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　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[23,55,25,26,27,171,36,172,32,31,173,7],"写意","牛","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5a255d8a5587e721f7641ff82ff02e1.jpg",[],26,{"id":178,"slug":179,"title":180,"dynasty":73,"author":181,"museum":75,"description":182,"tags":183,"thumbUrl":195,"material":92,"size":93,"collection":94,"collections":196,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":44},226093,"the-port-at-argenteuil-1872-mo-nai-226093","The Port at Argenteuil, 1872","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。",[184,78,185,186,187,7,30,142,32,188,189,190,191,90,89,106,192,193,194],"印象派","光影表现","笔触松散","堤岸","河流","船只","帆船","水面","阳光","外光写生","色彩明快","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2728ccad7694cf240bd131badab46f68.jpg",[94],24,{"id":199,"slug":200,"title":201,"dynasty":101,"author":202,"museum":203,"description":204,"tags":205,"thumbUrl":210,"material":211,"size":212,"collection":41,"collections":213,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":120},223132,"shen-zhu-you-ju-tu-cheng-sui-223132","深竹幽居图","程邃","安徽省博物馆","图一描绘山峰连绵，林木苍茫，一望无际； 一条河湖将两岸隔开，湖水完全自成一体。 这幅画中，山用墨画，层次分明，树用墨点画，浓密有序。",[54,24,23,55,26,36,28,206,35,207,208,209,129,29,30,7],"小桥","孤舟","孤石","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d5bf882dd511bb4cc7690b62fdb3aef.jpg","纸本","43.6x66.",[],{"id":215,"slug":216,"title":217,"dynasty":101,"author":218,"museum":51,"description":219,"tags":220,"thumbUrl":229,"material":230,"size":41,"collection":65,"collections":231,"showCount":197,"zanCount":11,"manualWeight":11,"mainColor":120},214619,"yu-ti-mian-hua-tu-ce-bu-zhong-yi-ming-214619","御题棉花图册-布种","佚名","御题棉花图册是一本清代的册页艺术作品，其中包含了一系列用棉花制作的图案。这本册子是在皇帝的指示下制作的，因此被称为“御题”，意思是“皇帝指示”。\n\n这本册子是在清代早期制作的，具体时间不详。它由多位艺术家共同创作，但是由于当时记录不够完整，我们无法确定具体的作者名字。\n\n这本册子的图案涵盖了许多不同的主题，包括自然景观、动物、人物以及传统的中国图案。所有的图案都是用棉花制作的，并且由多种颜色组成。这种艺术技巧叫做“棉花画”，是一种古老而传统的中国艺术形式。\n\n御题棉花图册是一件非常珍贵的艺术品，因为它是清代皇帝的御制作品，并且因为棉花画技巧的稀罕性而具有极高的收藏价值。如果你有机会看到这本册子，一定要好好欣赏它的精美图案和精湛的艺术技巧。",[27,221,32,222,30,223,224,225,129,226,7,227,228],"工笔","田亩","农具","农耕","土地","劳作","农田","播种","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4823b7f9fb4c84d6e1492ad9a53881e8.jpg","绢本,设色",[65],{"id":233,"slug":234,"title":235,"dynasty":73,"author":74,"museum":75,"description":76,"tags":236,"thumbUrl":242,"material":92,"size":93,"collection":94,"collections":243,"showCount":244,"zanCount":11,"manualWeight":11,"mainColor":120},225735,"de-heuvel-van-montmartre-met-steengroeve-fan-gao-225735","De heuvel van Montmartre met steengroeve",[78,79,80,237,154,129,32,238,239,142,89,7,240,241,225,30],"山坡","围栏","采石场","木栅栏","石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F774e03ff0fe13bdf430a25b8a0496e9a.jpg",[94],20,{"id":246,"slug":247,"title":248,"dynasty":101,"author":249,"museum":20,"description":250,"tags":251,"thumbUrl":254,"material":255,"size":256,"collection":41,"collections":257,"showCount":258,"zanCount":68,"manualWeight":11,"mainColor":120},233954,"shan-shui-tu-zhou-cheng-zheng-kui-233954","山水图轴","程正揆","此图是程正揆晚年所作，绘前景清溪水榭，后景层峦石壁。前疏后密的景致构筑出淡雅浑朴的格调。此图是程正揆遭劾革职回南京后所作。他在隐居生活中受到前明遗老髡残、龚贤等人的审美观影响，绘画作品中带有较强的遗民意趣，常通过清幽的山水意境表达其隐逸的文人情思。",[23,55,25,26,36,27,28,30,252,29,129,108,253,57,61,7],"瀑布","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe06aacd43996fdf247988d4f3198c814.jpg","纸本，墨笔","纵104.8厘米，横40.6厘米",[],19,{"id":260,"slug":261,"title":262,"dynasty":73,"author":74,"museum":75,"description":76,"tags":263,"thumbUrl":268,"material":92,"size":93,"collection":94,"collections":269,"showCount":258,"zanCount":11,"manualWeight":11,"mainColor":44},225876,"wheatfield-june-fan-gao-225876","Wheatfield 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Auvers1",[78,79,80,129,275,276,30,142,83,7,156,89,90],"茅草屋顶","烟囱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdabe4af1ff762195deae71c5eec1f91.jpg",[94],18,"37474F",{"id":282,"slug":283,"title":284,"dynasty":285,"author":286,"museum":20,"description":287,"tags":288,"thumbUrl":290,"material":291,"size":292,"collection":41,"collections":293,"showCount":294,"zanCount":11,"manualWeight":11,"mainColor":120},234061,"shan-shui-ce-dong-qi-chang-234061","山水册","明","董其昌","第一开，右上角题：“仿唐杨昇。”钤“董其昌印”。鉴藏印钤“王掞”、“烟客真赏”、“虚斋精上品”、“壶中墨缘”。\n对开董其昌题：“唐杨昇峒关蒲雪图，见之明州朱定国少府，以张僧繇为师，只为没骨山，都不落墨。曾见日本画有无笔者，意亦唐法也。米元章谓王晋卿山水似补陀岩，以丹青染成。王洽正泼墨渖。多种法门皆李成、董源以前独善者。”钤印“董玄宰”。收藏印钤“庞来臣珍赏印”、“壶公”、“子清所见”、“王时敏印”、“颛庵”。\n设色青绿山水，画峰峦秋树。\n第二开，左上角题：“仿梅花道人。”钤“董其昌印”。收藏印钤“虚斋鉴赏”、“壶中墨缘”、“王时敏印”、“颛庵”。\n对开董其昌题：“今日遇武塘题吴仲圭故居，称梅花巷者。自号梅花和尚，实居士也。画学巨然，字学怀素，皆受和尚法，故云。仲圭与盛懋同巷对宇。人每指金帛诣盛求画，仲圭之家闻如也。家人以为谪，仲圭曰：‘待二十年后自有定论’。已而盛之身价果逊。至今三百年犹尔。辛酉三月廿三日识。”钤“董玄宰”印。收藏印钤“庞来臣珍藏印”、“壶公”、“王时敏印”。\n设色画水阁、青山、瀑布。\n第三开，左上题：“仿惠崇。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“壶中墨缘”、“虚斋鉴赏”。\n对开董其昌题：“惠崇宋诗僧，建阳人也。在巨然之前，画学王维，精工妍丽如诗家。温、李辈《香辽集》生于情者。东坡、山谷为题其小景。余所见有京口陈氏江南惠卷及鄞朱定国所赠巨轴《早春图》。”钤印“董玄宰”。收藏印钤“王时敏印”、“藻儒”、“壶公”、“庞来臣珍赏印”。\n设色画青溪两岸云树房屋。\n第四开，右上题：“仿卢鸿草堂笔。”钤印“其昌”。收藏印钤“壶中墨缘”、“子清所见”、“王时敏印”。\n对开董其昌题：“鸿乙草堂明皇尝令人就图之，鸿乙画入神品，与右丞伯仲。嵩山十志各有楚词。至宋时李伯时作图令诸名公书其诗，人各一景。秦少游、僧参寥、米元章皆与焉。余见之项氏者亦十体，不显名姓。谢时臣亦临一本，第得其位置耳。唐人用墨高简，意到而笔不到，所以妙绝。”钤印“董玄宰”。收藏印钤“逊之”、“王掞之印”、“庞来臣珍赏印”、“壶公”。\n墨笔画疏林坡石，高崖瀑布。\n第五开，左上方题：“仿倪元镇。”钤“其昌”。收藏印钤“烟客真赏”、“王掞之印”、“壶中墨缘”、“虚斋精上品”。\n对开董其昌题：“倪迂画学冯觐。觐，《宣和画谱》所载宋宦官也。觐画世无传本。倪迂自题谓得荆关遗意，岂讳言觐耶？张伯雨题云：‘能与米颠相伯仲，风流还只数倪迂。应将尔雅虫鱼笔，为写乔林恠石图。’最为迂叟吐气。大都倪高士之画学冯觐，如朱晦翁之书学曹孟德，皆不问其师承也。倪迂书学《黄庭内景经》，《内景经》倪氏之物也。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“庞来臣珍藏印”、“壶公”。\n设色画平远秋景山水。\n第六开，左上方题：“仿米元晖。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞”、“壶中墨缘”。\n对开董其昌题：“米元晖潇湘图余得之项玄度，有宋人题跋甚夥。朱晦翁亦一再见。后有王宗常叙诸跋卷人出处之概，书品亦佳，沈石田自题七十五岁方得一观，以快生平，为米卷第一。图不作点，只用墨破凹凸之形，树木屋宇皆精工，都画勾云亦变体也。元晖凡再题数百字。”钤印“其昌”。收藏印钤“逊之”、“王掞”、“庞来臣珍藏印”、“壶公”。\n墨笔画潇湘烟雨景。\n第七开，左上方题：“仿黄鹤山樵。”钤“董其昌印”。收藏印有“王时敏印”、“王掞之印”、“壶中墨缘”。\n对开董其昌题：“元季四大家惟王叔明仕于国初，为泰安州倅。何元郎记有雪图作于齐郡者是也。倪云林题有笔精墨妙语，又云澄怀观道是宗少文也。又临池学书出王右军、王虞，笔力能扛鼎，五百年来无此君，推挹至矣。于北宋诸家无所不摹，尤善右丞法。”钤印“董玄宰”。收藏印有“藻儒”、“逊之”、“壶公”、“庞来臣珍藏印”。\n墨笔画关山松涧。\n第八开，左上题：“仿李伯时山庄图。”钤“董其昌印”。收藏印有“王时敏印”、“颛庵”、“壶中墨缘”、“虚斋鉴藏”。\n对开董其昌题：“潇洒营丘水墨仙，浮空出没有无间。尔来一变风流尽，谁见将军设色山。\n无数青山落照边，遥知风雨不同川。此中有句无人认，道与襄阳孟浩然。\n二绝句皆东坡题画之什，深得画家三昧方能为，是语米老不如也。”钤印“董玄宰”。\n又题记：“辛酉三月游武林，归途闲暇作此八景。时画史杨彦冲同观。玄宰识。钤“虚斋审定”。\n此图册是董其昌于明天启元年（1621年）游武林（今杭州）时创作的，董氏时年67岁。图册分别仿杨升、卢鸿、惠崇、米友仁、李公麟、吴镇、倪瓒、王蒙等唐宋元诸家山水。画面集取古人不同的山水画景观，同时融入画家自己对于天地、山川的感受，“以意取之”，“各出意造”。在构图上虽与古人相似，但在审美情趣上董其昌追求的是一种平淡古雅的意境和逸趣。如仿唐杨昇山水，在画法上使用没骨设方法，摒弃了原作者金碧山水的华丽浓艳，继承了其中的古拙和典雅，寓丰富而鲜艳的色彩于平稳和谐的色调之中，笔法精妙秀雅，笔致轻松生动，从而使画面传达出一种平静而不淡泊、明媚而不躁动的美感，具有董氏自己的特点。又如米友仁芾画潇湘烟雨之景，以董、巨笔法皴染山石，用笔沉着稳重，通过墨色干湿浓淡的变化烘染出远山近水的空间感以及烟云雾气的变化。树木及房屋用笔多变化，墨色酣畅淋漓，层次丰富。这种董其昌笔下的米家山水，平淡之中更见秀雅。其他几开山水画同样反映了董其昌所追崇的文人画情趣，均以董源、巨然为归依。在仿古山水画中，他尝试运用各种不同的绘画形式诠释古法，同时表现出对于古法的继承和发展，从而阐述了自己的审美观，这是他创作众多仿古山水画最为重要的意义。此外，此件作品对开中董其昌的题记对于人们认识董其昌的艺术同样具有重要的史料价值。",[23,55,128,26,36,28,35,208,30,7,57,289],"远山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa091a7ca4982bd9068ee0a650b07f502.jpg","纸本，水墨和设色","纵26.3厘米，横25.5厘米",[],15,{"id":296,"slug":297,"title":298,"dynasty":101,"author":299,"museum":75,"description":300,"tags":301,"thumbUrl":303,"material":41,"size":41,"collection":41,"collections":304,"showCount":305,"zanCount":11,"manualWeight":11,"mainColor":44},235520,"yuan-ji-shan-shui-tu-ce-shi-tao-235520","原济山水图册","石涛","淡墨皴擦出层叠山峦，带着苍莽野逸之气，蜿蜒山道串起深谷山居，晕开雨后初霁的湿润空濛。前景林木错落，虬曲枝干间点叶疏密有致，将江南山野的幽寂鲜活铺展。\n\n右上角题诗与画面呼应，诗画交融，暗合山乡行路的澹然况味。笔意纵恣却不失秀润，干湿墨色互用，让山石肌理灵动自然，全无刻硬之感，尽显山水清灵雅致。将天地间静穆生机凝于尺幅，随性旷达的文人意趣藏在每一处笔墨里，是意韵悠长的山水佳构。",[23,55,26,36,128,171,28,56,58,302,29,7,109,30],"古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d5c6622bc1fcd2c25c587e7049d8fce.jpg",[],13,{"id":307,"slug":308,"title":309,"dynasty":101,"author":310,"museum":75,"description":311,"tags":312,"thumbUrl":315,"material":92,"size":93,"collection":41,"collections":316,"showCount":317,"zanCount":11,"manualWeight":11,"mainColor":120},235340,"fang-gu-shu-hua-ce-wang-jian-235340","仿古书画册","王鉴","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[23,55,128,27,313,28,30,188,7,129,61,314],"临摹","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92d189d3f83f12b33c2e3a1215d87e93.jpg",[],12,{"id":319,"slug":320,"title":321,"dynasty":101,"author":322,"museum":20,"description":323,"tags":324,"thumbUrl":326,"material":327,"size":328,"collection":41,"collections":329,"showCount":317,"zanCount":11,"manualWeight":11,"mainColor":120},234966,"wu-wai-tian-yuan-tu-ce-kun-can-234966","物外田园图册","髡残","引首二开清汪洪度行书“物外田园”四大字。画六开，各附长篇对题。末开款识：“余半年来弄此，樵者归：留此册，强余涂之。卧起点缀如此，云中鸡犬，僬者亦能亦点头否。石道人。”后钤“石谷”(白文)。余五开无款识，有钤印。\n据列题可知此册作于壬寅，即康熙元年(1662)，髡残时年五十一岁。其时他正隐居于南京牛首山。",[23,55,128,26,28,105,325,57,7,60,30,36],"石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8bb02271028ddcb05ec95b99f2e0965.jpg","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，墨笔","纵21.5cm，横16.9cm",[],{"id":331,"slug":332,"title":333,"dynasty":101,"author":218,"museum":75,"description":334,"tags":335,"thumbUrl":337,"material":92,"size":93,"collection":41,"collections":338,"showCount":339,"zanCount":11,"manualWeight":11,"mainColor":44},235655,"gao-jian-jiang-xiang-chu-xia-tu-zhou-yi-ming-235655","高简江乡初夏图轴","此作用青绿晕染山峦，淡赭铺陈水岸云天，冷暖色调交织晕化，铺展出初夏江乡温润朦胧的氛围。近景林木错落疏密，溪涧蜿蜒穿绕石畔，野趣横生。丘峦由近及远逐层淡去，水汽氤氲间与云天相融，留白拓开渺远空阔的江天意境。左上角题诗与画境相映，将江乡初夏的清润闲适尽数铺展，以雅致设色与悠远构图，尽显江南水乡初夏的空濛雅致，是颇具抒情意趣的青绿山水佳作。",[23,55,25,336,27,28,30,188,109,34,7],"青绿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F108657341743e2d321215d43e24b26e3.jpg",[],11,{"id":341,"slug":342,"title":343,"dynasty":73,"author":344,"museum":75,"description":345,"tags":346,"thumbUrl":349,"material":92,"size":93,"collection":41,"collections":350,"showCount":351,"zanCount":11,"manualWeight":11,"mainColor":44},231754,"ming-zhi-nian-chun-mu-you-hua-dong-jing-qian-jing-zhong-231754","明治年春亩油画(东京)","浅井忠","浅井忠，日本画家，1856年6月21日出生于江户（今东京），1907年12月16日卒于京都。",[78,347,27,32,227,84,30,7,142,160,348],"写实","春天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2a866db631edd06bd11d398a0ab2ed2.jpg",[],9,{"id":353,"slug":354,"title":355,"dynasty":285,"author":356,"museum":20,"description":357,"tags":358,"thumbUrl":361,"material":362,"size":363,"collection":41,"collections":364,"showCount":365,"zanCount":11,"manualWeight":11,"mainColor":120},233138,"ming-ren-xi-shan-sheng-jing-he-bi-ce-yue-lai-xi-tu-ye-tang-yin-233138","明人西山胜景合壁册-越来溪图页","唐寅","此册又名《明人西山胜景书画合璧册》（见《故宫博物馆藏文物珍品大系：吴门绘画》），著录于《墨缘汇观》，合题跋共计十四页，依次为：刘钰《踞湖山图》、沈周《茶磨屿图》、《新郭图》（对页陈淳题诗一首）、唐寅《越来溪图》、《行春桥图》、《饶稼桥图》（对页自题诗一首）、文徵明《横塘图》、《石湖图》（对页自题诗一首）和陈淳《桃花坞图》、《紫薇村图》，后页徐朗白题。\n颇为吊诡的是这套册页似乎从未完整发表过，就目前所见，《中国古代书画目录》是分开著录，其中刘钰一页、唐寅《饶稼桥图》以及四页题诗都未著录，而《中国古代书画图目》则只选印了沈周和陈淳的四页。《文徵明精品集》发表了两画及一页题诗，《唐寅绘画集》也只发表了《越来溪图》、《行春桥图》两页，《故宫博物馆藏文物珍品大系：吴门绘画》刊印了沈周、文徵明、唐寅各两页，陈淳《桃花坞图》一页，略去了四页题跋。刘钰《踞湖山图》、唐寅《饶稼桥图》及另外三页题跋始终未见，其中或有伪作吧（文徵明的两页画曾于去年苏博特展展出，未见图录，不知是否有完整发表）。但学术乃天下之公器，国内许多博物馆的出版态度素来可恶，很多作品在各类出版物中情况不一，往往“有头无尾”，以致研究一件作品需“东拼西凑”。\n吴门诸家歌咏、描绘吴中名胜之风颇盛，与平日游踪所及和地域意识渐起有关，留存于世的风景名胜图极多，甚至祝寿、官员离任，也以吴中风景图册为赠。值得注意的是，此册中沈周、文徵明、唐寅、陈淳的作品都是早年笔，集三代才人妙墨，想来这套作品的收藏者花了不少心思。末页崇祯五年徐朗白题云：“我朝画法变宋化元，正嘉间吴中诸先进一时杰出、擅采争奇，直使静庵而下皆瞠乎其后矣，此十册俱西山胜景，首为完庵次石田次六如衡山白阳，景虽未尽，人已才难，不特片羽之吉光抑且狐裘之集腋也。什袭见珍，援毫见重。”并题一歌，语涉浮夸无足取。",[23,55,128,26,28,31,29,7,108,289,34,30,359,36,314,360],"坡岸","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f3926a6ab069ef73d913001355611c3.jpg","纸本 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1872",[78,184,371,372,188,30,7,106,89,142,32,373,374,191],"外光","光影","烟雾","倒影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e665035f6282e2a502290c2d6608b0f.jpg",[94],{"id":378,"slug":379,"title":380,"dynasty":101,"author":381,"museum":75,"description":382,"tags":383,"thumbUrl":384,"material":385,"size":386,"collection":41,"collections":387,"showCount":388,"zanCount":11,"manualWeight":11,"mainColor":120},234718,"fang-gu-shan-shui-ce-wang-hui-234718","仿古山水册","王翚","《仿古山水册》共计十二页，其中设色二页，水墨十页。仿董源、巨然、米芾、赵大年、赵孟頫、吴镇、倪瓒、王蒙、黄公望、管道升、曹知白、陈汝言等而作。每幅均自题七律一首，末开款署“壬寅六月王翚”，册尾有顾复初题跋。前选一图，系仿曹云西山水，写柳汀板桥、芦荻孤舟，晓风残月，雁影徘徊。笔墨疏秀，意境苍莽迷蒙。\n王翚得名家传授，又博览古人佳作和游历真山实水，画艺日臻成熟，40岁时即名闻海内。王翚出生于绘画世家，他的曾祖王伯臣、祖父王载仕、父亲王云客都是画家，幼时即得到家学熏陶，初学画于同乡画家张珂。顺治年间王鉴游虞山时，见王翚画扇，极为赏识，赞其天资超人，收为弟子。后转师王时敏，得以临摹许多历代名家真迹，镕铸造南北画派于一炉，技艺大进。尝与王时敏遍游大江南北，广识著名收藏家，观摹宋、元真迹。其摹古功力极得王时敏赞赏：“（石谷）凡唐宋诸名家无不摹仿逼肖，偶一点染展卷即古色苍然，毋论位置溪径，宛然古人，而笔墨神韵一一夺真，且仿某家，则全是某家，不杂一他笔，使非题款，虽善鉴者，不能辨。”于是他在摹古仿古的基础上，综合诸家之长，晚年画风简练苍浑，有独到的艺术风格，在“四王”中，王翚的艺术成就最为显著，门生弟子很多，以杨晋较为著名，其山水画的影响极为深广。",[23,26,128,28,209,129,7,289,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e29cb975f83fed9787f370f4a98f775.jpg","纸本，水墨","25.6厘米，横：20.5厘米",[],7,{"id":390,"slug":391,"title":392,"dynasty":73,"author":74,"museum":75,"description":76,"tags":393,"thumbUrl":399,"material":92,"size":93,"collection":94,"collections":400,"showCount":388,"zanCount":11,"manualWeight":11,"mainColor":44},225765,"houses-in-auvers-fan-gao-225765","Houses in Auvers",[24,78,79,80,82,394,129,395,396,7,30,89,90,397,398,83],"色彩鲜明","草顶","红顶","行人","绿植","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfef57e96049a9ee0182a14132868945.jpg",[94],{"id":402,"slug":403,"title":404,"dynasty":101,"author":218,"museum":75,"description":405,"tags":406,"thumbUrl":409,"material":41,"size":41,"collection":41,"collections":410,"showCount":411,"zanCount":11,"manualWeight":11,"mainColor":120},238814,"dong-gao-lv-xuan-shao-jing-ce-yi-ming-238814","董诰律宣韶景册","此作以淡墨晕染铺就寒山雪境，远山层叠留白覆雪，岩岫苔点簇簇，暗衬积雪清润空寂。近岸枯木虬枝错落，寒林萧疏却暗含待春的生机，山坳隐见茅舍寺塔，曲水沿山逶迤，悠悠漾开山野空寂意趣。\n\n画师以勾勒皴擦写就山石肌理，淡墨晕染区分雪色虚实，留白见巧，不着艳色，全凭水墨层次拉开远近景深，将空山初雪的静谧清寒尽数铺展，晕出冬雪将过、春信悄临的澹澹诗意，尽显文人山水寄情林泉，静悟岁序轮转的清雅意韵。",[23,55,26,36,128,61,28,407,56,58,31,408,7,57],"雪景","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2501cf60e869162a2c68158d198d7d86.jpg",[],6,{"id":413,"slug":414,"title":415,"dynasty":73,"author":74,"museum":75,"description":76,"tags":416,"thumbUrl":420,"material":92,"size":93,"collection":94,"collections":421,"showCount":411,"zanCount":11,"manualWeight":11,"mainColor":44},225843,"the-garden-of-saint-paul-s-hospital-december-fan-gao-225843","The garden of Saint Paul's Hospital (December - )",[24,78,79,80,82,394,30,417,7,418,419,88,225,89],"花园","建筑物","长椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7da18ab822d8767bd6b405414220289.jpg",[94],{"id":423,"slug":424,"title":425,"dynasty":73,"author":218,"museum":75,"description":426,"tags":427,"thumbUrl":431,"material":41,"size":41,"collection":41,"collections":432,"showCount":411,"zanCount":11,"manualWeight":11,"mainColor":44},225312,"fu-shi-hui-46-yi-ming-225312","浮世绘46","靛蓝湖面晕开柔润水色，淡墨远山融在水天尽头晕出空濛侘寂。临水而立的红顶吊脚屋，枕着清波尽显水乡意趣。左侧石板山道上，两名町人作揖寒暄，衣褶舒展鲜活，将市井日常揉入雅致景致间。\n\n暖红檐角、苍绿林木撞色和谐，带着日式版画独有的平涂鲜亮质感，将闲淡乡居烟火与清寂湖光融为一体，藏起隐于山水间的温柔日常，引观者沉入这份松弛的和风诗意里。",[428,429,27,32,33,35,430,7,129,30,289,191,237],"浮世绘","木刻","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d492b767333ad0eb94cc27d1af0c137.jpg",[],{"id":434,"slug":435,"title":436,"dynasty":73,"author":218,"museum":75,"description":437,"tags":438,"thumbUrl":441,"material":41,"size":41,"collection":41,"collections":442,"showCount":411,"zanCount":11,"manualWeight":11,"mainColor":120},225309,"fu-shi-hui-40-yi-ming-225309","浮世绘40","春樱垂枝漫开，粉云轻覆近海晴波，柔暖天光晕染出融融春日氛围。山道樱下，旅人们围坐休憩，闲谈间消解行路劳顿，尽显松弛惬意。提水脚夫躬身山涧，竹桶盛满清冽，烟火闲趣揉入春景。青绿坡岸衬着水色天光，配色雅致柔和，将郊野春旅的悠然意趣娓娓铺展。笔韵简淡却藏着鲜活日常，把平凡行路片刻晕染成诗意风物，定格住春日里鲜活又治愈的旅途剪影。",[428,429,27,32,439,30,29,440,7],"樱花","水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb588b1a12c2d5e506b2cf7cf8e9b6e89.jpg",[],{"id":444,"slug":445,"title":284,"dynasty":285,"author":446,"museum":75,"description":447,"tags":448,"thumbUrl":449,"material":92,"size":93,"collection":41,"collections":450,"showCount":451,"zanCount":11,"manualWeight":11,"mainColor":120},235286,"shan-shui-ce-shen-hao-235286","沈颢","补博士弟子员。性豪放好奇。工诗文。书法真、草、隶、篆，无所不能。山水近沈周，晚年笔意挺秀，点色清妍，深于画理，“似而不似，不似而似”是他的创见。著有《画尘》及《枕瓢》、《焚砚诸集》。",[23,55,128,26,36,28,209,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4ef3a0509aab2c835ff294f128152fe.jpg",[],5,{"id":453,"slug":454,"title":455,"dynasty":101,"author":310,"museum":456,"description":457,"tags":458,"thumbUrl":460,"material":461,"size":41,"collection":41,"collections":462,"showCount":451,"zanCount":11,"manualWeight":11,"mainColor":120},215019,"fang-gu-shan-shui-ce-11-wang-jian-215019","仿古山水册-11","私人收藏","王鉴（1669-1725）是清朝时期著名的画家，以其精湛的仿古山水画而闻名。王鉴出生于江苏省，自幼便对绘画有着浓厚的兴趣。他从小就开始学习绘画，后来在北京的私塾深造，并在考试中取得了优异的成绩。\n\n王鉴的仿古山水画以其精细的笔法和优美的构图而著称。他的画作经常使用细腻的线条和深浅不一的色彩来表现山水的美感。王鉴的作品常常充满了沉静、凝重的气氛，能够让人感受到中国古代山水画的韵味。\n\n王鉴的仿古山水画在当时广受欢迎，并且被广泛收藏和传承。他的画作经常被收录在仿古山水册中，并被视为中国古代山水画的经典之作。王鉴的画风对后代画家也产生了深远的影响，被认为是清朝时期仿古山水画的代表人物之一。",[23,24,55,128,26,27,36,28,31,209,29,129,7,459,35,208],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6429a86e8e01bea1e64db6649a6a5136.jpg","纸本,设色",[],{"id":464,"slug":465,"title":466,"dynasty":101,"author":467,"museum":468,"description":469,"tags":470,"thumbUrl":471,"material":472,"size":473,"collection":41,"collections":474,"showCount":475,"zanCount":11,"manualWeight":11,"mainColor":41},220673,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220673","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。",[54,23,55,128,26,36,28,58,252,7,57,61,360,314],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0947d8a7d1ff2847a29d70d56bed1f9b.jpg","水墨,设色,纸本,册页","18×34.5厘米",[],4,{"id":477,"slug":478,"title":479,"dynasty":101,"author":480,"museum":75,"description":481,"tags":482,"thumbUrl":484,"material":41,"size":41,"collection":41,"collections":485,"showCount":486,"zanCount":11,"manualWeight":11,"mainColor":120},238223,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238223","仿王翬山水册","曹夔音","此作以诗画合璧尽显文人意趣。右侧绘就溪岸春景，上部烟柳疏朗映带茅亭，下部浅滩错落，杂树生姿，留白铺就空濛淡远的水乡氛围，笔墨清润秀雅，以干淡之墨轻皴慢染，晕染出江南春日温婉闲静的悠悠况味。\n\n左侧题咏诗文与画面呼应，笔意萧散俊朗，文墨相生，将春日溪亭的幽寂闲情尽数铺陈，带着含蓄古雅的书卷气，把文人寄情山水的雅趣融于尺幅之间，静谧悠然，余韵悠长。",[23,55,128,26,28,314,61,36,58,483,57,408,7,289,360],"柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb760a72235c209c2457aa958655b8ec5.jpg",[],3,{"id":488,"slug":489,"title":490,"dynasty":101,"author":491,"museum":75,"description":492,"tags":493,"thumbUrl":496,"material":41,"size":41,"collection":41,"collections":497,"showCount":498,"zanCount":11,"manualWeight":11,"mainColor":120},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。",[23,55,128,27,26,28,36,314,289,83,30,129,7,61,494,495],"村落","夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02544b39df3b484928ff5554ac815a87.jpg",[],2,{"id":500,"slug":501,"title":284,"dynasty":285,"author":502,"museum":75,"description":503,"tags":504,"thumbUrl":505,"material":92,"size":93,"collection":41,"collections":506,"showCount":498,"zanCount":11,"manualWeight":11,"mainColor":120},237001,"shan-shui-ce-sun-ri-shao-237001","孙日绍","明代进士",[55,128,26,36,28,56,30,108,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11c2e13c525f5b19965f1707892c9a44.jpg",[],{"id":508,"slug":509,"title":510,"dynasty":73,"author":511,"museum":75,"description":512,"tags":513,"thumbUrl":515,"material":92,"size":93,"collection":41,"collections":516,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":44},232134,"jockey-in-blue-on-a-chestnut-horse-circa-virginia-museum-of-fine-arts-usa-de-jia-232134","Jockey 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