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张僧繇》记载：“张僧繇于金陵安乐寺画四龙于壁，不点睛。每曰：“点之即飞去。”人以为妄诞，固请点之。须臾，雷电破壁，二龙乘云腾去上天，二龙未点眼者皆在。\n可惜张僧繇并无任何作品流传下来，但在南宋，却有另一位画龙的天才与他的神品之作《九龙图》，惜世人知之甚少。\n陈容，这是位被历史埋没了的天才。\n关于他的生平只有寥寥数语，陈容（约1200年–1266年），字公储，号所翁，籍贯有福建长乐、福唐、临川（江西）三种记载。\n在他53岁知天命的年纪，方才考中进士，而后上任福建莆田担任太守，曾为国子监主薄、官至朝散大夫，即五品文官。目前流传下来的作品寥寥，现藏于广东省博物馆的《云龙图》，《五龙图卷》成为东京国立博物馆的镇馆之宝之一，而最为著名的《九龙图》，在民国时流失海外，藏于美国波士顿美术馆，可惜可叹。\n据传陈容的龙，大多是在酒醉的情况下创作而成，画至忘我时，泼墨做云，喷水做雾。然后摘下头上的头巾，沾上墨水信手涂抹，最后以渴笔描绘龙的身体。但这并不代表陈容仅仅是一个整天酒醉，两耳不闻窗外事的文人，在他的龙画中，寄托着他的家国情怀。",[23,99,24,28,27,25,29,100,7,101,102,103,104],"名画","印章","渲染","龙","云雾","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690403e9d9f173b397b5b84a1217ee89.jpg","纵46.3厘米，横1096.4厘米","宋画精选",[107,45,109],"水墨画精选",1532,20,{"id":113,"slug":114,"title":115,"dynasty":18,"author":19,"museum":116,"description":117,"tags":118,"thumbUrl":125,"material":43,"size":126,"collection":45,"collections":127,"showCount":128,"zanCount":129,"manualWeight":49,"mainColor":74},218732,"he-hua-tu-xu-wei-218732","荷花图","台北故宫博物院","这幅画的构图简洁明了，布局清新精致。荷叶用滴水不漏的方式画出，而荷花则是寥寥数笔，充满了情感和笔墨的意趣。",[24,28,119,25,7,29,100,120,121,122,123,124],"立轴","草书","荷花","荷叶","水草","莲蓬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe64b411afff5b620d7387710af664033.jpg","141.7x37.2cm",[45],1397,13,{"id":131,"slug":132,"title":133,"dynasty":55,"author":134,"museum":135,"description":136,"tags":137,"thumbUrl":142,"material":43,"size":143,"collection":45,"collections":144,"showCount":145,"zanCount":146,"manualWeight":49,"mainColor":74},216924,"hua-niao-si-tiao-ping-zhu-da-216924","花鸟四条屏","朱耷","私人收藏","此四条屏作于其七十前后，(款字八作二折)或作风荷拳石;或作高梧疏竹;或作双凫戏于溪头，或作群鱼悠游涧中。意境静寂，动静生发。墨淡而厚，湿而毛;笔圆而劲，重而灵;苍莽朴茂之中，有清韵流衍;笔墨不多而意境丰满。荷塘一幅，以微风摇动之花叶，烘托凝重古质之拳石，雄豪活泼之气溢于画里画外。双凫一幅，极尽墨沈之灵变。禽羽之丰满润泽，仿佛若可触摸。崖石用虚淡之笔皴点，略以浓墨点苔竹，虽满纸空白，而情韵入微。所谓无处还有是也。而游鱼一幅尤佳绝，下方危石如奇峰倒立，已出人意表。其上悬崖兀起，其间秋水空阔，群鱼悠游，或伫滞水面，或倏忽水底，其状拙质，其形简古，而不失生趣。大小二十七尾，无一雷同，为八大画中绝品。八大四屏传世绝少，识者珍视之!",[23,24,28,119,25,7,83,138,139,140,141],"鸟","芭蕉","山石","花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F700f64005b95bf5fc96a186eb8e59446.jpg","182.5×49cm",[45],1374,11,{"id":148,"slug":149,"title":150,"dynasty":55,"author":151,"museum":152,"description":153,"tags":154,"thumbUrl":156,"material":157,"size":158,"collection":45,"collections":159,"showCount":160,"zanCount":161,"manualWeight":49,"mainColor":74},218130,"shui-xian-zhu-zhi-tu-shi-tao-218130","水仙竹枝图","石涛","美国弗利尔美术馆","石涛，法名原济，靖江王朱守谦十世孙，工书法，能诗文。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品。花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。",[23,24,25,60,7,32,38,155,100,29],"孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F112234b8c56ae7eab1e3115341e7947f.jpg","纸本,设色","",[45],1313,3,{"id":163,"slug":164,"title":165,"dynasty":55,"author":166,"museum":20,"description":167,"tags":168,"thumbUrl":173,"material":84,"size":158,"collection":69,"collections":174,"showCount":175,"zanCount":5,"manualWeight":49,"mainColor":74},214363,"xian-shan-lou-ge-tu-wang-shi-min-214363","仙山楼阁图","王时敏","王时敏（1722-1798）是清代著名的画家，他的作品《仙山楼阁图》是其代表作之一。\n\n《仙山楼阁图》描绘了一座仙山上的楼阁，周围是美丽的山林。王时敏在画中运用了精细的笔墨和细腻的造型，勾勒出楼阁的立体感和山林的秀美。\n\n《仙山楼阁图》被认为是王时敏写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《仙山楼阁图》也是收藏家们青睐的经典之作。\n\n王时敏的《仙山楼阁图》是一幅描绘仙山楼阁的画作，它体现了中国传统文化中“仙山”的理念。在中国传统文化中，仙山象征着仙人悠闲的生活方式和高尚的品德，楼阁则是仙人的居所。王时敏的《仙山楼阁图》不仅是一幅精美的画作，更是一首关于仙人悠闲生活的诗篇。",[23,99,24,25,169,119,170,63,171,65,172,7],"山水画","仙山","山林","溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c70b5945091899c430b0a87afa1fa91.jpg",[69],1186,{"id":177,"slug":178,"title":179,"dynasty":180,"author":181,"museum":20,"description":182,"tags":183,"thumbUrl":184,"material":185,"size":186,"collection":45,"collections":187,"showCount":188,"zanCount":189,"manualWeight":49,"mainColor":50},214260,"zhu-shi-tu-yi-ming-214260","竹石图","元","佚名","竹石图是一幅作者不详的元代画作。这幅画作描绘了竹林和石山的景象。\n\n在这幅画作中，画家巧妙地捕捉了竹林和石山的自然韵味。他用浓墨重彩的画法，勾勒出了竹林和石山的景象。他还用细腻的线条勾勒出了竹林和石山的细节，让人感受到了竹林和石山的自然韵味。\n\n此外，画家在这幅画作中还描绘了竹林和石山周围的景色。他用色彩丰富的画法，描绘了竹林和石山周围的山川和河流。这些景色与竹林和石山的自然韵味形成了鲜明的对比，让人感受到了自然与人类活动的和谐共存。",[23,24,99,28,119,25,32,155,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08730665024372a850d7031f0ea9663b.jpg","绢本,水墨","138x79",[45],1055,2,{"id":191,"slug":192,"title":193,"dynasty":180,"author":194,"museum":135,"description":195,"tags":196,"thumbUrl":204,"material":157,"size":158,"collection":69,"collections":205,"showCount":206,"zanCount":207,"manualWeight":49,"mainColor":74},216999,"cao-tang-yi-shi-tu-huang-gong-wang-216999","草堂遗世图","黄公望","《草堂遗世图》是一幅著名的山水画。这幅画以浓烈的写意气息和精细的画工著称。黄公望在这幅画中描绘了一座废弃的草堂，静静地躺在草地上，被一片茂密的松林环绕。山川景色非常优美，清新宁静。画中还有一些杂草和枯萎的花朵，表现出草堂的荒凉和凋零。这幅画被认为是黄公望的代表作之一，因其精美的画工和深刻的哲理而广受赞誉。",[99,24,25,169,7,197,198,199,200,155,201,202,203],"草堂","松林","山川","小桥","杂草","荒凉","宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42536421d16089efc731a376cc411ad2.jpg",[69],944,4,{"id":209,"slug":210,"title":211,"dynasty":18,"author":212,"museum":213,"description":214,"tags":215,"thumbUrl":218,"material":43,"size":219,"collection":45,"collections":220,"showCount":221,"zanCount":207,"manualWeight":49,"mainColor":74},214646,"hua-hui-ce-1-chen-chun-214646","花卉册-1","陈淳","上海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厘米",[45],853,{"id":223,"slug":224,"title":225,"dynasty":55,"author":226,"museum":135,"description":227,"tags":228,"thumbUrl":229,"material":43,"size":158,"collection":45,"collections":230,"showCount":231,"zanCount":232,"manualWeight":49,"mainColor":74},216366,"jing-ji-cong-lan-tu-zheng-ban-qiao-216366","荆棘从兰图","郑板桥","郑板桥是一位著名的清朝画家，他创作的《荆棘丛兰图》是一幅工笔画作品，以荆棘丛生的兰花为主题。这幅画用精细的笔法勾勒出了兰花的各个细节，如花瓣、花茎、花药和荆棘。整幅画给人以自然美的感受，同时也体现出了郑板桥在工笔画技法上的精湛技艺。",[23,24,28,27,25,7,29,30,100,40,32,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd1b681b72b4ba6f2e49e8cac42d39fb.jpg",[45],816,7,{"id":234,"slug":235,"title":236,"dynasty":237,"author":238,"museum":135,"description":239,"tags":240,"thumbUrl":244,"material":157,"size":245,"collection":45,"collections":246,"showCount":247,"zanCount":5,"manualWeight":49,"mainColor":74},216112,"nan-gua-tu-qi-bai-shi-216112","南瓜图","民国","齐白石","泼墨如团的南瓜坠于藤蔓间，浓黑墨块裹着赭红瓜棱，憨拙中藏老笔苍劲。缠绕的藤蔓似游丝若铁线，飞白处见笔意灵动，与沉实瓜体形成虚实相生韵致。墨色层次分明，焦浓淡墨晕染叶片叠嶂，留白透气不拥塞。赭红点睛，让质朴多了暖意。笔墨纵逸却守法度，看似随意挥洒，实则每笔都透着生活熟稔——田间寻常物化为充满生命力的意象，既有大写意豪放，又藏文人画雅致，老辣带天真，朴拙满生机。",[24,25,60,7,119,29,100,241,242,243],"南瓜","藤蔓","叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f38d5ce9c88984c51b25fe54cc0d2bc.jpg","33.74x134.77cm",[45],757,{"id":249,"slug":250,"title":251,"dynasty":18,"author":19,"museum":20,"description":252,"tags":253,"thumbUrl":254,"material":255,"size":256,"collection":158,"collections":257,"showCount":258,"zanCount":259,"manualWeight":49,"mainColor":74},222235,"shui-mo-mu-dan-tu-zhou-xu-wei-222235","水墨牡丹图轴","本幅自识：“四月九日，萧伯子觞吾辈于新复之兰亭，时费先生显父至自铅山，李兄子遂父至自建阳，并有作。余勉构一首，书小染似伯子。命驾皆千里，流觞复九回。马嘶不出谷，鸟影屡横杯。分水邻封会，双珠明月胎。今朝修褉地，益见永和才。天池中漱者渭。铅建两道，首尾相接，共分水一关，故颈联云。”钤：“文长氏”（白文）、“天池漱仙”（白文）、“青藤道士”（白文）印。鉴藏印：“苏士伯安珍藏”（朱文）、“正气斋鉴赏印”（白文）。\n牡丹是徐渭最喜欢画的花卉之一。徐渭的大笔写意牡丹前无古人。他不用色彩，仅以泼墨为之，无论花头及叶皆大笔点染而成，仅枝茎及叶脉用线条画出。此作牡丹花头用蘸墨法点花瓣，花瓣内端深外端浅，花头中部浅周边深。花头点成后，趁湿用重墨点花蕊。整幅作品无论布局、笔墨，均泼辣豪放，气势逼人，立意鲜明，水墨润泽，极有生意。虽是水墨画成，却有富贵庄严之相，属徐渭代表作之一。",[23,24,99,28,119,25,83,35,243,29,100,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c1c40badc99d0d04f50672ffd7e4ff6.jpg","纸本，墨笔","纵109.2厘米，横33厘米",[],704,5,{"id":261,"slug":262,"title":263,"dynasty":55,"author":134,"museum":20,"description":264,"tags":265,"thumbUrl":267,"material":268,"size":269,"collection":158,"collections":270,"showCount":271,"zanCount":49,"manualWeight":49,"mainColor":74},233459,"mao-shi-tu-juan-zhu-da-233459","猫石图卷","此图为朱耷71岁所作。全幅景致简洁，绘一只白猫蹲于石巅上拱背缩身，与山石浑然合成一体。它闭目养神，全然无心观赏四周荷花、兰花等俏丽的景致。作者显然运用了象征隐喻的手法，将客观的意象与主观的意识作了巧妙而含蓄的结合。他以心静如水的猫暗喻自己在清王朝统治下不闻不问，远离世俗的隐遁行为。图中荷叶及无名花草以墨气淋漓的泼墨法绘成，与白描勾勒，寥寥数笔的猫、石形成视觉上的黑白对比，不同色调的深浅变化，丰富了画面的空间层次，从而使全卷既充实又空灵。",[24,28,27,25,266,155,100,7],"猫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0ca2edd6ab75301d011c83693dfa665.jpg","纸本，水墨","纵34厘米，横218厘米",[],656,{"id":273,"slug":274,"title":275,"dynasty":18,"author":212,"museum":116,"description":276,"tags":277,"thumbUrl":280,"material":281,"size":282,"collection":45,"collections":283,"showCount":284,"zanCount":285,"manualWeight":49,"mainColor":50},214726,"hua-hui-tu-chen-chun-214726","花卉图","这幅画描绘了在海石后面盛开的各种花朵，包括五种栀子花、玫瑰花、百合花、天竺葵和红丹参。花朵是用无骨笔描绘的，栀子花和百合花的白色花朵是用钩花和点叶描绘的。景观安排得很细致，着色柔和优雅，不显庸俗，有别于晚年放笔写意的习惯，应该是五十岁以前的作品。",[23,24,28,99,119,60,7,83,39,155,278,279],"草木","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c023ce4b74affaefcba3f3678377db.jpg","绢本,设色","188x96.9",[45],619,14,{"id":287,"slug":288,"title":289,"dynasty":55,"author":134,"museum":135,"description":290,"tags":291,"thumbUrl":293,"material":43,"size":158,"collection":45,"collections":294,"showCount":295,"zanCount":207,"manualWeight":49,"mainColor":74},216942,"yu-shi-tu-zhou-zhu-da-216942","鱼石图轴","朱耷的鱼石图轴是一件著名的绘画作品，它是朱耷在清朝时期创作的。这幅作品以细腻的线条和丰富的色彩，描绘了一幅生动的海洋图景，其中包括众多的海鱼和石头。鱼石图轴以其高超的绘画技巧和对海洋生物的生动描绘而闻名。",[23,24,28,119,25,7,292,155],"鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F882d988e50b2be54a69df81067fcfd25.jpg",[45],610,{"id":297,"slug":298,"title":299,"dynasty":94,"author":300,"museum":301,"description":302,"tags":303,"thumbUrl":309,"material":43,"size":310,"collection":45,"collections":311,"showCount":312,"zanCount":313,"manualWeight":49,"mainColor":74},218639,"mo-lan-tu-zheng-si-xiao-218639","墨兰图","郑思肖","日本大阪市立美术馆","这是一幅描绘两朵兰花的画，闲适而优雅，有一种侵入性的清晰。叶子是对称的，但花只在左边，重心稍微向左倾斜。叶子不多，但不是孤零零的散落，笔法轻重不一，大小不一，通篇使用淡墨，使画作更加优雅柔美。这幅画延续了南宋的写实风格，开创了元代文人画的先河。叶子分两组画，每组有三片叶子，笔法与图中对称，略带左右强调。笔触有轻有重，笔触准确。剑身略宽，给人以丰富和艳丽的美感。位于长叶子之间的短叶子，仍然用同样明亮的墨水和笔触绘制。画的是两朵花，一朵是盛开的四片花瓣，一朵是含苞待放的两片花瓣。两片长而弯曲的叶子被放在画框的底部中心，环绕着它们，这就是画的眼睛。花瓣也很饱满，笔触与画叶子的笔触相同。花蕊是用浓墨勾勒出来的，花的描绘方式是其他画作中所没有的。",[23,99,25,7,304,40,305,39,306,307,308],"文人画","简笔","墨笔","文人花卉","水墨花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f9c1a31515452db9f01aafbc38687bb.jpg","34.3x59.6",[45],570,12,{"id":315,"slug":316,"title":317,"dynasty":237,"author":238,"museum":318,"description":319,"tags":320,"thumbUrl":325,"material":326,"size":158,"collection":158,"collections":327,"showCount":328,"zanCount":189,"manualWeight":49,"mainColor":74},220590,"zhu-zi-he-kun-chong-qi-bai-shi-220590","竹子和昆虫","Oscar Niemeyer Museum","这幅画作以工写结合尽显意趣。焦墨挥就柳干，苍劲老拙，淡绿晕染柳叶，条缕垂坠如沐晚风，尽显柔曼舒展之态。枝头鸣蝉与藏于叶间的蚱蜢，用工笔细勾，翅脉纤毫毕现，身形灵动鲜活，仿佛能闻声感其振翅之姿。大写意的疏朗野逸，搭配工笔草虫的精致入微，将乡野秋日常见小景，化为充满生机的雅致画面，藏着画家对乡野闲趣的细腻体察，笔简而意足，平淡中尽显鲜活秋意。",[24,25,60,321,7,32,322,323,324],"工笔","蝉","螳螂","蟋蟀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfeb1ed36cc88bbc8986e7ccf8468de5.jpg","Watercolor on paper",[],566,{"id":330,"slug":331,"title":332,"dynasty":18,"author":19,"museum":333,"description":334,"tags":335,"thumbUrl":338,"material":158,"size":158,"collection":158,"collections":339,"showCount":340,"zanCount":232,"manualWeight":49,"mainColor":74},228763,"shui-mo-pu-tao-tu-zhou-xu-wei-228763","水墨葡萄图轴","藏地不详","《明徐渭山水花卉人物图》是明代画家徐渭的作品，该画为纸本、水墨，尺幅纵26.9厘米，横8.厘米。\n现藏于 。\n自书款一而：“万历戊子夏仲，偶闲，寓崇侄子云齐中，漫为捉笔，真儿戏也。\n青藤渭。\n”下钤“徐渭之印”等二方。\n另有吴俊卿、李详题跋二页。\n钤印诸方。\n该册十八页，其中画十五页，分别作写意山水人物、写生 ，内容有婴戏、对弈、 、 、稻穗螃蟹等等。\n笔墨简括豪放，随意自然。\n选其二页，可窥真趣。\n徐渭（1521~159年）明代杰出书画家、 。\n初字文清，改字文长，号天池、又号青藤道人、田水月等。\n浙江山阴（今绍兴）人。\n自幼聪慧，文思敏捷。\n且胸有大志。\n参加过嘉靖年间东南沿海的抗倭斗争和反对权奸严嵩，一生遭遇十分坎坷，可谓“落魄人间 ”。\n最后入狱七、八年。\n获释后，贫病交加，以卖诗、文、画糊口，潦倒一生。\n他中年学画，继承梁楷减笔和林良、沈周等写意花卉的画法，故擅长画水墨花卉，用笔放纵，画残菊败荷，水墨淋漓，古拙淡雅，别有风致。\n兼绘山水，纵横不拘绳墨，画人物亦生动，其笔法更趋奔放、简练，干笔、湿笔、破笔兼用，风格清新，恣情汪洋，自成一家，形成“青藤画派”。\n他自己尤以书法自重。\n自称“吾书第一、诗二、文三、画四”。\n袁宏道等称赞他的书法“笔意奔放”，“苍劲中姿媚跃出”，“在王雅宜、文征仲之上。\n他画的《黄甲图》，峭拔劲挺，生动地表现了螃蟹爬行、秋荷凋零的深秋气氛。\n作品流传至今的较多。\n著作有：《四声猿》、《南词叙录》《徐文长佚稿》、《徐文长全集》等。\n传世著名作品有《墨葡萄图》轴、《山水人物花鸟》册（均藏故宫博物院）、《牡丹蕉石图》轴，以及晚年所作《墨花》九段卷（现藏故宫博物院）等。",[23,24,28,119,25,7,26,336,337,242,243,29,120],"泼墨","葡萄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F504df223fc9470a5121ee4d43301b51c.jpg",[],528,{"id":342,"slug":343,"title":179,"dynasty":55,"author":226,"museum":333,"description":344,"tags":345,"thumbUrl":347,"material":84,"size":158,"collection":45,"collections":348,"showCount":340,"zanCount":161,"manualWeight":49,"mainColor":74},220050,"zhu-shi-tu-zheng-ban-qiao-220050","郑板桥(1693-1765)，原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。康熙秀才，雍正十年举人，乾隆元年(1736年)进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为扬州八怪重要代表人物。郑板桥一生只画兰、竹、石，自称四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人。其诗书画，世称三绝，是清代比较有代表性的文人画家。",[23,24,28,119,25,7,30,100,32,346],"石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb724f394a4ef707b4419ea206b3dbdac.jpg",[45],{"id":350,"slug":351,"title":352,"dynasty":55,"author":226,"museum":333,"description":353,"tags":354,"thumbUrl":355,"material":356,"size":357,"collection":45,"collections":358,"showCount":359,"zanCount":313,"manualWeight":49,"mainColor":74},223295,"mo-zhu-zheng-ban-qiao-223295","墨竹","郑板桥（1693年－1766年），原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。清代书画家、文学家。\n康熙秀才，雍正十年举人，乾隆元年（1736年）进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为“扬州八怪”重要代表人物。\n郑板桥一生只画兰、竹、石，自称“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”。其诗书画，世称“三绝”，是清代比较有代表性的文人画家。代表作品有《修竹新篁图》《清光留照图》《兰竹芳馨图》《甘谷菊泉图》《丛兰荆棘图》等，著有《郑板桥集》。\n郑板桥书法，用隶体掺入行楷，自称“六分半书”，人称“板桥体”。其画，多以兰草竹石为主，兰竹几成其心灵的郑板桥的书法艺术，在中国书法史上是独树一帜的。\n由他23岁写的《小楷欧阳修《秋声赋》和30岁写的《小楷范质诗》推知，板桥早年学书从欧阳询人手。其字体工整秀劲，但略显拘谨：这与当时书坛盛行匀整秀媚的馆阁体，并以此作为科举取士的标准字体有关。对此，郑板桥曾说：“蝇头小楷太匀停，长恐工书损性灵。”在他40岁中进士以后就很少再写了。郑板桥书法最被称道的是“六分半书”，即以“汉八分”（隶书的一种）杂人楷、行、草而独创一格的“板桥体”。\n“六分半”书，是郑板桥对自己独创性书法的一种谐谑称谓。隶书中有一种笔画多波磔的“八分书”，所谓“六分半”，其意大体是隶书，但掺杂了楷，行、篆、草等别的书体。《行书曹操诗》轴（如同，现藏扬州博物馆）可视为“六分半”体的代表作。此件写曹操《观沧海》诗，幅面很大，平均每宇有10平方厘米以上，字体隶意颇浓，兼有篆和楷；形体扁长相间，宅势以方正为主而略有摆宕。拙朴扩悍，恰与曹诗雄伟阔大的风格相似。郑板桥曾在《赠潘桐冈》诗中称道自己的书法：“吾曹笔阵凌云烟，扫空氛翳铺青天。一行两行书数字，南箕北斗排星躔。”\n郑板桥书法作品的章法也很有特色，他能将大小、长短、方圆、肥瘦、疏密错落穿插，如“乱石铺街”，纵放中含着规矩。看似随笔挥洒，整体观之却产生跳跃灵动的节奏感。如作于乾隆二十七年的《行书论书》横幅，时已七十高龄，乃晚年佳作。大意是说苏东坡喜用宣城诸葛氏齐锋笔，写起来十分如意，后来改用别的笔，就手心不相应。板桥自己喜用泰州邓氏羊毫笔，写起来婉转飞动，无不如意。于是把泰州邓氏羊毫比作宣城诸葛齐锋，最后说：“予何敢妄拟东坡?而用笔作书皆爱肥不爱瘦，亦坡之意也。”整幅作品结字大大小小，笔划粗粗细细，态势欹欹斜斜，点画、提按、使转如乐行于耳，鸟飞于空，鱼游于水，在一种态情任意的节律中显露着骨力和神采：清人何绍基说他的字“间以兰竹意致，尤为别]趣”。从这件作晶的章法、结体和笔画，不准看出他“波磔奇古形翩翩”的兰竹娄神。\n郑板桥出身于书香门第，康熙末年中秀才，雍正十年中举人，乾隆元年中进士，五十岁起先后任山东范县、潍县知县计十二年。“得志加泽于民”的思想，使得他在仕途对连年灾荒的平民百姓采取了“开仓赈贷”“捐廉代输”等举措，这引起了贪官污吏、恶豪劣绅的不满，被贬官。之后，他靠卖画维持生活。郑板桥的一生，经历了坎坷，饱尝了酸甜苦辣，看透了世态炎凉，他敢于把这一切都糅进他的作品中。郑板桥的题画诗已摆脱传统单纯的以诗就画或以画就诗的窠臼，他每画必题以诗，有题必佳，达到“画状画之像”“诗发难画之意”，诗画映照，无限拓展画面的广度，郑板桥的题画诗是关注现实生活的，有着深刻的思想内容，他以如枪似剑的文字，针砭时弊，正如他在《兰竹石图》中云：“要有掀天揭地之文，震电惊雷之字，呵神骂鬼之谈，无古无今之画，固不在寻常蹊径中也。\n①瘦劲竹子画：郑板桥画竹，“神似坡公，多不乱，少不疏，脱尽时习，秀劲绝伦”。《清代学者像传》说他一生的三分之二岁月都在为竹传神写影，自己曾有诗写道：“四十年来画竹枝，日间挥写夜间思，冗繁削尽留清瘦，画到生时是熟时”。后来他说：“凡吾画竹，无所师承，多得于纸窗粉壁日光月影中耳”。他通过观察和艺术创作的实践，提炼出“眼中之竹”、“胸中之竹”、“手中之竹”的理论。“眼中之竹”是自然实景，是对自然的观察和从中体验画意；“胸中之竹”是艺术创作时的构思；“手中之竹”是艺术创作的实现。他把主观与客观、现象与想象、真实与艺术有机地融为一体，创造了师承自然，而又高于自然的境界。\n自然之竹是客观存在的，画家看到眼里的竹已经和自然之竹有所区别了，然后要进行加工、主观处理，形成胸中之竹，这就是所说的意在笔先，等落到纸上，转化为手中之竹，“手中之竹”说的是画家所创出的一个“第二自然”，胸中之竹和手中之竹都是眼中之竹的升华，概括说就是画家把眼睛看到的客观形象，经过大脑的意象处理，最终经过技术加工物化为典型的艺术形象，是艺术创作的过程。\n当郑板桥任山东潍县知县，曾作过一幅画《潍县署中画竹呈年伯包大中丞括》，画中的竹子不再是自然竹子的“再现”，这诗题，不再是无感而发的诗题，透过画和诗，使人们联想到了板桥的人品，他身为知县，从衙斋萧萧的竹声，联想到百姓困苦疾声，说明他心中装着百姓，情感链系在百姓身上。这时画中的竹叶有了形象的扩展，郑板桥开仓赈贷，救济灾民的场景一幕幕地浮现在人们脑海里，“凝固的瞬间”在观众的脑海里变成了无限延续的故事，好似极富感染力的小说、影片那样，扣人心弦，发人深思。寥寥几笔竹叶，简练几句诗题，让人倍感作品中蕴藏着的深刻的思想、浓浓的情意。再有几幅是郑板桥被贬官后离开潍县，三头毛驴一车书，两袖清风而去，临行前后作的画，其一画竹图题云：“乌纱掷去不为官，囊囊萧萧两袖寒，写取一枝清瘦竹，秋风江上竹渔竿”，借竹抒发了他弃官为民、淡泊名利、享受人生的平静心态，其二《竹石图》画幅上三两枝瘦劲的竹子，从石缝中挺然后立，坚韧不拔，遇风不倒，郑板桥借竹抒发了自己洒脱、豁达的胸臆，表达了勇敢面对现实，绝不屈服于挫折的人品，竹子被人格化了，此时，“诗是无形画，画是有形诗”。类似的还有《墨竹图》《竹图》，这几幅墨竹图，都是借竹子抒发他遭贬官后，越发洒脱。郑板桥所画竹子和题画诗，大多是借竹缘情，托物言志，抒发了“衙斋卧听萧萧竹，疑是民间疾苦声”的情怀，表现出“立根原在乱岩中，任尔东西南北风”的坚劲，表达出“写取一枝清瘦竹，乌纱掷去不为官”的气节和气概，凡竹子的高风亮节，坚贞正直，高雅豪迈等气韵，都被他表现得淋漓尽致。这正是郑板桥作品不同于传统花鸟画之处，不同于前人之处。传统的兰竹大多数表现为欣赏性的、娱乐性的主题，画面主要追求自然形象的真与美、绘画技能的高与低、笔墨运用的娴熟与雅俗，而到了郑板桥的笔下，除了达到这些技能技巧外，题画诗还赋予这题材新的思想内容和深邃意境，使花鸟画亦能产生思想性、抒情性，给人以深刻的感受。\n郑板桥画竹独特，画石亦如此。自然界再无情的石头在他笔下也活了，如《柱石图》中的石头，这也是前人画中常用题材，但很少把它作为主体形象来表现的。而郑板桥在画幅中央别具一格地画了一块孤立的峰石，却有直冲云霄的气概，四周皆空没有背景。画上四句七言诗：“谁与荒斋伴寂寥，一枝柱石上云霄，挺然直是陶元亮，五斗何能折我腰。”诗点破了画题，一下子将石头与人品结合到一块儿，可谓“画不足而题足之，画无声而诗声之。诗画互相为用，开后人无数法门。”板桥借挺然坚劲的石头，赞美陶渊明。板桥赞美他刚直不阿、品格高尚的人格，同时似乎也有吐露他自己同样遭遇及气度的意思。画中的石头代表了人物形象，蕴藏着刚直不阿、气宇轩昂的品质，使人感到，此处画石头比画人更有意味，更能揭示深刻含义。\n③兰花图：郑板桥还有很多以兰花为主题的画，也表现了一些新的内容，借题画诗发挥，寓意对各种各样事物的看法。如：有的借兰花特征，透溢出做人胜不骄、败不馁，持平常心态的胸臆，题画诗云：“兰花与竹本相关，总在青山绿水间，霜雪不凋春不艳，笑人红紫作客顽。”由兰花让人产生联想，做人要像兰花一样幽静、持久、清香，不浮不躁，不争艳。咫尺画幅，拓展无限之大，意境深邃。又如：有的借一丛丛兰花，夹着一些荆棘的自然现象，抒君子能宽容小人之大度的气质。《荆棘丛兰石图》题画诗云：“不容荆棘不成兰，外道天魔冷眼看，看到鱼龙都混杂，方知佛法浩漫漫。”另一幅《荆棘丛兰石图》题云：“满幅皆君子，其后以荆棘终之何也？盖君子能容纳小人，无小人亦不能成君子，故棘中之兰，其花更硕茂矣。”板桥匠心独运，兰花中穿插几枝荆棘，画兰花与荆棘共存，表达了遇有小人，虚怀若谷、和睦共处，“历经磨练，方成英雄”的宽宏大量之胸怀，读画者亦受益匪浅。越读越感简单的植物具有高深的意境，乐趣无穷。纵观郑板桥笔下所画的兰竹石，细品题画诗，我们不难看出，他喜画兰竹石的缘由，正如他所云：“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”，而“为四美也”。“有兰有竹有石，有节有香有骨”。在他眼中，兰竹石，能代表人坚贞不屈，正直无私，坚韧不拔，心地光明，品格高洁等品格，因而其题画诗的字字句句，托物言志，意境深远。\n④题画诗：题画诗在他笔下，除了在内容上有思想性，抒情性以外，在形式上还更具有艺术性、趣味性。题画诗能充分体现“书画同源”“用笔同法”的艺术趣味，而传统画家的题款跋文，大多题于画的空白处，与画面起平衡作用，但“扬州八怪”的题款已脱传统国画以及“文人画”题款、题诗的窠臼，特别是郑板桥将书法与画糅合在一起，还成了共同表现形象的特殊手法，彼此关系不分割。如《兰石图》，郑板桥别具匠心地将诗句用书法的形式，真草隶篆融为一体，大大小小，东倒西歪，犹如“乱石铺街”地题于石壁上，代替了画石所需的皴法，产生了节奏美、韵律美，又恰到好外地表现了石头的立体感、肌理美，比单纯用皴法表现立体感更具有意趣。这倒成了不可或缺的表现方法，既深刻揭示兰花特征，寓意高尚人品的意境美，又有书法艺术替代皴法的艺术美。让人在观画时既享受到画境、诗境的意境美，又能享受到书法艺术的形式美，沉浸在诗情画意中。另在许多兰竹石的画幅上，他题诗的形式变化多端，不守成规，不拘一格，自然成趣，达到书佳、行款得体，画亦随之增色。所谓行款得体，即是视画面的实际，进行构思，讲究构图的形式美，因而他将题画诗或长题于侧，或短题于上下，或纵题、或横题、或斜题、或贯穿于兰竹之间、藤叶之间，断断续续地题，观其形态，参差错落，疏密有致。是书也是题，是画也是诗，是诗也是画，欣赏每幅画中题画诗，既是绝妙的书法再现，也是将书画相映成趣的综合艺术，书题与画面有机地交融在一起，构成了统一的诗情画意，给人以综合的完美的艺术享受。\n郑板桥情系百姓，与民同忧。乾隆六年（1741年）春，因科举及第考中进士的郑板桥被派往山东范县任县令，开始了他长达12年的官宦生涯。他为官力求简肃，视排衙喝道之类的礼仪为桎梏。为察看民情、访问疾苦，他常不坐轿子，不许鸣锣开道，不许打“回避”“肃静”的牌子，身着便服，脚穿草鞋到乡下察访。即便夜间去查巡，也仅差一人提着写有“板桥”二字的灯笼引路。因为他常常微服“陇上闲眠看耦耕”，以致“几回大府来相问”，竟找不到他的人影子。\n对于百姓的疾苦，他时时刻刻都挂在心上。他一生善于画竹，尤其善于据竹写诗。在潍县任县令时，他的顶头上司、山东巡抚包括向他索求书画，他画了拿手的竹子，并在上面题诗一首：“衙斋卧听萧萧竹，疑是民间疾苦声。些小吾曹州县吏，一枝一叶总关情。”\n乾隆十一年（1746年），郑板桥调署潍县，在潍县任上七年，竟有五年发生旱蝗水灾，生民涂炭，哀鸿遍野。他一面向朝廷据实禀报灾情，请求赈济；一面以工代赈，兴修城池道路，招收远近饥民赴工就食，并责令邑中大户轮流在道边开厂煮粥，供妇孺耄耋充饥。同时，责令囤积居奇者迅速将积粟按通常价格卖给饥民。他自己也节衣缩食，为饥民捐出官俸。在最危急之时，他毅然决定打开官仓放粮。乾隆十七年（1752年），他愤然辞官，回到故乡江苏兴化定居",[23,24,119,25,29,30,32,100,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b02064efe84ab0f7521ea162036d0de.jpg","白纸本","38*138CM",[45,109],509,{"id":361,"slug":362,"title":363,"dynasty":55,"author":151,"museum":152,"description":153,"tags":364,"thumbUrl":367,"material":157,"size":158,"collection":45,"collections":368,"showCount":369,"zanCount":370,"manualWeight":49,"mainColor":74},218128,"qiu-shui-he-ye-tu-shi-tao-218128","秋水荷叶图",[23,24,28,99,217,25,60,7,34,122,365,366,100],"莲花","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cfdd37fcf60f013839a1cf9ac9c4700.jpg",[45],451,1,{"id":372,"slug":373,"title":374,"dynasty":94,"author":375,"museum":116,"description":376,"tags":377,"thumbUrl":378,"material":379,"size":380,"collection":107,"collections":381,"showCount":382,"zanCount":189,"manualWeight":49,"mainColor":50},220354,"mo-zhu-tu-wen-tong-220354","墨竹图","文同","此图以倒垂竹枝为主体，竹叶和竹枝从左上方垂下，出枝微曲取横空之势，着叶不多，但疏密有致，其茎多新枝，竿、节、枝、叶均以水墨单色一笔画出，生趣蓬勃。在宋代文人眼中，竹可以言志，更可以寄情，由此可见文同创作这幅画的目的是宣泄情感和抒发胸怀。",[23,24,25,32,83,304,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ff20000777b3dddfef00a4dd1a06f37.jpg","绢本","纵131.6厘米，横105.4厘米",[107,45],430,{"id":384,"slug":385,"title":386,"dynasty":237,"author":387,"museum":388,"description":389,"tags":390,"thumbUrl":393,"material":158,"size":158,"collection":158,"collections":394,"showCount":395,"zanCount":189,"manualWeight":49,"mainColor":74},220453,"hua-niao-ce-ye-pan-tian-shou-220453","花鸟册页","潘天寿","中国美术学院美术馆","这套册页诗书画印浑然天成，十余开铺陈开山野清趣。以浓墨大写鸲鹆，骨力雄健朴拙，墨色厚重凝练尽显沉郁气度；转而写幽花野卉，荷瓣清逸、牵牛含露，水墨晕染虚实相生，将草木舒展之态藏于简括笔意中。\n题跋笔势跌宕，篆隶金石气融于画中，以书入画，线条刚柔相济。每开或绘禽鸟踞枝，或写丛篁蔬果，删繁就简留白疏密得宜，把林泉间的清寂生机缓缓铺展，文人雅致与写意野趣交融无间，笔底带着山野间的灵动意趣，尽显大写意花鸟的诗画交融之妙。",[23,24,28,217,25,60,30,7,100,83,31,40,32,41,38,391,392,155,122],"乌鸦","果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1977491dcb09096c6f919e88e1d5b78a.jpg",[],429,{"id":397,"slug":398,"title":399,"dynasty":55,"author":400,"museum":213,"description":401,"tags":402,"thumbUrl":405,"material":157,"size":406,"collection":45,"collections":407,"showCount":408,"zanCount":259,"manualWeight":49,"mainColor":74},214283,"pi-pa-tu-xu-gu-214283","枇杷图","虚谷","枇杷图是清代画家虚谷的一幅代表作。这幅画作描绘了枇杷树的生长过程。\n\n在这幅画作中，虚谷巧妙地捕捉了枇杷树的生长特征。他用浓墨重彩的画法，勾勒出了枇杷树的树冠和树干。他还用细腻的线条勾勒出了枇杷树的果实，让人感受到了枇杷树的自然韵味。",[23,99,24,28,60,83,25,7,403,404,243,392],"枇杷","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c08115f1f5f8532ace747821d30036.jpg","112.5x52",[45],408,{"id":410,"slug":411,"title":412,"dynasty":94,"author":413,"museum":414,"description":415,"tags":416,"thumbUrl":418,"material":43,"size":158,"collection":109,"collections":419,"showCount":420,"zanCount":49,"manualWeight":49,"mainColor":74},216945,"liu-shi-tu-mu-xi-216945","六柿图","牧溪","日本京都大德寺龙光院","描绘了六个柿子，一前一后，一排五个。简洁的笔触，独特的墨色，以及随机但不凌乱的一排排柿子，给人留下了简单、朴素、宁静致远的禅意。这是一种简单、朴素、悠远的禅意。",[24,99,28,119,25,7,417],"柿子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74f5ac03418f0bd72d3220bc771f9935.jpg",[109],402,{"id":422,"slug":423,"title":424,"dynasty":18,"author":79,"museum":333,"description":425,"tags":426,"thumbUrl":432,"material":158,"size":158,"collection":69,"collections":433,"showCount":434,"zanCount":49,"manualWeight":49,"mainColor":74},221983,"shan-shui-tu-li-zhou-wen-zheng-ming-221983","山水图立轴","文征明（文徵明）（1470-1559），初名壁，字征明（徵明），四十二岁起以字行，更字征仲，因先世衡山人，故号衡山居士，世称“文衡山”，停云生。长州（今江苏苏州吴县）人，曾官翰林待诏。生于明宣宗成化六年，卒于明世宗嘉靖三十八年，年九十岁。文受业于吴宽，学书于李应祯，学画于沈周。擅长诗文书画，为“吴中三家”之一。在书法上，早年受其父知友吴宽的影响写苏体，后受他岳父李应祯的影响，学宋元的笔法较多。小楷师法晋唐，力趋健劲。文征明功力深厚，楷书法度严谨，不仅深得《黄庭经》、《乐毅论》之诣，更多地则是采用欧阳询的笔意和体势，但在用笔上又更加削劲、挺健。明·谢在杭《五杂俎·卷七》称赞文征明小楷：“无真正楷书，即钟、王所传《荐季直表》、《乐毅论》皆带行笔。洎唐《九成宫》、《多宝塔》等碑，始字画谨严，而偏肥偏瘦之病，犹然不免。至本朝文征仲先生始极意结构，疏密匀称，位置适宜。如八面观音，色相具足。于书苑中亦盖代之一人也。”他的大字有黄庭坚笔意，苍秀摆宕，骨韵兼擅。与祝允明、王宠并重当时。",[23,24,60,63,427,61,428,104,429,430,431,25,7,119,84],"古道","山","树","房","桥梁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6bd88c485b1bbe4124fde6a8ae986b8.jpg",[69,109],375,{"id":436,"slug":437,"title":438,"dynasty":237,"author":238,"museum":439,"description":440,"tags":441,"thumbUrl":444,"material":158,"size":158,"collection":158,"collections":445,"showCount":446,"zanCount":259,"manualWeight":49,"mainColor":74},220597,"lian-hua-yu-long-fei-qi-bai-shi-220597","莲花与龙飞","Indianapolis Museum of Art at Newfields","枯墨勾勒荷茎与水草，苍劲老辣带着风霜质感，赭石晕染残荷，铺展出秋塘的疏淡萧瑟。朱砂点就的红莲，浓艳醒目，在枯寂里绽出鲜活暖意，稚拙圆润的莲蓬，藏着乡野间的朴拙意趣。翅羽轻颤的小虫寥寥数笔便形神兼具，翩然灵动，和沉郁静穆的残荷形成鲜明动静反差。\n\n整幅画以少胜多，大写意笔墨里藏着对自然的细微体察，将秋塘的清寂生机揉合一处，平淡天真间尽是悠然意韵。",[23,24,25,60,7,119,100,121,124,442,122,443],"蜻蜓","花梗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbede3ed88faf28cd4881cd596424cf78.jpg",[],351,{"id":448,"slug":449,"title":450,"dynasty":55,"author":451,"museum":20,"description":452,"tags":453,"thumbUrl":455,"material":456,"size":457,"collection":45,"collections":458,"showCount":459,"zanCount":370,"manualWeight":49,"mainColor":74},224219,"sui-chao-qing-gong-tu-wu-chang-shuo-224219","岁朝清供图","吴昌硕","岁朝指农历元旦，历代画家特别是文人画家都喜欢在这一天绘制《岁朝清供图》，作为新年伊始的首幅作品。吴昌硕作为一名文人画家，也几乎每年都画《岁朝清供图》，且多所变化，其最大的特点是很少取材于牡丹，他在《缶庐别存》中有一段话披露了其用意，文曰：“己丑除夕，闭门守岁，呵冻作画自娱。凡岁朝图多画牡丹，以富贵名也。予穷居海上，一官如虱，富贵花必不相称，故写梅取有出世姿，写菊取有傲霜骨，读书短檠，我家长物也，此是缶庐中冷淡生活。”此段话写于1889年，而在这幅1915年的《岁朝清供图》中仍然不见牡丹形象，其时吴氏的生活已有了极大改善，但仍不画牡丹，可见其富贵不移初志的高雅人格与画品。\n此图以瓶梅、水仙、蒲草、秀石诸品组合而成，并置于瓶盆等器物中，以示为案头清供之物。物品高下低昂、错落有致地安排于画面，并以右高左低的对角形式排列，左上角和右下角分别配以题识和印章，这是吴昌硕花卉画中常用的构图形式。画面左上角自题：“岁朝清供。岁朝写案头花，象古人所作岁时物之迁流也，兹拟其意。乙卯岁寒吴昌硕。”\n此图信手挥洒，真情流溢笔端。高颈古瓶中的一枝红梅，以及翠绿的水仙，纷披的蒲草，皆得其大意，笔法隽逸洒脱，极具清逸雅淡之气。用墨、设色也恰到好处，用墨浓淡相宜，设色俏丽鲜艳，雅妍相兼，双勾敷色的水仙花，更体现了吴氏晚年运笔遒劲古拙的独特风韵。",[23,24,28,119,60,25,30,100,7,83,31,38,155,417,454],"器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60ee9f04eb4937057270e254c03e2aa.jpg","纸本，设色","纵151.6厘米，横80.7厘米",[45,71],321,{"id":461,"slug":462,"title":463,"dynasty":55,"author":451,"museum":333,"description":464,"tags":465,"thumbUrl":466,"material":60,"size":158,"collection":45,"collections":467,"showCount":468,"zanCount":370,"manualWeight":49,"mainColor":469},224225,"mu-dan-tu-wu-chang-shuo-224225","牡丹图","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。”吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。\n清道光二十四年（1844年）8月1日，生于浙江省孝丰县鄣吴村（今湖州市安吉县）一个读书人家。幼时随父读书，后就学于邻村私塾。10余岁时喜刻印章，其父加以指点，初入门径。\n咸丰十年（1860年）太平军与清军战于浙西，全家避乱于荒山野谷中，弟妹先后死于饥馑。后又与家人失散，替人做短工、打杂度日，先后在湖北、安徽等地流亡数年。\n同治四年（1865年），中秀才。是年，海上先辈名家任薰与周闲合作，为吴昌硕绘画像。\n同治八年（1869年），赴杭州，就学于诂经精舍，从名儒俞樾习小学及辞章。编成《朴巢印存》。\n同治十一年（1872年），赴上海，得以认识高邕之。\n光绪六年（1880年），寓吴云（平斋）两礨轩，以《篆云楼印存》请教，吴云为之删削，更名为《削觚庐印存》。识吴秋农、金心兰、顾茶村、胡三桥、方子昕等。与杨岘（见山）结为朋友。\n光绪八年（1882年），居苏州。友人荐作小吏以维持生计。与虞山沈石友结为朋友。\n光绪九年（1883年），在沪识任伯年。任伯年为作《芜菁亭长小像》。\n光绪十三年（1887年），至沪，任伯年为作《棕荫纳凉图》。\n光绪十五年（1889年），在苏州。时伯年来访，为之作《酸寒尉像》，自题诗。施旭臣、谭复堂为《缶庐诗》作序。\n光绪十六年（1890年），居上海。识吴大澄。\n光绪十八年（1892年），任伯年又为作《蕉荫纳凉图》。\n光绪十九年（1893年），在上海编选壬辰年以前所作诗三卷刊行，题名《缶庐诗》。\n光绪二十（1894年），在北京以诗及印谱赠翁同龢。中日战争爆发，参佐吴大澄戎幕，北上抗日，兵败继续为吴大澄戎幕。\n光绪二十一年（1895年），任伯年为作《棕荫忆旧图》、《山海关从军图》。十一月，任伯年病殁沪上，作诗哭之并撰联。\n光绪二十五年（1899年）十一月，得丁葆元保举，任安东县令，一月即辞去。\n致力书画\n光绪二十六年（1900年），日本河井仙郎投之于门下。\n光绪二十九年（1903年），自订润格。编选壬寅以前所作诗为《缶庐诗》第四卷，连同前刊三卷，又《别存》一卷合为一册。\n光绪三十年（1904年），移居桂和坊19号，名其斋曰“癖斯堂”。赵子云（赵云壑）投门下。\n光绪三十五年（1909年），在沪加入上海豫园书画善会。\n民国元年（1912年），至杭州与西泠诸友宴集。始以字行。\n民国二年（1913年），西泠印社成立，任社长。秋，梅兰芳来会。与王一亭结为至交。王一亭在上海商界、金融界推介吴昌硕的书画金石艺术，使其名声大振。\n民国三年（1914年），王一亭为吴昌硕在六三园举办生平第一次个展，使吴派艺术开始为日本艺界所了解和推崇。上海书画协会成立，任会长。\n民国四年（1915年），上海“题襟馆书画会”推先生为名誉会长。\n民国六年（1917年），吴昌硕继配施氏夫人在上海去世。\n民国九年（1920年），日本长崎首次展出其书画，东京文求堂继刊《吴昌硕画谱》，长崎双树园刊行《吴昌硕画帖》。诸乐三列为门弟子。\n民国十年（1921年），赴杭西泠印社宴集。《汉三老碑》被日商购去，与西泠同仁奔走呼吁，作画义卖，终募款八千大洋将碑赎回。日本朝仓文夫为范铜像。\n民国十二年（1923年），潘天寿由诸闻韵引见来谒，撰联以赠。门弟子陈师曾去世。\n民国十四年（1925年），沙孟海由王贤引列为门弟子。为已逝师友周闲遗作《花卉长卷》作引首并题。\n民国十六年（1927年）十一月二十九日，逝于上海寓所。\n民国二十二年（1933年）十一月，迁葬于浙江余杭县塘栖附近超山报慈寺西侧山麓宋梅亭畔。\n\n篆刻:\n少年时他因受其父熏陶，即喜作书，印刻。楷书始学颜鲁公，继学钟元常；隶书学汉石刻；篆学石鼓文，用笔之法初受邓石如，赵之谦等人影响，以后在临写《石鼓》中融汇变通。行书得黄庭坚、王铎笔势之欹侧，黄道周之章法，个中又受北碑书风及篆籀用笔之影响，大起大落，遒润峻险。\n吴昌硕篆刻从“浙派”入手，后专攻汉印，也受邓石如、吴让之、赵之谦等人影响，善于留白，或对角欹斜，气象峥嵘，构图块面体积感极强。刀融于笔，篆刻雄而媚、拙而朴、丑而美、古而今、变而正。上取鼎彝，下挹秦汉，以“出锋钝角”的刻刀，将钱松、吴攘之切、冲两种刀法相结合治印。\n吴昌硕在继承前人冲刀法和切刀法优秀成果的基础上，融诸家之长，在大量的篆刻创作实践中，不断探索，将冲刀和切刀两种刀法融合在一起，形成了自己的冲切结合的刀法。这种刀法灵活多变，或冲中带切，或切中带冲，甚至切中带削……这种多变的刀法，把冲刀的猛利、挺劲、爽快与切刀的含蓄、浑朴融为一体，将书意和刀意表现得淋漓尽致，使他的篆刻刀法雄浑朴茂中寓秀逸的个性化特点凸现了出来。他与厉良玉、赵之谦并称“新浙派”的三位代表人物。\n残缺刀法是吴昌硕篆刻创作中的一种常用手法。我们知道，秦汉古印大多因年深日久，水土的浸蚀，自然的风化，印面及文字线条失去了原先的平整和光洁，变得残缺不全。恰恰是这些残缺给我们以古朴、含蓄、浑厚、苍拙等特殊的审美效果，这是自然的造化使然。吴昌硕善于巧夺天工，在传统的冲、切刀法的基础上，辅之以敲、击、凿、磨或借用砂石、鞋底、钉头等，极大地丰富了篆刻艺术的表现手法，并创造性地将篆刻艺术中刀石效果产生的金石味，上升到残缺美的审美新境界。\n主要篆刻作品：《寿山老坑巧色雕狮钮》《作了天下事》《读遍千古书》《好学为福》《黑青田》《一月安东令》《湖州安吉县》《泰山残石楼》《园丁生于梅洞长于竹洞》《暴书》《千寻竹斋》《千寻竹斋》3刻《吴俊卿信印日利长寿》《安吉吴俊章》《雷浚》《鲜鲜霜中菊》《归仁里民》。\n\n绘画:\n绘画的题材以花卉为主，亦偶作山水。前期得到任颐指点，后又参用赵之谦画法，并博采徐渭、八大、石涛和扬州八怪诸家之长，兼用篆、隶、狂草笔意入画，色酣墨饱，雄健古拙，亦创新貌。其作品重整体，尚气势，认为“奔放处不离法度，精微处照顾气魄”，富有金石气。讲求用笔、施墨、敷彩、题款、钤印等的疏密轻重，配合得宜。 吴昌硕自言：“我平生得力之处在于能以作书之法作画。”\n他以篆笔写梅兰，狂草作葡萄。所作花卉木石，笔力老辣，气势雄强，布局新颖，构图也近书印的章法布白，喜取“之”字和“女”字格局，或作对角斜势。用色上似赵之谦，喜用浓丽对比的颜色，尤善用西洋红，色泽浓艳。\n吴昌硕因以“草篆书”入画，状物不求写实，形成了影响近现代中国画坛的直抒胸襟，酣畅淋漓的“大写意”笔墨形式。\n他酷爱梅花，以写大篆和草书笔法为之，墨梅、红梅兼有，画红梅水分及色彩调和恰到好处，红紫相间，笔墨酣畅。又喜作兰花，喜以或浓或淡的墨色和用篆书笔法画成，刚劲有力。画竹竿以淡墨轻抹，叶以浓墨点出，疏密相间，富有变化，或伴以松、梅、石等，成为“双清”或“三友”。菊花也是他经常入画的题材，伴以岩石，或插以高而瘦的古瓶，与菊花情状相映成趣。菊花多作黄色，亦或作墨菊和红菊。墨菊以焦墨画出，菊叶以大笔泼洒，浓淡相间。\n晚年较多画牡丹，以鲜艳的胭脂红设色，含有较多水分，再以茂密的枝叶相衬，生气蓬勃。荷花、水仙、松柏也是经常入画的题材。\n菜蔬果品如竹笋、青菜、葫芦、南瓜、桃子、枇杷、石榴等也一一入画，极富生活气息。推崇周闲果蔬风格，作品色墨并用，浑厚苍劲，对于近世花鸟画影响深远。\n主要绘画作品：《天竹花卉》《紫藤图》《墨荷图》《五月枇杷图》《杏花图》《花卉十二屏风》《梅花》《花卉四屏》《牡丹》《兰石图》《松石图》《花卉》2幅《紫藤图》《杂画册（之—、二）》《依样》《天香露图》《杞菊延年》《泥盆菊草图》《牡丹图》《牡丹水仙图》《大富贵》《佛像图》《富贵神仙图》《红梅图》2幅《蔷薇芦桔图》《秋艳图》《三千年结实》《人物》《三千年结实之桃》《神仙福寿》《石梅》《石竹图》《松梅图》《岁寒交图》《桃实图》《瓜果》《灯下观书》《姑苏丝画图》等。\n①金石气息：吴昌硕绘画艺术的第一大特色是有金石气息。所谓金石气息，指的就是钟鼎上所铸的金文与刻在石碑上的文字所具有的味道。人们常说谁谁的画作有金石气息，其实这种评论标准都是从吴昌硕的绘画风格出现以后才有的。比如，人们在谈到徐青藤、八大山人时，就从来没有听说过评价他们的画作有金石气息。\n②笔力雄浑：吴昌硕绘画艺术的第二大特色是笔力雄浑。所谓笔力雄浑，指的就是其画作中的笔触朴拙、苍茫、老辣，极具浑圆、雄强的力量感。人们常说吴昌硕绘画的气息很厚、很重，按照书画圈儿里人的说法就是“笔头子”很大。所谓“笔头子”很大，并不是说他用的毛笔很大，而指他笔下的气息非常浑厚，一笔下去，浑金璞玉，力透纸背，又意蕴丰富、气象万千。\n③设色浓丽：吴昌硕绘画艺术的第三大特色是设色浓丽。过去人们总是说中国画不能搞那么多颜色，用太多颜色容易俗气。不过，张俊东却指出，吴昌硕绘画的用墨就特别浓，设色也特别大胆，特别鲜艳和浓丽。比如，吴昌硕画过很多牡丹，很多都是大红大紫的，但是却不会让人觉得俗气，而且非常有文人的那种风骨。所以张俊东认为，中国画设色的关键不在多少，而在谁来用以及怎么去用。\n④富于变化:吴昌硕绘画艺术的第四大特色是笔法和墨法富于变化。这里边又体现在几个方面。张俊东举例介绍说，比如吴昌硕在画菊花时，可以将一朵菊花无论是正面的，侧面的，静态的，动态的，都能画得非常丰富。\n\n书法:\n吴昌硕的楷书，始学颜鲁公，隶习汉代石刻，篆学石鼓文。行书学黄庭坚、王铎。\n吴昌硕书法作品，以篆书、行草为主，晚年所书隶书，结体变长，取纵势，用笔雄浑、饱满，具有篆书痕迹，将篆、隶溶为一体，形成独特面貌。\n吴昌硕的隶书遍临《汉祀三公山碑》《张迁碑》《嵩山石刻》《石门颂》等汉碑。中年以后，博览众多金石原件及拓本，选择石鼓文为主要临摹对象。数十年间，反复钻研，故所作石鼓文凝练遒劲，风格独特。60岁后所书尤精，圆熟精悍。喜将石鼓文字集语书写对联。晚年以篆隶笔法作草书，笔势奔腾，苍劲雄浑，不拘成法。\n\n诗文:\n吴昌硕善作诗文，苦吟数十年，未尝间断。其诗文，奇崛古朴，用典较多，不甚通俗。但有些绝句纯用白描手法，活泼自然，接近口语，具有明丽俊逸的特点，风格上与民歌很相近。有些绝句则活泼自然，接近口语，时含有讽刺意味，抒发生活实感。所作题画诗寄托深远，颇有浪漫主义气息；评论前人书画，尤多独到见地。早年所作五古，有一部分含有讽刺意味，揭露了当时黑暗社会某些不平现象。他的散文作品写得不多，大都是序跋、考证和题画小品之类，写的都很朴质淳厚，平易近人。题画小品中尤多精心之作。发抒生活实感，鞭挞丑恶现象，颇能以少胜多；读时依稀与作者一灯相对，娓娓而谈，意味非常深长。",[23,99,24,28,119,60,25,83,35,30,100,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb324477af74ed2e0e3b9bd525ad134c3.jpg",[45,71],320,"FFFFFF",{"id":471,"slug":472,"title":473,"dynasty":55,"author":134,"museum":333,"description":474,"tags":475,"thumbUrl":477,"material":478,"size":479,"collection":158,"collections":480,"showCount":481,"zanCount":49,"manualWeight":49,"mainColor":74},288502,"yu-jing-xin-zhu-da-288502","鱼镜心","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[24,25,292,100,83,29,476,7],"镜心","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa17bf60f144734e219fe785cbacc5ded.jpg","未知","Xcm*Xcm",[],316,{"id":483,"slug":484,"title":485,"dynasty":237,"author":387,"museum":486,"description":487,"tags":488,"thumbUrl":492,"material":493,"size":158,"collection":158,"collections":494,"showCount":481,"zanCount":370,"manualWeight":49,"mainColor":74},220455,"song-ying-pan-tian-shou-220455","松鹰","中央美术学院美术馆","此作以顶天立地的章法铺陈画面，斜出的苍松老干以赭墨勾绘，皴点兼具，苔斑错落，尽显虬劲古拙；浓焦墨写出的松针如戟，攒簇之间满溢森然气势。\n踞于高枝的雄鹰以泼墨写就翎羽，黑墨酣畅厚重，留白衬出羽间层次，利喙劲爪刻画传神，昂首远眺间，桀骜猛悍的英豪气魄喷薄而出。\n左侧题款排布奇崛，篆隶笔意融于书法，与画面刚健气质浑然一体，以书入画尽显金石风骨。整幅笔墨苍雄老辣，将古松坚韧与雄鹰悍勇相融，沉雄霸悍的写意风骨尽显无遗。",[23,24,25,7,489,490,491],"松树","鹰","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F895cd60cb9d35a171c557835ae11656f.jpg","纸本水墨",[],{"id":496,"slug":497,"title":498,"dynasty":18,"author":212,"museum":499,"description":500,"tags":501,"thumbUrl":503,"material":67,"size":504,"collection":45,"collections":505,"showCount":506,"zanCount":189,"manualWeight":49,"mainColor":74},222557,"hua-hui-tu-ce-chen-chun-222557","花卉图册","美国波士顿博物馆","此图册是陈淳晚年作品。卷尾自题“嘉靖庚子，余游玉山，过周氏六观草堂。主人出此册，具丹粉，欲图杂卉。留连累月，不觉盈帙，见者亦且以草本视之可也。道复志”。按照其生卒年推算， “嘉靖庚子” 陈淳应为58岁，此作亦为其是画风成熟之作。从其题跋可以得知陈淳游历数月，画作颇丰，认为此作为“草本”，可见其自觉并无刻意求工，描写大略而已。\n卷尾文彭题曰：“赵昌王友已无伦，更学徐熙更逼真。意到不论颜色似，笔端原有四时春。阅白阳杂花漫题。文彭。”充分体现了吴门花鸟画的文人雅趣，“意到不论颜色似”概括了文人写意的特征，而“漫题”也体现了题咏者的状态，反映出文人书画家的共同气质特点与审美追求。\n文人王穉登的题跋则突出了对陈淳花卉写生推崇与称赞。“写生贵在约略点染，天真烂如。不当以分葩计蕊为似，重丹叠翠为工。观此册陈道复先生所作，粉墨萧闲，意象自足，所谓千金骏骨，识者求之牝牡骊黄之外可也。”此段题跋强调了陈淳花卉写生最主要的特点，即约略点染，不求工细，而意象自足。\n卷尾的金农长跋也对陈淳“行笔绝无时蹊，设色亦未敷采炫目，画以意似而非以形似也”的风格进行梳理，论述了写意书写的源流。但这段题跋存在一些问题。其一，通篇书体较为拘谨，特别是每行末字，刻意缩减对齐，非常局促。其二，“后世临写纷纷，徒劳豪楮”中“豪”应为“毫”之误。此出自大文人之手，有些牵强。其三，“此册九叶，花草凡七，间以山水两帧。”所述并非此册，极有可能是将他处题跋移接此处所致。所以这段金农题字不足以为据，至于真伪原由的评断，是另外的话题。本文主要论及陈淳花卉写生的艺术特点，就不将此段金农的论述作为讨论的依据了。\n变化生动自然，是陈淳花卉写生的代表作。如果将此册置于陈淳传世花鸟画作品中做一纵向比对，可以发现其共性的特征集中体现在这件作品中，同时，这件作品还有一些不同于其他作品的独到之处，都统一在率意自足的书写风格之中。所以这件陈淳绘画风格成熟期的作品，总体来看，体现了陈淳如下几个方面的鲜明的艺术特点。",[23,24,28,83,217,7,25,60,39,35,491,216,502],"兰草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917a3d7d0165dfb34ce3f2d19087dabb.jpg","32.5×57.3厘米",[45,71],314,{"id":508,"slug":509,"title":510,"dynasty":18,"author":79,"museum":511,"description":425,"tags":512,"thumbUrl":513,"material":379,"size":514,"collection":158,"collections":515,"showCount":516,"zanCount":49,"manualWeight":49,"mainColor":74},221985,"shan-shui-li-zhou-wen-zheng-ming-221985","山水立轴","美国纳尔逊阿特金斯艺术博物馆",[23,24,61,428,104,429,25,7,119,84,346],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee332f86c87306407e318e216c5c719a.jpg","169×97cm",[],313,{"id":518,"slug":519,"title":520,"dynasty":94,"author":413,"museum":116,"description":521,"tags":522,"thumbUrl":528,"material":43,"size":529,"collection":45,"collections":530,"showCount":531,"zanCount":5,"manualWeight":49,"mainColor":74},218756,"xie-sheng-hua-niao-tu-mu-xi-218756","写生花鸟图","这是一幅水墨画，画的是各种花卉、果蔬、飞禽走兽，并绘有草、坡、竹、石。用墨精到，造型准确。与北京故宫收藏的宋代百花长卷相比，水墨画更显从容，为元代王瑞雪和明代林良的水墨画打开了大门。",[23,24,28,27,25,523,7,83,39,524,32,34,35,292,138,525,526,241,124,527,36,37,38],"写生","蔬果","白菜","萝卜","葱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F319f1d586ad6d8f701799388a3a2ded1.jpg","44.5x1017.1cm",[45],302,{"id":533,"slug":534,"title":535,"dynasty":237,"author":238,"museum":20,"description":536,"tags":537,"thumbUrl":539,"material":43,"size":540,"collection":45,"collections":541,"showCount":542,"zanCount":370,"manualWeight":49,"mainColor":74},216929,"wu-ya-song-shu-tu-qi-bai-shi-216929","乌鸦松树图","乌鸦松树图是齐白石的一幅著名画作。这幅画描绘了一棵古老的松树，上面停满了乌鸦。树上的乌鸦象征着松树的历史和沧桑。这幅画被认为是齐白石最伟大的作品之一，因为它成功地将自然与人类的悲剧融合在一起。乌鸦松树图也被认为是中国画中最具有感染力的作品之一。",[23,24,25,119,30,391,489,538,7],"松果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ba80710e587f7a5c2c36e7bf418b96d.jpg","182.8x48.7cm",[45],300,{"id":544,"slug":545,"title":546,"dynasty":55,"author":134,"museum":333,"description":547,"tags":548,"thumbUrl":550,"material":158,"size":158,"collection":158,"collections":551,"showCount":552,"zanCount":49,"manualWeight":49,"mainColor":74},237931,"ku-cha-dun-ying-zhou-zhu-da-237931","枯槎蹲鹰轴","大片留白晕开萧索空寂的底色，枯槎以寥寥皴擦写就虬曲老态，墨点留作木疤，沉凝间尽诉岁月剥蚀的沧桑。\n\n蹲立槎头的猛禽，白眼斜睨，倨傲桀骜的神情藏着化不开的孤愤。干湿浓淡的墨色晕染羽翼，蓬松绒羽与锐厉气势相融，利爪紧扣枯木，静穆中暗蓄振翅即发的张力。\n\n整幅画以少胜多，笔墨极简却意蕴沉厚，将孤傲不屈的心绪寄于毫端，清冷禅意与嶙峋风骨跃然纸上，尽显水墨写意的极致妙趣。",[24,25,119,7,100,549,490,138,83],"枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6320940ea9a227340fd5d2b614e82497.jpg",[],298,{"id":554,"slug":555,"title":556,"dynasty":55,"author":451,"museum":333,"description":464,"tags":557,"thumbUrl":558,"material":67,"size":158,"collection":45,"collections":559,"showCount":560,"zanCount":370,"manualWeight":49,"mainColor":74},224224,"shen-xiang-ting-mu-dan-tu-wu-chang-shuo-224224","沈香亭牡丹图",[23,24,28,119,60,7,83,35,41,155,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c9d82e7f776cb18bd2518ac5c4a852.jpg",[45,71],296,{"id":562,"slug":563,"title":564,"dynasty":55,"author":134,"museum":20,"description":565,"tags":566,"thumbUrl":572,"material":43,"size":158,"collection":69,"collections":573,"showCount":560,"zanCount":161,"manualWeight":49,"mainColor":74},218774,"bai-lu-tu-zhu-da-218774","柏鹿图","虬枝如铁，苍柏孑立，似承霜雪之重。白鹿昂首，长颈引向天际，目含清寂，身姿简括却筋骨隐现。墨色浓淡相济，枝干的枯涩与鹿身的柔劲相映，留白处更显空远孤高。画面无喧嚷，唯有冷寂中透出的坚守，恰如画家心境——于乱世中抱守孤洁，以物寄情，将满腔郁勃化入简淡笔墨，自成一派清绝之境。笔意纵逸却不失沉稳，每一处线条都藏着内敛的力量，让苍柏与白鹿成为跨越时空的精神载体，静静诉说着那份独属于旧朝遗民的孤傲与怅惘。",[23,24,25,119,7,567,568,569,570,571,155],"皴法","兽","鹿","柏","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe33c355a23e9081c6ca7d116aca7e485.jpg",[69,45],{"id":575,"slug":576,"title":577,"dynasty":18,"author":578,"museum":80,"description":579,"tags":580,"thumbUrl":584,"material":493,"size":585,"collection":69,"collections":586,"showCount":587,"zanCount":207,"manualWeight":49,"mainColor":74},222100,"si-song-tu-ce-ye-shen-zhou-222100","四松图册页","沈周","四松图册页》画的是山野小景，虽然画面的中央是四棵形态各异的松树，但仔细观察会发现画的左下角杂树掩映之下，有小径通向人家。也正是这幽径人家，给充塞画面的寂静山野增添了活力。整幅作品分三个层次，前景是松树和人家，中景是以墨笔勾皴的浅绛山石，远景是以没骨法描绘的远山。从山石的画法看，既不属于前期的“细沈”，亦不属于晚年的简约“粗沈”，风格介乎二者之间。皴法以短披麻皴为主，有王蒙牛毛皴的影子。墨笔为主的整体基调，间以淡赭和花青点染，营造出视觉上很舒服的隽雅格调。",[23,99,24,28,581,304,25,567,61,489,140,582,583,7],"册页","林木","山峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8a9aeacd8f3be7883b8b8e7a825467d.jpg","纵154厘米，横60.39厘米",[69,71],290,{"id"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(Zhu Da) 是一位著名的清朝画家，他的花鸟册 (huā niǎo cè) 是他的代表作之一。花鸟册是一种中国传统的绘画类型，主要描绘花卉和鸟类，朱耷的花鸟册以其精美的绘画技巧和富有创意的艺术表现而闻名。\n\n朱耷生于 17th 世纪的清朝，他原本是一名佛教僧人，后来转而成为画家。他的花鸟册绘制了各种花卉和鸟类，包括玫瑰、莲花、蝴蝶、孔雀、鹦鹉等。他的画风独特，细腻而生动，给人以非常感性的视觉享受。\n\n朱耷的花鸟册也反映了当时清朝社会的文化氛围。他的作品中常常出现古典诗词的引用，表现出他对中国传统文化的热爱。此外，他的作品还反映了当时清朝社会的审美观念，展现了清朝人对美的追求和对自然的敬畏。\n\n总之，朱耷的花鸟册是一部具有深远影响的艺术作品，其中融合了中国传统文化和绘画技巧的精华，对中国绘画艺术有着重要的贡献。",[23,24,28,217,25,61,549,155,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab754ae9fd80f1f5e09675c769a6b8da.jpg",[45],282,{"id":607,"slug":608,"title":609,"dynasty":18,"author":19,"museum":20,"description":610,"tags":611,"thumbUrl":613,"material":493,"size":614,"collection":45,"collections":615,"showCount":616,"zanCount":49,"manualWeight":49,"mainColor":74},233464,"ren-wu-hua-hui-ce-xu-wei-233464","人物花卉册","该册十八页，其中画十五页，分别作写意山水人物、写生花卉，内容有婴戏、对弈、牡丹、兰花、稻穗螃蟹等等。笔墨简括豪放，随意自然。选其二页，可窥真趣。",[24,28,99,217,25,7,121,122,612],"荷梗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F351e01471d4a02f5b5c49d72a35b166f.jpg","纵26.9厘米 横38.3厘米",[45,109],260,{"id":618,"slug":619,"title":620,"dynasty":237,"author":238,"museum":439,"description":621,"tags":622,"thumbUrl":625,"material":158,"size":158,"collection":158,"collections":626,"showCount":627,"zanCount":49,"manualWeight":49,"mainColor":74},220592,"yi-pan-ying-tao-qi-bai-shi-220592","一盘樱桃","以大写意之笔将寻常鲜果绘就满幅生机。朱砂点染樱桃，颗颗圆润饱满，色泽浓艳透亮，仿佛带着刚摘下的清甜鲜活，攒簇盈盘，尽显丰实意趣。墨笔勾勒案几枝桠，笔法老辣简劲，浓淡相宜，与朱红鲜果撞出强烈视觉张力，素净留白更衬果色鲜亮。散落的两枚樱桃添得灵动野趣，毫无刻意雕琢之感。整画删繁就简，将日常烟火提炼成雅俗共赏的文人意趣，笔底藏着天真烂漫，于极简中见至味，把平淡日常晕染成动人的诗意图景。",[23,24,28,60,25,7,30,100,623,624,454],"樱桃","木盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc252eafe3195b552bc810b3b6f3a19dd.jpg",[],258,{"id":629,"slug":630,"title":631,"dynasty":55,"author":134,"museum":333,"description":474,"tags":632,"thumbUrl":634,"material":478,"size":479,"collection":45,"collections":635,"showCount":636,"zanCount":49,"manualWeight":49,"mainColor":74},237935,"za-hua-ce-zhu-da-237935","杂画册",[24,25,217,7,633,155,100],"禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb70d916505230aa21d22544d3ff8bc6d.jpg",[45],256,{"id":638,"slug":639,"title":640,"dynasty":55,"author":451,"museum":333,"description":641,"tags":642,"thumbUrl":644,"material":158,"size":158,"collection":45,"collections":645,"showCount":636,"zanCount":49,"manualWeight":49,"mainColor":74},236555,"mei-hua-zhou-wu-chang-shuo-236555","梅花轴","吴昌硕（1844—1927年），原名俊，字昌硕，以字行，号苦铁、缶庐等，浙江安吉人。早年习书，中年学画。曾任官府小吏，后以鬻书卖画为生。绘画以写意花卉著称于世，对近现代画坛影响极大。精篆刻，被推为“西泠印社”社长。书法一变前人成法，风格独特，长于摹写石鼓文，并以此擅名于近代书坛。与任伯年、高邕等在沪书画家相友善。著有《缶庐诗存》，后人整理出版其画集多种。",[99,24,28,119,25,60,643,155,7,100],"梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5cde97128964b36df30a12461f59e8a.jpg",[45,71],{"id":647,"slug":648,"title":649,"dynasty":55,"author":650,"museum":213,"description":651,"tags":652,"thumbUrl":653,"material":268,"size":654,"collection":71,"collections":655,"showCount":636,"zanCount":189,"manualWeight":49,"mainColor":50},223253,"he-hua-tu-zhou-pu-hua-223253","荷花图轴","蒲华","画荷叶枝，叶面宽阔，或像伞一样张开，或水面，微卷而翠绿； 花有三枝，两枝盛开，花瓣层层叠叠，另一枝含待放置的枝条，只露出尖尖的莲花。 朴华喜欢以水墨作画，与八大山人相似。",[23,24,28,119,25,7,83,121,122,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8096febc3e81d3c848b1646b4296b977.jpg","146X80cm",[71],{"id":657,"slug":658,"title":659,"dynasty":55,"author":451,"museum":20,"description":660,"tags":661,"thumbUrl":662,"material":158,"size":158,"collection":45,"collections":663,"showCount":664,"zanCount":189,"manualWeight":49,"mainColor":74},236892,"ba-jiao-mu-dan-zhou-wu-chang-shuo-236892","芭蕉牡丹轴","此画充分利用了水、墨二者的结合及浸渍变化，以饱含水分的笔触，率性而作，洗练简阔，却有神情气爽之感。\n吴昌硕（1844年~1927年），初名俊，后改俊卿，字昌硕，号缶庐、苦铁等，浙江安吉人。善书法，精篆刻，工诗擅画。其大写意花鸟，博取徐渭、八大、石涛、李鱓、赵之谦诸家之长，以篆、隶、狂草笔意入画，用笔雄健古拙，用墨酣畅淋漓，着色艳丽富贵，可谓匠心独运，为中国近代杰出的艺术家，海派主要画家之一。",[99,24,28,119,60,25,83,7,35,139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40b7aefc21c35bfdb8ce148ec1e96f63.jpg",[45,71],252,{"id":666,"slug":667,"title":115,"dynasty":55,"author":668,"museum":20,"description":669,"tags":670,"thumbUrl":672,"material":67,"size":673,"collection":158,"collections":674,"showCount":675,"zanCount":189,"manualWeight":49,"mainColor":74},222643,"he-hua-tu-gao-feng-han-222643","高凤翰","图绘荷塘秋色，荷花于秋风中若俯若仰，似显似藏。荷叶或以浓墨泼染，以示勃勃生机，或以赭色晕染，以示萧索凋败。全图在墨彩交融中表现了满池风动、“接天莲叶无穷碧”的意境。作者以洒脱不羁的笔墨抒发了豪放的情怀。",[23,24,28,119,25,7,121,122,612,671],"水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe153b110743b11a6b88ea2620ed2d20a.jpg","纵172厘米，横62厘米",[],250,{"id":677,"slug":678,"title":679,"dynasty":18,"author":212,"museum":20,"description":680,"tags":681,"thumbUrl":682,"material":255,"size":683,"collection":45,"collections":684,"showCount":685,"zanCount":49,"manualWeight":49,"mainColor":74},222553,"mu-dan-hua-hui-tu-chen-chun-222553","牡丹花卉图","本幅上部行草书自题：“春是花时节，红紫各自赋。勿言薄脂粉，适足表贞素。道復。”后钤“陈道復氏”、“陈淳之印”印。\n作品画折枝牡丹花，以淡墨逸笔勾写盛开的花头，以深浅不一的墨色描写枝叶，表现出牡丹摇曳春风的优美姿态，并通过题诗表达了不慕繁华、甘于清静、孤芳自赏的心境。\n陈道復创作过许多以牡丹为主题或含有牡丹形象的绘画作品，如故宫博物院藏《牡丹图卷》、《天香图扇》、《洛阳春色图卷》、《墨花十二种图卷》以及上海博物馆藏《洛阳春色图卷》、《玉楼春色图卷》等等。这些作品多为墨笔或淡设色写意绘画，充分展示了画家在状物造型以及灵活运用水墨方面的高超技艺，正如明末大鉴赏家李日华为此幅作品所题云：“破一滴墨水，作种种妖妍。改旦暮之观，备四时之气”。",[23,24,28,25,83,35,243,30,100,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F524ca64f679df2ecd19978f86c81b89a.jpg","纵54.8厘米，横30.8厘米",[45,71],239,{"id":687,"slug":688,"title":689,"dynasty":55,"author":151,"museum":20,"description":690,"tags":691,"thumbUrl":693,"material":84,"size":694,"collection":69,"collections":695,"showCount":696,"zanCount":370,"manualWeight":49,"mainColor":74},233123,"yuan-ji-shan-shui-ce-shi-tao-233123","原济山水册","本册共八开。设色画山水小景。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,7,60,25,217,567,61,489,692,62,140,65],"亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F123c2863fe8464093b6bc302b984f3bf.jpg","纵33.2cm，横22.8cm",[69,71],235,{"id":698,"slug":699,"title":700,"dynasty":55,"author":701,"museum":702,"description":703,"tags":704,"thumbUrl":707,"material":60,"size":708,"collection":45,"collections":709,"showCount":710,"zanCount":161,"manualWeight":49,"mainColor":74},220987,"ou-xiang-guan-xie-yi-ce-lu-xie-yun-shou-ping-220987","瓯香馆写意册-芦蟹","恽寿平","天津博物馆","此套《瓯香馆写生册》共十幅，天津博物馆藏，描写了四时的花果，从春到夏分别是桃花、海棠、碧海珊瑚、牡丹、枇杷、卷丹、洛阳花、凤仙花、菊花、梅花。除了梅花一开，作者写明是学杨补之的水墨画法之外，其余各开全用没骨法，完全不用墨线勾勒，直接用颜色点厾出花朵、叶片、果实，只以色线勾勒叶茎。落色点花的没骨花，既不同于细线勾勒再层层渲染的工笔花卉，也不同于水墨淋漓的大写意花卉，它介于两者之间，也被称作“小写意”花卉。工笔求逼真，写意求意趣，恽氏没骨花所求正在“似与不似之间”。着色花卉自然比纯粹的水墨更逼真，但直接点染的“落色花”比起层层渲染的工笔花卉又有更大的随意性，不必被物象的细枝末节所羁绊，可以放手表现花的风骨。就气质而言，没骨花介于工笔与大写意之间，既不刻画，也不放逸，清新洒脱。",[23,99,24,28,217,7,25,705,706,100],"芦苇","螃蟹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a7632b42ef28d0c95b7691b56f54951.jpg","31.8x37.2厘米",[45,109],233,{"id":712,"slug":713,"title":714,"dynasty":55,"author":715,"museum":20,"description":716,"tags":717,"thumbUrl":720,"material":157,"size":158,"collection":45,"collections":721,"showCount":710,"zanCount":207,"manualWeight":49,"mainColor":74},219292,"bo-luo-ju-xie-ye-ren-yi-219292","菠萝菊蟹页","任颐","画面以菠萝为底，菊丛旁逸，蟹螯张弛，茶壶静卧，四物相映成趣。红蟹墨螯，笔触劲挺如蟹螯探物；菠萝鳞甲层叠，墨色浓淡间见肌理之趣；蓝菊翠叶，水色晕染似含秋露；深褐茶壶，朴拙造型衬出雅致清欢。笔墨兼具工写，红与蓝撞色鲜活，墨与彩交融和谐。寻常蔬果水族，经笔底点染，既有文人画的逸趣，又含市井生活的鲜活，尽显海派画风的灵动与包容，仿佛一帧秋日常景，藏着岁月的温润与生机。",[23,24,60,83,7,217,718,41,719,454],"菠萝","蟹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0150d4cb986e4079fb87d6e7b65100b.jpg",[45],{"id":723,"slug":724,"title":725,"dynasty":55,"author":451,"museum":333,"description":464,"tags":726,"thumbUrl":727,"material":67,"size":728,"collection":45,"collections":729,"showCount":730,"zanCount":161,"manualWeight":49,"mainColor":74},224221,"zhao-ri-hong-he-wu-chang-shuo-224221","朝日红荷",[23,24,28,119,25,60,83,121,122,7,29,30,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa674a2b082ee8c9527d6f7c106c9b861.jpg","93x46",[45,71],231,{"id":732,"slug":733,"title":734,"dynasty":18,"author":212,"museum":20,"description":735,"tags":736,"thumbUrl":738,"material":43,"size":739,"collection":45,"collections":740,"showCount":730,"zanCount":189,"manualWeight":49,"mainColor":74},214639,"kui-shi-tu-chen-chun-214639","葵石图"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吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 [3] 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,119,60,7,83,337,805,242,243,141],"葫芦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff132055bd0237aacfdd9ba4bc4e35645.jpg","纵174.7cm，横47.5cm",[],221,{"id":811,"slug":812,"title":813,"dynasty":55,"author":134,"museum":135,"description":136,"tags":814,"thumbUrl":818,"material":43,"size":143,"collection":158,"collections":819,"showCount":809,"zanCount":161,"manualWeight":49,"mainColor":74},216910,"hua-niao-si-tiao-ping-3-zhu-da-216910","花鸟四条屏-3",[23,24,25,7,83,138,815,816,155,817,100],"石榴","竹子","树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d05c4ff38b209a7f54f7cb2d4ab568.jpg",[],{"id":821,"slug":822,"title":823,"dynasty":55,"author":715,"museum":20,"description":824,"tags":825,"thumbUrl":827,"material":157,"size":828,"collection":45,"collections":829,"showCount":830,"zanCount":49,"manualWeight":49,"mainColor":50},219290,"mu-dan-shuang-ji-tu-ren-yi-219290","牡丹双鸡图","双鸡栖于顽石间，一昂首红冠耀目，白羽墨翅错杂生姿；一低首绒羽蓬松，神态憨拙可亲。侧畔枝桠横斜，新叶带露泛红，墨笔勾枝与赭色点芽相映，漾出淡淡春息。鸡身羽毛以浓淡墨晕染，层次细腻；爪部线条劲挺，力透纸背。顽石用枯笔皴擦，质感厚重朴拙。整幅画兼工带写，禽鸟之灵趣与草木之生机浑然一体，笔墨生动间，尽显自然意趣与生活情味。",[23,24,99,119,60,83,7,826,35,491],"鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F769282408829ec883984c71495ff83f2.jpg","纵103.8cm，横44.5cm",[45,71],220,{"id":832,"slug":833,"title":834,"dynasty":237,"author":835,"museum":486,"description":836,"tags":837,"thumbUrl":839,"material":158,"size":158,"collection":158,"collections":840,"showCount":841,"zanCount":161,"manualWeight":49,"mainColor":74},220526,"lan-mao-xu-bei-hong-220526","懒猫","徐悲鸿","明黄葵朵肆意盛放，苍劲枝叶舒展铺陈，将晴日生机晕染满幅。两只猫儿卧于石上，一猫懒腰哈欠，蓬松毛发纤毫毕现，娇憨慵懒之态跃然纸面；另一猫蜷身假寐，神态松弛安适。\n\n画作融西画写实与东方笔墨，以水墨晕染葵叶苍润质感，重彩点亮花瓣明妍鲜活，生灵造型精准生动，于日常闲景中，将繁花蓬勃与猫儿慵懒相映成趣，静动之间晕开松弛悠然的雅致意韵，尽显闲淡生机。",[23,24,28,60,25,7,838,266,404,243],"向日葵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56021136e3f49aa5e8fa268f00e74249.jpg",[],219,{"id":843,"slug":844,"title":332,"dynasty":18,"author":19,"museum":20,"description":845,"tags":846,"thumbUrl":858,"material":255,"size":859,"collection":158,"collections":860,"showCount":861,"zanCount":370,"manualWeight":49,"mainColor":74},233375,"shui-mo-pu-tao-tu-zhou-xu-wei-233375","此图曾经清代李佐贤、陈希濂等收藏。\n图中画一架葡萄，叶片茂盛，藤蔓缠绕，果实累累。作者以草书笔法作画，行笔豪迈而不肆野，叶、果用淡墨加胶矾挥洒，墨气淋漓酣畅，产生了极佳的晕散效果。\n画中所题诗见于《徐文长集三》卷十一，是徐渭作画时常书写的诗作之一，抒发了作者一生不遇的坎坷痛苦的心境。画中题字受米芾行书风格影响，结体紧凑，运笔舒缓大气，竖笔、捺笔流畅雄健，收锋沉稳，体现了其身为晚明大书家的深厚的艺术功力。",[24,28,119,25,7,337,242,243,392,39,524,26,847,848,849,850,851,852,279,853,854,855,856,857],"墨色变化","藤蔓缠绕","果实垂挂","枝叶舒展","水墨淋漓","文人画风格","水墨植物","墨叶","墨果","藤蔓线条","写意花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ac2949f65bdc9dc171950992c953d5d.jpg","纵 165.4厘米，横 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明遗民。\n朱耷是明太祖朱元璋第十七子朱权的九世孙，明亡后削发为僧，后改信道教，住南昌青云谱道院。擅书画，早年书法取法黄庭坚 。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，用墨极少。\n八大山人由于他明朝宗室的特殊身世，和所处的时代背景，使他的画作不能像其它画家那样直抒胸臆，而是通过他那晦涩难解的题画诗和那种怪怪奇奇的变形画来表现。例如他所画的鱼和鸟，寥寥数笔，或拉长身子，或紧缩一团，倾是而非。特别是那对眼睛，有时是个椭圆形，都不是我们生活中所看的鱼、鸟的眼睛，生活中鱼、鸟的眼睛都是圆圆的，眼珠子在中央也不会转动。八大山人的鱼、鸟的眼珠子都能转动，有时还会翻白眼瞪人哩。他画的山石也不像平常画家画那个样子，浑浑圆圆，上大下小，头重脚轻，他想搁在哪里就在哪里，也不管它是不是稳当，立不立得住。他画的树，老干枯枝，仅仅几个杈椰，几片树叶，在森林中几万棵树也挑不出这样一颗树来。他画的风景、山、光秃秃的树，东倒西歪，荒荒凉凉，果真有这么个地方，我想谁也不肯到这里来安家落户。\n还有，他画上的题诗、签名和印章，也是怪怪的。例如他自号“八大山人”，解释的人很多，至今学者们还有不同争论。他有一方印章，印文刻作 ，有人说它是由“八大山人”四字组成，有的人则持慎重态度，称之为“屐形印”，因为它的形状像只木屐。至于他画上的题诗，许多句子更是令人难解。\n然而，八大山人明确地告诉我们：“横流乱世杈椰树，留得文林细揣摩”。又说：“想见时人解图画”。他是很希望人们能够理解他的画中之意的。因此许多学者经细心的研究，从他的画意和字里字间，探听出许多真消息。例如他有一个画押写作 ，很长时间人们一直称它为龟形画押，因为其形状特别像一只乌龟。后来才看出，原来是由“三月十九日”几个字变形组成，这恰好是明代最末一个皇帝崇祯自杀的日子，标志着明朝的灭亡。那么这个画押，也就表示对 亡国的纪念。\n康熙二十一年他曾经画了一幅《古梅图》，树的主干已空心，虬根露出，光秃的几枝杈椰，寥寥的点缀几个花朵，像是饱经风霜雷电劫后余生的样子。其上题了三首诗，第一首写道：“分付梅花吴道人，幽幽翟翟莫相亲。南山之南北山北，老得焚鱼扫虏尘。”“梅花吴道人”是指元代画家吴镇，自号“梅花道人”。方框内的字，显然是被当时或稍后的收藏者有意剜去，以避免文字狱灾祸。不难猜测，这个字不是“胡”，即是“虏”。清代统始者以满族入主中原，最忌讳的也是这两字。要在“南山之南北山北”扫除“胡尘”，朱耷非常明确地表达了他的反清复明思想。第二首诗写道：“得本还时末也非，曾无地瘦与天肥。梅花画里思思肖，和尚如何如采薇。”诗中用了两个典故，一是元初遗民画家郑思肖，在南宋灭亡之后隐居吴下，画兰花露根不画坡土，人问何故，他回答说：“土地都被人抢夺去了，你难道不知吗？”二是殷遗民伯夷、叔齐在周灭殷以后，耻不食周粟，隐居首阳山采薇而食，直至饿死。原来八大这幅《古梅图》虬根外露，也不画坡土，是仿照郑思肖画兰之意，暗含着国土被清人所抢夺，他这个明代宗室子孙，之所以成了和尚，正如伯夷、叔齐采薇首阳山那样，不肯臣服于新王朝。国破家亡，复国无望，这使他不能不“苦泪交千点”了。\n八大山人题画诗，是解开他画意的钥匙，然幽涩难解，如迷如雾，许多学者都下过一番功夫进行破释。例如康熙二十三年所作《甲子花鸟册》，其中第七页画一只八哥站在枯枝上，题诗曰：“衿翠鸟唤哥，吭圆哥换了。八哥语三虢，南飞鹧鸪少。”此诗之意，香港中文大学饶宗颐教授经过引经据典考释后结论说：“此诗画是讥‘虢’（指明）亡后，忠臣如鹧鸪之志切怀南，殊不多见。”这就是说，八大的作品，除了一般的国破家亡的情绪表达之外，有时还具体有所指。《瓜月图》亦是件有所指的作品，在题诗之后他记录说：“己巳润八月十五夜画所得”。面对着天上的圆月，和人间家家户户吃月饼，他的心被触动了，那么他“所得”是什么呢？画上题诗曰：“眼光饼子一面，月圆西瓜上时。个个指月饼子，驴年瓜熟为期。”有人根据吃月饼的风俗来源于反清义军传递起事暗号的民间故事，说八大在期盼着这一天到来。然而却要等到何年（驴年）呢？“驴年马月”是俗语，表示遥无定期。果真如此，则八大的心迹，就不只是徒有国亡余痛了。\n八大山人长于水墨写意，为其划时代的人物。 在水墨写意画中，又有专擅山水和专擅花鸟之别，八大山人则两者兼而善之。他的山水画，近师董其昌，远法董源、巨然、郭熙、米芾、黄公望、倪瓒诸家。例如康熙四十一年所作《书画册》（上海博物馆藏）共画了六幅山水小品，就可以看出深受董其昌的影响，其远笔的圆润则有着董、巨和黄公望的遗踪，墨法参照了米氏云山，而某些树石的组合形式，显然取自倪瓒。但是，我们在欣赏这些作品时，却又强烈地感觉到朱耷的个性，上述那些古人的法则，不过是他随手拈来为自己服务的。那些山、石、树、草，以及茅亭、房舍等，逸笔草草，看似漫不经心，随手拾掇，而干湿浓淡、疏密虚实、远近高低，笔笔无出法度之外，意境全在法度之中。这种无法而法的境界，是情感与技巧的高度结合，使艺术创作进入到一个自由王国。\n比起山水画来，八大山人的花鸟画创作，更具有他风格个性的典型性。顺治十六年所作《传綮写生册》（台北故宫博物院藏），和康熙五年作的《墨花卷》（北京故宫博物院藏），是八大早期作品，从中可以看到他的水墨写意花鸟画创作，深受沈周、陈淳、徐渭的影响，其用笔较方硬，题材、布局也未脱离前人窠臼，但是画中所表现出的兀傲之气，以及不拘一格的大胆剪裁，如不求物象的完整性，却已预示着他的未来的发展。\n八大山人花鸟画最突出特点是“少”，用他的话说是“廉”。少，一是描绘的对象少；二是塑造对象时用笔少。如康熙三十一年所作《花果鸟虫册》，其《涉事》一幅，只画一朵花瓣，总共不过七、八笔便成一幅画。在八大那里，每每一条鱼，一只鸟，一只雏鸡，一棵树，一朵花，一个果，甚至一笔不画，只盖一方印章，便都可以构成一幅完整的画面，可以说少到不可再少了的程度。前人所云“惜墨如金”，又说“以少少许胜多多许”，只有八大才真正做到了这点，可谓前无古人，后难继者。\n少，也许能有人作到，但是少而不薄，少而不贫，少而不单调，少而有味，少而有趣，透过少而给读者一个无限的思想空间，这是难有人作到的，八大山人却具备了如上的要求，这里大有文章。首先是他在用笔用墨上的功夫。他的用笔由方硬变圆润，饱和墨汁与运笔的方法相结合，一下笔就给人以浑厚丰富之感。他是第一个充分主动利用生宣纸特性以加强艺术表现力的画家。生宣纸的吸水能力强，容易使墨汁扩散（洇），这本来是缺点，而八大却把它变为优点，不但为水墨写意画开辟了一个广阔的前景，而且也创造了人们对水墨写意画的新观念，其功不朽。\n其次是形象的塑造。八大山人的花鸟造型，不是简单的变形，而是形与趣、与巧、与意的紧密结合，所以我们在欣赏时，就不会感到单薄和寂寞。再次是他的布局，特别讲究少许物象在二维空间中摆放的位置。其诀窍是充分利用空白，即前人所谓“计白当黑”。与此同时，并充分调动题跋、署款、印章在布局中的均衡、对称、疏密、虚实等的作用。他不像一般画家那样，先画好画，然后在恰当的位置题款和押印，而是有总体的规划设想，使每一点都在布局中起到举足轻重的作用，不多，不少，不奢侈，不节约。例如康熙三十三年所作《花鸟山水册》（上海博物馆藏），第一幅仅画一只雏鸡。小鸡置于画面中右偏下，这一位置的重心，将画面分割成四大块空间，每块空间的大小都不一样，平衡而有变化。由于小鸡头部方向朝左，故题诗在右第二大块空间中，使空荡的背景顿时活跃起来，视觉上起到突破平衡和内容丰富的作用。小鸡的刻画生动传神，动态像小孩刚学走路，蹒跚得十分可爱。瞪着大眼警惕着前方，特别是眼后加三撇，像电波一样，好似前方有什么声响传来，使小鸡心惊胆怯。这只小雏鸡我们可以理解为它刚出蛋壳，表示出对这个世界的惊异与警惕；也可以理解为走失了群体，找不到妈妈，感到孤独而害怕，如何理解，任人们驰骋想象的翅膀，所以有时候少画，反而思想的容量更大。\n少，不是目的而是手段，否则越少越好，艺术又会走入另一条邪径。少是相对的，例如康熙四十二年所作的《杨柳浴禽图》（北京故宫博物院藏），相对上述作品来说是“多”了，但比起一般画家处理同类题材的作品来，却少了许多许多。例如他对柳枝的处理，约有十二笔，就占住了整个画面上部的空间，不但表现出杨柳的老干新枝的质，也表现了枝条迎风的势。在春风料峭之中，八哥在洗刷自己的羽毛将振翅欲飞。这一生活小景，表现出无限的生意。康熙十六年所作的《河上花图》（天津艺术博物馆藏），是八大山人一生作品中仅见的长篇巨制，也是他笔墨最多、布局最复杂的一幅，但他仍然体现着少的原则。例如开卷的一丛荷花，总共超不出三十笔，笔减而意繁，一开卷便引人入胜。\n八大山人，前承古人，后启来者。白石老人曾有诗曰：“青藤（徐渭）雪个（八大山人）远凡胎，缶老（吴昌硕）当年别有才。我原九泉为走狗，三家门下转轮来。”其倾倒如此。今天随着东西方文化的交流，欣赏和理解他艺术的人越来越多。",[24,28,119,25,7,121,34,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12afb4ee4d66f987d5bb2edff1946a7e.jpg",[109],214,{"id":894,"slug":895,"title":896,"dynasty":237,"author":238,"museum":897,"description":898,"tags":899,"thumbUrl":901,"material":493,"size":158,"collection":158,"collections":902,"showCount":903,"zanCount":49,"manualWeight":49,"mainColor":74},220609,"xia-tu-qi-bai-shi-220609","虾图","中国现当代美术文献研究中心","这幅虾群灵动鲜活，是水墨写意的神来之笔。以淡墨晕染虾身，晕染出甲壳的通透质感，浓墨点睛、重笔挥毫虾枪与虾脑，寥寥数笔便勾勒出河虾的挺拔神气。细劲飘逸的长须似有若无，仿佛随水流轻颤，将群虾在清水中自在穿梭的姿态描摹得淋漓尽致。\n\n群虾排布错落有致，聚散得宜，画面留白暗藏水意，让观者仿佛能窥见池水清浅。左侧题诗与绘画面面相映，尽显晚年笔力的老辣生趣。写实与写意浑然相融，将文人意趣与自然生机揉合无间，寥寥水墨尽显国画留白写意的精妙，把河虾灵动活泼的天性尽数展现，勾勒出鲜活悠游的池底意趣。",[24,25,7,30,900,119],"虾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1be1b5af9ae4beb75fd1a48ec1b40bd.jpg",[],208,{"id":905,"slug":906,"title":907,"dynasty":55,"author":451,"museum":20,"description":908,"tags":909,"thumbUrl":913,"material":914,"size":915,"collection":158,"collections":916,"showCount":917,"zanCount":189,"manualWeight":49,"mainColor":74},233734,"zi-teng-tu-wu-chang-shuo-233734","紫藤图","此图是1905年吴昌硕62岁作，为花卉四条屏之末条。款：“乙巳（1905年）八月八日，安吉吳俊卿擬十三峰草堂”。钤“吴俊之印”。绘藤叶凌空倚势，宛若龙翔凤舞。藤条盘绕回曲，缠石数重。作者娴熟地运用狂草般的笔法，飞动迅疾，一气呵成。同时，此画画气不画形，追求书法中气贯神通的审美意趣。正如他自言：“草书作葡萄，笔动走蛟龙”，又言：“临抚石鼓琅玡笔，戏为幽兰一写真”等。这种以书入画的画风别开蹊经，对近现代中国画的创作有着深远的影响。\n此外，该图施墨浑厚沉稳而又淋漓酣畅，构图不拘陈法，巧于设陈布势。挥洒之中妙趣横生，生动的笔墨赋予紫藤生机勃勃，其显现出的画境充分地印证了本幅题画诗：“繁英垂紫玉，條系好春光。歲歲花長好，飄（飄）滿畫堂。”的诗境。",[24,119,60,7,83,910,242,911,25,912],"紫藤","石块","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79c251ae9fe1e9537d5a6fe03ea212be.jpg","金笺，设色","纵163.4厘米，横47.3厘米",[],203,{"id":919,"slug":920,"title":921,"dynasty":55,"author":226,"museum":922,"description":923,"tags":924,"thumbUrl":925,"material":926,"size":927,"collection":45,"collections":928,"showCount":917,"zanCount":49,"manualWeight":49,"mainColor":74},223297,"you-lan-tu-zheng-ban-qiao-223297","幽兰图","辽宁省博物馆","土坡相连，缝坎丛生绺绺兰草，几叶新竹点缀其间，纷披穿插，姿态如生。笔法灵活，挺秀劲丽，纵横涂抹，酣畅淋漓。画心作者行书七言律诗一首：“转过青山又一山，幽兰藏躲路回环。众香国里谁能到，容我书呆屋半间。 郑汴，字克柔，号板桥，江苏兴化人。以诗书画“三绝”著称于世，尤善兰竹，题竹诗多达一百余首。所作每画必题，常以诗跋补其意，款式光怪陆离，别具风致，画史少见。为扬州画派领袖。徐悲鸿先生评价其为“中国近三百年来最卓绝人物之一”。\n郑板桥（1693～1765）中国清代画家，书法家，文学家。字克柔，号板桥，江苏兴化人，生于1693年，卒于1765年，康熙秀才、雍正举人、乾隆进士。客居扬州，以卖画为生。为“扬州八怪”之一，其诗、书、画世称“三绝”，画擅兰竹。其一生经历丰富，风雨坎坷，关于其的许多故事被保存下来流传于世，至今为人们所津津乐道。其一直所坚持的民本刚直的思想也影响着后来者。",[23,24,25,7,30,40,32,155,100,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac1a241fb86617dacfcaeedfab80d448.jpg","纸本·墨色","纵91.3cm横51cm",[45,109,929],"书法精选",{"id":931,"slug":932,"title":933,"dynasty":18,"author":19,"museum":20,"description":934,"tags":935,"thumbUrl":937,"material":84,"size":938,"collection":871,"collections":939,"showCount":917,"zanCount":370,"manualWeight":49,"mainColor":50},222238,"lv-bei-yin-shi-tu-zhou-xu-wei-222238","驴背吟诗图轴","作为明代花鸟画坛独领风骚、以大写意画法见称的徐渭，留下的人物画迹并不多见。他所画的人物有诗人，有隐士，有观音，有儿童，虽然笔墨简练，但形象生动，神韵自存。\n《驴背吟诗图》中并无徐渭自题或钤印，画幅上仅有清初书画鉴赏家笪重光、张孝思的两段鉴定文字，左上为“徐田水月驢背吟詩圖，笪在辛鑒定”，右下为“以書法作畫，古人中多見之。此畫雖無款識，爲徐文長先生筆意靡疑。懶逸張孝思鑒。”自此，此图被公认为徐氏真迹。\n图上树枝间所盘青藤纷披垂落，树下一老翁乘驴缓缓而过，仿佛正在吟哦诗句，悠然雅适。宋代孙光宪的《北梦琐言》（卷七）中记载，唐时有人询问诗人郑棨近来是否写有新诗，郑棨回答：“诗思在灞桥风雪中的驴子上，此处何以得之？”此后，表现诗人骑驴游山涉水寻诗觅句的题材逐渐为画家们所青睐。徐渭的这幅画当属此类绘画中以笔墨意趣取胜的佳作。他画人物多用“减笔”法绘出，且构图简略，往往只画前景，远景常几笔带过，有时甚至完全省略。《驴背吟诗图》上老翁和驴仅用寥寥数笔便形神俱备，尤其是对驴子的描绘，用解剖学的眼光看驴的造型并不准确，而它那踏着轻快步伐的神气却跃然纸上。背景树枝、藤蔓则笔点零乱，使人顿有秋色萧索之感。运用恰到好处的省略手法，徐渭营造了一个空而不虚、意境深远的艺术空间。以书法笔意入画是《驴背吟诗图》的又一特色。图中人、驴、树、藤的画法隐有真、行、草、隶之笔意，令人感觉其间有一股勃勃不息的活力，这正是徐渭之画能脱俗免尘、卓尔不群之处。明末清初的张岱对徐渭的书画艺术创作有过中肯的评价：“昔人谓摩诘之诗，诗中有画；摩诘之画，画中有诗。余亦谓青藤之书，书中有画；青藤之画，画中有书。”（《琅嬛文集·跋徐青藤小品画》）",[23,24,25,7,119,62,936,29,100],"驴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad70cb02cc5b283ac73c9e55c2df32ea.jpg","纵112.2厘米，横30厘米",[871,109],{"id":941,"slug":942,"title":943,"dynasty":55,"author":134,"museum":135,"description":136,"tags":944,"thumbUrl":945,"material":43,"size":143,"collection":158,"collections":946,"showCount":917,"zanCount":370,"manualWeight":49,"mainColor":74},216912,"hua-niao-si-tiao-ping-2-zhu-da-216912","花鸟四条屏-2",[23,24,28,119,25,7,138,155,549,816,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d3572510108b8dddf5ab932d0d7dd6d.jpg",[],{"id":948,"slug":949,"title":950,"dynasty":55,"author":951,"museum":213,"description":952,"tags":953,"thumbUrl":955,"material":84,"size":158,"collection":45,"collections":956,"showCount":957,"zanCount":49,"manualWeight":49,"mainColor":74},233182,"hua-hui-ce-ju-hua-hai-tang-ye-zhao-zhi-qian-233182","花卉册-菊花海棠页","赵之谦","赵之谦（1829-1884），字益甫、孺卿，又号瀚寮，初字冷君，中年更号悲盦，晚号无闷，浙江会稽（今绍兴）人。早年曾游按察使缪梓幕，咸丰九年（1859）举人，同治元年（1862）入京，四年（1866）会试，之后历官鄱阳、奉新、南城知县。家藏秘册甚富，以篆刻名世，为晚清印坛代表人物。同时擅书、工花卉。此册画十二开，各绘牡丹、萱草、芙蓉、桃花、梅竹、杂卉等，造型新颖，设色鲜亮。",[24,28,217,60,25,7,83,41,954],"海棠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5edbc8bd73f1dd91029ea9127ec59094.jpg",[45,71],201,{"id":959,"slug":960,"title":961,"dynasty":55,"author":134,"museum":962,"description":963,"tags":964,"thumbUrl":965,"material":158,"size":158,"collection":158,"collections":966,"showCount":967,"zanCount":49,"manualWeight":49,"mainColor":74},230286,"yu-shi-tu-juan-zhu-da-230286","鱼石图卷","美国克利夫兰艺术博物馆","此作用极简水墨写就，大片留白晕出空寂玄远的意境。怪石以枯淡焦墨挥扫，嶙峋奇崛，笔势纵逸老辣，似藏丘壑风骨。游鱼寥寥数笔便形神具足，悠游于虚空之间，不见水波而满幅皆含水意，将闲逸之趣藏于无中生有的灵趣之中。\n\n题跋与画面相映成趣，书法朴拙疏朗，和水墨笔意浑然相融。整卷以虚代实，以少胜多，脱尽尘俗烟火气，将冷逸禅意藏于笔墨留白之间，寥寥数笔便勾勒出物我两忘的天地，尽显极简至极的东方写意美学。",[23,24,25,27,7,155,292,32,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F780cb8efb806c53984af9356a5a498f8.jpg",[],198,{"id":969,"slug":970,"title":266,"dynasty":55,"author":715,"museum":702,"description":971,"tags":972,"thumbUrl":973,"material":67,"size":974,"collection":158,"collections":975,"showCount":976,"zanCount":161,"manualWeight":49,"mainColor":74},223234,"mao-ren-yi-223234","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。\n海派中的佼佼者，其绘画发源于民间，重视继承传统，吸收西画技法，形成风姿多采的独特画风，在“四任”中成就最为突出。 　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。",[23,24,60,25,7,568,266,139,279,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73a86222d0db22e107ac26316d3450be.jpg","150cmx40cm",[],187,{"id":978,"slug":979,"title":980,"dynasty":55,"author":134,"museum":333,"description":981,"tags":982,"thumbUrl":983,"material":158,"size":158,"collection":45,"collections":984,"showCount":985,"zanCount":49,"manualWeight":49,"mainColor":74},237958,"qi-niao-tu-ye-zhu-da-237958","棲鸟图页","八大山人的花鸟画深受林良、陈淳、徐谓等大家的影响，他的作品特别强调缘物寄情，因而个性极为鲜明。这种种孤僻、冷漠、悲愤、反常、怪异的特征，当然是他奇特艺术风格的具体化。而这种表象下折射出来的，正是画家一种有别于常人的人格心理。",[24,25,83,217,7,138,817],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F718ef12d519eafc2f08711a7fa23271f.jpg",[45,109],186,{"id":987,"slug":988,"title":989,"dynasty":55,"author":990,"museum":333,"description":991,"tags":992,"thumbUrl":996,"material":158,"size":158,"collection":158,"collections":997,"showCount":985,"zanCount":49,"manualWeight":49,"mainColor":74},224380,"hua-hui-chong-cao-ju-lian-224380","花卉虫草","居廉","这套册页小品十二帧各成天地，明丽柔润的设色晕开草木清辉。花卉姿态各异，或是垂枝含露、或是灼灼盛放，以太湖石为衬，衬出花木的绰约清姿。\n\n笔墨兼具工细与写意，虫草点缀其间，翅脉纹路纤毫毕现，似将振翅而起，把四季花木的生机封藏尺幅间。不做繁复铺陈，尽显细腻写实的画韵，一花一叶皆藏灵趣，浅淡花香仿佛随画漫出，虫翼轻振的细碎声响似在耳边，将庭院闲趣绘成隽永诗意，把山野小景晕染成清逸雅致的东方意趣。",[23,24,28,99,581,60,83,39,993,994,321,7,995],"虫草","太湖石","清逸雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4ccd78c842f80eedfe55c2cef019efe.jpg",[],{"id":999,"slug":1000,"title":1001,"dynasty":18,"author":19,"museum":20,"description":1002,"tags":1003,"thumbUrl":1004,"material":84,"size":1005,"collection":109,"collections":1006,"showCount":1007,"zanCount":370,"manualWeight":49,"mainColor":74},222237,"xie-yu-tu-xu-wei-222237","蟹鱼图","《蟹鱼图》“走笔如飞，泼墨淋漓”，在用笔上他强调一个“气”字，看似草草，若断若连，实际上笔与笔之间有着气势在贯通，观他的作品，能体会出他是在借物吟咏人生情怀，由此可见，画家徐渭以他的才情，将中国大写意花鸟画推上了艺术的最高峰，此图不愧为大写意艺术的巨匠的杰作。",[23,24,25,27,7,719,292,123,705],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f0c23795adba5be0f62953199fed27d.jpg","28.7cmx98cm",[109],182,{"id":1009,"slug":1010,"title":1011,"dynasty":237,"author":238,"museum":1012,"description":1013,"tags":1014,"thumbUrl":1018,"material":1019,"size":158,"collection":158,"collections":1020,"showCount":1021,"zanCount":370,"manualWeight":49,"mainColor":74},220587,"hua-he-kun-chong-qi-bai-shi-220587","花和昆虫","Hwajeong Museum","这幅长卷以兼工带写之法绘就，泼墨挥写折枝花草，葫芦藤蔓蜿蜒豪放，墨叶酣畅淋漓，牵牛、萱花、海棠设色明妍鲜活，笔意朴拙老辣，尽显秋花野逸生机。\n工笔草虫穿插其间，蟋蟀、天牛、蜻蜓、蛱蝶皆纤毫毕现，翅脉通透轻薄，肢体灵动鲜活，将小虫的灵动神态刻画入微。大写意的烂漫朴拙与工笔的精细雅致相映成趣，把乡郊秋日的鲜活野景凝于卷上。搭配古雅题款与篆刻，整体意趣天然浑融，将乡野小景化作文人雅韵，尽显独有的花鸟意致。",[23,99,24,28,27,60,25,321,7,83,141,1015,805,1016,242,243,1017,442,324,278],"昆虫","丝瓜","蝴蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39df443cbe832b9d4633286bff1506d1.jpg","color on 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“大叶长梢动冕旒”，以深墨为面，淡墨为背，正是源自文同。（米芾曾言：“……（画竹）以深墨为面，淡墨为背，自文同始。”）再加上劲健的小枝穿插其间，使丛竹于庄重、淳厚之中显示出活脱的生韵。",[23,24,28,25,119,32,155,100,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82d0dc87b7672540a9fb1c0aaa1a8915.jpg","纵132.8cm，横58.5cm",[109,1042],"竹石精选",177,{"id":1045,"slug":1046,"title":1047,"dynasty":94,"author":1048,"museum":1049,"description":1050,"tags":1051,"thumbUrl":1053,"material":84,"size":1054,"collection":107,"collections":1055,"showCount":1043,"zanCount":161,"manualWeight":49,"mainColor":74},221605,"tai-bai-xing-yin-tu-liang-kai-221605","太白行吟图","梁楷","日本京都国立博物馆","梁楷，南宋人，祖籍山东，南渡后流寓钱塘 ( 今杭州 ) 。他是名满中日的大书画家，曾于南宋宁宗担任画院待诏。他是一个行迳相当特异的画家，善画山水、佛道、鬼神，师法贾师古，而且青出于蓝。 在梁楷的人物画中，唐宋那种严谨写实的人物画高峰已经过去，从此图中，人物的大首部分还是唐宋之余波，细致工整，但下部的衣着却奔放写意，粗旷浪漫，有文人画的意味了。\n一个和尚的像对于观者的影响是什么样的，按照古人的：“成教化，助人伦”的主张，以僧人之像带给观者是对佛法的亲近，对禅悟的揭示，当然一句谒子同样可能使人开悟，一幅佛画，一幅有关佛的书法有同样的的功能，因人而起开悟之作用。\n布袋和尚是后来的弥勒佛，“布袋”其实是俗世的包袱，一种执着和迷朦。所以有“放下”一说：放下布袋，何等自在。人一生来就抓住什么，背着什么，儿时的抓周，一开始就是抓，抓住笔似乎是文曲星下凡，抓住铜钱或袁大头似乎是大商贾，抓住印章似乎是官运如何的好，所有一切背在身上，每个人都有一个无形的布袋，不到零落不放下。\n其实本来就不应该抓住，一切皆空吧。佛门的神秀写下四句偈云：“身是菩提树，心如明镜台。时时勤拂拭，莫使惹尘埃。”却未若不识字的的六祖惠能的四句偈高明：“菩提本无树，明镜亦非台。本来无一物，何处惹尘埃。”一个人过分的执着，背得太多，一旦大限来时，方知一切已晚，所求者其实是一场空梦。",[23,24,25,1052,7,62,100],"减笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feceb68802f7eb8ed417349f2db1071bb.jpg","纵向81.2厘米，横向30.4厘米",[107,871,109],{"id":1057,"slug":1058,"title":1059,"dynasty":237,"author":1060,"museum":1061,"description":1062,"tags":1063,"thumbUrl":1065,"material":158,"size":158,"collection":158,"collections":1066,"showCount":1067,"zanCount":370,"manualWeight":49,"mainColor":74},220488,"zhang-da-qian-yu-fei-yin-wang-xue-tao-he-zuo-he-tang-qing-qu-tu-wang-xue-tao-220488","张大千、于非誾、王雪涛合作荷塘清趣图","王雪涛","四川博物院","此作为三家合璧之妙品，以泼墨晕染荷叶，浓淡交织晕开雨后荷塘的氤氲水气，苍润淋漓间尽显池夏清寂雅致。白荷亭亭玉立，带着初经雨洗的舒展柔润，暗吐幽芳。\n上空红蜓振翅悬停，池边青蛙轻跃欲起，草叶间小蜻蜓静立，将初夏荷塘的鲜活生机悄然铺陈。书画相映成趣，题句点透菡萏初发的诗意。\n写意与工笔相融，泼墨的疏朗大气搭配草虫的工致鲜活，把荷塘的幽趣揉入笔墨，静中生灵韵，雅淡见天然，尽显文人意趣与写生妙谛。",[23,24,28,119,60,25,83,34,121,442,1064,122,123,7],"青蛙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7972b04f6b3a1e7149a7f2c832b57a2.jpg",[],176,{"id":1069,"slug":1070,"title":1071,"dynasty":55,"author":1072,"museum":333,"description":1073,"tags":1074,"thumbUrl":1077,"material":158,"size":158,"collection":45,"collections":1078,"showCount":1079,"zanCount":370,"manualWeight":49,"mainColor":74},237149,"he-hua-yan-zi-zhou-wang-zhen-237149","荷花燕子轴","王震","此作为大写意花鸟佳作，淡墨晕染荷叶，留白衬出白荷莹润雅洁。荷茎瘦劲挺拔，枯墨点苔尽显苍古意趣。燕子栖于茎杆之上，以浓淡笔墨晕染羽翼，侧目远眺灵动有神，静穆之中暗涌生机。\n\n下方浓墨绘叶，丹色花串垂落，冷暖对比提亮画面层次。左上角题字笔力苍浑朴拙，书画相映成趣，兼具海派写意的纵肆洒脱，亦不失文人水墨的清雅意韵，于极简构图里铺陈夏日荷塘清寂，留白淡墨中尽显通透灵秀，平淡间藏满生机雅趣。",[24,28,119,83,25,60,7,121,1075,122,1076,242],"燕子","花苞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b37c204f1cdc5992283504ca234ed3c.jpg",[45,71],172,{"id":1081,"slug":1082,"title":1083,"dynasty":180,"author":1084,"museum":116,"description":1085,"tags":1086,"thumbUrl":1087,"material":84,"size":1088,"collection":109,"collections":1089,"showCount":1090,"zanCount":370,"manualWeight":49,"mainColor":74},220770,"mo-zhu-ce-wu-zhen-220770","墨竹册","吴镇","《元吴镇墨竹册》是吴镇创作的水墨画，作品创作于元代，作品所画的是墨竹。页高403厘米，宽52厘米。现藏于台北故宫博物院。\n吴镇曾说的墨竹之法：“疏不至冷，繁不至乱，翻向正背，转侧低昂，雨打风翻，各有法度”。 吴镇的墨竹把文学意蕴融入到艺术表现手法中，开创了文人画重意蕴之风，使中国文人画得到了关键性的发展，加深了文人画的思想内涵和潜在表现力，起到了承前启后的重要作用。之后的姚绶、文征明、唐寅等名家均不同程度受到了他的影响。特别是清代后期的蒲华，在继承了吴镇墨竹飘逸高傲之气的同时，又在“形”、“韵”两方面下功夫，使以竹为题材的艺术创作和审美情趣在清末达到了又一个高峰。明代文学大家陈继儒在《梅花庵记》中写道：“先生书仿杨凝式，画出入荆关董巨，初虽无意于啖名，而品格既真，则身价自不能压之使下，画苑推元四大家必屈指先生”，充分说明了吴镇在画坛上的公认地位。\n吴镇生于南宋灭亡次年，当时抗元气氛仍很浓厚，再加上元朝知识分子地位的骤降，使得他只能通过艺术作品来抒发心中的强烈感触与不平。墨竹是文人画中的常见题材，吴镇的墨竹则是中国画史上的极品，其成就甚至超过他的山水画，为后人留下了诸多传世佳作以及丰富的理论论述。\n吴镇的墨竹理论大约可分为三个部分：一是对竹子人格化的认识，这是他创作的原动力；二是画竹者的心境；三是具体的技法。他认为，画竹不仅要展现竹子的外在形态，更要显现其内在风骨和精神，反映更高的旨趣。他将竹子作为自身人格的真实写照，赋予其虚心劲节、直竿凌云、高风亮节的深刻寓意；在用笔时不求工细，只讲究写意神似，重在抒发自己的主观情趣：譬如生长于绝处的竹子，彰显的是处劣境不改其节，居陋地不扰平淡之心的君子风范；空山野地之竹则如隐士巢父、许由般高洁脱俗，远离浊世。吴镇正是将这种种体会与感受，自然而又随意地融入到自己的作品中，展现出多姿多彩的墨竹神韵。\n吴镇笔下的诸般墨竹姿意潇洒，可谓极尽竹之生态与情意：春夏秋冬、晴雨风雪、俯仰横斜皆各不相同。他运用墨的浓淡粗细，将竹的干、节、枝、叶描绘得繁而不乱、疏密有致；特别是采用浓、淡、破、焦、湿等方法把墨分为七色，将竹子的萧瑟灵性、远近枯荣表现得淋漓尽致、层次无穷。除了强调总体法度之外，吴镇还对细微处的技巧颇有研究。他认为画墨竹要分为干、节、枝、叶四个方面：“而叠叶至难，于此不工则不得为佳画矣”；画竹时须“下笔要劲，节实按虚起，一抹便过，少迟留则必钝厚不銛利矣”，画叶时应竭力避免“精似桃叶，细如柳叶，孤生并立，如又如井，太长太短，蛇形鱼腹，手指蜻蜓”等“疏密偏轻，使人厌观”之病。",[99,24,28,25,217,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ed6606134c966f2275eb0bcfe36c8f6.jpg","纵40.3厘米，横52厘米",[109,1042],170,{"id":1092,"slug":1093,"title":1094,"dynasty":55,"author":451,"museum":333,"description":1095,"tags":1096,"thumbUrl":1097,"material":158,"size":158,"collection":158,"collections":1098,"showCount":1099,"zanCount":189,"manualWeight":49,"mainColor":74},224212,"leng-yan-juan-er-yu-wu-chang-shuo-224212","冷艳捐二玉","此作用笔写意纵逸，水仙以浓淡层次的绿意绘就叶片，线条苍劲舒展，尽显清挺柔韧之姿。白花点缀其间，浓墨点染花心，明暗交织里，将水仙冰肌玉骨的冷艳之气铺陈开来。右侧湖石以泼墨为之，墨色淋漓斑驳，虚实相生间尽显古朴厚重，与水仙的清雅柔润形成刚柔反差。\n全画以书入画，笔力苍浑雅致，借水仙与顽石的组合托物言志，将文人孤傲清逸的品格寄于冷艳花姿中，寥寥数笔便将物象神韵与作者襟怀相融，意韵悠长。",[23,24,28,25,60,7,83,38,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe01fb6c3d805917e235f7564f6f357b2.jpg",[],167,{"id":1101,"slug":1102,"title":1103,"dynasty":18,"author":19,"museum":333,"description":1104,"tags":1105,"thumbUrl":1107,"material":478,"size":479,"collection":158,"collections":1108,"showCount":1109,"zanCount":49,"manualWeight":49,"mainColor":50},289875,"xue-zhu-xu-wei-289875","雪竹","徐渭（1521年3月12日－1593年），汉族，绍兴府山阴（今浙江绍兴）人。初字文清，后改字文长，号青藤老人、青藤道士、天池生、天池山人、天池渔隐、金垒、 金回山人、山阴布衣、白鹇山人、鹅鼻山侬、田丹水、田水月（一作水田月 ）。明代中期文学家、书画家、戏曲家、军事家。\n徐渭曾担任胡宗宪幕僚，助其擒徐海、诱汪直。胡宗宪被下狱后，徐渭在忧惧发狂之下自杀九次却不死。后因杀继妻被下狱论死，被囚七年后，得张元忭等好友救免。此后南游金陵，北走上谷，纵观边塞阨塞，常慷慨悲歌。晚年贫病交加，藏书数千卷也被变卖殆尽，他自称“南腔北调人”，于万历二十一年（1593年）去世，年七十三\n徐渭多才多艺，在诗文、戏剧、书画等各方面都独树一帜，与解缙、杨慎并称“明代三才子”。他是中国“泼墨大写意画派”创始人、“青藤画派”之鼻祖，其画能吸取前人精华而脱胎换骨，不求形似求神似，山水、人物、花鸟、竹石无所不工，以花卉最为出色，开创了一代画风，对后世画坛（如八大山人、石涛、扬州八怪等）影响极大；书善行草，写过大量诗文，被誉为“有明一代才人”；能操琴，谙音律；爱戏曲，所著《南词叙录》为中国第一部关于南戏的理论专著。另有杂剧《四声猿》《歌代啸》及文集传世。",[24,25,32,1106,155,29,100,119,7,28],"雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda0c10587d925716d52958d37b02e71d.jpg",[],161,{"id":1111,"slug":1112,"title":1113,"dynasty":94,"author":413,"museum":1114,"description":1115,"tags":1116,"thumbUrl":1117,"material":43,"size":1118,"collection":45,"collections":1119,"showCount":1120,"zanCount":161,"manualWeight":49,"mainColor":74},216941,"fei-cui-ji-ling-tu-mu-xi-216941","翡翠鹡鸰图","日本MOA美术馆","翡翠鹡鸰图是宋朝画家牧溪的一幅著名作品。这幅画的主题是一只鹡鸰坐在一棵松树上，周围是密密麻麻的松枝和松针。画面上方是一片蓝天和白云。整幅画表现了牧溪独特的写实主义画风，细腻的线条和精确的造型使得画面栩栩如生。翡翠鹡鸰图被认为是牧溪的代表作之一，也是宋朝画风的典范。",[23,24,25,83,100,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e5813acf30d16cb9177b3dd4d6e6c3b.jpg","79x31cm",[45],160,{"id":1122,"slug":1123,"title":1124,"dynasty":55,"author":1125,"museum":116,"description":1126,"tags":1127,"thumbUrl":1134,"material":157,"size":1135,"collection":871,"collections":1136,"showCount":1120,"zanCount":49,"manualWeight":49,"mainColor":74},214808,"wu-ri-zhong-kui-tu-hua-yan-214808","午日钟馗图","华嵒","这幅画表现的是一朵石榴花靠着一块石头，在一个清澈的池塘里有一支箭。钟馗坐在椅子上，头戴绿帽，身穿大衣，欣赏着锦葵花。在他身后，桌子上放着水果、酒和香喷喷的饺子。五个鬼魂陪伴着他，一个拿着一把破伞遮挡阳光，一个手里拿着一个酒瓶，一个头上戴着花。其中一个人偷了一盘橙子，试图把它藏在腋下，但另一个鬼注意到了，用左手摘下他的围巾，用右手打他的上衣。另一个鬼注意到了，用他的左手摘下他的围巾，而他的右手打在他的上面。整幅画是故事性和趣味性的结合，观者不禁为之倾倒。",[23,24,28,60,25,7,62,1128,155,1129,1130,1131,100,1132,140,1133],"柳树","桌子","伞","花草","饮酒场景","垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc9a31aafc0ced5a148f4c4af90990a.jpg","131.5x63.7",[871],{"id":1138,"slug":1139,"title":1140,"dynasty":18,"author":212,"museum":213,"description":214,"tags":1141,"thumbUrl":1142,"material":43,"size":219,"collection":158,"collections":1143,"showCount":1120,"zanCount":49,"manualWeight":49,"mainColor":74},214645,"hua-hui-ce-2-chen-chun-214645","花卉册-2",[24,28,217,25,7,83,417,817,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b7b87db533064cfbc2864f3c0073898.jpg",[],{"id":1145,"slug":1146,"title":1147,"dynasty":55,"author":451,"museum":20,"description":1148,"tags":1149,"thumbUrl":1150,"material":1151,"size":1152,"collection":158,"collections":1153,"showCount":1154,"zanCount":370,"manualWeight":49,"mainColor":74},233723,"mu-dan-shui-xian-tu-wu-chang-shuo-233723","牡丹水仙图","图中牡丹以没骨积染法刻画，笔致潇洒飘逸，水与墨、色有机地交融，表现出牡丹旺盛的生命力和贵而不骄、艳而不俗的神韵。水仙以白描双勾法刻画，其不着一色的叶片与浓艳的牡丹相比具有洗尽铅华始见真的淡雅之美。生机勃发的牡丹和水仙营造出喜庆祥和的氛围，成功地表达了作者以此图祝福长辈健康长寿的主题，当属吴昌硕花卉画的代表作之一。",[24,60,83,119,35,38,491,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb479b3e734836eee55d462e42824a5c3.jpg","洒金，设色","纵174.7厘米，横47.5厘米",[],158,{"id":1156,"slug":1157,"title":1158,"dynasty":18,"author":79,"museum":922,"description":1159,"tags":1160,"thumbUrl":1162,"material":67,"size":1163,"collection":69,"collections":1164,"showCount":1154,"zanCount":189,"manualWeight":49,"mainColor":50},221994,"tao-yuan-wen-jin-tu-quan-juan-wen-zheng-ming-221994","桃源问津图全卷","全图画远山冈峦，叠翠连绵，溪水横流，树木葱郁，屋舍村字，掩映其间，有老者山道边策杖观瀑沉思，有妇人携幼拄杖于院篱门口问路，屋内四男子席地而坐，饮酒高谈。图中线条粗细旋转富于变化，墨色浓淡干湿，层次丰富。该图款识：“嘉靖甲寅二月既望。徵明识。时年八十有五。”嘉靖甲寅年为1556年。",[23,24,61,428,104,429,60,27,7,84,1161],"舟船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5be4d911f0f1c59073981b4c71b9d7db.jpg","纵23厘米，横578.3厘米",[69,71],{"id":1166,"slug":1167,"title":1168,"dynasty":180,"author":1084,"museum":1169,"description":1170,"tags":1171,"thumbUrl":1173,"material":84,"size":1174,"collection":109,"collections":1175,"showCount":1176,"zanCount":370,"manualWeight":49,"mainColor":50},220777,"ku-mu-zhu-shi-tu-wu-zhen-220777","枯木竹石图","浙江省博物馆","元吴镇所绘的《枯木竹石图》画的山中古木竹石， 藏巧于拙。近处古木枝桠遒劲，非常古雅清逸；石头尖峭如削。在构图上的确鬼斧神工,技高一筹。另外,此图在设色用笔上也足能代表吴镇的风格。枯木竹石图在好几个朝代都有画家的画作，也是中国山水画的常用名词。是作者以枯木（以物）抒情的一种表现手法，图中画的是扭曲干枯的枯树，挣扎着向外伸展，表现了作者坚硬顽强的性格，怪石与枯木皆用清淡、空灵、松散的笔墨似勾似擦，虽笔墨不多，却与其傲岸豪放的性格相一致，抒写了作者胸中的磊落不平。\n吴镇十八九岁开始学画，年轻时游历杭州，吴兴，饱览太湖风光。开眼界，长见识，大自然的真山真水，启迪了他创作灵感。其工诗文书法，绘画题材多为渔父、古木、竹石之类，善画山水、梅花。草书学巩光，山水师法董源、巨然而又独出机杼，以雄强笔法辅以丰富墨法，自有一种苍茫沉郁、古厚纯朴之气。精写竹，师李衎，晚年则专写墨竹。墨竹宗文同，为文同后又一大家。善于用墨，淋漓雄厚，为元人之冠。兼工墨花，亦能写真。同以竹掩其画，镇以画掩其竹。其画虽势不能夺，唯以佳纸笔投之，欣然就几，随所欲为，乃可得也。诗词风格简劲奇拔，感情真挚，常以比兴自吐胸臆，接近陶潜诗风，外示平淡而内实郁愤。书法能结合王羲之和怀素之长而自具面目。每作画往往题诗文于其上，或行或草，墨沈淋漓，诗、书、画相映成趣，时人号为“三绝”。其画风对明清山水画的发展，有较大影响。他与王蒙、黄公望、倪瓒齐名，并称为元四家。\n吴镇画山水喜用湿墨，其实吴镇未尝不善用干墨，在吴镇传世几十余幅墨竹中，几乎全是用干墨画的，均取得了良好的效果。之所以吴镇在山水画中多用湿墨，这与吴镇欲借山水画表达的境界有极大的关系。北宋山水画追求一种可游、可居之景，用笔用墨都服从于山水真实体感的表达；而元人则以山水为媒，追求一种有我之景，笔墨除用表现形体外，更是充作了情感流露的媒介。在元四家中吴、倪均以画水著称，倪喜用干墨，吴则喜用湿墨。倪用干墨草草点染，创造一种荒芜、澹泊之境；吴则用湿墨，渲染出一种凄清、静穆之境。细观吴镇每一幅山水画，都给人以“水墨淋漓幛犹湿”的感觉。无论是山、树、水，还是船、渔父、房屋，无论是近景，还是远景，均如淋浴在水中，从而更使远方景物有千里之遥，营造了一种凄清、幽旷、寂寥的艺术氛围。",[23,99,24,25,567,7,1172,32,346,40],"枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5797621a7b1b78697492ac6ae81f2540.jpg","纵103.3厘米 横33.3厘米",[109,1042],156,{"id":1178,"slug":1179,"title":1180,"dynasty":237,"author":753,"museum":333,"description":1181,"tags":1182,"thumbUrl":1183,"material":43,"size":158,"collection":871,"collections":1184,"showCount":1176,"zanCount":161,"manualWeight":49,"mainColor":74},218177,"da-qian-kuang-tu-ce-zhang-da-qian-218177","大千狂涂册","张大千是中国著名的画家和书法家，他的作品被称为“大千狂涂册”。他出生于江苏省吴县，曾在上海、北京、香港和台湾等地工作和生活过。\n\n大千狂涂册是张大千的一组书法作品，其中包括了他的名字“大千”的书法，以及他的诗词和绘画作品。大千狂涂册的书法风格独特，带有浓厚的民国味道，反映了张大千对中国传统文化的热爱和尊重。\n\n张大千的书法作品不仅具有艺术价值，而且在学术界也有很高的价值。他的书法作品曾被收入多种学术出版物，并被世界各地的藏家和收藏家所收藏。\n\n此外，张大千还是一位著名的画家，他的画作曾被世界各地的美术馆和博物馆收藏。他的画作风格多样，涉及山水画、花鸟画、人物画等多个领域。他的画作不仅给人们带来视觉享受，而且还反映了他对中国传统文化的理解和探究。\n\n总的来说，张大千的书法作品和画作都是中国文化的瑰宝，值得人们去珍视和传承。",[24,28,217,25,120,30,62,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe98a1662c3c897bee9d6dc355c56fbf0.jpg",[871,109],{"id":1186,"slug":1187,"title":1188,"dynasty":55,"author":451,"museum":333,"description":1189,"tags":1190,"thumbUrl":1191,"material":158,"size":158,"collection":158,"collections":1192,"showCount":1193,"zanCount":49,"manualWeight":49,"mainColor":74},235225,"ju-hua-juan-wu-chang-shuo-235225","菊花卷","此作以金石笔意入画，运笔苍厚朴拙。淡墨写就的白菊清雅疏朗，胭脂点染的红菊饱满明丽，浓淡对比间，尽显秋菊凌霜逸姿。水墨枝叶以篆籀笔法写出，顿挫老辣，墨色干湿浓淡富于层次，将菊枝柔韧与叶片舒展淋漓展现。\n\n右侧题字朴茂雄浑，与画作金石意趣浑然一体，诗画相映间，将东篱秋菊的野逸傲骨尽显，尽显文人画诗书画印的交融意韵，苍劲中暗含秀雅，勾勒出深秋篱边秋菊的盎然生机。",[24,28,27,25,60,7,83,41,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffede1ca6c977a93b9dd98f70687fa6e3.jpg",[],154,{"id":1195,"slug":1196,"title":1197,"dynasty":237,"author":238,"museum":135,"description":1198,"tags":1199,"thumbUrl":1203,"material":157,"size":1204,"collection":45,"collections":1205,"showCount":1206,"zanCount":49,"manualWeight":49,"mainColor":74},216934,"deng-shu-zhou-qi-bai-shi-216934","灯鼠轴","案头油灯亮着红芯，剪刀斜倚灯旁，两只灰鼠各有姿态——一只攀柱啃噬灯芯，长尾垂落；一只蹲坐地上，抬首望灯，胡须微颤似嗅暖意。笔墨极简，鼠的憨态却跃然纸上：浓淡墨色晕染出绒绒质感，细长尾巴勾勒灵动，寥寥几笔便捉住鼠的机警与贪馋。灯柱线条稚拙却稳当，红烛芯如点睛之笔，在素净纸面上添了一抹鲜活。题字与画面相映，把日常小景写成逸趣，没有刻意雕琢，却藏着对生活细微处的体察，似在说寻常烟火里也有这般可爱的瞬间。",[23,24,25,60,119,7,1200,1201,1202,454,100,29],"鼠","灯","蜡烛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1eaa5d9a0084397f64b5881322f7b2d.jpg","67.5x33.5cm",[45],152,{"id":1208,"slug":1209,"title":649,"dynasty":55,"author":451,"museum":20,"description":1210,"tags":1211,"thumbUrl":1212,"material":456,"size":1213,"collection":158,"collections":1214,"showCount":1215,"zanCount":189,"manualWeight":49,"mainColor":74},233735,"he-hua-tu-zhou-wu-chang-shuo-233735","图绘荷塘小景。荷叶以泼墨法绘出，墨分五彩，浓淡相宜；荷花以胭脂加水晕染，得娇艳欲滴之貌。构图盈满，层次鲜明，画风新奇。",[99,24,25,60,119,7,83,34,121,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18450c962cc4dc8033a867f98dea23ce.jpg","纵163.4厘米，横47.5厘米",[],151,{"id":1217,"slug":1218,"title":1219,"dynasty":237,"author":753,"museum":135,"description":1220,"tags":1221,"thumbUrl":1222,"material":157,"size":158,"collection":45,"collections":1223,"showCount":1215,"zanCount":370,"manualWeight":49,"mainColor":74},216602,"mo-he-si-lian-ping-1-zhang-da-qian-216602","墨荷四联屏-1","墨色淋漓间，荷叶或浓泼如积云，或淡染似流烟，焦墨勾筋见骨，湿笔晕染含情。荷花亭亭，瓣尖带露，留白处凝清韵；含苞待放者敛藏生机，似语未发。荷茎挺秀如剑，线条刚劲中藏柔婉，穿插交错成疏密有致的骨架。整幅画笔墨纵横却不失雅致，浓淡干湿互映成趣，于水墨交融间透出清逸出尘之态，仿佛能闻荷风送香，见碧波微动，尽显君子之姿与自然之妙，令人观之忘俗，沉醉于这份静谧与生机。",[24,28,25,119,121,122,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a911d419cf2bdb27af6f664cf482a33.jpg",[45],{"id":1225,"slug":1226,"title":1227,"dynasty":55,"author":451,"museum":333,"description":1228,"tags":1229,"thumbUrl":1230,"material":456,"size":1231,"collection":45,"collections":1232,"showCount":1233,"zanCount":207,"manualWeight":49,"mainColor":74},224232,"gui-shou-tu-li-zhou-wu-chang-shuo-224232","贵寿图立轴","此幅描绘含露微嫩的牡丹，亭亭玉立的水仙。牡丹雍容华贵，花瓣层层叠叠，显富贵之意；淡黄色水仙花与嫩绿而修长的叶片，娇艳欲滴；似云似烟的湖石穿插于花卉中，灵动自然。画面题：神仙贵寿。",[23,24,119,83,7,60,35,243,491,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedac561ff78a78041827fca1bcbcc149.jpg","117x35cm",[45,71],148,{"id":1235,"slug":1236,"title":1237,"dynasty":55,"author":400,"museum":333,"description":1238,"tags":1239,"thumbUrl":1241,"material":478,"size":479,"collection":158,"collections":1242,"showCount":1243,"zanCount":49,"manualWeight":49,"mainColor":74},237155,"xu-gu-mao-die-tu-zhou-xu-gu-237155","虚谷猫蝶图轴","虚谷（1823～1896），清代著名画家，海上四大家之一，有“晚清画苑第一家”之誉。俗姓朱，名怀仁，僧名虚白，字虚谷，别号紫阳山民、倦鹤，室名觉非庵、古柏草堂、三十七峰草堂。籍新安（今安徽歙县），居广陵（今江苏扬州）。初任清军参将与太平军作战，意有感触，后出家为僧。工山水、花卉、动物、禽鸟，尤长于画松鼠及金鱼。亦擅写真，工隶书。作画有苍秀之趣，敷色清新，造型生动，落笔冷消，别具风格。性情孤僻，非相处情深者不能得其片纸。早年学界画，后以擅画花果、禽鱼、山水著名。风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。亦能诗，有《虚谷和尚诗录》。传世作品有《梅花金鱼图》《松菊图》《葫芦图》《蕙兰灵芝图》《枇耙图》等。",[24,28,119,25,60,7,266,1240,41,155,83,568],"蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffac0781a23a4a9e539a1cd4f736c5b1f.jpg",[],145,{"id":1245,"slug":1246,"title":1247,"dynasty":94,"author":1248,"museum":116,"description":1249,"tags":1250,"thumbUrl":1252,"material":1253,"size":1254,"collection":107,"collections":1255,"showCount":1256,"zanCount":370,"manualWeight":49,"mainColor":74},221466,"si-mei-hua-tu-juan-yang-wu-jiu-221466","四梅花图卷","扬无咎","四梅花图画面分四段画梅，自题跋语中说：“范瑞伯要予画梅四枝，一未开，一欲开，一盛开，一将残。”四梅纯以水墨绘成，花朵作白描圈线，不加晕染，即为“圈花法”，用笔轻快洗练，毫不拘板。新枝用劲直线条一笔写成，极为挺秀。粗干则用“飞白法”，显笔复加乾皴，虚实相间，墨色变化丰富。全幅呈现出匀协恬静、清淡闲野的气氛，诚如时人所谓的“村梅”格调。作品有借梅言情、迟暮感伤之意。",[23,24,28,27,25,7,1251,643,30,100],"白描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0adde438dc6811236efafbe596d17dfd.jpg","绢本水墨","纵27.2厘米，横358.8厘米",[107,45,71],144,{"id":1258,"slug":1259,"title":1260,"dynasty":55,"author":134,"museum":20,"description":1261,"tags":1262,"thumbUrl":1265,"material":255,"size":1266,"collection":69,"collections":1267,"showCount":1268,"zanCount":370,"manualWeight":49,"mainColor":74},236752,"qiu-lin-du-diao-tu-zhou-zhu-da-236752","秋林独钓图轴","图绘凋零的树木被笼罩在深秋的寒意中，一湖静水之上只见高士孤身垂钓，空旷荒寂的意境中孕含着作者对明朝故土的无限怀念。此图无年款，根据署款“驴”字，推断此幅为朱耷57岁（1682年）左右的作品。这时期其山水画还深受元人倪瓒、黄公望，明人董其昌的影响而没有形成自己的笔墨特色。本幅构图取法倪瓒一河两岸式的布局，以简洁疏朗的物象表现出荒寒的萧条景致。山石画法取自黄公望，其轮廓以尖硬的线条勾勒，石面略作皴染，于散漫随意中不失古雅的情趣。整体画风则显现出董其昌明洁秀逸、华姿润泽的艺术风貌。",[24,119,25,7,567,61,549,775,140,64,1263,1264,671],"钓者","远山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa150978fbe46fb641f060aaadb56385.jpg","纵197.5厘米，横57.3厘米",[69],143,{"id":1270,"slug":1271,"title":1272,"dynasty":55,"author":226,"museum":20,"description":1273,"tags":1274,"thumbUrl":1275,"material":356,"size":357,"collection":45,"collections":1276,"showCount":1268,"zanCount":370,"manualWeight":49,"mainColor":74},223296,"mo-bi-zhu-shi-tu-zhou-zheng-ban-qiao-223296","墨笔竹石图轴","郑板桥画墨竹，多为写意之作。一气呵成．生活气息十分浓厚，一枝一叶．不论枯竹新篁，丛竹单枝，还是风中之竹。雨中之竹．都极富变化之妙．如竹之高低错落，浓淡枯荣．点染挥毫，无不精妙。画风清劲秀美，超尘脱俗，给人一种与众不同之感。他说：“文与可画竹，胸有成竹；郑板桥画竹，胸无成竹。与可之有成竹．所谓渭川千亩在胸中也；板桥之无成竹，如雷霆霹雳，草木怒生，有莫如其然而然者，盖大化之流行．其道如是，与可之有，板桥之无，是一是二解人会之。”实际上，板桥“胸无成竹”与文与可“胸有成竹”在根本上是不矛盾的，郑板桥注意的是在创作之前，构思要与熟练的技巧相结合，但这种写意画与文与可高度写实墨竹画在技法上又是有区别的，即有写意与写实、抽象与具象、神似与形似的不同。特别引人注目的是郑板桥画竹还讲究书与画的有机结合，“以草书之中竖长撇法运之”，他说：“书法有行款，竹更要有行款，书法有浓淡，竹更要有浓淡，书，去有疏密，竹更要有疏密。”为此，人们都能从他的字画中体味到。",[23,24,25,119,32,155,100,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00450bf3ebc8d27f10d2ec819e60152f.jpg",[45,109],{"id":1278,"slug":1279,"title":1280,"dynasty":94,"author":413,"museum":333,"description":1281,"tags":1282,"thumbUrl":1284,"material":43,"size":1285,"collection":109,"collections":1286,"showCount":1268,"zanCount":49,"manualWeight":49,"mainColor":74},218546,"yuan-xi-tu-mu-xi-218546","猿戏图","浓淡墨痕里，猿猴蜷卧于石巅，长尾如墨绦垂悬，圆眸闪着黠趣。山石以泼墨写意铺就，淡晕似烟岚轻笼，留白处漾开空寂禅意。猿的茸毛用焦墨点簇，蓬松间藏灵动，与山石的疏朗笔触相映，动静交织成趣。简笔不掩生机，天地仿佛在此刻静穆，唯有此猿与石，共守一段悠然时光。笔墨间禅味漫溢，不着一字却道尽自然真趣，似能听见猿猴轻啼，落于空濛山影里，余韵悠长。",[24,28,25,7,1283,155],"猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4443e07fced2cc55e4194b05b12d1ce3.jpg","68x27",[109],{"id":1288,"slug":1289,"title":1290,"dynasty":237,"author":238,"museum":1291,"description":1292,"tags":1293,"thumbUrl":1295,"material":158,"size":158,"collection":158,"collections":1296,"showCount":1297,"zanCount":370,"manualWeight":49,"mainColor":74},220604,"da-li-tu-qi-bai-shi-220604","大利图","龙美术馆西岸馆","苍劲如屈铁的墨线勾勒提篮轮廓，枯涩老辣的笔力尽显朴拙厚重，留白的纸面将视线全然引向篮中佳果。\n以朱砂厚涂荔枝，色艳而不浮腻，颗颗饱满莹润，仿佛带着新鲜采摘的清甜，墨叶绿意深浅交叠，衬得荔枝愈发娇妍鲜活。\n将日常风物与美好意趣相融，寥寥几笔便将烟火日常晕染出雅致生机，笔简意足，雅俗共赏，把平实小景绘就成寄寓深味的佳品。",[24,28,60,25,83,39,243,1294,454,7,100],"篮子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F520a9588b0836603c2a4637d3df8d3cf.jpg",[],142,{"id":1299,"slug":1300,"title":1301,"dynasty":237,"author":835,"museum":486,"description":1302,"tags":1303,"thumbUrl":1307,"material":158,"size":158,"collection":158,"collections":1308,"showCount":1297,"zanCount":49,"manualWeight":49,"mainColor":74},220570,"qun-ben-xu-bei-hong-220570","群奔","以浓淡干湿的墨色铺陈，将奔马的神采各异尽数铺展。鬃尾随风狂舞，铁蹄错落腾跃，劲挺的线条勾勒出骏马饱满的肌肉肌理，落笔简劲却精准捕捉奔跃时的矫健身姿。干裂皴擦的地面与斜生劲草，反衬出奔腾之势的磅礴，将一往无前的野性生命力倾泻纸面。没有繁复布景，以留白衬出奔马的飒爽桀骜，融合写意笔墨的空灵与写实造型的精准，把骏马嘶风踏浪的激昂气魄定格，仿佛能听见蹄声震彻旷野，尽显蓬勃昂扬的精神气韵。",[23,24,25,7,1304,1305,1306],"马","奔马","群马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9ced0133a30ae25fe8de9caba9632bd.jpg",[],{"id":1310,"slug":1311,"title":631,"dynasty":55,"author":134,"museum":333,"description":981,"tags":1312,"thumbUrl":1313,"material":84,"size":158,"collection":45,"collections":1314,"showCount":1315,"zanCount":49,"manualWeight":49,"mainColor":74},237626,"za-hua-ce-zhu-da-237626",[24,28,25,7,217,524,32,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04f6f00ac3e82f228b59b368b2013046.jpg",[45,109],141,{"id":1317,"slug":1318,"title":1319,"dynasty":55,"author":151,"museum":333,"description":1320,"tags":1321,"thumbUrl":1322,"material":158,"size":158,"collection":158,"collections":1323,"showCount":1324,"zanCount":370,"manualWeight":49,"mainColor":74},228994,"zhu-shi-zhen-ji-tu-shi-tao-228994","竹石真迹图","此作用水墨写意绘就幽境。以淋漓淡墨勾皴巨石轮廓，留白为体，枯笔侧锋扫出苍涩纹理，朴拙雄浑间尽显嶙峋风骨。几竿新竹斜倚石畔，中锋写干清劲挺拔，竹叶以焦墨挥写，聚散错落，偃仰有态，尽显萧疏清逸之致。左下角兰草柔婉，与竹石刚健相映成趣。\n\n整幅画以少胜多，墨色干湿浓淡层次丰盈，笔意纵恣洒脱，将竹之劲节、石之沉稳融于尺幅之间，寄寓文人劲节自持的襟怀，尽显以形写意、天人合一的审美意趣，是水墨小品中的隽秀之作。",[23,99,24,25,7,32,346,100,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37275658c9a76d23ae4cf87b6f96f432.jpg",[],140,{"id":1326,"slug":1327,"title":631,"dynasty":55,"author":1328,"museum":1329,"description":1330,"tags":1331,"thumbUrl":1333,"material":157,"size":158,"collection":45,"collections":1334,"showCount":1335,"zanCount":370,"manualWeight":49,"mainColor":74},216589,"za-hua-ce-bian-shou-min-216589","边寿民","旅顺博物馆","他的作品常常被收录在《边寿民杂画册》中。这本画册收录了边寿民的许多作品，包括花鸟画、人物画、山水画等。边寿民的画风浓郁，线条简洁，色彩明快，深受当时社会的喜爱。他的作品也被视为中国画的经典之作。",[23,24,25,7,706,1332,217],"竹篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F404de24995c9ac625b609aeaa91a95e6.jpg",[45],139,{"id":1337,"slug":1338,"title":1339,"dynasty":55,"author":1340,"museum":333,"description":1341,"tags":1342,"thumbUrl":1343,"material":158,"size":158,"collection":45,"collections":1344,"showCount":1345,"zanCount":49,"manualWeight":49,"mainColor":74},224310,"hua-niao-ce-shi-kai-li-shan-224310","花鸟册十开","李鱓","《范本传真:李鱓花鸟册》是乾隆时原装裱，品相绝佳，原藏日本，曾于日本“扬州八怪”展上展出，而且当时“扬州八怪”展的宣传海报所用图片即为此册中“蕉阴兰蕙”一开；据日本原藏者介绍，此册几十年前在日还出版过挂历。\n图书信息 《范本传真:李鱓花鸟册》由人民美术出版社出版。",[23,24,25,217,83,121,7,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffefaef9a058a6aa6890761dcabb948f6.jpg",[45,71],138,{"id":1347,"slug":1348,"title":1349,"dynasty":18,"author":578,"museum":116,"description":1350,"tags":1351,"thumbUrl":1354,"material":157,"size":1355,"collection":45,"collections":1356,"showCount":1345,"zanCount":370,"manualWeight":49,"mainColor":74},219361,"jiu-sheng-huan-yu-tu-shen-zhou-219361","鸠声唤雨图","述了行走在街头和庭园，常掠过一种和鸽子类似的鸟类，它的造型和色彩朴素，就连那咕咕的叫声，也是浑厚的，这便是斑颈鸠了。它的这份质朴，正是文人画家偏爱的感觉。斑颈鸠，体态雍容华丽，颈部斑点有如珍珠瑰丽，也是乡土鸟类中广为熟悉的鸟。沈周的一幅「鸠声唤雨」画出一只瞪著大眼、嘟著嘴，有著圆胖身体的斑颈鸠，孤孤单单栖踞枝头，看起来特别古朴与淡雅。",[24,99,28,119,60,7,1352,1353,571,83,100],"飞鸟","枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da560143d64c8be1ba2d59b856a3b22.jpg","51.1x 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绘画上擅长山水、花鸟，尤以山水著称，有粗、细两种面貌。早年主宗王蒙，上追董、巨，以细笔为主；40岁以后博取诸家，着意于黄公望，风格逐渐变粗，形成粗笔风貌；60岁后汲取吴镇画法，笔墨疏简苍劲，格调雄健宏阔。其成熟时期的山水，笔墨上既吸收了宋院体和明浙派的硬度和力感，又保留了元人的含蓄笔致，于苍中带秀，刚中见柔。构图造境方面，无论繁复或简略，都强调山川宏阔之“势”，一改元人空寂之境，又着意于朴实的“质”，于拙中藏巧。他开创了“吴派”画风，与文徵明、唐寅、仇英并称“吴门四家”。",[24,28,119,25,7,83,1389,417,29,30,100],"荔枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86746693b29e5f3412b23d5ba1e633a9.jpg","纸本 ，墨笔","纵128cm，横38.4cm",[],132,{"id":1396,"slug":1397,"title":1398,"dynasty":55,"author":451,"museum":20,"description":1399,"tags":1400,"thumbUrl":1403,"material":84,"size":158,"collection":45,"collections":1404,"showCount":1394,"zanCount":370,"manualWeight":49,"mainColor":74},224229,"lao-shao-nian-zhou-wu-chang-shuo-224229","老少年轴","使用西洋红设色，一老一新两丛雁来红，构图成对角斜势，虚实相生，主体突出。此作当是吴昌硕大胆运用洋红的最佳范例之一。他把金石的古厚质朴的意趣，引用到绘画用色方面来，自然不落于平薄，更无粉脂俗艳。吴昌硕可以说是大写意花卉史上最善于用色的高手之一。这种绘画方法，对之后的海派绘画，乃至齐白石等京派绘画产生了重大影响。",[23,24,28,119,60,7,30,100,39,279,404,1401,1402],"红叶","绿叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8ca4315e839c5191b026d588d9a0432.jpg",[45,71],{"id":1406,"slug":1407,"title":1408,"dynasty":18,"author":1409,"museum":20,"description":1410,"tags":1411,"thumbUrl":1413,"material":1414,"size":1415,"collection":45,"collections":1416,"showCount":1417,"zanCount":370,"manualWeight":49,"mainColor":50},222447,"guan-mu-ji-qin-tu-juan-lin-liang-222447","灌木集禽图卷","林良","林良以画花鸟著称，主体多属富野逸之趣的禽鸟，如苍鹰、芦雁、寒鸦、麻雀、锦鸡、喜鹊等，也喜绘群鸟聚集景象，品类众多，情态各异，极富自然天趣。这幅长卷即为集禽图巨构。\n面画开道为三只麻雀，正展翅飞向丛林，迎面枝头有翠鸟、黄鹂啁啾，似示欢迎。步入林丛枝杈交错，白头翁在枝头成双鸣叫，山喜鹊与山鹧引颈对唱，小山雀则静歇枝上。密林深处展现阔叶灌木和粗劲竹丛，有寒鸦、鹡鸰、麻雀、白头翁、鹌鹑等，成双结对地和鸣、嬉玩，追逐其间。接着斜出几株老松，针叶茂密，成群斑鸠在此活动，一派家族欢聚气氛，然松林深处却有一只苍鹰在窥视，于平和中增添了一分杀气。结尾是荻岸水滨，一对鸬鹚在水面觅食，两只乌鸦涉水行进，另有翠鸟飞栖苇丛间，境界又变为空阔悠闲。\n作品布局采用平面散点的结构手法，移步换形，层层展开，疏密相间，动静结合。禽鸟动态逼真，情状各异，枝叶纵横交错，杂而不乱。古木老树、枯枝落叶已显现出萧索秋意，然群鸟骚动不拘的活泼天性，却使丛林依然充满蓬勃生机。\n此图画法以水墨为主，略施淡彩。禽鸟勾染相间，工写结合，洗练准确，笔简神完。灌木丛林用写意法，然也放而有度，不离规矩。全幅气势宏阔，景象万千，为林良存世的精品巨制。",[23,99,24,28,27,25,7,83,1412,633,1352,216],"灌木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba587401db7e2d99d630e876f2bb9c0b.jpg","纸本，淡设色","纵34厘米，横1211.2厘米",[45,109],129,{"id":1419,"slug":1420,"title":1421,"dynasty":237,"author":835,"museum":486,"description":1422,"tags":1423,"thumbUrl":1424,"material":158,"size":158,"collection":158,"collections":1425,"showCount":1417,"zanCount":49,"manualWeight":49,"mainColor":74},220569,"ben-ma-chang-sha-hui-zhan-xu-bei-hong-220569","奔马 (长沙会战)","以酣畅泼墨晕染出马的雄健躯体，留白巧绘额间白羽，浓淡干湿尽显水墨意趣。鬃尾如疾风卷舒，似裹挟破空罡风，四蹄舒张带着雷霆之势，将奔马勃发的劲力定格于纸面。\n右侧题字寄寓滚烫热忱，将匹夫之勇揉作家国担当，让战马的骁勇与民族气节相融。跃然纸上的不止是灵动骏马，更是山河飘摇里的不屈意志，笔墨间藏着赤子滚烫的热血，把救亡图存的呐喊凝于笔端，化作这匹奔马一往无前的身影。",[23,24,28,25,7,1304,119,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f32ea37393a260fa91ca3652fb06b5a.jpg",[],{"id":1427,"slug":1428,"title":1429,"dynasty":55,"author":134,"museum":20,"description":1430,"tags":1431,"thumbUrl":1433,"material":43,"size":1434,"collection":45,"collections":1435,"showCount":1417,"zanCount":49,"manualWeight":49,"mainColor":74},218775,"lu-yan-tu-zhu-da-218775","芦雁图","图绘6只芦雁在水际岸边飞、鸣、行、止的瞬间。芦雁的造型准确严谨，动、静的体态表现得出神入化。其背部的羽毛是先以淡墨晕染，趁湿在淡墨上点以浓墨，浓淡墨交融处显现出羽毛柔软细密的质感和厚重的量感。图中描绘山石的笔墨老辣娴熟，石上的青苔以卧笔横锋点染，纵横随意中不失章法，其苔点与芦雁身上的墨点在笔法上形成呼应，令全幅深得酣畅淋漓之趣。",[23,24,25,119,7,1432,705,491,83],"雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60dede01fc11a7c1a00978bff3e757b.jpg","纵221.5厘米，横114.2厘米",[45],{"id":1437,"slug":1438,"title":1439,"dynasty":55,"author":451,"museum":1169,"description":803,"tags":1440,"thumbUrl":1441,"material":84,"size":1442,"collection":158,"collections":1443,"showCount":1444,"zanCount":189,"manualWeight":49,"mainColor":74},233715,"wu-jun-qing-hu-lu-tu-zhou-wu-chang-shuo-233715","吴俊卿葫芦图轴",[24,28,119,25,60,83,805,242,243,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17603647a577c42d97a3140c92da1110.jpg","纵163.4cm,横47.5cm",[],128,{"id":1446,"slug":1447,"title":1448,"dynasty":18,"author":19,"museum":116,"description":1449,"tags":1450,"thumbUrl":1451,"material":356,"size":1452,"collection":158,"collections":1453,"showCount":1444,"zanCount":49,"manualWeight":49,"mainColor":74},222234,"liu-shi-tu-zhou-xu-wei-222234","榴实图轴","该幅写石榴一枝，笔力强劲，水墨淋漓，是徐渭本色。右上方题识云：“山深熟石榴，向日笑开口；深山少人收，颗颗明珠走。文长。”书画二者两相辉映，超逸绝伦。",[23,24,25,119,83,29,100,7,815],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63e07fd04d0daa125ff55aa8d5a720ce.jpg","91.4×26.6",[],{"id":1455,"slug":1456,"title":1457,"dynasty":55,"author":451,"museum":333,"description":464,"tags":1458,"thumbUrl":1459,"material":67,"size":728,"collection":45,"collections":1460,"showCount":1461,"zanCount":49,"manualWeight":49,"mainColor":469},224222,"zhao-ri-hong-he-2-wu-chang-shuo-224222","朝日红荷2",[23,24,28,119,7,25,60,83,35,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ee70d82dd0fb7821970c9c33faebe94.jpg",[45,71],127,{"id":1463,"slug":1464,"title":1465,"dynasty":55,"author":134,"museum":20,"description":1466,"tags":1467,"thumbUrl":1476,"material":84,"size":1477,"collection":158,"collections":1478,"showCount":1479,"zanCount":49,"manualWeight":49,"mainColor":74},231938,"cao-chong-tu-ce-zhu-da-231938","草虫图册","朱耷花鸟画成就特别突出，也最有个性。其画大多缘物抒情，用象征手法表达寓意，将物象人格化，寄托自己的感情。如画鱼、鸟，曾作“白眼向人”之状，抒发愤世嫉俗之情。其花鸟画风，可分为三个时期，50岁以前为僧时属早期，署款“传綮”、“个”、“驴” 、“人屋”，多绘蔬果、花卉、松梅一类题材，以卷册为多。画面比较精细工致，劲挺有力。50岁至65岁为中期，画风逐渐变化，喜绘鱼、鸟、草虫、动物，形象有所夸张，用笔挺劲刻削，动物和鸟的嘴、眼多呈方形，面作卵形，上大下小，岌岌可危，禽鸟多栖一足，悬一足。65岁以后为晚期、艺术日趋成熟。笔势变为朴茂雄伟，造型极为夸张，鱼、鸟之眼一圈一点，眼珠顶着眼圈，一幅“白眼向天”的神情。他画的鸟有些显得很倔强，即使落墨不多，却表现出鸟儿振羽，使人有不可一触，触之即飞的感觉。有些禽鸟拳足缩颈，一副既受欺又不屈的情态，在构图、笔墨上也更加简略。这些形象塑造，无疑是画家自的写照，即“愤慨悲歌，忧愤于世，一一寄情于笔墨”。他在题黄公望山水诗中写道：“郭家皴法云头小，董老麻皮树上多。想见时人解图画，一峰还与宋山河。表现出他的民族意识。此画作足以代表朱耷的艺术风格。笔墨简括凝练，形象夸张，意境清冷。画中山水树木，形象寂寥无不带有画家的个人烙印和情感。",[24,25,7,217,83,1468,39,100,857,1469,1470,1471,1472,1473,581,1474,308,1475],"草虫","水墨花鸟","草虫题材","花卉题材","水墨技法","写意技法","花鸟虫鱼","水墨草虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1832d1cbad4704515cafe4aadf8818b.jpg","纵26厘米，横41厘米",[],125,{"id":1481,"slug":1482,"title":1483,"dynasty":55,"author":1125,"museum":116,"description":1484,"tags":1485,"thumbUrl":1492,"material":157,"size":158,"collection":158,"collections":1493,"showCount":1479,"zanCount":49,"manualWeight":49,"mainColor":74},214852,"xie-sheng-ce-11-hua-yan-214852","写生册-11","华嵒是一位清代著名画家和艺术家。他的写生册是一本记录他写生草稿的册子，通常包含他对自然和人物的写生绘画。写生册是画家们练习和提高技巧的重要工具，因为它们能够帮助画家观察、捕捉和描绘细节。华嵒的写生册中可能包含了他对山水、花鸟、人物等的写生画作。",[24,28,7,25,60,568,1486,523,1487,1488,1489,1490,101,1491],"动态","淡彩","荒野","飞兽","笔触灵动","自然景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd555eb665d9074196e3036e4f2be75b0.jpg",[],{"id":1495,"slug":1496,"title":1497,"dynasty":55,"author":56,"museum":922,"description":1498,"tags":1499,"thumbUrl":1503,"material":84,"size":1504,"collection":158,"collections":1505,"showCount":1506,"zanCount":370,"manualWeight":49,"mainColor":74},222670,"liu-tang-shuang-lu-huang-shen-222670","柳塘双鹭","图中垂柳依依、双鹭觅食，展现一派春意盎然、生机勃勃的景象。几株柳树从画面右侧斜伸入画，树干交错，极富形式美感。柔软的柳枝轻盈地飘垂下来，疏落的柳叶上淡淡的绿意为画面营造出春的气息。两只白鹭相向而立，在池塘中聚精会神地觅食，与斜欹的柳树相映成趣。春柳扶疏，白鹭相伴，虽物象简单却极富情致。\n此图观其整个画面，笔墨洗练，劲爽流畅，勾斫点染，乍看似不经意，却显示了他熟练的技巧。画幅左侧以大片的空白表现茫茫的水面，右侧近处有二棵垂柳在水边拔地而起，粗根如疙瘩似的，且露裸出土。两枝柳树，一浓一淡，老干粗大挺拔，直冲而上，伸展至画幅顶端；另一枝斜出向左倾斜，与老干相穿插，枝叶相交，错落有致。条条柳枝垂挂而下，嫩叶萌发，呈现出勃勃生机，已是初春的时节，垂柳下的湖塘水边，有两只白鹭立于浅水中觅食。左侧一鹭两腿弯曲，前身向前倾斜，尾部朝天，正在啄食；右侧一只白鹭，侧身仰首，一条右腿弯曲上提，伸长脖颈正在啄食，神态自然，生动逼真，这两只白鹭的举止，打破了宁静气氛，出现在画幅的中心，点出了此画的主题，给人们留下逗情的印象。画幅左侧作者自题诗：“青山淡抹走轻烟，杨柳高楼大道边；闲煞春光看振鹭，一拳撑破水中天？”这幅画的作者自题诗，乍看书写草草，却显得十分流畅自然，细察之，则笔情墨韵盎然，大可为画幅增色；署“瘿瓢子写”。钤“黄慎”朱文印、“瘿瓢”白文印。右下角钤“东海布衣”白文印。\n柳树老干用大笔浓墨写出，柳树主干多皴结，显示柳的苍老。两棵柳树分别用浓淡干湿不一的笔墨写出，呈现出一浓一淡的特色。对于水的描绘，黄氏以简代繁，不直接去描写水，而是在二只白鹭啄食处用淡笔曲折一抹，抹出了水的波纹。二只白鹭用枯笔寥寥数笔，挥写而就，形态逼真，神形俱全。",[23,24,1500,7,119,1128,1501,1502,83,25],"水墨画","鹭","水塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb00fadd85ec383330dcc97cfc99ec55e.jpg","纵139厘米，横62.5厘米",[],124,{"id":1508,"slug":1509,"title":1510,"dynasty":237,"author":238,"museum":1511,"description":1512,"tags":1513,"thumbUrl":1514,"material":1515,"size":158,"collection":158,"collections":1516,"showCount":1506,"zanCount":49,"manualWeight":49,"mainColor":74},220593,"xia-qun-qi-bai-shi-220593","虾群","國立故宮博物院","这幅群虾图以极简水墨写就神致，群虾姿态各殊，或拨须缓游，或摆螯疾行，两两相逐间灵动鲜活。以淡墨晕染虾身，通透似覆薄壳，浓墨点染虾首与硬枪，焦墨提掣纤细长须，看似信手挥洒，却暗含水流动感，留白代水，虚实相生，将清水间群虾嬉游之景跃然纸上。\n既可见细致的写生功底，更尽显写意笔墨的简淡天真，寥寥数笔便将河虾的活泼生机全然带出，尽显作者画虾的炉火纯青，把寻常水族勾勒得意趣盎然。",[24,28,119,25,7,900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F681c191e1525a12aa95dd689a43c0860.jpg","ink on paper",[],{"id":1518,"slug":1519,"title":1520,"dynasty":55,"author":134,"museum":333,"description":1521,"tags":1522,"thumbUrl":1523,"material":158,"size":158,"collection":45,"collections":1524,"showCount":1525,"zanCount":370,"manualWeight":49,"mainColor":74},236461,"zhu-shi-tu-zhou-zhu-da-236461","竹石图轴","朱耷（1626—1705年），明宗室宁献王朱权后裔，封藩南昌，遂为江西南昌人，谱名统『0137』，小名耷。清顺治五年（1648年）落发为僧，法名传綮。一生字、号、别号甚多，有个山、驴屋驴、人屋等。康熙二十三年（1684年）始号八大山人。坎坷的命运影响着他的人生观及艺术思想，其绘画作品多寄托着对清王朝的痛恨，及对明王朝的眷恋之情。他的山水画在宗法元黄公望平淡天真和明董其昌润泽秀逸的基础上形成了自己古拙奇特、劲拔荒率的艺术风格。其花鸟画在参照明代沈周、徐渭等文人画法的同时，又融入自己强烈的主观意识，注重鱼、虫、禽等物象的人格化表现，以象征手法表达隐晦的寓意。借此表达自己作为明皇族后裔，百般无奈的感慨之情。他与同为明遗民画家的石涛、弘仁、髡残合称“清初四僧”。书法宗王献之、颜真卿，淳朴圆润，自成一格。朱耷中晚年，在书画作品款署中多使用“八大山人”。",[24,28,119,25,7,32,346,100,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8f836ef9cd8492d7bd9c07df16cc664.jpg",[45,109],123,{"id":1527,"slug":1528,"title":1529,"dynasty":237,"author":753,"museum":135,"description":1530,"tags":1531,"thumbUrl":1537,"material":157,"size":1538,"collection":69,"collections":1539,"showCount":1525,"zanCount":49,"manualWeight":49,"mainColor":74},220411,"ji-liu-xing-zhou-tu-zhang-da-qian-220411","急流行舟图","此《急流行舟图》为1948年4月作，张大千50岁。其以古法入画已臻纯熟老辣之境，博采各家之长，具宋元风范又自出新意。此时其作品古人面貌最多，变化最多。《急流行舟图》的中远景，尽显淡墨轻岚一派风气。其笔法细秀温润，明润郁葱，画中经营的幽溪细路、山涧飞瀑、竹篱茅舍、断桥危栈，皆使人感悟“真若山间景趣也”。其画面设色清秀爽气，略施浅绛，主体以山石、树木、枝叶墨色浓淡的交错运用来表现层次关系，突出新安江一带特有的清润明秀、不装巧趣的韵致。然此画精彩之处不尽于此。但见飞瀑直下，形势急转，顿生高潮：激流暗涌、险滩巨礁、双舟争渡；江边草木、迎风而动、生意盎然。此处张大千一改中远景中平淡天真之法，石涛笔意曜然纸上。其山水画本效石涛起家，谓可乱真。自是笔法流畅，用墨相宜，或笔简墨淡、或浓重滋润，恣肆郁勃、淋漓洒脱。平淡中见奇绝，乃新安江山水之天然风貌。张大千这一静一动，构思新奇，更显急流行舟之灵动野趣。画中题款诗文中似流露出张大千对于隐居山野的倾慕，然其并未在“人在荒山顶上居”上多费笔墨，成为该画点睛之笔的正是“舟从乱石堆中过”。只见两叶轻舟似于浅滩中遇到险阻，船公们或奋力撑篙，或涉水排阻，人人齐心，共闯险滩。人物船只皆以白描意笔勾勒，浅绛施与船身与肤色，虽小至寸余，但形神毕肖，呼之欲出，在水墨淡色的山水中尤为醒目，点题立意。《急流行舟图》是张大千于国内面对真山实水所作的最后一批山水画之一，亦是其于盛期“师自然”的典型范例。",[23,99,24,28,25,60,7,567,61,1532,64,200,1533,65,140,103,1534,427,1535,1536],"流水","瀑布","房屋","急流","行舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F090de17151e7cc3bb155db86e8b0dcaa.jpg","133x53cm",[69,71],{"id":1541,"slug":1542,"title":1543,"dynasty":94,"author":413,"museum":333,"description":1544,"tags":1545,"thumbUrl":1550,"material":43,"size":1551,"collection":158,"collections":1552,"showCount":1525,"zanCount":370,"manualWeight":49,"mainColor":74},220254,"xiao-xiang-ba-jing-tu-jiang-tian-mu-xue-mu-xi-220254","潇湘八景图·江天暮雪","此图淡墨轻岚，诗意优扬。其“江天暮雪”辽阔的水域占了书面的二分之一左右，近景的坡石和远方的山影仿佛都被广袤白雪所覆盖，画面正偏左有几株树叶凋落的乔木，树丛间隐约可见屋宇，顺着树枝垂下的方向看，一个渔翁正瑟缩着坐在船首。画面不以留白取胜，而将渔翁置于千山万径之间，以天地之山巅，冰雪之苍凉，衬托渔翁之微小。",[23,99,24,28,1546,25,7,1547,169,428,104,65,1106,103,1548,1549],"宋画","禅画","淡墨","自然景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbf34dc75ca426d42b380e45a89f2a94.jpg","29.5X94.4厘米",[],{"id":1554,"slug":1555,"title":1556,"dynasty":18,"author":19,"museum":333,"description":1104,"tags":1557,"thumbUrl":1558,"material":478,"size":479,"collection":158,"collections":1559,"showCount":1560,"zanCount":370,"manualWeight":49,"mainColor":74},290556,"he-hua-zhou-xu-wei-290556","荷花轴",[24,99,28,119,25,7,83,121,29,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3e13237f744b16759e4d325b37bd217.jpg",[],122,{"id":1562,"slug":1563,"title":1564,"dynasty":237,"author":238,"museum":1565,"description":1566,"tags":1567,"thumbUrl":1569,"material":158,"size":158,"collection":158,"collections":1570,"showCount":1560,"zanCount":49,"manualWeight":49,"mainColor":74},220591,"jiu-hu-he-ju-hua-qi-bai-shi-220591","酒壶和菊花","Hong Kong Museum of Art","淡赭晕染出酒壶憨朴轮廓，留白衬出器物的温润拙厚。下方提篮中菊花攒簇，朱红明丽、赭黄沉凝、墨白清雅，花瓣勾勒老辣朴拙，枝叶苍劲带着蓬勃生机。右侧题笔顶天立地，楷隶相融的题字与画面相映成趣。虚实相生间，将日常小物化为寄情之物，以酒菊托祝寿深意，笔力雄浑简括，把乡野意趣与文人雅韵揉合一处，尽显冲淡隽永的东方意致，将寻常烟火绘成动人的诗意画卷。",[23,24,28,119,60,7,83,41,1568,100],"饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b1dcc70632968186c19f507f452f51.jpg",[],{"id":1572,"slug":1573,"title":1574,"dynasty":55,"author":1575,"museum":962,"description":1576,"tags":1577,"thumbUrl":1578,"material":84,"size":1579,"collection":158,"collections":1580,"showCount":1581,"zanCount":370,"manualWeight":49,"mainColor":74},231946,"fang-shen-zhou-hua-hui-tu-wang-wu-231946","仿沈周花卉图","王武","作品是在国民期间被带入国门的，但有几幅作品却被比齐白石的画漂亮，画的细节比齐白的还好。\n齐白石牛的蝉，比不过他画的天牛，可惜作品少了海外！这本书国画精口的细节很少，就是画了三张天牛画在上面树上的野画。简单的绘画风格与齐白石的一样，但作品却充满了满满的童趣。\n如果不是亲眼所见，谁也不会相信这是一张清朝的绘画，而且是由王武一个画家画出来的。笔墨十分的潇洒，尤其是在婚纱中的小作品中，烘焙精品的超小纸条。\n作品贵的精巧，贵在细节上面，大家仔细看绘画的整体风格，实际上比齐白石的作品外观要，而且布局更漂亮，但在工整秀丽之间又不失童趣。把一些动物与植物相间的神韵的画出来，难怪在外国的目光，这一类作品太妙了。\n对比的绘画，这只天牛虽然是属于水墨画，但要知道在200多年前，这水墨的风格画，尤其是场景小类的，能画到非常逼真的多，最重要的就如真的还活着，余生如生。\n一张好画的感觉体验一个人的绘画天赋，更表现了一个人的绘画功底。像王武和齐白石的作品，深入要光，还需要依靠对艺术绘画的一种深入理解，这样子有神韵！",[23,24,25,60,83,1015,404,243,392,217,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25155c1c911c2cd3f45e7be509419dbd.jpg","53x38 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：“白门李氏珍藏”、“米舫平生之真赏”。\n裱边有狄平子题记二则，钤“狄平子”印等。\n此图是朱耷8岁所作。\n风烛残年的他面对清政权日益巩固，明王朝复辟无望的局面，愤世嫉俗的情结逐渐变成无奈的失望。\n此时他的绘画作品多表现出一种痛定思痛的空寂和宁静。\n图中杨柳以力透纸背的功力展示，墨气干湿浓淡尽在变化之中。\n八哥以软毫笔表现，中锋运转，笔笔凝重沉着，生动地刻画出八哥专注剔羽的神形体态。",[23,24,28,119,25,7,83,155,1628,1352,100],"杨柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F919edce87f0eaaf6b6bab59b57d7634d.jpg",[],{"id":1632,"slug":1633,"title":1634,"dynasty":55,"author":451,"museum":20,"description":1148,"tags":1635,"thumbUrl":1636,"material":1151,"size":1152,"collection":45,"collections":1637,"showCount":1638,"zanCount":370,"manualWeight":49,"mainColor":74},236754,"mu-dan-shui-xian-tu-zhou-wu-chang-shuo-236754","牡丹水仙图轴",[24,119,25,7,35,38,155,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8e4f3d78148a5c14ce790f58f1d5d01.jpg",[45,109],115,{"id":1640,"slug":1641,"title":1642,"dynasty":18,"author":19,"museum":333,"description":1643,"tags":1644,"thumbUrl":1646,"material":158,"size":158,"collection":158,"collections":1647,"showCount":1648,"zanCount":370,"manualWeight":49,"mainColor":74},228760,"shi-er-mo-hua-shi-hua-tu-juan-xu-wei-228760","十二墨花诗画图卷","此作用淋漓水墨写尽草木风神，以书入画，笔锋纵恣老辣。长卷铺展，一花一诗相生相融，浓墨泼洒见花枝繁盛，淡墨勾勒显枝叶清灵，干湿浓淡间，四时花木的野逸之态跃然纸上。\n逸笔草草不拘形似，却将花木的疏狂生机、清寂之姿尽数展露，以极简笔墨传递蓬勃意趣，将文人疏放心境寄情于一花一叶，笔墨间满是狂放不羁的风骨，尽显大写意水墨的写意真髓。",[23,24,28,27,25,7,100,30,31,40,32,41,34,35,38,36,1645,155,83],"月季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80ebde713ecf78a9dd05b8f4040f76c2.jpg",[],114,{"id":1650,"slug":1651,"title":1652,"dynasty":94,"author":413,"museum":1653,"description":1654,"tags":1655,"thumbUrl":1658,"material":281,"size":158,"collection":158,"collections":1659,"showCount":1660,"zanCount":49,"manualWeight":49,"mainColor":74},219193,"xiao-xiang-ba-jing-yan-si-wan-zhong-mu-xi-219193","潇湘八景-烟寺晚钟","富山纪念馆","烟岚弥漫的潇湘之畔，淡墨晕染出一片空濛。薄雾中，林树错落，寺宇隐现，浓墨点染的枝叶在朦胧里摇曳，似与雾气共舞。远处飞鸟轻掠，融入苍茫，静谧无声。虽无钟鸣具象，却在这空灵氛围中，仿佛听见晚钟穿透烟霭的悠远余韵，涤荡心尘。牧溪以极简笔墨，将自然之境与禅意相融，淡处见真，空里藏情。每一笔淡墨都似时光的痕迹，每一缕烟岚都承载着东方美学的含蓄深邃，尽显潇湘烟景的淡泊与宁静，让人在朦胧中感知心境的悠远与超脱。",[23,24,25,7,1656,65,1352,61,101,1657],"烟霭","朦胧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff345a478c64a9b36297fa0e4606f44eb.jpg",[],113,{"id":1662,"slug":1663,"title":1664,"dynasty":55,"author":451,"museum":333,"description":1665,"tags":1666,"thumbUrl":1667,"material":158,"size":158,"collection":158,"collections":1668,"showCount":1669,"zanCount":370,"manualWeight":49,"mainColor":74},237971,"hua-hui-tu-zhou-wu-chang-shuo-237971","花卉图轴","此作集四季名卉于一纸，错落排布，繁而不杂，生机盎然。以没骨兼写意笔法绘就，牡丹以淡粉晕染花瓣，层层叠叠尽显雍容柔媚，墨色叶片苍劲老辣，金石笔意融于勾勒点染之间，朴拙浑厚。雏菊明黄鲜亮，山茶艳红古雅，白梅冰清玉润，紫藤柔蔓轻垂，诸花神态各异却和谐共生。\n\n题跋错落点缀于花枝空隙，书画相映，金石气与文人气交融氤氲。将文人写意的清雅风骨，与世俗吉庆的美好寄寓相融，尽显独特的雅俗共赏的风韵。",[24,83,60,7,35,41,39,216,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff58e2bc2a21ad008b6c9be203089481b.jpg",[],112,{"id":1671,"slug":1672,"title":1673,"dynasty":55,"author":451,"museum":20,"description":1674,"tags":1675,"thumbUrl":1677,"material":456,"size":1152,"collection":158,"collections":1678,"showCount":1669,"zanCount":370,"manualWeight":49,"mainColor":74},233730,"tian-zhu-shui-xian-tu-zhou-wu-chang-shuo-233730","天竺水仙图轴","此图又名《群仙祝寿》。图绘天竺、水仙。构图颇具匠心，水仙顺坡生长取斜势，而参差错落的天竺直、斜之姿兼备，使画面富于变化，情趣盎然。水仙的叶片以墨笔勾线，石绿填色，浓厚的色彩增添了鲜活的生机；高挑的天竺则以写实手法点染而成，其艳丽的嫣红色与水仙的绿色形成冷暖色调的对比，色彩明亮却不俗艳。此作是吴昌硕花卉画的代表作之一。\n天竺、水仙均有长寿之意，且谐“诸仙”之音，是寿意画的常用题材。范湖居士即周闲（1820-1875年），字存伯，一字小园，号范湖居士，浙江秀水（今嘉兴）人。晚清上海重要画家，精于水墨花卉，与任熊、任颐、吴昌硕等相友善。图题“拟范湖居士”，可知此图有借鉴周氏之处。",[24,28,119,83,7,60,25,1676,38,491],"天竺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e0176a3a4253556702b5d4630221776.jpg",[],{"id":1680,"slug":1681,"title":1682,"dynasty":94,"author":1683,"museum":20,"description":1684,"tags":1685,"thumbUrl":1693,"material":84,"size":1694,"collection":158,"collections":1695,"showCount":1696,"zanCount":189,"manualWeight":49,"mainColor":74},231422,"xie-sheng-tu-fa-chang-231422","写生图","法常","法常的绘画，有不少取材于平时人们司空见惯的日常生活，但独能于平淡天真之中揭示生命意识的真谛。此卷所绘折枝花果、禽鸟、鱼虾及蔬果，笔墨简淡，平平常常，在画幅上随随便便地摆放在一起，看来就是最为常见的与我们现实生活息息相关的景象，但是卷中墨色的氤氲、排列的错综、变化的神奇，却又分明深蕴着禅机。\n这些平常物象的背后是不着笔墨的大片空白，这种“知白守黑”、“计白当黑”的处理，使得画面中本不相关联的事物各自相对独立又可合而为一，画意更为完整而富于张力，给观者以想象的空间，正所谓“于无画处皆成妙境”。整幅作品充满着一种宁静、自省、淡泊的内在精神，使观者有“万物静观皆自得”的会心感受，耐人寻味。牧溪的绘画，写生功底极深，此幅亦是“肖似形类，并得其意”（项元汴语）的形神兼备之作。",[23,24,28,27,25,523,7,83,633,1686,1687,292,1688,1689,815,39,35,121,794,32,705,1690,1691,527,1692,122,124,140],"野鸡","麻雀","水果","桃子","草","蔬菜","藕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c560c5bf16abfce7333669f1d842b1.jpg","纵47.3厘米，横814．1厘米",[],110,{"id":1698,"slug":1699,"title":1700,"dynasty":55,"author":1125,"museum":57,"description":1701,"tags":1702,"thumbUrl":1703,"material":157,"size":1704,"collection":45,"collections":1705,"showCount":1696,"zanCount":189,"manualWeight":49,"mainColor":50},218733,"mei-zhu-chun-yin-tu-hua-yan-218733","梅竹春音图","这幅画描绘了一块形状奇特的湖石，靠着湖石生长的翠竹棚，枝条修长，叶子翠绿繁茂，枝头上有两只鸟儿相望；一枝梅花从上往下画，枝头上的花朵灿烂开放，枝头上的鸟儿张着嘴叫，尾巴上的羽毛色彩斑斓，十分可爱。",[23,24,28,119,60,321,7,31,32,138,83,155,100,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b3608b75058516a170e9b3e032d2de3.jpg","132.5×45.5cm",[45],{"id":1707,"slug":1708,"tit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tions":1858,"showCount":1832,"zanCount":49,"manualWeight":49,"mainColor":50},231002,"song-shi-mu-dan-zhu-da-231002","松石牡丹","苍松顶天立地，老干皴朴嶙峋，松针如戟排布，笔意极简却自带虬劲孤傲之势。玲珑湖石以泼墨晕染，虚实间尽显奇崛冷逸。柔婉牡丹隐于松石缝隙，淡粉轻敷，娇柔花姿与枯硬松石形成强烈反差，艳而不俗，静吐幽芳。\n\n整幅画作以寥寥笔墨勾勒冷寂孤高的格调，将沉郁心境寄于物象，于简淡笔触中藏着磅礴生命张力，把物我合一的禅意融于松石花影之间，静穆里带着疏旷风骨，尽显冷逸疏朗的独特意趣，寥寥数笔便写尽出世孤高的襟怀。",[23,99,24,28,119,25,60,7,33,346,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ec2733997ab825ea604ee9dbe4626d.jpg",[],{"id":1860,"slug":1861,"title":1862,"dynasty":55,"author":451,"museum":333,"description":464,"tags":1863,"thumbUrl":1864,"material":84,"size":1865,"collection":45,"collections":1866,"showCount":1832,"zanCount":370,"manualWeight":49,"mainColor":74},224227,"nong-yan-zhuo-zhuo-yun-jin-xian-li-zhou-wu-chang-shuo-224227","秾艳灼灼云锦鲜立轴",[23,24,28,119,60,83,155,37,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a9cf103a50a6f03f9f5e08b4a20601c.jpg","93x45cm",[45,71],{"id":1868,"slug":1869,"title":1870,"dynasty":55,"author":451,"museum":333,"description":1871,"tags":1872,"thumbUrl":1873,"material":158,"size":158,"collection":158,"collections":1874,"showCount":1875,"zanCount":49,"manualWeight":49,"mainColor":74},235404,"mu-dan-zhou-wu-chang-shuo-235404","牡丹轴","此作虚实相生，右上角题款与左下花木湖石遥相呼应。牡丹以阔笔泼色，胭脂点染花瓣，浓艳厚重，带着苍浑的金石意趣，柔艳花姿里暗蕴雄强骨力。叶片焦墨挥写，线条老辣苍劲，与牡丹柔色形成强烈反差，更衬花之秾艳。\n\n湖石以淡墨晕染，焦墨提点轮廓，朴拙古雅。藤蔓缠绕穿插，填补留白让层次愈显丰满。题字带着篆隶笔意，与画境浑然相融，将篆刻的苍茫意趣尽数融入画笔，跳出牡丹富贵柔媚的陈套，化为疏野苍劲的文人风骨，纵横恣肆间不失雅致，尽显雄强古茂的写意格调。",[24,28,119,99,60,25,7,83,35,491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e01c9ee92e8c23d37723f245dada53.jpg",[],101,{"id":1877,"slug":1878,"title":1879,"dynasty":55,"author":451,"museum":333,"description":1880,"tags":1881,"thumbUrl":1883,"material":478,"size":479,"collection":158,"collections":1884,"showCount":1885,"zanCount":370,"manualWeight":49,"mainColor":74},235133,"ju-shi-tu-zhou-wu-chang-shuo-235133","菊石图轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,119,83,7,60,41,346,1882],"栅栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee122e684142d4f2b96c49a249c633f3.jpg",[],100,{"id":1887,"slug":1888,"title":1429,"dynasty":18,"author":1409,"museum":1889,"description":1890,"tags":1891,"thumbUrl":1893,"material":281,"size":158,"collection":45,"collections":1894,"showCount":1895,"zanCount":370,"manualWeight":49,"mainColor":50},219052,"lu-yan-tu-lin-liang-219052","大英博物馆","墨色浓淡交织间，苇丛恣肆舒展，叶片如剑划破虚灵的背景，尽显野逸之趣。雁群姿态憨然，或低头啄食，或翘首顾盼，羽毛以淡墨晕染，绒质感呼之欲出，兼工带写的笔法将水禽的灵动与野趣凝于尺幅。画面不着艳色，却于水墨淋漓中透出秋江芦岸的清寂与生机，笔力雄健又不失细腻，尽显写意花鸟的奔放与传神，仿佛能听见苇叶沙沙，雁鸣轻啼，将自然之趣定格成永恒的诗意图景。",[23,24,25,7,83,705,1432,1352,1892,155],"岸滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef142504755ac0f39ccbabbb50b7aca.jpg",[45],99,{"id":1897,"slug":1898,"title":1899,"dynasty":18,"author":212,"museum":213,"description":214,"tags":1900,"thumbUrl":1902,"material":43,"size":219,"collection":158,"collections":1903,"showCount":1895,"zanCount":370,"manualWeight":49,"mainColor":74},214633,"hua-hui-ce-11-chen-chun-214633","花卉册-11",[24,28,217,25,7,83,1901],"玉兰花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b26457ea4cf5316c169d05453ad8d1b.jpg",[],{"id":1905,"slug":1906,"title":1907,"dynasty":18,"author":1908,"museum":213,"description":1909,"tags":1910,"thumbUrl":1914,"material":157,"size":158,"collection":158,"collections":1915,"showCount":1916,"zanCount":49,"manualWeight":49,"mainColor":1917},214658,"qiu-xing-ba-jing-tu-ce-1-dong-qi-chang-214658","秋兴八景图册-1","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。",[304,25,60,61,1911,65,217,567,7,140,1912,1913],"秋景","云气","亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10dabbb12a6134bd0b3af4b7144fde3e.jpg",[],97,"37474F",{"id":1919,"slug":1920,"title":1921,"dynasty":18,"author":212,"museum":213,"description":214,"tags":1922,"thumbUrl":1923,"material":43,"size":219,"collection":158,"collections":1924,"showCount":1916,"zanCount":49,"manualWeight":49,"mainColor":74},214642,"hua-hui-ce-4-chen-chun-214642","花卉册-4",[99,24,25,7,217,83,39,216,392],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd4c6f394b5716476a6daa9123972186.jpg",[],{"id":1926,"slug":1927,"title":1928,"dynasty":55,"author":451,"museum":702,"description":1929,"tags":1930,"thumbUrl":1931,"material":67,"size":1932,"collection":45,"collections":1933,"showCount":1934,"zanCount":49,"manualWeight":49,"mainColor":74},224223,"song-mei-tu-wu-chang-shuo-224223","松梅图","松树倾斜，画面苍劲，树干稍写皴擦，尽显斑驳质感；松枝斜披，干笔勾枝，浓墨勾画松针。梅干多取直势，稍加润泽，小枝横陈，意境空潆深远。梅花点写，错落纷陈。全图笔势如龙飞，舒放自如，有意在笔先之妙。",[23,24,28,119,25,60,83,33,31,100,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F394f15aa9a6c228570b112034349569c.jpg","纵135.6厘米，横67.8厘米",[45,71],96,{"id":1936,"slug":1937,"title":1938,"dynasty":180,"author":1939,"museum":20,"description":1940,"tags":1941,"thumbUrl":1943,"material":255,"size":1944,"collection":109,"collections":1945,"showCount":1934,"zanCount":49,"manualWeight":49,"mainColor":50},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。",[23,99,24,25,119,32,1942,155,30,100,7],"梧桐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed2c141173efcc16d73f1e7f7f7cf9c1.jpg","纵96cm，横36.5cm",[109,1042],{"id":1947,"slug":1948,"title":1949,"dynasty":180,"author":1084,"museum":80,"description":1950,"tags":1951,"thumbUrl":1955,"material":84,"size":1956,"collection":69,"collections":1957,"showCount":1934,"zanCount":161,"manualWeight":49,"mainColor":74},220782,"lu-tan-diao-ting-tu-wu-zhen-220782","芦滩钓艇图","《芦滩钓艇图卷》（现藏大都会）使吴镇享有萌画家的地位，此一点无论是国内抑或海外的艺术评论意见均颇统一。纠其原因，则是画中原本仅作为点缀的人物在画家的笔下呈现“卡通式”的形象，这一夺景的表现，并未使画作的立意失衡，而是呈现出别样的意趣来，无论是大都会所藏，还是弗利尔所藏的其他数幅吴镇所绘的“渔父图”皆是充满趣味性的形象。然我们知道其部分渔父形象的作品为仿荆浩，虽然很难再找见荆浩创作的渔父形象（可确证的）。但从台北故宫博物院所藏的北宋画家范宽之《溪山行旅图》进行观察（范早期习荆浩、李成，而该画作恰恰是习荆浩的），不难发现——吴镇画中之“渔父”形象与范宽画中的“渔父”形象，两者间颇有关联性（虽范宽的作品已较模糊，然从船体与人物构造观，尚可发现有其相通之处），故此种“卡通式”的“渔父”形象，许于唐未的荆浩画中，已形成其旨趣，只是后人不觉，皆将吴镇视为萌家。\n吴镇画山水喜用湿墨，其实吴镇未尝不善用干墨，在吴镇传世几十余幅墨竹中，几乎全是用干墨画的，均取得了良好的效果。之所以吴镇在山水画中多用湿墨，这与吴镇欲借山水画表达的境界有极大的关系。北宋山水画追求一种可游、可居之景，用笔用墨都服从于山水真实体感的表达；而元人则以山水为媒，追求一种有我之景，笔墨除用表现形体外，更是充作了情感流露的媒介。在元四家中吴、倪均以画水著称，倪喜用干墨，吴则喜用湿墨。倪用干墨草草点染，创造一种荒芜、澹泊之境；吴则用湿墨，渲染出一种凄清、静穆之境。细观吴镇每一幅山水画，都给人以“水墨淋漓幛犹湿”的感觉。无论是山、树、水，还是船、渔父、房屋，无论是近景，还是远景，均如淋浴在水中，从而更使远方景物有千里之遥，营造了一种凄清、幽旷、寂寥的艺术氛围。\n吴镇画中的水墨效果是与他多种笔法、墨法的灵活运用密切相关的，湿墨决不是简单化的水量的增加。吴历云：“江山无尽、万里长江两卷，……浑然天成，五墨齐备，盖仲圭擅长，非后学者所能措手。”“五墨齐备”是吴镇用墨的高超之处，为更好地发挥墨效，吴镇在选择作画材料上很有讲究，画梅竹喜用纸，画山水则喜用绢。画山水何以选绢，因为绢有厚度，纤维富韧性，多次渲染而不皱折。吴镇非常熟悉笔、墨、绢的特点，作画中的五墨并施而不腻，反复皴擦而不胀，产生了浓而润、湿而厚、涩而不干、枯而不燥的艺术效果。吴镇清淡似水，出现了浓而透的效果。今天看吴镇作品，仍能透过作品清楚的辨别它们的组织关系。清王原祁曰：“梅道人泼墨，学者甚多，皆粗服乱头，挥洒以自鸣得意，于节节肯綮处，全无梦见。无怪乎有墨猪之诮也。”王原祁的这一评论反映了吴镇的用墨技术是非常人所能学到的。吴氏的墨法，倾倒了元以后的历代大家，沈周、文徵明、恽南田、四王、吴历、八大山人等均对吴镇墨法大加推崇。",[23,24,28,25,567,7,61,64,1532,65,705,1952,1953,1954,671],"渔翁","蓑笠","滩涂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa87a6f1b399c367170da229c11d740f5.jpg","39x65",[69,109],{"id":1959,"slug":1960,"title":1961,"dynasty":18,"author":1409,"museum":116,"description":1962,"tags":1963,"thumbUrl":1965,"material":43,"size":1966,"collection":45,"collections":1967,"showCount":1934,"zanCount":370,"manualWeight":49,"mainColor":50},218845,"ying-tu-lin-liang-218845","鹰图","明代花鸟画家林良以画花鸟著称，主体多属富野逸之趣的禽鸟，如苍鹰、芦雁、寒鸦、麻雀、雉鸡、喜鹊等，也喜绘群鸟聚集景象，品类众多，情态各异，极富自然天趣。《秋鹰图》为林良代表作，幅中署款“林良”。在宋、元时代的画坛，就常能见到鹰类追捕鸟禽为主题的画作，通常以细腻的用笔与设色，描绘鹰类迴身俯衝，捕捉禽鸟的景况。林良採取类似的图绘模式：飞翔的雄鹰俯身扭转头部，以锐利的眼神盯住猎物，被追逐的八哥鸟落荒而逃，露出惊骇的神情。林良在画面左侧增添横出的枝柯，藉以平衡鸟禽的比例。更以写意没骨技法，以迅速地笔墨点染技巧，精准地捕捉自然界惊心动魄的一刻。",[24,28,99,119,25,7,83,1352,490,1964,155],"枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d271fc592f2aaf9b0f31185b041e211.jpg","133.4x80.5cm",[45],{"id":1969,"slug":1970,"title":179,"dynasty":55,"author":226,"museum":20,"description":763,"tags":1971,"thumbUrl":1972,"material":255,"size":766,"collection":158,"collections":1973,"showCount":1974,"zanCount":49,"manualWeight":49,"mainColor":74},234676,"zhu-shi-tu-zheng-ban-qiao-234676",[24,25,119,32,155,7,28,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4678f3aee954a45f278520cc553534f1.jpg",[],95,{"id":1976,"slug":1977,"title":1978,"dynasty":18,"author":212,"museum":333,"description":1979,"tags":1980,"thumbUrl":1981,"material":158,"size":158,"collection":158,"collections":1982,"showCount":1974,"zanCount":370,"manualWeight":49,"mainColor":74},228466,"luo-yang-chun-se-tu-chen-chun-228466","洛阳春色图","明陈淳洛阳春色图此卷绘数株盛开的牡丹，雍容华贵，以没骨法写意。\n湖石枯笔勾皴，淡墨晕染，色墨并用。\n画风疏爽秀逸，艳丽清新。\n自题：“己亥秋日，道复书并图。\n”款“道复制”，钤‘白阳山人“朱文方印、”复父氏“白文方印。\n拖尾自题草书牡丹诗。\n【名称】明 陈淳 洛阳春色图 ，横111.2厘米。\n南京博物院藏。\n（148-1544）：又作1482-159年，长洲（今江苏苏州）人。\n字道复，后以字行，更字复甫，号白阳，又号白阳山人。\n陈淳少年作画以元人为法，深受水墨写意的影响。\n他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。\n他的有些作品，所画质朴，可以看出受沈周画法的影响。\n与徐渭并称白阳青藤。\n陈氏少年作画工细，中年后笔法放纵，自立门户。\n陈淳师从文徵明，在其门下声誉最高。\n曾评其曰：“吾于道复仅举业师耳，其书画自有门径。\n” 己亥为嘉靖十八年，作者时年五十七岁。",[23,24,28,27,60,25,7,83,35,155,30,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecafa67ce26c246c916ad4fb011d6f4d.jpg",[],{"id":1984,"slug":1985,"title":1986,"dynasty":18,"author":212,"museum":116,"description":1987,"tags":1988,"thumbUrl":1993,"material":67,"size":1994,"collection":45,"collections":1995,"showCount":1974,"zanCount":49,"manualWeight":49,"mainColor":74},222555,"qiu-tang-hua-ya-zhou-chen-chun-222555","秋塘花鸭轴","陈淳，1483年生，1544年逝世（另一种说法是1482—1539），长洲（今江苏苏州）人。字道复，后以字行，更字复甫，号白阳，又号白阳山人。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。在绘画史上，陈淳与徐渭并称为“白阳、青藤”， 陈淳的绘画当属文人隽雅一路的，即“白阳”一派画家。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。\n陈淳中年以后间作山水，技法学米友仁、高克恭，多以江南风景为题材，手法简练，极具文人生活情趣，文徵明曾微笑着说：“吾道复举业师耳，渠书、画自有门径，非吾徒也。”存世作品有《红梨诗画图》《山茶水仙图》《葵石图》《罨画图》等。其子陈括继承父风、擅花卉。\n陈淳绘山水，效法米友仁、高克恭，水墨淋漓，颇得氤氲之气。他的泼墨之功，往往见于画烟云之中。在写意花卉方面，陈淳独得玄门，笔法挥洒自如，富有疏朗轻健的风姿，用墨设色，则如徐沁所谓“浅色淡墨之痕俱化矣！”王世贞在《州续稿》中说：“胜国（元朝）以来，写花卉者无如吾吴郡，而吴郡自沈启南（周）后，无如陈道确，陆叔平（治）”。近代画家如蒲华、吴昌硕、齐白石等，在诗文题书画中，都对陈淳做出了极高的评价。明万历年间即有人曾评价过陈淳在花卉方面的造诣和声誉都超过了文征明，成为继沈周之后的吴门大家。明清以来画家，尤其在花鸟画方面，受他的影响很深。他与徐渭齐名，人称“青藤白阳”。现存的陈淳作品大部分均在博物馆收藏，民间甚少得见。",[23,24,119,25,60,7,83,121,124,1989,123,705,1990,1911,633,39,279,1487,304,857,1991,1992],"鸭子","明代","水墨设色","明代绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ed2c1673a772976ff5fcf779defb76.jpg","90.8x36.2厘米",[45,71],{"id":1997,"slug":1998,"title":1999,"dynasty":18,"author":19,"museum":152,"description":2000,"tags":2001,"thumbUrl":2002,"material":43,"size":2003,"collection":158,"collections":2004,"showCount":1974,"zanCount":49,"manualWeight":49,"mainColor":74},220101,"shi-er-mo-hua-tu-juan-4-xu-wei-220101","十二墨花图卷-4","此卷徐渭充分发挥了其高超的水墨表现力，以狂放的笔触，淋漓的水墨，变化多端的笔锋，泼墨、焦墨、破墨、双勾并用，寥寥数笔即勾画出了各种花卉的特征，简约却颇具神采。",[23,24,28,27,25,83,7,100,29,30,35,36,40,141],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102a8eb2b6b2546b1fba3bbf5502311f.jpg","全卷32.8cm×544cm",[],{"id":2006,"slug":2007,"title":2008,"dynasty":55,"author":2009,"museum":1329,"description":2010,"tags":2011,"thumbUrl":2012,"material":43,"size":2013,"collection":45,"collections":2014,"showCount":1974,"zanCount":49,"manualWeight":49,"mainColor":74},216113,"song-ying-tu-gao-qi-pei-216113","松鹰图","高其佩","高其佩的指画，墨法得力于吴镇，形象近于吴伟，以减笔写意法见长，尤喜画虎、画钟馗。在技巧方面，他在《述画诗》中道：“吾画从吾手，甲骨掌背俱，手落尚无物，物成手却无。”可见他的指画运用了手的各个部分。他的指画有“叱石成羊”之妙，人物形象极为生动，面部用尖指甲细勾，简练传神，画衣纹指尖指甲并用，顿挫自如，冠靴用指掌涂抹，墨色浑然；花鸟画则随意点染的浓淡干湿墨色，飞动不露笔痕的粗细线条，蹲鹰的蓬松羽毛，老树的苍劲之质均表现得十分出色。\n高其佩以指画在画坛独树一帜，指画作品清、奇、简淡浑厚，而神韵尤在指墨之外，其艺术成就，对后世影响很大。在他之后，出现了很多知名指画家，其中包括他的徒弟“扬州八怪”的罗聘，李鱓和黄慎亦擅指画，清晚期著名的指画家就有一百多人，现代国画大师潘天寿、钱松岩等都深受其影响。他的指画创作则信手一挥，倾刻数十幅，令人惊讶，一生的作画数量极为惊人。主要作品有：《饱虎图》、《雁行图》、《怒容钟馗图》、《梧桐喜鹊图》、《虬松莫岫图》、《高冈独立图》、《稻穗螳螂图》、《松阴小琪图》、《指画人物》册等。",[23,24,99,25,7,567,119,571,489,490,1352,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff940dda9a789d8da923f8b9917eaad90.jpg","172x90cm",[45],{"id":2016,"slug":2017,"title":2018,"dynasty":237,"author":835,"museum":486,"description":2019,"tags":2020,"thumbUrl":2023,"material":158,"size":158,"collection":158,"collections":2024,"showCount":2025,"zanCount":49,"manualWeight":49,"mainColor":74},220554,"song-ren-pi-ma-chang-xiao-shi-yi-xu-bei-hong-220554","宋人匹马长啸诗意","以浓淡干湿的墨色晕染出骏马的遒劲筋骨，鬃尾以狂放泼墨扫就，翻卷如疾风吹过，将骏马桀骜昂扬的神采尽皆彰显。背景柳丝荒草以淡墨虚笔铺陈，留白烘托出马的苍劲雄浑，虚实相生间，旷野清寂与骏马长嘶的氛围感扑面而来，仿佛能听见振鬣嘶鸣的回响，将诗意化为鲜活的视觉意象。写实造型与写意笔墨浑然相融，既见骏马剽悍俊朗的体态，又尽显旷远灵动的意境，把旷野孤马的豪迈洒脱诠释得淋漓尽致。",[23,24,25,7,1304,2021,2022],"草地","柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa604243463a321fc532bc209c6152f12.jpg",[],94,{"id":2027,"slug":2028,"title":2029,"dynasty":55,"author":56,"museum":2030,"description":2031,"tags":2032,"thumbUrl":2033,"material":157,"size":2034,"collection":871,"collections":2035,"showCount":2025,"zanCount":189,"manualWeight":49,"mainColor":74},216737,"tan-zhu-tu-huang-shen-216737","探珠图","南京博物院","这些人物以狂野的斜体线条生动地呈现出来。笔触干净而流畅，无论是下龙取珠的老人还是婀娜多姿的女仙，都很好地表达了性格的刚强和形式的力量之间的对比。通过大面积的水墨渲染，云朵和波浪显露出来，创造出一种奇怪的危险气氛和一个充满勇气的世界。",[23,24,28,99,119,25,60,62,7,104,31,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20d0167c87aa5f07e7434b67578e3bc7.jpg","纵185厘米，横107厘米",[871],{"id":2037,"slug":2038,"title":2039,"dynasty":18,"author":212,"museum":213,"description":214,"tags":2040,"thumbUrl":2041,"material":43,"size":219,"collection":158,"collections":2042,"showCount":2025,"zanCount":49,"manualWeight":49,"mainColor":74},214620,"hua-hui-ce-21-chen-chun-214620","花卉册-21",[24,25,7,217,28,34,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F610ad50195f120bc2cf0a96d0f254470.jpg",[],{"id":2044,"slug":2045,"title":2046,"dynasty":2047,"author":2048,"museum":1049,"description":2049,"tags":2050,"thumbUrl":2052,"material":84,"size":2053,"collection":871,"collections":2054,"showCount":2055,"zanCount":370,"manualWeight":49,"mainColor":74},221178,"er-zu-diao-xin-tu-shi-ke-221178","二祖调心图","五代十国","石恪","画面展现了两个禅定状态的高僧。其一，头枕屈臂，趴在一只睡虎身上，脸部的五官挤压在一起，呈现了睡眠的神态。其二，弯臂以手托腮，依在自己的右腿上，同样表现了睡眠的神态。但两者有所不同。前者全身依托于睡虎，可谓“沉睡入泥”，生动地表现了高僧达到了酣睡入梦、超脱一切的禅定境地。而后者的头躯则是依托于自身的支撑，入微地表现了高僧若有所思、静心似睡的禅定状态。简而言之，前者突出了一个“静”字，而后者则突出了一个“酣”字。\n《二祖调心图》在表现手法上“删繁就简”，“虚实相生”，“无画处皆成妙境”，正是道家精神的体现。",[23,99,24,28,25,2051,62,568,7,305],"宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a98bd3b86105555a71ed545d41d263.jpg","纵35.5厘米，横129厘米",[871,109],93,{"id":2057,"slug":2058,"title":2059,"dynasty":18,"author":19,"museum":20,"description":2060,"tags":2061,"thumbUrl":2062,"material":268,"size":938,"collection":158,"collections":2063,"showCount":2064,"zanCount":49,"manualWeight":49,"mainColor":74},233886,"lv-bei-yin-shi-tu-xu-wei-233886","驴背吟诗图","作为明代花鸟画坛独领风骚、以大写意画法见称的徐渭，留下的人物画迹并不多见。他所画的人物有诗人，有隐士，有观音，有儿童，虽然笔墨简练，但形象生动，神韵自存。\n《驴背吟诗图》中并无徐渭自题或钤印，画幅上仅有清初书画鉴赏家笪重光、张孝思的两段鉴定文字，左上为“徐田水月驢背吟詩圖，笪在辛鑒定”，右下为“以書法作畫，古人中多見之。此畫雖無款識，爲徐文長先生筆意靡疑。懶逸張孝思鑒。”自此，此图被公认为徐氏真迹。\n图上树枝间所盘青藤纷披垂落，树下一老翁乘驴缓缓而过，仿佛正在吟哦诗句，悠然雅适。宋代孙光宪的《北梦琐言》（卷七）中记载，唐时有人询问诗人郑棨近来是否写有新诗，郑棨回答：“诗思在灞桥风雪中的驴子上，此处何以得之？”此后，表现诗人骑驴游山涉水寻诗觅句的题材逐渐为画家们所青睐。徐渭的这幅画当属此类绘画中以笔墨意趣取胜的佳作。他画人物多用“减笔”法绘出，且构图简略，往往只画前景，远景常几笔带过，有时甚至完全省略。《驴背吟诗图》上老翁和驴仅用寥寥数笔便形神俱备，尤其是对驴子的描绘，用解剖学的眼光看驴的造型并不准确，而它那踏着轻快步伐的神气却跃然纸上。背景树枝、藤蔓则笔点零乱，使人顿有秋色萧索之感。运用恰到好处的省略手法，徐渭营造了一个空而不虚、意境深远的艺术空间。以书法笔意入画是《驴背吟诗图》的又一特色。图中人、驴、树、藤的画法隐有真、行、草、隶之笔意，令人感觉其间有一股勃勃不息的活力，这正是徐渭之画能脱俗免尘、卓尔不群之处。明末清初的张岱对徐渭的书画艺术创作有过中肯的评价：“昔人谓摩诘之诗，诗中有画；摩诘之画，画中有诗。余亦谓青藤之书，书中有画；青藤之画，画中有书。”",[24,25,7,119,62,936,817,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99d461acc6ac4f5a17dde4039154ab4c.jpg",[],92,{"id":2066,"slug":2067,"title":2068,"dynasty":55,"author":1125,"museum":116,"description":1484,"tags":2069,"thumbUrl":2070,"material":157,"size":158,"collection":158,"collections":2071,"showCount":2064,"zanCount":370,"manualWeight":49,"mainColor":74},214854,"xie-sheng-ce-10-hua-yan-214854","写生册-10",[99,24,28,217,60,7,266,1690,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c22dd57e8312db10b0da18f4b21fb8c.jpg",[],{"id":2073,"slug":2074,"title":2075,"dynasty":55,"author":400,"museum":333,"description":2076,"tags":2077,"thumbUrl":2078,"material":158,"size":158,"collection":45,"collections":2079,"showCount":2080,"zanCount":49,"manualWeight":49,"mainColor":74},236536,"ju-hua-zhou-xu-gu-236536","菊花轴","虚谷（1824—1896年），姓朱，名怀仁，出家为僧后以虚谷名，号紫阳山民、倦鹤等，祖籍安徽新安（今歙县），寓居扬州、苏州、上海等地，卖画为生。能诗擅画，工于书法，尤以善绘瓜果鱼蔬、人物、山水等为人称道。喜用枯笔焦墨，具有拙于外秀于内的笔墨特征。与任颐、胡公寿等交往密切，是晚清著名的海上名家。",[24,28,119,25,60,83,41,7,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b132bc15cc8d2b8bf8215263d9b1c17.jpg",[45,109],91,{"id":2082,"slug":2083,"title":2084,"dynasty":55,"author":451,"museum":333,"description":1880,"tags":2085,"thumbUrl":2086,"material":478,"size":479,"collection":158,"collections":2087,"showCount":2080,"zanCount":370,"manualWeight":49,"mainColor":74},235635,"bai-lian-tu-zhou-wu-chang-shuo-235635","白莲图轴",[24,28,119,25,60,83,34,122,404,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82c0df205ec2ce42c42492c16896f1a8.jpg",[],{"id":2089,"slug":2090,"title":2091,"dynasty":18,"author":19,"museum":20,"description":2092,"tags":2093,"thumbUrl":2094,"material":84,"size":2095,"collection":158,"collections":2096,"showCount":2080,"zanCount":370,"manualWeight":49,"mainColor":74},233727,"mo-hua-juan-xu-wei-233727","墨花卷","本幅水墨花卉十六段，其顺序是：牡丹、梅花、竹石、玉簪、绣球、萱草、荷花、石榴、芙蓉、秋海棠、菊花、秋葵、双勾竹、水仙、茶花、梅花每段自题七绝一首。末端自题诗。款：“万历五年重九为从子十郎君戏作于木瓜桥之花园馆，金晶山人”印“文长”“两溟渔鸣”白方。引首自书“识得东风”后幅吴俊卿题记。",[24,28,27,25,7,29,30,100,31,40,32,41,34,39,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3841d2a97c07af3531a1bd134c1503b.jpg","纵30cm横54.7cm",[],{"id":2098,"slug":2099,"title":2100,"dynasty":237,"author":835,"museum":486,"description":2101,"tags":2102,"thumbUrl":2103,"material":158,"size":158,"collection":158,"collections":2104,"showCount":2080,"zanCount":49,"manualWeight":49,"mainColor":74},220530,"shuang-mao-xu-bei-hong-220530","双猫","幽蓝繁枝澹叶垂落，晕开清寂雅致的底色。两只狸奴静踞石上，一醒一眠相映成趣。左侧玄纹花猫抬眸平视，蓬松绒毛以淡墨晕染留白，将软绒质感描摹入微，神情警觉又暗含温驯灵动。右侧花斑小猫蜷身假寐，柔润笔触晕出慵懒憨态。\n\n下方顽石以泼墨写意而成，枯涩苍劲的笔墨衬出朴拙厚重，与猫的柔润形成鲜明刚柔对照。整幅画作融中西技法，以写实造型捕捉生灵鲜活意态，又以文人水墨营造幽澹氛围，将闲庭猫趣定格纸面，尽显悠然松弛的闲适意韵。",[23,99,24,28,119,25,60,7,266,429,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd12e40cf83c19d7df05c2ff1a576a69e.jpg",[],{"id":2106,"slug":2107,"title":887,"dynasty":55,"author":451,"museum":333,"description":1210,"tags":2108,"thumbUrl":2109,"material":158,"size":158,"collection":45,"collections":2110,"showCount":2111,"zanCount":370,"manualWeight":49,"mainColor":74},236709,"mo-he-zhou-wu-chang-shuo-236709",[24,28,119,25,7,34,121,29,30,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26fa54def8562aff21aef714166c0d1f.jpg",[45,929],90,{"id":2113,"slug":2114,"title":649,"dynasty":55,"author":1340,"museum":333,"description":2115,"tags":2116,"thumbUrl":2117,"material":158,"size":158,"collection":158,"collections":2118,"showCount":2111,"zanCount":49,"manualWeight":49,"mainColor":74},224332,"he-hua-tu-zhou-li-shan-224332","这幅作品以书入画，诗墨相融。狂放苍劲的题笔沿边排布，与水墨荷塘相映成趣。荷叶以泼墨晕染，浓淡干湿间尽显酣畅野逸，墨色沉凝处如积雨重碧，浅淡处似晓露初歇。花瓣以淡墨轻勾，含露亭亭，在浓墨荷叶的衬托下愈显清柔雅致。\n笔线纵恣写意，荷梗挺拔舒展，卷叶、莲蓬错落点缀，虚实相生间晕开荷塘清寂又蓬勃的生机。整幅将物象风神与文人意趣交织，以大写意笔法把荷塘逸态与胸中意气相融，尽显疏朗狂逸的格调，是性情与笔墨共生的绝佳范本。",[23,24,28,119,25,7,30,100,121,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b036304de3bc3acd1b8f63768ad6326.jpg",[],{"id":2120,"slug":2121,"title":2122,"dynasty":94,"author":95,"museum":2123,"description":2124,"tags":2125,"thumbUrl":2127,"material":2128,"size":2129,"collection":107,"collections":2130,"showCount":2111,"zanCount":49,"manualWeight":49,"mainColor":50},221459,"mo-long-juan-chen-rong-221459","墨龙卷","日本民间","此画绘墨龙一条，圆睁两眼，昂首腾空，遨游于云天之中。\n画面乌云密布，雷电交加，洪水汹涌，生动地表现了墨龙的雄奇和兴云作雨的本领。\n作者用泼墨和破墨画浓云，用墨线表现起伏的洪水，用笔劲健。",[23,24,25,27,102,2126,104,7,336],"云","https:\u002F\u002Foss.chuan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余恨不能踵其后尘也。乾隆十七年(1752)，回到杭州旧居解弢馆。乾隆二十一年卒，有《离垢集》5卷。",[24,28,217,60,25,7,83,138,1690,216,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7a15ddd053c23937374547a7f95ffdd.jpg","31.2×44.7厘米",[45],86,{"id":2197,"slug":2198,"title":2199,"dynasty":55,"author":151,"museum":333,"description":2200,"tags":2201,"thumbUrl":2202,"material":478,"size":479,"collection":158,"collections":2203,"showCount":2195,"zanCount":49,"manualWeight":49,"mainColor":50},224528,"mu-dan-lan-hua-tu-zhou-shi-tao-224528","牡丹兰花图轴","石涛的花鸟、兰竹，多用水墨写意法，行笔爽利，用墨淋漓简练，给人以清峻、挺拔、浑厚之感。石涛的兰竹画为中国画史中的一绝。图中兰叶瘦劲，浓墨托出，交迭穿插，兰花散发出幽香。",[23,99,24,28,119,25,7,29,100,83,35,40],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9163948f16c605409d424d9bc05e56.jpg",[],{"id":2205,"slug":2206,"title":2207,"dynasty":55,"author":1125,"museum":20,"description":2208,"tags":2209,"thumbUrl":2212,"material":456,"size":2213,"collection":45,"collections":2214,"showCount":2215,"zanCount":49,"manualWeight":49,"mainColor":74},233941,"hua-yan-qiang-wei-shan-niao-zhou-hua-yan-233941","华嵒蔷薇山鸟轴","华嵒作为活跃于扬州卖画的职业画家，其花鸟画创作善于捕捉自然界中最生动的天趣。图绘春光明媚的时节，一只山鸟栖于蔷薇枝头，引吭高鸣，其清脆的鸣声不仅令无声的画面声情并茂，且生动地图解了“花气晴熏日，鸟声娇战春”之诗意。此图笔墨松秀，设色清丽淡雅，造型自然传神，构图简约空灵，显示了画家在小写意花鸟画方面的非凡造诣和俊逸清新的独特画风。",[24,99,119,60,25,7,83,2210,2211,155],"蔷薇","山鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52c4ffd5974bd96e38b7cc4bca6e60ff.jpg","纵127.1厘米，横55.5厘米",[45],85,{"id":2217,"slug":2218,"title":2219,"dynasty":18,"author":212,"museum":499,"description":500,"tags":2220,"thumbUrl":2222,"material":67,"size":504,"collection":158,"collections":2223,"showCount":2215,"zanCount":49,"manualWeight":49,"mainColor":74},222568,"hua-hui-tu-7-chen-chun-222568","花卉图7",[23,99,24,28,1990,7,25,60,83,39,216,404,2221,857],"花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42c3b1556563313a1660bdbd2d2b3b30.jpg",[],{"id":2225,"slug":2226,"title":2227,"dynasty":94,"author":300,"museum":2228,"description":2229,"tags":2230,"thumbUrl":2231,"material":43,"size":2232,"collection":45,"collections":2233,"showCount":2215,"zanCount":370,"manualWeight":49,"mainColor":74},218640,"qiu-lan-tu-quan-juan-zheng-si-xiao-218640","秋兰图全卷","耶鲁大学艺术博物馆","这幅画描绘了一棚无根的兰花，只有几片叶子，其中两片叶子细长而美丽，右边的兰花盛开，芳香四溢。",[23,24,28,27,25,7,40,29,30,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff50b81ebe46546096d829c3ee4a31f63.jpg","23.2x55.6",[45],{"id":2235,"slug":2236,"title":463,"dynasty":18,"author":212,"museum":116,"description":2237,"tags":2238,"thumbUrl":2239,"material":157,"size":2240,"collection":45,"collections":2241,"showCount":2242,"zanCount":49,"manualWeight":49,"mainColor":74},214727,"mu-dan-tu-chen-chun-214727","这幅画是用牡丹树枝作画，用的是没骨法，笔触很活泼，又很沉稳，不过很可惜，随着时间的推移，颜料已经褪色，让人感觉略显淡薄。这些铭文质量很高，是白杨对毛笔的熟练掌握的结果。碑文写于1544年，在他的最后一年。铭文和绘画各占面板的一半，诗句通过歌唱花朵来传达 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并称“青藤白阳”，为明代中期水墨写意花卉画创出新格调的代表人物。",[24,119,25,83,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78a6bc858d99429f0d210e5e62f738e6.jpg",[],83,{"id":2253,"slug":2254,"title":2255,"dynasty":94,"author":2256,"museum":135,"description":2257,"tags":2258,"thumbUrl":2259,"material":185,"size":158,"collection":45,"collections":2260,"showCount":2251,"zanCount":370,"manualWeight":49,"mainColor":1917},218909,"song-xia-qun-lu-tu-ma-yuan-218909","松下群鹿图","马远","松枝如铁线盘曲，苍劲中透着清逸，松针细密如织，筛下斑驳光影。鹿群或静立凝神，或缓步石间，与松涛山影相融成趣。远山以淡墨晕染，云雾似轻纱流转，留白处尽展天地空阔。笔墨简练却意境悠远，枯润相生的笔触里，藏着宋人对自然的敬畏与诗意栖居的向往。边角构图见乾坤，每一处细节都透着匠心，将山水的静谧与生灵的灵动悄然铺展，让观者在静谧中感受山林间的和谐共生，沉醉于宋画独有的雅致与哲思。",[23,24,571,61,428,104,429,25,7,119,379],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6bebd7f7819200a7a40265b7a859bb3.jpg",[45,69],{"id":2262,"slug":2263,"title":2264,"dynasty":55,"author":2265,"museum":213,"description":2266,"tags":2267,"thumbUrl":2268,"material":43,"size":2269,"collection":45,"collections":2270,"showCount":2251,"zanCount":370,"manualWeight":49,"mainColor":74},218902,"mao-tu-zhou-wang-shi-shen-218902","猫图轴","汪士慎","此轴画一黑白相间的猫蹲踞石上，双目斜睨画外，神态生动。画上题诗“每餐先备买鱼钱，曾记携归小似拳，一自爪牙动黠鼠，傍人安稳卧青氊”。并题为雍正六年戊申（1728）九月所画，时年32岁。",[24,25,7,119,266,491,1690,817,29,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e98d0a6a379b6c7d84e39c07b0d0aec.jpg","纵125.7厘米，横60.8 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横47.9厘米",[45,71],{"id":2359,"slug":2360,"title":2361,"dynasty":18,"author":212,"museum":20,"description":1987,"tags":2362,"thumbUrl":2363,"material":2364,"size":2365,"collection":45,"collections":2366,"showCount":2367,"zanCount":370,"manualWeight":49,"mainColor":50},222554,"zhuo-se-hua-hui-tu-zhou-chen-chun-222554","着色花卉图轴",[23,24,99,28,119,60,7,83,39,32,155,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b64f49771959cb9dc4b2d40a00c7aad.jpg","绢本设色","59cmx113.4cm",[45,71],78,{"id":2369,"slug":2370,"title":2371,"dynasty":18,"author":578,"museum":213,"description":2372,"tags":2373,"thumbUrl":2376,"material":2364,"size":2377,"collection":69,"collections":2378,"showCount":2367,"zanCount":49,"manualWeight":49,"mainColor":74},222092,"liang-jiang-ming-sheng-tu-ce-shen-zhou-222092","两江名胜图册","此图册描绘长江、准河两岸的山水景致和名胜古迹，表现的是江南水乡那种湿润清丽，明媚幽雅的风光。该图墨色富有变化，集中体现了沈周山水画风格。\n构图:纵观画册，画面剪裁简明、选取富有鲜明特点的景物，可以这样概括为图写真景，赋诗纪游，这与他一生与山林为伍，即有着他自己的生活的基础，才能描写出这些耐人寻味的景致。同时，又必须指出，其中不少构图为使人产生更多的联想、增加一些画外的意境，以此作背景来更加鲜明地衬托出每一画幅中的主题，构成诗意盎然的境界。\n技法:笔法上，只要细察，不难发现，在这十幅作品中，有的工密，有的疏简，布置或繁密谨严，或平凡简洁。用笔力、韵兼胜、不刻露，显得厚重凝炼。山石的繁笔勾皴和屋宇台阁的简笔勾勒，形成疏密对比。人物比例虽小，但那安然自得神态，极为生动，与整个自然融为一体。至于各画的墨色深浅、浓淡、干湿、轻重富有变化，使画面产生强烈的装饰美感。",[23,99,24,28,217,169,60,25,567,2374,321,7,63,65,62,2375],"界画","诗意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddae55cb9acf046e83c10499f6b45c6d.jpg","42.2×23.8厘米",[69],{"id":2380,"slug":2381,"title":2382,"dynasty":55,"author":715,"museum":20,"description":2383,"tags":2384,"thumbUrl":2387,"material":157,"size":2388,"collection":871,"collections":2389,"showCount":2367,"zanCount":49,"manualWeight":49,"mainColor":74},219631,"feng-yu-du-qiao-tu-ren-yi-219631","风雨渡桥图","狂风卷着冷雨席卷而来，柳丝如乱发狂舞，将滂沱之势尽显。渡桥二人缩肩弓背，撑伞者竭力护着身旁同伴，浓淡墨色晕染出湿衣的沉坠褶皱，仓促步履间却带着相携的温情，将风雨里的窘迫暖意定格。\n\n石桥以枯笔泼墨绘就，苍劲厚重，和柔媚翻飞的柳丝形成刚柔反差。水面以淡墨晕开朦胧水雾，暗藏雨打涟漪的空濛，左下角水草斜偃，呼应着肆虐风势。画作以大写意笔墨铺陈天候之烈，又于人物眉眼间刻画入微，将外在风雨与内在人情相融，落笔酣畅洒脱，意韵悠长动人。",[23,24,119,25,60,7,62,200,429,2385,2386],"风雨","渡桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb7f921eff5817be7c13f4bae6cb7363.jpg","155.5x43.5厘米",[871,71],{"id":2391,"slug":2392,"title":2393,"dynasty":94,"author":2394,"museum":135,"description":2395,"tags":2396,"thumbUrl":2401,"material":281,"size":2402,"collection":69,"collections":2403,"showCount":2367,"zanCount":189,"manualWeight":49,"mainColor":50},218233,"shen-shan-fang-yin-tu-yu-jian-218233","深山访隐图","玉涧","枯松斜倚崖边，松针以墨线疏疏勾出，苍劲中带着荒寒之韵。山石轮廓用简练笔触皴擦，肌理分明，层层向远延伸，山岚似轻烟漫过谷间，模糊了远近界限。林麓深处，几椽屋舍隐现，被松影与雾气轻掩，恰是访隐者追寻的幽居。画面色调古雅，绢本沉郁质感衬得水墨清寂。墨笔题识错落右上角，文气与画意相融，似诉说访隐心境。整幅画以简淡之笔勾勒深山静谧幽深，每一线条、每块墨色都透着对隐逸之境的向往，让人仿佛听见山风穿松的轻响，触摸到林间清寒气息。",[24,25,169,567,7,61,489,140,1264,65,2397,2398,2399,103,2400],"小屋","峭壁","路径","深山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46171ff02094154282d5be54ddfea031.jpg","93x40cm",[69],{"id":2405,"slug":2406,"title":2407,"dynasty":94,"author":413,"museum":135,"description":2408,"tags":2409,"thumbUrl":2410,"material":185,"size":2411,"collection":45,"collections":2412,"showCount":2367,"zanCount":370,"manualWeight":49,"mainColor":50},216905,"yuan-hou-tu-mu-xi-216905","猿猴图","猿猴图是宋朝画家牧溪的一幅名作。这幅画描绘了一群猿猴在森林中的生活。牧溪在这幅画中展现了猿猴的各种姿态和表情，并通过森林的树木、花草和鸟类来增强画面的生动感。这幅画被认为是牧溪最优秀的作品之一，其中巧妙地融合了传统中国画风和西方透视画法。",[24,99,25,568,1283,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd2f9647d72e31482e658c10b4cc0b24.jpg","88x33cm",[45],{"id":2414,"slug":2415,"title":2416,"dynasty":55,"author":2417,"museum":333,"description":2418,"tags":2419,"thumbUrl":2421,"material":158,"size":158,"collection":69,"collections":2422,"showCount":2423,"zanCount":49,"manualWeight":49,"mainColor":74},239477,"shan-shui-zhou-kun-can-239477","山水轴","髡残","髡[kūn]残（1612-1692），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。",[24,25,567,119,61,200,1532,65,140,103,62,2420,1964,2399,7],"屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59008fa5f9a110c1ebed1091d2f5520e.jpg",[69,109],77,{"id":2425,"slug":2426,"title":2427,"dynasty":55,"author":2428,"museum":333,"description":2429,"tags":2430,"thumbUrl":2432,"material":84,"size":2433,"collection":45,"collections":2434,"showCount":2423,"zanCount":49,"manualWeight":49,"mainColor":74},222708,"mei-hua-tu-zhou-jin-nong-222708","梅花图轴","金农","金农（1687年—1763年），字寿门、司农、吉金，号冬心先生、稽留山民、曲江外史、昔耶居士等，因其人生历经康熙、雍正、乾隆三朝，所以自封“三朝老民”的闲号，钱塘（今浙江杭州）人，布衣终身。清代书画家，扬州八怪之首。\n他好游历，卒无所遇而归。晚寓扬州，卖书画自给。嗜奇好学，工于诗文书法，诗文古奥奇特，并精于鉴别。书法创扁笔书体，兼有楷、隶体势，时称“漆书”。五十三岁后才工画。其画造型奇古，善用淡墨干笔作花卉小品，尤工画梅。\n代表作有《东萼吐华图》《空捍如洒图》《腊梅初绽图》《玉蝶清标图》《铁轩疏花图》《菩萨妙相图》《琼姿俟赏图》等。著有《冬心诗集》《冬心随笔》《冬心杂著》等\n\n书法成就:\n金农是扬州八怪的核心人物。他在诗、书、画、印以及琴曲、鉴赏、收藏方面都称得上是大家。金农从小研习书文，文学造诣很高。浓厚的学养使他居于“扬州八怪”之首。\n但是金农天性散淡，他的书法作品较扬州八怪中的其他人来说，传世作品数量是非常少的。他生活在康、雍、乾三朝，因此他给自己封了个“三朝老民”的闲号。金农初不以工书为念，然书法造诣却在“扬州八怪”中成为最有成就的一位，特别是他的行书和隶书均有着高妙而独到的审美价值。\n他的隶书早年是“墨守汉人绳墨”的，风格规整，笔划沉厚朴实，其笔划未送到而收锋，结构严密，多内敛之势，而少外拓之姿，具有朴素简洁风格，金农的书法艺术以古朴浑厚见长。他首创的“漆书”，是一种特殊的用笔用墨方法。“金农墨”浓厚似漆，写出的字凸出于纸面。所用的毛笔，象扁平的刷子，蘸上浓墨，行笔只折不转，象刷子刷漆一样。这种方法写出的字看起来粗俗简单，无章法可言，其实是大处着眼，有磅礴的气韵。\n最能反映金农书法艺术境界的是他的行草。他将楷书的笔法、隶书的笔势、篆书的笔意融进行草，自成一体，别具一格。其点画似隶似楷，亦行亦草，长横和竖钩都呈隶书笔形，而撇捺的笔姿又常常近于魏碑，分外苍劲、灵秀。尤其是那些信手而写的诗稿信札，古拙淡雅，有一种真率天成的韵味和意境，令人爱不释手。 金农的行书从其早期开始就不入常格，而以碑法与自家的“漆书”法写成的行草书，用笔率真，随心所欲，点画浪藉而又笔墨醇厚，粗头烂服之间，透出苍逸稚拙之趣，令人叹服；其“写经雕版”式的楷书，似乎与民间书法一脉相通，没有轻重的线条变化和圆润的转折用笔，也没有提顿中的波挑，以均匀的线条和方硬的转折，书写出类似单线体美术字的书体，却又具有器形文字般的古茂，其书法的启迪意义非常深远。传世书迹有《度量如海帖》，今流入日本。《盛仲交赞》，绢本漆书。\n\n绘画成就:\n年五十始从事于画，涉笔即古，脱尽画家之习，良由所见古迹多也。初写竹师石室老人，号稽留山民，继画梅师白玉蟾，号昔邪居士。画佛号心出家盦粥饭僧。又画马自谓得曹、韩法，赵王孙不足道也。其山水花果布置幽奇，点染闲冷，非复尘世间所睹，盖皆意为之。问之则曰贝多龙窠之类也。他画梅，自称“江路野梅”、要求“天大寒时香千里”，画马题道：“今予画马，苍苍凉凉，有顾影酸嘶自怜之态，其悲跋涉之劳乎？世无伯乐，即遇其人，亦去暮矣？吾不欲求知于风尘漠野之间也。”足见其怀才不遇的心情。他在一册页上画一士大夫高卧四面通风的水池亭中，题曰：“风来四面卧当中”。逍遥自在，不及世事，亦以“清高”自居。金农申言要把自己“平生高岸之气”，一一见之画中。“以抒不平鸣”。在一幅《墨竹图》中，他竟然直书：“磨墨五升，画此狂竹，不钓阳鲚，而钓诸侯也。” 喜画瘦竹，说“画竹宜瘦，瘦多寿，自然饱风霜耳”。每画毕，必有题记，如“虚心高节，挺立不屈，久而不改其操，竹之美德也。”《雨后修篁图》题诗曰：“雨后修篁分外青，萧萧如在过溪亭。世间都是无情物，只有秋声最好听。”\n所画人物造型奇古夸张，笔法古拙简练，形象鲜明突出；山水构图别致，随意挥写点染，简朴疏秀 ；其梅、竹用笔奇拙 ，凝练厚重 。书法从《天发神谶碑》、《禅国山碑》、《谷郎碑》变化而出，运笔扁方，竖轻横重，别具奇趣，风格独特，自谓漆书。金农的书画在当时享誉很高 ，为扬州八怪之一 。有《山水人物册》、《月华图》、《携杖图》、《东萼吐华图》、《墨竹图》等传世。著《冬心诗集》、《冬心随笔》、《冬心杂著》等。",[23,24,119,25,7,31,404,155,100,29,2431],"漆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa7b6c67932d0a5c269f78907c8a7ade.jpg","61cmx33cm",[45,71],{"id":2436,"slug":2437,"title":2438,"dynasty":18,"author":79,"museum":702,"description":2439,"tags":2440,"thumbUrl":2441,"material":67,"size":2442,"collection":45,"collections":2443,"showCount":2423,"zanCount":49,"manualWeight":49,"mainColor":74},221992,"song-shi-gao-shi-tu-wen-zheng-ming-221992","松石高士图","据蔡羽序记，正德十三年二月十九日，文徵明与好友蔡羽、王守、王宠、汤珍等人至无锡惠山游览，品茗饮茶，吟诗唱和，十分相得，事后便创作了这幅记事性作品。画面采用截取式构图，突出“茶会”场景，在一片松林中有座茅亭泉井，诸人冶游其间，或围井而坐，展卷吟哦，或散步林间，赏景交谈，或观看童子煮茶。人物面相虽少肖像画特征，大都雷同，动态、情致刻画却迥异，饶有生意，并传达出共通的闲适、文雅气质，反映了文人画家传神胜于写形的艺术宗旨。同时，青山绿树、苍松翠柏的幽雅环境，与文人士子的茶会活动相映衬，也营造出情景交融的诗意境界。",[23,24,61,428,104,429,60,7,119,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c92706428937b31f81e452f3db90dc6.jpg","纵71cm，横35cm",[45,71],{"id":2445,"slug":2446,"title":2447,"dynasty":18,"author":212,"museum":213,"description":214,"tags":2448,"thumbUrl":2449,"material":43,"size":219,"collection":158,"collections":2450,"showCount":2423,"zanCount":49,"manualWeight":49,"mainColor":74},214622,"hua-hui-ce-19-chen-chun-214622","花卉册-19",[24,28,99,217,25,7,83,31,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b278267b998a115bffa6c856ead4911.jpg",[],{"id":2452,"slug":2453,"title":2344,"dynasty":55,"author":451,"museum":333,"description":1880,"tags":2454,"thumbUrl":2455,"material":478,"size":479,"collection":158,"collections":2456,"showCount":2457,"zanCount":370,"manualWeight":49,"mainColor":74},239513,"mu-dan-shui-xian-zhou-wu-chang-shuo-239513",[24,119,60,83,7,35,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F608e8a39a2d5b5e7b4c77db06de234c4.jpg",[],76,{"id":2459,"slug":2460,"title":2461,"dynasty":55,"author":451,"museum":20,"description":2462,"tags":2463,"thumbUrl":2464,"material":456,"size":158,"collection":158,"collections":2465,"showCount":2457,"zanCount":49,"manualWeight":49,"mainColor":74},234303,"hua-hui-ce-wu-chang-shuo-234303","花卉册","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。”吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,28,217,60,7,83,392,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73b8f51f1b3a31f1c9e208eec84c89a4.jpg",[],{"id":2467,"slug":2468,"title":2469,"dynasty":237,"author":2470,"museum":897,"description":2471,"tags":2472,"thumbUrl":2473,"material":67,"size":158,"collection":158,"collections":2474,"showCount":2457,"zanCount":49,"manualWeight":49,"mainColor":74},220476,"wan-shan-hong-bian-li-ke-ran-220476","万山红遍","李可染","以大面积朱砂晕染层林，丹红似燃，浓烈却不失厚重意蕴，将秋山烂漫尽数铺展。焦墨勾勒山石轮廓，苍劲雄浑的墨色与艳烈丹红碰撞，生出极强视觉张力。垂落的飞瀑如素练破山而下，为沉郁秋景注入灵动生机。山坳间错落的白墙黛瓦民居，晕开一抹烟火暖意，让宏阔秋景多了几分温婉烟火气。笔力苍拙厚重，色彩对比强烈却和谐相融，将秋日山林的绚烂大气与静谧雅致合而为一，尽显秋山盛景的磅礴诗意。",[23,24,60,567,7,61,1533,172,1534,1401,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cecc510a934210856686c503976ce7a.jpg",[],{"id":2476,"slug":2477,"title":2478,"dynasty":55,"author":134,"museum":1889,"description":2479,"tags":2480,"thumbUrl":2481,"material":157,"size":158,"collection":69,"collections":2482,"showCount":2483,"zanCount":49,"manualWeight":49,"mainColor":74},219756,"shan-shui-tu-zhu-da-219756","山水图","以枯淡笔墨绘就天地疏景，线条老辣苍劲，不作浓艳晕染，大片留白代水映天，尽显空寂辽远。远山浅勾轻皴，淡宕朦胧如幻，近木虬曲怪诞，寥寥枝桠撑住清寒风骨。屋舍隐于林间坡岸，愈发衬出天地阒寂。\n\n整幅画将孤高沉郁藏在极简构图里，冷逸萧索的意境下，是遗世的喟叹，简淡笔触中尽是疏离孤傲的心境，于空荒冷寂间，晕开独有的禅意与沉郁诗意。",[23,24,28,25,7,567,61,549,140,671],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fb58644b54bbcc9aee7fe0bc1916a47.jpg",[69],75,{"id":2485,"slug":2486,"title":2487,"dynasty":18,"author":212,"museum":213,"description":214,"tags":2488,"thumbUrl":2489,"material":43,"size":219,"collection":158,"collections":2490,"showCount":2483,"zanCount":189,"manualWeight":49,"mainColor":74},214634,"hua-hui-ce-10-chen-chun-214634","花卉册-10",[24,28,25,7,83,39,217],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1816b08e47e171a4226eb7de71f9d8d2.jpg",[],{"id":2492,"slug":2493,"title":2494,"dynasty":55,"author":134,"museum":20,"description":2495,"tags":2496,"thumbUrl":2497,"material":255,"size":2498,"collection":45,"collections":2499,"showCount":2500,"zanCount":189,"manualWeight":49,"mainColor":74},237621,"gu-mei-tu-zhou-zhu-da-237621","古梅图轴","图绘一株古梅树，根部无土，树心中空，旁枝上数朵梅花盛开，显示出顽强的生命力。根据画中的自题诗：“梅花画里思思肖”而知，此图是朱耷仿宋遗民画家郑思肖画兰不着土、以暗示国土为异族人所夺之意的画作，表达了他对明朝的怀念之情。图中用笔苍健有力，线条粗犷，多方硬曲折。施墨枯润结合，富有表现力。此图是朱耷中年时期的代表作。\n本幅朱耷自题三首，分别款署：“驴屋驴书”，钤“字日年”朱文印；“壬小春又题”，钤“驴”朱文印；“夫婿殊驴”。“壬小春”是指清康熙二十一年（1682年），朱耷时年57岁。\n幅下有罗朝汉题记。鉴藏印有“惠祖斋”朱文印、“大兴刘铨福家世守印”白文印。",[24,28,119,25,7,31,571,29,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d898d1a97529363294d5d78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作品一百六十余件，均来自私家收藏。\n值得强调的是，这些藏品的拥有者本人既是具备一定实力的书画篆刻家，又是活跃在 界的业余鉴赏家。\n本集收录了国内私家收藏的中国近现代著名书画家作品计一百六十余件，包括任伯年、蒲华、吴昌硕、黄宾虹、张大千、马一浮、吴湖帆、弘一、吴茀之、沙孟海、周昌谷、潘天寿、沈尹默、傅抱石、齐白石、江寒汀、程十发、黄胄、陆俨少、陆维钊、启功、朱屺瞻、陈佩秋、唐云等。\n竹石公鸡图轴 钟魁啖鬼图轴 人物故事图四屏 溪堂烟壑图轴 林泉野屋图轴 牡丹湖石图轴 博古菊花图轴 松庐山居图轴 岁朝清供图轴 黄菊寿石图轴 墨竹图轴 博古红梅图轴 行书文稿手卷 天竹水仙图轴 竹石图轴",[23,24,119,60,7,83,2655,38,491,100],"天竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe34ea47443956a65404d4783bc4513f9.jpg",[],{"id":2659,"slug":2660,"title":2661,"dynasty":18,"author":2662,"museum":20,"description":2663,"tags":2664,"thumbUrl":2666,"material":43,"size":2667,"collection":45,"collections":2668,"showCount":2631,"zanCount":49,"manualWeight":49,"mainColor":74},219358,"mu-niu-tu-li-lin-219358","牧牛图","李麟","画面串联起数幅牧牛小景：牧童牵绳引牛涉过浅溪，牛儿低首饮水；稚童持竿逗弄，牛儿仰头呼应；更有童子骑牛，随牛缓步林间。笔墨简淡却意趣盎然：牛身以淡墨晕染，憨态可掬；牧童身形虽小，衣纹寥寥几笔便勾勒出天真烂漫之态。背景树木疏朗，坡石浅淡，留白处似含悠然风致。整卷洋溢着田园的闲静与生机，将寻常牧歌化为清雅的笔墨图景，尽显文人画的恬淡意趣。",[23,24,28,27,25,7,30,100,2665,62,65,1532],"牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437ffc8e11b8b0d9721f2d41b9535d6b.jpg","纵34.2横156.2厘米",[45,109],{"id":2670,"slug":2671,"title":2672,"dynasty":18,"author":212,"museum":213,"description":214,"tags":2673,"thumbUrl":2674,"material":43,"size":219,"collection":158,"collections":2675,"showCount":2631,"zanCount":49,"manualWeight":49,"mainColor":74},214625,"hua-hui-ce-18-chen-chun-214625","花卉册-18",[24,25,7,83,39,1690,217],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4d29db848218962fb82090da831c3eb.jpg",[],{"id":2677,"slug":2678,"title":2679,"dynasty":55,"author":451,"museum":333,"description":2680,"tags":2681,"thumbUrl":2683,"material":158,"size":158,"collection":158,"collections":2684,"showCount":2685,"zanCount":189,"manualWeight":49,"mainColor":74},239220,"yan-lai-hong-zhou-wu-chang-shuo-239220","雁来红轴","此作以大写意绘雁来红，以色代墨，淡赭晕染花穗，晕染间尽显经霜愈艳的柔媚鲜活，将雁来红的秋意风姿藏于笔底。墨笔绘叶，干湿浓淡交织，苍润兼具，寥寥数笔便写出枝叶舒展的蓬勃生机。\n\n题款行书错落劲健，金石气十足，诗画相映点明古稀秋艳的意趣，诗书画印浑然一体，尽显文人写意画雅致格调。笔墨老辣简劲，将雁来红的疏野清逸之美与秋日意绪相融，尽显典型的写意花鸟风貌。",[24,28,119,60,25,7,2682,83],"雁来红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F969b019357e416b147cfffc582a0864a.jpg",[],69,{"id":2687,"slug":2688,"title":2689,"dynasty":18,"author":2690,"museum":333,"description":2691,"tags":2692,"thumbUrl":2693,"material":158,"size":158,"collection":158,"collections":2694,"showCount":2685,"zanCount":370,"manualWeight":49,"mainColor":74},235648,"zhu-ji-tu-zhou-zhou-zhi-mian-235648","竹鸡图轴","周之冕","通幅以淡墨铺陈，斜耸崖壁以浓淡墨色晕出嶙峋质感，苍劲朴拙。丛竹错落而立，竿瘦劲挺括，竹叶写意挥毫，聚散疏密得宜，干湿墨色互衬，尽显萧疏清逸之态。\n\n下方竹鸡兼工带写，翎毛细笔丝染，蓬松柔润，低伏回身的姿态将野禽的机灵敏锐刻画入微。朱红印章点缀水墨之间，让幽寂山野小景更添静雅意趣。全图以水墨层次变化，融写生写实与文人意趣于一体，尽显水墨写生的精妙意韵。",[24,99,28,119,25,7,83,816,826,140],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e147db6898a70110d81a90adb71d06.jpg",[],{"id":2696,"slug":2697,"title":2698,"dynasty":180,"author":1939,"museum":2699,"description":2700,"tags":2701,"thumbUrl":2703,"material":157,"size":2704,"collection":109,"collections":2705,"showCount":2685,"zanCount":49,"manualWeight":49,"mainColor":74},220800,"shui-zhu-ju-tu-ni-zan-220800","水竹居图","中国国家博物馆","此图以青绿设色绘江南初秋景色。\n山势低平，山前溪水渚坡坡上杂树五株，树后茅屋丛篁。\n画中笔墨沉实，赋形具体，山色苍翠，画法谨严运笔圆滑苍劲，略有董、巨遗法。\n此图写一仙居景致，其中静水潺潺，间以坡石、水渚、小桥相错；近岸处坡石层累，其上疏木参差偃仰，虬枝繁叶；近岸平地，一茅舍院落掩映树间，若隐若现；栅外修竹环绕，浴风飒飒；远处群峦竞秀，青翠欲滴；山下岸处坡石簇簇，林木深深。\n图右上倪瓒自题：“至正三年，癸未岁八月望日，进道过余林下，为言僦居苏州城东有水竹之胜。",[23,24,25,169,567,30,29,100,2702,7,104,32,429,140,1264,775],"干笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7872a100371101d8e6bbd7f53608e4.jpg","80 X 53 CM",[109,1042],{"id":2707,"slug":2708,"title":2709,"dynasty":237,"author":753,"museum":1291,"description":2710,"tags":2711,"thumbUrl":2713,"material":158,"size":158,"collection":158,"collections":2714,"showCount":2685,"zanCount":370,"manualWeight":49,"mainColor":74},220503,"he-du-ye-qu-zhang-da-qian-220503","荷堵野趣","这幅画以泼墨泼彩晕染出荷塘野意，那株凌空舒展的巨荷最为夺目，墨色苍浑沉厚，瓣叶如流云狂卷，带着风雨将临的恣肆野逸。下方白荷冰清玉洁，线条柔婉雅致，与浓如泼墨的荷叶形成强烈反差。淡粉烟霞般的底色晕开水汽氤氲，把荷塘缥缈朦胧的夏夜氛围铺陈开来。干湿浓淡的墨色肆意碰撞，笔力雄健不失清雅生机，将荷塘的清寂苍茫与蓬勃野趣融于一体，尽显水墨淋漓的写意之美，满是蓬勃的生命张力。",[24,25,60,121,122,119,7,2712],"墨荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22f536715eecbc62d1e1108ce9d6bcb5.jpg",[],{"id":2716,"slug":2717,"title":2718,"dynasty":55,"author":134,"museum":333,"description":2719,"tags":2720,"thumbUrl":2723,"material":158,"size":158,"collection":158,"collections":2724,"showCount":2725,"zanCount":49,"manualWeight":49,"mainColor":74},234227,"hua-guo-juan-zhu-da-234227","花果卷","清代初期的中国画坛活跃着弘仁、髡残、朱耷、石涛四位僧人画家，画史上合称“四僧”。他们的绘画在继承传统的基础上，大胆创新，主张师法自然造化，与当时画坛正统风格相距甚远，具有鲜明的艺术风格。在这四人当中尤以朱耷的人生与艺术最具传奇色彩。\n朱耷（1626—1705），江西南昌人，为明江西宁献王朱权的九世孙。明亡后出家为僧，法名传綮，曾经使用的号有很多，最为著名的则是在他弃僧还俗后使用的“八大山人”。",[23,24,28,27,25,7,30,241,525,2721,815,643,83,524,2722,100],"佛手","题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd794f3dd4ca89c61b435218135cfad42.jpg",[],68,{"id":2727,"slug":2728,"title":2729,"dynasty":55,"author":2730,"museum":2030,"description":2731,"tags":2732,"thumbUrl":2734,"material":281,"size":2735,"collection":45,"collections":2736,"showCount":2725,"zanCount":49,"manualWeight":49,"mainColor":50},220436,"bai-hua-cheng-rui-tu-li-fang-ying-220436","百花呈瑞图","李方膺","李方膺的这件作品一反他笔墨豪放，纵逸豪宕的风格，用笔、设色都较工整收敛，清新明快，秀丽雅致。从自题七言中推知此画也许是为长辈所作，所以画面祥和安逸，色调稳重。\n李方膺的作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼 诗草》，仅二十六首，多数散见于画上。",[23,24,28,119,60,83,38,35,39,7,2733,1471],"设色花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff472fcd233211bf609eb0bda41e43b4d.jpg","纵162.5厘米，横43.1厘米",[45,71],{"id":2738,"slug":2739,"title":2740,"dynasty":55,"author":715,"museum":333,"description":2741,"tags":2742,"thumbUrl":2744,"material":158,"size":158,"collection":158,"collections":2745,"showCount":2746,"zanCount":49,"manualWeight":49,"mainColor":74},230124,"hua-hui-shi-er-kai-ren-yi-230124","花卉十二开","此作用淡墨晕染湖石，兼以浓墨勾皴纹理，苍润朴拙，自带沉静古雅之气。右上方艳红浆果攒簇饱满，似燃着点点丹砂，浓墨枝叶分映阴阳，层次宛然，红果墨叶相互衬映，明丽又不失清雅。\n画面兼工带写，花果鲜妍生动，湖石苍劲静穆，一动一静相映成趣。题字笔意纵逸，与画境相融，将文人写意的隽秀风骨与秋实的鲜活生机揉合一处，寥寥数笔便尽显雅致意趣，堪称小品佳作。",[24,60,83,155,39,7,28,99,25,2743],"没骨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28cad6736c0bce09b9ac3ea758c58ce7.jpg",[],67,{"id":2748,"slug":2749,"title":2750,"dynasty":18,"author":1409,"museum":1049,"description":2751,"tags":2752,"thumbUrl":2753,"material":84,"size":2754,"collection":45,"collections":2755,"showCount":2746,"zanCount":49,"manualWeight":49,"mainColor":50},222446,"mu-niao-tu-lin-liang-222446","木鸟图","林良（约公元1428-1494），字以善，广东广州府南海县扶南堡（今广东佛山市南海区大沥）人，明代著名画家，广东绘画史上第一个进入主流性行列的画家。\n史料记载“林良吕纪，天下无比”，他因善画而被荐入宫廷，授工部营缮所丞，后任锦衣卫指挥、镇抚，值仁智殿。绘画取材多为雄健壮阔或天趣盎然的自然物象，笔法简练而准确，写意而形具\n林良是明代院体花鸟画的代表人物，也是明代水墨写意画派的开创者，在明代院体画中独树一帜，对后世画坛，包括宫廷画家、职业画家、文人画家均产生重大的影响。\n明初洪武至弘治的百余年内， 占据画坛主位的是皇家画院的宫廷绘画。时代特色和风格成型主要体现在宣德、成化、弘治三朝。尤其是花鸟画， 突破“院体”程式，出现了工笔重彩、水墨写意、设色没骨等多种风格， 并有所创新。其中水墨写意的开派人物便是林良。\n他创作的“文人画化”的水墨写意花鸟画，使明代“院体”花鸟出现了新的生机。虽然在明之前也有水墨写意花鸟，但仍以勾染为主流形式，而且宋“院体”花鸟在元代仍保持着很大的影响力。\n明代的水墨写意花鸟画， 由林良开派， 以后耕耘其间者接踵而至， 如沈周、陈淳、徐渭等， 一步步将写意法推向臻境，并成为明代花鸟画最流行和最富成就的一种形式， 终汇就明清泱泱大观的写意花鸟画风。林良无疑起了先导作用。他在花鸟画的发展史上， 是不可或缺的重要人物。",[23,24,25,7,83,138,817],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a952a0aa9c1a5088e4461d5982c15c7.jpg","30.3×31.3",[45,109],{"id":2757,"slug":2758,"title":2759,"dynasty":55,"author":451,"museum":333,"description":1880,"tags":2760,"thumbUrl":2761,"material":478,"size":479,"collection":158,"collections":2762,"showCount":2763,"zanCount":370,"manualWeight":49,"mainColor":74},239521,"yu-tang-fu-gui-zhou-wu-chang-shuo-239521","玉堂富贵轴",[24,83,7,25,60,35,404,243,2221,29,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c73ad8ff25daf55e25f22d50c25068f.jpg",[],66,{"id":2765,"slug":2766,"title":2767,"dynasty":55,"author":451,"museum":333,"description":1880,"tags":2768,"thumbUrl":2770,"material":478,"size":479,"collection":158,"collections":2771,"showCount":2763,"zanCount":189,"manualWeight":49,"mainColor":74},237972,"pu-cao-bai-lian-tu-zhou-wu-chang-shuo-237972","蒲草白莲图轴",[24,28,119,25,60,83,121,2769,7],"蒲草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05376873ccbbd59e9bd5afd64a6a3a2e.jpg",[],{"id":2773,"slug":2774,"title":2775,"dynasty":55,"author":151,"museum":333,"description":2776,"tags":2777,"thumbUrl":2778,"material":158,"size":158,"collection":45,"collections":2779,"showCount":2763,"zanCount":49,"manualWeight":49,"mainColor":74},237535,"yuan-ji-zhu-shi-tu-zhou-shi-tao-237535","原济竹石图轴","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[24,28,119,25,7,567,32,346,100,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F042b55af991c313cd4588dd0d5c88465.jpg",[45],{"id":2781,"slug":2782,"title":2783,"dynasty":18,"author":79,"museum":116,"description":2784,"tags":2785,"thumbUrl":2787,"material":379,"size":2788,"collection":69,"collections":2789,"showCount":2763,"zanCount":161,"manualWeight":49,"mainColor":74},221996,"hu-xi-cao-tang-hua-xin-wen-zheng-ming-221996","浒溪草堂画芯","作品是作者六十六岁时所作。描绘的是吴邑沉天民的浒溪草堂，既反映了草堂主人淡泊明志，不追逐名利的品格，又对映了主人热情好客的秉性，同时也折射出了作者本人的好恶。\n《浒溪草堂图》原藏沉天民家中，明末遗失。沉天民曾孙沈培风少时曾在朋友姚子文家见到此画，想要购回，却终究没好意思开口，一直是心头的一块心病，念念不忘。二十年后的一天，得知姚子文已于一年前的冬天患病不治而逝的讯息后，沈培风立即前往浙江的姚宅，欲觅得此画，可惜宅内已空无一物。有道是功夫不负有心人，不久有人将画送上门来。经过二十年世事沧桑，百变流转，培风又遇此画，便下定决心说什么也不能让机会从自己身边再次溜走。于是，几乎倾其所有，重金购得，并请工匠重新装裱后珍藏起来。此举显示出培风与其曾祖一样不忘本，具有难得的孝心。当年天民虽生活在城市，但仍不忘先祖的桑梓生活而在城市中修建草堂，取名为浒溪，才得以有画作《浒溪草堂图》留传至今，让后人一睹名家画作的风采。\n此画画法秀润，意境清幽，构图严谨，笔法细腻，设色明快。画面上描绘的是高木浓荫，掩映草堂，群山环抱，清波蜒曲，帆樯林立，榭阁屋宇错落。近处草堂敞轩，二高士案前对坐，正在高谈阔论；远山以石青晕染，近山则石青加赭石微抹，树干纯以赭石钩染，枝叶以石绿加石青点染，背光处加渴墨，显得更加郁郁葱葱。在艺术表现手法上，用笔细腻严谨，山石仅用渴笔微抹，以点苔显出明暗，经营位置，得写生之助化出清幽境界。",[23,24,61,428,104,429,430,431,1161,60,2786,7,27,84],"浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeb9da20bb028a48cc761920595df3e9.jpg","166 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家。\n画工的创作往往不署自己的名款，有的仅只钤盖个人印章，这是元至明初的习惯。\n吴升《大观录》著录的胡廷晖《月洞仕女图》也未署款，仅押“廷晖印”一方。\n此图与台北故宫所藏《明皇幸蜀图》面貌相似，特别是勾勒下笔较重，悬崖的结构、松树的形态以及云彩的画法等均呈现出胡廷晖的个人风格。\n在色彩上两者都具有相似的绚丽色泽。\n此图保留唐代青绿山水的古法较多，与赵孟頫追求“古意”的画风不同，对于鉴别早期山水画有重要的价值。",[23,24,25,119,83,2943,2944,1352,7],"柳","燕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F718470a984f0d650aff4498a17cee84d.jpg","75.9x25.5",[109,1042],{"id":2949,"slug":2950,"title":2951,"dynasty":237,"author":753,"museum":439,"description":2952,"tags":2953,"thumbUrl":2954,"material":158,"size":158,"collection":158,"collections":2955,"showCount":2935,"zanCount":49,"manualWeight":49,"mainColor":74},220494,"chan-yu-liu-zhang-da-qian-220494","蝉与柳","以淡墨挥写柳干，枯笔焦墨提点节疤，苍劲老辣。柳条以中锋曳动，兼施花青淡赭晕染，虚实交错如流烟漫卷，将秋风里柳丝的柔曼含露尽皆写出。\n\n隐于柳荫的秋蝉只以数笔点就，形简神完，似将振翅。配题诗句暗合清秋意境，笔墨诗思交融，尽现疏淡幽寂的秋日况味，以极简的写意笔墨，勾勒出物我皆忘的闲淡禅意。",[23,24,25,7,322,2943,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ac69fc3a617ba8d5e5c90182a798a91.jpg",[],{"id":2957,"slug":2958,"title":2959,"dynasty":55,"author":134,"museum":20,"description":2960,"tags":2961,"thumbUrl":2965,"material":268,"size":2966,"collection":158,"collections":2967,"showCount":2968,"zanCount":49,"manualWeight":49,"mainColor":74},234229,"shu-guo-juan-zhu-da-234229","蔬果卷","从右到左勾勒出黄瓜、芋头、葱、大蒜、茄子、白菜、莲藕、梨等蔬菜水果，排列成行，都是农村常见的，有不同的 形与质，大小不一，疏密，散落。有人生感和禅意。 是八大山人一贯的写意风格。",[23,99,24,28,27,25,7,30,100,524,2962,527,2963,2964,2904],"梨","蒜","黄瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b940c2439fdac30eea8813cf5a83875.jpg","28×206.5厘米",[],60,{"id":2970,"slug":2971,"title":2972,"dynasty":55,"author":451,"museum":333,"description":2973,"tags":2974,"thumbUrl":2975,"material":84,"size":2976,"collection":45,"collections":2977,"showCount":2968,"zanCount":189,"manualWeight":49,"mainColor":74},224236,"xia-qi-tu-zhou-wu-chang-shuo-224236","霞气图轴","昌硕最擅长写意花卉，受徐渭和八大山人影响最大，由于他书法、篆刻功底深厚，他把书法、篆刻的行笔、运刀及章法、体势融入绘画，形成了富有金石味的独特画风。吴昌硕作画用“草篆书”以书法入画；线条功力异常深厚。虽然从状物绘形的角度看其线条的质感似乎不够丰富、切实，但恰恰是舍弃了形的羁绊，吴昌硕的绘画才步入了“意”的厅堂，从而形成了影响近现代中国画坛的直抒胸襟，酣畅淋漓的“大写意”表现形式。",[23,24,119,25,60,83,31,155,100,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c20d7acbfac92920da123a70b33adeb.jpg","125x29",[45,71],{"id":2979,"slug":2980,"title":2981,"dynasty":55,"author":2982,"museum":20,"description":2983,"tags":2984,"thumbUrl":2988,"material":456,"size":2989,"collection":158,"collections":2990,"showCount":2968,"zanCount":49,"manualWeight":49,"mainColor":74},223280,"ping-an-ru-yi-tu-yong-rong-223280","平安如意图","永瑢","该图有乾隆御书七绝一首，题跋恭呈孝圣太后。设色画松、梅、茶花、瓶、如意等，寓意“平安如意”，乾隆用以进献其母，表示吉祥和祝福。\n该画以淡墨干笔勾勒花瓶，设色淡雅，颇具文人雅趣。",[23,24,60,7,119,100,2985,2986,643,2987,2221,216],"花瓶","松枝","如意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55fe051adda6e8cbfcf05822d916be9c.jpg","91cmx34.7cm",[],{"id":2992,"slug":2993,"title":2994,"dynasty":18,"author":1409,"museum":2995,"description":2996,"tags":2997,"thumbUrl":2998,"material":2999,"size":3000,"collection":45,"collections":3001,"showCount":2968,"zanCount":49,"manualWeight":49,"mainColor":158},220761,"shuang-ying-tu-lin-liang-220761","双鹰图","香港中文大学文物馆","《双鹰图》轴是林良水墨写意的杰出代表作。该作品应是作者中年时期作品，“院体”画花鸟代表作，没骨画法，工写兼具。构图简洁，着色低沉单一，凸显鹰隼兀立久视之大境界。双鹰上者气宇轩昂，目光如炬，一爪独立于枯枝之上，有傲视苍宇之威；下者挺身缩项，羽翼蓬振，双爪力着于苍岩宕石，目中有物，显欲搏四方之势。双鹰静中有动，动中蓄静，王者风范，鹰击长空。",[23,24,28,25,7,119,83,568,1352,549,155,817],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a39e0bfd96c98a3be0dfa4c6416f5ee.jpg","纸本，水墨设色","130.2 × 74.5 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‘\n此图描绘清江两岸的美丽风光。此画可以分为远景、中景、近景三段式。远景即江之左岸，山峦叠嶂，山峰林立，山巅主峰耸立，直插云天，整体山势巍峨壮观，山坡左侧的山泉和落差形成的瀑布倒挂于两山之间，奔腾直泻，如一匹银白帛布在风中吹拂似的。山坳或山坡平坦处筑有庙宇亭台楼阁，有的仅露出一角，有的半露半隐，屋宇楼阁，用笔工整细致，近似界画。山脚下河岸旁，树木成林，排列齐整，在丛林荫下座落几间房舍，溪水两岸有一座板桥相连接。中景为宽阔的河水，河面平静如镜，无一丝波纹，唯有小扁舟在河面中心荡漾，小舟上坐有四五人，十分悠闲自然，或论经说道，或尽情地观赏清江两岸的山山水水。人物用笔极简练，寥寥数笔一挥而就，但各人的神情、姿态各异，生动逼真，可见作者有着极强的写实能力。近处即为此画的主景，在崎岖不平的丘陵上，山势较为平缓，平坡上长有苍松翠柏，江心岛上也有房舍数间，各江心岛皆架有木桥，用来接连坡岸。可谓小桥流水人家，一派世外桃源的平和景象。这些舟桥，虽比例较小，不曾起眼，但它们却以其小巧与大山相映成趣，又将整个画面各处景物连贯在一起，有机地组成一个和谐的整体，在构图上别具匠心。此画远山采用水墨渲染，用淡墨勾勒出山之轮廓，然后加以皴擦，坡上的苍松翠柏只是用笔尖勾画出一些小点点，以介字点树叶，山峰采用渴笔皴法，山巅上的花草树木采用写意的画法，用笔尖墨点来表现。",[24,169,25,3075,7,2374,567,3076,1264,1533,3077,3078,3079,3080,3081,3082,489,3083,3084,3085,62,3086,3087],"渴笔皴法","高山","山泉","亭台楼阁","房舍","木桥","清江","扁舟","丛林","山谷","江心岛","世外桃源","平和","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78c6ab37569f3f8b0024781bd1f59370.jpg","墨笔画","纵114．7厘米，横100．6厘米",[69],{"id":3093,"slug":3094,"title":3095,"dynasty":237,"author":835,"museum":486,"description":3096,"tags":3097,"thumbUrl":3099,"material":158,"size":158,"collection":158,"collections":3100,"showCount":3068,"zanCount":49,"manualWeight":49,"mainColor":74},220539,"hui-shi-dong-jing-xu-bei-hong-220539","会师东京","群狮踞于高岭之上，鬃毛如戟张扬，或昂首怒号震彻云间，或沉身蓄力目光如炬，幼狮紧随母狮身侧，懵懂中带着悍勇。翻涌云海似乱世烽烟，将沉郁悲愤的底色铺陈满卷。\n\n以狮喻人，把满腔家国意气凝于笔端，干湿浓墨晕染雄狮肌理，苍劲铁线勾勒筋骨，让猛兽野性与民族魂灵相融，将驱除外侮、终得聚首的热望藏在狮群之中，笔墨间皆是山河重光的呐喊与期盼。",[24,25,60,568,3098,140,103,7],"狮子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd235db2dab5b220d48376a2051048d02.jpg",[],{"id":3102,"slug":3103,"title":3104,"dynasty":55,"author":56,"museum":20,"description":3105,"tags":3106,"thumbUrl":3108,"material":255,"size":3109,"collection":45,"collections":3110,"showCount":3111,"zanCount":370,"manualWeight":49,"mainColor":74},236383,"he-lu-tu-zhou-huang-shen-236383","荷鹭图轴","黄慎的花鸟画更多地继承了明代徐渭的泼墨大写意花鸟画风。此图描绘雨后双鹭于荷塘憩戏觅食的情景。画上荷花数茎，枝叶劲挺，花瓣娇媚，似有暗香浮动。两只白鹭翩翩而下，谨慎地着入水面，画家通过这一细节巧妙地表现出“水满池”的情景，“用笔极简，意趣自足”，由此可见一斑。对于荷叶的用笔恣肆狂放，墨色浓重，显示出荷花枝叶肥厚、“风飘不动”的旺盛生命力。在硕壮浓郁的荷叶的衬托下，以淡而轻的笔法描绘出白鹭的轻盈稚嫩，惹人怜爱。此外，画家在简洁的构图中力求营造空间感：图中荷花高低错落，荷叶相互掩映，俯仰向背，姿态各异，有着明显的纵深前后关系。两只白鹭停息在荷杆之后，尤其那只迎面飞来的白鹭起到了扩展画面空间的作用。在文人画中，很容易因注重笔墨形式而忽略景物的空间感，职业画家出身的黄慎在吸收文人笔墨情趣的同时，恰当地将写实与写意相结合，从而形成自己独特的风格。",[24,28,119,25,7,29,83,34,121,3107],"鹭鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70ddc7422f4a85b05d360154cb4bbb54.jpg","纵130.2 厘米，横71.2厘米",[45,109],56,{"id":3113,"slug":3114,"title":3115,"dynasty":55,"author":3116,"museum":333,"description":3117,"tags":3118,"thumbUrl":3119,"material":158,"size":158,"collection":158,"collections":3120,"showCount":3111,"zanCount":49,"manualWeight":49,"mainColor":74},230854,"lan-zhu-shi-tu-zhu-sheng-230854","兰竹石图","诸昇","淡墨晕染坡岸，焦墨点苔点缀，寥寥数笔便勾勒出幽寂崖畔的清冷底色。兰叶以中锋挥就，笔势柔韧舒展，或斜曳迎风，或挺拔舒展，如君子立世，清劲洒脱。\n\n兰花以浓墨点簇，隐于叶隙之间，含而不发，暗合雅士含蓄内敛的品格。整幅画作以水墨浓淡铺陈层次，简淡疏朗，以少胜多，不着艳色，却恍见空谷幽兰暗香浮动，将兰草孤高清逸之态尽数彰显，尽显文人借物抒怀的写意意趣，把水墨的空灵雅致渲染到极致。",[24,28,25,7,40,32,155,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a4634c9d1a59b7eb1c6b4e3b1a07df0.jpg",[],{"id":3122,"slug":3123,"title":3124,"dynasty":55,"author":715,"museum":702,"description":971,"tags":3125,"thumbUrl":3130,"material":67,"size":974,"collection":158,"collections":3131,"showCount":3111,"zanCount":49,"manualWeight":49,"mainColor":74},223233,"mu-zi-ping-an-tu-ren-yi-223233","母子平安图",[23,3126,24,28,60,7,83,3127,3128,37,65,404,2221,3129,2021],"清代","母鸡","小鸡","草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f8484418d23a6d00d3a4500767ec3af.jpg",[],{"id":3133,"slug":3134,"title":3135,"dynasty":18,"author":578,"museum":20,"description":3136,"tags":3137,"thumbUrl":3139,"material":84,"size":3140,"collection":45,"collections":3141,"showCount":3111,"zanCount":49,"manualWeight":49,"mainColor":74},222129,"xin-yi-mo-cai-tu-juan-shen-zhou-222129","辛夷墨菜图卷","第一段：本幅无款，右下钤印“启南”（朱文）。另有吴宽题诗：“半含成木笔，本号是辛夷。一树石庭下，故园增我思。”钤印“延州来季子后”（朱文）。另钤“项元汴印”（朱文）等鉴藏印多方。此幅采用没骨法绘折枝辛夷，以苍秀古拙之笔画花卉枝干，以不同水分的色墨画出花瓣叶片，色泽浓淡分明，层次丰富，再用重墨劲细之笔勾画叶筋。构图疏密有致，设色清妍秀雅，富于蕴蓄之致。\n第二段：本幅无款，右下钤“启南”朱文印。另有吴宽题诗：“翠玉晓茏葱，畦间足春雨。咬根莫弄叶，还可作羹煮。”钤“原博”朱文印。另钤项元汴“平生真赏”朱文印等鉴藏印多方。画中运用干笔的飞白、水墨的渲染和重笔浓墨的点写将一棵普普通通的白菜表现得栩栩如生。此画突出了书法用笔的特点，粗放率意，转折自然，用墨亦变化多端，颇具逸致，天趣盎然。",[23,27,25,60,7,3138,525,39,279,100,29],"辛夷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36497ff253f3762a4bf12e6f7a25d7a3.jpg","第一段，纸本，设色，纵34.9厘米，横58.8厘米；第二段，纸本，墨笔，纵34.9厘米，横58.8厘米。",[45,109],{"id":3143,"slug":3144,"title":3145,"dynasty":180,"author":181,"museum":333,"description":3146,"tags":3147,"thumbUrl":3148,"material":25,"size":158,"collection":109,"collections":3149,"showCount":3111,"zanCount":49,"manualWeight":49,"mainColor":50},218496,"dong-po-qi-lv-tu-yi-ming-218496","东坡骑驴图","驴背人影衣袂掀动，似携一身野风穿行于淡墨峰峦间。松枝斜出如笔，与天边流云共织清寂，驴蹄轻踏处，草叶簌簌声仿佛随墨色漫开。笔墨简劲却藏深情，没有繁复设色，仅以水墨勾勒人物的孤远与从容——那是坡公贬谪途中的淡然，也是画者对先贤心境的隔空呼应。峰峦的淡皴如旧梦晕染，松风与驴鸣似在耳畔低回，简淡画面里，沉潜着文人遭际中的旷达文心。每一道笔触都像在诉说：纵使前路风雨，仍以悠然姿态，踏遍山河。画面虽简，意蕴却厚，如陈酒浅酌，余味漫过时光。",[23,24,28,119,25,7,1251,62,936,429,140,816],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66f93ebd14f269b38bf81415ee2b5a2d.jpg",[109],{"id":3151,"slug":3152,"title":3153,"dynasty":55,"author":1340,"museum":213,"description":3154,"tags":3155,"thumbUrl":3156,"material":84,"size":3157,"collection":158,"collections":3158,"showCount":3159,"zanCount":49,"manualWeight":49,"mainColor":74},231561,"lan-zhu-tu-ce-li-shan-231561","兰竹图册","李鱓 （1686-1762），清代书画家。曾为宫廷作画，后任滕县知县，为政清简，以忤大吏罢归。在扬州卖画。为扬州八怪之一。擅画花卉虫鸟，初师蒋廷锡，画法工致；又师高其佩，进而趋向粗笔写意，并取法林良、徐谓、朱耷，落笔劲健，纵横驰骋，不拘绳墨而有气势，有时使用重色或彩墨结合，颇得天趣。因在扬州见石涛作品，遂用破笔泼墨作画，风格一变。传世作品有《五松图》《芭蕉萱石图》和《墨荷图》等。\n李鱓工诗文书画。曾随蒋廷锡、高其佩学画。后又受石涛影响，擅花卉、竹石、松柏，早年画风工细严谨，颇有法度。中年始转入粗笔写意，大胆泼辣，挥洒自如，感情充沛，富有气势。他大大拓展了写意花鸟画的表现领域，大自然中的花草树木，人们日常生活的各种用具，乃至向来不登大雅之堂的农家食用之物如桑、蚕、破芭蕉扇之类，也一一摄入画中，其题材之广泛多样远远超过了前人。\n其写意花鸟画，努力学习石涛破笔泼墨的画法，酣畅淋漓，笔墨奔放，富有动感，充分表达了作者的创作激情。同时，他又吸取了没骨花卉的表现方法，工细严谨，色墨淡雅，变化丰富，形体富于立体感，在作画时，他经常能做到二者并用，自然浑融，灵活多变，具有较强的艺术表现力。\n在扬州八怪中，李鱓是受到清末批评家猛烈批评的一位，主要指责他脱离传统，笔墨缺乏蕴藉含蓄，有“霸悍之气”、“失之于犷”等。纵观李鱓一生创作，他是一位富有独创才能的画家。",[24,28,217,25,7,40,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9b1e16345a5ca07089cab1d16f3637f.jpg","纵189．7厘米，横63．4厘米",[],55,{"id":3161,"slug":3162,"title":3163,"dynasty":55,"author":451,"museum":333,"description":3164,"tags":3165,"thumbUrl":3166,"material":67,"size":3167,"collection":69,"collections":3168,"showCount":3159,"zanCount":49,"manualWeight":49,"mainColor":74},224235,"cuo-luo-shan-hu-zhi-tu-wu-chang-shuo-224235","错落珊瑚枝图","吴昌硕善于画花卉，此幅《错落珊瑚枝》为吴氏花卉画之力作，“错落珊瑚枝，铁网出海底”，如其款识中所题，画面结构严谨，用笔遒劲，吴昌硕善于用线，每枝枝干、每片花叶都似铁杆般坚韧，富有生命力。其构图极为讲究，画家首先用两尊顽石坐落于画面两侧，稳住了画面重心。数枝天竺从顽石后方穿插向上，更与树叶形成疏密对比，几簇天竺果高低错落、顾盼生姿、扶摇而上。",[23,24,119,7,60,25,567,140,279,392],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4feda463be4617f92164883644e7b38b.jpg","纵183厘米，横93厘米",[69,71],{"id":3170,"slug":3171,"title":3172,"dynasty":18,"author":212,"museum":499,"description":500,"tags":3173,"thumbUrl":3177,"material":67,"size":504,"collection":158,"collections":3178,"showCount":3159,"zanCount":370,"manualWeight":49,"mainColor":74},222565,"hua-hui-tu-4-chen-chun-222565","花卉图4",[23,24,83,7,25,60,39,3174,3175,3176],"萱草","叶片","野花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12a8d0fc1f066a0983129200e58f195a.jpg",[],{"id":3180,"slug":3181,"title":3182,"dynasty":18,"author":3183,"museum":116,"description":3184,"tags":3185,"thumbUrl":3186,"material":43,"size":3187,"collection":871,"collections":3188,"showCount":3159,"zanCount":370,"manualWeight":49,"mainColor":74},222521,"lao-zi-qi-niu-zhou-zhang-lu-222521","老子骑牛轴","张路","《老子骑牛图》人物的面部刻画得非常传神，衣纹的穿插也灵活巧妙，整个人物给人一气画成之感，形象生动而富有情致。",[23,24,1500,119,62,2665,100,7,25,568,1352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F206effd797ba2e6ba61c8c1c5ee3941c.jpg","纵101.5厘米 横55.3厘米",[871],{"id":3190,"slug":3191,"title":3192,"dynasty":237,"author":835,"museum":1291,"description":3193,"tags":3194,"thumbUrl":3195,"material":158,"size":158,"collection":158,"collections":3196,"showCount":3159,"zanCount":370,"manualWeight":49,"mainColor":74},220543,"shuang-jun-xu-bei-hong-220543","双骏","浓淡墨色铺就两匹俊马的迥异姿态，黑马垂首衔草，浓墨泼写鬃尾，焦墨勒出筋肉起伏，留白提亮的蹄足莹润干净，尽显温驯悠然。红马昂首长嘶，赭红染就躯体，飞扬的鬃发如流云翻涌，线条劲挺利落，将烈马桀骜悍勇的气魄尽数挥洒。\n\n以写意笔法勾勒马的肌理轮廓，揉合西洋写实的精准与东方水墨的灵逸，寥寥数笔便将骏马筋骨与神采凝于纸面。画面留白营造出郊野的空寂悠远，边角题字补全章法，文气与画意相融，将生灵蓬勃的野性生机定格于尺幅间，尽显骏马的不屈风骨。",[23,99,24,28,25,60,7,1304,568],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F569a982798b011d434271fc901fb3e82.jpg",[],{"id":3198,"slug":3199,"title":3200,"dynasty":55,"author":3201,"museum":80,"description":3202,"tags":3203,"thumbUrl":3205,"material":43,"size":158,"collection":69,"collections":3206,"showCount":3159,"zanCount":49,"manualWeight":49,"mainColor":74},219709,"fan-zhao-tu-cha-shi-biao-219709","泛棹图","查士标","近岸苍松枯柳错落，枝桠虬曲疏朗，将江渚萧疏尽数铺展。扁舟之上幽人独坐，静看烟水微茫，远山以淡墨轻扫晕染，清润空濛，似笼着秋日薄雾。\n\n作画笔触简淡松秀，以干笔皴擦山石，墨色干湿浓淡相生，脱前人之形而得清逸神韵。通篇清远冷寂，将幽人寄情山水、物我两忘的心境融于空茫江色之间，淡墨晕染里藏着林下闲静之风，寥寥数笔便勾勒出超脱尘俗的空濛雅境，尽显文人画疏淡孤高的逸趣。",[24,25,61,64,1953,429,1264,671,3204,7,567],"岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6896344e0526eaae4fe9dad4d459f05c.jpg",[69],{"id":3208,"slug":3209,"title":3210,"dynasty":55,"author":2730,"museum":20,"description":3211,"tags":3212,"thumbUrl":3213,"material":43,"size":3214,"collection":45,"collections":3215,"showCount":3159,"zanCount":49,"manualWeight":49,"mainColor":74},219298,"you-yu-tu-li-fang-ying-219298","游鱼图","《游鱼图》是李方膺的代表作。画中春水方生，欢腾的鲤鱼争相穿越于河水间，它们或直冲入水底，或徜徉于水面，或摇头摆尾，或展鳍跳跃，在寒冷的冬天之后尽情享受着春天河水复苏带来的喜悦。画面生动传神而富有情趣。作者用笔洗练，虽无一笔背景，却使人透过温和的春水仿佛看到了江南明媚的春日景象，达到了意到笔不到、景在画外的艺术效果。\n根据画面的风格和题诗，可以推断此图是李方膺罢官（乾隆十三年，1748年）之后的作品。画中作者以游鱼自拟，隐喻他久困樊笼，终得返归自然，表现了作者向往自由生活的思想及其品格情操。明清文人常以“四君子”题材直抒胸臆，表现闲雅高洁的品行。李方膺也善画梅，而在晚年，他选择了游鱼为题材表达自己的思想感受，跳出了文人画的樊篱，立意新颖，扩大了文人画的表现领域和审美情趣，他的创新也正表现出“扬州八怪”对绘画的突出贡献。\n在画面位置经营上，此图也与众不同。5尾姿态不同的游鱼组成一条反“S”形曲线，鱼头、鱼尾相互呼应，既有形式上的美感，又渲染了腾跃而出的气氛。右边题诗一贯到底，字体浑厚雄肆，增强了画面的整体感，从而成为诗、书、画完美统一的佳构。",[23,24,25,119,7,292],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff613ec4e2d38e9fcb8dd2ed4789cd59.jpg","纵123.5厘米，横60厘米",[45,109],{"id":3217,"slug":3218,"title":1429,"dynasty":18,"author":1409,"museum":3219,"description":3220,"tags":3221,"thumbUrl":3222,"material":281,"size":3223,"collection":45,"collections":3224,"showCount":3159,"zanCount":49,"manualWeight":49,"mainColor":50},218631,"lu-yan-tu-lin-liang-218631","费城艺术博物馆","画面以淡墨晕染出秋郊水畔的清寂氛围，芦苇疏斜摇曳，残荷半卷低垂，尽显萧瑟之致。一只雁振翅俯冲而下，羽翼的劲健与气流的动感跃然绢上；地面三只雁姿态各异——或低头啄食，喙尖轻触水面，似有涟漪隐现；或昂首远眺，颈间线条舒展，似与飞雁相和；或蜷身小憩，绒毛以淡墨点染，憨态可掬。\n\n笔墨兼工带写，雁的羽毛以浓淡墨色层叠晕染，质感蓬松而富有层次；芦苇则用劲挺的线条勾勒，末梢的飞白似有风掠过。整幅画于简淡中见生机，动静相宜，将禽鸟的野逸之趣与自然的清幽之境融为一体，尽显水墨写意的灵动韵味。",[99,24,25,7,83,1432,705,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ce0607b35d95314ba2cb9879ec01f41.jpg","179x99",[45],{"id":3226,"slug":3227,"title":3228,"dynasty":55,"author":151,"museum":301,"description":3229,"tags":3230,"thumbUrl":3231,"material":157,"size":158,"collection":69,"collections":3232,"showCount":3159,"zanCount":49,"manualWeight":49,"mainColor":74},214831,"dong-po-shi-xu-shi-yi-tu-ce-shi-tao-214831","东坡时序诗意图册","石涛是一位著名的清代画家，他的东坡时序诗意图册是他的一部杰作。这本图册包含了许多精美的图画，描绘了东坡时期的生活情景。东坡是一位著名的宋代诗人，他的诗歌富有感性和诗意，与石涛的画风十分契合。石涛在这本图册中描绘了东坡时期的各种生活场景，包括山水风景、城市景观、家庭生活、社会活动等。他的画作富有浓郁的诗意气息，充满了东坡诗歌中的感性情感。整本图册是一部经典的艺术作品，值得一看。\n\n石涛，原名石炯，字涛，号青山，是一位著名的清代画家。他生于清朝康熙年间，擅长画山水、人物、花鸟。石涛的画风浓郁诗意，被称为“诗画一体”。他的代表作品有《东坡时序诗意图册》、《石涛画集》等。他的画作曾多次在国内外展览中展出，并受到广泛好评。",[23,24,217,60,25,61,29,30,567,7,428,104,429,1534,692,200,1532,62,155,571,1352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41710880fbba161352187f5a38967874.jpg",[69],{"id":3234,"slug":3235,"title":3236,"dynasty":55,"author":715,"museum":333,"description":3237,"tags":3238,"thumbUrl":3239,"material":158,"size":158,"collection":158,"collections":3240,"showCount":3241,"zanCount":370,"manualWeight":49,"mainColor":74},230119,"hua-hui-ce-ye-si-kai-ren-yi-230119","花卉册页四开","这幅画作尽显写意花鸟的灵动意趣，左畔黄花明丽醒目，以明艳赭黄点染瓣蕊，娇俏鲜活，与浓墨绘就的叶片形成鲜明反差，苍劲墨色衬出花的妍丽。右方淡色花簇晕染柔润，清雅素净，和左侧形成虚实冷暖的精妙呼应。\n\n枝干运笔枯湿浓淡相宜，苍润兼具，写出了花木舒展自然的姿态。笔墨兼具工写之妙，既以豪放淋漓的墨色绘就叶片的苍劲质感，又细致勾勒出花蕊、花苞的娇柔细节，设色清隽雅致，将花木天然的生机逸态尽显无遗，氤氲着悠然的文人雅趣，尽显清逸灵动的花鸟意韵。",[99,24,28,217,60,25,83,39,243,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bc9e9ba66454e1ab14a0ed4e8251f9f.jpg",[],54,{"id":3243,"slug":3244,"title":498,"dynasty":18,"author":212,"museum":333,"description":3245,"tags":3246,"thumbUrl":3247,"material":158,"size":158,"collection":158,"collections":3248,"showCount":3241,"zanCount":49,"manualWeight":49,"mainColor":74},228467,"hua-hui-tu-ce-chen-chun-228467","以水墨淡彩写就湖石花木，居中湖石以浓淡干湿变化的墨色晕染勾勒，苍润朴拙，留白与周边花植相映，衬出空间层次。\n花草兼工带写，没骨点染花瓣，色泽柔淡雅致，花枝以细劲线条写出，舒展灵动、野趣横生。笔意松快随性，将春日花木的柔婉生机与湖石的古雅朴拙相融，尽显文人写意的清雅意趣，寥寥笔墨便晕染出鲜活自然之态，淡冶秀逸间饱含悠然生机。",[23,24,28,83,7,25,60,39,140,216,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8a207906aca606c24b53bc39de7027b.jpg",[],{"id":3250,"slug":3251,"title":3252,"dynasty":18,"author":3253,"museum":3254,"description":3255,"tags":3256,"thumbUrl":3261,"material":1381,"size":3262,"collection":69,"collections":3263,"showCount":3241,"zanCount":370,"manualWeight":49,"mainColor":74},222225,"si-wan-shan-shui-tu-wan-gan-yan-yu-wen-bo-ren-222225","四万山水图-万竿烟雨","文伯仁","京都国立博物馆","明代中期吴派风格自形成以来盛极一时，他们的画法，上探北宋董巨，近追元代四家，与以往明代绘画所不同的是，吴派山水属于文人画体系，被称为“利家”画并为发展文人画做出了重大贡献，同时他们的画风为后世文人所推重直至今日。文伯仁，字德承，号五峰，作为吴派山水画家和文氏家族中重要的一员，“笔力清劲，布景奇兀，时以巧思发之能传家学，颇负出蓝之誉”，并善于学习古人，画功精湛，在他存世并不众多的作品中不难发觉元代王蒙与叔父文徵明的影子，而与此二人作品相较，比王蒙的山水少了高不可攀的险峻，比文徵明的山水多了鲜明的个人情趣。徐沁在名画录赞叹文伯仁的山水“横披大幅，层峦郁茂不在衡山之下。”\n《四万山水图》指的是四幅分别以“万壑松风”、“万竿烟雨”、“万顷晴波”、“万山飞雪”为题的画作的总称，是明代画家文伯仁为友人顾从义而画，作于文伯仁50岁时。各图上有明末艺苑的代表文人董其昌所题的画赞。文伯仁是明代苏州（江苏省吴县）文人画即吴派的中心人物文征明的外甥，据说其在文氏一门之中画技最为出色。文征明及其一门的画家喜爱描绘山泉林间闲游的文人，但文伯仁的山水画以清静、浅显、清楚的白描风格或淡彩为基调，以充满色彩感的画风为特色，为文人画开辟了新的境界。本图是嘉靖年间（1522～66年）吴派的代表作品之一。《四万山水图》描绘了文人的闲适，作品中大量使用了清劲的白描笔法，表现密度极高。",[23,24,25,119,61,32,3257,1532,911,3129,567,18,3258,3259,279,1549,7,3260,101],"烟雨","传统","水墨山水","笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2827fdbc7f7dd9a85fe05f339586423b.jpg","48X123cm",[69,109],{"id":3265,"slug":3266,"title":3267,"dynasty":94,"author":413,"museum":1049,"description":3268,"tags":3269,"thumbUrl":3270,"material":84,"size":3271,"collection":107,"collections":3272,"showCount":3241,"zanCount":49,"manualWeight":49,"mainColor":74},221503,"yuan-pu-gui-fan-tu-mu-xi-221503","远浦归帆图","《远浦归帆图》为《潇湘八景图》之一。“潇湘”这一意象在中国画中具有特殊的地位。“潇湘山水”的出现，或许是与宏大的帝国山水对立的，它具有更强烈的私人属性，属于性灵的山水篇章。潇湘山水并非是指今天的“潇湘洞庭”，而是泛指一种江湖的情调与雅趣。牧溪和尚以“潇湘”为旨，融禅理于画，可谓画中有禅，禅中有画。今读《远浦归帆图》，只为见本心。",[23,24,25,61,27,64,65,1352,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23e1af47130223d09239906eae4799cb.jpg","32.5*112.7CM",[107,69,109],{"id":3274,"slug":3275,"title":3276,"dynasty":55,"author":1340,"museum":333,"description":3277,"tags":3278,"thumbUrl":3280,"material":60,"size":158,"collection":45,"collections":3281,"showCount":3241,"zanCount":49,"manualWeight":49,"mainColor":50},220145,"chang-nian-bai-zi-fu-gui-tu-li-shan-220145","长年百子富贵图","李鱓，（1686年—1756年），字宗扬，号复堂，别号懊道人、墨磨人，清康熙二十五年（1686）生，乾隆二十一年（1756）卒，江苏扬州府兴化人，明代状元宰相李春芳第六世孙。清代著名画家，“扬州八怪”之一。\n工细笔法放逸，以泼墨等画法，创作出了生动、鲜活、淋漓、奔放、形神兼备的花鸟画作品，“纵横驰骋，不拘绳墨”，以至于被后人视为“怪物”。",[23,24,28,119,60,25,7,83,489,35,242,3279,404],"怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda79c3a547dcbd57a9fa5702339cdc28.jpg",[45],{"id":3283,"slug":3284,"title":3285,"dynasty":55,"author":451,"museum":333,"description":3286,"tags":3287,"thumbUrl":3289,"material":158,"size":158,"collection":45,"collections":3290,"showCount":3291,"zanCount":49,"manualWeight":49,"mainColor":74},239224,"qiu-kui-tu-zhou-wu-chang-shuo-239224","秋葵图轴","吴昌硕（1844—1927）原名俊，又名俊卿，中年以后更字昌硕，亦署仓硕、仓石、苍石、昌石，69岁后以字行，别号缶庐、苦铁、大聋等，浙江安吉人吴昌硕是近代中国最杰出的艺坛巨匠之一，他以诗、书、画、印四绝享誉海内外，对于近百年来中国传统书画篆刻艺术的走向影响深远。本次展览共汇聚了吴昌硕先生书法、绘画、篆刻、诗文信札等代表性作品170件，尤其是浙江省博物馆馆藏的吴昌硕书画精品，可谓“倾巢而出”，是近年来国内吴昌硕艺术作品一次较大规模的集中展示。",[24,28,119,25,7,83,3288],"秋葵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F836ceef94f170edd7143c50853624a41.jpg",[45,109],53,{"id":3293,"slug":3294,"title":2427,"dynasty":55,"author":451,"museum":1169,"description":3295,"tags":3296,"thumbUrl":3297,"material":60,"size":3298,"collection":45,"collections":3299,"showCount":3291,"zanCount":49,"manualWeight":49,"mainColor":74},237299,"mei-hua-tu-zhou-wu-chang-shuo-237299","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。 [1]\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” [2] 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 [3] 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,25,119,643,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fdc0b1567dec10d70138b0220acb282.jpg","纵196.5厘米，横96厘米",[45],{"id":3301,"slug":3302,"title":3303,"dynasty":55,"author":451,"museum":20,"description":2625,"tags":3304,"thumbUrl":3305,"material":456,"size":2629,"collection":158,"collections":3306,"showCount":3291,"zanCount":49,"manualWeight":49,"mainColor":74},234982,"yu-lan-zhou-wu-chang-shuo-234982","玉兰轴",[24,28,119,25,7,83,2627],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd17c842b319d981a7b27fe37eb3e473a.jpg",[],{"id":3308,"slug":3309,"title":3310,"dynasty":94,"author":3311,"museum":333,"description":3312,"tags":3313,"thumbUrl":3316,"material":158,"size":158,"collection":158,"collections":3317,"showCount":3291,"zanCount":370,"manualWeight":49,"mainColor":50},227498,"mo-zhu-juan-2-su-shi-227498","墨竹卷2","苏轼","墨竹，即用墨画的竹子，其起源说法不一，据文献记载，其创始人有唐代吴道子、王维、张立、五代蜀李夫人等。\n\n不过，由考古发掘来看，李贤墓壁画《侍女与竹》中的墨竹，亦有可能是写意墨竹的先驱。自文同、苏轼至元四家，墨竹之风兴起，逐渐发展为独立画科。\n\n墨竹常被用来表达拔俗之情趣、正直之气节、虚心之品质和纯洁之思想，文同便是如此，他不仅有丰厚之学养，还有非凡的绘画创作才能。本文所提到的《文画苏题卷》为手卷形式，据直幅改装而成，与人们常见的文同立轴式墨竹图形制不一。正因这次有意无意的改装，为《文画苏题卷》成为一巨幅长卷，提供了得天独厚的条件，这也成为此图区别于文同其它墨竹图的最明显特征。",[24,99,28,25,306,304,7,816,155,3314,3315,379],"竹枝","竹叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaf98af604cad8076b0774dbcc54a8ab.jpg",[],{"id":3319,"slug":3320,"title":3321,"dynasty":55,"author":2265,"museum":213,"description":2587,"tags":3322,"thumbUrl":3323,"material":43,"size":2590,"collection":158,"collections":3324,"showCount":3291,"zanCount":49,"manualWeight":49,"mainColor":74},214676,"mei-hua-zhu-shi-tu-ce-11-wang-shi-shen-214676","梅花竹石图册-11",[24,28,217,25,7,83,31,32,155,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a2dccd336217afc6590120e3bc47b60.jpg",[],{"id":3326,"slug":3327,"title":3328,"dynasty":55,"author":134,"museum":333,"description":474,"tags":3329,"thumbUrl":3331,"material":478,"size":479,"collection":158,"collections":3332,"showCount":3333,"zanCount":49,"manualWeight":49,"mainColor":74},288503,"hua-jing-xin-zhu-da-288503","花镜心",[23,24,28,25,7,83,41,3330,476],"孤寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe50301a88975470b059a690f4e7e4b83.jpg",[],52,{"id":3335,"slug":3336,"title":3337,"dynasty":55,"author":181,"museum":333,"description":3338,"tags":3339,"thumbUrl":3340,"material":158,"size":158,"collection":158,"collections":3341,"showCount":3333,"zanCount":49,"manualWeight":49,"mainColor":74},235346,"li-shan-he-hua-tu-zhou-yi-ming-235346","李鱓荷花图轴","此作用水墨写意绘就荷塘景致，泼墨挥写荷叶，浓淡干湿层次分明，墨色晕染尽显苍润淋漓之态。荷花以淡墨轻勾轮廓，清姿绰约，荷茎劲挺穿插，带着舒展野逸的生机。画面搭配狂放题诗，书画相映成趣，笔墨间带着疏放不羁的意趣，将荷塘清韵与文人风骨相融。以极简水墨笔法写尽荷花出尘之姿，尽显写意花鸟酣畅洒脱的格调，朴拙随性间逸气纵横，将夏日荷塘的悠然意趣藏在笔墨虚实之中，尽显以意驭笔的文人画妙味。",[24,25,7,83,121,122,29,30,100,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb26610f2567b72eb84b2c567e8c8efe.jpg",[],{"id":3343,"slug":3344,"title":3345,"dynasty":237,"author":238,"museum":897,"description":3346,"tags":3347,"thumbUrl":3349,"material":2279,"size":158,"collection":158,"collections":3350,"showCount":3333,"zanCount":49,"manualWeight":49,"mainColor":74},220598,"gong-chong-ce-ye-huang-feng-qi-bai-shi-220598","工虫册页·黄蜂","这幅画作以简繁相映的妙趣定格乡野意韵。左侧兰叶以大写意挥就，淡赭勾染出舒展姿态，笔势疏朗写意，尽显清逸雅致。右侧两只黄蜂却以极细腻的工笔绘就，翅翼薄如蝉翼，脉络纤毫毕现，躯体斑纹鲜活饱满，振翅欲飞的灵动神态呼之欲出，仿佛下一秒就要循着草香翩然远去。\n\n简淡的写意草木与精微的写实虫豸相映成趣，文人笔墨的清雅与自然生灵的鲜活融为一体，于尺幅之间铺陈出鲜活的野趣生机，举重若轻间尽显创作功底，将日常小景晕染成耐人品味的雅致画卷。",[24,28,217,321,7,60,1015,3348,1690],"黄蜂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff96fb49e577614dd52f34cd012446293.jpg",[],{"id":3352,"slug":3353,"title":3354,"dynasty":237,"author":835,"museum":486,"description":3355,"tags":3356,"thumbUrl":3358,"material":158,"size":158,"collection":158,"collections":3359,"showCount":3333,"zanCount":49,"manualWeight":49,"mainColor":74},220544,"ri-zhang-ru-xiao-nian-xu-bei-hong-220544","日长如小年","枯笔挥写的荻芦苍劲纵逸，斜斜探入画面，与滩头白鹅相映成趣。淡赭晕染沙汀，留白铺就鹅身绒羽，墨线勾出柔长颈颅，朱红点染喙部，将白鹅蜷卧憩息的慵懒憨态刻画得淋漓尽致。\n\n三只白鹅姿态各殊，或垂颈假寐、或侧目闲望，尽显温驯自在。萧疏野趣与悠然禽鸟融为一境，将夏日松弛悠长的闲淡氛围晕染开来。寥寥笔墨间形神兼备，把寻常小景化作充满文人意趣的诗意画面，尽显写意花鸟的通透灵动。",[23,24,25,60,7,3357,705],"鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5195ccc9de88a9ac26e85bceca60e03e.jpg",[],{"id":3361,"slug":3362,"title":3363,"dynasty":18,"author":3364,"museum":20,"description":3365,"tags":3366,"thumbUrl":3368,"material":281,"size":3369,"collection":45,"collections":3370,"showCount":3333,"zanCount":49,"manualWeight":49,"mainColor":50},220375,"yan-long-yu-shu-tu-chen-lu-220375","烟笼玉树图","陈录","陈录，[明]生卒年不详，字宪章，以字行，号如隐居士，会稽（今浙江绍兴）人。善墨梅、松、竹、兰蕙，笔意儒雅，与王谦齐名。评者以二家虽格意不同，录笔力实过王谦。正统十一年（一四四六）尝作墨梅图。传世作品有《万玉图》、《烟笼玉树图》、《梅花图》等。《图绘宝鉴续纂》、《画史会要》、《绍兴府志》、《明画录》、《无声诗史》、《越画见闻》。\n《烟笼玉树图》中树干苍劲，绽花枝头，构图巧妙，点染精当，可谓花鸟花上品。",[23,24,25,60,119,83,31,404,2221,7,3367],"烟笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd62ea251e0e978b64171ad65c333d8be.jpg","纵137.5厘米，横65.4厘米",[45,71],{"id":3372,"slug":3373,"title":3374,"dynasty":18,"author":19,"museum":152,"description":2000,"tags":3375,"thumbUrl":3377,"material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林良，字以善，广东广州府南海县扶南堡（今广东佛山市南海区大沥）人，明代著名画家，广东绘画史上第一个进入主流性行列的画家。",[24,28,1990,83,25,7,705,3357,633,3385,1469],"禽鸟画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9b092c0a58f8959a48a02ec93af2364.jpg","纵146厘米，横88厘米",[45],{"id":3390,"slug":3391,"title":631,"dynasty":55,"author":134,"museum":333,"description":474,"tags":3392,"thumbUrl":3393,"material":478,"size":479,"collection":158,"collections":3394,"showCount":3395,"zanCount":49,"manualWeight":49,"mainColor":74},237934,"za-hua-ce-zhu-da-237934",[99,3126,25,7,266,217,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3541396bcba653734846251d31deed0f.jpg",[],51,{"id":3397,"slug":3398,"title":3399,"dynasty":55,"author":951,"museum":20,"description":3400,"tags":3401,"thumbUrl":3402,"material":158,"size":158,"collection":45,"collections":3403,"showCount":3395,"zanCount":49,"manualWeight":49,"mainColor":74},237150,"yi-tuan-fu-gui-tu-zhou-zhao-zhi-qian-237150","一团富贵图轴","赵之谦（1829年8月8日 －1884年11月18日），汉族，浙江会稽（今绍兴）人。初字益甫，号冷君；后改字撝（huī）叔，号悲庵、梅庵、无闷等。清代著名书画家、篆刻家，与吴昌硕、厉良玉并称“新浙派”的三位代表人物，与任伯年、吴昌硕并称“清末三大画家”。李志敏评价：“赵之谦学北碑自成一体。”\n赵之谦从青年时代起，就刻苦致力于经学、文字训诂和金石考据之学，取得了相当的成就。尤精书画、篆刻。赵之谦善于向前人和同时代各派名家学习，又不囿前人，勇于创新。 在绘画上，他是“海上画派”的先驱人物，其以书、印入画所开创的“金石画风”，对近代写意花卉的发展产生了巨大影响；在书法上，他是清代碑学理论的最有力实践者，其魏碑体书风的形成，使得碑派技法体系进一步趋向完善，从而成为有清一代第一位在正、行、篆、隶诸体上真正全面学碑的典范；在篆刻上，他在前人的基础上广为取法，融会贯通，以“印外求印”的手段创造性地继承了邓石如以来“印从书出”的创作模式，开辟了一个前所未有的新境界。\n赵之谦的篆刻成就巨大，对后世影响深远。近代的吴昌硕、齐白石等画家都从他处受惠良多。著有《六朝别字记》《悲庵居士文存》等，又有篆刻《二金蝶堂印存》。",[24,28,119,60,83,35,454,100,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9ed4d9db10b63206fec6a4df1288307.jpg",[45,71],{"id":3405,"slug":3406,"title":3407,"dynasty":55,"author":451,"museum":333,"description":3408,"tags":3409,"thumbUrl":3410,"material":158,"size":158,"collection":158,"collections":3411,"showCount":3395,"zanCount":370,"manualWeight":49,"mainColor":74},235244,"li-ju-ping-zhou-wu-chang-shuo-235244","篱菊屏轴","此作以阔笔泼墨绘就葫芦秋架，枯笔写藤蔓，遒劲如铁，盘绕交错尽显野逸生机。葫芦以淡彩晕染，黄润清透，将秋实饱满的质感尽显，墨叶泼辣淋漓，浓淡铺陈相宜，苍润兼具。\n\n左侧题画诗文笔苍朴，篆隶笔法老辣厚重，诗画呼应相融，将田园秋意与文人逸趣合二为一。整幅下笔雄浑朴拙，以金石意趣入画，寥寥数笔便定格秋日架上鲜活意态，朴拙间见灵秀蓬勃，尽显大写意花鸟的盎然生机与沉厚韵味。",[24,28,119,25,60,7,83,805,242,243,912,30,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5000c77ba43cc4203afefb648a729f86.jpg",[],{"id":3413,"slug":3414,"title":3415,"dynasty":55,"author":1340,"museum":333,"description":3416,"tags":3417,"thumbUrl":3418,"material":84,"size":3419,"collection":158,"collections":3420,"showCount":3395,"zanCount":49,"manualWeight":49,"mainColor":74},232892,"hua-niao-tu-li-zhou-li-shan-232892","花鸟图立轴","字宗扬，号复堂，又号懊道人，墨磨人、木头老子、苦李、滕薜大夫等。江苏兴化人。\n一生在仕宦途中，历遭坎坷。康熙五十年即２５岁时中举，三年后以画技至清宫当内廷供奉。他本是学画山水的，进宫后，康熙皇帝指令他跟“正宗”派花鸟画家蒋廷锡学习花卉。李鱓不以学习蒋廷锡为满足，又向高其佩学习，后受石涛笔意启发，以破笔泼墨作画，风格大变。突破了“正宗”派所规定的框框，是一位颇得宫廷器重的画师，名声也日益扩大。但他却遭到一批摹古画师的极力排斥，并以所谓抗拒规定题材和体裁的罪名而被解职。郑板桥说他是“才雄颇为世所忌，口虽赞叹心不然”。后来，李鱓以检选出任山东滕县知县，为政清简，体谅民情，被士民所尊敬。又因负才使气，玩世不恭，触犯了权贵，遂于乾隆五年，罢官归里，流落扬州，过着卖画为生的凄凉的生活。两次的仕宦打击，使李鱓在生活上放纵自己，寄情花鸟，以书画发泄其苦闷之情，但又不甘心宦途上的失败，常欲东山再起。但事与愿违。晚年定居扬州，以卖画为生。李鱓与郑板桥是同乡，又最为知已，结为知交，所以郑板桥有《郑板桥集…. 李鱓》的诗句，并有“卖画扬州、与李同老”的话。\n所作花卉，不拘法度，泼墨淋漓，但犹不失天趣。但晚年部分作品过于霸悍。传世画迹有南京博物院藏《土墙蝶花图》轴、故宫博物院藏《松藤图》轴等。\n李 鱓诗才书法成就是卓然的。李 鱓书法古朴，具颜、柳筋骨。作画时喜欢在画幅上长题满跋，有时甚至于把参差错落的题字，写满画面，于质实中见空灵，使整幅画面气韵更加淋漓酣畅。为此秦祖咏说他“书法古朴，款题随意布置，另有别致，殆亦摆脱俗格，自立门庭者也”。",[23,24,28,119,25,7,121,122,3107,83,705,123,138,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3527f96ea3aeadc84c0dedcfd0c340f.jpg","56.4x104cm",[],{"id":3422,"slug":3423,"title":3424,"dynasty":180,"author":1036,"museum":116,"description":3425,"tags":3426,"thumbUrl":3428,"material":43,"size":3429,"collection":45,"collections":3430,"showCount":3395,"zanCount":49,"manualWeight":49,"mainColor":50},219360,"wan-xiang-gao-jie-tu-ke-jiu-si-219360","晚香高节图","此图描述了“石如飞白木如籀，写竹应须八法通”，是元代画家赵孟頫为柯九思《墨竹图》题写的诗句的情景。画面的主要表现是精竹秀石，还有野菊花作点缀。 此图以菊花“晚香”之意，竹子节高，故有晚香高节之画意。",[99,24,25,7,567,32,346,41,1690,3427,100],"题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff64ea458d2092b5764321504018ff651.jpg","126.5厘米，横75.2厘米",[45],{"id":3432,"slug":3433,"title":3434,"dynasty":55,"author":715,"museum":333,"description":3435,"tags":3436,"thumbUrl":3437,"material":84,"size":158,"collection":45,"collections":3438,"showCount":3439,"zanCount":49,"manualWeight":49,"mainColor":74},238963,"yang-liu-qu-yu-tu-zhou-ren-yi-238963","杨柳鸲鹆图轴","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。",[24,119,83,25,60,7,1628,138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0c5e4f5fad3781f2b6d9d87d03ee6f2.jpg",[45,71],50,{"id":3441,"slug":3442,"title":3443,"dynasty":55,"author":2730,"museum":333,"description":3444,"tags":3445,"thumbUrl":3446,"material":158,"size":158,"collection":158,"collections":3447,"showCount":3439,"zanCount":49,"manualWeight":49,"mainColor":74},230297,"mei-hua-ce-ye-li-fang-ying-230297","梅花册页","此幅水墨古梅以意趣见长，枯干以浓淡墨色皴擦晕染，苍劲老辣，尽显古梅饱经风霜的嶙峋傲骨。斜逸的侧枝破局而出，带着清疏野逸的生机，柔枝缀着圈花点蕊的寒梅，简淡天真，不着艳色却仿佛冷香暗涌。\n\n题字笔致纵恣，与画面写意风骨相融，朱红印信点缀素纸，更添雅韵。整作脱略形似，直抒胸臆，以寥寥数笔勾勒梅之孤高，亦是作者心性投射，淡远清寂，将文人画以物明志的意趣淋漓展现，余韵悠长。",[24,28,217,25,7,31,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7461b818d7022997533cd484a86bcb9.jpg",[],{"id":3449,"slug":3450,"title":3451,"dynasty":237,"author":835,"museum":897,"description":3452,"tags":3453,"thumbUrl":3454,"material":67,"size":158,"collection":158,"collections":3455,"showCount":3439,"zanCount":49,"manualWeight":49,"mainColor":74},220564,"jiu-fang-gao-tu-xu-bei-hong-220564","九方皋图","画面以质朴底色铺陈，左方驯马壮汉肌肉虬结，笔触精准勾勒出力量感，烈马扬蹄摆尾尽显桀骜，一旁驭者沉静注视。右侧老者目光如炬，于旁人的疑惑神情中笃定识人，寥寥数笔便将人物性格刻画分明。\n\n创作者将西式写实的人体结构与国画笔墨相融，铁线般的线条勾勒身形，淡墨晕染铺就荒郊底色，既保留写意的留白韵致，又以写实功底强化画面张力。借旧典暗喻识才辨贤的深意，将传统题材注入时代精神，筋骨兼具，形神合一，尽显创作巧思与风骨。",[23,99,24,25,60,7,62,1304,2021,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbffe6163f0f6d4f5d21df2d5184d3f94.jpg",[],{"id":3457,"slug":3458,"title":3459,"dynasty":55,"author":56,"museum":333,"description":3460,"tags":3461,"thumbUrl":3463,"material":84,"size":3464,"collection":871,"collections":3465,"showCount":3439,"zanCount":49,"manualWeight":49,"mainColor":74},216734,"liu-shui-zhi-yin-tu-huang-shen-216734","流水知音图","《高山流水遇知音》是钟子期和俞伯牙的故事，用插图的方式再现了这个故事，虽然意境不是很高，但笔触粗拙，是黄慎的典型面目。",[23,24,28,99,3126,119,25,7,62,1532,65,491,3462,61],"乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8719be88666ba739e59fcf8f941b3ab1.jpg","164x82",[871],{"id":3467,"slug":3468,"title":3469,"dynasty":55,"author":451,"museum":333,"description":1880,"tags":3470,"thumbUrl":3472,"material":478,"size":479,"collection":158,"collections":3473,"showCount":3474,"zanCount":49,"manualWeight":49,"mainColor":74},289897,"shao-yao-hua-tu-li-zhou-wu-chang-shuo-289897","芍药花图立轴",[23,24,119,28,83,60,25,3471,3279,40,7],"芍药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F638a5068b7ac56ff2e9203da3945361f.jpg",[],49,{"id":3476,"slug":3477,"title":3478,"dynasty":55,"author":134,"museum":333,"description":3479,"tags":3480,"thumbUrl":3482,"material":158,"size":158,"collection":158,"collections":3483,"showCount":3474,"zanCount":370,"manualWeight":49,"mainColor":74},234158,"hua-hui-juan-zhu-da-234158","花卉卷","八大山人花鸟承袭陈淳、徐渭写意花鸟画的传统，发展为阔笔大写意画法，其特点是通过象征寓意的手法，并对所画的花鸟、鱼虫进行夸张，以其奇特的形象和简练的造型，使画中形象突出，主题鲜明，甚至将鸟、鱼的眼睛画成“白眼向人”，以此来表现自己孤傲不群、愤世嫉俗的性格，从而创造了一种前所未有的花鸟造型。",[23,24,28,27,25,7,29,100,30,39,33,3481,139,34,83],"灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10690432eee4f9791878f7dce4625503.jpg",[],{"id":3485,"slug":3486,"title":3487,"dynasty":18,"author":212,"museum":499,"description":500,"tags":3488,"thumbUrl":3490,"material":67,"size":504,"collection":158,"collections":3491,"showCount":3474,"zanCount":49,"manualWeight":49,"mainColor":74},222563,"hua-hui-tu-2-chen-chun-222563","花卉图2",[23,99,24,28,83,7,60,39,243,3489],"绣球花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b58c1f760d5e2ed82b57cd46ef85900.jpg",[],{"id":3493,"slug":3494,"title":3495,"dynasty":18,"author":2302,"museum":20,"description":3496,"tags":3497,"thumbUrl":3501,"material":185,"size":3502,"collection":69,"collections":3503,"showCount":3474,"zanCount":49,"manualWeight":49,"mainColor":50},220048,"song-xi-yu-chui-tu-wu-wei-220048","松溪渔炊图","作者曾浪迹江湖为职业画家，“独乐与山人野夫厚”，熟悉下层人民的生活。所绘渔乐、栖憩、耕读等内容亦多取自现实生活，人物形象质朴，环境真实，境界自然，极少文人隐逸画中的理想化色彩，此图即为一例。图绘远山如屏，水烟渺茫，近景山崖峭壁，老松虬曲，溪岸泊船，一翁低头吹管助燃炉火，具有浓郁的世俗生活气息。此图画法主要从南宋马远、夏圭而来，取一角之景，大斧劈皴山石，大片水墨渲染水面，人物衣纹方劲简练，笔锋迅疾外露。而笔墨和线条独具的粗劲力度、纵放气息，整幅画作表现的野逸之趣、透露出的反雅谐俗之气，则是吴伟的自家特点。",[23,24,28,119,1500,7,567,61,33,3498,64,3499,1532,428,346,3500,65],"溪","渔者","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca684d170fa22ada9ad227d0c7d3f78f.jpg","纵122.8厘米，横75厘米",[69,871],{"id":3505,"slug":3506,"title":3507,"dynasty":18,"author":2302,"museum":116,"description":3508,"tags":3509,"thumbUrl":3516,"material":281,"size":3517,"collection":871,"collections":3518,"showCount":3474,"zanCount":370,"manualWeight":49,"mainColor":50},219510,"bei-hai-zhen-ren-xiang-zhou-wu-wei-219510","北海真人像轴","画中仙者束发袒襟，神态清和古雅，安坐灵龟背上行于浅渚苇荡间。他手持枯藤，灵蛇盘绕其上，衣袂飘然随微风舒展，尽显出尘之气。\n\n灵龟昂首探行，笔墨简练却将其沉健之态勾勒分明，苇草轻淡晕染衬出清虚氛围。整幅画作以粗笔写意，衣纹顿挫简练，粗率之中见法度，将真人餐霞饮风、伴云游世的逍遥仙韵尽显，把道家超然物外的隐逸意趣融于尺幅间，静穆里暗藏灵动仙气。",[24,119,62,25,7,3510,3511,3512,3513,1353,3514,3515],"道家","隐逸","灵龟","灵蛇","苇草","仙气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b042adf830649bd30427a7e5845d3ff.jpg","158.4x93.2",[871],{"id":3520,"slug":3521,"title":1556,"dynasty":55,"author":3522,"museum":333,"description":3523,"tags":3524,"thumbUrl":3526,"material":478,"size":479,"collection":158,"collections":3527,"showCount":3528,"zanCount":370,"manualWeight":49,"mainColor":74},239517,"he-hua-zhou-hu-yuan-239517","胡远","字公寿，号瘦鹤，画用字行，又号横云山民，华亭（今上海松江）人，侨上海。能诗，善书画，书法颜真卿，藏有戏鸿堂祖本争位座稿书，矜为至宝。画笔秀雅绝伦，以湿笔取胜。山水花木无所不能，尤喜画梅。咸丰十一年（一八六一）至上海初寓毛树徴家，后买宅颜曰寄鹤轩。与李壬叔（善兰）、胡鼻山（震）诸名流友善，卖画自给。卒年六十四。有寄鹤轩诗草。",[24,119,25,60,7,83,121,122,3525],"茎秆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81805cb9f07093259ca1f8e2008f7476.jpg",[],48,{"id":3530,"slug":3531,"title":83,"dynasty":55,"author":1340,"museum":333,"description":3532,"tags":3533,"thumbUrl":3534,"material":158,"size":158,"collection":158,"collections":3535,"showCount":3528,"zanCount":49,"manualWeight":49,"mainColor":74},224309,"hua-niao-li-shan-224309","这幅画以水墨写就水畔一隅，布局错落有致。右上角芙蓉枝叶交叠，浓墨点染阔叶，淡墨勾出柔花，枯笔写枝，苍劲中带着秀润。左侧荷花亭亭舒展，墨色晕染出荷叶的清润质感，花瓣用线空灵雅洁。白鹭静立在汀草间，淡墨勾形留白衬出羽毛蓬松，目光低垂神态悠然，将水鸟的闲适之态尽藏其中。\n笔墨干湿浓淡相映，以写意笔法写尽夏日水郊的清寂野趣，禽鸟花木浑然相融，尽显纵逸洒脱又不失雅致的文人写意风骨，将幽淡恬然的郊野生机凝练在尺幅之间。",[23,24,99,119,25,60,7,83,34,36,1501,1690,705,122],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35c32e970d3d12ecf0c1bdd93057eb7f.jpg",[],{"id":3537,"slug":3538,"title":3539,"dynasty":55,"author":1340,"museum":333,"description":3540,"tags":3541,"thumbUrl":3542,"material":158,"size":158,"collection":158,"collections":3543,"showCount":3528,"zanCount":49,"manualWeight":49,"mainColor":74},224294,"tao-hua-liu-yan-tu-li-shan-224294","桃花柳燕图","《历代名画宣纸高清大图:李鱓桃花柳燕图》绘桃红、柳绿、燕嬉之景，生动地表现了春天和生命的气息，画面充满暖意。\n画幅右边近下部，柳树枝干往上方挺升，其上旁生枝条，以浅绿设色表现初发的柳叶，墨笔筒细而劲健。\n整个枝干形态奠定了画面格局。\n柳树後可见一株桃树枝干自右至左斜出，分上中下三个方向。\n桃树枝干以褐色设色，与墨色的柳树枝干相映成趣，其上并以粉红、银白、淡绿设色表现桃花花办与花叶，同样笔墨不繁却栩栩如生。\n在此美景中，作者添了四只暖春早燕：其一于高枝上向下俯视，情状蠢蠢欲动；其一站立在横枝上，神态安详；其一停于中部枝头顶端；其一低飞于桃红柳绿问。\n此幅花鸟画明朗活泼，笔墨工致。\n《历代名画宣纸高清大图:李鱓桃花柳燕图》由 出版。",[23,24,28,119,7,60,37,2943,1075,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d0cd75efcd4565e82cc7ec65b74f13a.jpg",[],{"id":3545,"slug":3546,"title":3547,"dynasty":237,"author":238,"museum":1012,"description":3548,"tags":3549,"thumbUrl":3550,"material":1019,"size":158,"collection":158,"collections":3551,"showCount":3528,"zanCount":370,"manualWeight":49,"mainColor":74},220582,"xian-tao-qi-bai-shi-220582","仙桃","此作用色鲜亮泼辣，两枚寿桃以朱砂铺陈桃身，晕染出熟透的红润，留白与藤黄轻点桃腹，尽显饱满甜熟的质感，鲜活仿佛将欲滴浆。\n\n浓墨挥写桃叶藤蔓，线条苍劲老拙，墨色干湿浓淡富于层次，与暖艳的桃色形成鲜明对比，艳而不俗，厚重灵动兼具。扇面形制之下布局疏密得当，硕果垂坠于枝桠，暗含丰盈吉祥的意趣。\n题字笔墨雄健朴拙，与画面笔意融为一体，整幅小品简括大气，寥寥数笔便将物象生机与祝福意蕴尽皆抒发，尽显写意精髓。",[237,24,2353,60,7,83,1689,243,100,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcecf3a3089bcebf91a06cfe9e353c2e9.jpg",[],{"id":3553,"slug":3554,"title":3555,"dynasty":237,"author":3556,"museum":3557,"description":3558,"tags":3559,"thumbUrl":3560,"material":3561,"size":158,"collection":158,"collections":3562,"showCount":3528,"zanCount":49,"manualWeight":49,"mainColor":74},220451,"ma-nai-si-he-shang-huang-zhou-220451","马奈斯河上","黄胄","The Chinese University of Hong Kong Library","黄胄于1965年春北京作此画，写赠廖一原妻汪云女士。黄胄曾获多个奖项，其国画重生活气息及民族色彩，所绘毛驴，维妙维肖。",[23,24,25,60,7,62,1304,1352,775],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53033b6aa3b54f7bcf0aaec4e4188faf.jpg","Ink and colour on paper",[],{"id":3564,"slug":3565,"title":3566,"dynasty":55,"author":56,"museum":152,"description":3567,"tags":3568,"thumbUrl":3570,"material":157,"size":3571,"collection":871,"collections":3572,"showCount":3528,"zanCount":49,"manualWeight":49,"mainColor":787},219496,"guan-hua-lao-ren-tu-huang-shen-219496","观花老人图","图为一位老人盘膝坐在地上，白发长须，左手捻胡须，右手撑地。 面前是一个窄口的直瓶。 瓶子里有两根无叶的花枝。 老者目不转睛，认真地看着花朵。 此人的衣纹、眉髯都非常有文采，是黄慎人物画的杰作。",[24,28,119,25,60,7,62,3569,2985,2904,100],"老人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a98079d56aeaa314481baecfab8d367.jpg","102x40厘米",[871],{"id":3574,"slug":3575,"title":3576,"dynasty":55,"author":134,"museum":1329,"description":3577,"tags":3578,"thumbUrl":3579,"material":1381,"size":3580,"collection":45,"collections":3581,"showCount":3582,"zanCount":49,"manualWeight":49,"mainColor":74},238040,"song-lu-tu-zhou-zhu-da-238040","松鹿图轴","朱耷（约1626年—约1705年），号八大山人，又号雪个、个山 、入屋、驴屋等，入清后改名道朗， 字良月，号破云樵者。汉族，南昌（今属江西）人 。明末清初画家，明亡后削发为僧，后改信道教 ，住南昌青云谱道院。绘画以大笔水墨写意著称，并善于泼墨，尤以花鸟画称美于世。在创作上取法自然，笔墨简炼，大气磅礴，独具新意，创造了高旷纵横的风格。",[24,28,119,25,7,567,33,569,346],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9244ade8ce785509d3cb147daa31bcce.jpg","182cmx88cm",[45],47,{"id":3584,"slug":3585,"title":3586,"dynasty":18,"author":212,"museum":333,"description":3587,"tags":3588,"thumbUrl":3590,"material":478,"size":479,"collection":158,"collections":3591,"showCount":3582,"zanCount":49,"manualWeight":49,"mainColor":74},235803,"luo-hua-you-yu-tu-shan-chen-chun-235803","落花游鱼图扇","陈淳（1483年—1544年），字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲（今江苏苏州）人，明代绘画大师。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。",[2353,60,25,7,83,155,37,292,3589,2021],"落花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b063b4f738948ec89dde7314392fb68.jpg",[],{"id":3593,"slug":3594,"title":600,"dynasty":55,"author":3595,"museum":20,"description":3596,"tags":3597,"thumbUrl":3598,"material":456,"size":158,"collection":158,"collections":3599,"showCount":3582,"zanCount":49,"manualWeight":49,"mainColor":74},234314,"hua-niao-ce-ma-yuan-yu-234314","马元驭","马元驭（1669—1722）清代画家。字扶羲，号栖霞，又号天虞山人，江苏常熟人。",[24,60,83,35,217,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf1894feeb0c60b378b1fc1eb0e4de89.jpg",[],{"id":3601,"slug":3602,"title":3603,"dynasty":180,"author":3604,"museum":333,"description":3605,"tags":3606,"thumbUrl":3609,"material":158,"size":158,"collection":158,"collections":3610,"showCount":3582,"zanCount":49,"manualWeight":49,"mainColor":50},228083,"shuang-song-tu-wang-meng-228083","双松图","王蒙","此作用双松撑起画面骨架，古松扎根嶙峋顽石，枝干虬曲扭转如苍龙探海，松针攒簇苍劲，带着历经岁月的沉凝古拙。\n以干笔皴擦写出斑驳松皮，枯墨见笔力，淡墨晕染远景平沙远渚，留白疏朗空寂，以简淡衬出双松的雄浑厚重，将高远与平远意境相融。\n错落题跋与画面相映成趣，诗文的林下幽怀和萧散画境合二为一，笔墨间满溢林泉隐逸之趣，仿佛能让人枕松听浪，静看云卷云舒，尽显元人尚意的画中真味。",[23,99,24,28,119,25,567,7,489,140,61,65,3607,3608],"茅屋","土地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8baca3f8b4fccb2a156d2bb5fa09314a.jpg",[],{"id":3612,"slug":3613,"title":3614,"dynasty":94,"author":413,"museum":333,"description":3615,"tags":3616,"thumbUrl":3617,"material":158,"size":158,"collection":158,"collections":3618,"showCount":3582,"zanCount":49,"manualWeight":49,"mainColor":50},227714,"wu-niao-tu-mu-xi-227714","乌鸟图","牧溪的作品在日本的地位非常高，很多画友们形容他在国内的名气不怎么大。那是因为他的大部分作品流传到了日本，所以他的绘画在日本的艺术界堪称神作。\n\n好的作品流传到了国外，在国内与众多古代画家相比自然就不占优势了，所以牧溪在国内感觉不怎么受待见。\n但真正研究古画的人，看过了牧溪的作品之后形容他的艺术绘画成就超过了八大山人，八大山人朱耷的作品甚至有可能是模仿了牧溪。\n\n南宋牧溪的作品有多牛？下面我们一起来欣赏一下这一张被美国克里夫兰艺术博物馆珍藏着的《乌鸟》图。\n这一张作品的绘画还是一如既往的牧溪的绘画风格，简单而且不多用笔，画法也是十分的简单。但作品经过了几百年之后，大家看到了牧溪的作品真的是称赞不绝于口。\n\n南宋牧溪的这幅神作：画鸟不画其首，笔墨又飒又寂寥！\n先不评画，很多人看到了这一张作品之后，看到了画中那一只“无头”乌鸟之后留言：为构图真的是绝了，牧溪当时是怎么画出来的，很想知道他在什么样的环境之下创作出来的。\n\n这笔法，真的是又飒又寂寥！有些作品真的是凭意境取胜，别不服古人，现代人真的很难画出来。\n\n不知道大家看这一张牧溪的小鸟图感觉怎么样，真可以说是国画艺术的天花板了吧。画面中乌鸟不见其首，很明显是躲在了自己的翅膀之下，它懒得起飞，整个意境感很强。\n\n本来作品就够寂寥了，再加上作品的右下边有大面积的留白，画面更显得空寂了。这构图，随笔点墨而成，意思简单，不费妆缀。\n\n绘画的细节可以说是质朴到了极点，不该多的东西一样也不多，该少的东西也不会偷懒不画。简单的笔墨，但牧溪的作品给人一种素，空寂，清高雅致的感觉，相信文人墨客都喜欢这一类的作品吧。",[24,28,25,7,83,1352,1353,1964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2fa3546d9a7f85189bc229558c77b1b.jpg",[],{"id":3620,"slug":3621,"title":3622,"dynasty":18,"author":212,"museum":116,"description":1987,"tags":3623,"thumbUrl":3626,"material":3627,"size":3628,"collection":158,"collections":3629,"showCount":3582,"zanCount":370,"manualWeight":49,"mainColor":74},222571,"hua-hui-shan-mian-chen-chun-222571","花卉扇面",[23,24,28,2353,7,25,60,30,39,3624,3625,857,3260,2722],"花枝","花叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77b227089b3a30105cdc5394e4006f97.jpg","纸本，泥金","纵18.6厘米横54.1厘米",[],{"id":3631,"slug":3632,"title":3633,"dynasty":18,"author":1409,"museum":2995,"description":3634,"tags":3635,"thumbUrl":3637,"material":185,"size":3638,"collection":45,"collections":3639,"showCount":3582,"zanCount":49,"manualWeight":49,"mainColor":50},219333,"gu-song-shuang-que-tu-lin-liang-219333","古松双鹊图","在这幅画中，两只喜鹊爬上一根松枝，寓意吉祥。 笔墨笔墨爽朗，为后世水墨花鸟画的发展树立了典范。",[23,24,25,7,119,83,33,3636,1352],"鹊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5813e37306a3d1eca136d2b6f4a716c.jpg","纵140横75厘米",[45],{"id":3641,"slug":3642,"title":3643,"dynasty":18,"author":212,"museum":333,"description":3587,"tags":3644,"thumbUrl":3645,"material":478,"size":479,"collection":158,"collections":3646,"showCount":3647,"zanCount":49,"manualWeight":49,"mainColor":74},235797,"zhu-shi-shui-xian-tu-shan-chen-chun-235797","竹石水仙图扇",[24,28,2353,25,83,32,346,38,100,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16dff079fbf4e388d791315f264fcf06.jpg",[],46,{"id":3649,"slug":3650,"title":609,"dynasty":18,"author":19,"museum":20,"description":610,"tags":3651,"thumbUrl":3652,"material":493,"size":614,"collection":158,"collections":3653,"showCount":3647,"zanCount":49,"manualWeight":49,"mainColor":74},233477,"ren-wu-hua-hui-ce-xu-wei-233477",[24,28,217,25,7,39,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96bef8a2d314d7233986a3b547635d2c.jpg",[],{"id":3655,"slug":3656,"title":3657,"dynasty":18,"author":3658,"museum":116,"description":3659,"tags":3660,"thumbUrl":3662,"material":281,"size":158,"collection":69,"collections":3663,"showCount":3647,"zanCount":49,"manualWeight":49,"mainColor":50},219472,"si-hao-tu-xie-shi-chen-219472","四皓图","谢时臣","幅中所绘，是秦汉间隐居于商山的四位老人悠闲的生活。他们或下棋，或闲步。四围则是云雾蒸腾，溪泉潺潺，松树盘踞，驯鹿嬉游，山石险阻，与外隔绝，似是为高人隐士所设的福地洞天。用笔苍劲有力，墨色变化丰富，气势雄浑。以画水闻名的谢时臣，尤其长于表现云烟之变幻多端。",[24,427,61,428,104,430,429,2126,7,119,379,60,3661],"青绿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe185e2259777abdcf74ad407a3280f3b.jpg",[69],{"id":3665,"slug":3666,"title":3667,"dynasty":55,"author":715,"museum":702,"description":3668,"tags":3669,"thumbUrl":3670,"material":84,"size":3671,"collection":158,"collections":3672,"showCount":3673,"zanCount":49,"manualWeight":49,"mainColor":74},223239,"que-tu-ren-yi-223239","雀图","绘山石中古梅一株，梅枝粗壮遒劲，枝头梅花朵朵绽放；三只麻雀或立于枝头，或立于石块上，似被梅花的清新香气吸引；石块缝中水仙花儿绽放，叶绿繁茂，朵朵花儿白净素雅，给寒冷的冬天带来生机勃勃。",[23,24,28,119,60,83,31,38,155,1352,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F719b5812cc696b603a81b715b4e36969.jpg","40x150厘米",[],45,{"id":3675,"slug":3676,"title":3677,"dynasty":55,"author":400,"museum":20,"description":3678,"tags":3679,"thumbUrl":3680,"material":84,"size":3681,"collection":158,"collections":3682,"showCount":3673,"zanCount":49,"manualWeight":49,"mainColor":74},222824,"mei-he-tu-xu-gu-222824","梅鹤图","《梅鹤图》为1891年(清光绪十七年)，虚谷时年69岁所作。以梅鹤双清为题。两株梅树茁壮挺拔，细枝交错穿插，花朵星星点点，二只白鹤立于梅枝间。梅树始以湿笔淡墨写出，后以干笔复加勾点，线条断续顿挫。梅树奇绝，如剑如戟、铁干清曜。梅花花瓣棱角分明，突出其天生寒骨、峥嵘向上的铮铮傲骨。白鹤亦造型古朴，一改光洁华美、悠闲典雅的贵族气象，长颈后缩收紧，雪羽铺展。画面设色清淡，鹤顶却以朱红重色点醒，使整幅画冷俊之中又富变化，质朴而又耐人寻味。此画作充分体现了虚谷的用笔特点，虚谷晚年代表作之一。顾鹤逸曾称虚谷作画“清而不枯，密而不乱”，此画可见一斑。",[23,99,24,28,119,25,60,7,83,31,880,404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd13b85f24a66a6be354601ee9a0b9ed2.jpg","纵145.2厘米，横78.9厘米",[],{"id":3684,"slug":3685,"title":3686,"dynasty":18,"author":578,"museum":3687,"description":3688,"tags":3689,"thumbUrl":3690,"material":43,"size":158,"collection":158,"collections":3691,"showCount":3673,"zanCount":49,"manualWeight":49,"mainColor":74},214919,"mo-hua-ce-7-shen-zhou-214919","墨花册-7","印第安纳波利斯艺术博物馆","沈周是一位著名的明朝画家，他的作品《墨花册》是一本插图本，其中包含了许多令人惊叹的墨花图案。《墨花册》是沈周的代表作之一，因其精美的图案和精湛的插画技巧而广受赞誉。在《墨花册》中，沈周用黑墨和水彩画描绘了许多精美的墨花图案，包括花卉、鸟类、动物和人物等。沈周的作品充满了生机和活力，他的绘画技巧非常出色，深受人们的喜爱。",[23,24,28,217,25,83,3376,392,243,100,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d1312eda36b374f88d54899f06fea72.jpg",[],{"id":3693,"slug":3694,"title":3695,"dynasty":18,"author":3696,"museum":213,"description":3697,"tags":3698,"thumbUrl":3699,"material":84,"size":158,"collection":158,"collections":3700,"showCount":3701,"zanCount":49,"manualWeight":49,"mainColor":74},234124,"zhu-shi-tu-juan-xia-chang-234124","竹石图卷","夏昶","夏昶，后人誉其画竹高手。他画墨竹师王绂，能得其妙，时推第一，名驰绝域，争以金购之。\n夏昶（1388—1470），字仲昭，号自在居士、玉峰，昆山人，后人誉其画竹高手。他初姓朱，名昶，后复姓夏，太宗为之更名昶，字仲昭。号自在居士，又号玉峯，江苏昆山人，夏昺弟。正统中官至太常寺卿直内阁。画墨竹师王绂，能得其妙，时推第一，名驰绝域，争以金购之。\n永乐十三年(公元1415年)中进士，为翰林院庶吉士。文皇十分赏识他的楷书，被推荐供事内省，授中书舍人。永乐命书宫殿榜。尝待从皇帝出巡于南、北二京。\n宣德(公元1426一1435年)中，转考工主事，仍供内直。正统(公元1436—1449年)中升太常卿。他为人坦率乐易，不拘小节，时常出入礼法间，人们也不怎么去责怪他。晚年回到故乡居住，以诗画宴乐自娱。\n夏昶，画竹学王绂兼学陈继，有自己的面目，声誉大大超过了他的老师。\n其兄夏昺，字孟旸，亦以书法召试称旨，命与昶同拜中书舍人，时称“大小中书”。画山水师元画家高克恭；又善竹石，萧萧有林壑之气，但平生不多作，故世人一般只知道夏昶墨竹，而不知其兄昺。\n夏昶以楷书笔法画竹，所作竹枝烟姿雨色，偃直浓巯，各循矩度而气韵生动。当时学他画竹的人很多，画史记载的如同里(昆山)的屈礿(字处诚)、海虞(常熟)的张绪(字廷瑞)、钱塘(杭州)的詹和（字仲和)。而以屈礿为突出。明吴宽《匏庵集》说：“今人家多得，往往出其手，真伪固自能辨。”徐沁《明画录》说夏昶“写竹时称第一，名驰绝域，争以兼金购求，故有‘夏昶一箇竹，西凉十锭金’之谣”。所作竹枝烟姿雨色，偃值浓疎，动和榘度，盖行家也。昆山之人师之者更数辈，独屈约颇类之，而人所得，往往出其手。尤精楷法，永乐命书宫殿榜。卒年八十三。",[24,27,25,32,346,100,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F771edf395a8aca801f918da40388517d.jpg",[],44,{"id":3703,"slug":3704,"title":3705,"dynasty":55,"author":3706,"museum":333,"description":3707,"tags":3708,"thumbUrl":3709,"material":84,"size":158,"collection":45,"collections":3710,"showCount":3701,"zanCount":49,"manualWeight":49,"mainColor":74},220249,"die-lian-hua-tu-zhou-xian-220249","蝶恋花图","周闲","周闲（1820年—1875年），字存伯，一字小园，号范湖居士，浙江秀水（今嘉兴）人，晚清著名词人、篆刻家、海上画派名家。\n严迪昌《清词史》称周闲足与鸦片战争时期诗史型诗人贝青乔并驾齐驱。咸丰三年，佐戎幕剿灭嘉定小刀会，以功赐六品官。同治三年，官新阳令、候补知州同知。同治五年，因事与大吏龃龉，遭革职，隐居吴市，假笔墨以自娱。晚年寓居上海。\n善画花卉蔬果，远师陈淳、恽寿平、李鱓，近参任熊，笔致雄浑秀腴。《嘉兴府志》称：“其画浓部密致，似宋人”。与任熊、姚燮、胡公寿为艺文挚友，同蒋春霖、任薰、任颐、吴大徵、吴昌硕、张之万等交游密切。善篆刻，富金石派学养。喜用行楷，气韵朴厚。作品有《任处士传》、《范湖草堂词》等。见《海上墨林》、《广印人传》、《清画家诗史》、《金石家书画集》、吴大澂《愙斋日记》、人民文学出版社《近代词史》。",[23,24,28,60,83,40,1017,155,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcfb731c7098f88507a9128e18726ce4.jpg",[45],{"id":3712,"slug":3713,"title":3714,"dynasty":55,"author":3715,"museum":135,"description":3716,"tags":3717,"thumbUrl":3725,"material":281,"size":3726,"collection":45,"collections":3727,"showCount":3701,"zanCount":370,"manualWeight":49,"mainColor":50},218957,"xue-jing-lu-yan-tu-dou-chi-dao-ren-218957","雪景芦雁图","都痴道人","寒江雪岸，双雁栖于坡间。一雁昂首引颈，似望垂枝冰棱；一雁敛翅低首，若思冬日闲情。岸边枯草丛生，竹枝覆雪，柳丝悬冰，凝住凛冬气息。雁羽勾勒细腻，墨色浓淡相衬，绒羽质感毕现；雪地以淡墨晕染，留白见意，坡岸起伏自然。冰棱线条劲挺，柳枝疏朗，与双雁的生动形成呼应。画面虽寒，双雁相依却含暖意，于萧瑟中藏生机。笔墨兼具工致与写意，工笔绘雁之形神，写意写雪之空灵，意境清寂而不失温情，尽显冬日禽鸟之态与自然之趣。",[23,24,28,2576,25,321,7,3718,1432,3719,3720,3314,3721,3722,3723,3724,2579],"雪景","枯柳","冰棱","枯草","雪坡","清寂","温情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37d6f5402bf65e673703469de4723fd.jpg","135x74cm",[45],{"id":3729,"slug":3730,"title":631,"dynasty":55,"author":134,"museum":333,"description":474,"tags":3731,"thumbUrl":3732,"material":478,"size":479,"collection":158,"collections":3733,"showCount":3734,"zanCount":49,"manualWeight":49,"mainColor":74},237938,"za-hua-ce-zhu-da-237938",[24,28,217,25,30,7,83,1468,216,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefc62b03cb8e858aebb63969a5919883.jpg",[],43,{"id":3736,"slug":3737,"title":3738,"dynasty":94,"author":1048,"museum":20,"description":3739,"tags":3740,"thumbUrl":3741,"material":2532,"size":3742,"collection":158,"collections":3743,"showCount":3734,"zanCount":370,"manualWeight":49,"mainColor":50},234033,"qiu-liu-shuang-ya-tu-ye-liang-kai-234033","秋柳双鸦图页","此图前人定名《秋柳双鸦》，实则写唐代诗人王维五言绝句《鸟鸣涧》诗意。王维的诗“人闲桂花落，夜静春山空。月出惊山鸟，时鸣春涧中。”描绘鸟鸣涧春山月出的夜景，既幽静，又有生气。梁楷的画，以渴笔焦墨绘一节断裂的枯柳，三两根枝条昂扬向上又飘拂而下，突兀地将整幅扇页中分为二，构图大胆，以奇致胜。大片空白处淡墨晕染出的薄云满月，给空谷春山平添了几分神秘。初升的月亮惊起的两只山鸟奋飞呼鸣，打破了夜空的静寂，老柳虽然细弱，枝条却仍坚韧，使观者感受到自然生命的搏动。\n梁楷作画，以“减笔”闻名，此幅亦不例外，寥寥几笔就生动地勾画出所表现物象的主要特征，描绘出花鸟的内在神韵。大片的空白使画面显得空濛含蓄，给人以笔墨有尽而意无穷的想象空间，达到了“于无画处皆成妙境”的艺术效果。",[99,24,28,217,2353,25,7,3719,1352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2185ad554d0542ff5a481b90a1241f7.jpg","纵24.7厘米，横25.7厘米",[],{"id":3745,"slug":3746,"title":3747,"dynasty":18,"author":212,"museum":499,"description":500,"tags":3748,"thumbUrl":3749,"material":67,"size":504,"collection":158,"collections":3750,"showCount":3734,"zanCount":49,"manualWeight":49,"mainColor":74},222564,"hua-hui-tu-3-chen-chun-222564","花卉图3",[23,99,24,28,83,7,25,60,39,155,100,1990],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb34c461d6fd907b9261669a6aad2bf19.jpg",[],{"id":3752,"slug":3753,"title":3754,"dynasty":18,"author":212,"museum":499,"description":500,"tags":3755,"thumbUrl":3756,"material":67,"size":504,"collection":158,"collections":3757,"showCount":3734,"zanCount":49,"manualWeight":49,"mainColor":74},222559,"hua-hui-tu-11-chen-chun-222559","花卉图11",[23,24,28,83,7,60,25,39,3045,3625,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdcd1dfcc3d68a8385963786e0c07ab3.jpg",[],{"id":3759,"slug":3760,"title":3761,"dynasty":18,"author":3762,"museum":20,"description":3763,"tags":3764,"thumbUrl":3766,"material":268,"size":3767,"collection":158,"collections":3768,"showCount":3734,"zanCount":49,"manualWeight":49,"mainColor":74},222345,"tong-yin-qing-meng-tu-zhou-tang-yin-222345","桐荫清梦图轴","唐寅","本幅行书自题七绝诗一首：“十里桐阴覆紫苔，先生闲试醉眠来；此生已谢功名念，清梦应无到古槐。唐寅画。”钤“吴趋”朱文圆印、“唐寅私印”白文方印、“唐阿大”朱文方印。鉴藏印有“松莲鑑定”白文方印、“东吴王莲泾藏书画记”朱文长方印等。\n《桐阴清梦图》以人物画为题材，抒发画家的生活遭遇和感受。此图用水墨白描手法，画梧桐一株，桐阴坡石处一人仰面闭目，坐於交椅之上，神情生动自然。构图简洁，用笔洗练，风格洒脱，韵致清逸，是唐寅白描人物画佳作。诗、书、画相得益彰。虽未署年款，但从题诗内容可以看出，此图是他在科场案受打击回苏州后所作，是画家看破尘事，不再追求功名，从此幽居林下的写照。\n唐寅为人性情疏朗，生活放诞，许多关於他的传说故事广为流传，妇孺皆知。他的诗、曲、书、画均颇有成就，尤以画名为最著，题材广泛，山水、人物、花鸟、竹石无一不精。曾以周臣为师，青出于蓝，并从宋元诸名家绘画中汲取营养，特别在继承南宋李唐、刘松年传统画法上有新的发展，形成了自己严谨秀逸的画风，成就突出，影响深远，在书史上有很高地位，是明代中期文人画的重要代表，与沈周、文徵明、仇英并称“吴门四大家”。\n未见著录。",[23,24,28,119,25,7,62,3765,155,3129,2305],"桐树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe07f74a6824f94c71cbee55f1249e612.jpg","纵62厘米，横30.9厘米",[],{"id":3770,"slug":3771,"title":463,"dynasty":55,"author":668,"museum":1329,"description":3772,"tags":3773,"thumbUrl":3774,"material":84,"size":158,"collection":45,"collections":3775,"showCount":3734,"zanCount":49,"manualWeight":49,"mainColor":50},220338,"mu-dan-tu-gao-feng-han-220338","高凤翰(1683~1749)胶州大行高氏二股十一世，扬州八怪之一。清代画家、书法家、篆刻家。又名翰，字西园，号南村，又号南阜、云阜，别号因地、因时、因病等40多个，晚因病风痹，用左手作书画，又号尚左生。汉族，山东胶州市三里河街道办事处三里河村人。雍正初，以诸生荐得官，为歙县县丞，署绩溪知县，罢归。性豪迈不羁，精艺术，画山水花鸟俱工，工诗，尤嗜砚，藏砚千，皆自为铭词手镌之。有《砚史》，《南阜集》。",[23,24,28,119,25,60,7,567,35,491,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce1b1aa6b6e297e6d9b9727a35d9d796.jpg",[45],{"id":3777,"slug":3778,"title":3779,"dynasty":55,"author":3595,"museum":333,"description":3780,"tags":3781,"thumbUrl":3782,"material":478,"size":479,"collection":158,"collections":3783,"showCount":3784,"zanCount":49,"manualWeight":49,"mainColor":74},238955,"yu-ce-ye-ma-yuan-yu-238955","鱼册页","马元驭（1669—1722）清代画家。字扶羲，号栖霞，又号天虞山人，江苏常熟人。\n画传家法，而气韵超逸突过乃父。赋性落拓，纵酒逞笔，乃益豪放。写生得恽寿平亲传，又与蒋廷锡讨论六法，故没骨画益工，神韵飞动，不拘陈迹。元驭自以为得沈周、陆治遗意，其超纵处诚有陆氏风规，而老健远逊石田，盖能品也。兴至之作，逸笔尤佳，多用水墨。书亦隽雅。卒年五十四。",[99,24,28,581,25,60,292,123,83,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3792bb542308bd6469d94eda6dc0aa5b.jpg",[],42,{"id":3786,"slug":3787,"title":631,"dynasty":55,"author":134,"museum":333,"description":474,"tags":3788,"thumbUrl":3789,"material":478,"size":479,"collection":158,"collections":3790,"showCount":3784,"zanCount":49,"manualWeight":49,"mainColor":74},237932,"za-hua-ce-zhu-da-237932",[24,25,7,30,100,2627,404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbff5408474c757baba63f71ce63905bf.jpg",[],{"id":3792,"slug":3793,"title":3794,"dynasty":237,"author":835,"museum":486,"description":3795,"tags":3796,"thumbUrl":3798,"material":158,"size":158,"collection":158,"collections":3799,"showCount":3784,"zanCount":49,"manualWeight":49,"mainColor":74},220568,"li-jiang-chun-yu-xu-bei-hong-220568","漓江春雨","以淋漓水墨晕染出漓江烟雨空濛之态，层叠峰林隐现于烟岚之中，墨色浓淡铺就山势虚实，尽显丘林隽秀朦胧。水面如镜，将山色树影晕化在柔波里，氤氲出水墨交融的湿润意趣。\n\n扁舟渔翁持篙独行，点活了整幅静美画卷，林麓间错落村舍，晕染出乡野恬淡烟火。画作揉合中西技法，既有传统文人山水留白写意的诗意，又暗含西画光影层次，将春雨漓江的温润柔婉，野渡闲静雅趣尽数铺展，满是东方山水的悠远意境。",[24,25,7,61,583,64,1953,65,671,3797,3500],"倒影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F228f0942de448fbbc8e726550e5df463.jpg",[],{"id":3801,"slug":3802,"title":3803,"dynasty":237,"author":835,"museum":486,"description":3804,"tags":3805,"thumbUrl":3806,"material":158,"size":158,"collection":158,"collections":3807,"showCount":3784,"zanCount":49,"manualWeight":49,"mainColor":74},220567,"e-nao-xu-bei-hong-220567","鹅闹","这幅写意小品以淋漓笔墨勾勒群鹅嬉闹之景，淡墨晕染白羽，蓬松柔软，红喙红掌施以浓艳朱色，醒目跳脱，与素洁绒羽形成强烈视觉对比。群鹅姿态各异，前者引吭展翅，步履昂然，后者振翅疾追，将乡野间喧闹鲜活的瞬间定格。背景墨叶以大写意晕染，朦胧错落衬出沙地的柔和明净，笔意纵放间不失精微，把鹅的憨直率性尽数铺展，鲜活灵动的生机跃然纸面，将乡野闲趣揉进笔墨之中，形神兼备，尽显写意花鸟的动人意趣。",[23,24,25,60,7,3357,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febd47f325de146d3f35c08e8b1cbe754.jpg",[],{"id":3809,"slug":3810,"title":609,"dynasty":18,"author":19,"museum":20,"description":610,"tags":3811,"thumbUrl":3812,"material":493,"size":614,"collection":158,"collections":3813,"showCount":3814,"zanCount":49,"manualWeight":49,"mainColor":74},233465,"ren-wu-hua-hui-ce-xu-wei-233465",[99,24,28,217,25,7,39,243,404,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61f867355f75d02b3f2bc5518af5ed94.jpg",[],41,{"id":3816,"slug":3817,"title":3818,"dynasty":18,"author":1409,"museum":702,"description":3819,"tags":3820,"thumbUrl":3822,"material":158,"size":158,"collection":158,"collections":3823,"showCount":3814,"zanCount":49,"manualWeight":49,"mainColor":50},228488,"he-tang-ju-qin-tu-li-zhou-lin-liang-228488","荷塘聚禽图立轴","画面将荷塘初秋意趣尽显，枯荷擎举、新花绽露，苇叶横斜交错，枯荣相生晕染出塘间清寂底色。\n水禽错落其间，水面鸳鸯两两相偎，翎毛细笔晕染，绒羽质感宛然；野禽振翅穿掠苇丛，飞燕斜划破空，动静交织间满溢鲜活生机。\n笔墨兼工带写，粗毫挥写苇茎残叶，苍劲朴拙；细笔勾勒禽鸟肌理，灵动传神。墨色浓淡铺陈层次，以极简水墨变化定格郊野塘间自在野趣，尽显纵逸清隽的花鸟意致。",[23,24,99,119,25,60,83,34,1352,633,705,3821,7],"荷塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc7d15347b6a2c9436b4b8172d7a7048.jpg",[],{"id":3825,"slug":3826,"title":3827,"dynasty":18,"author":1409,"museum":333,"description":3828,"tags":3829,"thumbUrl":3830,"material":158,"size":158,"collection":158,"collections":3831,"showCount":3814,"zanCount":189,"manualWeight":49,"mainColor":50},228487,"kong-que-shuang-qi-tu-lin-liang-228487","孔雀双栖图","以水墨晕染禽鸟神姿，雄雀身姿舒展，尾羽以浓淡墨色递变，将翎羽华美的肌理尽皆铺展，纤毫毕现又不失写意疏朗。雌雀静立石台，憨态温婉，一动一静，恰似郊林里的闲趣日常。\n\n背景竹枝以阔笔挥就，竹叶苍劲有锋芒，枯石野草信笔点染，野逸之态尽显。整幅以墨代彩，摒弃敷色浓艳，依托干湿浓淡的层次变化，将院体花鸟的精致法度与文人写意的随性相融，勾勒出清寂悠然的林间一隅，尽显水墨花鸟的雅致意趣。",[23,24,25,7,119,83,2530,32,491,1690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e88008dd1be325e91ec4e4e03a5df8e.jpg",[],{"id":3833,"slug":3834,"title":3835,"dynasty":180,"author":1036,"museum":116,"description":3836,"tags":3837,"thumbUrl":3838,"material":43,"size":3429,"collection":109,"collections":3839,"showCount":3814,"zanCount":49,"manualWeight":49,"mainColor":74},221831,"wan-xiang-gao-jie-zhou-ke-jiu-si-221831","晚香高节轴","此图描述了“石如飞白木如籀，写竹应须八法通”，是元代画家赵孟頫为柯九思《墨竹图》题写的诗句的情景。画面的主要表现是精竹秀石，还有野菊花作点缀。 此图以菊花“晚香”之意，竹子节高，故有晚香高节之画意。\n此景物主要集中于下端：画幅下部画湖石，中间高出，两侧低矮，形成“山”字型。湖石为杂草点缀，右侧的杂草向右倾斜，左侧杂草向左倾斜。湖间有几簇修竹倚石生长，其中一株翠竹拔地而起，枝竿挺拔，竹节较长，枝叶茂密，顶天立地。另有野菊花倚石而长，花朵盛开于茎端。\n款识：五云阁吏为正臣作。\n虞集题：敬仲此幅，清楚出尘，真平日合作也。奎章阁侍书学士虞集题。\n弘历题：绿筠挺出苏卿节，黄菊喷来陶令香。何必其间论世代，忘年交合石渠藏。庚寅秋日御题。",[23,24,25,119,32,346,41,1690,7,567,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8549ad8c921d08b75438863fa146dd22.jpg",[109,1042],{"id":3841,"slug":3842,"title":179,"dynasty":55,"author":3843,"museum":2995,"description":3844,"tags":3845,"thumbUrl":3846,"material":3847,"size":3848,"collection":158,"collections":3849,"showCount":3814,"zanCount":49,"manualWeight":49,"mainColor":158},220758,"zhu-shi-tu-zheng-xie-220758","郑燮","以水墨写就竹石之姿，老石皴擦写意，嶙峋古拙，尽显苍劲风骨。竹叶以“介”“个”笔法挥染，浓淡相宜，枝叶错落交叠，或繁密遒劲，或疏朗清隽，仿佛满纸飒飒生风，将劲竹迎风傲立的清刚之态跃然纸上。\n\n右侧题字笔锋爽利舒展，笔墨与画意相融相合，文画映带间，寄寓着清介拔俗的君子襟怀，把借物言志的文人意趣淋漓尽致铺陈而出。全幅疏密错落，以极简笔墨托物象风神，写意抒情浑然一体，尽显水墨写意通透灵秀的文人雅韵。",[24,28,119,25,7,32,346,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b5d7c1e057dd1b985e2e35c1f1e3fd6.jpg","水墨纸本立轴","189.5 ×104厘米",[],{"id":3851,"slug":3852,"title":3853,"dynasty":237,"author":835,"museum":486,"description":3854,"tags":3855,"thumbUrl":3856,"material":158,"size":158,"collection":158,"collections":3857,"showCount":3814,"zanCount":49,"manualWeight":49,"mainColor":74},220533,"ni-feng-xu-bei-hong-220533","逆风","以大写意泼墨绘苇丛，浓墨重笔横扫出苇叶翻卷倾伏之态，墨色干湿浓淡铺陈出疾风裹挟的动感，将无形逆风化作可见的磅礴力道。几只小雀顶风振翅，灵动鲜活的身姿与苇丛的飘摇形成鲜明对照，刚柔相济间尽显生命的不屈生机。\n\n笔墨兼具写意的恣肆与写实的精准，寥寥数笔便将风穿苇荡的野趣与雀鸟逆风而上的韧劲融为一体，画面张力十足，仿佛可闻风啸雀鸣，把疾风旷野里的蓬勃生命力晕染于纸间，于极简笔墨中传递出撼动人心的精神力量。",[24,25,83,1352,816,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6b70e12028b2a0054a92fdaeeb0ac96.jpg",[],{"id":3859,"slug":3860,"title":3861,"dynasty":237,"author":3556,"museum":897,"description":3862,"tags":3863,"thumbUrl":3866,"material":67,"size":158,"collection":158,"collections":3867,"showCount":3814,"zanCount":49,"manualWeight":49,"mainColor":74},220452,"hong-huang-feng-xue-tu-huang-zhou-220452","洪荒风雪图","黄胄的艺术具有开创性，被公认为新中国美术的代表风格之一。黄的艺术创作立足于新时代人们的生活，不断拓展他所创作的“边疆”主题。黄的题材作品打破了传统国画的陈旧陈规，演变成一种反映现实生活、与时俱进的艺术形式。他的写生艺术语言，立足历史与现实，结合国内外，推动了笔触和意境的创作。\n\n这幅取材于画家沿青藏公路旅行的画作，是黄氏最著名的代表作之一。这幅作品从仰视的角度描绘了一个地质学家团队在大雪中骑骆驼旅行的场景。人物的乐观和豪迈风度，见证了全民族对新中国建设的热情和昂扬。黄先生注重气氛的营造，以人物插画为中心，结合笔墨、写生、填色等手法，使作品更具写实性和表现力。",[24,28,25,60,7,62,3864,3865,3718,1488,237],"骆驼","犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b2abfa566ea305105f72c00f5342f08.jpg",[],{"id":3869,"slug":3870,"title":3871,"dynasty":94,"author":181,"museum":116,"description":3872,"tags":3873,"thumbUrl":3874,"material":281,"size":3875,"collection":107,"collections":3876,"showCount":3814,"zanCount":49,"manualWeight":49,"mainColor":74},218844,"zong-yin-xi-jing-tu-yi-ming-218844","棕荫习静图","这幅画描绘了一个高丘在棕榈树荫下的石凳上睡觉，旁边有蝴蝶在飞舞。这幅画中的人物是用减笔描写的，棕榈树和石凳也是用笔描写的，石夔和梁楷应该是学过的，但笔画太逼真，太露骨。这幅画的标题可以是：庄周梦蝶。",[23,24,25,217,62,65,32,7,1548],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98ad217fdf5f3633a9235875c1c6e2cb.jpg","21x21.1",[107],{"id":3878,"slug":3879,"title":3880,"dynasty":18,"author":3881,"museum":20,"description":3882,"tags":3883,"thumbUrl":3884,"material":84,"size":158,"collection":45,"collections":3885,"showCount":3886,"zanCount":49,"manualWeight":49,"mainColor":74},236980,"mo-zhu-tu-zhou-wang-duo-236980","墨竹图轴","王铎","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人。明末清初大臣、书画家，王本仁的儿子。正如李志敏所评价：“王铎的草书纵逸，放而不流，纵横郁勃，骨气深厚”。\n明朝万历二十年（1592年），生于河南孟津县。天启二年（1622年），考中进士，入选庶吉士，历任太子左谕德、太子右庶子、太子詹事、南京礼部尚书。弘光政权建立，出任东阁大学士。顺治元年（1644年），跟随钱谦益投降清朝，授礼部尚书、弘文院学士、太子少保。顺治九年（1652年），病逝，享年六十一岁，安葬于河南巩义县洛河边，谥号文安。\n善于书法，与董其昌齐名，有“南董北王”之称。书法作品有《拟山园帖》和《琅华馆帖》等。绘画作品有《雪景竹石图》等。",[24,25,119,32,100,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51936768834ede011f6ae5fbcc3fc68b.jpg",[45,109],40,{"id":3888,"slug":3889,"title":3890,"dynasty":55,"author":451,"museum":333,"description":3891,"tags":3892,"thumbUrl":3894,"material":158,"size":158,"collection":158,"collections":3895,"showCount":3886,"zanCount":370,"manualWeight":49,"mainColor":74},235224,"he-liao-tu-zhou-wu-chang-shuo-235224","荷蓼图轴","此作用笔纵老苍劲，以篆籀笔法入画。泼墨写荷叶，浓淡干湿间尽显氤氲苍润，大写意的笔力带着厚重朴拙的金石气。荷花勾勒简雅，莲蓬、蓼花点染鲜活，赭色顽石拙朴雄浑，与水墨荷色相映成趣。\n画面纵轴布陈，荷蓼错落排布，将汀洲秋日清寂疏凉的秋意铺展纸面。题款行书跌宕老辣，与画面笔墨意趣浑然相融，以恣意纵横的笔墨，把萧索秋景化作饱满的文人意趣，藏着沉静又蓬勃的生机，尽显写意花鸟的极致韵味。",[24,119,25,60,83,7,34,121,3893],"蓼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd680434786fc52bb6d3830e98572c7cc.jpg",[],{"id":3897,"slug":3898,"title":3899,"dynasty":18,"author":3900,"museum":20,"description":3901,"tags":3902,"thumbUrl":3903,"material":255,"size":3904,"collection":158,"collections":3905,"showCount":3886,"zanCount":49,"manualWeight":49,"mainColor":74},234851,"lan-zhu-shui-xian-tu-ma-shou-zhen-234851","兰竹水仙图","马守真","作者以娴熟的笔墨勾画出清风吹拂下兰、竹摇曳的形貌。兰、竹是妓女画家们最热衷描绘的题材。其因：第一，兰、竹与松、梅被历代文人赞美为画中的“四君子”，通过表现有君子风范的兰、竹 可以标示出画家自身的高洁情怀；第二，兰的清幽、竹的虚静均能映衬出妓女们的某种特殊心态；第三，也是最为关键的一点，即绘画为文人雅士与青楼女子交流的一项文化内容，兰、竹形象简单，创作时所需的时间较短，纵情涂抹三二枝便可形完气足，以助一时之兴。因此，在明代涌现出众多以擅绘兰、竹闻名的妓女画家，马守真是其中的佼佼者。马守真以画兰之精、之专而扬名江南，因此自号“湘兰”。\n马守真在兰、竹创作上不重视对兰、竹外在形态的细致刻画，而重在写出兰、竹的内涵精神，聊以抒发心中之逸气。因此，她从用笔、施墨到构图都极其随意，但内藏机巧，不失韵味。她笔下的具飘逸野趣的兰、竹不同于文俶等闺秀画家精工细描的庭院中的闲花静草，而与男性文人画家、尤其是“吴门画派”中文徵明等人的花卉艺术有更多相近之处，反映了妓女对男性文人画家的迎合及师承关系。",[24,28,25,7,40,32,38,155,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa023505e604a1f2ec2adedadc3d6df7b.jpg","纵83.5厘米，横47.2厘米",[],{"id":3907,"slug":3908,"title":609,"dynasty":18,"author":19,"museum":20,"description":610,"tags":3909,"thumbUrl":3910,"material":493,"size":614,"collection":158,"collections":3911,"showCount":3886,"zanCount":49,"manualWeight":49,"mainColor":74},233476,"ren-wu-hua-hui-ce-xu-wei-233476",[24,25,217,7,62,1953,123,1264,671,3500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b1538271c2dfd88f0c7cb1a73760be4.jpg",[],{"id":3913,"slug":3914,"title":3915,"dynasty":18,"author":79,"museum":20,"description":3916,"tags":3917,"thumbUrl":3918,"material":255,"size":3919,"collection":69,"collections":3920,"showCount":3886,"zanCount":49,"manualWeight":49,"mainColor":74},221998,"xi-qiao-ce-zhang-tu-zhou-wen-zheng-ming-221998","溪桥策杖图轴","本幅行书自题七绝诗一首：“短策轻衫烂漫游，暮春时节水西头。日长深树青帏合，雨过遥山碧玉浮。”后钤“文徵明印”、“玉磬山房”印。右下角有“玉兰堂印”鉴藏印，画心有“世美堂印”、“马寒中印”等鉴藏印。裱边及外签有当代书画家狄葆贤（平子）题诗并记，钤藏印“平等阁主人”等。题记详述了此作原为其父于清同治末年购得，而他本人则在甲子年（1924年）夏六月重新装裱的递藏过程。\n画中描绘古木森郁，山谷幽静，溪上水波不兴，一人伫立桥头，策杖观流。作品明显地带有取法“元四大家”中倪瓒、吴镇的痕迹，作者很好地将倪瓒细笔疏皴的山石和吴镇粗笔浓墨的树木结合在一起，用笔沉稳雄健，韵致醇厚，加上近景的细致刻画和远景的虚化表现，突出了文人优游山林、怡然自得的精神状态。",[23,24,200,1532,61,428,104,429,431,25,7,119,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe2362b6efd04d72a6c9344c9188f272.jpg","纵95.8厘米，横48.7厘米",[69,109],{"id":3922,"slug":3923,"title":631,"dynasty":55,"author":134,"museum":333,"description":474,"tags":3924,"thumbUrl":3925,"material":478,"size":479,"collection":158,"collections":3926,"showCount":3927,"zanCount":49,"manualWeight":49,"mainColor":74},235504,"za-hua-ce-zhu-da-235504",[24,28,217,25,7,83,138,1172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d4fbc6f21704ae7e6f82c0ab3700c6d.jpg",[],39,{"id":3929,"slug":3930,"title":3931,"dynasty":18,"author":578,"museum":3687,"description":3688,"tags":3932,"thumbUrl":3933,"material":43,"size":158,"collection":158,"collections":3934,"showCount":3927,"zanCount":370,"manualWeight":49,"mainColor":74},214916,"mo-hua-ce-10-shen-zhou-214916","墨花册-10",[23,24,25,217,83,337,242,243,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36174ca3ee0e711e4558881ccb44938f.jpg",[],{"id":3936,"slug":3937,"title":3938,"dynasty":55,"author":715,"museum":20,"description":3939,"tags":3940,"thumbUrl":3943,"material":456,"size":3944,"collection":45,"collections":3945,"showCount":3946,"zanCount":49,"manualWeight":49,"mainColor":74},238121,"yue-ye-shan-ji-tu-zhou-ren-yi-238121","月夜山鸡图轴","任颐的花鸟画多有兼工带写、明丽活泼的特点。画中巨石用淡墨勾写，以赭色随意勾描石上的丛草，竹子采用工写结合的方法，山鸡则以短粗的线条细细地绘出其皮毛的质感，又以浓淡设彩的变化呈现其体积感，使山鸡神情毕肖。全图用笔奔放灵活，设色淡雅清新，构图平中求奇，静中寓动。\n1998年，由北京大学张青莲教授转让，故宫博物院购藏。",[24,119,60,25,7,83,3941,155,32,3942],"山鸡","月夜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F059fae90ced9eeb925fdc440f4355ca3.jpg","纵111.2厘米，横55.4厘米",[45],38,{"id":3948,"slug":3949,"title":3950,"dynasty":55,"author":1125,"museum":333,"description":3951,"tags":3952,"thumbUrl":3953,"material":158,"size":158,"collection":158,"collections":3954,"showCount":3946,"zanCount":49,"manualWeight":49,"mainColor":50},224189,"hua-niao-cao-chong-tu-ba-08-hua-yan-224189","花鸟草虫图八-08","这幅小品以空灵留白铺就底色，斜曳竹枝破开空寂，清隽湖石晕染出雅致青绿，与浅赭淡墨调和出柔和古雅的基调。石上狸猫团身酣眠，憨态宛然；石下乳犬抬首凝视，稚拙灵动，另有小犬伏于草间，野趣横生。\n作者以工写兼施之法，将小生灵的情态刻画入微，幽花细草点缀其间，把林下闲时的寻常小景晕染成充满悠然意趣的画卷，尽显恬淡治愈的文人雅韵，灵动雅致间定格住山野闲情。",[23,24,60,217,7,32,155,1690,568,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee46bd5b46ec743c1b27057c1a30d048.jpg",[],{"id":3956,"slug":3957,"title":3958,"dynasty":55,"author":1125,"museum":116,"description":3959,"tags":3960,"thumbUrl":3961,"material":356,"size":3962,"collection":69,"collections":3963,"showCount":3946,"zanCount":370,"manualWeight":49,"mainColor":74},223130,"zi-hua-xiang-hua-yan-223130","自画像","本幅自题：“新罗山人小景。嗤余好事徒，性耽山野僻。每入深谷中，贪玩泉与石。或遇奇邱壑，双飞折齿屐。翩翩排烟云，如翅生两腋。此兴四十年，追思殊可惜。迩来筋骨老，迥不及畴昔。聊以孤松唫，闭之蒿间宅。洞然窥小牖，寥萧浮虚白。炎风扇大火，高天苦燔炙。倦卧竹筐床，清汗湿枕席。耶得踏层冰，散发倾崖侧。其坐捉笔砚，写我躯七尺。嬴形侣鹤臒，峭兀比霜柏。俯仰绝尘境，晨昏不相迫。草色荣空春，苔纹华石壁。古藤结游青，寒水浸僵碧。悠悠小乾坤，福地无灾厄。雍正丁未长夏新罗山人坐讲声书舍戏墨。”钤“秋岳”、“华岩”。引首钤“小园”，右下钤“离垢”。“雍正丁未”为1727年，华岩时年46岁。\n华岩是一位来自民间的画家，曾流寓杭州，结识了浙东学者历鄂、吴石仑等人，这些友人多是不慕荣利、安贫乐道的文人，在他们的影响下，华岩潜心诗文书画，获得了“诗书画三绝”的美誉。为了谋生，他曾经历仕途，但目睹官场的种种不平，终于放弃仕宦，往来于杭州与扬州之间，以卖画为生，并结识了“扬州八怪”等画家。75岁病逝。华岩一生贫苦，他在画中以“笔端刷却世间尘”，全心表现对大自然的美好感受。他游历甚多，眼界开阔，为许多画家所不及。此图为一件即兴之作，描绘了暑夏之时，华岩身着夏衫，半敞衣襟，优游林泉的欣悦之情。他倚石盘膝，临泉而坐，左手拈须，右手抚石，意态闲暇。身后山石高耸，深青色的古藤缠绕着峰峦，远处瀑布羸垂岩而下，汇流成河。读其诗，更使人感受到作者热爱自然、超然离垢的情怀。图中的人物肖像写实而又带有写意的意味，造型略有夸张，与作者其他的人物画有相似之处，如《天山积雪图》(北京故宫博物院藏)等。此图线条简练，随意潇洒，笔调疏简，追求一种文人意趣，具有雅俗共赏的独特风格。",[23,24,28,119,25,7,62,61,2305,1533,1532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F618e9659c8ac72917cca6831b14c9888.jpg","纵130.5厘米，横50.7厘米",[69,109],{"id":3965,"slug":3966,"title":3967,"dynasty":237,"author":2470,"museum":1565,"description":3968,"tags":3969,"thumbUrl":3970,"material":158,"size":158,"collection":158,"collections":3971,"showCount":3946,"zanCount":49,"manualWeight":49,"mainColor":74},220474,"mu-tong-he-niu-li-ke-ran-220474","牧童和牛","以淡墨晕染水牛躯体，浓墨提点犄角、蹄足，虚实相映间将水牛憨沉体态尽数铺展，朴拙笔触晕开茸茸肌理，尽显牲畜温驯之态。牧童仅以数笔勾勒，随性伏于牛背，眉眼简淡却将乡野孩童的松弛自在全然流露，不见繁复刻画，却把乡野午后漫无目的的悠然闲趣定格。题印错落点缀留白，融文雅书卷气于乡野图景，整幅画以简驭繁，笔意温润朴拙，将田园日常的松弛诗意娓娓道来，淡而愈浓，静中生暖，把乡野间人与牲畜相伴的温煦闲逸，藏进水墨晕染的东方意趣之中。",[23,24,25,7,62,2665],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e85969e3b12abf542622314da3c0554.jpg",[],{"id":3973,"slug":3974,"title":2527,"dynasty":18,"author":1409,"museum":20,"description":2528,"tags":3975,"thumbUrl":3976,"material":2532,"size":2533,"collection":45,"collections":3977,"showCount":3978,"zanCount":49,"manualWeight":49,"mainColor":50},238080,"kong-que-tu-zhou-lin-liang-238080",[24,119,1990,7,60,83,2530,816,2305],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe590349717b59f807870a3352f8323cd.jpg",[45,71],37,{"id":3980,"slug":3981,"title":3982,"dynasty":55,"author":151,"museum":20,"description":3983,"tags":3984,"thumbUrl":3985,"material":84,"size":158,"collection":69,"collections":3986,"showCount":3978,"zanCount":370,"manualWeight":49,"mainColor":50},237409,"yuan-ji-tai-bai-shi-yi-shan-shui-tu-zhou-shi-tao-237409","原济太白诗意山水图轴","清初的画坛上，和尚画家之多，在中国绘画史上是极其罕见的。更为人所熟知的，便是弘仁、髡残、八大山人、石涛这四位活跃于明末清初的僧人画家，他们与清初“四王”分庭抗礼，在画史上合称“四僧”。为了让读者更加了解他们的生平及书画创作风格，文藏特将此作为系列文章形式展现给大家。\n石涛是中国艺术史上一位颇具研究话题的人物，他的身世经历、佛老信仰，交游关系，书画理论、诗文解读、作品辨伪，无不令后世的书画爱好者、鉴藏者和研究者们着迷。然而他的这些话题之所以会引起后世如此巨大的关注度，正是源自他的书画艺术，在历经三百多年的沉淀之后，依旧散发着无穷的魅力，给人以新鲜之感。这种魅力便是其每幅作品中无不体现着的诗境、书境和画境的完美结合。\n石涛原名朱若极，广西桂林人，是明宗室后裔，明靖江王朱亨嘉的长子，他晚年常自署款「阿长」、「极」，并有「赞之十世孙阿长」等印，以表明自己的身世。石涛出生仅两年明王朝就灭亡了，随后，他的父亲朱亨嘉又在南明朝廷内部的权力斗争中失败被杀。此时，年仅四岁的石涛，不得不由家中仆臣护送逃至全州躲藏，后在当地湘山寺出家为僧，法名原济，字石涛；他的仆臣也一同在此出家，法名原亮，字喝涛。从此二人以佛门师兄弟相称。在明末清初政权更迭的时候，很多不愿降清的明室宗亲和文人旧臣除了以死殉国，就只能选择隐藏身份出家为僧这一条路了，而石涛更要躲避来自清王朝和南明政权的双重追杀。\n隐居期间，石涛读书临帖，研习书画，同时跟随师兄喝涛旅居武昌，游历两湖地区，后又从武昌顺江而下，经庐山、南京、松江至杭州，再由越中到宣城。石涛居宣城十四年，在此结识了施闰章、吴肃公、梅清、梅庚等当地遗民诗人画家，经常与他们结伴游览黄山、敬亭山。他们一起不仅以诗文相唱和，绘画创作亦相互影响，于笔墨和构图上探索求新。这期间，石涛与喝涛还曾同拜旅庵本月为师，正式确立了在禅林中的地位。然而，佛门身份和朋友交游，并没有抹去石涛在自己身份上的孤寂感与逃避感，他在作品中，常借山水、人物等题材来表达其孤、隐之意。他这一时期所创作的《山水人物图》卷、《山水图》册、《陶诗采菊图》轴等书画，都有这种心境的流露。\n石涛在第二次接驾康熙时得识博尔都，则让他看到希望。作为清室皇族，博尔都是一位颇具慧眼的书画鉴赏家，石涛从他的赏识中找到了艺术认同感，故接受了博尔都北游的邀请。在北京期间，石涛为博尔都创作了大量书画，博尔都也利用各种机会向京城名流推介石涛的作品。但这些努力并没有让石涛被主流画坛所接受，遂于一六九二年秋离京南返，再次回归他徜徉于江南山水间的闲逸生活。然而内心的孤独与苦闷依旧。石涛在五十八岁时画《太白诗意山水图》轴自题云：「李白将进酒。此诗何可画？虽似任达放浪，然太白素抱用世之才而不遇合，亦自慰解之词耳。吾亦借此诗，写此画，消吾之岁月云。」这些都是石涛晚年回到扬州后，孤独失落心境的真实写照。",[24,28,119,7,25,567,61,1534,65,489,140,1532,62,29,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0671f77e48690f57096fdd8ba83ed84c.jpg",[69,929],{"id":3988,"slug":3989,"title":631,"dynasty":55,"author":56,"museum":333,"description":3990,"tags":3991,"thumbUrl":3992,"material":158,"size":158,"collection":45,"collections":3993,"showCount":3978,"zanCount":370,"manualWeight":49,"mainColor":74},234265,"za-hua-ce-huang-shen-234265","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、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。\n黄慎生于清康熙二十六年（1687年）五月五日（6月14日），乾隆三十五年（1770年）84岁时尚在，卒年不详，幼丧父，以卖画为生，奉养母亲。初随上官周学画，后离家出游，曾多次在扬州卖画。方十八九岁，寄身萧寺，昼为画，夜无所得烛，从佛光明灯下读书。其艺既擅，出游豫章，历吴、越，康熙五十八年（1719年）至扬州鬻画，人争客之。\n雍正五年（1727年）以母垂老，不欲远离，乃奉居扬州，又三年乃返闽，郑燮赠以诗。\n乾隆十六年(1751年)黄慎的母亲去世，他又重游扬州，居住六年，才返故里，苦度晚年。\n乾隆三十三年（1768年）年八十二，尚作花卉册。慎工草书，法怀素。画人物，多取神仙故事为题材，初学上官周，后用狂草笔法作画。笔姿放纵，气象雄伟，深入古法，亦偶有笔过伤韵者。间作山水、花鸟，得荒率之致。所画多历史人物、佛道、樵夫渔父，早年工细，后参以怀素草书笔法，所作人物用笔粗犷，顿挫转折，纵横排奡，气象雄伟。花鸟笔法洗练，形象概括，画风泼辣；山水境界开阔，注重诗意的表达。",[23,24,28,217,25,60,83,120,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F032ca96686e1dafcb055cff42ba16f41.jpg",[45],{"id":3995,"slug":3996,"title":3997,"dynasty":18,"author":212,"museum":499,"description":500,"tags":3998,"thumbUrl":3999,"material":67,"size":504,"collection":158,"collections":4000,"showCount":3978,"zanCount":49,"manualWeight":49,"mainColor":74},222566,"hua-hui-tu-5-chen-chun-222566","花卉图5",[23,99,24,28,1990,83,7,25,60,39,242,392,278,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb138d65dbbfc167920322e416ba20c1e.jpg",[],{"id":4002,"slug":4003,"title":4004,"dynasty":18,"author":79,"museum":333,"description":4005,"tags":4006,"thumbUrl":4007,"material":4008,"size":4009,"collection":69,"collections":4010,"showCount":3978,"zanCount":49,"manualWeight":49,"mainColor":50},221982,"shan-shui-juan-wen-zheng-ming-221982","山水卷","此时文征明的山水画有两种比较典型的风格：“粗文”和“细文”。他的粗笔山水主要取法沈周和吴镇，在粗简中表现出层次和韵味；细笔山水则取法于赵孟頫、王蒙，用笔细密，布景繁密。设色多以青绿重彩或间施浅绛绘之，清雅宁静，具有很强的装饰意味。文征明性情温和儒雅，尤推崇秀润、细丽、含蓄的画风，作品以细笔山水为主。这与沈周的雄强刚健、粗犷张扬的画风明显不同。收藏界历来有“粗文细沈”之说，他的粗笔山水因数量较少而更受藏家钟爱。",[23,24,61,428,104,429,430,25,7,27,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52df3fbb11765a08980333fe573ddc8e.jpg","纸本，手卷，设色","纵25厘米、横333厘米",[69,109],{"id":4012,"slug":4013,"title":4014,"dynasty":55,"author":451,"museum":333,"description":3286,"tags":4015,"thumbUrl":4016,"material":158,"size":158,"collection":45,"collections":4017,"showCount":4018,"zanCount":49,"manualWeight":49,"mainColor":74},239176,"teng-luo-tu-zhou-wu-chang-shuo-239176","藤萝图轴",[24,119,83,7,60,25,242,216,2221,100,29,912],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F202c0b852afa26acbbbea618af316f2d.jpg",[45],36,{"id":4020,"slug":4021,"title":4022,"dynasty":55,"author":451,"museum":333,"description":641,"tags":4023,"thumbUrl":4024,"material":158,"size":158,"collection":45,"collections":4025,"showCount":4018,"zanCount":49,"manualWeight":49,"mainColor":74},236534,"shui-xian-shi-zhou-wu-chang-shuo-236534","水仙石轴",[24,28,119,99,7,25,60,155,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F360c9041d2e14afe6b7ddc54dad153cd.jpg",[45,109,929],{"id":4027,"slug":4028,"title":4029,"dynasty":18,"author":212,"museum":333,"description":3587,"tags":4030,"thumbUrl":4031,"material":478,"size":479,"collection":158,"collections":4032,"showCount":4018,"zanCount":49,"manualWeight":49,"mainColor":74},235796,"chen-dao-fu-tian-xiang-tu-shan-ye-chen-chun-235796","陈道复天香图扇页",[2353,25,83,41,29,30,100,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc792f32bb6847098aa7d32e3c97c6c5e.jpg",[],{"id":4034,"slug":4035,"title":4036,"dynasty":18,"author":578,"museum":20,"description":4037,"tags":4038,"thumbUrl":4039,"material":456,"size":4040,"collection":158,"collections":4041,"showCount":4018,"zanCount":49,"manualWeight":49,"mainColor":74},233837,"wo-you-tu-ce-liu-chan-shen-zhou-233837","卧游图册－柳蝉","此套图册分别绘仿倪山水、杏花、秋葵、秋柳鸣蝉、平坡散牧、栀子花、秋景山水、芙蓉、枇杷、秋山读书、石榴、雏鸡、秋江钓艇、菜花、江山坐话、仿米山水、雪江渔夫等山水、花鸟小景。\n根据末开画家自题，可知该册页的“卧游”之名源自南朝宋宗炳在居室四壁挂山水以当卧游的典故。然而不同于挂轴的是，该图册还可于卧床时仰面翻阅。 由此可见画家的绘制初衷和生活情趣。\n引首自书“卧游”，钤“沈氏启南”朱文印。鉴藏印：“士元珍藏”朱文印，“朱卧庵收藏印”朱文印，“查映山氏收藏图书”朱文印。\n仿倪山水，自题：“苦忆云林子，风流不可追。时时一把笔，草树各天涯。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印，“士元”朱文印，“昆山王成宪画印”朱文印，“映山珍藏”朱文印。\n杏花。自题：“老眼于今已敛华，风流全与少年差。看书一向糢糊去，岂有心情及杏花。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n秋葵。自题：“秋色韫仙骨，淡姿风露中。衣裳不胜薄，倚向石阑东。沈周。” 钤“启南”朱文印。鉴藏印：“士元”朱文印，“卧庵所藏”朱文印，“昆山王成宪画印”朱文印。\n秋柳鸣蝉。自题：“秋已及一月，残声绕细枝。因声追尔质，郑重未忘诗。沈周。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“䒶机流动”朱文印。“卧庵所藏”朱文印。\n平坡散牧。自题：“春草平坡雨迹深，徐行斜日入桃林。童儿放手无拘束，调牧于今已得心。沈周。”钤“启南”朱文印两方。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“之”“赤”朱文联珠印。\n栀子花。自题：“花尽春归厌日迟。玉葩撩兴有新栀。淡香流韵与风宜。帘触处、人在酒醒时。 生怕隔墙知。白头痴老子，折斜枝。还愁零落不堪持。招魂去、一曲（按：此字点去）阙小山词。右词寄小玉山，沈周。”钤“启南”朱文印，“吴言”朱文印。“石田翁”白文印。鉴藏印：“之”“赤”朱文联珠印，“朱卧庵收藏印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n秋景山水。自题：“淡墨疏烟处，微踪仿佛谁。梅花庵里客，端的是吾师。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印。\n芙蓉。自题：“芙蓉清骨出仙胎，赭玉玲珑轧露开。天亦要妆秋富贵，锦江翻作楚江来。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“卧庵所藏”朱文印、“昆山王成宪画印”朱文印、“竹南藏玩”白文印。\n枇杷。自题：“弹质圆充饤，蜜津凉沁唇，黄金作服食，天亦寿吴人。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印,“卧庵所藏”朱文印、“昆山王成宪画印” 朱文印。\n秋山读书。自题：“高木西风落叶时，一襟萧爽坐遥遥。闲披秋水未终卷，心与天游谁得知。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“卧庵所藏”朱文印。\n石榴。自题：“石榴谁擘破，群琲露人看。不是无藏韫，平生想怕瞒。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n雏鸡。自题：“茸茸毛色半含黄，何独啾啾去母傍。白日千年万年事，待渠催晓日应长，沈周。”钤“启南”朱文印，“白石翁”白文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印、“朱卧庵收藏印”朱文印。\n秋江钓艇。自题：“满池纶竿处处缘，百人同业不同船。江风江水无凭准，相并相开总偶然。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“卧庵所藏”朱文印。\n菜花。自题：“南畦多雨露，绿甲已抽新。切玉烂蒸去，自然便老人。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印，“昆山王成宪画印”朱文印。\n江山坐话。自题：“江山作话柄，相对坐清秋。如此澄怀地，西湖忆旧游。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印、“昆山王成宪画印”朱文印。\n仿米山水。自题“云来山失色，云去山依然。野老忘得丧，悠悠柱杖前。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n雪江渔夫。自题：“千山一白照人头，簑笠生涯此钓舟。不识江湖风雪里，可能干得庙堂忧。沈周。”钤“白石翁”白文印。鉴藏印：“昆山王成宪画印”朱文印、“卧庵所藏”朱文印。\n题跋。自题：“宗少父四壁揭山水图，自谓卧游其间。此册方可尺许，可以仰眠匡床，一手执之，一手徐徐翻阅，殊得少文之趣。倦则掩之，不亦便乎？于揭亦为劳矣。真愚闻其言，大发笑。沈周跋。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印，“芃园曹氏平生真赏”朱文印，“麓云楼书画记”朱文印，“康饴”朱文印，“只可自怡悦”白文印，“朱卧庵收藏印”朱文印，“依竹居士鉴赏书画印”朱文印。",[24,28,217,25,2943,322,83,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c5a7074fd91a202d775350e6aeb99d1.jpg","纵27.8厘米，横37.3厘米",[],{"id":4043,"slug":4044,"title":4045,"dynasty":94,"author":4046,"museum":20,"description":4047,"tags":4048,"thumbUrl":4053,"material":255,"size":4054,"collection":158,"collections":4055,"showCount":4018,"zanCount":49,"manualWeight":49,"mainColor":74},233705,"yun-shan-mo-xi-tu-juan-mi-you-ren-233705","云山墨戏图卷","米友仁","此图描绘沿江景色，近处岸边一条细径曲曲弯弯，间有板桥相连，远方峰峦起伏，云烟密布，溪流缓缓，林木森郁，屋舍隐现。此图采用“米家山水”的典型画法，山峦坡渚先用淡墨染就，继以大小各异的横向墨点反复在山头、山脊等部位再次图写，从而达到表现江南风光润泽华滋、雾气迷蒙的独特效果。明代董其昌曾携此图往游洞庭湖，惊叹米友仁的写生本领，云：“舟次斜阳，篷底一望空阔，长天云物，怪怪奇奇，一幅米家墨戏也。”\n《云山墨戏图》原题为米友仁所绘，但徐邦达先生根据其画法、题款的用笔及书写部位等因素认为并非米友仁原作。不过，此图画法全从“米家山水”而来，董其昌称其“元气淋漓，布境特妙”毫不夸张，对研究此派山水的重要价值显而易见。",[24,28,27,25,61,2126,65,100,29,567,7,4049,1264,4050,103,583,2722,306,304,3259,4051,4052],"点染","近树","米家山水","米点皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff8872f3f211ac9fd3d2589faf668ec1.jpg","纵21.4厘米，横195.8厘米",[],{"id":4057,"slug":4058,"title":4059,"dynasty":55,"author":715,"museum":1329,"description":4060,"tags":4061,"thumbUrl":4063,"material":67,"size":4064,"collection":158,"collections":4065,"showCount":4018,"zanCount":49,"manualWeight":49,"mainColor":74},223223,"san-yang-kai-tai-tu-ren-yi-223223","三羊开泰图","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",[23,24,60,25,7,568,868,1690,4062,100],"夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04307a52460e0e28b559ac3ccee2c932.jpg","145cmx75cm",[],{"id":4067,"slug":4068,"title":4069,"dynasty":18,"author":79,"museum":333,"description":425,"tags":4070,"thumbUrl":4071,"material":84,"size":4072,"collection":69,"collections":4073,"showCount":4018,"zanCount":370,"manualWeight":49,"mainColor":50},221989,"shou-juan-quan-juan-wen-zheng-ming-221989","手卷全卷",[23,24,29,61,428,104,346,429,430,25,7,27,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07cc0fc779d8f58a62155659cdff9839.jpg","27×637cm",[69,109],{"id":4075,"slug":4076,"title":4077,"dynasty":237,"author":835,"museum":486,"description":4078,"tags":4079,"thumbUrl":4080,"material":158,"size":158,"collection":158,"collections":4081,"showCount":4018,"zanCount":49,"manualWeight":49,"mainColor":74},220531,"xin-sheng-ming-huo-yue-qi-lai-xu-bei-hong-220531","新生命活跃起来","画面以淋漓水墨绘就奔腾雄狮，鬃毛肆意飞卷，四肢舒展腾跃，将百兽之王的雄健悍勇尽数铺展。作者以写实造型融入写意笔墨，精准捕捉雄狮迸发的蓬勃力道，野性生命力跃然纸面。\n\n背景山石苍简古拙，虬松横斜造势，以简淡衬雄浑，让醒狮冲破沉郁，似要踏过山巅，暗喻着挣脱桎梏的觉醒之气。整幅画将民族精神寄于狮形，借跃动醒狮传递出冲破混沌、昂扬奋进的时代强音，笔墨刚柔并济，把写意的洒脱与造型的精准相融，让猛兽的野性与新生的朝气交织碰撞，成为那个时代民族心气的生动注脚。",[24,25,7,568,3098,489,140,237],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e2f73da70e9963040779c5153e13dd7.jpg",[],{"id":4083,"slug":4084,"title":4085,"dynasty":18,"author":578,"museum":3687,"description":3688,"tags":4086,"thumbUrl":4087,"material":43,"size":158,"collection":158,"collections":4088,"showCount":4018,"zanCount":49,"manualWeight":49,"mainColor":74},214918,"mo-hua-ce-8-shen-zhou-214918","墨花册-8",[23,24,25,83,1389,216,217,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b4dafcaa7ff5923881cdc17d910b6f9.jpg",[],{"id":4090,"slug":4091,"title":4092,"dynasty":55,"author":151,"museum":333,"description":2776,"tags":4093,"thumbUrl":4094,"material":158,"size":158,"collection":109,"collections":4095,"showCount":4096,"zanCount":49,"manualWeight":49,"mainColor":74},237930,"yuan-ji-mo-zhu-tu-zhou-shi-tao-237930","原济墨竹图轴",[24,28,119,25,32,29,100,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe56ab48f8433faa0c3d1fc3aa96ea0d3.jpg",[109,929],35,{"id":4098,"slug":4099,"title":4100,"dynasty":55,"author":2730,"museum":333,"description":4101,"tags":4102,"thumbUrl":4103,"material":84,"size":158,"collection":45,"collections":4104,"showCount":4096,"zanCount":49,"manualWeight":49,"mainColor":74},237639,"shuang-yu-tu-zhou-li-fang-ying-237639","双鱼图轴","李方膺（1695年—1755年），字虬仲，号晴江，别号秋池，抑园 ，白衣山人等，江南通州（今江苏南通）人。寓居金陵借园，自号借园主人。中国清代诗画家、官员，能诗，擅画松竹兰菊，尤长写梅。用笔倔强放纵，不拘成法，苍劲有致，为“扬州八怪”之一 。为官刚正不阿，廉洁爱民。出身官宦之家，曾任乐安县令、兰山县令、潜山县令、代理滁州知州等职，为官时有惠政，人德之，后因遭诬告被罢官，去官后寓南京借园，自号借园主人，常往来扬州卖画。与李鱓、金农、郑燮等往来，工诗文书画，擅梅、兰、竹、菊、松、鱼等，注重师法传统和师法造化，能自成一格，其画笔法苍劲老厚，剪裁简洁，不拘形似，活泼生动。被列为扬州八怪之一。有《风竹图》《游鱼图》《墨梅图》等传世。著《梅花楼诗钞》。善画松、竹、兰、菊、梅、杂花及虫 鱼，也能人物、山水，尤精画梅。作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼诗草》，仅二十六首，多数散见于画上。",[24,28,119,25,30,100,7,292],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b19355579f3c5af08250390d4501ce2.jpg",[45],{"id":4106,"slug":4107,"title":4108,"dynasty":55,"author":451,"museum":333,"description":4109,"tags":4110,"thumbUrl":4111,"material":158,"size":158,"collection":158,"collections":4112,"showCount":4096,"zanCount":49,"manualWeight":49,"mainColor":74},237411,"tian-zhu-zhou-wu-chang-shuo-237411","天竹轴","以篆隶笔意写绘，枯笔勾勒的枝干苍古嶙峋，尽显朴拙老辣的金石质感。叶片以浓淡墨色晕染，层次分明，艳红、明黄的天竹果实点缀其间，鲜活饱满，与水墨的素雅形成强烈对比，艳而不俗。\n\n右侧以大写意绘顽石，笔致写意简括，虚实相生，衬出天竹的清逸生机。整幅画作将花木的蓬勃生命力与文人画的雅致意趣相融，笔墨沉郁浑朴，尽显雄浑古拙的独特风韵。",[99,24,28,119,83,60,25,7,2655,155,404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93127e7d2bdb1b52ef872fb7c8c28e5.jpg",[],{"id":4114,"slug":4115,"title":4116,"dynasty":18,"author":212,"museum":333,"description":3587,"tags":4117,"thumbUrl":4118,"material":478,"size":479,"collection":158,"collections":4119,"showCount":4096,"zanCount":49,"manualWeight":49,"mainColor":74},235800,"qiu-kui-tu-shan-chen-chun-235800","秋葵图扇",[24,28,2353,25,7,83,3288,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ec55ae0b1c4d7da1e7662300f3fccfc.jpg",[],{"id":4121,"slug":4122,"title":4123,"dynasty":55,"author":1125,"museum":333,"description":4124,"tags":4125,"thumbUrl":4127,"material":158,"size":158,"collection":158,"collections":4128,"showCount":4096,"zanCount":49,"manualWeight":49,"mainColor":50},224186,"hua-niao-cao-chong-tu-ba-05-hua-yan-224186","花鸟草虫图八-05","这幅花鸟图以画眉为主体，画师以细腻笔触丝写出禽鸟绒羽，蓬松柔润，画眉抬首引颈，俨然正引吭啼鸣，灵动楚楚。枯瘦枝桠以淡墨写出，间杂残红野果，设色清妍冷峭，晕染出秋深烟寒的幽寂氛围。\n\n左侧题诗与画面相映成趣，书画交融，将晚秋荒寒之境与禽鸟的缱绻情态相融，笔致秀逸空灵，尽显清隽雅致的意趣。画师将写生之真与写意之美糅合，寥寥数笔便勾勒出残秋里生机未泯的幽微景致，晕染出深秋独有的怅惘诗意。",[23,24,28,217,60,83,138,1964,1401,7,4126],"兼工带写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a7826f0cacf91bbca0594c3e632a037.jpg",[],{"id":4130,"slug":4131,"title":4132,"dynasty":18,"author":79,"museum":20,"description":4133,"tags":4134,"thumbUrl":4135,"material":255,"size":4136,"collection":45,"collections":4137,"showCount":4096,"zanCount":49,"manualWeight":49,"mainColor":50},221993,"ku-mu-shu-huang-tu-zhou-wen-zheng-ming-221993","枯木疏篁图轴","此图绘古松如龙，虬干曲枝，老气横秋；疏竹翠色盎然，丛簇纷披。画家运用自己在书法尤其是行草书方面的高深造诣和雄放的笔力，以湿润淋漓的墨色自由挥写，既表现了雨后竹树苍润欲滴、秋意渐浓的状态和美感，也反映出作者安逸闲适的放松心态，是文徵明盛年粗笔绘画中具有较强笔墨个性和诗化意境的作品之一。",[23,83,32,25,7,119,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F772a95dcda3e0ac56d1e3817034c10bf.jpg","纵88.2厘米，横47.8厘米",[45,71],{"id":4139,"slug":4140,"title":4141,"dynasty":18,"author":79,"museum":116,"description":4142,"tags":4143,"thumbUrl":4144,"material":356,"size":4145,"collection":871,"collections":4146,"showCount":4096,"zanCount":49,"manualWeight":49,"mainColor":74},221991,"qiao-lin-zhu-ming-tu-zhou-wen-zheng-ming-221991","乔林煮茗图轴","不见鹤翁今几年，如闻仙骨瘦于前。\n只应陆羽高情在，坐荫乔林煮石泉。",[23,24,61,428,104,429,25,7,119,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0950965539805b38e2ff08fe774e3851.jpg","本幅 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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。",[4292,4293,7,1490,4294,4295,4296,4297,3129,279],"印象派","油画","色彩丰富","鸢尾花","黄色花卉","紫色花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4377932f137ec5382d8994d01ae3a1da.jpg","油画精选",[4299],{"id":4302,"slug":4303,"title":4304,"dynasty":55,"author":400,"museum":333,"description":4305,"tags":4306,"thumbUrl":4307,"material":4275,"size":4308,"collection":158,"collections":4309,"showCount":4266,"zanCount":49,"manualWeight":49,"mainColor":74},222825,"yu-xi-xu-gu-222825","鱼嬉","图绘水中金鱼三条，二条红白相间，一条白身红眼，水中游游弋嬉戏；水面上数要葡萄藤，宽大的葡萄叶黄灿灿，自然展开，藤上葡萄累累，令人垂涎。",[23,24,60,7,25,119,83,292,242,243,910,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7191b48084ecb908fe16b5ad2defef92.jpg","99x35厘米",[],{"id":4311,"slug":4312,"title":4313,"dynasty":55,"author":715,"museum":333,"description":4314,"tags":4315,"thumbUrl":4316,"material":158,"size":158,"collection":158,"collections":4317,"showCount":4318,"zanCount":49,"manualWeight":49,"mainColor":74},230122,"chun-qin-si-ping-ren-yi-230122","春禽四屏","这幅团扇小品兼工带写，以鸲鹆为题。浓墨晕染禽鸟黑羽，兼用淡墨扫出绒羽蓬松层次，朱红爪足紧扣枯枝，圆目尖喙自带警觉之态，笔意放逸却形神毕现。衬景藤蔓枝叶以花青淡赭轻勾慢染，叶片俯仰错落，柔润淡彩与浓黑禽鸟形成冷暖映衬，疏密之间晕出春日清寂生机。右侧题字笔力劲挺，与画面浑然相融，尽显写意花鸟的灵动雅趣，尺幅之内将日常小景化为意韵悠长的雅致佳作。",[24,60,25,83,138,817,3625,100,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb56f8d8e8fbbb64afde5123e88597a17.jpg",[],32,{"id":4320,"slug":4321,"title":2994,"dynasty":18,"author":1409,"museum":333,"description":4322,"tags":4323,"thumbUrl":4326,"material":158,"size":158,"collection":158,"collections":4327,"showCount":4318,"zanCount":49,"manualWeight":49,"mainColor":50},228486,"shuang-ying-tu-lin-liang-228486","《双鹰图》是清代画家朱耷创作的纸本水墨画，现藏于 。\n款识：八大山人写。\n钤印：八大山人（白）、何园（朱）、孝慈洪养百福（朱）、士元（朱）。\n藏印：程桢义联珠珍藏印（朱）签条：清高僧朱耷双鹰图真迹 。\n钤印：秋君（朱）、李秋印（白）。\n《双鹰图》画面以简洁的构图，别开生面，意境幽邃，寥寥数笔将冬季时节的气息表现得淋漓尽致。\n画中岩石一侧横斜出枯枝苍干，坡石边附有丛竹，双鹰一踞岩石上俯视，一栖树干上转头回望，呈呼应之势。\n二石二鹰一树描绘都是对大自然的精心观察后，通过变形取貌得其盎然生意，整个画面笔调圆润凝重，皆以圆弧线组成，富有流动感，浓淡干湿墨色相破相融，双鹰的画法虽可看到林良的影子，而意趣已有很大的不同。\n画面的构图不留地面和天空，仅有的右侧空白被作者自题识和款署给填补。\n此图无论是双鹰、山石、枯树都笔墨简括，意态尽出，显出了 以简取胜，以少胜多的独特写意艺术才能。\n219年9月2日，该作品在故宫博物院和 共同主办的《回望传承——八大山人纪念馆建馆6周年故宫典藏特展》中展出。\n朱耷（1626－176）。\n谱名统，有雪个、个山、人屋、道朗、八大山人等别号。\n南昌人。\n明末清初越的大画家。\n他是明太祖朱元璋第十六子朱权的九世孙。\n八岁能作诗，十一岁能画青绿山水，少时能悬腕写米家小楷。\n弱冠为诸生。\n明亡以后，他抱着对清王朝不满的态度，在奉新县耕香庵落发为僧，时年二十三岁。\n后隐居进贤县介冈及永丰县睦冈等地。\n顺治末年，当他三十六岁时潜回南昌，创建青云圃道院，花了六、七年时间，才使这坐道院初具规模，并在这里过着“一衲无余”与“吾侣徙耕田凿井”的劳动生活。\n因为常有清朝权贵来此骚扰，他常浪迹他方。\n康熙十七年他五十三岁时，临川县令胡亦堂闻其名，便延请他随其僧长饶宇朴等到临川官舍作客年余。\n这使他十分苦恼郁愤，遂佯为疯癫，撕裂僧服，独自走回南昌。\n一年多后，他又回到青云谱，并在这里度过“花甲华诞”。\n当他六十二岁时，不再做住持，便把道院交给他的道徒涂若愚主持。\n后又隐避在南昌附近的北兰寺、开元观等处。\n该画取法明代大画家 ，枯枝危石之上两苍鹰相互顾盼，俯仰之间，英武之姿一览无余。\n以“双鹰”题材为例，列在八大名下目前存世画作有三幅：美国大都会博物馆藏《双鹰图》（系 旧藏）;上海博物馆藏《双鹰图》;江西 藏《双鹰图》。\n三幅画作之中，“大都会本”依画面题记确定为八大山人172年所作;“上博本”为1699年所作;“南昌本”无年款。",[23,24,28,119,1990,25,7,83,4324,490,4325,816,817,242,2305],"院体","猛禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb96e154c48c16ef3deed3628318f6135.jpg",[],{"id":4329,"slug":4330,"title":4331,"dynasty":55,"author":650,"museum":333,"description":4332,"tags":4333,"thumbUrl":4335,"material":268,"size":4336,"collection":45,"collections":4337,"showCount":4318,"zanCount":49,"manualWeight":49,"mainColor":74},223251,"xiao-xiang-yu-xue-pu-hua-223251","潇湘雨雪","水墨绘雨雪之下，翠竹依然傲立的身姿，毫不畏缩，竹枝修长坚韧，竹叶翠绿繁茂\b。",[23,24,28,119,25,7,32,155,4334],"雨雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F038ff4e425bdfc1d6ae7b7e36b4b5e42.jpg","117X48cm",[45,109],{"id":4339,"slug":4340,"title":4341,"dynasty":237,"author":835,"museum":486,"description":4342,"tags":4343,"thumbUrl":4344,"material":158,"size":158,"collection":158,"collections":4345,"showCount":4318,"zanCount":49,"manualWeight":49,"mainColor":74},220561,"dou-ying-xu-bei-hong-220561","斗鹰","以酣畅泼墨写就猛禽雄姿，两只苍鹰振翅对峙于空，利爪森然张扬，怒目相向，将空中缠斗的紧绷张力拉至顶点。\n作者以干湿浓墨晕染出羽毛层次，大写意的笔触间不失细节精准，将猛禽的桀骜筋骨与凶悍神态尽数勾勒。画面留白疏朗，远景点缀掠空小鹰，衬出天地辽远，更显主体鹰隼的霸悍气魄。整体笔力雄健老辣，将猛禽相斗的野性之美凝于纸面，把转瞬即逝的空中角斗定格为永恒的视觉冲击，尽显豪迈苍劲的风骨。",[23,24,25,7,119,1352,568],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b0f6352c708e330be8c080b5a1d523.jpg",[],{"id":4347,"slug":4348,"title":4349,"dynasty":237,"author":835,"museum":486,"description":4350,"tags":4351,"thumbUrl":4352,"material":158,"size":158,"collection":158,"collections":4353,"showCount":4318,"zanCount":370,"manualWeight":49,"mainColor":74},220536,"chen-qu-xu-bei-hong-220536","晨曲","枯枝虬曲交错，浓淡墨色晕染出苍劲质感，萧索冬意铺满纸面。数十只麻雀错落栖于枝桠，姿态灵动各异：有的昂首翘望谛听晨风，有的两两依偎喁喁私语，也有敛羽静立，沉浸在晨间清寂之中。\n\n以水墨写意之法寥寥定格群雀憨态灵趣，淡墨留白的空阔背景，更衬出雀鸟的鲜活生机，静中藏动，将冬晨的清寒和小生命的蓬勃揉作一处。于枯淡笔墨间晕开暖意，把日常晨间的鲜活意趣尽显，在留白与笔意里藏着温柔生机，让萧瑟冬景晕染出盎然生气。",[24,25,60,7,83,549,1352,237],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0320e8ab6ec6712d5beadf2f7573390c.jpg",[],{"id":4355,"slug":4356,"title":4357,"dynasty":180,"author":4358,"museum":116,"description":4359,"tags":4360,"thumbUrl":4361,"material":43,"size":4362,"collection":45,"collections":4363,"showCount":4318,"zanCount":49,"manualWeight":49,"mainColor":74},219501,"tao-hua-you-niao-tu-zhang-zhong-219501","桃花幽鸟图","张中","图绘折枝桃花，枝上栖一禽鸟。画家用墨直接点写出枝叶，桃花或勾或点，禽鸟略加勾染。构图、用笔都很疏简，较王渊的墨笔花鸟更为简逸，近于写意的画法，亦属墨戏之作。画幅上有杨维桢、范公亮等十余人题咏。",[24,28,25,83,37,138,404,29,30,120,100,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39e824d8b7c3ee45995275c79f83170d.jpg","纵112.2厘米，横31.4厘米",[45],{"id":4365,"slug":4366,"title":4367,"dynasty":18,"author":1409,"museum":1889,"description":4368,"tags":4369,"thumbUrl":4370,"material":185,"size":4371,"collection":45,"collections":4372,"showCount":4318,"zanCount":49,"manualWeight":49,"mainColor":50},219329,"liu-que-tu-lin-liang-219329","柳鹊图","画中的柳叶随风起舞，四只喜鹊在中间嬉戏。 这幅画飞扬而不失形，或画的下部被切掉，造成画不完整。",[23,24,99,25,7,83,119,1128,3636,1352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e1a6f8f3388ac631614527f9aa6831.jpg","139.4x76cm",[45],{"id":4374,"slug":4375,"title":631,"dynasty":55,"author":134,"museum":333,"description":474,"tags":4376,"thumbUrl":4377,"material":478,"size":479,"collection":158,"collections":4378,"showCount":4379,"zanCount":49,"manualWeight":49,"mainColor":74},237937,"za-hua-ce-zhu-da-237937",[24,28,217,25,30,120,140,65,7,567,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb86108c56dd64ee2459aadeca6d13748.jpg",[],31,{"id":4381,"slug":4382,"title":631,"dynasty":55,"author":134,"museum":333,"description":474,"tags":4383,"thumbUrl":4385,"material":478,"size":479,"collection":158,"collections":4386,"showCount":4379,"zanCount":49,"manualWeight":49,"mainColor":74},235505,"za-hua-ce-zhu-da-235505",[24,25,217,4384,1690,100,7],"兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cbc32cb105dc79b84d7242b1e6cb60a.jpg",[],{"id":4388,"slug":4389,"title":4390,"dynasty":55,"author":1328,"museum":333,"description":4391,"tags":4392,"thumbUrl":4394,"material":158,"size":158,"collection":158,"collections":4395,"showCount":4379,"zanCount":49,"manualWeight":49,"mainColor":74},228948,"lu-yan-tu-ce-ye-bian-shou-min-228948","芦雁图册页","作品简介 此是杂画册中的一幅，以没骨法写一尾鳜鱼，墨色浓淡自然，恰到好处表现鳜鱼的体质感，借用几笔淡墨勾出鳜鱼的头部。\n形象生动，似乎刚离水不久。\n口尚张穿一根柳条，几片柳叶，即使画面生又富于生活气息。\n【名称】清 边寿民 杂画图 【简介】册页，纸本，设色，纵25.1厘米，横2.1厘米。\n无锡市文物商店藏。\n边寿民（1684-1752），清代画家。\n原名维祺，字寿民，以字行，更宇颐公，号渐僧、苇间居士，江苏山阳（今淮安）人。\n能书擅画，花卉翎毛，均有别趣，尤以泼墨芦雁驰名于江、淮间。\n与华喦、郑燮等交往甚契，属扬州画派。\n所居苇间书屋，多名流造访。\n人称“淮上一高士”。\n传世作品有《芦雁图》册、《芦雁图》轴。",[24,25,217,7,4393,1432,1352,104],"芦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdb2c9ea92efe0cc5c1dbef730058d1d.jpg",[],{"id":4397,"slug":4398,"title":4399,"dynasty":18,"author":79,"museum":80,"description":425,"tags":4400,"thumbUrl":4401,"material":1991,"size":4402,"collection":69,"collections":4403,"showCount":4379,"zanCount":370,"manualWeight":49,"mainColor":74},222007,"ju-gui-zhai-tu-shou-juan-wen-zheng-ming-222007","聚桂斋图手卷",[23,24,63,29,61,346,429,430,60,7,27,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6bcbef7bb3e97e60135879e28a13a3a.jpg","31.6x56.2厘米",[69,71],{"id":4405,"slug":4406,"title":4407,"dynasty":237,"author":835,"museum":486,"description":4408,"tags":4409,"thumbUrl":4418,"material":158,"size":158,"collection":158,"collections":4419,"showCount":4379,"zanCount":49,"manualWeight":49,"mainColor":74},220557,"cun-ge-xu-bei-hong-220557","村歌","这幅画作以写意笔墨勾勒乡野童趣，壮硕水牛低首拽绳，墨色浓淡晕出皮毛的厚重肌理，犄角弯劲尽显憨倔神态。顽童扑卧浅草，手脚舒展，粉衫素裙晕染出稚拙灵动，与水牛的沉浑形成生动反差。\n\n远景以淡墨轻扫烟霭朦胧的水泽汀洲，浅赭点染滩涂，将江南水乡的柔婉晕染开来。画面未作刻意雕琢，却把乡野间的松弛鲜活尽数铺陈，牧童嬉牛的日常瞬间，化作治愈悠然的田园牧歌，藏着最动人的乡土温情。",[24,25,60,7,2665,4410,4411,4412,4413,4414,4415,4416,1954,4417],"孩童","乡野","水乡","田园","童趣","治愈","浅草","水泽汀洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f712e167bdddfd3099adcb0285d20e3.jpg",[],{"id":4421,"slug":4422,"title":4423,"dynasty":18,"author":2302,"museum":1889,"description":4424,"tags":4425,"thumbUrl":4426,"material":185,"size":4427,"collection":871,"collections":4428,"showCount":4379,"zanCount":49,"manualWeight":49,"mainColor":50},219503,"qiao-fu-tu-wu-wei-219503","樵夫图","此作以粗劲写意之笔，绘就山野樵归之景。左上枯木虬枝盘错，水墨酣畅淋漓，苍莽老辣的笔墨勾勒出林间荒寂之态。负薪樵夫居于画面正中，衣纹以顿挫折芦描写就，寥寥数笔便将樵夫行于山径间的疲惫憨朴尽数烘托，肩头薪柴写实生动，尽显劳作的质朴厚重。淡墨晕染远景空茫，虚实相映间衬出郊野空旷萧疏，整体笔墨健拔爽利，将山野市井的日常意趣融于山水，把俗世生活的鲜活烟火气晕染在荒寂山野之中，简括传神又意韵悠长。",[23,24,99,119,25,7,62,65,140,1353,571,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f737201526754b27266ed5a65515adf.jpg","纵164.8横95.0厘米",[871],{"id":4430,"slug":4431,"title":4432,"dynasty":55,"author":715,"museum":20,"description":4433,"tags":4434,"thumbUrl":4436,"material":4437,"size":4438,"collection":45,"collections":4439,"showCount":4440,"zanCount":49,"manualWeight":49,"mainColor":74},236466,"liu-tang-lu-que-tu-zhou-ren-yi-236466","柳塘鹭雀图轴","此图是幅表现春风中群燕嬉戏的小品画，也是任颐运用以实托虚的手法成功地表现“风”的代表作。虚缈、抽象的风通过小燕振翅翻飞的动态和柳叶飘舞张扬的形状被表现得既具象又生动，不仅令“风”有了可视的形象，而且突出了作者“轻柳爱风斜”的创作主题。从构思到笔墨都反映了作者在绘画创作成熟期的精湛艺术水准。",[24,60,25,7,83,2943,1501,1839,705,4435],"塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4784f688b1766e12ccf68e7508976a4c.jpg","绢本，设色","纵152.5厘米，横40厘米",[45,109],30,{"id":4442,"slug":4443,"title":631,"dynasty":55,"author":134,"museum":333,"description":474,"tags":4444,"thumbUrl":4445,"material":478,"size":479,"collection":158,"collections":4446,"showCount":4440,"zanCount":49,"manualWeight":49,"mainColor":74},235503,"za-hua-ce-zhu-da-235503",[24,25,7,83,34,121,217,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90727016f355f8a136bac506bf6ea3cf.jpg",[],{"id":4448,"slug":4449,"title":4450,"dynasty":18,"author":4451,"museum":333,"description":4452,"tags":4453,"thumbUrl":4460,"material":158,"size":158,"collection":158,"collections":4461,"showCount":4440,"zanCount":49,"manualWeight":49,"mainColor":74},235275,"shan-shui-tu-zhou-wang-shan-chui-diao-zhao-zuo-235275","山水图轴（望山垂钓）","赵左","《山水图》轴（望山垂钓），明，赵左绘，纸本，设色，纵12.cm，横8cm。\n作者： 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。",[24,119,169,60,25,4454,321,7,64,4455,197,65,705,140,4208,1264,4456,4457,4458,4459],"披麻皴","垂钓","文人","读书","恬淡","古雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb82fec355e24c88b9d8dd6dac98f00b.jpg",[],{"id":4463,"slug":4464,"title":4465,"dynasty":18,"author":4466,"museum":333,"description":4467,"tags":4468,"thumbUrl":4470,"material":158,"size":158,"collection":158,"collections":4471,"showCount":4440,"zanCount":49,"manualWeight":49,"mainColor":74},231014,"lian-ou-jing-yin-tu-wen-jia-231014","莲藕净因图","文嘉","此作画风清逸疏朗，以淡墨勾绘莲茎清瘦挺拔，粉荷半绽，淡赭轻染花尖，晕染出柔婉清雅的姿态。莲蓬与莲藕刻画精微朴拙，线条简淡却将水生风物的温润质感尽显无遗。\n\n宽绰留白铺就幽寂禅意，搭配题咏禅诗，诗画相映，将莲的清净本心寄寓其间，尽显幽淡出尘的文人意趣。全作用笔以简驭繁，淡而弥厚，融禅思入绘事，观之如临幽塘，心下自会澄明安宁，尽显文人尚简崇雅的审美意韵。",[24,28,119,1251,25,60,121,124,122,4469,39,7],"莲藕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab2d6731a756e18afa13d56d32e9d48b.jpg",[],{"id":4473,"slug":4474,"title":4475,"dynasty":237,"author":835,"museum":486,"description":4476,"tags":4477,"thumbUrl":4479,"material":158,"size":158,"collection":158,"collections":4480,"showCount":4440,"zanCount":49,"manualWeight":49,"mainColor":74},220550,"ling-jiu-xu-bei-hong-220550","灵鹫","两只鹫鸟傲然立于枯木之上，昂首远眺，目光锐利沉静，尽显悍勇孤傲之姿。\n画家以兼工带写之法，以浓淡墨色区分鹫鸟羽毛层次，蓬松绒羽以淡墨晕染出柔软质感，硬翅翎毛则以焦墨勾勒，笔力苍劲，将猛禽的健硕体态刻画入微。古木以阔笔重墨挥写，尽显苍浑朴拙的山野意趣，枝桠间点缀嫩黄小花，柔色打破沉郁色调，动静相映。\n画作融西画写实观察与东方写意笔墨，既还原猛禽生理细节，又以写意笔墨烘托出桀骜沉凝的气度，于沉静画面中蕴藏着雄健生命力。",[24,25,60,7,83,1352,1172,4478,1264],"花簇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaf44f3188b1be369b8514aa6b92a3f4.jpg",[],{"id":4482,"slug":4483,"title":4484,"dynasty":18,"author":4485,"museum":116,"description":4486,"tags":4487,"thumbUrl":4488,"material":43,"size":4489,"collection":45,"collections":4490,"showCount":4440,"zanCount":49,"manualWeight":49,"mainColor":74},219512,"han-lin-qu-yu-tu-yao-shou-219512","寒林鸲鹆图","姚绶","表现了水边奇石及枯木丛篁中的景象。",[24,25,119,7,29,100,83,549,138,816,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fc50daeb2e5949a3519195445d994f7.jpg","纵116.7厘米横29.6厘米",[45],{"id":4492,"slug":4493,"title":4494,"dynasty":55,"author":2730,"museum":333,"description":4495,"tags":4496,"thumbUrl":4497,"material":158,"size":158,"collection":158,"collections":4498,"showCount":4499,"zanCount":49,"manualWeight":49,"mainColor":74},235634,"mo-mei-tu-zhou-li-fang-ying-235634","墨梅图轴","此作用笔老辣朴拙，枯苍梅干以顿挫浓墨写就，虬曲倔强，斜逸枝桠舒展灵动，尽显古梅饱经风霜却傲然不屈之态。淡墨圈点梅花，清气盈盈，简淡脱俗，宛若清寒之中悄然绽露芳华。\n\n画面留白疏朗空灵，配上行书题诗，诗画相融，将自身狷介风骨寄寓于梅中，以梅明志，尽显文人画借物抒怀的意趣，寥寥数笔便把梅花的清逸高格勾勒尽致，于极简中见精神风骨，是写意花鸟中借物言志的佳作。",[24,119,25,31,29,30,100,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eb1f39a221903b5fa8c775b8d3f18ac.jpg",[],29,{"id":4501,"slug":4502,"title":4503,"dynasty":55,"author":400,"museum":333,"description":4504,"tags":4505,"thumbUrl":4506,"material":158,"size":158,"collection":158,"collections":4507,"showCount":4499,"zanCount":49,"manualWeight":49,"mainColor":74},233376,"mei-he-tu-zhou-xu-gu-233376","梅鹤图轴","《梅鹤图》是清代虚谷创作的纸本设色画。\n自题：“辛卯春二月。\n虚谷。\n” 钤“虚谷书画”朱文印、“耿耿其心”白文印。\n“辛卯”为清光绪十七年（1891年），虚谷时年69岁。\n图绘梅鹤双清之景。\n茁壮的梅树，其交错穿插的细枝和星星点点的花朵打破了画面的整体空间。\n作者着意在梅树干上绘两只仙鹤，它们淡然闲适的神态为画面增添了祥和的生趣，其平整的造型则统一了原本过于细碎的画面，由此可见作者巧于构思和化零为整的能力。\n虚谷（1824—1896年），姓朱，名怀仁，出家为僧后以虚谷名，号紫阳山民、倦鹤等，祖籍安徽新安（今歙县），寓居扬州、苏州、上海等地，卖画为生。\n能诗擅画，工于书法，尤以善绘瓜果鱼蔬、人物、山水等为人称道。\n喜用枯笔焦墨，具有拙于外秀于内的笔墨特征。\n与任颐、胡公寿等交往密切，是晚清著名的海上名家。",[24,28,119,25,60,83,7,31,880,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6fa1dda8c69bfb89af210776a782370.jpg",[],{"id":4509,"slug":4510,"title":4511,"dynasty":55,"author":1125,"museum":333,"description":4512,"tags":4513,"thumbUrl":4515,"material":158,"size":158,"collection":158,"collections":4516,"showCount":4499,"zanCount":49,"manualWeight":49,"mainColor":74},224176,"liu-qin-tu-hua-yan-224176","柳禽图","此作用笔兼工带写，以空灵留白衬出清寂意韵。柳枝以淡墨晕染出柔条垂曳之姿，浓墨点苔醒出老枝苍劲，墨色浓淡铺陈出枝叶的虚实层次。\n两只八哥一攀附柳丝，一振翅穿飞，焦墨写羽凝练厚重，喙爪轻勾灵动有神，二鸟顾盼呼应，将春日柳梢嬉闹的野趣生动定格。淡赭素纸托着清润笔墨，寥寥笔意便晕开江南春日的柔婉闲逸，于简雅间暗藏蓬勃生机，尽显幽澹秀美的文人意趣。",[23,24,28,99,119,25,60,7,83,1128,1352,2022,4514,100],"柳叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cc17306c49b0de13f4dc3c68321e5f.jpg",[],{"id":4518,"slug":4519,"title":4520,"dynasty":18,"author":79,"museum":116,"description":4521,"tags":4522,"thumbUrl":4523,"material":356,"size":4524,"collection":158,"collections":4525,"showCount":4499,"zanCount":49,"manualWeight":49,"mainColor":74},222008,"cha-shi-tu-zhou-wen-zheng-ming-222008","茶事图轴","图绘青山之下郁树成荫，两间茅屋在藩篱之内，主人趺坐于室内，书、壶伴其左右，另一间屋内侍茶的童子正在煮水。从款署中得知，明嘉靖十三年谷雨前三天，苏州的天池、虎丘等地正举行茶叶品评盛会，作者因病未能参加，其好友送来几种好茶，于是令小童汲泉、吹火、煮茶，自斟，自饮，自己品评茶叶之高下，自得其乐。不禁想到唐代诗人皮日休《茶中杂咏·茶具》、陆龟蒙《和茶具十咏》诗，于是缅怀他们的唱和雅趣，诗兴所至,亦追和了十首。画面构图充盈，横狭而纵高，主题突出，笔法细劲，用墨澹雅，蕴藉着浓郁的文人儒雅气质。\n本幅上方自题“茶具十咏”五言律诗十首，分别为茶坞、茶人、茶笋、茶籝、茶舍、茶灶、茶焙、茶鼎、茶瓯、煮茶。后款署：“嘉靖十三年岁在甲午，谷雨前三日，天池、虎丘茶事最盛，余方抱疾偃息一室，弗能往与好事者同为品试之会。佳友念我走惠二三种，乃汲泉吹火烹啜之，辄自第其高下，以适其幽闲之趣。偶忆唐贤皮陆辈‘茶具十咏’，因追次焉，非敢窃附于二贤后，聊以寄一时之兴耳。漫为小图，遂录其上。衡山文徵明识。”钤“徵”“明”朱方联珠印。嘉靖十三年即1534年，文徵明时年65岁。右下钤“徵仲父印”白文方印、“衡山”朱文方印。",[23,24,60,29,61,428,104,429,430,25,7,119,84,431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1516f91f0ee98d8bbe93d23b0f607e3a.jpg","纵136.1cm，横26.8cm",[],{"id":4527,"slug":4528,"title":4529,"dynasty":55,"author":4530,"museum":439,"description":4531,"tags":4532,"thumbUrl":4533,"material":158,"size":158,"collection":158,"collections":4534,"showCount":4499,"zanCount":49,"manualWeight":49,"mainColor":74},220463,"lan-shi-chen-shi-ceng-220463","兰石","陈师曾","此作用极简水墨写绘兰石，运笔纵逸老辣，兰叶如屈铁游丝，中锋走笔，刚柔并济，寥寥数笔便将兰叶舒展之姿写尽。兰花以写意点染，花瓣含露轻绽，神韵自现。\n\n留白通透，以虚衬实，尽显尚简重意的文人画旨趣，将芝兰君子寄情林泉、不与俗伍的幽贞品格晕染纸上。左侧题字朴拙苍劲，笔墨意趣与画面融为一体，互为生发。整幅画于简淡中见风神，墨色干湿浓淡间，氤氲出清逸出尘的林下风流，藏着传统文人淡泊清远的精神内核。",[23,24,28,99,119,25,7,40,346,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8271038a5f32366ba9121a2549da8d79.jpg",[],{"id":4536,"slug":4537,"title":4538,"dynasty":55,"author":4539,"museum":333,"description":4540,"tags":4541,"thumbUrl":4543,"material":43,"size":158,"collection":45,"collections":4544,"showCount":4499,"zanCount":49,"manualWeight":49,"mainColor":74},220259,"lao-song-tu-gao-xiang-220259","老松图","高翔","高西堂擅画梅，疏枝瘦花，其野逸之趣每为金冬心所称道。亦擅山水，法元人黄公望而以清简出之，境界荒寒，画格甚高。此轴画萱花、寿石及长松秀竹，当是为人祝嘏之作，笔墨极似恽南田而仍有其清逸本色。款书则倚倒倾侧，是其习见风貌。西堂画在“八怪”中流传最少，此轴保存良好，书卷之气袭人，是可珍。",[23,24,28,119,25,7,567,4542,816,3279,39,29],"老松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cb4bd54bd63d1fc9d10345163a01cb2.jpg",[45],{"id":4546,"slug":4547,"title":4548,"dynasty":18,"author":4549,"museum":116,"description":4550,"tags":4551,"thumbUrl":4558,"material":157,"size":4559,"collection":45,"collections":4560,"showCount":4499,"zanCount":49,"manualWeight":49,"mainColor":74},218794,"bai-lu-tu-zhang-hong-218794","百禄图","张宏","张宏，字君度，号鹤涧，江苏吴县人。生于明神宗万历七年（西元一五七七年），至清圣祖康熙八年（西元一六六八年）尚健在。工山水，笔意古拙，墨法清润。人物写意，天然入格。\n本幅画乔松古柏，岩鹿群游。款：「辛巳秋八月，吴门张宏写。」鹿向被认为是长寿之仙兽，且「鹿」「禄」「柏」「百」谐音，故题名「百禄」，以取富贵爵禄之意。",[24,25,60,567,61,568,569,489,140,1532,65,1487,4126,582,172,2305,4552,4553,4554,1549,4555,4556,4557,7,321],"鹿群","古松","山景","传统绘画","明代风格","笔墨技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89428a5fc63b071b5b27d40c46585043.jpg","170.4x77.2cm",[45],{"id":4562,"slug":4563,"title":4564,"dynasty":55,"author":134,"museum":135,"description":601,"tags":4565,"thumbUrl":4566,"material":43,"size":158,"collection":158,"collections":4567,"showCount":4499,"zanCount":49,"manualWeight":49,"mainColor":469},216353,"hua-niao-ce-5-zhu-da-216353","花鸟册-5",[23,24,99,25,217,83,155,633,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F052ab5a4013f321c5e24c1f0bccb2a03.jpg",[],{"id":4569,"slug":4570,"title":4571,"dynasty":55,"author":2428,"museum":135,"description":4572,"tags":4573,"thumbUrl":4574,"material":185,"size":4575,"collection":158,"collections":4576,"showCount":4499,"zanCount":49,"manualWeight":49,"mainColor":74},216331,"jin-nong-ba-kai-hua-niao-tu-3-jin-nong-216331","金农八开花鸟图-3","八开花鸟图是清朝时期金农所绘的著名图画作品之一。金农是清朝时期著名的画家，他的八开花鸟图是他最著名的作品之一。\n\n这幅画中，金农绘制了许多花和鸟的形象，这些花和鸟形象都非常生动，充满了生机和活力。画中的花和鸟共同组成了一个浓郁的自然风景，让人们感受到花园中的清新与自然。\n\n金农的八开花鸟图被认为是中国画史上的杰作，在当时也广受欢迎，被认为是一幅非常优秀的作品。",[24,28,25,7,83,403,217,100,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u0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×29.8cm",[],{"id":4977,"slug":4978,"title":4979,"dynasty":55,"author":715,"museum":20,"description":4980,"tags":4981,"thumbUrl":4984,"material":84,"size":4985,"collection":158,"collections":4986,"showCount":4944,"zanCount":49,"manualWeight":49,"mainColor":74},233722,"san-you-tu-xiang-zhou-ren-yi-233722","三友图像轴","任颐的人物画是典型中西结合的代表，人物面部刻画借鉴西洋素描画法，力求形似逼真，而人物服饰却又是中国画典型的“线条”的艺术，或作折芦描或作丁头鼠尾描淡色轻染，清新悦目。\n任颐作画，一般都有画稿，是从生活中观察、写生而成。他的人物画题材广泛，既有历史故事、神话故事、民间传说，也有直接反映现实生活的作品，而且他善于捕捉人物一刹那之间的神情动态，使得造型准确，情态生动，衣纹用笔既能表现形体关系，又有衣褶线条变化的灵动之美，很注意突出衣纹的走势。他画肖像画以家学之法为主，脸部塑造以“没骨”法和以色渲染法打底，关键部位以线强调，衣袍服饰以所学众法为之，或写或工，或墨或线。任颐的肖像画形成了独自的风格，并开拓了全新的境界。\n任颐的花鸟画手法多样，远师北宋，近学徐渭、陈淳、石涛、恽寿平等，博采众长，独出一格，工笔、写意、勾勒、没骨、设色、水墨均能运用自如。他多用湿笔，运用淡墨尤有独到处，他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交融，风格明快、温馨、清新、活泼，极富创造性。任颐的绘画在当时及现代具有极大影响，被认为是“仇十洲（仇英）后中国画家第一人”。\n其实任颐作画是用写意画法去画工笔画，是以工笔画为里，写意画为面，在他的画中既有写意的痛快淋漓，又有工笔画的神形兼备，也就是说，他是将工笔画写意化，而不是将文人画写意化。任颐重新整合了工笔画，开创了写意工笔画风，对后世的影响是极其巨大的。\n这幅《三友图像》作于光绪甲申（1884）年，当时作者已经45 岁，画中有作者自识：“锦堂、风沂两兄嘱颐写照，更许在坐，谓之三友，幸甚幸甚。”有清钟德祥的两句题跋：“不须对月自三人，自有须眉自写真，脱去头巾衣扫塔，似俞清老段祛尘。”“皆僧衣，其有所寄托耶？”\n画中的3 人席地而坐，背后左侧有一圆榻一画筒，画筒里树有书卷画轴，榻上也堆着数卷，寥寥数笔把背景描绘得显露无疑。画中中间坐着的一人为曾凤寄，左向坐的人为朱锦堂（朱锦裳，上海著名书画鉴藏家，九华堂笺扇店主人，为任颐的好友），右向者为任颐自己。画中三人都穿着僧衣。这里面据说还有一段原由：光绪甲申三月为明朝灭亡240年祭，而且当时的晚清政治腐败，社会动荡，所以任颐绘三友图，并且身穿僧衣，脱去头巾，大有书画寄志的深意。画中三人神采自若，志气昂扬，形露于笔端。\n而是继承宋元而又融汇着民间的白描写真和西画的铅笔速写法，显得人体结构比例准确而充实。衣纹多方折，纵横迭出，似山石之皴笔，大有岿然独坐之意。\n任颐在这幅《三友图像》中融入了自己的志气，把那种对社会不满而又无可奈何之气刻画得淋漓尽致。\n任颐（1840～1896 年），初名润，字小楼，后字伯年，别号山阴道上行者、山阴道人，浙江山阴人。其父鹤声，工肖像，所以任颐自幼得其父指授，后移居宁波，师事任熊、任薰。中年定居杭州，以卖画为生。任颐是一个全才型画家，于花鸟、人物、山水无所不精，尤以肖像见长。代表作有《钟馗》、《女娲炼石》、《关河一望萧索》、《苏武牧羊》等。",[99,24,28,119,25,60,62,4982,4983,100,29,30,321,7],"笔","书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F997cb5d2b0b5987d9282370e10f50eb4.jpg","纵64.5 厘米，横36.2 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画中拾得衣著褴褛，赤足而立，手执扫帚，口张眉扬，神情奇异。疯癫拓落的形象，以写意狂放的笔调，大肆挥洒，整体流畅有致，宛如神来之笔。",[24,28,119,25,62,29,100,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11f956757995f65c01ff0229243eb84a.jpg","117.8x54.4",[871],{"id":5025,"slug":5026,"title":5027,"dynasty":55,"author":151,"museum":135,"description":5028,"tags":5029,"thumbUrl":5030,"material":157,"size":5031,"collection":45,"collections":5032,"showCount":4944,"zanCount":49,"manualWeight":49,"mainColor":74},214557,"mo-zui-za-hua-tu-ce-10-shi-tao-214557","墨醉杂画图册-10","石涛此册花鸟山水，除两开山水外，都是各种农家花卉果蔬小品，包括芙蓉河石、黄瓜豇豆、水仙竹枝、杏果柿子、莲藕扁豆等，作画构图新奇，笔法松柔秀拙，笔情恣肆，淋漓洒脱，具有一种豪放郁勃的生动气息!",[23,24,25,217,7,155,40],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff998fee36b8e50230bcb1d322886a862.jpg","纵51.4厘米，横35.4厘米",[45],{"id":5034,"slug":5035,"title":5036,"dynasty":55,"author":1125,"museum":152,"description":5037,"tags":5038,"thumbUrl":5039,"material":84,"size":5040,"collection":158,"collections":5041,"showCount":4944,"zanCount":49,"manualWeight":49,"mainColor":50},214355,"san-jue-shan-shui-ce-2-hua-yan-214355","三绝山水册-2","华岩的十六页中描绘了一幅清晰、优雅和空灵的风景。新罗山人擅长花鸟和人物，但山水也可以纳入收藏。",[23,24,28,217,30,7,61,25,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff431ab3df6f1a38af36ac51e31a6bf51.jpg","23.4x15.8",[],{"id":5043,"slug":5044,"title":5045,"dynasty":4250,"author":5046,"museum":213,"description":5047,"tags":5048,"thumbUrl":5049,"material":158,"size":158,"collection":45,"collections":5050,"showCount":4944,"zanCount":49,"manualWeight":49,"mainColor":5051},202966,"pi-pa-tu-zhou-zhao-yun-he-202966","枇杷图轴","赵云壑","画面以水墨设色绘枇杷，枝干遒劲如篆，墨叶浓淡相破，泼墨写意间见苍劲生机。金黄果实缀于枝间，色泽饱满透亮，与深墨叶片形成鲜明对比，尽显丰硕诱人之态。下方点缀红绿小花，添灵动气息；石体以淡墨晕染，朴拙自然。整体笔墨纵逸洒脱，兼具写实与写意之妙，传递出田园间的清新意趣与蓬勃生命活力。",[24,7,25,60,83,403,155,216,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca4635b70f2fe5cc3c60129d3f14ea46.jpg",[45],"bdb29d",{"id":5053,"slug":5054,"title":5055,"dynasty":55,"author":5056,"museum":213,"description":5057,"tags":5058,"thumbUrl":5060,"material":158,"size":158,"collection":45,"collections":5061,"showCount":4944,"zanCount":49,"manualWeight":49,"mainColor":5062},201825,"song-pi-ling-mao-tu-zhou-chen-lv-zu-201825","松枇翎毛图轴","陈率祖","松枝虬曲，松针纤劲如缕；枇杷叶墨色浓淡相叠，果实圆润饱满。翎毛独立枝间，羽翅以简笔勾勒，黑羽如漆、白羽若雪，喙眼点睛便活灵活现，似欲振翅或引颈而鸣。笔墨疏朗有致，写意传神，松的苍劲与果的鲜活相映成趣，禽鸟的灵动为画面注入生机，尽显文人画的清雅意趣，于简淡中藏深致，于疏放中见情韵。",[25,7,83,33,403,5059,23],"翎毛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8328f4bb5841999177a64decb8b03f79.jpg",[45],"b1a08c",{"id":5064,"slug":5065,"title":5066,"dynasty":18,"author":5067,"museum":333,"description":5068,"tags":5069,"thumbUrl":5070,"material":158,"size":158,"collection":158,"collections":5071,"showCount":5072,"zanCount":49,"manualWeight":49,"mainColor":74},235560,"jin-jie-han-xiang-zhu-shi-zhou-gui-chang-shi-235560","劲节含香竹石轴","归昌世","水墨写就修竹拳石，几竿青竹错落挺劲，枝叶俯仰舒展，笔法清隽秀朗，墨色浓淡相宜，将竹之疏朗风神尽显。顽石以淡墨勾皴，拙朴厚重，与灵秀修竹相映成趣，坡岸寥寥草叶，野意自生。\n\n右上角题诗与绘作相融，诗书印合一，氤氲出悠然文气。整幅简淡清逸，以少胜多，将君子劲节寄于笔墨，画者淡泊自持的襟怀藏于水墨之间，观之如临清风，尽显文人写意的雅逸品格，把竹之贞洁孤傲的君子风骨晕染在方寸画卷中。",[24,28,119,25,7,304,32,346],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd47591c44802776c61c8c203b414456e.jpg",[],23,{"id":5074,"slug":5075,"title":631,"dynasty":55,"author":1328,"museum":333,"description":5076,"tags":5077,"thumbUrl":5078,"material":158,"size":158,"collection":158,"collections":5079,"showCount":5072,"zanCount":49,"manualWeight":49,"mainColor":74},230875,"za-hua-ce-bian-shou-min-230875","此作用水墨写意绘折枝秋菊，花枝苍劲老辣，以浓淡墨色分出层次。花瓣以淡墨中锋勾勒点染，舒展清逸，尽显秋菊冷傲之姿；叶片以泼墨随性挥写，朴拙厚重，与纤秀的花头形成巧妙对比。\n\n画面左上题诗相和，诗书相融，将画者淡泊疏朗的心境寄寓其中，文人意趣尽显。笔简而意足，寥寥数笔便勾勒出秋卉萧疏清寂之态，尽显水墨写意花鸟的风神，透着悠然出尘的秋日雅韵。",[24,28,217,25,7,83,794,242,243,29,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb4f516419b2a1ab82eb9ae4841ec1ba.jpg",[],{"id":5081,"slug":5082,"title":5083,"dynasty":55,"author":5084,"museum":333,"description":5085,"tags":5086,"thumbUrl":5094,"material":158,"size":158,"collection":158,"collections":5095,"showCount":5072,"zanCount":49,"manualWeight":49,"mainColor":787},224357,"xiu-zhu-you-ju-tu-yu-zhi-ding-224357","修竹幽居图","禹之鼎","《修竹幽居图》是清代禹之鼎创作的设色纸本画。\n本幅右上题“高宗修竹幽居图”，左上款署：“己卯长夏敬绘，十二家恭颂师保相国王老大人千秋，后学禹之鼎。\n”钤“禹之鼎”、“慎斋”印二方。\n己卯为清康熙三十八年（1699年），禹之鼎时年5岁。\n画面上水天空旷，岸边修竹成林，桃花掩映，奇石兀立。\n围栏中建一亭轩，主人慵懒地斜倚在亭内竹椅之上，桌面置一茶壶，身后小童侍立。\n此图房屋、栏杆用笔工细；山石、树木先以墨勾勒轮廓，再用石青、石绿染出；以红色点叶，赭黄色染屋顶；竹子用竖笔绘干，细笔写叶。\n画面布局疏密有致，用笔以写意为主，兼用工笔，轻灵洒脱而又严整，设色清雅鲜丽，意境悠远闲淡，意趣横生。\n禹之鼎（1647——？），字上吉，一字尚基，一作尚稽，号慎斋，江苏江都（今扬州）人。\n其擅长写真，特别是其白描手法，秀媚古雅，当时推为第一，一时名人小像多出其手。",[23,24,99,5087,321,7,60,3661,25,61,32,37,5088,692,5089,140,65,62,5090,5091,5092,5093],"设色纸本","奇石","栏杆","茶壶","闲淡悠远","清雅鲜丽","疏密有致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7477ce1642bae1fe2529bec82050053.jpg",[],{"id":5097,"slug":5098,"title":5099,"dynasty":18,"author":5100,"museum":80,"description":5101,"tags":5102,"thumbUrl":5104,"material":25,"size":158,"collection":871,"collections":5105,"showCount":5072,"zanCount":49,"manualWeight":49,"mainColor":1917},218500,"ri-ben-xia-zi-he-shang-tu-yun-gu-deng-yan-218500","日本· 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横29.2厘米",[],{"id":5293,"slug":5294,"title":4881,"dynasty":55,"author":4882,"museum":333,"description":5295,"tags":5296,"thumbUrl":5297,"material":158,"size":158,"collection":158,"collections":5298,"showCount":5233,"zanCount":49,"manualWeight":49,"mainColor":50},230218,"shi-er-jin-chai-tu-zhou-zhang-shan-ma-230218","此作以猛虎为魂，山林为幕，蛰伏于草木间的碧眼吊睛虎身姿蓄势待发。笔线勾勒皮毛纹理细腻入微，墨色晕染斑纹虚实相生，将百兽之王的沉凝悍劲与潜藏的威严精准铺陈。\n\n背景以泼墨写意挥洒阔叶草木，细劲藤蔓与挺秀竹丛疏密错落，淡赭晕染山石晕开深山幽寂氛围。虚实相生间将虎的机警觉察与山野静谧相融，工写兼备的笔意揉合虎的威仪与林泉野趣，藏灵动于沉雄，尽显造境塑物的深厚功底，是形神皆备的精妙之作。",[23,24,25,60,119,4885,568,32,140,216,7,567],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a8e10a2005f4a486a40b8c4ba6c9264.jpg",[],{"id":5300,"slug":5301,"title":2461,"dynasty":18,"author":5302,"museum":333,"description":5303,"tags":5304,"thumbUrl":5305,"material":158,"size":158,"collection":158,"collections":5306,"showCount":5233,"zanCount":49,"manualWeight":49,"mainColor":74},228276,"hua-hui-ce-chen-dao-fu-228276","陈道复","这幅作品以淋漓水墨挥写湖石，苍润朴拙，留白藏尽空灵意趣。环绕花木设色清妍柔和，素白牡丹柔枝舒展、花瓣轻绽，淡粉碎花攒簇生姿，兰草劲挺修长，叶片舒展带露生机。\n笔意松秀灵动，兼工带写间糅合文人雅致，以色墨晕染烘托春日融融。花木俯仰有情，与苍润湖石形成刚柔对照，将庭间春日野趣尽显笔端，淡冶雅致中饱含闲散文心，寥寥数笔便勾勒出盎然春意，尽显水墨写意的精妙韵味。",[23,24,99,7,60,25,39,155,216,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca306f52ecfeeac584ccaa95f1e44470.jpg",[],{"id":5308,"slug":5309,"title":4628,"dynasty":94,"author":1048,"museum":333,"description":5310,"tags":5311,"thumbUrl":5312,"material":158,"size":158,"collection":158,"collections":5313,"showCount":5233,"zanCount":49,"manualWeight":49,"mainColor":50},227980,"qiu-lu-fei-wu-tu-liang-kai-227980","以淡墨晕开秋江空蒙的冷寂氛围，枯瘦芦草欹斜舒展，迅疾老辣的笔致带着野逸秋意。水畔坡岸以泼墨点染，浓淡墨色自然晕化，混融天成，静立坡头的小禽与振翅掠空的飞鹜形成动静对照。\n\n远飞的水禽仅以寥寥数笔勾勒，形神俱足，活现掠空姿态。画面以大片留白衬出江天寥廓，将秋日江汀的萧疏淡远藏在简淡笔墨中，以少胜多，把秋日清寂与禅意文思揉合一处，余韵悠长。",[23,99,24,28,119,25,7,705,1352,155,1911],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917b71480910d4f702db28eefc181657.jpg",[],{"id":5315,"slug":5316,"title":5317,"dynasty":55,"author":715,"museum":333,"description":971,"tags":5318,"thumbUrl":5319,"material":255,"size":158,"collection":158,"collections":5320,"showCount":5233,"zanCount":49,"manualWeight":49,"mainColor":74},223224,"ren-wu-tu-ren-yi-223224","人物图",[23,24,28,119,60,321,7,62,880,1304,2860],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17c3e45ff9f24ce1bd3ad16f2db5cf27.jpg",[],{"id":5322,"slug":5323,"title":5324,"dynasty":18,"author":1409,"museum":702,"description":5325,"tags":5326,"thumbUrl":5328,"material":5329,"size":5330,"collection":158,"collections":5331,"showCount":5233,"zanCount":49,"manualWeight":49,"mainColor":74},222449,"he-tang-ji-qin-tu-zhou-lin-liang-222449","荷塘集禽图轴","林良有些花气画，专绘群乌聚集景象，品类众多，情态各异，生动活泼，极富自然天趣。此幅集禽图以荷塘为背景，塘内荷叶绽开，莲蓬结子，苇丛摇曳，正是盛夏季节。一对豆雁在水中叼着莲茎嬉玩，相依相偎；两只鸬鹚在觅食，一只正衔着小鱼飞向另一只伸颈等待的伴侣，透出相濡以沬的情感；天空有一燕子展翅鸣叫，正飞向栖止荷花上的雏燕，又别呈哺育之情。成对禽鸟的不同情感，既真实地揭示出它们的天性，又赋以强烈的感情色彩，使这些生物不仅活泼可爱，也亲切感人。禽鸟欢悦和谐的生活景象与盛夏池塘生意盎然的环境气氛相交融，奏出了一曲十分优美悦耳的生命交响乐。作品所传达的情凋、氛围，在林良花鸟画中是不多见的。\n此图画法比较工整，荷花、莲蓬均用细线勾勒后再加色晕染，阴阳向背分明。禽鸟亦勾染结合，形态准确，物类——可辨。芦苇、荷茎比较写意，但粗细、深浅也很有分寸，各具轻薄、圆韧质感。此为林良工写相兼画风中的精细之作。（单国强）",[23,24,99,119,25,7,83,34,124,1352,5327,705],"禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf4364f9bd90694c020b7ec431ffec25.jpg","绢本、设色","152 7x65 5cm",[],{"id":5333,"slug":5334,"title":5335,"dynasty":180,"author":5336,"museum":922,"description":5337,"tags":5338,"thumbUrl":5340,"material":456,"size":5341,"collection":158,"collections":5342,"showCount":5233,"zanCount":370,"manualWeight":49,"mainColor":74},221763,"liu-ting-ju-qin-tu-xia-shu-wen-221763","柳汀聚禽图","夏叔文","淡墨简笔，画一水两岸，柳树柔枝万条，喜鹊，山雉、绶带，翠鸟等或栖憩枝头，或戏游水中； 近处飞禽正落地争觅夺食，远处又有三三两两翔集而来。\n一湾秀水荡起微波，两岸丛葭翩跹飘曳，一派春风杨柳，水暖鸭知的更新景象跃然纸上。\n诗堂清陈舒行书诗题： “柳渚芜沙潮欲平，虞罗不到任咿嘤，鹭丝风定银缾冷，山爵春晖锦翘明，”署“拙民陈原舒观题”，旁钤“原舒”朱文方印，“陈舒之印”白文方印。\n诗堂左上钤“陆树声鉴赏章”白文长方印，下钤刘恕“花步刘氏家藏”朱文长方印。\n作者夏叔文，字号不清，生卒年不详。\n据所钤印记，仅知其为丰城人氏。\n清陆心源所著《穰梨馆过眼录》卷五将本幅编入宋画之中，在南宋人马 远和钱舜举之间，知夏叔文可能为宋末元初人。\n夏叔文作品至今尚无另件发现，本幅作品为夏氏传氏孤品，甚为可贵。\n曾经清刘恕，陆树声递藏。",[23,24,28,99,119,25,60,633,1128,1352,5339,155,817,3129,61,7],"水岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf910dc1c933ad3c68f07c6ebf4ecd3d.jpg","画心纵128，横66.5厘米",[],{"id":5344,"slug":5345,"title":5346,"dynasty":55,"author":5347,"museum":213,"description":5348,"tags":5349,"thumbUrl":5350,"material":158,"size":158,"collection":45,"collections":5351,"showCount":5233,"zanCount":189,"manualWeight":49,"mainColor":5352},201851,"qiu-yi-tu-zhou-ren-xun-201851","秋意图轴","任薰","画面藤蔓轻垂，葫芦悬枝，数只蝴蝶栖于透明器上，旁侧竹篮与陶盆错落，秋意清寂却含生机。笔墨疏朗灵动，线条简练传神，设色淡雅温润，于日常小景中见文人雅致，尽显写意之趣。",[24,119,83,60,25,242,805,1017,4163,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc472421d9569154aeb2c14fb731d19e5.jpg",[45],"cfc4ac",{"id":5354,"slug":5355,"title":5356,"dynasty":55,"author":5357,"museum":1169,"description":5358,"tags":5359,"thumbUrl":5363,"material":268,"size":5364,"collection":69,"collections":5365,"showCount":111,"zanCount":49,"manualWeight":49,"mainColor":74},236655,"wang-zhi-rui-shan-shui-zhou-wang-zhi-rui-236655","汪之瑞山水轴","汪之瑞","汪之瑞此画笔墨简淡，苍秀卓立，轮廓中锋勾勒，山作背面少皴。画坡树萧疏，水中野亭，高峰见顶。画家的作品最鲜明的特点就是“简”，主要以线表现，有时简练到一根线条表现一个境地，又决不因为线少而致景陋。其论画有云：“能疏能密，有奇有正，方为好手。”在明末清初的画家中，汪之瑞具有十分雄厚的艺术功力，可惜流传的作品太少。本幅上有戴洪魁的题语：“此前辈汪之瑞真迹，其势高洁，其笔简老，亦一时名手也。”\n此图作者用渴笔、焦墨，画远山疏林、小桥流水，山石有皴无染， 画风近 黄公望。 自题“已丑(1 649)夏五月， 画似跨千老盟兄， 时余游豫，不觉笔下有离别之气，瑞识。” 汪之瑞，生卒年不详，清初画家。字无瑞，休宁(今属安徽)人。初从同邑李永昌学画。工书，擅山水。悬肘中锋，运用渴笔焦墨，多作披麻、荷叶皴，盖为其家乡黄山山石之皴斫也。爱作背面山，兴至落笔，如风雨骤至，顷刻数纸。与弘仁、孙逸、查士标，为新安派四大家(即海阳四家)。传世作品有《为跨千写山水图》、《虚亭诗意图》、《溪亭纳秋图》。",[24,61,25,567,119,200,140,571,65,5360,103,172,4798,5361,100,5362,7],"山崖","书法题跋","枯笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a96e75f994f79e3ac05eab026f1d56b.jpg","纵：136厘米，横：56.7厘米",[69,109],{"id":5367,"slug":5368,"title":5369,"dynasty":55,"author":181,"museum":333,"description":5370,"tags":5371,"thumbUrl":5372,"material":158,"size":158,"collection":158,"collections":5373,"showCount":111,"zanCount":49,"manualWeight":49,"mainColor":74},235299,"xu-gu-lan-hua-zhou-yi-ming-235299","虚谷兰花轴","此作用枯淡墨色挥写岩壁，皴擦老辣苍劲，留白愈显空灵疏朗。垂落兰叶以中锋行笔，如素练飘曳，笔力柔韧挺拔，墨色干湿浓淡交叠，将兰叶舒展之姿尽显无余。淡红轻晕兰花，简笔点染便得娇柔妍态，于素雅底色上晕开一抹温柔生机。\n全画以少胜多，将兰花空谷幽芳的高洁风骨藏于笔墨之中，以画寄情，尽显文人写意的清雅禅意，把兰草清逸脱俗之态勾勒得淋漓尽致。",[3126,24,28,119,25,60,7,2904,155,83,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77ac63d45e7e281058ce026acac47742.jpg",[],{"id":5375,"slug":5376,"title":5377,"dynasty":55,"author":715,"museum":333,"description":5378,"tags":5379,"thumbUrl":5380,"material":4437,"size":5381,"collection":158,"collections":5382,"showCount":111,"zanCount":49,"manualWeight":49,"mainColor":74},234984,"hua-hui-ling-mao-ping-2-ren-yi-234984","花卉翎毛屏2","任颐(1839-1896)，初名润，字伯年，一字次远，号小楼(亦作晓楼)，萧山城厢镇人。其父善画肖像，任颐自幼随之习画。人物、山水、花卉、翎毛等均有扎实功底，尤以人物画见长，他在十余岁时即能勾勒出来访者容貌，使人见其画如见其人。\n咸丰十一年(1861)，太平军占领杭州、绍兴，任颐即投笔从戎，参加太平军，掌军旗，为前驱。同治二年(1863)，太平军撤离浙江，任留居家乡；次年，移居宁波，得到任熊、任薰悉心指导。同治七年(1868)春，随任薰去苏州，是年冬，转至上海定居。从此，任颐步入新兴的上海画派之列。\n任颐画路宽拓，所画人物具有独特的风韵，更以描写风俗人情、民间传说和神话故事中人物见长，如《女娲》、《钟 馗》、《八仙》、《群仙祝寿》等作品，将艺术与现实巧妙地容贯于画面。其人物肖像画既有深厚的传统基础，又注重写生，每次外出，备有速写本，随时勾录。寓居上海后，以卖画为生，创作甚富。《钟馗》、《关河一望萧索》、《苏武牧羊》、《野塘雨后》和《三友图》等为其代表作。且其参用画意的书法亦奇惊不凡，光绪二十二年(1896)逝世。\n任伯年因是浙江山阴人，故画面署款多写山阴任颐。儿时随父学画，十四岁到上海，在扇庄当学徒，后以卖画为生。所画题材，极为广泛，人物、花鸟、山水、走兽无不精妙。他的画用笔用墨，丰富多变，构图新巧，创造了一种清新流畅的独特风格，在正统派外别树一帜。\n任颐是近代杰出画家。字伯年，号小楼，浙江山阴人，因此他的画署款多写山阴任颐。任伯年的绘画题材广泛，人物、肖像、山水、花卉、禽鸟无不擅长。用笔用墨，丰富多变，构图新巧，主题突出，疏中有密，虚实相间，浓淡相生，富有诗情画意，清新流畅是他的独特风格。任伯年的主要成就是在于人物画和花鸟画方面，往往寥寥数笔，便能把人物整个神态表现出来，着墨不多而意境深远。其线条简练沉着，有力潇洒。他常画钟馗，他笔下的钟馗心胸磊落、不怕鬼，不信邪。他的花鸟画，总是把花与鸟连在一起，禽鸟显得很突出，花卉有时只作背景，整个画面充满了诗的意境。",[24,60,7,119,266,39,242,243,3129],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3023be322395ca9d31ef8d9f9e9920f.jpg","149 x 61 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他的画风格潇洒，笔致跌岩，意境苍茫，无尘俗之气，以幽为其画特色。他善画云山墨戏，笔下的景色多是冷寞，幽闭，尘俗绝少的地方：高山奇峰，深谷幽涧，古树老屋，野水孤舟，给人以深沉、奇特和悲壮之感。他早年的画严谨，晚年不拘于形，用笔奔放，满含激情。传世不多，人以礼求之，始为出其一二。尝言：“太行、居庸天下之岩险，其雄杰奇丽，皆古之名画，余所顾见者今皆见之，而有以慊吾志，充吾操，吾非若世俗者区区而至也。”盖学仙之颖然者，由无形而有形，虽有形终归无形，画能如是，其至矣乎？",[23,24,28,25,567,61,583,65,5416,103,5417,2609,757,7],"石径","平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92196c9b18f889805fafd87dc1ac75a2.jpg","91.3x63.5厘米",[69,109],{"id":5422,"slug":5423,"title":5424,"dynasty":55,"author":1328,"museum":1329,"description":1330,"tags":5425,"thumbUrl":5427,"material":157,"size":158,"collection":158,"collections":5428,"showCount":111,"zanCount":49,"manualWeight":49,"mainColor":74},216391,"za-hua-ce-3-bian-shou-min-216391","杂画册-3",[23,24,28,217,25,7,83,5426,705,29],"大雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42bcd9bfc2d499dd748088c848c8464d.jpg",[],{"id":5430,"slug":5431,"title":5432,"dynasty":18,"author":4466,"museum":333,"description":5433,"tags":5434,"thumbUrl":5435,"material":478,"size":479,"collection":158,"collections":5436,"showCount":5437,"zanCount":49,"manualWeight":49,"mainColor":74},238969,"ling-shi-tu-zhou-wen-jia-238969","灵石图轴","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。”",[24,28,119,25,60,7,155,3481,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff75cfbc86ede7cd4df44c9f3d7add0d0.jpg",[],19,{"id":5439,"slug":5440,"title":631,"dynasty":55,"author":134,"museum":333,"description":981,"tags":5441,"thumbUrl":5442,"material":84,"size":158,"collection":158,"collections":5443,"showCount":5437,"zanCount":370,"manualWeight":49,"mainColor":74},237625,"za-hua-ce-zhu-da-237625",[99,24,28,217,25,83,7,633,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad98ec6e6b8b7c0be7b6819a1a0fdf4c.jpg",[],{"id":5445,"slug":5446,"title":600,"dynasty":55,"author":3595,"museum":333,"description":3596,"tags":5447,"thumbUrl":5449,"material":158,"size":20,"collection":158,"collections":5450,"showCount":5437,"zanCount":49,"manualWeight":49,"mainColor":74},236613,"hua-niao-ce-ma-yuan-yu-236613",[24,28,217,25,60,7,83,5448,243,404,100],"板栗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F261498a4d6e42c115e8696a7c858dffe.jpg",[],{"id":5452,"slug":5453,"title":5454,"dynasty":55,"author":181,"museum":333,"description":5455,"tags":5456,"thumbUrl":5457,"material":478,"size":479,"collection":158,"collections":5458,"showCount":5437,"zanCount":49,"manualWeight":49,"mainColor":74},235403,"xu-gu-yang-liu-ba-ge-zhou-yi-ming-235403","虚谷杨柳八哥轴","此作以淡墨写垂柳枝干，枯笔勾出袅袅柳条，绿赭晕染柳叶，笔致疏朗清逸，将春风拂柳的柔婉之态尽显。两只八哥栖于枝头，浓墨点染羽翼，淡墨铺衬胸腹，将羽毛蓬松质感细致呈现，二者依偎私语，神态亲昵生动。下方柳条间还隐有数只小雀，为画面添了灵动野趣。\n右侧题字笔墨苍劲朴拙，与画境融于一体。整幅以兼工带写之法绘就，水墨晕染间设色淡雅清新，将江南春日的柔媚生机藏于尺幅，尽显清寂简雅的文人意趣。",[24,28,119,25,60,83,1628,5241,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd36dcaa95f017a0f0fc9a6d5c75db4a.jpg",[],{"id":5460,"slug":5461,"title":5462,"dynasty":18,"author":5463,"museum":333,"description":5464,"tags":5465,"thumbUrl":5466,"material":478,"size":479,"collection":158,"collections":5467,"showCount":5437,"zanCount":49,"manualWeight":49,"mainColor":74},235202,"shui-xian-zhu-shi-tu-shan-ye-chen-hong-shou-235202","水仙竹石图扇页","陈洪绶","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[24,2353,25,32,346,38,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c4f41d3672c78ad2544b49a1265624d.jpg",[],{"id":5469,"slug":5470,"title":5471,"dynasty":55,"author":715,"museum":333,"description":5378,"tags":5472,"thumbUrl":5473,"material":4437,"size":5381,"collection":158,"collections":5474,"showCount":5437,"zanCount":49,"manualWeight":49,"mainColor":74},234988,"hua-hui-ling-mao-ping-6-ren-yi-234988","花卉翎毛屏6",[24,60,83,5059,910,491,404,39,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F732c0e22aa12b2b03e6b6fb61ec195a1.jpg",[],{"id":5476,"slug":5477,"title":5478,"dynasty":18,"author":5479,"museum":333,"description":5480,"tags":5481,"thumbUrl":5482,"material":268,"size":158,"collection":158,"collections":5483,"showCount":5437,"zanCount":49,"manualWeight":49,"mainColor":74},234247,"mo-hua-jiu-zhong-juan-chen-gua-234247","墨花九种卷","陈栝","陈栝（生卒年未详），约活动于公元16世纪，字子正，号沱江，江苏苏州人。陈栝是 陈淳的儿子。善画花卉，笔似其父。嗜酒放浪。画擅花鸟，继其有法，而又出己意，笔致放浪而有生趣，亦能诗。先其父而亡。自元代文人画创立以写法入画以来，明代徐渭、陈道复更在花鸟中将笔迹放纵的写意画法又向前推进一步，而道复之子陈栝则更在其父基础上，将这种不拘于象的写法又发挥至极致，其勾点皴擦，随心所欲， 绝出尘象之外。",[23,24,28,27,25,83,7,100,35,121,910,36,1645,38,2904,643,794],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc52c46bc4e3b4ca5a9f77865bc6868ab.jpg",[],{"id":5485,"slug":5486,"title":600,"dynasty":55,"author":134,"museum":333,"description":5487,"tags":5488,"thumbUrl":5489,"material":158,"size":158,"collection":158,"collections":5490,"showCount":5437,"zanCount":49,"manualWeight":49,"mainColor":74},230281,"hua-niao-ce-zhu-da-230281","《题花鸟册》是清代诗人八大山人创作的一首五言绝句。\n诗人说：想想误我害我的乃是自己的书法，现在只能靠这书法来混饭吃了。\n这是诗人对自己的书法较之于所画的石头而言。\n诗人言外之意是在说自己的石头画得好，故用米南宫的石头作一比。\n这张《石头》，就算那些要买我书法的人，对我有三顾之请，我也是不愿意给他的。\n思之误是书（1），只今南郭处（2）。\n南宫石头硬（），三顾那得去（4）。\n（1）思：想。\n误：耽误，害。\n（2）只今：如今、现在。\n南郭：复姓。\n《 ·内储说上》有南郭处士，以吹竽事齐宣王。\n此南郭处，典出“滥竽充数”，诗人自指，比喻混饭吃。\n（）南宫：古称尚书省。\n米芾（151～117），字元章，北宋著名书画家。\n因其累官礼部员外郎，故世称南宫先生。\n米芾一生痴爱石头，千金难买。\n故有“石头硬”一说。\n（4）三顾：典出《 》刘备中“ ”访贤诸葛亮事。\n此诗有学者解释为：有人看见他的书法好，要请他去。\n但是要请他去的那个主人，招待的客人，都是 ，像南郭先生那样的骗子，所以他说他的脾气，有如米芾拜的石头那么硬，就是请他三次，他也不去。\n此一说不仅有些牵强，且与诗人晚年的性格、行为不相吻合。\n因为八大山人的晚年以出售书画为生，即使有些自己不喜欢的人或不懂书画的人，他也照样有应酬，只是应酬的方式有些不同罢了，比如要求画四幅，他却只给三副等。\n八大山人（1626－175），明末清初人，杰出画家。\n原名朱耷，又名朱道朗，字雪个，又字个山、道朗、个山驴、朗月、刃庵、传綮、破云樵者、人屋、驴屋和因是僧号良月，一生所用名号多达五十五个，八大山人是他晚年的文号。\n“八大山人”的来历有两种说法：一说“尝持《 》，因号八大”；另一说“八大者，四方四隅，皆我为大，而无大于我者也”。\n八大山人为清初“四大画僧（ 、 、 、 ）”之一，他以大笔水墨写意画著称，尤以花鸟画见长，以简略见胜。",[24,28,25,61,549,155,571,7,567],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facd06328a99007e276effefc6b4d8683.jpg",[],{"id":5492,"slug":5493,"title":5494,"dynasty":55,"author":5495,"museum":333,"description":5496,"tags":5497,"thumbUrl":5499,"material":158,"size":158,"collection":158,"collections":5500,"showCount":5437,"zanCount":49,"manualWeight":49,"mainColor":74},224579,"hua-xing-hua-song-zhu-zhou-jiang-ting-xi-224579","画杏花松竹轴","蒋廷锡","水墨晕染，苍松躯干古拙嶙峋，疤结凝着岁月风霜，松针攒簇如戟，虬枝斜曳尽显清刚之姿。柔婉杏枝侧生，蓓蕾轻绽，冷艳雅致中和了古松的苍劲。坡石之间新竹疏朗挺秀，与松、杏相映成趣。浅滩细流隐现于草叶间，衬出幽寂清远的林下意境。\n\n笔致兼用工写，浓淡墨色铺陈层次，刚柔相济，将花木姿致与林泉野趣相融，淡痕轻晕里藏着文人清雅风骨，把岁寒同侪的逸韵收于卷中，晕染出悠长清寂的林下幽怀。",[23,24,119,25,33,32,4199,140,61,83,567,5498,7],"淡设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3ddfdd9f3d46ccff5e6af49dd78bebf.jpg",[],{"id":5502,"slug":5503,"title":5504,"dynasty":55,"author":1125,"museum":333,"description":5505,"tags":5506,"thumbUrl":5507,"material":158,"size":158,"collection":158,"collections":5508,"showCount":5437,"zanCount":49,"manualWeight":49,"mainColor":74},224193,"gao-zhi-hao-niao-tu-hua-yan-224193","高枝好鸟图","此作用笔秀逸空灵，枯柳斜曳而上，柔条垂落拂动，浅粉桃苞绽于老枝，点破浅春淡寂。丹羽禽鸟栖于细枝，俯身侧目，将恋花娇态摹写生动，蓬松的羽色以没骨晕染，鲜活明丽，尽现翎毛柔润光泽。\n\n墨色干湿互衬，枯笔点苔写柳骨，淡墨轻描柳叶清姿，留白铺就淡远空濛的底色。右侧题诗与画境相合，诗画交融，将春鸟娇啼、窥影共情的诗意融在尺幅之间，简淡中藏生机，尽显隽雅疏朗的文人意趣，把春日幽微意绪晕染在笔墨方寸里。",[23,24,28,83,7,60,138,817,37,29,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa30dec5d8321ce381f3e219c75141f00.jpg",[],{"id":5510,"slug":5511,"title":5512,"dynasty":55,"author":151,"museum":213,"description":5513,"tags":5514,"thumbUrl":5515,"material":158,"size":158,"collection":45,"collections":5516,"showCount":5437,"zanCount":49,"manualWeight":49,"mainColor":5517},203138,"he-zuo-hua-guo-tu-ce-shi-tao-203138","合作花果图册","墨梅枝干虬劲，笔力顿挫间显古拙之姿，枝梢横斜逸出，疏花点点如凝霜。淡墨晕染与干笔勾勒相济，花朵或绽或含，清雅冷逸。笔墨间裹挟着文人的孤傲逸气，简淡中见精神，寥寥数笔便将梅的坚韧与清韵托出，观之如临寒枝，暗香隐隐浮动，意趣悠长。",[24,28,217,25,83,31,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe056893912a8e39a3b48b9a03e412da7.jpg",[45],"b59f90",{"id":5519,"slug":5520,"title":5521,"dynasty":4250,"author":5046,"museum":213,"description":5522,"tags":5523,"thumbUrl":5528,"material":158,"size":158,"collection":45,"collections":5529,"showCount":5437,"zanCount":49,"manualWeight":49,"mainColor":5530},202959,"san-duo-tu-zhou-zhao-yun-he-202959","三多图轴","画面以瓶梅、佛手、石榴等清供元素入题，暗合“福寿多子”的吉祥寓意。瓶中梅枝虬劲，白花疏朗有致；青瓷高足盘内，金黄佛手饱满圆润，色泽明快；旁侧石榴果实开裂，殷红籽实显露，生机盎然。背景陶罐朴拙厚重，与雅致器物相映成趣。笔墨兼工带写，线条简练洒脱，设色清雅温润，既含文人画的淡远意趣，又具世俗祝福的鲜活气息，尽显海派花鸟的灵动韵味。",[24,83,7,60,31,2721,815,5524,5525,5526,5527,23],"瓶","陶罐","清供","文人意趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31aae60a69c3f0a485ff224f1c0c1259.jpg",[45],"cbbea9",{"id":5532,"slug":5533,"title":5534,"dynasty":18,"author":5535,"museum":20,"description":5536,"tags":5537,"thumbUrl":5538,"material":1381,"size":5539,"collection":109,"collections":5540,"showCount":48,"zanCount":49,"manualWeight":49,"mainColor":74},236415,"shu-yi-lan-shi-zhou-shu-yi-236415","叔伊兰石轴","叔伊","周天球题跋：“待雪香非浅，临风意自多。周天球题。”作者钤印：“句吴人”朱文圆印、“参军大夫”朱文方印。 鉴藏印：“周氏公瑕”白文方印、“竹垞审定”白文方印、“□望楼”朱文方印、“虞琴秘笈”朱文方印、“孔彰珍玩”白文方印。款识：自题：“叔伊笔。”",[24,28,119,25,7,502,491,1690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa171098b9edcd832689ba6c621bb8ba5.jpg","纵91cm，横42.3cm",[109],{"id":5542,"slug":5543,"title":5544,"dynasty":55,"author":134,"museum":333,"description":5545,"tags":5546,"thumbUrl":5547,"material":158,"size":158,"collection":158,"collections":5548,"showCount":48,"zanCount":49,"manualWeight":49,"mainColor":74},235170,"shan-shui-ce-zhu-da-235170","山水册","此作以大片留白铺就虚灵空茫之境，寥寥笔墨勾勒丘林古松。古松虬曲苍劲，枝桠如铁，简淡的皴擦晕染出坡岸草木氤氲之态。左下角扁舟横卧水面，不见舟子，愈发衬出水天寥寂。\n\n笔墨洗尽铅华，以干湿浓淡生发层次，线条老辣凝练，删繁就简，将山川灵韵收束于极简意象之中，清冷孤高的意趣漫溢纸面，把澹泊疏旷的襟怀寄寓在萧疏山水间，尽显天地荒寒、物我两忘的禅寂之境。",[99,24,28,217,25,567,61,200,65,100,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ddba02f466fe2812a4547b37b28e53.jpg",[],{"id":5550,"slug":5551,"title":5552,"dynasty":55,"author":715,"museum":333,"description":5378,"tags":5553,"thumbUrl":5554,"material":4437,"size":5381,"collection":158,"collections":5555,"showCount":48,"zanCount":49,"manualWeight":49,"mainColor":74},234986,"hua-hui-ling-mao-ping-4-ren-yi-234986","花卉翎毛屏4",[24,60,7,83,3357,123,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18ff18c96ba878d27bd4b17e7f1610cf.jpg",[],{"id":5557,"slug":5558,"title":5559,"dynasty":55,"author":1125,"museum":20,"description":5560,"tags":5561,"thumbUrl":5565,"material":456,"size":5566,"collection":158,"collections":5567,"showCount":48,"zanCount":49,"manualWeight":49,"mainColor":74},234064,"qiu-shu-ba-ge-tu-hua-yan-234064","秋树八哥图","八哥是华嵒擅画的题材之一。此图绘溪野中的八哥或栖于红枫枝头、或盘旋而下、或于水中鸣浴的欢快景象。笔法上勾染兼施，简约传神地塑造了八哥的各种体态，反映了画家娴熟的笔墨技巧和善于想象、巧于构思的艺术才能。",[24,7,60,25,119,83,571,1352,671,705,5562,1911,5563,5564],"落叶","鸟禽","水边植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd744f410ea61ce30a13c0ce4ef3ca7c0.jpg","纵161厘米，横87.9厘米",[],{"id":5569,"slug":5570,"title":5571,"dynasty":55,"author":951,"museum":213,"description":952,"tags":5572,"thumbUrl":5573,"material":84,"size":158,"collection":158,"collections":5574,"showCount":48,"zanCount":49,"manualWeight":49,"mainColor":50},233183,"hua-hui-ce-mu-dan-ye-zhao-zhi-qian-233183","花卉册-牡丹页",[24,28,217,60,7,83,35,41,100,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbe6a2e27ec670de7c6c5f49941f2e3a.jpg",[],{"id":5576,"slug":5577,"title":5578,"dynasty":55,"author":951,"museum":135,"description":5579,"tags":5580,"thumbUrl":5581,"material":5087,"size":5582,"collection":158,"collections":5583,"showCount":48,"zanCount":49,"manualWeight":49,"mainColor":74},232896,"ju-shi-tu-zhao-zhi-qian-232896","菊石图","同治十一年壬申，客居北京的赵之谦南归在家乡小住，旋赴江西修《江西通志》。临行前，他为朋友画了很多画，自此之后，他一心修《志》，绝少刻印画画，成了晚清艺术史上一大憾事。此轴即作于临去江西前，笔墨雄肆，构图奇突，可见当时的心情和画艺的熟练。极为难得。\n赵之谦（1829－1884），中国清代著名的书画家、篆刻家。浙江绍兴人。初字益甫，号冷君；后改字撝叔，号悲庵、梅庵、无闷等。在晚清艺术史上，赵之谦无疑是最为重要的艺术家之一。在绘画上，他是“海上画派”的先驱人物，其以书、印入画所开创的“金石画风”，对近代写意花卉的发展产生了巨大的影响；在书法上，他是清代碑学理论的最有力实践者，其魏碑体书风的形成，实得碑派技法体系进一步趋向完善，从而成为有清一代第一位在正、行、篆、隶诸体上真正全面学碑的典范；在篆刻上，他在前人的基础上广为取法，融会贯通，以“印外求印”的手段创造性地继承了邓石如以来“印从书出”的创作模式，开辟了一个前所未有的新境界。赵之谦的篆刻成就巨大，对后世影响深远。近代的吴昌硕、齐白石等画家都从他处受惠良多。",[24,28,2353,60,25,7,83,41,155,100,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbd190ad7341a8baac238ac32249ed8e.jpg","17×54厘米",[],{"id":5585,"slug":5586,"title":5587,"dynasty":55,"author":1340,"museum":333,"description":5588,"tags":5589,"thumbUrl":5591,"material":158,"size":158,"collection":158,"collections":5592,"showCount":48,"zanCount":49,"manualWeight":49,"mainColor":74},224293,"gu-bai-ling-xiao-tu-li-shan-224293","古柏凌霄图","画面中古柏躯干虬曲苍劲，枯笔皴擦尽显饱经风霜的古拙质感。凌霄柔蔓盘绕其上，丹色花朵娇妍明媚，刚柔相映，勾勒出盎然生机。下方湖石奇崛嶙峋，侧锋挥写出嶙峋肌理，石畔幽兰素花轻绽，添了几分清雅柔润。\n笔墨刚柔并济，古木的坚拙与花草的灵秀相融，再辅以题诗错落排布，诗画相映，将文人的清雅意趣寄寓其间，尽显写意花鸟的灵动神韵，生机古意交织成雅致盎然的庭间景致。",[23,24,28,119,60,7,567,30,100,83,571,155,5590],"凌霄花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F330a94e92eb6ad613697bf518f9e4fc9.jpg",[],{"id":5594,"slug":5595,"title":5596,"dynasty":55,"author":1328,"museum":20,"description":5597,"tags":5598,"thumbUrl":5600,"material":456,"size":5601,"collection":45,"collections":5602,"showCount":48,"zanCount":49,"manualWeight":49,"mainColor":74},222801,"lu-yan-tu-zhou-bian-shou-min-222801","芦雁图轴","此画写两雁在寒沙折芦之间，一雁已息落，一雁盘旋将下，相望相依，宛如一对旅外的伴侣。一支芦花，秃笔蓬松；隐约渚沙，墨色枯淡。作者所画的鸿雁，墨中带赭色，头颈弯曲，一笔而成，由浓而淡；羽翮柔软润泽，无不情趣横溢。这种大写意的泼墨芦雁，是边寿民独特的创造。自题：“壬子立冬后二日，边寿民写于白沙旅馆。”作者时年四十七岁，正是画艺达到炉火纯青之际，这是其重要的传世代表作。",[23,24,25,119,7,1432,705,5599,1352],"芦花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472873d5cf2f6c5f97c9b24377863181.jpg","纵128.5厘米，横48.5厘米",[45],{"id":5604,"slug":5605,"title":5606,"dynasty":18,"author":79,"museum":116,"description":5607,"tags":5608,"thumbUrl":5609,"material":5610,"size":5611,"collection":69,"collections":5612,"showCount":48,"zanCount":49,"manualWeight":49,"mainColor":74},222003,"pan-gu-xu-zhang-ruo-ai-tu-wen-zheng-ming-222003","盘谷叙（张若霭图）","张若霭[清]（1713—1746）字晴岚（读画辑略作字景采，号晴岚），室名藕香书屋，安徽桐城人。张若霭有家学，祖父张英、父亲张廷玉均为雍正、乾隆朝大学士。雍正十一年（1733）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房，官至礼部尚书，袭伯爵。",[23,24,1532,61,428,104,429,430,25,7,27,84],"https:\u002F\u002Foss.chuangqi.store\u002F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横100.5cm",[],{"id":5694,"slug":5695,"title":5544,"dynasty":18,"author":1908,"museum":20,"description":5696,"tags":5697,"thumbUrl":5698,"material":5699,"size":5700,"collection":158,"collections":5701,"showCount":89,"zanCount":49,"manualWeight":49,"mainColor":74},234057,"shan-shui-ce-dong-qi-chang-234057","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。",[24,25,567,217,7,61,1264,571,140,4797],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F318bf462de0567dc82594086471e48bb.jpg","纸本，水墨和设色","纵26.3厘米，横25.5厘米",[],{"id":5703,"slug":5704,"title":5705,"dynasty":55,"author":151,"museum":20,"description":5706,"tags":5707,"thumbUrl":5708,"material":456,"size":5709,"collection":158,"collections":5710,"showCount":89,"zanCount":49,"manualWeight":49,"mainColor":74},233781,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233781","原济陶渊明诗意册","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。",[24,28,99,581,25,7,30,567,61,3607,65,140,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F935a7b3b458e5a228f740951a8462ba8.jpg","纵27厘米，横21.3厘米",[],{"id":5712,"slug":5713,"title":5714,"dynasty":55,"author":1125,"museum":333,"description":5715,"tags":5716,"thumbUrl":5718,"material":158,"size":158,"collection":158,"collections":5719,"showCount":89,"zanCount":49,"manualWeight":49,"mainColor":74},224191,"she-se-qu-yu-shuang-qi-tu-hua-yan-224191","设色鸲鹆双栖图","此作以空灵留白铺陈底色，枯木虬曲舒展，淡蓝花萼点缀枝桠，晕染出清寂雅致的春日氛围。禽鸟或独立垂首，或依偎枝梢，墨色浓淡变化尽显鸟羽蓬松柔润质感，红爪尖喙鲜亮醒目，将鸲鹆的灵动机趣刻画入微。\n\n笔墨工写相融，写意枯石淡染花枝，工笔描摹禽鸟形神兼备，萧疏中暗藏生趣，尽显清逸隽秀的文人意趣，把闲静安栖的林下之景晕染开来，将江南画派的灵秀雅致藏于淡墨留白之间，是颇具韵致的花鸟佳构。",[23,24,28,119,60,83,7,5241,5717,100],"梅枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F139f403993c7353c724ca1f532a8d0a2.jpg",[],{"id":5721,"slug":5722,"title":5723,"dynasty":180,"author":181,"museum":1607,"description":5724,"tags":5725,"thumbUrl":5728,"material":43,"size":5729,"collection":871,"collections":5730,"showCount":89,"zanCount":370,"manualWeight":49,"mainColor":74},218440,"bu-na-tu-yi-ming-218440","补衲图","这是德川美术馆收藏的三幅画中的中间一幅，描绘了禅宗大师朝阳用木西和胡乃夫等高僧的书写方式搓揉绳子的情景。",[23,24,25,7,62,155,5726,5727,1251],"布料","补衲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd03859ed5badbca0ed41251a09e4a152.jpg","80.3x32.1",[871],{"id":5732,"slug":5733,"title":5544,"dynasty":55,"author":5734,"museum":333,"description":5735,"tags":5736,"thumbUrl":5738,"material":478,"size":479,"collection":69,"collections":5739,"showCount":5740,"zanCount":49,"manualWeight":49,"mainColor":74},237997,"shan-shui-ce-qin-zu-yong-237997","秦祖永","秦祖永，道光五年（1825年）生，光绪十年（1884 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约的构图和概括的表现技法，没有令画作失去画意，蒋嵩巧妙地运用虚实映照、黑白相衬和以简胜繁的艺术手法，吟唱出一曲烟云浩渺、葱郁深秀、意境空旷而不荒凉的山水清音。",[1990,24,2353,25,7,567,61,65,140,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36eab1f04615a6a9540d6367e46439cf.jpg","金笺，墨笔","纵17厘米，横51.2厘米",[],{"id":6287,"slug":6288,"title":1520,"dynasty":180,"author":6289,"museum":20,"description":6290,"tags":6291,"thumbUrl":6292,"material":6293,"size":6294,"collection":158,"collections":6295,"showCount":146,"zanCount":49,"manualWeight":49,"mainColor":50},233806,"zhu-shi-tu-zhou-xie-ting-zhi-233806","谢庭芝","图中绘坡草湖石，石后挺立疏竹数竿，枝叶下垂，似洒雨露。坡上小竹兰草丛生，三株新笋，两株高窜，一株破土而出，春意盎然。湖石连勾带皴，并以淡墨渲染，玲珑剔透，形态奇异。竹叶以率笔挥洒，浓淡相参，水墨淋漓，清新秀雅。此图为谢庭芝墨竹传世孤本。\n画面以淡墨勾勒画湖石，以砍剁皴和钉头皴相结合画出明暗再以淡墨渲染，使湖石具有质感，达到皱、漏、透、瘦之效果，玲珑剔透，造型奇特。\n湖石后疏竹玉立，竹叶下垂，浓淡相间，参差错落，疏密有致，颇显情趣，画左款暑：至元五年冬十月，仲和。",[24,28,119,25,60,32,346,1690,7,567],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a7694fa9087718da61fb9135feb879d.jpg","绢本 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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。",[23,99,24,28,25,1251,7,62,549,3129,4163,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceb1b76eeeb2eeb356c8d3f1ed37d35a.jpg","纵28.5 厘米横46.5 厘米",[],{"id":6326,"slug":6327,"title":6328,"dynasty":55,"author":6052,"museum":213,"description":6053,"tags":6329,"thumbUrl":6331,"material":60,"size":6056,"collection":158,"collections":6332,"showCount":146,"zanCount":49,"manualWeight":49,"mainColor":50},219806,"hua-niao-cao-chong-tu-4-sun-long-219806","花鸟草虫图-4",[24,28,99,217,60,7,83,36,100,1468,1991,39,279,6330],"虫鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16b52c7ce8c0823943b1da2bc3f62bbb.jpg",[],{"id":6334,"slug":6335,"title":6336,"dynasty":55,"author":668,"museum":301,"description":6337,"tags":6338,"thumbUrl":6339,"material":157,"size":158,"collection":158,"collections":6340,"showCount":146,"zanCount":370,"manualWeight":49,"mainColor":74},214816,"shan-shui-hua-hui-tu-ce-4-gao-feng-han-214816","山水花卉图册-4","高凤翰（1762-1843）是一位著名的清代画家，他的主要作品是山水花卉图册。高凤翰生于江苏省的吴县，他曾在杭州学习画画，后来进入了江南画派。他的画风独特，被称为“高氏画法”，以其精细、细腻的线条和浓郁的色彩闻名。\n\n高凤翰的山水花卉图册是他的代表作之一，包括了许多精美的山水画作品。这些作品描绘了自然风光，包括山峦、河流、湖泊、树木、花草等。高凤翰的山水画作品经常带有浓厚的写意气息，表现出自然之美。他的画作还常常加入人物、建筑、动物等元素，使得作品更加丰富多彩。\n\n高凤翰的山水花卉图册在当时颇受欢迎，并且被视为江南画派的杰出代表作。他的作品被认为是清代山水画发展的重要贡献，对后世的山水画家也产生了很大的影响。",[24,28,217,25,60,83,39,139,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70d50ee97bcc7b6fea6f361adc52f1f3.jpg",[],{"id":6342,"slug":6343,"title":6344,"dynasty":55,"author":668,"museum":301,"description":6337,"tags":6345,"thumbUrl":6346,"material":157,"size":158,"collection":158,"collections":6347,"showCount":146,"zanCount":370,"manualWeight":49,"mainColor":74},214811,"shan-shui-hua-hui-tu-ce-7-gao-feng-han-214811","山水花卉图册-7",[24,25,31,100,217,83,404,39,7,306],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F170ba3249f647175672fdb1aab2746a6.jpg",[],{"id":6349,"slug":6350,"title":5045,"dynasty":4250,"author":1072,"museum":213,"description":6351,"tags":6352,"thumbUrl":6353,"material":158,"size":158,"collection":45,"collections":6354,"showCount":146,"zanCount":49,"manualWeight":49,"mainColor":6355},202991,"pi-pa-tu-zhou-wang-zhen-202991","此图以写意笔法绘枇杷，墨笔勾勒枝干苍劲有力，叶片泼墨晕染，浓淡相宜。橙黄果实饱满圆润，设色鲜活雅致，尽显秋日蔬果之生机。旁伴行书题跋，笔墨洒脱自然，与画面蔬果意趣相融，书画合璧，尽显文人画的简淡真味与雅致情怀。",[24,28,119,7,60,30,83,403,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F680e79b63f1594d162efb9f925da0edd.jpg",[45],"c6bcab",{"id":6357,"slug":6358,"title":6359,"dynasty":4250,"author":835,"museum":213,"description":6360,"tags":6361,"thumbUrl":6362,"material":158,"size":158,"collection":109,"collections":6363,"showCount":146,"zanCount":49,"manualWeight":49,"mainColor":6364},202940,"ma-tu-zhou-xu-bei-hong-202940","马图轴","这幅画里，骏马昂首伫立，鬃毛与长尾如飞瀑般扬起，尽显昂扬矫健之姿。画家以洒脱的水墨笔触勾勒马身轮廓，浓淡干湿的墨色层次细腻晕染肌肉起伏，线条刚劲中藏灵动，将马的雄健体魄与不羁精神刻画得入木三分。背景简淡空灵，更衬出主体的鲜活生命力，是写意动物画中的典范，传递出蓬勃向上的气韵。",[24,25,1304,7,119,28,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b6a4641182099d7e3005aea08606474.jpg",[109],"ccbead",{"id":6366,"slug":6367,"title":6368,"dynasty":4250,"author":6369,"museum":213,"description":6370,"tags":6371,"thumbUrl":6375,"material":158,"size":158,"collection":45,"collections":6376,"showCount":146,"zanCount":49,"manualWeight":49,"mainColor":6377},202882,"song-ying-tu-zhou-gao-jian-seng-202882","松鹰图轴","高剑僧","雄鹰雄踞苍松枝干，羽翼层次分明，墨色晕染间见质感，目光如炬，尽显威猛霸气。松针以劲挺笔触勾勒，苍干皴擦古拙，与松针的细密形成对比。左侧小雀振翅欲飞，轻盈灵动，与雄鹰的沉稳形成动静之趣。画面留白疏朗，气韵流畅，笔墨兼具写意的洒脱与细节的精致，禽鸟神态鲜活，松石笔墨苍劲，将传统花鸟的生机与意韵融于尺幅之间。",[24,83,25,60,6372,2986,1352,7,3260,6373,6374,23],"雄鹰","苍劲","生动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25b422e73248f530f907d4487510b4a9.jpg",[45],"bca388",{"id":6379,"slug":6380,"title":5247,"dynasty":55,"author":6381,"museum":213,"description":6382,"tags":6383,"thumbUrl":6385,"material":158,"size":158,"collection":69,"collections":6386,"showCount":146,"zanCount":370,"manualWeight":49,"mainColor":6387},202043,"shan-shui-tu-zhou-zhu-xuan-202043","朱轩","画面以水墨写意铺陈山水之趣，近处枯藤老树倚着嶙峋孤石而生，几间茅舍隐于林下，溪流绕石潺潺而过；远处山峦用淡墨皴染，线条疏朗，留白处漾出空濛悠远的意境。用笔简淡却意韵深厚，皴法细腻勾勒山石肌理，墨色层次晕染自然，尽显文人山水的清寂雅致，观之如入幽林深处，心绪随之沉静。",[25,61,567,571,155,6384,172,7,304,23],"茅舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d62665f6a0eb3fed5dfc9ea9e67dbac.jpg",[69],"c1a387",{"id":6389,"slug":6390,"title":6391,"dynasty":18,"author":6392,"museum":213,"description":6393,"tags":6394,"thumbUrl":6398,"material":158,"size":158,"collection":871,"collections":6399,"showCount":146,"zanCount":49,"manualWeight":49,"mainColor":6400},201843,"han-mei-zhong-kui-tu-zhou-yuan-shang-tong-201843","寒梅钟馗图轴","袁尚统","画面中钟馗宽袍大袖，须髯飘洒，立于寒梅树下，手持梅枝似在赏玩，一改传统钟馗的威严狞厉，添了几分文人雅士的闲适意趣。寒梅枝干以浓墨枯笔写就，虬曲苍劲，花蕊点点，清逸冷峭。钟馗衣纹线条流畅顿挫，墨色浓淡相宜，面部虽带威严却不失温和。整体笔墨洒脱写意，构图疏朗，留白处尽显空濛之境，将钟馗的刚正与梅的清雅相融合，传递出寒冬里的一份孤高与悠然。左侧题款与朱印相映，更添文人画的雅致韵致。",[25,7,6395,62,6396,5362,100,6397,757,5217,23],"寒梅","钟馗","题款","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed9e4cc0554adf78c1a59caf28ab3177.jpg",[871],"cebb9c",{"id":6402,"slug":6403,"title":6404,"dynasty":55,"author":6405,"museum":333,"description":6406,"tags":6407,"thumbUrl":6409,"material":478,"size":479,"collection":158,"collections":6410,"showCount":6411,"zanCount":49,"manualWeight":49,"mainColor":74},239111,"hua-hui-ce-8-yu-sheng-239111","花卉册8","余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，字曾三，号鲁亭，江苏常熟人，余珣之子，清代著名画家。曾受业于蒋廷锡。乾隆（1736—1795）时与唐岱、周鲲同祗候内廷，善花鸟、虫鱼、翎毛，间亦参用西法，赋色妍丽，尤善画蝶，工兰竹水仙，所作叠邀高宗睿题，藏于石渠宝笈。",[24,28,217,25,7,100,83,39,141,1362,6408],"枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F736eaaa09be53901a8b5639aefa928a1.jpg",[],10,{"id":6413,"slug":6414,"title":6415,"dynasty":18,"author":4722,"museum":333,"description":6416,"tags":6417,"thumbUrl":6419,"material":158,"size":158,"collection":158,"collections":6420,"showCount":6411,"zanCount":49,"manualWeight":49,"mainColor":74},235696,"gu-mu-xiu-huang-tu-zhou-yang-ming-shi-235696","古木修篁图轴","此作用笔清逸简淡，枯笔写出古木躯干，皴擦结合尽显虬曲苍劲，浓墨点苔更添岁月沧桑，缠绕藤蔓令幽寂野趣顿生。旁侧修篁挺秀，中锋挥写竹叶错落有致，与古木刚柔相济。湖石以淡墨勾勒皴擦，线条简括却见嶙峋质感，和木竹相映成趣。\n\n右上角题字清雅隽秀，书画相融无间，整体萧散空灵，尽显文人画悠然出尘的意境，寄寓着文人幽栖林泉、静悟禅机的襟怀。",[24,25,7,567,6418,32,491,1690,119,304],"古木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda6985e6ff713d0856313e172b7d0d7a.jpg",[],{"id":6422,"slug":6423,"title":6424,"dynasty":2176,"author":6425,"museum":333,"description":6426,"tags":6427,"thumbUrl":6428,"material":478,"size":479,"collection":158,"collections":6429,"showCount":6411,"zanCount":49,"manualWeight":49,"mainColor":74},230492,"jiang-hu-shi-dai-shan-ye-xing-le-tu-ping-feng-er-ping-yu-xie-wu-cun-230492","江户时代 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。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。",[23,99,24,28,217,25,7,62,568,2051],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f876b97518b2443c903f922debc51d2.jpg",[],{"id":6481,"slug":6482,"title":6483,"dynasty":18,"author":6484,"museum":116,"description":6485,"tags":6486,"thumbUrl":6487,"material":158,"size":6488,"collection":158,"collections":6489,"showCount":6411,"zanCount":49,"manualWeight":49,"mainColor":74},222219,"dou-ji-zhu-lang-222219","斗鸡","朱朗","朱朗[明]字子朗，号青（一作清）溪，苏州（今江苏苏州）人。\n师文征明称入室。今文笔毕肖，凡有所作多托征明名，故世知之者少。有客遣童子将币于朗求征明赝本，童子误送文宅，致主人意。征明笑而受之，曰：“我画真征仲卿当假子朗可乎？”一时传以为笑。朗多作青绿山水，峰岫皴法不清，树无摇动之势，板刻之病恐不免耳。《画史会要》、《苏州府志》、《吴县志》、《无声诗史》、《明画录》、《珊瑚网》",[23,24,28,2353,25,83,826,816,491,100,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bbb2831a3ef1bdfad4dd42c78422ec8.jpg","33x56.7厘米",[],{"id":6491,"slug":6492,"title":6493,"dynasty":237,"author":4151,"museum":1291,"description":6494,"tags":6495,"thumbUrl":6498,"material":158,"size":158,"collection":158,"collections":6499,"showCount":6411,"zanCount":49,"manualWeight":49,"mainColor":74},220457,"kun-ming-jie-jing-guan-liang-220457","昆明街景","关良，字良公，广东番禺人。长于中国画、油画。1917年入日本川端画学校学习油画，1918-1923年于太平洋美术学校学习油画。1923年回国，任上海美术专科学校教授。参加过北伐战争，任政治部艺术股长。三十至四十年代辗转于广州、上海、重庆等地的艺术院校任教，并于名山大川旅行写生。曾任浙江美术学院教授、上海中国画院画师。著有《关良艺事随谈》、《关良回忆录》。出版《关良京戏人物水墨画》、《关良油画集》等。",[99,24,28,25,60,7,62,6496,65,6497,5389],"车辆","街道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46653a26d8fca591187cb0ccb297f684.jpg",[],{"id":6501,"slug":6502,"title":631,"dynasty":55,"author":1328,"museum":213,"description":6503,"tags":6504,"thumbUrl":6505,"material":158,"size":158,"collection":45,"collections":6506,"showCount":6411,"zanCount":49,"manualWeight":49,"mainColor":6507},203253,"za-hua-ce-bian-shou-min-203253","泼墨写就的荷叶以浓淡干湿的墨色交织晕染，笔触苍劲老辣，似带清风拂过，墨气氤氲间尽显生机。旁侧行书题款笔势婉转流畅，与水墨荷景相映成趣，朱红印章点缀其间，更添古雅韵致。整体取水墨写意之法，不拘泥于形骸，重在神韵传达，尽显文人画疏淡野逸的格调，将夏日荷塘的清幽之态凝于方寸册页中。",[24,25,83,34,30,100,217,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd273a762e38a52eef90654f24bb99bf.jpg",[45],"ceb895",{"id":6509,"slug":6510,"title":5214,"dynasty":4250,"author":835,"museum":213,"description":6511,"tags":6512,"thumbUrl":6513,"material":158,"size":158,"collection":71,"collections":6514,"showCount":6411,"zanCount":49,"manualWeight":49,"mainColor":5224},202942,"yin-ma-tu-zhou-xu-bei-hong-202942","骏马俯首临流饮水，姿态矫健又含沉静之态。墨色运用张弛有度，鬃尾以泼墨挥写，线条奔放如疾风，尽显动感；身躯以淡墨晕染，辅以精准勾勒，筋骨分明间透出肌肉的丰腴与力量。水面清浅晕开，涟漪微动，岸坡以赭黄轻扫，简淡中见自然之趣。整作融写实精准与写意洒脱，笔墨生动传神，将骏马的灵韵与生机定格，于静谧中藏蓄勃发之势，尽显艺术感染力。",[24,25,1304,119,321,7,3260,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f3c33fc206d639b66978db31ef56552.jpg",[71],{"id":6516,"slug":6517,"title":5214,"dynasty":4250,"author":835,"museum":213,"description":6518,"tags":6519,"thumbUrl":6522,"material":158,"size":158,"collection":109,"collections":6523,"showCount":6411,"zanCount":49,"manualWeight":49,"mainColor":5224},202919,"yin-ma-tu-zhou-xu-bei-hong-202919","画面中骏马俯首饮水，鬃尾以浓墨挥写，笔势洒脱如风；马身淡墨晕染，结构精准却含写意之趣，肌肉骨骼的质感跃然纸上。水面淡蓝灰铺陈，涟漪轻漾，岸边浅赭点染，数笔墨苔添生机。画作融中西之长，写实造型为基，传统笔墨写意，将马的俊逸与悠然神韵凝于画面。墨色浓淡交错，意境清旷，尽显画马的独特匠心。",[25,24,7,1304,104,6520,6521,1487,568,23],"赭石","浓墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a0d0ebcefed59124e2e429c068fd408.jpg",[109],{"id":6525,"slug":6526,"title":6527,"dynasty":4250,"author":4530,"museum":213,"description":6528,"tags":6529,"thumbUrl":6530,"material":158,"size":158,"collection":45,"collections":6531,"showCount":6411,"zanCount":49,"manualWeight":49,"mainColor":6532},202873,"mo-he-tu-zhou-chen-shi-ceng-202873","墨荷图轴","墨色翻涌间，荷叶以泼墨法挥洒而就，浓淡干湿的晕染交织出苍劲质感，笔触豪放不羁却暗含层次变化。几朵荷花以简淡线条勾勒，清逸灵动，与厚重荷叶形成虚实相生的妙趣。荷梗如铁线般挺拔，墨线劲健利落，撑起画面骨力。整幅画弃绝华彩，以水墨之纯粹写尽荷塘清寂，尽显文人写意的洒脱雅致，简淡中藏生机，豪放里蕴幽情。",[24,25,34,121,7,336,83,119,305,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53886ee17df044a97c39e848eb84f03d.jpg",[45],"d6d4c4",{"id":6534,"slug":6535,"title":6536,"dynasty":4250,"author":1072,"museum":213,"description":6537,"tags":6538,"thumbUrl":6539,"material":158,"size":158,"collection":45,"collections":6540,"showCount":6411,"zanCount":370,"manualWeight":49,"mainColor":6541},202828,"sui-chao-tu-zhou-wang-zhen-202828","岁朝图轴","虬枝盘曲的梅树绽着粉艳花苞，水仙亭亭玉立、黄蕊吐香，红果灌木缀满玛瑙似的果实，柑橘与灵芝错落案头，朴拙的瓷瓶与盆器承托生机。笔墨兼工带写，花卉蔬果设色鲜活明快，枝干用墨苍劲老辣，器物线条简约传神。整幅画以岁朝清供为题，将新春吉庆气息与文人雅趣融于一纸，鲜活景物与朴雅笔墨交织，尽显传统节庆题材的温馨与雅致，是兼具生活意趣与艺术韵味的写意佳作。",[24,28,83,60,31,38,454,7,3260,39,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F271b07d1ac9ede43c23e810912c95820.jpg",[45],"b4ab9b",{"id":6543,"slug":6544,"title":6545,"dynasty":55,"author":134,"museum":213,"description":6546,"tags":6547,"thumbUrl":6548,"material":158,"size":158,"collection":45,"collections":6549,"showCount":6411,"zanCount":49,"manualWeight":49,"mainColor":6550},202238,"shuang-qi-tu-zhou-zhu-da-202238","双栖图轴","双禽相偎栖于岸石，墨色淋漓间显羽毛蓬松之态，眼神淡然却藏幽微心绪。背景山水简远，远山以淡墨晕染，近岸疏枝横斜，大片留白如雾气弥漫，拓展出虚静空濛的意境。笔墨极简而意韵丰沛，泼墨与细线条相济，寥寥数笔勾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雍正十一年（1733）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房，官至礼部尚书，袭伯爵。",[24,99,25,83,3288,100,217,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae10325f85760845bd2c50bd649f6e12.jpg",[],8,{"id":6804,"slug":6805,"title":6806,"dynasty":55,"author":56,"museum":333,"description":6807,"tags":6808,"thumbUrl":6814,"material":478,"size":479,"collection":158,"collections":6815,"showCount":6802,"zanCount":49,"manualWeight":49,"mainColor":74},288393,"lai-fu-tu-huang-shen-288393","来蝠图","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、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。",[23,24,28,119,25,60,7,62,4456,6809,6810,6811,502,6812,29,100,6813],"仕女","饮酒","蝙蝠","花篮","祥瑞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93114a60f6453d3dfac5ef2fcdc2ba14.jpg",[],{"id":6817,"slug":6818,"title":6819,"dynasty":18,"author":181,"museum":333,"description":6820,"tags":6821,"thumbUrl":6822,"material":478,"size":479,"collection":158,"collections":6823,"showCount":6802,"zanCount":49,"manualWeight":49,"mainColor":50},237810,"gao-yang-hua-hui-zhu-shi-shan-ye-yi-ming-237810","高阳花卉竹石扇页","金笺之上，水墨设色铺就幽然小景。顽石错落，勾勒简劲苍厚，皴擦间尽显嶙峋古拙。修竹劲挺清逸，枝叶舒展灵动，墨色浓淡层叠，区分阴阳向背，尽显君子之姿。柔蔓花枝穿插掩映，淡晕粉白点染花萼，轻敷浅绿晕染叶片，和挺竹顽石刚柔相济。\n\n落款题字笔意潇洒写意，与绘事相映成趣。整幅疏密有致、虚实相生，将林下幽趣收揽在尺幅扇面之间，笔底带着悠然闲适的雅致意趣，尽显传统小品画的隽秀生机。",[2353,60,25,32,346,39,1990,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c3b6ea6dacc07c9cd180087a3d2e780.jpg",[],{"id":6825,"slug":6826,"title":6827,"dynasty":18,"author":6828,"museum":333,"description":6829,"tags":6830,"thumbUrl":6831,"material":478,"size":479,"collection":158,"collections":6832,"showCount":6802,"zanCount":49,"manualWeight":49,"mainColor":74},237074,"mo-bi-zhu-lan-shan-xiang-de-xin-237074","墨笔竹兰扇","项德新","项德新（约1563—？）明代画家。字复初、又新，浙江嘉兴人，项元汴的三儿子，工山水，得荆关法，尤其擅长写生。 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枝干交错如铁线盘桓，却于转折处藏灵秀之态。梅花以清润墨色点染，或含蕾待放，或绽瓣吐蕊，圈点勾勒皆简括生动，无艳色却暗蕴冷香。题跋书法笔致流畅，与梅枝墨韵相映成趣，诗画交融间，尽显文人画清雅绝尘之韵。整幅作品以水墨写意之法，将梅之孤傲高洁品格凝于笔端，虽寥寥数笔，却意境悠远，如沐寒林雪后，梅影横斜，暗香浮动，足见作者笔墨功底与文人情怀。",[24,25,31,29,100,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f6fee7cb553b6f93b2bd2657f5e3720.jpg",[],"c2a58c",{"id":6997,"slug":6998,"title":6999,"dynasty":55,"author":7000,"museum":213,"description":7001,"tags":7002,"thumbUrl":7003,"material":158,"size":158,"collection":109,"collections":7004,"showCount":6802,"zanCount":49,"manualWeight":49,"mainColor":7005},202172,"song-zhu-lan-shi-tu-zhou-qian-zai-202172","松竹兰石图轴","钱载","这幅水墨画作以松竹兰石为景，苍松老干虬劲，松针如戟般簇生；修竹墨叶纷披，姿态秀逸灵动；幽兰柔茎吐叶，隐于石侧舒展；顽石皴擦简练，与草木共生相映。笔墨简括却意韵悠长，墨色浓淡交错，线条洒脱自然，尽显文人画清雅高洁之致，传递出自然与心性交融的逸趣风骨。",[24,25,33,32,40,155,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2af5e40b2d10834556c472dc44ddbbff.jpg",[109],"b9ac9d",{"id":7007,"slug":7008,"title":7009,"dynasty":55,"author":7010,"museum":213,"description":7011,"tags":7012,"thumbUrl":7014,"material":158,"size":158,"collection":45,"collections":7015,"showCount":6802,"zanCount":49,"manualWeight":49,"mainColor":7016},202109,"la-mei-cha-hua-tu-zhou-zhang-bai-lu-202109","腊梅茶花图轴","张百禄","画面中腊梅枝干虬劲，墨笔枯润相生，枝头橙黄小花疏朗有致；茶花叶片淡蓝设色，洁白花朵素雅温润，二者相映成趣。构图空灵，留白意蕴悠长，笔墨洒脱中见细腻，设色淡雅脱俗，尽显文人画的清逸风骨，传递出冬日花木的生机与恬淡之美。",[24,83,60,31,7013,7,23],"茶花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53661d19f3cbedc723150c7879e8ed95.jpg",[45],"c5bfb8",{"id":7018,"slug":7019,"title":7020,"dynasty":55,"author":7021,"museum":213,"description":7022,"tags":7023,"thumbUrl":7024,"material":158,"size":158,"collection":109,"collections":7025,"showCount":6802,"zanCount":49,"manualWeight":49,"mainColor":7026},202029,"lian-gui-tu-zhou-ceng-yan-dong-202029","联贵图轴","曾衍东","这幅画作以水墨写意之法成篇，大鱼墨色浓淡相宜，体态丰腴，笔触豪放洒脱，泼墨与点染交织出鱼鳞的自然质感；下方小鱼灵动小巧，与大鱼相映成趣。构图简洁疏朗，留白处意蕴悠长，笔墨简练却精准捕捉鱼的鲜活姿态，质朴野趣中见真意，尽显画家对生活意趣的细腻感知与写意才情。",[24,25,7,292,119,336,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14d952c2fcfbe50ec9f47f363d2b4536.jpg",[109],"c3ae95",{"id":7028,"slug":7029,"title":7030,"dynasty":55,"author":7031,"museum":213,"description":7032,"tags":7033,"thumbUrl":7035,"material":158,"size":158,"collection":109,"collections":7036,"showCount":6802,"zanCount":49,"manualWeight":49,"mainColor":7037},201585,"zhi-hua-qiu-tang-tu-zhou-yang-tai-ji-201585","指画秋塘图轴","杨泰基","这幅秋塘图以指为笔，墨色淋漓间铺展秋塘野趣。枯荣交织的荷叶，或浓墨泼洒，或淡墨晕染，尽显自然之态；塘中螃蟹横行，小鱼悠游，蜻蜓翩跹，动静相宜；残荷挺立，细草点缀，秋意萧瑟却暗藏生机。指画的独特肌理赋予景物质朴鲜活的质感，墨色浓淡干湿对比鲜明，营造出清寂雅致又灵动的秋塘意境，尽显文人写意的闲逸意趣。",[6467,25,34,292,706,442,7,7034,23],"秋塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F296a905e568fc74263cc9b540ec2857d.jpg",[109],"b4ac99",{"id":7039,"slug":7040,"title":5544,"dynasty":55,"author":7041,"museum":333,"description":7042,"tags":7043,"thumbUrl":7044,"material":158,"size":158,"collection":158,"collections":7045,"showCount":232,"zanCount":49,"manualWeight":49,"mainColor":74},238138,"shan-shui-ce-yun-xi-238138","允禧","允禧字谦斋，号紫琼，亦作紫噊，别号紫琼崖道人、春浮居士等。康熙皇帝二十一子。善书画，该图层次分明，笔法老到，颇具文人画之风韵。",[24,60,567,217,7,61,692,200,65,140,1532,1264,103,3018],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd40d00873d5deb0b1bcf331633c4e545.jpg",[],{"id":7047,"slug":7048,"title":7049,"dynasty":55,"author":7050,"museum":333,"description":7051,"tags":7052,"thumbUrl":7053,"material":158,"size":158,"collection":158,"collections":7054,"showCount":232,"zanCount":49,"manualWeight":49,"mainColor":50},230871,"zhi-hua-chun-shan-dai-du-tu-zhu-lun-han-230871","指画春山待读图","朱伦瀚","《指头生活三百年:高其佩与指头画派(套装共2册)》内容简介：指头画，即以手代笔，蘸墨作画。\n中国传统绘画中的一种特殊的画法。\n即以画家的手指代替传统工具中的毛笔蘸墨作画，别有一种特殊趣味和技巧。\n历史上清代高其佩、近代潘天寿、洪世清所作指画作品其影响较大。\n辽宁与指头画有着深厚的渊源，指头画开派人物清代的高其佩祖籍是辽宁的铁岭。\n其弟子传派众多，至清末已达百余人，遂有“指头画派”之称，在清代绘画史中占有一席之地。\n国内著名的指墨家杨一墨就是辽宁开原人，现为铁岭中国手指画研究院院长。\n目前辽宁地区活跃着一批热爱和研究指画艺术、颇具影响力的画家。\n《指头生活三百年:高其佩与指头画派(套装共2册)》由辽宁美术出版社出版。\n《指头生活三百年·上卷》目录： 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之中，以简驭繁勾画出物象神韵，尽显文人写意的豪放清雅，把孤傲英挺的气概晕染在素笺之上，尽显水墨写意的精妙意趣。",[23,24,25,7,217,83,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb254c432b44c64947e17c010bbb0360c.jpg",[],{"id":7837,"slug":7838,"title":7839,"dynasty":55,"author":1340,"museum":333,"description":7840,"tags":7841,"thumbUrl":7842,"material":158,"size":158,"collection":158,"collections":7843,"showCount":207,"zanCount":49,"manualWeight":49,"mainColor":74},224323,"hua-niao-shi-er-kai-12-li-shan-224323","花鸟十二开12","以水墨写就牡丹，运笔纵放老辣，墨色层次丰盈，浓淡干湿晕染间，尽显牡丹华贵姿容。焦墨点簇花头苍润兼济，淡墨晕留白处虚灵雅致，枝叶穿插随性却不失章法，尽显挥毫时的酣畅意气。\n\n右侧行书题诗笔势跌宕，书画相映成趣，将文人写意的抒情特质尽显。画作不拘泥于形，以水墨替代设色，褪去浓艳，提炼出牡丹不恃色露风骨的意韵，尽显随性率真的写意风骨，于挥洒之间藏着画者寄情花木、不流于俗的文人襟怀。",[23,24,28,25,217,83,35,29,100,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd795af6042318958264f8c1bb453e04a.jpg",[],{"id":7845,"slug":7846,"title":7847,"dynasty":55,"author":1340,"museum":333,"description":7848,"tags":7849,"thumbUrl":7850,"material":158,"size":158,"collection":158,"collections":7851,"showCount":207,"zanCount":49,"manualWeight":49,"mainColor":74},224298,"hua-hui-shi-er-kai-10-li-shan-224298","花卉十二开10","这幅小品将水仙与日常蒜头并置，打破雅俗边界。淡墨轻扫水仙叶片，笔意舒展灵动，花瓣晕染留白，清逸柔婉。一旁蒜头以枯笔极简勾勒，憨拙质朴，二者相映成趣。\n题款笔墨恣肆，暗合“同是蒜也，可雅可俗”的谐趣，尽显文人随性诙谐的意趣。水墨设色简淡却神采具足，把清雅花草与日常风物相融，消解雅俗对立，寄寓画师对生活的通透体察，笔情墨趣间尽显写意花鸟的灵动生机。",[23,24,28,217,60,7,38,39,30,100],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F273442628b32e2197828f1322a679f80.jpg",[],{"id":7853,"slug":7854,"title":7855,"dynasty":55,"author":56,"museum":922,"description":7856,"tags":7857,"thumbUrl":7858,"material":84,"size":7859,"collection":158,"collections":7860,"showCount":207,"zanCount":49,"manualWeight":49,"mainColor":74},222669,"peng-mei-tu-huang-shen-222669","捧梅图","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、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。\n黄慎擅长人物、山水、花鸟，并以人物画最为突出，题材多为神仙佛道和历史人物，也有一些现实生活中的形象，多从民间生活取材，不少作品塑造了纤夫、乞丐，流民、渔民等下层人物形象，如《群乞图》取材现实生活，描写灾荒年中，乞丐们流落街头，受人欺凌的悲惨画面，表现出他对人民疾苦的同情。画神仙佛道如《醉民图》，多操大幅，用笔设色，泼辣大胆，于迷离扑朔中见形象神韵。描绘文人生活的有《东坡玩砚图》，用笔迅疾，衣纹顿挫，线条硬折，墨公浓淡相间，人物轩昂、富有气势，为其成熟后的代表画风。\n他的花鸟画宗法徐渭，亦纵逸泼辣挥洒自如，如《瓶梅图》《菊蟹图》等。他的山水虽“不以山水名”，但山水画有一定的造诣，大幅和小景都各尽其妙，潇洒有致，山水代表作如《渔归图》，两株柳树，“姿态婀娜劲挺，耸立奇峭山岩，淡墨轻赭横扫出沙滩，中景两只渔船，一笔勾出船舷，船中人物，神态右辨，画面左角草书题画诗三行，诗、书、画、印紧相配合，自然贴切。\n黄慎擅草书，书法学“二王”，更得怀素笔意，从章草脱化而出，其栖劲运笔亦用于绘画之中，故画面多干枯、飞白和迅疾之迹，黄慎的草书，点画纷披，散而序，评者说它象疏景横斜，苍藤盘结，具有“字中有画”之趣，他的书法出于章草，颇难认识，故而仿效者不多，但他不趋时尚，敢于标新立异。 他的草书不昧古法，又难辨古人踪迹，不强调章法的疏密聚散，而以方折顿挫的笔法，忽断忽连，顾盼呼应，凸显铿锵有声的点画节奏感，呈现一幅落英缤纷珠丸跳荡逸趣迭生的画面感。其代表作《草亭飞万竹诗草书轴》章法奇异如松柏之剪影，点画浓淡如花叶之缠枝，真非书非画，亦书亦画，堪称奇观。\n\n个人成就:\n黄慎的诗文、狂草书法，绘画被称三绝。曾先后三次到扬州，居留较长，与郑板桥、李（善）等往来友善，为“扬州八怪”之一。\n他年方十八、九时寄身萧寺，白天作画，夜间从佛光明灯下刻苦读书，技艺大进。凡人物、花鸟、山水、楼台、虫鱼等，无一不能，但他并不以这些为满足，一次看他先生的作品说：“吾师绝技难以争名矣，志当自立以成名，岂肯居人后哉！”\n他自己总结一生走过的道路，感慨地说到：‘余自十四、五岁时便学画，而时时有鹘突于胸者，仰然思，恍然悟，慨然曰：‘余画之不工，以余不读书之故。’于是折节发愤，取毛诗、三礼、史汉、晋宋间文，杜韩五言诗及中晚唐诗，熟读精思膏以继晷，而又于昆虫草木四时推谢荣枯，历代制度衣冠礼器，细而致于夔 蛇凤，调调刁刁，罔不穷厥形状，按其性情，豁然有得于心，应之于手，而后乃今始可心言画矣。”正是这种凝思结想、废寝忘食、苦攻不辍，黄慎才从一个小画工成长为一位“诗画名大江南北”的名家。\n”郑板桥为诗赠之：“家看古庙破苔痕，惯写荒涯乱树根，画到精神飘没外，更无真相有真魂。”\n黄慎还是一位诗才画艺俱全的艺术家，他的诗作，情韵清远，如 岩绝 ，烟凝霭积，能非凡境，并著有《蛟湖诗钞》一书传世。\n黄慎早年师从上官周，多作工笔。山水宗元黄公望、倪瓒、中年以后，吸取徐渭笔法，变为粗笔写意，并草书章草，尝以狂草书法入画笔姿放纵，气象雄伟深入古法，但也有笔过伤韵者。\n作品行情:\n黄慎书画流传较多，大多藏于国内各大博物馆内。北京故宫院藏有多幅，如《漱石捧砚图》，扬州博物馆藏的《渔归图》等。\n黄慎的绘画创作在雍正年间说名扬于世，“尺纸容缣，世争宝之”。可见他的作品在当时已有较高的价格，另外黄慎对自己的绘画，常作分类自评，凡最得意者题上诗，次者则识以岁月，再次者只署“瘿瓢”二字。\n现今黄慎作品流入市场是比较多的，20世纪80年代末即开始拍卖，以后每年都出现过，价格起伏不大，比较稳定，但不太高，与八怪中其他画家水平相当，低于吴门四家。\n作为画家的黄慎，对后世的影响——清代的闵贞、近代上海的王震、广东的苏六朋、福建的李霞、李耕和辽南的李楚材都曾师法黄慎。齐白石也非常倾心黄慎——“余在黄镜人处获观《黄瘿瓢画册》，始知余画犹过于形似，无超然之趣。决定从今大变。人欲骂之，余勿听也；人欲誉之，余勿喜也”。“前朝之画家，不下数百人之多，瘿瓢、青藤、大涤子外，皆形似也。惜余天资不若三公，不能师之”。",[23,24,28,25,7,119,30,62,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd778e0836a6ad07faf43424193f69955.jpg","纵124厘米，横65厘米",[],{"id":7862,"slug":7863,"title":7864,"dynasty":4250,"author":238,"museum":213,"description":7865,"tags":7866,"thumbUrl":7867,"material":158,"size":158,"collection":45,"collections":7868,"showCount":207,"zanCount":49,"manualWeight":49,"mainColor":7869},203234,"ju-jiu-tu-zhou-qi-bai-shi-203234","菊酒图轴","画面以疏朗之构铺陈，秋菊与酒具相映成趣。红菊艳而不妖，花瓣层叠间见笔墨的灵动；黄菊雅而有致，色泽明快却不失内敛。墨叶以泼墨法挥洒，浓淡交织中尽显笔力雄健，与设色花朵形成鲜明对比。下方酒器线条极简，瓶的修长与杯的小巧相呼应，朴素天真里藏着生活意趣。整作笔墨凝练，将文人赏菊饮酒的闲逸心境，融于写意的挥洒间，简淡中见真趣，质朴中含深情。",[24,60,83,41,454,25,7,3260,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F842fb55f4826e6649ddd244fa1439a86.jpg",[45],"c8bdb1",{"id":7871,"slug":7872,"title":2461,"dynasty":55,"author":1340,"museum":213,"description":7873,"tags":7874,"thumbUrl":7875,"material":158,"size":158,"collection":45,"collections":7876,"showCount":207,"zanCount":49,"manualWeight":49,"mainColor":7877},203188,"hua-hui-ce-li-shan-203188","这幅册页中，花卉枝干虬曲，以枯笔焦墨勾勒，尽显苍劲老辣之态；花瓣晕染得宜，淡墨与浓墨相间，柔媚中藏风骨。旁侧行书题诗，笔势流畅跌宕，与花卉相映成趣，诗书画印浑然一体，流露文人画的雅致意趣。笔墨纵逸洒脱，不拘一格，将花卉的生机与作者的性情完美融合，尽显写意花鸟的灵动神韵。",[7,25,30,1645,83,217,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1bca83e149d58e8f0035a0c7ec142ad.jpg",[45],"cec2ae",{"id":7879,"slug":7880,"title":2919,"dynasty":4250,"author":6972,"museum":213,"description":7881,"tags":7882,"thumbUrl":7883,"material":158,"size":158,"collection":158,"collections":7884,"showCount":207,"zanCount":49,"manualWeight":49,"mainColor":7885},203161,"hua-niao-tu-zhou-gao-qi-feng-203161","画面中虬曲老干以浓淡墨色皴擦而成，线条苍劲有力，尽显古树沧桑之态。枝头飞鸟羽色淡雅，神态闲适，与枯藤老树的朴拙形成动静对比。笔墨融写意洒脱与工笔细腻于一体，鸟羽层次分明，树干肌理富于变化，留白处空灵悠远，整体意境清寂中透着生机，尽显文人画的雅韵与自然意趣。",[24,25,83,571,1352,7,321,567,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc655d7c26aefa744aefdc022fae1aaa8.jpg",[],"cdc6b6",{"id":7887,"slug":7888,"title":7889,"dynasty":55,"author":1328,"museum":213,"description":7890,"tags":7891,"thumbUrl":7893,"material":158,"size":158,"collection":45,"collections":7894,"showCount":207,"zanCount":49,"manualWeight":49,"mainColor":7895},203107,"lu-yan-tu-ce-bian-shou-min-203107","芦雁图册","两只芦雁亲昵相依，淡墨晕染的羽毛层次分明，朱红喙蹼点睛般鲜活。芦苇以泼墨写意挥就，线条苍劲灵动，随风摇曳的姿态衬出秋江清寂。笔墨简练却形神毕肖，浅淡水面与疏朗芦叶相映，尽显自然野趣与文人雅韵。",[24,25,60,83,7892,705,7,3260,100,23],"芦雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb43824eec90d70373d74d3dc4efd0cf0.jpg",[45],"c8b088",{"id":7897,"slug":7898,"title":7899,"dynasty":55,"author":7900,"museum":213,"description":7901,"tags":7902,"thumbUrl":7903,"material":158,"size":158,"collection":109,"collections":7904,"showCount":207,"zanCount":49,"manualWeight":49,"mainColor":7905},203101,"gao-jian-mei-hua-ce-gao-jian-203101","高简 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边寿民甥。工书、画，花卉小品，清远绝俗。画用钩勒再以枯笔渍染，阴阳向背，极为明豁。写芦雁酷似其舅，又善画宜兴茶器。卒年八十七。《艺林月刊、墨林今话、墨香居画识、梧门诗话、宋元明清书画家年表附录》。",[24,28,217,25,60,83,705,8825,30,100,7],"水禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4defada3724d2fab19f1ad58d8391680.jpg",[],{"id":8829,"slug":8830,"title":8831,"dynasty":55,"author":8832,"museum":333,"description":8833,"tags":8834,"thumbUrl":8835,"material":478,"size":479,"collection":158,"collections":8836,"showCount":370,"zanCount":49,"manualWeight":49,"mainColor":50},237847,"xu-yong-jia-shan-shui-shan-ye-xu-yong-jia-237847","须用嘉山水扇页","须用嘉","须用嘉，明末清初，字嘉客，毗陵（今江苏常州）人。主要活动于崇祯年间，擅山水、枯木，竹石等，其作品以水墨为主。其山 水师法倪瓒，加以发展，画法疏简，格调幽淡 ，笔法精细流畅，用笔工细绵密，稍带生涩，于精熟中见稚拙，多作疏林坡岸，浅水遥岑。折带皴画山石，枯笔干墨，淡雅松秀，意境荒寒空寂，风格萧散超逸，简中寓繁，外落寞而内蕴激情。浓墨苔点，风格突出，画面常有“山木半落叶，西风方满林”的意境。画作流传极为少见。",[24,2353,25,567,61,429,140,1532,200,1913,2399,582,583,172,3607,4798,8205,4049,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e70765a086f8a8eef626ef92038b382.jpg",[],{"id":8838,"slug":8839,"title":8840,"dynasty":55,"author":56,"museum":333,"description":6807,"tags":8841,"thumbUrl":8842,"material":478,"size":479,"collection":158,"collections":8843,"showCount":370,"zanCount":49,"manualWeight":49,"mainColor":74},236663,"bie-you-feng-wei-ce-huang-shen-236663","别有风味册",[24,28,217,25,30,100,279,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b866aba7949ca83ea11703709f71d69.jpg",[],{"id":8845,"slug":8846,"title":8847,"dynasty":2176,"author":181,"museum":333,"description":8848,"tags":8849,"thumbUrl":8850,"material":158,"size":158,"collection":158,"collections":8851,"showCount":370,"zanCount":49,"manualWeight":49,"mainColor":50},231693,"er-lao-tu-zhou-yi-ming-231693","二老图轴","此作以水墨写意铺就闲雅图景，淡墨晕染出郊野空寂底色，垂柳枝桠以枯笔扫就，简劲纵逸，疏疏几笔便牵惹出春日郊林的柔寂意韵。\n\n二老鬓发皤然，侧身凑首共览书卷，衣纹以顿挫简练的线条勾勒，宽袍博带的古雅身形呼之欲出，二人凝神静览，似为卷中字句沉醉，将忘机论道的悠然尽显。稚童垂手侍立身侧，更添松弛闲静。全作以少胜多，以简驭繁，淡墨氤氲间藏起林下雅集的隐逸真趣，把文人耽于文卷、寄情丘壑的雅致心境融于毫端。",[23,24,28,119,25,7,62,140,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc94e9be5995804e8d4ebe01e80791e08.jpg",[],{"id":8853,"slug":8854,"title":8855,"dynasty":2176,"author":181,"museum":333,"description":8856,"tags":8857,"thumbUrl":8862,"material":478,"size":479,"collection":158,"collections":8863,"showCount":370,"zanCount":49,"manualWeight":49,"mainColor":74},231639,"ping-an-shi-dai-ao-zhi-xi-dao-tu-juan-shang-juan-yi-ming-231639","平安时代 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