,"title":6138,"dynasty":87,"author":88,"museum":147,"description":6139,"tags":6140,"thumbUrl":6141,"material":118,"size":119,"collection":120,"collections":6142,"showCount":6100,"zanCount":11,"manualWeight":11,"mainColor":44},267355,"xiu-xian-ci-xi-yin-song-he-tu-zhou-yi-ming-267355","绣线慈禧印松鹤图轴","此作以绣为笔，将山水灵韵藏于针线之间。危崖奇崛高耸，古松虬枝横斜，松针层叠尽显苍劲高古，崖巅仙鹤独立，似在聆风望云；下方惊涛翻涌，汀渚之上又有仙鹤卓立，呼应松鹤延年的祥瑞寓意。\n\n绣线晕染柔和雅致，以淡紫与米白铺陈出山石松烟与流云之态，将水墨山水的晕染层次精妙复刻，针线藏于画意之中，不见匠气反倒尽显文人山水的清逸意境。搭配题印排布规整，让绣作兼具端雅礼制意蕴与文人书画审美意趣，是晚清融画入针的精妙绣作。",[24,26,25,2129,7,563,30,33,35,135,34,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1872571a576ef6a2e5b4af6bf38695f1.jpg",[],{"id":6144,"slug":6145,"title":6146,"dynasty":87,"author":6147,"museum":89,"description":6148,"tags":6149,"thumbUrl":6150,"material":246,"size":6151,"collection":40,"collections":6152,"showCount":6100,"zanCount":11,"manualWeight":11,"mainColor":44},237735,"shang-shan-si-hao-tu-huang-shen-237735","商山四皓图","黄慎","此图描绘的是秦末东园公、绮里季、夏黄公、甪里隐于商山（今陕西省商县东南）的故事。四人皆80高龄，为避秦暴政而隐居商山，时人称之为“商山四皓”。西汉初，高祖屡召之而不得。后，高祖欲废太子刘盈，改立戚夫人子赵王如意，群臣谏而不听。吕后用张良计，礼遇四皓。高祖以为太子既得此四皓，羽翼已成，只得打消了废太子之念。图中峰峦高耸，飞瀑流泉，意境幽雅。人物的分布错落有致，形貌神态生动自然，笔墨放纵而又不失法度，为黄慎晚年之佳作。",[24,53,27,30,31,7,35,1343,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc43829eb0e770be99167513bd0f2bbea.jpg","纵120.2厘米，横68.3厘米",[40,62],{"id":6154,"slug":6155,"title":6156,"dynasty":18,"author":2976,"museum":147,"description":5918,"tags":6157,"thumbUrl":6158,"material":118,"size":119,"collection":120,"collections":6159,"showCount":6100,"zanCount":11,"manualWeight":11,"mainColor":44},237417,"you-zhang-gong-dong-shan-lu-zhi-237417","游张公洞扇",[678,24,30,27,54,7,35,34,188,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F193fe877694581eca743fdfcdc0ae876.jpg",[],{"id":6161,"slug":6162,"title":3781,"dynasty":87,"author":6163,"museum":147,"description":6164,"tags":6165,"thumbUrl":6166,"material":120,"size":120,"collection":40,"collections":6167,"showCount":6100,"zanCount":11,"manualWeight":11,"mainColor":44},236076,"shan-shui-ce-shen-zong-jing-236076","沈宗敬","此作用笔苍秀，以干笔皴擦勾勒近侧危崖，嶙峋石体质感尽显，崖顶古松挺劲，枝桠舒展带风霜之态。崖畔孤亭兀立石台，凭虚临空，暗合幽人隐逸之思。\n烟波浩渺的江面之上，扁舟随波缓行，远景山峦澹晕隐现，晕染出空濛悠远的水天色。整幅水墨写意，糅合北派山水的雄健质感与南宗山水的淡远意境，萧散简淡的笔意间铺展出林泉高致的幽旷之境，将山居江湖的清寂冷逸尽数彰显，把文人寄情山水的隐逸襟怀藏于尺幅之中。",[24,53,215,54,30,35,7,161,116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba4bd7b1242ed0c8d84ab4be3bba94b9.jpg",[40],{"id":6169,"slug":6170,"title":6171,"dynasty":87,"author":6172,"museum":147,"description":6173,"tags":6174,"thumbUrl":6175,"material":120,"size":120,"collection":120,"collections":6176,"showCount":6100,"zanCount":11,"manualWeight":11,"mainColor":44},234617,"gu-yun-fang-tang-yin-shan-shui-wan-shan-gu-yun-234617","顾沄仿唐寅山水纨扇","顾沄","顾沄（1835—1896年）字若波，号云壶、壶隐、壶翁、云壶外史、濬川、颂墨、病鹤，室名自在室、小游仙馆。吴县（今属江苏苏州）人。布衣。工画山水，清丽疏古，得“四王”、吴、恽诸家之长。\n顾沄少有丹青之志。片纸尺缣，遇画辄研写不已，时常州、娄东、虞山画风鼎盛，沄深谙山水经营布置之法，画名渐起，遂往上海鬻画。上海乃商贾云集之东南都会，乾嘉时已与维扬、姑苏、宁波等城市同为鬻画之胜地。五口通商，中外资本汇聚，富庶繁华更胜苏、扬。商人风雅，各有所好，便有了各路画家一展伸手之空间。时称“三熊四任”的任渭长、任阜长、任伯年、任立凡、张子祥、朱梦泉以及朱梦庐、胡公寿、虚谷、赵之谦、王秋言、蒲作英、钱慧安、吴昌硕、吴石仙、陆廉夫、倪墨耕、吴观岱等周边画家，先后前往上海发展，遂有海上画派之兴起。沄一生恪守有清以来之正统画风，功力深厚，倒也在新风阵阵之沪上知音多多，以“泽古功深，集四王吴恽诸家之长”独树一帜。光绪十四年（1888）尝北赴京畿，与诸士大夫游，又于同年东游扶桑。画名远播（光绪十四年(1888)游日本，遍览东京诸胜，所画一树一石皆备受赞赏。长期鬻画沪上。出版有《顾若波山水集册》。\n工山水，由“四王吴恽”入手，上探元、明诸家。墨法明润秀雅，笔意疏古清丽，吴侬软语，浅斟低唱，得柔美之致，乏遒劲之气。间有水墨直师王蒙、小青绿逼似文徵明者，功力之深厚，时罕其俦。",[73,24,25,678,53,54,274,30,7,31,35,135,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19ec48b9c827ff6ad82c1e990c175f2d.jpg",[],{"id":6178,"slug":6179,"title":6180,"dynasty":87,"author":5674,"museum":89,"description":6181,"tags":6182,"thumbUrl":6184,"material":246,"size":6185,"collection":120,"collections":6186,"showCount":6100,"zanCount":11,"manualWeight":11,"mainColor":44},233721,"hua-wu-gan-xiang-zhou-ren-yi-233721","画吴淦像轴","任颐为吴淦作《肖像轴》，纸本，设色，(各)纵130厘米，横56．6厘米。吴淦，字鞠潭，浙江杭州人。工文章，精楷书。",[24,25,26,27,28,31,776,7,6183],"书卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F168e980eff0928894cbc80bc9b850be8.jpg","纵130厘米，横56．6厘米",[],{"id":6188,"slug":6189,"title":6190,"dynasty":87,"author":6191,"museum":20,"description":6192,"tags":6193,"thumbUrl":6194,"material":231,"size":6195,"collection":120,"collections":6196,"showCount":6100,"zanCount":11,"manualWeight":11,"mainColor":82},232815,"gao-zong-yu-ti-fan-cheng-da-ji-zao-ci-zhou-kun-232815","高宗御题范成大祭灶词","周鲲","周鲲 ，字天池，江苏常熟人。画承家学，工山水、人物，梅花亦佳。乾隆(一七三六至一七九五)时供奉如意馆。尝以闾阎疾苦情形托诸艺事，蒙御题，有:监门遗故事，咨尔溯其踪句。所作多藏石渠宝笈。《国[清]朝画徵续录、虞山画志、石渠宝笈、清画家诗史》\n宋代诗人范成大的《祭灶词》对当时民间祭灶作了极其生动的描写：古传腊月二十四，灶君朝天欲言事。云车风马小留连，家有杯盘丰典祀。猪头烂热双鱼鲜，豆沙甘松粉饵团。男儿酌献女儿避，酹酒烧钱灶君喜。婢子斗争君莫闻，猫犬角秽君莫嗔；送君醉饱登天门，杓长杓短勿复云，乞取利市归来分。\n周鲲所绘《范成大祭灶词》 立轴上有乾隆帝所书宋代诗人范成大的《祭灶词》：古传腊月二十四，灶君朝天欲言事。云车风马小留连，家有杯盘丰典祀。猪头烂热双鱼鲜，豆沙甘松粉饵团。男儿酌献女儿避，酹酒烧钱灶君喜。婢子斗争君莫闻，猫犬角秽君莫嗔；送君醉饱登天门，杓长杓短勿复云，乞取利市归来分。\n清高宗爱新觉罗·弘历即乾隆帝，在位六十年，禅位后又任三年零四个月太上皇，实际行使国家最高权力长达六十三年零四个月，是中国历史上实际执掌国家最高权力时间最长的皇帝，也是中国历史上最长寿的皇帝。\n乾隆的书法从学习赵孟入手。乾隆本人雅赏赵孟的书法，心慕手追，身体力行。游览名胜每到一处，作诗纪胜，御书刻石，其书圆润秀发，在宫中、御园、名胜古迹、寺庙等几乎到处可见其墨迹，至今海内乾隆御碑甚多，其擅书之名流传普遍。 从他的书法作品中可以发现，书学起步仍是康熙时流行的宫廷馆阁体书法，后在承学各家中选定赵孟丰圆肥润的书法。从存世的乾隆书迹看，他的字字体稍长，楷书中多有行书的笔意，行书中又往往夹杂着草书的韵味，点画圆润均匀，结体婉转流畅，缺少变化和韵味，并无明显的成就，评者称其“虽有承平之象，终少雄武之风”。",[23,24,25,26,53,27,28,54,30,31,36,367,7,175,258,35,34,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44de7adfd07f2e2945457b9bb674cfc2.jpg","113×28.6cm",[],{"id":6198,"slug":6199,"title":6200,"dynasty":87,"author":1157,"museum":147,"description":6201,"tags":6202,"thumbUrl":6203,"material":120,"size":120,"collection":120,"collections":6204,"showCount":6100,"zanCount":11,"manualWeight":11,"mainColor":44},230169,"shan-shui-shi-er-kai-hua-ce-hua-yan-230169","山水十二开画册","此作青绿设色清润雅致，山石以皴染晕开，糅合苍劲与秀润。古松虬枝横斜，蟠曲苍劲，松针攒簇尽显古拙生机。飞瀑层叠跌落，汇入山下溪涧，浅滩空舟系岸，不见钓者，愈衬出秋山清寂。\n\n右上角题诗与画境相契，以白鸥、钓舟点出幽居隐逸的闲趣。诗画交融，将秋日溪山的萧疏淡远，和寄情林泉的雅意融为一体，笔底兼具文人画的简淡诗意与灵动生气，无繁复堆砌，尽是悠然出世的林下之风，观之令人沉静忘俗。",[73,24,25,215,53,115,27,30,7,35,36,33,32,116,806,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa515902d2b222c91f48162a7d0369c12.jpg",[],{"id":6206,"slug":6207,"title":6208,"dynasty":18,"author":1015,"museum":147,"description":6209,"tags":6210,"thumbUrl":6211,"material":118,"size":119,"collection":120,"collections":6212,"showCount":6100,"zanCount":11,"manualWeight":11,"mainColor":44},228878,"shan-mian-16-kai-wen-zheng-ming-228878","扇面16开","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。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[23,24,25,678,27,53,30,7,175,31,1275,36,35,303,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68c9a8fe894a74a812bf08326153bd60.jpg",[],{"id":6214,"slug":6215,"title":6216,"dynasty":18,"author":815,"museum":147,"description":6217,"tags":6218,"thumbUrl":6223,"material":120,"size":120,"collection":120,"collections":6224,"showCount":6100,"zanCount":11,"manualWeight":11,"mainColor":82},228425,"shan-shui-shi-kai-lan-ying-228425","山水十开","此作用笔苍秀兼具，远景层峦叠嶂，云气轻笼，山寺浮屠隐现烟岚间，漾出幽寂禅意。近水岸洲渚错落，虬松杂木姿态夭矫，茅庐临水静立，板桥横卧浅流，野逸之趣扑面而来。以斧劈皴写山石，轮廓爽利劲健，墨色浓淡铺陈拉开远近空间层次，将林壑清旷冷寂与山居闲适安然相融，把林泉高致的隐逸向往寄寓寻常丘壑间，简淡尺幅里尽显苍润格调，是意韵悠然的山水小品佳构。",[24,73,25,30,53,54,215,6219,3775,6220,32,33,7,6221,2211,3904,6222],"山寺","茅庐","洲渚","小品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdd7732be2a59ff5b0e60ffc6785e38c.jpg",[],{"id":6226,"slug":6227,"title":6228,"dynasty":69,"author":6229,"museum":147,"description":6230,"tags":6231,"thumbUrl":6232,"material":120,"size":120,"collection":120,"collections":6233,"showCount":6100,"zanCount":11,"manualWeight":11,"mainColor":44},227754,"song-deng-jing-lu-tu-yan-ci-ping-227754","松磴精庐图","阎次平","《宋阎次平松磴精庐图》是宋代阎次平所创的扇面图。\n\n石矶满布的江畔山岩，长松横斜，密竹丛生。一座典雅的精舍（或书院），紧密地镶嵌在这青山绿水之间。小径由岸边蜿蜒而上，岬角处两张圆石小凳闲置于松下，风景优美而宁静。",[23,24,25,678,27,30,54,34,7,94,116,35,36,485],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fb29b476fe0467fa83caa5ca6d6b7ba.jpg",[],{"id":6235,"slug":6236,"title":6237,"dynasty":18,"author":413,"museum":6238,"description":6239,"tags":6240,"thumbUrl":6241,"material":246,"size":6242,"collection":120,"collections":6243,"showCount":6100,"zanCount":11,"manualWeight":11,"mainColor":44},222360,"ye-ting-ai-rui-tu-juan-tang-yin-222360","野亭霭瑞图卷","美国基怀尔","画卷中古木阴郁，霭云布岫，溪流潺潺，山径曲折，一童子负草药归来。右边一茅庐，一老者坐于其间，前方置有笔、砚、纸，略作沉思状。画面发展到左面三分之二处 ，山势向后转去留下空阔的水际，意境空远。该图以刘松年画法为主，山石舍小斧劈而用披麻皴，渴笔淡墨，极有毛涩意趣，又有润泽之韵，是唐寅的精心之作。卷后有吴宽的长跋，称此卷为野亭所作，而画中老者正是钱野亭。",[23,24,25,186,53,29,188,30,54,161,7,35,95,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6665c981e400036ca21d10e76ebfa9d.jpg","纵30厘米、横123.5厘米",[],{"id":6245,"slug":6246,"title":6247,"dynasty":18,"author":312,"museum":1146,"description":6248,"tags":6249,"thumbUrl":6250,"material":99,"size":6251,"collection":120,"collections":6252,"showCount":6100,"zanCount":141,"manualWeight":11,"mainColor":44},222037,"da-mo-zu-tu-juan-dai-jin-222037","达摩祖图卷","描绘的是禅宗自菩提达摩到六代慧能祖师的形象。图上不同时期的祖师在山洞里、深山里等静谧、清幽之地打座念佛的场景，诠释“佛在心中”的禅悟。卷后有唐寅、祝允明等大家题款。",[23,73,24,25,186,2177,31,30,28,27,54,29,7,35,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F911d3d439313053bf137a91abe6661e9.jpg","240x33.8cm",[],{"id":6254,"slug":6255,"title":6256,"dynasty":87,"author":6257,"museum":362,"description":6258,"tags":6259,"thumbUrl":6260,"material":190,"size":6261,"collection":120,"collections":6262,"showCount":6100,"zanCount":11,"manualWeight":11,"mainColor":44},218332,"shen-xian-gu-shi-tu-ce-6-leng-mei-218332","神仙故事图册-6","冷枚","这一卷是一幅关于神仙故事的画。笔触做得非常好，人物也很自然，比例匀称。虽然色彩强烈，但并没有压倒性的效果，而且景观、动植物和工具都被描绘得非常巧妙。",[23,24,25,215,28,27,31,242,7,35,1519,134,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d0b2fd99b40b1623bde441dacf1bef4.jpg","38x42",[],{"id":6264,"slug":6265,"title":6266,"dynasty":87,"author":1811,"museum":172,"description":6267,"tags":6268,"thumbUrl":6269,"material":59,"size":6270,"collection":120,"collections":6271,"showCount":6100,"zanCount":11,"manualWeight":11,"mainColor":44},216987,"fang-song-yuan-shan-shui-ce-4-wang-jian-216987","仿宋元山水册-4","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。",[73,24,25,30,274,54,53,365,132,162,7,56,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d8a6e4e3c8f721685a6e5d0aeeef07a.jpg","纵55.4厘米，横36.0厘米",[],{"id":6273,"slug":6274,"title":6275,"dynasty":87,"author":1687,"museum":212,"description":6276,"tags":6277,"thumbUrl":6278,"material":38,"size":120,"collection":120,"collections":6279,"showCount":6100,"zanCount":11,"manualWeight":11,"mainColor":44},214595,"fang-gu-shan-shui-ce-9-wang-hui-214595","仿古山水册-9","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。",[24,53,54,215,131,30,33,35,7,31,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3efa7cdc48efdef063636c7dcce22728.jpg",[],{"id":6281,"slug":6282,"title":6283,"dynasty":18,"author":298,"museum":172,"description":6284,"tags":6285,"thumbUrl":6286,"material":120,"size":120,"collection":40,"collections":6287,"showCount":6100,"zanCount":11,"manualWeight":11,"mainColor":6288},203437,"lin-dai-wen-jin-xie-an-dong-shan-tu-zhou-shen-zhou-203437","临戴文进谢安东山图轴","这幅临作兼取戴文进的劲健笔意与沈周的苍润格调，淡赭设色的山峦层叠起伏，皴法勾勒出岩石肌理，山间楼阁隐于松荫，老树虬枝舒展。山麓处人物仪态悠然，衣袂翩然间与清旷山水相融，笔墨间既有原作风神，又含自身逸韵，尽显文人山水的雅致意境。",[23,24,25,26,274,27,30,31,94,7,35,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F679ae857da7ab90b960c9d62ba01bc4e.jpg",[40],"574526",{"id":6290,"slug":6291,"title":6292,"dynasty":18,"author":6293,"museum":147,"description":6294,"tags":6295,"thumbUrl":6296,"material":118,"size":119,"collection":120,"collections":6297,"showCount":6298,"zanCount":141,"manualWeight":11,"mainColor":82},290880,"wu-lu-tu-zhou-wang-zhao-290880","五鹿图轴","汪肇","画面中，五只鹿伫立在弥漫浓雾的山野之间，身体互相紧靠，有的回首张望，有的则是低头作嚼草状。一旁生长着松、竹的植物和色彩斑烂的花卉，周围则环绕岩石及河流。白鹿在古代被视为象征长寿的仙兽，当牠与长青的松、竹画在一起，通常有为人祝寿、贺吉祥的意涵。\n鹿身上的毛色，由浓淡、长短不一的墨线画成，加上细微的渲染，毛皮的质感看起来自然生动。对比之下，周围的树、石以及云霭，则是以粗放快速的笔法或是大片水墨渲染来表现，让画面充满了奇诡变化的气氛。这幅作品旧传为明代陈淳画，可是由这些笔墨的技巧来判断，应该出自浙派画家汪肇的手笔。他另外有一幅〈松鹿图〉（日本私人收藏）流传下来，与本幅的风格相当接近。汪肇擅长以淡墨烘染云海，制造自然瞬息万变的效果，这也是他自号为「海云」的由来。",[24,25,26,961,1458,28,27,7,35,439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ca000543247c0dd42e1e0e9e72342f.jpg",[],19,{"id":6300,"slug":6301,"title":6302,"dynasty":49,"author":239,"museum":20,"description":6303,"tags":6304,"thumbUrl":6305,"material":118,"size":119,"collection":120,"collections":6306,"showCount":6298,"zanCount":11,"manualWeight":11,"mainColor":82},290831,"xi-shan-gao-yi-zhou-wang-meng-290831","溪山高逸轴","密林深处，茅屋三椽，屋中士人抚琴案上，旁童子待，屋前平坡白鹤展翅，另一人正欲渡桥而来，溪旁屋后四松挺翠。全幅皴山画树，层层点染，浓荫繁盛。此图的构图意境在显示所欲写“菊琴友”草堂抚琴之主题。",[24,26,30,54,27,161,33,288,7,3367,3904,188,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F660a5fbcc2acc542b720d3d43b3f5381.jpg",[],{"id":6308,"slug":6309,"title":6310,"dynasty":49,"author":6311,"museum":147,"description":6312,"tags":6313,"thumbUrl":6314,"material":118,"size":119,"collection":120,"collections":6315,"showCount":6298,"zanCount":11,"manualWeight":11,"mainColor":82},290432,"ting-song-tu-zhao-yuan-290432","听松图","赵原","赵原，中国元末明初画家。生卒年不详。本名元，入明后因避朱元璋讳而改作原，字善长，号丹林。",[24,73,53,30,26,7,32,33,161,31,188,34,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd00db89c58ef9a5b2f15c3378bc30e1c.jpg",[],{"id":6317,"slug":6318,"title":6319,"dynasty":49,"author":239,"museum":147,"description":1069,"tags":6320,"thumbUrl":6321,"material":118,"size":119,"collection":120,"collections":6322,"showCount":6298,"zanCount":11,"manualWeight":11,"mainColor":82},290260,"quan-sheng-song-yun-tu-ke-luo-ban-wang-meng-290260","泉声松韵图（珂罗版）",[23,24,53,256,54,150,7,1096,32,33,116,94,188,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ca815d4b818f75839f95fe04da5d062.jpg",[],{"id":6324,"slug":6325,"title":6326,"dynasty":18,"author":88,"museum":147,"description":6327,"tags":6328,"thumbUrl":6330,"material":118,"size":119,"collection":120,"collections":6331,"showCount":6298,"zanCount":11,"manualWeight":11,"mainColor":44},290024,"fu-sheng-shou-jing-tu-yi-ming-290024","伏生授经图","古松虬曲苍劲，松荫之下，踞案老者神定气凝，操琴讲授，对面士子跽坐侧耳，神态恭谨。丹鹤闲立一旁，更添幽寂，三名童子随侍，或奉待或静立。\n\n全作用淡墨白描写就，线条清劲秀逸，衣纹流转自然，将人物神态精准勾勒，老者矍铄、弟子虔敬之态尽显。画面意境古雅澹寂，将林下授经的静谧雅韵铺陈开来，尽显传统白描的雅致格调，把传道授业的悠远意趣渲染得淋漓尽致。",[73,24,25,940,53,31,776,7,2929,34,6329,418],"授经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1dc4bc16e8112c739882ab34e376ade.jpg",[],{"id":6333,"slug":6334,"title":3328,"dynasty":87,"author":3848,"museum":147,"description":6335,"tags":6336,"thumbUrl":6337,"material":118,"size":119,"collection":120,"collections":6338,"showCount":6298,"zanCount":11,"manualWeight":11,"mainColor":82},288448,"fang-you-tu-gao-cen-288448","高岑（1621-1691），字善长，又字蔚生，杭州人，居金陵（今南京）。高阜弟，为“金陵八家”之一 。\n为人清高，相貌俊美，淡于功名，性好佛门始从法门道昕卧伏腊寺，居茹蔬淡……。 早年学朱翰，后学蓝瑛，所画平实，晚乃以己意行之 。 善山水及水墨花卉，写意入神。",[23,24,73,256,54,27,7,150,35,1072,3330,394,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c57893b576a57047bbcea7bcd2995a8.jpg",[],{"id":6340,"slug":6341,"title":4503,"dynasty":69,"author":1201,"museum":147,"description":6342,"tags":6343,"thumbUrl":6345,"material":118,"size":119,"collection":120,"collections":6346,"showCount":6298,"zanCount":11,"manualWeight":11,"mainColor":44},288385,"shan-guan-du-shu-tu-liu-song-nian-288385","描绘的是文人雅士所向往的闲适生活。长松掩映之下，长案临窗，清风徐来，窗外传来书童打扫落叶的声音，间或闻得几声鸟鸣，宁静悠闲，倚案展卷，何等惬意。",[23,73,24,25,27,92,31,94,7,6344,202,29,188,34,1071,1499],"书房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42ed6fe2292944c59304920fb2612397.jpg",[],{"id":6348,"slug":6349,"title":6350,"dynasty":18,"author":6351,"museum":147,"description":6352,"tags":6353,"thumbUrl":6354,"material":120,"size":120,"collection":120,"collections":6355,"showCount":6298,"zanCount":11,"manualWeight":11,"mainColor":44},239460,"ming-qing-zhu-jia-ji-jin-ce-song-shi-ce-ye-wen-cong-jian-239460","明清诸家集锦册-松石册页","文从简","此作用笔松秀简远，水墨淡逸空灵。古松躯干鳞皴苍劲，虬枝旁逸斜出，松针攒簇尽显老辣风骨，暗含岁寒之姿。右侧湖石以干笔皴擦，尽显嶙峋瘦透之态。平坡之上二儒策杖徐行，衣纹简括空灵，似正共话林泉幽意。\n\n题字清隽与画面气格相融，不着浓艳，只以淡墨写尽山林雅寂。萧散简淡的文人意趣漫溢素楮，悠悠林下之风，将隐逸之士的襟怀尽显无遗。",[24,25,215,53,54,7,57,31,288],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb347d42eecba7a25384cf8bb3ae4e4a9.jpg",[],{"id":6357,"slug":6358,"title":6359,"dynasty":87,"author":1972,"museum":147,"description":5120,"tags":6360,"thumbUrl":6361,"material":118,"size":119,"collection":40,"collections":6362,"showCount":6298,"zanCount":11,"manualWeight":11,"mainColor":82},238536,"chun-jing-shan-shui-ce-qian-wei-cheng-238536","春景山水册",[24,25,215,53,29,30,7,175,134,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6372a28c538b6e9ca7385ebf67324e3.jpg",[40],{"id":6364,"slug":6365,"title":6366,"dynasty":18,"author":128,"museum":89,"description":6367,"tags":6368,"thumbUrl":6369,"material":99,"size":6370,"collection":40,"collections":6371,"showCount":6298,"zanCount":11,"manualWeight":11,"mainColor":44},238079,"yan-ling-cun-tu-dong-qi-chang-238079","延陵村图","延陵村因有“唐人张从申碑”而具有深厚的历史人文内涵。画家以此为题，意在创造出与石碑意趣相同的“古意”。此图以鸟瞰的角度取景，描绘延陵村的整体风貌。构图内容丰富，运用山势的转折、峰峦的呼应以及烟云的空间留白营造出广阔辽远的空间，表现出延陵村的地理风貌。然而，这又不同于写实再现，画家以抒情的笔调描绘出绮丽浑厚的山峰、蓊郁奇崛的松木、晨雾中若隐若现的村舍，这正是在真实山水的基础之上的艺术加工。在笔墨的运用上，图中山石的画法是将勾勒与董、巨的披麻皴相结合，笔法精微。设色追求晋唐风韵，古雅淡泊。在此，画家将元人的笔墨情趣与唐宋人的造型、意境相结合，进而营造出平淡典雅、天真朴拙的“古意”，画中的延陵村因而显得真实而又具有悠远的意味，宁静清幽而又古趣盎然，这是董其昌所创造出的“奇景”。此外，画面上端的楷书结体端庄秀雅，墨色清旷明润，有晋唐人风度，与画面本身共同传达出一种古朴典雅的艺术气息。\n撰稿人：杨丽丽",[24,25,26,30,54,53,150,36,7,56,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc504525ce90c44b873edcd7f676754cd.jpg","纵78.5厘米，横30.2厘米",[40],{"id":6373,"slug":6374,"title":6375,"dynasty":18,"author":6376,"museum":147,"description":6377,"tags":6378,"thumbUrl":6380,"material":118,"size":119,"collection":120,"collections":6381,"showCount":6298,"zanCount":11,"manualWeight":11,"mainColor":44},235738,"hua-niao-ce-tan-zhi-yi-235738","花鸟册","谈志伊","谈志伊，字公望，号学山，一字思重，无锡人，明代画家。",[24,25,215,2577,53,54,6379,7,35,57],"点苔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F875b42ba3ba9ddc7d3633242f5cf586c.jpg",[],{"id":6383,"slug":6384,"title":6385,"dynasty":18,"author":815,"museum":1577,"description":6386,"tags":6387,"thumbUrl":6388,"material":99,"size":6389,"collection":120,"collections":6390,"showCount":6298,"zanCount":11,"manualWeight":11,"mainColor":44},232642,"shan-shui-gu-mu-tu-lan-ying-232642","山水古木图","高峰，杂林连绵，古木，矶石屋宇杨柳平坡，湖光山色边，春意盎然。有人湖 语，有人舟中弄笛，相映成趣。全图用笔苍劲，设色清丽，点染别致，树木景物，充满生机，巧得江南野趣。",[24,53,54,26,25,30,2735,288,7,35,134,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a75b6d590433c88559de0a0f19d3d2.jpg","纵72.5厘米，横89.5厘米",[],{"id":6392,"slug":6393,"title":6394,"dynasty":18,"author":6395,"museum":147,"description":6396,"tags":6397,"thumbUrl":6398,"material":118,"size":119,"collection":120,"collections":6399,"showCount":6298,"zanCount":11,"manualWeight":11,"mainColor":44},230927,"shan-shui-tu-shan-mian-wen-xi-230927","山水图扇面","文喜","此作用笔枯淡清逸，以水墨写就林泉雅境。崖壁崔嵬，飞泉隐于山坳，皴笔简括写意，尽显山石苍朴质感。几株古松虬曲苍劲，枝桠舒展自带灵动之姿，衬出林间清寂。平岗之上二人伫立，身形简括却宛然可见凭眺幽赏之态，暗合文人寄情丘壑的雅怀。整幅扇面构图疏密得宜，留白暗含空远之境，淡墨轻皴间，萧散出尘的林下意趣扑面而来，尽显小品山水的雅致情致。",[678,24,25,53,54,30,7,35,31,74,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a09efb7730295a8cdc7f2ba237beb1e.jpg",[],{"id":6401,"slug":6402,"title":6403,"dynasty":3958,"author":3959,"museum":147,"description":3960,"tags":6404,"thumbUrl":6405,"material":118,"size":119,"collection":120,"collections":6406,"showCount":6298,"zanCount":11,"manualWeight":11,"mainColor":82},230505,"shi-ting-shi-dai-si-ji-hua-niao-tu-ping-feng-er-ping-xue-zhou-230505","室町时代 四季花鸟图屏风-二屏",[23,24,27,28,7,1481,95,667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff786dfaab4c789f09b02ecc5404306e5.jpg",[],{"id":6408,"slug":6409,"title":3282,"dynasty":87,"author":1687,"museum":147,"description":6410,"tags":6411,"thumbUrl":6412,"material":120,"size":120,"collection":120,"collections":6413,"showCount":6298,"zanCount":11,"manualWeight":11,"mainColor":44},229020,"song-qiao-tang-tu-juan-wang-hui-229020","此作为全景山水长卷，以平远章法铺展丘园山居。山峦以披麻皴晕染，墨色温雅清润，层叠峰峦间林木蓊郁，村居茅舍错落隐于松石溪畔，漾出江南山居的幽寂雅致。\n\n画作糅合元人笔墨逸趣与宋人丘壑之美，笔致秀逸温婉，将林泉高致的隐逸意趣藏于尺幅。卷后长题与绘境相映，文墨与画韵相得益彰，尽显清雅出尘的文人画格调，是兼具写景抒情的山水佳构。",[23,24,25,186,27,30,54,7,35,175,134,36,161,33,34,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15c561e116abb11fa5628ec40e21a60a.jpg",[],{"id":6415,"slug":6416,"title":6417,"dynasty":18,"author":6418,"museum":147,"description":6419,"tags":6420,"thumbUrl":6422,"material":120,"size":120,"collection":120,"collections":6423,"showCount":6298,"zanCount":141,"manualWeight":11,"mainColor":44},228888,"lan-ting-tu-bing-shu-xu-juan-xu-guang-zuo-228888","兰亭图并书序卷","许光祚","《兰亭图并书序》为中国明代 创作的绫本书画作品，现藏于 。\n卷后有 书《兰亭序》，落款曰：“辛亥暮春摹于长水之玉瑛堂。\n关西许光祚。\n”下钤“灵长氏”朱文印。\n辛亥为1611年（明万历三十九年）。\n画心无款，有“永安沈氏藏书画印”朱文鉴藏印一方。\n许光祚，活跃于明代万历年间，字灵长，陕西人。\n与汤焕同郡，得其书法，时人号曰汤许。\n举于乡，知太平县，著有《许灵长集》。\n有书法作品传世，但文献没有记载他能绘画。\n此卷以山水为背景，表现兰亭修禊故事。\n卷首山脚下二文士携三童子而来，往前溪水边有一亭，亭中间置一桌，一文士在桌上挥毫，一文士坐于侧，另有一文士坐长凳上倚栏观鹅。\n溪流两岸边绘众文士及童子，文士们分组而坐，或凝思或交谈，或观摩或挥毫，其中有一人袒胸盘坐，双手上举似为养气，另有两文士在喝交杯酒，形态生动。\n溪流间有荷叶托着酒杯顺流而下。\n该图虽然大体继承了宋元以来兰亭雅集图亭中观鹅、岸边赋诗的构图方式，但从图中人物的服饰、动态及人数等来看，画家表现的更像是明代文人模仿王羲之等兰亭雅集时的情形，而不是真实地再现当时的原貌。\n人物线条简洁严谨，设色淡雅，山石轮廓以侧笔皴擦，工整柔和。",[23,24,25,186,27,28,31,30,32,33,161,7,302,1238,1426,6421,4927,29],"赋诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140767863d6e7de949761cc86cc06bd4.jpg",[],{"id":6425,"slug":6426,"title":6427,"dynasty":87,"author":2436,"museum":147,"description":4318,"tags":6428,"thumbUrl":6429,"material":120,"size":120,"collection":120,"collections":6430,"showCount":6298,"zanCount":11,"manualWeight":11,"mainColor":44},226628,"si-shi-shan-shui-01-pu-ru-226628","四时山水01",[24,53,27,54,215,30,35,7,33,161,95,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30c764ce4c7a82085c37e224fd507c9.jpg",[],{"id":6432,"slug":6433,"title":6434,"dynasty":87,"author":6435,"museum":147,"description":6436,"tags":6437,"thumbUrl":6438,"material":120,"size":120,"collection":120,"collections":6439,"showCount":6298,"zanCount":141,"manualWeight":11,"mainColor":44},224533,"fang-dong-yuan-shan-shui-tu-qi-zhi-jia-224533","仿董源山水图","祁豸佳","此作用笔追摹前贤意趣，主峰奇崛高耸，淡墨晕染石身，浓墨点苔醒出山岩苍古肌理，山间林木疏密错落，枯荣相映。近岸虬松老干遒劲，枝桠舒张如盖，临水茅庐静立，二人凭栏晤谈，衬出林下幽寂雅趣。\n整幅以高远法布局，虚实相生，留白处晕出山岚氤氲，将山野幽居的静谧萧散尽数铺展。笔墨简淡清逸，淡墨皴擦间尽显山水温润空濛，又自具峭爽格调，尽显文人寄情林泉的雅致意趣。",[23,24,25,26,53,54,30,7,175,35,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7804fca5f15a8af04239b286d359bd.jpg",[],{"id":6441,"slug":6442,"title":3879,"dynasty":87,"author":1106,"museum":147,"description":6443,"tags":6444,"thumbUrl":6445,"material":120,"size":120,"collection":120,"collections":6446,"showCount":6298,"zanCount":11,"manualWeight":11,"mainColor":44},224429,"shan-shui-tu-zhou-wang-shi-min-224429","此作用高远、平远兼济的构图铺展春日山乡景致。近处枯木虬枝舒展，与苍松错落相映，坡岸下春水澹澹，林麓间屋舍幽藏，安然静卧于烟岚轻笼之中。远景山峦以干笔淡墨勾勒皴擦，笔意松秀苍润，以浅淡墨色晕染出空濛氤氲的春日山气。\n\n全作用墨清隽温厚，脱胎元人山水意趣，以留白衬出春水空阔，将山野的清寂淡远融于笔底。未施浓丽敷色，仅以水墨干湿浓淡区分物象层次，尽显萧散简远的文人意韵，把春日林泉的幽闲之趣藏于每一重皴染之间，含蓄悠远，尽显古典山水的静雅之美。",[23,73,24,25,26,53,30,36,35,175,74,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8df2b57e9a7f5704ab95a2ab50a4edb.jpg",[],{"id":6448,"slug":6449,"title":6450,"dynasty":87,"author":3216,"museum":1577,"description":3217,"tags":6451,"thumbUrl":6453,"material":76,"size":3221,"collection":120,"collections":6454,"showCount":6298,"zanCount":11,"manualWeight":11,"mainColor":82},222965,"hong-lou-meng-90-sun-wen-222965","红楼梦90",[23,87,24,28,27,92,115,31,94,30,7,639,642,35,36,6452],"长廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2625fcd8834888bd949f168e4dcd3ba.jpg",[],{"id":6456,"slug":6457,"title":6458,"dynasty":87,"author":3216,"museum":1577,"description":3217,"tags":6459,"thumbUrl":6463,"material":76,"size":3221,"collection":120,"collections":6464,"showCount":6298,"zanCount":11,"manualWeight":11,"mainColor":44},222940,"hong-lou-meng-65-sun-wen-222940","红楼梦65",[23,24,28,27,1119,2151,643,639,6460,6461,367,2790,7,94,6462],"瓦房","圆门","红楼梦题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e8de757e9ba7e17f45392eb11c3405e.jpg",[],{"id":6466,"slug":6467,"title":6468,"dynasty":18,"author":6469,"museum":20,"description":6470,"tags":6471,"thumbUrl":6472,"material":27,"size":6473,"collection":120,"collections":6474,"showCount":6298,"zanCount":11,"manualWeight":11,"mainColor":44},222453,"hua-lu-shen-yuan-feng-tang-hui-xian-shan-tu-juan-zhang-fu-222453","画陆深愿丰堂会仙山图卷","张鈇","张𫓧（？－？），字德威，山东东昌府冠县人，军籍，明朝政治人物。\n山东乡试第六十三名举人。嘉靖八年（1529年）中式己丑科会试第一百五十二名，登第三甲第一百四十一名进士\n曾祖张山；祖父张文，曾任寿官；父张周，母郭氏",[24,25,186,2577,27,30,54,7,175,35,36,639,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bcab0898e7d65be553a4c97defc3988.jpg","27.1x161.2",[],{"id":6476,"slug":6477,"title":6478,"dynasty":87,"author":1038,"museum":89,"description":3397,"tags":6479,"thumbUrl":6480,"material":543,"size":3400,"collection":120,"collections":6481,"showCount":6298,"zanCount":11,"manualWeight":11,"mainColor":44},220309,"huang-shan-tu-ce-18-hong-ren-220309","黄山图册-18",[23,24,25,53,54,215,30,57,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d4a3aa57cb2c2677517cc1e26f43bb.jpg",[],{"id":6483,"slug":6484,"title":6485,"dynasty":87,"author":1038,"museum":89,"description":3397,"tags":6486,"thumbUrl":6487,"material":543,"size":3400,"collection":120,"collections":6488,"showCount":6298,"zanCount":11,"manualWeight":11,"mainColor":44},220306,"huang-shan-tu-ce-21-hong-ren-220306","黄山图册-21",[23,24,25,30,215,53,27,54,275,57,7,94,135,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb293f3d4e7ddae656d41c4cbe335d40d.jpg",[],{"id":6490,"slug":6491,"title":6492,"dynasty":69,"author":88,"museum":20,"description":6493,"tags":6494,"thumbUrl":6495,"material":190,"size":120,"collection":101,"collections":6496,"showCount":6298,"zanCount":11,"manualWeight":11,"mainColor":44},219646,"yao-chi-xian-hui-tu-yi-ming-219646","瑶池仙会图","苍松虬枝如盖，撑起画面清逸骨架，瑶池云气漫过山麓，晕开缥缈仙境。仙侣或围坐清谈，或乘舟凌波而来，林泉间人物情态悠然恬和，将仙家雅集的自在意趣铺陈于尺幅团扇之中。淡墨轻色晕染烟岚林樾，笔致温婉秀雅，与左侧题诗呼应成趣，把世外幽居的绝尘之思藏在每一处细节里，以咫尺天地绘就仙家雅集的恬然图景，将宋人的清雅意趣融于笔墨烟波之间。",[24,25,27,28,215,31,7,30,2177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b80a61da461404c31e4690c9ef6205.jpg",[101],{"id":6498,"slug":6499,"title":6500,"dynasty":69,"author":4194,"museum":147,"description":6501,"tags":6502,"thumbUrl":6505,"material":118,"size":119,"collection":120,"collections":6506,"showCount":6507,"zanCount":11,"manualWeight":11,"mainColor":44},290987,"fei-xian-tu-zhou-zhao-bo-ju-290987","飞仙图轴","并无年款，古人以宋朝赵伯驹为青绿山水名家，遂定为赵氏所作，然画中松树造型，岩石结构，实已出现十六世纪风格。",[24,73,26,115,27,31,6503,30,7,35,3061,6504],"龙","飞仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94d0328f9b64f76a43c997fcb0bf8e3c.jpg",[],18,{"id":6509,"slug":6510,"title":6511,"dynasty":87,"author":6512,"museum":147,"description":6513,"tags":6514,"thumbUrl":6517,"material":118,"size":119,"collection":120,"collections":6518,"showCount":6507,"zanCount":11,"manualWeight":11,"mainColor":82},290577,"xue-jing-ren-wu-qian-long-yu-ti-zhou-zhang-peng-chong-290577","雪景人物乾隆御题轴","张鹏翀","张鹏翀（1688～1745）清代画家。字天扉，一作天飞，号抑斋、南华山人、南华散仙，人谓之漆园散仙。崇明（今属上海市）人，居嘉定（今属上海）。幼年多病，资性滞钝。十七岁时开悟，遍读经史，精通诗文绘画，才思敏捷，命题咏，可应声立就，时人比之为古代东方朔、苏轼。作画亦顷刻能尽数纸。爱佳山水，常裹粮往游。\n雍正五年（1727）进士，官至詹事府詹事。曾以所作《经史法戒诗》《万寿圣德诗》《十慎箴》《春林淡霭图》《日长山静》画扇进献乾隆帝。帝亦曾以御画《松竹图》、御书“双清阁”匾额，以及笔砚、纱缎、绒貂之类赐之。在朝所进诗，及与诸同僚和者，不下数百篇。\n乾隆十年（1745），以省墓请假归乡，帝赐白金百两， 御制五律一章，以宠其行，行至山东临清以病卒。",[24,26,53,365,30,31,6515,7,367,1784,34,2119,6516],"茅舍","清冷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ebecd8fd68b61db612f78fd8a2c040f.jpg",[],{"id":6520,"slug":6521,"title":6522,"dynasty":49,"author":239,"museum":147,"description":1069,"tags":6523,"thumbUrl":6524,"material":118,"size":119,"collection":120,"collections":6525,"showCount":6507,"zanCount":11,"manualWeight":11,"mainColor":82},290446,"song-shan-shu-wu-tu-ke-luo-ban-wang-meng-290446","松山书屋图（珂罗版）",[23,73,24,25,26,53,54,30,7,450],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70b5fc5f66a2ead3f8f44470180431a2.jpg",[],{"id":6527,"slug":6528,"title":6529,"dynasty":18,"author":88,"museum":147,"description":6530,"tags":6531,"thumbUrl":6532,"material":118,"size":119,"collection":120,"collections":6533,"showCount":6507,"zanCount":11,"manualWeight":11,"mainColor":82},288145,"shan-shui-tu-ti-xu-dao-ning-yi-ming-288145","山水图(题许道宁)","此作用全景式平远构图铺展江湖胜境，烟波浩渺间峰峦连绵起伏，巨岩峻峭处飞瀑垂落，丘壑藏幽。浅汀洲渚错落点缀苍松杂木，渔舟泛于平湖之上，山居隐于林麓之间，处处漫着静谧萧散的野趣。\n\n画师以淡墨皴擦山峦，勾勒与渲染相融，将山石的浑厚质感与云水的空濛柔润相互映衬，树木取法苍劲笔意，简括灵动。整体色调古雅沉静，把平远、深远山水意境汇于一卷，铺展出旷远清逸的江南景致，尽显幽淡天然的文人山水意趣，引人神游林泉，体悟高致。",[23,24,25,186,73,30,33,116,7,1600,55,440,36,54,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21189e70bdbdbedc3253fe6e38816672.jpg",[],{"id":6535,"slug":6536,"title":6537,"dynasty":69,"author":88,"museum":147,"description":6538,"tags":6539,"thumbUrl":6541,"material":118,"size":119,"collection":120,"collections":6542,"showCount":6507,"zanCount":11,"manualWeight":11,"mainColor":82},287556,"shuang-song-hua-niao-yi-ming-287556","双松花鸟","古松虬劲苍然，枝桠蟠曲舒展，松叶攒簇如墨盖，晕染出沉厚幽古的底色。树顶双鸟偎依，翎毛细腻柔润，私语间漾起静中生的幽趣。\n\n水畔鸢尾幽蓝盛放，素白花影点缀其间，青绿草叶随水势舒展，浅蓝水泽萦回于岸汀。锦羽雉禽伫立坡岸，斑斓翎羽刻画入微，雍容闲静。\n\n整作工写相融，浓墨绘就古松苍劲，淡彩晕出水色清浅，将林泉野逸的幽寂生机尽皆铺陈，把写生意趣藏在毫厘笔墨中，观之便如踏入这清寂雅致的林下幽境。",[24,667,28,27,7,95,6540,640],"雉鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8246711e7604fb5187f3452020901522.jpg",[],{"id":6544,"slug":6545,"title":3781,"dynasty":87,"author":6546,"museum":89,"description":6547,"tags":6548,"thumbUrl":6549,"material":246,"size":120,"collection":120,"collections":6550,"showCount":6507,"zanCount":11,"manualWeight":11,"mainColor":44},237193,"shan-shui-ce-sun-yi-237193","孙逸","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。",[24,25,215,115,27,54,30,116,31,7,35,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61beef2d3bca364fe13fe9aad3fb728c.jpg",[],{"id":6552,"slug":6553,"title":3781,"dynasty":18,"author":6554,"museum":147,"description":6555,"tags":6556,"thumbUrl":6557,"material":120,"size":89,"collection":40,"collections":6558,"showCount":6507,"zanCount":11,"manualWeight":11,"mainColor":44},236600,"shan-shui-ce-ye-xiang-rong-236600","叶向荣","此作取景于幅面右侧，以奇崛山石为主体，细劲勾勒山石轮廓，淡墨皴擦晕染，尽显岩壁嶙峋质感。古松虬曲苍劲，枝干舒张如铁，松针层叠错落，饱经风霜之态跃然纸面。\n\n山谷间隐现村居茅舍，远景以淡墨轻施，留白晕染出朦胧空茫，将山野的幽寂悠远铺陈开来。笔墨简淡清逸，摒却繁复堆砌，以简驭繁，尽显清雅意趣，于方寸册页间，将林泉隐逸的恬淡山居诗意徐徐铺展，藏着寄情山水的幽远心境。",[24,25,215,53,54,30,7,35,32,33,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe8abcdf9bd8980b8e21497c06feca20.jpg",[40,62],{"id":6560,"slug":6561,"title":4240,"dynasty":87,"author":6562,"museum":147,"description":6563,"tags":6564,"thumbUrl":6565,"material":120,"size":120,"collection":40,"collections":6566,"showCount":6507,"zanCount":11,"manualWeight":11,"mainColor":44},235866,"za-hua-ce-zhang-sheng-235866","章声","此作为左书右画的合璧佳构。画中危崖壁立，飞瀑直泻千尺，谷中云雾翻涌，将山林晕染如幻梦仙境。崖边古松虬枝斜曳，苍劲灵动，松荫石台上逸士凭栏观瀑，点出林泉高致的雅趣，笔致秀逸清润，以淡墨晕开云烟，铺展出山水空濛幽深之态。左侧行书题诗笔力清劲潇洒，诗画呼应，将观瀑遐思与山林幽寂融为一体，尽显文人画诗画相生的悠远意境，整体简淡空灵，藏着传统文人寄情山水的雅怀。",[24,25,215,27,53,29,54,30,7,35,55,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2324cce7eaa003ae31ade295c1345c57.jpg",[40],{"id":6568,"slug":6569,"title":6570,"dynasty":18,"author":6571,"museum":89,"description":6572,"tags":6573,"thumbUrl":6574,"material":629,"size":120,"collection":120,"collections":6575,"showCount":6507,"zanCount":11,"manualWeight":11,"mainColor":44},234242,"shan-shui-juan-sun-zhi-234242","山水卷","孙枝","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。\n传世作品有：嘉靖三十八年(1559)作《梅石水仙图》轴，款署“嘉靖己未冬月孙枝”、万历十五年(1587)作《五湖钓叟图》卷、十八年(1590)作《携琴访友图》轴，现藏故宫博物院；隆庆五年(1571)作《九龙山居图》卷、万历十六(1588)作《清溪放棹图》轴，藏北京市文物局；万历七年(1579)作《溪山秋意图》轴，款署“万历己卯秋日吴郡孙枝写”，藏上海博物馆；二十三年(1595)作《踏雪访友图》轴，款署“万历乙未九月吴郡孙枝写”，藏苏州市博物馆；三十五年(1607)作《山水图》扇页，著录于《中国书画家印鉴款识》。从艺活动约在嘉靖、万历间。款识:吴郡孙枝写。万历二十年（1601）尝作爱荆图卷。（《无声诗史》《明画录》《珊瑚网》《式古堂书画汇考》《榆园画志》）",[23,24,25,186,53,27,54,188,29,30,150,258,1279,36,175,7,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2a59c59d2ceb14c0471fe780a22c80.jpg",[],{"id":6577,"slug":6578,"title":6579,"dynasty":49,"author":2775,"museum":89,"description":6580,"tags":6581,"thumbUrl":6583,"material":6584,"size":6585,"collection":120,"collections":6586,"showCount":6507,"zanCount":11,"manualWeight":11,"mainColor":408},233879,"xue-gang-du-guan-tu-zhou-ma-wan-233879","雪岗渡关图轴","此图为雪景山水，描绘崇山峻岭均为积雪覆盖，崖头隐约点缀着短小的丛树，山谷间有林木、水榭掩映，雪雾烟岚在崖隙间弥散，山脚下，长松依然清翠昂然，整个画面散发着荒寒萧索之气。这种雪景的画法完全师从黄公望《九峰雪霁图》，画家利用绢索洁白的质地，以淡墨洪染出天空、水面，以墨笔淡淡勾出景物轮廓，显现出雪景的晶莹透明。自识“雪冈度关，文壁为彦明作”。",[24,256,26,54,53,368,132,1343,36,7,35,6582,1963,56,365],"关隘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bf330fe2e48ab4499d388e17cc77fd0.jpg","绢本，墨笔","纵：125.4厘米，横：57.2厘米",[],{"id":6588,"slug":6589,"title":6590,"dynasty":18,"author":128,"museum":89,"description":6591,"tags":6592,"thumbUrl":6594,"material":59,"size":6595,"collection":120,"collections":6596,"showCount":6507,"zanCount":11,"manualWeight":11,"mainColor":44},231373,"xia-mu-chui-yin-tu-dong-qi-chang-231373","夏木垂阴图","此图截取山坡一角，其上有柳树、松柏，共三株。树木主干苍劲高耸，枝叶繁茂蓊郁。构图简洁饱满，用笔老辣迅疾，墨色浓淡得宜，生动地表现出林木枝叶纷披的景象。又以长披麻皴皴染山石，皴与染相结合，加上浓重的苔点，使得长满青苔的山石因而具有湿润的质感。在墨色的运用上，整幅画面主要以浓墨与留白相对比，黑、白、灰关系明确，营造出清爽明丽之氛围，使观者似乎感受到夏日树荫之中的凉爽清幽。",[24,256,53,26,25,54,36,35,33,135,161,7,132,277,6593],"夏天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0a4e197fbf86433996158956bce8f26.jpg","纵91.3厘米，横44厘米",[],{"id":6598,"slug":6599,"title":6600,"dynasty":69,"author":88,"museum":20,"description":6601,"tags":6602,"thumbUrl":6603,"material":190,"size":120,"collection":120,"collections":6604,"showCount":6507,"zanCount":11,"manualWeight":11,"mainColor":82},231053,"zhe-kan-tu-yi-ming-231053","折槛图","《却坐图》是宋代佚名画家创作的绢本设色画，现藏于 。\n该图描绘西汉文帝妃慎夫人恃宠与帝后平起平坐，日游上林苑，中郎将袁盎向文帝犯颜直谏：“妃子僭坐后位有违纲常。\n”文帝不悦但理在袁盎，只得纳谏，慎夫人也只好悻悻而起。\n该画侧重表现矛盾化解过程中人物微妙的心理变化。\n此幅描绘的是西汉文帝时袁盎谏止宠妃慎夫人与帝、后并坐的故事。\n图中人物处于画面的中心，汉文帝等七人在画面的右侧，金瓜卫十在左侧，袁盎在文帝与金瓜卫士之间，离观者最近。\n在右侧七人中，文帝居中坐在宝座上，表情严肃，右手按膝，左手扶椅，胸前佩方心曲领，着通天冠服，长须垂胸；在皇帝左首圆墩上坐着慎夫人低头沉默，微露不悦，显得很不自在；四位宫女立于文帝身后，一位矮小的侍女，靠近慎夫人，她们都静立聆听，目睹现场；皇宫卫士，满腮长须，横眉怒目，两脚分叉，手执金瓜兵器，威风显赫，等待下旨，执行公务，袁盎弓背弯腰，两手举笏，作面奏君王状，神情坚定执着，但面向外，躬身上奏，坚毅庄重，神色坦然，看来已陈述完毕，任凭皇上处置。\n此事发生在上林苑中，院墙高筑，墙外茫茫一片田野和水面，院墙内一株大树靠右边拔地挺直而上，和中间的两棵参天大树，枝叶互相穿插，叶茂枝繁，形成了天然凉棚。\n太阳隔着云层雾气光线忽明忽暗，树叶在雾色中时隐时现、人群背后一排直立的假山石、棕榈树、仙鹤点缀着，画面的右下角还有丛竹、野草及深色太湖石。\n《却坐图》是历史故事画。\n说的是汉文帝时慎夫人僭坐故事：宠妃慎夫人坐在皇帝身边。\n她的举动违反了封建社会的礼仪，坐到了应属皇后的位置上。\n袁盎站出来当面进谏，谓帝既有后，不当容许其妃僭坐后位。\n文帝和慎夫人对他的直言进谏当时颇为恼怒，但还是接受了，并且给了袁盎一些赏赐以鼓励忠直。\n选择该故事作为题材，用意在于宣传封建纲常，赞扬敢于直言上谏、冒死维护君王统治利益的忠臣义士，是典型的院画题材。\n图中文帝坐于有奇花茂树、秀石珍禽的皇家苑囿中，袁盎上前俯身面谏，神情坚毅，文帝微露愠色，皇后坐于其侧低头不语，慎夫人站起身来面带不悦，一武士持的威严，同时也衬托出袁盎置生死于不顾，犯颜直谏的忠臣形象。\n从图中可以看到作者对现场中各类人物的外形，表情，到内心世界的刻画是非常成功的，而且对主要人物文帝、袁盎、金瓜卫士的内在联系及相互呼应交代得很清楚，如文帝的宽容大度，卫土的暴戾心理和袁盎忠直不惧的义胆，其以卫士的凶猛形貌象征皇帝手中的至高权力，相比之下，虽然袁盎处于软弱无力的地位，却显示了在这种特定场合中最有力量，而且作者将盎放在显要的位置，对他的形象刻画更富魅力，对袁盎敢于冒犯“圣上”的勇气极尽赞喻，图中要遣责的对象是慎夫人，安排在很不重要的位置上，侧面描绘成敢怒而不敢言的愧羞样子，连同她的诗人也是比其他宫女要矮小。\n该图不仅在人物位置经营上成功，而且布景也有其用意，文帝身后有高树一排，自立的假山石，仙鹤等景，而袁盎身旁的是就地长出的丛竹、小草与深色玲珑的太湖石等等。\n表示了作者章法布局有韵致，遵循院画的审美标准，而造诣颇高。\n中国美术研究院研究员王鲁豫：《却坐图》整个画风都接近于《 》，表现了南宋院体人物故事画的高度水平。\n218年1月4日，“国宝再现—书画菁华特展”在台北故宫博物院北部院区第一展览区21室开幕，《却坐图》在其中展出。",[23,73,24,25,26,28,27,92,31,94,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4b0cdfb2193e1f81f95c31e32cf2c7d.jpg",[],{"id":6606,"slug":6607,"title":6608,"dynasty":69,"author":1565,"museum":147,"description":6609,"tags":6610,"thumbUrl":6611,"material":120,"size":120,"collection":120,"collections":6612,"showCount":6507,"zanCount":11,"manualWeight":11,"mainColor":82},227438,"chu-shi-bei-jiang-tu-juan-yang-bang-ji-227438","出使北疆图卷","杨邦基，生卒年不详。金画家。字德懋，号息轩，陕西华阴人。幼孤，好学。擅画山水、人物、鞍马。人物画有李公麟格调；山水学李成。潇洒脱俗，令人渺然有江湖尘外之思。存世作品有《聘金图》。\n\n《金史》称：杨邦基，字德懋，华阴人。父綯，宋末为易州州佐。宗望伐宋，蔡靖以燕山降，易州即日来附，綯被杀，邦基年十余岁，匿僧舍中，得免。既长，好学。天眷二年，登进士第，调滦州军事判官，迁太原交城令。太原尹徒单恭贪污不法，托名铸金佛，命属县输金，邦基独不与。徒单恭怒，召至府，将以手持铁拄杖撞邦基面，邦基不动。秉德廉察官吏，尹与九县令皆免去，邦基以廉为河东第一，召为礼部事。以兵部员外郎摄吏部差除，坐铨注李庆之、大奉国臣，与高衎等皆贬官，邦基降坊州宜君簿。转高密令。大定初，尚书省拟邦基刑部郎中，世宗曰：“县官即除郎中，如何？”太师张浩对曰：“邦基前为兵部员外郎矣，且其人材可用。”上许之。改太府少监，知登闻检院，为秘书少监，迁翰林直学士，再迁秘书监兼左谏议大夫，修起居注。中都警巡使张子衍与邦基姻家，子衍道中遇皇太子卫仗，立马市门不去伞，卫士诃之，子衍以鞭鞭卫士诃己者。御史台劾奏子衍，邦基见台官为子衍求解，及入见显宗，求脱子衍罪。诏削子衍官两阶。邦基坐削官一阶，出为同知西京留守事，徙山东东路转运使，永定军节度使，致仕。大定二十一年，卒。邦基能属文，善画山水人物，尤以画名当世云。",[23,73,24,25,186,27,30,54,31,242,7,150,135,161,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7813fa368ac32a990250cd1cd532baa8.jpg",[],{"id":6614,"slug":6615,"title":6616,"dynasty":87,"author":1811,"museum":147,"description":6617,"tags":6618,"thumbUrl":6620,"material":120,"size":120,"collection":120,"collections":6621,"showCount":6507,"zanCount":11,"manualWeight":11,"mainColor":44},224485,"fang-huang-gong-wang-yan-fu-yuan-xiu-tu-zhou-wang-jian-224485","倣黄公望烟浮远岫图轴","此展品为清代的书画，绢本设色。\n此图仿巨然山水，王鉴在此画中描绘夏秋山水景色，山多矾头而不作嶒崚奇峭之状。\n现收藏于 。\n绢本设色。\n此图仿巨然山水，王鉴在此画中描绘夏秋山水景色，山多矾头而不作嶒崚奇峭之状。\n画面中间有—溪流蜿蜒流过，山石上杂树丛生，山石多以长披麻皴写之，上有焦墨点苔。\n用墨浓润，骨重气轻，匠心独具，沉雄古逸。\n此图作于1674年，作者时年七十六岁，为其逝世前三年。\n款识：“甲寅九秋仿巨然烟浮远岫呈艾翁老祖台大词宗教正，王鉴” 钤印：“王鉴之印”白文方印，“湘碧”朱文方印。\n王鉴（1598-1677年），字元照，一字圆照，号湘碧，又号香庵主。\n江苏太仓人。\n擅长山水，远法董（源）、巨（然），近宗王蒙、黄公望。",[73,24,25,26,256,27,54,274,132,134,6619,7,778,55,33,175,56],"烟霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85222cb3dd78674b95fe037a0f88417e.jpg",[],{"id":6623,"slug":6624,"title":623,"dynasty":87,"author":6625,"museum":147,"description":6626,"tags":6627,"thumbUrl":6628,"material":6629,"size":120,"collection":103,"collections":6630,"showCount":6507,"zanCount":11,"manualWeight":11,"mainColor":44},224381,"shan-shui-tu-wang-guang-qi-224381","王光圻","此作用高远章法铺陈，以枯淡墨线勾出峭拔崖壁，焦墨点苔醒出山峦苍劲肌理，留白衬出险峰空寂高远的气势，壁立千仞的意境呼之欲出。\n\n近景林木错落，老松虬曲、杂木扶疏，以浓淡墨色区分枝叶层次，衬出林麓间茅舍的幽隐。清溪绕岸，浅墨晕染出水泽空濛之气。全幅笔法简率松灵，脱略繁缛细节，以意写形，尽显文人山水的萧散淡远之致，墨色干湿浓淡相济，于极简中勾勒出山林幽深清寂之境，笔底自带荒寒简古的林下风致，尽显文人写意山水的雅致风貌。",[23,24,53,26,30,36,161,35,175,302,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f7c446c0bf8824d74b46dced3c2cfe1.jpg","水墨纸本",[103],{"id":6632,"slug":6633,"title":6634,"dynasty":18,"author":88,"museum":226,"description":6635,"tags":6636,"thumbUrl":6637,"material":76,"size":6638,"collection":120,"collections":6639,"showCount":6507,"zanCount":11,"manualWeight":11,"mainColor":82},223576,"quan-xi-tu-yi-ming-223576","犬戏图","三只白底黑点的大狗趴在地上，仿佛看着它们的皮肤吐着皮毛，而其中的两只正在锻炼和玩耍，三只胖嘟嘟的傻傻的表情非常可爱。",[23,24,25,27,28,961,1180,7,344,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F661ed9dda15d3f39a9490584687bc98a.jpg","36X35cm",[],{"id":6641,"slug":6642,"title":6643,"dynasty":87,"author":6644,"museum":147,"description":6645,"tags":6646,"thumbUrl":6647,"material":120,"size":120,"collection":40,"collections":6648,"showCount":6507,"zanCount":11,"manualWeight":11,"mainColor":44},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”。",[23,24,25,26,53,27,54,30,132,162,7,56,135,31,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c51f44fe7b66a6cb2fe829666045ef9.jpg",[40,62],{"id":6650,"slug":6651,"title":6652,"dynasty":87,"author":1038,"museum":89,"description":3397,"tags":6653,"thumbUrl":6654,"material":543,"size":3400,"collection":120,"collections":6655,"showCount":6507,"zanCount":11,"manualWeight":11,"mainColor":44},220324,"huang-shan-tu-ce-6-hong-ren-220324","黄山图册-6",[23,24,53,30,215,54,275,7,74,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F444eb2f5d664d438978d3574031f3a9d.jpg",[],{"id":6657,"slug":6658,"title":6659,"dynasty":87,"author":1038,"museum":89,"description":3397,"tags":6660,"thumbUrl":6661,"material":543,"size":3400,"collection":120,"collections":6662,"showCount":6507,"zanCount":11,"manualWeight":11,"mainColor":44},220317,"huang-shan-tu-ce-12-hong-ren-220317","黄山图册-12",[23,24,25,73,215,53,27,54,30,275,7,135,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3b54d3c4af734c0a0632bca860be3cf.jpg",[],{"id":6664,"slug":6665,"title":6666,"dynasty":87,"author":1038,"museum":89,"description":3397,"tags":6667,"thumbUrl":6668,"material":543,"size":3400,"collection":120,"collections":6669,"showCount":6507,"zanCount":11,"manualWeight":11,"mainColor":44},220302,"huang-shan-tu-ce-24-hong-ren-220302","黄山图册-24",[23,24,25,215,53,54,30,161,55,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f0f1eea5eec9fa20d8d4c3de009e2b.jpg",[],{"id":6671,"slug":6672,"title":6673,"dynasty":87,"author":2299,"museum":212,"description":6674,"tags":6675,"thumbUrl":6676,"material":59,"size":120,"collection":120,"collections":6677,"showCount":6507,"zanCount":11,"manualWeight":11,"mainColor":44},214388,"shan-shui-tu-ce-9-zhu-da-214388","山水图册-9","枯松如铁，虬枝斜探，墨线苍劲若篆籀，寥寥数笔便勾出山峦的峭拔与空濛。大片留白晕染云气流动，咫尺画幅生出千里烟霞之势。山石皴擦极简却见肌理，坡岸几株细树立得弱小倔强，似在空寂里守着生机。\n\n整幅画简淡到极致，藏着遗世的清冷与超脱——每处笔触都带疏离诗意，画家将心绪揉进墨里化在留白间，让观者于静默中触到天地浩渺与生命韧性。简而不空，淡而有味，八大山人以极简笔墨写尽深情，空寂里藏着乾坤，叫人在素净山水间读见一份倔强的诗意与旷达的心境。",[23,24,25,215,53,54,30,57,288,7,1366],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F059f84d01ef03869f5a3310858fe5883.jpg",[],{"id":6679,"slug":6680,"title":3879,"dynasty":87,"author":6681,"museum":172,"description":6682,"tags":6683,"thumbUrl":6684,"material":120,"size":120,"collection":40,"collections":6685,"showCount":6507,"zanCount":11,"manualWeight":11,"mainColor":6686},202028,"shan-shui-tu-zhou-lu-dao-huai-202028","陆道淮","层峦叠嶂间，飞瀑倾泻而下，似银练垂空，溅起泠泠清响。山麓处古松虬劲，枝叶纷披，荫下小亭孑立，溪流蜿蜒穿石，意境清幽淡远。笔墨运用精妙，山石以皴法勾勒，纹理苍莽，树木姿态各异，墨色浓淡相宜，浅染设色更显雅致。整幅画作将自然之趣与文人情怀相契，尽显林泉隐逸之美。",[24,30,53,54,7,55,161,74,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5fb3169f1d44732c9088e47ad47c4da.jpg",[40],"c8b9aa",{"id":6688,"slug":6689,"title":3879,"dynasty":87,"author":3848,"museum":172,"description":6690,"tags":6691,"thumbUrl":6693,"material":120,"size":120,"collection":120,"collections":6694,"showCount":6507,"zanCount":11,"manualWeight":11,"mainColor":6695},201800,"shan-shui-tu-zhou-gao-cen-201800","这幅山水图轴层次错落，意境清幽。远景峰峦叠嶂，皴笔勾勒山石肌理，尽显雄浑苍劲；中景林木葱茏，松针攒簇与枯树枝桠相映，掩映间屋舍隐现，似藏隐士闲居；近景溪流蜿蜒，瀑布潺潺，茅亭临岸，树木扶疏，一派静谧。笔墨兼融秀润与苍健，山石皴染结合，树木勾勒传神，整体营造出文人归隐的闲适之境，流露金陵画派清逸风骨。",[24,30,54,33,161,7,367,6692,35,418],"屋宇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe0eba6f017f9fadc0a6a991c085ff5a.jpg",[],"947f64",{"id":6697,"slug":6698,"title":6699,"dynasty":49,"author":88,"museum":20,"description":6700,"tags":6701,"thumbUrl":6703,"material":841,"size":6704,"collection":101,"collections":6705,"showCount":6706,"zanCount":11,"manualWeight":11,"mainColor":408},291021,"dong-shi-hua-chan-tu-yi-ming-291021","冬室画禅图","此幅绘冬景。画乔松白雪，庭宇高敞。堂楹侧，一童子展挂画轴，一仆捧轴旁立，前有三文士围桌而坐，正凝神观画品论。庭中一仆踏凳上，折梅枝，一童在旁接下，贮于瓶中。阶前，另有文士二人，拱揖让登，后有髯奴担酒，一童后随。",[24,31,94,92,27,2211,7,26,6702],"冬景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08b1e7c7ad5bfa15a53d82421b053188.jpg","133.7x79.6",[101],17,{"id":6708,"slug":6709,"title":6710,"dynasty":49,"author":239,"museum":147,"description":1069,"tags":6711,"thumbUrl":6712,"material":118,"size":119,"collection":120,"collections":6713,"showCount":6706,"zanCount":11,"manualWeight":11,"mainColor":82},290445,"song-xi-cao-tang-tu-ke-luo-ban-wang-meng-290445","松溪草堂图（珂罗版）",[23,73,24,25,26,53,30,7,3367,35,33,54,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfb63d1ed84535a0fde14be3711c5d4f.jpg",[],{"id":6715,"slug":6716,"title":6717,"dynasty":49,"author":88,"museum":147,"description":3058,"tags":6718,"thumbUrl":6719,"material":118,"size":119,"collection":120,"collections":6720,"showCount":6706,"zanCount":11,"manualWeight":11,"mainColor":44},290406,"song-yin-ting-yuan-tu-yi-ming-290406","松荫庭院图",[73,24,678,92,28,27,7,639,94,3914],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd81d4c74c3da931a348165bc90fa9ea3.jpg",[],{"id":6722,"slug":6723,"title":6724,"dynasty":49,"author":88,"museum":147,"description":3058,"tags":6725,"thumbUrl":6727,"material":118,"size":119,"collection":120,"collections":6728,"showCount":6706,"zanCount":11,"manualWeight":11,"mainColor":82},290401,"gao-shi-dui-yi-tu-yi-ming-290401","高士对弈图",[24,256,31,7,35,6726,27,2910],"对弈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0549a9e17f0dc01002b5676b220cb0f.jpg",[],{"id":6730,"slug":6731,"title":6732,"dynasty":18,"author":459,"museum":147,"description":4365,"tags":6733,"thumbUrl":6734,"material":118,"size":119,"collection":120,"collections":6735,"showCount":6706,"zanCount":11,"manualWeight":11,"mainColor":44},288004,"bai-miao-luo-han-tu-juan-shang-bu-chou-ying-288004","白描罗汉图卷(上部)",[23,73,24,186,940,31,2177,5414,1030,7,35,961],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e592b366e3e837b966fe799cfea109.jpg",[],{"id":6737,"slug":6738,"title":6739,"dynasty":49,"author":6740,"museum":20,"description":6741,"tags":6742,"thumbUrl":6743,"material":38,"size":6744,"collection":120,"collections":6745,"showCount":6706,"zanCount":11,"manualWeight":11,"mainColor":82},287768,"lin-luan-fu-di-zhou-zhao-xi-yuan-287768","林峦福地轴","赵希远","原题。福地真传霹雳开。仰空虚窦瞰崔嵬。千盘磴道穿深黑。万古仇池接往来。颇怪洞中常见日。翻从地底一登台。耸身且自崖间出。回首仙踨怅□来。茂苑文嘉。钤印二。休。承。\n鉴藏宝玺 乾隆御览之宝。乾隆鉴赏。五玺全。宝笈三编。宣统御览之宝。\n收传印记 文谦光印。君珂鉴赏。潘志省印。又三印漫漶。\n谨按赵希远。与王蒙同时。蒙有香光居士图。希远爱而临之。见画史会要。",[73,24,26,256,54,27,150,55,94,7,33,690,1458,95,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb027e2c1284cdaf85c752a1e80f0f639.jpg","127.5x31.1",[],{"id":6747,"slug":6748,"title":6749,"dynasty":87,"author":6750,"museum":147,"description":6751,"tags":6752,"thumbUrl":6753,"material":118,"size":119,"collection":120,"collections":6754,"showCount":6706,"zanCount":11,"manualWeight":11,"mainColor":44},287420,"jiu-lu-tu-jin-kun-287420","九鹿图","金昆","金昆，清朝画家，善画。康熙（一六六二至一七二二）时供奉内廷，有庆丰图、虎邱待月图均邀御题。",[23,24,73,25,186,115,27,28,30,1458,7,33,640,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04b723b70834eaea898fe493dbe1921f.jpg",[],{"id":6756,"slug":6757,"title":6758,"dynasty":87,"author":6759,"museum":89,"description":6760,"tags":6761,"thumbUrl":6762,"material":99,"size":6763,"collection":120,"collections":6764,"showCount":6706,"zanCount":11,"manualWeight":11,"mainColor":44},236133,"li-chao-xian-hou-gu-shi-tu-jiao-bing-zhen-236133","历朝贤后故事图","焦秉贞","历史故事是清代宫廷绘画中的重要题材之一。此套图册题材取自历代有良好德行的皇后、太后的故事，人物包括西周文王之母太任、西周武王之母太姒、东汉明帝明德马皇后、东汉和帝和熹邓皇后、北宋仁宗慈圣曹皇后、北宋英宗宣仁高皇后、明仁宗诚孝张皇后。她们在身为皇后或太后期间，有的勤俭仁厚、贤淑孝顺，有的不问政事、不佞外戚。画家绘此画册就是借她们的懿德来宣传封建的伦理纲常，给宫廷里的妃嫔们树立行为楷模。在12开的册页中，所绘仕女形象柔弱，设色浓艳，富有装饰性。图上建筑物的绘制采用欧洲焦点透视的方法，有别于中国的传统界画。每开对题是由梁诗正书写的弘历在皇子时期所作的诗句，记录了这些皇后、太后的事迹和对她们的评价。",[24,73,215,28,27,31,643,94,32,33,7,35,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25890be726ce156471d5de93f00b20dd.jpg","纵30.8厘米，横37.4厘米",[],{"id":6766,"slug":6767,"title":3879,"dynasty":18,"author":4555,"museum":147,"description":6768,"tags":6769,"thumbUrl":6770,"material":120,"size":120,"collection":120,"collections":6771,"showCount":6706,"zanCount":11,"manualWeight":11,"mainColor":44},235310,"shan-shui-tu-zhou-wen-jia-235310","此作用笔秀雅清润，以淡墨勾勒皴擦山石，间施浅赭晕染，营造出空寂淡远的山居之境。画面自上而下铺展，云山层叠掩隐古寺，虬松斜生崖畔，溪石错落，溪滩处隐士垂坐独钓，处处透着林泉雅意。题诗与画境呼应，将文人寄情山水、超脱尘俗的隐逸情怀尽显，是吴门画派温润雅致风格的典型体现，笔墨精简却意蕴悠长，尽显明代文人山水画的抒情特质。",[24,26,53,27,30,7,35,31,440,135,54,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876beebe5658113260f2436ce7960e89.jpg",[],{"id":6773,"slug":6774,"title":2566,"dynasty":87,"author":88,"museum":147,"description":6775,"tags":6776,"thumbUrl":6778,"material":120,"size":120,"collection":120,"collections":6779,"showCount":6706,"zanCount":11,"manualWeight":11,"mainColor":44},235157,"hong-ren-shan-shui-ce-yi-ming-235157","此作为诗画合璧佳构，笔墨简淡疏朗，尽显清逸禅意。画面以淡墨晕染山峦，空灵悠远，山腹石拱如天工开辟，苍松沿溪亭亭如盖，平岸浅溪蜿蜒，村舍错落林间石畔，烟火气隐于清冷丘壑之间。\n\n题书清隽雅致，诗句与画境相契，松杉引径，夕照里野村人家渺远，古寺钟声融在暮霞里，将画中静穆清冷的意境铺展开来。淡笔轻皴里藏着幽远超脱的文人襟怀，观之如临江南寂寂山野，尘俗烦扰尽皆涤荡，尽显山水淡远出尘之美。",[24,25,215,53,30,54,188,29,34,132,133,36,7,982,690,161,57,33,6777],"曲路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5772aa239819d308c2c0d814fad933b.jpg",[],{"id":6781,"slug":6782,"title":6783,"dynasty":87,"author":6784,"museum":147,"description":6785,"tags":6786,"thumbUrl":6787,"material":120,"size":120,"collection":120,"collections":6788,"showCount":6706,"zanCount":11,"manualWeight":11,"mainColor":44},234694,"shi-nv-dan-ye-hu-xi-gui-234694","仕女单页","胡锡珪","胡锡珪（1839-1883）初名文，字三桥，号盘溪外史、红茵生、红茵馆主，室名盘溪小筑、红茵馆。江苏苏州人。布衣，长居吴下。幼习丹青，夙根早慧，涉笔便有韵致。及长，便学诸家之法，于 恽寿平 、华新罗、李复堂、改七芗用力更多。最善没骨人物，笔墨生动，时罕其匹。光绪年间，与吴江 陆廉夫 、安吉 吴昌硕 、同里 顾若波 、顾西津切磋吴门，诗画唱酬，堪称一时风雅。",[24,25,27,28,53,31,2151,643,7,288,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F332b332c4460e4b0b5a1cfad5585ece8.jpg",[],{"id":6790,"slug":6791,"title":5989,"dynasty":87,"author":171,"museum":147,"description":5990,"tags":6792,"thumbUrl":6793,"material":543,"size":5993,"collection":120,"collections":6794,"showCount":6706,"zanCount":11,"manualWeight":11,"mainColor":44},233380,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233380",[24,53,54,215,34,30,7,35,303,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bbd7d92c80a69a6c6a4f2a0813882f.jpg",[],{"id":6796,"slug":6797,"title":6798,"dynasty":18,"author":298,"museum":172,"description":6799,"tags":6800,"thumbUrl":6802,"material":543,"size":6803,"collection":120,"collections":6804,"showCount":6706,"zanCount":11,"manualWeight":11,"mainColor":44},231594,"song-xing-tu-shen-zhou-231594","送行图","在明代以前，作为一种表现送别主题的“江岸送别”图式在南宋时期就已经产生。学者石守谦认为，十二世纪晚期佚名画家的《送海东上人归国图》）是现存最早的江岸“送别图”。此幅作品采用南宋时期常用的半边式构图，画中景物都集中在右半边，右侧岸边上有两棵松树，松树下有一个小亭，旁边共有五人，站在亭子外面看着左边正要离去的船。其中有两人抱拳鞠躬在向船上的人临江告别。而在画面中央波涛汹涌的江面上，有一艘大船被巨浪包围着，船上的水手们或鼓帆拉弦，或奋力划船，气氛十分紧张，与岸上的依依送别之情形成鲜明的对比。纵观整幅作品，从浩瀚江面上扬帆起航的行舟，到送者与被送者隔岸拜别，再到岸边的饯别小亭，其所描绘的“送别”景象基本上构成了江岸送别图式的基本要素，标志着江岸送别图式的形成。这种图式中，岸边友人拱手送别、水中舟船待发等场景是必不可少的。",[23,24,25,186,53,27,54,29,6801,188,34,30,36,31,859,258,35,7,302,161,116],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e41518bb5ef131e0f1424e3a5b315e2.jpg","纵30.0厘米，横125.5厘米",[],{"id":6806,"slug":6807,"title":6808,"dynasty":18,"author":1015,"museum":147,"description":6809,"tags":6810,"thumbUrl":6811,"material":522,"size":6812,"collection":120,"collections":6813,"showCount":6706,"zanCount":11,"manualWeight":11,"mainColor":44},231572,"kong-shan-ye-xue-shen-shi-yi-tu-wen-zheng-ming-231572","空山夜雪深诗意图","与“江南四大才子”的其他三位相较，文征明的人生可谓波折又漫长。尽管他是一位诗、文、书、画全才的文人，但在他90年的人生中远不止这些艺术成就。\n文征明出身书香门第，祖父文洪是举人，父亲文林和叔父文森都是进士，但儿时的文征明却并非天资聪颖，反而比同龄人更加迟钝、笨拙。史书记载，他7岁才能站立，11岁才会开口说话、读书、背诵诗文。\n而与自己同年出生的好友唐寅16岁就考中苏州府试第一名；祝允明5岁就能写大字、9岁能作诗；徐祯卿“十岁能诗”、“家中不蓄一书，却无一不通”。和这些“天才”好友相较，文征明真算是开窍最晚，但若从整个人生长河来看，文征明在世时间又最长，艺术成就也最大。\n26岁时，文征明与唐寅一起到南京参加乡试，唐寅高中解元，他却没考上。但文征明并不灰心，从那年到53岁又连续参加了9场考试，9次都名落孙山，考到自己白发苍苍、考到考官早已换了好几拨……\n自小家学深厚的文征明向当时的大家吴宽、沈周等人学习书、画，才学非浅，可为何屡战屡败？或许是他个性的“偏执、耿直”，又或许是喜好翻阅古今文集而非僵化的八股文，每次答卷与明代科考要求都不符，致使他参考多年却一次没中。54岁时才经过他人举荐当上翰林院待诏，最后还是因为不满官场而辞职回乡。",[23,24,53,54,26,30,736,367,7,74,35,161,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9966056549207747dda563a51f8d10d2.jpg","167×60cm",[],{"id":6815,"slug":6816,"title":582,"dynasty":87,"author":5431,"museum":147,"description":6817,"tags":6818,"thumbUrl":6819,"material":120,"size":120,"collection":120,"collections":6820,"showCount":6706,"zanCount":11,"manualWeight":11,"mainColor":44},230186,"shan-shui-li-zhou-zhang-yin-230186","淡墨晕染远山，烟岚轻笼，浑茫清寂。苍松虬劲横斜，松下茅舍内文士围坐，佐着满枝寒花暗香清谈。溪涧穿林而过，板桥通幽，行人缓步野径，漾出悠然野趣。\n\n此作用浅绛设色衬水墨皴擦，山石敷淡赭打底，墨苔点醒草木生机，温润雅致。疏密排布自然妥帖，将冬山清寒与文人心底雅趣相融，笔底晕开静穆闲逸，把幽居赏景、围炉晤谈的清冷快意藏在烟水林泉间，尽显寄情丘壑的悠然意韵。",[23,24,27,54,26,30,7,32,33,175,31,35,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb643fca24d4aa77796b788a14b21b290.jpg",[],{"id":6822,"slug":6823,"title":6824,"dynasty":3958,"author":88,"museum":147,"description":6825,"tags":6826,"thumbUrl":6828,"material":120,"size":120,"collection":120,"collections":6829,"showCount":6706,"zanCount":11,"manualWeight":11,"mainColor":44},225305,"fu-shi-hui-32-yi-ming-225305","浮世绘32","这幅山水绘以平远视角铺展幽寂景致，澄澈湖水切割出错落洲渚，岩崖间白练飞瀑垂落，晕开一汪幽潭清涟。苍劲虬曲的古松或孤植洲头，或茂生崖畔，隐在云霭间的山居添了悠然野趣。\n\n远景淡青山峦托着朱色浅丘，与靛蓝湖水相映，留白如轻烟岚雾层层推开空间，糅合装饰性与写意感。明快柔和的石青、草绿晕染出温润生机，凝练利落的线条勾勒林泉肌理，将幽寂禅意融于湖光山色，尽显日式山水绘的空灵悠远，复刻出侘寂闲静的自然之趣。",[4328,4329,27,30,33,7,55,135,175,6827,56,4018],"湖泊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cc601009e26987e67a465c679f8627.jpg",[],{"id":6831,"slug":6832,"title":6833,"dynasty":87,"author":2847,"museum":147,"description":6834,"tags":6835,"thumbUrl":6836,"material":120,"size":120,"collection":120,"collections":6837,"showCount":6706,"zanCount":11,"manualWeight":11,"mainColor":44},224491,"xi-yang-qiu-ying-tu-wu-li-224491","夕阳秋影图","《清吴历夕阳秋影图》是清代画家吴历创作的一幅中国画。\n此图画山峦起伏，高树成林，草亭傍水，江天夕阳相映成趣。\n上有行书诗题及名款。\n吴历与王翚、恽寿平同学于王时敏门下，专意绘事，日夜临摹宋元真迹，渲染皴擦，风格高峻，得其神髓。\n其山水宗黄公望，得力于王蒙，兼有吴镇之长。\n此图虽仿倪瓒，然笔墨纯熟沉稳，颇见功底，诗画相融，其韵致超绝，具有自己的笔法,江亭遥岭,碎石丛树,萧瑟简淡,不失为吴氏晚年佳作。\n吴历（162—1718年），字渔山，号墨井道人、桃溪居士等，江苏常熟（今属江苏省）人。\n少年时遭遇明亡，信奉佛教，后转为信奉基督教。\n曾赴澳门，并受洗礼，教名西满·沙勿略（Simon ·Xareris），并学习西文。\n原计划去欧洲，因故未果，后回内地，在上海、嘉定、苏州一带传教，卒后葬于上海南门外耶稣会墓地。\n早年学画于王鉴、王时敏，后接触西方文化，这对其山水画风的形成有潜在影响。\n喜用干笔焦墨，笔墨细腻，注重画面的纵深感，并略微注意到透视法的运用。\n吴历以其独到的艺术风貌与“四王”、恽寿平并称“ ”。\n据《竹人续录》等史料载，吴氏兼擅刻竹，风格缜密，深受嘉定派影响。",[23,73,24,53,54,26,30,7,302,367,187,982,35,485],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e569ba87e496e5333ec92596bbaa07.jpg",[],{"id":6839,"slug":6840,"title":6841,"dynasty":87,"author":1687,"museum":147,"description":6842,"tags":6843,"thumbUrl":6844,"material":120,"size":120,"collection":120,"collections":6845,"showCount":6706,"zanCount":11,"manualWeight":11,"mainColor":44},224446,"fang-huang-gong-wang-shan-shui-tu-wang-hui-224446","仿黄公望山水图","《仿黄公望山水图》是清朝文物，故宫博物院馆藏的绘画。\n《仿黄公望山水图》轴，清，王翚绘，纸本，设色，纵227.cm，横82.4cm。\n图绘群山巍峨、叠嶂攀升、峡谷溪涧曲转迂回之景，山腰处的古刹及林谷间隐现的屋舍均表明此山此景是士人希冀向往的隐居之所。\n全幅为高远式构图，重点描绘了中远之景。\n其景致充盈，繁而不乱，令人有望之所见、遐所不见之思。\n图中的物象被施以各种技法加以表现，山石以短线条皴擦，山脊以落茄点横向点染，苔草以焦墨擢点，醒目灵动。\n树叶以墨晕、双圈设色逸笔绘出。\n全图以青、绿、赭石兼墨色皴擦渲染，使山林呈现郁郁明净之气，既得黄公望画格的精髓，又有超逸之趣。\n本图是作者步入中年时仿黄公望浅绛山水笔意精心绘制之作，用以祝王时敏之子王揆5岁寿辰，并祝贺王揆之子王原祁29岁登进士第之禧。\n本幅款署：“岁己酉，芝翁先生春秋五十，翬寄迹金陵，阙跻堂称祝之礼。\n今年春，令嗣茂京先生南宫高捷，余方倦游归，闻报雀跃，亟图此幅为先生寿，并以致茂京得隽之贺云。\n庚戌闰月既望，虞山石谷子王翚。\n”钤“王翚之印”朱文印。\n“庚戌”即清康熙九年（167年），作者时年9岁。\n鉴藏印有“金黼廷瘦仙氏收藏”、“固始张氏收藏金石文字”等诸方。\n，明，一级文物。\n绢本墨色，纵167厘米、横81厘米。",[23,24,25,26,27,54,30,36,56,74,134,135,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8306b5ad774b6b0e1585dad6e50b98b.jpg",[],{"id":6847,"slug":6848,"title":6849,"dynasty":87,"author":3216,"museum":1577,"description":3217,"tags":6850,"thumbUrl":6851,"material":76,"size":3221,"collection":120,"collections":6852,"showCount":6706,"zanCount":11,"manualWeight":11,"mainColor":44},223004,"hong-lou-meng-129-sun-wen-223004","红楼梦129",[23,24,28,27,186,31,94,639,36,35,32,33,4006,7,1169,715],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f8e8af6fbf9804e896431718aac1927.jpg",[],{"id":6854,"slug":6855,"title":6856,"dynasty":87,"author":3216,"museum":1577,"description":3217,"tags":6857,"thumbUrl":6861,"material":76,"size":3221,"collection":120,"collections":6862,"showCount":6706,"zanCount":11,"manualWeight":11,"mainColor":44},222930,"hong-lou-meng-55-sun-wen-222930","红楼梦55",[23,24,28,27,92,31,2151,94,639,367,7,1238,640,887,6858,6859,366,6860,36,229],"窗棂","砖墙","室内陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0b2f0c6b88b9c1be4948612fdf553e6.jpg",[],{"id":6864,"slug":6865,"title":6866,"dynasty":18,"author":413,"museum":20,"description":6867,"tags":6868,"thumbUrl":6869,"material":656,"size":6870,"collection":120,"collections":6871,"showCount":6706,"zanCount":11,"manualWeight":11,"mainColor":44},222341,"wan-yue-tu-cheng-shan-tang-yin-222341","玩月图成扇","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。",[678,24,27,7,509,31,94,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad3356a0f403554d54c19312dd1870f3.jpg","28.2x42.5",[],{"id":6873,"slug":6874,"title":6875,"dynasty":69,"author":88,"museum":20,"description":6876,"tags":6877,"thumbUrl":6878,"material":190,"size":120,"collection":40,"collections":6879,"showCount":6706,"zanCount":11,"manualWeight":11,"mainColor":44},218716,"song-yan-fan-yu-tu-yi-ming-218716","松岩梵宇图","松枝盘曲如老龙，皴石嶙峋见骨力，梵宇藏于岩岫间，云霭轻笼似纱。墨色浓淡相宜，远山含黛隐于雾，近树苍劲立崖边，虚实相生间禅意漫溢。左幅题字笔力沉雄，与山水清旷相映，文墨丘壑共生，尽显宋画雅致深邃。山间静谧似闻松风与梵呗相和，引人入悠远之境，品宋人的山水情怀与禅心。画面以简驭繁，留白处藏无限意蕴，山石勾勒见笔意，云雾晕染显空灵，将自然之幽与禅院之静融于尺幅，是宋画中以景寄情、以境传心的典型之作。",[23,73,24,25,53,54,92,27,30,7,56,94,150,36,3683,2177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbba243fe3e1bbc45815b76974c6d5b3.jpg",[40],{"id":6881,"slug":6882,"title":3781,"dynasty":18,"author":298,"museum":172,"description":6883,"tags":6884,"thumbUrl":6885,"material":120,"size":120,"collection":40,"collections":6886,"showCount":6706,"zanCount":141,"manualWeight":11,"mainColor":6887},203331,"shan-shui-ce-shen-zhou-203331","画面以青绿设色晕染峰峦，陡峭崖壁层叠耸峙，如剑戟刺破天际。山脚苍松虬劲，枝干盘曲，松针细密如簇，墨色浓淡交错显其苍古。几间屋舍隐于松石间，白墙黛瓦与青绿山水相映，添烟火气却不扰清寂。左侧题跋笔墨流畅，行书婉转见骨力，与画作相得益彰；旁钤朱印，朱红与青绿、墨色形成对比，更显雅致。整幅作品青绿明丽，又含文人清幽，山石皴染结合，树木勾勒精细，构图疏密有致，融山水之秀与居停之静于一册，尽显古雅意境。",[115,27,30,215,54,29,34,7,440,35,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a572b3372dba04ac295f815000697bd.jpg",[40],"d2bea3",{"id":6889,"slug":6890,"title":6891,"dynasty":18,"author":6892,"museum":172,"description":6893,"tags":6894,"thumbUrl":6895,"material":120,"size":120,"collection":40,"collections":6896,"showCount":6706,"zanCount":11,"manualWeight":11,"mainColor":6897},203250,"fang-gu-shan-shui-tu-ce-shen-hao-203250","仿古山水图册","沈颢","这幅山水册页笔墨清逸，山石以简淡皴法勾勒晕染，云气缠绕峰峦间，丘壑藏幽韵。左侧山居隐于松枫之下，几案陈设隐约可见，流露文人雅逸；右侧溪流蜿蜒，岸树疏朗，远山层叠如黛，意境空灵悠远。画风承古意而蕴新致，设色淡雅却见生机，将山水之幽与居停之静融为一体，尽显文人山水的空灵与雅致。",[24,30,215,27,54,7,1072,74,134,257,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c42135d4dc2ec9c04b7764bafbc6625.jpg",[40],"d3cec6",{"id":6899,"slug":6900,"title":6901,"dynasty":3880,"author":6902,"museum":172,"description":6903,"tags":6904,"thumbUrl":6905,"material":120,"size":120,"collection":40,"collections":6906,"showCount":6706,"zanCount":11,"manualWeight":11,"mainColor":6907},202969,"chun-yan-die-cui-tu-zhou-xiao-jun-xian-202969","春岩叠翠图轴","萧俊贤","画面中山峦层叠，云雾缭绕间，苍松挺劲，枝叶繁茂，似有清风拂过。山间瀑布潺潺而下，汇入溪流，水声仿佛可闻。崖畔茅屋隐现，添了几分隐逸之趣。笔墨上，山石以皴擦结合晕染，质感厚重；树木用浓淡墨色点染，层次分明。整体意境清幽，尽显春日山林的生机与静谧，传递出文人雅士对自然的向往与哲思。",[30,53,27,54,7,55,187,135,35,74,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8f10fbcbeaa4cd0e3b5181bc5ec59a3.jpg",[40],"bcb2a3",{"id":6909,"slug":6910,"title":1497,"dynasty":49,"author":758,"museum":147,"description":3112,"tags":6911,"thumbUrl":6912,"material":118,"size":119,"collection":120,"collections":6913,"showCount":6914,"zanCount":11,"manualWeight":11,"mainColor":44},290909,"shan-shui-zhou-zhao-meng-fu-290909",[24,26,30,115,27,54,31,7,35,33,161,34,188,1376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f0901263111f2bc34b9744aecedd9cb.jpg",[],16,{"id":6916,"slug":6917,"title":6918,"dynasty":18,"author":4494,"museum":147,"description":6919,"tags":6920,"thumbUrl":6921,"material":118,"size":119,"collection":120,"collections":6922,"showCount":6914,"zanCount":11,"manualWeight":11,"mainColor":82},290619,"sui-shan-tao-shi-zhou-zhang-hong-290619","绥山桃实轴","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。",[24,25,73,26,115,27,30,94,7,1238,32,55,31,715,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcff69830017c4619fdc8ecbb0cf78341.jpg",[],{"id":6924,"slug":6925,"title":6926,"dynasty":49,"author":6927,"museum":147,"description":6928,"tags":6929,"thumbUrl":6932,"material":118,"size":119,"collection":120,"collections":6933,"showCount":6914,"zanCount":11,"manualWeight":11,"mainColor":82},289551,"lu-tai-guan-yue-tu-zhang-ke-guan-289551","露台观月图","张可观","张可观的作品流传下来的极少，此幅作品几乎是现在唯一能够找到的张可观的传世画作\n从这幅画里，可以很明显地感受到源自马远的边角风格，楼台的界画画法，奇崛的松树以及苍润的远山，都显示出宋代院体画的高古气韵。",[24,73,27,31,30,6930,7,32,94,509,1499,6931],"露台","观月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a3efc946a9f551f581db180b0222eef.jpg",[],{"id":6935,"slug":6936,"title":6937,"dynasty":69,"author":6938,"museum":147,"description":6939,"tags":6940,"thumbUrl":6941,"material":118,"size":119,"collection":120,"collections":6942,"showCount":6914,"zanCount":11,"manualWeight":11,"mainColor":44},289372,"song-he-yin-qi-tu-yan-ci-yu-289372","松壑隐栖图","阎次于","阎次平，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，法荆浩、关仝，风格接近王诜、李唐；亦善人物，尤工画牛。存世作品有《牧牛图》等。\n弟次于，南宋孝宗隆兴初被补为承务郎，后亦为画院祗候。次于亦传家学，画山水人物，工于画牛。然水平尚逊于次平。",[73,24,678,30,7,35,1169,27,54,3904],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c0414c3620247737896d380a1d7d29d.jpg",[],{"id":6944,"slug":6945,"title":6946,"dynasty":87,"author":2475,"museum":147,"description":6947,"tags":6948,"thumbUrl":6949,"material":118,"size":119,"collection":120,"collections":6950,"showCount":6914,"zanCount":11,"manualWeight":11,"mainColor":82},288214,"ming-xian-quan-tu-mei-qing-288214","鸣弦泉图","梅清（1623---1697），字渊公，号瞿山，安徽宣城人。生于明熹宗天启三年（1623年），卒于清圣祖康熙三十六年（1697年）。",[23,73,24,25,26,53,30,7,35,6692,188,34,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78782d685d7c355c35aa459672f57e31.jpg",[],{"id":6952,"slug":6953,"title":6954,"dynasty":18,"author":4081,"museum":147,"description":6955,"tags":6956,"thumbUrl":6957,"material":118,"size":119,"collection":120,"collections":6958,"showCount":6914,"zanCount":11,"manualWeight":11,"mainColor":82},288087,"song-yin-zui-weng-tu-du-qiong-288087","松荫醉翁图","杜琼（1396~1474年），字用嘉，号东原，五坞山人,延绿亭主人,私谥渊孝先生.人称东原先生，南直隶苏州府吴县（今江苏苏州市）人。明朝文学家，书画家、藏书家，史学家。\n杜琼出身于富贵之家，自幼勤学聪颖，以孝闻名乡里，后师从陈继，并承其业，教书授徒。之后被举荐参与过《太宗（朱棣）实录》《宣宗实录》《舆地志》的修撰，并参与《苏郡志》的校定，备受朝廷礼遇和乡里尊宠，享誉遐迩。1474年，杜琼逝世，享年79岁。\n杜琼虽受朝廷礼遇和乡宠，但是他淡泊功名而醉于谈诗论画的隐居生活。其精于翰墨书画，尤以画山水为著，集众家之长而直追董巨，画风秀逸，是吴门派早期代表画家。\n其传世画作有《南村别墅图》《为吴宽作山水图》《友松图卷》等，此外还著有《东原集》《耕馀杂录》《纪善录》等诗文作品。",[23,24,678,27,30,7,31,1426],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897d7a9ebb6d1c8a33b9792855772490.jpg",[],{"id":6960,"slug":6961,"title":6962,"dynasty":87,"author":88,"museum":147,"description":6963,"tags":6964,"thumbUrl":6968,"material":118,"size":119,"collection":120,"collections":6969,"showCount":6914,"zanCount":141,"manualWeight":11,"mainColor":44},263650,"ke-si-jia-xiu-qian-long-yu-ti-san-xing-tu-zhou-yi-ming-263650","缂丝加绣乾隆御题三星图轴","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[26,25,24,6965,27,28,31,6966,202,563,1458,30,7,1238,2548,35,33,640,6967,188,34],"缂丝加绣","福禄寿","吉祥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41adb2dde5dde60b84a10ab4ad9f8997.jpg",[],{"id":6971,"slug":6972,"title":6973,"dynasty":87,"author":2587,"museum":147,"description":6974,"tags":6975,"thumbUrl":6976,"material":120,"size":120,"collection":40,"collections":6977,"showCount":6914,"zanCount":11,"manualWeight":11,"mainColor":44},239049,"fang-lu-tai-shan-shui-zhou-qin-bing-wen-239049","仿麓台山水轴","秦炳文（一八O三至一八七三），字砚云，号谊亭，江苏无锡人。道光二十年（1840）举人，官户部主事。三上春闱，留京八载，尝一返里，挈子俱北。寄情诗酒，广交游，精鉴赏，所藏皆精品。画擅山水，初师王鉴，后宗黄公望、吴镇，臻其胜境。",[24,25,26,53,27,30,54,162,344,33,229,7,288],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa567e23e75cf5399eb1383b55b03c067.jpg",[40],{"id":6979,"slug":6980,"title":6981,"dynasty":18,"author":3528,"museum":147,"description":6982,"tags":6983,"thumbUrl":6984,"material":120,"size":120,"collection":40,"collections":6985,"showCount":6914,"zanCount":11,"manualWeight":11,"mainColor":44},237548,"han-yan-fei-pu-zhou-ding-yun-peng-237548","寒岩飞瀑轴","其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”",[24,26,53,30,1386,2414,367,7,56,33,1387,54,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bfb54d7727b890b82438801fe3408aa.jpg",[40],{"id":6987,"slug":6988,"title":6989,"dynasty":87,"author":1687,"museum":89,"description":3425,"tags":6990,"thumbUrl":6991,"material":522,"size":6992,"collection":40,"collections":6993,"showCount":6914,"zanCount":11,"manualWeight":11,"mainColor":44},236392,"shuang-ke-yuan-xiu-zhou-wang-hui-236392","霜柯远岫轴",[24,26,53,54,30,7,302,56,134,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dfe4fa93bccb217c8fe4cc2f1d15155.jpg","纵74.3cm，横30.6cm",[40,62],{"id":6995,"slug":6996,"title":6997,"dynasty":18,"author":6998,"museum":89,"description":6999,"tags":7000,"thumbUrl":7001,"material":246,"size":120,"collection":120,"collections":7002,"showCount":6914,"zanCount":11,"manualWeight":11,"mainColor":82},234182,"song-mao-jin-xi-shan-chun-xin-tu-juan-song-mao-234182","宋懋晋溪山春信图卷","宋懋","宋懋晋（？—1620年后）明代画家。字明之，松江（今属上海市）人。\n幼见牧童躯牛，从壁上图之辄神似。既长，不乐为经生言，去而学画。穷日夜临摹古迹，从宋旭受业，参以宋、元遗法，富有丘壑，与赵左抗衡。其气韵间与刘珏相埒。仙山楼阁，位置得当，为时所称，深受董其昌、邹迪光等推重，为“松江派”名家之一。兼善写松，题跋尤奕奕有风韵。万历十三年（1585）作山水扇，泰昌元年（1620）作山水图。其《金陵廿四景》图册，现藏南京博物院。作于万历四十四年（1616）的《汉宫春晓图》扇面（藏上海博物馆）等。",[23,73,24,25,186,27,30,54,35,7,94,32,33,175,3682,860,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba1a74833b25ec1416d17e54393026e.jpg",[],{"id":7004,"slug":7005,"title":7006,"dynasty":87,"author":2988,"museum":89,"description":7007,"tags":7008,"thumbUrl":7009,"material":76,"size":120,"collection":120,"collections":7010,"showCount":6914,"zanCount":11,"manualWeight":11,"mainColor":82},234109,"hua-hong-li-wan-song-ling-shi-yi-juan-zhang-zong-cang-234109","画弘历万松岭诗意卷","张宗苍（1686-1756），字默存，江苏苏州人，画家。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》。\n公元1751年，乾隆皇帝南巡，张宗苍进献了画册《吴中十六景》，深得乾隆皇帝的欣赏，后来进入清宫廷画院供奉，为宫廷作画，是乾隆时期一位重要的宫廷画家。清代宫廷绘画在清代绘画史上有着重要的地位，特别是乾隆时期，设立了如意馆广收人才，创作了很多纪实、历史故事、宗教及装饰题材的作品，具有特殊的历史与艺术价值，在乾隆一朝的宫廷画家中，张宗苍是很重要的一位。张宗苍的山水画，画风苍劲，用笔沉着。山石皴法多以干笔积累，林木之间使用淡墨，干笔和皴擦的手法相结合，表现出了深远的意境和深厚的气韵，一洗宫廷画院惯有的甜熟柔媚的习气，特别被乾隆皇帝所喜爱\u2028 《石渠宝笈》收录了他的116幅作品，很多作品上都有乾隆皇帝的题诗。 初以主簿理河工事。善画，山水出黄鼎之门，用笔沈著，山石皴法多以乾笔积累，林木间亦用淡墨，乾擦凑合，神气颇觉葱蔚可观。乾隆十六年（一七五一）高宗南巡，以吴中十六景画册进呈，称旨。命入都祗候内廷。十九年（一七五四）授户部主事。年七十一卒於家。",[73,24,25,186,53,27,30,7,94,32,33,116,161,34,36,175,1279,134,714,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4e6f470f53c443f97923402c2688b6d.jpg",[],{"id":7012,"slug":7013,"title":7014,"dynasty":87,"author":1860,"museum":89,"description":7015,"tags":7016,"thumbUrl":7017,"material":137,"size":7018,"collection":120,"collections":7019,"showCount":6914,"zanCount":11,"manualWeight":11,"mainColor":44},233871,"xi-bei-shi-yi-tu-ce-cha-shi-biao-233871","西陂诗意图册","查士标（1615—1698年），字二瞻，号梅壑、懒老，安徽休宁人。擅山水，宗法元人倪瓒、吴镇。用笔疏简超逸，意境荒寒清旷。他与渐江、孙逸、汪之瑞并称“新安四大家”（又名“海阳四家”）。著有《种书堂遗稿》。",[24,53,256,215,54,132,133,161,7,367,56,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F445edf7b1c27c418f24ac44e35eb046f.jpg","纵32.8cm，横52.8cm",[],{"id":7021,"slug":7022,"title":2085,"dynasty":69,"author":88,"museum":147,"description":7023,"tags":7024,"thumbUrl":7025,"material":120,"size":120,"collection":120,"collections":7026,"showCount":6914,"zanCount":11,"manualWeight":11,"mainColor":82},231055,"song-quan-pan-shi-tu-yi-ming-231055","画面以古松为骨，老干蟠曲遒劲，松针攒簇如凝墨团块，旁侧枯木枝桠如铁戟横斜，与长松相生，野意盎然。飞瀑自层岩间破壁而出，垂落撞碎成银浪，卷入涧中，湍流拍击磐石，似能耳闻泉声淙淙。层岩以浓淡墨色勾勒皴擦，块垒沉凝尽显山野荒寒。\n\n全作用水墨晕染皴擦，干湿浓淡交替，将幽寂清冷的林泉之境铺陈于绢素，静穆萧散的林下雅趣跃然眼前，尽显寄情林泉的隐逸襟怀。",[23,24,25,73,26,53,27,54,7,33,55,1097,35,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76784386c4b2ee1e768841b7f9de1bc8.jpg",[],{"id":7028,"slug":7029,"title":7030,"dynasty":3958,"author":88,"museum":147,"description":7031,"tags":7032,"thumbUrl":7034,"material":118,"size":119,"collection":120,"collections":7035,"showCount":6914,"zanCount":11,"manualWeight":11,"mainColor":82},230543,"shi-ting-shi-dai-ri-yue-shan-shui-tu-ping-feng-yue-ping-yi-ming-230543","室町时代 日月山水图屏风-月屏","浅金晕染出朦胧夜气，以青绿为主调铺展山野幽境。挺秀松林错落坡巅，笔墨清简勾勒出苍古意态。浅滩茅庐半隐于草色间，坡岸随色块开合错落，墨笔轻绘竹叶、草叶，疏朗雅致。\n\n整体以平远构图铺陈，删繁就简，用色块晕染出月夜山野的清寂淡远，将东方禅意融于侘寂风物中，于简淡空灵里，尽显静穆古雅的山水幽趣，藏着独属于山野夜色的宁谧安然。",[23,27,115,30,5349,7,132,779,7033,187,302],"月亮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4805b1904a7c472e2a9775631e4451df.jpg",[],{"id":7037,"slug":7038,"title":7039,"dynasty":18,"author":1015,"museum":147,"description":7040,"tags":7041,"thumbUrl":7043,"material":120,"size":120,"collection":120,"collections":7044,"showCount":6914,"zanCount":11,"manualWeight":11,"mainColor":44},228886,"cun-ju-tu-wen-zheng-ming-228886","存菊图","淡墨轻皴汀洲远山，清润秀雅，茅庐隐于林间，窗内人影凭眺，秋水横波，江天旷远，晕染出江南秋日萧疏淡远的意趣。\n书画合璧，行书题诗笔致温秀，以存菊寄寓林下高逸襟怀，将文人澹泊心境融于水墨湖山。笔底无浓艳重彩，却自见悠悠古意，淡而不薄，秀而不媚，尽显诗书画一体的雅致风神，把秋日怀想与文人雅趣藏进卷中，清和隽永。",[23,24,25,186,27,30,28,54,188,29,34,132,133,162,7,367,187,7042],"菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9a4a897929f713d7c2804fe86703e6.jpg",[],{"id":7046,"slug":7047,"title":7048,"dynasty":87,"author":1687,"museum":147,"description":7049,"tags":7050,"thumbUrl":7051,"material":120,"size":120,"collection":120,"collections":7052,"showCount":6914,"zanCount":11,"manualWeight":11,"mainColor":44},224465,"fang-li-ying-qiu-jiang-gan-qi-shu-tu-zhou-wang-hui-224465","倣李营丘江干七树图轴","此作用笔苍秀兼具，以枯淡之墨绘就寒林古木，虬枝如蟹爪舒张，苍松挺拔卓立，近景瀑流涓涓，旅人策蹇徐行，野意悠然。远景江水浩渺，远山以淡墨晕染，轻岚笼山，平远之境清旷空灵。\n画作师法前贤，糅合北派山水的雄浑与南宗温润雅致，将冬日江干的荒寒萧疏铺陈开来，萧寒之气与空阔江天相融，摹古却自出机杼，尽显平远山水的幽渺意境。",[23,24,25,30,26,274,54,53,35,288,7,33,116,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb2b6e269a01d7966da987a19da3ed77.jpg",[],{"id":7054,"slug":7055,"title":7056,"dynasty":87,"author":6257,"museum":89,"description":7057,"tags":7058,"thumbUrl":7059,"material":99,"size":7060,"collection":120,"collections":7061,"showCount":6914,"zanCount":11,"manualWeight":11,"mainColor":82},222866,"shi-gong-ci-tu-ce-05-leng-mei-222866","十宫词图册05","此套图册共10开，描绘历代贤德后妃或贵族女子的故事，和《养正图》册具有同样鲜明的教育意义。对题有梁诗正书写的弘历承继帝位前于雍正十三年（1735年）所作的诗句，与图画互为辉映。\n由于图册以历代宫廷生活为题，故每幅画面均有对宫廷建筑的描绘，但因为作者只是宫廷画工，并不具备对前代建筑的了解与认知，同时历史人物画“成教化，助人伦”的政治功用也淡化了这些作为人物故事背景的历代宫廷建筑，使其更多地带有装饰性与程式化色彩，并没有呈现出不同时代的建筑风貌。值得注意的是，册中建筑的描绘均采用“海西画法”，冷枚作品中体现的这种画风特性，是在中国传统界画的基础上运用透视法增强画面的空间深度感并以明暗关系区分阴阳向背，说明曾为康熙皇帝所赏识的“海西法”在雍正、乾隆朝的宫廷建筑绘画中已被日渐欣赏和接受。",[23,28,27,31,94,30,7,642,641,639,188,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd02b3914629137d173dd81a062ecfd.jpg","纵33.1厘米，横29.3厘米",[],{"id":7063,"slug":7064,"title":7065,"dynasty":18,"author":7066,"museum":226,"description":7067,"tags":7068,"thumbUrl":7069,"material":76,"size":7070,"collection":40,"collections":7071,"showCount":6914,"zanCount":11,"manualWeight":11,"mainColor":82},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。",[23,24,25,678,27,30,737,116,7,187,134,162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b03376e9df78efc27198473fd5577ce.jpg","40x50",[40],{"id":7073,"slug":7074,"title":7075,"dynasty":337,"author":5722,"museum":2936,"description":7076,"tags":7077,"thumbUrl":7078,"material":120,"size":120,"collection":120,"collections":7079,"showCount":6914,"zanCount":11,"manualWeight":11,"mainColor":44},220509,"bo-gu-tu-huang-jun-bi-220509","博古图","松林烟霭漫卷，清寂林泉间漾出幽远雅致。两位文士围坐展卷品赏，案头砚池、杯盏错落，文士姿态悠然松弛，静享观画雅趣。松下童子提壶候立，动静之间衬出林下闲寂氛围。\n\n画师笔触清润秀逸，松干皴苍劲朴拙，松针细密劲挺晕染出郁郁古意，远景林麓以淡墨晕开，揉出水墨空濛的山水诗意，敷色浅柔明净，将文人雅集的疏放意兴与林泉栖居的静穆旨趣相融，尽绘传统文人藏于日常雅事中的清远襟怀。",[24,27,28,31,418,202,7,30,779,258,1782,416,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c3e093fa547734000991435aa3f94c3.jpg",[],{"id":7081,"slug":7082,"title":7083,"dynasty":87,"author":1038,"museum":89,"description":3397,"tags":7084,"thumbUrl":7085,"material":543,"size":3400,"collection":120,"collections":7086,"showCount":6914,"zanCount":11,"manualWeight":11,"mainColor":44},220305,"huang-shan-tu-ce-22-hong-ren-220305","黄山图册-22",[23,24,25,53,54,215,30,35,7,31,150,574],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d4f2c0db79efbfbcf1ca03a0c9769e3.jpg",[],{"id":7088,"slug":7089,"title":7090,"dynasty":87,"author":1038,"museum":89,"description":3397,"tags":7091,"thumbUrl":7092,"material":543,"size":3400,"collection":120,"collections":7093,"showCount":6914,"zanCount":11,"manualWeight":11,"mainColor":44},220303,"huang-shan-tu-ce-23-hong-ren-220303","黄山图册-23",[23,24,25,215,53,54,30,35,7,1376,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c8376654d6bab4cdd78b4855e83c3dc.jpg",[],{"id":7095,"slug":7096,"title":7097,"dynasty":69,"author":88,"museum":20,"description":7098,"tags":7099,"thumbUrl":7101,"material":190,"size":7102,"collection":101,"collections":7103,"showCount":6914,"zanCount":11,"manualWeight":11,"mainColor":44},218803,"li-tie-guai-mo-jian-tu-yi-ming-218803","李铁拐磨剑图","画中的人物头发凌乱，满脸胡须，衣服破烂，赤脚，肌肉发达，在海滩上的一块凸起的石头上磨剑。滚动的海浪，加上松树和滚动的云朵，是画面的焦点。这幅画的原题是 周帝打醮，但从人物旁边的手杖来看，这幅画描绘的是道教传说中的八仙之一的李铁拐。传说他是一个魁梧的人，在成为不朽的人之后，被赋予了一个饥饿的人的身体，因此他的外表很丑陋。明朝的一位宫廷画师也制作了类似的图像，用来驱除邪灵。",[23,73,24,25,215,28,940,27,31,7,35,2189,7100],"剑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e1584d50aced77bd7bb3f19029177fc.jpg","23.9x21",[101],{"id":7105,"slug":7106,"title":7107,"dynasty":18,"author":128,"museum":172,"description":7108,"tags":7109,"thumbUrl":7110,"material":120,"size":120,"collection":40,"collections":7111,"showCount":6914,"zanCount":11,"manualWeight":11,"mainColor":7112},203466,"xiao-jing-ba-fu-ce-dong-qi-chang-203466","小景八幅册","董其昌此册页小景，笔墨兼具南北宗之妙。左幅水墨疏朗，山石以披麻皴写就，线条清劲秀逸，平远构图中村落隐现，意境空灵悠远；右幅设色淡雅，红绿点染秋叶，树木姿态古拙，山石结构简括，自然生机与文人简淡相融。画面以书入画，笔墨韵律天成，小景中见大格局，尽显晚明文人画的空灵雅韵，是其“以画为乐”理念的生动体现。",[23,24,25,215,53,27,54,257,30,35,36,175,134,259,33,1470,7,485],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14fe7ab7651450e8bb454fd86615685e.jpg",[40],"c1bcb3",{"id":7114,"slug":7115,"title":7116,"dynasty":87,"author":7117,"museum":172,"description":7118,"tags":7119,"thumbUrl":7120,"material":120,"size":120,"collection":40,"collections":7121,"showCount":6914,"zanCount":11,"manualWeight":11,"mainColor":7122},203431,"shan-jing-ri-zhang-tu-zhou-huang-ying-zhan-203431","山静日长图轴","黄应湛","层岩叠壑间，松荫覆屋，文人围坐清谈，一派悠然。远处峰峦隐现，楼阁错落林麓，山泉潺潺，飞鸟掠空，尽显山林静穆。笔墨苍润，皴法细腻，山石轮廓以墨线勾勒，复加皴擦点染，树木枝叶繁密，层次分明。设色古朴淡雅，褐赭基调衬出山林幽寂，意境清旷，恰合“山静日长”之闲适，映现文人向往的林泉之趣。",[23,24,25,26,27,54,30,132,133,36,7,161,94,56,74,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49cf864f477c34f0805802e5ff38bd2e.jpg",[40],"84765e",{"id":7124,"slug":7125,"title":7126,"dynasty":3880,"author":3881,"museum":172,"description":7127,"tags":7128,"thumbUrl":7130,"material":120,"size":120,"collection":40,"collections":7131,"showCount":6914,"zanCount":11,"manualWeight":11,"mainColor":7132},202869,"kan-shu-tu-zhou-huang-bin-hong-202869","勘书图轴","这幅画以浑厚华滋的笔墨勾勒山水之韵，山峦层叠，皴擦与积墨交织，山石纹理苍劲古拙。山间云雾氤氲，似将峰峦轻笼，显深远之境。近景处松枝挺拔，亭台隐于林麓间，溪水绕石而过，静谧中藏生机。笔墨浓淡相宜，干湿互济，尽显自然灵秀与文人意趣，是画家晚年山水的典型风貌，于质朴中见深邃，于厚重中显清逸。",[24,30,53,54,7129,161,7,35,135,23],"积墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd938673ed4b5cb9ebb8ccb397d562c68.jpg",[40],"b5af99",{"id":7134,"slug":7135,"title":7136,"dynasty":87,"author":7137,"museum":172,"description":7138,"tags":7139,"thumbUrl":7141,"material":120,"size":120,"collection":40,"collections":7142,"showCount":6914,"zanCount":11,"manualWeight":11,"mainColor":7143},201967,"shan-cun-tu-zhou-yan-zai-201967","山村图轴","严载","画面中山峦层叠，以细腻皴法勾勒石质纹理，青绿设色晕染出淡雅气韵。近处坡岸之上，几株苍松姿态虬劲，旁侧村落屋舍错落，围栏半掩，似有隐逸之趣。水域开阔，与远山相映，虚实之间尽显江南山村的宁静悠远。整幅画作笔墨温婉，意境清幽，将自然山水与人文居所相融，传递出文人画特有的恬淡诗意与对田园生活的向往。",[30,27,54,7,7140,28,23],"山村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1ea477bb6b05806d80e069fe85c8180.jpg",[40],"968368",{"id":7145,"slug":7146,"title":3226,"dynasty":49,"author":6094,"museum":20,"description":6095,"tags":7147,"thumbUrl":7148,"material":841,"size":6098,"collection":120,"collections":7149,"showCount":7150,"zanCount":11,"manualWeight":11,"mainColor":82},290951,"shuang-song-tu-li-kan-290951",[24,53,26,7,2088,35,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d2474b9db35f3929ba5a6223e626037.jpg",[],15,{"id":7152,"slug":7153,"title":7154,"dynasty":69,"author":88,"museum":147,"description":7155,"tags":7156,"thumbUrl":7157,"material":118,"size":119,"collection":120,"collections":7158,"showCount":7150,"zanCount":11,"manualWeight":11,"mainColor":82},290508,"fang-zhou-fang-yan-le-tu-yi-ming-290508","仿周昉演乐图","松荫庭院间，雅集宴饮正酣。宾主围桌对坐，乐师拨弦和鸣，仕女环侍左右，有人奉茶添香，有人侍立听乐。\n\n此作用色古雅沉郁，线条温婉柔丽，承唐风仕女的丰腴秀致，又蕴宋人的娴静雅致。苍松古拙虬劲，衬出庭院的悠然静谧，案上陈设、发间花钿等细节处处见巧思，将文人宴饮听乐的闲逸雅致，融在晕染的古绢底色里，尽显升平雅致的宴乐图景，含蓄传递出中古雅集的从容意韵。",[24,73,25,26,27,28,31,643,418,203,5007,7,639,274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6e12c04897d94532b31ecc2db6af350.jpg",[],{"id":7160,"slug":7161,"title":7162,"dynasty":87,"author":3216,"museum":147,"description":4530,"tags":7163,"thumbUrl":7166,"material":118,"size":119,"collection":120,"collections":7167,"showCount":7150,"zanCount":11,"manualWeight":11,"mainColor":82},288374,"qing-geng-feng-seng-dao-tan-wan-shi-sun-wen-288374","青埂峰僧道谈顽石",[23,24,27,115,31,30,33,7,35,7164,7165,28],"僧道","顽石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F444c567ccb78cbe1acb63286caa254ff.jpg",[],{"id":7169,"slug":7170,"title":7171,"dynasty":18,"author":88,"museum":147,"description":7172,"tags":7173,"thumbUrl":7174,"material":118,"size":119,"collection":120,"collections":7175,"showCount":7150,"zanCount":11,"manualWeight":11,"mainColor":82},288157,"fang-song-ren-xue-shan-xing-lv-tu-li-zhou-yi-ming-288157","仿宋人雪山行旅图立轴","此作用笔苍劲老辣，以层层积墨晕染出冰封雪裹的寒山，嶙峋怪石棱角分明，积雪似凝脂覆于崖巅，留白与墨色相生，晕出山坳间的濛濛寒雾。古松虬曲苍劲，枝干擎着薄雪，于冷寂中透出倔强生机。\n\n山径间踽踽独行的旅人，为这片阒寂雪境添上一缕烟火气，反衬出天地空阔荒寒。整幅画将冬山的凛冽清旷铺陈开来，静穆中藏着深幽的山水意趣，尽显萧寒孤远的冬日山野之美。",[23,24,73,26,30,274,53,365,7,35,690,316,31,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2231d82e879c9de295b72e33f2816647.jpg",[],{"id":7177,"slug":7178,"title":7179,"dynasty":87,"author":7180,"museum":147,"description":7181,"tags":7182,"thumbUrl":7183,"material":118,"size":119,"collection":120,"collections":7184,"showCount":7150,"zanCount":11,"manualWeight":11,"mainColor":82},287744,"hu-zong-xin-wu-yun-zhao-xiang-zhou-ceng-jing-287744","胡宗信吴允兆像轴","曾鲸","字波臣，福建莆田人，中国明代画家。一生往来江浙一带，为人写真。擅画肖像，在继承粉彩渲染传统技法的同时，汲取西洋画的某些手法，形成注重墨骨，层层烘染，立体感强的独特画法。所画人物肖像强调观察体会，抓住最动人处，精心描绘，尤注重点睛，形象逼真，栩栩如生，有“如镜取影，俨然如生”之誉，从学者甚众，遂形成“波臣派”。",[73,24,26,31,27,30,7,35,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0779e0b3b649faf73945c53612e4312.jpg",[],{"id":7186,"slug":7187,"title":7188,"dynasty":87,"author":7189,"museum":147,"description":7190,"tags":7191,"thumbUrl":7192,"material":120,"size":120,"collection":40,"collections":7193,"showCount":7150,"zanCount":11,"manualWeight":11,"mainColor":44},239194,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239194","三大名山十二图册","徐枋","此帧以渴笔焦墨写就山林丘壑，奇崛峰峦以短皴勾勒，尽显山石嶙峋质感，溪岸林木错落生姿，幽谷间屋舍隐现，铺陈出荒寒清寂的山居雅境。左侧行书题跋笔意萧散灵动，书画合璧，以文释意。笔墨间寄寓着画家疏离尘俗、安贫守节的隐逸襟怀，将遗民文人静守林泉的淡泊心境融于尺幅之间，是文人山水画中以意驭笔、以画明志的佳作，尽显乱世之中文人的精神归处。",[24,25,215,53,30,36,35,7,229,54,188,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4d3c923c0a1173967369105dfabce1a.jpg",[40,103],{"id":7195,"slug":7196,"title":7197,"dynasty":18,"author":88,"museum":147,"description":7198,"tags":7199,"thumbUrl":7200,"material":118,"size":119,"collection":120,"collections":7201,"showCount":7150,"zanCount":11,"manualWeight":11,"mainColor":44},237926,"yuan-shang-tong-sui-chao-tu-zhou-yi-ming-237926","袁尚统岁朝图轴","烟霭笼着远山如浅黛晕开，古松虬劲拔起，撑开一片冬日清寂。枯木错落在庭院之间，屋舍内宾主围坐叙谈暖意融融，院外孩童嬉闹穿梭，将年节的鲜活烟火揉进冬景里。石桥横卧水畔，把远岫寒水和热闹院舍牵作一处。\n\n笔墨轻淡晕染山水空濛，枯枝干皴细致苍劲，人物衣色清雅鲜亮，将冬日萧寒与岁朝团圆的温情相融。静穆淡远的山水意趣，揉进俗世年关的鲜活意态，冷色调的冬景晕开融融年味，雅致文气与人间烟火相映成趣。",[24,25,26,27,28,54,30,31,94,36,639,134,135,175,4267,5146,367,7,715],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7a32233198d70983e2cb245da3bb5ba.jpg",[],{"id":7203,"slug":7204,"title":7205,"dynasty":18,"author":5892,"museum":89,"description":7206,"tags":7207,"thumbUrl":7208,"material":99,"size":7209,"collection":40,"collections":7210,"showCount":7150,"zanCount":11,"manualWeight":11,"mainColor":82},237463,"luo-han-tu-zhou-wu-bin-237463","罗汉图轴","图中画三位佛教人物，其中身披红色袈裟者手持一钵正在降伏半空中的飞龙。佛教修行中的最高果位是佛，其次为菩萨，然后是罗汉。宋代以前流传十六罗汉，之后又衍生出两尊，即降龙和伏虎，于是成为十八罗汉。降龙罗汉位列十八罗汉的第十七位，根据古印度的传说，降龙罗汉最初的原形是庆友尊者。相传古印度那竭国有恶魔煽动国人杀害出家的佛弟子，尽毁佛殿佛塔，劫掠经书。当时海龙王发动洪水，淹没了那竭国，并将佛经收藏于龙宫之内，等待有法力的僧人取回，最终庆友尊者完成大任，因此他被称为降龙罗汉。本图中的人物形象古朴，线条细劲绵长，设色浓丽。《图绘宝鉴续纂》记载吴彬：“善人物，奇行怪状，迥异旧人，自立门户。”",[24,25,26,2177,27,31,6503,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ae99e6225085f994b39be7e25626092.jpg","纵145.9厘米，横76.1厘米",[40],{"id":7212,"slug":7213,"title":7214,"dynasty":18,"author":1909,"museum":147,"description":6130,"tags":7215,"thumbUrl":7216,"material":118,"size":119,"collection":120,"collections":7217,"showCount":7150,"zanCount":11,"manualWeight":11,"mainColor":82},236696,"shan-shui-shan-zhou-chen-236696","山水扇",[24,73,25,678,53,54,30,7,35,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bc88505f15354988ebf6373d58a9cb9.jpg",[],{"id":7219,"slug":7220,"title":7221,"dynasty":18,"author":7222,"museum":147,"description":7223,"tags":7224,"thumbUrl":7225,"material":118,"size":119,"collection":120,"collections":7226,"showCount":7150,"zanCount":141,"manualWeight":11,"mainColor":82},236559,"hu-xi-san-xiao-shan-li-shi-da-236559","虎溪三笑扇","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。",[24,678,53,54,31,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaff1c08f70ee9ae6d96b05eee03b10a.jpg",[],{"id":7228,"slug":7229,"title":6758,"dynasty":87,"author":6759,"museum":89,"description":6760,"tags":7230,"thumbUrl":7236,"material":99,"size":6763,"collection":120,"collections":7237,"showCount":7150,"zanCount":11,"manualWeight":11,"mainColor":194},236134,"li-chao-xian-hou-gu-shi-tu-jiao-bing-zhen-236134",[24,27,28,215,31,2151,961,7,7231,5146,302,639,642,7232,1963,36,7233,1783,7234,35,7235],"假山","衣饰","旗帜","庭院景观","绿植","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20536eaae71a5f285010637b4ffe3142.jpg",[],{"id":7239,"slug":7240,"title":1497,"dynasty":18,"author":7241,"museum":147,"description":7242,"tags":7243,"thumbUrl":7244,"material":118,"size":119,"collection":120,"collections":7245,"showCount":7150,"zanCount":11,"manualWeight":11,"mainColor":44},236017,"shan-shui-zhou-fang-yi-zhi-236017","方以智","方以智（1611年－1671年11月9日），字密之，号曼公，又号鹿起，别号龙眠愚者，出家后改名大智，字无可，别号弘智，人称药地和尚。南直隶安庆府桐城（今安徽桐城）人。",[24,25,26,53,54,30,35,7,32,33,161,134,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef511a540cd7c362a9bfeac870dc8c0a.jpg",[],{"id":7247,"slug":7248,"title":7249,"dynasty":87,"author":7250,"museum":147,"description":7251,"tags":7252,"thumbUrl":7253,"material":118,"size":119,"collection":120,"collections":7254,"showCount":7150,"zanCount":11,"manualWeight":11,"mainColor":82},235663,"shan-shui-ping-yuan-jiang-235663","山水屏","袁江","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。",[24,25,92,28,27,115,30,94,7,1238,55,135,35,1963],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa367e713deec5c0cba384b8928f36c57.jpg",[],{"id":7256,"slug":7257,"title":7258,"dynasty":87,"author":88,"museum":147,"description":7259,"tags":7260,"thumbUrl":7269,"material":120,"size":120,"collection":120,"collections":7270,"showCount":7150,"zanCount":11,"manualWeight":11,"mainColor":44},234390,"hong-li-shi-yi-shi-er-tu-zhou-yi-ming-234390","弘历是一是二图轴","工笔淡彩晕染出雅致书斋，主人凭榻安坐，仆从侍侧奉茶。博古架上瓷瓶书卷错落，案头盆景清供雅致静立，将文人闲居意趣铺陈开来。\n线条秀逸细腻，设色柔和平静，画面写实入微，又暗藏是一是二的禅意哲思。主人凝睇画像，物我交融的意境悄然流露，将古时文人士大夫观照自我的精神世界定格绢素，让人身临其境触摸旧日清贵的闲雅日常。",[24,27,28,31,30,7261,7262,887,2057,7263,7264,7,3656,7265,2704,2394,2705,2393,7266,7267,7268,5349],"文房四宝","家具","榻","盆景","室内场景","香炉","几案","盆栽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5a85e7afac4f195c0df770e25d47790.jpg",[],{"id":7272,"slug":7273,"title":3781,"dynasty":18,"author":128,"museum":89,"description":7274,"tags":7275,"thumbUrl":7276,"material":263,"size":7277,"collection":120,"collections":7278,"showCount":7150,"zanCount":11,"manualWeight":11,"mainColor":44},234060,"shan-shui-ce-dong-qi-chang-234060","第一开，右上角题：“仿唐杨昇。”钤“董其昌印”。鉴藏印钤“王掞”、“烟客真赏”、“虚斋精上品”、“壶中墨缘”。\n对开董其昌题：“唐杨昇峒关蒲雪图，见之明州朱定国少府，以张僧繇为师，只为没骨山，都不落墨。曾见日本画有无笔者，意亦唐法也。米元章谓王晋卿山水似补陀岩，以丹青染成。王洽正泼墨渖。多种法门皆李成、董源以前独善者。”钤印“董玄宰”。收藏印钤“庞来臣珍赏印”、“壶公”、“子清所见”、“王时敏印”、“颛庵”。\n设色青绿山水，画峰峦秋树。\n第二开，左上角题：“仿梅花道人。”钤“董其昌印”。收藏印钤“虚斋鉴赏”、“壶中墨缘”、“王时敏印”、“颛庵”。\n对开董其昌题：“今日遇武塘题吴仲圭故居，称梅花巷者。自号梅花和尚，实居士也。画学巨然，字学怀素，皆受和尚法，故云。仲圭与盛懋同巷对宇。人每指金帛诣盛求画，仲圭之家闻如也。家人以为谪，仲圭曰：‘待二十年后自有定论’。已而盛之身价果逊。至今三百年犹尔。辛酉三月廿三日识。”钤“董玄宰”印。收藏印钤“庞来臣珍藏印”、“壶公”、“王时敏印”。\n设色画水阁、青山、瀑布。\n第三开，左上题：“仿惠崇。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“壶中墨缘”、“虚斋鉴赏”。\n对开董其昌题：“惠崇宋诗僧，建阳人也。在巨然之前，画学王维，精工妍丽如诗家。温、李辈《香辽集》生于情者。东坡、山谷为题其小景。余所见有京口陈氏江南惠卷及鄞朱定国所赠巨轴《早春图》。”钤印“董玄宰”。收藏印钤“王时敏印”、“藻儒”、“壶公”、“庞来臣珍赏印”。\n设色画青溪两岸云树房屋。\n第四开，右上题：“仿卢鸿草堂笔。”钤印“其昌”。收藏印钤“壶中墨缘”、“子清所见”、“王时敏印”。\n对开董其昌题：“鸿乙草堂明皇尝令人就图之，鸿乙画入神品，与右丞伯仲。嵩山十志各有楚词。至宋时李伯时作图令诸名公书其诗，人各一景。秦少游、僧参寥、米元章皆与焉。余见之项氏者亦十体，不显名姓。谢时臣亦临一本，第得其位置耳。唐人用墨高简，意到而笔不到，所以妙绝。”钤印“董玄宰”。收藏印钤“逊之”、“王掞之印”、“庞来臣珍赏印”、“壶公”。\n墨笔画疏林坡石，高崖瀑布。\n第五开，左上方题：“仿倪元镇。”钤“其昌”。收藏印钤“烟客真赏”、“王掞之印”、“壶中墨缘”、“虚斋精上品”。\n对开董其昌题：“倪迂画学冯觐。觐，《宣和画谱》所载宋宦官也。觐画世无传本。倪迂自题谓得荆关遗意，岂讳言觐耶？张伯雨题云：‘能与米颠相伯仲，风流还只数倪迂。应将尔雅虫鱼笔，为写乔林恠石图。’最为迂叟吐气。大都倪高士之画学冯觐，如朱晦翁之书学曹孟德，皆不问其师承也。倪迂书学《黄庭内景经》，《内景经》倪氏之物也。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“庞来臣珍藏印”、“壶公”。\n设色画平远秋景山水。\n第六开，左上方题：“仿米元晖。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞”、“壶中墨缘”。\n对开董其昌题：“米元晖潇湘图余得之项玄度，有宋人题跋甚夥。朱晦翁亦一再见。后有王宗常叙诸跋卷人出处之概，书品亦佳，沈石田自题七十五岁方得一观，以快生平，为米卷第一。图不作点，只用墨破凹凸之形，树木屋宇皆精工，都画勾云亦变体也。元晖凡再题数百字。”钤印“其昌”。收藏印钤“逊之”、“王掞”、“庞来臣珍藏印”、“壶公”。\n墨笔画潇湘烟雨景。\n第七开，左上方题：“仿黄鹤山樵。”钤“董其昌印”。收藏印有“王时敏印”、“王掞之印”、“壶中墨缘”。\n对开董其昌题：“元季四大家惟王叔明仕于国初，为泰安州倅。何元郎记有雪图作于齐郡者是也。倪云林题有笔精墨妙语，又云澄怀观道是宗少文也。又临池学书出王右军、王虞，笔力能扛鼎，五百年来无此君，推挹至矣。于北宋诸家无所不摹，尤善右丞法。”钤印“董玄宰”。收藏印有“藻儒”、“逊之”、“壶公”、“庞来臣珍藏印”。\n墨笔画关山松涧。\n第八开，左上题：“仿李伯时山庄图。”钤“董其昌印”。收藏印有“王时敏印”、“颛庵”、“壶中墨缘”、“虚斋鉴藏”。\n对开董其昌题：“潇洒营丘水墨仙，浮空出没有无间。尔来一变风流尽，谁见将军设色山。\n无数青山落照边，遥知风雨不同川。此中有句无人认，道与襄阳孟浩然。\n二绝句皆东坡题画之什，深得画家三昧方能为，是语米老不如也。”钤印“董玄宰”。\n又题记：“辛酉三月游武林，归途闲暇作此八景。时画史杨彦冲同观。玄宰识。钤“虚斋审定”。\n此图册是董其昌于明天启元年（1621年）游武林（今杭州）时创作的，董氏时年67岁。图册分别仿杨升、卢鸿、惠崇、米友仁、李公麟、吴镇、倪瓒、王蒙等唐宋元诸家山水。画面集取古人不同的山水画景观，同时融入画家自己对于天地、山川的感受，“以意取之”，“各出意造”。在构图上虽与古人相似，但在审美情趣上董其昌追求的是一种平淡古雅的意境和逸趣。如仿唐杨昇山水，在画法上使用没骨设方法，摒弃了原作者金碧山水的华丽浓艳，继承了其中的古拙和典雅，寓丰富而鲜艳的色彩于平稳和谐的色调之中，笔法精妙秀雅，笔致轻松生动，从而使画面传达出一种平静而不淡泊、明媚而不躁动的美感，具有董氏自己的特点。又如米友仁芾画潇湘烟雨之景，以董、巨笔法皴染山石，用笔沉着稳重，通过墨色干湿浓淡的变化烘染出远山近水的空间感以及烟云雾气的变化。树木及房屋用笔多变化，墨色酣畅淋漓，层次丰富。这种董其昌笔下的米家山水，平淡之中更见秀雅。其他几开山水画同样反映了董其昌所追崇的文人画情趣，均以董源、巨然为归依。在仿古山水画中，他尝试运用各种不同的绘画形式诠释古法，同时表现出对于古法的继承和发展，从而阐述了自己的审美观，这是他创作众多仿古山水画最为重要的意义。此外，此件作品对开中董其昌的题记对于人们认识董其昌的艺术同样具有重要的史料价值。",[24,25,215,53,54,30,7,35,33,134,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f30ce9ddfaf2159f725103c9460f248.jpg","纵26.3厘米，横25.5厘米",[],{"id":7280,"slug":7281,"title":5989,"dynasty":87,"author":171,"museum":147,"description":5990,"tags":7282,"thumbUrl":7283,"material":543,"size":5993,"collection":120,"collections":7284,"showCount":7150,"zanCount":11,"manualWeight":11,"mainColor":44},233385,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233385",[24,53,54,215,34,30,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb16bc5ac03306415ab3da3f1c18c313e.jpg",[],{"id":7286,"slug":7287,"title":7288,"dynasty":49,"author":7289,"museum":20,"description":7290,"tags":7291,"thumbUrl":7293,"material":543,"size":7294,"collection":120,"collections":7295,"showCount":7150,"zanCount":11,"manualWeight":11,"mainColor":82},232252,"qiao-mu-gao-zhai-tu-zhao-meng-xu-232252","乔木高斋图","赵孟吁","在元代文人画家笔下，画的内容仅仅只是载体了，重要的是画上寄托的情感。他们追求“逸笔草草，不求形似”，目的是抒写“胸中逸气”；追求笔墨趣味，以笔墨的形式与结构来表达绘画者自己的主观精神境界。",[24,27,28,54,288,7,31,229,7292,57,639],"石墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff809b42c21c90b2a4b015928f355643c.jpg","102.4x51.3公分",[],{"id":7297,"slug":7298,"title":7299,"dynasty":69,"author":88,"museum":20,"description":7300,"tags":7301,"thumbUrl":7302,"material":656,"size":7303,"collection":120,"collections":7304,"showCount":7150,"zanCount":11,"manualWeight":11,"mainColor":82},231378,"song-yan-xian-guan-tu-yi-ming-231378","松岩仙馆图","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。",[73,24,256,94,31,7,28,54,53,274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f657fecd8b6c42929cbcb3ea659e46.jpg","171x115.7",[],{"id":7306,"slug":7307,"title":1717,"dynasty":69,"author":1201,"museum":20,"description":7308,"tags":7309,"thumbUrl":7310,"material":2028,"size":1722,"collection":120,"collections":7311,"showCount":7150,"zanCount":11,"manualWeight":11,"mainColor":82},230965,"yao-chi-xian-shou-tu-liu-song-nian-230965","人物的用笔细劲畅利，神态生动。画山石以刚硬的线条勾写形体，加斧劈皴，用淡墨横抹，显得浓厚的线条突出。图中的松树也较为突出，松针先以墨笔疏疏画出，再以草绿色间点、复勾。全画构图饱满而丰富，人物与树石穿插自然，充满着幽静雅趣。而且此图在艺术处理上有一个特点：动与静的对比。瑶池仙女们飘逸潇洒的舞姿与幽美的山林的静谧形成一种对比和互补。",[23,73,24,25,28,27,30,31,94,7,2151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfcf0da55e5064051ab60329ab404823.jpg",[],{"id":7313,"slug":7314,"title":7315,"dynasty":87,"author":1687,"museum":147,"description":7316,"tags":7317,"thumbUrl":7318,"material":120,"size":120,"collection":120,"collections":7319,"showCount":7150,"zanCount":11,"manualWeight":11,"mainColor":44},229021,"mei-xi-gao-yin-tu-zhou-wang-hui-229021","梅溪高隐图轴","此作分上下两境，上段以高远之法绘危崖层叠，飞瀑穿谷而出，淡墨晕开岚气，写尽空山岑寂萧寒之态。下段平溪绕舍，古松虬曲、疏柳映水，茅庐临水而建，尽显林泉幽居的恬然意趣。\n画作以诗入画，呼应高隐主题，笔墨糅合南北画派之所长，干笔皴擦勾勒山石苍劲肌理，湿墨晕染铺就空蒙烟霭，简淡秀雅的笔触间，将文人寄迹林泉、避世高隐的悠然襟怀尽藏其中，尽显清逸出尘的山水画意境。",[23,24,25,26,53,54,30,55,7,175,36,35,74,150,639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca3a61d052a38131a79f29061e44005.jpg",[],{"id":7321,"slug":7322,"title":7323,"dynasty":3958,"author":88,"museum":147,"description":7324,"tags":7325,"thumbUrl":7332,"material":120,"size":120,"collection":120,"collections":7333,"showCount":7150,"zanCount":11,"manualWeight":11,"mainColor":44},225328,"fu-shi-hui-78-yi-ming-225328","浮世绘78","寒波之上，浮桥蜿蜒铺陈，驮马随旅人踏桥缓行，蓑笠行人点缀其上，将冬日常态揉入冷寂雪景里。右侧茅庐覆雪，孤松孑立，枝桠凝雪愈显清瘦。浅绛远山留白晕出积雪，靛蓝水面细浪轻翻，冷色调里暖棕柔化了冬日萧寒。\n\n线条勾勒出积雪蓬松质感，平涂设色带着雅致装饰意趣，虚实相生间铺展郊野冬旅的幽闲况味，静穆清寂中藏着行路的烟火暖意，把冬日清冽与日常行旅绘成一卷诗意冬景。",[4328,4329,7326,27,7327,242,31,368,132,133,175,7,7328,258,7329,3682,7330,1387,36,1962,365,7331],"版画","桥","雪地","冬季","骑马","河面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82d61bddb52bce801bd97e3d6de86d0c.jpg",[],{"id":7335,"slug":7336,"title":7337,"dynasty":87,"author":3216,"museum":1577,"description":3217,"tags":7338,"thumbUrl":7339,"material":76,"size":3221,"collection":120,"collections":7340,"showCount":7150,"zanCount":11,"manualWeight":11,"mainColor":82},222922,"hong-lou-meng-47-sun-wen-222922","红楼梦47",[23,73,24,25,28,27,115,54,30,31,7,33,56,779,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81fe50334dece69d0f491084550a4d5b.jpg",[],{"id":7342,"slug":7343,"title":6146,"dynasty":87,"author":6147,"museum":89,"description":6148,"tags":7344,"thumbUrl":7345,"material":246,"size":6151,"collection":40,"collections":7346,"showCount":7150,"zanCount":11,"manualWeight":11,"mainColor":44},222668,"shang-shan-si-hao-tu-huang-shen-222668",[23,24,53,27,54,30,31,7,1343,55,56,303,36,574,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2950074f1e7dcfc0fcd64cd290cf3c9f.jpg",[40,62],{"id":7348,"slug":7349,"title":7350,"dynasty":87,"author":1038,"museum":89,"description":3397,"tags":7351,"thumbUrl":7353,"material":543,"size":3400,"collection":120,"collections":7354,"showCount":7150,"zanCount":11,"manualWeight":11,"mainColor":44},220261,"huang-shan-tu-ce-60-hong-ren-220261","黄山图册-60",[23,24,25,215,53,115,27,30,54,7352,7,1376],"孤峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa33606b2afecd4253017a2e96c299d3a.jpg",[],{"id":7356,"slug":7357,"title":7358,"dynasty":18,"author":6293,"museum":7359,"description":7360,"tags":7361,"thumbUrl":7362,"material":190,"size":7363,"collection":101,"collections":7364,"showCount":7150,"zanCount":11,"manualWeight":11,"mainColor":44},218442,"san-lao-tu-wang-zhao-218442","三老图","金贝尔艺术博物馆","这是一幅祝福画，描绘了幸福、繁荣和长寿的三颗星聚集在一起，长寿星拿着一个大桃子，其他两颗星欢快地交谈着，三颗星面容亲切，白胡子飘飘，向所有生物送去祝福、功德和裙带，祝愿长寿。",[23,24,25,26,53,27,31,3048,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca277342395fd50b09f428bd4fc6bb6.jpg","158.7x95.2",[101],{"id":7366,"slug":7367,"title":7368,"dynasty":87,"author":7369,"museum":20,"description":7370,"tags":7371,"thumbUrl":7372,"material":38,"size":120,"collection":120,"collections":7373,"showCount":7150,"zanCount":11,"manualWeight":11,"mainColor":44},218035,"tian-wang-xiang-6-yao-wen-han-218035","天王像-6","姚文瀚","苍松虬枝盘绕，荫蔽下僧人趺坐，衣袂间蓝黄交织的纹理如流水般舒展，眉宇间透着安然禅意。脚边幼虎温顺伏卧，似与稚童的嬉闹相映成趣，稚童伸手逗弄的模样鲜活灵动，一旁小僧憨态可掬。远处祥云缭绕，案上盆栽清逸雅致，山石间草木葱茏。整幅画设色淡雅却细节入微，衣袍的褶皱、虎毛的肌理、松针的疏密皆刻画精细，将宗教的肃穆与生活的温情融于一体，在宁静的氛围里晕染出盎然生机，尽显古典绘画的雅致韵味与人文意趣。",[24,25,28,27,2177,31,1030,7,35,2548,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc09d44706094275ebea929f9234f35d.jpg",[],{"id":7375,"slug":7376,"title":3879,"dynasty":3880,"author":3881,"museum":172,"description":7377,"tags":7378,"thumbUrl":10,"material":120,"size":120,"collection":40,"collections":7379,"showCount":7150,"zanCount":11,"manualWeight":11,"mainColor":3886},202801,"shan-shui-tu-zhou-huang-bin-hong-202801","墨色层叠间，山峦如黛，以苍劲皴笔勾勒筋骨，干湿浓淡交织出石的肌理与云的缥缈。近景松石挺秀，松枝虬劲，与嶙峋怪石相映；林间隐见小桥流水，屋舍数椽，似有烟火气却又透着清寂。中远景峰峦起伏，云雾缭绕，将天地连成一片悠远之境。整幅画笔墨老辣，意境浑朴，尽显文人山水的沉郁与空灵，仿佛可闻山风过松，观流云漫谷，引人入胜。",[24,53,54,30,7,32,135,440,2790,23],[40],{"id":7381,"slug":7382,"title":7383,"dynasty":49,"author":239,"museum":147,"description":1069,"tags":7384,"thumbUrl":7385,"material":118,"size":119,"collection":120,"collections":7386,"showCount":7387,"zanCount":11,"manualWeight":11,"mainColor":82},290447,"shan-shui-tu-ke-luo-ban-wang-meng-290447","山水图（珂罗版）",[23,24,73,30,53,54,7,33,440,35,32,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc127099e6c7fab1a64f19b3062698b5.jpg",[],14,{"id":7389,"slug":7390,"title":7391,"dynasty":87,"author":88,"museum":147,"description":7392,"tags":7393,"thumbUrl":7396,"material":118,"size":119,"collection":120,"collections":7397,"showCount":7387,"zanCount":11,"manualWeight":11,"mainColor":44},290178,"shao-shu-min-zu-sheng-huo-xi-su-hua-ce-2-yi-ming-290178","少数民族生活习俗画册-2","画面分作山居、水乡两幕，淡设色晕染出清润灵秀的边地烟岚。左岸负薪男子与盛装女子作别，苗家女子的衣纹银饰纤毫尽显，憨朴情态跃然纸上。右岸垂柳依依，撑舟艄公引着持伞客人，岸边二人持伞候渡，悠然漾开乡野烟火气。\n整幅工写兼具，笔致温婉恬淡，留白处题字衬出人文意韵。并未将边地风物猎奇化，只是平实地描摹族群日常晨昏，将送别候渡的细碎日常晕染成诗意乡景，把边地质朴鲜活的生活情态凝于纸间，藏着独有的纪实温情。",[23,24,215,27,28,31,30,116,778,7,7394,7395,188],"渡口","少数民族生活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe02d2aeec83aabc24d35a664957e9bdd.jpg",[],{"id":7399,"slug":7400,"title":7401,"dynasty":18,"author":88,"museum":147,"description":7402,"tags":7403,"thumbUrl":7405,"material":118,"size":119,"collection":120,"collections":7406,"showCount":7387,"zanCount":11,"manualWeight":11,"mainColor":82},288386,"shi-ba-xue-shi-tu-qi-si-yi-ming-288386","十八学士图其四","明人十八学士图，现藏台湾故宫博物院。为唐太宗时期十八学士故事类题材的衍变图式。此组《明人十八学士图》四幅连作，画中人燕居寄兴于琴棋书画，展现出文士“四艺合一”的艺术修养与高雅志趣。画家为雅集盛事，铺陈苑囿景致。挺拔高大的松、柳、梧、槐掩映，汉白石、斑竹栏杆曲护；文士悠闲从事着燃香、棋奕、展书、观画等赏玩活动。全画工笔重彩，人物面貌端严，姿态各具，尊卑主次分明，衣纹采用细劲流畅的“钉头鼠尾”描。庭园内湖石盆景纵横错陈，几榻、桌案、墩椅、画屏、雕漆、瓷铜、文房等日常用物摆设，皆以工整写实技法绘出，显现典型明代宫廷画风格。从画中器具样式，推断其创作年代应在明代中、晚期。",[24,73,27,28,31,4129,7,5349,94,7404],"文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a3fb499b91dbbd654afea29fc3f4b2a.jpg",[],{"id":7408,"slug":7409,"title":7410,"dynasty":18,"author":88,"museum":147,"description":7411,"tags":7412,"thumbUrl":7414,"material":118,"size":119,"collection":120,"collections":7415,"showCount":7387,"zanCount":11,"manualWeight":11,"mainColor":82},288161,"hu-bao-huan-le-tu-yi-ming-288161","虎豹欢乐图","这幅作品以视觉错构的巧思见长，将古松山石的轮廓与虎豹身形虚实相融。水墨晕染下，苍劲松枝与嶙峋岩峦，恰好勾勒出憨态可掬的虎豹形象，打破了走兽画的写实桎梏。\n\n画家以兼工带写的笔法，把兽类的灵动憨稚藏于山林肌理间，不见森然凶戾，反显天真谐趣。留白铺就林涧幽寂底色，苍润墨色晕出山野苍莽质感，观者需在虚实掩映间辨形寻味，让山林野趣与巧思创意浑然一体，尽显小品画作的别致意趣。",[23,24,53,1030,7413,7,961,740,25],"豹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F753705f41366ef970406282d0414ec02.jpg",[],{"id":7417,"slug":7418,"title":7419,"dynasty":69,"author":5458,"museum":20,"description":5459,"tags":7420,"thumbUrl":7422,"material":118,"size":5464,"collection":120,"collections":7423,"showCount":7387,"zanCount":11,"manualWeight":11,"mainColor":82},287756,"wei-lu-bo-gu-tu-shen-se-zhang-xun-li-287756","围炉博古图（深色）",[24,27,28,31,7,5462,1250,7421,4129,5461],"博古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0b4f0146732b2cea380d3f0d3aa3e4d.jpg",[],{"id":7425,"slug":7426,"title":7427,"dynasty":87,"author":3139,"museum":147,"description":3140,"tags":7428,"thumbUrl":7430,"material":120,"size":120,"collection":120,"collections":7431,"showCount":7387,"zanCount":11,"manualWeight":11,"mainColor":44},238373,"dong-gao-yan-chun-hui-cai-tu-ce-dong-gao-238373","董诰延春荟彩图册",[24,28,27,215,667,2734,7,1519,7429,1281,288],"红色果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf70cc574cf94cf0ce9d7e1b7baed0d.jpg",[],{"id":7433,"slug":7434,"title":3781,"dynasty":87,"author":1157,"museum":2829,"description":7435,"tags":7436,"thumbUrl":7437,"material":120,"size":120,"collection":40,"collections":7438,"showCount":7387,"zanCount":11,"manualWeight":11,"mainColor":44},236732,"shan-shui-ce-hua-yan-236732","华嵒（1682～1756），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。华嵒是清康雍乾年间的著名画家，他笔下的鸟堪称一绝，最负盛名。\n华喦就是我们所熟知的新罗山人，但我相信这一套山水画册，大部分人都不是熟悉，这山水画册页并没有藏在国内，而是藏在美国的弗利尔美术馆，其可称为华喦非常精致的一套山水册页。",[24,25,215,53,54,188,34,30,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d8a277272e0bd38422b7b0429d89611.jpg",[40],{"id":7440,"slug":7441,"title":7442,"dynasty":18,"author":2976,"museum":147,"description":5918,"tags":7443,"thumbUrl":7444,"material":118,"size":119,"collection":120,"collections":7445,"showCount":7387,"zanCount":11,"manualWeight":11,"mainColor":44},235771,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-wen-chao-guan-ye-lu-zhi-235771","吴门诸家寿袁方斋三绝册-问潮馆页",[24,25,215,27,30,7,35,188,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e5e335faa2aedfa230c9184a6d2514d.jpg",[],{"id":7447,"slug":7448,"title":7449,"dynasty":18,"author":7450,"museum":147,"description":7451,"tags":7452,"thumbUrl":7453,"material":118,"size":119,"collection":40,"collections":7454,"showCount":7387,"zanCount":11,"manualWeight":11,"mainColor":44},235455,"shan-shui-tu-ce-pan-zheng-235455","山水图册","潘徵","潘徵 彦宗,又字子述",[24,25,215,53,30,161,778,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c0cacaeb23cdf518d56ce5c74bd9e36.jpg",[40],{"id":7456,"slug":7457,"title":3781,"dynasty":87,"author":7458,"museum":89,"description":7459,"tags":7460,"thumbUrl":7462,"material":246,"size":120,"collection":120,"collections":7463,"showCount":7387,"zanCount":11,"manualWeight":11,"mainColor":44},234292,"shan-shui-ce-jin-ting-biao-234292","金廷标","金廷标，清代，字士揆，乌程(今浙江湖州)人，一作桐乡人，为当地望族。画家金鸿(字耕山)子，生卒年不详。继承父艺，工画人物、山水、写真、花卉，界画亦精致。尤擅白描，设色淡逸明洁，用线刚劲，转折处锋芒毕露，无不劲健。衣纹提按长描连绵不断，眉目传神。乾隆二十五年(1760)弘历南巡，其进呈白描罗汉》册称旨，得入内廷供奉。所画不以工致取胜，而以机趣为尚。入值数载，卒于京寓。其卒后，所作皆得高宗题咏，并命装裱收藏，此举可见这位内廷供奉画家受乾隆之器重程度。\n金廷标（ -1767）字士撰。乌程（今浙江吴兴）人，其父金鸿亦为小有名声的画家，廷标能绍父艺，擅画白描人物，亦善写真（肖像），兼能花卉、山水、乾隆二十二年（1757），乾隆帝第二次南巡时，金廷标进献《白描罗汉图》，得乾隆“称旨”，遂得以入宫供职，成为当时的一名宫廷画家。\n金廷标所作画，极得乾隆欣赏，御题诗句甚多，赞美之意溢于言表，如题其《放鹤图》云：“是谓善写照，传神在阿堵。”题其《江村图》云：”七情写毕皆得神，顾陆以后今几人。”又在他《临唐寅琵琶行图》后如此题道：“内府藏弆唐寅画琵琶行于江边扁舟直写一女抱琵琶，廷标此图不画琵琶女，而画居易等属耳之情，便觉高出其上。此与宋人画‘踏花归去马蹄香’以数蝶随骑意同。向未题句，兹偶见之，因拈其妙，然画院中能作如此解者实少也。”对金廷标能高出当时的宫廷画家，给予肯定。\n金廷标死后，乾隆在翻阅他的画作时又一再叹息，有诗这样写道：“去年命写寻常事，今日谁知珍惜加。”“足称世画无双画，可惜斯人作古人。”对金廷标的去世，表示无限的惋惜。一个自命“古稀天子”的帝王，能对一名宫廷画师如此的眷顾，极为难能，于此亦可见金廷标画艺的超群。\n清代未见有“书院”之称，（文献记载仅见“书院处”一词），更不像宋代书画院中设有具体的“待诏”、“艺学”等明确的官职。清代宫廷中供职的画家，一般情况均需有人举荐，有的还需要经过考核。文献记述金廷标只是自己进献作品以自荐，即得乾隆帝的“称旨”，可见他的画艺不凡。从本文介绍的这件作品来看，他也可以称得是当时画院中具有代表性的人物画家。\n传世作品有《拜石图》，图录于《故宫书画集》；《碧桃图》《孟母移居图》《枫林晚坐图》《萱花寿石图》册页图录于《中国历代名画集》；《高贤遇隐图》轴图录于《中国绘画史图录》下册；《春元瑞兆图》轴藏日本大阪市立美术馆；乾隆二十六年(1761)作《观音大士像》轴现藏沈阳故宫博物院；《婕妤挡熊图》轴、《瞎子说唱图》轴、《罗汉图》轴、《莲塘纳凉图》轴等藏故宫博物院。",[24,27,53,54,393,34,30,7,7461,35,33,161,36],"梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8386cfaad20e26fd82e317e8e3a5b140.jpg",[],{"id":7465,"slug":7466,"title":7467,"dynasty":87,"author":1687,"museum":89,"description":3425,"tags":7468,"thumbUrl":7470,"material":99,"size":7471,"collection":120,"collections":7472,"showCount":7387,"zanCount":11,"manualWeight":11,"mainColor":44},234193,"bai-di-ye-yue-tu-juan-wang-hui-234193","白堤夜月图卷",[23,24,25,73,186,27,30,54,509,32,33,859,36,94,161,7,778,175,7469],"岸堤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24027dcacd6db83d61b7db7fb396350b.jpg","纵39厘米，横219.5厘米",[],{"id":7474,"slug":7475,"title":7476,"dynasty":18,"author":7477,"museum":147,"description":7478,"tags":7479,"thumbUrl":7480,"material":120,"size":120,"collection":120,"collections":7481,"showCount":7387,"zanCount":141,"manualWeight":11,"mainColor":408},228436,"chun-shan-ben-quan-tu-wei-zhi-huang-228436","春山奔泉图","魏之璜","此作以高远取景，主峰奇崛通透，洞天别具一格。山石勾勒皴擦，尽显雄浑苍厚质感，奔泉辗转穿流于丘壑之间，暗涌的水势让纸面生机暗藏。\n\n松翠掩映间楼阁隐现，晕染出林泉幽居的雅意。左下角临流高士凭栏观涛，以人衬景，将山林隐逸之趣铺展开来。笔墨苍润朴拙，淡墨晕染出春日山岚的氤氲氛围，把自然丘壑的野趣与文人寄情山水的襟怀相融，尽显雅致沉静的山水意境。",[23,24,25,26,53,30,54,35,36,33,715,31,7,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c21c776318bf0149469bc3d6a7a4db2.jpg",[],{"id":7483,"slug":7484,"title":7485,"dynasty":18,"author":2197,"museum":147,"description":7486,"tags":7487,"thumbUrl":7488,"material":120,"size":120,"collection":120,"collections":7489,"showCount":7387,"zanCount":11,"manualWeight":11,"mainColor":44},228353,"hu-zhou-shi-ba-jing-yu-tai-feng-song-xu-228353","湖州十八景－玉台峰","危崖之上古松虬劲，松针层叠如翠盖，崖间曲径蜿蜒，三两行人策杖徐行，野趣悠然。浩渺烟波铺陈于眼前，水天相接处帆影轻漾，远山黛色晕染朦胧，尽展江南山水温润灵秀之态。\n\n笔墨苍劲老辣，干笔皴擦勾勒崖石肌理，写松则笔致灵动，尽显古松凌云傲骨。设色浅淡雅致，将水墨清寂与设色明润相融，藏登临纵目的快意于丘林烟水之间，带着萧散意趣，把凭高远眺的胜景晕染得悠远澹泊，尽显清旷悠然的山水意境。",[23,73,24,25,27,54,34,30,275,288,7,31,303,1169,134,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58a89a51f78f356e57a9d3dcd1e9812e.jpg",[],{"id":7491,"slug":7492,"title":7493,"dynasty":69,"author":88,"museum":147,"description":7494,"tags":7495,"thumbUrl":7497,"material":120,"size":120,"collection":120,"collections":7498,"showCount":7387,"zanCount":11,"manualWeight":11,"mainColor":44},223618,"hong-mei-kong-que-tu-yi-ming-223618","红梅孔雀图","《宋人画红梅孔雀图》是宋代佚名画家创作的花鸟绘画。\n中国古代以 为题材的绘画不多见。\n此图绘溪边春色，以近远景搭配，表现出自然界的勃勃生机。\n正中一树梅花盛开，两侧辅以山茶、古柏、翠竹、迎春。\n孔雀一对，雄者栖于树干，回首梳翎；雌者倘佯岸边，低头觅食。\n其毛羽斑斓，与花树汇成一片绚烂春光。\n此图难能之处在于布局繁密但杂而不乱；设色富丽但艳而不俗。\n梅、柏枝干用焦墨勾皴，苍劲古朴，与周围花卉禽鸟的纤细娇美恰成互补。\n作者当是擅长状写升平景象的画院高手。\n本幅无款识。\n钤鉴藏印“真赏”、“都尉耿信公书画之章”、“公”、“信公珍赏”、“丹诚”、“宜尔子孙”、“珍秘”、“会侯珍藏”、“庞莱臣珍藏宋元真迹”。\n裱边钤鉴藏印“信公监定珍藏”。\n本幅右侧题“ ”细款，但细察周围有挖痕，应系从别处移来。\n对幅有耿昭忠题记：“此图花木禽鸟极其精工。\n《画髓》评云：‘远欲其子得誉，多于己画题作马麟。\n’夫岂其然？千山信公。\n”钤“虚斋珍赏”及耿氏藏印5方。\n存《名笔集胜》册中。\n《虚斋名画录》著录。",[23,24,73,28,27,7496,780,7,302,95,35,485,806],"红梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5efe163d7bf4a53fe85c48eba2f57af.jpg",[],{"id":7500,"slug":7501,"title":1497,"dynasty":87,"author":7502,"museum":147,"description":7503,"tags":7504,"thumbUrl":7505,"material":543,"size":7506,"collection":120,"collections":7507,"showCount":7387,"zanCount":11,"manualWeight":11,"mainColor":44},223129,"shan-shui-zhou-qian-wei-qiao-223129","钱维乔","钱维乔（1739-1806）清文学家、戏曲家。字树参，季木，小字阿逾，号曙川，又号竹初，半园、半竺道人、半园逸叟、林栖居士等。江苏武进人。乾隆十年状元钱维城之弟。乾隆二十七年（一七六二）举人。曾讲学于如皋露香草堂，门前种竹，自号竹初居士。\n钱维乔早岁即工翰墨，得其兄钱维城之传，为兄代作，已咄咄逼真，而文秀之气过之。后笔尤苍厚，山水茂密不繁，峭秀不塞，作家士气兼备。晚岁笔墨尤精，随意所作，疏老苍浑。因作品风格酷似其兄，当时有“常州二钱”之誉。",[23,24,53,54,26,30,132,133,162,7,55,175,74,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5830d888db626572c39148425b0144.jpg","68x35",[],{"id":7509,"slug":7510,"title":7511,"dynasty":18,"author":815,"museum":7512,"description":4485,"tags":7513,"thumbUrl":7516,"material":27,"size":120,"collection":120,"collections":7517,"showCount":7387,"zanCount":11,"manualWeight":11,"mainColor":44},222588,"shan-shui-tu-shan-mian-2-lan-ying-222588","山水图扇面2","浙江省博物馆",[23,678,24,30,7,35,7514,7515,367,54,53,27],"亭屋","飞泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8fd29104ad247fbd9575e0f584ac299.jpg",[],{"id":7519,"slug":7520,"title":7521,"dynasty":87,"author":1038,"museum":89,"description":3397,"tags":7522,"thumbUrl":7523,"material":543,"size":3400,"collection":120,"collections":7524,"showCount":7387,"zanCount":11,"manualWeight":11,"mainColor":44},220310,"huang-shan-tu-ce-17-hong-ren-220310","黄山图册-17",[23,73,24,25,215,53,54,30,7352,7,367,32,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27ff649b35ce22bc63f5fdd792060a6e.jpg",[],{"id":7526,"slug":7527,"title":7528,"dynasty":18,"author":7529,"museum":7530,"description":7531,"tags":7532,"thumbUrl":7533,"material":543,"size":7534,"collection":120,"collections":7535,"showCount":7387,"zanCount":11,"manualWeight":11,"mainColor":82},216745,"ri-ben-zu-shi-tu-4-shou-ye-yuan-xin-216745","日本· 祖师图-4","狩野元信","日本东京国立博物馆","室町后期画家，称大炊助。受父亲正信水墨画风的影响，加入浓彩的技巧，从而集狩野派新风格之大成。后世称其为古法眼。",[23,24,2177,27,31,30,54,7,56,33,1376,1278,484],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ec277c4b4c7f9b087d5e51db3709512.jpg","176.0x91.8",[],{"id":7537,"slug":7538,"title":7539,"dynasty":87,"author":88,"museum":20,"description":5600,"tags":7540,"thumbUrl":7541,"material":190,"size":120,"collection":120,"collections":7542,"showCount":7387,"zanCount":11,"manualWeight":11,"mainColor":44},215201,"sheng-ping-le-shi-tu-ce-2-yi-ming-215201","升平乐事图册-2",[73,24,25,215,27,28,31,885,7,35,2820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e957d6eec88487a5cb2b116e4cd30a.jpg",[],{"id":7544,"slug":7545,"title":7546,"dynasty":3880,"author":7547,"museum":172,"description":7548,"tags":7549,"thumbUrl":7550,"material":120,"size":120,"collection":40,"collections":7551,"showCount":7387,"zanCount":11,"manualWeight":11,"mainColor":7552},202935,"dong-ting-qiu-ji-tu-zhou-zheng-wu-chang-202935","洞庭秋霁图轴","郑午昌","画面铺展洞庭秋晴之境，近景苍松虬劲，红叶点染秋意，枯木疏朗有致；中景湖面开阔，孤舟泛波，飞鸟列阵掠过水面，添灵动之趣；远景层岩叠嶂，云雾轻笼，山势悠远。笔墨兼具传统意趣与现代气息，皴擦点染间尽显山石林木质感，设色雅致，红树与墨松相映，冷暖交融。整体意境清旷淡远，既有自然之静谧，又含文人之雅怀，传递出秋日洞庭雨后初霁的澄澈与疏朗。",[24,30,27,116,95,7,54,261,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb80d78fc5407a6f5d622026d07fdb070.jpg",[40],"cfc4b3",{"id":7554,"slug":7555,"title":3879,"dynasty":87,"author":7556,"museum":172,"description":7557,"tags":7558,"thumbUrl":7559,"material":120,"size":120,"collection":40,"collections":7560,"showCount":7387,"zanCount":11,"manualWeight":11,"mainColor":7561},202011,"shan-shui-tu-zhou-cao-yi-202011","曹沂","这幅山水图中，山石嶙峋，溪流蜿蜒而下，数株松柏姿态各异——或虬曲盘绕于崖边，枝干苍劲；或挺拔倚于峭壁，枝叶葱郁。山石以皴法勾勒，纹理细腻，尽显厚重质感；溪流线条灵动，似有潺潺水声溢出画面。背景山峦简淡，留白处更显清幽深远。笔墨间细腻与洒脱兼具，营造出静谧雅致的山水意境，尽显传统书画之韵味。",[30,54,7,74,35,53,26,24,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff28967822aef52bfeeb0d1e2497d8baf.jpg",[40],"ac957d",{"id":7563,"slug":7564,"title":7565,"dynasty":18,"author":3838,"museum":147,"description":7566,"tags":7567,"thumbUrl":7568,"material":118,"size":119,"collection":120,"collections":7569,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":44},290927,"liang-xin-tang-shen-shi-chong-290927","凉心堂","沈士充，明代画家，生卒年不详。字子居，华亭（今松江属上海市）人。出宋懋晋之门，兼师赵左。郡人能画者多师之。",[24,53,27,30,215,94,7,32,135,34,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf8e28dccfca39f0fd78b4380f31662a.jpg",[],{"id":7571,"slug":7572,"title":7573,"dynasty":49,"author":88,"museum":147,"description":3058,"tags":7574,"thumbUrl":7577,"material":118,"size":119,"collection":120,"collections":7578,"showCount":43,"zanCount":141,"manualWeight":11,"mainColor":82},290340,"tai-ping-you-xiang-tu-zhou-yi-ming-290340","太平有象图轴",[24,26,27,31,94,32,161,7,35,7575,885,7576],"大象","太平祥和","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed03f728f1082d05d5e3c961e092042e.jpg",[],{"id":7580,"slug":7581,"title":7582,"dynasty":69,"author":5458,"museum":147,"description":7583,"tags":7584,"thumbUrl":7585,"material":118,"size":119,"collection":120,"collections":7586,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":44},289946,"jiang-ting-lan-sheng-tu-zhang-xun-li-289946","江亭揽胜图","松下一亭子，\n凭栏观江景。\n江上渔舟荡，\n远方山魅影。",[678,24,73,25,30,53,27,161,116,1469,134,7,29,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0181bf5435b11285dd064c91fa37c7f4.jpg",[],{"id":7588,"slug":7589,"title":7590,"dynasty":87,"author":7591,"museum":147,"description":7592,"tags":7593,"thumbUrl":7594,"material":118,"size":119,"collection":120,"collections":7595,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":82},288522,"shan-shui-ren-wu-tu-li-zhou-ai-xin-jue-luo-pu-quan-288522","山水人物图立轴","爱新觉罗·溥佺","此作用高远章法绘就，危崖壁立千仞，斧劈皴利落勾勒出山岩嶙峋骨相，崖巅古松欹斜傲立。两道飞泉垂落，一隐于崖谷、一淌于浅濑，水墨晕染出空濛岚气，裹挟着幽谷清寂。\n\n下方虬松苍劲盘曲，枝桠舒展如盖，松下幽人凭坐观瀑，简笔勾勒便见悠然意态。整作将山川雄奇与林下闲逸相融，笔力劲爽不失温润，淡墨轻岚晕开悠远意境，尽显天人合一的林下雅趣。",[23,24,25,26,53,30,31,7,55,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16d688d7b88097c9cb0158504fbaa37c.jpg",[],{"id":7597,"slug":7598,"title":7599,"dynasty":18,"author":7600,"museum":147,"description":7601,"tags":7602,"thumbUrl":7603,"material":118,"size":119,"collection":120,"collections":7604,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":44},287781,"guan-yan-tu-li-zhou-chen-ji-he-287781","观雁图立轴","陈济和","明朝史学家。字伯载，武进（今属常州）人，陈洽兄。他博学强记，读书过目能诵。口诵手钞，经史百家无不贯通，时称两脚书橱。永乐元年（1403年），明成祖诏修《文献大成》（后改称《永乐大典》），朝廷以布衣召他担任编纂总裁，他却推荐姚广孝及胡严为总裁，自任副手。藩秘库书达数百万卷，浩无端倪。陈济与姚广孝等确定了编写体例，组织了文人学士2000余人参与编写。编写过程中，执笔者凡遇到疑难问题就请教陈济，他应口为之条辩缕析。永乐六年（1408）书成，总辑成22877卷，凡例、目录60卷。陈济被授于左春坊右赞善。陈济任职谨慎无过。帝甚礼重之，凡稽古纂集之事，皆交陈济处置。他在职15年，永乐二十二年（1424年）病逝，享年62岁。陈济学问渊博；平时却十分谦虚，终身危坐手不释卷，他常说：知识和布帛粮食一样贵重，有益于社会。平生著述有：《书传补》、《元史举要》、《通鉴纲目集览正误》《思斋集》等。",[23,73,24,25,26,27,31,94,32,95,367,7,35,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1761c3e21f8d87eeaba59b3a93f7aba6.jpg",[],{"id":7606,"slug":7607,"title":7608,"dynasty":87,"author":1811,"museum":20,"description":7609,"tags":7610,"thumbUrl":7611,"material":38,"size":7612,"collection":120,"collections":7613,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":44},287447,"fang-huang-gong-wang-yan-fu-yuan-xiu-tu-wang-jian-287447","仿黄公望烟浮远岫图","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[73,24,25,30,27,54,274,150,33,55,175,7,778,32,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bce4de3236da388c40dfce3e6cfb914.jpg","134.9x78.9",[],{"id":7615,"slug":7616,"title":7617,"dynasty":87,"author":4662,"museum":147,"description":7618,"tags":7619,"thumbUrl":7620,"material":120,"size":120,"collection":120,"collections":7621,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":44},239417,"feng-a-shan-fang-tu-zhou-qin-zu-yong-239417","凤阿山房图轴","此作用干笔淡墨铺陈丘壑，危崖巨嶂以皴擦点苔写就，苍莽厚重的山石占据画幅上半，尽显沉浑气象。山坳间林木错落，墨色浓淡层叠，掩映出三两村居草堂，堂内二人对坐晤谈，似在叙旧清谈，溪石隐于浅流，萦回环绕，衬出山居幽寂。\n画面上方题跋洋洋洒洒，诗书画融为一体，尽显文人雅致。画作以元人枯淡笔法写胸中丘壑，温婉秀雅，将江南山居的闲逸沉静诉诸笔端，淡墨轻岚间勾勒出世外林泉的栖居之境，尽显传统文人画的林下风流。",[24,25,26,53,54,30,35,36,175,33,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1474facd73ef704a532461aa1352ab92.jpg",[],{"id":7623,"slug":7624,"title":3781,"dynasty":87,"author":6546,"museum":89,"description":6547,"tags":7625,"thumbUrl":7626,"material":246,"size":120,"collection":120,"collections":7627,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":44},237187,"shan-shui-ce-sun-yi-237187",[24,27,30,54,215,132,162,7,56,303,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb82fbab533a40aec5a30eb23e8fb78a.jpg",[],{"id":7629,"slug":7630,"title":7631,"dynasty":18,"author":1646,"museum":147,"description":7632,"tags":7633,"thumbUrl":7634,"material":118,"size":119,"collection":120,"collections":7635,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":44},235954,"chen-dao-fu-yun-shan-tu-shan-ye-chen-chun-235954","陈道复云山图扇页","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。",[24,678,53,27,30,1008,36,7,134,135,161,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5bc8da1855c64f3db964c360cadaa64.jpg",[],{"id":7637,"slug":7638,"title":7639,"dynasty":18,"author":815,"museum":147,"description":7640,"tags":7641,"thumbUrl":7642,"material":120,"size":120,"collection":120,"collections":7643,"showCount":43,"zanCount":141,"manualWeight":11,"mainColor":44},234634,"fang-zhao-song-xue-shan-shui-shan-ye-lan-ying-234634","仿赵松雪山水扇页","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。",[24,678,27,30,116,7,35,36,31,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39567596c4b94d544a1394f90e146675.jpg",[],{"id":7645,"slug":7646,"title":6570,"dynasty":87,"author":7647,"museum":147,"description":7648,"tags":7649,"thumbUrl":7650,"material":246,"size":120,"collection":120,"collections":7651,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":44},234256,"shan-shui-juan-li-shao-ji-234256","李绍箕","李绍箕（1550～1631后）明代画家、诗人。字懋承。华亭（今上海松江）人。其祖父李日章，官按察副使。绍箕少承家学，长于诗文，以太学生官南京鸿胪寺序班，后官江西都昌主簿。擅画山水，师岳父顾正谊，能师承其画风，并因任职南昌，多涉历山川胜景，画艺益进，晚年运笔苍劲，年八十有余尚挥洒不倦。",[23,24,25,186,53,54,188,29,30,150,36,7,175,1275,258,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a1d2d7087f5607236ef25610e823c52.jpg",[],{"id":7653,"slug":7654,"title":7655,"dynasty":18,"author":7656,"museum":89,"description":7657,"tags":7658,"thumbUrl":7659,"material":629,"size":120,"collection":120,"collections":7660,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":44},234230,"san-cai-li-qu-tu-juan-zhang-fu-yang-234230","三才理趣图卷","张复阳","张复阳(1403-1490)，名复，以字行，号南山，浙江平湖人。道士，居浙江洞霄宫一枝堂。自幼学书专法古人，能运帚作大字。径寸字极有风骨，小行楷秀整不凡。工画，山水仿吴镇，苍郁淋漓，几欲乱真；草树人物，各臻其妙。",[23,24,25,186,53,30,31,7,57,135,29,188,54,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00d0330ddca90d3c56a5f65f60f97e1f.jpg",[],{"id":7662,"slug":7663,"title":1747,"dynasty":87,"author":171,"museum":89,"description":1748,"tags":7664,"thumbUrl":7665,"material":246,"size":1753,"collection":120,"collections":7666,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":44},233779,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233779",[24,30,27,54,29,34,35,33,36,187,260,32,778,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08499dfe7a18b26f6177db834ea5c8ca.jpg",[],{"id":7668,"slug":7669,"title":7670,"dynasty":3958,"author":88,"museum":147,"description":7671,"tags":7672,"thumbUrl":7676,"material":118,"size":119,"collection":120,"collections":7677,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":82},230545,"shi-ting-shi-dai-bang-song-tu-ping-feng-di-er-ping-yi-ming-230545","室町时代 浜松图屏风-第二屏","苍劲古松盘虬扎根沙洲，枝干舒展如翠盖层叠，松下茅舍掩映，渔樵往来于烟波之间，晕染出悠然野逸的山居意趣。层叠浪涛带着灵动韵律，将画面割裂又串联，近岸石畔姹紫花卉葳蕤盛放，野禽栖于苔石，生机盎然。金箔底色晕开朦胧柔美的氛围感，将俗世渔樵烟火与林下幽情相融，把四时生机与闲静禅意揉为一处，尽显和风绘卷温润雅致的侘寂之美，藏着东方古典里独有的悠然意境。",[23,27,7673,28,30,667,7,288,2609,33,116,31,187,95,7674,7675,35,3229],"金碧","红花","蓝花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8426675663adcf6258597ace11c316e8.jpg",[],{"id":7679,"slug":7680,"title":7582,"dynasty":69,"author":7681,"museum":147,"description":7682,"tags":7683,"thumbUrl":7684,"material":120,"size":120,"collection":120,"collections":7685,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":44},227960,"jiang-ting-lan-sheng-tu-zhu-wei-de-227960","朱惟德","《晋唐宋元书画国宝特集》是22年 出版的图书，作者是上海博物馆编、故宫博物院、 。\n22年，为庆祝上海博物馆成立5周年，由上海博物馆、故宫博物院、 联合举办的《晋唐宋元书画国宝展》在上海博物馆来开帷幕。\n本书集三大博物馆珍藏的国宝级 名迹72件，艺术、文化和史料价值极高。\n晋唐宋元是中国书画艺术史上最辉煌最重要的时期，作为展览的图录， 感录这些赫赫巨迹。\n其中被庋藏于清宫“三希堂”的晋王珣的《行草书伯远帖卷》，有隋展子虔的《游春图卷》，有五代南 唐时期顾闳中的千古杰作《韩熙载夜宴图卷》，还有北宋张择端脍炙人口的《清明上河图》、而王羲之的《行书上虞帖卷》、王献之的《行书鸭头丸帖卷》、欧阳询的《行书仲尼梦奠帖卷》、周昉的《簪花仕女图卷》等等精品，凡72件，引人探赜索隐。\n综观同类出版物，该书有三大特色：首先是入录书画均以原迹摄片电分，采用调频网先进技术印制。\n精密度高，真貌毕现。\n其次是卷册轴页形制齐全，所有作品前题后跋，作首次全面展示。\n三是历代鉴藏印记大都原收录，部分并以X光片摄片图版显示，以供研究。\n晋唐 1、东晋佚名曹娥诔辞卷 2、东晋王珣伯远帖 、东晋 4、东晋王献之鸭头丸帖 5、 6、唐欧阳询仲尼梦奠帖 7、唐虞世南摹兰亭序帖 8、唐孙过庭千字文 9、唐阎立本步图 1、唐韩滉五牛图 11、唐周肪簪花仕女图 12、唐颜真卿湖州帖 1、唐孙位高逸图 14、唐怀表苦荀帖 15、唐杜牧张好好诗 16、唐高闲千字文 17、 五代 两宋 18、五代杨凝式夏热帖 19、 2、五代董源夏景山待渡图 21、 22、五代顾闳中（传）韩熙载夜宴图 2、五代徐熙雪竹图轴 24、 轴 25、北宋李成茂林远岫图 26、北宋欧阳修自书诗文稿 27、北宋司马光宁州帖 28、北宋王安石楞俨经旨要 29、北宋郭熙幽谷图轴 、北宋王诜渔村小雪图 1、北宋王诜烟江叠嶂图 2、北宋蔡襄持书帖 、北宋苏轼答谢民师论文帖 4、北宋黄庭坚小子相帖 5、北宋 6、北宋李公麟韦偃牧放图 7、北宋崔白寒雀图 8、 9、 卷 4、北宋张择端清明上河图 41、金杨微二骏图 42、南宋李唐采薇图 4、南宋赵构养生论卷 44、南宋赵构书马和之画唐风图卷 45、南宋李迪雪树寒食图 46、南宋徐禹功雪中梅竹图等合卷 47、南宋陆游自书诗卷 48、南宋梁楷八高僧图 49、南宋文天祥草书木奚诗序 5、南宋朱惟德江亭揽胜图 51、南宋赵大亨薇亭小憩图 52、南宋李嵩骷髅幻戏图页 5、南宋马麟郊原曳杖图页 54、 元代 55、元代钱选浮玉山居图 56、元代赵孟俯秋兴赋卷 57、元代赵孟俯小村图卷 58、元代鲜于枢韩愈送李愿归盘谷序 59、元代吴镇渔父图 6、元代高克恭春山欲雨图 61、元代赵孟俯洞庭东山图 62、元代黄公望天池石壁图 6、元代任仁发 秋水凫鷖图轴 64、元代李士行竹石图轴 65、元代王冕墨梅图轴 66、元代杨维桢草书七绝诗 67、元代唐棣松荫聚饮图 68、元代王渊竹石集禽图 69、元代倪瓒渔庄秋霁图 7、元代王蒙青卞隐居图 71、元代 72、元代佚名民物熙乐图轴",[23,24,25,678,27,30,29,1469,134,7,276,679,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72f92e1824fd7136d2cdd1d263bc3b0b.jpg",[],{"id":7687,"slug":7688,"title":7689,"dynasty":69,"author":88,"museum":147,"description":7690,"tags":7691,"thumbUrl":7692,"material":120,"size":120,"collection":120,"collections":7693,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":44},227863,"chun-shan-xun-mu-tu-yi-ming-227863","春山曛暮图","此作以边角构图造境，右侧苍松虬曲老硬，松针攒簇尽显苍古之姿，将山野幽意凝于枝桠间。远山以淡墨晕染，朦胧迤逦，晕开曛暮时分的空濛柔润。林麓茅亭隐现，枯木初萌新绿，幽人策杖徐行，将山居闲逸藏于尺幅。\n\n全作用笔精微写实，以虚衬实，淡墨轻烟里晕开春日薄暮的柔和暖意，把山野暮色的清旷悠然融于方寸之间，尽显简淡空灵的山水意趣，将文人心中萧散闲雅的山居图景晕染尽致，于小品之中见天地悠然，淡远静谧的氛围感扑面而来。",[73,24,25,27,30,161,7,134,982],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bea0e87d5e65d183601f2308bcf0312.jpg",[],{"id":7695,"slug":7696,"title":7697,"dynasty":3958,"author":7698,"museum":147,"description":7699,"tags":7700,"thumbUrl":7713,"material":118,"size":119,"collection":7714,"collections":7715,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":44},226069,"the-este-rel-mountains-1888-mo-nai-226069","The Estérel Mountains, 1888","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。",[73,7701,7702,7703,7704,7705,7706,7,7707,7708,4330,56,7709,4985,7710,1169,7711,7712],"印象派","油画","短笔触","色彩并置","光影表现","户外写生","大海","山脉","海滨","倾斜树木","远景山峦","近景植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2160bf2a3c563db827f5041d183d582.jpg","油画精选",[7714],{"id":7717,"slug":7718,"title":7719,"dynasty":87,"author":1811,"museum":147,"description":7720,"tags":7721,"thumbUrl":7722,"material":118,"size":119,"collection":120,"collections":7723,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":82},224475,"jiu-feng-du-shu-tu-zhou-wang-jian-224475","九峰读书图轴","图绘崇山峻岭，苍松平溪，一高士在茅舍内读书。其展卷吟诵的细微举止点明了惬意“读书”的创作主题，寄托着画家的隐逸思想。本幅构图为高远法取势，山脚松木以工整的线条精心刻画，显现出作者以线造型的能力。山顶处以浓墨戳点，有浑点、破竹点、胡椒点、破墨点等，灵活多变的各种点法增强了江南山峦湿润华滋、沉郁深秀的气象。山石的脉络是以元人王叔明（即王蒙）典型的解索皴表现，其拖墨而下，屈曲密集的线条与山石的陡峭走向相一致，增强了山体的雄伟之势。此图堪称王鉴仿王叔明的佳作，全面地展示了其对王蒙画法得心应手的娴熟的运用程度。",[23,73,24,25,26,53,30,54,7,275,35,1962,33,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4c33a56f8a8f213d47350c092aa3c8.jpg",[],{"id":7725,"slug":7726,"title":7727,"dynasty":87,"author":2787,"museum":147,"description":7728,"tags":7729,"thumbUrl":7731,"material":120,"size":120,"collection":120,"collections":7732,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":44},224295,"bai-shi-da-ji-tu-li-shan-224295","百事大吉图","此作用笔纵恣老辣，古松盘曲虬劲，皴擦勾勒间尽显苍古拙朴之意，团簇的松针以浓墨点染，蓬勃生机扑面而来。独立松枝的雄鸡兼工带写，浓墨点染头颈尾羽，淡墨晕染躯干，寥寥数笔便将雄鸡引吭长鸣的英武之态勾勒传神。\n画面借松、鸡谐音承载吉祥意趣，将文人写意的疏放与世俗吉庆寓意相融，笔墨挥洒间脱略陈规，尽显疏狂意气，是寄情于物、雅俗共赏的写意佳作。",[23,24,25,26,53,342,667,7,7730,188,34],"鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1114f2ba3c8a3d2ff5cb13dc84067253.jpg",[],{"id":7734,"slug":7735,"title":7736,"dynasty":87,"author":1157,"museum":147,"description":7737,"tags":7738,"thumbUrl":7739,"material":120,"size":120,"collection":120,"collections":7740,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":44},224192,"ge-shui-yin-chuang-tu-zhou-hua-yan-224192","隔水吟窗图轴","《馆藏精品选（上海博物馆4共张）\u002F东方画谱》是218年文物出版社出版的图书，作者是（元）张中，[清] 高岑，华喦。\n本书共收录了部画作，包括：《隔水吟窗图轴》《芙蓉鸳鸯图》《江山无尽图》。\n《隔水吟窗图轴》采用平远构图法，画法运用没骨法，描绘了秀美的江南山水景色。\n远山用云海烘托，宽广的江面用留白法来衬托。\n近景树木高挺，枝繁叶茂。\n江岸上有茅屋几间，隐逸者于舍内休憩，观赏院中的丹顶鹤，此情此景，给人心旷神怡如入仙境之美感。\n《芙蓉鸳鸯图》描绘了鸳鸯戏水的情景。\n画中溪水缓缓而流，一对鸳鸯在清波中嬉游。\n雄鸟低头弄波，雌鸟仰头鸣叫。\n岸边野花丛生，与水草交错其间，石旁长着一棵枝繁叶茂、花开争艳的芙蓉树，整幅画面显得唯美秀雅。\n张中用笔细致圆柔，以淡墨勾出芙蓉花瓣，再稍作晕染，用笔简括，显得活灵活现，生动清艳。\n再用浓墨描绘芙蓉叶之向背，有没骨之韵，叶脉清晰可见。\n山石略以苔点修饰，具有唐代画风。\n《江山无尽图》兼用多种构图法绘制而成，有马远“一角式”构图法和郭熙的“三远法”构图法。\n描绘了江南山清水秀、风和日丽的美景。\n画面群山连绵，树木繁茂，百草复苏，一派春意盎然之景象。\n高山流水、水村人家、茅屋楼阁、渔舟泛江，所有景致，无不生动。\n设色淡雅，用笔圆润，无尽之江山景色，尽收眼底。\n《隔水吟窗图轴》 《芙蓉鸳鸯图》 《江山无尽图》 华喦（1682—1756），一作华岩，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、白沙道人、离垢居士等。",[23,24,25,26,27,28,30,36,175,32,33,116,135,275,7,302],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F249d982ffce7384142d527b785ca8c69.jpg",[],{"id":7742,"slug":7743,"title":7744,"dynasty":87,"author":1157,"museum":147,"description":7745,"tags":7746,"thumbUrl":7747,"material":120,"size":120,"collection":120,"collections":7748,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":82},224173,"xun-chun-tu-hua-yan-224173","寻春图","此作用高远章法铺展丘壑，石色苍浑松色沉郁，青绿设色带着古雅厚重的质感。近景老松虬曲盘绕，松下雅士晤言，溪石旁幽人闲坐，野趣盎然。中景村居错落隐于林麓，板桥之上一人策杖徐行，将山野居处的悠然缓缓铺陈。远景危崖如屏，林岚轻笼，山溪蜿蜒藏起春山秀色。右上角题诗呼应雅意，笔墨秀逸灵润，以山水清嘉承载文人雅怀，把春日山乡的清寂生机与林下逸致相融，尽显静穆悠远的山居春兴。",[23,24,25,26,27,28,54,30,31,32,33,161,175,7,35,1275,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22c8a1e8dc6a5f030b51069951c9769f.jpg",[],{"id":7750,"slug":7751,"title":7752,"dynasty":69,"author":88,"museum":89,"description":7753,"tags":7754,"thumbUrl":7755,"material":99,"size":7756,"collection":120,"collections":7757,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":82},223506,"song-yin-tan-dao-tu-ye-yi-ming-223506","松荫谈道图页","此图亦作《三教论道图》，图绘远处山峰连绵，近处一棵高大松树松杆遒劲，绿荫如盖；松荫下儒、释、道三位教徒或着长袍，或着叶装，端坐于松根、石块上谈经论道。此处环境清幽，阴凉静雅，似世外桃园般安逸。",[23,24,73,25,678,28,27,31,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F833d44227db51604372db96ab56fde5d.jpg","25.3＊25.6cm",[],{"id":7759,"slug":7760,"title":7761,"dynasty":18,"author":7762,"museum":20,"description":7763,"tags":7764,"thumbUrl":7765,"material":120,"size":120,"collection":120,"collections":7766,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":44},222451,"hua-wu-ming-ji-wang-zhong-li-222451","花坞鸣鸡","王中立","王中立（公元16-17世纪初），明代画家，字振之、彦强，号子正、子和、玄洲、玄洲生，吴县（今江苏苏州）人，生卒年不详。善画花鸟，笔力苍老，钩写兼用，设色绚丽，造型生动，颇有生意。师法陈淳，画风似鲁治、王穀祥，为吴派画家之一。\n传世作品有万历三十六年（1608）作《(松树喜鹊图》轴，现藏故宫博物院；四十三年（1615）作《花鸟图》卷，款署：“万历乙卯十月既望，为秋空禅兄写，王中立。”钤“王中立印”、“玄洲”两白文方印，现藏广州美术馆；万历三十四年作《腊梅双雀图》扇页、三十五年作《梅鹊图》轴、四十四年作《菊花图》轴、天启元年（1621）作《双猫菊石图》轴，均著录于《中国书画家印鉴款识》。",[24,25,678,27,28,7730,7,1181,366,484],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff98788b9f459f6714a03947aa5bb776.jpg",[],{"id":7768,"slug":7769,"title":7770,"dynasty":18,"author":298,"museum":172,"description":7771,"tags":7772,"thumbUrl":7773,"material":499,"size":7774,"collection":120,"collections":7775,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":44},222096,"liang-jiang-ming-sheng-tu-ce-8-shen-zhou-222096","两江名胜图册8","此图册描绘长江、准河两岸的山水景致和名胜古迹，表现的是江南水乡那种湿润清丽，明媚幽雅的风光。该图墨色富有变化，集中体现了沈周山水画风格。\n构图:纵观画册，画面剪裁简明、选取富有鲜明特点的景物，可以这样概括为图写真景，赋诗纪游，这与他一生与山林为伍，即有着他自己的生活的基础，才能描写出这些耐人寻味的景致。同时，又必须指出，其中不少构图为使人产生更多的联想、增加一些画外的意境，以此作背景来更加鲜明地衬托出每一画幅中的主题，构成诗意盎然的境界。\n技法:笔法上，只要细察，不难发现，在这十幅作品中，有的工密，有的疏简，布置或繁密谨严，或平凡简洁。用笔力、韵兼胜、不刻露，显得厚重凝炼。山石的繁笔勾皴和屋宇台阁的简笔勾勒，形成疏密对比。人物比例虽小，但那安然自得神态，极为生动，与整个自然融为一体。至于各画的墨色深浅、浓淡、干湿、轻重富有变化，使画面产生强烈的装饰美感。",[23,24,25,215,27,30,188,116,7,94,134,485,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d2195e006435fbb0a25480c8b44d74.jpg","42.2×23.8厘米",[],{"id":7777,"slug":7778,"title":7779,"dynasty":87,"author":2219,"museum":172,"description":7780,"tags":7781,"thumbUrl":7783,"material":120,"size":120,"collection":40,"collections":7784,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":7785},203438,"du-fu-shi-yi-tu-zhou-wang-yuan-qi-203438","杜甫诗意图轴","笔墨苍劲浑厚，层层皴染间尽显丘壑深度。峰峦叠嶂如聚，云雾缭绕似带，将远山推向幽深；近处松石挺秀，溪流蜿蜒穿涧，山间屋舍隐于林麓，动静相宜。既承北宗山水的雄健骨力，又融南宗笔墨的温润韵致，把杜诗中的沉郁意境凝于尺幅，在严谨构图中藏生机流动，足见画家对传统山水的精研与创新。",[23,26,27,54,30,132,7,35,135,33,36,1963,277,2966,7782,1217,394,1438,244,3543],"沟壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07d2bf256a8bbab7a17077134edcdbbc.jpg",[40],"96724d",{"id":7787,"slug":7788,"title":7789,"dynasty":18,"author":413,"museum":147,"description":414,"tags":7790,"thumbUrl":7792,"material":118,"size":119,"collection":120,"collections":7793,"showCount":7794,"zanCount":11,"manualWeight":11,"mainColor":82},290854,"wei-mo-shuo-fa-tu-zhou-tang-yin-290854","维摩说法图轴",[73,24,26,940,53,2177,1121,31,30,7,35,34,7791],"维摩说法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F207a0ac03e7bdb86e7f0969f3dcd6301.jpg",[],12,{"id":7796,"slug":7797,"title":7798,"dynasty":87,"author":3737,"museum":147,"description":7799,"tags":7800,"thumbUrl":7801,"material":118,"size":119,"collection":120,"collections":7802,"showCount":7794,"zanCount":11,"manualWeight":11,"mainColor":44},290561,"jian-zhu-song-tao-tu-zhou-xu-yang-290561","涧筑松涛图轴","徐扬（生卒年不详）江苏苏州人，清代画家。字云亭。家住阊门内专诸巷。工绘事，擅长人物、界画、花鸟草虫。",[73,24,26,27,30,7,94,33,35,55,95,34,188,5203,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa6cb454f41bf6374bb68c5dcaf9e50d.jpg",[],{"id":7804,"slug":7805,"title":7806,"dynasty":18,"author":7807,"museum":147,"description":7808,"tags":7809,"thumbUrl":7811,"material":118,"size":119,"collection":120,"collections":7812,"showCount":7794,"zanCount":11,"manualWeight":11,"mainColor":82},290015,"si-xian-tu-liu-jun-290015","四仙图","刘俊","本幅《四仙图》更偏重以写实的手法来表现，人物衣履线条运用十分纯熟流畅，画法工致，笔法劲健，法度严谨。每个人物皆刻画精细生动，长须飘然，双目炯然有神，特徵明显，形象饱满。人物的外貌及气质、肢体语言各异，个性鲜明，形神兼备，给人以呼之欲出之感，极富展现力。",[24,26,27,28,31,3061,7,1458,2327,7810,33,56],"仙人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3e4074c87456810eb8dbd96bf1b7979.jpg",[],{"id":7814,"slug":7815,"title":7816,"dynasty":87,"author":1687,"museum":147,"description":3597,"tags":7817,"thumbUrl":7819,"material":118,"size":119,"collection":120,"collections":7820,"showCount":7794,"zanCount":11,"manualWeight":11,"mainColor":44},288275,"shi-hua-ce-ye-10-zhen-wang-hui-288275","诗画册页10帧",[23,24,53,25,215,30,116,7,35,188,34,54,7818],"清幽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7369b0cd92479004403e2a8f52e7ae8.jpg",[],{"id":7822,"slug":7823,"title":7824,"dynasty":87,"author":7825,"museum":147,"description":7826,"tags":7827,"thumbUrl":7828,"material":118,"size":119,"collection":101,"collections":7829,"showCount":7794,"zanCount":11,"manualWeight":11,"mainColor":44},238941,"qing-xiang-si-shi-le-tu-xiang-ce-hu-jun-sheng-238941","庆祥四时乐图像册","胡骏声","字芑香，江苏常熟人。为缓溪翁族孙。翁擅添毫之技，晚岁目力稍衰，思得弟子相佐。骏声方弱冠，从毕琛学画臻众美。翁于是挈之共游凡数载，艺益进，遂为吴中之冠。陈芝楣抚苏时延至幕中，后丧妻，奉母居郡城，颜其斋曰“望禺”，饶幽居之趣。道光十年（1830）曾作仕女图。",[24,25,215,27,28,31,242,7,35,690,30,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6535153c09255e7dff49f2e5ec0692ad.jpg",[101,103],{"id":7831,"slug":7832,"title":1497,"dynasty":87,"author":7833,"museum":147,"description":7834,"tags":7835,"thumbUrl":7836,"material":3478,"size":120,"collection":40,"collections":7837,"showCount":7794,"zanCount":11,"manualWeight":11,"mainColor":44},237970,"shan-shui-zhou-li-jian-237970","黎简","黎简（1747年6月30日～1799年12月3日），字简民，一字未裁。号二樵，又号石鼎道人、百花村夫子，广东顺德县弼教村人，清代乾嘉年间岭南著名诗人、书画家。乾隆五十四年拔贡。诗画书称三绝，诗学李贺、黄庭坚，刻求新颖，书得晋人意。性喜山水，与张如芝、谢兰生、罗天池并称为粤东四大家。有《五百四峰草堂诗文钞》《药烟阁词钞》等\n黎简号称诗、书、画、印四绝，对岭南诗歌的发展起过积极的作用，且影响至中原。他一生虽然足迹未出岭南，但中年时诗画名气已远播中原。其诗以境新、句奇、意深、情真而独树一帜。但是，这位出色的诗人在中国文学史上长期没有位置，直到改革开放后才引起权威文学研究者的注意，收入《中国文学史》中。 著有《五百四峰堂诗钞》《五百四峰堂续集》《药烟阁词钞》，戏曲《芙蓉亭》等。\n诗从学李贺、黄庭坚入手，刻意求新，极“峻拔清峭”（王昶《湖海诗传》）之致，能自树一格。张维屏《国朝诗人征略》称：“其诗由山谷（黄庭坚）入杜，而取炼于大谢（灵运），取劲于昌黎（韩愈），取幽于长吉（李贺），取艳于玉溪（李商隐），取瘦于东野（孟郊），取僻于阆仙（贾岛）。锤焉凿焉，雕焉琢焉，于是成为其二樵之诗”。他的记游、题赠之作较多。不少诗描绘了两广山水风光、名胜古迹，如《藤县》《白马角》《龙门滩》《邕州》《白鹤观登五龙潭上玉女峰》《冲虚观至朱明洞》《浴日亭》《江南岸蕉园歌》等。也有少数篇章，反映民间疾苦，如《田中歌》，反映少数民族的风习，如《歌节》《大排三十八韵》等。\n其书法，意志追晋人，中年兼学李北海，晚年写苏黄两家为多，隶书真追《礼器》《熹平石经》，传世书法作品甚丰，显示了他在书法上的不断追求。肇庆七星岩石室岩洞内有他的《南服陨石》刻石，隶书体，秀劲舒放，纵横跌宕，属黎书上品。\n黎简工山水，早年粗犷、率意的用笔，侧重写生的表现，则多属效法明末清初的广东先哲。中年临摹倪云林、石涛作品，几可达到与真迹无异的境地。由近及远地求索，融古汇今地创新，师自前人，不囿于前人，始终是黎简所遵循的山水画创作主线。在这种意识指导下，创作出来的作品，自然会有一种清新、活泼的感觉。而且，由于他是以绝无“甜赖”气的元人、“搜尽奇峰打草稿”的石涛的技法，作为其创法的基调，又兼具乾隆盛世艺术所惯有的平稳、温润，对曾被扬州八怪个性化花鸟画震撼过的人们来说，黎简这种挑战主流派的山水画，又是一次新的震撼。\n黎简的篆刻，虽然属他诗书画的“余事”，但他有深厚的传统文化基础，才思敏捷。他的篆刻，得汉人神髓，参以己意，作品淳厚苍雄，意格甚高，自成面目。自刻图章曰“小子狂简”，刀法峻傥。又能治铜印。1962年，麦华三等辑成《二樵山人篆刻佚存》1册。",[24,25,26,53,27,54,30,36,7,35,135,187,31,303,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682aee1e09b037e88fe4860d9478e6a0.jpg",[40,103],{"id":7839,"slug":7840,"title":3781,"dynasty":18,"author":2197,"museum":89,"description":7841,"tags":7842,"thumbUrl":7843,"material":4218,"size":7844,"collection":120,"collections":7845,"showCount":7794,"zanCount":11,"manualWeight":11,"mainColor":44},236329,"shan-shui-ce-song-xu-236329","宋旭（1525—1606年），字初阳，号石门山人，浙江湖洲人，后徙居上海松江。宋旭一生喜云游，多居于寺庙精舍，日就禅灯孤榻，时人即用“发僧”来称呼他，即带发的僧人之意。后来他真的出家当了和尚，法名祖玄，自号天池发僧、景西居士等，具体卒年不详，从他尚有1606年作品存世，知他此年还在世。\n宋旭的画法继承明代吴门绘画传统，主要师法明四家之一的沈周，最擅长画山水，兼善人物。山水画在沈周的基础上融其他名家画法于一炉，并加入自己的理解，形成了颇具特色的雄劲古拙的画风。宋旭精研古人之法，尤其对宋代李成、关仝、范宽三家推崇备至，曾说：“画山水惟李成、关仝、范宽智妙入神，才高出类，三家鼎峙，百代标程，前古莫能方驾，近代难继后尘。”（见《无声诗史》卷三）由于他能远师古人，近取成法，创出了有别于吴派绘画的风格而自成一格，并对明末松江地区的画家产生了长足的影响，世人遂称其为“苏松派”的开山之祖，明末赵左、沈士充等皆出其门下。",[24,25,215,53,54,30,31,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7458b97cfab004179e74cd6e255c8ac4.jpg","纵31cm，横42cm",[],{"id":7847,"slug":7848,"title":7849,"dynasty":18,"author":7241,"museum":147,"description":7850,"tags":7851,"thumbUrl":7852,"material":120,"size":120,"collection":120,"collections":7853,"showCount":7794,"zanCount":11,"manualWeight":11,"mainColor":44},235594,"ce-jian-tu-zhou-fang-yi-zhi-235594","策蹇图轴","枯淡水墨晕开萧散秋郊，近畔苍松虬劲卓立，浓墨点簇苔叶成荫，留白衬出躯干清癯古雅。平远山水层层铺展，浅笔勾勒出汀洲丘峦，淡墨晕染空濛悠远，将郊野疏旷之境晕染极致。\n\n策蹇老者宽袍斗笠，缓行于溪山之间，寥寥数笔便绘就悠然意态。画面上方题笔纵逸跌宕，诗画交融，以禅意笔墨写就林泉高致，尽显晚明文人尚简尚意的风骨淡韵，淡墨轻岚之间，藏着旧朝士子寄情丘壑、避世寻幽的林下襟怀。",[24,25,26,53,30,31,242,7,35,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9e95a0a27c294450f03b11df67a85b7.jpg",[],{"id":7855,"slug":7856,"title":3781,"dynasty":18,"author":128,"museum":89,"description":7857,"tags":7858,"thumbUrl":7859,"material":246,"size":7277,"collection":120,"collections":7860,"showCount":7794,"zanCount":11,"manualWeight":11,"mainColor":44},233804,"shan-shui-ce-dong-qi-chang-233804","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。",[24,25,215,53,54,30,7,35,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe94f3d6287aa626435c6611767a6320.jpg",[],{"id":7862,"slug":7863,"title":1747,"dynasty":87,"author":171,"museum":89,"description":1748,"tags":7864,"thumbUrl":7865,"material":246,"size":1753,"collection":120,"collections":7866,"showCount":7794,"zanCount":11,"manualWeight":11,"mainColor":44},233772,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233772",[24,25,215,53,27,29,54,30,7,187,31,35,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b13f182bff57b8fc3868382c434e29.jpg",[],{"id":7868,"slug":7869,"title":7870,"dynasty":18,"author":128,"museum":2859,"description":7871,"tags":7872,"thumbUrl":7873,"material":76,"size":7874,"collection":120,"collections":7875,"showCount":7794,"zanCount":11,"manualWeight":11,"mainColor":82},232690,"shi-tian-shi-yi-shan-shui-tu-dong-qi-chang-232690","石田诗意山水图","董其昌（1555-1636），字玄宰，号思白，别号香光居士，松江华亭（今上海市）人。明朝后期大臣，书画家。\n万历十七年，中进士，授翰林院编修，官至南京礼部尚书。崇祯九年，卒，赐谥“文敏”。\n董其昌擅画山水，师法董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。其画及画论对明末清初画坛影响甚大。书法出入晋唐，自成一格，能诗文。",[23,24,25,26,53,54,30,35,36,31,7,134,702,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1971e72db7bbc51672311ae5b77b0b6.jpg","56.7x131cm",[],{"id":7877,"slug":7878,"title":7879,"dynasty":87,"author":7880,"museum":1577,"description":7881,"tags":7882,"thumbUrl":7883,"material":1183,"size":7884,"collection":120,"collections":7885,"showCount":7794,"zanCount":11,"manualWeight":11,"mainColor":82},231354,"huan-hua-li-yin-tu-zhang-qia-231354","浣花吏隐图","张洽","此图绘写江南明媚春光。从题跋可知，此图是嘉善盐生王启焜赴四川监茶道时，张洽为其作的送行图，七位题跋者均为同时送行之人。",[23,24,53,54,30,132,133,32,36,175,135,5146,7,1238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b5ca2fc160f4ec5491402f8bad41d44.jpg","32cmx99cm",[],{"id":7887,"slug":7888,"title":7889,"dynasty":3958,"author":3959,"museum":147,"description":3960,"tags":7890,"thumbUrl":7891,"material":118,"size":119,"collection":120,"collections":7892,"showCount":7794,"zanCount":11,"manualWeight":11,"mainColor":82},230501,"shi-ting-shi-dai-si-ji-shan-shui-tu-xia-xue-zhou-230501","室町时代 四季山水图（夏）",[23,24,25,26,53,54,30,35,7,161,33,243,7327,288,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e5c2ade0bff3d25429ac2e9dbccb1f0.jpg",[],{"id":7894,"slug":7895,"title":7896,"dynasty":18,"author":1015,"museum":147,"description":6209,"tags":7897,"thumbUrl":7898,"material":118,"size":119,"collection":120,"collections":7899,"showCount":7794,"zanCount":11,"manualWeight":11,"mainColor":44},228870,"shu-hua-he-bi-gui-qu-lai-ci-wen-zheng-ming-228870","书画合壁归去来辞",[23,24,25,186,29,53,7,2851,302,35,439,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F951ce94121c71e1716a09cb31ca991f2.jpg",[],{"id":7901,"slug":7902,"title":7903,"dynasty":18,"author":815,"museum":147,"description":7904,"tags":7905,"thumbUrl":7906,"material":120,"size":120,"collection":120,"collections":7907,"showCount":7794,"zanCount":11,"manualWeight":11,"mainColor":82},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。",[23,24,25,26,27,53,54,30,162,7,32,31,94,344,135,3197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ee7d130be7372a1498bcb77806080ed.jpg",[],{"id":7909,"slug":7910,"title":7911,"dynasty":87,"author":1038,"museum":89,"description":3397,"tags":7912,"thumbUrl":7913,"material":543,"size":3400,"collection":120,"collections":7914,"showCount":7794,"zanCount":11,"manualWeight":11,"mainColor":44},220313,"huang-shan-tu-ce-15-hong-ren-220313","黄山图册-15",[23,24,53,215,54,30,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed03933e854c7b1102879a0db7235d8b.jpg",[],{"id":7916,"slug":7917,"title":7918,"dynasty":87,"author":1038,"museum":89,"description":3397,"tags":7919,"thumbUrl":7920,"material":543,"size":3400,"collection":120,"collections":7921,"showCount":7794,"zanCount":11,"manualWeight":11,"mainColor":44},220298,"huang-shan-tu-ce-28-hong-ren-220298","黄山图册-28",[23,24,53,215,30,54,35,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0507c762bfe0f698ed4615fa06459f63.jpg",[],{"id":7923,"slug":7924,"title":7925,"dynasty":87,"author":88,"museum":212,"description":7926,"tags":7927,"thumbUrl":7928,"material":190,"size":120,"collection":120,"collections":7929,"showCount":7794,"zanCount":11,"manualWeight":11,"mainColor":82},219271,"qun-hou-xi-shui-shuang-ping-er-yi-ming-219271","群猴戏水双屏(二)","松枝虬曲如铁，斜逸于空濛山影间，瀑布自崖巅倾泻而下，溅起碎玉似的水花。山石之上，群猴情态鲜活：或相偎亲昵，或探臂戏波，或追逐跃动，灵动身姿与潺潺流水相映成趣。墨色浓淡交错，细致勾勒出猴毛的蓬松纹理与山石的苍劲质感，流水则以婉转线条摹写奔腾之势。古雅绢本的暖棕底色，衬得画面静谧而富有生机，仿佛能闻猴啼与水声相和，尽显自然野趣与生命的鲜活意趣，将山林间的灵动瞬间凝于笔端。",[24,25,26,53,28,54,30,2327,33,55,56,7,961],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd01f16953ecc4f7107f745ae261e1887.jpg",[],{"id":7931,"slug":7932,"title":7933,"dynasty":87,"author":1811,"museum":212,"description":7934,"tags":7935,"thumbUrl":7936,"material":38,"size":120,"collection":120,"collections":7937,"showCount":7794,"zanCount":11,"manualWeight":11,"mainColor":44},215022,"fang-gu-shan-shui-ce-8-wang-jian-215022","仿古山水册-8","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。",[24,53,215,131,54,30,36,35,175,258,7,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc3e87a735bf5fbbc93441ab92abd2c3.jpg",[],{"id":7939,"slug":7940,"title":7941,"dynasty":3880,"author":7942,"museum":172,"description":7943,"tags":7944,"thumbUrl":7945,"material":120,"size":120,"collection":384,"collections":7946,"showCount":7794,"zanCount":141,"manualWeight":11,"mainColor":7947},202997,"song-he-mu-dan-tu-zhou-ding-bao-shu-202997","松鹤牡丹图轴","丁宝书","这幅画作构图疏密有致，苍劲的松干与繁茂的松针相映，笔墨间尽显老辣之韵；山石以淡墨皴擦，肌理厚重。牡丹盛放于下，粉、紫、黄三色交织，花瓣层叠细腻，设色明丽温润；枝叶墨色浓淡相宜，舒展自然。几只禽鸟或栖松枝、或立石畔，姿态鲜活，羽毛勾勒细致，墨色对比鲜明，灵动毕现。整体工写兼备，写意的洒脱与工笔的精致相融，生机盎然中透着雅致，传递出吉祥富贵的意趣。",[24,667,27,28,342,1481,7,35,95,54,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc30a51bab410742d82d98dc079f28643.jpg",[384],"c6bbaf",{"id":7949,"slug":7950,"title":7951,"dynasty":87,"author":2535,"museum":172,"description":7952,"tags":7953,"thumbUrl":7954,"material":120,"size":120,"collection":40,"collections":7955,"showCount":7794,"zanCount":11,"manualWeight":11,"mainColor":7956},202185,"guan-pu-tu-zhou-xiang-sheng-mo-202185","观瀑图轴","画面以层叠飞瀑为脉络，苍松虬枝横斜，枝干劲挺如铁，松针细密若织。小桥跨于流泉之上，一人安坐凭栏，静赏瀑流奔涌，松风与水声相和。笔墨间，山石以皴擦显嶙峋肌理，瀑布用留白衬灵动之势，水墨晕染出清润空濛之气。整体意境清幽淡远，尽显文人雅士寄情山水的闲适心境，笔墨精妙处见匠心，于简淡中藏深致，将自然之趣与人文情怀融于尺幅之间。",[24,53,30,7,32,55,54,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2af1a7a792af2da76914347d431b1f8.jpg",[40],"ae9f92",{"id":7958,"slug":7959,"title":7960,"dynasty":18,"author":2197,"museum":147,"description":3773,"tags":7961,"thumbUrl":7962,"material":118,"size":119,"collection":120,"collections":7963,"showCount":7964,"zanCount":11,"manualWeight":11,"mainColor":82},290975,"luo-han-zhou-song-xu-290975","罗汉轴",[24,73,25,26,2177,27,31,5414,7,35,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb81f3d3da546844264f59dc1fa169adc.jpg",[],11,{"id":7966,"slug":7967,"title":6394,"dynasty":18,"author":4555,"museum":147,"description":6105,"tags":7968,"thumbUrl":7969,"material":118,"size":119,"collection":120,"collections":7970,"showCount":7964,"zanCount":11,"manualWeight":11,"mainColor":82},290220,"shan-shui-tu-shan-mian-wen-jia-290220",[23,73,24,25,678,53,30,7,35,33,31,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5ceb225c498438ec649c4ad43173dcb.jpg",[],{"id":7972,"slug":7973,"title":7974,"dynasty":87,"author":7975,"museum":147,"description":7976,"tags":7977,"thumbUrl":7978,"material":118,"size":119,"collection":120,"collections":7979,"showCount":7964,"zanCount":11,"manualWeight":11,"mainColor":44},289904,"hai-wo-tian-chou-tu-qu-zhao-lin-289904","海渥添筹图","屈兆麟","屈兆麟，字仁甫，北京人，1884年18岁时，进清宫造办处如意馆听差，擅长工笔花鸟，后升至如意馆“司匠长”。在清宫如意馆做过最后一任“司匠长”的画师（1866-1937），正好赶上中国历史上由王朝到共和的翻天覆地之变。民国十三年（1924）11月，民国政府摄政内阁黄郛、冯玉祥下令，由北京警卫司令鹿钟麟、警察总监张璧、北京大学教授李煜瀛出面执行，请逊帝溥仪出宫。从此，屈兆麟结束了长达四十年的宫廷画工生涯，流入社会，靠卖画为生，成为职业画家。",[23,73,24,25,26,27,256,54,30,7,2609,776,94,135,95,2026],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e819a6563ee6cde90a0621a4593fb59.jpg",[],{"id":7981,"slug":7982,"title":7983,"dynasty":69,"author":88,"museum":20,"description":7984,"tags":7985,"thumbUrl":7987,"material":190,"size":7988,"collection":120,"collections":7989,"showCount":7964,"zanCount":141,"manualWeight":11,"mainColor":82},289556,"que-zuo-tu-yi-ming-289556","却坐图","该图描绘西汉文帝妃慎夫人恃宠与帝后平起平坐，日游上林苑，中郎将袁盎向文帝犯颜直谏：“妃子僭坐后位有违纲常。”文帝不悦但理在袁盎，只得纳谏，慎夫人也只好悻悻而起。该画侧重表现矛盾化解过程中人物微妙的心理变化。",[24,1119,27,28,7986,643,7,776,739,1292],"古代人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6d518a216265781675c0b9116d09c74.jpg","146.8x77.3",[],{"id":7991,"slug":7992,"title":7993,"dynasty":69,"author":88,"museum":147,"description":7994,"tags":7995,"thumbUrl":7996,"material":118,"size":119,"collection":120,"collections":7997,"showCount":7964,"zanCount":11,"manualWeight":11,"mainColor":82},289120,"xie-qin-xian-bu-tu-yi-ming-289120","携琴闲步图","此作尽显宋人林居雅逸之趣。嶙峋怪石错立，古松虬曲盘桓，苍润笔墨绘就老松霜皮黛色，枝桠舒展如盖，自带浑古苍劲之态。左侧茅舍隐于山石间，回廊半遮，暗衬山居幽寂无扰。平坡之上，策杖士人徐行，似携琴欲赴山友之约，闲缓步履间尽显萧散意趣。远景山峦以淡墨晕染，虚实相生，将空濛山野收于尺幅，咫尺含千里之思。全画笔致简秀雅润，设色古淡沉静，以留白烘托出清寂悠然的隐逸氛围，将文人士大夫寄情林泉、静享丘壑的雅怀融在方寸之间，是宋人小品山水以小见大、借景抒怀的精妙之作。",[24,73,256,7,57,440,54,1499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd64fca472cc1a0c887e7007bd6cf8da4.jpg",[],{"id":7999,"slug":8000,"title":8001,"dynasty":87,"author":88,"museum":147,"description":6963,"tags":8002,"thumbUrl":8003,"material":118,"size":119,"collection":120,"collections":8004,"showCount":7964,"zanCount":141,"manualWeight":11,"mainColor":44},267334,"ke-si-jia-xiu-san-xing-tu-zhou-yi-ming-267334","缂丝加绣三星图轴",[26,25,4851,2129,28,27,31,3061,6966,30,7,1238,776,1458,33,2548,188,34,6967],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1f972bd7e0b8748b08724aa9e2911dd.jpg",[],{"id":8006,"slug":8007,"title":8008,"dynasty":87,"author":88,"museum":147,"description":8009,"tags":8010,"thumbUrl":8015,"material":118,"size":119,"collection":8016,"collections":8017,"showCount":7964,"zanCount":11,"manualWeight":11,"mainColor":82},258984,"yi-xing-yao-zi-sha-song-shu-peng-cha-tu-shi-wen-hu-yi-ming-258984","宜兴窑紫砂松树烹茶图诗文壶","宜兴窑，在今江苏宜兴丁蜀镇，故名。烧瓷历史悠久，秦汉时宜兴地区陶窑密布；两晋时在均山烧青瓷，唐初在归径等地大量烧制，至晚唐、五代成为南方民间著名青瓷窑；宋、元时期，丁蜀与西渚一带大规模烧造日用陶和早期紫砂。明清时成为当时的烧陶中心。涧众村发现有唐代青瓷窑址。明代以紫砂器闻名于世，出现不少制紫砂壶名家，如供春；时大彬、李仲芳、陈仲美等，并仿烧宋代钧窑器物，因有"宜钧"之称。\n在今江苏宜兴市南部的丁蜀镇一带，故称为宜兴窑。宜兴窑从汉代始烧红陶、灰陶、和原始青瓷等等，其烧制陶瓷的历史一直延续到今天，有2000多年，故可称是最古老的窑口。宋代已开始烧造紫砂器，明代的紫砂器闻名于世，清代是其高峰。建国后，宜兴除传统的紫砂陶、均陶有很大发展外，还恢复了青瓷生产，新创了花釉陶和精陶等产品，是我国重点陶瓷产区之一。",[8011,8012,1029,8013,188,7,8014,1250],"陶瓷","紫砂","雕刻","烹茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d2cb55296edbfaa0b3e4c383f3bafb8.jpg","瓷器精选",[8016],{"id":8019,"slug":8020,"title":8021,"dynasty":87,"author":3790,"museum":147,"description":8022,"tags":8023,"thumbUrl":8024,"material":118,"size":119,"collection":120,"collections":8025,"showCount":7964,"zanCount":11,"manualWeight":11,"mainColor":44},239397,"shou-zhe-xiang-tu-zhou-wu-chang-shuo-239397","寿者像图轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,25,26,53,188,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcec5e02accfa1320bb7cef69f6c82525.jpg",[],{"id":8027,"slug":8028,"title":3781,"dynasty":87,"author":8029,"museum":147,"description":8030,"tags":8031,"thumbUrl":8032,"material":120,"size":120,"collection":120,"collections":8033,"showCount":7964,"zanCount":11,"manualWeight":11,"mainColor":82},238142,"shan-shui-ce-yun-xi-238142","允禧","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。",[24,27,54,215,30,35,7,32,175,135,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc14f7fcf27a5310c0ba5dede1dab3133.jpg",[],{"id":8035,"slug":8036,"title":3781,"dynasty":87,"author":6546,"museum":89,"description":6547,"tags":8037,"thumbUrl":8038,"material":246,"size":120,"collection":120,"collections":8039,"showCount":7964,"zanCount":11,"manualWeight":11,"mainColor":44},237186,"shan-shui-ce-sun-yi-237186",[24,25,215,53,940,54,30,7,35,302],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89052916a5a90b6716adab48eace64cd.jpg",[],{"id":8041,"slug":8042,"title":3781,"dynasty":87,"author":6546,"museum":89,"description":6547,"tags":8043,"thumbUrl":8044,"material":246,"size":120,"collection":120,"collections":8045,"showCount":7964,"zanCount":11,"manualWeight":11,"mainColor":44},237185,"shan-shui-ce-sun-yi-237185",[73,24,25,215,27,54,30,132,133,162,367,7,344,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F964fa9306cfae7607af1e90144e6216e.jpg",[],{"id":8047,"slug":8048,"title":3781,"dynasty":87,"author":1157,"museum":2829,"description":7435,"tags":8049,"thumbUrl":8051,"material":120,"size":120,"collection":40,"collections":8052,"showCount":7964,"zanCount":11,"manualWeight":11,"mainColor":44},236733,"shan-shui-ce-hua-yan-236733",[24,25,215,53,27,30,57,7,35,36,8050],"浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F127244c0a5a4503d512f2db8bb189821.jpg",[40],{"id":8054,"slug":8055,"title":7449,"dynasty":87,"author":2847,"museum":147,"description":8056,"tags":8057,"thumbUrl":8058,"material":120,"size":120,"collection":120,"collections":8059,"showCount":7964,"zanCount":11,"manualWeight":11,"mainColor":44},235644,"shan-shui-tu-ce-wu-li-235644","此作用平远章法铺展水岸秋光，近渚枯木蟠曲，苍松卓立，水色空明间一叶扁舟随波缓行。中洲林木蓊郁，隐见村居茅舍，远山以淡墨轻扫，黛色含烟，山顶浮屠轻点，添就古雅幽寂之意。\n笔墨以干笔皴擦出山石肌理，墨色清润淡和，自带萧散简远的文人意趣。左上题诗呼应画境，将林泉幽居的澹泊襟怀融于山水间，实景与诗意浑然相融，写尽江南水滨的清秋日色，漫着静穆淡远的悠然况味。",[24,53,54,30,116,7,134,94,34,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11cd69920f84e0acb259430d4620faaf.jpg",[],{"id":8061,"slug":8062,"title":8063,"dynasty":87,"author":8064,"museum":147,"description":8065,"tags":8066,"thumbUrl":8067,"material":120,"size":120,"collection":120,"collections":8068,"showCount":7964,"zanCount":11,"manualWeight":11,"mainColor":44},235309,"shan-shui-ping-chun-shan-xiao-xiu-tu-wang-yu-235309","山水屏-春山晓秀图","王昱","此作用笔恪守正统山水法度，以干笔皴擦结合湿墨晕染，山峦以披麻皴反复积叠，赭石花青轻敷，色调沉静雅致。远景危崖拔地而起，云气萦回山坳，晕出空濛虚灵之意；中景山坞村居错落，茂林环合，溪泉穿谷潺潺有声，尽显山居安谧；近岸老松虬曲苍劲，苔点繁缀尽显古拙生机。\n\n整卷虚实相生，既铺陈出山川雄浑厚重的体量感，又揉入春日烟岚的清润秀雅，将林泉雅趣与江南春山的明秀融于一处，尽显静穆淡远的文人山水意境。",[24,30,26,27,54,132,133,7,94,56,36,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff592334970ffc38183d50b48aab8d876.jpg",[],{"id":8070,"slug":8071,"title":3781,"dynasty":87,"author":8072,"museum":147,"description":8073,"tags":8074,"thumbUrl":8075,"material":118,"size":119,"collection":40,"collections":8076,"showCount":7964,"zanCount":11,"manualWeight":11,"mainColor":44},235302,"shan-shui-ce-zhang-feng-235302","张风","张风，一作鹳，字大风，号升州道士，又号上元老人，或署“真香佛空”、“真香佛空四海”，明代画家、诗人。江苏南京人。思宗崇祯时生员，明亡后不为官，家里贫穷。他擅画山水、人物、花卉，也精于画肖像。早年风格较为恬静闲适，神韵悠然。晚年他曾佩剑北游，所以笔墨风格瘦挺豪纵。他还精通画理。",[24,25,215,54,53,30,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f15bdaffee209fef5f771dbfcf84975.jpg",[40],{"id":8078,"slug":8079,"title":1416,"dynasty":87,"author":171,"museum":89,"description":8080,"tags":8081,"thumbUrl":8082,"material":4218,"size":544,"collection":120,"collections":8083,"showCount":7964,"zanCount":11,"manualWeight":11,"mainColor":44},235007,"yuan-ji-shan-shui-tu-ce-shi-tao-235007","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。",[24,53,27,54,188,34,30,35,36,7,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f95e070eb30a633e86a181baaa50863.jpg",[],{"id":8085,"slug":8086,"title":8087,"dynasty":18,"author":6892,"museum":89,"description":8088,"tags":8089,"thumbUrl":8090,"material":231,"size":8091,"collection":120,"collections":8092,"showCount":7964,"zanCount":11,"manualWeight":11,"mainColor":44},233843,"bi-hu-zhu-shu-tu-zhou-shen-hao-233843","闭户著书图轴","画面苍松下篱门紧闭。窠石小溪，书屋内一人凭几挥笔著书。用笔工细严谨。自识“闭户著书多岁月，种松皆作老龙麟。安素先生，抱道高棲，日著书万言。穆如之风，真追支、许。其次公原定，逸才清骨，与予有缟紵之谊。近闻遷乔，写此代贺。癸酉中秋，朗道人颢”。钤“朗倩”白文方印等。另钤“乾隆御览之宝”等鉴藏印多方。按癸酉为崇祯六年，公元一六三三年，作者时年四十八岁。此图曾经清内府收藏。《石渠宝笈》著录。",[24,25,26,53,27,54,29,188,34,288,7,175,31,57,5461],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f512c1583ae2897dc676a32f26a2c32.jpg","纵96.2厘米，横40.7厘米",[],{"id":8094,"slug":8095,"title":5989,"dynasty":87,"author":171,"museum":147,"description":5990,"tags":8096,"thumbUrl":8098,"material":543,"size":5993,"collection":120,"collections":8099,"showCount":7964,"zanCount":11,"manualWeight":11,"mainColor":44},233381,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233381",[24,25,215,53,54,29,34,30,7,35,8097],"杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc555274dea7bbe31768bc088686b31c1.jpg",[],{"id":8101,"slug":8102,"title":8103,"dynasty":87,"author":3848,"museum":89,"description":8104,"tags":8105,"thumbUrl":8106,"material":120,"size":120,"collection":120,"collections":8107,"showCount":7964,"zanCount":141,"manualWeight":11,"mainColor":44},233226,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-shan-shui-ye-gao-cen-233226","金陵诸家山水花卉册-山水页","自17世纪初到18世纪上半叶，以南京为中心的江南地区，产生了比历史上任何时代和地区都要多的画派和画家。《明画录》记载的画家有800多人，其中江苏约有370人，浙江占了200多人，两地画家占总数的75%。尤其是执书画坛牛耳者几乎均为江南人。特别是在明清之际，画坛显得异常活跃，在提倡师古的正统派和注重文学意味的文人画这两种绘画思想影响下，文人画家一方面追求自己的个性，同时，师承相同、风格相近者也在各地活动，或聚合一处，倡导变革风气，形成了许多画派，如以松江人董其昌为首的“松江派”，以常熟画家王石谷为代表的“虞山派”，以明末画坛泰斗王时敏之孙王原祁为首的“娄东派”，以梅清为首的“黄山派”等。南京作为江南首府，明代南都的风姿、历史的悠久、山川的秀丽，赢得了诗人画家不绝的歌咏描绘。其文化的昌盛，经济的繁荣，生活时尚的风流，与书画有关的各行业的便利，皇亲国戚、富商大贾和书画收藏家的存在，使其具有磁铁般的大都会的吸引力，孕育出一批本地画家，也将来自四面八方的艺术家凝聚一起，各派画家聚合会晤，或过往相从，使南京自然成了这种时代潮流的汇合处，产生了为史所称的以“金陵八家”为首的一批画家，以其令人瞩目的创作纵横画坛一个世纪之久。\n\n一、金陵艺术家和金陵八家\n金陵的画坛，自14世纪明初建都至16世纪中期，在明代皇室的偏爱下，先由浙派画家领风气之先，承继北宋以来范宽式的布置茂密、山势伟岸巨嶂山水的整体构图，运用大斧劈皴和墨汁淋漓、快速运笔而形成强劲粗放笔墨效果的所谓浙派绘画，得到明皇室贵族的青睐。自永乐初浙派第一代实力人物戴进到达南京，随后有第二代浙派画家吴伟于1475年挟画技到南京，17岁的小伙子很快便以其笔墨酣畅、雄气横发、纵笔挥洒的绘画风格，受到了金陵贵族的喜爱。吴伟曾与诸王孙交游甚欢，年年踏春杏花村，而吴伟所喜爱的狂欢剧饮、挟妓喧闹以刺激绘画创作的方式，也在著名的秦淮河上得到了实现。继吴伟之后，第三代的浙派画家活跃于金陵的有蒋嵩、张路、汪肇等。\n自16世纪始，由于南京文化界中文人士大夫升为主流，其品味的改变，逐渐导致对绘画品味的改变，意趣深秀、若有所寄的以沈周和文徵明为首的吴派文人山水画影响渐大。随着金陵当地文人的兴起，至嘉靖中期，开始了“金陵初盛之时”，许多来自苏州、华亭的文人和因宫廷政治斗争中被贬谪的保守派成员离开北京至南京，形成一些凝聚力极强的文士集团，互相唱和。这批自居清流的士大夫对艺术的见解，也因政治、历史的原因，而产生一种不愿妥协现实，而以私人化“遣兴”于书画的形式作为一种对自尊的维护和对现实的抗议，故以吴派为代表的文人山水画得以兴盛，而浙派在其大本营的金陵，终因文人文化势力的高涨，而终于完全失去了势力，由此开始了中国文人画的高峰。\n16世纪，南京云集了本地和来自各地的画家，1669年，龚贤曾在周亮工所集《名人画册》上题曰：“今日画家以江南为盛，江南十四郡以首郡（南京）为盛，郡中著名者且数十辈，但能吮毫者奚啻千人”，享有画名的许多画家如文徵明、徐渭、董其昌、石谿、石涛、程正揆等，或造访、或游历、或寓居，都与南京有关。史称的金陵八家，亦有大半为外地来南京寓居者，因此使画家们相互间的学习、切磋和激励也有了许多机会。例如，龚贤自少年时便师董其昌，与石谿、石涛和程正揆等画家都有交往，也与金陵画家共同作画。据记载，1679年，龚贤便与邹喆、吴宏、樊圻、高岑、高遇、王概、柳堉、谢荪一起为伴翁作《山水花卉册》（故宫博物院藏）。画家程邃也在一个手卷的题跋中记述其与吴宏、戴本孝、龚贤、柳堉等常常饮酒论画的友情。\n南京得以凝聚画家的原因，首先与南京作为东南大都会所具有的吸引力和悠久的文化传统有关，并且在明亡后，南京又作为明代故都和故国之象征，从心理上和精神上凝聚了一代遗民艺术家；其次，从艺术的发展来看，因其为大都会，得以广纳百川、融会诸家，较少门户之见，虽然也许不易产生如小城镇所易形成的因血缘和师徒关系为主的派别，但却利于艺术家自由追求和发展其个性和风格；此外，南京为贵戚、富商、高官汇聚之地，有相当的收藏书画的潜力，例如当时著名的官僚、文人和收藏家周亮工，身为朝廷命官，但心喜书画，他不遗余力地收藏品评作品，奖掖提拔画家，也像一块重要的磁铁，将画家们纷纷吸引前来。龚贤在1669年为周亮工题其所集《名人画册》中曾有记述：“诗人周栎园先生有画癖，来官兹土（指南京）结读画楼。楼头万轴千箱，集古勿论，凡寓内以画鸣者，闻先生之风，星流电激，唯恐后至。而况先生以书召，以币迎乎？”周与许多书画家来往密切，他在南京秦淮河畔的居处便成为众好友的活动中心。为史所称的“金陵八家”都与周亮工有密切的联系，龚贤便为其府上的常客，周氏汗牛充栋的藏书藏画使他大饱眼福。龚贤与周亮工有将近20年的友谊，诗画唱酬，造访论道，不绝于时。1672年，周亮工卒，龚贤悲痛地作有《哭栎下先生》七律四首，有句云“哭公独我头全白，在世人谁眼更青”。其他如樊圻在丁酉年（1657）为周亮工而作《江浦风帆图卷》（辽宁省博物馆藏），叶欣在丁亥年（1647）为周亮工而作《山水册》（故宫博物院藏），高岑作《金陵四十景图》，由周亮工题跋，邹喆亦与周亮工诗画 往来。\n凭着对南京画家的了解，周亮工对南京画风的演变和发展曾提出一些观点：“秣陵画，先知惟魏考叔兄弟，翰之出，而秣陵之画一变，士夫衲子无不宗之。”继被视为金陵画派先驱人物的魏之璜（字考叔）、魏之克兄弟和朱翰之后，又由周亮工率先提出“金陵八家”一说，他所列名的八位画家为：陈卓、吴宏、樊圻、邹喆、高岑、武丹、蔡泽、李又李。然而认同者仅有乾隆年间成书的《上元县志》，稍后活动于雍乾时期的张庚，在《国朝画徵录》中合称龚贤、樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪为“金陵八家”，得到较多人的认可。清末秦祖永的《桐荫论画》、李浚之的《清画家诗史》等均主其说，虽然这八家并不一定代表当时知名度最高的画家，且因其师承不同，风格迥异，也难以简单地以“画派”一词来归纳，但这一个松散的画家群体，都有着相近的生活经历和思想感情，在动荡的明清之际，有亡国之痛，有忠君之义，不事新朝，遁迹山林，以诗画寄兴，虽然个性各异，但都安贫乐道，洁身自好，在当地享有“高士”之名，彼此间亦有诗文书画往来，并有共同的朋友圈子相交往。他们之间也有较多共同的创作思想，如借绘画抒写真情，不拘于派系之争，不论浙派吴派，善法必学，故能自辟蹊径，标树己风。在笔墨技法上也有相似之处，如常用硬直之笔，作整饬的线条，画面结构清晰，注重笔墨的整体感，讲究墨色的对比和映衬等，在作画题材上多以南京近郊山水为粉本，均表现出一种简朴平实的绘画风格，由此形成17世纪金陵山水画的独特 面貌。\n\n二、17世纪金陵山水画的文化特征\n金陵画家所创的山水画，具有比较鲜明的地方特色。首先是表现了南京及附近的山水特点。南京虽然为青山环绕，但基本上是以小山头为主的丘陵地带，钟山最高峰也不过海拔442米，然而山色秀美苍润。时人顾起元曾赞叹道：“金陵之山，形家言为南龙尽处，精华之气发露无馀，故其山多妍媚，而郁纡烟容岚气，遝翠霏青，望之如古佛顶上之螺，美人眉间之黛，而特未有奇峰削壁拔地刺天，如瑶篸玉剑突起于云霄之上者。江水一泻千里，沙腾浪涌，天日为昏，最为怪伟。至静夜无风，江声隐起，余尝夜卧洪济燕矶听之，汹汹如欲崩四壁也。后湖泓渟坦沲，堤杨洲菼，绰约媚人，山色四围，如靓妆窥镜。湖山之美，何减虎林。所少者独瀑布与寒泉耳。”金陵画家创作的山水便多以此山景水色为蓝本，起伏的丘陵，苍秀的林木，而北方的那种雄浑伟岸的大山大势则比较少见。第二是南京连接江南水乡，河湖港汊较多，行船泊舟，最是司空见惯，故画家笔下江汀舟楫之景多见，岸矶草亭也成了常见的景色。第三，江南的空气湿润，云雾时起于山林，烟霭常生于河湖，尤其南京冬天昼夜温差有异，水面易生烟气，夏天炎热闷湿，暑气常多漫漫，又似薄雾轻烟，与天相接。在诗人画家的笔下，这氤氲的云烟是别饶情趣的。唐代诗人杜牧在《夜泊秦淮》中歌咏道“烟笼寒水月笼沙”，罗隐在《金陵夜泊》中歌咏“冷烟轻淡傍衰丛”，明代诗人顾梦游则有诗句道“落日淡生烟”，龚贤有诗道“老柳迷夕阳，烟波涨南浦”。画家笔下的金陵山水因此亦多云烟缭绕之状，几乎每个画家都有描绘，其表现或柔和或飘逸或湿润或轻扬，因景因情，因画家的感受不同而富于变化。第四，金陵山水中表现当地特色的景物较多见，例如：钟山的松树。据记载，钟山自东晋时便人工植松，宋代也曾种植，明代在钟山建造明代开国皇帝太祖朱元璋的孝陵，更是植松十万株。钟山青松便成为此一时期常见的山水画题材。第五，金陵山水画中有许多表现了当时文人生活时尚和爱好的内容，如山居、书屋、旅行、品茗、赏妓等，因南京为一著名的山林城市，这些反映时尚的画面也大多安置在秀丽的自然景观中。\n金陵山水画中也映现出浓重的怀旧情结。南京以名胜古迹、文化遗风和风流时尚著称，其处处可成为触景生情的诗、落笔成文的画。在诗人墨客的笔下，金陵怀古是一个永恒的题材，尤其是六朝的名胜典故，更是一个千古难解的情结，令一代又一代的文人陶醉。自唐代以来，诗人李白、杜甫、李商隐、刘禹锡都有著名的诗句传世，此后历代的诗人都不乏佳句。明末清初的文人诗作中或金陵山水画中若题有诗歌的，常常都会流露出这种对以往历史的追怀，六朝的名胜典故总像幽灵一样地在文人的诗画中徘徊。龚贤曾作《金陵怀古》二诗道：“短笛唤愁生，江船夜复清。月明争战地，潮打受降城。残柳欲无影，哀鸿只一声。石矶飞不去，凄绝古今情。”以西晋克吴、孙皓受降的六朝典故，抒发自己亡国的哀痛情怀。又有诗道：“江南六代风流地，白下多年翰墨场。古物已无王逸少，名人独剩顾长康。量宽嗜酒难逢醉，才大论诗莫禁枉。急办青钱买山隐，坐听深树候莺簧。”诗中综述六朝的文化和影响，表现出对王羲之、顾恺之等名人和六朝饮酒论诗等风流时尚的倾慕追往。\n即使那些暂居或游访过南京的画家，对南京也是难以忘怀。17世纪的著名画家石涛曾有册页名《秦淮忆旧》，为应友人之邀而作，回忆昔日与友人同在南京秦淮赏梅聚会的往事，亦引用六朝典故，其中一幅题画诗道：“沿溪四十九回折，搜尽秦淮六代奇。雪霁东山谁著屐，风高西壑自成诗。应怜孤瑟长年伴，具剩槎矛只几枝。满地落花春未了，酸心如豆耐人思。”六朝的文化，就像是一种范式，在明末清初的文人心中反复地出现和被吟咏，足见这种历史怀旧情结的坚韧。\n其三，金陵山水画反映出强烈的热爱故乡的情怀。17世纪，以地方景色为题的山水画比较流行，例如南京博物院收藏有明代宋懋晋的《江南十八景图册》、吴县一带的画家以虎丘山为题的绘画等，是文人画走向社会的表现，也是市民文化发达的结果，而以金陵风景名胜为题的山水画尤其突出。南京人爱恋故乡的强烈和真挚的程度是其他古都历史上所少见的。早在六朝之初的孙吴时期（甘露元年，265年），当吴末帝孙皓由建邺（今南京）迁都湖北武昌，百姓便有童谣道：“宁饮建邺水，不食武昌鱼。宁还建邺死，不止武昌居。”这种不计生死的眷恋，只得让吴帝于次年还都建邺，这在中国历史上恐怕也是绝无仅有的。另一个著名的例子是南唐后主李煜在被宋人俘获北上后，所作诗词中透露对故国山河的深深怀念，令人愁绝痛绝，“恰似一江春水向东流”，是超越时空界限的永远的伤怀。明清之际，金陵八家中，除樊圻和胡慥为本地人外，其余都为外地或郊县寓居南京的画家，但都表现出对南京的情有独钟，书画署名喜用“石城”“金陵”等南京的古称，将自己称作南京人。金陵八家之首的龚贤虽然自昆山移居南京，但对南京的感情很深，视南京为家，在外的奔波使他愁苦伤怀，“身老愁为客，迢迢返旧京”，亟盼着早些回到南京，并把南京选作自己最终的生活地点。明亡后，当他与友人费密同游金陵胜景，登上石头城，遥望长江，触景生情，激起了满腔难平的民族意识，遂发出“橐驼尔何物，驱入汉家营”的悲愤呼号。这种热爱故乡，热爱南京的情感，在艺术家们的笔下便诞生了金陵山水的另一种表现形式—“金陵四十八景”，将金陵的历史典故，风景名胜以山水画的形式和诗歌的吟诵来表现，并借着雕版印刷的简便，而得到雅俗的共赏。\n《金陵四十八景》的形成约在清代初年，其他则先后有零星的以金陵景色为题的书画，较为人知者如《金陵八景》《金陵十景》《金陵十八景》《金陵二十四景》《金陵四十景》等。《金陵八景》据画末题跋可知，作于万历庚子年（1600）春月，为江宁人郭存仁所绘，“八景”为“钟阜祥云、石城瑞雪、凤台秋月、龙江夜雨、白鹭晴波、乌衣晚照、秦淮渔唱、天印樵歌”，一图一咏，多基于六朝以来的历史典故和著名诗作。《金陵十景》，据《石渠宝笈续编》记载，是吴派画家之首的文徵明，在游览了金陵山水名胜后所作。《金陵十八景》为文徵明的侄子文伯仁（1502-1575）所绘，他号称摄山老农（摄山即今栖霞山），曾居住在南京，为金陵美丽的风光所感动而绘此图册。《金陵二十四景》，据1956年在湖南省长沙市发现的文物，是由文学家吴敬梓（1701-1754）所写《金陵景物图咏》，每篇诗末都注明所仿的碑帖，诗句工整，对南京的历史了如指掌。《金陵四十景》为太史朱之蕃所作。朱之蕃，江宁人，字元竹，号兰嵎，万历二十三年（1595）进士第一，工山水画，注意收集家乡江宁的山水名胜资料，“共得四十景，属陆生寿柏策蹇浮舫，躬历其境，图写逼真，撮举其概，各为小引，系以俚句”。图咏成后，朱之蕃命名为《金陵四十景图考诗咏》，并与当时的另一位太史杜士全常在金陵雅游，相互凭图咏唱。清初，金陵八家之一的高岑，字蔚生，虽老家在杭州，客居南京，但也倾心相爱这个城市，常署名“石城高岑”，平时也注意收集南京的历史资料，遍游南京的风景名胜，并在前人研究金陵胜景的基础上，精心绘制了《金陵四十景图》。清户部右侍郎、著名文人周亮工（1612-1672）为该图册写了题跋，这些图以后被刊入康熙年间的《江宁府志》。清代初年，又发展成为“金陵四十八景”。\n金陵画家包括八家的山水画中，亦有许多以金陵胜景为题的作品，甚至几代画家都钟情于此，父子者如邹典、邹喆，便都介入这一题材的创作。美国学者高居翰的景元斋收藏的《晚明人山水册》，共有10页，为不同的画家所绘，但都以南京的景色为题，如魏节“燕子矶”、黄益“献花岩”、龚达“龙江关”、谢成“幕府台”、龚贤“清凉台”、黄益“鸡笼山”、盛于斯“天阙山”、陆瑞征“玄武湖”、邹典“灵谷”、张翀“报恩塔”。又如，龚贤有《摄山栖霞图》《清凉环翠图》（故宫博物院藏），其他的金陵画家：樊圻有《江浦风帆图》、高岑有《天印樵歌图》（天津艺术博物馆藏），描绘南京附近天印山的景观，邹喆有《石城霁雪图》（上海博物馆藏），描绘南京的雪景，叶欣作《锺山图》（故宫博物院藏），描绘南京这一名山的景色。樊圻的《金陵寻胜图》，按照画后的题跋来看，应当还有吴宏的“燕矶”“莫愁”，龚贤的“清凉”“摄山”，陈卓的“天坛”“冶城”，柳堉的“天印”等画，皆是依金陵名胜的各景点而作的命题画。\n更难能可贵的是，柳堉在樊圻所绘的《金陵寻胜图卷》的题跋中还记载了当时南京人收藏金陵山水画，并以邀得名家作此命题画为荣的风尚，被视为金陵胜事，并引用一句“唯有家山不厌看”的古诗来解释这种特殊的现象。虽然这些地方山水画的繁荣或许与商业有一定的关系，但这种来自社会的热情要求和支持，足见南京人对自己故乡的热爱，这确实也是促使17世纪金陵山水画发达的原因之一。\n总之，以金陵八家为首的金陵画家，虽然各有师承，面目不一，但都能深入生活，以金陵近郊的山山水水为其粉本，融六法之精髓，入天然之丘壑，将热爱故国故乡的一腔真情和满腹怀恋都倾注于山岚变幻、草木蔚然的山水画中，故使金陵山水画独树一帜，在17世纪的画史上留下了辉煌的一页。古人道：诗为心声，画为心印，书为心画。明末清初的17世纪，金陵画家们所具有的独特艺术面貌，正是由特定的历史文化环境所造成的，从画家们无限的伤心和满怀勃郁的精神气质升华而来。那种强烈的民族意识和爱国情结，正是金陵画派山水作品内涵的共鸣、精神的统一和灵魂的所在。一位西方学者曾指出，南京是中国古都中最引人注目的城市，因为她曾经是并将永远是中国最令人怀旧和动情的城市。确实，那千古的金陵历史，千古的诗泉画源，千古的文人之魂，正是17世纪南京文化艺术繁荣的历史基因，也正是她的永恒魅力所在。",[24,53,54,215,30,35,36,7,55,175,6827,134,367,32,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F449593877e596f876b9b25838d1ec1e9.jpg",[],{"id":8109,"slug":8110,"title":8111,"dynasty":18,"author":8112,"museum":2829,"description":8113,"tags":8114,"thumbUrl":8116,"material":8117,"size":8118,"collection":120,"collections":8119,"showCount":7964,"zanCount":11,"manualWeight":11,"mainColor":44},231590,"shi-xiang-tu-chen-xian-231590","释像图","陈贤","自跋：焚香合掌祭拜作于仙迹精舍，崇祯癸未菊月（1643年）。卷末再题：清紫陈贤谨识。长卷共绘有二十四位佛教人物。此卷人物线质极具特色，已是禅师们作画常用的“棒喝”性线条。\n陈贤［明］号希三，又号瞻葵，又号半秃僧，华山道人。喜画佛像人物，书法似文徵明。",[23,24,25,186,940,53,31,8115,7,35,1030,243,188,34],"僧侣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faec35347fab7a37b924029e930db1d82.jpg","绫本设色","49.5×731.3厘米",[],{"id":8121,"slug":8122,"title":1919,"dynasty":87,"author":8123,"museum":147,"description":8124,"tags":8125,"thumbUrl":8126,"material":120,"size":120,"collection":120,"collections":8127,"showCount":7964,"zanCount":141,"manualWeight":11,"mainColor":82},230918,"bi-hu-zhu-shu-tu-shang-guan-zhou-230918","上官周","此作用高远之法铺展画面，主峰奇崛危耸，皴笔苍劲老辣，勾勒出山岩瘦硬嶙峋的风骨，烟云轻笼山间，衬出幽谷空寂。下方山居隐于松竹之间，堂内文人凭窗凝思，沉心著述，周遭流泉、奇石环合，将幽居雅静之境铺陈开来。\n\n右上角题诗呼应幽隐主题，笔意苍秀兼具，把山林雄浑气象与闭门潜修的文人意趣相融，尽显出世忘俗的林下风流，是文人寄情林泉、醉心笔墨的心境写照。",[23,24,25,26,27,54,30,7,35,55,33,94,440,31,36,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F687ba4930841677cb3b5816f725bdc2f.jpg",[],{"id":8129,"slug":8130,"title":8131,"dynasty":87,"author":8132,"museum":147,"description":8133,"tags":8134,"thumbUrl":8135,"material":120,"size":120,"collection":120,"collections":8136,"showCount":7964,"zanCount":11,"manualWeight":11,"mainColor":44},230296,"shan-shui-ce-ye-du-xiang-230296","山水册页","杜湘","此作以幽寂山居为意趣，虚实掩映间铺陈出尘之境。苍松虬干以赭石晕染，石绿点簇松针，苍劲中带着清润生机；山石以淡墨勾勒皴擦，浓墨醒苔，厚重又不失空灵意韵。蜿蜒石径隐于谷底，将视线引向林间茅舍，屋中幽人凭窗静憩，愈发衬出林谷阒寂清冷。整幅画笔致秀雅沉静，疏密错落间尽显山林幽居的超然闲逸，把文人寄情林泉的隐逸襟怀藏在简淡笔墨之中，尽显传统山水画的写意风骨。",[24,25,215,27,30,35,7,161,244,34,54,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1c24bd19e45d360dbc671486ec53196.jpg",[],{"id":8138,"slug":8139,"title":8140,"dynasty":18,"author":3528,"museum":147,"description":8141,"tags":8142,"thumbUrl":8143,"material":120,"size":120,"collection":120,"collections":8144,"showCount":7964,"zanCount":11,"manualWeight":11,"mainColor":44},228910,"tian-dou-xiao-ri-tu-ding-yun-peng-228910","天都晓日图","此作全景铺展山岳胜境，远景群峰刺破晓雾，朝日晕染出暖红云色，嶙峋峰峦间银瀑垂落，汇入翻涌云海。中下部以苍劲笔法绘虬松怪石，古松盘曲交错，松针层叠蓊郁，谷中流云如浪，晕出缥缈仙气。溪涧蜿蜒穿林，文士临流闲坐，幽意悠然。\n\n画作工写兼备，设色清雅沉稳，山石勾勒皴擦尽显苍朴质感，云霞以卷云法绘就柔润灵动，既撷取黄山奇崛之态，又融入文人隐逸山居的雅趣，是明代山水画里实景写生与抒情写意相融的精妙之作。",[23,24,26,30,27,28,54,132,55,1376,7,74,31,36,135,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10a01ea600daad7995372d79e13f6114.jpg",[],{"id":8146,"slug":8147,"title":8148,"dynasty":87,"author":8149,"museum":1146,"description":8150,"tags":8151,"thumbUrl":8152,"material":1183,"size":8153,"collection":120,"collections":8154,"showCount":7964,"zanCount":11,"manualWeight":11,"mainColor":44},222841,"ji-en-tu-zhang-bo-long-222841","纪恩图","张伯龙","图绘清初大将杨捷之孙杨铸接受康熙帝赏赐，在热河避暑山庄御苑中乘舟观荷的情景。图绘山峦锦绣，景色宜人，池中荷花盛开，杨铸将军端坐御船中，眼神专注，神态安祥。",[23,24,27,28,54,30,116,31,775,778,7,33,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff7238607ddf7a479257963b0034284e.jpg","横103cm，纵166.3cm",[],{"id":8156,"slug":8157,"title":8158,"dynasty":18,"author":3528,"museum":1107,"description":8159,"tags":8160,"thumbUrl":8163,"material":543,"size":8164,"collection":40,"collections":8165,"showCount":7964,"zanCount":11,"manualWeight":11,"mainColor":82},222382,"yi-shou-zun-zhe-xiang-ding-yun-peng-222382","益寿尊者像","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”",[23,24,25,73,26,940,28,53,31,2177,7,302,344,3011,202,8161,8162,5403],"尊者","念珠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae92872a9b1d7917f96a1cd18188de0.jpg","52.8x117.8",[40,62],{"id":8167,"slug":8168,"title":8169,"dynasty":87,"author":1038,"museum":89,"description":3397,"tags":8170,"thumbUrl":8172,"material":543,"size":3400,"collection":120,"collections":8173,"showCount":7964,"zanCount":11,"manualWeight":11,"mainColor":44},220299,"huang-shan-tu-ce-27-hong-ren-220299","黄山图册-27",[23,24,25,215,53,54,30,8171,7,982],"奇峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc0591dac27e4656fed4c0da07eb4188.jpg",[],{"id":8175,"slug":8176,"title":8177,"dynasty":87,"author":1038,"museum":89,"description":3397,"tags":8178,"thumbUrl":8179,"material":543,"size":3400,"collection":120,"collections":8180,"showCount":7964,"zanCount":11,"manualWeight":11,"mainColor":44},220294,"huang-shan-tu-ce-32-hong-ren-220294","黄山图册-32",[23,24,25,215,27,53,30,35,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa43cfa8a6347fb89f5ac68df77fc50a2.jpg",[],{"id":8182,"slug":8183,"title":8184,"dynasty":87,"author":1811,"museum":172,"description":6267,"tags":8185,"thumbUrl":8186,"material":38,"size":6270,"collection":120,"collections":8187,"showCount":7964,"zanCount":11,"manualWeight":11,"mainColor":44},216982,"fang-song-yuan-shan-shui-ce-5-wang-jian-216982","仿宋元山水册-5",[23,24,256,393,27,54,53,132,133,32,36,7,175,1963,55,56,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F869a411b8f05c5295dbd50546c1ce7f4.jpg",[],{"id":8189,"slug":8190,"title":8191,"dynasty":69,"author":88,"museum":147,"description":8192,"tags":8193,"thumbUrl":8194,"material":118,"size":119,"collection":120,"collections":8195,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":82},290480,"bi-geng-yuan-shan-shui-tu-yi-ming-290480","笔耕园山水图","此作截取山野一隅，以平远之法铺展幽寂溪林之景。坡岸苍松虬曲盘错，枝叶郁然，与周遭杂木错落成林，浅滩间苔石隐现，晕染出湿润水汽。远山以淡墨轻勾慢染，虚实掩映间，将咫尺尺幅拓出辽远空阔的意境。画面留白尽显溪面空濛，不见水波却溢出幽宁清寂。笔墨简淡清润，萧散澹泊，将寄情林泉的隐逸意趣凝于纨扇之上，尽显山水重韵尚意的雅致品格。",[23,678,24,256,53,54,150,7,35,986],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a0612503b4a3be40e7a4d98ea02d82.jpg",[],{"id":8197,"slug":8198,"title":8199,"dynasty":18,"author":2742,"museum":147,"description":8200,"tags":8201,"thumbUrl":8203,"material":118,"size":119,"collection":120,"collections":8204,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":82},289792,"dou-an-chun-tu-zhu-zhan-ji-289792","斗鹌鹑图","该幅无款署。图中所绘为明宣宗朱瞻基在御园观看斗鹌鹑的场景。画面上朱瞻基居中端坐，周围有宦官、侍从和童仆侍奉。方桌上置一圆形围挡，两名宦官正在斗弄圈中的鹌鹑，旁边的侍从捧着笼子，其中是备用的鹌鹑。",[24,27,28,31,639,7,4006,4007,8202],"休闲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdec02fea8018ec5530b89faa56bb0c0c.jpg",[],{"id":8206,"slug":8207,"title":8208,"dynasty":18,"author":8209,"museum":147,"description":1983,"tags":8210,"thumbUrl":8211,"material":118,"size":119,"collection":120,"collections":8212,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":44},287948,"yan-si-wan-zhong-tu-ye-sheng-mao-ye-287948","烟寺晚钟图页","盛茂烨",[23,73,24,25,215,27,30,29,188,34,32,33,150,7,3683,135,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ee2ff072691336c7ccc9a6449892a59.jpg",[],{"id":8214,"slug":8215,"title":8216,"dynasty":87,"author":88,"museum":147,"description":8217,"tags":8218,"thumbUrl":8223,"material":118,"size":119,"collection":120,"collections":8224,"showCount":81,"zanCount":141,"manualWeight":11,"mainColor":408},270165,"juan-xiu-hua-niao-tu-mian-qi-bing-tuan-shan-yi-ming-270165","绢绣花鸟图面漆柄团扇","此为清代闺阁清玩佳制，绢面施绣，工致动人。绶带鸟身披华羽，色彩明丽，亭亭立在花枝之上，与枝头鸣雀、粉蝶相映成趣，生机盎然。牡丹绽露芳姿，苍松虬劲古拙，花木禽鸟排布疏密得当，设色柔润鲜亮，将春日意趣凝于尺幅扇面之间。\n\n漆黑髹漆柄身錾刻缠枝细纹，婉转动人，末端垂悬朱红与湖蓝流苏，随微风轻曳，为素雅器物添几分灵动。整器将刺绣之精工、构图之雅致融于一体，藏着旧时女眷的闲情巧思，尽显清代闺阁针黹匠心。",[678,8219,27,28,667,1481,7,95,8220,8221,8222],"绢绣","蝴蝶","日用具","漆器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F754f7790ae9fc04274af4437a94a51f2.jpg",[],{"id":8226,"slug":8227,"title":8228,"dynasty":18,"author":2197,"museum":147,"description":3773,"tags":8229,"thumbUrl":8230,"material":120,"size":120,"collection":120,"collections":8231,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":44},239192,"shan-chuan-ming-sheng-ce-song-xu-239192","山川名胜册",[24,25,73,215,30,27,54,94,161,7,35,36,32,244,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eff76f8e5ebb34a1b556907cd01691b.jpg",[],{"id":8233,"slug":8234,"title":8235,"dynasty":18,"author":2148,"museum":147,"description":4915,"tags":8236,"thumbUrl":8238,"material":118,"size":119,"collection":120,"collections":8239,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":82},237909,"qiu-lin-ce-zhang-shan-ye-chen-hong-shou-237909","秋林策杖扇页",[24,678,28,54,1541,35,7,31,8237],"策杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd6dfde261e22391f0116d67e6bc7d8a.jpg",[],{"id":8241,"slug":8242,"title":8243,"dynasty":18,"author":88,"museum":147,"description":8244,"tags":8245,"thumbUrl":8246,"material":118,"size":119,"collection":120,"collections":8247,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":44},237791,"wang-shi-song-yin-guan-quan-shan-yi-ming-237791","王式松荫观泉扇","此作以松泉雅集摹写林泉逸致，古松虬枝舒展，浓荫覆下，将山涧谷林的清幽之气铺陈开来。四位高士情态悠然，或踞坐观泉，静听涧水淙淙；或执手晤谈，私语平生快意，侧旁侍童携物徐趋，更衬出雅集闲淡松弛之态。\n笔墨清隽秀雅，淡墨皴擦山石，晕染出岩崖苍润质感，松针细劲工致，尽显古松苍劲之姿。人物衣纹简练灵动，寥寥数笔便将高士风神勾勒尽致，浅淡设色晕染，整体格调简雅清逸，将追慕林下风流、寄情林泉的出世襟怀，融于这一方尺幅扇面之中，小景见幽远，尽显雅逸之趣。",[2577,24,25,678,53,54,7,1096,35,36,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63e49af57c79edc4c8df2c22d30433df.jpg",[],{"id":8249,"slug":8250,"title":3781,"dynasty":18,"author":6554,"museum":147,"description":8251,"tags":8252,"thumbUrl":8253,"material":120,"size":89,"collection":40,"collections":8254,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":44},236604,"shan-shui-ce-ye-xiang-rong-236604","这幅山水以苍劲皴笔写就崖壁雄姿，浓墨点苔晕染出山石间的苍郁草木，古松虬曲舒展，扎根崖畔。山坳间村居隐于林麓，寥寥数笔便勾勒出幽寂山居之态。\n\n画面虚实相映，高远取景将山野层叠之趣铺展，笔法兼具朴拙与秀润，把林泉隐逸的静穆意趣藏于笔墨之间，尽显雅致出尘的文人山水意境，仿佛将观者带入了幽寂清宁的丘林佳处。",[24,53,54,215,30,150,7,175,36,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde6a8ea47578c4a2045a891560275a1f.jpg",[40,62],{"id":8256,"slug":8257,"title":8258,"dynasty":18,"author":8259,"museum":147,"description":8260,"tags":8261,"thumbUrl":8262,"material":118,"size":119,"collection":120,"collections":8263,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":44},236299,"shan-shui-shan-ye-shen-zhao-236299","山水扇页","沈昭","沈昭，[明]字秋萼，长洲（今江苏苏州）人，鼎弟。善山水，所作大劈斧著青绿者尤佳。《画史会要、无声诗史、明画录》。",[678,53,30,7,35,94,54,27,36,485],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbe20f475312efbe08d55fc6ffa4bae3.jpg",[],{"id":8265,"slug":8266,"title":2534,"dynasty":18,"author":2535,"museum":147,"description":8267,"tags":8268,"thumbUrl":8269,"material":120,"size":120,"collection":120,"collections":8270,"showCount":81,"zanCount":141,"manualWeight":11,"mainColor":82},235851,"ting-song-tu-zhou-xiang-sheng-mo-235851","此作用笔苍秀老辣，古松虬枝盘曲如游龙，松针攒簇苍劲，尽显古木历经风霜的拙朴雄健。松下隐士席地闲坐，仰聆松涛，神情悠然澹泊，将文人醉心林泉、静听天籁的幽怀尽数彰显。\n\n远景山峦以淡墨晕染，烟岚轻笼，江流宛转折绕，铺展出山野空濛悠远的意境。全作水墨层次丰富，干湿浓淡交织，远近景过渡自然，将林泉高致的隐逸之美娓娓道来，以松为骨，以意为魂，把笔墨意趣与林下幽怀相融，尽显文人画寄情丘壑的清雅意趣。",[24,26,53,30,7,31,35,54,899,25,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8801d1568fbe822abd26326bd71fa216.jpg",[],{"id":8272,"slug":8273,"title":8274,"dynasty":87,"author":88,"museum":147,"description":8275,"tags":8276,"thumbUrl":8277,"material":120,"size":120,"collection":120,"collections":8278,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":44},235675,"mei-qing-bai-long-tan-tu-zhou-yi-ming-235675","梅清白龙潭图轴","此作以危崖飞瀑为骨，苍松虬枝为魂。高远构图铺展层叠山势，老松古干敷色褐金，松针攒簇如墨团，奇崛苍劲，扎根崖壁间尽显傲岸生机。白龙潭飞瀑破壁而出，从层岩间奔涌倾泻，水雾蒸腾漫上山谷，晕染出氤氲空濛的清幽意境。\n\n右下角崖顶立红衣高士，凭栏观瀑，渺小身影衬出山峦空阔辽远，暗合观照山水、澄怀味道的文人心境。笔墨苍润兼具，以水墨晕染流云雾气，勾勒皴擦写尽山石肌理，题诗佐景，将出世之思融于丘壑之间，尽显山水间的超尘禅趣。",[24,25,26,53,27,30,55,7,31,135,35,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d3f8912653273167c09890b0c1d1fcc.jpg",[],{"id":8280,"slug":8281,"title":3781,"dynasty":18,"author":7656,"museum":147,"description":8282,"tags":8283,"thumbUrl":8284,"material":118,"size":119,"collection":120,"collections":8285,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":44},235352,"shan-shui-ce-zhang-fu-yang-235352","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。",[24,25,215,53,940,29,188,34,30,31,7,35,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce44968cf045b96d8ac072ab3b27b0b7.jpg",[],{"id":8287,"slug":8288,"title":8289,"dynasty":87,"author":2475,"museum":89,"description":8290,"tags":8291,"thumbUrl":8292,"material":246,"size":8293,"collection":120,"collections":8294,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":44},233440,"huang-shan-tu-ce-mei-qing-233440","黄山图册","黄山位于安徽省南部，歙县西北，山脉绵延三百余里，拥有72峰，以奇松、怪石、云海、温泉“四绝”名闻于世。清初安徽地区的著名画家弘仁、梅清、石涛等多以黄山奇景入画，形成了“黄山画派”。其中，梅清笔下的黄山以气势取胜，不同凡响。\n这套《黄山图》册是梅清晚年的精心之作。全册共八开，分别绘天都峰、莲花峰等黄山８景，或孤峰千仞，或云海茫茫，或苍松蔽日，或雄关峻岭，景色各异，气象万千。梅清画黄山之法有三，一以线条勾勒为主，二以墨色渲染为重，三是融勾勒与渲染为一炉。此图册便是采用第三种方法绘制而成。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。他的创作最重师法自然，他曾在燕、吴、齐、楚之地游历名山大川，终日面对青山描摹写生。黄山和家乡宣城是梅清绘画中最着力表现的题材。在《赠慕潭黄山十六景》册上，他自题“余游黄山，凡有笔墨，大半皆黄山矣。”可见他对黄山景色用功之勤。梅清图写黄山自写生入手，又加入自己的主观感受，再以豪放、泼辣的用笔，突出黄山奇、峻、险、秀的意境，独树一帜，别开生面。",[24,25,215,53,27,30,55,7,31,35,54,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc236d28b17519fc86d6c9864560c9254.jpg","纵26厘米，横33厘米",[],{"id":8296,"slug":8297,"title":8298,"dynasty":18,"author":298,"museum":89,"description":8299,"tags":8300,"thumbUrl":8302,"material":4218,"size":8303,"collection":120,"collections":8304,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":44},233136,"ming-ren-xi-shan-sheng-jing-he-bi-ce-cha-mo-yu-tu-ye-shen-zhou-233136","明人西山胜景合壁册-茶磨屿图页","此册又名《明人西山胜景书画合璧册》（见《故宫博物馆藏文物珍品大系：吴门绘画》），著录于《墨缘汇观》，合题跋共计十四页，依次为：刘钰《踞湖山图》、沈周《茶磨屿图》、《新郭图》（对页陈淳题诗一首）、唐寅《越来溪图》、《行春桥图》、《饶稼桥图》（对页自题诗一首）、文徵明《横塘图》、《石湖图》（对页自题诗一首）和陈淳《桃花坞图》、《紫薇村图》，后页徐朗白题。\n颇为吊诡的是这套册页似乎从未完整发表过，就目前所见，《中国古代书画目录》是分开著录，其中刘钰一页、唐寅《饶稼桥图》以及四页题诗都未著录，而《中国古代书画图目》则只选印了沈周和陈淳的四页。《文徵明精品集》发表了两画及一页题诗，《唐寅绘画集》也只发表了《越来溪图》、《行春桥图》两页，《故宫博物馆藏文物珍品大系：吴门绘画》刊印了沈周、文徵明、唐寅各两页，陈淳《桃花坞图》一页，略去了四页题跋。刘钰《踞湖山图》、唐寅《饶稼桥图》及另外三页题跋始终未见，其中或有伪作吧（文徵明的两页画曾于去年苏博特展展出，未见图录，不知是否有完整发表）。但学术乃天下之公器，国内许多博物馆的出版态度素来可恶，很多作品在各类出版物中情况不一，往往“有头无尾”，以致研究一件作品需“东拼西凑”。\n吴门诸家歌咏、描绘吴中名胜之风颇盛，与平日游踪所及和地域意识渐起有关，留存于世的风景名胜图极多，甚至祝寿、官员离任，也以吴中风景图册为赠。值得注意的是，此册中沈周、文徵明、唐寅、陈淳的作品都是早年笔，集三代才人妙墨，想来这套作品的收藏者花了不少心思。末页崇祯五年徐朗白题云：“我朝画法变宋化元，正嘉间吴中诸先进一时杰出、擅采争奇，直使静庵而下皆瞠乎其后矣，此十册俱西山胜景，首为完庵次石田次六如衡山白阳，景虽未尽，人已才难，不特片羽之吉光抑且狐裘之集腋也。什袭见珍，援毫见重。”并题一歌，语涉浮夸无足取。",[24,25,215,53,27,30,54,36,35,6827,8301,7,302],"河岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed5e89c71c28c71d0d4496c16cab2c35.jpg","纵22.8cm，横33.2cm",[],{"id":8306,"slug":8307,"title":8308,"dynasty":3958,"author":8309,"museum":147,"description":8310,"tags":8311,"thumbUrl":8313,"material":118,"size":119,"collection":120,"collections":8314,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":44},231663,"shan-shui-shi-yi-tu-juan-ge-chuan-guang-zhong-231663","山水诗意图卷","歌川広重","远景富士山隐在烟霭之中，淡墨晕开水天，浅赭岸渚衔着空蒙烟波，扁舟孤悬，漾开幽远空寂。近湾村落黛瓦层叠，苍松与秋红林木错落相偎，暖调砂岸揉入冷色烟水，将乡居温软与湖山清旷相融。\n\n整体用色清润柔和，以淡彩晕开暮烟朦胧氛围，简淡线条精准勾勒山水层次，把幽玄意趣藏在平远构图中。将秋郊湖村的安闲与远山清寂揉为一处，将寻常乡野晕作一阙淡远秋歌，静穆里漫着松弛悠然的秋意。",[23,73,4328,186,27,256,30,7,175,520,1169,134,8312,36,229],"岛屿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69334a00861007071920e53a54ebe83a.jpg",[],{"id":8316,"slug":8317,"title":6434,"dynasty":87,"author":6435,"museum":147,"description":8318,"tags":8319,"thumbUrl":8320,"material":120,"size":120,"collection":120,"collections":8321,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":82},231044,"fang-dong-yuan-shan-shui-tu-qi-zhi-jia-231044","此作用笔疏朗秀逸，以高耸奇崛的主峰撑起画面骨架，淡墨勾勒皴擦山石，浓墨苔点醒置其间，尽显苍古浑厚。近岸虬松杂木盘曲苍劲，枝叶俯仰生姿。水畔茅庐之内，二人对坐清谈，衬出幽居林下的雅逸闲情。\n\n画作取法董源平淡天真之韵，又自出机杼，淡墨晕染出空濛烟岚，将江南山水温润静穆之致与文人萧散襟怀相融，简淡之中见苍茫气象，尽显晚明文人画简远疏旷的审美意趣。",[23,24,25,73,26,53,54,274,30,7,35,175,36,31,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35687a3671f968ebd0831c6a02b9d7bd.jpg",[],{"id":8323,"slug":8324,"title":8325,"dynasty":3958,"author":8326,"museum":147,"description":8327,"tags":8328,"thumbUrl":8329,"material":118,"size":119,"collection":120,"collections":8330,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":82},230583,"si-ji-shan-shui-tu-ping-feng-di-yi-ping-zhou-wen-230583","四季山水图屏风第一屏","周文","圣国寺的僧人，后来成为室町幕府的画家。生卒年不详。雪舟和小栗在建立诗歌和日本水墨风格及其弟子方面发挥了重要作用。",[23,24,25,5349,53,54,30,116,2249,161,7,55,134,702,317],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90625f9167db424f96348cc9de928d36.jpg",[],{"id":8332,"slug":8333,"title":8334,"dynasty":69,"author":88,"museum":147,"description":8335,"tags":8336,"thumbUrl":8337,"material":120,"size":120,"collection":120,"collections":8338,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":194},223633,"lian-she-tu-shou-juan-quan-juan-yi-ming-223633","莲社图手卷全卷","此作以淡墨白描铺展雅集盛景，开篇台阁之上，高士凭栏凝睇林泉，随后次第铺陈林下雅聚：沙门与文人或围坐清谈，或横琴拨弦，或展卷品题，动静相生。茂林修竹、幽泉奇石错落点缀，线条圆劲秀逸，设色浅淡古雅，尽显宋画谨严清雅的笔意风神。\n\n留白疏密得宜，将林下高致晕染开来，长卷题跋与画作相映成趣，诗画合璧，把魏晋文人的超迈风雅具象呈现，古意盎然，尽显对前代名流雅事的精妙追摹。",[23,24,25,186,940,53,54,2177,31,30,302,7,56,55,715,32,33,242,95,34,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eca59a9af4ab78ae9bd2f9989a1e28c.jpg",[],{"id":8340,"slug":8341,"title":8342,"dynasty":87,"author":3216,"museum":1577,"description":3217,"tags":8343,"thumbUrl":8345,"material":76,"size":3221,"collection":120,"collections":8346,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":44},222895,"hong-lou-meng-20-sun-wen-222895","红楼梦20",[23,24,28,27,31,643,94,639,5024,7,8344],"红楼梦场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe631c3faa74d3d30a6fab41199d76ff2.jpg",[],{"id":8348,"slug":8349,"title":8350,"dynasty":87,"author":3139,"museum":20,"description":8351,"tags":8352,"thumbUrl":8354,"material":120,"size":120,"collection":120,"collections":8355,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":44},222857,"song-shou-yan-chun-dong-gao-222857","松寿延春","董誥（1740年－1818年），字雅倫，號蔗林，浙江省杭州府富陽縣（今浙江省杭州市）人，生於順天府（今北京市），清代大臣、書畫家。工部尚書董邦達長子，與其父有“大、小董”之稱。\n乾隆二十九年（1764）中舉，隔年會試，名列一甲第三，得中探花，乾隆帝將其改為二甲第一，作金殿傳臚，形降實升。嘉慶四年（1799），董誥六十歲，以從庶吉士、編修、工部侍郎、軍機大臣、東閣大學士等，擢為文華殿大學士（即宰相），欽賜“紫禁城騎馬”。直軍機先後四十年。董誥精書法，善繪畫，更通曉軍事。他五次歸還故里，生活簡樸，平易近人，從不倨傲，深為鄰里稱道。董誥卒於嘉慶二十三年（1818），終年七十九歲。\n董誥死後六天，嘉慶帝親臨祭奠，所寫哀詩中有“只有文章傳子侄，絕無貨幣置田莊”之句，並親自撥款建立“董公祠”。",[23,24,25,215,27,54,30,7,35,33,36,8353,303],"山坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4fd3de4aee7878f6101fefa3c4df787.jpg",[],{"id":8357,"slug":8358,"title":8359,"dynasty":18,"author":8360,"museum":20,"description":8361,"tags":8362,"thumbUrl":8363,"material":346,"size":8364,"collection":120,"collections":8365,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":44},222455,"song-ren-shi-yi-shan-qian-xian-222455","宋人诗意扇","钱暹","全画墨色恬淡，景物造型简约，随处可见用笔的精到，如莲叶的盛衰枯荣、柳枝的轻盈柔美。",[24,53,678,30,7,35,134,135,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa83eb023c5f477bc2367a2db4019520b.jpg","17x52.2厘米",[],{"id":8367,"slug":8368,"title":8369,"dynasty":87,"author":1038,"museum":89,"description":3397,"tags":8370,"thumbUrl":8371,"material":543,"size":3400,"collection":120,"collections":8372,"showCount":81,"zanCount":141,"manualWeight":11,"mainColor":44},220279,"huang-shan-tu-ce-45-hong-ren-220279","黄山图册-45",[23,24,25,30,215,53,54,275,7,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa132847aaeea9e72131397153387266a.jpg",[],{"id":8374,"slug":8375,"title":8376,"dynasty":18,"author":459,"museum":172,"description":1137,"tags":8377,"thumbUrl":8379,"material":190,"size":1140,"collection":120,"collections":8380,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":82},219773,"lin-song-ren-hua-ce-7-chou-ying-219773","临宋人画册-7",[24,25,215,274,28,27,31,7,8378,2057,887,2132],"棋局","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa573999927a9dd69824f4523556bd442.jpg",[],{"id":8382,"slug":8383,"title":8384,"dynasty":87,"author":3507,"museum":2447,"description":8385,"tags":8386,"thumbUrl":8387,"material":38,"size":120,"collection":120,"collections":8388,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":44},214809,"shan-shui-hua-hui-tu-ce-8-gao-feng-han-214809","山水花卉图册-8","高凤翰（1762-1843）是一位著名的清代画家，他的主要作品是山水花卉图册。高凤翰生于江苏省的吴县，他曾在杭州学习画画，后来进入了江南画派。他的画风独特，被称为“高氏画法”，以其精细、细腻的线条和浓郁的色彩闻名。\n\n高凤翰的山水花卉图册是他的代表作之一，包括了许多精美的山水画作品。这些作品描绘了自然风光，包括山峦、河流、湖泊、树木、花草等。高凤翰的山水画作品经常带有浓厚的写意气息，表现出自然之美。他的画作还常常加入人物、建筑、动物等元素，使得作品更加丰富多彩。\n\n高凤翰的山水花卉图册在当时颇受欢迎，并且被视为江南画派的杰出代表作。他的作品被认为是清代山水画发展的重要贡献，对后世的山水画家也产生了很大的影响。",[24,53,27,215,30,116,7,35,54,485],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F068fa9ca169ec6c72546222f3c0d781e.jpg",[],{"id":8390,"slug":8391,"title":3879,"dynasty":3880,"author":3881,"museum":172,"description":8392,"tags":8393,"thumbUrl":8394,"material":120,"size":120,"collection":40,"collections":8395,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":3886},202907,"shan-shui-tu-zhou-huang-bin-hong-202907","这幅山水图轴笔墨沉厚，山峦以积墨法层层晕染，苍劲雄浑间见灵秀。近处虬松挺峙，孤石嶙峋，枝干与石纹以焦墨勾勒，皴擦相生；山间云雾轻笼，远山隐现于烟霭，层次悠远。小桥横架溪上，屋舍藏于林麓，添得几分生趣。墨色浓淡干湿交织，黑密厚重中透出清润，尽显苍茫深邃之境，是传统山水笔墨与意境的精妙融合。",[24,30,53,54,7129,7,32,57,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f53ff3b160014904b50c306cc4c002.jpg",[40],{"id":8397,"slug":8398,"title":3879,"dynasty":3880,"author":3881,"museum":172,"description":8399,"tags":8400,"thumbUrl":8401,"material":120,"size":120,"collection":40,"collections":8402,"showCount":81,"zanCount":11,"manualWeight":11,"mainColor":3886},202906,"shan-shui-tu-zhou-huang-bin-hong-202906","这幅山水图笔墨苍劲浑厚，墨色层次丰富，尽显自然灵韵。层叠山峦以皴法勾勒，云雾缭绕间见虚实相生；挺拔的松树枝干虬劲，与山石相映成趣。山间小桥隐现，茅屋错落，似藏隐逸之趣。笔触枯润相间，线条老辣灵动，将山水的雄浑与雅致融为一体，传递出文人画的深邃意境与对自然的深情体悟。",[24,53,30,54,7,32,187,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a8ae8bb2cd987fd1647693e28326753.jpg",[40],{"id":8404,"slug":8405,"title":8406,"dynasty":49,"author":8407,"museum":147,"description":8408,"tags":8409,"thumbUrl":8410,"material":118,"size":119,"collection":120,"collections":8411,"showCount":8412,"zanCount":141,"manualWeight":11,"mainColor":82},289232,"han-shan-shi-de-tu-yin-tuo-luo-289232","寒山拾得图","因陀罗","其实，《寒山拾得图》只是因陀罗所作的一整卷禅机图中的一部分，在日本，还有另外4幅因陀罗画的禅机图，它们分别是由石桥美术馆收藏的《丹霞烧佛图》、根津美术馆收藏的《布袋图》、静嘉堂文库美术馆收藏的《智常禅师图》以及畠山纪念馆所收藏的《李渤参智图》。这5幅作品统一被称为因陀罗的《禅机图短简》，都被指定为日本的国宝。据日本专家考证，因陀罗的禅机图并不只由这5幅画组成，可能还包括另外一幅《寒山拾得图》以及一幅《萧王问答图》，而东京国立博物馆收藏的这幅《寒山拾得图》则极有可能是整个画卷的末尾部分。\n日本自镰仓时代（1185-1333年）开始兴起收藏唐宋元等朝代的中国美术作品之风，因陀罗的禅机图也因此传入日本。不过，与中国人整卷欣赏美术作品不同，日本人更喜欢把一副长画卷裁成多个部分，然后裱制成画轴挂在茶室等房间的墙上分别欣赏。这也是因陀罗所画的一整卷禅机图被分成多个部分，现在分别由不同的美术馆收藏的原因。不过，不管是哪一幅作品都是享誉日本的名贵珍藏品。例如，《寒山拾得图》长期以来一直作为广岛藩藩主浅野家收藏的名品广为人知，其存放的木盒上还刻有以精通茶道而著称的松江藩藩主松平不昧的题签。",[24,53,31,2177,188,34,7,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a4fb5146a0d4804d5891fe4ca693d42.jpg",[],9,{"id":8414,"slug":8415,"title":8416,"dynasty":87,"author":88,"museum":147,"description":8417,"tags":8418,"thumbUrl":8419,"material":118,"size":119,"collection":120,"collections":8420,"showCount":8412,"zanCount":141,"manualWeight":11,"mainColor":44},272874,"zi-tan-mu-bian-xiu-shan-shui-ren-wu-tu-gua-ping-yi-ming-272874","紫檀木边绣山水人物图挂屏","此作以绣代墨，晕染出空山雅集的幽寂之境。苍松蟠曲古劲，松针绣织细密鲜活，林下二人对坐清谈，似伴泉声叙话，尽彰林泉隐逸之趣。远山以淡彩绒线轻铺慢绣，晕出空濛悠远的山水诗意，上方题诗针脚匀整，将诗、书、绣、画融为一体。\n\n整体设色清雅柔和，紫檀木边框衬出沉浑古雅质感，把文人寄情山水的闲逸襟怀尽数铺展，工致秀雅间尽显古典雅致的林下风流。",[5319,2129,30,31,7,188,27,1499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18135071a4b6a318d6e6ebd46c3e613d.jpg",[],{"id":8422,"slug":8423,"title":8424,"dynasty":87,"author":5638,"museum":147,"description":8425,"tags":8426,"thumbUrl":8428,"material":120,"size":120,"collection":120,"collections":8429,"showCount":8412,"zanCount":11,"manualWeight":11,"mainColor":44},238664,"shu-hua-hong-li-ni-gu-shi-yi-ce-zhang-ruo-cheng-238664","书画弘历拟古诗意册","这帧书画合册，书与画相映成趣。小楷清劲端雅，笔致匀净秀润，将赠别诗的缱绻心绪藏于点画之间，尽显文人笔墨的端凝雅致。下方山水取景清幽，以干墨皴擦写山石肌理，苍松虬劲挺秀，茅亭依崖临渊，留白铺陈出空寂辽远的氛围感，淡墨轻染晕开烟岚清韵，把诗中别绪化入山水空濛之中。书画一体，笔墨间晕开从容静穆的古典意趣，尽显传统文人诗书画合一的雅致情怀。",[24,25,215,8427,28,54,53,30,7,161,55,35,36,187,34],"楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f978df06cc91cb834cd540d2964549.jpg",[],{"id":8431,"slug":8432,"title":8433,"dynasty":87,"author":8434,"museum":147,"description":8435,"tags":8436,"thumbUrl":8437,"material":120,"size":120,"collection":40,"collections":8438,"showCount":8412,"zanCount":11,"manualWeight":11,"mainColor":44},238192,"shu-shan-guan-tu-zhou-li-shi-zhuo-238192","舒山馆图轴","李世倬","李世倬[清]（1687―1770）字天章，一字汉章、天涛，别号十石居士、太平拙吏、伊祁山人、清在号谷斋，又号菉园、星厓，居士，奉天（今辽宁沈阳）人，一作三韩（今内蒙喀喇沁旗西南）人，隶籍汉军正黄旗。如龙子，高其佩（1672—1734）外甥。官至副都御史。曾任太常，人称李太常。\n善画山水、人物、花鸟、果品，各臻其妙。少随父宦游江南，见王翚（1632—1717）得其讲论，后与马逸游，故宗法纯正而笔亦秀隽。其人物，自言得吴道子水陆道场图而阅之，遂悟其法。其花鸟、果品各种写意，盖得诸舅氏之指墨而易以笔，故能各名一家。晚年喜用指墨作人物、花鸟小品，以焦墨细擦，颇得轻重浅深之致。年逾八旬犹能作画，书小楷。",[24,27,28,54,30,7,35,55,94,367,288,33,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97e170581d48db054aeb6b5322e7bd97.jpg",[40],{"id":8440,"slug":8441,"title":8442,"dynasty":18,"author":8443,"museum":147,"description":8444,"tags":8445,"thumbUrl":8446,"material":120,"size":120,"collection":120,"collections":8447,"showCount":8412,"zanCount":11,"manualWeight":11,"mainColor":82},237904,"zhi-shan-shui-shan-mian-zhang-zhen-237904","之山水扇面","张震","这幅山水以浅绛晕染，借扇面弧势铺展丘壑。主峰层叠耸峙，以披麻皴写山石肌理，苔点错落，衬出苍莽浑厚的质感。近坡虬松林立，浓荫下隐有策杖行旅，寥寥数笔便点出林泉雅游之趣。远景平岗澹墨轻扫，水色空濛，将山林幽寂的余韵缓缓铺陈。画面虚实相生，把高远、深远二境收拢于盈尺扇面，笔墨简净却意致悠长。题识朱印错落排布，与山水景致融为一体，尽显文人山水的清逸雅致，恍如铺开一卷可居可游的林泉之梦。",[24,678,30,27,54,132,133,36,7,161,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f363044a14a43d44463eea09649abc4.jpg",[],{"id":8449,"slug":8450,"title":7214,"dynasty":18,"author":6019,"museum":147,"description":8451,"tags":8452,"thumbUrl":8453,"material":118,"size":119,"collection":120,"collections":8454,"showCount":8412,"zanCount":11,"manualWeight":11,"mainColor":44},237853,"shan-shui-shan-zhao-zuo-237853","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。",[73,24,678,53,54,30,367,7,35,485,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52802a810c3ffd4f64a5657016a7300a.jpg",[],{"id":8456,"slug":8457,"title":3781,"dynasty":18,"author":5869,"museum":20,"description":8458,"tags":8459,"thumbUrl":8460,"material":543,"size":120,"collection":40,"collections":8461,"showCount":8412,"zanCount":11,"manualWeight":11,"mainColor":82},237432,"shan-shui-ce-jiang-qian-237432","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。善画山水人物，画法宗吴伟，为浙派名家之一。喜用焦墨枯笔，亦善用淡墨，浓淡相间，浑然一体，如《渔舟读书图》，山石多用大片湿墨，颇见功力，虽尺幅山水，却云蒸雾变，烟霞触目。亦工人物，与郑文林、钟礼、张路等都是浙派晚期名手。又因他们纵笔豪放，多越矩度，曾被吴派讥为「狂态邪学」。",[24,27,30,215,31,7,94,32,1376,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd29fe2b50889a5b1d4e8f2b7c75fef4c.jpg",[40,103],{"id":8463,"slug":8464,"title":3781,"dynasty":87,"author":2219,"museum":147,"description":8465,"tags":8466,"thumbUrl":8467,"material":120,"size":120,"collection":120,"collections":8468,"showCount":8412,"zanCount":11,"manualWeight":11,"mainColor":44},236869,"shan-shui-ce-wang-yuan-qi-236869","此作取法黄鹤山樵春山笔意，层峦叠嶂自右上铺展而下，林木蓊郁错杂于崖谷之间，构图繁密却丝毫不显拥塞。以干笔渴墨反复皴擦积染山石，笔墨厚重苍浑，皴法细密交织，从淡墨晕染到浓墨醒提，层层递进间尽显苍茫秀润。\n\n画作将王蒙的茂密幽深融于生拙厚重的自家风貌之中，咫尺尺幅藏深山幽林的深邃意境，静穆古雅的气息漫溢纸面，尽显师法元人又自出机杼的笔墨功力，是极具文人意趣的正统山水佳制。",[24,25,215,53,54,30,35,36,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb666efba9e02d76e4bb57b4d58d65a7.jpg",[],{"id":8470,"slug":8471,"title":8472,"dynasty":87,"author":88,"museum":147,"description":8473,"tags":8474,"thumbUrl":8475,"material":120,"size":120,"collection":120,"collections":8476,"showCount":8412,"zanCount":11,"manualWeight":11,"mainColor":44},236706,"huang-ge-song-shi-shan-yi-ming-236706","黄阁松石扇","此作用淡墨挥写松石，古松主干虬曲扭转，疤结嶙峋尽显风霜姿态，松针攒簇如聚，笔力苍劲老辣，将古松傲骨全然彰显。淡墨晕染山石，与苍松相映，留白恰到好处，空灵悠远。\n\n左侧题诗以书入画，笔墨与诗文相融，尽显文人雅致。整幅扇面以极简水墨托物言志，借苍松石畔的清寂之景，寄寓了文人隐逸高旷的襟怀，古意盎然，寥寥数笔便将松柏坚韧超拔的品格勾勒尽致，意境清寂高古。",[24,25,678,53,29,34,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ebeebb9f699c9ab69fa016e3fe22e00.jpg",[],{"id":8478,"slug":8479,"title":3781,"dynasty":18,"author":6554,"museum":147,"description":8480,"tags":8481,"thumbUrl":8482,"material":120,"size":89,"collection":40,"collections":8483,"showCount":8412,"zanCount":11,"manualWeight":11,"mainColor":44},236605,"shan-shui-ce-ye-xiang-rong-236605","此作以半边构图铺陈冬日山居，山石以枯淡笔墨勾勒皴擦，留白晕染出覆雪寒山的清冽质感。几株老松虬枝斜出，残叶萧疏，衬出山野冬意沉寂。山谷间屋舍俨然，隐于林泉褶皱里，烟火气融于萧寒山色，静穆闲雅。左侧留白空灵疏阔，与右侧实景虚实相生，将冬日山野的幽冷清寂与山居的安和静逸相融，笔墨简淡秀润，淡墨轻岚里晕染出文人寄情林泉的澹远襟怀，尽显冬日山林萧疏淡远的意境。",[73,24,25,215,27,54,30,150,35,175,36,367,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec8b92f9e4c64968e485897bfde74259.jpg",[40,62],{"id":8485,"slug":8486,"title":8487,"dynasty":18,"author":8488,"museum":89,"description":8489,"tags":8490,"thumbUrl":8491,"material":543,"size":8492,"collection":120,"collections":8493,"showCount":8412,"zanCount":11,"manualWeight":11,"mainColor":44},236495,"shan-shui-ren-wu-ce-guo-fen-ya-236495","山水人物册","郭汾涯","郭汾涯（约公元15世纪），明初时人，生卒年不详。能诗，善画山水、人物，宗唐、宋人画法，取马远、夏圭笔意。关于其生平，画史记载甚少，现只能从仅有的几幅传世作品，以及明初时的画风嬗变，来了解这位画家。\n此套《山水人物册》，每页自题七言诗一首，落款“汾涯”。册页中人物形神刻画生动，线条挺劲酣畅；山水以斧劈皴随意勾写，笔力遒劲；画树出枝峭拔、点叶爽辣，得南宋山水画遗风。\n明代初期画院复兴，提倡以古硬、雄厚、峻峭的风格来振作笔墨精神。在元朝被压制了多年的李、刘、马、夏画风，此时又开始活跃起来。宫廷内外，宗法者甚多。画风变南宋苍劲荒率为浑壮雄厚。画家们将贵族艺术引入民间，注重功力又不死守法度，变精严为放逸，顺应通俗艺术发展的时代潮流。这股势力影响范围广大，成为明代初期画坛实力最雄厚的画派——浙派。\n从这套册页中看，郭汾涯也是身处这股巨浪之中，但从画面中依然能体会到画家自觉与主动的一面，笔墨并非一味地追求粗放与草率，而是劲拔精简，笔下流露出画家掩饰不住的率真天性。画面还成功地将自然环境和人物活动富有情趣地结合在一起，给观者以强烈的艺术感染力。",[24,25,215,53,27,940,31,7,57,30,563],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41f10ef13b1e2178bbe658583b35a03a.jpg","纵38.8厘米，横60.4厘米",[],{"id":8495,"slug":8496,"title":8497,"dynasty":87,"author":1972,"museum":147,"description":8498,"tags":8499,"thumbUrl":8500,"material":120,"size":120,"collection":384,"collections":8501,"showCount":8412,"zanCount":11,"manualWeight":11,"mainColor":82},236199,"hua-shan-shui-wang-ji-hua-shu-xiao-qing-fan-zhou-xi-hu-zuo-shi-cheng-shan-qian-wei-cheng-236199","画山水王际华书晓晴泛舟西湖作诗成扇","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。",[24,25,678,53,27,30,36,778,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17a3980daf0eaba67e8fbfe59aae5fbb.jpg",[384,62],{"id":8503,"slug":8504,"title":3781,"dynasty":18,"author":2361,"museum":147,"description":8505,"tags":8506,"thumbUrl":8507,"material":120,"size":120,"collection":120,"collections":8508,"showCount":8412,"zanCount":11,"manualWeight":11,"mainColor":44},235976,"shan-shui-ce-cheng-jia-sui-235976","此作用笔枯淡疏简，以大片留白晕染出寒江空濛的冬日萧瑟。虬曲枯松临水而立，枝桠间尽显萧寒之态。江岸之上，策蹇童子伴同醉意老翁缓缓徐行，晕开风雪初歇的倦归意趣。\n\n左侧题诗行书清隽疏朗，诗画相映成趣。以文衬景，将寄梅相思的幽怀融于萧索山水间，尽显晚明文人画以意境为先的雅逸风骨，淡墨间藏尽清冷疏旷的林下幽情，把失意文人避世闲怀悄然晕染在尺幅之间。",[24,25,53,29,54,215,30,7,31,56,95,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c56e66760a4cc0442a11737c23173bb.jpg",[],{"id":8510,"slug":8511,"title":8512,"dynasty":18,"author":8513,"museum":147,"description":8514,"tags":8515,"thumbUrl":8516,"material":118,"size":119,"collection":120,"collections":8517,"showCount":8412,"zanCount":11,"manualWeight":11,"mainColor":44},235804,"dai-yue-qin-gong-tu-shan-ye-chen-guan-235804","岱岳秦宫图扇页","陈祼","陈祼（公元1563~约1639年），初名瓒，字叔祼，后去掉“叔”字，号道樗、白室，江苏吴县（今江苏苏州）人。善画山水，远宗赵伯驹、赵孟俯﹝赵孟頫﹞诸家，近师文征明。",[24,25,678,53,31,7,288,34,188,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F615973fe61084cc687dbfa7a60947cfa.jpg",[],{"id":8519,"slug":8520,"title":3879,"dynasty":87,"author":8521,"museum":147,"description":8522,"tags":8523,"thumbUrl":8524,"material":120,"size":120,"collection":120,"collections":8525,"showCount":8412,"zanCount":11,"manualWeight":11,"mainColor":44},235555,"shan-shui-tu-zhou-fang-shi-shu-235555","方士庶","此作用笔苍秀，以干笔皴擦铺陈山峦肌理，淡墨晕染出山岚清润，层层峰岭自远及近次第铺展，留白处云烟萦绕，将高远、平远之境相融，尽显山川浑厚华滋之态。\n\n近取景致生动，溪桥村舍错落林间，田埂蜿蜒、林木扶苏，带着江南乡野的温润烟火，隐见山居幽闲之趣。右上角题诗入画，诗境呼应山色，文气糅合笔情墨韵，将文人耽恋林泉的隐逸襟怀藏入苍林烟霭，清寂淡远，尽显山水间的静穆诗意。",[24,25,26,53,27,30,132,133,36,175,32,1963,971,702,7,3356,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3983639ac95ee53718e2c68a08aeaa3f.jpg",[],{"id":8527,"slug":8528,"title":8529,"dynasty":87,"author":88,"museum":147,"description":8530,"tags":8531,"thumbUrl":8533,"material":120,"size":120,"collection":120,"collections":8534,"showCount":8412,"zanCount":11,"manualWeight":11,"mainColor":82},235301,"gao-feng-han-xue-jing-shan-shui-tu-zhou-yi-ming-235301","高凤翰雪景山水图轴","此作用浅绛设色铺就雪冬胜景，以平远视角层层铺陈。近岸枯松虬劲、茅舍隐于坡坳，寒溪曲折穿绕山涧，将视线引向遥岑。山峦皆以淡墨晕染，留白托出覆雪，赭石轻敷坡麓，晕开雪后初霁的温润暖意。枯笔勾勒寒木，萧疏间尽显冬意萧寒。\n\n画面题诗与绘境相融，文气浸润山水，把冬日山野的辽远空寂，幽居的静穆淡远尽数铺展。简淡笔法写尽冷逸雅致，将文人幽栖林下的安然意趣，藏进这片素裹山河之中，尽显清旷出尘的冬日诗意。",[24,25,26,27,30,365,132,133,7,778,175,31,258,7328,367,56,8532,54],"冰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc86f7786a0e780b5ff66b2cd24fe16.jpg",[],{"id":8536,"slug":8537,"title":8538,"dynasty":18,"author":8539,"museum":147,"description":8540,"tags":8541,"thumbUrl":8542,"material":120,"size":120,"collection":120,"collections":8543,"showCount":8412,"zanCount":11,"manualWeight":11,"mainColor":44},234682,"shan-shui-dan-ye-wan-shou-qi-234682","山水单页","万寿祺","万寿祺（1603年－1652年），明末清初文学家、书画家。字年少，又字介若、内景，入清衣僧服，改名慧寿，又名明志道人、寿道人、寿若、若若，世称年少先生，祖籍江西南昌，曾祖辈迁至江苏徐州。 [1] 与陈子龙乡试同年，与沛县阎尔梅是同乡。曾参加抗清活动，兵败后隐居江淮一带。代表作有《秋江别思图》《松石图》《山水图》等等。 万寿祺为人风流倜傥，工书画，精于六书，癖嗜印章，辑有《沙门慧寿印谱》一册。其后裔第十六代后人万中华，在当今书画界也享有一定的声誉。",[2577,53,940,54,1784,34,30,7,31,35,134,574],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2162ccf18dc85ed28b0971b24faa8c9.jpg",[],{"id":8545,"slug":8546,"title":3781,"dynasty":49,"author":624,"museum":89,"description":3782,"tags":8547,"thumbUrl":8548,"material":246,"size":3785,"collection":120,"collections":8549,"showCount":8412,"zanCount":11,"manualWeight":11,"mainColor":82},233173,"shan-shui-ce-cao-zhi-bai-233173",[24,25,215,53,54,30,7,35,439,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b101776022611c4f83a7a7affa75b39.jpg",[],{"id":8551,"slug":8552,"title":8553,"dynasty":3958,"author":7529,"museum":147,"description":8554,"tags":8555,"thumbUrl":8557,"material":118,"size":119,"collection":120,"collections":8558,"showCount":8412,"zanCount":11,"manualWeight":11,"mainColor":82},231625,"shi-ting-shi-dai-shan-yue-song-lin-tu-shou-ye-yuan-xin-231625","室町时代 山岳松林图","狩野元信（1477～1559）同父亲正信一样，是足利幕府的御用画师，也为细川高国、大内义隆等幕府权贵所用，经常出入宫廷、幕府官邸画障屏画。他承袭了足利家所喜好的中国水墨画风格，但同时他又是提倡“大和画”的土佐派始祖土佐光信的义子。",[23,24,25,53,27,54,30,132,7,8556,5350],"山岳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6cae223afb7683f359816c689e347ba.jpg",[],{"id":8560,"slug":8561,"title":8562,"dynasty":87,"author":5263,"museum":147,"description":8563,"tags":8564,"thumbUrl":8565,"material":120,"size":120,"collection":120,"collections":8566,"showCount":8412,"zanCount":11,"manualWeight":11,"mainColor":44},230962,"jie-jiao-tu-dong-bang-da-230962","解角图","此作以长卷铺展平远寒林之境，左处危崖飞泉，枯木虬曲苍劲，麋鹿或俯饮或闲游，野意悠然。中段洲渚错落，寒林与苍松交错排布，留白晕染烟波浩渺，空濛清寂。\n\n全作用色浅淡秀润，山石皴法简净雅致，林木勾勒细致入微，既得元人山水萧散简远之致，又暗含庙堂文雅气韵。将冬日郊野的清旷萧寒，与鹿群自在恬和之态相融，静穆淡远的林下雅趣跃然绢素，是兼具院体工稳与文人意韵的佳构。",[23,24,25,186,27,54,28,30,367,7,1458,35,258,7328,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d17b32f4f9101d80e94726c757afe45.jpg",[],{"id":8568,"slug":8569,"title":8570,"dynasty":69,"author":88,"museum":147,"description":8571,"tags":8572,"thumbUrl":8573,"material":120,"size":120,"collection":120,"collections":8574,"showCount":8412,"zanCount":11,"manualWeight":11,"mainColor":82},227871,"song-gu-wen-dao-tu-yi-ming-227871","松谷问道图","这幅山水小品以淡墨晕染出烟岚轻笼的山谷，留白营造出朦胧空寂的悠远意境。右下古松虬曲苍劲，疏枝错落尽显山野清趣，山石以简淡皴擦勾勒，带着朴拙古雅的质感。\n\n林下二人，一人趺坐松下安闲垂目，一人躬身持礼似在问道，寥寥数笔便将山林雅聚的隐逸意趣刻画尽致。边角古印晕染着岁月沉淀的静穆，整幅画作以简驭繁，将幽闲林下意趣融于尺幅之间，笔墨清简却意韵悠长，尽显雅致的文人山水格调。",[23,24,25,27,54,34,30,7,31,35,288],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febd1b020784fb705e4d7c880712aa2ad.jpg",[],{"id":8576,"slug":8577,"title":8578,"dynasty":69,"author":88,"museum":147,"description":8579,"tags":8580,"thumbUrl":8581,"material":120,"size":120,"collection":120,"collections":8582,"showCount":8412,"zanCount":11,"manualWeight":11,"mainColor":82},227870,"song-xi-fang-ting-tu-yi-ming-227870","松溪放艇图","近岸危石之上老松虬曲蟠郁，旁生枯木寒枝，晕染出深秋荒寂之态。远山以斧劈皴简括勾勒，隐现于淡墨烟霭之中，将江面衬得愈发空阔辽远。水面之上扁舟随波缓行，渔翁垂竿静坐，天地间只剩水波漾开的清寂。\n\n全幅以水墨晕染江南水滨的空濛氤氲，落笔苍劲老辣，皴擦利落，以小景写尽江湖林泉的幽远萧散。将隐士寄情烟波、与世无争的隐逸襟怀融于尺幅间，淡远空灵，尽显宋人山水小品以小见大的精妙，余韵悠长。",[23,24,25,497,678,53,27,30,54,7,74,116,35,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94dd824de3650215297d3eba319e3578.jpg",[],{"id":8584,"slug":8585,"title":30,"dynasty":87,"author":8064,"museum":147,"description":8586,"tags":8587,"thumbUrl":8588,"material":120,"size":120,"collection":120,"collections":8589,"showCount":8412,"zanCount":11,"manualWeight":11,"mainColor":44},224435,"shan-shui-wang-yu-224435","此作用高远、平远章法铺展秋山胜景，左畔危崖陡立，以苍劲皴法写山石肌理，丹枫村居隐于崖麓，添几分暖意生机。近岸古松盘虬，坡石隐现于浅草间，流泉脉脉。江波浩渺，远山含黛晕染出空濛暮色。\n\n画面笔墨承袭娄东一脉，干笔淡墨皴擦，浅设色晕染清雅柔和。题诗与画境相映，糅合元人萧散意趣，铺就出幽寂闲淡的江秋林下之境，将文人山水的隐逸悠然藏于尺幅之间。",[23,24,25,30,26,27,53,54,35,36,175,134,714,7,520,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c3a78721187e680a816bc2f19330f5a.jpg",[],{"id":8591,"slug":8592,"title":8593,"dynasty":87,"author":1038,"museum":89,"description":3397,"tags":8594,"thumbUrl":8595,"material":543,"size":3400,"collection":120,"collections":8596,"showCount":8412,"zanCount":11,"manualWeight":11,"mainColor":44},220295,"huang-shan-tu-ce-31-hong-ren-220295","黄山图册-31",[23,24,53,30,215,54,132,7,56,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91a243b562970f929e8db32bb0662953.jpg",[],{"id":8598,"slug":8599,"title":8600,"dynasty":87,"author":1038,"museum":89,"description":3397,"tags":8601,"thumbUrl":8602,"material":543,"size":3400,"collection":120,"collections":8603,"showCount":8412,"zanCount":11,"manualWeight":11,"mainColor":44},220284,"huang-shan-tu-ce-41-hong-ren-220284","黄山图册-41",[23,73,24,25,215,53,54,30,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcdf6043d1be756bd89898d976e8aee5.jpg",[],{"id":8605,"slug":8606,"title":8607,"dynasty":87,"author":1038,"museum":89,"description":3397,"tags":8608,"thumbUrl":8609,"material":543,"size":3400,"collection":120,"collections":8610,"showCount":8412,"zanCount":11,"manualWeight":11,"mainColor":44},220273,"huang-shan-tu-ce-50-hong-ren-220273","黄山图册-50",[23,24,25,73,215,53,54,30,35,7,1216,135,134,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77eb0a71d6aaf60a7e550f6ed7e96459.jpg",[],{"id":8612,"slug":8613,"title":8614,"dynasty":69,"author":88,"museum":20,"description":8615,"tags":8616,"thumbUrl":8617,"material":190,"size":120,"collection":101,"collections":8618,"showCount":8412,"zanCount":11,"manualWeight":11,"mainColor":44},219612,"fei-xiong-ye-meng-tu-yi-ming-219612","非熊叶梦图","边角取景，苍松虬枝斜探水岸，远山晕作淡墨烟岚，铺就清幽古雅的林下氛围。画中士人神态恭谨，二人对谈间尽显庄重，旁侧侍仆从立，将贤遇的典故缓缓铺陈。\n\n细劲凝练的线条勾勒出衣褶流畅的层次，淡墨轻敷，设色古拙雅致，兼具写实意趣与宋画特有的雅致格调。咫尺小幅里藏着隐逸寻贤的古典意境，以小见大，尽显院体小品的精妙功力，把传说中的相逢际遇，晕染成淡远悠长的林下雅境。",[23,24,27,28,215,31,30,7,35,2735],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e7c484d1a83f0c810ce83211ed80d30.jpg",[101],{"id":8620,"slug":8621,"title":8622,"dynasty":18,"author":8623,"museum":1107,"description":8624,"tags":8625,"thumbUrl":8626,"material":38,"size":8627,"collection":120,"collections":8628,"showCount":8412,"zanCount":11,"manualWeight":11,"mainColor":44},219066,"xiao-xiang-ba-jing-ce-5-zhang-fu-219066","潇湘八景册-5","张复","字复阳，以字行（佩文斋书画谱、复阳重截）号南山，浙江平湖人。",[23,24,53,30,215,1343,7,116,134,54,35,485,135,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c50ead1d3939511b18b28649db1b2d4.jpg","30x33厘米",[],{"id":8630,"slug":8631,"title":4430,"dynasty":69,"author":88,"museum":20,"description":8632,"tags":8633,"thumbUrl":8634,"material":53,"size":120,"collection":40,"collections":8635,"showCount":8412,"zanCount":11,"manualWeight":11,"mainColor":44},219029,"song-feng-lou-guan-tu-yi-ming-219029","苍松盘崖而立，虬枝如铁，松针层叠间似有山风穿林，涛声隐隐。山麓楼阁隐于青霭，飞檐轻挑云影，凭栏处烟水横陈，远山如黛，天地间尽是清旷之息。题跋笔墨苍劲，与画面的松风意境相融，仿佛引观者步入林泉深处：听松涛漱石，看云气萦楼，暂别尘事烦扰。构图疏密得宜，近景松石沉厚与远景烟波淡远形成虚实相生，墨色层次细腻，尽显山水楼阁的雅致幽远，让人于尺幅间领略自然与人文交织的静谧之美。",[23,24,25,215,27,92,30,7,94,161,36,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e60bfe4a7cf9653d7fcbd81b140377d.jpg",[40],{"id":8637,"slug":8638,"title":8639,"dynasty":87,"author":1811,"museum":212,"description":7934,"tags":8640,"thumbUrl":8641,"material":38,"size":120,"collection":120,"collections":8642,"showCount":8412,"zanCount":11,"manualWeight":11,"mainColor":44},215023,"fang-gu-shan-shui-ce-7-wang-jian-215023","仿古山水册-7",[24,53,54,215,274,30,7,161,33,35,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb65c5f001cf69f851fc2a2bceec7948c.jpg",[],{"id":8644,"slug":8645,"title":8646,"dynasty":18,"author":459,"museum":20,"description":8647,"tags":8648,"thumbUrl":8649,"material":190,"size":8650,"collection":120,"collections":8651,"showCount":8412,"zanCount":11,"manualWeight":11,"mainColor":44},214894,"di-wang-dao-tong-wan-nian-tu-ce-16-chou-ying-214894","帝王道统万年图册-16","绘伏羲、神农、黄帝、少昊、舜、后稷、大禹、夏启、商汤、商高宗武丁、周文王、周武王、周成王、汉高祖、汉文帝、汉武帝、汉明帝、宋孝宗、宋太祖、宋仁宗等",[23,24,25,215,27,115,28,31,30,7,509,961,35,1376,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f2210df041ffad4bd91c680c314e4b1.jpg","32.5*32.6",[],{"id":8653,"slug":8654,"title":8655,"dynasty":18,"author":4081,"museum":172,"description":8656,"tags":8657,"thumbUrl":8658,"material":120,"size":120,"collection":40,"collections":8659,"showCount":8412,"zanCount":11,"manualWeight":11,"mainColor":8660},203457,"nan-cun-cun-bie-shu-shi-jing-ce-du-qiong-203457","南村邨别墅十景册","画面以淡墨皴擦山石，线条勾勒松枝苍劲，老干虬曲盘结，松针攒簇如盖，尽显古松奇崛之态。两只仙鹤一立松巅，一踏岩坪，姿态闲雅，似相顾鸣，于清寂间漾起生机。山间飞瀑潺潺，溅起细浪，与嶙峋岩石相映，衬出幽谷静谧。淡设色晕染山体，局部点缀红树，素雅中见灵动。笔墨简淡却意韵醇厚，构图疏密有致，将林泉之趣与隐逸情怀融于尺幅，尽显文人画的雅致诗意。",[23,24,53,27,215,54,30,7,776,35,33,288,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f32816c2f8638ed47ef636515f66165.jpg",[40],"bebab3",{"id":8662,"slug":8663,"title":8664,"dynasty":3880,"author":1399,"museum":172,"description":8665,"tags":8666,"thumbUrl":8668,"material":120,"size":120,"collection":40,"collections":8669,"showCount":8412,"zanCount":11,"manualWeight":11,"mainColor":8670},203286,"lu-shan-yao-shi-yi-tu-zhou-fu-bao-shi-203286","庐山谣诗意图轴","笔墨纵逸洒脱，抱石皴法赋予山峦嶙峋肌理，墨色浓淡交织间，云雾如流岚漫过山脊，数道飞泉倾泻而下，与苍松虬枝相映成趣。虚实相生的构图里，庐山的雄奇壮阔与诗意空灵交融，似将李白诗中“飞流直下三千尺”的豪情与“云蒸霞蔚”的悠远意境凝于一纸，尽显山水灵韵与文人笔墨情致。",[24,30,53,27,8667,55,135,7,26,23],"抱石皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F009092f8b200ac9b1aad04ca964388b5.jpg",[40],"a3937d",{"id":8672,"slug":8673,"title":8674,"dynasty":18,"author":128,"museum":172,"description":8675,"tags":8676,"thumbUrl":8678,"material":120,"size":120,"collection":40,"collections":8679,"showCount":8412,"zanCount":11,"manualWeight":11,"mainColor":8680},201734,"lu-he-zeng-bie-tu-zhou-dong-qi-chang-201734","潞河赠别图轴","这幅画以淡墨皴染营造清旷山水之境。近处苍松虬劲，山石以简练皴笔勾勒，间杂疏林；中景小桥横跨溪流，流水潺潺；远景山峦层叠，云雾轻笼，尽显江南景致的雅致。笔墨疏朗灵动，线条温润，既得自然野趣，又含文人画空灵韵味。赠别之情隐于山水间，含蓄深沉，不着一字却尽得风流。画面布局疏密有致，意境淡远，是文人画风格的典型体现，尽显笔墨功力与意境营造的极致追求。",[24,30,257,8677,54,7,35,32,33,150,26,4665,23],"淡墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F020d9a6eb4e3829c2236b26a50a48160.jpg",[40],"d3c6a8",{"id":8682,"slug":8683,"title":8684,"dynasty":87,"author":7975,"museum":147,"description":7976,"tags":8685,"thumbUrl":8687,"material":118,"size":119,"collection":120,"collections":8688,"showCount":293,"zanCount":11,"manualWeight":11,"mainColor":44},290436,"song-shou-tu-li-zhou-qu-zhao-lin-290436","松寿图立轴",[23,73,24,25,26,53,27,30,7,95,509,33,34,8686],"松寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d00d4206b7d8b8808226d4242742e9.jpg",[],{"id":8690,"slug":8691,"title":8692,"dynasty":87,"author":5263,"museum":147,"description":8693,"tags":8694,"thumbUrl":8695,"material":118,"size":119,"collection":120,"collections":8696,"showCount":293,"zanCount":11,"manualWeight":11,"mainColor":82},290391,"mo-fan-hua-yuan-bi-yi-tu-li-zhou-dong-bang-da-290391","摹范华原笔意图立轴","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”。",[23,24,73,26,115,256,274,54,150,7,4128,175,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa52c57caee85cd1e6b837bcd8e97ca8e.jpg",[],{"id":8698,"slug":8699,"title":8700,"dynasty":69,"author":88,"museum":147,"description":8701,"tags":8702,"thumbUrl":8704,"material":118,"size":119,"collection":120,"collections":8705,"showCount":293,"zanCount":11,"manualWeight":11,"mainColor":82},289228,"zheng-ren-xiao-fa-tu-yi-ming-289228","征人晓发图","松荫浓翳，环抱着两间茅舍，晓色清寂里，即将远行的征人正与屋中友人对晤作别。案头堆叠起打点好的行装，篱边的白马垂首静立，等候着启程的时刻。\n\n整幅小品取景紧凑，以繁密的林木圈住方寸茅庐，将离别的缱绻私语藏在深幽静谧的氛围之中。淡墨轻施晕染出晨晓的朦胧，笔致工细朴拙，未刻意渲染离愁，却把羁旅远行的怅惘与友人相赠的温厚情意，融在这寻常晓发图景里，尽显宋代小品的雅致韵致，于细微处见悠远绵长的诗意。",[23,678,24,25,28,31,242,8703,7,316,27],"草舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165145a4bc26c006a7e754dbdfadc7cb.jpg",[],{"id":8707,"slug":8708,"title":8709,"dynasty":18,"author":88,"museum":147,"description":8710,"tags":8711,"thumbUrl":8712,"material":118,"size":119,"collection":120,"collections":8713,"showCount":293,"zanCount":11,"manualWeight":11,"mainColor":194},288103,"shan-si-wen-dao-tu-li-zhou-yi-ming-288103","山寺问道图立轴","淡墨晕染出山岚空濛，远山隐在烟霭间，如美人敛眉含黛。崖壁奇崛，皴笔硬朗刻画出山石苍劲肌理，古松虬曲扎根危岩，枝叶舒展间带萧疏野趣。山径蜿蜒盘桓，半山古寺藏于松涛深处，飞檐翘角若隐若现，禅意暗生。溪畔三两行人正拾级缓行，似欲赴山寺问道，幽寂山林因这几抹人影多了灵动意趣。\n\n画作以虚实相生之法铺陈意境，淡墨轻岚衬出世外林泉的静穆清远，将文人寄情山水、寻幽问道的雅致襟怀藏于尺幅间，简淡笔墨里尽是悠远林下之思。",[23,24,26,256,53,54,94,7,35,33,31,690,161,135,34,2210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc0dd14d32bd01d376f036a7af62e871.jpg",[],{"id":8715,"slug":8716,"title":8717,"dynasty":3958,"author":8326,"museum":147,"description":8327,"tags":8718,"thumbUrl":8719,"material":118,"size":119,"collection":120,"collections":8720,"showCount":293,"zanCount":11,"manualWeight":11,"mainColor":82},287659,"shan-shui-tu-ping-feng-er-zhou-wen-287659","山水図屏風二",[24,73,5349,53,30,7,175,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F153ae9a4d52cfc936e158634dfc01042.jpg",[],{"id":8722,"slug":8723,"title":8724,"dynasty":87,"author":88,"museum":147,"description":8725,"tags":8726,"thumbUrl":8731,"material":118,"size":119,"collection":120,"collections":8732,"showCount":293,"zanCount":141,"manualWeight":11,"mainColor":44},267092,"hong-qing-se-duan-xiu-yun-fu-song-shu-wen-tuo-yuan-he-bao-yi-ming-267092","红青色缎绣云蝠松树纹椭圆荷包","荷包是中国汉族传统服饰中，人们所随身佩带的一种装零星物品的小包，后发展为爱情信物，荷包的图案有繁有简，花卉、鸟、兽、草虫、山水、人物以及吉祥语、诗词文字都有，装饰意味很浓。\n在民间荷包中，占相当比重的是香包，香包里装有香草之类的药品，包面上绣制着“五毒”，即蝎子、蛇、蜈蚣、壁虎和蟾蜍，它原是五月端午的节令物品，为了防止各种毒虫猖獗，侵害人体，人们相互馈赠，挂在衣襟或帐勾上，以避除“五毒”。就形状来看，有虎形的、鸡形的、如意形的、寿桃形的、蝙蝠形的，以取意于福、禄、寿、喜、吉祥、如意等。富有深厚民族心理基础的绣荷包，在民间文化中，显示着旺盛的生命力。",[8727,2178,2129,8728,8729,7,8730,2130],"饰品","云纹","蝙蝠","荷包","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f5cc8ada1986219c6908fca5acaed9f.jpg",[],{"id":8734,"slug":8735,"title":8736,"dynasty":87,"author":3139,"museum":147,"description":3140,"tags":8737,"thumbUrl":8738,"material":120,"size":120,"collection":120,"collections":8739,"showCount":293,"zanCount":11,"manualWeight":11,"mainColor":44},238818,"dong-gao-lv-xuan-shao-jing-ce-dong-gao-238818","董诰律宣韶景册",[24,25,215,27,30,28,54,32,33,31,175,35,1238,7,36,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0d45dcffa582ad09361b4fe6129d7e2.jpg",[],{"id":8741,"slug":8742,"title":8743,"dynasty":87,"author":3737,"museum":147,"description":8744,"tags":8745,"thumbUrl":8751,"material":120,"size":120,"collection":120,"collections":8752,"showCount":293,"zanCount":141,"manualWeight":11,"mainColor":82},238209,"duan-yang-gu-shi-ce-zhi-yang-qu-yu-xu-yang-238209","端阳故事册之养鸲鹆","浅设色清润雅致，庭院虬松苍劲，苔痕覆坡，朱栏围出幽寂小境。敞轩之下，垂髫稚儿探臂向仆童托举的鸲鹆，长者垂首含笑注视孩童，融融天伦暖意漫开。旧俗端午饲八哥，训其言语以祈孩童灵秀聪慧。\n\n画中细节入微，瓦楞窗棂肌理分明，衣袂褶皱轻柔写实，将节俗旧意藏进寻常闲情里，淡晕的笔墨晕染出悠然松弛的氛围，把古俗祈愿融在日常温情之中，尽显清雅的市井意趣与古典温婉的烟火质感。",[24,215,27,28,31,94,639,7,8746,8747,8748,8749,8750],"鸲鹆","端阳习俗","天伦之乐","市井意趣","烟火气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a1ab5fb12b4006de2c6d2f874af3d2.jpg",[],{"id":8754,"slug":8755,"title":8258,"dynasty":87,"author":8756,"museum":147,"description":8757,"tags":8758,"thumbUrl":8759,"material":118,"size":119,"collection":120,"collections":8760,"showCount":293,"zanCount":141,"manualWeight":11,"mainColor":44},236874,"shan-shui-shan-ye-wan-shang-lin-236874","万上遴","字殿卿，号辋冈，江西分宜（分宜城郊辋冈人）拔贡生。清朝画家，曾任清宫画院待诏，专事书画。上遴年少失父，家境清寒。从小聪颖好学，酷爱王维诗画，终日练习作画，画一幅画，就写一首诗。“诗、画、行、草”，均“细筋入骨”。",[24,678,53,27,54,30,162,7,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ba64749bd8f1082d037d2a12b1c5bb8.jpg",[],{"id":8762,"slug":8763,"title":8764,"dynasty":87,"author":8765,"museum":147,"description":8766,"tags":8767,"thumbUrl":8768,"material":118,"size":119,"collection":120,"collections":8769,"showCount":293,"zanCount":11,"manualWeight":11,"mainColor":44},236371,"mei-hua-shu-wu-tu-shan-ye-zhu-ben-236371","梅花书屋图扇页","朱本","[清]（1761—1819）字素人，号溉夫，自署竹西，江苏扬州人。",[24,25,678,53,30,7,302,7461,450,229,36,35,639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1ef5ba0670559ca3dc050096d8dcb3e.jpg",[],{"id":8771,"slug":8772,"title":3781,"dynasty":18,"author":8773,"museum":147,"description":8774,"tags":8775,"thumbUrl":8776,"material":120,"size":120,"collection":120,"collections":8777,"showCount":293,"zanCount":11,"manualWeight":11,"mainColor":44},235829,"shan-shui-ce-li-liu-fang-235829","李流芳","此帧以淡墨写幽居秋山，古松拔地而起，枝桠舒展如盖，笔致苍劲老辣，自带虬劲古拙之态。山峦以干笔皴擦，墨色清润且层次分明，留白处漾出空寂萧散之意。林麓间村居隐现，暗合山居幽寂之趣。\n\n题语评其近董巨遗风，墨淡而神完气厚，不假浓艳而丘壑自存，将江南秋山的清寂淡远尽藏毫端，笔底见出文人画的简雅风神，于水墨疏淡中见出沉厚的笔墨功底，尽显静穆淡远的山水逸韵。",[73,24,25,215,53,54,30,7,35,175,36,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50162dc314f052934b135c96165978d2.jpg",[],{"id":8779,"slug":8780,"title":8781,"dynasty":18,"author":1015,"museum":147,"description":6209,"tags":8782,"thumbUrl":8783,"material":118,"size":119,"collection":120,"collections":8784,"showCount":293,"zanCount":11,"manualWeight":11,"mainColor":44},235270,"wen-zheng-ming-shan-shui-shan-ye-wen-zheng-ming-235270","文徵明山水扇页",[24,25,678,54,30,35,7,36,187,303,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf4462c3924a5c32075348b714c80d1a.jpg",[],{"id":8786,"slug":8787,"title":7214,"dynasty":18,"author":7477,"museum":147,"description":8788,"tags":8789,"thumbUrl":8790,"material":118,"size":119,"collection":120,"collections":8791,"showCount":293,"zanCount":11,"manualWeight":11,"mainColor":44},234711,"shan-shui-shan-wei-zhi-huang-234711","魏之璜。字叔考，上元（今南京）人。出身孤贫，天性孝友，养老亲，抚诸弟，胥取给於十指，不以干人。能书善画，以卖画为生。书师法《黄庭经》，结构严密，神采流丽。山水宗宋人，不袭粉本，岩壑树石多变化，别具风貌。生平画幅，绝无雷同。晚年用浓墨秃笔，苍老厚实，颇见功底。亦擅花卉及佛像，花卉淡墨写生，画佛施诸寺院。",[678,24,53,54,30,132,36,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f7a56bc5709249a5c06448448396f8a.jpg",[],{"id":8793,"slug":8794,"title":8258,"dynasty":18,"author":815,"museum":147,"description":7640,"tags":8795,"thumbUrl":8796,"material":120,"size":120,"collection":120,"collections":8797,"showCount":293,"zanCount":11,"manualWeight":11,"mainColor":44},234673,"shan-shui-shan-ye-lan-ying-234673",[24,25,678,53,54,30,7,116,35,31,317],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3900dc596aa5e27092d92131c0b7be8f.jpg",[],{"id":8799,"slug":8800,"title":5646,"dynasty":18,"author":8801,"museum":147,"description":8802,"tags":8803,"thumbUrl":8804,"material":120,"size":120,"collection":120,"collections":8805,"showCount":293,"zanCount":11,"manualWeight":11,"mainColor":82},234543,"shan-shui-ren-wu-shan-xue-heng-234543","薛恒","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。",[73,24,25,678,27,54,30,31,7,35,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F023ac82acfab9e807163bedf66f87e34.jpg",[],{"id":8807,"slug":8808,"title":8809,"dynasty":18,"author":459,"museum":89,"description":8810,"tags":8811,"thumbUrl":8812,"material":99,"size":8813,"collection":120,"collections":8814,"showCount":293,"zanCount":11,"manualWeight":11,"mainColor":82},233760,"ren-wu-gu-shi-ce-7-chou-ying-233760","人物故事册7","全册共十开，内容取材于历史故事、寓言传说、文人轶事和诗文寓意，具体为子路问津、明妃出塞、贵妃晓妆、南华秋水、吹箫引凤、高山流水、竹院品古、松林六逸、浔阳琵琶、捉柳花图等。这些题材历史上常被画家描绘，但仇英在作品立意、形象塑造和笔墨表现等方面，都注入了自己的才思和技巧，显示出鲜明的个性风格。\n作品主题明确，构思巧妙，不仅人物活动的细节刻画具体明晓，而且注意环境气氛的烘托，使每幅画页都有很强的观赏性。如“贵妃晓妆”页，以杨贵妃清晨在华清宫端正楼对镜理髻为中心，将宫女奏乐、采花和携琵琶等情节同现于一个画面，集中表现了贵妃爱牡丹、喜簪花、善声乐、好打扮的习性，也概括反映了贵妃奢华纵乐的生活内容。又如“高山流水”页，取材于伯牙鼓琴的故事，在描绘俞伯牙草亭弹琴，钟子期拾阶而上，知音相遇的具体情节同时，布置了高山飞瀑、松林流水的静谧清幽环境，形象地表达了高山流水的音乐内容，也衬托出人物的高雅情操，以象征性手法营造出了一个情景交融的臻境。\n此图册运用工笔重彩法。人物情态描绘得细腻精微，文人举止高雅潇洒，仕女容貌端庄娟美。建筑器皿工整精细，山石树木形态各具。笔致工细而不板滞，流畅自然，刚柔相济。敷色艳丽，又多和色，整体色调和谐、清雅。作品具有雅俗共赏的艺术效果，是仇英对唐宋工笔重彩法的创新和发展。",[24,25,215,28,27,31,30,94,7,288,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F380d0e84f9cd583dda27a702d507c950.jpg","纵41.4厘米，横33.8厘米",[],{"id":8816,"slug":8817,"title":8818,"dynasty":87,"author":3867,"museum":89,"description":8819,"tags":8820,"thumbUrl":8821,"material":246,"size":8822,"collection":120,"collections":8823,"showCount":293,"zanCount":11,"manualWeight":11,"mainColor":44},233451,"ren-wu-shan-shui-ce-luo-pin-233451","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。",[24,25,73,215,27,53,54,31,30,7,35,5488,187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddca79a58723a9626249c82ba1ad7f5f.jpg","纵24.2厘米，横30.7厘米",[],{"id":8825,"slug":8826,"title":8827,"dynasty":69,"author":88,"museum":89,"description":8828,"tags":8829,"thumbUrl":8831,"material":543,"size":8832,"collection":120,"collections":8833,"showCount":293,"zanCount":11,"manualWeight":11,"mainColor":82},233210,"song-jian-shan-qin-tu-ye-yi-ming-233210","松涧山禽图页","此图绘参天的古松下，山溪蜿蜒奔流，水花飞溅，四对山鹊姿态各异，或飞呜，或回旋，或啄食与山涧和树石之上，形象生动。图中用浓墨画松斡和松鳞，松针用墨线勾描后用石青渲染。竹叶用严谨的双钩填色法。山石则用墨线勾勒轮廓，进而用淡青色破染，使画面富有立体感。此图用笔苍劲，静中有劲，为南宋小幅花乌画中精秀之作。这幅作品曾经明黔宁王沐琳和项元汴收藏。",[24,73,25,215,28,27,667,30,7,33,95,8830,57,34],"山禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff97df25750b2d414d498c6d636769ceb.jpg","25.3*25.3厘米",[],{"id":8835,"slug":8836,"title":8837,"dynasty":87,"author":8838,"museum":1577,"description":8839,"tags":8840,"thumbUrl":8841,"material":231,"size":8842,"collection":120,"collections":8843,"showCount":293,"zanCount":11,"manualWeight":11,"mainColor":82},232672,"song-xia-zhu-geng-tu-tuan-shi-gen-232672","松下煮羹图","团时根","团时根［清］江苏泰州人。工写意人物，曾随某将军赴西藏，尝画一册，纯有干笔写旁塞光景山城夜角，羽檄飞骑，各肖其态。",[23,24,25,53,27,31,288,7,1250,342,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2d3511a98ddf0bee86499ffdd938cb5.jpg","174cmx104cm",[],{"id":8845,"slug":8846,"title":8847,"dynasty":49,"author":88,"museum":147,"description":8848,"tags":8849,"thumbUrl":8850,"material":120,"size":120,"collection":120,"collections":8851,"showCount":293,"zanCount":11,"manualWeight":11,"mainColor":82},231498,"fang-yan-ci-ping-qiu-shan-yan-ai-tu-yi-ming-231498","仿阎次平秋山烟霭图","作品采用水墨绘淡墨远山，烟霭朦朦，若隐若现。下部作山坡秋树，山坡处用笔勾出染色，画树枝用劲硬笔法，但整幅画面以水墨渲染为主，以墨色的浓淡分出层次，有“岚顶柔和”的风格，近乎秀润清真。",[24,53,30,274,54,7,132,6619,175,3197,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb15a715752a8a2d45a46006977cceaf.jpg",[],{"id":8853,"slug":8854,"title":8855,"dynasty":87,"author":8856,"museum":147,"description":8857,"tags":8858,"thumbUrl":8859,"material":120,"size":120,"collection":120,"collections":8860,"showCount":293,"zanCount":11,"manualWeight":11,"mainColor":82},230221,"shan-shui-shi-yi-ce-6-kai-wu-chao-230221","山水诗意册6开","吴焯","此作截取山隅一隅写幽林泉石之景。危崖层叠嶙峋，飞泉穿漱乱石，清越泉声隐然纸上。古松盘根错节扎根崖壁，干枝虬曲苍劲，湿墨点染的松针葱郁灵动，尽显老柏岁寒之姿。\n笔墨简淡清逸，干皴擦写出山石肌理，淡墨晕染留白摹出空濛云气，右上角远林轻描淡绘，衬出山景空寂悠远。左侧题诗落款，书画相融，文气雅致。\n整幅小品以小景见丘壑，萧散静穆，将林泉幽寂与诗意禅思相融，尽显文人山水的写意旨趣，藏着林下幽居的澹然意绪。",[24,25,215,53,27,30,57,288,33,56,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee3ba4841e3c3f6f755400e7e0f5c4bf.jpg",[],{"id":8862,"slug":8863,"title":8864,"dynasty":87,"author":2787,"museum":147,"description":8865,"tags":8866,"thumbUrl":8868,"material":120,"size":120,"collection":120,"collections":8869,"showCount":293,"zanCount":11,"manualWeight":11,"mainColor":44},224331,"hua-niao-shi-er-kai-9-li-shan-224331","花鸟十二开9","淡墨晕染出松鼠身形，蓬松皮毛的质感呼之欲出，尖吻微张，长尾轻扬，攀附松枝之上，警觉灵动的神态跃然纸面。苍松以焦墨挥写，浓墨点簇松针，老辣笔力勾勒出虬曲枝干，尽显苍古拙朴的风骨。左侧行书题字与画面相得益彰，笔墨枯润相生，尽显写意随性野趣。整幅作品以简驭繁，笔情纵逸，将文人写意的酣畅与林间生机相融，寥寥数笔便定格住松间嬉游的悠然意趣，尽显写意花鸟的动人神韵。",[23,24,25,215,53,342,961,8867,7,29,34],"松鼠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523b8f0015029b872e9adff78fa964b0.jpg",[],{"id":8871,"slug":8872,"title":8873,"dynasty":87,"author":1038,"museum":89,"description":3397,"tags":8874,"thumbUrl":8875,"material":543,"size":3400,"collection":120,"collections":8876,"showCount":293,"zanCount":11,"manualWeight":11,"mainColor":44},220286,"huang-shan-tu-ce-39-hong-ren-220286","黄山图册-39",[23,73,24,25,215,53,54,30,57,1343,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24c7d8f2fb5813ef5402c7d8210582ec.jpg",[],{"id":8878,"slug":8879,"title":8880,"dynasty":87,"author":1038,"museum":89,"description":3397,"tags":8881,"thumbUrl":8883,"material":543,"size":3400,"collection":120,"collections":8884,"showCount":293,"zanCount":141,"manualWeight":11,"mainColor":44},220276,"huang-shan-tu-ce-48-hong-ren-220276","黄山图册-48",[23,24,53,27,54,215,30,275,7,35,8882],"屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4574e545438de69607808d7b56574def.jpg",[],{"id":8886,"slug":8887,"title":8888,"dynasty":87,"author":1038,"museum":89,"description":3397,"tags":8889,"thumbUrl":8890,"material":543,"size":3400,"collection":120,"collections":8891,"showCount":293,"zanCount":11,"manualWeight":11,"mainColor":44},220271,"huang-shan-tu-ce-52-hong-ren-220271","黄山图册-52",[23,24,25,215,53,54,30,57,7,150,1343,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75bd465030a0cf75c99a75a5a20ef9db.jpg",[],{"id":8893,"slug":8894,"title":8895,"dynasty":87,"author":1038,"museum":89,"description":3397,"tags":8896,"thumbUrl":8897,"material":543,"size":3400,"collection":120,"collections":8898,"showCount":293,"zanCount":11,"manualWeight":11,"mainColor":44},220265,"huang-shan-tu-ce-57-hong-ren-220265","黄山图册-57",[23,24,25,215,53,30,54,7,8171,2790],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cea407de83160040dcae42aa0719f88.jpg",[],{"id":8900,"slug":8901,"title":8902,"dynasty":337,"author":8903,"museum":147,"description":8904,"tags":8905,"thumbUrl":8906,"material":59,"size":120,"collection":120,"collections":8907,"showCount":293,"zanCount":11,"manualWeight":11,"mainColor":44},218172,"da-qian-kuang-tu-ce-6-zhang-da-qian-218172","大千狂涂册-6","张大千","张大千是中国著名的画家和书法家，他的作品被称为“大千狂涂册”。他出生于江苏省吴县，曾在上海、北京、香港和台湾等地工作和生活过。\n\n大千狂涂册是张大千的一组书法作品，其中包括了他的名字“大千”的书法，以及他的诗词和绘画作品。大千狂涂册的书法风格独特，带有浓厚的民国味道，反映了张大千对中国传统文化的热爱和尊重。\n\n张大千的书法作品不仅具有艺术价值，而且在学术界也有很高的价值。他的书法作品曾被收入多种学术出版物，并被世界各地的藏家和收藏家所收藏。\n\n此外，张大千还是一位著名的画家，他的画作曾被世界各地的美术馆和博物馆收藏。他的画作风格多样，涉及山水画、花鸟画、人物画等多个领域。他的画作不仅给人们带来视觉享受，而且还反映了他对中国传统文化的理解和探究。\n\n总的来说，张大千的书法作品和画作都是中国文化的瑰宝，值得人们去珍视和传承。",[24,25,215,53,30,7,31,34,188,29,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbb705c6440166df3e25696ae8c83b54.jpg",[],{"id":8909,"slug":8910,"title":8911,"dynasty":18,"author":5504,"museum":362,"description":8912,"tags":8913,"thumbUrl":8914,"material":38,"size":8915,"collection":120,"collections":8916,"showCount":293,"zanCount":11,"manualWeight":11,"mainColor":44},217870,"zhou-li-yuan-shang-kuan-shen-ce-ba-hu-yu-kun-217870","周栎园上款什册(八)","水墨晕染间，层崖峻壑如劈，皴笔勾勒出山石嶙峋肌理。虬松盘结岩隙，枝干苍劲似与山风低语。山间小径蜿蜒隐现，偶见屋舍点缀，添几分幽居之趣。左侧题跋笔墨流畅，诗韵与画境交融，字里行间流露对山水清净的向往。诗画相契，尽显文人雅士寄情林泉、心向归隐的淡泊襟怀。笔墨雅致与意境悠远交织，似能窥见雅士们于林泉间品茗赏景、诗画唱和的闲逸时光，令人沉醉于这份自然与心灵的双重归栖。",[24,25,215,53,54,188,30,35,36,7,1343,303,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d3834a21679e7817ec440f3937cf26.jpg","24.7x32.3cm",[],{"id":8918,"slug":8919,"title":8920,"dynasty":18,"author":8921,"museum":172,"description":8922,"tags":8923,"thumbUrl":8924,"material":120,"size":120,"collection":40,"collections":8925,"showCount":293,"zanCount":11,"manualWeight":11,"mainColor":8926},203465,"fang-gu-shan-shui-ce-yun-xiang-203465","仿古山水册","恽向","这幅山水以水墨为基调，干笔皴擦与淡墨晕染交织，山峦层叠间见苍劲质感，皴法细密勾勒出山石纹理；林木疏密有致，墨色浓淡相间尽显葱茏意态，几间茅舍隐于林下，添清幽之趣却无喧嚣。仿古意趣浓厚，追摹宋元笔意却融入自身韵致，山石勾勒简练，墨色温润沉厚，整体画面静谧悠远，似能让人感受到山林间的清寂之风，尽显文人画的雅致与古拙。",[23,24,25,53,54,215,188,34,30,36,7,35,74,175,134,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F262c233ceace0d052277ef7c6007ee54.jpg",[40],"817666",{"id":8928,"slug":8929,"title":8930,"dynasty":49,"author":8931,"museum":172,"description":8932,"tags":8933,"thumbUrl":8934,"material":120,"size":120,"collection":120,"collections":8935,"showCount":293,"zanCount":11,"manualWeight":11,"mainColor":8936},202434,"yun-shan-tu-zhou-fang-cong-yi-202434","云山图轴","方从义","画面以水墨为媒，晕染出云雾缭绕的山峦景致。淡墨轻笼成云，浓墨皴擦作石，笔墨间虚实相生，将山体的苍劲质感与云雾的空灵缥缈交织。近处松枝苍劲，掩映茅舍一角；远处峰峦隐现于烟霭中，水面孤舟一叶，似载着天地间的清寂。整体意境清幽旷远，笔墨洒脱不羁，尽显文人画的逸趣与超脱，于简淡中蕴含深邃哲思。",[53,30,116,7,54,24,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffabe9280b0ff3d3ce8c55b84eae91bb9.jpg",[],"765d41",{"id":8938,"slug":8939,"title":8940,"dynasty":69,"author":88,"museum":147,"description":8941,"tags":8942,"thumbUrl":8943,"material":118,"size":119,"collection":120,"collections":8944,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":44},290776,"han-gong-chun-xiao-yi-ming-290776","汉宫春晓","松荫蓊郁如云盖，轻烟柔笼丘峦。林间文士雅聚，或围坐清谈，或信步寻幽，江岸汀洲扁舟静泊，似待归人。整画笔致温婉细腻，设色古雅沉静，将雅逸出尘的林下之趣晕染开来，把烟霞林泉间的出世闲情，凝缩在尺幅团扇中，尽显宋人追慕林泉高致、不沾尘俗的隐逸襟怀。",[24,25,678,27,30,31,7,4129,188,8427],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6572d163c768fb5c26f4919bfb08caa0.jpg",[],7,{"id":8947,"slug":8948,"title":698,"dynasty":69,"author":88,"museum":147,"description":8949,"tags":8950,"thumbUrl":8951,"material":118,"size":119,"collection":120,"collections":8952,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":82},290104,"yu-le-tu-yi-ming-290104","此作为宋代小景山水小品，取半边虚实构图。右上苍松虬曲斜探，笔墨苍润，晕染出烟霭空蒙的远渚平汀，轻描出江天寥廓的清寂底色。下方渔舟为画面重心，舟中人物或围坐清谈，或俯身料理渔事，情态松弛自在，将渔家日常的闲逸野趣静静铺展。\n\n全作用色浅淡古雅，留白恰到好处，以尺幅之小铺陈出悠远无尽的诗意，把渔者寄情江湖的隐世意趣融在烟水之间，尽显宋代山水小品以小见大的造境精妙。",[23,678,24,73,53,30,317,116,7,31,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d0c679b034480aa30bffcc9ac9df862.jpg",[],{"id":8954,"slug":8955,"title":8956,"dynasty":87,"author":2787,"museum":147,"description":8957,"tags":8958,"thumbUrl":8959,"material":118,"size":119,"collection":120,"collections":8960,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":194},288297,"wan-shi-da-ji-tu-li-shan-288297","万事大吉图","李鱓[shàn]（1686年—1756年），字宗扬，号复堂，别号懊道人、墨磨人，清康熙二十五年（1686）生，乾隆二十一年（1756）卒，江苏扬州府兴化人，明代状元宰相李春芳第六世孙。清代著名画家，“扬州八怪”之一。康熙五十年中举， 康熙五十三年召为内廷供奉，其宫廷工笔画造诣颇深，因不愿受“正统派”画风束缚而遭忌离职。乾隆三年出任山东滕县知县，颇得民心，因得罪上司而罢官。后居扬州，卖画为生。\n李鱓工诗文书画。曾随蒋廷锡、高其佩学画。后受石涛影响，擅花卉、竹石、松柏，早年画风工细严谨，颇有法度。中年画风始变，转入粗笔写意，挥洒泼辣，气势充沛，对晚清花鸟画有较大影响。\n传世画迹有南京博物院藏《土墙蝶花图》轴、故宫博物院藏《松藤图》轴等。北京工艺美术出版社2005年出版“中国书画名家全集”，内收《李鱓画集》（上下卷）。",[23,24,73,53,26,667,7730,7,188,34,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05c1bd7362bc8835977e705ed4d89112.jpg",[],{"id":8962,"slug":8963,"title":8964,"dynasty":18,"author":4494,"museum":147,"description":6919,"tags":8965,"thumbUrl":8967,"material":118,"size":119,"collection":120,"collections":8968,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":44},287944,"huan-yu-xian-sheng-xiao-xiang-zhang-hong-287944","环宇先生肖像",[23,24,31,27,8966,7,418],"肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71d26a61fbf2f228ed89e12c60d5bcb6.jpg",[],{"id":8970,"slug":8971,"title":8972,"dynasty":87,"author":88,"museum":147,"description":6963,"tags":8973,"thumbUrl":8975,"material":118,"size":119,"collection":120,"collections":8976,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":82},272871,"zi-tan-mu-bian-ke-si-san-xing-song-gua-ping-yi-ming-272871","紫檀木边缂丝三星颂挂屏",[24,25,5319,4851,31,8974,27,7,302,6967],"福禄寿三星","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F925df77c0f293d6616856a4781bfa2ca.jpg",[],{"id":8978,"slug":8979,"title":8980,"dynasty":87,"author":88,"museum":147,"description":8981,"tags":8982,"thumbUrl":8987,"material":118,"size":119,"collection":120,"collections":8988,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":44},272859,"nan-mu-bian-zuo-guang-xiu-qun-xian-zhu-shou-tu-cha-ping-yi-ming-272859","楠木边座广绣群仙祝寿图插屏","此作绣面之上，群仙履岩渡水，赴蟠桃寿宴。烟波浩渺间奇峰叠翠，古松虬劲苍然，仙禽掠空而过，一派灵秀缥缈的仙家景致。\n\n广绣工艺精妙雅致，用色清逸柔和，套色晕染自然匀净，针脚细密灵动，将仙人的出尘飘逸、山海的深邃灵秀尽数铺陈。楠木座框雕刻缠枝与博古纹样，线条婉转流畅，和绣面仙逸意境相得益彰。整体融刺绣工艺与木雕技艺于一体，尽显晚清岭南手工艺的极致考究，将群仙祝寿的祥瑞主题诠释得典雅隽永，是兼具陈设雅趣与收藏价值的工艺佳作。",[8983,8984,2129,8985,30,31,8986,2026,7,33,5024,95,27],"插屏","木质","广绣","群仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dd0ca26ed75cacc3b7ea8b6f5cc7acf.jpg",[],{"id":8990,"slug":8991,"title":4661,"dynasty":87,"author":4662,"museum":147,"description":8992,"tags":8993,"thumbUrl":8994,"material":120,"size":120,"collection":120,"collections":8995,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":44},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。",[24,27,54,131,26,30,132,133,161,162,175,303,242,31,367,344,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9243e182898ce097ba5078d7a41d8150.jpg",[],{"id":8997,"slug":8998,"title":7188,"dynasty":87,"author":7189,"museum":147,"description":8999,"tags":9000,"thumbUrl":9001,"material":120,"size":120,"collection":120,"collections":9002,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":44},239206,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239206","此作以水墨写就山林胜景，危峰崚嶒直插云端，流云如练缠绕崖间，将黄山奇秀空灵尽数铺展。苍松虬曲错落在岩壑间，松下茅舍幽然隐现，自带林泉高致。\n笔致苍朴清逸，淡墨晕染出漫山空濛岚气，糅合山水与书法，题字笔力沉劲，与山水意境相融，尽显幽淡冷寂的隐逸意趣，以山水托寄出世襟怀，是文人画中山水与心境合一的精妙之作。",[24,53,54,215,188,34,30,7,35,161,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feee9d2bf38ceefe2ee6ab829f677915f.jpg",[],{"id":9004,"slug":9005,"title":8228,"dynasty":18,"author":2197,"museum":147,"description":3773,"tags":9006,"thumbUrl":9007,"material":120,"size":120,"collection":120,"collections":9008,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":82},239187,"shan-chuan-ming-sheng-ce-song-xu-239187",[24,25,30,215,53,27,132,1376,36,7,94,54,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F686af50486fe6bd899e83bbac8282dea.jpg",[],{"id":9010,"slug":9011,"title":8131,"dynasty":87,"author":9012,"museum":147,"description":9013,"tags":9014,"thumbUrl":9017,"material":120,"size":120,"collection":120,"collections":9018,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":44},238951,"shan-shui-ce-ye-xu-ji-238951","徐稷","此作用笔秀润温婉，取景错落有致。远景山峦以淡墨铺底，敷染浅青淡赭，晕染出空蒙氤氲的烟岚之态，一道飞瀑垂落山坳，破了山林沉静，添入灵动生机。近景苍松虬劲挺拔，坡岸林木错落，茅庐隐于松荫竹篱间，浅滩静水如镜，将草木坡岸揽入其中。\n\n整体画风恬静淡远，以文人意趣写山居幽境，笔墨间带着松弛的闲雅之感，落款题字与朱印排布和谐，文气盎然，仿若将观者带入林泉高致的世外山居，尽显悠然淡逸的林下之风。",[24,25,215,27,30,7,55,35,36,175,74,150,54,9015,9016],"传统","古典","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad4c1aa378028f3d4780004c5b4b9bfc.jpg",[],{"id":9020,"slug":9021,"title":9022,"dynasty":18,"author":88,"museum":147,"description":9023,"tags":9024,"thumbUrl":9030,"material":118,"size":119,"collection":120,"collections":9031,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":44},238568,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238568","明人升平翊赞图并书赞册","这幅画作以仙神征伐为主题，构图张弛有度。右侧崖岸列兵肃立，左侧神将踏浪突进，托塔仙神乘云俯瞰，动静交织。工笔细写之下，甲胄纹饰华美繁复，衣袂云气线条流转灵动，海浪层叠晕染铺陈出水势汹涌，设色古雅明丽，红金与石青、水色相映，既烘托出征伐场面的恢宏肃穆，又带着缥缈神幻色彩。细节处松枝苍劲、云霭舒卷皆刻画入微，将仙凡对阵的磅礴张力藏于细腻笔触间，尽显传统宗教叙事绘画的精湛功力。",[24,27,28,215,31,9025,8312,7,2548,9026,35,36,9027,9028,2189,9029,3061],"海水","石塔","神仙","武将","云气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2c2a6658496b3ebba9232867d0c7961.jpg",[],{"id":9033,"slug":9034,"title":7449,"dynasty":87,"author":9035,"museum":147,"description":9036,"tags":9037,"thumbUrl":9038,"material":120,"size":120,"collection":120,"collections":9039,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":44},237866,"shan-shui-tu-ce-jin-xue-jian-237866","金学坚","字成峰，秀水（今浙江嘉兴）人。王翚弟子，山水初宗元人，从参宋法，笔意古健，布局极为绵密。贫而能守，不为豪势所屈。《国[清]朝画征录》",[24,27,215,54,30,7,35,31,135,439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F121d3bdf8b82faf10754514086aa672c.jpg",[],{"id":9041,"slug":9042,"title":9043,"dynasty":87,"author":9044,"museum":147,"description":9045,"tags":9046,"thumbUrl":9047,"material":543,"size":120,"collection":120,"collections":9048,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":44},237066,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237066","补景古臣松梅观鹤图像并附山水册","徐佐","此帧以淡墨轻岚绘就山水小景，数株古松挺立于坡岸，虬枝舒展、松针苍润，尽展古拙挺拔之姿。浅赭晕染坡石，间缀淡墨点苔，板桥横绝溪上，幽蹊间一人策杖徐行，林岫清寂，意境萧散淡远。\n\n左侧行书清隽秀雅，笔墨温润灵动，诗画相映成趣，将林下幽居的闲淡襟怀寄寓尺幅，淡而有味，简中见韵，尽显传统文人画重意境、尚风雅的悠然意趣。",[24,25,215,53,29,54,27,7,35,32,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff144008ee15b9ec107b71f1f29adeb4f.jpg",[],{"id":9050,"slug":9051,"title":9052,"dynasty":87,"author":1687,"museum":147,"description":9053,"tags":9054,"thumbUrl":9055,"material":120,"size":120,"collection":120,"collections":9056,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":44},236055,"teng-bi-qiao-song-zhou-wang-hui-236055","藤薜乔松轴","此作用笔苍劲秀润，近景巉岩峻岭间，古松虬曲、藤薜缠绕，山隅茅舍隐现，野意悠然。远景平湖如镜，远山含黛以淡墨轻晕，虚实相生，将尺幅天地拓开悠远意境。\n\n山石以短披麻皴勾勒皴擦，兼具雄浑质感与灵秀意趣，水墨浓淡晕染区分阴阳向背，融北派山水厚重与南宗温润于一体，设色简淡雅致，以实景山水的朴拙承载文人画的清寂淡远，尽显林下幽居的静穆意韵，是极具文人意趣的山水佳构。",[24,25,26,30,53,54,7,35,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76a93270ec01d0fdde63f688e699537.jpg",[],{"id":9058,"slug":9059,"title":9060,"dynasty":18,"author":88,"museum":147,"description":9061,"tags":9062,"thumbUrl":9063,"material":118,"size":119,"collection":120,"collections":9064,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":44},235812,"qian-gu-bai-shi-tu-shan-ye-yi-ming-235812","钱穀柏石图扇页","此作用笔苍老朴拙，虬曲古柏盘桓于顽石之侧，皴擦间尽显柏皮嶙峋、主干遒劲的古茂之态，旁生幽竹萧疏挺秀，枝叶攒簇暗含生意。水墨晕染清润雅致，金笺底调更添沉静古雅氛围。左侧题诗与绘境相映，诗画谐和，暗合文人托物言志的意趣，以松柏之坚贞、修竹之清逸，寄寓林下幽居的澹泊襟怀，笔简意足，尽显逸笔草草、以意胜形的审美意韵，于尺幅间铺展出清寂淡远的林下雅风。",[24,25,678,53,54,7,302,57,288],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e935ca8d567bed18f9d280b9b661f4b.jpg",[],{"id":9066,"slug":9067,"title":9068,"dynasty":87,"author":88,"museum":147,"description":9069,"tags":9070,"thumbUrl":9071,"material":120,"size":120,"collection":120,"collections":9072,"showCount":8945,"zanCount":141,"manualWeight":11,"mainColor":82},235709,"zou-zhe-shan-shui-tu-zhou-yi-ming-235709","邹喆山水图轴","此作取高远开合之景，左上危崖巉岩，笔墨挺劲勾勒出山峦硬朗骨相，古松虬曲扎根崖壁，枝叶舒展有凌云之姿。中景山居藏于林麓间，窗内人影对坐，为清冷山林晕开一缕烟火暖意。烟岚留白柔化层叠丘壑，将近溪、村居、远山林亭晕连成浑然整体，虚实相生。近滩乱石错落，清溪缓流，扁舟系于浅濑，野趣悠然。\n\n皴法融披麻与斧劈意趣，山石简练，林木点染疏密合宜，淡墨晕出山雾空濛，兼收北派雄健与南宗温润，将林泉幽居的隐逸清趣，藏于烟霞丘壑之中。",[24,26,27,54,30,35,36,175,33,94,367,7,134,702,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9ca0839c65b0165554e6b938fbdc82b.jpg",[],{"id":9074,"slug":9075,"title":7214,"dynasty":18,"author":9076,"museum":147,"description":9077,"tags":9078,"thumbUrl":9079,"material":120,"size":120,"collection":120,"collections":9080,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":82},234562,"shan-shui-shan-li-zhao-heng-234562","李肇亨","李肇亨[明]字会嘉，号珂雪，又号醉鸥、爽溪钓士，后为僧，法名堂莹，住超果寺，嘉兴（今浙江嘉兴）人。日华子。工书法，摹褚。精画理，善山水，与赵左齐名，气息浑古，风韵静穆。尝以书法写葡萄尤妙。天启元年（一六二一）作研池墨雨册，顺治元年（一六四四）作溪山高隐图。工诗，著写山楼、率圃、梦余诸草。",[678,24,53,30,7,35,188,34,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F421a8e782131a3ae312d61d5f8d66fa8.jpg",[],{"id":9082,"slug":9083,"title":6570,"dynasty":18,"author":6571,"museum":147,"description":6572,"tags":9084,"thumbUrl":9085,"material":120,"size":120,"collection":120,"collections":9086,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":44},234222,"shan-shui-juan-sun-zhi-234222",[23,24,25,186,30,53,27,54,150,36,258,1279,175,715,8312,7,188,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d0ec691c5cc82f67c319d0c2ea7205c.jpg",[],{"id":9088,"slug":9089,"title":8289,"dynasty":87,"author":2475,"museum":89,"description":8290,"tags":9090,"thumbUrl":9091,"material":246,"size":8293,"collection":120,"collections":9092,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":44},233889,"huang-shan-tu-ce-mei-qing-233889",[24,53,30,215,54,132,7,161,135,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5662b96905e1fb069fb3633b5122a2dd.jpg",[],{"id":9094,"slug":9095,"title":8103,"dynasty":87,"author":4792,"museum":89,"description":8104,"tags":9096,"thumbUrl":9097,"material":120,"size":120,"collection":120,"collections":9098,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":44},233223,"jin-ling-zhu-jia-shan-shui-hua-hui-ce-shan-shui-ye-zou-zhe-233223",[24,53,27,30,215,54,7,35,3775,31,135,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dddddd0f618db689ce529ff86c246d4.jpg",[],{"id":9100,"slug":9101,"title":9102,"dynasty":3958,"author":9103,"museum":147,"description":9104,"tags":9105,"thumbUrl":9106,"material":118,"size":119,"collection":120,"collections":9107,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":44},231739,"jiang-hu-shi-dai-qian-tang-guan-chao-tu-ping-feng-chi-da-ya-231739","江户时代 钱塘观潮图屏风","池大雅","池大雅，（1721年－1776年），日本江户时代的艺术家，文人风格书法家。",[23,24,25,53,54,5349,30,35,36,135,1343,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd8db9acb303c8ef84afdfe3579cf19e.jpg",[],{"id":9109,"slug":9110,"title":9111,"dynasty":3958,"author":9112,"museum":147,"description":9113,"tags":9114,"thumbUrl":9115,"material":118,"size":119,"collection":120,"collections":9116,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":82},231737,"shi-ting-shi-dai-si-ji-shan-shui-tu-ping-feng-yi-ping-yang-yue-231737","室町时代 四季山水图屏风-一屏","杨月","此作以淡墨晕染留白绘出覆雪山峦，寒雾将远山晕成虚渺剪影，虬曲枯松倚立危崖，苍劲的松枝带着残绿，破开满山素白的萧寒。山坳间屋舍错落雅致，篱扉前侍者静立，为清寂的山野添上人间暖意。笔意简淡空灵，以无胜有写尽冬雪空蒙，将隆冬山居的安闲清旷揉入尺幅，动静相映，清冷中藏着烟火意韵，尽显东方山水留白写意的悠远意境。",[23,24,25,26,53,27,30,94,7,35,31,365,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e459481ce37d89e8c4717c187229972.jpg",[],{"id":9118,"slug":9119,"title":9120,"dynasty":3958,"author":88,"museum":147,"description":9121,"tags":9122,"thumbUrl":9124,"material":118,"size":119,"collection":120,"collections":9125,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":82},231733,"jiang-hu-shi-dai-luo-zhong-luo-wai-tu-ping-feng-yi-ping-yi-ming-231733","江户时代 洛中洛外图屏风-一屏","以泥金为底晕染华贵底色，亭台楼阁错落隐于苍松翠色间，朱黛屋宇精致工丽，尽显雅致格调。整卷铺陈城邑百态：贩夫牵车穿梭街巷，雅客围坐厅堂宴饮，车马往来络绎，将市井烟火与士族闲趣交织一处。界画严整写实，屋宇建制分毫毕现，小人物亦形神兼具，把彼时城邑的鲜活世态揉入疏密错落的构图中，是复刻往昔日常、窥见旧时人情的绝佳风物长卷。",[23,27,92,28,5349,31,94,36,242,639,9123,7,229],"屋顶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c69ce062142cb26af04ff392936794.jpg",[],{"id":9127,"slug":9128,"title":9129,"dynasty":3958,"author":9130,"museum":147,"description":9131,"tags":9132,"thumbUrl":9133,"material":118,"size":119,"collection":120,"collections":9134,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":82},231585,"shi-ting-shi-dai-gao-shi-tan-mei-shan-shui-tu-shou-ye-zheng-xin-231585","室町时代 高士探梅山水图","狩野正信","狩野正信（1434～1530）是足利幕府御用画家，狩野派的始祖。这一派的“大和化”中国画风曾统治日本画坛三百余年。他曾受画僧天章、周文（日本水墨画画风的代表）的影响，但其水墨山水不是以笔墨表现禅意，而是轮廓清晰，这正是发挥了日本艺术固有的纤细风格。",[23,24,25,27,28,54,30,31,2910,737,7,35,135,32,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ba5e9cd2a0636c0c03c1aa4dd653c9b.jpg",[],{"id":9136,"slug":9137,"title":9138,"dynasty":3958,"author":9139,"museum":147,"description":9140,"tags":9141,"thumbUrl":9142,"material":118,"size":119,"collection":120,"collections":9143,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":44},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。",[23,24,25,53,54,30,162,7,229,57,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F959bfd52b542f4f8e07d6bd3acfd9022.jpg",[],{"id":9145,"slug":9146,"title":9147,"dynasty":69,"author":4839,"museum":147,"description":9148,"tags":9149,"thumbUrl":9151,"material":118,"size":119,"collection":120,"collections":9152,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":44},227940,"shi-liu-ying-zhen-tu-quan-juan-fan-long-227940","十六应真图全卷","描绘的正是十六位罗汉在传法和生活的情景。应真是佛教中的罗汉，十六应真均是释迦牟尼的弟子，佛经上说他们常驻人间，受供养又为世人谋福音。画面上的十六位罗汉形态逼真，各具神采，他们有的经禅祐坐，有的净发挑耳，憨态可掬的笑容，怡然自得的神态，整幅画面宁静祥和，特别是罗汉自在超然的气质神韵跃然纸上。",[23,24,186,940,28,2177,31,7,35,9150],"坐具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd10268ecf905a9121bc8da42041b337.jpg",[],{"id":9154,"slug":9155,"title":9156,"dynasty":87,"author":2219,"museum":147,"description":9157,"tags":9158,"thumbUrl":9159,"material":120,"size":120,"collection":120,"collections":9160,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":44},224399,"hua-zhong-you-shi-tu-zhou-wang-yuan-qi-224399","画中有诗图轴","此作用干笔积墨绘层叠丘壑，皴擦厚重苍浑，山峦取高远之势层层铺展，尽显雄浑朴拙的肌理质感。林间错落参差，村居隐于溪畔，淡赭轻敷晕染出古雅色调，朴茂华滋里藏着悠然意趣。\n\n笔墨带着元人山水的悠远散淡，干笔反复皴叠，浓墨醒苔提点生气，将诗意晕染在山岚林泉之间。丘壑深秀，静穆安然，仿佛能听见山风穿林、溪声隐隐，把文人心中的林下幽思，尽数融在咫尺画卷里，尽显沉郁苍润的山水情致。",[24,25,26,53,54,34,188,29,30,132,36,175,258,56,7,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb33d1963aa786cfaa42d38e735c34aed.jpg",[],{"id":9162,"slug":9163,"title":9164,"dynasty":87,"author":2219,"museum":147,"description":9165,"tags":9166,"thumbUrl":9167,"material":120,"size":120,"collection":120,"collections":9168,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":44},224391,"chun-yan-cui-ai-wang-yuan-qi-224391","春崦翠蔼","此作以全景铺展山林胜境，山峦层叠逶迤取高远之势，干笔积墨反复皴擦，笔力苍厚沉雄，墨色层次氤氲，尽显山峦的浑莽质感。谷间村居错落隐于松竹之下，清溪蜿蜒环带，浮漾着春日的温润清光。浅绛淡赭轻敷山石，晕染出春山翠霭融融的氛围，草木点染灵动，暗合春日生机。整体气脉贯通，将江南春山的幽谧雅致与文人笔墨的书卷意趣相融，于苍秀兼济的笔法中，铺陈出春日山林静穆又盎然的隽永意境。",[23,24,25,30,26,27,54,132,133,36,7,56,32,74,135,715],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcac120cc799130ed9f4172658a7c4a3.jpg",[],{"id":9170,"slug":9171,"title":9172,"dynasty":87,"author":4137,"museum":9173,"description":9174,"tags":9175,"thumbUrl":9177,"material":246,"size":9178,"collection":120,"collections":9179,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":44},223314,"fa-jie-yuan-liu-tu-juan-8-ding-guan-peng-223314","法界源流图卷-8","吉林省博物院","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。",[23,24,25,186,2177,28,27,31,7,302,35,36,2548,9176,887],"兽类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79abe8c8eb4e0f02acfd507fe752e49e.jpg","纵33厘米、横1635厘米",[],{"id":9181,"slug":9182,"title":9183,"dynasty":87,"author":4137,"museum":9173,"description":9174,"tags":9184,"thumbUrl":9190,"material":246,"size":9178,"collection":120,"collections":9191,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":44},223312,"fa-jie-yuan-liu-tu-juan-6-ding-guan-peng-223312","法界源流图卷-6",[23,24,25,186,28,27,2177,31,161,7,4173,9185,9186,9187,2548,5414,2957,9188,9189,1125],"莲花","飞天","宝盖","佛","神兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0a35438080080731a3c195243346db2.jpg",[],{"id":9193,"slug":9194,"title":9195,"dynasty":18,"author":5217,"museum":172,"description":9196,"tags":9197,"thumbUrl":9198,"material":543,"size":9199,"collection":120,"collections":9200,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":44},222494,"shang-bo-hua-ji-xuan-36-2-zhang-lu-222494","上博画集选36-2","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。",[23,24,53,27,30,54,275,7,982],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F377dfdee156b7a0ee7585d9c2cafa0bd.jpg","55.88厘米 27.94厘米",[],{"id":9202,"slug":9203,"title":9204,"dynasty":87,"author":1038,"museum":89,"description":3397,"tags":9205,"thumbUrl":9206,"material":543,"size":3400,"collection":120,"collections":9207,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":44},220292,"huang-shan-tu-ce-34-hong-ren-220292","黄山图册-34",[23,73,24,25,215,53,940,54,30,35,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff84559c0f2c7cbcaa548a5c6e5ffdd9e.jpg",[],{"id":9209,"slug":9210,"title":9211,"dynasty":87,"author":1038,"museum":89,"description":3397,"tags":9212,"thumbUrl":9213,"material":543,"size":3400,"collection":120,"collections":9214,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":44},220280,"huang-shan-tu-ce-44-hong-ren-220280","黄山图册-44",[23,73,24,25,215,53,54,30,32,33,7,35,31,55,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa21470b7f1a2d452117e27065c43f0e3.jpg",[],{"id":9216,"slug":9217,"title":9218,"dynasty":87,"author":1038,"museum":89,"description":3397,"tags":9219,"thumbUrl":9220,"material":543,"size":3400,"collection":120,"collections":9221,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":44},220274,"huang-shan-tu-ce-49-hong-ren-220274","黄山图册-49",[23,24,25,215,53,54,30,7,35,33,94,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe71bd4770863ba162bf7f722a936374b.jpg",[],{"id":9223,"slug":9224,"title":9225,"dynasty":87,"author":88,"museum":89,"description":9226,"tags":9227,"thumbUrl":9229,"material":27,"size":120,"collection":120,"collections":9230,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":44},217312,"gu-xiu-wu-shi-san-can-tu-ce-5-yi-ming-217312","顾绣·五十三参图册-5","画面分左右两帧，左帧神将着青绿袍服，踏异兽指物而言，童子拱手躬身，神态恭谨；右帧仕女坐蒲团于松下，衣袂素雅，小兽携彩绦趋前，似有呈献。松枝苍劲，红日悬天，山石点缀其间，笔墨细腻，设色古雅，尽显传统绣画的温婉与叙事张力。每一帧皆藏生动情节，恬淡间传递悠远故事感，仿佛时光在此慢淌，观者可沉浸于古典情境的静谧意趣里，感受那份穿越岁月的雅致与灵动。",[215,27,28,2129,2178,31,2327,961,7,9228,35,1250,2132],"太阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25c56f762b542aea923a64eff9e0a383.jpg",[],{"id":9232,"slug":9233,"title":9234,"dynasty":87,"author":9235,"museum":147,"description":9236,"tags":9237,"thumbUrl":9238,"material":38,"size":120,"collection":120,"collections":9239,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":44},217195,"fa-jie-yuan-liu-tu-juan-11-li-ming-217195","法界源流图卷-11","黎明","法界源流图卷是清朝时期的一部著名的佛教经典，由清朝时期的著名佛教学者黎明编写。这部经典记录了佛教从其诞生以来，到清朝时期的发展史。\n\n法界源流图卷描述了佛教从其诞生的印度，到传播到中国、日本、朝鲜等国家的过程。它还记录了佛教在不同国家和地区发展的特点，以及佛教对当地文化和宗教的影响。\n\n此外，法界源流图卷还对佛教历史上的著名佛教徒、佛教寺庙和佛教经典进行了介绍，为读者提\n供了全面的佛教史信息。\n\n黎明是清朝时期的著名佛教学者，他编写的法界源流图卷被认为是清朝时期佛教史的权威著作，对于了解佛教历史和文化具有重要的参考价值。",[23,73,24,25,186,27,28,2177,31,5414,2957,7,302,35,95,887,36,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb6073281448e6ff260ca26818e92f58.jpg",[],{"id":9241,"slug":9242,"title":9243,"dynasty":87,"author":1972,"museum":9244,"description":9245,"tags":9246,"thumbUrl":9248,"material":190,"size":120,"collection":120,"collections":9249,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":44},216893,"qian-long-nan-xun-zhu-bi-tu-ye-13-qian-wei-cheng-216893","乾隆南巡驻跸图页-13","大英图书馆","二十三帧中的每一帧都有一个标题，有些板块还有文字描述南行的时间、景观和内容。该作品的构图融合了传统的风景画，花、树和花园清新柔和，远处和近处的山形以皲裂的风格描绘，建筑物则以三维俯视的方式绘制。",[23,24,27,92,28,215,54,30,94,161,36,7,9247],"建筑群","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc2863ced8cf924989f8045ad66f6daa.jpg",[],{"id":9251,"slug":9252,"title":9253,"dynasty":87,"author":9254,"museum":212,"description":9255,"tags":9256,"thumbUrl":9257,"material":59,"size":120,"collection":120,"collections":9258,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":44},214497,"shui-mo-tu-ce-6-zheng-min-214497","水墨图册-6","郑旼","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。",[23,24,25,53,29,54,215,30,7,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f312d5ae7ed1d506aa94240794eefec.jpg",[],{"id":9260,"slug":9261,"title":3781,"dynasty":87,"author":5962,"museum":172,"description":9262,"tags":9263,"thumbUrl":9265,"material":120,"size":120,"collection":40,"collections":9266,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":9267},203418,"shan-shui-ce-wen-dian-203418","两帧册页各蕴清境，左幅松荫覆地，老松枝干虬劲，松下一人抱膝静坐，笔墨苍润间尽显幽寂；右幅平远水景，烟波浩渺中远山淡抹，近岸疏树旁二人对语，线条简逸里藏着淡远。以水墨为底，皴染结合，于方寸册页间凝文人雅趣，禅意悠然，观之如入林泉之境，心随画境渐远。",[24,53,54,30,7,31,215,4703,134,9264,23],"疏树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F040f31f4496aa2260112af0caa45ff39.jpg",[40],"b4aba4",{"id":9269,"slug":9270,"title":9271,"dynasty":3880,"author":9272,"museum":172,"description":9273,"tags":9274,"thumbUrl":9275,"material":120,"size":120,"collection":40,"collections":9276,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":9277},203205,"fang-yan-wen-gui-shan-shui-tu-zhou-wu-hu-fan-203205","仿燕文贵山水图轴","吴湖帆","云雾如纱轻笼层叠山峦，青绿设色晕染出岩岫灵秀，苍松盘根危石，枝干虬劲松针如簇；瀑流漱玉而下，烟岚间隐现亭台一角，添得幽寂。画作糅合古法峭拔与今韵雅致，皴染相济，线条灵动，既见山石雄浑质感，又显林木清逸之姿，将山水悠远意境与笔墨精妙韵味融于尺幅，尽显传统山水的诗意神韵。",[24,30,115,27,54,7,55,135,715,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4df8d25947ab0c8d8362e40725c72dc8.jpg",[40],"d3c5ad",{"id":9279,"slug":9280,"title":3879,"dynasty":3880,"author":3881,"museum":172,"description":9281,"tags":9282,"thumbUrl":9283,"material":120,"size":120,"collection":40,"collections":9284,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":3886},202910,"shan-shui-tu-zhou-huang-bin-hong-202910","这幅山水图笔墨苍劲浑厚，墨色层次丰富，干湿浓淡交织尽显山林气象。山峦以多种皴法勾勒点染，峰峦叠嶂间云雾缭绕，虚实相生。岩畔劲松挺拔，枝干虬曲，与杂树相映；小桥隐于林麓，屋舍依稀，添了人间烟火气。整体画风沉郁古拙，意境悠远，尽显传统山水的深邃韵味，笔墨间流露画家对自然的深刻体悟与人文情怀。",[24,30,53,54,7,32,35,135,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6804621f4b5a79dfbabbeb43768a29.jpg",[40],{"id":9286,"slug":9287,"title":9288,"dynasty":18,"author":1909,"museum":172,"description":9289,"tags":9290,"thumbUrl":9292,"material":120,"size":120,"collection":40,"collections":9293,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":9294},201434,"yi-zhu-tu-zhou-zhou-chen-201434","怡竹图轴","画面右侧虬松倚石而生，枝干盘曲如铁，松针攒簇似墨，笔力苍劲。山间茅舍半隐于林麓，窗棂通透，隐约可见雅士凭栏，与竹石相伴，怡然自适。远景以淡墨晕染，山峦朦胧，留白处见悠远。山石运用斧劈皴，线条刚健利落；松枝勾勒精细，墨色浓淡相宜。融院体画的严谨与文人画的逸韵于一体，传递出清雅淡远的林泉之趣，尽显明代文人对自然栖居的诗意追求。",[24,26,53,30,54,7,35,9291,23],"文人意趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf689e9f9ba9c340abfc7f8819b62b8c.jpg",[40],"5f4f38",{"id":9296,"slug":9297,"title":9298,"dynasty":87,"author":9299,"museum":172,"description":9300,"tags":9301,"thumbUrl":9302,"material":120,"size":120,"collection":40,"collections":9303,"showCount":8945,"zanCount":11,"manualWeight":11,"mainColor":9304},201425,"yao-dao-chun-shen-tu-juan-liu-yan-chong-201425","瑶岛春深图卷","刘彦冲","画中瑶岛仙境云雾缭绕，苍松虬劲挺拔，青绿山水间飞瀑倾泻而下，衣袂轻盈的仙子立于松下，望云听泉，神情悠然。笔墨工细中见写意之趣，山石以皴法显质感，流水用晕染衬灵动，设色淡雅清新，层次分明。整体意境空灵悠远，将春深的盎然生机与仙岛的缥缈虚幻相融合，尽显古典书画的诗意韵味。",[24,186,28,27,54,30,7,55,2151,25,34,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68c7163ff4d47d144883f039cc9d3e53.jpg",[40],"b2bbb6",{"id":9306,"slug":9307,"title":8570,"dynasty":69,"author":88,"museum":147,"description":9308,"tags":9309,"thumbUrl":9311,"material":118,"size":119,"collection":120,"collections":9312,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":82},290238,"song-gu-wen-dao-tu-yi-ming-290238","北宋时期，山水画大兴。这其中，李成和范宽是北宋初期山水画家的代表，他们上承荆浩以水墨为主的传统，以表现北方雄浑壮阔的自然山水为主，与五代的关仝一起，被认为是“三家鼎峙，百代标程”的大师，他们的创作具有划时代的意义。其后继者有王士元、王端、燕文贵、许道宁、高克明、郭熙、李宗成、丘纳、王诜等。除北方山水系统的山水画外，也有长于界画的郭忠恕，善于表现湖山小景的惠崇、赵令穰，继承唐代以来的青绿山水画法的王希孟、南派山水画的代表巨然，以及开创“米氏云山”的米芾等，都在中国山水画的发展过程中，有着各自的独特贡献。\n北宋山水画倾于自然，侧重“真”和“实”，提倡山水画的写实风格。多使用绢，不仅勾勒细致、刻画严谨，而且用墨对画面进行层层渲染，展现出一份凝重恬静之美。它展现的是前所未有的细腻、丰富、写实的画风。",[23,678,24,73,53,30,7,35,31,9310,34,54],"问道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F723be992ad8d1e4dd68ee58a189fecaf.jpg",[],{"id":9314,"slug":9315,"title":9316,"dynasty":69,"author":88,"museum":147,"description":9317,"tags":9318,"thumbUrl":9319,"material":118,"size":119,"collection":120,"collections":9320,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":82},289598,"shui-xie-hua-xuan-tu-yi-ming-289598","水榭花轩图","宋代绘画是在中国宋代期间的绘画作品，中国宋朝延续300多年，其绘画在隋唐五代的基础上继续得到发展。民间绘画、宫廷绘画、士大夫绘画各自形成体系，彼此间又互相影响、吸收、渗透，构成宋代绘画丰富多彩的面貌。\n北宋统一消除了封建割据造成的分裂和隔阂，在一段时期内社会保持着相对安定局面，商业手工业迅速发展，城市布局打破坊和市的严格界限，出现空前未有的繁荣。南宋虽然偏安江南，由于物产丰盛的江、浙、湖、广地区都在其境内，大量南迁的北方人和南方人一起共同开发江南，经济、文化都得到继续发展并超过北方。北宋的汴梁（今河南省开封市）、南宋的临安（今浙江省杭州市）等城市商业繁盛，除贵族聚集外，还住有大量的商人、手工业者和市民阶层，城市文化生活空前活跃，绘画的需求量明显增长，绘画的服务对象也有所扩大，为绘画发展和繁荣提供了物质条件和群众基础。\n宋代绘画进入手工业商业行列，与更多的群众建立较为密切的联系。一批技艺精湛的职业画家，将作品作为商品在市场上出售，汴京及临安都有纸画行业。汴京大相国寺每月开放5次庙会，百货云集，其中就有售卖书籍和图画的摊店；南宋临安夜市也有细画扇面、梅竹扇面出售；汴京、临安等地的酒楼也以悬挂字画美化店堂，作为吸引顾客的手段。市民遇有喜庆宴会，所需要的屏风、画帐、书画陈设等都可以租赁。适应年节的需要，岁末时又有门神、钟馗等节令画售卖，为市甚盛。北宋时，汴京善画“照盆孩儿”的画家刘宗道，每创新稿必画出几百幅在市场一次售出，以防别人仿制；专画楼阁建筑的赵楼台；画婴儿的杜孩儿，也在汴京享有盛名。吴兴籍军人燕文贵常到汴京州桥一带卖画。山西绛州杨威，善画村田乐，每有汴京贩画商人买画，他即嘱其如到画院门前去卖，可得高价。社会对绘画的需求和民间职业画家创作的活跃，是推动宋代绘画发展的重要因素。宋代由于手工业的发达，促成了雕版印刷的发展与普及，出现了汴京、临安、平阳、成都、建阳等雕版中心，不少书籍及佛经都附有版画插图，现存宋金雕印的弥勒像、陀罗尼经咒、《佛国禅师文殊指南图赞》、《赵城藏》等，可见其绘刻之精美程度。",[73,24,678,92,27,30,7,161,94,5156,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0544a4c9562a309cdb32d04dd35347a0.jpg",[],{"id":9322,"slug":9323,"title":9324,"dynasty":18,"author":88,"museum":147,"description":9325,"tags":9326,"thumbUrl":9327,"material":118,"size":119,"collection":120,"collections":9328,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":82},283646,"wan-qin-tu-yi-ming-283646","玩琴图","松下雅集，炉烟轻飏。主客围案对坐，琴音暗淌。主人神色安和，二宾或倾身凝聆，或捻髯沉醉，旁侧侍者垂立随侍。庭中古松苍虬撑盖，湖石堆簇间牡丹绽艳，孔雀闲踱阶前，案头盆栽雅致清幽。\n全作用笔工细遒劲，衣纹流转自然，设色古雅沉润，将文人雅聚的闲逸情致尽数铺展，把耽乐于丝竹、寄怀于林泉的林下高风，揉入这一方庭院雅景之中，尽显文人士大夫的审美意趣与精神归处。",[24,27,28,31,861,872,203,7,1481,780,639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2301dcb7c455395f785793016048436e.jpg",[],{"id":9330,"slug":9331,"title":9332,"dynasty":87,"author":88,"museum":147,"description":9333,"tags":9334,"thumbUrl":9337,"material":118,"size":119,"collection":120,"collections":9338,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":82},260769,"guang-xu-kuan-qing-hua-song-he-wen-bi-tong-yi-ming-260769","光绪款青花松鹤纹笔筒","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。",[8011,9335,9336,7,563],"青花","笔筒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10f89d162e3c3ee0c9bcec16b720f015.jpg",[],{"id":9340,"slug":9341,"title":7188,"dynasty":87,"author":7189,"museum":147,"description":9342,"tags":9343,"thumbUrl":9344,"material":120,"size":120,"collection":120,"collections":9345,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":44},239207,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239207","此开以淡墨写意写就黄山胜境，峰峦清癯空灵，仅以极简皴擦晕染出山石肌理，古松错落、山居隐现于烟云之间，意境萧疏淡远，尽得山川清寂风神。对页行书题跋笔意苍劲舒展，笔墨朴拙老辣，诗书与画境相融相合。\n\n整幅以简驭繁，以淡墨写尽丘壑之美，将沉潜的林泉之志寄寓其中，尽显文人山水的冲淡雅致，是笔简意丰的水墨佳构。",[24,25,215,53,54,29,34,30,275,7,161,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dd3f13e622a4c489abe8da03a5dc739.jpg",[],{"id":9347,"slug":9348,"title":7188,"dynasty":87,"author":7189,"museum":147,"description":9349,"tags":9350,"thumbUrl":9351,"material":120,"size":120,"collection":120,"collections":9352,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":44},239202,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239202","此帧以书画合璧尽显文人雅趣。右侧山水取观瀑之景，危崖层叠高耸，飞瀑垂空直下，古松虬劲扎根崖壁，崖畔亭台凌然悬空。山涧清流漱石，林麓间隐现村居，意境幽寂清旷。以干笔皴擦勾勒山石肌理，墨色干湿互济，苍润相生，尽显林壑深秀之致。左侧行书笔力苍劲古雅，文辞清逸疏朗，笔墨意趣与山水意境呼应相合，尽显萧散淡远的隐逸意涵，是文人寄兴的佳构。",[24,53,54,29,188,34,215,30,55,161,7,35,36,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a5bebba4e6122dd5281cbdd6ba6bbd1.jpg",[],{"id":9354,"slug":9355,"title":3781,"dynasty":87,"author":271,"museum":147,"description":9356,"tags":9357,"thumbUrl":9358,"material":120,"size":120,"collection":120,"collections":9359,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":44},238207,"shan-shui-ce-tang-dai-238207","此作笔墨清润苍秀，远景峰峦层叠，以淡墨晕染出空蒙烟岚，近处长松老干虬曲，扎根苔石，尽显深秋古拙清刚之态，林麓间隐见山居茅舍，幽寂淡远。左侧题诗与画境相契，将长峰翠色、云鹤幽踪合而为一，把空山岑寂、物我两忘的林下意趣铺展开来。整作兼工带写，糅合了端严与清远，于尺幅之间营造出阔大杳渺的天地，尽显静穆萧散的秋日山居雅韵。",[24,53,54,215,30,35,36,7,276,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F568f093383921e07a28efe0183908c7f.jpg",[],{"id":9361,"slug":9362,"title":9363,"dynasty":18,"author":88,"museum":147,"description":9364,"tags":9365,"thumbUrl":9367,"material":118,"size":119,"collection":120,"collections":9368,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":44},237531,"zhang-fu-wan-he-song-yin-shan-yi-ming-237531","张復万壑松荫扇","此作截取山坳松林一角，高远、深远之境兼具，层叠崖壁间青松蔚然成林，主干挺拔虬劲，松针攒簇细密，笔墨苍劲古拙，尽显苍郁清隽的松间意态。\n\n栈道隐于松岩缝隙，山居错落崖畔，淡赭晕染山石，墨色干湿相济，勾勒皴擦间尽显山石嶙峋质感。整体意境清寂幽深，笔墨间浸润着文人寄情林泉的雅逸意趣，尽显古雅隽永的山水风韵。",[24,25,678,30,7,56,9366,36,31,53,27,54],"山壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd8af200639c52851f97536a92023368.jpg",[],{"id":9370,"slug":9371,"title":4446,"dynasty":18,"author":9372,"museum":147,"description":9373,"tags":9374,"thumbUrl":9375,"material":118,"size":119,"collection":120,"collections":9376,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":44},237517,"shan-shui-hua-hui-ce-jiang-shou-cheng-237517","蒋守成","蒋守成明代画家。字继之,号晓山。丹阳人。善画山水,师法宋元画家赵千里,赵子昂、吴仲圭。亦作花鸟、竹石,都很出色,可惜中年患有眼疾,传世作品甚少。",[24,25,215,27,30,7,31,35,33,134,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7eef257ec08d282c41cc0d537bdbdc8.jpg",[],{"id":9378,"slug":9379,"title":7449,"dynasty":87,"author":9380,"museum":147,"description":9381,"tags":9382,"thumbUrl":9384,"material":118,"size":119,"collection":120,"collections":9385,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":44},237486,"shan-shui-tu-ce-yao-song-237486","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。",[24,25,215,9383,53,54,30,162,35,161,187,1343,7],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2736daa6a5070b4358b8996e1e8055c.jpg",[],{"id":9387,"slug":9388,"title":9389,"dynasty":87,"author":1860,"museum":89,"description":9390,"tags":9391,"thumbUrl":9392,"material":543,"size":120,"collection":120,"collections":9393,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":44},237209,"shu-hua-he-bi-ce-cha-shi-biao-237209","书画合壁册","查士标（1615-1698），字二瞻，一号梅壑散人，懒老。安徽休宁人。他是明诸生，入清后不应举，工研书画。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。他的绘画亦是气韵高逸，查士标常常在画上自题拟云林笔意、仿倪云林法等，而懒标之号亦从倪云林懒瓒之称而来，可谓是风神遥接。晚年画益超迈，直窥元人之奥。凡应酬临池挥洒，必於深夜，不以为苦。八十馀尚童颜。卒年八十四，著有《种书堂遗稿》等。",[24,25,215,29,53,30,7,35,54,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb38ce4e5796d408584e6e7069299e1dd.jpg",[],{"id":9395,"slug":9396,"title":7214,"dynasty":18,"author":9397,"museum":147,"description":9398,"tags":9399,"thumbUrl":9400,"material":118,"size":119,"collection":120,"collections":9401,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":82},236831,"shan-shui-shan-zhang-fu-236831","张復","张复（1546年－？年），字元春，号苓石，江苏太仓人（一说中条山人）。明末著名山水画家。善于兼收并蓄，兼得五代北方山水画派荆浩、关仝，南宋画派马远、夏珪，元代黄公望以及明代沈周趣味，成为吴门画派的健将之一。",[24,25,678,30,53,27,54,7,35,134,31,36,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbd4d3a54d229c1368b1a1d62b26abee.jpg",[],{"id":9403,"slug":9404,"title":8487,"dynasty":18,"author":8488,"museum":89,"description":8489,"tags":9405,"thumbUrl":9406,"material":543,"size":8492,"collection":120,"collections":9407,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":44},236483,"shan-shui-ren-wu-ce-guo-fen-ya-236483",[24,53,27,31,30,7,95,35,439,215,940],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0808babb44fcbe7a4dd5e0697b234fc3.jpg",[],{"id":9409,"slug":9410,"title":5541,"dynasty":87,"author":2475,"museum":89,"description":9411,"tags":9412,"thumbUrl":9413,"material":9414,"size":9415,"collection":120,"collections":9416,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":82},236385,"huang-shan-tu-zhou-mei-qing-236385","此图在布局上打破常规，没有绘出完整的山形地貌，而是通过无形的云霭遮挡住山头、山脚，仅突出了山崖的一角，从而重点表现了画作的主题，即黄山的炼丹台。旧传轩辕黄帝与浮丘公曾在此采朱砂炼丹，此地遂成为黄山上一处重要的道教活动场所。梅清擅长于画黄山的怪石、松、云等景致，但他在此图中并没有以专门的色彩或者线条来特别地表现云，而是巧妙地借助了以虚托实的手法，以不着一笔的留白来表现云的实体所在，并且通过山石的空隙，表现出云飘浮的动感和若有若无的透明空间。",[24,25,26,53,54,30,7,56,275,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F324e669c24ab5358976f2f1f1915036f.jpg","绫本，设色","纵186.5厘米，横56.7厘米",[],{"id":9418,"slug":9419,"title":4438,"dynasty":87,"author":88,"museum":147,"description":9420,"tags":9421,"thumbUrl":9422,"material":120,"size":120,"collection":120,"collections":9423,"showCount":123,"zanCount":141,"manualWeight":11,"mainColor":44},236058,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236058","此作以青绿设色晕染山峦，石青石绿交相映衬，妍丽却不甜俗。主峰峭拔奇崛，兼具雄浑之态，辅以留白晕染的流云，虚虚实实让层叠峰林愈发悠远深邃。近景虬松扎根崖壁，枝干盘旋苍劲，松叶攒簇苍郁，带着山野古拙之趣。山脚汀洲横陈，水波澹澹，沙岸隐见行人身影，为冷寂山水添上几分烟火意绪。\n\n笔墨兼工带写，勾勒皴擦间糅合了雄奇与秀润，既得山林苍莽之态，又藏文人雅逸之思，整体清旷空灵，仿若将观者带入幽谧林泉，静赏松风与流波，沉浸在古雅悠然的山水意境中。",[24,25,215,131,27,115,54,30,35,36,7,135,134,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce3e4b9cf9a5530008cd27cfb6b484ce.jpg",[],{"id":9425,"slug":9426,"title":8920,"dynasty":87,"author":9427,"museum":147,"description":9428,"tags":9429,"thumbUrl":9430,"material":118,"size":119,"collection":120,"collections":9431,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":44},235749,"fang-gu-shan-shui-ce-xue-xuan-235749","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。",[24,25,73,215,274,53,27,30,35,7,36,150,54,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6590555f1e36c3823d694fdfcd0498b.jpg",[],{"id":9433,"slug":9434,"title":7449,"dynasty":87,"author":2847,"museum":147,"description":9435,"tags":9436,"thumbUrl":9437,"material":120,"size":120,"collection":120,"collections":9438,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":44},235646,"shan-shui-tu-ce-wu-li-235646","此作用笔苍浑秀润，右侧危崖壁立，古松虬曲倒挂，松针劲挺如铁，崖间飞瀑垂落，碎石寒泉隐于其下，尽显清寂萧寒。远景山峦层叠，云气氤氲漫卷，将峰岫半遮半掩，虚实相生，烘托出深山冬日的幽僻荒寒。\n\n右上角题诗呼应画境，干笔皴擦勾画出山石嶙峋肌理，淡墨晕染流云柔态，刚柔并济。整幅以水墨铺陈，摒弃浓艳，以萧疏之景写尽荒寒之美，寄寓静穆淡远的文人意趣，于冷寂之中藏着深挚的山水情怀，尽显水墨山水空灵悠远的意境。",[24,25,73,215,53,54,30,35,7,55,134,135,485],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706cd4af2901587fe982252869318b4a.jpg",[],{"id":9440,"slug":9441,"title":9442,"dynasty":87,"author":9443,"museum":147,"description":9444,"tags":9445,"thumbUrl":9446,"material":118,"size":119,"collection":120,"collections":9447,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":44},235373,"peng-gong-xiang-tu-zhou-xu-gu-235373","彭公像图轴","虚谷","虚谷（1823～1896），清代著名画家，海上四大家之一，有“晚清画苑第一家”之誉。俗姓朱，名怀仁，僧名虚白，字虚谷，别号紫阳山民、倦鹤，室名觉非庵、古柏草堂、三十七峰草堂。籍新安（今安徽歙县），居广陵（今江苏扬州）。初任清军参将与太平军作战，意有感触，后出家为僧。工山水、花卉、动物、禽鸟，尤长于画松鼠及金鱼。亦擅写真，工隶书。作画有苍秀之趣，敷色清新，造型生动，落笔冷消，别具风格。性情孤僻，非相处情深者不能得其片纸。早年学界画，后以擅画花果、禽鱼、山水著名。风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。亦能诗，有《虚谷和尚诗录》。传世作品有《梅花金鱼图》《松菊图》《葫芦图》《蕙兰灵芝图》《枇耙图》等。",[24,26,27,53,31,7,35,563,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F295de07b0a7bbaee0c8f29834b1a5c62.jpg",[],{"id":9449,"slug":9450,"title":3781,"dynasty":18,"author":6892,"museum":147,"description":9451,"tags":9452,"thumbUrl":9453,"material":118,"size":119,"collection":120,"collections":9454,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":44},235287,"shan-shui-ce-shen-hao-235287","补博士弟子员。性豪放好奇。工诗文。书法真、草、隶、篆，无所不能。山水近沈周，晚年笔意挺秀，点色清妍，深于画理，“似而不似，不似而似”是他的创见。著有《画尘》及《枕瓢》、《焚砚诸集》。",[24,25,215,53,27,54,30,7,35,32,33,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a5b4c2ba5269132e1e213af128e581c.jpg",[],{"id":9456,"slug":9457,"title":9458,"dynasty":87,"author":2278,"museum":147,"description":9459,"tags":9460,"thumbUrl":9461,"material":246,"size":9462,"collection":120,"collections":9463,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":44},235031,"hua-ji-chan-yin-tu-ce-xiao-chen-235031","滑稽禅隐图册","萧晨（生卒年不详），字灵曦，号中素，江苏扬州人。清初画家，李寅弟子，善画山水、人物，画雪景最为有名。虽以卖画为生，但时以诗人自居。",[24,25,215,27,31,7,2177,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F623eb5d84e54d23b8f90fb7fd32122f9.jpg","纵19.5厘米 横16.0厘米",[],{"id":9465,"slug":9466,"title":9467,"dynasty":87,"author":88,"museum":89,"description":9468,"tags":9469,"thumbUrl":9470,"material":499,"size":9471,"collection":120,"collections":9472,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":82},234899,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234899","唐岱小园闲咏图册","唐岱（1673—1752后），字毓东，号静岩，又号默庄，满洲正蓝旗人。康熙中以荫官参领。从王原祁学画，丘壑似王原祁，远宗宋人，“泼墨淋漓，气韵生动”。康熙后期常将其召入宫中作画，品题其画为当时第一手，赐称“画状元”。\n第一开：曲径通幽。对开题：“为隔尘氛远，应怜曲径长。迂回山势抱，逦迤竹垣藏。鹤歩苔痕合，春归花气香。板桥流水外，别有读书堂。”\n第二开：芳屿围棋。对开题：“乘兴步芳屿，逍遥任所之。已看苔作席，最爱柳成帷。漫煮蒙溪茗，闲抛赌墅棋。东山称盛事，吟望寄遐思。”\n第三开：桃溪步履。对开题：“山桃开也未，杖策试探寻。好景春来遍，芳溪曲处深。明霞千树叠，傍水一枝临。何必武陵路，随缘物外心。”\n第四开：竹坞春深。对开题：“闲过山坞里，粉脱见新篁。劲节当春绿，踈竿泛籁长。萧骚寒雨夜，彷佛辋川庄。不肯裁为管，无劳引凤凰。”\n第五开：芳港闻莺。对开题：“春色堂堂去，莺声恰恰来。缗蛮听处涩，风景暗中催。长日慵摊饭，新缸喜拨醅。笙簧随分有，何必舞三台。”\n第六开：春湖涵碧。对开题：“碧水漾平湖，空明一镜铺。须眉应可鉴，尘壤杳然无。点点浮青荇，双双下白鳬。春风浴沂水，视此意何殊。”\n第七开：石坂烹云。对开题：“敲火乌卿炽，烹云玉液清。龙团曾未点，鱼目已旋生。漫说肠堪润，应知眼倍眀。披襟成小啜，孤鹤一声鸣。”\n第八开：广厦冰壶。对开题：“天伏三庚永，堂开六月凉。深深屏隔暑，叠叠簟含霜。底事挥纨扇，无劳问蔗浆。冰壶供坐卧，乐意自相忘。”\n第九开：镜水荷香。对开题：“半夜芙蓉雨，三间水月楼。清香随处度，风景一时收。干密妨鱼跃，花深隐鹭游。诗情频入座，不必问渔舟。”\n第十开：月楼夕幌。对开题：“雨洗尘氛静，天空花鸟闲。月楼开一面，夕幌卷千山。牧笛耳边过，征鸿眼里还。桂香依旧发，付与阿谁攀。”\n第十一开：兰桡独钓。对开题：“秋湖鱼怯饵，把钓事如何。绿水一竿竹，清风几领簑。蒹葭尘外老，星月个中多。夜静独归去，清光挂女萝。”\n第十二开：竹篱鹤歩。对开题：“结社松为宅，看家鹤守门。偏知人客至，不负稻粱恩。宿月精神古，梳风毛羽繁。由来好僮仆，不必贵乘轩。”\n第十三开：芦岸秋晴。对开题：“秋色知多少，芦花尽白头。战风摇夕浦，饮露亚寒洲。生意知将谢，随时未肯休。苍茫烟水里，好去弄扁舟。”\n第十四开：板桥霜迹。对开题：“隔溪亭子迥，为架板桥通。秋老碧天白，寒流枫叶红。卷帘吟夜月，着屐歩霜风。爱此双双迹，扶笻过水东。”\n第十五开：雪径梅姿。画心左下款署“唐岱恭画”。对开题：“四时花木足，最喜是园梅。傲雪三冬里，因风几朵开。清香流玉骨，冷润滴氷腮。独有幽人赏，巡檐杖策来。右《小园闲咏》十五首，雍正乙卯夏五月，宝亲王长春居士著”。梁诗正谨书。",[24,25,215,53,27,30,54,29,116,2249,36,56,33,679,7,34,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ad99601fd92d64dfce53d08f3e5d05.jpg","25.7×33厘米",[],{"id":9474,"slug":9475,"title":9476,"dynasty":87,"author":2219,"museum":1920,"description":9477,"tags":9478,"thumbUrl":9480,"material":543,"size":9481,"collection":120,"collections":9482,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":44},232676,"shan-shui-tu-lan-yan-shu-se-wang-yuan-qi-232676","山水图(岚烟树色)","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。\n王原祁为王派山水的小字辈，后来居上。他得益于乃祖王时敏的亲授从而间接吸收营养于董其昌的艺术和思想，无疑具有功力派和灵性派两类画人的资质。在此图册的第4开上，王原祁钤盖“西庐后人”白文印，以表明自己的身份。\n王原祁在吸收南宗诸大师的画艺，特别是黄公望的长处上更见功力。其画以笔墨论，处处见笔、处处有形、处处得意、处处显情，而又浑然一片，气脉贯连。他在淡墨积笔上有独到的把握，淡墨入画虽易见活气但极难苍厚，层层覆笔又易失之于浊，王原祁以淡墨作山石，或勾线以立形，或横笔以辅面，干笔皴擦，湿笔堆点，层层见笔，层层浑合，苍古厚润兼之以“毛”、“涩”，相交生发而神采愈显。此图册的第10开王原祁钤盖“苍润”朱文葫芦印，显示了自己的审美趣味。实际上，王原祁的这枚“苍润”闲章，刻了多方，不同的型制，于30余岁就已使用，沿用一生，充分体现出王原祁的绘画美学趣味，而其绘画本色也与“苍润”之实质十分符合。",[73,24,25,26,53,54,29,188,34,30,275,36,7,302,35,135,9479],"岚烟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b3ca722659548bd5b92cc3b10a0df4c.jpg","80.4x43.5cm",[],{"id":9484,"slug":9485,"title":9486,"dynasty":3958,"author":9487,"museum":147,"description":9488,"tags":9489,"thumbUrl":9490,"material":118,"size":119,"collection":120,"collections":9491,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":44},231784,"ming-qing-ri-ben-gu-hua-fen-ben-shan-shui-ren-wu-hua-niao-juan-he-guo-xiao-zhai-231784","明清日本古画粉本-山水人物花鸟卷","河锅晓斋","河鍋曉齋是日本幕末至明治時期的浮世絵師。評論家認為他是「一個獨立的帶有個人主義的，可能是傳統日本畫的最後大師」。",[23,186,53,27,667,31,30,7,668,34,274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3c9387e6fc8f6e0c9a6f5a890366f80.jpg",[],{"id":9493,"slug":9494,"title":9495,"dynasty":3958,"author":9496,"museum":147,"description":9497,"tags":9498,"thumbUrl":9500,"material":120,"size":120,"collection":120,"collections":9501,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":82},231723,"jiang-hu-shi-dai-che-zheng-tu-ping-feng-shou-ye-shan-le-231723","江户时代 车争图屏风","狩野山乐","采用全景俯览构图，暖棕底色晕开沉郁底色，三驾町车静立在混乱核心，成为喧嚣风暴的锚点。白衣与褐衣人群短兵相接，扭打推搡的肢体动态被精准捕捉，呼喝厮打的嚣攘仿佛冲破纸面。远景门楼有人凭栏窥望，近景苍松与町家围挡框住街巷乱斗，将狂放的冲突收束在市井日常的框架里。\n\n笔触简劲写意，以色块区分阵营，用利落的线条勾勒奔突的动线，把民间械斗的粗粝张力尽数渲染，将市井里炽热又野性的烟火瞬间，凝为永恒的视觉记忆。",[23,5349,27,92,31,1250,7,229,9499,5351],"争斗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc34d08daf1ecda4368dc93d8a81ee4f.jpg",[],{"id":9503,"slug":9504,"title":9505,"dynasty":3958,"author":88,"museum":147,"description":9506,"tags":9507,"thumbUrl":9511,"material":118,"size":119,"collection":120,"collections":9512,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":44},231710,"lian-cang-shi-dai-tian-gou-cao-zhi-hua-juan-xing-fu-si-juan-yi-ming-231710","镰仓时代 天狗草纸画卷-兴福寺卷","以长卷铺陈三段意趣：左侧殿廷肃穆，武士执戈列阵，殿内贵人正襟；山间翠色里，天狗隐于林麓，流露幽异怪谈氛围。中段水岸清浅，灵鹿闲踱于滩涂，晕染出静谧禅意。末段殿宇层叠，万人攒动的朝会盛景繁而不乱。设色清雅古拙，线条细腻遒劲，将幽异轶闻与俗世仪典相融，带着古朴的和风叙事质感，尽显中古绘卷的悠长余韵。",[23,186,27,28,31,9508,9509,94,32,961,1458,7,258,779,229,30,188,3871,9510,4897,36],"武士","贵族","人群","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a5ff943224bbd2319aac4fc855c4db1.jpg",[],{"id":9514,"slug":9515,"title":9516,"dynasty":3958,"author":88,"museum":147,"description":9517,"tags":9518,"thumbUrl":9519,"material":118,"size":119,"collection":120,"collections":9520,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":44},231620,"shan-shui-shi-er-tu-ping-li-zhou-yi-ming-231620","山水十二图屏立轴","此作用淡彩浅绛写就江隅小景，近岸老松虬曲苍劲，松叶敷染清润，自有葱茏生机。坡岸浅草萋萋，留白摹写江水空阔，淡墨晕染远岸烟岚，晕化出空濛悠远的淡远意境。\n题句融于画面，“清风松翠，斜日照江”，诗画相映，将闲淡悠然的野趣铺陈开来。笔致秀润温婉，摒弃浓墨重彩，尽显江南水岸的清寂安闲，带着文人画的雅致意趣，将观画人带入幽宁静谧的江渚闲居之境。",[23,24,25,26,27,54,30,7,35,779],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3da01ef5a5e4c80f11e0cb13cb46b25d.jpg",[],{"id":9522,"slug":9523,"title":9524,"dynasty":3958,"author":88,"museum":147,"description":9525,"tags":9526,"thumbUrl":9527,"material":76,"size":9528,"collection":120,"collections":9529,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":82},231575,"guan-pu-na-liang-tu-yi-ming-231575","观瀑纳凉图","此页绘清溪一湾，溪畔水阁掩映在蓊郁的翠树秀竹之中，背景峭壁坚崚，飞瀑如练，溪流急湍击石，清波拂岸，充满着夏日大自然的勃勃生机。水阁之中一高士白衣袒胸踞席而坐，凝视潺湲，若有所思。整幅不用界尺，粗笔徒手绘水榭，人物、树石、建筑颇有生拙之趣，极具文人画气息，是“意笔楼阁”的早期作品。",[23,24,25,26,53,27,30,55,7,35,54,1962],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38e3988e8251adabd7d2b3ba7cab365a.jpg","纵24cm，横24.9cm",[],{"id":9531,"slug":9532,"title":9533,"dynasty":18,"author":88,"museum":147,"description":9534,"tags":9535,"thumbUrl":9538,"material":76,"size":9539,"collection":120,"collections":9540,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":44},231547,"dong-xue-shan-jing-tu-yi-ming-231547","冬雪山景图","它的白雪皑皑不是冰冷峻峭，却是高雅与逍遥。",[23,24,53,30,365,736,7,35,31,9536,9537,26],"高雅","逍遥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dfb2c05c90dc6fbecb022d86227e2b9.jpg","63x160厘米",[],{"id":9542,"slug":9543,"title":3781,"dynasty":87,"author":9544,"museum":147,"description":9545,"tags":9546,"thumbUrl":9547,"material":120,"size":120,"collection":120,"collections":9548,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":44},230151,"shan-shui-ce-liu-yu-230151","刘宇","此幅以深山古刹为景，淡墨勾皴山石，盘桓石阶如练，在陡崖间蜿蜒穿梭，串起山脚村居与山巅梵宇。苍松错落布于崖畔坡头，古拙苍劲，晕染出山林清寂高远的氛围。\n\n画家以墨色浓淡区分阴阳向背，笔意萧散秀雅，舍去繁复皴法，却将山峦险峻幽深铺陈尽致。画面以留白晕出山峦空灵之气，淡绘山居古刹的幽寂禅意，带着文人画的简淡余韵，寄寓静穆出尘的山林雅趣，将出世栖隐的悠然意趣藏于简淡笔墨之中。",[24,25,53,215,54,30,132,94,7,5146,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38e204ecbc005648e2a467048d918209.jpg",[],{"id":9550,"slug":9551,"title":9552,"dynasty":18,"author":9553,"museum":147,"description":9554,"tags":9555,"thumbUrl":9556,"material":120,"size":120,"collection":120,"collections":9557,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":44},224556,"shu-hua-ce-ye-21-xiao-yun-cong-wang-shi-zhen-224556","《书画册页》-21","萧云从 王士祯","此作以淡墨写尽林泉幽致，危崖壁立留白萦雾，虚摹山岚空濛。几株古松虬曲苍劲，松针攒簇尽显老硬风神，枯笔勾勒山石肌理，皴染极简，却将崖壁厚重苍朴之意托出。滩渚扁舟之上，隐士垂纶独钓，与幽寂山水浑然相融。追摹李成笔意，以简淡清润的笔墨，复刻宋人山水中静穆淡远的意境，将林下幽闲的隐逸之思藏于尺幅之间，通篇萧散出尘，尽显山林高致。",[73,24,25,215,53,27,54,30,31,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ffcf411dec0de24fd38c2c62f6835e2.jpg",[],{"id":9559,"slug":9560,"title":9561,"dynasty":87,"author":9562,"museum":147,"description":9563,"tags":9564,"thumbUrl":9565,"material":120,"size":120,"collection":120,"collections":9566,"showCount":123,"zanCount":141,"manualWeight":11,"mainColor":82},224274,"shan-shui-hua-hui-ce-wu-fu-shan-224274","山水花卉冊(五)","傅山","此作笔墨简率古雅，以朴拙皴染写就群山苍莽浑厚的质感，数道飞泉破壁而出，灵动生机撞破山林沉静。坡上古松虬曲苍劲，松针攒簇如盖，掩映着朱栏青瓦的山居，暖艳设色在水墨晕染间跳脱而出，为山野添了几分雅致温馨。\n\n画面无过多雕琢，将山野荒疏之境与幽居安和之意相融，浅淡设色晕出柔和静谧的氛围，藏着遁世丘壑、寄情林泉的文人襟怀，尽显静穆散淡的世外意趣。",[23,24,25,215,27,54,30,132,55,7,94,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9054b9316da205782a3ee8906cbcf0e5.jpg",[],{"id":9568,"slug":9569,"title":5469,"dynasty":69,"author":88,"museum":20,"description":9570,"tags":9571,"thumbUrl":9572,"material":499,"size":9573,"collection":120,"collections":9574,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":44},223505,"song-hu-diao-yin-tu-yi-ming-223505","叶小舟浮于湖上，一人独坐垂 钓，远山峰峦突起，妙造自然，以精细的笔法，用焦 墨勾树石，显得郁茂葱笼，瘦硬峭拔。画面无作者款 印。此图从画风多受马、夏影响这一点来看",[23,24,25,30,27,54,29,34,7,116,35,134,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c9d875e6692c9267b51e8524a861af6.jpg","25.3x25.8厘米",[],{"id":9576,"slug":9577,"title":9578,"dynasty":87,"author":1038,"museum":89,"description":3397,"tags":9579,"thumbUrl":9580,"material":543,"size":3400,"collection":120,"collections":9581,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":44},220287,"huang-shan-tu-ce-38-hong-ren-220287","黄山图册-38",[23,73,24,25,215,53,54,30,57,95,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8050f86d74f9f189592f51fa09919131.jpg",[],{"id":9583,"slug":9584,"title":9585,"dynasty":87,"author":1038,"museum":89,"description":3397,"tags":9586,"thumbUrl":9587,"material":543,"size":3400,"collection":120,"collections":9588,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":44},220270,"huang-shan-tu-ce-53-hong-ren-220270","黄山图册-53",[23,73,24,25,215,53,54,30,57,7,135,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa67aafcc8d6af09bf5f118df30194186.jpg",[],{"id":9590,"slug":9591,"title":9592,"dynasty":87,"author":1038,"museum":89,"description":3397,"tags":9593,"thumbUrl":9594,"material":543,"size":3400,"collection":120,"collections":9595,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":44},220266,"huang-shan-tu-ce-56-hong-ren-220266","黄山图册-56",[23,73,24,25,215,53,27,54,30,57,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3de6fed94445abea4698dda270244910.jpg",[],{"id":9597,"slug":9598,"title":9599,"dynasty":87,"author":1038,"museum":89,"description":3397,"tags":9600,"thumbUrl":9601,"material":543,"size":3400,"collection":120,"collections":9602,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":44},220264,"huang-shan-tu-ce-58-hong-ren-220264","黄山图册-58",[23,24,25,73,215,53,54,30,57,7,303,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92a6870efbb6b4180b333ef2eaa322c4.jpg",[],{"id":9604,"slug":9605,"title":9606,"dynasty":18,"author":8623,"museum":1107,"description":8624,"tags":9607,"thumbUrl":9608,"material":38,"size":8627,"collection":120,"collections":9609,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":82},219063,"xiao-xiang-ba-jing-ce-7-zhang-fu-219063","潇湘八景册-7",[23,24,73,215,27,53,30,365,367,7,229,679,31,242,35,485,2748,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01daf9f4924b8c67e1bb62c82f7033f4.jpg",[],{"id":9611,"slug":9612,"title":9613,"dynasty":49,"author":88,"museum":20,"description":9614,"tags":9615,"thumbUrl":9616,"material":190,"size":120,"collection":120,"collections":9617,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":82},218188,"ying-zhen-xiang-zhou-2-yi-ming-218188","应真像轴-2","苍松虬干垂覆，老僧安坐石上。宽袍墨线流转，浓淡晕染显布料柔皱。手持细长物什，指尖似牵一缕轻丝，眼神淡然却藏专注。面部刻画细腻，皱纹沉淀岁月沉静。背景远山朦胧，近石嶙峋，松针如簇，与悠然神态相映，营造清寂禅意。笔墨简淡却意蕴深长，松风似拂过，禅心与自然相融，静穆中透着生命的平和深邃。",[24,26,2177,31,27,28,7,344,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b2cac5a2c9b812e758d779e24b23c4a.jpg",[],{"id":9619,"slug":9620,"title":9621,"dynasty":87,"author":9235,"museum":147,"description":9236,"tags":9622,"thumbUrl":9623,"material":38,"size":120,"collection":120,"collections":9624,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":44},217197,"fa-jie-yuan-liu-tu-juan-10-li-ming-217197","法界源流图卷-10",[23,73,24,25,186,2177,28,27,31,7,302,35,36,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ecd99e1e59c3ab9177eb4164231cc67.jpg",[],{"id":9626,"slug":9627,"title":9172,"dynasty":87,"author":9235,"museum":147,"description":9236,"tags":9628,"thumbUrl":9630,"material":38,"size":120,"collection":120,"collections":9631,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":44},217196,"fa-jie-yuan-liu-tu-juan-8-li-ming-217196",[23,28,27,186,2177,31,94,161,9186,2957,9188,9629,2548,7,9185,4173,92],"天人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80b0c039ef6baa808a49e87b58d400a6.jpg",[],{"id":9633,"slug":9634,"title":9635,"dynasty":87,"author":9636,"museum":172,"description":9637,"tags":9638,"thumbUrl":9639,"material":59,"size":9640,"collection":120,"collections":9641,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":44},214712,"shan-shui-ce-5-gao-xiang-214712","山水册-5","高翔","高翔（1688-1753年），字凤冈，号西唐，甘泉（今江苏扬州）人。擅画山水，师法弘仁、石涛，尤工画梅，笔意疏秀，为“扬州八怪”之一。",[24,215,53,54,30,7,35,31,175,134,485],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39ca2235fda0dfba0d0bd358d53aa202.jpg","纵23.9 厘米，横55.4 厘米",[],{"id":9643,"slug":9644,"title":3879,"dynasty":3880,"author":3881,"museum":172,"description":9645,"tags":9646,"thumbUrl":9647,"material":120,"size":120,"collection":40,"collections":9648,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":3886},203047,"shan-shui-tu-zhou-huang-bin-hong-203047","画面层峦起伏，云雾缭绕山间，山石以皴擦点染之法写就，墨色浓淡相宜，尽显厚重质感。近景松枝苍劲，杂树错落，石边溪流蜿蜒，小桥横跨其上，屋舍隐于林麓间，意境清幽静谧。笔墨兼具雄浑与雅致，既得山川之灵秀，又含文人画之韵致，将自然山水的生机与深邃凝于尺幅之内，尽显笔墨功底与对山水的深情体悟。",[24,53,30,54,7,32,440,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bf9e82d87c18806584593fac53d3c25.jpg",[40],{"id":9650,"slug":9651,"title":9652,"dynasty":3880,"author":9653,"museum":172,"description":9654,"tags":9655,"thumbUrl":9657,"material":120,"size":120,"collection":101,"collections":9658,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":9659},202833,"pang-xu-zhai-xi-jian-tu-zhou-wang-zhen-202833","庞虚斋息肩图轴","王震","苍松虬劲，枝干如铁，墨色沉郁间透出古木苍然之态。荫下老者敛眉安坐，衣袂宽博，线条简练传神，淡彩晕染衣袍，添温润质感。身旁书卷堆叠，似暂歇行旅，山石以泼墨晕染，苔点错落，野趣横生。整幅画作以水墨为基，兼施淡彩，写意笔法洒脱灵动，人物神态悠然闲适，松石意境清幽静谧，尽显海派画风的醇厚与生机，将老者息肩休憩的恬淡之态刻画得淋漓尽致。",[24,53,27,31,7,35,6183,342,9656,23],"泼墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe090cb7fa456b27eeb38c748a61dccbd.jpg",[101],"aba89b",{"id":9661,"slug":9662,"title":8930,"dynasty":18,"author":128,"museum":172,"description":9663,"tags":9664,"thumbUrl":9665,"material":120,"size":120,"collection":40,"collections":9666,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":9667},201623,"yun-shan-tu-zhou-dong-qi-chang-201623","这幅画作以淡墨晕染云雾，山峦在烟霭中隐现，层次叠嶂间尽显空濛之趣。近景松石用干笔皴擦，线条含书法意趣，松针挺劲，山石肌理分明；中景山峦以披麻皴勾勒，墨色渐淡与云雾相融；远景淡墨寥寥，营造悠远深邃意境。构图虚实相生，笔墨干湿浓淡交错，尽显“平淡天真”的文人韵味。题跋与印章错落，诗书画印一体，更添雅致。整幅作品得自然神韵，又藏画家对南宗笔墨的体悟，简淡中见深远，空灵中藏生机。",[24,25,26,53,30,54,7,34,29,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F761698eb84b89bba4cb795faf768fc87.jpg",[40],"b5a68b",{"id":9669,"slug":9670,"title":9671,"dynasty":87,"author":2838,"museum":172,"description":9672,"tags":9673,"thumbUrl":9675,"material":120,"size":120,"collection":120,"collections":9676,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":9677},201597,"luo-fu-xian-guan-tu-zhou-lv-huan-cheng-201597","罗浮仙馆图轴","画面山石嶙峋，以细腻皴法勾勒肌理，古松虬枝盘曲，松针密簇，与岩崖间的楼阁相映。楼阁隐于山巅谷隙，飞檐翘角雅致，山间云雾轻绕，添缥缈仙气。近处小桥横卧，红衣人物凭栏远眺，动静相衬。设色淡雅温润，层次分明，融罗浮仙馆的清幽与山水之趣，尽显文人山水的雅致意境。",[24,30,94,7,35,27,54,32,31,9674],"立","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F468188812d4a8a4f7b18477d0c1a8e22.jpg",[],"987c66",{"id":9679,"slug":9680,"title":9681,"dynasty":18,"author":4494,"museum":147,"description":6919,"tags":9682,"thumbUrl":9683,"material":118,"size":119,"collection":120,"collections":9684,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":44},290620,"bai-lu-tu-zhou-zhang-hong-290620","百禄图轴",[24,26,73,27,30,7,1458,961,188,34,6967],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d9a76bce59c6bd78768393dc94a4b5a.jpg",[],{"id":9686,"slug":9687,"title":9688,"dynasty":87,"author":5638,"museum":147,"description":9689,"tags":9690,"thumbUrl":9691,"material":118,"size":119,"collection":120,"collections":9692,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":44},290599,"song-jian-yun-lan-zhang-ruo-cheng-290599","松涧云岚","张若澄（1721-1770），字镜壑，号默耕，安徽桐城人。是清代名臣张英之孙、张廷玉次子、张若霭之弟。乾隆十年（1745）进士，改庶吉士，授编修，入直南书房。三充乡、会试同考官，一主湖南乡试，矢公矢慎，士论翕然。历官内阁学士，兼礼部侍郎衔。卒于官。国史附传。著有《潇碧轩诗》四卷。",[24,25,30,7,33,35,31,53,54,34,188,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa6b755f4eb4274062c26fa6601798c8.jpg",[],{"id":9694,"slug":9695,"title":9696,"dynasty":87,"author":3406,"museum":147,"description":3407,"tags":9697,"thumbUrl":9699,"material":118,"size":119,"collection":120,"collections":9700,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":82},290323,"hua-sui-chao-zhong-kui-zhou-zhang-zhong-xue-290323","画岁朝锺馗轴",[24,26,53,31,9698,7,34,3061,5930],"钟馗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff55f0b4c06154ad799eaea81947aef19.jpg",[],{"id":9702,"slug":9703,"title":9704,"dynasty":69,"author":88,"museum":147,"description":9308,"tags":9705,"thumbUrl":9706,"material":118,"size":119,"collection":120,"collections":9707,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":82},290245,"shan-ju-dui-yi-tu-yi-ming-290245","山居对奕图",[23,678,24,73,53,30,94,7,1072,6726,2210,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7d0ed0a8274280bc753718e1506b4b0.jpg",[],{"id":9709,"slug":9710,"title":9711,"dynasty":87,"author":88,"museum":147,"description":6963,"tags":9712,"thumbUrl":9716,"material":118,"size":119,"collection":120,"collections":9717,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":408},268769,"ke-si-qun-xian-qing-shou-tu-zhou-yi-ming-268769","缂丝群仙庆寿图轴",[4851,26,27,31,8986,9713,94,2548,7,9714,715,640,35,9715],"庆寿","毛驴","神话题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd48314f41436de32f7c78728cab970e3.jpg",[],{"id":9719,"slug":9720,"title":9711,"dynasty":87,"author":88,"museum":147,"description":6963,"tags":9721,"thumbUrl":9722,"material":118,"size":119,"collection":120,"collections":9723,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":408},268768,"ke-si-qun-xian-qing-shou-tu-zhou-yi-ming-268768",[4851,26,27,28,31,8986,2026,94,776,32,7,1481,715,2548,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65c98b1f84701fe1f2b6606debe51a96.jpg",[],{"id":9725,"slug":9726,"title":9711,"dynasty":87,"author":88,"museum":147,"description":6963,"tags":9727,"thumbUrl":9728,"material":118,"size":119,"collection":120,"collections":9729,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":82},268765,"ke-si-qun-xian-qing-shou-tu-zhou-yi-ming-268765",[4851,26,25,27,9027,31,94,7,35,2548,640,9713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faeb67df09269691b928edd4d680a3067.jpg",[],{"id":9731,"slug":9732,"title":9733,"dynasty":87,"author":88,"museum":147,"description":9734,"tags":9735,"thumbUrl":9737,"material":118,"size":119,"collection":120,"collections":9738,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":408},267609,"bai-se-duan-guang-xiu-song-he-wen-da-lian-yi-ming-267609","白色缎广绣松鹤纹褡裢","此作绣工精巧细腻，上下图景各有意趣。上方雄鸡红冠金翎，身姿挺拔昂扬，配衬烂漫繁花与振翅灵雀，将功名吉庆的祈愿藏于鲜活生灵间。下部苍松虬曲苍翠，仙鹤翩跹其间，晕染出福寿绵长的静雅意境。\n\n配色明丽饱满，缎面光洁温润，针脚细密匀整，边饰锦纹雅致呼应，尽显岭南绣艺的灵动精巧。把世俗间对富贵长寿的期许，融于一针一线之中，鲜活生动，意趣盎然，是民间吉祥绣品的佳制。",[2129,8985,2178,9736,776,7,1481,95,667,8221],"公鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27ecbaf21ff5f499b30e4635803e5e11.jpg",[],{"id":9740,"slug":9741,"title":3781,"dynasty":18,"author":6554,"museum":147,"description":9742,"tags":9743,"thumbUrl":9744,"material":120,"size":120,"collection":120,"collections":9745,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":44},239545,"shan-shui-ce-ye-xiang-rong-239545","此作淡墨轻施，浅绛设色，尽显清润简雅。近岸茅舍依坡而建，疏木枝干虬曲褪去繁叶，愈显苍劲古拙，衬出山居幽寂。中林错落，隐见山桥通幽，引目光渐入山林深处。远景松涛簇拥，半露楼阁，烟岚轻笼，将山境晕染得空濛悠远。画面虚实相生，留白映出山林静穆清旷，笔墨间浸透着文人画的闲淡意趣，把幽栖林泉的隐逸心境铺陈开来，观之恍若踏入这世外丘壑，静享山野间的恬然雅韵。",[24,215,53,27,30,7,175,35,36,134,303,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F660baabc7465be653011c7eee6aa69bf.jpg",[],{"id":9747,"slug":9748,"title":9749,"dynasty":87,"author":5263,"museum":147,"description":9750,"tags":9751,"thumbUrl":9752,"material":120,"size":120,"collection":120,"collections":9753,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":44},238715,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238715","画弘历和江文通诗意图册","此作左诗右图，诗画相生。纯以水墨白描写就，山石勾勒皴擦浑厚苍劲，层峦叠嶂间古松虬曲伸展，深谷茅舍隐现晕染出林泉幽寂之态。\n\n临崖文人衣袂飘然，凭栏纵览溪山，溪畔麋鹿驻足回眸，为幽寂丘山添了一抹灵动生机。笔墨间将诗文里栖隐丘壑、养性忘俗的意涵具象铺陈，既有北宗山水的雄峻层次，又带着南派文人画的静穆禅意，观之如踏入这方幽林丘山，共赏林下高风，尽得林泉雅趣。",[24,25,215,53,54,29,34,188,30,31,7,35,33,94,1458,36,1376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5cf5375a37c220680a5b4422747aaa3.jpg",[],{"id":9755,"slug":9756,"title":9022,"dynasty":18,"author":88,"museum":147,"description":9757,"tags":9758,"thumbUrl":9759,"material":118,"size":119,"collection":120,"collections":9760,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":44},238565,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238565","这幅工笔佛画以层叠崖谷铺展清净胜境。莲台佛陀安坐，朱衣覆身，面容慈悲沉静，法相昭然。左侧祥云簇拥天众宝眷，衣袂飘曳敷色秾丽，宝相端凝恭谨礼敬。下方伎乐天旋身起舞，彩带缠腰翩跹灵动，为清寂山境晕开鲜活梵音意趣。右侧林麓灵鹿闲游，松枝虬劲苍古，流泉穿谷衬出幽谧禅意。\n\n画作兼工带写，山石皴染朴拙简练，重彩淡墨相融，既衬出佛界超脱尘俗的静穆，又以灵动人物生灵点缀生机，将礼佛虔敬与山林空寂浑然相合，尽显典雅端严，暗合梵天清净的禅韵哲思。",[24,27,28,215,30,31,2177,961,7,55,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f6a9706ec81b58145a28730d3e60f45.jpg",[],{"id":9762,"slug":9763,"title":9764,"dynasty":87,"author":9765,"museum":147,"description":9766,"tags":9767,"thumbUrl":9769,"material":120,"size":120,"collection":120,"collections":9770,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":44},238216,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238216","仿王翬山水册","曹夔音","此作为仿古佳制，右幅绘溪林静境，苍松虬劲成荫，溪桥隐于林下，远山以淡墨晕染留白，晕开空濛烟岚，尽显林泉幽寂的隐逸之趣。笔触温婉秀润，循古法而出新意，将淡远清和的山水风神尽显无余。\n左幅题咏琳琅，诗画合璧，以文衬景，把寄情丘壑的雅怀诉诸笔端，笔墨间浸透了传统文人澄怀观道的林下襟怀，整幅册页清雅隽永，尽显师古能化的笔墨功力。",[24,25,73,256,53,27,54,35,36,7,32,33,135,4581,9768,257],"仿古风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F763a5f1073179bed6806c33f9105b513.jpg",[],{"id":9772,"slug":9773,"title":3781,"dynasty":87,"author":8029,"museum":147,"description":9774,"tags":9775,"thumbUrl":9776,"material":120,"size":120,"collection":120,"collections":9777,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":44},238154,"shan-shui-ce-yun-xi-238154","此作用笔松秀温润，以淡墨皴擦勾勒层叠山峦，苍松虬枝错落生姿，古拙清刚的意趣藏于枝叶舒展间。涧谷蜿蜒，茅庐隐于松石深处，留白晕染出空濛山意，将幽寂深邈的山居之境铺陈开来。\n\n左侧行书笔势舒展俊逸，诗书与山水相映成趣，把山中空寂清冷的禅意融于笔墨间。整体简淡萧散，尽显静穆淡远的林下之风，是诗画合一的文人佳构，将林泉高致藏于尺幅之间。",[24,25,53,54,29,34,215,30,35,7,36,161,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe72adfcce328fa41b56724de28129eca.jpg",[],{"id":9779,"slug":9780,"title":4438,"dynasty":87,"author":1687,"museum":147,"description":3597,"tags":9781,"thumbUrl":9782,"material":118,"size":119,"collection":120,"collections":9783,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":44},237597,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237597",[24,25,215,53,54,274,30,7,55,116,35,33,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4a62d1ab06a5a048c42ea3c4b4b4ac.jpg",[],{"id":9785,"slug":9786,"title":3781,"dynasty":87,"author":5962,"museum":89,"description":5963,"tags":9787,"thumbUrl":9788,"material":120,"size":120,"collection":120,"collections":9789,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":44},237555,"shan-shui-ce-wen-dian-237555",[73,24,25,215,53,54,30,161,7,35,33,367,134,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcae7dc722fb7cce39f4f19b04f7a449f.jpg",[],{"id":9791,"slug":9792,"title":9793,"dynasty":87,"author":5235,"museum":147,"description":9794,"tags":9795,"thumbUrl":9797,"material":120,"size":120,"collection":120,"collections":9798,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":82},237412,"yu-shan-guan-hua-zhou-wang-gai-237412","玉山观画轴","苍松虬劲盘桓，荫蔽出一方林下雅境。石桌之上画卷舒展，文士围聚，或伸指点评画中丘壑，或垂目凝思笔底意趣，尽是沉醉艺文之态。溪畔另一侧，古琴横陈案上，茶盏错落，友人围坐静候雅兴漫溢。浅溪石桥逶迤，苔石隐于浅滩，衬出林泉幽寂。全画笔致秀逸工稳，设色淡雅清润，将文人雅集的从容意趣晕染得淋漓尽致，把寄情翰墨、畅怀林泉的林下风流尽数铺展于尺幅间，尽显古典文人的闲雅襟怀。",[24,26,27,28,31,7,35,2057,9796,74],"座椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f413ee19b79a3863e945eb805661d16.jpg",[],{"id":9800,"slug":9801,"title":9802,"dynasty":18,"author":9803,"museum":147,"description":9804,"tags":9805,"thumbUrl":9806,"material":118,"size":119,"collection":120,"collections":9807,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":82},236700,"xing-lv-tu-shan-du-ji-long-236700","行旅图扇","杜冀龙","杜冀龙[明]字士良，吴县（今江苏苏州）人。",[24,25,678,30,53,54,7,35,316,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f0b849724ebc6b0c6ddcbb25a53e47c.jpg",[],{"id":9809,"slug":9810,"title":7214,"dynasty":18,"author":5869,"museum":147,"description":9811,"tags":9812,"thumbUrl":9813,"material":118,"size":119,"collection":120,"collections":9814,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":82},236683,"shan-shui-shan-jiang-qian-236683","蒋乾（1525—？）明代画家。字子健，金陵（今江苏南京）人。\n嵩子，隐居吴郡（今江苏苏州）虹桥，困以为号。破屋半间，一介不苟。八十年如一日。江盈科为长洲宰，表其庐曰“东海冥鸿”。善山水，清拔古雅，过於乃父。嘉靖四十二年（1563）仿王蒙山水图。",[24,678,53,30,54,7,150,36,56,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f4270f9c6e9727197e1dd19da8b813c.jpg",[],{"id":9816,"slug":9817,"title":9818,"dynasty":18,"author":9819,"museum":147,"description":9820,"tags":9821,"thumbUrl":9822,"material":120,"size":120,"collection":120,"collections":9823,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":44},235837,"shan-quan-dong-tu-ye-lu-shi-dao-235837","善权洞图页","陆师道","以淡赭轻铺山峦，层叠丘壑间晕染柔雅，细笔点苔缀林，古松苍劲欹斜，山坳楼宇隐现于烟岚之中，幽寂空灵尽显洞天清旷。\n\n书画合璧，笔致清隽秀雅，以写意笔法铺展林泉胜景，不重精雕细刻，却将幽隐丘壑的澹然意趣娓娓铺陈。笔墨间浸润文人情思，简淡萧疏的格调里，尽显林泉高致，将山水灵秀与古雅意蕴融于尺幅，尽显师法自然又饱含文心的画中真意。",[24,25,215,27,54,29,34,188,30,132,133,36,7,161,134,654,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93a23db8a02747d1835698287b7243e.jpg",[],{"id":9825,"slug":9826,"title":8289,"dynasty":87,"author":9827,"museum":89,"description":9828,"tags":9829,"thumbUrl":9830,"material":246,"size":120,"collection":120,"collections":9831,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":44},234755,"huang-shan-tu-ce-jiang-zhu-234755","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。",[24,25,215,53,54,29,30,275,7,135,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5b7316e218ef7d9d046721a09a461b6.jpg",[],{"id":9833,"slug":9834,"title":8289,"dynasty":87,"author":9827,"museum":89,"description":9828,"tags":9835,"thumbUrl":9836,"material":246,"size":120,"collection":120,"collections":9837,"showCount":193,"zanCount":141,"manualWeight":11,"mainColor":44},234738,"huang-shan-tu-ce-jiang-zhu-234738",[1029,73,24,25,215,27,54,30,2966,35,36,135,7,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b06e15593f0c0b799413b461de64ee3.jpg",[],{"id":9839,"slug":9840,"title":8258,"dynasty":18,"author":815,"museum":147,"description":7640,"tags":9841,"thumbUrl":9842,"material":120,"size":120,"collection":120,"collections":9843,"showCount":193,"zanCount":141,"manualWeight":11,"mainColor":82},234568,"shan-shui-shan-ye-lan-ying-234568",[678,24,25,53,30,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f65d50a20f2bcfddf1533ea73e9441f.jpg",[],{"id":9845,"slug":9846,"title":9847,"dynasty":87,"author":9848,"museum":147,"description":9849,"tags":9850,"thumbUrl":9851,"material":629,"size":120,"collection":120,"collections":9852,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":44},234245,"chen-shu-hua-si-zi-jiang-de-juan-chen-shu-234245","陈书画四子讲德卷","陈书","陈书（1660–1736）是清代女画家。陈书出生于浙江省秀州（今嘉兴），以字“南楼”及号“上元弟子”、“南楼老人”著称。陈书被认为是清代第一位女画家，以及秀水画派的开创者。除了她本人的艺术成就外， 陈书的另一闻名之处是作为清代名臣钱陈群的母亲。在她丈夫早逝后，陈书独自抚养儿子长大。钱陈群在乾隆朝深得皇帝赏识，并将其母画作介绍予乾隆帝，因此陈书的画作相当一部分收入大内，现藏于北京故宫博物院和台北国立故宫博物院。陈书擅长人物、山水、花鸟。",[23,73,24,25,186,27,28,29,34,30,7,161,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a83c11e883961e84fe7ffe9131110e1.jpg",[],{"id":9854,"slug":9855,"title":5440,"dynasty":69,"author":88,"museum":89,"description":9856,"tags":9857,"thumbUrl":9858,"material":499,"size":9859,"collection":120,"collections":9860,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":82},234038,"si-lun-tu-zhou-yi-ming-234038","此图描绘了在苍苍茫茫的山林中,几位女子正在纶丝,两个天真的幼童则在嬉戏游玩,生活气息十分浓厚。掩映在山林中的茅屋围以栅栏,近处的山石陡峭高耸,附岩壁而长的苍松枝干虬劲蟠曲,显示了劲松雄强的本色。画上有一首题诗: “素丝头绪长,羡居好安排。青鞋不动尘,缓步交去来。脉脉意欲乱,春春首重回。王言正如丝,只付经纶才。”对此画的画意作了很好的诠释。",[24,25,26,53,27,54,188,29,30,36,7,175,31,303,639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc447fe7cf03f1038a72f049cc5ebbc4f.jpg","纵83.2厘米 横37.5厘米",[],{"id":9862,"slug":9863,"title":9864,"dynasty":3958,"author":9865,"museum":147,"description":9866,"tags":9867,"thumbUrl":9874,"material":120,"size":120,"collection":120,"collections":9875,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":44},231827,"xiao-xian-he-ge-tu-juan-1-ku-tian-zheng-heng-231827","消闲和歌图卷-1","堀田正衡","这是一卷诗书画合璧的写意佳作，以淡赭素纸为底，大写意笔墨铺陈雅趣。浓淡干湿的墨色晕染出瑞兽、墨龙、折枝桃果、竹篮清供、幽草灵蛇与寒梅，笔意简劲纵逸，寥寥数笔便得物象神韵。日式和歌书法错落穿插于画幅之中，行笔舒展随性，与画作相映成趣。整体意境侘寂清雅，将文人消闲的幽远禅意融于笔墨之间，空灵疏朗，尽显随性自在的东方雅韵。",[23,24,25,186,53,27,940,29,34,342,2706,9868,9869,4173,7,7461,484,9870,9871,6503,9872,9873,31,8220,1376,7033,961],"篮子","盘子","桃子","蛇","水果","猴子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0668c72e7438d7eaf0064a20e69d82f.jpg",[],{"id":9877,"slug":9878,"title":9879,"dynasty":3958,"author":9880,"museum":147,"description":9881,"tags":9882,"thumbUrl":9883,"material":118,"size":119,"collection":120,"collections":9884,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":44},231744,"jiang-hu-shi-dai-gong-yu-tan-sheng-tu-juan-er-fen-duan-gu-wen-chao-231744","江户时代 公余探胜图卷-二分段","谷文晁","谷文晁（1763～1841），日本江户时代的著名画家。曾广泛学习狩野派、圆山派、南画（水墨画）及西洋画法，并将各画种的表现手法相互借鉴，从而形成自己的风格。其曾为《集古十种》图录做插图，还曾游历各地画出大量风景写生画。弟子中有田能村竹田、渡边华山、谷文一、谷文二。",[23,24,25,186,27,30,56,36,7,1169,8312,1279,135,134,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f048beb44c9ac69d4eadd260d6c1a2c.jpg",[],{"id":9886,"slug":9887,"title":9888,"dynasty":3958,"author":9880,"museum":147,"description":9881,"tags":9889,"thumbUrl":9894,"material":118,"size":119,"collection":120,"collections":9895,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":44},231743,"jiang-hu-shi-dai-gong-yu-tan-sheng-tu-juan-yi-fen-duan-gu-wen-chao-231743","江户时代 公余探胜图卷-一分段",[23,24,27,30,186,9890,8312,56,36,4330,1279,9891,1376,1343,9892,7,277,9893,31,54],"海","沙滩","海岸线","远帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897e39219f17fa6a69eead11cab93a56.jpg",[],{"id":9897,"slug":9898,"title":9899,"dynasty":3958,"author":88,"museum":147,"description":9900,"tags":9901,"thumbUrl":9903,"material":118,"size":119,"collection":120,"collections":9904,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":82},231734,"jiang-hu-shi-dai-luo-zhong-luo-wai-tu-ping-feng-er-ping-yi-ming-231734","江户时代 洛中洛外图屏风-二屏","以金箔为底，借云气划分场景，全景铺展往昔都城的鲜活世态。屋舍错落排布，仪仗穿街过巷，茶肆中宴饮正酣，林泉处雅士闲游。贩夫走卒与簪冠仕族各司其态，笔触细密勾勒出烟火日常与仪典盛事。冷金底色晕开雅致华贵，揉合俗世喧嚣与林下闲情，将浮生百相凝于尺幅之间，每一处细节都是鲜活的时代切片，铺就出一卷饱满生动的市井风华长卷。",[23,9902,27,92,28,31,94,32,33,36,175,242,7],"屏风画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb32431e1bd8f82df0dddc0ac69376e45.jpg",[],{"id":9906,"slug":9907,"title":3879,"dynasty":18,"author":88,"museum":147,"description":9908,"tags":9909,"thumbUrl":9910,"material":120,"size":120,"collection":120,"collections":9911,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":194},231361,"shan-shui-tu-zhou-yi-ming-231361","山水画，简称“山水”。中国画的一种。描写山川自然景色为主体的绘画。传统分法有水墨、青绿、金碧、没骨、浅绛、淡彩等形式。\n在魏晋、南北朝已逐渐发展，但仍附属于人物画，作为背景的居多；隋唐始独立，如展子虔的设色山水，李思训的金碧山水，王维的水墨山水，王洽的泼墨山水等；成为中国画中的一大画科；后蜀后主孟昶创设翰林图画院；元代山水画趋向写意，以虚带实，侧重笔墨神韵，开创新风；明清及近代，续有发展，亦出新貌。表现上讲究经营位置和表达意境。",[23,24,53,30,26,54,7,116,161,33,35,134,317],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32218520c64ca979c215b59b175d93c9.jpg",[],{"id":9913,"slug":9914,"title":9915,"dynasty":87,"author":171,"museum":147,"description":9916,"tags":9917,"thumbUrl":9918,"material":120,"size":120,"collection":120,"collections":9919,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":44},228991,"bai-kai-luo-han-tu-41-shi-tao-228991","百开罗汉图41","此作用水墨晕染出清寂禅境，双罗汉对晤于松崖之间。右侧罗汉安坐危崖，衣纹圆转舒展，神色悠然抬眼望向山巅，松间罗汉隐于虬枝之下，目光回睇似共论禅机。古松盘桓错节，松针攒簇苍劲老辣，崖石以枯笔皴擦尽显奇崛之势。背景流云以涡旋墨色铺陈，裹挟空濛仙气，虚实相生间晕化出幽渺山境。\n笔意纵恣灵秀，将禅家超旷出尘的意趣融于山水人物之中，简淡笔墨里藏着苍莽空灵的世外之韵，尽显禅画合一的精妙意致。",[73,24,25,215,53,54,940,2177,31,7,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa49d7565bc3db5a2c1dec7feb41f1899.jpg",[],{"id":9921,"slug":9922,"title":9923,"dynasty":87,"author":9924,"museum":147,"description":9925,"tags":9926,"thumbUrl":9927,"material":120,"size":120,"collection":120,"collections":9928,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":82},224577,"suan-ni-tu-zhou-qing-ren-224577","狻猊图轴","清人","此作以卧姿神兽为主体，画师跳出写实桎梏，将其塑作威严悍猛之态。阔口獠牙、双目圆睁，夸张的面部更显慑人气势，鬃毛以晕染分层，蓬松如怒涛翻卷。躯体线条柔中带刚，暗合肌肉张力，臀侧旋纹为神兽添了几分神异灵韵。\n\n旁侧古松虬曲苍劲，苔点皴写出老干斑驳质感，坡岸细草轻勾淡描，衬得神兽愈发沉静雄浑。淡墨轻色晕染出古雅绢本氛围，工写兼施，既抓住猛兽的雄健之姿，又赋予瑞兽神性威仪，尽显神异走兽画的精妙意趣。",[24,25,26,1029,28,27,961,7,3531,56,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F840689bd9a6229e85d7d08c8826cb047.jpg",[],{"id":9930,"slug":9931,"title":9932,"dynasty":87,"author":9254,"museum":226,"description":9933,"tags":9934,"thumbUrl":9935,"material":346,"size":120,"collection":120,"collections":9936,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":408},222720,"huang-shan-ba-jing-tu-ce-9-zheng-min-222720","黄山八景图册9","郑旼 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。",[23,24,25,215,53,54,29,34,30,57,7,150,574],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4a7c5f90d3f92150458ca74b74af4ee.jpg",[],{"id":9938,"slug":9939,"title":9940,"dynasty":87,"author":9941,"museum":9942,"description":9943,"tags":9944,"thumbUrl":9946,"material":9947,"size":9948,"collection":120,"collections":9949,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":120},220743,"shan-shui-ji-4-wang-shi-min-weng-ling-wu-hong-deng-220743","山水集4","王時敏,翁陵,吳宏等","香港中文大学文物馆","此作以枯淡笔墨写古松风骨，老干虬曲斑驳，皴擦间尽显嶙峋苍古，仿佛阅尽岁序风霜。松针攒簇劲挺，笔致细密爽利，将老松傲岸之姿勾勒尽致。右上角题款清雅隽秀，笔墨与题识相映成趣，极简构图烘托出古松沉静超拔的林下风神。整体笔意高简清逸，带着文人画特有的幽澹意趣，寥寥数笔便将古松坚韧不拔的苍劲之态尽显，藏着古拙澹远的山林雅致意蕴。",[24,25,215,53,54,7,2088,1277,9945,57],"松针","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F315f8395b0f70be8ef6e3b43ca0c1d1e.jpg","水墨,紙本,冊","各約22 × 14.2厘米",[],{"id":9951,"slug":9952,"title":9953,"dynasty":87,"author":1038,"museum":89,"description":3397,"tags":9954,"thumbUrl":9956,"material":543,"size":3400,"collection":120,"collections":9957,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":44},220262,"huang-shan-tu-ce-59-hong-ren-220262","黄山图册-59",[23,24,25,215,53,27,30,54,275,7,56,9955,2790],"奇松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7ce1db99177c11d3749756af311a232.jpg",[],{"id":9959,"slug":9960,"title":9961,"dynasty":18,"author":5504,"museum":362,"description":9962,"tags":9963,"thumbUrl":9964,"material":38,"size":8915,"collection":120,"collections":9965,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":44},217873,"zhou-li-yuan-shang-kuan-shen-ce-wu-hu-yu-kun-217873","周栎园上款什册(五)","山石以斧劈皴出，棱角如削，似经岁月雕琢。松枝虬曲下垂，松针密簇如墨点，藤蔓轻垂若丝绦。树下一人抱膝闲坐，白衣素衫，似与山风对语，又或静听涧泉叮咚。左侧题跋笔墨酣畅，行草间见跌宕之气，与山水意境相契，文画相生。笔墨浓淡相济，留白处云气氤氲，山石的沉雄与草木的清逸相映，隐者的闲静与自然的生机交融，尽展文人山水的清幽淡远之趣，仿佛能闻松风阵阵，见云影悠悠，心境随之沉潜于这份与世无争的恬淡里。",[24,25,53,54,215,30,7,35,31,33,36,574,134,342],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F967f477abd8ecd0dbacfa2700ac1ab98.jpg",[],{"id":9967,"slug":9968,"title":9969,"dynasty":87,"author":88,"museum":89,"description":9970,"tags":9971,"thumbUrl":9972,"material":27,"size":120,"collection":120,"collections":9973,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":44},217306,"gu-xiu-wu-shi-san-can-tu-ce-8-yi-ming-217306","顾绣·五十三参图册-8","松荫覆石，老者安坐，衣纹淡扫间漫溢闲逸；童子捧瓶趋前，飘带翻飞如流云牵袖。碧波轻漾处，仙子素袂翩跹，足踏涟漪似踏月而来；幼童仰首嬉闹，彩裳曳动若逐浪蝶影。笔墨细腻如丝，线条婉转若缕，淡彩晕染出清雅意境。人物神态鲜活：老者悠然，童子灵动，仙子温婉，皆在方寸间流转。画面藏着古意余韵，似将一段绵长传说凝作纸上轻舞，让观者于笔墨间触到时光的温柔，品出那份静里藏欢的雅致。",[2129,27,28,215,31,7,885,2151,95,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3319fa66739f3d23cab5f2405796f5c9.jpg",[],{"id":9975,"slug":9976,"title":9977,"dynasty":87,"author":88,"museum":89,"description":9978,"tags":9979,"thumbUrl":9980,"material":27,"size":120,"collection":120,"collections":9981,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":44},217294,"gu-xiu-wu-shi-san-can-tu-ce-24-yi-ming-217294","顾绣·五十三参图册-24","绣线流转间，铺展一段静谧的参访图景。左页老者衣袂垂落如流云，孩童俯身似与生灵低语；右页长者安坐松石旁，稚童翘首聆听，松针如星点缀枝桠。淡彩晕染的山水间，枯枝与青松相映，浅草覆坡，溪石隐现，处处透着江南绣艺的雅致。顾绣以针代笔，人物服饰的纹理、草木的脉络皆精细入微，连孩童的神态都鲜活灵动。“五十三参”的虔诚与童真相融，绣者将善财童子问道的意趣凝于丝缕，让每一处针脚都藏着对修行与成长的温柔诠释，尽显传统绣艺的含蓄之美。",[2129,27,31,7,35,779,1169,367,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe22e6537ec9fb03e66496040ce71b1b7.jpg",[],{"id":9983,"slug":9984,"title":9985,"dynasty":87,"author":88,"museum":89,"description":9986,"tags":9987,"thumbUrl":9989,"material":27,"size":120,"collection":120,"collections":9990,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":44},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。",[1029,2956,27,28,31,885,3048,162,7,778,344,2327,9988,887,2820],"鼠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F049d431d3c836386f0cc9f93c43abb83.jpg",[],{"id":9992,"slug":9993,"title":9994,"dynasty":18,"author":9995,"museum":20,"description":9996,"tags":9997,"thumbUrl":10001,"material":190,"size":10002,"collection":120,"collections":10003,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":44},216767,"jiu-lao-tu-3-huang-biao-216767","九老图-3","黄彪","这是黄震泉仿宋刘松年九老图而成的，要有相似的造型和人物，虽然排列的树石略显单薄轻巧，傅彩清新飘逸之外，也不失为仿制的传世佳品。",[24,73,28,27,31,2025,885,7,9998,35,9999,5403,36,10000],"花树","古装","地面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48f6a6c88bea38b7d78906c7e08ea109.jpg","27.2x193",[],{"id":10005,"slug":10006,"title":10007,"dynasty":87,"author":88,"museum":147,"description":10008,"tags":10009,"thumbUrl":10010,"material":190,"size":120,"collection":120,"collections":10011,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":82},216701,"hong-lou-meng-fu-tu-ce-23-yi-ming-216701","红楼梦赋图册-23","画面以竖排赋文为主体，四周松枝苍劲，藤蔓柔婉，粉白小花点缀其间，墨色与花色相映成趣。草木的苍润与文字的清雅交融，似将红楼中的缱绻心事、风月情浓藏于枝叶缝隙。线条细腻温婉，花卉柔媚与松针刚劲形成对比，既显文墨之韵，又含自然生机。赋文字句间仿佛流淌着红楼儿女的悲欢，环绕的草木如时光藤蔓，缠绕逝去的繁华与怅惘。整体雅致清丽，文学深情与绘画灵动完美结合，尽显古典雅韵，引人沉浸于红楼的诗意氛围中。",[23,24,27,28,188,8427,7,1519,640,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa498f11a7b5ea6fdfd195466675829e5.jpg",[],{"id":10013,"slug":10014,"title":10015,"dynasty":87,"author":88,"museum":10016,"description":10017,"tags":10018,"thumbUrl":10020,"material":190,"size":120,"collection":120,"collections":10021,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":82},216005,"di-jian-tu-shuo-cai-hui-ben-2-yi-ming-216005","帝鉴图说彩绘本-2","法国国家图书馆","画面铺展中式庭院的雅致格局，飞檐翘角的殿宇与红柱回廊相映，蓝瓦在淡彩里晕出沉静光泽。阶上人物衣袂翩然，黄衣者身姿端凝，左右侍从恭立，似在授意或聆听；阶下群臣躬身，神态肃谨，传递出朝堂之外的君臣互动。右下角松枝虬劲，山石浅染青绿，为规整建筑添了几分自然意趣。线条细腻流畅，衣纹、栏杆纹饰刻画入微，色彩明快却不失古雅。构图疏密有致，既显宫廷生活的礼仪秩序，又借园林景致点缀，让庄重画面透着灵动生机。",[24,73,215,27,28,31,94,7,35,639,739,10019],"君臣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62d7a843dd7ed81fafb0f3915dc69383.jpg",[],{"id":10023,"slug":10024,"title":10025,"dynasty":87,"author":1811,"museum":212,"description":7934,"tags":10026,"thumbUrl":10028,"material":38,"size":120,"collection":120,"collections":10029,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":44},215019,"fang-gu-shan-shui-ce-11-wang-jian-215019","仿古山水册-11",[24,73,25,215,53,27,54,30,367,288,35,175,10027,7,33,57],"小路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6429a86e8e01bea1e64db6649a6a5136.jpg",[],{"id":10031,"slug":10032,"title":8487,"dynasty":87,"author":6078,"museum":172,"description":10033,"tags":10034,"thumbUrl":10035,"material":120,"size":120,"collection":101,"collections":10036,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":10037},203460,"shan-shui-ren-wu-ce-jin-nong-203460","此作笔墨简淡却意蕴悠长。左帧垂柳如丝，拂过岸畔孤舟，淡墨晕染的水面似含烟霭，清寂中藏着对故人的遥想；右帧松枝盘曲，红栏边雅士对谈、童子侧立，线条稚拙生趣，设色淡雅脱俗。整幅以文人视角入画，笔意古朴，意境空灵，题字与印章相映，尽显超然物外的逸致。",[23,24,25,215,53,27,940,30,778,116,7,31,642,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cb90f9cdbfa9039c5ef469725e78b78.jpg",[101],"e9dfd9",{"id":10039,"slug":10040,"title":10041,"dynasty":3880,"author":10042,"museum":172,"description":10043,"tags":10044,"thumbUrl":10045,"material":120,"size":120,"collection":40,"collections":10046,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":10047},203395,"gui-qu-lai-ci-tu-zhou-weng-rui-wu-203395","归去来辞图轴","翁瑞午","画面以青绿设色晕染山峦，云雾轻笼间显幽深之致。近景茅屋简朴雅致，松枝虬曲如盖，树下士人衣袂飘然，似与童子闲话归园之乐。小桥横架溪上，花草点缀石畔，飞鸟隐于天际，处处流露归隐田园的恬淡意趣。笔墨兼具工写，人物神态悠然，山水意境悠远，将《归去来辞》中“复得返自然”的心境具象化，尽显文人画的清雅韵致。",[24,115,27,30,31,187,7,32,28,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F142bd580125eaa2bd2d08f44b804de70.jpg",[40],"baa38b",{"id":10049,"slug":10050,"title":3879,"dynasty":3880,"author":3881,"museum":172,"description":10051,"tags":10052,"thumbUrl":10053,"material":120,"size":120,"collection":40,"collections":10054,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":3886},202933,"shan-shui-tu-zhou-huang-bin-hong-202933","这幅山水图轴笔墨浑厚华滋，意境苍茫深秀。层岩叠嶂间云雾氤氲，虚实相生；近处松石挺劲，枝干虬曲，墨色浓淡相宜。溪畔茅舍隐约，小桥横跨，似有隐士居于此间，尽显清寂雅致的山林气象。画家以干笔皴擦勾勒山石肌理，湿墨晕染烘托云气，浓淡干湿交错，墨色层次丰富，尽显“黑密厚重”之韵，蕴含着对自然山川的深刻体悟与文人画的诗意情怀，是其山水风格的典型体现。",[24,53,30,54,7,35,32,6515,135,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd46178af2211fd537f0e2f3702937a46.jpg",[40],{"id":10056,"slug":10057,"title":10058,"dynasty":87,"author":10059,"museum":172,"description":10060,"tags":10061,"thumbUrl":10062,"material":120,"size":120,"collection":120,"collections":10063,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":10064},202675,"qiu-jing-shan-shui-zhou-shi-pu-202675","秋景山水轴","施溥","秋山层叠，皴笔勾勒出山石苍劲肌理；虬松虬劲，枝叶间红叶点染秋意。山涧溪流蜿蜒，小桥横架，一人策杖徐行，为静谧景致添得生趣。远处峰峦隐于云雾，近处屋舍藏于林麓，虚实相生间尽显山水悠远。画作以淡雅设色晕染秋韵，构图层次分明，远近错落，将秋日山水的幽寂与闲逸融于一体，笔墨间流露传统山水的情致与意趣。",[30,54,27,7,32,31,261,3197,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09ad2032dd14e475be0340eb819143bd.jpg",[],"cc9877",{"id":10066,"slug":10067,"title":10068,"dynasty":87,"author":10069,"museum":172,"description":10070,"tags":10071,"thumbUrl":10074,"material":120,"size":120,"collection":62,"collections":10075,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":10076},202048,"ting-yu-tu-zhou-zhang-ting-ji-202048","听雨图轴","张廷济","水墨晕染出一方清幽天地，茅舍数间隐于松石侧，竹篱轻围，松枝苍劲斜逸，山石皴擦有致，墨色浓淡相间。笔意洒脱，墨韵生动，似可闻雨打茅顶、松叶簌簌之声，尽显文人雅士闲居听雨的悠然心境。简淡构图中藏深致情韵，将自然之趣与人文之思相融，传递出静谧旷达的氛围。",[53,54,187,7,35,10072,257,10073,7818,23],"竹篱","闲雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F839cecea8b6e327ed85aac2b9aaba442.jpg",[62],"ccbca6",{"id":10078,"slug":10079,"title":10080,"dynasty":87,"author":171,"museum":172,"description":10081,"tags":10082,"thumbUrl":10083,"material":120,"size":120,"collection":40,"collections":10084,"showCount":193,"zanCount":11,"manualWeight":11,"mainColor":10085},201694,"shan-lin-le-shi-tu-zhou-shi-tao-201694","山林乐事图轴","笔墨纵横间，山石以皴擦相济之法尽显奇崛，近松苍劲虬曲，中景山峦叠嶂，小径蜿蜒处隐见亭榭与行游之人，远景峰岫含烟，云雾轻笼。整幅以水墨为底，浓淡干湿交织，将山林清幽与文人逸趣融于一体，既见笔力雄浑，又藏诗意禅味，仿佛引观者步入静谧丘壑，共品自然与人文交织的悠然之乐。",[24,53,30,54,7,32,161,31,26,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c853f21885c4cdc3feb90aeb68b6c7.jpg",[40],"a9a39d",{"id":10087,"slug":10088,"title":10089,"dynasty":87,"author":4475,"museum":20,"description":10090,"tags":10091,"thumbUrl":10093,"material":118,"size":119,"collection":120,"collections":10094,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":44},290524,"yan-luan-ye-wu-zhou-hong-wu-290524","烟峦野屋轴","爱新觉罗·弘旿（1743-1811），清朝宗室、画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。康熙帝爱新觉罗·玄烨孙，爱新觉罗·胤秘第二子。",[24,53,30,26,54,150,10092,7,32,33,95,520,116],"野屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfbed4d9e56f6266c185a2e5dc8ac394.jpg",[],{"id":10096,"slug":10097,"title":10098,"dynasty":3958,"author":10099,"museum":147,"description":10100,"tags":10101,"thumbUrl":10103,"material":118,"size":119,"collection":120,"collections":10104,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":44},290472,"song-yin-shan-jian-tu-zhou-zhao-zhong-mo-290472","松荫山涧图轴","赵重默","此作用浅绛晕染山岚，远山以淡墨轻敷，层峦叠嶂间林木蓊郁苍润。飞泉自崖壁垂落，山坳村居错落，左畔浮屠静立，烟云轻笼山脚，漾出空濛雅致。\n\n山涧蜿蜒穿林，板桥之上行旅策驴，为清寂山林添入烟火暖意。左上题诗与景致相融，笔致秀润温婉，将春日山乡的湿润清幽铺陈开来。丘壑林泉里藏着幽居山野的闲雅意趣，观之便如踏入桃源，俗尘尽涤，漫溢出东方山水独有的淡远禅意。",[23,24,26,27,30,94,32,33,10102,7,690,860,188,34,1072],"古塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18a0204406ff7057b31a81ffb0ca56e5.jpg",[],{"id":10106,"slug":10107,"title":10108,"dynasty":3958,"author":88,"museum":147,"description":10109,"tags":10110,"thumbUrl":10112,"material":118,"size":119,"collection":120,"collections":10113,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":82},290017,"shan-shi-qing-lan-tu-yi-ming-290017","山市晴岚图","列为潇湘八景之一，昭山自此声名大震.明代周九烟曾以《山市晴岚》为题，赋诗一首“蜃楼曾诧海门东，此处奇峰便不同。天宇诈收朝霞后，人家都在旭光中。金银气眩千岩丽，龙虎云凝七国雄。谁信湖南培 地，举头缈缈似瑶宫。”",[23,24,73,25,26,53,30,54,94,32,33,116,161,35,7,10111,1072],"晴岚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce127fb8d35aa9d318a679e90e4b8366.jpg",[],{"id":10115,"slug":10116,"title":10117,"dynasty":69,"author":88,"museum":147,"description":10118,"tags":10119,"thumbUrl":10121,"material":118,"size":119,"collection":120,"collections":10122,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":82},289786,"song-yan-xian-guan-tu-yi-ming-289786","松严仙馆图","采用全景式山水章法，将高远、平远景致相融。危崖之巅，楼阁隐于青松翠岫间，尽显出尘高逸。水畔台榭依崖而建，烟波浩渺间远山如黛，留白处晕染出空濛悠远的诗意。前景古木虬曲苍劲，坡岸山石皴擦细腻苍润，笔致严谨雅致，绢本晕染的古雅色调沉静悠然。\n整幅画铺展出林泉幽居之景，将仙馆清寂融于烟岚山水之中，尽显可观可游可居的山水意趣，暗合林泉高致的风雅，氤氲出静谧悠远的隐逸之美。",[23,24,30,92,27,54,94,7,35,33,134,116,10120],"亭馆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9c8cfd725c56d9836e02506697d5c1d.jpg",[],{"id":10124,"slug":10125,"title":698,"dynasty":18,"author":1909,"museum":147,"description":6130,"tags":10126,"thumbUrl":10128,"material":118,"size":119,"collection":120,"collections":10129,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":82},288068,"yu-le-tu-zhou-chen-288068",[23,24,186,53,27,31,30,116,33,317,9383,188,10127,7,3368,859,1499],"渔村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d6016ca5fec09df5ebc518e20343612.jpg",[],{"id":10131,"slug":10132,"title":10133,"dynasty":87,"author":88,"museum":147,"description":10134,"tags":10135,"thumbUrl":10137,"material":118,"size":119,"collection":120,"collections":10138,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":408},272893,"zi-tan-mu-bian-hua-bo-li-ren-wu-tu-gua-ping-yi-ming-272893","紫檀木边画玻璃人物图挂屏","此作用色沉雅，以幽蓝铺底晕染出翻涌云海。下半幅林泉悠然，野鹿信步，仙鹤独立，两位高士驻步遥指天际，满溢世外山居的清逸安然。上半幅仙云缭绕，仙人乘云徐行，琼楼隐现云间，勾勒出缥缈阆苑。\n\n玻璃反绘的工艺让画面色彩匀净鲜亮，云浪层叠分明，仙宫、草木的明艳色彩衬于暗蓝底色，愈发灵动雅致。整幅以上下分野构图，将俗世慕仙之意融入笔间，鹿鹤暗含福寿祥瑞的祈愿，藏着清代求祥纳福的审美意趣，古雅沉静又带着灵动仙气，装饰性与人文意韵兼备。",[24,5319,10136,27,28,31,30,94,2609,1376,563,1458,7,3061,640],"玻璃画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dff1e0ae0bcb6a9c7960a207d370862.jpg",[],{"id":10140,"slug":10141,"title":10142,"dynasty":87,"author":88,"museum":147,"description":10143,"tags":10144,"thumbUrl":10149,"material":118,"size":119,"collection":120,"collections":10150,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":194},269282,"zhu-diao-liu-hai-xi-chan-tu-juan-xin-shi-bi-tong-yi-ming-269282","竹雕刘海戏蟾图卷心式笔筒","笔筒： 用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[10145,8013,9336,10146,31,10147,7,10148],"竹雕","刘海戏蟾","蟾蜍","竹质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F755cd5f826d24a11bf7fae81a739b0cb.jpg",[],{"id":10152,"slug":10153,"title":9711,"dynasty":87,"author":88,"museum":147,"description":6963,"tags":10154,"thumbUrl":10155,"material":118,"size":119,"collection":120,"collections":10156,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":82},268764,"ke-si-qun-xian-qing-shou-tu-zhou-yi-ming-268764",[26,4851,27,28,8986,2026,31,94,7,35,1481,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F709fa53f24531d77c1aa8cc6ceb5db01.jpg",[],{"id":10158,"slug":10159,"title":10160,"dynasty":87,"author":88,"museum":147,"description":10161,"tags":10162,"thumbUrl":10166,"material":118,"size":119,"collection":120,"collections":10167,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":82},258525,"qian-long-kuan-fen-cai-ba-xian-tu-yun-kou-ping-yi-ming-258525","乾隆款粉彩八仙图云口瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[8011,10163,27,31,10164,7,10165],"粉彩","八仙","缠枝花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F866cb34de54613bdf129135a56e9477f.jpg",[],{"id":10169,"slug":10170,"title":7188,"dynasty":87,"author":7189,"museum":147,"description":10171,"tags":10172,"thumbUrl":10174,"material":120,"size":120,"collection":120,"collections":10175,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":44},239203,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239203","此作书画合璧，以干笔淡墨绘就山林古寺。层峦叠嶂间松荫翳然，板桥通幽，行人缓步徐行，意境清寂淡远，尽显静穆出尘之致。\n行书题诗笔致清劲萧散，与画面的野逸气息彼此呼应。笔墨洗练不事雕琢，以留白烘托出空寂禅意，将山水的幽邃与沉郁清介的襟怀相融，淡墨皴擦间漫溢出荒寒雅静的林下之风，是寄寓了文人孤高心性的山水佳作。",[24,53,30,54,215,188,34,32,33,7,35,94,161,36,244,10173],"桥梁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22e51aa9b0ddb8cc46ad09ca88e82366.jpg",[],{"id":10177,"slug":10178,"title":4446,"dynasty":87,"author":10179,"museum":147,"description":10180,"tags":10181,"thumbUrl":10182,"material":120,"size":120,"collection":120,"collections":10183,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":44},239159,"shan-shui-hua-hui-ce-chen-heng-ke-239159","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》。",[24,25,215,53,27,54,29,30,35,7,134,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F177bbaeff17ad321a599c995d572aad2.jpg",[],{"id":10185,"slug":10186,"title":10187,"dynasty":87,"author":5263,"museum":147,"description":10188,"tags":10189,"thumbUrl":10190,"material":120,"size":120,"collection":120,"collections":10191,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":44},238746,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238746","画弘历拟古诗意图册","此作以淡墨绘就江岸山居之景，近岸古松盘虬苍劲，松下高士凭崖远眺，崖壁层叠皴擦细致，石间草木蓊郁清润。远景江天相融，水色空濛渺远，将咫尺尺幅拓展出辽阔的山水意趣。\n笔墨以干笔勾勒山石肌理，淡墨晕染铺陈出清寂空润的氛围，将写实景致与文人写意笔趣相融。右侧题诗与画作相映成趣，诗画相生，尽显清雅文心，把幽远超脱的林下意境烘托尽致，将观者带入沉静澹泊的文人情思之中，是兼具笔墨意趣与抒情性的精妙山水小品。",[24,25,215,53,30,54,188,34,7,35,31,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1be58a09a3b88e645e21dc2dc3082d64.jpg",[],{"id":10193,"slug":10194,"title":3781,"dynasty":87,"author":5263,"museum":147,"description":8693,"tags":10195,"thumbUrl":10196,"material":118,"size":119,"collection":120,"collections":10197,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":44},238682,"shan-shui-ce-dong-bang-da-238682",[24,53,54,215,30,7,31,56,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F446e498ed2ca0c06c57ea4d826a33924.jpg",[],{"id":10199,"slug":10200,"title":3761,"dynasty":87,"author":3762,"museum":89,"description":3763,"tags":10201,"thumbUrl":10202,"material":231,"size":3766,"collection":120,"collections":10203,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":44},238298,"shi-liu-luo-han-ce-jia-quan-238298",[24,25,27,28,215,2177,31,7,35,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a92660516aae9fe329812826bdb8dd.jpg",[],{"id":10205,"slug":10206,"title":3781,"dynasty":87,"author":10207,"museum":147,"description":10208,"tags":10209,"thumbUrl":10210,"material":120,"size":120,"collection":120,"collections":10211,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":44},237982,"shan-shui-ce-zhang-geng-237982","张庚","张庚（1685—1760）原名焘，字溥三，后改名庚，字浦山、公之干，号瓜田逸史，又号弥伽居士、白苎村桑者，秀水（今浙江嘉兴）人。幼孤家贫，赖母以针线活抚养。雍正十三年（1735）应鸿博诏。长古文词，精鉴别，绘事则攻学山水，出入董源、巨然、黄公望。所作笔意清洁雅秀，干湿互用，饶有韵致。《桐阴论画》评其：“秀润有余，苍浑不足。”但也有秀润中见劲健之作。亦善白描，工细人物，写花卉宗师陈淳。",[24,53,54,34,30,132,7,1962,135,36,971],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0661c14b15c4358c732e089e57b0a05a.jpg",[],{"id":10213,"slug":10214,"title":7214,"dynasty":18,"author":10215,"museum":147,"description":10216,"tags":10217,"thumbUrl":10218,"material":118,"size":119,"collection":120,"collections":10219,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":82},237842,"shan-shui-shan-huang-jiong-237842","黄炅","黄炅 (明)字水若。会稽 (今属绍兴)人。",[73,24,678,53,54,30,35,7,161,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0799918be9c4268b935a14092bceb21f.jpg",[],{"id":10221,"slug":10222,"title":10223,"dynasty":18,"author":8513,"museum":147,"description":8514,"tags":10224,"thumbUrl":10225,"material":118,"size":119,"collection":120,"collections":10226,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":44},237834,"tian-chi-fan-song-shan-chen-guan-237834","天池梵松扇",[24,25,678,53,27,54,30,7,35,31,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82b740a55c5701e8fd9527f1e6401d70.jpg",[],{"id":10228,"slug":10229,"title":4446,"dynasty":18,"author":9372,"museum":147,"description":9373,"tags":10230,"thumbUrl":10231,"material":118,"size":119,"collection":120,"collections":10232,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":44},237506,"shan-shui-hua-hui-ce-jiang-shou-cheng-237506",[24,25,215,29,27,30,94,116,7,134,485,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49d532a714dc960a0f0bb773b92a3b5f.jpg",[],{"id":10234,"slug":10235,"title":9043,"dynasty":87,"author":9044,"museum":147,"description":10236,"tags":10237,"thumbUrl":10238,"material":543,"size":120,"collection":120,"collections":10239,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":44},237065,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237065","此作以淡墨皴擦山石，层峦清润悠远，几株古松虬劲挺拔，松针攒簇间尽显苍然古意。林麓间村居隐现，茅舍错落，晕染出幽寂平和的山居之境。左侧题诗与画作相映，诗书画印浑然一体，尽显文人雅趣。整体构图虚实相生，笔致秀雅内敛，将林下隐逸的栖居意趣融于尺幅之间，静穆雅致晕染出清代文人山水特有的淡远审美，藏着文人心中幽居林泉的理想图景。",[24,25,215,27,30,54,7,132,35,175,36,134,34,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd0b758499f628aec8605fa563b12c73.jpg",[],{"id":10241,"slug":10242,"title":8920,"dynasty":87,"author":10243,"museum":89,"description":10244,"tags":10245,"thumbUrl":10246,"material":246,"size":120,"collection":120,"collections":10247,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":82},236829,"fang-gu-shan-shui-ce-zhao-cheng-236829","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》",[24,25,215,27,54,131,30,35,55,36,31,33,7,1543],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b389cdfb53c04fca4ff1a67cf9ba48.jpg",[],{"id":10249,"slug":10250,"title":4438,"dynasty":87,"author":88,"museum":147,"description":10251,"tags":10252,"thumbUrl":10253,"material":120,"size":120,"collection":120,"collections":10254,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":44},236062,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236062","此作画境开合有致，近景危崖嶙峋对峙，古松虬曲斜倚崖间，苍劲老辣。坡岸间杂草矮木错落，野意横生。幽谷里溪流隐现，右侧枯木疏枝横斜，萧散清寂。远景平湖如镜，彼岸山峦逶迤，林麓朦胧晕染在空濛烟岚之中。\n\n笔墨兼擅苍秀，山石以短皴点苔，勾勒出坚硬质感，晕染柔和自然。设色简淡明净，以水墨晕出水色天光的空濛，将深秋萧疏之气揉进山水静穆之中，幽寂淡远的林下意境油然而生，尽显仿古山水的雅致意趣。",[24,25,215,27,54,274,30,57,7,36,134,1169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f40330fbbba36daca0dd28b9a2a4247.jpg",[],{"id":10256,"slug":10257,"title":10258,"dynasty":87,"author":9254,"museum":147,"description":10259,"tags":10260,"thumbUrl":10261,"material":120,"size":120,"collection":120,"collections":10262,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":44},235099,"zheng-min-shan-shui-ce-zheng-min-235099","郑旼山水册","此作为水墨山水与行书题诗合璧之作。绘者以清劲简逸的淡墨勾勒皴擦山石林木，笔致空灵简淡，不作浓艳晕染，晕出山岚空濛的温润氛围。画面孤松挺秀临幽涧，崖顶茅亭孑然独立，古洞藏于崖畔，处处透着古禅林的冷寂幽绝，恰与题诗意境呼应。\n\n整幅作品以画载诗心，诗书与山水意境相融，尽得萧散静穆的林下之风，将幽栖林泉的尘外之思寄寓尺幅间，淡远冲和，悠悠禅意漫溢纸面，尽显清逸淡简的画中逸趣。",[24,25,215,53,29,54,30,32,33,57,7,161,36,344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84e9fc2dfcee711535c64d30d924d0d7.jpg",[],{"id":10264,"slug":10265,"title":4240,"dynasty":87,"author":1157,"museum":147,"description":10266,"tags":10267,"thumbUrl":10268,"material":118,"size":119,"collection":120,"collections":10269,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":44},235064,"za-hua-ce-hua-yan-235064","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。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年（1703）华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上“高山云鹤”、“水国浮牛”、“青松悬崖”和“倚马题诗”四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，“得交当路巨公，名闻于上”，但并不得意，据戴熙《习苦斋画絮》载：“华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。”他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鱓、郑板桥及盐商巨子马曰琯、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。",[24,25,215,27,54,30,7,35,55,95,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2500339705c75a3ec2caf331d8dc8a2.jpg",[],{"id":10271,"slug":10272,"title":10273,"dynasty":87,"author":10274,"museum":89,"description":10275,"tags":10276,"thumbUrl":10277,"material":246,"size":10278,"collection":120,"collections":10279,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":44},234972,"shu-shui-tu-yu-shi-ling-234972","菽水图","余世苓","余世苓（1756－1839年左右），字松田，号藕时，浙江诸暨高湖沿人。家境贫寒，曾先后在安徽、江苏及直隶等地任微职，以孝行闻名。\n由图上余世苓墨题而知他与华冠有着深厚的友谊，此图是他36岁时华冠为他所绘。作为肖像画，华冠没有将像主画成正襟危坐的标准像样式，而是将像主置身于日常生活的环境中，绘他在冰天雪地的户外身穿单衣、足着草履、肩扛手提菽水急行赶路的情景。菽水原指豆子和水，意为粗茶淡饭，后引申为晚辈对长辈的供养。图中远山、近水及坡地运用“有限中出无限，无画处成妙境”的表现技法，以不露笔痕的淡墨轻渍，令画作荒寒之气顿生，不仅准确地表现出寒冬恶劣的气候环境，而且暗示出像主在艰苦的生活条件下尽心孝敬父母的高逸人品。人物面部先以淡色晕染，后以重墨点画眉眼，将像主充满睿智的神态表现得惟妙惟肖，显示出作者较强的人像写真功底。",[24,27,28,53,31,32,33,288,175,7,365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff292854e2c62c4e9b033ed10c46110c8.jpg","纵90.2厘米，横49.1厘米",[],{"id":10281,"slug":10282,"title":3781,"dynasty":18,"author":10283,"museum":147,"description":10284,"tags":10285,"thumbUrl":10286,"material":120,"size":120,"collection":120,"collections":10287,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":44},234866,"shan-shui-ce-zhao-pu-234866","赵璞","此帧以淡墨写就平远秋江，近岸修竹疏朗，汀渚隐于浅烟微波，远山如黛晕染空濛。题诗与画意两相呼应，将江天寥廓、宿雁初歇的清寂描摹尽致。\n\n笔墨简淡清空，以留白衬江波无澜，远山轻施披麻皴，墨色淡宕虚和，全不作刻露之笔。帧内题录唱和诗作，书画同帧交融，将江南秋暮的冷逸闲淡徐徐铺展，不见一丝喧嚣躁气，尽显寄兴林泉、澄怀观道的文人雅趣，把秋日江天的静穆诗意晕染在尺幅之间。",[24,25,215,53,188,34,54,30,36,95,33,57,116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5fbdd62ea7e52cb749057e52bf55d58.jpg",[],{"id":10289,"slug":10290,"title":8289,"dynasty":87,"author":9827,"museum":89,"description":9828,"tags":10291,"thumbUrl":10292,"material":246,"size":120,"collection":120,"collections":10293,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":44},234754,"huang-shan-tu-ce-jiang-zhu-234754",[24,25,215,940,53,30,57,7,29,188,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e99093438ffb2b990db33c89709f7c6.jpg",[],{"id":10295,"slug":10296,"title":3781,"dynasty":87,"author":1860,"museum":147,"description":10297,"tags":10298,"thumbUrl":10299,"material":120,"size":120,"collection":120,"collections":10300,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":44},234640,"shan-shui-ce-cha-shi-biao-234640","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。",[24,25,215,53,30,116,7,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb855c3233646f64ed2a121ad9c32563c.jpg",[],{"id":10302,"slug":10303,"title":10304,"dynasty":3958,"author":88,"museum":147,"description":10305,"tags":10306,"thumbUrl":10308,"material":118,"size":119,"collection":120,"collections":10309,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":44},231635,"lian-cang-shi-dai-zhu-ji-wu-yu-hua-juan-yi-ming-231635","镰仓时代 住吉物语画卷","以俯瞰长卷铺展秋日图景，左段郊野丹枫点染秋意，士人围坐雅谈，武士恭谨侍立，山林丘壑间漫着悠然秋韵。中段日式宅邸廊庑萦回，屋中主人安坐，侍从穿廊往来，将贵族闲居日常细腻铺陈。\n清隽墨线勾勒屋宇衣纹，浅淡设色晕开古雅温柔，岁月晕黄的纸本更添沉静韵味，将山居闲雅诗意融于笔底，复刻出千年前和风贵族的风雅日常。",[186,28,27,92,31,94,36,30,261,7,639,3578,10307],"水洼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0e8492f4fb31b52df86230c0000e433.jpg",[],{"id":10311,"slug":10312,"title":10313,"dynasty":3958,"author":7529,"museum":147,"description":8554,"tags":10314,"thumbUrl":10315,"material":118,"size":119,"collection":120,"collections":10316,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":82},231583,"shi-ting-shi-dai-zhu-mai-chen-tu-ping-feng-shou-ye-yuan-xin-231583","室町时代-朱买臣图-屏风",[23,5349,53,54,30,7,56,2654,33,4986],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5725e6322531d4c8eda84b8d3a07c34.jpg",[],{"id":10318,"slug":10319,"title":10320,"dynasty":18,"author":9553,"museum":147,"description":10321,"tags":10322,"thumbUrl":10323,"material":120,"size":120,"collection":120,"collections":10324,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":44},224552,"shu-hua-ce-ye-17-xiao-yun-cong-wang-shi-zhen-224552","《书画册页》-17","此作以危崖为骨，层叠楼阁依山而起，飞檐翘角隐于苍松虬枝之间，将人工巧思揉入天工奇险。设色调清雅柔和，山石勾勒方折硬朗，皴擦极简便勾勒出崖壁肌理，古松姿态苍劲古拙，尽显高浑气象。\n\n崖间回廊蜿蜒，行人缓步登游，为冷峭山景添上悠然雅趣，右上角题跋小字灵动，与画意相映成趣，晕开文雅余韵。工致界画衬以写意山水，将世外仙山出尘之境，描摹得淋漓尽致。",[24,25,215,92,27,30,94,31,36,35,1376,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd9d18ef08fba367f18c210f9c9efab9.jpg",[],{"id":10326,"slug":10327,"title":10328,"dynasty":18,"author":9553,"museum":147,"description":10329,"tags":10330,"thumbUrl":10331,"material":120,"size":120,"collection":120,"collections":10332,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":44},224551,"shu-hua-ce-ye-15-xiao-yun-cong-wang-shi-zhen-224551","《书画册页》-15","此作用干笔淡墨写尽层崖奇崛，取皖南山水清瘦之态。层叠崖壁错落排布，苍松倚壁探枝，山居楼宇嵌于山石褶皱之间，烟火意趣融于林泉丘壑。\n\n笔墨简淡清逸，以线勾勒山石筋骨，皴擦简括，不事浓艳敷色，尽现山川空灵苍劲。构图疏密得宜，纵向铺陈崖壁拉开空间层次，将山林冷峭与村居暖意相融，题跋补缀边角，文人意趣悠长，尽显晚明山水寄情林泉的清逸淡远之韵。",[24,25,215,53,54,30,94,7,35,161,303,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf7e4ee8c969f7dab6109b89f3552ec2.jpg",[],{"id":10334,"slug":10335,"title":10336,"dynasty":87,"author":9827,"museum":147,"description":10337,"tags":10338,"thumbUrl":10339,"material":120,"size":120,"collection":120,"collections":10340,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":44},224266,"dou-bi-dan-tai-tu-jiang-zhu-224266","陡壁丹台图","《新安画派书画精品集》以渐江为代表的新安画派及与之同时的一些杰出画家的创作成就，同时介绍作为“源”的在他们之间的一些著名画家与作为“流”的在他们之后一些画家的创作成就，叙述对新安画派、新安画坛的创作有深刻影响的绘画美学思想，特别是新安人的绘画美学思想。\n《新安画派书画精品集》由 出版。\n敛辞朱良剑 敛辞石金呜 前言 “新安画派”概述张飞莺 风骨冷然气韵清逸——安徽博物院藏渐江《晓江风便图》赏析李艳红 先声 江必名 雪景山水图 吴龙草亭听泉图 郑元勋古木秀石图 郑为虹山斋读书图 程嘉燧柳桥山寺图扇面 程嘉燧秋浦泛舟图扇面 李永昌策杖行吟图 高峰 汪之瑞空亭幽树图页 渐江浊阜图册 渐江晓江风便图卷 渐江秋江风帆图扇面 孙逸溪桥觅句图 查士标宿雨初收图 查士标深山古寺图 查士标仿董北苑山水图 查士标仿梅华道人山水图 查士标仿元人山水图 查士标坐对江天图 查士标 云山梦树图页 查筠仿梅壑山水图 胡皋和风烟雨图 程邃山静太古图 程邃独往秋山图 程邃秋山图册 戴本孝巢民老人观菊图卷 戴本孝 山谷回廊图 戴本孝草阁幽情图 戴本孝苍松劲节图 戴本孝摹北苑山水图 戴本孝湖山逸兴图 吴定剡溪积雪图 吴定秋高叶醉图 吴定瑶峰玉树图 郑畋仿吴仲圭山水图 郑欧黄山四景图四条屏 郑畋仿倪山水图 程萝乱山草木图 姚宋仿黄鹤山樵山水图 江注黄山一角图 江注陡壁丹台图 祝昌仿倪山水图 吴元澄 临赵鸥波《夏山高隐图》 余韵 谢绍烈江石萝月图扇面 释雪庄木莲花图 释一智黄山云舫道中图 方士庶栖霞楼归图 何文煌溪山话别图卷 程义仿赵子固山水图 鲍楷寒庵香雪图 程堂仿梅华山水图 汪朴南窗寄傲图 江士相富春归棹图卷 吴麈仿梅道人山水图 汪滋仿古山水图册 程鸣沧江泛舟图 汪梅鼎云光林翠图卷",[23,73,24,25,26,53,27,54,30,31,36,7,94,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a377bbdc316fd42f6a777df356cbf29.jpg",[],{"id":10342,"slug":10343,"title":10344,"dynasty":87,"author":10345,"museum":147,"description":10346,"tags":10347,"thumbUrl":10350,"material":118,"size":119,"collection":120,"collections":10351,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":408},224138,"abheda-tang-ka-224138","Abheda","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。",[2177,27,28,31,30,7,344,10348,1458,1125,10349],"云彩","法器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F064991e3eccba759ac8af1f24e0cfb16.jpg",[],{"id":10353,"slug":10354,"title":10355,"dynasty":87,"author":1972,"museum":9244,"description":9245,"tags":10356,"thumbUrl":10357,"material":190,"size":120,"collection":120,"collections":10358,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":44},216900,"qian-long-nan-xun-zhu-bi-tu-ye-8-qian-wei-cheng-216900","乾隆南巡驻跸图页-8",[23,24,27,30,92,94,36,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae092b4536bb5bf0242463c24dd65483.jpg",[],{"id":10360,"slug":10361,"title":10362,"dynasty":18,"author":2148,"museum":212,"description":10363,"tags":10364,"thumbUrl":10365,"material":59,"size":10366,"collection":120,"collections":10367,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":44},214547,"mo-gu-ce-ye-5-chen-hong-shou-214547","摹古册页-5","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。",[24,25,215,53,274,54,30,7,35,288,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95c5cff984b6af7bb1561e8ec8df0be2.jpg","17.8x17.8cm",[],{"id":10369,"slug":10370,"title":10371,"dynasty":3880,"author":10372,"museum":172,"description":10373,"tags":10374,"thumbUrl":10375,"material":120,"size":120,"collection":101,"collections":10376,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":10377},202848,"zhu-xiao-zang-xiao-ci-tu-zhou-wang-yun-202848","朱孝臧校词图轴","王云","松枝虬劲，皴笔勾勒出古拙纹理，树下石案旁，人物衣袂宽舒，端坐凝思，案上书卷笔墨静陈，尽显治学雅态。山石错落，草色点缀，水墨设色清雅温润，人物刻画细腻传神，自然与人文交融，意境悠然恬淡。笔法温润韵致，于静谧中传递文人治学的清雅氛围，细节处见匠心。",[24,53,27,31,7,35,28,54,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F936b0a978156495c7d346d5af9b527bc.jpg",[101],"b3ab96",{"id":10379,"slug":10380,"title":10381,"dynasty":87,"author":2278,"museum":172,"description":10382,"tags":10383,"thumbUrl":10385,"material":120,"size":120,"collection":120,"collections":10386,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":10387},202522,"han-wu-gong-gu-shi-tu-zhou-xiao-chen-202522","汉吴公故事图轴","画面以庭院为核心，苍松虬劲枝叶蓊郁，掩映古朴建筑。人物往来有致，阶前交谈者神态生动，门边互动者情态自然；侧畔马匹静立，白鹤闲步，添雅致生机。笔墨细腻温润，山石以皴法勾勒肌理，树木枝叶繁密有致，建筑线条规整精准，尽显工笔之精。整体氛围静谧含生机，既再现历史场景温情，又蕴传统文人画雅致意趣。",[28,27,54,31,242,7,229,639,10384],"白","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe409651aaba9be87ede5283c7459a965.jpg",[],"705d3a",{"id":10389,"slug":10390,"title":10391,"dynasty":87,"author":2219,"museum":172,"description":10392,"tags":10393,"thumbUrl":10395,"material":120,"size":120,"collection":40,"collections":10396,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":10397},201508,"xian-pu-shu-wu-tu-zhou-wang-yuan-qi-201508","闲圃书屋图轴","画面以淡墨铺陈，山峦层叠间云雾轻绕，近景松石挺劲，古松虬枝舒展，溪流潺潺绕石，掩映着几椽书屋，清幽雅致。用笔善用干笔皴擦，山石轮廓以中锋勾勒，皴法细密，层层积墨显山石质感；树木点染有致，古拙中含生机。整体气息清寂淡远，尽显文人山水之逸趣，似可闻林间风、涧中水，引人遐思。",[24,30,54,10394,8677,450,7,74,23],"干笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f7b7e15c14314784a9f952b9e2a7762.jpg",[40],"bbb097",{"id":10399,"slug":10400,"title":10401,"dynasty":87,"author":5638,"museum":147,"description":9689,"tags":10402,"thumbUrl":10403,"material":118,"size":119,"collection":120,"collections":10404,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":44},290598,"song-yin-gao-shi-zhang-ruo-cheng-290598","松阴高士",[24,25,215,53,54,30,7,34,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bd09aa2a6c0f4c7941bbc45bd219e02.jpg",[],{"id":10406,"slug":10407,"title":10408,"dynasty":87,"author":3737,"museum":147,"description":7799,"tags":10409,"thumbUrl":10410,"material":118,"size":119,"collection":120,"collections":10411,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":44},290562,"ying-zhen-zhou-xu-yang-290562","应真轴",[24,26,940,53,31,2177,5414,961,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F074e75dfd197e9c350cdd57ed7003a47.jpg",[],{"id":10413,"slug":10414,"title":10415,"dynasty":87,"author":88,"museum":147,"description":10416,"tags":10417,"thumbUrl":10418,"material":118,"size":119,"collection":120,"collections":10419,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":82},288254,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-huang-er-shi-yi-zi-yun-xi-yi-ming-288254","历代帝王贵妃大臣朝服像(皇二十一子允禧)","苍松偃盖，流泉漱石，山居雅境晕开松弛日常。主人身着石青常服安坐岩上，面容清癯淡然，尽显林下散逸之姿，将天潢贵胄的隐逸心绪藏于眉眼。侍从躬身持盏，恭谨内敛，与主人的悠然闲适形成细腻呼应。\n\n上方题诗笔致清雅，将寄情林泉、不耽尘俗的志趣和盘托出，诗画相映成趣。整作设色调和柔润，衣纹排布写实工整，人物刻画形神兼备，以纪实写真功底糅合山水意境，将清代贵胄的私享闲雅定格绢素，藏着盛世里的一抹林泉意趣。",[23,24,26,28,27,31,7,33,35,2132,188,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fb3bf79396a7da4b0bee9968b7f9e6b.jpg",[],{"id":10421,"slug":10422,"title":10423,"dynasty":3958,"author":8326,"museum":147,"description":8327,"tags":10424,"thumbUrl":10425,"material":118,"size":119,"collection":120,"collections":10426,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":82},287660,"shan-shui-tu-ping-feng-yi-zhou-wen-287660","山水図屏風一",[73,24,53,30,7,275,94,690,116,5349,987],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3acffa5b80431d6a8394417295966c7b.jpg",[],{"id":10428,"slug":10429,"title":10430,"dynasty":3958,"author":88,"museum":147,"description":10431,"tags":10432,"thumbUrl":10433,"material":118,"size":119,"collection":120,"collections":10434,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":44},281567,"juan-ben-cai-hui-shan-shui-ren-wu-tu-zhou-yi-ming-281567","绢本彩绘山水人物图轴","此作画风清雅秀润，以水泽汀洲铺展意境，苍劲古松错落排布于渚岸，枝桠挺秀，葱郁华滋。构图以蜿蜒水面分割景致，平远取景搭配崖壁飞瀑的高远之态，层次舒展灵动。浅绛间掺青绿晕染山石，色调清和柔润，亭台山居、渡桥扁舟点缀其间，不着笔刻意刻画人物，却暗合林泉幽隐之趣。整体意境澹泊悠然，将文人林下栖居的避世闲情融于山川松涛中，尽显传统山水寄兴言情的雅致内核，观之如身临幽寂林泉，静享山野清宁。",[24,26,76,27,28,30,7,55,32,33,116,161,94,1072,1499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c762a3713447f38fd382e4fabbc12af.jpg",[],{"id":10436,"slug":10437,"title":10438,"dynasty":87,"author":88,"museum":147,"description":10439,"tags":10440,"thumbUrl":10445,"material":118,"size":119,"collection":120,"collections":10446,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":82},274505,"zi-tan-kuang-qun-xian-zhu-shou-cha-ping-zhong-yi-ming-274505","紫檀框群仙祝寿插屏钟","最早的钟原本是指古代汉族 传统的打击乐器，形状扁圆而中空，盛于春秋战国直至秦汉，多为青铜制，又叫“编钟”，自佛教传入中国后，逐渐变为一种宗教法器的代称，又叫“梵钟”或“半钟”原本叫“犍稚”又叫“信鼓”是寺院为报时、集众而敲击之用。",[10441,1250,10442,8984,8013,10443,161,32,7,640,94,10444],"插屏钟","珐琅器","玉石","群仙祝寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc23f771d319d8bbf4dfe701de58caeac.jpg",[],{"id":10448,"slug":10449,"title":10450,"dynasty":87,"author":88,"museum":147,"description":10451,"tags":10452,"thumbUrl":10454,"material":118,"size":119,"collection":120,"collections":10455,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":44},273648,"zi-tan-mu-bian-qian-ya-he-lu-tu-gua-ping-yi-ming-273648","紫檀木边嵌牙鹤鹿图挂屏","紫檀为框，墨漆为底，百宝嵌就清逸景致。苍松虬枝宛转，松石点染松针，翠色鲜活如凝露。芝兰倚于松下，牡丹以彩玉螺钿晕开瓣色，明妍动人。鎏金双鹿肌理写实，悠然漫步林下，尽显灵秀生机。屏侧御题诗文笔致端雅，文气与景趣相融，将松间清和祥瑞铺陈眼前。整器集镶嵌、髹漆、书法之工，把太平长乐的意趣藏于刀嵌笔锋之间，尽显百宝嵌工艺的精妙雅致。",[5319,8984,8222,8013,10453,7,1458,961,1481,640,188,8427],"镶嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9349f48eea736808da3b181a0bdebba.jpg",[],{"id":10457,"slug":10458,"title":10450,"dynasty":87,"author":88,"museum":147,"description":10459,"tags":10460,"thumbUrl":10463,"material":118,"size":119,"collection":120,"collections":10464,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":82},273647,"zi-tan-mu-bian-qian-ya-he-lu-tu-gua-ping-yi-ming-273647","此作以百宝嵌技法施艺，以松石攒簇成苍松翠叶，牙骨雕琢为仙鹤，彩石点染花卉湖石。双松虬劲挺拔，松针层叠错落，双鹤信步林下，姿态悠然温驯，月季绽露芳姿，芝草湖石点缀其间，晕染出林下闲逸清趣。屏面题御制松诗，文心与匠心相融，墨色底衬愈发凸显百宝的莹润肌理，整体色调沉穆古雅，将松鹤延年的吉祥意涵藏于雅致构图之中，尽显嵌饰工艺的精妙工巧与雅致雍容的审美意趣。",[5319,8984,10461,8013,563,1458,7,1481,188,8427,10462],"象牙","工艺品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaecd39c0a9f506b7b992a30decc5e1e.jpg",[],{"id":10466,"slug":10467,"title":10468,"dynasty":87,"author":88,"museum":147,"description":10469,"tags":10470,"thumbUrl":10473,"material":118,"size":119,"collection":120,"collections":10474,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":44},270191,"bai-juan-di-xiu-kong-que-qi-bing-tuan-shan-yi-ming-270191","白绢地绣孔雀漆柄团扇","素白绢底为幅，苍松虬枝斜展，翠色针叶凝着古雅沉静的意韵，丹红牡丹柔艳盛放，瓣色晕染自然，柔媚却不俗。\n\n孔雀身姿雍容昂然，翎羽以异色绒线层层铺绣，翠蓝与金褐晕转出斑斓光泽，尾羽纤毫毕现，华美灵动。禽鸟花木相映成趣，疏密排布间，既有山林野致，又暗合富贵祥瑞的美好寓意。\n\n髹漆柄身缠枝纹路古拙雅致，与绣面柔丽气韵相得益彰。整器针脚细密平齐，配色秀雅和谐，将女红精妙工艺与东方审美融于一体，是兼具陈设与实用价值的精巧佳作，尽显温婉雅致的古典韵致。",[678,2129,10471,10472,780,1481,7,667,28],"绢布","漆柄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4835c1a714170aa97463a8259f01f20c.jpg",[],{"id":10476,"slug":10477,"title":10478,"dynasty":87,"author":88,"museum":147,"description":10143,"tags":10479,"thumbUrl":10480,"material":118,"size":119,"collection":120,"collections":10481,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":408},269947,"zhu-diao-song-yin-ya-ji-tu-bi-tong-yi-ming-269947","竹雕松荫雅集图笔筒",[10145,8013,1250,7,31,30,4129,9336],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d7d68273ca429ada09be5cf7ceda123.jpg",[],{"id":10483,"slug":10484,"title":10485,"dynasty":87,"author":88,"museum":147,"description":10143,"tags":10486,"thumbUrl":10488,"material":118,"size":119,"collection":120,"collections":10489,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":82},269894,"zhu-diao-zhu-lin-qi-xian-tu-bi-tong-yi-ming-269894","竹雕竹林七贤图笔筒",[10145,8013,9336,31,7,10487,4129],"竹林七贤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784cf3cc19702c21e0ced88838a8a7d3.jpg",[],{"id":10491,"slug":10492,"title":9711,"dynasty":87,"author":88,"museum":147,"description":6963,"tags":10493,"thumbUrl":10494,"material":118,"size":119,"collection":120,"collections":10495,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":408},268766,"ke-si-qun-xian-qing-shou-tu-zhou-yi-ming-268766",[4851,26,27,28,9027,31,2026,94,35,7,1458,243,2548,2178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23c32c9318197335bc6a922d0a8d0da0.jpg",[],{"id":10497,"slug":10498,"title":9711,"dynasty":87,"author":88,"museum":147,"description":6963,"tags":10499,"thumbUrl":10500,"material":118,"size":119,"collection":120,"collections":10501,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":44},268763,"ke-si-qun-xian-qing-shou-tu-zhou-yi-ming-268763",[4851,26,27,28,31,3061,2026,7,640,94,2548,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa23e14182973750138d78a80c3c02bbd.jpg",[],{"id":10503,"slug":10504,"title":10505,"dynasty":87,"author":88,"museum":147,"description":10506,"tags":10507,"thumbUrl":10512,"material":118,"size":119,"collection":120,"collections":10513,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":408},249235,"hua-fa-lang-hua-hui-kai-guang-niao-shou-tu-tuo-yuan-si-ban-shou-lu-yi-ming-249235","画珐琅花卉开光鸟兽图椭圆四瓣手炉","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。",[1029,10508,10509,10510,27,640,10511,1458,7],"琺瑯器","画珐琅","开光","鸟兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82b78a38a2d7f005acb88dc762effcf6.jpg",[],{"id":10515,"slug":10516,"title":10517,"dynasty":87,"author":10518,"museum":147,"description":10519,"tags":10520,"thumbUrl":10521,"material":120,"size":120,"collection":120,"collections":10522,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":44},239374,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239374","画载月十咏诗意册","永瑢","此作用淡墨晕开烟霭，将平远松林笼在空濛清寂之中。坡岸虬松挺秀苍劲，鳞枝舒展如盖，清涧蜿蜒穿石而出，带着山涧微凉沁入画中。右侧崖畔茅庐静立，伴着孤松幽石，似在候着载月归人。\n淡笔轻皴山石，浅设晕染铺就雅淡底色，边角题诗与画境呼应相融，把林下幽居、待月听松的文人雅趣晕散开，尽显疏朗简淡的雅致意境，将幽寂旷远的林泉之思藏进每一处笔墨里。",[24,25,215,53,54,34,30,7,35,161,33,135,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba0f977b1a423f77688eff26e207c30c.jpg",[],{"id":10524,"slug":10525,"title":3781,"dynasty":87,"author":10526,"museum":147,"description":10527,"tags":10528,"thumbUrl":10529,"material":120,"size":120,"collection":120,"collections":10530,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":44},239348,"shan-shui-ce-lin-fu-chang-239348","林福昌","这幅小品以留白摹写流云雾气，将层叠山峦衬得灵动缥缈，山居藏于松石崖壁间，似隐似现。近坡林木错落苍润，屋舍依傍溪岸野林，尽显幽居闲寂之态。设色清淡雅致，以青绿轻晕山石，浓墨点染苍松古木，笔致简逸秀雅，带着文人画特有的萧散意趣，将山林间悠然避世的栖居诗意尽数铺展，处处透着林下幽居的静谧闲适，淡而有味，简中见雅。",[24,25,215,53,27,30,7,35,135,175,36,275,277,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbb01ddef5faace5b120a79ec8e46e5.jpg",[],{"id":10532,"slug":10533,"title":10534,"dynasty":87,"author":10535,"museum":147,"description":10536,"tags":10537,"thumbUrl":10538,"material":118,"size":119,"collection":120,"collections":10539,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":44},239031,"xiao-xiang-zhou-na-yan-cheng-239031","肖像轴","那彦成","那彦成（1763年-1833年），章佳氏，字绎堂，号韶九、东甫，满洲正白旗人，大学士阿桂之孙，工部侍郎阿必达次子，清朝大臣。\n那彦成在乾隆五十四年（1789年）中进士，被选为翰林院庶吉士，随后不久担任翰林院编修。此后历任内阁学士、工部侍郎、户部侍郎、翰林院掌院学士、工部尚书、镶白旗汉军都统、礼部尚书、陕甘总督、直隶总督、理藩院尚书、吏部尚书、刑部尚书等职。\n道光十三年（1833年），那彦成去世，享年七十岁，谥号文毅。",[24,25,26,27,28,31,778,35,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3afb65518e83749aa19346142d8eec22.jpg",[],{"id":10541,"slug":10542,"title":3781,"dynasty":87,"author":5263,"museum":147,"description":8693,"tags":10543,"thumbUrl":10544,"material":118,"size":119,"collection":120,"collections":10545,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":82},238674,"shan-shui-ce-dong-bang-da-238674",[24,25,53,54,215,30,7,275,55,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff0bfcc71ea8b9701792dcbe5c2294a9.jpg",[],{"id":10547,"slug":10548,"title":10549,"dynasty":87,"author":10550,"museum":147,"description":10551,"tags":10552,"thumbUrl":10553,"material":118,"size":119,"collection":120,"collections":10554,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":44},237786,"fang-wang-meng-shan-shui-shan-ye-ding-peng-237786","仿王蒙山水扇页","丁澎","丁澎（1622～1686），字飞涛，号药园，仁和（今浙江省杭州市）人，清初著名回族诗人。\n其祖父丁鹤年是明朝（1368～1644）著名诗人。与同乡吴百朋、陆圻、紫绍炳、陈廷会、孙治、沈谦、毛先舒、虞黄吴、张纲孙合称为“西岸十子”、“西泠十子”。",[24,25,678,53,54,274,30,132,162,7,56,175,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24b4931fc1cd0b981c441ad2c0ae886d.jpg",[],{"id":10556,"slug":10557,"title":3781,"dynasty":87,"author":5962,"museum":89,"description":5963,"tags":10558,"thumbUrl":10559,"material":120,"size":120,"collection":120,"collections":10560,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":44},237552,"shan-shui-ce-wen-dian-237552",[24,25,73,53,54,393,30,7,35,31,365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49617ec2363de71cc21fa08419e15f40.jpg",[],{"id":10562,"slug":10563,"title":4446,"dynasty":18,"author":9372,"museum":147,"description":9373,"tags":10564,"thumbUrl":10565,"material":118,"size":119,"collection":120,"collections":10566,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":82},237514,"shan-shui-hua-hui-ce-jiang-shou-cheng-237514",[24,25,215,53,29,30,31,7,55,56,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11b25e6f1c43bcc0904c1442f8a75569.jpg",[],{"id":10568,"slug":10569,"title":4446,"dynasty":18,"author":9372,"museum":147,"description":9373,"tags":10570,"thumbUrl":10571,"material":118,"size":119,"collection":120,"collections":10572,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":44},237507,"shan-shui-hua-hui-ce-jiang-shou-cheng-237507",[24,25,215,53,29,30,7,35,31,54,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa68bfe5bb3a4e855a00889db83798d07.jpg",[],{"id":10574,"slug":10575,"title":4446,"dynasty":18,"author":9372,"museum":147,"description":9373,"tags":10576,"thumbUrl":10577,"material":118,"size":119,"collection":120,"collections":10578,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":44},237501,"shan-shui-hua-hui-ce-jiang-shou-cheng-237501",[24,25,215,27,53,54,188,34,30,7,35,135,33,116,3266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23cb01483ce49386bed6ce637a3c66bb.jpg",[],{"id":10580,"slug":10581,"title":9043,"dynasty":87,"author":9044,"museum":147,"description":10582,"tags":10583,"thumbUrl":10584,"material":543,"size":120,"collection":120,"collections":10585,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":44},237063,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237063","这幅小品以双松入画，老干盘曲如铁，松针攒簇苍劲，垂挂的古藤更添幽古之态，笔墨清简却将松柏傲岸高古之姿尽显无余。搭配左侧行书题诗，笔意舒展隽秀，诗画相映成趣。\n整体浅素设色，写意兼具精微，将林泉隐逸的幽寂意境铺陈开来，暗合题诗中静听流水、寄身松间的林下幽思，尽显文人画诗画合璧的雅逸风骨，寥寥数笔勾勒出世外静境，简淡中藏风神，清雅间见襟怀。",[24,25,215,27,53,7,188,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcb771e1d885859fc28ea960df2dec39.jpg",[],{"id":10587,"slug":10588,"title":10589,"dynasty":18,"author":10590,"museum":147,"description":6999,"tags":10591,"thumbUrl":10592,"material":120,"size":120,"collection":120,"collections":10593,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":44},236630,"song-mao-jin-jiang-nan-ming-sheng-tu-ce-song-mao-jin-236630","宋懋晋江南名胜图册","宋懋晋",[73,24,25,215,27,54,30,35,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe007f484234c5f6ef72226436fce0d30.jpg",[],{"id":10595,"slug":10596,"title":7214,"dynasty":18,"author":4494,"museum":147,"description":6919,"tags":10597,"thumbUrl":10598,"material":118,"size":119,"collection":120,"collections":10599,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":44},236626,"shan-shui-shan-zhang-hong-236626",[73,24,25,678,53,54,30,36,35,367,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb2d9e3af267fa3203f32f25bd04cdde.jpg",[],{"id":10601,"slug":10602,"title":10603,"dynasty":87,"author":10604,"museum":147,"description":10605,"tags":10606,"thumbUrl":10607,"material":120,"size":120,"collection":120,"collections":10608,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":44},236508,"sun-shan-shui-ce-wang-ji-236508","孙山水册","王诘","王诘（1813-1889），号兰峰，上虞人，清代画家。工写意人物。中年游楚地，适遇湖广总督官文方微服出访，受特邀襄理营务，允参赞事务却不受官职。诘生性恬适，淡泊名利，以画自给，终生未娶。尝建“仙枣亭”于武昌，着僧衣隐居，自称“衲衣翁”；受命监修黄鹤楼，又于洛阳渡口立“雾云亭”；往游南岳衡山，建“会仙亭”于山麓；游洞庭湖，立“留仙亭”。光绪十四年（1888），上虞大水，募集二千余金救济灾民。翌年，在汉口去世，后归葬上虞梁湖。",[24,25,215,53,30,509,161,7,94,34,3011],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec80a5748cb3bf62c57a572a43f0f8eb.jpg",[],{"id":10610,"slug":10611,"title":8920,"dynasty":18,"author":6892,"museum":147,"description":9451,"tags":10612,"thumbUrl":10613,"material":118,"size":119,"collection":120,"collections":10614,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":44},235629,"fang-gu-shan-shui-ce-shen-hao-235629",[24,53,215,30,288,31,35,134,33,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd5db89c44f2251ec5118c5ed7c8fda8.jpg",[],{"id":10616,"slug":10617,"title":10618,"dynasty":87,"author":10619,"museum":147,"description":10620,"tags":10621,"thumbUrl":10622,"material":120,"size":120,"collection":120,"collections":10623,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":44},235569,"hua-hui-ce-fan-ting-zhen-235569","花卉册","范廷镇","此作以水墨写林泉幽致，枯笔挥扫古松虬枝，松针层叠攒聚，晕开幽森古意，似有风穿松涛暗涌。右侧顽石嶙峋，皴法简劲朴拙，石面苍润肌理尽显岁月沉凝。左下角附石苔癣垂垂，与松枝顾盼呼应，将山野清寂收于尺幅。\n\n全作用墨枯湿浓淡相宜，留白衬出山岚空濛，笔致纵逸萧散，未施一色，全然以水墨晕染出世外林泉的静穆澹远，于简淡笔墨间写尽山林苍古冷峭之态，尽显寄情林丘、静赏幽栖的文人雅趣。",[24,25,215,53,57,7,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92da6d211852dbdb1e5e17f8ba712f44.jpg",[],{"id":10625,"slug":10626,"title":3781,"dynasty":18,"author":6892,"museum":147,"description":10627,"tags":10628,"thumbUrl":10629,"material":120,"size":120,"collection":120,"collections":10630,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":44},235289,"shan-shui-ce-shen-hao-235289","此作用笔简淡松灵，以浅绛设色晕染层叠峰峦，山石以干笔皴擦勾勒肌理，棱角隐现间兼具雄浑朴拙与秀雅之态。古松虬曲挺立，松针攒簇苍劲，为幽寂山林添一重清刚生气。\n\n画面留白疏密相宜，铺陈出林泉空濛悠远之境，右上角题款与景致浑然相融，尽显文人画萧疏淡远的意趣，暗合著画者寄迹林泉、超然物外的林下襟怀。",[24,25,73,215,53,27,54,30,132,7,288,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a42f428252821636d93a148896f295b.jpg",[],{"id":10632,"slug":10633,"title":8289,"dynasty":87,"author":9827,"museum":89,"description":9828,"tags":10634,"thumbUrl":10635,"material":246,"size":120,"collection":120,"collections":10636,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":44},234727,"huang-shan-tu-ce-jiang-zhu-234727",[24,25,215,53,30,54,29,34,132,7,229,344,31,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b81180db610e9dfeceedc52f9b19832.jpg",[],{"id":10638,"slug":10639,"title":10640,"dynasty":87,"author":1687,"museum":147,"description":3425,"tags":10641,"thumbUrl":10642,"material":120,"size":120,"collection":120,"collections":10643,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":44},234261,"jiang-gan-qi-shu-tu-juan-wang-hui-234261","江干七树图卷",[23,24,25,186,53,30,54,29,34,162,7,35,1469,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0508feeed1b0e9cd3ecabf7ad66ce29.jpg",[],{"id":10645,"slug":10646,"title":10647,"dynasty":69,"author":88,"museum":89,"description":10648,"tags":10649,"thumbUrl":10653,"material":76,"size":10654,"collection":120,"collections":10655,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":44},234024,"liu-tang-du-shu-tu-ye-yi-ming-234024","柳堂读书图页","画湖岸风光，院落间散落着小屋和房屋，四周苍松翠柳环绕。 书生专心在室内学习，孩子们在户外陪伴。 栅栏坡度平缓，碎石散落，草丛稀疏。 对岸，丛林幽幽，溪水蜿蜒。 作者构图细腻、浓密、准确，笔法细腻，工笔结合，意境幽远，耐人寻味，是一幅南宋工笔画。",[73,24,25,393,28,27,54,30,10650,10651,36,7,344,74,10652,175],"柳","堂屋","岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc481b25a3679ee33cbd86de2c03f2959.jpg","22.5x24.4厘米",[],{"id":10657,"slug":10658,"title":8289,"dynasty":87,"author":2475,"museum":89,"description":8290,"tags":10659,"thumbUrl":10660,"material":246,"size":8293,"collection":120,"collections":10661,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":44},233429,"huang-shan-tu-ce-mei-qing-233429",[24,53,30,215,54,7352,35,7,135,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3b44c628fe1686b51a5d8febfd1e871.jpg",[],{"id":10663,"slug":10664,"title":8289,"dynasty":87,"author":2475,"museum":89,"description":8290,"tags":10665,"thumbUrl":10666,"material":246,"size":8293,"collection":120,"collections":10667,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":44},233158,"huang-shan-tu-ce-mei-qing-233158",[24,53,54,215,188,34,30,132,7,161,135,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe552749b978d50ac06c592811531b053.jpg",[],{"id":10669,"slug":10670,"title":10671,"dynasty":3958,"author":88,"museum":147,"description":10672,"tags":10673,"thumbUrl":10678,"material":118,"size":119,"collection":120,"collections":10679,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":44},231615,"jiang-hu-shi-qi-zhang-xiao-zhi-zhan-tu-juan-yi-ming-231615","江户时期 长篠之战图卷","淡赭底色晕开朦胧烟霭，苍松错落点缀郊野，简淡写意勾勒出开阔疏朗的战地景致。右下角武士甲胄齐整，军旗猎猎排布，红日旗、穗旗次第舒展，静穆画面暗涌肃杀战意。作者以留白衬出兵行旷野的沉凝氛围，将写意山水与写实军阵相融，用雅致柔和的和风笔调，把古战场战前的张力藏于清淡色彩之间，于极简构图里铺陈出战事将临的沉谧氛围。",[23,186,27,28,31,7,7233,10674,10675,10676,10677,135],"红日旗","蓝旗","盔甲","战场","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff65e0a4e2df78359229bc0806c15e081.jpg",[],{"id":10681,"slug":10682,"title":10683,"dynasty":3958,"author":88,"museum":147,"description":10684,"tags":10685,"thumbUrl":10686,"material":118,"size":119,"collection":120,"collections":10687,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":44},230517,"fang-gu-ren-wu-shan-shui-fen-ben-shou-ye-jia-tu-juan-yi-ming-230517","仿古人物山水粉本(狩野家图卷)","此作淡彩晕染烟水空蒙，水榭之上，两位文士凭栏闲坐，一俯一仰，伴松梅清景清谈遣兴。设色调和柔雅，笔致温婉工细，将文人林下雅游的散淡心境融绘其中。画面留白衬以题诗，虚实相衬，晕开空灵禅意，尽显清雅的和风汉画意趣，把东方古典的澹远闲静藏在水墨淡彩之间，观之如见幽居雅集的悠然旧景。",[23,24,186,27,131,28,92,30,31,94,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7b8ff428c4e9035f635b3ad850e6cd7.jpg",[],{"id":10689,"slug":10690,"title":10691,"dynasty":18,"author":88,"museum":147,"description":10692,"tags":10693,"thumbUrl":10694,"material":120,"size":120,"collection":120,"collections":10695,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":44},228784,"lan-ting-ju-hui-tu-ye-yi-ming-228784","兰亭聚会图页","以淡墨晕染出平远烟峦，汀渚松下，文人士子围坐宴饮，暗合曲水流觞之雅趣。湖山留白铺就空濛烟景，笔意简淡清疏，将兰亭修禊的从容散逸藏于萧散山水间，不见丝竹繁喧，只余林下清谈的幽寂意韵。\n\n下方行书题跋笔墨舒展流动，与山水淡远画风相得益彰，诗书画相融，尽显文人雅尚。将魏晋风雅以水墨淡远之态重述于纸间，把雅集的清旷襟怀寄寓湖山烟霭之中，浑朴简淡间尽显明代文人画崇尚幽远雅致的意趣风骨。",[23,24,25,215,53,29,188,31,30,7,35,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c1a5cbaf540dda22927c4e55b8c6bd3.jpg",[],{"id":10697,"slug":10698,"title":10699,"dynasty":18,"author":10700,"museum":147,"description":10701,"tags":10702,"thumbUrl":10703,"material":543,"size":120,"collection":120,"collections":10704,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":408},217170,"shui-hu-quan-tu-22-du-jin-217170","水浒全图-22","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。",[24,25,215,940,31,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f4ea10ca5e88263fbd605454811e3de.jpg",[],{"id":10706,"slug":10707,"title":10708,"dynasty":18,"author":9995,"museum":20,"description":9996,"tags":10709,"thumbUrl":10710,"material":190,"size":10002,"collection":120,"collections":10711,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":44},216763,"jiu-lao-tu-4-huang-biao-216763","九老图-4",[24,73,28,27,31,3048,32,7,302,640,203,887,35,2132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11dfd356931d7c386cbe98730bd03dd3.jpg",[],{"id":10713,"slug":10714,"title":10715,"dynasty":3880,"author":10716,"museum":172,"description":10717,"tags":10718,"thumbUrl":10719,"material":120,"size":120,"collection":120,"collections":10720,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":10721},202767,"xi-guan-pu-tu-zhou-xiao-xun-202767","溪观瀑图轴","萧愻","峰峦耸峙，峭壁嶙峋，飞瀑如练垂落，涤荡尘嚣。苍松虬枝横斜，姿态古拙，于崖畔间卓然挺立。山间平处，二叟对坐，或抚膝凝思，或执杖远眺，尽得观瀑之趣。笔墨苍劲，皴擦兼施，浓淡干湿互见，山石肌理与松针细密相映，水瀑留白与林木墨色对比，营造出深远空间与静谧氛围，尽显山水灵秀与文人寄情林泉的雅致情怀。",[24,53,30,54,7,55,31,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cfd60df98e5ffaf544f48d5551294b0.jpg",[],"74716b",{"id":10723,"slug":10724,"title":10725,"dynasty":87,"author":10726,"museum":172,"description":10727,"tags":10728,"thumbUrl":10729,"material":120,"size":120,"collection":120,"collections":10730,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":10731},202616,"song-yin-lun-dao-tu-zhou-ni-tian-202616","松荫论道图轴","倪田","苍松虬枝舒展，松针浓墨点染尽显苍劲。树下老者凭石而坐，衣袂宽博神情悠然；仕女侧立聆听，姿态温婉；孩童依偎膝前，专注入神。另有童子负物徐行，动态鲜活自然。人物衣纹线条流畅婉转，设色淡雅温润；山石以写意皴擦勾勒，与古松相映成趣，整体氛围清幽闲适，传递出文人雅集论道的逸致与温情。",[24,27,31,7,35,28,54,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2a286754869d16085874358ad7f7832.jpg",[],"b4a495",{"id":10733,"slug":10734,"title":7951,"dynasty":87,"author":10735,"museum":172,"description":10736,"tags":10737,"thumbUrl":10738,"material":120,"size":120,"collection":120,"collections":10739,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":10740},202105,"guan-pu-tu-zhou-hu-yuan-202105","胡远","画面峭壁凌云，飞瀑如练倾泻而下，气势灵动。山间松枝盘曲，杂树葱茏，崖边二人对坐观瀑，意态悠然。山石以皴法写就，笔墨苍劲兼具秀逸，设色淡雅清润。云雾轻绕峰峦，流水潺潺映带，动静相生间，尽显文人山水之清幽雅趣，传递出寄情自然的闲适心境。",[24,30,54,27,55,7,31,9674],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe4fce65eb71d8e1913251091303b1e1.jpg",[],"b4a390",{"id":10742,"slug":10743,"title":10744,"dynasty":87,"author":4264,"museum":172,"description":10745,"tags":10746,"thumbUrl":10748,"material":120,"size":120,"collection":120,"collections":10749,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":10750},201615,"xi-wu-pin-quan-tu-zhou-qian-du-201615","溪坞品泉图轴","画面意境清雅悠远，远山层叠含黛，云雾轻笼如纱，溪流蜿蜒穿林而过。近景松柳交映，松枝苍劲挺拔，柳条依依垂拂，山石以淡青绿设色，肌理温润细腻。数名文人或坐于石畔品泉，或立在桥边闲语，神态悠然闲适，尽显林下幽情与文人雅趣。笔墨兼具工细之精致与写意之空灵，设色淡雅温润，将溪山胜境与诗意生活融于一卷，传递出清代文人画特有的从容与诗意。",[24,26,27,30,7,778,31,32,28,257,8050,10747],"雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c042653ac1cfedf8c4b80ae8ef81458.jpg",[],"bcad99",{"id":10752,"slug":10753,"title":7214,"dynasty":18,"author":3206,"museum":172,"description":10754,"tags":10755,"thumbUrl":10756,"material":120,"size":120,"collection":40,"collections":10757,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":10758},201346,"shan-shui-shan-wen-bo-ren-201346","扇面间丘壑错落，云雾缠岩，苍松盘曲如卧龙，树下二贤对坐，似赏溪山胜景。山石以细劲线条勾勒，皴擦结合显肌理，淡设色晕染出清润氛围，承袭吴门画派雅致之余，更见文氏笔墨的缜密灵动。咫尺之地纳深远意境，将文人寄情山水的心境凝于方寸，尽显明代山水扇画的精妙与诗意。",[27,30,7,31,54,678,24,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb06755d35d937b5a5b5eaf583dccf4bb.jpg",[40],"d2cabb",{"id":10760,"slug":10761,"title":10762,"dynasty":87,"author":88,"museum":147,"description":10763,"tags":10764,"thumbUrl":10768,"material":118,"size":119,"collection":120,"collections":10769,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":408},270491,"tong-du-jin-qian-yu-shi-bo-li-hai-tang-shi-pen-yu-shi-song-shu-pen-jing-yi-ming-270491","铜镀金嵌玉石玻璃海棠式盆玉石松树盆景","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[7264,7,10443,10765,10442,10462,10766,10767],"铜镀金","海棠式盆","玉石雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F645231127b84e654eaac26b779fcf8eb.jpg",[],{"id":10771,"slug":10772,"title":10773,"dynasty":87,"author":88,"museum":147,"description":10774,"tags":10775,"thumbUrl":10776,"material":118,"size":119,"collection":120,"collections":10777,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":44},270217,"zhu-gu-qian-gu-bian-qian-ci-xi-yu-xi-hua-song-fu-tu-mian-zhe-shan-yi-ming-270217","竹股嵌骨边钤慈禧御玺画松蝠图面折扇","此扇以淡墨晕染松枝，虬干苍劲，松针细密层叠，尽显古松深秀之态。几只蝠影轻盈穿梭松间，暗合纳福吉意。左侧题字笔致清逸，朱印错落点缀，晕开文雅意趣。\n\n扇骨工巧，竹质温润，嵌骨饰纹雅致细腻，将书画意境与工艺匠心相融。整体水墨清润含蓄，晕染相宜，尽显内敛清雅的审美意趣，把文人雅情与祥瑞寓意收于咫尺扇面，是兼具赏玩与收藏价值的文房佳物。",[24,25,678,53,7,8729,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda5d9e2995715b7f0deaf405d2f72b40.jpg",[],{"id":10779,"slug":10780,"title":10781,"dynasty":337,"author":88,"museum":147,"description":10782,"tags":10783,"thumbUrl":10784,"material":118,"size":119,"collection":120,"collections":10785,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":408},269993,"xiang-ya-diao-shan-shui-tu-yuan-cha-ping-yi-ming-269993","象牙雕山水图圆插屏","此作以象牙为材，精微施刻。亭台松荫之下，文人雅聚，置酒陈席，三两相谈，情态生动宛然。周边山石皴擦有致，古松虬枝苍劲，远景水天相接，烟波澹澹，将山林雅集的清逸氛围尽纳方寸之间。刀工细腻婉转，把文人林下风流的意趣尽显无遗，于象牙温润质地之上，铺展出悠远静雅的山水雅韵，尽显精微雅致的工艺水准。",[8013,10461,30,31,7,35,940,8983],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46216a1d58e7a010b44aa93492a502bc.jpg",[],{"id":10787,"slug":10788,"title":9711,"dynasty":87,"author":88,"museum":147,"description":6963,"tags":10789,"thumbUrl":10791,"material":118,"size":119,"collection":120,"collections":10792,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":408},268770,"ke-si-qun-xian-qing-shou-tu-zhou-yi-ming-268770",[4851,26,27,31,8986,9713,862,10790,7,35,2548,8729],"驴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ced747c0cefe72cb6ebf660abc8e6ee.jpg",[],{"id":10794,"slug":10795,"title":8724,"dynasty":87,"author":88,"museum":147,"description":8725,"tags":10796,"thumbUrl":10798,"material":118,"size":119,"collection":120,"collections":10799,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":44},267091,"hong-qing-se-duan-xiu-yun-fu-song-shu-wen-tuo-yuan-he-bao-yi-ming-267091",[8727,8221,2178,2130,10797,7,8730,28],"云蝠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4600482a661d2c8b08fa04b64ae2913.jpg",[],{"id":10801,"slug":10802,"title":10803,"dynasty":87,"author":88,"museum":147,"description":10804,"tags":10805,"thumbUrl":10806,"material":118,"size":119,"collection":120,"collections":10807,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":408},259987,"fen-cai-song-ya-tu-bi-yan-hu-yi-ming-259987","粉彩松鸦图鼻烟壶","鼻烟壶指的是盛鼻烟的容器，小可手握，便于携带。明末清初，鼻烟传入中国，鼻烟盒渐渐东方化，产生了鼻烟壶。\n人们嗜用鼻烟的习惯几近绝迹，但鼻烟壶却作为一种精美艺术品流传下来，而且长盛不衰，被誉为“集中各国多种工艺之大成的袖珍艺术品”。\n中国鼻烟壶，作为精美的工艺品，采用瓷、铜、象牙、玉石、玛瑙、琥珀等材质，运用青花、五彩、雕瓷、套料、巧作、内画等技法，汲取了域内外多种工艺的优点，被雅好者视为珍贵文玩，在海内外皆享有盛誉。\n在世界上，中国素有「烟壶之乡」的称誉，其中鼻烟壶以其精巧卓绝的制作技术，被称为「集多种工艺之大成于一身的袖珍艺术品」。鼻烟壶为盛装鼻烟之容器，鼻烟系一种烟草制品，原为西洋之物，明末清初自欧洲传入中国后，加工转化后成为粉末状药材，吸闻之后不但具有明目避疫的功效，吸闻鼻烟在各阶层更是蔚为风尚，且迅速地融入了中国的艺术风格，发展出匠心独运的各式鼻烟壶，在清代美学工艺上大放异彩，成为清代艺术的重要标志之一。",[8011,8221,10163,27,7,95,667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc66452532b59fbfd58276a95a649d65a.jpg",[],{"id":10809,"slug":10810,"title":10811,"dynasty":87,"author":88,"museum":147,"description":10812,"tags":10813,"thumbUrl":10815,"material":118,"size":119,"collection":120,"collections":10816,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":44},259577,"ti-he-dian-kuan-huang-di-fen-cai-ba-jiao-hua-hui-wen-hua-pen-yi-ming-259577","体和殿款黄地粉彩芭蕉花卉纹花盆","以匀净娇黄为底釉，如鎏金覆身，明丽温婉。口沿以回纹环饰，古雅规整，勾勒出器物端庄轮廓。\n\n画面苍松虬曲遒劲，黛色松针层叠如盖；芭蕉舒展如翠色云帆，粉艳牡丹柔婉盛放，枝叶扶苏错落。粉彩晕染细腻入微，花瓣娇柔的肌理、叶片脉络的层次尽数显现，色彩搭配明艳和谐却不俗腻。\n\n整体构图疏密有致，重工粉彩将富丽华贵之态尽显，把花木生机铺陈于器身，雅俗共赏，尽显晚清官窑制瓷的精湛工笔与宫廷审美意趣。",[8011,10163,10814,4006,1481,7,640,27],"花盆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc98f28d04b2ac759fb0d023f145ae489.jpg",[],{"id":10818,"slug":10819,"title":10820,"dynasty":87,"author":88,"museum":147,"description":10804,"tags":10821,"thumbUrl":10823,"material":118,"size":119,"collection":120,"collections":10824,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":82},258791,"jia-qing-kuan-lv-di-fen-cai-kai-guang-ren-wu-tu-bi-yan-hu-yi-ming-258791","嘉庆款绿地粉彩开光人物图鼻烟壶",[87,8011,1250,10163,10510,27,31,7,35,10822],"绿地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2740fa9782a8f43973aa57c543bec08.jpg",[],{"id":10826,"slug":10827,"title":10828,"dynasty":87,"author":88,"museum":147,"description":10161,"tags":10829,"thumbUrl":10831,"material":118,"size":119,"collection":120,"collections":10832,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":44},258533,"qian-long-kuan-fen-cai-kai-guang-shan-shui-ren-wu-tu-san-kong-bian-ping-yi-ming-258533","乾隆款粉彩开光山水人物图三孔扁瓶",[87,10163,10510,10830,27,8011,30,31,7,1458,35,36,258,2548],"轧道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faed9eedd1f4116f1585fb96e09550dc1.jpg",[],{"id":10834,"slug":10835,"title":10836,"dynasty":87,"author":88,"museum":147,"description":10161,"tags":10837,"thumbUrl":10838,"material":118,"size":119,"collection":120,"collections":10839,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":408},258524,"qian-long-kuan-fen-cai-shan-shui-xiang-fu-wen-ping-yi-ming-258524","乾隆款粉彩山水翔蝠纹瓶",[8011,10163,27,30,7,94,33,95,35,1250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd4e07900e3c23dbc567dbf9f67d172e.jpg",[],{"id":10841,"slug":10842,"title":10843,"dynasty":87,"author":88,"museum":147,"description":10161,"tags":10844,"thumbUrl":10845,"material":118,"size":119,"collection":120,"collections":10846,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":44},256866,"fen-cai-ying-xi-tian-qiu-ping-yi-ming-256866","粉彩婴戏天球瓶",[8011,10163,27,28,3188,31,7,1250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8587fd6f821f513008f973eb1bbb727.jpg",[],{"id":10848,"slug":10849,"title":3781,"dynasty":87,"author":10526,"museum":147,"description":10850,"tags":10851,"thumbUrl":10852,"material":120,"size":120,"collection":120,"collections":10853,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":44},239351,"shan-shui-ce-lin-fu-chang-239351","此作近岸苍松挺劲，浓墨点簇松针，生机勃发，坡岸村居黛瓦素墙，隐于林间，晕开悠然乡居意趣。中景平湖如镜，淡墨晕出水汽朦胧之态，对岸林木错落，色墨交织层次明晰。远景危峰高耸，枯笔勾勒皴擦山石，敷以浅赭淡青，兼具厚重质感与清逸气韵。\n\n右上角题字落款，笔墨相映，融诗画为一体。全幅章法疏密得当，以淡彩浅墨营造出清旷淡远的山居雅境，笔致秀润雅致，尽显传统文人山水的写意风神，漫溢出平和冲淡的隐逸意趣。",[73,24,25,215,27,53,54,30,7,175,35,36,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faead99b79c601ad5ccfc1e361a07e6f9.jpg",[],{"id":10855,"slug":10856,"title":10857,"dynasty":87,"author":10858,"museum":147,"description":10859,"tags":10860,"thumbUrl":10861,"material":120,"size":120,"collection":120,"collections":10862,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":44},238974,"shan-shui-ce-fang-huang-rong-lao-ren-bi-yi-wang-chen-238974","山水册－仿黄荣老人笔意","王宸","此作用笔松秀苍润，以干淡笔墨写就水村山景。近岸怪石崚嶒，古松虬曲横斜，枝叶简括见风骨，临水村居错落，木构茅舍自带野逸之趣。远景平峦迤逦，淡墨晕染出空濛烟岚，水天一色间尽显清寂淡和。\n整幅画以仿古笔法写胸中丘壑，萧散简远，将江南水乡的闲静之致藏于笔墨间，淡岚轻霭里漫溢出幽居林下的雅逸意趣，不见繁复刻画，却在简淡之中尽显沉静安然的文人画意境。",[24,25,215,53,54,274,30,7,35,175,134,654,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e913300ffb58dfa0c5f22d17733740c.jpg",[],{"id":10864,"slug":10865,"title":3781,"dynasty":87,"author":5263,"museum":147,"description":8693,"tags":10866,"thumbUrl":10867,"material":118,"size":119,"collection":120,"collections":10868,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":44},238706,"shan-shui-ce-dong-bang-da-238706",[24,25,53,54,215,30,36,55,74,56,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbd78c15d38978d0944a295171e9052d.jpg",[],{"id":10870,"slug":10871,"title":9764,"dynasty":87,"author":9765,"museum":147,"description":10872,"tags":10873,"thumbUrl":10874,"material":120,"size":120,"collection":120,"collections":10875,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":44},238218,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238218","此作为上下两帧，上帧绘山居幽境，浅坡寒林环抱茅堂，淡墨晕染烟岚轻笼，笔致秀润苍雅，尽显林泉寂廖。下帧写平滩枯木，汀岸澹远疏阔，枯笔勾勒寒树，萧索清旷之意溢于纸面。\n\n全作用浅绛轻施，以干笔皴擦山石肌理，追摹古贤笔法韵致，再配左侧题诗，书画相映成趣，将冬日郊野隐逸之境铺陈开来，意境幽冷澹泊，尽显文人画简淡清远的雅逸格调，是师法前贤又兼具个人意趣的山水佳构。",[73,24,25,215,53,54,274,30,162,132,175,365,344,2088,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4096a8dcc7d8b8c6ab10256be992fe7e.jpg",[],{"id":10877,"slug":10878,"title":10879,"dynasty":18,"author":4494,"museum":147,"description":6919,"tags":10880,"thumbUrl":10881,"material":118,"size":119,"collection":120,"collections":10882,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":44},236873,"shan-si-song-tao-shan-zhang-hong-236873","山寺松涛扇",[24,678,53,30,7,6219,54,36,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91fa1ad43982284884bd51de5044cb57.jpg",[],{"id":10884,"slug":10885,"title":10886,"dynasty":87,"author":10887,"museum":89,"description":10888,"tags":10889,"thumbUrl":10890,"material":120,"size":120,"collection":120,"collections":10891,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":44},236646,"cha-shi-biao-shu-fa-ti-wang-zhi-rui-shan-shui-ce-wang-zhi-rui-236646","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。",[24,25,215,53,30,29,7,35,134,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff356f44df166836da58732bf5c94b2a9.jpg",[],{"id":10893,"slug":10894,"title":10895,"dynasty":87,"author":10896,"museum":147,"description":10897,"tags":10898,"thumbUrl":10899,"material":120,"size":120,"collection":120,"collections":10900,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":44},235927,"hu-shan-fan-cha-tu-ce-pan-gong-shou-235927","湖山梵刹图册","潘恭寿","此作用浅绛设色写秋山古寺，左侧危崖层叠，枯笔皴擦出山石嶙峋肌理，淡石青晕染远山，铺展出深远空阔的山居层次。山麓苍松虬劲，荫蔽梵刹飞檐，几株丹枫点染秋意，溪涧蜿蜒穿林，漾出清寂生机。\n\n右上角题诗与画境呼应，诗画合璧，笔墨清隽秀雅，兼具元人山水的淡远萧疏与文人雅韵，将秋日山寺的幽寂空灵烘托尽致，静穆淡远的禅意漫溢纸面，尽显雅致出尘的文人意趣。",[24,25,215,27,54,30,7,35,261,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ad115590e3609c8f1ddcdd81403d190.jpg",[],{"id":10902,"slug":10903,"title":10904,"dynasty":87,"author":10905,"museum":147,"description":10906,"tags":10907,"thumbUrl":10908,"material":118,"size":119,"collection":120,"collections":10909,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":44},235751,"yuan-shu-ting-xiang-zhou-shen-jing-235751","袁纾亭像轴","沈景","沈景，东汉乌程余不乡（今浙江省德清县）人。沈戎少子。沈酆、沈浒弟。初为侍御史，汉顺帝刘保以其有强能称，故擢为河间相，拜二千石，有贤政。",[24,26,27,31,7,188,34,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd118fdc9dc3dfa4c93808b9f9e59b78f.jpg",[],{"id":10911,"slug":10912,"title":8289,"dynasty":87,"author":9827,"museum":89,"description":9828,"tags":10913,"thumbUrl":10914,"material":246,"size":120,"collection":120,"collections":10915,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":44},234747,"huang-shan-tu-ce-jiang-zhu-234747",[24,25,215,940,29,30,35,7,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F700e09f1df9a99083fa00507566c4f9d.jpg",[],{"id":10917,"slug":10918,"title":8289,"dynasty":87,"author":9827,"museum":89,"description":9828,"tags":10919,"thumbUrl":10920,"material":246,"size":120,"collection":120,"collections":10921,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":44},234746,"huang-shan-tu-ce-jiang-zhu-234746",[24,25,215,53,54,30,94,57,7,29,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb7c723508ec3b20b97d144f263ba63a.jpg",[],{"id":10923,"slug":10924,"title":8289,"dynasty":87,"author":9827,"museum":89,"description":9828,"tags":10925,"thumbUrl":10926,"material":246,"size":120,"collection":120,"collections":10927,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":44},234745,"huang-shan-tu-ce-jiang-zhu-234745",[24,25,215,53,54,30,57,7,188,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c86ff12ef5503fad3298fc8d1ced0e3.jpg",[],{"id":10929,"slug":10930,"title":8289,"dynasty":87,"author":9827,"museum":89,"description":9828,"tags":10931,"thumbUrl":10932,"material":246,"size":120,"collection":120,"collections":10933,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":44},234721,"huang-shan-tu-ce-jiang-zhu-234721",[24,53,54,29,188,215,30,36,56,275,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65af6115a6682e951eb09b6f09c2f862.jpg",[],{"id":10935,"slug":10936,"title":3781,"dynasty":87,"author":7458,"museum":147,"description":7459,"tags":10937,"thumbUrl":10938,"material":120,"size":120,"collection":120,"collections":10939,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":44},234342,"shan-shui-ce-jin-ting-biao-234342",[24,53,54,215,30,55,7,275,1343],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0296a6485e76af46213abb7f1b76cce.jpg",[],{"id":10941,"slug":10942,"title":3781,"dynasty":87,"author":7458,"museum":147,"description":7459,"tags":10943,"thumbUrl":10944,"material":120,"size":120,"collection":120,"collections":10945,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":44},234341,"shan-shui-ce-jin-ting-biao-234341",[24,30,27,54,7,35,135,175,303,36,215,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F393c17e5a71b8e74ab72942a2fcef0a5.jpg",[],{"id":10947,"slug":10948,"title":3781,"dynasty":87,"author":7458,"museum":147,"description":7459,"tags":10949,"thumbUrl":10950,"material":120,"size":120,"collection":120,"collections":10951,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":194},234336,"shan-shui-ce-jin-ting-biao-234336",[24,27,54,30,35,7,34,188,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F082053c6f7687a4778c3db833162e6f0.jpg",[],{"id":10953,"slug":10954,"title":10955,"dynasty":87,"author":10956,"museum":89,"description":10957,"tags":10958,"thumbUrl":10960,"material":246,"size":10961,"collection":120,"collections":10962,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":44},233925,"dai-lu-fang-bei-tu-ce-huang-yi-233925","岱麓访碑图册","黄易","图名里的“岱”即指位于山东省中部的泰山。《岱麓访碑图》册共24开，以左文右图的形式描绘黄易在清嘉庆二年（1797年）由济宁到泰山访碑的种种情形。据作者本人题跋可知，其中一部分册页记录泰山的碑刻情况，如“岱顶”、“开元磨崖碑”、“石经谷”、“王母池”等，另一部分则是记录作者在往返途中所见的碑刻情况，如“大明湖”、“孟子庙”、“孔林”、“孔子庙”、“大汶口”等。除此之外，作者还在题跋中介绍了碑刻的具体状况，为后人研究提供了资料。\n黄易一生致力于金石碑版的研究，曾经四处寻访存世的残碣断碑，并较为系统地加以整理与著录，对我国传统金石学的发展起到了积极的作用。与众不同的是，他亲自用画笔将每次寻访古碑的过程都完整地记录下来，绘制成许多作品，被当时的艺术家们广为称颂。《岱麓访碑图》册便是其中的一套作品。\n纵观整套册页，作者采用了水墨与浅绛两种中国画表现技法，但呈现出的艺术风格却是统一的。具体而言，他注重线条的断续与转折，多用粗笔短线描写碑刻所在地周围的景色，使得画面景致简明，意境幽僻清寂，有平淡天真的艺术趣味。",[24,25,215,53,940,54,30,35,36,7,229,94,244,10959,188,29],"碑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15ad2a151065a409bfd70e8875f643f8.jpg","纵17.4厘米，横50.8厘米",[],{"id":10964,"slug":10965,"title":10966,"dynasty":3958,"author":88,"museum":147,"description":10967,"tags":10968,"thumbUrl":10970,"material":118,"size":119,"collection":120,"collections":10971,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":82},231642,"shi-ting-shi-dai-jiu-tu-ping-feng-di-2-ping-yi-ming-231642","室町时代 厩图屏风第2屏","画面分野有致，左畔厩房静立，三匹良骏或垂首小憩或昂首敛息，系马木构细节妥帖，尽现驯牧日常。廊台之上，衣冠雅致的男女或闲坐低语，或垂首休憩，伴以嬉游的小犬，松弛的闲淡氛围漫开。\n\n右侧苍松虬劲盘绕，山池蜿蜒，白羽天鹅悠然浮于水面，幽谧野趣扑面而来。整作以柔缓的矿物淡彩晕染，线条朴拙细腻，将私邸日常闲情与郊野清趣相融，褪去刻意的华贵铺陈，只留平和温润的生活质感，尽显世俗雅致的日常况味。",[27,28,5349,242,31,7,10969,1180,229,133],"鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013ccec7581d9a234ccb97692f6269b1.jpg",[],{"id":10973,"slug":10974,"title":10975,"dynasty":3958,"author":10976,"museum":147,"description":10977,"tags":10978,"thumbUrl":10979,"material":118,"size":119,"collection":120,"collections":10980,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":82},231627,"shi-ting-shi-dai-shan-shui-tu-zhou-yue-weng-cang-qiu-231627","室町时代 山水图轴","岳翁藏丘","这幅水墨山水以枯笔勾皴山石肌理，淡墨晕染烟岚，层岩峻岫隐于空濛雾气中，虚实相生铺展出春日山野的清寂空阔。\n\n汀洲古松挺劲苍秀，溪畔行人策杖徐行，山腰楼宇藏于林峦间，动静相映，尽显林泉幽致。题诗与画境呼应，诗画合璧，将春山烟雨间的林下幽居意趣娓娓道来，笔简意赅尽显文人山水的萧散雅逸，观之如踏入烟岚春山，漫染林泉间的闲淡古韵。",[23,24,25,26,53,54,30,94,7,31,55,35,135,161,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3b5a4ac76cd422e8c48ebe8c84dbbe7.jpg",[],{"id":10982,"slug":10983,"title":10984,"dynasty":3958,"author":88,"museum":147,"description":10985,"tags":10986,"thumbUrl":10987,"material":118,"size":119,"collection":120,"collections":10988,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":44},231614,"shi-ting-shi-qi-jian-feng-si-tu-juan-yi-ming-231614","室町时期 枧峰寺图卷","此作为图文合璧的绘卷，右图以淡彩晕染山野丘林，松石苍雅朴拙，人物排布错落生动，行旅者或倦怠躺卧，或凝神聆听僧侣开示，情态各异，将行路劳顿与闻法的宁和形成鲜明对照。左文以汉字题咏叙事，文图呼应铺陈禅林行旅往事。整体设色清浅柔和，线条简净舒缓，带着古拙沉静的禅意氛围，尽显绘卷叙事与宗教风物相融的独特韵味，将东瀛禅林行旅的人文意趣娓娓道来，质朴中饱含静穆的人文温度。",[23,24,186,27,31,30,36,7,35,4018,2177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4f9c6f5ee50db71f4f7c33b983c2b3b.jpg",[],{"id":10990,"slug":10991,"title":10975,"dynasty":3958,"author":8326,"museum":147,"description":8327,"tags":10992,"thumbUrl":10993,"material":118,"size":119,"collection":120,"collections":10994,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":194},231596,"shi-ting-shi-dai-shan-shui-tu-zhou-zhou-wen-231596",[23,24,25,26,53,54,30,94,32,7,35,134,36,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5efd00ba4510536798ee87c1edb5bf8a.jpg",[],{"id":10996,"slug":10997,"title":10998,"dynasty":3958,"author":88,"museum":147,"description":10999,"tags":11000,"thumbUrl":11001,"material":120,"size":120,"collection":120,"collections":11002,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":44},230523,"fang-gu-shan-shui-fen-ben-shou-ye-jia-tu-juan-5-yi-ming-230523","仿古山水粉本（狩野家图卷）-5","此作为水墨雪景山水，以冷月开篇，清辉穿透薄云，遍洒素裹峰峦。左畔寒林雪瀑垂落，银枝静立幽壑，将冬日萧寒藏于丘壑间。湖面如镜，渔舟三两泛波，棹影微动揉碎月影，漾开一湖清寂。\n\n远景层峦隐于烟霭，虚实相生铺展天地辽远。右侧危崖高耸，古松覆雪挺拔苍劲，崖畔山居藏于林岫，寥寥数笔勾勒出清旷山居意趣。全作用墨虚实相宜，淡墨晕染烟岚，浓墨塑山石肌理，以留白造幽远之境，将冬夜湖山的空寂淡远尽数铺展，尽显古雅萧疏的文人山水意韵。",[23,24,25,186,53,131,54,30,116,55,7,736,509,135,35,33,1274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F811b3cf455dffaa8550b3d1fe7817da3.jpg",[],{"id":11004,"slug":11005,"title":11006,"dynasty":3958,"author":88,"museum":147,"description":11007,"tags":11008,"thumbUrl":11009,"material":118,"size":119,"collection":120,"collections":11010,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":44},230518,"fang-gu-ren-wu-shan-shui-fen-ben-shou-ye-jia-tu-juan-2-yi-ming-230518","仿古人物山水粉本（狩野家图卷）-2","此作以淡彩白描写就，上方二力士嬉闹互动，铁线勾勒出虬结筋肉，将壮汉憨顽神态刻画入微，把蛮勇与谐趣融为一体。下方松岩笔致清简古淡，与人物形成动静对照，雅野相映。作为粉本随性率真，既有东国传统人物画的朴拙意韵，又暗合中式底稿的传神简练，市井意趣跃然纸面，让旧稿鲜活起来，满是松弛诙谐的烟火质感。",[23,24,25,26,940,53,27,31,7,35,131,274],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F506734a1b3d9a11ee714d65cdf836743.jpg",[],{"id":11012,"slug":11013,"title":11014,"dynasty":87,"author":88,"museum":147,"description":10763,"tags":11015,"thumbUrl":11018,"material":118,"size":119,"collection":120,"collections":11019,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":408},229330,"yu-guan-pu-cha-ping-yi-ming-229330","玉观瀑插屏",[10443,8013,11016,1029,30,55,31,7,35,33,94,135,11017],"浮雕","文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4767ca873bc970f56d2f686eed93aba.jpg",[],{"id":11021,"slug":11022,"title":11023,"dynasty":3958,"author":88,"museum":147,"description":11024,"tags":11025,"thumbUrl":11026,"material":118,"size":119,"collection":120,"collections":11027,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":44},225545,"fu-shi-hui-10-yi-ming-225545","浮世绘10","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[4328,4329,27,31,2151,7,6503,2820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd385c5dfa25e4006e9618ab462357a47.jpg",[],{"id":11029,"slug":11030,"title":11031,"dynasty":3958,"author":88,"museum":147,"description":11024,"tags":11032,"thumbUrl":11033,"material":118,"size":119,"collection":120,"collections":11034,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":82},225519,"fu-shi-hui-277-yi-ming-225519","浮世绘277",[4328,4329,27,258,679,36,7,778,31,8301],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F551995d5f931ddf21b2f4d280d74c5c2.jpg",[],{"id":11036,"slug":11037,"title":11038,"dynasty":3958,"author":88,"museum":147,"description":11024,"tags":11039,"thumbUrl":11041,"material":118,"size":119,"collection":120,"collections":11042,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":82},225507,"fu-shi-hui-265-yi-ming-225507","浮世绘265",[4328,4329,27,31,6503,2132,11040,7],"兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33b5ca75c2e2749bf8fcde90c4ee3fd5.jpg",[],{"id":11044,"slug":11045,"title":11046,"dynasty":3958,"author":88,"museum":147,"description":11047,"tags":11048,"thumbUrl":11049,"material":120,"size":120,"collection":120,"collections":11050,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":44},225308,"fu-shi-hui-38-yi-ming-225308","浮世绘38","幽蓝湖面漾着柔波，两艘渔舟悠然泛行。汀渚错落，松枝覆着薄雪，丹红枝桠点缀其间，为萧寒冬日晕开暖意。林峦掩映处隐着屋舍，静锁一湾幽谧湖泽。远景雪色铺陈，淡墨晕开的雪原尽头，富士山素净伫立，似遗世独立的白玉。\n\n画面以平远构景，留白铺就清寂冬韵，蓝白主调糅合暖棕朱红，消融了彻骨寒意，兼具装饰意趣与侘寂之美，将东瀛冬湖的幽玄诗意晕染开来，定格下雪后天地的安恬静美，尽显和风特有的清冷雅致。",[4328,4329,27,30,7,368,1169,679,132,4330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b7b6529e193e91b830fa1b2ab289206.jpg",[],{"id":11052,"slug":11053,"title":11054,"dynasty":87,"author":88,"museum":147,"description":11055,"tags":11056,"thumbUrl":11058,"material":190,"size":120,"collection":120,"collections":11059,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":408},218115,"fu-hua-luo-han-jiu-zhang-lao-xiang-8-yi-ming-218115","佛画·罗汉九长老像-8","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。",[23,24,2177,27,28,31,5414,2327,7,35,11057,9188],"供桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b406faa7129ceae6e7d0e534b5beee7.jpg",[],{"id":11061,"slug":11062,"title":11063,"dynasty":18,"author":10700,"museum":147,"description":10701,"tags":11064,"thumbUrl":11065,"material":543,"size":120,"collection":120,"collections":11066,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":408},217157,"shui-hu-quan-tu-38-du-jin-217157","水浒全图-38",[24,25,940,31,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d29047c3b0a726f5b6abf8a1af1095.jpg",[],{"id":11068,"slug":11069,"title":11070,"dynasty":18,"author":10700,"museum":147,"description":10701,"tags":11071,"thumbUrl":11072,"material":543,"size":120,"collection":120,"collections":11073,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":408},217149,"shui-hu-quan-tu-43-du-jin-217149","水浒全图-43",[24,25,53,29,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690c7ab4bdf5d3ffa78d1d6088dadabe.jpg",[],{"id":11075,"slug":11076,"title":11077,"dynasty":87,"author":88,"museum":10016,"description":11078,"tags":11079,"thumbUrl":11083,"material":190,"size":120,"collection":120,"collections":11084,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":82},215997,"di-jian-tu-shuo-cai-hui-ben-8-yi-ming-215997","帝鉴图说彩绘本-8","层叠的殿宇依山而建，朱红廊柱与青绿瓦当相映，蓝檐翘角衬着淡赭底色，晕染出古雅的宫廷气韵。上层殿堂内，端坐者似正凝思或训诫，侍从恭立两侧；下层松枝掩映，有人于水畔小亭对谈，或执卷沉思，动静相宜。画作以细腻笔触勾勒人物情态，明快设色铺陈场景，将历史典故转化为直观可感的画面，既见宫廷叙事的规整，又含生活气息的灵动，让帝王鉴戒的深意随笔墨流转，尽显传统彩绘本的艺术表现力与教化巧思。",[24,27,92,31,94,30,7,639,641,36,779,229,642,4559,5146,11080,11081,11082],"廊柱","门窗","人物活动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf7e366d9b7df0bc26401b4d5e0e5107.jpg",[],{"id":11086,"slug":11087,"title":11088,"dynasty":87,"author":88,"museum":10016,"description":11089,"tags":11090,"thumbUrl":11091,"material":190,"size":120,"collection":120,"collections":11092,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":82},215985,"di-jian-tu-shuo-cai-hui-ben-24-yi-ming-215985","帝鉴图说彩绘本-24","飞檐翘角的亭榭立于高台，红柱朱栏衬着雅致彩饰，案前人物或静立或围坐，神态从容间似在进行一场庄重交流。石阶蜿蜒连接上下，苍劲松枝斜出，与下层亭角相映成趣，添了几分古雅清韵。画面以细腻工笔描摹建筑细节，人物衣纹流畅宛然，色调柔和和谐，将旧时场景凝于绢素之上。既有宫廷的规整气象，又含传统绘画的清幽韵致，仿佛能透过绢帛窥见彼时的从容与肃穆，每一处线条与色彩都藏着对往昔场景的细腻还原。",[24,27,28,92,31,94,7,641,1029,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78cb1aa10c2f5d16276fc75627d2408c.jpg",[],{"id":11094,"slug":11095,"title":11096,"dynasty":87,"author":88,"museum":10016,"description":11097,"tags":11098,"thumbUrl":11100,"material":190,"size":120,"collection":120,"collections":11101,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":82},215983,"di-jian-tu-shuo-cai-hui-ben-22-yi-ming-215983","帝鉴图说彩绘本-22","青绿山峦层叠如染，松枝虬劲托着淡粉花影，庭院瓦舍半掩于树色间。院中人或凭案凝思，或缓步低语，衣袂轻扬间藏着文人意趣；坡上队伍衣甲鲜明，旌旗微展，似正踏过春山奔赴某处。色彩明丽却不艳俗，线条细腻勾画出人物情态与景物肌理，整幅画如一卷徐徐展开的旧梦，将历史场景凝在笔端。既有山水的悠然雅致，又藏着叙事的含蓄张力，仿佛能透过画纸听见那时的风声与低语，让人忍不住探知那段被时光定格的往事。",[24,27,28,115,31,94,30,36,639,229,35,7,175,11099],"人物互动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79869c761f6c8bf617a46f9ec95e19a.jpg",[],{"id":11103,"slug":11104,"title":11105,"dynasty":87,"author":88,"museum":10016,"description":11106,"tags":11107,"thumbUrl":11108,"material":190,"size":120,"collection":120,"collections":11109,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":82},215973,"di-jian-tu-shuo-cai-hui-ben-31-yi-ming-215973","帝鉴图说彩绘本-31","朱柱青瓦的殿宇前，雕栏环绕的台阁上，数人或立或语，神情肃然。阶下侍卫持戟而立，身姿挺拔，守护着庄重的氛围。旁侧苍松虬劲，枝叶扶苏，添了几分古雅。画面色彩温润古朴，线条细腻流畅，建筑规制与人物动态相映成趣，层次分明的构图将宫廷场景的肃穆与雅致悄然铺展，尽显传统绘画的笔墨意韵与历史厚重感。",[24,27,28,92,31,94,7,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a4a4f3246d20386b825a73815e52556.jpg",[],{"id":11111,"slug":11112,"title":11113,"dynasty":87,"author":88,"museum":10016,"description":11114,"tags":11115,"thumbUrl":11116,"material":190,"size":120,"collection":120,"collections":11117,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":82},215968,"di-jian-tu-shuo-cai-hui-ben-40-yi-ming-215968","帝鉴图说彩绘本-40","殿宇巍峨，朱红廊柱与青瓦飞檐相映，尽显皇家气派。主位端坐者气宇轩昂，两侧侍从衣袂轻垂，神态恭谨；阶下执戟卫士身姿挺拔，似守一方威仪。石阶纹路细腻，旁侧苍松虬劲，枝叶间漏下微光，为肃穆场景添几分生机。笔触工细，色彩雅致，既勾勒宫廷仪轨之庄重，又隐鉴戒之思。历史故事凝于尺幅，观者可于细节中感知古代帝王治世的仪范与智慧，体会画中藏着的治世箴言。每一处线条皆含匠心，每一抹色彩都蕴深意，让庄重的宫廷场景鲜活起来，成为连接古今的视觉纽带。",[73,24,25,27,92,28,31,94,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde673c10140ad8d9f142091908baa11a.jpg",[],{"id":11119,"slug":11120,"title":11121,"dynasty":87,"author":88,"museum":10016,"description":11122,"tags":11123,"thumbUrl":11124,"material":190,"size":120,"collection":120,"collections":11125,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":82},215942,"di-jian-tu-shuo-cai-hui-ben-61-yi-ming-215942","帝鉴图说彩绘本-61","远处宫阙隐于云霭之间，近处苍松虬劲，水岸开阔。人物群像鲜活生动：或立或跪，或低语议事，或躬身行礼，伞盖与马匹点缀其间，似是君臣巡行或问政的场景。工笔彩绘细腻雅致，衣袂纹理清晰，人物神态各异，将历史瞬间凝于绢素之上。松枝的苍劲与人物的鲜活相映成趣，云雾的朦胧与场景的真切交织，尽显传统叙事画的独特韵味，让观者仿佛能窥见往昔的庄重与生动，感受历史场景的温度。",[24,27,28,215,31,242,7,30,94,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbd66d9c327670a2ba6a89713b46a0d.jpg",[],{"id":11127,"slug":11128,"title":6891,"dynasty":18,"author":128,"museum":172,"description":11129,"tags":11130,"thumbUrl":11131,"material":120,"size":120,"collection":40,"collections":11132,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":11133},203173,"fang-gu-shan-shui-tu-ce-dong-qi-chang-203173","这幅山水以行书笔意贯串笔墨，线条清劲灵动，皴擦简淡却见层次。远山晕染出朦胧烟霭，近坡松针挺秀，林木错落间透着静谧幽深。画面左侧行书题跋与山水相映，文气与画意交融，尽显文人画的清雅空灵。整体取法宋元山水意趣，却以己意化之，于简淡中藏丘壑，于空灵处见生机，是“以书入画”“师古而化”的典型体现。",[24,25,215,53,30,7,29,54,131,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1df9a5afddd41477f715512b7e5095b8.jpg",[40],"c6beb9",{"id":11135,"slug":11136,"title":8487,"dynasty":87,"author":10726,"museum":172,"description":11137,"tags":11138,"thumbUrl":11139,"material":120,"size":120,"collection":120,"collections":11140,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":11141},203061,"shan-shui-ren-wu-ce-ni-tian-203061","苍松倚岸虬枝斜出，松针攒簇间墨色浓淡交织，显苍劲之姿。一舟轻泊水湄，舟中白衣人凭舷闲坐，似于烟水空濛处静赏景致，情态悠然。水面以细劲线条勾出微澜，衬得天地旷远。山石敷浅青绿晕染，松干暖褐与素袍留白相映，设色淡雅却层次分明。笔墨简逸含韵，人物闲态与山水之静相融，尽显文人寄情林泉的幽远心境。",[24,27,53,31,116,30,7,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bffa31a0a1c1d27dc4ecc87b66edf49.jpg",[],"b39963",{"id":11143,"slug":11144,"title":11145,"dynasty":87,"author":1687,"museum":172,"description":11146,"tags":11147,"thumbUrl":11148,"material":120,"size":120,"collection":120,"collections":11149,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":11150},202400,"luo-fu-shan-qiao-tu-zhou-wang-hui-202400","罗浮山樵图轴","这幅山水以水墨为韵，皴染交织间铺展层峦叠嶂。峰崖肌理借皴法尽显苍劲，松枝虬曲盘结于岩畔，枝叶葱茏带生趣。山间溪流隐现于林麓，云雾轻笼添幽深，整体意境清旷而富文人雅趣。笔墨灵动兼具骨力，树木勾勒细致，山石皴擦见质感，于方寸间藏自然丘壑之美。",[24,30,53,54,7,35,74,26,257,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53cbd0909683a564214639f9822f372c.jpg",[],"cfb697",{"id":11152,"slug":11153,"title":11154,"dynasty":18,"author":298,"museum":172,"description":11155,"tags":11156,"thumbUrl":11157,"material":120,"size":120,"collection":120,"collections":11158,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":11159},201416,"si-jia-ji-jin-juan-shen-zhou-201416","四家集锦卷","画面以淡墨勾染山水轮廓，皴擦交错间尽显山石苍劲肌理。岸边老松虬枝盘曲，松针以浓墨点簇，古意盎然。江中孤舟轻漾，舟上二人对坐，似论道品茗，逸趣横生。远处山峦层叠，留白处云雾隐现，虚实相生间营造空灵悠远之境。笔墨淡雅却韵味醇厚，将文人寄情山水的闲逸心境融入尺幅，尽显传统山水画的诗意哲思与笔墨情致。",[24,53,30,116,31,7,54,132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc695a75b3510c6adec31059db2dcd4ad.jpg",[],"a59c90",{"id":11161,"slug":11162,"title":11163,"dynasty":87,"author":88,"museum":147,"description":11164,"tags":11165,"thumbUrl":11166,"material":118,"size":119,"collection":120,"collections":11167,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":82},290162,"shi-zi-tu-yi-ming-290162","狮子图","此图瑞兽造型奇趣，迥异写实雄狮。它面含憨态，双耳宽如垂扇，蓬卷鬃毛以浓淡墨色晕染堆叠，蓬松厚重如覆绒毡。躯体壮硕敦实，肌肉线条柔缓却暗含劲力，蜷曲上扬的长尾，带着不怒自威的气场，却又因圆钝的神态消解了凶戾，尽显拙朴萌态。\n背景以工笔绘山野幽境，苍松虬劲、流泉卷云，皴石施色雅致沉着，衬出瑞兽的超然气场。整体设色暖润细腻，工写兼具，将古人对瑞狮的浪漫想象与工整技法相融，意趣与匠气兼具。",[24,25,73,28,27,961,4173,7,35,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc01b095a90d149a869114cef66deb4b7.jpg",[],{"id":11169,"slug":11170,"title":11171,"dynasty":87,"author":88,"museum":147,"description":11172,"tags":11173,"thumbUrl":11175,"material":118,"size":119,"collection":120,"collections":11176,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":44},288190,"bo-lin-cai-hui-tu-ce-si-yi-ming-288190","伯麟彩绘图册(四)","崖畔双松苍劲挺秀，山坳间三位边地夷人席地围坐。二人正摆弄餐食，一人合掌致意，竹篮置于身侧，野席陈放的饭食，让清寂山水晕开质朴烟火暖意。\n\n此画以工笔淡彩晕染，人物情态鲜活生动，将边地族群尚美食、重报本的古朴风习，融于雅致山水小景之中，以日常纪实的视角，尽显边地淳厚悠然的生息意趣，将西南边地的民俗风情悄然铺展于绢上。",[24,215,27,31,30,7,11174,188],"民俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F754940aea494e9bad8b05a7a3dfe8b99.jpg",[],{"id":11178,"slug":11179,"title":11180,"dynasty":87,"author":88,"museum":147,"description":10161,"tags":11181,"thumbUrl":11182,"material":118,"size":119,"collection":120,"collections":11183,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":82},281525,"lv-di-song-he-tu-qi-bao-shao-pie-kou-ping-yi-ming-281525","绿地松鹤图七宝烧撇口瓶",[10508,4852,27,7,776,667],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe189dc6c5d94daf90839b2f3d5c9a092.jpg",[],{"id":11185,"slug":11186,"title":11187,"dynasty":87,"author":88,"museum":147,"description":11188,"tags":11189,"thumbUrl":11191,"material":118,"size":119,"collection":120,"collections":11192,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":82},281504,"ri-ben-zhi-rong-shan-shui-tu-zhou-yi-ming-281504","日本织绒山水图轴","这幅织绒山水取峡谷秋景，两侧危崖壁立，苍松扎根石罅，丹黄秋叶晕染出暖融融的秋意，与冷灰色岩崖形成鲜明冷暖对冲。谷底湍流击石，浪涛翻涌，远处峰峦隐在烟霭之中，虚实相生。\n\n织绒工艺精妙复刻山石嶙峋肌理、林木深浅层次，将东方山水的空寂禅意融入绒线经纬之间。兼具日式山水的幽寂诗意与宋元山水的雄浑气度，仿佛能耳闻涧水轰鸣、山风穿林动叶，把秋日溪山的辽远苍茫，定格成触手可及的温润质感。",[26,27,30,3197,11190,258,95,7,261,56,2178],"峡谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f8a69733a1c2285f4fb9e4850df1d53.jpg",[],{"id":11194,"slug":11195,"title":11196,"dynasty":87,"author":88,"museum":147,"description":11197,"tags":11198,"thumbUrl":11200,"material":118,"size":119,"collection":120,"collections":11201,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":408},273314,"jin-qi-he-shi-huo-lian-yi-ming-273314","金漆盒式火燫","此件以黑漆为底，一侧戗金饰缠枝叶纹，卷转柔婉，似携春日生机；另一侧描金仙鹤苍松，仙鹤姿态翩跹灵动，苍松虬枝古劲，暗合长寿祥瑞之意。\n\n漆面莹润内敛，戗金走线细腻流畅，构图疏密相宜，将日常随身的实用器物，以雅致工艺晕染出文趣格调。把吉祥寓意藏于方寸器物之中，尽显清代髹漆工艺的精巧工致，是实用性与审美意趣相融的小品佳作。",[8222,11199,8221,563,7,8013],"金漆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F562136673732ca4ccb4fe7bf3071c1a7.jpg",[],{"id":11203,"slug":11204,"title":11205,"dynasty":87,"author":88,"museum":147,"description":11206,"tags":11207,"thumbUrl":11208,"material":118,"size":119,"collection":120,"collections":11209,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":82},272996,"zi-tan-bian-fa-lang-gua-ping-yi-ming-272996","紫檀边珐琅挂屏","金底澄澈如凝霜，冬山素雪覆层峦，青白山岩似玉琢冰雕，苍松虬劲翠色凌霜，枯木疏枝衬出冬日清寂。板桥跨寒溪，红袍策蹇徐行，旅人孤影融于荒寒山色间。右上角题诗清隽，与冷寂雪景相生，晕染出冬日行旅的幽寂况味。\n\n珐琅彩料填色匀净明丽，堆塑出山石林木的肌理层次，浅浮雕质感让景致错落立体，将冬日山水的清旷淡远与文人意趣揉合一处，是融精湛工艺与清雅画意的精妙之作。",[10442,8984,5319,27,30,32,31,242,367,7,365,188,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b94097600ccab82723dec43700e82f7.jpg",[],{"id":11211,"slug":11212,"title":11213,"dynasty":87,"author":88,"museum":147,"description":10143,"tags":11214,"thumbUrl":11216,"material":118,"size":119,"collection":120,"collections":11217,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":194},270016,"zhu-diao-guan-pu-tu-bi-tong-yi-ming-270016","竹雕观瀑图笔筒",[10145,8013,9336,31,7,3073,11215],"山林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31144108990278ecc110040941ab00a8.jpg",[],{"id":11219,"slug":11220,"title":11221,"dynasty":87,"author":88,"museum":147,"description":10143,"tags":11222,"thumbUrl":11223,"material":118,"size":119,"collection":120,"collections":11224,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":82},269976,"zhu-he-kuan-zhu-diao-ren-wu-tu-bi-tong-yi-ming-269976","朱鹤款竹雕人物图笔筒",[10145,8013,1250,31,7,35,7404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8efece00770b46663ec530de12ab7c4d.jpg",[],{"id":11226,"slug":11227,"title":11228,"dynasty":87,"author":88,"museum":147,"description":11229,"tags":11230,"thumbUrl":11233,"material":118,"size":119,"collection":120,"collections":11234,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":44},269852,"zhu-gen-diao-song-shu-shi-bei-yi-ming-269852","竹根雕松树式杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[11231,8013,11232,7,8984,1250],"竹根雕","饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43cee80cfcb85cc750e9c039c3e1dee4.jpg",[],{"id":11236,"slug":11237,"title":11238,"dynasty":87,"author":88,"museum":147,"description":11239,"tags":11240,"thumbUrl":11242,"material":118,"size":119,"collection":120,"collections":11243,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":82},269610,"ya-diao-song-shu-xing-zhen-zhi-yi-ming-269610","牙雕松树形镇纸","此作随形施艺，将牙料温润质感与苍松古意相融。一侧摹拟老松截断面，糙面嶙峋，尽显枯槁苍劲的岁月质感；另一侧虬枝盘绕舒展，松鳞斑驳层叠，松针排布细密灵动，圆雕与浅浮雕结合，刀法圆熟洗练。整体既保留牙材素净底色，又把苍松虬曲古拙的姿态刻画入微，将山林野趣凝于方寸，化作文房案头清玩，沉静古朴间，尽显文人雅室的闲淡意韵。",[8013,10461,1250,7,11241],"镇纸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab424087e19ef7e585015f66fad286bd.jpg",[],{"id":11245,"slug":11246,"title":11247,"dynasty":87,"author":88,"museum":147,"description":10143,"tags":11248,"thumbUrl":11250,"material":118,"size":119,"collection":120,"collections":11251,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":82},269361,"zi-tan-tou-diao-shan-shui-tu-fang-bi-tong-yi-ming-269361","紫檀透雕山水图方笔筒",[8984,8013,11249,9336,7404,30,161,7],"透雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42f8afa52c781c267fa080c8307fcaeb.jpg",[],{"id":11253,"slug":11254,"title":11255,"dynasty":87,"author":88,"museum":147,"description":10143,"tags":11256,"thumbUrl":11257,"material":118,"size":119,"collection":120,"collections":11258,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":408},269265,"zhu-jie-shi-ke-song-shu-ren-wu-bi-tong-yi-ming-269265","竹节式刻松树人物笔筒",[10148,8013,9336,7,31,8728],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd5ac5632f361f43d2184600db972346.jpg",[],{"id":11260,"slug":11261,"title":11262,"dynasty":87,"author":88,"museum":147,"description":11263,"tags":11264,"thumbUrl":11266,"material":118,"size":119,"collection":120,"collections":11267,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":408},269258,"zhu-diao-liu-qing-xian-ren-tu-bi-ge-yi-ming-269258","竹雕留青仙人图臂搁","留青技法运用精妙，以竹肤留作画面肌理，褪青衬底，明暗层次分明。画面上部危崖崔嵬，流云舒卷，仙人乘云徐行，衣袂翩跹，飘然出尘；下部惊涛拍岸，古松虬枝蟠曲，松下高士凭崖观浪，童子垂首侍立，山海壮阔与林下幽情相融无间。刀工细腻写实，将山石嶙峋、松针苍劲、人物神态皆刻画入微，既有山水画的悠远意境，又尽显竹雕工艺的雅致精巧，把仙道隐逸的清逸氛围感烘托得淋漓尽致，是颇具意趣的清代竹刻佳制。",[10145,8013,11265,7810,30,7,2609,7404],"留青技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F501674086f4ca4e28bd1dfa790ce0fb4.jpg",[],{"id":11269,"slug":11270,"title":11271,"dynasty":87,"author":88,"museum":147,"description":9333,"tags":11272,"thumbUrl":11273,"material":118,"size":119,"collection":120,"collections":11274,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":408},261666,"qing-hua-song-ying-tu-zha-dou-yi-ming-261666","青花松鹰图渣斗",[8011,1250,8221,9335,7,343],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3977509f6f7ffb5617742275998a4ebf.jpg",[],{"id":11276,"slug":11277,"title":11278,"dynasty":87,"author":88,"museum":147,"description":9333,"tags":11279,"thumbUrl":11282,"material":118,"size":119,"collection":120,"collections":11283,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":82},261501,"qing-hua-he-lu-tong-chun-tu-gai-guan-yi-ming-261501","青花鹤鹿同春图盖罐",[8011,9335,563,1458,30,7,11280,11281],"盖罐","吉祥寓意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd245e7b7196e9b28a6ed77195170cd55.jpg",[],{"id":11285,"slug":11286,"title":11287,"dynasty":18,"author":88,"museum":147,"description":9333,"tags":11288,"thumbUrl":11290,"material":118,"size":119,"collection":120,"collections":11291,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":82},260468,"chang-chun-jia-qi-kuan-qing-hua-shuang-lu-song-qin-wen-wan-yi-ming-260468","长春佳器款青花双鹿松禽纹碗",[8011,9335,11289,95,1458,7,8221],"碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2661ebf9547fbacbeafc55cfff292e0.jpg",[],{"id":11293,"slug":11294,"title":11295,"dynasty":87,"author":88,"museum":147,"description":10161,"tags":11296,"thumbUrl":11301,"material":118,"size":119,"collection":120,"collections":11302,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":82},260184,"su-san-cai-tu-ling-zhi-wen-guan-er-ping-yi-ming-260184","素三彩凸灵芝纹贯耳瓶",[8011,11297,11298,11299,7,777,11300,1250],"素三彩","贯耳瓶","凸雕","瑞兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F724cee5ef2dfd4b231bd0531d8e1b072.jpg",[],{"id":11304,"slug":11305,"title":11306,"dynasty":87,"author":88,"museum":147,"description":9333,"tags":11307,"thumbUrl":11308,"material":118,"size":119,"collection":120,"collections":11309,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":408},259667,"qing-hua-ba-xian-zhu-shou-tu-wan-yi-ming-259667","青花八仙祝寿图碗",[8011,9335,10164,2026,30,7,32,33,3061,1250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60e3970c3669c07e9223879d36e35c9d.jpg",[],{"id":11311,"slug":11312,"title":11313,"dynasty":87,"author":88,"museum":147,"description":8009,"tags":11314,"thumbUrl":11315,"material":118,"size":119,"collection":8016,"collections":11316,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":408},258983,"yi-xing-yao-zi-sha-yu-ti-shi-song-shu-shan-shi-tu-hu-yi-ming-258983","宜兴窑紫砂御题诗松树山石图壶",[8011,8012,8013,7,35,188],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484553ad71b20dcd57ef010fe8917341.jpg",[8016],{"id":11318,"slug":11319,"title":11320,"dynasty":337,"author":88,"museum":147,"description":11321,"tags":11322,"thumbUrl":11323,"material":118,"size":119,"collection":120,"collections":11324,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":408},258904,"yi-shou-tang-kuan-fen-cai-ren-wu-tu-deng-long-zun-yi-ming-258904","颐寿堂款粉彩人物图灯笼尊","尊，今作樽，是商周时代中国的一种大中型盛酒器。青铜器，尊的形制圈足，圆腹或方腹，长颈，敞口，口径较大。尊盛行于商代至西周时期，春秋后期已经少见。较著名的有四羊方尊。商周至战国时期，还有另外一类形制特殊的盛酒器—彝。彝通常呈鸟兽状，有羊、虎、象、豕、牛、马、鸟、雁、凤等形象。《周礼·春官·司尊彝》：“春祠夏禴，裸用鸡彝鸟彝......追享朝享，裸用虎彝蜼彝。”彝纹饰华丽，在背部或头部有尊盖。",[8011,10163,27,31,7,1250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a2c9ebbc0dcaf4271d3a2023847f86e.jpg",[],{"id":11326,"slug":11327,"title":11328,"dynasty":87,"author":88,"museum":147,"description":9333,"tags":11329,"thumbUrl":11332,"material":118,"size":119,"collection":120,"collections":11333,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":82},257948,"qing-hua-you-li-hong-pan-chi-shan-shui-tu-zun-yi-ming-257948","青花釉里红蟠螭山水图尊",[8011,9335,11330,30,11331,7,35,33,961,6503],"釉里红","蟠螭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76a653ad38d5a1a39007c56a1231d8eb.jpg",[],{"id":11335,"slug":11336,"title":11337,"dynasty":87,"author":88,"museum":147,"description":11338,"tags":11339,"thumbUrl":11342,"material":118,"size":119,"collection":120,"collections":11343,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":82},255580,"ci-shan-shi-song-shu-da-mo-zuo-xiang-yi-ming-255580","瓷山石松树达摩坐像","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[8011,11340,2177,11341,7,35],"雕塑","达摩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf48c25486841eaa0c71dbac61cd3565.jpg",[],{"id":11345,"slug":11346,"title":11347,"dynasty":87,"author":88,"museum":147,"description":11348,"tags":11349,"thumbUrl":11353,"material":118,"size":119,"collection":120,"collections":11354,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":44},252679,"xiu-yu-chui-xiao-xing-feng-tu-shan-zi-yi-ming-252679","岫玉吹箫行风图山子","玉质温润凝腻，带天然俏色。作者随形施艺，将透雕与圆雕技法相融，把仙林逸境凝于方寸。古松盘虬苍劲，仙鹤灵动欲飞，执箫仙人衣袂翩跹，仿佛正驭风而行，清越箫音似随山形漫溢而出。\n整器层次错落玲珑，巧借玉料天然色泽区分山石草木，朴拙中见精巧雅致，将乘鹤游仙的出尘意趣尽数勾勒，静中藏动，尽显玉雕工艺匠心与古典审美意韵。",[10443,1250,8013,11249,11350,7,776,31,35,439,11351,11352],"圆雕","仙逸","俏色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb50f4507f96d6d9edffa01b23d0674bb.jpg",[],{"id":11356,"slug":11357,"title":11358,"dynasty":18,"author":88,"museum":147,"description":10763,"tags":11359,"thumbUrl":11360,"material":118,"size":119,"collection":120,"collections":11361,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":44},252043,"qing-yu-tou-diao-song-xia-tian-guan-qian-jian-yi-ming-252043","青玉透雕松下天官嵌件",[10443,11249,31,7,8727],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26e6d6c0220b568ce24201eaceb039c8.jpg",[],{"id":11363,"slug":11364,"title":11365,"dynasty":87,"author":88,"museum":147,"description":11366,"tags":11367,"thumbUrl":11369,"material":118,"size":119,"collection":120,"collections":11370,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":408},251945,"lv-song-shi-song-xia-lao-ren-tu-shan-zi-yi-ming-251945","绿松石松下老人图山子","依料施艺，随形镂雕林泉高隐图景。苍松虬曲古劲，山石层叠错落，老者幽坐松下，静享林泉雅致，将文人栖隐林下的意趣凝于松石之间。青绿石色澄澈莹润，局部俏色蓝斑点缀，更添灵动古雅。底座透雕缠枝纹，与山子浑然呼应，衬出清逸格调。整体因势造型，工意相融，将世外幽居的隐逸之思定格于一方松石，尽显清代工艺与文人雅趣交融的精巧意韵。",[10443,8013,7,31,11368],"山子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bb1969a05363ddc306d240b6a0f8de0.jpg",[],{"id":11372,"slug":11373,"title":11374,"dynasty":87,"author":88,"museum":147,"description":11375,"tags":11376,"thumbUrl":11377,"material":118,"size":119,"collection":120,"collections":11378,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":82},251788,"qian-long-yu-ti-he-ban-bai-yu-fu-diao-jiu-song-tu-cha-ping-yi-ming-251788","乾隆御题褐斑白玉浮雕“九松图”插屏","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。\n以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[1029,10443,8013,11016,7,8983],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F455df3479fcd50557e48e0a4818fe686.jpg",[],{"id":11380,"slug":11381,"title":11382,"dynasty":87,"author":88,"museum":147,"description":11375,"tags":11383,"thumbUrl":11384,"material":118,"size":119,"collection":120,"collections":11385,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":82},251787,"bai-yu-tou-diao-song-shu-ren-wu-tu-cha-ping-yi-ming-251787","白玉透雕松树人物图插屏",[10443,11249,7,31,1250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88f32d3821fc5456e1739f968de561be.jpg",[],{"id":11387,"slug":11388,"title":11389,"dynasty":87,"author":88,"museum":147,"description":11390,"tags":11391,"thumbUrl":11392,"material":118,"size":119,"collection":120,"collections":11393,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":408},251144,"bi-yu-shou-yi-tu-shan-zi-yi-ming-251144","碧玉寿意图山子","取整料随形造境，层峦叠嶂以深浅浮雕铺展，崖壁错落见出山林幽深。苍松虬曲错落在岩壑之间，刀工细密，将松针簇簇的质感尽数雕琢而出，古意盎然。幽谷隐见山居小径，把林泉高致的悠然意趣藏于翠色之中。\n\n深碧玉色莹润清透，天然石质肌理与雕琢山势相融无间，人工巧思与璞玉天工浑然一体，将寄情林泉、祈愿福寿的雅趣凝于一方翠岫，静穆雅致，尽显案头清玩的文人情致。",[1029,8013,10443,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe2e128a25136d3dd88f95628b1e145b.jpg",[],{"id":11395,"slug":11396,"title":11397,"dynasty":18,"author":88,"museum":147,"description":10763,"tags":11398,"thumbUrl":11400,"material":118,"size":119,"collection":120,"collections":11401,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":408},251026,"qing-yu-diao-fu-lu-shou-shan-zi-yi-ming-251026","青玉雕福禄寿山子",[10443,8013,11399,11016,2577,31,1458,7,35,95],"山子雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bb945283d39c2cd4eebb83ced1f41d5.jpg",[],{"id":11403,"slug":11404,"title":11405,"dynasty":87,"author":88,"museum":147,"description":11406,"tags":11407,"thumbUrl":11409,"material":118,"size":119,"collection":120,"collections":11410,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":408},250482,"qing-jin-shi-song-quan-ren-wu-shan-zi-yi-ming-250482","青金石松泉人物山子","取料凝萃浓艳宝蓝，自带沉静雍容的质感。随形施艺，将林泉雅境收于方寸石间。危崖层叠苍劲，古松虬枝舒展，石阶蜿蜒探入幽处，雅士凭崖对坐，似静听松风泉鸣。山巅茅舍隐现，尽揽幽寂高逸的文人意趣。刀工圆融细腻，依石色纹理勾勒山水层次，将天然石韵与文人山水意趣相融，把咫尺顽石化作林下丘壑，尽显天人合一的造物哲思，是料美工绝的雕刻佳制。",[11408,10443,8013,30,7,31,35,94,2778,1250],"青金石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e6fce0e8d62d9f5f7414702a1c47d8c.jpg",[],{"id":11412,"slug":11413,"title":11414,"dynasty":18,"author":88,"museum":147,"description":11415,"tags":11416,"thumbUrl":11418,"material":118,"size":119,"collection":120,"collections":11419,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":408},248878,"kuan-cai-ai-e-tu-cha-ping-yi-ming-248878","款彩爱鹅图插屏","此作以款彩工艺铺陈羲之爱鹅典故，黑漆为底填施彩漆，描金勾勒筋骨。雅士与凌波而行的童子相映，童子怀拥白鹅，二人神态悠然相和。虬劲松枝斜探，青绿山水晕染出雅致湖山之景。边框描金螭纹团纹环饰，华丽古雅。构图疏密相宜，将魏晋名士的风流逸趣藏于漆色晕染中，把文人慕鹅的雅事定格于髹漆木面，尽显古雅精细的审美意趣，是兼具叙事性与装饰性的漆绘佳例。",[73,24,27,11417,8222,31,10969,7,35],"款彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02e48edfacbe06449491f9dfb82b8740.jpg",[],{"id":11421,"slug":11422,"title":11423,"dynasty":87,"author":88,"museum":147,"description":11424,"tags":11425,"thumbUrl":11428,"material":118,"size":119,"collection":120,"collections":11429,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":82},246426,"ti-hong-song-shi-ying-xi-tu-yuan-he-yi-ming-246426","剔红松石婴戏图圆盒","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",[87,8222,8013,11426,7,344,11427,31,1250],"剔红","婴孩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56caa1ea590d1f278cafb2197355f928.jpg",[],{"id":11431,"slug":11432,"title":11433,"dynasty":87,"author":11434,"museum":147,"description":11435,"tags":11436,"thumbUrl":11437,"material":118,"size":119,"collection":120,"collections":11438,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":44},240306,"zheng-qin-shu-zha-shi-han-juan-huang-zong-xi-240306","郑溱书札诗翰卷","黄宗羲","黄宗羲（1610年9月24日－1695年8月12日），浙江余姚人，字太冲，一字德冰，号南雷，别号梨洲老人、梨洲山人、蓝水渔人、鱼澄洞主、双瀑院长、古藏室史臣等，学者称“梨洲先生”。明遗民。明末清初经学家、史学家、思想家、地理学家、天文历算学家、教育家。“东林七君子”之一黄尊素长子。\n黄宗羲提出“天下为主，君为客”的民主思想。他说“天下之治乱，不在一姓之兴亡，而在万民之忧乐”，主张以“天下之法”取代皇帝的“一家之法”，从而限制君权，保证人民的基本权利。黄宗羲的政治主张抨击了封建君主专制制度，有极其重要的意义，对其后反专制斗争起了积极的推动作用。\n黄宗羲与顾炎武、王夫之、唐甄并称“明末清初四大启蒙思想家”，与顾炎武、方以智、王夫之、朱舜水并称为“明末清初五大家”，与陕西李颙、直隶容城孙奇逢并称“海内三大鸿儒”，亦有“中国思想启蒙之父”之誉。",[23,186,25,53,29,8427,6801,34,30,116,7,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc464c77b2698f5e28a42d02a0f2fdaf.jpg",[],{"id":11440,"slug":11441,"title":3781,"dynasty":87,"author":11442,"museum":147,"description":11443,"tags":11444,"thumbUrl":11445,"material":120,"size":120,"collection":120,"collections":11446,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":44},239549,"shan-shui-ce-mei-geng-239549","梅庚","此作以淡墨枯笔绘就幽林山径，虬松盘曲于危石之间，枝桠苍劲灵动，山道蜿蜒隐现林麓。策杖行人缓行其间，萧寒空寂的山林意境扑面而来。画面以简淡笔墨勾勒山石肌理，淡墨晕染出空濛山岚，尽显幽寂萧散之致。\n\n上方行书题跋笔意疏朗隽秀，书画相映成趣。整幅以意驭笔，将寻幽访胜的雅趣藏于冷寂山水，澹泊空远的林下之风溢于纸间，尽显文人画以简驭繁、以意取胜的逸韵，观之如亲身步入林谷，静品清奇山境与澹泊心境交融之美。",[73,24,25,215,53,54,30,7,31,57,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdee35d78dc3d7560d93b703b085963d1.jpg",[],{"id":11448,"slug":11449,"title":11450,"dynasty":87,"author":11451,"museum":147,"description":11452,"tags":11453,"thumbUrl":11454,"material":118,"size":119,"collection":120,"collections":11455,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":44},239468,"qing-chu-shi-si-jia-shu-hua-ji-jin-ce-shan-shui-ce-ye-wu-lin-239468","清初十四家书画集锦册-山水册页","吴麐","字栗园，一作栗原，一字荛圃，安徽歙县籍，家江西景德镇。二、[清]字仁趾，天都（今安徽歙县）右姓，隶籍广陵（今江苏扬州）。",[24,25,215,29,53,54,30,7,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d482443f0fd978a4ac52d5a00b4276f.jpg",[],{"id":11457,"slug":11458,"title":3781,"dynasty":87,"author":10526,"museum":147,"description":11459,"tags":11460,"thumbUrl":11462,"material":120,"size":120,"collection":120,"collections":11463,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":44},239347,"shan-shui-ce-lin-fu-chang-239347","此作以浅绛设色晕染山峦，花青铺陈草木苍润生机，赭石淡扫坡岸暖意。苍松错落挺拔，笔墨工写兼具，挺劲的松针勾勒出古木风神。屋舍隐于林麓之间，寥寥数笔便绘出幽居之态。近处分垄田亩淡墨轻描，江面渔翁独钓，衬出天地空阔安闲。整体色调清雅柔和，无浓艳堆砌，将江南烟霭淡荡的野趣融于尺幅，笔墨简淡却意韵悠长，尽显林泉幽居的清寂出尘之美，寄寓着文人栖隐山水的澹泊意趣。",[73,24,25,215,27,54,30,36,7,175,32,31,11461,150],"田地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0696a9122de8c610418115de6e914537.jpg",[],{"id":11465,"slug":11466,"title":8920,"dynasty":87,"author":11451,"museum":147,"description":11467,"tags":11468,"thumbUrl":11469,"material":120,"size":120,"collection":120,"collections":11470,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":44},239306,"fang-gu-shan-shui-ce-wu-lin-239306","吴麐（1691～1772），字粟园，一作粟原，一字尧圃，安徽歙县籍，家江西景德镇。其家有景德镇古窑，与唐熊年三窑并称吴窑。山水学黄公望，以疏散简淡为主，用墨干湿相参不见痕迹，长于小幅，若大幅则病其翠弱，亦不多见。生平有古君子风，老客扬州汪贻士家。",[24,53,54,215,30,7,35,187,258,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86ceeadfbc91ee1a7c7422647cfe58ad.jpg",[],{"id":11472,"slug":11473,"title":8920,"dynasty":87,"author":11451,"museum":147,"description":11467,"tags":11474,"thumbUrl":11475,"material":120,"size":120,"collection":120,"collections":11476,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":44},239304,"fang-gu-shan-shui-ce-wu-lin-239304",[24,25,53,215,54,131,30,7,35,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde19f63c79dd82e0bfa26caab788fa86.jpg",[],{"id":11478,"slug":11479,"title":4446,"dynasty":87,"author":10179,"museum":147,"description":11480,"tags":11481,"thumbUrl":11482,"material":118,"size":119,"collection":120,"collections":11483,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":44},239155,"shan-shui-hua-hui-ce-chen-heng-ke-239155","陈师曾（1876年3月12日—1923年9月17日），男，原名衡恪，字师曾，号朽道人、槐堂，江西南昌义宁（今江西修水）人，著名美术家、艺术教育家。\n陈师曾出身书生门第，祖父是湖南巡抚陈宝箴，父亲是著名诗人陈三立。1902年东渡日本留学，1909年回国，任江西教育司长。从1911年2月至1913年4月，他受南通张謇之邀，至通州师范学校（今南通师范学校）任教，专授博物课程。1913年又赴长沙第一师范任课，后至北京任编审员之职。先后兼任北京女子高等师范学校、北京高等师范学校、北京美术专门学校教授。1923年9月为奔母丧回南京，不幸染病逝世，终年仅47岁。",[24,25,215,53,29,34,54,30,7,275,57,1962],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0ea724bc454d10e8804f9bfe42a487c.jpg",[],{"id":11485,"slug":11486,"title":3781,"dynasty":87,"author":5263,"museum":147,"description":8693,"tags":11487,"thumbUrl":11488,"material":118,"size":119,"collection":120,"collections":11489,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":44},238701,"shan-shui-ce-dong-bang-da-238701",[24,53,30,54,215,32,33,7,35,175,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F317b091f73ff7b2d29215c59452c50f5.jpg",[],{"id":11491,"slug":11492,"title":3781,"dynasty":87,"author":5263,"museum":147,"description":8693,"tags":11493,"thumbUrl":11494,"material":118,"size":119,"collection":120,"collections":11495,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":44},238698,"shan-shui-ce-dong-bang-da-238698",[24,53,54,215,132,133,55,36,7,74,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0642f435e06708383640bbb83432e9d1.jpg",[],{"id":11497,"slug":11498,"title":3781,"dynasty":87,"author":5263,"museum":147,"description":8693,"tags":11499,"thumbUrl":11500,"material":120,"size":120,"collection":120,"collections":11501,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":44},238305,"shan-shui-ce-dong-bang-da-238305",[73,24,25,215,53,54,30,7,288,116,5424,2249,33,35,2747],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb970ef7d0b22f9ba3bbfe498288384c6.jpg",[],{"id":11503,"slug":11504,"title":11505,"dynasty":87,"author":11506,"museum":147,"description":11507,"tags":11508,"thumbUrl":11509,"material":118,"size":119,"collection":120,"collections":11510,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":44},237473,"shan-shui-hua-shi-ce-wang-han-237473","山水花石册","王翰","王翰（公元687年~726年），字子羽，并州晋阳（今山西太原市）人，唐代边塞诗人。与王昌龄同时期，王翰这样一个有才气的诗人，其集不传。其诗载于《全唐诗》的，仅有14首。登进士第，举直言极谏，调昌乐尉。复举超拔群类，召为秘书正字。擢通事舍人、驾部员外。出为汝州长史，改仙州别驾。",[24,25,215,53,29,34,30,35,7,36,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F546360fd908b2170785d156a27de7129.jpg",[],{"id":11512,"slug":11513,"title":11514,"dynasty":87,"author":88,"museum":147,"description":11515,"tags":11516,"thumbUrl":11519,"material":118,"size":119,"collection":120,"collections":11520,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":82},237260,"ming-chen-gu-shi-deng-xu-ti-song-ce-yi-ming-237260","名臣故事邓旭题颂册","此作右幅绘松石林下，二人晤对，踞坐者持盏似有所言，立者抬手应和，衣袂翩然神态悠然。古松虬枝斜曳、皮皴苍古，山石以浅绛晕染，清润秀雅，晕染间尽显幽旷林下意趣。左幅行书笔墨舒展朗润，诗与画两相呼应，文气悠悠流淌。整作以淡逸笔触铺就贤士交游之景，书画合璧，将林下清谈的恬然古意晕开，尽透着古典文人雅致的审美情致，是融叙事与抒情于一体的雅致小品。",[24,25,215,27,31,7,35,188,29,11517,11518,2820,28],"坐姿人物","立姿人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc08c1b9a60d2b5cda22d97ce61f09df4.jpg",[],{"id":11522,"slug":11523,"title":11524,"dynasty":87,"author":11525,"museum":147,"description":11526,"tags":11527,"thumbUrl":11528,"material":120,"size":120,"collection":120,"collections":11529,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":44},236743,"shan-shui-wan-shan-chen-yan-shu-236743","山水纨扇","陈衍庶","此作用水墨写就丘壑，团扇尺幅里铺展山林幽境。以干笔皴擦勾勒山石肌理，披麻皴带出苍朴质感，远山以淡墨晕染，虚实相映，将山岚空濛之态藏于留白间。近坡虬松错落，林木蓊郁，崖谷间隐见涧水，暗合听泉寻幽之趣。\n\n左上题款墨色沉凝，与画面淡润笔调相映，文气悠悠。整体萧散简远，以笔墨写胸中丘壑，不着意实景刻画，只以清润淡远的意韵传递林下幽居的隐逸心绪，尽显文人山水的雅逸风神。",[24,678,53,30,54,35,36,134,33,7,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1939249652ac833fe6e4dedf9382f96c.jpg",[],{"id":11531,"slug":11532,"title":8289,"dynasty":87,"author":9827,"museum":89,"description":9828,"tags":11533,"thumbUrl":11535,"material":246,"size":120,"collection":120,"collections":11536,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":44},234735,"huang-shan-tu-ce-jiang-zhu-234735",[24,53,54,215,30,7352,11534,7,134,702,150,74],"怪岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfa7acfd4a542431238c1ed9abb6944a.jpg",[],{"id":11538,"slug":11539,"title":8289,"dynasty":87,"author":9827,"museum":89,"description":9828,"tags":11540,"thumbUrl":11541,"material":246,"size":120,"collection":120,"collections":11542,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":44},234723,"huang-shan-tu-ce-jiang-zhu-234723",[24,25,215,27,30,54,275,7,56,36,188,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F193c40f0f9dfbf4ba799c09fd7f729ec.jpg",[],{"id":11544,"slug":11545,"title":3781,"dynasty":87,"author":7458,"museum":147,"description":7459,"tags":11546,"thumbUrl":11547,"material":120,"size":120,"collection":120,"collections":11548,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":44},234337,"shan-shui-ce-jin-ting-biao-234337",[24,25,215,53,27,30,54,275,7,574,134,188,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5555c65778c6b7dae7d67875a19994a3.jpg",[],{"id":11550,"slug":11551,"title":11552,"dynasty":18,"author":11553,"museum":147,"description":11554,"tags":11555,"thumbUrl":11556,"material":120,"size":120,"collection":120,"collections":11557,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":44},233588,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233588","十竹斋五色笺谱册","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。",[24,25,215,53,940,31,7,57,288,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd980a8067eafd4b76cd98fecc121eb32.jpg",[],{"id":11559,"slug":11560,"title":8289,"dynasty":87,"author":2475,"museum":89,"description":8290,"tags":11561,"thumbUrl":11562,"material":246,"size":8293,"collection":120,"collections":11563,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":44},233157,"huang-shan-tu-ce-mei-qing-233157",[24,73,53,54,30,7,161,35,36,134,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F098a29238b2f771e9bc73d9be6b2f031.jpg",[],{"id":11565,"slug":11566,"title":11567,"dynasty":3958,"author":88,"museum":147,"description":11568,"tags":11569,"thumbUrl":11570,"material":118,"size":119,"collection":120,"collections":11571,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":44},231811,"ri-guang-shan-tu-xia-juan-yi-ming-231811","日光山图下卷","此作为全景纪行山水，以鸟瞰视角铺展河岳胜状。蜿蜒江流以流畅往复的曲线摹写水势回旋奔涌，浪纹层叠尽显烟波灵动。两岸峰石以淡墨勾廓，青灰敷色晕出山峦肌理，苍松错落植于崖畔坡地，笔致简雅秀润。\n\n整作兼具纪实性与抒情意趣，既摹绘出河湾萦回的实景地貌，又以浅设色晕染出林泉幽深的雅境，江流回转间尽显造化灵韵，淡彩轻岚晕开静穆清旷的古意，暗含悠远超脱的林下襟怀。",[23,24,25,186,27,30,258,150,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0953a25ed12ed128374d5b5a49110ac6.jpg",[],{"id":11573,"slug":11574,"title":11575,"dynasty":3958,"author":88,"museum":147,"description":11576,"tags":11577,"thumbUrl":11578,"material":118,"size":119,"collection":120,"collections":11579,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":44},231705,"jiang-hu-shi-qi-shan-shui-ren-wu-juan-yi-ming-231705","江户时期 山水人物卷","这卷绘作融书画为一体，右侧设色山水清隽雅致，金箔晕染出水岸朦胧柔光，苍松石崖静立汀洲，笔墨轻简却带着幽远空寂的意境。左侧手书墨色温润柔雅，与绘景相映成趣，留白处金箔碎点如沙洲浮絮，晕开慵懒闲淡的侘寂氛围。整体将山水幽居之静与文思雅韵相融，淡墨轻色间藏着和风独有的闲寂意趣，晕染出一卷清和悠远的林下幽思。",[23,24,25,186,27,30,31,7,188,29,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2414dbd1ce707a942ef33860aad41545.jpg",[],{"id":11581,"slug":11582,"title":11583,"dynasty":3958,"author":11584,"museum":147,"description":11585,"tags":11586,"thumbUrl":11587,"material":118,"size":119,"collection":120,"collections":11588,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":82},231640,"shi-ting-shi-dai-tao-jing-zhi-quan-xiang-tu-zuo-guang-xin-231640","室町时代 桃井直诠像","土佐光信","室町时代（1338~1573）的著名大和绘（注1）画师土佐光信（1434~1525）向来被尊为妖怪画的开山宗师。室町时代，虽然中国宋元时期的宫廷水墨画（区别于“唐绘”，被称之为“汉画”）受到幕府的推崇，但以土佐光信为代表的正统大和绘画师也借鉴中国画的技巧，为势渐衰退的大和绘注入了新的活力。室町时代的大和绘取材已具有明显的世俗化特征，也更加注重装饰效果（这在一定程度上成为其后“浮世绘”诞生的先导），土佐光信的《百鬼夜行绘卷》正是充分体现了这两个特点的作品。",[24,25,26,27,31,7,2820,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceb0291c0fa26cf81ea3b414ab00eb4d.jpg",[],{"id":11590,"slug":11591,"title":11592,"dynasty":87,"author":88,"museum":147,"description":11593,"tags":11594,"thumbUrl":11596,"material":118,"size":119,"collection":120,"collections":11597,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":82},229894,"zhu-diao-ren-wu-chuan-yi-ming-229894","竹雕人物船","此作以竹根随形施艺，取仙槎为舟身，虬松盘绕错落，撑起世外幽境。舟中八仙各呈其态，持篙者身姿稳健、把盏对谈者怡然随性，衣褶纹路细腻流畅，刀工圆转灵透，将群仙恣肆逍遥的神韵尽数勾勒。\n\n深色底座雕作翻涌惊涛，衬出扁舟行于江海的从容悠然，动静相映更添意趣。匠人巧借竹材天然肌理，将材质之美与匠心妙思相融，把仙家乘舟夜游的逸韵定格，尽显清代竹雕工艺的精湛造诣。",[1029,10145,8013,929,31,11595,7],"船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6645880f5b0dd8429ccc598f38df1de.jpg",[],{"id":11599,"slug":11600,"title":11601,"dynasty":87,"author":88,"museum":147,"description":11602,"tags":11603,"thumbUrl":11605,"material":118,"size":119,"collection":120,"collections":11606,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":82},229220,"diao-gan-lan-he-song-yin-yu-le-shan-zhui-yi-ming-229220","雕橄榄核松阴渔乐扇坠","此件以方寸核材施艺，透雕出松阴渔乐图景。苍松盘曲虬劲，松针层叠如伞盖，将江畔晕染出静谧山林意趣。水畔渔人幽然盘坐，垂纶闲憩，隐逸之态刻画入微。\n器身留白处以浅刻纹饰呼应主题，顶盖小巧玲珑，金绳系身适配扇坠用途。整体疏密张弛有度，刀锋细腻精准，将林泉高致藏于这小小核中，把文人寄情山水的闲雅意趣凝在毫厘雕琢间，尽显微雕工艺的绝妙匠心。",[1029,8013,11604,7,317,8727],"橄榄核","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F208e4ca2f24bf45eb0cfdb9ecf87373b.jpg",[],{"id":11608,"slug":11609,"title":11610,"dynasty":87,"author":88,"museum":147,"description":11611,"tags":11612,"thumbUrl":11613,"material":118,"size":119,"collection":120,"collections":11614,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":82},229219,"diao-gan-lan-he-song-xia-gao-shi-shan-zhui-yi-ming-229219","雕橄榄核松下高士扇坠","此件微雕以寸许橄榄核为材，镂刻出松下幽居图景。虬曲古松苍劲舒展，枝桠间繁花粲然，高士安坐林泉侧，隐于烟林清景之中。构图饱满却毫无壅塞之感，运刀细腻流畅，将山林间的静雅闲逸尽数浓缩于方寸之内。作者以刀代笔，把文人寄情林泉的幽怀融于核雕之中，虽体量小巧，却意韵悠长，尽显微雕工艺的卓绝匠艺，将林下高士的隐逸雅趣凝练成可赏可佩的清玩，是兼具文心与工巧的精妙之作。",[87,8013,11604,7,31,8727],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f1fd9f3f9dc78a660a18208eb675da6.jpg",[],{"id":11616,"slug":11617,"title":11618,"dynasty":87,"author":5263,"museum":147,"description":11619,"tags":11620,"thumbUrl":11622,"material":120,"size":120,"collection":120,"collections":11623,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":82},228963,"fang-lu-guang-song-he-yun-tao-tu-dong-bang-da-228963","仿陆广松壑云涛图","此作以长卷铺展林壑幽境，古松虬曲苍劲，鳞皴老干擎起繁密松针，尽显凌寒风骨，错落扎根于嶙峋山石间。云气以淡墨勾留白，如素练流卷山谷，将层叠峰峦晕染出虚实层次，飞瀑自崖间奔泻而下，与流云动静相生。\n\n山石以干笔皴擦出苍厚质感，设色浅淡清雅，既有元人山水的萧散简远，又暗含规整雅致的笔墨法度，将松之苍、山之峻、云之柔、泉之动相融，铺陈出空山松涛翻涌、云气氤氲的幽绝尘嚣之景，引人身临其境，静听松风，坐观云起。",[23,24,186,30,27,54,7,35,11621,55,33,34,274],"云涛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312204cf7c5e2be0be0353f86c77c900.jpg",[],{"id":11625,"slug":11626,"title":11627,"dynasty":3958,"author":88,"museum":147,"description":11024,"tags":11628,"thumbUrl":11631,"material":118,"size":119,"collection":120,"collections":11632,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":44},225567,"fu-shi-hui-45-yi-ming-225567","浮世绘45",[4328,11629,27,365,7,31,11630],"美人画","日式建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F708891abee2c16ffe06d24f3338cc3d3.jpg",[],{"id":11634,"slug":11635,"title":11636,"dynasty":3958,"author":88,"museum":147,"description":11024,"tags":11637,"thumbUrl":11638,"material":118,"size":119,"collection":120,"collections":11639,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":44},225541,"fu-shi-hui-6-yi-ming-225541","浮世绘6",[4328,27,31,7,2132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19788235a1b91eb5140efbd3665c367.jpg",[],{"id":11641,"slug":11642,"title":11643,"dynasty":3958,"author":88,"museum":147,"description":11024,"tags":11644,"thumbUrl":11645,"material":118,"size":119,"collection":120,"collections":11646,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":44},225539,"fu-shi-hui-4-yi-ming-225539","浮世绘4",[4328,4329,27,31,2151,7,2706,887,2820,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2da5d4b29a46472150ae558f9a7293cd.jpg",[],{"id":11648,"slug":11649,"title":11650,"dynasty":3958,"author":88,"museum":147,"description":11024,"tags":11651,"thumbUrl":11653,"material":118,"size":119,"collection":120,"collections":11654,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":82},225509,"fu-shi-hui-267-yi-ming-225509","浮世绘267",[4328,4329,27,31,11652,2820,2706,7],"纹身","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523579531b58677c39f2b705b221cc9c.jpg",[],{"id":11656,"slug":11657,"title":11658,"dynasty":3958,"author":88,"museum":147,"description":11024,"tags":11659,"thumbUrl":11660,"material":118,"size":119,"collection":120,"collections":11661,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":44},225492,"fu-shi-hui-250-yi-ming-225492","浮世绘250",[4328,27,4329,31,94,7,4559,3001,9123],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76778b4af551d3b43c6a13124673cca1.jpg",[],{"id":11663,"slug":11664,"title":11665,"dynasty":87,"author":5263,"museum":20,"description":11666,"tags":11667,"thumbUrl":11669,"material":11670,"size":11671,"collection":120,"collections":11672,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":44},223109,"fang-zhao-ling-rang-chun-shan-cui-ai-zhou-dong-bang-da-223109","倣赵令穰春山翠霭轴","董邦达（1699－1769或1774）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。",[23,73,24,25,26,27,30,54,274,34,11668,135,258,116,175,35,7,778,36],"春山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a4b13e24fcb7ef928d5dd05b077a07e.jpg","轴 纸本 设色","133.2x63.5",[],{"id":11674,"slug":11675,"title":11676,"dynasty":87,"author":5263,"museum":20,"description":11666,"tags":11677,"thumbUrl":11678,"material":656,"size":11679,"collection":120,"collections":11680,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":44},223108,"fang-lu-guang-song-xi-yan-ai-juan-dong-bang-da-223108","仿陆广松溪烟霭卷",[23,73,24,25,186,27,53,54,30,7,74,6619,35,36,175,135,303],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a1adeb6ea1ae84d4822372e030d776c.jpg","23.5x229.5",[],{"id":11682,"slug":11683,"title":11684,"dynasty":87,"author":11685,"museum":147,"description":11686,"tags":11687,"thumbUrl":11688,"material":38,"size":120,"collection":120,"collections":11689,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":44},218010,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-8-ceng-yan-dong-218010","七道子山水人物画册18帧-8","曾衍东","曾衍东的作品大多描绘了山水风光，他喜欢运用细腻的笔法来捕捉山间的峰峦、河流的曲折和云雾的起伏。他的作品中常常出现清新的山水景观，充满了诗意和富有感染力的气氛。\n\n此外，曾衍东还经常画人物，他的人物画作品中常常出现的是闲适的书生或山民。他的人物画充满了生动的感情，能够真实地反映出人物的内心世界。",[23,24,25,215,53,54,30,36,175,35,7,134,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F965361650a5dbd07ade36015dd5ec3b8.jpg",[],{"id":11691,"slug":11692,"title":11693,"dynasty":69,"author":4839,"museum":299,"description":4840,"tags":11694,"thumbUrl":11695,"material":59,"size":4843,"collection":120,"collections":11696,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":44},217975,"shi-liu-ying-zhen-tu-12-fan-long-217975","十六应真图-12",[23,73,24,25,940,53,2177,31,7,2327,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a9734a74cb986d44860f93bbf18065a.jpg",[],{"id":11698,"slug":11699,"title":11700,"dynasty":18,"author":10700,"museum":147,"description":10701,"tags":11701,"thumbUrl":11702,"material":543,"size":120,"collection":120,"collections":11703,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":408},217135,"shui-hu-quan-tu-55-du-jin-217135","水浒全图-55",[24,25,215,940,31,57,7,3531],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01fb02be565ddd27399d144b1fd004c6.jpg",[],{"id":11705,"slug":11706,"title":11707,"dynasty":18,"author":10700,"museum":147,"description":10701,"tags":11708,"thumbUrl":11709,"material":543,"size":120,"collection":120,"collections":11710,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":408},217128,"shui-hu-quan-tu-66-du-jin-217128","水浒全图-66",[24,940,31,7,215,2577],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5d7923c43bff5a13a8b2e9949e3ce51.jpg",[],{"id":11712,"slug":11713,"title":11714,"dynasty":87,"author":88,"museum":10016,"description":11715,"tags":11716,"thumbUrl":11717,"material":190,"size":120,"collection":120,"collections":11718,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":82},215994,"di-jian-tu-shuo-cai-hui-ben-11-yi-ming-215994","帝鉴图说彩绘本-11","朱门映碧瓦，雕栏绕玉阶，殿宇巍峨间，帝王端坐于堂，衣袂翩跹的侍从躬身侍立，台阶上下人影错落，似在演绎前朝典故。松影横斜于山石旁，青绿苔痕晕染雅致，云气氤氲天际，为庄重场景添了几分灵动。画面以细腻笔触勾勒建筑精巧，人物神态栩栩如生，每处细节藏着叙事温度——或劝诫或箴规，将历史智慧凝于丹青。色彩明丽却不失沉稳，红的热烈、蓝的沉静、绿的鲜活交织，既显宫廷威严气象，又含文人画雅致意趣，于方寸间铺展一段载道的视觉诗篇。",[24,27,28,92,215,31,94,7,2548,641,3386,642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c16dc7da03299434cc08e1b0c2f2cd8.jpg",[],{"id":11720,"slug":11721,"title":11722,"dynasty":87,"author":88,"museum":10016,"description":11723,"tags":11724,"thumbUrl":11725,"material":190,"size":120,"collection":120,"collections":11726,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":82},215993,"di-jian-tu-shuo-cai-hui-ben-15-yi-ming-215993","帝鉴图说彩绘本-15","亭台层叠，朱门映碧瓦，古雅之气扑面而来。上层人物或立或语，神态恭谨间透着庄重；下层侍从往来、劳作场景鲜活，烟火气与仪轨感交织成趣。苍松虬劲，山水为衬，线条细腻勾勒出建筑的精巧与人物的动态，设色温润古朴，将一段历史场景凝于绢素。画面既有视觉的雅致韵致，又暗含叙事的深沉意味，仿佛能透过笔墨窥见往昔的仪范与日常，尽显传统绘画的叙事与审美之妙。",[24,25,27,28,92,31,94,36,639,641,642,175,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71a32dcfd3f62b94ae8097adba11b615.jpg",[],{"id":11728,"slug":11729,"title":11730,"dynasty":87,"author":88,"museum":10016,"description":11731,"tags":11732,"thumbUrl":11733,"material":190,"size":120,"collection":120,"collections":11734,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":82},215969,"di-jian-tu-shuo-cai-hui-ben-37-yi-ming-215969","帝鉴图说彩绘本-37","红墙覆瓦的殿宇巍峨矗立，飞檐翘角衬着淡远云天，尽显庄重气象。阶前人影错落，或躬身呈禀，或步履匆匆，衣袂飘举间似有事务流转。下方庭院里，众人或搬运堆叠之物，或围聚低语，左下角那堆卷册状物件，隐约呼应着画面的叙事内核。一旁松枝苍劲，山石点缀，柔化了宫苑的肃穆，添了几分生机。整幅画设色雅致，线条细腻，将特定场景下的人物活动与建筑景致融于一体，既见规制之严，又含生活之趣，静静铺陈出一段生动的往昔片段。画中细节处处藏着故事，从殿宇的规制到人物的动态，皆以细腻笔触勾勒，让观者仿佛能透过画面，触碰到那段时光里的烟火与庄重。",[24,27,92,28,31,94,7,2548,641,639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8749b2502bbf0d71e343b90dcdcd95d.jpg",[],{"id":11736,"slug":11737,"title":11738,"dynasty":87,"author":88,"museum":10016,"description":11739,"tags":11740,"thumbUrl":11741,"material":190,"size":120,"collection":120,"collections":11742,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":82},215967,"di-jian-tu-shuo-cai-hui-ben-38-yi-ming-215967","帝鉴图说彩绘本-38","画中殿宇红柱彩檐，云纹轻绕檐角，上层人物或围案倾谈，或轻推朱门，神态间藏着故事余韵；下层绿瓦门廊前，袍服人物静立，松影婆娑映阶，动静相宜。色彩温润雅致，线条细腻传神，将宫廷场景的庄重与人物情态的鲜活融于一体，似在娓娓道来一段尘封轶事。笔墨间流淌传统工笔的典雅意趣，让观者沉浸于往昔岁月氛围，窥见宫闱里的片刻生动。",[24,27,28,92,31,94,7,641,642,10348],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a1b75ccb8d4ba82d96e5660a937508f.jpg",[],{"id":11744,"slug":11745,"title":11746,"dynasty":87,"author":88,"museum":10016,"description":11747,"tags":11748,"thumbUrl":11749,"material":190,"size":120,"collection":120,"collections":11750,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":82},215966,"di-jian-tu-shuo-cai-hui-ben-42-yi-ming-215966","帝鉴图说彩绘本-42","朱红廊柱托起鎏金飞檐，绿瓦映着淡彩云天，庭院里雕花栏板蜿蜒，勾连出规整的宫苑格局。殿堂内，朝服官员或伏案展卷，或拱手对谈，神态间透着议事的肃穆；阶下侍卫衣袂鲜妍，持械而立，身姿挺拔如松。画面以工笔重彩铺陈，色彩明丽却不失古雅，线条细腻勾勒出人物的衣褶纹理与建筑的精巧细节。每一处笔触都藏着对宫廷仪轨的细致描摹，将古代朝堂的庄重秩序与日常情态凝于绢素之上，似能让人透过画页，触碰到那段时光里的朝堂余温。",[24,27,92,215,28,31,94,7,642,641,639],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6bd688fa2f27c9b13157322b889683c.jpg",[],{"id":11752,"slug":11753,"title":11754,"dynasty":87,"author":88,"museum":10016,"description":11755,"tags":11756,"thumbUrl":11757,"material":190,"size":120,"collection":120,"collections":11758,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":82},215963,"di-jian-tu-shuo-cai-hui-ben-44-yi-ming-215963","帝鉴图说彩绘本-44","亭台轩敞，朱栏翠瓦与天光相映，阶下流水蜿蜒，松枝苍劲点染边角，铺展雅致宫苑气象。身着华服的人物或立或坐，姿态从容——有人执礼相迎，有人静立聆听，衣袂飘举间流露古典韵致，似在演绎一场庄重而亲和的对话。设色明丽却不艳俗，红墙黄瓦的富丽与草木流水的清雅相衬；线条细腻流畅，建筑雕梁画栋、人物衣纹褶皱皆勾勒入微，尽显传统工笔精致。画面既含皇家园林华贵，又蕴人际互动温情，仿佛将一段历史场景凝于绢素，让观者触碰到古代宫廷生活的生动切片，感受艺术表达的含蓄之美。",[24,27,28,92,215,31,94,7,642,1376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4113058c2ff8f4841bf75e3620609307.jpg",[],{"id":11760,"slug":11761,"title":11762,"dynasty":87,"author":88,"museum":10016,"description":11763,"tags":11764,"thumbUrl":11767,"material":190,"size":120,"collection":120,"collections":11768,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":82},215959,"di-jian-tu-shuo-cai-hui-ben-45-yi-ming-215959","帝鉴图说彩绘本-45","画面分境铺陈，上层殿宇朱楹碧瓦，帘幕轻垂处，人物或坐或立，似有政事相商的沉静；下层庭院青槐倚墙，稚子携犬逐戏于阶前，井栏边人影绰绰，烟火气暗浮。青绿瓦当、朱红廊柱与碧蓝檐角相映成趣，每一处窗棂的纹路、檐下的斗拱皆细致入微，工笔重彩的精致扑面而来。既见帝王生活的仪范，亦藏市井般的鲜活，浓淡之间，晕开一段生动的往昔图景。",[73,24,25,215,27,28,92,31,94,7,639,1180,11765,11766,641,642,9123],"门","窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6256aced4bf6af0cc813c92dcfa62149.jpg",[],{"id":11770,"slug":11771,"title":11772,"dynasty":87,"author":88,"museum":10016,"description":11773,"tags":11774,"thumbUrl":11775,"material":190,"size":120,"collection":120,"collections":11776,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":82},215940,"di-jian-tu-shuo-cai-hui-ben-63-yi-ming-215940","帝鉴图说彩绘本-63","层楼叠榭间，上层殿宇朱栏玉砌，帝王端坐俨然，侍从环立恭谨，衣袂间流转着宫廷的华贵气韵；下层祭祀场景器物精严，人物往来有序，松姿苍劲添古雅之致。色彩晕染细腻，青绿与朱红相映成趣，明黄点缀出帝王威仪，线条勾勒精准，建筑斗拱、瓦当纹理毕现，人物神态鲜活如生。整幅画作以工笔之细腻绘就宫廷仪式的庄重肃穆，于细节处藏历史余温，既展现精湛的绘制技艺，又传递出古代礼制场景的厚重与典雅，仿佛将一段尘封的宫廷往事凝于绢素之上，引人驻足探寻。",[73,24,25,27,28,92,31,94,7,639,642,2057,5349,641],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1efca527b6fd68761982cf7fb4df9997.jpg",[],{"id":11778,"slug":11779,"title":11780,"dynasty":87,"author":88,"museum":10016,"description":11781,"tags":11782,"thumbUrl":11784,"material":190,"size":120,"collection":120,"collections":11785,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":82},215938,"di-jian-tu-shuo-cai-hui-ben-71-yi-ming-215938","帝鉴图说彩绘本-71","庭院深几许？朱红廊柱与青绿瓦檐相映，飞檐翘角勾连天际，雕栏玉砌的石阶延伸出庄重雅致。仕女衣袂飘飘，或立廊下低语，或行阶前顾盼，侍从垂手侍立，姿态间藏着宫廷仪轨。左侧苍松倚石，绿意浸润红墙，添了几分园林清趣。色彩浓淡相宜：天蓝铺顶，朱红描柱，青绿点瓦，如铺开一卷旧梦。工笔细描处，建筑的斗拱、门窗的纹样，人物的衣褶皆清晰可辨。画面宁静典雅，既展古代宫廷女性的生活场景，又映当时的礼仪风貌，每一抹色彩都晕染着时光的风华，每一根线条都藏着岁月的温度。",[24,27,92,28,31,94,161,7,639,641,642,9123,11783],"廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f4c1a88058cffbff3b9987b9696a4f0.jpg",[],{"id":11787,"slug":11788,"title":11789,"dynasty":87,"author":88,"museum":10016,"description":11790,"tags":11791,"thumbUrl":11792,"material":190,"size":120,"collection":120,"collections":11793,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":82},215921,"di-jian-tu-shuo-cai-hui-ben-88-yi-ming-215921","帝鉴图说彩绘本-88","画面铺展于雅致庭院间，朱红廊柱撑起鎏金飞檐，瓦当勾连出古建的精巧韵致。松枝苍劲斜逸，为场景添了几分清旷。庭院中央，人群簇立，或着官袍肃立，或围聚台前凝神观看；台上演者身姿灵动，似在演绎治乱典故中的片段。台阶之上，数人凭栏而立，目光投向场中，神态间藏着对史事的思索。设色温润，衣袂的青蓝、明黄与建筑暖调相映，既显规整，又含鲜活气息。细腻笔触勾勒人物动态与建筑细节，将史事场景化为可视的生动画面，观者仿佛置身那段借古鉴今的时光里。",[24,25,27,28,92,31,94,639,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F012291df66b7bc0210957d23beea3d2f.jpg",[],{"id":11795,"slug":11796,"title":3781,"dynasty":87,"author":11797,"museum":172,"description":11798,"tags":11799,"thumbUrl":11800,"material":120,"size":120,"collection":120,"collections":11801,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":11802},203291,"shan-shui-ce-shi-zhuang-203291","石庄","此作笔墨简淡却意韵丰厚，山石以皴法出肌理，线条苍劲中见秀逸。上帧林木掩映间似有幽径蜿蜒，下帧奇峰崛立伴松枝横斜，留白处引思绪延展。整体以水墨为骨，借山水之形抒逸致，尽显传统山水画的含蓄与生机。",[24,53,54,30,7,35,8171,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8719a99181741611ab2a6557109c561.jpg",[],"a68d79",{"id":11804,"slug":11805,"title":3781,"dynasty":87,"author":11806,"museum":172,"description":11807,"tags":11808,"thumbUrl":11810,"material":120,"size":120,"collection":120,"collections":11811,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":11812},203219,"shan-shui-ce-ye-xin-203219","叶欣","画面以浅淡设色晕染山水，山间茅舍错落，一窗映出凭栏人，石阶隐于葱茏草木间，苍松虬枝斜出，远处峰峦挺秀。笔墨细劲清雅，山石用皴法勾勒点染，构图疏朗却意蕴悠长，尽显幽居之境的静谧超脱，将文人山水的清隽淡远融于尺幅之间。",[24,215,27,30,187,7,35,11809],"皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8dcd604b8293171d4097f3e57aa0e91.jpg",[],"cdbd99",{"id":11814,"slug":11815,"title":11816,"dynasty":87,"author":11817,"museum":172,"description":11818,"tags":11819,"thumbUrl":11821,"material":120,"size":120,"collection":120,"collections":11822,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":11823},202704,"fang-zhao-song-xue-shan-shui-tu-zhou-shi-zhen-202704","仿赵松雪山水图轴","施震","画面层峦叠嶂，山石以皴法勾勒，纹理苍劲，尽显丘壑之姿。山间飞瀑倾泻，云雾缭绕，添空灵悠远之韵。崖畔松枝虬劲，掩映茅舍，似藏隐逸之趣。近景水岸，老松挺立，渔人持竿独钓，意境悠然恬淡。笔墨雅致，设色清淡，承古意而融己情，将山水之静谧与文人之旷达尽纳其中，观之如入幽境，心随景远。",[24,30,54,7,55,11820,6515,53,27,257,23],"渔人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0771ce65ff67e2af2435f9f2b0213b6.jpg",[],"b08c71",{"id":11825,"slug":11826,"title":11827,"dynasty":87,"author":11685,"museum":172,"description":11828,"tags":11829,"thumbUrl":11831,"material":120,"size":120,"collection":120,"collections":11832,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":11833},202554,"chu-shan-dong-liu-tu-zhou-ceng-yan-dong-202554","出山东流图轴","笔墨苍劲洒脱，绘陡峭山崖间飞瀑直下，山麓处虬松倚石，三两行人沿溪径徐行，意境清旷悠远。以水墨写意为主，山石勾勒兼皴擦，线条粗放有力，松针笔墨凝练，人物神态简括传神，尽显自然野趣与文人意韵。画面布局疏密有致，上部山崖巍峨，下部溪径悠然，动静相生间传递出山林间的闲适之趣。",[24,53,30,54,7,55,31,26,11830],"印","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c1dc00d03356f7026a9aa0abae4ec9b.jpg",[],"bdb1a5",{"id":11835,"slug":11836,"title":1759,"dynasty":87,"author":10887,"museum":172,"description":11837,"tags":11838,"thumbUrl":11839,"material":120,"size":120,"collection":120,"collections":11840,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":11841},202294,"song-shi-tu-zhou-wang-zhi-rui-202294","画面以孤松、湖石构境，疏朗中藏张力。松干挺拔，皮纹斑驳如鳞，松针以劲挺短线勾出，苍劲毕现；旁侧湖石奇崛，浓墨干笔皴擦，嶙峋骨感十足。树下苔点与坡岸墨块相映，朴拙野趣自生。右侧题款笔墨流畅，与画面气韵相融，尽显“诗书画印”合一之韵。整体墨色简淡却有神采，线条洗练而含筋骨，传递出清寂孤高的文人意趣，是新安画派简劲风格的典型体现。",[24,53,57,7,54,257,26,188,34,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f0219c63c407354b8571e14aebaae2f.jpg",[],"877e70",{"id":11843,"slug":11844,"title":11845,"dynasty":87,"author":11846,"museum":172,"description":11847,"tags":11848,"thumbUrl":11849,"material":120,"size":120,"collection":120,"collections":11850,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":11851},201792,"song-xia-du-shu-tu-zhou-gu-fu-zhen-201792","松下读书图轴","顾符稹","画面中山石巍峨，皴法勾勒出嶙峋肌理，云雾如练缠绕峰峦，虚实间显深远意境。苍松虬枝横斜，松下书屋隐约，似有文人展卷沉思，尽显幽居雅趣。笔墨清润，线条劲挺，将山水之秀与文人之逸融于一体，尽显传统山水画的气韵生动。",[53,54,26,30,7,135,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F107eebb0a292baab696737eb38a1e13a.jpg",[],"9b9e9a",{"id":11853,"slug":11854,"title":11855,"dynasty":87,"author":11856,"museum":147,"description":11857,"tags":11858,"thumbUrl":11859,"material":118,"size":119,"collection":120,"collections":11860,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},290200,"luo-hu-luo-han-tu-zhou-luo-hu-290200","罗怙罗汉图轴","罗怙","此作融汉藏绘法于一体，罗汉面含慈悲身形端严，朱红镶绿的僧衣层次分明，捧持法具跏趺静坐，头后圆光晕染出清寂神圣之感。\n背景取青绿山水意趣，苍松虬劲凌云，云山层峦悠远，白鹿悠游林泉，龙神俯首皈依。设色调和雅致，冷暖交织晕染，既带着中原山水的空灵悠远，又饱含藏地造像的肃穆神性，将世外清寂的禅意与山野灵趣相融。笔致工稳精细，把罗汉的慈悲威仪和天地生机巧妙糅合，尽显禅境悠然。",[23,24,26,2177,27,31,30,95,1458,6503,7,5414,28,1121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53aad62bcdb568799180bf01f6880294.jpg",[],{"id":11862,"slug":11863,"title":11864,"dynasty":87,"author":88,"museum":147,"description":2127,"tags":11865,"thumbUrl":11867,"material":118,"size":119,"collection":120,"collections":11868,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":194},281508,"dong-yang-duan-hua-shan-shui-bi-yi-yi-ming-281508","东洋缎画山水壁衣",[24,53,30,116,7,2249,317,2178,11866],"缎画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a22e9db8ca5e08939999f5054f2d0ad.jpg",[],{"id":11870,"slug":11871,"title":11872,"dynasty":87,"author":88,"museum":147,"description":11873,"tags":11874,"thumbUrl":11876,"material":118,"size":119,"collection":120,"collections":11877,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},280665,"you-xian-zi-de-qing-jing-wei-xiu-qing-tian-shi-zhang-yi-ming-280665","“幽闲自得清静为修”青田石章","战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。\n古印章和书画一样，崇尚名人效应，讲究技艺水准。一般来说，篆刻作者以及印章属主的名气大小、地位高低和作品的价值成正比。但古印章和字画、陶瓷等热门品种又有所不同。由于藏家、行家相对较少，认知能力跟不上，以至于鉴定难度加大，认可上更挑剔、更严格。因此，对于名人作品的收藏或投资，一定要慎之又慎。即不仅要真，还要真得“好”、“精”、“开门”。要注意鉴别旧仿以及改刻、添款之作。\n古印章大多都有钮饰工艺，而钮工的精粗与否将直接影响到古印章的价值。钮饰雕琢奇巧、精致传神，薄意浮雕水平高超的，附加值亦随之提升。\n古印章的石材产地多，仅寿山、青田、昌化三地就有数百种之多，其质地高下、优劣参差不齐。一般来说，衡量石质有三点：一是直观颜色漂亮明艳、亮丽抢眼；二是质感好，即符合“细、腻、温、润、结、凝”之“六德”；三是产量稀少、外貌特殊，如上品母黄、芙蓉、封门、鸡血等名品。",[34,11875,10443,8013,30,7],"篆刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F474de13d58669e1ea8addb5e879fec09.jpg",[],{"id":11879,"slug":11880,"title":11881,"dynasty":87,"author":88,"museum":147,"description":11882,"tags":11883,"thumbUrl":11884,"material":118,"size":119,"collection":120,"collections":11885,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},277327,"fu-lv-yong-mian-zhang-yin-yi-ming-277327","“福履永绵长”印","战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。",[34,11875,10443,8013,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92b562f28ddeace37986c9ae39c378d4.jpg",[],{"id":11887,"slug":11888,"title":11889,"dynasty":87,"author":88,"museum":147,"description":11890,"tags":11891,"thumbUrl":11894,"material":118,"size":119,"collection":120,"collections":11895,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},273089,"lan-di-xiu-xi-zhi-ai-e-tu-jing-xin-yi-ming-273089","蓝地绣羲之爱鹅图镜心","此作以深蓝为底，晕染出幽远沉静的底色，流云舒展留白，铺就出淡逸空濛的意境。苍松蟠曲古拙，细密针脚勾勒出鳞皴纹理与舒展松针，尽显古木苍劲。\n\n画面之中，雅士负手而立，凝神望向稚童与白鹅，神态温雅悠然，将爱鹅的文人情思藏于眉目之间。旁侧仙草棕榈错落，祥云缭绕如幻，衬出几分仙逸雅致。整幅绣作工致细腻，针脚起落间晕染出草木灵韵、人物情态，将文人雅趣融于精工绣色里，尽显清隽古雅的古典意蕴。",[2129,2178,11892,27,31,7,5883,10969,11893,25],"镜心","羲之爱鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb559ec28e8866659d01a19ec013f65c3.jpg",[],{"id":11897,"slug":11898,"title":11899,"dynasty":87,"author":88,"museum":147,"description":11900,"tags":11901,"thumbUrl":11903,"material":118,"size":119,"collection":120,"collections":11904,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},272994,"zi-tan-mu-bian-qian-ya-mu-zi-wen-gua-dui-yi-ming-272994","紫檀木边嵌牙木字纹挂对","深色底面上诗文錾刻工整，笔锋凝敛，墨色衬出金石余韵。主体取罗汉游林之景，牙骨为材嵌就罗汉，衣袂翩跹，或驻足观云、或围坐论禅，神态生动鲜活，尽得林下清趣。松石俏作山石古松，虬枝苍劲，叠石层叠，深浅配色晕染出空山幽寂。整器将诗韵与禅境相融，嵌饰工艺精细入微，把山林禅意藏于方寸之间，古雅沉静，尽显手作匠心之美。",[11902,8984,10461,8013,1121,5414,31,188,8427,30,7,35],"挂对","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88481d52910da83a4e1032d489ad5d50.jpg",[],{"id":11906,"slug":11907,"title":11908,"dynasty":87,"author":88,"museum":147,"description":11909,"tags":11910,"thumbUrl":11911,"material":118,"size":119,"collection":120,"collections":11912,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},272688,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-zhi-chu-huang-mo-yi-ming-272688","御制月令七十二候诗色墨-雉雏黄墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[2394,7404,8013,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffddf00122d68e5e094c0c35822cd2304.jpg",[],{"id":11914,"slug":11915,"title":11916,"dynasty":87,"author":88,"museum":147,"description":11909,"tags":11917,"thumbUrl":11918,"material":118,"size":119,"collection":120,"collections":11919,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":408},272681,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-hong-cang-bu-jian-lan-mo-yi-ming-272681","御制月令七十二候诗色墨-虹藏不见蓝墨",[2394,7404,8013,30,7,1376,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa93621ecc9c3d59f3137ecce7e235546.jpg",[],{"id":11921,"slug":11922,"title":11923,"dynasty":87,"author":88,"museum":147,"description":11909,"tags":11924,"thumbUrl":11926,"material":118,"size":119,"collection":120,"collections":11927,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":194},272662,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-zhu-jiao-qun-zhu-mo-yi-ming-272662","御制月令七十二候诗色墨-麈角群朱墨",[2394,8013,1458,7,11925,27],"扇面形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F993758d8fb57de537d3368adad80b61c.jpg",[],{"id":11929,"slug":11930,"title":11931,"dynasty":87,"author":88,"museum":147,"description":10763,"tags":11932,"thumbUrl":11935,"material":118,"size":119,"collection":120,"collections":11936,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},272511,"cao-su-gong-zi-yu-guang-mo-tao-yuan-dong-tian-mo-yi-ming-272511","曹素功紫玉光墨－桃源洞天墨",[2394,30,7,35,11933,11934],"桃源洞天","文房器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26bff05643ce1e9255424c5840e8898f.jpg",[],{"id":11938,"slug":11939,"title":11940,"dynasty":87,"author":88,"museum":147,"description":11941,"tags":11942,"thumbUrl":11944,"material":118,"size":119,"collection":120,"collections":11945,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},271941,"yu-ming-song-hua-jiang-shi-tao-wen-chi-chang-fang-yan-yi-ming-271941","御铭松花江石桃纹池长方砚","砚台历经秦汉、魏晋，至唐代起，各地相继发现适合制砚的石料，开始以石为主的砚台制作。其中采用甘肃岷县的洮河石、广东端州的端石、安徽歙州的歙石制作的砚台，被分别称作洮砚、端砚、歙砚。史书将洮、端、歙称作三大名砚。清末，又将河南洛阳的澄泥砚与洮、端、歙，并列为中国四大名砚。也有人主张，以天然砚石雕制的鲁砚中的红丝石砚代替澄泥砚，合称四大名砚。\n谈起砚的种类有许多种，从砚的材质可分为：玉砚、银砚、铜砚、铁砚、陶砚、瓷砚、石砚、漆砚等，其中石砚是最为普遍，也最实用的一种砚。砚台起源于新石器时代。最早的砚是半坡村遗址出土的研磨颜料的研磨器，在1980年，大陆考古学家曾在陕西省临潼县姜寨一处原始社会的遗址中，发现了一套原始人用以陶器彩绘的工具，其中有一方石砚，砚有盖，砚面微凹，凹处并有一根石质磨杵，砚旁留存数块黑色颜料。很显然，这是先民们借助磨杵研磨颜料的早期砚的形制。由于这处遗址归属于母系氏族时期的仰韶文化，故这方砚台的实际寿龄已超过了五千年了。\n清代端石砚要求因材施艺，因石构图，在题材、立意、构图、造型、利用何种雕法都要精心推敲，刻划得当。保持了端砚的古雅、朴实，古色古香、形态自然的特点。如北京故宫收藏的「端石双龙砚」、「猫蝶砚」是端砚中的佳品。",[2393,8013,11943,7,776,11934],"桃纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6df1a1ae2bf91ebd71a49c729fbfe06.jpg",[],{"id":11947,"slug":11948,"title":11949,"dynasty":87,"author":88,"museum":147,"description":11909,"tags":11950,"thumbUrl":11952,"material":118,"size":119,"collection":120,"collections":11953,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},271321,"guang-li-zhen-cang-fang-huan-shi-mo-yi-ming-271321","广立珍藏方寰氏墨",[2394,7404,11951,7,35,27],"描金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc749529b8ae11442b438d4bc96666d86.jpg",[],{"id":11955,"slug":11956,"title":11957,"dynasty":87,"author":88,"museum":147,"description":11958,"tags":11959,"thumbUrl":11962,"material":118,"size":119,"collection":120,"collections":11963,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":408},271009,"cheng-fen-wen-ju-zhu-gen-diao-shui-cheng-yi-ming-271009","成份文具-竹根雕水丞","水丞又称水中丞，一般多称就是水盂。是一种古老的中国传统工艺品。它是置于书案上的贮水器，用于贮砚水，多属扁圆形，有嘴的叫“水注”，无嘴的叫“水丞”。制作古朴雅致，为文房一重要器具。水丞有玉制的，如清代青玉雕葫芦水丞，两水盂相连构成葫芦形状，周边随形雕刻枝叶缠绕，显得清朗自然。玉水丞中以明代玉工陆子冈所制作品最为著名。也有铜制的、陶瓷制的，如官哥窑肚圆式、钵盂小口式等。",[10148,8013,11960,7,11961,11231],"文具","水丞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeb647d576727b94e93dbd65eda69d4a.jpg",[],{"id":11965,"slug":11966,"title":11967,"dynasty":87,"author":88,"museum":147,"description":10143,"tags":11968,"thumbUrl":11969,"material":118,"size":119,"collection":120,"collections":11970,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":11971},269989,"wang-mei-lin-kuan-zhu-diao-song-yin-lun-gu-tu-bi-tong-yi-ming-269989","王梅邻款竹雕松荫论古图笔筒",[10145,9336,8013,1250,31,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b823e0016c2dc679abf81686b9d5c53.jpg",[],"FFFFFF",{"id":11973,"slug":11974,"title":11975,"dynasty":87,"author":88,"museum":147,"description":10143,"tags":11976,"thumbUrl":11977,"material":118,"size":119,"collection":120,"collections":11978,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},269940,"zhu-diao-dong-shan-bao-jie-tu-bi-tong-yi-ming-269940","竹雕东山报捷图笔筒",[10145,8013,9336,31,242,30,7,11215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3622c7f3042ab79b9e67910699882337.jpg",[],{"id":11980,"slug":11981,"title":11982,"dynasty":87,"author":88,"museum":147,"description":11983,"tags":11984,"thumbUrl":11985,"material":118,"size":119,"collection":120,"collections":11986,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},269938,"chen-xiang-mu-diao-shan-shui-tu-bei-yi-ming-269938","沉香木雕山水图杯","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[1250,8984,8013,11232,30,7,776],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dce31619068e561abeeb0ffc5c50ff2.jpg",[],{"id":11988,"slug":11989,"title":11990,"dynasty":87,"author":88,"museum":147,"description":10143,"tags":11991,"thumbUrl":11992,"material":118,"size":119,"collection":120,"collections":11993,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},269933,"wu-zhi-fan-kuan-zhu-diao-dui-yi-tu-bi-tong-yi-ming-269933","吴之璠款竹雕对弈图笔筒",[8013,929,9336,31,6726,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75195f143528808fadb95f339ac6d03c.jpg",[],{"id":11995,"slug":11996,"title":11997,"dynasty":87,"author":88,"museum":147,"description":11998,"tags":11999,"thumbUrl":12000,"material":118,"size":119,"collection":120,"collections":12001,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},269903,"zhu-gen-diao-mu-tong-qi-niu-tu-shan-zi-yi-ming-269903","竹根雕牧童骑牛图山子","依随竹根天然肌理施刀造境，苍松盘虬古拙，鳞节纹理皆细致摹刻，松枝层叠间尽显山林古意。松下牧童骑牛憨态可掬，小牛垂首缓步，稚童悠然随性，动静相映间，乡野闲趣扑面而来。整体刀工浑朴写意，将田园牧歌的闲适图景浓缩在方寸竹材之中，把山林雅韵与童趣野趣相融，尽显写意韵味，是一件藏着烟火闲情的文房清玩。",[8013,11231,1250,243,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe55b602eaaea7e6a28a6f22d52e8f0c5.jpg",[],{"id":12003,"slug":12004,"title":12005,"dynasty":87,"author":88,"museum":147,"description":10143,"tags":12006,"thumbUrl":12009,"material":118,"size":119,"collection":120,"collections":12010,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":194},269885,"zhang-yan-chang-kuan-zi-tan-diao-song-lin-lun-shi-tu-bi-tong-yi-ming-269885","张燕昌款紫檀雕“松林论诗”图笔筒",[8984,8013,9336,7,30,12007,31,12008],"舟","论诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F921f40c5fe507ce2f866a308f9345d6c.jpg",[],{"id":12012,"slug":12013,"title":12014,"dynasty":87,"author":88,"museum":147,"description":10143,"tags":12015,"thumbUrl":12016,"material":118,"size":119,"collection":120,"collections":12017,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":194},269877,"zhu-diao-ren-wu-tu-bi-tong-yi-ming-269877","竹雕人物图笔筒",[10145,8013,31,7,7404,1250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F926641ae32bbedbcafa268b30a844341.jpg",[],{"id":12019,"slug":12020,"title":12021,"dynasty":87,"author":88,"museum":147,"description":12022,"tags":12023,"thumbUrl":12024,"material":118,"size":119,"collection":120,"collections":12025,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},269865,"zhu-diao-shan-shi-lao-ren-tu-shan-zi-yi-ming-269865","竹雕山石老人图山子","随形施艺，将竹材天然肌理与匠心雕琢相融。苍松虬曲古劲，瘤节孔洞尽显岁月浸淫的朴拙质感，仿佛饱经风霜的山巅古木。高岩错落通透，宛若自然天成的林泉洞天。\n\n松下三老情态悠然，或拱手作揖，或垂目静立，或踞石而坐，衣袂褶皱婉转灵动，将林下清谈的雅趣刻画入微。布局疏密有致，刀工藏露相宜，既留存竹材原生的山野意趣，又以精细工笔活化人物景致，把文人林泉高致的隐逸意韵凝于方寸之间，尽显材与艺相合、景与情相融的精妙。",[8013,10145,10148,35,7,31,11368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a9f440f222083fb96eaa6e25a3234ae.jpg",[],{"id":12027,"slug":12028,"title":12029,"dynasty":18,"author":88,"museum":147,"description":12030,"tags":12031,"thumbUrl":12032,"material":118,"size":119,"collection":120,"collections":12033,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},269845,"xiang-ya-diao-xian-ren-song-peng-chuan-yi-ming-269845","象牙雕仙人松蓬船","整器取象牙镂雕而成，虬曲松枝盘覆船身，松针团簇如轮，纹理细腻逼真，将古松苍劲之态尽显。船中仙人袒腹而坐，眉眼舒展笑意融融，自在悠然。\n\n匠师刀法娴熟利落，布局疏密有致，将牙材质地的温润莹泽，与松石古意、仙人逸气相融，把乘舟泛游的林下雅趣凝于方寸间，尽显牙雕工艺的精湛水准，将文人追慕的隐逸之思藏入这小小牙舟之中。",[10461,8013,1250,7,7810,11595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F941e5026ef627cc8b2ecb6373649318a.jpg",[],{"id":12035,"slug":12036,"title":12037,"dynasty":18,"author":88,"museum":147,"description":10143,"tags":12038,"thumbUrl":12040,"material":118,"size":119,"collection":120,"collections":12041,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":408},269834,"zhu-diao-ting-quan-tu-bi-tong-yi-ming-269834","竹雕听泉图笔筒",[10145,8013,9336,31,7,33,35,12039],"文房器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63f5bb21f1b6c887b989734a4ac414af.jpg",[],{"id":12043,"slug":12044,"title":12045,"dynasty":87,"author":88,"museum":147,"description":11229,"tags":12046,"thumbUrl":12048,"material":118,"size":119,"collection":120,"collections":12049,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":11971},269805,"xi-jiao-diao-song-zhou-ren-wu-tu-bei-yi-ming-269805","犀角雕松舟人物图杯",[8013,12047,11232,7,31,116],"犀角器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9799b5c3d89583661d39b9d3cd98c36.jpg",[],{"id":12051,"slug":12052,"title":12053,"dynasty":87,"author":88,"museum":147,"description":11424,"tags":12054,"thumbUrl":12056,"material":118,"size":119,"collection":120,"collections":12057,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},269765,"zi-tan-qian-luo-dian-shuang-he-wen-chang-fang-he-yi-ming-269765","紫檀嵌螺钿双鹤纹长方盒",[8984,8222,12055,563,7,8013,8221,1250],"嵌螺钿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F891deb6c7fc670b2eed69bf3dd18cbac.jpg",[],{"id":12059,"slug":12060,"title":12061,"dynasty":87,"author":88,"museum":147,"description":11229,"tags":12062,"thumbUrl":12064,"material":118,"size":119,"collection":120,"collections":12065,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},269614,"xi-jiao-diao-shan-shui-ren-wu-tu-bei-yi-ming-269614","犀角雕山水人物图杯",[1250,11232,8013,30,31,7,12063],"犀角雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafd5255f70489feab9a5b143c356a42a.jpg",[],{"id":12067,"slug":12068,"title":12069,"dynasty":87,"author":88,"museum":147,"description":10143,"tags":12070,"thumbUrl":12072,"material":118,"size":119,"collection":120,"collections":12073,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":408},269593,"xiang-ya-qian-shi-hua-hui-wen-xiao-bi-tong-yi-ming-269593","象牙嵌石花卉纹小笔筒",[10461,8013,12071,9336,640,7,1481,12039],"嵌石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2becd5adc2e79db570b9f638bbb466de.jpg",[],{"id":12075,"slug":12076,"title":12077,"dynasty":87,"author":88,"museum":147,"description":12078,"tags":12079,"thumbUrl":12080,"material":118,"size":119,"collection":120,"collections":12081,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":408},269559,"xiang-ya-diao-song-shu-ren-wu-yi-ming-269559","象牙雕松树人物","此作以镂雕技法施于莹润象牙，苍松虬枝舒展，松针层叠分明，掩映着林下二人。长者神态温煦蔼然，童子娇憨灵动，衣褶纹路婉转流畅，将郊林伴游的悠然景致凝于方寸之间。刀工精细入微，既还原苍松古朴之姿，又将人物神态刻画得鲜活传神，把文人雅游的闲情逸趣藏于这小小牙雕之中，尽显工艺的雅致精巧，虽体量小巧，却意境悠长，是牙雕小品中兼具意趣与工致的佳制。",[8013,10461,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe4c49d1adfb94e3d6cfbd7b63eccf6c.jpg",[],{"id":12083,"slug":12084,"title":12085,"dynasty":87,"author":88,"museum":147,"description":10143,"tags":12086,"thumbUrl":12087,"material":118,"size":119,"collection":120,"collections":12088,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},269281,"wen-you-kuan-zhu-diao-song-yin-si-ma-tu-bi-tong-yi-ming-269281","文佑款竹雕松荫饲马图笔筒",[10145,8013,1250,9336,7,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F121085601e60abf970e25f948ca63a1a.jpg",[],{"id":12090,"slug":12091,"title":12092,"dynasty":87,"author":88,"museum":147,"description":10143,"tags":12093,"thumbUrl":12094,"material":118,"size":119,"collection":120,"collections":12095,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},269166,"mo-lin-kuan-zhu-diao-ting-song-tu-bi-tong-yi-ming-269166","墨林款竹雕听松图笔筒",[10145,8013,9336,7,7404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4edcbf8a9d08fdfc930c552c9d21e383.jpg",[],{"id":12097,"slug":12098,"title":12099,"dynasty":87,"author":88,"museum":147,"description":10143,"tags":12100,"thumbUrl":12101,"material":118,"size":119,"collection":120,"collections":12102,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":194},269165,"xiao-song-kuan-zhu-diao-yun-he-tu-bi-tong-yi-ming-269165","小松款竹雕云鹤图笔筒",[10145,8013,9336,31,7,12039],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b7dd8b6a87254d5c51b4b565829c260.jpg",[],{"id":12104,"slug":12105,"title":12106,"dynasty":87,"author":88,"museum":147,"description":10143,"tags":12107,"thumbUrl":12109,"material":118,"size":119,"collection":120,"collections":12110,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},269163,"zhu-diao-zhao-yan-qiu-shou-tu-bi-tong-yi-ming-269163","竹雕赵彦求寿图笔筒",[10145,8013,9336,31,7,12108],"求寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d5a2fde723b9a46b580950b6290316e.jpg",[],{"id":12112,"slug":12113,"title":12114,"dynasty":87,"author":88,"museum":147,"description":12115,"tags":12116,"thumbUrl":12117,"material":118,"size":119,"collection":120,"collections":12118,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},269130,"zhu-gen-diao-song-xia-gao-shi-shan-zi-yi-ming-269130","竹根雕松下高士山子","依循竹根天然肌理随形施艺，层叠皴刻出嶙峋岩岫，古松虬枝盘绕于石隙，苍郁灵动，将山野意趣凝于寸尺之间。宽袍高士策杖立于幽隅，似在观山聆风，身影安然萧散。作品刀法藏露相宜，既留存竹材朴拙天然的质感，又以精细刀工勾勒松石纹理与人物意态，将文人寄情林泉的隐逸心境具象化，尽显工艺兼收自然意趣与匠思的精妙造诣。",[8013,11231,7,2910,35,11368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e63ca0929e46589fe9dad900099a50b.jpg",[],{"id":12120,"slug":12121,"title":12114,"dynasty":87,"author":88,"museum":147,"description":12122,"tags":12123,"thumbUrl":12124,"material":118,"size":119,"collection":120,"collections":12125,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},269127,"zhu-gen-diao-song-xia-gao-shi-shan-zi-yi-ming-269127","随形施艺，将盘结竹根的天然肌理巧作苍松怪石，层叠错落宛若烟霞萦林，兼具湖石的玲珑奇崛与古松的苍劲郁茂。\n\n下部隐刻高士雅聚，人物情态悠然舒展，或对坐清谈，或凝神观景，方寸之间藏尽山林幽趣。刀意隐于天趣，不事过度雕琢，将文人林下幽居的雅怀寄于竹根之上。朴拙古雅的质感里，尽显寄情林泉的逸致，把尘外之思凝为文房案头的清赏佳制，在小物间铺展出山水林下的澹然意趣。",[8013,11231,7,2910,11368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F287f48239dc301f4fbe2e610cab8dbdd.jpg",[],{"id":12127,"slug":12128,"title":12129,"dynasty":87,"author":88,"museum":147,"description":10143,"tags":12130,"thumbUrl":12131,"material":118,"size":119,"collection":120,"collections":12132,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},269121,"wu-zhi-fan-zhu-diao-song-yin-gao-shi-bi-tong-yi-ming-269121","吴之璠竹雕松荫高士笔筒",[10145,8013,9336,7,2910],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61e88217e0d4cd79908c34d3f9741f3b.jpg",[],{"id":12134,"slug":12135,"title":12136,"dynasty":87,"author":88,"museum":147,"description":10143,"tags":12137,"thumbUrl":12138,"material":118,"size":119,"collection":120,"collections":12139,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},269116,"feng-xi-lu-zhu-diao-ren-wu-bi-tong-yi-ming-269116","封锡禄竹雕人物笔筒",[10145,8013,9336,7404,7,31,1250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F911860c958949ba9805a4d420efd248a.jpg",[],{"id":12141,"slug":12142,"title":12143,"dynasty":18,"author":88,"museum":147,"description":10143,"tags":12144,"thumbUrl":12145,"material":118,"size":119,"collection":120,"collections":12146,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":408},269114,"zhu-diao-song-yin-gao-shi-tu-bi-tong-yi-ming-269114","竹雕松荫高士图笔筒",[10145,8013,9336,7,31,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88c12f656f8f5e54cf7b2913695c2898.jpg",[],{"id":12148,"slug":12149,"title":12150,"dynasty":87,"author":88,"museum":147,"description":10763,"tags":12151,"thumbUrl":12152,"material":118,"size":119,"collection":120,"collections":12153,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},269072,"wen-zhu-lou-kong-qian-yu-fang-bi-tong-yi-ming-269072","文竹镂空嵌玉方笔筒",[1250,9336,10148,8013,7,35,31,7404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32bef7563c970fae7ca3ea11ce89bd2f.jpg",[],{"id":12155,"slug":12156,"title":12157,"dynasty":87,"author":88,"museum":147,"description":12158,"tags":12159,"thumbUrl":12162,"material":118,"size":119,"collection":120,"collections":12163,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":408},262222,"xuan-de-kuan-you-li-san-se-shan-shui-ren-wu-tu-gang-yi-ming-262222","宣德款釉里三色山水人物图缸","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[8011,12160,30,31,7,12161,8221],"釉里三色","缸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc37f6af2fcb9870d7751370117fa120.jpg",[],{"id":12165,"slug":12166,"title":12167,"dynasty":18,"author":88,"museum":147,"description":9333,"tags":12168,"thumbUrl":12170,"material":118,"size":119,"collection":120,"collections":12171,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},261802,"qing-hua-ren-wu-tu-wan-yi-ming-261802","青花人物图碗",[8011,9335,31,2151,95,7,642,8221,12169],"饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bd7c6e786ba7e21d46066616e0cbcc4.jpg",[],{"id":12173,"slug":12174,"title":12175,"dynasty":87,"author":88,"museum":147,"description":9333,"tags":12176,"thumbUrl":12178,"material":118,"size":119,"collection":120,"collections":12179,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},261303,"qing-hua-song-lu-tu-zhi-chui-ping-yi-ming-261303","青花松鹿图纸槌瓶",[8011,9335,30,7,1458,12177,1250],"纸槌瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7c0ce4b527c659a1c78b5a5ebf52218.jpg",[],{"id":12181,"slug":12182,"title":12183,"dynasty":87,"author":88,"museum":147,"description":10161,"tags":12184,"thumbUrl":12185,"material":118,"size":119,"collection":120,"collections":12186,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},261278,"shen-de-tang-kuan-fen-cai-shan-shui-ren-wu-tu-ping-yi-ming-261278","慎德堂款粉彩山水人物图瓶",[8011,10163,30,31,94,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44ec7b0148c416d1f654ecd91de9fa54.jpg",[],{"id":12188,"slug":12189,"title":12190,"dynasty":87,"author":88,"museum":147,"description":12158,"tags":12191,"thumbUrl":12193,"material":118,"size":119,"collection":120,"collections":12194,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":408},260842,"you-li-hong-feng-hou-gua-yin-tu-bi-tong-yi-ming-260842","釉里红封侯挂印图笔筒",[8011,11330,9336,2327,7,12192],"封侯挂印","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F498ddda06c52b9dfe2db2f02c4be4348.jpg",[],{"id":12196,"slug":12197,"title":12198,"dynasty":87,"author":88,"museum":147,"description":9333,"tags":12199,"thumbUrl":12201,"material":118,"size":119,"collection":120,"collections":12202,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},260795,"qing-hua-song-lu-tu-hua-gu-yi-ming-260795","青花松鹿图花觚",[8011,9335,12200,1458,563,7,30],"花觚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafa0f7b5a4d248710b01806d86bc9439.jpg",[],{"id":12204,"slug":12205,"title":12206,"dynasty":87,"author":88,"museum":147,"description":12207,"tags":12208,"thumbUrl":12211,"material":118,"size":119,"collection":120,"collections":12212,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":408},260791,"qing-you-tu-hua-song-lu-tu-bi-tong-yi-ming-260791","青釉凸花松鹿图笔筒","中国瓷器著名传统颜色釉。亦称“青瓷釉”。古代南方青釉，是瓷器最早的颜色釉。\n所谓“青釉”，颜色并不是纯粹的青，有：月白、天青、粉青、梅子青、豆青、豆绿、翠青等，但多少总能泛出一点青绿色。同时，古人往往将青、绿、蓝三种颜色，一统称为“青色”，例如许之衡《饮流斋说瓷》称：“古瓷尚青，凡绿也、蓝也，皆以青括之。”刘子芬《竹园陶说》中也说：“青色一种，常与蓝色相混。雨过天晴，钧窑、元窑之青，皆近蓝色。”“惟千峰翠色、梅子青、豆青、乃为纯青耳。天色本蓝，有时为青。”\n青釉是我国使用最早，延用时间最久，分布最广的一个釉种，它的发明是与我国瓷土矿大都含有一定量的铁矿的现象相一致的。青色也符合我国人民的传统审美情趣。青色与碧玉相若，认为稳重而高雅。浙江、江西、河南等地已出土了不少早至商周时期的原始青釉瓷。六朝至唐宋以越窑为代表的南方青釉瓷；宋到元明的龙泉窑系青瓷；耀州窑、临汝窑、钧窑等宋代北方青瓷；以及明、清以来的景德镇青釉瓷，是青釉发展的几个重要阶段，所谓的宋代“汝、定、官、哥、钧”五大名窑，除定窑外均属青釉瓷。表釉的呈色主要决定于着色氧化物的含铁量与烧成气氛，青釉含铁量一般在1—3%左右，过高会变成黑釉，低了就能烧成白瓷。在还原气氛中烧成。釉色青绿；在氧化气氛中烧成，釉色泛黄。因而陶瓷界所谓的青釉是相对而言的，正如许之衡《饮流斋说瓷》中所说：“古瓷尚青，凡绿也，蓝也，皆以青括之。”",[8011,1250,9336,7,1458,961,12209,12210],"凸花","青釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56317e52ee21386e24208421e6aeac13.jpg",[],{"id":12214,"slug":12215,"title":12216,"dynasty":87,"author":88,"museum":147,"description":11424,"tags":12217,"thumbUrl":12220,"material":118,"size":119,"collection":120,"collections":12221,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},260780,"zhang-zhai-jia-qi-kuan-wu-cai-ren-wu-tu-he-yi-ming-260780","张宅佳器款五彩人物图盒",[8011,8221,12218,31,7,35,640,12219],"五彩","瓷盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F647afac894950297227494e558e81531.jpg",[],{"id":12223,"slug":12224,"title":12225,"dynasty":18,"author":88,"museum":147,"description":9333,"tags":12226,"thumbUrl":12228,"material":118,"size":119,"collection":120,"collections":12229,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},260454,"qing-hua-ba-xian-qing-shou-wen-guan-yi-ming-260454","青花八仙庆寿纹罐",[8011,9335,10164,31,7,2609,12227,3061],"罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fde18ec590c7f48c31425e9e87065fe.jpg",[],{"id":12231,"slug":12232,"title":12233,"dynasty":87,"author":88,"museum":147,"description":9333,"tags":12234,"thumbUrl":12236,"material":118,"size":119,"collection":120,"collections":12237,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},259205,"qing-hua-shan-shui-ren-wu-tu-pan-yi-ming-259205","青花山水人物图盘",[8011,9335,30,31,7,12235],"日用器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1364c686210fc35377ec2db205bed506.jpg",[],{"id":12239,"slug":12240,"title":12241,"dynasty":87,"author":88,"museum":147,"description":12242,"tags":12243,"thumbUrl":12245,"material":118,"size":119,"collection":120,"collections":12246,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},258956,"kang-xi-kuan-dou-cai-shan-shui-ren-wu-tu-chang-fang-wei-jiao-hua-pen-yi-ming-258956","康熙款斗彩山水人物图长方委角花盆","此件器物以斗彩技法铺陈山水村居图景，釉色妍丽雅致。长方委角造型搭配卷云足，轮廓舒展秀雅。画面中山峦逶迤、清波如镜，苍松翠柏错落成荫，村居隐于林麓之间。渔人曳舟泛湖、田翁俯身劳作，人物情态鲜活，似将世外桃源的日常铺展于瓷面之上。\n\n釉下青花勾勒风骨，釉上诸彩敷色鲜亮明快，蓝绿主调里以暖彩点染衣装与落日，层次分明，意境悠然。匠师以瓷为纸，将文人山水意趣融入日用器具，尽显制瓷工法之精湛，也把传统田园的恬淡意韵凝于方寸之间，是工技与文人审美相融的上乘之作。",[8011,12244,28,27,30,31,7,175,36,258,35,95],"斗彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9e8bc98d72794a8e54efbe48c1bb8c0.jpg",[],{"id":12248,"slug":12249,"title":12250,"dynasty":87,"author":88,"museum":147,"description":11321,"tags":12251,"thumbUrl":12252,"material":118,"size":119,"collection":120,"collections":12253,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},258909,"qian-long-kuan-fen-cai-bai-lu-tu-zun-yi-ming-258909","乾隆款粉彩百鹿图尊",[8011,10163,27,961,1458,7,30,35,33,1250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3477a07abfd6bcac1e96adb15405d45a.jpg",[],{"id":12255,"slug":12256,"title":12257,"dynasty":87,"author":88,"museum":147,"description":12258,"tags":12259,"thumbUrl":12260,"material":118,"size":119,"collection":120,"collections":12261,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":408},258807,"fen-cai-hua-niao-tu-wan-yi-ming-258807","粉彩花鸟图碗","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。",[8011,10163,27,667,7,8220,640,1250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95a7e56ce4695c7184f0aa6f6861f542.jpg",[],{"id":12263,"slug":12264,"title":12265,"dynasty":87,"author":88,"museum":147,"description":10161,"tags":12266,"thumbUrl":12268,"material":118,"size":119,"collection":120,"collections":12269,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},258730,"lv-di-fen-cai-shi-ju-hua-hui-wen-pie-kou-ping-yi-ming-258730","绿地粉彩诗句花卉纹撇口瓶",[87,8011,10163,27,28,12267,640,7,188],"诗句","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c080979dee3dd2326c15e2333d8d0c4.jpg",[],{"id":12271,"slug":12272,"title":12273,"dynasty":87,"author":88,"museum":147,"description":11321,"tags":12274,"thumbUrl":12275,"material":118,"size":119,"collection":120,"collections":12276,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},258706,"qian-long-kuan-wu-cai-deng-long-zun-yi-ming-258706","乾隆款五彩灯笼尊",[8011,12218,27,30,31,162,132,229,1238,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18549103baa654d6961d5983312d9d3d.jpg",[],{"id":12278,"slug":12279,"title":12280,"dynasty":87,"author":88,"museum":147,"description":12158,"tags":12281,"thumbUrl":12283,"material":118,"size":119,"collection":120,"collections":12284,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},258696,"qian-long-kuan-ji-lan-you-kai-guang-hua-hui-shi-ju-ping-yi-ming-258696","乾隆款祭蓝釉开光花卉诗句瓶",[8011,87,12282,10510,27,188,8427,640,1481,7],"祭蓝釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F762b1dc589c1167293f04744cb537e0e.jpg",[],{"id":12286,"slug":12287,"title":12288,"dynasty":87,"author":88,"museum":147,"description":12289,"tags":12290,"thumbUrl":12291,"material":118,"size":119,"collection":120,"collections":12292,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},256688,"dou-cai-shan-shui-ren-wu-wen-ling-hua-kou-hua-pen-yi-ming-256688","斗彩山水人物纹菱花口花盆","此器造型雅致，倭角菱花口舒展端庄。斗彩纹饰绘就海上仙游图景：苍松虬曲扎根澜岸，惊涛翻卷赤霞，仙官执笏徐行，侍从紧随左右，流云飞鸟点缀长空，衬出缥缈悠然的仙家意趣。釉下青花勾勒筋骨，釉上施彩明丽柔和，绿松红浪紫衫搭配和谐，走线精细流畅，将山海灵秀与隐逸仙气相融，尽显彩瓷装饰的精工意韵，是陈设与工艺价值兼具的瓷中佳器。",[87,12244,27,30,31,7,95,2548,2189,35,8011,10814],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce3b60d8c5a647dabede5c2be39b7136.jpg",[],{"id":12294,"slug":12295,"title":12296,"dynasty":18,"author":88,"museum":147,"description":11229,"tags":12297,"thumbUrl":12299,"material":118,"size":119,"collection":120,"collections":12300,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},256449,"dou-cai-ying-xi-tu-bei-yi-ming-256449","斗彩婴戏图杯",[2577,12244,8011,3188,31,27,28,7,885,12298,887],"放风筝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7c8cc042aa11e42697895137470712b.jpg",[],{"id":12302,"slug":12303,"title":12304,"dynasty":18,"author":88,"museum":147,"description":11229,"tags":12305,"thumbUrl":12307,"material":118,"size":119,"collection":120,"collections":12308,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},256440,"dou-cai-gao-shi-bei-yi-ming-256440","斗彩高士杯",[18,8011,12244,27,31,7,12306,35],"鸭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4bf3f2364b237e4153c471166f53a8.jpg",[],{"id":12310,"slug":12311,"title":12312,"dynasty":87,"author":88,"museum":147,"description":11375,"tags":12313,"thumbUrl":12314,"material":118,"size":119,"collection":120,"collections":12315,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},252339,"bai-yu-song-shu-wen-mo-chuang-yi-ming-252339","白玉松树纹墨床",[1029,10443,8013,7,1250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fa00a03dc6b5ee7e000bd4d76dc5e95.jpg",[],{"id":12317,"slug":12318,"title":12319,"dynasty":87,"author":88,"museum":147,"description":10763,"tags":12320,"thumbUrl":12321,"material":118,"size":119,"collection":120,"collections":12322,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},252283,"qian-long-ti-shi-qing-yu-shan-zi-yi-ming-252283","乾隆题诗青玉山子",[1029,10443,8013,30,94,161,31,7,563,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b2400d1d0bd08f14877269d04ab3840.jpg",[],{"id":12324,"slug":12325,"title":12326,"dynasty":87,"author":88,"museum":147,"description":10763,"tags":12327,"thumbUrl":12329,"material":118,"size":119,"collection":120,"collections":12330,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},251825,"mo-yu-qiao-zuo-shuang-yuan-yi-ming-251825","墨玉巧作双猿",[1029,10443,12328,8013,2799,2327,7],"巧作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d98b4e044a8003ca4411710c86de872.jpg",[],{"id":12332,"slug":12333,"title":12334,"dynasty":87,"author":88,"museum":147,"description":12335,"tags":12336,"thumbUrl":12337,"material":118,"size":119,"collection":120,"collections":12338,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":408},251532,"bi-yu-ke-shi-xian-shan-lou-ge-tu-shan-zi-yi-ming-251532","碧玉刻诗仙山楼阁图山子","此作取浓翠莹润的碧玉料而成，以圆雕、透雕技法层叠造景。山峦逶迤层叠，古松虬枝苍劲，亭台藏于林壑，板桥引渡，雅士策杖悠游，将世外山居的幽寂雅趣凝于玉中。山巅填金题铭，文饰与刀工相映成趣，既得山野林泉的自在意韵，又不失规整雅致的工艺法度。整体布局疏密得当，刀工细腻入微，将传统文人山水的悠远意境镌刻于顽玉，把水墨山水的雅趣凝固为永恒的立体画卷。",[1029,10443,8013,30,2459,94,32,31,7,33,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39e4a7b4ee6468686eaf397ceffd6b96.jpg",[],{"id":12340,"slug":12341,"title":12342,"dynasty":87,"author":88,"museum":147,"description":10763,"tags":12343,"thumbUrl":12345,"material":118,"size":119,"collection":120,"collections":12346,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},251494,"bi-yu-zuo-fo-shan-zi-yi-ming-251494","碧玉坐佛山子",[1029,10443,8013,2177,12344,35,7],"坐佛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20bf4f3132f44a333163b3f0b98b7827.jpg",[],{"id":12348,"slug":12349,"title":12350,"dynasty":87,"author":88,"museum":147,"description":12351,"tags":12352,"thumbUrl":12353,"material":118,"size":119,"collection":120,"collections":12354,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":408},251493,"bi-yu-mi-dian-bai-shi-tu-shan-zi-yi-ming-251493","碧玉米颠拜石图山子","这方玉雕以沉郁莹润的碧色玉料随形施艺，将米颠拜石的文人雅趣凝于方寸。苍松虬劲盘绕山石之上，松针层叠细密，枝桠蜿蜒有度，尽显古松苍劲之态。山石层叠错落，刀工圆润利落，随玉料走势勾勒出嶙峋肌理，留白处暗含悠远意境。匠人将文人典故融于玉石雕刻之间，把顽石与雅士的韵致藏于玉料的厚重质感中，静穆雅致里尽显文心，将玉质温润与文人情思完美相融，尽显不俗匠心。",[1029,10443,8013,31,57,7,11368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F508ded3aba587d823c6c18607439bb1c.jpg",[],{"id":12356,"slug":12357,"title":12358,"dynasty":87,"author":88,"museum":147,"description":10763,"tags":12359,"thumbUrl":12360,"material":118,"size":119,"collection":120,"collections":12361,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},251033,"qing-yu-xian-shan-lou-ge-shuang-mian-cha-ping-yi-ming-251033","青玉仙山楼阁双面插屏",[10443,8013,1029,8983,30,94,2459,95,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bbff8c1c908605e4495d9a2b3298af5.jpg",[],{"id":12363,"slug":12364,"title":12365,"dynasty":87,"author":88,"museum":147,"description":10763,"tags":12366,"thumbUrl":12368,"material":118,"size":119,"collection":120,"collections":12369,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":408},251011,"qing-yu-lou-diao-song-shu-ren-wu-xiang-tong-yi-ming-251011","青玉镂雕松树人物香筒",[87,10443,12367,7,31,1250],"镂雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F681428e8aaee670f1c7a06e36d361ce7.jpg",[],{"id":12371,"slug":12372,"title":12373,"dynasty":18,"author":88,"museum":147,"description":12374,"tags":12375,"thumbUrl":12376,"material":118,"size":119,"collection":120,"collections":12377,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":408},248881,"kuan-cai-ti-bi-tu-cha-ping-yi-ming-248881","款彩题壁图插屏","以黑漆为地，款彩描金敷色，绘就水畔雅景。苍松虬枝斜出，荫蔽水石，华服士人静立其间，二童子随侍身侧，一人躬身呈递书卷，似正等候主人乘兴题壁。远景山峦晕染淡彩，水波澹澹漾开，衬出林下幽寂雅致的氛围。\n\n人物衣纹以描金勾勒，朱色衣袍鲜亮沉稳，将士人的雍容仪态尽显。边框缠枝卷草金饰环绕，与画面呼应，融重工富丽与清雅文趣于一体，定格了文人题壁闲情，是漆艺与画意相融的精巧之作。",[24,8222,11417,27,31,7,35,1376,6503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd606a0902e2926f10a4c5249d2006c20.jpg",[],{"id":12379,"slug":12380,"title":12381,"dynasty":87,"author":88,"museum":147,"description":11424,"tags":12382,"thumbUrl":12383,"material":118,"size":119,"collection":120,"collections":12384,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},248868,"ti-hong-shan-shui-ren-wu-tu-mei-hua-shi-he-yi-ming-248868","剔红山水人物图梅花式盒",[1029,8222,11426,8013,27,30,31,302,7,32,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6b3b67cb9d4ab403d4d8148a7fbaf4b.jpg",[],{"id":12386,"slug":12387,"title":12388,"dynasty":87,"author":88,"museum":147,"description":11424,"tags":12389,"thumbUrl":12391,"material":118,"size":119,"collection":120,"collections":12392,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},248604,"qian-long-kuan-ti-hong-ren-wu-tu-yuan-he-yi-ming-248604","乾隆款剔红人物图圆盒",[1029,8222,11426,8013,27,31,7,12390],"回纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0becf637878a3335306a2d7d34a65d7.jpg",[],{"id":12394,"slug":12395,"title":12396,"dynasty":87,"author":88,"museum":147,"description":11424,"tags":12397,"thumbUrl":12398,"material":118,"size":119,"collection":120,"collections":12399,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":194},247037,"qian-long-kuan-ti-hong-shan-shui-ren-wu-xie-qin-tu-bian-yuan-he-yi-ming-247037","乾隆款剔红山水人物携琴图扁圆盒",[8222,8013,11426,30,31,872,7,12390,1250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff252e77702812d398c6dd5cacdeffddf.jpg",[],{"id":12401,"slug":12402,"title":12403,"dynasty":87,"author":88,"museum":147,"description":10143,"tags":12404,"thumbUrl":12405,"material":118,"size":119,"collection":120,"collections":12406,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},246868,"ti-hong-shan-shui-ren-wu-tu-bi-tong-yi-ming-246868","剔红山水人物图笔筒",[1029,8222,8013,11426,30,31,161,7,35,36,1250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9196057389722f9a167b182905bf188b.jpg",[],{"id":12408,"slug":12409,"title":12410,"dynasty":87,"author":88,"museum":147,"description":10143,"tags":12411,"thumbUrl":12412,"material":118,"size":119,"collection":120,"collections":12413,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},246612,"lv-di-ti-hong-shi-ba-luo-han-bi-tong-yi-ming-246612","绿地剔红十八罗汉笔筒",[1029,8222,8013,11426,10822,11016,5414,31,7,35,11960],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28d18fb10b4b33ba2b15064c527776ae.jpg",[],{"id":12415,"slug":12416,"title":12417,"dynasty":87,"author":88,"museum":147,"description":12418,"tags":12419,"thumbUrl":12421,"material":118,"size":119,"collection":120,"collections":12422,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},245821,"yin-fa-lang-chang-fang-pan-yi-ming-245821","银珐琅长方盘","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。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[12420,10442,27,8013,31,30,7,229],"银器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65273d8dd62db357be183f1069b023ec.jpg",[],{"id":12424,"slug":12425,"title":3781,"dynasty":87,"author":11451,"museum":147,"description":12426,"tags":12427,"thumbUrl":12428,"material":120,"size":120,"collection":120,"collections":12429,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},239039,"shan-shui-ce-wu-lin-239039","（一六九一―一七七二）字栗园，一作栗原，一字荛圃，安徽歙县籍，家江西景德镇。二、[清]字仁趾，天都（今安徽歙县）右姓，隶籍广陵（今江苏扬州）。",[24,53,54,30,215,275,7,55,134,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58239256591982787f887231b46e77b4.jpg",[],{"id":12431,"slug":12432,"title":3781,"dynasty":87,"author":5263,"museum":147,"description":8693,"tags":12433,"thumbUrl":12434,"material":118,"size":119,"collection":120,"collections":12435,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},238685,"shan-shui-ce-dong-bang-da-238685",[24,25,53,54,215,30,32,33,175,35,36,367,7,150,485],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f103bee86751e1d36f92cbabceda4f.jpg",[],{"id":12437,"slug":12438,"title":3781,"dynasty":87,"author":5263,"museum":147,"description":8693,"tags":12439,"thumbUrl":12440,"material":118,"size":119,"collection":120,"collections":12441,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},238684,"shan-shui-ce-dong-bang-da-238684",[24,53,54,215,30,288,32,175,34,368,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16769bfebaf7289d1181ea668a718994.jpg",[],{"id":12443,"slug":12444,"title":3781,"dynasty":87,"author":12445,"museum":20,"description":12446,"tags":12447,"thumbUrl":12450,"material":27,"size":12451,"collection":120,"collections":12452,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},238267,"shan-shui-ce-zhang-yan-238267","张演","此作取边角之景入画，左畔危岩嶙峋，古松蟠曲苍劲，近处长林掩映茅庐，幽人徐行篱边，似正沉醉林泉意趣。\n开面湖水空阔澄澈，汀渚错落，远岸松列如黛。层叠山峦浮沉在烟岚薄雾间，暮光轻抹远山天际，晕开一抹暖红，糅合了冷寂山光与温柔暮色。\n笔墨温润雅致，以浅绛设色晕染山石，细劲皴笔写出岩体质感，淡墨烘染烟霭，将江南水山的空濛静穆尽数铺展，尽显林泉高隐的悠然澹泊之境，藏着传统文人寄情丘壑的隐逸襟怀。",[24,27,54,215,28,30,7,35,135,31,36,258,134,12448,485,702,971,277,11082,12449,4981],"小筑","层峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F531c43ef944af0c19c1b03b7a21cf4bc.jpg","37.1x31.7",[],{"id":12454,"slug":12455,"title":3781,"dynasty":87,"author":12445,"museum":20,"description":12456,"tags":12457,"thumbUrl":12460,"material":27,"size":12451,"collection":120,"collections":12461,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},238264,"shan-shui-ce-zhang-yan-238264","此作用浅绛设色晕染出幽寂山居。近隅茅舍错落，屋中二人对坐晤谈，周遭嘉木扶苏，枝叶皴染细致，翠色鲜活生机暗涌。中景崖壁逶迤，山道萦回，林木错落嵌于岩隙间。远景危崖以淡墨浅赭晕出肌理，留白处尽显空濛悠远。\n\n构图疏密得宜，笔墨秀润清逸，将林下幽居的雅趣融于尺幅之中，静穆萧散的文人意韵浸透纸面，引观者踏入尘嚣之外的林泉佳处，尽显澹泊出尘的襟怀。",[24,27,215,30,54,35,150,36,175,31,303,7,56,3578,277,12458,971,985,342,12459],"居所","工笔结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F223801e336f2d1e91f94eb0c474355a2.jpg",[],{"id":12463,"slug":12464,"title":3781,"dynasty":87,"author":12445,"museum":20,"description":12465,"tags":12466,"thumbUrl":12467,"material":27,"size":12451,"collection":120,"collections":12468,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},238260,"shan-shui-ce-zhang-yan-238260","此作以淡彩铺陈山居幽境，近景苍松虬劲，翠色蓊郁，掩映白墙黛瓦的屋舍，庭院芳草凝碧，顽石错落，一派安谧雅致。侧旁山溪潺湲，有人负物缓行，野趣自生。\n\n远景危崖高耸，皴笔兼工带写，苍劲中见秀润，留白晕出山岚空濛，虚实相生间尽显山川浑厚之态。整体清和淡雅，构图疏密得宜，将幽栖林泉的闲适诗意融于尺幅，笔意温婉秀雅，仿佛可揽松风溪声，消解俗尘烦扰，尽显文人寄情山水的林下意趣。",[24,27,30,54,7,94,35,134,639,36,303,229,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feade0e6f75720fba4da3807932282adc.jpg",[],{"id":12470,"slug":12471,"title":11552,"dynasty":18,"author":11553,"museum":147,"description":11554,"tags":12472,"thumbUrl":12473,"material":120,"size":120,"collection":120,"collections":12474,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},233586,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233586",[24,25,215,940,53,31,7,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1311d0b14f60eacbae6257cd7fc1e762.jpg",[],{"id":12476,"slug":12477,"title":12478,"dynasty":87,"author":88,"museum":147,"description":10763,"tags":12479,"thumbUrl":12480,"material":118,"size":119,"collection":120,"collections":12481,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},229804,"yu-cai-yu-shan-zi-yi-ming-229804","玉采玉山子",[10443,8013,1029,30,31,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e1093f1f01cf088001c03c58acde57c.jpg",[],{"id":12483,"slug":12484,"title":12485,"dynasty":87,"author":88,"museum":147,"description":11909,"tags":12486,"thumbUrl":12488,"material":118,"size":119,"collection":120,"collections":12489,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},229656,"yu-zhi-geng-zhi-tu-er-mian-mo-yi-ming-229656","御制耕织图二眠墨",[2394,8013,27,31,161,7,12487],"蚕织","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b961c3936611c782e27890cc2b90c88.jpg",[],{"id":12491,"slug":12492,"title":12493,"dynasty":87,"author":88,"museum":147,"description":12494,"tags":12495,"thumbUrl":12497,"material":59,"size":120,"collection":120,"collections":12498,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},215587,"tian-xia-ming-shan-tu-36-yi-ming-215587","天下名山图-36","线条如行云流水，勾勒出山峦的起伏褶皱。层岩叠嶂间，皴笔细密交织，尽显山体肌理的苍劲质感。古松虬枝斜出，墨线凝练中藏着灵动，似与山风相和。旁侧林木以疏密线条铺陈，葱郁之意跃然纸上。画面虽无设色，却以墨线的浓淡变化，铺展出山林的幽深静谧——仿佛松涛阵阵入耳，云雾隐现于峰峦缝隙，尽显传统山水的笔墨意趣。于简洁勾勒中蕴含深远意境，让人窥得古人笔下山川的雄浑与秀逸，笔墨间流淌着对自然的敬畏与诗意描摹。",[24,25,940,30,215,132,7,56,134,12496,53],"线描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93e9806ce3da1fff4a7a4d1a5092a6de.jpg",[],{"id":12500,"slug":12501,"title":12502,"dynasty":87,"author":88,"museum":147,"description":12503,"tags":12504,"thumbUrl":12505,"material":59,"size":120,"collection":120,"collections":12506,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},215565,"tian-xia-ming-shan-tu-58-yi-ming-215565","天下名山图-58","峰峦错落，皴笔勾勒出岩骨的苍劲肌理，层叠丘壑间藏着幽邃林泉。孤峰拔地而起，似擎天之柱，与周遭起伏山峦相映成趣。溪流蜿蜒穿石而过，携细碎清响隐入谷中，几株苍松点缀峰顶，添了几分清逸。笔墨间晕染山水灵秀，线条疏密有致，墨色层次分明，将山川静谧与深远凝成画面。仿佛踏入烟霞深处，听松风与溪流和鸣，看云气在峰峦间流转，暂忘尘嚣，只余山水清幽旷远在心间荡漾。",[24,25,215,940,53,54,30,35,33,36,7,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F815165367d50b71269a52f96a0eaf656.jpg",[],{"id":12508,"slug":12509,"title":12510,"dynasty":87,"author":88,"museum":147,"description":12511,"tags":12512,"thumbUrl":12513,"material":59,"size":120,"collection":120,"collections":12514,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":44},215557,"tian-xia-ming-shan-tu-64-yi-ming-215557","天下名山图-64","线条婉转勾勒层峦叠嶂，山岩肌理若隐若现，松影婆娑于峰侧，添几分清逸。林麓间茅舍隐现，似藏幽人逸趣；下方水色空濛，或为溪流或平湖，映带山林，更显静谧。整幅图景以简淡之笔写山水真意，无浓墨重彩却见丘壑深致，流露着文人山水的清雅与隐逸之思，仿佛可闻林间风吟、涧水潺湲，引人入这一方悠然天地。",[24,25,215,940,54,30,7,35,74,36,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31dc816dc6edde9e138fae4d59f6bddf.jpg",[],{"id":12516,"slug":12517,"title":12518,"dynasty":87,"author":88,"museum":147,"description":12519,"tags":12520,"thumbUrl":12523,"material":38,"size":120,"collection":120,"collections":12524,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":82},215115,"er-shi-si-xiao-tu-ce-23-yi-ming-215115","二十四孝图册-23","二十四孝图册 是一本著名的清朝绘画作品，其中描绘了传统中国文化中最重要的 二十四孝 的故事。\n\n二十四孝 指的是传统中国文化中所尊重的二十四种子孝顺父母的行为。这些行为包括孝敬父母、恭敬长辈、孝敬兄长、恭敬长辈婆婆、孝敬师长等。\n\n二十四孝图册 由佚名的艺术家绘制，每一幅画都描绘了一种孝顺行为的故事。这本图册被认为是中国传统文化中最重要的艺术品之一，并被广泛收藏。",[23,24,27,28,215,31,1376,7,12521,132,12522],"墓碑","风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc191238acc90e54f1af87134bd3d72ff.jpg",[],{"id":12526,"slug":12527,"title":12528,"dynasty":87,"author":12529,"museum":172,"description":12530,"tags":12531,"thumbUrl":12533,"material":120,"size":120,"collection":120,"collections":12534,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":12535},202506,"quan-sheng-song-yun-tu-zhou-zhang-chong-202506","泉声松韵图轴","张翀","此作以水墨为媒，山石以皴法勾勒肌理，苍劲古松虬枝舒展，山间飞瀑直流而下，亭榭隐于松荫之间。笔墨浓淡相宜，虚实相生，松风与泉声似萦绕耳畔，构筑出静谧幽深的山林意境，尽显文人山水画的清雅韵致。",[24,53,54,30,7,55,12532,35,23],"亭榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9bd5274a8dc6c46d8ac64482e5d7690.jpg",[],"ae9d8a",{"id":12537,"slug":12538,"title":12539,"dynasty":87,"author":12540,"museum":172,"description":12541,"tags":12542,"thumbUrl":12543,"material":120,"size":120,"collection":120,"collections":12544,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":12545},201749,"song-shu-ren-wu-zhou-chen-yue-201749","松树人物轴","陈岳","松下虬枝苍劲，松针如簇，墨色浓淡间尽显古木风姿。老者衣袂轻扬，神态悠然，似于林间缓步，携几分超脱尘俗的闲适。线条简练却精准，人物情态生动，树石皴擦有致，水墨晕染得宜，营造出清幽淡远的文人意境。画面虽简，却藏着对自然与心境的交融之思，尽显传统笔墨的雅致韵味。",[24,53,31,7,26,11809],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f2a647cb1fdfb45a0134084273256d0.jpg",[],"b09f8b",{"id":12547,"slug":12548,"title":1497,"dynasty":18,"author":2197,"museum":172,"description":12549,"tags":12550,"thumbUrl":12552,"material":120,"size":120,"collection":120,"collections":12553,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":12554},201482,"shan-shui-zhou-song-xu-201482","寒雪裹覆层峦，飞瀑自峭壁倾泻而下，云雾轻笼山巅，晕开一片清寂悠远。山间松枝凝雪仍挺劲，虬干旁红枫点缀，添几分暖意；溪流穿乱石蜿蜒，小桥上人影凭栏，林下茅亭隐现，似藏隐逸之趣。山石以皴擦勾勒肌理，淡墨晕染雪景，线条苍劲中见雅致，设色淡雅却层次分明，将冬日山水的清旷与文人逸趣融于尺幅间，尽显笔墨之韵与意境之深。",[24,26,30,54,27,32,33,161,7,2414,35,12551],"红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1fa380fac5925017f88ff0c8a75d54d.jpg",[],"e2dfd7",{"id":12556,"slug":12557,"title":12558,"dynasty":87,"author":171,"museum":172,"description":12559,"tags":12560,"thumbUrl":12561,"material":120,"size":120,"collection":40,"collections":12562,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":12563},201258,"shui-chu-gao-yuan-tu-zhou-shi-tao-201258","水出高源图轴","画面山峦层叠，云雾轻笼，高旷之势暗合题旨。近处苍松盘曲，笔墨恣肆，松针疏密有致，尽显苍劲；山间茅屋隐于林木，素净雅致，流露世外逸趣。山石以多变皴法写就，干湿浓淡交织，既摹峰峦肌理，又透灵动气韵。构图虚实相济，远峰巍峨含浑，近景幽寂生动，融自然壮阔与文人逸怀于一体。石涛以“我法”造境，借山水寄情，简笔藏深意，尽显不拘一格的艺术风骨。",[30,53,54,26,7,187,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed6689e544ac43ca74b27b7d974e5e2b.jpg",[40],"a28a63",{"id":12565,"slug":12566,"title":12567,"dynasty":18,"author":1646,"museum":172,"description":12568,"tags":12569,"thumbUrl":12571,"material":120,"size":120,"collection":40,"collections":12572,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":12573},201251,"song-xia-xian-tiao-tu-ye-chen-chun-201251","松下闲眺图页","这幅画以水墨写意铺陈，右侧松枝虬劲，墨色浓淡交织，尽显苍古之姿；平台上二贤对坐闲眺，衣纹简淡却神态悠然，似与松风共鸣。远景平畴疏林，水面开阔留白，墨气清润间漾出空寂悠远之韵。笔法洒脱不拘，水墨淋漓处见文人逸趣，将山水之幽与人物之闲融于尺幅，尽显自然与心境的相契。",[53,24,30,31,7,342,393,27,12570,54,23],"留白","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F281637d80949ad0a9ac5cf58e0d13a6f.jpg",[40],"c7b9a2",{"id":12575,"slug":12576,"title":12577,"dynasty":18,"author":5217,"museum":172,"description":12578,"tags":12579,"thumbUrl":12580,"material":120,"size":120,"collection":40,"collections":12581,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":12582},201231,"xi-shan-fan-ting-tu-zhou-zhang-lu-201231","溪山泛艇图轴","山石以劲健斧劈皴勾勒，墨色浓淡交错间尽显雄浑之态。虬松倒挂，枝干盘曲如铁，松针劲挺，与山石的刚硬相映成趣。下方孤舟泛于溪面，舟中人物闲适静坐，似沉醉于溪山清景。远处水面浩渺，远山淡抹，留白处意蕴悠长。整幅画用笔豪放洒脱，水墨淋漓，兼具浙派的刚健与文人画的逸趣，将山水之幽与隐逸之乐融于一纸，尽显明代文人对自然与自由的向往。",[24,30,116,53,54,317,26,31,35,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c0caef87b643061d3011efe7463acff.jpg",[40],"69614b",1777535695611]