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脚蹬皮靴，骑在马上，手扶鞍桥，双目凝视前方。文姬身后，是骑在马上护送的马夫和侍从， 前面汉胡两官员并骑，左侧汉朝官员，头戴帻巾，左手持一把用毛皮镶边的团扇遮面， 以避风沙。右侧胡人官员，头戴皮帽。身穿紧袖长袍，腰系佩饰， 面现愁容，正在勒马， 马亦踢蹄踟蹰。其后有侍从五骑相随， 有的怀抱包裹，有的身背行囊，有的手架猎鹰，有的马上驮着毡毯。画面最后，是一头戴皮帽、身潸窄袖长袍、腰携箭饩、右手架鹰、左手执缰，骑于马上的武士，正驱马追赶行进的队伍，马旁还紧跟一猎犬。",[23,89,24,58,90,27,28,91,92,93,94,7],"名画","白描","马","狗","衣帽","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3649796ffeb0f1854f87bb5103aa850a.jpg","绢本设色","纵29cm，横129cm","宋画精选",[98,44,100],"设色画精选",109,2,{"id":104,"slug":105,"title":106,"dynasty":53,"author":107,"museum":55,"description":108,"tags":109,"thumbUrl":119,"material":120,"size":121,"collection":75,"collections":122,"showCount":123,"zanCount":124,"manualWeight":11,"mainColor":80},220967,"gao-yi-tu-zhou-dong-qi-chang-220967","高逸图轴","董其昌","明万历四十四年(1616年)三月，董其昌正赋闲居家。由于其子与乡民发生冲突，导致其宅被焚，家资尽丧，此即著名的“民抄董宦”事件。董其昌被迫避祸他乡，惶惶往来于吴兴、镇江之间。虽然半年后事态逐渐平息，但董似乎心有余悸，仍旧频频四出游历、访友。此图即为第二年董氏去镇江、太湖间的练湖畔访其旧友蒋道枢，与蒋氏泛舟荆溪时的即兴之作，颇似当年倪瓒弃家隐居太湖时的心境。董其昌此图采用了倪氏典型的笔墨技法，湖滨两岸的浅坡及山丘皆以干笔淡墨施以折带皴，行笔以侧锋为主，笔墨苍逸，极好地表达出倪画中萧散简远的意境，同时也反映了作者晚年身历劫乱后的苍凉心绪。但作者又非简单地仿古，近岸数株盘屈虬结的古木就充分体现了作者独特的艺术创造。董氏画树有其独到的见解，他在《画禅室随笔》中写道：“画树之法，须专以转折为主……如写字之于转笔用力，更不可往而不收……但画一尺树，更不可令有半寸之直，须笔笔转去。此秘诀也。”树过于直，不免枯燥、呆板，有曲折才见变化、生意。观此图之树，确实起到了点醒画面的作用。近景之树，不仅是连接两岸的桥梁，填补了湖面的大片空白，同时也是作者刻意表现的另一主要物象，它们攲侧的走势以及相互之间纠结牵引的姿态，都使冷寂空阔的景色趋于活跃，表现了董其昌多方面的笔墨技巧。",[23,24,25,110,59,111,29,71,112,113,7,114,115,116,117,118,36],"立轴","山水","皴法","行书","远山","近坡","枯树","坡石","山峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c9da1c4b4b98526a13f16aa2f526b92.jpg","纸本,墨笔","纵89.5厘米，横51.6厘米",[75,77],88,1,{"id":126,"slug":127,"title":128,"dynasty":53,"author":129,"museum":20,"description":130,"tags":131,"thumbUrl":136,"material":137,"size":138,"collection":44,"collections":139,"showCount":140,"zanCount":102,"manualWeight":11,"mainColor":80},220377,"ban-ji-tuan-shan-tu-tang-yin-220377","班姬团扇图","唐寅","画中，班姬手拈纨扇，独自在棕榈树下悄然而立。尽管画的是明眸粉颊、姿容秀丽，神情却怅然若有所思。庭前，点缀着一株花蕊绽放的蜀葵，画家应是想藉此来暗示时序已属夏末秋凉的季节。\n唐寅原是恋恋红尘里的有情种子，素来就擅长图写女性形象。本幅援引文学作品入画，透过人物与景境的巧妙配搭，具体呈现了画中人的感情和际遇。这份深刻、动人的描写力，无疑已让观者超迈了时空的隔阻，共感于汉代美人的沧桑与情痴！",[23,24,25,110,26,27,28,132,133,134,30,135,94,7],"美人","树","石头","团扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7c91421866b019a6fe5f56d55012294.jpg","纸本,水墨","150.4×63.6公分",[44,100],84,{"id":142,"slug":143,"title":144,"dynasty":145,"author":146,"museum":147,"description":148,"tags":149,"thumbUrl":153,"material":154,"size":154,"collection":154,"collections":155,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":80},223459,"shan-shui-xiao-pin-yi-ming-223459","山水小品","清","佚名","藏地不详","小品画一般以小立轴、镜片、册页、扇面等形式为主，广泛应用于社会，凡宾馆、小会议室、小客厅、以及各种娱乐场所的室内装饰布置，都常用小品画。 可以说中国画能进入寻常百姓家的主要是小品画，所以小品画是人民群众喜闻乐见的形式。 其四，小品画的表现手法比较自由随意也是它的一个特点。",[23,24,25,59,26,112,150,111,67,151,152,7,94],"册","孤舟","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614164daf8e9e4af388f9ada7fdd61ea.jpg","",[],80,{"id":158,"slug":159,"title":160,"dynasty":18,"author":161,"museum":162,"description":163,"tags":164,"thumbUrl":167,"material":168,"size":154,"collection":98,"collections":169,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":80},220361,"yuan-pu-gui-fan-tu-yu-jian-220361","远浦归帆图","玉涧","名古屋德川美术馆","玉涧（生卒年不详），在宋末元初的画坛中，以“玉涧”为名号的僧人，有莹玉涧、若芬玉涧、彬玉涧和孟玉涧四人。其中彬玉涧生平不详；而莹玉涧根据《图绘宝鉴》的记载，为西湖净慈寺禅僧，师惠崇画山水；若芬玉涧根据《松斋梅谱》的记载，则为金华曹氏子，是天台宗僧人，曾任天竺寺书记，善画云山；孟玉涧作品传世较多，为元末画家。经过日本学者铃木敬的考证，现在学界多半认为若芬玉涧就是《庐山图》等作品的作者。若芬玉涧传世作品有《庐山图》（冈山县立美术馆蔵）、《庐山瀑布图》（冈山县立美术馆蔵）、《潇湘八景图》（现仅余三副，东京出光美术馆藏《山市晴岚图》、名古屋德川美术馆藏《远浦归帆图》、东京文化厅藏《洞庭秋月图》）等。",[23,89,24,25,59,112,111,151,36,118,165,166,7],"江面","远帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523feeccb80b8a79fb8b4c95a88ae5d5.jpg","纸本",[98],65,{"id":172,"slug":173,"title":174,"dynasty":175,"author":176,"museum":147,"description":177,"tags":178,"thumbUrl":187,"material":154,"size":154,"collection":154,"collections":188,"showCount":189,"zanCount":11,"manualWeight":11,"mainColor":48},228316,"jin-hui-dui-tu-qian-xuan-228316","锦灰堆图","元","钱选","起于元，盛于清末，俗称“打翻字纸篓”，以画残破的文物片段堆栈构成画面。\n郑达甫先生被公认为此领域的唯一能手 锦灰堆 最早起源于何时，现无准确文献记载，相传是元代与赵孟頫齐名的画家钱选，在一次醉酒后兴起，将当天散落在饭桌上的下酒菜吃剩残物，如蟹脚、蚌壳、莲房、鸡翎、鱼刺等、信手绘制成一幅横卷，并挥笔题款“锦灰堆”。\n这可能是“锦灰堆”最早的历史记载。\n“锦灰堆”致力于特色陶瓷礼品研制、开发与销售。\n旗下品牌有锦瓷，锦瓷窑，泥道等。\n锦瓷只要生产红瓷，青花瓷，天目釉，茶具，格致古典，服务当下，具有深厚传统情怀的锦灰堆机构，于借礼品进而使得当下国人在器用和精神层面上回归古典，回归宁静，从而让现代人从喧嚣浮躁的盲动中找到某种心灵的归宿，达到静养身心，调节自我的目的。\n再者，通过对古代生活器用的阐扬、恢复，在更宏大的视野中，我们希望能为整个民族的精神回归作出点滴贡献。\n在推进整个古典生活场景的复原中，锦灰堆首推华丽、时尚的红瓷系列，并从功夫茶的发源地潮汕地区切入，引入此间的红头船文化和航海文化，凸显火“红”的福字主题。\n重构中国人的雅致生活 锦，绮丽繁华，天下莫此为甚。\n中国风雅的源头《诗经》，有“终南何有？有条有梅。\n君子至止，锦衣狐裘。\n”锦衣狐裘，诸侯方可穿着。\n《仪礼·聘礼》复有“皆奉玉锦束请觌”之句。\n锦为何物？《说文解字》云：锦，襄邑织文。\n《毛诗正义》则说，锦者，杂采为文。\n锦于中国人，乃成美好事物的普遍象征，遂有锦绣、锦囊、锦瑟、锦带、锦江、锦文、锦鳞，凡物着一锦字，读之立刻口齿芬芳。\n至于家国河山，古人亦以锦名之，曰锦绣河山。\n事实上，只有中国人可以用一种逍遥俯瞰的之态，描述壮丽宏大的山水，正如元代以降的山水画所表达的，“收拾河山入画图”。\n灰，则表达了古典中国人对世俗和底层生活的关注和亲密，这一点，则全非近代以前泰西诸国等级森然的社会体制所能及。\n“满面尘灰烟火色”，白乐天对一个卖炭老翁的细致描绘，恰恰说明了这一点。\n古代士大夫就是在“锦”与“灰”两端中求得心灵的平衡，从而达到中庸和无为的至高境界。\n宋末吴兴人钱选，一代画师。\n其时也，蒙元入主中国，钱选尚气节，不事新朝，特立独行，与赵孟頫辈异。\n选流连诗酒，无酒不能作画，此其雅癖之一；曾作小横卷，所绘举凡螯钤、鸡翎、莲房等食余剥剩、无用当弃之物，名之曰“锦灰堆”，此其雅癖之二。\n锦灰堆遂成一特异之画种，又称“八段锦”。\n生活零碎之物而形诸笔墨锦笺，而独放异彩，或可称怪异之三。\n钱选之作，有堪称国宝者，后多收入清宫大内，为清帝御览之宝。\n凡经御览，都为卷册，名曰《石渠宝笈》。\n钱选作品被收入《石渠宝笈初编》。\n民初海上，锦灰之堆润格攀涨，山水人物花鸟，不得专宠矣。\n所绘之物，由食余吐物，扩而及之“一页旧书、半张残帖、公文、私札、废契、短简”。\n若以当代美学考量，锦灰堆作为一种绘画门类，具有一种潜在的解构主义，可谓当代艺术潮流的远古鼻祖。\n会此意者，定当一笑。\n京城王世襄先生，亦慕钱选之高格与戏作，以“锦灰堆”名其文集。\n世襄年过九旬，于经世致用之学而外，洞彻古玩器物，举凡明家具、鹰鹞、烹饪、古建筑、蟋蟀、鸽子、竹艺、漆器等等，均深有发现。\n黄苗子遂以“玩物成家”目之。\n玩物而不丧志，其渊源幽淼，直可追溯先秦。\n《考工记》行文古雅，而凡世间百工造物，靡不涉及。\n魏晋诸子，倡而导之，经东坡等宋代诸儒，至明清而成玩物洪流矣。\n唐陆鸿渐行迹编海内而著《茶经》，后人饮茶，便得宗旨；宋人朱肱于杭州开酒坊，自酿自卖，著《北山酒经》流传于世，酒于是而得经典。\n而花草树木果树陶瓷园艺文房，乃至闺阁妆奁，人间烟火，皆入明代士大夫法眼，各种著述层出不穷。\n文震亨著《长物志》，高濂著《遵生八笺》，张岱著《陶庵梦忆》，玲琅满目，胪列不尽。\n执着于充满人情的尘世生活，是中国人典型的文化心理。\n明代变乱之前，物质的繁荣导致士大夫和普通民众的生活，在最求细节方面面达到了极致。\n庭除屋宇、园林百卉、钿光钗影、杯来盏往，余怀之《板桥杂记》所录晚明民众生活，其细致处，真是呼之欲出。\n悠闲，华美，逸乐，侠游，乃中国古代生活物质层面之四维。\n“闲者，匪徒尸居肉食，无所事事之谓。\n”高濂解释闲是一种境界，“闲可以养性，可以悦心，可以怡生安寿”。\n时乎坐陈钟鼎，几列琴书，榻排松窗之下，图展兰室之中，帘栊香霭，栏槛花妍，虽咽水餐云，亦足以忘饥永日。\n张岱论人，谓“人无癖，不可与交，以其无深情也；人无疵，不可与交，以其无真气也。\n” 张岱本人亦癖灯、癖游赏，癖器物。\n“少为纨绔子弟，极爱繁华，好精舍，好美婢，好娈童，好鲜衣，好美食，好骏马，好华灯，好烟火，好梨园，好鼓吹，好古董，好花鸟，兼以茶淫橘虐，书蠹诗魔。\n” 清代玩家自亦不少，晚明遗风，渔洋、袁枚等，接踵其后。\n然现代以来，士大夫之闲情雅致竟至泯然无迹，前人所持、所做、所饮、所餐、所观，遂成绝响，仅可于故纸堆中觅得鳞爪。\n此于国人，殊为憾事。\n前尘往事，并非定成空幻，成梦影。\n在器物层面，重构中国人古典生活方式，易于行，行远必将影响当下国人的价值认知。\n何也？一杯一盏，一花一木，一庐一室，一瓢一饮，均深蕴中国古典之价值，优雅，缠绵，温柔，富丽。\n似锦绣之质，浸俗世之情，于锦灰堆中，觅见风雅。\n1、 潮汕濒临南海，浮海可至南洋、印度、非洲海岸，乃至泰西诸国。\n这里是中西文明交流的一条重要路径——海上丝绸之路的必经之地，瓷器、丝绸、茶叶等中国固有的大宗产品从这里出口，而南洋的香料、珍宝、木材等，也远远不断，由此进入内地。\n潮汕也是古代中国人南迁之后的落脚点，所以，这里积存这丰厚的汉文化的元素。\n潮汕人很早就浮海去南洋谋生，其中，又以暹罗（泰国）居多。\n清代，此间与南洋的航运，是从中暹大米贸易开始的。\n为适应远洋航行的需要，原来有双桅、单桅之“潮州红头船”，发展成为“翘首高舷，备大桅樯三具”的远洋大帆船。\n《樟东风物记》：大型红头船长二十余丈，载重数百吨，三桅，有四帆开笑之称。\n红头船来自，源于清代之海禁。\n当时制度，凡出海之舶，须设色以辨。\n沿海省份，共设四色。\n广东在南，五行属火，用色为赤，遂“红油漆饰，青色钩字”。\n红头船不仅用朱砂油头，且以白粉油腹，头两侧画黑圈，再于船舷刻黑字。\n无形中，红头船具有了一种祛除不详的心理期待功能，融入到整个潮汕文化当中。\n红头船功夫茶具，不仅承载着这段具有强烈海洋文化特色的历史，还寄托着自生民以来就具有的祈福。\n2、功夫茶 苏辙诗曰：“闽中茶品天下高，倾身事茶不知劳。\n”此乃咏功夫茶诗也。\n功夫茶源于宋潮州府及福建的漳州、泉州。\n饮茶发展到功夫茶阶段，跟当时理学与禅宗的兴盛密不可分。\n功夫茶，茶中见性，以茶养性。\n除了水、火和冲泡这一程序性之外，功夫茶还衍生出极具形式美感的茶具。\n清俞蛟《潮嘉风月记》：“工夫茶，烹治之法，本诸陆羽《茶经》，而器具更为精致……杯盘则花瓷居多，内外写山水人物，极工致……杯小而盘如满月。\n” 锦灰堆功夫茶具，具本于宋代以降的人文传统。\n同时，亦融入时尚的造型，以适合现代人的审美。\n、红瓷 红瓷极尊贵，其制作之难亦冠各瓷之首。\n红瓷承载着吉祥、尊贵、自古就成为皇室追求的珍品。\n红瓷也是中国民间审美中至正之色，象征生命、繁衍和尊贵。\n红瓷釉料迥异于青花与青瓷等，其不耐高温的特性，使得一件红瓷的诞生很艰难。\n红瓷烧制，工艺复杂，须四次进炉：素烧，釉烧，红烧，金烧。\n每一环节不可偏差。\n尽管如此，仍是 “十窑九不成”。\n然则，更显红瓷的稀缺与珍贵。\n锦灰堆红头船红瓷功夫茶具，釉色分布匀停，光可鉴人，或蟠龙游凤，或牡丹缠枝，或花开富贵。\n而轻巧圆润，恰供清赏。\n（1）、红茶壶（鸿福） 壶，象盛器之形。\n日常不可或离之物，亦为礼器。\n古代常升华为美好之意。\n《春秋公羊传》：国子执壶浆。\n《三国志·诸葛亮传》：箪食壶浆。\n《芙蓉楼送辛渐》：一片冰心在玉壶。\n普通话，壶与“福”谐音，锦灰堆红茶壶便有了“鸿福”之意，同时，亦有“鸿鹄”之意，谓抱负远大也。\n（2）、红茶垫（托福） 茶垫又称壶托、托壶，红茶垫便可谐“福托”“托鸿福”“托福”等音。\n传统礼仪，接人待物，皆须谦逊。\n接茶、送茶之间，中华礼节，于细节中呈现。\n礼仪著于双方，也体现于每个个体，人借“托”举，“福”方永存。\n（）、福杯（吊鸿福杯） 杯，古又曰“爵”，饮器也。\n爵，象征荣誉和地位，即福禄寿喜之“禄”。\n与“福”为邻，传统抱负，合二为一。\n（4）、公杯（聚福） “大道之行也，天下为公。\n”《礼记》规定了中国人的最高社会理想。\n“公之为言公正无私也”。\n小小茶具，竟含儒家大道，此亦古人寄理想于“长物”之旨吧。\n公，也是古代爵位的最高等级。\n（5）、红茶渡（渡鸿福、鸿福渡） 渡，济也，引导也。\n这是一个暗藏禅机的词语，意蕴深厚。\n舍己渡人，方得超脱，这是佛家之道。\n若以当代社会伦理视之，此器亦公器也。\n然于公器之外，更充满英雄主义和绅士风度。\n（余可参照原文） （6）、精致小茶海 方寸之间，可容宇宙。\n海浩瀚无涯涘，在空间上以为这难以逾越，然则可以器用喻之。\n人心隔海，有渡可致。\n具物取名，古代闲情逸致之士乐此不疲，关键是，他们的想象力一如大海。\n海，又与潮汕之风俗相贯通。\n1）、大富大贵 “唯有牡丹真国色，花开时节动京城”，牡丹一直是中国富贵文化的核心意象，唐刘禹锡的诗恰好证明了这一点。\n作为花中之王，牡丹是历代文人雅士歌咏的对象。\n而龙、凤和蝶等意象的融合，则意味着一派高贵、长寿等怡人景象。\n2）、龙腾吉祥 在中国的语境中，龙一直是帝王的象征。\n当这一意象进入整个民族的心理深层结构，变成了众多行为的指南，一系列的崇拜也由此而来。\n龙也成了祈福消灾的对象。\n）、常年富贵 花团锦簇，一团和气，是古代人家最为看重的。\n等花卉图案，构成了众多居家要素，比如瓷器、锦缎。\n枝枝相连的形态暗示了中国人邻里相助和子孙繁衍的愿望，“连”也是“年”的谐音，于是便有“常年富贵”之名。\n4）、年年好运 运，行也。\n引申而为命运，“运隆祚永”是国家追求的目标，而祈求好运于一般人也变顺理成章。\n5）、6周年庆 大红的底色意味的喜气扑面而来。\n运筹红色，这正好是红瓷专家最为擅长的领域。\n黄色的五星，如暗夜繁星，耀人眼目，也如天女散花。",[23,24,25,58,27,26,61,179,180,7,181,68,182,183,184,185,186],"昆虫","植物","墨迹","蝴蝶","杂物","果实","叶子","虫蛀痕迹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F413580bf86f0f2f07a385084ba691349.jpg",[],59,{"id":191,"slug":192,"title":193,"dynasty":194,"author":195,"museum":55,"description":196,"tags":197,"thumbUrl":200,"material":201,"size":202,"collection":203,"collections":204,"showCount":206,"zanCount":11,"manualWeight":11,"mainColor":207},221038,"yu-hou-tie-wang-xi-zhi-221038","雨后贴","晋","王羲之","《雨后帖》页，晋，传晋王羲之书，纸本，行草，纵25.7厘米，横14.9厘米。\n释文：\n今日雨后未果奉状，想□能于言话，可定便得书问，永以为训。妙绝无已，当其使转。与都下□信，戴适过于□也。羲之。\n署款下一草押不识，又“禹民”二字题名。\n鉴藏印有 “世南”、“贞观”（画描墨印），以及“四代相印”（朱文，伪）、“志东奇玩”（朱文，伪）、“绍兴”（朱文联珠），清乾隆、嘉庆、宣统内府诸印。\n帖后有元邓文原，明董其昌题跋各一段，明邹之麟题跋两段。\n《雨后帖》传为王羲之所书的一通信札，所谈之事不可考，书字不够规范，个别字难于辨认。\n此帖最早见于清代安岐《墨缘汇观》：“雨后帖，草书，纸本，唐模，有‘世南’墨印。”今专家鉴定认为此帖并非王羲之亲书原迹，依据有三：一是此帖上清代以前的钤印中除“绍兴”外皆不真。书法确有沉雄古雅之气，但与《姨母》、《丧乱》诸帖和《兰亭序》对比相去甚远。二是从用纸分析，纸为深褐色带有细横帘纹的竹纸。而竹纸在晋代是没有的，宋苏轼《东坡志林》卷九曾云：“今人以竹为纸，亦古所无有也。”三是晋代的书写工具是实心笔，行笔时笔毫开叉而经常出现贼毫，然《雨后帖》则用兼毫笔，笔画既软又肥，字距之间笔势连带而出现牵丝，无一笔贼毫出现，因此不应为晋时所书。\n从此帖的墨色浓淡变化观察，与运笔的启收、顿挫转折的徐疾和用力相吻合，无勾摹痕迹，因此判断此帖应是古临本，书写年代在北宋至南宋绍兴以前。\n清《书画记》、《平生壮观》、《墨缘汇观续录》、《石渠宝笈初编》著录。",[36,113,198,7,150,25,199],"墨书","墨笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c92ae95145c43b40bb395a52c884972.jpg","纸本，行草","纵25.7厘米，横14.9厘米","书法精选",[203,205],"碑帖精选",58,"F48FB1",{"id":209,"slug":210,"title":211,"dynasty":175,"author":212,"museum":20,"description":213,"tags":214,"thumbUrl":218,"material":137,"size":219,"collection":220,"collections":221,"showCount":222,"zanCount":11,"manualWeight":11,"mainColor":48},219360,"wan-xiang-gao-jie-tu-ke-jiu-si-219360","晚香高节图","柯九思","此图描述了“石如飞白木如籀，写竹应须八法通”，是元代画家赵孟頫为柯九思《墨竹图》题写的诗句的情景。画面的主要表现是精竹秀石，还有野菊花作点缀。 此图以菊花“晚香”之意，竹子节高，故有晚香高节之画意。",[89,24,59,215,112,64,216,65,217,7,94],"写意","石","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff64ea458d2092b5764321504018ff651.jpg","126.5厘米，横75.2厘米","花鸟画精选",[220],51,{"id":224,"slug":225,"title":226,"dynasty":175,"author":227,"museum":55,"description":228,"tags":229,"thumbUrl":231,"material":168,"size":232,"collection":154,"collections":233,"showCount":234,"zanCount":11,"manualWeight":11,"mainColor":80},233810,"mu-dan-tu-juan-wang-yuan-233810","牡丹图卷","王渊","两幅画里的杜鹃、桃花却是点虱而成，虽然只是简单的用笔，却也表现出花朵的墨色变化。这些花鸟因用水墨表现出来，显得素洁安静给人以超凡脱俗之美。王渊的画是从淡彩晕染演绎出淡彩渲染，似乎是要通过淡彩画出五色绚烂的效果。而淡彩渲染又服从于总体效果，又有了浓墨渲染便有了墨色浓淡的层次。王渊的墨彩之所以能够如此绚丽，不得不归功于另一个重要因素——纸。中国画是离不开绢和纸的，就像笔离不开墨一样。绢和纸决定了一幅画的描绘，虽然有相同处，然而在具体的用笔用墨、气质上格调上还是有本质区别的。宋以前的画一般都是用绢，绢是丝织品，透明而有光泽，不散墨，可以一遍遍的描绘，更好的塑造形象。宋以后的画包括著色画一般是用纸来完成的。纸是植物制品，而绢是丝织品，性质不同就注定用两者作画会有不一样的效果。绢的运用在绘画上做出了辉煌的贡献，已经达到了极致，而纸的使用使笔墨发生了变化，使画有了另一种味道，因此也有了流派上的变迁。元代的画纸是一种质地坚硬、半生半熟的纸，一般水墨会停留在纸面上，遵循着配合到描绘对象的写实原则，水墨落在纸上就会出现似化非化的效果，线条会有一种渴润的韵致，墨色也会更加有苍茫之感。而中国古代画家用的纸都是精心取材，按着严谨的制造程序来做的，因此无论纸还是绢都是非常好的。而现代制纸大都没那么考究，或是有些制造经验已经失传了。",[24,89,25,58,59,27,61,230,94,7],"牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbb9ec2e52112fc99757bf6c16e4be0f.jpg","纵37.7cm、横61.6cm",[],49,{"id":236,"slug":237,"title":238,"dynasty":18,"author":239,"museum":20,"description":240,"tags":241,"thumbUrl":244,"material":245,"size":246,"collection":154,"collections":247,"showCount":234,"zanCount":11,"manualWeight":11,"mainColor":80},221260,"mo-ji-wang-chuan-tu-ba-qin-guan-221260","摩诘辋川图跋","秦观","余曩卧病汝南。友人高符仲携摩诘辋川图。过直中相示。言能愈疾。遂命童持于枕旁阅之。恍入华子冈。泊文杏竹里馆。与斐（应作裴）迪诸人相酬唱。忘此身之匏系也。因念摩诘画。意在尘外。景在笔端。足以娱性情而悦耳目。前身画师之语非谬已。今何幸复睹是图。仿佛西域雪山。移置眼界。当此盛夏。对之凛凛如立风雪中。觉惠连所赋。犹未尽山林景耳。吁。一笔墨间。向得之而愈病。今得之而清暑。善观者宜以神遇而不徒目视也。五月二十日。高邮秦观记。",[242,113,168,198,7,25,243],"宋代","册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e830ec8acd1dae73308208a6a36dc33.jpg","白纸本","纵25.2、横39.4cm",[],{"id":249,"slug":250,"title":251,"dynasty":18,"author":252,"museum":55,"description":253,"tags":254,"thumbUrl":255,"material":256,"size":257,"collection":203,"collections":258,"showCount":259,"zanCount":124,"manualWeight":11,"mainColor":80},221270,"ba-fan-zhong-yan-dao-fu-zan-huang-ting-jian-221270","跋范仲淹道服赞","黄庭坚","宋代政治家、书法家范仲淹墨迹。\n范仲淹(989～152)字希文，吴县(今江苏苏州)人。\n祥符八年进士,官至枢密副使,参知政事,卒谥“文正”。\n道服赞并序，自识为“平海书记许兄”作。\n书法方劲，落笔痛快沉着，略有《乐毅论》遗法。\n卷后文同、吴立礼、戴蒙、柳贯、胡助、刘魁、戴仁、马、吴宽、卢濬、王世贞跋。\n另黄庭坚一题，是后人抄录其文，非黄氏亲笔所书。",[36,25,113,94,181,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aa8080d7d4c8bfd22a1317a584909e9.jpg","纸本（疑伪）","纵 4.8厘米，横 47.9厘米",[203],47,{"id":261,"slug":262,"title":263,"dynasty":175,"author":264,"museum":55,"description":265,"tags":266,"thumbUrl":274,"material":275,"size":276,"collection":154,"collections":277,"showCount":278,"zanCount":11,"manualWeight":11,"mainColor":48},233884,"lin-ting-yuan-xiu-tu-zhou-ni-zan-233884","林亭远岫图轴","倪瓒","《林亭远岫图轴》为倪瓒“三段式”构图的典型之作，行笔施墨较简逸，绘坡地上有高树修竹，临江建草亭，远山起伏，隔江相望。“一水两岸”的“三段式”是指在近处画石坡和土岸，上面有几棵枯树，远景画的是平缓的山峦。远处的山与近处的树之间有很大面积的空白是水面，广阔的水面上基本上一个物体也没有，通常看不见人。“三段式”的构图方法到倪瓒达到了一个顶峰，至少是前无古人，后无来者，倪瓒把它发挥得淋漓尽致，运用得出神入化。我们可以这样说，是倪瓒铸就了“三段式”绘图方法的经典运用和不朽传奇，而“三段式”的构图方法成就了倪瓒在中国绘画史上不可替代的位置。",[24,25,110,59,111,267,268,269,270,271,116,272,71,273,7,113,67],"干笔皴擦","留白","淡墨","远岫","林亭","房屋","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3daac7b068ff6b3cd54bbe1eb7114c01.jpg","纸本水墨","纵87.3厘米，横31.4厘米",[],46,{"id":280,"slug":281,"title":282,"dynasty":145,"author":283,"museum":284,"description":285,"tags":286,"thumbUrl":294,"material":137,"size":295,"collection":44,"collections":296,"showCount":297,"zanCount":11,"manualWeight":11,"mainColor":80},218384,"wang-shi-zhen-yu-zhu-yi-zun-he-xiang-luo-pin-218384","王士禛与朱彝尊合像","罗聘","大英博物馆","苍松虬劲，藤蔓垂丝，幽涧边两位长衫文人对坐清谈——或拄杖凝思，或持卷浅笑，眉宇间尽是林下风致。画面以淡墨皴染山水，线条简练却神形兼备，松针的挺劲、衣袂的飘举皆见笔力。四周密布的题跋，墨色浓淡相间，与山水人物相映成趣，既是对画中人物的追慕，也为画面增添了厚重的文化底蕴。整幅作品融山水、人物、书法于一体，既展现了文人雅集的闲适氛围，也传递出对先辈的敬仰之情，笔意间流淌着传统文人画的气韵与风骨，仿佛能听见松风里的清谈声，望见涧水边的诗思流转。",[23,59,90,27,112,287,288,28,71,289,70,290,291,111,7,292,29,293],"书画结合","松树","溪流","古木","小径","文人形象","坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F389765da7665ff9ada03940d3872f88d.jpg","167.5x56.6",[44],39,{"id":299,"slug":300,"title":301,"dynasty":175,"author":302,"museum":303,"description":304,"tags":305,"thumbUrl":308,"material":137,"size":309,"collection":75,"collections":310,"showCount":297,"zanCount":124,"manualWeight":11,"mainColor":80},217867,"qiu-shan-xu-ting-tu-gu-ying-217867","秋山虚亭图","顾瑛","私人收藏","顾瑛，字晓元，号秋山虚亭，是中国元朝时期的一位著名画家。他的《秋山虚亭图》是他的代表作之一，在中国历史上享有盛誉。\n\n《秋山虚亭图》是一幅山水画，描绘了秋山虚亭所在的景观。虚亭本身便是一座建于山上的小亭子，顾瑛在画中给人以一种轻松、自然的感觉。画中的山峦、岭壑、林木、岚烟都十分逼真，令人观赏时感到沉醉。顾瑛运用了自然界中各种色彩，如绿、黄、棕、蓝等，使画面更加丰富多彩。\n\n顾瑛的《秋山虚亭图》不仅因其逼真的描绘技巧而闻名，同时也因其艺术风格的独特性而受到赞誉。他的画风清新自然，没有过多的装饰和修饰，从而让观者感受到一种轻松、恬静的心情。\n\n总的来说，顾瑛的《秋山虚亭图》是一幅精美的山水画作，值得一看。",[24,25,110,59,112,113,94,111,306,307,29,71,272,289,7],"秋山","亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ae3bdef31feed66d361d23d9d2fdb34.jpg","69.5x39.4cm",[75],{"id":312,"slug":313,"title":314,"dynasty":175,"author":315,"museum":316,"description":317,"tags":318,"thumbUrl":327,"material":137,"size":328,"collection":75,"collections":329,"showCount":330,"zanCount":124,"manualWeight":11,"mainColor":80},217901,"yun-lin-zhong-xiu-tu-fang-cong-yi-217901","云林钟秀图","方从义","费城艺术博物馆","云林钟秀图描绘的是一座位于云林县的庙宇，画面中的庙宇极其写实，细节丰富，富有层次感。画中的山水、建筑、树木等都栩栩如生，充分展现出了当时云林的美景。\n\n云林钟秀图被认为是方从义的杰作，因为它体现了方从义对写生图画的高超技艺，也因为它能够真实地反映当时云林的风貌。它被广泛收藏，并被认为是元朝时期写生图画的杰作之一。",[24,25,58,59,112,36,113,111,118,319,29,320,321,322,323,324,289,114,325,268,215,326,7,94],"云雾","河流","小桥","亭台","岩石","植被","近景","笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F120f73ed8db53c5a080a857830f7ff35.jpg","24.8x108cm",[75],35,{"id":332,"slug":333,"title":334,"dynasty":194,"author":335,"museum":336,"description":337,"tags":338,"thumbUrl":341,"material":154,"size":154,"collection":154,"collections":342,"showCount":343,"zanCount":11,"manualWeight":11,"mainColor":80},227047,"bao-mu-tie-wang-xian-zhi-227047","保母帖","王献之","美国弗利尔美术馆","王献之《保母帖》，清宫旧藏，流散后，本帖和部分题跋存弗利尔美术馆（赵子昂、郭天锡、董其昌、徐守和等），大部分题跋存故宫博物院（姜夔、赵子昂、周密、仇远、鲜于枢等）。",[23,36,113,339,58,94,340,7],"拓本","字帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614954f526555092c1e1af4e18e4ebab.jpg",[],28,{"id":345,"slug":346,"title":314,"dynasty":175,"author":315,"museum":147,"description":347,"tags":348,"thumbUrl":350,"material":351,"size":352,"collection":154,"collections":353,"showCount":354,"zanCount":124,"manualWeight":11,"mainColor":80},290227,"yun-lin-zhong-xiu-tu-fang-cong-yi-290227","画苍茫之云山雾海，山峰高耸，山腰飘着一带浓云，朦胧一片，山下坡岸杂树茂密，还有一片暗淡树影，在一股白云飘带中时隐时现，更突出了苍茫云气之动感。画一高一低的山峰挺出于白云之上，山尖用墨色点染，山下深谷幽涧。画之右端，画有几棵苍天古松，用浓墨点出茂密的松枝和树干，生趣盎然。画面之末端，茂密的树丛中所出现之屋宇，俨然为一道观集中之地，有山门、有围墙、有宫观，这应是龙虎山上清宫之主观所在，其它宫观则分散各处。此画从表面上看系水墨云山烟树，实际为方从义绘道教第三十二福地龙虎山及上清宫等宫观。他所题《云林钟秀》即已说明所绘为“天地间灵秀之气所聚，亦省称‘灵秀’、‘毓灵’”。这灵秀之气所聚，及道教之福地。",[23,24,25,58,59,111,319,118,349,7,94],"林木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F643ccd723e1550afdc83087f48a35f73.jpg","未知","Xcm*Xcm",[],27,{"id":356,"slug":357,"title":358,"dynasty":18,"author":359,"museum":147,"description":360,"tags":361,"thumbUrl":364,"material":351,"size":352,"collection":154,"collections":365,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":48},288511,"xi-shan-qiu-ji-tu-wang-shen-288511","溪山秋霁图","王诜","王诜[shēn]（公元约1048年—公元约1104年），字晋卿，太原（今山西太原）人，后迁汴京（今河南开封），北宋画家。\n北宋熙宁二年（1069年）娶英宗女蜀国大长公主，拜左卫将军、驸马都尉。元丰二年，因受苏轼牵连贬官均州。元祐元年（1086年）复登州刺史、驸马都尉。擅画山水，学王维、李成，喜作烟江云山、寒林幽谷，水墨清润明洁，青绿设色高古绝俗。亦能书，善属文。其词语言清丽，情致缠绵，音调谐美。存世作品有《渔村小雪图》《烟江叠嶂图》《溪山秋霁图》等。",[23,89,24,25,58,59,111,112,118,29,289,362,363,36,7],"村落","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8549c065a57fcd8e41e55a4d3ea391e6.jpg",[],{"id":367,"slug":368,"title":369,"dynasty":145,"author":370,"museum":20,"description":371,"tags":372,"thumbUrl":376,"material":26,"size":377,"collection":75,"collections":378,"showCount":354,"zanCount":11,"manualWeight":11,"mainColor":80},223116,"hua-du-fu-shi-yi-gao-zong-yu-ti-zhou-dong-bang-da-223116","画杜甫诗意高宗御题轴","董邦达","董邦达（1699－1769或1774）清代官员、书画家。字孚闻、非闻，号东山，浙江富阳人。雍正十一年进士，乾隆二年授编修，官礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虔山派之间。与董源、董其昌并列。",[23,24,25,110,59,112,111,373,216,374,307,29,289,36,94,375,349,319,7],"山","云","峰峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde04473deae771195c36214c7564a0f8.jpg","18.5x148.5cm",[75,77],{"id":380,"slug":381,"title":382,"dynasty":53,"author":383,"museum":55,"description":384,"tags":385,"thumbUrl":388,"material":137,"size":389,"collection":44,"collections":390,"showCount":391,"zanCount":11,"manualWeight":11,"mainColor":80},220399,"ge-wu-tu-wu-wei-220399","歌舞图","吴伟","此图真实地反映了文士狎妓观舞的场景。狎客们与二女妓围坐一周，神态各异。狎客或侧首细品，或低头凝视，或举目静观，或捻须沉思。陪坐的女妓或机械地执板伴奏，或心不在焉地笼袖而坐，与狎客们专注的神情形成鲜明的对比。据画幅上唐寅墨款“吴门唐寅题李奴奴歌舞图，时弘治癸亥三月下旬，李奴奴十岁”可知，圈中翩翩起舞者是年方满10岁、但已为妓数载的李奴奴。明代是青楼业昌盛的时期，一方面资本主义萌芽逐渐兴起，都市经济日益壮大，商品市场迅速成长，为青楼业的生存和发展提供了广阔的空间；另一方面，腐败的明政府实行罚良为娼的政策，并在金陵(即南京)官办著名的十六楼(妓院)：南市、北市、鹤鸣、醉仙等，促使包括李奴奴在内的众多女子在遭遇各种生活的不幸后沦落青楼而成为玩物。鉴于青楼文化的兴盛，吴伟、唐寅等许多极富才情、仕途失意的画家纷纷饮酒狎妓，试图通过游妓来摆脱失意的郁闷和伦理的负担，获得心理的平衡与精神的松弛。他们对于自己的放浪行为并不加以掩示，唐寅自刻“江南第一风流才子”印章及吴伟所创作的此图，都意在表明自己以游妓为荣耀、玩世不恭的人生观。\n此图为吴伟45岁时所作。在表现技法上与《武陵春图》相近，属于细笔白描人物画。构图简约明了，主体人物突出，无繁复的景致烘托，仅通过人物生动的情态举止及其间的相互呼应抒发出富有生活情趣的诗意。",[23,24,25,386,110,90,28,387,39,7,94,89],"明代","乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb328ad9749d5d3efa719be4dbcbb7979.jpg","纵118.9厘米，横64.9厘米",[44,77],22,{"id":393,"slug":394,"title":395,"dynasty":145,"author":396,"museum":147,"description":397,"tags":398,"thumbUrl":400,"material":351,"size":352,"collection":154,"collections":401,"showCount":402,"zanCount":11,"manualWeight":11,"mainColor":80},288636,"mi-fei-le-xiong-tie-ti-ba-shou-juan-wu-chang-shuo-288636","米芾乐兄帖题跋手卷","吴昌硕","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[36,58,113,399,59,7,340,94],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6a5577c980b3bd7e5a286eb0bcfa8b5.jpg",[],20,{"id":404,"slug":405,"title":406,"dynasty":18,"author":252,"museum":147,"description":407,"tags":408,"thumbUrl":411,"material":351,"size":352,"collection":154,"collections":412,"showCount":402,"zanCount":11,"manualWeight":11,"mainColor":80},283689,"song-feng-ge-shi-juan-huang-ting-jian-283689","松风阁诗卷","黄庭坚（1045年6月12日—1105年9月30日），字鲁直，乳名绳权，号清风阁、山谷道人、山谷老人、涪翁、涪皤、摩围老人、黔安居士、八桂老人，世称黄山谷、黄太史、黄文节、豫章先生。宋江南西路洪州府分宁人（今江西省九江市修水县）人。祖籍浙江省金华市。北宋诗人黄庶之子，南宋中奉大夫黄相之父。北宋大孝子，《二十四孝》中“涤亲溺器”故事的主角。北宋著名文学家、书法家、江西诗派开山之祖。\n黄庭坚在诗、词、散文、书、画等方面取得很高成就。黄庭坚与张耒、晁补之、秦观都游学于苏轼门下，合称为“苏门四学士”。黄庭坚的诗，被苏轼称为“山谷体”。黄庭坚的书法独树一格，自成一家，他和北宋书法家苏轼、米芾和蔡襄齐名，世称为“宋四家”。在文学界，黄庭坚生前与苏轼齐名，时称“苏黄”。作品有《山谷词》《豫章黄先生文集》等。\n治平四年（1067年），黄庭坚进士及第，历任叶县县尉、北京国子监教授、泰和县知县、德平镇监、秘书省校书郎、《神宗实录》编修官、集贤校理、国史局编修官、起居舍人、宣州知州、鄂州知州、涪州别驾、宣议郎监鄂州、奉议郎兼宁国军判官、朝奉郎兼舒州知州、吏部员外郎、太平州知州等职。1105年，黄庭坚病逝于宜州南楼，享年61岁。而后，宋高宗追赠黄庭坚为“龙图阁大学士”。1265年，宋度宗追赠黄庭坚谥号：文节。黄庭坚一生为官清正，治学严谨，以文坛宗师、孝廉楷模垂范千古。",[23,89,25,58,36,113,94,7,409,410],"松","楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70786890a3734dd6dcc0548443c6144f.jpg",[],{"id":414,"slug":415,"title":416,"dynasty":175,"author":264,"museum":147,"description":417,"tags":418,"thumbUrl":422,"material":351,"size":352,"collection":154,"collections":423,"showCount":424,"zanCount":11,"manualWeight":11,"mainColor":80},290449,"you-bo-tan-hua-tu-ti-ba-ke-luo-ban-ni-zan-290449","忧钵昙花图题跋（珂罗版）","倪瓒（1301年－1374年），初名倪珽，字泰宇，别字元镇，号云林子、荆蛮民、幻霞子，江苏无锡人，元末明初画家、诗人。\n倪瓒擅画山水和墨竹，师法董源，受赵孟頫影响。早年画风清润，晚年变法，平淡天真。疏林坡岸，幽秀旷逸，笔简意远，惜墨如金。以侧锋干笔作皴，名为“折带皴”。墨竹偃仰有姿，寥寥数笔，逸气横生。书法从隶书入，有晋人风度，亦擅诗文。洪武七年卒，时年七十四岁。\n倪瓒与黄公望、王蒙、吴镇合称“元四家”。倪瓒家中富有，博学好古，四方名士常至其门。元顺帝至正初年，散尽家财，浪迹太湖。存世作品有《渔庄秋霁图》《六君子图》《容膝斋图》《清閟阁集》。",[23,36,419,7,420,421,25],"楷书","宗教","佛教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd084cc30dc40dba95b67a8c32b92874.jpg",[],18,{"id":426,"slug":427,"title":428,"dynasty":53,"author":146,"museum":147,"description":429,"tags":430,"thumbUrl":435,"material":351,"size":352,"collection":154,"collections":436,"showCount":437,"zanCount":11,"manualWeight":11,"mainColor":48},287862,"zui-ba-xian-tu-juan-yi-ming-287862","醉八仙图卷","此作以群仙醉态为骨，将八仙酣饮忘形之姿铺陈于卷：有人挥袖踉跄、醉舞不休，有人凭石颓坐、醺然欲眠，亦有二人相顾喟叹，将酒中疏狂放达描摹得淋漓尽致。衣纹线条圆劲流转，古雅沉厚设色带着唐风余韵，把仙人纵酒忘情、脱略形骸的逍遥意态尽数铺展。后拖题跋墨色苍润，诗画相映，衬出长卷林下高致，将酒中仙人们沉醉忘机、寄兴林泉的风流雅趣刻画得入木三分，是兼具笔墨意趣与传神功力的精妙之作。",[23,89,24,58,26,431,432,433,31,36,434,71,7],"人物画","醉八仙","醉酒","酣醉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba07776ca72d646182cec9a7a2c09a7e.jpg",[],15,{"id":439,"slug":440,"title":441,"dynasty":18,"author":442,"museum":147,"description":443,"tags":444,"thumbUrl":448,"material":351,"size":352,"collection":154,"collections":449,"showCount":450,"zanCount":11,"manualWeight":11,"mainColor":80},289590,"shi-jing-bin-feng-tu-ti-ba-ma-yuan-289590","诗经豳风图（题跋）","马远","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[23,58,36,419,7,445,94,446,447],"御题","典籍","农事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37aab0d7d86d8b6fc5d45dbee8aa827a.jpg",[],12,{"id":452,"slug":453,"title":454,"dynasty":53,"author":455,"museum":55,"description":456,"tags":457,"thumbUrl":460,"material":461,"size":154,"collection":154,"collections":462,"showCount":450,"zanCount":11,"manualWeight":11,"mainColor":80},234240,"ting-qiu-tu-juan-zhou-chen-234240","听秋图卷","周臣","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。\n中国明代中期的著名职业画家。他生活在成化至嘉靖年间。字舜卿，号东村，吴（今江苏苏州）人，生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。他有两个学生特别著名，一个唐寅，另一个仇英。唐寅、仇英青出于蓝，风格上极为接近，但当时名气已超过老师。\n周臣山水师承陈暹。曾刻苦临摹李成、郭熙、李唐、马远等作品，其主要取法于李唐派系。画山石坚凝，章法严谨，用笔纯熟。曾与戴进并驱，则互有所长。人物画也非常出色，古貌奇姿，绵密萧散，各极意态。南京博物院收藏的周臣代表作《柴门送别图》 ，描绘一文人携琴访友后，主客分别时依依不舍的情景，明月早已挂在高空，船工也已在船头熟睡，直至客人快要上船了，他还未酲来，说明主客送别时间之长，友谊之深，这其中也融含周臣画体的“院体画”与“文人画”的相融之处。周臣被人们称为非院派的“院派”画家。\n周臣是个丰产画家，流传下来的作品也不少，仅上海博物馆收藏《春山游踪图》 等大幅作品7幅，小扇页14幅，故宫博物院收藏《春山游骑图》《春泉山隐图》等 ，济南博物馆收有《访友图》 ，及台湾、国外大博物馆内也收藏一些作品。周臣这些流存至今的作品件件结构精整，幅幅见功力，下笔不苟。",[23,24,25,58,59,113,399,28,133,458,459,111,152,7],"竹子","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc39bceafc9a156609910412949d149.jpg","纸本，水墨",[],{"id":464,"slug":465,"title":466,"dynasty":53,"author":107,"museum":467,"description":468,"tags":469,"thumbUrl":10,"material":154,"size":154,"collection":75,"collections":472,"showCount":473,"zanCount":11,"manualWeight":11,"mainColor":474},203143,"qiu-xing-ba-jing-tu-ce-dong-qi-chang-203143","秋兴八景图册","上海博物馆","这幅画作笔墨清润雅致，以淡墨皴染山峦，线条古拙灵动。画面中山峦层叠起伏，松枝虬劲舒展，红叶点缀其间，秋意疏淡而悠长。近景树木姿态各异，与远处朦胧山影相映成趣，营造出清远幽寂的文人意境。书画相融，题跋笔墨流畅自然，尽显“书画同源”的韵致，将秋日山水的空灵之美悄然铺展。",[24,111,59,26,112,409,470,7,471,23],"红叶","文人画",[75],11,"d4cdc4",{"id":476,"slug":477,"title":478,"dynasty":18,"author":146,"museum":147,"description":479,"tags":480,"thumbUrl":483,"material":154,"size":154,"collection":154,"collections":484,"showCount":485,"zanCount":11,"manualWeight":11,"mainColor":80},227868,"li-gong-lin-kuan-zui-seng-tu-juan-yi-ming-227868","李公麟款醉僧图卷","此作用笔清劲秀逸，白描绘松阴下醉僧安坐，童子躬身侍弄，二仆携酒趋前，将怀素酣醉欲书的放旷神态暗蕴于简淡画面中，人物情态鲜活宛然。\n卷中题跋络绎，行书大字苍劲疏朗，长卷书法纵逸洒脱，与画作意趣呼应相合，全卷鉴印琳琅，书画合璧，尽显宋人的尚意风雅，笔墨间流转着颠僧醉后挥毫的疏狂意气，把禅意与文人情致融为一体，尽显古雅悠然的旧时艺坛意趣。",[23,89,24,25,58,90,59,28,29,134,31,34,481,36,113,482,94,7],"僧人","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F683a9ddc056efb94f95ef1ed88605b69.jpg",[],10,{"id":487,"slug":488,"title":489,"dynasty":145,"author":490,"museum":147,"description":491,"tags":492,"thumbUrl":500,"material":154,"size":154,"collection":154,"collections":501,"showCount":485,"zanCount":11,"manualWeight":11,"mainColor":80},224395,"cong-lin-lan-re-wang-yuan-qi-224395","丛林兰若","王原祁","此作用笔苍润老辣，以干笔积墨皴擦山峦，层岩叠嶂浑厚苍劲。溪涧蜿蜒穿流于蓊郁林木间，山径隐现幽林深处，铺展出清寂悠然的林下胜境。画面氤氲静谧古雅的禅意，将山野林泉的幽旷之美尽数铺陈。\n\n左侧题诗与画作相映成趣，诗画合璧，把山居雅逸的意趣烘托得淋漓尽致，仿若将观者引入这世外林泉，于山光水色里涤荡尘俗之心，尽显文人山水的悠然意境与沉静风骨。",[23,24,25,111,26,112,36,94,29,71,273,118,307,493,289,494,267,495,496,497,498,499,7],"丛林","山峦叠嶂","浅绛设色","山石勾勒","树木丛植","溪流蜿蜒","建筑掩映","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f5a2de7daf042bb44ee28e52239a0d9.jpg",[],{"id":503,"slug":504,"title":505,"dynasty":145,"author":490,"museum":147,"description":506,"tags":507,"thumbUrl":516,"material":154,"size":154,"collection":154,"collections":517,"showCount":485,"zanCount":11,"manualWeight":11,"mainColor":80},224385,"fang-da-chi-shan-shui-tu-wang-yuan-qi-224385","仿大痴山水图","此作取法大痴意趣，层峦从侧峰铺陈而下，逶迤溪水穿谷绕石，将山居屋舍、飞泉板桥藏于林壑之间，把江南山林的幽寂野趣铺展纸上。\n以干笔积墨反复皴擦，披麻皴写就山石肌理，墨色干湿浓淡交叠，苍厚生拙间带着萧散淡远的韵致。左上题跋朱印错落排布，文气晕染山水，让笔墨意境与文人意趣相融，整体清旷雅致，尽显山居林泉的静美逸致，师古而不泥古，于笔墨间氤氲出幽远的文人山水情致。",[23,24,89,25,508,59,26,71,273,321,509,510,29,511,112,512,513,471,514,515,94,7],"山水画","屋舍","飞泉","林壑","披麻皴","干笔积墨","幽寂","清旷雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbf015ee390ff81a46e533be58fbb6c.jpg",[],{"id":519,"slug":520,"title":521,"dynasty":145,"author":522,"museum":147,"description":523,"tags":524,"thumbUrl":526,"material":168,"size":154,"collection":154,"collections":527,"showCount":528,"zanCount":11,"manualWeight":11,"mainColor":80},237069,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237069","补景古臣松梅观鹤图像并附山水册","徐佐","此作用笔简淡松灵，以浅绛轻敷山水。层峦温润苍秀，林木枯荣交错，村居隐于林麓，板桥横溪渡水，疏密相宜间铺展出清寂淡远的山居胜境。干笔皴擦摹写山石肌理，枯木枝桠苍劲老辣，尽显山野清旷之态。\n\n左侧行书题识与山水合璧，笔墨萧散简逸，将寄情林泉的隐逸诗意融于尺幅之中，尽显幽居林下、观物寄兴的文人雅怀，是文人画诗书画意相融的典型之作。",[24,25,150,59,112,111,321,307,29,71,410,36,94,273,525,7],"建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3408920150f75610ff68e341a6566a69.jpg",[],8,{"id":530,"slug":531,"title":532,"dynasty":53,"author":54,"museum":467,"description":533,"tags":534,"thumbUrl":536,"material":154,"size":154,"collection":77,"collections":537,"showCount":528,"zanCount":11,"manualWeight":11,"mainColor":538},201747,"ni-yuan-tu-juan-xu-wei-201747","拟鸢图卷","笔墨狂放如天马行空，水墨交融间尽显性情。修竹夭矫，竹叶横斜如戟，墨色浓淡相破，苍劲中藏灵动。林间人物悠然自得，或卧或倚，与竹影相映成趣。书画共生，狂草题跋与画面交织，线条跌宕，如泣如诉，倾泻文人疏狂与超脱。每一笔皆含生命张力，竹影婆娑与笔墨挥洒共鸣，大写意之妙毕现。",[59,60,64,36,113,7,471,326,535,23],"修竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fa259a7a351678c0eb42fa8e1d85251.jpg",[77],"000000",{"id":540,"slug":541,"title":542,"dynasty":175,"author":543,"museum":147,"description":544,"tags":545,"thumbUrl":548,"material":351,"size":352,"collection":154,"collections":549,"showCount":550,"zanCount":11,"manualWeight":11,"mainColor":551},283622,"xing-shu-tie-xian-yu-shu-283622","行书帖","鲜于枢","鲜于枢（1246年—1302年），字伯机，号困学山民、直寄老人，晚年营室名“困学之斋”，祖籍金代德兴府（今张家口涿鹿县），生于汴梁（今河南开封），汉族，大都（今北京）人，一说渔阳（今津蓟州区）人，元代著名书法家，寓居扬州、杭州。大德六年（1302年）任太常典薄。元世祖至元年间以才选为浙东宣慰司经历，后改浙东省都事。\n鲜于枢晚年任太常典簿。好诗歌与古董，文名显于世，书法成就最著。明朱权《太和正音谱》将其列于“词林英杰”一百五十人之中。《新元史》有传。鲜于枢善诗文，工书画。尤工草书，酒酣吟诗作字，奇态横生，赵孟頫极推重之。有《困学斋杂录》、《困学斋诗集》。",[23,36,113,339,340,58,7,546,111,322,547],"诗文","寺院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e84c1a53ca1baf82a25aee1b9826c7a.jpg",[],7,"37474F",{"id":553,"slug":554,"title":555,"dynasty":145,"author":556,"museum":147,"description":557,"tags":558,"thumbUrl":559,"material":351,"size":352,"collection":154,"collections":560,"showCount":550,"zanCount":11,"manualWei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年11月22日—1802年3月26日），字大易，号小松、秋盦，又号秋影庵主、散花滩人。浙江钱塘人，钱塘黄氏八世。兼擅篆刻，与丁敬并称丁黄，为“西泠八家”之一。",[24,59,90,150,111,362,114,319,94,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec6732ab7dbed29550b6e9e7d243771.jpg",[],{"id":562,"slug":563,"title":564,"dynasty":175,"author":264,"museum":467,"description":565,"tags":566,"thumbUrl":570,"material":154,"size":154,"collection":77,"collections":571,"showCount":550,"zanCount":11,"manualWeight":11,"mainColor":572},201732,"qiu-kong-luo-ye-tu-zhou-ni-zan-201732","秋空落叶图轴","画面以疏简之笔铺陈，枯树虬枝倚孤石而立，旁伴修竹数竿，笔墨清劲萧散。枯树枝干以中锋勾勒，线条如铁线坚韧；孤石用折带皴法，简约间见古拙质感；细竹丛生，笔意灵动，与枯树孤石相映成趣。整幅以干笔淡墨为基调，不施浓彩，传递出空寂淡远的意境，尽显文人画“逸笔草草”的精髓。题跋与书画交融，笔墨间流淌着超脱尘俗的淡泊心境，于极简中藏无穷意蕴，仿佛引观者步入一片清寂的精神桃源。",[24,59,116,67,64,112,567,269,7,568,569,471,23],"干笔","萧散","空寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d5d2095a7384dd19afad4a082832798.jpg",[77],"8f827b",{"id":574,"slug":575,"title":576,"dynasty":577,"author":146,"museum":147,"description":578,"tags":579,"thumbUrl":587,"material":351,"size":352,"collection":154,"collections":588,"showCount":589,"zanCount":11,"manualWeight":11,"mainColor":80},231710,"lian-cang-shi-dai-tian-gou-cao-zhi-hua-juan-xing-fu-si-juan-yi-ming-231710","镰仓时代 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陈淳应为58岁，此作亦为其是画风成熟之作。从其题跋可以得知陈淳游历数月，画作颇丰，认为此作为“草本”，可见其自觉并无刻意求工，描写大略而已。\n卷尾文彭题曰：“赵昌王友已无伦，更学徐熙更逼真。意到不论颜色似，笔端原有四时春。阅白阳杂花漫题。文彭。”充分体现了吴门花鸟画的文人雅趣，“意到不论颜色似”概括了文人写意的特征，而“漫题”也体现了题咏者的状态，反映出文人书画家的共同气质特点与审美追求。\n文人王穉登的题跋则突出了对陈淳花卉写生推崇与称赞。“写生贵在约略点染，天真烂如。不当以分葩计蕊为似，重丹叠翠为工。观此册陈道复先生所作，粉墨萧闲，意象自足，所谓千金骏骨，识者求之牝牡骊黄之外可也。”此段题跋强调了陈淳花卉写生最主要的特点，即约略点染，不求工细，而意象自足。\n卷尾的金农长跋也对陈淳“行笔绝无时蹊，设色亦未敷采炫目，画以意似而非以形似也”的风格进行梳理，论述了写意书写的源流。但这段题跋存在一些问题。其一，通篇书体较为拘谨，特别是每行末字，刻意缩减对齐，非常局促。其二，“后世临写纷纷，徒劳豪楮”中“豪”应为“毫”之误。此出自大文人之手，有些牵强。其三，“此册九叶，花草凡七，间以山水两帧。”所述并非此册，极有可能是将他处题跋移接此处所致。所以这段金农题字不足以为据，至于真伪原由的评断，是另外的话题。本文主要论及陈淳花卉写生的艺术特点，就不将此段金农的论述作为讨论的依据了。\n变化生动自然，是陈淳花卉写生的代表作。如果将此册置于陈淳传世花鸟画作品中做一纵向比对，可以发现其共性的特征集中体现在这件作品中，同时，这件作品还有一些不同于其他作品的独到之处，都统一在率意自足的书写风格之中。所以这件陈淳绘画风格成熟期的作品，总体来看，体现了陈淳如下几个方面的鲜明的艺术特点。",[23,24,25,89,59,215,68,471,36,386,598,7,599,600],"花鸟画","笔墨淋漓","写意花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ba7d9cdec86c0d7f73ca453017e82d2.jpg","纸本设色","32.5×57.3厘米",[],{"id":606,"slug":607,"title":608,"dynasty":53,"author":609,"museum":147,"description":610,"tags":611,"thumbUrl":613,"material":351,"size":352,"collection":154,"collections":614,"showCount":615,"zanCount":11,"manualWeight":11,"mainColor":80},287955,"shan-shui-tu-wen-zheng-ming-287955","山水图","文徴明","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[23,89,24,25,58,59,111,612,118,29,322,151,362,319,7,94],"江河","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f4f3e980274033cbc75ab347d4b58af.jpg",[],5,{"id":617,"slug":618,"title":619,"dynasty":53,"author":107,"museum":147,"description":620,"tags":621,"thumbUrl":622,"material":351,"size":352,"collection":154,"collections":623,"showCount":615,"zanCount":124,"manualWeight":11,"mainColor":80},283705,"za-shu-juan-dong-qi-chang-283705","杂书卷","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[23,36,58,113,399,94,340,7,546,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4135193a2c14313b4b29f85c0717d9a.jpg",[],{"id":625,"slug":626,"title":627,"dynasty":145,"author":628,"museum":55,"description":629,"tags":630,"thumbUrl":632,"material":168,"size":154,"collection":154,"collections":633,"showCount":615,"zanCount":11,"manualWeight":11,"mainColor":48},233150,"cheng-zhao-xiong-xiang-zhou-ding-gao-233150","程兆熊像轴","丁皋","寓居扬州的丁皋，主要以给官贾写真为生，其中不乏佳作。最典型的是现藏于故宫博物院的《桐华庵主三十六岁小 像》。此图画于乾隆十八年(1753)，为程兆熊写真图。程兆熊(1717—1764)是扬州当时的文化名流，其字孟飞，号香南，工诗词，书画俱佳。乾隆 时寓居扬州仪征桐华庵，故号桐华庵主。李斗《扬州画舫录》中对其评道：“扬州名园甲第、榜署屏障，金石碑版之文，皆赖之。”丁皋画的程兆熊像所占幅面很 小，但眉目神情，生动细腻。此图以生宣入画，更觉“运思落墨，均臻神妙”。画中背景则由当时扬州名画家黄溱、华嵒合作完成。",[24,25,110,26,27,631,59,28,29,323,30,525,584,7],"界画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6d8cd75563d88afb2a56c5d1d038a93.jpg",[],{"id":635,"slug":636,"title":637,"dynasty":18,"author":146,"museum":147,"description":638,"tags":639,"thumbUrl":643,"material":154,"size":154,"collection":154,"collections":644,"showCount":615,"zanCount":11,"manualWeight":11,"mainColor":80},223601,"qiu-tang-ke-hua-tu-yi-ming-223601","秋堂客话图","此作用笔苍秀，以浓淡晕染铺就秋意萧疏的林泉之境。深翳林木环绕茅堂，两位雅客对坐晤谈，神态悠然自在，尽显林下清谈的幽闲意趣。\n\n画作以水墨写就，林木层叠错落，墨色浓淡交织，将秋日林野的沉静空寂烘托尽致，以景衬情，把文人寄情丘壑、畅叙襟怀的雅兴融于尺幅间，尽显内敛雅致的韵味，幽静淡远的氛围扑面而来，恍若能聆听到堂中清谈，踏入这方隐逸闲雅的林下天地。",[23,24,25,59,27,112,28,29,71,30,640,36,7,641,642],"小屋","老树","围栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb273ed093f60030063c809dadd5b9fc3.jpg",[],{"id":646,"slug":647,"title":648,"dynasty":145,"author":146,"museum":147,"description":649,"tags":650,"thumbUrl":651,"material":351,"size":352,"collection":154,"collections":652,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":80},288196,"mi-you-ren-kuan-chu-shan-qiu-ji-yi-ming-288196","米友仁款楚山秋霁","此作追摹米家云山之法，以淡墨层层晕染山峦林麓，间以浓墨错落点苔，不着意勾勒山石轮廓，纯以水墨干湿浓淡的层次变化，晕染出楚山秋霁后烟岚浮动、空濛湿润的清灵景致，萧散简远，尽显文人山水的淡逸禅意。\n整卷拖尾题跋琳琅，钤印错落，层层递加的鉴藏印记晕开厚重的流传脉络，精准还原了米家山水的烟雨空蒙之韵，将秋日楚山初晴的温润灵秀，藏入氤氲墨色之中。",[23,89,24,25,58,59,111,36,113,399,94,363,118,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cedc727e28733e55d4168e8b27dd6d8.jpg",[],{"id":654,"slug":655,"title":656,"dynasty":18,"author":657,"museum":147,"description":658,"tags":659,"thumbUrl":661,"material":154,"size":154,"collection":203,"collections":662,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":80},239675,"de-zhi-ti-wu-xi-tu-shi-de-zhi-239675","德止题浯溪图诗","德止","此作为尚意书风的典型写照，用笔灵动跳脱。笔画粗细跌宕间，牵丝映带自然圆融，字势欹侧相生，通篇行气贯通，流转着萧散出尘的禅意。\n\n章法疏朗错落，墨色干湿浓淡交织变幻，起收笔尽显随性洒脱，将禅家冲淡襟怀融于笔墨。每一字舒展自在，既带着行书流美的韵律感，又裹挟着林下清逸的禅味，尽显文人禅僧的简淡心境，是宋代禅意书法的上乘佳构。",[242,36,113,660,7],"诗词","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3def52d025d9d08a1b13db3467b5f51e.jpg",[203],{"id":664,"slug":665,"title":666,"dynasty":145,"author":667,"museum":55,"description":668,"tags":669,"thumbUrl":674,"material":602,"size":675,"collection":154,"collections":676,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":80},233750,"tu-wan-zhen-xiang-sha-fu-233750","屠婉贞像","沙馥","屠婉贞出身名门，是清代画家屠倬的孙女，嫁给清宗室毓本为妻。题跋中称赞她可媲美赵孟頫的夫人管道昇，刺绣技艺高超，又善丹青，同时还是一位慈母，训导子课。屠婉贞的脸部由民间画工绘制，衣纹和古玩器具由海派画家沙馥补画，并有吴昌硕、杨岘等题跋。\n虽然社会对女子的限制仍然非常多，但赵琰哲认为，明清女子的活动空间在不断拓展，如蹴鞠、投壶、舞剑、音律、看戏听曲等用以深闺消遣，或者节日游园、逛庙会，或者结社唱和，饮酒赋诗，写字作画。因此，明末清初江南地区出现了很多擅长诗文书画的才女，才与德变得同样重要。在这种氛围中，绘画与女子的关系变得更为紧密：一方面江南地区女性独幅肖像出现，意味着女性拥有了独立成像的权利，画中女子不再是作为艳俗的仕女画供男子赏玩，而是体现出女性的自我独立与自我肯定；另一方面，女性也亲身参与到绘画活动中。",[24,25,26,27,28,670,671,672,673,113,7],"花瓶","水仙","椅子","桌子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc00a43a0b7d9438f3a47839e5dd81676.jpg","133.3×32.8厘米",[],{"id":678,"slug":679,"title":680,"dynasty":145,"author":681,"museum":467,"description":682,"tags":683,"thumbUrl":684,"material":154,"size":154,"collection":75,"collections":685,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":686},203344,"shan-shui-ce-shen-zong-jing-203344","山水册","沈宗敬","画面以水墨写意山水，枯笔皴擦勾勒山石轮廓，肌理分明；疏木倚石而生，枝干苍劲，墨色浓淡间见层次。远处烟水朦胧，远山淡染，尽显悠远之致。右侧行书题跋笔墨流畅，与朱红印章相映成趣，文气盎然。整体笔墨简淡却意蕴深厚，似可居可游，流露文人寄情山水的闲逸心境，尽显古雅清幽之韵。",[24,111,150,59,112,67,29,94,36,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3157965d37ecd9e52d9b653dfba206a8.jpg",[75],"e5e1cf",{"id":688,"slug":689,"title":690,"dynasty":53,"author":107,"museum":467,"description":691,"tags":692,"thumbUrl":694,"material":154,"size":154,"collection":75,"collections":695,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":696},201772,"she-shan-you-jing-tu-zhou-dong-qi-chang-201772","佘山游境图轴","此画笔墨疏朗雅致，以淡墨勾勒山石轮廓，复加皴擦晕染，线条兼具刚柔之韵，尽显文人画的写意精神。山峦起伏间，树木姿态各异，或挺拔于崖畔，或虬曲于坡岸，与层叠山石相映成趣，营造出静谧悠远的山林之境。构图虚实相生，留白处似有云雾流转，引人遐思。画面题跋与朱印点缀，书意与画意交融，更添书卷气息，将自然山水与人文情怀凝于尺幅之间，展现出独特的艺术格调与对山水意境的深刻体悟。",[59,111,112,471,7,94,29,71,268,693,23],"雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd59b0df5f47f449a71841fe3c8ee5230.jpg",[75],"b7a98d",{"id":698,"slug":699,"title":700,"dynasty":145,"author":701,"museum":147,"description":702,"tags":703,"thumbUrl":714,"material":351,"size":352,"collection":154,"collections":715,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":80},236038,"di-qi-ga-na-ba-long-zun-zhe-ding-guan-peng-236038","第七嘎纳巴蕯尊者","丁观鹏","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[704,27,26,431,705,706,707,7,94,708,709,710,711,712,713],"清代","宗教题材","神态刻画","细节描绘","服饰纹样","坐具","念珠","脚踏","线描","设色细腻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfda79887b1aa8cf64de71a8ad8017f5.jpg",[],{"id":717,"slug":718,"title":719,"dynasty":145,"author":720,"museum":20,"description":721,"tags":722,"thumbUrl":728,"material":729,"size":730,"collection":154,"collections":731,"showCount":79,"zanCount":11,"manualWeight":11,"mainColor":80},219663,"hai-cuo-tu-di-si-ce-5-nie-huang-219663","海错图第四册-5","聂璜","清代康熙年间一部主要描绘海洋生物的图谱，由聂璜绘制，共四册。清雍正四年（1726年），被太监苏培盛搜罗入宫，现第一、二、三册，共三存于北京故宫博物院，第四册存于台北故宫博物院。",[24,25,150,26,27,723,724,725,726,7,727],"海贝","海洋生物","螺类","小生物","文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e4543bfe090b341f46c6fbb9728beba.jpg","纸本,设色","30.4x68厘米",[],{"id":733,"slug":734,"title":735,"dynasty":145,"author":736,"museum":147,"description":737,"tags":738,"thumbUrl":742,"material":351,"size":352,"collection":154,"collections":743,"showCount":102,"zanCount":11,"manualWeight":11,"mainColor":80},241374,"ti-san-xia-pin-quan-zhou-wang-ying-quan-241374","题三峡品泉轴","汪应铨","汪应铨，[清]字杜林，号梅林，江苏常熟人。康熙五十七年（一七一八）状元，官赞善。工小楷。《昭代尺牍小传、瓯钵罗室书画过目考》 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