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-1648）、许乃普（1787-1866）三人题跋。\n此册迭经明·王一鹏（生卒不详）、明·顾凝远（1580 -1645后）、清·何溥（19世纪）、清·李恩庆（?-1864）、清·许乃普（1787-1866）等人递藏。著录、出版先后见李佐贤《书画鉴影》卷十四， 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297,"showCount":298,"zanCount":11,"manualWeight":11,"mainColor":79},218837,"xi-yang-gui-du-tu-yi-ming-218837","夕阳归犊图","这幅画描绘了两头大牛在夕阳下涉水过河的情景，还有一头小牛在恐惧和害怕中伸出前蹄。笔触简单，牛和人物都没有形态，不像是专业画家的作品，也不像是普通文人的俏皮笔触。",[23,24,291,28,31,27,7,292,293,176,294,63],"扇面","牛","树","坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21a03dda9ca27d426983bebcf6e6d089.jpg","22.4x22.4",[127,75],55,{"id":300,"slug":301,"title":302,"dynasty":18,"author":303,"museum":58,"description":304,"tags":305,"thumbUrl":307,"material":308,"size":93,"collection":93,"collections":309,"showCount":310,"zanCount":11,"manualWeight":11,"mainColor":79},234188,"xun-yang-pi-pa-xing-tu-juan-li-shi-da-234188","浔阳琵琶行图卷","李士达","李士达的生活年代大约是十六世纪中叶到十七世纪初。在万历二年（公元1574年）考中进士，泰昌元年（公元1620年）还画过一幅《关山风雨图》，活了八十多岁。\n[明]号仰槐，一作仰怀，陕西省三原县人。万历元年（一五七三）癸酉乡试中举 [1] ，入雁塔题名碑，万历二年（一五七四） [2] 进士。画人物、山水名世。万历间隐居新郭。尝论画有五美云：“苍、逸、奇、远、韵。”五恶云：“嫩、板、刻、生、痴。”人谓其深得画理。寿至八十外。泰昌元年（一六二o）尝作关山风雨图。《明画录》、《无声诗史》、《吴县志》、《故宫周刊》。主要作品《松阴搔背》、《松竹高士》、《坐听松风》、《蕉阴独酌》、《西园雅集》、《寒林钟馗》、《罗汉卷》、《仙山楼阁》、《三驼图》。",[23,24,25,61,28,27,62,31,32,36,35,90,220,156,306,39,34,41,7],"江水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbda0629b682f08ed426a8007477828c6.jpg","纸本，设色",[],51,{"id":312,"slug":313,"title":314,"dynasty":121,"author":315,"museum":85,"description":316,"tags":317,"thumbUrl":320,"material":222,"size":223,"collection":93,"collections":321,"showCount":322,"zanCount":284,"manualWeight":11,"mainColor":51},288939,"xiao-xiang-ba-jing-yu-cun-luo-zhao-wang-hong-288939","潇湘八景-渔村落照","王洪","全卷呈现出一种全景式的山水大观，其中并没有体现出有『八景』的各自样态，因其用意并不在于『八景』。相比之下，王洪的《潇湘八景图》各景独立成画，各个表现不同之意境，应当是接近于宋迪所绘之《潇湘八景图》的形式样态。",[24,25,139,61,62,31,141,7,36,39,318,319,63],"江岸","渔者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbc3334d2253ee018f96ae13d2a02c85.jpg",[],49,{"id":324,"slug":325,"title":215,"dynasty":216,"author":217,"museum":85,"description":218,"tags":326,"thumbUrl":327,"material":222,"size":223,"collection":93,"collections":328,"showCount":322,"zanCount":11,"manualWeight":11,"mainColor":51},288840,"jiang-di-wan-jing-tu-dong-yuan-288840",[139,24,25,88,30,28,31,32,37,35,39,41,33,7,65,64,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdb6c45faab9facbb27c89e848862159.jpg",[],{"id":330,"slug":331,"title":105,"dynasty":332,"author":333,"museum":334,"description":335,"tags":336,"thumbUrl":345,"material":346,"size":93,"collection":93,"collections":347,"showCount":348,"zanCount":11,"manualWeight":11,"mainColor":79},220518,"xing-shu-xu-bei-hong-220518","民国","徐悲鸿","中央美术学院美术馆","笔力苍劲朴拙，兼具碑帖沉厚质感与行书灵动意趣，起收转合藏露随心，线条粗细跌宕间带着刚爽筋骨。\n\n诗作意境沉郁苍茫，书文相生，笔势循着诗意铺展，残阳秋风的怅惘随笔墨起伏流转，顿挫的笔触里暗寓家国愁绪。\n\n布局疏密得宜，字态欹正相生，法度之中藏着情难自已的舒展，将文人意趣与忧怀揉为一体。落笔见风骨，留白有余韵，笔墨成为心绪的载体，尽显书写时的心境起伏，是书情相融的动人之作。",[105,64,337,338,339,340,7,341,106,342,343,344],"笔墨淋漓","行笔遒劲","墨色变化","气韵生动","柳","江上","孤帆","青山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3239976293f1b257df23a9430f4ea0d1.jpg","水墨纸本",[],47,{"id":350,"slug":351,"title":352,"dynasty":18,"author":353,"museum":102,"description":354,"tags":355,"thumbUrl":356,"material":357,"size":93,"collection":93,"collections":358,"showCount":359,"zanCount":284,"manualWeight":11,"mainColor":79},214653,"qiu-xing-ba-jing-tu-ce-5-dong-qi-chang-214653","秋兴八景图册-5","董其昌","此册描绘苏州到镇江一带的山水景色，或仿古，或写景，笔法虽然以师古人为主，但具有不少个性色彩。采取以颜色直接勾勒、渲染、皴擦等“没骨法”，又连用水墨，干湿兼施，层次分明。落笔细润清雅，色彩明亮秀丽。画笔较为谨严，从中可以品味出他学巨然、赵令穰、赵孟頫、黄公望等人的痕迹，但从整体来看，还是他独特画风的不同表现。\n款署“庚申（1620年）九月重九前一日书，是月写设色小景八幅，可当秋兴八首，玄宰”，为其66岁时的精心之作。",[24,25,26,28,30,62,63,105,64,31,66,157,90,179,7,43],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb893b7c0fa8f94f84a419b7b87e6439e.jpg","纸本,设色",[],46,{"id":361,"slug":362,"title":363,"dynasty":364,"author":365,"museum":85,"description":366,"tags":367,"thumbUrl":384,"material":222,"size":223,"collection":385,"collections":386,"showCount":387,"zanCount":11,"manualWeight":11,"mainColor":51},226041,"sunset-on-the-seine-winter-effect-1880-mo-nai-226041","Sunset on the Seine, Winter Effect, 1880","不详","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[368,369,7,370,371,172,68,372,373,374,375,376,90,377,378,379,380,381,382,383],"印象派","油画","河流","水面倒影","雾气","岸边","冬日","天空","波光","水域","光影捕捉","笔触灵动","色彩晕染","冬日景象","植被","水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73e3fb37de0bc5ea5233835f6f34ef48.jpg","油画精选",[385],40,{"id":389,"slug":390,"title":391,"dynasty":18,"author":392,"museum":393,"description":394,"tags":395,"thumbUrl":397,"material":73,"size":398,"collection":114,"collections":399,"showCount":400,"zanCount":284,"manualWeight":11,"mainColor":79},222476,"teng-wang-ge-xu-zhu-yun-ming-222476","滕王阁序","祝允明","苏州博物馆","此作是其56岁时的杰作。高头长卷，洋洋洒洒近千字，“奔蛇走虺，骤雨旋风”，意到笔随，一气呵成，有行风行水上之势，变幻无穷。祝允明的书法面目多变，每卷有每卷的情致风规，如这卷草书，用小笔硬毫，笔画瘦劲而婉约，纵横挥洒，满纸云烟，偏多怀素遗意。全卷前段尚有拘矜之态，愈后则愈解脱自在，最后渐入化境，超妙自得。全卷草书多用连笔连字，以至兴到之时，笔势自生，大小相参， 上下左右，起止映带，都能达到神妙的意境。",[23,105,64,61,65,62,396,25,36,33,31,38,7,40],"字帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc222aec76d124e12a1b24cabea82763.jpg","纵32.9cm 横842.6cm",[114],39,{"id":402,"slug":403,"title":404,"dynasty":165,"author":405,"museum":85,"description":406,"tags":407,"thumbUrl":408,"material":73,"size":93,"collection":93,"collections":409,"showCount":410,"zanCount":11,"manualWeight":11,"mainColor":79},231940,"qiu-shan-tu-kun-can-231940","秋山图","髡残","髡残，生于明万历四十年(公元1612年)，卒年不详。俗姓刘，字介邱，号石谿，又号白秃、电住道人、天壤残道者，湖南武陵(今常德县)人。四十三岁后长居南京。据说，他青年时曾参加南明何腾蛟等人的军队，投入了抗清斗争。抗清失败 后，隐居桃源深处，于四十岁公元1651年 出家做了和尚。其后，便到各地云游，与高僧们参究禅学。四十三岁(公元1654年)到了南京，住在城南大报恩寺，有时住栖霞寺和天龙古院，晚年定居牛首祖堂山幽栖寺十余年，一直到老终。\n顺治十三年(公元1656年)髡残和清代学术大师顾炎武结为朋友，一见如故，情投意合，常在一起饮酒赋诗，切磋学问。他最知己的朋友是程正揆，二人既是同乡，又是佛教徒，都擅长诗、书、画。顺治十四年程辞官后回到南京，常去栖霞、牛首，髡残老年多病，去城里看病，也是宿在程氏家。他们共同商讨艺术，鉴赏书画，一起作画。当时“金陵八家”中之龚贤对他们二人的艺术推崇至极，龚在给周亮工题程正揆《山水册》里说：“金陵画家能品最夥，而神品、逸品亦各有数人，然逸品首推二谿：曰石谿，曰青谿。石谿，残道人也，青谿，程正揆侍郎也，皆寓公。残道人画粗头乱服，如王孟津清书法家王铎书法，程侍郎画冰肌肉骨，如董华亭明季书画家董其昌书法。百年来论书法则王、董二公应不让，若论画艺，则今日两谿又奚肯多让乎哉。”可见髡残、程正揆在南京画坛的地位，是非常突出的了。",[23,139,24,25,61,62,28,63,31,68,91,35,36,7,34,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eabf1eab9024ddbec39703a04a2ae13.jpg",[],37,{"id":412,"slug":413,"title":414,"dynasty":364,"author":415,"museum":85,"description":416,"tags":417,"thumbUrl":420,"material":222,"size":223,"collection":385,"collections":421,"showCount":410,"zanCount":11,"manualWeight":11,"mainColor":51},225734,"de-aflader-in-arles-fan-gao-225734","De aflader in Arles","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[369,418,7,370,172,32,419],"后印象派","水岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc05bc40c64fbdae3b6f88794c13f1fd.jpg",[385],{"id":423,"slug":424,"title":425,"dynasty":332,"author":426,"museum":334,"description":427,"tags":428,"thumbUrl":429,"material":430,"size":93,"collection":93,"collections":431,"showCount":410,"zanCount":11,"manualWeight":11,"mainColor":79},220475,"man-mu-qing-shan-xi-zhao-ming-zhou-li-ke-ran-220475","满目青山夕照明（轴）","李可染","此作用巨幅雄山占据画面主体，焦墨勒出山峦筋骨，赭石晕染铺就夕照暖光，将冷硬岩壁晕染出暮色鎏金的温煦。山谷间田埂溪流萦回蜿蜒，深郁林木沉黑如墨，与亮部形成强烈明暗反差，既衬出山岳巍峨厚重的体量感，又暗藏乡野灵动生机。\n以积墨反复皴擦堆叠，让山体兼具苍茫质感与雄浑气势，右上角题笔朴拙苍劲，与画风融为一体，将暮色中山川的沉浑壮美与田园静谧相融，把晚照青山的诗意凝于尺幅之间，尽显沉雄朴厚的山水意趣，藏着对山河暮色的深切眷恋。",[24,25,88,62,28,63,31,344,7,35,170,90,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68a6185073b7c5986525e80316eb85c6.jpg","纸本水墨",[],{"id":433,"slug":434,"title":435,"dynasty":121,"author":151,"museum":436,"description":437,"tags":438,"thumbUrl":439,"material":440,"size":441,"collection":93,"collections":442,"showCount":443,"zanCount":11,"manualWeight":11,"mainColor":79},231570,"shan-shui-shi-er-jing-tu-cun-qi-si-xia-gui-231570","山水十二景图（存其四）","美国纳尔逊阿特金斯艺术博物馆","夏圭，生卒年不详，字禹玉，临安（今浙江杭州）人，“南宋四家”之一。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他与马远同属水墨苍劲一派，号称“马夏”。\n夏圭擅画山水、人物，他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。",[24,25,61,62,63,105,65,31,36,35,34,38,7,40],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F019c74398a8c6657a1cae9edc177829e.jpg","绢本墨笔","全卷长达七米",[],36,{"id":445,"slug":446,"title":447,"dynasty":165,"author":448,"museum":449,"description":450,"tags":451,"thumbUrl":455,"material":456,"size":457,"collection":93,"collections":458,"showCount":443,"zanCount":11,"manualWeight":11,"mainColor":79},223223,"san-yang-kai-tai-tu-ren-yi-223223","三羊开泰图","任颐","旅顺博物馆","这是清代著名画家任伯年的代表作品，所画人物形象用笔颇有新意，直接以色彩做画，略加勾线，表现出良好的西洋画素描功夫，对三羊的描绘亦表现出这一点，用浓淡结合的墨色勾勒三只姿态各异的羊，紧紧抓住羊的动态，形成繁简虚实的统一。同时，其画法又保持了中国画造型夸张与线条表现的基本艺术特征，以及书法一气贯通的意韵，可谓中国画艺术在近代融和中西、探求新路的成功之作",[23,24,28,62,452,277,453,454,7,65],"写意","羊","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04307a52460e0e28b559ac3ccee2c932.jpg","纸本设色","145cmx75cm",[],{"id":460,"slug":461,"title":462,"dynasty":121,"author":463,"museum":85,"description":464,"tags":465,"thumbUrl":466,"material":93,"size":93,"collection":93,"collections":467,"showCount":468,"zanCount":11,"manualWeight":11,"mainColor":51},227954,"shou-shan-fu-hai-tu-zhao-bo-ju-227954","寿山福海图","赵伯驹","此作用色古雅沉静，青绿重晕的孤峰卓立沧溟之上，石质苍润朴拙，尽显山岳沉稳厚重之态。细劲墨线勾描层叠水纹，暗合海波悠悠律动。丹红落日悬垂天际，暖赭晕染暮空，群鸦振翅穿翔于天地间，为静谧图景添了灵动生气。\n\n整体构图简括静穆，将祈福寄寓山海：青山喻绵长福泽，沧海托无涯寿数，红日高悬烘托圆满祥瑞。画作承青绿山水古意，以极简构图脱出繁复，将祝寿之旨融于渺远静阔的图景里，静中藏动，淡而有神，尽显雅致沉静的宋画意趣。",[23,139,24,25,30,28,27,31,43,35,7,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F182ace73bc094636a83c12be026af239.jpg",[],35,{"id":470,"slug":471,"title":472,"dynasty":56,"author":473,"museum":85,"description":474,"tags":475,"thumbUrl":476,"material":222,"size":223,"collection":93,"collections":477,"showCount":478,"zanCount":11,"manualWeight":11,"mainColor":51},287577,"shan-shui-ren-wu-sun-jun-ze-287577","山水人物","孙君泽","工山水人物，宗法马远、夏圭，画风工致谨细，对明代以后浙派绘画的发展有直接的影响。他的作品广见于日本旧藏中。",[24,31,32,179,43,7,37,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7e6badd43c05bf2f375442199b1e38f.jpg",[],32,{"id":480,"slug":481,"title":482,"dynasty":165,"author":483,"museum":85,"description":484,"tags":485,"thumbUrl":487,"material":93,"size":488,"collection":93,"collections":489,"showCount":478,"zanCount":11,"manualWeight":11,"mainColor":79},238031,"hong-ren-shan-shui-tu-ce-hong-ren-238031","弘仁山水图册","弘仁","弘 仁（1610-1664），清画家。俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪立瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等。",[24,62,63,26,31,90,486,176,43,7],"房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9144a0928789c773384316cc6493a3d6.jpg","50×36",[],{"id":491,"slug":492,"title":493,"dynasty":18,"author":494,"museum":58,"description":495,"tags":496,"thumbUrl":499,"material":500,"size":501,"collection":93,"collections":502,"showCount":503,"zanCount":11,"manualWeight":11,"mainColor":51},233849,"nan-ji-lao-ren-xiang-lv-ji-233849","南极老人像","吕纪","该图绘我国古代神话故事中的南极老人，又称寿星，长头短身、白须寿眉，立于夜雾迷濛、明月高挂、翠竹纷披、红杏盛开、山泉奔流不息的原野中，一只梅花鹿立于身旁，由于“鹿”与“禄”同音，寓意多“禄”多“寿”。画面中人物用粗细不一的线条勾描，然后染色。树石、流水用笔劲利，山石用斧劈皴，略加淡墨晕染。",[24,88,27,28,32,497,498,91,35,7,38,277],"鹿","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facebab1181af51829e0be60e88caeab6.jpg","绢本设色","纵217厘米，横114.2厘米",[],29,{"id":505,"slug":506,"title":507,"dynasty":121,"author":508,"museum":85,"description":509,"tags":510,"thumbUrl":512,"material":93,"size":93,"collection":93,"collections":513,"showCount":514,"zanCount":11,"manualWeight":11,"mainColor":51},228030,"wei-sheng-huang-hun-tu-zhao-da-heng-228030","薇省黄昏图","赵大亨","暮色漫过深宅庭院，丹红与素白的花影缀在枝桠，晕开柔暖朦胧的晚意。敞轩之内，一人斜卧假寐，将白日倦怠揉进黄昏里。屋宇木构刻画清雅工细，层叠的瓦檐晕染出松弛闲散的日常氛围。远景青绿山影轻笼在烟岚里，与院内花木相映，将宅邸晕成一方避世的静谧天地。\n\n整幅设色温雅柔润，工细笔意里带着写意的松弛，把黄昏庭院慵懒闲散的氛围感烘托至极，将宋人的闲雅私居之美定格，尽显慢煮时光的雅致意趣，晕开淡淡的温柔余韵。",[23,24,291,28,29,511,90,31,7],"屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180cc436741e61cb1c56a0bdb9f2ef67.jpg",[],28,{"id":516,"slug":517,"title":518,"dynasty":18,"author":519,"museum":58,"description":520,"tags":521,"thumbUrl":541,"material":542,"size":543,"collection":114,"collections":544,"showCount":514,"zanCount":11,"manualWeight":11,"mainColor":79},222354,"zi-shu-ci-juan-tang-yin-222354","自书词卷","唐寅","此为唐寅所作词并自书，分《集贤宾》、《锦衣公子》、《山坡羊》三组曲牌，共24首。 唐寅博学多能，吟诗作曲，能书善画。他的传世绘画较多，书法甚少。其书以行楷见长，学赵孟頫并参以李北海笔意，笔画婉转流畅，风格俊秀潇洒。此书结构严谨，圆转遒丽，丰润优雅，形成了劲骨于内、美形于外、缜密流便的独特风格，词、书并美，堪称珠联璧合，从中可欣赏到往昔“江南第一风流才子”的儒雅韵致及其纯熟的书法功力。",[23,522,64,105,61,62,65,40,7,31,36,37,35,34,38,523,39,524,525,498,526,527,528,529,530,531,532,533,67,534,535,536,537,538,539,540],"明代","枯藤","梅","兰","菊","荷","牡丹","桃花","水仙","鱼","风","雨","云","日","夜","春","夏","秋","冬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47d4bbb43b2575078730ba53af232464.jpg","纸本，行书","纵23.3厘米，横551.3厘米",[114],{"id":546,"slug":547,"title":548,"dynasty":165,"author":549,"museum":207,"description":550,"tags":551,"thumbUrl":553,"material":554,"size":555,"collection":75,"collections":556,"showCount":557,"zanCount":11,"manualWeight":11,"mainColor":51},223117,"hua-fan-zhao-gui-yun-tu-zhou-dong-bang-da-223117","画返照归云图轴","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。",[23,24,25,139,88,552,63,28,66,157,534,7,90,69,370],"山水画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e89609eb1517d1843f2e8924eba4cf4.jpg","淺設色","251.1x158.6",[75,77],26,{"id":559,"slug":560,"title":120,"dynasty":121,"author":84,"museum":102,"description":561,"tags":562,"thumbUrl":563,"material":45,"size":564,"collection":75,"collections":565,"showCount":557,"zanCount":146,"manualWeight":11,"mainColor":51},218231,"wan-jing-tu-yi-ming-218231","《晚景图》画夜色朦胧中的远山近丘，近景丘岭连绵，大石横卧；溪水环抱，山石以浓墨勾骨，密布山头的树叶分别以焦墨和浓墨密匝点簇。远景山头用淡墨短笔勾勒，背景全用淡墨烘染，以突出晚景主题。从此图的构图布局和笔法用墨看，是一幅综合北南宋山水画体制的佳构。",[24,25,88,62,63,31,91,90,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48f851ecfa2c8d3ceaa533f612b7e3b1.jpg","纵69.5厘米,横37.6厘米",[75],{"id":567,"slug":568,"title":569,"dynasty":121,"author":570,"museum":85,"description":571,"tags":572,"thumbUrl":573,"material":222,"size":223,"collection":93,"collections":574,"showCount":575,"zanCount":11,"manualWeight":11,"mainColor":51},290341,"shan-shui-ren-wu-zhou-ma-yuan-290341","山水人物轴","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。",[24,25,88,31,32,39,91,7,62,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2efa039e0450aefee13856451ab38a66.jpg",[],24,{"id":577,"slug":578,"title":105,"dynasty":332,"author":333,"museum":334,"description":579,"tags":580,"thumbUrl":345,"material":585,"size":93,"collection":93,"collections":586,"showCount":587,"zanCount":11,"manualWeight":11,"mainColor":79},220537,"xing-shu-xu-bei-hong-220537","此作融碑帖意趣于笔端，笔墨苍劲朴拙，线条收放自如，兼具雄健风骨与雅致文心。书录怀古诗作，将家国愁绪寄寓字间，撇捺起落裹挟沉郁忧思。章法疏密错落，行气贯通无间，提按转折藏露互见，尽显融通南北书风的造诣。以画入书，让笔墨自带画面张力，把时代赋予的厚重情怀凝于笔锋，观之如闻低回慨叹，不拘一格的气度尽显于点画之间，文字亦承载起动人的情绪重量。",[105,581,582,583,584,7,341,106,342,343,344],"民国书法风格","笔墨流畅","运笔遒劲","墨色浓淡","纸本墨笔",[],22,{"id":589,"slug":590,"title":591,"dynasty":18,"author":353,"museum":85,"description":592,"tags":593,"thumbUrl":594,"material":222,"size":223,"collection":93,"collections":595,"showCount":596,"zanCount":11,"manualWeight":11,"mainColor":79},283758,"bei-shan-he-chu-tu-zhou-dong-qi-chang-283758","北山荷锄图轴","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。",[24,88,62,31,68,91,511,7,63,64,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c645e9eb5aa6d6f504c27224f82163e.jpg",[],20,{"id":598,"slug":599,"title":600,"dynasty":364,"author":365,"museum":85,"description":366,"tags":601,"thumbUrl":606,"material":222,"size":223,"collection":385,"collections":607,"showCount":608,"zanCount":11,"manualWeight":11,"mainColor":51},226058,"the-church-at-varengeville-against-the-sunset-1882-mo-nai-226058","The Church at Varengeville, against the Sunset, 1882",[368,369,7,602,90,603,375,382,604,605],"教堂","山坡","光影","色彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d4a86481bb99993e5669b8d70e96742.jpg",[385],18,{"id":610,"slug":611,"title":612,"dynasty":165,"author":84,"museum":85,"description":613,"tags":614,"thumbUrl":616,"material":93,"size":93,"collection":93,"collections":617,"showCount":618,"zanCount":11,"manualWeight":11,"mainColor":79},235157,"hong-ren-shan-shui-ce-yi-ming-235157","弘仁山水册","此作为诗画合璧佳构，笔墨简淡疏朗，尽显清逸禅意。画面以淡墨晕染山峦，空灵悠远，山腹石拱如天工开辟，苍松沿溪亭亭如盖，平岸浅溪蜿蜒，村舍错落林间石畔，烟火气隐于清冷丘壑之间。\n\n题书清隽雅致，诗句与画境相契，松杉引径，夕照里野村人家渺远，古寺钟声融在暮霞里，将画中静穆清冷的意境铺展开来。淡笔轻皴里藏着幽远超脱的文人襟怀，观之如临江南寂寂山野，尘俗烦扰尽皆涤荡，尽显山水淡远出尘之美。",[24,25,26,62,31,63,64,105,65,66,157,90,179,7,41,34,43,35,615],"曲路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5772aa239819d308c2c0d814fad933b.jpg",[],17,{"id":620,"slug":621,"title":622,"dynasty":165,"author":623,"museum":85,"description":624,"tags":625,"thumbUrl":627,"material":93,"size":93,"collection":93,"collections":628,"showCount":618,"zanCount":11,"manualWeight":11,"mainColor":79},224491,"xi-yang-qiu-ying-tu-wu-li-224491","夕阳秋影图","吴历","《清吴历夕阳秋影图》是清代画家吴历创作的一幅中国画。\n此图画山峦起伏，高树成林，草亭傍水，江天夕阳相映成趣。\n上有行书诗题及名款。\n吴历与王翚、恽寿平同学于王时敏门下，专意绘事，日夜临摹宋元真迹，渲染皴擦，风格高峻，得其神髓。\n其山水宗黄公望，得力于王蒙，兼有吴镇之长。\n此图虽仿倪瓒，然笔墨纯熟沉稳，颇见功底，诗画相融，其韵致超绝，具有自己的笔法,江亭遥岭,碎石丛树,萧瑟简淡,不失为吴氏晚年佳作。\n吴历（162—1718年），字渔山，号墨井道人、桃溪居士等，江苏常熟（今属江苏省）人。\n少年时遭遇明亡，信奉佛教，后转为信奉基督教。\n曾赴澳门，并受洗礼，教名西满·沙勿略（Simon ·Xareris），并学习西文。\n原计划去欧洲，因故未果，后回内地，在上海、嘉定、苏州一带传教，卒后葬于上海南门外耶稣会墓地。\n早年学画于王鉴、王时敏，后接触西方文化，这对其山水画风的形成有潜在影响。\n喜用干笔焦墨，笔墨细腻，注重画面的纵深感，并略微注意到透视法的运用。\n吴历以其独到的艺术风貌与“四王”、恽寿平并称“ ”。\n据《竹人续录》等史料载，吴氏兼擅刻竹，风格缜密，深受嘉定派影响。",[23,139,24,62,63,88,31,179,626,68,173,7,91,195],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e569ba87e496e5333ec92596bbaa07.jpg",[],{"id":630,"slug":631,"title":632,"dynasty":364,"author":365,"museum":85,"description":366,"tags":633,"thumbUrl":637,"material":222,"size":223,"collection":385,"collections":638,"showCount":639,"zanCount":284,"manualWeight":11,"mainColor":51},226143,"water-lilies-setting-sun-mo-nai-226143","Water-Lilies, Setting Sun",[368,369,604,380,634,195,7,635,636],"睡莲","倒影","水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c5789fba6deb37f3fab40fbd90617cc.jpg",[385],16,{"id":641,"slug":642,"title":643,"dynasty":165,"author":644,"museum":645,"description":646,"tags":647,"thumbUrl":648,"material":93,"size":93,"collection":75,"collections":649,"showCount":650,"zanCount":11,"manualWeight":11,"mainColor":79},236737,"shan-shui-ce-hua-yan-236737","山水册","华嵒","美国弗瑞尔美术馆","华嵒（1682～1756），福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。华嵒是清康雍乾年间的著名画家，他笔下的鸟堪称一绝，最负盛名。\n华喦就是我们所熟知的新罗山人，但我相信这一套山水画册，大部分人都不是熟悉，这山水画册页并没有藏在国内，而是藏在美国的弗利尔美术馆，其可称为华喦非常精致的一套山水册页。",[24,26,62,63,64,65,31,43,36,7,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff620b1906b09e35a616d2a87598efa8e.jpg",[75,77],15,{"id":652,"slug":653,"title":654,"dynasty":18,"author":655,"museum":85,"description":656,"tags":657,"thumbUrl":658,"material":222,"size":223,"collection":93,"collections":659,"showCount":650,"zanCount":11,"manualWeight":11,"mainColor":79},235530,"luo-ri-ning-lu-tu-shan-ye-lu-zhi-235530","落日凝露图扇页","陆治","陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[24,291,28,31,90,91,33,7,65,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ffbdc761a4d6caac14521800be06d66.jpg",[],{"id":661,"slug":662,"title":663,"dynasty":18,"author":664,"museum":102,"description":665,"tags":666,"thumbUrl":667,"material":93,"size":93,"collection":93,"collections":668,"showCount":650,"zanCount":284,"manualWeight":11,"mainColor":79},222511,"shen-xian-tu-ce-17-zhang-lu-222511","神仙图册17","张路","张路（1464—1538 ，一作1464—1537）明代画家。字天驰，号平山，汴梁（今河南省开封）人，明代画家。绘人物，师法吴伟，山水学戴进“狂态”，用笔豪放纵逸，水墨酣畅淋漓，与朱端、蒋嵩、汪肇等同为“浙派”名家 。亦工鸟兽、花卉。\n早年画学戴进，临摹能肖其神，画法工细。至南京后，又宗法吴伟，变为粗笔写意。他善画人物，多绘神仙、士子、渔夫，形象质朴，神态清朗，具高昂向上的气质。景致简略，笔墨遒劲，风格豪放，然少秀逸和蕴藉之致；为浙派健将，亦开后来学者粗率之风。他具有典型风貌的水墨写意作品较多，人物多用顿折的重墨线条勾勒，山石以粗犷的笔触作大斧劈皴，运笔迅捷，水墨淋漓，具有豪放动荡的气势。亦能画写意花鸟。",[23,24,25,139,26,62,63,31,66,293,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4155c124771e5c6b11017748e7f7dd8e.jpg",[],{"id":670,"slug":671,"title":672,"dynasty":121,"author":84,"museum":207,"description":673,"tags":674,"thumbUrl":675,"material":45,"size":676,"collection":75,"collections":677,"showCount":650,"zanCount":284,"manualWeight":11,"mainColor":79},218846,"qing-xi-wan-du-tu-yi-ming-218846","清溪晚渡图","这幅画描绘了一个船夫在日落时分回家休息的情景，风景开阔，意境清远。在这幅画中，笔触更加平直，少了些许杂质，这是效仿夏圭的做法。",[23,24,25,26,62,63,28,31,35,36,265,90,7,155,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba687b7e6c7bcc95dbb8bab0b4918ba.jpg","22.8x23.8",[75],{"id":679,"slug":680,"title":681,"dynasty":121,"author":84,"museum":102,"description":682,"tags":683,"thumbUrl":684,"material":93,"size":93,"collection":127,"collections":685,"showCount":650,"zanCount":11,"manualWeight":11,"mainColor":686},201626,"wan-jing-tu-zhou-yi-ming-201626","晚景图轴","暮色四合，山峦隐于淡墨晕染的雾霭间，若有若无。近岸老树盘根，枝干遒劲如铁，与嶙峋孤石相依；山石以简劲皴法写就，纹理古拙，墨色浓淡交织出苍莽质感。中景山丘错落，松枝挺拔，远峰融于昏黄底色，似裹着夕阳余温。画面静谧苍茫，极简笔墨里藏着宋人山水的含蓄韵致，每一处线条都浸着岁月的沉静。",[24,31,63,7,43,139,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb22e196c3f81f2a3bf035663fe353ff.jpg",[127],"3c322a",{"id":688,"slug":689,"title":591,"dynasty":18,"author":353,"museum":102,"description":690,"tags":691,"thumbUrl":694,"material":93,"size":93,"collection":75,"collections":695,"showCount":696,"zanCount":284,"manualWeight":11,"mainColor":697},202191,"bei-shan-he-chu-tu-zhou-dong-qi-chang-202191","淡墨皴擦的山峦间，清逸线条勾勒出文人画的空灵。近景虬枝枯树倚着嶙峋山石，小亭隐于树后；远景主峰挺秀，烟云轻笼，夕阳余晖漫洒，意境清寂悠远。笔墨疏朗却含厚重，以书入画的笔意融于山水神韵，师法自然又寄寓主观情致，简淡中见天真，尽显文人山水的雅致气韵。",[24,31,63,692,68,91,34,7,693,88,23],"淡墨","文人画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F607cbdadd7c4984a5c2f9c3d479735ad.jpg",[75],14,"b1a080",{"id":699,"slug":700,"title":701,"dynasty":165,"author":702,"museum":85,"description":703,"tags":704,"thumbUrl":707,"material":222,"size":223,"collection":93,"collections":708,"showCount":709,"zanCount":11,"manualWeight":11,"mainColor":79},235664,"shan-shui-ping-yuan-jiang-235664","山水屏","袁江","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。",[24,28,27,29,31,36,705,170,195,706,88,7,90,196,63],"红树","舟人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61b4a4034a49030300ed4a23692b7679.jpg",[],13,{"id":711,"slug":712,"title":713,"dynasty":121,"author":84,"museum":85,"description":714,"tags":715,"thumbUrl":716,"material":93,"size":93,"collection":93,"collections":717,"showCount":709,"zanCount":11,"manualWeight":11,"mainColor":79},227863,"chun-shan-xun-mu-tu-yi-ming-227863","春山曛暮图","此作以边角构图造境，右侧苍松虬曲老硬，松针攒簇尽显苍古之姿，将山野幽意凝于枝桠间。远山以淡墨晕染，朦胧迤逦，晕开曛暮时分的空濛柔润。林麓茅亭隐现，枯木初萌新绿，幽人策杖徐行，将山居闲逸藏于尺幅。\n\n全作用笔精微写实，以虚衬实，淡墨轻烟里晕开春日薄暮的柔和暖意，把山野暮色的清旷悠然融于方寸之间，尽显简淡空灵的山水意趣，将文人心中萧散闲雅的山居图景晕染尽致，于小品之中见天地悠然，淡远静谧的氛围感扑面而来。",[139,24,25,28,31,34,179,176,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bea0e87d5e65d183601f2308bcf0312.jpg",[],{"id":719,"slug":720,"title":721,"dynasty":18,"author":664,"museum":102,"description":722,"tags":723,"thumbUrl":10,"material":93,"size":93,"collection":75,"collections":724,"showCount":709,"zanCount":11,"manualWeight":11,"mainColor":725},203179,"za-hua-ce-zhang-lu-203179","杂画册","画面以水墨晕染出峭壁嶙峋之势，苍松倚石而生，虬枝劲挺。远处峰峦隐现于薄雾间，一轮夕阳悬于天际，暖红光晕轻笼山巅，与冷灰山石形成微妙对比。笔法简劲洒脱，干笔皴擦勾勒岩骨肌理，湿墨渲染出空濛氛围，墨色层次丰富，尽显山水雄浑与清寂。整体兼具北派刚健与文人雅致，自然之态与心境相融，意境悠远耐品。",[62,63,31,7,43,26,23],[75],"b8ada0",{"id":727,"slug":728,"title":729,"dynasty":165,"author":730,"museum":58,"description":731,"tags":732,"thumbUrl":736,"material":308,"size":737,"collection":93,"collections":738,"showCount":739,"zanCount":11,"manualWeight":11,"mainColor":79},233774,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233774","原济陶渊明诗意册","石涛","本图册是作者根据东晋著名诗人陶渊明诗句而创作。陶渊明是中国田园诗的创始者，他的诗不仅反映出田园生活的美好与自然，更流露出他徘徊于出仕与归隐之间的矛盾。绘画者显然非常赞赏这种避身独处、与世无争、乐天安命的人生哲学，通过描绘回归自然、淡于荣禄、不与统治者合作的隐士陶渊明来表现自己美好的理想。\n这里择两开赏析。\n第二开《悠然见南山》：陶渊明的许多诗篇中都有关于菊花的诗句：“采菊东篱下，悠然见南山”、“秋菊有佳色，裛露掇其英”均写出了他远离世俗的心境和陶醉于自然的乐趣。他常以菊自喻，借菊花凌秋傲霜的品质表达自己清高的节操和情怀。石涛仰慕陶渊明的高尚情操，故此图借陶渊明爱菊寄寓了画家自己的思想感情。画中篱笆院中菊花盛开，一高士手持菊花观赏，悠然之态可见。此图结构精巧，人物用笔细密。远山以墨笔烘染，山腰云雾密布，不见山脚，以此表现烟云飘渺的动态和气势。这种中锋、细勾、渍染相结合的画法使画面有动有静，虚实结合，意趣无穷。\n第六开《遥遥望白云 怀古一何深》：描绘一位着布衣宽袍的老者临溪而立。老者远望青山，脚下溪水流淌。面对满目凄凉、空无一人的山水，主人公似思绪万千，发思古之幽情。画家借此图深刻而恰当地表达了自己零丁孤苦、怀才不遇之情。构图采用一水两岸的自然分疆法。画面上只见弥漫的云山、层山断处的房舍和半露的松林而不见山脚，山顶则似露非露地隐现。树木用水墨渍出，以衬托山腰白云的动感。",[24,25,26,62,28,31,178,733,734,32,7,534,735,105,452,63],"亭子","菊花","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ca4420878f973ed6cbf1457c2815973.jpg","纵27厘米，横21.3厘米",[],12,{"id":741,"slug":742,"title":743,"dynasty":364,"author":365,"museum":85,"description":366,"tags":744,"thumbUrl":752,"material":222,"size":223,"collection":385,"collections":753,"showCount":739,"zanCount":11,"manualWeight":11,"mainColor":51},226057,"the-church-at-varengeville-against-the-sunlight-1882-mo-nai-226057","The Church at Varengeville, against the Sunlight, 1882",[368,369,378,380,379,602,90,603,7,375,382,170,745,746,747,748,749,750,751],"远景建筑","自然景观","暖色调","户外风景","前景花草","远山轮廓","日光效果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F121f293ba15199b1f06a2bfa35552aa6.jpg",[385],{"id":755,"slug":756,"title":757,"dynasty":121,"author":758,"museum":207,"description":759,"tags":760,"thumbUrl":768,"material":769,"size":770,"collection":93,"collections":771,"showCount":739,"zanCount":11,"manualWeight":11,"mainColor":79},221245,"xi-hu-shi-jing-ti-zi-ye-xiao-yan-221245","西湖十景题字","叶肖严","该册以西湖十景为题，西湖在浙江省杭州市城西，亦名钱塘湖，苏轼诗有“欲把西湖比西子”之句，因又名西子湖，三面环山，有南北两高峰对峙；湖中有苏，白两堤，四时风物清佳，以十景驰名於世。山石以大斧劈法，着重烘染，用笔简洁有韵致，构景设色取意都见巧思\n叶肖岩作人物小景，颇类马远，然其迹世多不见也。 如“雷峰夕照”之远山后缘用淡朱稍加施染，霞光微露，已然夕阳西沉。余诸页亦如是，虽细微处，亦细洁圆润。描绘花港观鱼的景色。寺宇掩映于柳林之间，湖中一人泛舟，悠游自得。峭峰直下，不见其顶，构图方式与马远山水同出一辙。用笔洁简，著重烘染，清雅秀润。\n该册页采用诗画合一的形式，以杭州工笔技法专为该画册页创作的西湖十景，其风格似马远而略拘谨，山石多用湿笔轻染，石顶稍加小斧劈皴，与夏珪的大笔拖染、磅礴挥洒不同。西湖四时风物清佳，以及乾隆皇帝钦定的西湖十景诗作为册页的主要内容，辅以西湖十景图",[23,24,64,761,105,762,763,31,764,765,36,766,7,27,63,28,767],"册页","西湖十景","诗画合一","亭台楼阁","柳林","游鱼","寺宇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d350abc6068e9d7e71f196f4dbe3dde.jpg","白纸本","单页纵23.9厘米，横20.2厘米",[],{"id":773,"slug":774,"title":775,"dynasty":165,"author":483,"museum":58,"description":776,"tags":777,"thumbUrl":779,"material":73,"size":780,"collection":93,"collections":781,"showCount":782,"zanCount":11,"manualWeight":11,"mainColor":79},220299,"huang-shan-tu-ce-27-hong-ren-220299","黄山图册-27","《黄山图册》共六十开，装裱成六册，又有题跋一册。可以说是弘仁在黄山纪游写生的最集中展现，在他的每一幅作品上都题写了纪游写生的地名，著名的有天都峰、莲花庵、小心坡、观音岩、一线天、光明顶、白龙潭、慈光寺、文殊院、桃花沟等等。",[23,24,25,26,62,63,31,778,179,7],"奇峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc0591dac27e4656fed4c0da07eb4188.jpg","21.5x18.3厘米",[],11,{"id":784,"slug":785,"title":786,"dynasty":18,"author":787,"museum":85,"description":788,"tags":789,"thumbUrl":793,"material":73,"size":93,"collection":114,"collections":794,"showCount":795,"zanCount":11,"manualWeight":11,"mainColor":79},240510,"gu-wen-cai-lian-shi-juan-gu-wen-240510","顾问采莲诗卷","顾问","顾问 蕲州人（今属湖北蕲春蕲州）人。明代著名思想家、哲学家和教育家。嘉靖十六年丁酉，举于乡。十七年戊戌（1538）进士正德六年（1511）十一月初八日生，万历十九年（1591）正月十四日卒，享年八十一岁。\n嘉靖十七年（1538）进士，弟弟 兄弟二人均为进士；均为官清正廉洁，世称“天下清绝，顾问顾阙”；均为当时著名的理学家，并称“二顾”",[23,105,64,61,62,65,790,791,157,792,7,40,108],"荷花","莲","舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb80a27c5c975ea3de6f654cd791c25ad.jpg",[114],10,{"id":797,"slug":798,"title":799,"dynasty":165,"author":800,"museum":85,"description":801,"tags":802,"thumbUrl":803,"material":222,"size":223,"collection":93,"collections":804,"showCount":795,"zanCount":11,"manualWeight":11,"mainColor":79},224252,"yu-zhuang-wan-ji-zhou-kun-224252","渔庄晚霁","周鲲","字天池，江苏常熟人。黄霆子。画承家学，工山水、人物，梅花亦佳。乾隆（一七三六至一七九五）时供奉如意馆。尝以闾阎疾苦情形托诸艺事，蒙御题，有：“监门遗故事，咨尔溯其踪”句。所作多藏石渠宝笈。《国[清]朝画徵续录、虞山画志、石渠宝笈、清画家诗史》",[23,24,25,26,28,31,155,35,36,38,7,64,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafd1a0468a1001ba98444776ec3e12d7.jpg",[],{"id":806,"slug":807,"title":808,"dynasty":18,"author":809,"museum":85,"description":810,"tags":811,"thumbUrl":812,"material":93,"size":93,"collection":93,"collections":813,"showCount":814,"zanCount":11,"manualWeight":11,"mainColor":79},228373,"yu-cun-xi-zhao-tu-ye-chen-huan-228373","渔村夕照图页","陈焕","平远铺展水岸村居，淡墨轻岚晕染暮色朦胧，杨柳垂绦拂过漾漾水波，错落村舍隐在林烟之间，远山浅黛衔着晚日余晖，将江南渔村的恬然暮色晕染开来，处处漫着水乡暮归的松弛暖意。\n\n左侧题诗笔致隽秀飘逸，诗画相映，把渔樵待归的悠然意境烘托得愈发悠长，尽显文人画诗书画合一的雅致格调，将寻常村居的烟火诗意凝于尺幅间，淡朴温润，余韵悠悠。",[23,24,25,26,28,62,105,31,178,37,35,32,486,90,7,141],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff75cb1ac73c38c3615b0b45103e7c3ca.jpg",[],9,{"id":816,"slug":817,"title":818,"dynasty":18,"author":819,"museum":85,"description":820,"tags":821,"thumbUrl":822,"material":93,"size":93,"collection":93,"collections":823,"showCount":824,"zanCount":11,"manualWeight":11,"mainColor":51},239188,"shan-chuan-ming-sheng-ce-song-xu-239188","山川名胜册","宋旭","宋旭（1525―1606年后），字初穤，号石门、石门山人，（明画录作字初旸，式古堂书画汇考作字初旸，号石门）。后为僧，法名祖玄，又号天池发僧、景西居士。湖州（今浙江省湖州市）人，为“苏松派”的先声，为吴门派支流。博宗内外典，通禅理。善山水，兼长人物。万历间名重海内。",[24,25,26,28,31,36,38,34,90,69,35,7,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4beed5e7c4bbda589082a4279bbfbf2b.jpg",[],8,{"id":826,"slug":827,"title":828,"dynasty":121,"author":829,"museum":85,"description":830,"tags":831,"thumbUrl":832,"material":93,"size":833,"collection":93,"collections":834,"showCount":824,"zanCount":11,"manualWeight":11,"mainColor":79},232822,"jiang-ting-wan-tiao-tu-shu-fa-zhu-guang-pu-232822","江亭晚眺图(书法)","朱光普","这帧泥金团扇行书，笔意灵动婉转，牵丝映带间尽显文人疏淡意趣。字句勾勒出江亭向晚，烟波万顷、斜晖脉脉的暮色秋景，渔舟远归的闲寂意境和笔墨相融。\n笔势或舒展或收敛，粗细枯湿富于变化，结体欹正相生，既有晋人行书的萧散，又兼具尚意书风的随性。朱红钤印与泥金底色相映成趣，暖润古雅。整体书卷气浓厚，将书法意韵和诗意画境完美结合，尽显风雅襟怀，是一件兼具笔墨审美与意境营造的小品佳作。",[64,105,65,62,34,36,7,35,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb478051a108a0fa18ec58772b26d39b5.jpg","23.9x24.3",[],{"id":836,"slug":837,"title":838,"dynasty":165,"author":549,"museum":207,"description":839,"tags":840,"thumbUrl":841,"material":73,"size":842,"collection":93,"collections":843,"showCount":824,"zanCount":11,"manualWeight":11,"mainColor":51},231528,"fan-zhao-gui-yun-tu-dong-bang-da-231528","返照归云图","董邦达(1699-1769)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。",[24,552,63,28,66,157,534,7,293,69,792],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f125d5afb06632e727c6826a0b7fadd.jpg","251.1cmX158.6cm",[],{"id":845,"slug":846,"title":847,"dynasty":165,"author":848,"museum":85,"description":849,"tags":850,"thumbUrl":851,"material":93,"size":93,"collection":93,"collections":852,"showCount":824,"zanCount":11,"manualWeight":11,"mainColor":79},230142,"huang-shan-ba-jing-tu-ce-zheng-ban-qiao-230142","黄山八景图册","郑板桥","这幅小楷题跋清劲秀雅，结体端稳间带着疏朗意趣，笔画瘦硬匀净，既有晋唐小楷的古雅法度，又融入独有的散逸风骨。\n\n笔墨随着文思缓缓铺展，忆述画坛旧事时文墨相生相融，将文人雅怀藏进每一处笔墨细节。全无狂怪恣肆，反倒尽显静定冲淡的书卷气，是其书法中少见的敛藏之作。文思与笔情精妙融合，字里行间晕开平和悠然的文人本色，成为画册点睛的文墨双璧。",[24,25,26,62,63,31,43,39,34,37,35,38,7,41,498,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02a215794450c842f2731c67ae4bfaf1.jpg",[],{"id":854,"slug":855,"title":856,"dynasty":56,"author":84,"museum":85,"description":857,"tags":858,"thumbUrl":861,"material":222,"size":223,"collection":93,"collections":862,"showCount":863,"zanCount":11,"manualWeight":11,"mainColor":51},290801,"san-yang-kai-tai-tu-zhou-yi-ming-290801","三阳开泰图轴","录入：故宫书画录（卷八），第四册，71页；故宫书画图录，第五册，267-26页",[24,88,28,32,453,524,859,7,43,860,277],"垂柳","三阳开泰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feba50b25eaa1043d133f4aeae80c3602.jpg",[],7,{"id":865,"slug":866,"title":818,"dynasty":18,"author":819,"museum":85,"description":820,"tags":867,"thumbUrl":868,"material":222,"size":223,"collection":93,"collections":869,"showCount":863,"zanCount":11,"manualWeight":11,"mainColor":79},239186,"shan-chuan-ming-sheng-ce-song-xu-239186",[24,25,139,26,28,62,31,293,33,195,36,7,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d58d3fc454b87ee29b083f3fbe22d6c.jpg",[],{"id":871,"slug":872,"title":873,"dynasty":165,"author":84,"museum":58,"description":874,"tags":875,"thumbUrl":876,"material":500,"size":877,"collection":93,"collections":878,"showCount":863,"zanCount":11,"manualWeight":11,"mainColor":51},234901,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234901","唐岱小园闲咏图册","唐岱（1673—1752后），字毓东，号静岩，又号默庄，满洲正蓝旗人。康熙中以荫官参领。从王原祁学画，丘壑似王原祁，远宗宋人，“泼墨淋漓，气韵生动”。康熙后期常将其召入宫中作画，品题其画为当时第一手，赐称“画状元”。\n第一开：曲径通幽。对开题：“为隔尘氛远，应怜曲径长。迂回山势抱，逦迤竹垣藏。鹤歩苔痕合，春归花气香。板桥流水外，别有读书堂。”\n第二开：芳屿围棋。对开题：“乘兴步芳屿，逍遥任所之。已看苔作席，最爱柳成帷。漫煮蒙溪茗，闲抛赌墅棋。东山称盛事，吟望寄遐思。”\n第三开：桃溪步履。对开题：“山桃开也未，杖策试探寻。好景春来遍，芳溪曲处深。明霞千树叠，傍水一枝临。何必武陵路，随缘物外心。”\n第四开：竹坞春深。对开题：“闲过山坞里，粉脱见新篁。劲节当春绿，踈竿泛籁长。萧骚寒雨夜，彷佛辋川庄。不肯裁为管，无劳引凤凰。”\n第五开：芳港闻莺。对开题：“春色堂堂去，莺声恰恰来。缗蛮听处涩，风景暗中催。长日慵摊饭，新缸喜拨醅。笙簧随分有，何必舞三台。”\n第六开：春湖涵碧。对开题：“碧水漾平湖，空明一镜铺。须眉应可鉴，尘壤杳然无。点点浮青荇，双双下白鳬。春风浴沂水，视此意何殊。”\n第七开：石坂烹云。对开题：“敲火乌卿炽，烹云玉液清。龙团曾未点，鱼目已旋生。漫说肠堪润，应知眼倍眀。披襟成小啜，孤鹤一声鸣。”\n第八开：广厦冰壶。对开题：“天伏三庚永，堂开六月凉。深深屏隔暑，叠叠簟含霜。底事挥纨扇，无劳问蔗浆。冰壶供坐卧，乐意自相忘。”\n第九开：镜水荷香。对开题：“半夜芙蓉雨，三间水月楼。清香随处度，风景一时收。干密妨鱼跃，花深隐鹭游。诗情频入座，不必问渔舟。”\n第十开：月楼夕幌。对开题：“雨洗尘氛静，天空花鸟闲。月楼开一面，夕幌卷千山。牧笛耳边过，征鸿眼里还。桂香依旧发，付与阿谁攀。”\n第十一开：兰桡独钓。对开题：“秋湖鱼怯饵，把钓事如何。绿水一竿竹，清风几领簑。蒹葭尘外老，星月个中多。夜静独归去，清光挂女萝。”\n第十二开：竹篱鹤歩。对开题：“结社松为宅，看家鹤守门。偏知人客至，不负稻粱恩。宿月精神古，梳风毛羽繁。由来好僮仆，不必贵乘轩。”\n第十三开：芦岸秋晴。对开题：“秋色知多少，芦花尽白头。战风摇夕浦，饮露亚寒洲。生意知将谢，随时未肯休。苍茫烟水里，好去弄扁舟。”\n第十四开：板桥霜迹。对开题：“隔溪亭子迥，为架板桥通。秋老碧天白，寒流枫叶红。卷帘吟夜月，着屐歩霜风。爱此双双迹，扶笻过水东。”\n第十五开：雪径梅姿。画心左下款署“唐岱恭画”。对开题：“四时花木足，最喜是园梅。傲雪三冬里，因风几朵开。清香流玉骨，冷润滴氷腮。独有幽人赏，巡檐杖策来。右《小园闲咏》十五首，雍正乙卯夏五月，宝亲王长春居士著”。梁诗正谨书。",[24,25,26,28,27,64,105,31,32,33,35,69,90,36,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe66df762858172153ef83034707592d9.jpg","25.7×33厘米",[],{"id":880,"slug":881,"title":882,"dynasty":364,"author":365,"museum":85,"description":366,"tags":883,"thumbUrl":887,"material":222,"size":223,"collection":385,"collections":888,"showCount":863,"zanCount":11,"manualWeight":11,"mainColor":130},226064,"the-creuse-at-sunset-1889-mo-nai-226064","The 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，与清书法家鲁琪光齐名。",[88,64,1044,1156,1157,766,1158,529,1159,7,1160,1161],"七言诗","江波","梅花","龙舟","鹭鸶","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff09f8f680eb871171c2c2cc15cac62ff.jpg",[],{"id":1165,"slug":1166,"title":1167,"dynasty":165,"author":1168,"museum":85,"description":1169,"tags":1170,"thumbUrl":1172,"material":222,"size":223,"collection":93,"collections":1173,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":51},240692,"xing-kai-shi-zhou-zhou-liang-gong-240692","行楷诗轴","周亮工","周亮工（1612年—1672年），字元亮，又有陶庵、减斋、缄斋、适园、栎园等别号，学者称栎园先生、栎下先生。河南祥符（今河南开封祥符区）人，明末清初官员、文学家、篆刻家、收藏家。\n周亮工于明崇祯十三年（1640年）进士及第，曾任山东潍县知县，迁浙江道监察御史。入清后，任两淮盐法道、淮扬兵备道、福建布政使、都察院左副都御史、户部右侍郎等。后屡次被弹劾判死刑，又遇赦免。康熙元年（1662年），起复为青州海道、江安储粮道。康熙十一年（1672年），逝世于江宁，享年六十一岁。\n周亮工博学多才，诗文、金石、书画皆有很深造诣。古文宗法唐宋八大家，推崇严羽诗论。著有《赖古堂集》《读画录》等。",[64,105,1044,88,65,36,7,40,31,38,1171,792,539,157],"桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5dbfe329da6114111aaa25770c487ef.jpg",[],{"id":1175,"slug":1176,"title":1177,"dynasty":165,"author":1178,"museum":85,"description":1179,"tags":1180,"thumbUrl":1184,"material":222,"size":223,"collection":93,"collections":1185,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":79},240146,"wang-wen-zhi-shi-zhou-wang-wen-zhi-240146","王文治诗轴","王文治","王文治（1730—1802），字禹卿，号梦楼，江苏丹徒人。工书法，以风韵胜。有《梦楼诗集》《快雨堂题跋》，清代书法家、诗人。\n曾随翰林侍读全魁至琉球。乾隆二十五年进士，授编修，擢侍读，官至云南临安知府。罢归，自此无意仕进。不到五十岁，即究心佛学。有《梦楼诗集》《快雨堂题跋》。",[25,64,88,105,62,65,7,40,532,1181,1055,1182,66,1183,41],"楼","林","池","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c69947ad47c602df83f34bd3c1ae3e7.jpg",[],{"id":1187,"slug":1188,"title":1189,"dynasty":165,"author":1190,"museum":85,"description":1191,"tags":1192,"thumbUrl":1193,"material":93,"size":93,"collection":93,"collections":1194,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":79},237862,"shan-shui-tu-ce-jin-xue-jian-237862","山水图册","金学坚","字成峰，秀水（今浙江嘉兴）人。王翚弟子，山水初宗元人，从参宋法，笔意古健，布局极为绵密。贫而能守，不为豪势所屈。《国[清]朝画征录》",[24,28,62,26,31,498,34,36,527,7,486,90,35,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26f8667c5452f1f7ff629c5c42a8fa76.jpg",[],{"id":1196,"slug":1197,"title":1198,"dynasty":364,"author":1199,"museum":85,"description":1200,"tags":1201,"thumbUrl":1211,"material":222,"size":223,"collection":93,"collections":1212,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":130},232559,"mi-lai-si-103-yue-han-ai-fu-li-te-mi-lai-si-232559","米莱斯103","约翰·埃弗里特米莱斯","John 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Imamura，1880年（明治13年）12月16日－1916年12月16日（大正5年）2月28日）是横滨神奈川县人，出生于日本画家。他的真名是十三郎。他虽然享年35岁（按年算37岁），但他大胆而原创的作品给画家带来了新鲜的刺激，对后辈画家也产生了很大的影响。主要作品如“近江八景”系列（1912年，东京国立博物馆，重要文化财产），“笃之卷”（1914年，东京国立博物馆，重要文化财产）。",[23,1220,28,32,1221,34,90,486,1222,1223,7],"浮世绘","大象","土丘","水池","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc3691c67ea1f3ab10fba325b2c3239f.jpg",[],{"id":1227,"slug":1228,"title":1229,"dynasty":56,"author":84,"museum":85,"description":1230,"tags":1231,"thumbUrl":1232,"material":93,"size":93,"collection":93,"collections":1233,"showCount":96,"zanCount":11,"manualWeight":11,"mainColor":79},230849,"qi-yan-lv-shi-yi-ming-230849","七言律诗","此作用笔温润秀雅，牵丝映带婉转自然，尽显元人行书典型风貌。结体灵动舒展，兼得晋唐行书的飘逸隽秀与赵孟頫一脉的妍媚雅致。整幅行气连贯悠然，章法错落合宜，墨色浓淡晕染细微，随着诗意起伏暗合情绪变化。\n\n卷中录自作律诗，笔墨间晕开文人雅集的闲散意趣，将与友同游的清逸情怀藏入点画之中，书韵与诗意相融，尽显元代文人以书抒情的特质，通篇清雅隽秀，尽显雅致风流，是一件兼具笔墨审美与文学意趣的佳作。",[24,25,64,105,62,65,39,7,40,38,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c7bd541d63c37173b96c68d9f49e224.jpg",[],{"id":1235,"slug":1236,"title":1237,"dynasty":18,"author":1238,"museum":85,"description":1239,"tags":1240,"thumbUrl":1242,"material":222,"size":223,"collection":93,"collections":1243,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":79},288055,"shu-shan-tu-ye-wen-jia-288055","书扇图页","文嘉","文嘉（1501年～1583），字休承，号文水，南直隶 苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[23,291,64,105,65,38,67,1241,7,498],"小院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa2606670b7aaec87aeb524f47605e72.jpg",[],{"id":1245,"slug":1246,"title":1247,"dynasty":165,"author":1248,"museum":85,"description":1249,"tags":1250,"thumbUrl":1263,"material":222,"size":223,"collection":93,"collections":1264,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":79},241206,"li-zhang-ji-jue-ju-zhou-wu-kai-sheng-241206","李长吉绝句轴","吴闿生","吴镇（1280年—1354年），字仲圭，号梅花道人，浙江嘉兴人。元代画家、书法家、诗人。\n吴镇擅画山水、梅花、竹石，与黄公望、倪瓒、王蒙合称“元四家”。\n由于吴镇以董巨起家，其画中山、石、树、水、房屋、小桥都显得格外宁静、平和，但吴镇有时也着意打破这种气氛，使宁静中增几分动荡，那就是近景大树和山石的表现，特别是三两棵树的表现尤其明显。如果说吴画山、石、水、小桥、屋舍、群树的表现乃至整体气息是以董巨面目出现的话，那么其局部的大树则主要是以马夏的面目出现的。结构布局上立于近景，形象表现上夸张变形，树种的选择上以松柏寓人格。这种形象的树出现在平和、宁静的境界里显得格外突出。它们或直立挺拔、俯势向上；或倚斜偃蹇、欲倒还立；或技条倒挂、曲折盘桓。而且吴镇对大树的形象也是情有独钟的，几乎每幅山水画均有此类形象。这一个个形象频繁出现于其笔下，有何深刻含义？如果联系一下元代的民族岐视政策，联系一下同样比邻而居，盛氏求画者门限为穿，自家之门阒然的事实，或许透露出个中消息。在大树的塑造上，如果把吴镇放在“元四家”其他三家中做一比较，吴镇的独特个性尤能充分展现。黄公望、王蒙为了表现高士的居住环境，用平和、冷静的笔触画群山诸峰，力量均匀，气势平缓，树木郁郁葱葱，均为山的点缀，很少突出某一大树。倪瓒、吴镇在景物取舍上有极强的一致性，均喜画几棵树。倪瓒的树是纤细、弱小的，树干上长出几条树枝，枝上顶着几片叶子，立在空旷的荒野里显得孤独而又凄凉。而且倪瓒的树往往是叫不出名字的，并无具体所指；吴镇在树的种类上往往是有选择的，他最喜欢选取被赋予隐逸人格象征的古松来充实画面。在近景中吴镇很少画杂树而是喜爱强调几棵大树，个个粗壮而枝叶茂密，富有顽强的生命力。",[64,88,105,65,157,498,108,998,1251,1252,1055,526,66,532,1253,525,341,1254,1255,1171,107,792,67,7,1256,293,1257,1258,1259,1260,1261,1262],"鸟","石","木","杜","雁","孤云","苔","黄","绿","钩","笔","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94389ea4a9f9f206dbf7cb997ca6384e.jpg",[],{"id":1266,"slug":1267,"title":994,"dynasty":18,"author":1268,"museum":85,"description":1269,"tags":1270,"thumbUrl":1271,"material":222,"size":223,"collection":93,"collections":1272,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":79},240872,"shi-juan-li-meng-yang-240872","李梦阳","李梦阳（1473年1月5日—1530年1月28日），字献吉，号空同，汉族，祖籍河南扶沟，出生于庆阳府安化县（今甘肃省庆城县），后又还归故里，故《登科录》直书李梦阳为河南扶沟人。他善工书法，得颜真卿笔法，精于古文词。明代中期文学家，复古派前七子的领袖人物。提倡“文必秦汉，诗必盛唐”，强调复古，《自书诗》师法颜真卿，结体方整严谨，不拘泥规矩法度，学卷气浓厚。李梦阳所倡导的文坛“复古”运动盛行了一个世纪，后为袁宗道、袁宏道、袁中道三兄弟为代表的“公安派”所替代。",[64,105,61,62,40,7,41,38,36,31,34,39,523],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4d8669501aa08cedc3e954ea4176b16.jpg",[],{"id":1274,"slug":1275,"title":994,"dynasty":165,"author":1276,"museum":58,"description":1277,"tags":1278,"thumbUrl":1283,"material":1284,"size":1285,"collection":114,"collections":1286,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":79},240703,"shi-juan-cha-ji-zuo-240703","查继佐","释文：\n一片山花落笔床，石桥寺里最清凉。寄书河上神明宰，玉帛朝回望帝乡。为政心闲物自闲，一州横制浙江湾。百花仙酝能留客，野屐同登竹外山。不将富贵碍高情，树里南湖一片明。杭越风光诗酒主，琵琶起舞换新声。愿得相从一问师，论交却忆十年时。轻舟共泛花边水，南国争传五字诗。西湖清宴不知回，雨过南山积翠来。近得麻湖书信否，五云多处是三台。英雄见事若通神，不薄今人爱古人。蚤晚得为同舍旅，道光谁不仰清尘。燕蹴飞花落舞筵，蓝田日暖玉生烟。河边淑气迎芳草，琴瑟同谐愿百年。心在重霄鬓未华，不知春思落谁家。城中车马应无数，阁道回看上苑花。生平诗誉复谁过，银箭金壶漏水多。内史笔锋光案牍，江南江北望烟波。苏小门前柳万条，酒醒时得广离骚。无劳海上寻仙客，王母新开一树桃。朝野俱欢庆寿晖，山光物态弄春辉。雄如宝剑冲牛斗，再为苍生入翠微。才子襟期本上清，黄云捧日瑞升平。东风小饮人皆醉，试向文园问长卿。右集唐十二绝为石翁张老师寿。治门生钓史查继佐书并政。\n款署：“右集唐十二绝为石翁张老师寿。治门生钓史查继佐书并政。”钤“查继佐印”白文印、“伊璜氏”朱文印，引首印为“紫微房”朱文印。\n此书是查继佐自集唐诗十二首为老师祝寿而作，当中每一首七言绝句都是从四首唐诗中分别选取一句，组合成为一首。整件作品共涉及36位唐代诗人的48首诗， 如岑参、王昌龄、白居易、高适、杜甫、李商隐、刘禹锡、温庭筠、杜牧等人的诗作。个别字句与原诗略有出入。其书学颜真卿，用笔劲健、爽利，分间布白极其匀称。查家在清初遭受了文字狱之灾，当时保存查氏墨迹可能会引起杀身之祸，所以查继佐的传世作品较少，此件则更为珍贵。",[23,64,61,105,62,65,1279,1280,1281,533,1282,108,998,532,293,1251,792,1171,35,7,40,41,34,38,36,31,524,525,498,526],"江南","芳草","烟","湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36541a0829df7cb68ef275f1e2b9ee33.jpg","绫本，行书","纵450厘米，横33.3厘米",[114],{"id":1288,"slug":1289,"title":1290,"dynasty":165,"author":1291,"museum":58,"description":1292,"tags":1293,"thumbUrl":1296,"material":1297,"size":1298,"collection":114,"collections":1299,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":79},240111,"he-yu-zhi-shi-ye-liu-tong-xun-240111","和御制诗页","刘统勋","卷前有乾隆己巳夏六月望日（乾隆十四年，1749年）御制初集诗小序，序末钤“乾”、“隆”联珠印；太子少保尚书蒋溥奏刻御制诗集告成折。卷末有张廷玉、蒋溥、梁诗正、汪由敦、刘统勋、介福、钱陈群、嵇璜、观保、董邦达、金德瑛等跋。\n《御制诗初集》收录御制诗4150余首，系清高宗弘历于乾隆元年至十二年（1736－1747年）所作，按年编次。而《御制诗集》收录的是乾隆皇帝所有的诗作，共计42,000余首。\n乾隆帝的诗可谓实录，是其从政、祭祀、巡幸、筵宴、读书等活动的即兴之作，如《皇考忌辰感成六韵》、《皇考梓宫至泰陵奉安》、《皇太后宴恭记》、《赐蒋溥巡抚湖南》、《阅古北口将士较武》、《题沈周春草秋花卷》、《西巡回銮述事》等，题咏繁富，追怀抒情，具有较高的史料价值。诚如乾隆皇帝所言：“几务之暇，无他可娱，往往作为诗古文赋，文赋不数十篇，诗则托兴寄情，朝吟夕讽。其间，天时农事之宜，莅朝将祀之典，以及时巡所至，山川名胜，风土淳漓，罔不形诸咏歌，纪其梗概。”\n除此本外，尚有《四库全书荟要》本、《四库全书》本、清乾隆年内府抄本、清光绪五年内府铅印本。\n《四库全书总目》、《中国古籍善本书目》著录。",[64,105,761,1294,65,40,1282,1295,7],"墨笔","海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb07e45af19ba11b98d8195a66498010.jpg","绢","20.3cm×13.7cm",[114],{"id":1301,"slug":1302,"title":1303,"dynasty":165,"author":1304,"museum":85,"description":1305,"tags":1306,"thumbUrl":1307,"material":222,"size":223,"collection":93,"collections":1308,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":79},239929,"lu-han-yan-pian-ye-gu-lin-rui-239929","录寒雁篇页","顾麟瑞","顾麟瑞(字芝杉，拔贡生)",[64,1044,65,38,40,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb285b5f577c9035dd6edfb667132a62a.jpg",[],{"id":1310,"slug":1311,"title":1312,"dynasty":165,"author":1313,"museum":85,"description":1314,"tags":1315,"thumbUrl":1319,"material":93,"size":93,"collection":93,"collections":1320,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":79},238250,"yan-shan-ba-jing-tu-ce-zhang-ruo-cheng-238250","燕山八景图册","张若澄","此作以淡彩绘就平远郊野，丘峦平缓错落，林舍星缀其间，土路蜿蜒串联起田庄浅渚，晨霞轻染天际，晕开柔淡粉霭，将郊原清寂悠然的意韵晕染开来，尽显幽旷之美。对开行书题诗笔墨隽秀雅致，笔意舒展灵和，诗画相映，实景胜迹的恬然意趣藏于毫端。整体淡朴清和，兼具纪实写生的真切与文人画的抒情意致，把郊原夕照的悠然襟怀诉诸纸间，雅逸沉静，尽显小品山水的隽永情致。",[24,25,26,28,62,31,63,105,176,1316,90,486,1317,65,1318,7],"田野","小路","村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02544b39df3b484928ff5554ac815a87.jpg",[],{"id":1322,"slug":1323,"title":1324,"dynasty":165,"author":1325,"museum":85,"description":1326,"tags":1327,"thumbUrl":1328,"material":93,"size":93,"collection":93,"collections":1329,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":79},237571,"wang-fu-hua-fen-yong-xiao-shi-shi-ce-wang-fu-237571","王凫画分咏小石诗册","王凫","此行书诗册笔墨隽秀温雅，结体疏朗灵动。点画提转自然圆融，章法错落有致，自带林下散淡闲逸之风。\n册中以诗咏石，将奇石比作美人、掌峰，把嶙峋石态晕染出清雅情致，诗书合璧，尽显文人赏石雅趣。墨色浓淡合宜，两枚朱印点缀页间，朱墨相映愈添古雅意韵，藏着旧时文人耽爱林泉、寄情物我的悠然心境，尽显清雅脱俗的审美意趣。",[24,25,26,105,65,62,43,40,7,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1942e63b58f707edffece43cd82cbc22.jpg",[],{"id":1331,"slug":1332,"title":643,"dynasty":165,"author":1333,"museum":85,"description":1334,"tags":1335,"thumbUrl":1336,"material":222,"size":223,"collection":93,"collections":1337,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":79},235304,"shan-shui-ce-zhang-feng-235304","张风","张风，一作鹳，字大风，号升州道士，又号上元老人，或署“真香佛空”、“真香佛空四海”，明代画家、诗人。江苏南京人。思宗崇祯时生员，明亡后不为官，家里贫穷。他擅画山水、人物、花卉，也精于画肖像。早年风格较为恬静闲适，神韵悠然。晚年他曾佩剑北游，所以笔墨风格瘦挺豪纵。他还精通画理。",[24,25,26,28,31,36,32,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf4e6dfbc92dc78b545f352763f419d.jpg",[],{"id":1339,"slug":1340,"title":1341,"dynasty":165,"author":1342,"museum":85,"description":1343,"tags":1344,"thumbUrl":1347,"material":1348,"size":1349,"collection":93,"collections":1350,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":1351},224411,"shu-hua-shi-liu-kai-12-wang-shi-min-224411","书画十六开-12","王时敏","王时敏（1592—1680），明末清初画家。江苏太仓人。王时敏一生寄情诗文书画，家藏历代法书名画甚多。他擅山水，主张艺术应施法古人，专师黄公望。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。开创了山水画的“娄东派”，艺术史上位居清初画家“四王”之首。",[23,24,25,26,105,62,7,40,527,790,1345,1346,43,454,1055,157,66],"荷叶","船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff84aedfa28e75d33e856affa0fda90d1.jpg","墨色绢本","48x32",[],"F48FB1",{"id":1353,"slug":1354,"title":1355,"dynasty":18,"author":1356,"museum":85,"description":1357,"tags":1358,"thumbUrl":1361,"material":222,"size":223,"collection":93,"collections":1362,"showCount":284,"zanCount":11,"manualWeight":11,"mainColor":79},240380,"shi-ye-wang-yi-240380","诗页","王宜","王宜，字嶰谷，江苏太仓人。乾隆年间，官新建知县。凤仪弟，原祁会孙。山水善承家学，笔意松秀，与兄齐名",[25,64,105,65,26,1359,89,7,107,1295,66,1360,43],"山泉","虹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89bbe2396b0268171903e777b805d4db.jpg",[],{"id":1364,"slug":1365,"title":1366,"dynasty":165,"author":1367,"museum":85,"description":1368,"tags":1369,"thumbUrl":1373,"material":222,"size":223,"collection":93,"collections":1374,"showCou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Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[369,368,220,32,7,1316,90,1391,747,1392],"奔跑","动态","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b7de171a30729b27a3298670fa5aedc.jpg",[],{"id":1396,"slug":1397,"title":1398,"dynasty":364,"author":1388,"museum":85,"description":1389,"tags":1399,"thumbUrl":1404,"material":222,"size":223,"collection":93,"collections":1405,"showCount":284,"zanCount":11,"manualWeight":11,"mainColor":51},232116,"de-jia-58-de-jia-232116","德加58",[368,1400,28,1316,1401,90,375,486,1402,1403,7],"色粉画","道路","乡村风光","风景画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70a2e567615cdd1dcfcb76875d7ed8d8.jpg",[],{"id":1407,"slug":1408,"title":1409,"dynasty":364,"author":1388,"museum":85,"description":1389,"tags":1410,"thumbUrl":1416,"material":222,"size":223,"collection":93,"collections":1417,"showCount":284,"zanCount":11,"manualWeight":11,"mainColor":51},232068,"de-jia-36-de-jia-232068","德加36",[369,368,1411,1412,195,1413,1414,7,1392,1415],"裸体人物","多人","船只","建筑","人体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0f46ccca586070288e85421932c3c04.jpg",[],{"id":1419,"slug":1420,"title":1421,"dynasty":364,"author":1388,"museum":85,"description":1389,"tags":1422,"thumbUrl":1424,"material":222,"size":223,"collection":93,"collections":1425,"showCount":284,"zanCount":11,"manualWeight":11,"mainColor":51},232024,"riders-on-a-road-1864-1868-de-jia-232024","Riders 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，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。",[23,24,25,26,105,64,62,28,63,31,33,90,40,35,1472,1046,927,7,1473,43],"平林","红月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb096dba09967f3165e9ac12273771f79.jpg","水墨,设色,纸本,册页","18×34.5厘米",[],{"id":1479,"slug":1480,"title":1481,"dynasty":18,"author":392,"museum":85,"description":1482,"tags":1483,"thumbUrl":1485,"material":73,"size":93,"collection":93,"collections":1486,"showCount":284,"zanCount":11,"manualWeight":11,"mainColor":79},218060,"bai-miao-jiu-ge-tu-ce-5-zhu-yun-ming-218060","白描九歌图册-5","素纸铺陈，墨线流转如诗。人物衣袂若流云舒卷，眉眼间凝着楚辞里独有的幽婉，似湘水之畔的神祇踏波而来。白描不施粉黛，却以线条的轻重缓急，勾勒出衣纹的风致、神情的怅惘。寥寥数笔，兰舟芷草的意象隐现，仿佛能听见远古歌吟在纸上游走。墨色虽淡，却筋骨暗蕴，将九歌的浪漫与缥缈凝于方寸之间。每一道笔触都藏着深情，似在诉说那些关于思念与等待的古老传说，于素净中见丰腴，于简约中显悠远，让观者在墨线起落间，触摸到楚辞深处的温柔与怅然。",[139,24,25,26,1484,32,43,42,31,40,41,34,7],"白描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F093e4ec91b5e0169d2c45a6beb14ef0b.jpg",[],{"id":1488,"slug":1489,"title":1490,"dynasty":165,"author":84,"museum":85,"description":1491,"tags":1492,"thumbUrl":1495,"material":222,"size":223,"collection":93,"collections":1496,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":79},271262,"cheng-hou-cun-zhen-cang-re-he-tu-mo-chui-feng-luo-zhao-mo-yi-ming-271262","程后村珍藏热河图墨-锤峰落照墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[1493,1044,64,7,894,1494],"墨","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd838fd9cbf4d356d11317154b7eaa997.jpg",[],{"id":1498,"slug":1499,"title":1500,"dynasty":165,"author":84,"museum":85,"description":1491,"tags":1501,"thumbUrl":1503,"material":222,"size":223,"collection":93,"collections":1504,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},270620,"wang-jin-sheng-wang-chuan-tu-mo-hua-zi-gang-mo-yi-ming-270620","汪近圣辋川图墨-华子冈墨",[1493,64,1044,38,7,66,1502],"文房用品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F548f93123142668dc6676d95b526c974.jpg",[],{"id":1506,"slug":1507,"title":1508,"dynasty":165,"author":84,"museum":85,"description":1491,"tags":1509,"thumbUrl":1514,"material":222,"size":223,"collection":93,"collections":1515,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":51},270617,"wang-jin-sheng-wang-chuan-tu-mo-mu-lan-chai-mo-yi-ming-270617","汪近圣辋川图墨-木兰柴墨",[1493,1510,1044,64,38,7,1511,1512,1513],"文房四宝","山林","溪路","幽情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e1d67b2bdaffb1c9ddc6765488e8bf7.jpg",[],{"id":1517,"slug":1518,"title":1519,"dynasty":165,"author":84,"museum":85,"description":1491,"tags":1520,"thumbUrl":1524,"material":222,"size":223,"collection":93,"collections":1525,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":79},270607,"wang-jin-sheng-wang-chuan-tu-mo-nan-tuo-mo-yi-ming-270607","汪近圣辋川图墨-南坨墨",[1493,64,1044,1494,1521,36,7,1522,383,1523],"轻舟","湖水","人家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4030f8fd09eb79aca5e68070a387a4b1.jpg",[],{"id":1527,"slug":1528,"title":1529,"dynasty":165,"author":1530,"museum":85,"description":1531,"tags":1532,"thumbUrl":1535,"material":222,"size":223,"collection":93,"collections":1536,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":79},241233,"zhuan-wu-lv-zhou-wang-hong-241233","撰五律轴","王弘","王弘（379年－432年），字休元，琅琊郡临沂县（今山东临沂）人，刘宋开国功臣、书法家，东晋丞相王导曾孙，中领军王洽之孙，司徒王珣长子。\n王弘出身琅琊王氏，年少好学，以清悟知名，会稽王司马道子辟为主簿，迁江州刺史，省赋简役，百姓安康。刘裕即位，以佐命功，封华容县公，进号卫将军、开府仪同三司。\n宋文帝即位，进位司空，进号车骑大将军，扬州刺史。元嘉九年（432年）进位太保，领中书监，同年卒于官，谥号文昭，配食武帝庙庭。",[64,88,105,62,40,1533,7,1534],"孤树","流泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8faf308974d70710aefddf833bbb7445.jpg",[],{"id":1538,"slug":1539,"title":1540,"dynasty":165,"author":84,"museum":85,"description":1541,"tags":1542,"thumbUrl":1544,"material":222,"size":223,"collection":93,"collections":1545,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":79},241068,"shi-han-he-juan-yi-ming-241068","诗翰合卷","此卷行书笔意兼具疏朗与跌宕，右卷大字开张朴拙，左卷小字灵动秀润，墨色干湿浓淡层次丰盈，尽显随性萧散的林下之风。\n\n整卷录赠答、纪游诸诗，将行旅烟波、林泉雅兴付诸笔端，诗与书相得益彰，带着山林文人的疏放意趣。字里行间藏着旧友寄赠、名山访道的雅致交游，笔墨游走间，把海天夜航、峰麓登眺的清景化入笔底，既有禅意清寂，又存俗世雅怀，是诗书合璧的佳构，尽显旧时文人以墨寄情的风流雅致。",[25,61,64,105,65,62,344,1543,36,7,40,41,34,38,31],"白云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F311b1e01fb8d0cc07918139109fee4ad.jpg",[],{"id":1547,"slug":1548,"title":1355,"dynasty":165,"author":1549,"museum":85,"description":1550,"tags":1551,"thumbUrl":1552,"material":222,"size":223,"collection":93,"collections":1553,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":79},239926,"shi-ye-wei-xue-lian-239926","魏学莲","此作为行书诗页，暗纹花笺为底，格调清雅隽秀。书法取法晋唐，笔意温润秀逸，点画间顾盼有情，牵丝映带灵动自然。字势排布错落相宜，行距留白疏朗宽和，尽显帖学雅致之风。\n\n自作诗文落于笔端，笔墨与文心相融相合，笔势流转间带着文人自适随性的意趣，将诗书风雅融为一体，尽显旧时文人翰墨酬唱的悠然情态，是清代小品翰墨中的清雅之作，书家功底与文人情思在此相得益彰。",[25,26,105,62,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3516b00a352bfacfeef85b35f761ced6.jpg",[],{"id":1555,"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