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內府圖書之印”均伪，故此图当为宋以后摹本。而《文苑图》人物神采奕奕，笔墨功力深厚，本幅右下角又有南唐墨钤“集賢院御畫印”，证明此图不会晚于五代，极可能即周文矩原迹，惟前半段已佚，也许周文矩又重临了后半段，亦不排除为同时高手临仿本。总之《文苑图》属五代真迹名品，殊无疑义。\n作品所绘琉璃堂人物故事，据考即唐玄宗时著名诗人王昌龄任江宁县丞期间，在县衙旁琉璃堂与朋友宴集的故事，与会者可能有其诗友岑参兄弟、刘眘虚等人。《文苑图》绘四位文士围绕松树思索诗句，有倚壘石持笔觅句者，有靠松干构思者，有两人并坐展卷推敲改诗者，情态各异，形神俱备。所缺前半段从《琉璃堂人物图》中可以看到，是画四人围坐议论，其中有一位僧人，还有侍奉的童仆。从全卷场面可领略当时宴集之盛况。\n此图画法与《琉璃堂人物图》及周文矩另一幅《重屏会棋圈》卷(宋摹本)相比较，风格相似，都呈周氏典型面貌，但水平却有高下之分。本图人物衣纹所运“战笔描”细劲有力，曲折中见流畅，圆润中具轻重，树石勾染细致，富层次和立面感，人物情态尤富神采，个性各异。作为五代一幅真迹，确反映了该时代所达到的水平。\n此图见于《石渠宝笈·初编》和明·詹景凤《玄览编》著录，可能曾入南唐后主李煜《阁中集》，后又入北宋徽宗《宣和睿览集》。",[23,49,24,25,50,51,27,52,53,54,55,31,56,57,7],"名画","长卷","工笔","人物","松树","石桌","器物","文人","古代服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dcc12af75f41000fa86d14d7b6bf9fe.jpg","",[],87,1,"795548",{"id":65,"slug":66,"title":67,"dynasty":68,"author":69,"museum":70,"description":71,"tags":72,"thumbUrl":85,"material":86,"size":59,"collection":59,"collections":87,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":39},220560,"lu-xun-yu-qu-qiu-bai-xu-bei-hong-220560","鲁迅与瞿秋白","民国","徐悲鸿","中央美术学院美术馆","画面以一动一静构置张力，站立的瞿秋白舒展自若，抬手持烟尽显温润从容；端坐的鲁迅凝眸持烟，神色沉静锐利，尽显思想锋芒。铅笔线条细腻精准，将二人长衫身姿勾勒得儒雅传神，复刻出民国文人的风骨气度。\n\n背景书架与小幅挂画烘托出书房的沉静氛围，左侧题字带着创作随笔的鲜活质感，让这幅写生多了几分私语般的松弛。徐悲鸿以写实笔触定格挚友相处的松弛瞬间，将革命文人的相知情谊藏在细节里，落笔克制却满含温度，把精神共鸣与文人风骨永远定格在画纸之上。",[73,74,52,75,76,77,78,79,7,80,81,82,83,84],"素描","写实","民国服饰","室内场景","书架","椅子","挂画","长袍","眼镜","站姿","坐姿","手部动态","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd35baa1f70ee32b5127b101976bdff7a.jpg","纸本素描",[],75,{"id":90,"slug":91,"title":92,"dynasty":18,"author":93,"museum":46,"description":94,"tags":95,"thumbUrl":105,"material":59,"size":59,"collection":59,"collections":106,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":39},234227,"hua-guo-juan-zhu-da-234227","花果卷","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”。",[23,24,25,50,96,97,98,99,100,101,102,103,26,104,7,31],"水墨","写意","行书","南瓜","白菜","佛手","石榴","梅花","蔬果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd794f3dd4ca89c61b435218135cfad42.jpg",[],68,{"id":109,"slug":110,"title":111,"dynasty":18,"author":112,"museum":113,"description":114,"tags":115,"thumbUrl":122,"material":123,"size":124,"collection":59,"collections":125,"showCount":126,"zanCount":11,"manualWeight":11,"mainColor":63},214350,"san-jue-shan-shui-ce-12-hua-yan-214350","三绝山水册-12","华嵒","美国弗利尔美术馆","华岩的十六页中描绘了一幅清晰、优雅和空灵的风景。新罗山人擅长花鸟和人物，但山水也可以纳入收藏。",[23,24,25,116,96,117,118,119,120,121,7,31],"册","皴法","山水","山石","树木","茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d645bd7614b93420bcf09623d61f35a.jpg","纸本","23.4x15.8",[],67,{"id":128,"slug":129,"title":130,"dynasty":131,"author":132,"museum":133,"description":134,"tags":135,"thumbUrl":145,"material":146,"size":59,"collection":147,"collections":148,"showCount":149,"zanCount":150,"manualWeight":11,"mainColor":63},218320,"lu-hong-cao-tang-shi-zhi-tu-yi-ming-218320","卢鸿草堂十志图","宋","佚名","北京故宫博物院","长卷徐徐展开，十帧隐逸图景次第铺呈。峰岫含烟，林麓交映，古树盘曲如铁，流泉飞泻似练。其间草堂错落，或临溪筑榭，或依山构宇，隐者或凭轩观瀑，或策杖行吟，或围坐论道，意态悠然。墨色浓淡相宜，皴擦点染间见丘壑之妙；题辞穿插其间，笔意与画意相生，文气氤氲。整幅作品古雅沉静，尽得林泉高致之趣，仿佛能闻松风竹韵，听山涧清音，令人心向往之，沉醉于那片远离尘嚣的幽居天地。",[23,49,24,50,96,118,136,137,138,139,140,141,117,7,142,143,144],"草堂","古树","飞泉","峰岫","林麓","隐者","隐逸","古雅","林泉高致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96939053844aa2166756d34301b6320a.jpg","纸本,水墨","山水画精选",[147],61,2,{"id":152,"slug":153,"title":154,"dynasty":131,"author":155,"museum":46,"description":156,"tags":157,"thumbUrl":162,"material":59,"size":59,"collection":59,"collections":163,"showCount":164,"zanCount":11,"manualWeight":11,"mainColor":63},228050,"hua-niao-tu-ye-wang-xiao-228050","花鸟图页","王晓","此作以柔枝海棠为景，两只白头翁栖于枝上，一昂首啁啾，一侧耳凝望，情态灵动鲜活。花瓣晕染细腻，粉白渐变柔和饱满，枝叶勾勒挺括，敷色雅致温润。禽鸟羽毛丝缕毕现，将绒羽蓬松质感描摹入微，工细笔触尽显精妙。整幅设色清逸柔婉，留白妥帖悠远，搭配题字更添文趣，将春日花鸟的缱绻生机定格绢上，清雅静谧里藏着灵动意趣，尽显雅致细腻的古典审美意趣。",[23,24,25,49,51,27,26,158,159,7,160,161],"海棠","白头翁","清雅","灵动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97693085cc822f814fba371da1aa941e.jpg",[],58,{"id":166,"slug":167,"title":168,"dynasty":169,"author":170,"museum":20,"description":171,"tags":172,"thumbUrl":184,"material":146,"size":185,"collection":147,"collections":186,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":39},214729,"shan-shui-tu-qian-gu-214729","山水图","明","钱谷","这幅画描绘了一位士子读书，一位客人拿着琵琶来访。完全基于文征明的方法，这幅画的构图密集而优雅，充满了书卷气。",[24,25,173,96,117,7,31,118,119,120,174,53,175,176,177,178,179,180,181,182,183],"立轴","亭","山峰","小径","云雾","山路","林间","峭壁","层岩","古木","山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F455082ac469620323dfec9e54692861c.jpg","117.6x24.6",[147],55,{"id":189,"slug":190,"title":191,"dynasty":169,"author":192,"museum":20,"description":193,"tags":194,"thumbUrl":200,"material":201,"size":202,"collection":59,"collections":203,"showCount":204,"zanCount":62,"manualWeight":11,"mainColor":39},222571,"hua-hui-shan-mian-chen-chun-222571","花卉扇面","陈淳","陈淳，1483年生，1544年逝世（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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。在绘画史上，陈淳与徐渭并称为“白阳、青藤”， 陈淳的绘画当属文人隽雅一路的，即“白阳”一派画家。\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。\n陈淳中年以后间作山水，技法学米友仁、高克恭，多以江南风景为题材，手法简练，极具文人生活情趣，文徵明曾微笑着说：“吾道复举业师耳，渠书、画自有门径，非吾徒也。”存世作品有《红梨诗画图》《山茶水仙图》《葵石图》《罨画图》等。其子陈括继承父风、擅花卉。\n陈淳绘山水，效法米友仁、高克恭，水墨淋漓，颇得氤氲之气。他的泼墨之功，往往见于画烟云之中。在写意花卉方面，陈淳独得玄门，笔法挥洒自如，富有疏朗轻健的风姿，用墨设色，则如徐沁所谓“浅色淡墨之痕俱化矣！”王世贞在《州续稿》中说：“胜国（元朝）以来，写花卉者无如吾吴郡，而吴郡自沈启南（周）后，无如陈道确，陆叔平（治）”。近代画家如蒲华、吴昌硕、齐白石等，在诗文题书画中，都对陈淳做出了极高的评价。明万历年间即有人曾评价过陈淳在花卉方面的造诣和声誉都超过了文征明，成为继沈周之后的吴门大家。明清以来画家，尤其在花鸟画方面，受他的影响很深。他与徐渭齐名，人称“青藤白阳”。现存的陈淳作品大部分均在博物馆收藏，民间甚少得见。",[23,24,25,195,97,96,27,98,30,196,197,198,199,7],"扇面","花枝","花叶","写意花鸟","笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77b227089b3a30105cdc5394e4006f97.jpg","纸本，泥金","纵18.6厘米横54.1厘米",[],47,{"id":206,"slug":207,"title":208,"dynasty":18,"author":209,"museum":46,"description":210,"tags":211,"thumbUrl":217,"material":59,"size":59,"collection":59,"collections":218,"showCount":219,"zanCount":62,"manualWeight":11,"mainColor":39},228980,"shan-shui-hua-hui-tu-ce-shi-tao-228980","山水花卉图册","石涛","在石涛的山水花卉图册共有八幅，多为水墨设色。\n在此选二幅，其一《豆角》，笔意恣肆，浓墨点干写藤，豆角略敷彩青，繁简细拙，得自天成。\n于画幅中自题：“紫花白花狼藉尽，眉毛碧翠眼中青。\n炎炎日晒草先腐，遮过流萤几点星。\n”属款“清湘枝下人济”。\n: : : 作者: 流派: 原作尺寸:51．92．4cm (1642―约1718)：清初书画家、画学理论家。\n僧人。\n俗姓朱，名若极，广西全州人。\n法名原济，一作元济(后人传为“道济”，道乃尊称，非名字，实误)，小字阿长，字石涛，号大涤子、清湘陈人、清湘遗人，晚号瞎尊者、零丁老人等， 自称苦瓜和尚。\n明宗室靖江王赞仪之十世孙。\n与梅清、梅庚、戴本孝等交往，相互影响，合称“黄山派”。\n擅画花果兰竹，兼工人物，尤擅山水，画名极盛。\n与弘仁、髡残、朱耷合称“清初四僧”。\n对后来扬州画派与近代画风影响极大。\n传世作品有《春江垂钓图》、《细雨虬松图》、《 》、《黄山八胜图》、《采菊图》、《秋山图》、《双清阁图》、《山水清音图》、《竹石图》、《荷花图》、《李白诗意图》。\n著有《苦瓜和尚画语录》，阐述了他对山水画的认识，提出“一画”说，主张“借古以开今”，“我用我法”，和“搜尽奇峰打草稿”等，在中国画史画论上具有十分重要的影响与意义。\n其二《芙蓉》，写芙蓉花临波照影之姿。\n以淡墨疏笔横写水波，浅青纵点，形成水波粼粼之态。\n粗笔大写花叶，芙蓉却以细笔勾出筋脉，娇艳柔美，墨彩相得益彰。\n画幅左下角自题：“秋水江楼弥洁，芙蓉曲岸生文。\n小立坡头如画，夕阳影落缤纷。\n”属款“膏肓子济”。",[49,24,25,116,96,117,212,31,118,213,214,215,216,120,7],"书法","小桥","流水","孤舟","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d4a84d90ea1a3c6dfbcb2ae487102f.jpg",[],39,{"id":221,"slug":222,"title":223,"dynasty":224,"author":225,"museum":46,"description":226,"tags":227,"thumbUrl":232,"material":233,"size":234,"collection":59,"collections":235,"showCount":236,"zanCount":62,"manualWeight":11,"mainColor":39},290933,"wen-shu-xi-xiang-tu-qian-xuan-290933","文殊洗象图","元","钱选","文殊菩萨，佛教菩萨名，梵文Maňjuśrī的音译，略称“文殊”，意为“妙德”“妙吉祥”等，新译“曼殊室利”。文殊师利菩萨是中国佛教四大菩萨之一，以论述“般若性空”和“般若方便”的理论著称。\n作为释迦牟尼佛的左胁侍，专司智慧，与司“理”的右胁侍普贤菩萨并称。此外，毗卢遮那如来、文殊菩萨、普贤菩萨被尊称为“华严三圣”。相传文殊菩萨的说法道场在山西五台山。\n文殊菩萨顶结五髻，以代表大日五智，手中持剑，表示以智慧为利剑，驾狮子以表示智慧之威猛。另外，文殊为相应众生的不同因缘，还会有不同形象的“示现”，如一字文殊、五字文殊、六字文殊、八字文殊、一髻文殊、五髻文殊、八髻文殊、儿文殊等。其中以五字五髻文殊最为常见。",[23,49,24,25,50,228,27,52,229,230,231,7,31],"宗教","兽","大象","文殊菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7566961534675ffa5fae33026de3714.jpg","未知","Xcm*Xcm",[],37,{"id":238,"slug":239,"title":240,"dynasty":131,"author":241,"museum":133,"description":242,"tags":243,"thumbUrl":254,"material":255,"size":256,"collection":59,"collections":257,"showCount":258,"zanCount":11,"manualWeight":11,"mainColor":39},233705,"yun-shan-mo-xi-tu-juan-mi-you-ren-233705","云山墨戏图卷","米友仁","此图描绘沿江景色，近处岸边一条细径曲曲弯弯，间有板桥相连，远方峰峦起伏，云烟密布，溪流缓缓，林木森郁，屋舍隐现。此图采用“米家山水”的典型画法，山峦坡渚先用淡墨染就，继以大小各异的横向墨点反复在山头、山脊等部位再次图写，从而达到表现江南风光润泽华滋、雾气迷蒙的独特效果。明代董其昌曾携此图往游洞庭湖，惊叹米友仁的写生本领，云：“舟次斜阳，篷底一望空阔，长天云物，怪怪奇奇，一幅米家墨戏也。”\n《云山墨戏图》原题为米友仁所绘，但徐邦达先生根据其画法、题款的用笔及书写部位等因素认为并非米友仁原作。不过，此图画法全从“米家山水”而来，董其昌称其“元气淋漓，布境特妙”毫不夸张，对研究此派山水的重要价值显而易见。",[24,25,50,96,118,244,120,31,212,117,97,245,246,247,177,248,7,249,250,251,252,253],"云","点染","远山","近树","山峦","墨笔","文人画","水墨山水","米家山水","米点皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff8872f3f211ac9fd3d2589faf668ec1.jpg","纸本，墨笔","纵21.4厘米，横195.8厘米",[],36,{"id":260,"slug":261,"title":262,"dynasty":18,"author":209,"museum":133,"description":263,"tags":264,"thumbUrl":267,"material":268,"size":269,"collection":59,"collections":270,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":39},233425,"yuan-ji-shan-shui-ce-shi-tao-233425","原济山水册","本册10开，或墨笔或设色，末开自款“时甲子新夏呈阆翁火词宗夫子，清湘秃发济”，钤“冰雪悟前身”，（白文方印）每开上“忍庵图书”一印。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,25,116,96,27,117,118,265,120,119,266,7],"小屋","杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7570e2d7e819c7dbd70ebd7ddbb567db.jpg","纸本 ，设色\u002F墨笔","纵27.7cm，横39.7cm",[],28,{"id":273,"slug":274,"title":275,"dynasty":18,"author":276,"museum":46,"description":277,"tags":278,"thumbUrl":284,"material":233,"size":234,"collection":59,"collections":285,"showCount":286,"zanCount":11,"manualWeight":11,"mainColor":63},290577,"xue-jing-ren-wu-qian-long-yu-ti-zhou-zhang-peng-chong-290577","雪景人物乾隆御题轴","张鹏翀","张鹏翀（1688～1745）清代画家。字天扉，一作天飞，号抑斋、南华山人、南华散仙，人谓之漆园散仙。崇明（今属上海市）人，居嘉定（今属上海）。幼年多病，资性滞钝。十七岁时开悟，遍读经史，精通诗文绘画，才思敏捷，命题咏，可应声立就，时人比之为古代东方朔、苏轼。作画亦顷刻能尽数纸。爱佳山水，常裹粮往游。\n雍正五年（1727）进士，官至詹事府詹事。曾以所作《经史法戒诗》《万寿圣德诗》《十慎箴》《春林淡霭图》《日长山静》画扇进献乾隆帝。帝亦曾以御画《松竹图》、御书“双清阁”匾额，以及笔砚、纱缎、绒貂之类赐之。在朝所进诗，及与诸同僚和者，不下数百篇。\n乾隆十年（1745），以省墓请假归乡，帝赐白金百两， 御制五律一章，以宠其行，行至山东临清以病卒。",[24,173,96,279,118,52,280,53,281,7,31,282,283],"雪景","茅舍","枯树","幽居","清冷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ebecd8fd68b61db612f78fd8a2c040f.jpg",[],18,{"id":288,"slug":289,"title":290,"dynasty":18,"author":291,"museum":46,"description":292,"tags":293,"thumbUrl":299,"material":233,"size":234,"collection":59,"collections":300,"showCount":301,"zanCount":11,"manualWeight":11,"mainColor":39},238481,"hua-hui-tu-ce-jiang-ting-xi-238481","花卉图册","蒋廷锡","蒋廷锡（1669年－1732年），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，清朝康熙、雍正时期官员、画家、文献学家、藏书家。\n蒋廷锡为康熙四十二年（1703年）进士，授翰林编修。雍正帝即位后历任礼部侍郎、户部尚书等职。雍正六年（1728年）拜文华殿大学士，仍兼理户部事，并任《明史》总裁。次年（1729年）加太子太傅。累封一等阿达哈哈番。雍正十年（1732年）卒于任内，谥号“文肃”。\n蒋廷锡在官秉公抚政、剔除积弊，声誉甚著。为人博学精敏，尤善诗画。擅长花鸟，以逸笔写生，奇正率工，敷色晕墨，兼有一幅，能自然洽和，风神生动，得恽寿平韵味。点缀坡石，偶作兰竹，亦具雅致。曾画塞外花卉70种，被视为珍宝收藏于宫廷。今有《牡丹扇面》《岁岁久安图》《桃花鹦鹉图》《竹石图》轴及《花卉图》等传世。",[24,25,116,27,51,98,31,26,30,294,295,296,7,297,298],"蜻蜓","孤石","叶片","昆虫","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd7c9fca31ee664bedfe2e8bead96273.jpg",[],15,{"id":303,"slug":304,"title":305,"dynasty":131,"author":132,"museum":20,"description":306,"tags":307,"thumbUrl":309,"material":310,"size":59,"collection":147,"collections":311,"showCount":301,"zanCount":11,"manualWeight":11,"mainColor":39},218690,"yun-shan-lan-sheng-tu-yi-ming-218690","云山揽胜图","层峦叠嶂间，云雾如缕如带，缠绕峰腰，将山川晕染出远近错落的层次。山石勾勒皴擦见苍劲质感，林木点缀其间添自然生机，而云气的轻烟淡墨柔化了峰岭的硬朗，晕开几分空濛之趣。笔墨工致中藏灵动，写实里含写意，尽显宋人山水分韵之妙。观者仿佛凭高揽胜，目之所及皆是层峰竞秀，云气吞吐，心随景阔，顿生天地悠悠、物我两忘的清幽意境。",[23,24,25,96,27,118,117,308,248,177,119,120,50,7,31],"云山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26092f110f0e3d6da8b2ff949a808d53.jpg","绢本,设色",[147],{"id":313,"slug":314,"title":315,"dynasty":18,"author":316,"museum":46,"description":317,"tags":318,"thumbUrl":319,"material":59,"size":59,"collection":59,"collections":320,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":63},224405,"bao-bi-zhuang-shi-er-feng-wang-xue-hao-224405","宝碧庄十二峰","王学浩","此作用笔苍润秀雅，以水墨兼淡色绘就十二枚湖石，各峰形神迥异，将赏石“瘦、透、漏、皱”之美尽致展现，或如干霄孤直，或若玲珑宛转，顽石似被赋予君子清介风骨。\n\n每石配行草题咏，笔意洒脱与奇石雅姿相互衬映，书画合璧，把文人寄情于石的雅怀尽显无余，将赏石意趣与文人情思相融，尽显传统文人画以物托志的风雅意韵，淡墨轻色间，勾勒出藏于奇石中的林下高致。",[23,24,25,50,96,27,117,98,31,295,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F601424168e70bd55e579842423ea8b45.jpg",[],14,{"id":323,"slug":324,"title":325,"dynasty":18,"author":326,"museum":46,"description":327,"tags":328,"thumbUrl":334,"material":335,"size":336,"collection":59,"collections":337,"showCount":338,"zanCount":11,"manualWeight":11,"mainColor":39},234717,"fang-gu-shan-shui-ce-wang-hui-234717","仿古山水册","王翚","《仿古山水册》共计十二页，其中设色二页，水墨十页。仿董源、巨然、米芾、赵大年、赵孟頫、吴镇、倪瓒、王蒙、黄公望、管道升、曹知白、陈汝言等而作。每幅均自题七律一首，末开款署“壬寅六月王翚”，册尾有顾复初题跋。前选一图，系仿曹云西山水，写柳汀板桥、芦荻孤舟，晓风残月，雁影徘徊。笔墨疏秀，意境苍莽迷蒙。\n王翚得名家传授，又博览古人佳作和游历真山实水，画艺日臻成熟，40岁时即名闻海内。王翚出生于绘画世家，他的曾祖王伯臣、祖父王载仕、父亲王云客都是画家，幼时即得到家学熏陶，初学画于同乡画家张珂。顺治年间王鉴游虞山时，见王翚画扇，极为赏识，赞其天资超人，收为弟子。后转师王时敏，得以临摹许多历代名家真迹，镕铸造南北画派于一炉，技艺大进。尝与王时敏遍游大江南北，广识著名收藏家，观摹宋、元真迹。其摹古功力极得王时敏赞赏：“（石谷）凡唐宋诸名家无不摹仿逼肖，偶一点染展卷即古色苍然，毋论位置溪径，宛然古人，而笔墨神韵一一夺真，且仿某家，则全是某家，不杂一他笔，使非题款，虽善鉴者，不能辨。”于是他在摹古仿古的基础上，综合诸家之长，晚年画风简练苍浑，有独到的艺术风格，在“四王”中，王翚的艺术成就最为显著，门生弟子很多，以杨晋较为著名，其山水画的影响极为深广。",[24,25,116,96,117,329,118,330,174,331,246,332,119,333,7,31],"临摹","老树","竹","枯枝","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91ed578ee3d10a4c1ccad6c5f78d6b63.jpg","纸本，水墨","25.6厘米，横：20.5厘米",[],13,{"id":340,"slug":341,"title":342,"dynasty":169,"author":343,"museum":344,"description":345,"tags":346,"thumbUrl":351,"material":59,"size":59,"collection":147,"collections":352,"showCount":338,"zanCount":11,"manualWeight":11,"mainColor":353},203430,"qiu-pu-song-bie-tu-juan-wen-bo-ren-203430","秋浦送别图卷","文伯仁","上海博物馆","画面铺展秋浦江天，烟波浩渺间岛屿错落，林木葱茏处隐现亭台。近岸孤舟待发，船帆轻扬，岸边人物揖别，意韵缱绻。远景山峦层叠，云雾氤氲，水色天光交融成一派清旷。笔墨细腻处见工致，山石皴法显肌理，树木点染得法，设色淡雅温润。卷后行书题跋流畅，与画风相得益彰，尽显雅致风神。整卷以景衬情，将送别之怅惘藏于山水幽远，读来如临其境，怅然若失。",[23,24,25,50,27,51,117,212,98,118,215,347,120,214,52,174,348,333,349,350,7],"楼阁","岸边景物","船只","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c20e12301268a7c13276cf69343153.jpg",[147],"c0b095",{"id":355,"slug":356,"title":357,"dynasty":18,"author":209,"museum":46,"description":358,"tags":359,"thumbUrl":360,"material":59,"size":59,"collection":59,"collections":361,"showCount":362,"zanCount":11,"manualWeight":11,"mainColor":63},235521,"yuan-ji-shan-shui-tu-ce-shi-tao-235521","原济山水图册","此作以水墨晕染江南烟岚之景，右侧林木以湿墨点簇，层叠枝叶浑茫蓊郁，林麓深处隐现屋舍，藏山居野逸之趣。远山以淡墨轻笼，化作烟霭中朦胧黛影，与留白水色融成空濛辽远之境。\n\n左侧题诗与画境呼应，笔墨文心相融，虚实相生间铺展出温润朦胧的山水意致。绘者不拘成法，泼染兼施，以萧散简淡的笔致，将天地清逸灵秀与林下幽居的自在襟怀融为一体，尽显文人山水的雅致逸韵。",[24,25,49,116,96,117,7,31,118,120,246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc13a2871174db5294ca190206f1e548.jpg",[],9,{"id":364,"slug":365,"title":366,"dynasty":169,"author":367,"museum":46,"description":368,"tags":369,"thumbUrl":372,"material":59,"size":59,"collection":59,"collections":373,"showCount":362,"zanCount":11,"manualWeight":11,"mainColor":39},234682,"shan-shui-dan-ye-wan-shou-qi-234682","山水单页","万寿祺","万寿祺（1603年－1652年），明末清初文学家、书画家。字年少，又字介若、内景，入清衣僧服，改名慧寿，又名明志道人、寿道人、寿若、若若，世称年少先生，祖籍江西南昌，曾祖辈迁至江苏徐州。 [1] 与陈子龙乡试同年，与沛县阎尔梅是同乡。曾参加抗清活动，兵败后隐居江淮一带。代表作有《秋江别思图》《松石图》《山水图》等等。 万寿祺为人风流倜傥，工书画，精于六书，癖嗜印章，辑有《沙门慧寿印谱》一册。其后裔第十六代后人万中华，在当今书画界也享有一定的声誉。",[370,96,371,117,7,31,118,53,52,119,246,180],"明代","白描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2162ccf18dc85ed28b0971b24faa8c9.jpg",[],{"id":375,"slug":376,"title":377,"dynasty":18,"author":378,"museum":344,"description":379,"tags":380,"thumbUrl":386,"material":59,"size":59,"collection":36,"collections":387,"showCount":388,"zanCount":11,"manualWeight":11,"mainColor":389},201926,"sui-chao-tu-zhou-dong-bang-da-201926","岁朝图轴","董邦达","画面以素净瓷瓶为器，错落插置松枝、红果、兰草等清供。松枝虬曲苍劲，红果点缀添喜，兰草舒展含雅，枝蔓间生机流转。瓶身题字笔意清逸，与景物相映成趣。整体设色淡雅，线条细腻，工写结合，既显器物古朴质感，又彰花草自然意态，传递岁朝时节吉祥雅致之韵，尽显文人画清隽格调。",[24,173,27,51,381,382,383,384,7,385,23],"松","红果","兰草","瓶","岁朝清供","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88e72e6dd8a0eb22a2056a3d490cae98.jpg",[36],5,"a8937a",{"id":391,"slug":392,"title":393,"dynasty":18,"author":394,"museum":46,"description":395,"tags":396,"thumbUrl":402,"material":59,"size":59,"collection":59,"collections":403,"showCount":404,"zanCount":11,"manualWeight":11,"mainColor":39},236098,"hua-luo-han-ce-leng-mei-236098","画罗汉册","冷枚","画面右侧，罗汉持锡杖静立，侍者恭谨随侍身侧，斑斓猛虎伏于跟前，幼虎环绕嬉戏，凶兽尽敛凶性，尽显佛法感化的无边威能。设色清润雅致，衣纹勾勒细腻流畅，人物神态写实传神，将出尘淡然的禅意融于笔端。左侧行书题字隽秀飘逸，诗画呼应，悠悠禅意漫溢画面，烘托出空寂出尘的佛门意境。整作兼具笔情墨趣与装饰美感，以精妙的人物走兽刻画，诠释出禅境悠然的静谧氛围，是极具审美意趣的人物佳制。",[24,25,397,228,51,27,52,398,399,400,31,7,401],"清代","罗汉","虎","猴","册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8aedf101545a55889516bc3de1ace62c.jpg",[],4,{"id":406,"slug":407,"title":408,"dynasty":18,"author":409,"museum":133,"description":410,"tags":411,"thumbUrl":415,"material":416,"size":417,"collection":59,"collections":418,"showCount":404,"zanCount":11,"manualWeight":11,"mainColor":39},233932,"dai-lu-fang-bei-tu-ce-huang-yi-233932","岱麓访碑图册","黄易","图名里的“岱”即指位于山东省中部的泰山。《岱麓访碑图》册共24开，以左文右图的形式描绘黄易在清嘉庆二年（1797年）由济宁到泰山访碑的种种情形。据作者本人题跋可知，其中一部分册页记录泰山的碑刻情况，如“岱顶”、“开元磨崖碑”、“石经谷”、“王母池”等，另一部分则是记录作者在往返途中所见的碑刻情况，如“大明湖”、“孟子庙”、“孔林”、“孔子庙”、“大汶口”等。除此之外，作者还在题跋中介绍了碑刻的具体状况，为后人研究提供了资料。\n黄易一生致力于金石碑版的研究，曾经四处寻访存世的残碣断碑，并较为系统地加以整理与著录，对我国传统金石学的发展起到了积极的作用。与众不同的是，他亲自用画笔将每次寻访古碑的过程都完整地记录下来，绘制成许多作品，被当时的艺术家们广为称颂。《岱麓访碑图》册便是其中的一套作品。\n纵观整套册页，作者采用了水墨与浅绛两种中国画表现技法，但呈现出的艺术风格却是统一的。具体而言，他注重线条的断续与转折，多用粗笔短线描写碑刻所在地周围的景色，使得画面景致简明，意境幽僻清寂，有平淡天真的艺术趣味。",[24,25,116,96,117,118,347,174,119,412,120,350,178,413,414,7,31],"路径","山崖","屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba2d2053a509af5611c3ba9d2d607dd6.jpg","纸本，设色","纵17.4厘米，横50.8厘米",[],{"id":420,"slug":421,"title":422,"dynasty":18,"author":423,"museum":424,"description":425,"tags":426,"thumbUrl":427,"material":428,"size":429,"collection":59,"collections":430,"showCount":404,"zanCount":11,"manualWeight":11,"mainColor":59},220702,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220702","凤阿山房图册","吴历,朱彝尊,陆遵等","香港中文大学文物馆","吴历 ，字渔仙，号桃溪居士，后号墨井道人，江苏常熟人。曾笃信天主教，并往澳门逗留。工诗、善画山水，师事王时敏 (1592-1680)与王鉴 (1598-1677) ，连同王翚 (1632-1717)、王原祁 (1642-1715)和恽寿平 (1633-1690) 合称「四王吴恽」或称「清初六家」，为清代正统派绘画代表。\n\n该画为吴历应友人侯大年（约1641-约1710）之命所作，并以友人之号「凤阿」命名，绘于康熙十六年（1677）之后，为吴氏中晚年之作。画面山峦起伏，高树竹丛、屋舍数间，屋前小桥流水，一人策杖过桥。整幅作品尺幅虽不大，却构图繁密，墨色苍润，流露对笔墨的追求与讲究，是吴历的精品。事实上，吴历与侯大年交谊深厚，曾应命绘制多幅《凤阿山房图》，以表达侯氏「述祖德，守先业」并归隐的志向，然而凤阿山房终未建成。据记载，侯大年在吴历绘制完立轴后，另请他绘制小册并请诸友题咏，正是此册。全册共分上、下两册，引首朱彝尊　(1629-1709) 书「凤阿山房」，后有吴历、朱彝尊、姜宸英、梁佩兰、宋骏业、王撰、陆遵、梅庚、钱大昕等六十六家诗题，其中陆遵、梅庚补图并题诗。吴历此作无疑是全册点睛之笔，见证了他与侯大年的交谊。",[23,24,25,116,98,118,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f6e70b4173e7b1a03e4fcad1f425a31.jpg","水墨,设色,纸本,册页","18×34.5厘米",[],{"id":432,"slug":433,"title":434,"dynasty":435,"author":436,"museum":344,"description":437,"tags":438,"thumbUrl":10,"material":59,"size":59,"collection":34,"collections":441,"showCount":442,"zanCount":11,"manualWeight":11,"mainColor":443},203361,"ju-shi-qu-yu-tu-zhou-wang-zhen-203361","菊石鸲鹆图轴","近代","王震","画面中，墨石以浓淡交错的笔触皴擦而成，嶙峋朴拙；黄菊墨叶，笔墨洒脱，花瓣舒展间见生机；鸲鹆栖石，羽色浓黑，眼神灵动，似有鸣意。右侧题跋笔墨流畅，与花鸟山石相映成趣，朱印点缀，更添雅致。整体构图疏密得宜，墨色层次分明，设色清雅却不失鲜活，兼具文人画的意趣与海派绘画的灵动，将自然物象的神韵凝练于笔端，传递出悠然恬淡的文人情怀。",[24,26,96,27,439,295,440,51,7,31,23],"菊","鸲鹆",[34],3,"c3af9e",{"id":445,"slug":446,"title":447,"dynasty":18,"author":448,"museum":344,"description":449,"tags":450,"thumbUrl":455,"material":59,"size":59,"collection":147,"collections":456,"showCount":442,"zanCount":11,"manualWeight":11,"mainColor":457},203297,"za-hua-ce-gao-qi-pei-203297","杂画册","高其佩","两帧小品各显意趣：上帧人物互动，墨线简练却生动，衣纹流转间藏动态，烟气袅袅衬出生活气息；下帧枯树疏枝，墨色浓淡相宜，枝干苍劲带古意，飞鸟轻点添灵动，旁缀诗文，笔墨与文字相谐。指运墨痕间，线条灵动自然，墨韵层次分明，于简约中见情致，尽显文人画洒脱之态，人物景致皆含悠然心境。",[451,96,52,118,452,281,7,250,453,454,23],"指画","飞鸟","墨韵","简约","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F745d3ed3576ff8a4d125783f285712da.jpg",[147],"d4cec3",{"id":459,"slug":460,"title":461,"dynasty":18,"author":462,"museum":46,"description":463,"tags":464,"thumbUrl":466,"material":59,"size":59,"collection":59,"collections":467,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":39},238100,"hong-wu-shan-shui-ce-hong-wu-238100","弘旿山水册","弘旿","爱新觉罗·弘旿（1743-1811），清朝宗室、画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。康熙帝爱新觉罗·玄烨孙，爱新觉罗·胤秘第二子。封固山贝子，两次缘事革退，复赏封奉恩将军。能诗，工书、画，以三绝称。弘旿工画，师董邦达，自署瑶华道人，名与紫琼道人胤禧并。论者称其“山水得董、黄之妙谛。”永珠既夺爵 [1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。\n观其传世作品，似受董邦达影响为多。此卷笔墨秀润，细皴密擦，林麓滃郁华滋，功力不浅。卷末落“臣”字款，又自称“恭绘”，可见是进御之作。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆对这位同宗兄弟笔墨的赞许。但从流传的弘旿作品看，此卷却是其中极为精彩的一幅，且保存完好，值得珍视。",[24,25,116,96,27,117,31,98,118,215,120,465,119,333,7],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ae106783de638295d0620605d596ec4.jpg",[],{"id":469,"slug":470,"title":393,"dynasty":18,"author":394,"museum":46,"description":471,"tags":472,"thumbUrl":475,"material":59,"size":59,"collection":59,"collections":476,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":39},236093,"hua-luo-han-ce-leng-mei-236093","此作设色柔淡雅致，右侧袒胸露腹的弥勒笑坐榻上，神态憨然和煦。数名童子环绕嬉闹，或扯拽衣袍，或攀爬肩头，稚态灵动鲜活，将童真嬉趣与佛门意象相融，消解禅家肃穆，尽显悠然喜乐。\n\n左侧行书题字娟秀舒展，笔意清雅，书画合璧，禅意与世俗温情相映。工细线条将人物形神勾勒入微，淡彩晕染柔和雅致，整体兼具工笔的细腻精妙与写意的悠然意趣，把日常嬉闹融入禅境，晕开冲淡温暖的氛围感。",[49,24,25,397,228,473,52,51,27,31,7,474],"佛教","工笔人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff97d887727faa1519d9cad124cb54cb8.jpg",[],{"id":478,"slug":479,"title":480,"dynasty":18,"author":481,"museum":133,"description":482,"tags":483,"thumbUrl":494,"material":59,"size":495,"collection":59,"collections":496,"showCount":150,"zanCount":11,"manualWeight":11,"mainColor":39},223188,"geng-zhi-tu-ce-jiao-bing-zhen-223188","耕织图册","焦秉贞","《御制耕织图》又名《佩文斋耕织图》，不分卷，清圣祖玄烨题诗，焦秉贞绘图，朱圭、梅玉凤镌刻，清康熙三十五年（1696年）内府刊本。耕图、织图各23幅，共计46幅图。每页34.7cm×27.7cm。图框24.4cm×24.4cm。四周单边。册页装。\n《耕织图》以江南农村生产为题材，系统地描绘了粮食生产从浸种到入仓，蚕桑生产从浴蚕到剪帛的具体操作过程，每图配有康熙皇帝御题七言诗一首，以表述其对农夫织女寒苦生活的感念。\n《耕织图》是中国农桑生产最早的成套图像资料，它的绘写渊源可上溯至南宋，绘者为楼璹。楼璹在宋高宗时期任於潜（今浙江省临安市）县令时，深感农夫、蚕妇之辛苦，即作耕、织二图诗来描绘农桑生产的各个环节。《耕织图》成为后人研究宋代农业生产技术最珍贵的形象资料。南宋嘉定三年（1210年），楼璹之孙楼洪、楼深等以石刻之传于后世，南宋理熙元年（1237年）有汪纲木刻复制本。宋以后关于本书的记载已不多见，较著名的有南宋刘松年编绘的《耕织图》，元代程棨的《耕织图》45幅。明代初年编辑的《永乐大典》曾收《耕织图》，已失传。明天顺六年（1462年）有仿刻宋刻之摹本，虽失传，但日本延宝四年（1676年）京都狩野永纳曾据此版翻刻，今均以狩野永纳本《耕织图》作楼璹本《耕织图》之代表。\n清康熙二十八年（1689年）康熙帝南巡时，江南士子进献藏书甚丰，其中有“宋公重加考订，诸梓以传”的《耕织图》。康熙帝即命焦秉贞据原意另绘耕图、织图各23幅，并附有皇帝本人的七言绝句及序文。绘画内容略有变动，耕图增加“初秧”、“祭神”二图，织图删去“下蚕”、“喂蚕”、“一眠”三图，增加“染色”、“成衣”二图，图序亦有变换。宋、清《耕织图》的布景与人物活动大同小异，但焦图画中的风俗易为清代，所绘更为工细纤丽，在技法上还参用了西洋焦点透视法。\n《耕织图》初印于康熙三十五年（1696年），后又出现了很多不同版本，木刻本、绘本、石刻本、墨本、石印本均行于世。如康熙年间的康熙三十八年（1699年）张鹏翮刻本，康熙五十一年（1712年）内府刻本，雍亲王胤禛绢底彩绘本，康熙五十三年（1714年）歙县汪希古恭摹刻48块墨板，宫廷绘白描本等，乾隆年间的康熙、雍正、乾隆三帝题诗刊本，清内府刻《授时通考》本，袖珍彩绘本，乾隆四年（1739年）清内府图为木刻、诗为石刻的经折装本，乾隆三十四年（1769年）北京刻朱墨套印本，杨大章彩绘本，乾隆三十四年（1769年）高宗命画院据元代程棨本临摹之《耕织图》，石刻嵌在皇家清漪园延赏斋左右廊壁的拓本，乾隆三十五年（1770年）徽州守臣摹刻的墨版。此外，还有嘉庆十三年（1808年）《耕织图诗》补刊本，同治十一年（1872年）刊本，光绪五年（1879年）上海点石斋《御制耕织图》石印本，光绪十一年（1885年）上海文瑞楼本，光绪十二年（1886年）上海点石斋石印本。民国时期也有多种版本，较著名的为武进陶兰泉刊本；日本、朝鲜、琉球等国亦有《耕织图》的摹本、翻刻本。\n《耕织图》不但版本众多，版式等也不尽相同，如上文下图本，左图右文本，版框带有龙纹的装饰本，袖珍刻本，木刻填色本，书中序文、诗文前后玺印朱色钤印本，前后玺印为刊版墨印本等。",[24,51,27,397,401,74,484,485,486,487,488,7,489,490,491,492,493],"人物劳作","柳树","农具","石墙","木桶","农耕场景","传统技法","田园场景","细笔勾勒","色彩淡雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F899d9ca459d18fdf0476cb72c3dfe307.jpg","34.7cm×27.7cm",[],{"id":498,"slug":499,"title":500,"dynasty":224,"author":132,"museum":46,"description":501,"tags":502,"thumbUrl":507,"material":233,"size":234,"collection":59,"collections":508,"showCount":62,"zanCount":11,"manualWeight":11,"mainColor":509},262205,"hei-you-jia-cai-ti-jiu-zi-yu-hu-chun-ping-yi-ming-262205","黑釉加彩题酒字玉壶春瓶","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[503,504,505,506,7],"陶瓷","饮酒器","黑釉加彩","玉壶春瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71ca337c858edb73aee3d235e8482720.jpg",[],"37474F",{"id":511,"slug":512,"title":513,"dynasty":18,"author":132,"museum":46,"description":514,"tags":515,"thumbUrl":520,"material":59,"size":59,"collection":59,"collections":521,"showCount":62,"zanCount":11,"manualWeight":11,"mainColor":39},238602,"ping-ding-liang-jin-chuan-de-sheng-tu-ce-yi-ming-238602","平定两金川得胜图册","全景式铺展山地战事，以精细线描勾勒嶙峋峰峦与密集碉寨，将清军穿梭攻坚的激烈战况如实铺陈。创作者融合中西技法，以墨色浓淡晕出山峦明暗肌理，兼具西洋版画的写实立体感与中式山水的空间层次。\n\n画面题字详实载录战事细节，图文相辅，将纪实性与艺术性相融。冷峻的墨色烘托出战场肃杀氛围，定格下边地平叛的艰难瞬间，既是纪实战史图像，也留存下清代叙事纪实绘画的独特风貌。",[49,24,96,116,371,118,52,516,517,518,74,519,7],"碉寨","战争纪实","中西技法","军事题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31f49882c4be3894fc3ef67dc4e25ae6.jpg",[],{"id":523,"slug":524,"title":525,"dynasty":18,"author":132,"museum":46,"description":526,"tags":527,"thumbUrl":533,"material":233,"size":234,"collection":59,"collections":534,"showCount":62,"zanCount":11,"manualWeight":11,"mainColor":39},230055,"qing-qian-zhong-qi-diao-xiang-ya-xu-sheng-tu-hua-juan-shi-bi-ge-yi-ming-230055","清前—中期 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