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472cm","山水画精选",[46,48],"设色画精选",5479,37,0,"795548",{"id":54,"slug":55,"title":56,"dynasty":57,"author":58,"museum":59,"description":60,"tags":61,"thumbUrl":64,"material":65,"size":66,"collection":67,"collections":68,"showCount":69,"zanCount":70,"manualWeight":51,"mainColor":71},215032,"zhe-zhi-tao-hua-tu-qian-xuan-215032","折枝桃花图","元","钱选","私人收藏","折枝桃花图是元朝的一幅著名图画，由钱选创作。这幅图画描绘了一片茂密的桃花林，桃花盛开，绚丽多彩，令人感到惬意清新。此外，图画中还有蝴蝶、蜻蜓和鸟儿，营造出了一种自然之美的氛围。\n\n折枝桃花图是钱选的代表作之一，他的画风自然，线条流畅，富有生动的细节和深情的气息。钱选在这幅图画中结合了自然和人文的元素，表现了对自然之美的热爱。这幅图画被广泛收藏，并被认为是中国古代绘画艺术的杰作。",[25,26,62,30,29,7,63],"花鸟","折枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d094b52284e651b1fe3ebcc695155dd.jpg","纸本,设色","24x25cm","花鸟画精选",[67],4323,38,"BDBDBD",{"id":73,"slug":74,"title":75,"dynasty":18,"author":76,"museum":77,"description":78,"tags":79,"thumbUrl":95,"material":96,"size":97,"collection":67,"collections":98,"showCount":99,"zanCount":100,"manualWeight":51,"mainColor":52},214539,"si-shi-hua-hui-tu-xu-wei-214539","四时花卉图","徐渭","北京故宫博物院","长卷以大写意方式绘牡丹、芍药、葡萄、芭蕉，以兼工带写绘桂花叶和松树，以烘托方式绘竹子、岩石和雪中梅花。从画卷末尾的自述中可以看出，艺术家是用物品来表达她胸中的郁闷。该卷的风格简洁明了，风格轻快，不急不躁。",[23,25,80,81,82,27,26,83,84,85,86,87,88,89,90,7,91,92,93,94],"水墨","写意","大写意","书法","行书","梅","竹","松","荷","牡丹","芙蓉","水仙","花卉","兰","菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b359a71dcaf3445be4bdab0f5d74d69.jpg","纸本,水墨","29.9x1081.7",[67],3030,18,{"id":102,"slug":103,"title":104,"dynasty":105,"author":106,"museum":107,"description":108,"tags":109,"thumbUrl":110,"material":111,"size":112,"collection":46,"collections":113,"showCount":114,"zanCount":115,"manualWeight":51,"mainColor":71},222671,"tao-hua-yuan-tu-huang-shen-222671","桃花源图","清","黄慎","安徽省博物馆","内容乃据晋代陶渊明（365年～427年）文记《桃花源》之意绘制：开卷水天浩渺，烟笼沙洲。空中云积层岩，绝壁苍藤盘结。山麓碎石堆积成岗，延至奔溪冲折的山坳。洞口篷船空陈，艄公弃舟入洞。继而豁然开朗，进入桃花仙界：只见断岩亘空，桃林夹立。山谷幽深，水帘披挂。越过绵延起伏的山峦，于山角屏壁之后隐现桃源村落。村口札栅栏木门，有黄狗护院看守。村内环境幽雅，屋宇整洁，亭阁耸立，大道平坦。鸡犬呜跳嬉戏，幼童倚门张望。行人驻足寒暄，村民各司其事。妇女洒扫庭厨，牧童村外放牛。林后村舍相属，村外阡陌纵横。远处石桥如虹，通向无垠野地。村口场基之上，部分村民纷涌而至，前来迎接不速之客～捕渔翁。作者通过赞颂的笔调对传说中世外桃源美景进行理想化的描绘，从而寄托了自己不耐人间烟火、向往逃俗离垢的厌世情结。\n图后另纸附作者草书节录《桃花源记》及作者自撰五言诗一段：“……赢氏乱天纪，贤者避其世。黄绮之南山，伊人亦云逝。往迹浸复湮，来径遂芜废。相命肆农耕，日人从所憩，桑竹垂余阴，菽稷随时艺春蚕取长丝，秩熟靡王税，荒路暖交通，鸡犬亘鸣犬。俎豆犹古法，衣裳无以制，音孺纵行歌，班白观游诣，草荣识节和，木衰知风励。虽无纪历志，四时自成岁。怡然有馀乐，于何劳智慧，奇踪隐五百，一朝敝神界，凉薄既异源，旋复还幽蔽。借问游方士，焉测尘嚣外。愿言蹑轻风，高举寻吾契。乾隆甲申冬月镓，黄慎。”\n此图打破了传统人物画代代相承的铁线、兰叶、行云流水等“十人描法”限制而汲取南宁梁楷阔笔写意和明初渐派水墨人物草廊疾写的技法，结合坚实的运笔根度和写真基础，完全从塑造客观对象、具体特征的需要上出发，灵活地运用各种描法及草书的笔意趣味，下笔或渺如鸿毛飘落，或重似泰山坠石，时而中锋勾写、精刻细划，时而侧笔拖扫、意到笔略。描绘人物则造型轩昂，体态准确详写神略写貌、垂与意略写形，达到神情兼备、谈谐含蓄的境界。如此在技法上既超越了前辈梁楷过于简逸的现实之感，也克服了浙派人物空疏草率的缺点，在气音上则避免了“有其形音不生，得其气位不稳”的画工之弊；一扫文人雅士冲和溱远、颓唐纤比的陋习，使中国人物画的现实主义传统得到了很好的发展。图中岩石的画法则有元代倪瓒横折带皴法而层次更显丰富豪迈。寓清代袁江之骷髅皱而愈加凝炼劲爽。树法四面有枝，出于李成而极尽变化展姿，造型奇崛郁勃，精神发越外拓。作为衬景的山水，虚实远近安排有序、屋舍舟桥精工细写，比例视赏合理，令观者有身临其境之感。全图气息纯朴鲜活，风格洒俊逸，线条粗简活脱，时现枯笔飞白。色彩明丽润泽，气息纯朴鲜活。仿佛一帖墨酣笔畅的抒情草书。体现了黄慎作为职业画家，在造型的真实感上所具有超越其他同代画家的成就，具有士气而兼作家之气。",[23,25,27,80,29,81,84,33,7,34,35,38,40],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b6764b259026e1ccc2432d776735ad2.jpg","纸本设色","纵38厘米，横349厘米",[46,48],2497,26,{"id":117,"slug":118,"title":119,"dynasty":105,"author":120,"museum":121,"description":122,"tags":123,"thumbUrl":128,"material":65,"size":129,"collection":130,"collections":131,"showCount":132,"zanCount":133,"manualWeight":51,"mainColor":71},214708,"chun-hua-tu-ba-kai-3-yun-shou-ping-214708","春花图八开-3","恽寿平","上海博物馆","恽寿平画了八种春天的花，包括桃花、牵牛花、牡丹、绣球、萱草、月季、樱花和鸢尾花。这幅画是在他晚年的时候画的，当时他五十三岁，虽是没骨而近乎写意，用笔已是纯青。",[23,25,26,124,29,125,62,7,126,127,83,32],"册","没骨","枝干","叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3854c4a04d540aad1f6fd4f84bc9fda.jpg","26.3x35.7","",[],2124,9,{"id":135,"slug":136,"title":137,"dynasty":105,"author":138,"museum":77,"description":139,"tags":140,"thumbUrl":143,"material":144,"size":145,"collection":67,"collections":146,"showCount":147,"zanCount":148,"manualWeight":51,"mainColor":52},222795,"yong-zheng-shi-er-yue-ling-yuan-ming-yuan-xing-le-tu-zhi-san-yue-shang-tao-lang-shi-ning-222795","雍正十二月令圆明园行乐图之三月赏桃","郎世宁","雍正十二月行乐图轴是一组表现雍正皇帝日常生活的作品，按春、夏、秋、冬四季12个月的顺序排列，分别为“正月观灯”、“二月踏青”、“三月赏桃”、“四月流觞”、“五月竞舟”、“六月纳凉”、“七月乞巧”、“八月赏月”、“九月赏菊”、“十月画像”、“十一月参禅”和“腊月赏雪”。从描绘的景物判断，表现的对象应为圆明园。画面以山水楼阁为主，建筑描绘细腻，其中既有中式园林建筑，又有西式亭台楼阁，更有中西合璧者，画面的景观可能是画家以圆明园的建筑结合自己的想象而创作的。圆明园是雍正作皇子时的封赐，他解释说“圆明园”的赐名大有深意：“圆而入神，君子之时中；明而普照，达人之睿智也。” 雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这12幅行乐图展现了其在圆明园生活的各个场景，也表现了12个月的不同节令风俗。\n该幅为其中的三月赏桃",[23,25,29,30,141,34,35,33,7,40,142],"界画","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0feca8fa167788554a7fc5800090ce37.jpg","绢本，设色","纵188.2厘米，横102.2厘米",[67,48],1764,14,{"id":150,"slug":151,"title":152,"dynasty":18,"author":153,"museum":59,"description":154,"tags":155,"thumbUrl":159,"material":160,"size":161,"collection":67,"collections":162,"showCount":163,"zanCount":148,"manualWeight":51,"mainColor":71},220230,"hua-niao-chong-cao-xie-sheng-ce-die-dian-chun-hua-chen-hong-shou-220230","花鸟虫草写生册-蝶点春花","陈洪绶","陈洪绶的绘画，尤其是他以之驰誉艺坛的双勾设色花鸟画，其特点有三，一是造型的古拙，二是色彩的古艳，三是线条的寓迟涩于劲挺，既厚重且圆润。",[23,156,25,26,124,29,30,62,7,157,92,158],"明代","蝴蝶","昆虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d24e4e72e70775f7e4626a7a610564.jpg","绢本,设色","21.5×16cm",[67],1477,{"id":165,"slug":166,"title":167,"dynasty":105,"author":120,"museum":168,"description":169,"tags":170,"thumbUrl":177,"material":178,"size":179,"collection":67,"collections":180,"showCount":181,"zanCount":182,"manualWeight":51,"mainColor":183},220992,"bai-hua-tu-juan-yun-shou-ping-220992","百花图卷","美国大都会艺术博物馆","恽寿平的山水画造诣之高，受到历代画家的赞誉。然而，他到中年后却放弃了在山水画领域的成就，转向以画花卉为主。究其原因，历史上说法很多。",[23,25,26,27,29,125,30,62,92,89,171,94,172,7,90,173,91,174,175,176,157,158],"百合","荷花","月季","兰花","芍药","紫藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff29e1c97e998205c049e5c6f18799621.jpg","手卷，绢本设色","纵32厘米，横530厘米",[67,48],1418,23,"F48FB1",{"id":185,"slug":186,"title":187,"dynasty":105,"author":120,"museum":59,"description":188,"tags":189,"thumbUrl":193,"material":65,"size":130,"collection":130,"collections":194,"showCount":195,"zanCount":133,"manualWeight":51,"mainColor":71},214738,"hua-hui-ce-4-yun-shou-ping-214738","花卉册-4","恽寿平（1796-1873）是清代著名的画家，他擅长画花鸟，尤其是花卉。他的花卉册是他的代表作之一，包含了他对花卉的描绘和描写。\n\n恽寿平的花卉册以其精细的笔墨和精美的色彩著称，他善于捕捉花卉的细节和美感，并将其再现在画布上。他画的花卉通常都是生动传神，有时也带有一些象征意义。恽寿平还创作了许多花卉图谱，用来介绍各种花卉的特征和用途。\n\n恽寿平的花卉册不仅深受藏家的喜爱，也被认为是清代花卉画的杰出代表作之一。他的作品不仅为后人留下了宝贵的艺术瑰宝，而且也为我们展示了清代花卉画艺术的魅力。",[23,25,26,124,125,30,29,7,190,92,191,192],"玉兰","枝叶","红花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326abb94d57aaaefc22233506e6e8c26.jpg",[],1350,{"id":197,"slug":198,"title":199,"dynasty":105,"author":120,"museum":200,"description":201,"tags":202,"thumbUrl":204,"material":130,"size":205,"collection":67,"collections":206,"showCount":207,"zanCount":208,"manualWeight":51,"mainColor":71},233901,"hua-hui-shan-shui-ce-yun-shou-ping-233901","花卉山水册","藏地不详","恽寿平（1633-1690年），初名格，后以字行，又字正叔，别号南田，一号白云外史、云溪外史、东园客、巢枫客、草衣生、横山樵者。江苏武进人。清代著名画家。与“四王”、吴历并称“清初六大家”。其父恽日初诗文杰出，为“复社”中人。叔父恽向（道生）为著名山水画家，自创一派。恽寿平是清朝初期最享盛名的花鸟画家。其画作多写生，人称“写生正派”；更以徐崇嗣为宗，兼取各家之长，极大的发展了没骨画。所画花卉，很少勾勒，以水墨着色渲染，用笔含蓄，画法工整，明丽简洁，天趣盎然。恽寿平不仅画作出众，风格独具，而且兼工诗书，题句清丽流畅，诗格脱俗超逸，为“昆陵六逸”之冠。恽南田《山水花卉册》八帧，其中包括山水，花鸟及情景兼容的人物，攘括了恽南田所有的画种。画中有退耕堂藏印。退耕堂为徐世昌的室名。\n恽寿平一生坎坷，饱经困苦，他幼年聪颖玲利，遭遇战乱，与兄皆被俘，与父亲失散，后遇灵隐寺方丈相救，才得以与家人团聚，归家后，发奋读书学画。经刻苦钻研，于古文、诗词、书画无不精擅。他崇尚气节，誓不应科举，少时的忧患，留下深深的创痛，一生未尝忘情。却在绘画上取得了很高的成就；恽南田曾致书王（翚）说：“格于山水，终难打破一字关，曰‘窘’，良由为古人规矩法度所束缚耳。”又说：“君独步矣！吾不为第二手也”。于是恽寿平转攻花鸟，以后山水不过偶而为之。可见其艺术抱负。《山水花卉册》中的山水，取黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，吸取王蒙、二米等人之长，渐脱刻极。40岁左右作品最为精采，如43岁的《山水花鸟册》，技法灵活多变，表达各家风貌准确，艺术已臻成熟。他的花鸟画成就最为突出，取法徐崇嗣的没骨法，他的没骨花卉，揉合了黄（筌）、徐（熙）两派技法，既重视写生，力求形似，“每画一花，必折是花插之瓶中，极力描摹，得其生香活色而后已。”又强调“与花传神”。力去华靡，追求“ 澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[25,26,125,29,62,7,203,32],"柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10aa5773f16fa6bd4dd6b950a442d3b2.jpg","纵32.5厘米，横25.5厘米",[67],1349,12,{"id":210,"slug":211,"title":212,"dynasty":18,"author":213,"museum":59,"description":214,"tags":215,"thumbUrl":219,"material":160,"size":130,"collection":67,"collections":220,"showCount":221,"zanCount":222,"manualWeight":51,"mainColor":71},216202,"hua-hui-shi-kai-tu-ce-xiang-sheng-mo-216202","花卉十开图册","项圣谟","花卉十开图册是明朝项圣谟的一部著作，收录了十张以花卉为主题的图画。项圣谟是明朝时期著名的绘画家，他的作品被誉为中国古代花卉画的杰作。 花卉十开图册记录了项圣谟观察花卉的细节和特征，并以精细的线条和色彩描绘出来。这部作品中的图画包括了各种不同种类的花卉，如牡丹、荷花、菊花等。这些图画不仅精美绝伦，而且还能够展现出项圣谟对花卉的深刻理解和观察。",[23,25,124,29,30,32,83,84,62,85,93,94,88,7,89,216,217,218],"石榴","孤石","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f238b574b7e294422560d3e7833b4b0.jpg",[67],1280,21,{"id":224,"slug":225,"title":226,"dynasty":105,"author":120,"museum":59,"description":188,"tags":227,"thumbUrl":230,"material":65,"size":130,"collection":130,"collections":231,"showCount":232,"zanCount":233,"manualWeight":51,"mainColor":71},214736,"hua-hui-ce-5-yun-shou-ping-214736","花卉册-5",[23,25,26,124,125,29,92,89,7,228,229,24],"丁香","清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab8c1fc721132cfdc39d78db2f67e138.jpg",[],1106,4,{"id":235,"slug":236,"title":237,"dynasty":18,"author":238,"museum":239,"description":240,"tags":241,"thumbUrl":245,"material":160,"size":246,"collection":247,"collections":248,"showCount":249,"zanCount":250,"manualWeight":51,"mainColor":52},219525,"ren-mian-tao-hua-tu-zhang-ji-219525","人面桃花图","张纪","大英博物馆","去年今日此门中，人面桃花相映红。人面不知何处去，桃花依旧笑春风。",[23,25,30,29,242,243,7,244],"立轴","美人","树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7ac97b44166d40664c733d6a911025b.jpg","纵101.2横49.7厘米","人物画精选",[247,48],926,17,{"id":252,"slug":253,"title":254,"dynasty":105,"author":120,"museum":200,"description":255,"tags":256,"thumbUrl":257,"material":130,"size":130,"collection":67,"collections":258,"showCount":259,"zanCount":260,"manualWeight":51,"mainColor":71},235081,"yun-shou-ping-hua-hui-ce-yun-shou-ping-235081","恽寿平花卉册","此作为没骨写生，以清润淡彩晕染桃花，粉嫩花瓣层次自然，嫩枝新芽鲜活灵动，将春日桃花柔婉娇妍的姿态尽显笔底，不见勾勒之痕却形神兼备。\n\n画幅左侧搭配行书题诗，笔意舒展雅致，诗画相映，文心诗意融于花香之间，尽显文人花鸟画的清雅格调。整体设色明秀柔和，带着江南春日的温润诗意，把桃花轻俏柔美的娇态精妙铺展，笔墨间饱含悠然的抒情特质，尽显清隽雅致的文人意趣。",[25,26,124,29,62,7,32,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc05006248feb5fc43ca2e8c0e38ecde0.jpg",[67,48],908,3,{"id":262,"slug":263,"title":264,"dynasty":265,"author":266,"museum":77,"description":267,"tags":268,"thumbUrl":270,"material":271,"size":272,"collection":130,"collections":273,"showCount":274,"zanCount":275,"manualWeight":51,"mainColor":52},288294,"you-chun-tu-zhan-zi-qian-288294","游春图","隋","展子虔","《游春图》是隋朝画家展子虔创作的绘画作品，绢本、青绿设色，画上有宋徽宗题写的“展子虔游春图”六个字，现存北京故宫博物院绘画馆。\n图中展现了水天相接的情形，上有青山叠翠，湖水融融，也有士人策马山径或驻足湖边，还有美丽的仕女泛舟水上，熏风和煦，水面上微波粼粼，岸上桃杏绽开，绿草如茵。\n画家用青绿重着山水，用泥金描绘山脚，用赭石填染树干，遥摄全景，人物布局得当，开唐代金碧山水之先河，在早期的山水画中非常具有代表性。 该画是展子虔传世的唯一作品，也是迄今为止存世最古的画卷。",[24,25,26,28,29,33,34,7,37,269,39],"古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd7523abe5a9b1378dd5dd5ceda1a3ea.jpg","未知","43×80.5cm",[],691,11,{"id":277,"slug":278,"title":279,"dynasty":105,"author":280,"museum":20,"description":281,"tags":282,"thumbUrl":283,"material":29,"size":284,"collection":67,"collections":285,"showCount":286,"zanCount":287,"manualWeight":51,"mainColor":71},222691,"wan-you-tong-chun-tu-juan-qian-wei-cheng-222691","万有同春图卷","钱维城","画卷以折枝的方法将生长于不同时节的几十种花卉，密密匝匝地按大小依次穿插，整齐地排列在画面中。\n以没骨法绘写花叶、花瓣，形态逼真。钱氏画风以干笔勾勒，重视烘染，笔墨浑然，用笔缜密，以青绿、赭石相间设色，极富宫廷富贵气息。\n一如其画卷的题目“万有”，他以折枝的方法将生长于不同时节的几十种花卉，密密匝匝地按大小依次穿插，整齐地排列在画面中。\n以恽寿平的没骨法绘写花叶、花瓣，形态逼真。我们可以轻松地根据花来辨别物种。",[23,25,27,29,30,62,89,173,91,7,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28df3bc101f8e21a132c570146c27eaa.jpg","36.3X787.3厘米",[67,48],647,13,{"id":289,"slug":290,"title":291,"dynasty":105,"author":120,"museum":292,"description":293,"tags":294,"thumbUrl":298,"material":299,"size":300,"collection":67,"collections":301,"showCount":302,"zanCount":208,"manualWeight":51,"mainColor":71},220986,"yan-xi-yu-le-zhou-yun-shou-ping-220986","燕喜鱼乐轴","台北故宫博物院","本幅以没骨法绘成，直接用色点染，再略加勾画叶脉筋络。全幅设色典雅，有脱俗的气质",[23,25,26,242,30,29,62,7,295,296,297,42],"柳","燕","鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7813b61c4d298e29291dcdde76707c2d.jpg","绢","120.5×61.2",[67,48],522,{"id":304,"slug":305,"title":306,"dynasty":105,"author":307,"museum":292,"description":308,"tags":309,"thumbUrl":311,"material":65,"size":312,"collection":67,"collections":313,"showCount":314,"zanCount":315,"manualWeight":51,"mainColor":71},216219,"bi-tao-chun-niao-tu-zou-yi-gui-216219","碧桃春鸟图","邹一桂","碧桃春鸟图是清朝时期画家邹一桂的一幅名作。这幅画描绘了一只翠绿色的春天鸟儿，它正在一棵桃树上欢快地唱歌。画中的色彩鲜艳，线条流畅，构图精美，反映了邹一桂独特的画风。\n\n邹一桂（1630年～1708年）是清朝时期著名的画家，也是邹氏画派的创始人之一。他的作品擅长描绘自然景观，尤其擅长画鸟。邹一桂的碧桃春鸟图被认为是他的代表作之一，并被广泛收藏和喜爱。",[25,24,310,29,30,7,42,32],"花鸟画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf75f4e0b3c61e6c01028b990b23d999.jpg","29.2x21.6公分",[67],489,8,{"id":317,"slug":318,"title":319,"dynasty":105,"author":120,"museum":320,"description":321,"tags":322,"thumbUrl":324,"material":65,"size":130,"collection":130,"collections":325,"showCount":326,"zanCount":233,"manualWeight":51,"mainColor":71},216592,"ou-xiang-guan-xie-sheng-ce-2-yun-shou-ping-216592","瓯香馆写生册-2","旅顺博物馆","《瓯香馆写生册》描写了四时的花果，从春到夏分别是桃花、海棠、碧海珊瑚、牡丹、枇杷、卷丹、洛阳花、凤仙花、菊花、梅花。除了梅花一开，作者写明是学杨补之的水墨画法之外，其余各开全用没骨法，完全不用墨线勾勒，直接用颜色点厾出花朵、叶片、果实，只以色线勾勒叶茎。落色点花的没骨花，既不同于细线勾勒再层层渲染的工笔花卉，也不同于水墨淋漓的大写意花卉，它介于两者之间，也被称作“小写意”花卉。工笔求逼真，写意求意趣，恽氏没骨花所求正在“似与不似之间”。着色花卉自然比纯粹的水墨更逼真，但直接点染的“落色花”比起层层渲染的工笔花卉又有更大的随意性，不必被物象的细枝末节所羁绊，可以放手表现花的风骨。就气质而言，没骨花介于工笔与大写意之间，既不刻画，也不放逸，清新洒脱。",[25,26,24,124,29,125,323,62,7,295],"写生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F018de872e84372dbf68adb58dee36ac1.jpg",[],485,{"id":328,"slug":329,"title":330,"dynasty":105,"author":331,"museum":332,"description":333,"tags":334,"thumbUrl":335,"material":65,"size":130,"collection":67,"collections":336,"showCount":337,"zanCount":338,"manualWeight":51,"mainColor":71},218131,"tao-hua-zhu-zhi-tu-shi-tao-218131","桃花竹枝图","石涛","美国弗利尔美术馆","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。",[23,25,26,62,80,29,7,86,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82ae9fc9a5c2869c1270ee768459d876.jpg",[67],446,5,{"id":340,"slug":341,"title":342,"dynasty":105,"author":120,"museum":77,"description":343,"tags":344,"thumbUrl":345,"material":65,"size":346,"collection":67,"collections":347,"showCount":348,"zanCount":275,"manualWeight":51,"mainColor":71},220275,"tao-hua-tu-yun-shou-ping-220275","桃花图","图绘一花团锦簇的折枝桃花斜入画面。笔法轻快疏秀，设色淡雅清丽，充分体现了以没骨法点染物象的独特魅力，不仅表现出花之媚，叶之柔，同时表现出春光下桃花含烟带雾、“习习香熏薄薄烟”的诗意。",[23,25,26,242,310,125,29,7,126,127],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd26c1e63df902ca04500cd59486069.jpg","纵133厘米，横55.5厘米",[67],384,{"id":350,"slug":351,"title":264,"dynasty":265,"author":266,"museum":77,"description":352,"tags":353,"thumbUrl":354,"material":355,"size":356,"collection":357,"collections":358,"showCount":359,"zanCount":233,"manualWeight":51,"mainColor":71},221049,"you-chun-tu-zhan-zi-qian-221049","图中展现了水天相接的情形，上有青山叠翠，湖水融融，也有士人策马山径或驻足湖边，还有美丽的仕女泛舟水上，熏风和煦，水面上微波粼粼，岸上桃杏绽开，绿草如茵。\n画家用青绿重着山水，用泥金描绘山脚，用赭石填染树干，遥摄全景，人物布局得当，开唐代金碧山水之先河，在早期的山水画中非常具有代表性。\n该画是展子虔传世的唯一作品，也是迄今为止存世最古的画卷。\n画卷首段近处露出倚山俯水一条斜径，路随山传，自到妇人立于竹篱门前才显得宽展。\n山此向上，山限岸侧，树木掩映，通过小桥，又是平坡，布篷游艇，容于其中。\n下端一角，便是坡陀花树，围绕山庄。\n描绘出明媚春光和游人在山水中纵情游乐的神态。\n各种花树点满山野，桃红柳绿，相映成趣。\n中国古代山水画的发展，到了隋代出现了较大的变化，它不再作为人物故事画背景的一部分，而是从前者中分离出来，成为一门独立的画科。\n在此之前，依附于人物故事画的山水画在表现方法上有很大的局限性，按照古人的说法就叫做“人大于山”“水不容泛”，说明在表现自然景物与人物或其他物件的关系上，以及远近、层次等方面部存在着明显的不足，画家还没有找到适宜的艺术表现手法，来描绘壮阔秀丽的山川形貌。\n《游春图》即反映了山水画处于变化发展阶段特点。\n历史上对这幅作品是否出于展子虔之手，仍持有争议。\n有唐中叶说、有疑北宋摹本，张伯驹则保留其为展子虔原作的观点。\n对《游春图》的作者及创作年代提出疑问的代表人物是文学家沈从文。\n早在1947年,他就撰写了《读展子虔》的文章，虽然标题中肯认了《游春图》的作者是展子虔,但文章通篇都是在质疑这一作者归属。\n在文中，他称“半年中有机会前后看过这画八次”，认定展子虔作此画缺乏证据。\n他在文中交待，因为前代关于绘画作品的著录,包括《贞观公私画史》《宣和画谱》等都没有提到展子虔作此作品的事情。\n另外，画中男子的衣着、女人的坐式，都与隋代人的习俗不太相符，还有装裱等种种迹象也与当时情形不合。\n历史资料证实，人们是在元、明朝时才开始认定展子虔作《游春图》的。\n所以，沈从文认为，此画可能不是展子虔所作,也不是隋代作品。另外，也有人根据画中人物头上戴的幞头、建筑部件形制等，论证它并非隋代原作，而是北宋摹本。\n该图以全景方式描绘了广阔的山水场景，图中除描绘了山水树石外，还描绘了白云出岫，杂以楼阁、院落、桥梁、舟揖，并点缀着踏春赏玩的人物车马，展示出一幅杏桃绽开、绿草如茵、水波粼粼，春风荡漾的春日融融之景象。",[23,25,26,27,28,29,33,34,35,36,37,42,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96a9f8ced13bacd0b0f77ddd3245cb51.jpg","绢本","纵43厘米，横80.5厘米。","书法精选",[357],350,{"id":361,"slug":362,"title":363,"dynasty":105,"author":120,"museum":200,"description":364,"tags":365,"thumbUrl":366,"material":271,"size":367,"collection":130,"collections":368,"showCount":369,"zanCount":233,"manualWeight":51,"mainColor":71},239431,"hua-niao-ce-yun-shou-ping-239431","花鸟册","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。",[25,26,124,29,125,62,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5391d418d6a9273a2cb10bd932c4d201.jpg","Xcm*Xcm",[],302,{"id":371,"slug":372,"title":373,"dynasty":374,"author":375,"museum":292,"description":376,"tags":377,"thumbUrl":385,"material":96,"size":386,"collection":67,"collections":387,"showCount":369,"zanCount":388,"manualWeight":51,"mainColor":71},218756,"xie-sheng-hua-niao-tu-mu-xi-218756","写生花鸟图","宋","牧溪","这是一幅水墨画，画的是各种花卉、果蔬、飞禽走兽，并绘有草、坡、竹、石。用墨精到，造型准确。与北京故宫收藏的宋代百花长卷相比，水墨画更显从容，为元代王瑞雪和明代林良的水墨画打开了大门。",[23,25,26,27,80,323,81,62,92,378,86,88,89,297,379,380,381,382,383,384,90,7,91],"蔬果","鸟","白菜","萝卜","南瓜","莲蓬","葱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F319f1d586ad6d8f701799388a3a2ded1.jpg","44.5x1017.1cm",[67],6,{"id":390,"slug":391,"title":392,"dynasty":105,"author":120,"museum":393,"description":394,"tags":395,"thumbUrl":396,"material":355,"size":397,"collection":67,"collections":398,"showCount":399,"zanCount":233,"manualWeight":51,"mainColor":71},220995,"hua-hui-tu-ce-tao-hua-yun-shou-ping-220995","花卉图册·桃花","美国纳尔逊阿特金斯艺术博物馆","《花卉图册》绘有荷花、梨花、水仙、桃花、山矾、罂粟、茶蘼、金萱石榴、牵牛、双凤、桂枝及雁来红等十二种花。画用新没骨法，不用墨线钩勒，而直接着色点染而成。点色的用笔很洒脱、飘逸。十二种花，各具姿色。色彩艳而不俗，色调的表情是清丽和冷艳，在秀雅之中含有一种凛然难犯的韵味。画册中，作者或题名或赋诗，那秀劲古逸、和婉密丽的书体，与这种艳雅的画风相结合，相得益彰，更具魅力。该图册是恽寿平绘画中的精品。\n恽寿平（1633—1690），初名格，字寿平，号南田，武进（江苏常州）人。其诗格超逸，书法遒劲，擅长山水画，尤精没骨花卉画，画笔生动。",[23,25,26,124,29,125,62,7,92,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb300ee60f9ba34664528d3e4e7228c38.jpg","每帧纵32.5厘米，横25.5厘米",[67,48],284,{"id":401,"slug":402,"title":403,"dynasty":57,"author":58,"museum":77,"description":404,"tags":405,"thumbUrl":410,"material":111,"size":411,"collection":67,"collections":412,"showCount":413,"zanCount":388,"manualWeight":51,"mainColor":71},221707,"ba-hua-tu-juan-qian-xuan-221707","八花图卷","此卷以分段法描绘海棠、梨花、杏花、水仙、桃花、牡丹等8种花卉，每种相对独立，合之又成为整体。8种花卉各具姿态，偃仰向背绝无雷同，笔致柔劲，一丝不苟，敷色清雅，浓淡相宜，整幅精工而不滞板，细腻而不纤巧。本幅前右下角钤“舜举”印一方，拖尾处有元代赵孟頫题跋：“右吴兴钱选舜举所画八花真迹，虽风格似近体，而傅色姿媚殊不可得。尔来此公日酣于酒，手指颤抖难复作此。而乡里后生多仿效之，有东家捧心之弊，则此卷诚可珍也。至元廿六年九月四日同郡赵孟頫。”",[23,25,26,27,29,30,62,91,89,406,407,408,7,409,174],"海棠","栀子","梨花","梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd3daf5f7775f9a2ba3a9ee6a0616487.jpg","纵29.4厘米，横333.9厘米",[67,48],279,{"id":415,"slug":416,"title":417,"dynasty":18,"author":418,"museum":77,"description":419,"tags":420,"thumbUrl":421,"material":422,"size":423,"collection":67,"collections":424,"showCount":425,"zanCount":233,"manualWeight":51,"mainColor":71},222416,"bai-hua-tu-zhou-zhi-mian-222416","百花图","周之冕","是图有作者自识：“萬曆壬寅(1602年)秋日寫，汝南周之冕。”系周之冕的晚年之作。该图勾画了四季花卉，其中木本花卉多为折枝。画家将吴派的写意山水笔墨转化为花鸟画的造型语言，形成了勾花点叶派。画家以写意的手法勾写或涂抹出花叶、枝干，随意之中透露着明快和清雅，反映出文人画家淡泊不羁的胸臆。\n清《石渠宝笈·三编》著录。",[23,25,26,29,30,62,27,85,7,190,92,191,126],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4a3ecd116129eeb96dfb86398c9a098.jpg","纸本，墨笔","纵31.5厘米，横706厘米",[67,48],273,{"id":427,"slug":428,"title":429,"dynasty":105,"author":430,"museum":77,"description":431,"tags":432,"thumbUrl":433,"material":130,"size":130,"collection":67,"collections":434,"showCount":435,"zanCount":11,"manualWeight":51,"mainColor":71},238946,"tao-hua-ce-ye-ma-yuan-yu-238946","桃花册页","马元驭","马元驭（1669—1722）清代画家。字扶羲，号栖霞，又号天虞山人，江苏常熟人。",[25,26,124,29,62,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02c4fb8323fe9cc6ab422db9d25bae45.jpg",[67,48],270,{"id":437,"slug":438,"title":439,"dynasty":374,"author":440,"museum":441,"description":442,"tags":443,"thumbUrl":444,"material":445,"size":446,"collection":447,"collections":448,"showCount":449,"zanCount":11,"manualWeight":51,"mainColor":52},221335,"tao-jiu-tu-zhao-ji-221335","桃鸠图","赵佶","日本民间","整幅画桃花与枝叶钩勒精工，栖鸠动态自然而生动，用生漆点睛，卓有神采，整体色彩华丽，瘦金书稍稚嫩。\n此图桃花与枝叶钩勒精工，栖鸠动态自然而生动，用生漆点睛，卓有神采，整体色彩华丽，瘦金书稍稚嫩。流传日本已久，长期以来被作为徽宗的真迹，受到良好的保护，现在是日本的国宝级文物。\n本图有“大观丁亥御笔天”的题记，丁亥年是1107年，这一年徽宗26岁，是画家早期的作品。\n从这幅画来看，描法纤细，傅染鲜润，与徐熙（五代）的水墨画要素和徐崇嗣的色彩为中心的没骨法花鸟比较接近。总的看来，色彩的表现给人以强烈的视觉感受，但仔细观察就会发现细部的轮廓线仍然非常明确。\n此册页在传为宋徽宗的作品中比较特别。桃花与枝叶钩勒精工，栖鸠动态自然而生动，用生漆点睛，卓有神采，整体色彩华丽。传其为画家二十六岁时的作品。\n赵佶观察事物细致入微，这幅《桃鸠图》，画中的桃花与枝叶勾勒精工，栖息在树上的鸠鸟动态自然而生动，用生漆点睛，富有神采，整体色彩华丽，洋溢着悠扬的神韵，此画被誉为折枝花鸟画的典型。",[23,25,26,62,30,29,7,42,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19169b4c41d86b4cbbb34e3bf4af4222.jpg","绢本设色","28.5X27厘米","宋画精选",[447,67,48],257,{"id":451,"slug":452,"title":453,"dynasty":18,"author":418,"museum":200,"description":454,"tags":455,"thumbUrl":457,"material":271,"size":367,"collection":130,"collections":458,"showCount":459,"zanCount":133,"manualWeight":51,"mainColor":52},287613,"si-shi-hua-niao-tu-zhou-zhi-mian-287613","四时花鸟图","周之冕（1521—？）明代杰出画家，字服卿，号少谷，长洲（今江苏苏州）人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。善用勾勒法画花，以水墨点染叶子，画法兼工带写，人称勾花点叶法。所作花鸟，形象真实，意态生动，颇有影响。写意花鸟，最有神韵。设色亦鲜雅，家畜各种禽鸟，详其饮啄飞止，故动笔具有生意 。特以嗜酒落魄，不甚为世重耳。又善古隶。",[23,25,27,29,30,62,85,86,89,90,7,42,456,92,203],"禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784a8955d2b4f0279d0683708db84ee1.jpg",[],216,{"id":461,"slug":462,"title":463,"dynasty":105,"author":464,"museum":292,"description":465,"tags":466,"thumbUrl":469,"material":65,"size":470,"collection":130,"collections":471,"showCount":472,"zanCount":473,"manualWeight":51,"mainColor":71},219876,"er-shi-si-fan-hua-xin-feng-tu-tang-di-yu-tao-hua-dong-gao-219876","二十四番花信风图-棠棣与桃花","董诰","古人认为春风守信，如期而来，催开百花，称为“花信风”。春天自“小寒”到“谷雨”经历四个月，共八节气，每五天为一候，前后为二十四番花信风，以梅花居首，楝花居末。此套《画二十四番花信风图》册页十二开，共二十四幅，画二十四番花信风。",[24,25,26,124,29,30,62,467,7,468,83,32],"棠棣","花信风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba17cf988bcf65f78a9b85775c599311.jpg","20x14.2厘米",[],209,1,{"id":475,"slug":476,"title":477,"dynasty":18,"author":478,"museum":332,"description":479,"tags":480,"thumbUrl":483,"material":29,"size":130,"collection":48,"collections":484,"showCount":485,"zanCount":260,"manualWeight":51,"mainColor":52},219250,"chun-shan-you-qi-tu-tang-yin-219250","春山游骑图","唐寅","层岩叠嶂间，松涛与溪流相和。板桥之上，游骑缓行，衣袂带风；山间茅舍旁，雅士或谈或立，意趣悠然。山石勾勒劲挺，皴染兼具刚柔，尽显嶙峋之态；林木疏密有致，春枝带露，点点新红缀于枝桠，春意盎然。整幅画融自然之秀与人文之雅，藏着明代文人寄情山水的闲逸心怀——山行的清欢，友聚的惬意，都在笔墨间流转，每一处细节都似在诉说春日里与山水相逢的诗意。",[23,25,26,29,31,33,34,481,36,37,482,40,7,35],"马","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c9d535bdc2346ee40e7ff15b0a6f825.jpg",[48],199,{"id":487,"slug":488,"title":489,"dynasty":105,"author":490,"museum":200,"description":491,"tags":492,"thumbUrl":493,"material":130,"size":130,"collection":130,"collections":494,"showCount":495,"zanCount":260,"manualWeight":51,"mainColor":71},230215,"hua-niao-tu-ce-yu-zhi-230215","花鸟图册","余穉","此作工致秀雅，以桃花翠竹绘就春日小景。枝头桃花柔媚绽放，粉白花瓣晕染匀净，尽显娇妍之态，间杂翠绿竹叶，挺括舒展，鲜润清雅。\n\n三只春燕情态各异，两只红襟燕栖于花枝，羽翼丝缕毕现，绒羽蓬松柔软，神色悠然；一只白燕翩跹掠飞，灵动轻盈，动静相映成趣。整体设色明丽柔和，笔触细腻入微，将春日融融的生机与雅致融为一体，兼具写实之真与古典雅致之美，尽显清逸温婉的花鸟意趣。",[25,30,29,62,7,86,42,32,124],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95f1730fb5283ee2b7dc13a5bfb558b7.jpg",[],196,{"id":497,"slug":498,"title":499,"dynasty":105,"author":138,"museum":77,"description":500,"tags":501,"thumbUrl":505,"material":144,"size":506,"collection":130,"collections":507,"showCount":508,"zanCount":11,"manualWeight":51,"mainColor":71},233878,"hua-niao-tu-zhou-lang-shi-ning-233878","花鸟图轴","此图笔法精工细腻，色调绚丽多彩，造型写实生动，注重描绘禽鸟翎毛的质感、花叶的阴阳向背以及明暗层次的变化，具有鲜明的西洋花鸟写实画的风格。",[25,26,30,29,7,379,502,503,504,32],"树枝","花草","老干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60f9fa2985d7c169d06da5861e1fdfec.jpg","纵63.7厘米，横32.3厘米",[],185,{"id":510,"slug":511,"title":512,"dynasty":105,"author":513,"museum":200,"description":514,"tags":515,"thumbUrl":517,"material":130,"size":130,"collection":130,"collections":518,"showCount":519,"zanCount":473,"manualWeight":51,"mainColor":71},230172,"hua-niao-hua-shi-er-kai-10-yu-zhi-230172","花鸟画十二开-10","余稚","此作设色明丽清雅，工致写实。柔婉桃枝缀满粉英，嫩蕊轻绽，与旁侧劲挺翠竹相映，柔刚相济，晕开融融春意。三只春燕刻画入微，两只栖于花枝，黑亮绒羽莹润细腻，红颈点点鲜活灵动，似在私语春景；另一只振翅掠空，身姿轻盈舒展，尽现翩跹之态。\n\n画师笔触细腻传神，将花瓣肌理、禽鸟绒羽一一摹绘，敷色温婉秀润，无半点艳俗之感。构图疏密相宜，枝桠错落舒展，留白恰到好处，将暮春柔暖生机尽数铺陈，尽显娴静雅致的中式春日意趣，是工笔花鸟里隽秀动人的佳作。",[24,25,30,29,124,62,42,7,516,32],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69af12c534f45c29139f1d53485b1c0e.jpg",[],177,{"id":521,"slug":522,"title":523,"dynasty":374,"author":524,"museum":200,"description":525,"tags":526,"thumbUrl":527,"material":130,"size":130,"collection":130,"collections":528,"showCount":529,"zanCount":260,"manualWeight":51,"mainColor":183},227904,"bi-tao-tu-ye-yi-ming-227904","碧桃图页","佚名","《碧桃图》是宋代佚名画家创作的一幅绢本设色画，现藏于北京故宫博物院。\n该图绘碧桃两枝，枝上的碧桃花有的吐露盛开，有的含苞欲放。\n花瓣用细笔勾描后多层晕染，富有层次变化和立体感。\n全图用笔精细，设色淡雅，画面虽小，意趣无穷。\n在纨扇面上画红白碧桃两枝，枝上的桃花有的吐露盛开，有的含苞欲放，其花蕾、枝叶互相穿插其间，争奇斗艳，竞相怒放。\n左枝挺干盛开，右枝则斜向争艳，从这两枝繁花簇簇，苞蕾盈枝的描绘中，清香宜人的花味如绢中溢出，感到了春色的浓郁，花木葱郁茂盛的欣欣向荣气象呈现在眼前。\n本幅有：“于”“腾”联珠白文、“阿蒙精赏”朱文。\n宋代的花鸟画，在皇室的倡导下，已发展到了黄金时期。\n对客观物象的观察和描绘已丝丝入微，重“格物、穷理”已成为那一时期花鸟画坛的时尚，花鸟册页是其中的代表。\n该图是散页，已无从查考出处，观其画风，应是南宋初院人作品，是南宋写生作品，画面无款。\n宋人画风崇尚真实自然，在真实中求得词一般的境界。\n该图描绘的是一派春意盎然的景象，表现的是一红一白两枝桃花相互交错，花朵饱满丰盈，枝叶葱郁。\n该图没有繁杂的布势表现，但通过对花、叶、枝及嫩芽的精微生动的描绘，着实传达出春花怒放、春日融融的情意感觉。\n其中，尤以那层层叠叠的花瓣最引人注目，且每个花朵的形态走向各有差异，可以说无论是花朵的局部表现，还是整体的布势都是精彩的。\n该图构图简洁，在许多方面都留有写生的痕迹，比如，花瓣的开合、叶子的正反、刚出的嫩芽等表现，无不鲜活入微。\n然而，这种生活化的写生表现，确丝毫没有影响画家依照情意处理画面平面空间分割的意图。\n可能正是由于这种生活中形状的刺激，使得作者在画面的平面分割中，才采用了扇形分割，扇形成为作品中形状的主基调。\n作品从整体画面的团扇形到每一簇花朵，乃至每一簇叶子都呈各自不同的扇形分割，在这个分割中扇形可谓是变化至极。\n这种扇形能够给人以渐展、开阔的生发感觉，这就吻合了作品的情意内容，即由弱到强的春季桃花的生命气象。\n该图艺术精湛，花枝、花茎、花叶全用双勾。\n勾线细秀，赋色轻清。\n其中花瓣用细笔勾描后多层晕染。\n花叶的筋脉一丝不苟，丝丝入扣，有水分的质感，桃干的勾线，顿挫转折，笔笔中锋，凝重而空灵，富有层次变化和立体感。\n中国美术研究所研究员梁济海：这幅画在艺术手法上与《出水芙蓉》不一样，花枝茎叶全用双勾，不过用笔极为轻细，傅色也很淡雅，碧桃的丰盈、柔嫩和姣好的姿容，形成一种素雅的艺术格调。\n由本幅鉴藏印可知，该图曾经清代鉴藏家于腾收藏，经《中国古代书画目录》第二册著录。\n现藏于北京故宫博物院。",[23,24,25,26,124,29,30,62,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F492d139f03f73b41512b3e28ecc1aab5.jpg",[],175,{"id":531,"slug":532,"title":533,"dynasty":105,"author":534,"museum":320,"description":535,"tags":536,"thumbUrl":540,"material":160,"size":541,"collection":247,"collections":542,"showCount":543,"zanCount":11,"manualWeight":51,"mainColor":52},220442,"chun-ye-yan-tao-li-yuan-tu-lv-huan-cheng-220442","春夜宴桃李园图","吕焕成","此图与吕焕成的传世作品《春山听阮图》（现藏旅顺博物馆）、《西溪图》（上海博物馆）的画法相类似，勾皴挺拔秀劲，人物生动细劲，意境幽深，既有“北宗”画法的崇高峻美，也有“南宗”画法的秀润笔致。\n此幅绘李白春夜宴桃李园故事，人物刻画生动，桃园布置幽雅，桃树夭夭，灼灼其华，湖石玲珑，远山壮美。用笔细劲，敷色精诣，吕吉文做为清初吴门画派领军人物，此作名不虚传。",[23,25,26,242,30,29,34,33,7,537,538,539,244],"石","宴乐","饮酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25b1cce1cef029536624dbe6f4f8c3e5.jpg","199X96cm",[247,48],174,{"id":545,"slug":546,"title":547,"dynasty":548,"author":549,"museum":550,"description":551,"tags":552,"thumbUrl":555,"material":130,"size":130,"collection":130,"collections":556,"showCount":557,"zanCount":260,"manualWeight":51,"mainColor":71},220578,"huang-bin-hong-ben-hua-niao-shan-shui-ce-ye-huang-bin-hong-220578","黄宾虹本花鸟山水册页","民国","黄宾虹","中国美术学院美术馆","此作以分段折枝花鸟铺陈，各景花木情态自具：牡丹秾艳娇柔，梅枝清癯疏朗，铃兰、山茶各见风姿。以淡彩晕染花萼枝叶，勾勒轻简见笔力，兼具写生之真与写意之逸，既有青藤白阳的纵逸笔意，又自出机杼。题跋书法与花木相映成趣，诗画交融，晕染淡雅却筋骨暗蕴，艳而不俗，淡而不薄，将花木的柔媚与文人画的清雅风骨相融，尽显明清逸格画韵的余味，笔底漾着沉静文心，是极具文人雅致的花鸟小品佳作。",[23,25,26,124,29,30,84,32,62,89,7,94,173,90,91,93,553,554],"墨","纸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaf98760b63f1afddbdee99352c5f94a.jpg",[],168,{"id":559,"slug":560,"title":167,"dynasty":374,"author":524,"museum":77,"description":561,"tags":562,"thumbUrl":565,"material":566,"size":567,"collection":130,"collections":568,"showCount":569,"zanCount":260,"manualWeight":51,"mainColor":71},231540,"bai-hua-tu-juan-yi-ming-231540","此幅画四季花卉约60种，长近17米，堪称辉煌巨制。尾纸钤鉴藏印“棠村”、“蕉林梁氏书画之印”等，有乾隆、嘉庆、宣统鉴赏印及清内府鉴藏印多方。\n此图绘四季花卉五十余种，其中主要有梅花、山茶、牡丹、百合、芍药、海棠、萱花、含笑、碧桃、桃花、梨花、石竹花、罂粟、打破碗花、栀子、蕙兰、荷花、并蒂莲、鸡冠花、蓼花、芙蓉、扁豆花、石蒜花、桂花、菊花、山丹、牵牛花、凤仙花、蜀葵、秋葵等。\n花间分别点缀禽鸟、蜻蜓、蝴蝶、蜜蜂、蚱蜢、小鱼等，颇具自然生机和情趣。图中花卉和动物，都用细线勾描，浓淡墨多层晕染，花之娇态、层次，页之筋脉、转折、凹凸刻画得很细致。全图用笔工细，用墨于单纯中求丰富，统一中求变化，使画面富有秀雅之美。图卷首段的梅花的画法接近南宋扬无咎的风格而又有变化。这种工而不板，艳二不火的画风，开文人花鸟画的先河。画中钤有「乾隆御览之宝」、「三希堂精鉴玺」、「嘉庆御览之宝」、「宣统御览之宝」等印玺多方。无作者款印，曾经清内府收藏，《石渠宝笈三编》著録。\n画面上花鸟之间穿插自然，毫无牵强拼凑之意。其间又点缀蜂、蚊、蜻蜓、蝴蝶、游鱼、青蛙之类，显得生意盎然。全卷纯使水墨，亦加白描花卉，除卷首的梅花近似扬无咎的画法略带写意笔外，其他全用墨笔工写，以墨代色，兼勾勒墨染与白描，且融入了没骨画法，体现了宋工笔花鸟精密不苟的画风。又以单纯的水墨代替艳丽的设色，呈现出清淡典雅的情趣。一脱繁复刻板的院体末路，突破了传统花鸟画的时空限制，呈现出崭新的面貌。这种技法对元代钱选、王渊、赵衷的墨笔花卉以及后来文人水墨花卉都有一定的影响。",[23,24,25,26,27,30,29,62,563,157,564,379,89,90,7,173],"百花","蜻蜓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd98aa4ddc30bf83c5a67d1f1c11a05a.jpg","纸本","纵31.5厘米、横1679.5厘米",[],153,{"id":571,"slug":572,"title":573,"dynasty":105,"author":307,"museum":200,"description":574,"tags":575,"thumbUrl":576,"material":271,"size":367,"collection":130,"collections":577,"showCount":578,"zanCount":473,"manualWeight":51,"mainColor":71},235132,"tao-hua-tu-zhou-zou-yi-gui-235132","桃花图轴","“丙戌”是清乾隆三十一年（1766年），邹一桂时年79岁。图绘在月季的衬托下斜入画面的桃树。全图笔法轻快疏秀，设色淡雅清丽，花之媚，叶之柔，充分表现了桃树的独特魅力。作者不刻意求工、求似，唯求自然天趣，揭示出平淡超逸的审美意趣，不仅表现出春回大地桃花含烟带雾的诗意，而且具有富贵长春的吉祥寓意。",[25,24,242,29,30,62,7,89,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdadd8bce962dd2da11a1ab2141bebd95.jpg",[],148,{"id":580,"slug":581,"title":582,"dynasty":105,"author":583,"museum":200,"description":584,"tags":585,"thumbUrl":589,"material":130,"size":130,"collection":130,"collections":590,"showCount":591,"zanCount":473,"manualWeight":51,"mainColor":71},234226,"hua-hui-tu-juan-zhu-da-234226","花卉图卷","朱耷","清代初期的中国画坛活跃着弘仁、髡残、朱耷、石涛四位僧人画家，画史上合称“四僧”。他们的绘画在继承传统的基础上，大胆创新，主张师法自然造化，与当时画坛正统风格相距甚远，具有鲜明的艺术风格。在这四人当中尤以朱耷的人生与艺术最具传奇色彩。\n朱耷（1626—1705），江西南昌人，为明江西宁献王朱权的九世孙。明亡后出家为僧，法名传綮，曾经使用的号有很多，最为著名的则是在他弃僧还俗后使用的“八大山人”。",[23,25,26,27,80,84,586,32,62,89,7,587,588],"草书","绣球","白描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1af9b90b90faf27fd07bc9d5bfdfb023.jpg",[],146,{"id":593,"slug":594,"title":291,"dynasty":105,"author":120,"museum":200,"description":364,"tags":595,"thumbUrl":597,"material":271,"size":367,"collection":130,"collections":598,"showCount":599,"zanCount":11,"manualWeight":51,"mainColor":71},290536,"yan-xi-yu-le-zhou-yun-shou-ping-290536",[25,24,242,26,30,29,62,7,297,42,83,32,596],"鱼乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20aff2a060a96207e9cbb6a8febec6d9.jpg",[],143,{"id":601,"slug":602,"title":603,"dynasty":105,"author":120,"museum":200,"description":201,"tags":604,"thumbUrl":605,"material":130,"size":205,"collection":130,"collections":606,"showCount":599,"zanCount":51,"manualWeight":51,"mainColor":71},233894,"hua-hui-ce-yun-shou-ping-233894","花卉册",[25,26,62,29,125,7,502,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6264e10266425c21b4f12e01ab8d910.jpg",[],{"id":608,"slug":609,"title":610,"dynasty":18,"author":611,"museum":200,"description":612,"tags":613,"thumbUrl":618,"material":130,"size":130,"collection":130,"collections":619,"showCount":620,"zanCount":473,"manualWeight":51,"mainColor":71},228271,"er-shi-si-fan-hua-xin-tu-juan-wei-zhi-ke-228271","二十四番花信图卷","魏之克","此作用没骨法写群芳次第铺展，艳红山茶花、柔粉芙蓉、明黄牵牛、素白水仙等错落排布，将四季花信的娇美姿态尽揽卷中。\n\n敷色妍丽清润，花叶晕染细腻自然，花瓣的柔润肌理、叶片的明暗层次皆被精微呈现。勾勒线条纤秀柔和，不着笔痕却见风骨。构图舒展疏朗，一花一叶各含生机，毫无拥塞之感，将文人意趣融于写生之中，整卷清新雅致，如将春日烂漫温柔铺陈眼前，观之如沐东风，尽现写生花鸟的雅致意韵。",[23,25,26,27,30,29,62,85,93,89,90,7,91,173,614,171,615,406,407,616,92,191,617,32],"杜鹃","山茶","茉莉","花朵","https:\u002F\u0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雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这十二幅行乐图展现了其在圆明园生活的各个场景，也表现了十二个月的不同节令风俗。",[25,29,30,141,33,34,35,627,7,482,39,37,40,628,629],"庭院","回廊","房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa7b59ca91897a30691a9a29a57869a.jpg",[],133,{"id":634,"slug":635,"title":636,"dynasty":374,"author":524,"museum":292,"description":637,"tags":638,"thumbUrl":639,"material":445,"size":640,"collection":130,"collections":641,"showCount":642,"zanCount":260,"manualWeight":51,"mainColor":52},223516,"tao-hua-shan-niao-tu-yi-ming-223516","桃花山鸟图","此图采用双钩填彩法，用线工整挺秀、生动流畅、柔中带刚，画家追求的不是线的形式变化，而是对质感的表达。花瓣密集写实，鸟的羽毛细而柔，尾羽敷红色，有透明感。画面色彩雅致，鲜花轻敷淡染，一点也不矫揉造作。",[23,24,25,26,30,29,62,7,42],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8e8efee647a398a24f78c3f1f84561.jpg","纵23.8厘米横24.4厘米",[],125,{"id":644,"slug":645,"title":646,"dynasty":105,"author":331,"museum":200,"description":647,"tags":648,"thumbUrl":649,"material":130,"size":130,"collection":130,"collections":650,"showCount":651,"zanCount":473,"manualWeight":51,"mainColor":71},228995,"hua-hui-ce-shi-zhen-shi-tao-228995","花卉册十帧","此作以桃花配墨竹，刚柔互衬。粉桃花朵晕染柔润，娇妍含露，枯笔写枝拙朴苍劲，尽显花柔枝老的生趣。右下角墨竹以浓墨挥写，叶片挺拔清瘦，与柔媚桃花相映，愈见雅致。\n\n行书题款舒朗流畅，诗文借春日江南景致抒放逸闲情，诗书画意相融无间。整幅以淡墨轻色写意，随性疏朗，以简淡笔墨托出春日清妍，将文人心底的闲情雅趣寄于花枝竹影间，淡而有味，简而有神，尽显文人画的写意真趣。",[24,25,26,124,80,29,62,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fade10183679772013e35beae8b8ea357.jpg",[],120,{"id":653,"slug":654,"title":624,"dynasty":105,"author":524,"museum":77,"description":625,"tags":655,"thumbUrl":660,"material":144,"size":145,"collection":130,"collections":661,"showCount":662,"zanCount":51,"manualWeight":51,"mainColor":52},236170,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236170",[24,25,26,242,30,29,141,33,35,39,656,37,657,7,40,34,627,658,659],"廊","湖石","远山","近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F704e226b49976041020eba48c7e2be86.jpg",[],119,{"id":664,"slug":665,"title":666,"dynasty":105,"author":667,"museum":77,"description":668,"tags":669,"thumbUrl":671,"material":65,"size":672,"collection":67,"collections":673,"showCount":674,"zanCount":260,"manualWeight":51,"mainColor":71},219285,"tao-liu-shuang-yan-tu-ren-xiong-219285","桃柳双燕图","任熊","杨柳青青随风摇曳，桃花几株隐现其中，枝头上两只燕子正欢快地嬉戏。画家巧妙地通过弯曲的柳条和燕子的上下飞舞增加了画面的动感，暗示出轻拂花柳的春风。画面风貌写实，设色明丽，色彩对比柔和，桃花在柳条间若隐若现，成为画面中最明丽的亮点，可见画家在色彩运用上的娴熟技艺。",[23,25,29,62,242,7,295,670],"燕子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50f133d7080974e75316cc983e4b2b15.jpg","纵140.7厘米，横32.7厘米",[67],116,{"id":676,"slug":677,"title":678,"dynasty":18,"author":679,"museum":680,"description":681,"tags":682,"thumbUrl":685,"material":144,"size":686,"collection":67,"collections":687,"showCount":688,"zanCount":11,"manualWeight":51,"mainColor":52},221940,"bai-he-tu-juan-bian-wen-jin-221940","百鹤图卷","边文进","四川省博物馆","此图笔墨精炼，色调明快，绘白鹤近百只，皆丹顶白毛黑尾长腿，或空中盘旋、或水中嬉戏、或伏地栖息、或飞鸣啄食、或舒翼理毛……神态各异，莫不栩栩如生，各臻其妙。鹤群栖息之处鲜花绽放、松树遒劲、水流奔腾、湖石耸立，群鹤和睦，情景融融。",[23,25,27,30,29,62,683,684,7,482,40,42,33],"鹤","松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb94bd1c5f39208d59af0aa9219a8508f.jpg","25.4*241.33cm",[67,48],114,{"id":690,"slug":691,"title":692,"dynasty":57,"author":58,"museum":693,"description":694,"tags":695,"thumbUrl":696,"material":697,"size":698,"collection":67,"collections":699,"showCount":701,"zanCount":51,"manualWeight":51,"mainColor":71},221715,"hua-niao-tu-juan-qian-xuan-221715","花鸟图卷","天津博物馆","第一段桃花翠鸟，画一枝春桃花繁叶茂，枝头站立一只通体羽毛幽蓝的翠鸟，小鸟身体直立，极目远眺，正是鸟儿振翅起飞前的瞬间写照。第二段牡丹，画一束绿叶中，盛开着两朵淡粉的牡丹，叶子向左下微垂，似有阵阵清风掠过。第三段干枝梅，画一棵梅枝垂挂而下，错节的大小梅枝上许多梅花盛开。钱选画花鸟善于捕捉实景中最生动自然的情形，形态逼真富有情趣，此卷正是钱选这一画风的充分体现。图画设色淡雅清丽，精巧传神，洋溢着隽秀清高之美，构图虽简，但更显画家的技法精湛。\n如此形象准确，神态生动，笔力遒劲的得意之作，钱选自然要赋诗题上。在每段画的后面，都有钱选自题的七言诗一首。第一段和第三段的题诗已漫漶不能全识，第二段题诗如下：头白相看春又残，折花聊助一时欢。东君命驾归何连，犹有余情在牡丹。题诗以行楷书写，含蓄内敛、平淡天真，严谨而朴拙，颇有钟繇遗风。画卷诗情画意相得益彰，为钱选花鸟画的至精之作。卷尾署“至元甲午画于太湖之滨并题，习懒翁钱选舜举”。可知这是钱选晚年所作，正值钱选诗书画印诸艺炉火纯青之时。",[23,25,26,27,29,30,62,7,89,379],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38ccc0a162c10a33940263f3fc4a9708.jpg","纸本 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给我们以古朴、含蓄、浑厚、苍拙等特殊的审美效果，这是自然的造化使然。吴昌硕善于巧夺天工，在传统的冲、切刀法的基础上，辅之以敲、击、凿、磨或借用砂石、鞋底、钉头等，极大地丰富了篆刻艺术的表现手法，并创造性地将篆刻艺术中刀石效果产生的金石味，上升到残缺美的审美新境界。\n主要篆刻作品：《寿山老坑巧色雕狮钮》《作了天下事》《读遍千古书》《好学为福》《黑青田》《一月安东令》《湖州安吉县》《泰山残石楼》《园丁生于梅洞长于竹洞》《暴书》《千寻竹斋》《千寻竹斋》3刻《吴俊卿信印日利长寿》《安吉吴俊章》《雷浚》《鲜鲜霜中菊》《归仁里民》。\n\n绘画:\n绘画的题材以花卉为主，亦偶作山水。前期得到任颐指点，后又参用赵之谦画法，并博采徐渭、八大、石涛和扬州八怪诸家之长，兼用篆、隶、狂草笔意入画，色酣墨饱，雄健古拙，亦创新貌。其作品重整体，尚气势，认为“奔放处不离法度，精微处照顾气魄”，富有金石气。讲求用笔、施墨、敷彩、题款、钤印等的疏密轻重，配合得宜。 吴昌硕自言：“我平生得力之处在于能以作书之法作画。”\n他以篆笔写梅兰，狂草作葡萄。所作花卉木石，笔力老辣，气势雄强，布局新颖，构图也近书印的章法布白，喜取“之”字和“女”字格局，或作对角斜势。用色上似赵之谦，喜用浓丽对比的颜色，尤善用西洋红，色泽浓艳。\n吴昌硕因以“草篆书”入画，状物不求写实，形成了影响近现代中国画坛的直抒胸襟，酣畅淋漓的“大写意”笔墨形式。\n他酷爱梅花，以写大篆和草书笔法为之，墨梅、红梅兼有，画红梅水分及色彩调和恰到好处，红紫相间，笔墨酣畅。又喜作兰花，喜以或浓或淡的墨色和用篆书笔法画成，刚劲有力。画竹竿以淡墨轻抹，叶以浓墨点出，疏密相间，富有变化，或伴以松、梅、石等，成为“双清”或“三友”。菊花也是他经常入画的题材，伴以岩石，或插以高而瘦的古瓶，与菊花情状相映成趣。菊花多作黄色，亦或作墨菊和红菊。墨菊以焦墨画出，菊叶以大笔泼洒，浓淡相间。\n晚年较多画牡丹，以鲜艳的胭脂红设色，含有较多水分，再以茂密的枝叶相衬，生气蓬勃。荷花、水仙、松柏也是经常入画的题材。\n菜蔬果品如竹笋、青菜、葫芦、南瓜、桃子、枇杷、石榴等也一一入画，极富生活气息。推崇周闲果蔬风格，作品色墨并用，浑厚苍劲，对于近世花鸟画影响深远。\n主要绘画作品：《天竹花卉》《紫藤图》《墨荷图》《五月枇杷图》《杏花图》《花卉十二屏风》《梅花》《花卉四屏》《牡丹》《兰石图》《松石图》《花卉》2幅《紫藤图》《杂画册（之—、二）》《依样》《天香露图》《杞菊延年》《泥盆菊草图》《牡丹图》《牡丹水仙图》《大富贵》《佛像图》《富贵神仙图》《红梅图》2幅《蔷薇芦桔图》《秋艳图》《三千年结实》《人物》《三千年结实之桃》《神仙福寿》《石梅》《石竹图》《松梅图》《岁寒交图》《桃实图》《瓜果》《灯下观书》《姑苏丝画图》等。\n①金石气息：吴昌硕绘画艺术的第一大特色是有金石气息。所谓金石气息，指的就是钟鼎上所铸的金文与刻在石碑上的文字所具有的味道。人们常说谁谁的画作有金石气息，其实这种评论标准都是从吴昌硕的绘画风格出现以后才有的。比如，人们在谈到徐青藤、八大山人时，就从来没有听说过评价他们的画作有金石气息。\n②笔力雄浑：吴昌硕绘画艺术的第二大特色是笔力雄浑。所谓笔力雄浑，指的就是其画作中的笔触朴拙、苍茫、老辣，极具浑圆、雄强的力量感。人们常说吴昌硕绘画的气息很厚、很重，按照书画圈儿里人的说法就是“笔头子”很大。所谓“笔头子”很大，并不是说他用的毛笔很大，而指他笔下的气息非常浑厚，一笔下去，浑金璞玉，力透纸背，又意蕴丰富、气象万千。\n③设色浓丽：吴昌硕绘画艺术的第三大特色是设色浓丽。过去人们总是说中国画不能搞那么多颜色，用太多颜色容易俗气。不过，张俊东却指出，吴昌硕绘画的用墨就特别浓，设色也特别大胆，特别鲜艳和浓丽。比如，吴昌硕画过很多牡丹，很多都是大红大紫的，但是却不会让人觉得俗气，而且非常有文人的那种风骨。所以张俊东认为，中国画设色的关键不在多少，而在谁来用以及怎么去用。\n④富于变化:吴昌硕绘画艺术的第四大特色是笔法和墨法富于变化。这里边又体现在几个方面。张俊东举例介绍说，比如吴昌硕在画菊花时，可以将一朵菊花无论是正面的，侧面的，静态的，动态的，都能画得非常丰富。\n\n书法:\n吴昌硕的楷书，始学颜鲁公，隶习汉代石刻，篆学石鼓文。行书学黄庭坚、王铎。\n吴昌硕书法作品，以篆书、行草为主，晚年所书隶书，结体变长，取纵势，用笔雄浑、饱满，具有篆书痕迹，将篆、隶溶为一体，形成独特面貌。\n吴昌硕的隶书遍临《汉祀三公山碑》《张迁碑》《嵩山石刻》《石门颂》等汉碑。中年以后，博览众多金石原件及拓本，选择石鼓文为主要临摹对象。数十年间，反复钻研，故所作石鼓文凝练遒劲，风格独特。60岁后所书尤精，圆熟精悍。喜将石鼓文字集语书写对联。晚年以篆隶笔法作草书，笔势奔腾，苍劲雄浑，不拘成法。\n\n诗文:\n吴昌硕善作诗文，苦吟数十年，未尝间断。其诗文，奇崛古朴，用典较多，不甚通俗。但有些绝句纯用白描手法，活泼自然，接近口语，具有明丽俊逸的特点，风格上与民歌很相近。有些绝句则活泼自然，接近口语，时含有讽刺意味，抒发生活实感。所作题画诗寄托深远，颇有浪漫主义气息；评论前人书画，尤多独到见地。早年所作五古，有一部分含有讽刺意味，揭露了当时黑暗社会某些不平现象。他的散文作品写得不多，大都是序跋、考证和题画小品之类，写的都很朴质淳厚，平易近人。题画小品中尤多精心之作。发抒生活实感，鞭挞丑恶现象，颇能以少胜多；读时依稀与作者一灯相对，娓娓而谈，意味非常深长。",[23,25,26,242,29,62,217,7,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a9cf103a50a6f03f9f5e08b4a20601c.jpg","93x45cm",[67,48],{"id":746,"slug":747,"title":603,"dynasty":105,"author":464,"museum":200,"description":706,"tags":748,"thumbUrl":749,"material":271,"size":367,"collection":67,"collections":750,"showCount":751,"zanCount":473,"manualWeight":51,"mainColor":71},238346,"hua-hui-ce-dong-gao-238346",[25,26,62,124,29,30,7,173,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9149d6e60a547adda3d2705a79a31ea9.jpg",[67,48],99,{"id":753,"slug":754,"title":755,"dynasty":57,"author":756,"museum":292,"description":757,"tags":758,"thumbUrl":761,"material":762,"size":763,"collection":357,"collections":764,"showCount":765,"zanCount":473,"manualWeight":51,"mainColor":71},214382,"ti-hua-shi-zhou-zhao-meng-fu-214382","题画诗轴","赵孟頫","笔墨流转间，晋唐风骨与元人逸韵交融。行书线条圆活遒媚，如春风拂柳般柔婉却藏筋骨——起收转折温润流畅，结构端稳中透着灵动。墨色浓淡相宜，行列疏密有致，气韵连贯如行云流水。题画诗的清雅与书法的雅致相映成趣，仿佛将山水画卷的意境凝于笔端：诗中咏叹的林泉之趣，随笔墨的起伏漫溢开来，尽显文人书画的韵致。字里行间藏着对自然的眷慕，也流露着书家的从容心境，读来如沐清风，余味悠长。每一笔都似与山水对话，将诗、书、画的意趣绾合成一段清雅的文脉，在时光里静静流淌。",[24,25,26,83,242,84,80,33,7,759,760,37],"老树","孤村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc2c9a317264f8c2bdc121f3791db8dd.jpg","绢本,水墨","154.2x84.7",[357],97,{"id":767,"slug":768,"title":769,"dynasty":105,"author":770,"museum":332,"description":771,"tags":772,"thumbUrl":774,"material":566,"size":775,"collection":130,"collections":776,"showCount":777,"zanCount":473,"manualWeight":51,"mainColor":52},214354,"san-jue-shan-shui-ce-7-hua-yan-214354","三绝山水册-7","华嵒","华岩的十六页中描绘了一幅清晰、优雅和空灵的风景。新罗山人擅长花鸟和人物，但山水也可以纳入收藏。",[23,25,80,29,124,31,33,217,40,34,658,773,7],"水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6649a7f927eb2299be006731defc02c.jpg","23.4x15.8",[],96,{"id":779,"slug":780,"title":781,"dynasty":105,"author":782,"museum":200,"description":783,"tags":784,"thumbUrl":786,"material":271,"size":367,"collection":130,"collections":787,"showCount":788,"zanCount":51,"manualWeight":51,"mainColor":71},236740,"tao-hua-jia-die-wan-shan-zhang-xiong-236740","桃花蛱蝶纨扇","张熊","张熊(1803—1886)，又名张熊祥，字寿甫，亦作寿父，号子祥，晚号祥翁，别号鸳湖外史，鸳湖老人，鸳湖老者，鸳鸯湖外史，西厢客。别署清河伯子，髯参军。室名银藤花馆。秀水（今浙江嘉兴）人，张熊年青时代就移居上海，参加各种美术活动。",[25,26,785,229,30,29,62,7,157],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55170b403bb25051d64dc082a1e881e2.jpg",[],95,{"id":790,"slug":791,"title":692,"dynasty":57,"author":792,"museum":200,"description":793,"tags":794,"thumbUrl":795,"material":130,"size":796,"collection":130,"collections":797,"showCount":798,"zanCount":11,"manualWeight":51,"mainColor":52},231513,"hua-niao-tu-juan-wang-yuan-231513","王渊","王渊是元代著名花鸟画家，字若水，号澹轩，浙江杭州人。生卒年不祥，据陶宗仪《辍耕录》卷七记载，他“幼时获侍赵魏公（赵子昂）故多得指教，所以傅色特妙。天历中（1328—1330年），画集庆龙翔寺两庑壁”。其年龄要比赵子昂小，赵子昂生于南宋理宗宝佑二年（1254年），应活跃在1254年以后，从他的传世作品所签年款来看，多在元朝惠宗至正三年到九年，即1343—1349年，元朝灭亡于至正二十八年（1368年），也有文献记载，在至正二十六年（1366年）曾作《萱花白头图》。可见他从事艺术活动在元代中后期，他的卒年可能在元朝灭亡之前，或在明朝初年。\n王渊的花鸟、古木竹石、梅兰等题材绘画，在继承五代、两宋传统花鸟画的基础上，又有了新的发展和明显的变化，取得显著的成就，在中国美术史上占有重要的地位。他的表现手法属“黄家富贵”体。唯舍色彩而取水墨，通过勾勒和水墨晕染区别浓淡向背，造型极精严，神态亦颇生动，作到“墨具五色”的艺术效果。同钱选一样，王渊在花鸟画创作上起到了承前启后的作用。\n王渊的花鸟画给人以接近气势磅礴的感觉。我们不得不感叹这位画家令人惊羡的艺术造诣，同时又被其画中别样的意境所打动。",[23,25,24,27,30,29,83,32,62,85,89,86,217,7,379],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f04e0e5eaa4a4d2e89e6b687fe212f7.jpg","95.9×50.6 厘米",[],93,{"id":800,"slug":801,"title":802,"dynasty":105,"author":331,"museum":200,"description":803,"tags":804,"thumbUrl":808,"material":130,"size":130,"collection":130,"collections":809,"showCount":810,"zanCount":473,"manualWeight":51,"mainColor":71},228984,"tao-yuan-tu-shou-juan-shi-tao-228984","桃源图手卷","此卷以水墨绘就世外幽境，烟波浩渺处山峦层叠，云气裹挟峰峦，虚实相生。溪谷村居错落枕山而卧，隐合桃源意趣。\n作者以干笔皴擦点染山峦苍劲质感，湿笔晕染云水，将空濛灵秀尽数铺展。长卷题诗与画意呼应，书与画浑然一体，以诗衬景，写尽武陵寻踪的澹然逸趣，将陶公笔下的避世之境化为眼前水墨云山，尽显寄情林泉、追慕世外丘壑的文人雅怀，把桃源的幽隐之美揉进笔墨山河之中。",[25,26,27,29,33,31,84,32,83,7,38,42,35,36,37,39,40,482,805,806,807],"云雾","人家","路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F080a81c9dd7e1efb524af89d227ecaf4.jpg",[],91,{"id":812,"slug":813,"title":814,"dynasty":18,"author":815,"museum":77,"description":816,"tags":817,"thumbUrl":820,"material":821,"size":822,"collection":46,"collections":823,"showCount":824,"zanCount":11,"manualWeight":51,"mainColor":71},222116,"tao-hua-shu-wu-shen-zhou-222116","桃花书屋","沈周","这幅《桃花书屋图》的用笔与晚年粗率的用笔截然不同，是为沈周中年“细文”之作。早年的沈周绘画深受元代云林和同时代有人刘珏的影响，故而在早期的作品中可以看到非常浓厚的两家影子。而山石的绘法则取法五代董源、居然和元代的大痴，这写在沈周的《策杖图》中皆有体现。而在这幅作品中，面貌已经不同于早期的风格。《桃花书屋图》的画面形式已经有所松动，不再是《策杖图》中所表现的那般的紧迫。但是有些基本的沈周的程式已经存在，这便是仿古的山石。",[23,25,80,31,29,33,40,516,7,818,37,819,34,83,32],"小屋","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45ec07e216d6f6ba02a5d0deaeaae9e6.jpg","纸本，设色","纵74cm，横31cm",[46,700],89,{"id":826,"slug":827,"title":828,"dynasty":265,"author":266,"museum":77,"description":829,"tags":830,"thumbUrl":831,"material":832,"size":833,"collection":130,"collections":834,"showCount":835,"zanCount":51,"manualWeight":51,"mainColor":71},232939,"you-chun-tu-juan-zhan-zi-qian-232939","游春图卷","《游春图》是隋朝画家展子虔创作的绘画作品，绢本、青绿设色，画上有宋徽宗题写的“展子虔游春图”六个字，现存北京故宫博物院绘画馆。\n图中展现了水天相接的情形，上有青山叠翠，湖水融融，也有士人策马山径或驻足湖边，还有美丽的仕女泛舟水上，熏风和煦，水面上微波粼粼，岸上桃杏绽开，绿草如茵。\n画家用青绿重着山水，用泥金描绘山脚，用赭石填染树干，遥摄全景，人物布局得当，开唐代金碧山水之先河，在早期的山水画中非常具有代表性。 该画是展子虔传世的唯一作品，也是迄今为止存世最古的画卷。\n画卷首段近处露出倚山俯水一条斜径，路随山传，自到妇人立于竹篱门前才显得宽展。山此向上，山限岸侧，树木掩映，通过小桥，又是平坡，布篷游艇，容于其中。下端一角，便是坡陀花树，围绕山庄。描绘出明媚春光和游人在山水中纵情游乐的神态。各种花树点满山野，桃红柳绿，相映成趣。\n中国古代山水画的发展，到了隋代出现了较大的变化，它不再作为人物故事画背景的一部分，而是从前者中分离出来，成为一门独立的画科。在此之前，依附于人物故事画的山水画在表现方法上有很大的局限性，按照古人的说法就叫做“人大于山”“水不容泛”，说明在表现自然景物与人物或其他物件的关系上，以及远近、层次等方面部存在着明显的不足，画家还没有找到适宜的艺术表现手法，来描绘壮阔秀丽的山川形貌。《游春图》即反映了山水画处于变化发展阶段特点。\n历史上对这幅作品是否出于展子虔之手，仍持有争议。有唐中叶说、有疑北宋摹本，张伯驹则保留其为展子虔原作的观点。\n对《游春图》的作者及创作年代提出疑问的代表人物是文学家沈从文。早在1947年,他就撰写了《读展子虔》的文章，虽然标题中肯认了《游春图》的作者是展子虔,但文章通篇都是在质疑这一作者归属。在文中，他称“半年中有机会前后看过这画八次”，认定展子虔作此画缺乏证据。他在文中交待，因为前代关于绘画作品的著录,包括《贞观公私画史》《宣和画谱》等都没有提到展子虔作此作品的事情。另外，画中男子的衣着、女人的坐式，都与隋代人的习俗不太相符，还有装裱等种种迹象也与当时情形不合。历史资料证实，人们是在元、明朝时才开始认定展子虔作《游春图》的。所以，沈从文认为，此画可能不是展子虔所作,也不是隋代作品。另外，也有人根据画中人物头上戴的幞头、建筑部件形制等，论证它并非隋代原作，而是北宋摹本。\n该图以全景方式描绘了广阔的山水场景，图中除描绘了山水树石外，还描绘了白云出岫，杂以楼阁、院落、桥梁、舟揖，并点缀着踏春赏玩的人物车马，展示出一幅杏桃绽开、绿草如茵、水波粼粼，春风荡漾的春日融融之景象。\n早期的山水画通常会呈现出“人大于山和水不容泛、树木若伸臂布指”的状态，这说明了早期山水画的不成熟，在构图方面体现了较为幼稚的特点。《游春图》的章法布置则突破了以往的画风束缚，形成了十分有特色的构图方式，结构层次颇有特点。它的画面的右上部主要是山峦的表现，绘有大量的崇山峻岭，展现了一副山峦起伏、峰回百转的形态。若在之前，这个画面可能就算是完成了整个景观背景的塑造。但是展子虔并没有到此为止，在画面的右下方，他在画面中画上了山间小径，小径则是由低矮的树木、草丛组成，曲径通幽，旖旎风光、透逛山路，成为了右上方巍峨高山的延伸部分。这样，高山便成为了山路的背景，山路又成为了高山的细节铺垫和展现。这就使得整个画面比前期山水画更显全面、沉稳、丰富。而在画面的左侧，观者可以看到展子虔在此绘有一处低矮的小山丘。这一小山丘能够与右侧上方的崇山峻岭遥遥相对，形成鲜明的对比。在画面的中问，则有大片江河，形成一道波光粼粼的天堑，并与湖水、天空融会在一起，使得整个画面形成湖天一色、山河并举的形象。值得一提的是，画面并未只以山川与河流为主，而是在细节之处加以点缀：江河之中有小船点缀其中，船中有三四位神态各异、姿态不同的人物，将人声、山河画面融合在一起，并通过山川、河流、船舶、人物等形象构造出整个画面的图片比例。\n深究整个《游春图》，可以发现该画以山川、水系为主体，将人物、古刹、船舶、阁楼等融于山水，成为画面中的重要景观。这些景观相互配合，运用其形象的客观物象来表达画面事物之间的大小、高低、远近等的关系。合理地处理画面关系，使得展子虔对画面的比例、深度等都能有十分准确的把握，并根据其特点，进行处理和变化。也正是由于这种十分合理的处理和变化，才能够使得山水画的构造变得更加符合现实，使得该画变化成了“超然物外”的穿插构图，形成隋代山水画的新格局，使得中国山水人物画的表现形式和审美取向变得更加成熟。\n运笔成熟，表现独特。展子虔在绘画创作上十分敢于并善于创新，尤其善于在细节处用笔。在观者欣赏《游春图》的时候，不难发现它无处不是点缀着代表盎然生气的绿色。例如，画面就有很多还没有完全长满枝芽的树木，这些枝芽就是展子虔运用独特的勾画技巧形成的，即青绿勾填技法。这种技法不仅仅使得他的创作变得“细密精致而臻丽”，更让他的这种创作方法成为了中国山水画的重要技法之一。\n在绘画山川石木的时候，展子虔善于运用细节，运用细笔勾勒它们的轮廓。以青绿色以及其他明丽的色彩来展现画面。例如，他在刻画《游春图》的山石树木之时，善于将山石树木的线条不用刻意有粗细、明暗的变化，它们不用刻意地添加皱祈，也照样能体现出古朴苍劲、俊朗豪迈的形象。而在描绘人物的时候，展子虔也习惯运用细节来展现人物的形态、神态等，虽然画面中的人物形象没有过大改变，但是人物神情却可以是各有特色，每个人的衣着外观都十分飘逸流畅，也使得观者有“观人于微，，的感受。另外，他还善于运用“点花”的方法，勾勒细节，例如对枝芽的处理，他也会运用粉点点上，形成芽苞初放的形象。而在绘画人物上，作者也是用了这种点染的方法，让细小如豆的人马等都形态毕现。\n青绿重彩，工细巧整。在隋代之前，魏晋时期的山水画不仅仅在构图、形状、用笔等方面都比较单一，而且在整个画面的用色方面也都十分单一。而在隋代展子虔的《游春图》中，其形状不仅仅充满变化，而且在用色上也更加丰富和大胆。展子虔为了改变以往单调而简单的填色方式，将自己大胆的想象和细致的技法运用到画面中。《游春图》以青绿色为主色调，并在此基础上，形成细工精琢的用色方法。例如，在画面右上部分，作者开始运用青绿着色，展现了初春山林间盎然的生机。而在右下部分，表现山间小路时，作者却用泥金来表现，展现了山林中春寒未退的山色。这样两类用色，使整个画面的表现力更加丰富。同时，在绘画树木之时，展子虔更加注重细节的刻画。在对树叶设色时，它不仅仅运用色填或者色染，而且还运用点彩的形式，来展现含苞初放的春日娇态。\n《游春图》除了对画面中的不同物象进行了十分具有特点的用色之外，在敷色上增加各种晕染等方法，使不同对象在色彩表达上显得更加统一而完善。在描绘松树时，画家并没有以松针来展现，而是用深绿色运笔，在表现其他花木时，画家则运用桃红色、白粉色等来展现，形成单纯而丰富、古朴而艳丽的形象特点。因而，纵观整个《游春图》，其画面展现的是新绿成荫、繁花盛开、水天一色、深浅莫辨的特点。而在对人物的描绘过程中，展子虔运用山后白云来展现人物所处的背景，并能够以此来衬托人物游春时的心境。而对于人物本身的形象来说，展子虔则也善于用粉色和白色进行点染，使得整个画面更显风格细腻、轻松生动。\n唐代僧彦悰《后画录》：“触物为情，备皆妙绝”，“远近山川，咫尺千里。”\n唐代张彦远：“动笔形似，画外有情。”\n宋代《宣和画谱》：“写江山远近之势尤工，故咫尺有千里之势。”\n明代董其昌：（《游春图》）是“世所罕见”的墨宝。\n当代作家沈从文：“这画卷的重要,实在是对于中国山水画史的桥梁意义……没有它，历史即少了一个重要环节。”\n现存于故宫博物院的《游春图》是展子虔唯一传世的代表作，也是世界上存在最早的画卷，它的存在，对中国乃至世界的绘画史、艺术史都具有极为重要的作用。\n在《游春图》出现之前，中国早期的山水画通常是“人大于山、水不容泛”。也就是说，绘画中人物形象的塑造比山还要大，而对于水的绘画，却永远不会有波光粼粼的形态，而是犹如一潭死水般地停留在画布上。可见，在展子虔之前的，尤其是南北朝时期的山水画仍然存在很多不足，这些画家们通常无法把握好山水、人物的比例关系，也不能完美、生动地展现山水的飘逸之感。而《游春图》出现之后则打破了这种限制，全图无处不展现着一种空间之美，人物、山水疏密安排十分得宜，展现着自然界的交替、交换与重叠。\n游春图之所以能够成为中国山水画承上启下的代表作品，不仅仅在于画面呈现的内容，更在于它异于前人的创作手法和审美取向，展现出了于方寸之地尽显千里之姿的艺术特点。\n《游春图》构图壮阔沉静，设色古艳，富有典丽的装饰意味，体现出承上启下的风格，也标志着山水画即将进入成熟期，他在山水画上所达到的成就及其绘画方法，直接开启了唐代画家李思训、李昭道父子金碧山水的先河。\n1980年5月27日华国锋到日本进行正式访问时，赠给日本天皇的礼品中，就有一幅中国现代女画家临摹的隋朝画家展子虔的《游春图》。",[24,25,26,27,28,29,33,34,35,36,37,7,42],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bd3613327ff7d09b2f5cbe51fadde61.jpg","绢本绘画","高43厘米，宽80.5厘米",[],87,{"id":837,"slug":838,"title":839,"dynasty":105,"author":840,"museum":200,"description":841,"tags":842,"thumbUrl":843,"material":130,"size":130,"collection":130,"collections":844,"showCount":845,"zanCount":473,"manualWeight":51,"mainColor":71},230126,"hua-niao-tu-ce-ren-yi-230126","花鳥图册","任颐","此作以兼工带写之法绘春日桃花，没骨晕染出的花色层次柔婉分明，浓粉娇妍、浅粉朦胧，将盛放桃花的柔媚鲜活尽数铺陈。枯墨写就枝干，苍劲朴拙，与柔花嫩枝形成刚柔对照，枝叶勾勒简练利落，寥寥几笔便带出春日盎然生机。\n\n画面疏朗清雅，笔意洒脱灵动，于细微处尽现花木神韵，将江南春景的缱绻诗意融于尺幅之间，尽显写意花鸟的雅致情致，把桃花盛放的烂漫春意定格在绢素之上。",[25,29,124,7,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff44196c821fae154a1ae8755e1f9e378.jpg",[],82,{"id":847,"slug":848,"title":849,"dynasty":105,"author":850,"museum":292,"description":851,"tags":852,"thumbUrl":853,"material":65,"size":854,"collection":247,"collections":855,"showCount":845,"zanCount":11,"manualWeight":51,"mainColor":71},216978,"yi-tao-tu-jin-ting-biao-216978","移桃图","金廷标","这幅画展示了一个有绿色树木的村庄。一个男人和一个瘸子站在窗外，教一个孩子种桃花。惟不免作家气重些。",[25,26,30,29,33,34,40,482,37,7,629,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7567eb36e902b6cd0d71a3b920a0b4d.jpg","187.3x63.2",[247,46],{"id":857,"slug":858,"title":859,"dynasty":105,"author":464,"museum":200,"description":860,"tags":861,"thumbUrl":862,"material":130,"size":130,"collection":67,"collections":863,"showCount":864,"zanCount":51,"manualWeight":51,"mainC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的梅花相映成趣。精致的用笔，温润的设色，出栖雀之神韵，画者勾勒出羽毛绒的质感、蓬松感，更是以之营造出在细梅枝上显得庞大和沉重之感。",[23,24,25,26,30,29,62,970,971,7],"桃枝","雀鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F449db5fc0ae5e5c7c95ecc9b5c14f169.jpg","34x35",[],{"id":976,"slug":977,"title":978,"dynasty":105,"author":138,"museum":292,"description":979,"tags":980,"thumbUrl":983,"material":144,"size":984,"collection":67,"collections":985,"showCount":986,"zanCount":51,"manualWeight":51,"mainColor":71},222722,"shi-jun-quan-tu-zhi-ba-shan-xing-lang-lang-shi-ning-222722","十骏犬图之八睒星狼","睒星狼为宫廷名犬之一，为科尔沁四等台吉丹达里逊进献。绘睒星狼位于画面中央偏下位置，其身后则以配景形式绘有高大的树木和低矮的花草，色泽鲜丽，清晰细致。",[23,25,26,24,30,29,981,982,7,40,503,32],"兽","名犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F776979946ef2bb6e343e1385068093ab.jpg","246.6x163.8",[67,48],65,{"id":988,"slug":989,"title":990,"dynasty":18,"author":991,"museum":77,"description":992,"tags":993,"thumbUrl":998,"material":144,"size":999,"collection":67,"collections":1000,"showCount":986,"zanCount":51,"manualWeight":51,"mainColor":52},222456,"liu-qin-bai-xian-li-zhou-wang-zhao-222456","柳禽白鹇立轴","汪肇","《柳禽白鹇图》绘溪水奔流，浪花翻滚，岸边青草依依，两只白鹇一俯一仰，悠然闲憩。一株杨柳，枝条倒垂，随风飘动；柳畔桃花盛开，数只燕子翻腾嬉戏于柳枝之间，充满早春气息。白鹇画法工细，形象写实，生动传神。羽毛色彩，对比鲜艳。此图工写结合，造型生动自然，色彩丰富，与画家粗简放逸之风有所不同。",[23,24,25,26,242,62,29,30,994,42,670,995,996,7,37,997],"工写结合","白鹇","杨柳","早春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb9797ae11c53f7557aad5da268f564.jpg","纵190，横103",[67,48],{"id":1002,"slug":1003,"title":1004,"dynasty":105,"author":850,"museum":292,"description":1005,"tags":1006,"thumbUrl":1007,"material":29,"size":1008,"collection":67,"collections":1009,"showCount":1010,"zanCount":11,"manualWeight":51,"mainColor":71},219438,"bi-tao-zhou-jin-ting-biao-219438","碧桃轴","苍劲古干虬枝盘曲，墨色浓淡间尽显岁月肌理；粉桃灼灼，花瓣娇嫩欲滴，与老干形成刚柔相济之趣。前景湖石嶙峋，皴擦有致，旁生细草，更添野逸。水面空濛，落花点点，远处淡墨晕染的树影若隐若现，似有春风拂面，暗香浮动。整幅画笔墨清逸，意境悠远，将春日桃林的静谧雅致与生命的蓬勃张力融于一纸，尽显传统文人画的含蓄韵致与审美意趣。",[25,26,242,29,80,7,217,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ffd2b66ff2d9836a7ca1771b73634df.jpg","179.7x62.6",[67],64,{"id":1012,"slug":1013,"title":1014,"dynasty":18,"author":815,"museum":168,"description":1015,"tags":1016,"thumbUrl":1017,"material":1018,"size":1019,"collection":130,"collections":1020,"showCount":1021,"zanCount":51,"manualWeight":51,"mainColor":71},222099,"si-ji-hua-hui-juan-shen-zhou-222099","四季花卉卷","此卷绘各色花卉，用笔不斤斤于形似，得花之天趣，开以后白阳，青藤花卉大写意之法门。沈周出身诗书门第，幼受严训，师承大家，饱览祖传的书画名迹，又周游名山大川，这些优厚条件，对他一生的创作，有莫大的裨益和帮助。沈周画的梅、兰、菊、竹传统文人画题，变化多样，运用彩色没骨画法，创出新颖的文人花鸟画。对后期的花卉画家影响深远。\n沈周（1427-1509），字启南，号石田，晚号白石翁，明代画家，书法家，文学家，医学家，长洲（今江苏苏州）人。出身富裕的书香绘画世家，少时师从陈宽学习诗文，青年时期师从伯父沉贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。与文征明、唐寅、仇英并称「明四家」，是吴门画派的创始人。他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。",[23,25,26,27,29,30,62,85,93,94,89,90,7,91,173,83,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f527202709f0b8a75e4edc90151d183.jpg","纸本水墨","27.5 X504.8厘米",[],63,{"id":1023,"slug":1024,"title":1025,"dynasty":105,"author":1026,"museum":320,"description":1027,"tags":1028,"thumbUrl":1032,"material":355,"size":1033,"collection":130,"collections":1034,"showCount":1035,"zanCount":51,"manualWeight":51,"mainColor":71},230107,"hong-lou-meng-188-sun-wen-230107","红楼梦188","孙温","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[25,26,29,30,141,34,35,36,37,39,7,482,1029,627,40,628,1030,1031,926],"栏杆","假山","圆窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F179797fe31faa009c06c9f9a7e085fc1.jpg","纵43.3厘米、横76.5厘米",[],59,{"id":1037,"slug":1038,"title":1039,"dynasty":265,"author":266,"museum":200,"description":267,"tags":1040,"thumbUrl":1043,"material":271,"size":367,"collection":130,"collections":1044,"showCount":1045,"zanCount":51,"manualWeight":51,"mainColor":71},290098,"you-chun-tu-quan-juan-zhan-zi-qian-290098","游春图全卷",[23,25,24,27,28,29,33,1041,1042,921,37,7,40,42,83,84,32],"春景","游春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c745d85afcbc62c30de0087d4f06b8a.jpg",[],58,{"id":1047,"slug":1048,"title":917,"dynasty":105,"author":331,"museum":200,"description":1049,"tags":1050,"thumbUrl":1055,"material":130,"size":130,"collection":130,"collections":1056,"showCount":1057,"zanCount":473,"manualWeight":51,"mainColor":71},228983,"tao-yuan-tu-shi-tao-228983","此作用淡墨晕染烟岚，赭石青绿轻敷山峦，留白铺展云气溪谷，村居错落隐于林麓溪畔，营造出幽谧空濛的世外丘壑。写意笔法脱略具象，点染之间将笔下山水化为可游可居之境。\n卷后题跋书法朴拙苍劲，题诗与绘境呼应，将武陵渔父误入桃源的悠然逸致娓娓道来，诗画交融无间。\n整作以淡远萧散的意境，寄寓着文人避世幽居的理想，把陶潜笔下的幻梦山水化为现实笔墨，尽显山水写意的诗性之美。",[25,26,27,29,33,80,31,921,805,1051,629,40,42,37,1052,806,7,1053,926,658,1054,34],"村落","小径","渔父","近景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7ff77b63e584f962b6ea92555a2a5a1.jpg",[],57,{"id":1059,"slug":1060,"title":1061,"dynasty":105,"author":840,"museum":693,"description":1062,"tags":1063,"thumbUrl":1068,"material":111,"size":1069,"collection":130,"collections":1070,"showCount":1071,"zanCount":51,"manualWeight":51,"mainColor":71},223233,"mu-zi-ping-an-tu-ren-yi-223233","母子平安图","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。\n海派中的佼佼者，其绘画发源于民间，重视继承传统，吸收西画技法，形成风姿多采的独特画风，在“四任”中成就最为突出。 　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[23,229,25,26,29,81,62,1064,1065,7,40,126,617,1066,1067],"母鸡","小鸡","草丛","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f8484418d23a6d00d3a4500767ec3af.jpg","150cmx40cm",[],56,{"id":1073,"slug":1074,"title":1075,"dynasty":105,"author":840,"museum":200,"description":1062,"tags":1076,"thumbUrl":1078,"material":271,"size":367,"collection":130,"collections":1079,"showCount":1080,"zanCount":51,"manualWeight":51,"mainColor":71},235619,"bi-tao-chun-yan-tu-zhou-ren-yi-235619","碧桃春燕图轴",[25,26,24,242,29,62,7,42,1077,217],"兼工带写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1ade1c2d8c7677f33096a169e71c32f.jpg",[],55,{"id":1082,"slug":1083,"title":1084,"dynasty":18,"author":1085,"museum":200,"description":1086,"tags":1087,"thumbUrl":1088,"material":130,"size":130,"collection":130,"collections":1089,"showCount":1080,"zanCount":473,"manualWeight":51,"mainColor":71},234176,"hua-hui-juan-lu-zhi-234176","花卉卷","鲁治","鲁治，号岐云，东吴人。善画花卉、翎毛。设色妍丽，得宋人之法。广东省博物馆藏《百花图卷》。",[23,25,26,27,30,29,62,85,93,86,94,89,90,7,91,173,172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3035c745deb8cf52d925ad006c15ad2b.jpg",[],{"id":1091,"slug":1092,"title":363,"dynasty":105,"author":1093,"museum":200,"description":1094,"tags":1095,"thumbUrl":1096,"material":271,"size":367,"collection":130,"collections":1097,"showCount":1098,"zanCount":51,"manualWeight":51,"mainColor":71},235209,"hua-niao-ce-wang-li-235209","王礼","王礼（1813－1879）初名秉礼，字秋言，号秋道人,南翁道人（一作士），别署白蕉研主，一号蜗寄生，室名延秋款冬之室，常用印鉴王礼、王礼之印、王秉礼印、吴江王礼、秋言、秋言写生、秋言画印、秋言书画、秋道士、湫言、阿大、戴传、延秋款冬之室、公之犹、雪蕉家学、梵天壶隐、红梨逸史书画记。",[25,29,30,124,62,7,42],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0b5c68a130e73e550876852397e441d.jpg",[],53,{"id":1100,"slug":1101,"title":1102,"dynasty":105,"author":534,"museum":200,"description":1103,"tags":1104,"thumbUrl":1105,"material":130,"size":130,"collection":130,"collections":1106,"showCount":1098,"zanCount":473,"manualWeight":51,"mainColor":52},230191,"chun-shan-ting-ruan-tu-lv-huan-cheng-230191","春山听阮图","《春山听阮图》是清代画家吕焕成创作的一幅绢本设色画。\n关于清代画家 ，《 》中记载：“擅人物、花卉，兼长山水，好作斧劈皴，风格颇似戴文进。\n”他创作的道士、佛神像，皆笔法工整，设色古雅。\n在这幅《春山听阮图》轴中，作者一改以往的艺术特色，不见斧劈痕迹，风格却似 作品的格调。\n不过这倒使我们从另一个角度领略到画家对不同艺术境界的探求。\n山间的瀑布、亭宇、林木相互掩映，在烟岚缭绕的气氛中若隐若现。\n近景溪边的亭台上有一人正在弹阮，他神情怡然，气质脱俗，想必正沉浸在乐曲独特的旋律之中；他的身边有一人正聚精会神地聆听着，想必是其朋友，那坐卧斜倾的姿态，看上去像是完全被阮音优美的旋律所醉倒。\n右边的低崖上有二人正在观景，或许是回荡在山谷里美妙的阮音打断了他们的话题，使他们不由得回转过头，听着佳音赏着眼前的美景。\n我们虽然听不到这美妙的乐音，但早已被这些生动的描绘带入“春山听阮”的意境，从听阮者那专注的神情里，可以想像到这位高士弹奏的高妙之处，从那溪水与闲云的流动中，那绿石、苍松融融的气息间，更感受到春的惬意。\n因为有这委婉动听的阮音回绕，这春山，这草木，这流水，这自然之机，便清雅宜人，恍若梦中的仙境。\n该作为竖构图，满布局，结构严谨，层次分明，经营有序，不见壅塞。\n笔法工细挺秀，轻皴淡染，设色艳丽。\n溪边人物虽小，但刻画细致入微，形神毕俱。\n山石是勾勒后，稍加皴制，不露笔痕，然后再以石青、石绿轻轻晕染。\n松树以淡墨层层染之，桃花用少许胭脂染成，使得整幅画面不仅构图饱满而且颜色丰富，典雅超逸。\n此画左上角自题“舜江吕焕成写”。\n轴纵观此图气势超逸，高雅脱俗。\n画中一座座雄伟的山峰拔地而起，前呼后拥，左右相迎；山势陡绝、奇丽，从近到远层层推移，既高大又深远，既峭峻又缥缈，给人一种于壮美中见超然的 。\n吕焕成（16-175），清初画家。\n字吉文，号祉园山人，浙江余姚人。\n擅长嘶人物、山水，兼画花卉。\n笔法工整，设色古雅。\n吕焕成是明代书画家文征明的外孙女婿，正因这特殊身份，使其始终执迷于“吴派”绘画。\n清代初期，他坚持“吴派”山水作风。\n作品既有“北宗”画法的崇高峻美，也有“南宗”画法的秀润笔致。\n时时透露出一股清新和洒脱的气息。\n传世作品较少，主要有《春山听阮图》轴。",[23,25,26,242,28,29,30,141,33,34,35,684,482,37,1052,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbd09de321dae177cef791720d8eb004.jpg",[],{"id":1108,"slug":1109,"title":1110,"dynasty":105,"author":782,"museum":200,"description":783,"tags":1111,"thumbUrl":1113,"material":271,"size":367,"collection":130,"collections":1114,"showCount":1115,"zanCount":51,"manualWeight":51,"mainColor":71},290217,"shan-shui-shan-mian-2-zhang-xiong-290217","山水扇面-2",[23,785,25,29,720,7,1112,33,482,40,922],"垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88be39cdc3e376892292b3c895927355.jpg",[],50,{"id":1117,"slug":1118,"title":439,"dynasty":374,"author":440,"museum":200,"description":1119,"tags":1120,"thumbUrl":1121,"material":271,"size":367,"collection":130,"collections":1122,"showCount":1123,"zanCount":51,"manualWeight":51,"mainColor":52},288535,"tao-jiu-tu-zhao-ji-288535","整幅画桃花与枝叶钩勒精工，栖鸠动态自然而生动，用生漆点睛，卓有神采，整体色彩华丽，瘦金书稍稚嫩",[24,25,26,62,30,29,7,42,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feec189c27389c61c2b54e5e28f173886.jpg",[],49,{"id":1125,"slug":1126,"title":1127,"dynasty":105,"author":1128,"museum":200,"description":1129,"tags":1130,"thumbUrl":1131,"material":271,"size":367,"collection":67,"collections":1132,"showCount":1123,"zanCount":51,"manualWeight":51,"mainColor":71},238847,"mian-yi-hua-hui-xiao-ce-mian-yi-238847","绵亿花卉小册","绵亿","绵亿（1764年9月10日－1815年4月14日），直隶省顺天府大兴县（今北京市）人，清高宗弘历之孙，荣纯亲王永琪第五子，母侧福晋索绰罗氏，左都御使观保之女。",[25,26,124,30,29,62,89,7,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5c1780bad75cd0dbda28ce53512d7c8.jpg",[67,48],{"id":1134,"slug":1135,"title":1136,"dynasty":57,"author":524,"museum":200,"description":1137,"tags":1138,"thumbUrl":1140,"material":130,"size":130,"collection":130,"collections":1141,"showCount":1123,"zanCount":51,"manualWeight":51,"mainColor":71},238130,"qian-xuan-ba-hua-tu-juan-yi-ming-238130","钱选八花图卷","此作以淡墨轻勾花叶轮廓，设色清妍柔润，晕染细腻自然，依次绘就八种折枝花木：水仙挺秀清逸，冰姿玉骨；海棠秾艳温婉，娇蕊含露；梅枝疏朗俏立，花苞嫣红。各花神采独具，鲜活灵动，尽展草木清致。\n画面配行书题跋，书画合璧，兼具院体花鸟的精工雅致与元人简淡的文人意趣。绢色经岁月晕染泛黄，更添沉静古意，尽显元代写生花鸟的精妙造诣，将折枝花卉的生机与清雅神韵尽数铺陈，是设色花鸟中的上乘之作。",[23,25,27,62,30,29,91,7,406,407,616,94,1139],"腊梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff84d35e5ec06aaca0c1139e0bd88396b.jpg",[],{"id":1143,"slug":1144,"title":1145,"dynasty":105,"author":1146,"museum":200,"description":1147,"tags":1148,"thumbUrl":1149,"material":130,"size":130,"collection":130,"collections":1150,"showCount":1151,"zanCount":51,"manualWeight":51,"mainColor":71},224294,"tao-hua-liu-yan-tu-li-shan-224294","桃花柳燕图","李鱓","《历代名画宣纸高清大图:李鱓桃花柳燕图》绘桃红、柳绿、燕嬉之景，生动地表现了春天和生命的气息，画面充满暖意。\n画幅右边近下部，柳树枝干往上方挺升，其上旁生枝条，以浅绿设色表现初发的柳叶，墨笔筒细而劲健。\n整个枝干形态奠定了画面格局。\n柳树後可见一株桃树枝干自右至左斜出，分上中下三个方向。\n桃树枝干以褐色设色，与墨色的柳树枝干相映成趣，其上并以粉红、银白、淡绿设色表现桃花花办与花叶，同样笔墨不繁却栩栩如生。\n在此美景中，作者添了四只暖春早燕：其一于高枝上向下俯视，情状蠢蠢欲动；其一站立在横枝上，神态安详；其一停于中部枝头顶端；其一低飞于桃红柳绿问。\n此幅花鸟画明朗活泼，笔墨工致。\n《历代名画宣纸高清大图:李鱓桃花柳燕图》由 出版。",[23,25,26,242,81,29,7,295,670,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d0cd75efcd4565e82cc7ec65b74f13a.jpg",[],48,{"id":1153,"slug":1154,"title":1155,"dynasty":105,"author":524,"museum":200,"description":1156,"tags":1157,"thumbUrl":1163,"material":271,"size":367,"collection":130,"collections":1164,"showCount":1165,"zanCount":473,"manualWeight":51,"mainColor":52},288060,"nao-long-zhou-yi-ming-288060","闹龙舟","这幅长卷以工细笔触铺展春日盛景，澄澈水面上龙舟竞渡，旌旗猎猎，健儿挥桨劈波，舟身彩饰繁丽，竞渡喧嚷似能破纸而出。\n\n沿岸屋舍层叠，酒肆楼宇间人影攒动，仕民凭栏观赛，谈笑晏晏。远山含烟、花树初绽，将江南漕岸的烟火气晕开。创作者以院体画的精细，把官民同游的节庆嬉乐定格，静雅的楼台春景搭配喧腾的水上赛事，一动一静里尽显升平风华，将水乡春日的繁庶鲜活凝固为永恒。",[23,25,27,29,30,141,34,35,1158,37,7,1159,1160,1161,1162,33],"龙舟","亭台","市井","节庆","民俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4dd7b62edc4a1b662b9720f4671ce87.jpg",[],47,{"id":1167,"slug":1168,"title":1169,"dynasty":18,"author":1170,"museum":200,"description":1171,"tags":1172,"thumbUrl":1174,"material":271,"size":367,"collection":130,"collections":1175,"showCount":1165,"zanCount":51,"manualWeight":51,"mainColor":71},235803,"luo-hua-you-yu-tu-shan-chen-chun-235803","落花游鱼图扇","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。",[785,29,80,81,62,217,7,297,1173,1067],"落花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b063b4f738948ec89dde7314392fb68.jpg",[],{"id":1177,"slug":1178,"title":1179,"dynasty":18,"author":1180,"museum":200,"description":1181,"tags":1182,"thumbUrl":1183,"material":271,"size":367,"collection":130,"collections":1184,"showCount":1185,"zanCount":473,"manualWeight":51,"mainColor":71},289885,"san-jue-tu-ce-yao-shou-289885","三绝图册","姚绶","姚绶（1422—1495），字公绶，号谷庵、仙痴、云东逸史，人称丹丘先生，浙江嘉兴府嘉善县大云寺人。明代官员、书画家。\n少有才名，专攻古文辞，诗赋茂畅。明天顺年间进士，官监察御史，奉命巡盐两淮，铲除积弊。因得罪权贵，谪永宁知府。以母老辞归，居大云，筑室名丹丘。又作沧江虹月舟，泛游吴越间。\n姚绶工行草书，初学宋克，后法魏晋，风格近张雨。擅画山水，宗吴镇，也取法赵孟頫、王蒙，好作沙坳水曲景色，墨色苍润；间写竹石，潇洒可爱，笔墨酷似吴镇。传世名作有《秋江渔隐图》轴（北京故宫博物院藏）、《山水图》册页（上海博物馆藏）、《竹石图》轴（辽宁省博物馆藏）。著有《谷庵集》《云东集》《天人合旨》《姚御史诗文》。",[25,124,33,80,29,86,7,36,42,39,38,629,40,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6e5ac77e4f56aa826bc7cfe0db28f63.jpg",[],46,{"id":1187,"slug":1188,"title":1189,"dynasty":1190,"author":524,"museum":200,"description":1191,"tags":1192,"thumbUrl":1197,"material":271,"size":367,"collection":130,"collections":1198,"showCount":1185,"zanCount":51,"manualWeight":51,"mainColor":52},223965,"zhao-ming-lian-hu-wen-jing-yi-ming-223965","昭明连弧纹镜","汉","汉镜有圆形﹑方形。纽多作半球形。正面磨光背面铸有几何形图案或神人禽兽等。东汉中期出现浮雕的画像造形精美。\n两汉时期大体上分西汉、新莽、东 汉三个阶段。汉镜纹饰的主要种类有草叶纹镜、蟠龙纹镜、百乳镜、连弧纹镜、规矩镜、多乳禽兽纹镜和变形四叶镜等。",[1190,1193,1194,1195,7,297,1196],"铜制","雕刻","连弧纹","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae6c95bfa6406dc5ee19e54c4bbc580.jpg",[],{"id":1200,"slug":1201,"title":1202,"dynasty":105,"author":1203,"museum":239,"description":1204,"tags":1205,"thumbUrl":1207,"material":160,"size":1208,"collection":67,"collections":1209,"showCount":1185,"zanCount":11,"manualWeight":51,"mainColor":52},219032,"tao-que-tu-xia-wen-xuan-219032","桃雀图","夏文铉","绢本泛黄如时光沉淀的暖光，数只雀鸟或栖枝梳羽，或振翅欲飞，羽色赭褐与墨黑相间，神态鲜活灵动。梅枝疏朗横斜，淡粉花瓣点染梢头，似携清寒暗香；松针苍劲如笔，与柔枝相映成趣。画面留白开阔，笔墨简淡却意韵悠长，将禽鸟的生趣与花木的清雅融于一方素绢，尽显文人画的雅致风骨。观之令人心宁神悦，仿佛触到了春日的轻暖气息，于细微处见生机，于简淡中藏深情，是一幅兼具意趣与格调的佳作。",[23,24,25,26,30,29,62,7,1206,684],"麻雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282866ed8d516c58dc487f5bdc68d7c8.jpg","纵39.1横26.5厘米",[67],{"id":1211,"slug":1212,"title":1213,"dynasty":105,"author":583,"museum":77,"description":1214,"tags":1215,"thumbUrl":1217,"material":1218,"size":1219,"collection":357,"collections":1220,"showCount":1221,"zanCount":473,"manualWeight":51,"mainColor":71},240307,"shu-tao-hua-yuan-ji-juan-zhu-da-240307","书桃花源记卷","释文：\n晋武陵人渔，忘路之远近，忽逢桃花夹岸，数百步中无杂林，落英缤纷。渔人甚异之，复前行，欲穷其林。尽水源，得一山，山有小口，初极狭，才通人。复行数十步，豁然开朗。土地平旷，屋舍俨然，有良田、美池、桑竹之属。阡陌交通，鸡犬相闻。其中往来耕作，男女衣着，悉如外人。黄发垂髫，并怡然自乐。见渔人，乃大惊，问所从来，具答之。便要还家，设酒杀鸡作食。村中闻此人，咸来问讯。自云先世避秦时乱，率妻子邑人来此绝境，遂不复出焉，既与外人间隔。问今是何世，乃不知有汉，无论魏、晋。此人一一具言所闻，皆叹惋。余人各复延至其家，皆出酒食。停数日，辞去。此中人语云：“不足为外人道也。”既出，得其舟，便扶向路，处处志之。及郡下，诣太守，说如此。太守即遣人随其往，寻向所志，遂迷不复得路。南阳刘子骥，高尚士也。欣然规往，未果。后遂无问津者。丙子六月既望，纳凉在芙山房书，八大山人。\n下钤“可得神仙”、“八大山人”、“遥属”等4印。书前配有清无名氏山水画一段，尾纸有近代陈师曾、齐白石题跋二则。\n此为朱耷书录东晋陶渊明《桃花源记》之作。《桃花源记》系东晋隐逸诗人陶渊明之代表作。当时东晋朝廷腐败，内乱不止，陶渊明不欲从仕，一心归隐，故书此篇。\n朱耷身为前明宗室，面对家国之悲，民族之恨，却无力抗争，只得出家为僧。他习静修真，参研书画，以此抚慰内心的亡国之痛，故朱耷深爱《桃花源记》，时常书之，以表达其誓不与清廷合作而追求世外桃源生活之意。\n据署款，此书写于清康熙三十五年（1696年），作者时年71岁。该书学东晋王献之，兼融小篆之体，笔法纯朴圆润，笔势流畅，意尽笔止，有傲岸之情态和奇妙之格调。此作品为朱氏晚年佳作。",[23,25,26,27,80,84,33,34,1216,7,37],"渔翁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56aeebef5d9d61f7776caf9efc2c0472.jpg","纸本，行草书","纵26厘米，横211厘米",[357],45,{"id":1223,"slug":1224,"title":1225,"dynasty":105,"author":524,"museum":200,"description":1226,"tags":1227,"thumbUrl":1228,"material":130,"size":130,"collection":67,"collections":1229,"showCount":1221,"zanCount":51,"manualWeight":51,"mainColor":71},238811,"dong-gao-lv-xuan-shao-jing-ce-yi-ming-238811","董诰律宣韶景册","此作绘春日花溪胜境，浅青晕染重峦，烟岚轻笼远山，虚实相生间晕出空濛雅致。溪谷桃林遍绽，丹红如云霞漫过翠嶂，柔化了峰石的硬朗。涧水穿林漱石，湍波映着花光，灵动清冽。林麓深处隐见屋舍，暗合春深幽居之趣。\n\n笔法秀雅工致，青绿设色明丽温润，以淡墨烘衬烟霭，糅合工笔精细与写意空灵，将暮春山乡的融融春意铺展纸上，观之便如身临桃源，尽览静雅恬和的东方山水意韵。",[25,26,124,29,33,31,40,482,37,7,805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe181bd02ef517366b84f0e2f5bc99ff.jpg",[67,46,48],{"id":1231,"slug":1232,"title":1233,"dynasty":105,"author":138,"museum":292,"description":1234,"tags":1235,"thumbUrl":1236,"material":445,"size":1237,"collection":46,"collections":1238,"showCount":1221,"zanCount":51,"manualWeight":51,"mainColor":71},222762,"shi-er-yue-ling-tu-3-yue-lang-shi-ning-222762","十二月令图（3月）","清院本版的“赏花”图是清佚名版《行乐图》中没有的，显然是新增的时令图，替换清佚名版的《三月赏桃图》。笔者将其命名为“赏花”，是根据其主景（近景）确定的。其文字介绍也说：“画中描绘了树木渐茂，百花竞放，人们在连绵的细雨中执伞顶笠，赏花、消遣的景象。”如果将其命名为“赏桃”，显然名不符实。其余时令图与《雍正十二月行乐图》的十一种图基本相同。说“基本相同”是因为也有不同之处，下面分别说明。\n1、在《行乐图》之《正月观灯图》中，雍正站在廊式围墙的大门间。在《月令图》之《正月观灯图》中，雍正站在围墙大门右边的廊下。\n2、在《月令图》之《二月踏青图》中，雍正前后的栏杆、围墙与《行乐图》之《二月踏青图》的不同。\n3、在《月令图》之《三月流觞图》中，其溪流右边的楼阁与《行乐图》之《四月流觞图》的不同。\n4、在《月令图》之《五月竞舟图》中，主要是雍正位于的高台凉亭与《行乐图》之《五月竞舟图》的不同。\n5、在《月令图》之《六月纳凉图》中，主要是雍正位于的高台楼阁与《行乐图》之《六月纳凉图》的不同。\n6、在《月令图》之《七月乞巧图》中，主要是雍正所处的房屋后面的树木、雾霭与《行乐图》之《七月乞巧图》的不同。\n7、在《月令图》之《八月赏月图》中，主要是雍正位于的高台楼阁的四周树木、山石与《行乐图》之《八月赏月图》的不同。\n8、在《行乐图》之《九月赏菊图》中，雍正所处房屋的月亮门前是石墙填土的高台院子。在《月令图》的《九月赏菊图》中，雍正所处房屋的月亮门前不是高台，而是山石低岸。\n9、在《行乐图》之《十月画像图》中，雍正所处房屋与对面房屋的通道没有栏杆。在《月令图》的《十月画像图》中，则有红色栏杆。\n10、在《行乐图》之《十一月参禅图》中，雍正所处房屋中有一排字画，靠墙的花几上有一件插了花的青铜觚，门口有一只雌孔雀。这些内容在《月令图》的《十一月参禅图》中都没有。\n11、在《行乐图》之《腊月赏雪图》中，鹿场左侧有九曲桥与对面相通。在《月令图》的《腊月赏雪图》中则没有",[23,25,26,30,29,141,33,35,36,34,85,7,759,37,217],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3eb50432efba99c7f32f6febcb77dac6.jpg","188.2*102.2cm",[46,48],{"id":1240,"slug":1241,"title":1242,"dynasty":18,"author":213,"museum":200,"description":1243,"tags":1244,"thumbUrl":1245,"material":271,"size":367,"collection":130,"collections":1246,"showCount":1247,"zanCount":51,"manualWeight":51,"mainColor":71},287750,"hua-hui-shi-kai-he-tu-xiang-sheng-mo-287750","花卉十开(合图)","项圣谟，初字逸，后字孔彰，号易庵，别号有胥山樵、存存居士、醉风人、大酉山人、莲塘居士、烟波钓徒、松涛散仙、逸叟、狂吟客、鸳湖钓叟、不夜楼中士等等，浙江嘉兴人。",[25,24,124,30,29,62,92,85,93,94,88,89,216,7,91,90],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7dc877eba84263d9e3018bb06e2fb25.jpg",[],44,{"id":1249,"slug":1250,"title":1251,"dynasty":57,"author":524,"museum":200,"description":1252,"tags":1253,"thumbUrl":1254,"material":271,"size":367,"collection":130,"collections":1255,"showCount":1256,"zanCount":473,"manualWeight":51,"mainColor":52},290068,"pu-dian-hua-niao-tu-yi-ming-290068","铺殿花鸟图","这幅古作以沉郁青绿为底，晕染着岁月晕开的斑驳痕迹。枝桠交错间，春梅与海棠次第盛放，花苞轻缀、繁花舒展，柔媚花色和苍劲老枝相映成趣。\n\n两只禽鸟一仰一俯，顾盼有情，翎毛细处勾勒精工、晕染柔和，将娇憨灵动的神态尽数留住。笔墨带着妍雅古拙的意趣，把春日枝梢间的悠然闲静凝于绢素，纵使历经年岁磨洗，依旧能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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。",[25,26,1404,29,31,33,629,684,1393,36,482,7,84,32,1405],"山水画","暮春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba828b43d4a0f1aabbf6021ad4427947.jpg",[],33,{"id":1410,"slug":1411,"title":603,"dynasty":18,"author":1412,"museum":200,"description":1413,"tags":1414,"thumbUrl":1415,"material":130,"size":130,"collection":67,"collections":1416,"showCount":1408,"zanCount":51,"manualWeight":51,"mainColor":71},234267,"hua-hui-ce-qi-xun-234267","戚勋","戚勋字伯屏，号羽明。明末江阴人。\n早年为诸生，崇祯十六年秋八月，授文华殿中书舍人。弘光帝即位，奉诏督饷福建，不久南京陷落。与陈明遇迎故典史阎应元为帅。城破，戚勋在壁上书写“大明文华殿中书戚勋死节之地”，自焚死。著有《留丹集》、《佩朱随笔》。",[23,25,26,124,84,29,62,7,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0f00fd86e3061a7f0db3faaffed7be4.jpg",[67],{"id":1418,"slug":1419,"title":1420,"dynasty":105,"author":1026,"museum":320,"description":1027,"tags":1421,"thumbUrl":1423,"material":355,"size":1033,"collection":130,"collections":1424,"showCount":1408,"zanCount":51,"manualWeight":51,"mainColor":71},223072,"hong-lou-meng-58-sun-wen-223072","红楼梦58",[23,25,30,29,34,35,627,516,40,33,7,1394,1422],"场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb184dc5ce3cbcae551dd90810e0a89.jpg",[],{"id":1426,"slug":1427,"title":1428,"dynasty":18,"author":1429,"museum":200,"description":1430,"tags":1431,"thumbUrl":1432,"material":271,"size":367,"collection":130,"collections":1433,"showCount":1434,"zanCount":51,"manualWeight":51,"mainColor":71},235791,"tao-he-shan-zhou-chen-235791","桃鹤扇","周臣","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。他生活在成化至嘉靖年间。生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。",[25,26,785,29,30,33,7,42,217],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa8233d53c2b21d9041938e7b34732dd.jpg",[],32,{"id":1436,"slug":1437,"title":1438,"dynasty":105,"author":1439,"museum":77,"description":1440,"tags":1441,"thumbUrl":1442,"material":445,"size":1443,"collection":130,"collections":1444,"showCount":1434,"zanCount":473,"manualWeight":51,"mainColor":52},234174,"tao-yuan-tu-juan-xiao-chen-234174","桃源图卷","萧晨","萧晨（1658—1705以后），字灵曦，号中素，江苏扬州人。工山水、人物，尤擅雪景，其所绘青绿山水风格古朴庄重，有仇英之风。\n该卷取材于西晋文学家陶渊明的名篇《桃花源记》，以青绿法绘群山连绵、桃林掩映之景，山间有村舍茅屋，人物往来。笔法清劲流利，设色富丽妍雅，与明代仇英画风有颇多相似之处。该图卷虽无年款，但后幅闵奕仕题跋所署“甲子”，即康熙二十三年，时萧晨二十七岁，因知此图不晚于此时。",[23,25,26,27,29,28,30,31,33,7,37,36,38,34,40,805,924,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbadbb846316c9e1f0c96f5d95e17b41a.jpg","纵31.2厘米，横450厘米",[],{"id":1446,"slug":1447,"title":917,"dynasty":18,"author":1448,"museum":200,"description":1449,"tags":1450,"thumbUrl":1451,"material":130,"size":1452,"collection":130,"collections":1453,"showCount":1434,"zanCount":473,"manualWeight":51,"mainColor":52},231948,"tao-yuan-tu-shi-rui-231948","石锐","石锐（？－15世纪），字以明，钱塘（今浙江省杭州市）人，明代宫廷画家。宣德年间（1426年－1435年）进入宫廷，在仁智殿担任待诏，1469年仍活跃于画院。其画得盛懋之法，备极华整。金碧山水、界画楼台及人物，皆傅色鲜明温润，尤擅长画青绿与金碧山水，名著于时。",[23,25,1404,29,31,482,40,1394,37,7,805],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5f18009ef0602e849b71eadcf06a50f.jpg","24.7x22.15 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时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[24,25,242,28,29,30,141,33,34,35,684,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99e9aebcd712fe1da73003fe9d86eb96.jpg",[],29,{"id":1482,"slug":1483,"title":1484,"dynasty":105,"author":1485,"museum":200,"description":1486,"tags":1487,"thumbUrl":1488,"material":130,"size":130,"collection":130,"collections":1489,"showCount":1480,"zanCount":51,"manualWeight":51,"mainColor":71},230880,"hua-niao-shan-ren-xun-230880","花鸟扇","任薰","泥金扇面上，折枝海棠柔媚盛放，粉白花瓣晕染雅致，枝叶扶疏灵动，古拙苍润的奇石与花枝相映成趣。翎鸟独立枝桠，蓝首白羽配黑尾，身姿悠然静敛，将春日清宁定格。\n\n此作用笔工致秀雅，设色明丽又不失清雅，工笔间带着写意的灵动，将院体画的精致与海派雅俗共赏的特质相融，将暮春庭间幽景凝于尺幅。笔墨晕染出江南春日的缱绻温柔，满溢闲雅生机，读来如沐春风，尽显恬淡隽美的东方意趣。",[25,26,785,29,30,62,7,217,502,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcb5357899a9ec840bb8208254de86e0.jpg",[],{"id":1491,"slug":1492,"title":1493,"dynasty":105,"author":1494,"museum":200,"description":1495,"tags":1496,"thumbUrl":1497,"material":130,"size":130,"collection":130,"collections":1498,"showCount":1480,"zanCount":51,"manualWeight":51,"mainColor":71},230243,"hua-hui-tu-ce-jin-nong-230243","花卉图册","金农","此作以墨笔绘桃花，虬曲老枝苍劲朴拙，淡墨晕染花瓣，浓墨点簇花蕊、勾描枝叶，虚实间将桃花柔媚之态，融于水墨清逸之中。\n\n左侧题诗与画幅相映成趣，诗书合璧尽显文人雅韵。并未刻意摹写春日桃林的秾艳繁丽，以生拙古雅的笔墨，勾勒出花枝疏朗清寂之姿，跳出传统花鸟的妍丽范式，以简淡水墨营造出幽淡空寂的春日氛围，寄寓着寄情花木的闲散心境，尽显文人画独有的萧散风神，于浅淡笔墨里藏着隽永诗思。",[25,26,124,80,62,7,83,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd42f7eab48e499ad7c30d130f7f4c555.jpg",[],{"id":1500,"slug":1501,"title":1502,"dynasty":105,"author":1026,"museum":320,"description":1027,"tags":1503,"thumbUrl":1507,"material":355,"size":1033,"collection":130,"collections":1508,"showCount":1480,"zanCount":51,"manualWeight":51,"mainColor":71},223064,"hong-lou-meng-50-sun-wen-223064","红楼梦50",[23,30,29,141,34,35,7,627,1029,516,243,482,40,1504,1505,1394,1506],"窗棂","服饰","园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc423ebba504eb711cbd7c6339c40a038.jpg",[],{"id":1510,"slug":1511,"title":1512,"dynasty":105,"author":1026,"museum":320,"description":1027,"tags":1513,"thumbUrl":1515,"material":355,"size":1033,"collection":130,"collections":1516,"showCount":1480,"zanCount":51,"manualWeight":51,"mainColor":71},223059,"hong-lou-meng-45-sun-wen-223059","红楼梦45",[23,25,26,30,29,34,35,36,482,7,1514],"雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcae4c87d242030d66b31807cf55c9643.jpg",[],{"id":1518,"slug":1519,"title":1520,"dynasty":374,"author":1521,"museum":292,"description":1522,"tags":1523,"thumbUrl":1526,"material":160,"size":1527,"collection":130,"collections":1528,"showCount":1529,"zanCount":51,"manualWeight":51,"mainColor":71},290072,"wang-jian-gong-ci-tu-chen-ju-zhong-290072","王建宫词图","陈居中","陈居中，南宋时期著名画家，擅人物、蕃马、走兽等，作品多描绘西北少数民族生活情态及鞍马，多表现社会混乱、民族矛盾给人们带来的离别痛楚。",[25,29,30,34,35,7,243,32,83,1524,1525],"宫苑","仕女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d05c452c378d4b8b7f585f85284c920.jpg","50.2x79.9",[],28,{"id":1531,"slug":1532,"title":898,"dynasty":374,"author":524,"museum":200,"description":1533,"tags":1534,"thumbUrl":1537,"material":271,"size":367,"collection":130,"collections":1538,"showCount":1529,"zanCount":51,"manualWeight":51,"mainColor":52},289782,"xi-shan-chun-xiao-tu-yi-ming-289782","平远视角铺展出江南早春的缱绻景致，淡墨晕染山峦，烟岚轻笼起伏丘壑，晕开朦胧温润的春日底色。坡岸桃枝缀着浅绯新花，杂木抽芽，深浅绿意与粉红花色交织，漫开融融春意。\n\n溪湾回环，水面空明如镜，三两渔舟泛波，艄公悠然摇橹，野舍错落藏于林麓间，溪桥横陈连通幽境。笔墨秀雅清润，水墨间施淡彩，轻重相宜地勾勒出春日山水的柔婉生机，将江南乡野的静谧恬美尽数铺陈，把春风拂过溪山的温柔瞬间定格绢素，尽显平和悠远的山水雅意。",[23,24,25,27,29,33,31,921,40,7,37,38,36,1535,1041,1536],"农舍","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc064e439aeef992d464680650ec944d9.jpg",[],{"id":1540,"slug":1541,"title":1542,"dynasty":105,"author":1543,"museum":121,"description":1544,"tags":1545,"thumbUrl":1546,"material":566,"size":130,"collection":130,"collections":1547,"showCount":1529,"zanCount":51,"manualWeight":51,"mainColor":71},233195,"hua-hui-ce-tao-hua-ye-zhao-zhi-qian-233195","花卉册-桃花页","赵之谦","赵之谦（1829-1884），字益甫、孺卿，又号瀚寮，初字冷君，中年更号悲盦，晚号无闷，浙江会稽（今绍兴）人。早年曾游按察使缪梓幕，咸丰九年（1859）举人，同治元年（1862）入京，四年（1866）会试，之后历官鄱阳、奉新、南城知县。家藏秘册甚富，以篆刻名世，为晚清印坛代表人物。同时擅书、工花卉。此册画十二开，各绘牡丹、萱草、芙蓉、桃花、梅竹、杂卉等，造型新颖，设色鲜亮。",[25,26,124,29,62,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ce11f3d0fe4bb739af8dc9b94579660.jpg",[],{"id":1549,"slug":1550,"title":1551,"dynasty":105,"author":1026,"museum":320,"description":1027,"tags":1552,"thumbUrl":1554,"material":355,"size":1033,"collection":130,"collections":1555,"showCount":1529,"zanCount":51,"manualWeight":51,"mainColor":52},223041,"hong-lou-meng-166-sun-wen-223041","红楼梦166",[23,25,30,29,34,33,39,36,37,35,40,482,7,1029,1553,124],"石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F116421e645027677c97a37c528b5f370.jpg",[],{"id":1557,"slug":1558,"title":1559,"dynasty":18,"author":478,"museum":77,"description":1560,"tags":1561,"thumbUrl":1572,"material":1573,"size":1574,"collection":357,"collections":1575,"showCount":1529,"zanCount":51,"manualWeight":51,"mainColor":71},222354,"zi-shu-ci-juan-tang-yin-222354","自书词卷","此为唐寅所作词并自书，分《集贤宾》、《锦衣公子》、《山坡羊》三组曲牌，共24首。 唐寅博学多能，吟诗作曲，能书善画。他的传世绘画较多，书法甚少。其书以行楷见长，学赵孟頫并参以李北海笔意，笔画婉转流畅，风格俊秀潇洒。此书结构严谨，圆转遒丽，丰润优雅，形成了劲骨于内、美形于外、缜密流便的独特风格，词、书并美，堪称珠联璧合，从中可欣赏到往昔“江南第一风流才子”的儒雅韵致及其纯熟的书法功力。",[23,156,83,84,27,80,32,1562,1563,33,38,36,37,39,42,1377,759,85,93,86,94,88,89,7,91,297,1564,1565,1279,1278,1566,1567,1568,1569,1570,1571],"明月","夕阳","风","雨","日","夜","春","夏","秋","冬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47d4bbb43b2575078730ba53af232464.jpg","纸本，行书","纵23.3厘米，横551.3厘米",[357],{"id":1577,"slug":1578,"title":1579,"dynasty":374,"author":524,"museum":292,"description":1580,"tags":1581,"thumbUrl":1583,"material":160,"size":1584,"collection":447,"collections":1585,"showCount":1586,"zanCount":51,"manualWeight":51,"mainColor":52},290759,"tao-zhu-shuang-fu-tu-zhou-yi-ming-290759","桃竹双凫图轴","此作用笔兼具工致与写意之妙，古朴底色晕染出澹然春暮氛围。右侧虬曲桃枝缀满素白花苞，柔梢栖立幽禽，与劲挺青竹交错掩映，花瓣簌簌飘落，铺撒于浅草滩涂，坡石以淡墨晕皴，苍润朴拙。\n\n水面双凫姿态悠然，顾盼相随，羽毛绒羽层次细腻鲜活，粼粼水纹隐现其间。整体画面恬淡安宁，将水岸春景的幽寂野趣尽收卷中，于细微处尽显写生功力，暗合寄情林泉、观物察美的雅致意趣。",[25,62,30,29,7,86,1582,42,217,1173],"凫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ce05a7202359b07a2ba9cecc54873d7.jpg","163.3x103.1",[447],27,{"id":1588,"slug":1589,"title":1590,"dynasty":18,"author":1180,"museum":121,"description":1591,"tags":1592,"thumbUrl":1593,"material":65,"size":1594,"collection":130,"collections":1595,"showCount":115,"zanCount":473,"manualWeight":51,"mainColor":71},214666,"san-jue-tu-6-yao-shou-214666","三绝图-6","姚绶（1536年－1627年）是中国明朝时期著名的画家、书法家和诗人。他在明朝末年和清朝初年期间活跃，是中国古代四大书法家之一。姚绶的“三绝图册”是他的代表作之一，是他在晚年创作的一组绘画作品集。\n\n“三绝图册”共有三册，分别为“绝境图册”、“绝岭图册”和“绝川图册”。这三册作品均采用水墨画的方式，描绘了天山、岭川、峡谷等山水风光。姚绶的绘画风格具有浓郁的民族特色，笔墨简洁而凌厉，构图巧妙，色彩明快。这三册作品被认为是中国古代山水画的精品，被广泛收藏和展览。",[25,26,33,29,124,36,37,40,629,658,38,516,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78e731b862b74bacfca285005df0c0ca.jpg","纵31.2 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绝出尘象之外。",[23,25,26,27,80,588,62,85,93,86,94,89,91,90,7,217,32,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F824a49108093b390bf2a18fe74a97e32.jpg","纸本，水墨",[],{"id":1732,"slug":1733,"title":1542,"dynasty":105,"author":1543,"museum":121,"description":1544,"tags":1734,"thumbUrl":1735,"material":566,"size":130,"collection":130,"collections":1736,"showCount":1721,"zanCount":51,"manualWeight":51,"mainColor":71},233193,"hua-hui-ce-tao-hua-ye-zhao-zhi-qian-233193",[25,26,124,29,62,7,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20ceefe6bfa632f5ff93aad6e4f89901.jpg",[],{"id":1738,"slug":1739,"title":1740,"dynasty":105,"author":1026,"museum":320,"description":1027,"tags":1741,"thumbUrl":1746,"material":355,"size":1033,"collection":130,"collections":1747,"showCount":1721,"zanCount":51,"manualWeight":51,"mainColor":71},222926,"hong-lou-meng-51-sun-wen-222926","红楼梦51",[23,30,29,141,34,35,1742,481,40,627,1743,1744,1745,7],"龙","车","屋顶","壁画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd7467e4bee40568e154c15ea74b0e48.jpg",[],{"id":1749,"slug":1750,"title":1751,"dynasty":105,"author":120,"museum":121,"description":1752,"tags":1753,"thumbUrl":1754,"material":130,"size":130,"collection":67,"collections":1755,"showCount":1721,"zanCount":51,"manualWeight":51,"mainColor":1756},203130,"chun-hua-tu-ce-yun-shou-ping-203130","春花图册","枝桠婉转伸展，桃花嫣然绽放。花瓣以没骨法晕染，淡粉层叠过渡，似含朝露轻颤；翠叶点染其间，脉络隐现，与粉瓣相映成趣。枝干笔墨灵动，干湿相宜，尽显自然生趣。旁侧行书题跋清逸洒脱，诗画相融，蕴藉文人雅韵。整幅画作清新雅致，无勾勒之迹却形神兼备，将桃花的柔媚与生机凝于尺幅，尽显独特的没骨花鸟韵味。",[25,62,125,29,7,84,124,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe98b9880e877fa8eab8a55fb6a572fc4.jpg",[67],"ded9ce",{"id":1758,"slug":1759,"title":1760,"dynasty":1761,"author":1762,"museum":121,"description":1763,"tags":1764,"thumbUrl":1765,"material":130,"size":130,"collection":247,"collections":1766,"showCount":1721,"zanCount":51,"manualWeight":51,"mainColor":1767},202822,"xian-nv-peng-tao-tu-zhou-feng-chao-ran-202822","仙女捧桃图轴","近代","冯超然","画面中仙女身着素白长袍，衣袂轻扬，手持粉桃，神态温婉娴静；侍女蓝衫紧随，手擎圆扇，姿态恭谨。线条细腻流畅，勾勒衣纹婉转灵动，设色清雅柔和，尽显古典雅致之韵。人物神情刻画入微，仙女雍容与侍女乖巧相映成趣，传递出祥瑞静谧的氛围，尽显传统工笔人物画的细腻与韵味。",[30,29,34,243,7,242,25,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfc673daaf7d06e5bca0e9edbda85a82.jpg",[247],"ded9be",{"id":1769,"slug":1770,"title":582,"dynasty":105,"author":667,"museum":121,"description":1771,"tags":1772,"thumbUrl":1773,"material":130,"size":130,"collection":67,"collections":1774,"showCount":1721,"zanCount":473,"manualWeight":51,"mainColor":1775},202133,"hua-hui-tu-juan-ren-xiong-202133","这幅花卉长卷构图自然舒展，各类花卉次第铺陈，生机勃发。画师以工笔细描花瓣，线条灵动精准，叶片则以写意晕染，墨色层次丰富。设色明丽而不失雅致，牡丹雍容、桃花娇妍、芙蓉清雅、月季柔媚，各色花朵与翠叶相映成趣，姿态神韵毕现。整卷融工笔之精致与写意之洒脱于一体，将自然花卉的蓬勃活力与柔美风姿展现得淋漓尽致，尽显对生命与自然的热爱。",[25,27,62,30,29,89,7,90,173,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb97f0cdf35134a5d8f2cea43bc8fa78b.jpg",[67],"cca57d",{"id":1777,"slug":1778,"title":1779,"dynasty":105,"author":1780,"museum":200,"description":1781,"tags":1782,"thumbUrl":1784,"material":271,"size":367,"collection":130,"collections":1785,"showCount":222,"zanCount":51,"manualWeight":51,"mainColor":71},283780,"tao-li-san-yan-tu-shen-chao-283780","桃李三燕图","沈焯","沈焯[清]墨林今话、瓯钵罗室书画过目考、海上墨林作名焯，字竹宾，原名雒，又号墨壶外史，江苏吴江人。",[25,310,29,242,7,670,996,1783],"春意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe14d094e5b9cb89f4215c07799d71791.jpg",[],{"id":1787,"slug":1788,"title":1493,"dynasty":105,"author":106,"museum":200,"description":1789,"tags":1790,"thumbUrl":1791,"material":271,"size":367,"collection":67,"collections":1792,"showCount":222,"zanCount":51,"manualWeight":51,"mainColor":183},237736,"hua-hui-tu-ce-huang-shen-237736","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。",[25,26,124,29,62,7,586,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f6d3308e823ae3cb916c2c7fb98374a.jpg",[67],{"id":1794,"slug":1795,"title":1796,"dynasty":18,"author":1797,"museum":77,"description":1798,"tags":1799,"thumbUrl":1802,"material":144,"size":1803,"collection":130,"collections":1804,"showCount":222,"zanCount":51,"manualWeight":51,"mainColor":52},233697,"yun-he-cang-yu-tu-zhou-lan-ying-233697","云壑藏渔图轴","蓝瑛","此图为蓝瑛73岁（1657年）时的力作。该图构图奇险，尤其是画幅的上半部，一段奇峭耸立的山峰嵯峨壮观，于危峙耸拔呼之欲倒的险迫中，又具“去天不盈尺”的崇高感，显示出作者较强的造景生势能力。蓝瑛在树木的表现上亦有较强的造型能力，他能准确而生动地把握各种树木的形态特征，伸枝布叶，饶有情致。树叶的表现技法极为丰富，有以线勾双边的夹叶法，以墨直接卧笔横点的点叶法，还有松针勾簇、罩以淡彩的勾染结合法。山石皴法，仿宋人李希古（李唐）笔意，以粗犷的墨笔勾勒石之轮廓，以侧锋横擦的小斧劈皴皴擦石面，成功地显现出山岩凝重的质感。该图既有职业画家的行业气，又有文人画家的书卷气，二者巧妙地融汇贯通，表明蓝瑛不愧是明末职业画家向文人绘画靠拢的代表人物。",[25,26,242,29,33,31,1278,1800,38,684,7,482,1801,871],"壑","瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad4d2c8bdbaefa91e4ad1677373af496.jpg","纵369厘米，横98厘米",[],{"id":1806,"slug":1807,"title":1808,"dynasty":105,"author":1809,"museum":200,"description":1810,"tags":1811,"thumbUrl":1812,"material":130,"size":130,"collection":130,"collections":1813,"showCount":222,"zanCount":473,"manualWeight":51,"mainColor":71},224458,"hua-hui-shan-shui-he-ce-1-5-wang-hui-224458","花卉山水合册1-5","王翚","此作设色清妍明快，以石青石绿晕染山峦，柔缓晕开丘棱轮廓，晕出春日山景的温润鲜活。左上桃枝绽粉，点破春讯，飞泉沿幽谷蜿蜒而下，牵起山林灵动生机。一叶扁舟随波泛于烟水间，大片留白铺陈出空濛云水意境，尽现幽远之致。\n\n右侧题诗补全画中雅趣，笔致秀逸舒展，与山水景致相映成趣，将文人耽于林泉的悠然雅意融于尺幅之间。整幅淡冶雅致，既见青绿山水的明丽秀润，又有文人画的萧散意境，尽显春日山水的静穆清和。",[23,25,24,26,124,29,28,31,33,40,37,7,482],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05457a1878b4c600149d327541c4eeee.jpg",[],{"id":1815,"slug":1816,"title":1817,"dynasty":105,"author":1818,"museum":200,"description":1819,"tags":1820,"thumbUrl":1821,"material":130,"size":130,"collection":67,"collections":1822,"showCount":1823,"zanCount":51,"manualWeight":51,"mainColor":52},239076,"jie-bao-tu-zhou-yin-shi-239076","捷报图轴","殷湜","此作以工笔绘就春日山居佳音之景。青绿晕染山石，皴擦间见苍润厚重，古木虬枝缀满白花，融融春意浸透林泉。宅邸回廊婉转延伸，窗内雅士围坐展卷，似正传阅捷报，庭中仆役步履轻捷，将得喜的雀跃藏于悠然日常。左下角策蹇缓行的旅人，让幽邃园林添了几分灵动生趣。全景构图将世俗喜事融入文人山居的清雅意趣，无张扬喜色，只在松弛闲雅的氛围里暗传佳音带来的慰藉与欣喜，细腻写实中尽显古典楼阁山水的清远意境，把日常雅事与俗世快意相融，晕染出平和又暗含暖意的春日图景。",[25,26,242,29,30,31,141,33,35,36,37,40,34,482,1394,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08ce2d50abd7cdef7a350dd0aac9c8e0.jpg",[67,48],20,{"id":1825,"slug":1826,"title":603,"dynasty":105,"author":464,"museum":200,"description":706,"tags":1827,"thumbUrl":1828,"material":271,"size":367,"collection":130,"collections":1829,"showCount":1823,"zanCount":51,"manualWeight":51,"mainColor":71},238887,"hua-hui-ce-dong-gao-238887",[24,25,26,124,29,30,62,92,173,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d1857a0338b5b99eae228a3c7dc69a8.jpg",[],{"id":1831,"slug":1832,"title":1833,"dynasty":105,"author":524,"museum":200,"description":1834,"tags":1835,"thumbUrl":1840,"material":130,"size":130,"collection":130,"collections":1841,"showCount":1823,"zanCount":51,"manualWeight":51,"mainColor":52},223661,"nao-long-zhou-yi-ming-223661","闹龙州","这幅工笔风俗画以春日江畔为底色，屋舍朱黛错落，楼阁上下人头攒动，凭栏共览盛景，市井烟火扑面而来。水面之上龙舟劈波竞渡，旌旗招展，健儿合力挥桨，浪涛随舟翻涌，喧腾的节庆氛围满溢卷间。\n\n远处山峦逶迤浅黛，汀渚桃杏初绽，柔化了喧闹的底色，晕开融融春意。整作设色雅致明丽，工笔细腻入微，将官民同观竞渡的鲜活民俗盛景定格，于细节处铺陈清代市井百态，尽显院体风俗画的写实功力，把春日水乡的温婉与节庆的喧腾完美相融。",[23,24,25,26,27,30,29,141,33,35,34,1836,7,39,1837,629,627,1838,1029,482,922,1839,40],"舟船","桥梁","旗帜","人群","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53fe0824f719b89c17c45135e87db139.jpg",[],{"id":1843,"slug":1844,"title":1845,"dynasty":105,"author":1026,"museum":320,"description":1027,"tags":1846,"thumbUrl":1847,"material":355,"size":1033,"collection":130,"collections":1848,"showCount":1823,"zanCount":51,"manualWeight":51,"mainColor":71},223000,"hong-lou-meng-125-sun-wen-223000","红楼梦125",[23,25,30,29,27,34,1525,35,36,37,39,7,1506,33,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcac58242e2054c8fba0b1a1f2c176f5e.jpg",[],{"id":1850,"slug":1851,"title":1852,"dynasty":105,"author":1026,"museum":320,"description":1027,"tags":1853,"thumbUrl":1860,"material":355,"size":1033,"collection":130,"collections":1861,"showCount":1823,"zanCount":51,"manualWeight":51,"mainColor":71},222961,"hong-lou-meng-86-sun-wen-222961","红楼梦86",[23,30,29,141,33,35,36,34,243,1514,1029,1854,1855,40,7,1394,1856,1857,482,627,1858,1859],"亭子","伞","枯树","古装","雪地","细描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Face67c130a7ac403f4b975c7af2da2cf.jpg",[],{"id":1863,"slug":1864,"title":1865,"dynasty":105,"author":1866,"museum":121,"description":1867,"tags":1868,"thumbUrl":1869,"material":130,"size":130,"collection":67,"collections":1870,"showCount":1823,"zanCount":51,"manualWeight":51,"mainColor":1871},201804,"bi-tao-tu-zhou-chen-hong-shou-201804","碧桃图轴","陈鸿寿","疏枝横斜逸出，嫩蕊轻绽如霞。碧桃枝干以淡墨勾勒，枯笔皴擦显苍劲之态；花瓣晕染浅粉，柔色衬清雅之姿。新叶带浅绿，与墨韵相映，留白处似有春风拂过，悄然唤醒生机。题字笔势洒脱，与花木之态相融，尽得文人画的逸趣。不施浓艳，却于简约中见情致，仿佛能闻桃李轻香，窥见春日温婉。",[25,62,7,80,29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开、一派江南水乡春色。\n柳畔屋前，妇携幼童，望老翁坐 在矶石上垂钓。\n笔 墨工秀，设色浓丽， 刻划精细，如屋内 纺车、老翁戴的无 顶草笠、带有线轮 的钓竿，均一丝不 苟。\n自题“戊子首春 仿赵大年江乡清晓 图”。\n戊子为康熙四 十七年(178)，乃晚 年手笔。\n禹之鼎（1647—1716年），字尚吉，号慎斋，江都(今江苏扬州)人。\n清康熙二十年(1681年)官鸿胪寺序班，以画供奉入畅春园。\n善画人物、山水，尤精写真。\n初师蓝瑛，兼学宋元诸家。\n肖像画面貌多样，对白描法、墨骨法、江南法都有研究，所绘人物形神兼备，独具一格，一时名公小像多出其手，其肖像画在清代中期有“当代第一”之誉。",[23,25,26,29,30,31,33,34,36,37,1393,7,924,1878,1879,1880,1881],"垂钓","孩童","妇人","岸石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa80bad0a4e7b08769098da0f127b7e6.jpg",[],19,{"id":1886,"slug":1887,"title":1888,"dynasty":18,"author":1889,"museum":200,"description":1890,"tags":1891,"thumbUrl":1894,"material":130,"size":130,"collection":130,"collections":1895,"showCount":1884,"zanCount":473,"manualWeight":51,"mainColor":71},228888,"lan-ting-tu-bing-shu-xu-juan-xu-guang-zuo-228888","兰亭图并书序卷","许光祚","《兰亭图并书序》为中国明代 创作的绫本书画作品，现藏于 。\n卷后有 书《兰亭序》，落款曰：“辛亥暮春摹于长水之玉瑛堂。\n关西许光祚。\n”下钤“灵长氏”朱文印。\n辛亥为1611年（明万历三十九年）。\n画心无款，有“永安沈氏藏书画印”朱文鉴藏印一方。\n许光祚，活跃于明代万历年间，字灵长，陕西人。\n与汤焕同郡，得其书法，时人号曰汤许。\n举于乡，知太平县，著有《许灵长集》。\n有书法作品传世，但文献没有记载他能绘画。\n此卷以山水为背景，表现兰亭修禊故事。\n卷首山脚下二文士携三童子而来，往前溪水边有一亭，亭中间置一桌，一文士在桌上挥毫，一文士坐于侧，另有一文士坐长凳上倚栏观鹅。\n溪流两岸边绘众文士及童子，文士们分组而坐，或凝思或交谈，或观摩或挥毫，其中有一人袒胸盘坐，双手上举似为养气，另有两文士在喝交杯酒，形态生动。\n溪流间有荷叶托着酒杯顺流而下。\n该图虽然大体继承了宋元以来兰亭雅集图亭中观鹅、岸边赋诗的构图方式，但从图中人物的服饰、动态及人数等来看，画家表现的更像是明代文人模仿王羲之等兰亭雅集时的情形，而不是真实地再现当时的原貌。\n人物线条简洁严谨，设色淡雅，山石轮廓以侧笔皴擦，工整柔和。",[23,25,26,27,29,30,34,33,36,37,39,684,516,7,539,1892,1893,84],"赋诗","聚会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140767863d6e7de949761cc86cc06bd4.jpg",[],{"id":1897,"slug":1898,"title":1899,"dynasty":105,"author":770,"museum":200,"description":1900,"tags":1901,"thumbUrl":1902,"material":130,"size":130,"collection":130,"collections":1903,"showCount":1884,"zanCount":51,"manualWeight":51,"mainColor":71},224193,"gao-zhi-hao-niao-tu-hua-yan-224193","高枝好鸟图","此作用笔秀逸空灵，枯柳斜曳而上，柔条垂落拂动，浅粉桃苞绽于老枝，点破浅春淡寂。丹羽禽鸟栖于细枝，俯身侧目，将恋花娇态摹写生动，蓬松的羽色以没骨晕染，鲜活明丽，尽现翎毛柔润光泽。\n\n墨色干湿互衬，枯笔点苔写柳骨，淡墨轻描柳叶清姿，留白铺就淡远空濛的底色。右侧题诗与画境相合，诗画交融，将春鸟娇啼、窥影共情的诗意融在尺幅之间，简淡中藏生机，尽显隽雅疏朗的文人意趣，把春日幽微意绪晕染在笔墨方寸里。",[23,25,26,62,81,29,379,502,7,83,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa30dec5d8321ce381f3e219c75141f00.jpg",[],{"id":1905,"slug":1906,"title":1907,"dynasty":105,"author":524,"museum":292,"description":1908,"tags":1909,"thumbUrl":1910,"material":160,"size":130,"collection":130,"collections":1911,"showCount":1884,"zanCount":51,"manualWeight":51,"mainColor":71},215199,"sheng-ping-le-shi-tu-ce-6-yi-ming-215199","升平乐事图册-6","升平乐事图册是一部描绘升平乐事的图册，它是一部描述清朝时期升平乐事的图册。升平乐事是一种演出形式，通常在清朝皇帝登基或加冕时举行。这部图册记录了当时的升平乐事，包括演出的服装、舞蹈、音乐和道具等细节。",[25,29,30,124,34,243,1879,7,244,39,1029],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ed03b9eec74522513d72406bad1568.jpg",[],{"id":1913,"slug":1914,"title":1915,"dynasty":105,"author":524,"museum":200,"description":1916,"tags":1917,"thumbUrl":1920,"material":271,"size":367,"collection":130,"collections":1921,"showCount":100,"zanCount":51,"manualWeight":51,"mainColor":52},288230,"hua-niao-tu-yi-ming-288230","花鸟图","整卷铺陈四时清景，以没骨晕染花卉，工细勾勒禽鸟神形。左首老梅虬枝缀雪，群雀顾盼生姿，竹影横斜衬出幽寂；继而牡丹柔瓣含露，艳而不俗，荆棘穿插添就野趣；再见异花绮丽，红白相映，顽石苔痕自生古意；末了春桃绽蕊，幽禽独立枝梢，静中含动。\n\n题跋书法与绘事相映，笔墨晕染春日清和雅韵，将花木禽鸟的生机雅致融于长卷，尽显写生传神的悠然意趣，是雅致清妍的花鸟佳作。",[23,25,26,27,30,29,62,456,409,89,7,92,1918,1919,84],"竹枝","怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe1fed4095a95d1cd12f57590df46b43.jpg",[],{"id":1923,"slug":1924,"title":1925,"dynasty":105,"author":1026,"museum":320,"description":1027,"tags":1926,"thumbUrl":1927,"material":355,"size":1033,"collection":130,"collections":1928,"showCount":100,"zanCount":51,"manualWeight":51,"mainColor":71},223016,"hong-lou-meng-141-sun-wen-223016","红楼梦141",[23,25,29,30,141,33,34,35,7,1393,40,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc84111c7cf762139844514a25f574e26.jpg",[],{"id":1930,"slug":1931,"title":1932,"dynasty":105,"author":840,"museum":200,"description":1933,"tags":1934,"thumbUrl":1935,"material":144,"size":1936,"collection":130,"collections":1937,"showCount":250,"zanCount":51,"manualWeight":51,"mainColor":71},234985,"hua-hui-ling-mao-ping-3-ren-yi-234985","花卉翎毛屏3","任颐(1839-1896)，初名润，字伯年，一字次远，号小楼(亦作晓楼)，萧山城厢镇人。其父善画肖像，任颐自幼随之习画。人物、山水、花卉、翎毛等均有扎实功底，尤以人物画见长，他在十余岁时即能勾勒出来访者容貌，使人见其画如见其人。\n咸丰十一年(1861)，太平军占领杭州、绍兴，任颐即投笔从戎，参加太平军，掌军旗，为前驱。同治二年(1863)，太平军撤离浙江，任留居家乡；次年，移居宁波，得到任熊、任薰悉心指导。同治七年(1868)春，随任薰去苏州，是年冬，转至上海定居。从此，任颐步入新兴的上海画派之列。\n任颐画路宽拓，所画人物具有独特的风韵，更以描写风俗人情、民间传说和神话故事中人物见长，如《女娲》、《钟 馗》、《八仙》、《群仙祝寿》等作品，将艺术与现实巧妙地容贯于画面。其人物肖像画既有深厚的传统基础，又注重写生，每次外出，备有速写本，随时勾录。寓居上海后，以卖画为生，创作甚富。《钟馗》、《关河一望萧索》、《苏武牧羊》、《野塘雨后》和《三友图》等为其代表作。且其参用画意的书法亦奇惊不凡，光绪二十二年(1896)逝世。\n任伯年因是浙江山阴人，故画面署款多写山阴任颐。儿时随父学画，十四岁到上海，在扇庄当学徒，后以卖画为生。所画题材，极为广泛，人物、花鸟、山水、走兽无不精妙。他的画用笔用墨，丰富多变，构图新巧，创造了一种清新流畅的独特风格，在正统派外别树一帜。\n任颐是近代杰出画家。字伯年，号小楼，浙江山阴人，因此他的画署款多写山阴任颐。任伯年的绘画题材广泛，人物、肖像、山水、花卉、禽鸟无不擅长。用笔用墨，丰富多变，构图新巧，主题突出，疏中有密，虚实相间，浓淡相生，富有诗情画意，清新流畅是他的独特风格。任伯年的主要成就是在于人物画和花鸟画方面，往往寥寥数笔，便能把人物整个神态表现出来，着墨不多而意境深远。其线条简练沉着，有力潇洒。他常画钟馗，他笔下的钟馗心胸磊落、不怕鬼，不信邪。他的花鸟画，总是把花与鸟连在一起，禽鸟显得很突出，花卉有时只作背景，整个画面充满了诗的意境。",[25,26,242,29,30,62,7,217,42],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87555a203978651137c3d5d142b277ac.jpg","149 x 61 cm",[],{"id":1939,"slug":1940,"title":1941,"dynasty":105,"author":1942,"museum":200,"description":1943,"tags":1944,"thumbUrl":1945,"material":130,"size":130,"collection":130,"collections":1946,"showCount":250,"zanCount":51,"manualWeight":51,"mainColor":71},228937,"fang-gu-shan-shui-tu-ce-8-zhen-lu-han-228937","仿古山水图册8帧","陆汉","此作用浅绛糅合青绿晕染山峦，远山以淡墨轻笼云气，晕开幽谷空濛之态。近坡苍松虬曲，桃枝缀花，点染出春日融融生机。溪桥田舍错落排布，渔人操舟、乡人行聚，将武陵桃源的恬适日常铺陈开来。\n\n线条细劲秀雅，皴染柔和，将山水清润与村居和乐融为一体，笔墨间藏着对隐逸田园的向往，把出世之思揉进烟火日常的描摹里，恬淡悠然，意趣绵长。",[25,29,28,33,124,31,36,37,38,39,42,244,629,7,86,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1d30e9ffc96d3a4b2b4aa3622ccefd3.jpg",[],{"id":1948,"slug":1949,"title":1950,"dynasty":105,"author":1026,"museum":320,"description":1027,"tags":1951,"thumbUrl":1957,"material":355,"size":1033,"collection":130,"collections":1958,"showCount":250,"zanCount":51,"manualWeight":51,"mainColor":52},222988,"hong-lou-meng-113-sun-wen-222988","红楼梦113",[23,30,29,34,1952,1953,1954,1955,1956,7,26,1505],"床榻","屏风","盆栽","瓷器","家具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da254db7a1ca21f5583196371f0acfd.jpg",[],{"id":1960,"slug":1961,"title":1962,"dynasty":105,"author":1026,"museum":320,"description":1027,"tags":1963,"thumbUrl":1967,"material":355,"size":1033,"collection":130,"collections":1968,"showCount":250,"zanCount":51,"manualWeight":51,"mainColor":183},222939,"hong-lou-meng-64-sun-wen-222939","红楼梦64",[23,229,30,29,141,34,243,1964,35,627,217,7,1856,1965,1954,1966],"男子","桌椅","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F065d10b41b65d09fd2a9dfb385d6832a.jpg",[],{"id":1970,"slug":1971,"title":1972,"dynasty":105,"author":1026,"museum":320,"description":1027,"tags":1973,"thumbUrl":1977,"material":355,"size":1033,"collection":130,"collections":1978,"showCount":250,"zanCount":51,"manualWeight":51,"mainColor":71},222930,"hong-lou-meng-55-sun-wen-222930","红楼梦55",[23,25,30,29,141,34,243,35,627,1856,684,7,92,1974,1504,1975,537,1976,40,1394],"器物","砖墙","室内陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0b2f0c6b88b9c1be4948612fdf553e6.jpg",[],{"id":1980,"slug":1981,"title":1982,"dynasty":18,"author":1983,"museum":200,"description":1984,"tags":1985,"thumbUrl":1986,"material":271,"size":367,"collection":130,"collections":1987,"showCount":1988,"zanCount":51,"manualWeight":51,"mainColor":52},290619,"sui-shan-tao-shi-zhou-zhang-hong-290619","绥山桃实轴","张宏","张宏（1577年－1652年后），字君度，号鹤涧，江苏苏州长洲县人，明代画家、篆刻家。善画山水、人物、翎毛。擅长山水，颇有意趣，亦能画兰，笔墨有元人古意，是明末吴门画坛的中坚人物。吴中学者尊崇之。另外近代学者指出他擅长“地图式绘画”，描绘旅游所见景色，是与其他吴派画家不同之处。",[25,26,24,242,28,29,33,35,684,7,36,1801,34,1159,482],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcff69830017c4619fdc8ecbb0cf78341.jpg",[],16,{"id":1990,"slug":1991,"title":1992,"dynasty":105,"author":524,"museum":200,"description":879,"tags":1993,"thumbUrl":1998,"material":271,"size":367,"collection":130,"collections":1999,"showCount":1988,"zanCount":473,"manualWeight":51,"mainColor":71},263650,"ke-si-jia-xiu-qian-long-yu-ti-san-xing-tu-zhou-yi-ming-263650","缂丝加绣乾隆御题三星图轴",[242,26,25,1312,29,30,34,1994,1995,683,1364,33,684,7,1996,482,37,92,1997,83,32],"福禄寿","童子","祥云","吉祥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41adb2dde5dde60b84a10ab4ad9f8997.jpg",[],{"id":2001,"slug":2002,"title":2003,"dynasty":105,"author":1026,"museum":320,"description":1027,"tags":2004,"thumbUrl":2005,"material":355,"size":1033,"collection":130,"collections":2006,"showCount":1988,"zanCount":51,"manualWeight":51,"mainColor":71},222894,"hong-lou-meng-19-sun-wen-222894","红楼梦19",[23,25,30,29,141,34,243,482,1393,1029,36,37,35,627,7,40,1506,819],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c2c4e660b88590e6eefe8db1f011b8b.jpg",[],{"id":2008,"slug":2009,"title":2010,"dynasty":105,"author":2011,"museum":200,"description":2012,"tags":2013,"thumbUrl":2014,"material":271,"size":367,"collection":130,"collections":2015,"showCount":2016,"zanCount":51,"manualWeight":51,"mainColor":71},290983,"tao-hua-yang-liu-zhou-guan-huai-290983","桃花杨柳轴","关槐","字晋卿，一字晋轩，号雪岩，一号署笙，又号柱生，晚号青城山人，仁和（今杭州）人。乾隆四十五年（1780）传胪，官礼部侍郎。词章翰墨，脱颖不群。画山水入宋、元之室，品诣在奚冈、屠倬之间。虽得董诰指授，其画境之苍润恬静，实有过之。供奉内廷，宠眷特懋。有《群仙胪祝轴》、《溪山秋爽轴》等。",[24,25,26,242,29,30,62,7,996],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a9d97307ad488a2bfdd5e50336ef712.jpg",[],15,{"id":2018,"slug":2019,"title":966,"dynasty":374,"author":524,"museum":200,"description":2020,"tags":2021,"thumbUrl":2022,"material":271,"size":367,"collection":130,"collections":2023,"showCount":2016,"zanCount":51,"manualWeight":51,"mainColor":71},289116,"tao-zhi-qi-que-tu-ye-yi-ming-289116","此作为宋画小品中的清丽佳构，以疏简折枝托举幽淡春景。蜿蜒桃枝错落舒展，留白铺就空灵韵致，尽显宋人的雅致意趣。桃花以淡墨勾边，轻敷白粉晕染，瓣尖微透莹润质感，如凝着晨露的初绽花苞，柔婉素雅。枝上栖雀造型写实入微，羽色晕染层次分明，暖棕腹羽与苍灰背羽相映，侧目凝神间姿态悠然，似静聆春风拂花轻响，于静谧中暗蕴鲜活生机。整体笔致秀润精细，设色温婉柔和，将格物观照的审美追求藏于尺幅，定格下春日枝间闲逸恬然的诗意瞬间。",[25,26,62,30,29,7,42,946,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0865527a000659e4a83fb3a70a7fc7b5.jpg",[],{"id":2025,"slug":2026,"title":2027,"dynasty":105,"author":1026,"museum":200,"description":2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将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[25,24,26,29,31,124,33,37,7,40,1801],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ffddea088478d06d513f1a02eba3dd2.jpg",[],{"id":2050,"slug":2051,"title":2052,"dynasty":105,"author":2053,"museum":200,"description":2054,"tags":2055,"thumbUrl":2056,"material":271,"size":367,"collection":130,"collections":2057,"showCount":2016,"zanCount":51,"manualWeight":51,"mainColor":52},235663,"shan-shui-ping-yuan-jiang-235663","山水屏","袁江","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。",[25,26,141,30,29,28,33,35,684,7,1801,805,482,807],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa367e713deec5c0cba384b8928f36c57.jpg",[],{"id":2059,"slug":2060,"title":2061,"dynasty":105,"author":2062,"museum":200,"description":2063,"tags":2064,"thumbUrl":2065,"material":130,"size":130,"collection":130,"collections":2066,"showCount":2016,"zanCount":51,"manualWeight":51,"mainColor":71},234371,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234371","临蒋廷锡花卉册","蒋淑","蒋淑，蒋廷锡之女。蒋淑不仅得其父亲蒋廷锡的指点，而且经常以其父的作品为学习范本。《临蒋廷锡花卉图册》便是她临摹蒋廷锡花卉的代表作，用笔设色均有其父的画风神韵。每开也均有蒋廷锡题诗，赞美之辞溢于言表。 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其代表作有《太湖诗卷》《箜篌引》《赤壁赋》等。所书“六体书诗赋卷”“草书杜甫诗卷”“古诗十九首”“草书唐人诗卷”及“草书诗翰卷”等皆为传世墨宝。",[83,124,586,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3060cdfdd07d67a5fead2d9c48e1aec.jpg",[],{"id":2290,"slug":2291,"title":2292,"dynasty":105,"author":524,"museum":200,"description":2293,"tags":2294,"thumbUrl":2296,"material":271,"size":367,"collection":130,"collections":2297,"showCount":2279,"zanCount":51,"manualWeight":51,"mainColor":52},269094,"xiang-ya-bian-zhi-qian-xiang-ya-ran-diao-liu-yan-tu-tuan-shan-yi-ming-269094","象牙编织嵌象牙染雕柳燕图团扇","此件以牙丝织就扇面，细如秋毫，通透似纱，将象牙的温润质感晕开成朦胧底色。染雕嵌饰的柳芽鲜翠柔婉，粉花轻吐芳蕊，双燕振翅掠柳，羽色晕染自然灵动，把暮春烟柳飞燕的闲趣景致凝于盈尺之间。\n\n柄身瓷绘雅致，翠饰与鎏金构件点缀其间，明黄流苏垂坠生姿，把雅致工巧融于一处。它集编织、雕染、镶嵌数艺于一体，疏密布局恰到好处，既有文人意趣的清雅，又尽显制器的华贵考究，将春日生机藏于盈握间，是传统工艺美学的精巧缩影。",[785,2295,1194,62,295,296,7,29,30],"象牙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F283fa7df91235b173c48fc89c1f5c075.jpg",[],{"id":2299,"slug":2300,"title":2301,"dynasty":105,"author":524,"museum":200,"description":2302,"tags":2303,"thumbUrl":2307,"material":271,"size":367,"collection":130,"collections":2308,"showCount":2279,"zanCount":11,"manualWeight":51,"mainColor":724},267352,"xiu-xian-xuan-zhu-zhang-ling-liu-cheng-duo-zi-tu-zhou-yi-ming-267352","绣线萱祝长龄榴呈多子图轴","此作为石青地刺绣作品，以针代笔，用工细绣法还原出雅致清隽的花鸟景致。虬曲桃枝缀满柔粉繁花，两只绶带鸟栖息枝桠，羽色鲜亮灵动，顾盼生姿。蓝白晕染的湖石古拙雅致，石畔萱花舒展盛放，竹影扶疏掩映。\n\n绣线匀整细密，设色妍丽沉稳，石青底色将花叶禽鸟的明秀色泽衬得分外鲜亮。景致间暗蕴吉庆意涵，萱草祝寿，绶带谐“寿”音，将工笔花鸟的柔婉意趣，借由绣线肌理生动呈现，兼具院体花鸟的妍丽格调和闺阁绣的精巧灵秀，清隽雅致间藏着绵长祝福。",[242,2304,310,30,29,7,2305,42,1698,2306],"绣品","萱草","吉祥祝寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ae21561f19c1b9b879271e6ab70522c.jpg",[],{"id":2310,"slug":2311,"title":2312,"dynasty":57,"author":2313,"museum":77,"description":2314,"tags":2315,"thumbUrl":2324,"material":566,"size":2325,"collection":357,"collections":2326,"showCount":2279,"zanCount":51,"manualWeight":51,"mainColor":71},239623,"wu-gu-shi-tie-ye-zhang-yuan-239623","五古诗帖页","张渊","释文：\n云卧三十年，好闲复爱仙。蓬壶虽冥绝，鸾鹤心悠然。归来桃花岩，得憩云窗眠。对岭人共语，饮潭猿相连。时升翠微上，邈若罗浮巅。两岑抱东壑，一嶂横西天。树杂日易隐，崖倾月难圆。芳草换野色，飞萝摇春烟。入远构石室，选幽开山田。独此林下意，杳无区中缘。永辞霜台客，千载方来檐。用拙斋书。\n钤“张氏清夫”印。鉴藏印钤“仪周鉴赏”、“莲樵鉴赏”、“景贤”、“谭氏区斋书画之章”等10方。\n张渊书法学赵孟頫，用笔结字亦步亦趋，形神兼备，有相当的功力。此帖学赵孟頫中年书体，笔画清健，笔力圆劲，结体方阔，点画精美，翩翩有致。",[84,83,2316,32,80,946,2317,718,2318,2319,218,1566,2320,2321,7,683,2322,537,1278,2323,1565,86],"字帖","笔墨","田","烟","崖","月","潭","峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F724ec50f12966d6fdc1a11a385cc48b9.jpg","纵27.4厘米, 横52.7厘米",[357],{"id":2328,"slug":2329,"title":2330,"dynasty":105,"author":1809,"museum":200,"description":2331,"tags":2332,"thumbUrl":2333,"material":130,"size":130,"collection":130,"collections":2334,"showCount":2279,"zanCount":51,"manualWeight":51,"mainColor":71},224473,"qing-wang-yun-wang-hui-he-bi-zhou-wang-hui-224473","清王云王翚合璧轴","此作用笔兼工带写，老桃枯干苍劲古拙，枝头桃花轻红柔丽，灼灼盛放，与叶芽新绿相映，晕染出春日融融生机。下方水畔鸳鸯伫立，翎毛晕染细腻，羽色明丽温润，情态安闲静雅。\n书画合璧，题字清隽秀雅，诗画呼应，将春日的恬和野趣晕透纸面，设色妍而不艳，既有院体花鸟的精工雅致，又饱含文人画的澹泊意趣，静穆中藏着蓬勃春机，尽显清和雅致的林下春光。",[23,25,26,242,29,30,62,7,516,1376,217,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c4efb57d002aeb7ed5287d3e5fa93fa.jpg",[],{"id":2336,"slug":2337,"title":2338,"dynasty":105,"author":524,"museum":292,"description":2339,"tags":2340,"thumbUrl":2342,"material":2343,"size":2344,"collection":130,"collections":2345,"showCount":2279,"zanCount":11,"manualWeight":51,"mainColor":71},223451,"shou-zhang-jin-zhi-yi-ming-223451","寿长金芝","此作右幅工笔绘就，靛蓝底色晕开幽谧氛围，石畔桃枝轻斜，粉花柔妍盛放，芝草挺生于苍苔之间，设色明丽和谐，花木生机盎然，暗合祥瑞意趣。左页题诗笔致清隽，与画面相映成趣，以芝、桃寄寓福寿绵长的美好祈愿。整体雅致温婉，将吉祥寓意融于清雅景致里，工细笔触晕染出古雅静穆的氛围感，尽显雅致的审美意趣与隽永的美好寄寓。",[23,25,30,29,124,7,2341,516,482,503],"灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61a6a960717e744e9488977b6dde3b6e.jpg","白纸本","39 x35厘米",[],{"id":2347,"slug":2348,"title":2349,"dynasty":374,"author":524,"museum":200,"description":2350,"tags":2351,"thumbUrl":2353,"material":271,"size":367,"collection":130,"collections":2354,"showCount":133,"zanCount":51,"manualWeight":51,"mainColor":52},290624,"guo-lao-xian-zong-zhou-yi-ming-290624","果老仙踪轴","此画传为宋人所绘，但从画风和细节装饰等因素来看，应是明人笔墨，可能为明代中晚期的宫廷作品。\n蟠桃垂实累累，白鹤憩游于竹林，紫芝傍生于石隙，树下张果老，拄杖坐于石上。张果老为八仙之一，相传年寿数百岁。除了白鹤、紫芝、张果老等母题都与长寿有关外，「蟠桃」又名「寿桃」，而「竹」与「祝」谐音，两者合一，更有「祝寿」之意。此画细节装饰繁复，树干的画法追摹吕纪，而几上的云龙纹香炉及下方的红地枪金漆盒之器型与装饰也属明风，故此作很可能是明中晚期的宫廷相关作品。",[25,242,30,29,34,2352,243,2115,7,86,1196],"神仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dd4e91be819c47130f97654a23133fb.jpg",[],{"id":2356,"slug":2357,"title":2358,"dynasty":105,"author":2359,"museum":200,"description":2360,"tags":2361,"thumbUrl":2366,"material":271,"size":367,"collection":130,"collections":2367,"showCount":133,"zanCount":51,"manualWeight":51,"mainColor":52},241565,"xing-kai-qi-jue-ping-zhou-yuan-li-zhun-241565","行楷七绝屏轴","袁励凖","字珏生，别署恐高寒斋主，江苏武进人，光绪进士，翰林编修，会试同考官。民国清史馆编纂，辅仁大学教授。工书画。行楷宗米元章，篆习李阳冰，文静典雅，画学马远，藏墨名于世。",[25,26,83,242,84,891,2362,2363,718,2364,719,2365,192,7],"行楷","白雪","碧嶂","落日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc067fb6ea8549d5c048fba931fc299a.jpg",[],{"id":2369,"slug":2370,"title":2371,"dynasty":105,"author":2372,"museum":200,"description":2373,"tags":2374,"thumbUrl":2376,"material":130,"size":130,"collection":130,"collections":2377,"showCount":133,"zanCount":51,"manualWeight":51,"mainColor":71},238283,"hua-qia-xuan-yuan-tu-ce-huang-yue-238283","化洽翾蜎图册","黄钺","黄钺（1750年9月5日-—1841年8月16日），字左田，又名左君，号壹斋、左庶子，安徽芜湖人，清朝大臣，历仕乾隆、嘉庆、道光三朝。是著名的教育家、画家、艺术评论家。\n黄钺师法韩愈、苏轼、黄庭坚三人。 [5] 著有《壹斋集》40卷，其中《奏御集》2卷，杂篇6卷，《萧、汤二老遗诗合编》1卷，《画品》1卷。工诗文、书画，所绘山水，有萧云从余韵，“久邀睿赏，与富阳首相。国称董（浩）黄（钺）二家”，宫内名画，多为其鉴定真伪。诗词有苏东坡风韵，年九十一岁失明，自号“盲左”仍吟诗作画，故乡风情，吟咏殆尽，所作《于湖竹枝词》66首，亦诗亦史，富有深厚乡情。宋子才有“太白脱靴”，“山谷返棹”两图，石刻在太平府尊经阁内。《志》谓“子才七世孙，元太平路经历景阳刻”。嘉庆十七年（1812），黄钺在作此图时也注为元景阳刻。后觉有误，自责捉笔：“承讹袭谬，未暇深考。顷友人拓赠二纸，始知其谬，愧赧无已，爰记以诗，以志吾荒陋焉”。虚怀若谷，难能可贵。\n道光五年（1825），黄钺76岁，请求归休。宣宗“温旨慰留”。次年，又申前请，获准荣归。道光二十一年六月三十日申时（即1841年8月16日15时至17时）在芜湖家中逝世，享年九十二岁。宣宗悼惜，追封为太子太保衔，入祀贤良祠，按尚书条例抚恤，谥号“勤敏”。命史馆立传，赐祭葬，树石碑，葬于当涂南褐山下。同年，奉旨入芜湖乡贤祠。 [3]\n清代乾隆、嘉庆、道光年间，当涂出了一位赫赫有名的内阁尚书、军机大臣。黄钺，字左田，号左君，又号壹斋、左盲，生于乾隆十五年（1750年），卒于道光二十一年（1841年）。因其一生敏而好学，著述甚多，又“执掌皖南北书院十载”，对当地文化、教育做出了重要贡献。\n乾隆三十八年（1773年）十月，年仅23岁的黄钺在太平府学政使院参加岁试。安徽提督学政朱筠阅其卷，以为“奇才异能”，称道不止。朱筠在离开当涂回京都时，特地将这位年轻人带入京城应试，虽未中试，但得以在《四库全书》馆做誉录工作，因之学识大进。乾隆五十三年（1788年），黄钺考中举人，五十五年中进士，授户部主事。当时权臣和坤主管户部，因二人意见相左，借故请假回家，协助安徽巡抚李世杰在芜湖赭山谪翠轩创建中江书院，招员授业。嘉庆四年（1799年），仁宗亲政，黄钺奉命进京加封为“懋勤殿行走”。嘉庆九年（1804年），提升为“赞善，入直南书房”。嘉庆十年，出任山西学政，又特旨任湖北、山东、顺天等地的乡试主考官，后又兼任山西、山东学政，准予密折奏事。嘉庆十五年（1810年），迁侍讲学士，十八年擢升内阁学士，十九年升任户部侍郎，不久，又调任礼部侍郎。嘉庆二十四年（1819年），升任礼部尚书，并“赐紫禁城骑马肩舆入直，加封太子少保衔”。次年，升会试主考官。道光元年（1821年），宣宗亲政，封其为军机大臣，不久，又调任户部尚书，参与大典事宜，从事“京察议叙”。道光三年，宣宗“赐宴玉澜堂”，并给功臣绘像，黄钺是当时朝廷15名老臣之一。道光五年，黄钺已75岁，请求归休，宣宗又“温旨慰留”。次年，又申前请，始获准归乡。黄钺在朝廷历时27年。\n黄钺一生为封建统治阶级“矢勤矢慎”，但他笔耕不辍，在学术上也很有造诣。著有《壹斋集》四十卷、《壹斋诗集》三十六卷、《韩诗增注正讹》十一卷、《萧汤二老遗诗合编》二卷、《奏御集》二卷，另有《画友录》、《泛浆录》、《游黄山记》、《两朝恩赉记》、《二十四画品》等著作。他善画山水花鸟，尤长画梅，初学王 ，晚学王原祁，与“四王”末流董邦达并称山水画家。他的画，笔墨苍厚，他的字，既有书卷气，也有台阁气。他的诗，别具一格，很有气势。曾作的《花卉图》、《端阳佳景图》、《高冈长松图》等，无论青绿山水和水墨山水都很有特色。\n黄钺在绘画艺术上经过多年的实践和探索，将自己积累的经验进行理论概括，撰成画学专著《二十四画品》一书。《二十四画品》是仿照唐司空图撰写的中国古代文集约名著《二十四诗品》的体例而写成的。书中运用四言韵语，把各种绘画艺术风格概括为：一气韵，二神妙，三高古，四苍润，五沉雄，六冲和，七淡远，八补拙，九超脱，十奇辟，十一纵横，十二淋漓，十三荒寒，十四清旷，十五性灵，十六圆浑，十七幽邃，十八明净，十九健拔，二十简洁，二十一精谨，二十二隽爽，二十三空灵，二十四韶秀。整部著作文词典雅，清丽可诵，表现了栩栩如生的艺术形象。\n黄钺对谢朓、李白、黄庭坚十分崇拜，曾多次游览青山和采石矶。他颂扬谢朓“谢公爱青山，结宇恣啸咏”；在《咏李翰林》诗中讴歌李白：“仙骨埋青山，草木发灵异。”到采石矶“高怀吊古”，“掩英雄之泪，吟供奉之诗”。在他作的《采石矶赋》一文中，除了历数在这里发生的许多惊天动地的事件和英雄人物外，还特地为李白而感叹，说：“白也不群，宗之潇洒，着宫锦而扬帆，共兰舟而持 。旁若无人，歌清四野，当此之时，何其壮也！”黄钺又诗云：“平轩遥瞰一湖开，闻说涪翁守郡来。当日到官才九日，未应便起读书台。”该诗也附注曰：“赭山有滴翠轩，相传为涪翁读书处。李之仪跋山谷二词：‘鲁直请无为、当涂，而得当涂，犹蹭蹬一年方到官，既到九日而罢，又数日乃去。’“\n道光十一年（1831年），长江发生水患，回到家乡的黄钺 积极倡兴赈济，带头捐献俸银千两。道光十三年，濒临江淮的州县又遭水灾，黄钺又“捐百金助赈”，以救乡民。次年，当涂、芜湖一带饥荒，米珠薪桂，人民生计困难，黄钺又与王泽、许耕余等发动有田富户及绅士14家，按田交谷600担，兴办“丰备义仓”12座，当义仓上梁即将落成时，黄钺以诗记其事道：“成城缘众志，图匮在年丰。”并在“丰备义仓”的旁边建立私塾，招收蒙童，普及地方教育事业。\n道光十六年，88岁已不能认字，但仍吟诗咏物，所作《于湖竹枝词》66首，亦诗亦史，深入浅出，富有深厚的爱乡之情。",[25,29,30,124,2375,503,7,127,218,1365],"青蛙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a39b3a7af0938c4ac3b55f3903b933b.jpg",[],{"id":2379,"slug":2380,"title":2381,"dynasty":105,"author":2140,"museum":200,"description":2382,"tags":2383,"thumbUrl":2384,"material":130,"size":130,"collection":130,"collections":2385,"showCount":133,"zanCount":51,"manualWeight":51,"mainColor":71},236050,"shan-shui-ce-wang-yuan-qi-236050","山水册","此作用平远视角铺展春日江乡，近岸山居临水而建，柳丝如烟垂拂，桃樱绽点丹红，草木华滋晕染融融春意。以浅绛设色晕染山色，淡墨皴擦勾勒丘林肌理，远景云水空濛，汀渚花树浮沉烟岚之间，虚实相生营造出空灵淡远的韵致，将春日山水的清和闲适尽数铺陈，尽显文人寄情丘壑的雅逸襟怀。",[25,1404,124,29,31,33,7,36,37,39,217],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe512d3ae8f8afd41df0c7f6cefd04d77.jpg",[],{"id":2387,"slug":2388,"title":489,"dynasty":105,"author":770,"museum":200,"description":2389,"tags":2390,"thumbUrl":2391,"material":271,"size":367,"collection":130,"collections":2392,"showCount":133,"zanCount":51,"manualWeight":51,"mainColor":71},235382,"hua-niao-tu-ce-hua-yan-235382","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。",[25,124,29,80,81,62,42,759,217,295,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F138386aec3ffab6af465b55635726762.jpg",[],{"id":2394,"slug":2395,"title":2396,"dynasty":105,"author":2397,"museum":200,"description":2398,"tags":2399,"thumbUrl":2401,"material":130,"size":130,"collection":130,"collections":2402,"showCount":133,"zanCount":51,"manualWeight":51,"mainColor":71},234609,"chun-gou-ting-tu-wan-shan-yang-liu-gu-234609","春钩艇图纨扇","杨柳谷","杨柳谷清江苏常熟人。柳桥弟，画如其兄。\n按《韬养斋笔记》有杨念伯字柳谷，以字行。善画柳，设色参以西法，尤觉生动。山水清超绝俗，尤擅摹古。当为一人。嘉庆十八年（1813年）作山水图，现存北京故宫博物院。其一子，杨裕晖，字少古，善画，能续家法，稍逊乃翁。",[24,25,26,785,29,31,33,1393,7,38,37,2400,1041],"小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d8acf6efc66be6f463452bc717e516a.jpg",[],{"id":2404,"slug":2405,"title":2406,"dynasty":105,"author":120,"museum":121,"description":2407,"tags":2408,"thumbUrl":2409,"material":130,"size":130,"collection":130,"collections":2410,"showCount":133,"zanCount":51,"manualWeight":51,"mainColor":2411},203209,"hua-guo-ce-yun-shou-ping-203209","花果册","这幅花鸟册页以没骨技法写春日景致，桃花瓣晕染得娇嫩柔媚，粉白交融间带淡红，似沾晨露；柳枝以轻逸笔触绘出，叶片纤长舒展，如随风飘拂。色彩清新雅致，笔墨不着硬痕，尽显花木的自然生机与文人雅致。留白与浅素底色相映，空灵悠远，将江南春日的温婉韵致凝于方寸之间。",[125,29,62,7,203],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F386879e2b1bc9cf7f709dd1240543b4b.jpg",[],"dccba8",{"id":2413,"slug":2414,"title":2415,"dynasty":105,"author":524,"museum":200,"description":2416,"tags":2417,"thumbUrl":2424,"material":271,"size":367,"collection":130,"collections":2425,"showCount":315,"zanCount":51,"manualWeight":51,"mainColor":724},270512,"yin-lei-si-qian-yu-shi-bo-li-pen-yin-ye-yu-shi-tao-hua-pen-jing-yi-ming-270512","银累丝嵌玉石玻璃盆银叶玉石桃花盆景","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[2418,2419,2420,2421,7,92,2422,2423],"盆景","银器","玉石","琺瑯器","银累丝","工艺摆件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd08fb25e10500e2e3215307fbc1832a2.jpg",[],{"id":2427,"slug":2428,"title":2429,"dynasty":105,"author":524,"museum":200,"description":879,"tags":2430,"thumbUrl":2434,"material":271,"size":367,"collection":130,"collections":2435,"showCount":315,"zanCount":51,"manualWeight":51,"mainColor":52},264314,"xing-huang-se-ke-si-qian-cai-zhi-teng-tao-hua-wen-chang-yi-liao-yi-ming-264314","杏黄色缂丝浅彩枝藤桃花纹氅衣料",[881,29,2431,7,2432,1966,1366,2433],"杏黄色","枝藤","衣料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf606d1eaede2fd4e2d9dcd8882d9c68.jpg",[],{"id":2437,"slug":2438,"title":2439,"dynasty":105,"author":2440,"museum":200,"description":2441,"tags":2442,"thumbUrl":2443,"material":271,"size":367,"collection":130,"collections":2444,"showCount":315,"zanCount":51,"manualWeight":51,"mainColor":71},239100,"hua-hui-ce-9-yu-sheng-239100","花卉册9","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。",[25,26,124,30,29,32,62,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17d26e2e48831a50449c020fa312c0c4.jpg",[],{"id":2446,"slug":2447,"title":2448,"dynasty":105,"author":524,"museum":200,"description":2449,"tags":2450,"thumbUrl":2451,"material":130,"size":130,"collection":46,"collections":2452,"showCount":315,"zanCount":51,"manualWeight":51,"mainColor":183},238893,"dong-gao-chun-hua-ji-qing-ce-yi-ming-238893","董诰春华集庆册","这是诗画合璧的雅致册页，上下两开各揽一境。上开绘庭院春景，亭台依着花木错落，嫩色初绽的枝桠探入闲庭，将春日闲居的恬然藏在方寸之间。下开写汀渚泛舟，柳丝蘸着春水漾开涟漪，扁舟悠游，尽揽江野春柔。\n\n设色清妍秀润，勾勒温婉细腻，工致中带着写意松弛。配书小楷隽秀端丽，诗书画意相融，将文人情思寄寓春日景致里。浅淡笔墨晕开江南春日元气，静赏间便能触摸清和雅致的春日意趣，余韵悠长。",[25,26,124,29,30,33,39,36,37,62,85,7,35,217],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbc3ea22d6afddc092a8d36cd92c6dd4.jpg",[46,700],{"id":2454,"slug":2455,"title":1225,"dynasty":105,"author":464,"museum":200,"description":2045,"tags":2456,"thumbUrl":2457,"material":130,"size":130,"collection":130,"collections":2458,"showCount":315,"zanCount":51,"manualWeight":51,"mainColor":71},238818,"dong-gao-lv-xuan-shao-jing-ce-dong-gao-238818",[25,26,124,29,33,30,31,36,37,34,629,482,7,684,40,921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0d45dcffa582ad09361b4fe6129d7e2.jpg",[],{"id":2460,"slug":2461,"title":2462,"dynasty":374,"author":524,"museum":200,"description":2463,"tags":2464,"thumbUrl":2465,"material":271,"size":367,"collection":130,"collections":2466,"showCount":315,"zanCount":473,"manualWeight":51,"mainColor":52},238122,"hua-hui-si-duan-tu-juan-yi-ming-238122","花卉四段图卷","四段花木各显风姿：首段梅枝老干虬曲，冷白小花疏落绽于枝梢，清寒疏朗，尽现孤洁傲骨。芙蓉一段柔枝舒展，粉艳花团轻缀其间，碧叶晕染出鲜活肌理，秾丽又带着温柔生机。素花柔枝一则，莹白花朵配温润绿叶，明媚恬淡如春日浅光。末段小花攒聚枝上，粉瓣娇俏灵动，带着融融春意。\n\n全卷以没骨法绘就，纯以色泽晕染成型，清隽柔和的色彩间，将四时花木的各自风骨与舒展柔婉尽数绘出，藏着雅致审美，淡色轻晕里晕开静谧生趣。",[23,24,25,26,27,30,29,62,85,90,406,7,126,127,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0728e825826d5c3185aac75a84ab3440.jpg",[],{"id":2468,"slug":2469,"title":2470,"dynasty":18,"author":1170,"museum":77,"description":2471,"tags":2472,"thumbUrl":2473,"material":2474,"size":2475,"collection":130,"collections":2476,"showCount":315,"zanCount":51,"manualWeight":51,"mainColor":71},233134,"ming-ren-xi-shan-sheng-jing-he-bi-ce-tao-hua-wu-ye-chen-chun-233134","明人西山胜景合壁册-桃花坞页","此册又名《明人西山胜景书画合璧册》（见《故宫博物馆藏文物珍品大系：吴门绘画》），著录于《墨缘汇观》，合题跋共计十四页，依次为：刘钰《踞湖山图》、沈周《茶磨屿图》、《新郭图》（对页陈淳题诗一首）、唐寅《越来溪图》、《行春桥图》、《饶稼桥图》（对页自题诗一首）、文徵明《横塘图》、《石湖图》（对页自题诗一首）和陈淳《桃花坞图》、《紫薇村图》，后页徐朗白题。\n颇为吊诡的是这套册页似乎从未完整发表过，就目前所见，《中国古代书画目录》是分开著录，其中刘钰一页、唐寅《饶稼桥图》以及四页题诗都未著录，而《中国古代书画图目》则只选印了沈周和陈淳的四页。《文徵明精品集》发表了两画及一页题诗，《唐寅绘画集》也只发表了《越来溪图》、《行春桥图》两页，《故宫博物馆藏文物珍品大系：吴门绘画》刊印了沈周、文徵明、唐寅各两页，陈淳《桃花坞图》一页，略去了四页题跋。刘钰《踞湖山图》、唐寅《饶稼桥图》及另外三页题跋始终未见，其中或有伪作吧（文徵明的两页画曾于去年苏博特展展出，未见图录，不知是否有完整发表）。但学术乃天下之公器，国内许多博物馆的出版态度素来可恶，很多作品在各类出版物中情况不一，往往“有头无尾”，以致研究一件作品需“东拼西凑”。\n吴门诸家歌咏、描绘吴中名胜之风颇盛，与平日游踪所及和地域意识渐起有关，留存于世的风景名胜图极多，甚至祝寿、官员离任，也以吴中风景图册为赠。值得注意的是，此册中沈周、文徵明、唐寅、陈淳的作品都是早年笔，集三代才人妙墨，想来这套作品的收藏者花了不少心思。末页崇祯五年徐朗白题云：“我朝画法变宋化元，正嘉间吴中诸先进一时杰出、擅采争奇，直使静庵而下皆瞠乎其后矣，此十册俱西山胜景，首为完庵次石田次六如衡山白阳，景虽未尽，人已才难，不特片羽之吉光抑且狐裘之集腋也。什袭见珍，援毫见重。”并题一歌，语涉浮夸无足取。",[25,26,124,84,80,33,40,142,7,922],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1625054511cd74fa7d87587b64b1b6f.jpg","纸本 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御制五律一章，以宠其行，行至山东临清以病卒。",[25,26,124,28,29,33,7,37,921,32,83,31,2728],"春日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03537bd56d92850b4b625849213589b2.jpg",[],{"id":2732,"slug":2733,"title":2734,"dynasty":105,"author":1026,"museum":200,"description":2028,"tags":2735,"thumbUrl":2739,"material":271,"size":367,"collection":130,"collections":2740,"showCount":338,"zanCount":51,"manualWeight":51,"mainColor":183},288375,"jia-lian-lu-zhong-ding-qin-liu-lang-sun-wen-288375","贾琏路中定亲柳郎",[23,25,29,30,34,33,629,1393,922,36,7,2736,2737,2117,2738],"撑伞","雨天","贾琏路中定亲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52dae0627e8a0a3e5b564635fc9f3a4f.jpg",[],{"id":2742,"slug":2743,"title":2744,"dynasty":105,"author":524,"museum":200,"description":2745,"tags":2746,"thumbUrl":2752,"material":271,"size":367,"collection":130,"collections":2753,"showCount":338,"zanCount":51,"manualWeight":51,"mainColor":71},267493,"xiang-se-duan-xiu-tao-hua-fu-jin-tuan-shou-zi-wen-hua-shen-yi-yi-ming-267493","香色缎绣桃花蝠金团寿字纹花神衣","清王朝时段推行剃发易服，顺治九年（1652），钦定《服色肩舆条例》颁行，从此废除了明朝的冠冕、礼服以及汉族的一切服饰，但满族服饰同时吸收了明朝服饰的纹理图案。明代男子一律蓄发挽髻，着宽松衣，穿长统袜、浅面鞋；清时则剃发留辫，辫垂脑后，穿瘦削的马蹄袖箭衣、紧袜、深统靴。但官民服饰一律泾渭分明。 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用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[1655,1656,2997,29,33,35,40,7,2998,1196],"开光","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa65faa42907c76cb9834905cf9c5702.jpg",[],{"id":3002,"slug":3003,"title":3004,"dynasty":105,"author":524,"museum":200,"description":1653,"tags":3005,"thumbUrl":3006,"material":271,"size":367,"collection":130,"collections":3007,"showCount":260,"zanCount":51,"manualWeight":51,"mainColor":71},256855,"fen-cai-jiu-tao-tu-tian-qiu-ping-yi-ming-256855","粉彩九桃图天球瓶",[1655,1656,29,30,2038,7,191],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41ef1e6d263c5b02a5923a38ad7b445f.jpg",[],{"id":3009,"slug":3010,"title":3011,"dynasty":105,"author":524,"museum":200,"description":3012,"tags":3013,"thumbUrl":3015,"material":271,"size":367,"collection":130,"collections":3016,"showCount":260,"zanCount":51,"manualWeight":51,"mainColor":71},256592,"huang-di-fa-lang-cai-tao-hua-wen-bei-yi-ming-256592","黄地珐琅彩桃花纹杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[1655,3014,29,7,32,1196],"珐琅彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa99d9fae14e42c0c6fd49b12fbceed19.jpg",[],{"id":3018,"slug":3019,"title":3020,"dynasty":18,"author":524,"museum":200,"description":3021,"tags":3022,"thumbUrl":3025,"material":271,"size":367,"collection":130,"collections":3026,"showCount":260,"zanCount":51,"manualWeight":51,"mainColor":71},246255,"ti-cai-tao-hua-wen-yuan-he-yi-ming-246255","剔彩桃花纹圆盒","雕漆,是漆工艺中的一个品种,是中国漆器特有的装饰技法,是在油光漆兑入入漆颜料,数十层乃至上百层地髹涂在用漆封闭处理过的胎骨上,每天只能髹涂二至三道,髹涂下道漆不可等上道漆干透,否则漆层容易缺脱,这样逐层累积到需要的厚度,用刀剔刻出浮雕花纹,表现层次与质地的美感.",[3023,3024,1194,7,1196],"漆器","剔彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dded1c8974706a4b371afd988cf760a.jpg",[],{"id":3028,"slug":3029,"title":3030,"dynasty":105,"author":3031,"museum":200,"description":3032,"tags":3033,"thumbUrl":3038,"material":271,"size":367,"collection":130,"collections":3039,"showCount":260,"zanCount":51,"manualWeight":51,"mainColor":71},241507,"qi-yan-shi-zhou-zhao-shi-jun-241507","七言诗轴","赵世骏","赵世骏（?—1927年），字声伯，号山木，江西南丰人，久居在北京，为陈宝琛弟子 ，与清书法家鲁琪光齐名。",[242,83,891,3034,3035,3036,409,7,1158,1563,3037,92],"七言诗","江波","游鱼","鹭鸶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff09f8f680eb871171c2c2cc15cac62ff.jpg",[],{"id":3041,"slug":3042,"title":3043,"dynasty":105,"author":464,"museum":200,"description":3044,"tags":3045,"thumbUrl":3046,"material":130,"size":130,"collection":130,"collections":3047,"showCount":260,"zanCount":51,"manualWeight":51,"mainColor":71},238776,"shan-shui-ren-wu-xiao-ce-dong-gao-238776","山水人物小册","此作以浅绛设色绘秋山幽居，淡墨皴写山石肌理，短披麻皴勾勒出危崖层叠的苍劲朴拙。左侧溪岸蜿蜒，板桥通幽，山居掩映在丹枫翠柏间，丹红枝叶点染出浓浓秋意，与苔点青绿相映，明丽雅致又不失沉静。屋舍简淡古朴，暗合林泉隐士幽居的意趣。远景留白空灵，孤雁掠空，衬出秋山清远空寂。笔墨兼具元人秀逸与宋人丘壑苍浑，以简驭繁，将林泉高致融于尺幅间，笔意萧散简远，尽显静穆淡远的林下雅韵。",[25,26,124,29,80,31,33,34,40,482,629,7,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b654fd89750bc0d986c0b366bf894f6.jpg",[],{"id":3049,"slug":3050,"title":1493,"dynasty":105,"author":3051,"museum":200,"description":3052,"tags":3053,"thumbUrl":3054,"material":271,"size":367,"collection":130,"collections":3055,"showCount":260,"zanCount":473,"manualWeight":51,"mainColor":52},238493,"hua-hui-tu-ce-jiang-pu-238493","蒋溥","蒋溥（1708—1761年），大学士蒋廷锡长子，字质甫，号恒轩，江苏常熟人，清朝大臣，画家，善画花卉，深得家传。雍正八年二甲第一名进士，官至东阁大学士兼户部尚书。性情宽厚而警敏，任职后，精心奉职，勤于政事，是乾隆时期的重臣，亦是蒋派花鸟画艺术的重要代表。\n乾隆二十六年（1761）四月，病逝于任上。乾隆皇帝亲临祭奠，加赠太子太保，谥曰文恪，入祀贤良祠。",[25,26,124,29,62,7,92],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc67eed7626006476e6e20e4ce531f7a3.jpg",[],{"id":3057,"slug":3058,"title":2381,"dynasty":105,"author":3059,"museum":200,"description":3060,"tags":3061,"thumbUrl":3065,"material":130,"size":130,"collection":130,"collections":3066,"showCount":260,"zanCount":51,"manualWeight":51,"mainColor":71},238203,"shan-shui-ce-tang-dai-238203","唐岱","此作绘江南早春胜景，烟波漾漾间，岸柳垂丝、桃花灼艳，村居错落隐在烟林之中，远山含黛如螺，汀上渔舟轻泛，处处漫着融融春意。设色柔丽清雅，浅绛晕染山峦，青绿点饰草木，笔致秀润苍雅，构图疏朗舒逸。\n左侧题诗与画境呼应，笔墨端秀，诗画合璧，将春日湖山的温柔生机铺陈开来，尽显文人画闲适淡远的意趣，把东风暖遍青芜的诗意具象成缱绻春景，淡冶雅致中藏着沉静的笔墨韵致，写尽江南春朝的温润明媚。",[25,26,124,29,31,33,1393,7,36,629,3062,40,3063,658,659,926,3064],"船只","河岸","湖面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd13998ad4effe87246a6b48492d2dc99.jpg",[],{"id":3068,"slug":3069,"title":3070,"dynasty":105,"author":3071,"museum":200,"description":3072,"tags":3073,"thumbUrl":3074,"material":271,"size":367,"collection":130,"collections":3075,"showCount":260,"zanCount":51,"manualWeight":51,"mainColor":71},235962,"cai-jia-hua-hui-tu-ce-cai-jia-235962","蔡嘉花卉图册","蔡嘉","蔡嘉(1686-1779)，字松原，一字岑州，号雪堂，一号旅亭，又号朱方老民，清朝江苏丹阳人，侨居扬州。所居曰高寒旧馆。与高翔、汪士慎、朱冕为诗画友。",[25,26,124,29,62,84,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ed419008f1f8920df8429a6db1ebaae.jpg",[],{"id":3077,"slug":3078,"title":3079,"dynasty":105,"author":3080,"museum":200,"description":3081,"tags":3082,"thumbUrl":3083,"material":271,"size":367,"collection":130,"collections":3084,"showCount":260,"zanCount":51,"manualWeight":51,"mainColor":71},235536,"xi-xiang-tu-ce-ye-bu-235536","西廂图册","叶逋","《西厢记》故事，最早起源于唐代元稹的传奇小说《莺莺传》，叙述书生张珙与同时寓居在普救寺的已故相国之女崔莺莺相爱，在婢女红娘的帮助下，两人在西厢约会，莺莺终于以身相许。后来张珙赴京应试，得了高官，却抛弃了莺莺，酿成爱情悲剧。亦相传为元稹假借张生的自传体小说或故事。这个故事到宋金时代流传更广，一些文人、民间艺人纷纷改编成说唱和戏剧，王实甫编写的多本杂剧《西厢记》就是在这样丰富的艺术积累上进行加工创作而成的。",[25,26,124,29,34,243,36,35,482,1393,7,84,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6cc23bd25d3cce9a38c1458183fbe05.jpg",[],{"id":3086,"slug":3087,"title":3088,"dynasty":105,"author":3089,"museum":200,"description":3090,"tags":3091,"thumbUrl":3094,"material":271,"size":367,"collection":130,"collections":3095,"showCount":260,"zanCount":51,"manualWeight":51,"mainColor":71},234940,"yue-man-qing-you-ce-chen-mei-234940","月漫清游册","陈枚","《月曼清游图》册描绘的是宫廷嫔妃们一年12个月的深宫生活：正月“寒夜探梅”、二月“杨柳荡千”、三月“闲亭对弈”、四月“庭院观花”、五月“水阁梳妆”、六月“碧池采莲”、七月“桐荫乞巧”、八月“琼台玩月”、九月“重阳赏菊”、十月“文窗刺绣”、十一月“围炉博古”、十二月“踏雪寻诗”。通过这一幅幅生动的画面体现了宫廷生活与民间生活的密切关联。嫔妃们的活动内容，在民间生活中均习以为常，只不过由于宫廷的特殊地位，而令这些活动从内容到形式都具有更加富贵、繁琐及典制化的特点。\n作者在人物创作的审美取向上有别于唐代张萱、周昉笔下体态丰腴的嫔妃形象，而以明代唐寅、仇英笔下的仕女画为审美标准，追求秀润飘逸的情致。画家以工细流畅的线条和亮丽鲜活的色彩将嫔妃们描绘成身材修长、体态轻盈、“倚风娇无力”之貌。她们三五成群地行进在以界画表现的亭台楼阁内或是细笔勾染皴点的花石下。富贵闲逸的宫苑生活令她们的物质生活十分充足，也使她们的精神世界极度贫乏。在技法上，此图所绘人物造型生动准确，笔致工细严谨，源于宋代院体画风。图中的楼台房室建筑则采用西洋焦点透视法绘成，根据图中透视线斜度的变化，可以准确地推求出灭点的具体位置，从而加强了平面画幅的立体、纵深效果，在有限的画面上扩展出无限的空间。此图册于乾隆三年（1738年）绘成后深得乾隆皇帝的赞赏。\n乾隆帝于六年谕令皇宫“造办处”的优秀匠人，如擅镶嵌技艺的常存，擅牙雕工艺的陈祖章、陈观泉父子及顾彭年、萧汉振等，以陈枚的这本图册为画稿，用象牙、玉石等进行雕刻。匠人们精雕细琢，密切结合牙雕和镶嵌的技艺特点，令画面层次分明，富有立体感。这件雕有103人的牙雕精品被称作“百美图”。乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[25,26,30,29,84,32,83,34,243,3092,1393,1067,1394,3093,7],"秋千","小溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d6153d5a1d2b9a37ba6ed592ed7a3c1.jpg",[],{"id":3097,"slug":3098,"title":3099,"dynasty":1322,"author":524,"museum":200,"description":3100,"tags":3101,"thumbUrl":3102,"material":271,"size":367,"collection":130,"collections":3103,"showCount":260,"zanCount":51,"manualWeight":51,"mainColor":52},227114,"hai-shou-pu-tao-wen-jing-8-yi-ming-227114","海兽葡萄纹镜-8","这类铜镜在宋代的《博古图录》上称“海马葡萄镜”。但在清代的《西清古鉴》上则称之为“海兽葡萄镜”。另外还有的称为禽兽葡萄镜、天马葡萄镜、瑞兽葡萄镜等名。但“海马”、“海兽”名称的使用还是较为普遍。“海马”、“海兽”的称呼，最初的命名者未加解释，究为何种动物，也没有一致的说法。早年德国有位学者认为“海马”是古代伊朗与祭祀有关的一种植物Haoma，后转化变为“海马”。还有人认为“海马”是海外的马。",[25,26,33,29,217,36,7,32,482,40,926,39],"ht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老舍《四世同堂》四九：“他看不起绸缎的衣服，与文雅的态度，可又有点自惭形秽。”",[1966,1366,2304,7,3157,3158],"万字纹","春绸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bf5307e2315edbe229d65dd745681ba.jpg",[],{"id":3162,"slug":3163,"title":3164,"dynasty":105,"author":524,"museum":200,"description":2745,"tags":3165,"thumbUrl":3168,"material":271,"size":367,"collection":130,"collections":3169,"showCount":11,"zanCount":51,"manualWeight":51,"mainColor":71},266217,"huang-se-chou-xiu-san-lan-bi-tao-wen-jia-chen-yi-yi-ming-266217","黄色绸绣三蓝碧桃纹夹衬衣",[1966,1366,1292,7,3166,3167,2761],"碧桃","黄色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa445638d056c8aab1d107c6765064196.jpg",[],{"id":3171,"slug":3172,"title":3173,"dynasty":105,"author":524,"museum":200,"description":1609,"tags":3174,"thumbUrl":3176,"material":271,"size":367,"collection":130,"collections":3177,"showCount":11,"zanCount":51,"manualWeight":51,"mainColor":724},265562,"pin-lan-se-duan-di-he-hua-ju-tao-hua-mu-dan-wen-tao-yi-ming-265562","品蓝色缎地荷花菊桃花牡丹纹绦",[1366,1611,172,89,7,94,1612,3175],"服饰配件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93230562d27bc4aa51dbec8b469b1d0d.jpg",[],{"id":3179,"slug":3180,"title":3181,"dynasty":105,"author":524,"museum":200,"description":1609,"tags":3182,"thumbUrl":3184,"material":271,"size":367,"collection":130,"collections":3185,"showCount":11,"zanCount":51,"manualWeight":51,"mainColor":724},265168,"hu-se-duan-di-mei-zhu-tao-shi-liu-he-hua-wen-tao-yi-ming-265168","湖色缎地梅竹桃石榴荷花纹绦",[1366,1611,1292,85,86,7,216,172,3183],"花鸟纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e0b07a36a6108bb912879366513068b.jpg",[],{"id":3187,"slug":3188,"title":3189,"dynasty":105,"author":524,"museum":200,"description":1609,"tags":3190,"thumbUrl":3192,"material":271,"size":367,"collection":130,"collections":3193,"showCount":11,"zanCount":51,"manualWeight":51,"mainColor":724},265160,"pin-lan-se-duan-di-dan-cai-mei-zhu-tao-shi-liu-he-hua-wen-tao-yi-ming-265160","品蓝色缎地淡彩梅竹桃石榴荷花纹绦",[1366,1611,1966,3191,85,86,7,216,172,62],"淡彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94d28b25836cf4aa5d68cb710e55a36f.jpg",[],{"id":3195,"slug":3196,"title":3197,"dynasty":105,"author":524,"museum":200,"description":3198,"tags":3199,"thumbUrl":3202,"material":271,"size":367,"collection":130,"collections":3203,"showCount":11,"zanCount":51,"manualWeight":51,"mainColor":52},264014,"jiang-se-di-tao-ju-hua-wen-jin-yi-ming-264014","绛色地桃菊花纹锦","《说文》：“锦，襄邑织文。从帛，金声。”即用彩色经纬丝织出各种图案花纹的纺织品，泛指具有多种彩色花纹的丝织物。锦的生产工艺要求高，织造难度大，所以它是古代最贵重的织物。“锦，金也，作之用功重，其价如金。”古人把锦看成和黄金等价。这种织物有经起花和纬起花两种，也叫经锦和纬锦。经锦是用两组或两组以上的经线同一组纬线交织。经线多的二色或三色，一色一根作为一副，如果需要更多的颜色，也可以使用牵色条的方法。纬线有明纬和夹纬；用夹纬把每副中的表经和底经分隔开，用织物正面的经浮点显花。\n用染好颜色的彩色经纬线，经提花、织造工艺织出图案的织物。中国丝织提花技术起源久远。早在殷商时代中国已有丝织物。周代丝织物中出现织锦，花纹五色灿烂，技艺臻于成熟。汉代设有织室、锦署，专门织造织锦，供宫廷享用。自汉武帝后，中国织锦通过丝绸之路传入波斯（今伊朗）、大秦（古罗马帝国）等国。三国时四川蜀锦成为主流。唐代贞观年间窦师伦的对雉、斗羊、翔凤等蜀锦图案，称为绫阳公样。在织造工艺上由经锦改进为纬锦，并出现彩色经纬线由浅入深或由深入浅的退晕手法。北宋宫廷在汴京等地建立规模庞大的织造工场，生产各种绫锦。元代是中国历史上大量生产织金锦（一种加金的丝织物）的时代，宫廷设立织染局、织染提举司，机构庞大，集中了大批优秀工匠。\n明清两代织锦生产集中在江苏南京、苏州，除了官府的织锦局外，民间作坊也蓬勃兴起，形成江南织锦生产的繁荣时期。织锦大多采用传统提花工艺和木制花楼织机，有些织锦因品种不同而有所区别。如宋锦、土家族织锦采用通经断纬工艺，即分段调换彩色纬线，使色彩更加丰富。杭锦采用铁制提花机。织锦种类有南京云锦、四川蜀锦、苏州宋锦、杭州织锦以及少数民族的黎锦、壮锦、傣锦、瑶锦、侗锦、苗锦、土家锦、爱得利斯锦等。1960年以来，中国织锦在继承、发扬传统织锦的基础上，恢复了云锦的妆花锦和蜀锦的浣花锦、锦上添花锦、八答晕锦，并生产了窗帘、沙发套、枕套、被面、台毯、靠垫、床罩、提包、民族服装用料等新品种。\n锦已有3000年以上的历史，战国、西汉以前流行以二色或三色经轮流显花的经锦，包括局部饰以挂经的挂锦、具有立体效果的凸花锦和绒锦。1959年在新疆民丰尼雅遗址发现的东汉“万年如意锦”使用绛、白、绛紫、淡蓝、渥绿五色，通幅分成十二个色条，就是汉代典型的经锦。\n纬锦是用两组或两组以上的纬线同一组经线交织。经线有交织经和夹经；用织物正面的纬浮点显花。1969年在新疆阿斯塔那发现的唐代锦袜，在大红色地上起各种禽鸟花朵和行云的图案，就属于这一种锦。\n经锦和纬锦具有不同的织造效果。经锦的纬密比较低，只用一把梭子，生产效率比较高。纬锦织造比较费时，但可以使用两把以上的梭子，容易变换色彩，色彩丰富。这两种锦在中国出现的时间都比较早。但是六朝以前织造的，以经起花为主；隋唐以后织造的，似乎以纬起花为主。\n在苏联的巴泽雷克发现一批中国战国时期的丝绸，就有用红绿二色纬线织造的纬斜纹起花的纬锦。产生于宋代前后的宋锦以地经、地纬交织成经斜组织，按结经与纹纬交织成纬斜组织。\n金元之际流行加金的丝织物——织金锦，又称“纳石失”。明清时盛行以挖花缎的彩纬多达30—40种，锦面的经、纬方向都有逐花异色的效果，是中国织锦最高水平的代表。\n锦在历史上曾用多棕多蹑机和束棕花楼机织造，现代生产采用纹版提花机。\n国家非常重视非物质文化遗产的保护，南京云锦木机妆花手工织造技艺作为中国古老的织锦技艺最高水平的代表，于2006年列入首批国家级非物质文化遗产名录。2006年5月20日，土家族织锦技艺经国务院批准列入第一批国家级非物质文化遗产名录。2007年6月8日，湖南凤凰水云织锦坊获得国家文化部颁布的首届文化遗产日奖。2009年8月《地理标志产品云锦》国家标准在南京通过国家级专家评审，同年9月成功入选联合国《人类非物质文化遗产代表作名录》。",[1366,3200,7,1621,3201],"织锦","花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ba9e7b5a2c716b34c4e11975238f6e0.jpg",[],{"id":3205,"slug":3206,"title":3207,"dynasty":105,"author":524,"museum":200,"description":1653,"tags":3208,"thumbUrl":3210,"material":271,"size":367,"collection":130,"collections":3211,"showCount":11,"zanCount":473,"manualWeight":51,"mainColor":52},261759,"fen-cai-zhe-zhi-shi-er-yue-hua-hui-wen-ping-yi-ming-261759","粉彩折枝十二月花卉纹瓶",[1655,1955,1196,1656,2987,3209,89,7,92,62],"折枝花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa58e69f0dfc05667ada419d970fed09e.jpg",[],{"id":3213,"slug":3214,"title":3215,"dynasty":105,"author":524,"museum":200,"description":2974,"tags":3216,"thumbUrl":3217,"material":271,"size":367,"collection":130,"collections":3218,"showCount":11,"zanCount":51,"manualWeight":51,"mainColor":71},260861,"fen-cai-hua-niao-tu-wan-yi-ming-260861","粉彩花鸟图碗",[1655,1656,62,7,42,29,2978,30],"https:\u002F\u00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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。",[1655,3855,34,7,29,3856],"五彩","盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5ab095ffd5ebc1e034afa1b0492dae7.jpg",[],{"id":3860,"slug":3861,"title":3862,"dynasty":105,"author":524,"museum":200,"description":2974,"tags":3863,"thumbUrl":3864,"material":271,"size":367,"collection":130,"collections":3865,"showCount":51,"zanCount":51,"manualWeight":51,"mainColor":724},260896,"fen-cai-hua-hui-wen-gai-wan-yi-ming-260896","粉彩花卉纹盖碗",[1655,2978,1656,1659,409,7,3582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7920ebe9b8bcfaef0ff831d7a9461f7.jpg",[],{"id":3867,"slug":3868,"title":3869,"dynasty":105,"author":524,"museum":200,"description":1653,"tags":3870,"thumbUrl":3871,"material":271,"size":367,"collection":130,"collections":3872,"showCount":51,"zanCount":51,"manualWeight":51,"mainColor":724},260844,"fen-cai-ren-wu-tu-ping-yi-ming-260844","粉彩人物图瓶",[1655,1656,29,34,7,42,62,1196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd783ba5cf636502c62aa0075a7239a82.jpg",[],{"id":3874,"slug":3875,"title":3876,"dynasty":105,"author":524,"museum":200,"description":2974,"tags":3877,"thumbUrl":3880,"material":271,"size":367,"collection":130,"collections":3881,"showCount":51,"zanCount":51,"manualWeight":51,"mainColor":52},260782,"cheng-hua-kuan-dou-cai-luo-hua-liu-shui-wen-wan-yi-ming-260782","成化款斗彩落花流水纹碗",[1655,3878,2988,7,37,482,3879],"斗彩","落花流水纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bc8da9a741e083e101d934c12bf9557.jpg",[],{"id":3883,"slug":3884,"title":3885,"dynasty":105,"author":524,"museum":200,"description":3886,"tags":3887,"thumbUrl":3888,"material":271,"size":367,"collection":130,"collections":3889,"showCount":51,"zanCount":51,"manualWeight":51,"mainColor":71},259557,"xuan-tong-kuan-fen-cai-hua-hui-wen-zhong-yi-ming-259557","宣统款粉彩花卉纹盅","敞口敛足，器形线条温婉舒展。外壁以粉彩晕染梅、兰、桃花枝，嫩黄梅朵娇俏绽于枝桠，兰叶舒展清隽雅致，粉桃花苞轻缀其间，花木错落交织，将清逸文人情趣凝于瓷上。口沿与足部以青花弦纹勾勒点缀，莹润蓝白与柔丽粉彩相映成趣，素白胎骨匀净莹亮，釉面光润似玉。整器绘工细腻雅致，配色柔和谐调，将岁寒雅意与春日元气融于一体，尽显细腻工致，自带疏淡娴静的古典韵致。",[1655,1656,1659,85,93,7,2978,948],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04d4b370e535e0285cb30400a1921dc0.jpg",[],{"id":3891,"slug":3892,"title":3893,"dynasty":105,"author":524,"museum":200,"description":2995,"tags":3894,"thumbUrl":3897,"material":271,"size":367,"collection":130,"collections":3898,"showCount":51,"zanCount":51,"manualWeight":51,"mainColor":724},259502,"chang-chun-gong-kuan-fen-cai-tao-fu-wen-bi-tong-yi-ming-259502","长春宫款粉彩桃蝠纹笔筒",[1655,1656,29,3895,2747,482,3896,7],"笔筒","海浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4134a38e2e46cc62920f4ffd44ed07f5.jpg",[],{"id":3900,"slug":3901,"title":3902,"dynasty":105,"author":524,"museum":200,"description":1653,"tags":3903,"thumbUrl":3905,"material":271,"size":367,"collection":130,"collections":3906,"showCount":51,"zanCount":51,"manualWeight":51,"mainColor":724},259384,"shuang-qing-ge-zhi-kuan-fen-cai-shan-shui-tu-bi-ping-yi-ming-259384","双清阁制款粉彩山水图壁瓶",[1655,1656,3904,33,29,28,7,37],"壁瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaa8a2f414c01efb20f13c72c7808120.jpg",[],{"id":3908,"slug":3909,"title":3910,"dynasty":105,"author":524,"museum":200,"description":1653,"tags":3911,"thumbUrl":3914,"material":271,"size":367,"collection":130,"collections":3915,"showCount":51,"zanCount":51,"manualWeight":51,"mainColor":724},259258,"qian-long-kuan-zi-di-fen-cai-chan-zhi-lian-wen-kai-guang-hua-hui-shuang-er-bi-ping-yi-ming-259258","乾隆款紫地粉彩缠枝莲纹开光花卉双耳壁瓶",[1655,1656,3904,3912,92,85,7,3913,2997],"缠枝莲","双耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc123c1a1ef4077b2af3988b79d54bb84.jpg",[],{"id":3917,"slug":3918,"title":3919,"dynasty":105,"author":524,"museum":200,"description":3920,"tags":3921,"thumbUrl":3922,"material":271,"size":367,"collection":130,"collections":3923,"showCount":51,"zanCount":51,"manualWeight":51,"mainColor":52},258706,"qian-long-kuan-wu-cai-deng-long-zun-yi-ming-258706","乾隆款五彩灯笼尊","尊，今作樽，是商周时代中国的一种大中型盛酒器。青铜器，尊的形制圈足，圆腹或方腹，长颈，敞口，口径较大。尊盛行于商代至西周时期，春秋后期已经少见。较著名的有四羊方尊。商周至战国时期，还有另外一类形制特殊的盛酒器—彝。彝通常呈鸟兽状，有羊、虎、象、豕、牛、马、鸟、雁、凤等形象。《周礼·春官·司尊彝》：“春祠夏禴，裸用鸡彝鸟彝......追享朝享，裸用虎彝蜼彝。”彝纹饰华丽，在背部或头部有尊盖。",[1655,3855,29,33,34,244,718,1394,7,684],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18549103baa654d6961d5983312d9d3d.jpg",[],{"id":3925,"slug":3926,"title":3927,"dynasty":105,"author":524,"museum":200,"description":1653,"tags":3928,"thumbUrl":3930,"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2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[3957,1745,29,30,34,481,40,482,7,3958],"敦煌","棕榈树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8cac66906e6baf5b994cbd168607afd.jpg",[],{"id":3962,"slug":3963,"title":1493,"dynasty":105,"author":120,"museum":121,"description":3964,"tags":3965,"thumbUrl":3966,"material":130,"size":130,"collection":67,"collections":3967,"showCount":51,"zanCount":51,"manualWeight":51,"mainColor":2159},203134,"hua-hui-tu-ce-yun-shou-ping-203134","画面中桃花灼灼，粉瓣层叠间晕染出自然过渡，嫩蕊含露似带春温，枝叶以淡绿衬之，柔劲相生。恽寿平以没骨法写就，不用墨线勾勒，直以色彩点染花叶，形神毕肖，尽显“写生正派”之韵。旁配行书题跋，诗画相映，文气盎然，印章朱红点睛，更添雅致。整幅作品清新脱俗，将桃花的娇妍与生机凝于尺幅，尽显文人花卉的逸趣与意韵。",[125,29,62,7,124,83,32,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b0a1164ef9c9d8b91a295284e5ec1ea.jpg",[67],{"id":3969,"slug":3970,"title":3971,"dynasty":105,"author":3972,"museum":121,"description":3973,"tags":3974,"thumbUrl":3975,"material":130,"size":130,"collection":130,"collections":3976,"showCount":51,"zanCount":51,"manualWeight":51,"mainColor":3977},202184,"tao-liu-shuang-yan-tu-zhou-liu-yan-chong-202184","桃柳双燕图轴","刘彦冲","轻烟淡墨晕染出春日雅境，柳枝如丝绦垂落，嫩条拂风带露；桃花几点，绽于枝间，似含怯意。双燕灵动，一栖柳梢，羽翅墨色浓淡相间，神态悠然；一掠低空，尾羽修长如剪，身姿轻盈欲飞。笔墨简括却形神兼备，柳枝以流畅线条勾柔婉之态，桃花用淡墨点染显娇妍之姿，燕子羽翼尾羽几笔带过，尽显生机。整幅清逸雅致，春日鲜活与静谧交融，似闻柳丝轻响、燕语呢喃，尽展水墨花鸟韵致。",[25,80,62,7,42,3496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e880075f33a89efe9dad9bc4b10e141.jpg",[],"c2b1aa",{"id":3979,"slug":3980,"title":3981,"dynasty":105,"author":3982,"museum":121,"description":3983,"tags":3984,"thumbUrl":3985,"material":130,"size":130,"collection":130,"collections":3986,"showCount":51,"zanCount":51,"manualWeight":51,"mainColor":3987},201502,"tao-hua-gui-yu-tu-zhou-gai-qi-201502","桃花鳜鱼图轴","改琦","嫩枝婉转斜伸，桃花嫣然吐蕊，粉白花瓣凝露般娇嫩，深红花蕊点染其间，淡绿叶片轻垂，尽显春日柔媚。下方鳜鱼以水墨写意，墨色浓淡交织，鳞鳍线条简练却形神毕肖，与柔枝繁花形成刚柔相济之趣。画面布局疏朗，设色清雅，笔墨兼具工细与洒脱，将花鸟生机与文人雅意融于一纸，春日闲逸之韵扑面而来。",[25,62,7,297,29,30,80,3496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ecb2b5a3087149d039156d7aa39ce86.jpg",[],"d4b793",{"id":3989,"slug":3990,"title":3991,"dynasty":105,"author":120,"museum":121,"description":3992,"tags":3993,"thumbUrl":3995,"material":130,"size":130,"collection":130,"collections":3996,"showCount":51,"zanCount":51,"manualWeight":51,"mainColor":3997},201371,"hua-hui-shan-yun-shou-ping-201371","花卉扇","扇面之上，花枝疏朗有致。白梅枝干以淡墨写就，虬曲中含秀逸；花瓣弃墨线勾勒，凭白粉晕染，层层叠叠间透出清润。旁侧粉花配翠叶，色彩淡雅柔和，叶脉隐现，尽显没骨技法之灵动。左侧题字笔意流畅，与花卉相映成趣，朱红印章点缀，更添古朴雅致。整幅画作清新脱俗，笔墨细腻温婉，将花木生机与文人雅致融于方寸，尽显江南画派的温婉韵致。",[785,62,125,29,85,7,32,3994],"行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbac736023c5449db4e75561841ec7a9b.jpg",[],"dbd2c5",1777535698921]