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。梧桐以其肥硕的枝干稳住了这二小段的重心，这是全图的第一个高潮。以下菊花、扁豆、紫薇等只是逸笔草草，随意点染。就章法而言，疏密是相对而存在的，这一小段貌似不经意之笔，在全图的节奏处理上却起着关键的作用。紫藤如蛇的老干泼辣粗放，“一扫槎枒三丈绢”的气势，形成了全图的最高潮。紫藤的花叶更是水墨淋漓，走笔如飞而不乱，意犹跃出纸外。芭蕉是滋润而含蓄的，它与紫藤形成了动与静的强烈对比，貌与质的相依共存。接下来梅枝横斜傲骨铮铮，幽兰、纤竹寥寥数笔，是为尾声。艺术是相通的，我们从这卷《杂花图》中可以领略到诗的起、承、转、合，也像欣赏一部交响曲，从引子到尾声，节奏和韵味正是它们共同的内涵。我们更能通过此图触摸到青藤老人胸中激情的横流。",[23,24,51,52,53,54,55,56,57,58,7,59,60,61,62,63,64],"书画","长卷","水墨","大写意","书法","牡丹","石榴","荷花","菊花","南瓜","扁豆","紫薇","葡萄","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2ccaec0a74bfab54d306d36724d1bcb.jpg","纸本","1053.5X30厘米","山水画精选",[68,70],"水墨画精选",448,{"id":73,"slug":74,"title":75,"dynasty":18,"author":76,"museum":77,"description":78,"tags":79,"thumbUrl":89,"material":90,"size":91,"collection":36,"collections":92,"showCount":93,"zanCount":94,"manualWeight":11,"mainColor":95},218916,"feng-huang-wu-tong-tu-yang-da-zhang-218916","凤凰梧桐图","杨大章","台北故宫博物院","设色画梧桐竹石，众鸟翔集。凤凰、白鹤、鸳鸯双栖其下，色彩鲜艳，呈现一片祥瑞之气。当时宫廷绘画喜好吉祥，本幅题材与画风即属此类。",[24,51,80,25,26,81,82,7,83,84,85,86,87,88],"立轴","花鸟","凤凰","鹤","山石","树木","禽鸟","草木","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff067e5de5237cf8c1c1b5a25bd6bdb9b.jpg","纸本,设色","337.3x122.6cm",[36],111,2,"BDBDBD",{"id":97,"slug":98,"title":99,"dynasty":100,"author":101,"museum":102,"description":103,"tags":104,"thumbUrl":114,"material":115,"size":116,"collection":117,"collections":118,"showCount":119,"zanCount":120,"manualWeight":11,"mainColor":41},219618,"bai-chi-wu-tong-tu-zhao-meng-fu-219618","百尺梧桐图","元","赵孟頫","上海博物馆","此作以淡逸青绿晕染出林下幽居之景，古木荫蔽临水轩馆，主人凭案静坐，似在沉湎遐思，侧室侍童悄然研墨，檐下光影清和。篱桥婉转接引溪岸，携琴小童缓步入园，将访友雅事暗藏画中。\n笔致清简柔润，设色浅淡雅致，无浓艳堆砌，只以平和色调晕染出草木山石的温润质感，将文人幽居的恬然意趣尽数铺展。画面不见喧嚣，只余林下静穆闲雅，把文人心中的隐逸栖居，定格成一段安然自持的慢时光，淡韵悠长，余味清远。",[24,26,25,105,7,106,107,85,108,84,109,30,110,111,112,113],"文人画","人物","亭","围栏","草地","建筑","地面","栅栏","远人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b0d2d1313c377cfccc6bd8b50026170.jpg","绢本,设色","29.5x59.7厘米","人物画精选",[117],101,1,{"id":122,"slug":123,"title":124,"dynasty":100,"author":125,"museum":20,"description":126,"tags":127,"thumbUrl":132,"material":133,"size":134,"collection":70,"collections":135,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":41},220798,"wu-zhu-xiu-shi-tu-ni-zan-220798","梧竹秀石图","倪瓒","《梧竹秀石图》绘湖石挺立，高梧疏竹映带左右。树干和秀石行笔匆匆急就，以阔笔湿墨描绘梧叶，虽是“逸笔草草，不求形似”之作，却颇得苍润淋漓之墨趣，别开生面。\n图中画梧桐一株，疏竹数竿，湖石平坡，间以涓涓细流。与以往画家惯用干淡松秀笔墨表现不同的是，全画用大胆的墨笔写成，颇具苍润淋漓之妙。梧叶用阔笔、湿墨侧抹而出，莽苍超忽，而清阴如覆；树干、秀石的表现亦以侧笔写成，湖石用浓墨皴出，其浑厚有北苑之意。这幅画为倪瓒画风成熟期少见的变体之作。画家通过对墨色浓淡、干湿的运用，使画面极富层次感。梧桐、竹石的表现与宋院体画讲究写真、追求形似相比已颇有变化，更突出了笔墨对自我性灵的抒发。正合《艺苑卮言》中云：“山水以气韵为主，形模寓乎其中。”草草点染而又不改物形的矛盾，倪瓒在此图中将其处理得恰到好处。",[23,128,24,53,80,64,7,129,130,32,131],"名画","孤石","行书","写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed2c141173efcc16d73f1e7f7f7cf9c1.jpg","纸本，墨笔","纵96cm，横36.5cm",[70,136],"竹石精选",96,{"id":139,"slug":140,"title":141,"dynasty":18,"author":142,"museum":77,"description":143,"tags":144,"thumbUrl":151,"material":90,"size":152,"collection":38,"collections":153,"showCount":154,"zanCount":11,"manualWeight":11,"mainColor":95},219387,"feng-xing-tu-ai-qi-meng-219387","风猩图","艾启蒙","艾启蒙，（西元一七０八至一七八０年），字醒庵，波西米亚人。乾隆十年入如意馆，与朗世宁、王致诚同为画院供奉。善画，尤工翎毛，赐三品衔。山径之末，累石成穴，梧桐、丹桂、芙蓉，杂以野菊秋卉，风猩二，一蜷伏洞中，一逡巡洞口。笔墨遒细而秀润，设色雅淡而清丽，与邹一桂蒋廷锡笔画有契合处，为艾氏精心之作。",[24,128,51,25,26,27,145,7,146,147,148,84,149,150],"猴","丹桂","芙蓉","菊","洞穴","秋卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c6bb60e7e22ccacb4a0c5552b267af9.jpg","121x90",[38],65,{"id":156,"slug":157,"title":158,"dynasty":18,"author":159,"museum":160,"description":161,"tags":162,"thumbUrl":166,"material":167,"size":168,"collection":36,"collections":169,"showCount":170,"zanCount":120,"manualWeight":11,"mainColor":41},222689,"wu-tong-bai-tou-tu-que-lan-222689","梧桐白头图","阙岚","安徽省博物馆","《梧桐白头图》是画家75岁时绘制的，工写结合，笔墨清灵，有一种纤尘不染的秀洁韵味。上部绘挺健梧桐，叶茂子实，一枝斜穿画面，绿叶飘动。一对白头鸟依偎枝上，亲密无间。下部绘神奇多彩灵石，石缝坡脚间花草杂生。笔墨细腻古朴，风格温润典雅。左下自题“道光壬辰季重九日仿瓯香馆本于天光云景斋。阙岚”。",[23,128,24,51,80,25,26,81,7,163,164,165],"白头鸟","岩石","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b42a65036debf55e7ebec34ee90c7e.jpg","绢本设色","纵101厘米，横40.5厘米",[36,38],58,{"id":172,"slug":173,"title":174,"dynasty":46,"author":175,"museum":77,"description":176,"tags":177,"thumbUrl":180,"material":90,"size":181,"collection":36,"collections":182,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":95},219399,"qiu-lao-wu-tong-zhou-lan-ying-219399","秋老梧桐轴","蓝瑛","描绘了秋色节令，而图中乾隆皇帝的题诗又为此画增添了流传千古的一段文坛佳话。",[24,80,26,25,81,7,178,179],"鸟","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4552d34b1f14023a19d7989f826fdca7.jpg","136.6x31.2",[36],35,{"id":185,"slug":186,"title":187,"dynasty":46,"author":175,"museum":20,"description":188,"tags":189,"thumbUrl":193,"material":66,"size":194,"collection":36,"collections":195,"showCount":196,"zanCount":11,"manualWeight":11,"mainColor":95},222603,"qiu-se-wu-tong-tu-lan-ying-222603","秋色梧桐图","此画面一片秋高气爽的气氛，上杂红树一枝。一只美丽的小鸟，悠闲地栖立于梧桐枝上，形象生动自然，神气逼肖。在构图上采用传统折枝的方法，截取梧桐与丹枫的枝头横斜下垂之势。在枝叶参差错落之中，求得疏密有致。花木点染随意，桐叶饱含水墨，抒情性很强。墨笔写成枝干，糅合了山水画的用笔，显得枝干劲健有力。山鸟基本以墨画成，略施淡赭色彩，令人感到素雅可亲。双勾的丹枫叶，显得挺俏遒劲；在画法上，勾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tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[205,206,81,207,7,56],"扇面","缂丝","凤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ea269a8f859a35457aaf744a288a144.jpg","未知","Xcm*Xcm","",[],22,{"id":215,"slug":216,"title":217,"dynasty":218,"author":219,"museum":202,"description":220,"tags":221,"thumbUrl":225,"material":209,"size":210,"collection":211,"collections":226,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":41},288335,"wu-zhu-xi-tang-tu-xia-gui-288335","梧竹溪堂图","宋","夏圭","此图画山间一茅舍，旁有梧桐、修竹环绕，远处则是青山隐隐。画面景物平常、简约，却蕴含着清旷、幽深、静谧的意趣。",[23,24,128,51,205,53,222,64,7,107,223,224,55,130],"山水","小桥","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70d7e4d8b8f02db5e2072c25ef69640f.jpg",[],{"id":228,"slug":229,"title":230,"dynasty":218,"author":201,"museum":20,"description":231,"tags":232,"thumbUrl":237,"material":34,"size":238,"collection":211,"collections":239,"showCount":240,"zanCount":11,"manualWeight":11,"mainColor":95},223522,"wu-tong-ting-yuan-tu-ye-yi-ming-223522","梧桐庭院图页","图中绘有歇山式、四角攒尖式顶的建筑，描写具体而精致。画家以直线、横线、斜线、弧线等多种线条准确地勾勒，并将它们有机地组合在一起，通过轮廓的轻重、线条的疏密，清楚地交代出殿阁远近纵深的层次和“向背分明”的体积感，比例准确合度。虽然从构图和技法上分析，此幅应出自南宋画家之手，而不是李佐贤所定的“恕老”作，但仍可谓是传郭忠恕之衣钵。",[23,128,24,51,233,25,53,26,234,7,235,110,85,84,236],"册页","界画","庭院","房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F235ac18ea34cfa2c76f12f7aedadc6e1.jpg","纵24cm，横19.3cm",[],16,{"id":242,"slug":243,"title":244,"dynasty":100,"author":125,"museum":20,"description":245,"tags":246,"thumbUrl":248,"material":133,"size":249,"collection":211,"collections":250,"showCount":251,"zanCount":11,"manualWeight":11,"mainColor":41},233885,"wu-zhu-xiu-shi-tu-zhou-ni-zan-233885","梧竹秀石图轴","图中绘湖石挺立，高梧疏竹映带左右。树干和秀石行笔匆匆急就，以阔笔湿墨描绘梧叶，虽是“逸笔草草，不求形似”之作，却颇得苍润淋漓之墨趣，别开生面。",[24,51,80,53,64,7,129,32,130,55,247],"皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe669021468b32b5f44f9d6226b16a7dc.jpg","纵96厘米，横36.5厘米",[],11,{"id":253,"slug":254,"title":255,"dynasty":100,"author":256,"museum":77,"description":257,"tags":258,"thumbUrl":260,"material":115,"size":261,"collection":211,"collections":262,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":41},219107,"hua-hui-ce-wu-tong-wang-yuan-219107","花卉册-梧桐","王渊","枝干盘曲如篆，墨线勾勒间见苍劲之态；叶片层叠舒展，脉络细劲如丝，淡赭晕染出温润秋意。含苞的花萼敛着几分怯意，似欲在绢素上悄然绽露芳华。无浓艳敷彩，却以简净笔触捕捉梧桐清疏之姿，墨色与绢本底色交融，晕开文人画的雅致气韵。每片叶的翻转、每道枝的曲直，皆藏着对自然的细致观照——静谧中透着生机，淡远里含着深情，尽显宋元画坛的笔墨风神与诗意栖居之境。",[23,24,51,259,26,25,81,165,7],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F426973fa54cb529fab213c243d2816bb.jpg","25.9x23.6cm",[],10,{"id":265,"slug":266,"title":267,"dynasty":18,"author":201,"museum":202,"description":268,"tags":269,"thumbUrl":270,"material":209,"size":210,"collection":211,"collections":271,"showCount":272,"zanCount":11,"manualWeight":11,"mainColor":95},234706,"gu-yun-wu-zhu-gao-shi-shan-mian-yi-ming-234706","顾沄梧竹高士扇面","此作以扇面为卷，绘就林泉幽居之景。浅淡笔墨晕染出水色空濛，茅亭临波，高士凭栏闲坐，似在静赏烟水林峦。梧竹葱茏伴山石朴拙，墨色清润秀雅，将山林的幽寂之气铺陈开来。\n题识小字错落排布，诗画相映，把文人寄情丘山、静享闲逸的心境尽数藏于尺幅之间。构图疏密相宜，亭台人物虽小巧却情态悠然，衬以苍茂竹木与朦胧水色，将江南林泉的清寂雅致融于咫尺扇面，尽显萧散出尘的文人意趣，以简淡笔墨勾勒出隐逸林下的悠然意境，尽显画中寄情林泉的悠远韵致。",[205,53,26,131,106,7,64,107,129,222,55,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb882582c71de5a9c47181782de4dcba1.jpg",[],9,{"id":274,"slug":275,"title":276,"dynasty":46,"author":175,"museum":202,"description":277,"tags":278,"thumbUrl":279,"material":211,"size":211,"collection":211,"collections":280,"showCount":281,"zanCount":11,"manualWeight":11,"mainColor":95},235855,"qiu-se-wu-tong-zhou-lan-ying-235855","秋色梧桐轴","枯槎携丹色桐叶横斜，桐子垂挂枝梢，清冷秋意扑面而来。以写意笔法绘就梧桐，浓淡墨色晕染出叶片的阴阳向背，丹粉轻染叶边，将秋深叶渐霜红的景致晕染恰到好处。\n\n独立枝头的山禽刻画工细，翎毛晕染层次分明，神完气足，将林间幽居野禽的娴静之态尽显。画面搭配题跋，诗书画相映，融工致与写意于一体，萧疏清隽的秋林意趣跃然纸上，把秋日林间的静穆生机凝于尺幅，尽显雅致的文人意趣。",[24,51,80,26,53,81,7,178,32,55,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37e3e520f01b79f754877fe32b75f2c3.jpg",[],8,{"id":283,"slug":284,"title":285,"dynasty":100,"author":286,"museum":20,"description":287,"tags":288,"thumbUrl":290,"material":167,"size":291,"collection":211,"collections":292,"showCount":293,"zanCount":11,"manualWeight":11,"mainColor":41},233893,"bi-wu-cang-shi-tu-zhou-lu-xing-zhi-233893","碧梧苍石图轴","陆行直","陆行直字季道吴江（今江苏吴江）人。洪武中（公元1368—1398年）以人才授翰林典籍。善书诗画清劲为人所称。小传见《画史会要》、《珊瑚網》等书。 此图画巨大的湖石一堵屹立画面正中旁边梧桐和柏树冲天而立。笔墨清劲构图平中寓险为陆行直传世名作。画右自题词一首：「侯虫凄段人语西风岸月落沙平流水漫 驚见芦花来雁。可憐瘦损兰趁多情因为卿卿只有一枝梧页不知多少秋声。」后识「友人张叔夏赠余之作也余不能记忆于至治元年仲夏二十四日戏作碧梧苍石与冶仙西 窗夜坐因语及此转瞬二十一载今卿卿叔夏皆成故人恍然如隔世事遂书于卷首以记一时之感慨云。季道陆行直题。」钤「致和斋」、「陆季道氏」二印右下又题词一首 款「陆行直重题」。本幅有元刘则□、页衡、冶仙、曹仲达、卫达辰等十四家题记诗塘有明刘稽、周鼎题识裱边有谢希曾跋语。钤明项子京等收藏印多方。《汪氏珊 瑚網》、《佩文斋书画谱》、《式古堂书画汇考》等书著录。",[24,51,80,53,247,130,55,129,289,7],"老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12a0d56a3607216b38f91cd9c8d213f8.jpg","纵107cm，横53.2cm",[],6,{"id":295,"slug":296,"title":297,"dynasty":18,"author":298,"museum":202,"description":299,"tags":300,"thumbUrl":318,"material":66,"size":211,"collection":319,"collections":320,"showCount":321,"zanCount":11,"manualWeight":11,"mainColor":95},240707,"shi-juan-zhou-shao-xing-240707","诗卷","周绍行","此作用狂草挥就，笔墨跌宕恣肆，线条枯湿浓淡变幻万千，提按顿挫间尽展随性意气。字形大小错落、欹正相生，字势连绵缠绕如惊蛇走虺，满纸氤氲着淋漓云烟。\n\n行气舒张贯通毫无滞碍，将胸中豪情尽数倾泻笔端，纵逸挥洒处带着不羁文人气韵。枯笔苍茫与浓墨厚重相映，时而奔放驰骋时而萦回转合，字字连绵却不失章法，视觉张力强烈，将草书抒情写意的特质发挥到极致，尽显书写时的酣畅快意，是极具个性的抒情书法佳构。",[23,55,52,130,301,32,302,303,304,305,306,7,64,307,308,309,310,311,312,313,314,315,316,317,148],"草书","江","月","风","秋","夜","松","花","酒","舟","山","水","云","雨","雪","梅","兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e5d7c59fb8156f7154249e96fd8df63.jpg","书法精选",[319],3,{"id":323,"slug":324,"title":325,"dynasty":18,"author":326,"museum":327,"description":328,"tags":329,"thumbUrl":332,"material":333,"size":334,"collection":211,"collections":335,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":211},220678,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220678","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。",[23,24,51,259,130,55,53,311,330,88,7,331],"房舍","楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4664e2523a2dbad88d786c8e0652e07.jpg","水墨,设色,纸本,册页","18×34.5厘米",[],1777535721088]