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前溪边，已有三三两两的踏青者。\n古松下的案桌前，更是围满了人，文人学子即兴赋诗，一人执笔而书，周旁还有妇人幼童嬉戏。\n山间泉源，几个小童在洗杯煮茶，一派平和融乐的场景。\n《溪山无尽图》全卷以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。\n山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。\n马远（约114－约1225后），字遥父，号钦山，祖籍河中（今山西永济），生长在钱塘（今浙江杭州）。\n出身绘画世家，南宋光宗、宁宗两朝画院待诏。\n擅画山水，取法李唐，能出新意，下笔遒劲严整，设色清润。\n山石以带水笔做大斧劈皴，方硬有棱角；树叶有夹笔，树干浓重，多横斜之态；楼阁界画精工，且加衬染。\n喜作边角小景，世称“马一角”。\n又工画水，兼精人物、花鸟。\n与李唐、刘松年、夏圭并称“南宋四家”。",[23,24,25,57,27,208,28,29,209,62,142,395,396,61,7,211,289,397,398],"建筑","马","河流","岸滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafce01da288b5c16fd5d96849da68c3d.jpg",[],44,{"id":403,"slug":404,"title":405,"dynasty":18,"author":406,"museum":97,"description":407,"tags":408,"thumbUrl":410,"material":108,"size":109,"collection":68,"collections":411,"showCount":412,"zanCount":220,"manualWeight":11,"mainColor":48},287807,"yin-jiu-tu-li-gong-lin-287807","饮酒图","李公麟","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,24,272,101,7,29,409],"怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2bdc0c0efadc0e36e98489d3713b3d9.jpg",[],39,{"id":414,"slug":415,"title":416,"dynasty":117,"author":417,"museum":97,"description":418,"tags":419,"thumbUrl":424,"material":108,"size":109,"collection":68,"collections":425,"showCount":412,"zanCount":11,"manualWeight":11,"mainColor":48},287747,"zhong-kui-yin-jiu-tu-ren-yi-287747","钟馗饮酒图","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。\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。",[24,100,420,26,28,421,7,422,423],"扇面","钟馗","仕女","酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4803edd800a66a10441ec9bc33737417.jpg",[],{"id":427,"slug":428,"title":429,"dynasty":373,"author":430,"museum":431,"description":432,"tags":433,"thumbUrl":438,"material":42,"size":439,"collection":386,"collections":440,"showCount":412,"zanCount":11,"manualWeight":11,"mainColor":48},220406,"qiu-ge-qing-xiao-tu-sheng-mao-220406","秋舸清啸图","盛懋","上海博物馆","《秋舸清啸图》描绘的是在近岸陂陀上树木繁茂，一艘篷舟缓缓经过，船头有一位逸士正在仰天长啸，他身前置放酒皿瓷碗，身后古玩横陈，船尾是一个正在摇橹的一童 子摇橹。从这个逸士的形象看，可能是魏晋时“嗜酒能啸”并善鼓琴的“竹林七贤”之一阮籍的写照。远景山峦平缓。图中树石、远岸画法学董源、巨然，人物设色 取唐人法，描线细劲。画风与盛氏至正辛卯(1351年)所作的《沧江横琴图》近似。",[23,24,100,26,28,123,61,29,434,7,435,436,437,246,208],"山峦","长啸","阮籍","竹林七贤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b4c131ade18640c2b048464aebfc709.jpg","纵167.5厘米，横102.4厘米",[386,131],{"id":442,"slug":443,"title":444,"dynasty":18,"author":137,"museum":431,"description":445,"tags":446,"thumbUrl":451,"material":452,"size":453,"collection":454,"collections":455,"showCount":412,"zanCount":11,"manualWeight":11,"mainColor":48},219731,"he-tang-an-le-tu-yi-ming-219731","荷塘按乐图","此图用近景鸟瞰的手法描绘皇亲贵戚在临湖台榭中饮宴奏乐的情景。殿阁仅画高柳环拥中的背面，殿前临水的月台上有两队吹笛的乐工，前面是开阔的湖面和点点钱荷。此图不作正面写景，而以描绘两队乐工的演奏使人联想在湖面上飘动的清越笛声和殿中人豪侈的饮宴，把南宋朝廷歌舞河山、穷奢极欲的生活含蓄地表达出来。图中楼阁台榭以界画笔法绘出，准确精细，颇合法度。湖边几株垂柳，更增添了几分幽静气氛。画面虽只绘一角景色，却能给人一种遐想无限的意境。",[24,100,286,26,28,287,447,448,449,213,7,450],"荷花","柳","湖面","台榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10479730a19e6b1aa7242930025e39b2.jpg","绢本","25.8x22.3cm","宋画精选",[454,386],{"id":457,"slug":458,"title":459,"dynasty":18,"author":345,"museum":97,"description":460,"tags":461,"thumbUrl":463,"material":108,"size":109,"collection":68,"collections":464,"showCount":465,"zanCount":11,"manualWeight":11,"mainColor":48},288292,"ju-bei-yao-yue-tu-ma-yuan-288292","举杯邀月图","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[23,24,100,160,58,26,289,142,60,28,7,462,59,208],"孤寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F409082f07a0fc539c1e85e8ea35c4634.jpg",[],37,{"id":467,"slug":468,"title":469,"dynasty":373,"author":470,"museum":97,"description":471,"tags":472,"thumbUrl":474,"material":108,"size":109,"collection":68,"collections":475,"showCount":476,"zanCount":220,"manualWeight":11,"mainColor":48},287757,"lan-ting-xiu-xie-tu-zhao-meng-fu-287757","兰亭修褉图","赵孟頫","赵孟頫[fǔ]（1254年10月20日－1322年7月30日），字子昂，汉族，号松雪道人，又号水晶宫道人（一说水精宫道人）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远。",[24,100,25,122,181,26,28,123,473,7,56,59],"兰亭修褉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63595c9abcacae7d6cf7b788cd216285.jpg",[],34,{"id":478,"slug":479,"title":480,"dynasty":77,"author":481,"museum":97,"description":482,"tags":483,"thumbUrl":484,"material":68,"size":68,"collection":68,"collections":485,"showCount":476,"zanCount":220,"manualWeight":11,"mainColor":72},228908,"lan-ting-xiu-xi-tu-ding-yun-peng-228908","兰亭修禊图","丁云鹏","此作用淡墨白描兼皴染铺展林泉雅境，崇山叠嶂掩映茂林清溪，文人雅士沿水列坐，或临流衔觞、展卷题咏，或围坐清谈、凭栏观眺，童仆往来奉侍，将雅集盛景生动铺陈。线条清劲秀逸，山石林木以淡墨晕染，意境萧散淡远，尽显晋人林下风流。卷后题书与画作呼应，书画合璧，将这场集会寄情山水、旷达疏放的雅韵定格，引观者神游千古雅集，沉醉于丝竹觞咏的幽远意境之中。",[23,24,25,57,27,26,272,208,123,28,84,62,348,261,209,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd7c0d19429f605cd3c2867573406663.jpg",[],{"id":487,"slug":488,"title":489,"dynasty":373,"author":490,"museum":97,"description":491,"tags":492,"thumbUrl":496,"material":108,"size":109,"collection":68,"collections":497,"showCount":498,"zanCount":220,"manualWeight":11,"mainColor":48},290293,"lan-ting-ji-xian-tu-qian-xuan-290293","兰亭集贤图","钱选","钱选（1239—1299），宋末元初著名画家，与赵孟頫等合称为“吴兴八俊”。字舜举，号玉潭，又号巽峰，霅川翁，别号清癯老人、川翁、习懒翁等，湖州（今浙江吴兴）人。\n南宋景定三年乡贡进士，入元不仕。工诗，善书画。画学极杂：山水师从赵令穰；人物师从李公麟；花鸟师赵昌；青绿山水师赵伯驹。人品及画品皆称誉当时。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。他提倡绘画中的“士气”，在画上题写诗文或跋语，萌芽了诗、书、画紧密结合的文人画的鲜明特色。",[23,100,24,25,57,58,28,123,230,209,84,493,494,7,495,35],"兰亭雅集","文人雅集","草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0be4b74de62198fb0532439ca905b07f.jpg",[],31,{"id":500,"slug":501,"title":502,"dynasty":77,"author":503,"museum":97,"description":504,"tags":505,"thumbUrl":507,"material":68,"size":68,"collection":386,"collections":508,"showCount":510,"zanCount":220,"manualWeight":11,"mainColor":48},238275,"yu-le-tu-zhou-zhang-ling-238275","渔乐图轴","张灵","张灵，生卒年不详。生于成化，约卒于正德初，年四十左右。字梦晋，吴郡（今江苏苏州）人，家贫，与唐寅为邻，两人志趣相投，茂才相埒。同为府学生员，故交谊最深。画作受唐寅影响极大。工诗文，祝允明弟子。\n少与祝允明、唐寅、文徵明齐名，并称“吴中四子”，性落拓嗜酒，好交游，醉即使酒作狂。所画人物冠服玄古，形色清真，无卑庸之气。间作山水，笔生墨劲，斩然绝尘。并善竹石、花鸟，清新可喜，书法亦佳。",[24,25,122,58,208,28,61,62,243,142,338,123,29,506,7],"船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd92163a7d1c8e15870bdf0cbe3eb3953.jpg",[386,509],"水墨画精选",30,{"id":512,"slug":513,"title":514,"dynasty":18,"author":345,"museum":97,"description":460,"tags":515,"thumbUrl":518,"material":108,"size":109,"collection":68,"collections":519,"showCount":520,"zanCount":11,"manualWeight":11,"mainColor":48},289804,"han-yan-ji-xue-tu-ma-yuan-289804","寒岩积雪图",[100,24,122,58,123,377,516,517,60,211,289,380,28,7,208],"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、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。",[23,24,25,122,58,26,689,28,33,422,7,690,691,692,35,59,693],"写意","蝙蝠","兰草","花篮","祥瑞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93114a60f6453d3dfac5ef2fcdc2ba14.jpg",[],8,{"id":698,"slug":699,"title":700,"dynasty":644,"author":137,"museum":97,"description":701,"tags":702,"thumbUrl":704,"material":108,"size":109,"collection":68,"collections":705,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":72},287923,"yu-mo-lan-ting-xu-yi-ming-287923","虞摹兰亭序","纸色晕着旧岁昏黄，笔墨带着温润腴润质感。点画间牵丝映带，复刻出晋人萧散风神，行笔舒展灵动，将兰亭雅集里俯仰天地的旷达藏起落锋棱之中，牵丝暗连，似把流觞曲水的雅韵随着墨色晕开。\n\n虽是摹写，却精准留存了原作的飘逸姿态，每一字都带着舒展筋骨，将观照宇宙、骋怀游目的悠然，顺着古纸的肌理缓缓铺陈，让千年前的林下风雅，隔着岁月流淌至今。",[35,56,158,83,7,703,229],"流觞曲水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee94d969c8edef8e2ea49846f525489f.jpg",[],{"id":707,"slug":708,"title":709,"dynasty":77,"author":710,"museum":177,"description":711,"tags":712,"thumbUrl":723,"material":169,"size":724,"collection":68,"collections":725,"showCount":91,"zanCount":11,"manualWeight":11,"mainColor":48},222535,"zi-shu-shi-hu-wu-shou-juan-wang-duo-222535","自书石湖五首卷","王铎","释文：石湖 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丙戌五月朔，王铎书。",[23,35,56,57,58,59,123,713,714,715,691,716,717,718,719,720,721,7,722],"寺庙","古松","桂树","飞鸟","溪流","石穴","柴门","亭榭","山居","诗歌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb46539435de274822f16f672ccbf5c3.jpg","27X253cm",[],{"id":727,"slug":728,"title":729,"dynasty":77,"author":730,"museum":97,"description":731,"tags":732,"thumbUrl":735,"material":108,"size":109,"collection":68,"collections":736,"showCount":737,"zanCount":11,"manualWeight":11,"mainColor":72},287953,"chi-bi-sheng-you-tu-yuan-tu-wen-zheng-ming-287953","赤壁胜游图(原图)","文徴明","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[23,100,24,25,57,56,35,26,123,61,62,716,733,734,7],"月夜","赤壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007377e715f6141477623b2ea37e4d5b.jpg",[],6,{"id":739,"slug":740,"title":741,"dynasty":117,"author":742,"museum":97,"description":743,"tags":744,"thumbUrl":747,"material":68,"size":68,"collection":68,"collections":748,"showCount":749,"zanCount":11,"manualWeight":11,"mainColor":72},236531,"ren-wu-gu-shi-ce-chen-zi-236531","人物故事册","陈字","陈字(1634一约1713)即陈小莲，幼唤鹿头，初名懦桢，宇无名，明末清初诸暨枫桥陈家村人。陈洪绶第四子，太学生，考授州同。",[24,25,27,26,28,7,745,746,35,59,622],"酒具","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9337b191906d70d76244af8d58a9aae.jpg",[],5,{"id":751,"slug":752,"title":753,"dynasty":117,"author":754,"museum":755,"description":756,"tags":757,"thumbUrl":758,"material":68,"size":68,"collection":68,"collections":759,"showCount":749,"zanCount":11,"manualWeight":11,"mainColor":72},234625,"ting-bei-dai-yue-tu-wan-shan-sha-fu-234625","停杯待月图纨扇","沙馥","北京故宫博物院","沙馥（1831年—1906年），字山春，号粟庵，别署香泾外史，江苏苏州人，晚清画家。出身绘画世家，马仙根弟子，工人物、仕女、花鸟，笔意纵意饶富韵致。\n沙馥善画人物、仕女、花卉，以此为业，为苏州阊门外山塘年画铺中最著名画家。初慕陈老莲；咸丰间任熊至吴门，曾问业于任熊；任熊去世后，又与任薰关系甚密。后因自愧画学不如任薰雄伟恣肆，遂弃老莲法，转学改琦、费丹旭，并专攻仕女、花卉，遂自成一家，卒年七十六。",[24,25,420,26,27,28,127,261,60,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ee5f9716eafa22ef7e9a25ec8ef9557.jpg",[],{"id":761,"slug":762,"title":763,"dynasty":18,"author":137,"museum":755,"description":764,"tags":765,"thumbUrl":767,"material":452,"size":768,"collection":68,"collections":769,"showCount":47,"zanCount":11,"manualWeight":11,"mainColor":48},234074,"liu-yin-zui-gui-tu-ye-yi-ming-234074","柳荫醉归图页","大多数宋画尺幅不大，但这并不影响他们对于画笔的运用和意趣的表达。当我们把这些画放大，细细品味这些作品的局部时，一种崇敬之情油然而生。",[100,24,420,26,27,28,243,7,766,58],"醉归","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe748cd211ac6079917224f1b6cbfc214.jpg","纵23cm,横24.8c",[],{"id":771,"slug":772,"title":773,"dynasty":77,"author":774,"museum":20,"description":775,"tags":776,"thumbUrl":778,"material":42,"size":779,"collection":68,"collections":780,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":72},216760,"jiu-lao-tu-11-huang-biao-216760","九老图-11","黄彪","这是黄震泉仿宋刘松年九老图而成的，要有相似的造型和人物，虽然排列的树石略显单薄轻巧，傅彩清新飘逸之外，也不失为仿制的传世佳品。",[81,35,58,59,777,7,126],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e73c2ad0f4a602c352bbb06e8c4842b.jpg","27.2x193",[],{"id":782,"slug":783,"title":784,"dynasty":77,"author":785,"museum":431,"description":786,"tags":787,"thumbUrl":789,"material":68,"size":68,"collection":68,"collections":790,"showCount":147,"zanCount":220,"manualWeight":11,"mainColor":791},202728,"yuan-ming-yi-shi-tu-juan-li-cui-lan-202728","渊明轶事图卷","李翠兰","画卷以疏朗白描铺展陶渊明轶事，数段场景连缀成篇：东篱采菊见悠然，松下邀友共浅酌，案前展卷凝沉思，竹下抚琴寄旷怀。人物线条灵动，衣纹流畅，神态各臻其妙，笔墨简淡中藏逸趣。间以行书题跋相映，文图相契，尽显隐士超然物外的生活意趣与精神风骨。",[24,57,28,272,56,7,788,23],"读书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48976c41b4e231d775a4baf92358b947.jpg",[],"000000",{"id":793,"slug":794,"title":795,"dynasty":644,"author":137,"museum":97,"description":796,"tags":797,"thumbUrl":808,"material":108,"size":109,"collection":68,"collections":809,"showCount":112,"zanCount":11,"manualWeight":11,"mainColor":72},289207,"gountei-sadahide-foreigners-in-the-drawing-room-yi-ming-289207","Gountei 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Drunk","粗粝的水墨笔触晕开昏沉背景，将视线牢牢锁在纵情狂欢的人群中。有人亲昵拥吻，唇齿间浸着沉醉的情欲；旁人正举杯灌酒，喉间涌动着迷乱快意，裹巾身影仰头豪饮，将醉意一饮而尽，左侧男子噙着玩味笑意冷眼旁观。\n没有精致描摹，只用明暗铺陈出放纵迷乱的氛围，将市井酒馆里醉生梦死的瞬间凝固。褪去体面矫饰，直白袒露人性里原始的享乐欲念，潦草线条精准抓住沉醉神态，勾勒出沉沦狂欢的瞬间张力，粗野又真实。",[855,28,7,585,856,857],"油画","群像","风俗画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef950e8bea650248ead848a5ddce8eba.jpg",[],{"id":861,"slug":862,"title":863,"dynasty":644,"author":137,"museum":97,"description":864,"tags":865,"thumbUrl":869,"material":108,"size":109,"collection":68,"collections":870,"showCount":220,"zanCount":11,"manualWeight":11,"mainColor":601},289062,"karel-van-mander-a-proverb-wealth-and-poverty-yi-ming-289062","Karel van Mander--A Proverb Wealth and 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Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[855,899,101,900,7,901,902,903],"印象派","室内场景","酒杯","酒瓶","咖啡馆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c5a526fa0137dcda5ab25a012ba597f.jpg",[],"FFFFFF",{"id":908,"slug":909,"title":910,"dynasty":117,"author":137,"museum":97,"description":911,"tags":912,"thumbUrl":915,"material":108,"size":109,"collection":68,"collections":916,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":614},273092,"mu-bian-bo-li-hua-ren-wu-tu-gua-ping-yi-ming-273092","木边玻璃画人物图挂屏","这件玻璃画以反绘工艺晕染色彩，色调柔雅沉静。画面跨文化的人物组合尽显别致意趣：男子身着中式长袍，自斟自饮神态悠然，女子则是西洋妆造，持绢静立温婉娴静。室内布景混搭中式窗棂与西洋帷幔，将东西审美巧妙融合，是中外交流的鲜活缩影。柔和笔触勾勒出人物细腻神态，古朴外框衬得画面愈发雅致内敛，既带着东方古典的沉静韵味，又兼具西洋写实的生动质感，静静定格下旧时光里东西交融的日常片刻，藏着通商口岸独有的烟火风情。",[913,914,28,26,7,623,855,193],"玻璃画","挂屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe35a1e08b048fc28d4dbfe77312895d4.jpg",[],{"id":918,"slug":919,"title":910,"dynasty":117,"author":137,"museum":97,"description":920,"tags":921,"thumbUrl":922,"material":108,"size":109,"collection":68,"collections":923,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":614},273091,"mu-bian-bo-li-hua-ren-wu-tu-gua-ping-yi-ming-273091","这幅玻璃画以反绘工艺晕染出柔润朦胧的质感，中西审美交融尽显其间。室内红帐绿帘撞色浓烈却和谐，男子就火点烟，女子持酒伴坐，二人神态松弛闲适，将日常宴饮的悠然闲逸娓娓道来。衣褶晕染带着西洋写实的光影柔度，器物刻画朴拙雅致，窗外暗沉云气反衬出室内暖意融融的松弛氛围。整体画风质朴鲜活，将市井日常的温情瞬间定格，藏着晚晴民间审美与西洋技法碰撞出的别致意趣。",[913,914,28,26,7,193,900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb6a903df946569aa99862ea3c4786f9.jpg",[],{"id":925,"slug":926,"title":927,"dynasty":117,"author":137,"museum":97,"description":928,"tags":929,"thumbUrl":933,"material":108,"size":109,"collection":68,"collections":934,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":614},270046,"xiang-ya-diao-tai-bai-ren-wu-tu-bi-ge-yi-ming-270046","象牙雕太白人物图臂搁","此作仿竹形制，牙色莹润温糯。以清浅刀锋刻就太白醉眠图景，寥寥数笔勾勒诗仙半醉慵卧之态，衣纹舒卷写意，将其疏旷不羁的风神藏于刀下。旁侧童子敛声侍立，神态恭谨，动静相映衬出李白的疏狂气度。\n\n整器施刀简淡留白得当，将牙料天然质感与文人意趣相融，把盛唐诗仙的醉中风流凝于一方文房雅物，尽显旧时文玩的闲散雅致意韵。",[930,931,28,932,7],"象牙","雕刻","臂搁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ccb3a222ead764f3cb6386f38edc1a8.jpg",[],{"id":936,"slug":937,"title":938,"dynasty":117,"author":137,"museum":97,"description":939,"tags":940,"thumbUrl":944,"material":108,"size":109,"collection":68,"collections":945,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":614},262073,"cheng-hua-kuan-qing-hua-ren-wu-tu-bi-tong-yi-ming-262073","成化款青花人物图笔筒","青花瓷（blue 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这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[969,880,931,28,7],"清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F541f4f0dcb9961041d41b613df80ef72.jpg",[],{"id":973,"slug":974,"title":975,"dynasty":117,"author":976,"museum":431,"description":977,"tags":978,"thumbUrl":983,"material":68,"size":68,"collection":68,"collections":984,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":985},202270,"ke-zhai-ji-gu-tu-juan-ren-xun-202270","愙斋集古图卷","任薰","这幅图卷以精谨之笔摹绘历代古器物，鼎彝尊爵、壶卣觚觯罗列有序，形制各异。线条勾勒精准，纹饰细节毕现，墨色晕染层次分明，既还原青铜礼器的古朴厚重，又以绘画之韵赋予器物生动气息。画面间缀题跋印章，考据与艺术交融，尽显古雅之趣。整卷布局疏密得当，器物与文字相映成趣，是兼具文献价值与审美意趣的佳作。",[57,27,272,188,979,980,191,981,192,59,25,24,982,7],"礼器","爵","尊","饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c8a0fc57d240683d9bbce5932fe11f8.jpg",[],"908977",1777535706361]