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戴进","日本大阪市立美术馆","松岩萧寺图是明代画家戴进的一幅代表作。这幅画作描绘了萧寺的生活场景。\n\n在这幅画作中，戴进巧妙地捕捉了萧寺的生活状态。他用浓墨重彩的画法，勾勒出了萧寺的宏伟建筑。他还用细腻的线条勾勒出了萧寺内僧人修行的场景，让人感受到了萧寺内的宁静和谐。\n\n此外，戴进在这幅画作中还描绘了萧寺周围的景色。他用色彩丰富的画法，描绘了萧寺周围的山川和河流。这些景色与萧寺的宏伟建筑形成了鲜明的对比，让人感受到了自然与人类活动的和谐共存。\n\n松岩萧寺图是一幅能够唤起人们对萧寺的崇敬之情的画作。它展示了戴进的艺术才华，也是一幅能够让人们感受到明朝文化魅力的画作。",[23,24,25,58,59,7,60,61,62,63,64],"山水","皴法","山石","楼阁","小桥","流水","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dadaa3dad497961e69e4dc516458e91.jpg","227x51.5","山水画精选",[67],1383,10,"BDBDBD",{"id":73,"slug":74,"title":75,"dynasty":18,"author":76,"museum":77,"description":78,"tags":79,"thumbUrl":85,"material":86,"size":87,"collection":67,"collections":88,"showCount":89,"zanCount":90,"manualWeight":11,"mainColor":49},219733,"qing-jiang-you-ju-tu-shen-zhou-219733","清江幽居图","沈周","大英博物馆","此作用笔苍润秀雅，取景疏密得宜。近岸老松盘曲，浓荫覆着茅堂，幽人居于其中，静听山籁。江岸迂回，板桥跨溪，远山以淡墨晕染，烟岚轻笼，殿宇藏于翠微间。\n\n通幅干湿笔墨相生，墨色层次分明，将夜雨初歇的空濛山色晕染得淋漓尽致，江天寥廓间尽见清寂雅致的山居意趣，尽显寄情林泉、幽栖忘俗的隐逸情怀。",[23,24,25,80,59,81,58,62,63,82,7,60,61,83,84],"设色","立轴","亭","幽居","岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdbf8df9dd29c2dd40331e20cfa7ac27.jpg","绢本,设色","",[67],1176,12,{"id":92,"slug":93,"title":94,"dynasty":18,"author":95,"museum":96,"description":97,"tags":98,"thumbUrl":103,"material":104,"size":105,"collection":67,"collections":106,"showCount":108,"zanCount":109,"manualWeight":11,"mainColor":49},222322,"song-he-yan-nian-tu-tong-kai-222322","松鹤延年图","童垲","安徽省博物馆","此幅《松鹤延年图》寓意大吉，特别符合中国人对于吉祥、长寿的美好祈盼。画面中古树苍翠，松树蜿蜒摇曳；两只丹顶鹤身形高挑飘逸，如仙境来客一般；松树下开满吉祥的花朵，一派吉祥和谐的画意盎然纸上。",[23,24,29,99,81,100,80,101,7,102,60,39],"名画","工笔","花鸟","鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2b8b639eb9444922ba6b202fd5837fa.jpg","绢本，设色画","97.2CM*201.8",[67,107],"设色画精选",884,8,{"id":111,"slug":112,"title":113,"dynasty":114,"author":115,"museum":116,"description":117,"tags":118,"thumbUrl":122,"material":123,"size":124,"collection":125,"collections":126,"showCount":127,"zanCount":128,"manualWeight":11,"mainColor":71},224526,"ku-mu-zhu-shi-tu-juan-shi-tao-224526","枯木竹石图卷","清","石涛","藏地不详","石涛（1642一约1707），清代画家、中国画一代宗师。法名原济，一作元济。本姓朱，名若极。字石涛，又号苦瓜和尚、大涤子、清湘陈人等。广西全州人，晚年定居扬州。明靖江王后裔，幼年遭变后出家为僧，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《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。",[23,24,29,28,25,59,119,33,120,58,7,30,31,121],"枯木","石","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e40f18081971367110555976691d9e.jpg","纸本墨笔","纵23.5厘米，横213.5厘米","水墨画精选",[125],845,3,{"id":130,"slug":131,"title":132,"dynasty":18,"author":133,"museum":116,"description":134,"tags":135,"thumbUrl":148,"material":86,"size":149,"collection":150,"collections":151,"showCount":152,"zanCount":153,"manualWeight":11,"mainColor":49},216367,"ri-ben-chang-hen-ge-tu-juan-xia-juan-shou-ye-shan-xue-216367","日本· 长恨歌图卷(下卷)","狩野山雪","整套作品分为两卷，大约在1646年绘制，描绘了唐明皇和杨贵妃之间凄美的爱情故事。上卷描绘了从汉朝皇帝爱国到杨贵妃死在马嵬坡的爱情故事。第二卷主要讲述明朝皇帝对她的无尽思念。",[23,24,29,28,80,100,136,137,61,58,138,62,63,139,140,60,141,142,143,7,144,145,146,147],"界画","人物","树木","舟船","亭台","宫殿","庭院","人群","柏","河流","山峦","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5351026af241a489e28ccc88099154e8.jpg","31.5x1070","人物画精选",[150,107],775,13,{"id":155,"slug":156,"title":157,"dynasty":18,"author":54,"museum":158,"description":159,"tags":160,"thumbUrl":163,"material":164,"size":165,"collection":67,"collections":166,"showCount":167,"zanCount":168,"manualWeight":11,"mainColor":49},222031,"chun-you-wan-gui-tu-dai-jin-222031","春游晚归图","台北故宫博物院","这幅画的笔墨多取法自南宋时代的马远、夏圭一派，构图上虽然仍然旧沿袭著南宋院画体系风格，保留了大部分空虚的地方，但是画面比较平板，近景和远山几乎是在同一平面上，比较缺乏景致空间的深度。这也是浙派绘画的共同特色之一。画上并没有作者的落款和印章，但是从画风，再比照其它画作来看，似可推断是戴进在北京时期的作品。\n综合其它传世作品来看，戴进除了兼法宋、元诸家以外，受到南宋马远、夏珪「院体」一派画风的影响比较深。但是他继承古人传统，而不为成法所拘，能够发展变化，自出新意。这件作品为戴进基於马远、夏圭风格，而更近一步，大胆强调丰富笔墨效果的杰作。绘画技法功力深厚，笔墨灵活而变化多端，奔放中不失法度，严谨中又富有潇洒俊逸的格调，是代表戴进风格的典型作品之一。",[23,24,29,81,80,58,137,61,62,63,7,60,161,162,82],"树","路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f535fa828d9c60097457ceb913a5fff.jpg","绢本","167.9x83.1公分",[67,125],752,6,{"id":170,"slug":171,"title":172,"dynasty":173,"author":174,"museum":20,"description":175,"tags":176,"thumbUrl":178,"material":179,"size":180,"collection":181,"collections":182,"showCount":183,"zanCount":184,"manualWeight":11,"mainColor":185},221329,"ting-qin-tu-zhou-zhao-ji-221329","听琴图轴","宋","赵佶","此幅作品描绘官僚贵族雅集听琴的场景。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熏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。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。由于作品本幅有徽宗题名与画押，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。",[23,24,99,29,81,100,80,137,7,33,177,30,121],"乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e608fe314a1f03d1034a41f0882fbf.jpg","绢本，设色","纵147.2 厘米，横51.3 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设色","24.5×29.3cm",[45,107],326,5,{"id":284,"slug":285,"title":286,"dynasty":114,"author":287,"museum":158,"description":288,"tags":289,"thumbUrl":297,"material":250,"size":298,"collection":150,"collections":299,"showCount":300,"zanCount":90,"manualWeight":11,"mainColor":71},218296,"mo-song-ren-wen-hui-tu-yao-wen-han-218296","摹宋人文会图","姚文瀚","唐太宗为秦王时，府中蓄有十八谋士，登基后，特命阎立本画十八学士图，宋以后常以文人雅集的方式呈现。姚文瀚此卷绘于乾隆十七年，上有嵇璜楷书〈十八学士赞〉，与院藏〈刘松年唐十八学士图〉构图相同，设色明净秀丽，用笔精细挺劲，人物开面略施阴影，具立体感，对各类家具器物的细节描绘考究。姚文瀚（生于西元一七一三－卒年不详），北京人。号濯亭。乾隆时供奉内廷，工佛道人物。",[24,28,290,100,80,137,291,292,7,102,293,294,295,296],"临摹","文人雅集","孩童","书房","文房四宝","家具","楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57554a37f077ed634f35ee35c88231b9.jpg","46.8x196.1cm",[150],309,{"id":302,"slug":303,"title":304,"dynasty":173,"author":216,"museum":158,"description":305,"tags":306,"thumbUrl":315,"material":43,"size":87,"collection":181,"collections":316,"showCount":317,"zanCount":184,"manualWeight":11,"mainColor":49},220194,"song-xi-qing-tiao-tu-ma-yuan-220194","松溪清眺图","马远，祖籍河中（今山西永济），“靖康之变”北宋灭亡后，马远的祖父马兴祖随着宋高宗赵构南渡，因此马远是在南宋的都城临安（今浙江杭州）出生长大的。他的生卒和详细经历，很难查考。曾为南宋光宗、宁宗两朝（约1190年－1224年）的画院待诏。",[23,99,24,29,25,307,59,308,7,309,310,82,311,312,120,138,313,314],"山水画","边角构图","溪","山","远峰","水","溪流","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf758ab459e20e424815729b0992857f.jpg",[181,67],302,{"id":319,"slug":320,"title":321,"dynasty":114,"author":272,"museum":116,"description":322,"tags":323,"thumbUrl":325,"material":326,"size":327,"collection":87,"collections":328,"showCount":329,"zanCount":227,"manualWeight":11,"mainColor":71},290526,"hua-hui-zhou-yun-shou-ping-290526","花卉轴","恽南田（1633年—1690年），即恽寿平，原名格，字寿平，后以字行，改字正叔，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史，明末清初著名书画家，常州画派的开山祖师，后来成为清六家之一。",[99,24,29,81,80,100,101,35,324,7],"玉兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F060eeb289a0dda1a06b4c11a188ac1f7.jpg","未知","Xcm*Xcm",[],301,{"id":331,"slug":332,"title":333,"dynasty":114,"author":258,"museum":20,"description":334,"tags":335,"thumbUrl":336,"material":337,"size":338,"collection":45,"collections":339,"showCount":340,"zanCount":267,"manualWeight":11,"mainColor":71},216100,"song-mei-tu-hong-ren-216100","松梅图","此卷分前后两段。前段画末有弘仁书写的程守蚀庵《省静堂集·一年诗》中的七言绝句《遍阅山中诸碑》，款署：“丙申春日偶写揭蚀庵集因一绝。渐江学人。”钤“渐江僧”白文印。\n前段图绘虬龙盘曲的苍松和棱角分明的怪石。弘仁的松石是对黄山松石的真实写照，石涛言：“公游黄山最久，故得黄山之真性情也，即一木一石，皆黄山本色。”图中的松石以粗犷霸悍的行笔、淋漓酣畅的施墨表现，具有弘仁晚年豪放洒脱的画风特点，简洁的构图体现出诗意中的空寂。\n后段图绘水墨梅花。梅不畏严寒、高标独立的精神正是作者所追求的人生品格。弘仁一生最喜画梅，自号“梅花古衲”，创作出大量以梅为主题的佳作，此卷便是其中之一。图中的梅枝如曲铁，婉转中呈现刚毅不屈之态。其简约的格局，精谨的笔墨，结构出一派纯净、幽旷而又俊逸的意境。",[23,24,29,28,25,59,30,121,7,32,221],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fadfb3b3275d62e25c91b495f8cfe05.jpg","绢本,设色,水墨","前段设色，纵27.8厘米，横269.7厘米；后段墨笔，纵27.8厘米，横86.7厘米",[45],275,{"id":342,"slug":343,"title":344,"dynasty":345,"author":346,"museum":158,"description":347,"tags":348,"thumbUrl":350,"material":351,"size":352,"collection":67,"collections":353,"showCount":354,"zanCount":267,"manualWeight":11,"mainColor":71},220810,"song-chuang-gao-shi-tu-zhou-wang-meng-220810","松窗高士图轴","元","王蒙","元王蒙松窗高士图轴，属于中国古画，于1362年（元顺帝至正二十二年）王蒙制作，长宽107.4x32.6公分、全幅 59.5公分，收藏于台北故宫博物院。",[23,24,29,81,25,58,7,137,63,60,349,59,121,30,31],"茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4fd7019bd476433d407aa9e87390ada.jpg","白纸本","107.4x32.6",[67,107],274,{"id":356,"slug":357,"title":358,"dynasty":18,"author":76,"museum":20,"description":359,"tags":360,"thumbUrl":362,"material":363,"size":364,"collection":87,"collections":365,"showCount":366,"zanCount":128,"manualWeight":11,"mainColor":71},234233,"lu-mu-tu-shen-zhou-234233","庐墓图","故宫博物院收藏有一卷沈周《庐墓图》，画分四段，从不同角度描绘了山中墓地景色。因墓地题材并非古代山水画的主流，故而学者关注不多。尽管实物遗存有限，然从文献记载来看，描绘先人茔域的山水画，自元末以来直至沈周生活的明代中期应当颇为流行。本文试从沈周《庐墓图》出发，讨论这类茔域山水画的形成与使用及其流行背后的文化观\n构成《庐墓图》的四幅画面，皆纵37.5厘米，横65厘米，推测其原本的形式应为册页。根据卷前题跋，其被合装成手卷的时间约在咸丰初年[1]。第一、二、四开，画面左侧有沈周落款及印鉴；唯第三开未见沈周署款，画面右上方空白处钤有“锦衣徐将军画”朱文印一枚，清末的观者杨棨和李誉据此推测这一幅的作者为徐将军[2]。然而，此幅无论是尺幅、用纸，还是构建画面时选取的元素及其造型特点，都与其他三幅无异。从笔墨及其风格来看，当与其他三幅出自同一作者手笔，故而现代学界认为此幅作者亦是沈周。从印章本身提供的信息来看，如果印章主人确为画家，“锦衣”二字显示了其身份与宫廷的关联。然而，尽管不乏有明代宫廷画家被授予“锦衣指挥”“锦衣千户”等武职[3]，却未见有自称“锦衣将军”的例子。综上，不应将此枚印记理解为作者署款。\n乍一看来，此幅与常见于沈周笔下的山水并无二致：以墨笔写出层峦山脉，山前一湾清泉，坡岸上杂树丛生，山石罩染着一层淡淡的赭色，树木则以淡花青色渲染，营造出幽寂的氛围。这样的环境，不但是文人理想的隐居之所，也是反复出现在以沈周为代表的吴地画家笔下的山居景色。然而，画面中并未出现供文士居住和活动的房舍，取而代之的是一个圆形的土丘，丘前立有一块方碑，其隐现于山脚下茂密的柏林之中。尽管画家并未描绘更多的细节，但这足以说明，画家所要描绘的，乃是山中的墓地。或许因为此幅直接表现了故去之人的坟墓，为表敬重，故而沈周未加署款。其余三开，尽管未出现墓体与墓碑，但皆出现了相对而立的望柱，暗示了画面空间并非是单纯的山景，而是墓园。\n杨棨在题跋中说此图“首尾不完”。从四幅画面来看，每幅独立成景，然彼此之间又有联系，无法确知是否还有其他画幅与之一同被绘制，却在流传过程中如杨棨所言散佚了；亦没有同时代的题跋，提供可信的诸如绘制年代、受画人等信息。因此，若要讨论沈周为何制作这样一套描绘墓园的册页及其背后的文化观念，需将其置入描绘墓地的绘画传统中，才有可能得到比较清晰的答案。",[23,24,29,28,25,80,59,58,146,138,7,63,60,82,361],"云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa085321cfa540a2ba8b92e25281a0a0c.jpg","纸本，设色","37.5×65cm×4",[],266,{"id":368,"slug":369,"title":370,"dynasty":173,"author":371,"museum":20,"description":372,"tags":373,"thumbUrl":376,"material":377,"size":378,"collection":181,"collections":379,"showCount":380,"zanCount":227,"manualWeight":11,"mainColor":49},220260,"song-xia-ting-qin-tu-zhao-meng-fu-220260","松下听琴图","赵孟頫","此作用青绿晕染铺展山水，层叠远山淡逸朦胧，坡岸苔点疏密错落，漾出幽寂林下氛围。几株古松虬曲苍劲，鳞皴老干垂挂松萝如翠帘轻垂，框出一方雅集天地。\n\n松下四人围坐，抚琴者垂目拨弦，听者或支颐凝思，或侧耳静聆，侍童恭立一旁，尽显文人雅聚的闲淡意趣。衣袂线条清隽简雅，暗合魏晋林下风流。题画诗与山水人物相映，笔墨间浸透知音相逢、寄怀林泉的雅兴，将丝竹之韵融在松风山色里，淡远悠长的文人情思溢满卷间。",[23,99,24,29,81,80,100,7,137,58,374,375,138,177],"琴","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3759b8e137635ec8416cf0cc39860ba.jpg","设色,绢本","纵123.6厘米、横60.4厘米",[181],265,{"id":382,"slug":383,"title":384,"dynasty":173,"author":385,"museum":386,"description":387,"tags":388,"thumbUrl":389,"material":390,"size":391,"collection":181,"collections":392,"showCount":393,"zanCount":267,"manualWeight":11,"mainColor":49},221415,"song-he-yan-nian-tu-zhou-fan-kuan-221415","松鹤延年图轴","范宽","苏州博物馆","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。",[23,24,29,81,80,59,58,7,102,60,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f0d8728a8941335a80cd12781a857b.jpg","纸本设色","193.1x74.4 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他长于行书、楷书， 笔法肉丰骨劲， 跌宕自然， 给人以“大海风涛之气”“古槎怪石之形”的艺术美感。 苏轼的书法，后人赞誉颇高。黄庭坚在他《山谷集》里说：“其书姿媚……至酒酣放浪，意忘工拙，字特瘦劲……至于笔圆而韵胜，挟以文章妙天下，忠义贯日月之气，本朝善书，自当推（苏）为第一”。明董其昌盛赞他“全用正锋，是坡公之兰亭也”。传世书迹有《前赤壁赋》《黄州寒食诗帖》《洞庭春色赋》《中山松醪赋》等。",[23,31,30,28,121,459,7,460,58],"洞庭","酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff26499125ec3104dc526016eca85f356.jpg","28.3x450.3cm","书法精选",[463],196,{"id":467,"slug":468,"title":244,"dynasty":114,"author":469,"museum":158,"description":470,"tags":471,"thumbUrl":473,"material":86,"size":474,"collection":45,"collections":475,"showCount":476,"zanCount":267,"manualWeight":11,"mainColor":71},219529,"sui-chao-tu-yun-shou-ping-wang-hui-da-chong-guang-yang-jin-219529","恽寿平王翚笪重光杨晋","四人联袂共绘，将岁朝清供融于一帧。松针攒簇挺劲，尽显凌霜坚姿，翠竹疏枝摇曳，清韵自生；山茶柔瓣晕染温润，梅枝横斜疏花缀枝，水仙舒展冰姿玉骨，南天竹丹实累累，点染出新年吉庆。\n\n笔墨兼具没骨设色的雅致柔润与勾勒皴擦的苍劲秀逸，融四家所长，各尽其意却浑然一体。花木俯仰错落，冷暖色调相映，清刚与妍柔相融，暗合岁朝迎新的吉庆意趣，将文人清雅审美与岁时雅俗交融，淡墨轻色间，尽显岁朝清供的隽永意韵。",[99,24,29,81,80,101,7,32,40,38,30,121,472],"传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F625da687a11dea55340262634b2ab88f.jpg","80.7x50.4公分",[45],195,{"id":478,"slug":479,"title":480,"dynasty":18,"author":481,"museum":116,"description":482,"tags":483,"thumbUrl":484,"material":87,"size":87,"collection":87,"collections":485,"showCount":486,"zanCount":168,"manualWeight":11,"mainColor":49},228905,"lan-ting-xu-juan-quan-juan-wen-zheng-ming-228905","兰亭序卷全卷","文徴明","此作书画合璧，意韵悠然。设色山水清丽秀雅，层岩叠壑间松荫浓郁，曲溪萦回，茅亭内雅客清谈，将兰亭修禊的幽雅致趣融于林泉之间，尽显古雅文心。\n书法兼具行楷题跋与集字奇构：题跋笔致秀润端劲，尽显温润秀逸的吴门风神；集字兰亭排布巧思独具，别出新意。鉴藏朱印错落铺陈，为整卷更添古雅厚重之感，将晋人雅集的文思与明代文人的审美意趣相融无间。",[23,24,29,28,80,58,31,59,100,82,62,63,138,137,121,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7122d5b6c8e477bd2e66f1602a2f182d.jpg",[],184,{"id":488,"slug":489,"title":189,"dynasty":114,"author":190,"museum":20,"description":490,"tags":491,"thumbUrl":492,"material":195,"size":493,"collection":87,"collections":494,"showCount":495,"zanCount":267,"manualWeight":11,"mainColor":49},234328,"song-mei-shuang-he-tu-shen-quan-234328","此画为作者晚年之作，笔触细致工整，造型生动准确，技法出自明代而又极具个人风格，笔墨工致，敷色浓艳，注重渲染，形象逼真，富有立体感。劲健、流畅的线条，细密的局部勾画，完美的画面构图，令人难以看出此乃年已古稀之人的手笔。",[24,29,99,81,100,80,101,7,32,102,60,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36593b35e7fbbcd65293d043000633a0.jpg","191cm×98.3cm",[],177,{"id":497,"slug":498,"title":499,"dynasty":173,"author":500,"museum":158,"description":501,"tags":502,"thumbUrl":510,"material":86,"size":87,"collection":181,"collections":511,"showCount":512,"zanCount":128,"manualWeight":11,"mainColor":49},220204,"bo-gu-tu-yi-ming-220204","博古图","佚名","博古是杂画的一种，后人将图画在器物上，形成装饰的工艺品，泛称“博古”。如“博古图”加上花卉、果品作为点缀而完成画幅的叫“花博古”。 北宋大观宋徽宗命大臣编绘宣和殿所藏古器，修成《宣和博古图》三十卷。后人因此将绘有瓷、铜、玉、石等古代器物的图画，叫做“博古图”，有时以花卉、果品等装饰点缀。“博古图”有博古通今、崇尚儒雅之寓意，常用于书香门第或官宦人家的宅第装饰，这也造成了其在艺术品投资领域中不俗的地位。",[23,24,29,80,100,137,7,120,32,503,504,142,292,505,506,507,508,509],"古物","器物","文人","桌案","古玩","平台","花木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e71958042d8dd75fd60dcfa63880052.jpg",[181,150],164,{"id":514,"slug":515,"title":516,"dynasty":173,"author":517,"museum":158,"description":518,"tags":519,"thumbUrl":526,"material":351,"size":527,"collection":463,"collections":528,"showCount":529,"zanCount":128,"manualWeight":11,"mainColor":185},221272,"song-feng-ge-shi-huang-ting-jian-221272","松风阁诗","黄庭坚","松风阁在湖北省鄂州市之西的西山灵泉寺附近，海拔160多米，古称樊山，是当年孙权讲武修文、宴饮祭天的地方。宋徽宗崇宁元年（1102）九月，黄庭坚与朋友游鄂城樊山，途经松林间一座亭阁，在此过夜，听松涛而成韵。",[23,30,31,121,7,401,310,520,521,522,523,524,525,120,61],"川","野僧","寒溪","坡道","夜","雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42961cbb5e0e34b9ca3df7fc4aa599c5.jpg","纵32．8厘米 横219．2厘米",[463],161,{"id":531,"slug":532,"title":533,"dynasty":114,"author":534,"museum":116,"description":535,"tags":536,"thumbUrl":539,"material":87,"size":87,"collection":87,"collections":540,"showCount":541,"zanCount":11,"manualWeight":11,"mainColor":49},231001,"song-lu-tu-zhu-da-231001","松鹿图","朱耷","《松鹿图》纵28厘米，横75厘米，纸本，作者朱耷。\n左上方落款“八大山人”，下钤有朱色阴文印”八大山人”，阳文印“各园”各一枚。\n图中画一老松，根浅干高，上粗下细，枝枯叶疏，似病5人躯干，显示出生命的衰弱和意志的消沉。\n树后画一头重脚轻、摇摇欲坠的怪石，石旁画一只形体扭曲、双目圆瞪的鹿，地上是稀少短小的枯草。\n画面布局得当，笔法苍劲，流畅生动，寓意极深。\n《松鹿图》笔墨极简，然简中有味，能在寥寥几笔中传达出许多“余味”，需要极高深的功力和极高尚的笔墨趣味。\n松树取折枝意境，几根墨线，萧条淡泊，闲和严静，画面的萧索反映出他精神世界里的孤寂，完全从八大山人的精神状态中走出，既有文人的雅致，又含着僧人的禅意，还透着些道家的出世散淡，还带着些许皇家的富贵气息。\n此画最大的佳处就在于气息湮润，格调高雅，平淡天真，不着人间烟火气。\n梅花鹿是高雅富贵之物，被视为君子，与八大山人看空世事的情怀有不谋而合之处。\n此外“松鹿题材”也是传统的吉祥题材，“鹿”与“禄”同音，松树象征着高寿，《松鹿图》寄托着福禄长寿的美好寓意。\n八大山人的造诣不仅体现在书画创作和艺术成就上，就连他的精神境界，也是拈花微笑、艺术到家的，这从《松鹿图》的气韵上可见一斑。\n朱耷（1624—175年），明宗室宁献王朱权后裔，封藩南昌，遂为江西南昌人，谱名统『17』，小名耷。\n清顺治五年（1648年）落发为僧，法名传棨。\n一生字、号、别号甚多，有个山、驴屋驴、人屋等。\n康熙二十三年（1684年）始号八大山人。\n坎坷的命运影响着他的人生观及艺术创作思想，其绘画作品中多寄托着对清王朝的痛恨，对明王朝的眷恋之情。\n山水画在宗法元黄公望平淡天真和明董其昌润泽秀逸的基础上形成了自己古拙奇特、劲拔荒率的艺术风格。\n花鸟画在参照明代沈周、徐渭等文人画法的同时，又融入自己强烈的主观意识，注重鱼、虫、禽等物象的人格化表现，以象征手法表达隐晦的寓意。\n晚年署款将自己的号“八大山人”四个字以草书体连缀写，似“哭之”、“笑之”，借此暗寓他面对富于戏剧性变幻的人生，哭笑不得，百般无奈的感慨之情。\n他与同为明遗民画家的石涛、弘仁、髡残合称“清初四僧”。\n书法宗王献之、颜真卿，淳朴圆润，自成一格。\n朱耷中晚年，在书画作品款署中多使用“八大山人”。",[23,24,25,207,81,7,537,33,538],"鹿","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd179297b507ca3cef1bcc70058d3b3d.jpg",[],152,{"id":543,"slug":544,"title":545,"dynasty":18,"author":546,"museum":158,"description":547,"tags":548,"thumbUrl":549,"material":250,"size":550,"collection":67,"collections":551,"showCount":552,"zanCount":11,"manualWeight":11,"mainColor":49},214825,"song-ting-gao-shi-tu-wang-fu-214825","松亭高士图","王绂","这幅画展示了一群矗立在云端的山峰，山坡上的建筑结构，飞翔的喷泉和下面的小溪。附近岸边的松树林，水面上的小桥，以及两位高士摊开画卷的小亭子，都是面对面的。岩石是用湿的笔触和剥离相结合的方式绘制的。笔墨似乎与我们收藏的王绂的其他作品不同。",[24,29,81,25,59,58,7,82,137,62,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27e34794de7373f042b12a8297a0a70b.jpg","254.2x53.6",[67],149,{"id":554,"slug":555,"title":556,"dynasty":173,"author":216,"museum":116,"description":557,"tags":558,"thumbUrl":559,"material":250,"size":560,"collection":150,"collections":561,"showCount":562,"zanCount":184,"manualWeight":11,"mainColor":71},218648,"song-quan-gao-shi-tu-ma-yuan-218648","松泉高士图","在画的左边，一个高大的学者坐在松树山上，他的斗篷半开半合，看着远方，身后是一个手持法杖的仆人男孩，周围是松树和流水；画的右边是空白的，引起了无限的想象。",[23,99,24,29,28,25,80,137,58,7,64,221,63,121,30,31,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8906739d60ca52938ca25e5397b522eb.jpg","27x57",[150],146,{"id":564,"slug":565,"title":566,"dynasty":114,"author":258,"museum":20,"description":567,"tags":568,"thumbUrl":569,"material":87,"size":87,"collection":67,"collections":570,"showCount":571,"zanCount":267,"manualWeight":11,"mainColor":71},236894,"hong-ren-shan-shui-zhou-hong-ren-236894","弘仁山水轴","弘仁俗姓江，名韬，字六奇，出家后名后人，号渐江学人，又号无智、梅花古衲，安徽歙县人。作品多师法自然，清新，能传达山川之美。此图意境伟峻秀逸，构图洗炼简逸，笔墨苍劲整洁。",[99,24,29,81,25,59,58,7,82,60,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f501a6cdbd204a645da4011e2ce7088.jpg",[67,125],131,{"id":573,"slug":574,"title":575,"dynasty":114,"author":576,"museum":158,"description":577,"tags":578,"thumbUrl":580,"material":363,"size":581,"collection":67,"collections":582,"showCount":571,"zanCount":267,"manualWeight":11,"mainColor":71},222663,"shan-shui-tu-juan-kun-can-222663","山水图卷","髡残","髡[kūn]残（1612～1692）明末清初画家。清初四僧之一。俗姓刘，武陵（今湖南省常德市）人，居南京。幼年丧母，遂出家为僧。法名髡残，字石溪，一字介丘，号白秃，一号残道者、电住道人、石道人。他削发后云游各地，43岁时定居南京大报恩寺，后迁居牛首山幽栖寺，度过后半生。性寡默，身染痼疾，潜心艺事，与程正揆（程正揆，号青溪道人）交善，时称二溪，艺术上与石涛并称二石,善画山水，亦工人物、花卉。山水画主要继承元四家传统，尤其得力于王蒙、黄公望。构图繁复重叠，境界幽深壮阔，笔墨沉酣苍劲，以及山石的披麻皴、解索皴等表现技法，多从王蒙变化而来；而荒率苍浑的山石结构，清淡沉着的浅绛设色，又近黄公望之法。他还远宗五代董源、巨然，近习明代董其昌、文徵明等，兼收并蓄，博采众长。在学习传统基础上，重视师法自然，自谓“论画精髓者，必多览书史。登山寡源，方能造意”。一生中大部分时间都在山水中度过，经常驻足于名山大川，流连往返。他“僻性耽丘壑”、“泉石在膏肓”，主观的情感、性灵与客观的景物、意境相感应、交融，使其山水画景真情切，状物与抒情成为一体。所作山水，在平淡中求奇险，重山复水，开合有序，繁密而不迫塞，结构严密，稳妥又富于变化，创造出一种奇辟幽深，引人入胜之境，生动地传达出江南山川空□茂密、浑厚华滋的情调。他喜用渴笔、秃毫，苍劲凝重，干而不枯，并以浓淡墨色渲染，使得笔墨交融，形成郁茂苍浑、酣畅淋漓的情趣，使画面产生雄浑壮阔、纵横蓬勃的气势。存世代表作有《报恩寺图》，绘南京聚宝门外报恩寺，通过概括提炼，表现了金陵名胜的磅礴、奇异气象。《云洞流泉图》、《层岩叠壑图》和《雨洗山根图》（均藏故宫博物院），以繁密的布局、苍劲的用笔、郁茂的景致、幽深的境界，显现出石溪鲜明的艺术特色。\n髡残扇面擅画人物、花卉，尤精山水。师法黄公望、王蒙，尤近于王蒙。其画章法严密，笔法苍劲，喜用秃笔渴墨，层层皴擦勾染，厚重而不板滞，郁茂而个迫塞，善写平凡景致，平淡中见幽深。与石涛、弘仁、朱耷并称“清四僧”。 工诗文、书画，擅山水、花卉。山水师法王蒙、黄公望，并汲取董源、巨然、董其昌、文徵明等人画法。博采众长，加以发展变化，又能师法自然，于游历中观赏体验名山大川的万千景象。所画山水，构图饱满，重山复水，繁密中见疏灵，善用秃锋渴笔画山石树木，以浓淡墨渲染，苍劲凝重中透出丰润秀逸之致，意境奇僻幽深，得江南山水空濛茂密、浑厚华滋之质。其绘画在当时名重一时，对后世亦有很大影响，后人将其与石涛并称二石，又与渐江、朱耷、石涛合称清初四僧。有《报恩寺图》、《云洞流泉图》、《层岩叠壑图》、《雨洗山根图》等传世。在绘画论画云：“董华亭(其昌)谓：‘画和禅理共旨，不然禅须悟，非工力使然，故元人论品格，宋人论气韵，品格可力学而至，气韵非妙悟则未能也。”在提倡勤学的同时，也主张作画须有“妙悟”，并非下死力就可得画之神韵。\n髡残性直硬，脾气倔强，寡交游，难于与人相合。这种强烈的个性表现在他的禅学上是“自证自悟，如狮子独行，不求伴侣”；表现在绘画上则为“一空依傍，独张赵帜，可谓六法中豪杰”。他自己也说：“拙画虽不及古人，亦不必古人可也。”他长期生活在山林泽薮之间，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。髡残作品中的题跋诗歌多作佛家语，这不仅因其身为和尚，而且在他看来，禅机画趣同是一理，无处不通。如《禅机画趣图》轴、《三冬入华村图》轴，《物外田园图》册的诸多题跋，大都是借画谈禅，因禅说画。融禅机与画理于一炉，是髡残画作的主要特点之一。\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：“石□工山水，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!”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。",[23,24,28,25,80,59,58,236,7,82,62,63,579,361,138,60,30,121,31],"远山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefdd6fed5c43711601b4533de6596a1c.jpg","23x309cm",[67,107],{"id":584,"slug":585,"title":586,"dynasty":114,"author":534,"museum":587,"description":588,"tags":589,"thumbUrl":590,"material":263,"size":591,"collection":45,"collections":592,"showCount":593,"zanCount":11,"manualWeight":11,"mainColor":71},237347,"song-lu-tu-zhou-zhu-da-237347","松鹿图轴","湖南省博物馆","此画是清代朱耷的作品。这幅画采取近实远虚的枝法，前后错落有序，笔力遒劲，墨色秀润，情景生动，意境深远。该作不仅画精，而且图面之大在八大山人传世作品中极为罕见。\n左上方落款“八大山人”，下钤有朱色阴文印”八大山人”，阳文印“各园”各一枚。这幅画描绘的是一株高耸粗壮的苍松，挺立在嶙峋的岩石上。松石下，两只向背的鹿在山石草坪之中小憩，一只长着角的鹿望着远方；另一只则侧身仰望天空。围着草坪的山石上，长着兰草、灵芝、小竹笔花草植物。",[24,29,81,25,207,7,537,538,221,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8802766b2acbede1ed647fec5abad86.jpg","纵358厘米，横133.3厘米",[45],130,{"id":595,"slug":596,"title":597,"dynasty":114,"author":272,"museum":20,"description":598,"tags":599,"thumbUrl":601,"material":363,"size":602,"collection":125,"collections":603,"showCount":605,"zanCount":267,"manualWeight":11,"mainColor":71},220981,"song-zhu-tu-yun-shou-ping-220981","松竹图","《松竹图》轴，本幅右上自题五绝一首并款署：“徒倚白云外，盘桓陶径深。\n相看惟石友，同有岁寒心。\n瓯香馆制，白云溪外史寿平。\n此图所绘松、竹、石是文人画家惯写的题材。\n因恽氏晚年自号“白云溪外史”，题画诗中首句“徒倚白云外”当为实写。\n“盘桓陶径深”出自陶渊明《归去来辞》，表达了作者拟学陶渊明而归隐白云溪之意。\n所绘松竹苍劲秀丽，画面所呈现出的明洁秀逸正是画家晚居时悠然淡逸心境的写照。",[23,24,29,81,25,80,7,33,600,59],"怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac69767522d422b20ffb0fe1c00fbcf.jpg","纵135.8cm，横61.3cm",[125,604],"竹石精选",128,{"id":607,"slug":608,"title":609,"dynasty":18,"author":245,"museum":158,"description":610,"tags":611,"thumbUrl":614,"material":86,"size":615,"collection":45,"collections":616,"showCount":617,"zanCount":184,"manualWeight":11,"mainColor":49},221937,"san-you-bai-qin-tu-bian-wen-jin-221937","三友百禽图","《三友百禽图》描绘了初冬时节，百禽嬉戏于松竹梅之间的场景，画中禽鸟或飞翔，或栖息，或嬉戏，或高瞻远瞩，或转首探望，或自理羽毛，无一重复，整个画面气氛热闹欢快，一派生机勃勃。\n此图中各个禽鸟的动姿刻画得生动活泼，诸鸟细致入微的描绘，使大多鸟类品种可辨，布满全幅的构图，呈现“茂密”的特点，画风工细精微又富装饰性，堪称边景昭最具宫廷花鸟特色的佳作。\n《三友百禽图》中以松、竹、梅和坡石为主要架构，其间穿插近百只禽鸟于枝头、坡上、空中等处。画面下部绘有数块峻峭的山石，在坡石缝隙之间，只见一截老松弯卧，树干表面显得沧桑嶙峋；在老松一侧两株粗壮的翠竹凛然耸起，直入画外，上不见其端顶，下不着其根部，在两棵竹子之间，一枝幼竹迎而立，竹叶繁密；在画面左上角，古老的梅干斜逸而出，茁壮的梅枝低垂，白色梅花凌寒怒放；梅竹之后，又有苍翠的松枝隐现其间。",[23,24,100,80,81,101,7,33,32,612,64,221,613,314],"鸟","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cb578f9fef886db366ada747d3fe3e2.jpg","纵152.2厘米，横78.1厘米",[45,107],121,{"id":619,"slug":620,"title":621,"dynasty":18,"author":398,"museum":158,"description":622,"tags":623,"thumbUrl":624,"material":164,"size":87,"collection":67,"collections":625,"showCount":617,"zanCount":11,"manualWeight":11,"mainColor":49},220919,"shan-shui-li-zhou-dong-qi-chang-220919","山水立轴","董其昌虽以古人为师，不过反对单纯机械地模拟蹈袭。因为随着阅历的增加与思想的成熟，的临摹是有选择地取舍，融入自己的创意。董认为如果离开了自己的创意，古人的精神也难以表达，因此应以自己独创的形式再现古人的“风神”。董其昌的临古可谓开一代先河。影响了后来许多的画家",[23,24,29,81,25,59,58,310,312,161,7,314,82,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc897e2980b28ca1fb5a57c61fadbb250.jpg",[67,125],{"id":627,"slug":628,"title":629,"dynasty":114,"author":630,"museum":116,"description":631,"tags":632,"thumbUrl":633,"material":326,"size":327,"collection":87,"collections":634,"showCount":635,"zanCount":267,"manualWeight":11,"mainColor":71},289981,"mei-hua-tu-li-zhou-wu-chang-shuo-289981","梅花图立轴","吴昌硕","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》。",[23,24,81,25,80,32,7,221,101,30,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F064a0d9d4e3f29549f1c436bae20a6d3.jpg",[],120,{"id":637,"slug":638,"title":639,"dynasty":345,"author":640,"museum":217,"description":641,"tags":642,"thumbUrl":643,"material":644,"size":645,"collection":125,"collections":646,"showCount":647,"zanCount":267,"manualWeight":11,"mainColor":185},220776,"song-shi-tu-zhou-wu-zhen-220776","松石图轴","吴镇","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。在创作思想上继承北宋末年文同、苏轼、米芾等人的文人画理论，提倡遗貌求神，以简逸为上，追求古意和士气，重视主观意兴的抒发。与宋代院体画的刻意求工、注重形似大相径庭，形成鲜明的时代风貌，也有力地推动了后世文人画的蓬勃发展。在元代短短90余年内，画坛名家辈出，其中以赵孟頫、钱选、高克恭、王渊等和号称元四家的黄公望、吴镇、倪瓒、王蒙最负盛名。\n《松石图》凸现在视野中心的只是一棵松树，然而他画的不是直立挺拔的苍松，而是一株干如弯弓，枝干倒长的怪松，它巍然挺立，雄视万物，表现出一种世俗难以羁绊、常人难以匹敌的气慨。它的孤傲、不同凡俗正是吴镇抗怀孤德个性的自喻。\n国家文物鉴定委员会委员、国家文物局文物鉴定资格审核委员、故宫博物院研究员杨臣彬，徐邦达先生入室大弟子,精擅古书画鉴定。上世纪八十年代在民间收藏中发现吴镇《松石图》。《松石图》名款为“梅花道人墨戏”，铃印“梅花庵”、“嘉兴吴镇仲圭书画记”，系清宫旧藏之物。一古松的枝杆横卧上方，松下有湖石水草，构图呈上下两段，留出大片空白，各自为阵且互有联系。用浓墨在树石上点苔，浓重厚密。树石用笔倔强刚劲而不张扬外露，多用中锋，沉着老到，得古松苍劲之质，古松虽老，但无枯涩之感，干淡的用笔不失腴润，墨法鲜活，鲜嫩的水草和斑驳粗重的古松形成鲜明对比。",[23,99,24,29,81,25,59,7,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5441b5aa161a241633f08c79149ce2db.jpg","纸本,墨笔","122.44x46cm",[125,604],119,{"id":649,"slug":650,"title":651,"dynasty":18,"author":652,"museum":158,"description":653,"tags":654,"thumbUrl":657,"material":250,"size":658,"collection":150,"collections":659,"showCount":660,"zanCount":267,"manualWeight":11,"mainColor":49},219385,"xi-yuan-ya-ji-tu-cheng-zhong-jian-219385","西园雅集图","程仲坚","此幅是众多描绘“西园雅集”图画中明代画家所作的一幅，风格近仇英、文徵明，谨细处又似尤求。",[24,80,100,81,137,58,82,7,120,655,656,121],"桥","芭蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44ead328f10838a1cb7f0ad0266a9ac3.jpg","117.4 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39.6cm",[150],114,{"id":662,"slug":663,"title":244,"dynasty":114,"author":664,"museum":116,"description":665,"tags":666,"thumbUrl":669,"material":326,"size":327,"collection":87,"collections":670,"showCount":671,"zanCount":11,"manualWeight":11,"mainColor":71},288272,"sui-chao-tu-zou-yi-gui-288272","邹一桂","邹一桂（1688-1772），清代画家。字元褒，号小山、二知、让卿、乡森子，江苏无锡人。雍正五年(1727)进士，官至礼部侍郎。擅工笔花卉。尝作《百花》卷，各系一诗。传世作品有《白梅山茶图》、《太古云岚图》、《水仙红梅图》等。",[24,99,81,29,25,80,100,101,32,7,667,248,668,121,30],"蟹","盆景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b31be5ac75272346afebc37aa3b5b24.jpg",[],109,{"id":673,"slug":674,"title":675,"dynasty":173,"author":216,"museum":158,"description":676,"tags":677,"thumbUrl":680,"material":80,"size":681,"collection":181,"collections":682,"showCount":683,"zanCount":11,"manualWeight":11,"mainColor":49},221533,"hua-xue-jing-zhou-ma-yuan-221533","画雪景轴","由于崇庆皇太后年事已高，这是乾隆皇帝最后一次奉母南巡。题诗语及‘旅客’、‘渔翁’，显示乾隆皇帝除了豪华宅邸中赏梅的文士，也注意到披蓑负篓、赤足而行的渔夫，以及骑马朝青旗酒馆前去的旅人。画中撑伞的行者，暗示着山间仍垂降雨雪，故有‘六花飘未止’之句。乾隆皇帝对这幅雪景山水的评价甚高，认为是南宋马远（活动于1190 —1224）真迹，然由其笔墨、构图研判，更近于明中期浙派画家王谔。",[23,24,29,81,100,59,80,58,678,82,7,679,137,62,236,221],"雪景","马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f2774f7c6b0224e9363e78bd08e4160.jpg","纵163.3cm，横82.4cm",[181,67,107],106,{"id":685,"slug":686,"title":687,"dynasty":114,"author":534,"museum":116,"description":688,"tags":689,"thumbUrl":690,"material":87,"size":87,"collection":87,"collections":691,"showCount":692,"zanCount":11,"manualWeight":11,"mainColor":49},231002,"song-shi-mu-dan-zhu-da-231002","松石牡丹","苍松顶天立地，老干皴朴嶙峋，松针如戟排布，笔意极简却自带虬劲孤傲之势。玲珑湖石以泼墨晕染，虚实间尽显奇崛冷逸。柔婉牡丹隐于松石缝隙，淡粉轻敷，娇柔花姿与枯硬松石形成强烈反差，艳而不俗，静吐幽芳。\n\n整幅画作以寥寥笔墨勾勒冷寂孤高的格调，将沉郁心境寄于物象，于简淡笔触中藏着磅礴生命张力，把物我合一的禅意融于松石花影之间，静穆里带着疏旷风骨，尽显冷逸疏朗的独特意趣，寥寥数笔便写尽出世孤高的襟怀。",[23,99,24,29,81,25,80,26,7,120,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ec2733997ab825ea604ee9dbe4626d.jpg",[],102,{"id":694,"slug":695,"title":333,"dynasty":114,"author":630,"museum":696,"description":697,"tags":698,"thumbUrl":699,"material":390,"size":700,"collection":45,"collections":701,"showCount":702,"zanCount":11,"manualWeight":11,"mainColor":71},224223,"song-mei-tu-wu-chang-shuo-224223","天津博物馆","松树倾斜，画面苍劲，树干稍写皴擦，尽显斑驳质感；松枝斜披，干笔勾枝，浓墨勾画松针。梅干多取直势，稍加润泽，小枝横陈，意境空潆深远。梅花点写，错落纷陈。全图笔势如龙飞，舒放自如，有意在笔先之妙。",[23,24,29,81,25,80,101,7,32,121,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F394f15aa9a6c228570b112034349569c.jpg","纵135.6厘米，横67.8厘米",[45,107],96,{"id":704,"slug":705,"title":706,"dynasty":18,"author":707,"museum":158,"description":708,"tags":709,"thumbUrl":710,"material":86,"size":711,"collection":67,"collections":712,"showCount":713,"zanCount":128,"manualWeight":11,"mainColor":49},217059,"xun-mei-tu-zhu-duan-217059","寻梅图","朱端","朱端，字克正，海盐人，出身渔樵，弘治末入宫，正德时期（1506－1521）直仁智殿，官「锦衣指挥」，曾获赐「钦赐一樵图书」，遂更号「一樵」。\n\n朱端的山水画取法郭熙（约1020-约1100）、马远。全幅采取半边的构图型式，以左方占据画面约二分之一高的双松为骨干，框出策杖撑伞的老翁和两位童子，他们正准备渡江至对岸的赏梅。冬天踏雪寻梅，一直被视为文人雅趣，从弘治时期（1488－1505）开始，这一类诗意图像逐渐增加，题材的转变似乎也反映了宫廷皇帝品味的变化。",[24,29,58,81,59,25,80,137,62,63,221,64,7,32,82,310,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674c65022384eae968e9c438b4fd0ecb.jpg","145x66cm",[67],95,{"id":715,"slug":716,"title":717,"dynasty":173,"author":718,"museum":116,"description":719,"tags":720,"thumbUrl":721,"material":326,"size":327,"collection":87,"collections":722,"showCount":723,"zanCount":267,"manualWeight":11,"mainColor":49},287574,"qiao-song-ping-yuan-tu-guo-xi-287574","乔松平远图","郭熙","此图绘近处陂陀之上苍松二株，主干遒劲，枝丫奇出。树下坡岩交叠．石间山泉流缓，似有潺潺而动的音韵之声，远山连绵起伏，幻于迷蒙之中。",[24,99,25,58,7,60,579,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c9775c3c716c1040beb11e08a7bdc34.jpg",[],91,{"id":725,"slug":726,"title":727,"dynasty":345,"author":728,"museum":116,"description":729,"tags":730,"thumbUrl":732,"material":326,"size":327,"collection":87,"collections":733,"showCount":723,"zanCount":267,"manualWeight":11,"mainColor":71},238126,"yuan-wu-jia-he-hui-juan-wang-mian-238126","元五家合绘卷","王冕","王冕（1310年～1359年），字元章，号煮石山农，亦号食中翁、梅花屋主等，浙江省绍兴市诸暨枫桥人，元末著名画家、诗人、篆刻家。他出身贫寒，幼年替人放牛，靠自学成才。\n王冕性格孤傲，鄙视权贵，诗作多同情人民苦难、谴责豪门权贵、轻视功名利禄、描写田园隐逸生活之作。有《竹斋集》3卷，续集2卷。一生爱好梅花，种梅、咏梅，又攻画梅。所画梅花花密枝繁，生意盎然，劲健有力，对后世影响较大。存世画迹有《南枝春早图》《墨梅图》《三君子图》等。能治印，创用花乳石刻印章，篆法绝妙。《明史》有传。",[23,24,29,28,25,59,31,121,30,58,7,32,437,137,138,63,221,82,731],"渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029566587ccdec17dc1f9ed58bc5e401.jpg",[],{"id":735,"slug":736,"title":737,"dynasty":738,"author":739,"museum":116,"description":740,"tags":741,"thumbUrl":743,"material":87,"size":87,"collection":87,"collections":744,"showCount":723,"zanCount":184,"manualWeight":11,"mainColor":49},232623,"wan-song-qiu-lin-tu-quan-juan-zhang-zao-232623","万松秋林图全卷","唐","张璪","论画山水树石》中说到“山水之变，始于吴，成于二李”之后，紧接着便说“树石之状，妙于韦偃，穷于张通(张璪)”。在唐人心目中，张璪的画还是高于王维等人的。张璪作画喜用紫毫秃笔，属于吴道子型激情一派画家，他往往秃笔抹写，画至得意处，忘乎所已。干脆以手醮色，挥涂起来，久而久之，形成习惯，乃至于发展为王默的“脚蹙手抹”。后世的指画当受其影响。\n张璪的山水画另一大特色就是以墨为主，不贵五彩。荆浩《笔法记》云“张藻员外树石，气韵俱盛，笔墨积微，真思卓然，不贵五彩，旷古绝今，未之有也。”这种“不贵五彩”、“笔墨积微”水墨画法在绘画技法上是一个极大的突破。",[23,99,24,29,28,25,80,59,58,7,742,138,60],"秋林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c33524bed7f62604513b963bc367865.jpg",[],{"id":746,"slug":747,"title":651,"dynasty":18,"author":748,"museum":116,"description":749,"tags":750,"thumbUrl":756,"material":87,"size":87,"collection":87,"collections":757,"showCount":758,"zanCount":267,"manualWeight":11,"mainColor":49},228431,"xi-yuan-ya-ji-tu-chou-ying-228431","仇英","林壑幽深处，文士凭崖观眺、揖谈畅叙，松竹环合，尽显林下清旷风流。下方庭院里，宾主列坐，或展卷挥毫，或品鉴器物，侍从随侍左右，朱门红栏衬出雅集端雅规整。\n\n整作工细秀雅，设色古澹清润，以全景式构图铺展雅聚盛景，将文人酬唱往还的意趣融于山园之中，山野清旷与庭院娴雅相融，把历代文人心向往之的林下雅兴具象呈现，复刻出一段隽永的名士雅境。",[23,24,99,29,80,100,137,58,7,33,142,751,504,752,753,754,755],"朱门","文士雅集","挥毫","清旷","娴雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f8f1f98099d9cdf33ce0c57c0cde632.jpg",[],88,{"id":760,"slug":761,"title":762,"dynasty":114,"author":763,"museum":116,"description":764,"tags":765,"thumbUrl":766,"material":87,"size":87,"collection":87,"collections":767,"showCount":758,"zanCount":267,"manualWeight":11,"mainColor":71},224123,"mu-dan-shui-xian-song-qian-long-224123","牡丹水仙松","乾隆","此作工写兼具，笔致温婉细腻。虬曲松枝挺劲苍古，松针以淡墨晕染，蓬松灵动，缀一枚松果更添幽寂古意。艳粉色牡丹饱满柔润，雍容舒展尽显华贵，一旁水仙莹白清雅，素淡可人。\n\n刚健的松枝搭配柔妍的花束，刚柔相济和谐雅致。设色秀润柔和，毫无艳俗之感，将院体画的精致工整与文人意趣的清雅格调相融。配题诗文寄意福寿绵长、清韵恒常，整幅以松之寿、花之妍，绘就祥瑞吉庆的美好意蕴，尽显典雅雍容的审美意趣。",[23,24,29,81,80,100,101,35,38,7,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d1e0899a4eb23c6ddb0729e24fe94e4.jpg",[],{"id":769,"slug":770,"title":771,"dynasty":772,"author":773,"museum":116,"description":774,"tags":775,"thumbUrl":780,"material":326,"size":327,"collection":87,"collections":781,"showCount":782,"zanCount":267,"manualWeight":11,"mainColor":49},290027,"hua-niao-tu-ping-feng-shou-ye-song-rong-shou-ye-guang-xin-290027","花鸟图屏风","不详","狩野松荣、狩野光信","狩野光信面對新興漢系畫家的競爭，不得不奔走於豐臣家與德川家之間以取得更多委託，並透過狩野長信 (1577-1654) 與德川幕府建立的關係，成為後繼者狩野孝信取得德川家支持參與名古屋城本丸御殿製作的基礎。",[23,24,776,101,100,80,7,35,36,102,777,778,64,58,314,779],"屏风","鹰","孔雀","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F066d6aadc5c3af2e9023ff46f3b095ba.jpg",[],87,{"id":784,"slug":785,"title":786,"dynasty":173,"author":787,"museum":158,"description":788,"tags":789,"thumbUrl":790,"material":86,"size":791,"collection":181,"collections":792,"showCount":782,"zanCount":11,"manualWeight":11,"mainColor":49},218896,"song-wu-yan-bin-tu-li-song-218896","松坞延宾图","李嵩","这幅画描绘了山中溪边的一个村庄，一个贵族把自己隐居起来，在家里建起了一些区域，当客人到来时，他们会用菜肴招待。这幅画是艺术家笔下的杰作，虽然它很饱满，但有一股清晰的水流在其中流淌。",[23,24,29,220,136,80,100,137,61,7,161,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69af25e2e2d0263c374707240ac706ee.jpg","24.5x24.4",[181],{"id":794,"slug":795,"title":796,"dynasty":114,"author":534,"museum":797,"description":798,"tags":799,"thumbUrl":800,"material":123,"size":801,"collection":45,"collections":802,"showCount":803,"zanCount":11,"manualWeight":11,"mainColor":71},237408,"song-lu-zhou-zhu-da-237408","松鹿轴","旅顺博物馆","以简淡之笔绘苍松与雌鹿，构图简明，意境寥阔深远。右上自题“乙酉夏日写，八大山人”，钤“八大山人”、“荷园”二印。右下钤收藏印二，其一“大兴刘铨福家世守印”，另一印模糊不辨。乙酉为康熙四十四年，公元1705年，作者时年80岁。",[24,81,25,207,59,7,537,538],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d36fc960d2f3493e1ebe2d740dd1e76.jpg","182cmx88cm",[45],86,{"id":805,"slug":806,"title":807,"dynasty":114,"author":115,"museum":20,"description":808,"tags":809,"thumbUrl":813,"material":263,"size":814,"collection":87,"collections":815,"showCount":803,"zanCount":184,"manualWeight":11,"mainColor":71},233793,"heng-tang-ye-lv-tu-zhou-shi-tao-233793","横塘曳履图轴","图绘疏林湖畔高士拽杖独行的情景。设景布势以“S”形湖堤为主线，通过对近景树石的具象描绘，烘托出远山平湖的虚空迷蒙，画面空间在景致的虚实互映中得“咫尺千里”之趣。画中的山石杂木以饱含水分的润墨表现，点染生动，显现出作者较强的笔墨驾驭能力。此图并非对实景写生，而是作者“搜尽奇峰打草稿”后的胸中丘壑的写照，面目独具，妙得自然。",[24,25,81,59,58,62,63,138,810,60,64,221,811,7,579,812,162,361],"房屋","垂柳","村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec35a9c7d7a205ee549cc4e63ce41cbd.jpg","纵131.4厘米，横44.2厘米",[],{"id":817,"slug":818,"title":819,"dynasty":173,"author":820,"museum":158,"description":821,"tags":822,"thumbUrl":824,"material":86,"size":825,"collection":45,"collections":826,"showCount":803,"zanCount":267,"manualWeight":11,"mainColor":71},219225,"song-zhi-qun-lu-tu-mou-zhong-fu-219225","松芝群鹿图","牟仲甫","图绘松荫下双鹿，旁有翠竹灵芝。二鹿耸起耳朵，目光凝视同方向，似为某事所惊动。画家以极精致的笔法，描画出二鹿的形态，捕捉到自然界中生动微妙的刹那，这就是宋朝画家的长处。牟仲甫，生卒年待考。随州（今湖北省随县）人。画猿獐猴鹿与易元吉相似，画鸡尤有意趣。",[23,24,99,220,80,100,7,537,823],"芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a8e3db937a2cc36b9216018ebe39af9.jpg","23.9x24.3cm",[45],{"id":828,"slug":829,"title":830,"dynasty":18,"author":831,"museum":116,"description":832,"tags":833,"thumbUrl":835,"material":326,"size":327,"collection":87,"collections":836,"showCount":837,"zanCount":267,"manualWeight":11,"mainColor":49},290312,"sui-chao-tu-zhou-tao-cheng-290312","岁朝图轴","陶成","陶成（生卒年未详），字孟学，号雪湖仙人，宝应（今江苏宝应）人。成化七年（1471年）举人。生性疏狂，多才艺，诗文古朴。书善四体，善画花鸟人物，山水多用青绿，浓丽蔚拔，喜作勾勒，竹兔与鹤鹿均妙，随意画山水、花鸟、人物，都非常接近南宋人。芙蓉称为神品，为世人所珍藏。\n陶成的绘画、书法造诣极高，与沈周、文徼明、唐寅、仇英“明四家”并称于世，有人甚至把他列于唐伯虎之上。明代文学家，书画鉴赏家李开先对陶成推崇备至、评价甚高。他的《中麓画晶》分明代画家为五等，陶成就雄冠其首。明韩昂《图绘宝鉴续编》云，陶成”书工篆隶直草，诗人奇古，画山川多用青绿，尤喜作钩勒，竹、兔与鸹、鹿，皆妙。 由其胸中洒然也”。明十才子之一李梦阳在其《观序上人所藏陶成画菊石歌》中，称赞陶成的菊花、岩石画远远超出了当时的菊石专家计汝和、徐霖。诗中说： “陶生画菊石，潦草笔有力…近时名手计汝和，此生笔力方之过。江柬徐霖学画石，效颦差胜王与何。”故而有这样的说法： “得黄金百不如云湖画一幅。”",[24,29,81,99,80,101,7,32,834,121,30,31,248],"青铜器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf77270b17ed20c031bfe4c49651301a.jpg",[],84,{"id":839,"slug":840,"title":841,"dynasty":114,"author":842,"museum":116,"description":843,"tags":844,"thumbUrl":845,"material":363,"size":846,"collection":45,"collections":847,"showCount":848,"zanCount":11,"manualWeight":11,"mainColor":71},223123,"song-shou-tu-ci-xi-223123","松寿图","慈禧","画上绘青雀二只，体形修长，尾巴炫丽，一只立于松枝俯身正于下方的另一只呼应。题识：光绪己丑年冬下浣御笔",[23,24,99,80,100,101,7,64,38,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e79512e4e37d1650006f4772e9ece27.jpg","129×64.5cm",[45,107],82,{"id":850,"slug":851,"title":852,"dynasty":345,"author":371,"museum":158,"description":853,"tags":854,"thumbUrl":855,"material":86,"size":856,"collection":181,"collections":857,"showCount":848,"zanCount":267,"manualWeight":11,"mainColor":71},218971,"mao-ting-song-lai-tu-zhao-meng-fu-218971","茅亭松籁图","顶端有强烈的轮廓，不太会凿刻。颜料先用赭石涂抹，然后分别用石绿和石青从山顶上染出。绿色和赭石的结合使这幅画在深度上有一种古朴的优雅，创造了一种宁静的气氛和松树音乐的基调，所谓天人合一。",[23,24,29,220,80,58,59,82,7,60,62,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F464ec586288683e2204eb12e7e55b91b.jpg","26.4x27.7",[181],{"id":859,"slug":860,"title":861,"dynasty":345,"author":862,"museum":158,"description":863,"tags":864,"thumbUrl":865,"material":866,"size":867,"collection":67,"collections":868,"showCount":869,"zanCount":11,"manualWeight":11,"mainColor":71},220786,"song-lin-ting-zi-zhou-ni-zan-220786","松林亭子轴","倪瓒","《松林亭子图》为倪瓒54岁时所作，画上落款时间为至正十四年（1354）初冬。在1354年前后，倪瓒的生活因元末社会动荡而发生一系列变化。“至正八年（1348）台州黄岩方国珍起义，至正十一年红巾军起义，十三年张士诚起兵泰州⋯⋯至正十二年，元军与红巾军在太湖流域大战，无锡、苏州等地处于战火硝烟之中，倪瓒避兵于甫里南渚陆玄素家。”元政府的苛捐杂税没有因为战争而消减，反而有愈演愈烈之势。朱德润在《平江路问弭盗策》中叙述了当时赋税的繁重：“科征之际，枷系满屋，鞭挞盈道，直至生民困苦，饥寒迫身。至于酒课、盐课、税课，比之国之初增至十倍。”倪瓒本人也于至正六年（1346）在《馀不溪咏并续》中叹道：“余既为农畎亩，身依稼穑。复而政繁，奔走州里。”倪瓒在兄长去世后，田亩赋税的豁免权随之消失，加之对生活品质的追求，用度豪奢，重赋剥削，也逐渐品尝到生活的重压。于是，在战火与课税中，倪瓒选择变卖田产，弃家逃避兵火之灾。\n《松林亭子图》，现藏于台北故宫博物院，绢本墨画，纵83.4厘米，横52.9厘米，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。”倪瓒的跋文交代了创作的时间，受画者，以及创作的主题。",[23,24,29,81,25,59,58,82,7,161,120,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F154da39d40c4ed54cede808d8b666499.jpg","绢","276x74.5cm",[67,125],80,{"id":871,"slug":872,"title":873,"dynasty":18,"author":874,"museum":116,"description":875,"tags":876,"thumbUrl":877,"material":87,"size":87,"collection":87,"collections":878,"showCount":879,"zanCount":184,"manualWeight":11,"mainColor":71},228362,"chun-shan-you-qi-tu-zhou-zhou-chen-228362","春山游骑图轴","周臣","此作用笔苍劲老辣，斧劈皴利落勾勒出峭拔山石，层叠崖壁铺展高远之境，山脚溪泉蜿蜒，板桥跨水。虬曲古松扎根危岩，新木抽芽晕染春和之意。\n桥上骑驴缓行，山坞村舍中人物往来鲜活，山野清旷间晕开烟火暖意。干湿墨色交织出林麓的阴晴层次，将雄阔山水与悠游雅兴相融，兼具北派山水刚健气势，暗藏春日踏青的松弛闲情，把寻幽访春意趣藏于丘壑，是兼具全景章法与细腻意趣的山水佳制。",[23,24,29,81,25,59,58,62,63,61,679,137,7,60,161,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd91b60b69348321c76a367aa9f8848fc.jpg",[],79,{"id":881,"slug":882,"title":883,"dynasty":114,"author":884,"museum":885,"description":886,"tags":887,"thumbUrl":893,"material":250,"size":894,"collection":67,"collections":895,"showCount":879,"zanCount":11,"manualWeight":11,"mainColor":49},217994,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217994","仿黄公望山水图","王原祁","香港艺术馆","图绘高山屹立之下，杂木丛生、洲渚房屋掩映的山光水色之景。山石的顶端多留有空白，虚处笔迹似有似无，表现出岚光浮动的清幽意境。全图笔墨苍润老辣，于粗放中物象毕现，率意中气韵盎然。王氏自言此图仿元代画家黄公望（即作者所谓“大痴”）笔意，实际上又融入了王蒙、倪瓒等人的笔法，应是作者融元人画格的贯通之作。",[23,24,29,81,25,59,58,310,161,7,62,63,810,361,60,888,812,313,889,890,891,892],"古木","层岩","苔点","干笔","淡墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02895e2fbe75d1aecf4043f9b33a3de1.jpg","100.2x45.6cm",[67],{"id":897,"slug":898,"title":899,"dynasty":114,"author":900,"museum":96,"description":901,"tags":902,"thumbUrl":904,"material":905,"size":906,"collection":67,"collections":907,"showCount":908,"zanCount":267,"manualWeight":11,"mainColor":49},223283,"bai-long-tan-li-zhou-dai-ben-xiao-223283","白龙潭立轴","戴本孝","回群山峰势险峻，几道飞泉从山腰倾泻而下，直接在山脚下的深潭中，被潭壁山岩环绕，画面茂密，有一种艺术感。 “花池深桃”的构想。",[23,24,25,81,58,59,310,236,161,903,314,7],"云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb78e056810e1f7dd2565d481fd90d58f.jpg","绢本，水墨","54x188.6cm",[67,125],78,{"id":910,"slug":911,"title":912,"dynasty":18,"author":398,"museum":20,"description":913,"tags":914,"thumbUrl":915,"material":916,"size":917,"collection":67,"collections":918,"showCount":919,"zanCount":267,"manualWeight":11,"mainColor":71},220906,"she-shan-you-jing-tu-zhou-dong-qi-chang-220906","佘山游境图轴","《董其昌佘山游境图轴》是明代画家董其昌所创作的一幅纸本纸本墨笔画。",[23,99,24,29,81,25,59,58,60,138,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68466d3a79e9cb3ca5526c09f52f5482.jpg","纸本，墨笔","纵98.4厘米，横41厘米",[67,125],77,{"id":921,"slug":922,"title":923,"dynasty":345,"author":371,"museum":217,"description":924,"tags":925,"thumbUrl":929,"material":263,"size":930,"collection":463,"collections":931,"showCount":932,"zanCount":184,"manualWeight":11,"mainColor":71},220844,"gui-qu-lai-ci-zhao-meng-fu-220844","归去来辞","大德元年，赵孟頫时年四十四岁，当时未赴太原路汾州知州之新职，正居家闲赋。此书运笔沉稳畅朗，骨肉停匀，结体紧敛虚和，堪称其中年行书风格的典范。有关本卷赵氏的署名，启功在1954年的题跋中说：“至于此卷署名‘俯’字，观者多疑之。然自用笔结字，以至纸墨印章、签题跋尾，无一不足义证其真实不虚者。故吾今将大书以补松雪传记曰：名孟頫，亦书作孟俯也。”\n释文：“归去来辞并序。余家贫，耕植不足以自给。幼稚盈室，瓶无储粟，生生所资，未见其术。亲故多劝余为长吏，脱然有怀，求之靡途。会有四方之事，诸侯以惠爱为德。家叔以余贫苦，遂见用为小邑。于时风波未息，心惮远伇。彭泽去家百里，公田之利，可以为酒，故便求之。及少日，眷然有归与之情。何则？质性自然，非矫励所得。饥冻虽切，违己交病。尝从人事，皆口腹自伇。于是怅然慷慨，深愧平生之志。犹望一稔，当敛裳宵逝。寻程氏妹丧于武昌，情在骏奔，自免去职。仲秋至冬，在官八十馀日。因事顺心，命篇曰《归去来兮》。乙巳岁十一月也。\n归去来兮！田园将芜胡不归？既自以心为形伇，奚惆怅而独悲？悟已往之不谏，知来者之可追；寔迷途其未远，觉今是而昨非。舟摇摇以轻飏，风飘飘而吹衣。问征夫以前路，恨晨光之熹微。乃瞻衡宇，载欣载奔。僮仆欢迎，稚子候门。三径就荒，松菊就（此字点去）犹存。携幼入室，有酒盈尊。引壶觞以自怡（此字点去）酌，眄庭柯以怡颜。倚南窗以寄傲，审容膝之易安。园日涉以成趣，门虽设而常关。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。归去来兮！请息交以绝游。世与我而相违，复驾言兮焉求？悦亲戚之情话，乐琴书以消忧。农人告余以春及，将有事于西畴。或命巾车，或棹孤舟。既窈窕以寻壑，亦崎岖而经丘。木欣欣以向荣，泉涓涓而始流。善万物之得时，感吾生之行休。 已乎矣！寓形宇内复几时，曷不委心任去留。胡为遑遑欲何之？富贵非吾愿，帝乡不可期。怀良辰以孤往，或植杖而秐秄。登东皋以舒啸，临清流而赋诗。聊乘化以归尽，乐夫天命复何疑。",[23,29,30,28,31,926,927,7,41,903,612,310,928],"孤松","舟","田园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48c86013046154464d778c5a0c6f7247.jpg","纵25.9 厘米，横139.4 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【收藏】 主题与关键字：松、云 石渠宝笈续编（乾清宫），第一册，页51 故宫书画录（卷五），第三册，页194 故宫书画图录，第五册，页1-14 巴颜布哈（生年不详，卒于公元一三五九年），元史列传作伯颜不花的斤。\n蒙古人，姓畏吾儿氏，高昌王的孙子。\n字苍巖，号苍崖。\n是元朝大书法家鲜于枢的外甥。\n作官至江东廉访副使。\n通晓音乐，以画龙出名。",[23,24,29,81,25,59,58,7,903,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6532dd4672785d8ba523288a0bcec6ec.jpg","122x42.2公分",[45,125],{"id":1223,"slug":1224,"title":1225,"dynasty":18,"author":748,"museum":20,"description":1226,"tags":1227,"thumbUrl":1228,"material":179,"size":1229,"collection":87,"collections":1230,"showCount":1231,"zanCount":267,"manualWeight":11,"mainColor":49},222191,"ren-wu-gu-shi-tu-song-lin-liu-yi-chou-ying-222191","人物故事图-松林六逸","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。",[23,24,99,29,100,80,137,7,58,82,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc65ad3deb6636a800eff9db2e999c190.jpg","每开纵41.4厘米，横33.8厘米",[],57,{"id":1233,"slug":1234,"title":1235,"dynasty":114,"author":534,"museum":116,"description":1236,"tags":1237,"thumbUrl":1238,"material":326,"size":327,"collection":87,"collections":1239,"showCount":1240,"zanCount":11,"manualWeight":11,"mainColor":71},237620,"song-zhou-zhu-da-237620","松轴","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[24,29,81,25,7,1127,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc88e2675302b73979218b75ed8b56e02.jpg",[],56,{"id":1242,"slug":1243,"title":1244,"dynasty":18,"author":1035,"museum":158,"description":1245,"tags":1246,"thumbUrl":1247,"material":250,"size":1248,"collection":125,"collections":1249,"showCount":1240,"zanCount":267,"manualWeight":11,"mainColor":71},222227,"song-gang-zhu-wu-tu-zhou-wen-bo-ren-222227","松冈竹坞图轴","文伯仁松的《冈竹坞图》画中前景有戴笠僧人拄杖前行，将进入林间寺院；中景有一渡桥文士，或许即为“放浪溪山已有年”的文伯仁；远景宛若随著云雾浮现，凛立天际的秀峻山头，应是令作者追求神往的盛景。文伯仁是习仿文征明风格的后辈与学生中，自成面目，卓然出众者。他将文征明结构繁复的图式，朝更精致严密的方向发展，以工细的用笔与敷色，别出心裁的构图，表现郁茂清幽的山林胜景，散发出文派作品特有的雅澹气质。",[23,24,29,81,25,80,59,121,58,7,33,82,62,63,60,138,64,1127,1177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2a43776896fe834580cb168f04bc481.jpg","132.6x30.7cm",[125,107],{"id":1251,"slug":1252,"title":1253,"dynasty":114,"author":1254,"museum":20,"description":1255,"tags":1256,"thumbUrl":1258,"material":363,"size":1259,"collection":87,"collections":1260,"showCount":1261,"zanCount":11,"manualWeight":11,"mainColor":71},233178,"ping-ju-tu-zhou-xu-gu-233178","瓶菊图轴","虚谷","此图为瓶插秋菊的小品画。构图匠心独运，巧于设置，高低错落的瓶和壶、“S”形走势的秋菊令画面富有活力，并形成多层次的节律变化。设色淡雅清新，笔法灵活娴熟，是虚谷晚年的花卉画代表作。",[24,29,99,81,80,25,41,7,248,1257],"日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd971ac61959e2aff3b2a1a61b30a51c6.jpg","纵126.2厘米，横57.7厘米",[],55,{"id":1263,"slug":1264,"title":1265,"dynasty":173,"author":216,"museum":116,"description":1266,"tags":1267,"thumbUrl":1268,"material":87,"size":87,"collection":87,"collections":1269,"showCount":1261,"zanCount":11,"manualWeight":11,"mainColor":49},227820,"song-yin-guan-lu-tu-ma-yuan-227820","松荫观鹿图","此作用笔清劲爽利，取景以偏概全，将平远之境铺陈得含蓄悠长。右侧虬松横斜，松针如铁，苍劲古雅的身姿探入空濛烟水。凭栏雅士白衣素简，静望烟岚深处，身旁侍童垂首伫立，简笔勾勒便将悠然意态尽显。对岸林影以淡墨晕染，朦胧虚化，汀洲浅渚间麋鹿低头啮草，为清寂画面添了灵动生趣。大片留白晕开浩渺江天，以少胜多，把幽居林下的闲静逸思藏在笔墨间，淡墨轻岚间漫溢着清寂萧散的雅致，意境空远悠长。",[23,24,99,29,58,25,80,59,7,537,137,60,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1ecf7d98118704a77489ac9ae5f3019.jpg",[],{"id":1271,"slug":1272,"title":1273,"dynasty":114,"author":500,"museum":116,"description":1274,"tags":1275,"thumbUrl":1276,"material":87,"size":87,"collection":87,"collections":1277,"showCount":1278,"zanCount":11,"manualWeight":11,"mainColor":71},235610,"hong-ren-xi-yan-song-xue-tu-zhou-yi-ming-235610","弘仁西岩松雪图轴","以淡墨勾勒皴擦，笔致清劲洗练，将冬日萧寒山境铺陈眼前。危崖层叠凌然耸立，石壁方折硬挺如刀削斧劈，尽显山石孤高嶙峋之态。留白晕染出漫山积雪，素净莹洁，与虬曲枯松相映，愈添荒寒清寂之意。\n\n山间石阶、崖顶幽居藏于苍茫雪景中，似隔绝尘寰烟火，恍若世外幽境。画作以极简笔墨营造出空灵淡远的禅意，清冷孤高的意境直透纸背，尽显静穆萧散的山水逸趣，将冬日山居的幽寂出尘之美尽数铺陈开来。",[24,81,25,58,59,7,1176,314,310,161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febca332b4a42388ea31a1981cf2e1c04.jpg",[],54,{"id":1280,"slug":1281,"title":1282,"dynasty":18,"author":1283,"museum":20,"description":1284,"tags":1285,"thumbUrl":1287,"material":1288,"size":87,"collection":87,"collections":1289,"showCount":1290,"zanCount":11,"manualWeight":11,"mainColor":71},234167,"song-zhu-mei-juan-chen-jia-yan-234167","松竹梅卷","陈嘉言","纵毫挥染，笔致松秀，设色清丽，韵格兼胜。",[23,99,24,29,28,25,1286,121,30,7,33,32],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb706e263f815b90ab97a1bb3c330a393.jpg","纸本，水墨",[],53,{"id":1292,"slug":1293,"title":1294,"dynasty":1295,"author":1296,"museum":158,"description":1297,"tags":1298,"thumbUrl":1300,"material":1301,"size":1302,"collection":67,"collections":1303,"showCount":1290,"zanCount":11,"manualWeight":11,"mainColor":49},231050,"dong-tian-shan-tang-tu-dong-yuan-231050","洞天山堂图","五代十国","董源","《周凯画集》是 1998年出版的图书，作者是周凯。\n《周凯画集》为周凯画集，内容分为重彩丹青、浅绛水墨、书法三大部分。\n重彩丹青 1 秋瘤湖边 2 翠谷鸣泉 寺后小国 4 香港，永受嘉福 5 香港青马大橘 6 香港山顶缆车 7 山城 8 门神 9 喜盈盈 1 仰卧的女人体 11 卖水果人家 12 天下共此时一一深圳“世界之窗” 1 14 化生童子 15 五层塔 16 菩萨与罗汉 17 阁楼中的女孩 18 水乡市井 19 飞天 2 有井的圆楼 21 明王 22 围城 2 菩萨与伎乐 24 秋帆南下 25 树阴下的女人体 26 门外秋山 27 双龙与鳖 28 带水塔的山村 29 苍崖 幽谷轻绡 1 置庭园 2 蓝色的夜曲 丙寅二月 4 玄牝之灵 5 帝裔之乡 6 青绿山水 7 红色山水 8 深山萧寺 9 离堆 4 根 41 崖 浅绦水墨 42 屑屑山水秀 4 寒峰插天 44 峰峭余翠 45 明，陆治诗意 46 幽壑叠泉 47 魏·曹植游仙诗诗意长卷 48 清人诗意 49 扶桑轫暾 5 洞天神工 51 陶冶性灵 52 帖石防殴岸 5 蕉下读书图 54 束晋·庾阐观石鼓诗诗意手卷 55 云散峭峰 56 水村山郭（四季条幅之春） 57 前峰一夜两（四季条幅之夏） 58 秋来风雨知多少（四季条幅之秋） 59 暮景千山雪（四季条幅之冬） 6 君子之求 61 唐·柳宗元诗意 62 鹞 6 元·钱舜举诗意 64 林泉高致闽 65 烟岚圆 66 鶸冠花 67 临王蒙春山读书图 68 仿山水图 69 唐·刘长卿诗意 7 双矶圆 71 临董源洞天山堂图 72 水墨山水 7 临李唐万壑松风图 书法 74 唐·杜甫论诗七绝三首 75 唐·李白梦游天姥吟留别诗 76 画禅室随笔一则 77 南田论画一则 78 世说新语二则",[24,29,58,81,25,80,59,310,903,1299,7,138,82,120,62,63],"洞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4a4de7bd1f0b9c7318084670f1579b8.jpg","绢本,水墨","183.2x121.2",[67],{"id":1305,"slug":1306,"title":1307,"dynasty":173,"author":216,"museum":158,"description":1308,"tags":1309,"thumbUrl":1313,"material":1301,"size":1314,"collection":87,"collections":1315,"showCount":1316,"zanCount":11,"manualWeight":11,"mainColor":49},290999,"ju-bei-wan-yue-zhou-ma-yuan-290999","举杯玩月轴","风格独特，富有诗意画。水能表现出在不同环境气候下的种种形态。其花鸟作品善于在自然环境中描绘花鸟的神情野趣。",[99,24,81,25,58,137,424,7,1197,60,1310,1311,1312,59],"雾","饮酒","闲逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffde301ff84b5c3a8dfe486393212f2ca.jpg","205.6x104.1",[],51,{"id":1318,"slug":1319,"title":1320,"dynasty":114,"author":1321,"museum":116,"description":1322,"tags":1323,"thumbUrl":1325,"material":326,"size":327,"collection":87,"collections":1326,"showCount":1316,"zanCount":184,"manualWeight":11,"mainColor":71},229055,"ai-xin-jue-luo-min-ning-shu-fa-dui-lian-he-ji-qian-nian-song-he-wan-gu-min-ning-229055","爱新觉罗·旻宁书法对联鹤箕千年松鹤万古","旻宁","清宣宗爱新觉罗·旻宁（1782年9月16日—1850年2月25日），原名绵宁，清朝第八位皇帝，定都北京后的第六位皇帝。生于紫禁城撷芳殿中所。年号道光。清仁宗嘉庆皇帝第二子",[23,29,30,81,1324,31,121,7],"对联","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7687407d9ad23419eab296631444583.jpg",[],{"id":1328,"slug":1329,"title":1330,"dynasty":345,"author":1331,"museum":116,"description":1332,"tags":1333,"thumbUrl":1334,"material":326,"size":327,"collection":87,"collections":1335,"showCount":1316,"zanCount":11,"manualWeight":11,"mainColor":71},228159,"yu-shan-hua-niao-tu-ce-gu-ying-228159","玉山 花鸟图册","顾瑛","顾瑛为粱代画家顾野王的第二十五代后人，是中国艺术史上显耀一时之“玉山雅集”召集者，与元末黄公望、王蒙、倪瓒、赵雍、马琬、杨维桢、张雨、曹知白、柯九思、唐棣、张渥、赵原、陈惟允、柏子庭、周砥诸文人画家有着广泛交往。作为历史上重要书画藏家，早在20世纪80年代，顾瑛就被海外学者从中国画史、书画鉴藏史的角度来进行认识。",[23,24,80,261,100,101,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99371dcaffeee312fa059b43571283b4.jpg",[],{"id":1337,"slug":1338,"title":1339,"dynasty":18,"author":1340,"museum":696,"description":1341,"tags":1342,"thumbUrl":1344,"material":263,"size":1345,"collection":45,"collections":1346,"showCount":1347,"zanCount":11,"manualWeight":11,"mainColor":49},222391,"si-xi-tu-li-zhou-lv-ji-222391","四喜图立轴","吕纪","吕纪（1429～1505），字廷振，号乐愚，鄞（今浙江宁波）人。明代画家。\n其花鸟初师边景昭，又学林良，并广泛师法唐宋诸家，所作有工笔重彩和水墨写意两种画法，前者描绘精工，色彩富丽，法度谨严；后者粗笔挥洒，随意点染，简练奔放，富有气势和动感。其山水宗法马远、夏圭，以大斧劈皴画山石，苍劲有力。人物亦法南宋院体，衣纹线条简练顿挫。初学边景昭工笔法，亦受林良水墨法影响，后临仿唐宋诸家名迹，遂自成一体，独步当代。其花鸟画风呈两种面貌，一作工笔重彩，精工富丽，多绘凤鹤、孔雀、鸳鸯之类，辅以树木坡石、滩渚流泉背景，既具法度，又富生气。另一类为水墨写意画，粗笔挥洒，简练奔放，接近林良的风格。他亦兼善人物、山水，宗法南宋马远、夏圭画法。他的花鸟画风在当时宫廷内外影响甚大，继承者不乏其人。\n明弘治年间，入值仁智殿，官至锦卫指挥使，是明代与边景昭、林良齐名的院体花鸟画代表画家。其绘画风格可分为两大类，一类是以水墨为主略淡彩，用笔较为豪纵，另一类则是设色浓丽，用和工致，具有富丽的宫廷装饰趣味。吕纪由水墨淡色画转为工笔重设色画，更直接的原因是为了适应不同皇帝的不同口味，具体说来就是弘治皇帝朱祐樘的欣赏口味不同于他的父辈成化皇帝朱见深，从而造成了吕纪多画凤凰、雉鸡、仙鹤、孔雀、鸳鸯之类，杂以花木草石，具有生气。工笔着色与水墨写意能，并善于将两体结合。吕纪初学唐宋各家和同时代的边景昭，后形成自己的风格。他的花鸟设色鲜艳，生气奕奕，被称为明代花鸟画第一家。据说吕纪在画作上常用寓意手法对皇帝劝谏，皇帝知其用心，曾说：“工执艺事以，谏吕纪有之。”其代表作品有《新春双雉图》《桂花山禽图》《残荷鹰鹭图》《秋鹭芙蓉图》《五德大吉图》 《狮头鹅图》等。\n吕纪，1477年生，鄞州（今浙江宁波）人。字廷振，号乐愚，弘治间（1488-1505）供事仁智殿，弘治间征入宫廷，为宫廷作画，供奉仁智殿，官锦衣卫指挥。擅画临古花鸟，初学边景昭，后研习唐宋诸家名作，继承两宋“院体”，以工笔重彩，又在水墨写意方面受林良影响。\n远宗南宋院体格，廷续了黄筌工整细致的画风及钩勒笔法，并予以发扬，多以凤凰、仙鹤、孔雀、鸳鸯之类鸣禽为题材，杂以浓郁花树，画面绚丽。亦作粗笔水墨写意者，笔势劲健奔放，与林良相近，与边景昭同为明代院体花鸟画中的临古派代表。传世作品有《桂菊山禽图》《榴花双莺图》《雪景翎毛图》《浴凫图》等。除画花鸟外，偶尔也画人物山水。他主要是以工整精丽的院体传统作画，造型准确，设色鲜艳。但也能画活泼生动兼工带写的花鸟画。他的画生动，笔墨清新，是当时与边景昭、林良齐名的花鸟名家。他作画时，常以寓意手法规谏皇帝，故明孝宗曾说：“工执艺事从谏，吕纪有之”。他是与边景昭、林良齐名的院体花鸟画代表作家。《狮头鹅图》，绢本，设色。纵191厘米，横104厘米。工笔画狮头鹅，侧身曲颈回顾古梅，鹅身洁白如玉，眼睛刻划有神，形象生动。古梅干枝苍劲，生机勃勃。树下衬以太湖石、月季花，石后有双勾竹隐露，色彩艳丽，衬托出狮头鹅之白身红冠。是明代院体花鸟画的杰作。款署“吕纪”。现藏辽宁省博物馆。\n《榴花双莺图》写石榴一枝，蘩花盛开，一对黄鹂栖于枝头，一上一下，鸣啼相应，神态活泼。工笔重彩，钩勒填色，绚丽多彩为明代中期院体画的典型风格。\n相比画家，吕纪的另一个身份更令人吃惊——历经明代成化、弘治、正德三代，官至锦衣卫指挥使(秘密警察头目)。吕纪的花鸟绘画，水墨淋漓，气势宏大，甚至是日本屏风画的来源之一。《柳荫双鸭图》和《幽涧双鹭图》曾在日本出版的《听松清鉴》中著录，郑振铎在上世纪四十年代遍访流传在海外的中国名画，并在其所编的《域外所藏中国名画》中收录。吕纪的两幅作品不仅是明代全景花鸟画的杰作，也是中国绘画影响日本绘画的证据代表作。",[23,24,80,100,101,81,777,1343,7,236,60,64],"喜鹊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35b651d770ecc93ed64e2befaf762c39.jpg","93x51",[45,107],50,{"id":1349,"slug":1350,"title":1351,"dynasty":18,"author":1352,"museum":434,"description":1353,"tags":1354,"thumbUrl":1355,"material":43,"size":1356,"collection":150,"collections":1357,"showCount":1347,"zanCount":267,"manualWeight":11,"mainColor":71},219726,"tao-yuan-ming-shang-ju-tu-du-jin-219726","陶渊明赏菊图","杜堇","陶渊明所处的时代，正属朝代更迭、战乱频发的乱世。况且当时的官制延续自汉代起的“九品中正制”，很多寒门士子无法入朝为官施展抱负，他们只能屈居于无能世家子弟的治下屡屡碰壁，故而纷纷绝望，选择归隐避世。",[23,24,81,25,100,137,41,7,60,30,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c5282b11790f03544ec06823922541.jpg","48 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、入屋、驴屋等，入清后改名道朗， 字良月，号破云樵者。汉族，南昌（今属江西）人 。明末清初画家，明亡后削发为僧，后改信道教 ，住南昌青云谱道院。绘画以大笔水墨写意著称，并善于泼墨，尤以花鸟画称美于世。在创作上取法自然，笔墨简炼，大气磅礴，独具新意，创造了高旷纵横的风格。\n八大山人是宁献王朱权的后裔，大明宗室对鹿有极深的感情。古代的鹿象征至高无上的皇权地位。鹿在中国有着非常吉祥的寓意，它不仅代表长寿，还与“禄”字谐音，故国画中间常借画鹿传达贺寿或加官进爵之意。八大山人画鹿存世十余幅，大都画一两只鹿，而画群鹿及配山水至今仅见此一幅。",[24,29,81,25,207,7,537,538],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7891ac0bf8822102bdf85850797f6e1f.jpg","纸本 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。\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……。善山水及水墨花卉，写意入神。\n“ 八家有 八位画家虽被纳入一个流派，各自的 他们的共同之处，是淡泊功名，为人清高，只与诗酒结缘、书画为伴，视 八家偶有",[23,24,29,261,25,59,58,62,63,7,810,579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F467d01d7652fdadb7ced0902e0c7e630.jpg","绢本水墨设色","20.5 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，住南昌青云谱道院。绘画以大笔水墨写意著称，并善于泼墨，尤以花鸟画称美于世。在创作上取法自然，笔墨简炼，大气磅礴，独具新意，创造了高旷纵横的风格。",[24,29,81,25,26,59,7,537,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9244ade8ce785509d3cb147daa31bcce.jpg",[45],47,{"id":1443,"slug":1444,"title":1445,"dynasty":114,"author":1446,"museum":116,"description":1447,"tags":1448,"thumbUrl":1450,"material":87,"size":87,"collection":87,"collections":1451,"showCount":1441,"zanCount":11,"manualWeight":11,"mainColor":71},230207,"hong-li-guan-he-fu-qin-tu-zhou-lang-shi-ning-230207","弘历观荷抚琴图轴","郎世宁","《弘历观荷抚琴图轴》是 的一幅画。\n本幅无作者款识。\n随着明末清初的“西学东渐”之风，一些欧洲画家开始在清代宫廷供奉。\n一方面，他们接受中国传统绘画方式，采用中国笔墨颜料和纸绢作画，另一方面，他们依然坚持西洋绘画技法中的透视原则，在作品中着意表现物体的体积、质感、明暗、投影乃至倒影。\n此幅虽未署作者名款，实由意大利画家郎世宁主绘，中国画家补画山水背景。\n画中乾隆皇帝身着汉装，临湖抚琴，远处高山流水，喻其襟怀心境。\n作者不仅通过高超的技巧和精准的透视画法成功地表现出水边亭台的立体感和通透感，而且将建筑整体复杂的结构和各个构件的细部都交代得一清二楚，细腻的笔触与富于变化的色彩将原木立柱和屋顶青石瓦片的肌理与质感描绘得精微而生动。\n从此图中可以看到郎世宁运用焦点透视手法，按照一定的规律将所见到的屋宇移于画幅，成功地在二维平面画幅上真实地表现出多维空间，与传统中国界画描绘空间的手法完全不同。",[23,81,80,100,58,137,82,1449,7,102,177,120,64],"荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd20e9e842214efa4753ba1dbdbe1e410.jpg",[],{"id":1453,"slug":1454,"title":1455,"dynasty":18,"author":1456,"museum":1457,"description":1458,"tags":1459,"thumbUrl":1461,"material":1301,"size":1462,"collection":45,"collections":1463,"showCount":1441,"zanCount":11,"manualWeight":11,"mainColor":49},219333,"gu-song-shuang-que-tu-lin-liang-219333","古松双鹊图","林良","香港中文大学文物馆","在这幅画中，两只喜鹊爬上一根松枝，寓意吉祥。 笔墨笔墨爽朗，为后世水墨花鸟画的发展树立了典范。",[23,24,25,26,81,101,7,1460,64],"鹊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5813e37306a3d1eca136d2b6f4a716c.jpg","纵140横75厘米",[45],{"id":1465,"slug":1466,"title":830,"dynasty":18,"author":245,"museum":116,"description":1467,"tags":1468,"thumbUrl":1469,"material":326,"size":327,"collection":87,"collections":1470,"showCount":1471,"zanCount":267,"manualWeight":11,"mainColor":71},290307,"sui-chao-tu-zhou-bian-wen-jin-290307","边文进，字景昭，福建沙县人。诸画史皆谓为陇西（今甘肃）人。盖边姓旧出陇西，题款或署其故郡，遂至传讹。与吕纪齐名。\n永乐（一四○三至一四二四）间召至京师授武英殿待诏。至宣德（一四二六至一四三五）间仍供事内殿。为人夷旷洒落，善绘事，尤精于花鸟。花之娇藉，不但钩勒有笔，其用墨无不合宜。宋、元之后殆其人矣。有三友百泰图见故宫名画集。《图绘宝鉴续纂、沙县志、延平县志、明画录、无声诗史、四友斋丛说》。所画的翎毛与蒋子诚的人物、赵廉的虎，曾被称为“禁中三绝”。",[24,99,81,80,101,100,32,7,38,834,121,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ab93eeb8b340c282d279f6ec88b49db.jpg",[],46,{"id":1473,"slug":1474,"title":1475,"dynasty":173,"author":1476,"museum":158,"description":1477,"tags":1478,"thumbUrl":1480,"material":86,"size":1481,"collection":150,"collections":1482,"showCount":1483,"zanCount":267,"manualWeight":11,"mainColor":49},219609,"song-xia-ye-zhang-tu-xu-dao-ning-219609","松下曳杖图","许道宁","湖滨之畔，苍松翠竹，盘纡成阴，松下逸士自小径出，持杖凝神，倾听松籁竹韵。江渚野趣，清朗怡人。本幅结构严密，景物偏幅右边，全图描写着重一风字。幅内之松、竹、草、枯枝、士人衣褶帽带皆因风势顺成一向，双钩墨笔点画松竹人物，描绘甚为灵动。本幅旧签题为许道宁，然依画松竹人物等作风则与刘松年较近，可能为南宋后期受刘氏影响的作品。本幅为「历代名绘」册第八幅。许道宁（约西元11世纪），河北河间人。初市药于都门，好描绘街坊各色人物。后游太华山，转好写山水。",[23,99,24,29,220,80,137,7,60,1479],"曳杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecbfb88746858382f40f7dd5ca3d89fb.jpg","24.2x25.3厘米",[150],45,{"id":1485,"slug":1486,"title":830,"dynasty":114,"author":1487,"museum":116,"description":1488,"tags":1489,"thumbUrl":1490,"material":326,"size":327,"collection":87,"collections":1491,"showCount":1492,"zanCount":11,"manualWeight":11,"mainColor":49},290318,"sui-chao-tu-zhou-jiang-ting-xi-290318","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。",[99,24,81,80,100,101,7,32,38,1364,39,30,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b36f951d2dbef57185121b60fa59eb.jpg",[],44,{"id":1494,"slug":1495,"title":1496,"dynasty":18,"author":1497,"museum":158,"description":1498,"tags":1499,"thumbUrl":1500,"material":87,"size":87,"collection":87,"collections":1501,"showCount":1492,"zanCount":11,"manualWeight":11,"mainColor":49},228319,"san-you-si-xi-tu-bian-jing-zhao-228319","三友四喜图","边景昭","此作用全景铺陈开卷，松挺竹劲梅娇，聚成岁寒三友之姿，群雀翔集枝梢，啾唧喧闹间衬出林野生机。四只喜鹊或栖或飞，墨白羽色鲜亮醒目，于群鸟中格外灵动。\n\n画师落笔精工写实，禽鸟翎毛细密柔润，根根分明；松竹梅的枝干皴擦细致，苍秀兼具。整幅画面动静交织，既见院体花鸟的细腻工致，又借三友暗喻君子风骨，以喜鹊托举祥瑞吉意，将雅致品格与喜庆意蕴融于一卷。",[23,24,100,80,101,64,33,32,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a9c628ba03bd30ead976aed52184f75.jpg",[],{"id":1503,"slug":1504,"title":1505,"dynasty":114,"author":1506,"museum":938,"description":1507,"tags":1508,"thumbUrl":1509,"material":87,"size":1510,"collection":45,"collections":1511,"showCount":1512,"zanCount":184,"manualWeight":11,"mainColor":71},224544,"mo-song-tu-weng-fang-gang-224544","墨松图","翁方纲","翁方纲（1733—1818），字正三，号覃溪，晚号苏斋，顺天大兴（今属北京市）人。清乾隆十七年（1752年）进士，官至内阁学士。翁方纲精于考据、金石、书法之学，又是清代'肌理说'诗论的倡始人。书学欧、虞，谨守法度。尤善隶书，相传翁方纲能在瓜子仁上书写小楷字，功力精熟可见一斑。《清朝书画录》把他和刘墉、梁同书、王文治齐名，并称'翁、刘、梁、王'。亦与刘墉、成亲王永瑆、铁保齐名，称'翁刘成铁'。",[23,24,29,99,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34613a6fbd97265e1f60882c39df8312.jpg","纵194.5cm，横60.5cm",[45],43,{"id":1514,"slug":1515,"title":1516,"dynasty":959,"author":1517,"museum":1518,"description":1519,"tags":1520,"thumbUrl":1521,"material":87,"size":87,"collection":87,"collections":1522,"showCount":1512,"zanCount":184,"manualWeight":11,"mainColor":71},220551,"xi-shan-gu-song-bai-xu-bei-hong-220551","西山古松柏","徐悲鸿","中央美术学院美术馆","以苍劲笔触绘就古松柏，皴擦出躯干上的斑驳纹路，枯洞褶皱尽展百年风霜。虬枝探向长空，松针攒簇如墨团，尽显沉浑古拙的嶙峋意气。远景山峦以淡墨晕染，空濛如云烟，衬出古木的挺拔雄浑。山涧清溪穿石而过，水纹灵动柔婉，石畔点缀细草闲花，为森然古意添入秀润生机。将写实技法融入传统山水意境里，刚劲古木和灵秀溪山相生相融，铺展出幽寂苍莽的山林意趣，尽显古林历经岁月沉淀的沉静风骨。",[23,24,80,25,58,1127,7,144,63,314,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffb974502207d48b0cf1049a77a0cd67.jpg",[],{"id":1524,"slug":1525,"title":1526,"dynasty":345,"author":1527,"museum":434,"description":1528,"tags":1529,"thumbUrl":1532,"material":43,"size":1533,"collection":125,"collections":1534,"showCount":1512,"zanCount":11,"manualWeight":11,"mainColor":49},220426,"song-xi-gui-yu-tu-tang-di-220426","松溪归渔图","唐棣","唐棣(1287–1355)，字子华，号遁斋,祖籍钱塘(今浙江杭州)，因先世在吴兴做官，迁徙归安(今浙江湖州)。父唐清，元初赠承务郎，任归安县令。唐棣幼聪颖好学，文思敏慧，能诗善画，有“奇童”之称，为赵孟頫、马煦赏识，弱冠时便拜赵孟頫为师。工山水，近学赵孟頫，远师李成、郭熙，亦工诗文。",[23,29,24,307,59,80,81,7,63,62,60,1530,1127,1531,731],"渔舟","岸坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F035ce24fe5889e9c85d096ccf8fbc2fd.jpg","134.3x86cm",[125],{"id":1536,"slug":1537,"title":1538,"dynasty":114,"author":900,"museum":434,"description":1539,"tags":1540,"thumbUrl":1542,"mate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戴本孝 此图意写天台山水，山岩相叠，石桥飞架，怪松参差其间，飞泉直下，一老者隐居于此。巨壑皴写不繁，枯笔勾廓，以渴墨稍事皴擦，意境荒寒幽僻，深得元人气韵。\n图中左上角作者题款：天台异松，前人尝为之图，陆龟蒙记而赞之。曩从好事家见有摹本，未善也，因追以意图之。近闻异松已多归于冥漠。盖天地山川之奇，一经为尘眼所狎，自不能久。如此不觉兴慨也。鹰阿山天根樵夫本孝似君老道兄粲鉴，时丁卯长至。",[24,29,25,59,58,7,236,314,313,1541],"山路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c55221cddc6bd4a49aac3df454856d0.jpg","169.9×76.2cm",[67],{"id":1546,"slug":1547,"title":1548,"dynasty":173,"author":1549,"museum":158,"description":1550,"tags":1551,"thumbUrl":1552,"material":86,"size":1553,"collection":150,"collections":1554,"showCount":1512,"zanCount":184,"manualWeight":11,"mainColor":49},219308,"san-yang-kai-tai-tu-qian-xuan-219308","三阳开泰图","钱选","本幅画巨岩青松下，一童骑羊，手持斜挂鸟笼的梅枝，其后跟随二羊。「羊」与「阳」谐音，「三阳」为易经中的乾坤交泰卦象，显示天地间万物皆有生意，为吉祥表征。画中款题钱选，诗塘亦有清代姚文田敬书乾隆御制诗题，是为作者名称由来。然而本幅画风与元初文人画家钱选的作风差距甚远，应为明代晚期假托名家且具有吉庆意味的作品。",[24,29,80,100,137,538,7,60,30,296,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8769a1d46532f390e5b84462dde32b02.jpg","122.4x49.9",[150],{"id":1556,"slug":1557,"title":1558,"dynasty":18,"author":1559,"museum":20,"description":1560,"tags":1561,"thumbUrl":1562,"material":363,"size":1563,"collection":67,"collections":1564,"showCount":1565,"zanCount":184,"manualWeight":11,"mainColor":71},237894,"song-quan-qing-yin-tu-zhou-ding-yun-peng-237894","松泉清音图轴","丁云鹏","图绘远山耸立，云雾缭绕，溪流潺潺，高松虬曲，文士停琴，临岸深思。本幅人物造型古拙，气质端庄文雅，体现了明后期文人画注重表现个性的风尚。人物衣纹运用“高古游丝描”，细劲而“笔力伟然”，具有古朴之感。山石树木勾勒添色，用笔秀润工谨，设色明净古雅，营造了一种静谧幽远的意境。",[24,29,81,80,100,59,58,137,7,401,63,120,903,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b7e3df720b3e7f7fe6e74b9234493f4.jpg","纵143.5厘米，横33厘米",[67,125],42,{"id":1567,"slug":1568,"title":1569,"dynasty":114,"author":1570,"museum":20,"description":1571,"tags":1572,"thumbUrl":1573,"material":1574,"size":1086,"collection":45,"collections":1575,"showCount":1565,"zanCount":11,"manualWeight":11,"mainColor":71},236456,"mei-qing-shuang-song-tu-zhou-mei-qing-236456","梅清双松图轴","梅清","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。清初画家、诗人。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。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。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，曾在各地游历名山大川，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。著有《天延阁集》、《梅氏诗略》等书。",[24,29,99,81,25,59,7,120,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e75e8c80c5c3ed6ad95de53a4991beb.jpg","纸本 ，墨笔",[45,107],{"id":1577,"slug":1578,"title":1579,"dynasty":114,"author":258,"museum":20,"description":259,"tags":1580,"thumbUrl":1582,"material":263,"size":264,"collection":87,"collections":1583,"showCount":1565,"zanCount":11,"manualWeight":11,"mainColor":71},220328,"huang-shan-tu-ce-3-hong-ren-220328","黄山图册-3",[23,24,29,25,59,261,58,1581,61,7],"山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdc1eb815cf62e85ff746ecaa76da231.jpg",[],{"id":1585,"slug":1586,"title":1587,"dynasty":114,"author":1588,"museum":116,"description":1589,"tags":1590,"thumbUrl":1592,"material":87,"size":87,"collection":125,"collections":1593,"showCount":1594,"zanCount":11,"manualWeight":11,"mainColor":71},237493,"san-jia-he-zuo-wu-qing-zhou-wang-hui-237493","三家合作五清轴","王翚","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》。",[99,24,29,81,25,80,7,33,32,424,30,121,100,59,1591],"水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3351e99781cdb65f9a423bfdf5e44492.jpg",[125,463],41,{"id":1596,"slug":1597,"title":1598,"dynasty":114,"author":1588,"museum":116,"description":1599,"tags":1600,"thumbUrl":1601,"material":87,"size":87,"collection":87,"collections":1602,"showCount":1594,"zanCount":11,"manualWeight":11,"mainColor":49},224441,"fang-ju-ran-shan-shui-tu-wang-hui-224441","仿巨然山水图","此作取法董巨一脉，以披麻皴晕染山峦，圆浑苍润的山体层层铺展，云雾在谷壑间悄然漫溢，晕开空濛幽深的山水意境。\n\n谷间林木蓊郁苍茂，古木虬曲蟠扎，山居楼宇掩映在深林翠色中，溪涧蜿蜒穿流，板桥横陈浅滩，野趣悠然自生。墨色层次丰富，淡墨烘染云气，浓墨点苔写树，既绘就山峦厚重雄浑的体量，又晕出江南山水的温润氤氲，将北宋山水的沉郁与元人笔墨的秀逸相融，尽展林泉高致的文人心境。",[23,24,29,81,290,59,58,60,138,61,62,63,361,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c07a9b57cf6ed3bdd9355306fb68fe.jpg",[],{"id":1604,"slug":1605,"title":1606,"dynasty":114,"author":1607,"museum":158,"description":1608,"tags":1609,"thumbUrl":1610,"material":1611,"size":1612,"collection":67,"collections":1613,"showCount":1594,"zanCount":11,"manualWeight":11,"mainColor":71},223240,"song-ting-wang-yuan-wang-quan-223240","松亭望远","王铨","明天启二年（1623）进士，入清官至大学士，谥文安。高爽博学，好古，工诗古文。行草宗二王，正书出钟繇，亦能自出胸臆，有山园法帖，名重当代，与董其昌并称。画山水宗刑、关，丘壑峻伟，皴擦不多，以晕染作气，传以淡色，意趣自别。山水花木竹石皆用书中关钮。尝与戴明说书云：画寂寂无余情，如倪云林（瓒）一流，虽略有淡致，不免枯干，尪羸病夫，奄奄气息，即谓之轻秀，薄弱甚矣。大家弗然。间作兰竹梅石，洒然有象外意。卒年六十一。《图绘宝鉴续纂》、《国（清）朝画徵录》、《桐阴论画》、《无声诗史》",[23,24,29,58,261,25,59,310,7,82,120,161,236,810],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bed544a1c100f42958631d8249c351.jpg","浅设色","34.7x29厘米",[67,125],{"id":1615,"slug":1616,"title":1617,"dynasty":114,"author":1618,"museum":158,"description":1619,"tags":1620,"thumbUrl":1625,"material":1626,"size":1627,"collection":45,"collections":1628,"showCount":1594,"zanCount":184,"manualWeight":11,"mainColor":71},222693,"xin-shao-ru-yi-tu-zhou-qian-wei-cheng-222693","新韶如意图轴","钱维城","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。",[23,24,29,81,80,100,1621,1622,1364,1623,32,7,1624,248,121],"瓶","盆","柿子","花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c76e4882c3861113c1dfe14fc016849.jpg","纸本水墨","105.2x55.9厘米",[45,107],{"id":1630,"slug":1631,"title":1632,"dynasty":18,"author":1071,"museum":696,"description":1633,"tags":1634,"thumbUrl":1642,"material":1288,"size":1643,"collection":67,"collections":1644,"showCount":1594,"zanCount":11,"manualWeight":11,"mainColor":49},222583,"fang-yi-feng-shan-shui-lan-ying-222583","仿一峰山水","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。",[23,24,80,59,58,138,60,82,810,63,147,313,7,1635,1636,1637,1638,1074,890,1639,1640,1641],"峰峦","丘壑","林木","山居","淡赭","山石皴染","树木勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2731e556314b70131bad67ebbce5091.jpg","74.1×161.7cm",[67,125],{"id":1646,"slug":1647,"title":1648,"dynasty":114,"author":1649,"museum":20,"description":1650,"tags":1651,"thumbUrl":1657,"material":1658,"size":1659,"collection":67,"collections":1660,"showCount":1594,"z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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。",[24,100,80,1763,538,7,779,314,1764],"写实","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282319004ad80a2cd47a8365f76f3e47.jpg","纵246.6厘米，横163.9厘米",[],37,{"id":1770,"slug":1771,"title":1772,"dynasty":345,"author":1773,"museum":158,"description":1774,"tags":1775,"thumbUrl":1777,"material":86,"size":87,"collection":150,"collections":1778,"showCount":1768,"zanCount":11,"manualWeight":11,"mainColor":71},218743,"song-mei-shi-nv-tu-sheng-mao-218743","松梅仕女图","盛懋","尺幅间松枝如铁，梅蕊凝霞，暗香似绕绢素。仕女凭石闲坐，衣袂轻垂，眸光柔落梅梢，似细品松风与寒香交织的清韵。笔墨兼工带写，松针疏密见劲健，梅朵点染含娇妍，仕女姿态温婉，神情娴静，与松梅冷艳相映成趣。题跋墨痕与淡彩相融，更添古雅。整体意境清幽淡远，如无声诗行，道尽文人心中的雅致闲逸，时光仿佛在此停驻，只余松梅与佳人的悠然对语。",[23,24,29,261,80,137,7,32,1776,221],"美人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc96448930cd424db7a671f6805711b6a.jpg",[150],{"id":1780,"slug":1781,"title":556,"dynasty":345,"author":500,"museum":1036,"description":1782,"tags":1783,"thumbUrl":1784,"material":86,"size":1785,"collection":67,"collections":1786,"showCount":1768,"zanCount":11,"manualWeight":11,"mainColor":49},218209,"song-quan-gao-shi-tu-yi-ming-218209","图画的背景是一片茂密的森林，松树和松针在风中摇曳。整幅图画给人以庄严肃穆的感觉，表达了对松泉高士伟大品格的敬意。",[24,99,220,80,58,137,7,401,63,60,138,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4041017ea2d172063a033356abfa97ad.jpg","24x27.3cm",[67],{"id":1788,"slug":1789,"title":1790,"dynasty":114,"author":500,"museum":116,"description":1791,"tags":1792,"thumbUrl":1798,"material":326,"size":327,"collection":87,"collections":1799,"showCount":1800,"zanCount":267,"manualWeight":11,"mainColor":49},267608,"cai-se-duan-xiu-he-lu-san-yang-mei-que-wen-ming-xing-pian-jia-yi-ming-267608","彩色缎绣鹤鹿三羊梅雀纹名姓片夹","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[1793,1794,100,80,102,537,1795,1796,7,32,101,538,1257,1797],"刺绣","布料","羊","雀","饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2b9155225671ffe2fe720d6ecd8bd8d.jpg",[],36,{"id":1802,"slug":1803,"title":1804,"dynasty":114,"author":1805,"museum":116,"description":1806,"tags":1807,"thumbUrl":1808,"material":263,"size":87,"collection":67,"collections":1809,"showCount":1800,"zanCount":11,"manualWeight":11,"mainColor":71},237062,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237062","补景古臣松梅观鹤图像并附山水册","徐佐","此作以清润淡远之笔，绘就林下幽居之景。虬松苍劲，疏梅横斜，席地高士抬首遐观，神态萧散恬然，似在静候鹤影、神游物外。远景以淡墨晕出山峦轮廓，留白处尽是空濛悠远之意，将林泉幽寂之境铺陈开来。\n\n左侧题诗与画面相得益彰，诗画合璧尽显文人雅趣。整体设色柔和雅致，笔墨简淡却意韵悠长，将寄情丘壑、超然出世的林下襟怀融于尺幅之间，尽显传统文人画以画明志、诗画同源的隽永意趣。",[24,29,261,80,25,137,58,7,32,121,30,1002],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11f734a6a67034c3438b001e7269bff3.jpg",[67],{"id":1811,"slug":1812,"title":1813,"dynasty":173,"author":500,"museum":158,"description":1814,"tags":1815,"thumbUrl":1817,"material":86,"size":87,"collection":150,"collections":1818,"showCount":1800,"zanCount":267,"manualWeight":11,"mainColor":49},219172,"shan-yang-tu-yi-ming-219172","山羊图","粉面朱唇的稚子端坐羊背，衣袂鲜妍如霞，手中轻挥短鞭。群羊毛色胜雪，犄角宛转似玉，或驰于坡前，或驻于石畔，或低头嗅草，姿态灵动如生。背景松枝虬劲，梅蕊初绽，墨色浓淡间晕染出清寂古意。线条工细若蚕丝，衣纹褶皱、羊身毫毛皆刻画入微；设色沉敛温润，赭石与石青相映，既见宋画的雅致，又藏孩童嬉戏的稚趣。动静相宜间，似能听见羊蹄踏石的轻响，稚子清脆的笑声，将寻常生活的闲情，凝作千年不褪的画卷。",[24,29,99,100,80,1816,137,7,32,60,779],"山羊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00d784dda5b0462addae6b69112b558a.jpg",[150],{"id":1820,"slug":1821,"title":1822,"dynasty":173,"author":500,"museum":158,"description":1823,"tags":1824,"thumbUrl":1827,"material":86,"size":1828,"collection":181,"collections":1829,"showCount":1800,"zanCount":11,"manualWeight":11,"mainColor":71},218842,"song-yin-fang-dao-tu-yi-ming-218842","松荫访道图","这幅画描绘了一位国王和一位王子向一位僧人请教冥想的情景，并将人物放在一条阴松溪的岸边，溪上有一座石桥，暗示渡口可以到达彼岸。这幅画与刘松年的画派相似，是山水画中人物团扇的典范。",[23,24,80,100,59,1825,7,137,60,138,1826],"团扇","地面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94fd283639ef962c56bc157245007996.jpg","22.5x24.8",[181],{"id":1831,"slug":1832,"title":1833,"dynasty":114,"author":1834,"museum":20,"description":1835,"tags":1836,"thumbUrl":1838,"material":1288,"size":1839,"collection":67,"collections":1840,"showCount":1841,"zanCount":11,"manualWeight":11,"mainColor":71},238302,"qian-long-huang-di-song-yin-xiao-xia-tu-zhou-dong-bang-da-238302","乾隆皇帝松荫消夏图轴","董邦达","图绘崇山峻岭、溪水潺潺的郊外，乾隆皇帝身着汉装坐于石案旁，目视着童子烹茶的情景。石案上除有茶杯外，还有弦琴及书本，显现出他于茶道之外的文化修养。此图构思巧妙，作者并没有将贵为天子的乾隆皇帝画得身高体大，而是将他融入于自然山水之中，然后又通过山环水抱、苍松围绕的构图方式，将其自然地归笼到了画幅的中心部位，从而突显了其个人形象及至尊无上的皇权地位。图中的山石结构繁复而错落，笔法尖峭，皴法松秀，既有元人遗韵，又得宋人笔墨之工，因而成功地渲染出世外桃源的清幽雅境。实际画中的乾隆皇帝肖像，当出自郎世宁之手。\n此画轴包首处贴有黄签，题“澄观斋殿内东阁东墙面西挂”，点明了此图作为室内装饰画，曾被挂于避暑山庄的澄观斋殿内。",[24,25,80,59,58,7,310,120,82,138,137,147,1074,314,1837],"树荫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2744412dddd49ddd4fa1d30f51c8f81f.jpg","纵193.5厘米，横158厘米",[67,107],35,{"id":1843,"slug":1844,"title":1845,"dynasty":772,"author":1846,"museum":116,"description":1847,"tags":1848,"thumbUrl":1850,"material":326,"size":327,"collection":87,"collections":1851,"showCount":1841,"zanCount":11,"manualWeight":11,"mainColor":71},231748,"an-tu-tao-shan-shi-dai-song-lin-tu-ping-feng-di-er-ping-zhang-gu-chuan-231748","安土桃山时代 松林图屏风-第二屏","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",[23,25,58,7,1150,776,1849],"水墨山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bc11c61caf8720caa141d314a0ddd57.jpg",[],{"id":1853,"slug":1854,"title":1855,"dynasty":18,"author":54,"museum":20,"description":1856,"tags":1857,"thumbUrl":1860,"material":179,"size":1861,"collection":67,"collections":1862,"showCount":1841,"zanCount":11,"manualWeight":11,"mainColor":71},222027,"san-gu-cao-lu-tu-dai-jin-222027","三顾草庐图","画面描绘的是家喻户晓的刘备“三顾茅庐”拜访诸葛亮的故事。人物的描绘生动而细致，例如刘备恭敬的神态、张飞的深色面庞及武夫样的站姿都描绘得十分传神。人物的动态掌握得非常准确。画山石用大斧劈皴法，松枝颀长，明显继承了南宋马远的画风，用笔简劲。整体画面墨色清雅。\n在明代宫廷画中以“招贤纳士”为题材的历史故事画为数不少，反映了当政皇帝求贤的迫切心情。",[23,24,307,59,80,137,7,1858,33,82,60,236,161,1859,162],"草庐","山坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6f5519f01f671699f57d3b1bc3dfe2e.jpg","纵172.2cm，横107cm",[67,125],{"id":1864,"slug":1865,"title":1866,"dynasty":114,"author":1867,"museum":217,"description":1868,"tags":1869,"thumbUrl":1870,"material":87,"size":87,"collection":67,"collections":1871,"showCount":1841,"zanCount":11,"manualWeight":11,"mainColor":1872},201833,"shan-shui-tu-zhou-zhang-zhu-201833","山水图轴","张翥","层岩错落间，飞瀑悬垂，小径蜿蜒入林。山间楼阁隐于苍松枯木之后，清寂中藏雅致。笔墨苍劲，皴法细腻勾勒山石纹理，枯树虬枝与葱郁松竹相映，尽显秋冬山林之趣。近景林木扶疏，溪畔人家隐约，动静相宜，传递出文人寄情山水的淡泊心境。",[58,25,59,61,236,1197,7,1074,60,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31d96e2ff8894c997d7bd76a9b378257.jpg",[67],"ada091",{"id":1874,"slug":1875,"title":1876,"dynasty":114,"author":1588,"museum":116,"description":1589,"tags":1877,"thumbUrl":1881,"material":87,"size":87,"collection":87,"collections":1882,"showCount":1883,"zanCount":11,"manualWeight":11,"mainColor":71},237583,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237583","王翚仿古山水册",[24,25,29,1878,1879,290,59,121,310,120,161,7,1880,313,140],"册页","仿古","竹林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96d20d5d72ffbd6c3dd89af475576be0.jpg",[],34,{"id":1885,"slug":1886,"title":1887,"dynasty":18,"author":1559,"museum":116,"description":1888,"tags":1889,"thumbUrl":1890,"material":87,"size":87,"collection":87,"collections":1891,"showCount":1883,"zanCount":267,"manualWeight":11,"mainColor":71},228908,"lan-ting-xiu-xi-tu-ding-yun-peng-228908","兰亭修禊图","此作用淡墨白描兼皴染铺展林泉雅境，崇山叠嶂掩映茂林清溪，文人雅士沿水列坐，或临流衔觞、展卷题咏，或围坐清谈、凭栏观眺，童仆往来奉侍，将雅集盛景生动铺陈。线条清劲秀逸，山石林木以淡墨晕染，意境萧散淡远，尽显晋人林下风流。卷后题书与画作呼应，书画合璧，将这场集会寄情山水、旷达疏放的雅韵定格，引观者神游千古雅集，沉醉于丝竹觞咏的幽远意境之中。",[23,24,29,28,100,80,207,59,58,137,82,63,7,33,62,1311],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd7c0d19429f605cd3c2867573406663.jpg",[],{"id":1893,"slug":1894,"title":1895,"dynasty":173,"author":500,"museum":116,"description":1896,"tags":1897,"thumbUrl":1899,"material":179,"size":1900,"collection":181,"collections":1901,"showCount":1883,"zanCount":11,"manualWeight":11,"mainColor":49},223503,"song-yan-xian-guan-yi-ming-223503","松严仙馆","图绘崇山中的多处建筑群，自上而下分部。画面顶端在绿树的围绕中，多座房顶露出，房屋建造宏伟，青瓦飞檐，四方端正，应为图名“仙馆”了；画中部所绘山石断面很有特色，细线勾勒整齐而光滑；近处流水涓涓，两边绿树苍翠，实为世外桃源之美景。",[23,24,29,307,80,100,59,7,61,60,138,63,579,361,147,1898,1637],"峭壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc06f5b71e8e16df60afd252093360347.jpg","60x89.15cm",[181,67,125],{"id":1903,"slug":1904,"title":1905,"dynasty":173,"author":1906,"museum":20,"description":1907,"tags":1908,"thumbUrl":1909,"material":195,"size":1910,"collection":67,"collections":1911,"showCount":1883,"zanCount":11,"manualWeight":11,"mainColor":71},221216,"song-he-ceng-lou-tu-ye-zhang-dun-li-221216","松壑层楼图页","张敦礼","張敦禮 ，熙寧元年選尚英宗女祁國長公主，授左衞將軍、駙馬都尉，遷密州觀察使。元祐初，疏言：“變法易令，始於王安石，成於蔡確。近者退確進司馬光，以臣觀之，所得多矣。”進武勝軍留後。",[23,24,99,261,80,59,136,30,121,58,7,61,138,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa38201b375c0d8926df9611e75942c0b.jpg","25X29厘米",[67,107],{"id":1913,"slug":1914,"title":1915,"dynasty":114,"author":1916,"museum":20,"description":1917,"tags":1918,"thumbUrl":1919,"material":250,"size":1920,"collection":150,"collections":1921,"showCount":1922,"zanCount":11,"manualWeight":11,"mainColor":71},219635,"song-zhi-jing-ting-song-feng-tu-liu-yu-219635","宋致静听松风图","柳遇","图中宋致头戴纱帽，身着长衫，临溪倚石侧坐，神情端凝。身后古松参天，枝繁叶茂，与怪石嶙峋、小草幽篁、溪水潺潺的景致形成高矮、动静的对比，有极强的视觉效果，强化了人物的宁静祥和，烘托了听松的主题。\n据《商邱县志》记载：宋致，字穉佳，商邱人。举乡贡，游太学，官至四川总藩、湖南布政使。性情慷慨轻财，有政事，录《可竹居诗集》。\n图中人物用勾填法表现，面部稍加晕染，衣纹飘逸，线条简洁，形象传神，突出了主人公朴实无华的个性与平和自然的心态。",[23,24,29,81,80,137,7,120,30,31,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8818a7ad2c54fb07fbd6b17a7bcbd712.jpg","纵102厘米，横44.6厘米",[150],33,{"id":1924,"slug":1925,"title":1926,"dynasty":114,"author":1927,"museum":158,"description":1928,"tags":1929,"thumbUrl":1930,"material":87,"size":87,"collection":67,"collections":1931,"showCount":1932,"zanCount":11,"manualWeight":11,"mainColor":49},238256,"wu-da-fu-song-tu-juan-zhang-ruo-ai-238256","五大夫松图卷","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。",[24,29,28,25,59,7,1127,221,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b2767d1893093d6fd6a0d715c493fd.jpg",[67],32,{"id":1934,"slug":1935,"title":1936,"dynasty":114,"author":1415,"museum":116,"description":1937,"tags":1938,"thumbUrl":1939,"material":87,"size":87,"collection":87,"collections":1940,"showCount":1932,"zanCount":267,"manualWeight":11,"mainColor":49},235561,"wan-shan-cang-cui-tu-zhou-gao-cen-235561","万山苍翠图轴","《万山苍翠图》是中国清代画家高岑的国画作品，又称《清高岑万山苍翠图》，是一幅描绘山水景色的水墨画，作品收藏于 。\n《万山苍翠图》是皇家手绘精品，万山苍翠逼寒空，细路迂回古木中，澹澹夕阳堪倚杖，霜枫几点上衣红。\n此款产品是一幅手绘山水图。\n山体层层叠叠，伸向远方，悬崖上的苍松巍然屹立，代表了高洁的志向和昂扬的斗志。\n寓意：意境高远，勇攀高峰。\n《万山苍翠图》笔墨严谨劲秀，披麻皴画山石，淡墨渲染。\n老树挺拔，树木繁多，密而不乱，树叶以夹叶、点叶并用。\n树石罩以淡花青赭石色。\n山川林木茂密，万山苍翠。\n古寺、楼阁、村舍、山泉、船艇，设景似是江南秀丽富饶之乡。\n老者策杖过桥，农者田间劳动，富有生活气息。\n笔墨秀峭，气势雄伟。\n自题：“万山苍翠逼寒空，细路纡回古木中，澹澹夕阳堪倚杖，霜枫几点上衣红。\n画并题呈学迂先生教正。\n石城高岑。\n” ，生卒年不详，清初画家。\n字善长，又字蔚生，浙江 人，居 （今江苏南京）。\n阜（宇康生）弟。\n好学中、晚唐诗，并学画。\n初师僧七处，后自出机杼。\n山水迹近蓝瑛，用笔精到，无粗犷气；写意花卉，清秀入神。\n与龚贤、樊圻、邹桔、吴宏、叶欣、胡糙、谢荪为金陵八家。\n传世作品有《秋山万木图》、《林荫评古图》、《凤台秋月图》、《 》。",[99,24,29,81,80,59,58,310,312,161,7,810,437,1197,361,812,60,1637,1708],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a51013b654eb01b06e59743d39cf6f0.jpg",[],{"id":1942,"slug":1943,"title":1944,"dynasty":772,"author":1945,"museum":116,"description":1946,"tags":1947,"thumbUrl":1949,"material":326,"size":327,"collection":87,"collections":1950,"showCount":1932,"zanCount":11,"manualWeight":11,"mainColor":185},231666,"shi-ting-shi-dai-fang-liang-kai-huang-chu-ping-tu-xue-zhou-231666","室町时代 仿梁楷黄初平图","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。",[24,29,25,207,290,137,1948,7,221],"牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cbaeb5a70ff2eeb09b8af16b85dbbcc.jpg",[],{"id":1952,"slug":1953,"title":203,"dynasty":173,"author":204,"museum":116,"description":1954,"tags":1955,"thumbUrl":1956,"material":87,"size":87,"collection":87,"collections":1957,"showCount":1932,"zanCount":11,"manualWeight":11,"mainColor":71},227698,"sui-han-san-you-tu-zhao-meng-jian-227698","洁净的扇面上，作者绘松、竹、梅折枝，以墨笔画上一株饱结花朵、苞蕾的梅枝，继而交错、绕夹着如星芒般的松针与墨影般的竹叶，将它们横斜置于画面中央，以松针的灰和墨竹的黑来衬托出梅花的白。松叶如钢针，竹叶如刀剑，更表现出梅花的傲骨冰心。整个画面笔墨秀丽，清绝幽雅，意趣横生。这幅《岁寒三友图》通过对画面的安排，明确表达出作者刚正、坚贞的气节。画扇的右上方钤“子固”白文印。\n\n用笔上，画中的梅花以淡墨衬染着用细笔，浓墨所圈钩的花瓣、松针用笔尖挺劲拔，墨竹以中锋运使，挺劲有力。松、竹、梅画法各异，充满韵致，是幅极具精神的南宋小品。赵孟坚的作品一笔一画都注意书法与画法的结合，可以代表宋末文人画的艺术特色。",[23,24,29,220,207,25,7,33,32,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F999c0b646b9a079331a43aabd414c35c.jpg",[],{"id":1959,"slug":1960,"title":1961,"dynasty":18,"author":1340,"museum":20,"description":1962,"tags":1963,"thumbUrl":1964,"material":86,"size":1965,"collection":150,"collections":1966,"showCount":1932,"zanCount":11,"manualWeight":11,"mainColor":49},216778,"lv-ji-lv-wen-ying-zhu-yuan-shou-ji-tu-lv-ji-216778","吕纪吕文英竹园寿集图","这幅画是吕纪和吕文英在1499年画的，根据序言和题诗，吏部尚书屠滽、户部尚书周敬、御史郑捷三人同时过60岁生日，众官员在周敬的府上饮酒庆贺。\n这三位养老金领取者是主要人物，周围有客人、仆人和孩子。画中所有的人（除了孩子）都有名字，有的在院子里看仙鹤跳舞，有的在竹林里用笔墨写字，还有的在石桌上写诗。画卷最后的两个人，看着画卷，是画家陆机和陆文英，分别身着绿色和绿色的官服。\n吕纪和吕文英同时在朝廷任职，被称为 大吕 和 小吕。吕纪以画花鸟著称，这幅画的背景是鸟和树，整齐好看，接近吕纪的风格；吕文英擅长人物，线条沉稳，脸部轮廓平实，形态逼真，五官分明，与吕文英的风格相似",[23,24,29,28,80,100,137,33,7,30,31,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffee6afe5130a0922557acf3dd49180a0.jpg","33.8x395.4",[150],{"id":1968,"slug":1969,"title":1970,"dynasty":18,"author":500,"museum":1971,"description":1972,"tags":1973,"thumbUrl":1974,"material":86,"size":1975,"collection":150,"collections":1976,"showCount":1977,"zanCount":11,"manualWeight":11,"mainColor":49},218295,"luo-han-tu-yi-ming-218295","罗汉图","美国弗利尔美术馆","画面中央，罗汉盘腿而坐，光头映着淡金色光环，袒胸露腹间透着修行的沉静。白蓝相间的衣袂如流云垂落，禅杖斜倚身侧，似镇住周遭尘嚣。身侧小鬼面目狰狞，绿肤獠牙，却躬身侍立，兵刃紧握却敛去戾气，恭谨守护的姿态反衬出罗汉的威严与慈悲。背景深褐如古潭，苍松虬枝探入画面，山石斑驳，更显古朴肃穆。色彩上，素净衣袍与小鬼的青绿、赤红相映，既见宗教题材的庄严，又含民间艺术的鲜活张力。笔墨凝练处见神韵，意境幽远中藏力量，将修行者的超脱与护法的忠诚融于一纸，尽显古画的厚重与灵动。",[24,81,1667,80,137,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F755922672eef01f73b1d5686271a523d.jpg","139.9x78.3",[150],31,{"id":1979,"slug":1980,"title":1981,"dynasty":18,"author":1982,"museum":1983,"description":1984,"tags":1985,"thumbUrl":1986,"material":1987,"size":1988,"collection":67,"collections":1989,"showCount":1990,"zanCount":11,"manualWeight":11,"mainColor":49},239169,"guan-pu-tu-zhou-wang-zhao-239169","观瀑图轴","汪肇","美国普林斯顿大学美术馆","《观瀑图轴》阔笔斧劈，成跌宕巨石；劲毫顿挫，作屈铁古木。树石黝暗，以淡墨渝润；白云飞瀑，以留白而成。黑白相映，尽显山谷清幽之气。树旁二高士，抡扇举首，遥观飞瀑，神情悠然。衣纹以折芦描出之，与景物峭硬感觉相谐合，属典型浙派风格。",[24,29,81,25,80,59,58,137,236,7,33,314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cedf300b863068cb436244bbdb027fc.jpg","立轴，绢本，水墨，淡设色","纵长110厘米，横长81．5厘米",[67,107],30,{"id":1992,"slug":1993,"title":1994,"dynasty":18,"author":1995,"museum":20,"description":1996,"tags":1997,"thumbUrl":1998,"material":123,"size":1999,"collection":67,"collections":2000,"showCount":1990,"zanCount":267,"manualWeight":11,"mainColor":71},222055,"qing-xue-zhang-song-tu-zhou-zhang-rui-tu-222055","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》。",[23,24,29,81,25,58,7,60,59,1176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F240a83fcfac08777dd0d323f10bb0e0e.jpg","纵136.3厘米，横43.3厘米",[67,125],{"id":2002,"slug":2003,"title":2004,"dynasty":959,"author":1517,"museum":961,"description":2005,"tags":2006,"thumbUrl":2009,"material":87,"size":87,"collection":87,"collections":2010,"showCount":1990,"zanCount":11,"manualWeight":11,"mainColor":71},220532,"e-mei-gu-si-xu-bei-hong-220532","峨眉古寺","以浓墨绘就古松，笔力沉厚雄健，虬干舒展撑立画面，松枝层叠苍劲，尽显山林古木的莽然生机。粉墙黛瓦的古寺悄然隐于林间，浅赭淡彩晕染院墙，门洞幽邃，自带沉静禅意。墙侧暖黄枝叶轻缀，暖调破了水墨的冷寂，晕出融融秋意。远景以淡墨轻染山影，留白铺就空濛悠远的意境，将古寺藏于深翠的清幽禅意尽数铺展。画作融写实工稳与写意空灵于一体，利落笔墨勾勒物象形神，晕染烘托山野静穆之气，揉合林泉古寺的灵秀空寂与山野生机，清雅旷远，尽显蜀中林麓的悠然意趣。",[24,29,25,80,2007,7,138,147,2008],"寺","红墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6592e9399c044a5524ca479a7e15116d.jpg",[],{"id":2012,"slug":2013,"title":2014,"dynasty":345,"author":500,"museum":158,"description":2015,"tags":2016,"thumbUrl":2018,"material":86,"size":2019,"collection":45,"collections":2020,"showCount":1990,"zanCount":11,"manualWeight":11,"mainColor":49},218784,"bai-xiang-yan-qing-zhou-yi-ming-218784","百祥衍庆轴","红衣人物骑羊缓行，衣袂轻扬间透着悠然意趣。群羊或奔或卧，或抵角嬉戏，姿态鲜活如临其境，百只灵畜聚首暗合“百祥”之寓。苍松虬劲，枝桠舒展如盖；梅枝疏影横斜，点点花苞隐现，为画面添了几分清逸古雅。整幅画以灵动笔触绘就一派吉庆祥和的盛景，松梅相映衬出衍庆绵长，尽显传统民俗中对美好生活的殷殷祈愿，笔墨间藏着岁月沉淀的温润与厚重，将质朴的祝福凝于绢素之上，流转千年仍动人心弦。",[24,29,81,80,100,137,538,7,32,2017,99],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04ccc5d8dab1d863025e1345af25e34f.jpg","102.9x65cm",[45],{"id":2022,"slug":2023,"title":936,"dynasty":173,"author":937,"museum":116,"description":2024,"tags":2025,"thumbUrl":2026,"material":326,"size":327,"collection":87,"collections":2027,"showCount":2028,"zanCount":11,"manualWeight":11,"mainColor":49},288837,"song-shan-xing-lv-tu-li-shan-288837","李山(约1121一约1202),金代画家,平阳(今山西临汾)人,擅山水,史载,他每于屋壁喜作大树、奇石,且用笔精良,用墨淡雅。章宗泰和(1201--1208)间入直秘书监,年近八秩而精力不衰。",[23,24,99,25,307,59,7,1003,62,63,437,60,1407],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdfd14a467465a32a96ff4d32c96eb96.jpg",[],29,{"id":2030,"slug":2031,"title":2032,"dynasty":114,"author":500,"museum":116,"description":2033,"tags":2034,"thumbUrl":2035,"material":87,"size":87,"collection":87,"collections":2036,"showCount":2028,"zanCount":11,"manualWeight":11,"mainColor":71},238663,"hong-wu-ning-shou-gong-ming-bing-sui-chao-tu-ce-yi-ming-238663","弘旿宁寿宫铭并岁朝图册","此作绘就岁寒三友，苍松虬枝盘曲，鳞皴老干古意盎然，攒簇松针如青锋聚簇，自带凌霜气度。梅枝柔婉舒展，冰洁花瓣轻绽，嫩蕊含香，暗合报春之意。新竹清劲挺拔，翠叶疏朗错落，清逸雅致。\n整幅设色淡净明润，工写兼具，以浅淡底色托出三友清隽风骨，将文人君子凌寒不屈、清雅自持的襟怀寄寓其间，冷寂冬日里尽显盎然生机，是借物抒怀的雅致佳构。",[24,29,261,80,100,7,33,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0fdff51fb680225db2add3680dd568a.jpg",[],{"id":2038,"slug":2039,"title":2040,"dynasty":114,"author":1588,"museum":116,"description":2041,"tags":2042,"thumbUrl":2043,"material":1288,"size":2044,"collection":67,"collections":2045,"showCount":2028,"zanCount":11,"manualWeight":11,"mainColor":71},234713,"fang-gu-shan-shui-ce-wang-hui-234713","仿古山水册","《仿古山水册》共计十二页，其中设色二页，水墨十页。仿董源、巨然、米芾、赵大年、赵孟頫、吴镇、倪瓒、王蒙、黄公望、管道升、曹知白、陈汝言等而作。每幅均自题七律一首，末开款署“壬寅六月王翚”，册尾有顾复初题跋。前选一图，系仿曹云西山水，写柳汀板桥、芦荻孤舟，晓风残月，雁影徘徊。笔墨疏秀，意境苍莽迷蒙。\n王翚得名家传授，又博览古人佳作和游历真山实水，画艺日臻成熟，40岁时即名闻海内。王翚出生于绘画世家，他的曾祖王伯臣、祖父王载仕、父亲王云客都是画家，幼时即得到家学熏陶，初学画于同乡画家张珂。顺治年间王鉴游虞山时，见王翚画扇，极为赏识，赞其天资超人，收为弟子。后转师王时敏，得以临摹许多历代名家真迹，镕铸造南北画派于一炉，技艺大进。尝与王时敏遍游大江南北，广识著名收藏家，观摹宋、元真迹。其摹古功力极得王时敏赞赏：“（石谷）凡唐宋诸名家无不摹仿逼肖，偶一点染展卷即古色苍然，毋论位置溪径，宛然古人，而笔墨神韵一一夺真，且仿某家，则全是某家，不杂一他笔，使非题款，虽善鉴者，不能辨。”于是他在摹古仿古的基础上，综合诸家之长，晚年画风简练苍浑，有独到的艺术风格，在“四王”中，王翚的艺术成就最为显著，门生弟子很多，以杨晋较为著名，其山水画的影响极为深广。",[24,29,99,261,25,59,58,7,62,63,1005,137,60,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb3597742ef1ee1687c0ec1892b236e.jpg","25.6厘米，横：20.5厘米",[67],{"id":2047,"slug":2048,"title":2049,"dynasty":114,"author":2050,"museum":158,"description":2051,"tags":2052,"thumbUrl":2055,"material":43,"size":2056,"collection":67,"collections":2057,"showCount":2028,"zanCount":267,"manualWeight":11,"mainColor":71},219448,"kan-yun-dui-pu-tu-chen-shu-219448","看云对瀑图","陈书","瀑流自崖巅飞泻而下，如素练垂空，溅起的水雾与卷舒的云气交融漫过山腰，晕染出朦胧虚灵之境。近岸松枝苍劲，竹影婆娑，几竿修竹亭亭玉立，与古松相映成趣。林间隐见小亭一角，有人凭栏静坐，似在聆听瀑声、静观云态，物我两忘。笔墨以水墨为主，线条清劲中含柔婉，山石皴擦见质感，云雾用淡墨晕染，层次分明。整幅画将山水之幽、林泉之趣凝于尺幅，尽显文人雅士寄情自然的悠然心境，静穆中藏生机，恬淡里透禅意。",[24,307,25,59,81,2053,903,236,7,33,82,58,314,313,1074,2054],"传统书画","自然景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99274f7e4932bc229e46873d4ab1708e.jpg","79.7x51.8",[67],{"id":2059,"slug":2060,"title":2061,"dynasty":18,"author":500,"museum":116,"description":2062,"tags":2063,"thumbUrl":2065,"material":326,"size":327,"collection":87,"collections":2066,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":49},288388,"shi-ba-xue-shi-tu-qi-san-yi-ming-288388","十八学士图其三","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。",[24,80,100,137,7,35,778,142,2064],"雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9e6e20f94213188cadbd79286d2ffaa.jpg",[],{"id":2068,"slug":2069,"title":2070,"dynasty":173,"author":216,"museum":116,"description":2071,"tags":2072,"thumbUrl":2074,"material":326,"size":327,"collection":87,"collections":2075,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":49},288350,"song-yin-wan-yue-tu-ma-yuan-288350","松荫玩月图","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。",[99,24,29,25,80,58,7,424,137,63,2073,59],"闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76f57d4cb975c118da4a725394cb0c41.jpg",[],{"id":2077,"slug":2078,"title":2079,"dynasty":114,"author":1014,"museum":116,"description":2080,"tags":2081,"thumbUrl":2082,"material":326,"size":327,"collection":87,"collections":2083,"showCount":5,"zanCount":267,"manualWeight":11,"mainColor":71},235603,"hua-hui-ce-wang-wu-235603","花卉册","王武，1632年生，1690年逝世，吴县（今江苏苏州）人。字勤中，晚号忘庵，又号雪颠道人。明代画家王鏊六世孙，精鉴赏，富收藏，擅画花鸟，风格工整秀丽，正如王时敏所云：“神韵生动，应在妙品中。”为清初院画的名家。亦擅诗文。传世作品有《水仙柏石图》、《红杏白鸽图》、《鸳鸯白鹭图》等。",[24,29,261,80,100,101,7,1624,121,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5203f98c5bc6b88482bddebc1961fe00.jpg",[],{"id":2085,"slug":2086,"title":2087,"dynasty":114,"author":2088,"museum":20,"description":2089,"tags":2090,"thumbUrl":2092,"material":363,"size":2093,"collection":87,"collections":2094,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":71},233848,"song-teng-tu-zhou-li-shan-233848","松藤图轴","李鱓","松柏是古代绘画中十分常见的题材，而专门以松树和藤花入画的则十分少见。作者对松藤一类题材十分偏爱，传世有多幅《松藤图》轴，构图近似而画面题诗和细节略有不同。画中老藤盘松，枝叶交错，一棵老松斜向伸入画面，树皮斑驳，高大伟岸，雄伟挺拔；松树旁边藤条攀缘而上，虬曲盘旋，坚韧柔活。画家以浓笔重墨写松树，以迅笔淡彩挥写藤条和藤花，墨色混融，凝重沉厚的苍松与轻盈灵动的藤条相互映衬，自得风神。构图平中见奇，险而不逾法度，设色淡雅，色不掩墨，用笔苍劲，泼墨淋漓，立意清新而高旷，以非常具有个人色彩的笔墨描绘了大自然中苍松和藤花相符相依，生机盎然的景象。",[24,29,81,25,80,7,2091,101,26,59],"藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95770748654b96d15f43031aab8bd872.jpg","纵123厘米，横50.5厘米",[],{"id":2096,"slug":2097,"title":2098,"dynasty":114,"author":2099,"museum":116,"description":2100,"tags":2101,"thumbUrl":2102,"material":87,"size":87,"collection":87,"collections":2103,"showCount":5,"zanCount":267,"manualWeight":11,"mainColor":49},224424,"yun-feng-shu-se-tu-wang-shi-min-224424","云峰树色图","王时敏","《云峰树色图》是清代画家王时敏创作的绢本设色画，现藏于 。\n此图以“高远”法取势，构图呈“S”形循环上升。\n山石沉浑雄健，树木苍厚繁密，画风凝重古朴。\n王时敏（1592—168年），字逊之，号烟客，晚号西庐老人，江苏太仓人。\n其祖父是明礼部尚书兼 王锡爵，父亲是明翰林编修王衡。\n明万历二十九年（161年）举进士，崇祯初以荫仕至太常寺卿，崇祯十三年（164年）辞官隐居，入清不仕。\n工隶书，善画山水，以元黄公望、倪瓒为宗，又受董其昌影响。\n他极力主张恢复古法，反对自出新意，是清初画坛正统派的领袖，后世称“娄东派”，与王鉴、王石谷、王原祁合称“四王”，位列“清初四王”之首，在当时有很大影响。",[23,24,29,81,80,58,59,310,903,161,7,120,63,810],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97c21bc9c7b497cbaa4d829b8d874e53.jpg",[],{"id":2105,"slug":2106,"title":2107,"dynasty":18,"author":500,"museum":1971,"description":2108,"tags":2109,"thumbUrl":2110,"material":1301,"size":87,"collection":67,"collections":2111,"showCount":5,"zanCount":11,"manualWeight":11,"mainColor":49},219713,"song-yin-guan-quan-tu-yi-ming-219713","松阴观泉图","此作用虚实相生的水墨铺陈幽境，左上危岩虬松如铁，浓墨晕出山石峭拔之势，留白晕开水色山岚，将清远秋意漫开。\n\n崖畔高士凭石凝睇，白衣飘然似与林泉相融，童子垂立水滨，一静一动衬出空山寂廖。笔墨简淡苍劲，寥寥数笔勾出人物悠然神态，淡墨扫就远岫烟波，将文人林下幽居的雅趣藏进山水褶皱里。似可耳闻松涛漱石，静览间涤净尘俗，尽显尚简重意的文人画风骨。",[24,307,81,25,80,7,60,401,63,137,59,310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F105a2d6cc74d001858f9036141b65313.jpg",[67],{"id":2113,"slug":2114,"title":830,"dynasty":114,"author":1588,"museum":116,"description":2115,"tags":2116,"thumbUrl":2118,"material":326,"size":327,"collection":87,"collections":2119,"showCount":2120,"zanCount":11,"manualWeight":11,"mainColor":71},290308,"sui-chao-tu-zhou-wang-hui-290308","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。”",[24,81,101,80,100,7,2117,38,30,121],"山茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c681822943ef6327300301fb70ad7d.jpg",[],27,{"id":2122,"slug":2123,"title":2124,"dynasty":18,"author":2125,"museum":116,"description":2126,"tags":2127,"thumbUrl":2130,"material":87,"size":87,"collection":67,"collections":2131,"showCount":2120,"zanCount":11,"manualWeight":11,"mainColor":49},239459,"qian-gu-jiu-long-shan-tu-zhou-qian-gu-239459","钱穀九龙山图轴","钱毂","此作以全景式铺陈山川灵秀，主峰巍峨雄峙，层岩峻壑以细密披麻皴写就，笔致苍润松灵，尽现山石肌理的沉厚质感。近景松林蓊郁，古木虬枝俯仰生姿，掩映间梵宇茅舍错落，行旅缓行其间，为清寂山林晕染烟火意趣。\n\n远景烟波空蒙，屿渚如螺点染水天，留白铺就悠远虚灵的诗性意境。笔墨兼取元人山水的空灵雅致与北宋山水的苍浑丘壑，将林泉幽致与隐逸禅思融于一卷，既绘就九龙山的磅礴生机，又暗合文人寄情烟霞的林下襟怀，是气韵悠长的山水佳构。",[24,29,81,25,80,59,58,310,161,7,82,64,63,60,2128,2129],"林间建筑","山间小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f77f7d990ba45fa42fb050c3a5d5b05.jpg",[67],{"id":2133,"slug":2134,"title":2135,"dynasty":114,"author":2136,"museum":20,"description":2137,"tags":2138,"thumbUrl":2140,"material":363,"size":2141,"collection":67,"collections":2142,"showCount":2120,"zanCount":11,"manualWeight":11,"mainColor":71},236126,"song-xi-shui-ge-tu-zhou-lu-zun-shu-236126","松溪水阁图轴","陆遵书","陆授诗、陆遵书兄弟是清朝宫廷内的兄弟画家，下面介绍一下。陆授诗、陆遵书这两位宫廷兄弟画家的姓名，都见于胡敬所著的《国朝院画录》。\n陆氏兄弟的作品流布并不很广，《石渠宝笈》一书中陆授诗的作品只有一件册页被收入，陆遵书的作品也只有三件册页收录在其中，二人都属于作品进入《石渠宝笈》数量很少很少的宫廷画家，尤其是哥哥陆授诗。",[24,29,81,25,59,58,7,2139,161,60,810,145],"溪水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c11ac229528d618fc9599ceaa6d6a55.jpg","纵173.2厘米 横51厘米",[67,125],{"id":2144,"slug":2145,"title":2146,"dynasty":18,"author":2147,"museum":116,"description":2148,"tags":2149,"thumbUrl":2150,"material":326,"size":327,"collection":87,"collections":2151,"showCount":2120,"zanCount":267,"manualWeight":11,"mainColor":71},235050,"song-yin-gao-shi-shan-mian-chen-chun-235050","松荫高士扇面","陈淳","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。",[99,24,29,220,25,31,121,7,1039,221],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F705e6386ea0a7e4dbbb79ddb32d9180e.jpg",[],{"id":2153,"slug":2154,"title":2155,"dynasty":114,"author":2156,"museum":116,"description":2157,"tags":2158,"thumbUrl":2159,"material":87,"size":87,"collection":87,"collections":2160,"showCount":2120,"zanCount":11,"manualWeight":11,"mainColor":49},230236,"za-hua-12-kai-jin-nong-230236","杂画12开","金农","此作以枯淡老辣的笔墨绘古松，虬曲主干皴擦苍劲，松针攒簇如钉，尽显古松傲岸挺拔的沧桑身姿。缠绕的附枝柔中带刚，与苍松相映，野意盎然。\n\n下方题字以标志性漆书书就，朴茂雄健，笔墨厚重浑朴，书画相映，将文人的清逸高古融入画中。整幅作品以水墨写尽古松浑朴神韵，生拙奇崛的画风里，寄寓着画者清介不俗的襟怀，尽显文人画以意驭笔的雅致意趣。",[23,24,29,261,25,7,121,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd0c684d21e794d38033a43582b604c.jpg",[],{"id":2162,"slug":2163,"title":675,"dynasty":18,"author":1071,"museum":158,"description":1633,"tags":2164,"thumbUrl":2165,"material":164,"size":87,"collection":67,"collections":2166,"showCount":2120,"zanCount":11,"manualWeight":11,"mainColor":49},222592,"hua-xue-jing-zhou-lan-ying-222592",[23,24,81,80,58,59,678,62,63,437,82,1197,60,810,137,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d87a46b2ed28161debf873089c66eac.jpg",[67,125],{"id":2168,"slug":2169,"title":2170,"dynasty":18,"author":2171,"museum":217,"description":2172,"tags":2173,"thumbUrl":2174,"material":87,"size":87,"collection":87,"collections":2175,"showCount":2120,"zanCount":267,"manualWeight":11,"mainColor":71},222519,"shen-xian-tu-ce-8-zhang-lu-222519","神仙图册8","张路","张路（1464—1538 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。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。",[23,24,29,261,25,137,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07d838b96476bec3bf815183f8a60b82.jpg",[],{"id":2177,"slug":2178,"title":2179,"dynasty":114,"author":115,"museum":1971,"description":2180,"tags":2181,"thumbUrl":2182,"material":250,"size":87,"collection":150,"collections":2183,"showCount":2120,"zanCount":11,"manualWeight":11,"mainColor":71},218127,"zhong-song-tu-shi-tao-218127","种松图","石涛，法名原济，靖江王朱守谦十世孙，工书法，能诗文。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。",[23,24,80,25,30,121,31,137,7,221],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2c08b724a41ded1b9e47ee7bd779b63.jpg",[150],{"id":2185,"slug":2186,"title":2187,"dynasty":114,"author":272,"museum":116,"description":322,"tags":2188,"thumbUrl":2189,"material":326,"size":327,"collection":87,"collections":2190,"showCount":2191,"zanCount":11,"manualWeight":11,"mainColor":71},290517,"wan-heng-xiang-xue-tu-zhou-yun-shou-ping-290517","万横香雪图轴",[99,24,81,25,80,58,32,82,63,7,678,30,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ad4a6e995ee7f9c06ba18b7fe95f55c.jpg",[],26,{"id":2193,"slug":2194,"title":2195,"dynasty":114,"author":2196,"museum":20,"description":2197,"tags":2198,"thumbUrl":2201,"material":179,"size":2202,"collection":87,"collections":2203,"showCount":2191,"zanCount":267,"manualWeight":11,"mainColor":185},236138,"li-chao-xian-hou-gu-shi-tu-jiao-bing-zhen-236138","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。",[24,100,80,136,137,7,33,60,147,2199,2200],"台阶","柱子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2281cc1533ed68f4f0470adea60d8e21.jpg","纵30.8厘米，横37.4厘米",[],{"id":2205,"slug":2206,"title":2207,"dynasty":173,"author":2208,"museum":116,"description":2209,"tags":2210,"thumbUrl":2211,"material":87,"size":87,"collection":87,"collections":2212,"showCount":2191,"zanCount":11,"manualWeight":11,"mainColor":49},227773,"song-yin-xiu-qi-tu-ye-li-tang-227773","松荫休憩图页","李唐","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。",[23,99,24,29,261,80,58,137,7,63,221,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ae2c819f22354f91624b8b982a41c2a.jpg",[],{"id":2214,"slug":2215,"title":2216,"dynasty":114,"author":2088,"museum":116,"description":2217,"tags":2218,"thumbUrl":2219,"material":87,"size":87,"collection":87,"collections":2220,"showCount":2191,"zanCount":11,"manualWeight":11,"mainColor":71},224296,"zhu-shi-li-shan-224296","竹石","此作用笔纵逸老辣，右上苍松虬曲古拙，枝干皴擦间尽显风霜古意，松针以焦墨攒点，苍劲沉凝，垂藤萦纡添灵动生机。下方牡丹以浓淡水墨晕染花瓣，将雍妍之态藏于墨色层次间，旁生兰草舒挺柔韧，伴湖石错落排布。\n左侧题笔与绘事浑然一体，以水墨写意尽脱匠气，融苍松之坚、牡丹之妍、幽兰之清于一轴，笔情墨趣间暗合文人寄寓，纵恣野逸间尽显花木风神。",[23,24,29,25,26,59,120,33,35,7,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a30ebfd3df6df1c8f56596df0822fa1.jpg",[],{"id":2222,"slug":2223,"title":2224,"dynasty":114,"author":576,"museum":217,"description":2225,"tags":2226,"thumbUrl":2227,"material":87,"size":87,"collection":67,"collections":2228,"showCount":2191,"zanCount":11,"manualWeight":11,"mainColor":2229},203177,"shan-shui-tu-ce-kun-can-203177","山水图册","笔墨苍劲沉郁，皴擦交织间勾勒出山峦嶙峋质感。岩崖松亭倚立，江天孤舟泛波，林麓屋舍错落，处处透着幽寂禅意。干湿浓淡的墨色层次丰富，题跋与朱印相映成趣，融自然之景与文人情致于一体，尽显清初山水的深邃韵味。",[24,58,261,25,59,7,82,437,121,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ef120f1567b7d89c36cd6f060d8d135.jpg",[67],"c8c2b9",{"id":2231,"slug":2232,"title":2233,"dynasty":173,"author":216,"museum":116,"description":2071,"tags":2234,"thumbUrl":2237,"material":326,"size":327,"collection":87,"collections":2238,"showCount":2239,"zanCount":11,"manualWeight":11,"mainColor":2240},289750,"song-ge-guan-chao-tu-ma-yuan-289750","松阁观潮图",[23,24,99,81,25,59,58,7,61,437,137,2235,60,2236],"观潮","江水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54aac1566d7d500dcfb5fdc94ccbe13a.jpg",[],25,"37474F",{"id":2242,"slug":2243,"title":2244,"dynasty":114,"author":2136,"museum":20,"description":2137,"tags":2245,"thumbUrl":2247,"material":363,"size":2141,"collection":67,"collections":2248,"showCount":2239,"zanCount":11,"manualWeight":11,"mainColor":71},236127,"song-xi-shu-wu-tu-zhou-lu-zun-shu-236127","松溪书屋图轴",[24,29,81,25,58,59,7,63,2246,60,138],"书屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa366e0c0db1f68c15306c566b60c3904.jpg",[67,125],{"id":2250,"slug":2251,"title":2252,"dynasty":114,"author":2253,"museum":20,"description":2254,"tags":2255,"thumbUrl":2256,"material":916,"size":2257,"collection":87,"collections":2258,"showCount":2239,"zanCount":11,"manualWeight":11,"mainColor":49},232688,"mo-song-tu-zhou-zhao-zhi-qian-232688","墨松图轴","赵之谦","据画家自题，此图参用了篆、隶、草三体的书写技法来描绘松树，落笔圆浑滋厚，与作者的书法风格同一格调。树干、枝条、松针以草书笔法表现，秉承了文人画豪放洒脱的传统。画上行书落款笔力雄健遒劲，其金石韵味与松木的画法相映衬，意趣横生。此幅不愧为赵之谦以金石、书法入画的代表作。",[23,24,25,26,59,7,30,121,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35fd887689ee93323c8e3eacf3173751.jpg","纵176.5厘米，横96.5厘米",[],{"id":2260,"slug":2261,"title":2262,"dynasty":345,"author":500,"museum":116,"description":2263,"tags":2264,"thumbUrl":2265,"material":87,"size":87,"collection":87,"collections":2266,"showCount":2239,"zanCount":11,"manualWeight":11,"mainColor":49},230901,"gao-shi-guan-mei-tu-yi-ming-230901","高士观梅图","画面以高远之境铺展，近岸怪石层叠，古松虬曲苍劲，老梅疏枝横斜，暗孕花苞。林下高士凭石闲坐，静静凝望寒梅，意态萧散出尘。\n\n中景薄雾轻笼水村山榭，淡墨晕化开空濛水汽，虚虚实实间晕染出幽寂氛围。远景危峰削立，隐没在烟岚之中，墨色清浅简淡。\n\n全作用笔老辣简练，枯湿浓淡相映，以简淡笔墨勾勒出林泉冬景，尽显尚意之风，将文人幽赏的雅趣与出世忘俗的襟怀融于淡墨轻岚间。",[24,81,25,59,58,32,7,137,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb1d405c0d739c732ba9240f8397c91b.jpg",[],{"id":2268,"slug":2269,"title":2270,"dynasty":173,"author":500,"museum":158,"description":2271,"tags":2272,"thumbUrl":2273,"material":351,"size":2274,"collection":87,"collections":2275,"showCount":2239,"zanCount":11,"manualWeight":11,"mainColor":49},223426,"song-ren-song-yan-xian-guan-zhou-yi-ming-223426","宋人松岩仙馆轴","静处江山，层楼逶迤。长松之下，人物容与于其间。全幅画山，尽用焦墨钩勒，近轮廓处，稍稍以淡墨横加皴纹，隐约几不可辨。画树极细致而详尽，夹叶点中并及筋络。人物亦细笔，劲挺而须眉毕具。无间远近，同此一法。与世传唐画有脉息相通处，或是宋人所摹旧本。",[23,24,29,81,25,59,58,7,235,61,161,60,579,361],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb29c46de45092ebaff5ce785caa37a19.jpg","171x115.7公分",[],{"id":2277,"slug":2278,"title":2279,"dynasty":18,"author":500,"museum":77,"description":1705,"tags":2280,"thumbUrl":2281,"material":250,"size":87,"collection":87,"collections":2282,"showCount":2239,"zanCount":11,"manualWeight":11,"mainColor":71},217947,"ming-ren-shan-shui-hua-ce-ba-yi-ming-217947","明人山水画册(八)",[23,24,25,58,59,261,310,1176,161,314,62,63,82,1197,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2356510e2a70855153eec32a2869937b.jpg",[],{"id":2284,"slug":2285,"title":2286,"dynasty":18,"author":245,"museum":158,"description":2287,"tags":2288,"thumbUrl":2289,"material":86,"size":327,"collection":87,"collections":2290,"showCount":2291,"zanCount":11,"manualWeight":11,"mainColor":49},290360,"san-you-bai-qin-tu-zhou-bian-wen-jin-290360","三友百禽图轴","《三友百禽图》是明代画家边景昭创作的一幅设色花鸟画作品，现收藏于台北故宫博物院。\n《三友百禽图》描绘了初冬时节，百禽嬉戏于松竹梅之间的场景，画中禽鸟或飞翔，或栖息，或嬉戏，或高瞻远瞩，或转首探望，或自理羽毛，无一重复，整个画面气氛热闹欢快，一派生机勃勃。\n此图中各个禽鸟的动姿刻画得生动活泼，诸鸟细致入微的描绘，使大多鸟类品种可辨，布满全幅的构图，呈现“茂密”的特点，画风工细精微又富装饰性，堪称边景昭最具宫廷花鸟特色的佳作。",[24,81,80,100,101,64,7,32,33,1116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff93f2842ccd0754407ff8c677f48a1d6.jpg",[],24,{"id":2293,"slug":2294,"title":2295,"dynasty":1295,"author":2296,"museum":116,"description":2297,"tags":2298,"thumbUrl":2300,"material":326,"size":327,"collection":87,"collections":2301,"showCount":2291,"zanCount":11,"manualWeight":11,"mainColor":49},287371,"luo-han-tu-li-zhou-guan-xiu-287371","罗汉图立轴","贯休","贯休（832年-912年），俗姓姜，字德隐，婺州兰溪（今浙江省兰溪市）人。唐末五代时期前蜀画僧、诗僧。\n贯休七岁出家和安寺，日读经书千字，过目不忘。唐天复间入蜀，被前蜀主王建封为“禅月大师”，赐以紫衣。\n贯休能诗，诗名高节，宇内咸知。尝有句云：“一瓶一钵垂垂老，万水千山得得来，”时称“得得和尚”。有《禅月集》存世。亦擅绘画，尤其所画罗汉，更是状貌古野，绝俗超群，笔法坚劲，人物粗眉大眼，丰颊高鼻，形象夸张，所谓“梵相”。在中国绘画史上，有着很高的声誉。存世《十六罗汉图》，为其代表作。",[23,24,99,81,1667,137,2299,25,207,7,248],"罗汉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F850f415514c5b17c276f65fbf2f02b43.jpg",[],{"id":2303,"slug":2304,"title":2305,"dynasty":772,"author":500,"museum":116,"description":2306,"tags":2307,"thumbUrl":2309,"material":326,"size":327,"collection":87,"collections":2310,"showCount":2291,"zanCount":11,"manualWeight":11,"mainColor":49},231685,"song-tu-yuan-tian-qiu-yuan-fu-tan-jian-zhang-bi-hua-yi-ming-231685","松图原天球院佛坛间障壁画","壁画，墙壁上的艺术，即人们直接画在墙面上的画。作为建筑物的附属部分，壁画的装饰和美化功能使它成为环境艺术的一个重要方面。壁画为人类历史上最早的绘画形式之一。\n早在汉朝就有在墙壁上作画的记载，多是在石窟、墓室或是寺观的墙壁，到了现在结合了现代工艺和文化气息，墙壁作画越来越多元、个性地发展，更多地被人们在装修时应用。",[23,2308,80,100,7],"壁画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2e293b4dce986e9a1c4fd3f08a47c45.jpg",[],{"id":2312,"slug":2313,"title":2314,"dynasty":18,"author":481,"museum":116,"description":2315,"tags":2316,"thumbUrl":2317,"material":87,"size":87,"collection":87,"collections":2318,"showCount":2291,"zanCount":11,"manualWeight":11,"mainColor":71},228874,"gu-song-tu-wen-zheng-ming-228874","古松图","此作用笔苍秀老辣，古松盘虬屈曲，躯干以淡墨皴擦晕染，尽显嶙峋斑驳的百年肌理。留白勾出枯槎如银铁之骨，横斜扭转间尽露倔强姿态。松针以焦墨攒簇锋芒毕现，如寒戟森森，满溢凌然风骨。\n\n左侧题字笔意清劲挺拔，与画中奇松相得益彰，书画合璧。整幅以素净纸色衬出古松孤高，水墨洗练却真气弥满，将古松岁寒不凋的君子品格刻画得入木三分，尽抒孤傲清刚的文人意趣。",[23,24,29,28,25,59,7,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2dec8a1811c9c694ad2963a886ad04d.jpg",[],{"id":2320,"slug":2321,"title":2322,"dynasty":114,"author":1570,"museum":116,"description":2323,"tags":2324,"thumbUrl":2325,"material":87,"size":87,"collection":87,"collections":2326,"showCount":2291,"zanCount":11,"manualWeight":11,"mainColor":49},224340,"shan-shui-jing-pin-mei-qing-224340","山水精品","此作用笔清劲老辣，山石以干笔枯皴勾勒轮廓，方折奇崛，尽显峭拔之态。虬松横斜苍劲，枝桠如铁，掩映处茅舍幽居，恍若世外灵台。\n\n画作以虚衬实，下半幅大片留白以代深谷云岚，将山谷幽邃辽远尽数托出，虚实相生间，把山林空寂超逸的禅意缓缓铺展。题诗与笔墨相映，文气郁郁，尽显画师胸中丘壑，淡远静穆里，藏着出世高蹈的雅逸襟怀。",[23,24,29,81,25,59,58,221,82,7,121,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a46e171cbd8812b39da98beb1afde6.jpg",[],{"id":2328,"slug":2329,"title":2330,"dynasty":114,"author":2331,"museum":999,"description":2332,"tags":2333,"thumbUrl":2334,"material":43,"size":87,"collection":67,"collections":2335,"showCount":2291,"zanCount":11,"manualWeight":11,"mainColor":71},218096,"song-gang-li-ce-tu-li-shi-zhuo-218096","松岗篱筞图","李世倬","李世倬的松岗篱筞图是一幅古老的图画，它描述了李世倬在清朝时期的生活。李世倬是一位著名的政治家和文学家，在清朝时期担任过多项重要的官职。\n\n松岗篱筞图是画家绘制的，描述了李世倬在一个被松树环绕的小山丘上休息的场景。图中的李世倬坐在草地上，身旁有一棵松树，头戴蓝色的帽子，身穿蓝色的衣服。图中还有许多其他的元素，如山峰、水池、花和草，构成了一幅优美的图画。\n\n松岗篱筞图的意义在于描述了李世倬的生活，展示了他在清朝时期的形象。这幅图画被广泛收藏，并被认为是一件艺术珍品。",[24,29,81,25,58,7,60,137,59,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bc95db06db85e19d2b7b7b3001002f0.jpg",[67],{"id":2337,"slug":2338,"title":2339,"dynasty":114,"author":2340,"museum":217,"description":2341,"tags":2342,"thumbUrl":2345,"material":87,"size":87,"collection":45,"collections":2346,"showCount":2291,"zanCount":11,"manualWeight":11,"mainColor":2347},201825,"song-pi-ling-mao-tu-zhou-chen-lv-zu-201825","松枇翎毛图轴","陈率祖","松枝虬曲，松针纤劲如缕；枇杷叶墨色浓淡相叠，果实圆润饱满。翎毛独立枝间，羽翅以简笔勾勒，黑羽如漆、白羽若雪，喙眼点睛便活灵活现，似欲振翅或引颈而鸣。笔墨疏朗有致，写意传神，松的苍劲与果的鲜活相映成趣，禽鸟的灵动为画面注入生机，尽显文人画的清雅意趣，于简淡中藏深致，于疏放中见情韵。",[25,26,101,7,2343,2344,23],"枇杷","翎毛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8328f4bb5841999177a64decb8b03f79.jpg",[45],"b1a08c",{"id":2349,"slug":2350,"title":2351,"dynasty":173,"author":2352,"museum":116,"description":2353,"tags":2354,"thumbUrl":2355,"material":326,"size":327,"collection":87,"collections":2356,"showCount":2357,"zanCount":267,"manualWeight":11,"mainColor":49},287315,"shi-liu-luo-han-tu-cun-shi-fu-jin-da-shou-287315","十六罗汉图(存十幅)","金大受","松荫之下，清寂悠然。罗汉硕首深目，蹙眉捻持松枝沉湎冥思，头光晕染柔润，愈显沉静禅态。衣纹糅合铁线描与兰叶描，遒劲间带着灵动，将僧衣厚重垂坠感尽现。\n\n身旁侍者低眉俯身，姿态恭谨，稚童伏案展卷憨态可掬，一动一静衬得画面愈发安然宁和。设色沉朴古雅，赭石晕染出肌肤苍劲肌理，石青晕染头光，古旧绢色添就宋画特有的静谧古雅意趣，细微之处见功力，将禅门清寂的氛围烘托得淋漓尽致，尽显写实精妙与禅意悠远。",[23,99,24,81,1667,80,137,100,2299,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20f32b272f4b9e7e02a5e0bb9f44398a.jpg",[],23,{"id":2359,"slug":2360,"title":2361,"dynasty":18,"author":500,"museum":116,"description":2362,"tags":2363,"thumbUrl":2364,"material":87,"size":87,"collection":87,"collections":2365,"showCount":2357,"zanCount":11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。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。",[220,24,29,99,25,80,58,678,7,32,290],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F449a709d6b85b662301b9381df08858c.jpg",[],{"id":2458,"slug":2459,"title":2460,"dynasty":114,"author":2461,"museum":20,"description":2462,"tags":2463,"thumbUrl":2464,"material":2465,"size":2466,"collection":87,"collections":2467,"showCount":2420,"zanCount":11,"manualWeight":11,"mainColor":71},234113,"yi-song-tu-juan-dai-xi-234113","忆松图卷","戴熙","该画颇有“北宋”山水的气势，在意境上突破了“四王派”末流的萧淡枯寂，一定程度上表现了雄浑沉厚，山石形态及皴法。\n《忆松图》是戴熙“师造化”的最好例证。画家跋云：“地近方山，山有龙池云洞诸胜，多松，漫溪弥谷，旷望无际，常月夜行万松中，遇要氏兄弟，结苑读书其下，赋诗赠答，慨然有卜邻之志。后来京师，每值风和月霁，辄追忆之，嘱写《忆松图》，落落五年末有以报，丁未早春，侨居都下颇忆故山松径……”\n戴熙（1801—1860）浙江钱塘（今杭州）人，字醇士（一作莼溪），号榆庵、松屏，别号鹿牀居士（一作樚牀）、井东居士。道光十一年进士，十二年翰林，官至兵部侍郎，后引疾归，曾在崇文书院任主讲。咸丰十年太平天国克杭州时死于兵乱。谥号文节。工诗书，善绘事。山水早年师法王翚，进而摹拟宋元诸大家，对于王蒙、吴镇两家笔意更有所得。晚年观摩巨然真迹，在用墨方面有深切的领会。道光时宫廷书画多出于其手。又能画花、人物，以及梅竹石，笔墨皆隽妙。秦祖永的评论是：“临古之作形神兼备，微嫌落墨稍板，无灵警浑脱之致，盖限于资也。所写竹石小品停匀妥帖，尚为蹊径所缚，未能另立门庭也。”\n他的山水画属“虞山”一派，因受奚冈的影响，所以他的画风也接近于“娄东”派，他的山水多用擦笔，山石以干墨作皴，然后以湿笔渲染，颇得物象的形象和神髓，世人谓之蝉翼皴。他晚年所画的《山水长卷》笔致醇朴。有《习苦斋集》、《习苦斋花絮》等。",[24,28,25,58,59,30,31,121,310,312,7,161,120,236,1074,810,361],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff00379ba924bd77a66435a66df038176.jpg","纸本墨色","纵37.7厘米，横123.2厘米",[],{"id":2469,"slug":2470,"title":2471,"dynasty":173,"author":1160,"museum":116,"description":2472,"tags":2473,"thumbUrl":2474,"material":87,"size":87,"collection":87,"collections":2475,"showCount":2420,"zanCount":11,"manualWeight":11,"mainColor":71},227803,"song-yin-ming-qin-tu-liu-song-nian-227803","松荫鸣琴图","苍松浓荫遮蔽出一方清寂天地，琴案横陈，炉烟似随着琴音袅袅轻扬。抚琴者身姿舒展，指尖落弦仿佛有声，将心绪尽数寄于丝弦之上。对面长者垂眸敛神，身心都沉湎在悠悠琴韵之中，连身侧侍立的小童都屏息静立，不敢惊扰这片刻雅静，周遭的幽草矮竹也似在凝聆听赏。\n\n画作以浓墨点染苍劲松针，淡墨勾勒人物衣纹，线条清劲简练。将宋代文人追求的林下雅逸，凝缩在尺幅之间，把知己相对、琴音寄怀的超然意趣铺陈开来，静穆悠然的禅意弥散在画面里，尽显文人雅集的清旷疏朗之美。",[23,99,24,29,220,100,80,137,7,33,120,177,374],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b81c56fb1a8b0fc313ca776e3e8f2af.jpg",[],{"id":2477,"slug":2478,"title":2479,"dynasty":114,"author":664,"museum":116,"description":2480,"tags":2481,"thumbUrl":2483,"material":87,"size":87,"collection":87,"collections":2484,"showCount":2420,"zanCount":11,"manualWeight":11,"mainColor":71},224585,"si-jun-zi-tu-zou-yi-gui-224585","四君子图","此作用淡墨晕开空濛远景，留白铺就清寂天地。左侧古松虬枝盘曲，鳞皴苍劲，松针攒簇如团，枯荣交织尽显古拙生机。右侧长松挺立于石畔，与老松两两相望，野竹荒草偃仰生姿，添得山野意趣。\n\n全作以焦墨醒出松节针叶，淡墨晕染坡岸远景，笔法清隽秀雅，未施一色，全凭水墨勾勒晕染，将松柏坚凝君子风骨寄寓萧散小景之中，静穆简淡却暗含蓬勃生气，淡而不寡，简中见厚，尽显清寂雅致的文人意趣与不俗笔力。",[23,24,99,29,25,100,7,33,221,121,2482],"清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7af38b1cc2ec84ef8742819cb96280.jpg",[],{"id":2486,"slug":2487,"title":2488,"dynasty":345,"author":2489,"museum":1403,"description":2490,"tags":2491,"thumbUrl":2492,"material":2493,"size":2494,"collection":87,"collections":2495,"showCount":2420,"zanCount":267,"manualWeight":11,"mainColor":49},221724,"han-shan-shi-de-tu-chan-ji-tu-duan-jian-yin-tuo-luo-221724","寒山拾得图禅机图断简","因陀罗","自宋代以来就一直在禅僧间广受喜爱。本图是描绘寒山、拾得二人被问及丰干禅师行踪时，沉默不语、只是哈哈大笑的情景。虽然因袭了将人物脸部画得细致、衣衫以粗略笔致来表现的\n日本在 早年流入日本的中国禅画也因此备受日本人的珍视，被视为国宝级的文物。目前收藏在日本东京国立博物馆的《寒山拾得图》，就是这样一幅隐含机锋的禅机图。\n以寒山和拾得为主题的图画有许多版本，而最负盛名的禅画则是这幅元代画家因陀罗所作的《寒山拾得图》。此图为纸本、墨画，在画面最左边，题有楚石梵琦写的赞：“寒山拾得两头陀，或赋新诗或唱歌。试问丰干何处去，无言无语笑呵呵。”这幅画，描写寒山与拾得两位仙人席地坐于一株古树下，背依石丘，相对谈天说地，一副逍遥自在的样子。\n画中的寒山拾得蓬头光脚笑颜，一人双手相握，一人俟身向前。画面线条玲珑，浓淡衬托有力。虽寥寥数笔，但傲笑自若的禅僧形象已跃然纸上，流露出一种超脱物累、大智若愚、狂放不羁的精神。画家用了多种笔法来表现这一充满静谧禅机的场面：以吹墨法画头发，使之有蓬松自然之感；以阔笔焦墨画襟带，使之有临风而动的飘逸感；以渴笔画树石，使之有苍劲古逸之感。画意损深邃，画风简约，拙朴木纳，又不失活泼、诙谐。",[23,24,29,25,207,137,221,7,30,121,1667,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa264b290c261cf662029c6b3e3ec36d8.jpg","墨本","纵35.2cm 横49.7cm",[],{"id":2497,"slug":2498,"title":2499,"dynasty":173,"author":2500,"museum":158,"description":2501,"tags":2502,"thumbUrl":2503,"material":25,"size":2504,"collection":87,"collections":2505,"showCount":2420,"zanCount":11,"manualWeight":11,"mainColor":71},221674,"feng-yan-zhan-juan-zhao-bo-ju-221674","风檐展卷","赵伯驹","画中的建筑物——敞轩，即所谓的「界画」。古代的风景画或人物画中有建筑物的构图，依赖界尺将建筑物的飞檐、楼阁、楹椽等画得唯肖唯妙，这种有直线的画，称为「界画」。其实界画极难，如非高手绝难胜任。界画是用千万条长短、横直和弯曲的线条交织画成，繁复单调，又不容有一笔差错。如何把呆版的线条绘成生动的画面，就是绘界画最困难之处。",[23,99,24,29,80,100,1825,121,58,82,137,7,138,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b511f6b89d3f3ff1e22db0037b5b729.jpg","24.9x26.7",[],{"id":2507,"slug":2508,"title":2509,"dynasty":173,"author":2510,"museum":158,"description":2511,"tags":2512,"thumbUrl":2513,"material":86,"size":2514,"collection":67,"collections":2515,"showCount":2420,"zanCount":11,"manualWeight":11,"mainColor":71},218681,"song-zhai-chi-ke-tu-zhao-bo-su-218681","松斋迟客图","赵伯骕","这幅画描绘了小河岸边的松树荫下的书房，一个童仆正在扫地迎客，一个隐士躺在水中。这幅画的笔触和色彩与故宫博物院收藏的画相似，可以接受为赵伯钦画派的作品。",[23,24,29,261,80,58,7,1127,82,579,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d6c2f0f32ae35c24eafb3a720ef6232.jpg","26.3x26.7",[67],{"id":2517,"slug":2518,"title":2519,"dynasty":173,"author":2520,"museum":999,"description":2521,"tags":2522,"thumbUrl":2523,"material":164,"size":87,"collection":87,"collections":2524,"showCount":2420,"zanCount":11,"manualWeight":11,"mainColor":49},218078,"luo-han-tu-ce-9-li-gong-lin-218078","罗汉图册-9","李公麟","宋朝是中国历史上的一个朝代，公元960年至1279年。李公麟是宋朝时期的一位著名的画家，他的代表作品是《罗汉图册》。\n\n《罗汉图册》是一本由李公麟所绘制的图册。这本图册描绘了罗汉，这是佛教中的超凡脱俗的灵性修行者的形象。每幅图画都非常精细，李公麟用自己独特的画风把罗汉的形象塑造得生动逼真。\n\n《罗汉图册》的创作背景是宋朝的文化复兴运动，这本图册是李公麟为了推广佛教文化而创作的。当时，佛教在中国盛行，李公麟希望通过这本图册向更多的人介绍佛教文化。\n\n《罗汉图册》被广泛认为是李公麟最杰出的作品，它被誉为宋朝佛教画的代表作之一。如今，《罗汉图册》还是非常受欢迎的，它被视为中国传统艺术的瑰宝。",[23,99,24,29,261,207,1667,137,1127,7,32,221],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b6011e0e89ea5930b1548618e367efd.jpg",[],{"id":2526,"slug":2527,"title":1866,"dynasty":2528,"author":2529,"museum":217,"description":2530,"tags":2531,"thumbUrl":2533,"material":87,"size":87,"collection":67,"collections":2534,"showCount":2420,"zanCount":11,"manualWeight":11,"mainColor":2535},202798,"shan-shui-tu-zhou-huang-bin-hong-202798","近代","黄宾虹","画面层峦叠嶂，云雾氤氲其间，山石以苍劲皴法勾勒，墨色浓淡交错，尽显嶙峋肌理。崖畔青松虬劲，枯木疏朗，旁侧小屋隐于林麓，小桥横跨溪涧，流水潺潺似可闻。笔墨老辣浑厚，积墨破墨互用，于虚实间营造深远意境，尽显自然野逸之趣，藏着传统山水的深邃韵味与生机。",[24,58,25,59,7,60,62,361,81,2532,23],"笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff70857e471c25b4c3def0032a35a4cfb.jpg",[67],"e1d9cb",{"id":2537,"slug":2538,"title":2539,"dynasty":114,"author":272,"museum":116,"description":322,"tags":2540,"thumbUrl":2541,"material":326,"size":327,"collection":87,"collections":2542,"showCount":2543,"zanCount":11,"manualWeight":11,"mainColor":71},290527,"lin-wu-qing-tu-zhou-yun-shou-ping-290527","临五清图轴",[99,24,29,81,25,290,121,424,7,33,221,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d55fd6aa28be344302951bbb9414093.jpg",[],21,{"id":2545,"slug":2546,"title":841,"dynasty":173,"author":216,"museum":116,"description":2547,"tags":2548,"thumbUrl":2549,"material":326,"size":327,"collection":87,"collections":2550,"showCount":2543,"zanCount":11,"manualWeight":11,"mainColor":49},289841,"song-shou-tu-ma-yuan-289841","设色绘山崖一角，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，落款“赐王都提举为寿”。马远字遥父，号钦山，河中（今山西永济）人，为南宋光、宁二朝画院待诏，为南宋四大家之一。擅山水画，喜用简练构图与斧劈皴，影响深远。此图流传无考，近代曾经王麓泉收藏。",[23,24,99,81,80,137,58,7,60,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52d815f0b717aba4d3fc3d6d26f60c1b.jpg",[],{"id":2552,"slug":2553,"title":2554,"dynasty":18,"author":2555,"museum":20,"description":2556,"tags":2557,"thumbUrl":2564,"material":2565,"size":2566,"collection":45,"collections":2567,"showCount":2543,"zanCount":11,"manualWeight":11,"mainColor":71},236267,"sui-chao-zhou-zhang-hong-236267","岁朝轴","张宏","张宏（1577—？年），字君度，号鹤涧，江苏苏州人。善画山水，师法沈周而略有变化，画风苍秀，亦善人物。",[24,29,81,80,100,248,32,7,33,60,2558,2559,2560,2561,2562,2563],"文房","笔","墨","砚","陈设","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd5fee7d7e2f711c5da31d75b7e27016.jpg","纸本 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创作的绢本设色画，现藏于上海博物馆。\n此图近景画河畔数棵长松高耸，树后露出数间茅屋。\n松荫下四位长者席地而坐，正举杯畅饮。\n旁有两人手捧壶盘侍候，一人抱矮案前来。\n对岸中景是古树茅舍。\n远景群山蜿蜒。\n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。\n此图岗峦坡石笔墨圆润婉和，存有赵氏遗法。\n长松勾勒苍劲精巧，细枝似蟹爪，则从郭熙法中得之。\n此图1近景画河畔数棵长松高耸，树后露出数间茅屋。\n松荫下四位长者席地而坐，正举杯畅饮。\n旁有两人手捧壶盘侍候，一人抱矮案前来。\n对岸中景是古树茅舍。\n远景群山蜿蜒。\n图中描绘对饮者解衣盘礴，不拘礼仪。\n图1的左边作者行书自题一行，文曰：“元统甲戌冬十一月，吴兴唐棣子华制。\n”钤有“唐氏子华”朱文方印。\n按图中自题，甲戌为元统二年（14）唐棣时年9岁。\n此画为作者早年作品，故较多保留着师承前人技法的痕迹。\n图写平远山水，远处山峦叠嶂，绵延起伏。\n近处均为浩荡江水，旷无边际。\n中间为树木、平岗。\n三棵巨树拔地而起，枝干粗实，盘根虬曲，有的枝杈盘曲伸展，枝叶疏落，树干上长满了疤节。\n树荫下有数间茅亭屋宇，将远景与近处相隔，截分为近远两景，这是远、中、近景三段式的格局。\n这样的布局，使整幅显得富有层次，使旷野的山光水色的美景更为显眼。\n此图2的画法，人物用白描法，线条细腻而又简练，笔触柔和，远山浅淡而远杳，近景的几株枯树明显反映出唐棣的线条功底，点顿精凝，不为懈笔怠笔，树干盘龙走虺，脉理纷然，瘢节回护，古拙怪异。\n树下三五成群的聚饮者，也是一种静谧而萧然的格调，尤其是图中描画对饮者解衣盘膝，或跽或蹲，不矜礼仪，生动地表现出村民、野老酒酣兴豪的生活乐趣。\n远处，山石逶迤起伏的山脉，作淡墨晕染，山峰均用短披麻皴，长松的勾皴苍劲精巧，细枝形类似蟹爪形。\n山上的草木丛杂，设色雅淡。\n218年1月21日，上海博物馆书法和绘画陈列开放，《松荫聚饮图》在其中展出。\n唐棣（1296—164），元代画家。\n字子华，湖州（今属浙江）人。\n“以茂才异等起家：”官至吴江知州：早熟，称“神童”，工画山水，“尝游翰林公之门”，得赵孟頫指授，并师法李成、郭熙，善于布置景物，点缀人物尤佳，笔力坚硬，画风清森华润，犹存宋人遗法。\n曾参与集庆（治今江苏南京）龙翔寺及元宫嘉熙殿作壁画，晚年兼学高克恭。\n明鉴赏家张丑推举他为“元人中之巨擘。\n”传世作品有《霜浦归渔图》轴、《雪港捕渔图》轴等。",[99,24,29,81,80,59,58,1127,7,137,2583],"聚饮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2873aee32f3e632b734453cf38006c24.jpg",[],{"id":2587,"slug":2588,"title":2589,"dynasty":18,"author":2590,"museum":116,"description":2591,"tags":2592,"thumbUrl":2594,"material":87,"size":87,"collection":87,"collections":2595,"showCount":2543,"zanCount":11,"manualWeight":11,"mainColor":71},228890,"san-you-tu-juan-chen-gua-228890","三友图卷","陈栝","此帧以水墨写就，老松虬曲苍劲，枯笔焦墨勾勒皴擦，尽显鳞皴老干的嶙峋古意。松针攒簇劲挺，如刃似戟。垂挂的藤萝以淡墨长线曳落，柔丝曼曼，和老干的刚硬形成绝妙反差。下方嫩竹亭亭，小篁数丛简淡清雅，寥寥数笔便把清拔姿态绘就。\n画面留白疏朗，水墨浓淡干湿相生相合，笔意纵恣却暗含法度，将岁寒之友的清逸孤傲风骨尽显，藏着文人写意的澹澹禅心，清雅脱俗，意韵悠长。",[2593,24,29,28,25,207,121,7,33,120],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff43250ffaea547b9ef3fabbd4b5c2e4e.jpg",[],{"id":2597,"slug":2598,"title":2599,"dynasty":114,"author":115,"museum":1971,"description":2600,"tags":2601,"thumbUrl":2602,"material":250,"size":87,"collection":150,"collections":2603,"showCount":2543,"zanCount":11,"manualWeight":11,"mainColor":71},219483,"zi-hua-zhong-song-tu-shi-tao-219483","自画种松图","画中，作者踞坐嶙峋危石，青衫素朴，倚杖凝神静思，神色萧散淡然，尽显林下高士俊逸风骨。旁侧老松虬枝斜逸，笔墨清简苍秀，寥寥数笔便写尽古松疏朗之姿。\n\n整幅作品书画相融，满幅题跋错落排布，以画为引、以诗言志，借种松寄寓守拙向道的山林幽怀。笔意简淡清逸，意境空灵淡远，将自身超尘出世的襟怀藏在淡远笔墨间，文气与画意浑然相合，尽显文人写意画的精神内核，清寂幽远的意韵直入人心。",[24,29,25,30,137,221,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94c91da8d2c1f4034f3f690a6c1284bf.jpg",[150],{"id":2605,"slug":2606,"title":2607,"dynasty":114,"author":630,"museum":217,"description":2608,"tags":2609,"thumbUrl":2610,"material":87,"size":87,"collection":45,"collections":2611,"showCount":2543,"zanCount":11,"manualWeight":11,"mainColor":2612},201817,"song-zhu-mei-tu-zhou-wu-chang-shuo-201817","松竹梅图轴","画面松针苍劲如戟，竹叶以篆籀笔意挥洒，劲挺有姿；梅枝盘曲虬劲，嫣红花瓣点缀其间，妍而不妖。嶙峋山石淡墨皴擦，与松竹梅相映成趣。笔墨老辣雄浑，融书法篆刻意趣，线条刚柔相济，墨色层次分明。题跋行书笔力沉厚，与画面浑然一体，尽显文人画雅致风骨，传递岁寒三友傲霜斗雪的气节。",[24,81,32,7,33,101,25,80,59,121,31,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9ce31cd460fde9b26cd27f9882b9f5.jpg",[45],"cac0b1",{"id":2614,"slug":2615,"title":2616,"dynasty":114,"author":272,"museum":116,"description":322,"tags":2617,"thumbUrl":2618,"material":326,"size":327,"collection":87,"collections":2619,"showCount":2620,"zanCount":11,"manualWeight":11,"mainColor":71},290543,"cang-qiu-tu-yun-shou-ping-290543","苍虬图",[24,29,261,25,7,60,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd412faa23aa7a6dff6cd9615cedfe290.jpg",[],20,{"id":2622,"slug":2623,"title":2624,"dynasty":18,"author":500,"museum":116,"description":2062,"tags":2625,"thumbUrl":2626,"material":326,"size":327,"collection":87,"collections":2627,"showCount":2620,"zanCount":11,"manualWeight":11,"mainColor":49},288384,"shi-ba-xue-shi-tu-qi-yi-yi-ming-288384","十八学士图其一",[24,80,100,137,7,33,142,506,504,291],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e4292f7172fb5804c657511e2070e24.jpg",[],{"id":2629,"slug":2630,"title":2631,"dynasty":173,"author":2520,"museum":116,"description":2632,"tags":2633,"thumbUrl":2634,"material":326,"size":327,"collection":87,"collections":2635,"showCount":2620,"zanCount":11,"manualWeight":11,"mainColor":49},287963,"luo-han-tu-ce-li-gong-lin-287963","罗汉图册","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,24,261,1667,137,207,7,32,60,2299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7e9218d9dab3b4aed4f3d775e581996.jpg",[],{"id":2637,"slug":2638,"title":2639,"dynasty":173,"author":517,"museum":116,"description":2640,"tags":2641,"thumbUrl":2643,"material":326,"size":327,"collection":87,"collections":2644,"showCount":2620,"zanCount":11,"manualWeight":11,"mainColor":71},283689,"song-feng-ge-shi-juan-huang-ting-jia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宋人云瀑松涛，仔细一看，笔法剪裁得很好，岩石的结构似乎是学自郭熙，但总体上与宋人无关。",[23,24,29,58,80,59,7,903,236,60,138,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40ecd3a26247fdb733f50aa5412a65f3.jpg","22.6x27.5",[67],{"id":2688,"slug":2689,"title":2690,"dynasty":345,"author":500,"museum":158,"description":2691,"tags":2692,"thumbUrl":2694,"material":86,"size":2695,"collection":150,"collections":2696,"showCount":2697,"zanCount":11,"manualWeight":11,"mainColor":49},290744,"xi-ying-tu-zhou-yi-ming-290744","戏婴图轴","儿童生性活泼好奇﹐在他们的眼裏﹐每样事物都新奇有趣﹐都想要探索、尝试。而游戏﹑玩具﹐不仅能启发心智，也能锻练强健的体魄﹐是他们用以探索世界的工具。儿童在嬉戏中﹐生动活泼的姿态，专注喜悦的表情，稚拙可爱的模样，不只让人心生怜爱，更能感受到童稚世界的无忧无虑，是画家喜好的题材，这种以孩童嬉戏为主题的画作，称为《婴戏图》。\n南宋以後﹐文人画发达﹐不再重视精描细绘的写实工夫，画家在描绘孩童时﹐不是将孩童画得老气横秋﹐便是画得身小而貌壮，少年老成，无法掌握儿童纯稚的神韵﹐故以婴戏画知名的画家锐减。而婴戏图中孩童纯真可爱的形象，特别能表现节庆欢乐的气氛，有祈福求安的意义，此幅婴戏图，画冬日一孩童骑一羊﹐在羊群中嬉戏，设色穠丽﹐描写工细﹐画面生动，富有生活情趣。",[24,80,100,137,2693,1795,538,7,32],"戏婴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa72e70c165dd262e8aede4cfe1ac85d.jpg","90.4x56.1",[150],19,{"id":2699,"slug":2700,"title":2701,"dynasty":173,"author":500,"museum":158,"description":2702,"tags":2703,"thumbUrl":2704,"material":86,"size":2705,"collection":181,"collections":2706,"showCount":2697,"zanCount":11,"manualWeight":11,"mainColor":49},290686,"guan-mei-tu-zhou-yi-ming-290686","观梅图轴","此图描绘山石中,微露屋檐的一角,一位士人依凭著栏杆,观赏雪中寒梅",[24,99,81,136,25,137,61,58,32,7,1753,678,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cc7fa2e59132c477924c220213ce4f6.jpg","109.6x53.6",[181],{"id":2708,"slug":2709,"title":2710,"dynasty":114,"author":500,"museum":116,"description":2711,"tags":2712,"thumbUrl":2716,"material":326,"size":327,"collection":87,"collections":2717,"showCount":2697,"zanCount":11,"manualWeight":11,"mainColor":71},273639,"zi-tan-mu-bian-zuo-qian-fa-lang-he-lu-tu-cha-ping-yi-ming-273639","紫檀木边座嵌珐琅鹤鹿图插屏","苍松虬劲蟠曲，松针以珐琅点染，翠色莹润鲜亮。丹顶鹤一栖于枝桠，引颈回望，姿态矜贵；一立于坡地，缓步低顾，悠然自若。石青晕作底色，衬得松鹤愈发灵秀雅致，珐琅釉色层次分明，晕染自然柔和，明丽配色和谐悦目。\n\n紫檀座身雕刻缠枝纹饰，线条婉转柔润，沉穆木色中和了珐琅的鲜亮，二者相映成趣。器物融掐丝珐琅与木雕工艺于一体，借松鹤寄寓福寿绵长的祈愿，尽显华贵雅致的古典气韵，是匠心工艺与传统吉祥审美相融的佳作。",[2713,2714,2715,7,102,101],"木质","珐琅器","插屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58906828a9e316ecce0aeec98a4de205.jpg",[],{"id":2719,"slug":2720,"title":2721,"dynasty":114,"author":2722,"museum":116,"description":2723,"tags":2724,"thumbUrl":2725,"material":87,"size":87,"collection":67,"collections":2726,"showCount":2697,"zanCount":11,"manualWeight":11,"mainColor":71},236422,"song-yin-bing-pei-zhou-hua-yan-236422","松荫并辔轴","华嵒","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。",[24,29,81,80,58,7,82,679,121,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d2f02f42a1ce64c75b2663783c6c24e.jpg",[67,107],{"id":2728,"slug":2729,"title":2730,"dynasty":18,"author":500,"museum":116,"description":2731,"tags":2732,"thumbUrl":2733,"material":87,"size":87,"collection":87,"collections":2734,"showCount":2697,"zanCount":11,"manualWeight":11,"mainColor":49},228798,"song-yin-xue-hu-tu-yi-ming-228798","松荫雪虎图","萧寒雪色覆满林莽，古松虬曲苍劲，皴染厚重的枝干尽显老辣古拙，松针攒簇如铁，撑起一片幽寂荫凉。\n\n画中猛虎盘踞雪地，姿态松弛慵懒，却难掩百兽之王威仪。虎身斑纹勾勒劲挺写实，毛发晕染细腻柔和，将皮毛的蓬松质感尽显无遗。它目光沉沉锁着爪下猎物，獠牙微露，悍野之气暗藏于松弛神态中。\n\n淡墨晕出薄雪覆于枯槎衰草间，冷寂荒寒的雪境，更衬出猛虎孤高凛冽的气场。整作工写相融，细处描摹虎之肌理毛发，粗笔铺就林雪萧索氛围，于静谧间暗藏肃杀野性，尽显走兽画的精妙写实功底，将冬日林莽的荒寒与百兽王的雄健完美揉合。",[23,24,99,29,80,100,59,1668,538,7,1176,314,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62072f89e4fcb137c0ced81bb18267a8.jpg",[],{"id":2736,"slug":2737,"title":2738,"dynasty":18,"author":2739,"museum":116,"description":2740,"tags":2741,"thumbUrl":2742,"material":326,"size":327,"collection":87,"collections":2743,"showCount":2697,"zanCount":11,"manualWeight":11,"mainColor":49},228344,"song-yin-shu-wu-tu-wang-shi-chang-228344","松荫书屋图","王世昌","王世昌（生卒年不详），明代画家，字时雍（又作畴雍），号历山，山东人，李开先在《中麓画品》（1541年成书）中即对他有评论记载。他工画山水人物，画法出于院体浙派，山水笔墨苍劲雄浑，人物用笔劲捷，骨力凝重，造型生动。传世作品有《高士访隐图》、《高士吟秋图》、《高士春山图》、《山水图》、《松荫书屋图》等。见《图绘宝鉴续纂》、《无声诗史》。",[23,99,24,29,81,307,25,80,59,7,60,63,140,137,138,579,361,2246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05b8e35ce302f74142791093945b3c13.jpg",[],{"id":2745,"slug":2746,"title":2747,"dynasty":114,"author":1487,"museum":116,"description":2748,"tags":2749,"thumbUrl":2752,"material":87,"size":87,"collection":87,"collections":2753,"showCount":2697,"zanCount":11,"manualWeight":11,"mainColor":71},224579,"hua-xing-hua-song-zhu-zhou-jiang-ting-xi-224579","画杏花松竹轴","水墨晕染，苍松躯干古拙嶙峋，疤结凝着岁月风霜，松针攒簇如戟，虬枝斜曳尽显清刚之姿。柔婉杏枝侧生，蓓蕾轻绽，冷艳雅致中和了古松的苍劲。坡石之间新竹疏朗挺秀，与松、杏相映成趣。浅滩细流隐现于草叶间，衬出幽寂清远的林下意境。\n\n笔致兼用工写，浓淡墨色铺陈层次，刚柔相济，将花木姿致与林泉野趣相融，淡痕轻晕里藏着文人清雅风骨，把岁寒同侪的逸韵收于卷中，晕染出悠长清寂的林下幽怀。",[23,24,81,25,7,33,2750,60,58,101,59,2751,26],"杏花","淡设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3ddfdd9f3d46ccff5e6af49dd78bebf.jpg",[],{"id":2755,"slug":2756,"title":2757,"dynasty":18,"author":2758,"museum":2759,"description":2760,"tags":2761,"thumbUrl":2763,"material":179,"size":2764,"collection":87,"collections":2765,"showCount":2697,"zanCount":11,"manualWeight":11,"mainColor"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。灯下睇观，觉小雷、大雷、紫溪、白岳一段，忽移于尺幅间矣。”又云：“是古人笔，不是时派。时派即钟谭诗也。”小印模糊，误视会公为洽公，圻后即以洽公行，咸知己也。 他的仕女画幽闲静逸，神韵俱佳，特别是[清]顺治八年，即公元1651年与吴宏合作的《寇湄像》，堪称佳作。",[23,99,24,29,80,100,1176,7,33,612,2801,60,101,121],"冰挂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4acd3e8fb8205ab2533358e709fef854.jpg",[],{"id":2805,"slug":2806,"title":2807,"dynasty":18,"author":2808,"museum":20,"description":2809,"tags":2810,"thumbUrl":2814,"material":363,"size":2815,"collection":87,"collections":2816,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":49},222088,"qiu-zhi-yuan-tu-juan-qian-gu-222088","求志园图卷","钱谷","在明代吴门画家的作品中，有许多以他人的室名别号为题，这类作品被张丑称之为“别号图”，如推而广之，还应包括以庄园、庭院为题材的作品。它们在描绘人造园林真实性的基础上，力图表现园林主人的生活理想，反映他们身居闹市，却追求“与深山野水为友”的操守与志向，这类作品成为吴门画派所表现的一种突出的艺术现象，而钱穀的《求志园图》正是其中颇具代表性的一件。\n此卷是钱穀应友人张凤翼之请，描绘其家园春夏之间的景色，卷首有文徵明题“文鱼馆”三字，卷后有王世贞行书《求志园记》。画家从右侧园门画起，以怡旷轩、风木堂、尚友斋为中心，前有庭，后有园，渐次展开，王世贞所撰《求志园记》中采芳径、文鱼馆、香雪廊皆按图可索，抚记展图，这座“旦而旭、夕而月、风于春、雪于冬”的甲第名园中当年文人云集、清谈雅会的盛景似乎随着手卷展开历历在目。虽写实景，却不是简单的再现，更注意了人造景观与湖渚山色的自然风光的谐调与结合，突出了中国古代“虽由人造，宛自天成”的造园理念，用修篁古木、冬梅花篱、白鹅紫鸳表现画主人对归隐生活的向往，是托物言志的再创造。事实上，由于画家与画主人在情感、思想、旨趣上的相通，图中寄寓的对天地灵秀、淡泊胸襟的意趣追求，同样是画家本人的内心写照。",[23,24,28,80,100,29,31,296,121,61,138,2811,62,63,810,142,2812,7,1104,2813,147,2563],"亭子","竹子","园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66742fa1af93fb6e7fea758c370c8f5a.jpg","纵29.8厘米，横190.2厘米",[],{"id":2818,"slug":2819,"title":2820,"dynasty":173,"author":2821,"museum":20,"description":2822,"tags":2823,"thumbUrl":2832,"material":263,"size":2833,"collection":463,"collections":2834,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":71},221561,"cheng-nan-chang-he-shi-juan-quan-juan-di-yi-duan-zhu-xi-221561","城南唱和诗卷全卷第一段","朱熹","《城南唱和诗卷》，对章草笔意的运用达到了随心所欲、挥洒自如的境界。杨维桢把晋唐楷法和汉隶、章草、今草笔法融合在一起，故独有奇拙、古朴的趣味。所谓“矫杰横发”（李东阳）“狂怪不经”（徐有贞）“大将班师，三军奏凯。破斧缺斨，例载而归”（吴宽）就是指杨维桢书风中豪迈雄强、形态怪异、用笔粗放的特点。而这种激越奔放的气势，刀斫斧劈的雄强，正是筑基于章草笔法的渗入。\n此诗卷是朱熹为和张栻城南诗20首所作。张栻，字敬夫，号轩，张浚之子、宋代著名学者。居谭州（今长沙）。构城南书院，城南有风景20处、故题诗20首。朱孝宗乾道三年（公元1167年）八月，朱熹与张南轩游城市诸胜景，和南轩二十咏。时年朱熹38岁，此诗卷书写年代则较晚。此卷书法笔墨精妙，萧散简远，笔意从容，灵活自然，为朱熹传世佳作。明陆简《朱熹城甫唱和诗帖跋》云：“紫阳夫子平生讲道之功日不暇给，而于辞翰游戏之事亦往柱精诣绝人。评书家谓其书郁有道义之气、固耳。”",[23,31,30,28,2824,121,310,312,903,1176,2825,82,120,1150,41,40,2826,2827,2828,2829,36,927,7,2830,2831,309,33,32],"墨迹","月","桂","江","秋","冬","风","海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcb576060bbf9033850da273c683961f.jpg","纵31.5厘米横275.5厘米",[463],{"id":2836,"slug":2837,"title":2838,"dynasty":114,"author":2839,"museum":999,"description":2840,"tags":2841,"thumbUrl":2842,"material":1301,"size":2843,"collection":67,"collections":2844,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":49},220066,"shan-shui-tu-zha-shi-biao-220066","山水图","査士标","查士标，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。后寓扬州。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。",[24,29,81,25,59,58,62,63,82,64,138,314,7,1127],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d0361e879716fd117dcac527202ca88.jpg","193×47.5cm",[67],{"id":2846,"slug":2847,"title":2848,"dynasty":18,"author":500,"museum":1971,"description":2849,"tags":2850,"thumbUrl":2852,"material":86,"size":87,"collection":150,"collections":2853,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":2240},219493,"li-tie-ba-xiang-yi-ming-219493","李铁捌像","以重墨晕染出苍松掩映的幽寂山林，昏沉底色晕开古朴玄异的仙道氛围。画中虬面深目，髭髯卷曲张扬，布箍束发，兽毛镶边的袍服褶皱古拙刚劲，粗粝笔触尽显山野散仙的豪迈不羁。\n\n他斜身倚拐踞坐，岩畔点缀的白花破开暗沉色调，晕开一缕清灵生气。衣纹勾勒顿挫有力，浓淡墨色晕染出衣物厚重质感，将这位带着烟火野趣的仙人刻画得形神兼备，粗粝间见精妙，沉郁中藏仙气，尽显道释人物画的精湛笔力与传神意趣。",[24,80,137,81,100,7,2851,375],"拐杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0152fee3a6734433435a0a438af7de1c.jpg",[150],{"id":2855,"slug":2856,"title":2857,"dynasty":114,"author":2858,"museum":158,"description":2859,"tags":2860,"thumbUrl":2862,"material":250,"size":2863,"collection":87,"collections":2864,"showCount":48,"zanCount":267,"manualWeight":11,"mainColor":71},219486,"qiu-ri-shan-ju-zhou-huang-ding-219486","秋日山居轴","黄鼎","此作用笔沉厚细腻，主峰雄峙云端，斧劈皴刻画出山石冷峻筋骨，两道飞瀑垂挂崖间，为沉静山林注入灵动生机。苍松虬枝舒展如盖，丹叶秋林点染暖意，晕开融融秋意。山坳间屋舍错落，板桥横卧浅溪，溪石隐现似漾着潺潺水音，将幽寂山林与闲淡山居揉合一处。远景峰峦叠嶂渐隐烟岚，留白晕染出空濛悠远的诗意。\n画作兼取先贤笔墨意趣，融苍郁繁复与秀润简淡于一体，设色雅致清和，铺展出秋日山居的安闲静谧，将文人寄情林泉、归卧丘山的隐逸之思藏入每一处勾勒晕染中。",[24,29,99,81,58,80,59,60,138,7,193,62,63,236,1638,810,313,2861,100],"秋日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff442355ddacad4cede5834c399118b29.jpg","64.5x38",[],{"id":2866,"slug":2867,"title":2868,"dynasty":173,"author":2869,"museum":158,"description":2870,"tags":2871,"thumbUrl":2873,"material":86,"size":2874,"collection":87,"collections":2875,"showCount":2876,"zanCount":11,"manualWeight":11,"mainColor":49},290324,"shi-quan-bao-xi-zhou-lin-chun-290324","十全报喜轴","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。",[24,99,81,101,100,80,64,7,33,314,779,2872],"报喜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4e4eb9e64c0112fda03b22f51f0d9e8.jpg","173.2x97.6",[],17,{"id":2878,"slug":2879,"title":2880,"dynasty":18,"author":398,"museum":116,"description":2881,"tags":2882,"thumbUrl":2885,"material":326,"size":327,"collection":87,"collections":2886,"showCount":2876,"zanCount":11,"manualWeight":11,"mainColor":71},283735,"fang-ju-ran-shan-shui-tu-juan-yu-chen-ji-ru-shu-hua-he-juan-dong-qi-chang-283735","仿巨然山水图卷（与陈继儒书画合卷）","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。",[30,31,29,28,58,120,7,2883,424,2884],"鱼","夜色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c4537fa29e0be2b7d2ebc9141d08537.jpg",[],{"id":2888,"slug":2889,"title":2890,"dynasty":114,"author":2891,"museum":116,"description":2892,"tags":2893,"thumbUrl":2895,"material":326,"size":327,"collection":87,"collections":2896,"showCount":2876,"zanCount":11,"manualWeight":11,"mainColor":71},235366,"song-yuan-tu-zhou-cheng-zhang-235366","松猿图轴","程璋","程璋（1869－1938），男，原名德璋，号瑶笙，原籍安徽新安，移居江苏泰兴，后寓上海。",[24,29,81,80,25,100,59,2894,7,612,538,101,120],"猿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43115bb694f41ed4c625527a75b066e4.jpg",[],{"id":2898,"slug":2899,"title":2900,"dynasty":18,"author":2758,"museum":116,"description":2901,"tags":2902,"thumbUrl":2903,"material":363,"size":87,"collection":87,"collections":2904,"showCount":2876,"zanCount":11,"manualWeight":11,"mainColor":71},234194,"fang-xia-gui-xian-shan-tu-juan-song-xu-234194","仿夏圭仙山图卷","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。",[23,24,28,25,59,290,121,58,138,810,437,62,64,579,361,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e63cf3c48e1f03acef519e28f9af90a.jpg",[],{"id":2906,"slug":2907,"title":2908,"dynasty":18,"author":1071,"museum":116,"description":2909,"tags":2910,"thumbUrl":2911,"material":87,"size":87,"collection":87,"collections":2912,"showCount":2876,"zanCount":11,"manualWeight":11,"mainColor":71},228426,"zhi-xu-qing-yan-tu-lan-ying-228426","支许清言图","此作用笔刚柔相济，右崖奇崛厚重，以浓墨皴擦堆垒出山岩苍莽质感，左侧淡墨晕染平湖远峰，虚实相映间铺展出空濛悠远的湖山胜境。\n\n古松虬曲苍劲，针叶攒簇见笔力，尽显老松凌寒之姿。松下幽渚上二人对坐晤谈，衣袂简括，神态悠然，暗合魏晋林下雅集的高逸襟怀。\n\n笔墨干湿互融，既有刚劲风骨，又揉入写意萧散淡远的意趣，将林泉清谈的幽旷襟怀藏在松涛湖烟之中，尽现山居雅集的绝尘之味。",[23,99,24,29,81,25,59,58,137,7,60,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d387a521088c5ae100f06c610991a65.jpg",[],{"id":2914,"slug":2915,"title":2916,"dynasty":114,"author":2917,"museum":116,"description":2918,"tags":2919,"thumbUrl":2920,"material":87,"size":87,"collection":67,"collections":2921,"showCount":2876,"zanCount":11,"manualWeight":11,"mainColor":71},223249,"shan-shui-2-pu-hua-223249","山水2","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”。",[23,24,29,81,25,80,59,58,7,82,60,63,349,2812],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa36173f62b89aaa10373bf91171f17.jpg",[67,125],{"id":2923,"slug":2924,"title":2925,"dynasty":2528,"author":2926,"museum":217,"description":2927,"tags":2928,"thumbUrl":2932,"material":87,"size":87,"collection":67,"collections":2933,"showCount":2876,"zanCount":11,"manualWeight":11,"mainColor":2934},202889,"xi-zhou-nong-di-tu-zhou-pu-ru-202889","溪舟弄笛图轴","溥儒","嶙峋山石旁，苍松虬枝横斜，松间藤蔓轻垂，点缀些许金黄。清溪之上，两艘扁舟缓行，一舟中人持笛吹奏，另一舟者静坐聆听，意态闲适。笔墨细腻雅致，山石以淡墨皴擦出纹理，松针勾勒细密灵动，人物情态鲜活。整体意境空灵悠远，将文人雅士寄情山水的闲逸之趣尽显无遗。",[24,58,59,437,7,313,137,2929,2930,2931,1312,23],"工写结合","笔墨雅致","寄情山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0935b615268d83091310caffb8d913e5.jpg",[67],"b7ad9f",{"id":2936,"slug":2937,"title":2938,"dynasty":114,"author":2331,"museum":217,"description":2939,"tags":2940,"thumbUrl":2941,"material":87,"size":87,"collection":67,"collections":2942,"showCount":2876,"zanCount":11,"manualWeight":11,"mainColor":2943},202106,"yun-yue-song-tu-zhou-li-shi-zhuo-202106","云岳松图轴","山峦层叠间云雾轻绕，飞瀑自岩隙倾泻而下，溪流蜿蜒穿林而过。山间松杉错落，小径隐于草木，溪边茅屋数椽，偶见行人凭桥而立，尽显林泉幽致。笔墨清润，皴染相济，山石勾勒简劲见质感，树木点染疏密相宜，意境空灵悠远，既藏自然野趣，又含文人雅韵，仿佛泉声松涛隐隐可闻，引观者步入静谧山林之境。",[24,29,81,58,59,80,62,63,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a790e47b9da5174b054b56637edafb8.jpg",[67],"b7a590",{"id":2945,"slug":2946,"title":2947,"dynasty":18,"author":2948,"museum":116,"description":2949,"tags":2950,"thumbUrl":2951,"material":87,"size":87,"collection":87,"collections":2952,"showCount":2953,"zanCount":11,"manualWeight":11,"mainColor":49},234784,"song-xia-lao-ren-tu-zhou-shi-wen-234784","松下老人图轴","史文","在古代社会，绘画都有着一定的社会功能性，比如《耄耋图》这样的题材就有着“成教化，助人伦”的作用。自古以来，耄为八十岁，耋为九十岁。故八、九十岁老人，称“耄耋之年”。画家往往借“猫”与“耄”、“蝶”与“耋”同音，是中国绘画当中常见的祝寿题材，喻富贵长寿的祥瑞之意。",[24,29,81,80,137,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff29bd933c55534ddcd8484587faa3450.jpg",[],16,{"id":2955,"slug":2956,"title":2957,"dynasty":18,"author":481,"museum":20,"description":2958,"tags":2959,"thumbUrl":2960,"material":1395,"size":2961,"collection":87,"collections":2962,"showCount":2953,"zanCount":11,"manualWeight":11,"mainColor":71},234130,"wen-zheng-ming-za-hua-si-duan-juan-wen-zheng-ming-234130","文徵明杂画四段卷","一、兰花小鸟。款识：[征明]钤印：[文征明印]白方、[征仲]朱方\n二、花鸟 款识：[落叶萧萧苦竹深，茆檐斜日唤双禽。棘丛岂是棲身地，三月春风满上林。征明。]钤印：[文征明印]白鞍钢、[征仲]朱方\n三、观瀑 款识[征明]钤印：[文征明印]白方、[征仲]朱方\n四、柏石 自题：[古石棱竞玄玉，乔柯偃蹇苍虬。着个修篁带雨，分明铁网琳球。征明。]钤印：[文征明印]白方、[征仲]朱谠",[23,24,29,28,25,207,31,121,58,101,137,7,33,120,1105,612,32,40,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf293294d9a450f075036e4b99807eab.jpg","每段 纵32.6厘米 横50.8厘米",[],{"id":2964,"slug":2965,"title":639,"dynasty":345,"author":1773,"museum":20,"description":2966,"tags":2967,"thumbUrl":2968,"material":1288,"size":2969,"collection":87,"collections":2970,"showCount":2953,"zanCount":11,"manualWeight":11,"mainColor":49},233952,"song-shi-tu-zhou-sheng-mao-233952","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。",[24,25,81,59,7,120,221,1127],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe5472fa97ec25a324a41e344a125846.jpg","纵77.4厘米，横27.2厘米",[],{"id":2972,"slug":2973,"title":2974,"dynasty":2528,"author":2975,"museum":217,"description":2976,"tags":2977,"thumbUrl":2980,"material":87,"size":87,"collection":150,"collections":2981,"showCount":2953,"zanCount":11,"manualWeight":11,"mainColor":2982},202832,"pang-xu-zhai-bao-tu-tu-zhou-wang-zhen-202832","庞虚斋抱兔图轴","王震","画面中，长衫人物抱兔而立，神态从容闲适。苍松挺劲，虬枝间新梅绽放，山石朴拙，白兔灵动，景致清雅静谧。笔墨兼工带写，线条简练却精准勾勒形神，设色淡雅温润，融文人意趣与生活情味于一体，人物与松梅兔石相映成趣，尽显悠然恬淡的氛围。",[24,80,137,2978,7,32,60,2979,23],"兔","兼工带写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3cbeb83e18c27b91762d3467d0d7bcc.jpg",[150],"b1a490",{"id":2984,"slug":2985,"title":2986,"dynasty":18,"author":1071,"museum":116,"description":2987,"tags":2988,"thumbUrl":2989,"material":326,"size":327,"collection":87,"collections":2990,"showCount":2991,"zanCount":11,"manualWeight":11,"mainColor":71},288041,"bei-yuan-shan-shui-song-shan-wen-dao-tu-li-zhou-lan-ying-288041","北苑山水松山问道图立轴","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。",[23,24,81,58,80,137,1127,63,314,7,121,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb3fa328298498dc290bc922f3fbf306.jpg",[],15,{"id":2993,"slug":2994,"title":2995,"dynasty":173,"author":500,"museum":116,"description":2996,"tags":2997,"thumbUrl":2999,"material":326,"size":327,"collection":87,"collections":3000,"showCount":2991,"zanCount":11,"manualWeight":11,"mainColor":49},287316,"shang-shan-si-hao-hui-chang-jiu-lao-tu-juan-se-qian-yi-ming-287316","商山四皓会昌九老图卷（色浅）","此作用淡墨白描写就园林雅集之景，亭台水榭错落于茂林修竹间，层岩清波衬出幽旷意境。卷中文人或围坐清谈、展卷观画，或凭栏听琴、临水闲步，笔致细劲秀雅，将士林林下风流尽数铺陈。\n\n画面简澹空灵，以极简笔墨晕染出古雅沉静的氛围，尽显以琴棋书画为伴的雅致日常。拖尾题跋虽有墨损，却更添岁月摩挲的沧桑古意，整卷文气四溢，将宋人的清逸意趣凝于尺幅，自带沉静拙朴的书卷余韵。",[23,99,24,29,28,25,207,137,61,7,33,2813,140,30,121,2064,2998],"历史人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b3d3921be16f9a6d9a093994019d1f5.jpg",[],{"id":3002,"slug":3003,"title":3004,"dynasty":114,"author":500,"museum":116,"description":3005,"tags":3006,"thumbUrl":3010,"material":326,"size":327,"collection":87,"collections":3011,"showCount":2991,"zanCount":11,"manualWeight":11,"mainColor":49},245651,"jin-chang-fang-pen-mu-shi-song-he-pen-jing-yi-ming-245651","金长方盆木石松鹤盆景","鎏金长盆錾刻蝠纹环绕团寿，暗藏福寿绵长的吉庆寓意。苍松虬曲古雅，翠叶攒簇如盖，尽显傲霜之姿；金枝红梅灼灼绽放，明艳鲜活。紫晶石为花、青玉细草点缀其间，仙鹤独立松下，神态悠然自若。\n整体布局疏密相宜，华贵材质与文人雅趣相融，将岁寒三友的清雅意致与祥瑞寓意揉合为一。匠师以精妙工艺，把天然晶石与造办匠心完美结合，成就这件兼具陈设美感与美好祈愿的案上清玩，尽显东方美学的雅致厚重。",[668,3007,3008,80,7,3009,120,102],"金器","雕刻","木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55f5194e186fdb9f2423e38a0c1e9733.jpg",[],{"id":3013,"slug":3014,"title":3015,"dynasty":18,"author":3016,"museum":116,"description":3017,"tags":3018,"thumbUrl":3019,"material":263,"size":87,"collection":463,"collections":3020,"showCount":2991,"zanCount":11,"manualWeight":11,"mainColor":71},241648,"song-feng-shui-yue-heng-zhu-you-jian-241648","松风水月横","朱由检","朱由检（1611年2月6日－1644年4月25日 ），男，汉族，字德约 ，明朝第十六位皇帝（1627年10月2日-1644年4月25日在位），也是明朝作为全国统一政权的最后一位皇帝，明光宗朱常洛第五子，明熹宗朱由校异母弟，母为孝纯皇后刘氏。\n万历三十九年（1611年），生于慈庆宫 ，天启二年（1622年），被封为信王。天启七年（1627年）即皇帝位，年号崇祯。即位之初，大力铲除阉党，勤于政事，厉行节俭，平反冤狱。在位期间，朝廷党争不休，民间灾害不断，导致明末农民起义爆发，关外后金政权趁势崛起，国家处于内忧外患的境地。\n崇祯十七年（1644年），李自成攻破北京时，朱由检自缢于煤山，终年三十四岁。清军入关后，以礼改葬于明十三陵中的思陵，庙号怀宗（后取消），谥号钦天守道敏毅敦俭弘文襄武体仁致孝庄烈愍皇帝。南明弘光帝追上谥号绍天绎道刚明恪俭揆文奋武敦仁懋孝烈皇帝，庙号思宗，后改为毅宗。 隆武帝改庙号为威宗。",[99,24,29,28,30,31,121,7,2830,312,2825],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d175e537c5d64ec94a73379cf795ca0.jpg",[463],{"id":3022,"slug":3023,"title":3024,"dynasty":114,"author":3025,"museum":116,"description":3026,"tags":3027,"thumbUrl":3028,"material":195,"size":87,"collection":67,"collections":3029,"showCount":2991,"zanCount":11,"manualWeight":11,"mainColor":71},237688,"shan-shui-zhou-sun-yi-237688","山水轴","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。\n山水得黄公望法，人以为文徵明后身。淡而神旺，简而意足。尝画歙山二十四图。亦工花卉。传世作品有崇祯十二年（1639）与李永昌、汪度、弘仁、刘上延为李生白联作《冈陵图》合卷，每人画一段依次相接，孙逸所画第四段，墨色变化层次分明，质朴洁静，萧疏清逸，现藏上海博物馆；十六年（1643）作《茅屋长松图》轴藏故宫博物院；《仿云林山水图》扇页，自题：“云林不是人间笔，胸次无尘腕下仙，摹得东冈草堂法，两三株树小亭边。旋吉词兄属涂并题，正。孙逸。”藏安徽省博物馆；顺治十一年（1654）作《秋山图》轴、十四年作《仿黄公望山水图》扇页、康熙十九年（1680）作《山水》册页著录于《中国书画家印鉴款识》。从艺活动约于康熙前期。",[24,29,81,25,59,58,161,33,7,810,60,62,63,579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08dd0626551da2c6ee84d50acbd958e6.jpg",[67],{"id":3031,"slug":3032,"title":3033,"dynasty":18,"author":1352,"museum":116,"description":3034,"tags":3035,"thumbUrl":3036,"material":87,"size":87,"collection":87,"collections":3037,"showCount":2991,"zanCount":11,"manualWeight":11,"mainColor":71},228491,"you-he-tu-du-jin-228491","友鹤图","此作绘水畔幽居，茅舍内隐士凭榻静思，竹松奇石环伺左右，远汀烟水空濛澹荡，晕染出清寂出尘的江乡暮色。笔墨秀润简淡，以轻岚淡墨铺就旷远意境，咫尺之间尽显林泉幽致。\n后接长篇题咏，诗书合璧，以鹤喻同心知己，寄寓了文人幽栖林下、澹泊自适，以鹤为友、物我两忘的隐逸襟怀，尽显明代文人画尚意抒情的特质，将林下高致的清雅意趣藏于尺幅之间，是兼具笔墨意趣与文人精神的上乘佳构。",[23,24,29,28,25,31,121,30,58,137,7,33,221,82,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5fd2a2f16484e93696f6852f61d4223.jpg",[],{"id":3039,"slug":3040,"title":58,"dynasty":114,"author":2722,"museum":1036,"description":3041,"tags":3042,"thumbUrl":3043,"material":87,"size":87,"collection":87,"collections":3044,"showCount":2991,"zanCount":11,"manualWeight":11,"mainColor":71},223243,"shan-shui-hua-yan-223243","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。\n华岩一生贫困，金农在《画竹题记》提到：“汀洲华岩秋岳，……尝画兰草纸卷，卷有五丈者，一炊饭顷便能了事，清而不媚，恍闻幽香散空谷之中，…… 余恨不能踵其后尘也。”乾隆十七年（1752），回到杭州旧居“解弢馆”。乾隆二十一年卒，有《离垢集》5卷。",[23,24,80,25,59,81,58,82,7,33,810,60,137,138,579,903],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8812e9c83f76f654f907938a5ca82940.jpg",[],{"id":3046,"slug":3047,"title":3048,"dynasty":114,"author":3049,"museum":20,"description":3050,"tags":3051,"thumbUrl":3054,"material":3055,"size":3056,"collection":87,"collections":3057,"showCount":2991,"zanCount":11,"manualWeight":11,"mainColor":3058},223144,"shi-wan-tu-ce-8-ren-xiong-223144","十万图册8","任熊","《十万图》册是任熊晚年创作的10幅山水精品，因题目均以“万”字起首而得名，即“万卷诗楼”、“万点青莲”、“万峰飞雪”、“万笏朝天”、“万竿烟雨”、“万松叠翠”、“万林秋色”、“万壑争流”、“万丈空流”、“万横香雪”，以寓至多尽善、完满俱足之意。该图册多取材于苏州太湖一带的山水而内容又有所扩大，如“万笏朝天”、“万横香雪”即以苏州天平山和香雪海为素材，“万点青莲”描绘的应是杭州西湖的景色，而“万丈空流”、“万竿烟雨”则是想象中的海岛和潇湘奇景。总之，画家是以“十”、“万”来概括天下美景与赏心乐事。作品笔法细腻，构思精微，意境深邃，并富有装饰趣味，于写实中充满浪漫情调。尤其是作者充分运用金笺纸的底色作用，使青绿设色逾显得绚丽多彩，浓艳华贵而不失雅逸的艺术效果。",[23,24,99,29,261,80,100,59,58,138,60,63,193,7,3052,1196,3053],"枫","土地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc40f212f1e649c2a2efad0ff50bb4879.jpg","泥金笺，设色","纵26.3厘米，横20.5厘米",[],"FF9800",{"id":3060,"slug":3061,"title":3062,"dynasty":173,"author":500,"museum":116,"description":3063,"tags":3064,"thumbUrl":3067,"material":326,"size":327,"collection":87,"collections":3068,"showCount":3069,"zanCount":11,"manualWeight":11,"mainColor":49},287555,"hua-shou-xing-yi-ming-287555","画寿星","苍松虬曲、老梅凝芳，铺就幽谧山野底色。寿星颅顶丰硕，面容褶皱如镌刻半生风霜，长髯垂胸，神情温蔼内敛。宽袖道袍织就团山宝纹，晕染柔和层次尽显古朴华贵，纹路刻画精细入微，衬出人物清矍高古的仙姿。身侧灵鹿温驯伴立，岩畔幽花仙草点缀其间，暗合福寿绵长的祥瑞意涵。\n\n笔墨凝练苍劲，设色沉雅古拙，将道家隐逸福寿之思融于山野幽境，工笔精细不苟又兼具文人清雅意趣，静穆间流淌出绵长吉祥的古韵。",[99,24,29,81,80,137,100,3065,537,7,32,3066],"寿星","神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F023e74b57d36aa32bf8fbe9aecabe683.jpg",[],14,{"id":3071,"slug":3072,"title":3073,"dynasty":114,"author":3074,"museum":116,"description":3075,"tags":3076,"thumbUrl":3077,"material":326,"size":327,"collection":45,"collections":3078,"showCount":3069,"zanCount":11,"manualWeight":11,"mainColor":71},239174,"hua-hui-ren-wu-ce-chen-zi-239174","花卉人物册","陈字","陈字，1634年出生，清初名儒祯，小名鹿头，浙江诸暨人，艺术家。",[24,29,261,31,80,7,221,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb82e326337b97264a726f19238d7447b.jpg",[45,107],{"id":3080,"slug":3081,"title":3082,"dynasty":114,"author":1588,"museum":116,"description":2115,"tags":3083,"thumbUrl":3084,"material":326,"size":327,"collection":87,"collections":3085,"showCount":3069,"zanCount":11,"manualWeight":11,"mainColor":71},236013,"sui-han-san-you-tu-zhou-wang-hui-236013","岁寒三友图轴",[24,29,2482,81,25,26,59,7,33,32,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffac38c6f80e4e9a7a350830e3894455.jpg",[],{"id":3087,"slug":3088,"title":3089,"dynasty":114,"author":115,"museum":20,"description":3090,"tags":3091,"thumbUrl":3092,"material":363,"size":3093,"collection":87,"collections":3094,"showCount":3069,"zanCount":11,"manualWeight":11,"mainColor":71},233780,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233780","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。",[24,29,261,31,30,25,80,26,59,137,161,7,1104,60,1074],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08b5ac46bfdfbb00f6719c0a94a89517.jpg","纵27厘米，横21.3厘米",[],{"id":3096,"slug":3097,"title":3098,"dynasty":114,"author":1588,"museum":999,"description":3099,"tags":3100,"thumbUrl":3101,"material":263,"size":3102,"collection":87,"collections":3103,"showCount":3069,"zanCount":11,"manualWeight":11,"mainColor":71},231490,"mei-xi-gao-yin-tu-wang-hui-231490","梅溪高隐图","王翚(1632-1717)，字石谷、象文，号耕烟散人、乌目山人、剑门樵客、天放闲人、雪笠道人、海虞山樵，晚号清晖主人、清晖老人等，常熟(今江苏)人。\n他出身于世代文人家庭，据记载，他的祖上四代皆善画，且皆有名气。明代著名画家沈周，就曾称道过他的四世祖王伯臣的画。其祖父王载仕、伯父王豢鳌、父亲王云客均擅绘画，有秀雅之称。\n王石谷秉承家学，自幼酷嗜绘画，据说他在六、七岁时便能以芦荻画壁，入学私塾，喜弄纸笔，随意点染，有生动之意。同县的张珂，擅长山水，学黄公望一体，王石谷曾一度向他学画。\n青年时的王石谷就崭露头角，表现出非凡的艺术才能。正当他需要扩大眼界和名师指导时，正巧太仓大画家王鉴游览常熟虞山，一日见壁间悬挂一山水小幅，大为惊叹，一问方知是王石谷所画，即派人将他找来。\n王石谷久闻王鉴画名，便呈上画扇，请王鉴过目。王鉴见画艺精湛，遂与王石谷交谈，谈话中，尤觉这位年方二十的年轻人聪颖而富有才华，不禁赞扬道：你的才学，已可与古人相比。当即收为弟子，并携其返回太仓，亲自指授。王石谷画艺遂大进。\n后来王鉴欲离家远行，便把这位高足弟子引荐给王时敏。王时敏询其所学，惊异地说：“此烟客师也，乃师烟客耶。”也就是说，王石谷简直可以当我王时敏的老师了，怎么还作我王时敏的弟子呢！于是取家藏宋元名迹供王石谷学习，并带着他游览长江南北，观摹诸位藏家所珍藏的历代秘本名迹。\n王石谷潜神一志，细心揣摩，“尽得其法，仿临宋元人，无微不肖”。王时敏曾感慨地说：“气韵位置，何生动天然如古人竟乃尔耶！吾年垂暮，何幸得见石谷，又恨石谷不及为董宗伯(其昌)见也”。\n当时著名书画鉴赏家、王石谷的挚友周亮工在《读画录》中也盛赞云：“予所见摹古者，赵雪江(清画家赵澄)与石谷两人耳，雪江太拘绳墨，无自得之趣：石谷天资高，年力富，下笔便可与古人齐驱，百年以来，第一人也”。\n据说当时人以王石谷临仿古人之作，加以装裱，冒充古画，即便是精于鉴赏的行家，也很难看出是近人手笔。",[23,24,25,59,58,7,138,60,236,63,810],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f8ce70988e77ff1074fb05c84cc2026.jpg","138x63",[],{"id":3105,"slug":3106,"title":3107,"dynasty":18,"author":481,"museum":158,"description":3108,"tags":3109,"thumbUrl":3110,"material":263,"size":3111,"collection":87,"collections":3112,"showCount":3069,"zanCount":11,"manualWeight":11,"mainColor":71},231374,"song-xia-guan-quan-tu-wen-zheng-ming-231374","松下观泉图","本幅画高士二人，隔溪闲话，一童携琴，自松间来。近景松林，笔墨细淡，结顶一山，却粗重如奔云，命意堪称奇绝。文征明个性谨饬，工画精细小幅，此帧属高头巨制，于文画中极为罕见。\n白云盤滞山腰，飞泉来自重巖深处。溪谷一人临流，坐听松风，眼观飞泉。款题「文壁」，旧传文氏四十岁前名「壁」，四十岁后改「徵明」。据此名款与其画风，约为四十岁左右之作。",[24,25,59,100,81,7,63,137,58,60,1127],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c15d5fad3064f8f1718c21a27d80b1a.jpg","纵348.2cm，横104.6cm",[],{"id":3114,"slug":3115,"title":3116,"dynasty":18,"author":3117,"museum":158,"description":3118,"tags":3119,"thumbUrl":3120,"material":263,"size":3121,"collection":87,"collections":3122,"showCount":3069,"zanCount":11,"manualWeight":11,"mainColor":3123},222403,"hua-song-shan-tu-dong-qi-chang-shu-qi-yan-jue-ju-cheng-shan-wu-ling-222403","画松山图董其昌书七言绝句成扇","吴令","泥金扇面衬得墨色愈见苍润清雅。近岸林木攒簇，山石以干笔淡墨勾勒皴擦，朴拙苍厚，带着沉静古雅的质感。远景坡岸孤树茅舍疏淡简远，留白空灵透气，将松山幽居的静穆清远收拢在方寸之间。\n笔墨简淡松秀，以少胜多，尽显萧散幽寂的林下意趣，与另一面的书法相映成趣，悠悠漾着旧时文人幽居林泉的雅致风流。",[23,220,24,29,25,59,58,7,310,82,161,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d7fa4de35468ed5eb700e3883fbf8cc.jpg","17.8x46.8厘米",[],"FFFFFF",{"id":3125,"slug":3126,"title":3127,"dynasty":114,"author":258,"museum":20,"description":259,"tags":3128,"thumbUrl":3129,"material":263,"size":264,"collection":87,"collections":3130,"showCount":3069,"zanCount":11,"manualWeight":11,"mainColor":71},220296,"huang-shan-tu-ce-30-hong-ren-220296","黄山图册-30",[23,24,29,99,261,25,80,59,58,7,1581,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c09aaaaede0cee18cd178663a3a981b.jpg",[],{"id":3132,"slug":3133,"title":3134,"dynasty":173,"author":500,"museum":158,"description":3135,"tags":3136,"thumbUrl":3137,"material":86,"size":3138,"collection":45,"collections":3139,"showCount":3069,"zanCount":11,"manualWeight":11,"mainColor":71},219316,"song-teng-yuan-xi-tu-yi-ming-219316","松藤猿戏图","松枝盘曲如铁，老藤垂绕似丝，猿猴或攀藤戏叶，或蹲枝远眺，于方寸团扇间灵动穿梭。毛发纤毫毕现，眼神憨态可掬，爪尖紧扣藤枝的力度藏于墨色浓淡，松针疏密有致的层次显于笔触轻重。宋人的写实功夫与诗意心境在此交融：苍劲的松藤衬出猿的活泼，留白处似有余韵，引人遐想山林深处的清幽野趣。无款却见匠心，每一笔皆为自然传神，尽显宋代院体画精致细腻的风骨与生机盎然的意趣，仿佛能听见枝叶轻摇、猿声轻啼，将观者带入一片静谧而鲜活的自然之境。",[23,99,24,29,220,25,100,7,2091,1669,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05efa16aa825a6b0a07bdd664e3c73bf.jpg","22x21.8cm",[45],{"id":3141,"slug":3142,"title":3143,"dynasty":114,"author":1570,"museum":217,"description":3144,"tags":3145,"thumbUrl":3146,"material":87,"size":87,"collection":67,"collections":3147,"showCount":3069,"zanCount":11,"manualWeight":11,"mainColor":3148},203337,"huang-shan-shi-jiu-jing-tu-ce-mei-qing-203337","黄山十九景图册","此作以篆隶意趣的线条勾勒黄山峭壁，淡墨皴擦与浅蓝设色晕染云海，崖顶奇松虬劲，枝干如铁，与空濛山雾相映成趣。笔墨简括却气韵流转，将黄山的雄奇险峻与灵秀空濛融于册页之中，尽显山川的自然生机与文人画的清雅神韵。",[24,25,80,58,7,59,261,361,60,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29340f3958da7cce96ba27c364a6a209.jpg",[67],"cec6bb",{"id":3150,"slug":3151,"title":2769,"dynasty":114,"author":3152,"museum":217,"description":3153,"tags":3154,"thumbUrl":3156,"material":87,"size":87,"collection":67,"collections":3157,"showCount":3069,"zanCount":11,"manualWeight":11,"mainColor":3158},201955,"cai-ju-tu-zhou-shen-zong-qian-201955","沈宗骞","画面以水墨绘就，苍松倚石而生，枝干盘曲如虬龙，松针层叠细密，尽显古劲之姿。旁侧竹枝疏朗，与松枝相映成趣。远山以淡墨晕染，云雾缭绕间显悠远之境。近景处，文人宽袍博带，手持菊枝，俯身凝视，神态悠然恬淡，似沉醉于菊香之中。山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。\n吴楷： 清嘉庆——咸丰时期著名画家。一名允楷，字辛生，别号骞林外史，室名云静庐，吴县(今江苏苏州)人。 [2] 工花卉兰石，兼善山水。 （详见《中国书画家印鉴款识》第444页。）",[24,29,261,80,100,101,7,32,221],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4dc41ccb6c24d8ce8a08361981114ab.jpg",[],{"id":3435,"slug":3436,"title":3437,"dynasty":114,"author":3438,"museum":116,"description":3439,"tags":3440,"thumbUrl":3441,"material":326,"size":327,"collection":87,"collections":3442,"showCount":199,"zanCount":11,"manualWeight":11,"mainColor":71},224576,"song-he-bo-tao-cheng-shan-qing-ren-224576","松鹤波涛成扇","清人","苍松虬枝蟠曲，墨色沉凝勾勒出古木苍劲，针毫细密如攒聚霜雪。两只仙鹤姿态隽秀，一鹤引颈唳空，似欲振翅穿云，一鹤垂首理羽，悠然栖于松畔。侧边细笔晕出水波层叠，柔浪轻漾将松间清旷揉入烟波浩渺之中。\n\n旧纸泛黄晕开岁月痕迹，木骨凝住旧时光阴，整幅小品将祥瑞意趣藏在简净笔墨里，把林泉野趣收于盈尺扇面。落笔克制却意韵悠长，雅致笔墨与吉庆意涵相融，是耐人品味的小品佳构。",[24,29,220,80,25,100,7,102,101,58,312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5bc17a44121d5340a0e044499da1455.jpg",[],{"id":3444,"slug":3445,"title":3446,"dynasty":18,"author":1352,"museum":158,"description":3447,"tags":3448,"thumbUrl":3449,"material":80,"size":3450,"collection":87,"collections":3451,"showCount":199,"zanCount":11,"manualWeight":11,"mainColor":71},222431,"hua-song-yin-diao-ting-ce-ye-du-jin-222431","画松阴钓艇册页","杜堇，明代画家，生活在十五至十六世纪初，原姓陆，字惧男、号柽居、古狂、青霞亭长，江苏丹徒（今江苏镇江）人，占籍燕京（今北京市）。宪宗成化（1465—1487）中试进士不第，绝意进取。工诗文，通六书，善绘事，界画楼台，最严整有法，山水树石不甚称。人物亦白描能手，花草鸟兽并佳，又能作飞白体，宜乎宗之者众。弘治二年（1489）为吴原博（宽）作赏菊宴集图。从艺活动约在成化、弘治间。\n明代中期的画坛，除了活跃着以沈周、文徵明等为代表的“吴门画派”和以戴进、吴伟为代表的“浙江画派”之外，在南京还出现了一些独具风格的文入画家。他们个个能诗、能文、擅书、擅画，且r生，隋开朗，豪放不羁。杜堇就是其中的一位。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。\n传世作品有《竹林七贤图》卷，现藏辽宁省博物馆；《梅下横琴图》轴藏上海博物馆；《绿蕉当暑图》，藏扬州市博物馆；《林堂秋色图》轴藏广州美术馆；《祭月图》轴藏中国美术馆；《古贤诗意图》卷于弘治十三年（1500）由金琮（1449-1501）书古人诗十二首，后又由杜堇补图，现存九段，该图笔法峭劲，潇洒流利，用墨比宋人简淡。《东坡题竹图》轴人物形象细腻传神，自题七绝一首，另有《邵雍像》轴等，上述画均藏故宫博物院。从艺活动约在成化、弘治间。",[23,24,220,25,80,58,59,7,437,731,60,1708],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff70da5f12ccbc7b5817be2e5d8f1e38e.jpg","68x68厘米",[],{"id":3453,"slug":3454,"title":3455,"dynasty":18,"author":3456,"museum":217,"description":3457,"tags":3458,"thumbUrl":3460,"material":87,"size":87,"collection":67,"collections":3461,"showCount":199,"zanCount":11,"manualWeight":11,"mainColor":3462},203412,"mo-gu-shan-shui-ce-shen-hao-203412","摹古山水册","沈颢","笔墨摹古而意趣自出，山石勾勒皴擦见苍劲，松枝虬曲含逸气。左帧水岸相接，孤舟泛波，小桥隐现，一派江南清旷；右帧峰峦叠嶂，飞瀑流泉，林木葱茏间有人物凭栏，尽显林泉雅致。设色淡雅，构图疏密得宜，于摹仿中见个人情韵，是文人山水的典型风貌。",[24,58,3459,59,25,80,62,63,437,7,60,1635,1637,137,261,23],"摹仿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f367a4b1eb7d65a438518901e2838d3.jpg",[67],"988065",{"id":3464,"slug":3465,"title":3466,"dynasty":18,"author":398,"museum":217,"description":3467,"tags":3468,"thumbUrl":3469,"material":87,"size":87,"collection":67,"collections":3470,"showCount":199,"zanCount":11,"manualWeight":11,"mainColor":3471},203143,"qiu-xing-ba-jing-tu-ce-dong-qi-chang-203143","秋兴八景图册","这幅画作笔墨清润雅致，以淡墨皴染山峦，线条古拙灵动。画面中山峦层叠起伏，松枝虬劲舒展，红叶点缀其间，秋意疏淡而悠长。近景树木姿态各异，与远处朦胧山影相映成趣，营造出清远幽寂的文人意境。书画相融，题跋笔墨流畅自然，尽显“书画同源”的韵致，将秋日山水的空灵之美悄然铺展。",[24,58,25,80,59,7,193,2642,1002,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb2badc70414c8152493445b8fdc6727.jpg",[67],"d4cdc4",{"id":3473,"slug":3474,"title":3475,"dynasty":2528,"author":2926,"museum":217,"description":3476,"tags":3477,"thumbUrl":3478,"material":87,"size":87,"collection":150,"collections":3479,"showCount":199,"zanCount":11,"manualWeight":11,"mainColor":3480},202972,"song-xi-ting-sheng-tu-zhou-pu-ru-202972","松溪听声图轴","苍松虬枝横斜，松针层叠如翳，笔墨间见清劲古雅。老者宽袍倚石，静对溪流，似听水声潺潺；童子持杖侍侧，神态恭谨。设色浅淡温润，衣纹线条灵动，山石皴擦有致，尽显文人画的清幽意趣。构图疏朗，意境悠远，将林下听泉的闲适超然凝于尺幅。",[24,80,137,7,63,1002,25,100,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1339b2e7124d0b83f3a7ad6feeeacfe9.jpg",[150],"cec6b2",{"id":3482,"slug":3483,"title":3484,"dynasty":114,"author":3485,"museum":217,"description":3486,"tags":3487,"thumbUrl":3488,"material":87,"size":87,"collection":45,"collections":3489,"showCount":199,"zanCount":11,"manualWeight":11,"mainColor":3490},202051,"song-ying-tu-zhou-lu-zhang-tai-202051","松鹰图轴","鲁长泰","老松虬枝盘曲，皴笔勾勒出苍劲肌理，松针以浓墨点簇，疏密有致，尽显古木峥嵘之态。雄鹰独立枝头，羽翅层次细腻，眼神锐利如炬，姿态英挺矫健，兼用工笔细描与写意传神，气韵生动。背景留白开阔，虚实相生，更衬出松鹰的孤傲雄浑。整幅笔墨凝练，将松之坚韧与鹰之豪迈相融，传递刚健向上的精神气质。",[24,25,101,7,777,100,59,81,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdabe760fed5d02f497a26bc3c559c913.jpg",[45],"ad9d88",{"id":3492,"slug":3493,"title":3494,"dynasty":114,"author":500,"museum":116,"description":3495,"tags":3496,"thumbUrl":3500,"material":326,"size":327,"collection":87,"collections":3501,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":3502},259902,"yong-zheng-kuan-qing-hua-sui-han-san-you-tu-guan-yi-ming-259902","雍正款青花岁寒三友图罐","雍正一朝虽然只有13年，但他的制瓷业成就却达到了清代官窑的历史高峰，其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[3497,3498,32,7,33,3499,248],"陶瓷","青花","罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d847463840f295e50994f3252f44f38.jpg",[],"2A56C6",{"id":3504,"slug":3505,"title":3506,"dynasty":18,"author":500,"museum":116,"description":3507,"tags":3508,"thumbUrl":3509,"material":87,"size":87,"collection":87,"collections":3510,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":49},2346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Cahill)在《图说中国绘画史》一书中赞叹宋画之美：“在他们的作品中，自然与艺术取得了完美的平衡。他们使用奇异的技巧，以达到恰当的绘画效果，但 是他们从不纯以奇技感人；一种古典的自制力掌握了整个表现，不容流于滥情。艺术家好像生平第一次接触到了自然，以惊叹而敬畏的心情来回应自然。他们视界之 清新，了解之深厚，是后世无可比拟的。”",[24,99,80,100,58,137,7,161,1722,579,1764,3526],"策杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5575f00a384fb24df04d011160151d6.jpg","绢本 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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。”",[24,29,220,25,59,58,62,63,7,33,138,121,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ea2a9b91cd5486fbf9e952241e2334b.jpg",[],{"id":3632,"slug":3633,"title":3634,"dynasty":114,"author":2722,"museum":938,"description":3635,"tags":3636,"thumbUrl":3638,"material":250,"size":3639,"collection":87,"collections":3640,"showCount":3597,"zanCount":11,"manualWeight":11,"mainColor":71},233948,"hua-niao-ce-hua-yan-233948","花鸟册","华喦（同“岩”）（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，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、李鳝、郑板桥及盐商巨子马曰管、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。\u2028 华岩一生贫困，金农在《画竹题记》提到:汀洲华岩秋岳，……尝画兰草纸卷，卷有五丈者，一炊饭顷便能了事，清而不媚，恍闻幽香散空谷之中，…… 余恨不能踵其后尘也。乾隆十七年(1752)，回到杭州旧居解弢馆。乾隆二十一年卒，有《离垢集》5卷。",[24,29,261,25,80,26,612,3637,7,101],"树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37441e2049f3063c56504e99c7cf62ed.jpg","31.2×44.7厘米",[],{"id":3642,"slug":3643,"title":3644,"dynasty":18,"author":1071,"museum":116,"description":3645,"tags":3646,"thumbUrl":3647,"material":1041,"size":3648,"collection":87,"collections":3649,"showCount":3597,"zanCount":11,"manualWeight":11,"mainColor":71},231592,"qing-lan-cui-nuan-tu-lan-ying-231592","晴岚翠暖图","蓝瑛（1585-1664），字田叔，号蜨叟，又号东郭老农，晚号石头陀、山公、万篆阿主者、西湖研民，钱塘（今浙江杭州）人，所居榜额曰：“城曲茅堂”。工书擅画，长于山水、花鸟、梅竹，尤以山水著名。其山水初从黄公望入门，遍摹元代诸家笔法，后上窥晋、唐、两宋，俱得古人精蕴。中年自立门庭，涉猎既多，眼界宏远，故落笔纵横奇古。晚年渐趋苍劲疏宕，气象崚嶒，虽力追古法，但能融会贯通，自成风范。其绘画对明末清初绘画影响甚远，被后人称为“武林派”，画史亦称之为“后浙派”。\n此图为蓝瑛先生摹黄公望《晴岚暖翠》所作，上绘峰峦迭翠，银链飞瀑，峭石嵯峨，云雾弥漫。中绘水榭楼台，依山傍水，苍浑郁茂，清泉蜿流，临窗对语，悠然其间。下绘湖水空明，临渚茅亭，古木苍郁，清趣秀逸。纵观此幅，构图奇伟，落笔纵横，顿挫有致。其境高雅飘逸，其意苍劲疏秀。宋元文人之风，悠然可见其中。亦见其运笔得大痴神韵，勾勒浅绛，又参自法，清简秀润，乃为田叔之佳构也。\n一峰老人即元代画家黄公望。黄公望（1269-1354），元代画家。本姓陆，名坚，江浙行省常熟县人。后过继永嘉府（今浙江温州市）平阳县（今划归苍南县）黄氏为子，居虞山（今宜山）小山，因改姓黄，名公望，字子久，号一峰、大痴道人。中年当过中台察院椽吏，后皈依全真教，在江浙一带卖卜。擅画山水，师法董源、巨然，兼修李成法，得赵孟頫指授。所作水墨画笔力老到，简淡深厚。又于水墨之上略施淡赭，世称“浅绛山水”。晚年以草籀笔意入画，气韵雄秀苍茫，与吴镇、倪瓒、王蒙合称“元四家”。擅书能诗，撰有《写山水诀》，为山水画创作经验之谈。存世作品有《富春山居图》、《九峰雪霁图》、《丹崖玉树图》《天池石壁图》等。",[23,24,29,28,58,80,59,100,1581,60,138,361,1709,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51301e878118487eeaa8028a0ad77ec5.jpg","161×42.9cm",[],{"id":3651,"slug":3652,"title":3653,"dynasty":114,"author":3654,"museum":116,"description":3655,"tags":3656,"thumbUrl":3657,"material":87,"size":87,"collection":87,"collections":3658,"showCount":3597,"zanCount":11,"manualWeight":11,"mainColor":71},222827,"san-xing-tu-xu-gang-222827","三星图","徐冈","徐冈，生卒年不详，字九成，号缾山（瓶山），浙江杭州人。家贫以鬻画养母，至老不娶。山水、花鸟、人物，无所不工。一以华岩为师，而尤擅花鸟。",[23,99,24,29,81,80,100,137,7,33,1197,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53588f1a09245fd285ade392b1603262.jpg",[],{"id":3660,"slug":3661,"title":3662,"dynasty":2528,"author":3663,"museum":217,"description":3664,"tags":3665,"thumbUrl":3666,"material":87,"size":87,"collection":67,"collections":3667,"showCount":3597,"zanCount":11,"manualWeight":11,"mainColor":3668},203397,"lin-ni-yuan-lu-shan-shui-tu-zhou-wu-zheng-203397","临倪元璐山水图轴","吴徵","层峦叠嶂间，苍松挺秀于岩畔，虬枝盘曲，松针细密如簇；山径蜿蜒穿林而过，隐见红衣人影点缀，添几分生机。远处江天辽阔，烟波浩渺中孤舟泛波，远山如黛，亭台倚于峭壁，清旷悠远之致油然而生。用笔苍劲含秀逸，山石以皴法写肌理，墨色浓淡相宜，设色淡雅含蓄，既循倪元璐笔意，又融自家情韵，尽显传统山水笔墨情趣与文人风骨，静谧深邃的意境引人入胜。",[58,290,59,80,7,437,82,25,60,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2bbbf9c1da95d99346ea8593f575d39.jpg",[67],"b1a79b",{"id":3670,"slug":3671,"title":3672,"dynasty":2528,"author":2975,"museum":217,"description":3673,"tags":3674,"thumbUrl":3675,"material":87,"size":87,"collection":150,"collections":3676,"showCount":3597,"zanCount":11,"manualWeight":11,"mainColor":3677},203114,"song-shi-gao-shi-tu-zhou-wang-zhen-203114","松石高士图轴","虬松盘曲，枝干以浓墨勾勒如铁，松针攒簇间点染淡彩，苍劲中见灵秀；旁卧孤石，皴擦浑厚，墨气沉雄。高士宽袍博带，巾冠轻覆，倚石闲坐，眉眼间尽是悠然超脱之态，衣纹简劲流畅，寥寥数笔便传神韵。背景山峦以淡墨晕染，留白处似有云气浮动，右侧题款笔墨洒脱，与画面气韵浑然一体。整作笔墨兼融写意与工致，景物简练却意境悠远，尽显文人画的雅致风骨，观之如沐清风，顿生尘外之想。",[24,29,80,137,221,25,59,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F191dd89635d1b758a8b2bed757439f46.jpg",[150],"81776e",{"id":3679,"slug":3680,"title":3681,"dynasty":114,"author":534,"museum":217,"description":3682,"tags":3683,"thumbUrl":3684,"material":87,"size":87,"collection":87,"collections":3685,"showCount":3597,"zanCount":11,"manualWeight":11,"mainColor":3686},203051,"hui-lin-ji-miao-ce-zhu-da-203051","绘林集妙册","画面中山石以简括皴法写就，肌理隐现；松枝虬劲盘曲，若含古意；杂树错落，枝叶或浓或淡，皆见笔力。山间茅舍隐于林麓，似闻林泉之音却无人迹，留白处云雾轻笼，更添山林空寂之趣。笔墨间既有野逸之气，又含文人画的空灵禅意，于简淡中见深致。",[25,58,59,7,60,2405,505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b15fcd2c64cd86b8a7d20fd0765ab60.jpg",[],"9da09e",{"id":3688,"slug":3689,"title":3690,"dynasty":114,"author":664,"museum":217,"description":3691,"tags":3692,"thumbUrl":3694,"material":87,"size":87,"collection":45,"collections":3695,"showCount":3597,"zanCount":11,"manualWeight":11,"mainColor":3696},201938,"zi-teng-song-zhu-tu-zhou-zou-yi-gui-201938","紫藤松竹图轴","古松虬干苍劲，皮纹细腻如刻，紫藤柔蔓缠绕其上，紫花垂垂若流苏，淡雅中见生机。竹枝劲挺，叶片清润，孤石嶙峋，纹理古朴。笔墨兼具工细与意趣，设色雅致，紫藤之紫与松竹之绿相映成趣，构图疏密有致，于静谧中透出自然生机，尽显文人画的清雅韵致。",[100,80,101,7,33,3693,221,23],"紫藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24acb3bb3032406bbf5c21932bf4362f.jpg",[45],"a88457",{"id":3698,"slug":3699,"title":3700,"dynasty":18,"author":481,"museum":116,"description":3701,"tags":3702,"thumbUrl":3704,"material":326,"size":327,"collection":87,"collections":3705,"showCount":109,"zanCount":267,"manualWeight":11,"mainColor":71},287401,"gui-qu-lai-ci-shu-hua-he-juan-wen-zheng-ming-287401","归去来辞书画合卷","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”。",[23,99,24,29,28,25,31,7,33,41,60,3703,928],"归隐","https:\u002F\u002Foss.chua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御制五律一章，以宠其行，行至山东临清以病卒。",[24,99,29,81,58,7,32,62,60,80,59,121,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f332a306f0042f842c1e355679df5e1.jpg",[],{"id":4073,"slug":4074,"title":4075,"dynasty":345,"author":500,"museum":158,"description":4076,"tags":4077,"thumbUrl":4079,"material":86,"size":4080,"collection":150,"collections":4081,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":49},287770,"ling-yang-xian-hua-tu-yi-ming-287770","羚羊献花图","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。",[24,99,1667,80,100,137,538,4078,7,41],"羚羊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1aa1122d9c8943276791bb385302fb7.jpg","63.3x47.8",[150],{"id":4083,"slug":4084,"title":3866,"dynasty":114,"author":500,"museum":116,"description":4085,"tags":4086,"thumbUrl":4088,"material":326,"size":327,"collection":87,"collections":4089,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":71},273651,"dai-mao-bian-qian-ya-song-he-bai-lu-tu-gua-ping-yi-ming-273651","以素纱为地，玳瑁围框，自带雅致华贵之气。绒线堆绣出苍松虬枝，针叶蓬松鲜活，点翠缀饰其间，尽显古木苍劲生机。象牙雕琢的灵鹿肌理细腻柔和，姿态悠然灵动，漫步林泉，暗含福禄绵长的美好祈愿。山石晕染皴擦，色泽雅致晕然，衬出林间幽寂清逸之境。\n\n这件作品融刺绣、牙雕、点翠工艺于一炉，工致精巧却和谐相融，将山林野趣凝于方寸之间，尽显匠人的精妙巧思，把吉祥意趣与雅致审美相合，尽显旧时工艺的绝佳匠心。",[3869,3008,4087,3871,3870,7,537,538,80,60],"镶嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a81f7596f209fed0db53778b4367fab.jpg",[],{"id":4091,"slug":4092,"title":4093,"dynasty":114,"author":500,"museum":116,"description":3495,"tags":4094,"thumbUrl":4097,"material":326,"size":327,"collection":87,"collections":4098,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":49},258247,"yong-zheng-kuan-qing-hua-song-zhu-mei-hou-he-tu-wan-yi-ming-258247","雍正款青花松竹梅猴鹤图碗",[2482,3498,4095,3497,7,33,32,1669,102,4096],"釉下彩","碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0fc7a2a433ed5221744a9a74aeead14.jpg",[],{"id":4100,"slug":4101,"title":4102,"dynasty":114,"author":500,"museum":116,"description":4103,"tags":4104,"thumbUrl":4108,"material":326,"size":327,"collection":87,"collections":4109,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":2240},251708,"bi-yu-fu-diao-ling-he-song-chun-shu-zhuang-xing-hua-cha-yi-ming-251708","碧玉浮雕灵鹤松椿树桩形花插","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。",[2482,4105,4106,7,102,4107,248],"玉石","浮雕","椿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b41e9dea0732f116bec64492c4ce6a6.jpg",[],{"id":4111,"slug":4112,"title":4113,"dynasty":114,"author":4114,"museum":116,"description":4115,"tags":4116,"thumbUrl":4117,"material":326,"size":327,"collection":87,"collections":4118,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":71},239102,"hua-hui-ce-11-yu-sheng-239102","花卉册11","余省","余省（1692年—1767年） ，字曾三，号鲁亭，江苏常熟人，余珣之子，清代著名画家。曾受业于蒋廷锡。乾隆（1736—1795）时与唐岱、周鲲同祗候内廷，善花鸟、虫鱼、翎毛，间亦参用西法，赋色妍丽，尤善画蝶，工兰竹水仙，所作叠邀高宗睿题，藏于石渠宝笈。",[24,29,261,25,80,101,7,64,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58f1d4bc684dbd579640303444fca05c.jpg",[],{"id":4120,"slug":4121,"title":1804,"dynasty":114,"author":1805,"museum":116,"description":4122,"tags":4123,"thumbUrl":4124,"material":263,"size":87,"collection":87,"collections":4125,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":71},237068,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237068","水墨浅绘林亭水畔，双松苍劲卓立，草屋幽藏于林下，浅滩汀洲横陈远浦，留白铺就空寂萧散的淡远意境。笔致清瘦秀雅，以极简笔墨勾勒出幽居林下的闲澹之景，暗合题诗中的隐逸意趣。诗书合璧，墨色朴淡松秀，不见浓丽敷色，尽以线条晕染出林下观览的清寂闲情，将简逸风骨藏于尺幅之间，淡墨之中自有悠长余韵，尽显清雅绝尘的林下雅兴。",[24,29,261,25,207,58,7,82,62,221,161,30,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5e103788a96e8976d06a0220665940d.jpg",[],{"id":4127,"slug":4128,"title":3073,"dynasty":18,"author":4129,"museum":116,"description":4130,"tags":4131,"thumbUrl":4132,"material":263,"size":87,"collection":87,"collections":4133,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":71},237059,"hua-hui-ren-wu-ce-mao-fu-guang-237059","毛复光","此作用笔苍古，虬曲老松盘桓画面，松针攒簇如盖，古藤缠绕皴裂枝干，尽显松柏久经风霜的拙朴雄健。右侧以浓淡墨色勾勒嶙峋山石，干笔皴擦出岩体质感，飞泉借留白衬出灵动水态，潺潺山涧隐于松石之间，动静相映。\n\n画面左侧留白题字，虚实相生，水墨写意苍润兼具，铺展出山林幽寂之景。笔墨饱含文人澹泊意趣，以简淡的水墨层次，写尽林泉隐逸的清幽雅致，将寄情山水的林下之风藏于方寸画幅之中。",[24,29,261,25,59,7,221,1175,121,1127],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86198f7926d54182d8d5f08234686caf.jpg",[],{"id":4135,"slug":4136,"title":4137,"dynasty":114,"author":884,"museum":116,"description":4138,"tags":4139,"thumbUrl":4140,"material":263,"size":4141,"collection":87,"collections":4142,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":71},234891,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234891","王原祁仿古山水册","丁巳为康熙十六年（1677年），王原祁时年三十六岁。册前王时敏款署西庐八十七老人题，应为康熙十七年（1678年）所题，即王原祁创作该册后的次年所书。以丁巳下推至庚午，不足十五年，而自跋中今阅十五年，当是王原祁笔误。\n画前副页有王时敏隶书灵心自悟四大字。画册后跋纸为王原祁自题：此余丁巳春间往云间笔也。先奉常见之谓余为'可教'，题识四字。个阅十五年矣，于古人笔墨终未梦见，殊愧先大父指授，为之泫然。康熙庚午长夏观于毘陵舟次谨题，原祁。钤原祁之印（白文）、麓台（朱文）、兴与烟霞会（白文），画册首副页，尾纸只有庞元济藏印11方。\n该册仿古山水，是王原祁早期绘画的代表作品。所仿元六家山水各具形貌，笔墨或设色又颇具苍润、恬淡、秀丽等不同特点，所以王时敏以灵心自悟夸赞其孙王原祁在仿古的同时，边学习古人的画法，同时又寻求开创个人独特艺术特点的创作方向。该册是研究工原祁早期绘画的宝贵材料。",[1879,80,59,31,121,58,310,120,161,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9008f59216e7f132cb809ba7a4207ec.jpg","纵21厘米，横27厘米",[],{"id":4144,"slug":4145,"title":4146,"dynasty":772,"author":500,"museum":116,"description":4147,"tags":4148,"thumbUrl":4149,"material":326,"size":327,"collection":87,"collections":4150,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":2240},230554,"song-xia-da-mo-tu-yi-ming-230554","松下达摩图","此作以淡墨白描写达摩禅定之姿，衣纹圆转简练，宽袍裹挟身形，神情沉凝肃穆，尽显面壁九年的静定禅心。背景松枝以焦墨点染，古拙苍劲，淡墨晕染流云氤氲缥缈，烘出幽寂空灵的禅境，下方山石以干笔皴擦，朴拙厚重，与达摩沉静之气融为一体。\n\n右上角题字笔意纵逸萧散，与画面简淡禅意相得益彰。全作以极简水墨语言，摒弃繁复修饰，在虚实相生间将达摩苦修定力与山林清寂相融，把禅宗空灵内敛的意趣诠释得淋漓尽致，尽显禅画写意的悠远妙味。",[23,24,29,81,1667,207,137,7,120,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f3f2a0c1e592ea964d7d13e6df54c70.jpg",[],{"id":4152,"slug":4153,"title":4154,"dynasty":18,"author":2125,"museum":116,"description":4155,"tags":4156,"thumbUrl":4157,"material":326,"size":327,"collection":87,"collections":4158,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":71},228463,"song-ting-gao-yi-tu-qian-gu-228463","松亭高逸图","钱毂，吴（今苏州）人。字叔宝，号磬室。明代画家。少孤贫，失学，成年开始读书。从文征明学诗文、书画，学习刻苦，传说曾抄古籍几万卷. 画名重于时，为吴门画派中高手。善绘山水、兰竹，意趣古淡，疏朗清新，风格近其师。工书法，笔力见功夫，挥洒自如，有屋漏之痕、折钗之势。传世作品有《虎丘前山图》轴、《求志图》，均藏北京故宫博物院；《苍山茅舍图》轴，藏上海博物馆。",[23,99,24,29,220,80,59,58,7,82,138,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe165198908dffca33a1454536263b0a.jpg",[],{"id":4160,"slug":4161,"title":4162,"dynasty":18,"author":2434,"museum":999,"description":4163,"tags":4164,"thumbUrl":4165,"material":43,"size":4166,"collection":87,"collections":4167,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":71},214545,"mo-gu-ce-ye-6-chen-hong-shou-214545","摹古册页-6","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。",[24,29,261,207,25,290,121,248,7,33,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a558657db890fd782b9d1e0beb46dd6.jpg","17.8x17.8cm",[],{"id":4169,"slug":4170,"title":4171,"dynasty":2528,"author":4172,"museum":217,"description":4173,"tags":4174,"thumbUrl":4175,"material":87,"size":87,"collection":45,"collections":4176,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":4177},203408,"song-ju-shuang-que-tu-zhou-qi-bai-shi-203408","松菊双鹊图轴","齐白石","画面中松枝遒劲，松针以焦墨挥写，疏密交错间尽显苍劲之姿；树干泼墨晕染，浓淡层次间透出朴拙质感。树下菊丛绽放，寥寥数笔勾勒花瓣轮廓，简约却见生机。双鹊姿态灵动，一只昂首鸣啭，墨羽浓黑发亮；一只俯身呼应，眼神专注传神，墨色浓淡对比鲜明，将鸟儿的鲜活神态捕捉得淋漓尽致。松菊的高洁与鹊鸟的欢悦相融，笔墨简练却意韵饱满，尽显写意花鸟的生动意趣，于质朴中见精巧，于自然中藏情味。",[24,25,101,7,41,1460,26,81,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F767d0784ce8368387e6c397018daf354.jpg",[45],"b4ad9d",{"id":4179,"slug":4180,"title":4181,"dynasty":2528,"author":2975,"museum":217,"description":4182,"tags":4183,"thumbUrl":4184,"material":87,"size":87,"collection":67,"collections":4185,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":4186},203357,"kuang-lu-pu-bu-tu-zhou-wang-zhen-203357","匡庐瀑布图轴","此作以水墨写意绘匡庐胜境，瀑布如练倾泻，溅起清辉，山石用粗犷皴笔勾勒，墨气淋漓间尽显山川雄浑之势。三株苍松倚岩而立，枝干虬劲，松针疏密有致，透着古拙清逸之趣。崖畔小屋隐于松间，似藏幽人逸志，意境淡远悠长。笔墨洒脱不拘，浓淡干湿互衬，既绘自然壮阔之态，又含文人雅韵之情，尽显笔底功力与襟怀。",[24,25,58,236,7,60,59,29,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82afe69c5acb89383d73ae68fb56234b.jpg",[67],"787a78",{"id":4188,"slug":4189,"title":4190,"dynasty":2528,"author":4191,"museum":217,"description":4192,"tags":4193,"thumbUrl":4195,"material":87,"size":87,"collection":45,"collections":4196,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":4197},203166,"fei-ying-zou-qin-tu-zhou-jiang-han-ting-203166","飞鹰走禽图轴","江寒汀","松枝垂落，飞鹰俯冲而下，羽翼纹理细致入微，利爪微张，气势凌厉。下方野兔仓皇奔逃，双鸟振翅惊飞，竹丛与杂草点缀其间，动静对比鲜明。工笔勾勒与写意渲染结合，禽鸟皮毛、兔的肌理刻画逼真，背景松石竹草带写意笔意，设色淡雅温润，尽显自然生趣与生命活力，生动诠释海派花鸟的细腻与灵动。",[24,101,100,80,4194,2978,33,7,538,23],"飞鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef8863c47c6a99ae1f633e3b9bfab9e8.jpg",[45],"c3a25c",{"id":4199,"slug":4200,"title":4201,"dynasty":2528,"author":4026,"museum":217,"description":4202,"tags":4203,"thumbUrl":4204,"material":87,"size":87,"collection":107,"collections":4205,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":4206},203069,"huang-shan-bai-yuan-tu-zhou-zhang-shan-ma-203069","黄山白猿图轴","白猿攀附苍劲松枝，长臂舒展，身姿矫健灵动，双目炯炯，尽显山野生灵之韵。松干皴擦古拙，纹理交错间见笔力；松针如剑，疏密有致，墨色浓淡相宜。笔墨工写相济，白猿毛发细腻晕染，质感逼真，与松枝的粗放勾勒形成鲜明对比，设色淡雅却层次分明。画面生机盎然，既得自然野趣，又含灵动生气，足见笔墨功底之深。",[24,100,25,80,1669,538,7,59,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a9708ecec594fa8876b478b08aaeabc.jpg",[107],"ceb495",{"id":4208,"slug":4209,"title":4210,"dynasty":18,"author":54,"museum":217,"description":4211,"tags":4212,"thumbUrl":4215,"material":87,"size":87,"collection":87,"collections":4216,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":4217},202143,"ren-wu-shan-shui-tu-juan-dai-jin-202143","人物山水图卷","这幅画作以苍劲水墨勾勒山水幽境，虬松枝桠遒劲如铁，倚石而生；松下高士对坐弈棋，神情专注，尽显文人雅趣。山间路径蜿蜒，行旅者策杖徐行，步履悠然。山石以皴法晕染纹理，笔墨干湿相济，既见自然雄浑之势，又含灵动气韵。画面融山水壮阔与人物闲适为一体，传递出明代文人寄情山水的淡泊心境，尽显独特艺术张力。",[24,25,28,58,137,59,7,29,4213,4214],"对弈","行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c39e8f3c05210f55f2b6bc1c8753fee.jpg",[],"7c7469",{"id":4219,"slug":4220,"title":4221,"dynasty":114,"author":4222,"museum":217,"description":4223,"tags":4224,"thumbUrl":4225,"material":87,"size":87,"collection":87,"collections":4226,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":4227},201531,"yu-chun-xian-mo-tu-zhou-zou-zhi-lin-201531","雨春闲墨图轴","邹之麟","笔墨苍劲洒脱，山峦以皴法勾勒，线条灵动兼具厚重感。层叠峰峦间云雾轻笼，似遮似露；山间屋舍错落，松石相映成趣，林木疏密有致，透着清寂闲雅的文人气息。构图疏密得当，水墨晕染间尽显山水逸韵，仿佛春日雨后山林的静谧生机扑面而来，引人流连于这悠然的自然之境。",[24,58,25,59,81,146,1005,1637,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d08269ef746e6b12995a7a11cdb6097.jpg",[],"beb3a2",{"id":4229,"slug":4230,"title":4231,"dynasty":18,"author":2788,"museum":217,"description":4232,"tags":4233,"thumbUrl":4234,"material":87,"size":87,"collection":67,"collections":4235,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":4236},201463,"dong-li-shang-ju-tu-zhou-tang-yin-201463","东篱赏菊图轴","苍松虬劲，枝蔓垂悬，松荫下秋菊点缀，雅致清逸。远山层叠，云雾轻笼，山石以皴法写就，线条灵动。近景文人对坐，或谈或赏，神态悠然，尽得东篱之趣。笔墨兼工带写，设色淡雅，将田园诗意与文人风骨融于尺幅，尽显超脱尘俗的闲适心境，是唐寅文人画风格的典型体现。",[24,29,81,58,137,7,41,82,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and white 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一个老和尚坐在一棵古松下，另一个老和尚用手问老和尚。 远景云雾缭绕。 人物文笔简洁，意境生动，精神饱满。 这张图题中的“询价”二字，显然有表面和内在两层含义。 类似的题材和绘画手法出现在南宋马远、夏圭的画册中。",[99,24,29,80,59,121,58,137,7,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc520db25e880f9feeb4e1560f18da22c.jpg","44x43cm",[],{"id":4350,"slug":4351,"title":257,"dynasty":114,"author":1570,"museum":20,"description":3206,"tags":4352,"thumbUrl":4353,"material":363,"size":3210,"collection":87,"collections":4354,"showCount":282,"zanCount":11,"manualWeight":11,"mainColor":71},233430,"huang-shan-tu-ce-mei-qing-233430",[24,25,261,59,31,121,58,60,7,63,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F449f759d0c7814ce3563b05c336b9043.jpg",[],{"id":4356,"slug":4357,"title":4358,"dynasty":18,"author":4359,"museum":116,"description":4360,"tags":4361,"thumbUrl":4362,"material":87,"size":87,"collection":87,"collections":4363,"showCount":282,"zanCount":11,"manualWeight":11,"mainColor":71},233368,"shi-zhu-zhai-pu-ce-hu-ri-cong-233368","十竹斋谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[24,29,261,80,101,32,7,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F218cc5f40dc46f9cb38a8466febdd771.jpg",[],{"id":4365,"slug":4366,"title":4367,"dynasty":772,"author":4368,"museum":116,"description":4369,"tags":4370,"thumbUrl":4373,"material":326,"size":327,"collection":87,"collections":4374,"showCount":282,"zanCount":11,"manualWeight":11,"mainColor":71},230580,"ming-qing-fang-gu-fen-ben-hua-niao-juan-1-tu-zuo-bing-guang-lin-feng-230580","明清仿古粉本花鸟卷1","土佐并光琳风","此作合装成卷，兼纳诸类绘事。起首工笔禽鸟，雄雉敷色秾丽，翎毛晕染细致，华彩毕现，雌雉朴雅写实，体态宛然，形神兼备。转而为扇面界画小品，屋宇勾描工致，人物市井排布错落，尽揽俗世烟火意趣。没骨花卉晕染柔和，枝头小雀灵动生姿。写意渡头行舟、寒林归鸦则笔墨简淡，晕开萧疏禅意。仕女图线条秀逸温婉，人物神态含蓄端丽，尽显古典闺秀韵致。卷尾花鸟与书法题跋相映成趣，整卷融工笔、写意、界画技法于一炉，兼取院体工致与文人写意意趣，尽显东方古典绘事雅致抒情的笔墨意韵。",[23,24,29,28,80,100,207,290,121,101,137,437,64,36,35,82,61,63,220,778,4059,4371,7,33,60,62,1776,2883,4372,779,138,612,31,1286],"燕子","船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7baf0b9e253928a2066f618834c6172f.jpg",[],{"id":4376,"slug":4377,"title":4378,"dynasty":173,"author":937,"museum":938,"description":939,"tags":4379,"thumbUrl":4380,"material":179,"size":942,"collection":87,"collections":4381,"showCount":282,"zanCount":11,"manualWeight":11,"mainColor":2240},221681,"song-shan-xing-lv-tu-ti-ba-li-shan-221681","松杉行旅图题跋",[23,24,29,30,31,25,58,7,1003,1407],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fca6f0e7cbbff492bee7e7fa4d997e2.jpg",[],{"id":4383,"slug":4384,"title":4385,"dynasty":114,"author":1618,"museum":4386,"description":4387,"tags":4388,"thumbUrl":4389,"material":86,"size":87,"collection":87,"collections":4390,"showCount":282,"zanCount":11,"manualWeight":11,"mainColor":71},216894,"qian-long-nan-xun-zhu-bi-tu-ye-10-qian-wei-cheng-216894","乾隆南巡驻跸图页-10","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。",[23,24,29,80,100,59,261,58,61,8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，字渔仙，号桃溪居士，后号墨井道人，江苏常熟人。曾笃信天主教，并往澳门逗留。工诗、善画山水，师事王时敏 (1592-1680)与王鉴 (1598-1677) ，连同王翚 (1632-1717)、王原祁 (1642-1715)和恽寿平 (1633-1690) 合称「四王吴恽」或称「清初六家」，为清代正统派绘画代表。\n\n该画为吴历应友人侯大年（约1641-约1710）之命所作，并以友人之号「凤阿」命名，绘于康熙十六年（1677）之后，为吴氏中晚年之作。画面山峦起伏，高树竹丛、屋舍数间，屋前小桥流水，一人策杖过桥。整幅作品尺幅虽不大，却构图繁密，墨色苍润，流露对笔墨的追求与讲究，是吴历的精品。事实上，吴历与侯大年交谊深厚，曾应命绘制多幅《凤阿山房图》，以表达侯氏「述祖德，守先业」并归隐的志向，然而凤阿山房终未建成。据记载，侯大年在吴历绘制完立轴后，另请他绘制小册并请诸友题咏，正是此册。全册共分上、下两册，引首朱彝尊　(1629-1709) 书「凤阿山房」，后有吴历、朱彝尊、姜宸英、梁佩兰、宋骏业、王撰、陆遵、梅庚、钱大昕等六十六家诗题，其中陆遵、梅庚补图并题诗。吴历此作无疑是全册点睛之笔，见证了他与侯大年的交谊。",[23,24,29,30,261,296,31,121,58,810,33,1624,7,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec01786d56332259547002aace0ff68a.jpg","水墨,设色,纸本,册页","18×34.5厘米",[],{"id":5306,"slug":5307,"title":5308,"dynasty":114,"author":500,"museum":5309,"description":5310,"tags":5311,"thumbUrl":5312,"material":86,"size":87,"collection":87,"collections":5313,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":49},215979,"di-jian-tu-shuo-cai-hui-ben-25-yi-ming-215979","帝鉴图说彩绘本-25","法国国家图书馆","朱檐青瓦的殿宇临阶而筑，雕花栏板映着廊下人影。红袍者端坐论道，青衫者侍立凝神，君臣相谈的场景在古雅氛围里缓缓铺展。松枝苍劲入画，云雾轻笼阶前，既添了几分悠远意境，也衬得殿内的庄重更显深沉。色彩雅致温润，不施浓艳却自具韵味；线条细腻工致，衣袂的褶皱、檐角的弧度皆刻画入微。画中藏着历史典故里的劝诫意涵，每一处细节都似在轻声诉说以史为鉴的古训，让观者于赏画间，触摸到那份跨越时空的治世智慧。",[24,29,99,261,80,136,100,137,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F083916c6c27e8cc5cb8b791b585e369f.jpg",[],{"id":5315,"slug":5316,"title":5317,"dynasty":2528,"author":2926,"museum":217,"description":5318,"tags":5319,"thumbUrl":5320,"material":87,"size":87,"collection":87,"collections":5321,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":5322},203244,"xi-shan-shi-qu-tu-zhou-pu-ru-203244","溪山诗趣图轴","画面山峦层叠，云雾轻笼，松枝虬劲，翠叶间丹红点缀，秋意隐现。山舍临溪而筑，幽人凭栏，似与溪山共语；桥下流水潺潺，策杖行者徐行，尽显林泉雅趣。笔墨清逸，皴染相济，山石以淡墨勾勒皴擦，云雾借留白晕染，意境空灵悠远，尽显传统文人画的雅致风骨。",[24,58,80,59,7,62,63,29,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F768390801436ddff7fa15a27f98b023e.jpg",[],"cabb9b",{"id":5324,"slug":5325,"title":5326,"dynasty":2528,"author":5327,"museum":217,"description":5328,"tags":5329,"thumbUrl":5330,"material":87,"size":87,"collection":67,"collections":5331,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":5332},203202,"fang-mei-qing-shan-shui-tu-zhou-xiao-xun-203202","仿梅清山水图轴","萧愻","画面以水墨晕染出云雾缭绕的山峦，松石错落间隐现一椽小屋，意境清寂悠远。山石以简练皴法勾勒，线条劲健中见洒脱；松枝虬曲苍劲，笔墨浓淡相宜，尽显古木风姿。整体风格承梅清遗韵，却又融入自身写意笔意，于虚实相生间传递出文人山水的淡泊之趣，笔墨疏朗而气韵生动，引人入胜。",[24,25,58,7,59,290,81,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46bc03e7ac0cb4a504657081d9738337.jpg",[67],"c0b7a9",{"id":5334,"slug":5335,"title":5336,"dynasty":2528,"author":3985,"museum":217,"description":5337,"tags":5338,"thumbUrl":5339,"material":87,"size":87,"collection":67,"collections":5340,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":5341},203189,"hua-shan-qian-zhang-tu-cheng-shan-wu-hu-fan-203189","华山千嶂图成扇","扇面之上，华山千嶂层叠竞秀，笔墨勾勒间尽现雄奇风骨。苍松倚石，枝干盘曲遒劲，松针密簇如绒，墨色浓淡交织出苍润之致。山间石阶蜿蜒隐现，云雾轻笼处似通幽径。皴法细腻，山石纹理嶙峋可见；水墨晕染，朦胧气韵漫溢咫尺之间。设色淡雅却层次分明，构图随扇形铺展，远近错落有致，小尺幅藏千里之势。清旷悠远的意境中，尽显文人山水的灵秀与意趣。",[24,29,220,25,80,59,58,7,146,1654,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58e6249264eaad9bd45e59e4b07deae3.jpg",[67],"544d43",{"id":5343,"slug":5344,"title":586,"dynasty":2528,"author":1517,"museum":217,"description":5345,"tags":5346,"thumbUrl":5347,"material":87,"size":87,"collection":87,"collections":5348,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":5349},202936,"song-lu-tu-zhou-xu-bei-hong-202936","徐悲鸿《松鹿图轴》以苍劲古松为主体，枝干虬曲盘转，墨色浓淡干湿交错，松针繁密如簇，尽显传统水墨皴擦点染之韵。树下双鹿造型写实，淡赭设色温润雅致，皮毛纹理细腻生动，既有西画精准的解剖质感，又不失国画灵动气韵。松之静穆与鹿之鲜活相映成趣，松寿鹿祥，寓意隽永。整作融中西技法于一炉，笔墨兼具力度与温情，是其跨文化艺术实践的鲜活注脚。",[24,81,25,80,538,7,59,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cc0cfcac1962c703495fb8b3867cb3d.jpg",[],"ae9f87",{"id":5351,"slug":5352,"title":5353,"dynasty":2528,"author":2975,"museum":217,"description":5354,"tags":5355,"thumbUrl":5356,"material":87,"size":87,"collection":87,"collections":5357,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":5358},202789,"bai-bu-ding-jiao-tu-zhou-wang-zhen-202789","百步订交图轴","画面以水墨为基调，兼施淡彩。苍劲的松枝与疏朗的翠竹交织，营造出清幽雅致的林下氛围。老者持杖伫立石径旁，衣纹简练流畅，神态悠然谦和，似在静待知音。背景山石以简括皴法勾勒，线条洗练却见风骨，墨色浓淡相宜。左侧题跋墨气淋漓，笔力雄健，与画面相映成趣，尽显文人画的意趣。整作笔墨雄浑中含秀逸，人物与景物交融，传递出古人交游的淡泊心境。",[24,25,80,137,33,59,30,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2797d6a00a0ba3360a4d7e10c051bd8e.jpg",[],"8e866e",{"id":5360,"slug":5361,"title":5362,"dynasty":114,"author":5363,"museum":217,"description":5364,"tags":5365,"thumbUrl":5366,"material":87,"size":87,"collection":87,"collections":5367,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":5368},202712,"song-xia-shang-shu-hua-zhou-zhou-qia-202712","松下赏书画轴","周洽","画面下部山峦叠嶂，以淡墨皴擦出肌理，轮廓朴拙自然；几株苍松枝干盘曲，松针浓墨点染，苍劲挺拔。树下雅士围坐，神态闲适，似在品景论心。上部行书题字笔势流畅，墨色浓淡得宜，与山水景致交融，尽显书画合璧的文人意趣。整幅作品笔墨简练却意境悠远，古雅气息扑面而来，传递出文人寄情山水的超脱心境。",[24,58,137,31,59,80,81,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc39633aa211f2914b9a13662583f494.jpg",[],"a07a59",{"id":5370,"slug":5371,"title":5372,"dynasty":18,"author":4911,"museum":217,"description":5373,"tags":5374,"thumbUrl":5375,"material":87,"size":87,"collection":87,"collections":5376,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":5377},202709,"yu-fu-wen-dao-tu-zhou-ming-ren-202709","渔夫问倒图轴","画面以水墨为底，线条简练传神。松石掩映间，两位老者立于岩畔，倾心交谈的神态悠然自得。苍劲的松枝以灵动笔触绘就，山石借淡墨皴擦显其肌理，人物衣袂飘飘，尽显文人雅士的闲适超然。整体意境清幽，笔墨雅致，自然之趣与人文情怀相融，传递出古朴恬淡的气韵，尽显传统书画的独特韵味。",[24,25,59,137,7,60,23],"https:\u002F\u002Foss.chuangqi.store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[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。",[3712,5771,80,7,102,5772],"戗金彩漆","圆盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6a567891f4d46be6a5ae77a342ba4ff.jpg",[],{"id":5776,"slug":5777,"title":5778,"dynasty":114,"author":500,"museum":116,"description":5779,"tags":5780,"thumbUrl":5783,"material":326,"size":327,"collection":87,"collections":5784,"showCount":267,"zanCount":267,"manualWeight":11,"mainColor":49},245706,"jin-xiang-zhu-shi-song-zhu-ling-shou-zan-yi-ming-245706","金镶珠石松竹灵寿簪","发簪，中国古代汉族人民用来固定和装饰头发的一种首饰。对于现代人来说已经是一个很古老的名词了，但是当在看古装剧时，却总是能被它们点缀出的精致效果所折服。\n将长发松松挽起，插上一枚别致的发簪，再配上典雅的长裙，即便性格再外放的女性，也可以成为让人眼前一亮的古典美人。发簪金属的光泽闪耀在发间，加上小而巧的坠饰，长发的风情便又是一种不一样的感受了。",[1797,3007,4087,5781,7,33,5782],"珠石","灵寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b56750ead2c31ae2bc2be80499f7044.jpg",[],{"id":5786,"slug":5787,"title":5788,"dynasty":114,"author":5789,"museum":116,"description":5790,"tags":5791,"thumbUrl":5797,"material":326,"size":327,"collection":87,"collections":5798,"showCount":267,"zanCount":11,"manualWeight":11,"mainColor":71},241246,"wu-gu-zhou-wu-wen-241246","五古轴","吴雯","吴雯（1644－1704）字天章，号莲洋，又号玉溪生。山西蒲州人，康熙十八年（1379）试博学鸿词，不第，游食南北，足迹几遍古天下，其诗清新自然，王士禛誉为仙人。.",[24,29,81,30,3724,25,5792,7,310,5793,5794,5795,5796],"梅花","客","窗","斋","阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264f97cc5f9c54829837dfb12b6ffcb6.jpg",[],{"id":5800,"slug":5801,"title":5802,"dynasty":114,"author":3198,"museum":116,"description":5803,"tags":5804,"thumbUrl":5807,"material":326,"size":327,"collection":87,"collections":5808,"showCount":267,"zanCount":11,"manualWeight":11,"mainColor":71},240652,"qi-jue-shi-zhou-fang-heng-xian-240652","七绝诗轴","方亨咸（？－？），字吉偶、吉儒，號邵邨、邵村，南京安慶府桐城縣人，清朝政治人物、進士出身。方拱乾之子、方玄成之弟、方章鉞之兄。",[81,31,30,121,7,33,5805,5806,102],"茅亭","云山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe469cdb18f78aa3901ab2155bee61b17.jpg",[],{"id":5810,"slug":5811,"title":5812,"dynasty":18,"author":4359,"museum":116,"description":4360,"tags":5813,"thumbUrl":5814,"material":87,"size":87,"collection":87,"collections":5815,"showCount":267,"zanCount":11,"manualWeight":11,"mainColor":71},233612,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233612","十竹斋五色笺谱册",[24,29,261,5041,80,538,537,7,1127],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F739e497052912e0508398d66416b9d75.jpg",[],{"id":5817,"slug":5818,"title":4358,"dynasty":18,"author":4359,"museum":116,"description":4360,"tags":5819,"thumbUrl":5820,"material":87,"size":87,"collection":87,"collections":5821,"showCount":267,"zanCount":11,"manualWeight":11,"mainColor":71},233293,"shi-zhu-zhai-pu-ce-hu-ri-cong-233293",[24,80,261,7,221],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9022773e85c2596e773b7211773ea4d4.jpg",[],{"id":5823,"slug":5824,"title":5825,"dynasty":114,"author":500,"museum":116,"description":5826,"tags":5827,"thumbUrl":5830,"material":326,"size":327,"collection":87,"collections":5831,"showCount":267,"zanCount":11,"manualWeight":11,"mainColor":71},229690,"shi-ba-shi-ji-mi-la-song-lu-chang-chun-yan-shan-yi-ming-229690","十八世纪 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