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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。",[23,24,25,26,27,28,29,30,7,31,32],"高清","国画","书画","立轴","水墨","写意","花鸟","孤石","飞鸟","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F919edce87f0eaaf6b6bab59b57d7634d.jpg","",[],116,"BDBDBD",{"id":39,"slug":40,"title":41,"dynasty":42,"author":43,"museum":44,"description":45,"tags":46,"thumbUrl":52,"material":53,"size":54,"collection":55,"collections":56,"showCount":57,"zanCount":58,"manualWeight":11,"mainColor":37},218714,"yang-liu-ru-que-tu-yi-ming-218714","杨柳乳雀图","宋","佚名","台北故宫博物院","这幅画描绘了一只鸟在喂养它的孩子。这只鸟被描绘得简单而微妙，它的翅膀用浓墨勾勒，用淡墨上色，小鸟的身高、腹部和背部，俯视、仰视和俯视的姿势都非常精致。柳树稀疏的、交叉的、交错的、下垂的枝条也画得很好。",[23,47,24,25,48,49,29,7,50,51,31],"名画","工笔","设色","雀鸟","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf6bfbc2c1c72fbc541eff9d6f5e0b7.jpg","绢本,设色","24.8x24.8","花鸟画精选",[55],84,1,{"id":60,"slug":61,"title":62,"dynasty":18,"author":63,"museum":44,"description":64,"tags":65,"thumbUrl":67,"material":68,"size":34,"collection":55,"collections":69,"showCount":70,"zanCount":11,"manualWeight":11,"mainColor":37},237220,"xu-gu-yang-liu-jin-yu-tu-zhou-xu-gu-237220","虚谷杨柳金鱼图轴","虚谷","虚谷（1824年－1896年），清代僧人及画家。俗姓朱，名怀仁，一名虚白，号紫阳山人。新安（今安徽歙县）人，世居扬州，同治、光绪年间寓居上海。\n虚谷工山水、花卉、动物、禽鸟，尤善长画松鼠及金鱼。亦工肖像，擅书，能诗善文，着有《虚谷和尚诗录》。曾在上海、是晚清画坛的巨子，为“ 他曾任清军参将，后因不愿奉命打 其为人性情孤僻，非相处情深者不能得其片纸。携笔墨、着僧装，“闲中写出三千幅，行乞人间作饭钱”，其一生极为清苦，却云游四海，其行程之广，作品之多，为当时所罕见。他承古创新，独辟捷径，广集素材，勤于创作，终成一代巨擘。",[24,26,49,27,29,7,66],"金鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c814e1d8ff895dc019b71e2a3d06d5.jpg","纸本",[55],79,{"id":72,"slug":73,"title":17,"dynasty":18,"author":19,"museum":74,"description":75,"tags":76,"thumbUrl":91,"material":92,"size":93,"collection":34,"collections":94,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":37},233712,"yang-liu-yu-qin-tu-zhou-zhu-da-233712","北京故宫博物院","此图是朱耷80岁所作。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。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。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。",[24,27,26,28,7,77,30,29,78,79,80,81,82,83,84,85,86,87,88,89,90],"禽鸟","水墨写意","枯枝","孤鸟","山石","枝条","墨笔","写意花鸟","水墨花鸟","山石禽鸟","杨柳枝条","浴禽","水墨山石","写意禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F323d4fc355eb966f9589caed04ec16f5.jpg","纸本，墨笔","纵119厘米，横58.4厘米",[],74,{"id":97,"slug":98,"title":99,"dynasty":100,"author":101,"museum":74,"description":102,"tags":103,"thumbUrl":110,"material":111,"size":112,"collection":55,"collections":113,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":116},222456,"liu-qin-bai-xian-li-zhou-wang-zhao-222456","柳禽白鹇立轴","明","汪肇","《柳禽白鹇图》绘溪水奔流，浪花翻滚，岸边青草依依，两只白鹇一俯一仰，悠然闲憩。一株杨柳，枝条倒垂，随风飘动；柳畔桃花盛开，数只燕子翻腾嬉戏于柳枝之间，充满早春气息。白鹇画法工细，形象写实，生动传神。羽毛色彩，对比鲜艳。此图工写结合，造型生动自然，色彩丰富，与画家粗简放逸之风有所不同。",[23,47,24,25,26,29,49,48,104,31,105,106,7,107,108,109],"工写结合","燕子","白鹇","桃花","流水","早春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb9797ae11c53f7557aad5da268f564.jpg","绢本，设色","纵190，横103",[55,114],"设色画精选",65,"795548",{"id":118,"slug":119,"title":120,"dynasty":18,"author":121,"museum":20,"description":122,"tags":123,"thumbUrl":125,"material":68,"size":34,"collection":55,"collections":126,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":37},238963,"yang-liu-qu-yu-tu-zhou-ren-yi-238963","杨柳鸲鹆图轴","任颐","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。",[24,26,29,27,49,28,7,124],"鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0c5e4f5fad3781f2b6d9d87d03ee6f2.jpg",[55,114],50,{"id":129,"slug":130,"title":131,"dynasty":18,"author":132,"museum":20,"description":133,"tags":134,"thumbUrl":141,"material":34,"size":34,"collection":55,"collections":142,"showCount":143,"zanCount":11,"manualWeight":11,"mainColor":37},236882,"yang-liu-xiao-yue-zhou-wang-hui-236882","杨柳晓月轴","王翚","王翚（1632—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。祖上五世均善画，曾祖王伯臣，善画花鸟，祖父王载仕，擅长山水、人物、花卉；父亲王云客也善画山水，画风秀雅。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，融会南北诸家之长，创立了所谓南宗笔墨、北宗丘壑的新面貌，故王时敏称“画有南北宗，至石谷而合为一”。在王翚35岁到60岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 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