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北宋大观宋徽宗命大臣编绘宣和殿所藏古器，修成《宣和博古图》三十卷。后人因此将绘有瓷、铜、玉、石等古代器物的图画，叫做“博古图”，有时以花卉、果品等装饰点缀。“博古图”有博古通今、崇尚儒雅之寓意，常用于书香门第或官宦人家的宅第装饰，这也造成了其在艺术品投资领域中不俗的地位。",[58,23,85,25,24,27,185,156,186,187,92,28,188,7,68,189,190,191],"松","梅","古物","孩童","古玩","平台","花木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e71958042d8dd75fd60dcfa63880052.jpg",[131,43],164,3,{"id":197,"slug":198,"title":199,"dynasty":53,"author":200,"museum":82,"description":201,"tags":202,"thumbUrl":206,"material":41,"size":207,"collection":43,"collections":208,"showCount":209,"zanCount":163,"manualWeight":11,"mainColor":48},219975,"ting-ruan-tu-li-song-219975","听阮图","李嵩","此图园中高木奇石，枝叶掩映翁郁，树下士人持拂闲坐于榻上，左腿盘起，聆听拨阮演乐并赏古玩。旁有仪态娇美仕女，焚香、拈花、持扇随侍。人物线条流畅，绘法近似明代画家杜蓳、唐寅。",[23,107,85,108,24,25,27,7,36,203,64,155,30,173,68,204,69,205],"侍女","家具","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f429ae99228b49a6346c6be40873864.jpg","177.5x104.5公分",[43],142,{"id":211,"slug":212,"title":213,"dynasty":53,"author":214,"museum":82,"description":215,"tags":216,"thumbUrl":230,"material":159,"size":231,"collection":131,"collections":232,"showCount":235,"zanCount":163,"manualWeight":11,"mainColor":164},221520,"shan-jing-chun-xing-tu-ma-yuan-221520","山径春行图","马远","《山径春行图》描绘了一个怡然自得的文人，一手捋着胡须，一手移动衣袖，慢步进行在春天的山径上，面向远方。似乎在触景生情吟咏赞美春天的诗句。随风飘动的柳枝，雀跃嬉戏的小鸟，生机勃发的山径两旁的桃花，既是在描写春天的自然景色，也是在借景抒发文人此时此刻内心充满诗意的喜悦之情。鸟语花香春意盎然而又显得闲适恬静的画面气氛，是文人内在修养和心理活动的生动写照，是对春天来临所唤起的生命之美的赞叹。",[58,107,23,217,218,25,219,220,221,222,27,223,111,224,225,29,226,227,228,7,229],"山水画","水墨","边角构图","兼工带写","皴法","山水","柳树","小径","春景","溪流","远山","童子","枝条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca18e870932ac305bd5552c91834635.jpg","纵27.4厘米，横43.1厘米",[131,233,43,234],"山水画精选","水墨画精选",129,{"id":237,"slug":238,"title":239,"dynasty":53,"author":214,"museum":240,"description":241,"tags":242,"thumbUrl":247,"material":25,"size":248,"collection":131,"collections":249,"showCount":250,"zanCount":163,"manualWeight":11,"mainColor":48},221525,"song-shou-tu-ma-yuan-221525","松寿图","辽宁省博物馆","此图是马远典型的山水小景画布局风格，描绘山崖一角，苍松斜伸。一文人闲坐石台之上，仰目远眺，旁侧一童子持杖侍立。临溪疏竹丛生，远山寥寥而成。山石用斧劈皴，松树用笔奇崛。右下角行书“马远”单款，画幅上端有宋宁宗赵扩行书七言诗：“道成不怕丹梯峻，髓宝常欺石榻寒，不恋世间名与贵，长生自得一元丹。赐王都提举为寿”。",[58,23,85,108,25,222,27,221,141,243,228,7,244,245,246],"山石","竹子","老树","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa6f346761d8847499876d6085320103.jpg","纵122厘米，横52.7厘米",[131,233,234],119,{"id":252,"slug":253,"title":254,"dynasty":18,"author":19,"museum":255,"description":256,"tags":257,"thumbUrl":267,"material":268,"size":269,"collection":73,"collections":270,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":48},222195,"ren-wu-gu-shi-tu-gao-shan-liu-shui-chou-ying-222195","人物故事图-高山流水","北京故宫博物院","全册共十开，内容取材于历史故事、寓言传说、文人轶事和诗文寓意，具体为子路问津、明妃出塞、贵妃晓妆、南华秋水、吹箫引凤、高山流水、竹院品古、松林六逸、浔阳琵琶、捉柳花图等。这些题材历史上常被画家描绘，但仇英在作品立意、形象塑造和笔墨表现等方面，都注入了自己的才思和技巧，显示出鲜明的个性风格。\n作品主题明确，构思巧妙，不仅人物活动的细节刻画具体明晓，而且注意环境气氛的烘托，使每幅画页都有很强的观赏性。如“贵妃晓妆”页，以杨贵妃清晨在华清宫端正楼对镜理髻为中心，将宫女奏乐、采花和携琵琶等情节同现于一个画面，集中表现了贵妃爱牡丹、喜簪花、善声乐、好打扮的习性，也概括反映了贵妃奢华纵乐的生活内容。又如“高山流水”页，取材于伯牙鼓琴的故事，在描绘俞伯牙草亭弹琴，钟子期拾阶而上，知音相遇的具体情节同时，布置了高山飞瀑、松林流水的静谧清幽环境，形象地表达了高山流水的音乐内容，也衬托出人物的高雅情操，以象征性手法营造出了一个情景交融的臻境。\n此图册运用工笔重彩法。人物情态描绘得细腻精微，文人举止高雅潇洒，仕女容貌端庄娟美。建筑器皿工整精细，山石树木形态各具。笔致工细而不板滞，流畅自然，刚柔相济。敷色艳丽，又多和色，整体色调和谐、清雅。作品具有雅俗共赏的艺术效果，是仇英对唐宋工笔重彩法的创新和发展。",[58,23,258,259,25,260,261,262,263,154,29,7,264,265,266],"册页","工笔重彩","高山","飞瀑","松林","流水","知音","高山流水","清幽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff67ca6c35996e488c7d2585cfe17e4a3.jpg","绢本，设色","每开纵41.4厘米，横33.8厘米",[],{"id":272,"slug":273,"title":274,"dynasty":53,"author":200,"museum":55,"description":275,"tags":276,"thumbUrl":278,"material":113,"size":114,"collection":73,"collections":279,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":48},288495,"fen-xiang-bo-ruan-tu-li-song-288495","焚香拨阮图","李嵩（1166—1243），中国南宋画家，钱塘（今浙江杭州）人。少年时曾为木工，后成为画院画家李从训的养子，绘画上得其亲授，擅长人物、道释，尤精于界画，为光宗、宁宗、理宗（1190一1264）时期画院待诏。\n李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》《水殿招凉图》《观潮图》《西湖图》《仙山瑶涛图》《骷髅幻戏图》《观灯图》《柳塘聚禽图》《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[107,23,85,108,25,27,63,64,24,28,29,30,7,277,68],"焚香","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e91c925d5a97ce7aba2fd11b9a72400.jpg",[],92,{"id":282,"slug":283,"title":284,"dynasty":285,"author":286,"museum":55,"description":287,"tags":288,"thumbUrl":291,"material":73,"size":73,"collection":73,"collections":292,"showCount":293,"zanCount":163,"manualWeight":11,"mainColor":48},226708,"wen-yuan-tu-juan-zhou-wen-ju-226708","文苑图卷","五代十国","周文矩","《文苑图》卷，五代，周文矩作，绢本，设色，纵37.4厘米，横58.5厘米。\n本幅无作者款印，根据图左宋徽宗“瘦金体”题字：“韓滉文苑圖，丁亥御劄”，下书“天下一人”押，遂定为唐代韩滉作。然从时代风格看，少唐画气息，最明显的是衣纹线条颤动曲折，极似五代周文矩所创的“战笔描”。另外人物头戴的“工脚上翘”的幞头形式，亦至五代才出现。同时，美国大都会博物馆藏有一本周文矩的《琉璃堂人物图》卷，后半段画面与此图完全一样，故可肯定《文苑图》作者是周文矩，所画内容为琉璃堂人物故事。至于两图孰为原本？抑或均属摹本？据考，美国的《琉璃堂人物图》卷水平较差，人物面相稍欠神采，衣纹用笔颇见柔弱，且图首宋徽宗题“周文矩琉璃堂人物圖，神品上妙也”和下钤“ 內府圖書之印”均伪，故此图当为宋以后摹本。而《文苑图》人物神采奕奕，笔墨功力深厚，本幅右下角又有南唐墨钤“集賢院御畫印”，证明此图不会晚于五代，极可能即周文矩原迹，惟前半段已佚，也许周文矩又重临了后半段，亦不排除为同时高手临仿本。总之《文苑图》属五代真迹名品，殊无疑义。\n作品所绘琉璃堂人物故事，据考即唐玄宗时著名诗人王昌龄任江宁县丞期间，在县衙旁琉璃堂与朋友宴集的故事，与会者可能有其诗友岑参兄弟、刘眘虚等人。《文苑图》绘四位文士围绕松树思索诗句，有倚壘石持笔觅句者，有靠松干构思者，有两人并坐展卷推敲改诗者，情态各异，形神俱备。所缺前半段从《琉璃堂人物图》中可以看到，是画四人围坐议论，其中有一位僧人，还有侍奉的童仆。从全卷场面可领略当时宴集之盛况。\n此图画法与《琉璃堂人物图》及周文矩另一幅《重屏会棋圈》卷(宋摹本)相比较，风格相似，都呈周氏典型面貌，但水平却有高下之分。本图人物衣纹所运“战笔描”细劲有力，曲折中见流畅，圆润中具轻重，树石勾染细致，富层次和立面感，人物情态尤富神采，个性各异。作为五代一幅真迹，确反映了该时代所达到的水平。\n此图见于《石渠宝笈·初编》和明·詹景凤《玄览编》著录，可能曾入南唐后主李煜《阁中集》，后又入北宋徽宗《宣和睿览集》。",[58,107,23,85,60,24,25,27,141,32,92,62,7,289,290],"古代服饰","题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dcc12af75f41000fa86d14d7b6bf9fe.jpg",[],87,{"id":295,"slug":296,"title":297,"dynasty":18,"author":104,"museum":82,"description":298,"tags":299,"thumbUrl":301,"material":302,"size":303,"collection":73,"collections":304,"showCount":305,"zanCount":163,"manualWeight":11,"mainColor":164},287291,"lin-li-bo-shi-yin-zhong-ba-xian-quan-tu-tang-yin-287291","临李伯时饮中八仙全图","以白描法绘人物35位，线条柔和隽秀，人物神态形象逼真；山石树木粗笔勾勒，再以浓墨烘染而成。此幅长卷达八米之长，场景开阔，绘出八仙喝茶听曲，悠闲自得的情景。",[58,23,107,60,85,125,218,59,27,300,86,7,29,243,157,61],"历史人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef12bafcbc98b00a1a699522f02abb9b.jpg","白纸本","23.8厘米*838厘米",[],80,{"id":307,"slug":308,"title":309,"dynasty":53,"author":182,"museum":310,"description":311,"tags":312,"thumbUrl":314,"material":41,"size":73,"collection":131,"collections":315,"showCount":316,"zanCount":11,"manualWeight":11,"mainColor":317},220255,"xia-jing-shan-shui-tu-yi-ming-220255","夏景山水图","日本久远寺","此图绘深山幽谷，山雨欲来，树木摇曳，云雾弥漫，一隐士拄杖欲过溪桥，侧首观赏林泉，怡然自乐。本图为四季山水四条幅中的一幅，其中春景图早已遗失，其内容不详；秋景图和冬景图流失于日本后，经大内氏、明智院传到金地院；此图在日本由滨松城主太田资宗施给久远寺。各幅在构图、景物刻画上既相互联系，又富于变化，每幅上都有流失日本前钤的二枚鉴藏印。后日本收藏者足利三代将军义满又在画幅上钤『天山』鉴藏印。这三幅图是目前流传下来的宋代四季山水图中最早的作品，体现了南宋画院早期山水画的风格特征。",[58,23,107,217,108,218,25,221,24,222,141,243,313,27,7],"云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd810dc2b018ad6e47852a0c78483968.jpg",[131],65,"37474F",{"id":319,"slug":320,"title":321,"dynasty":53,"author":81,"museum":55,"description":322,"tags":323,"thumbUrl":327,"material":73,"size":73,"collection":73,"collections":328,"showCount":329,"zanCount":11,"manualWeight":11,"mainColor":48},227489,"ting-qin-tu-li-zhou-zhao-ji-227489","听琴图立轴","徽宗一朝，在中国绘画发展历史上具有重要意义。熟悉徽宗宫中艺事的邓椿在《画继》中载徽宗之言：“朕万几余暇，别无他好，惟好画耳。”赵佶以皇帝之尊提倡绘画，广招天下贤士进翰林图画院，提高院画家地位，并将“画学”前所未有地纳入科举的轨道，中国绘画的职业化至此达至极盛。",[58,23,85,108,25,24,27,185,324,64,62,7,325,326,69,156],"竹","琴桌","盆栽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F305792b178f52b137d5657051444750f.jpg",[],63,{"id":331,"slug":332,"title":333,"dynasty":18,"author":19,"museum":255,"description":256,"tags":334,"thumbUrl":339,"material":268,"size":269,"collection":73,"collections":340,"showCount":329,"zanCount":11,"manualWeight":11,"mainColor":164},222188,"ren-wu-gu-shi-tu-zi-lu-wen-jin-chou-ying-222188","人物故事图-子路问津",[58,23,170,259,25,27,222,29,243,335,336,337,338,7],"江水","马车","子路问津","历史故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3113aa636a1969d1889567021aaf7551.jpg",[],{"id":342,"slug":343,"title":80,"dynasty":285,"author":344,"museum":82,"description":345,"tags":346,"thumbUrl":348,"material":41,"size":349,"collection":43,"collections":350,"showCount":351,"zanCount":352,"manualWeight":11,"mainColor":48},219490,"wen-hui-tu-qiu-wen-bo-219490","丘文播","图绘四文士宴饮、赋诗、抚琴的雅集场景。四人均宽衣大袍，坐于榻上，身旁置酒杯、酒瓶，似在即席作文行酒。四位人物的姿态不一，一人停笔凝思，一人秉笔疾书，而右下者似已醉态微呈，意欲下榻，侍童忙为其穿靴并扶撑其腰，文士转身挥手，招呼怀抱锦袱之女子，而女子则淡妆素抹，作扭首含羞之态。左下背向文士，则牵住右下文士之腰带，似有不让其离席之状。三位挽双髻女子，或抱琴、或端杯侍立于榻旁。此图人物造型具有唐风，结构严谨，衣纹线条疏密有致，运笔极为娴熟。背景中的古树，枝干劲挺虬曲，树叶以三角形堆叠法绘成，并根据疏密搭配，间以色彩轻重渲染，使之古茂苍雄，更进一步衬托了“文会”主题之雅意。",[107,23,85,24,25,125,27,7,203,245,243,68,347],"器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a055f28d65527ebeb12ed1c39e04aab.jpg","纵84.9厘米，横49.6厘米",[43],62,2,{"id":354,"slug":355,"title":356,"dynasty":18,"author":19,"museum":255,"description":256,"tags":357,"thumbUrl":363,"material":268,"size":364,"collection":233,"collections":365,"showCount":366,"zanCount":163,"manualWeight":11,"mainColor":164},233754,"ren-wu-gu-shi-ce-chou-ying-233754","人物故事册",[23,85,170,24,25,358,27,222,171,36,7,264,64,359,338,360,262,263,361,362],"重彩","花鸟","亭台","寓言传说","文人轶事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63efd47f6120fe57c20a6fdbb2673a14.jpg","纵41.4厘米，横33.8厘米",[233,43,45],61,{"id":368,"slug":369,"title":370,"dynasty":18,"author":19,"museum":82,"description":371,"tags":372,"thumbUrl":374,"material":375,"size":376,"collection":43,"collections":377,"showCount":378,"zanCount":11,"manualWeight":11,"mainColor":164},220378,"tong-yin-qing-hua-tu-chou-ying-220378","桐阴清话图","本幅画石峰嶙嶙，梧桐垂荫。树下两人拱立清谈，一童悄然侍立。前景另绘丛筱沿坡，野水奔流。此等景境，纵或出自画家揣想，然而人语溪声，竟恍若身历其境。岩岩画法，明显受到周臣「宁戚饭牛图」的直接影响。不过仇英此作较周臣略为谨慎，虽然线条挺拔劲健，强调笔墨的速度美感，但皴法则尽量包藏在轮廓之内，并且让岩石表面布满肌理与明暗变化，不失却形象的精准掌握。",[23,107,85,108,24,25,218,221,27,7,228,373,243,244],"桐树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5b6d0ee5bae513958f0ef6cec9a2004.jpg","纸本,设色","279.5x100",[43,45],59,{"id":380,"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赵左 类别： 中国画 材料： 绢本，设色 收藏： 故宫博物院 时期的绘画风格多从前人画法中变化而出，大多带有较为明显的前人艺术遗迹，这也是晚明时期复古艺术思潮在绘画作品中的反映，从而构成了明代后期艺术所具有的鲜明的时代特色。\n赵左身处于这一时代大环境中，其作品，甚至其所代表的苏松派绘画都具有这一特点，从这幅《山水图》中也不难看出这一特色。\n此图表现晚明文人生活，大致分为三个段落：下部绘临水土坡，林木掩映中隐现出草堂，屋中一士凭窗读书；中部湖水荡漾，芦苇丛中一人正持杆垂钓，扭头遥望远山的动作，表明其本意非在垂钓；上部山峰一座，所占位置有限，留有很大的空白，画家在此处用工整的小楷书题写了两句诗：“垂钓有深意，望山多远情”，点明了主题。\n根据诗句，后人也曾将此图定名为《望山垂钓图》。\n诗后署款“己未夏日赵左”，下钤“赵左之印”、“文度氏”两方印章。\n按“己未”为明万历四十七年（1619年），赵氏最晚的作品为1629年的《落叶无声图》，此图亦应属其晚年作品。\n全图主要以水墨画成，墨色清润，浓淡干湿、焦渴枯润均控制得恰到好处；设色淡雅清丽，只用淡赭和花青等略加点染，使画面具古雅恬淡之趣而无俗艳之态；笔法洒脱秀劲，写意处墨气淋漓，工整处细笔如丝，笔力劲健遒逸。\n人物造型简单，不求形似，寥寥数笔便神态俨然，显示出作者深厚的艺术功底。\n此图为赵左晚年创作的山水画中的精品。\n作品画法继承元代画家黄公望和倪瓒传统，远山的表现手法又显然受元代赵孟頫影响，山石用披麻皴法，并解索式的形态自山顶纷披而下，复施以淡色，极具古拙雅淡之趣。\n景致采用平远与深远相结合的构图，使原很狭窄的竖长画面显得开阔，加之三段式的布局法，更添增了幽远之感。\n画面下部的实景处理，中部水面的描绘以及远山、天空的表现，构成了强烈的虚实对比；而图中人物恬淡宁静的神态与树木芦苇因风而起舞的动势也形成了鲜明的动与静之对比。\n通过鲜明的对比，作者营造出了一个文人逸士生活的良好氛围。",[23,108,217,25,218,558,24,559,560,561,562,29,563,243,564,227,7,565,566,567],"披麻皴","写意","孤舟","垂钓","草堂","芦苇","湖水","读书","恬淡","古雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb82fec355e24c88b9d8dd6dac98f00b.jpg",[],{"id":571,"slug":572,"title":573,"dynasty":53,"author":81,"museum":55,"description":574,"tags":575,"thumbUrl":577,"material":113,"size":114,"collection":73,"collections":578,"showCount":579,"zanCount":11,"manualWeight":11,"mainColor":48},288414,"wen-hui-tu-fang-zhao-ji-288414","文会图（仿）","宋徽宗赵佶（1082年11月2日-1135年6月4日）[6]，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”，并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[58,23,107,25,24,27,576,109,28,29,68,7],"文会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9608e8664c446348b04bd926218dfd05.jpg",[],29,{"id":581,"slug":582,"title":583,"dynasty":406,"author":584,"museum":55,"description":585,"tags":586,"thumbUrl":590,"material":113,"size":114,"collection":73,"collections":591,"showCount":592,"zanCount":11,"manualWeight":11,"mainColor":48},290442,"qiu-shan-du-shu-tu-ke-luo-ban-wang-meng-290442","秋山读书图（珂罗版）","王蒙","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[58,23,107,218,108,222,587,29,588,589,263,7,565,221],"瀑布","山居","小桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c5464f995e7c474f65e7423200238cf.jpg",[],26,{"id":594,"slug":595,"title":596,"dynasty":53,"author":597,"museum":82,"description":598,"tags":599,"thumbUrl":603,"material":41,"size":604,"collection":73,"collections":605,"showCount":592,"zanCount":11,"manualWeight":11,"mainColor":164},288507,"ting-qin-zhai-ruan-tu-zhao-bo-ju-288507","停琴摘阮图","赵伯驹","此幅写松石间瓜果堆盤，一人袒衣席地拨阮咸，一人背坐握羽扇倾听，横琴于膝，二童子捧壶执卷。人物、配景俱用钩勒填彩法敬谨写就，间或辅以胡粉重提、晕染，黑白相映，分外照人眼明。",[58,23,107,108,600,25,27,222,64,111,141,589,263,601,7,602],"青绿","雅集","抚琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5417e9836f0d1106f15840755d8c5aae.jpg","125.7x51.2",[],{"id":607,"slug":608,"title":609,"dynasty":18,"author":428,"museum":55,"description":610,"tags":611,"thumbUrl":612,"material":613,"size":73,"collection":73,"collections":614,"showCount":592,"zanCount":163,"manualWeight":11,"mainColor":164},234258,"dan-chang-zhou-chen-hong-shou-234258","弹唱轴","陈洪绶（1599年—1652年），字章侯，幼名莲子，一名胥岸，号老莲，别号小净名，晚号老迟、悔迟，汉族，浙江绍兴府诸暨县枫桥陈家村（今诸暨市枫桥镇陈家村）人。明末清初书画家、诗人。\n年少师事刘宗周，补生员，后乡试不中，崇祯年间召入内廷供奉。明亡入云门寺为僧，后还俗，以卖画为生，死因说法不一。亦能画水墨写意花卉，酣畅淋漓。还长于为文学作品创作插图，能表现出原作人物的精神气质。其画手法简练，色彩沉着含蓄，格调高古，享誉明末画坛，与当时的顺天崔子忠齐名，号称“南陈北崔”。其人物画成就，人谓“力量气局，超拔磊落，在仇（英）、唐（寅）之上，盖明三百年无此笔墨”；当代国际学者推尊他为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。\n陈洪绶去世后，其画艺画技为后学所师承，堪称一代宗师，名作《九歌图》（含《屈子行吟图》）、《插图》、《水浒叶子》、《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[58,23,85,60,24,25,125,27,347,188,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7b56da018814c611b2efc6f220be42d.jpg","纸本，设色",[],{"id":616,"slug":617,"title":618,"dynasty":150,"author":151,"museum":55,"description":619,"tags":620,"thumbUrl":623,"material":113,"size":114,"collection":73,"collections":624,"showCount":625,"zanCount":11,"manualWeight":11,"mainColor":164},287443,"mo-yan-li-ben-xiao-yi-zhuan-lan-ting-tu-ding-guan-peng-287443","摹阎立本萧翼赚兰亭图","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》。",[58,23,60,85,125,25,621,59,622,338,7,450,126,434,62,61],"人物画","萧翼赚兰亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00d5e4507f97cac7a1fafa57455dce2a.jpg",[],24,{"id":627,"slug":628,"title":629,"dynasty":18,"author":630,"museum":55,"description":631,"tags":632,"thumbUrl":634,"material":113,"size":114,"collection":73,"collections":635,"showCount":636,"zanCount":11,"manualWeight":11,"mainColor":48},235740,"xue-yue-du-shu-tu-zhou-xiao-yun-cong-235740","雪岳读书图轴","萧云从","萧云从(1596～1673) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。",[23,85,108,218,221,222,633,29,171,243,7,565,154],"雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aadc14ab00840c1f1800f468d3cccf0.jpg",[],22,{"id":638,"slug":639,"title":640,"dynasty":53,"author":122,"museum":240,"description":641,"tags":642,"thumbUrl":649,"material":159,"size":650,"collection":73,"collections":651,"showCount":636,"zanCount":11,"manualWeight":11,"mainColor":48},221548,"qiu-chuang-du-yi-tu-liu-song-nian-221548","秋窗读易图","这件作品笔墨工致严谨，气格宁静雅逸，具有一种宫廷的富贵气息，是刘松年细腻、典雅画风的杰出代表。也有专家认为，他的山水画是把李唐开创的风格“向后拉”(所谓“向后拉”，就是把李唐刚猛的画风进行减缓和柔化)，而马远、夏圭则是把李唐的画风“向前拉”，此说颇为形象。画面表现的是读书的场景。水畔树石掩映之下，书斋门窗敞开，主人在窗前展卷沉思，一书童在门外侍立。景色清幽，主人儒雅，童子恭敬，各尽其态。房屋、院落、树木、篱笆墙，都是精工细写，一丝不苟，将秋天的氛围渲染得恰到好处。一片湖光水色之外，更有远景的山石隐现。山石的画法明显是学自李唐，先用健朗的线勾轮廓，然后施以斧劈皴，精巧、有力，青绿设色，杂树用夹叶法，这些都是典型的南宋画法。但细读之下，却也不尽然。《秋窗读易图》同时呈现出另一种风貌。我们拿这张作品和刘松年的《四景山水图》做比较，就会发现这个问题。《四景山水图》画山石用斧劈皴和淡墨渲染，具有刚硬的特点。树的弯曲，用笔偏于方折，远山仅画一角。虽然画面的总体感觉上是湿润的，但具体景物却是干裂的。再看《秋窗读易图》的山石画法，很明显地具有董源、巨然的风格——长披麻皴的运用和具有江南柔美的韵致。另外，从树木、苔点、远山、秀水的画法中，我们可以感觉得到一种萧散和淳厚，这又具有元人的绘画风韵。\n总体而言，《秋窗读易图》较之《四景山水图》，硬朗之风略逊，而优雅、闲适之气则胜之。从这个意义上讲，刘松年的作品突破了时代的风格，以典雅、秀丽的风貌预示了元代山水画的走向。虽然元代山水画的一个典型的特征是排斥南宋绘画传统，但刘松年绘制的这件作品，正好从另一个方面说明了元代山水画家或者说南宗山水画家将反对的对象集中在马远和夏圭上的主要原因。",[58,23,217,643,24,644,558,600,25,645,646,647,243,29,228,7,648,266,545,61,62],"扇面","斧劈皴","夹叶法","书斋","湖光水色","读书场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc7f7a8a4570c2aef05e8549b15cb55c.jpg","25.7×26厘米",[],{"id":653,"slug":654,"title":655,"dynasty":18,"author":428,"museum":55,"description":656,"tags":657,"thumbUrl":660,"material":113,"size":114,"collection":73,"collections":661,"showCount":662,"zanCount":11,"manualWeight":11,"mainColor":48},287344,"xiao-shu-tu-chen-hong-shou-287344","校书图","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[58,23,85,108,25,27,186,347,658,62,61,7,659],"典籍","校书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bb6ed904b9db960628b800d036e09ae.jpg",[],21,{"id":664,"slug":665,"title":666,"dynasty":18,"author":428,"museum":55,"description":667,"tags":668,"thumbUrl":673,"material":73,"size":73,"collection":73,"collections":674,"showCount":662,"zanCount":11,"manualWeight":11,"mainColor":48},228295,"xi-zhi-long-e-tu-chen-hong-shou-228295","羲之笼鹅图","《右军笼鹅图》是明代陈洪绶创作的一幅纸本设色画。\n陈洪绶(1597—1652年)，字章侯，号老莲、悔迟，诸暨（今属浙江省）人。\n明代画家。\n早年受业于著名学者刘宗周、黄道周门下，1642年曾到北京为国子监生，授中书舍人，供奉内廷，不久即离京南归。\n明朝灭亡后，为躲避清兵，一度在绍兴云门寺出家为僧，自号悔迟，亦号老迟。\n后在杭州以卖画为生。\n工诗，擅画，山水、人物、花鸟无一不精。\n其画初受蓝瑛影响，后广泛临学古人，并大胆突破创新，所作人物、花鸟形象古拙，擅用夸张变形手法，独树一帜，为晚明变形主义绘画大师。\n与崔子忠齐名于南北，世称“南陈北崔”。\n其画风对后世有巨大影响。\n著《宝纶堂集》。",[58,23,25,24,27,669,670,671,324,518,672,7,450],"笼","鹅","扇","古装","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a7b7a55715dbf5b199f6e559cf3c60a.jpg",[],{"id":676,"slug":677,"title":678,"dynasty":18,"author":182,"museum":55,"description":679,"tags":680,"thumbUrl":682,"material":73,"size":73,"collection":73,"collections":683,"showCount":684,"zanCount":11,"manualWeight":11,"mainColor":164},237612,"you-qiu-pin-gu-tu-zhou-yi-ming-237612","尤求品古图轴","此作用淡墨铺就庭院雅集，右侧古木盘根虬曲，苍皮皴裂间枝繁叶茂，湖石芭蕉相衬，晕出院内清幽静雅。堂中文士围案环坐，展玩古物，或蹙眉细观，或颔首低语，神态灵动鲜活；僮仆随侍左右，奉茶侍立，动静之间尽显闲雅松弛。\n\n笔线细劲秀逸，淡墨晕染出清雅氛围，将文人耽于博古清赏的雅趣，娓娓铺陈在画面之中，处处浸透闲适古雅的文人情致。",[23,85,108,218,24,125,27,7,188,155,185,324,30,156,68,681,62],"古器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c72ed92b7852720229e817e865720c.jpg",[],20,{"id":686,"slug":687,"title":688,"dynasty":18,"author":182,"museum":55,"description":689,"tags":690,"thumbUrl":693,"material":113,"size":114,"collection":73,"collections":694,"showCount":695,"zanCount":11,"manualWeight":11,"mainColor":164},290024,"fu-sheng-shou-jing-tu-yi-ming-290024","伏生授经图","古松虬曲苍劲，松荫之下，踞案老者神定气凝，操琴讲授，对面士子跽坐侧耳，神态恭谨。丹鹤闲立一旁，更添幽寂，三名童子随侍，或奉待或静立。\n\n全作用淡墨白描写就，线条清劲秀逸，衣纹流转自然，将人物神态精准勾勒，老者矍铄、弟子虔敬之态尽显。画面意境古雅澹寂，将林下授经的静谧雅韵铺陈开来，尽显传统白描的雅致格调，把传道授业的悠远意趣渲染得淋漓尽致。",[107,23,85,125,218,27,448,141,691,62,692,7],"古琴","授经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1dc4bc16e8112c739882ab34e376ade.jpg",[],19,{"id":697,"slug":698,"title":699,"dynasty":285,"author":286,"museum":55,"description":700,"tags":701,"thumbUrl":704,"material":113,"size":114,"collection":73,"collections":705,"showCount":695,"zanCount":11,"manualWeight":11,"mainColor":48},288985,"tao-er-tu-zhou-wen-ju-288985","掏耳图","周文矩（约907年－975年），五代十国时南唐的宫廷画家，句容（今江苏句容县）人。南唐李昪异元年间（937—943），已在宫中作画。后主李煜（961—975年）朝任翰林待诏，擅人物仕女，多以宫廷贵族或文士生活为题材，兼画山水、屋木、佛道。绘画风格接近唐代画家周昉而更纤丽，多用颤动的“颤笔”画衣纹，线条挺健又略带抖动和顿挫。宋人称其“用笔深远，于繁富则尤工”。",[23,24,25,27,7,702,703,398,399,658,62],"侍童","掏耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b197e393b63bd3df8b5aa3efd2c13f1.jpg",[],{"id":707,"slug":708,"title":709,"dynasty":18,"author":428,"museum":55,"description":656,"tags":710,"thumbUrl":713,"material":113,"size":114,"collection":73,"collections":714,"showCount":695,"zanCount":11,"manualWeight":11,"mainColor":48},287349,"gao-xian-ren-wu-tu-chen-hong-shou-287349","高贤人物图",[58,23,107,85,108,25,27,7,601,711,70,71,712,62],"笔","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d59eaa13f4b03c1b47792d71384cb70.jpg",[],{"id":716,"slug":717,"title":718,"dynasty":150,"author":719,"museum":55,"description":720,"tags":721,"thumbUrl":723,"material":73,"size":73,"collection":73,"collections":724,"showCount":695,"zanCount":11,"manualWeight":11,"mainColor":48},224190,"guan-quan-tu-hua-yan-224190","观泉图","华嵒","此作画境清逸古雅，右上角古木盘曲，垂藤轻曳，飞泉自崖间潺潺而下。崖下雅士踞石观泉，仰首凝神，似将身心融于泉声林色之中，旁侧童子携囊持壶，静立相随，愈衬画面幽寂。\n\n笔墨苍润秀灵，淡赭铺底晕出春日空濛，浓墨点染木叶，山石勾勒皴擦结合，写意中不失细腻。题诗与画境相得益彰，将草青花初的春景与泉鸣相融，尽显文人寄情林泉、静赏山水的闲逸襟怀，清隽淡远，观之如临其境，恍闻泉声松风。",[58,23,108,218,25,27,222,29,722,587,263,7,228,221],"岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9455ed575cfebe4bc1c8c2a52961e950.jpg",[],{"id":726,"slug":727,"title":199,"dynasty":150,"author":728,"museum":55,"description":729,"tags":730,"thumbUrl":733,"material":73,"size":73,"collection":73,"collections":734,"showCount":695,"zanCount":163,"manualWeight":11,"mainColor":164},224167,"ting-ruan-tu-liu-yan-chong-224167","刘彦冲","《 》是清代画家刘彦冲创作的一幅设色画。\n图中文人身着高冕宽服，抱膝而坐，正听一位歌女弹奏阮琴。\n阮音清扬，四处芳草如茵，梧桐枝叶繁茂，又配以湖石、芭蕉、翠竹，清幽异常。\n《听阮图》图中款识可知此画是刘彦冲以其八兄为描绘对象绘出的。\n图中人物用线细劲圆润，颇有古意，设色妍 丽明快。\n草地以大面积花青渲染，以重色细笔根根绘出，间以浓淡的变化，形成雾动云涌之感。\n梧桐近乎淡墨白描，更有幽深清丽之意。\n整个背景有一种缥缈空灵的虚幻意味，衬托出人物笔墨的写实生动；画中人物的表情动态，又反衬阮音的悠扬动听。\n虚实相辅，以有写无，形成脱俗越尘的艺术效果。\n刘彦冲(187—1847)，初名荣，字咏之，四川铜梁人。\n擅山水、人物、花卉，工诗文。\n从师朱生昂学山水，常随师出游，尽得其法。\n兼采众家之长。\n泼墨作小米云山，亦蓊郁可观。\n人物花卉，笔法娴熟，活泼多变。\n传世作品有《柳燕图》、《松荫高士图》、《群峰秋翠图》等。",[58,24,25,27,64,29,324,30,731,7,203,188,243,385,732,62,520],"怪石","书箱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d001b9b4db0438891675b109cf69c51.jpg",[],{"id":736,"slug":737,"title":738,"dynasty":150,"author":739,"museum":740,"description":741,"tags":742,"thumbUrl":745,"material":73,"size":73,"collection":73,"collections":746,"showCount":747,"zanCount":11,"manualWeight":11,"mainColor":748},201800,"shan-shui-tu-zhou-gao-cen-201800","山水图轴","高岑","上海博物馆","这幅山水图轴层次错落，意境清幽。远景峰峦叠嶂，皴笔勾勒山石肌理，尽显雄浑苍劲；中景林木葱茏，松针攒簇与枯树枝桠相映，掩映间屋舍隐现，似藏隐士闲居；近景溪流蜿蜒，瀑布潺潺，茅亭临岸，树木扶疏，一派静谧。笔墨兼融秀润与苍健，山石皴染结合，树木勾勒传神，整体营造出文人归隐的闲适之境，流露金陵画派清逸风骨。",[23,222,221,263,154,141,743,744,243,7],"枯树","屋宇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe0eba6f017f9fadc0a6a991c085ff5a.jpg",[],18,"947f64",{"id":750,"slug":751,"title":752,"dynasty":150,"author":753,"museum":754,"description":755,"tags":756,"thumbUrl":767,"material":768,"size":769,"collection":73,"collections":770,"showCount":771,"zanCount":11,"manualWeight":11,"mainColor":164},222919,"hong-lou-meng-44-sun-wen-222919","红楼梦44","孙温","旅顺博物馆","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",[58,24,25,26,27,28,171,29,30,244,757,326,461,87,126,758,31,759,760,761,762,763,67,109,764,765,766,36,7],"假山","回廊","圆形门洞","石阶","石墩","古典建筑","窗棂","赏花","绿植","石景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49e9dd68d51b05a8326c6123fca2f6e4.jpg","绢本","纵43.3厘米、横76.5厘米",[],17,{"id":773,"slug":774,"title":181,"dynasty":775,"author":776,"museum":777,"description":778,"tags":779,"thumbUrl":782,"material":73,"size":73,"collection":73,"collections":783,"showCount":784,"zanCount":11,"manualWeight":11,"mainColor":164},220509,"bo-gu-tu-huang-jun-bi-220509","民国","黄君璧","龙美术馆西岸馆","松林烟霭漫卷，清寂林泉间漾出幽远雅致。两位文士围坐展卷品赏，案头砚池、杯盏错落，文士姿态悠然松弛，静享观画雅趣。松下童子提壶候立，动静之间衬出林下闲寂氛围。\n\n画师笔触清润秀逸，松干皴苍劲朴拙，松针细密劲挺晕染出郁郁古意，远景林麓以淡墨晕开，揉出水墨空濛的山水诗意，敷色浅柔明净，将文人雅集的疏放意兴与林泉栖居的静穆旨趣相融，尽绘传统文人藏于日常雅事中的清远襟怀。",[23,25,24,27,7,228,141,222,780,781,32,126,29],"草地","河流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c3e093fa547734000991435aa3f94c3.jpg",[],16,{"id":786,"slug":787,"title":788,"dynasty":53,"author":182,"museum":55,"description":789,"tags":790,"thumbUrl":792,"material":113,"size":114,"collection":73,"collections":793,"showCount":794,"zanCount":11,"manualWeight":11,"mainColor":48},290508,"fang-zhou-fang-yan-le-tu-yi-ming-290508","仿周昉演乐图","松荫庭院间，雅集宴饮正酣。宾主围桌对坐，乐师拨弦和鸣，仕女环侍左右，有人奉茶添香，有人侍立听乐。\n\n此作用色古雅沉郁，线条温婉柔丽，承唐风仕女的丰腴秀致，又蕴宋人的娴静雅致。苍松古拙虬劲，衬出庭院的悠然静谧，案上陈设、发间花钿等细节处处见巧思，将文人宴饮听乐的闲逸雅致，融在晕染的古绢底色里，尽显升平雅致的宴乐图景，含蓄传递出中古雅集的从容意韵。",[23,107,85,108,25,24,27,36,7,64,791,141,28,59],"演乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6e12c04897d94532b31ecc2db6af350.jpg",[],15,{"id":796,"slug":797,"title":798,"dynasty":150,"author":753,"museum":55,"description":799,"tags":800,"thumbUrl":804,"material":113,"size":114,"collection":73,"collections":805,"showCount":794,"zanCount":11,"manualWeight":11,"mainColor":550},288382,"di-er-hui-jia-fu-ren-xian-shi-yang-zhou-cheng-leng-zi-xing-yan-sun-wen-288382","第二回 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，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。",[23,85,643,222,218,221,560,243,29,227,831,832,7],"近石","小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff1c6b2ad4920afc675476c281ad0a6d.jpg",[],{"id":836,"slug":837,"title":838,"dynasty":53,"author":182,"museum":55,"description":839,"tags":840,"thumbUrl":848,"material":73,"size":73,"collection":73,"collections":849,"showCount":794,"zanCount":11,"manualWeight":11,"mainColor":48},223640,"xiao-yi-zhuan-lan-ting-tu-yi-ming-223640","萧翼赚兰亭图（ＨＤ）","此作以浅淡设色铺陈场景，衣纹勾勒清圆细劲，简练间尽显人物风神。垂首侍立的侍者静立旁侧，竹椅上老僧神态淡然，正与躬身士人相对晤谈。画面摒弃繁复衬景，将张力收束在四人之间，暗合典故里机锋暗藏的对峙氛围。绢面晕开的古旧质感晕染出岁月沉淀，把这场暗藏谋划的会面，凝为沉静古雅的无声戏剧，尽显精妙的叙事功底，于极简布景中铺陈出耐人寻味的故事性。",[58,23,841,60,842,25,27,843,7,844,204,845,85,107,846,847,289,92],"宋画","工笔人物","侍者","僧人","线描","淡彩","人物场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034f604ceb2aa0061992d1d0c2365d4a.jpg",[],{"id":851,"slug":852,"title":853,"dynasty":150,"author":753,"museum":754,"description":755,"tags":854,"thumbUrl":859,"material":768,"size":769,"collection":73,"collections":860,"showCount":794,"zanCount":11,"manualWeight":11,"mainColor":48},222983,"hong-lou-meng-108-sun-wen-222983","红楼梦108",[58,23,24,25,60,621,855,36,7,856,857,858,171],"红楼梦题材","室内场景","古典家具","文房四宝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70d7b7cd11d8e0b7c16820dd98b03e49.jpg",[],{"id":862,"slug":863,"title":864,"dynasty":150,"author":182,"museum":55,"description":865,"tags":866,"thumbUrl":870,"material":113,"size":114,"collection":73,"collections":871,"showCount":872,"zanCount":11,"manualWeight":11,"mainColor":48},261242,"qing-hua-li-bai-shi-ju-wen-gao-zu-wan-yi-ming-261242","青花李白诗句纹高足碗","青花瓷（blue 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花鸟杂画，信手拈来，颇有奇趣。草虫书法工写兼备，其画风在明中期 别成一格。",[58,107,23,85,170,218,125,559,27,244,246,923,924,711,517,69,7,62],"椅子","篮子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7423d7c114d37fd72b377fa1ddb06057.jpg","纸本","纵28.5 厘米横46.5 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、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。",[58,23,85,108,218,25,559,27,7,36,86,960,961,962,61,62,963],"蝙蝠","兰草","花篮","祥瑞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93114a60f6453d3dfac5ef2fcdc2ba14.jpg",[],8,{"id":968,"slug":969,"title":970,"dynasty":18,"author":971,"museum":55,"description":972,"tags":973,"thumbUrl":975,"material":113,"size":114,"collection":73,"collections":976,"showCount":977,"zanCount":11,"manualWeight":11,"mainColor":164},287944,"huan-yu-xian-sheng-xiao-xiang-zhang-hong-287944","环宇先生肖像","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。",[58,23,27,25,974,141,7],"肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71d26a61fbf2f228ed89e12c60d5bcb6.jpg",[],7,{"id":979,"slug":980,"title":981,"dynasty":18,"author":104,"museum":255,"description":982,"tags":983,"thumbUrl":985,"material":986,"size":987,"collection":73,"collections":988,"showCount":977,"zanCount":11,"manualWeight":11,"mainColor":164},233708,"yi-an-tu-juan-tang-yin-233708","毅庵图卷","此以别号图为题材。图中描绘了松竹清幽、蕉石雅洁的庭院，茅屋中，一高士欹坐执麈，作遐观之状。笔墨苍润挺秀，设色清雅明丽。此高士乃文徵明三十年前砚友朱秉忠，别号毅庵，秉志高洁，为人清简，是一位优游林泉、笃爱诗书的隐士。",[23,85,60,218,25,157,61,221,222,27,29,244,984,912,7],"房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7603e5376692e6fa453279e5f734de65.jpg","纸本 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、驴屋等，汉族，江西南昌人。明宁王朱权后裔。明亡后削发为僧，后改信道教，住南昌青云谱道院。擅书画，花鸟以水墨写意为主，形象夸张奇特，笔墨凝炼沉毅，风格雄奇隽永;山水师法董其昌，笔致简洁，有静穆之趣，得疏旷之韵。擅书法，能诗文。存世作品有《水木清华图》、《荷花水鸟图》等。\n八大山人的书法与他的绘画风格相似，极为简练，到晚年喜用秃笔，一变锐利的笔势而变成浑圆朴茂的风格。近人研究八大书法，追其师承渊源众说纷纭。或曰宗二王、宗董其昌、宗王宠等等，终如寻其书画师承，至今无一定论一样。据王方宇先生考证，最初，八大山人受欧阳询的影响很深，稍后学董其昌的行草，又转入黄庭坚的夸张开阔等，多方探索，再追寻魏晋人书法的气质，终于参用篆书笔法，形成自己独特的风格:中锋圆润，又婉约多姿且厚重浑成，富有晋人气度。他的书法的成就，主要是笔法的改变。\n朱耷是清代著名的书画家。他的简笔写意花鸟画，以独特的面貌，开一代新风。他的书法亦与他的绘画风格相似，极为简练，到晚年喜用秃笔，一变锐利的笔势而变成浑圆朴茂的风格。\n近人研究八大书法，追其师承渊源众说纷纭。或曰宗二王、宗董其昌、宗王宠等等，终如寻其书画师承，至今无一定论一样。据王方宇先生考证，最初，八大山人受欧阳询的影响很深，稍后学董其昌的行草，又转入黄庭坚的夸张开阔等，多方探索，再追寻魏晋人书法的气质，终于参用篆书笔法，形成自己独特的风格:中锋圆润，又婉约多姿且厚重浑成，富有晋人气度。他的书法的成就，主要是笔法的改变。\n八大山人在许多绘画作品上的款跋，相当精彩奇巧。如在绘画布局上发现有不足之处，有时用款书云补其意。八大山人也能诗，所以他的画即使画得不多，题上自己随兴发挥的诗，意境就充足了。\n此册集朱耷所书信札十三通装裱成册，故又称《十三札》册。每札均有作者题名“八大山人”，大部分钤有“八大山人”印，其中第四札钤“八还”印，第五札钤“十得”印，第十札钤“遥属”印。此十三札有六通上款“鹿村先生”，六通“西翁”，一通致“僧舍方丈”。实际上都是致好友方士管的，方氏为八大的书画资助人和代理商，故札中所述多为友人间往还之事，其中不乏奉画、饮宴之约，借钱、谢赠等事，从中可以窥见八大山人当时生活的一个侧面，具有重要的文献价值。从书法风格及落款形式分析，此十三札大致为朱耷晚年之作。末开附清李葆恂题识四则。钤“李文石”、“臣葆恂印”、“文石”、“葆恂”、“文石父”等印多方。又册中第四札裱边有游悔庐主人题诗一首。\n是册书法挥洒自如，行草相间，无拘滞之感，盖由于书者致书友人，全无拘束，缘纸走笔，纵横驰骋，了无挂碍，自能得其书法真趣。此册不仅具有一定的史料价值，而且在书法艺术方面也同样具有很高的艺术价值。",[1041,157,61,85,23,258,218,62,7,519],"清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F239e52d7c98022240a611f05b935670a.jpg","纵24.6cm，横15.1cm",[],{"id":1046,"slug":1047,"title":1048,"dynasty":150,"author":1049,"museum":740,"description":1050,"tags":1051,"thumbUrl":1054,"material":73,"size":73,"collection":233,"collections":1055,"showCount":99,"zanCount":11,"manualWeight":11,"mainColor":1056},203261,"nan-gui-lin-wu-tu-ce-mei-qing-203261","南归林屋图册","梅清","水墨晕染的山景中，皴笔勾勒的孤石与疏枝树木相映，林间雅士凭崖而坐，似在静赏林泉之趣。笔墨清逸洒脱，山石的纹理与树木的姿态皆透着自然野趣，又暗含文人诗意，将归居林屋的静谧心境与山水之美相融，尽显小品画的雅致韵致。",[218,222,221,246,29,7,1052,1053,58],"小品","清逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11713062c9832ae7395e93f0ac543c39.jpg",[233],"d4c7b8",{"id":1058,"slug":1059,"title":1060,"dynasty":150,"author":1061,"museum":740,"description":1062,"tags":1063,"thumbUrl":1066,"material":73,"size":73,"collection":73,"collections":1067,"showCount":99,"zanCount":11,"manualWeight":11,"mainColor":1068},202547,"qiu-lin-du-yi-tu-zhou-tang-yi-fen-202547","秋林读易图轴","汤贻汾","峰峦层叠，皴笔勾勒间显山石肌理，云雾轻笼山腰，拓延深远之境。山麓秋树疏朗，枝叶带疏意，几椽茅舍隐于林畔，溪水潺潺环绕，一人持卷静坐，尽显悠然读易之趣。笔墨清逸雅致，设色淡润，将秋意的静谧与文人的雅兴融于山水之间，传递出寄情林泉的淡泊心境。",[23,222,221,25,1064,949,1065,7,108,218,58],"秋林","溪水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67dc4b2c597873e98006b86b9a2e799c.jpg",[],"b29c86",{"id":1070,"slug":1071,"title":1072,"dynasty":150,"author":1073,"museum":740,"description":1074,"tags":1075,"thumbUrl":1076,"material":73,"size":73,"collection":73,"collections":1077,"showCount":195,"zanCount":11,"manualWeight":11,"mainColor":1078},202734,"mei-ting-zhu-cha-tu-zhou-wang-zhen-202734","梅亭煮茶图轴","王震","悬崖险处筑亭，文人围炉煮茶，烟气轻绕与山雾交织。虬枝老树斜出崖边，墨色浓淡间显苍劲；山道行人缓步，添几分尘世暖意。山石以皴法勾勒肌理，水墨晕染出深远层次，设色清雅不喧。笔墨写意中见细致，融山水奇绝与雅士闲情，尽展林泉之趣。",[23,218,25,222,154,245,221,7,108,186,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7330926f1e75f986845d819a9b98361.jpg",[],"b0997e",{"id":1080,"slug":1081,"title":738,"dynasty":18,"author":417,"museum":740,"description":1082,"tags":1083,"thumbUrl":1084,"material":73,"size":73,"collection":233,"collections":1085,"showCount":195,"zanCount":11,"manualWeight":11,"mainColor":1086},201378,"shan-shui-tu-zhou-cheng-jia-sui-201378","这幅画作笔墨简练，意境清寂悠远。远处山峦以淡墨皴染，线条简括却见风骨，崖间苔点错落，添几分生机；近处树木苍劲，枝叶以浓淡墨色层叠晕染，姿态虬劲。树下文人衣袂飘飘，似在凝望远山，尽显超然物外的文人意趣。整幅画以水墨为基调，虚实相生，留白得当，将自然之趣与人文情怀相融，尽显明代文人画的雅致神韵。",[23,218,222,221,108,29,243,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F148300c1d604a4c46883d82643c13f37.jpg",[233],"cabfb0",{"id":1088,"slug":1089,"title":1090,"dynasty":18,"author":1091,"museum":740,"description":1092,"tags":1093,"thumbUrl":10,"material":73,"size":73,"collection":73,"collections":1099,"showCount":352,"zanCount":11,"manualWeight":11,"mainColor":1100},202981,"shu-hua-dui-ti-ji-ce-dong-qi-chang-202981","书画对题集册","董其昌","这页书法以行书挥就，笔墨流转间尽显文人雅致。行笔从容含力，线条柔韧兼具挺劲，结体疏朗空灵，字距行距间透气自然。墨色浓淡相宜，枯润相生——起笔收锋精准，转折圆融流畅，牵丝映带间藏着淡远清逸的韵致。古雅纸色衬朱印点缀，更添古朴意趣，仿佛能窥见古人挥毫时的从容心境，尽显明代文人书法的审美意趣。",[157,61,62,519,7,926,1094,1095,1096,1097,1098,58],"疏朗","淡远","雅致","朱印","枯润",[],"c49f7c",{"id":1102,"slug":1103,"title":1104,"dynasty":150,"author":1105,"museum":740,"description":1106,"tags":1107,"thumbUrl":1110,"material":73,"size":73,"collection":73,"collections":1111,"showCount":352,"zanCount":11,"manualWeight":11,"mainColor":1112},202461,"shan-ju-du-shu-tu-zhou-gao-jian-202461","山居读书图轴","高简","画面以水墨写意出陡峭悬崖，苍劲古松虬枝垂挂，松旁筑一简陋书屋，屋内文人临窗静坐，似沉浸书海。笔墨简淡却见功力，山石以简洁皴法勾勒，松针用细劲线条写出，整体意境清寂悠远，尽显文人隐居读书的闲适与超脱。无繁复设色，仅借水墨层次营造空濛氛围，将自然之境与人文之思相融，传递出古代文人对山水田园的向往与内心宁静。",[23,222,218,221,1108,1109,7,108,58],"古松","书屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca12b755d70fcf601a1b23e1227b77c5.jpg",[],"b4a08a",{"id":1114,"slug":1115,"title":1116,"dynasty":150,"author":1117,"museum":740,"description":1118,"tags":1119,"thumbUrl":1123,"material":73,"size":73,"collection":73,"collections":1124,"showCount":352,"zanCount":11,"manualW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