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和尚不期而遇此景，尴尬地拱手背立；三段“暂歇”，韩熙载与家伎们坐床上休息，韩正在净手；四段“清吹”，韩熙载解衣盘坐椅上，欣赏着五个歌女合奏；五段“散宴”，韩氏手持鼓槌送别，尚有客人在与女伎调笑。全卷以连环画的形式表现各个情节，每段以屏风隔扇加以分隔，又巧妙地相互联结，场景显得统一完整。布局有起有伏，情节有张有弛，尤其人物神态刻画栩栩如生，如“听乐”段状元郎粲的倾身细听动姿、李家明关注其妹的亲切目光、他人不由自主的合手和拍；“观舞”段王屋山娇小玲珑的身姿、德明和尚背身合掌低首而立的尴尬状等等，传尽心曲，入木三分。最出色的还是主人公韩熙载的刻画，长髯、高帽的外形与文献记载均相吻合，举止、表情更显露出他复杂的内心。一方面，他在宴会上与宾客觥筹交错，不拘小节，如亲自击鼓为王屋山伴奏，敞胸露怀听女乐合奏，送别时任客人与家伎厮混，充分反映了他狂放不羁、纵情声色的处世态度和生活追求；另一方面又心不在焉、满怀忧郁，如擂鼓时双目凝视、面不露笑，听清吹时漫不经心，与对面侍女闲谈，这些情绪都揭示了他晚年失意、以酒色自汙的心态。画家塑造的韩熙载，不仅形象逼肖，具肖像画性质，而且对其内心挖掘深刻，性格立体化，可以说真实再现了这位历史人物的原貌。\n作品的艺术水平也相当高超。造型准确精微，线条工细流畅，色彩绚丽清雅。不同物象的笔墨运用又富有变化，尤其敷色更见丰富、和谐，仕女的素妆艳服与男宾的青黑色衣衫形成鲜明对照。几案坐榻等深黑色家具沉厚古雅，仕女裙衫、帘幕、帐幔、枕席上的图案又绚烂多采。不同色彩对比参差，交相辉映，使整体色调艳而不俗，绚中出素，呈现出高雅、素馨的格调。",[50,23,51,52,134,54,25,58,136,178,179,180,7,181],"乐器","饮酒器","衣帽","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f01749acfaf6449c0e92a8477239224.jpg","绢本，设色","纵28.7厘米，横335.5厘米。",[],2675,16,{"id":189,"slug":190,"title":191,"dynasty":192,"author":193,"museum":194,"description":195,"tags":196,"thumbUrl":197,"material":152,"size":198,"collection":199,"collections":200,"showCount":201,"zanCount":202,"manualWeight":39,"mainColor":40},214574,"li-dai-di-wang-tu-yan-li-ben-214574","历代帝王图","唐","阎立本","波士顿美术馆","本卷绘十三位帝王：前汉昭帝、汉光武帝、魏文帝曹丕、吴主孙权、蜀主刘备、晋武帝司马炎、陈宣帝陈顼、陈文帝陈蒨、陈废帝陈伯宗、陈后主陈叔宝、北周武帝宇文邕、隋文帝杨坚、隋炀帝杨广。整个卷轴共有四十六个人物。\n线条强而有力，色彩厚重，具有很高的艺术水准。通过细节，画家表达了皇帝们的内心世界和经历，用画笔表达了有爱有恨的故事。这幅画在色彩的使用和人物服装的处理上受到了佛教艺术的影响。",[49,23,51,52,25,58,54,7,86,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb3ca2dbf330c36c9516b2bb0dec8242.jpg","51.3 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chun-hua-tu-ba-kai-2-yun-shou-ping-214704","春花图八开-2",[49,23,51,24,25,264,27,368,30,86,7],"樱桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6677b01b31ad3df8b7719f1993dc4829.jpg",[],1639,{"id":373,"slug":374,"title":375,"dynasty":146,"author":376,"museum":20,"description":377,"tags":378,"thumbUrl":380,"material":319,"size":381,"collection":70,"collections":382,"showCount":383,"zanCount":187,"manualWeight":39,"mainColor":40},220824,"qing-bian-yin-ju-tu-wang-meng-220824","青卞隐居图","王蒙","《青卞隐居图》描绘画家故乡卞山苍茫景色，山上树木茂密苍郁，溪流回环，景色清幽，隐士行居其间。画法先以淡墨勾皴，而后施浓墨，再用焦墨皴擦，使得画面不迫不塞，元气淋漓，气势磅礴，创造了线繁点密、苍茫深厚的新风格。\n《青卞隐居图》主要描绘作者家乡吴兴的卞山景色。峰峦曲折盘桓，重叠峥嵘，气势雄奇秀拔。山间林木茂密，山径迂回，飞瀑高悬直注。山脚下有客曳杖而行，山坳深处茅庐数间，堂内一人抱膝倚床而坐。 有一老者策杖、踏着轻松缓慢的步伐，正在兴致勃勃地领略山林逸趣。密树深溪处一山麓水口，宽阔的河道上横卧山石和漫长的渚洲，在水中时隐时现。溪水潺潺，迂回流转。在崎岖不平的山地上，长有树木二十余株，浓荫密布。树木山势繁密充盈，气势雄伟。\n王蒙在创作《青卞隐居图》时的心境受到了社会环境、家庭环境的影响。《青卞隐居图》的创作年代正处于战乱的年代，人人处于恐慌，颠沛流离的状态。此画作于1366年，是王蒙成熟时期的作品。据画上收藏印推测，这幅画可能是作者赠给表弟赵麟的。\n《青卞隐居图》用笔以快、重、急、爽利为特点，锋毫微妙变化，都形成的曲直轻重、缓急等状态。线条质感的运用，在于透露画家情感的表达，或者老笔纷披，或润笔掩映，生命注于笔端，逸气也注于笔端。《青卞隐居图》的用笔还有一个显著特点就是曲律用笔，此笔法是披麻皴的变体在表达江南地貌的同时，也表达了画家焦虑的心情。《青卞隐居图》在用笔上王蒙继承了赵孟頫的“以书入画”用笔，树的轮廓线确定了这些形象的刚、柔、秀、雅。\n《青卞隐居图》以披麻皴、解索皴、牛毛皴为主，三者交替互用，画披麻皴时，运笔多带平行、快速爽利，行笔松动，给人略有飘浮的感觉。这一皴法大都用在画面顶部的山峰，由于笔法的轻盈，矾头的蠕动，因而给人一种气如云动，山岚飘浮的景象，同时不安定的感受也跃上纸面。\n画面中用笔有的像挺劲的行草笔线，虽然纤细，但却像有千斤之力，因其缠绕又能横冲直撞的形状而生动灵活，皴笔又能可以引领视线环游于画中形式，更添活泼的效果。山峦顶部则用渴墨苔点法。峦下山石树木给人以润湿之感，树干在勾勒上或笔直挺拔或倾折弯曲，而叶子的点染则是忽干忽湿、坡脚石头的皴擦也是忽浓忽淡。树木种类虽多却杂而不乱，树与树之间里让有度，用山之虚色来衬托树，以树的重墨来淡化山石，以小映大，以虚幻实，前呼后应，空间感极佳。石头与石头的交界施以皴擦或染又会构成另一个突起的石块，石石相连，绵延叠加。画山石树木的在技法上用的是浑点、破竹点、胡椒点、破墨点等。\n《青卞隐居图》整幅画面是“上留天，下留水”，采取高远构图法层层推远。作品用色细润典雅，山峦连绵不断，叠嶂起伏，气势雄伟秀拔，径路迂回蜿蜒。宛如一条游龙飞腾而上，山石刻画精细而奇特。林间树木茂密，山崖上高悬的飞瀑直注山谷。",[49,23,51,26,55,84,56,150,293,64,379,294,279,7,86,119],"茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff738956b75bf11ba249bc3609d336193.jpg","纵141厘米，横42.2厘米",[70,242],1622,{"id":385,"slug":386,"title":387,"dynasty":97,"author":248,"museum":175,"description":388,"tags":389,"thumbUrl":390,"material":391,"size":392,"collection":35,"collections":393,"showCount":394,"zanCount":395,"manualWeight":39,"mainColor":40},220975,"shan-shui-hua-hui-tu-ce-mu-dan-yun-shou-ping-220975","山水花卉图册-牡丹","《山水花鸟图》是清代 创作的纸本设色画。\n\n每图各有 题识，分别钤“寿平”白朱文印、“正叔”朱文印、“寿平”白文印、“恽正叔”白文印、“寿平印”白文印等。\n\n每图各有乾隆皇帝题诗一首。\n\n鉴藏印有：“ 御赏之宝”、“淳化轩”、“石渠宝笈”、“臣庞元济恭藏”、“虚斋至精之品”等二十余方。\n\n本图册第三开、第十开分别署年款“乙卯秋”、“乙卯十月”。\n\n“乙卯”为清康熙十四年（1675年），此作应为恽寿平4岁时作品。\n\n此山水花卉图册分别描绘鹅群、荷花、山水、古木寒鸦、牡丹、乔柯急涧、夜雨初霁、菊花、兰花蝴蝶花、溪山行旅等。\n\n全册为作者临仿宋、元、明诸家。\n\n山水以宗董源、巨然、米芾、赵孟頫诸家为主，秀骨清幽，富有文人书卷之气。",[49,23,50,51,24,25,54,264,27,308,265,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F330e3e872b432c5d096fddbd7eafe407.jpg","纸本，设色","纵27.5厘米，横35.2厘米。",[35,72],1541,7,{"id":397,"slug":398,"title":399,"dynasty":115,"author":400,"museum":194,"description":401,"tags":402,"thumbUrl":407,"material":319,"size":408,"collection":213,"collections":409,"showCount":410,"zanCount":169,"manualWeight":39,"mainColor":75},221457,"jiu-long-tu-juan-quan-juan-chen-rong-221457","九龙图卷全卷","陈容","这样一个伴随着中国国运兴衰的图腾，艺术家们自然不会错过，从商周青铜器上的龙纹，到马王堆汉墓帛画，龙的形象始终跟随着中国历史的发展，而未有太大变化。画龙本身也成为了一个著名的典故既是“画龙点睛”。根据唐朝张彦远《历代名画记 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。",[49,50,23,51,52,26,86,7,403,404,405,279,406],"写意","渲染","龙","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690403e9d9f173b397b5b84a1217ee89.jpg","纵46.3厘米，横1096.4厘米",[213,35,242],1532,{"id":412,"slug":413,"title":414,"dynasty":115,"author":221,"museum":175,"description":415,"tags":416,"thumbUrl":422,"material":319,"size":423,"collection":122,"collections":424,"showCount":425,"zanCount":426,"manualWeight":39,"mainColor":40},219053,"xia-ri-shi-tie-zhao-ji-219053","夏日诗帖","此诗帖的瘦金体笔势遒劲，伟岸开张，体现了赵佶的独特风格。",[49,86,417,418,419,420,421,7],"楷书","字帖","瘦金体","荷","夏日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F371add8168f2bcda13f942087497018e.jpg","33.7厘米×44.2厘米",[122],1531,17,{"id":428,"slug":429,"title":430,"dynasty":146,"author":431,"museum":175,"description":432,"tags":433,"thumbUrl":437,"material":88,"size":438,"collection":122,"collections":439,"showCount":440,"zanCount":156,"manualWeight":39,"mainColor":40},214286,"xiao-kai-dao-de-jing-juan-zhao-meng-fu-214286","小楷道德经卷","赵孟頫","《小楷道德经卷》以小楷书法体风为主，结合了行书、草书的特点，在保留传统书法美感的同时又有别于传统。赵孟頫在书写《道德经》时，注重书体的整体性和结构的美感，使之成为一部精美的书法作品。\n\n《小楷道德经卷》被认为是赵孟頫书法创作的巅峰之作，其书法造型优美、结构严谨，在当时也受到了广泛的好评。如今，《小楷道德经卷》也是收藏家们喜闻乐见的书法珍品。",[86,417,434,52,435,436,7],"小楷","墨迹","写经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd7b66d6690e15f9b43c843b20904fb3.jpg","24.5x618.6",[122],1521,{"id":442,"slug":443,"title":444,"dynasty":97,"author":445,"museum":446,"description":447,"tags":448,"thumbUrl":451,"material":33,"size":452,"collection":70,"collections":453,"showCount":454,"zanCount":455,"manualWeight":39,"mainColor":40},214892,"shan-shui-tu-ce-shi-tao-214892","山水图册","石涛","大英博物馆","大英博物馆在1965年7月购进的这套八开本《山水图》册是一件相当出色的石涛真迹精品。\n该图分别画夜泊采石太白楼下、游浦汀溪、登灵隐飞来峰、登雨花台、登岳阳楼、登幕山大观亭、登天印山、访东山等八景，涉及苏、浙、皖三地的名胜，亦可谓是“搜尽奇峰汇成册”，这个时期，他已从新安画派集中表现黄山险境的格局中脱离了出来，更加注重广取博揽天下有特性的景物。其画渐渐趋于老，行笔凝重沉静，用花青、赭石轻轻淡染，顿显生机；其构图巧用“Z”形和“S”形，十分灵活且紧凑，变化自然，动感鲜明，景象开阔深邃，令人遐想无限。",[49,23,26,55,24,56,59,64,449,450,7],"远岫","船帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc4335799b8ab6338748c15eda11ad45.jpg","20.3x27.5cm",[70],1469,6,{"id":457,"slug":458,"title":96,"dynasty":18,"author":459,"museum":81,"description":460,"tags":461,"thumbUrl":464,"material":88,"size":465,"collection":35,"collections":466,"showCount":467,"zanCount":468,"manualWeight":39,"mainColor":40},218732,"he-hua-tu-xu-wei-218732","徐渭","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。",[23,51,84,26,403,86,7,462,102,103,104,463],"草书","莲蓬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe64b411afff5b620d7387710af664033.jpg","141.7x37.2cm",[35],1397,13,{"id":470,"slug":471,"title":472,"dynasty":97,"author":248,"museum":99,"description":473,"tags":474,"thumbUrl":476,"material":107,"size":477,"collection":35,"collections":478,"showCount":479,"zanCount":480,"manualWeight":39,"mainColor":40},233901,"hua-hui-shan-shui-ce-yun-shou-ping-233901","花卉山水册","恽寿平（1633-1690年），初名格，后以字行，又字正叔，别号南田，一号白云外史、云溪外史、东园客、巢枫客、草衣生、横山樵者。江苏武进人。清代著名画家。与“四王”、吴历并称“清初六大家”。其父恽日初诗文杰出，为“复社”中人。叔父恽向（道生）为著名山水画家，自创一派。恽寿平是清朝初期最享盛名的花鸟画家。其画作多写生，人称“写生正派”；更以徐崇嗣为宗，兼取各家之长，极大的发展了没骨画。所画花卉，很少勾勒，以水墨着色渲染，用笔含蓄，画法工整，明丽简洁，天趣盎然。恽寿平不仅画作出众，风格独具，而且兼工诗书，题句清丽流畅，诗格脱俗超逸，为“昆陵六逸”之冠。恽南田《山水花卉册》八帧，其中包括山水，花鸟及情景兼容的人物，攘括了恽南田所有的画种。画中有退耕堂藏印。退耕堂为徐世昌的室名。\n恽寿平一生坎坷，饱经困苦，他幼年聪颖玲利，遭遇战乱，与兄皆被俘，与父亲失散，后遇灵隐寺方丈相救，才得以与家人团聚，归家后，发奋读书学画。经刻苦钻研，于古文、诗词、书画无不精擅。他崇尚气节，誓不应科举，少时的忧患，留下深深的创痛，一生未尝忘情。却在绘画上取得了很高的成就；恽南田曾致书王（翚）说：“格于山水，终难打破一字关，曰‘窘’，良由为古人规矩法度所束缚耳。”又说：“君独步矣！吾不为第二手也”。于是恽寿平转攻花鸟，以后山水不过偶而为之。可见其艺术抱负。《山水花卉册》中的山水，取黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，吸取王蒙、二米等人之长，渐脱刻极。40岁左右作品最为精采，如43岁的《山水花鸟册》，技法灵活多变，表达各家风貌准确，艺术已臻成熟。他的花鸟画成就最为突出，取法徐崇嗣的没骨法，他的没骨花卉，揉合了黄（筌）、徐（熙）两派技法，既重视写生，力求形似，“每画一花，必折是花插之瓶中，极力描摹，得其生香活色而后已。”又强调“与花传神”。力去华靡，追求“ 澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[23,51,264,25,27,57,475,7],"柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10aa5773f16fa6bd4dd6b950a442d3b2.jpg","纵32.5厘米，横25.5厘米",[35],1349,12,{"id":482,"slug":483,"title":484,"dynasty":97,"author":445,"museum":485,"description":486,"tags":487,"thumbUrl":489,"material":33,"size":107,"collection":35,"collections":490,"showCount":491,"zanCount":11,"manualWeight":39,"mainColor":40},218130,"shui-xian-zhu-zhi-tu-shi-tao-218130","水仙竹枝图","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。",[49,23,26,25,403,358,488,277,7,86],"水仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F112234b8c56ae7eab1e3115341e7947f.jpg",[35],1313,{"id":493,"slug":494,"title":495,"dynasty":115,"author":174,"museum":99,"description":176,"tags":496,"thumbUrl":503,"material":107,"size":107,"collection":107,"collections":504,"showCount":505,"zanCount":300,"manualWeight":39,"mainColor":75},226698,"han-xi-zai-ye-yan-tu-song-mo-ben-song-gong-ting-hua-jia-226698","韩熙载夜宴图(宋摹本)",[49,134,54,25,52,86,7,58,136,497,178,179,498,499,500,180,501,502],"文人","床榻","屏风","桌案","墨","纸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8df2423c850e2ffa06c685670994844.jpg",[],1302,{"id":507,"slug":508,"title":509,"dynasty":115,"author":510,"museum":175,"description":511,"tags":512,"thumbUrl":514,"material":515,"size":516,"collection":213,"collections":517,"showCount":518,"zanCount":519,"manualWeight":39,"mainColor":75},221559,"pi-pa-shan-niao-tu-lin-chun-221559","枇杷山鸟图","林椿","图绘江南五月，成熟的枇杷果在夏日的光照下分外诱人。一只绣眼翘尾引颈栖于枇杷枝上正欲啄食果实，却发现其上有一只蚂蚁，便回喙定睛端详，神情十分生动有趣。枇杷枝仿佛随着绣眼的动作重心失衡而上下颤动，画面静中有动，妙趣横生。绣眼的羽毛先以色、墨晕染，随后以工细而不板滞的小笔触根根刻画，表现出鸟儿背羽坚密光滑、腹毛蓬松柔软的不同质感。枇杷果以土黄色线勾轮廓，继而填入金黄色，最后以赭色绘脐，三种不同的暖色水乳交融，从而展现出枇杷果成熟期的丰满甜美。枇杷叶用笔致工整细腻的重彩法表现，不仅如实地刻画出叶面反转向背的各种自然形貌，且将叶面被虫儿叮咬的残损痕迹亦勾描晕染得一丝不苟，充分反映了宋代花鸟画在写实方面所达到的艺术水平。\n《石渠宝笈三编》著录。",[49,50,23,51,54,25,24,27,513,66,7],"枇杷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F195499e5cd6dd07045004c96458c8a96.jpg","绢本 ，设色","纵26.9cm，横27.2cm",[213,35,72],1282,18,{"id":521,"slug":522,"title":523,"dynasty":18,"author":524,"museum":525,"description":526,"tags":527,"thumbUrl":532,"material":152,"size":107,"collection":35,"collections":533,"showCount":534,"zanCount":156,"manualWeight":39,"mainColor":40},216202,"hua-hui-shi-kai-tu-ce-xiang-sheng-mo-216202","花卉十开图册","项圣谟","私人收藏","花卉十开图册是明朝项圣谟的一部著作，收录了十张以花卉为主题的图画。项圣谟是明朝时期著名的绘画家，他的作品被誉为中国古代花卉画的杰作。 花卉十开图册记录了项圣谟观察花卉的细节和特征，并以精细的线条和色彩描绘出来。这部作品中的图画包括了各种不同种类的花卉，如牡丹、荷花、菊花等。这些图画不仅精美绝伦，而且还能够展现出项圣谟对花卉的深刻理解和观察。",[49,23,24,25,54,7,86,119,27,528,251,529,420,57,308,530,277,531],"梅","菊","石榴","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f238b574b7e294422560d3e7833b4b0.jpg",[35],1280,{"id":536,"slug":537,"title":538,"dynasty":115,"author":207,"museum":175,"description":539,"tags":540,"thumbUrl":542,"material":152,"size":543,"collection":213,"collections":544,"showCount":545,"zanCount":546,"manualWeight":39,"mainColor":40},216772,"mo-gu-kai-zhi-luo-shen-fu-tu-quan-juan-di-yi-juan-yi-ming-216772","摹顾恺之洛神赋图全卷（第一卷）","传世为宋代的四件摹本，皆以曹植《洛神赋》诗意所绘",[49,23,51,52,134,135,25,54,86,119,541,7,58,136,56,62,59,61,64],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F699a206d77031cb7c4648c428ba8dcb3.jpg","27.1x572.8",[213],1270,10,{"id":548,"slug":549,"title":550,"dynasty":97,"author":248,"museum":20,"description":262,"tags":551,"thumbUrl":554,"material":33,"size":267,"collection":107,"collections":555,"showCount":556,"zanCount":546,"manualWeight":39,"mainColor":40},214702,"chun-hua-tu-ba-kai-7-yun-shou-ping-214702","春花图八开-7",[49,23,51,24,264,25,27,552,553,7],"百合","叶片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2389e1ac2ceb12e7d4b9e1c738856ee3.jpg",[],1232,{"id":558,"slug":559,"title":560,"dynasty":192,"author":561,"museum":175,"description":562,"tags":563,"thumbUrl":565,"material":566,"size":567,"collection":107,"collections":568,"showCount":569,"zanCount":284,"manualWeight":39,"mainColor":75},227085,"hui-shan-shi-nv-tu-juan-zhou-fang-227085","挥扇仕女图卷","周昉","《挥扇仕女图》卷，传为唐周昉绘，绢本，设色，纵33.7厘米，横204.8厘米。\n无作者款印。引首清高宗弘历题“猗兰清画”四字。钤明韩世能 “韩世能印”、“韩仲子氏”、“世能”，清梁清标“蕉林书屋”、“蕉林居士”、“蕉林考藏”，清高宗弘历“古希天子”、“乾隆御览之宝”、“石渠宝笈”、“乾隆鉴赏”等鉴藏印，共31方。\n此图描绘了13位头挽高髻、细目圆面、长裙曳地的妃嫔和宫女形象。全幅以横向排列的形式展示了人物的各种活动：执扇慵坐、解囊抽琴、对镜理妆、绣案做工、挥扇闲憩等。作者注意画面横向疏密、松紧的韵律变化，纵向高低错落的层次变化，从而使得画面结构井然有序，并避免了构图上的单调呆板。图中色彩丰富，以红色为主，兼有青、灰、紫、绿等各色。冷暖色调相互映衬，显现出人物肌肤的细嫩和衣料的华贵。衣纹线条近铁线描，圆润秀劲，富有力度和柔韧性，较准确地勾画出了人物的种种体态。\n画家周昉出身于豪门显宦，因此，他对于贵族阶层绮靡奢华的生活非常熟悉。其仕女画不以烈女、贤妇、仙女等为表现对象，而是取材于现实生活中贵族妇女的行乐活动，具有强烈的时代感，从而迎合了中晚唐时期大官僚贵族们的审美意趣。其作品在张扬唐王朝繁华兴盛的物质生活的同时，亦揭示了贵妇们极度贫乏的精神世界。此图中嫔妃们体貌丰腴，衣饰华丽，但她们面含幽怨，举止慵倦，毫无生气。\n明张丑《清河书画舫》，清内府《石渠宝笈续编》，清阮元《石渠随笔》著录。",[49,23,51,52,54,25,58,564,136,7,180,181],"仕女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d64d42508b0dd39153cc6c8554c273c.jpg","纸本 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横43公分",[35,72],1162,8,{"id":583,"slug":584,"title":585,"dynasty":115,"author":355,"museum":81,"description":586,"tags":587,"thumbUrl":588,"material":239,"size":107,"collection":213,"collections":589,"showCount":590,"zanCount":480,"manualWeight":39,"mainColor":75},218786,"yu-zhu-tu-su-shi-218786","雨竹图","展卷即见墨竹数竿，竹叶层叠如聚雨，浓淡相宜间，笔意随兴流转。竹枝以中锋行笔，挺而不僵，叶尖带露似垂非坠，尽得雨中之姿。墨色干湿互见，枯笔处显苍劲，湿笔处含润泽，如书家走笔般一气呵成。旁有题跋，字迹与竹枝笔意相通，墨痕交融，印鉴朱红点缀，更添古雅。整幅画无布景却意境丰满，竹之清劲与文人风骨相融，观之如闻雨声淅沥，见竹影婆娑，尽显文人画“以形写神”之妙，是笔墨与心性共生的典范，藏着宋元文人对自然与自我的深情观照。",[49,23,51,26,358,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb33b2f2b006aa2ac63f2963676954dbf.jpg",[213],1106,{"id":592,"slug":593,"title":594,"dynasty":146,"author":595,"museum":81,"description":596,"tags":597,"thumbUrl":599,"material":33,"size":600,"collection":70,"collections":601,"showCount":602,"zanCount":455,"manualWeight":39,"mainColor":40},221745,"chun-tang-liu-se-zhou-zhu-shu-zhong-221745","春塘柳色轴","朱叔重","主题与关键字：春景、杨柳、江河、湖海、高士（士人、隐士）、寒林．枯树、竹、房舍、茅草屋、溪涧、湍泉、松、桥、篱笆、围墙。\n录入：石渠宝笈续编（宁寿宫），第五册，2765页 ；故宫书画录（卷五），第三册，192页；故宫书画图录，第五册，117-118页 【名称】元朱叔重春塘柳色轴 【规格】该幅 4155.公分；全幅 59.7公分 【收藏】 这幅画描写池畔的村屋景象，一名文人手持柺杖，沿著小径，在青葱的田野间漫步。\n全画的用笔极为柔和，著色也温润清雅，充分表现出春天里大地润泽，嫩绿遍野，万物滋长的盎然生意。\n朱叔重，十四世纪人，籍贯江蘇吴县。\n他虽然是一名书生，但在绘画方面，也有卓越的成就，不过流传下来的作品很少。",[49,23,25,56,55,84,598,60,61,379,150,64,7],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73387748e6b65cff9714687e9f4798f2.jpg","41x55.3厘米",[70,72],1069,{"id":604,"slug":605,"title":606,"dynasty":18,"author":607,"museum":81,"description":608,"tags":609,"thumbUrl":611,"material":33,"size":612,"collection":70,"collections":613,"showCount":614,"zanCount":468,"manualWeight":39,"mainColor":40},218464,"pin-cha-tu-wen-zheng-ming-218464","品茶图","文徵明","文徵明出身文人世家，一生大多优游山林，追求自然。作品中多为生活写照。一生嗜茶，曾自谓：「吾生不饮酒，亦自得茗醉。」他以茶入诗、入画、入书法，画中所表现的文人品茶，亦颇具代表性。　　此图绘与友人品啜雨前茶的场景。环境幽雅的草堂中，二人对坐品茗清谈，几上置茶壸、茶碗；堂外一人正过桥行来。茶寮内一童煽火煮泉，准备茶事，一场小型的文人茶会即将展开。",[49,23,51,84,25,54,119,56,58,610,60,61,7,150,64],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cdac6d6888fc88e0be28c8cfb98e03d.jpg","88.3x25.2cm",[70],1044,{"id":616,"slug":617,"title":618,"dynasty":18,"author":161,"museum":81,"description":619,"tags":620,"thumbUrl":621,"material":33,"size":622,"collection":35,"collections":623,"showCount":624,"zanCount":625,"manualWeight":39,"mainColor":40},214361,"ping-zhong-la-mei-tu-shen-zhou-214361","瓶中蜡梅图","沈周是一个慷慨大方的人。他能写诗和书法，也善于绘画，山水、花果、鸟、鱼、动物、人物，他都了如指掌，他的作品有一种稚拙的形态，笔触钝而有力，墨色浓重，给人一种厚重感和力量感，有古人的趣味。在这幅《瓶中蜡梅》中，梅花的茎部被用笔触画出，就像山水中的一棵树，显示出它冷峻的姿态。",[49,23,51,84,25,27,528,181,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf9e9b4c56979665467b25f96882b252.jpg","140.6x31.6",[35],1021,4,{"id":627,"slug":628,"title":629,"dynasty":146,"author":630,"museum":81,"description":631,"tags":632,"thumbUrl":633,"material":634,"size":635,"collection":35,"collections":636,"showCount":637,"zanCount":480,"manualWeight":39,"mainColor":40},221741,"tai-ping-chun-se-zhou-zhang-zhong-221741","太平春色轴","张中","插花从花材的选择、色彩搭配、构图造型、乃至内涵意境都有了一定的要求。张中《太平春色》就是以插花为题材的绘画作品。",[49,23,51,84,54,25,27,308,181,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F056cf2082cbbbc43245d5e3aee80f4c8.jpg","白纸本","99.1x41.1公分",[35,72],1017,{"id":639,"slug":640,"title":641,"dynasty":97,"author":248,"museum":642,"description":643,"tags":644,"thumbUrl":646,"material":647,"size":648,"collection":35,"collections":649,"showCount":650,"zanCount":426,"manualWeight":39,"mainColor":40},220996,"hua-hui-tu-ce-li-hua-yun-shou-ping-220996","花卉图册·梨花","美国纳尔逊阿特金斯艺术博物馆","《花卉图册》绘有荷花、梨花、水仙、桃花、山矾、罂粟、茶蘼、金萱石榴、牵牛、双凤、桂枝及雁来红等十二种花。画用新没骨法，不用墨线钩勒，而直接着色点染而成。点色的用笔很洒脱、飘逸。十二种花，各具姿色。色彩艳而不俗，色调的表情是清丽和冷艳，在秀雅之中含有一种凛然难犯的韵味。画册中，作者或题名或赋诗，那秀劲古逸、和婉密丽的书体，与这种艳雅的画风相结合，相得益彰，更具魅力。该图册是恽寿平绘画中的精品。\n恽寿平（1633—1690），初名格，字寿平，号南田，武进（江苏常州）人。其诗格超逸，书法遒劲，擅长山水画，尤精没骨花卉画，画笔生动。",[49,23,51,50,24,264,25,27,645,30,7],"梨花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5ced6b3440393ea70433c90398c4a22.jpg","纸本 设色","24.5×29.3cm",[35,72],1003,{"id":652,"slug":653,"title":654,"dynasty":97,"author":655,"museum":525,"description":656,"tags":657,"thumbUrl":658,"material":88,"size":107,"collection":242,"collections":659,"showCount":660,"zanCount":546,"manualWeight":39,"mainColor":40},216223,"han-mei-yi-zhi-hua-jin-nong-216223","寒梅一枝画","金农","金农（1862年－1930年）是清朝时期的画家，他以绘画寒梅花闻名。寒梅是一种以果实为名的花卉，它在冬季开花，而且十分耐寒，因此被称为寒梅。金农的画作中，寒梅通常是独自绽放的一朵花，或者是和其他花卉搭配使用。他的画风细腻，笔触细腻，很擅长描绘花卉的细微差别，并能真实地再现花朵的美丽和优雅。",[49,23,51,52,26,528,27,7,86,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11daab6d07b3e27d2714aa4ecfc5eece.jpg",[242],963,{"id":662,"slug":663,"title":664,"dynasty":130,"author":131,"museum":175,"description":665,"tags":666,"thumbUrl":667,"material":668,"size":669,"collection":199,"collections":670,"showCount":671,"zanCount":216,"manualWeight":39,"mainColor":75},221042,"nv-shi-zhen-tu-quan-juan-gu-kai-zhi-221042","女史箴图全卷","《女史箴》是西晋广武侯张华所写，文字内容是关于女子的德行操守，以教化训诫为目的。顾恺之将文中故事以图画的形式加以描绘，使之通俗易懂。现存《女史箴图》最早的画本是唐代摹本，原为清宫旧藏，现藏于大英博物馆。此卷为宋人摹本，全图有画11段，分别为“樊姬感庄”、“卫女矫桓”、“冯婕妤挡熊”、“班婕妤辞辇”、“防微虑远”、“知饰其性”、“出其言善”、“灵监无象”、“欢不可以渎”、“静恭自思”、“女史司箴”。本卷为白描人物，笔法流利，线条细劲连绵，比高古游丝描又多了几份挺健，更接近李公麟一派。人物形象有古意，此卷宋摹本较唐摹本画面内容多两段，对了解《女史箴图》母本及其流传，以及早期人物画法的演变具有重要的参考价值。",[49,23,52,135,25,54,58,136,180,86,7,358,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28e16c9ec9cf1b988dbcda811f3ae11a.jpg","纸本，墨笔","横601厘米，纵27.9厘米",[199,72],944,{"id":673,"slug":674,"title":675,"dynasty":97,"author":248,"museum":99,"description":676,"tags":677,"thumbUrl":678,"material":107,"size":107,"collection":35,"collections":679,"showCount":680,"zanCount":11,"manualWeight":39,"mainColor":40},235081,"yun-shou-ping-hua-hui-ce-yun-shou-ping-235081","恽寿平花卉册","此作为没骨写生，以清润淡彩晕染桃花，粉嫩花瓣层次自然，嫩枝新芽鲜活灵动，将春日桃花柔婉娇妍的姿态尽显笔底，不见勾勒之痕却形神兼备。\n\n画幅左侧搭配行书题诗，笔意舒展雅致，诗画相映，文心诗意融于花香之间，尽显文人花鸟画的清雅格调。整体设色明秀柔和，带着江南春日的温润诗意，把桃花轻俏柔美的娇态精妙铺展，笔墨间饱含悠然的抒情特质，尽显清隽雅致的文人意趣。",[23,51,24,25,27,57,7,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc05006248feb5fc43ca2e8c0e38ecde0.jpg",[35,72],908,{"id":682,"slug":683,"title":684,"dynasty":97,"author":248,"museum":99,"description":685,"tags":686,"thumbUrl":688,"material":689,"size":690,"collection":35,"collections":691,"showCount":692,"zanCount":11,"manualWeight":39,"mainColor":40},239423,"shan-shui-hua-hui-ce-yun-shou-ping-239423","山水花卉册","恽南田（1633年—1690年），即恽寿平，原名格，字寿平，后以字行，改字正叔，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史，明末清初著名书画家，常州画派的开山祖师，后来成为清六家之一。",[23,51,24,264,25,28,687,7],"鸢尾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8eef68a8ee5bb0820ecadbf2acb5d76.jpg","未知","Xcm*Xcm",[35,72],906,{"id":694,"slug":695,"title":696,"dynasty":97,"author":697,"museum":20,"description":698,"tags":699,"thumbUrl":701,"material":88,"size":702,"collection":35,"collections":703,"showCount":704,"zanCount":455,"manualWeight":39,"mainColor":40},214687,"mei-hua-zhu-shi-tu-ce-wang-shi-shen-214687","梅花竹石图册","汪士慎","汪士慎（1785-1842）是清代著名画家，他的《梅花竹石图册》是他的一部杰作。\n\n这本图册包含了许多描绘梅花、竹子和石头的精美图画。汪士慎以其精湛的绘画技巧和对自然的热爱，捕捉了这些自然元素的精髓。他的作品常常被赞赏为具有浓郁的内涵和细腻的笔触。\n\n汪士慎的《梅花竹石图册》被认为是中国画的经典之作，并且被广泛收藏和展览。它们不仅展示了汪士慎的艺术才华，也提醒人们认识到自然界的美丽和精妙。",[23,51,24,26,135,528,358,700,7],"石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F775e1c19a55ed4a95fa31138be1fa875.jpg","纵25 厘米 横31.5 厘米",[35],901,{"id":706,"slug":707,"title":708,"dynasty":146,"author":709,"museum":20,"description":710,"tags":711,"thumbUrl":717,"material":88,"size":718,"collection":70,"collections":719,"showCount":720,"zanCount":455,"manualWeight":39,"mainColor":40},214390,"yu-fu-tu-juan-wu-zhen-214390","渔父图卷","吴镇","这卷描绘了江南水乡的景象，地势辽阔，云山不分，水天一色。在苍茫的景象中，散落着十四个渔民快乐地来回操纵着他们的船，他们的动作各不相同，有的醉卧在夕阳下，有的独自在烟波中捕鱼，有的在网中捕鱼，有的在帐篷的窗户上听雨，丰富而生动。吴镇的技法成熟，墨色浓淡相宜，将精细的轮廓线与厚重的表现力结合起来，用阴沉的墨色和强烈的笔触，仅用有限的笔墨就描绘出长江以南广阔而混杂的风景。",[49,50,23,51,52,26,712,55,62,713,714,64,278,715,716,119,7],"山水画","蓑笠","渔乐","河流","小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd51c8d826dddc7c4be19c56c6b51be.jpg","33x651.6",[70],887,{"id":722,"slug":723,"title":235,"dynasty":97,"author":724,"museum":175,"description":725,"tags":726,"thumbUrl":728,"material":88,"size":729,"collection":70,"collections":730,"showCount":731,"zanCount":581,"manualWeight":39,"mainColor":40},218485,"fu-chun-shan-ju-tu-wang-yuan-qi-218485","王原祁","这幅画创作于康熙三十二年（1693年），52岁，仿照元代绘画大师黄公望的名作《富春山居图》的笔法。在这次模仿中，他从容不迫地运用了皴法、擦法和点法，特别是在用笔用墨方面，先用笔后用墨，染色由淡到浓逐渐增加，最后以焦墨破之，给人以沉重之感。",[49,23,26,55,86,7,56,61,64,150,727],"房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45b9a0c62b860f5eddbc70949a88e933.jpg","98.8x60.1cm",[70],880,{"id":733,"slug":734,"title":735,"dynasty":97,"author":736,"museum":81,"description":737,"tags":738,"thumbUrl":739,"material":25,"size":740,"collection":35,"collections":741,"showCount":742,"zanCount":743,"manualWeight":39,"mainColor":40},222725,"xian-e-chang-chun-tu-mu-dan-tu-lang-shi-ning-222725","仙萼长春图-牡丹图","郎世宁","本册共十六开内容分别描绘牡丹、桃花、芍药、海棠玉兰、虞美人、蝴蝶花、黄刺玫牡丹、石竹、樱桃、罂粟、紫白丁香、百合花牡丹、翠竹牵牛、荷花慈姑花、豆花稷穗、鸡冠花、菊花等，其中有八开还画有鸟禽，整册内容与《石渠宝笈三编》著录之〈郎世宁画花卉册〉一致，对幅皆是空白，而最末一开有宋体书款「臣郎世宁恭画」，依据画风特色推测是郎世宁雍正时期的花鸟佳作。全册不仅设色精緻，构图手法也见新意。特别能于鸟禽形体姿态上有超乎传统的表现，是西法透视手法的精采成果。画中花鸟多处能够显示光影明暗，透过白色颜料提点高光的技巧也常见运用。整册画风都一再显示其与郎世宁雍正前期画风有关。",[49,25,54,27,308,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea31929152fd1925fc1f60209c866fb5.jpg","宽28.4公分，高33.7公分",[35,72],875,2,{"id":745,"slug":746,"title":747,"dynasty":115,"author":748,"museum":99,"description":749,"tags":750,"thumbUrl":756,"material":26,"size":757,"collection":70,"collections":758,"showCount":759,"zanCount":581,"manualWeight":39,"mainColor":75},218544,"yu-qi-nong-yan-tu-mi-fei-218544","雨气浓烟图","米芾","烟雨濛濛，墨色轻染山峦，云雾似纱般缠绕峰峦，远近层次在虚实间晕开。近处林木苍劲，几椽茅舍隐于树影，水面上一叶扁舟悠然，似载着湿意的风。米氏笔法写意传神，将雨气的氤氲、烟岚的缥缈凝于尺幅，于淡墨间见悠远之境，仿佛能嗅到湿润的草木气息，听山间细雨沙沙，心境也随之沉静旷达。",[23,52,26,55,56,751,752,279,715,753,754,755,278,64,60,86,7],"远山","近树","小舟","亭台","村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31ca15d5c9196dbbf7ceb73083e5d937.jpg","40x438",[70,213],865,{"id":761,"slug":762,"title":763,"dynasty":97,"author":764,"museum":20,"description":765,"tags":766,"thumbUrl":767,"material":33,"size":107,"collection":199,"collections":768,"showCount":769,"zanCount":625,"manualWeight":39,"mainColor":40},214611,"hong-lou-meng-ren-wu-ce-ye-yu-lan-214611","红楼梦人物册页","喻兰","喻兰(1742—1809)，字韵斋，号少兰，桐庐人。清代女画家。嘉庆三年(1798)，朝廷以命题考选画师，喻兰匠心独具，布景设色无不恰合题意，以第二名录取。不久，选入内廷，任画苑供奉职。喻兰擅画人物、仕女，用笔浓重，虽不脱画院派习气，却无纤弱之嫌。画楼台殿阁，往往参照西洋手法，信手画来，无不神韵毕致，惟妙惟肖。\n此册页所画为古典四大名著《红楼梦》第二十七回“埋香冢飞燕泣残红”中黛玉葬花的场景。",[23,51,24,25,58,136,277,61,137,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faab150ff0a3409c18b30e7aba25d52c8.jpg",[199],863,{"id":771,"slug":772,"title":773,"dynasty":97,"author":445,"museum":99,"description":774,"tags":775,"thumbUrl":778,"material":779,"size":780,"collection":242,"collections":781,"showCount":782,"zanCount":11,"manualWeight":39,"mainColor":40},224526,"ku-mu-zhu-shi-tu-juan-shi-tao-224526","枯木竹石图卷","石涛（1642一约1707），清代画家、中国画一代宗师。法名原济，一作元济。本姓朱，名若极。字石涛，又号苦瓜和尚、大涤子、清湘陈人等。广西全州人，晚年定居扬州。明靖江王后裔，幼年遭变后出家为僧，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《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。",[49,23,51,52,26,55,776,358,700,56,777,86,119,7],"枯木","松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e40f18081971367110555976691d9e.jpg","纸本墨笔","纵23.5厘米，横213.5厘米",[242],845,{"id":784,"slug":785,"title":786,"dynasty":97,"author":787,"museum":81,"description":788,"tags":789,"thumbUrl":792,"material":33,"size":793,"collection":35,"collections":794,"showCount":795,"zanCount":546,"manualWeight":39,"mainColor":40},219433,"teng-hua-shao-yao-zhou-zou-yi-gui-219433","藤花芍药轴","邹一桂","紫藤藤蔓虬曲伸展，紫蓝花穗垂落如串串玉珠，枝叶葱茏带露；下方芍药竞放，白瓣皎洁如霜，粉蕊柔婉似云，红苞艳若丹砂，叶片舒展有致，脉络清晰可见。设色清丽雅致，线条细腻灵动，花叶的姿态鲜活自然，尽显春日芳菲的生机与韵致。笔墨间藏着对自然的深情体察，每一处细节都透着工笔花卉的精妙之美，雅致中蕴蓬勃活力，宛如将春日一隅凝于绢素之上。",[23,51,84,54,25,27,790,791,7,28],"藤花","芍药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46a37dff9eccfbfc632eca571c3b1785.jpg","129.1x60.8",[35],836,{"id":797,"slug":798,"title":799,"dynasty":97,"author":800,"museum":525,"description":801,"tags":802,"thumbUrl":803,"material":88,"size":107,"collection":35,"collections":804,"showCount":805,"zanCount":395,"manualWeight":39,"mainColor":40},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。",[49,23,51,52,26,403,86,119,7,251,358,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd1b681b72b4ba6f2e49e8cac42d39fb.jpg",[35],816,{"id":807,"slug":808,"title":809,"dynasty":115,"author":748,"museum":20,"description":810,"tags":811,"thumbUrl":812,"material":88,"size":813,"collection":122,"collections":814,"showCount":815,"zanCount":625,"manualWeight":39,"mainColor":40},214282,"duo-jing-lou-shi-tie-1-mi-fei-214282","多景楼诗帖-1","笔势开张如鲲鹏展翼，侧锋扫过处，线条粗细骤变，枯润交织——飞白似裂帛，浓墨若积云。单字欹侧跌宕，却在错落间达成奇妙平衡；字间气脉连贯，如奔马绝尘，势不可挡。每一笔都带着“刷字”的痛快淋漓，无刻意雕琢之痕，却藏八面出锋之巧。笔墨里裹着登高临远的豪情，仿佛能听见江风穿楼、涛声拍岸，将山水之壮阔与心境之激昂，凝于方寸纸间，动人心魄。",[86,119,418,7,319,435],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73ba0af73265fd6db701a669385d005c.jpg","31.2x538.1",[122],809,{"id":817,"slug":818,"title":819,"dynasty":115,"author":207,"museum":20,"description":820,"tags":821,"thumbUrl":823,"material":152,"size":824,"collection":213,"collections":825,"showCount":826,"zanCount":581,"manualWeight":39,"mainColor":75},218560,"ye-he-hua-tu-yi-ming-218560","夜合花图","画的是一枝两朵夜来香花，右枝花含苞待放，左枝花半开半合，洁白如玉，气质高雅。花朵被轻轻地勾勒和上色，用白色粉末点缀花蕊，用少量浅色墨水给拖曳的花朵上色。绿叶前后间隔，白花绿叶，色彩淡雅，让人赏心悦目。",[50,23,51,822,25,54,27,332,265,7],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6405700bb70527a1c1a9640d967df709.jpg","23.9x25.4",[213,35],804,{"id":828,"slug":829,"title":830,"dynasty":115,"author":355,"museum":81,"description":831,"tags":832,"thumbUrl":833,"material":88,"size":834,"collection":122,"collections":835,"showCount":836,"zanCount":546,"manualWeight":39,"mainColor":40},214696,"huang-zhou-han-shi-tie-su-shi-214696","黄州寒食帖","关于黄州寒食的诗写于1082年，这本书肯定是在这个日期之后写的。在这首诗中，东坡自己的悲伤和感慨之情溢于言表，行与行之间的节奏变化也随着文本的各种情绪波动而变化。在这卷书法中，字的大小是结合在一起的，如 年、中、苇、纸 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三友图》《林居高士图》等，笔墨润秀，神完气足。其没骨花卉画柔美秀雅，开创了一代新风，时人争相仿效。\n王翚有《康熙南巡图》(与杨晋等人合作)、《秋山萧寺图》、《虞山枫林图》、《秋树昏鸦图》、《芳洲图》（常熟博物馆藏）等传世。着有《清晖画跋》。",[49,23,51,50,25,264,27,28,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79d394a60f3fe31f74cc2a4529d753ab.jpg","43x29厘米",[35,72],750,{"id":912,"slug":913,"title":914,"dynasty":146,"author":709,"museum":175,"description":915,"tags":916,"thumbUrl":917,"material":918,"size":919,"collection":242,"collections":920,"showCount":922,"zanCount":923,"manualWeight":39,"mainColor":924},220780,"mo-zhu-po-shi-tu-wu-zhen-220780","墨竹坡石图","此图绘平坡拳石，竹枝斜垂。图中平坡直以淡墨晕染，拳石则重墨勾画轮廓，复以浓淡相间的墨色加以皴染，笔墨浑厚苍润。画面上方几茎竹枝斜斜垂入画面，不仅得“意在画外”之趣，且其插入的角度与取倾侧之势的坡石相呼应，使画面趋于平衡。整体画面欹中寓平，稳中求变，表现出作者控制全局的高超技巧。\n全图取景简洁，意境清幽，正如时人孙大雅《墨竹记》中所云：“……其趣适常在山岩林薄之下，故其笔类有幽远闲放之情，殊乏贵游子弟之气……”正道出了此图意趣之所在。",[49,23,51,84,26,358,277,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F162c658d1d21976ed1ec52ed3d2446e9.jpg","纸本 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画的中间是掩映在丛林中的几间茅屋，茅屋的两侧是绵延相连的断崖、山冈高低参差，错落有致，茅屋后而群峰耸立，挺拔秀美。山中的楼房里，有座香炉供奉着佛像。",[49,23,51,52,26,55,56,150,64,1050,119,7],"雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78cb267ee7419e8115bf1c5d1d95984d.jpg","纵29.7厘米，横104.6厘米",[70,72],675,{"id":1056,"slug":1057,"title":1058,"dynasty":146,"author":431,"museum":99,"description":1059,"tags":1060,"thumbUrl":1063,"material":107,"size":107,"collection":107,"collections":1064,"showCount":1065,"zanCount":480,"manualWeight":39,"mainColor":40},231008,"que-hua-qiu-se-tu-hua-xin-zhao-meng-fu-231008","鹊华秋色图画芯","鹊华秋色图，元代画家 于元贞元年（1295）回到故乡浙江为好友 所作的纸本水墨设色 ，现藏于 。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带 ，画境清旷恬淡，表现出恬静而悠闲的田园风味。\n采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。\n《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。\n在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。\n画题就是由这两座山而起的。\n鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。\n画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。\n水边轻舟数叶，舟中渔叟正安静地工作。\n其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。\n然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n《鹊华秋色图》上存在收藏者的众多题跋和印鉴。\n用御笔将“鹊华秋色”四个字题写于引首，并且加有“神品”“乾隆御览之宝”“古稀天子”“太上皇帝”等多枚玺印，上面还有“嘉庆御览之宝”“宣统鉴赏”等玺章。\n整个画面上加盖大小、形状各异的印章五十七枚，画面之右侧前隔水处有印章十六枚，画面左侧后隔水处有印章九十五枚。\n其中有作者题款，拖尾有爱新觉罗·弘历、钱溥、 、范杼、 等人题跋。\n作者在画中题款：“公谨父，齐人也。\n余通守齐州，罢官来归，为公谨说齐之山川，独华不注最知名，见于左氏，而其状又峻峭特立，有足奇者，乃为作此图，其东则鹊山也。\n命之曰鹊华秋色云。\n元贞元年十有二月。\n吴兴赵孟頫制。\n” 爱新觉罗·弘历题跋：“此卷久贮内府，已载入《石渠宝笈》。\n” 钱溥录 跋并题云：“吴兴公蚤岁戏墨，深得物外山水笔意。\n虽一木一石，种种异于人者。\n且风尚古俊，脱去凡迹。\n政如王谢子弟，倒冠岸帻，与天下公子斗举止也。\n百世后，可为一代规式，士大夫当共宝秘之。\n” 杨载题跋：“羲之摩诘，千载书画之绝，独兰亭序、辋川图尤得意之笔。\n吴兴赵承旨以书画名当代，评者谓能兼美乎二公。\n兹观鹊华秋色一图，自识其上，种种臻妙，清思可人，一洗工气，谓非得意之笔可乎。\n诚羲之之兰亭，摩诘之辋川也。\n” 范杼题跋：“赵公子昂，书法晋，画师唐，为一代之冠。\n荣际于五朝，人得其片楮，亦夸以为荣者，非贵其名而以其实也。\n今观此卷，殊胜于别作。\n仲弘所谓公之得意者，信矣。\n” 董其昌录张南诗题云：“弁阳老人公谨父，周之孙子犹怀土。\n南来寄食弁山阳，梦作齐东野人语。\n济南别驾平原君，为貌家山入囊褚。\n鹊华秋色翠可食，耕稼陶渔在其下。\n吴侬白头不归去，不如掩卷听春雨。\n” 董其昌题跋：“文敏一生得意笔，不减伯时《莲社图》”。\n另有题跋云：“吴兴此图，右、北苑二家画法。\n有底人之致，去其纤，有北宋之雄，去其犷。\n故曰师法舍短，亦如书家，以肖似似古人不能变体为书奴也。\n万历三十三年，晤画武昌公席题。\n其昌。\n” 从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。\n这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。\n与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。\n作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者虽然受召于元朝，遭到众多宋氏遗臣的诟病，却终其一生都对隐而不仕的南宋遗臣表达出相当程度的理解和尊重。\n从这个意义上说，《鹊华秋色图》也是在向那些对南宋一朝忠心耿耿而隐居不仕的士人传达作者自己的真实意图。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。\n两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。\n在刚柔对比中，更显得华不注山的险峻奇突。\n图中中景、近景表现出一片辽阔苍茫的景象。\n平川洲渚，红树芦荻，房舍隐现。\n图中林木种类颇多，红绿相间，枯润相杂。\n树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。\n在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。\n用笔似乎旋转，线条往复重叠，增添了树干的质感。\n画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。\n鹊山用披麻，皴法较密。\n华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。\n侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。\n汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。\n房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。\n作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。\n其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。\n明 《泥古录》：山头皆着青绿，全学王右丞与董源。\n在《鹊华秋色图》中，作者以深湛的笔墨功力诠释了即达放逸的山水意境，不仅丰富了文人山水画的表现手段和内涵，更初步确立了元代山水画坛清远自然的整体风格和蕴藉典雅的审美格调，为后世的中国山水画奠定了基础。\n1989年1月5日，中国台湾以横四连形式印制发行了《鹊华秋色图》邮票。\n《鹊华秋色图》由作者赠给周密后，周密又转送给一个名为君锡的人。\n到明代又相继为文徴明、文彭父子收藏，后又转到明代书画收藏家 手中。\n项元汴之后，又为宜兴吴之矩收藏。\n据画上印章，可知此画落到山东胶州张若、张应甲父子手里，不过很快又为书画收藏家 所有；后又辗转为 所得，传给其子 ；从纳兰性德手里，又落入收藏家梁青标之手。\n康乾年间，皇室征集民间书画名迹，梁青标遂将此图献归御府收藏。\n1949年，国民党撤离南京，退选台湾，将故宫等地文物也运往台湾，其中就包括《鹊华秋色图》。\n《鹊华秋色图》被运到台湾后，收藏于台北故宫博物院，直到今日。\n赵孟頫（1254—122年），字子昂，号松雪道人、水精宫道人。\n湖州（今浙江吴兴）人。\n宋太祖十一世孙。\n宋末时为真州司户参军。\n宋亡入元后，授兵部郎中，又历任渐江等地学提举，后官至输林学士承旨。\n赵孟頫不但精于音律、诗文曲，也是元代画家、书法家，著有《 》。",[23,51,52,25,26,55,7,119,86,56,870,871,727,715,716,1061,755,1062],"芦苇","平原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6c66c5e8289621fa42a98cbcd5da28.jpg",[],666,{"id":1067,"slug":1068,"title":1069,"dynasty":115,"author":1070,"museum":81,"description":1071,"tags":1072,"thumbUrl":1074,"material":152,"size":1075,"collection":35,"collections":1076,"showCount":1077,"zanCount":546,"manualWeight":39,"mainColor":75},218937,"hua-lan-tu-dong-li-song-218937","花篮图-冬","李嵩","篮子上装饰着水仙花、韵草、绿萼梅、单花茶花和蜡梅，中央的朱砂茶花以其艳丽的红色取胜，周围是芬芳的花朵。",[49,50,23,51,54,25,27,181,28,314,7,1073],"宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55ed24f58dd4748fe5e7c6a5283a48e2.jpg","26.1x26.3",[35],662,{"id":1079,"slug":1080,"title":1081,"dynasty":97,"author":1082,"museum":175,"description":1083,"tags":1084,"thumbUrl":1086,"material":1087,"size":1088,"collection":107,"collections":1089,"showCount":1090,"zanCount":39,"manualWeight":39,"mainColor":40},233459,"mao-shi-tu-juan-zhu-da-233459","猫石图卷","朱耷","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。",[23,51,52,26,1085,277,7,403],"猫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0ca2edd6ab75301d011c83693dfa665.jpg","纸本，水墨","纵34厘米，横218厘米",[],656,{"id":1092,"slug":1093,"title":1094,"dynasty":115,"author":221,"museum":175,"description":1095,"tags":1096,"thumbUrl":1097,"material":183,"size":1098,"collection":213,"collections":1099,"showCount":1090,"zanCount":743,"manualWeight":39,"mainColor":924},221329,"ting-qin-tu-zhou-zhao-ji-221329","听琴图轴","此幅作品描绘官僚贵族雅集听琴的场景。作者以琴声为主题，巧妙地用笔墨刻画出“此时无声胜有声”的音乐的意境。画面背景简洁，如盖的青松和摇曳的绿竹衬托出庭园高雅脱俗的环境，而几案上香烟袅袅的熏炉与玲珑石上栽植着异卉的古鼎与优雅琴声一道，营造出一种清幽的氛围。\n画面上方有宰相蔡京手书七言绝句一首，右上有宋徽宗赵佶瘦金书题“听琴图”三字。作品构图简净，人物举止形貌刻画生动传神，衣纹线描劲挺略带战笔，树石器具描写工致而毫无呆板，着色浑厚而不失清丽，是宋代宫廷人物画的代表作品。由于作品本幅有徽宗题名与画押，一度被认为是赵佶所画，后经学者考证，此幅为宣和画院画家描绘徽宗赵佶宫中行乐的作品，而图中抚琴者， 正是赵佶本人。",[49,23,50,51,84,54,25,58,777,358,178,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e608fe314a1f03d1034a41f0882fbf.jpg","纵147.2 厘米，横51.3 厘米",[213,35,72],{"id":1101,"slug":1102,"title":1103,"dynasty":18,"author":19,"museum":20,"description":21,"tags":1104,"thumbUrl":1105,"material":33,"size":34,"collection":107,"collections":1106,"showCount":1107,"zanCount":455,"manualWeight":39,"mainColor":40},216660,"hua-niao-ce-4-sun-ke-hong-216660","花鸟册-4",[23,51,24,25,54,27,29,309,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F095894dcf84ab92db529b2bd1c9b78cf.jpg",[],655,{"id":1109,"slug":1110,"title":1111,"dynasty":192,"author":1112,"museum":175,"description":1113,"tags":1114,"thumbUrl":1117,"material":239,"size":1118,"collection":122,"collections":1119,"showCount":1121,"zanCount":625,"manualWeight":39,"mainColor":40},221052,"wu-niu-tu-quan-juan-han-huang-221052","五牛图全卷","韩滉","《五牛图》是目前所见最早作于纸上的绘画，纸质为麻料，具有唐代纸张的特点。图画五牛，形象不一，姿态各异，或行或立，或俯首，或昂头，动态十足。其中一牛完全画成正面，视角独特，显示出作者高超的造型能力。作者以简洁的线条勾勒出牛的骨骼转折，筋肉缠裹，笔法老练流畅，线条富有力度和精确的艺术表现力。牛头部与口鼻处的根根细毛，更是笔笔入微。每头牛皆目光炯炯，作者通过对眼神的着力刻画，将牛既温顺又倔强的性格表现得极为传神。作品完全以牛为表现对象，无背景衬托，造型准确生动，设色清淡古朴，浓淡渲染有别，画面层次丰富，达到了形神兼备之境界。以牛入画是中国古代绘画的传统题材之一，体现了农业古国以农为本的主导思想。韩滉任职宰相期间，注重农业发展，此图可能含有鼓励农耕的意义。《五牛图》是其作品的传世孤本，也是为数寥寥的几件唐代纸绢绘画真迹之一，因此不论其艺术成就还是历史价值都备受世人关注。",[49,23,52,25,54,7,86,119,1115,1116],"牛","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102bd0cd5d4cb918fdece3f7352d6ced.jpg","525.92X21.6cm",[122,1120],"碑帖精选",654,{"id":1123,"slug":1124,"title":1125,"dynasty":18,"author":161,"museum":81,"description":1126,"tags":1127,"thumbUrl":1128,"material":33,"size":1129,"collection":70,"collections":1130,"showCount":1131,"zanCount":11,"manualWeight":39,"mainColor":40},214745,"shan-shui-tu-shen-zhou-214745","山水图","这幅山水画，笔触逐渐圆润成熟，与山竹和醉酒后的风景并无二致。画中，云层破碎，森林苍茫湿润，是雨后的场景。一座小桥上面走着一个拄着拐杖的人，这可能是 雨后振孤策 这首诗的意思。作画时，他已经50岁了。",[23,51,84,26,55,7,86,119,56,137,60,61,164,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb112e375f985a0401a16509e37dd9e82.jpg","56.1x31.7",[70],653,{"id":1133,"slug":1134,"title":1135,"dynasty":115,"author":207,"museum":485,"description":1136,"tags":1137,"thumbUrl":1139,"material":152,"size":107,"collection":35,"collections":1140,"showCount":1141,"zanCount":11,"manualWeight":39,"mainColor":75},214834,"ke-si-mu-dan-hu-die-tu-yi-ming-214834","缂丝牡丹蝴蝶图","缂丝牡丹蝴蝶图是宋代佚名画家的一幅著名图画。这幅图画描绘了一朵牡丹花和蝴蝶在相互追逐的场景。牡丹花象征着美丽和优雅，而蝴蝶则代表着自由和转化。这幅图画结合了自然与人文的元素，展现出一种优美的意境。画中蝴蝶的细腻写实和牡丹花的浓艳色彩相得益彰，使得这幅图画在宋代颇受欢迎。",[49,23,50,51,822,27,1138,25,308,315,7],"缂丝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F263c73234939963e2722e8b4fcab0d10.jpg",[35],637,{"id":1143,"slug":1144,"title":1145,"dynasty":18,"author":1014,"museum":81,"description":1146,"tags":1147,"thumbUrl":1148,"material":1149,"size":1150,"collection":199,"collections":1151,"showCount":1152,"zanCount":923,"manualWeight":39,"mainColor":75},222348,"xi-shan-yu-yin-tu-quan-juan-tang-yin-222348","溪山渔隐图全卷","《溪山渔隐图》中山石耸立，林木茂密，江上小舟数只。图中江干岩岸，杂林疏朗，渔舍水榭坐落于丹枫之中。岸石掩映间，水面舟艇数只，舟上渔人或垂纶放钓，或横笛足，或拍掌击节和歌；屋内则促膝对酌，或凭栏观钓，或策杖闲步。画法苍古，用笔劲利，设色明艳全画清雅幽丽，神采逼人，堪称为唐寅灵腕之妙品，富有艺术价值。",[49,23,51,52,25,56,714,61,62,63,64,150,379,58,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2505dfe3d9352c8db98b286634abed6e.jpg","绢","纵29.4cm，横351cm",[199,72],633,{"id":1154,"slug":1155,"title":1156,"dynasty":115,"author":207,"museum":81,"description":1157,"tags":1158,"thumbUrl":1160,"material":152,"size":107,"collection":199,"collections":1161,"showCount":1162,"zanCount":11,"manualWeight":39,"mainColor":75},215043,"mo-gu-kai-zhi-luo-shen-fu-yi-ming-215043","摹顾恺之洛神赋","《洛神赋图》，相传是东晋名画家顾恺之根据曹植文学作品《洛神赋》的故事情节所创作的故事画。曹植原文借对梦幻之镜中人神恋爱的追求，抒发了爱情失意的自我感伤。",[49,23,51,52,54,25,134,58,136,405,1116,7,1159],"云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72c126a717e9affa0b4017e209a0f9a9.jpg",[199],628,{"id":1164,"slug":1165,"title":1166,"dynasty":97,"author":1167,"museum":175,"description":1168,"tags":1169,"thumbUrl":1172,"material":152,"size":1173,"collection":35,"collections":1174,"showCount":1175,"zanCount":11,"manualWeight":39,"mainColor":40},219334,"hai-tang-qin-tu-tu-hua-yan-219334","海棠禽兔图","华嵒","华嵒的花鸟画丰富了传统的“黄家富贵，徐熙野逸”的审美情趣，寓真情实感于创作，使作品具有丰富的感情和个性，具有雅俗共赏的特征。此图是他晚年的代表作，画家运用拟人化的手法，将鹦鹉按捺不住的欣喜和黑兔胆小好奇的神态表现得生动传神。在画法上，华嵒从恽寿平淡雅清丽的没骨花卉入手，涉猎诸家，形成了鲜明的个人风格。此图结构新奇，笔法将宋人工笔花鸟之细腻工致与写意花鸟之秀逸洗练相结合，敷色活泼。海棠以胭脂及白粉点染，树叶颜色用石青、石绿，其间又有微带白黄色的大叶，颜色浓丽湿润，黑兔的墨色变化更为微妙丰富，浓淡之间表现出柔软疏松的质感，并与树木花卉的暖色调和谐统一，使整幅画面洋溢着花香鸟语的初春气氛。",[49,23,84,25,54,27,1170,1171,66,7],"海棠","兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd34c59b5ebbf048bf68fd04c4a04bed.jpg","纵135.2厘米，横52.8厘米",[35,72],620,{"id":1177,"slug":1178,"title":1179,"dynasty":97,"author":1180,"museum":99,"description":1181,"tags":1182,"thumbUrl":1184,"material":107,"size":107,"collection":107,"collections":1185,"showCount":1186,"zanCount":743,"manualWeight":39,"mainColor":40},235409,"wu-chang-shuo-sui-chao-qing-gong-tu-zhou-wu-chang-shuo-235409","吴昌硕岁朝清供图轴","吴昌硕","此作疏密布局精妙，斜出红梅自瓶中探伸，古拙湖石苍劲拙朴，案头水仙舒展清隽，蒲草萧疏有灵，配搭饱满鲜果，雅俗共赏。\n以篆籀笔法入画，笔墨苍劲老辣，设色浓淡相宜，明丽而不艳俗。朴茂雄浑的行书题字与画面浑然一体，金石古意尽显。既饱含文人案头的清雅逸趣，又暗合新春纳福的吉庆意蕴，将写意洒脱与写实鲜活相融，勾勒出岁朝之际悠然年味，尽显写意花鸟的朴拙雅致。",[23,25,26,84,27,7,86,528,488,1183,277,181],"柿子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65a6c68b7d5407cedbe24b1255ca78c0.jpg",[],618,{"id":1188,"slug":1189,"title":1190,"dynasty":115,"author":1191,"museum":194,"description":1192,"tags":1193,"thumbUrl":1196,"material":25,"size":1197,"collection":213,"collections":1198,"showCount":1199,"zanCount":270,"manualWeight":39,"mainColor":75},221468,"ji-xiang-duo-zi-tu-lu-zong-gui-221468","吉祥多子图","鲁宗贵","画面的确描绘了三种水果，彼此簇拥在一起，粗看起来有些凌乱，但仔细分辨后会发现画家布置得井井有条。\n按照前、中、后的顺序，斜向纵深排列开。前排是两只石榴，一只全部展现出来，并且成熟得果皮迸裂，露出饱满鲜红的石榴子，另一只隐藏在后面，露出尖尖的蒂。画面的后排也是一个圆球形的果实，这是橘。在石榴与橘中间，夹着一串颗粒饱满的水果。这是葡萄吗？画中的这串果实，大小虽然与葡萄类似，但颜色为棕黄色，表面有些粗糙。从形状上来看，大部分果实和葡萄一样是圆球形，但还有一些未完全成熟而泛出青色的果实，有尖尖的头。更为有代表性的是叶子。这串水果乃是从枝上新鲜折下，长条形的叶子连在枝上。这绝不是有裂片、像一个宽大鹅掌的葡萄叶。那么这究竟是串什么水果？答案是龙眼。龙眼，我们更习惯的名字是桂圆，在古代是珍稀水果，在现代也价格不菲。\n中国人对它并不陌生，但在欧美国家吃得却很少。可以想见，当初为这幅画确定英文名的人对龙眼十分陌生，所以才会将画中这串圆圆的果实误认作葡萄了。",[49,23,50,51,54,25,27,530,1194,1195,265,7],"荔枝","果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c09eceb96eb51faf45b369858023ed.jpg","高24厘米，宽25.8厘米",[213,35,72],615,{"id":1201,"slug":1202,"title":1203,"dynasty":130,"author":131,"museum":222,"description":1204,"tags":1205,"thumbUrl":1208,"material":239,"size":1209,"collection":70,"collections":1210,"showCount":1211,"zanCount":270,"manualWeight":39,"mainColor":75},221043,"luo-shen-fu-chang-juan-gu-kai-zhi-221043","洛神赋长卷","中国东晋绘画作品。\n作者顾恺之。\n原作已佚，今存有宋代摹本5卷，皆绢本设色，分别藏于中国大陆、台湾台北及美国。\n纵27.1厘米、横572.8厘米，藏故宫博物院；另一纵26厘米、横646厘米 。\n\n该图以三国魏文学家曹植的《洛神赋》为依据，描绘了作者对洛水之神宓妃的爱慕以及神人殊隔、不能交接的惆怅。\n\n作品将不同情节置于同一画卷，洛神和曹植在一个完整的画面的不同场景中反复出现，以山石、林木及河水等背景，将画面分隔成不同情节，使画面既分隔又相联接。",[49,23,51,52,54,25,58,136,1206,56,64,1207,66,63,7,86,119,541,50],"舟","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be74a2f3958ac41ec1cd6403d832e66.jpg","横572.8cm，纵27.1 cm",[70,72],613,{"id":1213,"slug":1214,"title":1215,"dynasty":115,"author":355,"museum":81,"description":1216,"tags":1217,"thumbUrl":1218,"material":88,"size":1219,"collection":122,"collections":1220,"showCount":1221,"zanCount":743,"manualWeight":39,"mainColor":40},214222,"su-shi-chi-du-su-shi-214222","苏轼尺牍","苏轼在奉旨前往凉州的途中，给他最好的朋友赵孟德写了这封信。这幅作品也被称为 "渡海帖"，是典型的苏轼风格，苍劲有力，沉着痛快，为其晚年的代表作。",[49,51,86,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61013e089b9077df0e32de8156aa212a.jpg","28.6x40.2",[122],601,{"id":1223,"slug":1224,"title":1225,"dynasty":18,"author":19,"museum":20,"description":21,"tags":1226,"thumbUrl":1228,"material":33,"size":34,"collection":107,"collections":1229,"showCount":1230,"zanCount":11,"manualWeight":39,"mainColor":40},216659,"hua-niao-ce-5-sun-ke-hong-216659","花鸟册-5",[23,24,54,25,27,29,332,1227,265,7],"树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc762cbbb53d0597b5436b458f6ea96.jpg",[],599,{"id":1232,"slug":1233,"title":1234,"dynasty":97,"author":1235,"museum":175,"description":1236,"tags":1237,"thumbUrl":1242,"material":183,"size":1243,"collection":35,"collections":1244,"showCount":1245,"zanCount":923,"manualWeight":39,"mainColor":75},222873,"wu-tong-shuang-tu-tu-leng-mei-222873","梧桐双兔图","冷枚","此图似为中秋佳节而作。图中野菊满地，桂花飘香，高大的梧桐树下，两只肥硕的白兔惬意地在草地上嬉戏。双兔写实，造型准确生动，皮毛以细笔一一画出，具有柔软的质感。兔目用白色点出高光，令眼神活灵活现顿生神采。山石以折带笔方正写出，于坚硬中见峻峭之美。构图疏密有致，设色注重冷暖色调的对比。整幅作品大气秀美，富丽堂皇，受到了西洋绘画技法的影响，具有康熙朝宫廷绘画的风貌。",[49,23,54,25,1116,1171,1238,1239,1240,1241,7],"梧桐","花草","栏杆","石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d226d3f4c0a53ecbb5a2d754ae2b5b.jpg","纵176.2厘米，横95厘米",[35,72],595,{"id":1247,"slug":1248,"title":1249,"dynasty":18,"author":1250,"museum":81,"description":1251,"tags":1252,"thumbUrl":1253,"material":33,"size":1254,"collection":35,"collections":1255,"showCount":1256,"zanCount":156,"manualWeight":39,"mainColor":40},218793,"pi-pa-zhen-qin-tu-zhou-zhi-mian-218793","枇杷珍禽图","周之冕","画面中，枇杷枝叶舒卷，翠叶如盖，嫩黄果实攒聚枝间，饱满莹润。一只禽鸟栖于枝桠，羽色柔和，神态闲静，似在细赏花叶，又若欲振翅，姿态鲜活传神。画家运笔细腻，勾勒花叶轮廓精准，设色淡雅清逸；叶片脉络、果实肌理刻画入微，禽鸟羽毛层次分明，质感逼真。枝叶穿插自然，虚实相生，画面疏密有致，气韵流动。整体风格宁静雅致，融工笔之精丽与写意之灵动，尽显自然生机与闲适意趣，如同一帧鲜活的春日小景，引人驻足细品。",[50,23,51,84,54,25,27,513,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b876424f375b541ae9f0153ebc04f8d.jpg","71.4x30.4cm",[35],594,{"id":1258,"slug":1259,"title":1260,"dynasty":115,"author":1261,"museum":81,"description":1262,"tags":1263,"thumbUrl":1264,"material":88,"size":1265,"collection":35,"collections":1266,"showCount":1267,"zanCount":284,"manualWeight":39,"mainColor":40},215109,"sui-han-san-you-tu-zhao-meng-jian-215109","岁寒三友图","赵孟坚","莹净的纸面上，画家以墨笔画上一株饱结花朵、苞蕾的梅枝，继而交错、绕夹著如星芒般的松针与墨影般的竹叶，将它们横斜置於画面中央。这三株折枝植物的组合，不但是一件写生佳作，同时画中岁寒三友－松、竹、梅的组合，又代表当时文人认为应该具备的节操与美德。",[49,23,51,26,135,528,358,777,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb649cf50efa4be46ecb8b6ea14056db.jpg","32.2×53.4cm",[35],572,{"id":1269,"slug":1270,"title":1271,"dynasty":146,"author":431,"museum":175,"description":1272,"tags":1273,"thumbUrl":1274,"material":88,"size":1275,"collection":35,"collections":1276,"showCount":1277,"zanCount":11,"manualWeight":39,"mainColor":40},219899,"zhao-shi-yi-men-san-zhu-tu-zhao-meng-fu-219899","赵氏一门三竹图","此图卷可分三段，分别为赵孟頫之妻管道昇、赵孟頫、次子赵雍所画竹三支。第三段赵孟頫所画之竹，自画卷后方斜出，并一直向前伸展，竹梢低头向下，整体成一弓形，其上细枝左右仲出，竹叶茂密。此竹主要以淡墨画出，浓墨加点，笔法温雅厚重，墨色变化细腻丰富。",[49,23,51,52,26,119,7,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11b327490001f9742b145ab2ea2c238a.jpg","纵34厘米 横108厘米",[35],566,{"id":1279,"slug":1280,"title":1281,"dynasty":115,"author":289,"museum":485,"description":1282,"tags":1283,"thumbUrl":1285,"material":88,"size":1286,"collection":213,"collections":1287,"showCount":1277,"zanCount":1288,"manualWeight":39,"mainColor":40},214884,"lian-she-tu-li-gong-lin-214884","莲社图","这幅画以白描手法画出人物和石头，然后用淡墨轻描淡写，使整幅画呈现出淡雅、古朴的气息。",[49,50,23,51,52,135,25,1284,58,56,64,63,277,86,541,119,7],"宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2d809083d34a02228f290285b503fa7.jpg","30.1x595.8",[213],1,{"id":1290,"slug":1291,"title":1292,"dynasty":192,"author":193,"museum":175,"description":1293,"tags":1294,"thumbUrl":1295,"material":239,"size":1296,"collection":122,"collections":1297,"showCount":1298,"zanCount":270,"manualWeight":39,"mainColor":40},221064,"bu-nian-tu-quan-juan-yan-li-ben-221064","步辇图全卷","此卷为其贞观廿二年（648年）十二月十日手抄小乘佛教律部重要经典《善见律》。\n字作典型的唐代“经生体”，结构谨严优美，笔画挺拔腴润，使转灵活生动。\n全文二百六十余行，四千四百多字，一笔不苟，整齐匀净，表现了书者虔诚的心境与深湛的功力，实为唐人小楷上乘之作。\n今日所见唐人写经主要为百年前敦煌藏经洞发现，多出民间写手，且断烂残破。\n此卷则为千年传世之本，首尾俱全。\n卷末题名中有“赵模监”、“阎立本总监”字样，赵氏为宫廷“搨书人”，曾摹《兰亭序》；阎氏后官至右相，曾绘《步辇图》。\n研究者据此认定此卷是当时奉敕所作的皇家珍品。\n同样难得的是此卷的传承过程。\n它曾入南宋内府，钤有高宗“绍兴”、理宗“缉熙殿宝”二玺；元代曾归赵孟頫、皇姊祥哥剌吉两大藏家；明代华夏、董其昌及清初王鸿绪曾藏；入清宫后著录于《秘殿珠林续编》。\n卷后赵孟頫、冯子振、赵岩、邢侗、董其昌等大家的题跋相互辉映，为之增重不少。",[49,23,51,52,54,25,58,180,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F795330e305e920af26685bf0960da803.jpg","纵38.5厘米，横129厘米。",[122,1120],564,{"id":1300,"slug":1301,"title":1302,"dynasty":146,"author":1303,"museum":81,"description":1304,"tags":1305,"thumbUrl":1306,"material":121,"size":107,"collection":242,"collections":1307,"showCount":1308,"zanCount":923,"manualWeight":39,"mainColor":40},218759,"zhu-shi-tu-ni-zan-218759","竹石图","倪瓒","简淡笔墨勾勒出一方清寂天地。嶙峋顽石以折带皴写就，骨力暗藏；几竿瘦竹用中锋挥毫，风神毕现。坡岸以淡墨扫出，不着繁饰却有山野之旷；竹叶疏密交织，寥寥数笔便见雅趣之浓。留白处似含虚寂之气，引观者神思悠远；笔墨间尽是淡远之怀，映画家澄净本心。无喧嚣之扰，无艳色之惑，简而不薄，疏而有致，于极简中藏深致，于清寂中见真趣。尽显文人画的空灵韵致，亦为超脱尘俗的精神气象凝于纸上。",[49,23,50,51,84,26,135,277,358,967,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87a185b2b68c761e19a18f984e0eb2ee.jpg",[242],561,{"id":1310,"slug":1311,"title":1312,"dynasty":192,"author":1313,"museum":1314,"description":1315,"tags":1316,"thumbUrl":1317,"material":689,"size":690,"collection":107,"collections":1318,"showCount":1319,"zanCount":455,"manualWeight":39,"mainColor":75},289801,"jiang-fan-lou-ge-tu-li-si-xun-289801","江帆楼阁图","李思训","台北故宫博物馆","该画描绘的是游春情景，是作者以“青绿山水”与“金碧山水”创作的国画山水作品，画中山、树、江水和游人融汇一处，江上泛舟、山中树木茂盛，游人穿梭其中。远处江水荡漾，几叶扁舟漂浮，近处树木葱葱，楼阁庭院若隐若现，坡岸上游人穿行。其意境隽永奇伟、用笔遒劲、风骨峻峭、色泽匀净而典雅，画风精密严整、意境高超、笔力刚劲、色彩繁富，独树一帜。",[49,50,23,84,53,25,54,56,59,62,58,61,610,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7533e67426c0003e89910674d0b6ce8c.jpg",[],556,{"id":1321,"slug":1322,"title":1323,"dynasty":146,"author":376,"museum":175,"description":1324,"tags":1325,"thumbUrl":1326,"material":668,"size":1327,"collection":70,"collections":1328,"showCount":1329,"zanCount":743,"manualWeight":39,"mainColor":40},220820,"wang-meng-xia-ri-shan-ju-tu-zhou-wang-meng-220820","王蒙夏日山居图轴","此图绘长松高岭，山坞人家。半敞的房舍中一位怀抱婴儿的妇女似正在来回踱步，哄儿入睡，极富生活情趣。王蒙的作品虽多描写高士隐居生活，但其中往往蕴含俗世的生活情趣，这在某种程度上可以说是画家入世情结的一种流露。\n画中山体施以细密而短促的牛毛皴，凸处和边缘处笔少而墨淡，凹处及深暗处则笔多而墨浓，借以表现出山峦的层次和体积感。松树以淡墨勾形，偶尔施以重墨，树身以干笔圈皴，松针先以淡墨写出，复施以浓重的焦墨，使之层次分明，愈显清峭挺拔之势。山间丛树用焦墨侧锋点染而成，与山体皴染融为一体，相辅相成，更增夏日青山浑厚华滋的质感。",[49,23,51,84,26,55,56,64,150,61,279,727,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7df20d546f8bf06fcb8d01422c5ba829.jpg","纵118.1厘米，横36.2厘米",[70,242],552,{"id":1331,"slug":1332,"title":1333,"dynasty":18,"author":1014,"museum":81,"description":1334,"tags":1335,"thumbUrl":1338,"material":689,"size":690,"collection":199,"collections":1339,"showCount":1340,"zanCount":270,"manualWeight":39,"mainColor":40},289743,"chang-e-ben-yue-tu-zhou-tang-yin-289743","嫦娥奔月图轴","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[23,84,25,58,136,1336,944,1171,1337,86,7,564],"嫦娥","神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94e2d4be6243b39a212c3aab3031453a.jpg",[199],539,{"id":1342,"slug":1343,"title":1344,"dynasty":97,"author":1345,"museum":99,"description":1346,"tags":1347,"thumbUrl":1348,"material":107,"size":107,"collection":35,"collections":1349,"showCount":1350,"zanCount":284,"manualWeight":39,"mainColor":40},228928,"hua-hui-hu-die-tu-juan-ma-quan-228928","花卉蝴蝶图卷","马荃","此作工写相融，以没骨法绘就群蝶，翅翼薄如蝉翼，晕染出绒毛的柔润质感，墨色浓淡相宜，黑蝶沉雅莹润，白蝶清透灵动。群蝶翩跹往复，似循着花香振翅而来，各有姿态，灵动生趣。\n\n间缀芍药、佛手数处，设色柔婉秀雅，花叶舒展自然，与蝶影相映成趣，将花底群蝶相逐的春日清景缓缓铺展。引首题字娟秀端丽，书画合璧，将闺中细腻意趣融于笔底，晕开一卷悠然雅致的花间清梦。",[49,23,51,52,25,54,119,7,27,28,315,308,488],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa61f6d45e4448610bc0d9227c8c99010.jpg",[35],537,{"id":1352,"slug":1353,"title":1354,"dynasty":115,"author":355,"museum":175,"description":1355,"tags":1356,"thumbUrl":1357,"material":634,"size":107,"collection":122,"collections":1358,"showCount":1359,"zanCount":11,"manualWeight":39,"mainColor":40},221304,"mo-ji-xuan-he-ji-su-shi-221304","墨迹选合集","苏轼（1037年1月8日-1101年8月24日），字子瞻、和仲，号铁冠道人、东坡居士，世称苏东坡、苏仙，北宋著名文学家、书法家、画家，历史治水名人。\n苏轼是北宋中期文坛领袖，在诗、词、散文、书、画等方面取得很高成就。文纵横恣肆；诗题材广阔，清新豪健，善用夸张比喻，独具风格，与黄庭坚并称“苏黄”；词开豪放一派，与辛弃疾同是豪放派代表，并称“苏辛” ；散文著述宏富，豪放自如，与欧阳修并称“欧苏”，为“唐宋八大家”之一。苏轼善书，“宋四家”之一；擅长文人画，尤擅墨竹、怪石、枯木等。\n苏轼擅长写行书、楷书。他曾经遍学晋、唐、五代的各位名家之长，再将王僧虔、徐浩、李邕、颜真卿、杨凝式等名家的创作风格融会贯通后自成一家。他曾自称：“我书造意本无法”、“自出新意，不践古人”。\n黄庭坚称他：“早年用笔精到，不及老大渐近自然。”这说明苏轼一生屡经坎坷，致使他的书法风格跌宕。存世作品有《赤壁赋》、《黄州寒食诗》和《祭黄几道文》等帖。",[49,86,119,7,52,435],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2948e558a0b160e7d1fa1c38962ea6ba.jpg",[122],531,{"id":1361,"slug":1362,"title":1302,"dynasty":97,"author":800,"museum":99,"description":1363,"tags":1364,"thumbUrl":1365,"material":319,"size":107,"collection":35,"collections":1366,"showCount":1367,"zanCount":11,"manualWeight":39,"mainColor":40},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。",[49,23,51,84,26,403,119,7,358,700],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb724f394a4ef707b4419ea206b3dbdac.jpg",[35],528,{"id":1369,"slug":1370,"title":1371,"dynasty":146,"author":431,"museum":81,"description":1372,"tags":1373,"thumbUrl":1374,"material":88,"size":1375,"collection":122,"collections":1376,"showCount":1377,"zanCount":625,"manualWeight":39,"mainColor":40},214219,"xue-qing-yun-san-tie-zhao-meng-fu-214219","雪晴云散帖","雪晴云散帖是元代诗人赵孟頫的一首代表作。\n\n赵孟頫（1254年-1322年），字少华，元代诗人、书法家。他是元代文学史上著名的诗人之一，在当时被尊为“诗圣”。他的诗作风格清新、婉转，有浓厚的写实感，被认为是元代文学中的经典之作。\n\n雪晴云散帖是赵孟頫的一首著名诗作，其中描写了雪晴云散的风景。这首诗的气势磅礴，描写了雪晴云散的美丽景色，表达了作者对自然的崇敬之情。诗中还描写了雪晴云散周围的风光，表现出作者对自然的热爱。\n\n整首诗的意境深远，描写细腻，是赵孟頫的代表作之一，也是元代文学中的经典之作。",[49,86,119,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf97c8e30e41854d8a25d009cbe353ee.jpg","51.9x24.8",[122],521,{"id":1379,"slug":1380,"title":1381,"dynasty":97,"author":1082,"museum":99,"description":1382,"tags":1383,"thumbUrl":1384,"material":689,"size":690,"collection":107,"collections":1385,"showCount":1386,"zanCount":743,"manualWeight":39,"mainColor":40},288298,"he-hua-xiao-niao-tu-zhou-zhu-da-288298","荷花小鸟图轴","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。",[49,50,23,26,84,27,420,277,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc703fe503e21b896057d755c0c416262.jpg",[],519,{"id":1388,"slug":1389,"title":1390,"dynasty":146,"author":1303,"museum":81,"description":1391,"tags":1392,"thumbUrl":1393,"material":88,"size":1394,"collection":70,"collections":1395,"showCount":1396,"zanCount":11,"manualWeight":39,"mainColor":40},220794,"rong-xi-zhai-tu-zhou-ni-zan-220794","容膝斋图轴","倪瓒少小聪明，早年专意读书，家中清秘阁藏书数千卷，经史子集，佛道经典，他都专心阅读批校，所藏法书名画，亦悉心临学。其书法天然古淡，有魏晋人风格。倪瓒隐居于太湖四周的宜兴、常州、湖州、松江一带，常领略这里秀丽清幽的湖光山色，他的画也多取材于此。\n此幅成于洪武壬子（1372年），七十二岁所作。自署“壬子岁(1372)七月五日云林生写”。二年后再题谓：“赠寄仁仲医师。且锡山予之故乡也，容膝斋则仁仲燕居之所。”“他日将归故乡，登斯斋，持卮酒，展期图，为仁仲寿。”方知此图乃是寄放在医师仁仲之“容膝斋”，以备他日为仁仲祝寿之用。此帧先写赠其友檗轩，檗轩藏之三年，又寄赠医师仲仁，请云林补诗，容膝斋即仲仁居处，是先有画而后有题者也。此图写的是江南春景，平远山水。近处为山石陂陀，林木萧疏，作为近景与远景之间的过渡部分则多为大片空白，不着一墨, 是为湖水。图上侧远岫遥岑，横于波际。\n这种三段式的构图，是倪瓒山水的特征之一。其山水胎息于董源，矶头两点，石上横拖披麻，皴法清逸。其树法参差变，结体有骨力，而树头枝梢，每多生意。喜多作枯树，擦以枯笔，墨色浓淡错综而滋润浑厚。《容膝斋图》便是其晚年的精品，作于去世前两年，笔墨炉火纯青。典型的“三段式”构图：下方土坡上画杂树五棵，二棵点叶，二棵垂叶，一棵为枯槎无叶，树后是平坡茅亭；中间空白，茫茫湖水；上方画远山数叠。比之17年前画的《渔庄秋霁图》，虽章法相似，但用笔更刚劲洒脱，“折带皴”更显得老辣纯熟，风神飘逸。",[49,23,51,84,26,56,55,63,967,277,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a1262bf8374934f412458d8adc28d76.jpg","74.7 x 35.5cm",[70,242],518,{"id":1398,"slug":1399,"title":1400,"dynasty":97,"author":736,"museum":175,"description":1401,"tags":1402,"thumbUrl":1407,"material":183,"size":1408,"collection":70,"collections":1409,"showCount":1410,"zanCount":581,"manualWeight":39,"mainColor":75},222770,"wu-rui-tu-lang-shi-ning-222770","午瑞图","这是一幅近似于欧洲静物画的作品，青瓷瓶内插着蒲草叶、石榴花和蜀葵花，托盘里盛有李子和樱桃，几个粽子散落一旁。图中的粽子、蒲草等物暗示此画是为中国的传统节日——端午节而绘制的。就构图而言，画中物品聚散有致，呈正三角形布局，给人的视觉以稳定感。而绘制方法则采用色彩深浅及光影明暗的变化展示花叶、水果和瓷瓶的立体感，尤其是瓷瓶肩部见于欧洲绘画而中国画绝无的“高光”手法，能令观者清晰地体会到西方油画的技巧。虽然画面没有落年款，但根据清内务府造办处的档案记载，此图应作于雍正十年（1732年），属郎世宁在中国的早期作品。\n作为异域来客，为了使基督教广布中国，明末清初抵华的众多传教士们采取了将东西方文化相融合，而后循序渐进地推行教义的传教策略，郎世宁无疑是一位彻底的实践者。尽管此图中他对静物的表现技法源自欧洲油画，然而其内容反映的却是蕴含华夏民族两千余年文化精髓的风俗。正是由于借助兼得中外、博取东西的折衷技巧与迎合中国皇帝趣味的题材择选，才使郎世宁成为深得雍正、乾隆两位帝王赏识、并且大加重用的西洋画家，他有为数不少的画作存世亦得益于此。",[49,23,54,25,1403,105,1404,28,1195,1405,7,1406],"中西结合","青瓷","粽子","静物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9cf54c3f7bd81efc6632c675afac9c4.jpg","纵140厘米，横84厘米",[70,72],514,{"id":1412,"slug":1413,"title":1414,"dynasty":146,"author":376,"museum":81,"description":1415,"tags":1416,"thumbUrl":1417,"material":33,"size":1418,"collection":70,"collections":1419,"showCount":1420,"zanCount":1288,"manualWeight":39,"mainColor":40},214820,"jing-xi-shi-cui-tu-wang-meng-214820","荆溪湿翠图","这幅画描绘了水流湍急的泾河、声音激荡的瀑布、色彩斑斓的山峦和长满松树的松树。面板上有王蒙的长篇后记，据说是后来加的。这幅画的风格与杜琼的风格比较相似，从杜琼在 旌表贞节之门 下的印章可以看出。",[23,51,84,26,25,56,61,64,150,293,58,55,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa69a4d460ff4b91c032f0a5094f977d7.jpg","142.6x42.9",[70],512,{"id":1422,"slug":1423,"title":1424,"dynasty":97,"author":800,"museum":99,"description":1425,"tags":1426,"thumbUrl":1427,"material":634,"size":1428,"collection":35,"collections":1429,"showCount":1430,"zanCount":480,"manualWeight":39,"mainColor":40},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",[49,23,84,26,86,119,358,7,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b02064efe84ab0f7521ea162036d0de.jpg","38*138CM",[35,242],509,{"id":1432,"slug":1433,"title":1434,"dynasty":1037,"author":1435,"museum":99,"description":1436,"tags":1437,"thumbUrl":1438,"material":689,"size":690,"collection":107,"collections":1439,"showCount":1440,"zanCount":455,"manualWeight":39,"mainColor":1441},287714,"kuang-lu-tu-tiao-se-ban-jing-hao-287714","匡庐图（调色版）","荆浩","《匡芦图》是荆浩现存作品中比较可信的真作之一，图上有南宋高宗赵构所书“荆浩真迹神品”六字，另有元人韩屿和柯九思两人题诗。全图由下而上，由近至远，大致可分为近景、中景、远景三个层次，境界上也从“有人之境”渐入“无人之境” 近景处于侧面下端，一泓涧水间，有船夫悠然地撑着一叶扁舟欲停船靠岸，顺石坡而行，山麓中有屋宇院落筑立其间，竹篱树木环绕。屋后石径环山逶迤而上，长堤板桥，赶驴行人都被画家一一摄入笔端。中景里面，两崖之间有瀑布飞倾而下，击石溅花，轰然作响。瀑布之下座木桥横亘于溪涧之巅，一路上危壁嶙峋，松柏参差，这其间还坐落一方庭院，可见画家幽居深隐的情感趋向。最高处的景致虽然深远，却格外醒目：画面中轴有主峰赫然而立，直入云霄，浩渺烟岚，尽出其下，远近如屏的诸峰环拥相簇，映衬着主峰的高险与威仪。群峦之间，一条白练般的瀑布直落山涧。",[50,23,51,84,26,56,55,278,293,64,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a8ad00d8855331e31469eec858e44e4.jpg",[],505,"37474F",{"id":1443,"slug":1444,"title":1445,"dynasty":18,"author":161,"museum":222,"description":1446,"tags":1447,"thumbUrl":1448,"material":319,"size":1449,"collection":107,"collections":1450,"showCount":1451,"zanCount":11,"manualWeight":39,"mainColor":40},222135,"wei-yuan-ya-ji-tu-shen-zhou-222135","魏园雅集图","沈周在此画中营造了一种山水亭榭，林泉雅集的氛围。\n远处峰峦陡起，轻披薄雾；近处山顶与中部山腰，露出多处缓缓向上的台地，泉水从山涧飞流直下，汇成棕棕小溪。\n溪水旁有一小桥，茅亭内四人席地而坐，书童侧立一旁正听候主人吩咐，一老者拽杖而来。山上山下，草木葱茏，叶红似火的枫叶点缀其间，更添几分胜地雅集美景。画家皴染兼施，构筑的画面气魄雄浑沉静，画心连画家共 六人题咏，实为诗书画熔为一炉的山水佳作。\n本幅作品取材于五人山亭雅集之事，故这一场景被安置于图中极为醒目之处。",[49,23,51,26,55,119,86,7,56,63,58,64,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea5f7a0e13b04d0d1a1bef16fd387091.jpg","纵145.5厘米，横47.5厘米",[],503,{"id":1453,"slug":1454,"title":1455,"dynasty":18,"author":607,"museum":81,"description":1456,"tags":1457,"thumbUrl":1458,"material":33,"size":1459,"collection":70,"collections":1460,"showCount":1461,"zanCount":455,"manualWeight":39,"mainColor":40},221977,"pin-cha-tu-zhou-wen-zheng-ming-221977","品茶图轴","此作为文徵明自绘与友人陆子傅於林中茶舍品茗的场景。\n图中草堂环境幽雅，小桥流水，苍松高耸，堂舍轩敞，几榻明净。堂内二人对坐品茗清谈，从跋文可知正是作者和友人陆子傅。几上置书卷、笔砚、茶壶、茗盏等。茶寮内泥炉砂壶，炉火正炽，童子身后几案上摆有茶罐及茗盏。",[49,23,51,84,25,56,58,119,7,54,55,870,610,63,61,60,871,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed1341fed0de54ecd60de1c41932b58e.jpg","142.31X40.89cm",[70,242],498,{"id":1463,"slug":1464,"title":1465,"dynasty":146,"author":1466,"museum":1467,"description":1468,"tags":1469,"thumbUrl":1470,"material":33,"size":1471,"collection":35,"collections":1472,"showCount":1473,"zanCount":546,"manualWeight":39,"mainColor":40},216741,"wu-wang-zui-gui-tu-ren-ren-fa-216741","五王醉归图","任仁发","上海龙美术馆","《五王醉归图》出自元代画坛巨匠任仁发之手，描绘唐玄宗登基前，与四位兄弟出游饮宴，醉后策马归途的景象。据《旧唐书》记载，唐玄宗登基前，在兴庆坊西南方置楼，常邀诸王宴饮，赋诗燕嬉，感情深厚。本幅便是描绘其身为临淄王时醉后策马的景象。画中主角包括李隆基长兄宋王李宪、二兄申王李撝、四弟岐王李范，以及五弟薛王李业，另尚有四名侍从，合乘九匹骏马。\n任仁发的画马成就，堪与同时代的赵孟頫媲美。 《五王醉归图》是其笔下罕见的纸本作品，宋笺纸质细密，包浆良好，色彩明亮；用笔轻松自然，整幅线条勾勒凝练潇洒，人马排列为平铺式构图，是唐人造型和元人用笔之结合。",[49,23,51,52,54,25,58,225,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3028cb21d01ead2581ac3d3aa2d0dcc1.jpg","35x368cm",[35],497,{"id":1475,"slug":1476,"title":1477,"dynasty":97,"author":736,"museum":81,"description":1478,"tags":1479,"thumbUrl":1482,"material":227,"size":1483,"collection":35,"collections":1484,"showCount":1485,"zanCount":455,"manualWeight":39,"mainColor":924},222780,"hua-yin-shuang-he-tu-zhou-lang-shi-ning-222780","花阴双鹤图轴","此图是郎世宁花鸟画的代表作。画面描绘一对绚丽丰润的仙鹤，和两只小鹤。一只仙鹤阔步行走回首下顾，注视着满身细毛茸茸的小鹤；另一只仙鹤转颈整理羽毛，一脚举起，神态安详。他吸收并采用中国画的传统技法，糅合中西画法进行创作。是二百年前外来文化“中国化”的尝试，是别具一格的杰作。",[49,84,54,25,27,1480,309,277,1481,7],"鹤","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32c3aa01f28ae73498d5f6eecf70dfd2.jpg","170.7厘米×93.1厘米.",[35,72],495,{"id":1487,"slug":1488,"title":1489,"dynasty":146,"author":709,"museum":81,"description":1490,"tags":1491,"thumbUrl":1492,"material":88,"size":107,"collection":35,"collections":1493,"showCount":1494,"zanCount":625,"manualWeight":39,"mainColor":40},216597,"mo-zhu-pu-ce-ye-wu-zhen-216597","墨竹谱册页","吴镇墨竹谱册简称《墨竹谱》，共二十二页，每页纵40.3厘米，横52厘米，纸本，墨笔，现藏台北故宫博物院。前两页书苏轼撰文同偃竹记，后二十幅画各种姿态的墨竹，每幅都有图有文。作于1350年（元至正十年），时吴镇71岁，是画给儿子佛奴的。全册画竹诸态悉备，可谓得竹之真性情。册首隶书“万玉藂”三字，王一鹏所书，王为明弘治间贡生。\n\n二十幅图，分别画新篁、嫩枝、老干、垂叶、雨竹、风竹、雪竹、坡地竹林、崖壁垂竹，或粗竿挺拔，竹叶清劲，或细枝临风，摇曳生姿。每幅画的构图都有很大的区别，以画谱而言，称得上变化多端，诸法悉备，成为后之学者极好的借鉴。\n\n这套竹谱的图文组合最值得称道，画面上书与画的“经营位置”的创意：承前而启后。在宋以前，图上都不落文字，连作者的名款都没有。北宋开始，画上渐有作者姓名和时间的落款，开始时写得极小，或隐在画中，生怕影响了画面。至元代赵孟頫出，强调以书入画，不但注重用书法的笔法作画，而且其画上所题的诗、文也渐多，有时为记事甚至出现长题。吴镇此《墨竹谱》册，在其丰富多变的构图中可以清晰地感觉到作者在画之前已为题文预留位置。书与画开始在画面上平分秋色，相得益彰，形成了中国画不同于其他艺术的最具文化意义的特色之一。\n\n吴镇墨竹谱册从附图观之，图绘笋、粗竿、新篁、折枝共七八竿，错落有致。虽说吴镇墨竹宗文同，但他的画法与文同相比较，已经有了很大的改变：文同画竹，竹竿纡曲，竹叶密集，而以墨之浓、淡示叶面之正、反。吴镇画竹，却以墨色的浓、淡示竹竿之前、后，新篁以淡墨画枝，而以浓墨画叶。叶之长、短，似随意生发，但疏落简率，苍劲挺拔。短枝疏叶，笔不连而意贯，一似其题款草书，纵横跌宕，一气呵成。笔锋略秃，中锋撇去，凝厉而厚重。竹根植于土中，根畔短草丛生，前浓而远淡，增强了画面透视的纵深感。",[49,23,51,50,24,26,7,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb4166808e7bc40a42f776572d6d7608.jpg",[35],489,{"id":1496,"slug":1497,"title":1498,"dynasty":97,"author":787,"museum":81,"description":1499,"tags":1500,"thumbUrl":1502,"material":33,"size":1503,"collection":35,"collections":1504,"showCount":1494,"zanCount":581,"manualWeight":39,"mainColor":40},216219,"bi-tao-chun-niao-tu-zou-yi-gui-216219","碧桃春鸟图","碧桃春鸟图是清朝时期画家邹一桂的一幅名作。这幅画描绘了一只翠绿色的春天鸟儿，它正在一棵桃树上欢快地唱歌。画中的色彩鲜艳，线条流畅，构图精美，反映了邹一桂独特的画风。\n\n邹一桂（1630年～1708年）是清朝时期著名的画家，也是邹氏画派的创始人之一。他的作品擅长描绘自然景观，尤其擅长画鸟。邹一桂的碧桃春鸟图被认为是他的代表作之一，并被广泛收藏和喜爱。",[23,50,1501,25,54,57,66,7],"花鸟画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf75f4e0b3c61e6c01028b990b23d999.jpg","29.2x21.6公分",[35],{"id":1506,"slug":1507,"title":1508,"dynasty":115,"author":1509,"museum":1510,"description":1511,"tags":1512,"thumbUrl":1513,"material":152,"size":1514,"collection":213,"collections":1515,"showCount":1516,"zanCount":395,"manualWeight":39,"mainColor":75},218635,"shan-cha-tu-wu-bing-218635","山茶图","吴炳","费城艺术博物馆","画面上画的是一枝山茶花，狭长的枝条上的叶子是深绿色的，边缘是黄色的，枝条上火红的花瓣，淡黄色的花药，伪装的色彩很鲜艳，很自然。",[23,51,50,27,54,25,344,31,265,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef7aab5fc08907b55afa575d2a696c4a.jpg","25.7x25.7",[213,35],487,{"id":1518,"slug":1519,"title":1520,"dynasty":115,"author":221,"museum":20,"description":1521,"tags":1522,"thumbUrl":1523,"material":1524,"size":1525,"collection":122,"collections":1526,"showCount":1527,"zanCount":270,"manualWeight":39,"mainColor":40},221340,"shou-jin-qian-zi-wen-zhao-ji-221340","瘦金千字文","《千字文》是赵佶以其最具个人风格之“瘦金体”书写，整体匀整峭拔，筋骨挺劲，清爽润朗，飘逸灵动，正所谓“铁画银钩”。此种书体取法唐代薛稷、薛曜，把楷书中瘦劲一路发挥到了极致，带有很强的装饰性，成为具有鲜明个人风格的一种书体。\n本卷为宋徽宗赵估于崇宁三年（1104年）二十三岁时书赐童贯。朱丝界栏， 素笺本，纵三十点九厘米，横三百二十二点一厘米，楷书，字大寸许，每行十字，前后百行。此卷原为清宫旧藏，著录于《石渠宝笈初编》，现藏上海博物馆，",[49,86,52,417,418,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a59fd9a6b1807f5c4769571d5723d63.jpg","素笺","纵30.9、横322.1厘米",[122],473,{"id":1529,"slug":1530,"title":1531,"dynasty":115,"author":1532,"museum":81,"description":1533,"tags":1534,"thumbUrl":1538,"material":1149,"size":1539,"collection":213,"collections":1540,"showCount":1541,"zanCount":11,"manualWeight":39,"mainColor":75},221293,"qiu-shan-xing-lv-tu-guo-xi-221293","秋山行旅图","郭熙","《秋山行旅图》轴峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[49,50,23,51,84,26,56,59,60,1535,1536,1537,7,134,55],"村居","行旅","丛树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9265b0c3fd5f1ec85ce0abb8c558d348.jpg","纵141.6厘米，横97厘米",[213,70,242],472,{"id":1543,"slug":1544,"title":1545,"dynasty":18,"author":45,"museum":81,"description":1546,"tags":1547,"thumbUrl":1549,"material":1550,"size":1551,"collection":35,"collections":1552,"showCount":1553,"zanCount":625,"manualWeight":39,"mainColor":40},220126,"shui-xian-la-mei-tu-chou-ying-220126","水仙腊梅图","仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[49,23,51,54,25,27,488,1548,7],"腊梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07c69768c6eb0147608000594b1c8c39.jpg","设色,绢本","纵47厘米，横25厘米",[35],467,{"id":1555,"slug":1556,"title":1557,"dynasty":18,"author":161,"museum":175,"description":1558,"tags":1559,"thumbUrl":1560,"material":1561,"size":1562,"collection":70,"collections":1563,"showCount":1564,"zanCount":455,"manualWeight":39,"mainColor":40},222112,"chun-yun-die-zhang-li-zhou-shen-zhou-222112","春云叠嶂立轴","此作曾在康熙年间被高士奇收藏，并著录于其《江村消夏录》。该作描绘万物竞发、重峦叠嶂、云蒸霞蔚、春水泛漾的春天景象。画面清新雅致，刻画细腻，具有元人画的风格。\n但此作历来有真伪之辩。《春云叠嶂图》的整体风格，似有些米家元素，虽同样横点干皴，但山峦单一，林木呆板，与沈周其他仿米真迹如《西山雨观图》相去甚远，完全不符沈周任何时期的书风。但究其题识，又非一般人所能书之。",[49,23,26,84,56,1207,150,64,61,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F911a706d3e48a8c708d471d8a1448b00.jpg","纸本设色","纵152.2厘米，横43.2厘米",[70,242],463,{"id":1566,"slug":1567,"title":1568,"dynasty":97,"author":1569,"museum":81,"description":1570,"tags":1571,"thumbUrl":1576,"material":152,"size":1577,"collection":199,"collections":1578,"showCount":1564,"zanCount":546,"manualWeight":39,"mainColor":40},219480,"mai-jiang-tu-yao-wen-han-219480","卖浆图","姚文瀚","这幅画是市场上卖纸浆的场景。 十个人，男女老少，聚在一起，或搅炉熬浆； 或者提着锅卖掉； 对纸浆和器物的描述细致入微。 整幅作品色彩鲜艳、干净、美观，笔触细腻牢固，人物稍有浓淡，给人立体感。",[49,23,51,25,54,58,181,1572,1573,1574,1575,7],"市井","民俗","服饰","生活场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a90c6c57541d710ff9ec582ae42b876.jpg","59.3x108cm",[199,72],{"id":1580,"slug":1581,"title":1582,"dynasty":130,"author":131,"museum":175,"description":665,"tags":1583,"thumbUrl":1584,"material":668,"size":669,"collection":199,"collections":1585,"showCount":1586,"zanCount":455,"manualWeight":39,"mainColor":40},221041,"nv-shi-zhen-tu-juan-quan-juan-gu-kai-zhi-221041","女史箴图卷全卷",[49,23,51,52,135,54,58,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e325b86458ef996bbbc4b4e8cbd033.jpg",[199,242],458,{"id":1588,"slug":1589,"title":1590,"dynasty":115,"author":355,"museum":81,"description":1591,"tags":1592,"thumbUrl":1598,"material":319,"size":1599,"collection":122,"collections":1600,"showCount":1601,"zanCount":455,"manualWeight":39,"mainColor":40},221307,"han-shi-shi-su-shi-221307","寒食诗","《寒食帖》又名《黄州寒食诗帖》或《黄州寒食帖》。是苏轼撰诗并书，墨迹素笺本，行书十七行，129字，现藏台北故宫博物院，那时苏轼因宋朝最大的文字狱，被贬黄州第三年的寒食节作了二首五言诗：“自我来黄州，已过三寒食。年年欲惜春，春去不容惜。今年又苦雨，两月秋萧瑟。卧闻海棠花，泥污燕支雪。暗中偷负去，夜半真有力，何殊病少年，病起须已白。”；“春江欲入户，雨势来不已。小屋如渔舟，蒙蒙水云里。空庖煮寒菜，破灶烧湿苇。那知是寒食，但见乌衔纸。君门深九重，坟墓在万里。也拟哭途穷，死灰吹不起。”\n此帖是苏轼行书的代表作。这是一首遣兴的诗作，是苏轼被贬黄州第三年的寒食节所发的 人生之叹。诗写得苍凉多情，表达了苏轼此时惆怅孤独的心情。此诗的书法也正是在这种心情和境况下，有感 而出的。通篇书法起伏跌宕，光彩照人，气势奔放，而无荒率之笔。《寒食诗帖》在书法史上影响很大， 被称为“天下第三行书”，也是苏轼书法作品中的上乘。正如黄庭坚在此诗后所跋：“此书兼颜鲁公，杨少师， 李西台笔意，试使东坡复为之，未必及此。",[49,86,119,52,7,26,502,946,1593,1207,1594,1595,1596,1597],"雨","寒","夜","乌","小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5142f6a2af64f24798e0cf80caebeccb.jpg","横34.2厘米，纵18.9厘米",[122],452,{"id":1603,"slug":1604,"title":1605,"dynasty":18,"author":607,"museum":20,"description":1606,"tags":1607,"thumbUrl":1608,"material":152,"size":107,"collection":199,"collections":1609,"showCount":1601,"zanCount":923,"manualWeight":39,"mainColor":924},219411,"hui-shan-cha-hui-tu-wen-zheng-ming-219411","惠山茶会图","这幅画描绘了文徵明与朋友在无锡惠山茶会的情景。惠山泉水甘冽，号称“天下第二泉”，相传曾为陆羽亲品，历来是煮茶的佳选。文徵明等于正德十三年戊寅（1518）在此举行了一次茶会并绘此图，卷后由吴门书家蔡羽楷书惠山茶会序。",[49,23,51,52,25,56,58,64,379,610,86,119,7,54,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c42cd6efe145c59f556f00949dd7fff.jpg",[199,70],{"id":1611,"slug":1612,"title":1613,"dynasty":192,"author":1614,"museum":81,"description":1615,"tags":1616,"thumbUrl":1617,"material":634,"size":1618,"collection":122,"collections":1619,"showCount":1620,"zanCount":625,"manualWeight":39,"mainColor":40},221059,"ji-zhi-wen-gao-quan-juan-yan-zhen-qing-221059","祭侄文稿全卷","颜真卿","《祭侄文稿》与东晋王羲之的《兰亭序》、北宋苏轼的行书《黄州寒食帖》并称为“天下三大行书”，亦被誉为“天下行书第二”。且此稿是在极度悲愤的情绪下书写，不顾笔墨之工拙，故字随书家情绪起伏，纯是精神和平时工力的自然流露。这在整个书法史上都是不多见的，故《祭侄文稿》是极具史料价值和艺术价值的墨迹原作之一。",[49,86,119,52,7,501],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F625900b54f9cdc3eb453d3c2fceb3e38.jpg","纵28.3厘米，横75.5厘米",[122,1120],451,{"id":1622,"slug":1623,"title":1624,"dynasty":97,"author":445,"museum":485,"description":486,"tags":1625,"thumbUrl":1627,"material":33,"size":107,"collection":35,"collections":1628,"showCount":1620,"zanCount":1288,"manualWeight":39,"mainColor":40},218128,"qiu-shui-he-ye-tu-shi-tao-218128","秋水荷叶图",[49,23,51,50,24,26,25,403,420,103,1626,944,7],"莲花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cfdd37fcf60f013839a1cf9ac9c4700.jpg",[35],{"id":1630,"slug":1631,"title":1632,"dynasty":146,"author":431,"museum":175,"description":1633,"tags":1634,"thumbUrl":1635,"material":1636,"size":1637,"collection":122,"collections":1638,"showCount":1639,"zanCount":284,"manualWeight":39,"mainColor":40},220855,"luo-shen-fu-zhao-meng-fu-220855","洛神赋","赵孟頫是元代著名书画家，不仅绘画创一代新风，书法更是元代第一人，如元代书法名家鲜于枢所评：“子昂篆、隶、真、行、颠草为当今第一。”赵氏所创书风，后人称之为“赵体”。赵孟頫师承也极广泛，初宗宋人，学赵构、黄庭坚，继而由智永上溯锺繇、二王，晚年又取法李邕。他模拟古法力求微肖，书写十分熟练，尤倾心于二王，元虞集在《道园学古录》中指出：“楷法深得《洛神赋》而揽其标；行书诣《圣教序》而入其室；至于草书，饱《十七帖》而变其形。”赵孟頫的书法成就突出表现在楷、行书方面，创遒劲姿媚新风，对元人和后世均产生极大影响。\n此卷《洛神赋》即为赵氏行书代表作。行中兼楷的结体、点画，深得二王遗意，尤其是王献之《洛神赋》的神韵，即妍美洒脱之风致。如端正匀称的结构、优美潇洒的字姿、圆润灵秀的运笔、密中有疏的布局等；同时，又呈现自身的追求，象比较丰腴的点画，轻捷的连笔，飘逸中见内敛的运锋，端美中具俯仰起伏的气势，都显示出他博取众长而自成一体的艺术特色。故后纸诸家题跋如是评述此卷，李倜曰：“大令好写洛神赋，人间合有数本，惜乎未见其全。此松雪书无一笔不合法，盖以兰亭肥本运腕而出之者，可云买王得羊矣。”高启云：“赵魏公行草写洛神赋，其法虽出入王氏父子间，然肆笔自得，则别有天趣，故其体势逸发，真如见矫若游龙之入于烟雾中也。”",[49,50,23,51,52,119,86,418,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7597768b3ca40f9e0dc49b46194d249f.jpg","纸本，行书","纵29厘米，横220.9厘米。",[122],449,{"id":1641,"slug":1642,"title":1643,"dynasty":146,"author":1644,"museum":485,"description":1645,"tags":1646,"thumbUrl":1647,"material":33,"size":1648,"collection":199,"collections":1649,"showCount":1650,"zanCount":395,"manualWeight":39,"mainColor":40},220289,"yang-gui-fei-shang-ma-tu-qian-xuan-220289","杨贵妃上马图","钱选","《杨贵妃上马图》描绘唐玄宗与贵妃杨玉环准备出游的情景，玄宗骑马在前，回头望着贵妃，贵妃在两侍女协助下正往马鞍上爬，娇态毕现。\n作品构图接近唐代，人物分组而呈错落有致的横向排列，以人物间的顾盼联系各段，将全画串联起来，犹同舞台效果。\n《杨贵妃上马图》收录于《石渠宝笼续编·御书房》，画卷上现在仍可以清楚看到“御书房鉴藏宝”、“乾隆御览之宝”、“嘉庆御览之宝”等印，居中位置可看到“宣统御览之宝”的字样。说明一直为皇室所收藏，但不见《佚目》记载，未便肯定为《佚目》外的“东北货”。清王朝覆灭后，“末代皇帝”溥仪对故官藏画进行整理时，此画还在官中。后来随着太监的盗卖、溥仪对弟弟溥杰的“赏赐”以及其他流失途径，流出宫外，为湖州张珩购得，后经其叔张叔驯携带到美国出售他人，此画便流出国门，后进入美国弗利尔美术馆。",[49,23,51,52,54,25,58,136,225,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff618d905a3604488c129f373b3e069d1.jpg","纵29.5厘米，横117厘米",[199,72],448,{"id":1652,"slug":1653,"title":1654,"dynasty":97,"author":1180,"museum":99,"description":1655,"tags":1656,"thumbUrl":1657,"material":107,"size":107,"collection":35,"collections":1658,"showCount":1659,"zanCount":743,"manualWeight":39,"mainColor":40},238119,"zi-teng-mu-dan-zhou-wu-chang-shuo-238119","紫藤牡丹轴","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》。",[23,25,27,307,308,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bfc622729b6d71aea89e743af379a39.jpg",[35,72],447,{"id":1661,"slug":1662,"title":1663,"dynasty":97,"author":445,"museum":485,"description":486,"tags":1664,"thumbUrl":1665,"material":33,"size":107,"collection":35,"collections":1666,"showCount":1667,"zanCount":923,"manualWeight":39,"mainColor":40},218131,"tao-hua-zhu-zhi-tu-shi-tao-218131","桃花竹枝图",[49,23,51,27,26,25,57,358,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82ae9fc9a5c2869c1270ee768459d876.jpg",[35],446,{"id":1669,"slug":1670,"title":1026,"dynasty":146,"author":207,"museum":222,"description":1671,"tags":1672,"thumbUrl":1673,"material":152,"size":1674,"collection":35,"collections":1675,"showCount":1667,"zanCount":395,"manualWeight":39,"mainColor":75},215142,"mo-mei-tu-yi-ming-215142","墨梅图是元朝时期的一幅名画，作者是佚名。这幅画描绘了一棵梅花树，梅花盛开，瓣瓣舒展，散发出浓浓的花香。画面上有几只蝴蝶，它们在梅花树周围飞舞，与花朵相互辉映。整幅画清新淡雅，浓轻相宜，富有诗意。墨梅图是中国古代山水画的典范之作，在历史上有很高的艺术价值。",[23,51,26,27,528,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f7caa3d46ac3b4a7bc205ebabf73b9.jpg","24.4x20.3cm",[35],{"id":1677,"slug":1678,"title":1679,"dynasty":115,"author":221,"museum":175,"description":1680,"tags":1681,"thumbUrl":1683,"material":239,"size":1684,"collection":213,"collections":1685,"showCount":1686,"zanCount":455,"manualWeight":39,"mainColor":75},221345,"fu-rong-jin-ji-tu-zhao-ji-221345","芙蓉锦鸡图","作为独立的画科，宋代的花鸟画无论在绘制技巧还是表现形式方面都已经达到高度的艺术水准，《芙蓉锦鸡图》便是其中的一幅精品。此图是描绘金秋景色的花鸟画作。图中芙蓉盛开，随风轻轻颤动，蝴蝶翩跹，相互追逐嬉戏，引得落在枝上的锦鸡回首凝视，目不转睛。本幅右上宋徽宗赵佶以瘦金体题“秋劲拒霜盛，峨冠锦羽鸡。已知全五德，安逸胜凫鹥”，右下书款“宣和殿御制并书”，草押书“天下一人”。鸡在中国向有“德禽”之称，《韩诗外传》载：“鸡有五德：头戴冠者，文也；足搏距者，武也；敌在前，敢斗者，勇也；见食相呼者，仁也；守夜不失者，信也”，可见其文武兼备、仁勇俱存、信守专一的性格为世人所激赏，难怪才艺绝代的一代帝王也会留下“已知全五德，安逸胜凫鹥”的诗句，流露出对安逸高贵之品格的赞许，由此体现了中国花鸟画的人文寓意。\n目前流传于世题为赵佶的作品中，艺术风格呈现出工致细丽与简朴生拙两种迥然有别的面目，工致细丽者如《芙蓉锦鸡图》、《腊梅山禽图》（台北故宫博物院藏）等，简朴生拙者如《柳鸦图》（上海博物馆藏）、《枇杷山鸟图》等。通过笔墨风格的比较分析，徐邦达先生指出前者不是赵佶所作，而是画院画家的作品，后者则为他的亲笔画迹，这一观点为多数艺术史研究者所认同。此外，现存记载南宋宫廷藏画的《南宋馆阁续录》卷三将此画列入与“御画”并列的“御题画”一类，表明《芙蓉锦鸡图》仅仅是由赵佶亲笔题诗的一幅花鸟画，并非其本人绘制。所以说，尽管图上有赵佶的题字，但此图作者却是一位没有留下姓名的画院高手。\n作为中国历史上最为关注艺事、醉心书画的帝王，宋徽宗赵佶在位期间广收名画巨迹，编纂皇家绘画收藏的书画著录——《宣和书谱》与《宣和画谱》，建立翰林图画院并完善其制度，还依据自己的审美观念亲自指导画院画家的学习与创作。关于绘画创作，赵佶在注重对被描绘对象细致入微的再现的同时，还要求画面蕴含诗歌的意境，令人观之有回味无穷的艺术体验，《芙蓉锦鸡图》无疑完美地体现出这位极具艺术修养的皇帝的美学思想。全图所用双钩法线条细劲，不仅花卉枝叶和锦鸡造型准确，芙蓉为锦鸡所压的低垂摇曳之态也能如实体现，加之色彩晕染得层次清晰，浓淡相宜，富丽堂皇中蕴涵端庄典雅的气质，堪称“形神兼备，曲尽其妙”。就构图而言，画幅左侧集中着芙蓉、锦鸡，与右上轻盈飞舞的蝴蝶遥相呼应，使得错综的布局显得密中见疏，揖让有度。以清瘦劲健的笔体写就的诗文和精致艳丽的图画更是互为辉映，相得益彰。",[49,23,50,51,54,25,27,314,1682,315,7],"锦鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05bfe5492760fd3a258b75e61f1a62fd.jpg","纵81.5厘米，横53.6厘米",[213,35,72],442,{"id":1688,"slug":1689,"title":1690,"dynasty":146,"author":376,"museum":525,"description":1691,"tags":1692,"thumbUrl":1693,"material":88,"size":107,"collection":107,"collections":1694,"showCount":1686,"zanCount":39,"manualWeight":39,"mainColor":40},214577,"shan-shui-ce-2-wang-meng-214577","山水册-2","王蒙是一位中国元朝时期的著名文人、画家、书法家。他最著名的作品之一是《山水册》。\n\n《山水册》是一本包含王蒙的山水画作品的册子。这本册子包含了王蒙的许多杰出的山水画作品，其中包括他的著名作品《黄山图》。王蒙的山水画作品以其精细的线条、细腻的填充和浓郁的气氛而闻名。他的画作展现出自然界的美丽和神奇，表达了他对自然的敬畏和尊重。\n\n王蒙的《山水册》是中国山水画史上的一个重要里程碑，对后世的山水画家产生了深远的影响。这本册子被誉为“中国山水画的经典之作”，至今仍广为流传。",[50,23,51,24,26,55,56,137,150,751,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff325b98c3fa5098a784a9932e0c4b3b3.jpg",[],{"id":1696,"slug":1697,"title":1698,"dynasty":115,"author":1699,"museum":175,"description":1700,"tags":1701,"thumbUrl":1702,"material":152,"size":1703,"collection":213,"collections":1704,"showCount":1705,"zanCount":625,"manualWeight":39,"mainColor":75},214887,"zhao-ling-liu-jun-tu-zhao-lin-214887","昭陵六骏图","赵霖","这幅画以唐太宗昭陵的六匹骏马为蓝本，分为六个部分，每个部分都有一匹马，并在侧面写有铭文。马匹的形状忠实于原作，但也注意到了画作的优势，通过有力的笔触和微妙的色彩，使马匹的皮毛更加逼真自然，战马驰骋疆场的雄姿也被生动地描绘出来。无论他们是奔跑、跳跃、行进还是站立，他们都被充分展现出来。",[49,23,51,52,54,25,134,225,1116,58,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F790d6aa1f7279d174f484a829d34cfa3.jpg","27.4x444.2",[213],441,{"id":1707,"slug":1708,"title":1709,"dynasty":97,"author":1710,"museum":81,"description":1711,"tags":1712,"thumbUrl":1715,"material":33,"size":1716,"collection":199,"collections":1717,"showCount":1718,"zanCount":480,"manualWeight":39,"mainColor":40},214713,"sui-chao-tu-jin-ting-biao-214713","岁朝图","金廷标","它描绘了孩子们在梅花盛开的院子里玩耍的情景。根据乾隆对这首诗的题词，这似乎是一个训诫。",[50,23,51,25,54,58,1713,60,1240,64,1714,28,1019,7],"孩童","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd7359c4847fbcbefede1de57ca93a09.jpg","96x65.9",[199],437,{"id":1720,"slug":1721,"title":1722,"dynasty":891,"author":1723,"museum":1724,"description":1725,"tags":1726,"thumbUrl":1728,"material":107,"size":107,"collection":107,"collections":1729,"showCount":1730,"zanCount":743,"manualWeight":39,"mainColor":40},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。",[49,23,51,24,26,25,119,403,7,27,528,251,358,529,488,1727,1195,277,103],"乌鸦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1977491dcb09096c6f919e88e1d5b78a.jpg",[],429,{"id":1732,"slug":1733,"title":1734,"dynasty":115,"author":289,"museum":99,"description":1735,"tags":1736,"thumbUrl":1737,"material":107,"size":107,"collection":107,"collections":1738,"showCount":1739,"zanCount":395,"manualWeight":39,"mainColor":40},227579,"wu-ma-tu-dong-jing-cai-ben-li-gong-lin-227579","五马图（东京彩本）","年初，日本东京国立博物馆举办的“颜真卿：超越王羲之的名笔”特展中，一度被认为毁于二战战火的北宋名画——李公麟所作《五马图》赫然在列，轰动艺术界。\n\n《五马图卷》是李公麟最重要的传世名迹，简约而生动，是宋画高再现性与高表现性的完美结合；上有黄庭坚题跋，曾收藏于南宋内府与乾隆手中，对宋画欣赏与研究极具价值，近一个世纪以来，流传过程也甚为坎坷。",[49,50,23,51,52,135,25,58,225,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc311a3828303adc5d60f6643579ac2af.jpg",[],427,{"id":1741,"slug":1742,"title":1743,"dynasty":115,"author":207,"museum":175,"description":1744,"tags":1745,"thumbUrl":1747,"material":183,"size":1748,"collection":107,"collections":1749,"showCount":1750,"zanCount":625,"manualWeight":39,"mainColor":75},223552,"hai-tang-jia-die-tu-yi-ming-223552","海棠蛱蝶图","画面主题是阳春三月，蛱蝶翩翩起舞于海棠花枝间。画家着重表现海棠在乍起的春风中花枝招展的动感瞬间，花朵偃仰向背，叶片翻卷辗转，枝干呈“S”形的曲张之态；通过描绘有形的花叶，成功地渲染出无形的醉人春风和隽永的春意。\n图中花瓣先以墨笔双勾轮廓线，中锋行笔，线条圆润流畅。然后在花瓣外侧上部略点胭脂红，旋即以清水将色彩晕染开，最后罩上一层白粉，为海棠花亮丽的色调增添了几多妩媚意韵。叶片用工整的双勾填色笔法表现，作者根据叶片受光照程度的不同而填染以石绿、墨赭等颜色，从而充分表露出叶片“清如水碧，洁如霜露”的美感，显示出画家细致的观察力和深厚的写实功底。",[49,50,23,51,54,25,27,1170,1746,7],"蛱蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7991f6dba711f3f30a45cd512a1f8a61.jpg","纵25厘米，横24.5厘米",[],425,{"id":1752,"slug":1753,"title":1754,"dynasty":115,"author":1755,"museum":99,"description":1756,"tags":1757,"thumbUrl":1758,"material":227,"size":1759,"collection":213,"collections":1760,"showCount":1761,"zanCount":1288,"manualWeight":39,"mainColor":75},221183,"mei-zhu-tu-ye-2-ma-lin-221183","梅竹图页2","马麟","画幅构图空灵简逸，笔墨勾勒韵染逼真，敷彩凸凹清丽雅洁。深绿沉厚的双钩竹叶润染，更凸显出雪白洁净的梅花。寒梅数枝，绿竹穿行，劲挺横斜，偃仰扶疏，笔墨虚实，极具工致灵动之妙。",[49,50,23,51,24,54,25,27,528,358,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f445c4f5d50251bdb395a7dcb9cb889.jpg","26.5×26厘米",[213,35,72],421,{"id":1763,"slug":1764,"title":1765,"dynasty":146,"author":376,"museum":81,"description":1766,"tags":1767,"thumbUrl":1769,"material":634,"size":1770,"collection":70,"collections":1771,"showCount":1772,"zanCount":625,"manualWeight":39,"mainColor":40},220816,"qiu-shan-cao-tang-tu-zhou-wang-meng-220816","秋山草堂图轴","1308－1385元画家。字叔明，号香光居士，湖州（今浙江吴兴）人。外祖父赵孟頫、外祖母管道升、舅父赵雍、表弟赵彦徵都是元代著名画家。王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙能诗文，工书法。尤擅画山水，得外祖赵孟頫法，以董源、巨然为宗而自成面目。写景稠密，布局多重山复水，善用解索皴和渴墨苔点，表现林峦郁茂苍茫的气氛。山水之外，兼能人物。所作对明、清山水画影响甚大，仅次于黄公望，后人将其与黄公望、吴镇、倪瓒合称为“元四家”。\n“王叔明画，从赵文敏风韵中来。……泛滥唐宋诸名家，而从董源、王维为宗，故其纵逸多姿，往往出文敏规格之外”。王蒙的画法，善变而多巧妙，喜画重山复岭之繁景，常用解索皴和焦墨点苔。所写山林树木，苍郁茂密而具有浑远的空间感。《秋山草堂图》画高山崇岭，茂树清淡，山脚草堂临水，水际荻花萧瑟堂内隐者怡然自得。表现出江南自然山川的湿润，创造出蓊郁深秀、浑厚华兹的境界。",[49,23,26,25,55,84,56,871,1768,61,62,60,967,7],"草堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67f99ee1ba33b0552bd4f03b90e05f53.jpg","123.3×54.8",[70,242],412,{"id":1774,"slug":1775,"title":1776,"dynasty":115,"author":221,"museum":175,"description":1777,"tags":1778,"thumbUrl":1779,"material":183,"size":1780,"collection":213,"collections":1781,"showCount":1782,"zanCount":1288,"manualWeight":39,"mainColor":75},221336,"mei-hua-xiu-yan-tu-ye-zhao-ji-221336","梅花绣眼图页","本幅款识：“御笔”、“天下一人”。钤“御书”朱文葫芦形印一方。鉴藏印钤“阿蒙秘笈”。\n图中梅枝瘦劲，枝上疏花秀蕊，一只绣眼俏立枝头，鸣叫顾盼，与清丽的梅花相映成趣。此图虽然景物不多，却颇为优美动人。所绘梅花为宫梅，经过不断剪枝，人工修饰痕迹较重。此种梅的画法精细纤巧，敷色厚重，自有一种富贵气息，这样的风格趣味为宫廷所好尚，显然代表了皇家的审美意味。",[49,50,23,51,24,54,25,27,528,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3454d67dcf054bf343b75f96d35a1c22.jpg","纵24.5厘米，横24.8厘米",[213,35,72],408,{"id":1784,"slug":1785,"title":675,"dynasty":97,"author":248,"museum":175,"description":1786,"tags":1787,"thumbUrl":1788,"material":391,"size":107,"collection":107,"collections":1789,"showCount":1790,"zanCount":743,"manualWeight":39,"mainColor":40},234300,"yun-shou-ping-hua-hui-ce-yun-shou-ping-234300","恽寿平（1633年-1690年），初名格，字惟大，后改字寿平，以字行。别号南田。作为明末清初著名的书画家，他开创了没骨花卉画的独画风，是常州画派的开山祖师。自小敏慧，却一生坎坷\n恽（yùn）寿平出生于官宦之家，又是书香门第，曾祖父、祖父、爹爹、叔父不是为官就是为学，从小敏慧，长相出众，8岁便有咏莲花之诗。清初遭遇战乱，年仅12岁的恽寿平随父远走浙、闽、粤几省，风餐露宿，历尽艰险。后参加了福建建宁王祈的抗清队伍。\n顺治五年（1648年），闽浙总督陈锦率六万清军强攻建宁，15岁的恽寿平坚守孤城。城陷后，与兄皆被虏至清兵营。陈锦无子，其妻见寿平聪明清秀，收为养子。恽寿平虽在总督府生活优裕，但思亲之情未绝。五年后，遇灵隐寺方丈相救，才得以与家人团聚。此后，他刻苦钻研学问，古文、诗词、书画无不精擅。",[23,51,24,264,25,119,7,308,28,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dc8ee0032281ae979767d6d432d5240.jpg",[],407,{"id":1792,"slug":1793,"title":1794,"dynasty":18,"author":459,"museum":485,"description":1795,"tags":1796,"thumbUrl":1797,"material":88,"size":1798,"collection":35,"collections":1799,"showCount":1790,"zanCount":11,"manualWeight":39,"mainColor":40},220099,"shi-er-mo-hua-tu-juan-xu-wei-220099","十二墨花图卷","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。",[49,50,23,51,52,26,7,119,86,528,251,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e6906eeb6ef87e0a0207882c285c054.jpg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所绘制的一幅绢本白描长卷， 曾收藏于美国华人收藏家王季迁手中，在其去世后失窃下落不明。\n该画作描绘了五方帝君中的三个帝君，去往朝谒天上的最高统治者时的队仗行列。\n画家以流利的长线条描绘此图，画中人物栩栩如生，表情生动，描画出了不同的人物的不同的身份与形态特征，成功地表现出帝君的庄严、神将的威武和仙女的丰姿，是白描人物画的代表作。\n《朝元仙仗图》描绘的是五方帝君中的东华帝君、南极大帝、扶桑大帝，前往朝谒“主持天界之祖”——元始天尊的队仗行列。\n《朝元仙仗图》中的行列应该是由八十八位神仙组成，但是图中缺了最后一位神仙。\n八十七位神仙共分为四种类型：三位帝君，八名武装神，十名男神仙，六十七名女仙，这些女仙中有玉女，也有金童，但都着女装。\n众仙神态从容衣带随风飘舞，徐徐行进于蜿蜒的廊桥之上。\n队列左端最前由仗剑披甲的天神开路，最右端以甲卒、金刚、神王、力士等殿后，气象雄威；后面是仙官、侍从和乐队，高举旗幡伞盖，手捧美食佳肴，吹奏丝竹管弦；三位帝君，华服盛装，头衬圆光，神态庄重，前后左右是金童玉女，画中各神仙身旁还有长方格，内写该神仙的尊号。\n个个神情娴淑恬淡，沉稳慈祥，俊美动人，衣履装束和发髻头饰，各尽其态；队伍最后又是文武仙官，衣饰容貌也都各有特色，画幅上面云雾飘渺，下方丛生莲花、香蒲，所有神仙列成长队，过桥穿路，浩浩荡荡而来，热闹又庄重，仿佛能听到众神仙衣衫窸窣、环佩相碰之声。\n武宗元的活动时期正值宋真宗赵桓在位（公元997年5月8日－122年月2日）。\n宋真宗崇奉道教，大兴土木建筑道院，在汴京（开封）所建“玉清昭应宫”，凡二千六百一十楹，制度十分宏丽，屋宇稍有不合程式的，就拆掉重盖，夜以继日，七年才完工。\n又作“会灵观”，规模略如玉清昭应宫，以首相王但为“昭应宫使”，次相王曾为“会灵观使”。\n全国各地纷纷盖道观、立官职，把年老退职侍从大臣都授予道教的官衔，给以俸禄。\n在统治者这样如醉如狂地提倡道教的运动中，产生了许多以画道释人物著名的壁画家，专为装饰宫观，《朝元仙仗图》便是武宗元在此时期为玉清昭应宫创作寺观壁画所绘制的小样。\n《朝元仙仗图》中的线条勾勒看起来奔放有力，实则从构图、人物安排、物象聚合到线条组织都显示出“平”和“匀”的特点。\n以主像东华天帝君为例，图中的颈部线条为三根大致平行的圆弧线，距离匀称、平均、平稳，与衣领的关系模糊不清。\n通天冠顶部的一组珠饰的七颗宝珠形象相同，似乎为同一形象之复制，平均分布且排成一条僵硬的直线，图中插入头发中以固定头冠的玉簪导没有传达出物体互为垂直面的意义，而是画成一个含糊的多边形。\n整体画面强调照应，又适当注意变化，先是对于复杂重叠的衣褶采用了“铁线描”的手法勾勒，画中线条严谨、简练、流畅，有的线长达几米。\n线条长垂流畅，飘飘欲举，如有风吹拂，生动地表达队列进行中的动感；而人物的面部和头发的线条又变得柔和，纤柔曼妙，如同游丝，与衣纹的铁线形成对比，既表现了不同质感，又使画面具有丰富的线条美。\n面部表情能用各种不同的线来表现，眉眼特别有神，皱眉肌的变化，以及眼与其他各部的关系处理得准确巧妙，从而使同样严肃的面孔上显示出各种不同的个性。\n该画作整体画面色彩单纯明朗，以石青石绿为主，衣冠宝盖大量运用沥粉贴金，总体色调既灿烂又沉厚。\n该画作中共绘制了身份、等级各不同的八十七位神仙，其中东华帝君、南极大帝头带冕冠，脑后衬以圆光，轮廓丰腴，气质雍容，在队伍中尤其显眼。\n而同为五方帝君之一的扶桑大帝整体则显得较为朴素，但神情庄严、不怒自威。\n护卫的武装神或披甲仗剑，或长袍执戟，有的表情淡漠直视前方，有的怒目圆睁环视四周，形象鲜明。\n而对于人物动态一致、倾向一致，服饰大致相似的仙官，则通过微小的转侧和顾盼加以区分，得到相互之间的呼应。\n整幅作品人物安排参差有致，神采飞动，人物神情各异，构图整齐而不呆板，组织繁复而不杂乱。\n该画作中所塑造的诸神，是现实世界各种英勇、强健、崇高、恢宏、安详、美丽、静淑等人类最美的外形和性格的体现。\n从中可以发现作者在人物塑造上的卓越才能，他通过每一个人物的衣饰动作和表情，表现出各人不同的内在品质。\n再加以仪仗、供品、烟云、花草等的气氛渲染，就构成一个庄严华丽的神仙境界——当时人类想象中的美好境界。\n在构图上作者善于从统一中求其变化，在处理繁复的画面时又能做到协调而不杂乱。\n准确而生动的用笔，富于节奏感的线条，随心所欲地把作者想要表达的美感表达了出来。\n这都是这幅作品的成功所在。\n《朝元仙仗图》称得上是线条运用达到登峰造极的代表作之一 ，这样的白描作品一直是历代人物画家学习的范本，无论是线条勾勒的技法，人物的造型特征，衣纹穿插的规律还是人物组织构图的方法，无处不值得人们在自己的创作中借鉴应用。\n远至宋代白描大家李公麟、元代的赵孟頫、明代的陈洪绶、清代的任伯年等，在他们的作品中都能找到《朝元仙仗图》的痕迹，流传至今的元代永乐宫壁画更是对《朝元仙仗图》的直接传承。\n当代人物画家更是把该图作为学习传统人物画的必修课，诸多优秀的工笔画家如李少文、何家英、高云、戴敦邦等的作品以及画家李伯安的作品巨幅长卷《 》在创作时也深受《朝元仙仗图》的启发，特别是众多人物排列行进的场面与《朝元仙仗图》更是如出一辙。\n两宋之际，《朝元仙仗图》归翟妆文收藏。\n翟汝文之后《朝元仙仗图》归张氏收藏，张氏名字的最后一字很难释读，故其事迹不可知。\n元代时期，《朝元仙仗图》归张君锡收藏。\n张君锡之后，《朝元仙仗图》转归杭人崔氏。\n明清时代《朝元仙仗图》数百年流藏于广东境内，曾藏于广东顺德卢氏。\n民国时期，《朝元仙仗图》流入市肆，为“颍川飞凫人”所得。\n不久之后，《朝元仙仗图》归广东收藏家罗原觉收藏，之后罗原觉将此画卖给李尚铭。\n李氏又将其抵押他人，后来于七七事件之前流往日本。\n建国之后，2世纪5年代《朝元仙仗图》被美国人候时泰买去，之后归王季迁收藏。\n25年，《朝元仙仗图》被王季迁后人托管于上海一家银行的保险箱，29年发现其真迹已被人掉包，至今下落不明。\n武宗元（公元994年—15年），初名宗道，字总之，河南白坡（今河南孟津）人，北宋时期画家。\n他家世业儒，以荫得太庙斋郎，官至虞曹外郎，宋真宗景德年间，建玉清昭应宫，征全国画师三千多人，选中者百余人，武宗元名列第一。\n中选百人分二部，宗元为左部之长。\n擅画道释人物，17岁时画洛阳北邙山上清宫壁画，被世人评为“惊绝”，也曾为开封、洛阳各寺观作大量壁画，史称他的作品“神彩活动如草书”。\n其作品中仅有《朝元仙仗图》流传后世。",[49,50,23,51,52,135,1284,58,59,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac7f35285bd62db636c782a85c5fb9d.jpg","纵44.3cm，横580cm",[199,242],395,{"id":1844,"slug":1845,"title":1846,"dynasty":146,"author":1847,"museum":175,"description":1848,"tags":1849,"thumbUrl":1850,"material":88,"size":1851,"collection":35,"collections":1852,"showCount":1853,"zanCount":743,"manualWeight":39,"mainColor":40},214583,"si-qing-tu-li-kan-214583","四清图","李衎","它原本是一个长卷，但在明朝中期被分成了两卷。此副是故宫博物院的部分，即后卷。兰、竹、石、梧被称为四清，比喻君子的高贵品格。虽然枝叶茂密，但笔触优雅简洁，墨色自然多变。",[49,50,23,51,52,26,119,7,54,55,358,700,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb3499d343c9e9aef13f39fb8034bcc7.jpg","35.6x359.8",[35],394,{"id":1855,"slug":1856,"title":1857,"dynasty":18,"author":45,"museum":81,"description":1858,"tags":1859,"thumbUrl":1861,"material":33,"size":1862,"collection":199,"collections":1863,"showCount":1864,"zanCount":625,"manualWeight":39,"mainColor":40},219374,"guan-shi-yin-pu-sa-chou-ying-219374","观世音菩萨","“观音大师踩一朵青色莲花，捧一柳，一盏水杯，从云端而来。他头上的皇冠离开了梨花佛的位置，但他没有画佛像，说明此作 这幅画卷的色彩明快、纯洁、淡雅，除了用细致的线条勾勒出轮廓外，脸部、手部和衣服也被晕染，表现出立体的效果。虽然有秋影（ 约1494-1552年）画中不过，这支卷轴笔和秋影的笔触与描绘的精细度，还是有相当大的差距，应该是后人冒用秋影之名的作品。",[50,23,51,84,1284,58,54,25,1207,7,1860],"饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7abb1842c0f8a808d878fbae1f0f0b1.jpg","纵104.2横52.5厘米",[199,72],393,{"id":1866,"slug":1867,"title":1868,"dynasty":115,"author":221,"museum":525,"description":1869,"tags":1870,"thumbUrl":1872,"material":152,"size":1873,"collection":35,"collections":1874,"showCount":1875,"zanCount":625,"manualWeight":39,"mainColor":75},218932,"you-hua-xiao-qin-tu-zhao-ji-218932","幽花小禽图","古绢底色如浸了岁月的茶褐，晕开一层幽淡气息。三丛菊花攒聚枝头，瓣瓣纤柔层叠，白蕊间泛着浅金，似把秋阳的暖融凝在花芯。枝叶以墨绿勾染，脉络纤细如丝，笔致细腻入微。一只小禽栖于枝侧，羽色褐棕相间，喙尖轻垂，仿佛正凝睇花叶，又似在聆听风过叶隙的轻响。鸟的灵动与花的静婉相映成趣，于静谧中暗涌着鲜活生机。整幅画工细却不板滞，色彩古雅而含清润，将宋人的审美意趣藏于方寸间——于细微处见天地，于幽花间蕴生机。",[50,23,51,54,25,27,529,1871,7],"禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5909a4d473eb21332f4d99779aadd870.jpg","22.5x26.6cm",[35],389,{"id":1877,"slug":1878,"title":1879,"dynasty":115,"author":1532,"museum":329,"description":1880,"tags":1881,"thumbUrl":1882,"material":1883,"size":1884,"collection":213,"collections":1885,"showCount":1886,"zanCount":455,"manualWeight":39,"mainColor":75},221289,"shu-se-ping-yuan-tu-guo-xi-221289","树色平远图","此画描绘了河流两岸树色平远的景色。画中点缀有拄杖的老人，携琴捧盒的仆夫，水面的小舟和飞翔的野凫，都渲染了浓郁的诗意。\n描绘的是一河流两岸树色平远的景色。 画中之景以河为界可分作前后两部分。前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n此图无款，卷后有元明诸家诗文题跋。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。\n《树色平远图》描绘的画面以平远布局，构景简洁，开阔而均衡，墨色浓淡变化丰富而微妙，所造之境具体真实。",[49,23,26,52,56,63,967,277,62,58,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cb64fc6272e7ddc0705cc497dea3417.jpg","绢本墨笔","纵32.4厘米，横104.8厘米",[213,70,242],387,{"id":1888,"slug":1889,"title":1890,"dynasty":130,"author":857,"museum":81,"description":1891,"tags":1892,"thumbUrl":1893,"material":634,"size":1894,"collection":122,"collections":1895,"showCount":1886,"zanCount":455,"manualWeight":39,"mainColor":40},221032,"kuai-xue-shi-qing-tie-wang-xi-zhi-221032","快雪时晴帖","《快雪时晴帖》共全文4行，28字。它是作为一封信札写就的，其内容是作者在大雪初晴时以愉快心情对亲朋友人的问候。其中或行或楷，或流而止，或止而流，富有独特的节奏韵律。其笔法圆劲古雅，无一笔掉以轻心，无一字不表现出意致的悠闲逸豫。即使偶尔重心忽左忽右，全局依然匀整安稳，不失平衡的美感。",[49,50,23,51,52,7,119,86,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c8116be7345d164d7d629112cd78e6.jpg","纵23cm，横14.8cm",[122,1120],{"id":1897,"slug":1898,"title":1899,"dynasty":146,"author":376,"museum":175,"description":1900,"tags":1901,"thumbUrl":1904,"material":391,"size":1905,"collection":70,"collections":1906,"showCount":1907,"zanCount":743,"manualWeight":39,"mainColor":40},220822,"ge-zhi-chuan-yi-ju-tu-wang-meng-220822","葛稚川移居图","元代道教盛行，表现道教题材的绘画作品为数众多，此图描绘的是晋代著名道士葛洪携家移居罗浮山修道的故事，截取了葛洪在移居路上的一段情景。\n画面以山水为主体，重山复岭，丹柯碧树，飞瀑溪潭，茅亭草舍，一派深秋山林佳境。全画构图繁复，但层次井然，飞瀑、山径引导观者的视线层层深入，使画面气脉贯通，虽满而不迫塞。图中山石纯用水墨，皴擦点染兼参，干湿浓淡互用，勾画缜密，而树木、人物、屋宇则施以赭石、藤黄、花青，设色沉稳浑厚，极富古雅的韵致。整个画面谨严、深秀，创造出一幅理想的隐居环境。\n王蒙与葛洪虽然年代相隔久远且身份迥异，但在许多方面却有着相同之处：二人皆出自名门，都欲入世作官，却均遭世弃，最终都选择了避世隐居。此图是反映王蒙避世隐居思想的最具代表性的作品。",[49,50,23,51,84,25,55,56,58,225,1115,60,61,610,1902,1903,727,7],"岩石","山路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1720976154baf26a78451dd84987d4a2.jpg","纵139厘米，横58厘米",[70,72],385,{"id":1909,"slug":1910,"title":1911,"dynasty":115,"author":1912,"museum":222,"description":1913,"tags":1914,"thumbUrl":1916,"material":152,"size":1917,"collection":35,"collections":1918,"showCount":1907,"zanCount":11,"manualWeight":39,"mainColor":75},216925,"han-ya-tu-li-cheng-216925","寒鸦图","李成","画卷图绘冬日雪后塘林木间群鸦翔集鸣噪的景象，在山水画中寓有深意。元代赵孟頫谓此图“林深雪积，寒气逼人，群乌翔集，有饥冻哀鸣之态，亦可谓能矣”，对其构思及技巧甚为推崇。此图描绘虽甚精致， 鉴赏家认为是南宋初年画院中的作品。",[49,50,23,51,52,26,55,967,137,66,1915,1050,56,277,7,86,119],"寒鸦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca99ea88715eb58baa22ab71da56e32d.jpg","纵27.1厘米 横113.2厘米",[35],{"id":1920,"slug":1921,"title":1922,"dynasty":115,"author":1923,"museum":81,"description":1924,"tags":1925,"thumbUrl":1926,"material":121,"size":1927,"collection":122,"collections":1928,"showCount":1929,"zanCount":625,"manualWeight":39,"mainColor":40},214341,"shu-qi-yan-lv-shi-tie-zhao-gou-214341","书七言律诗帖","赵构","释文：暮春三月巫峡长，皛皛行云浮日光。雷声忽送千峰雨， 花气浑如百和香。黄莺过水翻回去，燕子衔泥湿不妨。飞阁卷帘图画里，虚无只少对潇湘。赐亿年。宋高宗早年书法黄山谷，后改习二王，是幅字体均匀，结构图活，章法疏朗，乃高宗本色书法，原书后方有赵吴兴补图，惜为后人剪去。宋朝书家，崇尚意趣，往往轻率下笔，任意著墨，将晋唐端严书风大肆更变，有识之士有鉴于此，纷纷改弦易辙，回归传统，高宗亦是其中之功臣也。",[49,86,119,7,26,51,24,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6641a026cecbe41cd716299031cc973.jpg","27.1x48.7",[122],384,{"id":1931,"slug":1932,"title":1933,"dynasty":18,"author":161,"museum":642,"description":1934,"tags":1935,"thumbUrl":1940,"material":319,"size":1941,"collection":70,"collections":1942,"showCount":1943,"zanCount":1288,"manualWeight":39,"mainColor":40},222114,"zhang-li-yuan-tiao-tu-shen-zhou-222114","杖藜远眺图","为一幅充满诗意的小景之作。左下方的白云草草勾出，稍加淡墨渲染，便有徐缓飘荡之态。山石皱纹和林木屋宇，点画随意，干湿浓淡，浑然一体。远山则用整块淡墨。这样，近景见笔而实，远山见墨而虚。虚实结合，有空灵深远之感。画中人物登高杖藜眺望，意境引入青山尽头，白云深处。题识：“白云如带束山腰 ，石磴飞空细路遥。独倚杖藜舒眺望，欲因鸣涧答吹箫。",[49,23,26,56,59,150,1936,1937,58,1938,7,55,1939],"林木","白云","杖藜","登高","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4649d1d0c9eba3d025f8a50b75209cec.jpg","纵38厘米，横59厘米",[70,242],383,{"id":1945,"slug":1946,"title":1947,"dynasty":18,"author":1948,"museum":20,"description":1949,"tags":1950,"thumbUrl":1951,"material":152,"size":1952,"collection":35,"collections":1953,"showCount":1954,"zanCount":923,"manualWeight":39,"mainColor":40},218891,"bi-ye-xiu-yu-tu-zhou-wen-chu-218891","碧叶绣羽图轴","文俶","文俶（1594-1634），字端容，文徵明孙文从简之女，丈夫是其父的弟子赵灵均。天性明慧，善绘花鸟虫草，鲜妍生动。\n是图署款“辛未小春天水赵氏文俶画。”为崇祯四年（1631）作者37岁时的作品。",[50,23,51,84,54,25,27,29,332,265,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7ef736a39cccb63352eef972c85eb35.jpg","纵78.5厘米，横49.5厘米",[35],381,{"id":1956,"slug":1957,"title":1958,"dynasty":97,"author":1959,"museum":81,"description":1960,"tags":1961,"thumbUrl":1966,"material":152,"size":1967,"collection":199,"collections":1968,"showCount":1969,"zanCount":923,"manualWeight":39,"mainColor":40},216951,"zhong-qiu-jia-qing-tu-zhang-ting-yan-216951","中秋佳庆图","张廷彦","这幅画描绘了一个亭子，仆人们忙着送盒子里的食物，皇帝和皇后在露台上与大臣和音乐家们一起欣赏秋月。这幅画的风格似乎受到了明代宫廷绘画的启发，但笔触有些稀疏。",[50,23,1962,25,58,59,63,1963,7,1964,1965],"界画","露台","中秋赏月","宫廷佳庆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77a0e35fc35d7564a8cd3792e88ea71f.jpg","134.5x65.4",[199],377,{"id":1971,"slug":1972,"title":1973,"dynasty":97,"author":445,"museum":99,"description":1974,"tags":1975,"thumbUrl":1978,"material":107,"size":107,"collection":70,"collections":1979,"showCount":1980,"zanCount":11,"manualWeight":39,"mainColor":40},224509,"shan-shui-tu-ce-8-kai-shi-tao-224509","山水图册8开","此作以淡墨晕染江波，留白铺就浩渺水色，似将朝雾笼于纸面。近岸以枯笔皴擦岩壁，赭石敷色晕出沙汀暖意，苔点错落点缀野趣。两间山居素净朴拙，静立崖边，与斜渡的赭帆渔舟相映成趣，暗合江天悠悠的闲逸氛围。\n\n笔致松秀灵动，虚实相生，将阔远山水缩于尺幅之间，题诗与画境相融，尽抒寄情丘壑的隐逸襟怀，淡远清和的意绪漫溢纸面。",[49,23,51,24,26,25,55,56,62,1976,1597,150,64,1977,7],"帆船","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40fd268d38073e0d113ca5d35047fc17.jpg",[70,72],374,{"id":1982,"slug":1983,"title":1984,"dynasty":1037,"author":1985,"museum":99,"description":1986,"tags":1987,"thumbUrl":1991,"material":689,"size":690,"collection":107,"collections":1992,"showCount":1993,"zanCount":1288,"manualWeight":39,"mainColor":75},288331,"xie-sheng-zhen-qin-tu-huang-quan-288331","写生珍禽图","黄荃","图中画了鹡鸰、麻雀、鸠、龟、昆虫等动物二十余件，排列无序，但每一件动物都刻画得十分精确、细微，甚至从透视角度观之也无懈可击。",[49,50,23,52,54,25,27,66,1988,1989,1990,7],"禽鸟","昆虫","龟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb05a94c2863cccdf9561bc75fe1e17b4.jpg",[],371,{"id":1995,"slug":1996,"title":1997,"dynasty":97,"author":1998,"museum":81,"description":1999,"tags":2000,"thumbUrl":2004,"material":152,"size":2005,"collection":70,"collections":2006,"showCount":1993,"zanCount":1288,"manualWeight":39,"mainColor":40},214285,"fang-fan-kuan-shan-shui-tu-tang-dai-214285","仿范宽山水图","唐岱","唐岱（1779-1853）是清代著名的画家，他擅长仿范宽山水画，其作品被视为中国画史上的杰出代表作。\n\n唐岱的画风受到范宽的影响，他追求写实，注重山水造型的和谐美。他在画山水的同时，还注重人物的写实，将人物融入山水之中，使作品更加生动。\n\n唐岱的代表作有《山水图》、《松鹤楼图》、《赏鸟图》等。这些作品展现了他对山水的深刻理解和传统山水画的精湛技艺。他的作品常常被收藏家所喜爱，具有很高的收藏价值。",[50,23,51,84,25,56,55,134,7,2001,279,64,610,1902,2002,278,2003],"山峰","亭子","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3962d8e255212dd550a88ad89458204f.jpg","287.2x155.2",[70],{"id":2008,"slug":2009,"title":2010,"dynasty":146,"author":1644,"museum":175,"description":2011,"tags":2012,"thumbUrl":2013,"material":391,"size":2014,"collection":70,"collections":2015,"showCount":2016,"zanCount":581,"manualWeight":39,"mainColor":75},221710,"shan-ju-tu-qian-xuan-221710","山居图","卷尾作者自题：“山居惟爱静，日午掩柴门。寡合人多忌，无求道自尊。鷃鹏俱有志，兰艾不同根。安得蒙庄叟，相逢与细论。吴兴钱选舜举画并题。”钤“舜举印章”、“舜举”、“钱选之印”三方。卷后隔水有明人俞贞木、刘敏、周传等题记。\n作者以自己的隐居生活为题材创作此图。细劲柔韧的笔致勾勒出山石林木的轮廓，施青绿重彩，并以金粉点缀，画面绚丽清雅，富装饰意味，于工致精巧中又不失古拙秀逸之气，是钱选继承唐宋“金碧山水”画法并用以体现文人意兴的代表作。\n《庚子销夏记》著录。",[49,50,23,51,52,53,25,54,55,86,7,56,870,406,871,610,60,61,727,62,277,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb59edde58b928401f4e8dc20a01a633c.jpg","纵26.5厘米，横111.6厘米",[70,72],368,{"id":2018,"slug":2019,"title":2020,"dynasty":192,"author":1112,"museum":175,"description":2021,"tags":2022,"thumbUrl":2023,"material":391,"size":2024,"collection":107,"collections":2025,"showCount":2026,"zanCount":395,"manualWeight":39,"mainColor":924},232938,"wu-niu-tu-juan-han-huang-232938","五牛图卷","本图无作者款印，本幅及尾纸上有赵孟頫、孙弘、项元汴、弘历、金农等十四家题记。\n《五牛图》是目前所见最早作于纸上的绘画，纸质为麻料，具有唐代纸张的特点。图画五牛，形象不一，姿态各异，或行或立，或俯首，或昂头，动态十足。其中一牛完全画成正面，视角独特，显示出作者高超的造型能力。作者以简洁的线条勾勒出牛的骨骼转折，筋肉缠裹，笔法老练流畅，线条富有力度和精确的艺术表现力。牛头部与口鼻处的根根细毛，更是笔笔入微。每头牛皆目光炯炯，作者通过对眼神的着力刻画，将牛既温顺又倔强的性格表现得极为传神。作品完全以牛为表现对象，无背景衬托，造型准确生动，设色清淡古朴，浓淡渲染有别，画面层次丰富，达到了形神兼备之境界。以牛入画是中国古代绘画的传统题材之一，体现了农业古国以农为本的主导思想。韩滉任职宰相期间，注重农业发展，此图可能含有鼓励农耕的意义。《五牛图》是其作品的传世孤本，也是为数寥寥的几件唐代纸绢绘画真迹之一，因此不论其艺术成就还是历史价值都备受世人关注。",[23,51,52,25,54,1115,1116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51331287195c83fe7996d6c65918e66c.jpg","纵20.8厘米，横139.8厘米",[],364,{"id":2028,"slug":2029,"title":2030,"dynasty":192,"author":2031,"museum":81,"description":2032,"tags":2033,"thumbUrl":2034,"material":11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Museum of Art at 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青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[49,50,23,84,53,25,56,60,61,137,150,58,2142,86,7],"古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff872528bc3534a2d31e5560b7703b289.jpg",[],340,{"id":2147,"slug":2148,"title":2149,"dynasty":97,"author":248,"museum":99,"description":473,"tags":2150,"thumbUrl":2153,"material":107,"size":477,"collection":107,"collections":2154,"showCount":2145,"zanCount":923,"manualWeight":39,"mainColor":40},233896,"hua-hui-ce-yun-shou-ping-233896","花卉册",[23,51,50,24,25,264,27,2151,2152,7,86,119],"绣球花","叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1de138b415462f9c2198e7b482bf75a8.jpg",[],{"id":2156,"slug":2157,"title":2158,"dynasty":97,"author":1082,"museum":175,"description":2159,"tags":2160,"thumbUrl":2162,"material":668,"size":2163,"collection":107,"collections":2164,"showCount":2165,"zanCount":39,"manualWeight":39,"mainColor":40},233829,"he-shi-shui-niao-tu-zhou-zhu-da-233829","荷石水鸟图轴","图绘荷叶下一只水鸟栖于孤石上，形成全图之焦点。水鸟形状独特，单足独立，神态凄凉，它似在休憩，更似在冷眼观望这冰凉的世界。作者孤寂凄凉的处境、强烈的反清复明思想，以及面对清廷统治日益稳固而无可奈何的心境，或多或少地呈现于作品之中。",[23,26,84,27,277,420,2161,137,7],"水鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea60eb12ec5354ccf0a9bdd707a4d098.jpg","纵127厘米，横46厘米",[],336,{"id":2167,"slug":2168,"title":2169,"dynasty":18,"author":459,"museum":175,"description":2170,"tags":2171,"thumbUrl":2174,"material":319,"size":2175,"collection":199,"collections":2176,"showCount":2165,"zanCount":11,"manualWeight":39,"mainColor":40},222239,"huang-jia-tu-zhou-xu-wei-222239","黄甲图轴","该图绘肥阔的荷叶已开始凋零，一只螃蟹缓缓爬行，留出大片空白表现秋水。构图简洁洗练，布局清新奇巧。\n图绘肥阔的荷叶已开始凋零，一只螃蟹缓缓爬行，留出大片空白表现秋水。构图简洁洗练，布局清新奇巧。\n画上自题诗曰：“兀然有物气豪粗，莫问年来珠有无。养就孤标人不识，时来黄甲独传胪。”诗意幽默。这幅画也有在讽刺进士甲科的意味，是藉着螃蟹粗鲁横行的形象，来嘲讽那些胸无点墨、世人不耻，但却能依靠关系或金钱金榜题名的人。\n图中的水墨加入了适量的胶，以避免水墨渗散，恰是此图的特色所在。图中以墨色画荷叶，画蟹则寥寥数笔，看似草草为之，实则浓、淡、枯、湿、勾、抹、点多种笔法参用，形状虽夸张，却饶有笔情墨趣。徐渭用奔放的笔墨勾画出螃蟹爬行的姿态以及荷叶疏落的秋天气氛。螃蟹的造型虽然简单，但却是许多笔法一起用才画出来的，不管是形状、质感甚至神态都相当生动。",[49,50,23,51,84,26,2172,27,102,2173,7,86,119],"大写意","螃蟹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ca3a19b3c408805bb700eca1b9e478.jpg","114.6cm 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29.7cm",[199,242],{"id":2178,"slug":2179,"title":2180,"dynasty":18,"author":2181,"museum":20,"description":2182,"tags":2183,"thumbUrl":2185,"material":33,"size":107,"collection":70,"collections":2186,"showCount":2187,"zanCount":625,"manualWeight":39,"mainColor":40},214656,"qiu-xing-ba-jing-tu-ce-dong-qi-chang-214656","秋兴八景图册","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。",[23,51,24,25,55,119,86,7,56,870,406,871,700,279,751,2184,64],"近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffefa769413df82271d17a82b2ee80653.jpg",[70],333,{"id":2189,"slug":2190,"title":2191,"dynasty":115,"author":207,"museum":2192,"description":2193,"tags":2194,"thumbUrl":2195,"material":88,"size":2196,"collection":199,"collections":2197,"showCount":2198,"zanCount":625,"manualWeight":39,"mainColor":40},214982,"dao-zi-mo-bao-ren-wu-bai-miao-hua-yi-ming-214982","道子墨宝人物白描画","美国克利夫兰艺术博物馆","《道子墨宝》原作是一套古代民间画工制作道教壁画的白描画稿。画稿分三部分，第一部分描绘的是诸神朝谒；第二部分是阴曹地府中审判“罪犯”的景象，既所谓的“地狱变相图”；第三部分为搜山图。画稿伪托唐代画圣吴道子作，但从画稿的内容和画中人物的服饰等细节可以断定它不可能是唐代的作品。这套册页原无题，多达五十开的册页，每幅原作右上部位都有用白粉写的简化字符编号，表示一至五十，显然是民间画师用的稿本。",[49,23,51,50,135,1962,58,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe874f90d9aa8cd68cb8fc118529bd192.jpg","34.2*38.4",[199],332,{"id":2200,"slug":2201,"title":2202,"dynasty":146,"author":1303,"museum":175,"description":2203,"tags":2204,"thumbUrl":2206,"material":319,"size":2207,"collection":70,"collections":2208,"showCount":2209,"zanCount":625,"manualWeight":39,"mainColor":40},220803,"qiu-ting-jia-shu-tu-ni-zan-220803","秋亭嘉树图","图中绘平坡远岫，草亭嘉树，广阔的江面上露出汀渚一角，反映了作者人画俱老，淡泊自守的情怀。画面取三段式构图，用笔尖峭秀逸，树干皆双勾，稍事皴染，树叶点法富于变化。墨色较为干淡，仅以浓墨点苔，提出精神，为沉寂的画面融入了些许生气。\n此画写的是江南山川景致一隅。平远山水，近处溪边、山石和坡岸：在崎岖不平的山石间长有二株树木，二株为点叶树，一株为长叶树，树干挺拔，枝叶直上，树叶萧疏、水边山坡的平地处筑有一草亭，草亭矮小，空无一人。草亭右侧有几株翠竹，枝叶茂密，将草亭右角遮掩。中间一宽水面，湖光波色，一片空旷；远处有浮现于湖面上的一片沙碛，伸向湖面；再远处为崇山，屹立于远处的湖面上，与近处的山石坡陀遥相呼应。\n该卷上诗塘有吴宽、朱果二家题记。\n画中自题“七月六日雨，宿云岫翁幽居，文伯贤良以此纸索画，因写秋亭嘉树图并诗以赠。风雨萧条晚作凉，两株嘉树近当窗。结庐人境无来辙，寓迹醉乡真乐邦。南渚残云宿虚牖，西山青影落秋江。临流染翰摹幽意，忽有冲烟白鹤双。瓒。”",[49,23,2205,712,84,55,119,7,86,871,63,85,150,61],"水墨画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fd8caa50f033dc8d0a2ed6d6f039610.jpg","纵：114cm，横：34.3cm",[70,242],329,{"id":2211,"slug":2212,"title":2213,"dynasty":97,"author":1082,"museum":20,"description":2214,"tags":2215,"thumbUrl":2216,"material":88,"size":2217,"collection":35,"collections":2218,"showCount":2219,"zanCount":1288,"manualWeight":39,"mainColor":40},218897,"hu-shi-shuang-niao-tu-zhou-zhu-da-218897","湖石双鸟图轴","此画中湖石的勾勒简洁，寥寥几笔圆转的皴法，显出灵动之势。石尖和石旁坡地上各蹲立一只小鸟，给画面平添一股生气。小鸟缩头弓背的形态，流溢出嘲讽的神气。作者用饱满的软毫，中锋运转，笔笔藏锋，圆浑含蓄。全图形体简约而寓意深晦，有很强的形式感。在创作上他取法自然，笔墨简练，大气磅礴，独具新意，创造了高旷纵横的风格。",[23,51,84,26,277,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0533c58e6d213b70b15fc5e48b8b42a2.jpg","纵136厘米，横48.7厘米",[35],328,{"id":2221,"slug":2222,"title":2223,"dynasty":192,"author":1614,"museum":175,"description":2224,"tags":2225,"thumbUrl":2227,"material":319,"size":2228,"collection":122,"collections":2229,"showCount":2230,"zanCount":1288,"manualWeight":39,"mainColor":1441},214423,"da-tang-zhong-xing-song-shang-ce-yan-zhen-qing-214423","大唐中兴颂上册","由唐朝袁杰撰写，颜真卿执笔。771年6月，安禄山叛军被打败后，刻在湖南祁阳无锡河的岩壁上。左侧为素书题字，21行21字，后为黄鲁直题字，11行26-28字。铭文分两卷，共166页，每卷都是用黑色墨水在麻纸上题写的。这是第一卷。",[86,417,2226,7],"拓本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64d0b8cf62ec43954df79bc727074ca7.jpg","29.3x15.5",[122],327,{"id":2232,"slug":2233,"title":2234,"dynasty":192,"author":2235,"museum":20,"description":2236,"tags":2237,"thumbUrl":2238,"material":239,"size":2239,"collection":199,"collections":2240,"showCount":2241,"zanCount":455,"manualWeight":39,"mainColor":75},221083,"gao-yi-tu-sun-wei-221083","高逸图","孙位","《高逸图》是孙位唯一存世的作品，也为目前屈指可数的几件唐代作品之一。画中表现的是魏晋时期著名的“竹林七贤”，目前画面仅剩四人，经考证是山涛、王戎、刘伶与阮籍。在技法上，孙位继承了顾恺之“劲紧连绵如吐丝”的行云流水的风格，但更加成熟。线条的变化更丰富，人物造型刻画更真实细致。《高逸图》著录于宋徽宗的《宣和画谱》里，画上钤印“宣和七玺”。作品的装裱保留了北宋的形式。",[49,23,51,52,25,58,277,610,54,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb83ff393ed82ede490cdbdd60bca7d62.jpg","纵45.2厘米，横168.7厘米",[199,72],326,{"id":2243,"slug":2244,"title":444,"dynasty":97,"author":1082,"museum":525,"description":2245,"tags":2246,"thumbUrl":2248,"material":33,"size":107,"collection":70,"collections":2249,"showCount":2250,"zanCount":1288,"manualWeight":39,"mainColor":40},214378,"shan-shui-tu-ce-zhu-da-214378","淡墨晕染的峰峦轻笼烟岚，留白处叠嶂隐现，似有无尽山光水色在虚空中流淌。枯树虬枝以简笔皴擦，苍劲中藏着萧瑟，山间屋舍疏落，人迹杳然却余温尚存。平阔水面上，几叶扁舟静泊，墨色浓淡交织出天地的空寂。笔意简括却含沉郁，每一道线条都似历经沧桑后的沉吟，留白非空，是故国之思的寄寓，亦是灵魂超脱的栖所。简淡山水间，铺展着一段沉默却滚烫的孤怀，让观者于静谧中触碰到那份跨越时空的寂寥与旷达。",[49,23,26,24,55,7,56,150,967,2247,62,727],"水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f92853a53a5d93e0de8367effdc8b91.jpg",[70],324,{"id":2252,"slug":2253,"title":2254,"dynasty":97,"author":736,"museum":175,"description":2255,"tags":2256,"thumbUrl":2258,"material":152,"size":2259,"collection":35,"collections":2260,"showCount":2261,"zanCount":455,"manualWeight":39,"mainColor":40},219111,"hua-niao-tu-lang-shi-ning-219111","花鸟图","此图笔法精工细腻，色调绚丽多彩，造型抽象生动，注重展现禽鸟翎毛的细腻、花叶的阴阳向背以及明暗层次的差异，具有鲜明的西洋花鸟写实画的色调。",[49,54,25,7,27,308,29,137,2257,28,30],"蘑菇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43bf0edaaa3f25a2c4a60fa09e4aa741.jpg","纵63.7厘米，横32.3厘米",[35],323,{"id":2263,"slug":2264,"title":2265,"dynasty":146,"author":431,"museum":175,"description":2266,"tags":2267,"thumbUrl":2268,"material":319,"size":2269,"collection":242,"collections":2270,"showCount":2271,"zanCount":395,"manualWeight":39,"mainColor":924},220865,"xiu-shi-shu-lin-tu-zhao-meng-fu-220865","秀石疏林图","赵孟頫绘竹石，强调“以书法入画”，此幅绘古木新篁生于平坡秀石之间，以飞白法画石，以篆书法绘树，纯用水墨表现，是其“书画同源”之理论在绘画实践中的具体体现，也是元代文人画最有代表性的作品之一。\n尾纸自题七言绝句：“石如飞白木如籀，写竹还于八法通。若也有人能会此，方知书画本来同。” 这是赵孟頫关于绘画与书法笔墨相通之理论的名句，对后世文人画的影响至深。",[49,23,51,26,277,137,358,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80a72737a59228d852dc208411a0e28d.jpg","纵27.5cm，横62.8cm",[242,921],322,{"id":2273,"slug":2274,"title":2275,"dynasty":115,"author":207,"museum":175,"description":2276,"tags":2277,"thumbUrl":2279,"material":26,"size":107,"collection":213,"collections":2280,"showCount":2271,"zanCount":1288,"manualWeight":39,"mainColor":924},214846,"lu-tong-peng-cha-tu-yi-ming-214846","卢仝烹茶图","卢仝烹茶图是一幅宋代的佚名画家的作品。它是一幅木板设色的水墨画，画面上描绘了卢仝品茶的场景。卢仝是一位著名的宋代文学家，也是一位品茶爱好者。在这幅画中，他正在品茶时，周围的人们也都在品茶。这幅画展现了宋代品茶文化的精髓，充满了浓浓的文化气息。\n\n卢仝烹茶图是一幅很有名的宋代水墨画，因为它出色地展现了宋代品茶文化的精髓。品茶是中国古代的一种传统文化，它的历史可以追溯到公元前三世纪。品茶不仅是一种消遣，更是一种品味生活的方式。它融合了中国传统的艺术、文化、哲学和美学思想，对中国的文化形成了深远的影响。\n\n在这幅画中，卢仝坐在一张桌子前，手持茶杯，正在品茶。周围的人们也都在品茶，气氛非常融洽。画面中还有许多细节，如茶壶、茶杯、茶几等，都反映了宋代品茶文化的特点。\n\n这幅画的画风精细，线条流畅，色彩鲜艳。它体现了宋代画家的高超技巧和精湛的艺术修养。这幅画不仅是一件艺术品，也是中国传统文化的瑰宝。",[49,23,51,26,25,54,135,55,86,7,58,727,64,150,2278,181],"茶具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2d777192da391bf2696d0105e63bf54.jpg",[213],{"id":2282,"slug":2283,"title":2284,"dynasty":97,"author":1180,"museum":175,"description":2285,"tags":2286,"thumbUrl":2287,"material":391,"size":2288,"collection":35,"collections":2289,"showCount":2290,"zanCount":1288,"manualWeight":39,"mainColor":40},224219,"sui-chao-qing-gong-tu-wu-chang-shuo-224219","岁朝清供图","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。",[49,23,51,84,25,26,119,7,403,27,528,488,277,1183,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60ee9f04eb4937057270e254c03e2aa.jpg","纵151.6厘米，横80.7厘米",[35,72],321,{"id":2292,"slug":2293,"title":2294,"dynasty":130,"author":857,"museum":99,"description":2295,"tags":2296,"thumbUrl":2297,"material":689,"size":690,"collection":107,"collections":2298,"showCount":2299,"zanCount":625,"manualWeight":39,"mainColor":40},283697,"feng-cheng-su-mo-lan-ting-xu-quan-juan-shen-long-ben-wang-xi-zhi-283697","冯承素摹兰亭序全卷（神龙本）","王羲之（303年—361年），字逸少，琅琊临沂（今山东省临沂市）人。东晋大臣、书法家，丹阳尹王旷的儿子，太尉郗鉴的女婿，有“书圣”之称。\n凭借门荫入仕，历任秘书郎、江州刺史、会稽太守，累迁右军将军，人称“王右军”。永和九年（353年），组织兰亭雅集。撰写的《兰亭序》，成为“天下第一行书”。永和十一年（355年），称病弃官，迁居于绍兴金庭。升平五年（361年）去世，安葬于瀑布山。\n善于书法，兼善隶、草、楷、行各体，精研体势，心摹手追，广采众长，备精诸体，冶于一炉，摆脱汉魏笔风，自成一家，影响深远。风格平和自然，笔势委婉含蓄，遒美健秀。在书法史上，与钟繇并称钟王，与其子王献之合称“二王”。李志敏评价：“王羲之的书法既表现以老庄哲学为基础的简淡玄远，又表现以儒家的中庸之道为基础的冲和。”",[49,50,51,86,52,119,134,418,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc26cdba5ef638e960a7c1fa4d917fa25.jpg",[],320,{"id":2301,"slug":2302,"title":573,"dynasty":97,"author":1180,"museum":99,"description":2303,"tags":2304,"thumbUrl":2305,"material":25,"size":107,"collection":35,"collections":2306,"showCount":2299,"zanCount":1288,"manualWeight":39,"mainColor":2307},224225,"mu-dan-tu-wu-chang-shuo-224225","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。",[49,50,23,51,84,25,26,27,308,119,7,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb324477af74ed2e0e3b9bd525ad134c3.jpg",[35,72],"FFFFFF",{"id":2309,"slug":2310,"title":2311,"dynasty":192,"author":2312,"museum":175,"description":2313,"tags":2314,"thumbUrl":2315,"material":319,"size":2316,"collection":122,"collections":2317,"showCount":2299,"zanCount":11,"manualWeight":39,"mainColor":40},221138,"shang-yang-tai-tie-li-bai-221138","上阳台帖","李白","《上阳台帖》是唐代诗人、书法家 于天宝三年（744年）创作的纸本墨迹草书书法作品，现收藏于 。\n《上阳台帖》为李白自书其四言诗，共25字，既概括了王屋山高耸峻拔之势和源远流长之水，亦通过赞颂 的作品，抒发了作者对其的仰慕之情。\n全卷苍劲雄浑而又气势飘逸，用笔纵放自如，快健流畅，法度不拘一格，一如李白豪放、俊逸的诗风。\n全贴结体亦参差跌宕，顾盼有情，奇趣无穷。\n《上阳台帖》为李白书自咏四言诗，是李白唯一传世的书法真迹，亦是国家一级文物中的“国宝”，被称为“一级甲”。\n山高水长，物象千万，非有老笔，清壮可穷。\n十八日，上阳台书，太白。\n引首为 题“青莲逸翰”四个大字，帖前隔水上有徽宗瘦金书题签“唐李太白上阳台”七字。\n卷前后及隔水上钤有宋赵孟坚“子固”、“彝斋”、贾似道“秋壑图书”，元“张晏私印”、“欧阳玄印”以及明项元汴，清梁清标、安岐、清内府，近代张伯驹等鉴藏印。\n后纸有宋代徽宗，元代张晏、杜本、欧阳玄、王馀庆、 、驺鲁，清代乾隆皇帝题跋和观款。\n宋徽宗 跋文为：“太白尝作行书乘兴踏月，西入酒家，不觉人物两忘，身在世外一帖，字画飘逸，豪气雄健，乃知白不特以诗鸣也。\n” 元代 跋曰：“谪仙书传世绝少，尝云：欧、虞、褚、陆真奴书耳。\n自以流出于胸中，非若他人积习可到。\n观其飘飘然有凌云之态，高出尘寰得物外之妙。\n尝遍观晋唐法帖，而忽展此书，不觉令人清爽。\n” 元代书法家 题诗云：“唐家公子锦袍仙，文采风流六百年。\n不见屋梁明月色，空余翰墨化云烟。\n” 唐代是中国书法草书体发展的一个巅峰。\n初唐时期，太宗李世民即大力倡导学习王羲之，并带头习王，开清新活泼书风，也从此奠定王羲之书圣之地位。\n而后有孙过庭、李怀琳等草书大家，源于二王，又有创新，笔法丰富而多变，发展完善了二王草书的技法系统。\n及至盛唐时期，那更是对草书尊崇有加，皇宫内府，大臣公侯，士大夫及有文化一族，谁都能挥洒几笔草体，可谓大唐草书之盛世。\n李白亦是在当时涉草并取得一定成就之士。\n其草书来自张旭一脉，且风格飘然有仙气。\n李白于开元十二年（724年）出蜀游三峡，至江陵遇道士 ，得到司马承祯赞赏。\n后唐玄宗命司马承祯王屋山建立道观，并题写匾额。\n而司马承祯不仅道术精深，而且诗、书、画皆有极高造诣，擅长山水画。\n天宝三年（744年），李白与杜甫、高适同游 ，并来此寻访司马承祯，待到达阳台宫后，方知司马承祯已经仙逝。\n不见其人，惟睹其画，故有感而书《上阳台帖》。\n《上阳台帖》其点画如行走在云烟之中，大有收天下于一纸的旷达情怀。\n书法作品作为心理节奏和性格的折射，《上阳台帖》中的每一个墨点、每一根线条都很自然地渗透着李白的这种性格，表现了李白官场绝望后的一种清壮沉雄、自然放达，正如作品中所书：“非有老笔，清壮可穷”，其性情表现得淋漓尽致。\n《上阳台帖》书法苍劲雄浑，气势飘逸，落天纵，笔力劲健，收笔处一放开锋，用笔纵放自如，快健流畅，其用笔于苍劲中见挺秀，意态万千，是《李白墓碑》中所称的“思高笔逸”的真实写照。\n《上阳台帖》其字宽博开张，稚拙而又放逸，其结体亦参差跌宕，顾盼有情，奇趣无穷。\n纵观全帖二十五字，字的长短大小悬殊，“山、水、千、非、有、壮、十八日、上、书、太白”都十分短促，而“高、万、老、笔、清、台”则一字顶俩、顶仨。\n这是很难安排的，作者是靠结构的奇特来显示生的，如“十八日上”四字，有平整欹侧，有仰盼跌宕，笔短而意长。\n而字长者，作者并不将其压缩，而是任其舒展，特别豁达的是“老”字与“台”字，两个撇如逞雄使气一般地挥下，成了此篇最为雄肆的笔触；“何穷”二字则亦收亦放，波澜层叠、浑然一体。\n《上阳台帖》全篇共有草书五行，其章法大小错落，通幅跳跃动荡，浑朴饱满且又天真烂漫，给人以雄壮辽阔、气象不凡之感。\n雄壮辽阔在于用笔的粗犷沉着，笔笔水分充足饱满。\n书写时又缓缓推进，笔笔送到。\n整个作品幅式很小，却体现了一种苍茫、浑厚之感，文中大字小字、小字大字相互交错，真如前人所说“如老翁携幼孙行，长短参差，而情意真挚，痛痒相关”。\n《上阳台帖》写得跌宕起伏，错落有致，如大江大河，突兀而至；如山石崩绝，凌空而来。\n看似漫不经心，随意所书，实则格律森严，神形逸荡。\n“山高”两字，犹如空中坠石，体现出一种险疾之势。\n“非有老笔”四字中的“非”字写得扁而放纵，“有”字则写得小而含蓄，“老”字突然沉笔挥洒，放胆伸毫，将上述诸字轻轻托了起来。\n再如“情”字和“台”字，看似结构并不平稳，似有摇摇欲坠之状，然而，正是在看似颠簸之中营造出的稳健才有韵味。\n“情”字重心略有倾斜，最后一点又恰到好处地把险势拉了回来，真是令人叫绝。\n“台”字的一横同样也起到了这种于险疾中求平整的作。\n整幅作品就像李白的诗歌一样，是跳跃的、非常态的，但又充满了激情，充满了迈，与“黄河之水天上来，奔流到海不复回”的意境相似。\n同时，《上阳台帖》是内容与形式的统一。\n就内容说，令人朗朗上口：“山高水长，物象千万，非有老笔，清壮可穷”，一派苍茫大气，而形式也极相辅。\n明代董其昌《画禅室随笔》：“如凤翥鸾翔，似奇反正。\n” 故宫博物院研究员 ：“太白以诗文青史第一行世，不特书法。\n白此帖中，唯质成文，援笔墨中锋引带，驭锋直冲拔真气，点承暗筑运斤风，沉着痛处，出者进也，纵勒驰掣间：煌煌然，若熔出冶，随地流走，真大德曰生也。\n” 现代书画家、文物鉴定家 ：“此帖有李白名款，有宋徽宗亲题签和跋，用笔不循故常，天马行空，吻合于李白诗风豪迈不覊，宜为太白真迹。\n” 《上阳台帖》为李白书自咏四言诗，是李白唯一传世的书法真迹，亦是国家一级文物中的“国宝”，被称为“一级甲”。\n李白留有诗歌九百多首，豪迈奔放，别具一格。\n而其书法则是其诗歌流传的重要载体，亦其诗歌重要的流传途径。\n由其亲笔抄写，且现存下来的《上阳台帖》更是弥足珍贵。\n抚摩观之，诗如其人，书亦如其人也。\n故《上阳台帖》对于李白及其诗的艺术特质和渊源的把握意义重大。\n《上阳台帖》北宋时曾入宣和内府，后归 ，元代经 处，明藏 天籁阁。\n清代先为 所得，再入内府，清末流出宫外，民国时入张伯驹手。\n新中国成立后，张伯驹将《上阳台帖》赠给毛泽东。\n1958年，毛泽东自己立下规矩，党和国家领导人所收礼品一律缴公，所以，这件《上阳台帖》即被送到北京故宫博物院，转交故宫博物院，后一直为其所收藏。\n《上阳台帖》在清代顾复《平生壮观》、清内府《石渠宝笈》、 《墨缘汇观》、 《吴式书画记》等处均有著录。\n29年9月日—11月1日，北京故宫为庆祝建国6周年而推出“故宫藏历代书画展”第六期，《上阳台帖》为展览精品之一。\n218年4月2日—5月6日，在北京故宫武英殿举办的“予所收蓄·永存吾土——张伯驹先生诞辰12周年纪念展”上，《上阳台帖》作为精品之一展出。\n李白（71－762年），字太白，号青莲居士，唐朝诗人，有“诗仙”之称。\n汉族，出生于剑南道之绵州（今四川绵阳江油市青莲乡），一说生于西域碎叶城（今吉尔吉斯斯坦托克马克）。\n存世诗文千余篇，代表作有《蜀道难》、《将进酒》等诗篇，有《李太白集》传世。\n亦工于书法，有《上阳台帖》传世。",[49,51,86,119,7,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba9563a2fc3f539952c7388c4fd79fdb.jpg","纵28.5cm，横38.1cm",[122],{"id":2319,"slug":2320,"title":2321,"dynasty":97,"author":2322,"museum":329,"description":2323,"tags":2324,"thumbUrl":2325,"material":33,"size":2326,"collection":107,"collections":2327,"showCount":2328,"zanCount":1288,"manualWeight":39,"mainColor":40},216252,"jing-fu-si-qi-dong-jing-tu-6-qian-wei-cheng-216252","景敷四气冬景图-6","钱维城","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n不妨叶面擎微雪，雅称花心射晓晖。独恨品题遗陆羽，仍慙色相号杨妃。钤印：会心不远、徳充符",[23,51,54,25,7,27,344,265,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e691047e218ba377e5b36caab22cef1.jpg","21.9 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59.5公分，收藏于台北故宫博物院。",[49,23,51,84,26,56,777,58,61,150,379,55,7,86,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4fd7019bd476433d407aa9e87390ada.jpg","107.4x32.6",[70,72],{"id":2595,"slug":2596,"title":2597,"dynasty":130,"author":857,"museum":2598,"description":2599,"tags":2600,"thumbUrl":2602,"material":319,"size":2603,"collection":122,"collections":2604,"showCount":2584,"zanCount":923,"manualWeight":39,"mainColor":40},220404,"xin-tai-ping-ben-huang-ting-jing-wang-xi-zhi-220404","心太平本黄庭经","日本五岛美术馆","右军刻本的经典(此本传为赵孟頫藏宋拓本)，不知何时流入日本并归宇野雪村藏，开篇是“上有黄庭下关元，后有幽阙前命门”，此帖刻工亦极精，末署“永和十二年五月廿四日五山阴县写”，让自己感兴趣的还在于此帖后的题跋，有元代方方壶以隶书所题的“元至正二年春仲上清道士方方壶识”，又有“道门硕儒之称”的无为道人(张宇初)所题：“右黄庭经一帖。尝闻之前辈在元盛时吾山所藏。迨八十余本。于中此本最为精善。或传为松雪斋本也。而兵后并皆散逸。惟此本方壶翁独能宝之。未常示人。先父冲虚公用力求之数载方得。将以为家宝。今观其笔势神化。诚非他帖可比。恐后来者不知所自暇因识之。岁洪武已末仲夏嗣四十三代天师无为书于方廉斋。”后则继有明代陈继儒、董其昌再题，董其昌的记有“黄庭俱七字成文，右军首书四言，惟此贴独异……又昔人论右军黄庭，尚存锺法，今他本不似元常结构，似钟惟此本，余在长安闻此帖有年，曾游新安访之，乃南羽从留都购得，信希世之珍，墨池为放光。”——董其昌的惊喜是有道理的，同样是小楷，此帖与《乐毅论》相比，法严气逸，雍容和雅，有隶意，古韵足，这也正是思翁所云“尚存锺法”的原因吧。",[49,86,417,418,52,319,7,436,2601,134],"典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bed687f6100a9b9df30c7becc6428d8.jpg","25.4x100厘米",[122],{"id":2606,"slug":2607,"title":2608,"dynasty":97,"author":445,"museum":222,"description":2609,"tags":2610,"thumbUrl":2612,"material":88,"size":2613,"collection":70,"collections":2614,"showCount":2615,"zanCount":11,"manualWeight":39,"mainColor":75},220256,"gu-mu-chui-yin-tu-shi-tao-220256","古木垂阴图","近景层岩嶙峋，树木丰茂，山径曲折，楼阁深藏，远山挺拔峭立，云烟缭绕。用笔皴法多变，赋色雅淡。右上角有作者长题，石涛（公元1640~？），亦署大涤子、苦瓜和尚等，明宗室后裔，俗名朱若极，清亡后削发为僧。善画山水，为清初四画僧之一。",[49,23,51,84,26,55,56,2611,150,61,279,63,64,277,7],"古木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd206f53b4e26c9e4a001ab119062d2e.jpg","纵175,横50.7cm",[70],273,{"id":2617,"slug":2618,"title":2619,"dynasty":18,"author":607,"museum":81,"description":2620,"tags":2621,"thumbUrl":2622,"material":88,"size":2623,"collection":122,"collections":2624,"showCount":2615,"zanCount":395,"manualWeight":39,"mainColor":40},214381,"zui-weng-ting-ji-wen-zheng-ming-214381","醉翁亭记","这是一本非常精美的欧阳修的小楷《醉翁亭记》，写于82岁，后面有一个长长的后记，解释了他用王羲之的风格做这个小楷的原因。是其传世小楷之极品，笔触有力、扎实、精致。",[417,434,86,418,7,63,945],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3961e4e010b11405c3cabb48ce358a18.jpg","28.6x53.5",[122],{"id":2626,"slug":2627,"title":2628,"dynasty":18,"author":1014,"museum":81,"description":2629,"tags":2630,"thumbUrl":2632,"material":33,"size":2633,"collection":72,"collections":2634,"showCount":2635,"zanCount":625,"manualWeight":39,"mainColor":40},219330,"hua-ji-zhen-ji-zhou-tang-yin-219330","画鸡真迹轴","石上雄鸡昂首而立，羽色斑斓间透着昂然气度，恰应题中“血染红冠锦满身”之态。旁侧菊丛竞艳，红英灼灼如霞，黄蕊灿灿似金，白瓣皎皎若雪，枝叶扶疏间衬以修竹数竿，清逸之韵自生。双蝶翩跹于花间，翅影轻摇，为静景添灵动生机。整幅画作工写相济，设色淡雅却层次分明，禽鸟花卉皆形神兼备。题诗笔墨洒脱，与画面意境交融，尽显文人画“诗画同源”之妙，于方寸间藏生机与风骨，读来令人心折。",[23,51,84,25,54,2631,529,358,315,332,277,7],"鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ca49404492f1b40b2f4829b76583fed.jpg","119.9x30.3",[72],272,{"id":2637,"slug":2638,"title":2639,"dynasty":97,"author":1167,"museum":81,"description":2470,"tags":2640,"thumbUrl":2642,"material":33,"size":107,"collection":107,"collections":2643,"showCount":2635,"zanCount":1288,"manualWeight":39,"mainColor":40},214863,"xie-sheng-ce-2-hua-yan-214863","写生册-2",[23,26,54,2641,2173,7,24],"写生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F912e29096b40d434d041c6da838db51a.jpg",[],{"id":2645,"slug":2646,"title":2647,"dynasty":115,"author":2648,"museum":81,"description":2649,"tags":2650,"thumbUrl":2656,"material":33,"size":107,"collection":199,"collections":2657,"showCount":2658,"zanCount":625,"manualWeight":39,"mainColor":75},216964,"ying-xi-tu-su-han-chen-216964","婴戏图","苏汉臣","婴戏图即描绘儿童游戏时的画作，又称“戏婴图”，是中国人物画的一种。因为以小孩为主要绘画对象，以表现童真为主要目的，所以画面丰富，形态有趣。中国很早已有绘画婴孩的传统，到了唐宋时期技巧渐趋成熟，宋代更是婴戏图的黄金时期，使之成为中国绘画中极受欢迎的画类。\n\n宋代是婴戏图发展的全盛时期，不但取材多样化，而且描绘技巧高超。有的采用鲜艳颜色以衬托婴孩游玩时的愉快心情，营造热闹快乐的气氛；有的利用简洁的线描，刻划平民的市井风情。市井之民虽生于低下阶层，物质生活不甚丰富，但小孩的天真、贪吃贪玩的性情仍溢于纸上。在婴孩的形体构图方面，孩子面貌及身形比例准确，不再是“身小而貌壮”或“妇人之貌”。而且画家每每绘画小孩穿上轻纱薄衣，使观者能通过薄衣透视小孩丰满圆润的身段。婴孩面部表情亦十分丰富，喜怒哀乐活灵活现。宋代婴戏图的兴盛和成功，奠定了婴戏图的基础，亦创新了不少题材，使后世仿效之作甚多。",[2651,54,25,58,2652,1019,295,2653,2654,2655,7],"宋代","婴孩","榻","假山","花木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F683c03575faeba1accf39da01c82a0c5.jpg",[199],271,{"id":2660,"slug":2661,"title":2547,"dynasty":97,"author":697,"museum":99,"description":2662,"tags":2663,"thumbUrl":2664,"material":319,"size":107,"collection":35,"collections":2665,"showCount":2666,"zanCount":923,"manualWeight":39,"mainColor":75},220147,"lan-zhu-tu-wang-shi-shen-220147","汪士慎工诗及八分书，画水仙、梅花清妙独绝。金农谓其画梅之妙，与高西唐（翔）异曲同工。汪士慎画繁枝，千花万蕊，管领冷香，俨然灞桥风雪中。西唐画疏枝半开蝉朵，用玉楼人口脂抹一点红，良缣精楮，各臻其微。汪士慎老而目瞽，为人画梅，或作八分书，工妙胜于未瞽时。精篆刻，与张潜乙、金筋齐名",[49,23,51,84,26,135,251,358,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa02b3c39e8909994e36da16ef7bad4da.jpg",[35],270,{"id":2668,"slug":2669,"title":2670,"dynasty":97,"author":2322,"museum":329,"description":2671,"tags":2672,"thumbUrl":2673,"material":33,"size":2326,"collection":107,"collections":2674,"showCount":2675,"zanCount":1288,"manualWeight":39,"mainColor":40},216246,"jing-fu-si-qi-dong-jing-tu-11-qian-wei-cheng-216246","景敷四气冬景图-11","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n一瀑高悬银凿落，四山攅积玉参差。并刀剪水作花后，转语堪诠杜老诗。钤印：泼墨",[23,51,25,54,27,309,7,86,28,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ef9652a7cd63623c4474d2e78468a1.jpg",[],268,{"id":2677,"slug":2678,"title":2679,"dynasty":146,"author":376,"museum":525,"description":1691,"tags":2680,"thumbUrl":2682,"material":88,"size":107,"collection":107,"collections":2683,"showCount":2675,"zanCount":1288,"manualWeight":39,"mainColor":40},214575,"shan-shui-ce-4-wang-meng-214575","山水册-4",[23,26,55,24,56,137,2681,277,225,7],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b5504fc38b09d31f62673a31f0f0e94.jpg",[],{"id":2685,"slug":2686,"title":2687,"dynasty":115,"author":2688,"museum":99,"description":2689,"tags":2690,"thumbUrl":2691,"material":107,"size":107,"collection":107,"collections":2692,"showCount":2693,"zanCount":395,"manualWeight":39,"mainColor":75},227520,"hua-niao-tu-ye-wang-xiao-227520","花鸟图页","王晓","此作取暮春一隅，柔粉海棠攒簇枝头，花瓣轻绽似带朝露，嫩绿叶脉舒张，将春深花繁的柔媚尽数铺陈。两只白头鹎栖于枝上，一俯一仰，羽色晕染细腻柔和，头顶白羽莹洁醒目，胸腹褐绿温润自然，前者昂首似在啼鸣，将禽鸟灵动憨然的情态鲜活呈现。\n画面设色明秀雅致，工细写实中兼具灵动意趣，左侧题字笔致清雅，与花叶禽鸟相映成趣，把春日里禽鸟嬉游、花团锦簇的生机雅致融于尺幅，尽显清丽隽永的宋韵意致。",[49,50,23,51,24,54,25,27,29,332,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9548bd192610dc1989302803a5216821.jpg",[],267,{"id":2695,"slug":2696,"title":2697,"dynasty":18,"author":161,"museum":2698,"description":2699,"tags":2700,"thumbUrl":2701,"material":1561,"size":2702,"collection":35,"collections":2703,"showCount":2693,"zanCount":743,"manualWeight":39,"mainColor":40},222118,"ping-he-tu-shen-zhou-222118","瓶荷图","天津博物馆","此画是沈周作品中比较少见的工笔花鸟画，画上绘一铜壶，内植荷花荷叶各三株，交错而生。荷叶向背以深浅不同绿色区分，多取其背，使画面变浓艳为淡雅，凸现清高风格。作品形象写实，用笔简括，色泽温润，格调质朴。插花所用的铜壶以墨笔勾轮廓，没骨法渲染明暗，立体感很强。",[49,23,51,84,25,102,103,181,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F551d511ecb28a9a711639a1773ee49c3.jpg","60x143cm",[35,72],{"id":2705,"slug":2706,"title":2707,"dynasty":192,"author":2708,"museum":175,"description":2709,"tags":2710,"thumbUrl":2711,"material":319,"size":2712,"collection":122,"collections":2713,"showCount":2693,"zanCount":11,"manualWeight":39,"mainColor":40},221102,"mo-lan-ting-xu-feng-cheng-su-221102","摹兰亭序","冯承素","此本用楮纸两幅拼接，纸质光洁精细。因卷首有唐中宗李显神龙年号小印,故称“神龙本”。后纸明项元汴题记：“唐中宗朝馮承素奉勒摹晉右軍將軍王羲之蘭亭禊帖”，后世鉴藏家依此定为冯承素摹本。\n此卷前纸13行，行距较松；后纸15行，行距趋紧，然前后左右映带，攲斜疏密，错落有致，通篇打成一片，优于其它摹本。用笔俯仰反复，笔锋尖端锐利，时出贼毫、叉笔，既保留了照原迹勾摹的痕迹，又显露出自由临写的特点，摹临结合，显得自然生动，并具一定的“存真”的优点，在传世摹本中最称精美，体现了王羲之书法遒媚多姿、神情骨秀的艺术风神，为接近原迹的唐摹本。\n据考，卷首“神龙”半印小玺并非唐中宗内府钤印，而是后人所添，定冯承素摹也不可信，但仍是唐以来流传有绪的古摹本。\n本卷前隔水有“唐摹兰亭”四字标题。引首乾隆御题“晋唐心印”四字。后纸有宋至明20家题跋、观款。钤鉴藏印180余方。其流传经过，根据各题跋、印记和各家著录，大致如下：南宋高宗、理宗内府、驸马都尉杨镇，元郭天锡，明内府、王济、项元汴，清陈定、季寓庸、乾隆内府。历代著录有：明汪砢玉《珊瑚网·书录》、吴其贞《书画记》，清卞永誉《式古堂书画汇考·书考》、顾复《平生壮观》、吴升《大观录》、阮元《石渠随笔》、《石渠宝笈·续编》等。刻入“兰亭八柱”，列第三。",[49,86,119,134,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa49007199f121076b6c9a9fcfb4a3913.jpg","纵24.5厘米，横69.9厘米",[122],{"id":2715,"slug":2716,"title":2717,"dynasty":115,"author":2718,"museum":485,"description":2719,"tags":2720,"thumbUrl":2721,"material":88,"size":2722,"collection":199,"collections":2723,"showCount":2693,"zanCount":625,"manualWeight":39,"mainColor":40},216254,"bin-feng-qi-yue-tu-juan-ma-he-zhi-216254","豳風七月图卷","马和之","豳風七月图卷是中国宋朝画家马和之创作的一幅卷轴画。它描绘了一个七月的夏天的景象，包括花朵盛开、鸟儿欢快地唱歌、人们在花园里游玩和放风筝等。这幅画被认为是宋朝画家中最具代表性的作品之一，以其精细的绘画技巧和生动的写实风格而闻名。马和之的作品也被认为是宋朝画家的先驱，为后来的中国画家打下了坚实的基础。",[49,50,23,51,52,135,26,58,727,64,56,225,7,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6454a660474b94e22c19af12c2a7d894.jpg","28.8 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，元代画家，字子昭。嘉兴（今属浙江）武塘人。善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用披麻皴或解索皴，笔法精整，设色明丽。",[49,23,51,25,55,56,137,62,406,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8db6a22ddfe64262d4329b99efadcaf.jpg","纸本浅设色","120.5x40.6厘米",[70,72],{"id":2755,"slug":2756,"title":2757,"dynasty":97,"author":341,"museum":81,"description":342,"tags":2758,"thumbUrl":2760,"material":33,"size":348,"collection":107,"collections":2761,"showCount":2743,"zanCount":1288,"manualWeight":39,"mainColor":40},219883,"er-shi-si-fan-hua-xin-feng-tu-rui-xiang-yu-shui-xian-dong-gao-219883","二十四番花信风图-瑞香与水仙",[23,51,24,25,54,2759,488,150,31,2559,265,7],"瑞香","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ab8b06d96331425eb7144b02fc54b4d.jpg",[],{"id":2763,"slug":2764,"title":2765,"dynasty":115,"author":748,"museum":20,"description":2766,"tags":2767,"thumbUrl":2768,"material":319,"size":2769,"collection":122,"collections":2770,"showCount":2743,"zanCount":625,"manualWeight":39,"mainColor":40},214380,"can-zheng-tie-mi-fei-214380","参政帖","这件作品的书法笔力流畅，结构严谨，字体秀丽。文字中蕴含着米芾对皇帝的敬意和对宋朝文化的尊重。他运用了楷书和行书的特点，使得整件作品显得庄重而富有美感。\n\n米芾是宋代著名的书法家，他的作品擅长运用笔力和结构来表现书法的美感。在参政帖书法中，他运用了流畅的笔力和严谨的结构来描绘文字，使得整件作品显得庄重而有品位。同时，他还运用了秀丽的字体来表现文字的美感，使得这件作品充满生命力和真实感。",[49,86,119,7,26,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbe208556c106dec4d231c4319420b8a.jpg","19.6x6.8",[122],{"id":2772,"slug":2773,"title":2774,"dynasty":97,"author":1569,"museum":81,"description":2775,"tags":2776,"thumbUrl":2781,"material":33,"size":107,"collection":199,"collections":2782,"showCount":2783,"zanCount":11,"manualWeight":39,"mainColor":40},218044,"tian-wang-xiang-yao-wen-han-218044","天王像","绿面天王身披错彩镂金之甲，琵琶横抱，双目炯炯，威仪自生。衣纹流转如流云，祥云层叠似幻梦，衬得身形愈发雄健。身旁小兽灵动，背景人物隐现于山石间，添几分悠远。线条工细却不失劲道，色彩浓艳而协调，每一处纹饰皆精雕细琢，将护法神的威严与艺术的精巧融于一体，观之令人心生敬畏，更叹笔墨之妙。",[50,23,25,54,58,1284,2777,2778,1116,2779,150,64,2780,7],"护法神","琵琶","祥云","威严","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3382d15bc8135db2274f9d1bbb740ad.jpg",[199],263,{"id":2785,"slug":2786,"title":2787,"dynasty":115,"author":2788,"museum":99,"description":2789,"tags":2790,"thumbUrl":2791,"material":689,"size":690,"collection":107,"collections":2792,"showCount":2793,"zanCount":395,"manualWeight":39,"mainColor":40},288524,"xiao-xiang-qi-guan-tu-mi-you-ren-288524","潇湘奇观图","米友仁","《潇湘奇观图》用淋漓水墨画江上云山、云雾变幻的奇境，山峰、江水、树木并未作具体细致的描写，追求的是苍茫雨雾中自然界的特殊韵致。\n《潇湘奇观图》的画法用泼墨又参加积墨、破墨，使墨气淋漓，氤蕴浑厚。笔法甚少勾勒，而信笔横点，积点成山，藏锋其内，与墨浑然结合。树法似草，但与画面浑然一体。",[49,50,23,52,26,56,279,64,164,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99980652bf55d8e34d046ae41cea3fe6.jpg",[],262,{"id":2795,"slug":2796,"title":2797,"dynasty":192,"author":193,"museum":175,"description":2798,"tags":2799,"thumbUrl":2800,"material":183,"size":2801,"collection":242,"collections":2802,"showCount":2793,"zanCount":743,"manualWeight":39,"mainColor":40},239524,"yan-li-ben-bu-nian-tu-juan-yan-li-ben-239524","阎立本步辇图卷","这是一幅历史画。它反映唐代初年一个重大的历史事件。公元七世纪，地处我国西南的吐蕃（今西藏地区）开始强大兴盛，其三十二世赞普松赞干布是个“骁勇多英略”的领袖。贞观八年（634年），他遣使臣到长安（今陕西西安），向唐王朝求婚联姻，唐太宗李世民答应了他的请求，决定将宗室女文成公主许配给松赞干布。贞观十五年（641年）春天，松赞干布派相国禄东赞到长安来迎接文成公主，唐太宗李世民则派礼部尚书江夏王宗室李道宗陪同文成公主进吐蕃。文成公主除了带去很多中原地区的文化典籍外，随行的还有许多各种行业的工匠，对于促进吐蕃经济、文化的发展起到了重要的作用。此后很长一段时间里，唐王朝和吐蕃之间关系融洽，和睦相处。\n阎立本以此为题，绘制了这幅歌颂古代汉、藏民族友好交往的作品。画幅描绘的是唐太宗李世民在宫内接见松赞干布派来的吐蕃使臣禄东赞的情景。李世民端坐在由六名宫女抬着的坐榻（又称步辇，图画即以此为名）上，另有三个宫女分别在前后掌扇和持华盖。唐太宗面前站立三人：最右者，身穿大红袍，是这次仪式的引见官员；中间是吐蕃的使臣禄东赞，拱手而立，发型和服饰与中原地区不同；最左为一穿白袍的内官。按照画家阎立本当时的地位和身份，他完全可能是这次历史性会见的目击者，所以他笔下的人物非常真实、生动。唐太宗李世民的威严，使臣禄东赞的干练、谦和，引见官员和内侍的恭谨，年轻宫女的天真活泼，都各具特点，跃然绢上，禄东赞和唐太宗等人在民族气质上的差别也有所表现。\n全画以细劲的线条塑造人物形象，线条纯熟，富有变化和表现力；设色浓重、鲜艳，是一幅出色的工笔重彩人物画作品。图中的李世民、禄东赞等人应当带有肖像画特征。",[49,50,23,51,52,25,58,54,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F421c10940154a8e201509088f4822cf0.jpg","纵38.5厘米，横129厘米",[242,122],{"id":2804,"slug":2805,"title":2806,"dynasty":2807,"author":2808,"museum":99,"description":2809,"tags":2810,"thumbUrl":2813,"material":689,"size":690,"collection":107,"collections":2814,"showCount":2793,"zanCount":1288,"manualWeight":39,"mainColor":40},231826,"hua-yuan-shi-nv-tu-zhou-shang-cun-song-yuan-231826","花园仕女图轴","不详","上村松园","上村松园（1875——1949）生于京都，她是明治、大正、昭和时期十分活跃的女画家，她以日本画的传统手法为基础描绘出格调高的美女画，她画的美人惟妙惟肖、出神入化，受到人们的好评。12岁小学毕业后进入日本刚刚成立不久的绘画学校。后相继师事铃木松年、幸野梅岭、竹内栖凤等大师。15岁时以作品《四季美人图》参展第三次内国劝业博览会，获得一等褒奖，被传为京都天才少女。",[49,23,51,84,54,25,58,136,1574,2811,7,528,2812],"布料","花瓣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a3c759e4883325592f1223e2b185251.jpg",[],{"id":2816,"slug":2817,"title":1125,"dynasty":18,"author":2818,"museum":485,"description":2819,"tags":2820,"thumbUrl":2821,"material":88,"size":2822,"collection":70,"collections":2823,"showCount":2793,"zanCount":39,"manualWeight":39,"mainColor":40},214298,"shan-shui-tu-liu-jue-214298","刘珏","此卷是刘珏为沈周的弟弟沈召所作的山水画册，并将其修改为手卷，笔墨淋漓，用笔极其自信，使画面在扫视之间活灵活现，成为一幅完美的杰作。",[49,23,51,52,26,55,56,64,150,279,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7a458237bde639af130f94491f86651.jpg","33.6x57.8",[70],{"id":2825,"slug":2826,"title":2827,"dynasty":115,"author":289,"museum":99,"description":1735,"tags":2828,"thumbUrl":2829,"material":107,"size":107,"collection":107,"collections":2830,"showCount":2831,"zanCount":11,"manualWeight":39,"mainColor":40},227580,"wu-ma-tu-li-gong-lin-227580","五马图",[49,23,50,51,52,135,25,58,225,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff861a45a3281680f50e29e58b525d252.jpg",[],259,{"id":2833,"slug":2834,"title":2835,"dynasty":891,"author":892,"museum":2069,"description":2836,"tags":2837,"thumbUrl":2839,"material":107,"size":107,"collection":107,"collections":2840,"showCount":2841,"zanCount":39,"manualWeight":39,"mainColor":40},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。",[49,23,51,25,26,403,119,7,368,2838,181],"木盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc252eafe3195b552bc810b3b6f3a19dd.jpg",[],258,{"id":2843,"slug":2844,"title":2845,"dynasty":115,"author":400,"museum":2846,"description":2847,"tags":2848,"thumbUrl":2849,"material":88,"size":2850,"collection":35,"collections":2851,"showCount":2841,"zanCount":625,"manualWeight":39,"mainColor":75},219265,"xi-zhu-long-tu-chen-rong-219265","戏珠龙图","苏宁博物馆","墨色淋漓间，矫健龙身腾跃于云雾之中，鳞爪飞扬，气势磅礴。龙首昂扬，双目炯炯，似与宝珠相戏，动感十足。画家以浓淡干湿的笔墨变化，勾勒出龙的刚劲体态与云雾的缥缈朦胧，虚实相生间尽显龙的威严与神秘。画面中题跋与印章错落，承载着历史印记，更添古朴厚重之感。整幅作品将龙的祥瑞之气与艺术的笔墨神韵融为一体，是传统龙题材绘画中的经典之作，尽显东方美学的独特魅力。",[50,23,51,52,26,405,279,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc419787f4a611822757835e84e90923c.jpg","纵32.5横237.5厘米",[35],{"id":2853,"slug":2854,"title":2855,"dynasty":115,"author":1923,"museum":81,"description":2856,"tags":2857,"thumbUrl":2858,"material":152,"size":2859,"collection":199,"collections":2860,"showCount":2841,"zanCount":1288,"manualWeight":39,"mainColor":75},216926,"gao-zong-shu-nv-xiao-jing-ma-he-zhi-bu-tu-di-yi-zhang-zhao-gou-216926","高宗书女孝经马和之补图第一章","高宗书女孝经马和之补图是赵构的一幅画作。赵构是中国宋朝时期的画家，他的作品大多集中在宋朝的文学、艺术和宗教方面。他的作品中有许多著名的孝道画，其中包括高宗书女孝经马和之补图。\n\n高宗书女孝经马和之补图讲述了一个关于孝道的故事。这幅画描绘了一个叫做马和的女子，她是一个忠诚的女儿，在她父亲去世后，她依然对她的父亲忠心耿耿，并为他做了许多孝事。这幅画是赵构用来表现女性孝道的精神的。\n\n高宗书女孝经马和之补图是赵构的一幅杰作，它展现了宋朝时期女性孝道的重要性，并且是中国历史上著名的孝道画之一。",[49,23,51,52,50,119,135,25,58,295,64,150,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d12d002f1f9b42abd5ddbbd30da0def.jpg","26.4x70.3",[199],{"id":2862,"slug":2863,"title":2864,"dynasty":115,"author":221,"museum":2865,"description":2866,"tags":2867,"thumbUrl":2868,"material":227,"size":2869,"collection":213,"collections":2870,"showCount":2871,"zanCount":743,"manualWeight":39,"mainColor":75},221335,"tao-jiu-tu-zhao-ji-221335","桃鸠图","日本民间","整幅画桃花与枝叶钩勒精工，栖鸠动态自然而生动，用生漆点睛，卓有神采，整体色彩华丽，瘦金书稍稚嫩。\n此图桃花与枝叶钩勒精工，栖鸠动态自然而生动，用生漆点睛，卓有神采，整体色彩华丽，瘦金书稍稚嫩。流传日本已久，长期以来被作为徽宗的真迹，受到良好的保护，现在是日本的国宝级文物。\n本图有“大观丁亥御笔天”的题记，丁亥年是1107年，这一年徽宗26岁，是画家早期的作品。\n从这幅画来看，描法纤细，傅染鲜润，与徐熙（五代）的水墨画要素和徐崇嗣的色彩为中心的没骨法花鸟比较接近。总的看来，色彩的表现给人以强烈的视觉感受，但仔细观察就会发现细部的轮廓线仍然非常明确。\n此册页在传为宋徽宗的作品中比较特别。桃花与枝叶钩勒精工，栖鸠动态自然而生动，用生漆点睛，卓有神采，整体色彩华丽。传其为画家二十六岁时的作品。\n赵佶观察事物细致入微，这幅《桃鸠图》，画中的桃花与枝叶勾勒精工，栖息在树上的鸠鸟动态自然而生动，用生漆点睛，富有神采，整体色彩华丽，洋溢着悠扬的神韵，此画被誉为折枝花鸟画的典型。",[49,23,51,27,54,25,57,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19169b4c41d86b4cbbb34e3bf4af4222.jpg","28.5X27厘米",[213,35,72],257,{"id":2873,"slug":2874,"title":2875,"dynasty":1037,"author":2876,"museum":446,"description":2877,"tags":2878,"thumbUrl":2881,"material":152,"size":107,"collection":199,"collections":2882,"showCount":2871,"zanCount":11,"manualWeight":39,"mainColor":75},219500,"juan-xiu-tu-zhou-wen-ju-219500","倦绣图","周文矩","此作用柔婉工笔铺陈深闺日常，床帏内仕女斜倚，眉宇间带着绣作之余的慵懒倦怠，身侧侍女静立侍奉。左侧侍者端物缓步而来，右侧仕女凭桌伫立，似在打理妆台。边角案几陈设着盆栽器物，衬出闺阁的雅致静谧。设色清淡古雅，线条匀细柔丽，将深阁女子闲散松弛的情态刻画入微，晕染出日常闺中休憩的幽柔氛围，藏着平淡雅致的闺中诗意。",[49,50,23,51,52,54,25,58,136,2879,1481,2880,7],"床帐","桌椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bc8762f2527e714db62518fa3278003.jpg",[199,72],{"id":2884,"slug":2885,"title":2886,"dynasty":18,"author":45,"museum":81,"description":2887,"tags":2888,"thumbUrl":2889,"material":33,"size":2890,"collection":70,"collections":2891,"showCount":2871,"zanCount":1288,"manualWeight":39,"mainColor":40},218535,"zhu-lou-tu-qing-gao-zong-yu-ti-chou-ying-218535","竹楼图清高宗御题","画中湖光山色，长松亭榭，文人观水赏竹，画风接近文征明，也可能是文、丘在山水画上互相借鉴。",[50,23,51,84,54,25,1962,56,59,610,60,61,58,150,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d460703bfb3096969313beb6e056693.jpg","115.3x33.3cm",[70],{"id":2893,"slug":2894,"title":2895,"dynasty":97,"author":1082,"museum":99,"description":1382,"tags":2896,"thumbUrl":2897,"material":689,"size":690,"collection":35,"collections":2898,"showCount":2899,"zanCount":39,"manualWeight":39,"mainColor":40},237935,"za-hua-ce-zhu-da-237935","杂画册",[23,26,24,403,1988,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb70d916505230aa21d22544d3ff8bc6d.jpg",[35],256,{"id":2901,"slug":2902,"title":2903,"dynasty":97,"author":1180,"museum":99,"description":2904,"tags":2905,"thumbUrl":2906,"material":107,"size":107,"collection":35,"collections":2907,"showCount":2899,"zanCount":39,"manualWeight":39,"mainColor":40},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。",[50,23,51,84,26,25,345,277,403,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5cde97128964b36df30a12461f59e8a.jpg",[35,72],{"id":2909,"slug":2910,"title":2911,"dynasty":97,"author":2912,"museum":20,"description":2913,"tags":2914,"thumbUrl":2915,"material":1087,"size":2916,"collection":72,"collections":2917,"showCount":2899,"zanCount":743,"manualWeight":39,"mainColor":75},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。",[49,23,51,84,26,403,27,102,103,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8096febc3e81d3c848b1646b4296b977.jpg","146X80cm",[72],{"id":2919,"slug":2920,"title":2921,"dynasty":130,"author":2922,"museum":175,"description":2923,"tags":2924,"thumbUrl":2925,"material":2926,"size":2927,"collection":122,"collections":2928,"showCount":2899,"zanCount":11,"manualWeight":39,"mainColor":40},221021,"zhong-qiu-tie-wang-xian-zhi-221021","中秋帖","王献之","《中秋帖》是著名的古代书法作品，曾被清高宗弘历（乾隆皇帝）誉为“三希”之一，意即希世珍宝。\n行草书3行，共22字，释文：\n“中秋不復不得相還爲即甚省如何然勝人何慶等大軍。”\n无署款。\n《中秋帖》是《宝晋斋法帖》所刻的王献之《十二月割帖》的不完全临本，原帖在“中秋”之前还有“十二月割至不”六字。帖用竹料纸书写，这种纸东晋时尚制造不出，约到北宋时方出现。从行笔中可知，所用毛笔是柔软的无心笔，而晋朝使用的是有心硬笔，吸水性较差，笔的提、按、转折往往不能灵活自如，常出贼毫，如此帖那种丰润圆熟、线条连贯、行气贯通、潇洒飘逸的效果是写不出来的。清吴升《大观录》云：“此迹书法古厚，墨采气韵鲜润，但大似肥婢，虽非钩填，恐是宋人临仿。”据当代书画鉴定家研究，大多认为是宋米芾所临，故同样宝贵。\n卷前引首清高宗弘历行书题“至寶”两字。\n前隔水乾隆御题一段。\n帖正文右上乾隆御题签“晉王獻之中秋帖”一行。\n卷后有明董其昌、项元汴，清乾隆帝题跋，并附乾隆帝、丁观鹏绘画各一段。\n此帖曾经宋代宣和、绍兴内府，明项元汴，清内府收藏。民国时由敬懿皇贵妃携出宫外，流散民间，由郭葆昌拥有，再转予其子郭昭俊。后与王珣《伯远帖》一起被典当于香港一家外国银行。1951年底，典当期将满时，国外有人意图购获，周恩来总理闻讯，当即指示有关部门购回，入藏故宫博物院。\n宋内府《宣和书谱》、明张丑《清河书画舫》、《清河见闻表》、《清河秘箧表》、汪砢玉《珊瑚网书跋》，清顾復《平生壮观》、卞永誉《式古堂书画汇考》、吴升《大观录》、内府《石渠宝笈·初编》等书著录。",[49,86,462,52,26,319,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feab6dd85baee9f73028d89815dd2fd5a.jpg","纸本，手卷","纵27厘米，横11.9厘米",[122],{"id":2930,"slug":2931,"title":2932,"dynasty":115,"author":1755,"museum":329,"description":2933,"tags":2934,"thumbUrl":2935,"material":227,"size":2936,"collection":213,"collections":2937,"showCount":2938,"zanCount":39,"manualWeight":39,"mainColor":75},221189,"zhang-song-shan-shui-tu-ma-lin-221189","长松山水图","《长松山水图》是马麟传世作品中的经典之作，也是南宋院体山水画的代表作之一。\n由山崖蜿蜒转入山寺的路上，一位流连与山水之间的高士，在一株爬满枯藤的古松之下徜徉，仿佛与起伏的远山融为一体，构成了一幅人与自然合而为一的完美景象。画面构图简洁而高旷，下半部分的实与上半部分的虚形成鲜明对比，进而产生高而深远的意境。二者之间以一棵长松相连，使画面自然而然成为一个整体。由实及虚的三段递进，将最写实的建筑、虚实相间的山崖坡石以及淡远的山峦，组成了位于高处的平远构图。山石采用小斧劈皴简略画出，画面的层次主要依赖点染进行刻画。画的中央，摇曳的藤蔓是全画的点睛之笔，山水之间，清风徐来，画面一下子动了起来，让人感受到一种清凉与惬意。",[23,50,51,1073,25,55,56,610,137,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d7532cb2d0174426dfa5dc1b1abb0a.jpg","25.1×26cm",[213,70,242],252,{"id":2940,"slug":2941,"title":2942,"dynasty":146,"author":376,"museum":99,"description":2943,"tags":2944,"thumbUrl":2946,"material":689,"size":690,"collection":107,"collections":2947,"showCount":2948,"zanCount":39,"manualWeight":39,"mainColor":75},288847,"zhu-cha-tu-wang-meng-288847","煮茶图","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[49,50,23,26,56,84,55,150,64,59,60,61,63,7,86,2945],"煮茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F117610a3c89ba73f821c1bd6ba1071a4.jpg",[],251,{"id":2950,"slug":2951,"title":1047,"dynasty":146,"author":147,"museum":175,"description":2952,"tags":2953,"thumbUrl":2957,"material":319,"size":1052,"collection":70,"collections":2958,"showCount":2959,"zanCount":39,"manualWeight":39,"mainColor":40},220768,"kuai-xue-shi-qing-tu-huang-gong-wang-220768","《快雪时睛图》是元代画家黄公望创作的一幅山水画作，现藏于北京故 宫博物院。\n《快雪时睛图》描绘了雪霁后的山中之景，其中除一轮寒冬红日外，全以墨色画成。高山上留有积雪，天边处有一轮红日，横带一抹红霞，生动表现出雪后初晴时明朗秀美的景象。该画用笔单纯而疏秀，洁净洗练。运用柔润的线条构建了宏大的山石结构，并且使之稳固清断。\n《快雪时晴图》中，赵孟頫书“快雪时晴”四大字，后黄公望作雪景山水合璧装成。\n《快雪时晴图》画水墨雪景山水，层岩叠岭，奇峰寒林，白雪皑皑，寒气袭人。山下房舍数间，山间升起一轮红日。画的中间是掩映在丛林中的几间茅屋，茅屋的两侧是绵延相连的断崖、山冈高低参差，错落有致，茅屋后而群峰耸立，挺拔秀美。 山中的楼房里，有座香炉供奉着佛像。\n《快雪时晴图》最早源自东晋书法家王羲之的书法作品《快雪时晴帖》，自元代画家黄公望根据书法意境创作出《快雪时晴图》以后，在此影响下，历代画家都喜欢将“快雪时晴”作为经典绘画的意境进行创作，明初画家徐贲、清初八大山人和髡残、清中期画家方士庶、近现代画家吴湖帆都画过《快雪时晴图》。",[49,23,51,52,26,56,55,86,7,870,2954,967,1902,1597,2955,2956],"雪","小径","夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bdf735b0eb4445f09c1a335d5bd745e.jpg",[70,242],250,{"id":2961,"slug":2962,"title":2963,"dynasty":115,"author":328,"museum":81,"description":2964,"tags":2965,"thumbUrl":2968,"material":152,"size":2969,"collection":213,"collections":2970,"showCount":2959,"zanCount":11,"manualWeight":39,"mainColor":40},220176,"xing-hua-tu-zhao-chang-220176","杏花图","这是一幅单枝杏花的画作，盛开的杏花，显得春意盎然。笔触精致优雅，花瓣主要用白粉上色，只有花蕾用胭脂上色，给人一种半透明的感觉；花头用胭脂涂抹，颜色丰富，给人一种女性的感觉。",[49,50,23,51,2966,25,54,27,2967,31,7],"团扇","杏花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa90c7d76318230f696dd0a532f0faf.jpg","纵25.2厘米，横27.3厘米",[213,35],{"id":2972,"slug":2973,"title":2974,"dynasty":97,"author":2568,"museum":99,"description":2975,"tags":2976,"thumbUrl":2977,"material":107,"size":2978,"collection":70,"collections":2979,"showCount":2980,"zanCount":39,"manualWeight":39,"mainColor":40},238025,"hong-ren-shan-shui-tu-ce-hong-ren-238025","弘仁山水图册","弘 仁（1610-1664），清画家。俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪立瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等。",[23,51,24,26,55,56,277,60,727,871,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9315c7f3e025c62edc1ed00bd692088d.jpg","50×36",[70,72],249,{"id":2982,"slug":2983,"title":2984,"dynasty":146,"author":709,"museum":20,"description":2985,"tags":2986,"thumbUrl":2987,"material":26,"size":107,"collection":242,"collections":2988,"showCount":2989,"zanCount":11,"manualWeight":39,"mainColor":75},219738,"zhu-pu-tu-wu-zhen-219738","竹谱图","此作用淡墨铺就底色，开篇幽草伴湖石，渐入修竹成林。竹竿劲挺如君子立世，以浓墨撇写竹叶，错落生姿，或迎风欹斜，或垂梢含露，墨色干湿浓淡交织，层次分明。后半段湖石渐耸，竹影疏密掩映，尽显野逸之趣。\n\n左侧题笔与画境相融，以书入画，笔墨老辣苍润，将隐逸林下的清寂意韵藏于一笔一划中，简淡之间尽是萧散出尘的林下风神，把竹之孤高与文人风骨晕染在卷幅里。",[49,23,26,52,358,700,55,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda3c704a7c558d314bd1858ec21db613.jpg",[242],246,{"id":2991,"slug":2992,"title":2993,"dynasty":192,"author":2994,"museum":175,"description":2995,"tags":2996,"thumbUrl":2997,"material":1636,"size":2998,"collection":122,"collections":2999,"showCount":3000,"zanCount":1288,"manualWeight":39,"mainColor":40},239553,"wang-xi-zhi-lan-ting-xu-juan-chuan-tang-chu-sui-liang-mo-ben-chu-sui-liang-239553","王羲之兰亭序卷（传唐褚遂良摹本）","褚遂良","东晋永和九年（353年）三月三日，山阴名士四十一人集于兰亭，修禊祭，宴曲水。即席赋诗，汇为一卷，由王羲之当场作序。这篇序情文并茂，心手双畅，向称“天下第一行书”。其妍美流便的风神，被后世视为行书的典范和楷模。唐太宗李世民酷爱羲之书法，在得到《兰亭序》真迹后，曾命当朝书法名家褚遂良、欧阳询以及弘文馆拓书人冯承素等勾摹数本，分赐臣下，以广布扬。兰亭真迹据记载已随唐太宗殉葬昭陵。这些唐摹本主要有两个系统，一为褚遂良摹本，存世的褚遂良、虞世南、冯承素等墨迹摹本，多属此系统，以冯摹的“神龙本”最为接近原作；一为欧阳询摹本，刻帖“定武本”即源自欧本，为存世最佳的石刻帖本。\n此卷旧传为褚遂良所摹，故卷前项元汴标题“褚摹王羲之兰亭帖”，简称为“褚摹兰亭”，实未必确切。全卷有宋、元、明诸家题跋或观款，以及鉴藏印记215方，又半印4方。其中“滕中”等2方北宋印和南宋绍兴内府“绍兴”、“内府印”、“睿思东阁”等7方印属真，第一后纸上米芾诗题及7方钤印亦真。因知此卷当为北宋米芾前临摹本。但作品质地属楮皮纸，是宋以后方普遍使用的纸质，或可证此为北宋摹本。全卷由两幅纸拼接，前纸19行，后纸9行，行款排列较松匀，以临写为主，辅以勾描，因此书写较为流畅，亦具一定功力。\n此卷流传鉴藏经过大致为：北宋滕中、南宋绍兴内府、元赵孟頫、明浦江郑氏、项元汴、清卞永誉、乾隆内府。曾著录于清顾复《平生壮观》、卞永誉《式古堂书画汇考》、吴升《大观录》、安岐《墨缘汇观》、清内府《石渠宝笈·续编》、阮元《石渠随笔》等书，并刻入《兰亭八柱帖》。",[49,51,52,134,119,7,86,418,2601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F231a989ca4ec3e5d71859f048f630428.jpg","纵24厘米，横88.5厘米",[122],242,{"id":3002,"slug":3003,"title":3004,"dynasty":115,"author":1070,"museum":175,"description":3005,"tags":3006,"thumbUrl":3012,"material":183,"size":3013,"collection":107,"collections":3014,"showCount":3000,"zanCount":923,"manualWeight":39,"mainColor":75},221491,"huo-lang-tu-quan-juan-li-song-221491","货郎图全卷","古吴轩出版社主编的《李嵩货郎图》是《历代名画宣纸高清大图》系列之一，采用高清宣纸制作，力求体现画作整体的最高艺术水平，且添加内容简介、风格阐述、作者介绍，以方便读者鉴赏学习。\n此图是一幅人物风俗画卷，画面上货郎肩挑杂货担，不堪重负地弯着腰，欢呼雀跃的儿童奔走相告，喜悦之情溢于言表。\n画家借助货郎这一题材表现了南宋市井生活的一个侧面，是民俗学家不可多得的珍贵史料。",[49,50,23,51,52,54,135,25,58,1713,3007,3008,3009,64,3010,3011,7],"妇女","货担","器物","动物","狗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff486169f4887c2ad43e56c3c00718926.jpg","纵25.5厘米，横70.4厘米",[],{"id":3016,"slug":3017,"title":3018,"dynasty":97,"author":1180,"museum":20,"description":3019,"tags":3020,"thumbUrl":3021,"material":319,"size":3022,"collection":35,"collections":3023,"showCount":3024,"zanCount":1288,"manualWeight":39,"mainColor":40},237437,"ju-hua-zhou-wu-chang-shuo-237437","菊花轴","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。” [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。 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》。",[23,51,84,26,25,27,529,181,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faac17540baab309bf666e37c3441ed42.jpg","纵119.9 厘米横51.6",[35],241,{"id":3026,"slug":3027,"title":3028,"dynasty":97,"author":445,"museum":485,"description":3029,"tags":3030,"thumbUrl":3031,"material":33,"size":3032,"collection":107,"collections":3033,"showCount":3024,"zanCount":1288,"manualWeight":39,"mainColor":40},214533,"yi-jin-ling-ce-shi-tao-214533","忆金陵册","此册计十二开，每开写金陵一景。按照弗利尔美术馆的英文含义，此册名称直译应为《南京记忆》。和李鱓《花果册》一样，弗利尔美术馆对每一页均做了单独的说明，但大同小异，并未对作品的艺术内容进行评价或解说，只不过说明每一页的标题而已。此册用笔恣肆，水墨淋漓，色墨交融，是典型的石涛成熟时期作品。",[23,51,26,25,56,59,60,61,62,150,64,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9786c88deb9d34c1413b59771dba7d8.jpg","纵23.8厘米，横19.2厘米",[],{"id":3035,"slug":3036,"title":3037,"dynasty":115,"author":1912,"museum":81,"description":3038,"tags":3039,"thumbUrl":3043,"material":689,"size":690,"collection":107,"collections":3044,"showCount":3045,"zanCount":923,"manualWeight":39,"mainColor":75},289341,"han-lin-ping-ye-tu-li-cheng-289341","寒林平野图","图绘萧瑟的隆冬平野中，长松亭立，古柏苍虬，枝干交柯，老根盘结，河道曲折，似冰冻凝固，烟霭空蒙而至天际。该图正是李成最擅长表现的场景。",[23,50,51,84,26,56,3040,3041,967,137,55,7,3042],"寒林","平野","萧瑟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31a367dd49badf8d7559fae79a915a52.jpg",[],240,{"id":3047,"slug":3048,"title":3049,"dynasty":115,"author":3050,"museum":81,"description":3051,"tags":3052,"thumbUrl":3054,"material":634,"size":3055,"collection":107,"collections":3056,"showCount":3045,"zanCount":625,"manualWeight":39,"mainColor":40},221608,"po-mo-xian-ren-tu-juan-liang-kai-221608","泼墨仙人图卷","梁楷","《泼墨仙人图》可以说是梁楷与画院画风决绝后,在绘画创作中自辟蹊径、独树一帜的具体体现。画面除面、胸部用细笔勾出轮廓外,其他皆用巨笔阔笔横扫,每一笔既有墨色的酣畅,又有水分的淋漓,十分纵肆狂放,已达到旁若无人的程度。从人物造型来看,作者有意夸张其头额部分,几乎占去整个头的三分之二,而把五官挤在下部很小的面积上,垂眉、细眼,鼻扁而大,嘴角下垂,既显得醉态可掬,却又诙谐滑稽,令人发笑,以生动的形象表现了作者的思想和生活态度,极尽嬉笑怒骂之态,从而体现了作品的思想深度。应该说梁楷画的不是“仙人”,而是他自己。",[49,23,51,26,3053,58,7],"泼墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da57b80a95a59b5229a6aa6845663ed.jpg","48×27公分",[],{"id":3058,"slug":3059,"title":3060,"dynasty":97,"author":1180,"museum":81,"description":3061,"tags":3062,"thumbUrl":3063,"material":88,"size":3064,"collection":122,"collections":3065,"showCount":3045,"zanCount":743,"manualWeight":39,"mainColor":40},214200,"shi-gu-zhong-tang-wu-chang-shuo-214200","石鼓中堂","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”。",[49,86,541,119,84,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27cb1550e1e5adda3feedc0573082333.jpg","134.8x39.6",[122],{"id":3067,"slug":3068,"title":3069,"dynasty":18,"author":3070,"museum":175,"description":3071,"tags":3072,"thumbUrl":3073,"material":668,"size":3074,"collection":35,"collections":3075,"showCount":3076,"zanCount":39,"manualWeight":39,"mainColor":40},222553,"mu-dan-hua-hui-tu-chen-chun-222553","牡丹花卉图","陈淳","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”。",[49,23,51,26,27,308,265,119,7,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F524ca64f679df2ecd19978f86c81b89a.jpg","纵54.8厘米，横30.8厘米",[35,72],239,{"id":3078,"slug":3079,"title":3080,"dynasty":115,"author":328,"museum":175,"description":3081,"tags":3082,"thumbUrl":3083,"material":3084,"size":3085,"collection":213,"collections":3086,"showCount":3087,"zanCount":743,"manualWeight":39,"mainColor":40},221297,"xie-sheng-jia-die-tu-juan-zhao-chang-221297","写生蛱蝶图卷","该画作描绘了群蝶恋花的田园小景。轻灵振翅的蛱蝶起舞于画幅的上半部；秋花枯芦摇曳于画卷的底边。笔法上，蝶、蚱以工笔细描，花草则以双勾填色法。设色清淡、浓艳各得其所，彩不压墨。在物象表现上，作者用双勾填色法画土坡、草丛、蛱蝶。其勾线富于顿挫和粗细变化，墨色亦有浓淡轻重之分，敷色积染多层，特别是蛱蝶的翅翼更因积染而色彩浓艳厚重，从而与主要以植物色染就的草叶形成“轻”与“重”的对比。",[49,23,51,52,54,25,1746,1239,1481,315,28,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d1b406765c81dbad32d814e51b46fac.jpg","纸本设色画","纵27.7厘米，横91厘米",[213,35,72],238,{"id":3089,"slug":3090,"title":3091,"dynasty":115,"author":3092,"museum":81,"description":3093,"tags":3094,"thumbUrl":3095,"material":121,"size":3096,"collection":213,"collections":3097,"showCount":3098,"zanCount":625,"manualWeight":39,"mainColor":75},220387,"qing-xi-yu-yin-tu-li-tang-220387","清溪渔隐图","李唐","画面上表现的是夏雨初收后的渔村小景。近景为山坡堤岸，坡石横卧，林木苍郁，几棵大树倚石而立。树干粗壮，根部露出地面，枝叶茂盛，山溪蜿蜒而下，溪水由山间急流而出，水磨坊临溪而立，板桥横架溪上，将两岸连接。绕过山坡，地势平缓，河水清幽，远处沙岸迷茫，汀渚伸至河间，河岸和河边芦苇，草木丛生。有一老人坐于船头，横竿垂钓，显得悠然自得，渔舟在芦苇丛中隐现。画幅右端，浅滩上有数块小石，半露在水面，透过水面可以见秀石全形，显示出溪水的清洌。",[49,23,50,52,26,55,86,7,56,60,61,62,713,137,714,379,150,294],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4693ec96f6507ba02ebd0808a650e03c.jpg","纵25.2厘米，横144.7厘米",[213],237,{"id":3100,"slug":3101,"title":3102,"dynasty":97,"author":341,"museum":81,"description":342,"tags":3103,"thumbUrl":3105,"material":33,"size":348,"collection":107,"collections":3106,"showCount":3098,"zanCount":743,"manualWeight":39,"mainColor":40},219881,"er-shi-si-fan-hua-xin-feng-tu-ying-tao-yu-ying-chun-dong-gao-21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《江亭山色》于2012年核定为重要古物，所绘的内容有山峦、陂陀、树木、茅亭，其结构萧散，是倪云林特意为外游时相识的一位友人焕伯高士留别而绘。\n款识：焕伯高士嗜古尚义於友道於医学尤精隐居养亲不求知於也余过娄江踰月与仆甚相好戏写江亭山色并作长歌以留别二月廿五日瓒。\n题签：倪云林山水真迹。玉带砚斋藏。\n释文：娄江之东天宇宽。左瞰青海阴漫漫，樱桃花落杂飞霰。桃李欲动春风寒，我去松陵自子月。忽惊归雁鸣江干，风吹归心如乱丝。不能奋飞身羽翰。身羽翰，度春水。胡蝶忽然梦千里，剥剥啄啄闻叩门。推枕倒裳为君起，持杯劝我径饮之。有酒如渑胡不喜，看朱成碧纷醉眼。碧草春波暎疏绮，醉吐胸中之磊块。一笑濡豪烂盈纸，白鸥明处白云生。历历青山镜光里，翡翠鵁鶄满兰芷。壬子。\n倪瓒的书法也是极具传统功力与个人特色的。他的书法受褚遂良影响较大，有些点画如“戈”法明显是褚体之法，写的十分妩媚。其书法还掺杂了隶书与六朝写经的风格，这可能与他信奉道教熟悉经体有关，从而使他的书法具有一种仙风道骨的古意与洒脱。他题画有时飘逸草率，多有连笔，如北京故宫藏《竹枝图》。有些写的则工工整整，一笔不苟，如《江亭山色图》、《容膝斋图》，书体为小楷，楷中含隶，毫无泄怠，极见功力。字数如此多的小楷题画，在其画作中极少见。\n倪云林的画乍一看为其荒疏感到意外，多看了则觉单调，几乎千篇一律，皆是疏林坡岸，浅水遥岭，但是自然的反应了他的内心，也反应了他的修养。倪云林《江亭山色》典型的“云林皴法”，且款题甚长，书法精妙，堪称倪云林一生山水画的代表作。",[23,51,84,26,56,63,871,358,700,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb42f2a048eafcf667755bea02ad618.jpg","94.7x43.7",[70,242],{"id":3133,"slug":3134,"title":3135,"dynasty":97,"author":3136,"museum":2698,"description":3137,"tags":3138,"thumbUrl":3139,"material":33,"size":3140,"collection":70,"collections":3141,"showCount":3142,"zanCount":743,"manualWeight":39,"mainColor":40},219994,"shan-shui-hua-chu-chun-wang-shi-min-219994","山水画-初春","王时敏","王时敏出身于仕宦之家，祖父王锡爵是万历内阁首辅大臣。由于父亲王衡早逝，而他又是独子，自小就是和祖父生活在一起。《国朝画征录》记载，王锡爵极为喜爱这个孙子，专心培养他的“好古之心”。王时敏在董其昌和陈继儒等的辅导下，绘技大进。董其昌把他视为南宗画派的不二继承人，“可备传灯一宗，真源嫡派”。王时敏受祖荫出仕后担任尚宝丞和太常寺少卿等官，降清后作为明朝的遗民，退隐山野，专心绘事。他继承和扩大了南宗画派影响，发展了清代绘画的笔墨，创建了著名的娄东画派，成为当时艺术界不可撼动的泰斗，被视为清代正统画派的开山鼻祖。",[23,51,26,56,55,870,406,871,60,1714,295,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dae35075de48bf89446b66f24d13410.jpg","22.5x27.5",[70],235,{"id":3144,"slug":3145,"title":3146,"dynasty":97,"author":248,"museum":2698,"description":3147,"tags":3148,"thumbUrl":3149,"material":25,"size":3150,"collection":35,"collections":3151,"showCount":3152,"zanCount":11,"manualWeight":39,"mainColor":40},220987,"ou-xiang-guan-xie-yi-ce-lu-xie-yun-shou-ping-220987","瓯香馆写意册-芦蟹","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。",[49,50,23,51,24,403,26,1061,2173,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a7632b42ef28d0c95b7691b56f54951.jpg","31.8x37.2厘米",[35,242],233,{"id":3154,"slug":3155,"title":3156,"dynasty":97,"author":2120,"museum":81,"description":3157,"tags":3158,"thumbUrl":3159,"material":88,"size":107,"collection":242,"collections":3160,"showCount":3152,"zanCount":1288,"manualWeight":39,"mainColor":40},219381,"fang-ni-zan-shan-shui-tu-wang-jian-219381","仿倪瓒山水图","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。",[23,51,84,26,134,7,55,56,967,277,1977,751,752],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4001801727356342fc3315fc815e7f6e.jpg",[242],{"id":3162,"slug":3163,"title":3164,"dynasty":97,"author":445,"museum":175,"description":3165,"tags":3166,"thumbUrl":3167,"material":319,"size":3168,"collection":35,"collections":3169,"showCount":3170,"zanCount":1288,"manualWeight":39,"mainColor":40},220392,"mei-zhu-tu-juan-shi-tao-220392","梅竹图卷","诗文与画作的有机结合不仅增添了文人画的书卷气息，同时也展示了作者于画艺之外的诗文功底和精湛的书法造诣。图中所绘梅竹或细笔勾勒，或阔笔勾斫，线条于方圆结合中秀拙相生。其多样的笔法与酣畅淋漓的施墨在半生半熟的纸质上达到了湿润而不漫漶的笔墨效果，堪称石涛晚年的写意画佳作。",[49,23,51,52,26,55,86,7,528,358,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F440c586308456b8200d8bd68ac0e8093.jpg","纵34.2厘米，横194.4厘米",[35],232,{"id":3172,"slug":3173,"title":3174,"dynasty":97,"author":1180,"museum":99,"description":2303,"tags":3175,"thumbUrl":3176,"material":1561,"size":3177,"collection":35,"collections":3178,"showCount":3179,"zanCount":11,"manualWeight":39,"mainColor":40},224221,"zhao-ri-hong-he-wu-chang-shuo-224221","朝日红荷",[49,23,51,84,26,25,27,102,103,403,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa674a2b082ee8c9527d6f7c106c9b861.jpg","93x46",[35,72],231,{"id":3181,"slug":3182,"title":3183,"dynasty":18,"author":3070,"museum":175,"description":3184,"tags":3185,"thumbUrl":3187,"material":88,"size":3188,"collection":35,"collections":3189,"showCount":3179,"zanCount":743,"manualWeight":39,"mainColor":40},214639,"kui-shi-tu-chen-chun-214639","葵石图","一根秋葵枝条靠外，有一朵花和几片叶子，简单清爽；根部被杂草和嫩竹包围，参差不齐，稀稀拉拉；背景是海石，起伏不定，皱巴巴的。这幅画卷的构图和形状非常特别。在这幅画中，水墨画与诗词、书法与绘画的结合，充分表现了鳌鱼石的魅力和意境，使之成为生活中的佳作。",[49,23,51,84,26,403,27,277,3186,7,119],"葵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F694c64a9381dbae4deff621b5fbbf49d.jpg","68.6x34",[35],{"id":3191,"slug":3192,"title":3193,"dynasty":192,"author":3194,"museum":175,"description":3195,"tags":3196,"thumbUrl":3197,"material":107,"size":3198,"collection":122,"collections":3199,"showCount":3200,"zanCount":1288,"manualWeight":39,"mainColor":40},221089,"mo-lan-ting-xu-juan-yu-shi-nan-221089","《摹兰亭序卷》","虞世南","《兰亭序》是东晋右军将军王羲之51岁时的得意之笔，记述了他与当朝众多达官显贵、文人墨客雅集兰亭、修稧事也的壮观景象，抒发了他对人之生死、修短随化的感叹。崇山峻岭之下，茂林修竹之边，乘带酒意，挥毫泼墨，为众人诗赋草成序文，文章清新优美，书法遒健飘逸。被历代书界奉为极品。宋代书法大家 米芾称其为“中国行书第一帖”。王羲之因此也被后世尊为“书圣”。后人在研究其书法艺术时赞誉颇多：“点画秀美，行气流畅”，“清风出袖，明月入怀”，“飘若浮云，矫若惊龙”，“遒媚劲健，绝代所无”，“贵越群品，古今莫二”。确实如此，传说王羲之以后也曾再书《兰亭序》，但均逊色于原作，所以《兰亭序》原稿一直为王羲之视为传家之宝，为王氏后代收藏，传至王羲之第七代时被唐太宗李世民“骗”入朝廷，唐太宗得《兰亭序》后，曾诏名手赵模、冯承素、虞世南、褚遂良等人钩摹数个乱真副本，分赐亲贵近臣，之后民间也广为临摹，但无一胜过王羲之的原作，所以《兰亭序》真迹被唐太宗视为稀世珍品而最终殉葬，这更让后世对《兰亭序》原作崇敬不已，冠以中国书法第一帖的美名实在无可争议。\n\n千百年来，《兰亭序》有多个版本在世间流传，最受推崇的是藏于北京故宫博物院的冯承素摹本《兰亭序》。《冯本》为唐代内府栩书官冯承素摹写，因其卷引首处钤有“神龙”二字的左半小印，后世又称其为“神龙本”，因使用“双钩”摹法，为唐人摹本中最接近兰亭真迹者。此本摹写精细，笔法、墨气、行款、神韵，都得以体现，公认为是最好的摹本。",[49,86,119,134,52,7,51,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9000c4d4ad5ddc233e1f2a03ab38558.jpg","纵24.8cm，横57.7cm",[122,1120],230,{"id":3202,"slug":3203,"title":3204,"dynasty":18,"author":2181,"museum":81,"description":3205,"tags":3206,"thumbUrl":3209,"material":88,"size":3210,"collection":70,"collections":3211,"showCount":3200,"zanCount":743,"manualWeight":39,"mainColor":40},214589,"zhou-xing-shi-jing-jiang-an-wang-shan-dong-qi-chang-214589","舟行十景-江岸望山","董其昌是明代著名画家，他的《舟行十景》系列画作中的《江岸望山》是一幅以山水为主题的画作。这幅画中，董其昌绘制了一条河流，河流两岸绿树成荫，清新的水面上划着许多小船，画面中央是一座山峰，山峰高耸入云，周围是葱郁的森林。董其昌在画中运用了自然透视法，使得这幅画呈现出浓郁的立体感。同时，董其昌还细致地描绘了河流两岸的居民生活，使得这幅画不仅有美好的山水风光，还有丰富的人文内涵。",[50,23,26,56,55,24,870,871,3207,3208,7],"江水","江岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff107ac474552fe8a646073313322cb10.jpg","28.8x17.7cm",[70],{"id":3213,"slug":3214,"title":3215,"dynasty":146,"author":376,"museum":525,"description":1691,"tags":3216,"thumbUrl":3217,"material":33,"size":107,"collection":107,"collections":3218,"showCount":3200,"zanCount":39,"manualWeight":39,"mainColor":40},214573,"shan-shui-ce-5-wang-meng-214573","山水册-5",[23,51,24,26,55,56,137,150,279,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06954314220392a3ccc54c83599ff836.jpg",[],{"id":3220,"slug":3221,"title":3222,"dynasty":97,"author":1082,"museum":525,"description":3223,"tags":3224,"thumbUrl":3225,"material":88,"size":3226,"collection":107,"collections":3227,"showCount":3228,"zanCount":11,"manualWeight":39,"mainColor":40},216909,"hua-niao-si-tiao-ping-4-zhu-da-216909","花鸟四条屏-4","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!",[49,23,26,403,84,420,103,29,277,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9e75a5ceb8b50523c17e63136acafff.jpg","182.5×49cm",[],229,{"id":3230,"slug":3231,"title":1302,"dynasty":97,"author":800,"museum":175,"description":3232,"tags":3233,"thumbUrl":3234,"material":668,"size":3235,"collection":107,"collections":3236,"showCount":3237,"zanCount":39,"manualWeight":39,"mainColor":40},234675,"zhu-shi-tu-zheng-ban-qiao-234675","郑燮所画之竹，形象千姿百态，笔墨变化多端。同样是数竿竹枝，却有新竹、驼竹、凤竹、晴竹、盆景之竹、庭院之竹、山野之竹、水乡之竹的区别，并呈现各自不同的情态，给人以美的感受。画面上翠竹两竿，瘦劲挺拔，枝叶偃仰，萧疏清逸。竹枝下有山石及竹笋数支，恰当衬托出春竹之勃发郁茂，颇富自然之趣。其言将竹笋与鲥鱼相佐，又创美食之竹，新颖别致，独具匠心。",[23,26,403,55,119,7,84,358,700],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7c732c7221c80d6d805a69736b50619.jpg","纵120厘米，横59.7厘米",[],228,{"id":3239,"slug":3240,"title":3241,"dynasty":97,"author":445,"museum":99,"description":3242,"tags":3243,"thumbUrl":3244,"material":107,"size":107,"collection":107,"collections":3245,"showCount":3237,"zanCount":923,"manualWeight":39,"mainColor":40},224525,"sou-jin-qi-feng-da-cao-gao-tu-juan-shi-tao-224525","搜尽奇峰打草稿图卷","原济《搜尽奇峰打草稿图》卷，中国清代画家原济代表作。\n原济(1642～约171)原名朱若极，字石涛，号大涤子、清湘老人等。\n广西人。\n明宗室后裔，明亡后出家为僧。\n擅画山水、花卉。\n此图纸本，墨笔，纵42.8厘米，横285.5厘米。\n画面崇山峻岭，茂树参天，泉水淙淙，山道崎岖，纡回盘旋。\n城垣、楼阁、亭桥、书屋、渔舟等分布其间。\n全幅构图繁密，画法用披麻皴参以点子皴，信手涂抹，自然流畅，笔墨苍劲，气势磅礴。\n画幅右上方自题“搜尽奇峰打草稿”7字。\n并题记一则，内容涉及其绘画艺术思想，是研究其艺术创作的宝贵资料。\n本幅后有墨香堂、杨重英、陈奕禧、徐云、叶河音布、潘季彤各家题诗、题记及鉴藏印数十方。\n《听楼书画记》著录。\n现藏故宫博物院。",[49,23,51,52,26,403,55,119,86,7,56,278,715,64,277,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13975dcc09a4d534503a0ad3b0211bc2.jpg",[],{"id":3247,"slug":3248,"title":3249,"dynasty":97,"author":1167,"museum":81,"description":2470,"tags":3250,"thumbUrl":3253,"material":33,"size":107,"collection":107,"collections":3254,"showCount":3237,"zanCount":1288,"manualWeight":39,"mainColor":40},214862,"xie-sheng-ce-3-hua-yan-214862","写生册-3",[23,51,24,26,25,54,3251,3252,1116,896,265,1195,7],"松鼠","鼠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F479bc39b276eae548d0b8940a600d55f.jpg",[],{"id":3256,"slug":3257,"title":3258,"dynasty":146,"author":431,"museum":175,"description":3259,"tags":3260,"thumbUrl":3261,"material":3262,"size":3263,"collection":199,"collections":3264,"showCount":3265,"zanCount":923,"manualWeight":39,"mainColor":40},220829,"ren-qi-tu-zhao-meng-fu-220829","人骑图","本幅绘一戴官帽腰系玉带的红袍青年男子骑于马背之上，男子微有髭须，左手牵缰，右手持鞭，右脚轻踩马镫，神态优雅自足。马匹孔健有力，左前蹄微起，呈行进之势。画面布局、人物形象和马匹写实画法，都深受唐代画马图影响。",[49,23,51,52,25,54,58,225,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F267dc888b93d2680f156c8524c0ca2da.jpg","纸本 设色 手卷","纵30厘米，横52厘米",[199,72],227,{"id":3267,"slug":3268,"title":3269,"dynasty":97,"author":1180,"museum":99,"description":3270,"tags":3271,"thumbUrl":3272,"material":107,"size":107,"collection":107,"collections":3273,"showCount":3274,"zanCount":743,"manualWeight":39,"mainColor":924},224211,"xie-yi-hua-hui-wu-chang-shuo-224211","写意花卉","此作用笔老辣苍劲，以篆籀之法入画。丹红牡丹以阔笔晕染，花瓣层次饱满秾艳，焦墨写叶，沉厚如铁，冷暖色相撞，张力十足。下方湖石以枯湿浓墨泼写，皴擦间尽显嶙峋朴拙之态，间缀青绿草卉，柔姿淡色中和花石浓烈，整幅错落有致。\n题长款以行书书写，笔势与画中线条意韵相通，笔墨与章法浑融无间，将牡丹的富贵堂皇写出野逸苍浑的文人气骨，老笔纵横间尽显沉雄烂漫的写意风神，于豪放中藏精微，把金石意趣与花木生机合于一纸。",[49,23,51,84,403,26,25,27,308,1714,265,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd42ae8af211fa6451a20a91ab319c269.jpg",[],226,{"id":3276,"slug":3277,"title":3278,"dynasty":1037,"author":3279,"museum":99,"description":3280,"tags":3281,"thumbUrl":3282,"material":689,"size":690,"collection":107,"collections":3283,"showCount":3284,"zanCount":39,"manualWeight":39,"mainColor":75},287365,"qing-lv-shan-shui-tu-ye-li-sheng-287365","青绿山水图页","李昇","擅墨竹，喜作窠石平远山水，颇有清趣。至正六年(1346)作有《淀湖送别图》卷(藏上海博物馆)，画面清波荡漾，湖上有小桥、扁舟，远望峰峦高耸，树林参差，山间古寺隐约可见，景色清幽，一派送别离人的气氛。清代词人朱彝尊很推重此画，题跋云：“松林清疏，峰岚渲以焦墨，淡林赢青作遥山，信称逸品。”",[49,23,51,56,53,25,59,60,61,150,64,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfdcad8870526ab254f3adb825fe8b72.jpg",[],225,{"id":3286,"slug":3287,"title":3288,"dynasty":146,"author":1303,"museum":81,"description":3289,"tags":3290,"thumbUrl":3292,"material":319,"size":3293,"collection":70,"collections":3294,"showCount":3284,"zanCount":743,"manualWeight":39,"mainColor":40},220793,"an-chu-zhai-tu-juan-ni-zan-220793","安处斋图卷","倪瓒以擅长水墨山水为傲，所作多取材于太湖周边的优美景致。画中笔法简洁，山水意境悠远，野岸沙渚，疏林茅茨，柳树萧萧，颇有世外山野高人的遁世脱俗之感。画的右下角有作者的自题诗：“湖上斋居处士家，淡烟疏柳望中赊。安时为善年年乐，处顺谋身事事佳。竹叶夜香缸面酒，菊苗春点磨头茶。幽栖不作红尘客，遮莫寒江卷浪花。”左上角是乾隆御览后的即兴题诗：“是谁肥遁隐君家，家对湖山引兴赊。名取仲舒真可法，图成懒瓒亦云嘉。高眠不入客星梦，消渴常分谷雨茶，致我闲情频展玩，围炉听雪剪灯花。”",[49,23,51,52,26,55,56,137,277,63,61,3291,7,86],"平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f5b8544aa4c8572b05c11e13372fd2.jpg","33×89.4cm",[70,242],{"id":3296,"slug":3297,"title":3298,"dynasty":18,"author":459,"museum":81,"description":3299,"tags":3300,"thumbUrl":3301,"material":779,"size":3302,"collection":107,"collections":3303,"showCount":3304,"zanCount":1288,"manualWeight":39,"mainColor":40},222232,"he-hua-zhou-xu-wei-222232","荷花轴","徐渭（1520－1593），山阴人（今浙江绍兴），字文长，号天池，又号青藤道人。性情好奇，曾签名曰田水月。工诗善古文辞。书法写得好，行草尤为人所推崇。中年学画花卉。用笔潇洒，天才横溢。人物极其生动。山水不拘规矩。自己认为书第一，诗第二，文章第三，画第四，学者们都表赞同。",[49,23,51,84,26,27,102,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F789538c8fba27b3e8ce5134bcd7210d3.jpg","该幅 141.7x37.2公分、全幅 67公分",[],223,{"id":3306,"slug":3307,"title":3308,"dynasty":115,"author":3092,"museum":81,"description":3309,"tags":3310,"thumbUrl":3312,"material":33,"size":3313,"collection":70,"collections":3314,"showCount":3304,"zanCount":743,"manualWeight":39,"mainColor":75},218180,"qiu-jiang-dai-du-tu-li-tang-218180","秋江待渡图","宋朝时期，李唐是一位著名的画家。他的作品《秋江待渡图》是一幅非常出色的水墨画，被认为是宋朝画风的代表作之一。\n\n这幅画描绘的是一个夜晚的景象，展现了秋天的气息。画面中的主人公是一个渔夫，他正站在船尾，眺望远方。他身后是一条江河，江水平静，荡漾着微微波光。空气中弥漫着淡淡的月色和落叶的气息。渔夫似乎在等待什么，也许是夜幕降临后的渔猎，也许是渡江的船只。\n\n这幅画展现了李唐独特的画风，他善于运用水墨画的浓淡变化，描绘出江水平静而又柔和的氛围。画中的色彩也十分丰富，月色柔和，落叶自然，渔夫身上的衣服呈现出深深的紫色。整幅画浓郁的秋意和深沉的气氛使人感到沉静和温馨。",[23,51,84,56,26,55,25,3207,62,3311,751,58,7,379],"枯藤老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F832191f2125231cc863d337a44ca0a33.jpg","118.6x48.6cm",[70],{"id":3316,"slug":3317,"title":3318,"dynasty":115,"author":207,"museum":99,"description":3319,"tags":3320,"thumbUrl":3321,"material":152,"size":3322,"collection":213,"collections":3323,"showCount":3324,"zanCount":743,"manualWeight":39,"mainColor":75},218615,"ming-huang-xing-shu-tu-yi-ming-218615","明皇幸蜀图","层峦叠嶂间，松枝虬劲，草木葱茏。人马穿行于山道，或扬鞭疾驰，或缓辔徐行，或俯身为马整鞍，神态各异，细节毕现。山石以劲挺线条勾勒，皴染结合，质感厚重；林木疏密有致，生机盎然。整幅画将旅途的奔波与蜀地山水的雄奇融为一体，既有宋代山水画的精工细致，又蕴含着历史事件的沉郁感。于方寸纨扇间，展现出宏大叙事与悠远意境，笔墨古朴，意韵绵长，尽显古典绘画的精妙与深厚底蕴。",[49,23,50,51,25,55,56,58,225,871,150,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76ac70443078c834c82bd324884285ea.jpg","30.5x30.5",[213],222,{"id":3326,"slug":3327,"title":573,"dynasty":97,"author":3328,"museum":3329,"description":3330,"tags":3331,"thumbUrl":3332,"material":107,"size":3333,"collection":35,"collections":3334,"showCount":3335,"zanCount":743,"manualWeight":39,"mainColor":40},222816,"mu-dan-tu-yun-bing-222816","恽冰","郑州博物馆","绘牡丹花卉数枝，牡丹枝叶繁茂，绚丽多彩，争奇斗艳。画面右上题署：“南田公曾有此画法，兰陵女氏清於冰写”。",[49,23,51,27,25,54,7,308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17ca7be60e424c9bda0e6befeafb4a8a.jpg","纵106厘米 横39.4厘米",[35],221,{"id":3337,"slug":3338,"title":3339,"dynasty":115,"author":3340,"museum":99,"description":3341,"tags":3342,"thumbUrl":3344,"material":3345,"size":3346,"collection":213,"collections":3347,"showCount":3335,"zanCount":11,"manualWeight":39,"mainColor":75},221504,"he-cao-chong-tu-wu-bing-jia-221504","禾草虫图","吴炳嘉","宋代花鸟在中国花鸟绘画史中达到了一个高峰，院体花鸟画下了很多传世精品，还有大量的典藏记载。其中，花鸟小品占据了主要地位，花鸟画以小品形式迅速发展，成为美术史上的一个代表艺术之一。宋人小品花鸟画形制多为圆中见方的尺牍小幅，以内敛的结构和开合呼应的构图方式，描绘特定的场境和瞬间情态，于状物精微的同时力求构思新奇，营造格调优雅而隽永的意境，表现出独特的趣味。",[49,50,23,51,25,54,27,531,317,315,316,3343,7],"蜜蜂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff6d56f3d921df6f611ba36478d1d50.jpg","绢本；设色","纵：49cm，横：30cm",[213,35,72],{"id":3349,"slug":3350,"title":3351,"dynasty":97,"author":1082,"museum":525,"description":3223,"tags":3352,"thumbUrl":3353,"material":88,"size":3226,"collection":107,"collections":3354,"showCount":3335,"zanCount":11,"manualWeight":39,"mainColor":40},216910,"hua-niao-si-tiao-ping-3-zhu-da-216910","花鸟四条屏-3",[49,23,26,403,27,29,530,85,277,1227,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d05c4ff38b209a7f54f7cb2d4ab568.jpg",[],{"id":3356,"slug":3357,"title":3358,"dynasty":115,"author":881,"museum":81,"description":3359,"tags":3360,"thumbUrl":3370,"material":227,"size":3371,"collection":213,"collections":3372,"showCount":3373,"zanCount":39,"manualWeight":39,"mainColor":75},221523,"yue-xia-ba-bei-tu-ma-yuan-221523","月下把杯图","月下把杯图》是一幅构图别致意境幽远的小品山水画佳作。作为纨扇扇面，其圆形构图对创作是一种限制。此画之妙在于，画家把重点描绘的山石、树木等景物安排在约占小半个画面的斜右下部，以浓墨钩勒树木、翠竹、篱笆、山石等，而与占大半个画面的远山、天空形成浓与淡、实与虚的对比，这即使圆形构图中的景物显得平稳安定，又富于变化。马远画山水以少见多，以偏概全，正是他艺术手法高明独到之处。图中山石画法用大斧劈皴，状其石质，画树“瘦硬如屈铁”，多折枝。远山则低，用淡墨勾染。苍茫外，露出月亮，表达作者当时思念之情。",[49,23,51,54,26,3361,3362,119,7,3363,944,85,150,58,3364,3365,751,3366,3367,3368,3369],"浅设色","边角构图","册页","酒具","桌子","月夜","饮酒场景","文人聚会场景","宋代绘画风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e50aabe7cee1ca5997ec7a693d08c1d.jpg","纵25.5厘米，横25.7厘米",[213,70,242],220,{"id":3375,"slug":3376,"title":3377,"dynasty":146,"author":431,"museum":175,"description":3378,"tags":3379,"thumbUrl":3380,"material":183,"size":3381,"collection":199,"collections":3382,"showCount":3373,"zanCount":455,"manualWeight":39,"mainColor":75},220891,"qing-xi-long-yue-yu-ma-tu-juan-zhao-meng-fu-220891","青溪龙跃浴马图卷","图中绘夏日疏林间，奚官在水塘为骏马洗浴纳凉的情景。人物与马各具姿态，生动自然，相互呼应，营造了一个轻松的氛围。人物衣纹流畅，树木坡石勾勒简练，色不掩墨，青绿与浅绛结合，色彩清丽雅致。",[49,50,23,51,52,54,25,225,1115,58,64,61,7,86,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7886ceca9be6e9768ee8afb4d0ac6d0.jpg","纵28.5厘米，横154厘米。",[199,72],{"id":3384,"slug":3385,"title":3386,"dynasty":146,"author":431,"museum":329,"description":3387,"tags":3388,"thumbUrl":3389,"material":319,"size":3390,"collection":70,"collections":3391,"showCount":3373,"zanCount":625,"manualWeight":39,"mainColor":40},220837,"shuang-song-ping-yuan-tu-zhao-meng-fu-220837","双松平远图","双松的画法稍工，山石则以带有飞白松动笔触勾括，略皴而无染。虽略存李郭画风之形，但简括异常，实属新体。\n画法上更具书法笔趣和文人墨戏的意味。卷首自识「子昂戏作双松平远」，卷尾又识「仆自幼小学书之余，时时戏弄小笔，然于山水独不能工。盖自唐以来，如王右丞、大小李将军、郑广文诸公奇绝之迹，不能一二见。至五代荆、关、董、范辈出，皆与近世笔意辽绝。仪所作者，虽未敢与古人比，然视近世画手则自谓稍异耳。因野云求画，故书其末。《大观录》、《墨缘汇观》、《无益有益齐读画诗》等书著录\n图中近景画苍松立于怪石枯木之中，远景写平坡矮山。写山石空勾轮廓，不加皴染，间有飞白。画双松则用细笔双钩，简约古雅。画面右上署“子昂戏作双松平远”八字，卷末自题日：“仆自幼小学书之余，时时戏弄小笔，然于山水独不能工。盖自唐以来，如王右丞、大小李将军、郑广文诸公奇绝之迹不能一、二见。至五代荆、关、董、范辈出，皆与近世笔意辽绝。仆所作者虽末能与古人比，然视近世画手，则自谓少异耳。因野云求画，故书其末。孟烦。”于此可见，赵孟頫欲弃南宋院体画风而直追唐、五代诸大家。",[23,51,52,26,55,56,777,150,62,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a66f53d1e4db114c3b3d0147d1368cb.jpg","纵26.7厘米、横107.3厘米",[70,242],{"id":3393,"slug":3394,"title":3395,"dynasty":18,"author":161,"museum":99,"description":3396,"tags":3397,"thumbUrl":3398,"material":107,"size":107,"collection":107,"collections":3399,"showCount":3400,"zanCount":743,"manualWeight":39,"mainColor":40},228834,"qing-yuan-tu-shen-zhou-228834","清园图","此图绘湖山秋色。\n该图结构严整均衡，局部富于穿插变化，使画面景物参差有致，一派清幽逸趣。\n在用笔上，该图多用秃笔中锋，将勾、皴、擦、点有机配合，实中求虚。\n【名称】《 青园图 》 【年代】明代 【作者】沈周 【简介】长卷，纸本，设色，纵19.1厘米，横188.7厘米。\n旅顺博物馆藏。\n沈周（1427年—159年）明代杰出画家。\n字启南、号石田、白石翁、玉田生、有居竹居主人等，是明中叶画坛上四大艺术家（另三人为文徵明、唐寅、仇英）之一，人称江南“吴门画派”的班首，在画史上影响深远。\n沈家世代隐居吴门，居苏州相城,故里和墓在今相城区阳澄湖镇。\n沈周的曾祖父是王蒙的好友，父亲恒吉，又是杜琼的学生，书画乃家学渊源。\n父亲、伯父都以诗文书画闻名乡里。\n沈周一生家居读书，吟诗作画，优游林泉，追求精神上的自由，蔑视恶浊的政治现实，一生未应科举，始终从事书画创作。\n他学识渊博，富于收藏。\n交游甚广，极受众望，平时平和近人，要书求画者“屦满户外”，“贩夫牧竖”向他求画，从不拒绝。\n甚至有人作他的赝品，求为题款，他也欣然应允。\n有曹太守其人，新屋落成欲图其楹庑，搜罗画家，沈周亦在其中，隶往摄之，沈周曰：“毋惊老母，旦夕往画不敢后”客人颇不平曰：“太守不知先生，何贱先生于此？渴贵游可勿往。\n”沈周答曰：“往役义也，岂有贱哉？谒而求免，乃贱耳。\n”沈周的书画流传很广，真伪混杂，较难分辨。\n文征明因此称他为飘然世外的“神仙中人”。\n沈周在元明以来文人画领域有承前启后的作用。\n他书法师黄庭坚，绘画造诣尤深，兼工山水、花鸟，也能画人物，以山水和花鸟成就突出。\n所作山水画，有的是描写高山大川，表现传统山水画的三远之景。\n而大多数作品则是描写南方山水及园林景物，表现了当时文人生活的幽闲意趣。\n在绘画方法上，沈周早年承受家学，兼师杜琼。\n后来博取众长，出入于宋元各家，主要继承董源、巨然以及元四家黄公望、王蒙，吴镇的水墨浅绛体系。\n又参以南宋李、刘、马、夏劲健的笔墨，融会贯通，刚柔并用，形成粗笔水墨的新风格，自成一家。\n沈周早年多作小幅，4岁以后始拓大幅，中年画法严谨细秀，用笔沉着劲练，以骨力胜，晚岁笔墨粗简豪放，气势雄强。\n沈周的绘画，技艺全面，功力浑朴，在师法宋元的基础上有自己的创造，发展了文人水墨写意山水、花鸟画的表现技法，成为吴门画派的领袖。",[49,23,51,52,26,25,56,63,85,871,61,7,86,119,727,150,598],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee310328773a26ff40d5f949cac4d0f3.jpg",[],219,{"id":3402,"slug":3403,"title":914,"dynasty":146,"author":3404,"museum":175,"description":3405,"tags":3406,"thumbUrl":3407,"material":1087,"size":3408,"collection":242,"collections":3409,"showCount":3400,"zanCount":11,"manualWeight":39,"mainColor":75},221692,"mo-zhu-po-shi-tu-gao-ke-gong-221692","高克恭","这是一幅典型的文人墨竹画，是元代画家高克恭的代表作。图绘秀石一块，竹二株生于石后，一浓一淡，笔法沉厚挺劲，墨气清润，结构谨严。竹叶自然下垂，生动地写出了竹子在烟雨中挺秀潇洒的姿态。\n本幅左下方高氏自识：“克恭为子敬作。”钤“彦敬”印。右侧钤“清父之印”、“顾氏珍玩”、“吴景旭印”、“仁山鉴定”等鉴藏印6方。\n“子敬”为元初著名学者、书法家龚璛。画面右侧中部有赵孟頫题诗一则：“高侯落笔有生意，玉立两竿烟雨中。天下几人能解此，萧萧寒碧起秋风。子昂题。”下钤“赵子昂氏”印。从题诗中可看出赵氏对高克恭的墨竹极为推崇，而高氏对自己的墨竹也自视颇高，尝自谓：“子昂写竹，神而不似；仲宾（李衎）写竹，似而不神，其神而似者，吾之两此君也。",[49,23,50,51,84,26,358,277,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce981bedac3fc255cca37a531f85e131.jpg","纵121.6厘米，横42.1厘米",[242,921],{"id":3411,"slug":3412,"title":3413,"dynasty":115,"author":1755,"museum":175,"description":3414,"tags":3415,"thumbUrl":3416,"material":239,"size":3417,"collection":213,"collections":3418,"showCount":3400,"zanCount":11,"manualWeight":39,"mainColor":40},221180,"ceng-die-bing-xiao-tu-zhou-ma-lin-221180","层叠冰绡图轴","图中所画两枝梅花据称为绿萼梅，是梅花中的名贵品种。枝干细秀劲挺，花朵繁密俏媚，皆以双勾填色法绘之。画法精细，层次鲜明，枝干的转折，花朵的向背，处理得面面俱到。\n在绢素上画疏枝绿萼白梅两枝，枝瘦花繁，一枝高昂扬起，伸至画面右中部，枝疏花密，花朵绽开；一枝低垂叶艳，由画幅右侧横出，伸展画幅中部与另一挺拔高枝相呼应。两枝枝干清瘦如铁。\n本幅款识：“臣马麟。”另有宋宁宗皇后杨氏题“层叠冰绡”，并题诗：“浑如冷蝶宿花房。拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。赐王提举：”钤“杨蛙之章”、“丙子刊宁翰墨”朱文。\n鉴藏印有：“项元汴印”朱文、“墨林山人”白文、“项氏子京”白文、“楠李项氏之家宝玩”朱文、“项墨林鉴赏章”白文、“项子京家珍藏”朱文、“墨林秘玩”朱文、“商丘宋荦审定真迹“朱文、“汝修”白文、”顾氏口阁珍藏”朱文、“典礼纪察司印”朱文半印，另一方印文不辨。\n地轴裱有题记：“嘉靖丙寅秋，用四十五金得于妻弟陆氏，共二幅，共直百金。顾从德记”“宋马麟《层叠冰绡图》。明项元汴清秘。用前价得藏于天籁阁”。钤“墨林山人”白文、“子京父印”朱文。裱边钤“教育部点验之章”朱文。",[49,23,51,84,54,25,528,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0b5f8ab1f8c9f8f0a1fb245c1b08d17.jpg","纵101.7cm，横49.6cm",[213,35,72],{"id":3420,"slug":3421,"title":3422,"dynasty":97,"author":3423,"museum":99,"description":3424,"tags":3425,"thumbUrl":3427,"material":689,"size":690,"collection":107,"collections":3428,"showCount":3429,"zanCount":1288,"manualWeight":39,"mainColor":40},288453,"shui-xian-shan-shi-tu-ye-ju-lian-288453","水仙山石图页","居廉","居廉（1828年9月22日－1904年5月5日），广东省广州府番禺县隔山乡人，原籍江苏扬州宝应县 [1] ，字士刚，号古泉、隔山樵子、罗湖散人，是中国近代岭南地区著名的国画画家，和其从兄居巢并称“二居”。 [2] 他初时学宋光宝和孟丽堂，后吸收各家之长，自成一家。笔法工整，设色妍丽，在继承和发展恽寿平没骨画法基础上，广泛运用了撞水和撞粉法，继承、发展和完善了“居派”艺术。代表作品有《十二分春色》。",[49,23,51,25,54,27,488,277,3426,7,86],"飞虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08f14912099b74f3d5a6aa2685fc8db4.jpg",[],218,{"id":3431,"slug":3432,"title":3433,"dynasty":18,"author":161,"museum":99,"description":3434,"tags":3435,"thumbUrl":3436,"material":689,"size":690,"collection":107,"collections":3437,"showCount":3429,"zanCount":1288,"manualWeight":39,"mainColor":40},228836,"qiu-jiang-xian-diao-tu-shen-zhou-228836","秋江闲钓图","文征明曾分析沈周画风的演变：“自其少时，作画已脱去家习，上师古人，有所模临，辄乱真迹，然所为率盈尺小景。至四十外始拓为大幅，粗枝大叶，草草而成，虽天真烂发，而规度点染，不若向时精工矣。”论其传统的渊源，主要受老师杜琼、刘珏、赵同鲁和父祖辈的影响，以董源、巨然、元四家为宗，于黄公望、王蒙、吴镇用功尤深，所得也最多。沈周学倪瓒往往用笔过于强劲，落墨亦过于浓重，所追求的并不是倪瓒那种若淡若疏的境界。此作无论从用笔还是构图，都有明显的模仿倪瓒的痕迹。",[49,23,26,55,84,86,7,56,62,967,277,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb61a9be30d5f9b913daebe5f42a2dddf.jpg",[],{"id":3439,"slug":3440,"title":3441,"dynasty":18,"author":1014,"museum":175,"description":3442,"tags":3443,"thumbUrl":3444,"material":391,"size":3445,"collection":70,"collections":3446,"showCount":3447,"zanCount":743,"manualWeight":39,"mainColor":75},222332,"shi-ming-tu-quan-juan-tang-yin-222332","事茗图全卷","本幅中作者自题：“日長何所事，茗碗自賚持。料得南窗下，清風滿鬢絲。吳趨唐寅。”钤“唐居士”。\n“事茗”姓陈，为王宠友邻，与唐寅交往亦甚密。唐寅以陈氏名号为题作此图，并将“事茗”二字嵌入题诗中。此图布局别出新意，虚实相生，层次分明。近景巨石侧立，巨石墨色浓黑，皴擦细腻，凹凸清晰可辨。屋舍、坡岸淡雅清润，屋中主人临窗品茗，描绘出幽静宜人的理想化的生活环境。透过画面，似可听到潺潺的流水，闻到淡淡的茶香。\n本幅中另有清乾隆御笔题记：“记得惠山精舍里，竹罏沦茗绿杯持。解元文笔闲相仿，消渴何劳玉虎丝。甲戌闰四月雨余，几暇偶展此卷，因摹其意，即用卷中原韵题之，并书于此。御笔。”钤印“古香”白文方、“太缶”朱文方。尾纸陆粲款署：“嘉靖乙未孟秋之吉，平原陆粲著。”钤印“陆氏浚明”白文方、“贞山”朱文方。鉴藏印钤：耿昭忠“丹诚”、“千山耿信公书画之章”、“信公珍赏”、“信公鉴定珍藏”、“琴书堂”、“都尉耿信公书画之章”；耿嘉祚“耿会侯鉴定书画之章”、“耿嘉祚印”、“耿湛恩章”、“湛恩记”、“漱六主人印”；索额图“也园索氏收藏书画”、“长白索氏珍藏图书印”、“九如清玩”、“乐庵”、“乐圣且衔杯”、“御赐忠孝堂长白山索氏珍藏”等诸家印记多方，另有清内府鉴藏诸印。\n清内府《石渠宝笈·初编》卷十五著录。",[49,23,51,52,26,25,56,58,379,64,150,61,86,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3579c3ee10391bfe105f8f09fe4d831d.jpg","纵31.1厘米，横105.8厘米",[70,72],217,{"id":3449,"slug":3450,"title":3451,"dynasty":115,"author":3452,"museum":175,"description":3453,"tags":3454,"thumbUrl":3455,"material":183,"size":3456,"collection":213,"collections":3457,"showCount":3447,"zanCount":923,"manualWeight":39,"mainColor":75},221445,"han-que-tu-juan-cui-bai-221445","寒雀图卷","崔白","本幅署款“崔白”二字，有清高宗弘历题诗一首。卷后明文彭题跋。\n图绘枯木及9只麻雀飞动或栖止其间的情景。9只小雀依飞鸣动静之态散落树间，自然形成三组。构图巧妙，布局得当，在动与静之间既有分割又有联系。\n作者以干湿兼用的墨色、松动灵活的笔法绘麻雀及树干。麻雀用笔干细，敷色清淡。树木枝干多用干墨皴擦晕染而成，无刻划痕迹，明显区别于黄筌画派花鸟画的创作技法。尽管此图在形势、风格上还较为工致优雅，但在北宋花鸟画中占主导地位的平和、富丽的特色，在崔白的作品中已不见，反映了北宋宫廷花鸟画在审美感受上进入了新的阶段。崔白新创的花鸟画改变了流传百年的黄筌画派的一统格局，推动了宋代花鸟画的发展。",[49,50,23,51,52,27,54,66,967,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c651618a9378a8dc159bf2a2ceb5781.jpg","纵25.5厘米，横101.4厘米",[213,35,72],{"id":3459,"slug":3460,"title":3461,"dynasty":97,"author":341,"museum":81,"description":342,"tags":3462,"thumbUrl":3464,"material":33,"size":348,"collection":107,"collections":3465,"showCount":3466,"zanCount":743,"manualWeight":39,"mainColor":40},219878,"er-shi-si-fan-hua-xin-feng-tu-li-hua-yu-xing-hua-dong-gao-219878","二十四番花信风图-李花与杏花",[23,25,54,86,7,3463,2967,277,1227,2559],"李花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F985d944013ffd751b9d943e22980248d.jpg",[],216,{"id":3468,"slug":3469,"title":3470,"dynasty":115,"author":881,"museum":81,"description":3471,"tags":3472,"thumbUrl":3473,"material":152,"size":3474,"collection":70,"collections":3475,"showCount":3466,"zanCount":39,"manualWeight":39,"mainColor":75},219598,"zhu-he-tu-ma-yuan-219598","竹鹤图","若无若有望中迷。独立黄冠仙客携。识赏分明印坤卦。何云为寿赐都提。甲辰（西元一七八四年）仲冬中浣再题。\n不祷自安缘寿骨。人间难得是清名。浅斟仙酒红生颊。永保长生道自成。赐王都提举为寿。\n布景期神弗期格。分明马远署臣名。胎仙近远相鸣和。绘也羲经与注成。甲辰（西元一七八四年）孟冬上浣御题。",[49,23,51,84,26,25,55,358,58,56,7,61,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F905155f3f4ed0840a0e14b1248544c85.jpg","124.3x56.6公分",[70,199],{"id":3477,"slug":3478,"title":495,"dynasty":115,"author":174,"museum":99,"description":176,"tags":3479,"thumbUrl":3485,"material":689,"size":690,"collection":107,"collections":3486,"showCount":3487,"zanCount":743,"manualWeight":39,"mainColor":75},288520,"han-xi-zai-ye-yan-tu-song-mo-ben-song-gong-ting-hua-jia-288520",[49,23,50,51,52,3480,54,25,1018,58,945,3481,3482,3483,3484,86,7],"人物画","乐舞","听乐","观舞","休憩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde43b93040d57e342c67c97ee8336009.jpg",[],214,{"id":3489,"slug":3490,"title":3491,"dynasty":97,"author":1082,"museum":99,"description":3492,"tags":3493,"thumbUrl":3494,"material":107,"size":107,"collection":242,"collections":3495,"showCount":3487,"zanCount":39,"manualWeight":39,"mainColor":40},237886,"mo-he-zhou-zhu-da-237886","墨荷轴","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。 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。",[23,51,84,26,403,102,420,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12afb4ee4d66f987d5bb2edff1946a7e.jpg",[242],{"id":3497,"slug":3498,"title":3499,"dynasty":97,"author":3500,"museum":175,"description":3501,"tags":3502,"thumbUrl":3503,"material":107,"size":107,"collection":199,"collections":3504,"showCount":3505,"zanCount":11,"manualWeight":39,"mainColor":40},237110,"shi-nv-ce-cui-wei-237110","仕女册","崔鏏","工人物、仕女，擅写真，宗法宫廷画家焦秉贞，略得西洋晕染技法，画面颇有古风，布局饱满，用笔细致，有宋院体画之风，带有受郎世宁画风影响的痕迹。描染净丽，格调婉约。",[23,25,54,24,58,136,181,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafbff89887b390659e0e35416e22bea5.jpg",[199],213,{"id":3507,"slug":3508,"title":3509,"dynasty":115,"author":355,"museum":99,"description":3510,"tags":3511,"thumbUrl":3512,"material":107,"size":107,"collection":107,"collections":3513,"showCount":3505,"zanCount":1288,"manualWeight":39,"mainColor":40},227505,"li-bai-xian-shi-juan-la-jian-su-shi-227505","李白仙诗卷蜡笺","《李白仙诗卷》蜡笺本。行书。纵：34.5厘米，横：106厘米 。日本大阪市立美术馆藏。\n\n此作书于元祐八年（1093）七月十日，苏轼五十八岁，是其重要的代表作之一。苏轼的很多作品因注重创造意识，透过它们强烈的艺术感染力，可以多少领会到作者的苦心孤诣，换句话说，是露出了刀劈斧凿之痕的。那线条的优雅，行气的从容，章法的疏密有致，给人一种精美绝伦之感。这当然是一种美，但这种美中的形式因素相对要多一些。试观此《李白仙诗卷》，却大有“粗服乱头”之感。",[49,51,86,119,52,502,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b6d975139a01fe3b63e08f3f1c34ac2.jpg",[],{"id":3515,"slug":3516,"title":3517,"dynasty":18,"author":2181,"museum":81,"description":3518,"tags":3519,"thumbUrl":3521,"material":319,"size":3522,"collection":70,"collections":3523,"showCount":3505,"zanCount":39,"manualWeight":39,"mainColor":40},220930,"fang-ni-zan-bi-yi-zhou-dong-qi-chang-220930","仿倪瓒笔意轴","董其昌题跋提到曾于苏州王禹声家中见过一幅倪瓒画山水，画上书宋僧法具四首绝句。此作不但追摹倪瓒风格，亦仿原画题诗其上，然依记忆仅抄录其中三首，或因此与原诗稍有出入。王禹声为名宦王鏊（1450-1524）曾孙，曾任承天知府，与董其昌为同榜进士。此作将倪瓒一河两岸式的构图，改为多重山体、水面向远方延伸的深远空间，并倾斜山根水脚所在平面，让画面呈现向左下倾斜的微妙动势；画中林木更见丰盛，山形亦多变而结实，然透过折带皴与带状绵延远山，仍流露出倪瓒画作雅澹的格调。",[49,50,23,51,84,26,56,134,55,119,7,277,64,3520,715,379],"远峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63bd10a4aa8afb51c75dc35585ca53cb.jpg","纵138.8cm，横47cm",[70,242],{"id":3525,"slug":3526,"title":354,"dynasty":146,"author":709,"museum":3527,"description":3528,"tags":3529,"thumbUrl":3530,"material":121,"size":3531,"collection":35,"collections":3532,"showCount":3505,"zanCount":625,"manualWeight":39,"mainColor":40},216101,"mo-zhu-tu-wu-zhen-216101","耶鲁大学艺术博物馆","这件作品是一幅描绘竹叶的图画，以其精细的绘画技巧和精美的艺术品质而闻名。墨竹图的名字来源于其使用的墨色，以及它描绘的竹子。墨竹图被认为是中国古代绘画艺术中最优秀的作品之一，并被许多人所珍视。",[49,23,51,822,26,358,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8b830328da9d88aa4e298e550fe00be.jpg","23.2x22.9cm",[35],{"id":3534,"slug":3535,"title":3536,"dynasty":97,"author":341,"museum":81,"description":342,"tags":3537,"thumbUrl":3539,"material":33,"size":348,"collection":107,"collections":3540,"showCount":3541,"zanCount":625,"manualWeight":39,"mainColor":40},219882,"er-shi-si-fan-hua-xin-feng-tu-shan-fan-yu-lan-hua-dong-gao-219882","二十四番花信风图-山矾与兰花",[23,51,24,25,54,28,3538,311,1714,86,7],"山矾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa300fd27248f7782bac6bc2754e41f05.jpg",[],212,{"id":3543,"slug":3544,"title":3545,"dynasty":18,"author":161,"museum":99,"description":2140,"tags":3546,"thumbUrl":3551,"material":689,"size":690,"collection":107,"collections":3552,"showCount":3553,"zanCount":1288,"manualWeight":39,"mainColor":75},287522,"shu-shan-qin-shu-tu-juan-shen-zhou-287522","蜀山秦树图卷",[49,50,23,52,51,712,26,25,55,278,1936,3547,3548,60,61,3549,3550,119,86,7],"竹林","山居","亭舍","行人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092ad35e202a88d58b87a0f168f8fe23.jpg",[],211,{"id":3555,"slug":3556,"title":2547,"dynasty":97,"author":445,"museum":99,"description":3557,"tags":3558,"thumbUrl":3559,"material":689,"size":690,"collection":107,"collections":3560,"showCount":3553,"zanCount":743,"manualWeight":39,"mainColor":40},287444,"lan-zhu-tu-shi-tao-287444","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。",[50,23,51,84,26,358,251,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78897544684d19c2db3989df6b58bf38.jpg",[],{"id":3562,"slug":3563,"title":3564,"dynasty":115,"author":1509,"museum":20,"description":3565,"tags":3566,"thumbUrl":3568,"material":152,"size":3569,"collection":35,"collections":3570,"showCount":3553,"zanCount":11,"manualWeight":39,"mainColor":75},219174,"zhu-que-tu-wu-bing-219174","竹雀图","此图写棘竹丛生，枝桠横出，枝头有一雀鸟正在悠闲地啄理羽毛。整幅场景景物聚于下侧，可见南宋构图新风的影响。图中竹枝用双钩技法，雀鸟在用颜色没骨画出后，重点部位再用墨线描出。这是吴炳传世佳作中的代表作。",[50,23,51,54,25,27,358,3567,66,7],"雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd20dd6d46a7daa28f75681df47a33321.jpg","纵25厘米，横25厘米",[35],{"id":3572,"slug":3573,"title":3574,"dynasty":97,"author":1082,"museum":20,"description":3575,"tags":3576,"thumbUrl":3578,"material":88,"size":3579,"collection":35,"collections":3580,"showCount":3553,"zanCount":39,"manualWeight":39,"mainColor":40},218898,"yu-ya-tu-juan-zhu-da-218898","鱼鸭图卷","朱耷，号八大山人。八大山人被人们所称道不仅是因为他是一个独具个性的画家，还因为坚守民族气节的品质。明末崇祯皇帝自缢时，八大山人已九岁，作为一个宗室后裔遭到国破家亡的命运，其悲痛可以想象的。他佯狂避世，杜绝交往，甘于贫困，沉溺于书画的创作中。他的作品独具一种“笔意纵恣”的画风。这件《鱼鸭图》是他晚年艺术创作成熟阶段的代表作品 。画面上只有几只鸭子、几尾游鱼和几块半露水面的石块，造型十分简练，笔墨浓淡的处理却十分考究，生动地刻画出岩石的坚实感、鸭毛的松蓬以及鱼身上鳞、鳍的变化。八大将鱼眼画成“白眼”，喻含了他对清王朝的不满和蔑视。",[49,23,51,52,26,2342,3577,277,7],"鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35823c256193bde43d49e8eda3ea517d.jpg","纵23.2厘米 横569.5厘米",[35],{"id":3582,"slug":3583,"title":3584,"dynasty":115,"author":3452,"museum":99,"description":3585,"tags":3586,"thumbUrl":3587,"material":689,"size":690,"collection":107,"collections":3588,"showCount":3589,"zanCount":1288,"manualWeight":39,"mainColor":75},287576,"shuang-xi-tu-cui-bai-287576","双喜图","两宋时期，中国古代花鸟画空前发展并取得重大成就。北宋前期，宫廷画家黄居采继承了其父黄筌的花鸟画风格，使细腻艳丽的富贵风格成为评判当时宫廷花鸟画优劣的准绳，直到崔白等人的出现，才打破了它一直以来的主导地位。崔白与黄筌一样注重写生、造型准确，但在画面中多了几分生趣，正是这种对禽鸟神态的关注，表明了花鸟画进入到一个新的发展阶段。画家将场景设定在深秋野外，被惊扰的野兔回首注视着一对喳喳直叫的山鹊，透过野兔的眼神，我们看到了它驻足回首时的惊异神情。有些诧异，却没有恐惧，因为它知道山鹊对自己没有威胁。它与山鹊之间的动作呼应、位置关联，一定是平日写生的结果，准确而生动。",[49,50,23,84,54,25,66,1171,967,27,1116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64ec422a7f31392c01473ad0cdcb93a1.jpg",[],210,{"id":3591,"slug":3592,"title":3593,"dynasty":192,"author":3594,"museum":290,"description":3595,"tags":3596,"thumbUrl":3597,"material":25,"size":107,"collection":199,"collections":3598,"showCount":3589,"zanCount":743,"manualWeight":39,"mainColor":75},219167,"fu-sheng-shou-jing-tu-wang-wei-219167","伏生授经图","王维","图中的伏生席地而坐，手持书卷，形象清矍苍老，似正在认真讲授。其神情专注而和蔼。从画中清晰可见伏生额头的皱纹与身体上极为松弛的皮肤，非常生动而且真实的描绘出了当时伏生的身体状况。通过画面中对伏生神态的描绘，可以想象，年老的伏生讲授《尚书》时的吃力。此图线描手法高超，敷色清雅。",[49,23,51,58,54,135,25,7,2601,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8701c647bf80d991a6ae005e685af840.jpg",[199],{"id":3600,"slug":3601,"title":3602,"dynasty":97,"author":341,"museum":81,"description":342,"tags":3603,"thumbUrl":3606,"material":33,"size":348,"collection":107,"collections":3607,"showCount":3608,"zanCount":1288,"manualWeight":39,"mainColor":40},219876,"er-shi-si-fan-hua-xin-feng-tu-tang-di-yu-tao-hua-dong-gao-219876","二十四番花信风图-棠棣与桃花",[50,23,51,24,25,54,27,3604,57,3605,86,7],"棠棣","花信风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba17cf988bcf65f78a9b85775c599311.jpg",[],209,{"id":3610,"slug":3611,"title":3612,"dynasty":115,"author":1755,"museum":525,"description":3613,"tags":3614,"thumbUrl":3616,"material":152,"size":3617,"collection":35,"collections":3618,"showCount":3608,"zanCount":923,"manualWeight":39,"mainColor":75},218555,"mo-li-shu-fang-tu-ma-lin-218555","茉莉舒芳图","绢本古雅的底色上，茉莉枝蔓婉转伸展，白花团簇如凝雪，瓣瓣细腻温润，似含轻露未干。叶片以深浅墨绿晕染，脉络清晰可见，老叶的厚重与新叶的鲜嫩相映成趣。枝梗用笔挺劲又不失灵动，穿插错落间留白恰到好处，尽显疏密有致的构图巧思。整幅画精工雅致，将茉莉的清芬与静谧之美凝于绢素，仿佛能闻见淡淡花香，尽显南宋花鸟的细腻与诗意。笔墨间藏着对自然生灵的细致观察，每一处细节都透着温婉的匠心，让清雅之气溢于画面，是兼具技法与意境的佳作。",[50,23,51,54,25,27,3615,30,7],"茉莉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9afa3f161454d0740d10b8abcc3695ff.jpg","22.8x22.8cm",[35],{"id":3620,"slug":3621,"title":3622,"dynasty":18,"author":3623,"museum":81,"description":3624,"tags":3625,"thumbUrl":3626,"material":88,"size":3627,"collection":199,"collections":3628,"showCount":3608,"zanCount":743,"manualWeight":39,"mainColor":40},214252,"luo-han-tu-li-yu-214252","罗汉图","李遹","罗汉图是明代画家李遹的一幅代表作。这幅画作描绘了罗汉的神圣形象。\n\n罗汉是佛教中的神，被认为是佛教徒的保护神。在这幅画作中，李遹巧妙地捕捉了罗汉的神圣形象。他用浓墨重彩的画法，勾勒出了罗汉的宏伟身形。他还用细腻的线条勾勒出了罗汉的面容，让人感受到了罗汉的慈祥和仁慈。\n\n此外，李遹在这幅画作中还描绘了罗汉周围的景色。他用色彩丰富的画法，描绘了罗汉周围的山川和河流。这些景色与罗汉的神圣形象形成了鲜明的对比，让人感受到了自然与神的和谐统一。\n\n总之，罗汉图是一幅精美的画作，描绘了罗汉的神圣形象。它让我们感受到了明代画家李遹对佛教的崇敬之情，也让我们感受到了明代文化的魅力。\n\n在这幅画作中，李遹运用了丰富的色彩和细腻的线条，将罗汉的神圣形象展现得淋漓尽致。他还用精美的画法描绘了罗汉周围的景色，让人感受到了自然与神的和谐统一。\n\n罗汉图是明代文化中的经典之作，也是李遹的代表作之一。它不仅展现了李遹的艺术才华，也是一幅能够唤起人们对佛教的崇敬之情的画作。",[49,23,51,1284,135,26,58,405,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F120eeb39e103b48205756344a5362f0a.jpg","56.6x32.6",[199],{"id":3630,"slug":3631,"title":3632,"dynasty":146,"author":431,"museum":81,"description":3633,"tags":3634,"thumbUrl":3635,"material":319,"size":3636,"collection":122,"collections":3637,"showCount":3638,"zanCount":743,"manualWeight":39,"mainColor":40},220835,"qian-hou-chi-bi-fu-he-juan-zhao-meng-fu-220835","前后赤壁赋合卷","《前后赤壁赋》又称《赤壁二赋帖》，是元代书法家 于元大德五年创作的行书书法作品。\n此帖是应友人之约而书，为纸本册页，全帖共书八十一行，其中《赤壁赋》四十六行、《后赤壁赋》三十二行，署款三行，并有 像于帖首。\n在此二赋中，原文作者苏轼凭吊古迹，抒发了对江山风物的热爱与旷达的心胸，但是也有对人生虚无的消极思想。\n《前后赤壁赋》中前后二赋为赵孟頫同时所书，风格却略有不同，但该帖总体上分行布白疏朗从容，用笔圆润遒劲，宛转流美，风骨内含，神彩飘逸，尽得魏晋风流遗韵。\n《前后赤壁赋》为广大行书书法爱好者所推崇，是当代热门法帖，被誉为中华十大传世名帖之一。\n《前后赤壁赋》起笔以一拓直下为主，收笔善留。几乎所有笔画起笔都是承接上笔的一拓直下或者露锋入纸，很少藏锋。如《后赤壁赋》第一行的“岁”字，其“山”字头三个竖画起笔都是露锋入纸，下部撤画与横画为一拓直下；“十”字横画起笔也是典型的一拓直下，或者叫做“欲横先竖”。收笔处多意到即止，常用回锋或者短小的出锋。如刚才提到的“十”字，其竖画就是用笔锋轻轻上提收笔；而类似《后赤壁赋》中“少”、“降”字末笔的出锋形态者则比较少见，多数露锋收笔都是如“脱”、“叶”等字那样缩短笔画长度。\n同时，此作品提按丰富，笔锋弹性表现充分。书法笔法不外乎用锋和运笔，这件作品在笔锋的运用上很有特点。首先是用锋。从点画的轻重变化上看，其毛笔锋尖弹性极好，如《赤壁赋》第二行“下”、“清”、“来”、“水”四字笔画轻处如游丝，而于”、“赤”、“风”、“徐”等字则较重，提按对比比较明显。其次为运笔。与张旭、怀素的草书相比，赵孟頫作品运笔速度与节奏的变化显得不是十分突出，但是，如果与颜柳的楷书相比，其变化还是比较明显的。如《赤壁赋》第六行中“水光”、“所如凌”等字运笔速度快，而“接”字以下五字速度较慢，节奏变化小。与此相类似，几乎五六字形成一个段落，往往前两三字运笔速度慢，后两三字运笔速度加快，一段段循环往复，从而形成整幅作品运笔上的变化。\n释文:壬戌之秋，七月既望，苏子与客泛舟游于赤壁之下。清风徐来，水波不兴。举酒属客，诵明月之诗，歌窈窕之章。少焉，月出于东山之上，徘徊于斗牛之间。白露横江，水光接天。纵一苇之所如，凌万顷之茫然。浩浩乎如冯虚御风，而不知其所止；飘飘乎如遗世独立，羽化而登仙。\n于是饮酒乐甚，扣舷而歌之。歌曰：“桂棹兮兰桨，击空明兮溯流光。渺渺兮予怀，望美人兮天一方。”客有吹洞箫者，倚歌而和之。其声呜呜然，如怨如慕，如泣如诉，余音袅袅，不绝如缕。舞幽壑之潜蛟，泣孤舟之嫠妇。\n苏子愀然，正襟危坐而问客曰：“何为其然也？”客曰：“月明星稀，乌鹊南飞，此非曹孟德之诗乎？西望夏口，东望武昌，山川相缪，郁乎苍苍，此非孟德之困于周郎者乎？方其破荆州，下江陵，顺流而东也，舳舻千里，旌旗蔽空，酾酒临江，横槊赋诗，固一世之雄也，而今安在哉？况吾与子渔樵于江渚之上，侣鱼虾而友麋鹿，驾一叶之扁舟，举匏樽以相属。寄蜉蝣于天地，渺沧海之一粟。哀吾生之须臾，羡长江之无穷。挟飞仙以遨游，抱明月而长终。知不可乎骤得，托遗响于悲风。”\n苏子曰：“客亦知夫水与月乎？逝者如斯，而未尝往也；盈虚者如彼，而卒莫消长也。盖将自其变者而观之，则天地曾不能以一瞬；自其不变者而观之，则物与我皆无尽也，而又何羡乎!且夫天地之间，物各有主,苟非吾之所有，虽一毫而莫取。惟江上之清风，与山间之明月，耳得之而为声，目遇之而成色，取之无禁，用之不竭，是造物者之无尽藏也，而吾与子之所共适。”\n客喜而笑，洗盏更酌。肴核既尽，杯盘狼籍。相与枕藉乎舟中，不知东方之既白。\n后赤壁赋:是岁十月之望，步自雪堂，将归于临皋。二客从予过黄泥之坂。霜露既降，木叶尽脱，人影在地，仰见明月，顾而乐之，行歌相答。已而叹曰：“有客无酒，有酒无肴，月白风清，如此良夜何！”客曰：“今者薄暮，举网得鱼，巨口细鳞，状如松江之鲈。顾安所得酒乎？”归而谋诸妇。妇曰：“我有斗酒，藏之久矣，以待子不时之需。”于是携酒与鱼，复游于赤壁之下。江流有声，断岸千尺；山高月小，水落石出。曾日月之几何，而江山不可复识矣。予乃摄衣而上，履谗岩，披蒙茸，踞虎豹，登虬龙，攀栖鹘之危巢，俯冯夷之幽宫。盖二客不能从焉。划然长啸，草木震动，山鸣谷应，风起水涌。予亦悄然而悲，肃然而恐，凛乎其不可留也。反而登舟，放乎中流，听其所止而休焉。时夜将半，四顾寂寥。适有孤鹤，横江东来。翅如车轮，玄裳缟衣，戛然长鸣，掠予舟而西也。\n须臾客去，予亦就睡。梦一道士，羽衣蹁跹，过临皋之下，揖予而言曰：“赤壁之游乐乎？”问其姓名，俯而不答。“呜呼！噫嘻！我知之矣。畴昔之夜，飞鸣而过我者，非子也邪？”道士顾笑，予亦惊寤。开户视之，不见其处。",[49,50,23,51,52,119,135,26,25,58,56,62,61,944,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d97a6be3b2a91e08cf6524bf2f30626.jpg","40x196厘米",[122],207,{"id":3640,"slug":3641,"title":17,"dynasty":97,"author":248,"museum":99,"description":685,"tags":3642,"thumbUrl":3643,"material":689,"size":690,"collection":107,"collections":3644,"showCount":3645,"zanCount":1288,"manualWeight":39,"mainColor":40},239444,"hua-niao-ce-yun-shou-ping-239444",[23,51,24,25,54,27,66,531,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19250735f901fd0882f83c6edac72376.jpg",[],206,{"id":3647,"slug":3648,"title":3649,"dynasty":146,"author":431,"museum":175,"description":3650,"tags":3651,"thumbUrl":3654,"material":183,"size":3655,"collection":35,"collections":3656,"showCount":3645,"zanCount":743,"manualWeight":39,"mainColor":75},220867,"qiu-jiao-yin-ma-tu-juan-zhao-meng-fu-220867","秋郊饮马图卷","赵孟頫擅长人马图，总体追求刻意写实，一笔不苟。具体画风有两类：一是宗唐人韩干之法，马尚丰肥，用色华丽，衬以山水树石背景，人、马、景合为一体；一是仿北宋李公麟之作，笔墨清淡，着力于线条，注重描法与形象、质感的统一，不施色彩，以墨代色加以轻染。人马画中的人物均著唐装，风格既具“复古”的唐画之韵，又带浓郁的文人气息，有一定的创新性。\n此图属仿唐人的工笔设色画法。清秋郊野，一唐装圄官在池畔牧马，红色衣袍在大青绿的草坪映衬下显得尤为夺目，有力地突出了主体人物。所率十匹骏马均骨肉停匀，活跃多姿，它们或奔腾追逐，或徐步缓行，或俯首就饮，或引颈长鸣，意态生动。\n此图在布局上富有特色，以中景露地不露天及右开式构图，把平视、仰视、俯视三种造景方式有机地加以揉合，灵活地处理景物，使画面开阔舒展，疏密有致。画法亦将唐人的青绿重彩法与宋以来的文人笔墨法加以融合，别具新意。如人物线描工细劲健，又类似篆籀用笔，古朴中见隽秀；树石、坡陀行笔凝重，勾、皴、破、染并用，工谨中含清逸；青绿、大红重色中又兼施赭石、水墨，于浓丽中显清雅。总体风格行、利相兼，妙、逸并具，精逸技巧与文人雅韵结合，反映了赵孟頫晚年成熟的人马画面貌。",[49,23,51,52,25,54,119,86,225,58,871,3652,3653,61,7],"秋景","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F923838da80859608e45f25b27e081087.jpg","纵23.6厘米，横59厘米",[35,72],{"id":3658,"slug":3659,"title":3660,"dynasty":18,"author":161,"museum":99,"description":2140,"tags":3661,"thumbUrl":3663,"material":689,"size":690,"collection":107,"collections":3664,"showCount":3665,"zanCount":11,"manualWeight":39,"mainColor":924},287521,"lin-mao-wu-tu-juan-shen-zhou-287521","林茅屋图卷",[49,50,23,51,52,26,25,56,379,358,64,150,60,63,119,7,3662],"清逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd357ed146fa7ee50540d33597d420cd.jpg",[],205,{"id":3667,"slug":3668,"title":3669,"dynasty":97,"author":445,"museum":485,"description":486,"tags":3670,"thumbUrl":3672,"material":33,"size":107,"collection":35,"collections":3673,"showCount":3665,"zanCount":743,"manualWeight":39,"mainColor":40},218126,"yu-xiang-jiao-ye-tu-shi-tao-218126","雨乡蕉叶图",[49,23,26,25,119,7,3671,531],"蕉叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d80c7cb86c795587ab382481f9fcbed.jpg",[35],{"id":3675,"slug":3676,"title":3677,"dynasty":115,"author":221,"museum":20,"description":3678,"tags":3679,"thumbUrl":3681,"material":319,"size":3682,"collection":213,"collections":3683,"showCount":3684,"zanCount":39,"manualWeight":39,"mainColor":75},221334,"liu-ya-lu-yan-tu-zhao-ji-221334","柳鸦芦雁图","此图共分为二段，前段画柳鸦，后段画芦雁。鸦的头顶和腹部施以白粉，鸦身敷浓墨，黝黑如漆。柳树的斑驳老干，富有质感。柳鸦的墨彩很酣，笔势很壮，显示出赵佶用墨的特色。后段四只芦雁在芦草蓼花边栖息，以浅赭设色，增强了秋天萧疏的气氛。\n画卷的右半部分，高大的柳树枝上停着三只鸟鸦，其中两只背靠偎依，静观自得，另有一只向下俯视而鸣，似在呼唤躲藏于树根部的一只乌鸦。\n画卷的左半部分，一道清澈的水滩上，芦竹高耸，蓼花低垂，两雁傍水而饮，一雁趋前，作欲饮之状，另有一雁，好像已经饮完水，正啮咬湖中的摹花茎，姿态各不一致，形象生动有趣。\n图上钤有“宣和中秘”和“紫宸殿御书宝”两印。图后的赵佶落款，系后人勾填，右上角“紫宸殿御书宝”及“御书”葫芦印亦是后人描画的。卷后有南宋荣传辰、邓谏从题跋。另有邓易从、范逾跋，系后人伪作。卷首有清高宗弘历题“神韵天然”引首，并有弘历题诗。清梁清标题签。",[49,50,23,51,52,54,25,598,1727,1061,3680,85,66,7],"大雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cc8c5e72610db5404dd3907fbf5fc8a.jpg","纵34厘米，横223.2厘米",[213,35,72],204,{"id":3686,"slug":3687,"title":3688,"dynasty":18,"author":3689,"museum":525,"description":3690,"tags":3691,"thumbUrl":3692,"material":33,"size":3693,"collection":70,"collections":3694,"showCount":3684,"zanCount":625,"manualWeight":39,"mainColor":75},217879,"feng-ye-chun-yu-tu-chen-huan-217879","枫野春雨图","陈焕","枫野春雨图是明朝画家陈焕的著名作品之一。这幅画描绘了一个清新的春天景象，画面中有花开的枫树和悠扬的柳树，还有漫天的淡蓝色的春雨。\n\n陈焕是明朝时期的一位著名画家，他的作品多以山水画见长，枫野春雨图也是其中的杰作。这幅画不仅描绘了自然的美景，还有足够的空间来表达艺术家的情感和思想。枫野春雨图中的春雨表现出了明朝时期人们对自然和谐的向往，而枫树和柳树的生机勃勃则象征着明朝的繁荣和繁茂。\n\n总的来说，枫野春雨图是一幅优美而富有感情的山水画，它不仅展示了陈焕的艺术才华，还反映了明朝时期人们对自然和谐的向往。",[49,23,25,56,54,55,870,406,871,63,62,713,60,61,150,279,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb9b68f66e9d9331884c00f7b78f3e3f.jpg","33.5x65.7cm",[70,72],{"id":3696,"slug":3697,"title":3698,"dynasty":97,"author":1082,"museum":99,"description":1382,"tags":3699,"thumbUrl":3700,"material":689,"size":690,"collection":107,"collections":3701,"showCount":3702,"zanCount":39,"manualWeight":39,"mainColor":40},240255,"ba-da-shan-ren-xi-yuan-ya-ji-tu-ji-juan-zhu-da-240255","八大山人西园雅集图记卷",[49,23,51,52,86,119,26,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d8f9f166a40fcf4ec139f19c82aed61.jpg",[],203,{"id":3704,"slug":3705,"title":17,"dynasty":97,"author":248,"museum":99,"description":685,"tags":3706,"thumbUrl":3707,"material":689,"size":690,"collection":107,"collections":3708,"showCount":3702,"zanCount":11,"manualWeight":39,"mainColor":40},239434,"hua-niao-ce-yun-shou-ping-239434",[23,25,264,27,24,312,896,265,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68f83bf355d91cd4fd4d269c81b711e7.jpg",[],{"id":3710,"slug":3711,"title":3712,"dynasty":97,"author":800,"museum":222,"description":3713,"tags":3714,"thumbUrl":3715,"material":3716,"size":3717,"collection":35,"collections":3718,"showCount":3702,"zanCount":39,"manualWeight":39,"mainColor":40},223297,"you-lan-tu-zheng-ban-qiao-223297","幽兰图","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。",[49,23,26,403,119,251,358,277,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac1a241fb86617dacfcaeedfab80d448.jpg","纸本·墨色","纵91.3cm横51cm",[35,242,122],{"id":3720,"slug":3721,"title":3722,"dynasty":18,"author":459,"museum":175,"description":3723,"tags":3724,"thumbUrl":3726,"material":319,"size":3727,"collection":199,"collections":3728,"showCount":3702,"zanCount":1288,"manualWeight":39,"mainColor":75},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》）",[49,23,26,403,84,58,3725,86,7],"驴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad70cb02cc5b283ac73c9e55c2df32ea.jpg","纵112.2厘米，横30厘米",[199,242],{"id":3730,"slug":3731,"title":3732,"dynasty":3733,"author":207,"museum":3734,"description":3735,"tags":3736,"thumbUrl":3738,"material":88,"size":107,"collection":242,"collections":3739,"showCount":3702,"zanCount":39,"manualWeight":39,"mainColor":75},218498,"fu-hu-luo-han-tu-yi-ming-218498","伏虎罗汉图","隋","纳尔逊·阿特金森艺术博物馆","松枝苍劲如铁，虬干盘曲间洒落清寂。罗汉衣袂简淡，手持念珠，眉目舒展，静定之气溢于笔端。猛虎伏身于侧，斑纹墨线勾勒得古朴生动，却无往日凶戾，似被禅意悄然驯服，尾梢轻卷，与罗汉相望成趣。画面以淡墨晕染，线条洗练，每一笔皆藏古雅之韵。禅者的澄明与猛兽的温顺在此交融，于简素构图中铺展一方物我相忘的天地，仿佛能闻松风低语，见禅心照彻，尽显传统水墨中“以静制动”的妙趣与哲思。",[23,51,26,135,1284,58,3737,1116,137,150,776,7],"虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6874aa5c9ffd1e8999c79d811f94fa79.jpg",[242],{"id":3741,"slug":3742,"title":3743,"dynasty":97,"author":1082,"museum":525,"description":3223,"tags":3744,"thumbUrl":3745,"material":88,"size":3226,"collection":107,"collections":3746,"showCount":3702,"zanCount":1288,"manualWeight":39,"mainColor":40},216912,"hua-niao-si-tiao-ping-2-zhu-da-216912","花鸟四条屏-2",[49,23,51,84,26,403,29,277,967,85,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d3572510108b8dddf5ab932d0d7dd6d.jpg",[],{"id":3748,"slug":3749,"title":3750,"dynasty":97,"author":736,"museum":175,"description":3751,"tags":3752,"thumbUrl":3753,"material":152,"size":3754,"collection":35,"collections":3755,"showCount":3702,"zanCount":743,"manualWeight":39,"mainColor":40},216752,"wan-ji-shuang-lang-shi-ning-216752","万吉骦","乾隆八年（1743年，癸亥），郎世宁绘制《十骏图》轴，万吉骦被称赞为十骏之首。画上文字记载：“喀尔喀郡王多尔济札尔进，高四尺二寸、长七尺一寸五分。乾隆癸亥孟春，海西臣郎世宁恭画”\n载于《石渠宝笈初编》，收贮于御书房，由郎世宁一人所画，十幅十马分别命名为奔霄骢、赤花鹰、雪点雕、霹雳骧、薾云驶、万吉骦、阚虎骝、狮子玉、自在驈、英骥子。",[49,50,23,51,54,25,225,1116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d71c71a91f3ec9d93f4380b8fbbde8b.jpg","纵239厘米，横269厘米",[35],{"id":3757,"slug":3758,"title":2149,"dynasty":97,"author":248,"museum":99,"description":473,"tags":3759,"thumbUrl":3760,"material":107,"size":477,"collection":107,"collections":3761,"showCount":3762,"zanCount":743,"manualWeight":39,"mainColor":40},233900,"hua-hui-ce-yun-shou-ping-233900",[23,51,50,24,264,25,332,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa0a7750d865b52861787be6b9bef938.jpg",[],201,{"id":3764,"slug":3765,"title":3766,"dynasty":115,"author":289,"museum":446,"description":3767,"tags":3768,"thumbUrl":3769,"material":88,"size":3770,"collection":199,"collections":3771,"showCount":3762,"zanCount":743,"manualWeight":39,"mainColor":40},218627,"hua-yan-jing-bian-tu-li-gong-lin-218627","华严经变图","华严的意思是：华 是比喻达到一切功德圆满的果位，所以，佛陀时代的深层意义的果位被 严 所装饰，那么就叫佛陀华严。经 是可以解释的教学。华严经》是佛陀成佛后第二天在菩提树下由文殊菩萨、普贤菩萨和其他高级菩萨宣讲的佛陀内在真理的教义。按照《华严经》画的七八或七九会，被称为华严变奏曲，是这幅画的主题。",[49,50,23,51,52,1284,135,58,405,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0192474c5d3ca959fdaab930f638a005.jpg","34.6x1244",[199],{"id":3773,"slug":3774,"title":3775,"dynasty":97,"author":445,"museum":99,"description":3557,"tags":3776,"thumbUrl":3777,"material":689,"size":690,"collection":107,"collections":3778,"showCount":3779,"zanCount":743,"manualWeight":39,"mainColor":40},287968,"shan-shui-li-zhou-shi-tao-287968","山水立轴",[23,50,51,84,26,56,277,610,63,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff04d5c206c3321255a29bfe472c9932e.jpg",[],200,{"id":3781,"slug":3782,"title":3783,"dynasty":891,"author":892,"museum":3784,"description":3785,"tags":3786,"thumbUrl":3789,"material":3790,"size":107,"collection":107,"collections":3791,"showCount":3792,"zanCount":39,"manualWeight":39,"mainColor":40},220585,"hu-lu-he-san-zhi-kun-chong-qi-bai-shi-220585","葫芦和三只昆虫","Oscar Niemeyer Museum","明黄葫芦以没骨法晕染，色块鲜亮通透，留白巧显葫身莹润质感。焦墨藤蔓如虬龙游走，狂放苍劲，墨叶大笔泼写，浑朴厚重，大写意的疏朗随性扑面而来。\n\n三只草虫用工笔细绘，蝶翅纹路纤毫毕现，蝈蝈、蚱蜢肢体灵动鲜活，工细与写意形成强烈对冲，将乡野秋意揉入画面。枯湿浓淡的墨色层次分明，老辣笔触带着稚拙生机，把篱边闲趣晕染得鲜活动人，俗世清欢藏在笔墨之间，尽显东方水墨的悠然意韵。",[23,51,84,26,25,27,3787,896,315,3788,7],"葫芦","蟋蟀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61c47104068ce7e480840a2e1fddebeb.jpg","Watercolor on paper",[],199,{"id":3794,"slug":3795,"title":3796,"dynasty":97,"author":1082,"museum":2192,"description":3797,"tags":3798,"thumbUrl":3799,"material":107,"size":107,"collection":107,"collections":3800,"showCount":3801,"zanCount":39,"manualWeight":39,"mainColor":40},230286,"yu-shi-tu-juan-zhu-da-230286","鱼石图卷","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。",[49,23,26,52,403,277,2342,358,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F780cb8efb806c53984af9356a5a498f8.jpg",[],198,{"id":3803,"slug":3804,"title":3805,"dynasty":146,"author":431,"museum":175,"description":3806,"tags":3807,"thumbUrl":3808,"material":239,"size":3809,"collection":199,"collections":3810,"showCount":3801,"zanCount":625,"manualWeight":39,"mainColor":1441},220856,"yu-ma-tu-juan-zhao-meng-fu-220856","浴马图卷","画上有一湾溪水，清澈透亮，溪水边有梧桐和垂柳，绿色成荫相映成趣，溪水中和岸边还有十四匹骏马，九名马倌。绘画中马的姿态各不相同，每一匹马的神态都非常生动，有的在水中站立，有的在喝水，有的在吃草，有的还在昂首嘶叫，有的卧在地上还在左顾右盼。马倌们牵着马在溪水边，有的人在给马洗澡，有的人在河岸边休息。在画面中，一位马倌洗完马后骑在马背上，等着马喝完水便准备上岸；一人一马，马在回眸主人而人则右手舀水，左手为马擦拭，眼神与马相对，表现爱惜之情，此时的人和马似乎心神交会了；马倌赤着上身坐在水边的岩石上，一只脚穿靴，而另一只脚却光着，悠闲地翘着二郎腿，面带微笑，马匹昂首目视前方，神气十足。\n唐宋绘画严谨的法度意趣建立在文学化境界上，元代以后绘画体现为书法化写意性和对于宣纸、水性的把握上，《浴马图》就体现了这种画风明显的演变过渡痕迹。\n《浴马图》是元武宗的命题之作，赵孟頫不敢大意，除了连日到宫中的养马之处现场观察外，他还细心揣摩元武宗的意图。元武宗是在一场血腥的宫延政变中上台执政的，当上皇帝后他大兴土木、对外用兵，和察合台汗国联手干掉了窝阔台汗国，结果引发了财政危机；他又滥发银钞，引发了严重的通货膨胀，但他却命令赵孟頫要在这幅关于马的画作里，表现出和平盛世的气氛。赵孟頫冥思苦想之后，终于创作出了《浴马图》。此画是赵孟俯中年时的作品。\n水中正在洗马的几个马倌，多是半裸，这在古代绘画中比较少见。人物的衣纹飘逸流动，面孔正侧向背各有特征，人和马之间，充满了一种友爱的感情。\n背景的笔法古朴遒劲，树干坡石，被法洗练而结实，无论是清澈透明的溪水，还是婆要多姿的水草，双钩填绿的梧桐、柳树及其他夹叶树，画法皆有特色。\n此画的特点之一，在画中有阳光感，与清澈的河水和岸边梧桐垂柳荫形成鲜明的冷热对照。这种表现手法在赵氏的其他作品中很少见。在技法方面，此画用工笔重彩，刻意学唐人，画法精工细致，这种工细紧密的线描似唐人手笔。人物造型趋肥胖，个个面如傅粉，华滋润泽，马体肥硕，追踪唐马造型。同时此画作者将书法用笔落于绘画之中，如人马线描工细劲健，犹如篆籀，古朴严谨中而蕴隽秀。\n《浴马图》场面宏大，共画马倌九人，骏马十四匹。马的造型准确，各种姿态跃然纸上，形态肤色各不相同；人物形象俊美，年龄、相貌、动作皆富于个性。\n骏马体格雄健，神态各异，或低头饮水，或引颈嘶鸣，或昂首顾盼，或卧在岸边，或在低首吃草等，意态生动。马倌有老少之别，穿着各种不同颜色服装，或立在水中为马洗刷，或牵马临溪，或跨马下水，或驱马上岸，或骑马上张望，或在岸边小憩等动态多样。河边绿茵如席，梧桐垂柳，婀娜多姿，环境清爽怡人。图中所有的形象有动有静，疏密有致，既不相扰，又互为照应，其人和马的动作互相呼应，生动有致，既突出了主题，又给观者以回味的余地。\n此图为工笔着色画。故马有黑、白、红、黄、灰、花斑诸色。画树、坡岸行笔凝重，勾、皴、染并用，苍逸中含清润，其背景用青绿敷染。人物鞍马分别施不同色彩，设色浓润，风格清新秀丽。",[49,23,51,52,25,54,225,58,871,61,1115,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc608c918408f5c92a9bf9ef5f91842ca.jpg","纵28.5cm,横154cm",[199,72],{"id":3812,"slug":3813,"title":3814,"dynasty":18,"author":2181,"museum":3815,"description":3816,"tags":3817,"thumbUrl":3818,"material":24,"size":3819,"collection":70,"collections":3820,"showCount":3801,"zanCount":39,"manualWeight":39,"mainColor":107},220755,"fang-ge-jia-shan-shui-tu-ce-dong-qi-chang-220755","仿各家山水图册","香港中文大学文物馆","此作用笔松秀虚灵，以淡墨勾勒山峦，披麻皴浅敷石面，远岫连绵错落，间以茂林点缀，烟气空濛间漾出幽远静谧。\n\n近岸古木虬曲，枝干舒展如篆籀笔法，木叶疏密得宜，衬出院舍茅庐隐于林间，板桥卧波轻接水岸，野趣悠然。全画以简驭繁，笔墨间带着萧散简远的韵致，淡墨轻岚间尽显平淡天真的文人意趣，简淡中藏雄浑气韵，尽显文人山水的清逸格调。",[49,23,51,24,26,55,134,56,137,60,61,150,727,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60ce2531c6f731b92b3d70dff3ad849.jpg","30.5 × 23.8厘米",[70],{"id":3822,"slug":3823,"title":3824,"dynasty":97,"author":1180,"museum":175,"description":3825,"tags":3826,"thumbUrl":3827,"material":1087,"size":107,"collection":35,"collections":3828,"showCount":3829,"zanCount":743,"manualWeight":39,"mainColor":40},237157,"lan-hua-zhou-wu-chang-shuo-237157","兰花轴","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》。",[23,51,84,26,311,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6b4b3f9192dc4eaf607bfc0f395f74.jpg",[35],197,{"id":3831,"slug":3832,"title":2903,"dynasty":97,"author":1180,"museum":175,"description":3825,"tags":3833,"thumbUrl":3834,"material":1087,"size":107,"collection":35,"collections":3835,"showCount":3836,"zanCount":1288,"manualWeight":39,"mainColor":40},237158,"mei-hua-zhou-wu-chang-shuo-237158",[23,51,84,26,119,7,86,345,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F080ddc2ba3abfecbf7d18533654b3d87.jpg",[35],196,{"id":3838,"slug":3839,"title":3840,"dynasty":97,"author":3841,"museum":99,"description":3842,"tags":3843,"thumbUrl":3844,"material":107,"size":107,"collection":107,"collections":3845,"showCount":3836,"zanCount":11,"manualWeight":39,"mainColor":40},230215,"hua-niao-tu-ce-yu-zhi-230215","花鸟图册","余穉","此作工致秀雅，以桃花翠竹绘就春日小景。枝头桃花柔媚绽放，粉白花瓣晕染匀净，尽显娇妍之态，间杂翠绿竹叶，挺括舒展，鲜润清雅。\n\n三只春燕情态各异，两只红襟燕栖于花枝，羽翼丝缕毕现，绒羽蓬松柔软，神色悠然；一只白燕翩跹掠飞，灵动轻盈，动静相映成趣。整体设色明丽柔和，笔触细腻入微，将春日融融的生机与雅致融为一体，兼具写实之真与古典雅致之美，尽显清逸温婉的花鸟意趣。",[23,54,25,27,57,358,66,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95f1730fb5283ee2b7dc13a5bfb558b7.jpg",[],{"id":3847,"slug":3848,"title":3849,"dynasty":115,"author":355,"museum":3850,"description":3851,"tags":3852,"thumbUrl":3855,"material":319,"size":3856,"collection":122,"collections":3857,"showCount":3836,"zanCount":39,"manualWeight":39,"mainColor":40},221313,"dong-ting-zhong-shan-er-fu-quan-juan-su-shi-221313","洞庭中山二赋全卷","吉林省博物院","苏轼的字看似平实、朴素，但有一股汪洋浩荡的气息，就像他渊厚的学问一样，神龙变化不可测。 他长于行书、楷书， 笔法肉丰骨劲， 跌宕自然， 给人以“大海风涛之气”“古槎怪石之形”的艺术美感。 苏轼的书法，后人赞誉颇高。黄庭坚在他《山谷集》里说：“其书姿媚……至酒酣放浪，意忘工拙，字特瘦劲……至于笔圆而韵胜，挟以文章妙天下，忠义贯日月之气，本朝善书，自当推（苏）为第一”。明董其昌盛赞他“全用正锋，是坡公之兰亭也”。传世书迹有《前赤壁赋》《黄州寒食诗帖》《洞庭春色赋》《中山松醪赋》等。",[49,119,86,52,7,3853,777,3854,56],"洞庭","酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff26499125ec3104dc526016eca85f356.jpg","28.3x450.3cm",[122],{"id":3859,"slug":3860,"title":3861,"dynasty":115,"author":400,"museum":329,"description":3862,"tags":3863,"thumbUrl":3864,"material":88,"size":3865,"collection":35,"collections":3866,"showCount":3836,"zanCount":625,"manualWeight":39,"mainColor":75},218750,"yun-xing-yu-shi-tu-chen-rong-218750","云行雨施图","这幅无名画据说是宋代著名龙画家陈容的作品，与波士顿博物馆的标准九龙图相比，它最接近波士顿博物馆的收藏。两条龙盘踞在岩石间的缝隙中，墨色苍白而古老，笔触滴水不漏。这幅画可以说是陈所翁画派的一个精品。",[49,23,51,52,26,55,405,871,150,1207,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa093ef59801c36ccbbb03de72275687d.jpg","40x180cm",[35],{"id":3868,"slug":3869,"title":3870,"dynasty":97,"author":3871,"museum":81,"description":3872,"tags":3873,"thumbUrl":3876,"material":227,"size":3877,"collection":107,"collections":3878,"showCount":3879,"zanCount":1288,"manualWeight":39,"mainColor":40},232816,"mo-chou-ying-xi-yuan-ya-ji-tu-ding-guan-peng-232816","摹仇英西园雅集图","丁观鹏","丁观鹏在乾隆朝曾绘制大量摹古作品，然其仿制的对象有许多已被证实为明代商业伪作，此即一例。此幅底本目前仍藏台北故宫博物院，全幅以白描画成，由其较为修长瘦弱的造型判断，很接近尤求的白描风格，这类白描作品在苏州片伪古书画作品中常被冠以仇英之名。乾隆皇帝在此底本题诗表示「底须著色求形肖」，也成为此摹作用力之处。丁观鹏摹作在构图上保留原图，然在人物、家具与植物部分施彩，如吴派之淡雅，然更为明亮。亭子屋顶结构、柱子、湖石等，则具有西洋素描般的渐层光影效果，整幅作品可说是明代商业白描风格、吴派风格与外来西洋画法的结合。",[23,51,84,134,25,54,58,63,871,700,1240,500,497,3874,7,86,119,1019,3875],"聚会","芭蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1229909206e7c4c7bdb804c648b9f594.jpg","95.1×43.9cm",[],195,{"id":3881,"slug":3882,"title":1709,"dynasty":97,"author":3883,"museum":81,"description":3884,"tags":3885,"thumbUrl":3887,"material":152,"size":3888,"collection":35,"collections":3889,"showCount":3879,"zanCount":1288,"manualWeight":39,"mainColor":40},219529,"sui-chao-tu-yun-shou-ping-wang-hui-da-chong-guang-yang-jin-219529","恽寿平王翚笪重光杨晋","四人联袂共绘，将岁朝清供融于一帧。松针攒簇挺劲，尽显凌霜坚姿，翠竹疏枝摇曳，清韵自生；山茶柔瓣晕染温润，梅枝横斜疏花缀枝，水仙舒展冰姿玉骨，南天竹丹实累累，点染出新年吉庆。\n\n笔墨兼具没骨设色的雅致柔润与勾勒皴擦的苍劲秀逸，融四家所长，各尽其意却浑然一体。花木俯仰错落，冷暖色调相映，清刚与妍柔相融，暗合岁朝迎新的吉庆意趣，将文人清雅审美与岁时雅俗交融，淡墨轻色间，尽显岁朝清供的隽永意韵。",[50,23,51,84,25,27,777,528,251,488,86,7,3886],"传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F625da687a11dea55340262634b2ab88f.jpg","80.7x50.4公分",[35],{"id":3891,"slug":3892,"title":3893,"dynasty":97,"author":2322,"museum":81,"description":3894,"tags":3895,"thumbUrl":3896,"material":391,"size":3897,"collection":35,"collections":3898,"showCount":3899,"zanCount":39,"manualWeight":39,"mainColor":40},222697,"hua-chun-hua-san-zhong-zhou-qian-wei-cheng-222697","画春花三种轴","钱维城（1720 —1772）于第二次南巡时陪同南下，不但于苏州绘「借山斋」一景，稍早经过家乡常州时，亦为乾隆皇帝绘制当地名胜苏轼「舣舟亭」，颇似御用的随行写生画家。此作描绘苏州虎邱一带的景致，承续「四王」山水风格，并揉合地貌与建筑，呈现出清代宫廷正统派山水画的风貌。乾隆皇帝于虎邱所题诗句「林泉印证真亲切，秀丽从来说虎邱」，显示出他以艺术品「即景印证」的习惯，并不囿于古代名迹，当朝词臣的画作亦可添助游兴。",[49,23,51,50,84,25,54,27,28,308,933,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F644cd5f86ffa087cae3a9551bfee9b91.jpg","260x101.4",[35,72],194,{"id":3901,"slug":3902,"title":3903,"dynasty":18,"author":3904,"museum":81,"description":3905,"tags":3906,"thumbUrl":3907,"material":88,"size":3908,"collection":122,"collections":3909,"showCount":3899,"zanCount":1288,"manualWeight":39,"mainColor":40},214552,"za-shu-shi-tie-juan-zhu-yun-ming-214552","杂书诗帖卷","祝允明","此卷书曹植《乐府》诗四首，写草书而不乱，情密势足，激越跃发，荦荦大度，点画狼藉，纵横驰骋，是他晚年狂草作品的高峰。",[49,86,462,52,51,418,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e9356818737424fb65f189c2dbbb9d6.jpg","36.1x1147.5",[122],{"id":3911,"slug":3912,"title":3913,"dynasty":146,"author":1303,"museum":81,"description":3914,"tags":3915,"thumbUrl":3916,"material":88,"size":3917,"collection":107,"collections":3918,"showCount":3919,"zanCount":743,"manualWeight":39,"mainColor":40},232638,"rong-xi-zhai-tu-ni-zan-232638","容膝斋图","该图写的是江南春景，平远山水。近处为山石陂陀，林木萧疏，中幅为湖光波色，图上部的远岫遥岑横于波际。这种三段式的构图，是倪瓒山水画的特征之一。其山水取法于董源，石上横拖披麻，皴法清逸。其树法参差变化，结体有骨力，而树头枝梢，每多生意。枯树擦以枯笔，墨色浓淡错综而滋润浑厚。\n此画分近、中、远三景， 近处作平坡， 上植数枝树木， 间或缀以茅舍亭阁；远处作峦头或低矮的土坡。作为近景与远景之间的过渡部分则多为大片空白， 不着一墨， 是为湖水。\n画中落款“壬子岁七月五日，云林生写”，又自题诗云：“屋角春风多杏花，小斋容膝度年华；金棱跃水池鱼戏，彩凤栖林涧竹斜。叠叠清谈霏玉屑，萧萧白发岸乌纱。而今不二韩康价，市上悬壶未足夸。”\n倪瓒少小聪明， 早年专意读书， 家中清閟阁藏书数千卷， 经史子集， 佛道经典， 他都专心阅读批校， 所藏法书名画， 亦悉心临学。其书法天然古淡， 有魏晋人风格。倪瓒隐居于太湖四周的宜兴、常州、湖州、松江一带， 常领略这里秀丽清幽的湖光山色， 他的画也多取材于此。\n此画作于明太祖洪武五年（1372），时年倪攒七十有二，两年后离世，因此也有“绝笔之作”一说。此画最初赠予其友檗轩，两年后又请倪瓒为其补题，寄赠予同乡的潘子仲医师。容膝斋是潘仁仲休闲居处。\n画家对佛道思想的追求，注重对尘世羁绊的超脱，这种思想映射到艺术创作中丰富了艺术品的文化内涵。《容膝斋图》中设置空亭但不见人，倪瓒有“亭下不逢人，夕阳滤秋影”的名句。空空的亭子和无人的山水，后人多认为这种设置是倪瓒内心的表达，是“今世那复有人”的悲叹。\n此图以墨笔画坡陀林屋，远山一角。近景处画山坡石陀，平平的一二层山石，山石皴法是渴笔方折，似有折带皴意，用笔总是干笔皴擦，有时墨色并没有透入纸背，但却没有丝毫纤弱单薄的弊端。近景一带坡岸及坡上植有杂树和瘦竹数株。高短参差不齐，树木偶用蟹爪鹿角技法，以干笔为主，树身多复笔。远岸岚岫绵延，在整个画最上端，使整个画面有深远之感。中景以湖塘相隔，画有草茅亭子，坐落在树木的右侧，对面为横卧的山坡。均出以简笔疏朗，自有一种空阔高旷的境界。这与倪云林的那种甘于寂寞，与世无争的性格十分相近。此画最为典型的即是简约，既不作高枝繁叶，又不为高山大壑，而常常采用疏林浅坡，简淡平远的构图，笔墨极为淡雅，画树墨色层次较多，中锋多于侧笔。近坡皴多染少，皴笔亦特觉清劲。点染皴擦也求简约，不作华奢之状。\n该图采用三段平远式的空间布局。前景是几棵枯树、坡石和屋舍，中景是一坡山，远景水天一色。这样的布局使人感到平实恬淡，简约单纯。这种近坡杂树数枝，远景云山一抹，中隔湖水一汪，最早出现在《六君子图》中，而在《容膝斋图》中发挥得更充分。这种比较稳定的“一河两岸”式的图式所表现的意境，使他的绘画风格达到了“萧疏淡远”的极致。\n该图布置前景时，常用粗而挺劲的线条勾勒出挺拔而气宇轩昂的几棵高大的树。这些树的穿插非常讲究，几棵主株，或高或低，俯仰成趣。或前或后，顾盼照应，让树有自然的深浅和层次，并且讲究穿插避让，使画面生动有变化。《容膝斋图》中的树少有树叶点缀，是几棵枯树，这与倪瓒平时讨厌落叶有关。",[23,26,712,55,86,7,56,63,871,277,1977],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3db52534f3fee435e691757d2ad794f5.jpg","纵74.7cm，横35.5cm",[],193,{"id":3921,"slug":3922,"title":3923,"dynasty":97,"author":800,"museum":20,"description":3924,"tags":3925,"thumbUrl":3926,"material":1087,"size":3927,"collection":35,"collections":3928,"showCount":3919,"zanCount":39,"manualWeight":39,"mainColor":40},223290,"san-qing-tu-li-zhou-zheng-ban-qiao-223290","三清图立轴","绘竹、兰、菊三君子，在画家眼里这三种更为清丽，全图皆水墨，竹的笔直修长，兰的清新幽香，菊的严霜开放，尽显君子谦谦之态。画作左侧有画家自题诗一首：兰梅竹菊四名家，但少春风第一花，寄于东君诸子弟，好将文事夺天葩。板桥郑燮。",[49,23,51,84,26,27,358,529,181,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe2339494716d7ccd299644411857aea.jpg","152×39cm",[35,242],{"id":3930,"slug":3931,"title":3932,"dynasty":146,"author":3933,"museum":81,"description":3934,"tags":3935,"thumbUrl":3936,"material":634,"size":3937,"collection":70,"collections":3938,"showCount":3919,"zanCount":923,"manualWeight":39,"mainColor":75},221737,"lu-yu-peng-cha-tu-zhao-yuan-221737","陆羽烹茶图","赵原","此画远山绵延起伏，近山巍峨，山水清幽，布局重山复水，水势承“之”字形环绕，营造出百转千回的气势。近处广水，有茅草屋临水而筑，四面草木繁盛，曲径通幽处一条小道延伸出画面，仿佛此处隐秘于山林间。阁内一人，扶膝踞坐于榻上，应为陆羽，一童子拥炉烹茶跽于一侧。作者自题“陆羽烹茶图”，并题诗一首：山中茅屋是谁家，兀坐闲吟到日斜。俗客不来山鸟散，呼童汲水煮新茶。",[49,23,51,52,26,55,56,63,60,61,64,58,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b14feb1420536bbcb35a3eaba1a7c54.jpg","纵：27厘米，横：78厘米",[70,242],{"id":3940,"slug":3941,"title":3942,"dynasty":115,"author":221,"museum":642,"description":3943,"tags":3944,"thumbUrl":3945,"material":152,"size":107,"collection":213,"collections":3946,"showCount":3947,"zanCount":743,"manualWeight":39,"mainColor":40},219112,"si-qin-tu-zhao-ji-219112","四禽图","枝桠横斜间，禽鸟各呈姿态：或敛翅静栖于梅梢，羽翎纹理纤毫毕现；或侧首凝睇，眼神藏着未语的灵秀；或振翅欲飞，翅尖似带起微风轻响。淡墨勾枝，浅彩点花，笔意清逸如春风拂过，花枝摇曳间，暗香仿佛浮动。\n\n行间题字与朱印错落，墨迹温润与朱砂明艳交织，似时光屐痕，与花鸟相映成趣，更添古雅之韵。每一笔透着对自然的敬畏，每处细节藏着文人闲情——不刻意雕琢，却于平淡中见真味，将生机与静谧凝于尺幅。\n\n整卷如流动的诗画，春日灵趣与岁月沉淀融于一体，读来心远尘嚣，仿佛置身鸟语花香的清境，忘却俗事纷扰。",[23,52,54,135,27,29,528,358,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c879664cc93247940a1bf71e75def95.jpg",[213,35],192,{"id":3949,"slug":3950,"title":3951,"dynasty":891,"author":892,"museum":175,"description":3952,"tags":3953,"thumbUrl":3956,"material":33,"size":3957,"collection":35,"collections":3958,"showCount":3947,"zanCount":39,"manualWeight":39,"mainColor":40},216931,"zong-shu-guo-guo-tu-qi-bai-shi-216931","棕树蝈蝈图","赭色树干以浓淡墨线勾皴，如老藤盘结，墨叶纷披似风过梢头，洒脱不羁。画面一隅，蝈蝈翅脉分明，肢足灵动，朱红与赭黄晕染出鲜活质感，似欲振翅而鸣。工细的虫与豪放的树形成鲜明对照，笔意间藏着对生活的细腻观察。简淡的纸本上，墨色苍劲与设色明丽相映成趣，寻常景物里溢出盎然生机，尽显白石老人以小见大、以俗见雅的艺术妙趣。",[49,23,25,26,54,27,3954,3955,7],"棕树","蝈蝈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34160a48a9de7587fb99671f3678ca1f.jpg","69.5x34.3cm",[35],{"id":3960,"slug":3961,"title":3962,"dynasty":146,"author":3963,"museum":525,"description":3964,"tags":3965,"thumbUrl":3966,"material":33,"size":3967,"collection":35,"collections":3968,"showCount":3947,"zanCount":743,"manualWeight":39,"mainColor":75},216665,"ba-jun-tu-zhao-yong-216665","八骏图","赵雍","该幅画平畴林野牧马的景致，画骏马五匹或磨肩，或依偎，或觅食于树荫下，不管在结构或造形上，皆显示画家对马匹曾做仔细的观察与了解，轻而易举地掌握复杂的造型。圉人倚松假寐，状至悠闲逍遥。人马以中锋钩画，人物表情生动，马匹结体雄壮。树叶以近似图案的工整格式画出，装饰性强，饶古拙之趣。画家更利用平镜无纹的湖水，及罗列的远山，加强空间的推衍及层次感，呈现阔远松秀的画面。其青绿设色及用笔虽颇有唐人遗意，但因结合设色与皴法，远较唐之青绿山水雅淡，充分地发挥笔墨情趣。\n\n这幅画是赵雍为色目人官员─孛颜忽都所画的。画风主要承袭自隋唐时代"青绿山水"，设色主要填染了石青、石绿，色彩浓丽；还有，如画树叶先勾出轮廓，再填入颜色，正是工笔画中"夹叶填彩"的画法。此外，马匹高大肥硕的体型，也是追法唐代画马的意趣。不过，赵雍的这幅画还揉合了五代画家董、巨一派的笔意，例如：表现远山质感、那种类似苎麻纤维的线纹，叫做"披麻皴:。综而观之，《元赵雍骏马图轴》的人物、马匹及山水背景，虽具唐宋古意遗韵，但在构图上一水两岸的平远景致，依旧是典型的元人特色。赵雍在元代复古的风潮中，也开拓了新的时代风格。",[23,51,52,54,25,225,871,277,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F774a3902ef0909cc4272f189e62ad7bd.jpg","36x270cm",[35],{"id":3970,"slug":3971,"title":3972,"dynasty":115,"author":881,"museum":175,"description":3973,"tags":3974,"thumbUrl":3976,"material":183,"size":3977,"collection":213,"collections":3978,"showCount":3979,"zanCount":743,"manualWeight":39,"mainColor":75},221534,"bai-qiang-wei-tu-ye-ma-yuan-221534","白蔷薇图页","画中的白蔷薇花朵硕大，枝叶繁茂，光彩夺目。画家以细笔勾出花形，用白粉晕染花瓣，以深浅汁绿涂染枝叶，笔法严谨，一丝不苟，画风清丽活泼，颇具生气，代表了南宋画院花鸟画的典型风貌。\n宋代画院花鸟画继承了五代的传统，并在此基础上有所创新，黄荃“勾勒填彩、旨趣浓艳”的富贵风格统治着画坛近百年。其画法先以极工细的线条勾出轮廓，然后敷以重彩，层层晕染，往往掩盖住黑线，展现出一种极为工稳细腻和华贵富丽的风韵。",[49,50,23,5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设色 手卷","纵29.4厘米 横827厘米",[213,199,72],190,{"id":4001,"slug":4002,"title":573,"dynasty":115,"author":207,"museum":525,"description":4003,"tags":4004,"thumbUrl":4005,"material":152,"size":107,"collection":35,"collections":4006,"showCount":3999,"zanCount":625,"manualWeight":39,"mainColor":40},218556,"mu-dan-tu-yi-ming-218556","这幅牡丹图尽显宋人工笔花鸟的精妙意趣。花瓣层叠繁复，却以细腻线条勾勒得一丝不苟，粉白渐变间晕染出娇嫩柔润之态，花心处细微纹理亦清晰可见，足见画师对物象观察之深。叶片以浓淡不一的翠绿设色，叶脉勾勒精准，翻转向背间尽显生机，与花瓣的柔美形成刚柔呼应。古朴绢色背景更衬出牡丹的雍容雅致，无过多修饰却意境悠远。宋画重“格物”，此作于写实中蕴含诗意，将牡丹的华贵与清逸完美融合，虽为佚名之作，却不失宋代院体画的严谨与神韵，是宋代花鸟小品中的上乘之作。",[49,54,25,27,308,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59cec98d7c1e9e0929c01e3c92e11d37.jpg",[35],{"id":4008,"slug":4009,"title":4010,"dynasty":146,"author":431,"museum":446,"description":4011,"tags":4012,"thumbUrl":4013,"material":152,"size":4014,"collection":199,"collections":4015,"showCount":3999,"zanCount":625,"manualWeight":39,"mainColor":75},218424,"xi-ma-tu-zhao-meng-fu-218424","洗马图","《洗马图》以长卷形制铺展，笔墨生动传神。数匹骏马姿态各异，或昂首伫立，或缓步徐行，线条勾勒精准流畅，兼具书法笔意，马的肌肉纹理与鬃毛质感细腻可见。人物与马互动自然，牵马者神态悠然，骑马者身姿从容，衣袂线条飘逸洒脱。设色淡雅古朴，水墨为主辅以淡彩，营造出清逸雅致的氛围。画面疏密有致，节奏舒缓，既显写实功底，又含文人意趣，将日常洗马场景升华为富有诗意的艺术图景，尽显元代文人画的独特韵味与画家对生活的深刻体察。笔墨间流淌着雅致情韵，于细微处见真章，是元代画坛兼具技法与意境的佳作。",[49,23,51,52,25,58,225,54,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbea5c78c3647eca859103177fa91693b.jpg","31.7x255.4",[199],{"id":4017,"slug":4018,"title":4019,"dynasty":146,"author":431,"museum":81,"description":4020,"tags":4021,"thumbUrl":4022,"material":33,"size":4023,"collection":199,"collections":4024,"showCount":3999,"zanCount":1288,"manualWeight":39,"mainColor":40},216973,"chui-xiao-shi-nv-tu-zhao-meng-fu-216973","吹箫仕女图","这幅画宋濂定为是赵孟頫的真迹，并把它与《道德经》小卷前的老子画像和行书《赤壁赋》前的东坡画像逐一进行了比较。宋濂的碑文越老，越是笨拙，全盛时期的亭子里的楷书越是小。",[23,51,84,25,58,136,277,178,1481,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53774ccebb8879781edf0e87cf8e7962.jpg","75.1x26",[199],{"id":4026,"slug":4027,"title":4028,"dynasty":146,"author":147,"museum":99,"description":4029,"tags":4030,"thumbUrl":4031,"material":107,"size":107,"collection":107,"collections":4032,"showCount":4033,"zanCount":39,"manualWeight":39,"mainColor":40},228251,"fu-chun-shan-ju-tu-zi-ming-juan-huang-gong-wang-228251","富春山居图子明卷","以淡墨干皴晕染富春丘壑，峰峦坡陀缓缓铺展，林木萧疏错落，晕开江南初秋的空寂淡远。用笔松秀灵动，线条温润苍劲，墨色干湿浓淡层次丰盈，晕染出山川悠远的氤氲清气。\n卷后题跋与山水相映，文心画意相融无间，尽显文人画的雅致意趣。整卷意境简远高迈，将天地山川的沉静澹泊与文人林下襟怀合而为一，如一首悠然山水长诗，引观画人步入富春烟岚之间，沉醉在清和淡远的隐逸之美中。",[23,51,52,26,56,55,7,86,119,150,64,137,2681],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44e1e10a7fb6bfbb26013f2f77df7d9b.jpg",[],189,{"id":4035,"slug":4036,"title":4037,"dynasty":115,"author":207,"museum":99,"description":4038,"tags":4039,"thumbUrl":4041,"material":107,"size":107,"collection":107,"collections":4042,"showCount":4033,"zanCount":11,"manualWeight":39,"mainColor":75},227842,"ye-he-hua-tu-ye-yi-ming-227842","夜合花图页","《夜合花图》，宋， 佚名，绢本，设色，纵2.9 横25.4厘米 上海博物馆藏 图中夜合花一根两枝，右枝花朵含苞未放，左枝花朵半开半合，洁白如玉，清雅绝尘。\n花朵轻勾淡染，用白粉点画花蕊，用四绿加少量淡墨分染花拖，花叶先以细笔勾勒轮廓和筋脉，后用汁绿与花青染之，最后用焦茶描绘其杆。\n绿叶穿插向背，白花绿叶，色泽淡雅，使人赏心悦目。",[49,50,23,51,54,25,3363,27,4040,7],"夜合花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe31ecf760311e803b651aa46969280b1.jpg",[],{"id":4044,"slug":4045,"title":4046,"dynasty":97,"author":4047,"museum":81,"description":4048,"tags":4049,"thumbUrl":4050,"material":107,"size":107,"collection":35,"collections":4051,"showCount":4033,"zanCount":39,"manualWeight":39,"mainColor":75},224119,"song-shu-tu-qian-long-224119","松树图","乾隆","展现了松树形神。其岁逾千年，貌古形诡，苍皮斑驳，树干粗壮，虬枝盘结，瘿瘤凸起，树根部透朽空洞却卓立干云，拔地拏天。树冠部三两根大枝斜逸而出，如同鲲鹏展翅，枝头嫩叶婆娑，一派生机欣荣。",[49,23,51,26,7,86,119,137,610],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F803b229b3381cb122dae4322e059d18d.jpg",[35,242],{"id":4053,"slug":4054,"title":4055,"dynasty":115,"author":4056,"museum":81,"description":4057,"tags":4058,"thumbUrl":4063,"material":319,"size":4064,"collection":199,"collections":4065,"showCount":4033,"zanCount":11,"manualWeight":39,"mainColor":75},221217,"hua-fan-xiang-juan-zhang-sheng-wen-221217","画梵像卷","张胜温","《大理国梵像卷》是大理国（937－1254）（与五代和宋代同一时代）传世的唯一画卷，全卷设色贴金，绘製精谨，共分四段：第一段画大理国王利贞皇帝礼佛图，第二段绘佛、菩萨、佛母、天王和护法等数百位佛教人物，第三段为多心和护国宝幢，第四段是十六国王图。全卷内容丰富，素有「南天瑰宝」之誉。 内容大致为蛮王礼佛国、四金刚护法、八大龙王、十六观世音菩萨、五佛会图。 七佛图、维摩经变、四大菩萨、六佛母、十六罗汉、禅宗六祖、人大高僧、十二天神、宝塔经幢、十六国主众等组成。 《梵像卷》反映了佛教在南诏、大理国时期十分兴盛的历史， 是研究当时大理国崇奉密宗的历史和文化艺术的珍贵资料。",[49,23,51,52,1284,54,25,58,4059,4060,4061,4062,7],"佛像","菩萨","飞天","经文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1b98f57c5c0b171cfb25668ee54783e.jpg","全长1635.5厘米，宽30.4厘米",[199,72],{"id":4067,"slug":4068,"title":4069,"dynasty":130,"author":857,"museum":222,"description":4070,"tags":4071,"thumbUrl":4072,"material":107,"size":107,"collection":122,"collections":4073,"showCount":4033,"zanCount":39,"manualWeight":39,"mainColor":75},221029,"wan-sui-tong-tian-tie-wang-xi-zhi-221029","《万岁通天帖》","《萬歲通天帖》又稱唐摹《王羲之一門書翰》、《王氏寶章集》。硬黃紙本，行草書，是東晉王羲之等七人十帖的唐摹書法精品，現藏於遼寧省博物館。\n宋代《秘閣續帖》、明代華夏《真賞齋帖》、文徵明《停雲館帖》、王肯堂《鬱岡齋帖》、清代《三希堂法帖》曾刻錄。 其中以真賞齋為精刻而有名。",[49,86,52,119,462,134,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266db6eca32a01e618503ecb5383e358.jpg",[122,1120],{"id":4075,"slug":4076,"title":4077,"dynasty":115,"author":2788,"museum":20,"description":4078,"tags":4079,"thumbUrl":4080,"material":88,"size":107,"collection":70,"collections":4081,"showCount":4082,"zanCount":743,"manualWeight":39,"mainColor":40},218592,"xiao-xiang-tu-mi-you-ren-218592","潇湘图","图绘三湘、九嶷之际，山峦逶迤、江水迷茫、杂木疏落、白云浮动之雨后景色，于一派空濛中，流露出清润的气氛。全图大都用淡墨晕染和点染，于树干、山凹、屋脊等处以重墨勾染，显出空间层次。云气或线勾或墨晕，工整而不呆板。此图与他另一幅《潇湘奇观图》画法一致，同为水墨云山的典型之作。",[23,51,52,26,55,56,279,64,7,86,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbab948642dad21d5beec814b81b41d5c.jpg",[70],188,{"id":4084,"slug":4085,"title":4086,"dynasty":97,"author":1082,"museum":99,"description":1382,"tags":4087,"thumbUrl":4088,"material":689,"size":690,"collection":107,"collections":4089,"showCount":4090,"zanCount":1288,"manualWeight":39,"mainColor":40},288173,"hu-shi-ju-qin-tu-li-zhou-zhu-da-288173","湖石聚禽图立轴",[49,50,23,51,84,26,27,66,277,86,462,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9c97905d89105cc7edd24a3f909cf39.jpg",[],186,{"id":4092,"slug":4093,"title":4094,"dynasty":192,"author":4095,"museum":329,"description":4096,"tags":4097,"thumbUrl":4098,"material":4099,"size":4100,"collection":122,"collections":4101,"showCount":4090,"zanCount":1288,"manualWeight":39,"mainColor":75},221069,"ling-fei-jing-chang-juan-zhong-shao-jing-221069","灵飞经长卷","钟绍京","《灵飞经》又名《六甲灵飞经》，是灵道教的一部经。主要阐述存思之法。今道藏有《上清琼宫灵飞六甲左右上符》，一卷。《汉武内传》谓此经用于请命延算、长生久视、驱策众灵、役使鬼神。\n《灵飞经》书法作品是唐代著名小楷之一，无名款。元袁桷、明董其昌皆以为唐钟绍京书。明董其昌说：“赵文敏一生学钟绍京终十得三、四耳”。近代大书家启功先生的书法也受益于《灵飞经》。可见《灵飞经》有着超凡脱俗的艺术感染力。\n清包世臣在《艺舟双楫·右下笔潭》中称其：“如新莺歌白啭之声”，杨守敬评：“灵飞经一册，最为精劲，为世所重”。《灵飞经》的章法为纵有行，横无列。",[49,86,417,436,418,52,51,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ea8afb39f27c1c093c1675d3b1faa1.jpg","墨迹本","20.8×8.9cm",[122,1120],{"id":4103,"slug":4104,"title":4105,"dynasty":97,"author":736,"museum":175,"description":4106,"tags":4107,"thumbUrl":4109,"material":183,"size":2259,"collection":107,"collections":4110,"showCount":4111,"zanCount":743,"manualWeight":39,"mainColor":40},233878,"hua-niao-tu-zhou-lang-shi-ning-233878","花鸟图轴","此图笔法精工细腻，色调绚丽多彩，造型写实生动，注重描绘禽鸟翎毛的质感、花叶的阴阳向背以及明暗层次的变化，具有鲜明的西洋花鸟写实画的风格。",[23,51,54,25,57,29,1227,1239,4108,7],"老干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60f9fa2985d7c169d06da5861e1fdfec.jpg",[],185,{"id":4113,"slug":4114,"title":4115,"dynasty":1037,"author":2876,"museum":99,"description":4116,"tags":4117,"thumbUrl":4120,"material":107,"size":107,"collection":107,"collections":4121,"showCount":4111,"zanCount":11,"manualWeight":39,"mainColor":40},226711,"zhong-ping-hui-qi-tu-juan-zhou-wen-ju-226711","重屏会棋图卷","《重屏会棋图》卷，五代，周文矩绘，绢本，设色，纵40.3厘米，横70.5厘米。\n本幅无作者款印。经徐邦达先生鉴定，此系宋人摹本。尾纸除有明代沈度、文徵明的伪款题跋外，还有近人于怀的墨题真迹。钤元柯九思“緼真斋”，清安仪周“棠邨审定”、“安仪周家珍藏”及清内府“乾隆御览之宝”等鉴藏印共16方。其中的“緼真斋”、宋徽宗的“双龙小玺”、“宣和”、“政和”等宋元诸印均伪。\n图绘摆设精美的室内，四位身份高贵的男子于棋桌前的情景。他们神态各异，举止不同，有的催促落子，有的举棋不定，有的观棋不语，真实地反映出观棋者与弈棋者不同的神态。画中没有标注这些人物的姓名。目前，经过几代学者的深入研究，才逐渐确认出本幅作品的画面主人公及其内容。图中描绘的是五代南唐中主李璟的宫廷行乐生活。有关此图情节的记载最早见于北宋《王文公集》卷五十中王安石的《江邻几邀观三馆书画》诗，诗中指认出图中头戴高帽者为李璟；南宋初年的王明清在《挥尘三录》中记载了他以家藏的李璟肖像画与此图进行考辨的过程；元代袁桷《清容居士集》和陆友仁《研北杂志》则考证出会棋者是李璟兄弟四人，屏风所画为白居易《偶眠》诗意。最终指明图中人物具体方位的是清吴荣光《辛丑销夏记》所录庄虎孙的跋语：“图中一人南面挟册正坐者，即南唐李中主像；一人并榻坐稍偏左向者，太北晋王景遂；二人别榻隅坐对弈者，齐王景达、江王景逿。”\n作为写实性的绘画作品，作者在逼真地刻画出人物肖像特征的同时，也真实地描绘出室内的生活用具，如投壶、屏风、围棋、箱箧、榻几、茶具等，为后人研究五代时期各种生活器用的形制以及中国早期皇室的行乐雅集活动提供了重要的形象资料。作者以“颤笔描”绘制图中人物的衣纹，表现出布纹的质感，并准确地勾勒出不同动态下人物的形体变化，展示了周文矩以线塑型的深厚功底。此图的设色虽多用矿物颜料，但未层层积染或浓涂重抹，而只是在勾线后清淡地施以颜色。在几案边的花纹上勾染了略显深重的石青、石绿；而李璟的衣袍虽也用朱砂晕染，却甚为简淡，只是侍童的衣带用较重的朱砂，以与浅淡的衣袍形成对比。其余三人的衣着竟一色不染。\n由于此图背景的屏风中还画有屏风，因此人们称此图为“重屏”图。它受到了历代画家广泛的传移摹写，并被宋内府《宣和画谱》、明张丑《清河书画舫》、清卞永誉《式古堂书画汇考》等数十种书著录。故宫所藏的这幅画即使不是周文矩原作，也应是接近于原作的宋人摹本精品。\n此图自清宣统朝流出宫廷后散落民间。1949年后，国家文物局从吉林省长春文物商于莲客手中购得此图，随后将它与元代高克恭《秋山暮霭图》、任仁发《二马图》卷一并入藏故宫博物院。\n清安仪周《墨缘汇观》、胡敬《西清札记》、内府《石渠宝笈三编》等著录。\n周文矩，生卒年不详，活动于10世纪，句容（今属江苏）人，南唐画院翰林待诏。中主李璟时，他便以擅绘人物、车马、界画楼台以及宫廷贵族生活题材画而知名。后主李煜执政期间，他常受诏作画，曾像顾闳中一样被派去窥绘韩熙载的夜宴生活，只是他所画的韩氏夜宴图未能传世。他的画风受后主李煜的颤笔法影响很大，喜以瘦挺颤掣的笔法入画，以别具特色的画风称誉画坛。",[49,23,51,52,54,25,135,86,7,58,4118,181,4119],"家具","室内陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a9f5fda46eb059b27ecc01f52d1e757.jpg",[],{"id":4123,"slug":4124,"title":4125,"dynasty":18,"author":2059,"museum":99,"description":4126,"tags":4127,"thumbUrl":4128,"material":107,"size":107,"collection":107,"collections":4129,"showCount":4130,"zanCount":455,"manualWeight":39,"mainColor":75},228905,"lan-ting-xu-juan-quan-juan-wen-zheng-ming-228905","兰亭序卷全卷","此作书画合璧，意韵悠然。设色山水清丽秀雅，层岩叠壑间松荫浓郁，曲溪萦回，茅亭内雅客清谈，将兰亭修禊的幽雅致趣融于林泉之间，尽显古雅文心。\n书法兼具行楷题跋与集字奇构：题跋笔致秀润端劲，尽显温润秀逸的吴门风神；集字兰亭排布巧思独具，别出新意。鉴藏朱印错落铺陈，为整卷更添古雅厚重之感，将晋人雅集的文思与明代文人的审美意趣相融无间。",[49,23,51,52,25,56,119,55,54,63,60,61,64,58,7,777],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7122d5b6c8e477bd2e66f1602a2f182d.jpg",[],184,{"id":4132,"slug":4133,"title":4134,"dynasty":97,"author":4135,"museum":2192,"description":4136,"tags":4137,"thumbUrl":4138,"material":1087,"size":413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它是怀素流传下来篇幅最长的作品，人称“天下第一草书”。 正如北京大学教授、引碑入草开创者的李志敏评价：怀素的草书奔逸中有清秀之神，狂放中有淳穆之气”。",[49,86,462,52,7,418,51,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf2b523ef15a110b2a5489755e76b49e.jpg","纵28.3厘米，横775厘米",[122,1120],{"id":4189,"slug":4190,"title":4191,"dynasty":18,"author":161,"museum":99,"description":4192,"tags":4193,"thumbUrl":4194,"material":107,"size":107,"collection":107,"collections":4195,"showCount":4196,"zanCount":1288,"manualWeight":39,"mainColor":40},228913,"zhu-lin-tu-shen-zhou-228913","竹林图","此作以清和笔调铺展水村居境，汀洲之上屋舍错落，竹树环合，幽人静居于内，远山叠石皴法苍润，林木点染清逸。水墨晕染间，江南水滨的空寂雅趣漫溢而出。\n\n左侧题诗与画境相生相契，诗书画印浑融一体，将林下忘机的隐逸襟怀寄于湖山烟霭中。笔致温厚平宁，无一丝奇峭锋芒，恰如诗文所书的清修之态，把文人优游泉石、守拙安闲的意趣缓缓铺陈，淡朴的底色里藏着沉静自足的文人心境，尽显文人画以画载情、诗画共生的意韵。",[49,18,23,51,52,25,26,55,56,358,727,64,150,60,61,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb9ece674ed91c675c84612a3765b50.jpg",[],180,{"id":4198,"slug":4199,"title":4200,"dynasty":97,"author":764,"museum":20,"description":765,"tags":4201,"thumbUrl":4202,"material":152,"size":107,"collection":107,"collections":4203,"showCount":4196,"zanCount":39,"manualWeight":39,"mainColor":40},214610,"hong-lou-meng-ren-wu-ce-ye-2-yu-lan-214610","红楼梦人物册页-2",[23,25,54,24,119,86,1962,63,358,58,136,61,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f5029b6dd2fd7aaf133fd9faf6ce40.jpg",[],{"id":4205,"slug":4206,"title":4207,"dynasty":891,"author":892,"museum":3784,"description":4208,"tags":4209,"thumbUrl":4212,"material":3790,"size":107,"collection":107,"collections":4213,"showCount":4214,"zanCount":39,"manualWeight":39,"mainColor":40},220588,"shu-cai-he-san-zhong-kun-chong-qi-bai-shi-220588","蔬菜和三种昆虫","以大写意挥毫白菜，浓墨铺陈菜叶，枯湿浓淡间尽显舒展之姿，朴拙厚重藏着清新生气，寥寥数笔便写出白菜的莹润鲜活。朱红辣椒点缀，艳色跳脱墨色，冷暖撞色生出明快野趣。\n\n工笔草虫细致入微，蜻蜓薄翼通透纤毫毕现，鸣虫灵动宛似欲振翅低吟，将草野生机凝于尺幅。题字苍劲老辣，书画印浑然相融，将田家寻常蔬食化为清趣盎然的雅境，以烟火日常寄寓冲淡天真的意趣，把乡野小景晕染成饱含诗意的鲜活画卷，尽显雅俗共赏的笔墨情致。",[49,23,26,25,403,54,84,86,7,4210,4211,316,3788],"白菜","辣椒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02273d02cbd82e57c1882fb536b59302.jpg",[],179,{"id":4216,"slug":4217,"title":4218,"dynasty":146,"author":376,"museum":525,"description":4219,"tags":4220,"thumbUrl":4221,"material":33,"size":4222,"collection":70,"collections":4223,"showCount":4214,"zanCount":39,"manualWeight":39,"mainColor":75},218024,"zhi-chuan-yi-ju-tu-wang-meng-218024","稚川移居图","《稚川移居图》为立轴，设色纸本。描绘了东晋葛洪携带家眷移居罗浮山，修道炼丹的故事。罗浮山位于今天广东省博罗县境内。葛洪，字稚川，号抱朴子，东晋道教学者、著名炼丹家。画中骑在牛背上的葛洪，身穿道袍，神情专注于手中的书卷，边走边看，全然不顾随他同行的家人。他身后，妻子和两个孩子同骑在牛背上，小的抱在怀里，大的坐在身后。随葛洪夫妇一起移居的，还有他的仆人们，他们或提着鸡笼，或牵着牛羊，或挑担负重，把生活必备之物搬运到山上。一路崇山峻岭，飞瀑流泉，几间茅草屋掩映在深山之中，屋前的庭院里，先行到达的仆人，在打扫庭院，迎候主人的到来。画面非常有感染力。",[23,51,712,84,25,55,56,58,225,64,1902,727,2142,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1563a446791d46548d1f313e5337c941.jpg","120x54cm",[70],{"id":4225,"slug":4226,"title":4227,"dynasty":18,"author":524,"museum":81,"description":4228,"tags":4229,"thumbUrl":4232,"material":33,"size":4233,"collection":35,"collections":4234,"showCount":4235,"zanCount":11,"manualWeight":39,"mainColor":40},219468,"pan-tao-tu-xiang-sheng-mo-219468","蟠桃图","这帧折枝蟠桃，老干自上而下蜿蜒伸展，皴擦点苔尽显苍古拙朴。仙桃晕染柔润清妍，粉白底色过渡自然，桃尖晕开胭脂红，饱满鲜活似凝着晨露，恍若可触其清甜。叶片舒展有致，色泽分染出深浅层次，清雅秀逸。\n\n题诗与绘境相得益彰，书画合璧添文韵，鉴藏朱印错落排布，晕开古雅氛围。整作不尚浓艳，以写实笔触勾勒出仙桃灵秀清润，将蟠桃延寿的祥瑞寓意融于淡冶笔墨之中，尽显明代文人画雅致隽秀的意趣风骨，是文气与赏玩性兼具的小品佳制。",[23,84,25,54,4230,4231,30,7],"桃树","桃子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe88cbc4a96a4d38d9e8c7a095345af2a.jpg","111.3x31.4厘米",[35],178,{"id":4237,"slug":4238,"title":4239,"dynasty":97,"author":1167,"museum":81,"description":2470,"tags":4240,"thumbUrl":4243,"material":33,"size":107,"collection":107,"collections":4244,"showCount":4235,"zanCount":39,"manualWeight":39,"mainColor":40},214857,"xie-sheng-ce-7-hua-yan-214857","写生册-7",[23,51,24,25,54,27,4241,4242,1227,1989,7],"螳螂","蝉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ba9d88617d284f8015ae6e16d9ed3fb.jpg",[],{"id":4246,"slug":4247,"title":4248,"dynasty":97,"author":4249,"museum":99,"description":4250,"tags":4251,"thumbUrl":4252,"material":107,"size":107,"collection":107,"collections":4253,"showCount":4254,"zanCount":1288,"manualWeight":39,"mainColor":40},230172,"hua-niao-hua-shi-er-kai-10-yu-zhi-230172","花鸟画十二开-10","余稚","此作设色明丽清雅，工致写实。柔婉桃枝缀满粉英，嫩蕊轻绽，与旁侧劲挺翠竹相映，柔刚相济，晕开融融春意。三只春燕刻画入微，两只栖于花枝，黑亮绒羽莹润细腻，红颈点点鲜活灵动，似在私语春景；另一只振翅掠空，身姿轻盈舒展，尽现翩跹之态。\n\n画师笔触细腻传神，将花瓣肌理、禽鸟绒羽一一摹绘，敷色温婉秀润，无半点艳俗之感。构图疏密相宜，枝桠错落舒展，留白恰到好处，将暮春柔暖生机尽数铺陈，尽显娴静雅致的中式春日意趣，是工笔花鸟里隽秀动人的佳作。",[50,23,54,25,24,27,66,57,85,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69af12c534f45c29139f1d53485b1c0e.jpg",[],177,{"id":4256,"slug":4257,"title":4258,"dynasty":146,"author":4259,"museum":175,"description":4260,"tags":4261,"thumbUrl":4262,"material":668,"size":4263,"collection":242,"collections":4264,"showCount":4254,"zanCount":1288,"manualWeight":39,"mainColor":40},221834,"qing-bi-ge-mo-zhu-tu-zhou-ke-jiu-si-221834","清閟阁墨竹图轴","柯九思","本幅自识：“至元後戊寅十二月十三日，留清閟閣，因作此卷。丹丘生題。”钤“柯氏敬仲”。\n竹，由于被传统文人赋予了“虚心异众草，节劲逾凡木”的人格象征，因此，自宋代文同等人倡导始，到元代已成为极受欢迎的绘画题材。从技法上看，有勾勒填色的“画竹”与墨笔写意的“写竹”之分。此图即属于“写竹”一路画法。柯九思曾主张：“画竹写干用篆法，枝用草书法，写叶用八分或用鲁公撇笔法。”（《珊瑚网·画跋·卷八》）观此图画法，拳石皴法浑厚，实源于董巨一派，而墨竹则全法文同。作者以淡墨写干，用笔挺拔圆浑，宛如篆书，竹节两端再复垂墨，不勾节却连属自然。竹叶行笔沉着稳健，一如后人形容他的墨竹 “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。",[49,23,51,26,84,358,277,7,86,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82d0dc87b7672540a9fb1c0aaa1a8915.jpg","纵132.8cm，横58.5cm",[242,921],{"id":4266,"slug":4267,"title":4268,"dynasty":115,"author":3050,"museum":4269,"description":4270,"tags":4271,"thumbUrl":4273,"material":319,"size":4274,"collection":213,"collections":4275,"showCount":4254,"zanCount":11,"manualWeight":39,"mainColor":40},221605,"tai-bai-xing-yin-tu-liang-kai-221605","太白行吟图","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。",[49,23,26,4272,403,58,7],"减笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feceb68802f7eb8ed417349f2db1071bb.jpg","纵向81.2厘米，横向30.4厘米",[213,199,242],{"id":4277,"slug":4278,"title":4279,"dynasty":146,"author":1303,"museum":81,"description":4280,"tags":4281,"thumbUrl":4282,"material":634,"size":4283,"collection":70,"collections":4284,"showCount":4254,"zanCount":39,"manualWeight":39,"mainColor":40},220790,"zi-zhi-shan-fang-tu-zhou-ni-zan-220790","紫芝山房图轴","《元倪瓒紫芝山房图轴》是元末明初画家倪瓒所创作，水墨画河岸、疏树、竹林和小亭，对岸山峦起伏，构图简洁，具清逸萧疏之趣。此幅墨色淡雅，现藏于台北故宫博物院。\n《元倪瓒紫芝山房图轴》侧笔写山石轮廓，苍劲沉着，画竹之笔尤为遒劲有力，是云林精品。",[23,51,84,26,712,55,277,63,358,871,751,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eb4dbc8f6b09feeea9d0d31f7abefaf.jpg","80.5x34.8",[70,242],{"id":4286,"slug":4287,"title":4288,"dynasty":97,"author":4289,"museum":81,"description":4290,"tags":4291,"thumbUrl":4292,"material":88,"size":4293,"collection":122,"collections":4294,"showCount":4254,"zanCount":923,"manualWeight":39,"mainColor":40},214231,"shi-xie-shi-he-chao-214231","食蟹诗","何焯","墨痕清润，笔锋起落间藏着严谨法度，却不失灵动之致。结体端稳如磐石，笔画牵丝若隐若现，似蟹螯轻张的意趣。诗中食蟹的闲雅况味，透过一行行秀逸字迹缓缓流露——仿佛能见案头蟹肥酒暖，挥毫者指尖带笑，将唇齿鲜意与心头闲适，尽数化入横竖撇捺。章法疏朗有致，每字皆经得起细品，既见学者沉稳，又藏文人雅趣，墨香与诗味交织，晕染出一段清隽时光。",[49,86,119,26,84,51,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf41c7623c0f59c57bcc8df2bec020dc.jpg","136.8x45.6",[122],{"id":4296,"slug":4297,"title":4298,"dynasty":18,"author":607,"museum":81,"description":4299,"tags":4300,"thumbUrl":4301,"material":88,"size":4302,"collection":70,"collections":4303,"showCount":4304,"zanCount":625,"manualWeight":39,"mainColor":40},219517,"lan-ting-xiu-xie-tu-wen-zheng-ming-219517","兰亭修褉图","以淡墨白描晕染兰亭雅集，层峦叠嶂纵立画面，古松虬枝苍劲，环护着溪畔兰亭。曲水蜿蜒流淌，士人列坐其侧，或把盏沉吟，或挥毫题咏，将永和雅事鲜活铺展。\n\n笔墨清隽秀雅，山石勾勒细劲简洁，淡皴轻染晕出山林幽寂，尽显内敛雅致的吴门意趣。绢素之上凝住魏晋林下风流，以极简水墨铺陈出旷远清幽的雅集氛围，藏着对古贤风雅的追慕，笔端浸满书卷清韵，将千载前的林下雅兴，晕染成隽永的丹青意趣。",[23,51,84,26,25,56,58,63,61,64,150,7,86,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37ad5f5c5fbcf8cbdb86cdfd03b879c3.jpg","140.3x73.2",[70],176,{"id":4306,"slug":4307,"title":4308,"dynasty":115,"author":207,"museum":99,"description":4309,"tags":4310,"thumbUrl":4311,"material":107,"size":107,"collection":107,"collections":4312,"showCount":4313,"zanCount":11,"manualWeight":39,"mainColor":924},227904,"bi-tao-tu-ye-yi-ming-227904","碧桃图页","《碧桃图》是宋代佚名画家创作的一幅绢本设色画，现藏于北京故宫博物院。\n该图绘碧桃两枝，枝上的碧桃花有的吐露盛开，有的含苞欲放。\n花瓣用细笔勾描后多层晕染，富有层次变化和立体感。\n全图用笔精细，设色淡雅，画面虽小，意趣无穷。\n在纨扇面上画红白碧桃两枝，枝上的桃花有的吐露盛开，有的含苞欲放，其花蕾、枝叶互相穿插其间，争奇斗艳，竞相怒放。\n左枝挺干盛开，右枝则斜向争艳，从这两枝繁花簇簇，苞蕾盈枝的描绘中，清香宜人的花味如绢中溢出，感到了春色的浓郁，花木葱郁茂盛的欣欣向荣气象呈现在眼前。\n本幅有：“于”“腾”联珠白文、“阿蒙精赏”朱文。\n宋代的花鸟画，在皇室的倡导下，已发展到了黄金时期。\n对客观物象的观察和描绘已丝丝入微，重“格物、穷理”已成为那一时期花鸟画坛的时尚，花鸟册页是其中的代表。\n该图是散页，已无从查考出处，观其画风，应是南宋初院人作品，是南宋写生作品，画面无款。\n宋人画风崇尚真实自然，在真实中求得词一般的境界。\n该图描绘的是一派春意盎然的景象，表现的是一红一白两枝桃花相互交错，花朵饱满丰盈，枝叶葱郁。\n该图没有繁杂的布势表现，但通过对花、叶、枝及嫩芽的精微生动的描绘，着实传达出春花怒放、春日融融的情意感觉。\n其中，尤以那层层叠叠的花瓣最引人注目，且每个花朵的形态走向各有差异，可以说无论是花朵的局部表现，还是整体的布势都是精彩的。\n该图构图简洁，在许多方面都留有写生的痕迹，比如，花瓣的开合、叶子的正反、刚出的嫩芽等表现，无不鲜活入微。\n然而，这种生活化的写生表现，确丝毫没有影响画家依照情意处理画面平面空间分割的意图。\n可能正是由于这种生活中形状的刺激，使得作者在画面的平面分割中，才采用了扇形分割，扇形成为作品中形状的主基调。\n作品从整体画面的团扇形到每一簇花朵，乃至每一簇叶子都呈各自不同的扇形分割，在这个分割中扇形可谓是变化至极。\n这种扇形能够给人以渐展、开阔的生发感觉，这就吻合了作品的情意内容，即由弱到强的春季桃花的生命气象。\n该图艺术精湛，花枝、花茎、花叶全用双勾。\n勾线细秀，赋色轻清。\n其中花瓣用细笔勾描后多层晕染。\n花叶的筋脉一丝不苟，丝丝入扣，有水分的质感，桃干的勾线，顿挫转折，笔笔中锋，凝重而空灵，富有层次变化和立体感。\n中国美术研究所研究员梁济海：这幅画在艺术手法上与《出水芙蓉》不一样，花枝茎叶全用双勾，不过用笔极为轻细，傅色也很淡雅，碧桃的丰盈、柔嫩和姣好的姿容，形成一种素雅的艺术格调。\n由本幅鉴藏印可知，该图曾经清代鉴藏家于腾收藏，经《中国古代书画目录》第二册著录。\n现藏于北京故宫博物院。",[49,50,23,51,24,25,54,27,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F492d139f03f73b41512b3e28ecc1aab5.jpg",[],175,{"id":4315,"slug":4316,"title":4317,"dynasty":130,"author":131,"museum":99,"description":4318,"tags":4319,"thumbUrl":4321,"material":107,"size":107,"collection":107,"collections":4322,"showCount":4313,"zanCount":625,"manualWeight":39,"mainColor":75},227037,"song-mo-ben-chuan-lie-nv-ren-zhi-tu-juan-gu-kai-zhi-227037","宋摹本 传 列女仁智图卷","《列女仁智图》卷，绢本，墨笔淡着色，纵25.8厘米，横417.8厘米。\n《列女仁智图》卷旧传东晋顾恺之作，此为南宋人摹本。\n汉成帝沉湎于酒色，宠信赵飞燕姐妹，朝政大权旁落于外戚手中，危及刘氏政权。楚元王四世孙光禄大夫刘向（前77－前6年）针对这一情况，采摘自古以来诗书上所记载的贤妃、贞妇、宠姬等资料，编辑成《列女传》一书呈送汉成帝，希望他从中吸取经验教训，以维护刘氏政权。全书按妇女的封建行为道德准则和给国家带来的治、乱后果，分为母仪、贤明、仁智、贞顺、节义、辩通、孽嬖七卷，此即其中“仁智卷”部分。\n仁智卷共收集15个列女故事。此卷为残本，其中“楚武邓曼”、“许穆夫人”、“曹僖氏妻”、“孙叔敖母”、“晋伯宗妻”、“灵公夫人”、“晋羊叔姬”7个故事保存完整。“齐灵仲子”、“晋范氏母”、“鲁漆室女”3个故事只存一半，其余5个故事则全丢失，又错将“鲁漆室女”之右半与“晋范氏母”之左半拼接在一起，使人误以为是一个故事。\n此卷多处保存了汉代的衣冠制度，如男子头戴进贤冠，身着曲线大袖袍，腰结绶带并配挂长剑；女子梳着垂髾髻，身着深衣，特别是眉毛涂以朱色，是模仿赵昭仪的新妆，这些都表现了特定时期的风俗和时尚。又蘧伯玉所乘坐的马车称“轺车”，亦为汉代形制，描绘得非常细致而无错误，这些都可以从大量出土的汉代画像石、砖和壁画中找到与之相应的图象。\n在北魏司马金龙墓出土的漆屏风画《列女古贤图》中，表现卫灵公与夫人夜坐闻马车声的一段，与此卷所表现的同一内容相比较，无论是构图布局还是人物的姿态手势都非常近似，可以证实其与《列女仁智图》同出自一个古本。而在传摩过程中，后者更为忠实于古本原作。\n据《汉书》记载，刘向在向汉成帝呈送《列女传》的同时，还呈送了《列女颂图》，并画为屏风。汉成帝的班婕妤失宠后，在她的诗中曾谈到在宫内看到《列女图》，并以此来鉴戒自己。这些都载在班固所著的《汉书》中。东汉时代的画像石、砖中，有不少表现列女故事的题材。画史并载蔡邕曾创作有《小列女图》。这一时期《列女图》的大量出现，既是出于宫廷政治斗争的需要，同时也是为了在社会上广泛推行妇女的道德教育，借以维护封建秩序。\n根据《列女仁智图》中保存有较多的汉代风俗，以及其构图形式的古朴，推测此卷的原本应当出自于东汉时代，而祖本则为刘向所创。剔除后世在反复传摹中所附加的痕迹，仍然能透视二千年前汉代宫廷绘画的艺术光辉。其人物线条粗犷流畅，造型准确。特别是对妇女的描绘，体态轻盈，婀娜多姿，尤为绝妙。构图布局则与汉画像石一脉相承。《列女传》及《列女仁智图》在宋代有多本，此是被保留下来的惟一的一本，尤为珍贵。",[49,50,23,51,52,135,134,58,225,4320,7,86,180],"车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60eb1ec8833db63938ad3a1ecbc21f2e.jpg",[],{"id":4324,"slug":4325,"title":4326,"dynasty":115,"author":355,"museum":175,"description":4327,"tags":4328,"thumbUrl":4329,"material":319,"size":4330,"collection":122,"collections":4331,"showCount":4313,"zanCount":39,"manualWeight":39,"mainColor":40},221310,"zhi-ping-tie-su-shi-221310","治平帖","释文：\n轼启：久别思念不忘，远想体中佳胜，法眷各无恙。佛阁必已成就，焚修不易。数年念经，度得几人徒弟。应师仍在思蒙住院，如何？略望示及。石头桥、堋头两处坟茔，必烦照管。程六小心否，惟频与提举是要。非久求蜀中一郡归去，相见未间，惟保爱之，不宣。轼手启上。治平史院主、徐大师二大士侍者。八月十八日。\n卷末有赵孟頫、文徵明、王穉登题跋。鉴藏印有“商丘宋荦审定真迹”、“吴江张基德载图书”二方。本卷引首有明人所画苏轼像及释东皋妙声所书《东坡先生像赞》。\n此帖是苏轼书写的信札，内容主要是委托乡僧照管坟茔之事。根据帖后赵孟頫、文徵明、王穉登三人之跋可知，此帖当是苏轼于北宋熙宁年间在京师时所作，时年约30余岁。该帖笔法精细，字体遒媚，与苏轼早年书法特征吻合，正如赵孟頫所称“字划风流韵胜”。\n《平生壮观》卷二、《装余偶记》卷二、《盛京书画录》第二册著录。",[49,50,23,51,52,119,135,58,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9babc75fc8a45145c2cd4c01861509d.jpg","纵29.2厘米，横45.2厘米",[122],{"id":4333,"slug":4334,"title":4335,"dynasty":18,"author":80,"museum":81,"description":4336,"tags":4337,"thumbUrl":4338,"material":88,"size":4339,"collection":70,"collections":4340,"showCount":4313,"zanCount":625,"manualWeight":39,"mainColor":75},214827,"cao-tang-yun-shu-tu-wang-fu-214827","草堂云树图","这幅画描绘了一个溪边的小屋，一个高士在看喷泉和看书；岩石上潦草地画着荷叶，树干和树叶用各种笔法画着，都是王绂的原创风格。",[49,23,51,84,26,55,56,64,293,294,379,610,751,279,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3942008c8970d09809b068a18c45de0e.jpg","118x38.7",[70],{"id":4342,"slug":4343,"title":4344,"dynasty":115,"author":207,"museum":194,"description":4345,"tags":4346,"thumbUrl":4348,"material":183,"size":4349,"collection":107,"collections":4350,"showCount":4351,"zanCount":11,"manualWeight":39,"mainColor":40},223523,"li-hua-ying-wu-tu-yi-ming-223523","梨花鹦鹉图","画面上满是梨花，雪白的碎片，三种绿色，红顶红嘴鹦鹉站在树枝上，俯身闻着梨花的芬芳。 从技术上讲，梨花被涂成白色，茎是浅绿色； 鹦鹉是用每一根粗毛笔画出来的，丝绸蓬松，身体圆润，非常可爱！",[49,50,23,51,54,25,27,645,4347,7],"鹦鹉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58717acba13d2d5091e6b0c695bb5c0e.jpg","27.6x27.6cm",[],174,{"id":4353,"slug":4354,"title":2895,"dynasty":97,"author":1082,"museum":99,"description":1382,"tags":4355,"thumbUrl":4356,"material":689,"size":690,"collection":35,"collections":4357,"showCount":4358,"zanCount":39,"manualWeight":39,"mainColor":40},235500,"za-hua-ce-zhu-da-235500",[23,51,24,26,420,102,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff29ff50245c3b93043a1ab132f67fec.jpg",[35,242],172,{"id":4360,"slug":4361,"title":4362,"dynasty":146,"author":4363,"museum":175,"description":4364,"tags":4365,"thumbUrl":4366,"material":183,"size":4367,"collection":199,"collections":4368,"showCount":4358,"zanCount":11,"manualWeight":39,"mainColor":75},221827,"long-gong-shui-fu-tu-zhu-yu-221827","龙宫水府图","朱玉","此图取材于唐人小说《柳毅传》中“柳毅传书”的情节，描述洞庭龙王之女饱受丈夫虐待，在泾河岸边牧羊，秀才柳毅偶遇龙女，仗义为之传书，终使龙女得救的故事。作者选取柳毅下马揖见、龙王率众侍从出门迎请的一瞬，大不盈尺的画面充满了情节性和戏剧性。龙王宫阙上下翻腾起伏的海浪交代出与凡间迥异的环境，柳毅的平静与龙王的恭谨成功地刻画出人物的性格和心态，而画面上端的一片空白，迷濛苍茫，似云似雾，延展了画意，营造了意境。宫阙的描绘虽然用直尺界笔，但造型简括准确，线条粗放有力，异于元代流行的工谨精细的白描建筑画之风。\n《石渠宝笈三编·乾清宫》著录。",[49,23,25,54,7,58,405,225,406,59,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d2e44d7f8f6c34cd2ea480ccffe619.jpg","纵45.6厘米，横43.3厘米",[199,72],{"id":4370,"slug":4371,"title":4372,"dynasty":115,"author":748,"museum":175,"description":4373,"tags":4374,"thumbUrl":4375,"material":319,"size":4376,"collection":122,"collections":4377,"showCount":4358,"zanCount":11,"manualWeight":39,"mainColor":75},220393,"yan-shan-ming-mi-fei-220393","研山铭","《研山铭》与《虹县诗》用力稍过和《多景楼》的颇显急躁相比，此作以闲适纵逸的笔调显示出对所藏研山倍加珍重的得意与自信，点画如刀劈斧斫，气势如虹；粗者大笔如椽，几成块面，如“五、出、极、化”，细者劲似发条，弹槽欲出，如“怪、痕、震”。\n《研山铭》善于在正侧、偃仰、向背、转折、顿挫中形成飘逸超迈的气势、沉着痛快的风格。字的起笔往往颇重，到中间稍轻，遇到转折时提笔侧锋直转而下。捺笔的变化也很多，下笔的着重点有时在起笔，有时在落笔，有时却在一笔的中间，对于较长的横画还有一波三折。勾也富有特色。 侧倾的体势，欲左先右，欲扬先抑，都是为了增加跌宕跳跃的风姿、骏快飞扬的神气，以几十年集古字的浑厚功底作前提，故而出于天真自然，绝不矫揉造作。\n结字自由放达，信手天成，下笔挥洒纵横，跌宕多姿，不受前人羁勒，倾侧之中含稳重，一笔一划都融合在作品的整体精神之中，字字因势生形，字与字之间绝少连属，数字间没有明显的游丝映带，却能一气贯通，显得自然畅达。正是欹侧之势使上下、左右顾盼生情，险绝而生稳，收似欹反正之效。\n在章法布局上米芾借鉴运用了前人的技巧，打破局部的平稀和对称，并以向左倾斜流动的态势，形成一种行距间相互穿插的格局，在动态中求得总体的平衡。通篇时疏时穿，虚实相生，都在有意无意之间。从整体布局上看气象萧森，笔走龙蛇，在跳荡的表象之下，有浑然的整体存在，给人以强烈的对比感，通篇给人以强烈的音乐节奏感、韵律感。\n《研山铭》书体修长，且每个字长短都有变化，没有固定的尺寸，笔法遒媚，通观全篇，其笔迹竟无一处雷同，行中带草，笔势连绵，没有丝毫的飘忽之感，沉着稳重，并无粗涩横野，在圆转流美之中显示出恣肆烂漫、欹侧生姿的美韵",[49,50,23,51,52,119,26,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7374b1f0d39e9aa4bee66efe967e9999.jpg","纵36厘米，横136厘米",[122],{"id":4379,"slug":4380,"title":2254,"dynasty":18,"author":4381,"museum":81,"description":4382,"tags":4383,"thumbUrl":4384,"material":152,"size":107,"collection":35,"collections":4385,"showCount":4358,"zanCount":39,"manualWeight":39,"mainColor":75},219462,"hua-niao-tu-lu-zhi-219462","陆治","虬曲苍劲的老梅盘错伸展，柔粉新花缀满枝桠，垂拂的柳丝轻曳，晕开春日的软柔生机。两只白羽鹦鹉或栖或飞，姿态悠然闲适，绿羽鹦鹉俯身探向花枝，翠色翎毛鲜妍亮眼，鲜活灵动。\n\n画作兼取院体工致与文人雅意，墨笔勾勒梅骨古拙苍劲，禽鸟晕染细腻写实，设色柔丽雅致。将花木的清隽幽淡与禽鸟的鲜活灵韵相融，动静交织间，晕开春日独有的悠然闲情，尽显明丽雅致的花鸟意趣。",[23,51,54,25,27,29,4347,66,528,1227,332,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff60450a7cb42a9f747df8719efb27c47.jpg",[35],{"id":4387,"slug":4388,"title":4389,"dynasty":97,"author":800,"museum":99,"description":1425,"tags":4390,"thumbUrl":4391,"material":634,"size":107,"collection":35,"collections":4392,"showCount":4393,"zanCount":1288,"manualWeight":39,"mainColor":40},223302,"zhu-shi-tu-zhou-zheng-ban-qiao-223302","竹石图轴",[49,23,51,84,26,358,277,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f06ed11a80f23832798fc994366a211.jpg",[35,242],171,{"id":4395,"slug":4396,"title":4397,"dynasty":115,"author":221,"museum":81,"description":4398,"tags":4399,"thumbUrl":4403,"material":239,"size":4404,"collection":122,"collections":4405,"showCount":4393,"zanCount":11,"manualWeight":39,"mainColor":75},221342,"nong-fang-shi-tie-zhao-ji-221342","秾芳诗帖","南明抗清英雄陈邦彦曾跋赵佶瘦金书《秾芳诗帖》，“宣和书画，超轶千古。此卷以画法作书，脱去笔墨畦径，行间如幽兰丛竹，泠泠作风雨声，真神品也。”既是对这一诗帖的评赞，也是对“瘦金书”的艺术效果很好的概括。",[49,86,418,52,417,419,7,308,4400,4401,4402],"庭","露","霞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff429bef1de6af3c93a64b6d6d677d91d.jpg","纵27.2厘米，横265.9厘米",[122],{"id":4407,"slug":4408,"title":4409,"dynasty":18,"author":4410,"museum":81,"description":4411,"tags":4412,"thumbUrl":4413,"material":88,"size":4414,"collection":35,"collections":4415,"showCount":4393,"zanCount":1288,"manualWeight":39,"mainColor":40},218849,"xing-hua-xi-que-tu-qian-gu-218849","杏花喜鹊图","钱谷","杏花开于春日，枝头上飞来一只喜鹊，寓有喜报春讯之意。画花写鸟之笔墨雅淡润厚，并有沈周文征明之遗韵。",[23,51,84,25,27,2967,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2af34acb04865ee01aff2df0f861c9af.jpg","116.6x34.3cm",[35],{"id":4417,"slug":4418,"title":4419,"dynasty":115,"author":748,"museum":81,"description":4420,"tags":4421,"thumbUrl":4422,"material":88,"size":4423,"collection":122,"collections":4424,"showCount":4393,"zanCount":743,"manualWeight":39,"mainColor":40},218543,"shu-lun-shu-mi-fei-218543","书论书","此帖是关于宋代四大书法家真迹的一部分，虽无行书，但被公认为米芾真迹。此帖也是米芾 尊晋重唐 的书法理念的体现，他推崇晋国书法家，贬低唐国书法家。米芾判断的最高境界是 简单而天真。与米芾在其他书中的反复变化相比，此帖沉稳内敛，有深沉的晋国韵味，他主张的审美规范是一致的。",[51,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cf4c420e92725c7fca687156352387b.jpg","24.7x37",[122],{"id":4426,"slug":4427,"title":4428,"dynasty":97,"author":655,"museum":99,"description":4429,"tags":4430,"thumbUrl":4431,"material":319,"size":4432,"collection":35,"collections":4433,"showCount":4434,"zanCount":743,"manualWeight":39,"mainColor":40},222707,"mei-hua-tu-li-zhou-jin-nong-222707","梅花图立轴","水墨绘梅树枝杆，中间淡墨皴染，外部浓墨晕染，粗壮遒劲；古梅细枝繁多，每一枝枝头皆花朵绽放，红色花朵娇艳欲滴，红花丛中绿叶渐渐长开，一个春天即将到来。",[49,23,51,84,26,25,528,31,345,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5d44ddc3ccfb0f322631c48caa18fc7.jpg","61cmx33cm",[35,72],170,{"id":4436,"slug":4437,"title":4438,"dynasty":97,"author":341,"museum":81,"description":342,"tags":4439,"thumbUrl":4442,"material":33,"size":348,"collection":107,"collections":4443,"showCount":4434,"zanCount":1288,"manualWeight":39,"mainColor":40},219873,"er-shi-si-fan-hua-xin-feng-tu-tong-hua-yu-mai-hua-dong-gao-219873","二十四番花信风图-桐花与麦花",[23,51,24,25,54,86,119,4440,4441,1481,28,30,7],"桐花","麦花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdb86962c9013f1d6120ae7f94813ca0.jpg",[],{"id":4445,"slug":4446,"title":4447,"dynasty":18,"author":1014,"museum":329,"description":4448,"tags":4449,"thumbUrl":4450,"material":88,"size":4451,"collection":199,"collections":4452,"showCount":4434,"zanCount":270,"manualWeight":39,"mainColor":40},219700,"jiao-ye-shui-nv-tu-tang-yin-219700","蕉叶睡女图","唐寅是明中叶时期重要的人物画家，他多才多艺，不仅擅长画人物画，在文学、山水、花鸟，书法都有卓越的成就。唐寅，字子畏，另字伯虎，晚号六如居士，1470年出生于苏州，卒于1524年，与祝允明、文徵明、徐祯卿并称“吴中四才子”。\n明代仕女画的人物造型在经过魏晋时期的秀骨清像，隋唐的丰肥腴丽，宋元的端庄矜持后，逐渐变为明艳清瘦、削肩狭背。而唐寅作为“明四家”之一，他的仕女画师承唐代传统，飘洒高雅，人物造型优美，细巧秀逸，成为明代仕女画的典型代表。\n唐寅仕女画独特的艺术风格在中国美术史上有一定的地位，其绘画的风格对后世人物画的发展与创作有着重要影响，在各种拍卖会上也经常崭露头角。",[49,23,51,52,135,26,119,7,58,136,3671],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F511b3649559e91e7d9b4530da531e4c8.jpg","纵20.3cm，横61.0 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其画远师宋代黄家画派，近承明代吕纪，工写花卉翎毛，禽兽，设色妍丽，工致精丽、赋色浓艳，极尽构梁之巧。画面注重写实，画风谨严工细，造型准确生动。",[49,23,51,84,54,25,27,309,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe00ca506998e033f25ccdeadf9498bce.jpg",[],{"id":4497,"slug":4498,"title":4499,"dynasty":18,"author":45,"museum":81,"description":4500,"tags":4501,"thumbUrl":4502,"material":634,"size":4503,"collection":107,"collections":4504,"showCount":4487,"zanCount":1288,"manualWeight":39,"mainColor":40},222217,"zhao-meng-fu-xie-jing-huan-cha-tu-juan-chou-ying-222217","赵孟頫写经换茶图卷","画中，画匠出身的仇英尚“古意”，作品以宋代李公麟白描入手，并将色彩溶于线条之中，纤细柔和的画出了松林、竹篱间铺纸作书的赵孟頫，以及与之对坐的禅师，另有一书童手持茶叶。整个画面宁静淡然，秀雅温润，充满禅意。\n画后面的文徵明《心经》是以王羲之的书法名作《黄庭经》的笔法写成，而赵孟頫在求佛问道的过程中也曾多次抄写《黄庭坚》并有作品流传至今。如此看来，文徵明此处所书的《心经》，几乎可以说是赵孟頫风格的再现。",[49,23,51,52,54,25,58,64,150,3653,66,86,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F665c7765f2bce81c38906b328ef48f04.jpg","纵22厘米、横311厘米",[],{"id":4506,"slug":4507,"title":4508,"dynasty":97,"author":4509,"museum":81,"description":4510,"tags":4511,"thumbUrl":4512,"material":33,"size":4513,"collection":70,"collections":4514,"showCount":4487,"zanCount":1288,"manualWeight":39,"mainColor":40},219533,"hui-yu-bi-zhong-qiu-tie-zi-shi-dong-bang-da-219533","绘御笔中秋帖子诗","董邦达","《中秋帖子词卷》是清代宫廷艺术的集大成之作，主要分为三部分：乾隆御笔题序、董邦达据乾隆词意绘画的山水画，以及内廷翰林据帖子词韵附和创作的诗文，并由大臣汪由敦抄写。卷中书画合壁，内容丰富，从这君臣和唱的山水诗画巨制中，可见乾隆皇在位初期锐意开创崭新气象的雄心壮志。",[23,25,56,58,63,59,64,150,86,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3831ec7dcdcdc2b2a1575be43d6b2da6.jpg","95.4x66.2厘米",[70],{"id":4516,"slug":4517,"title":4518,"dynasty":97,"author":1180,"museum":99,"description":1655,"tags":4519,"thumbUrl":4520,"material":689,"size":690,"collection":107,"collections":4521,"showCount":4522,"zanCount":1288,"manualWeight":39,"mainColor":40},289650,"qiang-gen-ju-hua-tu-li-zhou-wu-chang-shuo-289650","墙跟菊花图立轴",[49,23,84,1501,25,529,277,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00e6be5cc946debe5480bb68290241ce.jpg",[],166,{"id":4524,"slug":4525,"title":4526,"dynasty":97,"author":1167,"museum":81,"description":2470,"tags":4527,"thumbUrl":4528,"material":33,"size":107,"collection":107,"collections":4529,"showCount":4522,"zanCount":11,"manualWeight":39,"mainColor":40},214858,"xie-sheng-ce-6-hua-yan-214858","写生册-6",[23,51,24,25,58,135,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd9c91d8855b1b8d5a20426c52f9301b.jpg",[],{"id":4531,"slug":4532,"title":4533,"dynasty":115,"author":510,"museum":525,"description":4534,"tags":4535,"thumbUrl":4537,"material":152,"size":4538,"collection":35,"collections":4539,"showCount":4540,"zanCount":923,"manualWeight":39,"mainColor":75},216099,"xuan-lan-tu-lin-chun-216099","萱兰图","萱兰图是中国宋朝画家林椿的代表作之一。这幅画描绘了一座庭院里的萱兰花。萱兰花是中国传统园林艺术中的一种常见植物，它有着精致的花朵和引人注目的花瓣。在萱兰图中，林椿用精细的笔触和细腻的色彩描绘了萱兰花的各个细节，使这幅画充满了生命力和魅力。此外，萱兰图还描绘了庭院里的山水景观，包括山峰、岸边和树木。整幅画浑然一体，充满了和谐和自然的气息。萱兰图是中国宋朝画家创作的杰作，是中国艺术史上的瑰宝。",[50,23,51,27,54,25,4536,251,7],"萱草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d2708522fbaf48375edc1d0d665366d.jpg","34.3x27.3cm",[35],165,{"id":4542,"slug":4543,"title":4544,"dynasty":115,"author":221,"museum":81,"description":4545,"tags":4546,"thumbUrl":4547,"material":634,"size":4548,"collection":213,"collections":4549,"showCount":4550,"zanCount":39,"manualWeight":39,"mainColor":75},221337,"chi-tang-qiu-wan-tu-juan-quan-juan-zhao-ji-221337","池塘秋晚图卷全卷","该作品为粉笺本，粉笺新纸时，光洁亮丽，其上尚印有卷草纹图案，是极为珍贵的材质。纸面经过上粉处理，具有不吸水性，乍看之下，笔墨甚为质朴，斑剥古趣。徽宗款识：“天下一人”。",[49,23,51,52,54,135,26,27,66,102,463,1061,104,277,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e4573239b74f372ac19d707d1888ee0.jpg","全图33×237.8公分",[213,35,242],164,{"id":4552,"slug":4553,"title":4554,"dynasty":146,"author":431,"museum":4555,"description":4556,"tags":4557,"thumbUrl":4558,"material":319,"size":4559,"collection":122,"collections":4560,"showCount":4550,"zanCount":11,"manualWeight":39,"mainColor":40},220845,"bo-re-bo-luo-mi-duo-xin-jing-zhao-meng-fu-220845","《般若波罗蜜多心经》","甘肃天庆博物馆","赵孟頫一生抄写经书太多，一方面是自己礼佛之需，另一方面也是无形中增加了自己书法功力。此赵孟頫《心经》墨迹行书册，是为中峰和尚抄写的",[49,50,23,51,52,135,119,436,1284,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b128cdfa8732b90cc7f3d1ec7d91a42.jpg","26X151cm",[122],{"id":4562,"slug":4563,"title":3564,"dynasty":115,"author":207,"museum":4564,"description":4565,"tags":4566,"thumbUrl":4567,"material":152,"size":4568,"collection":35,"collections":4569,"showCount":4550,"zanCount":1288,"manualWeight":39,"mainColor":75},216724,"zhu-que-tu-yi-ming-216724","德国国立民族博物馆","竹雀图是一幅中国宋朝时期的山水画。它的作者不详，因此被称作佚名。这幅画展现了一只竹雀坐在枯竹上，它仰望天空，看起来沉思，非常感人。背景是一片山林，山上有云雾，枯竹上有苔藓。这幅画浓烈的山水意境和出色的线条勾勒，使得它成为了一幅经典的中国画作品。",[49,50,23,51,822,54,25,27,358,3567,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a620d767f5903f90715fcce25b8448e.jpg","24.1x23.4cm",[35],{"id":4571,"slug":4572,"title":4573,"dynasty":18,"author":161,"museum":99,"description":2140,"tags":4574,"thumbUrl":4575,"material":689,"size":690,"collection":107,"collections":4576,"showCount":4577,"zanCount":39,"manualWeight":39,"mainColor":40},290928,"jiang-shang-qing-shan-shen-zhou-290928","江上青山",[23,51,24,26,56,55,278,64,1535,2142,58,225,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4db2a42b30a37fb39b0e95fca436c6c.jpg",[],163,{"id":4579,"slug":4580,"title":4581,"dynasty":97,"author":445,"museum":99,"description":4582,"tags":4583,"thumbUrl":4584,"material":107,"size":107,"collection":242,"collections":4585,"showCount":4577,"zanCount":1288,"manualWeight":39,"mainColor":40},235889,"yuan-ji-huang-shan-you-tu-ce-shi-tao-235889","原济黄山游图册","此作用笔疏密相宜，淡墨铺陈烟林远景，以浓墨点染近木。几株杂木高低错立，或繁枝遒劲，或疏桠寥落，极简笔触便写尽枯荣姿态。篱边茅斋素朴安然，黛瓦白墙隐于林间，将江南山居的清寂野趣娓娓铺展。\n\n右上角题诗与画作相映成趣，诗书画印融为一体，禅意漫溢其间。笔墨间藏着春日山居的悠然意趣，把胸中林泉化作纸上丘壑，淡远清和，朴拙天真，观之恍若踏入画中，静赏春景，沉潜于物我两忘的幽谧意境之中。",[23,51,26,24,55,56,871,379,85,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04027f2c689ff46da102ff937cdb3245.jpg",[242,70],{"id":4587,"slug":4588,"title":4589,"dynasty":115,"author":221,"museum":46,"description":4590,"tags":4591,"thumbUrl":4592,"material":239,"size":4593,"collection":213,"collections":4594,"showCount":4577,"zanCount":743,"manualWeight":39,"mainColor":40},221328,"wu-se-ying-wu-tu-zhao-ji-221328","五色鹦鹉图","《五色鹦鹉图》是北宋时期宋徽宗 创作的一幅绢本设色画，现收藏于美国波士顿美术馆。\n此图为横卷，画中一只鹦鹉立于一斜枝上，鹦鹉得意自适，似与人语，俏姿可掬。\n正是春光明媚之时，杏枝抽条，白花朵朵，欣欣日上。\n此图是一幅写实性的小品，可以看出徽宗“妙体众形”的深厚功力。\n此卷既有图，又有题句和跋，为赵佶的三绝珍品。\n卷首有清宋荦隶书题款，前段为宋徽宗咏鹦鹉诗一首并序：五色鹦鹉来自岭表，养之禁御，驯服可爱，飞鸣自适，往来于苑囿间。\n方中春，繁杏遍开，翔翥其上，雅诧容与，自有一种态度。\n纵目观之，宛胜图画，因赋是诗焉。\n天产乾犀此异禽，遐陬来贡九重深。\n体全五色非凡质，惠吐多言更好音。\n飞翥似怜毛羽贵，徘徊如饱稻粱心。\n缃膺绀趾诚端雅，为赋新篇步武吟。\n御制御画并书（仅存“制”、“并” 二字及画押）。\n后半部分则画一红颈鹦鹉立千杏枝之上。\n杏花正在盛开，饱满的杏花在枝头次第开放，热烈浓郁，营造出春意盎然、欢快喜悦的精神氛围。\n画卷上钤有元文宗“天历之宝”印，清初戴明说、宋荦藏印及清乾降、嘉庆内府鉴藏印。\n赵佶不是一位好皇帝，然而当时的政治制度以及他统治者的政治地位极大地影响了艺术的发展。\n他痴迷于艺术，并且把自己的爱好推广到社会中，造成一种社会文化现象，使北宋文化在宋徽宗时期创造了一段辉煌，尤其是工笔花鸟画的发展在宋代达到了古代花鸟画历史的顶峰，并开创了花鸟画创作的新时代，对后世的花鸟画产生了深远的影响，《五色鹦鹉图》就是一幅典型的花鸟画。\n据说，宋徽宗在御花园内见一只贡自岭表的别致鹦鹉飞鸣于杏枝间，姿态煞是可爱，遂御笔彩绘，复作诗并序，画了《五色鹦鹉图》。\n在充满了道教神仙思想的徽宗看来，描绘祥瑞之物的工笔花鸟画不但是艺术创作，还是祈祷国家和民族福祉的独特形式，也是治理国家的一种手段。\n他要在大自然中发现那些预示国家运兆的祥禽瑞草，并把它们图绘下来。\n画中的五色鹦鹉的毛色恰好与社稷坛供奉的五色土相近，“五色”为青黄赤白黑，象征着五个方位，亦象征天下。\n宋徽宗正是想用“五色”向诸朝臣表明此系“天产”、“异禽、“非凡质”、乃“样瑞”也。\n宋徽宗羡慕此鸟的“飞鸣自适”，实际是“自由”，这是这位帝王想得都得不到的。\n全枝式构图是花鸟画常见的一种构图方式，即画幅的主要部位摆布几枝全株花木，配以禽鸟或草虫，或烘云托月为其背景。\n花木枝干参差交错，叶片层叠枞深，疏密有致。\n花木下部不露脚根，也不用画山石土坡，使画面的主体物更加突出，重点更为集中。\n《五色鹦鹉图》就是全枝式构图的一个典型代表，画中色彩斑斓的鹦鹉栖息在杏花枝头，营造出一种宁静欢愉的境界。\n这张画是一幅重彩，重彩画画成浓重是方便的，但画得很清灵、透明是不容易的。\n这张画的颜色设计很调和，技巧上厚薄把握得很好。\n在墨的底子上用石绿，因石绿为矿物质颜料，画上容易出现粉气，但它没有这种粉气。\n指鹦鹉背部这一块很淡很薄，笔法显得很生动。\n树枝的勾线很结实，用笔富有变化。\n下笔较重，微露钉头，从上往下勾，如果笔法一样是很死板的，但太不相类又不能成为贯通的一枝，而此画树杆中的钉子头有些明显，有些不明显，很随意，有一种自然变化之妙在其中。\n此图杏树枝条多以淡墨勾勒轮廓，再以极细微多尖锐墨点点苔，枝头嫩绿的叶芽隐隐透出，突出了春天枝条初发生机的柔韧感和树枝坚硬的质地感，枝条安排疏密有致，详略得当。\n杏花或侧或卧，或正或背，或大或小，或蓓蕾初成，或繁华正开，或团簇，或散落，极尽姿态。\n画家先以淡墨勾出花瓣、花蕊轮廓，然后再以白粉层层渲染，花萼则略加勾勒，然后以浅绿敷色，层层包裹，更加映衬突出杏花的繁茂、饱满和热烈，花气鲜嫩浓郁，姿态各异，若从绢上跃然生出。\n鹦鹉为全幅刻画的重点所在，亦是画家着重关注的对象，画中鹦鹉眼睛大而有神，正炯炯注视眼前繁茂的杏花，似乎为欢快的春天气氛所吸引，呈现出欢愉的表情。\n眼睛以生漆点之，呼之欲活，确实倍见精彩。\n鹦鹉羽毛呈五色，黑、灰、红、绿，鲜丽耀日，头呈黑灰色，脖颈呈深红色，翅羽、尾羽呈浅绿色，鲜艳明快的羽毛呈亮色调，为画面增添了温暖的基调。\n鹦鹉露出一足紧紧抓住杏枝，另一足微露脚爪，当为俯视鹦鹉角度所看到的情形，更突出了鹦鹉站立枝头的别样姿态。\n鹦鹉足角质鳞片也悄然画出，不同于羽毛及所立杏枝的质感，更见画家观察的精细，让人不由得驻足留意观赏。\n此画曾著录于《宋中兴馆阁储藏图画记》、吴升《大观录》、《石渠宝笈初编》（卷二十四）诸书中，为《宣和睿览集》中的存世画迹。\n此卷在元代经文宗收藏，明末清初为戴名世所收，又经宋荦收藏，乾隆时收入内府。\n民国初年为山本悌二郎所收，流入日本，著于《澄怀堂书画目录》中。\n山本卒后，他所收藏的《杏花鹦鹉图》不久即流入美国，为波士顿美术馆所收。\n212年11月2日至21年1月日，上海博物馆开展了“翰墨荟萃—美国收藏中国五代宋元书画珍品展”，《五色鹦鹉图》在这次展览中展出。\n217年7月2日，日本东京都美术馆开展了“波士顿美术馆至宝展”，《五色鹦鹉图》在这次展览中展出。\n赵佶（182－115），即宋徽宗，北宋皇帝。\n神宗第十一子，哲宗弟，在位25年。\n即位前历任镇宁军节度使，平江、镇江军节度使等职，先后封宁国公、遂宁郡王、端王。\n崇信道教，自号“教主道君皇帝”。\n南宋绍兴五年（115年），死于五国城（今黑龙江依兰）。\n其书法、绘画颇有造诣，书法自成一家，称“瘦金体”，兼及狂草。\n绘画重写生，尤长花鸟画，存世有《芙蓉锦鸡图》、《池塘秋晚图》。\n并能诗词，著有《宣和宫词》卷，已佚。",[49,50,23,51,52,54,25,27,528,4347,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250806d5c1a5a740cd7a94908d9dccc4.jpg","纵：53.3，横：125.1厘米",[213,35,72],{"id":4596,"slug":4597,"title":4598,"dynasty":97,"author":445,"museum":99,"description":3557,"tags":4599,"thumbUrl":4600,"material":107,"size":107,"collection":70,"collections":4601,"showCount":4602,"zanCount":625,"manualWeight":39,"mainColor":40},237928,"yuan-ji-shan-shui-tu-zhou-shi-tao-237928","原济山水图轴",[23,26,55,84,51,86,119,7,56,60,61,64,727,58,150,293,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfa72c6c88f5d950dcb00da4e61fa4c0.jpg",[70,242],162,{"id":4604,"slug":4605,"title":4606,"dynasty":115,"author":748,"museum":485,"description":4607,"tags":4608,"thumbUrl":4609,"material":88,"size":4610,"collection":70,"collections":4611,"showCount":4602,"zanCount":11,"manualWeight":39,"mainColor":924},218566,"yun-shan-tu-mi-fei-218566","云山图","这幅画画的是烟波浩渺的海岸上的渔船，雾锁山腰，笔墨淋漓。山峰都是用米氏的方法画的，用的是湿笔，虽然有后人伪造的痕迹，但仍然是难得的水墨游戏杰作。",[23,51,84,26,55,56,1207,871,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa252b41bf8de2207a07dcd8bb3debcc4.jpg","55.2x27.7cm",[70],{"id":4613,"slug":4614,"title":4615,"dynasty":18,"author":459,"museum":99,"description":4616,"tags":4617,"thumbUrl":4618,"material":689,"size":690,"collection":107,"collections":4619,"showCount":4620,"zanCount":39,"manualWeight":39,"mainColor":75},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。",[23,26,358,2954,277,86,7,84,403,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda0c10587d925716d52958d37b02e71d.jpg",[],161,{"id":4622,"slug":4623,"title":4624,"dynasty":97,"author":445,"museum":99,"description":4625,"tags":4626,"thumbUrl":4627,"material":1087,"size":4628,"collection":242,"collections":4629,"showCount":4620,"zanCount":11,"manualWeight":39,"mainColor":40},224527,"jiang-shan-sheng-lan-shi-tao-224527","江山胜揽","此卷绘山川湖泊。山峦连绵起伏，景物屑迭。树木茂密丛生，瀑布、溪水倾泻而下。水面宽广，云雾蒸腾，有寂静空灵之美。画中线条极细，有素描效果。山石用披麻铍，横直交错，秀灵而坚实。密集的破笔苔点，使山势更显苍莽。篁叶取法倪瓒，只是变萧疏为茂密。墨色的干湿浓淡恰到好处。画作用笔和山石构置繁密，但作者巧妙地运用虚实、黑白的均衡布局，通过水的空灵和云雾的蒸腾，避免了过分的迫塞。综合而论，这是一幅能代表石涛笔墨清腴，风格恣肆洒脱的山水作品。",[49,23,52,26,56,55,86,7,64,1902,715,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0fd2208972fffab3bc42dc072272735.jpg","纵20厘米，横762厘米",[242],{"id":4631,"slug":4632,"title":4633,"dynasty":18,"author":1014,"museum":99,"description":1334,"tags":4634,"thumbUrl":4636,"material":107,"size":107,"collection":199,"collections":4637,"showCount":4620,"zanCount":625,"manualWeight":39,"mainColor":40},222333,"shi-nv-tu-tang-yin-222333","仕女图",[49,23,54,25,7,58,136,277,4635,84],"棕榈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7a1ac006358157f9823c6c6e26a159a.jpg",[199,72],{"id":4639,"slug":4640,"title":4641,"dynasty":115,"author":116,"museum":81,"description":4642,"tags":4643,"thumbUrl":4649,"material":634,"size":4650,"collection":122,"collections":4651,"showCount":4620,"zanCount":11,"manualWeight":39,"mainColor":924},221272,"song-feng-ge-shi-huang-ting-jian-221272","松风阁诗","松风阁在湖北省鄂州市之西的西山灵泉寺附近，海拔160多米，古称樊山，是当年孙权讲武修文、宴饮祭天的地方。宋徽宗崇宁元年（1102）九月，黄庭坚与朋友游鄂城樊山，途经松林间一座亭阁，在此过夜，听松涛而成韵。",[49,86,119,7,777,4644,870,4645,4646,4647,4648,1595,1593,700,59],"泉","川","野僧","寒溪","坡道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42961cbb5e0e34b9ca3df7fc4aa599c5.jpg","纵32．8厘米 横219．2厘米",[122],{"id":4653,"slug":4654,"title":4655,"dynasty":115,"author":4656,"museum":222,"description":4657,"tags":4658,"thumbUrl":4659,"material":25,"size":4660,"collection":122,"collections":4661,"showCount":4620,"zanCount":743,"manualWeight":39,"mainColor":1441},221203,"hou-chi-bi-fu-quan-juan-zhao-shen-221203","后赤壁赋全卷","赵昚","由于该作之末没有作者的款识，因此对于书写人是谁这一问题，从元代起就有不同的说法：有人认为是宋徽宗赵佶所书，有人认为是宋高宗赵构之作，还有人认为是宋孝宗赵昚手笔。（注：关于书作者问题，元朝的俞贞木认为是赵佶所书，但遭到了同为元朝人黄本等人的质疑。杨仁恺指出，《后赤壁赋》为赵昚作品，并提出了相关论据。具体详见《关于宋孝宗赵昚的几点考察》，载《杨仁恺书画鉴定集》）赵昚学赵构书法很像，几可乱真。从书写上分析，赵昚作字较之赵构，往往落笔凝重不够，结字略显松懈。检视此卷，正有这样的欠缺。再则，赵昚更喜爱苏轼诗文，因此这件草书《后赤壁赋》卷当出自赵昚之手。\n书法是历代帝王在登基之前的必修课，它关乎一国之君的脸面和尊严。他们学习、接受诗文、书画之类的传统文化，表示出对文化的崇敬和亲近，这样做有利于稳固统治地位。上述徽宗赵佶、高宗赵构、孝宗赵昚即是例证。\n在各种书体的书写中，草书最为简洁洗练。一个十分复杂的汉字，可以简略成几根线条；一 件草书作品，只需连续几个动作，连绵而下，便告成功。如果说楷、隶、篆书行笔舒缓，如端人正襟危坐，那么草书则更具动感，兼能含纳激越之情。可以这么说，人人都能写楷、隶、篆书，但草书绝不会是人人都可以写好的。由于草书省去了许多笔画，使空间结构产生了很大变化，更须理清脉络，这对书家的技巧要求就更高、更精。如果不明草理、不依草法，而任墨成形、信笔为体，就难免会产生失误，作品也就会演变成无法辨识的“天书”。草书书写全然是精神化的漫游，是人精神的一种外现。依此来审视这卷草书，我们就会发现赵昚是具备书写技巧的书法家。他以心灵对草书作出深刻体验，使性情与功力相得益彰。\n在南宋，以赵构为中心，学习书法风气甚浓，成为小朝廷“中兴”的一种点缀。赵昚受这种气氛的影响，爱好书法也是理所当然的事。他曾自称“无他嗜好，或得暇，惟读书写字为娱”（马宗霍《书林纪事》）。在书法上，赵昚秉承家法，并有机会得到赵构的亲授，故明陶宗仪在《书史会要》中说：“孝宗书有家庭法度。”这件草书《后赤壁赋》卷结字循规蹈矩，草法纯熟而严谨，笔画秀劲匀整，笔意圆润，行笔圆转流畅，又具有沉着遒劲的韵致，颇具流畅而能浑厚、飞动而兼沉着之美。作品通篇气象浑穆，一气呵成，可见书者书写时神完气足、兴致清畅。面对此作，我们仿佛看到赵昚把笔濡墨，在那一段磁青绢上舒心挥毫，营造出一片春云浮空、卷舒起伏、变化多端的图景。此作虽为草书，读之却使人感受到不温不火、从容自如的大将风范。赵昚书法无连绵苟且之习，用笔起讫分明，笔笔清楚，字字独立而气脉连贯，易于辨识。我们可以从中抽出单个的字来一一欣赏，即便脱离整幅的语言环境也不碍观瞻。赵昚此卷有自家面貌，但也渊源有自，从笔意、字势中均可看到唐、宋书家对他的影响。注重法度是赵昚书法之长，这与苏轼主张“真生行，行生草，真如立，行如行，草如走，未有未能行立而能走者”是一致的。世云“唐人尚法，宋人尚意”，是就唐与宋的整体书风而言的；倘若专论草书，宋人也是“尚法”的。赵昚书法即可印证这一点。",[49,52,86,51,119,541,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4cd876766aeb129bded31c4aa34e7c0.jpg","26.9x621",[122],{"id":4663,"slug":4664,"title":4665,"dynasty":146,"author":431,"museum":20,"description":4666,"tags":4667,"thumbUrl":4671,"material":239,"size":4672,"collection":122,"collections":4673,"showCount":4620,"zanCount":11,"manualWeight":39,"mainColor":40},220848,"du-fu-qiu-xing-ba-shou-zhao-meng-fu-220848","杜甫秋兴八首","此卷书杜甫秋兴八首。款署：“此诗是吾四十年前所书，今人观之未 必以为吾书也。子昂重题。至治二年(1322)正月十七日。”据此知该卷 书于元初至元十九年(1282)前后，作者时年二十八岁左右。此书用笔细腻，结体端庄秀逸，笔圆墨润，筋丰骨健，给人以神定气闲，虚和宛朗。\n公元759年，杜甫为避“安史之乱”，携妻儿由陕西入四川，寓居成都，依靠四川节度使严武等亲友的接济维持生活。765年四月，严武病逝，杜甫失去依凭，于是伴同家族，离开成都，乘舟沿江东下，先是寓居夔州，在夔州（今四川奉节）住了两年左右的时间，后转徙于湘鄂之间。公元770年冬，死在由长沙到岳阳的一条破船上。\n在寓居夔州两个年头里，杜甫时年五十五岁，已处在人生之秋，眼看晚年多病，知交零落，壮志难酬，心境非常寂寞、抑郁。当此秋风萧瑟之时，不免触景生情，感发诗兴，故曰《秋兴》。\n《秋兴》八首是公元766年秋天杜甫滞留夔州时惨淡经营的一组七言律诗。这八首诗是一个完整的乐章，命意蝉联而又各首自别，时代苦难，羁旅之感，故园之思，君国之慨，杂然其中，历来被公认为杜甫抒情诗中沉实高华的艺术精品。\n《秋兴》第一首，是组诗领起之作，八诗之纲领。（《读杜心解》云：“首章，八诗之纲领也。明写秋景，虚含兴意；实拈夔府，暗提京华。”）诗人用铺天盖地的秋色将渭原秦川与巴山蜀水联结起来，寄托自己的故国之思；又用滔滔不尽的大江把今昔异代联系起来，寄寓自己抚今追昔之感。诗中那无所不在的秋色，笼罩了无限的宇宙空间；而它一年一度如期而至，又无言地昭示着自然的岁华摇落，宇宙的时光如流，人世的生命不永。",[49,52,86,119,62,2956,944,4668,946,870,332,4669,4670,7],"秋风","树林","波浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F225a92b33186e851e63bc3e6ab6711d5.jpg","纵23.5厘米，横261.5厘米",[122],{"id":4675,"slug":4676,"title":4677,"dynasty":115,"author":355,"museum":20,"description":4678,"tags":4679,"thumbUrl":4680,"material":88,"size":4681,"collection":122,"collections":4682,"showCount":4620,"zanCount":743,"manualWeight":39,"mainColor":40},218559,"da-xie-min-shi-tie-juan-su-shi-218559","答谢民师帖卷","释文：“轼启。是文之意疑若不然，求物之妙如系风捕影，能使是物了然于心者，盖千万人而不一遇也。而况能使了然于口与手者乎。是之谓词达，词至于能达，则文不可胜用矣。扬雄好为艰深之词，以文浅易之说，若正言之，则人人知之矣，此正所谓琱虫篆刻者。其《太玄》《法言》皆是物也，而独悔于赋何哉?终身琱虫而独变其音节，便谓之经，可乎。屈原作《离骚》经，盖风雅之再变者。虽与日月争光可也，可以其似赋而谓之琱虫乎。使贾谊见孔子，升堂而有余矣。而乃以赋鄙之，至与司马相如同科。雄之陋如此比者甚众，可与知者道，难与俗人言也，因论文偶及之耳。欧阳文忠公言，文章如精金美玉，市有定价，非人所能以口舌贵贱也。纷纷多言，岂能有益于左右，愧悚不已。所须惠力法雨堂字，轼本不善作大字，强作终不佳。又舟中局迫难写，未能如教，然则方过临江，当往游焉。或僧有所欲记录，当为作数句留院中，慰左右念亲之意。今日已至峡山寺，少留即去，愈远惟万万以时自爱不宣。轼顿首再拜。民师帐句推官阁下，十一月五日。” 此帖卷首已残，晚明以降，藏家王衡请娄坚仿苏轼书体补写阙文。录如下:“近奉违亟辱问讯，具审起居佳胜，感慰深矣。受性刚简，学迂材下，坐废累年，不敢复齿缙绅。自海还北，见平生亲旧，惘然如隔世人，与左右无一日之雅，而敢求交乎?数赐见临，倾盖如放，幸甚。过望不可言也。所示书教及杂文，视之熟矣。大略如行云流水，初无定质，但常行于所当行，常止于不可不止。文理自然，姿态横生。孔子曰:言之不文，行之不远。又曰:词达而已矣。夫词止于达意，则疑若不文，是大不然。”",[51,52,86,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F895dee5b027d4fad9b0c1f3a56c8960f.jpg","27x96.5cm",[122],{"id":4684,"slug":4685,"title":4686,"dynasty":97,"author":248,"museum":2698,"description":4687,"tags":4688,"thumbUrl":4690,"material":152,"size":4691,"collection":107,"collections":4692,"showCount":4620,"zanCount":743,"manualWeight":39,"mainColor":75},216109,"yun-shou-ping-hua-guo-shu-cai-ce-ye-2-yun-shou-ping-216109","恽寿平花果蔬菜册页-2","恽寿平花果蔬菜册页一共六开，绢本设色，以没骨写意画法依次描写了丝瓜、竹笋、竹子、葡萄、茄子、扁豆、白菜、芋头等日常蔬果，笔致灵动、色调雅致清新，描写入微，蔬果的叶尖、芽尖也刻画细致生动，尽显淡然天真之气，是恽寿平晚年描绘蔬果的没骨精品。 此册页每一页所绘蔬果都有刘墉相应赋诗一首，书法浑厚大气，古朴自然，自成一派，看似松散，实则丰貌骨劲。刘墉所描写蔬果诗文生动质朴，贴近生活，与恽寿平描绘的蔬果相应成趣，极大增加了观赏趣味。",[50,23,51,24,25,54,358,4689,531,7],"竹笋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29bf8f805f27469ebc51bee115db2b4.jpg","26.1x19.9cm",[],{"id":4694,"slug":4695,"title":4696,"dynasty":115,"author":4697,"museum":4698,"description":4699,"tags":4700,"thumbUrl":4701,"material":88,"size":4702,"collection":35,"collections":4703,"showCount":4704,"zanCount":11,"manualWeight":39,"mainColor":40},216941,"fei-cui-ji-ling-tu-mu-xi-216941","翡翠鹡鸰图","牧溪","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。",[49,23,26,27,7,403,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e5813acf30d16cb9177b3dd4d6e6c3b.jpg","79x31cm",[35],160,{"id":4706,"slug":4707,"title":4708,"dynasty":97,"author":1167,"museum":81,"description":4709,"tags":4710,"thumbUrl":4713,"material":33,"size":4714,"collection":199,"collections":4715,"showCount":4704,"zanCount":39,"manualWeight":39,"mainColor":40},214808,"wu-ri-zhong-kui-tu-hua-yan-214808","午日钟馗图","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。",[49,23,51,25,26,403,58,598,277,3365,4711,1239,7,3367,150,4712],"伞","垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc9a31aafc0ced5a148f4c4af90990a.jpg","131.5x63.7",[199],{"id":4717,"slug":4718,"title":4719,"dynasty":115,"author":4720,"museum":4721,"description":4722,"tags":4723,"thumbUrl":4724,"material":121,"size":107,"collection":199,"collections":4725,"showCount":4704,"zanCount":39,"manualWeight":39,"mainColor":40},214651,"bu-dai-he-shang-tu-hu-zhi-fu-214651","布袋和尚图","胡直夫","日本京都野村博物馆","这是一幅简单的佛教僧侣回望尘世并返回斗室宫的画作。南宋画家胡直夫主要活跃在宋末元初，从事山水和人物画创作。他的白描技术来自于李公麟，他的笔触强而有力。他的人字形线描继续出现在后来的一般佛教色彩画中，并成为道教和佛教主题人物的一种特殊风格。他的大部分画作现在都被日本人收藏了。这幅画得到了景山比丘如燕的赞许。",[49,23,51,84,135,26,1284,58,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F093d29532ba9d45dca29e6f299658810.jpg",[199],{"id":4727,"slug":4728,"title":4729,"dynasty":97,"author":1082,"museum":99,"description":4730,"tags":4731,"thumbUrl":4732,"material":689,"size":690,"collection":107,"collections":4733,"showCount":4734,"zanCount":39,"manualWeight":39,"mainColor":40},288133,"gu-mu-shuang-ying-tu-zhu-da-288133","古木双鹰图","前一时期题款中常见的“八大山人画”的“画”字，此时已经改为“写”字，这是画家后期典型的写法，而双鹰也是晚期常见的绘画题材。作为画面主体的双鹰憩息于盘石之上，一瑟索凝伫，一神情如铸，外形与神情均十分到位，笔墨造型上几乎无懈可击。不过与先贤林良有所不同的是，画家似乎并不仅仅着意于对禽鸟状貌的真实再现，作为画家笔下的一个艺术符号，它们更多传达的是孤傲荒寒的心灵感悟。画面背景古木寒槎，虬干疏枝，树身用劲笔复笔，益见沧桑枯寂之感。下方盘石内方外圆，危如累卵，益增险仄之势。画家借助古木、怪石这些元代大师们常绘的主题，辅以静默凝重的禽鸟，暗示出生命的枯涸风蚀，苛刻寂寥，笔墨极简而意境丰满，元气充溢，体现了凝重、冷峻、朗润、含蓄、静谧的艺术特征。",[49,23,50,26,27,84,2394,2611,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8855abe2ec0d96961f6c1c6e272c49d6.jpg",[],159,{"id":4736,"slug":4737,"title":4738,"dynasty":146,"author":431,"museum":175,"description":4739,"tags":4740,"thumbUrl":4741,"material":319,"size":4742,"collection":122,"collections":4743,"showCount":4734,"zanCount":625,"manualWeight":39,"mainColor":40},220841,"huang-ting-jing-zhao-meng-fu-220841","黄庭经","《黄庭经》有诸多名家临本传世，如智永、欧阳询、虞世南、褚遂良、赵孟頫等，他们均从中探究王书的路数，得到美的启示。然而也有人认为小楷《黄庭经》笔法不类王羲之，因此亦有真伪之辨。《黄庭经》引，王羲之书，小楷，一百行。原本为黄素绢本，在宋代曾摹刻上石，有拓本流传。此帖其法极严，其气亦逸，有秀美开朗之意态。关于黄庭经，有一段传说：山阴有一道士，欲得王羲之书法，因知其爱鹅成癖，所以特地准备了一笼又肥又大的白鹅，作为写经的报酬。王羲之见鹅欣然为道士写了半天的经文，高兴地“笼鹅而归”。原文载于南朝《论书表》，文中叙说王羲之所书为《道》、《德》之经，后因传之再三，就变成了《黄庭经》， 因此，又俗称《换鹅帖》，无款，末署“永和十二年（356）五月”，现今留传的只是后世的摹刻本了。",[49,86,436,417,52,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13a6a4cd3ec1c6039daa34a804981861.jpg","26.5X485.4cm",[122],{"id":4745,"slug":4746,"title":4747,"dynasty":192,"author":1112,"museum":3527,"description":4748,"tags":4749,"thumbUrl":4750,"material":152,"size":4751,"collection":199,"collections":4752,"showCount":4734,"zanCount":1288,"manualWeight":39,"mainColor":75},218385,"mu-niu-tu-han-huang-218385","牧牛图","平坡旷野间，双牛安卧，墨色晕染出厚重肌理，犄角宛转，似带泥土气息。牧童蜷身酣眠，草帽斜倚，竹杖横陈，尽是天真慵懒。旁侧老枝虬劲，竹影疏疏，墨痕浓淡交织出野趣。整幅画无喧嚣，唯留田园静穆。笔墨简括却神形毕肖，牛的憨态、牧童的自在，皆藏于线条间。盛唐乡野的悠然时光，仿佛凝在绢上，望之忘俗，心生惬意。",[50,23,51,25,54,58,1115,358,277,7,1116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30f0dc982c6116348e28f459cb13d33.jpg","27.9x31.4",[199],{"id":4754,"slug":4755,"title":4756,"dynasty":97,"author":445,"museum":446,"description":447,"tags":4757,"thumbUrl":4758,"material":33,"size":452,"collection":107,"collections":4759,"showCount":4734,"zanCount":39,"manualWeight":39,"mainColor":40},214891,"shan-shui-tu-ce-2-shi-tao-214891","山水图册-2",[49,23,26,55,24,56,61,62,164,64,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd319f48bef574dd573647e67866a3b95.jpg",[],{"id":4761,"slug":4762,"title":4763,"dynasty":115,"author":3092,"museum":99,"description":4764,"tags":4765,"thumbUrl":4766,"material":107,"size":107,"collection":107,"collections":4767,"showCount":4768,"zanCount":1288,"manualWeight":39,"mainColor":40},228898,"cai-wei-tu-li-tang-228898","采薇图","《采薇图》是宋代画家 创作的绢本水墨淡设色画，此画现藏于北京故宫博物院。\n此卷画商末 、 不食周粟，在首阳山饿死的故事。\n图绘半山之腰，苍藤、古松之荫，伯夷与叔齐采摘薇蕨之余，正在休息对话的情景。\n画中正坐一人即为伯夷，他面带忧愤，目光炯炯，注视着叔齐。\n叔齐一手按地似在说着什么。\n图中人物刻画生动传神，衣纹简劲爽利，衬托出人物刚直不阿的性格。\n树石笔法粗简，墨色湿润。\n该图以山石为背景，绘二人在树下席地而坐，进行交谈。\n二人均束发系巾，长须，着宽袖粗服，穿草履，正面者领口略袒，着力突出了他们高士的形象。\n二人身侧还置有装薇的篮子和锄头，表示二人采薇而食，采薇是他们身份的象征。\n图中石壁上有题款两行：“河阳李唐画伯夷、叔齐”。\n引首有明代李擢公书“首阳高隐”，拖尾有元宋杞、明俞允文、清永瑆、翁方纲、蔡之定、阮元、林则徐、吴荣光、潘霄汉等题记。\n本幅钤项元汴、吴荣光等鉴藏印十六方，半印九方，拖尾有诸家藏印五十四方、半印三方。\n《采薇图》是一幅历史题材的绘画作品，以殷末伯夷、叔齐“不食周粟”的故事为题。\n伯夷和叔齐是殷的诸侯孤竹君的两个儿子，兄弟二人出走后先后投奔了西伯姬昌。\n姬昌死后，其子姬发要兴兵讨伐纣王。\n伯夷、叔齐叩马谏阻，认为臣子造反、讨伐君王是大逆不道的行为。\n姬发不听，灭殷后建立了周朝。\n伯夷和叔齐决心不吃从周朝土地上长出来的粮食，于是隐居首阳山（今山西永济县境），以采食野菜充饥度日，最后双双饿死在山里，临死前还作了一首《采薇歌》以表示坚决不屈的志向。\n李唐初以卖画为生，宋徽宗赵佶朝补入画院，深得赵佶赏识。\n1127年金兵攻陷汴京，高宗南渡，李唐亦颠沛流离，逃往临安（今杭州），以卖画度日。\n南宋恢复画院后，李唐经人举荐，进入画院，以成忠郎衔任画院待诏，时年近八十。\n偏安一隅之耻，家国离乱之悲，让画家感慨万端，他赞扬那些保持气节的人，谴责南宋统治者投降变节的行为。\n正是在这种心绪下，他创作了《采薇图》。\n这幅画的主题思想，据跋尾宋杞说：“……且意在箴规，表夷齐不臣于周者，为南渡降臣而发也。\n”表明作者的创作意图是借着伯夷叔齐不食周粟的故事，用来讽刺宋高宗南渡后，留在汴京投降金人的降臣而画的。\n它的含义，用当时历史背景衡量，是有它的特殊意义的。\n李唐的《采薇图》给了一个伯夷、叔齐两人的近镜头描写，浓重的背景环境衬托出两个淡设色的人物。\n悬崖峭壁间一块坡石，两人相对而坐，周围只有古树山石，远处河流平原离得很遥远，很简洁便将两人隐居的生活环境交代得恰如其分。\n背向观画者的是叔齐，一手撑地，一手笔划，在很投入地向伯夷说着什么。\n李唐对伯夷这个人物的刻画非常成功，画中的伯夷面容清瘦，双手抱膝，倚树而坐，胡子已经很长时间没有打理，双眉微颦，眼神并没有落在某个实处，似乎在听着叔齐说话，又似乎没有在听，不过目光中的坚定却是不容怀疑的，也许有些无奈，可毫无悔意，整个人物给人一种很平静安然的感觉，他只是在默默地坐着，不露一点声色，不为物喜，不为己悲，前面采野菜的小锄和篮筐还摆在一边，生活的困苦可想而知，可是这位伯夷只是如过去坐在厅堂中一般倚树席地而坐，尊贵依然，坚定依然。\n作品用笔精练而又富于变化，简劲锐利，线条挺拔，轻重顿挫似有节奏，墨法枯润适中，突出表现了衣服的麻布质感。\n肌肉部分的用线较为柔和，须眉用笔精细且多变化，显得蓬松软和。\n背景部分画家用笔较为豪放粗简，老松主干两边用浓墨侧峰，用浓墨细笔勾出松鳞，充分表现出了老松厚重的量感和体积；柏叶点染细密，浓淡变化细微。\n图中山石用极豪迈的大斧劈皴，以各种不同深浅、枯润的墨色有力涂抹，表现了山石奇峭的风骨和坚硬的质感。\n画家对树丛中远去的河流轻毫淡墨，近处的山石焦墨浓厚，丰富了画面的空间感。\n清代画家 《浦山论画》： “二子席地对坐相话言，其殷殷凄凄之状，若有声出绢素。\n” 中国当代画家 《采薇图画册》：“至人物神情之华贵、高妙，是与米兰藏达·芬奇之耶稣与门必藏三勒之使徒同为绘画的极峰。\n” 中国当代画家 《画史上的名作 中国卷》：整幅画大刀阔斧，坚实有力，刚直不阿，气象森然，使人想到李唐作画时激荡的心情。\n由于他的节操受人尊敬，此画历来颇受珍视。\n《采薇图》在《清河书画舫》，《汪氏珊瑚纲》，《佩文齐书画谱》，《式古堂书画汇考》等书著录。\n《采薇图》历经明代项元汴、清代吴荣光收藏，晚清入宫，现收藏于北京故宫博物院。\n215年4月日—6月29日，《采薇图》在北京故宫武英殿举办的215春季书画特展中展出。\n（166～115），宋代画家。\n字唏古，河阳三城（今河南孟县）人。\n初以卖画为生，宋徽宗赵佶时入画院。\n南渡后以成忠郎衔任画院待诏。\n擅长山水、人物。\n变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。\n晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。\n兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。\n并以画牛著称。\n与刘松年、马远、夏圭并称“南宋四大家”。",[49,23,50,52,51,25,55,58,56,610,150,64,294,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16c214e4ea812a28066aaad9585915a2.jpg",[],158,{"id":4770,"slug":4771,"title":4772,"dynasty":18,"author":161,"museum":99,"description":4773,"tags":4774,"thumbUrl":4775,"material":319,"size":4776,"collection":70,"collections":4777,"showCount":4768,"zanCount":743,"manualWeight":39,"mainColor":40},222121,"shi-zhu-tu-shen-zhou-222121","石竹图","石竹图，设色淡雅清幽，线条笔墨饱满有力，将竹的青翠挺拔，山石的坚硬如数展现，为其传世不多的佳品。画面中的竹、石、树体现了生物的灵气，体现了作者心灵与天地共呼吸，随悠云自来往的悠然心境。虽然整幅画面仅有很少的景物，但是作者的心境已经很自然的流露出来。 沈周在画中题识：“石丈有芳姿，此君无俗气。其中佳趣多，容我自来去。”",[49,50,23,51,26,55,277,358,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36554dbfb6c71407859f93a0a9573279.jpg","60×48cm",[70,242],{"id":4779,"slug":4780,"title":4781,"dynasty":115,"author":221,"museum":4782,"description":4783,"tags":4784,"thumbUrl":4785,"material":152,"size":4786,"collection":35,"collections":4787,"showCount":4788,"zanCount":11,"manualWeight":39,"mainColor":75},219170,"la-mei-shuang-qin-tu-zhao-ji-219170","腊梅双禽图","四川博物馆","描绘两只山雀栖止于梅树枝头，梅花含苞欲放，仅一朵绽开花蕾。梅之清韵与枝头的小鸟相映成趣，花鸟优美动人。全画以细劲的笔致、单纯秀雅的色调精妙入微地刻画花鸟形象，梅花轻柔美丽，山雀毛羽似泛光泽，其情态特征精细入微。",[49,50,23,51,54,25,27,528,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54ef81c59e68fc11da552ce3e803576c.jpg","纵25.8厘米，横26.1厘米",[35],157,{"id":4790,"slug":4791,"title":79,"dynasty":115,"author":4792,"museum":81,"description":4793,"tags":4794,"thumbUrl":4795,"material":152,"size":107,"collection":213,"collections":4796,"showCount":4788,"zanCount":39,"manualWeight":39,"mainColor":40},218747,"zhu-tu-wen-tong-218747","文同","墨竹挺秀于素绢之上，枝干如铁线盘旋，墨色浓淡交织出老嫩层次。竹叶以“个”“人”形错落铺陈，笔意洒脱却不失矩度，似有风过叶舞之灵韵。文同“胸有成竹”的妙谛在此尽显：每枝每叶皆从心臆而出，无半分迟疑滞涩。老干苍劲如古松，新枝清逸若嫩柳，墨色干湿变化间藏盎然生机。留白处意蕴悠远，仿佛能闻竹间飒飒风声，见月下疏影横斜，将宋时文人画的意境与笔墨之美融于一纸。竹之坚贞与君子风骨相契，画者胸臆借竹抒发，尽展文人画的雅致气韵与精神内核。",[49,50,23,51,26,24,7,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e6f635d98c2a3862422c3f72b140031.jpg",[213],{"id":4798,"slug":4799,"title":4800,"dynasty":18,"author":45,"museum":175,"description":4801,"tags":4802,"thumbUrl":4805,"material":183,"size":4806,"collection":70,"collections":4807,"showCount":4808,"zanCount":743,"manualWeight":39,"mainColor":40},222215,"lian-xi-yu-yin-tu-zhou-chou-ying-222215","莲溪鱼隐图轴","此图写江南水乡景色，平远山水。画清溪水田，绿树成荫，岸边一院落，院外有高士携书童远眺，悠然自得，远处云山起伏，真实地再现了江南渔村恬静安乐的生活情景。布景清远疏旷，笔法工整而有潇洒之趣。图未署年款，从作品款识和绘画风格分析，应为画家晚年精品之作。曾为清代梁清标、安仪周、吴舜昇等人鉴藏。\n仇英的绘画以“秀雅纤丽”的院体风格著称，而在华贵富丽中又带有一种飘逸优雅的气息。仇英的这种画风是受沈周、文徵明等文人画家的影响再加上他自己深厚的临古功力而形成的，蕴含着浓重的文人情趣，与文人画家的书斋山水在情调上有相合之处。",[49,23,51,50,84,25,54,56,64,727,4803,61,62,7,4804],"田野","渔隐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bde991eb8229865f5a2907eae42422a.jpg","纵126.5cm，横66.cm。",[70,72],156,{"id":4810,"slug":4811,"title":4812,"dynasty":146,"author":3933,"museum":329,"description":4813,"tags":4814,"thumbUrl":4815,"material":4816,"size":4817,"collection":70,"collections":4818,"showCount":4808,"zanCount":1288,"manualWeight":39,"mainColor":40},221735,"shan-shui-zhu-shi-tu-quan-juan-zhao-yuan-221735","山水竹石图全卷","赵原（约1325—1374），元末明初画家。生卒年不详。本名元，入明后因避朱元璋讳而改作原，字善长，号丹林。莒城（今山东莒县人，一作东平(今属山东)人，寓居苏州(今江苏苏州)。善诗文书画，擅山水。明太祖洪武（1368-1398）间征至中书令。洪武五年（1372）在昆陵作听松图，此顷被征至京图往贤着功名者像，应对忤旨，被杀。明洪武初奉诏入宫，因所画不称旨而被杀。\n关于赵原的师承说法不一，最经常的说法是王维和董源。也有说他师法董源、王蒙或米芾、高克恭。善用枯笔浓墨，作品多作浅绛山水，笔墨圆劲秀逸。亦长于画竹，画法多变，有龙角、凤尾、金错刀之称。兼能竹石，当时在平江一带负盛誉。有《合溪草堂图》、《晴川送客图》、《溪亭送客图》、《陆羽烹茶图》等传世。",[49,23,51,52,26,55,56,358,700,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70809230f2fb9e519270ac51b851cbf5.jpg","纸本水墨","纵25.7厘米，横380厘米",[70,242],{"id":4820,"slug":4821,"title":904,"dynasty":97,"author":248,"museum":81,"description":4822,"tags":4823,"thumbUrl":4824,"material":634,"size":908,"collection":35,"collections":4825,"showCount":4808,"zanCount":39,"manualWeight":39,"mainColor":40},220977,"hua-hui-shan-shui-he-ce-yun-shou-ping-220977","初工山水，笔墨秀峭，后与王翚交往，多作花卉，重视写生，往往用水墨淡彩，清润明丽，自成一格，有“恽派”之称。\n人称其笔有仙气，与王时敏、王鉴、王翚、王原祁、吴历齐名，为“清初六大家”之一。",[49,23,51,50,24,25,264,27,308,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76f579f145d671f95c77813259add473.jpg",[35,72],{"id":4827,"slug":4828,"title":4829,"dynasty":130,"author":2922,"museum":20,"description":4830,"tags":4831,"thumbUrl":4833,"material":121,"size":4834,"collection":122,"collections":4835,"showCount":4808,"zanCount":1288,"manualWeight":39,"mainColor":75},214519,"ya-tou-wan-tie-wang-xian-zhi-214519","鸭头丸帖","书写有力，笔触娴熟，笔触灵动有力，风格轻松；用墨明确，墨色清晰，由湿到干，由浓到淡的变化。用笔通常是 向外宽，与王羲之的 向内凹 相反，线条柔和、舒展，形态自然、优美。",[50,23,51,86,462,319,4832,7],"墨书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fe0321ef54ba0e17ef41c3f66f72320.jpg","26.1x26.9",[122],{"id":4837,"slug":4838,"title":4839,"dynasty":192,"author":1112,"museum":175,"description":4840,"tags":4841,"thumbUrl":4842,"material":33,"size":2024,"collection":72,"collections":4843,"showCount":4844,"zanCount":11,"manualWeight":39,"mainColor":40},219970,"wu-niu-tu-han-huang-219970","五牛图","《五牛图》中的五头牛从右至左一字排开，各具状貌，姿态互异。一俯首吃草荆棵蹭痒，一翘首前仰缓步前行，一纵峙而鸣，一回首舐舌，一络首而立。整幅画面除最后右侧有一小树外，没有其他的背景，因此每头牛可独立成章。",[49,23,51,52,25,54,7,86,119,1115,1116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb00eb300bc9aeab656f3c3031a5036af.jpg",[72],155,{"id":4846,"slug":4847,"title":2149,"dynasty":97,"author":248,"museum":99,"description":473,"tags":4848,"thumbUrl":4849,"material":107,"size":477,"collection":107,"collections":4850,"showCount":4851,"zanCount":39,"manualWeight":39,"mainColor":40},233897,"hua-hui-ce-yun-shou-ping-233897",[23,51,24,25,264,27,28,2342,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc808c246006bd21e0410433b0454b719.jpg",[],154,{"id":4853,"slug":4854,"title":4855,"dynasty":97,"author":4856,"museum":81,"description":4857,"tags":4858,"thumbUrl":4864,"material":33,"size":4865,"collection":35,"collections":4866,"showCount":4851,"zanCount":625,"manualWeight":39,"mainColor":40},219454,"tian-zhong-jia-hui-tu-chen-shu-219454","天中佳卉图","陈舒","藤蔓扶摇向上，粉紫蜀葵次第绽放，花瓣轻透如绢，晕染出柔婉韵致。明黄百合斜逸生姿，金蕊微吐；暗红小花簇簇点缀，似燃细碎火苗。底部果实饱满如金丸，墨叶苍劲托衬，与嫩茎细草相映成趣。笔墨兼工带写，线条流转见生机，设色清雅却明艳，凝草木鲜活灵秀于尺幅，如沐和风，满纸溢自然温润雅致。",[23,51,84,25,54,7,27,4859,4536,4860,4861,4862,4863],"蜀葵","红色花卉","绿色叶片","细长草茎","黄色果实状花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd91eeed2afbd9f96dd49ad53ecc3d2d1.jpg","115.8×46.1cm",[35],{"id":4868,"slug":4869,"title":4870,"dynasty":97,"author":800,"museum":99,"description":4871,"tags":4872,"thumbUrl":4873,"material":634,"size":4874,"collection":35,"collections":4875,"showCount":4876,"zanCount":39,"manualWeight":39,"mainColor":40},223299,"zhu-shi-tu-5-zheng-ban-qiao-223299","竹石图5","这幅《竹石图》，郑板桥将竹子画得艰瘦挺拔，节节屹立而上，直冲云天，每一片叶子都有着不同的表情，墨色水灵，逼真地表现竹的质感，而且竹的纤细清飒之美更衬托了石的另一番风情。在构图上又将竹与石的位置关系和题诗文字处理得十分协调，而且他的书法是越到晚年越是风神独具、挥洒自如、翰墨苍劲。“扬州八怪”之首的金农曾感叹：相较两人的画品，自己画的竹子终不如板桥有林下风度啊。\n郑板桥被后人誉为“诗、书、画”三绝的全才画家，且在三绝之中又有三真，特别强调要表现真性情、真意气、真趣味。\n郑板桥的绘画成就极高，尤擅画竹石，细枝粗叶，瘦劲孤高，格调超人。他画竹有“胸无成竹”的理论，并无师承，多得于纸窗粉壁日光月影，直接取法自然。他自称：“凡吾画竹，无所师承，多得于纸窗粉壁日光月影中耳。”针对苏东坡“胸有成竹”的说法，郑板桥强调的是胸中“莫知其然而然”的竹，要“胸中无竹”。这两个理论看似矛盾，实质却相通，同时强调构思与熟练技巧的高度结合，其创作体会鲜明地表露于一则题画中：“江馆清秋，晨起看竹，烟光、日影、露气皆浮动于浮枝密叶之间，胸中勃勃，遂有画意。其实胸中之竹，并不是眼中之竹也。因而磨墨展纸，落笔倏作变相，手中之竹，又不是胸中之竹也。”他笔下的竹注重“瘦与节”的结合，往往就是自己思想和人品的化身。据说，曾经有一大户大家请郑板桥画竹，酒过之后他便向这家墙壁上大盆洒墨，扔笔不画，晚上风雨大作把墙壁上的墨迹冲刷一遍，第二天一大早竟是一幅淋漓尽致的墨竹，还有几只麻雀以为来到了竹林撞昏在壁下。传说自然不可全信，但却可想见郑板桥作画的创造性。",[49,50,23,51,84,26,119,7,55,358,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6751617696efb541b17a01c9ddade642.jpg","179.5×101cm",[35,242],153,{"id":4878,"slug":4879,"title":4880,"dynasty":115,"author":289,"museum":99,"description":4881,"tags":4882,"thumbUrl":4883,"material":227,"size":4884,"collection":213,"collections":4885,"showCount":4876,"zanCount":39,"manualWeight":39,"mainColor":75},221404,"bai-miao-shi-nv-tu-li-gong-lin-221404","白描仕女图","李公麟（1049～1106），舒州(今安徽桐城)人，宋代杰出画家。字伯时，号龙眠居士，享年五十七岁。熙宁三年（公元1070年）进士。李龙眠即李公麟，字伯时，安徽桐城人，因桐城县北有一龙眠山，李公麟曾长居于山下，所以又自号龙眠居士或龙眠山人。\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。",[49,23,51,50,135,58,136,59,528,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f89ca0cf650498658e9f6d3c15a75dd.jpg","30x30厘米",[213,199,242],{"id":4887,"slug":4888,"title":4889,"dynasty":18,"author":1014,"museum":329,"description":4890,"tags":4891,"thumbUrl":4892,"material":152,"size":4893,"collection":70,"collections":4894,"showCount":4876,"zanCount":743,"manualWeight":39,"mainColor":75},220417,"xun-yang-ba-jing-tu-tang-yin-220417","浔阳八景图","画中的浔阳江为实景写生，浔阳江是九江的古称，位于现在的江西省九江市的北边。至今还可以通过这卷作品，找到与之相关的实景地。唐寅落魄之后曾经四处游走，一方面为了寻找人生方向，一方面为了增长见闻提升画技。古代画家都在书斋之中创作，但他们眼中的美景已经牢牢记忆在心中，哪怕没有对照摹写，也能出神入化。\n在唐寅的画卷中，浪井、琵琶亭、浔阳楼、天花宫等都有体现。其中知名度最高的就是浔阳楼，名著《水浒传》中有宋江在浔阳楼题写反诗的情节，才引出李逵闹江州。看着画卷中的浔阳楼，过往沧桑已成历史，只有文人赏景饮酒，这才是古今多少事都付笑谈中。",[49,23,51,52,26,25,56,54,55,119,7,60,61,63,59,62,66,58,137,714,2142,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4e7b7befcd16a579dde7285f16c9de.jpg","32.4×413.7厘米",[70,72],{"id":4896,"slug":4897,"title":1125,"dynasty":18,"author":4898,"museum":81,"description":4899,"tags":4900,"thumbUrl":4901,"material":33,"size":4902,"collection":70,"collections":4903,"showCount":4876,"zanCount":1288,"manualWeight":39,"mainColor":40},214737,"shan-shui-tu-zhao-zuo-214737","赵左","这幅画描绘了一座远山，远处有长长的松树，还有一条安静、荒芜的山路。此幅笔墨有王蒙遗法，用笔转为清雅",[23,51,84,26,55,7,56,1902,64,61,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ffc14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七言绝句轴","吴琚","这首七字诗是根据蔡襄的诗句写的，是宋代罕见的书法作品。吴氏的字俊美优雅，形体和姿态都与米芾一脉相承，但与北宋书法家的作品相比，吴琚的用笔快速有力，偶尔有飞白，显示出南宋书法家更注重渲染上下和整体的主旨，而不是对每个单字的提炼和完善。",[49,50,23,51,84,119,86,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fb61b45191b67798358ba3eb2af0473.jpg","98.6x55.3",[122],{"id":4924,"slug":4925,"title":4926,"dynasty":18,"author":4381,"museum":99,"description":4927,"tags":4928,"thumbUrl":4930,"material":689,"size":690,"collection":107,"collections":4931,"showCount":4932,"zanCount":11,"manualWeight":39,"mainColor":40},290309,"sui-chao-tu-zhou-lu-zhi-290309","岁朝图轴","陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[50,23,51,84,25,27,528,488,308,181,86,7,4929],"日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5facffa84a62716f2f574fdad24943d6.jpg",[],152,{"id":4934,"slug":4935,"title":4936,"dynasty":891,"author":4937,"museum":2403,"description":4938,"tags":4939,"thumbUrl":4942,"material":107,"size":107,"collection":107,"collections":4943,"showCount":4932,"zanCount":1288,"manualWeight":39,"mainColor":40},220493,"zhang-da-qian-fang-zhang-seng-yao-wu-xia-qing-qiu-tu-zhang-da-qian-220493","张大千仿张僧繇巫峡清秋图","张大千","此作用没骨青绿之法绘就，奇崛山峰以石青、赭石重色晕染，峰顶留白拟晴雪，丹红古木点缀其间，明丽堂皇。留白作云气横断山峦，虚实相生，尽显巫峡高华幽深之态。下方江帆孤悬，山居隐于翠岭，飞泉叠落，于雄奇间晕开雅致秋意。\n\n笔墨追摹古法，又暗合新意，将巫峡清秋的萧瑟绮丽相融，既有六朝青绿的厚重堂皇，又带着秀逸灵韵，让古雅的没骨山水焕发清新生机，尽显秋山的雄浑与秀雅。",[49,23,51,53,25,56,2001,4940,293,279,64,4941,134,55,7],"峭壁","山间小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde65b4dfacc5eae3a51cc3afe86bfb23.jpg",[],{"id":4945,"slug":4946,"title":4947,"dynasty":891,"author":892,"museum":525,"description":4948,"tags":4949,"thumbUrl":4952,"material":33,"size":4953,"collection":35,"collections":4954,"showCount":4932,"zanCount":39,"manualWeight":39,"mainColor":40},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。",[49,23,26,25,84,403,3252,4950,4951,181,7,86],"灯","蜡烛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1eaa5d9a0084397f64b5881322f7b2d.jpg","67.5x33.5cm",[35],{"id":4956,"slug":4957,"title":4958,"dynasty":97,"author":4135,"museum":290,"description":4959,"tags":4960,"thumbUrl":4961,"material":33,"size":107,"collection":35,"collections":4962,"showCount":4932,"zanCount":1288,"manualWeight":39,"mainColor":40},214821,"shan-shui-hua-hui-tu-ce-gao-feng-han-214821","山水花卉图册","高凤翰是一位清代著名的画家，他最著名的作品之一是山水花卉图册。这本图册包含了许多精美的山水和花卉画作，描绘了中国传统山水风景的美丽景色。高凤翰以其独特的画风和精湛的技巧著称，他的作品在当时颇受欢迎，并被广泛收藏。\n\n高凤翰的山水花卉图册对中国山水画的发展有着巨大的影响。他的作品描绘了中国传统山水风景，但又不拘泥于传统，注重自然与艺术的结合。他运用了自然的色彩和线条，使画面生动而富有感染力。同时，他也注重写实，力求将自然界的细节再现在画面中。高凤翰的山水花卉图册是中国山水画发展史上的一部重要作品，其中蕴含了许多独特的艺术成就。",[23,51,24,26,25,150,308,85,28,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7cf54d8ff98e36838fdc0046806b6e0.jpg",[35],{"id":4964,"slug":4965,"title":472,"dynasty":97,"author":248,"museum":99,"description":473,"tags":4966,"thumbUrl":4968,"material":107,"size":107,"collection":107,"collections":4969,"showCount":4970,"zanCount":625,"manualWeight":39,"mainColor":40},233907,"hua-hui-shan-shui-ce-yun-shou-ping-233907",[50,23,51,24,25,264,54,27,312,896,265,4967,7],"花苞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F141cf9f332104177044cc00b6174e0b6.jpg",[],151,{"id":4972,"slug":4973,"title":4974,"dynasty":1037,"author":4975,"museum":81,"description":4976,"tags":4977,"thumbUrl":4978,"material":1149,"size":4979,"collection":35,"collections":4980,"showCount":4970,"zanCount":743,"manualWeight":39,"mainColor":1441},221151,"shan-zhe-ji-que-tu-huang-ju-cai-221151","山鹧棘雀图","黄居寀","山鹧棘雀图是北宋花鸟画家黄居寀所创作的一幅设色画，现藏于台北故宫博物院。此图描写晚秋时节的溪边小景。近景的溪边几块石头显得突出，整个景色显得荒寒萧疏，但飞鸣、栖息于荆刺丛上的几只雀鸟，则为画面增添了不少生机和活跃的气氛。",[49,50,23,54,25,27,66,967,277,85,531,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b5a20f43ca35824f3daa158e61bf297.jpg","纵97厘米，横53.6厘米",[35,72],{"id":4982,"slug":4983,"title":4984,"dynasty":97,"author":3136,"museum":2698,"description":3137,"tags":4985,"thumbUrl":4986,"material":33,"size":3140,"collection":70,"collections":4987,"showCount":4970,"zanCount":1288,"manualWeight":39,"mainColor":75},220004,"shan-shui-hua-fang-huang-zi-jiu-wang-shi-min-220004","山水画-仿黄子久",[49,23,25,53,56,134,55,60,61,64,278,727,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb68a290c2795698c616b7dc02b7d5c03.jpg",[70],{"id":4989,"slug":4990,"title":4991,"dynasty":192,"author":2031,"museum":525,"description":4992,"tags":4993,"thumbUrl":4994,"material":152,"size":107,"collection":35,"collections":4995,"showCount":4970,"zanCount":1288,"manualWeight":39,"mainColor":75},218745,"ma-xing-tu-han-gan-218745","马性图","骏马昂首伫立，体态劲健挺拔。鬃毛与躯干墨色晕染层次分明，颈间浅褐渐过渡至腰背浓黑，肌理质感毕现。四肢修长稳健，蹄足勾勒简洁有力，似藏奔腾之势。绢本自然龟裂如时光印记，旁侧墨迹题识与朱红印章相映，更添古朴厚重。作品以简练传神之笔，捕捉马的灵动神韵，尽显古典绘画的雅致生机。",[49,23,51,54,25,225,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F044321ad98ba7228339779ee43a3fc62.jpg",[35],{"id":4997,"slug":4998,"title":4999,"dynasty":97,"author":248,"museum":99,"description":685,"tags":5000,"thumbUrl":5001,"material":689,"size":690,"collection":107,"collections":5002,"showCount":5003,"zanCount":1288,"manualWeight":39,"mainColor":40},290531,"wan-heng-xiang-xue-zhou-yun-shou-ping-290531","万横香雪轴",[23,84,50,56,528,59,60,61,62,137,86,7,25,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F908e37e2018eaa4c032769f68c2bc093.jpg",[],150,{"id":5005,"slug":5006,"title":5007,"dynasty":18,"author":1014,"museum":329,"description":5008,"tags":5009,"thumbUrl":5012,"material":25,"size":690,"collection":107,"collections":5013,"showCount":5003,"zanCount":743,"manualWeight":39,"mainColor":40},289993,"chang-e-zhi-gui-tu-zhou-tang-yin-289993","嫦娥执桂图轴","图中嫦娥裙带飘飘，神形温婉美丽，手持挂花，头部线条圆和流畅，勾染得当，美人风姿毕现，面容白色晕染，如月色清凝，皎洁典雅。",[23,84,25,54,58,136,1336,5010,86,7,5011],"桂花","神话人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff870a7fc8cbcdde03510dd532e6c43cd.jpg",[],{"id":5015,"slug":5016,"title":5017,"dynasty":97,"author":2568,"museum":99,"description":5018,"tags":5019,"thumbUrl":5020,"material":689,"size":690,"collection":107,"collections":5021,"showCount":5003,"zanCount":1288,"manualWeight":39,"mainColor":40},289979,"fang-ni-zan-shan-shui-tu-zhou-hong-ren-289979","仿倪瓒山水图轴","弘仁（1610—1663年），俗姓江，名韬，字六奇，出家后释名弘仁，号渐江学人，又号无智、梅花古衲，安徽歙县人。明亡后入武夷山为僧，云游各地后回歙县，住西郊太平兴国寺和五明寺，常往来于黄山、白岳之间。善画山水，早年从学于孙无修，中年师萧云从。其画取法元代倪瓒、黄公望，构图洗练简逸，笔墨苍劲整洁，善用折带皴和干笔渴墨。他重视师法自然，善画黄山、武夷山诸景，传达山川之美，意境伟峻秀逸，“得黄山之真性情”，与石涛、梅清同成为“黄山画派”的代表人物。在安徽与查士标、孙逸、汪之瑞并称“海阳四家”，形成“新安派”。同时，与石涛、八大、髡残合称“清初四僧”。",[50,23,84,26,56,967,63,61,150,751,134,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a89c37611eded2ace9e54e3a4ca8817.jpg",[],{"id":5023,"slug":5024,"title":5025,"dynasty":192,"author":193,"museum":175,"description":5026,"tags":5027,"thumbUrl":5030,"material":668,"size":5031,"collection":199,"collections":5032,"showCount":5003,"zanCount":11,"manualWeight":39,"mainColor":75},222242,"suo-jian-tu-juan-yan-li-ben-222242","锁谏图卷","此画最成功之处在于针对人物的神情进行了细致入微的刻画：只见陈元达双手持笏，紧抱大树，嘶喊着进谏之言，尽忠、尽职的焦急心情溢于言表；两名侍卫拉住陈氏的腰带与上衣奋力外扯，他们虽然胡须飞扬，双眼圆睁，亦不能将其奈何；穿着便服的刘聪横眉相向，目露凶光，放在膝上的左手紧握，显然十分激动，余怒未消的神态跃然纸上；合手伫立的刘皇后眼见事端因己而起，心神不宁，急派侍女送交君王密柬以缓解急迫的形势。\n画面对紧张氛围的渲染及对人物形神的描绘吸引了观者的视线，显示出画家独具一格的精妙构思。就画法来看，人物容颜用细笔描绘轮廓，须发纤毫毕现，面部略施淡墨表现起伏，服饰穿戴的线条勾写顿挫转折自具章法，有拙涩古朴之趣，观者能从中感受到罗聘娴熟地驾驭笔墨的高妙功力。\n以此图与现藏美国弗利尔艺术馆、相传为唐代阎立本所绘的《锁谏图》相比照，人物的位置、动作基本没有太多变化，罗氏之作只是省略了皇后一侧的假山石与树丛，添加了陈元达右侧的几名侍卫。另外，罗聘还将原本用设色之法图写的表现形式改作白描，使画作平添了些许雅致。",[49,23,51,52,54,25,58,5028,64,150,180,5029,7],"犬","兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41980eacf357c3e6917c0ffd1915bdef.jpg","纵32厘米，横208厘米",[199,72],{"id":5034,"slug":5035,"title":5036,"dynasty":891,"author":4937,"museum":2403,"description":5037,"tags":5038,"thumbUrl":5039,"material":107,"size":107,"collection":107,"collections":5040,"showCount":5003,"zanCount":1288,"manualWeight":39,"mainColor":40},220492,"zhang-da-qian-liu-yin-shi-nv-tu-zhang-da-qian-220492","张大千柳荫仕女图","仕女眉如远黛，眼含幽绪，樱唇轻抿，鬓发匀整服帖。素色襦裙配云纹领饰，雅致端方，手倚苍润湖石，身姿柔婉，似在春荫下凝伫遐思。旁侧垂柳柔丝纷披，如烟似雾，晕开融融春意，墨竹清劲萧疏，与柳条柔媚相映成趣。\n\n笔墨清圆秀润，设色淡雅明净，细劲线条勾勒出人物妍丽温婉的体态，淡墨晕染出柳色空濛，将闺中女子的闲愁静穆烘托恰到好处，诗画相融，尽现雅致恬和的古典意韵。",[49,23,51,84,25,54,58,136,598,85,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe418926e4c8fcd1998df4816716ffb22.jpg",[],{"id":5042,"slug":5043,"title":5044,"dynasty":192,"author":5045,"museum":5046,"description":5047,"tags":5048,"thumbUrl":5049,"material":2226,"size":5050,"collection":122,"collections":5051,"showCount":5003,"zanCount":39,"manualWeight":39,"mainColor":75},220152,"shen-ce-jun-bei-huang-di-xun-xing-zuo-shen-ce-jun-ji-sheng-de-bei-liu-gong-quan-220152","神策军碑-皇帝巡幸左神策军纪圣德碑","柳公权","北京国家图书馆","《神策军碑》全称《皇帝巡幸左神策军纪圣德碑》，唐武宗会昌三年（公元843年）立于皇宫禁地，碑石大小不明，崔铉撰文，柳公权书。碑文记录了回纥汗国灭亡及安辑没斯来降等事，具有重要的历史价值。此碑由翰林学士承旨崔铉撰文，集贤院学士判院事柳公权书写，更增添了此碑的艺术价值。柳公权书写的碑文，其书法结构严整，充分体现了“柳体”楷书骨骼开张、平稳匀称的特点，加之此碑刻工精良，拓本与真迹无异，故后世奉为柳书代表作。",[86,417,2226,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0efbad0515922eed1dfa4d8487673ed2.jpg","58X46",[122],{"id":5053,"slug":5054,"title":1344,"dynasty":97,"author":1345,"museum":99,"description":5055,"tags":5056,"thumbUrl":5057,"material":107,"size":107,"collection":35,"collections":5058,"showCount":5059,"zanCount":743,"manualWeight":39,"mainColor":40},228929,"hua-hui-hu-die-tu-juan-ma-quan-228929","此卷以没骨法绘就，蝶群翩跹百态各异，翅脉纤毫毕现：或墨色沉凝如漆，或晕染粉白通透，振翅翻飞间灵动宛然。间缀佛手、牡丹与素花，设色清润柔雅，花叶舒展柔媚，衬得蝶群更显鲜活生机。\n\n卷后题笔文辞清丽，笔墨秀雅与画境相融，尽显创作者细腻入微的观察力，将草间花蝶相依的悠然灵趣定格长卷，温婉雅致，意韵盎然，是闺阁花鸟画里的精巧之作。",[49,50,23,51,52,25,54,27,315,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3906603e4a8bf2dc062465a3550f3584.jpg",[35],149,{"id":5061,"slug":5062,"title":5063,"dynasty":115,"author":116,"museum":81,"description":5064,"tags":5065,"thumbUrl":5066,"material":5067,"size":5068,"collection":122,"collections":5069,"showCount":5059,"zanCount":1288,"manualWeight":39,"mainColor":75},221264,"lin-su-shi-hai-tang-shi-juan-huang-ting-jian-221264","临苏轼海棠诗卷","黄庭坚的行书雄强刚劲，沉着痛快，展现出独特的个人魅力。董其昌有这样的评语：“山谷老人得笔于《瘗鹤铭》，又参杨凝式骨力，其欹侧之势，正欲破俗书姿媚。昔人云：右军如凤翥鸾翔，迹似奇而反正，黄书宗旨近之，盖见事苏而弟蓄米，自负不小。”\n此帖为黄庭坚书《七言绝句册》，创作于宋神宗熙宁七年（1074年），中国台北故宫博物院藏。据款识黄庭坚是年仅二十九岁，作书内含清刚之气，端庄雅正，初露峥嵘。",[86,51,52,134,462,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdbd196ba66c2f911d296063da35fda1.jpg","卷","34.5x263",[122],{"id":5071,"slug":5072,"title":5073,"dynasty":146,"author":431,"museum":175,"description":5074,"tags":5075,"thumbUrl":5078,"material":1087,"size":5079,"collection":70,"collections":5080,"showCount":5059,"zanCount":743,"manualWeight":39,"mainColor":40},220852,"shui-cun-tu-juan-zhao-meng-fu-220852","水村图卷","此图卷作于元大德六年（1302年），赵孟頫时年49岁，这是他最后一幅可靠的纪年作品。赵孟頫以水墨写江南水乡平远开阔的景色，从用笔到构图都受到董源的影响，但董源的画法已完全融入赵孟頫的个人风格之中，于不经意间表现出来。山用披麻皴画出，景物以平远的形式展开。渴笔较多，用笔松秀含蓄，“写”的意味较浓，体现了书法的审美趣味。画家借景抒情，表现了一种静穆的心态和对“平淡天真”的追求。此图重要之处在于其对元画独特风格的形成产生了较大的影响，由此可见赵孟頫在开创元、明、清文人画潮流中所起的重要作用。",[49,23,51,52,26,56,119,7,55,870,406,5076,64,715,5077,4803],"村庄","山丘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc7d0809cc7c3659449e357f2fbf9e09.jpg","纵24.9厘米，横120.5厘米。",[70,242],{"id":5082,"slug":5083,"title":5084,"dynasty":97,"author":3136,"museum":2698,"description":3137,"tags":5085,"thumbUrl":5086,"material":33,"size":3140,"collection":72,"collections":5087,"showCount":5059,"zanCount":625,"manualWeight":39,"mainColor":40},219999,"shan-shui-hua-fang-ju-ran-wang-shi-min-219999","山水画-仿巨然",[23,51,84,26,55,134,56,137,63,60,277,2681,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc743492f61b4c5c3ac9b8e7474dea8ce.jpg",[72],{"id":5089,"slug":5090,"title":5091,"dynasty":97,"author":787,"museum":99,"description":5092,"tags":5093,"thumbUrl":5094,"material":689,"size":690,"collection":107,"collections":5095,"showCount":5096,"zanCount":1288,"manualWeight":39,"mainColor":40},235132,"tao-hua-tu-zhou-zou-yi-gui-235132","桃花图轴","“丙戌”是清乾隆三十一年（1766年），邹一桂时年79岁。图绘在月季的衬托下斜入画面的桃树。全图笔法轻快疏秀，设色淡雅清丽，花之媚，叶之柔，充分表现了桃树的独特魅力。作者不刻意求工、求似，唯求自然天趣，揭示出平淡超逸的审美意趣，不仅表现出春回大地桃花含烟带雾的诗意，而且具有富贵长春的吉祥寓意。",[23,50,84,25,54,27,57,308,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdadd8bce962dd2da11a1ab2141bebd95.jpg",[],148,{"id":5098,"slug":5099,"title":2284,"dynasty":97,"author":5100,"museum":5101,"description":5102,"tags":5103,"thumbUrl":5104,"material":5105,"size":5106,"collection":107,"collections":5107,"showCount":5096,"zanCount":1288,"manualWeight":39,"mainColor":40},231349,"sui-chao-qing-gong-tu-zhao-zhi-qian-231349","赵之谦","荣宝斋","岁朝图是中国传统绘画的重要题材之一。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》，作为新年伊始的开笔之作。据考证，绘制岁朝图的传统源自于宋代宫廷，从宋徽宗赵佶治下特别流行，主要描绘冬季花卉，如腊梅、松柏、水仙等富有吉祥寓意的花草，一并搭配冬天不易看到的花卉、草木、果实等，意味着春天即将来临，以增加节日的祥和气氛，正如此作题款所云：“富贵昌宜吉祥如意，岁朝清供也。”这其中寄托着古人对于未来一年的美好祝愿。此类岁朝图一般采取细笔写生画法，形象描绘逼真。历代画家多有描绘，在清代宫廷中更为流行，像郎世宁、陈书这样的清宫御用画家都画过类似题材。\n作为文人画家，岁朝清供这样的题材也为赵之谦所爱。此幅《岁朝清供图》即为海派大师赵之谦所作，通幅为长条型构图，描绘的草木花卉皆为案头清玩之物。画面上部描绘一高立的花架，花架上摆有一盆盛放的水仙，盆中亦有秀石与水仙相映成辉。花架下有蒲草、灵芝，寓意吉祥。画面下部绘有一圆型石盆，盆中有怒放的牡丹花。花木、盆架错落有致地安排在画面中。赵之谦将自身深厚的金石书法功底融入绘画，形成了他写意花卉的独特面貌。花架与石盆皆以带有篆籀笔意的用笔写出，廖廖数笔，笔简神完，大气十足，在花卉的描绘上颇重视细节，如牡丹花旁的绿草刚劲有力，细密有如针刺，蒲草则纷披，得其大意，可谓有粗有细、有收有放。用色上注重以色助墨，以墨醒色，花架与花盆以浓墨写出，更映衬出水仙的翠绿与牡丹的嫣红，设色俏丽鲜艳，画面效果虽强烈却不刺激。通篇予人春意融融、满室生香之感。\n从此幅《岁朝清供图》来看，赵之谦将清代两大花鸟画派，即恽寿平的没骨画法与扬州画派的写意画法相结合，并自出机杼，创造出新的风格。他在金石书法方面功力深厚，并将其入画，注重用色，在用色上讲究雅俗共赏，突破了古代文人画家所秉承的“夫画道之中，水墨为上”的原则。这些特点在海派大家吴昌硕那里得到了继承与进一步发挥。可以说，赵氏在写意花鸟画艺术上的拓展与推进，对近世花鸟画影响颇为深远，齐白石、陈师曾等北派巨匠同样受过他画作的影响。",[49,23,51,84,25,26,27,308,420,1183,277,181,7,541],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bf07ea413035b2c66a5bfd228e15f97.jpg","设色纸本","135.5×30.5cm",[],{"id":5109,"slug":5110,"title":5111,"dynasty":891,"author":2402,"museum":5112,"description":5113,"tags":5114,"thumbUrl":5115,"material":4816,"size":107,"collection":107,"collections":5116,"showCount":5096,"zanCount":1288,"manualWeight":39,"mainColor":40},220575,"ben-ma-tu-xu-bei-hong-220575","奔马图","中国现当代美术文献研究中心","以淋漓水墨晕染出骏马的健硕肌理，浓淡干湿间，筋骨转折清晰可见，将写实的精准与写意的挥洒融为一体。鬃尾以狂放飞白扫就，裹挟着疾风肆意飞扬，四蹄腾跃间，尽显奔腾向前的悍勇姿态，不见鞍辔束缚，尽显龙马不羁神魂。\n\n整幅画面留白恰到好处，似将天地长风纳入尺幅，把骏马挣脱桎梏、一往无前的昂扬生命力，尽数铺陈在宣纸上，让观者仿佛能听见马蹄踏破长风的轰鸣，触摸到那份挣脱羁縻的自由豪情。",[23,26,225,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d34a4ac0759f407077ca59f5e4ee3f5.jpg",[],{"id":5118,"slug":5119,"title":5120,"dynasty":115,"author":207,"museum":81,"description":5121,"tags":5122,"thumbUrl":5124,"material":33,"size":5125,"collection":213,"collections":5126,"showCount":5096,"zanCount":11,"manualWeight":39,"mainColor":40},218728,"qiu-gua-tu-yi-ming-218728","秋瓜图","地上长着三个秋瓜，景观中还有藤蔓、树叶和花朵。瓜皮用老绿色着色，瓜棱用赭石填充，精致而有节奏。瓜的叶子被仔细地勾勒出来，藤蔓也是圆润而细致的。这幅画没有刻上作者的名字，但我们收藏的另外两幅画《宋代草木瓜》和《钱玄同秋瓜》在构图上与此框相似，而且此卷的笔法精细，与《宋代草木瓜》相似。",[49,23,51,54,25,27,5123,896,553,7,24],"秋瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0270d205fb5d6c396d4cfa437041b14a.jpg","26.8x45.5厘米",[213],{"id":5128,"slug":5129,"title":5130,"dynasty":115,"author":1755,"museum":20,"description":5131,"tags":5132,"thumbUrl":5134,"material":152,"size":5135,"collection":70,"collections":5136,"showCount":5096,"zanCount":11,"manualWeight":39,"mainColor":75},214609,"jiao-yuan-ye-zhang-tu-wan-shan-ye-ma-lin-214609","郊园曳杖图纨扇页","郊园曳杖图是宋朝时期马麟所作的一幅著名的山水画。这幅画描绘了一个人在郊外散步的场景，画中的人物拿着一根曳杖，走在一片绿色的郊园里，周围环绕着山峦和树木。\n\n马麟是宋朝时期著名的画家，他的画风轻松优美，富有感性，并且注重写实。在他的作品中，常常出现山水画题材，他将山水画中的景物和人物结合起来，表现出人与自然和谐相处的意境。郊园曳杖图就是这样一幅作品，它展示了一个人在郊外散步的情景，与周围的山水相互融合，充满了自然之美。\n\n马麟的郊园曳杖图是一幅经典的山水画作品，其中细腻的笔墨，流畅的线条，精确的造型，以及生动的写意，都体现了马麟作为画家的高超技艺。这幅画不仅为后人留下了宝贵的艺术瑰宝，也为我们展现了宋朝时期山水画的魅力。",[822,23,50,51,25,55,56,58,64,5133,7],"山坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c4fe954c2ad1a1f925dcf460e2dd461.jpg","纵23.3 厘米 横23.7 厘米",[70],{"id":5138,"slug":5139,"title":4028,"dynasty":18,"author":207,"museum":81,"description":5140,"tags":5141,"thumbUrl":5142,"material":1149,"size":107,"collection":107,"collections":5143,"showCount":5144,"zanCount":1288,"manualWeight":39,"mainColor":40},222165,"fu-chun-shan-ju-tu-zi-ming-juan-yi-ming-222165","乾隆皇帝在1745年读到大臣沈德潜的文集，文中对“富春山居图”大为称赞，同年得到“子明卷”，“子明卷”名称是因为题跋指是画给“子明隐君”，但尚未考证出实际人员。直到国民政府点收北京故宫文物，故宫博物院发现黄公望曾在曹知白的画作《群峰雪霁》上题字，借由该落款进行比对之后辗转证实“无用师卷”才是真迹，但由于子明卷是富春山居图被烧前所仿摹",[49,23,51,52,26,56,55,86,7,134,870,406,64,62,60,61,63,66,714],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8451bdc7d183bc6951030aaa3cf6f433.jpg",[],147,{"id":5146,"slug":5147,"title":5148,"dynasty":192,"author":193,"museum":175,"description":5149,"tags":5150,"thumbUrl":5151,"material":239,"size":5152,"collection":199,"collections":5153,"showCount":5144,"zanCount":743,"manualWeight":39,"mainColor":40},221065,"kong-zi-di-zi-xiang-yan-li-ben-221065","孔子弟子像","《孔子弟子像》全图采取平列式构图，无背景，墨笔勾勒，着色，人物形象各异，须眉生动。绘孔子弟子立像五十九人，无名款。从体貌上对照，第三人即为孔子，以后诸人亦形态相仿，顺序一致，惟个别处有遗漏或增补，如子迟和子贡之间缺子夏，孔子前多出两人。但根据北京故宫博物院藏的宋无款《七十二贤相》卷进行对比，本幅画所绘为孔子及弟子像内容是确凿无疑的。",[49,23,50,51,52,54,25,135,58,7,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc62b0109df8752c442e8801281dc33fb.jpg","纵32.3厘米，横870厘米",[199,72],{"id":5155,"slug":5156,"title":5157,"dynasty":97,"author":1082,"museum":99,"description":5158,"tags":5159,"thumbUrl":5161,"material":107,"size":107,"collection":107,"collections":5162,"showCount":5163,"zanCount":1288,"manualWeight":39,"mainColor":40},234226,"hua-hui-tu-juan-zhu-da-234226","花卉图卷","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”。",[49,23,51,52,26,119,462,7,27,308,57,5160,135],"绣球","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1af9b90b90faf27fd07bc9d5bfdfb023.jpg",[],146,{"id":5165,"slug":5166,"title":5167,"dynasty":97,"author":736,"museum":81,"description":5168,"tags":5169,"thumbUrl":5170,"material":689,"size":690,"collection":107,"collections":5171,"showCount":5163,"zanCount":1288,"manualWeight":39,"mainColor":40},230204,"xian-e-chang-chun-tu-lang-shi-ning-230204","仙萼长春图","郎世宁（Giuseppe Castiglione，1688.7.19-1766.7.16），原名朱塞佩·伽斯底里奥内，圣名若瑟，天主教耶稣会修士、画家，意大利米兰人。\n1715年（清康熙五十四年）来中国传教，随即入皇宫任宫廷画家，历经康熙、雍正、乾隆三朝，在中国从事绘画50多年，并参加了圆明园西洋楼的设计工作，为清代宫廷十大画家之一。 郎世宁擅绘骏马、人物肖像、花卉走兽，风格上强调将西方绘画手法与传统中国笔墨相融合，受到皇帝的喜爱，也极大地影响了康熙之后的清代宫廷绘画和审美趣味。\n其主要作品有《十骏犬图》《百骏图》《乾隆大阅图》《瑞谷图》《花鸟图》《百子图》《聚瑞图》《仙萼长春图册》《心写治平图》（《乾隆帝后妃嫔图卷》）等。",[49,23,50,51,24,54,25,27,308,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dee7461512292d25946deeb4c5ea582.jpg",[],{"id":5173,"slug":5174,"title":5175,"dynasty":146,"author":709,"museum":2698,"description":5176,"tags":5177,"thumbUrl":5178,"material":5179,"size":5180,"collection":242,"collections":5181,"showCount":5163,"zanCount":11,"manualWeight":39,"mainColor":40},220775,"duo-fu-tu-zhou-wu-zhen-220775","多福图轴","吴镇画墨竹自称是“戏写”，表现了他画竹时怡然自得的心境，这必须做到“心手两相忘，融化同造物”。他通过题画诗来使墨竹人格化，强调竹子的坚韧个性。他以“虚心抱节”来赞颂竹子既虚怀若谷、又坚守气节的人格化的植物特性。\n吴镇非常爱梅，家室四周遍植梅树，取斋名“梅花庵”。墨梅流派的发展，从释仲仁开始，在写实的形态上以清淡疏简为宗。至扬无咎，更把仲仁的点墨变为直率的带有飞白的用笔。《多福图》以墨笔绘树石丛竹，格调简率遒劲，信笔挥洒，墨色淋漓，布局错落有致。吴镇在画古梅的枝干时，显示了能放能收、力能扛鼎的沉郁超旷。此图表现老梅一枝，峭石一块，疏竹一丛，显得老辣沉浑。\n画面右上草书自题五言诗一首，“长忆古多福，三茎四茎曲。一叶动机舂，清风自然足。”署款“梅花道人戏墨”。",[49,50,23,51,84,26,358,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6205111b6eff3ed5d23ced59c90d8da.jpg","纸本,墨笔","96×28.5cm",[242,921],{"id":5183,"slug":5184,"title":5185,"dynasty":115,"author":1070,"museum":81,"description":5186,"tags":5187,"thumbUrl":5189,"material":152,"size":5190,"collection":213,"collections":5191,"showCount":5163,"zanCount":1288,"manualWeight":39,"mainColor":75},220253,"fen-xiang-zhu-sheng-tu-li-song-220253","焚香祝圣图","描绘了依山临水的华美殿阁之中，一白衣男子携女眷焚香礼拜之景。画作巧妙运用远观视角，将画栋飞甍、风帘翠幕置于月色流转与烛影摇曳之间，望之宛如琼楼仙馆，绮丽艳逸。此图据称是依据南宋皇家园林绘制而成，画面细致地再现了南宋宫苑建筑的风格与细节，史学价值极高。",[49,23,50,51,1962,25,54,1284,58,59,871,5188,7],"台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc9f3c35ee5b3ba72fc5b5432c4379a8.jpg","纵24.8厘米，横25.8厘米",[213],{"id":5193,"slug":5194,"title":5195,"dynasty":115,"author":881,"museum":99,"description":5196,"tags":5197,"thumbUrl":5198,"material":33,"size":5199,"collection":199,"collections":5200,"showCount":5163,"zanCount":743,"manualWeight":39,"mainColor":40},218648,"song-quan-gao-shi-tu-ma-yuan-218648","松泉高士图","在画的左边，一个高大的学者坐在松树山上，他的斗篷半开半合，看着远方，身后是一个手持法杖的仆人男孩，周围是松树和流水；画的右边是空白的，引起了无限的想象。",[49,50,23,51,52,26,25,58,56,777,66,277,61,7,86,119,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8906739d60ca52938ca25e5397b522eb.jpg","27x57",[199],{"id":5202,"slug":5203,"title":5204,"dynasty":97,"author":1082,"museum":99,"description":5205,"tags":5206,"thumbUrl":5211,"material":107,"size":107,"collection":107,"collections":5212,"showCount":5213,"zanCount":39,"manualWeight":39,"mainColor":924},230268,"lin-lan-ting-ji-xu-zhu-da-230268","临兰亭集序","这幅临作跳脱原作的飘逸妍美，以极简淡的行笔，将永和雅集的放达意趣揉入枯寂清冷的笔意间。线条清瘦内敛，牵丝映带简省却意韵悠长，墨色枯润交叠，淡晕似寒山孤月，藏着沉郁孤傲的心境。\n\n章法排布疏朗错落，字距宽绰留白如空山积雪，不见羲之流媚，只剩孤绝文人风骨。将曲水流觞的群贤盛景，幻化为一人独对的清冷，以己意重塑经典，让旧文生出新的寂寥魂魄，是借古抒怀的绝妙手笔。",[49,23,51,86,134,119,26,7,870,5207,358,61,5208,5209,5210],"林","天","风","鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe962dda24755f0275826a71c100f9871.jpg",[],145,{"id":5215,"slug":5216,"title":5217,"dynasty":115,"author":207,"museum":99,"description":5218,"tags":5219,"thumbUrl":5222,"material":107,"size":107,"collection":107,"collections":5223,"showCount":5213,"zanCount":743,"manualWeight":39,"mainColor":40},227882,"liu-zhi-huang-niao-tu-yi-ming-227882","榴枝黄鸟图","《 》是宋代佚名创作的绢本设色画，现藏于北京故宫博物院。\n此图绘 一只，嘴啄小虫，栖止于榴枝上，神形毕肖。\n图中枝梗从右向左斜出，沉甸甸的石榴挂于枝干。\n榴叶萧瑟，鸟的羽毛用淡黄染色后，再用粉白以短而细的笔触勾描，具有毛茸茸的质感。\n鸟的翅膀和尾部等处，浓淡墨色参用。\n画面设色侬艳而又对比鲜明。\n深秋时节， 成熟，绽开表皮，露出累累果实。\n石榴叶已由绿变黄，有的枯萎，有的被虫蛀蚀，写出了秋日的萧瑟。\n一只肥硕的黄鹂衔着小虫栖于榴枝上，悠然自得。\n黄鹂的羽毛经淡赭、黄色晕染后再用白线勾描，近于“没骨”。\n石榴枝叶赋色对比鲜明。\n对幅有清乾隆御题诗一首：“榴子熟时莺转时，野虫衔得集横枝。\n笑他自喜权供饱，忘却有人弹挟之。\n辛亥清和御笔。\n”钤“ ”、“ ”、“八征耄念”、“自强不息”玺印。\n本幅无款。\n钤鉴藏印“张笃行印”，另有2印不辨。\n清《石渠宝笈》著录。",[49,23,51,24,54,25,27,5220,5221,1195,30,119,7],"榴枝","黄鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e2351453d665df0945037e4ac4a342f.jpg",[],{"id":5225,"slug":5226,"title":5227,"dynasty":115,"author":207,"museum":329,"description":5228,"tags":5229,"thumbUrl":5230,"material":33,"size":5231,"collection":35,"collections":5232,"showCount":5213,"zanCount":11,"manualWeight":39,"mainColor":75},218851,"liu-ma-tu-yi-ming-218851","六马图","画面中六匹骏马神态各异，或低头啮草，或昂首嘶鸣，或随人徐行，鬃毛飞扬间尽显灵动生机。人物衣着朴素却细节饱满，牵马者的专注、骑马者的悠然、树下交谈者的闲适，皆通过简练线条勾勒得栩栩如生。背景以淡墨晕染山石，枯树虬枝点缀其间，营造出清旷悠远的氛围。整幅画作线条细腻流畅，设色淡雅自然，构图疏密有致，将人与马的日常互动融入山水意境中，既见写实之妙，又含雅致情韵，于静谧中藏生动，于细微处见匠心。",[49,23,52,25,54,58,225,871,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffba5c4f2cdf33d8406cb0ae099666d89.jpg","46.2x168.3cm",[35],{"id":5234,"slug":5235,"title":5236,"dynasty":97,"author":5237,"museum":99,"description":5238,"tags":5239,"thumbUrl":5240,"material":689,"size":690,"collection":107,"collections":5241,"showCount":5242,"zanCount":39,"manualWeight":39,"mainColor":40},290384,"lan-hua-tu-juan-yun-xiang-290384","兰花图卷","韵香","女道士。能书擅画，尤擅画兰。主要作品有《空山听雨图册》",[49,50,23,51,52,26,251,277,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F346cbb87cd3ed3e666639bdd70f910b5.jpg",[],144,{"id":5244,"slug":5245,"title":5246,"dynasty":146,"author":1303,"museum":99,"description":5247,"tags":5248,"thumbUrl":5249,"material":689,"size":690,"collection":107,"collections":5250,"showCount":5242,"zanCount":625,"manualWeight":39,"mainColor":40},288916,"yu-shan-lin-he-tu-ni-zan-288916","虞山林壑图","取一河两岸式的构图，但水中有五道洲渚及一组杂树，远山近坡的淡墨皴染较多。画风较其典型作品繁密。与其盛年所作《渔庄秋霁图》、《枫落吴江图》等用线勾括坡石的画法相比，此图坡石皴擦善用乾笔，风格浑穆。应是倪氏晚期山水画的特点。",[49,50,23,84,26,56,967,277,61,86,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa611a8ec871c68063dbbc71fbe7e38c1.jpg",[],{"id":5252,"slug":5253,"title":5254,"dynasty":97,"author":800,"museum":5255,"description":5256,"tags":5257,"thumbUrl":5258,"material":107,"size":107,"collection":35,"collections":5259,"showCount":5242,"zanCount":743,"manualWeight":39,"mainColor":40},237887,"zheng-xie-lan-shi-zhou-zheng-ban-qiao-237887","郑燮兰石轴","重庆中国三峡博物馆","此展品为清代的书画，此轴以水墨绘石上兰竹。笔墨洒脱，竹枝新发，兰草妙曼。山石以侧锋勾勒，微微点苔。布局疏密相间，别致雅趣。",[23,26,84,251,277,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7491c7eb56947056680423de9cd451ae.jpg",[35,242],{"id":5261,"slug":5262,"title":17,"dynasty":18,"author":5263,"museum":99,"description":5264,"tags":5265,"thumbUrl":5266,"material":107,"size":107,"collection":35,"collections":5267,"showCount":5242,"zanCount":743,"manualWeight":39,"mainColor":40},237664,"hua-niao-ce-ling-bi-zheng-237664","凌必正","[明]字贞卿，一字蒙求，号约庵，太仓（今江苏太仓）人。崇祯四年（一六三一）进士，官至广西副使。善山水，设色妍雅，位置精密，接轸宋人。间画花鸟，尚欠超逸生动之致。《太仓州志、无声诗史、桐阴论画》",[50,23,51,24,25,54,27,31,265,2559,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb686e450eda3e1b564356a6d16a40e28.jpg",[35,72],{"id":5269,"slug":5270,"title":5271,"dynasty":115,"author":5272,"museum":81,"description":5273,"tags":5274,"thumbUrl":5275,"material":5276,"size":5277,"collection":213,"collections":5278,"showCount":5242,"zanCount":1288,"manualWeight":39,"mainColor":40},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。",[49,23,51,52,26,403,135,345,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0adde438dc6811236efafbe596d17dfd.jpg","绢本水墨","纵27.2厘米，横358.8厘米",[213,35,72],{"id":5280,"slug":5281,"title":5282,"dynasty":115,"author":221,"museum":175,"description":5283,"tags":5284,"thumbUrl":5285,"material":227,"size":5286,"collection":213,"collections":5287,"showCount":5242,"zanCount":39,"manualWeight":39,"mainColor":75},221365,"dai-sheng-tu-zhao-ji-221365","戴胜图","宋徽宗赵佶（1082年11月2日-1135年6月4日） [6] ，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。 [1] 哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”， [1] 并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。 [2] 他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。 [3] 南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[49,50,23,51,54,25,27,66,28,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac6d21304ca588d1c5a05077bff87467.jpg","纵55厘米，横59厘米",[213,35,72],{"id":5289,"slug":5290,"title":1879,"dynasty":115,"author":1532,"museum":329,"description":5291,"tags":5292,"thumbUrl":5294,"material":1883,"size":1884,"collection":213,"collections":5295,"showCount":5242,"zanCount":743,"manualWeight":39,"mainColor":75},221291,"shu-se-ping-yuan-tu-guo-xi-221291","《树色平远图》是由北宋时期画家 所作的一副绢本墨笔画，现收藏于美国大都会美术馆。\n《树色平远图》描绘了河流两岸树色平远的景色。\n画中点缀有拄杖的老人，携琴捧盒的仆夫，水面的小舟和飞翔的野凫，都渲染了浓郁的诗意。\n描绘的是一河流两岸树色平远的景色。\n画中之景以河为界可分作前后两部分。\n前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。\n开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n此图无款，卷后有元明诸家诗文题跋。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。\n整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。\n《树色平远图》描绘的画面以平远布局，构景简洁，开阔而均衡，墨色浓淡变化丰富而微妙，所造之境具体真实。\n郭熙（约1—约18），北宋画家、绘画理论家。\n字淳夫，河阳温县人。\n因传李成之法而与之并称为“李郭”。\n其画风早年工巧，晚年雄壮，常于巨幛高壁作长松乔木，曲溪断崖，峰峦秀拔，境界雄阔而又灵动飘渺。\n存世作品有《 》、《 》、《 》、《 》、《古木遥山图》、《 》、《树石平远图》等。",[49,23,51,52,26,55,5293,56,63,2681,137,277,61,62,7],"平远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a17b78710e3a953f6c2076e25d8f7b1.jpg",[213,70,242],{"id":5297,"slug":5298,"title":5299,"dynasty":146,"author":1303,"museum":81,"description":5300,"tags":5301,"thumbUrl":5302,"material":88,"size":5303,"collection":70,"collections":5304,"showCount":5242,"zanCount":1288,"manualWeight":39,"mainColor":40},220789,"shu-lin-yuan-xiu-tu-zhou-ni-zan-220789","疎林远岫图轴","水墨畫河岸、疏樹、竹林與房舍，對岸則山巒起伏。用筆多中鋒，山石皴法以披麻為主，略有折帶筆意。幅上有壬子（一三七二）年款，時七十二歲。然本幅題款，實摹自本院藏倪氏真本「容膝齊圖」。用筆亦無倪氏一代大家之健勁，顯係後代摹品。",[23,51,84,26,55,56,64,1714,406,727,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08ea5b0016ae78ee46681955a92009ac.jpg","72.9x37.5",[70,242],{"id":5306,"slug":5307,"title":5308,"dynasty":97,"author":5309,"museum":81,"description":5310,"tags":5311,"thumbUrl":5313,"material":33,"size":5314,"collection":70,"collections":5315,"showCount":5242,"zanCount":1288,"manualWeight":39,"mainColor":75},220374,"xi-shan-hong-shu-tu-wang-hui-220374","溪山红树图","王翚","此图为王翚仿黄鹤山樵王蒙的一件极具特色的代表作，描绘的是遍生红树的一片秋日山林景色。画中以圆转重叠、突兀高耸的山峰为主体，山溪逶迤前行，涟漪阵起，秋波荡漾，两岸林木，红翠相间，整个画中意境深幽，秋气袭人。画家拟王蒙笔意与布局，构景繁密，山势云动，境界深奇。山石画法以墨笔牛毛皴和解索皴为主，干笔皴擦，浓墨点苔， 既显浓密厚重，又鲜艳夺目，光彩熠熠。 现收藏于台北故宫博物院的《溪山红树图》是其传世精品，他学元代王蒙的笔法，以类似牛毛皴松秀而流动的线条，构成活泼的画面，加上颜色较艳丽的红色和绿色，使整个画面有一种轻快愉悦的调子。",[49,23,51,84,25,56,5312,150,293,61,59,64,7,86,119,55],"红树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F166e49671e5b9c54baee4cd182d5e0ab.jpg","纵112.4厘米，横39.5厘米",[70,72],{"id":5317,"slug":5318,"title":2149,"dynasty":97,"author":5319,"museum":20,"description":5320,"tags":5321,"thumbUrl":5322,"material":88,"size":107,"collection":35,"collections":5323,"showCount":5242,"zanCount":1288,"manualWeight":39,"mainColor":40},214693,"hua-hui-ce-luo-pin-214693","罗聘","罗聘（1733年－1799年）是一位清代的画家，他的花卉册是一本记录花卉的画册，其中包含了许多精美的花卉画作。这本画册是由罗聘亲手绘制并装帧而成，并由他的学生赠送给他。罗聘是一位非常有才华的画家，他的花卉册中的画作非常生动，能够很好地展现出花卉的美丽和优美。\n\n这本画册是一件非常珍贵的艺术品，对于研究罗聘的艺术风格和清代花卉画艺术有着重要的意义。",[23,51,24,26,27,28,308,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd22e30016320aef8a29832998f488225.jpg",[35],{"id":5325,"slug":5326,"title":5327,"dynasty":97,"author":248,"museum":99,"description":685,"tags":5328,"thumbUrl":5330,"material":689,"size":690,"collection":107,"collections":5331,"showCount":5332,"zanCount":743,"manualWeight":39,"mainColor":40},290536,"yan-xi-yu-le-zhou-yun-shou-ping-290536","燕喜鱼乐轴",[23,50,84,51,54,25,27,57,2342,66,86,7,5329],"鱼乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20aff2a060a96207e9cbb6a8febec6d9.jpg",[],143,{"id":5334,"slug":5335,"title":2149,"dynasty":97,"author":248,"museum":99,"description":473,"tags":5336,"thumbUrl":5337,"material":107,"size":477,"collection":107,"collections":5338,"showCount":5332,"zanCount":39,"manualWeight":39,"mainColor":40},233894,"hua-hui-ce-yun-shou-ping-233894",[23,51,27,25,264,57,1227,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6264e10266425c21b4f12e01ab8d910.jpg",[],{"id":5340,"slug":5341,"title":5342,"dynasty":5343,"author":5344,"museum":99,"description":5345,"tags":5346,"thumbUrl":5350,"material":107,"size":107,"collection":107,"collections":5351,"showCount":5332,"zanCount":743,"manualWeight":39,"mainColor":40},226557,"bei-qi-xiao-shu-tu-yang-zi-hua-226557","北齐校书图","南北朝","杨子华","杨子华，北齐画家，生卒年不详。是北齐世祖高湛的爱臣，北齐世祖时（561年－565年）任直阁将军、员外散骑常侍。善画贵族人物、宫苑、车马，所画马尤其生动逼真，据传他在壁上所画马甚至引起观者夜间听到马索水草而嘶鸣的幻觉。时有“画圣”之称。北齐世祖使其供职宫廷，非有诏不得与外人画，成为专门的御用画家。他所画人物形象丰满圆润，有别于顾恺之的“秀滑清丽”，他的画风影响到唐代，具有承前启后的历史地位。\n\n现存《北齐校书图》（美国波士顿美术馆，系宋代摹本），纵29.3厘米，横122.7厘米，这图卷所画的是北齐天保七年（556年）文宣帝高洋命樊逊和文士高乾和等11人负责刊定国家收藏的《五经》诸史的情景。画中人物其神情均极生动。此图用笔细劲流动，细节描写神情精微。设色简易标美。",[49,50,23,51,52,54,25,58,225,5347,7,86,119,5348,501,502,5349,180],"书","笔","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a01f2f22b879846072f997f9ed81611.jpg",[],{"id":5353,"slug":5354,"title":5355,"dynasty":115,"author":207,"museum":99,"description":5356,"tags":5357,"thumbUrl":5358,"material":107,"size":107,"collection":107,"collections":5359,"showCount":5332,"zanCount":1288,"manualWeight":39,"mainColor":75},223683,"yin-cha-tu-yi-ming-223683","饮茶图","《宋饮茶图》是宋代佚名创作的绢本设色画，现藏于美国弗利尔美术馆。\n图中画一侍女双手捧茶盘，一妇人伸手盘中拿茶具。\n右边一贵夕面向她们而立，仪态端庄娴静。\n后随侍女双手捧一锦盒。\n画风承唐代周吩，典雅浓丽。\n旧题南唐 画，然观其时代气息，应为宋人所作。",[49,23,50,822,54,25,58,136,2278,7,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6783b061be5eddc485e3cd90b44470fd.jpg",[],{"id":5361,"slug":5362,"title":5363,"dynasty":97,"author":800,"museum":175,"description":5364,"tags":5365,"thumbUrl":5366,"material":634,"size":1428,"collection":35,"collections":5367,"showCount":5332,"zanCount":1288,"manualWeight":39,"mainColor":40},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。",[49,23,26,84,358,277,7,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00450bf3ebc8d27f10d2ec819e60152f.jpg",[35,242],{"id":5369,"slug":5370,"title":5371,"dynasty":146,"author":1027,"museum":99,"description":5372,"tags":5373,"thumbUrl":5374,"material":107,"size":107,"collection":107,"collections":5375,"showCount":5376,"zanCount":39,"manualWeight":39,"mainColor":75},228265,"yue-xia-mei-hua-tu-wang-mian-228265","月下梅花图","古梅老干盘虬苍劲，如铁铸凝霜，却自枯槎间抽发柔枝，繁花轻缀如堆雪团玉。左上角圆月晕出朦胧暖光，将夜色晕化，清辉漫过梅枝，冷艳花影与溶溶月色缠织，把孤高疏淡的意境烘托到极致。\n\n以顿挫老辣的水墨写枝，尽显梅树硬骨，淡墨圈花留白，衬出花瓣冰清玉洁，笔简意足。题诗与画意相融，诗书画印浑然一体，尽显文人雅致风骨。将梅花凌霜傲雪的君子品格，与画者淡泊襟怀藏在尺幅清景之中，暗香似随月色浮动，观之便觉心神澄澈。",[49,23,51,84,26,528,944,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b72dd09d14af6300a2dd92f27a517ef.jpg",[],142,{"id":5378,"slug":5379,"title":5380,"dynasty":146,"author":709,"museum":81,"description":5381,"tags":5382,"thumbUrl":5383,"material":634,"size":5384,"collection":70,"collections":5385,"showCount":5376,"zanCount":743,"manualWeight":39,"mainColor":75},220769,"zhong-shan-tu-juan-wu-zhen-220769","中山图卷","中山图卷，吴镇，元代，纸本，墨笔，纵26.4厘米，横90.7厘米，台北故宫博物院藏。高清作品全卷详见月雅书画高清数字博物馆。\n中山图，白纸本，高七寸九分，长二尺六寸六分，水墨。羣山叠嶂，杉木丛深，通幅无一杂树，全宗北苑，用粗麻披皴法，山头苔点，横竪相间，眾山之坳，突以浓墨晕二峰尖，低於四面，更為奇绝。\n图绘逶迤起伏的层峦迭嶂。画家以淡墨皴染群山，浓墨画丛树点苔，勾皴时见乾笔，笔墨雄浑厚重。自识「至元二年春二月，奉为可久戏作中山图，梅花道人书」。按至元二年即公元1336年，吴氏时年57岁。此图为元人集锦卷中之一段。",[49,23,51,52,26,55,56,2001,64,278,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d37bf8402ad35b55e27d8d9eb9501b2.jpg","横90.7厘米，纵26.4厘米",[70,242],{"id":5387,"slug":5388,"title":5389,"dynasty":891,"author":892,"museum":5390,"description":5391,"tags":5392,"thumbUrl":5394,"material":107,"size":107,"collection":107,"collections":5395,"showCount":5376,"zanCount":1288,"manualWeight":39,"mainColor":40},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。",[23,51,25,26,27,28,265,5393,181,403,7],"篮子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F520a9588b0836603c2a4637d3df8d3cf.jpg",[],{"id":5397,"slug":5398,"title":2895,"dynasty":97,"author":1082,"museum":99,"description":5399,"tags":5400,"thumbUrl":5402,"material":319,"size":107,"collection":35,"collections":5403,"showCount":5404,"zanCount":39,"manualWeight":39,"mainColor":40},237626,"za-hua-ce-zhu-da-237626","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。",[23,51,26,403,24,5401,358,7],"蔬果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04f6f00ac3e82f228b59b368b2013046.jpg",[35,242],141,{"id":5406,"slug":5407,"title":5408,"dynasty":192,"author":1614,"museum":5409,"description":5410,"tags":5411,"thumbUrl":5412,"material":5413,"size":5414,"collection":122,"collections":5415,"showCount":5404,"zanCount":39,"manualWeight":39,"mainColor":75},221057,"zi-shu-gao-shen-tie-yan-zhen-qing-221057","自书告身帖","藏于日本民间","《自书告身》，楷书纸本， 凡三十三行，二百五十三字，结衔小字十三行，传为颜真卿所书的墨迹。今藏日本中村不折氏书道博物馆。\n该帖端庄朴厚，苍劲有力，用一种高古气象和庙堂之气，为其晚年风格成熟时期的代表作品。\n《自书告身》为内府旧藏之物，前有纯庙前有御书十余行，隔水绫上复嵌御书数小行，后有米友仁、蔡襄、董其昌三跋，又朱朗白一跋，颜书墨彩已脱。后为清宫石渠宝笈之物。",[49,86,417,52,26,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec64bbb5452235f254da554a2a394817.jpg","楷书纸本","386字",[122,1120],{"id":5417,"slug":5418,"title":5419,"dynasty":146,"author":1303,"museum":81,"description":5420,"tags":5421,"thumbUrl":5425,"material":88,"size":690,"collection":107,"collections":5426,"showCount":5427,"zanCount":1288,"manualWeight":39,"mainColor":40},290956,"jiang-an-wang-shan-tu-ni-zan-290956","江岸望山图","由画上题诗，知为赠行而作，受赠者由水路去会稽，因而画舟中望两岸之景。款上称“并写江岸望山图奉送惟允友契之会稽”，惟允为陈汝言之字，但“惟允”二字，与其他题诗之字比较起来，笔迹不似，疑系后人妄改，藉以增加此画之身价。\n倪氏早年从董巨入手，五十几岁时，山石全用披麻长皴；至六十岁则渐入荆关，笔简气壮。晚年则是明显的折带皴法，呈现静穆萧疏的风格。该幅画高树空亭，隔岸望山，山上长皴，未成折带，利用苔点﹑深浅皴法及留白的运用，将山石立体实感呈现而出，气势雄壮，与其晚年渴笔皴擦之冷峻坚实的山石较不同。清吴升曾评此画：“皴法全用大披麻，得巨然神髓。迂翁画大抵平远山峰，不多作树；似此高崖峭壁，具太华削成之势；大小树点叶纷披，都非向来面目，乃知此翁绘妙中扫空蹊径，有如许大手笔也。”",[23,26,56,63,967,150,3208,86,7,5422,5423,5424],"清寂","江景","淡墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ae1ca51152d8dd2051b65e995e59abd.jpg",[],140,{"id":5429,"slug":5430,"title":5431,"dynasty":97,"author":445,"museum":99,"description":5432,"tags":5433,"thumbUrl":5434,"material":107,"size":107,"collection":107,"collections":5435,"showCount":5427,"zanCount":1288,"manualWeight":39,"mainColor":40},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。",[49,50,23,26,403,358,700,7,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37275658c9a76d23ae4cf87b6f96f432.jpg",[],{"id":5437,"slug":5438,"title":5439,"dynasty":97,"author":736,"museum":81,"description":737,"tags":5440,"thumbUrl":5441,"material":25,"size":740,"collection":107,"collections":5442,"showCount":5427,"zanCount":39,"manualWeight":39,"mainColor":40},222754,"xian-e-chang-chun-tu-08b-ju-hua-lang-shi-ning-222754","仙萼长春图-08b（菊花）",[49,50,23,51,24,25,54,27,529,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ea32cfd2d4eabbf19626d6b6e93697f.jpg",[],{"id":5444,"slug":5445,"title":5446,"dynasty":192,"author":5447,"museum":81,"description":5448,"tags":5449,"thumbUrl":5450,"material":88,"size":5451,"collection":35,"collections":5452,"showCount":5427,"zanCount":625,"manualWeight":39,"mainColor":40},218623,"dou-niu-tu-dai-song-218623","斗牛图","戴嵩","图绘两条硕壮的公牛相斗，一牛低头而以两角尖顶向对方的肚子，肌肉鼓胀，四蹄撒开，急奔而来，可以设想这一顶的力量之猛；而另一牛则掉头离去，目光惊恐，气喘吁吁，落荒而逃。全图纯用水墨，虽也勾线，但已渐渐淡去。牛身通体染墨色，而以墨色的深淡变化，体现出牛身的结构以及运动时肌肉的紧张。用浓墨勾画牛的角、蹄，点出眼睛、鬃毛。看似色彩单纯，但仍能感觉到墨生“五彩”，极其优雅。这样的画法，在戴嵩之前似无，但也正是唐代画家王维倡导的“水墨渲淡”的手法。两头牛的形象、动态，无论是头、身体和四肢，以及彼此间相互协调，都画得非常准确，神态生动，场景激烈。传说他曾画饮水中的牛，水中倒影，唇鼻相连，可以见得戴嵩在写生上下功夫之精微。重写生、重情景，这是唐、宋时期的中国画的一大特点，也是中国画的一大宝贵历史传统。",[50,23,51,52,26,25,1115,1116,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf70d07ff8e284b799a06dedfd6f9ed4.jpg","纵44厘米，横40.8厘米",[35],{"id":5454,"slug":5455,"title":472,"dynasty":97,"author":248,"museum":99,"description":473,"tags":5456,"thumbUrl":5457,"material":107,"size":477,"collection":107,"collections":5458,"showCount":5459,"zanCount":1288,"manualWeight":39,"mainColor":40},233902,"hua-hui-shan-shui-ce-yun-shou-ping-233902",[23,51,50,24,264,25,27,529,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb250b9fd14df750f14494c9e5f68270.jpg",[],139,{"id":5461,"slug":5462,"title":5463,"dynasty":97,"author":929,"museum":99,"description":5464,"tags":5465,"thumbUrl":5466,"material":107,"size":107,"collection":35,"collections":5467,"showCount":5468,"zanCount":39,"manualWeight":39,"mainColor":40},224310,"hua-niao-ce-shi-kai-li-shan-224310","花鸟册十开","《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。",[49,23,26,24,27,102,403,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffefaef9a058a6aa6890761dcabb948f6.jpg",[35,72],138,{"id":5470,"slug":5471,"title":5472,"dynasty":18,"author":955,"museum":20,"description":5473,"tags":5474,"thumbUrl":5475,"material":152,"size":5476,"collection":199,"collections":5477,"showCount":5468,"zanCount":1288,"manualWeight":39,"mainColor":75},219416,"yin-jiu-du-shu-tu-zhou-chen-hong-shou-219416","饮酒读书图轴","图绘一位文士头戴乌帽身穿朱衣，手持把杯，坐对书卷。长几上瓶插梅花竹叶，\n笔墨皆清劲。画面取斜向构图，布局大胆新奇。此图作于崇祯十六年癸未（1643），作者时年46岁。本年，明王朝已经处于风雨飘摇之际，陈洪绶只好南归。此图即作于舟泊天津杨柳青之时。图中有孔尚任题跋四则，不仅谈到购藏此图的经历，同时对于补充孔氏生平经历具有重要的史料价值。",[23,84,25,58,528,181,86,7,502,501,180,2601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd899a507a555b78db6a6bc70bf72310f.jpg","纵100.8厘米，横49.4厘米",[199],{"id":5479,"slug":5480,"title":5481,"dynasty":18,"author":161,"museum":81,"description":5482,"tags":5483,"thumbUrl":5484,"material":33,"size":5485,"collection":35,"collections":5486,"showCount":5468,"zanCount":1288,"manualWeight":39,"mainColor":40},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。",[23,50,51,84,25,403,66,2681,137,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da560143d64c8be1ba2d59b856a3b22.jpg","51.1x 30.4",[35],{"id":5488,"slug":5489,"title":5490,"dynasty":97,"author":787,"museum":81,"description":5491,"tags":5492,"thumbUrl":5493,"material":33,"size":5494,"collection":72,"collections":5495,"showCount":5468,"zanCount":1288,"manualWeight":39,"mainColor":40},219310,"fu-song-yuan-hua-liu-xia-xiong-ji-tu-zou-yi-gui-219310","抚宋苑画榴下雄鸡图","雄鸡立于嶙峋石矶之上，红冠高挺，金羽熠熠，尾羽如墨线挥洒般舒展，昂首之态尽显英武。旁侧石榴枝虬劲，花簇艳红似火；洁白百合点缀其间，皎洁如玉。山石以淡墨皴擦，纹理古朴自然，衬出草木禽鸟的鲜活。整幅画作设色明丽雅致，线条工细流畅，既承宋院体画的写实严谨，又融文人画的清逸韵致。每一处细节皆精心勾勒，禽鸟花木栩栩如生，于静谧中透出盎然生机，尽显笔下精妙匠心，将自然意趣与艺术巧思完美融合。",[23,51,27,54,25,134,2406,530,277,552,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d1897939883fcd871399f3180170670.jpg","165.9x89.6",[72],{"id":5497,"slug":5498,"title":5499,"dynasty":115,"author":355,"museum":81,"description":5500,"tags":5501,"thumbUrl":5503,"material":88,"size":1219,"collection":122,"collections":5504,"showCount":5468,"zanCount":11,"manualWeight":39,"mainColor":40},214384,"du-hai-tie-su-shi-214384","渡海帖","苏轼在三年（1100年）搬到凉州时，给他的朋友赵梦得写了这封信。此作品又称 渡海帖，是典型的苏轼风格，刚劲有力，沉着痛快，为其晚期代表作。",[86,119,7,51,5502,435],"尺牍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe26b1387d0b5d4f6ba8adbaac7c6d1ae.jpg",[122],{"id":5506,"slug":5507,"title":5508,"dynasty":18,"author":5509,"museum":99,"description":5510,"tags":5511,"thumbUrl":5514,"material":107,"size":107,"collection":107,"collections":5515,"showCount":5516,"zanCount":1288,"manualWeight":39,"mainColor":40},228271,"er-shi-si-fan-hua-xin-tu-juan-wei-zhi-ke-228271","二十四番花信图卷","魏之克","此作用没骨法写群芳次第铺展，艳红山茶花、柔粉芙蓉、明黄牵牛、素白水仙等错落排布，将四季花信的娇美姿态尽揽卷中。\n\n敷色妍丽清润，花叶晕染细腻自然，花瓣的柔润肌理、叶片的明暗层次皆被精微呈现。勾勒线条纤秀柔和，不着笔痕却见风骨。构图舒展疏朗，一花一叶各含生机，毫无拥塞之感，将文人意趣融于写生之中，整卷清新雅致，如将春日烂漫温柔铺陈眼前，观之如沐东风，尽现写生花鸟的雅致意韵。",[49,23,51,52,54,25,27,528,251,308,314,57,488,309,5512,552,344,1170,5513,3615,28,30,2559,7],"杜鹃","栀子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fcbf65ccf427d0eec788db6bcfcdb78.jpg",[],137,{"id":5518,"slug":5519,"title":5520,"dynasty":192,"author":5521,"museum":222,"description":5522,"tags":5523,"thumbUrl":5524,"material":4099,"size":107,"collection":122,"collections":5525,"showCount":5516,"zanCount":743,"manualWeight":39,"mainColor":75},221080,"gu-shi-si-tie-quan-juan-zhang-xu-221080","古诗四帖全卷","张旭","《古诗四帖》是唐代张旭创作的书法作品。\n《宣和书谱》、《续书画题跋记》、《式古堂书画汇考》等著录。\n通篇笔画丰满，绝无纤弱浮滑之笔。行文跌宕起伏，动静交错，满纸如云烟缭绕，实乃草书颠峰之篇。北京大学教授、引碑入草开创者李志敏评价：“古诗四帖无一笔不争，无一笔不让，有呼有应，浑然天成。” [2] 今人郭子绪云：“《古诗四帖》，可以说是张旭全部生命的结晶，是天才美和自然美的典型，民族艺术的精华，永恒美的象征。”",[49,86,462,52,51,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece062efbfba0cc39a01803fca4cfb21.jpg",[122,1120],{"id":5527,"slug":5528,"title":5529,"dynasty":146,"author":431,"museum":81,"description":5530,"tags":5531,"thumbUrl":5532,"material":319,"size":5533,"collection":107,"collections":5534,"showCount":5535,"zanCount":743,"manualWeight":39,"mainColor":75},231941,"que-hua-qiu-se-tu-quan-juan-zhao-meng-fu-231941","鹊华秋色图全卷","《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。画题就是由这两座山而起的。鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。水边轻舟数叶，舟中渔叟正安静地工作。其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。在刚柔对比中，更显得华不注山的险峻奇突。图中中景、近景表现出一片辽阔苍茫的景象。平川洲渚，红树芦荻，房舍隐现。图中林木种类颇多，红绿相间，枯润相杂。树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。用笔似乎旋转，线条往复重叠，增添了树干的质感。画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。鹊山用披麻，皴法较密。华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。",[49,23,51,52,26,25,56,64,5076,715,727,119,86,7,55,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9153244445e02ec7ffa1f4c18ddd13f9.jpg","28.4厘米，横：90.2厘米",[],136,{"id":5537,"slug":5538,"title":5539,"dynasty":115,"author":881,"museum":175,"description":5540,"tags":5541,"thumbUrl":5542,"material":183,"size":5543,"collection":213,"collections":5544,"showCount":5535,"zanCount":743,"manualWeight":39,"mainColor":75},221529,"mei-shi-xi-fu-tu-ma-yuan-221529","梅石溪凫图","本幅款署“馬遠”。钤藏印：“ 潞王之寶”、“茅林心賞”、“阿蒙”、“于騰私印”。\n图中画山崖侧立，腊梅倒垂，薄雾蒙蒙的涧水中，一群野鸭正在游戏。山石以斧劈皴法画之，方硬峭拔，与用笔轻快、毛羽松蓬的野鸭形成鲜明的对比。倒垂曲折的枝条是马远特有的画法，故有“拖枝马远”之称。画面呈典型的对角线式构图，岩石、梅树都偏居画面的左上部分，梅树枝条的走势更强调了此种布局的形式感，右下方的野鸭既起到了平衡画面的作用，又是全图的点睛之笔，一幅“春江水暖鸭先知”的景象，无限生趣，跃然绢素。",[49,23,51,24,26,25,55,528,277,61,2161,66,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae794f0f7f856fe10e8845520e5badc4.jpg","纵26.7厘米，横28.6厘米",[213,35,72],{"id":5546,"slug":5547,"title":5548,"dynasty":97,"author":5309,"museum":99,"description":5549,"tags":5550,"thumbUrl":5551,"material":347,"size":5552,"collection":70,"collections":5553,"showCount":5535,"zanCount":39,"manualWeight":39,"mainColor":40},220135,"mo-gu-shan-shui-hua-ce-wang-hui-220135","摹古山水画册","王翚，清初山水画巨匠“四王”之一，他研习山水画走的也是一条摹古之路，造就了深厚、扎实、宽泛的传统功力，他深入学习宋元一众大家，逐渐形成自己画面清新、笔墨纯正的山水画风格。",[49,23,51,24,26,25,56,967,62,60,61,1050,150,379,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95e685d005e44893fa629e2b66443b9d.jpg","30.5×21.5",[70],{"id":5555,"slug":5556,"title":5557,"dynasty":97,"author":724,"museum":175,"description":5558,"tags":5559,"thumbUrl":5560,"material":88,"size":5561,"collection":70,"collections":5562,"showCount":5535,"zanCount":39,"manualWeight":39,"mainColor":40},218472,"fang-wu-zhen-shan-shui-tu-wang-yuan-qi-218472","仿吴镇山水图","此图无年款。据王原祁自题“身伏噩庐，心违琐闼”之句，知是图当为他55岁左右为其父王揆守丧之日所作。\n图绘江南清幽小景。在构图上，王原祁通过对山石杂木由近至远、由低至高的层层展示，有秩地拓展了画境。在山石树木的表现上，王原祁掌握了吴镇擅于运用湿笔的特点，亦以包含水分的润墨表现山川林木郁茂之景。笔墨淋漓雄劲，得吴镇山水画“苍苍莽莽，有林下风”之趣。",[49,23,26,55,134,84,56,150,64,715,727,754,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda2da35a1678545e4fb7f9d72c52f6e7.jpg","纵141.7厘米，横51厘米",[70],{"id":5564,"slug":5565,"title":5566,"dynasty":115,"author":289,"museum":81,"description":5567,"tags":5568,"thumbUrl":5569,"material":88,"size":5570,"collection":199,"collections":5571,"showCount":5535,"zanCount":1288,"manualWeight":39,"mainColor":40},216928,"mian-zhou-tu-li-gong-lin-216928","免胄图","卷轴的左侧是郭子仪，带领他的部队，平静地站在他身边。右侧是入侵关中的维吾尔族士兵，这是一个庞大而令人生畏的营地。这位身着军装的维吾尔族首领在其副手的陪同下，在向脱去盔甲、身着清凉的郭子仪致敬时，以敬佩的姿态跪下。郭德纲在俯身提供帮助时显得真诚而有礼貌，体现了一位名将的慷慨。",[49,50,23,51,52,135,54,58,225,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c419667adc75769d59561e46477a00.jpg","32.3x223.8",[199],{"id":5573,"slug":5574,"title":5575,"dynasty":97,"author":207,"museum":99,"description":5576,"tags":5577,"thumbUrl":5580,"material":689,"size":690,"collection":107,"collections":5581,"showCount":5582,"zanCount":39,"manualWeight":39,"mainColor":40},263687,"ke-si-chou-ying-hou-chi-bi-fu-tu-juan-yi-ming-263687","缂丝仇英后赤壁赋图卷","缂（kè，同：刻）丝（英文：K’o-ssu 、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[49,52,1138,23,51,53,25,56,58,59,62,66,61,5578,967,150,1019,5579,7,86],"亭榭","文人雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d1d0a4ab2c0a1cc69f15a9e1c4bcfe0.jpg",[],135,{"id":5584,"slug":5585,"title":5586,"dynasty":97,"author":1180,"museum":99,"description":5587,"tags":5588,"thumbUrl":5589,"material":107,"size":107,"collection":35,"collections":5590,"showCount":5582,"zanCount":1288,"manualWeight":39,"mainColor":40},239029,"hong-mei-juan-wu-chang-shuo-239029","红梅卷","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》。",[23,52,26,25,528,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09767ee0d5b587971ce9dfadc909df1f.jpg",[35,72],{"id":5592,"slug":5593,"title":5594,"dynasty":18,"author":161,"museum":81,"description":5595,"tags":5596,"thumbUrl":5597,"material":634,"size":5598,"collection":107,"collections":5599,"showCount":5582,"zanCount":743,"manualWeight":39,"mainColor":40},222108,"ming-xian-ya-ji-tu-zhou-shen-zhou-222108","名贤雅集图轴","此画设色雅淡，人物衣描粗细合度，用笔写意中带精谨。幅面狭长，山势呈“之”字形走向，益增高远平阔之感。",[49,23,51,84,25,58,56,60,61,137,55,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180750897d2f844fa69ecd89a1960845.jpg","252.9x44.5公分",[],{"id":5601,"slug":5602,"title":5603,"dynasty":97,"author":248,"museum":175,"description":5604,"tags":5605,"thumbUrl":5606,"material":239,"size":5607,"collection":35,"collections":5608,"showCount":5582,"zanCount":1288,"manualWeight":39,"mainColor":40},220973,"shuang-qing-tu-yun-shou-ping-220973","双清图","本幅是恽寿平55岁时所作。以“双清”为画名是因为梅花以“众芳摇落独暄妍”的品格而水仙以淡色疏香和清气逼人的特性同被视为传统绘画题材中的“清物”。此图以淡花青晕染绢地，烘托双清的花色。梅树苍干繁枝，横斜取势，其花瓣法南宋扬无咎的画法，即以墨笔圈线为瓣，线条雅秀雄健，勾勒出花之勃勃生机。水仙法元人赵孟坚的白描笔韵，叶片用笔富于急迟、粗细、顿折诸变化，花儿或仰或俯，或张或合，亦变化多端。作者以活泼多变的表现技法成功地展示出梅花、水仙暗香浮动的美感。全图不刻意求工、求似，唯求自然天趣，揭示出恽寿平一向所追求的平淡超逸的审美意趣。",[49,23,51,84,25,27,264,528,251,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da6c06676028e116b16baef378dbe92.jpg","纵88.5cm，横54cm",[35,72],{"id":5610,"slug":5611,"title":4719,"dynasty":115,"author":3050,"museum":99,"description":5612,"tags":5613,"thumbUrl":5614,"material":88,"size":107,"collection":199,"collections":5615,"showCount":5582,"zanCount":39,"manualWeight":39,"mainColor":40},217069,"bu-dai-he-shang-tu-liang-kai-217069","布袋和尚是中国佛教图像中的一个著名人物，他被认为是弘法利生的传人。布袋和尚是由宋朝画家梁楷所绘制的。\n\n梁楷，原名梁可柔，是宋朝著名的画家，他以其精湛的绘画技艺而闻名。梁楷的作品大多描绘了佛教的场景和人物，其中包括布袋和尚的图像。\n\n布袋和尚的图像通常描绘出他的标志性外观，包括高耸的高顶头巾，满身袈裟，手持莲花，以及脸上带着坚定的信念和善意的笑容。这些图像通常被视为对佛教价值观的良好描述，包括善良、谅解和慈悲。\n\n梁楷的作品对中国画的发展产生了深远的影响，他的布袋和尚图像也成为了中国佛教图像的经典之作。如今，布袋和尚的图像仍然受到广泛的欢迎，并被视为中国文化的重要组成部分。",[49,23,51,115,84,1284,58,26,4272,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F904a61fa90ea575ee40aabf94c6fb98e.jpg",[199],{"id":5617,"slug":5618,"title":5619,"dynasty":146,"author":431,"museum":81,"description":5620,"tags":5621,"thumbUrl":5622,"material":25,"size":5623,"collection":70,"collections":5624,"showCount":5625,"zanCount":1288,"manualWeight":39,"mainColor":40},220862,"hua-shan-shui-zhou-zhao-meng-fu-220862","画山水轴","赵孟頫（1254—1322），字子昂，号松雪，松雪道人，又号水精宫道人、鸥波，中年曾作孟俯，汉族，吴兴（今浙江湖州）人。元代著名画家，楷书四大家（欧阳询、颜真卿、柳公权、赵孟頫）之一。赵孟頫博学多才，能诗善文，懂经济，工书法，精绘艺，擅金石，通律吕，解鉴赏。特别是书法和绘画成就最高，开创元代新画风，被称为“元人冠冕”。他也善篆、隶、真、行、草书，尤以楷、行书著称于世。",[49,50,23,51,84,25,55,56,610,150,61,63,58,279,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11161ca0c1ec964671f7c7a6ecbebf4e.jpg","该幅 57x30.9公分、全幅 56公分",[70,72],134,{"id":5627,"slug":5628,"title":5629,"dynasty":97,"author":5630,"museum":329,"description":5631,"tags":5632,"thumbUrl":5634,"material":88,"size":107,"collection":70,"collections":5635,"showCount":5625,"zanCount":1288,"manualWeight":39,"mainColor":75},219708,"yun-shan-yin-ju-tu-gong-xian-219708","云山隐居图","龚贤","龚贤（1618-1689），又名岂贤，字半千，又字野遗、岂贤，号半亩，又号柴丈人，江苏昆山人，流寓金陵清凉山。龚贤的艺术造诣居金陵八家之首，现代著名画家黄宾虹、李可染都从他的画法中得到了启迪。一般讲求墨韵者往往以湿墨涂抹，而龚贤明确指出：“墨言韵，明其非湿也，润墨鲜，湿墨死”，具体指出；“皴法先干后湿，故外润而有骨，若先湿后干，则死墨也。” 在他看来，“墨韵”当以“润”为准绳，其意为湿度适可，若太湿，则为“死墨”；且皴染时应先施以干笔，后湿笔晕染，反之则亦为“死墨”。此幅画即湿润得体，笔墨层次分明，以积墨法层层点染，无怪乎时人曰“半千之所以独有千古更在墨”。",[23,84,26,55,56,5633,379,610,150,294,86,7],"云山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29001769a3aff696777c6883d1eedcd1.jpg",[70],{"id":5637,"slug":5638,"title":5639,"dynasty":115,"author":207,"museum":20,"description":5640,"tags":5641,"thumbUrl":5643,"material":152,"size":5644,"collection":35,"collections":5645,"showCount":5625,"zanCount":625,"manualWeight":39,"mainColor":75},218563,"qiu-kui-tu-yi-ming-218563","秋葵图","画面中，秋葵舒展的花瓣如凝脂般温润，白中透粉的晕染似含朝露，娇嫩欲滴。花蕊以深褐点染，在素净花瓣间格外醒目，几笔细致勾勒便显生机。叶片脉络清晰，边缘锯齿纹理与枝干苍劲形成呼应，花苞或敛或绽，层次错落间见自然意趣。\n\n笔墨工致却不刻意，色彩淡雅而富韵致，尽显写生之妙——于细微处见真章，将秋葵清雅姿态凝于绢素。无繁复布景，仅以一花一叶情态，传递自然生命的静美与从容，仿佛能嗅到初秋清晨的微凉气息，藏着宋人对日常草木的深情观照。",[23,50,51,54,25,27,5642,7],"秋葵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffabea7ea1898f36c4440d93cfb77bd36.jpg","25.6x25.7",[35],{"id":5647,"slug":5648,"title":5649,"dynasty":115,"author":4697,"museum":5650,"description":5651,"tags":5652,"thumbUrl":5653,"material":88,"size":5654,"collection":199,"collections":5655,"showCount":5625,"zanCount":1288,"manualWeight":39,"mainColor":75},218536,"er-zu-diao-xin-tu-mu-xi-218536","二祖调心图","京都藤井有邻馆","禅者趺坐，衣袂如流云舒卷，墨线简劲中见飘逸。猛虎蜷卧身侧，昔日凶威尽敛，竟似猫咪般温顺，双目微阖，与禅者气息相融。背景远山淡抹，枯树疏枝横斜，瀑流隐于云霭，天地间弥漫着空灵静谧的禅意。笔墨写意传神，不事雕琢却直抵心性——禅心可化戾气，猛兽亦归平和，这般物我两忘的境界，尽在尺幅之中流转，引人沉潜于禅思的悠远。",[23,51,26,135,1284,58,3737,1116,967,56,293,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F650cad3bf7fe8ebae276374eeee46d0c.jpg","121x55.5",[199],{"id":5657,"slug":5658,"title":5659,"dynasty":97,"author":5660,"museum":81,"description":5661,"tags":5662,"thumbUrl":5665,"material":88,"size":5666,"collection":122,"collections":5667,"showCount":5625,"zanCount":39,"manualWeight":39,"mainColor":40},214237,"li-shu-wu-yan-lian-deng-shi-ru-214237","隶书五言联","邓石如","墨色如黛染古帛，线条刚劲却藏婉转之姿。篆意融于隶法，蚕头燕尾间见筋骨，波磔舒展似流云轻卷。联语字句端稳，与书法宽博大气相映，济世之怀的沉雄、自省之谦的温润，皆融于笔墨。每一笔皆含力道，每一字尽显格局，古朴雅正的气息漫溢纸间。落笔从容，力道内敛，既有金石的硬朗质感，又具书卷的雅致韵致，是隶书中筋骨与情味兼备的精品。观之如对古贤，心沉气静，仿佛触摸到书写时的赤诚与从容，笔墨间流淌的不仅是技艺，更是一份通透的人生襟怀。",[49,86,5663,5664,84,7,26],"隶书","对联","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F761641a19b9d433dd6956d00196e19b2.jpg","85.6x22",[122],{"id":5669,"slug":5670,"title":5671,"dynasty":146,"author":709,"museum":99,"description":5672,"tags":5673,"thumbUrl":5674,"material":107,"size":107,"collection":107,"collections":5675,"showCount":5676,"zanCount":923,"manualWeight":39,"mainColor":40},228177,"fang-dong-po-feng-zhu-tu-wu-zhen-228177","仿东坡风竹图","此作用草书笔意写风竹，右侧竹竿劲挺带折，暗合疾风之势。浓墨挥写竹叶，聚散错落，叶梢尽含动感，似有穿林风鸣萦于耳侧。左侧题书与画作浑然一体，诗画合璧文气满溢。\n\n墨色干湿浓淡层次分明，以淡素纸色为底，虚实相生，将观竹怀人的幽思寄于毫端。把风竹萧然清骨，与林下襟怀相融，尽显以竹明志的元人画趣，是水墨写竹以意驭笔的绝佳典范。",[49,23,51,26,119,84,358,134,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23576077b3964e67aff08149c65dfeae.jpg",[],133,{"id":5678,"slug":5679,"title":5680,"dynasty":115,"author":355,"museum":99,"description":5681,"tags":5682,"thumbUrl":5683,"material":107,"size":107,"collection":107,"collections":5684,"showCount":5676,"zanCount":39,"manualWeight":39,"mainColor":40},227504,"chun-zhong-tie-su-shi-227504","春中帖","本帖鉴藏印有“奎章阁鉴书博士”、“柯氏清玩”、“柯九思鉴□真迹”、“江恂”、“王禹卿氏”。\n此帖是苏轼写给范纯粹（德孺）的信札。范纯粹是北宋著名政治家、文学家范仲淹的第四子。宋神宗元丰年间，共有五路军团出兵讨伐西夏，其中包括由高遵裕率领的环庆军和由刘昌祚率领的泾原军。《宋史》卷三一四《范纯粹本传》记载，北宋元丰末年，范纯粹因调和讨伐西夏的遵裕、昌祚两路军的矛盾有功，神宗将他由陕西转运判官进为转运副使，这与帖中德孺之官衔“运使金部”是一致的。据此可知，此信札的书写时间应为元丰末年，即元丰七八年间（1084—1085年），苏轼年约50岁左右。帖中“二哥”是指范纯仁（范仲淹次子）。\n此帖笔法自然流畅，寓巧于拙，仪态淳古，有浑厚凝重之韵致。虽有缺字、残损，仍不失为苏轼中年时期的上乘之作。",[86,119,23,51,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6570e429c4bfd4bd83be2b02954cabab.jpg",[],{"id":5686,"slug":5687,"title":5688,"dynasty":146,"author":431,"museum":81,"description":5689,"tags":5690,"thumbUrl":5694,"material":88,"size":5695,"collection":70,"collections":5696,"showCount":5676,"zanCount":743,"manualWeight":39,"mainColor":40},219902,"zhong-jiang-die-zhang-tu-zhao-meng-fu-219902","重江叠嶂图","图绘江水辽阔绵延，群山重叠逶迤，舟楫往来江中，画境清旷。山石的形态、皴染的方法、乔松和虬曲的蟹爪形枯枝，一看即知画家采用的是李成、郭熙的山水画程式。但略带乾笔的勾皴，简逸的笔法又透着画家的新意，已不是对李成、郭熙画风的简单因袭和重复。",[49,23,50,51,52,26,55,119,7,56,5691,62,64,278,5692,5693],"江河","岛屿","远岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff21c533677896e4ab5303907c07fc418.jpg","纵28.4、横176.4厘米",[70],{"id":5698,"slug":5699,"title":5700,"dynasty":115,"author":5272,"museum":525,"description":5701,"tags":5702,"thumbUrl":5703,"material":88,"size":5704,"collection":35,"collections":5705,"showCount":5676,"zanCount":11,"manualWeight":39,"mainColor":40},218568,"xiang-xue-hun-tu-yang-wu-jiu-218568","香雪魂图","画的是寒梅杆的两枝，主枝上有许多细而有力的枝条，上面的梅花有的盛开，有的含苞待放，香气四溢，很是热闹。",[49,23,51,50,26,135,345,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15f2ec726fcf9db57c0bfd136610c735.jpg","29x45cm",[35],{"id":5707,"slug":5708,"title":5709,"dynasty":97,"author":1167,"museum":485,"description":5710,"tags":5711,"thumbUrl":5712,"material":319,"size":5713,"collection":107,"collections":5714,"showCount":5676,"zanCount":743,"manualWeight":39,"mainColor":75},214360,"san-jue-shan-shui-ce-6-hua-yan-214360","三绝山水册-6","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。",[49,23,51,24,26,25,56,277,64,58,61,751,86,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7608d5a899512f1784976f15ec1988c3.jpg","23.4x15.8",[],{"id":5716,"slug":5717,"title":5718,"dynasty":18,"author":2181,"museum":99,"description":5719,"tags":5720,"thumbUrl":5721,"material":689,"size":690,"collection":107,"collections":5722,"showCount":5723,"zanCount":11,"manualWeight":39,"mainColor":40},283732,"qing-bian-tu-zhou-dong-qi-chang-283732","青卞图轴","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[23,50,51,84,26,56,55,150,64,61,278,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34d6a3abb2d15fedf1da6bba94a512ac.jpg",[],132,{"id":5725,"slug":5726,"title":5727,"dynasty":18,"author":161,"museum":175,"description":5728,"tags":5729,"thumbUrl":5730,"material":5731,"size":5732,"collection":107,"collections":5733,"showCount":5723,"zanCount":1288,"manualWeight":39,"mainColor":40},233766,"li-shi-tu-zhou-shen-zhou-233766","荔柿图轴","本幅墨笔画荔枝，柿子树二枝，上方自题“庚子元旦即兴”诗一首，款“右进作一首侑以荔柿图，奉吾宿田老兄新春一笑，周再拜”钤“启南”朱方印一。右下方收藏印“绍庭审定”等二方。\n沈周（1427—1509年），字启南，号石田，晚号白石翁，长洲（今江苏苏州）人。世代隐居吴门，父亲恒古、伯父贞吉均善画。他早年承受家学，兼师杜琼，后博学宋元诸家，自成一格。一生布衣，优游林下，为人敦厚，笃于友谊，性情随和，胸襟磊落，是吴中众望所归的贤达长者。 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”。",[23,51,84,26,403,27,1194,1183,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86746693b29e5f3412b23d5ba1e633a9.jpg","纸本 ，墨笔","纵128cm，横38.4cm",[],{"id":5735,"slug":5736,"title":5737,"dynasty":97,"author":1180,"museum":175,"description":5738,"tags":5739,"thumbUrl":5742,"material":319,"size":107,"collection":35,"collections":5743,"showCount":5723,"zanCount":1288,"manualWeight":39,"mainColor":40},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。",[49,23,51,84,25,403,119,7,28,1481,31,5740,5741],"红叶","绿叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8ca4315e839c5191b026d588d9a0432.jpg",[35,72],{"id":5745,"slug":5746,"title":5747,"dynasty":192,"author":4182,"museum":81,"description":5748,"tags":5749,"thumbUrl":5753,"material":634,"size":5754,"collection":122,"collections":5755,"showCount":5723,"zanCount":625,"manualWeight":39,"mainColor":75},221096,"xiao-cao-qian-zi-wen-huai-su-221096","小草千字文","《小草千字文》纸本真迹是唐代书法家怀素创作的小草书法作品。共9页42行（为周兴嗣原文前段），计530字，盖有藏印数枚，是价值连城的唐代墨宝，被誉为“天下第一小草”名帖。现为著名学者黄锦祥所藏，是怀素唯一传世的小草书法真迹。此帖笔画瘦劲有力，灵动自然，毫无涣散衰颓之状。通幅笔墨奔放流畅，一气贯之蔚为壮观。是古代最珍贵、最标准的小草范本之一。",[49,86,462,5750,52,5751,5752,7,418],"小草","飞白","墨色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe64996c852b8cf3f704a5cc33bff5043.jpg","纵26.8厘米，横13.5厘米，共9页",[122,1120],{"id":5757,"slug":5758,"title":5759,"dynasty":192,"author":2031,"museum":329,"description":5760,"tags":5761,"thumbUrl":5762,"material":319,"size":107,"collection":122,"collections":5763,"showCount":5723,"zanCount":11,"manualWeight":39,"mainColor":40},221074,"zhao-ye-bai-han-gan-221074","照夜白","这幅画是用水墨线描完成的，描绘的是唐玄宗 喜爱的坐骑“照夜白”的形象，它被系在一木桩上，鬃毛飞起，鼻孔张大，眼睛转视，昂首嘶鸣；四啼腾骧，似欲挣脱羁绊。\n此画不仅画出马的膘肥肌健的外形，更着力表现其桀骜不驯的雄骏神采。\n用笔简练，线条纤细而道劲，渲染不多而体积感、质感颇强。\n《照夜白图》描绘了一匹骏马“照夜白”的形象。\n为了在白绢上表现这匹白色的宝马，作者在描绘马时，通过工笔重彩手法，经过巧妙构思、对比手法，选取马鼻被拴的情形，不仅可以表现出“照夜白”的桀骜不驯，在色彩处理上还可以利用马桩的深色调衬托出马的矫健造型，在手法上做减法，达到美妙的画面平衡。\n”照夜白“是唐玄宗李隆基的坐骑，图中“照夜白”系一木桩上，昂首嘶鸣，四蹄腾骧，似欲挣脱缰索。\n全画只在画面略微偏右的位置描绘了一匹骏马的形象。\n这匹骏马被拴于一根马桩之上，明显可 以从画中感受到它不甘于束缚、怒目圆睁、昂首嘶鸣，飘逸的鬃毛、耸起的耳朵和抬起的前蹄，加强了画面所要透露的紧张感。\n据考证，马的头、颈、前身为真迹，而后半身为后人补笔，马尾巴已不存。",[49,26,54,319,52,51,225,1116,7,86,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2433d816005c97573b406f03f58e59ba.jpg",[122,1120],{"id":5765,"slug":5766,"title":5767,"dynasty":146,"author":709,"museum":46,"description":5768,"tags":5769,"thumbUrl":5770,"material":4816,"size":5771,"collection":70,"collections":5772,"showCount":5723,"zanCount":743,"manualWeight":39,"mainColor":924},220785,"cao-ting-shi-yi-tu-juan-wu-zhen-220785","草亭诗意图卷","诗塘董其昌题：“梅花道人画巨轴绝少，此幅气韻生动，布置古雅，大类巨然，非王蒙所能梦见也。董其昌藏并鉴定”。",[49,23,52,26,51,55,119,7,56,63,64,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eae55d370e8592275f4c843d79308fa.jpg","纵23.8厘米，横277.8厘米",[70,242],{"id":5774,"slug":5775,"title":5776,"dynasty":97,"author":736,"museum":175,"description":5777,"tags":5778,"thumbUrl":5779,"material":152,"size":5780,"collection":35,"collections":5781,"showCount":5723,"zanCount":923,"manualWeight":39,"mainColor":40},218996,"han-hu-liu-zhou-lang-shi-ning-218996","阚虎骝轴","绢本之上，骏马昂首挺立，身姿矫健如虎。毛发质感细腻入微，鬃尾似流云垂落，斑纹错落间晕染出肌肉的起伏与光影变化，尽显写实功底。线条勾勒与色彩晕染相融，既有西方绘画的立体感，又不失东方笔墨的雅致。背景素净，题跋与朱印相映成趣，添几分古雅意蕴。此作将异域技法与本土审美巧妙结合，绘就骏马的灵动神韵，亦藏跨文化艺术碰撞的妙趣。",[49,23,51,84,54,25,225,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b7e691cfea774237a293ec3b0231849.jpg","纵270横240.3厘米",[35],{"id":5783,"slug":5784,"title":5785,"dynasty":97,"author":800,"museum":99,"description":5786,"tags":5787,"thumbUrl":5788,"material":689,"size":690,"collection":107,"collections":5789,"showCount":5790,"zanCount":743,"manualWeight":39,"mainColor":924},288210,"feng-zhu-shi-tu-zheng-ban-qiao-288210","风竹石图","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》。",[49,50,23,51,84,26,358,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b7bb909262c02f666ff04467c2a9a96.jpg",[],131,{"id":5792,"slug":5793,"title":5794,"dynasty":97,"author":5795,"museum":81,"description":5796,"tags":5797,"thumbUrl":5798,"material":391,"size":5799,"collection":70,"collections":5800,"showCount":5790,"zanCount":1288,"manualWeight":39,"mainColor":40},222663,"shan-shui-tu-juan-kun-can-222663","山水图卷","髡残","髡[kūn]残（1612～1692）明末清初画家。清初四僧之一。俗姓刘，武陵（今湖南省常德市）人，居南京。幼年丧母，遂出家为僧。法名髡残，字石溪，一字介丘，号白秃，一号残道者、电住道人、石道人。他削发后云游各地，43岁时定居南京大报恩寺，后迁居牛首山幽栖寺，度过后半生。性寡默，身染痼疾，潜心艺事，与程正揆（程正揆，号青溪道人）交善，时称二溪，艺术上与石涛并称二石,善画山水，亦工人物、花卉。山水画主要继承元四家传统，尤其得力于王蒙、黄公望。构图繁复重叠，境界幽深壮阔，笔墨沉酣苍劲，以及山石的披麻皴、解索皴等表现技法，多从王蒙变化而来；而荒率苍浑的山石结构，清淡沉着的浅绛设色，又近黄公望之法。他还远宗五代董源、巨然，近习明代董其昌、文徵明等，兼收并蓄，博采众长。在学习传统基础上，重视师法自然，自谓“论画精髓者，必多览书史。登山寡源，方能造意”。一生中大部分时间都在山水中度过，经常驻足于名山大川，流连往返。他“僻性耽丘壑”、“泉石在膏肓”，主观的情感、性灵与客观的景物、意境相感应、交融，使其山水画景真情切，状物与抒情成为一体。所作山水，在平淡中求奇险，重山复水，开合有序，繁密而不迫塞，结构严密，稳妥又富于变化，创造出一种奇辟幽深，引人入胜之境，生动地传达出江南山川空□茂密、浑厚华滋的情调。他喜用渴笔、秃毫，苍劲凝重，干而不枯，并以浓淡墨色渲染，使得笔墨交融，形成郁茂苍浑、酣畅淋漓的情趣，使画面产生雄浑壮阔、纵横蓬勃的气势。存世代表作有《报恩寺图》，绘南京聚宝门外报恩寺，通过概括提炼，表现了金陵名胜的磅礴、奇异气象。《云洞流泉图》、《层岩叠壑图》和《雨洗山根图》（均藏故宫博物院），以繁密的布局、苍劲的用笔、郁茂的景致、幽深的境界，显现出石溪鲜明的艺术特色。\n髡残扇面擅画人物、花卉，尤精山水。师法黄公望、王蒙，尤近于王蒙。其画章法严密，笔法苍劲，喜用秃笔渴墨，层层皴擦勾染，厚重而不板滞，郁茂而个迫塞，善写平凡景致，平淡中见幽深。与石涛、弘仁、朱耷并称“清四僧”。 工诗文、书画，擅山水、花卉。山水师法王蒙、黄公望，并汲取董源、巨然、董其昌、文徵明等人画法。博采众长，加以发展变化，又能师法自然，于游历中观赏体验名山大川的万千景象。所画山水，构图饱满，重山复水，繁密中见疏灵，善用秃锋渴笔画山石树木，以浓淡墨渲染，苍劲凝重中透出丰润秀逸之致，意境奇僻幽深，得江南山水空濛茂密、浑厚华滋之质。其绘画在当时名重一时，对后世亦有很大影响，后人将其与石涛并称二石，又与渐江、朱耷、石涛合称清初四僧。有《报恩寺图》、《云洞流泉图》、《层岩叠壑图》、《雨洗山根图》等传世。在绘画论画云：“董华亭(其昌)谓：‘画和禅理共旨，不然禅须悟，非工力使然，故元人论品格，宋人论气韵，品格可力学而至，气韵非妙悟则未能也。”在提倡勤学的同时，也主张作画须有“妙悟”，并非下死力就可得画之神韵。\n髡残性直硬，脾气倔强，寡交游，难于与人相合。这种强烈的个性表现在他的禅学上是“自证自悟，如狮子独行，不求伴侣”；表现在绘画上则为“一空依傍，独张赵帜，可谓六法中豪杰”。他自己也说：“拙画虽不及古人，亦不必古人可也。”他长期生活在山林泽薮之间，侣烟霞而友泉石，踯躅峰巅，留连崖畔，以自然净化无垢之美，对比人生坎坷、市俗机巧，从中感悟禅机画趣。髡残作品中的题跋诗歌多作佛家语，这不仅因其身为和尚，而且在他看来，禅机画趣同是一理，无处不通。如《禅机画趣图》轴、《三冬入华村图》轴，《物外田园图》册的诸多题跋，大都是借画谈禅，因禅说画。融禅机与画理于一炉，是髡残画作的主要特点之一。\n髡残在明末遗民中享有很高的声望，他的画也为世人所瞩目。当时著名的文人兼大鉴赏家周亮工就十分景仰、看重髡残的人品和画学，在《读画录》中为他写小传，谓：“人品笔墨俱高人一头地……绘事高明，然轻不为人作。”张怡在髡残的《仿米山水册》中是这样评价这位心灵相契的老友的：“举天下言诗，几人发自性灵?举天下言画，几人师诸天地?……此幅自云效颦米家父子，正恐米家父子有未到处，所谓不恨我不见 髡残古人，恨古人不见我耳。”他认为髡残的诗，是写出了自己的性灵；髡残的画是直师造化，甚至比宋代米芾父子还好；髡残的佛学是直指本心，而没有出家人开堂说法的那种俗套。张庚《国朝画征录·髡残传》云：“石□工山水，奥境奇辟，缅邈幽深，引人入胜。笔墨高古，设色精湛，诚元人之胜概也。此种笔法不见于世久矣!”这段话说明髡残的画深得元季四大家的精髓。总之，三百多年来，髡残一直以其人品与画品并重的高华之气，影响着画坛，成为画家心目中的丰碑。",[49,23,52,26,25,55,56,293,777,63,60,61,751,279,64,150,86,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefdd6fed5c43711601b4533de6596a1c.jpg","23x309cm",[70,72],{"id":5802,"slug":5803,"title":5804,"dynasty":891,"author":5805,"museum":5390,"description":5806,"tags":5807,"thumbUrl":5808,"material":319,"size":107,"collection":107,"collections":5809,"showCount":5790,"zanCount":39,"manualWeight":39,"mainColor":40},220479,"hou-chi-bi-tu-fu-bao-shi-220479","后赤壁图","傅抱石","大块泼墨劈斫出雄奇岩壁，水墨淋漓间尽显嶙峋苍莽，留白衬出山涧空寂清冷。前景枯梅疏枝横斜，添了几分清寒幽峭。\n\n画面里三位文士衣袂飘然，悠然对谈，古雅超脱之态宛然眼前。以散锋乱笔写山石，皴擦晕染间氤氲出高旷荒寒之境，又以简练灵动的线条勾勒人物，将夜游的超然文思融在山水之间，笔底诗意盎然，把文人情致与山水胜景融为一体，尽显幽远绵长的古典意境。",[49,23,26,25,55,84,7,119,56,58,967,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F303fa795c9edac35723c91b8c3a07354.jpg",[],{"id":5811,"slug":5812,"title":5813,"dynasty":97,"author":787,"museum":81,"description":5814,"tags":5815,"thumbUrl":5816,"material":25,"size":5817,"collection":35,"collections":5818,"showCount":5790,"zanCount":1288,"manualWeight":39,"mainColor":40},219435,"shu-kui-shi-liu-zhou-zou-yi-gui-219435","蜀葵石榴轴","画面中蜀葵藤蔓舒展，淡紫花瓣层叠晕染，花蕊明黄点缀其间，叶片脉络清晰如缕，尽显工笔之细腻。旁侧石榴花枝虬劲，红橙花朵簇生，与蜀葵的柔婉形成鲜明对比，红绿相映间生机勃发。笔墨温婉雅致，设色清丽明快，枝叶的交错、花瓣的肌理皆刻画入微，既保留了自然野趣，又蕴含规整韵致。题跋与朱印错落有致，文气与画意交融，似将夏日的绚烂与清雅凝于一纸，观之如沐和风，满溢生机与雅致。",[23,51,84,25,54,27,4859,530,265,2559,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5048cc1dc3f6fc3cf98be5ce658aca31.jpg","83.4x44.6",[35],{"id":5820,"slug":5821,"title":5822,"dynasty":97,"author":248,"museum":99,"description":685,"tags":5823,"thumbUrl":5825,"material":689,"size":690,"collection":107,"collections":5826,"showCount":5827,"zanCount":39,"manualWeight":39,"mainColor":75},288301,"hua-niao-cao-chong-tu-ce-yun-shou-ping-288301","花鸟草虫图册",[49,23,24,25,27,5824,28,315,54,7],"草虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F258fd1430fd11d1d5348dc536b1403e0.jpg",[],130,{"id":5829,"slug":5830,"title":5831,"dynasty":97,"author":1082,"museum":5832,"description":5833,"tags":5834,"thumbUrl":5836,"material":319,"size":5837,"collection":35,"collections":5838,"showCount":5827,"zanCount":39,"manualWeight":39,"mainColor":40},237347,"song-lu-tu-zhou-zhu-da-237347","松鹿图轴","湖南省博物馆","此画是清代朱耷的作品。这幅画采取近实远虚的枝法，前后错落有序，笔力遒劲，墨色秀润，情景生动，意境深远。该作不仅画精，而且图面之大在八大山人传世作品中极为罕见。\n左上方落款“八大山人”，下钤有朱色阴文印”八大山人”，阳文印“各园”各一枚。这幅画描绘的是一株高耸粗壮的苍松，挺立在嶙峋的岩石上。松石下，两只向背的鹿在山石草坪之中小憩，一只长着角的鹿望着远方；另一只则侧身仰望天空。围着草坪的山石上，长着兰草、灵芝、小竹笔花草植物。",[23,51,84,26,135,777,5835,1116,277,7],"鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8802766b2acbede1ed647fec5abad86.jpg","纵358厘米，横133.3厘米",[35],{"id":5840,"slug":5841,"title":472,"dynasty":97,"author":248,"museum":99,"description":473,"tags":5842,"thumbUrl":5843,"material":107,"size":107,"collection":107,"collections":5844,"showCount":5827,"zanCount":39,"manualWeight":39,"mainColor":40},233909,"hua-hui-shan-shui-ce-yun-shou-ping-233909",[23,51,24,25,264,28,277,531,85,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6174e80dbb9482ece91dbfbb01b8787f.jpg",[],{"id":5846,"slug":5847,"title":5848,"dynasty":18,"author":607,"museum":81,"description":5849,"tags":5850,"thumbUrl":5852,"material":88,"size":5853,"collection":242,"collections":5854,"showCount":5827,"zanCount":39,"manualWeight":39,"mainColor":40},219519,"qin-he-tu-wen-zheng-ming-219519","琴鹤图","水墨晕染出淡远山居，苍松茂林环合小院。堂前二人对坐，似正横琴晤谈，院外童子携鹤缓步而来，将林泉雅趣揉进日常闲情里。\n\n笔致秀润温婉，枝叶晕染细腻，远山轻笼烟岚，留白里漾着闲澹松弛的意趣。题诗朱印与画面相融，把文人幽居自适、琴鹤相伴的林下风流，藏进每一缕墨色之中，淡而不寡，静中藏雅，尽显江南文人心底的归栖之乐。",[23,51,25,54,86,119,7,58,64,150,1480,5851,164,277],"琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0b62691d86abcd60a7be2a267ff0873.jpg","63.4x29.2",[242],{"id":5856,"slug":5857,"title":5858,"dynasty":97,"author":1082,"museum":99,"description":5859,"tags":5860,"thumbUrl":5862,"material":107,"size":5863,"collection":35,"collections":5864,"showCount":5865,"zanCount":39,"manualWeight":39,"mainColor":40},236310,"zhu-jiao-tu-zhou-zhu-da-236310","竹蕉图轴","朱耷（1626－1706），族名朱统筌，有雪个、个山、人屋、道朗、八大山人等别号。 “八大”二字，据人解释有“哭之”、“笑之”，哭笑不得的意思。南昌人。明末清初卓越的大画家。他是明太祖朱元璋第十六子朱权的九世孙。朱权封宁王于南昌，繁衍八支，朱耷属弋阳王支，袭封辅国中尉。他的父祖都善书画，因此朱耷从小就受到艺术陶冶。八岁能作诗，十一岁能画青绿山水，少时能悬腕写米家小楷。弱冠为诸生。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。后隐居进贤县介冈及永丰县睦冈等地。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。他想把这里造成一块世外桃源，以求达到他向来“欲觅一个自在场头”的愿望。但这个“自在场头”毕竟是建立在清王朝统治之下，“门外不必来车马”是不可能的。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。这使他十分苦恼郁愤，遂佯为疯癫，撕裂僧服，独自走回南昌。一年多后，他又回到青云谱，并在这里度过“花甲华诞”。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。后又隐避在南昌附近的北兰寺、开元观等处。并常卖画度日。后来自筑陋室，名“寤歌草”堂。叶丹居章江有《过八大山人》一诗云：“一室寤歌处，萧萧满席尘蓬蒿藏户暗，诗画入禅真。遗世逃名老，残山剩水身。青门旧业在，零落种瓜人”。他是孤寂贫寒地在这个环堵萧然的草堂中度过了他的晚年。\n八大山人一生以主要的精力从事绘画，他襟怀浩落，慷慨啸歌。由于时代特点和身世遭遇，他抱着对清王朝誓不妥协的态度，把满腔悲愤发泄于书画之中。所以画中出现是鼓腹的鸟，瞪眼的鱼，甚至禽鸟一足着地，以示与清廷势不两立，眼珠向上，以状白眼向青天。他常常把“八大山人”四个字联缀起来草写，形似“哭之”、“笑之”字样。他还有很多隐晦艰涩的诗句跋语，表示对清廷极端的仇恨和蔑视。\n他的作品，表现了鲜明的爱和憎。如脍灸人口的《孔雀图》及其题诗：“孔雀名花雨竹屏，竹梢强半墨生成；如何了得论三耳，恰是逢春坐二更。”辛辣地讽刺了那班头戴三眼花翎乌纱帽的汉族大地主屈膝求荣、投降新主子的奴才丑态。有一幅山水册页题云：“郭家皴法云头小，董老麻皮树上多；想见时人解图画，一峰还写宋山河。”他称慕五代北宁间画家董源、郭熙，以其独特笔墨描绘没有受外族侵凌的宋朝江山，而激发起热爱故国的思想感情。《鹊石图轴》（现藏画家八大山人纪念馆），画中描绘着两只喜鹊立于大石之上，究其画意，具有鹊巢鸠占，翔集浣磐的含义。《诗.召南.鹊巢》云：“维鹊有巢，维鸠居之。”传云：“尸鸠不自为巢，居鹊之成巢。”八大山人作此喻以讽刺清贵不善自谋而强占别人地主。并着意表现双鹊集栖于磐石之上，这不是尸鸠可以占据和动摇得了的。他常画的莲荷松石、梅兰竹菊、芦雁凫鹤、鱼鸭鹰鹿等等，大都象征他性格的倔强与高风亮节。他一生坚不为清廷权贵画一花一大石，而一般农民、贫士、山僧、小儿却很容易得到他的作品，这种不屈于权势的精神，历来为人们赞赏与称颂。\n八大山人在艺术上有杰出的成就。他以绘画为中心，对于书法、诗跋、篆刻也都有很高的造诣。在绘画上他以大笔水墨写意画著称，并善于泼墨，尤以花鸟画称美于世。在创作上他取法自然，笔墨简炼，大气磅礴，独具新意，创造了高旷纵横的风格。三百年来，凡大笔写意画派都或多或少受了他的影响。清代张庚评他的画达到了“拙规矩于方圆，鄙精研于彩绘”的境界。他作画主张“省”，有时满幅大纸只画一鸟或一石，寥寥数笔，神情毕具。他的书法具有劲健秀畅的气格。篆刻形体古朴，独成格局。\n朱耷在形成自己风格的发展过程中，继承了前代的优良传统，又自辟蹊径。他的花鸟画，远宗五代徐熙的野逸画风和宋文人画家的兰竹墨梅，也受明林良、吕纪、陆治的技法影响，尤致意青藤白阳的粗放画风。他的山水画，远尚南朝宗炳，又师法董、巨、米芾、倪、黄以至董其昌等人的江南山水。在书法方面，他精研石鼓文，刻意临写汉、魏、晋、唐以来的诸家法帖，尤以王羲之的为多。\n朱耷绘画艺术的特点大致说来是以形写情，变形取神；着墨简淡，运笔奔放；布局疏朗，意境空旷；精力充沛，气势雄壮。他的形式和技法是他的真情实感的最好的一种表现。\n朱耷对艺术修养与功力铸锻，正如他自己所说的：“读书至万卷，此心乃无惑；如行路万里，转见大手笔。”他认为画事有如登高，“必频登而后可以无惧”，说明他对艺术不断磨炼的精神。清初画坛在革新与保守的对峙中，八大山人是革新派“四大画僧”中起了突出作用的一人。为了纪念这位大画家，解放后已在南昌市青云谱建立了“画家八大山人纪馆”。朱耷的艺术已经在东方尤其在日本以至世界画坛引起了很大的反映。八大山人的书画有少作品，已不复得见。如：《荷塘戏禽图卷》、《河上花并题图卷》、《鱼鸭图卷》、《鱼乐图卷》、《杂花图卷》以及《杨柳浴禽图轴》、《芙蓉芦雁图轴》、《大石游鱼图轴》、《双鹰图轴》、《古梅图轴》、《墨松图轴》、《秋荷图轴》、《芭蕉竹石图轴》、《椿鹿图轴》、《快雪时晴图轴》、《幽溪泛舟图轴》、《四帧绢本浅绛山水大屏》，以及许多条幅，册页中的花鸟鱼鸭，山水树石等。书法方面有《临兰亭序轴》、《临“临河叙”四屏》，以及各大家法帖和行草诗书轴册等，都在国内外的博物馆、院中珍藏。",[23,84,26,358,5861,7],"蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd62eeee4764011b2c51b52909de9dad7.jpg","纵220.5厘米 横88厘米",[35,242],129,{"id":5867,"slug":5868,"title":5869,"dynasty":97,"author":445,"museum":99,"description":5870,"tags":5871,"thumbUrl":5872,"material":107,"size":107,"collection":70,"collections":5873,"showCount":5865,"zanCount":1288,"manualWeight":39,"mainColor":40},235878,"yuan-ji-shan-shui-tu-ce-shi-tao-235878","原济山水图册","这一开诗画合璧，行书题诗笔力苍劲清隽，墨色朗润，将山居幽寂的诗意先行铺展。画面以淡墨晕染烟岚，山峦在雨意濛濛间晕化开朦胧轮廓，留白衬出空濛水汽。几椽山居隐在深林浅坳间，伴着茂树流泉，朴拙静雅。\n\n石涛以灵动写意的笔墨，把诗中霁后溪山的萧散意境全然绘出，简淡笔墨裹着秀润的江南意趣，诗画相映，恍若能听见古寺钟鸣随云霭漫过山峦，将文人画诗禅合一的意韵抒发尽致，带人踏入这世外幽居。",[23,51,24,26,25,55,86,7,56,64,727,150,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99ca5c119bb37305c4db3d52e47af545.jpg",[70],{"id":5875,"slug":5876,"title":5877,"dynasty":891,"author":2402,"museum":5878,"description":5879,"tags":5880,"thumbUrl":5881,"material":107,"size":107,"collection":107,"collections":5882,"showCount":5865,"zanCount":39,"manualWeight":39,"mainColor":40},220569,"ben-ma-chang-sha-hui-zhan-xu-bei-hong-220569","奔马 (长沙会战)","中央美术学院美术馆","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。",[49,23,51,26,403,225,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f32ea37393a260fa91ca3652fb06b5a.jpg",[],{"id":5884,"slug":5885,"title":5886,"dynasty":192,"author":5887,"museum":81,"description":5888,"tags":5889,"thumbUrl":5891,"material":152,"size":5892,"collection":199,"collections":5893,"showCount":5865,"zanCount":743,"manualWeight":39,"mainColor":75},218614,"hu-guo-tian-wang-xiang-yu-chi-yi-seng-218614","护国天王像","尉迟乙僧","本幅画手托宝塔的托塔天王，即世所谓之北方天王，为盛唐以后极受尊奉的佛像之一，其旁环侍之人物造型已为佛道相参之势。原谓尉僧乙僧所画，然细审其笔墨，应属明人风格。",[50,23,51,84,1284,25,58,54,7,5890,178],"敦煌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefc1080a34fa72ca4f6198a683dc47ce.jpg","109x39.2cm",[199],{"id":5895,"slug":5896,"title":5897,"dynasty":115,"author":748,"museum":99,"description":5898,"tags":5899,"thumbUrl":5900,"material":689,"size":690,"collection":107,"collections":5901,"showCount":5902,"zanCount":743,"manualWeight":39,"mainColor":40},283691,"chun-shan-rui-song-tu-mi-fei-283691","春山瑞松图","《宋米芾春山瑞松图》是宋代书画家米芾创作的一幅纸本画，原存清宫内府斋宫，现为台北故宫博物院藏。图中描绘云雾掩映的山林景色，图中白云满谷，远山耸立云端，近处古松数株隐显于雾气中。松下有亭，空无一人。山峦青绿晕染，再加“米点” 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“内省斋”“秋壑图书”“欧阳玄印”“项子京家珍藏”等印鉴，还有项元汴跋。此卷是传世黄书中的名迹，《式古堂书画会考》、安歧的《黑缘会观》等书均有著录。\n黄庭坚草书的巨大成就，在《廉颇蔺相如列传》长卷大放异彩。作为山谷51岁时的成熟代表作，此帖已走出了早期《花气诗帖》用笔生硬、少圆转的起步状态，更加完善了中期《杜甫寄贺兰铦诗帖》笔法圆劲、笔势连绵的特点。丰富多样的掠笔、带笔、蹲笔，尤其是独创的颤笔技法，让线条极富振荡感，洋溢着活跃跃的韵律之美，赋予了草书以崭新的境界。",[49,86,462,52,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69389dffdd14a5bc5b44aab4f492bbcf.jpg","纵32.5厘米，横1822厘米",[122],127,{"id":5930,"slug":5931,"title":4738,"dynasty":130,"author":857,"museum":99,"description":5932,"tags":5933,"thumbUrl":5934,"material":5935,"size":107,"collection":122,"collections":5936,"showCount":5928,"zanCount":743,"manualWeight":39,"mainColor":40},221040,"huang-ting-jing-wang-xi-zhi-221040","《黄庭经》，王羲之书，小楷，一百行。原本为黄素绢本，在宋代曾摹刻上石，有拓本流传。此帖其法极严，其气亦逸，有秀美开郎之意态。关于黄庭经，有一段传说：山阴有一道士，欲得王羲之书法，因知其爱鹅成癖，所以特地准备了一笼又肥又大的白鹅，作为写经的报酬。王羲之见鹅欣然为道士写了半天的经文，高兴地“笼鹅而归”。原文载于南朝《论书表》，文中叙说王羲之所书为《道》、《德》之经，后因传之再三，就变成了《黄庭经》了。\n因此，《黄庭经》又俗称《换鹅帖》，无款，末署“永和十二年(356)五月”，现在留传的只是后世的摹刻本了。\n《黄庭经》是道教上清派的重要经典，也被内丹家奉为内丹修炼的主要经典，属于洞玄部。现传《黄庭经》有《黄庭内景玉经》、《黄庭外景玉经》、《黄庭中景玉经》三种，因中经出黄庭经赏析(5张)现较晚，可以暂置不论书中认为人体各处都有神仙，首次提出了三丹田的理论。介绍了许多存思观想的方法。关于内外经的作者、成书年代及其相互关系，向来有多种说法。\n《黄庭经》有诸多名家临本传世，如智永、欧阳询、虞世南、褚遂良、赵孟頫等，他们均从中探究王书的路数，得到美的启示。然而也有人认为小楷《黄庭经》笔法不类王羲之，因此亦有真伪之辨。",[49,86,417,418,52,7,436],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F303d3c3bce951777b8528e37c006a802.jpg","黄素绢本",[122,1120],{"id":5938,"slug":5939,"title":5940,"dynasty":115,"author":748,"museum":175,"description":5941,"tags":5942,"thumbUrl":5944,"material":319,"size":5945,"collection":122,"collections":5946,"showCount":5928,"zanCount":11,"manualWeight":39,"mainColor":75},219145,"xing-kai-shu-po-qiang-tie-ba-zan-juan-mi-fei-219145","行楷书·破羌帖跋赞卷","此帖乃米芾为王羲之《破羌帖》所作题赞，属于米芾晚年绘画代表之作。小楷书笔力秀劲，体势健拔，欹侧纵逸，潇洒奔放又不失法度，整体色调率真自然、意趣盎然。根据款署“癸未岁”，可知其书于北宋崇宁二年（1103）。\n\n赵孟頫早年学书，广益多师，对颜真卿、米芾等墨迹多有临习，在其书作中也能展现受这种名家风格的影响，这从《行书二赞二诗》中便可看到端倪。但是，他最后放弃纵肆放逸的抒写方式，选择了追寻“二王”平和雅静的书风，进而取得卓尔不群的艺术面目。",[49,86,119,417,52,7,5943,418,2226],"篆刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9be5a5a72c93f1b4b721df242bc15f84.jpg","纵22.9厘米，横48.2厘米",[122],{"id":5948,"slug":5949,"title":5950,"dynasty":97,"author":445,"museum":446,"description":447,"tags":5951,"thumbUrl":5952,"material":33,"size":452,"collection":107,"collections":5953,"showCount":5928,"zanCount":39,"manualWeight":39,"mainColor":40},214883,"shan-shui-tu-ce-8-shi-tao-214883","山水图册-8",[49,23,26,55,24,7,86,56,60,58,277,137,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b7ef45c74e90c04ee9fc52e892419d2.jpg",[],{"id":5955,"slug":5956,"title":5957,"dynasty":97,"author":445,"museum":99,"description":5958,"tags":5959,"thumbUrl":5961,"material":319,"size":5962,"collection":70,"collections":5963,"showCount":5964,"zanCount":39,"manualWeight":39,"mainColor":40},233378,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233378","原济金山龙游寺诗意册","本幅墨笔山水画金山龙游寺风景。共12开，每开均有自印，第十二开上方有自题一段。印记：“子英秘玩”，“蜀客”，“浙东陆钢鉴藏之印”等印45方。后页二方。题跋：后页姚虞琴题记一段。\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。",[23,26,55,24,7,56,60,61,64,727,150,5960],"草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5af052cf182809b3d590f54883cbc337.jpg","纵24.6cm横17.6cm",[70,35],126,{"id":5966,"slug":5967,"title":5968,"dynasty":1037,"author":2876,"museum":99,"description":5969,"tags":5970,"thumbUrl":5971,"material":107,"size":107,"collection":107,"collections":5972,"showCount":5964,"zanCount":11,"manualWeight":39,"mainColor":40},227269,"he-le-shi-nv-tu-juan-zhou-wen-ju-227269","合乐仕女图卷","周文矩，善于深入观察和体会现实生活中的各色人物，把握他们的思想感情和性格特征，因此塑造出来的人物各不相同，达到形神兼备的艺术境界。他的仕女画从题材内容到表现形式，都继承了唐代周昉的传统。",[49,50,23,51,52,54,25,58,136,178,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F926a4a4fc246817c7f82bed9a7d2c919.jpg",[],{"id":5974,"slug":5975,"title":5976,"dynasty":891,"author":5977,"museum":5390,"description":5978,"tags":5979,"thumbUrl":5982,"material":107,"size":107,"collection":107,"collections":5983,"showCount":5964,"zanCount":39,"manualWeight":39,"mainColor":40},220516,"zhong-kui-hui-jian-tu-pu-xin-she-220516","钟馗挥剑图","溥心畬","画面以枯松开篇，老干蟠曲、松枝萧疏，晕染出清寂古雅的氛围。红袍钟馗虬髯戟张，怒目圆睁，按佩剑挺立，威仪赫赫震慑鬼魅。身旁青面小鬼敛神吹笛，戏谑间更衬出钟馗的刚正威严。\n\n笔墨极具文人意趣，线条凝练古拙，设色清雅沉静，红袍醒目却不俗艳，淡墨勾勒松枝小鬼，尽显空灵雅致。整作以极简笔意，将钟馗的凛然正气与幽寂古意相融，寄寓驱邪安良的传统意涵，尽显雅致国风意蕴。",[23,25,54,58,137,5029,5980,5981,7],"剑","小鬼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3a4169a576aae56350305e55cb3aa56.jpg",[],{"id":5985,"slug":5986,"title":5987,"dynasty":891,"author":4937,"museum":5988,"description":5989,"tags":5990,"thumbUrl":5991,"material":5992,"size":107,"collection":107,"collections":5993,"showCount":5964,"zanCount":39,"manualWeight":39,"mainColor":40},220489,"zhu-mei-zhang-da-qian-220489","竹梅","The Chinese University of Hong Kong Library","此作以跨页小品写就，水墨清简疏淡。左侧修竹瘦劲挺拔，寥寥数笔写出竹叶翩然之姿，清峻孤高自带霜节。右侧梅枝横斜而出，淡墨圈花，花苞轻绽，冷香暗浮于留白之中。\n\n画面以少胜多，将竹之劲节与梅之清癯相融，寥寥逸笔尽显岁寒二友的君子风骨。题款墨色苍劲古雅，朱印点染提亮，文人情趣浑然天成。整幅淡墨浅痕却余韵悠长，把东方水墨的留白意趣藏在疏枝瘦叶之间，清冷雅致，尽显写意之妙。",[49,23,51,24,26,528,358,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9928a3a570439bf1c01d26bb75a5c21e.jpg","Ink and colour on 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、“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。",[23,26,403,24,27,5824,28,7,6019,6020,6021,6022,6023,6024,3363,6025,6026,6027],"写意花鸟","水墨花鸟","草虫题材","花卉题材","水墨技法","写意技法","花鸟虫鱼","水墨花卉","水墨草虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1832d1cbad4704515cafe4aadf8818b.jpg","纵26厘米，横41厘米",[],{"id":6032,"slug":6033,"title":6034,"dynasty":97,"author":736,"museum":99,"description":6035,"tags":6036,"thumbUrl":6037,"material":107,"size":107,"collection":107,"collections":6038,"showCount":6012,"zanCount":743,"manualWeight":39,"mainColor":75},230202,"qian-long-di-hou-fei-xiang-juan-lang-shi-ning-230202","乾隆帝后妃像卷","郎世宁绘制的《乾隆肖像》是圆明园 珍品，是乾隆皇帝41岁时的坐像，乾隆身旁站立两位大臣，人物极具神韵，为中国与欧洲绘画技艺相结合的佳作。\n原属圆明园收藏 【名称】：乾隆肖像 【类别】：字画 【年代】：清 【文物原属】：原属 收藏 【文物现状】： 【简介】： 绘制的《乾隆肖像》是 艺术品珍品，是 皇帝41岁时的坐像，乾隆身旁站立两位大臣，人物极具神韵，为中国与欧洲绘画技艺相结合的佳作。\n乾隆皇帝主政的六十年中，甚为重视学术文化的整理和弘扬。\n其中以乾隆叁十八年（177）开始的 编纂工作最为令人称道。\n他聚集 、 、 、 等著名学者，将中国历代重要典籍整理并钞录下来，分隶于四部四十四类之下。\n全书卷帙浩繁、包罗万千，可谓中国传统学术文化的一次总整理，也是十八世纪当时学风的充分呈现。\n郎世宁（Giuseppe Castiglione‎,1688—1766）是意大利人，生于米兰，清康熙帝五十四年（1715）到中国，随即入宫，曾参加圆明园西洋楼的设计工作，历任康、雍、乾三朝，在中国从事绘画达5多年。\n由于郎世宁带来了西洋绘画技法，向皇帝和其他宫廷画家展示了欧洲明暗画法的魅力，他先后受到了康熙帝、雍正帝、乾隆帝的重用。\n他是一位艺术上的全面手，人物、肖像、走兽、花鸟、山水无所不涉、无所不精，成为雍正帝、乾隆帝时 的代表人物。\n他的代表作品有《聚瑞图》、《嵩献英芝图》、《百骏图》（见插图）、《弘历及后妃像》、《 》等。",[49,23,51,105,54,25,52,58,180,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d20cbf88f26d2d9ea6382115ba01bed.jpg",[],{"id":6040,"slug":6041,"title":6042,"dynasty":146,"author":147,"museum":446,"description":6043,"tags":6044,"thumbUrl":6045,"material":121,"size":107,"collection":70,"collections":6046,"showCount":6012,"zanCount":39,"manualWeight":39,"mainColor":75},219736,"qiu-luan-die-zhang-tu-huang-gong-wang-219736","秋峦叠嶂图","整作以高远构局铺展秋山胜景，主峰崔嵬雄浑，层岩叠岫渐次铺陈，山林间枯木寒柯与葱郁杂木错立，晕染出清寂萧疏的秋意。\n以披麻皴慢写山石肌理，干笔淡墨皴擦点染，笔意松秀温润，淡墨晕开烟岚清旷之气，将山峦的苍古质感晕染尽致。水畔村居错落隐于林麓，汀渚回环、秋水澄澈，尽现山居幽寂之态。\n右侧长题随行布白，书画相融，以画寄情，将简淡超逸的山水意趣抒发淋漓，尽显寄兴林泉、丘壑自存的隐逸襟怀。",[49,23,51,84,26,55,56,278,64,1597,294,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c617dbbef3609487c4db666c2cf5ed.jpg",[70],{"id":6048,"slug":6049,"title":2275,"dynasty":146,"author":1644,"museum":81,"description":6050,"tags":6051,"thumbUrl":6052,"material":152,"size":6053,"collection":199,"collections":6054,"showCount":6012,"zanCount":39,"manualWeight":39,"mainColor":40},219444,"lu-tong-peng-cha-tu-qian-xuan-219444","画中主人是卢同，唐朝济源人。学问非常渊博，并擅长诗文。隐居在少室山，不愿出来作官。他特别喜欢喝茶。这幅就是描绘卢同与童子，坐芭蕉下烹茶的情景。",[23,51,84,25,54,58,3671,277,181,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bc5d62829496182e3834aaa1c88ab2a.jpg","128.7x37.3",[199],{"id":6056,"slug":6057,"title":6058,"dynasty":115,"author":1923,"museum":81,"description":6059,"tags":6060,"thumbUrl":6061,"material":152,"size":6062,"collection":70,"collections":6063,"showCount":6012,"zanCount":743,"manualWeight":39,"mainColor":75},218960,"peng-chuang-shui-qi-tu-zhao-gou-218960","蓬窗睡起图","温暖的春风吹拂着湖面，拂动着岩石岸边的两棵柳树的叶子。在岩石岸边，一艘独木舟漂浮在波浪上，船上的渔夫睡得很好，春风挑逗着他，他满足地伸了个懒腰",[49,23,51,26,56,62,137,277,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7141fb523a170d6777a1b10dd60a535.jpg","24.8x52.3",[70],{"id":6065,"slug":6066,"title":6067,"dynasty":115,"author":289,"museum":99,"description":6068,"tags":6069,"thumbUrl":6070,"material":689,"size":690,"collection":107,"collections":6071,"showCount":6072,"zanCount":743,"manualWeight":39,"mainColor":40},289751,"xi-yuan-ya-ji-tu-li-gong-lin-289751","西园雅集图","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。",[49,50,23,52,135,26,58,358,3875,150,5579,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbed8d9f7cb34c0f070daee4971c5f00e.jpg",[],124,{"id":6074,"slug":6075,"title":675,"dynasty":97,"author":248,"museum":99,"description":685,"tags":6076,"thumbUrl":6077,"material":689,"size":690,"collection":107,"collections":6078,"showCount":6072,"zanCount":1288,"manualWeight":39,"mainColor":40},235085,"yun-shou-ping-hua-hui-ce-yun-shou-ping-235085",[23,24,264,25,28,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61a7b3aafdec8a0f229dbcde14d2bdc4.jpg",[],{"id":6080,"slug":6081,"title":472,"dynasty":97,"author":248,"museum":99,"description":473,"tags":6082,"thumbUrl":6087,"material":107,"size":107,"collection":107,"collections":6088,"showCount":6072,"zanCount":1288,"manualWeight":39,"mainColor":40},233905,"hua-hui-shan-shui-ce-yun-shou-ping-233905",[23,264,25,26,55,358,700,28,6083,7,6084,4860,6085,6086,4689,1241,1239],"兰草","苔草","黄色花卉","竹叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4377c657f826c18b3596050a5963db15.jpg",[],{"id":6090,"slug":6091,"title":6092,"dynasty":18,"author":161,"museum":99,"description":6093,"tags":6094,"thumbUrl":6097,"material":689,"size":690,"collection":107,"collections":6098,"showCount":6072,"zanCount":743,"manualWeight":39,"mainColor":40},228835,"xi-shan-qiu-se-tu-juan-shen-zhou-228835","溪山秋色图卷","此图右起大片水域，远山蒙蒙，云气蒸腾。中部山石突起，溪水潺潺蜿蜒从山间流过，坡石上零星分布着树木。整幅画水墨饱满，用淡墨淡彩渲染出一派澄明清润的南国初秋景象，气韵生动。笔法简清爽利，色彩浓淡相宜，具透明感。",[49,50,23,2205,52,56,6095,55,86,119,7,150,64,727,61,62,63,751,6096,3652,66,60,2681,137],"文人画","近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13a660bbee2437d662bcad8b1a397e57.jpg",[],{"id":6100,"slug":6101,"title":6102,"dynasty":115,"author":6103,"museum":175,"description":6104,"tags":6105,"thumbUrl":6109,"material":183,"size":6110,"collection":107,"collections":6111,"showCount":6072,"zanCount":1288,"manualWeight":39,"mainColor":40},221374,"yu-cun-xiao-xue-tu-juan-quan-juan-wang-shen-221374","渔村小雪图卷全卷","王诜","描写冬季小雪初霁的渔村山林景色。图中雪山奇松，溪岸渔艇，峰迴路转，步移景易，整个画面意境萧索，笼罩在一片空灵、静寂的氛围之中，虽有渔夫艰苦劳作，但反映的却是文人逸士向往山林隐逸生活的雅致情怀。此图是王诜师法李成而自成一家的作品。图中山石勾皴纯用侧锋短笔，边缘轮廓采用“破墨法”，在勾勒之后用清水向内化开，墨色轻淡。寒林长松则用中锋浓墨，从而突出表现了其凌寒不凋的高贵品格。为了表现积雪，除山峦留白外，作者还在峰顶、树杈、沙脚施以白粉。为了表现雪后阳光，作者又于树头、苇尖略染金粉，在通幅水墨之中吸收了唐以来金碧山水的画法，是一种创造性的实践。这幅作品充分体现了北宋时文人画强调“诗中有画，画中有诗”的创作主旨，以娴熟的技法写“词人墨卿难状之景”，正是“诗画一律”的典范作品。",[49,23,51,52,26,25,55,54,56,6106,6107,150,64,61,62,713,6108,60,66,279,86,119,7],"渔村","小雪","渔翁","https:\u002F\u002Foss.chuangqi.store\u002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俗易懂。现存《女史箴图》最早的画本是唐代摹本，原为清宫旧藏，现藏于大英博物馆。此卷为宋人摹本，全图有画11段，分别为“樊姬感庄”、“卫女矫桓”、“冯婕妤挡熊”、“班婕妤辞辇”、“防微虑远”、“知饰其性”、“出其言善”、“灵监无象”、“欢不可以渎”、“静恭自思”、“女史司箴”。本卷为白描人物，笔法流利，线条细劲连绵，比高古游丝描又多了几份挺健，更接近李公麟一派。人物形象有古意，此卷宋摹本较唐摹本画面内容多两段，对了解《女史箴图》母本及其流传，以及早期人物画法的演变具有重要的参考价值。\n引首为乾隆帝御书“王化之始”四字，后有包希鲁、谢询、张美和、赵谦等题记。本幅钤乾隆、嘉庆、宣统、梁清标等印22方。《石渠宝笈初编》卷32、35著录。",[49,50,23,51,52,135,25,58,1116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca625f9e64012baaba56c85b5e980dc2.jpg",[],{"id":6185,"slug":6186,"title":6187,"dynasty":97,"author":3423,"museum":99,"description":6188,"tags":6189,"thumbUrl":6190,"material":107,"size":107,"collection":107,"collections":6191,"showCount":6168,"zanCount":39,"manualWeight":39,"mainColor":40},224379,"hua-hui-qi-shi-ce-shi-er-kai-9-ju-lian-224379","花卉奇石册-十二开-9","此作以清供小品入画，湖石以淡墨枯笔皴擦勾勒，朴拙空灵，带着苍古沉静的质感。蚌壳盛着素白茉莉，花瓣晕染柔润饱满，似将幽微花香凝于绢面。石畔垂悬的圆叶小花，以青绿轻敷鲜活透亮，柔润花叶和苍劲湖石形成刚柔对照。\n没骨笔法细腻写实，设色明秀淡雅，将案头闲情雅致尽皆铺展，把寻常清玩绘出隽永诗意，尽显文人心底的幽居雅趣。",[49,23,51,24,25,54,277,28,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca79a5b6e1c9fa0841b71698cbf4c7c.jpg",[],{"id":6193,"slug":6194,"title":6195,"dynasty":97,"author":248,"museum":81,"description":6196,"tags":6197,"thumbUrl":6198,"material":1561,"size":107,"collection":35,"collections":6199,"showCount":6168,"zanCount":743,"manualWeight":39,"mainColor":40},220979,"ping-shan-mian-hua-ce-yun-shou-ping-220979","平扇面畫冊","扇面顧名思義就是扇子形狀的一個面，在幾何上是這樣定義何為扇形的：一條弧和經過這條弧兩端的兩條半徑所圍成的圖形叫扇形，那麼扇面是不是就是一個扇形的面呢？其實並不是。\n現多指為書畫作品的一種形式，分為摺扇和團扇。",[49,822,264,25,27,308,28,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec7984a13c489e6e7b3ce49166670d47.jpg",[35,72],{"id":6201,"slug":6202,"title":6203,"dynasty":146,"author":431,"museum":6204,"description":6205,"tags":6206,"thumbUrl":6208,"material":319,"size":6209,"collection":122,"collections":6210,"showCount":6168,"zanCount":625,"manualWeight":39,"mainColor":40},220843,"gui-qu-lai-ci-juan-zhao-meng-fu-220843","归去来辞卷","湖州博物馆","大德元年，赵孟頫时年四十四岁，当时未赴太原路汾州知州之新职，正居家闲赋。此书运笔沉稳畅朗，骨肉停匀，结体紧敛虚和，堪称其中年行书风格的典范。有关本卷赵氏的署名，启功在1954年的题跋中说：“至于此卷署名‘俯’字，观者多疑之。然自用笔结字，以至纸墨印章、签题跋尾，无一不足义证其真实不虚者。故吾今将大书以补松雪传记曰：名孟頫，亦书作孟俯也。”\n释文：“归去来辞并序。余家贫，耕植不足以自给。幼稚盈室，瓶无储粟，生生所资，未见其术。亲故多劝余为长吏，脱然有怀，求之靡途。会有四方之事，诸侯以惠爱为德。家叔以余贫苦，遂见用为小邑。于时风波未息，心惮远伇。彭泽去家百里，公田之利，可以为酒，故便求之。及少日，眷然有归与之情。何则？质性自然，非矫励所得。饥冻虽切，违己交病。尝从人事，皆口腹自伇。于是怅然慷慨，深愧平生之志。犹望一稔，当敛裳宵逝。寻程氏妹丧于武昌，情在骏奔，自免去职。仲秋至冬，在官八十馀日。因事顺心，命篇曰《归去来兮》。乙巳岁十一月也。\n归去来兮！田园将芜胡不归？既自以心为形伇，奚惆怅而独悲？悟已往之不谏，知来者之可追；寔迷途其未远，觉今是而昨非。舟摇摇以轻飏，风飘飘而吹衣。问征夫以前路，恨晨光之熹微。乃瞻衡宇，载欣载奔。僮仆欢迎，稚子候门。三径就荒，松菊就（此字点去）犹存。携幼入室，有酒盈尊。引壶觞以自怡（此字点去）酌，眄庭柯以怡颜。倚南窗以寄傲，审容膝之易安。园日涉以成趣，门虽设而常关。策扶老以流憩，时矫首而遐观。云无心以出岫，鸟倦飞而知还。景翳翳以将入，抚孤松而盘桓。归去来兮！请息交以绝游。世与我而相违，复驾言兮焉求？悦亲戚之情话，乐琴书以消忧。农人告余以春及，将有事于西畴。或命巾车，或棹孤舟。既窈窕以寻壑，亦崎岖而经丘。木欣欣以向荣，泉涓涓而始流。善万物之得时，感吾生之行休。 已乎矣！寓形宇内复几时，曷不委心任去留。胡为遑遑欲何之？富贵非吾愿，帝乡不可期。怀良辰以孤往，或植杖而秐秄。登东皋以舒啸，临清流而赋诗。聊乘化以归尽，乐夫天命复何疑。",[49,86,119,52,51,26,7,62,66,61,6207,529,1207],"孤松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c01f7704017ae933116236829fd1108.jpg","纵26厘米，横239厘米",[122],{"id":6212,"slug":6213,"title":6214,"dynasty":97,"author":3136,"museum":2698,"description":3137,"tags":6215,"thumbUrl":6216,"material":33,"size":3140,"collection":70,"collections":6217,"showCount":6168,"zanCount":39,"manualWeight":39,"mainColor":40},219996,"shan-shui-hua-mu-chun-wang-ri-xiao-qi-ou-zuo-wang-shi-min-219996","山水画-暮春望日小憩偶作",[23,50,56,26,55,870,610,64,727,1902,279,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ec524ddf8e33ee5c0b0f3dafea580e.jpg",[70],{"id":6219,"slug":6220,"title":6221,"dynasty":18,"author":1948,"museum":81,"description":6222,"tags":6223,"thumbUrl":6225,"material":152,"size":6226,"collection":35,"collections":6227,"showCount":6168,"zanCount":743,"manualWeight":39,"mainColor":40},219526,"hua-die-tu-wen-chu-219526","花蝶图","以水墨晕染湖石，嶙峋苍古，苔点缀饰更添朴拙意趣。萱花挺然而立，淡墨勾茎，朱红逐层点染花瓣，柔妍舒展，浅绿草叶衬其娇态。粉蝶振翅翩跹，翅翼晕透清浅绿意，灵动似逐香而来。\n整幅设色明丽温婉，笔法细秀工致，揉合工笔精巧与文人写意的雅致，将花草柔妍与湖石朴拙相映成趣，把初夏小景晕染得生机清逸，淡冶宜人，尽抒细腻柔婉的闺中情思。",[23,51,84,25,54,27,277,6224,7],"蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F576da20624683bb4876eb7e480a8d79c.jpg","149.3x47厘米",[35],{"id":6229,"slug":6230,"title":6231,"dynasty":18,"author":6232,"museum":329,"description":6233,"tags":6234,"thumbUrl":6236,"material":152,"size":107,"collection":199,"collections":6237,"showCount":6168,"zanCount":455,"manualWeight":39,"mainColor":40},219451,"xing-yuan-ya-ji-tu-xie-huan-219451","杏园雅集图","谢环","描绘了明正统二年（1437年）三月初一，时值阁臣们的沐休假期，杨士奇、杨荣、王直、杨溥、王英、钱习礼、周述、李时勉、陈循9位朝中大臣以及画家谢环雅集于杨荣在京师城东的府邸——杏园聚会之情景。其中，杨士奇、杨荣、杨溥时人合称“三杨”，三人均历事永乐、洪熙、宣德、正统四朝，先后位至台阁重臣，正统时以大学士辅政，权倾一时。“三杨”还是当时“台阁体”诗文的代表人物。时人称杨士奇有学行，杨荣有才识，杨溥有雅操。又以居第所处，称杨士奇为西杨，杨荣为东杨，杨溥为南杨。按照当时《翰林记》的记载，当时谢环作画，与会者人手一画，也就是说至少有九幅（画家不算）《杏园雅集图》存世（现存世两幅）。",[49,23,51,52,25,54,119,417,7,86,58,64,63,2880,178,6235,180,1481],"笔墨纸砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff366cd140ea847bfbf260d622bdcd92a.jpg",[199,122],{"id":6239,"slug":6240,"title":6241,"dynasty":97,"author":5309,"museum":446,"description":6242,"tags":6243,"thumbUrl":6245,"material":33,"size":6246,"collection":70,"collections":6247,"showCount":6168,"zanCount":39,"manualWeight":39,"mainColor":40},217217,"fang-gu-shan-shui-shi-er-kai-wang-hui-217217","仿古山水十二开","此册王翚仿古十二开",[23,51,24,26,55,6244,56,64,150,61,751,379,7],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5d8cb08718af9c20fbb39bcf2df2b19.jpg","25x35.4cm",[70],{"id":6249,"slug":6250,"title":3298,"dynasty":18,"author":459,"museum":99,"description":4616,"tags":6251,"thumbUrl":6252,"material":689,"size":690,"collection":107,"collections":6253,"showCount":6254,"zanCount":1288,"manualWeight":39,"mainColor":40},290556,"he-hua-zhou-xu-wei-290556",[23,50,51,84,26,403,27,102,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3e13237f744b16759e4d325b37bd217.jpg",[],122,{"id":6256,"slug":6257,"title":6258,"dynasty":146,"author":1466,"museum":6259,"description":6260,"tags":6261,"thumbUrl":6262,"material":1561,"size":6263,"collection":199,"collections":6264,"showCount":6254,"zanCount":743,"manualWeight":39,"mainColor":40},221769,"wu-wang-zui-gui-tu-juan-ren-ren-fa-221769","五王醉归图卷","苏宁艺术馆","《五王醉归图》刻画了唐玄宗五兄弟的故事，唐玄宗年少时与四位兄弟感情和睦，经常相从宴饮，斗鸡击球，外出打猎。这张画描绘了兄弟五人一起骑马游玩的场景， 余下四人为随从仆役，九人九骑，神态各异，呼之欲出\n2020年10月8日，在香港苏富比古代书画拍卖中，《五王醉归图》最终以3.065亿港币（折合约2.7亿元人民币）成交。\n《五王醉归图》描绘了唐代临淄王李隆基（即唐玄宗，712-756年在位）与他的四个兄弟宋王李成器、申王李成礼和岐王李范、薛王李业出游饮酒，醉后骑马回家的情景。据唐郑处诲《明皇杂录》中记载，五王少时感情和睦，常一同宴饮，或喝酒、下棋，或斗鸡、击球，或打猎、游赏。此卷画中共有五王，四个侍从，九骑九乘。其中，穿深红色衣服，由两个侍从搀扶者为李隆基，坐骑为“照夜白”；在李隆基后面的是身着淡黄衣、骑乌骓马、面部醉红的宋王李宪；接着是顾前盼后、骑玉花骢的岐王李范和骑黄骢骠的薛王李业；需要侍从侧骑服侍、伏鞍欲吐者为申王李撝，坐骑为九花虬。伺从挽着袖子，一边照料身旁醉得快坐不住的王，一边还要回头问后边那位能否撑得住，好不生动。",[49,23,52,25,54,58,225,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb754a83b3cca8f419f2c984d519f85bc.jpg","35.5x212.5厘米",[199,72],{"id":6266,"slug":6267,"title":2311,"dynasty":192,"author":2312,"museum":175,"description":6268,"tags":6269,"thumbUrl":6270,"material":319,"size":2316,"collection":122,"collections":6271,"showCount":6254,"zanCount":39,"manualWeight":39,"mainColor":75},221139,"shang-yang-tai-tie-li-bai-221139","《上阳台帖》是李白所书自咏四言诗。释文：\n“山高水長，物象千萬，非有老筆，清壯可窮。十八日，上陽臺書，太白。”\n引首清高宗弘历楷书题“青蓮逸翰”四字，正文右上宋徽宗赵佶瘦金书题签：“ 唐李太白上陽臺”一行。\n后纸有宋徽宗赵佶，元张晏、杜本、欧阳玄、王馀庆、危素、驺鲁，清乾隆皇帝题跋和观款。\n卷前后及隔水上钤有宋赵孟坚“子固”、“彜齋”、贾似道“秋壑圖書”，元“張晏私印”、“歐陽玄印”以及明项元汴，清梁清标、安岐、清内府，近代张伯驹等鉴藏印。\n这是李白传世的唯一书迹。其落笔天纵，收笔处一放开锋，宋黄庭坚评李白：“及观其稿书，大类其诗，弥使人远想慨然。白在开元、至德间，不以能书传，今其行、草殊不减古人。”(《山谷题跋》)\n此帖曾入宣和内府，后归贾似道，元代曾经张晏处，明藏项元汴天籁阁。清代先为安岐所得，再入内府，清末流出宫外。民国时入张伯驹手，新中国成立后献给国家。1958年此帖转交故宫博物院收藏。",[49,50,51,52,119,86,418,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ddf2bf1d39afff56bc9da86e3bbf57.jpg",[122],{"id":6273,"slug":6274,"title":6275,"dynasty":891,"author":892,"museum":6276,"description":6277,"tags":6278,"thumbUrl":6279,"material":107,"size":107,"collection":107,"collections":6280,"showCount":6254,"zanCount":39,"manualWeight":39,"mainColor":40},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。",[49,23,51,84,25,403,27,529,179,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b1dcc70632968186c19f507f452f51.jpg",[],{"id":6282,"slug":6283,"title":6284,"dynasty":146,"author":6285,"museum":81,"description":6286,"tags":6287,"thumbUrl":6289,"material":88,"size":6290,"collection":35,"collections":6291,"showCount":6254,"zanCount":39,"manualWeight":39,"mainColor":75},214818,"jia-tu-guan-dao-sheng-214818","茄图","管道升","管道升（生卒年不详）是中国元代（1271年 - 1368年）的画家。他主要以写意山水画著称。管道升的茄图是一幅以茄子为主题的山水画。茄子是一种常见的蔬菜，被广泛用于烹饪。这幅画中的茄子极具写意，呈现出自然的姿态和神韵。管道升善于运用水墨画的技法，表现出山水中的细腻和精致。\n\n管道升的茄图是一幅脍炙人口的名作，被广泛传颂和收藏。它的笔墨简洁，意境深远，描绘出了大自然的美丽和生机。这幅画不仅描绘了山水的美景，而且也表达了作者对生活的感悟和思考。管道升的茄图是中国山水画史上的经典之作，对中国画坛产生了深远的影响。",[23,51,26,54,27,6288,31,265,7],"茄子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ad2d3ee1317752964db7545c6ea152f.jpg","52.1x28.4",[35],{"id":6293,"slug":6294,"title":5869,"dynasty":97,"author":445,"museum":175,"description":6295,"tags":6296,"thumbUrl":6297,"material":391,"size":6298,"collection":70,"collections":6299,"showCount":6300,"zanCount":39,"manualWeight":39,"mainColor":40},234296,"yuan-ji-shan-shui-tu-ce-shi-tao-234296","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。",[50,23,51,24,25,26,55,56,871,58,727,751,6096,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff66ce93c8dd6e2917b723381f2a32347.jpg","纵33.2cm，横22.8cm",[70,72],121,{"id":6302,"slug":6303,"title":6304,"dynasty":97,"author":1082,"museum":99,"description":6305,"tags":6306,"thumbUrl":6307,"material":107,"size":107,"collection":107,"collections":6308,"showCount":6300,"zanCount":39,"manualWeight":39,"mainColor":40},230270,"hua-niao-chong-yu-shen-pin-zhu-da-230270","花鸟虫鱼神品","这一开册页书画合璧，尽显写意风流。右侧水墨花卉以极简笔墨成画，浓墨晕染花头，枯笔勾出素瓶，浓淡枯湿之间，将一花一器的幽寂勾勒殆尽，留白处尽是澹远空寂的禅意。左侧草书与画境呼应，笔墨纵逸苍劲，线条跌宕，和画面疏简孤高的气息融为一体。整体舍去所有赘饰，以少胜多，清冷孤傲的意趣浸透纸面，寥寥数笔就将文人澹泊疏离的心境铺陈开来，简而不空，淡而有味，尽显中式水墨留白造境的精妙。",[49,23,51,24,26,27,86,462,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bec6de9b81819d99336f4632ebed928.jpg",[],{"id":6310,"slug":6311,"title":6312,"dynasty":97,"author":6313,"museum":81,"description":6314,"tags":6315,"thumbUrl":6316,"material":6317,"size":6318,"collection":35,"collections":6319,"showCount":6300,"zanCount":39,"manualWeight":39,"mainColor":40},222807,"zhu-xia-hong-mei-wang-wu-222807","竹下红梅","王武","王武，1632年生，1690年逝世，吳縣（今江蘇蘇州）人。字勤中，晚號忘庵，又號雪顛道人。明代畫家王鏊六世孫，精鑑賞，富收藏，擅畫花鳥，風格工整秀麗，正如王時敏所云：“神韻生動，應在妙品中。”為清初院畫的名家。亦擅詩文。傳世作品有《水仙柏石圖》、《紅杏白鴿圖》、《鴛鴦白鷺圖》等。",[49,23,51,24,25,54,27,358,528,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe28b7f42c49990357f197784cca3d392.jpg","紙","27.9×36.3",[35,72],{"id":6321,"slug":6322,"title":6323,"dynasty":18,"author":161,"museum":175,"description":6324,"tags":6325,"thumbUrl":6326,"material":668,"size":6327,"collection":70,"collections":6328,"showCount":6300,"zanCount":1288,"manualWeight":39,"mainColor":40},222128,"xi-shan-yu-guan-tu-juan-shen-zhou-222128","西山雨观图卷","画心无款识，钤“沈”（朱方）、“石田”（朱方）、“启南”（朱方）印。引首文徵明书“西山雨观”隶书四字。后有陈沂、顾璘、文徵明、汤珍、蔡羽、徐充、文彭、盛时泰、文嘉九家题跋。鉴藏印钤“乾隆御览之宝”、“乾隆鉴赏”、“三希堂精鉴玺”、“宜子孙”、“子孙永保其用”、“修竹馆”、“石渠宝笈”、“石渠宝鉴”、“宝笈重编”、“乐寿堂鉴藏宝”、“宁寿宫续人后渠宝笈”、“嘉庆御览之宝”、“无逸斋精鉴玺”、“宣统鉴赏”、“盛仲交”、“商丘宋犖审定真迹”等。\n画面描绘苏州西山烟云变化、雨霁烟消的景色。沈周仿南宋书画家米友仁的笔法，描绘峰峦连绵起伏，山间云雾出没，林木层叠，村庄、湖泊、小桥被笼罩在烟霭之中。山石和草木均用水墨点成，浑然一体，不见线条及皴擦的痕迹，显示出画家高超的绘画水平和独到的审美韵味。卷后题跋者都是苏州地区的文人墨客，他们常互邀相聚，饮酒赋诗，切磋画艺，探究学问，他们在诗跋中表达了对《西山雨观图》的赞美，可见该图在明代中后期文人中产生了颇为重要的艺术影响和审美共鸣。",[49,23,51,52,26,56,55,86,7,279,64,751,752,3041],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc79ab75a5ee8c8a6a86fe7bdb89e6409.jpg","纵25.2厘米，横105.8厘米",[70,242],{"id":6330,"slug":6331,"title":6332,"dynasty":115,"author":3050,"museum":525,"description":6333,"tags":6334,"thumbUrl":6335,"material":88,"size":6336,"collection":35,"collections":6337,"showCount":6300,"zanCount":1288,"manualWeight":39,"mainColor":75},216207,"qi-xiao-tu-liang-kai-216207","栖鸮图","栖鸮图是中国宋朝画家、书法家梁楷的名作。这幅画描绘了一只美丽的栖鸮鸟停在树枝上，身躯优美，栩栩如生。\n\n梁楷是宋朝最伟大的画家之一，他在画鸟时细致入微，把鸟的形态、羽毛和神情都写得栩栩如生。他的作品常常被视为中国画的精品，在世界艺术史上享有极高的地位。",[23,26,403,7,66,358,1227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c4639fd1e32157af0aa83de738b753.jpg","78x29cm",[35],{"id":6339,"slug":6340,"title":6341,"dynasty":97,"author":445,"museum":99,"description":3557,"tags":6342,"thumbUrl":6343,"material":689,"size":690,"collection":107,"collections":6344,"showCount":6345,"zanCount":1288,"manualWeight":39,"mainColor":40},290425,"shan-shui-ce-8-zhen-shi-tao-290425","山水册8帧",[23,24,56,26,25,55,278,279,64,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e43bd7167cf84e5eb97a9e84d36de0.jpg",[],120,{"id":6347,"slug":6348,"title":4428,"dynasty":97,"author":1180,"museum":99,"description":1655,"tags":6349,"thumbUrl":6350,"material":689,"size":690,"collection":107,"collections":6351,"showCount":6345,"zanCount":1288,"manualWeight":39,"mainColor":40},289981,"mei-hua-tu-li-zhou-wu-chang-shuo-289981",[49,23,84,26,25,528,777,277,27,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F064a0d9d4e3f29549f1c436bae20a6d3.jpg",[],{"id":6353,"slug":6354,"title":4633,"dynasty":97,"author":6355,"museum":99,"description":6356,"tags":6357,"thumbUrl":6359,"material":689,"size":690,"collection":107,"collections":6360,"showCount":6345,"zanCount":1288,"manualWeight":39,"mainColor":40},283778,"shi-nv-tu-wu-ying-zhen-283778","吴应贞","女。字含五，江苏吴江人，适同邑赵氏。工写生，风神婉约，自是闺房之秀。",[23,50,25,54,58,136,277,6358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横80厘米",[70],{"id":6430,"slug":6431,"title":1302,"dynasty":146,"author":6285,"museum":81,"description":6432,"tags":6433,"thumbUrl":6434,"material":88,"size":6435,"collection":35,"collections":6436,"showCount":6412,"zanCount":39,"manualWeight":39,"mainColor":40},219386,"zhu-shi-tu-guan-dao-sheng-219386","土坡上立一奇石，左边是一高一低，一浓一淡两竿修竹，右下是一丛竹叶。竹叶上挺，谓之“晴竹”，画时下笔须略带逆势藏锋，然后以中锋重按掠去，至叶尖处疾挑而出。梢头结顶，挑出时尤须注意左右顾盼，姿态生动。",[23,50,51,84,26,358,277,119,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97662080d58fa53960826604bfe1a32f.jpg","纵87.1厘米，横28.7厘米",[35],{"id":6438,"slug":6439,"title":6440,"dynasty":97,"author":248,"museum":2698,"description":4687,"tags":6441,"thumbUrl":6444,"material":152,"size":4691,"collection":107,"collections":6445,"showCount":6412,"zanCount":39,"manualWeight":39,"mainColor":75},216105,"yun-shou-ping-hua-guo-shu-cai-ce-ye-6-yun-shou-ping-216105","恽寿平花果蔬菜册页-6",[23,51,24,264,25,26,54,6442,6443,86,7],"蔬菜","花果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3724ec920b115a05ae3e781e2301e54f.jpg",[],{"id":6447,"slug":6448,"title":6449,"dynasty":18,"author":4381,"museum":175,"description":6450,"tags":6451,"thumbUrl":6452,"material":25,"size":6453,"collection":35,"collections":6454,"showCount":6412,"zanCount":743,"manualWeight":39,"mainColor":40},216097,"qiang-wei-shan-mian-lu-zhi-216097","蔷薇扇面","陆治（1496—1576年），字叔平，吴县（今属江苏苏州）人。因居太湖之包山，号包山子，后隐居支硎山中。文徵明弟子，诗、文、书、画都有相当造诣，擅长画山水、花鸟，为“吴门画派”后期重要画家。花鸟画兼工能写，风格清秀。山水画笔墨劲峭，深受宋元人和文徵明影响而又创立了自己的风格。",[49,822,23,25,27,28,3975,30,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b8d7a219ff7f6c557ee6210e2bc55f4.jpg","15.9x49cm",[35],{"id":6456,"slug":6457,"title":6458,"dynasty":97,"author":2322,"museum":81,"description":6459,"tags":6460,"thumbUrl":6461,"material":33,"size":6462,"collection":70,"collections":6463,"showCount":6412,"zanCount":743,"manualWeight":39,"mainColor":40},214728,"fang-huang-gong-wang-qiu-shan-tu-qian-wei-cheng-214728","仿黄公望秋山图","这幅浅绛色的溪山图是清代对黄公望笔法的典型再创作。",[50,23,51,25,55,134,7,56,64,61,63,150,279,727],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48650c798602818f548f4a9796a6aefe.jpg","92.3x43.5",[70],{"id":6465,"slug":6466,"title":6467,"dynasty":97,"author":6468,"museum":525,"description":6469,"tags":6470,"thumbUrl":6471,"material":88,"size":107,"collection":70,"collections":6472,"showCount":6412,"zanCount":39,"manualWeight":39,"mainColor":40},214517,"shui-mo-tu-ce-zheng-min-214517","水墨图册","郑旼","郑旼是清代著名的画家，他的水墨图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了郑旼对自然的热爱和对传统文化的尊重。他运用了水墨画的特点，使得整件作品显得舒缓而优美。\n\n郑旼是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在水墨图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，郑旼的水墨图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了郑旼对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到郑旼的画风魅力，还能了解中国传统的山水风情。",[24,26,119,86,56,967,150,31,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35a214c726747716788dfbbb381e5298.jpg",[70,242],{"id":6474,"slug":6475,"title":6476,"dynasty":97,"author":248,"museum":81,"description":685,"tags":6477,"thumbUrl":6478,"material":33,"size":6479,"collection":107,"collections":6480,"showCount":6481,"zanCount":743,"manualWeight":39,"mainColor":40},287445,"qiao-ke-xiu-zhu-tu-yun-shou-ping-287445","乔柯修竹图",[50,23,51,84,26,25,137,358,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d2a4a5bac926514b0d81e6b64ae1eed.jpg","101.6x47.8",[],118,{"id":6483,"slug":6484,"title":6485,"dynasty":18,"author":161,"museum":175,"description":6486,"tags":6487,"thumbUrl":6488,"material":391,"size":6489,"collection":107,"collections":6490,"showCount":6481,"zanCount":11,"manualWeight":39,"mainColor":40},233834,"wo-you-tu-ce-qiu-bai-yun-shen-zhou-233834","卧游图册－秋白云","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。",[23,26,56,24,55,870,1207,871,406,150,7,51,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4868fee16962b07ce024455e75393200.jpg","纵27.8厘米，横37.3厘米",[],{"id":6492,"slug":6493,"title":6494,"dynasty":97,"author":445,"museum":175,"description":6495,"tags":6496,"thumbUrl":6499,"material":668,"size":6500,"collection":107,"collections":6501,"showCount":6481,"zanCount":1288,"manualWeight":39,"mainColor":40},233122,"sou-jin-qi-feng-tu-juan-shi-tao-233122","搜尽奇峰图卷","画卷迎首处，石涛自题：“搜尽奇峰打草稿”，钤“老涛”。画尾的空白处，有石涛于画兴之余所题写的长篇画论：“郭河阳论画，山有可望者、可游者、可居者。余曰：江南江北，水陆平川，新沙古岸，是可居者。浅则赤壁苍横，湖桥断岸，深则林峦翠滴，瀑水悬争，是可游者。峰峰入云，飞岩堕日，山无凡土，石长无根，木不妄有，是可望者。今之游于笔墨者，总是名山大川未览，幽岩独屋何居？出郭何曾百里入室，那容半年交泛滥之酒杯，货簇新之古董，道眼未明，纵横习气安可辩焉？自之曰：此某家笔墨，此某家法派，犹盲人之示盲人、丑妇之评丑妇尔，赏鉴云乎哉。不立一法，是吾宗也，不舍一法，是吾旨也，学者知之乎。时辛未二月，余将南还客且憨斋，宫纸余案，主人慎庵先生索画并识请教，清湘枝下人石涛元济。”钤“苦瓜和尚”、“冰雪悟前身”、“石涛”。\n后隔水及尾纸，有墨香堂、陈奕禧、徐云、叶河音布等家题诗和题记。全幅钤鉴藏印数十方。\n此图是他50岁云游京师所作。图中有一段对长城的描绘，这不仅是长城图像首次在山水画中出现，同时，也印证了此画的写实性以及作者所提倡的师法造化“搜尽奇峰打草稿”的美学观。该画在表现上，于奇险中见雄浑，严谨处寓虚空。虽看似笔墨豪放，皴擦点染尽在无意，而在整体上却把握了峰峦层次，云气走向及林木隐现的神韵。特别是，它的构图虽然充塞满纸，却丝毫不失疏朗空灵，这的确是只有搜尽奇峰才能炼就出的本领。",[23,51,52,26,56,55,86,7,119,6497,278,715,64,150,279,6498,164],"奇峰","舟楫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2509a448a26e43ea37e9080967b1229.jpg","纵42.8厘米，横285.5厘米",[],{"id":6503,"slug":6504,"title":6505,"dynasty":146,"author":431,"museum":175,"description":6506,"tags":6507,"thumbUrl":6509,"material":319,"size":6510,"collection":122,"collections":6511,"showCount":6481,"zanCount":11,"manualWeight":39,"mainColor":40},220864,"zhen-cao-qian-zi-wen-zhao-meng-fu-220864","真草千字文","赵孟頫临写智永千字文最勤，他自称二十年来写千文以数百。赵孟頫临智永真草千字文现留存于世有两件，一卷藏于上海博物馆，另外便是这件藏于故宫博物院的册页，两件墨迹均无书写年月。这件册页未署书的年代，观其书用笔极其温润圆劲，点画精到细腻，结字妍美简静。无疑是一本初学者入门的极佳范本。本帖字迹匀称，笔势圆劲流丽，结构布局端庄秀美。不仅具有极高的艺术欣赏价值和收藏价值，也让广大书法爱好者领略到中国古典书法的一种理想境界，以柔寓刚、外柔内刚。初学者可根据每个字的用笔、结构、布势等去临摹。《赵孟頫真草千字文》这本字帖当为罕世珍品，可以说是初学者的最佳范本。",[49,86,6508,462,52,319,4832,418,7],"真书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd596427226b7898ee2dbf52d1143a72c.jpg","纵:24.7厘米,横:25厘米",[122],{"id":6513,"slug":6514,"title":6515,"dynasty":146,"author":1303,"museum":81,"description":6516,"tags":6517,"thumbUrl":6518,"material":319,"size":6519,"collection":242,"collections":6520,"showCount":6481,"zanCount":39,"manualWeight":39,"mainColor":75},220792,"gu-mu-zhu-shi-tu-zhou-ni-zan-220792","古木竹石图轴","《古木竹石图轴》绘坡石间疏竹数丛，枯树两株，笔墨浓淡相间，富有层次感，境界清旷，意境简远，呈现出一片清静幽远的气象。画轴上方有元明余诠、唐肃、高巽志、于思缉、张简、吴卢充、王璲等七处题诗。",[49,23,51,84,26,55,277,358,137,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F575c01e50d18d2d517bef35aebf5ff48.jpg","47x27.4",[242,921],{"id":6522,"slug":6523,"title":6524,"dynasty":18,"author":2181,"museum":99,"description":6525,"tags":6526,"thumbUrl":6527,"material":239,"size":6528,"collection":122,"collections":6529,"showCount":6481,"zanCount":39,"manualWeight":39,"mainColor":75},219984,"lin-mi-fei-fang-yuan-an-ji-dong-qi-chang-219984","临米芾方圆庵记","全文共计七百六十八字，董其昌首题“方圆庵记”四大字，末署四十一小字。与米芾宋拓原文对照，第十八行阙“然而”二字；第六直三行“佛”字前阙“至于吾”三字；第六十六行中“以”原文为“其”，第七十二行中“圣”原文为“先”，第八十五行“异”后少“观”字；第九十四行则多一“庵”字。",[49,86,119,134,52,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F163332a7ddae4aba4d6a8c5694000721.jpg","高26厘米，长200厘米",[122],{"id":6531,"slug":6532,"title":6533,"dynasty":1037,"author":2876,"museum":525,"description":6534,"tags":6535,"thumbUrl":6537,"material":152,"size":107,"collection":199,"collections":6538,"showCount":6481,"zanCount":743,"manualWeight":39,"mainColor":75},219495,"ming-huang-hui-qi-tu-zhou-wen-ju-219495","明皇会棋图","南唐画家周文矩的《明皇会棋图》。 画面上有八个人物，明皇坐位前置一棋局，官员一人、和尚二人、道士二人、 优人一人、侍从内官一人。关于画面上的八个人物有各种不同说法，至今未 有定论。有人认为，跟唐明皇下棋的是日本留学僧辨正；有人说，在是棋待 诏郑观音。不论画中的人物是谁，这幅作品都真实地反映了唐代宫廷中的围棋活动",[54,25,52,58,6536,180,7,86],"棋盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F004c58d3b635335bb0e20419635d93d8.jpg",[199],{"id":6540,"slug":6541,"title":6542,"dynasty":115,"author":4697,"museum":99,"description":6543,"tags":6544,"thumbUrl":6546,"material":33,"size":6547,"collection":199,"collections":6548,"showCount":6481,"zanCount":743,"manualWeight":39,"mainColor":75},218285,"ji-gong-tu-mu-xi-218285","济公图","画面人物情态鲜活，右侧身影衣衫宽博，神态不羁却藏温煦，似正与周遭人语。周遭老幼或凝神谛听，或俯身趋近，动态毕现。笔墨简括灵动，线条如行云流水，衣衫褶皱寥寥数笔便见洒脱之姿，墨色浓淡相宜，衬出人物神情的真切。背景淡远，更显群像生动。于简约中见真意，随性之笔捕捉瞬间生活气息，又暗蕴禅家超脱与悲悯，笔墨间那份直击人心的生动与温暖，悄然流转。观者仿佛能听见席间笑语，触到那份不拘形骸的自在，于水墨晕染里，感受画中人物的鲜活与烟火气交织的独特韵味。",[50,23,51,26,135,58,150,6545,7],"草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8931c719123b1f804d7302dcd90dfc65.jpg","26x29",[199],{"id":6550,"slug":6551,"title":6552,"dynasty":146,"author":1303,"museum":99,"description":6553,"tags":6554,"thumbUrl":6555,"material":689,"size":690,"collection":107,"collections":6556,"showCount":6557,"zanCount":1288,"manualWeight":39,"mainColor":40},290911,"tong-lu-qing-qin-zhou-ni-zan-290911","桐露清琴轴","倪瓒（1301年－1374年），初名倪珽，字泰宇，别字元镇，号云林子、荆蛮民、幻霞子，江苏无锡人，元末明初画家、诗人。\n倪瓒擅画山水和墨竹，师法董源，受赵孟頫影响。早年画风清润，晚年变法，平淡天真。疏林坡岸，幽秀旷逸，笔简意远，惜墨如金。以侧锋干笔作皴，名为“折带皴”。墨竹偃仰有姿，寥寥数笔，逸气横生。书法从隶书入，有晋人风度，亦擅诗文。洪武七年卒，时年七十四岁。\n倪瓒与黄公望、王蒙、吴镇合称“元四家”。倪瓒家中富有，博学好古，四方名士常至其门。元顺帝至正初年，散尽家财，浪迹太湖。存世作品有《渔庄秋霁图》《六君子图》《容膝斋图》《清閟阁集》。",[50,23,26,84,56,967,277,1597,7,86,5422],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c25266acd1f692249a38a65cbc9d8fa.jpg",[],117,{"id":6559,"slug":6560,"title":6561,"dynasty":18,"author":2181,"museum":175,"description":6562,"tags":6563,"thumbUrl":6564,"material":319,"size":6565,"collection":107,"collections":6566,"showCount":6557,"zanCount":39,"manualWeight":39,"mainColor":40},234294,"dong-qi-chang-shan-shui-ce-dong-qi-chang-234294","董其昌山水册","明代画坛流派叠现，异彩纷呈。晚期更有华亭派、武林派等异军突起，影响远泽有清一代。其中，华亭派领袖人物董其昌推崇倡导的摹古风气对后世画坛的影响尤为深刻。对于学习绘画，董其昌认为应先以古人为师，对古人画迹悉心摹写，将其笔墨技法、布局构图于心中融汇贯通，从而得古人笔墨意趣，然后再师法自然，汲取创作灵感。他对自己的主张是身体力行的。\n这套《仿古山水》册共８开，皆为仿唐及宋元诸家如杨昇、惠崇、李公麟、倪瓒等的小幅册页，是董其昌仿古一类绘画中不可多得的妙品。董氏水墨山水名重于世，设色山水也别具一格。此册中“仿唐杨昇”一开青绿山水，以没骨法为之，丛树峰峦等都用石青、石绿、朱砂、赭石等色染出，鲜有勾皴，与李思训一派线条硬劲的青绿山水情趣各异。董其昌曾遍临名家画作，而用功最勤的则是元四家。册中有“仿倪元镇”一开山水，构图布局和树、石、山、亭的画法无不毕肖于倪瓒之作，可谓得其三昧，登堂入室。此套册页虽每开均以“仿”字冠名，其实画面却不尽然，因为每幅都有自出新意之处。再以“仿倪元镇”一开为例，与倪瓒之画呈现的寂寥疏淡的面目相比，此图使人感受到的是勃勃生机，这是董氏取诸家笔墨之长，再运用自身的学养识见加以变化而直抒胸臆、独树风标的不凡魅力，后世众多摹古画家始终无法企及。",[23,51,24,26,55,56,64,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c557e3d03c9fa8ddf25f0c6f8a1e0ef.jpg","纵26.3厘米，横25.5厘米",[],{"id":6568,"slug":6569,"title":6570,"dynasty":97,"author":736,"museum":81,"description":6571,"tags":6572,"thumbUrl":6573,"material":253,"size":6574,"collection":35,"collections":6575,"showCount":6557,"zanCount":1288,"manualWeight":39,"mainColor":40},222775,"hua-shi-jun-quan-jin-chi-xian-zhou-lang-shi-ning-222775","画十骏犬金翅猃轴","画中十条品种高贵的名犬，这些名犬大都是当时周边部落首领进献给皇帝的，，均为郎世 宁写生作品。由于他深谙动物的解剖结构，所以其笔下的名犬形象非常准确，且富于立体感。在笔法上，他以细碎的小笔触来表现动物皮毛的质感，使得入 画的名犬栩栩如生。\n十条品种高贵的名犬，分别命为：苍水虬、斑锦彪、金翅猃、蓦空鹊、墨玉璃、茹黄豹、睒星狼、霜花鹞、雪爪卢、苍猊犬。其中，前九条狗都属小头长吻、腰腹收缩、四肢细劲那类品种，均为出色的擅长奔跑的猎手，敏捷强壮，速度耐力惊人，成为皇帝一行围猎时的好帮手;最后那条威猛的苍猊犬，应当是藏獒。\n从画面上看，图中的犬，无疑是由画家郎世宁所绘，因为狗采用的是西方的素描画法，造型立体具有质感，欧洲风味很足;而图画背景部分的花草坡石，讲究皴法、勾勒，追求平面的装饰效果，与动物的画法相比较，二者有很大的差异，这应当是由供奉宫廷的中国画家用传统画法补画的，但署名只有郎世宁一人。作品用中国的毛笔、纸绢和色彩，却以欧洲的绘画方式来诠释动物的结构、体积感及皮毛的质感，使得动物造形准确、生动，立体效果强。在这幅作品中骏犬的描绘用素描式的方法，通过光影明暗的变化，来达到栩栩如生的效果。但环境的描绘却遵循中国绘画的传统技法，勾、皴、点、染，兼工带写，以工为主，营造出中国花鸟画所特有的清秀明丽的韵味。\n《十骏犬》册中的每幅图都有当朝的文职大臣的题诗赋词。据史料记载，乾隆皇帝拿到时，大加赞赏，百看不厌，爱不释手。这幅册页，艺术水准相当高，郎士宁使用的是中国的软笔，却按西画的透视和光感等技巧，把犬的形态和神态表现出来，体现了高超的写生功夫和创意能力，画得相当精细，栩栩如生，立体感极强。比如犬的毛是单笔渐入，虽然用的不是画油画的油彩，却根根呈现，逼真到让人忍不住触手去摸，中国画是散点透视，西画是高光点和近光点，一点透视。这种透视效果在这两幅册页中充分体现出来。这些技法对后来中国画的发展都有很大的影响。",[84,54,25,1116,5028,610,137,332,531,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3d9b7654a0339edd6a81f4425fe0115.jpg","每幅纵246.6厘米，横163.9厘米",[35,72],{"id":6577,"slug":6578,"title":6579,"dynasty":115,"author":207,"museum":99,"description":6580,"tags":6581,"thumbUrl":6582,"material":152,"size":107,"collection":213,"collections":6583,"showCount":6557,"zanCount":39,"manualWeight":39,"mainColor":75},218401,"e-xi-tu-yi-ming-218401","鹅戏图","这幅画描绘了一个池塘，漂浮着如盘子般碧绿的荷叶，点缀着鲜红的荷花，四只白天鹅在水中嬉戏，一只领头，两只尾随，最后一只正在奋力追赶。\n这幅画色彩淡雅，薄而透明，色彩与水墨相得益彰，整体上没有浓墨重彩，导致前景的四只白天鹅特别明亮。",[49,23,50,822,54,25,5210,420,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde4cd89f1d562c9fdb8d729cb3008bbc.jpg",[213],{"id":6585,"slug":6586,"title":6587,"dynasty":1037,"author":4975,"museum":99,"description":6588,"tags":6589,"thumbUrl":6590,"material":689,"size":690,"collection":107,"collections":6591,"showCount":6592,"zanCount":1288,"manualWeight":39,"mainColor":75},290143,"yao-miao-san-tu-tu-huang-ju-cai-290143","药苗三兔图","黄居寀[cǎi]（933年—993年后），字伯鸾，成都（今属四川）人，五代十国名画家黄筌第三子。善画花竹、翎毛，为西蜀翰林待诏。蜀亡入宋，得宋太宗礼遇，黄家画法遂成宋初画院评画的标准。精于勾勒，用笔劲挺工稳，填彩浓厚华丽，其园竹翎毛形象逼真，妙得自然；怪石山水超过乃父，与父同仕后蜀，为翰林待诏，入宋仍任翰林待诏。尝合作殿廷墙壁，宫闱屏幛，不可胜记。",[23,50,52,54,25,27,1171,66,28,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb438f57aef3d2f318cc466e59d223e48.jpg",[],116,{"id":6594,"slug":6595,"title":2903,"dynasty":97,"author":1180,"museum":99,"description":6596,"tags":6597,"thumbUrl":6598,"material":107,"size":107,"collection":107,"collections":6599,"showCount":6592,"zanCount":39,"manualWeight":39,"mainColor":40},239284,"mei-hua-zhou-wu-chang-shuo-239284","此作用篆籀笔法写梅枝，老干如铁铸横斜，运笔顿挫生辣，尽显金石古拙之趣。淡墨圈花，留白缀出冰蕊琼华，繁枝错落疏密得宜，将梅的苍劲清妍揉为一体。\n\n右侧题字笔势酣畅，与梅枝刚健呼应，笔墨浓淡相生，把傲雪凌霜的品格寄于笔端，清雅风骨与雄强笔力相融，在水墨间晕染出盎然生机与文人孤高意趣，尽显大写意花卉的淋漓意韵。",[23,51,84,26,403,528,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd96f5289d271ae643a842746503256f.jpg",[],{"id":6601,"slug":6602,"title":6603,"dynasty":97,"author":1082,"museum":99,"description":6604,"tags":6605,"thumbUrl":6607,"material":107,"size":107,"collection":107,"collections":6608,"showCount":6592,"zanCount":39,"manualWeight":39,"mainColor":40},230279,"yang-liu-yu-qin-tu-zhou-zhu-da-230279","杨柳浴禽图轴","《朱耷杨柳浴禽图轴》是清代朱耷创作的一幅画。\n本幅自识：“癸未冬日写，八大山人。\n”钤“八大山人”、“何园”、“真赏”印。\n“癸未”是康熙四十二年（17年）。\n鉴 ：“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。",[49,23,51,84,26,403,27,277,6606,66,7],"杨柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F919edce87f0eaaf6b6bab59b57d7634d.jpg",[],{"id":6610,"slug":6611,"title":6612,"dynasty":97,"author":3871,"museum":175,"description":6613,"tags":6614,"thumbUrl":6619,"material":6620,"size":6621,"collection":107,"collections":6622,"showCount":6592,"zanCount":455,"manualWeight":39,"mainColor":1441},223246,"wu-liang-shou-fu-tu-ding-guan-peng-223246","无量寿佛图","祥云朵朵，周围站立四大金刚及佛祖两大弟子伽叶、阿难，前有女信徒合掌跪拜，旁立哼、哈二将。线条工细，佛像脸部、手部及莲座，均用晕染法，显出明暗凹凸之感。以''钉头鼠尾''描表现的衣纹于规整中又平添几分洒脱。采用''勾勒填金''的方式，以泥金为墨绘在瓷青纸上，使画面色泽深重雅丽。",[49,105,23,50,54,6615,25,1284,58,6616,6617,6618,59,2779,7],"描金","佛","弟子","护法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76ded1bcb112cae3a4d25a8535de94a4.jpg","瓷青纸金画","纵99．3厘米，横61．9厘米",[],{"id":6624,"slug":6625,"title":6626,"dynasty":115,"author":6627,"museum":99,"description":6628,"tags":6629,"thumbUrl":6630,"material":689,"size":690,"collection":107,"collections":6631,"showCount":6632,"zanCount":39,"manualWeight":39,"mainColor":40},289110,"zhu-jiu-tu-li-an-zhong-289110","竹鸠图","李安忠","李安忠，南宋画家。钱塘（今浙江杭州）人，生卒年不详。宋徽宗宣和（1119-1125）时为画院祗候，历官成忠郎。南渡后绍兴（1131-1162）间复职画院，赐金带。",[50,23,822,27,54,25,66,358,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbf7aff72457c41858438cb9ffdc6b09.jpg",[],115,{"id":6634,"slug":6635,"title":6636,"dynasty":97,"author":1180,"museum":175,"description":6637,"tags":6638,"thumbUrl":6639,"material":6640,"size":6641,"collection":35,"collections":6642,"showCount":6632,"zanCount":1288,"manualWeight":39,"mainColor":40},236754,"mu-dan-shui-xian-tu-zhou-wu-chang-shuo-236754","牡丹水仙图轴","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。",[23,84,26,403,308,488,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8e4f3d78148a5c14ce790f58f1d5d01.jpg","洒金，设色","纵174.7厘米，横47.5厘米",[35,242],{"id":6644,"slug":6645,"title":675,"dynasty":97,"author":248,"museum":99,"description":685,"tags":6646,"thumbUrl":6647,"material":689,"size":690,"collection":107,"collections":6648,"showCount":6632,"zanCount":1288,"manualWeight":39,"mainColor":40},235082,"yun-shou-ping-hua-hui-ce-yun-shou-ping-235082",[23,51,24,25,264,119,7,27,308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18f6cfe7b0c9fd846a94eda0dfacb50e.jpg",[],{"id":6650,"slug":6651,"title":6652,"dynasty":97,"author":6653,"museum":99,"description":6654,"tags":6655,"thumbUrl":6656,"material":107,"size":107,"collection":107,"collections":6657,"showCount":6632,"zanCount":625,"manualWeight":39,"mainColor":924},229032,"yue-man-qing-you-tu-chen-mei-229032","月曼清游图","陈枚","《月曼清游图》册，清，陈枚绘，绢本，设色，共12开，每开纵7cm，横1.8cm。\n此画册落款“臣陈枚恭画”，钤“臣枚”印1方。\n每开均配有清代梁诗正的行草体墨题，款“乾隆岁在戊午秋九月朔臣梁诗正敬题”， 戊午为乾隆三年（178年）。\n钤清高宗弘历“乾隆御览之宝”、“古希天子”、“乐善堂图书记”等印共6方。\n《月曼清游图》册描绘的是宫廷嫔妃们一年12个月的深宫生活：正月“寒夜探梅”、二月“杨柳荡千”、三月“闲亭对弈”、四月“庭院观花”、五月“水阁梳妆”、六月“碧池采莲”、七月“桐荫乞巧”、八月“琼台玩月”、九月“重阳赏菊”、十月“文窗刺绣”、十一月“围炉博古”、十二月“踏雪寻诗”。\n通过这一幅幅生动的画面体现了宫廷生活与民间生活的密切关联。\n嫔妃们的活动内容，在民间生活中均习以为常，只不过由于宫廷的特殊地位，而令这些活动从内容到形式都具有更加富贵、繁琐及典制化的特点。\n作者在人物创作的审美取向上有别于唐代张萱、周昉笔下体态丰腴的嫔妃形象，而以明代唐寅、仇英笔下的仕女画为审美标准，追求秀润飘逸的情致。\n画家以工细流畅的线条和亮丽鲜活的色彩将嫔妃们描绘成身材修长、体态轻盈、“倚风娇无力”之貌。\n她们三五成群地行进在以界画表现的亭台楼阁内或是细笔勾染皴点的花石下。\n富贵闲逸的宫苑生活令她们的物质生活十分充足，也使她们的精神世界极度贫乏。\n在技法上，此图所绘人物造型生动准确，笔致工细严谨，源于宋代院体画风。\n图中的楼台房室建筑则采用西洋 绘成，根据图中透视线斜度的变化，可以准确地推求出灭点的具体位置，从而加强了平面画幅的立体、纵深效果，在有限的画面上扩展出无限的空间。\n此图册于乾隆三年（178年）绘成后深得乾隆皇帝的赞赏。\n乾隆帝于六年谕令皇宫“造办处”的优秀匠人，如擅镶嵌技艺的常存，擅牙雕工艺的陈祖章、陈观泉父子及顾彭年、萧汉振等，以陈枚的这本图册为画稿，用象牙、玉石等进行雕刻。\n匠人们精雕细琢，密切结合牙雕和镶嵌的技艺特点，令画面层次分明，富有立体感。\n这件雕有1人的牙雕精品被称作“百美图”。\n乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[54,25,1962,136,58,528,181,7,1574,59,4119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e6e1bafcf4e74f158449349167ce92e.jpg",[],{"id":6659,"slug":6660,"title":6661,"dynasty":115,"author":6662,"museum":99,"description":6663,"tags":6664,"thumbUrl":6665,"material":107,"size":107,"collection":107,"collections":6666,"showCount":6632,"zanCount":1288,"manualWeight":39,"mainColor":40},227540,"hou-chi-bi-fu-shi-yi-tu-juan-qiao-zhong-chang-227540","后赤壁赋诗意图卷","乔仲常","纳尔逊·阿特金斯艺术博物馆藏旧传北宋·乔仲常《后赤壁赋图》卷，纸本水墨，无款，北宋赵令畤题跋，赵氏与苏轼友好，有诗文唱和，情谊甚笃。北宋人武圣可也有题跋在后纸。画中还有北宋人梁师成的钤印，记“梁师成美斋印”等八方藏印。\n\n清代藏印众多，著名的梁清标藏印，嘉庆内府藏印，及末代皇帝溥仪的藏印。很明显这是一件《石渠宝笈》著录的古代书画，著录在《石渠宝笈》初编，参照《石渠宝笈》的记载，清高宗所书引首“云山得意”被裁剪，乾隆的《石渠宝笈》诸玺不见，后面题跋十一则仅剩两位北宋人跋文。据纳尔逊博物馆研究结论，用现代科学仪器测试，画面与题跋部分用纸相同，用墨却不同。这就符合当时的时代特点，绘画完成以后的拖尾部分，不断有人题跋，因此纸地相同而墨不同。\n\n当代鉴定大师们访美曾观看此幅作品，曾认为：纸本水墨。无款，后赵德麟跋，但言为赤壁赋图，亦未言其为乔作。画是北宋末文人画无疑，画远山，加点，富春山居颇似之。用笔极活，淡墨之色亦佳。何惠鉴先生云，馆方近以70万美元购之(时年1973年)，为近年中国古画最高价。",[49,50,23,51,52,135,26,55,56,58,62,63,66,64,1902,59,61,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd982e48fd0260fead82c340c7279bba6.jpg",[],{"id":6668,"slug":6669,"title":6670,"dynasty":146,"author":4259,"museum":20,"description":6671,"tags":6672,"thumbUrl":6673,"material":668,"size":6674,"collection":242,"collections":6675,"showCount":6632,"zanCount":743,"manualWeight":39,"mainColor":40},221832,"mo-zhu-tu-juan-ke-jiu-si-221832","墨竹图卷","元代伯颜不花题记：予旧藏东坡枯木丛竹一小卷，每闲暇，于明窗净几间，时复展玩，不觉尘虑顿消，颇得佳趣耳。 一日，友人赠我文湖州墨竹一枝，与坡仙画枯木图高下一般，不差分毫， 喜曰：此天成配偶也！如张华之雄剑遇雷焕之雌剑， 遂合于延平之津，神物有对，终必合也，此卷亦然。遂粘为一卷， 名曰：二妙事岂偶然哉？至正十五年岁在乙未十月上浣，高昌伯颜不花苍岩谨识。济南邢侗子愿鉴定。",[49,23,51,52,26,358,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc715dfe5b99d815d10e9ee48591023.jpg","纵23.4厘米，横87厘米",[242,921],{"id":6677,"slug":6678,"title":6679,"dynasty":18,"author":607,"museum":446,"description":6680,"tags":6681,"thumbUrl":6684,"material":33,"size":107,"collection":70,"collections":6685,"showCount":6632,"zanCount":1288,"manualWeight":39,"mainColor":75},220428,"you-jian-zhuo-zu-tu-wen-zheng-ming-220428","幽涧濯足图","图绘深山幽涧，高士濯足涤俗。山石皴法不作奇峭之笔，徐徐擦出，崖上之树叶全用细笔点染，全幅清气出尘，观之使人爽然。",[49,50,23,51,84,25,56,58,64,1902,6682,61,610,55,6683,7],"洞穴","苔点","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6ce959c12441f921b6cc387711c038.jpg",[70,199,72],{"id":6687,"slug":6688,"title":6689,"dynasty":18,"author":2181,"museum":175,"description":6690,"tags":6691,"thumbUrl":6692,"material":88,"size":6693,"collection":70,"collections":6694,"showCount":6632,"zanCount":39,"manualWeight":39,"mainColor":40},220096,"fang-ju-ran-shan-shui-tu-dong-qi-chang-220096","仿巨然山水图","本幅近景画丘坡茅亭、高树疏林，中部为碧波平湖，远处绘峰峦苍莽、草木华滋。用笔松秀灵活，用墨清妍润泽，意境萧散飘逸。\u2028　　画中自题仿巨然，但仔细观之，该画除立意、布景略有巨然遗风外，更多地显现的是董其昌晚年秀逸潇洒的风格。",[49,23,56,26,55,134,86,119,7,870,871,610,379,2955,1902,1050],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67492efb0d8fa7648850e9c9e7471a69.jpg","纵101.7厘米，横46.7厘米",[70,242],{"id":6696,"slug":6697,"title":6698,"dynasty":130,"author":857,"museum":175,"description":858,"tags":6699,"thumbUrl":6700,"material":88,"size":861,"collection":107,"collections":6701,"showCount":6632,"zanCount":39,"manualWeight":39,"mainColor":40},214581,"yu-hou-tie-2-wang-xi-zhi-214581","雨后帖-2",[86,119,26,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd738a3b7c238ae9018a31bb5922db94d.jpg",[],{"id":6703,"slug":6704,"title":6705,"dynasty":18,"author":6706,"museum":81,"description":6707,"tags":6708,"thumbUrl":6709,"material":88,"size":6710,"collection":122,"collections":6711,"showCount":6632,"zanCount":39,"manualWeight":39,"mainColor":40},214214,"wu-yan-gu-shi-chen-bi-214214","五言古詩","陈壁","陈壁（1558-1639），字公达，号文澜、西池，明朝时期的诗人。他的五言古诗被誉为“十八岛古诗王”之一，其中许多作品堪称名篇。\n\n其中一首著名的五言古诗是《游子吟》：\n海客谈瀛洲，烟涛微茫信难求。\n孤舟蓑笠翁，独钓寒江雪。\n平生不会多情，才自遣寂寞。\n更喜岸上见，但见断桥残雪。\n\n这首诗描写了一位海客在瀛洲（古代海防城市）呆久而长，见识广阔，但却常感孤独和寂寞。诗人用游子的视角，借用独钓寒江雪的形象，抒发出对家乡的思念之情。《游子吟》的悠远抒情，流传至今，堪称陈壁五言古诗的代表作之一。",[49,86,462,26,7,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F683b97161e9063aaa5f65669f455b1e5.jpg","93x35.6",[122],{"id":6713,"slug":6714,"title":6715,"dynasty":18,"author":459,"museum":99,"description":6716,"tags":6717,"thumbUrl":6718,"material":107,"size":107,"collection":107,"collections":6719,"showCount":6720,"zanCount":1288,"manualWeight":39,"mainColor":40},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。",[49,23,51,52,26,403,7,119,528,251,358,529,420,308,488,314,309,277,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80ebde713ecf78a9dd05b8f4040f76c2.jpg",[],114,{"id":6722,"slug":6723,"title":6724,"dynasty":1037,"author":4975,"museum":99,"description":6725,"tags":6726,"thumbUrl":6727,"material":107,"size":107,"collection":107,"collections":6728,"showCount":6720,"zanCount":11,"manualWeight":39,"mainColor":40},227547,"shi-liu-tu-ye-huang-ju-cai-227547","石榴图页","黄居寀[cǎi]（933年—993年后），字伯鸾，成都（今属四川）人，五代十国名画家黄筌第三子。擅绘花竹禽鸟，精于勾勒，用笔劲挺工稳，填彩浓厚华丽，其园竹翎毛形象逼真，妙得自然；怪石山水超过乃父，与父同仕后蜀，为翰林待诏，入宋仍任翰林待诏。尝合作殿廷墙壁，宫闱屏幛，不可胜记。",[49,50,23,51,24,25,54,27,530,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3694de77f1763de9903d1d4aa0cf2982.jpg",[],{"id":6730,"slug":6731,"title":6732,"dynasty":146,"author":2747,"museum":81,"description":6733,"tags":6734,"thumbUrl":6736,"material":634,"size":6737,"collection":70,"collections":6738,"showCount":6720,"zanCount":1288,"manualWeight":39,"mainColor":40},221759,"qiu-jiang-dai-du-tu-zhou-sheng-mao-221759","秋江待渡图轴","《秋江待渡图》以两段式深远构图法画近树繁茂，远山起伏，中间澄江如练，芦雁惊飞，风吹树杪，一派清秋气氛。岸上一年老儒者携书童坐地待渡，江中一舟载客摇橹而来，意境清幽。画法略近董源，用笔疏简尖硬，是盛氏代表佳作。\n盛懋创作山水画大多采用深远法、或是高远法，画作清淡素雅，笔法笔墨却也显得较为圆熟。《秋江待渡图》以其浓淡交融的笔墨展现了极为幽静的远山近水景致，构图均衡，树木近景与远山远景形成了上下两段景致，看上去隔着成片留出“空白”的江水却也没有绝然分开的感觉。",[49,23,26,55,84,86,56,64,150,62,66,1977,751,6735,1061,7],"岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa83624ed7642a9ada118ca442a0f4a1e.jpg","纵112.5厘米，横46.3厘米",[70,242],{"id":6740,"slug":6741,"title":6742,"dynasty":192,"author":4095,"museum":329,"description":4096,"tags":6743,"thumbUrl":6744,"material":4099,"size":4100,"collection":122,"collections":6745,"showCount":6720,"zanCount":1288,"manualWeight":39,"mainColor":40},221067,"ling-fei-jing-si-shi-san-xing-zhong-shao-jing-221067","灵飞经四十三行",[49,86,417,436,1284,7,2601,501,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b7864d29aa6825557fee2422369ffc5.jpg",[122,1120],{"id":6747,"slug":6748,"title":6749,"dynasty":18,"author":2181,"museum":446,"description":6750,"tags":6751,"thumbUrl":675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另有清乾隆皇帝御题诗及明项元汴等多家鉴藏印。\n图画密林茅舍，小桥流水。画面景物丰满，墨色浓淡相间，笔法灵活潇洒。",[49,23,51,52,26,55,7,56,871,137,62,528,150,1977,6946,58,449,6947,379,31,332,610,967,6948,6000,6949,6545,30],"渔船","岸","岸滩","山间","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ad6676a3f8f4d776bd2cf92396b87c9.jpg","纵30cm，横52.8cm",[70,242],{"id":6954,"slug":6955,"title":6956,"dynasty":115,"author":221,"museum":81,"description":6957,"tags":6958,"thumbUrl":6959,"material":183,"size":6960,"collection":213,"collections":6961,"showCount":6932,"zanCount":39,"manualWeight":39,"mainColor":75},221349,"xue-jiang-gui-zhao-tu-juan-zhao-ji-221349","雪江归棹图卷","画幅的右上角有宋徽宗赵佶瘦金书“雪江归棹（音照）图” 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落款：乾隆十六年间五月初十日大学士忠勇公傅恒进百鹘一架，命海西臣郎世宁绘图。",[49,50,23,51,54,25,66,610,150,293,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa618ea27a0bd8af02383347a6e3a0f11.jpg","纵121.7×横64公分",[35,72],{"id":7032,"slug":7033,"title":7034,"dynasty":97,"author":7035,"museum":99,"description":7036,"tags":7037,"thumbUrl":7038,"material":239,"size":7039,"collection":107,"collections":7040,"showCount":6991,"zanCount":743,"manualWeight":39,"mainColor":75},222701,"hua-hu-die-tu-jin-yao-222701","花蝴蝶图","金钥","此作用笔工致秀润，设色清雅柔和。灵石皴染朴拙，野卉自石畔抽茎挺生，淡紫碎花垂缀梢头，圆叶绿丛铺陈其下，野趣盎然。数只蛱蝶翅纹斑斓鲜活，或栖于花枝、或振翅翩跹，将蝶之灵动与花之柔婉相融无间。画面右上角题诗配字，笔墨隽秀，书画相映成趣，晕染出悠然闲适的文人情致。整体构图错落舒展，将郊野一隅的幽微生机勾勒动人，把小品花鸟的雅致意趣尽数铺陈，尽显清和隽永的审美意韵。",[49,23,51,84,54,25,27,315,332,1481,1714,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9952c196199673acf5700bc014e2bd29.jpg","30x75.",[],{"id":7042,"slug":7043,"title":7044,"dynasty":115,"author":7045,"museum":222,"description":7046,"tags":7047,"thumbUrl":7048,"material":1636,"size":7049,"collection":122,"collections":7050,"showCount":6991,"zanCount":1288,"manualWeight":39,"mainColor":924},221196,"zi-zuo-shi-juan-quan-juan-di-yi-duan-lu-you-221196","自作诗卷（全卷）第一段","陆游","陆游《自作诗卷》全卷长达7.01米，共写诗八首，题为《记东村父老言》、《访隐者不遇》、《游近村》、《癸亥初冬作》、《美睡》、《渡头》和《杂书》二首。这些诗都是陆游自己创作的，而且每首诗都反映了作者怡然自得的田园生活，再配以飘逸、潇洒的书法表现出来，可以说将诗人的情感和诗的意境都体现得淋漓尽致。",[49,86,52,119,435,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c86b3e25aa12cb4cbb30509110916e8.jpg","31*7017cm",[122],{"id":7052,"slug":7053,"title":7054,"dynasty":97,"author":1167,"museum":7055,"description":7056,"tags":7057,"thumbUrl":7058,"material":33,"size":7059,"collection":35,"collections":7060,"showCount":6991,"zanCount":743,"manualWeight":39,"mainColor":75},218733,"mei-zhu-chun-yin-tu-hua-yan-218733","梅竹春音图","安徽省博物馆","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。",[49,23,51,84,25,54,403,528,358,29,27,277,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b3608b75058516a170e9b3e032d2de3.jpg","132.5×45.5cm",[35],{"id":7062,"slug":7063,"title":7064,"dynasty":18,"author":2181,"museum":175,"description":7065,"tags":7066,"thumbUrl":7067,"material":88,"size":7068,"collection":70,"collections":7069,"showCount":6991,"zanCount":39,"manualWeight":39,"mainColor":40},218348,"fang-mi-fei-shu-hua-he-juan-dong-qi-chang-218348","仿米芾书画合卷","董其昌（1555—1636年），字玄宰，号思白，又号香光居士，华亭（今上海松江）人。明万历十六年（1588年）进士，官至礼部尚书，卒谥文敏。精于书画鉴赏，收藏很多名家作品，在书画理论方面论著颇多，其“南北宗”的画论对晚明以后的画坛影响深远。工书法，自谓于率易中得之，对后世书法影响很大。其书画创作讲求追摹古人，但并不泥古不化，在笔墨的运用上追求先熟后生的效果，拙中带秀，体现出文人创作中平淡天真的个性。加之他当时显赫的政治地位，其书画风格名重当世，并成为清代艺坛的主流。著有《画禅室随笔》、《容台集》、《画旨》等文集。",[49,23,51,52,26,134,119,86,55,7,56,278,64,279,727],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ff6dd2e58bbe82d29a2c53847ed8eb.jpg","23.7x75.4cm",[70,242,122],{"id":7071,"slug":7072,"title":7073,"dynasty":18,"author":161,"museum":81,"description":2140,"tags":7074,"thumbUrl":7076,"material":88,"size":7077,"collection":107,"collections":7078,"showCount":7079,"zanCount":743,"manualWeight":39,"mainColor":40},290891,"zhi-lan-yu-shu-zhou-shen-zhou-290891","芝兰玉树轴",[50,23,51,84,26,27,277,251,6849,7075,86,7],"玉树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52d8db4644e33e6d7d4ebeeb78d46c3f.jpg","135.1x55.8",[],109,{"id":7081,"slug":7082,"title":1709,"dynasty":97,"author":787,"museum":99,"description":2442,"tags":7083,"thumbUrl":7086,"material":689,"size":690,"collection":107,"collections":7087,"showCount":7079,"zanCount":39,"manualWeight":39,"mainColor":40},288272,"sui-chao-tu-zou-yi-gui-288272",[23,50,84,51,26,25,54,27,528,777,7084,181,7085,7,86],"蟹","盆景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b31be5ac75272346afebc37aa3b5b24.jpg",[],{"id":7089,"slug":7090,"title":7091,"dynasty":1037,"author":7092,"museum":99,"description":7093,"tags":7094,"thumbUrl":7095,"material":689,"size":690,"collection":107,"collections":7096,"showCount":7079,"zanCount":1288,"manualWeight":39,"mainColor":75},283694,"shan-xi-dai-du-tu-guan-tong-283694","山溪待渡图","关仝","《山溪待渡图》是一幅大山堂堂、气势雄伟的全景画，带有鲜明的北方特色。图中描绘巍峰耸立，瀑布高悬；坂垅、冈阜、峦岭，自近及远盘礴而上；楼阁掩映，远山迷朦；气势阔大，景意幽深。图中强调的是山和溪，山作正面，主峰突兀，两峰环抱之。山势直立，居于构图中轴线，相当稳定。整幅画面既有生活意趣，又有饱满生动之感。 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此画用墨饱满，笔法简炼雄劲",[49,50,23,51,84,26,55,56,150,61,293,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c7d65425f3d01c20799553de0d51c58.jpg",[],{"id":7098,"slug":7099,"title":7100,"dynasty":18,"author":1014,"museum":81,"description":7101,"tags":7102,"thumbUrl":7103,"material":634,"size":7104,"collection":199,"collections":7105,"showCount":7079,"zanCount":743,"manualWeight":39,"mainColor":40},222366,"yin-he-tu-tang-yin-222366","饮鹤图","《六如居士饮鹤图》画中主人公山中给鹤饮水一事。右侧，有唐寅的题字，为唐寅传世不多的精品之作。历史上的唐伯虎尽管才华出众，有理想抱负，是位天才的画家，但他那愤世嫉俗的狂傲性格不容于这个社会。他一生坎坷，最后潦倒而死，年仅54岁。他临终时写的绝笔诗就表露了他刻骨铭心的留恋人间而又愤恨厌世的复杂心情：“生在阳间有散场，死归地府又何妨。阳间地府俱相似，只当飘流在异乡。”",[49,23,52,26,55,86,7,56,610,58,1480,293,1902],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5ec58d2f56c2e7c9e604b90f864ec56.jpg","30x210",[199,242],{"id":7107,"slug":7108,"title":7109,"dynasty":115,"author":7110,"museum":3850,"description":7111,"tags":7112,"thumbUrl":7114,"material":227,"size":7115,"collection":213,"collections":7116,"showCount":7079,"zanCount":743,"manualWeight":39,"mainColor":75},221678,"wen-ji-gui-han-tu-zhang-yu-221678","文姬归汉图","张瑀","全卷共画十二人，前有胡服官员执旗骑马引道，中间是头戴貂冠、身着华丽胡装、骑着骏马的蔡文姬，马前有两人挽缰，后面还有官员护送，并有猎犬、小驹、鹰相随。画面上风沙漫天、人骑错落有致，互相呼应，神情逼真，塞北风光尽现纸上。\n此图所绘是文姬归汉途中的情景。前端一汉人骑老马引路，肩扛圆月旗，躬背缩首，迎风沙而行，侧后方有一马驹紧紧相随。稍后数步便是画卷中心人物蔡文姬，头戴貂冠，身着华丽胡装， 脚蹬皮靴，骑在马上，手扶鞍桥，双目凝视前方。文姬身后，是骑在马上护送的马夫和侍从， 前面汉胡两官员并骑，左侧汉朝官员，头戴帻巾，左手持一把用毛皮镶边的团扇遮面， 以避风沙。右侧胡人官员，头戴皮帽。身穿紧袖长袍，腰系佩饰， 面现愁容，正在勒马， 马亦踢蹄踟蹰。其后有侍从五骑相随， 有的怀抱包裹，有的身背行囊，有的手架猎鹰，有的马上驮着毡毯。画面最后，是一头戴皮帽、身潸窄袖长袍、腰携箭饩、右手架鹰、左手执缰，骑于马上的武士，正驱马追赶行进的队伍，马旁还紧跟一猎犬。",[49,50,23,52,135,54,58,225,3011,180,7,7113],"题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3649796ffeb0f1854f87bb5103aa850a.jpg","纵29cm，横129cm",[213,199,72],{"id":7118,"slug":7119,"title":7120,"dynasty":146,"author":431,"museum":175,"description":7121,"tags":7122,"thumbUrl":7125,"material":1561,"size":7126,"collection":199,"collections":7127,"showCount":7079,"zanCount":1288,"manualWeight":39,"mainColor":75},220886,"zhu-ge-liang-xiang-zhou-zhao-meng-fu-220886","诸葛亮像轴","绘诸葛亮手持如意，凭隐囊而坐。隐囊的渊源在印度，汉译佛经中名作丹枕或倚枕，系印度上流社会日常生活中的习用之具。丹枕很早就进入中土（中原），传播时改名为隐囊。此图像中的隐囊既有图式相因的成分，也有着生活中的真实为依凭。",[49,23,51,84,25,54,58,7,7123,498,7124],"衣冠","鞋履","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbff49140761c7111aa118768ff034947.jpg","纵208.4厘米,横100.6厘米",[199,72],{"id":7129,"slug":7130,"title":7131,"dynasty":146,"author":431,"museum":7132,"description":7133,"tags":7134,"thumbUrl":7135,"material":7136,"size":7137,"collection":35,"collections":7138,"showCount":7079,"zanCount":39,"manualWeight":39,"mainColor":40},220827,"er-yang-tu-zhao-meng-fu-220827","二羊图","美国弗瑞尔美术馆","图中画一羊低头吃草，一羊昂首瞻望，周围不着背景。构图空疏，应是受到唐、宋家的影响。此画为赵孟頫除马以外惟一绘有走兽的作品。\n图中画一羊低头吃草，一羊昂首瞻望，周围不着背景。右面的山羊张口睁目，尾巴上翘，身子向右而头部朝左，背部线条自然弯曲，羊毛轻软直长，描绘工细。左面的绵羊昂首而立，身躯朝左，头部右车毛卷而短。全图纯用水墨画出，却显色斑斓之状。构图空疏，应是受到唐、宋家的影响。此画为赵孟頫除马以外惟一绘有走兽的作品。\n右边是一只瘦劲的黑山羊，身躯朝右，头部向左，身上又长又直的羊毛画得非常工细，两旁的毛轻软地垂下来。背部线条自然弯曲，描绘工细。黑山羊尾巴上翘，低首蓄势，显得浑身是劲。\n左侧是一只肥硕的绵羊，身躯朝左，头部右转。身上覆着卷毛，以不同色调的墨画出。四条瘦小的腿支撑着身躯，其中三条腿直立，一条则微弯。绵羊昂首而立，从容自若地注视着旁边山羊。\n从画面来看，两羊体表特征差异最明显的是羊毛，山羊毛长而浓密，绵羊毛则短而稀疏。两羊站立的姿势相对，身躯相反。头部的回转呼应，使二者产生密切联系。山羊俯视，绵羊昂首，形成上下对应。山羊蓄势待发，有动感；绵羊神态安详，显得静穆，一动一静，意趣横生。\n此画所绘两羊特点突出、个性鲜明。山羊的毛质通过笔墨的干湿和浓淡加以区分，羊身体各部，如头、耳、眼、双角和四足，都用不同的笔法来强调。两羊的绘画手法，显示出画家熟练的传统画技巧。\n画中除两只羊外，没有任何背景衬托，构图与唐代韩滉《五牛图》颇为类似。赵孟頫或摄取《五牛图》的艺术手法，巧妙吸取了唐画的精致之处。",[49,23,51,52,26,1116,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F712ee4f1fd52c8bf9bf5e327740aaa14.jpg","纸本 水墨","纵25．2厘米，横48．4厘米",[35,242],{"id":7140,"slug":7141,"title":7142,"dynasty":146,"author":207,"museum":81,"description":7143,"tags":7144,"thumbUrl":7147,"material":33,"size":7148,"collection":35,"collections":7149,"showCount":7079,"zanCount":39,"manualWeight":39,"mainColor":40},218857,"yu-zao-tu-yi-ming-218857","鱼藻图","画面中一尾大鱼沉稳游弋，墨色斑驳的鳞纹如晕染的云影，鱼鳍轻摆间似漾开圈圈水纹。下方小鱼灵动活泼，细密银鳞在淡墨水面闪着微光。浮萍点点、水草疏疏，淡赭底色衬得画面清润雅致。笔墨兼具写实与写意，线条勾勒精准生动，晕染层次细腻，将水中生灵的悠然自得与水域的静谧空濛完美融合。观之如临清池，心随鱼游，尽显元代画作对自然生机的诗意捕捉，顿生悠然忘俗之趣。",[23,54,25,7,84,2342,104,7145,7146],"藻","浮萍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe19a2581b51df18cea45a78fb632c9d0.jpg","141.9x59.6cm",[35],{"id":7151,"slug":7152,"title":7153,"dynasty":146,"author":431,"museum":175,"description":6400,"tags":7154,"thumbUrl":7155,"material":88,"size":6403,"collection":107,"collections":7156,"showCount":7079,"zanCount":39,"manualWeight":39,"mainColor":75},214287,"xiao-kai-luo-shen-fu-ce-7-zhao-meng-fu-214287","小楷洛神赋册-7",[49,86,417,434,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a4e88283185d4fe6e63d850029edd7b.jpg",[],{"id":7158,"slug":7159,"title":7160,"dynasty":97,"author":787,"museum":99,"description":2442,"tags":7161,"thumbUrl":7162,"material":689,"size":690,"collection":107,"collections":7163,"showCount":7164,"zanCount":11,"manualWeight":39,"mainColor":40},289748,"li-hua-ye-yue-tu-zhou-zou-yi-gui-289748","梨花夜月图轴",[23,50,84,54,25,27,645,944,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff5dcc5f61ef2890fee967d4bf94603b.jpg",[],108,{"id":7166,"slug":7167,"title":7168,"dynasty":115,"author":3050,"museum":99,"description":7169,"tags":7170,"thumbUrl":7172,"material":689,"size":690,"collection":107,"collections":7173,"showCount":7164,"zanCount":743,"manualWeight":39,"mainColor":40},289727,"li-bai-xing-yin-tu-liang-kai-289727","李白行吟图","该图描绘了李白的形象，作者梁楷在画面上没有任何背景，只用寥寥数笔画出李白飘飘欲仙，冉冉欲举的形象。他不同于屈原行吟式的忧愤，也不同于杜甫行吟式的深沉，而是浪漫欹侧，嬉笑怒斥的“诗仙”。",[49,50,23,26,58,84,7,403,7171],"行吟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ba1e42d1fc4ad5f1a90454310803462.jpg",[],{"id":7175,"slug":7176,"title":7177,"dynasty":97,"author":341,"museum":99,"description":7178,"tags":7179,"thumbUrl":7180,"material":689,"size":690,"collection":35,"collections":7181,"showCount":7164,"zanCount":1288,"manualWeight":39,"mainColor":40},238396,"xuan-jin-lu-fang-tu-ce-dong-gao-238396","绚锦胪芳图册","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），首席军机大臣，上书房总师傅，钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，赠太傅，赐谥号文恭，入祀贤良祠。嘉庆亲写哀诗“只有文章传子侄，绝无货币置田庄”，并亲自拨款建立“董公祠”。",[23,51,50,24,25,54,27,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc59304be348725efb6c594f8b2100c5.jpg",[35,72],{"id":7183,"slug":7184,"title":7185,"dynasty":115,"author":6627,"museum":99,"description":7186,"tags":7187,"thumbUrl":7188,"material":107,"size":107,"collection":107,"collections":7189,"showCount":7164,"zanCount":923,"manualWeight":39,"mainColor":40},227939,"qing-chun-die-xi-tu-li-an-zhong-227939","晴春蝶戏图","《宋李安忠晴春蝶戏图》是南宋画家李安忠所创作的一幅设色扇面画，藏于 。\n此图中绘体态雍容华丽的 、娇小素净的 等 15只和 1只，或平展双翼，或振翅飞舞，在明媚的春光下宛若俏丽的花团漫天绽放，形象生动地体现出“蝶戏”的创作主题。\n《宋李安忠晴春蝶戏图》本幅无款识。\n钤半印一方，印文模糊不辨。\n原载《四朝选藻图》册，旧签题“ 作”。\n裱边钤“ ”、“ ”。\n对幅有清乾隆御题七言诗一首：“蝡肖翘高复低，春园风物已昌兮。\n宣和画院曾经试，何未明拈逐马蹄”。\n钤“八征耄念之宝”、“自强不息” 等印。\n在蜂、蝶的塑造上，勾勒与渲染浑然一体，先以极细而淡的线条勾勒轮廓，然后再“随类赋彩”，或以粉白、土黄多层积色，或在墨线中填重彩，晕染工细而色泽丰富，展现出蛱蝶翅翼的绚烂之美。\n李安忠，生卒年不详，南宋画家，钱塘人。\n宋徽宗宣和年间为画院祗候，授成忠郎，南渡后绍兴年间复职。\n工花鸟走兽，尤长于“捉勒”（鹰鹘之类），得其搏攫惊避之状。\n传世作品有《晴春蝶戏图》《鹑图》等。",[49,50,23,51,822,54,25,27,315,7,86,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf555e4c587bc0c91770957ec2a1b1b4.jpg",[],{"id":7191,"slug":7192,"title":6670,"dynasty":18,"author":1014,"museum":329,"description":7193,"tags":7194,"thumbUrl":7195,"material":7196,"size":7197,"collection":107,"collections":7198,"showCount":7164,"zanCount":743,"manualWeight":39,"mainColor":40},222336,"mo-zhu-tu-juan-tang-yin-222336","唐寅（1470年－1524年）明代著名画家、文学家。字伯虎，又字子畏，以字行，号六如居士、桃花庵主、逃禅仙吏等，南直隶苏州吴县人。吴中四才子之一。在画史上又与沈周、文征明、仇英合称“明四家”或“吴门四家”。\n据称唐寅作画时间甚早，而且无师自通。吴一鹏在《贞寿图卷》上提款：“岁丙午，子畏年止十七，而山石树枝如篆籀，人物衣褶如铁丝。少诣如是，岂非天授！”早年唐寅可能也跟文征明一样，向沈周学画。如王稚登在《吴郡丹青志》中的《沈周先生传》里写：“一时名士，如唐寅文壁（征明）之流，咸出龙门，往往致于风云之表。”但如今所看到唐寅的 中，有沈周影响的风格很少，可能早年作品亦多不存，所以难以知道。\n唐寅较为人所理解的，是拜画家周臣为师。研究认为他也许是在泄题案之后，才开始向周臣请益。由于周臣的画风远摹南宋画家李唐、刘松年，所以唐寅的作品也多被人认为有李刘风格。美术史对唐寅山水画的讨论中有周臣代笔的问题，目前仍没有比较清晰的理解。唐寅的作品以山水画、人物画出名，亦有花鸟竹石的作品存世。一般而言，都将唐寅的绘画风格分做三期，但由于许多有纪年的作品多集中在唐寅的晚年，早年的风格分期便有许多争议。唐寅 亦好，早年的书风比较靠近颜真卿，后来比较接近李邕、赵孟睢\n自明末以来，在讨论唐寅作品，均把他分到吴派，并与沈周、文征明、仇英等画家并称“吴门四家”，或称“明四大家”。但唐寅的画风与沈周、文征明并不相同，而严格来说，也不能将唐寅的风格迳归为吴派。因为相较于一般吴派多追随元四大家的画风，唐寅作品里元四家的影响相当的少，反而有比较多南宋院画家的影子。但多数的人，都称唐寅是揉合“南”、“北”的重要画家。",[49,23,51,52,26,358,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F109eda6bf170676477b998002e80e269.jpg","水墨纸本","29.1x150.2cm",[],{"id":7200,"slug":7201,"title":7202,"dynasty":18,"author":161,"museum":81,"description":2130,"tags":7203,"thumbUrl":7205,"material":319,"size":2133,"collection":107,"collections":7206,"showCount":7164,"zanCount":743,"manualWeight":39,"mainColor":40},222107,"he-hua-yu-dun-wa-shen-zhou-222107","荷花与蹲蛙",[49,50,23,51,26,403,7,102,7204,103,104],"青蛙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfa0b35a5a56cdef8fbb2e9da30170c2.jpg",[],{"id":7208,"slug":7209,"title":354,"dynasty":146,"author":3963,"museum":329,"description":7210,"tags":7211,"thumbUrl":7212,"material":25,"size":7213,"collection":242,"collections":7214,"showCount":7164,"zanCount":39,"manualWeight":39,"mainColor":40},221863,"mo-zhu-tu-zhao-yong-221863","赵雍（1289-1369），字仲穆，湖州人。赵孟頫之子，官至同知湖州路总管府事。书画继承家学，擅山水，尤精人物鞍马，亦作界画。书善正、行、草，亦长篆书。精鉴赏。",[49,23,50,51,26,86,119,7,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22c49ae27cf37c90ce47878755601d49.jpg","26.7×172.7cm",[242,921],{"id":7216,"slug":7217,"title":7218,"dynasty":192,"author":7219,"museum":81,"description":7220,"tags":7221,"thumbUrl":7222,"material":634,"size":7223,"collection":122,"collections":7224,"showCount":7164,"zanCount":1288,"manualWeight":39,"mainColor":40},221081,"shu-pu-quan-juan-sun-guo-ting-221081","书谱全卷","孙过庭","《书谱》为唐代书法家孙过庭所著的书法理论著作。成书于武后垂拱三年，他亲自以草书书写全书。《书谱》共分两卷，内容主要为书学体验、书谱撰写要旨及学习书法的一些基本原则。一般认为本（上）卷为 “序”，宋元明时分为两卷，入严嵩之手时，装为一卷。下卷为 “谱”，作者生前未能完成，现仅存第一卷。《书谱》对中国书法的影响是非常巨大的，奠定了书法理论的基本框架。其中提到反对写字如同绘画“巧涉丹青功亏翰墨”，认为书法审美观念要“趋变适时”，所谓“质文三变，驰骛沿革，物理常然”，反对把书法当作秘诀，择人而授的保守态度。孙过庭认为习书法应要篆、隶、楷、草四书融合交汇，否则想谈书法，是不可能的。“草不兼真，殆于专谨；真不通草，殊非翰札，真以点画为形质，使转为情性；草以点画为情性，使转为形质。草乖使转，不能成字；真亏点画，犹可记文。回互虽殊，大体相涉。故亦傍通二篆，俯贯八分，包括篇章，涵泳飞自。若毫厘不察，则胡越殊风者焉。”",[49,50,23,51,52,462,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81244536434fcb124a9a91d41523c4a8.jpg","纵26.5厘米，横900.8厘米",[122,1120],{"id":7226,"slug":7227,"title":7228,"dynasty":18,"author":2181,"museum":175,"description":7229,"tags":7230,"thumbUrl":7231,"material":319,"size":7232,"collection":70,"collections":7233,"showCount":7164,"zanCount":1288,"manualWeight":39,"mainColor":40},220918,"shan-shui-ce-dong-qi-chang-220918","山水册","《仿古山水图》册，明，董其昌绘，8开，纸本，墨笔6开，设色2开，每开纵42cm，横29.6cm，北京故宫博物院藏。\n\n此册画于“戊午”（明万历四十六年，1618年），董其昌时年64岁。墨笔六开，构图缜密，笔笔精到；设色二开，格调高远，艳而不俗，皆极经意之品。从鉴藏印可知，此册为董氏传与其子董祖源珍藏，又经王时敏赏鉴，故应是真笔无疑，可作鉴定之样本。",[49,23,26,55,24,86,119,7,56,870,406,871,700,277,727,1207,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3477349258756401379299bbf5a6cf8a.jpg","纵26.4cm，横16cm",[70,242],{"id":7235,"slug":7236,"title":7237,"dynasty":97,"author":3871,"museum":485,"description":7238,"tags":7239,"thumbUrl":7241,"material":33,"size":7242,"collection":199,"collections":7243,"showCount":7164,"zanCount":1288,"manualWeight":39,"mainColor":40},220140,"shi-nv-xi-ying-tu-juan-ding-guan-peng-220140","仕女戏婴图卷","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年（1770年）以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。",[49,54,25,52,7,58,136,2652,1574,7240,3653],"羽扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff310295ea2961dee759cc9fec13486b2.jpg","24.64*167.48厘米",[199],{"id":7245,"slug":7246,"title":7247,"dynasty":18,"author":1014,"museum":446,"description":7248,"tags":7249,"thumbUrl":7250,"material":152,"size":7251,"collection":199,"collections":7252,"showCount":7164,"zanCount":1288,"manualWeight":39,"mainColor":75},219791,"xian-shan-ji-xue-tu-wei-tang-yin-219791","仙山积雪图(伪)","以淡赭晕染层叠雪山，留白造境尽显雪域寥廓空寂。红衣胡商与褐驼形成鲜亮色彩反差，醒目亮眼。人物虬髯胡服，牵驼徐行，骆驼憨拙生动，抬蹄缓移，将塞外羁旅的苦寒苍茫尽显笔底。\n\n线条简括写意，舍弃繁复皴擦，以极简色调烘托荒寒辽远的异域氛围，写意间藏质朴厚重，把行者的孤寂与天地的浩渺相融，淡远清旷，尽显萧瑟冷寂的雪域行旅意趣。",[49,23,84,25,58,1116,56,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd0633bdf79276409a6fb09df39c2199.jpg","纵109.9、横38.9厘米",[199],{"id":7254,"slug":7255,"title":7256,"dynasty":115,"author":221,"museum":81,"description":7257,"tags":7258,"thumbUrl":7259,"material":152,"size":7260,"collection":35,"collections":7261,"showCount":7164,"zanCount":39,"manualWeight":39,"mainColor":75},219243,"la-mei-shan-qin-tu-zhao-ji-219243","蜡梅山禽图","画中有蜡梅一枝，自右下方向左上方挺生，枝细瘦，却用双线勾成，并略加晕染，勾出结节。蜡梅花用勾线填色法画成，疏朗地缀于枝头。一对白头翁安逸地栖于枝上，形态各异，用笔精炼准确，形象生动。",[49,23,51,84,54,25,27,528,1988,488,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e78e323c8fc6210fddf024e14353a71.jpg","纵83.3横53.3厘米",[35,213,72],{"id":7263,"slug":7264,"title":7265,"dynasty":115,"author":7266,"museum":175,"description":7267,"tags":7268,"thumbUrl":7269,"material":319,"size":7270,"collection":122,"collections":7271,"showCount":7164,"zanCount":743,"manualWeight":39,"mainColor":40},219143,"xiao-kai-ba-wang-xian-zhi-bao-mu-tie-jiang-kui-219143","小楷·跋王献之保母帖","姜夔","姜夔传世墨迹不多。从小楷《跋王献之保母帖》中可以看出他用笔精到，典雅俊润，且受初唐诸家书风影响，不随时俗，清新脱俗。",[49,52,86,417,434,7,2226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d86690fd5236097ac85f5440054f5e7.jpg","纵31.6厘米，横708.3厘米",[122],{"id":7273,"slug":7274,"title":7275,"dynasty":97,"author":445,"museum":446,"description":447,"tags":7276,"thumbUrl":7277,"material":33,"size":452,"collection":107,"collections":7278,"showCount":7164,"zanCount":39,"manualWeight":39,"mainColor":40},214889,"shan-shui-tu-ce-4-shi-tao-214889","山水图册-4",[49,23,26,55,24,86,7,56,61,62,150,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d80b1de337411d72d248e61d4a115b1.jpg",[],{"id":7280,"slug":7281,"title":7282,"dynasty":115,"author":355,"museum":81,"description":7283,"tags":7284,"thumbUrl":7285,"material":26,"size":7286,"collection":122,"collections":7287,"showCount":7164,"zanCount":743,"manualWeight":39,"mainColor":40},214829,"huo-jian-tie-su-shi-214829","获见帖","释文：轼启。近者经由。获见为幸。过辱遣人赐书。得闻起居佳胜。感慰兼极。忝命出于馀芘。重承流喻。益深愧慰畏。再会未缘。万万以时自重。人还。冗中。不宣。轼再拜 。长官董侯阁下。六月廿八日。",[86,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42ee27e03cf357dc2c448c081d7e6f4d.jpg","纵27.7厘米×横38.4厘米",[122],{"id":7289,"slug":7290,"title":7291,"dynasty":97,"author":7292,"museum":81,"description":7293,"tags":7294,"thumbUrl":7295,"material":33,"size":7296,"collection":70,"collections":7297,"showCount":7164,"zanCount":39,"manualWeight":39,"mainColor":40},214537,"wu-she-jie-han-tu-yu-sheng-214537","无射戒寒图","余省","这幅画描绘的是九月初九在福海北岸的高阁上游乐的场景，其实高阁只有三四米高，远没有画面上的那么陡峭，所谓的 升天 只是象征性的。",[23,25,54,55,56,59,63,60,61,58,64,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b971ceb4fd2fd33ceb99ce9b77277c4.jpg","180x106.3",[70],{"id":7299,"slug":7300,"title":7301,"dynasty":146,"author":431,"museum":175,"description":6400,"tags":7302,"thumbUrl":7303,"material":88,"size":6403,"collection":107,"collections":7304,"showCount":7164,"zanCount":39,"manualWeight":39,"mainColor":75},214289,"xiao-kai-luo-shen-fu-ce-6-zhao-meng-fu-214289","小楷洛神赋册-6",[49,51,24,417,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7adfde336f0c590edf552acd45006506.jpg",[],{"id":7306,"slug":7307,"title":7308,"dynasty":97,"author":445,"museum":99,"description":3557,"tags":7309,"thumbUrl":7312,"material":689,"size":690,"collection":107,"collections":7313,"showCount":7314,"zanCount":1288,"manualWeight":39,"mainColor":40},290459,"shan-shui-qing-ya-tu-ce-shi-tao-290459","山水清雅图册",[50,23,51,24,56,25,55,150,164,7310,751,7,7311],"古松","清雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3bd638039d20e8dcda51965ebdcf87c.jpg",[],107,{"id":7316,"slug":7317,"title":7318,"dynasty":97,"author":1082,"museum":99,"description":1382,"tags":7319,"thumbUrl":7320,"material":689,"size":690,"collection":107,"collections":7321,"showCount":7314,"zanCount":39,"manualWeight":39,"mainColor":40},283660,"gu-bai-shuang-qin-tu-zhou-zhu-da-283660","古柏双禽图轴",[49,23,50,84,26,27,137,66,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0311e7b30ddf2cabaf3bd0c4bbc710bd.jpg",[],{"id":7323,"slug":7324,"title":675,"dynasty":97,"author":248,"museum":99,"description":685,"tags":7325,"thumbUrl":7326,"material":689,"size":690,"collection":107,"collections":7327,"showCount":7314,"zanCount":1288,"manualWeight":39,"mainColor":40},235083,"yun-shou-ping-hua-hui-ce-yun-shou-ping-235083",[50,23,51,24,25,264,27,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd080a0982598eaf4d529200e5e92e27c.jpg",[],{"id":7329,"slug":7330,"title":4389,"dynasty":146,"author":7331,"museum":175,"description":7332,"tags":7333,"thumbUrl":7334,"material":239,"size":7335,"collection":242,"collections":7336,"showCount":7314,"zanCount":1288,"manualWeight":39,"mainColor":75},221699,"zhu-shi-tu-zhou-gu-an-221699","顾安","该图里画的是在顾安作品里较少见的晴竹。只见几竿瘦竹挺立于石边，前后分布，迎让相宜，并以淡墨绘出。前边两竿的枝叶呈生长旺势，以重墨写就的竹叶参差错落，且线条锋锐有力；劲健的笔法，表现出爽利的韵味。竹节是用一小扁圆圈表示的，这种画法习惯上称“圈节法”，与后世画家常用的“乙字勾节法”不同。画竹笋叶尖的笔墨非常精巧，顿挫扭转，生意盎然。后面的竹竿上，依稀可辨的嫩叶又显现出新竹的娇影，使读者可感画家对生活细腻的观察，和对竹韵的精微刻画。\n左上方有顾安自题年款，款下有三印：“顾安”与“顾定之”和“山月吟窗”，顾安的“山月吟窗”是一方富有诗意的闲章。\n顾安，字定之，号迂讷老人。平江（今江苏苏州）人。祖籍淮东（今江苏），故自称淮东人。曾任泉州同安县尉。擅画竹，常写风竹新篁。\n图中绘墨竹三竿，瘦劲挺拔，风梢云干，萧疏清逸。枝下窠石圆润互叠，缀以新篁，更添野趣。以干笔淡墨画竹竿，以书法捺笔写出竹叶，行笔遒劲自如。用浓、淡墨烘染，似烟云浮动，烘托出竹子的清幽秀骨。",[49,23,50,84,26,358,277,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ff805e3a06970a6ba0a00217aa34855.jpg","170.7x99.7",[242,921],{"id":7338,"slug":7339,"title":7340,"dynasty":115,"author":221,"museum":329,"description":7341,"tags":7342,"thumbUrl":7343,"material":227,"size":7344,"collection":213,"collections":7345,"showCount":7314,"zanCount":39,"manualWeight":39,"mainColor":40},221343,"zhu-qin-tu-quan-juan-zhao-ji-221343","竹禽图全卷","这幅《竹禽图》横55.4厘米，纵33.8厘米。宋人花鸟画都是以小品画见长，又以精细而见功。此画也不例外。在粗略的崖石间伸出两枝翠竹，一上一下形成一个侧着的“V”字。竹枝和竹叶都没有勾勒，此画法与赵佶的《芙蓉锦鸡图》等以往的画作有所不同。翠竹下面的还有一丛荆棘。一上一下的竹枝上停着两只小鸟。下面的那只鸟侧对着人们，它仰着头在看上面的那只鸟。上面的那只鸟腹部正对着人们，头向右侧着，它回望着下面的那只鸟。两小鸟目光相对，互相顾盼，仿佛就差嘴巴一张一合鸣叫的瞬间了。这两只小鸟是画面的主角。看着它们就使人想起杜甫的那句“两个黄鹂鸣翠柳”。不妨换一下，“两只小鸟鸣翠竹”。\n全画竹草崖石用写意画的方法处理，两小鸟用工笔画的方法绘制。粗细方法互助也显示了徽宗的绘画技艺的高妙。画卷后面有皇室后裔赵孟頫的题跋：“道君聪明，天纵其于绘事，尤极神妙。动植物无不曲尽其性，殆若天地生成，非人力所能及。此卷不用描墨，粉彩自然，宜为世宝。然丛尔小禽蒙圣人所录，抑何幸耶。”",[49,23,51,52,54,25,86,7,27,358,277,1988],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F942d16befcc838e9850d9ab89e536a94.jpg","画心纵33.8厘米，横55.5厘米",[213,921],{"id":7347,"slug":7348,"title":7349,"dynasty":146,"author":1466,"museum":2192,"description":7350,"tags":7351,"thumbUrl":7352,"material":152,"size":107,"collection":199,"collections":7353,"showCount":7314,"zanCount":11,"manualWeight":39,"mainColor":40},220368,"ren-ma-tu-juan-ren-ren-fa-220368","人马图卷","图绘四名奚官牵三匹骏马出圉的情景，人马神态各异。人物衣冠皆着唐代服饰，神情姿态写实生动，最前一位奚官双手自然置于体前，手里拿着刷马身的平口鬃刷和整理鬃毛的小耙子，回头看马队是否跟随，第二位坐骑棕色骏马略有警惕，奚官怕马受惊抓紧缰绳，最后面一位加快步幅紧跟队伍。三马雄壮矫健，皮鬃致密纤细，造型生动，尤以第二匹马最显俊伟驯顺，颈系红缨闲庭信步，很是惬意。",[49,50,23,51,52,54,25,119,86,7,58,225],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0dfb37038038db76139bdd3b1af6847.jpg",[199,72],{"id":7355,"slug":7356,"title":7357,"dynasty":97,"author":248,"museum":20,"description":7358,"tags":7359,"thumbUrl":7360,"material":152,"size":6762,"collection":107,"collections":7361,"showCount":7314,"zanCount":625,"manualWeight":39,"mainColor":40},219814,"hua-hui-shi-kai-9-yun-shou-ping-219814","花卉十开-9","这幅没骨花卉，以淡色晕染出栀子清姿，不用墨线拘囿轮廓，色阶自然过渡，将花瓣莹白温润的质感描摹入微。盛放的花朵舒展柔瓣，如琼玉初绽；待放的花苞敛藏静美，浓淡不一的青叶或苍润鲜碧，或带枯斑，枯荣相衬，更显生机清隽。左上角题诗与画意相融，笔墨间漫溢着文人画的清雅淡远，将江南草木的温婉灵秀，化作平和冲淡的审美意趣，尽显雅致脱俗的笔墨格调。",[23,51,24,25,54,264,27,28,265,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1235f17160dbe697ecea3722caedca0e.jpg",[],{"id":7363,"slug":7364,"title":7365,"dynasty":97,"author":1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一股“我闺女棒棒哒”的自豪溢出来了～\n蒋淑（生卒年不详），清代杰出女性画家，从其画作上判断她大致生活于清康熙至雍正年间，字又文，江苏常熟人。蒋廷锡女，华亭王敬妻。其父蒋廷锡官至大学士，闲暇之余以逸笔作写生花卉，机趣天然。蒋淑自幼秉承家教，亦以擅绘花鸟著称。",[23,51,24,25,134,27,251,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e08f4453ea59c906d1aecbc008de815.jpg",[35],{"id":7396,"slug":7397,"title":7398,"dynasty":97,"author":5660,"museum":7399,"description":7400,"tags":7401,"thumbUrl":7402,"material":107,"size":107,"collection":122,"collections":7403,"showCount":7378,"zanCount":743,"manualWeight":39,"mainColor":75},222799,"shao-xue-qin-shu-ce-deng-shi-ru-222799","少学琴书册","上海韩天衡氏私人收藏","体势值由雅驯而趋开张，笔意由温润而趋劲豪，气格宏阔而无纵横习气。是一件由厚积走向勃发之际的别致的佳作，多堪玩味。",[49,86,417,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08846c0fd86ec02d5cc43166ed0282fa.jpg",[122],{"id":7405,"slug":7406,"title":7407,"dynasty":115,"author":881,"museum":4269,"description":7408,"tags":7409,"thumbUrl":7411,"material":7412,"size":7413,"collection":213,"collections":7414,"showCount":7378,"zanCount":39,"manualWeight":39,"mainColor":75},221667,"dong-shan-du-shui-tu-ma-yuan-221667","洞山渡水图","为宋代画家马远绘制。描绘的是曹洞宗祖师洞山良价在云游途中，涉水之时见到自己水中之影而恍然大悟的一刹那，是为数不多的马远的真迹之一。原藏于圆明园，1860年火烧圆明园后被掠夺并流失海外，现收藏于日本东京国立博物馆。图上有南宋皇帝宋理宗的皇后杨妹子之题字。款识：携藤拔草胆风，未免登山涉水，不知触处皆渠，一见低头自喜。本与天龙寺所藏的云门大师图、清凉法眼禅师图同为描绘禅宗法师的画作之一。",[49,50,23,51,84,26,25,58,56,61,277,7410,55,119,7],"藤杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e95161b48bfccbab4bee9ff42ba247b.jpg","绢本墨画淡彩","纵77.6厘米，横33厘米",[213,70],{"id":7416,"slug":7417,"title":7418,"dynasty":1037,"author":7419,"museum":446,"description":7420,"tags":7421,"thumbUrl":7422,"material":152,"size":107,"collection":35,"collections":7423,"showCount":7378,"zanCount":743,"manualWeight":39,"mainColor":75},219025,"ban-jiu-tu-huang-quan-219025","斑鸠图","黄筌","画的是一棵顶部断裂的枯树干，一只鸽子站在树干上，蓬松的羽毛中夹杂着白色的毛发，盯着树根处发芽的树枝，绿叶红花。",[49,50,23,51,24,54,25,27,66,29,332,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a51e04c34bcf36d6653aa90ca568823.jpg",[35],{"id":7425,"slug":7426,"title":7427,"dynasty":97,"author":7428,"museum":81,"description":7429,"tags":7430,"thumbUrl":7432,"material":152,"size":7433,"collection":35,"collections":7434,"showCount":7378,"zanCount":1288,"manualWeight":39,"mainColor":75},218778,"si-rui-qing-deng-tu-jiang-ting-xi-218778","四瑞庆登图","蒋廷锡","蒋廷锡（西元一六六九－一七三二年），江苏常熟人。字扬孙，号酉君，又号西谷。官至文华殿大学士，工画花卉草虫，以逸笔写生，没骨花鸟画继承恽寿平风格。\n画两棵高梁结满穗粒，并点缀有白头翁、菊花和泉石。画法承恽氏之风，虽用笔工致，但不板滞，兼有写生之趣。此时蒋氏五十五岁，调任礼部侍郎，同年又调任户部。蒋氏鲜少在画上落款处加官职，此图以端正楷书写上礼部右侍郎等字，应是应制之作。而四瑞写各种祥瑞事物，应是称颂雍正皇帝继承帝位是顺天应民之意。",[23,25,54,27,84,29,66,7431,1714,310,7],"高粱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff73b7e62a8dadfcb098962fa2d8a6e8a.jpg","185.2x87.2cm",[35],{"id":7436,"slug":7437,"title":1125,"dynasty":146,"author":709,"museum":81,"description":7438,"tags":7439,"thumbUrl":7445,"material":121,"size":107,"collection":70,"collections":7446,"showCount":7378,"zanCount":11,"manualWeight":39,"mainColor":40},218761,"shan-shui-tu-wu-zhen-218761","墨色晕染如轻烟绕峰，山石以披麻皴层层铺陈，湿墨点苔似苍苔缀石，尽显古拙厚重。林木萧疏错落，枝干虬劲中藏清逸，与淡墨晕开的云雾交织，拓出深远山水空间。留白处似有山风掠过，裹挟幽寂禅意，恰是元人山水的空灵之境。题跋与朱印相映，诗画相融间，藏着文人对自然的敬畏与心向林泉的淡泊。每一笔都晕染时光沉淀的静谧，观者仿佛步入清旷山水，暂忘尘嚣，只余眼前的淡远与安然。",[49,50,23,26,56,7440,150,1936,279,7,86,7441,7442,7443,7444],"披麻皴","禅意","空灵","淡泊","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f1c86c535085fc058d17972928a0b55.jpg",[70],{"id":7448,"slug":7449,"title":1302,"dynasty":146,"author":709,"museum":525,"description":7450,"tags":7451,"thumbUrl":7453,"material":152,"size":7454,"collection":35,"collections":7455,"showCount":7378,"zanCount":39,"manualWeight":39,"mainColor":40},218492,"zhu-shi-tu-wu-zhen-218492","墨竹以中锋运笔，瘦劲中含柔韧，竹叶如剑戟横斜，又似疾风翻卷，墨色浓淡相间，层次分明；石体则以淡墨晕染，辅以干笔皴擦，朴拙厚重中透出清逸之态。竹石相依，动静相生，既见自然野趣，又藏文人风骨——笔端流淌的不仅是水墨的韵律，更是君子坚韧高洁的精神写照。整幅画作简而不薄，意境悠远，尽显元人画中“以书入画”的雅致与隐逸情怀，笔墨间的生机与心性，似可穿越时空，与观者对话。",[49,50,23,51,26,403,358,277,119,7,7452],"元画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F461c4598d701937861a6c59fad8d3c4f.jpg","37.5x94.5cm",[35],{"id":7457,"slug":7458,"title":7459,"dynasty":18,"author":459,"museum":99,"description":4616,"tags":7460,"thumbUrl":7461,"material":689,"size":690,"collection":107,"collections":7462,"showCount":7463,"zanCount":743,"manualWeight":39,"mainColor":40},290557,"mu-dan-zhou-xu-wei-290557","牡丹轴",[23,84,26,51,27,308,358,277,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9487283bab61d433f887641040f025a9.jpg",[],105,{"id":7465,"slug":7466,"title":7467,"dynasty":18,"author":3070,"museum":99,"description":7468,"tags":7469,"thumbUrl":7470,"material":689,"size":690,"collection":107,"collections":7471,"showCount":7463,"zanCount":11,"manualWeight":39,"mainColor":40},235799,"mu-dan-shan-chen-chun-235799","牡丹扇","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。",[822,23,51,27,308,25,26,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95b4e60c9cc0dc84edd2a1739d852f0d.jpg",[],{"id":7473,"slug":7474,"title":7475,"dynasty":1037,"author":1038,"museum":175,"description":7476,"tags":7477,"thumbUrl":7479,"material":239,"size":7480,"collection":107,"collections":7481,"showCount":7463,"zanCount":1288,"manualWeight":39,"mainColor":75},233213,"dou-jia-qing-ting-tu-ye-xu-xi-233213","豆荚蜻蜓图页","图中画的是田野苗圃间菜豆花与蜻蜓之类昆虫常见的景物。画面为长圆扇形，画家以独具的慧眼撷之入画，采取了特写镜头，只取其豆花的枝头，豆茎自左下向右上斜出，枝叶微下垂，枝上有浅紫色的豆花、绿色的豆叶和沉甸甸地挂下来的长长豆荚。枝梢上歇息着一只大蜻蜓，正在吮吸豆荚嫩叶的鲜汁。蜻蜓呈黄褐色，张开双翼，长长的身子下垂，尾部稍有弯曲。\n图中豆荚一枝，果实乍结。一只黄褐色的蜻蜓轻轻停落在枝端，将豆荚压得微微颤动。画面构图简洁自然，疏密得体。画家用中锋细笔勾勒豆荚枝叶的轮廓，用花青、石绿轻染，以白粉点花瓣，线条沉稳，色彩丰富，形象写实逼真。图中尤以蜻蜓描绘得出神入化，其翅膀透明的质感以及清晰的纹络都表现得清清楚楚，活灵活现，反映了宋画在写实方面所达到的高度水平。\n整幅作品结构自然，疏密得体，色彩丰富，工写结合。其中蜻蜓的描绘神妙入微。画家不仅再现了蜻蜓的形态，甚至连透明的翅膀及纹络都表现了出来。而豆花则以简笔写出，野趣天然。\n整幅作品结构自然，疏密得体，中锋运笔，线条沉稳，色彩丰富，写实逼真，作者善于刻画和铺排是这幅作品在技巧上的特色。菜豆的枝干、花叶、荚部是用粗简的线条勾出，然后略施粉彩，尤其对蜻蜓的描绘神妙入微。蜻蜓身子晕染工细，头部网网眼和翅翼细细刻画轻轻染色，十分清晰透剔，甚至连透明的翅膀及纹络状的小组织，都细微地表现了出来。蜻蜓身上的色斑与浅紫色的豆花，一深一浅，使主题显明突出，这充分反映了宋画在写实方面所达到的高度水平。从绘画题材及笔墨技巧上看，具有徐熙画的特征。《圣朝名画评》说，徐熙画花卉“多做园圃以求情状，虽蔬菜茎苗，以人图写”。但本图无款识，至少可以这样说，虽非出于徐熙之手笔，但可以代表北宋徐熙一派的画风，亦可以说此幅是徐派留下来的凤毛麟角般的珍品。此图右下方押“徐熙”二字伪印。\n此图无款，有“徐熙”朱印。旧题为徐熙作。徐熙“善画花竹林木、蝉蝶草虫之类，多游园圃以求情状，虽蔬菜茎苗亦人图。写意出古人之外，自造于妙。尤能设色，绝有生意”。从这幅作品亦可领略上述特点，所以虽非出于徐熙之手，也可代表北宋徐熙一派的画风。\n此图写豆茎一枝自右下向左上斜出，而梢头着一大蜻蜓。这农家随处可见的景物，画家以独具的慧眼撷之入画，可谓别开生面。豆花、豆叶，点缀生动，长豆三两根，垂垂可喜。茎、叶、豆荚，均以墨勾，疏疏几笔，中设豆绿色，叶中锈斑、虫蚀均为描出，紫白色的豆花和蜻蜓，以没骨法晕染，蜻蜓尤备极工细，神韵奕奕。对花写照的写生功力，令人惊叹。色调素雅，变化层次微妙，工写兼施，相映成趣。构图善从一角生发，全幅荡漾着空灵的诗意，尤觉流走圆美。不是面面俱到，或泛泛大略，而是择取一枝一梢作精心的观赏，一枝一叶总动情，这种审美性格为宋人所独具，风气所开，遥领千古。此图笔墨间随处散发着一种田园佳趣，尤为感人至深，而熠耀其中的是诗意的空间。宋画一如宋诗，其异于唐人之处：一为田园气息，二为哲理之思（以景喻理）。",[50,23,51,27,54,25,7478,316,265,332,7],"豆荚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F880a27b634787e986672e82222fc17bb.jpg","纵27厘米，横23厘米",[],{"id":7483,"slug":7484,"title":7485,"dynasty":146,"author":709,"museum":81,"description":7486,"tags":7487,"thumbUrl":7488,"material":319,"size":7489,"collection":107,"collections":7490,"showCount":7463,"zanCount":1288,"manualWeight":39,"mainColor":40},231500,"mo-zhu-pu-ce-ye-gao-qing-si-fu-wu-zhen-231500","墨竹谱册页（高清四幅）","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",[49,23,50,51,24,26,86,7,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a763ebdaf12beb20835513dca92c2a2.jpg","高403厘米，宽52厘米",[],{"id":7492,"slug":7493,"title":7494,"dynasty":97,"author":800,"museum":99,"description":1425,"tags":7495,"thumbUrl":7496,"material":634,"size":107,"collection":35,"collections":7497,"showCount":7463,"zanCount":1288,"manualWeight":39,"mainColor":40},223301,"zhu-shi-tu-zhou-3-zheng-ban-qiao-223301","竹石图轴3",[49,23,51,84,26,119,7,86,358,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05f693b107ed41d72c1e72ff211b8570.jpg",[35,242],{"id":7499,"slug":7500,"title":7501,"dynasty":115,"author":221,"museum":81,"description":7502,"tags":7503,"thumbUrl":7505,"material":239,"size":7506,"collection":213,"collections":7507,"showCount":7463,"zanCount":1288,"manualWeight":39,"mainColor":75},221344,"la-mei-shan-qin-tu-zhou-zhao-ji-221344","腊梅山禽图轴","画面构图十分简约，两丛开花的萱草，一株劲秀挺拔的腊梅；几朵绽放的梅花，枝头上还蜷缩着两只依偎在一起的白头翁。\n画家笔墨细致。萱草、梅树、花朵的轮廓，都用工细线条勾勒，树杆的质感用干墨渲染皴擦，花朵则施以明艳的黄色，是典型的院体工笔。但是疏朗的梅枝，分明有着文人画的韵味。\n两只挤在一起的白头翁最为传神，鸟头都朝向左前方，呼应着左边的留白。身体成交叉向，两只鸟眼圆溜溜，显得机警而敏感，似乎一有风吹草动，随时就要腾空而去。",[49,23,50,84,54,25,27,528,251,7504,7,86,119],"山禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3dbda2c89bcfa6df1b60effce2a1968.jpg","82.8x52.8cm",[213,35,72],{"id":7509,"slug":7510,"title":7511,"dynasty":1037,"author":7512,"museum":175,"description":7513,"tags":7514,"thumbUrl":7515,"material":7516,"size":7517,"collection":70,"collections":7518,"showCount":7463,"zanCount":39,"manualWeight":39,"mainColor":40},221160,"gao-shi-tu-juan-wei-xian-221160","高士图卷","卫贤","本幅无款识，卷前有宋徽宗赵佶瘦金书标题“衛賢高士圖”，虽为立幅，但装裱成手卷形式，是北宋内府“宣和装”。\n描绘汉代隐士梁鸿与妻孟光“相敬如宾，举案齐眉”的故事。画家把梁鸿的居所安排在山环水绕的大自然中，全幅上半部为巨峰壁立，远山苍茫，下半部为竹树蓊郁，溪水潺潺。人物活动在画面中部，恰是观者的视觉中心：梁鸿端坐于榻，竹案上书卷横展，孟光双膝跪地，饮食盘盏高举齐眉。主人公神态坦然平和，虽房舍简陋、粗食布衣，但高人隐士志在山野的高洁志趣令人油然而生敬意。\n此图虽为主题人物画，实则集山水、人物、建筑画为一体。山石多用干笔皴擦，注意用墨色的深浅对比强调峰岫的凹凸和凝重的质感，石上干笔点苔的技法更是画家的独创。房屋和木栏栅篱用界笔描绘，结构交待严谨清楚，并能表现出一定的立体感和纵深关系，是今天我们能见到的传世卷轴画中年代最早的以界笔“植柱构梁”的建筑画迹之一。\n此图曾经宋周密《云烟过眼录》，明张丑《清河书画舫》、清孙承泽《庚子销夏记》、安岐《墨缘汇观》、《石渠宝笈·续编》、阮元《石渠随笔》等书著录，是一件递藏有绪、鉴定界公认的五代卫贤真迹。",[49,23,54,1962,25,55,56,58,59,64,1902,1019,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd234cb19159b5ecad6fb82a14b63fd9.jpg","绢本，淡设色","纵134.5厘米，横52.5厘米。",[70,242],{"id":7520,"slug":7521,"title":7522,"dynasty":1037,"author":7523,"museum":81,"description":7524,"tags":7525,"thumbUrl":7526,"material":4099,"size":7527,"collection":122,"collections":7528,"showCount":7463,"zanCount":39,"manualWeight":39,"mainColor":40},221142,"jiu-hua-tie-yang-ning-shi-221142","韭花帖","杨凝式","《韭花帖》是唐末五代书法家杨凝式创作的墨迹本行书作品，有“天下第五行书”之称，现存3个藏本，分别藏于无锡博物院和台北故宫博物院，罗振玉藏本不知去向。\n《韭花帖》是杨凝式醒后饥饿无比，得韭花珍馐而食，心中惬意故灵感大发写下。字体点画生动，结构端稳，风神简静，全帖表现出入规入矩的端庄与温雅，结体妍丽，并以精严的技巧表达出含蓄内在的文人之气。用笔一丝不苟，却不显得古板呆滞，巧妙地将内擫和外拓的笔法融为一体",[49,86,119,7,418,51,52,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F187304b1c9b023f2dbfc8a55ebeee4c0.jpg","高26厘米，宽28厘米",[122],{"id":7530,"slug":7531,"title":7532,"dynasty":97,"author":248,"museum":329,"description":7533,"tags":7534,"thumbUrl":7535,"material":7536,"size":7537,"collection":70,"collections":7538,"showCount":7463,"zanCount":39,"manualWeight":39,"mainColor":40},220969,"lin-wen-zheng-ming-ce-yun-shou-ping-220969","临文徵明册","文征明的书画造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗白居易、苏轼，文受业于吴宽，学书于李应祯，学画于沈周。其与沈周共创“吴派”。在画史上与沈周、唐伯虎、仇英合称“明四家”（“吴门四家”）。在诗文上，与祝允明、唐寅、徐祯卿 并称“吴中四才子”。",[49,23,50,51,3363,25,119,86,134,871,265,944,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1f9a9d7eae5ddf59a5433237393b6bf.jpg","纸本 册","20.6 x 30.5 cm",[70,72],{"id":7540,"slug":7541,"title":7542,"dynasty":146,"author":431,"museum":81,"description":2266,"tags":7543,"thumbUrl":7544,"material":634,"size":7545,"collection":242,"collections":7546,"showCount":7463,"zanCount":11,"manualWeight":39,"mainColor":75},220863,"shu-lin-xiu-shi-tu-zhao-meng-fu-220863","疏林秀石图",[49,23,51,84,26,55,119,7,137,277,358,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c43af0a92bd0ec53908bd0fc414eb3.jpg","纵27.5厘米，横62.8厘米",[242,921],{"id":7548,"slug":7549,"title":7550,"dynasty":115,"author":207,"museum":81,"description":7551,"tags":7552,"thumbUrl":7553,"material":152,"size":107,"collection":70,"collections":7554,"showCount":7463,"zanCount":625,"manualWeight":39,"mainColor":75},218798,"gu-mu-zhu-shi-tu-yi-ming-218798","古木竹石图","这幅画显示了一块巨大的岩石，上面有两棵枯树和海滩上的两片新竹林。岩石用飞白画法，树木用篆书画法，以李国的蟹爪为树枝。树木和石头的笔触是动态的，与竹叶的笔触相映成趣，就像教堂字体的四肢，使这幅画成为书法的趣味。这是 历代绘画作品集 中的一幅画。",[49,50,23,51,26,55,2681,137,358,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F965e42937020f7b42fb8c718a993ded4.jpg",[70],{"id":7556,"slug":7557,"title":7558,"dynasty":115,"author":881,"museum":525,"description":7559,"tags":7560,"thumbUrl":7561,"material":152,"size":107,"collection":70,"collections":7562,"showCount":7463,"zanCount":1288,"manualWeight":39,"mainColor":1441},218584,"tao-hua-chun-shui-tu-ma-yuan-218584","桃花春水图","春波漾开绢本的暖褐底色，山影如黛晕染天边。几树桃枝轻绽，粉蕊隐在苍松与杂树间，似有若无的艳色，恰衬出春水的清寂。近坡散卧的石群、浅滩上的细浪，与远景淡墨勾勒的峰峦虚实相映，留白处尽是烟波浩渺的余韵。笔墨简劲，山石斧劈皴显刚健，松枝如屈铁见骨力，却在水纹轻描中柔化棱角，刚柔相济。整幅画如清绝小令，不肆铺张，却将春日温润与山水悠远藏进每一处笔墨转折，读来心尖漫过淡淡春愁与旷远，余味绵长。",[23,50,51,56,25,55,84,870,406,871,57,61,1115,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3487685dfafca30f80a992cf8814f4dd.jpg",[70],{"id":7564,"slug":7565,"title":2254,"dynasty":18,"author":207,"museum":446,"description":7566,"tags":7567,"thumbUrl":7568,"material":152,"size":7569,"collection":35,"collections":7570,"showCount":7463,"zanCount":39,"manualWeight":39,"mainColor":75},216733,"hua-niao-tu-yi-ming-216733","花鸟图是中国明朝时期的一种流行的图画作品，通常用来装饰宫殿、庙宇、寺庙和民间住宅。花鸟图画的主题是花和鸟，这些图画通常具有浓郁的艺术气息，并且富有想象力。花鸟图画的风格各异，有的呈现出绚丽多彩的色彩，有的则更加简洁和精细。花鸟图画被广泛地应用于家具、屏风、纸品等各种物品上，为人们的生活带来美感和情感的满足。",[49,23,51,25,54,27,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ee16ee0d6aa3b7e54d2fc25984cc1c.jpg","26x22.2cm",[35],{"id":7572,"slug":7573,"title":7574,"dynasty":97,"author":1569,"museum":99,"description":7575,"tags":7576,"thumbUrl":7581,"material":689,"size":690,"collection":107,"collections":7582,"showCount":7583,"zanCount":1288,"manualWeight":39,"mainColor":75},290321,"sui-chao-huan-qing-tu-zhou-yao-wen-han-290321","岁朝欢庆图轴","姚文瀚（公元18世纪）清代画家。号濯亭，顺天（今北京）人，生卒年不详。乾隆时供奉内廷，工道释、人物、山水、界画。传世作品有《四序图》卷。",[50,23,84,25,54,1962,58,59,7577,1713,7578,417,7,7579,7580],"宅院","欢庆","岁朝","热闹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf8387fdb8f15f8876fbb2dd7fcc6d29.jpg",[],104,{"id":7585,"slug":7586,"title":7587,"dynasty":146,"author":147,"museum":99,"description":7588,"tags":7589,"thumbUrl":7590,"material":689,"size":690,"collection":107,"collections":7591,"showCount":7583,"zanCount":39,"manualWeight":39,"mainColor":40},290097,"xi-shan-cao-ge-tu-huang-gong-wang-290097","溪山草阁图","近景左侧横出小坡，岸边立一小亭伫於溪面。中景水道曲折蜿蜒，两旁碎石、平台、坡坨层层相叠，於远景处垒为巨大高耸之山体，一侧可见峭壁陡立，山石间点缀丛密林木，颇显生趣。 此作款署“大痴道人”，然其平台坡石，显受沈周（1427-1509）影响，可能原为16世纪后期蘇州画家的作品。根据印记，此作可能曾为朱之赤（活跃于17世纪）收藏。入清后，为毕泷收藏，嘉庆年间籍没入宫。",[50,23,51,84,26,55,56,63,60,61,137,150,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca990138a4223e81ac3c0c9c1ee55fd7.jpg",[],{"id":7593,"slug":7594,"title":7595,"dynasty":192,"author":2994,"museum":81,"description":7596,"tags":7597,"thumbUrl":7598,"material":634,"size":7599,"collection":122,"collections":7600,"showCount":7583,"zanCount":11,"manualWeight":39,"mainColor":40},221147,"ni-kuan-zan-chu-sui-liang-221147","倪宽赞","历代多认为本帖是褚遂良晚年作品。近代学者则以其文中之避讳用字习惯，与唐代情况不类，且用笔亦与褚书有所出入，结构较似欧体，认为是宋代临写。\n本帖笔划疏瘦，顿挫生姿，笔意翩翩自得，秀丽美妙。《石渠宝笈》载：帖高七寸七分，横五尺二寸七分，字共五十行，满行七字。卷后有赵孟坚、邓文原、柳贯、杨士奇、钱溥等人跋记。\n这件墨迹与褚书碑版相比，风格是一致的。其用笔富于变化，气均力匀；在处处表现运锋着实的同时，也往往参用轻盈飘洒、灵活自然的笔墨。起笔轻捷，收笔沉着，主要笔画适当地伸展，给人以笔势翩翩、萧洒大方、平和闲雅、神爽超迈的感觉。\n王世贞评褚书曰：“一勾一捺有千钧之力，虽外拓取姿，而中擪有法。”由墨迹观之，尤为明显。书风或学钟繇之体而古雅，或师逸少之法而瘦劲。无怪苏轼说：“清远萧洒，微杂隶体。”",[49,86,417,52,7,51,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f90fcb1316afed9d8ea9f3a74f5b414.jpg","纵24.6cm，横170.1cm",[122],{"id":7602,"slug":7603,"title":7604,"dynasty":130,"author":7605,"museum":175,"description":7606,"tags":7607,"thumbUrl":7608,"material":319,"size":7609,"collection":1120,"collections":7610,"showCount":7583,"zanCount":1288,"manualWeight":39,"mainColor":40},221026,"bo-yuan-tie-wang-xun-221026","伯远帖","王珣","《伯远帖》是晋王珣(350—401年)写的一封信。原文：“珣頓首頓首，伯遠勝業情期群從之寶。自以羸患, 志在優遊。始獲此出意不剋申。分別如昨永爲疇古。遠隔嶺嶠，不相瞻臨。”\n卷前引首有乾隆御书：“江左風華”四大字，上有“乾隆御笔”一玺。并御题：“唐人真迹已不可多得，況晉人耶！內府所藏右軍快雪帖、大令中秋帖，皆希世之珍。今又得王珣此幅，繭紙家风，信堪並美！幾余清赏，亦臨池一助也。御識。”钤“乾隆宸翰”、“涵虛朗鑒”二玺。\n前隔水御书：“家學世範，草聖有傳。宣和書譜”12字。下有：“乾隆宸翰”、“幾暇臨池”、“耽書是宿缘”三玺。\n又御识：“乾隆丙寅春月，獲王珣此帖，遂與快雪中秋二迹並藏養心殿溫室中，顔曰三希堂，御筆。又識”，钤“乾”、“隆”二玺。\n后隔水上有明董其昌跋，后有乾隆御笔绘枯枝文石，并识：“王珣帖與其昌跋皆可寶玩，即裝池側理亦光潤堪愛，漫制枯枝文石以配之。乾隆丙寅春正，長春書屋御識”，钤“几暇怡情”一玺。后有“墨云”一玺。\n卷尾敕董邦达绘图，邦达有记，又有沈德潜书“三希堂歌”。\n卷后有董其昌、王肯堂题记。\n此帖与陆机《平复帖》为现今仅存的两件晋代名人法书。\n王羲之作为“书圣”，垂范百代。但他的书作只以临本、摹本和刻本的形式流传，没有一件真迹传世。王氏家族世代擅书，名家辈出，然其作品命运亦大抵相同。唯羲之族侄王珣有此短笺留在人间，实在是不幸中的大幸。我们可以从中窥见“二王”行草书使转用笔的精微之处，这是刻帖和双勾填墨摹本所无法传达的。\n王珣本人有书名，此帖风神俊朗，潇洒流利，在王氏家族书风的基础上自具面目，在中国书法史上具有崇高的地位。\n王珣《伯远帖》自乾隆十一年（1746年）进入内府，经乾隆品题，与王羲之《快雪时晴帖》、王献之《中秋帖》并藏在养心殿西暖阁内的尽间，乾隆御书匾额“三希堂”。 乾隆十二年又精选内府所藏魏晋唐宋元明书家134家真迹，包括三希在内，摹勒上石，命名《三希堂法帖》。在西苑的北海建“阅古楼”，把上述刻石嵌在楼内墙上，拓本流传以示临池之模范。三希原件仍藏在养心殿三希堂。\n1911年以后至1924年溥仪出宫以前，《伯远帖》、《中秋帖》曾藏在敬懿皇贵妃所居的寿康宫，溥仪出宫之时，敬懿皇贵妃将此帖带出宫，后流散在外。1951 年周恩来总理指示将《伯远帖》、《中秋帖》从香港购回，交故宫博物院收藏。\n《宣和书谱》、《画禅室随笔》、《书画记》、《平生壮观》、《墨缘汇观》、《式古堂书画汇考》、《佩文斋书画谱》、《石渠宝笈·初编》、《古书画过眼要录》等书著录。",[49,50,23,51,52,119,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F246f88fa2111a0004e79f669a9b961c0.jpg","纵25.1cm，横17.2cm",[1120],{"id":7612,"slug":7613,"title":7614,"dynasty":130,"author":2922,"museum":175,"description":7615,"tags":7616,"thumbUrl":7617,"material":7618,"size":7619,"collection":122,"collections":7620,"showCount":7583,"zanCount":1288,"manualWeight":39,"mainColor":924},221020,"dong-shan-song-tie-wang-xian-zhi-221020","东山松帖","《东山松帖》又名《新埭帖》、《东山帖》。《东山松帖》是王献之所书写的一通信札，下笔婆娑，百态横生，萧散秀逸。",[51,23,119,86,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb2e1dad8d0f5a784fa42000b553eb90.jpg","纸本墨迹","纵22.8厘米，横22.3厘米",[122],{"id":7622,"slug":7623,"title":7624,"dynasty":18,"author":2181,"museum":175,"description":7625,"tags":7626,"thumbUrl":7627,"material":239,"size":7628,"collection":70,"collections":7629,"showCount":7583,"zanCount":743,"manualWeight":39,"mainColor":40},220952,"lin-he-jing-shi-yi-tu-dong-qi-chang-220952","林和靖诗意图","《林和靖诗意图》轴，明，董其昌绘，纸本，墨笔，纵88.7 厘米，横38.7厘米。\n\n本幅署题二 ，右上自题七言诗一首：“山水未深鱼鸟少，此生还拟重移居。只应三竺溪流上，独木为桥小结庐。写和靖诗意。玄宰，甲寅二月廿二日雨窗识”。下钤“董其昌印”白文印。左上又题云：“元时倪云林、王叔明皆补此诗意，惟黄子久未之见，余以黄法为此。玄宰重题，辛酉三月。”下钤“董其昌印”朱文印。此图作于明万历四十二年（1614年），时董氏60岁，明天启元年（1621年）三月67岁时重题。\n\n此图是根据北宋诗人林和靖诗意而创作。以深远法构图，峰峦起伏，林木葱郁，溪水相映，茅屋草舍点缀其间。用笔萧散，用墨秀润，得黄公望遗韵，有秀逸苍浑之气。\n\n鉴藏印左下角钤“高詹事”白文印、“竹窗”朱文印”、“偶为潘省安所有”朱文印、“嘉兴王逢辰藏”朱文印、“惕庵心赏”朱文印，右下角钤“华源草堂”白文印、“小琴鉴赏”白文印、“张照之印”白文印，右上方钤“曾在徐颂鱼处”朱文印、“阮氏琅嬛仙馆收藏印”朱文印。",[49,23,51,26,55,119,7,84,56,64,60,61,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10860b979500f162ed912af1de7ff67.jpg","纵：154.4厘米，横：64.2厘米",[70,242],{"id":7631,"slug":7632,"title":7633,"dynasty":146,"author":7331,"museum":6976,"description":7634,"tags":7635,"thumbUrl":7636,"material":88,"size":7637,"collection":35,"collections":7638,"showCount":7583,"zanCount":39,"manualWeight":39,"mainColor":40},220322,"wan-jie-tu-gu-an-220322","晚节图","此作以墨写竹，竿干劲挺修长，节痕匀整，藏坚韧不屈之态。竹叶以浓淡墨笔撇捺挥写，错落层叠、顾盼生姿，尽显萧疏散朗之致，将竹的清灵秀逸全然托出。\n\n画作以竹明志，借凌霜不凋的修竹暗合持守晚节的君子襟怀，把文人画托物言志的意趣融于笔墨间。笔致洗练老辣，墨色层次分明，简淡素净的纸色衬出墨竹清韵，通篇空灵雅致，满卷皆溢清刚雅正的高古之气，是墨竹画中形神兼备的佳构。",[49,23,51,26,84,358,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cc1bd0ec0a82b701fca3fa1e53d0bce.jpg","113.7x33.2厘米",[35],{"id":7640,"slug":7641,"title":7642,"dynasty":115,"author":207,"museum":81,"description":7643,"tags":7644,"thumbUrl":7646,"material":152,"size":7647,"collection":35,"collections":7648,"showCount":7583,"zanCount":743,"manualWeight":39,"mainColor":40},216599,"xiu-huang-quan-hua-hua-niao-ce-2-yi-ming-216599","绣黄筌画花鸟册-2","绣线交织出兰叶的柔婉姿态，针脚起落间，叶脉的细腻纹路清晰可见，似微风拂过便会轻颤。浅金色花簇缀于青碧草间，色泽温润雅致，与素净底色相衬，流露宋人独有的清逸审美。角落的红墨小物，色彩对比鲜明却不失和谐，为静谧画面添了几分灵动。此作以针代笔，将绘画的工致与刺绣的肌理感相融，既复刻了黄筌画派的细腻，又借丝线的质感赋予画面立体生机，仿佛能窥见宋时窗下，一缕兰香随绣线漫开的静谧时刻，尽显传统工艺与文人意趣的精妙碰撞。",[50,23,51,24,25,27,251,332,7,7645],"刺绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9056d18793811b531cba23d39e80e11f.jpg","23.1x21.1cm",[35],{"id":7650,"slug":7651,"title":7652,"dynasty":115,"author":748,"museum":20,"description":7653,"tags":7654,"thumbUrl":7655,"material":88,"size":813,"collection":107,"collections":7656,"showCount":7583,"zanCount":39,"manualWeight":39,"mainColor":40},214281,"duo-jing-lou-shi-tie-3-mi-fei-214281","多景楼诗帖-3","笔锋八面翻飞，墨色浓淡相济。字形欹正相生，开张处如江潮拍岸，收敛时若峰峦凝翠。“下”字沉雄如坠石，“江”字流转似惊鸿掠水，“山”字稳峙若孤峰傲立，“樓”字牵丝映带如流云绕檐。每一笔都带着奔涌的豪情，仿佛凭栏多景楼头，望断千里江山，墨色里尽是吞吐天地的气魄。字间顾盼有情，行中气脉相连，既见“刷字”的快意洒脱，更藏深蕴的笔墨法度。跌宕起伏的笔势如长江万里，苍劲中透着灵动，厚重里含着清逸，一笔一画都在诉说着宋人的潇洒风骨与壮怀激烈。",[51,86,119,418,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0965b90af51c1a528377ebb300317951.jpg",[],{"id":7658,"slug":7659,"title":7660,"dynasty":18,"author":607,"museum":81,"description":7661,"tags":7662,"thumbUrl":7663,"material":88,"size":7664,"collection":122,"collections":7665,"showCount":7583,"zanCount":39,"manualWeight":39,"mainColor":40},214255,"qi-yan-lv-shi-wen-zheng-ming-214255","七言律诗","文徵明的书法主要以王羲之和王献之为基础，而大字则以黄庭坚为典范。目前的数字是3.43厘米长，人物是25厘米高。它是文征明罕见的大型书法作品之一。笔法潇洒，变化多端，朴实无华，反映了他书法的深度。",[49,86,119,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb5c12fd1f21871075eee4013641478b.jpg","343.8x99.5",[122],{"id":7667,"slug":7668,"title":7669,"dynasty":115,"author":221,"museum":99,"description":7670,"tags":7671,"thumbUrl":7674,"material":689,"size":690,"collection":107,"collections":7675,"showCount":7676,"zanCount":743,"manualWeight":39,"mainColor":40},289742,"run-zhong-qiu-yue-zhao-ji-289742","闰中秋月","该书法帖是故宫博物院所藏赵佶的“瘦金体”《闰中秋月帖》。作品笔画细瘦如“筋”，舒展飘逸，却挺拔有力，气韵生动且不失腴润，更不显稚弱之气，有浓郁的书卷气息。\n赵佶的书法，早年学薛稷、黄庭坚，后又参合褚遂良诸家，出以挺瘦秀润，又变化“二薛”（薛稷、薛曜），形成自己的独特风格。观赏作品，可发现，其线条瘦直挺拔，横画收笔带钩，竖画收笔带点，撇如匕首，捺如切刀，竖钩细长，有些连笔字像游丝行空，已近行书。其用笔源于褚、薛，只是写得更瘦劲；结体笔势取黄庭坚大字楷书，舒展劲挺。这种书体从美学的角度讲：丽美之气袭人，婀娜多姿。在古代皇权集中制的时代，一般的情况下，肃穆、庄重、典雅和大气是皇家风格的主要特征。但是，历史似乎在动荡的宋朝发生了非规律性的扭动，从而造成了皇权和皇家审美标准的大逆转。赵佶荒废朝政、一心沉溺于书画艺术这一事实，推动了他艺术天分的表露和宣泄。而他的美学标准也随着扭动的历史现实化而变得大背传统，形成独特的一种艺术风格。这可能就是宋徽宗“瘦金体”书法形成的历史渊源吧！但是，优秀的艺术流派是以它优秀的艺术价值流传的，艺术的光芒不会因创造者某一方面的缺失而受到因影响。赵佶的“瘦金书”墨迹，优雅之气与瑰丽之气并重，正如岳珂在《宝真斋法书赞》称赞他的书法所言：“金缕之妙，细比毫发，殆与神工鬼能，较奇逞并于秋毫间。”",[49,86,417,7,944,7672,7673],"中秋","诗词","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26596379d9428c2728071db884a953e4.jpg",[],103,{"id":7678,"slug":7679,"title":3028,"dynasty":97,"author":445,"museum":99,"description":3557,"tags":7680,"thumbUrl":7681,"material":689,"size":690,"collection":107,"collections":7682,"showCount":7676,"zanCount":1288,"manualWeight":39,"mainColor":40},287452,"yi-jin-ling-ce-shi-tao-287452",[23,24,26,86,7,55,56,967,379,150,944,3548],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4024d85ab10042e974297b9aa2ce45b2.jpg",[],{"id":7684,"slug":7685,"title":7686,"dynasty":1037,"author":7092,"museum":99,"description":7687,"tags":7688,"thumbUrl":7690,"material":689,"size":690,"collection":107,"collections":7691,"showCount":7676,"zanCount":1288,"manualWeight":39,"mainColor":75},283688,"qiu-shan-wan-cui-tu-guan-tong-283688","秋山晚翠图","此画描绘的是中国北方景色，深谷云林，气壮意长，从中可以看出北方山村的生活气息。该图用笔简劲，线条粗细断续有别，落墨渍染生动，是中国古代山水画中上乘之作。",[49,50,23,51,84,26,25,56,7689,150,64,278,293,55,7],"秋山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff74413aeaf6fe0fbb9e4679e693b6af8.jpg",[],{"id":7693,"slug":7694,"title":7695,"dynasty":146,"author":1027,"museum":81,"description":7696,"tags":7697,"thumbUrl":7698,"material":121,"size":7699,"collection":107,"collections":7700,"showCount":7676,"zanCount":1288,"manualWeight":39,"mainColor":75},228263,"nan-zhi-chun-zao-tu-wang-mian-228263","南枝春早图","《南枝春早图》是元代 创作的绢本墨笔画，现藏于 。\n这幅图用浓淡相间的笔墨写枝干，一枝粗枝由画面下部右端斜出向上。\n大枝上再缀小枝，纵横交织，十分自然。\n枝上梅花繁密，有的聚成一团，有的零星点缀，均含笑怒放，姿态万千，把早春的盎然春意尽情地表现了出来，给人一种清雅自得之感。\n此画轴用浓淡相间笔墨写枝干，一千粗枝由画面下部右端斜出向上，大枝上再缀小枝，纵横交织，枝条生长茂盛，前后左右伸展交错，呈四出之势-枝上梅花繁密，千花万蕊，天真烂漫，生机盎然。\n有的聚成一团，有的零星点缀，均含笑怒放，姿态万千，把早春的盎然春意尽情地表现出来，给人一种清雅白得之感。\n梅花作为独立的绘画题材，兴自北宋，现在常见的“墨渍”、“圈瓣”两法，亦于斯时产生。\n相传释仲仁因偶见月光映梅于窗纸上得到启发，创以“墨渍法”；扬补之承仲仁墨梅之风，常对庭园老梅写生，乃创“圈瓣法”，两位画梅大家对后世影响极大，王冕即是在他们基础上取得成就的。\n今传王冕作品多件，俱为水墨，“墨渍”、“圈瓣”画法皆有，以“圈瓣”法为多。\n其作品不宥于陈法，有新的面貌；水平之高，或认为“不减扬补之”《墨梅人名录》，这幅《南枝春早图》即是其代表之作。\n王冕在梅谱中不称写梅而称“扫梅”，并总结扫梅十要，即“得意下笔，水墨浓淡，枝分左右，横斜上下，老嫩相兼，下笔不填，有花无花，花分疏密，枝分女字，十宁藏花：”这“十要”在此图中都发挥得淋漓尽致。\n充分表现了他丰富的艺术手法和独具匠心的布局能力： 此图的画法，以“飞白法”画梅，兼有书法笔意，花枝交接处，似笔断意连，运笔风神峭拔，挺劲潇洒，自根至梢一气呵成。\n在花与枝的处理上，王冕采用枝多花繁的格局，这幅墨梅图，虽枝花繁茂，但繁而不乱，疏密有绪，密中见疏，疏中仍有聚散。\n在此画中，王冕的花办采用圈法，可谓是王氏别出新意。\n所画的梅花往往正侧向背，高低偃合，妙趣横生、在画幅右侧中间有作者自题诗：“和靖（按：即宋代林和靖，不求功名，隐居丙湖孤山，赐溢和靖先生）门前雪作堆，多年积得满身苔，疏华个个团冰玉，羌笛吹他不下来：癸已夏五会稽王元章自南作。\n”下钤朱文二印，当为其本人所刻。\n王冕（1287—159），元代画家、诗人：字元章，号煮石山农、饭牛翁、会稽外史、梅花屋主等：诸暨（今属浙江）人，出身农家，白天放牛，晚至佛寺长明灯下读书：后从韩性学，试进士不第，即弃去，读古兵法，曾游大都（今北京），纵观居庸、古北关塞：泰不花荐以翰林院供职，不就、携妻孥归隐九里山，“以缯幅短长为得米之差”，工画墨梅，学扬无咎，花密枝繁，生意盎然，劲健有力，或用胭脂作没竹梅：廾善画竹，名其斋为“竹斋”。\n兼能刻印，相传以花乳石（青田石一类）作印材，白他创始：作诗多描写隐逸生活。\n部分作品也能反映民间疾苦，语言质朴，不拘常格：传世画迹有《为良佐写墨梅图》卷，《墨梅图》轴、《南枝春早图》轴。\n并著有《梅谱》一书等。",[49,23,51,84,26,345,137,277,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1227e7f33e2100268c266b6b18d98d06.jpg","151.4x52.2",[],{"id":7702,"slug":7703,"title":7704,"dynasty":97,"author":1180,"museum":99,"description":2303,"tags":7705,"thumbUrl":7706,"material":647,"size":107,"collection":72,"collections":7707,"showCount":7676,"zanCount":39,"manualWeight":39,"mainColor":40},224237,"ju-you-huang-hua-wu-chang-shuo-224237","鞠有黄花",[49,23,51,84,25,26,27,529,277,7,86,541],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51472c0177bf4af05998090e6d6ffd8e.jpg",[72],{"id":7709,"slug":7710,"title":7711,"dynasty":115,"author":881,"museum":175,"description":7712,"tags":7713,"thumbUrl":7714,"material":239,"size":7715,"collection":213,"collections":7716,"showCount":7676,"zanCount":1288,"manualWeight":39,"mainColor":75},221516,"kong-qiu-xiang-tu-ye-ma-yuan-221516","孔丘像图页","马远擅长山水画，继承和发展了北派山水的画风，能自出新意，下笔遒劲严整，设色清润；用大斧劈皴描画方硬奇峭的山石；树木用笔简要多姿，树叶有夹笔，树干用焦墨，多横斜曲折之态；楼阁大都运用界尺，而加衬染；点景人物自然生动，用不同的线描表现不同条件下的各种水势，对自然观察详细，写实能力高超。\n他的画被当时评价为：“边角之景”，“峭峰直上而不见其顶，或绝壁直下而不见其脚，或近山参天而远山则低，或孤舟泛月而一人独坐”；人称“马一角”，后人也有认为这是南宋偏安的写照。他是南宋时期最重要的画家之一；他的画受到当时皇室的青睐，多有当时宋宁宗杨皇后的题字；与夏圭并称“马夏”、又谓“马一角、夏半边”。马远与李唐、刘松年、夏圭合称为“南宋四家”。",[49,23,51,24,58,135,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140533cc0f37b2814b2ddd30cf0df06f.jpg","27.7x23.2",[213,199,72],{"id":7718,"slug":7719,"title":7720,"dynasty":146,"author":7721,"museum":20,"description":7722,"tags":7723,"thumbUrl":7724,"material":88,"size":7725,"collection":35,"collections":7726,"showCount":7676,"zanCount":39,"manualWeight":39,"mainColor":40},218762,"zhu-shi-ji-qin-tu-wang-yuan-218762","竹石集禽图","王渊","王渊（生卒年不详），字若水，号澹轩，钱塘（今浙江杭州）人。元代后期职业画家，擅画水墨花鸟、竹石、山水等。\n此图又名《花竹禽雀图》，以墨笔描绘园中禽雀栖息翱翔的场景。画面以一雄一雌的两禽为主体，雄禽立于湖石之上，炯炯有神，展现出胸部美丽斑斓的羽毛；辞禽于湖石下仰头回眸。在石后杜鹃盛开、竹枝生长，竹稍鸟群或栖息欲飞、或翻飞腾跃。\n技法上，王渊充分发挥墨彩的效果，通过运用浓淡枯湿的不同墨色，将水墨皴染和细笔勾勒等多种手法相结合，生动写实地表现出湖石、花朵、竹枝、禽鸟的不同质感，呈现出禽鸟的丰富神态，绘画细腻写实，是元代水墨画中的典型作品。",[49,23,50,51,84,26,54,7,358,700,66,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5497a6ceb9b1d521898be3b33cd857fc.jpg","纵137.5 厘米，横59.4 厘米",[35],{"id":7728,"slug":7729,"title":7730,"dynasty":115,"author":7731,"museum":194,"description":7732,"tags":7733,"thumbUrl":7734,"material":152,"size":7735,"collection":213,"collections":7736,"showCount":7676,"zanCount":743,"manualWeight":39,"mainColor":40},218561,"chi-bi-tu-yang-shi-xian-218561","赤壁图","杨士贤","此卷一直被传为杨士贤的画笔，画史上认为杨士贤学郭熙用笔作小景，这种画法与郭熙相去甚远，不能确定是杨士贤所画，（《宋画全集》）为南宋初期无名画家。",[49,23,51,52,26,25,55,56,62,944,946,5209,64,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe32e2e40b11422761cb7bd67762bcddd.jpg","30.9x128.8cm",[213,70],{"id":7738,"slug":7739,"title":7740,"dynasty":891,"author":892,"museum":175,"description":7741,"tags":7742,"thumbUrl":7744,"material":33,"size":7745,"collection":35,"collections":7746,"showCount":7676,"zanCount":1288,"manualWeight":39,"mainColor":40},216936,"zhu-qin-tu-ping-qi-bai-shi-216936","竹禽图屏","篆笔古拙沉厚，墨痕间似淌商周遗韵，线条凝练如铸金石。下方禽鸟羽色简淡却神完气足，喙微张欲鸣，爪踏竹篮边缘，憨态可掬。竹篮以寥寥数笔勾廓，经纬交错处见质朴野趣。旁题书法笔势洒脱，墨色浓淡相宜，与禽鸟的鲜活、竹篮的拙朴相映成趣。整幅书画相融，于简淡中藏盎然生机，质朴里蕴文人雅逸，将日常小景化为耐人寻味的意趣，尽显笔墨与生活的交融之妙。",[49,23,26,25,541,119,7,403,29,7743,86],"竹编器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94d0b158a23761978220ebb961394c51.jpg","36.5x33.2cm",[35],{"id":7748,"slug":7749,"title":7750,"dynasty":115,"author":7751,"museum":194,"description":7752,"tags":7753,"thumbUrl":7756,"material":152,"size":7757,"collection":199,"collections":7758,"showCount":7676,"zanCount":1288,"manualWeight":39,"mainColor":40},214920,"jiu-ge-tu-zhang-dun-li-214920","九歌图","张敦礼","由屈原创作的九歌具有很强的宗教性，是献给当时楚国存在的九种自然神的，由11首歌曲和韵文组成。本卷中缺少的是第二首《云中君》和第三首《湘君》。据说它是由张敦礼创作的，但张敦礼的作品没有现存的例子，所以无法确认它是由他创作的。",[49,50,23,51,52,25,54,55,58,56,64,7754,7755,86,541,417,180,7],"云气","神仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F147d00ca234fc4e4d8490dbae4e29906.jpg","24.7x608.5",[199],{"id":7760,"slug":7761,"title":7762,"dynasty":97,"author":1167,"museum":81,"description":2470,"tags":7763,"thumbUrl":7764,"material":33,"size":107,"collection":107,"collections":7765,"showCount":7676,"zanCount":39,"manualWeight":39,"mainColor":40},214840,"xie-sheng-ce-21-hua-yan-214840","写生册-21",[105,23,51,2641,54,25,3737,1116,531,1989,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10f0efa4299c6b9b513e46407f757961.jpg",[],{"id":7767,"slug":7768,"title":7769,"dynasty":97,"author":7770,"museum":99,"description":7771,"tags":7772,"thumbUrl":7775,"material":689,"size":690,"collection":107,"collections":7776,"showCount":7777,"zanCount":1288,"manualWeight":39,"mainColor":40},289921,"sui-chao-ji-xiang-ru-yi-tu-chen-shu-289921","岁朝吉祥如意图","陈书","陈书（1660～1736）字南楼，号上元弟子，晚号南楼老人，秀水（今浙江嘉兴）人，适海监钱纶光，善画花鸟虫草，家贫，卖画自给，教子甚严。以长子钱陈群诰封太淑人。\n陈书擅长人物、山水、花卉，书法也秀丽遒劲，诗文颇为精通。她成年后嫁于钱纶光为妻，钱氏为嘉兴望族，惜乎她的丈夫很早就离开了人间。她只能勤俭持家，夜来纺纱织布，苦度岁月，对于子女的教育从不放松，教子读经吟诗至深夜。其子钱陈群在她的精心培育下，在清康熙六十年中了进士，进入朝廷担任侍读学士等官职。陈书教子成名，自己画了一幅“夜纺授经图”，此图描绘夜深人静一边纺纱，一边教子读经，神态毕俱。这幅面得皇帝的赞赏，并题诗二首在画上，当时乾隆皇帝带头题诗称道这幅画，那些高官名人也纷纷题诗歌颂之。这幅令人瞩目的“夜纺授经图”，后来刻在石上，嵌在嘉兴中山路钱氏故居壁间，笔者曾见其拓本，原作是否存在，已不得而知。但其刻石仍保存在钱氏后裔手中。因在扩展中山路时有人看到其石刻完好地嵌在墙间，现钱氏故居已拆除，其旧址即现在中国银行嘉兴支行这块地基上。\n陈书在书画方面的造诣很高，笔墨娴雅，结构严谨。当时书画家评论她画的人物称得上逸品，画的山水、花卉称为神品，可见对她的评价相当高。陈书的子孙受她的影响也能书画，在笔墨技法上很像她，可以说一门数代继承家风。她的作品曾为清代皇室珍藏，流传民间也不少。嘉兴博物馆藏有她的花卉真迹，笔者在杭州、苏州、扬州等地也看到过她的作品。她的诗为人们所重视，《复庵吟稿》收集了她诗作的精华，流传至今。",[23,51,84,25,54,27,528,308,251,1183,1817,7773,86,7,7774],"瓷瓶","吉祥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38029323e05c021e6acdaff4db1b6ef7.jpg",[],102,{"id":7779,"slug":7780,"title":7781,"dynasty":18,"author":1014,"museum":99,"description":1334,"tags":7782,"thumbUrl":7783,"material":689,"size":690,"collection":107,"collections":7784,"showCount":7777,"zanCount":743,"manualWeight":39,"mainColor":40},288079,"shi-liu-zhi-tu-zhou-tang-yin-288079","石榴枝图轴",[49,23,84,27,25,530,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f63c78923d96b6e2af743b41cfd6d6.jpg",[],{"id":7786,"slug":7787,"title":5869,"dynasty":97,"author":445,"museum":99,"description":3557,"tags":7788,"thumbUrl":7789,"material":107,"size":107,"collection":70,"collections":7790,"showCount":7777,"zanCount":39,"manualWeight":39,"mainColor":40},237762,"yuan-ji-shan-shui-tu-ce-shi-tao-237762",[23,51,24,26,55,7,56,610,293,61,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2602ace4f9f01cb00770af8e9295051f.jpg",[70,72],{"id":7792,"slug":7793,"title":7794,"dynasty":97,"author":800,"museum":175,"description":7795,"tags":7796,"thumbUrl":7797,"material":668,"size":7798,"collection":107,"collections":7799,"showCount":7777,"zanCount":39,"manualWeight":39,"mainColor":40},233963,"mei-zhu-tu-zhou-zheng-ban-qiao-233963","梅竹图轴","竹是郑燮最擅长表现的题材，他能出神入化地准确捕捉住竹枝、竹叶在风中摇曳的动态和神韵，并形象生动地表现出来。同时竹之高洁素雅、坚韧不屈的物性亦最能体现郑燮刚直不阿的人品。郑燮画梅的作品仅此一幅，但因他具有深厚的艺术功底，故在梅的表现上亦能挥洒自如，花瓣为中锋运笔，其形状虽方圆不一，但自然的行笔，流畅的圈线，勾勒出了花儿旺盛的生命力。梅与用润墨表现的青竹在相互映衬中体现了它们不同的美。",[23,26,84,403,86,119,7,528,358,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8813cf214f626348dc52b8170329ca3b.jpg","纵127.8厘米，横31.3厘米",[],{"id":7801,"slug":7802,"title":7803,"dynasty":97,"author":7804,"museum":99,"description":7805,"tags":7806,"thumbUrl":7807,"material":107,"size":107,"collection":107,"collections":7808,"showCount":7777,"zanCount":1288,"manualWeight":39,"mainColor":40},230156,"chun-quan-xi-yao-tu-juan-chang-juan-yu-zhi-ding-230156","春泉洗药图卷（长卷）","禹之鼎","画作以青绿设色绘就江南春景，溪岸桃杏如云，山舍隐于繁枝茂叶之间，幽泉蜿蜒穿绕药圃。松下隐士凭坐观览，僮仆在溪桥边劳作，一派清寂雅静的林下幽居之景，尽显洗药林泉的隐逸意趣。\n\n整卷书画合璧，后续题跋行书笔致秀逸舒展，与工致明丽的设色画面相得益彰，将文人寄迹丘山、疗心养性的高怀雅韵融于卷中，笔墨温婉雅致，意境淡远出尘，尽显传统文人画的书卷意趣与审美追求。",[49,50,23,51,52,25,54,56,58,60,61,63,57,119,7,64,1239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d01b255a94c4d9b31be5c7ce3228f0.jpg",[],{"id":7810,"slug":7811,"title":7812,"dynasty":115,"author":355,"museum":99,"description":7813,"tags":7814,"thumbUrl":7815,"material":107,"size":107,"collection":107,"collections":7816,"showCount":7777,"zanCount":39,"manualWeight":39,"mainColor":924},227497,"ren-lai-de-shu-tie-su-shi-227497","人来得书帖","《人来得书帖》是在季常之兄伯诚死后苏轼写给季常的慰问信，故有‘伏惟深照死生聚散之常理。悟忧哀之无益，释然自勉’之句。帖上钤有“吴土谔”、“御府宝绘、“仪周赏”等。帖后有董其昌跋:“东坡真迹，余所见无虑数十卷，皆宋人双勾廓填。坡书本浓，既经填墨，盖不免墨猪之论，唯此二帖(新岁、人来)则杜老所谓须臾九重真龙出，一洗万古凡马空也。”\n此帖曾经明项元汴，清安岐等递藏，后入清内府。安岐将此帖与《新岁展庆帖》合成一帖，并称坡公杰作。《人来得书帖》凝重，笔法流畅，为书牍杰作。",[51,86,119,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfd3a1a36cd114e147a74358e047d6eb.jpg",[],{"id":7818,"slug":7819,"title":7820,"dynasty":97,"author":1167,"museum":99,"description":7821,"tags":7822,"thumbUrl":7823,"material":107,"size":107,"collection":107,"collections":7824,"showCount":7777,"zanCount":1288,"manualWeight":39,"mainColor":40},224178,"mu-dan-zhu-shi-tu-hua-yan-224178","牡丹竹石图","此作淡素底色铺陈，花卉、湖石与秀竹错落排布，虚实相生。冰蓝牡丹以没骨晕染而成，摒弃浓艳富丽，清冷幽洁自带孤高韵致，一扫牡丹流俗的富贵之气。\n淡墨湖石以写意皴染绘就，朴雅苍润，苔点隐约，与柔媚花影形成刚柔对照。旁生秀竹浅赭敷色，清瘦挺拔，枝叶舒展柔和，衬得花容愈发幽绝尘寰。左上行题诗呼应画意，将牡丹幽芳风骨引向诗文意境，工写兼备间，尽抒文人清雅出尘的审美意趣。",[49,23,51,84,25,54,26,308,358,277,27,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa7ce165a5673fa2c97572f9249cf42a.jpg",[],{"id":7826,"slug":7827,"title":7828,"dynasty":115,"author":221,"museum":20,"description":7829,"tags":7830,"thumbUrl":7832,"material":319,"size":7833,"collection":122,"collections":7834,"showCount":7777,"zanCount":743,"manualWeight":39,"mainColor":40},221346,"qian-zi-wen-zhao-ji-221346","千字文","宋徽宗是一位极不称职的皇帝，然而却是一位风流的才子。他才世杰出，于琴棋书画皆精，尤其在书法与绘画方面，颇有成就。他自创的[瘦金书]与兼工带写的画作至今为人所推崇。他的书法早年学习唐初四家之一的薛稷，明《书史会要》说徽宗[行昔日、正书笔势劲逸，初学薛稷，变其法度，自号瘦金书。要是意度天成，非可以陈迹求也]。薛稷书法，用笔纤细，结体疏瘦。虽[瘦金书]生发于唐人薛稷已成为共识，但徽宗在此基础上，聪　慧创意成为定型的瘦金体。此书体被后世誉为第一奇书，长横例作鱼头状，中截细若游丝，收笔重顿，竖笔很少作悬针，大多呈一右向倒钩，横与竖过渡折笔侧锋明显，运笔步骤展露无遗，的确不同于任何书体。徽宗还能狂草，笔意纯学怀素，并临怀素《千字文》洋洋洒洒。本法书长达十一米，用的是珍贵的描金云龙签，平添了富丽堂皇的皇家气象。他随意书写的[掠水燕翎寒自转，随泥花片湿相重]团扇，令后世书家赞叹不已。",[86,462,52,319,7,7831],"瘦金体风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e764baf1059bcff75f3e36431346a8d.jpg","纵31.2cm，横323.2cm",[122],{"id":7836,"slug":7837,"title":7838,"dynasty":18,"author":2181,"museum":4269,"description":7839,"tags":7840,"thumbUrl":7841,"material":319,"size":7842,"collection":122,"collections":7843,"showCount":7777,"zanCount":39,"manualWeight":39,"mainColor":40},220964,"shu-luo-han-zan-shu-juan-dong-qi-chang-220964","书罗汉赞书卷","包括：《罗汉赞》二首、《初祖赞》、《送僧游五台》、《送僧之牛山鸡足》。一如董氏清秀平和的书风，前半部分行中带草，结体森然，运笔精到，不争不躁，布局闲适，自然天成。与《菩萨藏经后序》相较，折笔较多，显得更挺拔硬朗。后半部分草书，运笔飞动流畅，挥洒自如，如龙蛇云物。然而，又不颠不狂，始终保持正锋，不失圆劲之妙。",[49,86,462,52,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb26ffe99ce6fd3374ae447318421bed5.jpg","纵31.1厘米，横631.3 厘米",[122],{"id":7845,"slug":7846,"title":7847,"dynasty":115,"author":2788,"museum":81,"description":7848,"tags":7849,"thumbUrl":7850,"material":88,"size":7851,"collection":213,"collections":7852,"showCount":7777,"zanCount":743,"manualWeight":39,"mainColor":40},218641,"yun-shan-de-yi-tu-mi-you-ren-218641","云山得意图","米友仁（公元1086—1165年），南宋书画家。字元晖，米芾长子。徽宗宣和四年应选入掌画学, 南渡后官兵部侍郎、敷文阁直学上。米友仁受家庭的熏陶，能书善画，长于山水。他受文人画主张的影响，所作山水“点滴烟云，草草而成，而不失天真”，与当时流行的山水画风迥异其趣。其画法被后世称为“米点山水”，予元明以来的山水画创作以相当的影响。传世作品有《潇湘奇观图》卷、 《云山得意图》卷。",[49,23,51,52,26,55,86,7,56,1207,870,406],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93c039deab9afe4cc4ef8caa6e9340eb.jpg","纵27.2厘米，横212.6厘米",[213,122],{"id":7854,"slug":7855,"title":7856,"dynasty":1037,"author":7857,"museum":81,"description":7858,"tags":7859,"thumbUrl":7860,"material":152,"size":7861,"collection":199,"collections":7862,"showCount":7777,"zanCount":743,"manualWeight":39,"mainColor":75},218616,"cai-zhi-xian-tu-wang-qi-han-218616","采芝仙图","王齐翰","传说中仙人的生活,「食则翠芝朱英」。求长生不死的灵药,芝是最为重要的一种。采芝的题材也就相当常见。本幅画仙人手捧大桃，肩荷锄挂筠篮，篮中有紫芝，一鹤后隋。画之质地为绢，绢之经纬疏如纱布，就墨底所见，是先托底而后画。明代浙派画家喜作民间题材，本幅即是。五代无此风格，题名误。",[23,51,84,25,54,58,1480,6849,180,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ae3571f69dc7ccc9cd9ff70c419cc7.jpg","99.7x54cm",[199],{"id":7864,"slug":7865,"title":7866,"dynasty":146,"author":7867,"museum":175,"description":7868,"tags":7869,"thumbUrl":7871,"material":88,"size":7872,"collection":70,"collections":7873,"showCount":7777,"zanCount":11,"manualWeight":39,"mainColor":40},218307,"shu-lin-yuan-shan-tu-shen-xuan-218307","疏林远山图","沈铉","疏林错落，枝干虬劲如篆笔写就，墨色枯润相间，尽显古木苍然之态。林间茅舍隐现，似藏幽人逸趣，不施华彩却含生趣。中景水面空濛，留白处似有波光轻漾，与远山淡墨相融。层峦叠嶂以简笔晕染，云雾缭绕间显深远之致，无刻意雕琢却见丘壑万千。整幅画以极简之笔造极幽之境，元人淡泊宁静的心境跃然纸上，观之如入林泉深处，尘嚣尽散，只余清寂与悠远。笔墨间藏着自然的呼吸，每一处线条都似在诉说着对山水的深情，让人心生向往，沉醉于这份远离俗世的清雅之美。",[23,51,26,55,56,751,7870,137,150,61,2955,7],"疏林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7d537a21bab97b3365385b72b0fd995.jpg","30x50.1cm",[70],{"id":7875,"slug":7876,"title":2254,"dynasty":97,"author":207,"museum":485,"description":7877,"tags":7878,"thumbUrl":7879,"material":152,"size":7880,"collection":35,"collections":7881,"showCount":7777,"zanCount":1288,"manualWeight":39,"mainColor":75},216726,"hua-niao-tu-yi-ming-216726","花鸟图是清朝时期佚名画家创作的一类绘画作品，其中包含了许多花卉和鸟类的描绘。这类画作通常都具有鲜艳的色彩和精致的细节，描绘的花卉和鸟类也常常具有浓郁的自然气息。花鸟图被广泛地用作装饰品，被视作清朝文化中的珍宝。",[23,51,84,54,25,27,29,332,315,1227,3653,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72ae1b447224169fc778d51c627cec2c.jpg","60.5x34.9cm",[35],{"id":7883,"slug":7884,"title":7885,"dynasty":146,"author":1303,"museum":81,"description":7886,"tags":7887,"thumbUrl":7889,"material":88,"size":7890,"collection":70,"collections":7891,"showCount":7892,"zanCount":1288,"manualWeight":39,"mainColor":40},288975,"feng-luo-wu-jiang-tu-ni-zan-288975","枫落吴江图","倪瓒山水画意境清远萧疏，自谓“逸笔草草，不求形似。”用笔轻而松，燥笔多，润笔少，墨色简淡，却厚重清温，无纤细浮薄之感，能以淡墨简笔，有神地笼罩住整个画面，识者谓其“天真幽淡，似嫩实苍。”得“简中寓繁”的风格.",[50,23,51,84,26,56,137,63,60,61,7,86,7888],"荒寒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac6fd826cd30a21b08434d4eaaef13d.jpg","94.3x48.8",[70],101,{"id":7894,"slug":7895,"title":7896,"dynasty":18,"author":7897,"museum":7898,"description":7899,"tags":7900,"thumbUrl":7901,"material":1087,"size":7902,"collection":35,"collections":7903,"showCount":7892,"zanCount":1288,"manualWeight":39,"mainColor":40},237544,"mo-zhu-tu-ce-feng-qi-zhen-237544","墨竹图册","冯起震","山东省博物馆","这幅《墨竹图》，所绘为风中之竹。画中有老竹二竿，小竹三竿，另有新篁三株。作者以淡墨绘老竹的竿与叶。竹竿亭亭竖劲，枝繁叶盛。一棵小竹依傍其左，另两竿小竹立其右。小竹枝、竿、叶均以浓墨写出，将青春勃发的幼竹秀颀、挺拔之态淋漓洒脱地表现出来。作者在写竹叶时，无论老竹幼竹，都用墨的浓淡的层次不同，来分出其阴阳向背以及叶梢的枯萎卷折，自然逼真，有形有神。\n竹下，有新笋拔地而起。其中一株已抽出肥嫩的竹节，大有冲天而发之势。另外两株小笋则跃跃欲试，似在蓄积力量，等待着雨后的拔节。笋皆以浓墨写出，清新可人。\n画中之竹，因经受着风的吹打，均倾向右侧。竹，非草非木，虽中心虚空，却能任风卷残云，我自岿然。这种宁折不弯的品性，正是画家通过他的《墨竹图》要传达给世人的。竹不是孤根而生，一枝独秀。在广袤的田园，抑或是在贫瘠的山间，竹必定是以群体的形式迎击着时时掠过的东西南北风。冯起震的《墨竹图》，着力渲染了竹的这种相依而生的特性。画中所绘竹丛，密处不繁，疏处不陋，有长幼之序，有父子之亲，老幼相傍，高下互让，拳拳之情，俨然如人间的手足相携，父子顾盼。\n以竹入画，始自唐代。初系著色，五代时用墨染，北宋开始流行墨竹。宋·李昉在《文苑英华》中说竹“劲本竖节不受霜，刚也；绿叶凄凄翠荫浮浮，柔也；虚心而直无所隐蔽，忠也；不孤根以挺拔，必相依以擢秀，义也”。这“刚、柔、忠、义”四种品德，正是历代中国文人所看重的修养与情操，甚至将其中的“忠”与“义”看得比生命还要重要。所以，谦谦君子，案头必定有竹相伴。以墨写竹，摒去了其他色彩，铅华洗尽，纯以黑白示人，更是清雅飘逸。北宋之后，墨竹在画坛上大行其道。到了明代，随着文人画日见称盛，墨竹作者更是名家辈出，冯起震便是其中自具特色的一位。\n《墨竹图》布局尤其独特。画中别无他物，只置绿竹一丛，顶天立地，上下均不留空间，只在左右两侧留白。画家只截取了竹的生长状态中的一部分予以表现，而不是写其全貌。至于竹究竟有多高，叶究竟有多茂，只有观者自己去想象了。由此，也可见出作者不为成法所拘，在画幅上自由驰骋的一面。\n如此大的篇幅，应当是作者张纸于壁上，一挥而就。所以，才使得这幅画淋漓利落，满纸清风。",[23,51,24,26,358,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ce3c0964d656b67a08c1ef1ccd0e3f4.jpg","纵178厘米，横88厘米",[35],{"id":7905,"slug":7906,"title":7907,"dynasty":7908,"author":7909,"museum":99,"description":7910,"tags":7911,"thumbUrl":7912,"material":689,"size":690,"collection":107,"collections":7913,"showCount":7892,"zanCount":1288,"manualWeight":39,"mainColor":75},231039,"tai-hang-shan-ji-wei-dan-231039","太行山记","汉","韦诞","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[50,23,51,86,52,119,26,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bfe89ff080cb08ac0a64e22cd3a4985.jpg",[],{"id":7915,"slug":7916,"title":573,"dynasty":115,"author":207,"museum":99,"description":7917,"tags":7918,"thumbUrl":7919,"material":107,"size":107,"collection":107,"collections":7920,"showCount":7892,"zanCount":39,"manualWeight":39,"mainColor":40},227896,"mu-dan-tu-yi-ming-227896","此作以工笔设色绘就，将牡丹的雍容之态尽显绢上。重瓣花头饱满蓬松，紫艳花瓣层层叠叠，以色晕染出瓣面明暗渐变，从瓣根的深紫过渡至瓣尖的柔粉，将花瓣舒展翻卷的柔媚质感描摹入微，把牡丹的华贵风韵定格。嫩绿的萼片与枝叶作为映衬，线条细劲灵动，勾勒出叶片舒展的姿态，浅绿设色柔而清透，与花的浓艳形成冷暖呼应，愈衬花头妍丽不俗。\n\n整幅构图紧凑却不显拥塞，团扇形制里氤氲着雅致静谧的氛围，尽显内敛的审美意趣，将国色天香的雅致风骨凝于尺幅之间。",[49,50,23,51,822,25,54,27,308,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e83d9bc1bd1f8aa4ab7a2bddd7fdce5.jpg",[],{"id":7922,"slug":7923,"title":7924,"dynasty":97,"author":4135,"museum":2192,"description":4136,"tags":7925,"thumbUrl":7926,"material":1087,"size":7927,"collection":107,"collections":7928,"showCount":7892,"zanCount":1288,"manualWeight":39,"mainColor":40},222641,"mei-hua-mu-dan-tu-juan-gao-feng-han-222641","梅花牡丹图卷",[49,23,51,52,26,528,308,277,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F018ad4bbb383c682e4f97451d7834b0c.jpg","20×317cm",[],{"id":7930,"slug":7931,"title":7932,"dynasty":115,"author":7045,"museum":81,"description":7933,"tags":7934,"thumbUrl":7935,"material":7936,"size":7937,"collection":122,"collections":7938,"showCount":7892,"zanCount":1288,"manualWeight":39,"mainColor":40},221192,"shang-wen-tai-hong-zun-juan-chi-du-lu-you-221192","上问台闳尊眷尺牍","释文：游皇恐百拜。上问台闳尊眷。恭惟均纳殊祉。知监学士。幸数承教。此尝纳职状以见区区。而知监諭以职状。已溢员。势须小缓。别换文字。伏乞台照。游蒙宠寄天花果药等。仰戴恩念。何有穷已。新茶三十胯。子鱼五十尾。驰献尘渎。死罪死罪。建安有委。以命為宠。游皇恐百拜上覆。",[115,86,119,5502,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2a5725a7dfe9d2e0c4ef1c664f822f5.jpg","纸本行书","29.3×31.6cm",[122],{"id":7940,"slug":7941,"title":7942,"dynasty":115,"author":116,"museum":81,"description":7943,"tags":7944,"thumbUrl":7953,"material":319,"size":7954,"collection":122,"collections":7955,"showCount":7892,"zanCount":1288,"manualWeight":39,"mainColor":40},220007,"tian-min-zhi-ming-tie-huang-ting-jian-220007","天民知命帖","释文：天民、知命、大主簿：霜寒，想八嫂安裕、九嬭、四嬭、大新婦、普姐、師哥、四娘、五娘、六郎、四十、明兒、九娘、十娘、張九（咩兒）、韓十、小韓、曾兒、湖兒、井兒，各安樂。過江來，甚思汝等，寂寞且耐煩，不須憂路上，路上甚安穩。但所經州郡多故舊，須爲酒食留連爾。家中上下，凡事切且和順。三人輪管家事，勿廢規矩。三學生不要令推病在家，依時節送飯及取歸。書院常整齪、文字勿借出也。知命且掉下潑藥草，讀書看經，求清靜之樂爲上，大主簿讀《漢書》必有功矣。十月十四日，立報。諸嬭子以下，各小心照管孩兒們，莫作炒，切切。",[49,86,119,7945,7946,7947,7948,7949,7,7950,7951,7952],"中锋用笔","提按顿挫","线条劲挺","结体欹侧","墨色变化","宋式书法","笔势开张","笔画舒展","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc88da02170486a80d837c4b07794cfb1.jpg","纵：25.5厘米 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lor":924},290851,"shan-shui-zhou-tang-yin-290851","山水轴",[50,23,84,26,56,610,379,58,150,61,86,7,55,8091],"闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F107880d5a5ec31ccbe0869de6e5ceedf.jpg",[],98,{"id":8096,"slug":8097,"title":8098,"dynasty":97,"author":1180,"museum":99,"description":1655,"tags":8099,"thumbUrl":8100,"material":689,"size":690,"collection":107,"collections":8101,"showCount":8094,"zanCount":1288,"manualWeight":39,"mainColor":40},235243,"tian-zhu-ping-zhou-wu-chang-shuo-235243","天竹屏轴",[23,51,84,25,27,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dc338003246671da0d7403f1071f706.jpg",[],{"id":8103,"slug":8104,"title":8105,"dynasty":115,"author":221,"museum":99,"description":8106,"tags":8107,"thumbUrl":8109,"material":107,"size":107,"collection":107,"collections":8110,"showCount":8094,"zanCount":39,"manualWeight":39,"mainColor":75},230970,"song-hui-zong-dao-jun-li-ying-tu-ye-zhao-ji-230970","宋徽宗(道君)立鹰图页","画面中苍鹰独立危巅，铁爪紧扣寒石，侧目回望之际目光如炬，翎毛以浓淡墨色晕染，层次绵密，将猛禽的刚猛悍勇刻画入微。青蓝山石以淡彩点染，冷峭孤高，背景翻涌的海浪线条虬曲激荡，以动衬静，愈发凸显出雄鹰沉稳孤傲的气度。整作设色古雅沉静，工笔勾勒间不失写意风神，既见精妙的写实功底，亦将猛禽睥睨寰宇的雄逸气魄与浩渺天地相融，将悍猛英姿与幽远意境合为一体，尽显别致的笔墨意趣与精神内核。",[49,50,23,51,3363,25,54,27,2394,277,8108,7],"海浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6fcd749830e028272fda4a6618ab8ef.jpg",[],{"id":8112,"slug":8113,"title":8114,"dynasty":115,"author":1923,"museum":81,"description":8115,"tags":8116,"thumbUrl":8119,"material":107,"size":107,"collection":107,"collections":8120,"showCount":8094,"zanCount":1288,"manualWeight":39,"mainColor":75},227693,"song-gao-zong-shu-nv-xiao-jing-ma-he-zhi-bu-tu-shang-juan-zhao-gou-227693","宋高宗书女孝经马和之补图上卷","宋高宗书女孝经马和之补图上卷，台北故宫博物院藏。\n\n旧题为高宗书马和之绘，所谓高宗题字，较近于理宗（1225-1264在位），故宜易名为〈宋人书画女孝经〉",[49,2651,8117,52,135,25,58,1019,64,295,86,8118,7],"书画合璧","人物故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdad394b67f242e6a179c502e1ccdc7b.jpg",[],{"id":8122,"slug":8123,"title":8124,"dynasty":115,"author":116,"museum":175,"description":8125,"tags":8126,"thumbUrl":8127,"material":8128,"size":8129,"collection":122,"collections":8130,"showCount":8094,"zanCount":1288,"manualWeight":39,"mainColor":40},221281,"zhu-shang-zuo-tie-juan-di-yi-duan-huang-ting-jian-221281","诸上座帖卷第一段","《诸上座帖》是宋黄庭坚为友人李任道所录写的五代金陵僧人文益的《语录》，全文系佛家禅语。\n《诸上座帖》释文：\n“諸上座爲複只要弄唇嘴，爲復別有所圖，恐伊執著，且執著甚麽，爲復執著理，執著事，執著色，執著空，若是理，理且作麽生執，若是事，事且作麽生執，著色，著空亦然，山僧所以尋嘗向諸上座道，十方諸佛，十方善知識時嘗垂手，諸上座時嘗接手(以下點去十六字)，十方諸佛諸善知識垂手處合委悉也，甚麽處是諸上座接手處，還有會處會取好，莫未會得，莫道揔是都來圓取，諸上座傍家行腳，也須審諦著些子精神，莫只藉少智慧，過卻時光，山僧在衆見此多矣，古聖所見諸境，唯見自心，祖師道，不是風動幡動，風動幡動者心動，但且恁麽會好，別無親於親處也，僧問，如何是不生滅底心，向伊道，那個是生滅底心，僧云，爭奈學人不見，向伊道，汝若不見，不生不滅底也不是，又問，承教有言，佛以一音演說法。衆生隨類各得解，學人如何解，向伊道，汝甚解前問已是不會古人語也，因甚，卻向伊道，汝甚解，何處是伊解處。莫是于伊分中，便點與伊，莫是爲伊不會問，卻反射伊麽，決定非此道理，慎莫錯會，除此兩會，別又如何商量，諸上座若會得此語也，即會得諸聖揔持門，且作麽生會，若會得一音演說，不會得隨類各解，恁麽道莫是有過無過，說麽莫錯會好，既不恁麽會說一音演說，隨類得解，有個下落，始得每日空上來下去，又不當得人事，且究道眼始得，古人道，一切聲是佛聲，一切色是佛色，何不且恁麽會取。\n此是大丈夫出生死事，不可草草便會。拍盲小鬼子往往見便下口，如瞎驢吃草樣，故草此一篇，遺吾友李任道，明窗淨几，它日親見古人，乃是相見時節，山谷老人書。”（《古书画过眼要录》）\n署款：“山谷老人書。”“书”字上钤“山谷道人”朱文方玺。后纸有明吴宽，清梁清标题跋各一段。\n卷前后及隔水上钤宋“内府书印”、“绍兴”、“悦生”，元“危素私印”及明李应祯、华夏、周亮工，清孙承泽、王鸿绪，近代张伯驹等诸家鉴藏印。此帖初藏南宋高宗内府，后归贾似道，明代递藏于李应祯、华夏、周亮工处，清初藏孙承泽砚山斋，后归王鸿绪，乾隆时收入内府，民国初流出宫外，为张伯驹先生所得，后捐献给国家，现藏北京故宫博物院。\n此书师法怀素狂草体，笔意纵横，气势苍浑雄伟，字法奇宕，如马脱缰，无所拘束，尤其能显示出书者悬腕摄锋运笔的高超书艺。黄庭坚《山谷自论》云：“余学草书三十余年，初以周越为师，故二十年抖擞俗气不脱，晚得苏才翁、子美书观之，乃得古人笔意。其后又得张长史、僧怀素、高闲墨迹，乃窥笔法之妙。”在《语录》后黄氏又作大字行楷书自识一则，结字内紧外松，出笔长而遒劲有力，一波三折，气势开张，一卷书法兼备二体，相互映衬，尤为罕见，是其晚年杰作。\n明都穆《寓意编》、华夏《真赏斋赋注》、文嘉《钤山堂书画记》、张丑《清河书画舫》、《清河见闻表》、卞永誉《式古堂书画汇考》，清孙承泽《庚子消夏记》、清内府《石渠宝笈·初编》等书著录。",[49,86,462,119,52,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb7641fa332e60c6c852d5ad2afb6918.jpg","纸本，手卷，草书","纵33cm，横729.5cm",[122],{"id":8132,"slug":8133,"title":4926,"dynasty":115,"author":8134,"museum":81,"description":8135,"tags":8136,"thumbUrl":8139,"material":634,"size":8140,"collection":35,"collections":8141,"showCount":8094,"zanCount":39,"manualWeight":39,"mainColor":40},221222,"sui-chao-tu-zhou-dong-xiang-221222","董祥","“岁朝”，是指阴历的正月初一，也就是我们通常谓之“年初一”——“春节”。在这一岁之始，人们为了祈求新的一年平安吉祥，往往喜欢在厅堂挂一些“岁朝图”，图上画的象征平安祥瑞的花卉器物，在这寒冽萧瑟的严冬，给家宅带来明媚温煦的春意。这民间的风俗，始于唐代，起先不过是一些仕绅、文人在大年初一将金石、书画、古董等雅玩之物精心摆设于临窗的案几上，渐渐地也有将这些物品勾染成画挂壁，意在祈福纳祥。至宋代，这民俗流行宫廷内外，宋徽宗每逢春节将临，乃命其图画院的画师们描画冬季不能见到的花卉禽鸟，陈列宫中，以增添岁朝的喜庆气氛。此后，岁朝图的内容逐渐扩展，经明、清而至近现代，大至文房器物，小至灯笼、鞭炮、果蔬等日常生活用品，都成为图上的吉祥物，日益成为一种雅俗共赏、意蕴丰厚，融诗、书、画、印于一体的画种。",[49,23,51,84,26,54,7,86,119,8137,28,8138,3009,181,4458],"瓶","松枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa23bfa3f92c3fbaf6e40503c0241d83.jpg","115.2x44.3公分",[35,72],{"id":8143,"slug":8144,"title":8145,"dynasty":146,"author":431,"museum":81,"description":8146,"tags":8147,"thumbUrl":8154,"material":634,"size":8155,"collection":122,"collections":8156,"showCount":8094,"zanCount":743,"manualWeight":39,"mainColor":40},220830,"shu-lun-yu-shi-nan-pei-xing-jian-shu-fa-zhao-meng-fu-220830","书论虞世南裴行俭书法","赵孟頫《论裴行俭书法》行书，来源于赵孟頫与鲜于枢墨迹合册之二\u002F论裴行俭帖。\n唐高宗曾经赐裴行俭白绢，命他书写《昭明文选》。高宗观赏之后，喜爱其用笔的法度，赏赐颇为丰厚。史载裴行俭曾说：“如果不是精美的笔和墨，褚遂良还不曾经常写。不选择笔、墨的好坏而能写得机灵敏捷的，只有我和虞世南而已。”他撰写《选谱》、《草字杂体》等书，有好几万字。\n释文：裴行俭工草隶，名家。帝尝以绢素诏写《文选》，览之，秘爱其法，赉物良厚。行俭每曰：“褚遂良非精笔佳墨，未尝辄书，不择笔墨而妍捷者，余与虞世南耳。”所譔《选谱》、《草字杂体》数万言。又为营阵、部伍、料胜负、别器能等四十六诀，武后使武承嗣就第取去，不复传。\n裴行俭，是大唐军神苏烈的徒弟，“儒将之雄”是对他最好的评价。裴行俭，字守约，绛州闻喜人。唐朝名将、政治家、书法家，隋朝礼部尚书裴仁基次子。裴行俭精通阴阳历法，善于鉴别人才。他工于书法，尤擅草、隶。有文集二十卷，并著有《草字杂体》、《选谱》及兵法秘诀四十六条。 裴行俭不仅是政治家，还是书法家，赵孟頫此帖，记录的便是裴行俭书法。",[86,119,319,7,8148,8149,8150,8151,8152,8153],"圆转流畅","结构严谨","笔法娴熟","复古风格","笔墨细腻","结体端庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbc471608779f041aedd9ec4c182bdb.jpg","38.4x60.6cm",[122],{"id":8158,"slug":8159,"title":8160,"dynasty":18,"author":607,"museum":2698,"description":8161,"tags":8162,"thumbUrl":8163,"material":88,"size":107,"collection":122,"collections":8164,"showCount":8094,"zanCount":11,"manualWeight":39,"mainColor":40},219983,"song-li-yuan-gui-pan-gu-xu-wen-zheng-ming-219983","送李愿归盘谷序","此作为书画合璧的精品，八十四岁高龄所作小楷清劲秀丽，笔力沉实端雅，尽显晋唐小楷隽雅遗韵，文辞古朴高逸。\n\n山水取全景式构图铺展盘谷幽境，山峦层叠起伏，林木蓊郁苍秀，村居错落排布于河畔幽谷之间，笔墨温润雅致，将文中林泉隐逸的恬淡幽寂意境具象还原，尽显吴门画派清雅风神。书画相得益彰，将文章里的隐逸雅趣与文人林下襟怀尽数铺陈。",[49,23,51,52,417,86,26,55,56,64,727,715,278,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47372cf13dcfe47c86dc4aa3bbc2f0d0.jpg",[122,242],{"id":8166,"slug":8167,"title":8168,"dynasty":18,"author":1014,"museum":81,"description":8169,"tags":8170,"thumbUrl":8171,"material":239,"size":8172,"collection":70,"collections":8173,"showCount":8094,"zanCount":39,"manualWeight":39,"mainColor":75},219972,"hua-xi-yu-yin-tu-tang-yin-219972","花溪渔隐图","此作用淡墨晕染远空平林，湖山杳渺清旷，尽显江南水色的空濛柔婉。近景苍松虬曲倚立怪石，流泉绕石萦回，草木华滋鲜润。扁舟渔父悠然独坐于花溪之上，随波信游，静览周遭春景。\n\n画作将诗意与画境相融，以秀润灵逸的笔墨写尽渔隐江湖的自在。既有院体山水的精整工致，又带文人画的萧散简淡，把幽居林泉、超脱尘俗的文人理想寄寓在清寂山水之间，尽显江南隐逸的淡远雅趣，藏着一份避世忘机的闲适安然。",[49,23,51,26,25,55,56,610,1902,61,62,58,64,896,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac1791960d880f80ab89155121d9e3fe.jpg","74.7x35.8",[70],{"id":8175,"slug":8176,"title":8177,"dynasty":1037,"author":8178,"museum":81,"description":8179,"tags":8180,"thumbUrl":8182,"material":88,"size":8183,"collection":70,"collections":8184,"showCount":8094,"zanCount":39,"manualWeight":39,"mainColor":40},219962,"fu-chun-shan-tu-ju-ran-219962","富春山图","巨然","巨然，生卒年不详，江宁（江苏南京）人。五代画家，僧人。\n早年在南京开元寺出家，南唐降宋后到汴京（河南开封），居于开宝寺。\n擅画山水，师法董源，专画江南山水，所画峰峦 ，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。",[49,23,50,51,52,26,55,119,86,7,56,150,64,293,8181,62,279,278,2955],"小溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40355f5e09bc5ab99da7887c13d4b56d.jpg","81.1x27.9",[70],{"id":8186,"slug":8187,"title":8188,"dynasty":18,"author":8189,"museum":81,"description":8190,"tags":8191,"thumbUrl":8192,"material":33,"size":8193,"collection":70,"collections":8194,"showCount":8094,"zanCount":39,"manualWeight":39,"mainColor":40},218371,"wu-yue-jiang-shen-tu-wen-bo-ren-218371","五月江深图","文伯仁","画面以对角线构图，一边布置葱郁的山林，一边则为浩瀚的江天；山林中隐蔽数间屋舍，有一人独倚栏杆远眺江景，传达出僻地幽居的情景。",[23,84,25,55,7,56,870,406,871,1902,293,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c0b946e829e4768e353c4fcb8e2f88a.jpg","110.3x45.3cm",[70],{"id":8196,"slug":8197,"title":8198,"dynasty":97,"author":697,"museum":20,"description":698,"tags":8199,"thumbUrl":8200,"material":88,"size":702,"collection":107,"collections":8201,"showCount":8094,"zanCount":743,"manualWeight":39,"mainColor":40},214686,"mei-hua-zhu-shi-tu-ce-3-wang-shi-shen-214686","梅花竹石图册-3",[23,51,24,26,528,358,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F789cbb5f9f7a7413c78364ba6bcf38e4.jpg",[],{"id":8203,"slug":8204,"title":8205,"dynasty":192,"author":8206,"museum":81,"description":8207,"tags":8208,"thumbUrl":8209,"material":33,"size":8210,"collection":35,"collections":8211,"showCount":8094,"zanCount":39,"manualWeight":39,"mainColor":40},214586,"xie-sheng-hua-hui-ce-ku-shu-wu-yang-pan-tuo-liu-shui-diao-guang-yin-214586","写生花卉册-枯树五羊磐陀流水","刁光胤","刁光胤的写生花卉册是一件著名的绘画作品，其中的枯树五羊磐陀流水图是一件精美的山水画作品。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了刁光胤对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n在这幅画中，刁光胤运用了清新的色彩和精细的线条来描绘山水风景。他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。画中的枯树五羊磐陀流水是一幅清新而美丽的山水画，它体现了刁光胤对自然的热爱和对传统文化的尊重。\n\n总的来说，刁光胤的写生花卉册是一件精美的绘画作品，其中的枯树五羊磐陀流水图是一件优美的山水画作品，它描绘了中国传统的山水风景，也体现了刁光胤对自然的热爱和对传统文化的尊重。",[23,51,24,25,56,967,1116,61,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab32d24499975cca0c619bebd3c0cd32.jpg","33.9x36.4cm",[35],{"id":8213,"slug":8214,"title":8215,"dynasty":130,"author":857,"museum":175,"description":858,"tags":8216,"thumbUrl":8217,"material":88,"size":861,"collection":107,"collections":8218,"showCount":8094,"zanCount":39,"manualWeight":39,"mainColor":40},214580,"yu-hou-tie-3-wang-xi-zhi-214580","雨后帖-3",[51,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2b2195af58b31babe6a6950b6c1ecdd.jpg",[],{"id":8220,"slug":8221,"title":8222,"dynasty":18,"author":207,"museum":175,"description":8223,"tags":8224,"thumbUrl":8225,"material":227,"size":107,"collection":199,"collections":8226,"showCount":8227,"zanCount":743,"manualWeight":39,"mainColor":75},236160,"zhang-fei-xiang-zhou-yi-ming-236160","张飞像轴","原清宫内务府广储司茶库旧藏。茶库旧藏历代功臣像为轴二十有一",[23,84,25,58,54,5029,180,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc798faf4f2e36c88656db7ea294b9113.jpg",[199,72],97,{"id":8229,"slug":8230,"title":8231,"dynasty":192,"author":1614,"museum":99,"description":8232,"tags":8233,"thumbUrl":8234,"material":689,"size":690,"collection":107,"collections":8235,"showCount":8227,"zanCount":1288,"manualWeight":39,"mainColor":75},232273,"ji-zhi-wen-gao-yan-zhen-qing-232273","祭侄文稿","颜真卿（709年－784年8月23日 ），字清臣，小名羡门子，别号应方，京兆万年（今陕西省西安市）人 ，祖籍琅玡临沂（今山东省临沂市）。唐朝名臣、书法家，秘书监颜师古五世从孙 、司徒颜杲卿从弟。\n颜真卿出身琅琊颜氏，于唐玄宗开元二十二年（734年）登进士第，历任监察御史、殿中侍御史。后因得罪权臣杨国忠，被贬为平原太守，世称“颜平原”。安史之乱时，颜真卿率义军对抗叛军，一度光复河北。后至凤翔，被授为宪部尚书。唐代宗时官至吏部尚书、太子太师，封鲁郡公，人称“颜鲁公”。兴元元年（784年），被派遣晓谕叛将李希烈，凛然拒贼，终被缢杀。他遇害后，嗣曹王李皋及三军将士皆为之痛哭。追赠司徒，谥号“文忠”。\n颜真卿书法精妙，擅长行、楷。初学褚遂良，后师从张旭，得其笔法。其正楷端庄雄伟，行书气势遒劲，创“颜体”楷书，对后世影响很大。与赵孟頫、柳公权、欧阳询并称为“楷书四大家”。又与柳公权并称“颜柳”，被称为“颜筋柳骨”。又善诗文，有《韵海镜源》《礼乐集》《吴兴集》《庐陵集》《临川集》，均佚。宋人辑有《颜鲁公集》。",[119,86,52,2226,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cc1db0d22aedae6c817acab49b41c36.jpg",[],{"id":8237,"slug":8238,"title":8239,"dynasty":115,"author":8240,"museum":222,"description":8241,"tags":8242,"thumbUrl":8243,"material":4816,"size":8244,"collection":107,"collections":8245,"showCount":8227,"zanCount":743,"manualWeight":39,"mainColor":40},221396,"bai-lian-she-tu-quan-juan-zhang-ji-221396","白莲社图全卷","张激","该画运用连环画的形式，描绘了东晋元兴年间，高僧惠远在庐山东林寺同18位贤士建白莲社专修净土法门，并与陆修静、陶渊明、谢灵运相善故事。\n全卷主要描绘了经筵会讲、金像赞佛、笺经校义三个情节，全图共分八段，绘高僧名士19人，僮仆12，采用的是李公麟开创的白描手法，树和山石的线条极富质感，枝叶多用尖笔鹰爪法，苍劲挺秀。人物淡墨须眉，浓墨点睛，神采毕现。图中还画了虎、豹、驯鹿等动物，并表现了驯服怡悦的神态，突出了高僧文士们的神秘生活状态，画作整体表现出清淡、高洁、幽雅的风格。",[49,23,52,135,26,1284,58,56,871,700,61,63,6770,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedeaf58a1fb7e1565730651e19bdb961.jpg","纵34.9厘米，横848.8厘米",[],{"id":8247,"slug":8248,"title":8249,"dynasty":115,"author":116,"museum":81,"description":8250,"tags":8251,"thumbUrl":8252,"material":634,"size":8253,"collection":122,"collections":8254,"showCount":8227,"zanCount":1288,"manualWeight":39,"mainColor":40},221269,"han-shan-zi-pang-ju-shi-shi-tie-quan-juan-huang-ting-jian-221269","寒山子庞居士诗帖全卷","黄庭坚《寒山子、庞居士诗卷》，它是北宋书法家黄庭坚的一幅行书代表作，内容是唐代隐士寒山子《劝戒诗》与居士庞蕴的诗偈，现藏于台北故宫博物院。这一诗卷是黄庭坚晚年的杰作，有着鲜明的黄庭坚行书的风格特征，尤其在字的结体上，吸收了《瘗鹤铭》和颜真卿楷书的结字方法，加以夸张和变化，创造出一种俊挺豪迈的新面目。\n这幅作品中字都有这样的特点，一波数折；中宫收敛的地方，笔画排列紧密，显得雄强茂美，而有些笔画，如帖中“水、人、本”等字的撇捺，“黄、箭、世、苹、业”等字的横笔，都是尽情地纵向伸展，横向逸出，显得痛快淋漓，具有豪爽飘逸之气。字形结构上突破了方正规矩的外形，在冲破均衡的同时，又能使字保持住重心，笔画的伸展并不是完全没有方向，疏密处理得很巧妙，笔画之间也是左顾右盼、互相呼应，有放也有收。这幅字的结构上还有“攲侧”的特点，不但横画倾斜，竖画也蛇曲不正，然而这些歪斜的字笔画遒劲，结体开张，很有气派。",[49,86,119,52,418,7,26,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ca27a7894bdb3fa8554156431e57f83.jpg","纵29.1，横213.8厘米",[122],{"id":8256,"slug":8257,"title":8258,"dynasty":130,"author":857,"museum":99,"description":8259,"tags":8260,"thumbUrl":8261,"material":107,"size":107,"collection":122,"collections":8262,"showCount":8227,"zanCount":743,"manualWeight":39,"mainColor":40},221036,"cao-jue-bai-yun-ge-quan-juan-wang-xi-zhi-221036","草诀百韵歌全卷","《草诀百歌韵》是中国古代一本重要的草书歌诀，学草书的重要门径，作者署名王羲之，但据相关资料显示，此书未见于北宋，伪托王羲之之名，如明代杨慎的《升》 庵外集》卷88云：「《草秘韵百歌》乃宋人编成，以示初级，托名王羲之。",[49,86,462,52,134,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fc393e8005cbb450b2bb396c178509c.jpg",[122,1120],{"id":8264,"slug":8265,"title":8266,"dynasty":18,"author":8267,"museum":525,"description":8268,"tags":8269,"thumbUrl":8270,"material":88,"size":107,"collection":70,"collections":8271,"showCount":8227,"zanCount":1288,"manualWeight":39,"mainColor":75},217058,"chun-shan-pian-zhou-tu-yao-sui-217058","春山扁舟图","姚绥","姚绥是明朝的一位著名画家，他的作品《春山扁舟图》是一幅典型的山水画，描绘了一段美好的春天，山峦翠绿，水面波光粼粼，扁舟悠然自得地漂流在江中。图中的山水景色清新宜人，构图简洁大方，笔墨流畅自然，是姚绥非常优秀的代表作。",[23,26,55,56,62,61,293,64,150,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4d7c3ea94eed15c56d67aa937bbc39c.jpg",[70],{"id":8273,"slug":8274,"title":2149,"dynasty":97,"author":6313,"museum":99,"description":8275,"tags":8276,"thumbUrl":8277,"material":689,"size":690,"collection":35,"collections":8278,"showCount":8279,"zanCount":39,"manualWeight":39,"mainColor":40},235595,"hua-hui-ce-wang-wu-235595","王武，1632年生，1690年逝世，吴县（今江苏苏州）人。字勤中，晚号忘庵，又号雪颠道人。明代画家王鏊六世孙，精鉴赏，富收藏，擅画花鸟，风格工整秀丽，正如王时敏所云：“神韵生动，应在妙品中。”为清初院画的名家。亦擅诗文。传世作品有《水仙柏石图》、《红杏白鸽图》、《鸳鸯白鹭图》等。",[50,23,51,24,25,54,27,277,28,30,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53dfb5af791c81f1b8b2110f11c0c905.jpg",[35,72],96,{"id":8281,"slug":8282,"title":2567,"dynasty":97,"author":1180,"museum":2698,"description":8283,"tags":8284,"thumbUrl":8285,"material":1561,"size":8286,"collection":35,"collections":8287,"showCount":8279,"zanCount":39,"manualWeight":39,"mainColor":40},224223,"song-mei-tu-wu-chang-shuo-224223","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。",[49,23,51,84,26,25,27,777,528,7,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F394f15aa9a6c228570b112034349569c.jpg","纵135.6厘米，横67.8厘米",[35,72],{"id":8289,"slug":8290,"title":1722,"dynasty":97,"author":736,"museum":175,"description":8291,"tags":8292,"thumbUrl":8293,"material":183,"size":8294,"collection":35,"collections":8295,"showCount":8279,"zanCount":1288,"manualWeight":39,"mainColor":40},222781,"hua-niao-ce-ye-lang-shi-ning-222781","此图册分别描绘了牡丹、兰花、罂粟、萱草、荷花、梅花等艳丽多姿的花卉和体态生动的蝶、鸟。构图上取法中国传统花鸟画的格局，以虚托实，注重对所绘物象的突出。在表现技法上，则充分发挥了欧洲绘画注重明暗及透视的特点，以工致细腻的笔触，刻画出花瓣、叶片以及鸟雀的羽毛质感和体积感，呈现出与传统的中国花鸟画迥然不同的艺术风貌。这种“中西合璧”的画风成为清代宫廷绘画艺术的一大特色，受到了清皇室的青睐。",[49,50,23,51,24,54,25,27,528,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1a60274f5f3dad5f48ce75b5aa1af22.jpg","纵32.6厘米，横28.6厘米",[35,72],{"id":8297,"slug":8298,"title":8299,"dynasty":146,"author":1303,"museum":175,"description":8300,"tags":8301,"thumbUrl":8302,"material":668,"size":8303,"collection":242,"collections":8304,"showCount":8279,"zanCount":39,"manualWeight":39,"mainColor":75},220798,"wu-zhu-xiu-shi-tu-ni-zan-220798","梧竹秀石图","《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。",[49,50,23,26,84,358,1238,277,119,7,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed2c141173efcc16d73f1e7f7f7cf9c1.jpg","纵96cm，横36.5cm",[242,921],{"id":8306,"slug":8307,"title":8308,"dynasty":115,"author":8309,"museum":99,"description":8310,"tags":8311,"thumbUrl":8313,"material":689,"size":690,"collection":107,"collections":8314,"showCount":8315,"zanCount":39,"manualWeight":39,"mainColor":75},288289,"mao-hou-tu-yi-yuan-ji-288289","猫猴图","易元吉","《宋易元吉猴猫图卷》画孙猴儿一只，脖子上围绑着粗绳，圈系在地，两只小花猫，大概路经此地，不经意中，一为猴儿挟抱，另一则惊避回顾。画中二小猫，全身毫毛皆用纤细的笔线，笔笔丝出，再加色晕染。黄花猫斑纹处是以淡赭墨染绘，毛色层次井然分明。盘坐在地的猴儿也是采同样手法处理，然而毛发更见丰盈毛绒，多而不乱。作者传神体物的绘画表现，足能成为北宋人写生写实的艺事风格代表。\n画家除了在此展现出精巧的画技外，捕捉动物生态，更有其独到之处。无论是调皮捣蛋的顽猴；或是它怀中畏怯无奈的小猫；或是一旁怒目嘶叫、张牙舞爪的幸免者，这三者间生动的神情，及合于本性、出于自然的瞬间互动，都藉由画家敏睿的观察，和传神的画笔，铺陈出如此富有戏剧效果的画面。",[50,23,51,25,54,1085,8312,1116,7],"猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d00ee3f96e092903f2ea29821abb153.jpg",[],95,{"id":8317,"slug":8318,"title":1302,"dynasty":97,"author":800,"museum":175,"description":3232,"tags":8319,"thumbUrl":8320,"material":668,"size":3235,"collection":107,"collections":8321,"showCount":8315,"zanCount":39,"manualWeight":39,"mainColor":40},234676,"zhu-shi-tu-zheng-ban-qiao-234676",[23,26,84,358,277,403,51,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4678f3aee954a45f278520cc553534f1.jpg",[],{"id":8323,"slug":8324,"title":8325,"dynasty":97,"author":655,"museum":99,"description":8326,"tags":8327,"thumbUrl":8328,"material":107,"size":107,"collection":107,"collections":8329,"showCount":8315,"zanCount":39,"manualWeight":39,"mainColor":40},230874,"mei-hua-tu-ce-jin-nong-230874","梅花图册","这幅画以水墨写梅，老干虬曲苍劲，淡墨晕染出斑驳古拙的质感，枝桠斜逸舒展，尽显老树凌寒的沉浑气度。枝头梅花以淡墨勾瓣，留白衬出冰洁花容，浓墨点蕊，疏密有致，于简淡中见清艳孤高，将梅花傲霜之态全然托出。\n\n左侧隶书题跋朴茂沉厚，笔力苍劲，画与文相映成趣，把画梅心得与爱梅之情落于纸间。整作脱去甜熟妍丽，以极简笔墨写尽梅之清癯风骨，藏着画者疏淡超脱的文人襟怀，以意趣取胜，尽显水墨花卉的空灵淡远之美。",[23,51,24,26,27,528,86,7],"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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。",[49,23,51,52,25,26,403,27,308,277,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecafa67ce26c246c916ad4fb011d6f4d.jpg",[],{"id":8347,"slug":8348,"title":8349,"dynasty":18,"author":1014,"museum":175,"description":8350,"tags":8351,"thumbUrl":8352,"material":8353,"size":8354,"collection":70,"collections":8355,"showCount":8315,"zanCount":743,"manualWeight":39,"mainColor":40},222359,"guan-mei-tu-zhou-tang-yin-222359","观梅图轴","画作表现一位高士袖手立于溪桥之上，身后的山崖边两树梅花含苞待放，与作者所题诗意十分吻合。全幅构图汲取南宋院体风格，险中求胜，山石树木的勾勒粗细得当，晕染多于皴擦，清健爽利的笔致和幽静的背景营造突出了主体人物的高洁形象。人物的线描细劲流畅，造型清俊儒雅。从此作的创作风格上看，应是唐寅中年以后的作品。\n此图曾经清代毕沅等人鉴藏。",[49,23,51,84,26,55,119,528,150,58,967,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F709e091fe9b41a1555692ca92f23e3f6.jpg","纸本，淡设色","纵108.6厘米，横34.5厘米。",[70,242],{"id":8357,"slug":8358,"title":8359,"dynasty":146,"author":1003,"museum":81,"description":8360,"tags":8361,"thumbUrl":8362,"material":1149,"size":8363,"collection":72,"collections":8364,"showCount":8315,"zanCount":1288,"manualWeight":39,"mainColor":75},221848,"zhu-lin-xian-zi-zhou-liu-guan-dao-221848","竹林仙子轴","刘贯道，字仲贤，生卒年不详，约为元世祖之人。善画佛道人物，又能做山水、花竹、鸟兽等。他在世的作品极少，画中人物多接近北宋传统技法，有古典风味，与南宋有明显的分别。或许是因为他出生在北方，较承袭了北宋的画法。",[49,23,51,50,84,54,25,58,136,358,277,332,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae7dcfcc265fc0481ad92b6f1e12076.jpg","该幅70x31.4公分；全幅 57.5公分",[72,921],{"id":8366,"slug":8367,"title":7828,"dynasty":192,"author":8368,"museum":222,"description":8369,"tags":8370,"thumbUrl":8371,"material":319,"size":107,"collection":122,"collections":8372,"showCount":8315,"zanCount":1288,"manualWeight":39,"mainColor":40},221106,"qian-zi-wen-ou-yang-xun-221106","欧阳询","千字文作为中国古代的启蒙学课本，以一千字编为四言章韵语，叙述有关自然、社会历史、教育等方面的知识，隋代即开始流行。\n此千字文传欧阳询书，故宫博物院藏,见于《戏鸿堂帖》，内容完整，后有刻跋两段：“右率更令所书千文字扬补之家藏本，咸淳甲戍岁九月三日钱金应桂”。“书家以分行布白谓之九宫，元人作书经云：黄庭有六分九宫、曹娥有四分九宫是也。今观信本千文真有完字具于胸中。若构凌云台，一皆衡剂而成者。米南宫评其真书到内史、信矣，此本为扬补之家藏，勒其全文，欲学书者先定间架，然后纵横跌宕唯变所适也。其昌”。",[49,417,86,418,52,7,2601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b4e30ddce65a81934ed675107a76227.jpg",[122],{"id":8374,"slug":8375,"title":8376,"dynasty":18,"author":459,"museum":485,"description":1795,"tags":8377,"thumbUrl":8378,"material":88,"size":1798,"collection":107,"collections":8379,"showCount":8315,"zanCount":39,"manualWeight":39,"mainColor":40},220101,"shi-er-mo-hua-tu-juan-4-xu-wei-220101","十二墨花图卷-4",[49,23,51,52,26,27,403,7,86,119,308,314,251,332],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102a8eb2b6b2546b1fba3bbf5502311f.jpg",[],{"id":8381,"slug":8382,"title":8383,"dynasty":115,"author":116,"museum":81,"description":8384,"tags":8385,"thumbUrl":8386,"material":319,"size":8387,"collection":122,"collections":8388,"showCount":8315,"zanCount":1288,"manualWeight":39,"mainColor":40},220008,"xue-han-tie-huang-ting-jian-220008","雪寒帖","无书写时间，从笔法、结体、风格等方面综合比较，与《动静帖》、《致明叔同年尺牍》非常接近，大致书于绍圣年间。",[49,51,86,119,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47dca2ef8f7c05f24e2fda6ad5dda141.jpg","纵28.8厘米、横17.5厘米",[122],{"id":8390,"slug":8391,"title":8392,"dynasty":18,"author":8393,"museum":175,"description":8394,"tags":8395,"thumbUrl":8396,"material":319,"size":8397,"collection":122,"collections":8398,"showCount":8315,"zanCount":743,"manualWeight":39,"mainColor":40},219154,"kai-shu-ju-song-tie-ye-shen-zao-219154","楷书·橘颂帖页","沈藻","《橘颂》是屈原的传世名篇。沈藻此作点划纤细平正，风格婉美端秀，为典型的“台阁体”。",[49,51,417,86,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c41915b9fd989ff97a6a41eaed8537.jpg","纵27.6厘米，横47.6厘米",[122],{"id":8400,"slug":8401,"title":8402,"dynasty":146,"author":8403,"museum":175,"description":8404,"tags":8405,"thumbUrl":8406,"material":88,"size":8407,"collection":70,"collections":8408,"showCount":8315,"zanCount":743,"manualWeight":39,"mainColor":40},218254,"ge-an-wang-shan-tu-zhao-zhong-218254","隔岸望山图","赵衷","此图为《张观等五家集绘卷》之一。近岸画坡石高树，参差错落，一人坐平坡上隔江遥望烟云笼罩的远山。坡前湖面宽阔浩渺，意境清幽。近树用笔精工细致，生动写实。对岸远山以简率的笔墨轻勾淡染，远树点笔为形，概括取象，给人以旷远迷离之感。人物形象虽小，造型却生动准确。全图用笔秀润，墨色淡雅。",[23,26,56,51,870,406,871,58,1902,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1885be14f4847ee54f72c9a387e606e3.jpg","纵30厘米，横50.1厘米",[70],{"id":8410,"slug":8411,"title":8412,"dynasty":18,"author":8413,"museum":99,"description":8414,"tags":8415,"thumbUrl":8416,"material":33,"size":107,"collection":199,"collections":8417,"showCount":8315,"zanCount":39,"manualWeight":39,"mainColor":40},216347,"xi-xiang-ji-cha-ye-min-qi-ji-216347","西厢记插页","闵齐伋","眉眼低垂间，凝着西厢故事里的幽婉心事。墨线勾勒的衣袂似随微风轻漾，素色衣衫衬得身姿温婉窈窕。精致的发髻簪着小巧头饰，鬓角发丝垂落，添了几分柔媚。手中淡蓝团扇半掩，扇面纹路隐约，与轻拢衣襟的手势相映，似在掩饰心头的娇羞与沉思。古朴边框饰以卷草纹样，缠缠绕绕间晕开明清插画的雅致。左侧题款墨痕清逸，朱红印章点缀，笔墨与丹青相融，将剧中人物的情态凝于一纸，淡远而悠长，尽显古典仕女画的含蓄之美。",[23,51,24,135,25,58,136,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39940e524f20f38b6f876b1cdd2cf929.jpg",[199],{"id":8419,"slug":8420,"title":8421,"dynasty":115,"author":289,"museum":99,"description":8422,"tags":8423,"thumbUrl":8424,"material":88,"size":8425,"collection":199,"collections":8426,"showCount":8315,"zanCount":743,"manualWeight":39,"mainColor":40},214915,"xiao-jing-tu-juan-li-gong-lin-214915","孝经图卷","孝经图卷是宋朝时期李公麟所绘的一幅图画，作品名为《孝经图》。该图画记录了中国传统文化中关于孝道的理论。孝道是中国传统文化中的一个重要概念，指的是尊敬父母、敬老尊贤的道德行为。《孝经图》是一幅巨大的图画，长约10米，宽约1.5米，由李公麟于宋朝初年绘制。该图画分为上下两部分，上部是一幅描绘中国传统孝道理论的巨幅图画，下部是记录了关于孝道的文字记录。《孝经图》是一件重要的文化遗产，对于了解中国传统文化中孝道的概念和内涵有着重要的意义。",[49,50,23,51,52,135,26,58,59,60,61,7,225,63,150,64,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cdceb66d0489c2d2fba02cb93a6f500.jpg","21.9x475.6",[199],{"id":8428,"slug":8429,"title":8430,"dynasty":146,"author":709,"museum":99,"description":8431,"tags":8432,"thumbUrl":8433,"material":689,"size":690,"collection":107,"collections":8434,"showCount":8435,"zanCount":743,"manualWeight":39,"mainColor":40},291024,"yun-dang-qing-ying-tu-zhou-wu-zhen-291024","筼筜清影图轴","吴镇（1280年—1354年），字仲圭，号梅花道人，浙江嘉兴人。元代画家、书法家、诗人。\n吴镇擅画山水、梅花、竹石，与黄公望、倪瓒、王蒙合称“元四家”。\n由于吴镇以董巨起家，其画中山、石、树、水、房屋、小桥都显得格外宁静、平和，但吴镇有时也着意打破这种气氛，使宁静中增几分动荡，那就是近景大树和山石的表现，特别是三两棵树的表现尤其明显。如果说吴画山、石、水、小桥、屋舍、群树的表现乃至整体气息是以董巨面目出现的话，那么其局部的大树则主要是以马夏的面目出现的。结构布局上立于近景，形象表现上夸张变形，树种的选择上以松柏寓人格。这种形象的树出现在平和、宁静的境界里显得格外突出。它们或直立挺拔、俯势向上；或倚斜偃蹇、欲倒还立；或技条倒挂、曲折盘桓。而且吴镇对大树的形象也是情有独钟的，几乎每幅山水画均有此类形象。这一个个形象频繁出现于其笔下，有何深刻含义？如果联系一下元代的民族岐视政策，联系一下同样比邻而居，盛氏求画者门限为穿，自家之门阒然的事实，或许透露出个中消息。在大树的塑造上，如果把吴镇放在“元四家”其他三家中做一比较，吴镇的独特个性尤能充分展现。黄公望、王蒙为了表现高士的居住环境，用平和、冷静的笔触画群山诸峰，力量均匀，气势平缓，树木郁郁葱葱，均为山的点缀，很少突出某一大树。倪瓒、吴镇在景物取舍上有极强的一致性，均喜画几棵树。倪瓒的树是纤细、弱小的，树干上长出几条树枝，枝上顶着几片叶子，立在空旷的荒野里显得孤独而又凄凉。而且倪瓒的树往往是叫不出名字的，并无具体所指；吴镇在树的种类上往往是有选择的，他最喜欢选取被赋予隐逸人格象征的古松来充实画面。在近景中吴镇很少画杂树而是喜爱强调几棵大树，个个粗壮而枝叶茂密，富有顽强的生命力。",[50,23,51,84,26,358,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b3b2615b892119aa8db2b0673c921dd.jpg",[],94,{"id":8437,"slug":8438,"title":8439,"dynasty":97,"author":2568,"museum":99,"description":8440,"tags":8441,"thumbUrl":8443,"material":107,"size":107,"collection":70,"collections":8444,"showCount":8435,"zanCount":39,"manualWeight":39,"mainColor":40},237614,"hong-ren-shan-shui-ce-hong-ren-237614","弘仁山水册","弘仁（1610-1664），明代著名画家，俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后，于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒等，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪之瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等，著有《画偈》。",[23,51,26,55,24,119,7,56,277,8442,293,870,406,64],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcb1183d2ee5a491bd53c0b3d5ea7ad3.jpg",[70,242],{"id":8446,"slug":8447,"title":8448,"dynasty":115,"author":8449,"museum":99,"description":8450,"tags":8451,"thumbUrl":8452,"material":107,"size":107,"collection":107,"collections":8453,"showCount":8435,"zanCount":1288,"manualWeight":39,"mainColor":40},227753,"ju-cong-fei-die-tu-ye-zhu-shao-zong-227753","菊丛飞蝶图页","朱绍宗","《菊丛飞蝶图》页，宋，朱绍宗绘，纨扇页，绢本，设色，纵23.7厘米，横24.4厘米。\n本幅款识：“朱”。钤鉴藏印2方，印文模糊，唯可辨一“璘”字。裱边题签：“朱绍宗菊丛飞蝶”。\n图绘丛菊盛开。花分黄、白、蓝、紫四色，构图繁复，灿若文锦。虽是篱边野景，却饶富贵典雅气象。蜜蜂逐花而至，蛱蝶上下翻飞，为画面增添了动感。花瓣、叶片的勾染皆极为精工，花心用白粉点染，立体感很强，望似凸出于绢素之上。画史称作者“描染精邃，远过流辈”，信是不虚。\n对幅有清乾隆御题诗：“趋炎殊众卉，放英独于秋。舞去风全香，承来露半流。绘者具神解，渊明晤庄周。”钤“八征耄念之宝”朱文印、“自强不息”白文印。\n存《四朝选藻》册中。《石渠宝笈续编》著录。",[49,23,51,3363,54,25,27,310,315,28,119,7,2651,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faee499b5bb1bb99a6d174c1ae3c18abf.jpg",[],{"id":8455,"slug":8456,"title":8457,"dynasty":18,"author":2181,"museum":175,"description":6562,"tags":8458,"thumbUrl":8460,"material":391,"size":6565,"collection":70,"collections":8461,"showCount":8435,"zanCount":39,"manualWeight":39,"mainColor":40},220903,"fang-gu-shan-shui-ce-ye-dong-qi-chang-220903","仿古山水册页",[49,23,51,24,26,25,56,150,64,63,715,751,8459,279,119,7,55,134],"近景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b6dca8d58acbb22b6bed289e5f80247.jpg",[70,72],{"id":8463,"slug":8464,"title":8465,"dynasty":146,"author":1644,"museum":329,"description":8466,"tags":8467,"thumbUrl":8468,"material":152,"size":8469,"collection":199,"collections":8470,"showCount":8435,"zanCount":1288,"manualWeight":39,"mainColor":40},219546,"gui-qu-lai-ci-tu-qian-xuan-219546","归去来辞图","在改朝换代的无奈中，钱选效法陶渊明隐居不仕，因此在他聊以自娱的绘画中自然会表现出对陶渊明的追崇，进而描绘出他的形象。这大概也是钱选隐居生活中心境的映照。在《归去来辞图》画面里，左一半为坡岸，有人家院落；右一半烟水浩淼，远处依稀可见淡淡山脉。靠近坡岸的水中有一只木船，陶渊明身着大袖宽袍立于船头，一童子在船尾摇橹。看召魄伏的波纹，木船正破水向岸边驶来。这或许正是《归去来辞》中“舟摇摇以轻飚，风飘飘而吹衣”的真实写照。另—边浅渚绿岸上有六棵柳树，枝叶茂密；一道隆起的院墙间有一柴门开着，几竿竹子探出墙来，这大概是陶渊明的居所。门前有俩孩童和一妇人似在迎接陶渊明回家。正是《归去来辞》中“乃瞻衡宇，载欣载奔，童仆欢迎，稚子候门”的写照。\n在技巧上，钱选利用虚实对比的手段，表现了陶渊明乘船渡水、脱离尘网、走向田园的生活寓意。画中所设的无边淡水和田园家境是两种境界的载体，也是画家精神的载体。画中的人物描绘细腻、传神，用线精致；坡岸、院墙的皴染均匀，树的枝叶自然、流畅。整个画面赋色清淡，洋溢着田园的清幽之气，同时，也体现出作者一种闲适淡泊的襟怀。",[49,50,23,51,52,25,54,119,7,56,58,62,64,61,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4c885d7fc36e4d1430327a83eb955a8.jpg","纵26厘米，横106.6厘米",[199,72,122],{"id":8472,"slug":8473,"title":8474,"dynasty":115,"author":1191,"museum":525,"description":8475,"tags":8476,"thumbUrl":8477,"material":33,"size":8478,"collection":35,"collections":8479,"showCount":8435,"zanCount":625,"manualWeight":39,"mainColor":40},218947,"e-tu-lu-zong-gui-218947","鹅图","绘有一只雏鸟在母亲脖子后面的右侧，低头看着水面，而另一只雏鸟则在母亲的左侧，抬头望天，呜呜地叫着。这个场景相当有趣，反映了动物之间的母子关系。",[23,50,51,54,25,27,5210,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7faa8a7a2eafd67f868c6d30b023f7.jpg","60x80cm",[35],{"id":8481,"slug":8482,"title":8483,"dynasty":18,"author":8484,"museum":81,"description":8485,"tags":8486,"thumbUrl":8487,"material":88,"size":8488,"collection":122,"collections":8489,"showCount":8435,"zanCount":11,"manualWeight":39,"mainColor":75},214256,"bu-zi-qi-shuo-shen-du-214256","不自弃说","沈度","这幅画是沈度在七十岁时写的，是一篇论战，敦促世人勤奋努力，饮水思源，不要自暴自弃。它以精细整齐的楷书书写，风格严谨，虽然开头的笔画有转折的痕迹，下降的笔画也有延伸，透露出一种温和而微妙的姿态，减弱了严肃性。",[49,86,417,84,26,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb6c545198d9689ed9ce0b5c39505cb.jpg","104.4x29.9",[122],{"id":8491,"slug":8492,"title":8493,"dynasty":146,"author":7721,"museum":99,"description":8494,"tags":8495,"thumbUrl":8496,"material":107,"size":8497,"collection":107,"collections":8498,"showCount":8499,"zanCount":743,"manualWeight":39,"mainColor":75},231513,"hua-niao-tu-juan-wang-yuan-231513","花鸟图卷","王渊是元代著名花鸟画家，字若水，号澹轩，浙江杭州人。生卒年不祥，据陶宗仪《辍耕录》卷七记载，他“幼时获侍赵魏公（赵子昂）故多得指教，所以傅色特妙。天历中（1328—1330年），画集庆龙翔寺两庑壁”。其年龄要比赵子昂小，赵子昂生于南宋理宗宝佑二年（1254年），应活跃在1254年以后，从他的传世作品所签年款来看，多在元朝惠宗至正三年到九年，即1343—1349年，元朝灭亡于至正二十八年（1368年），也有文献记载，在至正二十六年（1366年）曾作《萱花白头图》。可见他从事艺术活动在元代中后期，他的卒年可能在元朝灭亡之前，或在明朝初年。\n王渊的花鸟、古木竹石、梅兰等题材绘画，在继承五代、两宋传统花鸟画的基础上，又有了新的发展和明显的变化，取得显著的成就，在中国美术史上占有重要的地位。他的表现手法属“黄家富贵”体。唯舍色彩而取水墨，通过勾勒和水墨晕染区别浓淡向背，造型极精严，神态亦颇生动，作到“墨具五色”的艺术效果。同钱选一样，王渊在花鸟画创作上起到了承前启后的作用。\n王渊的花鸟画给人以接近气势磅礴的感觉。我们不得不感叹这位画家令人惊羡的艺术造诣，同时又被其画中别样的意境所打动。",[49,23,50,52,54,25,86,7,27,528,30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厘米",[],93,{"id":8501,"slug":8502,"title":8503,"dynasty":97,"author":445,"museum":2192,"description":8504,"tags":8505,"thumbUrl":8506,"material":319,"size":8507,"collection":107,"collections":8508,"showCount":8499,"zanCount":1288,"manualWeight":39,"mainColor":40},231362,"qin-huai-he-tu-shi-tao-231362","秦淮河图","石涛与弘仁、髡残、朱耷合称“清初四僧”，在中国书画史上影响巨大。本博分享的石涛国画作品，选自美国弗利尔美术馆（Freer Gallery of Art）珍藏的金陵山水册页：《金陵怀古册》，画面多为金陵（今南京）之景。作品中可以看出，石涛用笔恣肆，水墨淋漓，色墨交融，是典型的石涛成熟时期作品。",[23,51,26,25,55,56,62,58,967,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bfce3ea245449c5759644e50c10c5ea.jpg","25.5 x 20.2厘米",[],{"id":8510,"slug":8511,"title":8512,"dynasty":18,"author":8513,"museum":99,"description":8514,"tags":8515,"thumbUrl":8516,"material":54,"size":8517,"collection":35,"collections":8518,"showCount":8499,"zanCount":1288,"manualWeight":39,"mainColor":8519},222042,"de-qu-zai-ren-ce-13-kai-wang-zhong-222042","得趣在人册13开","汪中","汪中，明代画家，以翎毛、山水、人物精擅一时。汪中应人之邀作《得趣在人》册页，共十二开，工笔绘芭蕉、哺雀、舞剑等，此册技法上笔墨雅韵，意境深邃。",[49,50,23,51,24,25,54,27,358,29,332,181,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f74d819ae04a78f0a4642cdafcc5cd.jpg","30×27厘米",[35,72],"FDD835",{"id":8521,"slug":8522,"title":8523,"dynasty":115,"author":221,"museum":175,"description":8524,"tags":8525,"thumbUrl":8528,"material":1883,"size":8529,"collection":213,"collections":8530,"showCount":8499,"zanCount":39,"manualWeight":39,"mainColor":40},221333,"pi-pa-shan-niao-tu-ye-zhao-ji-221333","枇杷山鸟图页","本幅款押“天下一人”。钤“御书”朱文葫芦形印一方。裱边题签：“宋宣和枇杷山鸟”。鉴藏印钤“宣统御览之宝”，中缝钤“八征耄念之宝”、“太上皇帝之宝”朱文印各一方。\n图中枇杷果实累累，枝叶繁盛。一山雀栖于枝上，翘首回望翩翩凤蝶，神情生动。此图体现崔白清澹之体。宋徽宗赵佶的花鸟画以设色为多，然而此图纯以水墨勾染而成，格调高雅，略似没骨画效果，别具一种苍劲细腻之韵致，体现了赵佶多方面的绘画才能。\n对开有清乾隆御题诗一首：“结实圆而椭，枇杷因以名。徒传象厥体，奚必问其声。鸟自讬形稳，蝶还翻影轻。宣和工位置，何事失东京。”感慨宋徽宗如此精于绘画，工于构图和经营位置，缘何却把国家丢失了？",[49,23,51,822,26,54,264,27,513,8526,8527,86,7],"山雀","凤蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facbc63c4273f7440564bd9b6a15e123f.jpg","纵22.6厘米，横24.5厘米",[213,35,72],{"id":8532,"slug":8533,"title":8534,"dynasty":115,"author":7045,"museum":175,"description":8535,"tags":8536,"thumbUrl":8537,"material":319,"size":8538,"collection":122,"collections":8539,"showCount":8499,"zanCount":1288,"manualWeight":39,"mainColor":40},221194,"huai-cheng-du-shi-yun-shi-juan-quan-juan-lu-you-221194","怀成都十韵诗卷全卷","释文：\n放翁五十犹豪纵，锦城一觉繁华梦。竹叶春醪碧玉壶，桃花骏马青丝鞚。斗鸡南市各分朋，射雉西郊常命中。壮士臂立绿绦鹰，佳人袍画金泥凤。椽烛那知夜漏残，银貂不管晨霜重。一梢红破海棠回，数蕊香新早梅动。酒徒诗社朝暮忙，日月匆匆迭宾送。浮世堪惊老已成，虚名自笑今何用。归来山舍万事空，卧听糟床酒鸣瓮。北窗风雨耿青灯，旧游欲说无人共。省庵兄以为此篇在集中稍可观，因命写之。游。\n此卷为陆游晚年为其友人手录旧日所作七言古诗一首，内容描写作者50岁左右在成都做官时的生活景况。格调豪放跌宕，书风亦瘦硬通神，可谓词翰双美。\n后纸有明陆釴、谢铎、程敏政、王鏊、周经、杨循古、沈周题跋。卷中钤有清乾隆、嘉庆、宣统内府诸玺及原博”、商丘宋荦审定真迹”、“陈宗后印”、“子万”、“真赏”等鉴藏印章。著录于《装余偶记》、《石渠宝笈》。",[49,50,23,51,52,119,86,7,435],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F832c259287bb3a6900b83dbe1b571838.jpg","纵34.6厘米，横82.4厘米",[122],{"id":8541,"slug":8542,"title":8543,"dynasty":18,"author":8544,"museum":175,"description":8545,"tags":8546,"thumbUrl":8548,"material":319,"size":8549,"collection":122,"collections":8550,"showCount":8499,"zanCount":1288,"manualWeight":39,"mainColor":40},219147,"li-shu-xie-an-xiang-zan-juan-xu-lan-219147","隶书·谢安像赞卷","徐兰","此卷书法体势扁平，结字秀整，布白均匀，笔势舒展明朗，形体全以楷书体势为之，自具风神，是明代难得的隶书作品。",[49,8547,5663,86,52,4832,7],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e4c850084992b955b62a2fb7b118df7.jpg","纵30.5厘米，横86.5厘米",[122],{"id":8552,"slug":8553,"title":8554,"dynasty":97,"author":3871,"museum":81,"description":8555,"tags":8556,"thumbUrl":8557,"material":319,"size":8558,"collection":199,"collections":8559,"showCount":8499,"zanCount":625,"manualWeight":39,"mainColor":40},218363,"fang-li-gong-lin-ming-huang-ji-qiu-tu-ding-guan-peng-218363","仿李公麟明皇击球图","场景中画有16个人物，10个人聚集在场景中间，争夺一个小球。场景中央的人是唐朝的明朝皇帝李隆基。皇帝用臀部骑着一匹骏马，看起来专注而敏捷。他周围的人，有的戴着官帽，有的头上戴着发卡，也都骑在马背上，手持球棒，与皇帝争夺地上的球。他们是皇帝身边的官员、同伴和嫔妃，有两个人在头顶，两个人在卷尾看守目标。画中的人物姿态各异，静中有动，动中有变。这幅画画得很稀疏，线条流畅。",[49,23,51,52,135,134,58,225,7,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1b3926ed3aac8697de219bc21a49828.jpg","32.1x523.2",[199],{"id":8561,"slug":8562,"title":8563,"dynasty":18,"author":4898,"museum":81,"description":8564,"tags":8565,"thumbUrl":8568,"material":152,"size":8569,"collection":70,"collections":8570,"showCount":8499,"zanCount":1288,"manualWeight":39,"mainColor":75},214741,"qiu-lin-shu-wu-tu-zhao-zuo-214741","秋林书屋图","这幅画表现的是一个男人独自坐在森林下的书房里，云雾笼罩着远处的山。构图很简单，将河流和天空留白，加上一些水墨，这幅画的特点是柔和和优雅。",[23,712,26,55,84,7,8566,8567,64,150,61,751,66],"秋林","书屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83c65d9c974db8e736b5c1f04d0b6cde.jpg","103.1x51.4",[70],{"id":8572,"slug":8573,"title":8574,"dynasty":146,"author":207,"museum":81,"description":8575,"tags":8576,"thumbUrl":8577,"material":88,"size":8578,"collection":122,"collections":8579,"showCount":8499,"zanCount":39,"manualWeight":39,"mainColor":40},214226,"jie-shu-qu-li-si-yu-yi-ming-214226","节书曲礼四语","节书曲礼四语是一首中国古代诗歌，出自元代的《全唐诗》。这首诗描写了四种不同的语言，分别是中文、汉语、维吾尔语和朝鲜语，并表示希望这些语言能够和谐相处，共同促进人类的文化交流。\n\n节书曲礼四语的具体内容如下：\n\n节书曲礼四语，和音精妙。\n中文汉语维吾尔，朝鲜语合唱。\n多少有知音，同声高谈。\n千言万语，和谐相处。\n\n这首诗倡导文化多样性，认为人类不同的语言是一种财富，应该尊重和保留。通过这首诗，作者希望人类能够像唱四语曲一样，和谐相处，共同促进文化交流。",[49,23,51,86,462,26,7,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F504b68b34acfe1381dc81ff64340b981.jpg","56.5x25.9",[122],{"id":8581,"slug":8582,"title":8583,"dynasty":97,"author":8584,"museum":99,"description":8585,"tags":8586,"thumbUrl":8587,"material":689,"size":690,"collection":107,"collections":8588,"showCount":8589,"zanCount":743,"manualWeight":39,"mainColor":40},237945,"yue-ji-lan-hua-wan-shan-zhang-pan-237945","月季兰花纨扇","张槃","张槃 （1812-？）本名张槃，河北定兴人，工篆隶书法，尤精画鸟。（清）原名柞枝，字小蓬（一作小槃），号圆腹道人，直隶定兴人。官山东武定同知。工篆、隶。放情诗酒，余事作花鸟，备极精能，亦能山水。光绪二年（1876）尝客袁浦作红药双鹑图。性简傲，乞其画者必择人而予。",[23,51,822,25,27,309,251,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0e694aee14afb2a0093a45ad78f3bea.jpg",[],92,{"id":8591,"slug":8592,"title":8593,"dynasty":18,"author":459,"museum":175,"description":8594,"tags":8595,"thumbUrl":8596,"material":1087,"size":3727,"collection":107,"collections":8597,"showCount":8589,"zanCount":39,"manualWeight":39,"mainColor":40},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。”",[23,26,403,84,58,3725,1227,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99d461acc6ac4f5a17dde4039154ab4c.jpg",[],{"id":8599,"slug":8600,"title":8601,"dynasty":18,"author":2059,"museum":2698,"description":8602,"tags":8603,"thumbUrl":8604,"material":319,"size":8605,"collection":107,"collections":8606,"showCount":8589,"zanCount":39,"manualWeight":39,"mainColor":924},231835,"lin-xie-jian-cha-tu-wen-zheng-ming-231835","林榭煎茶图","该图所绘山丘起伏，而湖水澄澈，临湖平缓的坡岸上有茅屋数间，竹篱围而成院，杂树环绕。主人于房内凭窗远眺，一童正在室外烹茶，另一人拄杖沿湖边小径而行，似来访友，毫无城市的杂沓、喧嚣，表现了文人悠闲、恬淡的生活情趣。此图笔墨遒劲秀雅，线条流畅工致。\n此图描绘林榭处煎茶情景。此画右起青山林立，山顶山腰山坡间树木丛生，远见似一片片青绿林带，呈烟消碧落的景致。山下为江水一泓，河面宽阔，水平如镜，一派风和日丽的景色。画的中部座落着几间屋宇房舍，四周林木丛生，数间房舍掩映在树木之下，且被竹篱环抱，房舍内，一位长者坐室内凝思，室外一人煮茶，身着便服，这是此画核心部分。画卷的左边为不高不矮土坡山石，在坡岸上长满了杂木和丛草，葱葱郁郁，一派春光明媚，正是煎茶的最好时节。画中有作者自题“徵明为禄之作。”卷末有文徵明白题七言诗一首，赞美君山风光。\n煮茶历来为古贤名士选取的题材之一，远的不说，如元代有赵原的《陆羽烹茶图》，表现唐代茶人陆羽的故事，陆羽不但嗜茶著名，而且对茶很有研究，撰有《茶经》，世称其为“茶神”。又有明代丁云鹏绘有《煮茶图》，画面亦描绘唐代陆羽煮茶的典故。该图是文徵明中年时期所作。\n《林榭煎茶图》以更广阔的湖景描绘，在茶会所蕴含的雅俗之辨意味以外，更叠加以隐逸的超越意涵。悠游闲适、山湖相映，共同映射着苏州文人复杂的内心世界。\n此图笔墨遒劲秀雅，线条流畅工致。山石用牛毛皴，浅淡的青绿设色，近树精勾细琢，远树概括取景。人物的衣纹用高古游丝描。人物形象各俱神态，通过人物眼神、姿态、衣着等具体描绘来突出此画的主题。此画的技法，全画用笔秀润，勾点结合秀逸天成。设色清新秀丽，调色清淡有浓丽绚烂之致，虽浓丽又隽雅不艳俗，为时辈所难以企及。",[49,23,51,52,26,55,56,63,64,150,61,119,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d9697288498df44d150ee73c094c572.jpg","纵25.7厘米，横114.9厘米",[],{"id":8608,"slug":8609,"title":8610,"dynasty":18,"author":459,"museum":99,"description":8611,"tags":8612,"thumbUrl":8613,"material":107,"size":107,"collection":107,"collections":8614,"showCount":8589,"zanCount":39,"manualWeight":39,"mainColor":40},228761,"shi-er-yue-hua-hui-tu-quan-juan-xu-wei-228761","十二月花卉图全卷","此作用笔纵逸狂放，以水墨晕染替代敷色，浓淡干湿间尽显花卉神韵。牡丹苍润饱满，墨色浓沉见雍容；蜀葵疏朗清劲，淡墨勾勒存清雅，水草兰叶信笔挥洒，野趣横生。\n\n诗画相生相伴，题诗与笔墨意境交融，将文人的疏放心性寄寓于一花一草之中，脱略形似而独尚神韵，以极简的水墨语言写尽花木风骨情态，尽显大写意花鸟的淋漓意趣，是笔墨性情与文人情思完美合一的典范。",[49,23,51,52,26,27,308,314,251,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f4e8f11f67d43edc105e9c7369bf569.jpg",[],{"id":8616,"slug":8617,"title":8618,"dynasty":115,"author":1191,"museum":99,"description":8619,"tags":8620,"thumbUrl":8621,"material":107,"size":107,"collection":107,"collections":8622,"showCount":8589,"zanCount":39,"manualWeight":39,"mainColor":75},227735,"xia-hui-pian-fang-tu-ye-lu-zong-gui-227735","夏卉骈芳图页","《鹅图》是南宋鲁宗贵创作的绢本设色画。\n《鹅图》描绘一只母鹅，背上驼着两只雏鹅在水中游戏，其中一只雏鹅曲颈望着水面，另一只则似乎和母鹅述说着什么，母鹅扭转过头来爱抚地倾听，表现出母鹅和雏鹅之间有似慈母和娇子之间的母子亲情。\n图中绘有大白鹅一只，背负两只雏鹅在水面上浮游，其中一只雏鹅在母鹅右侧颈后，低头引颈望水中，另一只雏鹅在母鹅左侧，抬头向天呜叫，鹅妈妈欣喜扭转过头来，似作侧耳细细倾听小仔的歌声。\n画面颇为情趣，给人以一种温馨善良的感觉。\n作者在构图上颇有新意，无任何背景作陪衬，河水以浅墨一抹而过，起到衬托作用，突出其主题。\n作者捕捉到这种母鹅背负雏鹅的情节，在一般画鹅的作品中不乏多见。\n在布局上取近景，以特写的镜头，将主体突出在画面的居中位置，为了说明母鹅带着雏鹅在水中游戏，一是鹅身前方的匦面留空多；二是母鹅的腿向后伸，虽没有画出水波纹，但这二点足以看出运动的鹅体具有向前浮游的动感。\n另外，采取色差变化来塑造母鹅与仔鹅的形体，以周围的浅灰色烘托出母鹅的洁白，又以墨笔勾勒及黑色晕染出母鹅背上栖卧的两只雏鹅。\n一般来说雏鹅的毛羽是鹅黄色的，但作者采用了与实体自然色相差甚远的黑色，这也是作者的又一新意。\n全图以染为主，仅在嘴、脚及羽毛部略以淡线勾勒，其羽毛形态隐约见真。\n整个图的艺术语言凝重简练，形态栩栩如生，画意情趣生动，意味绵绵。\n鲁宗贵，生卒年未详。\n南宋画家。\n室名筠斋，钱塘(今浙江杭州)人。\n理宗绍定时(1228一12)为画院待诏，出人杨驸马家。\n工花竹、禽鸟、窠石，用笔意趣有余，描染佳妙。\n尤长于写生，鸡雏乳鸭，甚有生意。\n画迹有《金葵翠羽》、《竹枝山鹧》、《梨花白燕》等图，著录于《绘事备考》。\n传世作品有《春韶鸣喜图》、《夏卉骈芳图》册页。",[50,23,51,24,822,54,25,27,28,552,314,265,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F271a4d7d9c178ff1ca01282a323a7b3e.jpg",[],{"id":8624,"slug":8625,"title":3962,"dynasty":97,"author":736,"museum":81,"description":8626,"tags":8627,"thumbUrl":8628,"material":183,"size":8629,"collection":35,"collections":8630,"showCount":8589,"zanCount":39,"manualWeight":39,"mainColor":40},222755,"ba-jun-tu-lang-shi-ning-222755","清郎世宁八骏图，虽然是采用中国传统的颜料来作画，但在马匹、人物和柳树的表现上，却融入了西画著重光影的手法，显得立体感十足。右下角的签名，用极工整的仿宋体书写，据此推测，此画应是郎世宁来华初期，亦即雍正年间（1723-1735）的作品。",[49,50,23,51,54,25,225,598,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04e92b33c9ffa5dd5113ef3c90fe3aac.jpg","139.3公分，横：80.2公分",[35,72],{"id":8632,"slug":8633,"title":8634,"dynasty":97,"author":5630,"museum":20,"description":8635,"tags":8636,"thumbUrl":8638,"material":502,"size":8639,"collection":70,"collections":8640,"showCount":8589,"zanCount":1288,"manualWeight":39,"mainColor":40},222611,"shan-shui-ba-jing-ce-gong-xian-222611","山水八景册","龚贤（1618-1689年），一名岂贤，字半千，号半山野人，江苏昆山人，寓居南京（今江苏南京）。擅画山水，用墨层层染渍，独创一格。为“金陵八家”之首。\n龚贤在明朝末年曾参与“复社”力图改变时弊，入清后不好仕进，以鬻画、课徒为生。康熙六年（1667年），龚贤在南京清凉山下隐居，筑半亩园，不履市井，潜心研习山水画创作，著有《香草堂集》、《画诀》、《龚半千授徒画稿》等著作。\n全卷共分八段，绘江南湖光潋滟、烟雨朦胧之色。卷内，水墨，设色之景相互穿插，较为全面的展现出龚贤山水画的多种面貌。龚贤的绘画技法远追五代董源、宋代米氏父子、元代吴镇的绘画风格而自成一家。从龚贤书于卷尾的落款看，他在创作此卷时借鉴了沈周、文徵明的笔墨意韵。是卷作于康熙廿三年（1684），作者时年67岁。",[49,23,26,55,24,56,967,379,279,8637,751,7],"篱笆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F916def8a20ec4b554a2eb8de0cf5329f.jpg","纵24.4 厘米 横49.7 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厘米 横21.5 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（1682—1760），字衡之，号南苹，其画远师黄筌画派，近承明代吕纪，工写花卉翎毛、走兽，以精密妍丽见长，也擅长画仕女。设色妍丽，工致精丽、赋色浓艳，极尽构梁之巧。画人物得不传之秘。注重写实，画风谨严工细，造型准确生动。尝写《花蕊夫人宫词》为图，笔意殊极巧妙。\n雍正九年（1731）沈铨应日本天皇之聘，偕弟子郑培、高钧等东渡日本，历时3年，形成“南苹派”写生画，深受日人推崇，被称为“舶来画家第一”，从习画者颇多，日本江户时代长崎画派即在其影响下形成，尤以圆山应举最为著名。归得金帛散给友朋，橐仍萧然。\n沈铨归国后声誉大震，传至京城，朝廷便下旨命沈铨作画上贡，乾隆7年作《花蕊夫人宫词意》受到好评，除此，沈铨还陆续为宫廷作吉祥寓意之画，由此沈铨及弟子童衡在中国画史上被称为宫廷画家，沈铨晚年寄居于苏州，孜孜不倦地致力于书画艺术之研究，在乾隆27年81岁的沈铨还能作《花鸟图》。1762年沈铨逝世后，从子沈天骧进新市南频府，守孝三年，继承画业，唯一入室弟子童衡离开沈宅到新市明因寺为僧，闲余作画终身。沈铨把一生献给了绘画事业，在继承院体派传统的基础上，独创了强大的南苹画派，在当时的江南独树一帜，有诗予以很高的评价“江南高手谁第一，吴兴沈生世无匹”。",[23,50,51,24,54,25,27,308,1989,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58fed9927c9cb8158097d1385b7448f6.jpg",[35,72],{"id":8728,"slug":8729,"title":8730,"dynasty":97,"author":8731,"museum":99,"description":8732,"tags":8733,"thumbUrl":8735,"material":689,"size":690,"collection":107,"collections":8736,"showCount":8709,"zanCount":743,"manualWeight":39,"mainColor":40},237154,"xu-gu-fo-shou-pi-pa-zhou-xu-gu-237154","虚谷佛手枇杷轴","虚谷","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。",[23,51,84,25,26,27,8734,513,7],"佛手","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c22a161fdeda5bce69030c4501bc0a0.jpg",[],{"id":8738,"slug":8739,"title":3018,"dynasty":97,"author":8731,"museum":99,"description":8740,"tags":8741,"thumbUrl":8742,"material":107,"size":107,"collection":35,"collections":8743,"showCount":8709,"zanCount":39,"manualWeight":39,"mainColor":40},236536,"ju-hua-zhou-xu-gu-236536","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。",[23,51,84,26,25,27,529,403,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b132bc15cc8d2b8bf8215263d9b1c17.jpg",[35,242],{"id":8745,"slug":8746,"title":8747,"dynasty":18,"author":459,"museum":175,"description":8748,"tags":8749,"thumbUrl":8750,"material":319,"size":8751,"collection":107,"collections":8752,"showCount":8709,"zanCount":1288,"manualWeight":39,"mainColor":40},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。",[23,51,52,26,403,86,119,7,528,251,358,529,420,28,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3841d2a97c07af3531a1bd134c1503b.jpg","纵30cm横54.7cm",[],{"id":8754,"slug":8755,"title":8756,"dynasty":97,"author":445,"museum":99,"description":8757,"tags":8758,"thumbUrl":8761,"material":107,"size":107,"collection":107,"collections":8762,"showCount":8709,"zanCount":1288,"manualWeight":39,"mainColor":40},228984,"tao-yuan-tu-shou-juan-shi-tao-228984","桃源图手卷","此卷以水墨绘就世外幽境，烟波浩渺处山峦层叠，云气裹挟峰峦，虚实相生。溪谷村居错落枕山而卧，隐合桃源意趣。\n作者以干笔皴擦点染山峦苍劲质感，湿笔晕染云水，将空濛灵秀尽数铺展。长卷题诗与画意呼应，书与画浑然一体，以诗衬景，写尽武陵寻踪的澹然逸趣，将陶公笔下的避世之境化为眼前水墨云山，尽显寄情林泉、追慕世外丘壑的文人雅怀，把桃源的幽隐之美揉进笔墨山河之中。",[23,51,52,25,56,55,119,7,86,57,62,66,59,60,61,63,64,150,279,8759,8760],"人家","路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F080a81c9dd7e1efb524af89d227ecaf4.jpg",[],{"id":8764,"slug":8765,"title":8766,"dynasty":115,"author":881,"museum":81,"description":8767,"tags":8768,"thumbUrl":8769,"material":227,"size":8770,"collection":213,"collections":8771,"showCount":8709,"zanCount":39,"manualWeight":39,"mainColor":75},221514,"hua-deng-shi-yan-tu-juan-ben-ma-yuan-221514","华灯侍宴图绢本","描绘了杨次山父子在上元节侍宴的场面，记述了南宋宫廷的重大活动。该画以俯视的角度写华灯初上时分官员们随皇帝宴饮观舞的情景，并在全景山水的描写中，烘托出了室内的豪华与欢乐气氛。图中隐约可见几位官员属身随侍皇帝饮宴官殿之外，乐舞的宫女摇曳着身姿，大殿之外的树木，好似也随着音乐起舞，姿态横生。这些树林，由近面远，渐渐隐设于雾色之中，只见宫殿后盛立着几棵松树，和远处云雾中抹青山。中景的松树刻而很具特色，用笔瘦硬如屈铁，枝条长面斜向出。\n画中，远山眉黛，松枝逶迤，前庭梅树十余棵，数名宫女执灯起舞于梅林中，舞姿曼妙。殿宇华厦，灯火明亮，有几位大约是官员的人物，背向微躬，恭谨陪侍酒宴。内堂则幽深不可窥测。\n宋宁宗题一首御制诗，云：“朝回中使传宣命，父子同班侍宴荣。酒捧倪觞祈景福，乐闻汉殿动驩声。宝瓶梅蕊千枝绽，玉栅华灯万盏明。人道催诗须待雨，片云阁雨果诗成。”\n款署“臣马远”，钤有乾卦圆印、双龙圆印、御笔之宝。乾隆跋中点明：“盖当时作此图，以侈一时盛事”。\n对于该画的主题，不同学者提出不同观点，毕嘉珍提出画中描绘的是“奢侈的赏梅盛宴”。彭慧萍则从画师的视角出发，指出此图反映了“深夜禁中大内的当差场景”。高居翰的分析是“马远想出了一个富于诗意的构图”，将宴席隐藏在向后延伸的宫殿图像里，只以庭园中的演艺者和侍从来传达娱乐的场景。\n也有观点指出，这次宴会是宋宁宗为迎接签订“嘉定和议”的丞相史弥远而举办的，所谓“朝回中使传宣命”，并召马远及其子马麟陪侍，马远用绘画记录了这一重大时刻。\n构图:一座孤零零的殿宇，矗立在远山近林中。阶墀下方极少渲染。殿内的君臣侍从沉浸在一片歌舞之中。视线由梅树上顶之势领起，沿华堂左侧引上，由屋脊折而向右，绕出一个反S形，而到达松树与远山，然后下垂，落空于远方薄暮中。观者除了感受宴饮之乐，还可能被近景的梅树、中景的松树、远景的山及苍茫的夜空所吸引\n技法:此图以俯视的角度写华灯初上时分豪门达官酒宴的情景，但作者的兴趣并不是放在细写堂内宴席与众宾客的活动上，他的独特构思在于成功表现外部环境上，描写烘托出室内的豪华与欢乐气氛。图中表现松树很具特色，用笔瘦硬，如屈铁，枝条颀长，而斜向出，下笔严正，以雄奇简练的笔法，表现树枝的坚挺有力，有“拖枝马远”之称。",[49,23,51,84,25,1962,54,56,59,58,610,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea1753402e13e92e3ed1f1221ce3c99.jpg","纵125.6厘米，横46.7厘米",[213,70,242],{"id":8773,"slug":8774,"title":8775,"dynasty":192,"author":5045,"museum":175,"description":8776,"tags":8777,"thumbUrl":8778,"material":8779,"size":8780,"collection":122,"collections":8781,"showCount":8709,"zanCount":39,"manualWeight":39,"mainColor":1441},221086,"lan-ting-ba-zhu-tie-xun-ce-liu-gong-quan-22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（巽）册","蘭亭八柱乃圓明園遺物，於1910年（宣統二年）被移到頤和園，後置於耶律楚材祠中。1915 年，江朝宗致函溥儀內務府，請求拉運圓明園蘭亭碑及山石，以供社稷壇開拓公園之用。其後，蘭亭碑及八根石柱，分別於1917年前和1941年之後運至中山公園，直到1971年，始用八根石柱，在唐花塢西側新建成重檐八角亭，額曰“景自天成”。八根石柱之蘭亭帖，多有風化，半數帖尚好，仍可辨讀。",[49,86,2226,119,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44df0257493edfb5c629ea00d305fe6d.jpg","初拓本","每开纵29.8厘米，横34.2厘米",[122,1120],{"id":8783,"slug":8784,"title":8785,"dynasty":115,"author":221,"museum":930,"description":8786,"tags":8787,"thumbUrl":8789,"material":33,"size":8790,"collection":35,"collections":8791,"showCount":8709,"zanCount":743,"manualWeight":39,"mainColor":75},219085,"qu-yu-tu-zhao-ji-219085","鸜鹆图","枯松虬枝如铁，松针细劲如丝，三只鸜鹆各呈姿态——枝上者振翅欲起，喙微张似唤侣；空中双鸟俯冲而下，羽翼翻飞间尽显灵动。鸟羽的绒质感与松皮的粗糙纹理形成鲜明对比，笔致工细却不失生趣。旁侧瘦金书题跋笔锋挺劲，与画面的苍劲灵动相映成趣，加之错落的朱印，更添古朴雅致。整幅画作将写实工笔与文人意趣融于一体，动静相宜，形神兼备，尽显宋代院体画的精妙与雅致。",[23,50,51,54,27,66,610,8788,26,25,86,7],"枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d5e3b05c779fc2ee02230a1b9ba12cd.jpg","纵88.2横52厘米",[35],{"id":8793,"slug":8794,"title":8795,"dynasty":146,"author":207,"museum":81,"description":8796,"tags":8797,"thumbUrl":8799,"material":152,"size":8800,"collection":35,"collections":8801,"showCount":8709,"zanCount":39,"manualWeight":39,"mainColor":40},215139,"bing-tao-han-xiao-tu-yi-ming-215139","饼桃含笑图","绢色温润如陈年素笺，托出一枝含笑与饼桃。墨笔勾枝，线条老劲却藏柔意，枝桠间，含笑花瓣轻展，白瓣晕浅粉，似含未语的羞涩；饼桃圆润饱满，裹着淡润光泽，透着朴拙生机。叶片以淡墨晕染，脉络细腻，与枝干苍劲相映成趣。几方朱印点缀，红韵与素色交织，更显古雅。画中无喧嚣，唯有花木静美：含笑的含蓄、饼桃的憨态，在简淡笔触里凝成清雅意境，仿佛能闻见那缕若有若无的暗香，尽得宋元文人画的幽淡之味，让观者心沉于这份素净的生机里。",[49,23,51,822,54,25,27,1817,308,8798,2152,7],"枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb03408a7f7684830af45e313ff9f410.jpg","22.9x23.6cm",[35],{"id":8803,"slug":8804,"title":8805,"dynasty":97,"author":248,"museum":99,"description":8806,"tags":8807,"thumbUrl":8808,"material":107,"size":107,"collection":70,"collections":8809,"showCount":8810,"zanCount":39,"manualWeight":39,"mainColor":40},237098,"yun-shou-ping-hu-shan-tu-zhou-yun-shou-ping-237098","恽寿平湖山图轴","恽寿平(初名格；1633—1690)，字寿平，以字行，又字正叔，别号南田，一号白云外史、云溪史、东园客、巢枫客、草衣生、横山樵者。江苏武进人，清代著名画家。\n创常州派，为清朝“一代之冠”。特点是以潇洒秀逸的用笔直接点蘸颜色敷染成画，讲究形似，但又不以形似为满足，有文人画的情调、韵味。其山水画亦有很高成就，以神韵、情趣取胜，与“四王”、吴历并称“清初六大家”。他又善诗文和书法，诗被誉为“毗陵六逸之冠”。书法主要学褚遂良，被称为“恽体”。",[23,51,84,26,55,56,62,598,150,279,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2edf4c0fe6fe2640f88f0e56ef758d77.jpg",[70],90,{"id":8812,"slug":8813,"title":3491,"dynasty":97,"author":1180,"museum":99,"description":8814,"tags":8815,"thumbUrl":8816,"material":107,"size":107,"collection":35,"collections":8817,"showCount":8810,"zanCount":1288,"manualWeight":39,"mainColor":40},236709,"mo-he-zhou-wu-chang-shuo-236709","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。",[23,51,84,26,403,420,102,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26fa54def8562aff21aef714166c0d1f.jpg",[35,122],{"id":8819,"slug":8820,"title":8523,"dynasty":115,"author":510,"museum":175,"description":8821,"tags":8822,"thumbUrl":8823,"material":183,"size":8824,"collection":107,"collections":8825,"showCount":8810,"zanCount":743,"manualWeight":39,"mainColor":75},233002,"pi-pa-shan-niao-tu-ye-lin-chun-233002","图绘江南五月，成熟的枇杷果在夏日的光照下分外诱人。一只绣眼翘尾引颈栖于枇杷枝上正欲啄食果实，却发现其上有一只蚂蚁，便回喙定睛端详，神情十分生动有趣。枇杷枝仿佛随着绣眼的动作重心失衡而上下颤动，画面静中有动，妙趣横生。绣眼的羽毛先以色、墨晕染，随后以工细而不板滞的小笔触根根刻画，表现出鸟儿背羽坚密光滑、腹毛蓬松柔软的不同质感。枇杷果以土黄色线勾轮廓，继而填入金黄色，最后以赭色绘脐，三种不同的暖色水乳交融，从而展现出枇杷果成熟期的丰满甜美。枇杷叶用笔致工整细腻的重彩法表现，不仅如实地刻画出叶面反转向背的各种自然形貌，且将叶面被虫儿叮咬的残损痕迹亦勾描晕染得一丝不苟，充分反映了宋代花鸟画在写实方面所达到的艺术水平。",[23,51,50,54,25,27,513,29,265,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7aa06bf3aa4e5e7e1763e4645676c6e.jpg","纵26.9厘米，横27.2厘米",[],{"id":8827,"slug":8828,"title":2911,"dynasty":97,"author":929,"museum":99,"description":8829,"tags":8830,"thumbUrl":8831,"material":107,"size":107,"collection":107,"collections":8832,"showCount":8810,"zanCount":39,"manualWeight":39,"mainColor":40},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。",[49,23,51,84,26,403,119,7,102,103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b036304de3bc3acd1b8f63768ad6326.jpg",[],{"id":8834,"slug":8835,"title":8836,"dynasty":115,"author":8837,"museum":175,"description":8838,"tags":8839,"thumbUrl":8841,"material":183,"size":8842,"collection":213,"collections":8843,"showCount":8810,"zanCount":1288,"manualWeight":39,"mainColor":75},221455,"si-yang-tu-chen-ju-zhong-221455","四羊图","陈居中","这是南宋画家陈居中创作的一幅极为生动的动物画。在很小的尺幅上，画家选取了一个日常的景象，在村郊野外的小土坡上，牧羊人正在小憩，两只白色的小山羊打闹嬉戏，一只似是占到了便宜，惹得另一只发火地低头撞来，另一只毛色略重的老羊似欲走来制止，又一只则立于土坡之上，沉静地俯视着下面所发生的一切。四只羊的组合仿佛是一个家庭，母亲正在看管着孩子，父亲则高高在上，保持着一家之主的威严，画家将动物之间的情爱描写得十分真实，又富有人世的生活意趣。在置景上力求简单明快，土坡只以墨笔勾出轮廓，略加擦染，几株小草与荆棘也安排得很疏阔，画面左上角画一株老干，侧生一棵新枝。画家亦注重细节的刻画，如立于树干上的两只小山雀，俯首观看，形态生动。全图无论是写物、写景，皆突出了一个“动”字，生活气息极为浓厚。\n图中山羊的形态描绘准确，体现了画家深厚的写生功底，如小山羊跳跃、抵撞的姿态，老山羊前蹄收缩、双耳上竖的细部动作，甚至翻转的双角，均表现得一丝不苟，体现了宋代院体绘画精工细致、刻划入微的风格特征。全图毫无板滞之气，画家抓住表现对象的主要特征，舍弃琐碎的细节，运用不多的笔墨和写意的手法追求言简意赅的艺术效果。\n此画在构图上受时代流风的影响，采用南宋院体山水的边角式布局法。画面以斜对角式区分，左下部分为全部景物，右上部分则全部留白，将所要表现的物体加以集中，使狭小的尺幅产生一定的空间感，虚实对比更加鲜明，以此增强画面的吸引力。\n在中国古代文字中，“羊”字与“祥”、“阳”相通，“吉祥”在古文中就写作“吉羊”；又《易经》中谓每年正月卦象为三阳在下，三阴在上，故古人称每年正月为三阳开泰之时，此成语也就成了常用的吉祥语。这幅画表现的四羊即寓意三阳在下，一阳在上，反映了祈盼吉祥如意的美好愿望。\n陈居中最擅长人马画，但对动物写生一类题材也很热衷，并刻画得细致生动，这幅带有吉祥寓意的《四羊图》页即代表了他在这一方面的艺术水平。",[49,23,50,54,25,8840,1116,967,277,7],"羊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F231d6d11c8c4a722dd36f131bc7896c2.jpg","纵22.5厘米，横24厘米",[213,35,72],{"id":8845,"slug":8846,"title":8847,"dynasty":146,"author":709,"museum":175,"description":8848,"tags":8849,"thumbUrl":8851,"material":239,"size":8852,"collection":70,"collections":8853,"showCount":8810,"zanCount":1288,"manualWeight":39,"mainColor":75},220783,"lu-hua-han-yan-tu-wu-zhen-220783","芦花寒雁图","《芦花寒雁图》是元代画家吴镇创作的一幅绢本墨笔画，现收藏于北京故宫博物院。\n《芦花寒雁图》以平远法绘秋日水滨景色，水面微波荡漾，蒹葭苍苍，一双芦雁振翅飞起，渔父于舟头仰首凝视。画面空灵寒寂，形成了平淡清远的境界。图中以平行置景的手法表现空阔无际的水泊，以浓淡变化的水墨表现远近层次，平中见奇。\n此图中心部分画了一个大的芦苇塘，时已深秋，两岸芦花在随风摆动。塘中画一正在行驶的小船，船头一艄公须髯飘拂，一边划桨，一边昂首望天，他显然听到了寒空雁叫，才把目光转向天空。上部空中，有两只孤雁，正背着小船的方向飞去。\n自屈原《渔父》及《庄子》中的渔父形象在文学作品中出现后，渔父成了清高孤洁、避世脱俗、浪迹江湖的隐士化身。渔父形象的大量出现并形成一种风气是在元代。由于元代在中国历史上是蒙古民族入主中原并统治全中国的朝代，其民族歧视政策使大量文人都采取古典绘画的人文意蕴了不与之合作的态度。在这种社会背景下，渔父清高、避世、逍遥的人生为许多隐退文人所仿效，这其中，吴镇对渔父最为情有独钟。\n吴镇在元至顺元年（公元1330年）所绘的《芦花寒雁图》是其一系列“渔隐”主题作品中的一幅，在画中适当变化了《寒林重汀图》中的构画元素。\n《芦花寒雁图》中双雁起飞，渔父仰首观望，通过细致描绘周边环境，巧妙地把渔父安排于水面一个较突出的位置。 此图画幅不大，却意境深远。画面采用三段式构图，平行的披麻皴。横向铺开，除了渔父和寒雁外，《芦花寒雁图》中的大多物象都能在《寒林重汀图》中找到，可见董源对吴镇的影响。\n此图技法上用柔润的线条勾写物象，笔法灵活，疏简秀逸，自然平淡，苍润华滋，具有文人的书卷气。图中山石、坡地直接用大笔，连扫带染，使得皴笔与渲染的墨色自然地交融在一起。再加以披麻皴，罩一层水墨，略分浓淡，以区分山石的凹凸向背。在水域的处理上，更是用湿笔淡墨层层铺陈。在用墨上，饱蘸水分，将江南湿润的空气流动在画中。",[49,23,51,84,26,55,7,62,713,8850,66,56],"芦花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d33051a230060350c9af21019672658.jpg","纵83.3厘米，横27.8厘米",[70,242],{"id":8855,"slug":8856,"title":8857,"dynasty":146,"author":1847,"museum":175,"description":8858,"tags":8859,"thumbUrl":8860,"material":152,"size":8861,"collection":35,"collections":8862,"showCount":8810,"zanCount":1288,"manualWeight":39,"mainColor":75},220342,"mu-yu-zhu-tu-li-kan-220342","沐雨竹图","自宋以来，梅、兰、竹、菊被士大夫称为“四君子”，象征“清高”“幽洁”“虚心”“隐逸”“气节”等精神品格。当社会危机、民族危机严重时，一些知识分子无力抗争，在孤愤与绝望中把情感寄托于笔墨，通过高度净化了的形式，表现这几种植物的品性，以喻君子的傲骨和高风。入元以后，“四君子”画不但更为兴盛，而且在思想情感的表现上更加丰富和深刻，笔墨情趣也更加讲究。特别是墨竹，用笔单纯简洁、挥洒自由，具有书法的意态，引起了士大夫的强烈兴趣。",[23,51,84,26,54,358,700,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcead2e46dbd68e83194ae99afee9827.jpg","纵111.5厘米，横55 厘米",[35],{"id":8864,"slug":8865,"title":8866,"dynasty":146,"author":709,"museum":8867,"description":8868,"tags":8869,"thumbUrl":8871,"material":88,"size":8872,"collection":70,"collections":8873,"showCount":8810,"zanCount":1288,"manualWeight":39,"mainColor":75},219974,"song-quan-tu-wu-zhen-219974","松泉图","南京市博物馆","此图用秃笔勾勒树石,干墨皴擦,描绘松针则用笔尖,可看出画家的特有风格。画上有画家的自题诗:“长松兮亭亭,流泉兮泠泠, 漱白石兮散晴雪,舞天风兮吟秋声。景幽佳兮足静赏,中有人兮眉青青。松兮泉兮何所拟,研池阴阴兮清澈底,挂高堂兮素壁间,夜半风雷兮忽飞起。”署款“至元四年夏至日,奉为子渊戏作松泉，梅花道人书。”钤有“嘉兴吴镇,仲圭书画记”。",[49,23,51,84,26,55,56,610,8870,150,86,7],"泉水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdefdfbd5e2d90e3f8ec272a86ef27862.jpg","105.3厘米 横31.7厘米",[70],{"id":8875,"slug":8876,"title":8877,"dynasty":115,"author":8878,"museum":525,"description":8879,"tags":8880,"thumbUrl":8881,"material":152,"size":8882,"collection":35,"collections":8883,"showCount":8810,"zanCount":743,"manualWeight":39,"mainColor":75},218929,"hong-ye-xiao-niao-tu-wu-yuan-yu-218929","红叶小鸟图","吴元瑜","此幅《红叶小鸟图》是现今所知的唯一署款之作，“元瑜”二字书写古拙，笔法柔中带刚。画的设色极高古，小鸟羽毛描绘精细，指爪紧握树枝，眼神灵活，舌尖颤动如发清音，状物写情生动传神，定为宋画应无疑问。而且画幅上藏印累累，包括黔宁王沐昂，著名的收藏家宋荦，近代鉴藏家吴湖帆、钱镜塘、王季迁等。虽暂时仍未查有著录，但正如杨仁恺在裱绫中所题，“画心钤明清诸家钤印，当有所据也”。",[50,23,51,27,54,25,29,5740,1227,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91e95be5e4206dc53f32e2bb88825d63.jpg","42x25cm",[35],{"id":8885,"slug":8886,"title":8887,"dynasty":18,"author":19,"museum":175,"description":8888,"tags":8889,"thumbUrl":8890,"material":88,"size":8891,"collection":35,"collections":8892,"showCount":8810,"zanCount":39,"manualWeight":39,"mainColor":924},218770,"mao-die-tu-sun-ke-hong-218770","耄耋图","此图是幅寓意画。图绘一猫仰头注目空中飞蝶，意欲捕捉的生动瞬间。猫蝶即耄耋的谐音，古代人生八十称耄，九十称耋，寓长寿之意。本幅构图简洁，无任何背景衬托，蝶与猫构成一上一下、一动一静的对比，别有情趣。猫以墨彩重写，又以粗毫勾其毛发，造型准确生动。蝶以水墨绘出，勾染结合，着笔简约传神。此为作者墨笔粗简一路画风的代表作。",[49,23,26,1085,315,403,84,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb67f1548430697540b035cee22f8e29a.jpg","纵139.5厘米，横47厘米",[35],{"id":8894,"slug":8895,"title":8896,"dynasty":115,"author":1070,"museum":99,"description":8897,"tags":8898,"thumbUrl":8899,"material":152,"size":8900,"collection":72,"collections":8901,"showCount":8810,"zanCount":1288,"manualWeight":39,"mainColor":75},218594,"lan-you-shang-tu-li-song-218594","阑游赏图","三个女人坐在一座偏远的山边的亭子里，在高大的树荫下，从栅栏上欣赏风景，而亭子外面的两个女仆则身材修长，姿态优美。该技术的特点是岩石上的小笔触，树木和远处的山丘都是农场画的特点。",[23,51,54,25,1962,56,58,63,64,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd89ca87b97de7d9898441c2291b095a.jpg","22x20.6",[72],{"id":8903,"slug":8904,"title":8905,"dynasty":18,"author":8906,"museum":81,"description":8907,"tags":8908,"thumbUrl":8909,"material":88,"size":8910,"collection":122,"collections":8911,"showCount":8810,"zanCount":39,"manualWeight":39,"mainColor":40},214227,"shang-lin-dong-nuan-shi-zhu-zhan-ji-214227","上林冬暖诗","朱瞻基","上林冬暖是一首中国古代诗歌，作者是朱瞻基。这首诗描述了冬季的上林园林，表达了作者对自然美景的喜爱。\n\n上林冬暖是一首七言绝句，共有七句话，每句话都有四个字。这首诗的内容很简单，但是通过精巧的排列和组合，表达了作者对冬季上林园林的深深的喜爱。\n\n上林冬暖诗的具体内容如下：\n上林冬暖，玉树乱花。\n池边莲叶，夜来香。\n山间小道，草色浅浅。\n山间鸟鸣，绿荫苍苍。\n\n这首诗通过描述上林冬季的美景来表达作者对自然的热爱。在这首诗中，朱瞻基描述了上林园林在冬季里的温暖和美丽，并表达了对自然的感悟和体会。",[49,18,51,86,119,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed13e6102b654ac4127e0fce5854a6b3.jpg","47.3x23.9",[122],{"id":8913,"slug":8914,"title":8915,"dynasty":115,"author":8916,"museum":81,"description":8917,"tags":8918,"thumbUrl":8919,"material":689,"size":8920,"collection":107,"collections":8921,"showCount":8922,"zanCount":39,"manualWeight":39,"mainColor":75},288949,"xi-shan-lou-guan-tu-yan-wen-gui-288949","溪山楼观图","燕文贵","《溪山楼观图》是一件立轴作品，代表北宋初全景式山水的典型。此图绘高远、深远景色，溪山重叠，自下而上，自近及远，繁复细密。在险峻的峰峦之中，显现出雄伟壮观的楼观殿宇，山崖下水榭回廊与水波浩渺的江面互相映衬，加上陡峭的山势与艰险的山径，使此画的境界雄浑沉秀，繁中见清。笔法尖劲峭丽，山石皴中有染，精细工整，是“燕家景致”的典型范例。",[49,50,23,51,26,56,59,150,64,61,55,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e79de6733f981b2ebaba4b9f3bceaa7.jpg","103.9x47.4",[],89,{"id":8924,"slug":8925,"title":8926,"dynasty":97,"author":8927,"museum":99,"description":8928,"tags":8929,"thumbUrl":8930,"material":689,"size":690,"collection":107,"collections":8931,"showCount":8922,"zanCount":743,"manualWeight":39,"mainColor":40},230292,"zhao-meng-fu-da-shi-zan-ai-xin-jue-luo-yong-xing-230292","赵孟頫大士赞","爱新觉罗永瑆","爱新觉罗·永瑆（1752年3月22日—1823年5月10日），少字镜泉，从号少厂，又号镜泉、即斋，别号诒晋斋主人，清朝宗室亲王，乾隆帝爱新觉罗·弘历的第十一子，嘉庆帝的异母兄，永瑆的生母是淑嘉皇贵妃金佳氏。\n乾隆十七年壬申（1752年）二月初七辰时出生于圆明园五福堂。乾隆五十四年（1789年）十一月封和硕成亲王。嘉庆四年（1799年），在军机处行走。道光三年（1823年）三月三十日午时薨，年七十二，谥曰哲。\n作为清朝著名书法家，与翁方纲、刘墉、铁保并列“乾隆四家”。著有《听雨屋集》《诒晋斋集》《仓龙集》。",[49,86,417,7,51,52,1284,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F239d73cbdf3045fafccec73a08a508ad.jpg",[],{"id":8933,"slug":8934,"title":8935,"dynasty":18,"author":161,"museum":175,"description":8936,"tags":8937,"thumbUrl":8938,"material":391,"size":8939,"collection":70,"collections":8940,"showCount":8922,"zanCount":743,"manualWeight":39,"mainColor":40},222116,"tao-hua-shu-wu-shen-zhou-222116","桃花书屋","这幅《桃花书屋图》的用笔与晚年粗率的用笔截然不同，是为沈周中年“细文”之作。早年的沈周绘画深受元代云林和同时代有人刘珏的影响，故而在早期的作品中可以看到非常浓厚的两家影子。而山石的绘法则取法五代董源、居然和元代的大痴，这写在沈周的《策杖图》中皆有体现。而在这幅作品中，面貌已经不同于早期的风格。《桃花书屋图》的画面形式已经有所松动，不再是《策杖图》中所表现的那般的紧迫。但是有些基本的沈周的程式已经存在，这便是仿古的山石。",[49,23,26,55,25,56,64,85,57,1597,61,1902,58,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45ec07e216d6f6ba02a5d0deaeaae9e6.jpg","纵74cm，横31cm",[70,242],{"id":8942,"slug":8943,"title":8944,"dynasty":146,"author":7331,"museum":81,"description":8945,"tags":8946,"thumbUrl":8947,"material":634,"size":8948,"collection":242,"collections":8949,"showCount":8922,"zanCount":1288,"manualWeight":39,"mainColor":75},221762,"quan-shi-xin-huang-tu-gu-an-221762","拳石新篁图","《拳石新篁图》写新篁数竿，瘦削挺拔，立于石旁，竹叶参差错落，以浓淡显出不同层次，线条锋锐有力，笔墨细腻，生意盎然。",[49,23,2205,84,86,119,7,358,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1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　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[49,23,822,54,25,27,66,309,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60e23a255768ce7e9fd81450f398093.jpg",[],{"id":9017,"slug":9018,"title":9019,"dynasty":18,"author":207,"museum":175,"description":8223,"tags":9020,"thumbUrl":9021,"material":227,"size":107,"collection":199,"collections":9022,"showCount":9007,"zanCount":1288,"manualWeight":39,"mainColor":40},236159,"zhang-liang-xiang-zhou-yi-ming-236159","张良像轴",[23,51,84,25,54,58,180,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3ea3055380793c01b2c8b24c4717441.jpg",[199,72],{"id":9024,"slug":9025,"title":9026,"dynasty":97,"author":4047,"museum":99,"description":9027,"tags":9028,"thumbUrl":9029,"material":107,"size":107,"collection":107,"collections":9030,"showCount":9007,"zanCount":1288,"manualWeight":39,"mainColor":40},224123,"mu-dan-shui-xian-song-qian-long-224123","牡丹水仙松","此作工写兼具，笔致温婉细腻。虬曲松枝挺劲苍古，松针以淡墨晕染，蓬松灵动，缀一枚松果更添幽寂古意。艳粉色牡丹饱满柔润，雍容舒展尽显华贵，一旁水仙莹白清雅，素淡可人。\n\n刚健的松枝搭配柔妍的花束，刚柔相济和谐雅致。设色秀润柔和，毫无艳俗之感，将院体画的精致工整与文人意趣的清雅格调相融。配题诗文寄意福寿绵长、清韵恒常，整幅以松之寿、花之妍，绘就祥瑞吉庆的美好意蕴，尽显典雅雍容的审美意趣。",[49,23,51,84,25,54,27,308,488,777,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d1e0899a4eb23c6ddb0729e24fe94e4.jpg",[],{"id":9032,"slug":9033,"title":9034,"dynasty":18,"author":1014,"museum":175,"description":9035,"tags":9036,"thumbUrl":9037,"material":668,"size":9038,"collection":107,"collections":9039,"showCount":9007,"zanCount":39,"manualWeight":39,"mainColor":40},222335,"mo-mei-tu-zhou-tang-yin-222335","墨梅图轴","此幅以枯笔焦墨画梅花枝干，皴擦纹理，表现梅枝苍劲虬曲的姿态；以浓淡相间的水墨点画花朵，以谨细之笔画出花蕊，笔法刚健清逸，表现出梅花清丽脱俗的风貌。画面中间的梅花风姿绰约，右上的题诗洒脱清秀，左下的印章工稳典雅，三者浑然一体，相得益彰。\n本幅自题：“黄金布地梵王家，白玉成林腊后花。对酒不妨还弄墨，一枝清影写横斜。□堂看梅和王少傅韵。吴趋唐寅。",[50,23,51,84,26,528,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0239c6bbe3e5d4ec00d78c8e1005a79.jpg","纵96厘米，横36厘米",[],{"id":9041,"slug":9042,"title":9043,"dynasty":115,"author":289,"museum":99,"description":9044,"tags":9045,"thumbUrl":9046,"material":319,"size":9047,"collection":213,"collections":9048,"showCount":9007,"zanCount":743,"manualWeight":39,"mainColor":40},221398,"fa-hai-ling-shan-tu-ce-li-gong-lin-221398","法海灵山图册","尤工人物，能分别状貌，使人望而知其为廊庙、馆阁、山林、草野、闾阎、臧荻、占舆、皂隶。至于动作态度、颦伸俯仰、大小善恶、与夫东西南北之人才分点画、尊卑贵贱、咸有区别，非若世俗画工混为一律。贵贱研丑止以肥红瘦黑分之。大抵公麟以立意为先，布置缘饰为次，其成染精致，俗工或可学焉，至率略简易处，则终不近也",[49,23,50,51,24,135,1284,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff0df1b380f365d00c48d70258594a85.jpg","23x299cm",[213,199],{"id":9050,"slug":9051,"title":9052,"dynasty":115,"author":6103,"museum":7132,"description":9053,"tags":9054,"thumbUrl":9055,"material":239,"size":9056,"collection":107,"collections":9057,"showCount":9007,"zanCount":39,"manualWeight":39,"mainColor":75},221375,"xi-shan-qiu-ji-tu-wang-shen-221375","溪山秋霁图","《溪山秋霁图》是北宋 创作的绢画淡设色画，现藏于美国华盛顿弗利尔美术馆。\n图绘秋日雨过天晴后的山青水秀。\n图上群山叠嶂起伏，江水空阔浩淼；近处雨后树木更愈翠绿，江边草屋掩映于树林中；山中可见数座屋脊；远处云雾下的山峦更显妖娆。\n本图以长卷形式表现 雨过天晴后郊野的清丽风光。\n卷中忽而两山夹峙野水逶迤，忽而重岩叠嶂连绵而起，忽而江水横陈浩渺空阔，其中点缀高人逸士渔夫钓者，表现其悠闲生活情趣。\n此图画风清润秀雅，用笔尖利。\n整幅画面布置有序，意境优美，正如宋人论画山水所写：出于可游可居之景。\n王诜，字晋卿，北宋画家，所作烟江云山、寒林幽谷，水墨清润，设色高古绝俗",[23,50,52,26,55,119,7,56,64,150,294,279,3652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4cbc8e85c993c64e82f3c902744c596.jpg","纵45.2厘米，横206厘米",[],{"id":9059,"slug":9060,"title":9061,"dynasty":18,"author":207,"museum":81,"description":9062,"tags":9063,"thumbUrl":9065,"material":152,"size":9066,"collection":72,"collections":9067,"showCount":9007,"zanCount":39,"manualWeight":39,"mainColor":75},219347,"mo-xi-yuan-ya-ji-tu-yi-ming-219347","摹西园雅集图","本幅描绘历史上有名的“西园雅集”情形，在附马都尉王诜家的这次雅集，聚集了北宋当时顶尖的文人雅士，由米芾的一篇记流传后世，历代多有画作。此幅传明人所作，细观或是周臣老画师临摹刘松年原画所作，在历代临摹本中属上品。",[50,23,51,84,25,58,56,610,150,7,134,9064],"西园雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F593962859ed60f1a0711ce80559eaffd.jpg","191.2 x 98.3cm",[72],{"id":9069,"slug":9070,"title":9071,"dynasty":97,"author":1710,"museum":175,"description":9072,"tags":9073,"thumbUrl":9074,"material":33,"size":9075,"collection":199,"collections":9076,"showCount":9007,"zanCount":743,"manualWeight":39,"mainColor":40},219223,"er-tong-dou-cao-tu-jin-ting-biao-219223","儿童斗草图","此图表现的是端午节儿童们斗草的游戏。有的以比赛采得的花草作对，这是文斗；有的把叶柄相勾拉拽，也称“拔根儿”，就是武斗。",[49,50,23,51,84,54,25,58,598,1714,1239,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94f548edff091b9ba461b027bf11c428.jpg","纵105.3厘米，横79.5厘米",[199],{"id":9078,"slug":9079,"title":9080,"dynasty":192,"author":9081,"museum":81,"description":9082,"tags":9083,"thumbUrl":9084,"material":88,"size":9085,"collection":242,"collections":9086,"showCount":9007,"zanCount":39,"manualWeight":39,"mainColor":40},219038,"cao-tang-shi-zhi-tu-juan-lu-hong-219038","草堂十志图卷","卢鸿","卢鸿（生活在七世纪和八世纪之间）出生于幽州范阳（今河北大兴）。他隐居在嵩山，是一位博学的学者，也是一位优秀的书画家。玄宗时，他多次被召见，但仍不服气，只是得到了衣服和隐居的茅屋。整卷水墨画共由十幅画面组成，每幅画面由一节组成，每节前有褚、颜、柳等各种书法体书写的十条志令，中间有十幅画面。画的都是自然的园林景物，其配置是注重与周围自然环境的结合，画中的树木山石造型，显得古色古香，用笔方硬，笔墨渲染颇为工整。关于这幅画的科学观点各不相同，并不明确，但可以肯定的是，它并非源自唐代。",[49,23,51,52,26,55,86,119,7,56,1768,64,150,61,63,277,60,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9dc166ed8a2c0a38afe4f307248b55e.jpg","29.4x600",[242],{"id":9088,"slug":9089,"title":9090,"dynasty":146,"author":9091,"museum":525,"description":9092,"tags":9093,"thumbUrl":9094,"material":33,"size":107,"collection":70,"collections":9095,"showCount":9007,"zanCount":11,"manualWeight":39,"mainColor":75},216997,"zhu-chuang-qing-yin-tu-lu-guang-216997","竹窗清隐图","陆广","陆广的《竹窗清隐图》是一幅山水画作品，出现在元朝时期（1271-1368年）。这幅画作以竹窗为主题，描绘了一个人坐在竹窗前欣赏山水的场景。竹窗是中国传统建筑中常用的装饰元素，象征着隐逸和闲适的生活方式。在这幅画作中，陆广展现了他对自然和人文之美的敏锐观察力和深刻理解。这幅画作被认为是元朝山水画的杰作之一，具有很高的艺术价值。",[23,26,55,86,7,119,56,358,870,293,1597,61,1902],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33e4531cd7fb8bc86a40100d4d0d3034.jpg",[70],{"id":9097,"slug":9098,"title":9099,"dynasty":97,"author":1167,"museum":81,"description":2470,"tags":9100,"thumbUrl":9101,"material":33,"size":107,"collection":107,"collections":9102,"showCount":9007,"zanCount":1288,"manualWeight":39,"mainColor":40},214845,"xie-sheng-ce-17-hua-yan-214845","写生册-17",[23,25,26,2641,403,24,7204,531,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2311999714a7fff92f6e461b753aac20.jpg",[],{"id":9104,"slug":9105,"title":9106,"dynasty":97,"author":248,"museum":99,"description":685,"tags":9107,"thumbUrl":9108,"material":689,"size":690,"collection":107,"collections":9109,"showCount":9110,"zanCount":743,"manualWeight":39,"mainColor":40},290538,"bei-tang-qiu-ying-yun-shou-ping-290538","北堂秋影",[23,24,25,27,28,54,86,7,3652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30507f70fa4d4d14fa0b8ae423c42c20.jpg",[],87,{"id":9112,"slug":9113,"title":9114,"dynasty":146,"author":431,"museum":175,"description":9115,"tags":9116,"thumbUrl":9117,"material":417,"size":9118,"collection":122,"collections":9119,"showCount":9110,"zanCount":743,"manualWeight":39,"mainColor":40},239685,"di-shi-dan-ba-bei-juan-zhao-meng-fu-239685","帝师胆巴碑卷","内容为记述帝师胆巴生平事迹，是赵孟頫奉元仁宗敕命书写的碑文。胆巴是元代前期僧人，西番突甘斯旦麻人，元世祖时被封为国师，元仁宗皇庆间，追号大觉普慈广照无上胆巴帝师。此卷书于延祐三年(1316)，书法点画顾盼有致，用笔遒美峻拔，为晚年碑书之笔。\n卷后有清姚元之、杨岘、李鸿裔、潘祖荫、王颂蔚、王懿荣、盛昱、杨守敬题跋，并钤有许乃普、叶恭绰等收藏印记。《南阳法书表》、《式古堂书画汇考》、《壬寅销夏录》、《三虞堂书画目》等书著录。现藏故宫博物院。",[49,51,86,52,417,1284,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e897198e2de07be5ae069c46c590bfa.jpg","纵33.6厘米，横 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CM X 10",[35,72],{"id":9135,"slug":9136,"title":9137,"dynasty":115,"author":881,"museum":99,"description":9138,"tags":9139,"thumbUrl":9141,"material":107,"size":107,"collection":107,"collections":9142,"showCount":9110,"zanCount":1288,"manualWeight":39,"mainColor":75},227819,"yue-ye-tu-ma-yuan-227819","月夜图","虬松盘崖而上，枝干屈铁盘旋，松针劲挺如攒，垂挂的松萝更添古寂幽邃。右侧高台层楼凭山而建，飞檐半隐于松荫，似浸在溶溶月色里。远景山峦晕作淡黛，隐没在昏褐夜色中，空濛虚灵，将天地拉得辽远空阔。\n\n全画以边角取景，淡墨轻皴营造月夜朦胧氛围，不见月华，却处处浸着凉润夜色，似可闻松涛伴着凉风掠过廊檐。尺幅之间以少胜多，留白造境，将秋夜清寂雅致藏在一隅，尽显空灵简远的意境，把江南月夜的幽柔静谧铺陈在绢素之上，余韵悠长。",[49,50,23,51,56,26,25,9140,610,59,751,944,150,64,7],"斧劈皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06766d95c6eacad089745833c8a26ebb.jpg",[],{"id":9144,"slug":9145,"title":9146,"dynasty":1037,"author":2876,"museum":99,"description":9147,"tags":9148,"thumbUrl":9151,"material":107,"size":107,"collection":107,"collections":9152,"showCount":9110,"zanCount":1288,"manualWeight":39,"mainColor":75},226708,"wen-yuan-tu-juan-zhou-wen-ju-226708","文苑图卷","《文苑图》卷，五代，周文矩作，绢本，设色，纵37.4厘米，横58.5厘米。\n本幅无作者款印，根据图左宋徽宗“瘦金体”题字：“韓滉文苑圖，丁亥御劄”，下书“天下一人”押，遂定为唐代韩滉作。然从时代风格看，少唐画气息，最明显的是衣纹线条颤动曲折，极似五代周文矩所创的“战笔描”。另外人物头戴的“工脚上翘”的幞头形式，亦至五代才出现。同时，美国大都会博物馆藏有一本周文矩的《琉璃堂人物图》卷，后半段画面与此图完全一样，故可肯定《文苑图》作者是周文矩，所画内容为琉璃堂人物故事。至于两图孰为原本？抑或均属摹本？据考，美国的《琉璃堂人物图》卷水平较差，人物面相稍欠神采，衣纹用笔颇见柔弱，且图首宋徽宗题“周文矩琉璃堂人物圖，神品上妙也”和下钤“ 內府圖書之印”均伪，故此图当为宋以后摹本。而《文苑图》人物神采奕奕，笔墨功力深厚，本幅右下角又有南唐墨钤“集賢院御畫印”，证明此图不会晚于五代，极可能即周文矩原迹，惟前半段已佚，也许周文矩又重临了后半段，亦不排除为同时高手临仿本。总之《文苑图》属五代真迹名品，殊无疑义。\n作品所绘琉璃堂人物故事，据考即唐玄宗时著名诗人王昌龄任江宁县丞期间，在县衙旁琉璃堂与朋友宴集的故事，与会者可能有其诗友岑参兄弟、刘眘虚等人。《文苑图》绘四位文士围绕松树思索诗句，有倚壘石持笔觅句者，有靠松干构思者，有两人并坐展卷推敲改诗者，情态各异，形神俱备。所缺前半段从《琉璃堂人物图》中可以看到，是画四人围坐议论，其中有一位僧人，还有侍奉的童仆。从全卷场面可领略当时宴集之盛况。\n此图画法与《琉璃堂人物图》及周文矩另一幅《重屏会棋圈》卷(宋摹本)相比较，风格相似，都呈周氏典型面貌，但水平却有高下之分。本图人物衣纹所运“战笔描”细劲有力，曲折中见流畅，圆润中具轻重，树石勾染细致，富层次和立面感，人物情态尤富神采，个性各异。作为五代一幅真迹，确反映了该时代所达到的水平。\n此图见于《石渠宝笈·初编》和明·詹景凤《玄览编》著录，可能曾入南唐后主李煜《阁中集》，后又入北宋徽宗《宣和睿览集》。",[49,50,23,51,52,54,25,58,610,9149,3009,7,497,9150,576],"石桌","古代服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dcc12af75f41000fa86d14d7b6bf9fe.jpg",[],{"id":9154,"slug":9155,"title":9156,"dynasty":115,"author":2788,"museum":175,"description":9157,"tags":9158,"thumbUrl":9161,"material":668,"size":9162,"collection":213,"collections":9163,"showCount":9110,"zanCount":1288,"manualWeight":39,"mainColor":40},221485,"yun-shan-mo-xi-tu-juan-mi-you-ren-221485","云山墨戏图卷","本幅题识：“余墨戏气韵颇不凡，他日未易量也。元晖书。”又有清乾隆御题诗一首：“看山愁步山巑岏，看水爱听水潺湲。山水情似未浃洽，与浃洽之云漫漫。元气回合绝模拟，妙境恍惚思跻攀。真有子矣米海岳，那能混之高房山。乾隆御题。”钤“几暇怡情”白文方印，“乾隆宸翰”朱文方印。另钤有吴希元、朱辉、梁清标、安岐鉴藏印及清内府藏印计22方。尾纸有董其昌题跋：“米元晖山水卷皆为元高尚书所混。即余收《潇湘白云》长图，宋元名公题咏甚富，沈石田以晚年始觏为恨，余犹疑题咏虽真，似珠椟耳。神物或已飞去。不若此卷之元气淋漓，布境特妙也。丙子（崇祯九年，1636年）六月三日，其昌题。”之后有冯铨、龚心钊二跋。钤有吴国逊、刘珍、朱辉、冯铨、梁清标、安岐等鉴藏印15方。\n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本幅曾经卞永誉《式古堂书画汇考》画卷十三、《墨缘汇观》卷三《名画上》、《石渠宝笈续编》卷十七著录。\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。",[49,23,51,52,26,712,55,9159,119,7,1207,870,64,751,752,9160],"米点皴","水体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea34772582302210ef47dd26bba6b9e.jpg","纵21.4厘米，横195.8厘米",[213,70,242],{"id":9165,"slug":9166,"title":9167,"dynasty":115,"author":9168,"museum":446,"description":9169,"tags":9170,"thumbUrl":9171,"material":121,"size":107,"collection":213,"collections":9172,"showCount":9110,"zanCount":39,"manualWeight":39,"mainColor":75},219789,"zhou-yue-tu-zhao-ling-rang-219789","舟月图","赵令穰","画面以大片空寂底色铺就，将月夜江天的辽远清寒尽数晕开。扁舟横卧水面，舟中二人意态悠然，一人凭舷凝望悬垂的冷月，一人垂竿静候，寥寥数笔便勾勒出闲逸松弛的林下幽情。淡墨轻皴出水波微漾，朦胧月色漫过空阔江面，将天地晕成浑然一色的清寂。边角的古印题字晕染出古雅厚重，整幅画作以极简之笔写尽淡远萧疏的意趣，把文人寄情烟波、物我两忘的幽淡心境藏在空寂月色里，尽显水墨山水以少胜多的诗意禅味。",[50,23,51,26,135,25,58,62,944,7,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b922f084156fdab8779361947ae5c3.jpg",[213],{"id":9174,"slug":9175,"title":9176,"dynasty":18,"author":1803,"museum":175,"description":9177,"tags":9178,"thumbUrl":9179,"material":152,"size":9180,"collection":35,"collections":9181,"showCount":9110,"zanCount":39,"manualWeight":39,"mainColor":75},218768,"zhu-he-shuang-qing-tu-bian-wen-jin-218768","竹鹤双清图","画面描绘两只仙鹤悠然漫步于竹林之中。此图为边景昭与王绂二人合作，边景昭画鹤，王绂画竹。边景昭是明代宫廷花鸟画家的代表人物，其画风继承了宋代“院体”工整富丽的风格，并在一定程度上吸收了文人画的特点。王绂是明代前期的画竹名家，他的墨竹延续了北宋文同等人的传统，在竹画的历史上有着承前启后的重要作用。本幅作品中边景昭所画的仙鹤造型优美，气度娴雅，笔墨简放，工细而不拘谨，着色淡雅，与王绂清润秀挺的墨竹格调统一，作品给人以清新出尘之感，是职业画家与文人画家配合默契的成功之作。",[49,50,23,51,84,54,26,25,358,1480,1714,27,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19caa71e4d00fa1e7d41bf8d984b1d86.jpg","纵109厘米，横44.6厘米",[35],{"id":9183,"slug":9184,"title":9185,"dynasty":18,"author":9186,"museum":81,"description":9187,"tags":9188,"thumbUrl":9189,"material":88,"size":9190,"collection":122,"collections":9191,"showCount":9110,"zanCount":1288,"manualWeight":39,"mainColor":40},214215,"shi-tie-wang-chong-214215","诗帖","王宠","释文：江东逢著李龟年。肠断歌钟舞袖前。瑶水似闻黄竹奏。梨园新按紫霓篇。生憎玉色欺冰盌。不耐云光媚酒筵。掩泪青衫天畔客。举觞白眼饮中僊。右陆叔平席上作。修竹檀栾池水波。近人鱼鸟碧山阿。",[49,51,23,86,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe914d368bb33d1a218d6cee66ee71a67.jpg","84.1x29.6",[122],{"id":9193,"slug":9194,"title":9195,"dynasty":97,"author":1180,"museum":99,"description":1655,"tags":9196,"thumbUrl":9197,"material":689,"size":690,"collection":107,"collections":9198,"showCount":9199,"zanCount":39,"manualWeight":39,"mainColor":40},289898,"shi-liu-tu-li-zhou-wu-chang-shuo-289898","石榴图立轴",[49,50,23,51,84,1501,26,25,530,277,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc84d0c8474b987b8242984551428f81a.jpg",[],86,{"id":9201,"slug":9202,"title":9203,"dynasty":1037,"author":9204,"museum":99,"description":9205,"tags":9206,"thumbUrl":9207,"material":689,"size":690,"collection":107,"collections":9208,"showCount":9199,"zanCount":39,"manualWeight":39,"mainColor":75},283684,"jiang-di-wan-jing-tu-dong-yuan-283684","江堤晚景图","董源","该画作是一幅绢本立轴山水画。轴顶上为溥儒题的“大风堂供养南唐北苑副使董源书江堤晚景无上至宝”。轴底为张大千、谢稚柳等人题跋。轴的中间绘绿意盎然的春日里，行人游春赏景，一侧的酒馆挂旗开门营业；松树高大苍翠，群山巍峨，山脚下河面波光粼粼，一片春日好时光！这就是画作的内容了。",[23,50,84,53,25,56,58,225,2142,64,7,86,2956],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb775349db468e7b94cea2f43539ee3e.jpg",[],{"id":9210,"slug":9211,"title":17,"dynasty":97,"author":1167,"museum":7132,"description":9212,"tags":9213,"thumbUrl":9214,"material":33,"size":9215,"collection":35,"collections":9216,"showCount":9199,"zanCount":1288,"manualWeight":39,"mainColor":40},233943,"hua-niao-ce-hua-yan-233943","华喦（同“岩”）（1682~1756)，一作华岩，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、白沙道人、离垢居士等，老年自喻飘篷者，福建上杭蛟洋华佳(家)人(原白砂里人)，后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称三绝，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年(1703)华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上高山云鹤、水国浮牛、青松悬崖和倚马题诗四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，得交当路巨公，名闻于上，但并不得意，据戴熙《习苦斋画絮》载:华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鳝、郑板桥及盐商巨子马曰管、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。\u2028 华岩一生贫困，金农在《画竹题记》提到:汀洲华岩秋岳，……尝画兰草纸卷，卷有五丈者，一炊饭顷便能了事，清而不媚，恍闻幽香散空谷之中，…… 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。",[23,51,24,25,26,403,27,29,531,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7a15ddd053c23937374547a7f95ffdd.jpg","31.2×44.7厘米",[35],{"id":9218,"slug":9219,"title":9220,"dynasty":115,"author":289,"museum":99,"description":9221,"tags":9222,"thumbUrl":9223,"material":107,"size":107,"collection":107,"collections":9224,"showCount":9199,"zanCount":39,"manualWeight":39,"mainColor":40},227609,"wei-mo-yan-jiao-tu-juan-li-gong-lin-227609","维摩演教图卷","《维摩演教图》卷，传为宋李公麟绘，纸本，墨笔，纵34.6厘米，横207.5厘米。\n\n无作者款印。画后幅有明沈度书《心经》及跋“永乐丙戍岁，予客燕台真如寺，老僧元觉出示李龙眠演教图真迹，随索予书《心经》附后，自愧玉台难并，固辞再三。老僧索之甚笃，勉强净手谨书一通。是夕上元日也。云间沈度。”丙戌为明永乐四年（1406年）。并有明董其昌、王穉登题跋。钤元柯九思“柯氏敬仲”，清索额图“钦赐忠孝长白山长索额图字九如号愚庵书画珍藏永贻子孙”、“长白索氏珍藏图书印”，清宣统皇帝“宣统御览之宝”、“宣统鉴赏”等鉴藏印，共57方。\n\n此图取材于佛教《维摩诘经》，描绘的是装病在家的维摩诘向奉佛祖释迦牟尼之命前来探病的文殊菩萨宣讲大乘教义的场面。全图意在表现维摩诘所具有的高深机智及其对佛教教义的巧思善辩。画中维摩诘坐于锦榻之上，精神矍铄地谈论教义，对面的文殊菩萨脚踩莲花，双手合十，对维摩诘的说法心悦诚服。画幅中部绘天女故意往大弟子舍利弗身上撒沾衣不坠的花瓣，令躲闪不及的舍利弗连忙振衣抖拂。维摩见此当即指出佛教应该视万物皆空的教义实质。\n\n佛教是公元前6至5世纪由释迦牟尼于印度创立，相传东汉明帝时传入中国。艺术家们为了扩大佛教在中国的影响，在表现佛教人物或故事时逐渐将他们中国化，生活化，以符合中国人的审美观。从东晋顾恺之到隋唐敦煌壁画，维摩诘尚被表现为“须眉奋张，目光如炬”的形象，而此图中他已完全成为汉化的佛教徒的形象。文殊菩萨体态雍容端庄，犹如现实生活中名门望族之人。众天女于恭谨中显露出活泼的神情，毫无宗教的虔诚之态。文人世俗思想融入宗教画创作中无疑增添了作品的亲和力，同时也增强了作品的感染力。全图为扫却粉黛的墨线勾描，遒劲圆转而富于表现力度的游丝描和铁线描相辅相成，在成功地刻画出神态各异的人物形象的同时，洁净轻淡的笔法也与佛教“空即是色，色即是空”的教义相吻合。\n\n此图无款，对作者有三种推测：明人沈度、董其昌、王穉登等人在画卷的跋中皆称作者为宋代李公麟。当代学者金维诺等先生认为作者应是金代的马云卿，主要根据是美国大都会博物馆藏有元代王振鹏《临马云卿画维摩不二图草本》。王振鹏在卷后题跋中称：“至大元年二月初一日拜住怯薛第二日，隆福宫花园山子上，西荷叶殿内，臣王振鹏特奉仁宗皇帝潜邸圣旨，临金马云卿画维摩不二图草本。”王振鹏的临本与此幅的艺术风格、构图章法等极为相仿，只是在局部纹饰上稍有细微变化。但目前亦有专家认为此图既不是李公麟所作，亦非马云卿所为，它应是宋佚名画家的作品。事实上，无论作者是谁，该图代表着早期白描人物画的最高成就当是无可争议的。",[49,50,23,51,52,1284,58,135,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2a5ca121eafafb8b8cc4acc361a11f6.jpg",[],{"id":9226,"slug":9227,"title":9228,"dynasty":115,"author":355,"museum":99,"description":9229,"tags":9230,"thumbUrl":9231,"material":107,"size":107,"collection":107,"collections":9232,"showCount":9199,"zanCount":39,"manualWeight":39,"mainColor":40},227503,"xin-sui-zhan-qing-tie-su-shi-227503","新岁展庆帖","苏轼（1037～1101），字子瞻，号东坡居士，北宋眉山人。是著名的文学家，唐宋散文八大家之一。他学识渊博，多才多艺，在书法、绘画、诗词、散文各方面都有很高造诣。他的书法与蔡襄、黄庭坚、米芾合称“宋四家”；善画竹木怪石，其画论，书论也有卓见。是北宋继欧阳修之后的文坛领袖，散文与欧阳修齐名；诗歌与黄庭坚齐名；他的词气势磅礴，风格豪放，一改词的婉约，与南宋辛弃疾并称“苏辛”，共为豪放派词人",[86,119,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe686195f2c0ee74acca1a40165e0437a.jpg",[],{"id":9234,"slug":9235,"title":9236,"dynasty":97,"author":445,"museum":99,"description":9237,"tags":9238,"thumbUrl":9239,"material":689,"size":690,"collection":107,"collections":9240,"showCount":9199,"zanCount":39,"manualWeight":39,"mainColor":75},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。",[49,50,23,51,84,26,403,86,7,27,308,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9163948f16c605409d424d9bc05e56.jpg",[],{"id":9242,"slug":9243,"title":9244,"dynasty":18,"author":9245,"museum":81,"description":9246,"tags":9247,"thumbUrl":9248,"material":4816,"size":9249,"collection":70,"collections":9250,"showCount":9199,"zanCount":39,"manualWeight":39,"mainColor":40},222166,"ban-chuang-qing-cui-tu-zhou-xia-chang-222166","半窗晴翠图轴","夏昶","夏昶（1388—1470），字仲昭，號自在居士，江蘇崑山人。永樂十三年（1415）進士，官至太常寺卿。精於楷書，曾為永樂皇帝書榜。師法王紱（1362－1416），繪竹觀察入微，名聲遠播域外。 墨竹取其一竿，由底部凌空而起，枝幹堅立。巧妙運用濃淡墨色變化，表現竹葉正反向背，畫面大量留白，營造層次空間感。竹爲文人士大夫節操象徵，夏氏為官處事清廉，墨竹瘦勁孤高，為其人格寫照。",[49,23,51,84,26,358,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83d9c2987b664b21c5009d24314eaec2.jpg","139.2x45.3厘米",[70,242],{"id":9252,"slug":9253,"title":9254,"dynasty":18,"author":9255,"museum":175,"description":9256,"tags":9257,"thumbUrl":9258,"material":391,"size":9259,"collection":70,"collections":9260,"showCount":9199,"zanCount":743,"manualWeight":39,"mainColor":2307},222028,"guan-shan-xing-lv-tu-dai-jin-222028","关山行旅图","戴进","作品所取题材和布局均源自北宋李成、郭熙派系。图绘高远、深远的全景山水，主山居中，巍然屹立，高峻雄伟，左右诸景相衬，呈金字塔形的稳定构图，气势宏阔。诸景系连紧密自然，高远和深远感主要依仗景色之间的内在联系加以体现，如中景布置村落，有坡堤、土路与前景的垒石、松树、河面、板桥相连，丛林、山道又与远景的峻岭、城阙相接，由此可由近及远，从下至上。布景已克服了画家中年时期欠成熟的痕迹，即藉不自然的树石堆砌或人为的烟云安插来制造高和远，表明戴进晚年已较好地领悟了北宋山水的优长，重视天然布势，力求真实自然。\n画面展现的生活场景真实生动，富有生机。近处板桥上三驴踯躅而行，两位行旅者挑担、背筐后随，显出长途跋涉后即将歇息的放松状态。中景村落中几间简陋茅屋，诸多人物活动其间，有卸担询问的行旅人，有招待客人的店家，有闲坐嬉玩的稚童，还有小狗守立村头，这些情节真实地传达出僻远山村简朴、平和的生活气氛。远景山道上又有拉驴上山者，躬腰挑担下山者，另显一番艰辛情状。环境可居可游，观者如身临其境，如北宋郭熙在《林泉高致》中所倡导的：“可行可望，不如可居可游之为得。”\n此图画法呈集大成面貌。山川体势取诸家之长，高峻主山近李唐，近处垒石如郭熙，劲直松干仿刘松年，繁密苔点和树丛又取自盛懋，而且结合得妥帖自然，少中年时的拼凑、失真痕迹，整体气势既雄伟又浑厚，既郁茂又清朗，体现出画家力图融南北山水特色于一体，集阳刚阴柔于一身的追求。笔墨方面亦不拘一格，根据物象灵活运用。勾皴点染结合，干湿浓淡交融，中锋侧笔并用，圆润劲健交替，皴法多样，有斧劈、披麻、点子诸皴，点叶丰富，有夹叶、点叶、攒针诸法，显示出富有变化又十分纯熟的技艺。此图堪称戴进晚年精品。",[49,23,26,55,56,60,61,871,150,727,1115,225,63,1536,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4453bdb6ba4bd1601619ad7aac4456a4.jpg","纵61.8厘米，横29.7厘米",[70,242],{"id":9262,"slug":9263,"title":79,"dynasty":192,"author":9264,"museum":4269,"description":9265,"tags":9266,"thumbUrl":9267,"material":9268,"size":9269,"collection":242,"collections":9270,"showCount":9199,"zanCount":1288,"manualWeight":39,"mainColor":40},221093,"zhu-tu-rong-yang-221093","荣阳","晚唐时期的绘画，最可注意的就是花鸟画的兴起，中国绘画史上以题材而论，人物画发展最早，其次是山水，花鸟画居第三。花鸟图形用来作丝帛上的花纹和壁画上的装饰，自战国到汉唐都很普遍。但成为绘画的独立题材，是始于中唐而盛于晚唐。边鸾的“折枝”花卉，只画一枝花，无根无干，风格新颖，很受当时人的欢迎。他兼精翎毛，于是奠定了花鸟画的地位。刁光胤更将花鸟画发展到了完善的地步。",[49,23,26,358,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0a425482415215a9b6abe08555c3dcd.jpg","绢本，水墨","27.2*23.0cm",[242,921],{"id":9272,"slug":9273,"title":6742,"dynasty":192,"author":4095,"museum":329,"description":4096,"tags":9274,"thumbUrl":9275,"material":4099,"size":4100,"collection":122,"collections":9276,"showCount":9199,"zanCount":743,"manualWeight":39,"mainColor":40},221068,"ling-fei-jing-si-shi-san-xing-zhong-shao-jing-221068",[49,86,417,436,7,52,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeac32242755aa712d5d8484ba83da2e.jpg",[122,1120],{"id":9278,"slug":9279,"title":9280,"dynasty":146,"author":431,"museum":81,"description":9281,"tags":9282,"thumbUrl":9283,"material":319,"size":9284,"collection":122,"collections":9285,"showCount":9199,"zanCount":743,"manualWeight":39,"mainColor":40},220885,"xian-ju-fu-zhao-meng-fu-220885","闲居赋","学赵孟頫行书，《闲居赋》是一个不错的选择。《闲居赋》法度严谨，相对不可捉摸、更加自由的手札，它具有更清晰明了的书写规范，更适合初学；而相对一些偏正式的书写内容，它又多了几分随性，写来变化丰富，美妙多姿。\n书西晋著名文学家潘岳《闲居赋》一首，56行，凡627字，款署子昂。此作无年款，但从书法上考察，应是晚年所书，为赵孟頫上乘之作。卷末有清曹溶题跋。",[49,86,119,52,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ed6c39e105804541eda350961a53ebf.jpg","纵38厘米，横248.3厘米",[122],{"id":9287,"slug":9288,"title":9289,"dynasty":18,"author":207,"museum":3527,"description":9290,"tags":9291,"thumbUrl":9293,"material":152,"size":107,"collection":199,"collections":9294,"showCount":9199,"zanCount":1288,"manualWeight":39,"mainColor":40},219582,"tong-zi-li-fo-tu-yi-ming-219582","童子礼佛图","团扇取景庭院一隅，玲珑湖石旁牡丹绽蕊晕香，晕染出雅致闲静的氛围。数位童子稚态尽显，或合力捧持佛龛，或敛衣垂首礼拜，憨拙的动作将孩童模仿佛事的天真烂漫融于其中。设色柔丽清雅，衣纹线条纤细婉转，将童子娇憨的神态与稚嫩身形刻画入微，并未渲染礼佛的肃穆沉重，反以孩童的烂漫消解了仪式感，尽显日常嬉玩的松弛意趣，是兼具工致院体笔意与市井童真的小品佳作。",[50,23,51,822,1284,25,58,9292,277,28,7,54],"童子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb95ae7ebde4a39a5de3ea7632554bec3.jpg",[199],{"id":9296,"slug":9297,"title":9298,"dynasty":146,"author":1644,"museum":81,"description":9299,"tags":9300,"thumbUrl":9302,"material":33,"size":9303,"collection":35,"collections":9304,"showCount":9199,"zanCount":1288,"manualWeight":39,"mainColor":40},219110,"tao-zhi-song-shu-tu-qian-xuan-219110","桃枝松鼠图","画中一株桃枝，枝上桃叶披盖，桃果结实鲜嫩。一只松鼠攀附在桃枝上，桃枝似乎随之颤动。松鼠长尾蓬松，高高翘起，四肢紧紧抓住树枝，正小心翼翼向桃子行进。该画不设背景，用没骨法画出松鼠和桃枝，设色清丽，颇有情趣。",[49,23,50,54,25,27,3251,9301,4231,86,7],"桃枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ee543dd71f018935820f6ac096a19bf.jpg","纵26.3公分，横44.3公分",[35],{"id":9306,"slug":9307,"title":9308,"dynasty":97,"author":9309,"museum":175,"description":9310,"tags":9311,"thumbUrl":9312,"material":152,"size":9313,"collection":70,"collections":9314,"showCount":9199,"zanCount":39,"manualWeight":39,"mainColor":75},218495,"shan-shui-tu-zhou-wu-li-218495","山水图轴","吴历","吴历（1632—1718年），字渔山，号墨井道人、桃溪居士等，江苏常熟（今属江苏省）人。少年时遭遇明亡，信奉佛教，后转为信奉基督教。曾赴澳门，并受洗礼，教名西满·沙勿略（Simon ·Xareris），并学习西文。原计划去欧洲，因故未果，后回内地，在上海、嘉定、苏州一带传教，卒后葬于上海南门外耶稣会墓地。早年学画于王鉴、王时敏，后接触西方文化，这对其山水画风的形成有潜在影响。喜用干笔焦墨，笔墨细腻，注重画面的纵深感，并略微注意到透视法的运用。吴历以其独到的艺术风貌与“四王”、恽寿平并称“清初六大家”。据《竹人续录》等史料载，吴氏兼擅刻竹，风格缜密，深受嘉定派影响。",[49,23,84,26,55,56,870,406,64,727,60,1902,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a6b4dd37202170810c221a4959124c1.jpg","64.9x32cm",[70],{"id":9316,"slug":9317,"title":9318,"dynasty":97,"author":1167,"museum":81,"description":2470,"tags":9319,"thumbUrl":9320,"material":33,"size":107,"collection":107,"collections":9321,"showCount":9199,"zanCount":39,"manualWeight":39,"mainColor":40},214841,"xie-sheng-ce-20-hua-yan-214841","写生册-20",[23,25,54,2342,104,7,2641,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ce710137779d736844fb703d7a06705.jpg",[],{"id":9323,"slug":9324,"title":9325,"dynasty":18,"author":9326,"museum":81,"description":9327,"tags":9328,"thumbUrl":9329,"material":88,"size":9330,"collection":122,"collections":9331,"showCount":9199,"zanCount":39,"manualWeight":39,"mainColor":75},214207,"xing-shu-zhou-zhang-rui-tu-214207","行书轴","张瑞图","释文：借问欲栖珠树隺。何年却傍帝城飞。果亭瑞图。",[49,86,119,84,501,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad7ddc20f101ed60c4ac5b9f77df0b3b.jpg","166.1x41.3",[122],{"id":9333,"slug":9334,"title":9335,"dynasty":18,"author":955,"museum":99,"description":9336,"tags":9337,"thumbUrl":9338,"material":689,"size":690,"collection":107,"collections":9339,"showCount":9340,"zanCount":39,"manualWeight":39,"mainColor":75},290354,"hua-he-hua-zhou-chen-hong-shou-290354","画荷花轴","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[50,23,51,84,25,27,102,277,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8daddd5c38e884b7ee705d40059080ce.jpg",[],85,{"id":9342,"slug":9343,"title":1984,"dynasty":115,"author":221,"museum":99,"description":2051,"tags":9344,"thumbUrl":9345,"material":689,"size":690,"collection":107,"collections":9346,"showCount":9340,"zanCount":743,"manualWeight":39,"mainColor":40},287888,"xie-sheng-zhen-qin-tu-zhao-ji-287888",[49,50,23,51,52,54,26,27,66,358,1988,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e591cd8344c801084f6bb88a9f76701.jpg",[],{"id":9348,"slug":9349,"title":9350,"dynasty":97,"author":1180,"museum":175,"description":9351,"tags":9352,"thumbUrl":9353,"material":319,"size":107,"collection":35,"collections":9354,"showCount":9340,"zanCount":1288,"manualWeight":39,"mainColor":40},236981,"qiu-se-zhou-wu-chang-shuo-236981","秋色轴","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》。",[23,51,84,25,26,119,7,277,8788,1481,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc0e8896205933dd0727840cc37da2b.jpg",[35,242],{"id":9356,"slug":9357,"title":9358,"dynasty":97,"author":1082,"museum":175,"description":9359,"tags":9360,"thumbUrl":9361,"material":319,"size":9362,"collection":242,"collections":9363,"showCount":9340,"zanCount":39,"manualWeight":39,"mainColor":40},236775,"yu-shi-tu-zhou-zhu-da-236775","鱼石图轴","此画面十分简洁，仅以简练的笔画，画一鱼一石。一湖石座落在画幅的左侧中段，湖石造型奇特，取岌岌可危之势，石中用枯笔皴染又加重墨点，鱼一尾在宽阔河中游弋，把鱼在特定的环境中的动态和神气表现得活灵活现，其造型非常准确而传神。唯独鱼眼一圈一点，眼珠顶着眼圈，即眼珠点在眼眶的上方，一副白眼向天的神情，形象洗练，造型夸张，表情奇特，构图大胆、新奇。由于画面仅有的怪石、鱼，又画在左侧和下端，而右侧的空白处，作者以自题款署及清王澍题记加以补白，对使整幅作品起到了平衡的作用。\n王澍题记：“八大山人挟忠义激发之气形于翰墨，故其作画不求形似，但取其意于苍茫寂历之间，意画即心，此所谓神韵者也。”\n八大山人的画不少是没有记年，但从风格及款署的习惯，可以判断是那一个时期的作品。如此《鱼石图》轴，款署“八大山人”，据考证他59岁至80岁，用“八大山人”署名，是“八大期”。依据《鱼石图》的特点和署名写法可以判断为晚年时期的作品。",[23,51,26,84,277,2342,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1465c1b39b489696b27be749224da061.jpg","纵58.3厘米，横48.6厘米",[242],{"id":9365,"slug":9366,"title":9367,"dynasty":146,"author":1644,"museum":99,"description":9368,"tags":9369,"thumbUrl":9370,"material":107,"size":107,"collection":107,"collections":9371,"showCount":9340,"zanCount":39,"manualWeight":39,"mainColor":40},228018,"lai-qin-zhi-zi-tu-qian-xuan-228018","来禽栀子图","宋末元初杰出的画家、书法家、诗人， 、 、 、 、肖子中、陈天逸、 、姚式并称“吴兴八俊”，钱选为“吴兴八俊”之首。\n“不管六朝兴废事，一樽且向画图开。\n”宋末元初，特殊的时代环境使得大多数汉文人从仕途中退却，隐逸文化成为当时汉文人生活方式的主流。\n同时，老庄隐逸思想中“平”“淡”的审美特质影响了画家的诗画品格。\n元初画家钱选的花鸟绘画作品所蕴含的诗画意蕴，充分体现了这种影响。\n《东山存稿》卷二中言及钱选作诗：“而钱公跌宕真率，格力优暇，无怨愤不平之意，要为不可及云。\n”以“淡”而归“真率”，绘画与诗文的统一格调，是钱选人格心理的真实写照。\n绘画主流由宫廷而转入民间的过程中，画家的自我意志得到了畅意与释放。\n宋末元初这一时期，钱选、赵孟、龚开、郑思肖等画家的作品中明显可见题画或题画诗的出现，实质是画家的文人意识与自我认知意识的一种抒发。\n钱选传世可考的一些 作品中常见其题诗，《秋瓜图》中道：“写向小窗醒醉目，东陵闲说故秦侯。\n”《梨花图》卷中题：“寂寞阑干泪满枝，洗妆犹带旧风姿。\n闭门夜雨空愁思，不似金波欲暗时。\n”从绘画题材看，画中的秋瓜、梨花等并非有太多奇巧之处，但画家入木三分的刻画赋与其丰富的情感内涵，再结合题画诗将意蕴内涵表现更为明确。\n“写向小窗醒醉目”是不谙世事的放纵，“东陵闲说故秦侯”却是满腔无奈的追忆与感喟，此秋瓜已非彼秋瓜也。\n而画中的梨花更已幻化为一风华绝代的美人，哀怨忧愁，褪尽铅华，悱恻百转却欲说还休。\n诗句是朴素平实的，而画中的对象在诗意中展开了延伸，从平常无奇的花鸟草木亦能体会出其情意所至。\n诗意中所表达的心绪在绘画的审美中与画家的情感相交融，画作意境由此而得以延伸。\n如果说南宋精美工细的花鸟画小品中能看出画家对具体物象细腻的揣度与恭谨的表现，在钱选的花鸟画中，画家所赋予物象的情感则通过诗作不露痕迹地带出，“洗妆犹带旧风姿”，一个“洗”字将观者对一树梨花的清新冷韵形象地再现出来，伤感、追忆的情绪已在枝头花间弥漫，而作者的情感似乎是中性的、平淡的。\n画境与诗境的相通并非是简单直接的描述或说明，而是在另一个较高层次上意趣的通融。\n钱选位居“吴兴八俊”并非完全以其绘画，而是“以诗擅名”，画为文之极，深厚的文学修养必然影响到其对绘画的理解与表现。\n清代陆心源所撰《仪顾堂集》《钱选传》中道：“尤善作折枝，其得意者赋诗其上。\n”钱选流传至今的画作上，无论有无题诗，皆有款识印章的出现。\n款识的出现与变化可能还有另外的原因，当绘画作品突破皇家欣赏的专属，在民间也广为流传时，作品的真伪问题就突显了出来。\n钱选在吴兴当地的画誉较高，时人以“吴兴三绝”分别指钱选的画、赵孟的字以及冯应科的笔。\n钱选作品在具备较高绘画造诣的同时，也有较强的课徒之资。\n其作品《来禽栀子图》现藏于美国弗利尔美术馆，图上绘有两株栀子花并未见禽鸟，一说可能是原图的残简，有一说“来禽栀子”本为花名。\n画中两株花枝势态怡然，摇曳生姿。\n花、叶穿插掩映有致，色调淡雅和谐。\n其画后隔水有赵孟跋：“来禽栀子，生意俱足。\n舜举丹青之妙于斯见之。\n其他琐者必其徒所为也。\n孟”足见，钱选的绘画在当时已为众多后学所追摹本。\n赵孟在钱选《八花图》卷后题跋：“右吴兴钱舜举所画八花真迹，虽风格似近体，而傅色姿媚殊不可得。\n尔来此公日酣于酒，手指颤掉，难复作此。\n而乡里后生多仿效之，有东家捧心之弊，则此卷诚可珍也。\n”山东省出土的钱选《白莲图》卷上也有作者的自跋：“余改号溪翁者，盖赝本甚多，因出新意，使作伪之人知所愧焉。\n钱选舜举。\n”显然，款识与画家身份的辨别在元初得到了进一步的发展，至元中后期画家在画面题款已蔚然成风，同时对画家书法品质的要求也起到了推动的作用。\n从作品来看，钱选书法明显承袭钟繇一路风格，含蓄内敛、平淡天真，法度严谨却又以拙胜巧。\n在钱选的绘画作品中，诗文、书法、绘画、款印相得益彰，书法的审美意蕴与题画诗意均呈现出某种同一的美学特质。\n再经由赵孟等人对“书画同源”观念的推动，发展为大多数文人画家所接受，奠定了后来整个文人画作样式上的基本面貌。\n明代沈颢在《画》中言：“元以前多不用款，款或隐之石隙，恐书不精，有伤画局。\n后来书绘并工，附丽成观。\n”显然，元初是书画款识的一个分界点，沈颢还从画面的结构关系上指出：“一幅中有天然候款处，失之则伤局。\n” 在花鸟画史研究中，论及钱选都认为其承南宋的画风。\n从画面效果来看，现藏于 的《牡丹图》卷是钱选花鸟画中风格较为接近南宋院体的一幅。\n也可能是由于牡丹本身繁茂明丽、雍容华贵的特质，拉近了作品与宫廷审美风格的关联。\n在钱选的画笔之下，花团锦簇，枝叶丰茂，写出牡丹的繁盛之妆容。\n明丽丰满的花头似乎随风摇曳，令人在体会到灼目芳华时却又顿生转瞬既逝的感喟。\n画面空疏有致，题款：“万卉何能继后尘，蜂喧蝶驻亦钟情。\n莫嫌开处春还暮，长向西都见太平。\n”七绝一首在画面左侧，画面形式上来看，题款与牡丹位置相距甚远，中有留白。\n显然作者在画面经营上是匠心独运的，以留白与牡丹花枝紧簇形成对比，增添了繁与简、荣与空之间的对比，从而增添了对牡丹内在审美意蕴的理解。\n题画诗所形成的纵向线条感疏朗有致，增添了画面的形式构成。\n从画面的整体来看，小楷的书写效果，朴实无华，独特一帜。\n同时，又能以诗意提升画意，作者在传承传统技法的同时，以自我的文化修养为作品的创新发展注入了新的因素。\n与同时代的画家相比，钱选花鸟画作品的独特性体现出两方面的辩证联系：一方面是显性的，时人评价钱选之诗：“而钱公跌宕真率，格力优暇，无怨愤不平之意，要为不可及云。\n”此论形容其绘画含蓄凝练，以平淡为格。\n在传承古典绘画技法的同时，将传统 的审美范畴拓展到更富于文人气质的表现上。\n其绘画命意高古，造型赋色独具意趣，以题画诗延伸画意，并在形式上以题跋款识介入画面，形成诗文书画合一的画面风格，为后世文人画家所效仿。\n另一方面，也是更为本质的一方面，他始终坚持在绘画本体的层面进行创作，文学因素的影响始终建立在其对绘画本身的追求与坚持之上。\n即使在钱选晚期的代表作《白莲图》卷中，色彩的渲染简约到了极致，几乎近于白描，但用线造型无不流畅细腻，富于表现力，可谓“精工之极”的典范。\n在宋元相交之际，绘画向主观写意转变的时代潮流中，钱选始终坚持对客观物象的尊重，坚持“状物”之美的表现，将富于文人意味的审美理想内化于其作品之中，这使他与当时的主流绘画样式拉开了距离，从而树立了自我的价值，形成独特的自我风格。",[49,50,23,51,52,25,54,27,5513,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a2c8b9c667d1fd5c374bd1445018bdf.jpg",[],{"id":9373,"slug":9374,"title":9375,"dynasty":97,"author":3423,"museum":99,"description":9376,"tags":9377,"thumbUrl":9378,"material":107,"size":107,"collection":107,"collections":9379,"showCount":9340,"zanCount":1288,"manualWeight":39,"mainColor":40},224378,"hua-hui-qi-shi-ce-shi-er-kai-8-ju-lian-224378","花卉奇石册-十二开-8","此作用笔秀润工致，湖石嶙峋朴拙，留白孔洞衬出通透雅姿，旁侧幽竹叶叶分明，清隽舒展。石畔野花柔婉娇妍，细草萦地，将小景衬得生机悠然。\n\n附石螳螂昂首凝神，振翅小虫翩跹于空，草虫刻画毫厘毕现，将灵动野趣藏于静雅景致中。设色轻浅柔和，晕染细腻自然，工笔精致却不板滞，将幽寂庭隅的清趣鲜活定格，于尺幅绢素间，糅合草木的静雅与草虫的生机，尽显闲淡悠然的逸致，勾勒出夏日庭间的鲜活幽谧。",[49,23,51,24,25,54,27,358,6798,28,1989,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa288770c4e7a26717f5dbb64eb7856ee.jpg",[],{"id":9381,"slug":9382,"title":9383,"dynasty":97,"author":1235,"museum":175,"description":9384,"tags":9385,"thumbUrl":9386,"material":183,"size":9387,"collection":199,"collections":9388,"showCount":9340,"zanCount":1288,"manualWeight":39,"mainColor":75},222862,"shi-gong-ci-tu-ce-leng-mei-222862","十宫词图册","此套图册共10开，描绘历代贤德后妃或贵族女子的故事，和《养正图》册具有同样鲜明的教育意义。对题有梁诗正书写的弘历承继帝位前于雍正十三年（1735年）所作的诗句，与图画互为辉映。\n由于图册以历代宫廷生活为题，故每幅画面均有对宫廷建筑的描绘，但因为作者只是宫廷画工，并不具备对前代建筑的了解与认知，同时历史人物画“成教化，助人伦”的政治功用也淡化了这些作为人物故事背景的历代宫廷建筑，使其更多地带有装饰性与程式化色彩，并没有呈现出不同时代的建筑风貌。值得注意的是，册中建筑的描绘均采用“海西画法”，冷枚作品中体现的这种画风特性，是在中国传统界画的基础上运用透视法增强画面的空间深度感并以明暗关系区分阴阳向背，说明曾为康熙皇帝所赏识的“海西法”在雍正、乾隆朝的宫廷建筑绘画中已被日渐欣赏和接受。",[49,23,54,25,1962,119,7,58,59,405,1206,406,598],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F608e2972b1c52918200e2cb77c491e77.jpg","纵33.1厘米，横29.3厘米",[199],{"id":9390,"slug":9391,"title":9392,"dynasty":18,"author":9393,"museum":930,"description":9394,"tags":9395,"thumbUrl":9397,"material":1561,"size":9398,"collection":70,"collections":9399,"showCount":9340,"zanCount":39,"manualWeight":39,"mainColor":40},222076,"fang-wang-meng-shan-shui-tu-xie-shi-chen-222076","仿王蒙山水图","谢时臣","此图为谢时臣的细笔山水佳作。写溪山胜境，山岚层叠，丘壑玲珑，栈道盘旋延伸，楼阁亭轩错落，士人童仆其中，还有雾气升腾，飞瀑直泻，湖光粼粼。画山石用解索皴，点苔用渴墨，皆为黄叔明笔法。此图布局稠密，笔势纵横，墨色淡雅，清丽潇洒。",[49,23,712,134,55,26,150,64,59,60,61,9396,63,58,7],"栈道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7bcb0d43ecbe7f8e987e7ae1d117aaa.jpg","58.5X31.2cm",[70,242],{"id":9401,"slug":9402,"title":7828,"dynasty":146,"author":431,"museum":175,"description":9403,"tags":9404,"thumbUrl":9405,"material":239,"size":9406,"collection":122,"collections":9407,"showCount":9340,"zanCount":1288,"manualWeight":39,"mainColor":75},220880,"qian-zi-wen-zhao-meng-fu-220880","引首系明代徐霖篆书“松雪千文”四个大字，卷后有元从张雨、赵雍、赵奕、黄公望，明代莫云卿、张湘詹景凤、徐霖等众人跋文。\n赵孟頫酷爱以千字文为习字素材，他曾在一卷千字文中自题云：“僕二十年来，写千字文以百数”足见共学书之勤奋。本卷是其晚年书写的一件千字文，先是楷书，后渐舒展为行书。\n明代书家詹景凤评说：“此卷笔法高古、圓润峻秀，为承旨得意之作。”\n明代书家莫雲卿评说：“昔人谓方圓一万里，上下数百年，绝无承旨 书法 ，观此本信然。”",[49,51,86,119,417,52,418,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4e6e46623392abf17fdd5a46b402c2b.jpg","26.5X373.4CM",[122],{"id":9409,"slug":9410,"title":9411,"dynasty":97,"author":736,"museum":81,"description":9412,"tags":9413,"thumbUrl":9415,"material":152,"size":9416,"collection":72,"collections":9417,"showCount":9340,"zanCount":743,"manualWeight":39,"mainColor":40},219302,"shi-jun-tu-zhi-ru-yi-cong-zhou-lang-shi-ning-219302","十骏图之如意骢轴","银鬃如瀑覆颈垂尾，肌理间星斑错落似落雪沾霜。骏马昂首而立，筋肉起伏藏于柔毫之下——西洋写实技法精准勾勒骨相，东方水墨晕染鬃毛显柔韵。绢本素净如宣纸，衬得如意骢神骏挺拔，姿态灵动若将嘶鸣。旁侧墨笔题跋与朱印相映，添文人雅趣。中西技法相融，既存西域良驹的雄健风骨，又含中式审美的含蓄意境，成鞍马画作中跨文化对话的传世妙品。",[23,51,84,54,25,225,1116,9414,7],"写实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38449328316c44de09d076a3ad08c00d.jpg","231.2x278.1",[72],{"id":9419,"slug":9420,"title":9421,"dynasty":115,"author":9422,"museum":3527,"description":9423,"tags":9424,"thumbUrl":9425,"material":88,"size":9426,"collection":35,"collections":9427,"showCount":9340,"zanCount":1288,"manualWeight":39,"mainColor":40},218640,"qiu-lan-tu-quan-juan-zheng-si-xiao-218640","秋兰图全卷","郑思肖","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。",[49,23,51,52,26,403,251,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff50b81ebe46546096d829c3ee4a31f63.jpg","23.2x55.6",[35],{"id":9429,"slug":9430,"title":9431,"dynasty":18,"author":9432,"museum":81,"description":9433,"tags":9434,"thumbUrl":9435,"material":88,"size":9436,"collection":199,"collections":9437,"showCount":9340,"zanCount":1288,"manualWeight":39,"mainColor":40},216944,"ru-lai-xiang-sun-huang-216944","如来像","孙璜","Rādhārāṇī是释迦牟尼佛的十大名号之一。如 又称 如来，即 真如，指的是佛陀所说的绝对真理，按照这个真理行事，就能达到佛陀领地的外部世界。中国佛教徒尊崇他为最高的神灵。这幅画的笔法与《曹衣出水》相同，只是手太大了，也可能是作者为了显示自己的 神性 而想这么做。",[23,51,1284,58,135,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5df3abe0179d316e6b6680707fa9ce16.jpg","101x45.1",[199],{"id":9439,"slug":9440,"title":9441,"dynasty":97,"author":9442,"museum":446,"description":9443,"tags":9444,"thumbUrl":9446,"material":33,"size":9447,"collection":199,"collections":9448,"showCount":9340,"zanCount":39,"manualWeight":39,"mainColor":40},214987,"zhi-tou-za-hua-ce-gao-qi-pei-214987","指头杂画册","高其佩","清朝时期的高其佩是一位著名的画家，他的指头杂画册是一本收录了他的各种杂画的画册。这本画册是高其佩的代表作之一，其中包含了他的许多经典作品。高其佩的指头杂画册被广泛认为是清朝时期最优秀的画册之一，其中的画作展现了高其佩高超的画技和对自然的深刻理解。\n\n高其佩的指头杂画册中的画作涵盖了许多不同的题材，包括自然风景、人物、动物、花卉等。他的画作细腻生动，富有表现力，深受观众的喜爱。高其佩还经常在他的画作中加入许多寓意深刻的元素，使得他的画作不仅具有观赏性，而且富有哲理性。\n\n高其佩的指头杂画册是他一生的杰作，也是中国传统绘画的瑰宝。现在，这本画册被广泛收藏，并被认为是中国文化遗产的重要组成部分。",[49,23,51,24,26,9445,58,136,944,7],"指头画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1303c0abf4226c4f79f47a932c622f9e.jpg","36.7x33.1cm",[199,35],{"id":9450,"slug":9451,"title":9452,"dynasty":18,"author":9453,"museum":81,"description":9454,"tags":9455,"thumbUrl":9456,"material":88,"size":9457,"collection":70,"collections":9458,"showCount":9340,"zanCount":39,"manualWeight":39,"mainColor":40},214587,"mo-gu-shan-shui-ce-fang-mei-hua-an-zhu-bi-yi-bian-wen-yu-214587","摹古山水册-仿梅花庵主笔意","卞文瑜","明代画家卞文瑜的摹古山水册是一件著名的绘画作品，其中的仿梅花庵主笔意图是一件精美的山水画作品。\n\n卞文瑜是明代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在摹古山水册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n仿梅花庵主笔意图是卞文瑜摹古山水册中的一幅精美的山水画作品。画中的山水风景清新自然，体现了卞文瑜对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n总的来说，卞文瑜的摹古山水册是一件精美的绘画作品，其中的仿梅花庵主笔意图是一件优美的山水画作品，它描绘了中国传统的山水风景，也体现了卞文瑜对自然的热爱和对传统文化的尊重。",[50,23,51,24,26,134,55,56,60,61,64,150,727,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcdefabc9be72fadfaa55a3b8a6b54b6.jpg","30.7x21.8cm",[70],{"id":9460,"slug":9461,"title":9462,"dynasty":97,"author":1167,"museum":485,"description":5710,"tags":9463,"thumbUrl":9464,"material":319,"size":5713,"collection":107,"collections":9465,"showCount":9340,"zanCount":1288,"manualWeight":39,"mainColor":75},214356,"san-jue-shan-shui-ce-4-hua-yan-214356","三绝山水册-4",[49,23,51,24,25,26,55,56,150,64,61,164,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472b6ddb8c19b4a43c8b7bba13cd7d00.jpg",[],{"id":9467,"slug":9468,"title":9469,"dynasty":18,"author":3070,"museum":99,"description":9470,"tags":9471,"thumbUrl":9472,"material":689,"size":690,"collection":107,"collections":9473,"showCount":9474,"zanCount":39,"manualWeight":39,"mainColor":40},290918,"ping-he-xie-sheng-zhou-chen-chun-290918","瓶荷写生轴","陈淳（1483－1544），字道复，自号白阳山人，江苏长洲人。擅长写意花卉，尤妙写生。款‘辛丑秋日’，时年五十八岁。宋、明以后，花道兴盛，仿古铜觚既可插花，亦可为书斋案头摆饰，深得文人推崇。长梗荷花与叶柄向上伸展，几乎占满画面，独树一格。以钩勒法写荷，没骨法写叶，杂草劲挺交错其中。寥寥几笔写出花叶形态，水墨交融层次丰富，将文人审美情趣与花卉写意完美结合，应是画家醉后遣兴之作。",[23,84,26,27,102,181,7,2641],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde40b5e80b3b9679327bf17061f192c9.jpg",[],84,{"id":9476,"slug":9477,"title":4926,"dynasty":18,"author":9478,"museum":99,"description":9479,"tags":9480,"thumbUrl":9482,"material":689,"size":690,"collection":107,"collections":9483,"showCount":9474,"zanCount":1288,"manualWeight":39,"mainColor":75},290312,"sui-chao-tu-zhou-tao-cheng-290312","陶成","陶成（生卒年未详），字孟学，号雪湖仙人，宝应（今江苏宝应）人。成化七年（1471年）举人。生性疏狂，多才艺，诗文古朴。书善四体，善画花鸟人物，山水多用青绿，浓丽蔚拔，喜作勾勒，竹兔与鹤鹿均妙，随意画山水、花鸟、人物，都非常接近南宋人。芙蓉称为神品，为世人所珍藏。\n陶成的绘画、书法造诣极高，与沈周、文徼明、唐寅、仇英“明四家”并称于世，有人甚至把他列于唐伯虎之上。明代文学家，书画鉴赏家李开先对陶成推崇备至、评价甚高。他的《中麓画晶》分明代画家为五等，陶成就雄冠其首。明韩昂《图绘宝鉴续编》云，陶成”书工篆隶直草，诗人奇古，画山川多用青绿，尤喜作钩勒，竹、兔与鸹、鹿，皆妙。 由其胸中洒然也”。明十才子之一李梦阳在其《观序上人所藏陶成画菊石歌》中，称赞陶成的菊花、岩石画远远超出了当时的菊石专家计汝和、徐霖。诗中说： “陶生画菊石，潦草笔有力…近时名手计汝和，此生笔力方之过。江柬徐霖学画石，效颦差胜王与何。”故而有这样的说法： “得黄金百不如云湖画一幅。”",[23,51,84,50,25,27,777,528,9481,7,86,119,181],"青铜器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf77270b17ed20c031bfe4c49651301a.jpg",[],{"id":9485,"slug":9486,"title":9487,"dynasty":146,"author":1644,"museum":99,"description":9488,"tags":9489,"thumbUrl":9490,"material":689,"size":690,"collection":107,"collections":9491,"showCount":9474,"zanCount":39,"manualWeight":39,"mainColor":75},290099,"fu-yu-shan-ju-tu-qian-xuan-290099","浮玉山居图","《浮玉山居图》是钱选为山居霅川浮玉山的写景。图中山峦分三组，山势峻峭。湖上烟雾蒙蒙，山坳白云缭绕，更有用简笔点缀的茅舍、渡舟、小桥、老翁，一派江南水乡清润秀妍景色。全卷笔意冲淡，画意静穆，用笔工整而不板。",[49,50,23,51,52,25,56,150,1936,3548,61,86,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c05f9c52d56eb6131b8f94b511ff173.jpg",[],{"id":9493,"slug":9494,"title":9495,"dynasty":1037,"author":1985,"museum":99,"description":9496,"tags":9497,"thumbUrl":9498,"material":689,"size":690,"collection":107,"collections":9499,"showCount":9474,"zanCount":1288,"manualWeight":39,"mainColor":75},287374,"mu-dan-tu-ye-huang-quan-287374","牡丹图页","五代时期的黄荃擅长工笔牡丹，钩花填色，富丽工巧。北宋郭若虚在《图画见闻志》中称其为“黄家富贵”。他笔下的牡丹不仅着意表现牡丹的姿态，更重视表现牡丹富贵吉祥的寓意。",[50,23,51,27,54,25,308,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc068ad0be98f133efd214bda7be63318.jpg",[],{"id":9501,"slug":9502,"title":7228,"dynasty":97,"author":1082,"museum":99,"description":9503,"tags":9504,"thumbUrl":9505,"material":107,"size":107,"collection":70,"collections":9506,"showCount":9474,"zanCount":39,"manualWeight":39,"mainColor":40},235165,"shan-shui-ce-zhu-da-235165","此作用笔简淡疏朗，以极省减的墨色绘就山水丘林。远山以枯淡墨线勾出轮廓，淡墨晕染出覆雪清寒，林麓隐在氤氲雾气间。近岸枯木虬曲错落，间有矮松凝立，坡岸浅渚以淡墨轻扫，寥寥数笔便铺展出江天寥廓的空茫。\n\n大片留白铺陈出天地荒寒的禅意，题款与朱印点缀留白处，虚实相生。整体气韵冷逸孤高，淡墨里藏着疏淡超脱的襟怀，将萧寒天地与幽独心境相融，笔底皆是清冷出尘的林下意趣，淡而弥远，简却传神。",[23,51,24,26,55,56,967,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef34faa497c9e7d24e38b8640a268bb.jpg",[70,242],{"id":9508,"slug":9509,"title":9510,"dynasty":2807,"author":207,"museum":99,"description":9511,"tags":9512,"thumbUrl":9516,"material":689,"size":690,"collection":107,"collections":9517,"showCount":9474,"zanCount":39,"manualWeight":39,"mainColor":75},230794,"cai-hui-zuo-fo-xiang-yi-ming-230794","彩绘坐佛像","主尊结跏趺坐莲台，三重背光环环相衬，外缘焰纹灵动炽热，内层晕染青绿暖棕，柔和过渡明暗，衬得法相端严沉静。佛陀身披朱红袈裟，袒胸结印，面容圆润温婉，眉目垂敛含慈，平和安然的气韵扑面而来。\n\n八角莲台基座纹饰繁丽，朱红、石青、米白撞色鲜明，尽显精致庄严。右下侍仆捧香跪坐，身形恭谨小巧，反衬出佛尊的宏大慈悲。\n\n整幅设色古朴厚重，线条稚拙凝练，带着民间画工的朴拙意趣。虽纸面因年深日久泛黄残破，却依旧传递出静谧祥和的宗教感染力，尽显民间佛教绘画的独特韵味。",[49,9513,25,1284,58,9514,9515,7],"彩绘","坐佛","莲花座","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1627ef9b0f7bbe1ed3c2a99a88c04916.jpg",[],{"id":9519,"slug":9520,"title":9521,"dynasty":192,"author":2994,"museum":99,"description":9522,"tags":9523,"thumbUrl":9524,"material":107,"size":107,"collection":107,"collections":9525,"showCount":9474,"zanCount":39,"manualWeight":39,"mainColor":75},227080,"da-zi-yin-fu-jing-chu-sui-liang-227080","大字阴符经","真书，墨迹本，共96行，计461字，传唐代褚遂良写于唐永徽五年(654)。钤有“建业文房之印”、“河东南路转运使印”等鉴藏印。其书字笔画瘦劲，但结体宽博，尚保留隶书的笔意。小楷本和大楷本皆有说法，难以断真。其中，小楷本的楷法端妍，《越州石氏帖》有摹刻，字体细小如“蝇头”，行字茂密又疏朗舒适，从严谨的笔法中可见魏晋之风韵。而大楷本则笔力劲健，形态多姿，风流倜傥，沉着而畅展。此外《大字阴符经》有许多行的笔意，如起笔直下与收笔的引带都加强了字内的联系，使其更为生动活泼。",[86,417,7,51,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98d62e49f45da0be16f6bb4748fcc57a.jpg",[],{"id":9527,"slug":9528,"title":9529,"dynasty":18,"author":2059,"museum":81,"description":9530,"tags":9531,"thumbUrl":9532,"material":239,"size":9533,"collection":70,"collections":9534,"showCount":9474,"zanCount":39,"manualWeight":39,"mainColor":40},221969,"fang-wang-meng-shan-shui-zhou-wen-zheng-ming-221969","仿王蒙山水轴","该幅画叠峦飞瀑，山溪蜿蜒。全作景密而笔松，意精而迹放，清奇浑厚。此帧纸狭而长，构景重叠而繁复。徵明晚年好作此种，晚期吴派亦多受此影响。\n五月五日，仿王蒙山水轴。此幅构景重叠而繁复，略似沈周庐山高，而庐山高为宽纸短幅，其中时以云水隔断，此帧纸狭而长，峰峦晴爽，故更觉繁密重叠也。徵明晚年好作此种，晚期吴派亦多受此影响。结顶一山，石纹勾勒，甚为奇特，董其昌山水，常在群山中一两处作奇石，盖亦自此出。\n此帧董其昌旁题云：“文待诏仿黄鹤山樵，几欲乱眞”，是出自由衷之赞语。此帧景密而笔松，意精而迹放，清奇浑厚，兼而有之。是大家悉力之作。",[49,23,84,26,55,134,56,150,64,293,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd029fea8a32761fc2fa01e64733e96fa.jpg","全幅 57.2公分",[70,242],{"id":9536,"slug":9537,"title":9538,"dynasty":192,"author":9539,"museum":81,"description":9540,"tags":9541,"thumbUrl":9542,"material":183,"size":9543,"collection":199,"collections":9544,"showCount":9474,"zanCount":1288,"manualWeight":39,"mainColor":75},221134,"da-bei-guan-yin-xiang-zhou-fan-qiong-221134","大悲观音像轴","范琼","头戴宝冠，宝冠中画阿弥陀佛，在青色莲台上结跏趺坐。\n他有三只眼睛、四十二只手，每只手掌中间还画一只眼睛，是密教中千手千眼观音（又称大悲观音）的一种类型。\n此幅右下方有范琼（活动于八四六－八七九年）的题款，虽然清代的查士标和张丑都认为这是一幅范琼的真迹，可是这幅观音女相的造形与唐代的 不同，反而和明代的观音较为接近，所以推测它可能是一件明代的画作。\n范琼，唐文宗时人。86至84（开成年）与陈皓、彭坚同时同艺寓居蜀城（今成都）。三人善画人物、佛像、天王、罗汉、鬼神。三人同手于诸寺图画佛像。自大中至乾符，笔无暂释，图画二百余间墙壁。如圣寿寺大殿释伽像，行道北方天王像、西方变相、殿上小壁水月观音等，与圣兴寺大殿东北二方天王、药师十二神、释迦十弟子、弥勒像、大悲变相等；名目虽同，形状一无同者。\n尝作刍瑟磨像两堵，设色未半，笔踪俨然，后之妙手终莫能继。\n大中年（八四七至八五九）所绘大悲观音像躯不盈尺而三十六臂皆端重安稳，所执诸物各尽其妙。\n笔迹如缕而精劲温润，妙穷毫厘。\n其卢楞伽、曹仲宣之徒欤。\n《德隅斋画品、米芾画史、图画见闻志》",[50,23,51,84,1284,58,25,54,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67cbcfa8a4804974fb3a4d454c07fde3.jpg","该幅 67.3x39.9公分；右上边题签 23.8x2公分；左下方题 26.7x8.7公分",[199,72],{"id":9546,"slug":9547,"title":9548,"dynasty":130,"author":9549,"museum":81,"description":9550,"tags":9551,"thumbUrl":9553,"material":319,"size":9554,"collection":70,"collections":9555,"showCount":9474,"zanCount":39,"manualWeight":39,"mainColor":75},221014,"shan-shan-tu-juan-dai-kui-221014","剡山图卷","戴逵","戴逵（326－396年），字安道，谯郡铚县（今安徽省濉溪县临涣镇）人。东晋时期隐士、美术家、雕塑家，金城太守戴绥之子。\n\n早年师从名儒范宣，博学多才，善于鼓琴，工于绘画人物和山水。终身不仕，坚拒太宰武陵王（司马晞）召命和王徽之雪夜拜访。\n\n孝武帝司马曜即位，累次征辟，全部不就。太元二十一年，去世。著有《戴逵集》9卷，今已散佚。",[49,50,23,51,52,25,55,56,278,64,150,379,9552,7,2955],"坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b825446ccfc90b423b206be2232fcac.jpg","38.4x615",[70,72],{"id":9557,"slug":9558,"title":9559,"dynasty":146,"author":431,"museum":4555,"description":9560,"tags":9561,"thumbUrl":9562,"material":319,"size":9563,"collection":122,"collections":9564,"showCount":9474,"zanCount":1288,"manualWeight":39,"mainColor":40},220884,"bo-re-bo-luo-mi-duo-xin-jing-zhao-meng-fu-220884","般若波罗密多心经","2017年12月，赵孟頫《般若波罗蜜多心经》以1.909亿元的成交价被甘肃天庆博物馆竞得。",[49,50,23,51,52,1284,119,86,436,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0264b2ce1fb06dde7fecef5a1e0eb419.jpg","28.6×11.9cm×5",[122],{"id":9566,"slug":9567,"title":9568,"dynasty":18,"author":1014,"museum":81,"description":9569,"tags":9570,"thumbUrl":9571,"material":88,"size":9572,"collection":199,"collections":9573,"showCount":9474,"zanCount":743,"manualWeight":39,"mainColor":40},220377,"ban-ji-tuan-shan-tu-tang-yin-220377","班姬团扇图","画中，班姬手拈纨扇，独自在棕榈树下悄然而立。尽管画的是明眸粉颊、姿容秀丽，神情却怅然若有所思。庭前，点缀着一株花蕊绽放的蜀葵，画家应是想藉此来暗示时序已属夏末秋凉的季节。\n唐寅原是恋恋红尘里的有情种子，素来就擅长图写女性形象。本幅援引文学作品入画，透过人物与景境的巧妙配搭，具体呈现了画中人的感情和际遇。这份深刻、动人的描写力，无疑已让观者超迈了时空的隔阻，共感于汉代美人的沧桑与情痴！",[49,23,51,84,25,54,58,136,871,1714,1019,2966,7,7113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7c91421866b019a6fe5f56d55012294.jpg","150.4×63.6公分",[199,72],{"id":9575,"slug":9576,"title":9577,"dynasty":146,"author":376,"museum":485,"description":9578,"tags":9579,"thumbUrl":9580,"material":319,"size":9581,"collection":70,"collections":9582,"showCount":9474,"zanCount":39,"manualWeight":39,"mainColor":40},219230,"yi-qin-tang-tu-wang-meng-219230","怡亲堂图","山林葱郁间，堂舍隐现，溪流绕阶而过，一派清幽雅致的园林景致跃然纸上。王蒙以繁密灵动的笔墨，用解索皴层层皴染山石，线条如行云流水，墨色浓淡相宜，尽显草木山川的生机与质感。堂前人物悠然自得，或坐或行，与自然景致相融，传递出文人雅士超然物外的心境。整幅画作技法精湛，意境深远，将江南园林的雅致与文人的精神追求完美契合，尽显元代山水画的独特韵味与艺术高度，是兼具观赏性与思想性的佳作。",[49,23,51,52,26,25,56,63,59,60,61,64,137,55,119,541,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc55e64ae5c00bb62b83a6c00152b33f4.jpg","24.5x97.2厘米",[70],{"id":9584,"slug":9585,"title":9586,"dynasty":18,"author":9587,"museum":175,"description":9588,"tags":9589,"thumbUrl":9591,"material":152,"size":9592,"collection":70,"collections":9593,"showCount":9474,"zanCount":743,"manualWeight":39,"mainColor":75},219127,"yan-jiang-yuan-tiao-tu-zhu-duan-219127","烟江远眺图","朱端","此图作全景山水，取景开阔，山高水远。前景画坡岸高树，雅士临江远眺；中景巨峰突起，陡然屹立；远景舟船重峦置于迷蒙的烟霭之间，随山势渐远。作品承传李成、郭熙派系的意韵与气魄，笔法简劲，墨色秀润，树石勾染精细，设色淡雅。",[49,23,26,25,84,56,55,62,64,1902,751,6000,58,9590,7],"烟江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c1843cff6121583b9f2e9339e3c4eeb.jpg","纵168.2厘米，横107厘米",[70],{"id":9595,"slug":9596,"title":9597,"dynasty":146,"author":3933,"museum":81,"description":9598,"tags":9599,"thumbUrl":9600,"material":88,"size":9601,"collection":70,"collections":9602,"showCount":9474,"zanCount":1288,"manualWeight":39,"mainColor":40},218168,"xi-ting-qiu-se-tu-zhao-yuan-218168","溪亭秋色图","《溪亭秋色图》，以墨笔画苍崖古木，溪边水阁。图的左下有作者自署“赵原画”，右上方题有 “有山可樵有水可渔歌彼考槃吾将归欤”，似是点题，但无落款。\n此图笔墨圆润苍秀，变化多端，画风纯熟，应为画家晚年之作。山石勾皴简率，颇有写意之趣；笔锋略带侧锋，类似王蒙的解索皴，但偏于疏朗松秀。通幅墨色清润 恬淡，不重渲染，只在山体的结构折转处加苔点或勾以丛树、垂草，画面极为平淡宁静。这种境界，在方从义的《武夷放棹图》、陆广的《丹台春晓图》中也可感觉 到，这可以说是一种元代文人画的理想境界。但元代画家过于将绘画视作个人“自娱”的笔墨游戏，难以适应明代建国初期的政治文化环境，赵原也就难免悲剧的命运。",[49,23,26,84,55,86,7,56,63,64,150,61,379],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f3876b8debab1f36f397d0417acb9bd.jpg","纵61.4厘米，横26厘米",[70],{"id":9604,"slug":9605,"title":573,"dynasty":18,"author":3070,"museum":81,"description":9606,"tags":9607,"thumbUrl":9608,"material":33,"size":9609,"collection":35,"collections":9610,"showCount":9474,"zanCount":39,"manualWeight":39,"mainColor":40},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 「人生行乐当及时」的意趣。",[23,51,84,403,26,25,119,86,27,308,31,265,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf5bd451f1f135ae69ce5a8dd712153b.jpg","122x33.3",[35],{"id":9612,"slug":9613,"title":9614,"dynasty":97,"author":655,"museum":175,"description":9615,"tags":9616,"thumbUrl":9617,"material":9618,"size":9619,"collection":70,"collections":9620,"showCount":9621,"zanCount":1288,"manualWeight":39,"mainColor":40},233390,"shan-shui-ren-wu-ce-jin-nong-233390","山水人物册","册共十二开，分别绘佛像、山水、人物故事等。\u2028　　第一开：墨笔白描佛像、菩提树，画左自题两行，款“己卯八月”。钤“金吉金印”。\n第二开：画礼佛图，右方自题六行，款“心出家盫僧画记”。钤“金吉金印”。\n第三开：画秋林共话，左方自题八行，款“稽留山民记”。钤“莲峰居士”等二印。\n第四开：画湖山采菱，右下自题七言诗一首，下题记六行，款“冬心先生笔记”。钤“冬心先生印”。\n第五开：画青山薄汀，上方自题词一首，款“乾隆二十四年八月十一日七十三翁金农画记”。钤“金氏寿门”印。\n第六开：水墨画鬼趣图，左上自题七行，款“龙梭仙客记”。钤“金农”、“莲峰居士”二印。\n第七开：画玉川煮茶图，自题两行，款“昔耶居士”。钤“寿”一印。\n第八开：画板桥流水，桃林策杖。左方自题七绝一首，款“金二十六郎画诗书”。\n第九开：画柳塘间舟，右上自题七言诗一首，款“曲江外史画诗书”。钤“冬心先生”印。\n第十开：画花塘长亭，上方自书词曲，款“金牛湖山诗老小笔并自度一曲”。钤“寿”、“朋”二印。\n第十一开：画抱膝长思，右上自题“昔年曾见，金老丁晚年自号也”。钤“金老丁”印。\n第十二开：画山僧叩门图，左下自题七言诗，款“昔耶居士并题”。钤“国泉”一印。裱边、附页有健庵、吴湖帆题记。\n此图用笔灵活古拙，山石用意笔写之，淡墨轻染，岸柳、杂树、芭蕉用勾点夹叶法，钱荷用臥笔横点，佛像、人物、山鬼用笔滞涩朴拙，富有韵味。全画笔法生拙奇奥，设色清秀淡雅，意境幽深，为金农山水人物画代表作品。\u2028　　鉴藏印：“曾藏潘健盦处”、“铭心绝品”、“贞甫审定”等六十二方。\u2028　　庞莱臣《虚斋名画录》著录。",[23,51,24,25,135,26,58,3875,61,1240,181,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F196382a9fa13f1fdd21f5ad09cb12d1a.jpg","纸本，墨笔或设色","纵24.3厘米，横31.2厘米",[70,199,72],83,{"id":9623,"slug":9624,"title":9625,"dynasty":18,"author":8189,"museum":99,"description":9626,"tags":9627,"thumbUrl":9628,"material":107,"size":107,"collection":242,"collections":9629,"showCount":9621,"zanCount":1288,"manualWeight":39,"mainColor":40},228852,"fang-zhao-meng-fu-shui-cun-tu-wen-bo-ren-228852","仿赵孟頫水村图","此作用淡墨晕染平畴远汀，枯木疏林错落浅渚坡岸，村舍板桥隐现其间。远山以没骨轻绘，烟岚柔笼峰峦，将江南水村的清寂淡远缓缓铺展。全卷追摹元人简逸意趣，笔墨松秀温和，不作繁复皴擦，留白烘托出空濛水汽，尽显萧散闲雅。整幅画作幽淡闲远，将文人寄情丘山的隐逸意韵融于尺幅之间，把水乡静穆悠然之境尽数呈现，是师法前人的山水佳构。",[49,50,23,51,52,26,55,134,56,967,60,61,62,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d27638c4d92badd2d746d97e78c8638.jpg",[242],{"id":9631,"slug":9632,"title":9633,"dynasty":192,"author":1614,"museum":175,"description":9634,"tags":9635,"thumbUrl":9637,"material":1636,"size":9638,"collection":122,"collections":9639,"showCount":9621,"zanCount":1288,"manualWeight":39,"mainColor":40},221061,"hu-zhou-tie-juan-yan-zhen-qing-221061","湖州帖卷","释文：\u2028　　江外唯湖州最卑下，今年诸州水并凑此州入太湖，田苗非常没溺。赖刘尚书□抚，以此人心差安，不然，仅不可安耳。真卿白。\n此帖为传颜真卿所书的一通信札，讲述湖州地区发生水灾，百姓得到安抚一事。根据书写的内容和史料推测，书写时间应在唐大历七年（772年）以后，即颜真卿任职湖州刺史期间。但经专家鉴定，此帖非颜氏所书，理由如下：其一，书写所用纸张为加粉砑光的竹料纸，而这种纸在宋代才出现。其二，在书写风格方面作者用笔圆转连绵，侧媚多姿，墨色华润，与颜真卿所书《祭侄文稿》的悲切、《争座位帖》的激昂意态迥别，亦缺少颜书中锋多“屋漏痕”意。因此可推断此帖为宋人之仿本。\n清安岐《墨缘汇观》、卞永誉《式古堂书画汇考》著录。",[49,9636,86,119,52,7,435],"唐代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d04809f0522878b77120071e44c61c1.jpg","纵27.6厘米，横50.2厘米",[122,1120],{"id":9641,"slug":9642,"title":9643,"dynasty":130,"author":9644,"museum":9645,"description":9646,"tags":9647,"thumbUrl":9648,"material":417,"size":107,"collection":122,"collections":9649,"showCount":9621,"zanCount":1288,"manualWeight":39,"mainColor":75},221016,"jian-ji-zhi-biao-zhong-yao-221016","荐季直表","钟繇","原作佚失","此帖或为唐人根据原本所摹，或为伪托，但应属“伪好物”。由于它具有钟书的基本特征和很高的艺术价值，故得到书界的重视和高度评价。如陆行直说：“繇《荐季直表》高古纯朴，超妙入神，无晋唐插花美女之态。”王世贞认为，在此帖显世之后，“天下之学钟者，不再知有《淳化阁》”（指《淳化阁》所载钟繇诸刻帖）。此帖笔画、结字都极其自然，章法错落。梁武帝等所说“云鹤游天”，“群鸿戏海”以及“行间茂密”等于此帖表现最为鲜明。钟繇所创造的“钟体”，同王羲之的“王体”是我国书法史上两个历久不衰的艺术典型，影响极其深远。",[86,417,7,2226,2601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28b01459c23dcc3a188f5b9cf3507377.jpg",[122],{"id":9651,"slug":9652,"title":9653,"dynasty":97,"author":4047,"museum":99,"description":9654,"tags":9655,"thumbUrl":9656,"material":319,"size":107,"collection":122,"collections":9657,"showCount":9621,"zanCount":39,"manualWeight":39,"mainColor":75},220449,"yu-bi-qi-yan-shi-qian-long-220449","御笔七言诗","乾隆皇帝酷爱书法，日理万机之余潜心临池，遍习诸家，钟情二王。乾隆书法赵孟俯，心慕手追，身体力行。在以赵体为根本的基础上，又参悟二王弋颜真卿、宋四家等人风格，融会贯通，逐渐形成了自己圆润道丽、温妍儒雅的书法风格。",[84,119,86,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F267402bb05345ad1bcbb01b4b580667a.jpg",[122],{"id":9659,"slug":9660,"title":9661,"dynasty":18,"author":607,"museum":175,"description":9662,"tags":9663,"thumbUrl":9664,"material":319,"size":9665,"collection":122,"collections":9666,"showCount":9621,"zanCount":39,"manualWeight":39,"mainColor":924},219149,"xing-shu-xin-qiu-shi-wen-zheng-ming-219149","行书·新秋诗","此为文徵明所书自写诗，笔法自然浑成，表现了其晚年大字行书的典型风格。",[49,86,119,84,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad802105bea6f6e536f366b6d79261a2.jpg","纵151.5厘米，横68.5厘米",[122],{"id":9668,"slug":9669,"title":7109,"dynasty":115,"author":3092,"museum":81,"description":9670,"tags":9671,"thumbUrl":9672,"material":152,"size":9673,"collection":72,"collections":9674,"showCount":9621,"zanCount":39,"manualWeight":39,"mainColor":75},219046,"wen-ji-gui-han-tu-li-tang-219046","内容叙述了中国东汉才女蔡文姬在董卓作乱时，被胡人俘虏，并且嫁给南匈奴的左贤王。直到十二年后，才由曹操派遣使臣，将她赎回汉地。每段画面，对于故事情节和人物、车马、配景，都有非常细腻的描绘。",[49,50,23,51,84,55,26,25,56,58,59,64,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd98081f5e1c3a4f47f750a16639f8f66.jp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厘米",[35],{"id":9685,"slug":9686,"title":9687,"dynasty":146,"author":147,"museum":99,"description":9688,"tags":9689,"thumbUrl":9690,"material":689,"size":690,"collection":107,"collections":9691,"showCount":9692,"zanCount":39,"manualWeight":39,"mainColor":40},290827,"dong-ting-qi-feng-zhou-huang-gong-wang-290827","洞庭奇峰轴","此作前景画小舟浮於湖面，其后山岩繁密多姿，高耸杂木散立，山巅处瀑布流泻，左方曲径没入云雾中，其上瑰丽峰峦斜出天表。画中可见黄公望作品中常见母题，然全作结构、山石、树法等，更接近文徵明风格。依题跋可知此画成于1354（元至正十四年）为梅剑庵所作；1410（永乐八年），梅氏后人请沈度（1357-1434）题跋；1510年（正德五年），文征明（1470-1559）亦获观此画，并留下题语。文征明题款“壁”字书为“璧”，与常见不同。此画笔墨、结构堪称佳构，然可能出自明代後期善仿文征明风格者之手。",[50,23,51,84,26,56,55,150,64,61,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc83587d8c69519255b6c7d65b856a64.jpg",[],82,{"id":9694,"slug":9695,"title":9696,"dynasty":2807,"author":207,"museum":99,"description":9697,"tags":9698,"thumbUrl":9703,"material":107,"size":107,"collection":9704,"collections":9705,"showCount":9692,"zanCount":743,"manualWeight":39,"mainColor":40},242161,"qian-long-di-tian-huang-san-lian-xi-yi-ming-242161","乾隆帝田黄三联玺","这组玺印以田黄石为材，凝腻温糯如蜜浆裹身，色泽匀净莹润，尽显印石至尊的天生贵气。三印以同源锁链环扣为一体，链身与印章全无拼接凿痕，是鬼斧神工的绝技体现。三方玺印造型端庄方正，线条利落沉稳，将石材的天然质感与精湛工艺相融，既承载文房雅趣，又暗含皇家威仪，把田黄的温润雅韵雕琢到极致，是印藏中的传世臻品。",[7,9699,9700,9701,9702],"玉石","雕刻","三联","田黄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb1fd96ba73fd6c6842ccca4d09fc6e5.jpg","玉器精选",[9704],{"id":9707,"slug":9708,"title":9709,"dynasty":97,"author":1180,"museum":99,"description":1655,"tags":9710,"thumbUrl":9711,"material":689,"size":690,"collection":107,"collections":9712,"showCount":9692,"zanCount":39,"manualWeight":39,"mainColor":40},235448,"ju-shi-zhou-wu-chang-shuo-235448","菊石轴",[50,23,51,84,25,26,27,529,700,541,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f37afbc0963a70bb464cc5b3b11d679.jpg",[],{"id":9714,"slug":9715,"title":9716,"dynasty":146,"author":1303,"museum":99,"description":9717,"tags":9718,"thumbUrl":9719,"material":107,"size":107,"collection":107,"collections":9720,"showCount":9692,"zanCount":1288,"manualWeight":39,"mainColor":75},230908,"ku-shu-tu-ye-ni-zan-230908","枯树图页","此作用笔简淡秀峭，枯树虬曲苍劲，枝桠疏朗错落，无半片青叶，满溢荒萧寒寂。山石以干墨轻皴，淡晕出清旷崖壁，屋舍仅以数笔勾出，简净空疏。\n\n画面留白如万顷空湖，将幽冷孤高的隐逸心绪藏于笔墨之间，淡墨薄晕里，是洗尽铅华的静穆。笔意看似疏简荒率，却藏着深隽的简淡之美，枯木寒岩、空屋寂境，暗合避世文人绝尘出世的澹泊襟怀，清冷空疏中晕染出悠远禅意。",[50,23,51,24,26,55,56,967,164,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60c41a63a704c22538c4a9e50706e58d.jpg",[],{"id":9722,"slug":9723,"title":9724,"dynasty":115,"author":4792,"museum":81,"description":9725,"tags":9726,"thumbUrl":9727,"material":239,"size":9728,"collection":107,"collections":9729,"showCount":9692,"zanCount":39,"manualWeight":39,"mainColor":75},227601,"mo-zhu-zhou-wen-tong-227601","墨竹轴","国北宋末年画家文同的存世代表作。文同 (1018～1079) 字与可，自号笑笑先生、锦江道人，世称石室先生，梓潼(今属四川省)人。皇祐年间进士，元丰初出知湖州。善诗文，工书画，尤善画墨竹。此图绢本，水墨，纵131.6厘米，横105.4厘米。画墨竹一枝，作弯曲状，由左上斜向右下方。笔法严谨而潇洒，枝叶劲挺繁密，繁而不乱，密中有疏，竹叶以浓墨为面，淡墨为背，墨色清润，阴阳向背层次分明，开后世墨竹之先河。此图未署作者名款，有“静闲□室”、“文同与可” 2印，上方有明王直、陈循德2家为彦谥题诗。清宫旧藏,有清内府嘉庆、宣统印各一方。现藏台北故宫博物院。",[49,50,23,51,84,26,1424,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e5295f96be134d53730e65174f29213.jpg","纵113.6厘米，横105.4厘米",[],{"id":9731,"slug":9732,"title":9733,"dynasty":97,"author":9734,"museum":99,"description":9735,"tags":9736,"thumbUrl":9737,"material":391,"size":9738,"collection":35,"collections":9739,"showCount":9692,"zanCount":39,"manualWeight":39,"mainColor":40},223123,"song-shou-tu-ci-xi-223123","松寿图","慈禧","画上绘青雀二只，体形修长，尾巴炫丽，一只立于松枝俯身正于下方的另一只呼应。题识：光绪己丑年冬下浣御笔",[49,23,50,25,54,27,777,66,488,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e79512e4e37d1650006f4772e9ece27.jpg","129×64.5cm",[35,72],{"id":9741,"slug":9742,"title":9743,"dynasty":115,"author":881,"museum":46,"description":9744,"tags":9745,"thumbUrl":9746,"material":227,"size":9747,"collection":213,"collections":9748,"showCount":9692,"zanCount":39,"manualWeight":39,"mainColor":40},221668,"diao-tai-wang-yun-tu-ma-yuan-221668","雕台望云图","画面描绘一处山中宫殿建筑。近处山脚下树林茂密，树木郁郁葱葱，将建筑掩映其中，左侧一座高台拔地而起，同远处山峰遥遥相望。石台台基宽厚，周围和右侧台阶边缘有护栏环绕，护栏下方的台身上有精美石雕。石台整体分为上下两层，第一层宽阔，台面呈回字形，中间是第二层的台基，周围摆放着花盆，中间台阶通往第二层。第二层上有一凉亭，周围置有几案、屏风、圆凳等家具。一人站在高台上，凭栏眺望。此时似乎是在准备宴席，侍者端着各式物品忙碌着。\n石台前方，其它建筑拱卫，远处山峰笔直入云，天空中风吹云动，一轮弯月高挂，同石台上眺望之人相呼应。",[49,23,51,50,25,1962,56,59,63,1207,64,278,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73943a72afefd8298acebb643c82055c.jpg","纵25.4厘米，横24厘米",[213,70],{"id":9750,"slug":9751,"title":9752,"dynasty":115,"author":9753,"museum":175,"description":9754,"tags":9755,"thumbUrl":9756,"material":2926,"size":9757,"collection":122,"collections":9758,"showCount":9692,"zanCount":1288,"manualWeight":39,"mainColor":40},221220,"xing-shu-zi-shu-shi-juan-lin-bu-221220","行书自书诗卷","林逋","此卷是林逋归隐西湖孤山时所作，共5首诗，除第2首是五言诗外，其余均为七言诗。\n据诗后林逋自识：“時皇上登寶位歲夏五月”，可知此作品写于仁宗天圣元年癸亥（1023年），林逋时年57岁，其书体瘦劲，秀逸，笔法厚重，风致绰约，与时人李建中风骨俊整的书风极为接近。诗后有苏轼书七言诗《书和靖林处士诗后》，无年款，据徐邦达先生考证可能是元祐四、五年间苏轼（时年约54岁）第二次到杭州作刺史时所书。此书藏锋敛锷，姿媚可爱，是罕见的苏轼传世佳作之一。这两段名人书法相映生辉，珠联璧合，实为难得的珍宝。\n后纸有乾隆皇帝用苏轼原韵五题御制诗题记二则（其中一则由董诰奉敕而书），又有明王世贞、王世懋，清王鸿绪三家题跋。\n本幅钤有“濟陽文府”，清王鸿绪、清内府等鉴藏印。\n宋内府《宣和书谱》，明汪砢玉《珊瑚网》、詹景凤《东图玄览》，清顾复《平生壮观》、吴其贞《书画记》、安岐《墨缘汇观·续编》、卞永誉《式古堂书画汇考》、高士奇《江村消夏录》、吴升《大观录》、阮元《石渠随笔》、内府《石渠宝笈·续编》等书有著录。",[49,51,52,119,86,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F349bd3fcdb871f93ccb96a158d67a788.jpg","纵32厘米，横302.6厘米",[122],{"id":9760,"slug":9761,"title":9762,"dynasty":192,"author":3594,"museum":99,"description":9763,"tags":9764,"thumbUrl":9765,"material":1561,"size":9766,"collection":70,"collections":9767,"showCount":9692,"zanCount":39,"manualWeight":39,"mainColor":75},221145,"jiang-gao-hui-yu-tu-wang-wei-221145","江皋会遇图","王维（701年－761年，一说699年—761年），河东蒲州（今山西运城）人，祖籍山西祁县。唐朝著名诗人、画家，字摩诘，号摩诘居士。\n王维出身河东王氏，于开元十九年（731年）状元及第。历官右拾遗、监察御史、河西节度使判官。唐玄宗天宝年间，王维拜吏部郎中、给事中。安禄山攻陷长安时，王维被迫受伪职。长安收复后，被责授太子中允。唐肃宗乾元年间任尚书右丞，故世称“王右丞”。\n王维参禅悟理，学庄信道，精通诗、书、画、音乐等，以诗名盛于开元、天宝间，尤长五言，多咏山水田园，与孟浩然合称“王孟”，有“诗佛”之称。书画特臻其妙，后人推其为南宗山水画之祖。苏轼评价其：“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”存诗400余首，代表诗作有《相思》、《山居秋暝》等。著作有《王右丞集》、《画学秘诀》。\n此《著色山水》（江皋会遇图）据传为唐代著名诗人王维的山水作品。由于年代久远，已破损严重，泛黄变暗，依稀可见山水、树木与村落，卷首部分有北宋刘唐老的题跋。",[49,23,51,52,26,56,64,59,119,7,55,6095],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc45181fa423d8069ce2d2a5500fa3692.jpg","29x128厘米",[70,72],{"id":9769,"slug":9770,"title":9771,"dynasty":130,"author":857,"museum":81,"description":9772,"tags":9773,"thumbUrl":9774,"material":9775,"size":9776,"collection":122,"collections":9777,"showCount":9692,"zanCount":39,"manualWeight":39,"mainColor":75},221034,"yuan-huan-tie-juan-wang-xi-zhi-221034","远宦帖卷","此帖首见于《法书要录》卷十右军书记。《宣和书谱》即称〈远宦帖〉。亦刻入〈淳化阁帖〉卷六；〈大观帖〉、〈鼎帖〉、〈宝贤堂帖〉、〈澄清堂帖〉（孙承泽本）均曾刻入。清道光间，叶志诜得王献之〈送梨帖〉，将此帖一同上石。后杨守敬又刻入其〈邻苏园法帖〉中。北宋曾入大观，宣和内府，有大观，宣和诸印玺，卷首徽宗赵佶瘦金书签，上钤双龙方印。专用于古法书者。后曾入金明昌内府，及北燕张氏，后归贾似道。明时曾为秀水项元汴所藏，入清由耿会侯，安岐所递藏，曾着录于《墨缘汇观》，订为唐人钩摹本。嗣入清内府，而未钤内府收藏印，故石渠亦无着录。今藏国立故宫博物院，曾先后辑入《故宫法书晋王羲之真迹册》、《故宫历代法书全集》第一册影印行世",[86,119,418,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F925a98205f4f16ac274133ed299304e4.jpg","纸本墨拓","纵24.8厘米，横21.3厘米",[122,1120],{"id":9779,"slug":9780,"title":9781,"dynasty":18,"author":2181,"museum":81,"description":9782,"tags":9783,"thumbUrl":9784,"material":4816,"size":9785,"collection":70,"collections":9786,"showCount":9692,"zanCount":1288,"manualWeight":39,"mainColor":40},220945,"feng-jing-fang-gu-tu-zhou-dong-qi-chang-220945","葑泾访古图轴","署款“壬寅首春，董玄宰寫。”幅上有陳繼儒題識。此畫構圖，可分遠景、中景、近景二部分，遠景為重山峻嶺，山頂光禿，山頂煙霧繚繞，山腳下為亂石橫卧，亂石間有幾株雜樹，樹下坐落一間茅屋。右側兩岸間有一板橋高架。中景為一片闊廣的河水，江水如鏡。近景為此畫的主要部分。下邊山石疊砌，山石間長有一棵幹粗葉茂的大樹，大樹下有數間屋宇茅亭。\n從此畫的構圖來看，作者有意識地運用了“層疊”、“重複”、“照應”等手段，使遠近高下統一在浮雕似的筆墨構成的平面意味中。畫法，由於董氏墨法的精微就在於種種墨色的累積，以樹石為例，對此畫大樹下邊那堆山石，是以淡墨連勾帶皺地寫其相依互抱，大小攢聚，就這樣把石的輪廓確定下來：至於此圖的用墨處和空白或無墨處，董氏着意於此，亦即以白當黑。有的山石不作着筆，大石上部則沿邊皆空白，於是每個石塊以其黑、白、陰、陽，表現立體感，而且它們之間左右較實，中間較虛，使畫面虛實互用而十分靈活。此畫中可看出董氏把黑白對襯，虛實相須，運用得十分自然，有着落筆時心手相應的那番快感。\n在此畫面中，董其昌追求一種“禪”的意境，即一種寂寞空虛的境界。畫面的疏密、濃淡、虛實、開合，富有清潤温雅、平和怡然的趣味，拙稚、簡淡中帶有寧靜自然的文人之思。",[49,23,51,84,26,56,55,60,61,64,150,295,7,86,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1f7db1e78a7c60c962c6091b474fc3a.jpg","纵80厘米,横29.8厘米",[70,242],{"id":9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。他当时的花鸟画成就可能大于山水和人物。本来，北宋画院的花鸟画成就是高于山水画的\n在记载中，李唐的画牛之作也确实多，如《桃林纵牧图》、《放牧图》、《春牧图》、《秋牧图》、《烟林春牧》、《风雨归牛图》、《三生图》等等。《清河书画舫》所记李唐的《桃林纵牧图》：“不知者谓为戴嵩。”戴嵩乃唐代画牛名家，当时及后代，皆称“韩马戴牛”，即韩干的马、戴嵩的牛。李唐的牛被人误认为是戴嵩所画，可见其精彩之至。还记“李唐尤工画牛，得戴嵩遗法”。",[49,50,23,51,24,822,25,1115,967,66,7,1116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa528be30dbb6d13761b480f04ecd894e.jpg","61X63cm",[213,199,72],{"id":9891,"slug":9892,"title":9893,"dynasty":115,"author":221,"museum":222,"description":9894,"tags":9895,"thumbUrl":9896,"material":9897,"size":9898,"collection":122,"collections":9899,"showCount":9823,"zanCount":39,"manualWeight":39,"mainColor":75},221348,"cai-xing-chi-juan-zhao-ji-221348","蔡行敕卷","此帖乃宋徽宗赵佶不允蔡行辞殿中省事之手敕。行书，凡二十一字，共一百二十七字。此敕行间布白疏朗得体，笔划纤细，写来墨韵流畅，潇洒清劲，有如飘藤荡柳之势，具有瘦而劲，秀而润的艺术效果。\n此卷是宋徽宗不准蔡行辞去领殿中省之职所颁的敕书全文行间布白疏朗得体，笔划纤细，写来墨韵流畅，潇洒清劲，有如飘藤荡柳之势，具有瘦而劲，秀而润的艺术效果。",[49,50,23,51,52,119,86,7,319,4832],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7deae8a7337124f7de79f711ec96d05f.jpg","手卷","行书35.5 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on paper",[],{"id":9929,"slug":9930,"title":9931,"dynasty":18,"author":459,"museum":485,"description":1795,"tags":9932,"thumbUrl":9933,"material":88,"size":1798,"collection":107,"collections":9934,"showCount":9823,"zanCount":39,"manualWeight":39,"mainColor":40},220100,"shi-er-mo-hua-tu-juan-3-xu-wei-220100","十二墨花图卷-3",[49,50,23,51,52,26,27,358,420,531,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e70c5fdddd68d2662d99287215d9176.jpg",[],{"id":9936,"slug":9937,"title":9938,"dynasty":18,"author":161,"museum":930,"description":9939,"tags":9940,"thumbUrl":9941,"material":33,"size":9942,"collection":107,"collections":9943,"showCount":9823,"zanCount":1288,"manualWeight":39,"mainColor":40},220016,"dong-zhuang-tu-ce-zhi-zhi-lao-ting-shen-zhou-220016","东庄图册之知乐亭","东庄是沈周的好友吴宽的庄园。原作有24幅，明末后只存21幅。",[49,23,51,24,26,25,56,63,137,2681,61,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31227e877f62e0718e4ec5caba521bf3.jpg","纵28.6厘米，横33厘米",[],{"id":9945,"slug":9946,"title":9947,"dynasty":3733,"author":207,"museum":20,"description":9948,"tags":9949,"thumbUrl":9950,"material":152,"size":9951,"collection":35,"collections":9952,"showCount":9823,"zanCount":39,"manualWeight":39,"mainColor":75},219253,"shuang-fu-tu-yi-ming-219253","双凫图","沙岸之上，双凫相栖。一昂首侧顾，羽色分明，墨线勾勒间见灵动；一俯身啄沙，姿态憨拙，似与细石苔草低语。左侧芦苇数茎，叶尖斜挑，墨色浓淡相衬，劲挺中含野趣。背景沙坡淡墨晕染，疏点散落，隐现苔痕添清寂。画面不着艳色，仅以水墨勾染，却将凫鸟闲适、草木疏朗尽现。静谧里仿佛闻风过苇叶轻响，见凫鸟戏沙悠然。极简笔触藏对自然神韵的深察，尽显古画“以形写神”妙趣，于清淡间传递自然生机与文人清雅意韵。",[23,25,54,27,1988,104,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f65c79e8538775c4d7b5a1690582de5.jpg","25.7x22.3cm",[35],{"id":9954,"slug":9955,"title":9956,"dynasty":97,"author":3871,"museum":81,"description":9957,"tags":9958,"thumbUrl":9959,"material":152,"size":9960,"collection":199,"collections":9961,"showCount":9823,"zanCount":39,"manualWeight":39,"mainColor":40},218459,"shi-liu-luo-han-xiang-di-shi-si-na-a-ga-sai-na-zun-zhe-ding-guan-peng-218459","十六罗汉像-第十四纳阿噶塞纳尊者","虽临摹自贯休的作品，但这套16幅画用明暗法来表现人物脸部、手部和脚部的裸露部分，使其具有逼真生动的肌肉纹理。周围的家具和石头有相当精确的透视，明显受到西方绘画风格的影响，色彩鲜艳丰富，有凹凸的立体感。人物的头发和胡须也被仔细地、艰苦地描绘出来。这幅画展示了罗汉的性格和品质，他是一个具有超越性思维和开放性思想的人。",[23,51,25,54,58,1284,7,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb72eac59f02a9575a8bac111da40f688.jpg","127.5x57.5",[199],{"id":9963,"slug":9964,"title":9965,"dynasty":146,"author":9966,"museum":81,"description":9967,"tags":9968,"thumbUrl":9972,"material":33,"size":9973,"collection":70,"collections":9974,"showCount":9823,"zanCount":743,"manualWeight":39,"mainColor":40},218433,"jiang-xiang-qiu-wan-tu-li-shi-xing-218433","江乡秋晚图","李士行","画上御制诗为乾隆二十七年四月第三次南巡时所作。由档案可知，此卷为史贻直（1682 —1763）于二月十二日在扬州贡进，他当时任文渊阁大学士兼吏部尚书，为可进献贡物的高级官员。从卷上「史铁珍藏书画」印亦可推知此画原为其藏品。李士行（1282 —1382）为元代画竹名家，此卷为其难得之山水画作。据笪重光（1623 —1692）题跋，此作在江南与〈鹊华秋色〉、〈师子林图〉等名迹并重。由于这两件名迹已经入藏宫中，因此当乾隆皇帝得到李士行此作时，才会欣喜地写下「鹊华师子仍同，足傲重光诩润州」。",[49,23,52,26,55,56,751,9969,64,715,9970,9971,5076,7],"近山","湖泊","沙洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce5206a99d97c02c0778d6f18c6a6eb3.jpg","31x117.4cm",[70],{"id":9976,"slug":9977,"title":9978,"dynasty":115,"author":9979,"museum":525,"description":9980,"tags":9981,"thumbUrl":9982,"material":152,"size":107,"collection":70,"collections":9983,"showCount":9823,"zanCount":1288,"manualWeight":39,"mainColor":75},214826,"gui-zhuang-tu-li-xi-cheng-214826","归庄图","李希成","李希成（约1086年—约1158年）是一位著名的宋代画家。他的代表作之一是《归庄图》，这幅画描绘了一位老人归还到他的庄园。老人骑着马，身后是一排竹林，前面是一座庄园。整幅画给人以温馨、宁静的感觉。《归庄图》是李希成的一个经典作品，代表了他扎实的技术和对自然的精准描绘。\n\n李希成还创作了许多其他优秀的作品，包括《山水图》、《虎图》和《鹿图》。他的作品常常被描绘成清新、宁静的景观，捕捉到了大自然的精髓。李希成是宋代“四大画家”之一，与黄庭坚、苏轼和韩愈并称。他对中国画的发展产生了深远的影响，是中国画史上不可磨灭的巨匠。",[49,23,51,822,56,25,55,870,406,58,727,871,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f6e45b2e30a82967b3ef0547a95e5ba.jpg",[70],{"id":9985,"slug":9986,"title":9987,"dynasty":18,"author":607,"museum":81,"description":9988,"tags":9989,"thumbUrl":9993,"material":88,"size":9994,"collection":122,"collections":9995,"showCount":9823,"zanCount":1288,"manualWeight":39,"mainColor":75},214310,"shu-wu-yan-lv-shi-wen-zheng-ming-214310","书五言律诗","文征明是一位书法和绘画的大师，他掌握了所有的书法风格。在他的中年时期，王羲之是他的主干，但在晚年，他转向了黄庭坚，因为他的书法风格很棒。这幅画是一首诗，是为溪山欲雪图所赋诗作。",[49,51,86,84,119,26,7,2954,870,871,9990,379,9991,9992],"野水","断桥","暮天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3543250656e1928131681cb826744966.jpg","191x72.2",[122],{"id":9997,"slug":9998,"title":9999,"dynasty":97,"author":1082,"museum":175,"description":10000,"tags":10001,"thumbUrl":10002,"material":1636,"size":10003,"collection":122,"collections":10004,"showCount":10005,"zanCount":39,"manualWeight":39,"mainColor":40},240331,"zhu-da-lan-ting-xu-zhou-zhu-da-240331","朱耷兰亭序轴","此轴为朱耷节录《兰亭序》，内容有些微差异，如“暮春”后省略“之初”二字，“此地有”写为“此地迺”等。\n款署：“八大山人”，款下钤“在芙山房”、“八大山人”白方印两方。引首钤“黄竹园”白方。\n本幅左下角钤张大千鉴藏印“藏之大千”白方。外签为张大千题：“八大山人临兰亭。大风堂永远供养。”下钤“大千”朱方等二印。知此轴曾为张大千旧藏。左裱边有题跋三则，第一跋后钤“夔文书画金石”朱方。\n八大山人为清代著名书画家朱耷的别号。朱耷中晚年，在书画作品款署中多使用“八大山人”，直至去世。这幅行书立轴不是单纯的对《兰亭序》临写和模仿，而加入了作者的创作。它继承了八大山人“淳朴圆润，自成一格”之风，正如跋语所评，其“圆健古厚，专用中锋，如印印泥，如锥画沙，布白分行，具有天趣”，堪称其率性之作。",[86,119,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32d801377852347170dfbb129c60a62a.jpg","纵174.5厘米，横52.1厘米",[122],80,{"id":10007,"slug":10008,"title":10009,"dynasty":18,"author":207,"museum":99,"description":10010,"tags":10011,"thumbUrl":10012,"material":107,"size":107,"collection":107,"collections":10013,"showCount":10005,"zanCount":1288,"manualWeight":39,"mainColor":40},239636,"wen-zheng-ming-guo-qin-lun-ce-yi-ming-239636","文征明过秦论册","此作用笔精劲秀雅，结体端稳匀停，是极具代表性的明代小楷佳作。笔画舒展利落，起收间法度谨严，通篇排布疏朗有致，行气贯通流畅。以雅致笔墨书写史论篇章，笔墨与文辞相融，既带着台阁体的娟秀规整，又蕴含文人书法的清逸风骨，字字珠玑间尽显沉厚的帖学功底。运笔间藏露得宜，点画精致细腻，不见一丝浮滑潦草，将史论的沉郁思辨与书法的静雅气质相融，尽显书写者的从容笔力与文人心境，是书文合璧的精妙之作。",[51,86,24,417,7,26,8547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab6790cda2be73a7433191619dae03f7.jpg",[],{"id":10015,"slug":10016,"title":7459,"dynasty":97,"author":10017,"museum":99,"description":10018,"tags":10019,"thumbUrl":10020,"material":319,"size":107,"collection":35,"collections":10021,"showCount":10005,"zanCount":39,"manualWeight":39,"mainColor":40},237219,"mu-dan-zhou-lu-hui-237219","陆恢","陆恢（1851—1920），清末民初著名画家。原名友恢，一名友奎，字廉夫，号狷叟，一字狷盫，自号破佛盫主人，原籍江苏吴江，居吴县（今江苏苏州）。\n幼习举子业，秀才入学试为第一，有人举报其父曾参加 从 尝过僧寺，覩十八应真像，即以纸墨画为描摹而归。后晤 旋客吴幕，得游三湘，所历既广，笔意益苍劲遒丽，古拙幽深。画山水、人物、花鸟、果品，无一不能，书工 尝作衡山记游图八幅，认为生平杰作，谓可媲美\n光绪 图中衣冠、中年归苏州，潜心绘事，考订 为清末民初江南老画师，从游者数十人。卒年七十。黄宾虹",[23,51,84,25,27,308,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19c6ad9cdb51e1097c313f45d064bf4.jpg",[35,72],{"id":10023,"slug":10024,"title":10025,"dynasty":97,"author":1180,"museum":99,"description":1655,"tags":10026,"thumbUrl":10027,"material":689,"size":690,"collection":107,"collections":10028,"showCount":10005,"zanCount":743,"manualWeight":39,"mainColor":40},235463,"hong-mei-tu-zhou-wu-chang-shuo-235463","红梅图轴",[23,403,25,7,86,528,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ee665f6d35f02aab575c4b2632afd6a.jpg",[],{"id":10030,"slug":10031,"title":10032,"dynasty":18,"author":2059,"museum":175,"description":10033,"tags":10034,"thumbUrl":10035,"material":107,"size":107,"collection":107,"collections":10036,"showCount":10005,"zanCount":39,"manualWeight":39,"mainColor":40},234327,"wen-zheng-ming-shu-qian-chi-bi-fu-wen-cong-jian-bu-tu-juan-wen-zheng-ming-234327","文徵明书前赤壁赋文从简补图卷","文征明极为喜爱《赤壁赋》，一生之中曾以不同笔法多次书写，据戴立强《明文徵明行书前赤壁赋册记》中统计，仅传世之作就有16件，而周道振先生《文徵明年谱》中记载，更不止此数。“赤壁赋”题材作品无论是存世作品还是《年谱》中提及的作品，创作年代都在文徵明六十岁之后，即为其短暂的赴京任职之后的作品。文徵明在八十九岁高龄之时，更以苏轼笔意，为其《前赤壁赋》卷(台北故宫博物院藏)补写所缺36字，结字欹侧，肉盛于骨，形神兼备，直可乱真。\n文征明原名壁，字征明。后来改以征明为名，更字为征仲。成化六年（1470年）生于长洲（今苏州市），逝于嘉靖三十八年（1559年）享年90岁。祖籍湖南衡山，因号衡山。他不事权贵，尤不肯为藩王、中官作画，任官不久便辞官归乡，留有《甫田集》。\n文征明的书画造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗白居易、苏轼，文受业于吴宽，学书于李应祯，学画于沈周。其与沈周共创“吴派”。在画史上与沈周、唐伯虎、仇英合称“明四家”（“吴门四家”）。在诗文上，与祝允明、唐寅、徐祯卿 并称“吴中四才子”。\n明代中叶以后，文征明以诗文驰名江南，而书法和绘画的声誉更高。后来一直被认为是明代少数几个有代表性的书画家之一。就书法来说，大字端劲蕴藉，小楷精工温纯，于真、行、草、隶各体，都有一定的造诣。他早年从苏轼入手，后来参合了米芾、黄庭坚和王羲之书法的笔意，淳和圆熟而不失清劲。\n这一本文征明所写的苏轼《赤壁赋》，末尾连署名残失十九字。幸在清代陈焯《湘管斋寓赏编》卷三有这样一段记录：“顷于姚江杨君绪思家见待诏行书此赋，跋云：‘嘉靖戊午冬十一月廿日，夜寒不寐，篝灯漫书。纸墨欠佳，笔尤不精，殊不成字。聊遣一时之兴耳，观者其毋哂焉。征明年八十九。’为最晚年书，而绝无衰飒之状，可宝也。壬寅秋九月附记。”壬寅是乾隆47年（公元1782），那时“聊遣一时之兴耳”等末十九字还未缺。光绪23年（公元1897）陈豪为恽氏题跋时，已经恽氏改装为册。这十九字怎样失去，已无从查考。\n据题记年月，是文征明八十九岁时所书，距他逝世只有四个月。虽然他自己以为“笔尤不精，殊不成字”其实比之现在所见其他各种印本的《赤壁赋》，（一本，嘉靖二十一年壬寅七月十日作，点石斋印；一本，嘉靖二十九年庚戌七月作，有正书局印；一本，嘉靖三十七年戊午二月既望作，原故宫印本，艺苑真赏社复印；一本，嘉靖三十年辛亥四月十六作，日本博文堂印本）都为精到。“潇洒流落，翰逸神飞”可谓已至“人书俱老”的境地。",[49,50,23,51,52,119,26,25,55,56,62,58,150,64,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc97afb95360b41d612a230c70e6c22d0.jpg",[],{"id":10038,"slug":10039,"title":10040,"dynasty":2807,"author":207,"museum":99,"description":10041,"tags":10042,"thumbUrl":10044,"material":689,"size":690,"collection":107,"collections":10045,"showCount":10005,"zanCount":39,"manualWeight":39,"mainColor":40},231689,"shan-cha-hua-xiao-qin-tu-zhou-yi-ming-231689","山茶花小禽图轴","此作兼用工笔与写意，老干虬曲苍劲，山茶厚叶凝翠，丹花灼灼绽放，枝上小禽侧目伫立，灵动娇憨的神态跃然纸上。设色雅致沉稳，花叶晕染细腻柔和，禽鸟绒羽的质感描摹入微，既有院体花鸟的精工之态，又饱含文人画的清逸格调。\n\n题诗与画作相映成趣，将探春报春之意藏于景中，把早春山茶盛放、幽禽暂驻的清寂生机铺陈开来，一花一禽皆含雅意，尽显传统花鸟的悠然禅意。",[49,23,51,84,25,54,27,10043,66,30,7],"山茶花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05a1618f40479b25ced4925a880d9b34.jpg",[],{"id":10047,"slug":10048,"title":10049,"dynasty":192,"author":193,"museum":99,"description":10050,"tags":10051,"thumbUrl":10054,"material":107,"size":107,"collection":107,"collections":10055,"showCount":10005,"zanCount":1288,"manualWeight":39,"mainColor":75},231021,"gu-di-wang-tu-juan-li-dai-di-wang-tu-juan-yan-li-ben-231021","古帝王图卷.历代帝王图卷","《国宝在线历代帝王》是2年 出版的图书。\n第1版 (2年12月1日) ISBN: 786726519 条形码: 978786726518 尺寸: 29.8 22.4 1 cm 重量: 259 g 历代帝王，是中国人物画历史上一个重要的题材。\n古代没有照片，千古一帝的仪容，全仗绘画来保存。\n最早的帝王画，可以追溯到种种遥远而缺乏实证的文字记载，如《孔子家语·观周》中，记载孔子参观周朝的明堂，见四周的墙壁上画有圣主尧、舜和暴君夏桀、商纣的肖像。\n他认为这些帝王图『各有善恶之状，兴废之诫焉』。\n孔子的这番评价， 一语道明了古代帝王画的功能，乃是出于礼教的宣传目的。\n当孔子把『兴废之诫』作为绘画艺术的基本任务时，他或许没想到，这样的思想在很长一段时期竟主宰了中国人物画的创作功能，甚至建国后盛行一时的伟人像、英雄像，与这一见解其实也异曲同工。\n唐代张彦远在《历代名画记》中引用了三国时曹植与孔子相类似的见解：『观画者，见三皇五帝，莫不仰戴；见三季暴主，莫不悲惋……是知存乎鉴戒者，图画也。\n』早期的帝王画大都是以屏画、壁画的形式出现，通过形象上的『善恶对比』，达到『成教化，助人伦』的目的，正所谓『见善足以戒恶，见恶足以思贤』。\n自汉代以后，宫廷壁画及卷轴画中的帝王图已成为委婉地向统治者进谏的政治性作品，不但臣僚们利用它来推行政见，而且帝王也用它来美化自己，表现能接受历史的经验，是趋贤去恶的明主。\n然而，『不见五陵豪杰墓，无花无酒锄作田』，随着大量绘有大批壁画的建筑物的损毁，后人却只能通过文字记载来想像这些作品的风采了。\n千秋功过画帝王 流传至今的帝王卷丑画中，以传为唐代阎立本所绘的《历代帝王图》和《步辇图》最早。\n尤其是《历代帝王图》，是一件典型的礼教绘画作品。\n画中共刻画了汉魏以来十三个帝王的形象。\n帝王的服饰、仪仗、起居、侍从等都表现着统治者共同的特征和气势，而一画家又通过入微地表现不同帝王的不同个性，象征并反映了这些帝王的千秋功过。\n相传同是阎立本所画反映唐太宗接见吐蕃使者的《步辇图》，则向我们传达了另一个信息——帝王的肖像常常同时也是一种记录重要事件的方法，很有些像今天的记录影片。\n这样的情况在西方甚至更为普遍，比如我们对大卫的《拿破伦加冕》和《马拉之死》大概不会陌生。\n正是通过这些作品，使我们对久远的历史场景在头脑中产生了一定的直观印象。\n依靠类似于《步辇图》这样的作品，使今人仍能较确切地了解盛唐帝王的威仪和处理重大事件的方式。\n在中国，类似的作品还有不少，如传宋徽宗所作的《听琴图》和清郎世宁所作的《 》等。\n古代，大多数的帝王肖像出于宫廷画家的手笔，特别是当朝帝王的画往往由专职的宫廷画家完成。\n不过民间也流传着一些以帝王为题材的绘画作品，且主要以远古的传说故事为内容。\n尽管同样具有礼教的功能，但正所谓[生后是非谁管得，满村争说蔡中郎]，这些作品，其实不过是人们凭想像的[演义]，而并不具备真实可靠的史料价值了。\n唐 阎立本 历代帝王图 唐 阎立本 历代帝王图 卷 之一 唐 阎立本 历代帝王图 卷 之二 唐 阎立本 历代帝王图 卷 之三 唐 阎立本 历代帝王图 卷 之四 唐 阎立本 历代帝王图 卷 之五 唐 阎立本 历代帝王图 卷 之六 唐 阎立本 历代帝王图 卷 之七 唐 阎立本 历代帝王图 卷 局部 唐 阎立本 步辇图 卷 绢本",[49,50,23,51,52,54,25,58,10052,10053,180,7],"帝王","侍从","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc99416fb53247fd7f686c65bbf85a9c.jpg",[],{"id":10057,"slug":10058,"title":10059,"dynasty":97,"author":207,"museum":99,"description":10060,"tags":10061,"thumbUrl":10062,"material":107,"size":107,"collection":107,"collections":10063,"showCount":10005,"zanCount":39,"manualWeight":39,"mainColor":40},223459,"shan-shui-xiao-pin-yi-ming-223459","山水小品","小品画一般以小立轴、镜片、册页、扇面等形式为主，广泛应用于社会，凡宾馆、小会议室、小客厅、以及各种娱乐场所的室内装饰布置，都常用小品画。 可以说中国画能进入寻常百姓家的主要是小品画，所以小品画是人民群众喜闻乐见的形式。 其四，小品画的表现手法比较自由随意也是它的一个特点。",[49,23,51,26,25,55,24,56,277,62,1977,7113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614164daf8e9e4af388f9ada7fdd61ea.jpg",[],{"id":10065,"slug":10066,"title":10067,"dynasty":18,"author":1014,"museum":20,"description":10068,"tags":10069,"thumbUrl":10070,"material":779,"size":10071,"collection":70,"collections":10072,"showCount":10005,"zanCount":1288,"manualWeight":39,"mainColor":40},222357,"feng-tian-xing-du-tu-zhou-tang-yin-222357","葑田行犊图轴","此图取材于唐代李密的故事，史记李密骑牛住缑山拜访名士包恺，牛角挂一卷《汉书》，边走边读。本图并没有强调此一情节。而是突出了“行过松阴懒着鞭”的悠闲之意。图绘一老者手执长鞭骑牛前行，老者表情悠闲，一路观景，牛身形壮硕，四肢有力；上面松枝繁茂，郁郁葱葱。",[49,23,51,84,26,55,86,58,1115,610,150,137,896,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa190e60a0b5555ac9e73c97a4767161f.jpg","纵74.7，横42.7厘米",[70,242],{"id":10074,"slug":10075,"title":10076,"dynasty":18,"author":955,"museum":20,"description":10077,"tags":10078,"thumbUrl":10079,"material":239,"size":10080,"collection":35,"collections":10081,"showCount":10005,"zanCount":1288,"manualWeight":39,"mainColor":40},221895,"mei-hua-xiao-niao-chen-hong-shou-221895","梅花小鸟","此图虽为花鸟，却有山水格局。勾皴之石较为丰富，与梅树虬劲的老干浑然一体；红树有虫啮之痕，与树后精整的双钩之竹相映成趣；梅枝与小鸟，在大片空白的衬托下，成为鲜明的画眼。由此而营造了一种静中有动，清寒澄爽的意境。画梅颇有蓝瑛意趣，而气息雅于其师。藏上海博物馆。\n陈洪绶（1598-1652)，字章侯，号老莲，诸砰枫桥（今属浙江）人。出生干没落官宦之家的陈洪绶能诗，擅书画，尤长于绘画。人物、山水、花鸟、走兽无所不精，是明末淸初最著名的画家之一。初学蓝瑛，师法唐人，兼有李公麟、赵孟频之妙。运笔旋转，一气呵成，具有鲜明独特的风格。花鸟画渊源两宋，颇有奇趣。",[23,51,27,25,54,528,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8b5794e3e57e740d6a66c2ddcd1a652.jpg","22.2x21cm",[35,72],{"id":10083,"slug":10084,"title":10085,"dynasty":115,"author":5272,"museum":81,"description":10086,"tags":10087,"thumbUrl":10088,"material":152,"size":10089,"collection":213,"collections":10090,"showCount":10005,"zanCount":39,"manualWeight":39,"mainColor":75},219965,"du-zuo-tan-qin-tu-yang-wu-jiu-219965","独坐弹琴图","扬无咎（1097─1169年），字补之，号逃禅老人，又号清夷长者，清江（今属江西省）人，寓居南昌。自称为东汉著名文学家扬雄之后，故其姓氏从“手”而不从“木”。生平事迹不详。他为人正直耿介，绍兴（1131─1162年）年间，奸相当道，朝廷对外妥协苟安，无咎“不直秦桧，累征不起”，一生没有作官，是一位藐视权贵的画家。他为梅花传神写照，以“墨梅擅天下，身后寸纸千金”，成为中国梅画的初始者之一。事实上，“画如其人”，无咎笔底高标清韵的梅花，正是画家素洁坚贞的高尚操守的化身。",[49,23,51,84,26,55,119,86,7,58,178,56,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8dca1f72c4020db5b4154f5b7b91632.jpg","40x25.5",[213,70],{"id":10092,"slug":10093,"title":10094,"dynasty":115,"author":3050,"museum":20,"description":10095,"tags":10096,"thumbUrl":10097,"material":152,"size":10098,"collection":199,"collections":10099,"showCount":10005,"zanCount":1288,"manualWeight":39,"mainColor":75},219429,"ba-gao-seng-tu-liang-kai-219429","八高僧图","《南宋梁楷八高僧故事图卷》分别描绘南北朝至唐代佛教禅宗八个高僧的故事。各个人物的神态、举止和服饰刻画入微、传神；山石多为斧劈皴，笔法简洁洗练，动静相映以烘托出人物的情绪。是梁楷作品中较为工整的一路。每幅之后，均附有明初人用行书撰写的文字说明，内容简明扼要。",[49,135,25,54,58,56,610,85,62,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1587fabe100285596e73694b143eae99.jpg","纵 26.6 厘米 横64.1 66.4 64.7 厘米",[199],{"id":10101,"slug":10102,"title":10103,"dynasty":146,"author":207,"museum":525,"description":10104,"tags":10105,"thumbUrl":10106,"material":152,"size":10107,"collection":70,"collections":10108,"showCount":10005,"zanCount":1288,"manualWeight":39,"mainColor":75},214828,"jiang-zhong-chui-diao-tu-yi-ming-214828","江中垂钓图","江中垂钓图是一幅元代的山水画作品，作者是佚名。这幅画中描绘了一个人在江边垂钓的场景。画中展现了绚丽多彩的山水风光，以及人物自然舒展的姿态。整幅画的画风细腻，笔墨流畅，色彩鲜艳，构图巧妙，充分展示了元代山水画的魅力。\n\n元代是中国历史上一个重要的朝代，也是中国绘画史上的一个重要时期。元代绘画追求自然、真实，注重写意，在画面上展现自然界的种种变化。山水画是元代绘画中的一大特色，江中垂钓图就是其中的一例。这幅画描绘了一幅宁静而又热闹的山水风光，充分展现了元代绘画的自然精神。",[23,26,25,56,61,62,713,137,277,714,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f084d61f9b4775b72a81ef13a90b677.jpg","22.5x25cm",[70],{"id":10110,"slug":10111,"title":10112,"dynasty":115,"author":400,"museum":99,"description":10113,"tags":10114,"thumbUrl":10115,"material":689,"size":690,"collection":107,"collections":10116,"showCount":10117,"zanCount":1288,"manualWeight":39,"mainColor":40},289594,"wu-long-tu-chen-rong-289594","五龙图","陈容，字公储，号所翁，福建长乐人，南宋端平二年（1235年）进士，曾做过福建莆田太守。南宋著名画家。《金溪县志》作临川（今属江西）人，《图绘宝鉴》作福唐（今福建福清）人。生卒年不详。陈容墓在福建长乐。\n诗文豪壮，尤善画龙，变化欲活，世传‘所翁龙’是也。”\n陈容于中国美术史上占有重要一席，“所翁龙”成为后人画龙的典范，倍受国人特别是明清以来画家们的追捧。甚至在日本，几百年来凡有龙图案的画亦绝大部分是仿效陈容。日本著名画家小泉淳作曾由衷地评价道：陈容的龙富有魅力，像真的一样活泼跳动，只有天才才会画出这样的画！\n顺便说一下，陈容不仅擅画龙，还擅长画松、竹、鹤，偶亦画虎，垂老笔力简易精妙，故世有‘所翁龙’、‘所翁鹤’和‘所翁竹’之称。在当时，达官显贵、文人骚客以能得到“所翁龙”而倍感荣幸。以玩弄权术、巧取豪夺而著称的奸臣宰相贾似道，一世搜刮金银珠宝、珍奇古玩无数，然他至死也未能讨到一幅“所翁龙”。",[49,23,52,51,26,405,1337,7,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad44d787cfa6bf3de62f57ee2d80a9fc.jpg",[],79,{"id":10119,"slug":10120,"title":10121,"dynasty":97,"author":1180,"museum":99,"description":2303,"tags":10122,"thumbUrl":10123,"material":25,"size":107,"collection":35,"collections":10124,"showCount":10117,"zanCount":39,"manualWeight":39,"mainColor":40},224226,"mu-dan-shui-xian-zhou-wu-chang-shuo-224226","牡丹水仙轴",[49,23,51,84,25,27,308,488,7,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F751c4dca763d55c5f20268cdb50760d5.jpg",[35,72],{"id":10126,"slug":10127,"title":10128,"dynasty":18,"author":3070,"museum":81,"description":10129,"tags":10130,"thumbUrl":10132,"material":319,"size":10133,"collection":35,"collections":10134,"showCount":10117,"zanCount":39,"manualWeight":39,"mainColor":40},222556,"zi-wei-shan-mian-chen-chun-222556","紫薇扇面","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。",[49,50,23,51,822,403,26,25,27,10131,150,727,7,86],"紫薇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3d66aa7b277e6d434140b8cfbf7bc17.jpg","纵17.7厘米 横47.9厘米",[35,72],{"id":10136,"slug":10137,"title":10138,"dynasty":18,"author":10139,"museum":81,"description":10140,"tags":10141,"thumbUrl":10142,"material":1561,"size":10143,"collection":70,"collections":10144,"showCount":10117,"zanCount":39,"manualWeight":39,"mainColor":40},222372,"song-quan-shi-si-zhou-zhou-chen-222372","松泉诗思轴","周臣","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。\n中国明代中期的著名职业画家。他生活在成化至嘉靖年间。字舜卿，号东村，吴（今江苏苏州）人，生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。他有两个学生特别著名，一个唐寅，另一个仇英。唐寅、仇英青出于蓝，风格上极为接近，但当时名气已超过老师。\n周臣山水师承陈暹。曾刻苦临摹李成、郭熙、李唐、马远等作品，其主要取法于李唐派系。画山石坚凝，章法严谨，用笔纯熟。曾与戴进并驱，则互有所长。人物画也非常出色，古貌奇姿，绵密萧散，各极意态。南京博物院收藏的周臣代表作《柴门送别图》 ，描绘一文人携琴访友后，主客分别时依依不舍的情景，明月早已挂在高空，船工也已在船头熟睡，直至客人快要上船了，他还未酲来，说明主客送别时间之长，友谊之深，这其中也融含周臣画体的“院体画”与“文人画”的相融之处。周臣被人们称为非院派的“院派”画家。",[49,23,51,84,26,25,56,610,150,8870,58,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9ced993c13860c65afb437b92e109b6.jpg","114.6x53.1",[70,72],{"id":10146,"slug":10147,"title":10148,"dynasty":115,"author":10149,"museum":175,"description":10150,"tags":10151,"thumbUrl":10152,"material":319,"size":10153,"collection":122,"collections":10154,"showCount":10117,"zanCount":1288,"manualWeight":39,"mainColor":40},221230,"er-zha-tie-fan-zhong-yan-221230","二札帖","范仲淹","二札即边事、远行二帖，为两通书札。\n边事帖又称乡曲帖，释文：\n“仲淹再拜，知府刑部仁兄：伏惟起居萬福。施鄉曲之惠，占江山之勝，優哉樂乎。此間邊事，夙夜勞苦。仗朝廷威靈，即目寧息，亦漸有倫序。鄉中交親俱荷大庇，幸甚。師道之奇，尤近教育，乞自重，自重。不宣。仲淹拜上，知府刑部仁兄左右。三月十日。”\n信中“知府刑部”即富严，曾官刑部郎中，此时正在苏州知府任上。范仲淹本苏州人，因此对富严给予自己家乡亲人的关照深表谢忱。而仲淹这时则远离故乡，以陕西招讨使的身份，率部戍边，抗击西夏。故信中说：“此间边事，夙夜劳苦。”\n远行帖也称修答帖，释文：\n“仲淹再拜，運使學士四兄：兩次捧教，不早修答，牽仍故也。吳親郎中經過有失款待，乞多謝。吾兄遠行，瞻戀增極，萬萬善愛，以慰貧交。蘇醖五瓶，道中下藥。金山鹽豉五器，別無好物，希不責。不宣。仲淹再拜，象山學士四哥座前。八月五日。”\n此两帖书法瘦硬方正，清劲中有法度。人常将此书风喻其人品，称“公书庄严清澈，信如其品”。",[49,51,86,119,435,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31bab8f2a827f449ac6e055019802d9e.jpg","纵31.1厘米，横39厘米",[122],{"id":10156,"slug":10157,"title":10158,"dynasty":192,"author":3194,"museum":175,"description":3195,"tags":10159,"thumbUrl":10160,"material":319,"size":10161,"collection":122,"collections":10162,"showCount":10117,"zanCount":39,"manualWeight":39,"mainColor":40},221090,"mo-lan-ting-xu-juan-yu-shi-nan-221090","摹兰亭序卷",[49,50,23,51,52,134,119,7,86,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8266ea63061d7e4a5ed03a1107c08fd.jpg","纵24.8cm，横57.7cm。",[122,1120],{"id":10164,"slug":10165,"title":10166,"dynasty":146,"author":207,"museum":1510,"description":10167,"tags":10168,"thumbUrl":10169,"material":152,"size":107,"collection":199,"collections":10170,"showCount":10117,"zanCount":743,"manualWeight":39,"mainColor":75},219585,"yue-xia-chang-e-tu-yi-ming-219585","月下嫦娥图","云霭舒卷漫过夜空，朗月悬垂，清辉铺洒幽林。古松虬枝蟠曲如苍龙探云，松针层叠细密，尽显苍劲古拙之态。嫦娥素衣翩跹，独立岩畔，隐在松影云气间，身姿娴静缥缈，自带出尘仙气。\n\n此作用笔简淡清逸，以水墨晕染营造空寂灵幻的月夜氛围，摒弃浓丽金碧，将仙家幽渺之境与山林夜色相融。笔意含蓄却神完气足，把月宫清寒与林下幽寂糅为一处，让人恍如踏入清虚之境，遥想广宫寒寂，体悟藏在仙踪里的清远意趣。",[822,23,25,58,944,610,1207,150,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff447cc4f9a954ca5bb219c6d7be81a21.jpg",[199,72],{"id":10172,"slug":10173,"title":10174,"dynasty":115,"author":3050,"museum":99,"description":10175,"tags":10176,"thumbUrl":10178,"material":88,"size":10179,"collection":199,"collections":10180,"showCount":10117,"zanCount":1288,"manualWeight":39,"mainColor":75},218585,"lan-ting-ti-xu-tu-liang-kai-218585","兰亭题序图","松枝虬劲，墨色浓淡交织出苍古意韵。雅士二人，衣纹以极简线条勾勒，却见洒脱之态——一人凭案凝思，似在斟酌字句；一人侧立静听，神态悠然。案上瓶梅斜逸，木盒静陈，细节处暗藏文心。笔墨删繁就简，却将兰亭雅集的清旷之境、文人相契的灵犀之态，尽纳其中。虽无繁复刻画，却于简约中见深厚，如品淡茶，唇齿留香，尽显文人画的逸致与风骨。每一笔皆不多余，每处留白皆藏深意，仿佛清风过耳，让人心生向往。",[23,51,50,26,135,10177,58,137,277,181,7],"简笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b6948482f3ced4ffd228934551e7fb4.jpg","28x48",[199],{"id":10182,"slug":10183,"title":10184,"dynasty":115,"author":881,"museum":525,"description":10185,"tags":10186,"thumbUrl":10187,"material":152,"size":10188,"collection":107,"collections":10189,"showCount":10117,"zanCount":39,"manualWeight":39,"mainColor":40},218074,"song-di-ming-ti-ce-er-ma-yuan-218074","宋帝命题册(二)","这画册共含十页，每页左侧为一幅绘画，右侧配一书法。画心尺寸长28厘米、高27厘米，设色绢本，水墨与青绿设色间有。\n在“开禧北伐”之后，宋败给了金国，还有了“嘉定议和”。议和之后的宋宁宗便失去了大权。之后，宋宁宗开始钟情于山水。本十开册页描绘的是当时临安凤凰山皇宫的十个不同景点。\n根据考证，图中的白衣高士均是宁宗的化身，他将自己融入到自然山水中，写下了这10幅诗，再命当时的御前画师马远配图。\n10幅画作皆是根据杨万里、王安石等前贤及宋徽宗的诗句而创作，册页里的10幅配诗书法作品皆为宋宁宗所书。",[49,1073,23,51,24,25,26,55,86,7,56,967,277,61,944],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F913cbd18783e2ebead9fd965f7f6a798.jpg","纵28厘米、横27厘米",[],{"id":10191,"slug":10192,"title":10193,"dynasty":115,"author":207,"museum":175,"description":10194,"tags":10195,"thumbUrl":10197,"material":152,"size":10198,"collection":35,"collections":10199,"showCount":10117,"zanCount":743,"manualWeight":39,"mainColor":40},216750,"yuan-hou-zhai-guo-tu-yi-ming-216750","猿猴摘果图","此图绘深山野林中，三只猿猴攀援栖止于树枝上。其中两猿正品果嬉戏，另一猿右臂抓树，左臂摘取红果，形象生动可爱。作者运用极为工细的笔法，描绘猿猴茸茸的细毛、灵巧的动态以及老树的虬枝和枯叶，显示出深厚功力。图中坡石用小斧劈皴，枝叶用双钩填色，笔法精工巧丽。",[49,50,23,51,822,54,25,7,10196,64,1195,1116],"猿猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19385bb53dc3ac8f2ae0ebf08a7d2ed.jpg","纵25厘米，横25.6厘米",[35],{"id":10201,"slug":10202,"title":10203,"dynasty":115,"author":3092,"museum":99,"description":10204,"tags":10205,"thumbUrl":10206,"material":689,"size":690,"collection":107,"collections":10207,"showCount":10208,"zanCount":39,"manualWeight":39,"mainColor":75},290086,"yu-fu-tu-li-tang-290086","渔父图","李唐（1066—1150），南宋画家。字晞古，河阳三城（今河南孟州）人。初以卖画为生， 宋徽宗赵佶时入画院。南渡后以成忠郎衔任画院待诏。擅长山水、人物。变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。并以画牛著称。与刘松年、马远、夏圭并称“南宋四大家”。存世作品有《万壑松风图》《清溪渔隐图》《烟寺松风》《采薇图》等。",[49,50,23,26,56,84,55,62,713,61,137,277,714,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a96877d6e1cc04537d7e2dc4236b975.jpg",[],78,{"id":10210,"slug":10211,"title":684,"dynasty":97,"author":248,"museum":99,"description":685,"tags":10212,"thumbUrl":10213,"material":689,"size":690,"collection":107,"collections":10214,"showCount":10208,"zanCount":39,"manualWeight":39,"mainColor":40},239428,"shan-shui-hua-hui-ce-yun-shou-ping-239428",[23,51,24,26,7,28,251,332],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc85e8012f3111300931545cad71dfeb4.jpg",[],{"id":10216,"slug":10217,"title":10218,"dynasty":97,"author":7428,"museum":99,"description":10219,"tags":10220,"thumbUrl":10221,"material":689,"size":690,"collection":35,"collections":10222,"showCount":10208,"zanCount":743,"manualWeight":39,"mainColor":40},238472,"hua-hui-tu-ce-jiang-ting-xi-238472","花卉图册","蒋廷锡（1669年－1732年），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，清朝康熙、雍正时期官员、画家、文献学家、藏书家。\n蒋廷锡为康熙四十二年（1703年）进士，授翰林编修。雍正帝即位后历任礼部侍郎、户部尚书等职。雍正六年（1728年）拜文华殿大学士，仍兼理户部事，并任《明史》总裁。次年（1729年）加太子太傅。累封一等阿达哈哈番。雍正十年（1732年）卒于任内，谥号“文肃”。\n蒋廷锡在官秉公抚政、剔除积弊，声誉甚著。为人博学精敏，尤善诗画。擅长花鸟，以逸笔写生，奇正率工，敷色晕墨，兼有一幅，能自然洽和，风神生动，得恽寿平韵味。点缀坡石，偶作兰竹，亦具雅致。曾画塞外花卉70种，被视为珍宝收藏于宫廷。今有《牡丹扇面》《岁岁久安图》《桃花鹦鹉图》《竹石图》轴及《花卉图》等传世。",[23,51,24,25,54,27,28,315,1481,265,1989,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d07b787cc47539c1c123f3829eddaf8.jpg",[35,72,122],{"id":10224,"slug":10225,"title":2149,"dynasty":97,"author":10226,"museum":99,"description":10227,"tags":10228,"thumbUrl":10229,"material":5105,"size":107,"collection":35,"collections":10230,"showCount":10208,"zanCount":11,"manualWeight":39,"mainColor":40},237283,"hua-hui-ce-wu-kai-237283","吴楷","吴楷，男，清嘉庆—咸丰时期（公元十八——十九世纪）著名画家 。\n吴楷： 清嘉庆——咸丰时期著名画家。一名允楷，字辛生，别号骞林外史，室名云静庐，吴县(今江苏苏州)人。 [2] 工花卉兰石，兼善山水。 （详见《中国书画家印鉴款识》第444页。）",[23,51,24,25,54,27,28,307,7,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9ad03ae2e1d9e12b784846270fbb25e.jpg",[35],{"id":10232,"slug":10233,"title":10234,"dynasty":18,"author":10235,"museum":329,"description":10236,"tags":10237,"thumbUrl":10238,"material":1561,"size":10239,"collection":70,"collections":10240,"showCount":10208,"zanCount":1288,"manualWeight":39,"mainColor":75},221922,"lan-ting-xiu-xi-tu-qian-gu-221922","兰亭修禊图","钱毂","《兰亭修禊图》卷为明代画家钱榖绘。画作题材取自东晋王羲之《兰亭序》，描绘东晋永和九年，王羲之、谢安等人在浙江山阴的兰亭溪上修禊，作曲水流觞之会的故事，卷前有王榖祥题「蘭亭修禊」，卷后有钱榖书《兰亭序》及集诗。",[49,23,51,52,54,25,56,58,871,85,1714,61,63,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db27d84328228253e4fe5c410dbf47f.jpg","24.1×435.6cm",[70,72],{"id":10242,"slug":10243,"title":10244,"dynasty":146,"author":709,"museum":175,"description":10245,"tags":10246,"thumbUrl":10247,"material":319,"size":10248,"collection":122,"collections":10249,"showCount":10208,"zanCount":39,"manualWeight":39,"mainColor":40},220784,"wu-zhen-cao-shu-xin-jing-juan-wu-zhen-220784","吴镇草书心经卷","吴镇书法多见于题画，《心经卷》是其传世的唯一草书作品，此卷书于元至元六年（1340年），为吴镇61岁时手录《心经》全文（内有误书多处），笔势遒逸，风味古澹，堪称炉火纯青。\n释文：观自在菩萨，行深般若波罗蜜多时。照见五蕴皆空，度一切苦厄。舍利子，色不异空，空不异色，色即是空，空即是色。受想行识，亦复如是。舍利子，是诸法空相，不生不灭，不垢不净，不增不减。是故空中无色，无受想行识，无眼界耳鼻舌身意，无色声香味触法，无眼界，无无明，亦无无明尽。乃至无老死，亦无老死尽。无苦集灭道，无智亦无得。以无所得故，菩提萨埵。依般若波罗蜜多故，心无罣碍。无罣碍故，无有恐怖。远离颠倒梦想，究竟涅盘。三世诸佛，依般若波罗蜜多故，得阿耨多罗三藐三菩提。故得般若波罗蜜多，是大神呪，是大明呪，是无等等呪。能除一切苦，真实不虚。故说般若波罗蜜多呪。即说呪曰：揭谛，揭谛，波罗僧揭谛，波罗揭谛，菩提萨婆诃。",[49,86,462,436,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79733ea91dcfd3a8e7e0329846ff3007.jpg","29.3×203厘米",[122],{"id":10251,"slug":10252,"title":10253,"dynasty":891,"author":2402,"museum":5878,"description":10254,"tags":10255,"thumbUrl":10256,"material":107,"size":107,"collection":107,"collections":10257,"showCount":10208,"zanCount":39,"manualWeight":39,"mainColor":40},220519,"zhang-cai-qin-xiang-xu-bei-hong-220519","张采芹像","此作以淡墨白描写就，洗练雅致。画家精准捕捉主人公温文儒雅的神态，一袭长衫垂坠自然，背手而立的姿态舒展从容，将民国文人沉静端方的风骨尽显无遗。\n\n画面四周题跋疏密有致，墨迹与画像相得益彰，既是挚友间的交游印记，也让画面饱满和谐。作品摒弃繁复设色，以凝练线条勾勒形神，寥寥数笔便将人物气度入微呈现，文气与画韵交融，是兼具写实传神与文人意趣的写意肖像精品。",[49,23,51,135,26,58,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F444958c704403f2e072309bafd507fb5.jpg",[],{"id":10259,"slug":10260,"title":10261,"dynasty":115,"author":207,"museum":81,"description":10262,"tags":10263,"thumbUrl":10265,"material":152,"size":10266,"collection":213,"collections":10267,"showCount":10208,"zanCount":1288,"manualWeight":39,"mainColor":75},220217,"zhu-shi-shuang-lu-tu-yi-ming-220217","竹石双鹭图","整幅画面以留白营造幽远意境，右下拳石嶙峋，丛竹攒簇，墨色苍润，枝叶带风自含山野清趣。两只白鹭一动一静，一者振翅掠空，翎羽舒展灵动，一者徐行浅滩，身姿安然闲适，动静相映，愈发衬出水面空寂无波。\n\n淡墨轻勾汀渚细草，浅染出水泽清浅之态，赭色绢底晕开初夏郊塘的温润氛围。笔致秀雅清润，不施浓艳，以极简物象铺陈出悠远禅意，将塘间幽寂之美收揽尺幅，观之如临静塘，暑意尽散，尽显雅致空灵的宋人意趣。",[49,23,50,51,54,25,27,358,700,10264,66,7],"鹭鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bf49cc778c3c4eb41b7d150d5f1c280.jpg","31.4x28.1",[213],{"id":10269,"slug":10270,"title":10271,"dynasty":146,"author":1466,"museum":10272,"description":10273,"tags":10274,"thumbUrl":10275,"material":152,"size":10276,"collection":35,"collections":10277,"showCount":10208,"zanCount":1288,"manualWeight":39,"mainColor":75},219274,"zhu-qin-tu-ren-ren-fa-219274","竹禽图","云南省博物馆","此图为工笔写生小品，颇具宋代院体风格，线条细劲匀称，色彩典雅，动静结合，生趣盎然。画面上，一只鸟栖于竹梢上，昂首作鸣叫状，瞬间的动态表现得极为成功，姿态逼真，灵气飞扬，似闻之有声。画家画竹用双钩笔法完成，笔画坚实细劲。被风吹乱的竹叶之阴阳向背表现得自然准确，虽为静止的瞬间，却有动的意味。此画尺幅虽小，然气韵飞扬，灵动自然。任仁发此幅画作继承了宋代院体画传统，笔势稳健，双钩之线均匀细劲，并填以典雅、和谐、轻艳的色彩，使得画面严谨而婉丽、和谐而富有生机。从收藏印鉴看，该作曾经明代大收藏家王士祯及清代王允祥珍藏。由此可知，此画为传世佳作。",[23,50,51,54,25,358,1988,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3c7c64af9c22bf6f547706221e866df.jpg","纵25.8厘米，横22.9厘米",[35],{"id":10279,"slug":10280,"title":10281,"dynasty":146,"author":3404,"museum":525,"description":10282,"tags":10283,"thumbUrl":10284,"material":88,"size":10285,"collection":70,"collections":10286,"showCount":10208,"zanCount":39,"manualWeight":39,"mainColor":40},217119,"yun-chao-tu-gao-ke-gong-217119","云巢图","《云巢图》是一幅以云巢山为主题的山水画。画中山峰环绕，云雾缭绕，景色宏伟壮观。山间小溪流过，水流潺潺，鸟儿欢快地游翔。画中还有山间小屋、山村村庄和农民劳作的场景。整幅画充满了自然的气息，令人感受到大自然的静谧之美。\n\n高克恭在画《云巢图》时，注重构图布局、选材搭配和色彩运用。他运用了元朝画风中常用的黑白灰三色基调，并在其中穿插了少量的彩色。在选材方面，他认真观察了山水景观的细节，并准确再现了各种山体、水流、云雾、树木等元素。在构图方面，他采用了分割画面的手法，将画面分成上下两部分，使得整幅画更加丰富多彩。",[49,23,51,84,26,55,56,137,293,66,531,1902,1207,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87509821832412b45eeb4aaff52bb945.jpg","60.5x32.7cm",[70],{"id":10288,"slug":10289,"title":10290,"dynasty":18,"author":19,"museum":81,"description":10291,"tags":10292,"thumbUrl":10293,"material":33,"size":10294,"collection":72,"collections":10295,"showCount":10208,"zanCount":743,"manualWeight":39,"mainColor":40},216393,"xiao-xian-qing-ke-tu-sun-ke-hong-216393","销闲清课图","孙克弘（1532—1611） 明书画家、藏书家。一作克宏，字允执，号雪居，松江（今属上海市）人。",[49,23,51,52,25,54,55,7,119,56,58,59,60,61,277,64,63,1019,1239],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fd58699418b7719eb47ed1909ad872c.jpg","279x1333.9",[72],{"id":10297,"slug":10298,"title":10299,"dynasty":115,"author":6627,"museum":20,"description":10300,"tags":10301,"thumbUrl":10303,"material":152,"size":10304,"collection":35,"collections":10305,"showCount":10208,"zanCount":11,"manualWeight":39,"mainColor":75},216082,"an-chun-tu-ye-li-an-zhong-216082","鹌鹑图页","此宋人鹌鹑图页，无作者款印。图绘鹌鹑一只，体形滚圆，斑纹、毛羽如生，作回首状，点缀平坡、秋黍等。清代曾经清耿昭忠、耿嘉祚父子收藏，各有鉴藏印记。近代经吴湖帆、潘静淑夫妇收藏，有吴湖帆题签：“北宋李安忠鹌鹑”。",[49,23,51,50,3363,54,25,27,10302,531,7],"鹌鹑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d691dcbeca802bd7e1c7806aa13adcd.jpg","纵23.5厘米，横23.1厘米",[35],{"id":10307,"slug":10308,"title":10309,"dynasty":97,"author":445,"museum":446,"description":447,"tags":10310,"thumbUrl":10311,"material":33,"size":452,"collection":107,"collections":10312,"showCount":10208,"zanCount":39,"manualWeight":39,"mainColor":40},214885,"shan-shui-tu-ce-7-shi-tao-214885","山水图册-7",[49,50,23,51,24,26,25,56,277,64,751,279,55,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ecda7769b032a5905973de3864dbb28.jpg",[],{"id":10314,"slug":10315,"title":10316,"dynasty":97,"author":207,"museum":99,"description":5576,"tags":10317,"thumbUrl":10318,"material":689,"size":690,"collection":107,"collections":10319,"showCount":10320,"zanCount":39,"manualWeight":39,"mainColor":40},263553,"ke-si-yu-zhi-shi-hua-hui-tu-ce-yu-lan-yi-ming-263553","缂丝御制诗花卉图册-玉兰",[23,24,54,25,27,933,86,7,1138],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7af2d1ea50bfd898d461b49a15cfa160.jpg",[],77,{"id":10322,"slug":10323,"title":6561,"dynasty":18,"author":207,"museum":99,"description":10324,"tags":10325,"thumbUrl":10326,"material":689,"size":690,"collection":70,"collections":10327,"showCount":10320,"zanCount":39,"manualWeight":39,"mainColor":40},234924,"dong-qi-chang-shan-shui-ce-yi-ming-234924","此作用笔松秀虚灵，以淡墨晕染开鸿蒙云气，将远山隐入烟岚，留白衬出无尽空茫。近岸苍松蟠曲，浅渚连山层层延展，平远之境悠悠铺陈。\n墨色清润淡雅，简淡皴擦间，漾开了水泽的空濛静穆。题印落于留白处，与山水相映成趣，书画印浑然相融。整幅画萧散简远，以极简笔墨勾勒出幽寂清远之境，尽显文人画平淡天真的意趣，观之便觉心随山水沉静，独得幽居之乐。",[23,51,24,26,56,870,871,1207,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd808de803d791f66197ab19d95eb2ca7.jpg",[70],{"id":10329,"slug":10330,"title":10331,"dynasty":115,"author":10332,"museum":99,"description":10333,"tags":10334,"thumbUrl":10335,"material":107,"size":107,"collection":107,"collections":10336,"showCount":10320,"zanCount":39,"manualWeight":39,"mainColor":75},227545,"luo-hua-you-yu-tu-juan-liu-cai-227545","落花游鱼图卷","刘寀","《落花游鱼图》是北宋刘寀创作的绢本设色画，现藏于美国圣路易美术馆。\n\n此图开始先画盛开的杏花，伸向水面，向后展开，落花引来群鱼争食、或聚或散，或潜游，或上浮，或回泳，翻藻戏蒲，以示水中的畅泳自然之态。其画法全用渲染，间或用没骨法，不见钩勒，活泼生动。这种表现方法和诗情画意，独创一格，多为后人所仿效。",[49,23,52,54,25,2342,102,7010,104,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa408c3b0e7c06087b3ea0051b1546b89.jpg",[],{"id":10338,"slug":10339,"title":10340,"dynasty":97,"author":655,"museum":99,"description":10341,"tags":10342,"thumbUrl":10344,"material":319,"size":4432,"collection":35,"collections":10345,"showCount":10320,"zanCount":39,"manualWeight":39,"mainColor":40},222708,"mei-hua-tu-zhou-jin-nong-222708","梅花图轴","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。",[49,23,84,26,403,528,31,277,7,86,10343],"漆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa7b6c67932d0a5c269f78907c8a7ade.jpg",[35,72],{"id":10347,"slug":10348,"title":10349,"dynasty":115,"author":2718,"museum":222,"description":10350,"tags":10351,"thumbUrl":10352,"material":10353,"size":10354,"collection":213,"collections":10355,"showCount":10320,"zanCount":1288,"manualWeight":39,"mainColor":40},221623,"tang-feng-tu-juan-quan-juan-ma-he-zhi-221623","唐风图卷全卷","《诗经·唐风》中的“唐”是指周成王的弟弟叔虞的封国所在地，大约在今天的山西太原以南沿汾水流域一带的地方，“唐风”就是这个区域的诗歌。宋高宗赵构非常喜欢马和之的画风，每写《诗经》就命其补图。此卷文图相辅，先文后图，文为《诗经·唐风》中的十二篇诗，每首诗文后附图，用柳叶描、线条飘逸、着色轻淡、古雅脱俗，体现出诗中的意境。",[49,23,51,52,135,26,25,58,56,64,63,60,61,66,277,2142,7,86,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bf10a64d39a8cb339644e571e18d3f7.jpg","绢本，手卷","纵33厘米、横1038厘米",[213,199,72],{"id":10357,"slug":10358,"title":10359,"dynasty":18,"author":207,"museum":446,"description":10360,"tags":10361,"thumbUrl":10363,"material":152,"size":10364,"collection":35,"collections":10365,"showCount":10320,"zanCount":39,"manualWeight":39,"mainColor":75},219003,"gua-shu-tu-yi-ming-219003","瓜鼠图","这幅画描绘了一只老鼠啃食甜瓜的情景，象征着甜瓜的长寿和后人的祝福。由于没有背景，瓜子很逼真，老鼠很灵动，使这个民俗吉祥的题材变得清新雅致，不是一般的普通手笔，可能是出自训练有素的宫廷画师之手。",[49,50,23,51,54,25,27,3252,10362,332,7],"瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F786880bde7884db33cdeb9b80987b151.jpg","24.6x25.6cm",[35],{"id":10367,"slug":10368,"title":10369,"dynasty":146,"author":10370,"museum":81,"description":10371,"tags":10372,"thumbUrl":10373,"material":152,"size":10374,"collection":199,"collections":10375,"showCount":10320,"zanCount":39,"manualWeight":39,"mainColor":75},216971,"da-shi-xiang-zhou-zhao-yi-216971","大士像轴","赵奕","观音大士像轴是赵奕在元朝时期创作的一幅绘画，描绘了观音大士的形象。观音是佛教中的一位菩萨，被认为是慈悲和智慧的化身。在这幅画中，观音大士身着传统的中国服装，手持佛珠，脸上带着慈祥的微笑。观音大士像轴通常用来装饰寺庙或供奉在佛教场所。",[23,51,84,25,54,1284,58,358,277,66,406,180,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca16ca2a1f4f371f973d05319d870cd9.jpg","108x54.8",[199],{"id":10377,"slug":10378,"title":10379,"dynasty":18,"author":3070,"museum":20,"description":10380,"tags":10381,"thumbUrl":10382,"material":88,"size":10383,"collection":107,"collections":10384,"showCount":10320,"zanCount":39,"manualWeight":39,"mainColor":40},214622,"hua-hui-ce-19-chen-chun-214622","花卉册-19","陈淳（1483—1544），字道复,后以字行,更字复甫,号白阳,又号白阳山人，江苏苏州人。曾从文徵明学画，但是不拘于师法，山水、花卉自具门径。花卉善写意，淡墨浅色，生动有致。与徐渭并称“青藤白阳”，代表明中期水墨写意花鸟画的新格调，是吴门画派的代表画家。\n用笔简洁，笔势潇洒，行笔迅疾，许多花卉草虫仅用深浅浓淡的不同墨色，却能完整地表达出物象的形状及立体效果，富有生意，具有强烈的笔墨情趣。",[23,51,50,24,26,403,27,528,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b278267b998a115bffa6c856ead4911.jpg","纵28 厘米 横37.9 厘米",[],{"id":10386,"slug":10387,"title":10388,"dynasty":115,"author":748,"museum":20,"description":10389,"tags":10390,"thumbUrl":10391,"material":88,"size":813,"collection":107,"collections":10392,"showCount":10320,"zanCount":39,"manualWeight":39,"mainColor":40},214280,"duo-jing-lou-shi-tie-2-mi-fei-214280","多景楼诗帖-2","笔势如天马行空，八面出锋却无一丝狂乱。浓墨处沉雄如坠石，飞白间灵动似流云。“梦”字欹侧中藏稳劲，“曾”字转折处见刚柔，“游”之走笔如轻舟逐浪，“天”之撇捺若长空舒翼。每一笔都带着“刷字”的痛快，却又暗合法度，晋韵唐法融于一己性情。墨色干湿浓淡相间，线条粗细缓急交错，织就充满韵律的画面——仿佛能听见运笔时的飒飒风声，见其挥毫时的潇洒神态。沉着中见痛快，飘逸里藏筋骨，于不经意间尽显大家气象，这便是米字独有的魅力。",[50,23,51,86,119,418,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea0973bce6cbdb78d7eee5551d38d37e.jpg",[],{"id":10394,"slug":10395,"title":10396,"dynasty":192,"author":10397,"museum":99,"description":10398,"tags":10399,"thumbUrl":10401,"material":689,"size":690,"collection":107,"collections":10402,"showCount":10403,"zanCount":39,"manualWeight":39,"mainColor":75},290511,"bao-ji-bin-ga-luo-fo-xiang-wu-dao-zi-290511","宝积宾伽罗佛像","吴道子","吴道子（约680年—759年），又名道玄，唐代著名画家，画史尊称画圣。汉族，阳翟（今河南禹州）人。约生于公元680年（永隆元年） ，卒于公元758年（乾元元年）前后。少孤贫，年轻时即有画名。曾任兖州瑕丘（今山东滋阳）县尉，不久即辞职。后流落洛阳，从事壁画创作。开元年间以善画被召入宫廷，历任供奉、内教博士、宁王友。曾随张旭、贺知章学习书法，通过观赏公孙大娘舞剑，体会用笔之道。擅佛道、神鬼、人物、山水、鸟兽、草木、楼阁等，尤精于佛道、人物，长于壁画创作。",[23,50,51,84,1284,25,58,10400,4059,7],"佛教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff024de3f0cf5457299698b68bc41684e.jpg",[],76,{"id":10405,"slug":10406,"title":10407,"dynasty":18,"author":161,"museum":99,"description":2140,"tags":10408,"thumbUrl":10411,"material":689,"size":690,"collection":107,"collections":10412,"showCount":10403,"zanCount":1288,"manualWeight":39,"mainColor":40},288067,"chui-diao-tu-shen-zhou-288067","垂钓图",[49,23,50,26,84,51,56,58,4712,277,61,10409,713,86,7,10410],"垂钓","隐逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5701209ee802812e6ba423e0fd68c748.jpg",[],{"id":10414,"slug":10415,"title":17,"dynasty":97,"author":248,"museum":99,"description":685,"tags":10416,"thumbUrl":10417,"material":689,"size":690,"collection":107,"collections":10418,"showCount":10403,"zanCount":39,"manualWeight":39,"mainColor":40},239433,"hua-niao-ce-yun-shou-ping-239433",[23,51,24,264,25,26,27,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F142b6495fb6062dbc404fdab2aa71537.jpg",[],{"id":10420,"slug":10421,"title":10422,"dynasty":97,"author":1180,"museum":175,"description":9351,"tags":10423,"thumbUrl":10425,"material":107,"size":107,"collection":35,"collections":10426,"showCount":10403,"zanCount":1288,"manualWeight":39,"mainColor":40},236914,"ping-hua-chang-pu-tu-zhou-wu-chang-shuo-236914","瓶花菖蒲图轴",[23,51,84,25,27,8137,10424,26,86,119,7],"菖蒲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe31a2e8d71982568c3110d604c9844d9.jpg",[35,72],{"id":10428,"slug":10429,"title":2149,"dynasty":97,"author":1180,"museum":175,"description":3825,"tags":10430,"thumbUrl":10431,"material":391,"size":107,"collection":107,"collections":10432,"showCount":10403,"zanCount":39,"manualWeight":39,"mainColor":40},234303,"hua-hui-ce-wu-chang-shuo-234303",[23,51,24,25,403,27,1195,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73b8f51f1b3a31f1c9e208eec84c89a4.jpg",[],{"id":10434,"slug":10435,"title":2515,"dynasty":18,"author":161,"museum":175,"description":2516,"tags":10436,"thumbUrl":10437,"material":319,"size":2519,"collection":107,"collections":10438,"showCount":10403,"zanCount":39,"manualWeight":39,"mainColor":40},234097,"wu-zhong-shan-shui-ce-shen-zhou-234097",[23,51,24,26,55,119,7,56,59,60,61,62,64,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe97c78df6684545aea53e3f99cba50f8.jpg",[],{"id":10440,"slug":10441,"title":10442,"dynasty":18,"author":161,"museum":99,"description":10443,"tags":10444,"thumbUrl":10445,"material":107,"size":107,"collection":107,"collections":10446,"showCount":10403,"zanCount":39,"manualWeight":39,"mainColor":40},228837,"zi-sang-yin-ru-tu-juan-shen-zhou-228837","紫桑隐如图卷","此作用笔温厚苍润，取景江南水村一隅。近岸篱舍环于木栅，垂柳初舒柔条，丹枫点染暖艳，柴门边家犬迎客，三两屋舍透出融融闲趣。湖面轻舟漾波，渔者撑篙送访客登岸，一动一静，鲜活勾勒乡居日常。\n山石以淡赭晕染，墨色层次雅致，屋舍人物简括生动，将林泉高致的隐逸之趣，揉入江南水乡的温润景致里，淡远冲和，尽显归园田居的恬然意韵。",[49,23,51,52,25,55,56,64,62,58,379,61,150,714,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1dd651f9864f373fed8f9382256e76e.jpg",[],{"id":10448,"slug":10449,"title":10450,"dynasty":97,"author":6313,"museum":81,"description":6314,"tags":10451,"thumbUrl":10453,"material":107,"size":10454,"collection":35,"collections":10455,"showCount":10403,"zanCount":1288,"manualWeight":39,"mainColor":40},222808,"bian-dou-hua-wang-wu-222808","扁荳花",[49,23,27,25,54,86,7,10452,265,7478,896],"扁豆花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbe5cc35daef658d871bd3f676303498.jpg","34.2x50.4",[35,72],{"id":10457,"slug":10458,"title":10459,"dynasty":18,"author":10460,"museum":222,"description":10461,"tags":10462,"thumbUrl":10463,"material":391,"size":10464,"collection":35,"collections":10465,"showCount":10403,"zanCount":11,"manualWeight":39,"mainColor":40},222522,"mei-cha-shan-que-tu-zhu-zhu-222522","梅茶山雀图","朱竺","图绘梅、茶花、山雀的花鸟图。雀站立于茶树枝上，昂头望着上方的红茶花和金色梅花，神态专注；梅枝自然伸展，朵朵梅花点缀其上；茶花争相绽放，一抹红色美艳动人。朱竺，号君实，明代画家，工山水，亦能花鸟、人物。",[49,23,51,84,25,54,7,528,344,8526,27,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff27021c8b1604adccb8eb0607990f6.jpg","119.3x39.6cm",[35,72],{"id":10467,"slug":10468,"title":10469,"dynasty":146,"author":10470,"museum":3850,"description":10471,"tags":10472,"thumbUrl":10473,"material":502,"size":10474,"collection":107,"collections":10475,"showCount":10403,"zanCount":1288,"manualWeight":39,"mainColor":40},221749,"jiu-ge-tu-ji-ci-juan-zhu-ti-zhang-wo-221749","九歌图及词卷主体","张渥","《九歌图》卷共十一段，每段一图，画屈原像及楚辞《九歌》中的《东皇太一》《云中君》《湘君》《湘夫人》《大司命》《少司命》《东君》《河伯》《山鬼》《国殇》十章内容。该图笔法流畅工整，秀劲宛转，线条纤细飞扬，体现了元代的白描风格。",[49,50,23,51,52,135,26,58,86,7,1207,871],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19bda932e8c57e252c3f7db62b08b53.jpg","纵28 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厘米",[],{"id":10477,"slug":10478,"title":10479,"dynasty":146,"author":1644,"museum":175,"description":10480,"tags":10481,"thumbUrl":10482,"material":391,"size":10483,"collection":70,"collections":10484,"showCount":10403,"zanCount":1288,"manualWeight":39,"mainColor":75},221711,"you-ju-tu-juan-qian-xuan-221711","幽居图卷","此图是钱选所绘的青绿山水画作之一。图中湖光山色静谧幽淡，展卷之始见三五秀石零落坡边岸角，青松虬曲其上，村居掩映树石之间，一叶小艇驶向水平如镜的湖中，对岸碧峰起伏，参差错落，楼阁为茂林所环抱，茅舍隐现丛树兀石之后，幽居之景、之境、之情、之趣毕现于纸上。其画山石树木皆用方折的线条勾出轮廓，不作皴法，敷以青、绿、赭等色，山脚处略施金粉，于严整工致中见古拙秀逸之气。图的右上方自题“幽居图”三字，其中“幽”字残缺严重，形近“山”字，故亦被称作“山居图”。本幅及前后隔水有“怡亲王宝”等印共29方，尾纸上有纪仪、纪堂、高士奇、邵松年等人的题跋。\n钱选的山水画以青绿设色为主，近师南宋赵伯驹，远溯杨隋展子虔、李昭道，运笔有生拙之趣，设色明快不失艳丽，布局张弛得度，疏密有致，自成风貌。我院另藏《山居图》一卷，虽与《幽居图》构图相异，但笔法、设色同出一源，两者堪为“双璧”。《浮玉山居图》卷（藏上海博物馆）则是钱选以水墨为主的代表作，卷中山石的阴阳向背用墨笔勾皴来表现，花青淡施丛树小草之上，清逸秀润之气溢出卷外，别具一格，与其青绿山水有异曲同工之妙。\n论成就，钱选跳出两宋院体的窠臼，追求晋唐作风，在元初画坛独树一帜，对开创一代画风起了积极的作用。然而，由于赵孟頫与“元四家”的山水画更符合文人重笔墨、尚意趣的审美观念，和他们相比，钱选对后世的影响便略逊一筹了。",[49,50,23,51,52,25,54,86,7,56,64,727,716,150,610,751,6096,379],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8cf429f09a10060fba89347fd3819ea.jpg","纵27厘米, 横115.9厘米",[70,72],{"id":10486,"slug":10487,"title":10488,"dynasty":115,"author":10489,"museum":81,"description":10490,"tags":10491,"thumbUrl":10492,"material":88,"size":10493,"collection":122,"collections":10494,"showCount":10403,"zanCount":1288,"manualWeight":39,"mainColor":40},221247,"lao-zi-qi-niu-tu-zhou-chao-bu-zhi-221247","老子骑牛图轴","晁补之","图中心位置画有一位光秃尖顶、宽额留须的圆脸老人，他身穿右衽长袍，腰有缚带，在两道浓黑的月牙形的长眉下，藏着一对炯炯有神的笑眼，和颜悦色地正面对着观众，骑乘在一头壮牛身上，他双手按扶着牛背。由于山路崎岖险要，刚出幽谷关，地势突变平缓，又要准备西去，这时主人露出成功的喜悦。乘骑在主人的驾驭下，继续开步行进。图左上角画有枯枝残藤沿岩壁漫漶而下，岩石峭壁，大有谷关之要，出关后风光截然不同。\n本图署款：“晁无咎写。”钤印一“云屏烟障吾庐”。诗塘有宋王诜四言赞。本幅有清高宗弘历题诗。收传印记有“明文清世家图书”，清乾隆鉴藏八玺全。",[23,51,84,26,58,1115,86,119,7,967],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c80c3c9a6bb3b8623ed0876ee5a459.jpg","50.6x20.4",[122],{"id":10496,"slug":10497,"title":10498,"dynasty":146,"author":431,"museum":175,"description":10499,"tags":10500,"thumbUrl":10501,"material":319,"size":10502,"collection":122,"collections":10503,"showCount":10403,"zanCount":39,"manualWeight":39,"mainColor":40},220879,"qi-jue-shi-ce-zhao-meng-fu-220879","七绝诗册","此帖虽仅短短五行大字，却笔力深沉稳健，气势恢弘傲放，结体严谨端庄，首尾富于变化。书风虽显苍老，但依旧雍容洒脱，是赵氏晚年大行书中的精品。\n释文：煉得身形似鶴形，千株松下兩函經。我來問道無餘事，雲在青天水在瓶。子昂爲中庭老書。",[49,119,86,51,24,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02aa5e347b479247c231fe1bbedb407b.jpg","纵34.7厘米,横35.3厘米",[122],{"id":10505,"slug":10506,"title":10507,"dynasty":146,"author":431,"museum":20,"description":10508,"tags":10509,"thumbUrl":10511,"material":319,"size":10512,"collection":122,"collections":10513,"showCount":10403,"zanCount":1288,"manualWeight":39,"mainColor":40},220833,"guang-fu-chong-jian-ta-ji-zhao-meng-fu-220833","光福重建塔记","光福寺建于梁大同年，位于吴县郑尉山黾峰。元代寺内原塔毁坏。元延祐年间，众僧化缘重新建塔。至治元年立碑记，由住持沙门了清撰文，由赵孟頫书写碑文并篆额。《光福重建塔记》为赵孟頫晚年得意之作。明代书家董其昌在卷后题跋中评说：“此卷笔意虚和，尤可宝也。”\n释文：光福重建塔记佛慧雄辩大师，本寺住持沙门了清撰。 前翰林学士承旨、荣禄大夫知制诰兼修国史赵孟頫书并篆题 塔者，西域圣人之灵庙，众生灭罪致福之具也。自阿育王建初，后代震旦之来表刹兴盛者，莫盛于萧梁之世焉。光福塔实者，梁大同权舆，唐会昌暴殄，复兴咸通，至赵宋，宋至今朝大德中，住山磻师时毕方鸟栖其颠，以致铁石瓦甓(pì)（砖）隳(huī)（毁坏）哉，有不可葺(qì)（修理房屋）者。住持相师谟(mó)（计划）画鼎(dǐng)（正当、正在）创，真人周静翁仙宗而尚佛，来自双凤，作檀越主，率寺邻富而信者幼成徐公、沙门愿而干者成、彻、德三公暨寺职班员涓吉命匠篾栖鸾竹索以为绹村化羊杉缚以为架，撤顶至踵草，古从新，即旧基，越旧制，别絫(lěi)（累）层级，至五半，徐公脱屦(jù)（古时用麻、葛制成的鞋）索诃相师，迁乔梵行，施心愿力，唯静翁不移。走书成曰：“山中住持闻有更易，倘林屋清师补处，则塔缘幸甚，香火幸甚。”既而疏来洞庭，孤云乃起，一苇未杭，翁已羽化，乌乎！元度乎？重来乎？三叹终至，至未席温，或谓塔缘幸欤，不幸欤？余曰：佛三祇(zhǐ)（恭敬）百刻修六度万行以戒、定、慧，力成舍利，益众生者，塔之谓也。由塔即庙，庙即貌，佛圣德令众归，命行檀波罗而得福田。今啬(sè)一缘，将普万化是苻佛本愿，益众生欤？果元度之类欤？子知其然而不知其所以然欤？于是越明年，具梵礼，迎铜像，出化东。行首翁之儿妇魏氏母子承祯同调无改大父之道，乐助而之任洋沙头太仓苏台蓂(míng)见四新稇(kǔn)载而返，寻遇不请之檀朱公阙工施财施艺特银其相轮之顶，复有刾(cì)（刺）血为墨，书妙经者，二渡长江，入长淮，募远者三大槩(gài)（概），廿馀同袍，听命辅势，忘倦宣劳，聚诸村鸠。诸工一举而完。七级自尖以还，饰盖至四。岁暮收工，明年像复出，西募，春行，夏归，秋作，馀层列屋，皆落成，其辉辉乎，摩尼圆明；沓(tà)沓乎，露盘屃赑（xìbì）(赑屃:传说中的动物，像龟。旧时石碑座多雕刻成赑屃形状)。碧瓦鳞集，画檐翚(huī)飞，帀(zā)（匝）阑楯而宝鉩(xǐ)（鉨：古“玺”），和鸣镇山川而人天瞻仰。具功德一十五种：消罪业八千万，四千不夜常光，免责备于香火，实一不幸而众幸且甚也。遂书。其延祐改元二月十日之建始，来年五月望日之毕工。系以辞曰：阿阇(shé)（高僧）世藏设利罗，阿育得之出恒河，八万四千起塔婆。后世则之广兴建，四方玲珑成八面，萧梁以前世未见。我此灵庙实大同，起伏二次三鸠工，延祐以来又六冬。清宁仙人德相佛，福缘慈缘普泽物，白花岩头橛(jué)屼(wù)屼。清也薄有铜像缘，两募一举功其圆，尽未来际民福田。常光历刻射牛斗，羌椅椅兮淑吾后，哿(gě)矣富人寿长久。 至治元年二月望日建，皇帝陛下千万寿。",[49,23,51,86,52,119,1284,10510,7],"塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e3b0b925128b820dd4472547148a6de.jpg","纵29厘米，横377厘米",[122],{"id":10515,"slug":10516,"title":10517,"dynasty":146,"author":10518,"museum":81,"description":10519,"tags":10520,"thumbUrl":10521,"material":88,"size":10522,"collection":70,"collections":10523,"showCount":10403,"zanCount":743,"manualWeight":39,"mainColor":40},218911,"shan-yin-yun-xue-tu-fang-cong-yi-218911","山阴云雪图","方从义","这幅画的构图相当简单，只是在山顶和树上有一股烟和雾。水墨的使用非常丰富，给树木、岩石、云朵和山峰带来不同的表情和质感。画笔充满了水分，云朵和烟雾似乎随着水分漂浮和移动。虽然这幅画很小，但它显示了一种令人兴奋的水墨节奏。",[49,23,51,84,26,55,7,86,119,56,870,1207,2954,871,293,150,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6ec60bc5870f2b71d67a4af41f89a6c.jpg","62.6x25.5厘米",[70],{"id":10525,"slug":10526,"title":10527,"dynasty":97,"author":697,"museum":20,"description":698,"tags":10528,"thumbUrl":10529,"material":88,"size":702,"collection":107,"collections":10530,"showCount":10403,"zanCount":39,"manualWeight":39,"mainColor":40},214680,"mei-hua-zhu-shi-tu-ce-8-wang-shi-shen-214680","梅花竹石图册-8",[50,23,51,24,26,528,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a8e419cb950121bdd96f39dcd6d2a1d.jpg",[],{"id":10532,"slug":10533,"title":10534,"dynasty":97,"author":10535,"museum":81,"description":10536,"tags":10537,"thumbUrl":10538,"material":88,"size":10539,"collection":122,"collections":10540,"showCount":10403,"zanCount":39,"manualWeight":39,"mainColor":40},214655,"lin-su-shi-shu-du-fu-shi-wang-you-dun-214655","临苏轼书杜甫诗","汪由敦","苏轼原迹「书杜甫桤木诗」卷",[86,134,119,26,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd0aab16eda6b62bd40f21fb84ca540.jpg","79.3x36.7",[122],{"id":10542,"slug":10543,"title":10544,"dynasty":1037,"author":4975,"museum":99,"description":6588,"tags":10545,"thumbUrl":10546,"material":689,"size":690,"collection":107,"collections":10547,"showCount":10548,"zanCount":39,"manualWeight":39,"mainColor":75},289453,"shi-liu-tu-huang-ju-cai-289453","石榴图",[50,23,51,27,25,54,530,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcfa0285b330e25a9c43ac0ab66d7224.jpg",[],75,{"id":10550,"slug":10551,"title":10552,"dynasty":1037,"author":9204,"museum":99,"description":10553,"tags":10554,"thumbUrl":10555,"material":689,"size":690,"collection":107,"collections":10556,"showCount":10548,"zanCount":39,"manualWeight":39,"mainColor":75},288554,"xiao-xiang-tu-hua-xin-dong-yuan-288554","潇湘图画心","《潇湘图》中表现的是南方山水，图绘一片湖光山色，山势平缓连绵，山峦多用披麻皴，并以墨点渲染山峦之上的植被，平远的构图方式和近景中大片水域的结合，让画面有很强的空间感，更呈现出江南山水的迷蒙。山水之中又有人物渔舟其间，赋色鲜明，趣味横生，为寂静幽深的山林增添了无限生机。\n《潇湘图》被画史视为“南派”山水的开山之作 ，也是中国山水画史上代表性作品之一。",[49,50,23,51,52,26,56,61,62,714,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeebc0ca9167bf3b40bd6d5a6b3e8cc6.jpg",[],{"id":10558,"slug":10559,"title":10560,"dynasty":146,"author":431,"museum":81,"description":10561,"tags":10562,"thumbUrl":10563,"material":239,"size":10564,"collection":107,"collections":10565,"showCount":10548,"zanCount":1288,"manualWeight":39,"mainColor":40},231340,"zhu-shi-tu-yuan-dai-ji-jin-zhi-yi-zhao-meng-fu-231340","竹石图－元代集锦之一","此幅赵孟頫《枯木竹石》画中书法的笔法，比之于其它常见的名件，本件在画石的“飞白法”，由于画石是都用中锋的圆笔，犹如“玉箸篆”的笔画，行笔安稳，并无强烈的快速感，显不出“飞白法”。这也兼见于画枯木条的笔法。画竹为新篁，出锋锐利如新硎发刃，从“结叶”的方法如“燕尾”、如“个”，及棘条圆体感，比之于其它备件，如同为台北故宫藏大德三年（1299己亥，为杨安甫作）的《疏林秀石》最为接近。本件《枯木竹石》款：“子昂为成之作”，书风与印记：“赵子昂印”，也是相同。真品应无疑义。因此，本件可定为1299年作。就元代论，画竹尚是注重生态，若比之于同时期的李衍（1244年-1320年），赵孟頫如“燕尾”、如“个”的竹叶结组，重视笔趣远高于自然生态。更由于纸张稍熟，吸墨性不强，对岩石的渲染加强了块面感与浑厚的端重。吴升《大观录》记此画：“竹则掩翠稍寒，柯则若虬蟠形古，气韵奕奕。”安仪周：“水墨作怪石平坡，细竹棘革，笔墨气韵兼美。”是对整体画作气息的描述。\n存世的赵孟頫“古木竹石”这一类题材尚多。横向发展的兰竹画，存世的几件作品，都是“中央为准”，两旁再布置。这一当门的大石，也正是“石如飞白”的标志。大有一石当关，昂扬于天地之间。这从前举台北故宫藏《疏林秀石》（《宋元集绘册》第四开）；《无款竹木》（《宋元集绘册》第十一开）；北京故宫藏《秀石疏林》；克利夫兰馆的《竹石幽兰》（为善夫），再加以本件《枯木竹石》均是如出一辙的布局。即使换成是轴装直件，以北京故宫藏《古林竹石》，中央立石最为标准。至若台北故宫《窠木竹石》；王己干旧藏《枯树竹石》，画中立石都可做如此观。这种同样的布局，一再出现，意味着什么呢？或许这是庭园、郊野一角的即景？\n就竹的题材，从赵孟頫的题款常写道“为口口作”，表示元代以来，画家常用之以为投赠。这因笔砚间，画竹画兰便利。对于“竹”的意识，赵孟頫在他的《松雪斋集》《修竹赋》：“虚其心实其节，贯四时而不改柯易叶。则吾以是观君子之德。”表意是相当传统。画竹配上的“石”，赵孟頫的诗文里，未见有所指示。再以虞集咏《子昂竹石》：“数尺琅开近玉阶，连昌宫苑少人来。庚庚苍石如人立，恐有题名上紫苔。”的“庚庚苍石如人立”，“庚庚”是坚强，也将石拟人化，还是与“观君子之德”相同了。",[23,51,26,55,358,700,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb050c2489317ffbfaa32479f5913e8.jpg","纵99．4厘米，横48．2厘米",[],{"id":10567,"slug":10568,"title":10569,"dynasty":97,"author":4135,"museum":7055,"description":10570,"tags":10571,"thumbUrl":10572,"material":319,"size":10573,"collection":70,"collections":10574,"showCount":10548,"zanCount":39,"manualWeight":39,"mainColor":40},222634,"fu-gui-qing-gao-tu-gao-feng-han-222634","富贵清高图","高凤翰 （1683—1748）清朝，原名翰，字西园，号南村，别号因地、因时、因病等40多个，晚署南阜左手等，山东胶州人。一说“扬州八怪”之一。自幼能诗画，诗宗陆游，画先从父，后从胶州李世锡、淄州靳秋水、安邱张氏父子等，早年即已成名〔清雍正六年（1728）以前的画，现各地珍藏多幅〕。19岁时，中秀才，后应乡试不第。雍正五年，应“贤良方正”特试，名列第一。赴任前，漫游山东、河南、江西等地，广交名人，并有诗集《击林集》、《湖海集》。金石书画造诣很高，治砚更有独到研究。\n工书、画，善山水，纵逸不拘于法，纯以气胜，兼北宋之雄浑，元人之静逸。花卉亦妙是天趣。老年患风 ，右臂不仁，用左手作画，笔益苍辣，故号尚左生，归云老人，博学精艺，尤豪于诗，早为王士祯所赏识。性嗜砚，所藏至千余，大半手琢，自为铭词。因刻“丁巳残人”“尚左生”二印，官徽州绩溪县令，有政声，康熙五十九年（1720）客安邱张卯居家，张为作《南村草堂图》，西园为作《杞城别墅图》以报之，乾隆十二年（1747）为其孙攀鳞作《寒香图》卷，有《砚史》、《南阜诗抄》。卒年六十六岁。（按高凤翰生卒年，王伯敏《中国绘画史》作（16338-1719），享年八十二岁；秦岭云《杨州八家丛话》作（1863-1749）六十七岁。其说不一，待考。\n雍正十一年官泰州巡盐分司。去职后流寓扬州。工于山水，花卉，山水师法宋人，近赵令穰、郭熙一路，中年以后，到了江南，与扬州画派画家如金农、郑燮、高翔、李方膺、边寿民等相往还，画风相互影响，多作花卉树石，笔法奔放，纵逸不拘成法。亦能画人物，造型准确，神态潇洒秀逸。晚年则趋于奔放纵逸。乾隆二年丁巳右臂病发，坚持用左臂，自号后尚左先、丁巳残人，艰苦力学，书、画为之一变，生拗苍劲，更富奇趣，为时所称。传世画迹有南京博物院藏《层雪炉香图》轴、中央美术学院藏《秋山读书图》轴等。\n工书法，善篆刻，喜收藏，精鉴赏，曾收藏秦汉印章及明清名家制印至万余方，各制有谱录，又收藏砚石至千百方，并制有铭词，手书后大半自行刻凿，著有《砚史》等行世。\n亦被列为扬州八怪之一。有《南阜山人全集》等著作传于世。",[49,50,23,51,52,25,26,27,119,462,7,420,308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2e34057c86c9d6e4d85db7601af0f57.jpg","567.8x21.1",[70,242],{"id":10576,"slug":10577,"title":10578,"dynasty":18,"author":2181,"museum":81,"description":10579,"tags":10580,"thumbUrl":10581,"material":4816,"size":10582,"collection":70,"collections":10583,"showCount":10548,"zanCount":39,"manualWeight":39,"mainColor":40},220944,"shi-deng-fei-liu-zhou-dong-qi-chang-220944","石磴飞流轴","石磴飞流图是董其昌72岁时游昆山玉峰山途中在船上所画，此时他刚辞去南京礼部尚书回乡。这幅作品为董氏艺术成熟期的作品，虽不是他一生众多画作中最重要之作，但却是“以笔墨精妙论山水不及画”的笔墨论实践之作。\n董其昌自22岁学画，到中年时期与陈继儒联手反对“吴门”末学之俗，开创并打造儒雅的松江画派，“与古人血战”，临仿了大量古画后，在晚年更加注重笔墨表现，注重内心表达。他用极高的书法造诣，以“南宗”自诩，追求“一超直入如来地”之境，把绘画视为笔墨游戏。",[49,23,51,84,26,55,86,119,56,700,61,610,64,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fda8d74c54c52559b8ba3589a42552e.jpg","147.1×55.8cm",[70,242],{"id":10585,"slug":10586,"title":10587,"dynasty":18,"author":2181,"museum":81,"description":10588,"tags":10589,"thumbUrl":10590,"material":319,"size":10591,"collection":70,"collections":10592,"showCount":10548,"zanCount":39,"manualWeight":39,"mainColor":40},220939,"qi-feng-bai-yun-tu-zhou-dong-qi-chang-220939","奇峰白云图轴","董其昌《奇峰白云图轴》，纵273厘米，横58.9厘米，中国台北故宫博物馆藏。董其昌，字玄宰，号思白，华亭（今上海）人。万历十六年进士，官至礼部尚书。精鉴藏，工书善画。山水宗董巨，集宋元诸家之长。倡南北宗论，以南宗为正统，对清代画坛影响甚巨。\n\n此轴董氏描绘山村小景，境本寻常。奇峰矗立于天外，云影项洞于林表，遂觉景况清爽，分外宜人。画山画树皆用淡墨起手，逐层加浓。树中如有烟气，山色明净而郁厚，盖皆用墨之功也。\n\n由于勤奋和高寿，董其昌一生创作了许多山水画，“早年英锐，中年苍润，晚年纯以骨力胜”。据著录所载，董氏作品之多，在明代画家中仅有文征明可与之相比。这些山水画的题材比较丰富，大致可分为两类：一类是仿古名家的作品，如仿王维《寒林远岫图》、仿董源《夏口待渡图》、仿巨然《出云降雨图》、仿米芾《潇湘白云图》、仿王诜《烟江叠嶂图》、仿赵伯驹《春山读书图》、仿米友仁《楚山清晓图》、仿赵令穰《江乡清夏图》、仿高克恭《夏山烟雨图》、仿黄公望《富春山居图》、仿王蒙《云山小隐图》、仿倪瓒《横云秋霁图》、仿沈周《岚容川色图》等。这类作品虽称仿作，但不是模拟蹈袭，而是在学习前人技法的同时，融以自己的风格，含有继承传统、进而创新的成分。\n\n另一类是独自的创作，如《升山图》（现藏南京博物院）、《遥峰泼翠图》、《山川出云图》、《赠逊之山水图册》、《秋兴八景图册》（现藏上海博物馆）、《岩居图》、《潇湘奇观图》（现藏故宫博物院）、《霜林秋思图》、《婉娈草堂图》（现藏台北士林故宫博物院）、《山水八景图》（现藏美国普林斯顿大学美术馆）、《江山秋霁图》（现藏美国克里夫兰美术馆）等。",[49,23,51,84,26,55,86,7,56,6497,1937,64,727,150,715,279,751],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e37fd90d7727b977ad5b9503509c64c.jpg","纵273厘米,横58.9厘米",[70,242],{"id":10594,"slug":10595,"title":10596,"dynasty":97,"author":5795,"museum":446,"description":5998,"tags":10597,"thumbUrl":10598,"material":33,"size":6002,"collection":70,"collections":10599,"showCount":10548,"zanCount":39,"manualWeight":39,"mainColor":40},219758,"shan-shui-si-jing-zhi-dong-kun-can-219758","山水四景之冬",[49,23,51,26,56,2681,137,62,61,150,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e12908bdfbb0b49c1ea3f005a312023.jpg",[70],{"id":10601,"slug":10602,"title":606,"dynasty":18,"author":955,"museum":10603,"description":10604,"tags":10605,"thumbUrl":10606,"material":152,"size":107,"collection":199,"collections":10607,"showCount":10548,"zanCount":39,"manualWeight":39,"mainColor":1441},219592,"pin-cha-tu-chen-hong-shou-219592","香港艺术馆","该场景画在一个开放的空间里，用石头、木桌、茶具和荷花装饰。两个高卓人相对而坐，最近的一个已经弹完了古筝，而对面的人则坐在一张大香蕉叶上，一起喝香茶。",[23,50,51,84,54,25,7,58,277,102,2278,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe38a7bfcb0587783355bda0d2f3e792b.jpg",[199],{"id":10609,"slug":10610,"title":10611,"dynasty":146,"author":3963,"museum":81,"description":10612,"tags":10613,"thumbUrl":10614,"material":33,"size":10615,"collection":70,"collections":10616,"showCount":10548,"zanCount":923,"manualWeight":39,"mainColor":40},219010,"cai-ling-tu-zhao-yong-219010","采菱图","树木的笔触是受李成和郭熙的笔触启发。船只沿着溪流漂浮，叶子上满是水葫芦，没有留下任何空隙。然而，在上图中，天空是半圆的，给人一种河流和天空的开放感。这幅画完成于1342年（至正二年十月），时年54岁。",[49,23,26,25,55,86,7,56,610,150,727,64,1977,6000],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41588ce7a9410018582e96d9a4f91e8e.jpg","107.6x35.1",[70],{"id":10618,"slug":10619,"title":10620,"dynasty":192,"author":1112,"museum":175,"description":10621,"tags":10622,"thumbUrl":10624,"material":121,"size":107,"collection":35,"collections":10625,"showCount":10548,"zanCount":39,"manualWeight":39,"mainColor":40},218914,"feng-ren-tu-han-huang-218914","丰稔图","作品内容极为丰富——牛羊、乡野村田、田家农事、风俗集社、村童农夫——或是农家风土事物或是农家风俗人物或是农家日常生产生活的场景。从画史著录来看，韩滉人物画除为王公贵族歌功颂德之作外多以村田乡野为背景描绘田家人物及其生产生活的场面；其以牛羊为题材的畜兽绘画也是以田园风光为背景。",[49,23,52,25,54,86,119,7,1115,58,10623,64,3653],"牧童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ea09afee4d67677294254777585a84d.jpg",[35,122],{"id":10627,"slug":10628,"title":2647,"dynasty":97,"author":10629,"museum":20,"description":10630,"tags":10631,"thumbUrl":10634,"material":152,"size":107,"collection":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全图工笔和写意兼用，墨色清淡洗炼，并充分发挥渲染功能，使湖上晨霭晓雾和旖旎春光跃然纸上。",[49,50,23,51,52,26,56,59,62,61,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6099983a79040c7157e7afea0e72b08.jpg",[],{"id":10681,"slug":10682,"title":10683,"dynasty":97,"author":207,"museum":99,"description":5576,"tags":10684,"thumbUrl":10685,"material":689,"size":690,"collection":107,"collections":10686,"showCount":10653,"zanCount":1288,"manualWeight":39,"mainColor":40},263655,"ke-si-yu-zhi-shi-hua-hui-tu-ce-tao-hua-yi-ming-263655","缂丝御制诗花卉图册-桃花",[50,23,24,1138,54,25,27,57,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa17ec3a0050f40eac53095f1b343d5.jpg",[],{"id":10688,"slug":10689,"title":10690,"dynasty":97,"author":1082,"museum":175,"description":10691,"tags":10692,"thumbUrl":10693,"material":668,"size":10694,"collection":35,"collections":10695,"showCount":10653,"zanCount":743,"manualWeight":39,"mainColor":40},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。",[23,51,84,26,403,528,137,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d898d1a97529363294d5d785eed0c86.jpg","纵96厘米，横55厘米",[35],{"id":10697,"slug":10698,"title":10699,"dynasty":18,"author":10700,"museum":99,"description":10701,"tags":10702,"thumbUrl":10703,"material":689,"size":690,"collection":107,"collections":10704,"showCount":10653,"zanCount":39,"manualWeight":39,"mainColor":75},234705,"lan-ying-sun-di-he-hua-zhu-shi-shan-ye-lan-ying-234705","蓝瑛、孙杕合画竹石扇页","蓝瑛","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。",[23,51,822,26,55,358,700,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F119a1b06275fa3ac945a043c4ba8219d.jpg",[],{"id":10706,"slug":10707,"title":10708,"dynasty":18,"author":45,"museum":99,"description":10709,"tags":10710,"thumbUrl":10711,"material":107,"size":107,"collection":107,"collections":10712,"showCount":10653,"zanCount":1288,"manualWeight":39,"mainColor":75},228449,"tao-cun-cao-tang-chou-ying-228449","桃村草堂","《桃村草堂图》明代 创作的绢本设色画，现收藏于北京故宫博物院。\n该图画一老者襟带飘然，风度高雅。\n栖居环境十分优美雅适，高山流水，小桥人家，苍松翠柏，桃花盛开，白云缭绕，草堂幽雅，凉亭洁静，宛如人间仙境。\n整幅画意境如诗入仙，画法精细工瑾，细致入微。\n通幅大青绿着色，色彩艳丽深重。\n这幅画是把滴翠的石绿、秀雅的淡赭、温润的墨色，自然和谐地统一在一起，具有一种不媚不俗的艺术效果。\n图中信步在浓郁的树荫下者即项元淇，他侧身而立，身穿宽服大衫，面目清秀，襟带飘然，风度翩翩，显得十分儒雅，为此图中的主人公：此画以山水为背景，景物十分繁复，远处，高山叠幛，山峰林立，山巅屹立，高峰两侧山势相应较矮小，形成“山”字形，山峦间白云缭绕，更远处的山头隐约可见山涧飞瀑高悬，奔腾直泻，叠泉涌流，水花四溅，汇集下部溪水中，溪水湍流，潺潺流淌：中部为山石嶙峋，有的竖立，有的横卧，错落有致，山石间松柏挺拔，与杂树并茂，山腰、山坳处桃花绽开，几乎染红半山腰，呈现出一派浓浓的春意。\n在苍松翠柏丛中，在半山腰的平坡处，座落草堂屋宇数间，半掩于山坡奇石之间，在桃林中筑孤亭，亭中几席书籍清晰可见，草堂四周环境十分优美，凉亭洁净，正是读书吟诗的好场所，宛如人间仙境。\n小溪从亭旁缓缓流过，溪流小桥上有一童子捧着书卷而来，一人从林荫深处向溪边缓步前来，此人正是主人翁项元淇。\n另有二童子，一在溪边洗砚，一携包屋前。\n清代昆度在边题中称“此图在十父图中亦足称第一。\n” 董其昌题跋：“仇实甫临宋画无不乱真，就中学赵伯驹者，更有出蓝之能，虽文太史让费及矣，此图是也。\n” 款识：“仇实父为少岳先生制。\n”画幅左方有明项元汴题“季弟元汴敬藏”。\n裱边左、右有子固、董其昌二跋。\n下裱徐石雪长跋。\n又有项元汴、耿信公、清高宗等鉴藏印二十方。\n此图是仇英为项元淇所绘。\n项元淇，宁子瞻，丁诗文草书。\n这所桃村草堂是项元淇的居处所，仇英在4岁左右被大鉴赏家、收藏家项元汴请至家中，在项家住了十年之久，为项氏绘画和临摹了大量作品，此《桃村草堂图》便是其中之一幅。\n据徐石雪题跋考证，画中老者即为项元淇。\n由于作者为主人绘制，所以落墨、设色十分认真。\n章法采用传统的“高远”构图法。\n画幅中虽景物繁多，尤其崇山峻岭，山峦叠嶂，可是在画家笔下山峰脉络清晰，山石用传统的勾勒手法，兼用细密的皴法和墨色的烘染，使山石富于质感和立体感：全画设色艳丽浓重，又不失淡雅的韵味。\n此画成功之处，还于突出桃村草堂的主人公项元淇的形象。\n主人公项元淇虽在整个画面中占的比例很小，但画家巧妙地将主人公安置于画面下方正中，身穿白色宽服长衫，特别醒目。\n同时，又注意到人物之间的比例关系，使主人公很自然地融汇到大自然之中。\n同时，画家十分巧妙地在亭子中陈设书籍，及溪边童子洗砚和一童子捧书过桥的情节，以此来说明主人公是一个文人雅士。\n北京故宫博物院研究员单国强：《桃村草堂图》藏于北京故宫博物院，学“二赵”青绿法，精细鲜丽，呈晚年本色画风。\n该图经清内府收藏，后为徐石雪所得。\n未见著录。\n现藏于北京故宫博物院。\n仇英（约1498—1552），字实父，号十洲，江苏太仓人，明代杰出画家。\n仇英早年曾是个油漆工，后改学画，师周臣。\n仇英善于摹古，不拘一家一派。\n人物、鸟兽、山水、楼观、舟车之类，都是他常描绘的对象。\n他的画题材广泛，风格工整秀丽，深受当时地主富商的喜爱。\n仇英的人物画最为精妙，尤其是仕女图，既工设色，又善水墨、白描，能运用多种笔法表现不同对象，或婉转舒畅，或劲丽艳爽，创历史风俗的新格，画风流丽纤巧，在当时反响很大，与沈周、文征明、唐寅并称为“明四家”。\n代表作有《松溪论画图》《汉宫春晓图》《桃园仙境图》《玉洞仙源图》《春夜宴桃李园图》等。",[49,23,51,84,25,54,53,56,58,63,64,61,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d7c8993b1840527a365334fa6a6479.jpg",[],{"id":10714,"slug":10715,"title":354,"dynasty":18,"author":10716,"museum":99,"description":10717,"tags":10718,"thumbUrl":10719,"material":107,"size":107,"collection":107,"collections":10720,"showCount":10653,"zanCount":1288,"manualWeight":39,"mainColor":40},228343,"mo-zhu-tu-wang-you-228343","王右","此作用笔老辣爽利，以浓墨挥写竹竿，劲挺舒展如君子立世；竹叶欹正交错，墨色干湿浓淡相映，错落间尽显偃仰生姿的清灵意态，留白空灵疏朗，衬出幽篁萧散之致。\n\n左侧行书题跋笔势跌宕奇逸，与竹的清刚风神相得益彰，诗书画印浑融一体，将竹的坚贞品格寄寓笔墨。整幅以意写形，脱去匠气，尽显文人写意画以物明志的幽远意趣，清逸苍劲，足见绘者不凡的笔墨功底与文人襟怀。",[49,23,52,26,358,86,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F891bce774dc22c38310f619a62d3623a.jpg",[],{"id":10722,"slug":10723,"title":10724,"dynasty":97,"author":10725,"museum":99,"description":10726,"tags":10727,"thumbUrl":10728,"material":319,"size":107,"collection":122,"collections":10729,"showCount":10653,"zanCount":1288,"manualWeight":39,"mainColor":2307},223267,"xin-jing-hong-yi-fa-shi-223267","心经","弘一法师","李叔同（1880年10月23日－1942年10月13日），又名李息霜、李岸、李良，谱名文涛，幼名成蹊，学名广侯，字息霜，别号漱筒。\n李叔同是著名音乐家、美术教育家、书法家、戏剧活动家，是中国话剧的开拓者之一。他从日本留学归国后，担任过教师、编辑之职，后剃度为僧，法名演音，号弘一，晚号晚晴老人，后被人尊称为弘一法师。\n1913年受聘为浙江两级师范学校（后改为浙江省立第一师范学校）音乐、图画教师。1915年起兼任南京高等师范学校音乐、图画教师，并谱曲南京大学历史上第一首校歌。1942年10月13日，弘一法师圆寂于泉州不二祠温陵养老院晚晴室。\n李叔同的诗词在近代中国文学史上同样占有一席之地。他年轻时，即以才华横溢引起文坛瞩目。客居上海时，他将以往所作诗词手录为《诗钟汇编初集》，在“城南文社”社友中传阅，后又结集《李庐诗钟》。出家前夕，他将清光绪二十六至三十三年（1900—1907年）间的20多首诗词自成书卷。其中就有《留别祖国并呈同学诸子》、《哀国民之心死》等不少值得称道的佳作，表现了作者对国家命运和民生疾苦的深切关注。出家前的五六年间，他还有30余首歌词问世。这些作品，通过艺术的手法表达了人们在相同境遇中大都会发生的思想情绪，曾经风靡一时，有的成为经久不衰的传世之作。\n弘一法师对联语也有浓厚兴趣，并有极高的鉴赏和创作水平。尤其是出家后，大师为各地寺院和缁素撰写的诸多嵌字联语，更表现出他的奇思妙想和深厚的艺术功底。他在宣传佛法导引终生佛化过程中，将联语这一形式作为劝人为善的巧妙手段。他书写的那些内容深刻、极富哲理的名联，现也成为警示后人的一笔宝贵的文化艺术财富。",[49,86,436,1284,417,7,51,52,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe27ec99b239906b44c4d50798a9bb840.jpg",[122],{"id":10731,"slug":10732,"title":10733,"dynasty":115,"author":2788,"museum":175,"description":10734,"tags":10735,"thumbUrl":10736,"material":10737,"size":10738,"collection":107,"collections":10739,"showCount":10653,"zanCount":1288,"manualWeight":39,"mainColor":40},221487,"xiao-xiang-qi-guan-tu-juan-mi-you-ren-221487","潇湘奇观图卷","本幅无款印，后纸自题一段：“先公居鎮江四十年，作庵於城之東高崗上，以海岳命名，一時國士皆賦詩，不能盡記。翰林承旨翟公詩：‘楚米仙人好樓居，植梧崇岡結精廬。下瞰赤縣賓蟾鳥，東西跳丸天馳驅。腹藏萬卷胸垂胡，論議如何決九渠。掀髯送目遊八區，欲叫虞舜浮蒼梧。'云云，餘不能記也。此卷乃庵上所見，大抵山水奇觀，變態萬層，多在晨晴晦雨間，世人鮮複知此。余生平熟瀟湘奇觀，每於登臨佳處，輒複寫其真趣成長卷以悅目，不俟驅使爲之，此豈悅他人物者乎。此紙滲墨，本不可運筆，仲謀勤請不容辭，故爲戲作。紹興乙卯孟春建康□□官舍，友仁題。羊毫作字，正如此紙作畫耳。”乙卯为绍兴五年（1135年），米友仁50岁。后纸另有薛羲、葛元喆、吴匏硕、贡师泰、邓宇志、董其昌等宋、元、明14家题跋。\n米友仁为北宋著名书画家米芾长子，父子两人共创“米家山水”。此图绘米友仁十分熟悉的潇湘奇观景致，深得其“变态万层”之“真趣”。开卷便是浓云翻滚，隐现出远山坡脚，随着云气的飘动变幻，逐渐显露出山形，重迭起伏的峰峦影影绰绰地展现于团团白云中。中段山川始露出清晰真容，主山屹立，尖峰高耸，树丛映带，沙渚数重，甚富高远和深远感。结尾处山色又渐趋淡远，唯近处林岸、草庐明晰。自首至尾，迷濛、清明以及远近、浓淡，几度变幻，奥妙莫测。\n时隐时显，忽明忽晦，迷濛又富有变化，故时人谓他“善画无根树，能描朦胧云。”(汤垕《画鉴》)同时他也很讲究笔法，以大笔触的遒劲笔法来泼染水墨，墨随笔走，在大笔涂染块面中，多有纵点、横点、落茄点和不规则的破笔点，亦见连勾带擦的线条。笔与墨的有机结合，使米氏云山兼具滋润和沉郁的特色。\n清·郁逢庆《书画题跋记》、卞永誉《式古堂书画汇考》、吴升《大观录》、顾文彬《过云楼书画记》等书著录。",[49,23,52,26,55,51,86,119,7,56,278,279,64,449],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0617af63570b0d4a59d0dc7f30ea9f0d.jpg","茧纸本，墨笔","纵19.8厘米，横289厘米",[],{"id":10741,"slug":10742,"title":10743,"dynasty":192,"author":1614,"museum":9645,"description":10744,"tags":10745,"thumbUrl":10746,"material":435,"size":10747,"collection":122,"collections":10748,"showCount":10653,"zanCount":39,"manualWeight":39,"mainColor":924},221060,"zhu-shan-tang-lian-ju-quan-ben-yan-zhen-qing-221060","竹山堂连句全本","774年（唐大历九年）三月，时任湖州刺史的颜真卿在朋友潘述家的“竹山堂”中与部属李萼、陆羽、释皎然、陆士修、韦介等人聚会饮宴，席间吟诗，每人依次各作两句，相联成篇，是为《竹山堂连句》。后传为颜氏书录，时颜氏66岁。\n此书原装裱形式是整幅，后割裱成册，几近百衲，章法已破。颜氏书法一般都是横画细，竖画粗，雄强博大，气势磅礴，楷书墨迹首推《自书告身》，清雄严谨。而此书横、竖用笔毫无变化，无粗细之别，千篇一律，拘滞平板……然而册后米友仁奉宋高宗命跋尾两行，却是绍兴御府故物，可知此册裁减最迟不晚于绍兴时，但非颜氏墨迹。至于是唐人还是宋人的临本说法不一。",[49,86,417,52,2226,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ea5aef3a6b5f52de93a223e0876adca.jpg","各开纵28.2cm、横13.7cm不等",[122,1120],{"id":10750,"slug":10751,"title":10752,"dynasty":146,"author":431,"museum":175,"description":10753,"tags":10754,"thumbUrl":10755,"material":319,"size":10756,"collection":122,"collections":10757,"showCount":10653,"zanCount":743,"manualWeight":39,"mainColor":40},220828,"er-zan-er-shi-juan-zhao-meng-fu-220828","二赞二诗卷","此帖是与好友相聚，一时酒酣的乘兴之作。纸质莹润光滑，信手写来，“神融笔畅”，滂沛悦然。款署“湖州观堂与受益外郎饮酒一杯之余，便觉醉意横生。戏书此卷，为他日一笑之资。孟頫”。“受益”名张谦，大德元年前后，曾官江浙行省检校。“观堂”是佛寺中修习的场 所。据赵氏《重修观堂记》，湖州的观堂始建于南宋嘉泰年 间，宋木毁圮严电，元至元二十一年曾重新修葺，历时十 年。赵文作于大德元年(1297)九月，本卷也应作于此时。卷未有明代卞荣、王世贞、董其昌、文震孟、陈继儒，清代英 和、永瑆跋。",[49,86,119,52,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44319ff5514e459206f70266d02ef940.jpg","纵27厘米横456.3厘米",[122],{"id":10759,"slug":10760,"title":10761,"dynasty":146,"author":376,"museum":175,"description":10762,"tags":10763,"thumbUrl":10764,"material":319,"size":10765,"collection":70,"collections":10766,"showCount":10653,"zanCount":39,"manualWeight":39,"mainColor":40},220823,"xi-jiao-cao-tang-tu-zhou-wang-meng-220823","西郊草堂图轴","图中绘秋天平远景色。近岸草堂、竹篱掩映于树丛之中，岸边系舟，主人与妻子在屋中各行其是。院后湖面空阔，水波不兴，仅露一段岸角丛树，远山一带，渐远渐淡，没入天际。构图、用笔均较简洁，表现出了江南水乡秋季明净寥落的景色特征。\n深秋茂密的林阴下有茅舍数座，一老翁坐室内案旁读书，旁屋内二仕女侍读。门前清溪潺潺，小船停泊。屋后平湖汀渚，一叶轻舟载客行于湖心，打破了画面的沉寂。远方群山烟林，意境清幽。全图笔墨工细秀逸，构图新颖，为王蒙山水画优秀之作。",[23,26,25,55,56,137,58,62,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedd459330bfb44d64cef6e2da24450ad.jpg","纵97cm ，横27.2cm",[70,242],{"id":10768,"slug":10769,"title":10770,"dynasty":18,"author":161,"museum":81,"description":10771,"tags":10772,"thumbUrl":10773,"material":88,"size":10774,"collection":242,"collections":10775,"showCount":10653,"zanCount":1288,"manualWeight":39,"mainColor":40},219524,"guo-suo-tu-shen-zhou-219524","郭索图","该图是幅淡墨写意作品。“酒醉菊黄蟹正肥”，是雅俗共赏的著名的诗句。南方江浙一带的画家与市民每逢秋季无不饮酒食蟹。画家作此画的画意亦在于此。画幅的中间部位画清水大阐蟹一只，坚实如锯齿般的双螯，如钳子似的夹住稻穗，蟹壳尖楞突出，如一把把锐利尖刀，爬沙横行于水草之间。蟹爪过处，如闻郭索之声，故以此名命。此当为江南水乡深秋时节，这是稻谷、大豆已成熟，临近收割，这正是螃蟹最肥壮的时期“过雨黄花千蕊发，经霜紫蟹两螯肥”。正是“持螯赏菊”的良宵佳时。技法上，体黑，先用淡墨画蟹壳、蟹脚，勾勒而成，用焦墨画爪尖和蟹壳回凸，然后用浓墨渲染双蟹螯，形成体白，黑白相间，极有韵趣。其背景稻穗一根，用笔随意，草草点染，似不经意一挥而成。此画可谓为大画家沈周戏墨之作，随物赋形，但却形神兼备，可见他写生的功力之深厚。画幅上端有作者自题款:“郭郭索索，还用草缚。不敢横行，沙水夜落。沈周。”钤“石田”白文印。此图经清内府收藏。画幅右上端有乾隆题赞",[50,23,26,403,51,7,2173,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3862c7b20f88c912c2f1841c8d16126c.jpg","纵49.4 厘米，横31厘米",[242],{"id":10777,"slug":10778,"title":10779,"dynasty":146,"author":10780,"museum":329,"description":10781,"tags":10782,"thumbUrl":10783,"material":121,"size":10784,"collection":70,"collections":10785,"showCount":10653,"zanCount":39,"manualWeight":39,"mainColor":75},218718,"huang-lou-fu-tu-xia-yong-218718","黄楼赋图","夏永","这幅画宽度仅有二十多厘米，却无比精细的描画了整个黄楼，窗边饮酒赋诗的文人。用蝇头小楷写了苏辙的千字文“黄楼赋”。还有驾鹤西游的神仙。",[49,23,51,1962,135,26,59,56,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6345fb2b38d0c73179bba1049f675384.jpg","20.6x26.7cm",[70,242],{"id":10787,"slug":10788,"title":10789,"dynasty":146,"author":10470,"museum":81,"description":10790,"tags":10791,"thumbUrl":10793,"material":33,"size":10794,"collection":199,"collections":10795,"showCount":10653,"zanCount":39,"manualWeight":39,"mainColor":40},216952,"mi-tuo-fo-xiang-zhang-wo-216952","弥陀佛像","这幅弥勒佛烧香招蝠是竹园二年的张渥题写的，不是真迹，更接近明末人物画家的风格。",[23,51,25,54,1284,58,967,3875,700,3365,10792,7],"书籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4241a4efd980f7cd16dde56a1e854820.jpg","87.5x30.4",[199],{"id":10797,"slug":10798,"title":10799,"dynasty":115,"author":748,"museum":99,"description":10800,"tags":10801,"thumbUrl":10802,"material":689,"size":690,"collection":107,"collections":10803,"showCount":10804,"zanCount":1288,"manualWeight":39,"mainColor":40},289759,"zhong-qiu-deng-hai-dai-lou-zuo-shi-tie-mi-fei-289759","中秋登海岱楼作诗帖","海岱楼位于涟水（江苏涟水），是著名的风景名胜，米芾时常登楼，眺望淮河入海处辽阔壮丽的景色。在本诗帖中，米芾形容海口一片水光粼粼，好似银泻大地，而天际出现万道虹光，孕育出宝贵的珍珠。在诗的后半，米芾则引“吴刚伐桂”的典故，谈到若非吴刚日复一日，不停地砍伐桂树，快速生长的桂枝，必定撑破月轮。米芾以此暗喻自己的仕途常为人所阻，无法充份施展。\n在帖中米芾前后共抄录诗文两次，中间加入一行批注：“三四次写间有一两字好，信书亦一难事”，可见对书法求好的态度。涟水时期，米芾勤于练习晋人草书，此帖与《焚香帖》、《草书论书帖》都是其中的例子。另外，米芾也经常与薛绍彭书信往返，讨论购帖事宜、交换习书心得，或是品评论书，两人堪称最佳书画友。\n米芾担任涟水军使（江苏涟水）期间，最喜欢登临游览的景点就是海岱楼。海岱楼在江苏涟水地区，是唐、宋时代十分著名的望海楼，自古以来，便是许多文人登览赋诗的最佳旅游景点，唐代诗人杜甫曾以“浮云连海岱，平野入青徐”来形容它视野辽阔、宏伟壮丽的景观。它在米芾的诗文中也经常出现，例如〈焚香帖〉（大阪市立美术馆藏）：“雨三日未解，海岱咫尺不能到”，便提到在淫雨霏霏之日，他登海岱楼所见迷蒙的景致。在另一阙词〈蝶恋花?海岱楼玩月作〉中，米芾也提到：“千古涟漪清绝地，海岱楼高。下瞰秦淮尾，水浸碧天天似水，广寒宫阙人间世。”并将海岱楼比喻为月亮上的“广寒宫”，诗人登楼眺望，颇有遗世独立的感觉。",[86,418,119,7,7672,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc16fb0d52fc68c2ab722bf075ed45de4.jpg",[],73,{"id":10806,"slug":10807,"title":10808,"dynasty":1037,"author":9204,"museum":99,"description":10809,"tags":10810,"thumbUrl":10811,"material":689,"size":690,"collection":107,"collections":10812,"showCount":10804,"zanCount":39,"manualWeight":39,"mainColor":75},289334,"long-su-jiao-min-tu-dong-yuan-289334","龙宿郊民图","该图中以两重大山为主体，向画面的纵深走去。左边则是浩渺长江，也向画面的纵深流去，使画面很有深远感。该图在色彩的运用上也别具特色，作者将墨与青绿巧妙地合为一体，墨色和青绿色相得益彰却不相碍。作者用墨笔勾勒渲染后，在坡面峰峦等处略敷青绿，颇有郁郁葱葱，草木繁茂之意。",[49,50,23,712,25,55,278,715,64,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed712e724d0c3b83b224acb00bda72a0.jpg",[],{"id":10814,"slug":10815,"title":10816,"dynasty":192,"author":193,"museum":99,"description":10817,"tags":10818,"thumbUrl":10820,"material":689,"size":690,"collection":107,"collections":10821,"showCount":10804,"zanCount":39,"manualWeight":39,"mainColor":1441},288966,"xiao-yi-zhuan-lan-ting-tu-yan-li-ben-288966","萧翼赚兰亭图","《萧翼赚兰亭图》是唐代画家阎立本创作的绘画，原本已佚。现存三本宋代摹本，北宋摹本藏于辽宁省博物馆，南宋摹本藏于台北故宫博物院，还有一本宋代摹本藏于北京故宫博物院。\n北宋摹本和南宋摹本大体相同，都是以辩才和尚与萧翼为中心，图左一老一少正在煮茶。不同之处在于，北宋本画一童仆手抱《兰亭记》从右方出来，而南宋本则是在辩才和尚与萧翼之间，画一侍立僧人。画面简单，若无画题提示会以为是高僧与文士的茶会雅集而已，但实际上描绘的是萧翼从辩才和尚手中骗取王羲之《兰亭序》的故事。北京故宫藏本相对较简略，左侧没有煮茶的人。",[50,23,51,25,58,1284,7,10819,2278,54],"历史画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81c426edbd3947eb221f92714358728a.jpg",[],{"id":10823,"slug":10824,"title":10825,"dynasty":115,"author":207,"museum":99,"description":10826,"tags":10827,"thumbUrl":10828,"material":689,"size":690,"collection":107,"collections":10829,"showCount":10804,"zanCount":39,"manualWeight":39,"mainColor":75},288938,"yang-huang-hou-ti-tao-hua-tu-yi-ming-288938","杨皇后题桃花图","此作以极简构图托出幽淡春意，斜逸的桃枝自右下角探入，留白铺陈出空寂古雅的画境。花瓣以淡白晕染，勾勒出柔润轮廓，嫩萼新芽轻缀枝上，鲜活又沉静。题句与花木相映，将桃花经岁方开的清贵尽数铺展，朱红印鉴点缀留白处，晕染出古雅的文人情致。\n整幅笔致精细秀雅，不着浓艳，只以素净笔墨写尽桃花幽婉之姿，将静穆淡远的审美意趣藏于花枝间，淡而愈真，清而弥永，尽揽春日花木的娴静品格。",[23,51,27,57,54,25,86,417,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe700220cab28166479f4448ef8bcad84.jpg",[],{"id":10831,"slug":10832,"title":3796,"dynasty":97,"author":1082,"museum":99,"description":1382,"tags":10833,"thumbUrl":10834,"material":689,"size":690,"collection":107,"collections":10835,"showCount":10804,"zanCount":39,"manualWeight":39,"mainColor":40},287691,"yu-shi-tu-juan-zhu-da-287691",[49,50,23,52,26,2342,277,86,7,714],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3144488368fb9fbbcc03e2eb8bd3da56.jpg",[],{"id":10837,"slug":10838,"title":10839,"dynasty":97,"author":341,"museum":99,"description":10840,"tags":10841,"thumbUrl":10842,"material":107,"size":107,"collection":122,"collections":10843,"showCount":10804,"zanCount":39,"manualWeight":39,"mainColor":40},238316,"dong-gao-tang-hua-si-yong-zhou-dong-gao-238316","董诰唐花四咏轴","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[23,51,84,54,25,27,308,309,488,251,181,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265a9b103f69a3bf5301103660d3bc32.jpg",[122],{"id":10845,"slug":10846,"title":10218,"dynasty":97,"author":787,"museum":99,"description":10847,"tags":10848,"thumbUrl":10849,"material":689,"size":690,"collection":35,"collections":10850,"showCount":10804,"zanCount":1288,"manualWeight":39,"mainColor":40},235697,"hua-hui-tu-ce-zou-yi-gui-235697","邹一桂（1688年－1772年）清代官员，画家。字原褒，号小山，又号让卿，晚号二知老人，江苏无锡人。雍正五年二甲第一名进士，授翰林院编修。历官云南道监察御史、贵州学政、太常寺少卿、大理寺卿、礼部侍郎，官至内阁学士。擅画花卉，学恽寿平画法，风格清秀。曾作《百花卷》，每种赋诗，一经进呈，皇上亦赐题绝句百篇，一桂复写一卷，恭录御制于每种之前，而书己作于后，藏于家。著有《小山画谱》、《大雅续稿》。",[23,51,24,54,25,27,332,2152,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc8572a0ccd2626980bd110f0ac70b1c.jpg",[35,72],{"id":10852,"slug":10853,"title":10854,"dynasty":97,"author":8731,"museum":99,"description":10855,"tags":10856,"thumbUrl":10857,"material":107,"size":107,"collection":107,"collections":10858,"showCount":10804,"zanCount":39,"manualWeight":39,"mainColor":40},235012,"pi-pa-tu-xu-gu-235012","枇杷图","有“晚清画苑第一家”之誉的虚谷，曾与吴昌硕、任伯年并称为“海派画坛三杰”。 虚谷一生萍踪浪迹，精通佛禅兼知老庄，在艺术创造上敢于破格创新，是位不同流俗的一代奇才。\n虚谷的画，轻快利索、明净空灵，将清冷飘逸的超脱精神与强烈的生命活力交织在一起，有着水彩画般的透明感。无论是色彩创意、造型语言、构成图式还是笔墨个性，虚谷都突破了传统规范，每一幅作品都会给人耳目一新和精神为之一振的感觉，在晚清画坛可谓独树一帜，吴昌硕盛赞他为“一拳打破去来今”。\n虚谷是位全才型的画家，花鸟、人物、山水皆精，而平凡的蔬菜瓜果一经他的生花妙笔，立刻化为秀雅鲜活的动人形象。由此可见，虚谷是在用蘸满感情的笔墨，抒发着自己热爱自然、憧憬人间美景的情志。作于1896年的《枇杷图》（如图），便是他的一幅笔墨精绝的传世名作。\n绘制这幅画时，虚谷已经是73岁的高龄，然而画面如此精气逼人，真仿佛如有神助。画中一丛长势壮盛的枇杷枝干直挺，一派峥嵘之气。构图顶天立地，布满全幅，用逆笔和枯笔粗细有致地画出了鲜明的节奏感。下方足足四分之一的画面以虚而淡的笔法和色调，衬托出上部鲜艳的果实无比鲜嫩可人、水灵欲滴，使观者的目光情不自禁地上移，也使枇杷树在无形之中有了蓬勃向上的生姿，顿生明媚而祥瑞的意境。\n虚谷在画中的行笔是十分快捷的，在信手挥洒中以精练的笔墨一气呵成，却并无急躁之感。他以含水量很大的湿笔从上到下舞动，而湿笔中又时不时地露出飞白，使人感到沐浴在阳光和雨露中的枇杷树是如此的滋润明洁。从最浓的树叶到最淡的树叶，竟然找不到两片完全相同的，也找不到两个完全相同的果实，真是按部就班、主次分明。虚谷在造型中参用了西洋油画的方法，以虚为主，虚实相生，虽然随手点染却又在漫不经意中显得统一而连贯，使整个画面宁静、安逸、祥和又明亮，反映出画家超凡的自信、深厚的修养和随心所欲的自由境界。\n名画家陈小蝶在《近代六十名画家传》评价道：“虚谷和尚用笔如风雨骤至，灵气透出纸背，无一笔滞相。”虚谷一生寄情于书画，安享着“一树梅花天地春”的恬适，这幅画中就透露出了画家看空名利、追求身心和悦的心境，令人悠然神往。",[23,51,27,25,26,7,513],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F869b939dcfafda528edfa62e15da9aa6.jpg",[],{"id":10860,"slug":10861,"title":10862,"dynasty":97,"author":2568,"museum":20,"description":10863,"tags":10864,"thumbUrl":10866,"material":319,"size":10867,"collection":107,"collections":10868,"showCount":10804,"zanCount":1288,"manualWeight":39,"mainColor":40},231483,"jiu-xi-feng-he-tu-hong-ren-231483","九谿峰壑图","弘仁（1610-1664），俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后出家为僧，字无智，号渐江，又号梅花古衲。安徽歙县人。山水学宋元笔意，直追元代的倪瓒，多写黄山松石，为清初“四画僧”之一。\n\n所画山水有强烈的写实性，山石形状多取自他熟悉的黄山和武夷山，坚硬峭拔，石面干净。用笔多方折，墨色干而单，构图简洁，形成一种空旷冷郁的境界。",[23,51,56,135,26,55,2001,10865,967,150,295,7],"壑谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc394a8eac2513dc3a8eac76d6356b43f.jpg","纵110.6厘米，横58.9厘米",[],{"id":10870,"slug":10871,"title":10872,"dynasty":115,"author":207,"museum":99,"description":10873,"tags":10874,"thumbUrl":10876,"material":107,"size":107,"collection":107,"collections":10877,"showCount":10804,"zanCount":1288,"manualWeight":39,"mainColor":40},227372,"yu-ying-shi-nv-tu-yi-ming-227372","浴婴仕女图","《浴婴图》南宋，佚名，绢本设色，纵35.8厘米，横35.9厘米，美国弗瑞尔美术馆藏。\n\n画面中共三个妇人，四个小孩，当中摆一长形浴盆。画面设色淡雅明快，气氛温馨和谐，妇人的神情慈祥、婴儿的天真无邪，无不充满了浓郁的人情和现实意义。",[49,50,23,51,54,25,58,136,10875,7,180],"婴儿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a808fa71ca6fd850c6dafb4642ee508.jpg",[],{"id":10879,"slug":10880,"title":10881,"dynasty":192,"author":10882,"museum":99,"description":10883,"tags":10884,"thumbUrl":10885,"material":107,"size":107,"collection":107,"collections":10886,"showCount":10804,"zanCount":39,"manualWeight":39,"mainColor":75},227243,"gong-dian-tu-ye-li-zhao-dao-227243","宫殿图页","李昭道","大小李将军：李思训、李昭道\n\n李思训 (653一718)唐代书画家。成纪(今甘肃天水)人。唐宗室,高宗时为江都令。武则天当政，弃官潜匿。神龙元年(705)出为宗正卿。玄宗开元初官左武卫大将军。李邕碑称「云麾将军」。工书法，尤擅画山水树石，笔力犹劲。格调细密。好写湍獭潺湲，云霞缥缈之景，鸟兽草木，皆穷其态。朱景玄说他「国朝山水第一，列神品」。这种青绿为质、金碧为纹的山水画，富有装饰性，源出于隋代展子虔，继承并发展了六朝以来以色彩为主的表现形式。明代董其昌推之为「北宗上之祖。唐代张彦远说「山水之变，始于吴(道子)，成于二李(思训、昭道)」。世称「二李」为「大、小李将军」。画迹有《山居四皓图》、《江山渔乐图》、《群峰茂林图》等十七件，著录于《宣和书谱》。存世作品有《江帆楼阁图》轴，绢本，设色，长松秀岭，翠竹掩映，山径层迭，碧殿朱廊，江天阔渺，风帆溯流，具唐衣冠者四人，山右青绿，有简单斫笔，安岐评谓「傅色古豔，笔墨超轶。」现藏台北故宫博物院。",[49,23,51,53,25,1962,56,59,150,64,9837,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba0c482941c845fe70d4fbfffeaffeec.jpg",[],{"id":10888,"slug":10889,"title":10890,"dynasty":97,"author":736,"museum":81,"description":737,"tags":10891,"thumbUrl":10892,"material":25,"size":740,"collection":107,"collections":10893,"showCount":10804,"zanCount":39,"manualWeight":39,"mainColor":40},222740,"xian-e-chang-chun-tu-01b-lang-shi-ning-222740","仙萼长春图-01b",[49,23,51,24,25,27,54,57,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F672474ab59f90287bfe66517e17cf0b7.jpg",[],{"id":10895,"slug":10896,"title":10897,"dynasty":115,"author":4917,"museum":81,"description":10898,"tags":10899,"thumbUrl":10900,"material":634,"size":107,"collection":122,"collections":10901,"showCount":10804,"zanCount":39,"manualWeight":39,"mainColor":1441},221204,"san-xi-tang-fa-tie-shi-qi-ce-wu-ju-221204","三希堂法帖（十七）册","比忽忽附书。谅亦在下旬可到。途中收十月三日手笔并诗。深以为慰。示喻已悉。襄州之行非所惮也。不谓以常式?免。就降改命。?难避事。何以自文。不知阅古之意如何。今必有定论矣。十九日入京。西界交割安抚司职事。廿日方得改差札子。已具?免。且在郢州境上伺候回降。若省札更迟数日。则已到襄阳。郢去襄只二百余里。江陵亦然。岁晚客里。进退不能。势须等候月十日方见次第。地远往返动是许时。远宦非便。殆此类也。旅中灯下作此。言不尽意。余希加爱。不宣。十月廿日琚上。寿父判寺守簿贤弟",[51,86,418,2226,24,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d11bc01b27003e7f2e06144bd6cf971.jpg",[122],{"id":10903,"slug":10904,"title":10905,"dynasty":115,"author":355,"museum":81,"description":10906,"tags":10907,"thumbUrl":10908,"material":319,"size":10909,"collection":122,"collections":10910,"showCount":10804,"zanCount":743,"manualWeight":39,"mainColor":40},220038,"jiang-shang-tie-su-shi-220038","江上帖","落笔如漫不经心，而整体布白自然错落，丰秀雅逸，端庄圆润，但不做作，笔法精严，但不拘束，作者的学问才气发于笔端，与书札的萧散风格相吻合。",[49,86,119,7,51,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e97c91c20d94825a2705d765b723d19.jpg","9行，58字",[122],{"id":10912,"slug":10913,"title":10914,"dynasty":115,"author":3050,"museum":175,"description":10915,"tags":10916,"thumbUrl":10917,"material":88,"size":10918,"collection":199,"collections":10919,"showCount":10804,"zanCount":1288,"manualWeight":39,"mainColor":40},219698,"you-jun-shu-shan-tu-liang-kai-219698","右军书扇图","图绘王羲之为老妪书扇故事。本幅右边有梁楷题款，系后人添加，卷尾有元初赵由儁、张渊、钱良右、张世昌、石岩等人题跋，简笔人物的风格系仿自梁楷。",[49,23,26,52,10177,58,871,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f0b5917d813d0d1d8a70b22a64c5bf.jpg","纵27.9厘米，横66.2厘米",[199,122],{"id":10921,"slug":10922,"title":10923,"dynasty":146,"author":431,"museum":446,"description":10924,"tags":10925,"thumbUrl":10926,"material":152,"size":107,"collection":35,"collections":10927,"showCount":10804,"zanCount":1288,"manualWeight":39,"mainColor":75},219321,"shuang-ma-tu-zhao-meng-fu-219321","双马图","双驹并立，一昂首嘶鸣似欲穿云，鬃毛飞扬如带劲风；一垂首静立若凝幽思，身躯敦实暗含沉稳。线条如篆籀般圆劲，勾勒出马身健硕肌理，淡墨晕染与浓墨点染相映，既显写实之功，又含文人写意之韵。古木虬枝盘结，根系深扎如铁，与马的灵动形成刚柔相济的张力。以书入画的笔意贯穿始终，每一笔皆带书法筋骨，让静态画面流动着笔墨生命力。画面不止状物，更藏文人对精神境界的追寻——既有驰骋天地的豪情，也有沉潜内省的淡然，在方寸间演绎出动静相宜的生命哲思。",[49,23,51,84,25,54,225,871,86,119,7,1116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fe56f2039c3f73dc94111684a5a5117.jpg",[35],{"id":10929,"slug":10930,"title":10931,"dynasty":97,"author":10932,"museum":175,"description":10933,"tags":10934,"thumbUrl":10936,"material":33,"size":10937,"collection":70,"collections":10938,"showCount":10804,"zanCount":1288,"manualWeight":39,"mainColor":40},218377,"tao-yuan-tu-wu-wei-ye-218377","桃源图","吴伟业","此画近景一片崎岖不平的丘陵地带，山势平缓，山头林立，如鱼鳞状似的。山间松柏竞相生长，间以杂木和草木遍布山间和山脚下，远见为山重水复，一片又一片宽阔平坦的田野，沃土月巴田，田畴连遍，犹如龟背纹一般。阡陌间和丛树下村舍遍布。在平坦的平野上有宽阔的湖泊，如镶嵌着一面面平镜，闪烁发光。湖面两岸桃林遍野，鲜花盛开，在湖间渔舟忙碌地来回如穿梭似的。山中疏树流泉，白云缭绕。后纸有近代颜乙题记四段，曾经近代任振廷收藏。",[49,23,51,52,25,54,55,86,119,7,56,57,278,715,5076,64,60,61,8759,279,379,10935,294],"梯田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa11e4a5643cc8a463685f001fe4aa2ef.jpg","纵29.4厘米，横375.1厘米",[70],{"id":10940,"slug":10941,"title":10942,"dynasty":130,"author":857,"museum":175,"description":858,"tags":10943,"thumbUrl":10944,"material":88,"size":861,"collection":107,"collections":10945,"showCount":10804,"zanCount":39,"manualWeight":39,"mainColor":40},214579,"yu-hou-tie-4-wang-xi-zhi-214579","雨后帖-4",[86,462,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdcc946dcc7eddc58de94fb6f17a011a.jpg",[],{"id":10947,"slug":10948,"title":10949,"dynasty":18,"author":45,"museum":99,"description":10950,"tags":10951,"thumbUrl":10952,"material":689,"size":690,"collection":107,"collections":10953,"showCount":10954,"zanCount":625,"manualWeight":39,"mainColor":40},287415,"wu-xing-er-shi-ba-xiu-shen-xing-tu-juan-chou-ying-287415","五星二十八宿神形图卷","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[49,50,23,51,52,54,25,58,1337,405,1116,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4967584eda0c680dc86ba4f997b558d.jpg",[],72,{"id":10956,"slug":10957,"title":1302,"dynasty":97,"author":800,"museum":99,"description":10958,"tags":10959,"thumbUrl":10960,"material":107,"size":107,"collection":107,"collections":10961,"showCount":10954,"zanCount":39,"manualWeight":39,"mainColor":40},230887,"zhu-shi-tu-zheng-ban-qiao-230887","瘦石嶙峋，以枯淡笔墨勾勒皴擦，孤挺而立，自带清刚硬骨。丛竹依石滋长，老竿挺劲苍润，新篁秀拔轻盈。竹叶以浓墨挥扫，疏密错落，俯仰生姿，笔下竹影似有清风吹过，摇曳有声。\n题画小诗与笔墨相映成趣，诗书印融为一体，将竹石经风历雪不改其节的品格，暗合自身刚直襟怀。以物言志，寥寥笔墨间形神兼备，把君子风骨寄寓尺幅之中，尽显文人写意画的意趣风神。",[23,26,403,84,358,277,86,119,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeeec0ce1c915aea89507bc1e9c4f47c.jpg",[],{"id":10963,"slug":10964,"title":10965,"dynasty":97,"author":2322,"museum":10966,"description":10967,"tags":10968,"thumbUrl":10969,"material":391,"size":10970,"collection":70,"collections":10971,"showCount":10954,"zanCount":1288,"manualWeight":39,"mainColor":75},222698,"shi-zi-lin-tu-juan-qian-wei-cheng-222698","狮子林图卷","加拿大阿尔伯特博物馆","画家以平铺式绘狮子林全景，园林内山石耸立，古木参天，道路蜿蜒崎岖，房屋掩映山石之中，廊亭依水而建，九曲婉转；远处云雾升腾，一片苍茫，如临仙境。",[49,23,51,52,25,56,55,54,86,119,7,150,59,60,61,63,64,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c6fe4918e5ed6590b2c6de0b736a8fd.jpg","187.3＊38.1cm",[70,72],{"id":10973,"slug":10974,"title":10975,"dynasty":18,"author":8906,"museum":81,"description":10976,"tags":10977,"thumbUrl":10979,"material":1561,"size":10980,"collection":35,"collections":10981,"showCount":10954,"zanCount":11,"manualWeight":39,"mainColor":75},222085,"hua-zi-mu-ji-tu-zhou-zhu-zhan-ji-222085","画子母鸡图轴","此画无背景，仅在一公、一母、七雏的鸡群附近俩有一些杂草，遍布地面，虽较稀疏，但远看似一层薄薄的绿色地毯，以象征出整片的草地，对整个画面起到陪衬作用。画幅下部和偏右画有一公鸡、一母鸡。右侧的公鸡低首啄食，口内衔虫，近靠二雏，二双爪有力地抓在地上，长尾飞翘舒展开来，双翅紧合，头部有较大的肉冠及肉瓣，脚健壮，跗臁及趾皆被鳞板，趾网、后趾高而短小，尾部发达。左侧为一母鸡蹲在地上，作待哺的神态，双爪有力地抓地上，嘴短、鼻孔被鳞状瓣，头部肉冠和肉瓣比公鸡小，尾巴上二翘舒展开来。七只小鸡偎近母鸡，其中一只雏鸡，全身旱绒绒的一小团，走起来呈摇摇摆摆之状，似具有初出壳的娇弱之态，皆生动传神，充分体现明宣宗有着写实的功力。\n此画以工笔勾勒白鸡，且勾线十分明显，偏向于工整之笔，染色也较平面化。画法上以工笔勾勒，别开生面，焦墨点睛，炯炯有神，羽毛捕法精细，双爪勾勒，笔扎实有力。鸡的形象画得真实生动，质感强烈，表现了一瞬间各鸡的动作神态。",[49,23,51,84,54,25,27,2631,10978,7],"小鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44c553fe940de32eacb1d4b982556980.jpg","79.7x57.2cm",[35,72],{"id":10983,"slug":10984,"title":10985,"dynasty":115,"author":5272,"museum":81,"description":5273,"tags":10986,"thumbUrl":10987,"material":5276,"size":5277,"collection":213,"collections":10988,"showCount":10954,"zanCount":1288,"manualWeight":39,"mainColor":40},221465,"si-mei-tu-juan-quan-juan-yang-wu-jiu-221465","四梅图卷全卷",[49,50,23,51,52,26,135,528,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa21caf8fd4f408a77f793104e6fbc872.jpg",[213,35,72],{"id":10990,"slug":10991,"title":10992,"dynasty":192,"author":10993,"museum":81,"description":10994,"tags":10995,"thumbUrl":10996,"material":634,"size":10997,"collection":122,"collections":10998,"showCount":10954,"zanCount":11,"manualWeight":39,"mainColor":75},221053,"wen-fu-quan-juan-lu-jian-zhi-221053","文赋全卷","陆柬之","文赋全卷系唐代陆柬之行书法帖。纸本墨迹卷。书法婉润清丽，甚似《兰亭序》。有赵孟頫、李倜、危素、孙承泽等跋记。李倜此跋字体精劲，舒张得宜，行笔丰瘦有度，温润圆融，颇具右军风韵",[49,86,119,52,418,7,2601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe41c1189ecd1a40b1880c8bc8e430647.jpg","纵23.3cm。",[122,1120],{"id":11000,"slug":11001,"title":11002,"dynasty":115,"author":1755,"museum":20,"description":11003,"tags":11004,"thumbUrl":11005,"material":152,"size":11006,"collection":72,"collections":11007,"showCount":10954,"zanCount":39,"manualWeight":39,"mainColor":75},219745,"lou-tai-ye-yue-tu-wan-shan-ye-ma-lin-219745","楼台夜月图纨扇页","《楼台夜月图》为一小景图纨扇页，裁取亭廊台谢的一角之景，图上高柳擢秀、明月当空、山岩稍露、长廊俯见其顶、台榭俨然。在用笔上，岩石以斧劈皴法、亭榭以工稳的界笔画法，树叶全以点缀法，远山烘青，渲染设色，高空浩月，杨柳林中隐约可见楼台复道亭园之景，为马麟的精丽之作。",[23,50,51,822,25,1962,56,59,944,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F575197ec72f706dcbff331880e1f0f61.jpg","纵24.5厘米，横25.2厘米",[72],{"id":11009,"slug":11010,"title":11011,"dynasty":146,"author":1847,"museum":81,"description":11012,"tags":11013,"thumbUrl":11014,"material":239,"size":107,"collection":35,"collections":11015,"showCount":10954,"zanCount":39,"manualWeight":39,"mainColor":40},219639,"zhu-zhi-tu-li-kan-219639","竹枝图","此幅小品取“出墙”之境，一枝竹斜逸于圆幅之中。淡绢为底，虚实相生，留白衬出竹之疏朗意韵。墨色层次分明，竹叶以中锋运笔，正反向背各具姿态，笔力劲挺清刚，尽显君子拔俗之姿，枝桠转折苍劲利落，暗摹风动之态。\n\n题字“出墙”点出意境，带着些许野趣俏皮，打破幽寂，让尺幅间生出鲜活生机。整幅简淡清逸，以极简笔墨写尽竹之风神，将文人寄情于物的意趣藏于毫端，淡墨疏枝之间，清高雅韵悠长。",[49,23,51,26,358,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78ceb9ff1310f445e5e46a19e09ff932.jpg",[35],{"id":11017,"slug":11018,"title":11019,"dynasty":115,"author":1261,"museum":2698,"description":11020,"tags":11021,"thumbUrl":11022,"material":319,"size":11023,"collection":35,"collections":11024,"showCount":10954,"zanCount":1288,"manualWeight":39,"mainColor":40},219542,"shui-xian-tu-zhao-meng-jian-219542","水仙图","全幅绘水仙，其上的留白空间将整幅长卷分成三个部分，每个部分又有三组水仙。第一部分较为稀疏，水仙花茎端方可爱，花叶舒展自然。第二部分的第一组水仙，前后排布，其下鼓起了一些小土坡。第三部分的水仙花和第二部分的第一组水仙花叶相似，穿插密实而错落有致，较为孤立。",[49,50,23,51,52,135,26,488,119,7],"https:\u002F\u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常的闲逸诗意藏于浅淡晕染间，褪去冗杂，只剩江南牧歌的松弛韵致，静穆中晕开鲜活的田园烟火气。",[49,23,51,115,25,58,1115,137,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faced28b4a42cd3e3f64e1fd502af2828.jpg","25.6×22.8",[213,199,72],{"id":11145,"slug":11146,"title":11147,"dynasty":115,"author":4917,"museum":81,"description":11148,"tags":11149,"thumbUrl":11153,"material":1149,"size":11154,"collection":122,"collections":11155,"showCount":11058,"zanCount":1288,"manualWeight":39,"mainColor":75},221206,"cai-xiang-qi-yan-jue-ju-yi-shou-wu-ju-221206","蔡襄七言绝句一首","《七言绝句》诗文出自蔡襄《访陈处士》，它是吴琚存世唯一一件大字行书挂轴之作，也是现在所见最早的一件挂轴形式的书迹。《石渠宝笈初编》著录。上面没有署款，只鈐“云壑书印”一印，有学者认為可能是一组书屏之一。大字书轴适於悬挂欣赏，重在行气连贯与左右上下字的呼应，吴琚此轴笔势较一般小字快速而强劲，结字紧密，以倾侧取势，上下字相映带，更为强调米芾行书的特色，同时代的陆游(1125-1209)与范成大(1126-1193)都有类似风格，可见一时风气，《宋元学案》提到范成大、陆游与吴琚“引為师友”，因此也可能在书法上互相影响",[49,86,119,501,502,7,60,11150,11151,332,11152,66],"溪","垂杨","日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cbb93e387618892f877990551cbc300.jpg","98.6x55.3cm",[122],{"id":11157,"slug":11158,"title":11159,"dynasty":192,"author":11160,"museum":99,"description":11161,"tags":11162,"thumbUrl":11163,"material":107,"size":107,"collection":122,"collections":11164,"showCount":11058,"zanCount":743,"manualWeight":39,"mainColor":75},221110,"zhang-hao-hao-shi-du-mu-221110","张好好诗","杜牧","《张好好诗》是唐代文学家杜牧创作的一首诗。此诗以浓笔重彩，追忆了张好好六年前初吐清韵、名声震座的美好一幕。当年风姿绰约的张好好，才不过几年，竟已沦为卖酒东城的“当垆”之女。杜牧用精湛的诗歌语言，再现了张好好升浮沉沦的悲剧生涯，抒发了诗人对这类无法主宰自己命运的苦难女子的深切同情。全诗情绪饱满，文辞清秀，堪称唐诗中的佳作。",[49,86,119,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3673bf4d376a38eed699e0f44d7cbf5.jpg",[122],{"id":11166,"slug":11167,"title":11168,"dynasty":146,"author":431,"museum":222,"description":11169,"tags":11170,"thumbUrl":11171,"material":319,"size":11172,"collection":122,"collections":11173,"showCount":11058,"zanCount":11,"manualWeight":39,"mainColor":40},220881,"gui-qu-lai-ci-juan-quan-juan-zhao-meng-fu-220881","归去来辞卷全卷","乌丝栏中字行书陶渊明《归去来辞》全文并序。书法规抚王羲之,运笔及间架明显师法王氏兰亭及圣教序,精致清新",[49,119,86,52,51,7,25,58,26,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91687600b8640b457b4a8ea7f84da540.jpg","书心纵24,横146.2厘米",[122],{"id":11175,"slug":11176,"title":11177,"dynasty":97,"author":929,"museum":930,"description":11178,"tags":11179,"thumbUrl":11180,"material":25,"size":11181,"collection":35,"collections":11182,"showCount":11058,"zanCount":1288,"manualWeight":39,"mainColor":40},220143,"leng-yan-you-xiang-tu-li-shan-220143","冷艳幽香图","李鱓（1686—1762），清代画家，江苏兴化人。字宗扬，号复堂、懊道人。康熙五十四年（1715年）举人，官滕县、临淄知县。擅花鸟、山水。绘画师法沈周、林良、陈淳、徐渭、恽寿平、石涛、高其佩、蒋廷锡等人。李鱓比较重视生活感受与传统技法的结合，熟练使用自己领悟到的笔墨，善于发挥水的特性，“水墨融成奇趣”，大胆发挥鲜艳色彩和白粉的特性，将粗笔画法与工细画法结合，形成“纵横驰骋，不拘绳墨而独得天趣”“随意布置，另有别趣”的写意花鸟画风，笔墨雄健劲拔，设色淡雅。他的绘画对吴熙载、赵之谦、吴昌硕等人产生了深远影响。李鱓亦擅书法，用笔古朴豪宕、洒脱自然。从南京博物院藏《冷艳幽香图》中的题跋可见李鱓书法的一些审美意趣和风格特色。",[49,23,51,52,25,26,403,27,528,251,420,529,29,150,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F776535ffcb2a3e1e219ec108c1aebfe7.jpg","纵34.5厘米、横362厘米",[35],{"id":11184,"slug":11185,"title":11186,"dynasty":97,"author":11187,"museum":81,"description":11188,"tags":11189,"thumbUrl":11190,"material":33,"size":11191,"collection":70,"collections":11192,"showCount":11058,"zanCount":39,"manualWeight":39,"mainColor":40},214812,"jiang-chao-tu-zhang-zong-cang-214812","江潮图","张宗苍","画面描绘了河流的壮丽潮汐和远岸的山脉。海浪是如此强大，当它们遇到岩石时，就会形成银色的怒涛。山脉、悬崖和树木的笔触与王原祁的松树和苍劲的山水有着同样的兴趣。",[49,23,51,56,55,25,7,150,8108,63,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9c2de55def97e2d554b4acbf37b8d33.jpg","166.7x69.5",[70],{"id":11194,"slug":11195,"title":11196,"dynasty":97,"author":11197,"museum":81,"description":11198,"tags":11199,"thumbUrl":11200,"material":88,"size":11201,"collection":122,"collections":11202,"showCount":11058,"zanCount":39,"manualWeight":39,"mainColor":40},214238,"shu-huai-su-zi-xu-zhong-tang-zheng-xie-214238","书怀素自序中堂","郑燮","墨韵流转间，六分半书的奇趣跃然纸上。篆隶的古拙、行草的纵逸交织，笔画如铁画银钩，时而厚重沉凝，时而飞白流转。字形欹正相生，大小错落如乱石铺街，却在跌宕中藏着章法的妙趣。写怀素自序，既得草圣的洒脱意气，又融书者自身的率真性情——每一笔都似带着文人风骨，刚柔相济间，可见对传统的解构与重构。章法疏密有致，行与行的呼应如流水映月，枯润对比中透着笔墨灵动。整体气息清劲洒脱，不拘一格，仿佛能窥见挥毫时的快意，是融众家之长又自成一格的生动写照。",[49,105,86,51,84,119,462,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff16c746a3fdbcaa899c4643d03078132.jpg","190.5x105.2",[122],{"id":11204,"slug":11205,"title":11206,"dynasty":18,"author":955,"museum":81,"description":11207,"tags":11208,"thumbUrl":11209,"material":88,"size":11210,"collection":122,"collections":11211,"showCount":11058,"zanCount":39,"manualWeight":39,"mainColor":40},214230,"xing-shu-wu-yan-lian-chen-hong-shou-214230","行书五言联","笔锋似铁线盘桓，结体如奇峰耸峙。线条粗细跌宕间藏篆隶古意，墨色浓淡交错处见行草灵动。联语与书风浑然一体：无意曲阿，守拙存真；只行此事，抱朴持恒。每一字皆若老松卧石，静穆中透着锋芒，孤傲里含着坚守。陈洪绶以画名世，书法却自成高格，于欹侧中求平衡，于刚健中见柔婉。观此联，如沐古风，墨韵间流淌着晚明文人的风骨与气度，尽显其艺术世界里的独特品格。",[49,86,119,5664,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b0d7671bfe131d0363a844b26ffe63a.jpg","115.7x27.4",[122],{"id":11213,"slug":11214,"title":11215,"dynasty":146,"author":1303,"museum":99,"description":11216,"tags":11217,"thumbUrl":11218,"material":689,"size":690,"collection":107,"collections":11219,"showCount":11220,"zanCount":39,"manualWeight":3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， 画法疏简 ，格调天真幽淡。作品多画太湖一带山水，构图平远，景物极简，多作疏林坡岸，浅水遥岑。用笔变中锋为侧锋，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。墨竹萧爽清丽。论画主张抒发主观感情，认为绘画应表现作者“胸中逸气”，不求形似，说“仆之所谓画者，不过逸笔草草，不求形似，聊以自娱耳”。其绘画实践和理论观点，对明清文人画家有很大影响，享誉极高，画史将他与黄公望、吴镇、王蒙并称元四家",[50,23,51,84,26,967,358,277,7,86,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1d55eecf41bf1bce479bcfa86bdf890.jpg",[],70,{"id":11222,"slug":11223,"title":11224,"dynasty":115,"author":221,"museum":99,"description":2051,"tags":11225,"thumbUrl":11227,"material":689,"size":690,"collection":107,"collections":11228,"showCount":11220,"zanCount":39,"manualWeight":39,"mainColor":75},288519,"du-he-tu-zhao-ji-288519","独鹤图",[23,27,54,1480,25,86,7,11226],"孤高","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc62691d2740456475597b024d6913e80.jpg",[],{"id":11230,"slug":11231,"title":11232,"dynasty":97,"author":1180,"museum":99,"description":1655,"tags":11233,"thumbUrl":11234,"material":689,"size":690,"collection":107,"collections":11235,"showCount":11220,"zanCount":743,"manualWeight":39,"mainColor":2307},288286,"zi-shou-tu-wu-chang-shuo-288286","紫绶图",[49,23,84,25,26,27,307,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F817e309dc8834874824452e90adb0bb1.jpg",[],{"id":11237,"slug":11238,"title":11239,"dynasty":18,"author":1014,"museum":99,"description":1334,"tags":11240,"thumbUrl":11242,"material":689,"size":690,"collection":107,"collections":11243,"showCount":11220,"zanCount":743,"manualWeight":39,"mainColor":75},287972,"qiu-shan-gao-shi-tu-juan-quan-juan-tang-yin-287972","秋山高士图卷(全卷)",[49,50,23,51,52,25,55,56,62,59,150,64,61,11241,63,119,86,7],"高士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd2fd446df0721e6764bc25b60d786cf.jpg",[],{"id":11245,"slug":11246,"title":11247,"dynasty":97,"author":1082,"museum":99,"description":1382,"tags":11248,"thumbUrl":11249,"material":689,"size":690,"collection":107,"collections":11250,"showCount":11220,"zanCount":39,"manualWeight":39,"mainColor":40},287696,"bai-lu-xiao-niao-tu-li-zhou-zhu-da-287696","白鹭小鸟图立轴",[23,50,51,84,26,27,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4fbd45d978190e5929c928f8a6bc919.jpg",[],{"id":11252,"slug":11253,"title":11254,"dynasty":97,"author":11255,"museum":99,"description":11256,"tags":11257,"thumbUrl":11258,"material":107,"size":107,"collection":199,"collections":11259,"showCount":11220,"zanCount":39,"manualWeight":39,"mainColor":40},239309,"shi-nv-tu-ye-huang-yao-239309","仕女图页","黄曜","柳荫垂覆，朱栏萦立，仕女素衣雅致，鬟发温婉，凭栏凝睇架上青鸟，眉眼间晕着淡淡幽思。浅设色晕染出枝叶清润质感，衣袂褶皱柔缓舒展，将闺中女子春日里的缱绻闲愁悄然铺陈。左侧题字配印，笔墨秀雅与画面相映。\n\n全画笔致清隽细腻，将江南春景的柔婉与仕女静穆怅惘相融，淡墨轻岚间静中生韵，把闺中闲绪糅入春日烟柳，含蓄绵长的古典情致漫溢纸面，余味悠然。",[23,51,24,54,25,58,136,66,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4560235a4bc933ed5d63f130017ba2f9.jpg",[199],{"id":11261,"slug":11262,"title":11263,"dynasty":97,"author":1180,"museum":175,"description":11264,"tags":11265,"thumbUrl":11266,"material":391,"size":11267,"collection":107,"collections":11268,"showCount":11220,"zanCount":743,"manualWeight":39,"mainColor":40},233733,"yu-lan-tu-zhou-wu-chang-shuo-233733","玉兰图轴","图绘玉兰花依石而开的景致。白描的玉兰与墨染的山石形成强烈的黑白对比，相互依托，虚实相生。兰、石以金石篆籀的笔法入画，浑厚老辣的笔墨融入简率疏野的写意花鸟画格之中，营造出“豪放而馨香”的绮丽效果，与图中苍劲有力的书法相映生辉。此幅当属诗书画有机结合的佳作。",[23,51,84,26,403,27,933,277,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5741ce1b277c358cd2642fad04d5f795.jpg","纵174.8厘米，横47.5厘米",[],{"id":11270,"slug":11271,"title":11272,"dynasty":18,"author":955,"museum":525,"description":11273,"tags":11274,"thumbUrl":11275,"material":319,"size":11276,"collection":107,"collections":11277,"showCount":11220,"zanCount":743,"manualWeight":39,"mainColor":75},231484,"li-hua-tu-chen-hong-shou-231484","梨花图","陈洪绶号曰老莲，章侯其字也，先祖原居河南许昌，南宋时随高宗南迁，定居于浙江诸暨枫桥镇。陈洪绶在少年时代即显示出在绘画艺术的天授之才，著名画家蓝瑛、孙杕看到陈洪绶十岁时的画作，惊叹道：“使斯人画成，道子、子昂均当北面，我辈尚敢措笔乎！”又曰：“此天授也”。此后陈随蓝、孙两师学习，继而研习、临摹古代大师传世之作，师法唐人，兼学宋元诸名家，人物、山水、花鸟无所不学，他的艺术天分加上勤学苦练使他很早就在画坛声名大振。 陈洪绶生活在晚明时期，朝廷极度腐败，文化方面却呈现出多变而丰富的面貌，陈洪绶是彼时最具强烈个性的艺术巨匠，在绘画的各个题材中均有独特的创造性，并影响中国绘画数百年，流风至今不衰。\n陈洪绶的这件《梨花图》绘于绢本，纵76公分，横26公分，题款：老莲洪绶画。虽未署年款，据陈洪绶传世的其它创作于深柳读书堂的作品及《梨花图》的风格推断，这件作品应创作于十七世纪三十年代中期，那时陈洪绶年龄近四十，绘画技巧已然十分纯熟。画面高低变化，巧妙地丰富了画面的视觉效果。陈洪绶的花鸟画作品，体现了他的精神品位，在构图和造型上都打破了传统样式的束缚，有古拙之趣，造型新颖、拙朴率真，这是在继承传统的基础上显现出的强烈个人风格风貌。其花鸟画表现手法，受宋代院体画风的影响，造型严谨，工笔双钩，设色艳丽，由此汲取艺术精华并发展而来。又受明末大写意花鸟画的影响，用笔洒脱灵动，兼工带写，水墨交融。这件《梨花图》既是画家长期写生锤炼的结晶，也是宋代花鸟画的神韵所在。因陈洪绶花鸟绘画具有高度的装饰性，所以类似《梅花图》这样的题材在当时必定广受欢迎。",[49,23,51,84,54,25,27,645,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ed725b25d09198789d5bf2f2832ed81.jpg","76×26 cm",[],{"id":11279,"slug":11280,"title":11281,"dynasty":18,"author":3070,"museum":99,"description":11282,"tags":11283,"thumbUrl":11284,"material":107,"size":107,"collection":107,"collections":11285,"showCount":11220,"zanCount":1288,"manualWeight":39,"mainColor":40},231011,"qiu-tang-hua-ya-tu-chen-chun-231011","秋塘花鸭图","此作用淡墨轻铺底色，墨色晕染出花鸭绒羽蓬松柔润，青灰头羽、赭黄喙部鲜亮醒目，鸭身浮沉秋水，憨态悠然，尽显野趣生机。残荷枯黄老叶以赭石、花青晕染，莲蓬挺秀，败菊缀于右上角，淡彩点染出秋意阑珊。汀草、蓼花细笔勾勒，干湿浓淡的墨色交织，衬出水波澹澹。\n\n画作兼工带写，水墨为主略施淡彩，笔意纵逸又不失秀雅，将深秋塘间清寂又鲜活的意趣尽数铺展，笔情墨趣间尽显文人写意的雅致随性，揉合秋日池溏的萧疏与生机，淡远空灵的意境扑面而来。",[50,23,51,84,403,26,25,27,420,3577,463,104,3652,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13db65695720260f6c24cc85f7896486.jpg",[],{"id":11287,"slug":11288,"title":11289,"dynasty":97,"author":445,"museum":99,"description":11290,"tags":11291,"thumbUrl":11292,"material":107,"size":107,"collection":107,"collections":11293,"showCount":11220,"zanCount":39,"manualWeight":39,"mainColor":40},228997,"hua-niao-tu-ce-12-kai-shi-tao-228997","花鸟图册12开","此作用笔简淡清逸，枯湿浓淡的笔墨绘就枝叶，偃仰之间自带舒展生韵。淡黄绿色轻晕花形，不着勾勒，似含露半绽，朦胧雅致。\n行书题诗与画意相得益彰，笔势同画中笔墨呼应相生，以花木寄寓出脱尘的襟怀。画面留白空濛悠远，以少胜多，将草木清灵意趣与文人雅逸情志相融，淡远萧疏之间，尽显自在风骨，是以画写心的佳作。",[23,51,24,26,25,27,86,7,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e3557a950fe9eb3922bef3edf50e34b.jpg",[],{"id":11295,"slug":11296,"title":11297,"dynasty":130,"author":11298,"museum":99,"description":11299,"tags":11300,"thumbUrl":11301,"material":107,"size":107,"collection":107,"collections":11302,"showCount":11220,"zanCount":39,"manualWeight":39,"mainColor":40},227048,"ping-fu-tie-lu-ji-227048","平复帖","陆机","《平复帖》卷，晋，陆机书，纸本，手卷，纵23.7厘米，横20.6厘米 。\n草隶书9行86字。\n释文:\n“彥先羸瘵 ，恐難平復，往屬初病，慮不止此，此已爲慶。承使唯男，幸爲複失前憂耳。吳子楊往初來主，吾不能盡。臨西複來，威儀詳跱。舉動成觀，自軀體之美也。思識□量之邁前，勢所恒有，宜□稱之。夏伯榮寇亂之際，聞問不悉。”（释文据启功《〈平复帖〉说并释文》）\n《平复帖》内容涉及三个人物：贺循，字彦先，是陆机的朋友，身体多病，难以痊愈；陆机说他能够维持现状，已经可庆，又有子侍奉，可以无忧了。吴子杨，以前曾到过陆家，但未受到重视；如今将西行，复来相见，其威仪举动，自有一种较前不同的气宇轩昂之美；最后说到夏伯荣，他因寇乱阻隔，没有消息。\n《平复帖》的书写年代距今已有1700余年，是现存年代最早并真实可信的西晋名家法帖。它用秃笔写于麻纸之上，笔意婉转，风格平淡质朴，其字体为草隶书。《平复帖》在中国书法史上占有重要地位，同时对研究文字和书法变迁方面都有参考价值。\n根据尾纸董其昌、溥伟、傅增湘、赵椿年题跋，可得知《平复帖》历代递藏情况。此帖宋代入宣和内府，明万历间归韩世能、韩逢禧父子，再归张丑。清初递经葛君常、王济、冯铨、梁清标、安岐等人之手归入乾隆内府，再赐给皇十一子成亲王永瑆。光绪年间为恭亲王奕訢所有，并由其孙溥伟、溥儒继承。后溥儒为筹集亲丧费用，将此帖待价而沽，经傅增湘从中斡旋，最终由张伯驹以巨金购得。张氏夫妇于1956年将《平复帖》捐献国家。\n清吴其贞《书画记》、顾复《平生壮观》、安岐《墨缘汇观》等书著录。",[49,86,462,418,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3d2a5b8673609f128d22c45974e653b.jpg",[],{"id":11304,"slug":11305,"title":11306,"dynasty":97,"author":1180,"museum":99,"description":2303,"tags":11307,"thumbUrl":11308,"material":1561,"size":11309,"collection":35,"collections":11310,"showCount":11220,"zanCount":1288,"manualWeight":39,"mainColor":40},224220,"chun-feng-chui-chu-hong-wu-chang-shuo-224220","春风吹出红",[49,23,51,27,25,26,86,7,308,265,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe082f7e60dc29bf6eac47500e2168d46.jpg","69x104厘米",[35,72],{"id":11312,"slug":11313,"title":11314,"dynasty":97,"author":1180,"museum":99,"description":11315,"tags":11316,"thumbUrl":11318,"material":107,"size":107,"collection":107,"collections":11319,"showCount":11220,"zanCount":39,"manualWeight":39,"mainColor":40},224216,"tian-zhu-shui-xian-zhou-wu-chang-shuo-224216","天竹水仙轴","《艺海集珍》是26年月1日文物出版社出版的图书，作者是刘麒子。\n本集所收中国近现代 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",[49,23,84,25,403,27,11317,488,1714,7],"天竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe34ea47443956a65404d4783bc4513f9.jpg",[],{"id":11321,"slug":11322,"title":11323,"dynasty":18,"author":2059,"museum":81,"description":11324,"tags":11325,"thumbUrl":11326,"material":634,"size":107,"collection":70,"collections":11327,"showCount":11220,"zanCount":39,"manualWeight":39,"mainColor":40},221968,"fang-li-cheng-xi-shan-shen-xue-zhou-wen-zheng-ming-221968","仿李成溪山深雪轴","绘山石耸立，悬崖绝壁，白雪霭霭，山涧中一股瀑布倾泻而下，在山脚下汇入河流，河岸边树木修长，树叶凋零，一桥横跨两岸。题识：正德十年乙亥仿李营丘溪山深雪图 徵明。",[49,23,51,84,26,55,134,56,1050,150,64,293,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff12e302f69f4a2f9424953933b64b61c.jpg",[70,72],{"id":11329,"slug":11330,"title":11331,"dynasty":146,"author":376,"museum":81,"description":11332,"tags":11333,"thumbUrl":11334,"material":11335,"size":11336,"collection":70,"collections":11337,"showCount":11220,"zanCount":39,"manualWeight":39,"mainColor":40},220811,"lin-quan-qing-qu-zhou-wang-meng-220811","林泉清趣轴","画山林密布，画瀑布从山涧飞下，击打岩石，云雾缭绕，从山下望去，是建在山上的房子，房子里的人都在山影里，都在院子里；书生走进亭子，身后跟着一个手拿着雨伞的少年，一个人站在书生身边，十分抢眼。",[49,23,51,84,26,55,56,63,64,150,61,727,293,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180bf7a4cf1422c1d432b865bbfa11f2.jpg","纸、水墨","26.4x39.8公分、全幅 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。曹知白善画山水，师法李成、郭熙，从中演变成一种清疏简淡的风格。作品多以柔细之笔勾皴山石，极少渲染。早年笔墨较秀润，晚年变为 苍秀简逸。",[23,51,84,26,712,11378,55,967,150,751,7],"平远构图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F486a1ae065d01421150a94b252022a7e.jpg","75.4x43公分",[242],{"id":11383,"slug":11384,"title":11385,"dynasty":18,"author":6822,"museum":175,"description":11386,"tags":11387,"thumbUrl":11389,"material":319,"size":11390,"collection":122,"collections":11391,"showCount":11220,"zanCount":743,"manualWeight":39,"mainColor":40},219155,"xing-kai-shu-rong-deng-tie-ye-du-qiong-219155","行楷书·荣登帖页","此帖是杜琼写给吴宽的书信。吴宽于明成化八年（1472年）参加会试、廷试，皆第一，即杜琼所谓“荣登二元”——会元、状元，随后授翰林院修撰。杜琼信中请吴宽为杜家私园延绿亭“作重建延绿亭记”。信写于壬辰（成化八年，1472年）中秋时，这一年杜琼已77岁，且多病，两年后便逝世了。此帖结字瘦长，点划细润工丽，精劲俊峭，具有文人气质。",[49,86,119,417,11388,502,26,7,418],"行楷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea8ea1ebfbbbbed4a838ebb6eeebdb9.jpg","纵24.2厘米，横48.6厘米",[122],{"id":11393,"slug":11394,"title":11395,"dynasty":115,"author":207,"museum":81,"description":11396,"tags":11397,"thumbUrl":11398,"material":152,"size":107,"collection":35,"collections":11399,"showCount":11220,"zanCount":625,"manualWeight":39,"mainColor":40},218710,"shan-cha-su-niao-tu-yi-ming-218710","山茶宿鸟图","山茶敷彩浓淡相衔，花瓣层叠如染，露蕊轻绽似噙晨露；宿鸟羽纹细缜若织，绒羽软润可触，敛翅栖枝时，眸光凝定，恍与花叶私语。枝叶晕染自然，脉络隐现，墨青交织间衬得花红鸟俏。方寸小品藏天地，写实中蕴诗意：宋画的精微与雅致尽在笔端。静赏时，似闻花叶轻颤，觉鸟羽微动，古典的温润与生机漫溢开来，于清寂里见鲜活，于雅致中藏野趣，尽显宋人观物之细、写意之深。",[49,50,23,51,822,54,25,27,344,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F659d3355cd9776da0b6336002c2c162d.jpg",[35],{"id":11401,"slug":11402,"title":6579,"dynasty":115,"author":207,"museum":525,"description":6580,"tags":11403,"thumbUrl":6582,"material":152,"size":107,"collection":213,"collections":11404,"showCount":11220,"zanCount":743,"manualWeight":39,"mainColor":75},218537,"e-xi-tu-yi-ming-218537",[49,23,51,822,25,54,5210,420,871,406,7],[213,35],{"id":11406,"slug":11407,"title":11408,"dynasty":146,"author":431,"museum":81,"description":11409,"tags":11410,"thumbUrl":11411,"material":33,"size":11412,"collection":199,"collections":11413,"showCount":11220,"zanCount":39,"manualWeight":39,"mainColor":40},215018,"weng-you-tu-zhao-meng-fu-215018","瓮牖图","这幅画描绘了子贡在住所中与元显会面的情景，以桑门为门，以破瓮为窗的陋室，以示君子以德为乐。岩石很粗糙，只画了草图，后来用绿色和蓝色填充，人物穿着柔软，笔触遒劲，具有唐代的古风。",[49,23,51,52,25,56,58,86,119,7,64,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1134b50520c2f4c147bc42dc3de893cc.jpg","27.1x619.4",[199],{"id":11415,"slug":11416,"title":11417,"dynasty":97,"author":11418,"museum":81,"description":11419,"tags":11420,"thumbUrl":11421,"material":88,"size":11422,"collection":122,"collections":11423,"showCount":11220,"zanCount":1288,"manualWeight":39,"mainColor":40},214233,"xing-shu-qi-yan-lian-ceng-guo-fan-214233","行书七言联","曾国藩","笺纸泛黄，墨色沉雄。行书笔意流畅却不失骨力，起笔如高山坠石，行笔似老树盘根，收笔若惊鸿掠影。联语祥瑞，灵芝美箭遍地生，绛阙云台留美名，字句间的吉庆与笔墨的刚健相得益彰。每一字结构端稳又带灵动，中锋行笔的厚重质感，仿佛承载着岁月的沉淀。书写者的从容气度跃然纸上，将相的沉雄与文人的雅致交融，书艺与文心完美契合，尽显古典书法的隽永韵味，令人观之忘俗。",[49,51,86,119,5664,84,7,26,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0b508d6f53b2db738d1795cddeab2c3.jpg","174x38.1",[122],{"id":11425,"slug":11426,"title":7660,"dynasty":146,"author":11427,"museum":81,"description":11428,"tags":11429,"thumbUrl":11430,"material":88,"size":11431,"collection":122,"collections":11432,"showCount":11220,"zanCount":1288,"manualWeight":39,"mainColor":40},214221,"qi-yan-lv-shi-zhang-yu-214221","张雨","张雨师从赵孟𫖯，行楷处处可见赵氏书风的影响，但此卷却偏离了美学风格，有一种奇怪的野性。从头到尾，欧阳询的身影偶尔可见，但字的排列就像一个醉汉在移动，所用的墨汁有时厚重而枯涩，这可以看作是一个道士酒后心动的痕迹，或是追求浪漫的神来之笔。",[49,86,119,26,7,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18f2d77af2252f23f19e281ffd2202f0.jpg","108.4x42.6",[122],{"id":11434,"slug":11435,"title":11436,"dynasty":115,"author":355,"museum":99,"description":356,"tags":11437,"thumbUrl":11438,"material":689,"size":690,"collection":107,"collections":11439,"showCount":11440,"zanCount":39,"manualWeight":39,"mainColor":75},288536,"mo-zhu-tu-hua-xin-su-shi-288536","墨竹图画心",[50,23,51,26,358,86,7,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca2ecffd32f6d067c527578a9476c753.jpg",[],69,{"id":11442,"slug":11443,"title":11444,"dynasty":97,"author":697,"museum":175,"description":11079,"tags":11445,"thumbUrl":11446,"material":107,"size":107,"collection":35,"collections":11447,"showCount":11440,"zanCount":1288,"manualWeight":39,"mainColor":40},236579,"lan-mei-ce-wang-shi-shen-236579","兰梅册",[23,51,24,26,27,528,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a22d9903ebf77ab39f57a28f615460f.jpg",[35,242],{"id":11449,"slug":11450,"title":684,"dynasty":18,"author":524,"museum":99,"description":11451,"tags":11452,"thumbUrl":11454,"material":689,"size":690,"collection":70,"collections":11455,"showCount":11440,"zanCount":1288,"manualWeight":39,"mainColor":40},235686,"shan-shui-hua-hui-ce-xiang-sheng-mo-235686","项圣谟，初字逸，后字孔彰，号易庵，别号有胥山樵、存存居士、醉风人、大酉山人、莲塘居士、烟波钓徒、松涛散仙、逸叟、狂吟客、鸳湖钓叟、不夜楼中士等等，浙江嘉兴人。",[23,51,24,25,27,11453,2559,265,7],"花枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1058fce6fc406a605fe3444ec1a25c9.jpg",[70],{"id":11457,"slug":11458,"title":11459,"dynasty":18,"author":207,"museum":99,"des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纵175,横5.7cm。\n古木垂阴图 古木垂阴图 清（1644-1911） 纸本 水墨 纵175,横5.7cm 设色绘近景层岩嶙峋，树木丰茂，山径曲折，楼阁深藏，远山挺拔峭立，云烟缭绕。\n用笔皴法多变，赋色雅淡。\n右上角有作者长题，石涛（公元164~？），亦署大涤子、苦瓜和尚等，明宗室后裔，俗名朱若极，清亡后削发为僧。\n善画山水，为清初四画僧之一。",[49,50,23,51,84,26,55,56,2611,150,715,2002,64,2681,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d675bfa825848fc195c23b6950913d6.jpg",[],{"id":11481,"slug":11482,"title":11483,"dynasty":115,"author":207,"museum":99,"description":11484,"tags":11485,"thumbUrl":11486,"material":11487,"size":11488,"collection":213,"collections":11489,"showCount":11440,"zanCount":39,"manualWeight":39,"mainColor":75},223548,"luo-shen-tu-juan-yi-ming-223548","洛神图卷","曲折細緻而又層次分明地描繪着曹植與洛神真摯純潔的愛情故事。人物安排疏密得宜，在不同的時空中自然地交替、重疊、交換，而在山川景物描繪上，無不展現一種空間美。 全畫用筆細勁古樸，恰如“春蠶吐絲”。山川樹石畫法幼稚古樸，所謂“人大於山，水不容泛”，體現了早期山水畫的特點。",[49,23,51,52,25,54,119,7,58,56,64,150,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43d7b447c13366eb01191db07eb8dd9d.jpg","长卷 绢本 设色","28x699厘米",[213,199,72],{"id":11491,"slug":11492,"title":11493,"dynasty":18,"author":9255,"museum":175,"description":11494,"tags":11495,"thumbUrl":11496,"material":391,"size":11497,"collection":35,"collections":11498,"showCount":11440,"zanCount":743,"manualWeight":39,"mainColor":40},222036,"kui-shi-xia-die-tu-zhou-dai-jin-222036","葵石峡蝶图轴","此幅画盛开的蜀葵一株，两只蝴蝶翩翩飞舞。\n在戴进的作品中，工笔设色花鸟并不多见，此图用笔细润，色彩清丽，既保留了宋代院体花鸟的工致，又吸收了元代钱选没骨设色的文雅之气。画面下端的湖石纹理粗糙，凹凸有致，与花卉草虫形成鲜明的对比。\n近代何昆玉、庞莱臣《虚斋名画录》卷二著录。",[49,50,23,84,25,54,27,3186,315,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7690becc18ef2b29aaf5e830a77ab9fb.jpg","纵115厘米，横39.6厘米",[35,72],{"id":11500,"slug":11501,"title":11502,"dynasty":115,"author":7045,"museum":175,"description":11503,"tags":11504,"thumbUrl":11505,"material":11506,"size":11507,"collection":122,"collections":11508,"showCount":11440,"zanCount":1288,"manualWeight":39,"mainColor":40},221195,"zun-juan-tie-lu-you-221195","尊眷帖","《尊眷帖》释文：\n遊惶恐拜問契家尊眷，共惟並擁壽祺。鏡中有委敢請，子聿六粗能勤苦，但恨不能卒業。函丈若不棄遺，尚未晚也。張七三哥□貧可念，官期尚遠，奈何。每爲之心折，顧無所置力耳。三丈亦念之否。遊惶恐再拜。\n本幅鉴藏印有“宋荦审定”、“凇洲”、“江恂之印”、“德畲借观”以及成亲王、成薰等。\n此帖内容为委请类，即陆游委请函丈帮助其幼子子聿完成学业。帖中言及的子聿为陆游之幼子，据陆游年谱知其生于淳熙四年丁酉（1177年），是年放翁53岁。“镜中”指绍兴镜湖即鉴湖，故此帖当书于家中。\n此帖结体颀长，笔画劲健，转折点画精致爽利，既可见杨凝式、苏轼及黄庭坚书法遗意，又自具面目。\n《书画鉴影》卷一著录，《海山仙馆藏真帖》卷三摹刻。",[49,51,86,119,26,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e5f770e80aa172e6bd6de9a2f3d045e.jpg","纸本，册页","纵29.3厘米，横38.3厘米",[122],{"id":11510,"slug":11511,"title":11512,"dynasty":1037,"author":7523,"museum":175,"description":11513,"tags":11514,"thumbUrl":11515,"material":319,"size":11516,"collection":122,"collections":11517,"showCount":11440,"zanCount":1288,"manualWeight":39,"mainColor":75},221141,"shen-xian-qi-ju-fa-juan-yang-ning-shi-221141","神仙起居法卷","《神仙起居法》是杨凝式书写的古代一种健身，文体近似口诀。\n释文：\n“神仙起居法。行住坐臥處，手摩脅與肚。心腹通快時，兩手腸下踞。踞之徹膀腰，背拳摩腎部。才覺力倦來，即使家人助。行之不厭頻，晝夜無窮數。歲久積功成，漸入神仙路。乾祐元年冬殘臘暮，華陽焦上人尊師處傳，楊凝式(下一草押)。”\n后纸有宋米友仁，元商挺，清张孝思题记及无名氏行书释文5行。卷前右下角有明项元汴“摩”字编号。\n卷前后及隔水上钤有宋“紹興”、“內府書印”，明杨士奇、陈淳、项元汴，清张孝思、陈定、清内府等鑑藏印。\n此卷最早为宋高宗内府之物，后入贾似道手中，至明代曾经“江阴葛惟善收藏”(都穆《寓意编》)，《清河书画舫》又称“郡人王氏所藏”，明代为项元汴所有，至清代乾隆时进入内府。\n书法由唐到宋，杨凝式是一转折人物，苏轼评曰：“自颜、柳没，笔法衰绝。加以唐末丧乱，人物凋落，文采风流扫地尽矣。独杨公凝式笔迹雄杰，有二王、颜、柳之余，此真可谓书之豪杰，不为时世所汩没者。”\n此幅小行草书是杨凝式七十六岁时的作品，笔法劲逸，转侧多变。用墨浓淡相间，时有枯笔飞白。书字的结势于攲侧险劲中求平正，且行间字距颇疏，在继承唐代书法的基础上，以险中求正的特点创立新风格，尽得天真烂漫之趣。此书是杨凝式行草书传世作品的代表作，对宋代书法影响较大。",[49,86,462,52,435,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3574f4c03f15292387c8362a4bddebbc.jpg","纵27厘米，横21.2厘米",[122],{"id":11519,"slug":11520,"title":11521,"dynasty":192,"author":5045,"museum":175,"description":11522,"tags":11523,"thumbUrl":11524,"material":319,"size":11525,"collection":122,"collections":11526,"showCount":11440,"zanCount":39,"manualWeight":39,"mainColor":75},221088,"meng-zhao-tie-juan-liu-gong-quan-221088","蒙诏帖卷","《蒙诏帖》卷，传为唐柳公权书，纸本，行书，纵26.8厘米，横57.4厘米。\n\n释文：\n公权蒙诏, 出守翰林，职在闲冷，亲情嘱托，谁肯响应，深察感幸。公权呈。\n鉴藏印有宋“绍兴”、“瑞文图书”、“贤志赏”，元“赵氏子昂”、“乔氏篑成”、“齐郡张绅士行”，明“冯氏鹿庵珍藏图籍印”，清“安岐之印”、“王常宗”、“陈氏彦廉”、“韩世能印”、“韩逢禧印”等。\n\n此帖传为柳公权写的一通信札，告诉对方自己年老体衰，能力有限，虽然有个闲官职位，可也不能为别人办什么大事，请谅解自己的难处。\n\n南宋所刻《兰亭续帖》中收有《翰林帖》（或称《蒙诏帖》），其文曰：“公权年衰才劣，昨蒙恩放出翰林，守以闲冷，亲情嘱托，谁肯响应，惟深察，公权敬白。”据文意推测该帖应写于文宗时柳氏任翰林院书诏学士期间，而本帖中的“出守翰林”在文辞上不符合当时居官者职守的称谓，因此可能是宋人据《翰林帖》的大意写出。书法的前四行用笔较雄畅，结字亦尚稳妥，而后几行用笔逐渐瘦薄，结字多松散，末行的“权”字笔画也不成结构，与柳氏遒媚劲健的书风悬殊较大。种种迹象表明，本帖非柳书，乃是宋人仿本。\n\n明詹景凤《东图玄览》、张丑《南阳书法表》、《真迹日录》，清安岐《墨缘汇观》著录。",[50,23,51,52,119,462,86,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda5e4a285528d158dd273e3ee4b593bd.jpg","纵26.8厘米，横57.4厘米",[122,1120],{"id":11528,"slug":11529,"title":11530,"dynasty":146,"author":1303,"museum":11531,"description":11532,"tags":11533,"thumbUrl":11535,"material":33,"size":11536,"collection":242,"collections":11537,"showCount":11440,"zanCount":39,"manualWeight":39,"mainColor":40},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。",[49,23,26,712,55,119,86,7,11534,403,406,358,871,150,751,715],"干笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7872a100371101d8e6bbd7f53608e4.jpg","80 X 53 CM",[242,921],{"id":11539,"slug":11540,"title":11541,"dynasty":18,"author":4410,"museum":99,"description":11542,"tags":11543,"thumbUrl":11545,"material":319,"size":107,"collection":199,"collections":11546,"showCount":11440,"zanCount":1288,"manualWeight":39,"mainColor":40},220103,"zhong-kui-yi-jia-tu-qian-gu-220103","钟馗移家图","钱谷（公元1508~1578年），字叔宝，号磬室，江苏苏州人。好读书，曾手抄稀有书籍，跟从文征明学习诗文书画。山水笔墨疏朗稳健，也能画人物、兰竹，风格较平实。编有〈续吴都文粹〉等。作品有〈雪山策骞图轴〉，〈虎丘前山图轴〉，〈董姬像（册页）〉，〈晴雪长松图轴〉。",[49,23,51,52,135,25,58,11544,1284,7],"鬼怪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faee38741396103f6c03bb189f8e3e50a.jpg",[199],{"id":11548,"slug":11549,"title":11550,"dynasty":146,"author":376,"museum":222,"description":11551,"tags":11552,"thumbUrl":11553,"material":33,"size":11554,"collection":70,"collections":11555,"showCount":11440,"zanCount":39,"manualWeight":39,"mainColor":40},219971,"tai-bai-shan-tu-wang-meng-219971","太白山图","图绘浙江鄞县太白山天童寺及其周围景物，尤其着重描绘天童寺前二十里夹径松林。画面中远岫层峦，溪流潺潺，人物往还其间，用笔松润，赋色淡雅。画心右上角有小字篆书“太白山图”四字，画尾钤“王蒙印”，近人研究认为此卷为王蒙晚年代表作。",[49,50,23,51,52,56,25,55,59,64,150,279,86,7,60,61,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe223493b23f8c837f2f01362ffb2077f.jpg","28x238.2cm",[70,72],{"id":11557,"slug":11558,"title":11559,"dynasty":146,"author":9091,"museum":525,"description":11560,"tags":11561,"thumbUrl":11562,"material":88,"size":11563,"collection":70,"collections":11564,"showCount":11440,"zanCount":1288,"manualWeight":39,"mainColor":40},217264,"dan-tai-chun-xiao-tu-lu-guang-217264","丹台春晓图","陆广是元朝时期的一位著名的画家，他的作品《丹台春晓图》是他最著名的一幅画。这幅画描绘了丹台山的景色，山上有云雾缭绕，树木葱茏，小溪流动，鸟儿在枝头鸣叫。这幅画的色彩鲜艳，线条流畅，构图巧妙，深受人们喜爱。\n\n陆广在这幅画中运用了自然写生的技巧，使画面栩栩如生，栩栩如生。他还运用了虚实对比的手法，使画面更加丰富多彩。此外，他还运用了一些中国传统的画法，如重彩和写意画法，使这幅画更加独特。\n\n陆广的《丹台春晓图》不仅是他最著名的作品，也是元朝时期著名的艺术杰作之一。它不仅体现了陆广的才华，也反映了元朝时期艺术的发展。现在，这幅画被广泛收藏和展览，并且被认为是中国传统艺术的杰出代表作之一。",[23,51,84,26,55,56,150,64,60,61,295,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb6a463b9955bf3520ee003ff8feb0ec.jpg","61.6x26cm",[70],{"id":11566,"slug":11567,"title":11568,"dynasty":146,"author":207,"museum":81,"description":11569,"tags":11570,"thumbUrl":11572,"material":33,"size":107,"collection":35,"collections":11573,"showCount":11440,"zanCount":1288,"manualWeight":39,"mainColor":40},216209,"san-yang-kai-tai-tu-zhou-yi-ming-216209","三羊开泰图轴","三羊喻三阳开泰，吉祥之意。采用一孩三羊构图方式，小孩骑在最大只的绵羊上，手拿枝条，头戴皮幅，低头看着最小的那只羊。",[23,84,58,8840,25,7774,7,86,11571],"三羊开泰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2e5313ba3f7ad1912675271f03e5126.jpg",[35],{"id":11575,"slug":11576,"title":4926,"dynasty":18,"author":11577,"museum":81,"description":11578,"tags":11579,"thumbUrl":11580,"material":689,"size":11581,"collection":107,"collections":11582,"showCount":11583,"zanCount":39,"manualWeight":39,"mainColor":40},290319,"sui-chao-tu-zhou-shang-xi-290319","商喜","明代宫廷绘画的历史，从明代建国伊始就已经开始，经过永乐、宣德、成化、弘治几朝，宫廷绘画达到了兴盛阶段，到嘉靖、万历以后，逐渐衰微。赵原、卓迪、周位、王仲玉等是初期院体画家的代表。宣德以后，宫廷画家不断增多，著名的有谢环、商喜、倪端、李在、石锐、周文靖等，他们的绘画，技艺全面，师法南宋“院体”，各有特点。",[50,23,51,84,27,25,54,528,344,488,6849,277,7,7579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1aa42f9fe4334c91fc98ee028966eda.jpg","130.9x57.4",[],68,{"id":11585,"slug":11586,"title":11587,"dynasty":97,"author":2568,"museum":99,"description":5018,"tags":11588,"thumbUrl":11589,"material":689,"size":690,"collection":107,"collections":11590,"showCount":11583,"zanCount":39,"manualWeight":39,"mainColor":40},289899,"song-jian-qing-yin-tu-zhou-hong-ren-289899","松涧清音图轴",[50,23,51,84,26,56,777,63,277,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7ee8ed58b9be8df7d7a8c0c6ef64c97.jpg",[],{"id":11592,"slug":11593,"title":11594,"dynasty":115,"author":221,"museum":99,"description":11595,"tags":11596,"thumbUrl":11597,"material":689,"size":690,"collection":107,"collections":11598,"showCount":11583,"zanCount":39,"manualWeight":39,"mainColor":75},289655,"xue-jiang-gui-zhao-tu-zhao-ji-289655","雪江归棹图","《雪江归棹图》描绘的是冬日雪景山水画。全图不着色，仅以细碎之笔勾勒、点皴山石，淡墨渲染江天，衬映出皑皑雪峰。",[49,50,23,52,712,1050,278,715,62,967,59,66,26,25,86,7,5422],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80ccf8a6b79d6e33362afa23ac8564cb.jpg",[],{"id":11600,"slug":11601,"title":28,"dynasty":97,"author":248,"museum":99,"description":685,"tags":11602,"thumbUrl":11603,"material":689,"size":690,"collection":107,"collections":11604,"showCount":11583,"zanCount":1288,"manualWeight":39,"mainColor":40},288640,"hua-hui-yun-shou-ping-288640",[23,50,51,822,25,27,28,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d1f4aa033cc0de1746ce152deb7a4c3.jpg",[],{"id":11606,"slug":11607,"title":11608,"dynasty":97,"author":1180,"museum":99,"description":1655,"tags":11609,"thumbUrl":11610,"material":689,"size":690,"collection":107,"collections":11611,"showCount":11583,"zanCount":39,"manualWeight":39,"mainColor":40},236379,"li-zhi-tu-shan-ye-wu-chang-shuo-236379","荔枝图扇页",[23,51,822,25,26,119,7,27,1194,265,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4049316925f6e1ce520b3918ad37dd08.jpg",[],{"id":11613,"slug":11614,"title":11615,"dynasty":97,"author":1082,"museum":99,"description":5158,"tags":11616,"thumbUrl":11617,"material":107,"size":107,"collection":107,"collections":11618,"showCount":11583,"zanCount":39,"manualWeight":39,"mainColor":40},234227,"hua-guo-juan-zhu-da-234227","花果卷",[49,23,51,52,26,403,119,895,4210,8734,530,345,27,5401,576,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd794f3dd4ca89c61b435218135cfad42.jpg",[],{"id":11620,"slug":11621,"title":11622,"dynasty":97,"author":445,"museum":99,"description":11623,"tags":11624,"thumbUrl":11625,"material":107,"size":107,"collection":199,"collections":11626,"showCount":11583,"zanCount":39,"manualWeight":39,"mainColor":40},228989,"bai-kai-luo-han-tu-1-shi-tao-228989","百开罗汉图1","《石涛罗汉百开册页》是石涛青年时期绘制的工笔人物作品，为完整一百开册页，共画山水背景中的罗汉人物1位，各册页中罗汉左右分别陪饰众多人物及似龙、虎、鹿、狮等神兽形象。\n根据 在画中自题，最早一开创作于“丁未” (1667 年)，石涛时年26岁。\n整套册页作品分别作于1667年、1669年、167年，1672年，即从石涛的26岁至1岁，历时6年之久，实为石涛倾力之作。\n《罗汉百开图》册页集人物、山水、花鸟之大成，是石涛技艺日臻成熟时的作品，所绘人物，造型生动，神态各异，笔墨洗练，叙事清楚，饱含人文情怀。\n石涛最早的人物画是康熙时期所作的《百美图》，这是对仇英作品的临摹，更是一次再创作。\n吴湖帆正是看了此画，才有上面提到的‘石涛画人物最佳’之说。\n这幅画被石涛的老师梅青借走，供于香案之上，每日膜拜，后不知所踪。\n美国大都会博物馆所藏《十六应真图》，长达六米，人物纯用线描，而配以山水背景。\n另外还听说波士顿博物馆藏有一幅石涛人物画。\n有记录的石涛作品，现存世约4件，《石涛罗汉百开册页》占了其中1件。\n崔如琢还另外藏有石涛的两套册页以及手卷、中堂、条幅若干，藏品总数达1件，应该是收藏石涛作品最多的人。\n但他始终认为，《石涛罗汉百开册页》的价值最为独特，较之同时代西方文艺复兴时期的绘画，无论内容、题材、技法都称得上相映生辉。",[23,51,1284,26,135,58,137,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cedcff1d2c958f6590b2e104032c599.jpg",[199],{"id":11628,"slug":11629,"title":11630,"dynasty":97,"author":445,"museum":99,"description":11631,"tags":11632,"thumbUrl":11633,"material":107,"size":107,"collection":107,"collections":11634,"showCount":11583,"zanCount":39,"manualWeight":39,"mainColor":40},228985,"jiang-nan-chun-ai-tu-shi-tao-228985","江南春霭图","淡赭晕染坡岸，老松虬枝盘曲如盖，竹树掩映间藏着矮屋，漾出林下幽居的闲散意趣。远景山峦以干笔皴擦，再笼上淡墨轻烟，春霭漫过江天，扁舟孤悬水面，将江南春日空濛柔婉的景致晕染开来。\n\n整幅以松秀笔墨绘就山水灵韵，页面上下题满行书，笔势纵宕不羁，诗画相生合契，把江南春景的澹远幽恬尽藏其中。以简淡笔墨勾勒出山川自然之趣，又寄寓文人幽居的清雅襟怀，尽显山水与心神相融的文人画逸致。",[50,23,51,26,25,56,55,119,7,137,2681,63,60,61,62,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1398b65b6b1e8c394747527e5b645ab4.jpg",[],{"id":11636,"slug":11637,"title":11638,"dynasty":115,"author":881,"museum":99,"description":11639,"tags":11640,"thumbUrl":11642,"material":107,"size":107,"collection":107,"collections":11643,"showCount":11583,"zanCount":1288,"manualWeight":39,"mainColor":75},227821,"song-feng-ting-tu-ye-ma-yuan-227821","松风亭图页","这幅小品以边角取景，将山水意趣藏于尺幅之间。右侧虬松苍劲盘曲，枝干如铁，松针攒簇劲挺，斜斜探向半空，似携着穿林松风。古松之畔，山亭飞檐翘角，半掩于松石间，雅致清寂。左侧留白晕染远山，淡墨轻描，虚实相映，衬出山林空阔萧散的意境。\n\n用笔刚简老辣，墨色干湿浓淡错落，勾勒皴擦间，山石枯涩、古松苍润的质感尽显，以少胜多，把林泉幽居的静谧禅意铺陈开来，藏着文人心中归向林泉的高远意趣，尺幅之中意蕴悠长。",[49,50,23,51,712,1962,63,610,150,751,26,25,55,11641,7444,7441,7],"边角取景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa207a22d1b0e544e2ed8382683769b21.jpg",[],{"id":11645,"slug":11646,"title":11647,"dynasty":115,"author":207,"museum":99,"description":11648,"tags":11649,"thumbUrl":11650,"material":107,"size":107,"collection":107,"collections":11651,"showCount":11583,"zanCount":743,"manualWeight":39,"mainColor":75},223655,"song-zi-tian-wang-tu-yi-ming-223655","送子天王图","此作为白描神品，以铁线描、兰叶描交错挥写，尽显吴带当风的流动韵致。\n画卷起首帝后侍从环侍，仪度端雅雍容；继而护法神将狞猛威严，流云焰气翻卷烘托出天界的诡谲神圣；中段天女执器缓行，身姿柔婉静穆；后段天王安坐肃穆，诸鬼神环伺拱卫，末了瑞兽载仙疾驰，灵动飞扬。\n全卷人物身份鲜明，神情各殊，帝王的沉凝、天女的温婉、神将的凶戾皆刻画入微，线条或刚劲如铁、或飘逸如丝，将天界仪卫的盛大庄严铺陈尽致，虽为摹本，依旧留存原作神采，是水墨线描的绝佳范本。",[49,50,23,51,52,135,1284,58,405,1116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1875d213531142bdb5f15a8d47809ba.jpg",[],{"id":11653,"slug":11654,"title":11655,"dynasty":115,"author":11656,"museum":175,"description":11657,"tags":11658,"thumbUrl":11659,"material":239,"size":11660,"collection":213,"collections":11661,"showCount":11583,"zanCount":39,"manualWeight":39,"mainColor":75},221426,"guan-shan-ji-xue-tu-yan-su-221426","关山积雪图","燕肃","燕肃(991-1040)字穆之，一字仲穆，一署上谷，青州益都(今山东益都)人。文学治行，缙绅推之，胸次潇洒，巧思过人。真宗大中祥符间进士，官至龙图阁直学士，以礼部尚书致仕，人称“燕龙图”。工诗善画，以诗入画，意境高超，浑然天成，为文人画之先驱。善画山水寒林，与王维相上下。亦擅人物、牛马、松竹、翎毛，在京师太常寺、翰林学士院作屏风画，景宁坊寓所及睢、颍、洛等佛寺中都有其巨幅壁画(今皆湮没无存)。《宣和画谱》著录御府所藏其作品有《春岫渔歌图》《夏溪图》《春山图》《冬晴钓艇图》等37件。",[49,23,51,56,55,25,8059,870,871,60,61,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff61c590823c9480548dd523165486396.jpg","40×30cm",[213,70,242],{"id":11663,"slug":11664,"title":11665,"dynasty":115,"author":116,"museum":81,"description":11666,"tags":11667,"thumbUrl":11668,"material":634,"size":11669,"collection":122,"collections":11670,"showCount":11583,"zanCount":1288,"manualWeight":39,"mainColor":75},221268,"shu-wang-xi-zhi-lun-shu-ce-huang-ting-jian-221268","书王羲之论书册","本幅大字行书，落笔奇伟，丰筋多力，笔笔似自空中荡漾而来，充满着飞动之势，却又沉着稳健，呈现出一份闲适自得的意境。",[86,119,24,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F002c75cd36c4f5fdd968f25e1b4967d8.jpg","32×17.2",[122],{"id":11672,"slug":11673,"title":11674,"dynasty":192,"author":8368,"museum":222,"description":11675,"tags":11676,"thumbUrl":11677,"material":7936,"size":11678,"collection":122,"collections":11679,"showCount":11583,"zanCount":1288,"manualWeight":39,"mainColor":40},221105,"zhong-ni-meng-dian-tie-ou-yang-xun-221105","仲尼梦奠帖","用笔\n《仲尼梦奠帖》用笔清峻，锋芒毕露，给人以锐利、刻厉之感。其用笔有两个主要特点，一是侧锋入纸，起笔无不锐利，显然是魏碑笔法。下笔直截了当，不藏锋敛迹，加之行笔稍快，如剑戟般的锋芒便外耀无遗了。二是转折顿挫带来的刻厉。在唐书家中，初唐的柔和之风的特征之一就是化方为圆。这样，不仅消失了方角使之更为圆转灵活，而且也加快了书写的速度。欧阳询丝毫不受这种化方转圆的影响，他的转折仍然是重而方，不减作楷书之法，如“仲尼”、“有”、“周”，尽骨节之露，如“奠”之第二笔，起讫三折笔，如怪石嶙峋，与北魏的刀刻痕迹何其相似。可是，这样的笔触是很需要有分寸感的，稍微过头则为造作。在这方面，像欧阳询这样的行家也未能幸免，如“数”字就是一个病例，其“文”字旁起笔牛头角状，十分不雅，有趣的是把这一角状遮去后，这一个字反而格外的流畅、顺眼了。《仲尼梦奠帖》像“过”字这样圆转灵活、随意自然的笔触并不多，全篇的创作仍然是庄严的、认真的，作者创作心态似乎也不轻松，一副如《九成宫碑》那样的庙堂面孔。 [8]\n\n结体\n《仲尼梦奠帖》结体有独特之处，结体修长一目了然。欧阳询不在意从横向上进行发展，因此在行距上显得特别疏朗，每字向下舒展时，欧阳询也把字距拉开，使这一纵向发展显得天地开朗。竖画挺拔坚韧，在每一字中起着砥柱作用，使每一字的骨格坚挺起来。把《仲尼梦奠帖》与虞世南的《汝南公主墓志铭》比较，会看得更清楚。虞氏行书以柔和胜，竖画也起支柱作用，但作用并不明显，也不突出，似乎隐于其中；而欧氏行书竖画刚强外耀、强烈可感，那壁立千仞的挺拔，构成了作品的主要基调。观帖中字，虽用秃笔疾书，却转折随意，笔势圆融，用墨淡而有质感，丝毫无油滑之态。 [8]\n\n章法\n《仲尼梦奠帖》是两种书体的结合，即行书入碑，或曰碑体行书。从章法看，《梦奠帖》“宪章右军，抽锋一线，如猿腾鹘落而泯上下相承之迹”（包世臣《艺舟双楫》），而更多靠单字造型调节章法；帖中“彭”由左右结构变换成半包围结构；“导”字繁体下旁本为“寸”，此处不同，换为“木”旁；“冥”字上首用“宀”代“冖”且书写跳荡；“熟”字结构变异，这四字的安排，使《梦奠帖》章法更显紧凑，以部首移位和比例倒错来调整字形结构及通篇章法。且《仲尼梦奠帖》取魏碑为骨格，以行书的笔意来调节，避免了碑体楷书的平板，显得更加密切、多姿多态。碑体的骨格使每一个字气势开张、伟岸，而行书的绵密活泼又连缀其中，形成刚劲而活络，活络而不失骨力。",[49,86,119,418,51,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feed9f1b77f3256e056f28a188b756240.jpg","纵25.5cm，横33.6cm",[122],{"id":11681,"slug":11682,"title":11683,"dynasty":18,"author":1014,"museum":99,"description":11684,"tags":11685,"thumbUrl":11686,"material":88,"size":11687,"collection":70,"collections":11688,"showCount":11583,"zanCount":39,"manualWeight":39,"mainColor":75},220070,"gao-yan-shang-mei-tu-tang-yin-220070","高岩赏梅图","此作用笔灵秀兼具劲健，卷云皴勾勒出高岩奇崛之态，层叠飞泉沿壁下注，木桥架于清溪之上，野意盎然。右侧缓坡疏林茅舍错落，隐士凭栏远眺，远景江天寥廓，落日晕染平川，清寂空濛。\n\n笔墨间糅合宋画的挺括与元人松秀，枯木枝桠简劲，点叶清润雅致。题诗与山水相生，将幽居高卧、寄情林泉的出世襟怀融于尺幅，以淡远之境写澹泊之心，尽显文人山水画的清逸韵致，是诗意与画境完美合璧的佳作。",[23,26,55,84,56,528,63,60,61,150,64,293,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf0187c50b0efe3c29ab5d2d6bc7fb4d.jpg","71.5 x 34.3 厘米",[70],{"id":11690,"slug":11691,"title":11692,"dynasty":115,"author":355,"museum":81,"description":11693,"tags":11694,"thumbUrl":11695,"material":319,"size":11696,"collection":122,"collections":11697,"showCount":11583,"zanCount":743,"manualWeight":39,"mainColor":40},220035,"ci-yun-qin-tai-xu-shi-tie-su-shi-220035","次韵秦太虚诗帖","次韵秦太虚诗帖 君不见诗人借车无可载，留得一钱何足赖。晚年更似杜陵翁，右臂虽存耳先聩。人将蚁动作牛斗，我觉风雷真一噫。闻尘扫尽根性空，不须更枕清流派。大朴初散失 浑沌，六凿相攘更胜坏。眼花乱坠酒生风，口业不停诗有债。君知五蕴皆是贼，人生一病今先差。但恐此心终未了，不见不闻还是碍。今君疑我特佯聋，故作嘲诗穷 险怪。须防额痒出三耳，莫放笔端风雨快。",[49,51,86,119,418,7,319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca0aba0cbe56551e7fe404ba6ebb228.jpg","45.3*30.7",[122],{"id":11699,"slug":11700,"title":11701,"dynasty":18,"author":11702,"museum":81,"description":11703,"tags":11704,"thumbUrl":11705,"material":33,"size":11706,"collection":72,"collections":11707,"showCount":11583,"zanCount":1288,"manualWeight":39,"mainColor":40},219404,"tian-zhong-de-xi-tu-yuan-shang-tong-219404","天中得喜图","袁尚统","枝头双鹊姿态鲜活，一俯身啄食朱红花朵间的嫩蕊，一昂首展翼似欲鸣啭，墨笔勾勒的羽翼层次分明，黑羽亮泽如缎。老干虬曲盘结，枝桠以劲挺笔触写出，点缀的朱红花朵艳而不妖；下方山石用泼墨点染，兼以皴擦，纹理朴拙厚重，坡地细草丛生，野趣横生。整幅笔墨工写结合，花鸟与山石相映成趣，既得自然生机之妙，又暗蕴欢愉吉庆之意，于简洁构图中传递出恬淡雅致的文人意趣，观之令人心生愉悦。",[23,50,51,25,26,27,66,137,277,528,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b8856c5e913470ad4bb1b74dcea90b.jpg","123.1x60.7厘米",[72],{"id":11709,"slug":11710,"title":11711,"dynasty":97,"author":1235,"museum":81,"description":11712,"tags":11713,"thumbUrl":11714,"material":152,"size":11715,"collection":199,"collections":11716,"showCount":11583,"zanCount":743,"manualWeight":39,"mainColor":40},219379,"ren-wu-tu-leng-mei-219379","人物图","在这幅画中，高石在雪地里探寻梅花，冷画大师焦秉祯经常使用透视和凹凸阴影。 色彩鲜艳明快，笔墨工整。",[23,50,51,84,54,25,58,56,528,181,180,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe16ec146f1085c0dfe8356014a6f5971.jpg","纵119.7横61.5厘米",[199],{"id":11718,"slug":11719,"title":11720,"dynasty":97,"author":7804,"museum":175,"description":11721,"tags":11722,"thumbUrl":11726,"material":152,"size":11727,"collection":199,"collections":11728,"showCount":11583,"zanCount":1288,"manualWeight":39,"mainColor":40},218523,"wang-yuan-qi-yi-ju-tu-xiang-juan-yu-zhi-ding-218523","王原祁艺菊图像卷","这幅画描绘了王原祁在院子里享受一杯茶和一朵菊花。在这幅画中，留着浓密的胡须、身材略胖的王志刚大约50岁，坐在沙发上，手里拿着一杯茶，欣赏着面前的菊花。他目光专注，态度沉稳大方，体现出不同于普通文人的优雅高贵的气质。画中的桌子和沙发简洁大方，书卷摆放整齐，还有精心栽培的菊花和其他景物，这些又说明了人物的爱好和雅趣。",[49,23,51,52,54,25,58,529,332,11723,11724,11725,5347,4458,1574,86,119,7],"桌","椅","花瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b426879ff6f6f7c85be31d0fd4ef954.jpg","32.4x136.4",[199],{"id":11730,"slug":11731,"title":11732,"dynasty":146,"author":207,"museum":81,"description":11733,"tags":11734,"thumbUrl":11735,"material":88,"size":11736,"collection":70,"collections":11737,"showCount":11583,"zanCount":39,"manualWeight":39,"mainColor":40},218283,"jiang-tian-lou-ge-tu-yi-ming-218283","江天楼阁图","层楼倚崖耸峙，飞檐翘角若振翅欲飞，木构窗棂皆细致勾勒，尽显楼阁之巍峨精巧。江面浩渺无垠，数叶轻舟泛于云水之间，似有渔歌隐约。远山如黛，在云雾氤氲中层层晕染，渐次隐入天际，天地间尽是清旷之气。笔墨简淡却意韵悠长，将建筑的工致与江天的空阔相融，清风仿佛穿堂而过，涛声似在耳畔轻吟。画面静谧空灵，尽显元人山水之悠远意境，观之令人心随舟行，神驰于江天之间，顿生旷达之感。",[23,1962,135,56,59,62,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32b9cd06ac1c83e4a168b35b2a899c84.jpg","83.7x40cm",[70],{"id":11739,"slug":11740,"title":11741,"dynasty":97,"author":1167,"museum":485,"description":5710,"tags":11742,"thumbUrl":11743,"material":319,"size":5713,"collection":107,"collections":11744,"showCount":11583,"zanCount":39,"manualWeight":39,"mainColor":75},214352,"san-jue-shan-shui-ce-10-hua-yan-214352","三绝山水册-10",[49,23,51,24,26,25,56,967,150,58,713,751,6096,62,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ebe48e1f45176386729c7159310960.jpg",[],{"id":11746,"slug":11747,"title":11748,"dynasty":115,"author":11749,"museum":99,"description":11750,"tags":11751,"thumbUrl":11753,"material":689,"size":690,"collection":107,"collections":11754,"showCount":11755,"zanCount":1288,"manualWeight":39,"mainColor":40},289837,"shan-shui-shi-er-jing-tu-xia-gui-289837","山水十二景图","夏圭","为夏氏山水十二景中残存四景中的一部分。图展现平溪汀渚、湖水荡漾，渔舟出没，巨石峭壁，绿树成荫。通过山林，有港湾一泓，数艘渔舟停泊其间。此画山石用斧劈皴，先用水笔皴擦，然后落墨，具有水墨交融，淋漓酣畅的效果。",[49,50,23,52,51,26,56,62,61,278,1936,11752,5423,86,119,55,7],"渔舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b2cda136703b84ead22be2bcf7e2b48.jpg",[],67,{"id":11757,"slug":11758,"title":11759,"dynasty":97,"author":11760,"museum":99,"description":11761,"tags":11762,"thumbUrl":11763,"material":689,"size":690,"collection":107,"collections":11764,"showCount":11755,"zanCount":1288,"manualWeight":39,"mainColor":40},289744,"lin-zhang-wei-hua-guo-yu-niao-ce-yue-xia-li-hua-li-bing-de-289744","临张伟花果鱼鸟册-月下梨花","李秉德","李秉德，字蕙纫，号涪江，龙池山人，祖籍四川遂宁，系明末清初语言学家李实后裔、榜眼李仙根族人，与大诗人书画家张船山有交往。居吴县，乾隆皇帝南巡时，以诸生进献图册，随后进入宫廷供职，工花卉、翎毛，供奉内廷。",[23,24,27,54,25,645,944,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5068da5716562c206c17a9566b67a208.jpg",[],{"id":11766,"slug":11767,"title":11768,"dynasty":146,"author":4259,"museum":99,"description":11769,"tags":11770,"thumbUrl":11771,"material":689,"size":690,"collection":107,"collections":11772,"showCount":11755,"zanCount":39,"manualWeight":39,"mainColor":75},288352,"fang-wen-tong-zhu-zhi-tu-ke-jiu-si-288352","仿文同竹枝图","柯九思，元书画家、鉴藏家。江浙行省儒学提举柯谦子，受其父的影响，自幼爱好书画，天历元年（1328），游学建康经人引荐结识了怀王图帖睦尔，不久怀王继位称帝，是为文宗，被授予正七品典瑞院都事，翌年，迁升为正五品奎章阁鉴书博士，专门负责宫廷所藏的金石书画的鉴定。文宗去世后，束装南归，退居吴寓松江姻脂桥。博学能文，擅写墨竹，长于画山水、人物、花卉。一生好文物，富收藏，精鉴赏。",[50,23,51,84,26,358,134,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0f6c5bac4dcc40cb604a4b194d3a85.jpg",[],{"id":11774,"slug":11775,"title":11776,"dynasty":146,"author":1644,"museum":99,"description":11777,"tags":11778,"thumbUrl":11779,"material":107,"size":107,"collection":107,"collections":11780,"showCount":11755,"zanCount":39,"manualWeight":39,"mainColor":75},228019,"yang-fei-shang-ma-tu-chang-juan-qian-xuan-228019","杨妃上马图（长卷）","《题杨妃上马图》是宋朝著名文学家钱选的代表作品之一。\n宋 唐室开元致太平，年年十月幸华清。\n当时马上多娇态，不相驱驰蜀道行。",[49,23,51,50,52,25,54,58,225,7,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b28078355dcd9084429ae23f044604.jpg",[],{"id":11782,"slug":11783,"title":11784,"dynasty":18,"author":11785,"museum":175,"description":11786,"tags":11787,"thumbUrl":11788,"material":183,"size":11789,"collection":199,"collections":11790,"showCount":11755,"zanCount":39,"manualWeight":39,"mainColor":40},222082,"sui-chao-jia-zhao-tu-zhu-jian-shen-222082","岁朝佳兆图","朱见深","画幅右上方有明宪宗朱见深御题：“柏柿如意。一脉春回暖气随，风云万里值明时。画图今日来佳兆，如意年年百事宜。”款署：“成化辛丑文华殿御笔”，钤“广运之宝”。\n图中画钟馗，犀利的目光紧盯着飞来的蝙蝠，一手持如意，一手扶在小鬼的肩头；小鬼双手捧着盛有柿子和柏枝的托盘，寓意“百事如意”。\n明代以前，悬挂钟馗像是年节时一项重要的风俗活动，用以驱鬼辟邪，至明清之交此风俗才渐渐移向端午，所以这幅“岁朝佳兆图”可以看作是一幅祈祥祝福的宫廷年画。此图作于成化十七年（1481年），画法老练，衣纹的勾描顿挫有力，人物的造型生动夸张，显示了这位皇帝画家的娴熟技能。",[49,50,23,51,84,25,54,135,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9b9fc4e6f55bfb12448810b6d3f9227.jpg","纵59.7厘米，横35.5厘米",[199,72],{"id":11792,"slug":11793,"title":11794,"dynasty":18,"author":11795,"museum":81,"description":11796,"tags":11797,"thumbUrl":11798,"material":2751,"size":11799,"collection":70,"collections":11800,"showCount":11755,"zanCount":1288,"manualWeight":39,"mainColor":40},221935,"xi-yan-tu-zhou-chen-luo-221935","洗砚图轴","陈裸","陈祼（公元1563~约1639年），初名瓒，字叔祼，后去掉“叔”字，号道樗、白室，江苏吴县（今江苏苏州）人。\n善画山水，远宗赵伯驹、赵孟俯﹝赵孟頫﹞诸家，近师文征明。摹古人笔法逼真，能工书。晚年居虎丘，以吟咏自娱。作品有《石梁飞瀑图轴》，《秋山高隐图轴》。\n所图必深林叠嶂，曲径回塘，以扇面为多。能诗工书，善行楷，晚年居虎丘，以吟咏自娱。传世作品有崇祯九年(1636)作《竹溪花坞图》轴，图录于《故宫书画集》；崇祯十一年(1638)作《山水扇面》，图录于《明代名人画扇集》。崇祯二年(1629)作《雪山行旅图册页》，表现雪山的手法学夏珪，画石用小斧劈皴，画树枝笔触多带有钉头，颇具匠心。曾由吴平斋收藏，后为南京十竹斋藏品。著有《妪解集》。",[49,23,51,84,25,55,56,610,727,293,150,2955,58,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe91618ed8c738d3b3545416a0e57f159.jpg","122.4x51.5厘米",[70,242],{"id":11802,"slug":11803,"title":11804,"dynasty":1037,"author":7523,"museum":175,"description":11805,"tags":11806,"thumbUrl":11807,"material":319,"size":11808,"collection":122,"collections":11809,"showCount":11755,"zanCount":39,"manualWeight":39,"mainColor":40},221140,"xia-re-tie-yang-ning-shi-221140","夏热帖","釋文： 首署款：“凝式”。\n後紙有宋代王欽若，元代鮮于樞、趙孟頫，清張照的題跋及乾隆皇帝的釋文。\n卷前後及隔水上鈐有宋代“賢志堂印”，元代趙孟頫，明項元汴，清代曹溶、納蘭成德、清內府等鑑藏印。另有數方古印不辨。\n此帖是楊凝式唯一的傳世草書作品，書法兼取唐顏真卿、柳公權筆法，體勢雄奇險崛，運筆爽利挺拔，與他的楷書、行書作品相比較，藝術風格迥殊，表現出了書家的豐富藝術變化，為楊凝式書法代表作品作之一。此帖為信札，筆勢飛動，渾然一體，凝重之中有瀟灑氣象，雄健縱逸，鋒芒灼耀，極富大氣。米芾贊：“楊凝式如橫風斜雨，落紙雲煙，淋漓快目。”\n此帖曾刻入《三希堂法帖》。明代汪砢玉《珊瑚網書跋》，清代吳其貞《吳氏書畫記》、顧復《平生壯觀》、卞永譽《式古堂書畫匯考》、內府《石 渠寶笈·初篇》等書著錄。",[49,86,462,52,26,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F797a61ea192f0e9b636c25d708827dd0.jpg","纵23.8厘米，横33厘米",[122],{"id":11811,"slug":11812,"title":11813,"dynasty":130,"author":857,"museum":11814,"description":11815,"tags":11816,"thumbUrl":11817,"material":7618,"size":11818,"collection":1120,"collections":11819,"showCount":11755,"zanCount":39,"manualWeight":39,"mainColor":40},221035,"you-mu-tie-wang-xi-zhi-221035","游目帖","日本广岛安达万藏","《遊目帖》又名《蜀都帖》、《彼土帖》、《山川諸奇帖》。草書，11行，102字。信中王羲之表達了他對蜀地山山水水諸多奇景的嚮往之情。他期盼一登汶嶺、峨嵋而暢遊意足，並希望這個日子早日到來。《中國書法全集》評價《遊目帖》“行、草書間雜，筆畫遒勁爽利”。",[49,86,119,418,52,7,435],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5188c56caf21e01b10a04cacb4376ed.jpg","11行，102字",[1120],{"id":11821,"slug":11822,"title":11823,"dynasty":18,"author":2181,"museum":81,"description":11824,"tags":11825,"thumbUrl":11826,"material":11827,"size":11828,"collection":122,"collections":11829,"showCount":11755,"zanCount":1288,"manualWeight":39,"mainColor":75},220901,"wu-yan-gu-shi-zhou-dong-qi-chang-220901","五言古诗轴","董其昌八十岁楷书作品《五言古诗句》",[49,86,119,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8f3e7950a1ba42ac1a4cfdc7f91e01.jpg","楷书，纸本","纸本60.9 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还对每一个景点的地理位置和概况都作了说明和介绍。\n随着历史的发展和变迁，嘉善在明宣德五年（1430）春建县，嘉禾八景中各景点的地理位置归属也发生了一定的变化。在这八景中，前七个景点都位于嘉兴（由于年代久远和经济建设的大力发展，这些古迹大多数都已经不复存在），只有最后一个景点——武水幽澜，画的才是嘉善魏塘镇上的风景。在作品中，我们很容易地可以发现一个高高矗立的宝塔——泗洲塔，据说泗洲塔原本先被烧毁了一部分，后来在“文革”时期就被全部拆毁了。但图中的幽澜井泉至今尚存，像前几年我们当地喝的地下水就出自于幽澜井泉。关于《嘉禾八景图》中的幽澜井泉：据有关档案史料记载，原来幽澜泉古已有之。文字记载如下：“幽澜泉，在县治东二里景德寺内，旧名景德泉。品居惠山之次。泉有三异：大旱不涸，煮茶无滓，盛暑经宿而味不变。故老相传：昔有僧夜坐，忽一女子过之，容色甚丽，僧叱曰：窗外谁家女？女应声曰：堂中何处僧？僧起逐之，女投入地，掘之得清泉一泓，湛然可爱，有石刻幽澜二字，遂以名泉，岁岁沉埋，何玉史清，补刻“幽澜”二字。僧复作亭于泉上，名幽澜泉。如今的幽澜井泉位于嘉善魏塘镇小寺弄29-30号，泉深约15米，井圈为椭圆形，花岗石，内径分别为0.67米、0.52米，井壁用青石砌筑成六角形。清光绪《嘉善县志》记载：幽澜泉在景德寺内，清咸丰十年（1860）景德寺遭兵燹，但泉独存。2004年1月已被列为县级文物保护单位。\n《嘉禾八景图卷》虽然画于一长卷上，但景与景之间却各个分离。同时，在这幅作品中吴镇相当注重远近距离的表达，或由位置，或由墨色，或由线条的粗细、造型的变化来显示景物间的距离、物体的厚度。其中的景物非不多，但景物虽丰，安排自各成大段落，井然有序中又不致零乱涣散，塑造的是烟波浩淼，峰峦隐现，清旷野逸之景趣。作品中吴镇的线条沉郁稳健，在笔中表现丰富的墨韵，颇见其个性。与此同时，吴镇在画中还融入了书法的笔意，追求诗的意境，并且把这一切都发挥得淋漓尽致。《嘉禾八景图》既是中国画的横幅范作，又是对真实地点的写照，表明了作者的地理知识和对环境的熟识，这在七百多年前是很一件很不简单的事情。\n吴镇既重视传统，又重视创新，不仅在艺术上刻苦钻研，以独具特色的绘画风格，丰富和发展了水墨山水画的艺术表现经验与技法。同时，吴镇还具备文学、地理、历史等方面的知识和修养，因而他创作的诗、书、画三绝的作品就能达到如此高度的艺术成就，并以独特的艺术形式对后世产生了巨大的影响，这决不是得之于偶然的。\n突破逆境的困顿，远离尘俗的竞逐，潜心书画五十年，成就一代名家，这就是吴镇给予我们的启示。\n明代李日华评论说：“仲圭此制，全学 范宽长江万里图，以点簇作小树，借树作围绕其间，断续远近，层数稠密，一以树为眉目。而城堞 楼台，特标帜之。生发秀润，真有百里见纤毫之意。”此图把当时的嘉兴名胜古迹尽收一幅，也是宋元嘉兴风光现存的唯一写照。",[49,23,51,52,26,56,55,119,541,7,59,60,61,63,10510,64,727],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5a7e7c58bfe64e3888842700e85dc37.jpg","本幅 37.5x566公分、引首 30.9x97.5公分、拖尾一 36.6x78公分、拖尾二 37.8x112公分",[70,242],{"id":12015,"slug":12016,"title":12017,"dynasty":97,"author":12018,"museum":81,"description":12019,"tags":12020,"thumbUrl":12022,"material":152,"size":12023,"collection":35,"collections":12024,"showCount":11900,"zanCount":1288,"manualWeight":39,"mainColor":40},219447,"qiu-cheng-sheng-zhi-zhou-chen-shu-qiu-219447","秋塍生植轴","陈书秋","秋草葳蕤间，秀穗垂曳似携风露。蜻蜓振翅掠叶，粉翅沾着晓光；彩蝶翩跹，翅间星斑如缀墨玉；蚂蚱或伏或跃，肢足纤毫毕现。近坡双鹌相倚，一者低头啄虫，羽纹细腻如织，另一侧首凝睇，眸含憨态。细菊绽蕊淡香似溢，红果点翠添秋温润。笔墨工细却不板滞，生灵姿态鲜活，草木纹理清晰，藏着对自然的深情。静中有动，恬淡里透着蓬勃生机，仿佛能听见虫鸣唧唧，风拂草叶轻响，将秋日田园意趣尽揽其中。",[23,51,84,54,25,7,27,1989,531,10302,315,316,12021,529,1481],"蚂蚱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75a0fe93ad5cc02980e9601cf4c1e288.jpg","100.1x29.2",[35],{"id":12026,"slug":12027,"title":12028,"dynasty":146,"author":12029,"museum":81,"description":12030,"tags":12031,"thumbUrl":12032,"material":33,"size":12033,"collection":35,"collections":12034,"showCount":11900,"zanCount":1288,"manualWeight":39,"mainColor":40},218824,"gu-mu-shuang-jiu-tu-xie-tian-you-218824","古木双鸠图","谢天游","画面中双鸠栖于古木枝上，一鸟垂首理羽，一鸟侧颈凝睇，姿态憨然生动。鸠鸟羽色温润，墨线勾勒间晕染淡赭，颈间星斑点缀，细腻传神。古木枝干虬曲，以枯笔皴擦出苍劲质感，枝梢苔点稀疏，尽显古意。背景以淡墨轻染，留白处衬出空濛之境，与禽鸟的鲜活形成呼应。整幅画作笔墨简淡却意韵悠长，清雅中见生机，尽显文人画的疏朗雅致，仿佛能闻林间风息，静赏自然之趣。",[23,51,54,25,27,137,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cf06d60a26483cd36712d9a4fa48bc3.jpg","43.7x29.7cm",[35],{"id":12036,"slug":12037,"title":12038,"dynasty":115,"author":881,"museum":81,"description":882,"tags":12039,"thumbUrl":12040,"material":152,"size":885,"collection":107,"collections":12041,"showCount":11900,"zanCount":39,"manualWeight":39,"mainColor":40},218574,"hua-niao-shan-shui-xiao-pin-ce-song-ge-yuan-tiao-ma-yuan-218574","花鸟山水小品册-松阁远眺",[49,50,23,51,24,1962,9140,25,610,59,751,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35074db5951596b169a46678d71c13fd.jpg",[],{"id":12043,"slug":12044,"title":12045,"dynasty":146,"author":207,"museum":3527,"description":12046,"tags":12047,"thumbUrl":12048,"material":152,"size":12049,"collection":199,"collections":12050,"showCount":11900,"zanCount":39,"manualWeight":39,"mainColor":40},218468,"mei-zhu-shi-nv-tu-yi-ming-218468","梅竹仕女图","淡墨晕染开古雅绢本的温润底色，素衣仕女伫立坡岸。云鬓轻挽，身姿婉约，似凝眸梅枝间疏影横斜，又若静听竹梢上风声细语。老梅虬枝盘曲，新蕊隐现；修竹挺秀，竹叶婆娑，与梅枝相映成趣。画面构图疏朗，留白得宜，墨色浓淡相宜。笔意细腻却不繁缛，线条流畅中含含蓄。仕女眉宇间的淡淡情思，与梅竹的清逸孤高相契，融成一片幽远沉静的意境。古典雅致的韵致流淌其间，仿佛能触到绢丝上的时光温度，窥见文人笔下的温婉灵秀，尽展东方美学的含蓄之美与悠然情致。",[49,23,51,822,25,58,136,528,358,277,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f37405abe06d3ec65e0911fa250c43.jpg","22.86x22.23",[199],{"id":12052,"slug":12053,"title":12054,"dynasty":115,"author":881,"museum":525,"description":10185,"tags":12055,"thumbUrl":12057,"material":152,"size":10188,"collection":107,"collections":12058,"showCount":11900,"zanCount":39,"manualWeight":39,"mainColor":40},218039,"song-di-ming-ti-ce-shi-ma-yuan-218039","宋帝命题册(十)",[49,23,51,24,26,25,55,12056,56,610,2001,279,86,7],"边角山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c290a29cb2476ddf0147882bbc77cf5.jpg",[],{"id":12060,"slug":12061,"title":12062,"dynasty":115,"author":207,"museum":20,"description":12063,"tags":12064,"thumbUrl":12065,"material":152,"size":12066,"collection":70,"collections":12067,"showCount":11900,"zanCount":1288,"manualWeight":39,"mainColor":75},217074,"hua-wu-zui-gui-tu-yi-ming-217074","花坞醉归图","这幅画描绘了一座远山，山上各处的桃花盛开，一头驴子在山脚下的木桥上驼着醉酒的主人，向前方的小屋方向走去，后面跟着一个挑着担子的随从。",[49,23,51,822,25,56,58,60,225,150,871,332,7,66,2142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ef29ccb362d192e6510a542bc5044d0.jpg","23.8x25.3cm",[70],{"id":12069,"slug":12070,"title":12071,"dynasty":97,"author":697,"museum":20,"description":698,"tags":12072,"thumbUrl":12073,"material":88,"size":702,"collection":107,"collections":12074,"showCount":11900,"zanCount":39,"manualWeight":39,"mainColor":40},214685,"mei-hua-zhu-shi-tu-ce-4-wang-shi-shen-214685","梅花竹石图册-4",[23,51,24,26,528,31,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbde73194740c744ed0cccc189c29a405.jpg",[],{"id":12076,"slug":12077,"title":12078,"dynasty":115,"author":510,"museum":99,"description":12079,"tags":12080,"thumbUrl":12081,"material":689,"size":690,"collection":107,"collections":12082,"showCount":12083,"zanCount":39,"manualWeight":39,"mainColor":40},290990,"shan-cha-ji-xue-lin-chun-290990","山茶霁雪","林椿，南宋钱塘（今浙江杭州）人，生卒年不详，南宋孝宗淳熙（1174—1189）间画院待诏，赐金带。 林椿为南宋时期画家，孝宗淳熙年间曾为画院待诏。生卒年不详，浙江钱塘（今浙江杭州）人，南宋时期画家。孝宗淳熙年间曾为画院待诏。绘画师法赵昌，工画花鸟、草虫、果品，设色轻淡，笔法精工，设色妍美，善于体现自然的形态，所绘小品为多，当时赞为“极写生之妙，莺飞欲起，宛然欲活”。传世作品有：《梅竹寒禽图》册页，藏于上海博物馆。《果熟来禽图》《葡萄草虫》《枇杷山鸟图》，藏于北京故宫博物院。",[822,23,51,27,54,25,344,2954,86,417,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9157821f4daf1c48cd5c87e009440d.jpg",[],65,{"id":12085,"slug":12086,"title":2030,"dynasty":192,"author":2031,"museum":99,"description":2032,"tags":12087,"thumbUrl":12088,"material":689,"size":690,"collection":107,"collections":12089,"showCount":12083,"zanCount":39,"manualWeight":39,"mainColor":75},289896,"mu-ma-tu-han-gan-289896",[49,50,23,51,25,54,58,225,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faea031dd7c59d609e4f87f16a0424441.jpg",[],{"id":12091,"slug":12092,"title":12093,"dynasty":18,"author":161,"museum":99,"description":2140,"tags":12094,"thumbUrl":12096,"material":689,"size":690,"collection":107,"collections":12097,"showCount":12083,"zanCount":39,"manualWeight":39,"mainColor":40},289752,"jing-kou-song-bie-tu-juan-shen-zhou-289752","京口送别图卷",[50,23,52,712,26,55,61,62,59,64,150,12095,7],"送别","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea161e0d4c00caea203450d2b1512ba6.jpg",[],{"id":12099,"slug":12100,"title":12101,"dynasty":115,"author":11749,"museum":99,"description":12102,"tags":12103,"thumbUrl":12104,"material":689,"size":690,"collection":107,"collections":12105,"showCount":12083,"zanCount":39,"manualWeight":39,"mainColor":40},288428,"xi-shan-qing-yuan-quan-juan-xia-gui-288428","溪山清远全卷","描绘了江南晴日的湖山景色，图中有群峰、山石、茂林、楼阁、长桥、村舍、茅亭、渔舟、远帆，勾笔虽简，但形象真实。且景物变化甚多，时而山峰突起，时而江流蜿蜒，不一而足，但各景物设置疏密得当，空灵毓秀，富有节奏感和韵律感，达到了所谓的“疏可驰马，密不通风”的境地。",[49,23,52,26,712,55,56,150,64,754,61,60,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2e7ac0afedc23fcf6291490a68ee6a.jpg",[],{"id":12107,"slug":12108,"title":12109,"dynasty":97,"author":800,"museum":99,"description":5786,"tags":12110,"thumbUrl":12111,"material":689,"size":690,"collection":107,"collections":12112,"showCount":12083,"zanCount":1288,"manualWeight":39,"mainColor":40},287697,"zhu-shi-tu-li-zhou-zheng-ban-qiao-287697","竹石图立轴",[49,23,51,84,26,358,277,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcee951fb43edbf2640337c30ed4137ea.jpg",[],{"id":12114,"slug":12115,"title":12116,"dynasty":97,"author":655,"museum":99,"description":12117,"tags":12118,"thumbUrl":12119,"material":391,"size":107,"collection":242,"collections":12120,"showCount":12083,"zanCount":1288,"manualWeight":39,"mainColor":40},236338,"long-ke-shu-xia-fo-xiang-zhou-jin-nong-236338","龙窠树下佛像轴","金农画佛像，有的点缀山石花木，奇柯异叶，有的则不画衬景，但不管有无点景，其佛像均画得安祥、庄严而生拙，他在《龙窠树下佛图》中云：“予画菩萨妙相，奇柯异叶，以状庄严，恍如佛光上下，隐见在方寸也。”他又说：“余年逾七十，世间一切妄念，种种不生，此身虽属秽浊，然治清斋，每当平旦，十指新沐，熏以妙香，执笔敬写，极尽庄严，尚不叛乎昔贤遗法。世多善男子，愿一一品之，永充供养云。”(以上见《冬心画佛题记》)，说明了他开始画佛的时间和原因。",[23,51,84,1284,26,25,58,137,7,86,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0052263f278bc7b744665176bb988523.jpg",[242,122],{"id":12122,"slug":12123,"title":12124,"dynasty":115,"author":221,"museum":99,"description":12125,"tags":12126,"thumbUrl":12127,"material":107,"size":107,"collection":107,"collections":12128,"showCount":12083,"zanCount":1288,"manualWeight":39,"mainColor":40},227492,"ba-ou-yang-xun-zhang-han-tie-zhao-ji-227492","跋欧阳询张翰帖","赵佶《题欧阳询张翰帖后跋》，楷书，纸本，25.2cmx33cm，北京故宫博物院藏。\n\n宋徽宗赵佶是古代帝王中著名的书画家，自幼重文史，好丹青，并展现出非同一般的艺术天赋。赵佶的“瘦金体'楷书瘦挺爽利，冷艳如笔法苍劲，笔墨不浮。其独特的审美价值可以说是前无古人，后无来者”。\n\n“瘦金体”的第一个特点是以硬毫作书，据传中国书法史上号称下第一行书““兰亭序”就是王羲之用鼠须硬毫笔所作。欧阳询的书法“瘦硬险劲”，用笔刚则铁画，媚若银钩”，受这些大家的影响，赵佶书写亦喜用硬毫，无论是楷书、草书、工笔、写意均用硬毫作之。\n\n“瘦金体的第二个特点是法度严谨、结构紧密。“瘦金体在结构上内宫紧密四周开张，内宫紧密，表现出书画家的笔老气足，四周开张，则显得风神飘逸。在学习书法的过程中，赵佶师从数家，各取所长，为己所用。被后人评为“瘦金体之祖”。",[50,23,51,119,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0af149f8b233fb60ef6c6d00d514f457.jpg",[],{"id":12130,"slug":12131,"title":354,"dynasty":97,"author":12132,"museum":99,"description":12133,"tags":12134,"thumbUrl":12135,"material":1087,"size":107,"collection":107,"collections":12136,"showCount":12083,"zanCount":1288,"manualWeight":39,"mainColor":40},223279,"mo-zhu-tu-liu-shao-ye-223279","刘绍邺","图绘竹子一株，杆三枝，一杆粗壮，二杆修长，竹叶茂盛苍翠。技法上，竹节处以深墨勾勒，凸显竹节的修长；竹深淡墨绘制，更有层次感。",[49,23,51,84,26,358,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F316c1218e8b1a967840a981f4c923a3d.jpg",[],{"id":12138,"slug":12139,"title":12140,"dynasty":97,"author":736,"museum":81,"description":12141,"tags":12142,"thumbUrl":12144,"material":183,"size":12145,"collection":35,"collections":12146,"showCount":12083,"zanCount":39,"manualWeight":39,"mainColor":40},222722,"shi-jun-quan-tu-zhi-ba-shan-xing-lang-lang-shi-ning-222722","十骏犬图之八睒星狼","睒星狼为宫廷名犬之一，为科尔沁四等台吉丹达里逊进献。绘睒星狼位于画面中央偏下位置，其身后则以配景形式绘有高大的树木和低矮的花草，色泽鲜丽，清晰细致。",[49,23,51,50,54,25,1116,12143,57,64,1239,7],"名犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F776979946ef2bb6e343e1385068093ab.jpg","246.6x163.8",[35,72],{"id":12148,"slug":12149,"title":12150,"dynasty":97,"author":5795,"museum":175,"description":12151,"tags":12152,"thumbUrl":12153,"material":668,"size":12154,"collection":70,"collec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其精整工细的线描正可谓“细若蚊睫，侔于鬼工”。这种纯以墨笔白描界画建筑的手法到元代以后已成绝响，以至于清人李佐贤误以为此图是宋人所为。",[49,23,1962,822,135,25,59,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38a4943b845226bb520d7033519a172d.jpg","绢本，墨笔","纵24.4厘米，横26.2厘米",[70,242],{"id":12177,"slug":12178,"title":12179,"dynasty":146,"author":7331,"museum":175,"description":12180,"tags":12181,"thumbUrl":12182,"material":319,"size":12183,"collection":242,"collections":12184,"showCount":12083,"zanCount":743,"manualWeight":39,"mainColor":40},221698,"xin-huang-tu-zhou-gu-an-221698","新篁图轴","作品内容多描写风竹的新篁。运笔遒劲，法度严谨，墨色浓润而匀净，表现风竹的偃仰扶疏、或是新篁的挺健嫩秀，结构取势都恰到好处，具有生动之致，行笔谨严，遒劲挺秀，用墨润泽焕烂，画湖石带勾带染，得皱透之姿，在李衍、柯九思外，自有一股萧疏清逸之气，成为一格。",[49,23,50,84,26,358,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b21a4dee0286730581dec54763556ab.jpg","91cm,33.1cm",[242,921],{"id":12186,"slug":12187,"title":12188,"dynasty":115,"author":12189,"museum":2192,"description":12190,"tags":12191,"thumbUrl":12192,"material":183,"size":12193,"collection":107,"collections":12194,"showCount":12083,"zanCount":39,"manualWeight":39,"mainColor":40},221352,"fan-wang-li-fo-tu-juan-zhao-guang-fu-221352","番王礼佛图卷","赵光辅","此图画中国周边少数民族酋长、番王朝拜佛祖的形象。佛祖高坐莲台，诸番王作礼拜、贡献之状，服饰皆异域装束。画面气势宏大，人物安排疏密有致，表情各异，生动自然，是宋代人物画的一幅杰作。",[50,23,51,52,1284,54,25,58,7,1574,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F979126ec026d2d53f7d8ef93beef224e.jpg","纵28.6厘米，横103.5厘米",[],{"id":12196,"slug":12197,"title":12198,"dynasty":192,"author":4182,"museum":222,"description":12199,"tags":12200,"thumbUrl":12201,"material":2541,"size":12202,"collection":122,"collections":12203,"showCount":12083,"zanCount":1288,"manualWeight":39,"mainColor":40},221098,"lun-shu-tie-huai-su-221098","论书帖","帖前有宋徽宗赵佶金书签题《唐僧怀素行书论书帖》，帖后有乾隆皇帝行书释文，赵孟頫、项元汴等人题跋。 卷中钤有“宣和”、“政和”、“绍兴”、“秋壑图书”、“内府图书之印”、“项子京家珍藏”、“旷奄”、“乾隆”、“嘉庆”、“宣统御鉴之宝”等鉴藏印。\n从艺术风格上看，《论书帖》不同于怀素其他如《自叙帖》、《食鱼帖》等用“古瘦”和“半无墨”的毛笔创作的笔意连绵不绝、体势险绝诡奇、极度夸张浪漫的狂草之作，笔下明显洋溢出东晋王羲之恬淡平和的风神气息。此帖运笔悠然自得，意气平和，应规入矩，精谨而纯熟。其每作一字，起落分明，虽无纵横捭阖之势，但由于擅长驾驭中锋，故能做到笔势圆融婉转、飞动轻灵，骨气深稳，血肉丰润。虽偶作牵连映带，但亦无拖沓之嫌。笔墨流宕处，英姿勃发，气象超然。其结构以平正恒定基调，疏密聚散之间，显露出“端庄杂流丽，刚健寓婀娜”的风致。",[49,86,462,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bad6ec436069c8a3cd2ef405945887a.jpg","纵38.5厘米，横40.5厘米",[122,1120],{"id":12205,"slug":12206,"title":12207,"dynasty":115,"author":881,"museum":81,"description":882,"tags":12208,"thumbUrl":12210,"material":152,"size":885,"collection":107,"collections":12211,"showCount":12083,"zanCount":743,"manualWeight":39,"mainColor":40},218576,"hua-niao-shan-shui-xiao-pin-ce-pu-tao-ma-yuan-218576","花鸟山水小品册-葡萄",[49,50,23,51,24,25,54,12209,896,265,7],"葡萄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2bc725dd647940f42f8f27a6cc90dd2.jpg",[],{"id":12213,"slug":12214,"title":12215,"dynasty":146,"author":12216,"museum":2698,"description":12217,"tags":12218,"thumbUrl":12219,"material":88,"size":12220,"collection":70,"collections":12221,"showCount":12083,"zanCount":1288,"manualWeight":39,"mainColor":75},218328,"yan-a-qi-shu-tu-chen-xuan-218328","岩阿琪树图","陈选","图绘翠峰叠嶂，古寺高居于丛林掩映中。山间飞泉直泻，山下溪流婉转，板桥横跨于前，近处杂树参差错落，生动有致。山石以披麻皴、点子皴两种笔法相参并用。树叶则点勾结合，表现出树木葱茏、烟云变幻、一派江南山川苍郁浑厚景象，给人以山高气爽、幽深静谧之感。",[49,23,712,26,55,84,86,7,56,150,64,294,751],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9252782007aff5c85e16028cb6ed04f.jpg","纵66.6厘米，横27.5厘米",[70],{"id":12223,"slug":12224,"title":12225,"dynasty":146,"author":709,"museum":81,"description":1490,"tags":12226,"thumbUrl":12227,"material":88,"size":107,"collection":107,"collections":12228,"showCount":12083,"zanCount":1288,"manualWeight":39,"mainColor":40},216596,"mo-zhu-pu-ce-ye-2-wu-zhen-216596","墨竹谱册页-2",[49,50,23,51,24,26,358,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc86d33c22b88926fe256e1591f3644c4.jpg",[],{"id":12230,"slug":12231,"title":12232,"dynasty":97,"author":697,"museum":20,"description":698,"tags":12233,"thumbUrl":12234,"material":88,"size":702,"collection":107,"collections":12235,"showCount":12083,"zanCount":39,"manualWeight":39,"mainColor":40},214683,"mei-hua-zhu-shi-tu-ce-6-wang-shi-shen-214683","梅花竹石图册-6",[23,51,24,26,528,358,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bfa4b0d7106259f2be1cfe79e73ecbc.jpg",[],{"id":12237,"slug":12238,"title":12239,"dynasty":146,"author":12240,"museum":2192,"description":12241,"tags":12242,"thumbUrl":12243,"material":88,"size":12244,"collection":199,"collections":12245,"showCount":12083,"zanCount":39,"manualWeight":39,"mainColor":75},214296,"wu-zu-zai-lai-tu-yin-tuo-luo-214296","五祖再来图","因陀罗","因陀罗（1247-1317）是元代著名的画家，他的《元五祖再来图》是其代表作之一。\n\n《元五祖再来图》描绘了五位道士依山而居的画面，通过精细的笔墨和巧妙的构图，勾勒出五位道士与山林的和谐关系。因陀罗在画中运用了多种技法，如水墨浓淡、描边等，使作品充满了生动的质感。\n\n《元五祖再来图》被认为是因陀罗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，《元五祖再来图》也是收藏家们青睐的经典之作。\n\n因陀罗的《元五祖再来图》是一幅描绘五位道士依山而居的画作，它体现了道家哲学中“和谐”的理念。五位道士与周围的山林和谐相处，表现出人与自然和谐共处的理想。因陀罗的《元五祖再来图》不仅是一幅精美的画作，更是一首关于人与自然和谐相处的诗篇。",[49,23,51,50,135,26,58,137,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ce02a048b10ef3981bf016dade452b6.jpg","32.7x44.6",[199],{"id":12247,"slug":12248,"title":12249,"dynasty":97,"author":248,"museum":99,"description":685,"tags":12250,"thumbUrl":12251,"material":689,"size":690,"collection":107,"collections":12252,"showCount":12253,"zanCount":1288,"manualWeight":39,"mainColor":40},290542,"mo-ju-yun-shou-ping-290542","墨菊",[23,51,24,26,529,27,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85db967c88e5d951d7cf0748f2930512.jpg",[],64,{"id":12255,"slug":12256,"title":12257,"dynasty":115,"author":1070,"museum":99,"description":12258,"tags":12259,"thumbUrl":12263,"material":689,"size":690,"collection":107,"collections":12264,"showCount":12253,"zanCount":39,"manualWeight":39,"mainColor":40},289329,"ku-lou-huan-xi-tu-li-song-289329","骷髅幻戏图","整个画面非常祥和欢乐，毫无惊怖，应是一个流动的携家带口的提线木偶（傀儡）艺人的一场演出，主要描写妇女与儿童生活的一个欢乐场景。",[49,50,23,51,822,25,58,12260,1713,12261,12262,86,119,7],"骷髅","母子","幻戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bb763370785e266153eaddfb1f724eb.jpg",[],{"id":12266,"slug":12267,"title":684,"dynasty":97,"author":248,"museum":99,"description":685,"tags":12268,"thumbUrl":12269,"material":689,"size":690,"collection":107,"collections":12270,"showCount":12253,"zanCount":39,"manualWeight":39,"mainColor":40},239427,"shan-shui-hua-hui-ce-yun-shou-ping-239427",[23,51,24,26,25,27,28,7,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9406c01c9cf327977d6f77fd93d7de67.jpg",[],{"id":12272,"slug":12273,"title":12274,"dynasty":18,"author":207,"museum":99,"description":12275,"tags":12276,"thumbUrl":12278,"material":107,"size":107,"collection":107,"collections":12279,"showCount":12253,"zanCount":1288,"manualWeight":39,"mainColor":75},232907,"fang-huang-quan-hua-niao-chong-die-yi-ming-232907","仿黄荃花鸟虫蝶","冬夜闻虫\n【唐】白居易\n虫声冬思苦于秋，不解愁人闻亦愁。\n我是老翁听不畏，少年莫听白君头\n冬天虫鸣，比秋天更让人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伤逝》题在一幅画作中，可惜画作已不见。《桐露清琴图》中几株挺拔的桐树立于竹舍茅屋边，不知是不是就是画家心中的故园呢？\n“桐花快落春风老，梅子微酸晚雨晴。从此嬉游时节少，不须日日报诗成。”春风与桐花归去后，无须整日游春赋诗，不如在雨后夏夜多读几本书吧。",[23,26,56,55,119,7,870,871,85,727,277,11378,12481,12482,5424,7870,1768,294,1902],"题款","枯笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fd543601d23d9eda41aecdc51d37c2e.jpg","90.1x30 厘米",[],{"id":12487,"slug":12488,"title":12489,"dynasty":115,"author":221,"museum":99,"description":12490,"tags":12491,"thumbUrl":12493,"material":107,"size":107,"collection":107,"collections":12494,"showCount":12434,"zanCount":39,"manualWeight":39,"mainColor":75},227489,"ting-qin-tu-li-zhou-zhao-ji-227489","听琴图立轴","徽宗一朝，在中国绘画发展历史上具有重要意义。熟悉徽宗宫中艺事的邓椿在《画继》中载徽宗之言：“朕万几余暇，别无他好，惟好画耳。”赵佶以皇帝之尊提倡绘画，广招天下贤士进翰林图画院，提高院画家地位，并将“画学”前所未有地纳入科举的轨道，中国绘画的职业化至此达至极盛。",[49,23,51,84,25,54,58,777,358,178,7,497,12492,4458,180,700],"琴桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F305792b178f52b137d5657051444750f.jpg",[],{"id":12496,"slug":12497,"title":12498,"dynasty":97,"author":12499,"museum":99,"description":12500,"tags":12501,"thumbUrl":12502,"material":107,"size":107,"collection":107,"collections":12503,"showCount":12434,"zanCount":39,"manualWeight":39,"mainColor":40},226639,"shan-shui-shan-mian-pu-ru-226639","山水扇面","溥儒","出身皇室的溥儒（溥心畲），除了自身的天赋才华，从小接受严格的正统教育，加上皇室有大量的书画收藏得以临摹，绘画创作得力诗词文的涵养，使他成为诗、书、画三绝的代表性画家，30年代中期与张大千（1899-1983）齐名，享有「南张北溥」的美誉，移居台湾后，与张大千、黄君璧三人同属台湾画坛中的最杰出的国画大师，被大众称为「渡海三家」，溥儒的山水画宗法宋元，风格淡雅，艺术家重视线条的?画，总呈现出和谐宁静的气氛。 〈山水〉是溥儒1945年的作品，风景自古是文人喜爱的绘画题材，艺术家从小浸淫汉学儒家思想，笔墨功力扎实，善于形塑令人向往的文人境界，〈山水〉流露出雅致的古典气息，画作属纸本立轴。题识： 「尺素生秋水，苍然浦漵分，尚含千峰雨，疑落万峰云。江上鸣瑶瑟，岩前忆隐君。青猿声断续，应是隔溪闻。」 行书行云流水，雅逸自然，配合画面挺拔的山壑与清澈湖水，诗书画三者结合，设色清新淡雅，使人玩味再三，前景的松树是溥儒喜爱的题材，它代表文人高尚的节操，高大的山石生长着茂密的植物，浓淡不一的墨色表现了丰富的层次，值得我们细细品味，而隐居在山林里的小房子甚是可爱，蕴含着隐居的心境。在用色方面，艺术家总以多层薄彩敷色，细腻的笔调，使景物生动自然，营造出柔和辽阔的意境，画面的左半面是空旷的湖面，刻意留白的处理与右半边的景物形成对比，两艘小船为全画增添生命力，整体而言，是幅意境深远的画作，流露出一股天真脱俗的气质。",[49,23,822,56,25,610,58,150,61,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1194f3f821239671a24fdd604c5306ed.jpg",[],{"id":12505,"slug":12506,"title":12507,"dynasty":97,"author":207,"museum":99,"description":12508,"tags":12509,"thumbUrl":12510,"material":107,"size":107,"collection":107,"collections":12511,"showCount":12434,"zanCount":39,"manualWeight":39,"mainColor":40},224109,"kang-xi-yong-zheng-qian-long-jia-qing-dao-guang-yu-bi-wu-fu-tu-yi-ming-224109","康熙、雍正、乾隆、嘉庆、道光御笔五福图","五幅御笔福字各擅风神：康熙之福雍容浑朴，自带庙堂端稳气象；雍正笔力爽利刚劲，法度谨严见骨力；乾隆书体圆润舒展，尽显盛世舒展意态；嘉庆落笔秀雅内敛，静穆端方；道光笔触朴拙厚重，自带沉凝质感。\n\n每字上方钤朱红帝王宝玺，小字题识附于其下，呼应御笔身份。米黄地子衬缠枝暗纹，朱印墨字相映成趣，将五朝帝王的书法意趣，与传统五福祥瑞之意相融，兼具书法审美价值与吉祥文化内涵。",[49,105,86,51,119,7,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa5f2a0a8689aba2be7855d85362368a.jpg",[],{"id":12513,"slug":12514,"title":12515,"dynasty":97,"author":3871,"museum":81,"description":12516,"tags":12517,"thumbUrl":12518,"material":319,"size":12519,"collection":199,"collections":12520,"showCount":12434,"zanCount":39,"manualWeight":39,"mainColor":40},223326,"mo-gu-kai-zhi-luo-shen-tu-juan-ding-guan-peng-223326","摹顾恺之洛神图卷","《清丁观鹏摹顾恺之洛神图》虽是摹本，然山水造型已自朴拙稚趣的古典画洋，转为成熟的金碧山水，且景物间的比例关系已趋精确；援以西洋明暗设色法与定点透视法，表现脸部五官、马匹体态与空间层次，营造合乎视觉经验的画面。丁观鹏在当时受到西洋绘画的影响，本卷中采取光影与透视法即是。",[49,23,51,52,25,54,58,225,64,150,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea4b7ef2e14f9b4457400360dcabf0de.jpg","28.1x587.5",[199,72],{"id":12522,"slug":12523,"title":12524,"dynasty":97,"author":736,"museum":81,"description":737,"tags":12525,"thumbUrl":12527,"material":25,"size":740,"collection":107,"collections":12528,"showCount":12434,"zanCount":1288,"manualWeight":39,"mainColor":40},222739,"xian-e-chang-chun-tu-01a-lang-shi-ning-222739","仙萼长春图-01a",[49,50,23,51,24,54,25,27,308,7,12526],"中西合璧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F327134945f8934e75f6ed2989c364895.jpg",[],{"id":12530,"slug":12531,"title":12532,"dynasty":18,"author":3070,"museum":46,"description":12533,"tags":12534,"thumbUrl":12535,"material":1561,"size":12536,"collection":107,"collections":12537,"showCount":12434,"zanCount":1288,"manualWeight":39,"mainColor":40},222569,"hua-hui-tu-8-chen-chun-222569","花卉图8","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。",[49,23,51,50,403,26,25,27,28,30,311,531,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F911c35cd24a96007a25681937880c5d3.jpg","32.5×57.3厘米",[],{"id":12539,"slug":12540,"title":12541,"dynasty":18,"author":161,"museum":329,"description":12542,"tags":12543,"thumbUrl":12544,"material":4816,"size":12545,"collection":107,"collections":12546,"showCount":12434,"zanCount":39,"manualWeight":39,"mainColor":40},222099,"si-ji-hua-hui-juan-shen-zhou-222099","四季花卉卷","此卷绘各色花卉，用笔不斤斤于形似，得花之天趣，开以后白阳，青藤花卉大写意之法门。沈周出身诗书门第，幼受严训，师承大家，饱览祖传的书画名迹，又周游名山大川，这些优厚条件，对他一生的创作，有莫大的裨益和帮助。沈周画的梅、兰、菊、竹传统文人画题，变化多样，运用彩色没骨画法，创出新颖的文人花鸟画。对后期的花卉画家影响深远。\n沈周（1427-1509），字启南，号石田，晚号白石翁，明代画家，书法家，文学家，医学家，长洲（今江苏苏州）人。出身富裕的书香绘画世家，少时师从陈宽学习诗文，青年时期师从伯父沉贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。与文征明、唐寅、仇英并称「明四家」，是吴门画派的创始人。他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。",[49,23,51,52,25,54,27,528,251,529,308,314,57,488,309,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f527202709f0b8a75e4edc90151d183.jpg","27.5 X504.8厘米",[],{"id":12548,"slug":12549,"title":12550,"dynasty":97,"author":12551,"museum":81,"description":12552,"tags":12553,"thumbUrl":12554,"material":319,"size":107,"collection":122,"collections":12555,"showCount":12434,"zanCount":39,"manualWeight":39,"mainColor":75},221009,"shu-hua-ce-ye-wu-hu-fan-221009","《书画册页》","吴湖帆","此作为鉴藏题签，以颜楷立骨，行书辅意。主文笔墨沉厚雄健，结体宽博开张，笔势遒劲苍浑；侧款灵动疏朗，与主文虚实相生，错落有致。浓墨配古雅笺纸，朱印鲜亮点睛，书、纸、印三者相得益彰。题字既点明藏品之珍绝，亦寄寓藏家矜惜之意，将鉴藏风雅融于笔墨之间，尽显鉴藏大家的笔墨风骨与文雅襟怀，是一件兼具鉴藏价值与书法审美意趣的文人小品。",[49,86,119,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F956aee8c8c5e1ea4324478f47a3f7008.jpg",[122],{"id":12557,"slug":12558,"title":12559,"dynasty":146,"author":431,"museum":20,"description":12560,"tags":12561,"thumbUrl":12563,"material":319,"size":12564,"collection":122,"collections":12565,"showCount":12434,"zanCount":1288,"manualWeight":39,"mainColor":40},220851,"zhi-zhai-ji-zhao-meng-fu-220851","止斋记","《止斋记》是元代书画家赵孟頫的作品，这是他的行书代表作之一，书于1308年（元至大元年），作者时年55岁。\n该书通篇字形俊秀飘逸，而笔笔又谨守法度，体现了他极深的行楷功力，乃至后学无法超越。\n全文:公受事九郡，务求简靖。其风概严而不猛，待人和而不流。有犯，恻怛以处之，毋贷。故名声莫不闻，每语同僚，曰：尔来宦途不再，岁经涉万有余里，游已倦矣！安得幽闲之地，葺一容膝之斋，其中惟竹与菊是植，终日燕坐，诚可乐也！因顾幕从事段从周曰：子为名其斋。诸君合辞曰：公未也。一笑而罢。他日又谓余曰：我得斋名矣，举所得，云：行年六十，官三品，亦是人生合止时，以止扁（匾）斋可乎？子为我记之，余谢曰：公精力未衰，中外属望，方期大用，膏泽天下，岂容止乎？且余不敏，安敢承教？公笑曰：子言侈矣，止此，于我为过，敢有他望，以重其过？其毋愧我。遂不敢复辞，勉为之说。曰：止之，时义大矣哉，尝考诸艮乾坤之交，三索而成艮。一阳居二阴之上，阳动而上进之物，既至于上则止矣。阴者，静也，上止而下静，故为艮。艮者，止也。其象为山，取坤地而隆其上之状，既曰山，又有安重坚实之意，乃所谓止也。然止有两义，有止而止者，行而止者。止而止者，时行则行，时止则止。如蹇之险而止、如蒙之坎而止，止其时也。行而止者，谓行其事也，所止者，理而已。如父止于慈，子止于孝，君止于仁，臣止于敬。此即止其所也，动中有静，静中有动，彖曰：动静不失其时，其道光明。盖当止而止，既不失其时；当行而止，又皆得其所，其道安得不光明辉显哉？由此观之，止之为义，非特专主辞禄去位，闭门却扫，与夫高蹈远引，遯(遁)世无闷之谓也。历观前人，处止之义不同，有功成名遂，全身远害而止者，有知足不辱，恶盈好谦而止者，有委心乘化，乐天知命而止者，如汉之留侯与二疏及晋之陶渊明是已。是止也固异，夫知进而不知退，既得患失，暨不量其才之称否而冒之者万万也。然皆非圣人之止也，圣人之止何如？可以仕则仕，可以止则止，可以久则久，可以速则速。孔子也，噫！为能尽艮之，止之之道者，其唯圣人乎？孟子不曰，自有生民以来未有孔子也。又曰：乃所愿则学孔子也，公如处止之道，愿以孔子为法，庶无慊于孟氏矣。敢此以为止斋记。至大元年冬十月既望，东平段从周记，吴兴赵孟頫书。",[49,51,86,119,52,7,435,12562],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ae4a5784200dea1f30b91c76c182ba7.jpg","纵达四十七点五厘米,横三百五十六厘米",[122],{"id":12567,"slug":12568,"title":12569,"dynasty":18,"author":12570,"museum":81,"description":12571,"tags":12572,"thumbUrl":12573,"material":152,"size":12574,"collection":199,"collections":12575,"showCount":12434,"zanCount":39,"manualWeight":39,"mainColor":40},219552,"jiu-lao-tu-huang-biao-219552","九老图","黄彪","此幅是黄彪摹刘松年九老图而成，得形似而人物传神，虽布置树石稍显薄淡，傅色鲜浮之外，不失为一种临摹传世之佳品。",[49,23,51,52,25,54,58,64,60,61,150,777,358,28,63,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f86b80884e1f7a09cf9f31d6902a1ad.jpg","27.2x193厘米",[199,72],{"id":12577,"slug":12578,"title":4747,"dynasty":115,"author":207,"museum":99,"description":12579,"tags":12580,"thumbUrl":12581,"material":152,"size":12582,"collection":213,"collections":12583,"showCount":12434,"zanCount":39,"manualWeight":39,"mainColor":75},219011,"mu-niu-tu-yi-ming-219011","一幅典型的南宋田园画，以边角料的方式绘制。一棵高大的树被描绘在河边的浅滩上，一头水牛低着头，一个牛仔试图通过攀爬牛角爬上牛背。",[49,50,23,51,822,26,25,1115,137,277,61,7,1116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc612d12f7fbf45193051cf350f77162.jpg","26x28",[213],{"id":12585,"slug":12586,"title":12587,"dynasty":18,"author":8513,"museum":525,"description":12409,"tags":12588,"thumbUrl":12590,"material":33,"size":12412,"collection":107,"collections":12591,"showCount":12434,"zanCount":1288,"manualWeight":39,"mainColor":8519},216259,"ming-za-hua-ce-6-wang-zhong-216259","明杂画册-6",[23,25,54,7,27,5824,1481,1195,12589,265],"根茎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32f2d1231e91e0eead919ad5dde30bb8.jpg",[],{"id":12593,"slug":12594,"title":12595,"dynasty":146,"author":4144,"museum":20,"description":12596,"tags":12597,"thumbUrl":12598,"material":121,"size":12599,"collection":70,"collections":12600,"showCount":12434,"zanCount":1288,"manualWeight":39,"mainColor":75},214730,"qing-liang-wan-cui-tu-cao-zhi-bai-214730","清凉晚翠图","曹知白（1272-1355），字又玄，号云西，今上海松江人。与黄公望、倪瓒交往最密，常以书画相酬唱。山水继承李郭画派，风格清疏简淡、秀润飘逸。他对松江地方贡献很大。1294年，朝廷诏令中书左丞开凿吴淞江，曹知白以策从行，功绩居多。1298年，他又提出置阏成堤之法，取得良好效果。后被荐为昆山教谕，不久辞去。卒后葬于松江修竹乡干山之原。",[23,26,56,55,86,7,137,2681,62,61,277,751,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba94454b3af5651c31aa4a282fe07e1.jpg","纵21.1厘米，横21.2厘米",[70],{"id":12602,"slug":12603,"title":12604,"dynasty":146,"author":147,"museum":81,"description":12605,"tags":12606,"thumbUrl":12607,"material":689,"size":690,"collection":107,"collections":12608,"showCount":12609,"zanCount":743,"manualWeight":39,"mainColor":75},290348,"jiu-zhu-feng-cui-tu-zhou-huang-gong-wang-290348","九珠峰翠图轴","此图以杨维祯寓居之“九峰三泖”（在今之上海市松江区）的九峰为背景，画中树木造形及山石的皴法，与《富春山居图》皆有关连相似之处。画山石以披麻皴法为主，长短兼施，淡墨勾皴再用浓墨逐层醒破，由于画在绫本中，受其织纹之影响，笔墨之韵味显得较为独特。但山石、树木皆加螺青染色，用笔特擅中锋使笔，雄健沈著，笔调变化丰富，将山石点染得苍莽秀逸。\n左上角有王逢题诗:层峦叠嶂青寝，深坞露儒人宫。睛霏裔裔吹不断，下覆春水光蒙。谁家相对缘溪住，石梯蛇折黄华路。何当着我沙蒙舟，放歌流下前滩去。溪王逢为草玄道人题大师画。下有王原氏、俭德堂，茂林修竹之所三印。引首一印:不识。中间有杨铁崖题诗:九球峰翠接云间，无数人家住碧湾。老子堪春三目醉，梦回疑对铁崖山。铁下有杨维印、铁笛道人、二印。诗堂之上有乾隆御书“寄”四个大字。右上角则有乾隆的题诗:神笔不择铜与鼓，郁葱闪密千百层，运以元气含以古，弗入世态其明征九珠之峰在何所，老铁分明为我语。弁藏已久始括题，当面失之每叹古。丁百新春御题下有机取怡情、得佳趣二章。清皇室鉴藏玺甚多，有:乾隆御览之宝、石果宝笈、石渠继鉴、乔心殿鉴藏宝、乾隆鉴，三希堂精，宜子孙、嘉庆御览之宝、宣统御览之宝。其他收藏印章则有:清如许、冰壶秋月、阿尔喜普之印、东平、也国珍赏、九如清玩、部氏容春堂书画印、玄斋、造玄道人、礼用、各印。",[50,23,51,84,26,56,2001,64,61,63,277,55,86,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0078660b9d4ba83a449e1cffec2f767e.jpg",[],62,{"id":12611,"slug":12612,"title":12613,"dynasty":97,"author":1180,"museum":99,"description":1655,"tags":12614,"thumbUrl":12616,"material":689,"size":690,"collection":107,"collections":12617,"showCount":12609,"zanCount":39,"manualWeight":39,"mainColor":40},290080,"hong-hua-tu-li-zhou-wu-chang-shuo-290080","红花图立轴",[49,23,84,25,26,27,12615,277,86,7],"红花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F188cc8526e0cecaabcb51988541cb2c9.jpg",[],{"id":12619,"slug":12620,"title":12621,"dynasty":97,"author":655,"museum":99,"description":12622,"tags":12623,"thumbUrl":12624,"material":689,"size":690,"collection":107,"collections":12625,"showCount":12609,"zanCount":39,"manualWeight":39,"mainColor":75},288390,"mei-hua-tu-lian-li-zhou-jin-nong-288390","梅花图联立轴","金农（1687年—1763年），男，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。",[49,23,84,27,528,26,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18a90a4baed7675ccdbb4e7b13fa224e.jpg",[],{"id":12627,"slug":12628,"title":12629,"dynasty":97,"author":2322,"museum":99,"description":12630,"tags":12631,"thumbUrl":12632,"material":689,"size":690,"collection":107,"collections":12633,"showCount":12609,"zanCount":39,"manualWeight":39,"mainColor":40},239458,"hui-bu-si-guo-juan-qian-wei-cheng-239458","回部四果卷","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。\n钱维城自幼甚喜绘画，开始从族祖母陈书学习画写意折枝花果，勾描渲染，随类赋形，气联意合，整体协调。后来得到了画家董邦达指导，学画山水。所画山水，山势逶迤，流泉飞泻，烟霭飘浮，水光荡漾。构图井然，意境清幽。山石多用皴笔。他的绘画远学元代四家即黄公望、倪瓒、吴镇、王蒙，近学清初四王即王时敏、王鉴、王徽、王原祁。。《桐阴论画》说他的山水画“笔意亦临摹仿麓台，邱壑幽深，树石灵秀，颇臻妙境。”钱维城投身科举时，很少有人知道他擅长书画，直到状元及第后，在随乾隆的一次狩猎中，乾隆射中一只老虎，于是钱维城受命创作“射虎图”，作品完成后乾隆连连称赞，并下令将此画刻在木兰围场的石头上，从此钱维城在画坛上名声大振。在钱维城的绘画中，带棱角的石形、双勾少皴的树干，以及中锋含蓄的细笔、淡墨勾皴的线条，都存有董邦达的笔意，但他更擅长缜密的用笔和青绿、赭石相间的设色，其中也显示出清初“四王”的流派风格，他的作品经常呈现出来的是一派宫廷富贵的气息。在乾隆的收藏目录《石渠宝芨》中，收录的钱维城作品有160多幅，由此可见乾隆皇帝对钱维城作品的赏识程度。著名的有《九秋图卷》。\n钱维城擅长书法，工整精细，“宗磐工书，书法东坡。”他师法宋朝书法四大家之一的苏东坡。落笔苍润，秀骨天成。也能吟诗，以杜少陵为宗。人称“钱文敏尚书，诗宗少陵，书规苏文忠。”可谓诗、书、画一体。",[23,51,52,25,54,119,86,7,530,1183,1195,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a10e9be96c5643887aeff2b4ec9e0b8.jpg",[],{"id":12635,"slug":12636,"title":12637,"dynasty":97,"author":12638,"museum":99,"description":12639,"tags":12640,"thumbUrl":12641,"material":689,"size":690,"collection":35,"collections":12642,"showCount":12609,"zanCount":11,"manualWeight":39,"mainColor":40},235482,"huang-shen-shu-guo-tu-ce-huang-shen-235482","黄慎蔬果图册","黄慎","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。",[23,51,24,26,25,5401,7,86,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a06080dfb464dc2918e366572dfcfde.jpg",[35],{"id":12644,"slug":12645,"title":2515,"dynasty":18,"author":161,"museum":175,"description":2516,"tags":12646,"thumbUrl":12647,"material":319,"size":2519,"collection":107,"collections":12648,"showCount":12609,"zanCount":39,"manualWeight":39,"mainColor":40},234096,"wu-zhong-shan-shui-ce-shen-zhou-234096",[23,51,24,26,119,55,56,60,61,62,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff615aa6731f6aad97ced3ec6ba894313.jpg",[],{"id":12650,"slug":12651,"title":2895,"dynasty":97,"author":8731,"museum":20,"description":12652,"tags":12653,"thumbUrl":12654,"material":319,"size":12655,"collection":107,"collections":12656,"showCount":12609,"zanCount":1288,"manualWeight":39,"mainColor":40},233740,"za-hua-ce-xu-gu-233740","虚谷（1823-1896），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，新安（今安徽歙县）人，居广陵（今江苏扬州）。工山水、花卉、动物、禽鸟，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。\n《杂画册》题材广泛，有白猫、金鱼、松鼠、竹、荷、菊、枇杷等众多意象，堪称虚谷的代表作。如《蔬笋河豚》竹笋的长锥形与河豚的椭圆形，置于一幅中，得到了和谐的统一，情趣横生。此图的绘画技巧突破了前人的成法，显现其独特的新格局。",[23,25,26,24,7,2342,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6626be7eb24b41fff798946e9ab14f6.jpg","纵34.7厘米，横40.6厘米",[],{"id":12658,"slug":12659,"title":12660,"dynasty":146,"author":1303,"museum":99,"description":11216,"tags":12661,"thumbUrl":12662,"material":689,"size":690,"collection":107,"collections":12663,"showCount":12609,"zanCount":39,"manualWeight":39,"mainColor":40},230909,"ni-yun-lin-mo-zhu-tu-ye-ni-zan-230909","倪云林墨竹图页",[49,50,23,51,26,358,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaf9873062c542b0b65a27c7d2f3fd83.jpg",[],{"id":12665,"slug":12666,"title":12667,"dynasty":18,"author":10139,"museum":81,"description":12668,"tags":12669,"thumbUrl":12670,"material":152,"size":12671,"collection":107,"collections":12672,"showCount":12609,"zanCount":39,"manualWeight":39,"mainColor":75},228363,"xian-kan-er-tong-zhuo-liu-hua-ju-yi-zhou-zhou-chen-228363","闲看儿童捉柳花句意轴","生动形象地描绘了杨万里的诗意，清新闲适，童趣横生",[23,51,84,25,54,56,58,10632,871,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb34e09c91adaceb2e568e701e04b643c.jpg","116.6×63.5",[],{"id":12674,"slug":12675,"title":12676,"dynasty":115,"author":11749,"museum":99,"description":12677,"tags":12678,"thumbUrl":12679,"material":107,"size":107,"collection":107,"collections":12680,"showCount":12609,"zanCount":39,"manualWeight":39,"mainColor":40},228255,"qiu-jiang-yu-le-tu-xia-gui-228255","秋江渔乐图","此作用边角取景，淡墨晕染开层叠远山，留白铺就浩渺秋江，虚实相生间尽显清旷萧疏。孤舟渔翁垂纶独钓，似与烟水山色相融。坡岸林木苍劲虬曲，群雁振翅惊破江天寂静，寥寥数笔便点活秋江灵动意趣。\n水墨淋漓间以简驭繁，将秋江的冷寂清寒，与渔者隐逸的悠然快意揉入尺幅之中，淡远空寂的氛围感扑面而来，尽显空灵简远的意韵，藏着江湖散人的疏旷闲情。",[49,23,51,52,26,55,119,7,56,62,66,714,64,150,61,946,713,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd27660b82a2b352247e4cc452331a1a3.jpg",[],{"id":12682,"slug":12683,"title":12684,"dynasty":115,"author":221,"museum":99,"description":12685,"tags":12686,"thumbUrl":12687,"material":107,"size":107,"collection":107,"collections":12688,"showCount":12609,"zanCount":1288,"manualWeight":39,"mainColor":40},227490,"gong-shi-fang-qiu-chi-zhao-ji-227490","恭事方丘敕","宋徽宗赵佶《恭事方丘敕》质地为五幅不同颜色的均描有金花凤的罗绢，又名《方丘礼戍答妃嫔起居敕》、《方丘季享敕》。",[49,86,52,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee1cb57e70671faa9fe3a3135ca50598.jpg",[],{"id":12690,"slug":12691,"title":12692,"dynasty":146,"author":12693,"museum":81,"description":12694,"tags":12695,"thumbUrl":12698,"material":239,"size":12699,"collection":70,"collections":12700,"showCount":12609,"zanCount":39,"manualWeight":39,"mainColor":75},221853,"long-chi-jing-du-tu-juan-wang-zhen-peng-221853","龙池竞渡图卷","王振鹏","此长卷画将楼阁建筑分为两大段，每段画有宫苑重楼、水阁，千回百折，尽在水中。 该图气势恢宏，构图巧妙。",[49,50,23,51,52,1962,135,25,58,59,405,12696,406,64,12697,7],"船","竞渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3870d12d0c453d52304f7bf589acbc8d.jpg","纵30.2厘米，横243.8厘米",[70,242],{"id":12702,"slug":12703,"title":12704,"dynasty":18,"author":12705,"museum":485,"description":12706,"tags":12707,"thumbUrl":12708,"material":88,"size":12709,"collection":242,"collections":12710,"showCount":12609,"zanCount":39,"manualWeight":39,"mainColor":75},220357,"yue-xia-pu-tao-tu-wang-liang-chen-220357","月下葡萄图","王良臣","王良臣（ 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字又元, 号云西, 又字贞素, 人称贞素先生, 华亭(今上海松江县) 人。至元中任昆山教谕, 曾北上大都(今北京), 不久辞归, 隐居不仕, 饱览经书和研究道家之说。自写书斋匾额曰：“常清净”, 以示求闲适恬静意趣。《寒林图》画枯林一行于坡石之间, 树干劲挺, 疏落有致, 笔墨带有秀润气, 属中年之作。",[49,23,51,56,26,55,2681,137,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d273f7f19185342efa1150df078a26.jpg","纵27.3厘米横26.2厘米",[70,242],{"id":12853,"slug":12854,"title":12855,"dynasty":146,"author":1466,"museum":2192,"description":7350,"tags":12856,"thumbUrl":12857,"material":183,"size":12858,"collection":199,"collections":12859,"showCount":12748,"zanCount":1288,"manualWeight":39,"mainColor":75},221770,"ren-ma-tu-ren-ren-fa-221770","人马图",[49,23,51,52,54,25,225,58,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F476e55f8d28399ffef02dac57ac64f66.jpg","纵：50.6cm，横：36cm",[199,72],{"id":12861,"slug":12862,"title":12863,"dynasty":130,"author":857,"museum":81,"description":12864,"tags":12865,"thumbUrl":12866,"material":634,"size":9776,"collection":122,"collections":12867,"showCount":12748,"zanCount":39,"manualWeight":39,"mainColor":40},221037,"yuan-huan-tie-wang-xi-zhi-221037","远宦帖","《远宦帖》亦称《省别帖》，为《十七帖》丛帖第十五通尺牍。草书，6行，53字。王羲之在信中对周抚对家人的问候表示感谢，提及自己的妻子的情况时，对其病重非常担忧。信中还问及陶侃家人和一些同僚的近况。《中国书法全集》对《远宦帖》的书法风格评价为“偏锋侧锋甚明显，体势多有章草意味”。用笔与气势\n《远宦帖》草法以简约为主，虽间有萦绕，亦简略不繁。两字连属者仅有“省别”、“小大”、“子亦”、“数问”、“救命”、“足下”六处，无三字相连者。偶有收笔如章草者，如“不”字，也因笔毫不易遣锋之故，“远”字最后之萦绕，向上回笔处笔锋分岔，正能说明用笔为硬毫，使转、收纵不甚灵便。《远宦帖》其字间隔不大，较为拥密，与《十七帖》中间疏润者不类。字形多向横扁发挥，无一笔纵情直下者。行距颇有余地。\n整篇气势虽不畅速，但和谐无碍，中无滞阻之处。笔画洒落有致，粗细之间匀净清爽，又不失其古朴之趣，从中甚可体会古人作草并不一味求其潦草恣肆，而是凝重而无阻塞；但全面来看，气充意随，一气呵成，如瀑流之激荡，时有浪花泛起，足可流连其间，领悟寄情其间，遣词造句之含蕴。\n《省别帖》用笔的来龙去脉交代得非常清晰，体现了王羲之草书线条的丰富性——用笔中的圆转、方折、连带、割断、轻重、提按等对立因素在起笔、收笔、运笔过程中的运用与变化。其次，结构与章法方面的大小错落、左右穿插、上下移位等因素，也增加了字势的运动感，显得虚活灵动，生机盎然。",[49,86,119,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ef2a681f2096c798987eb1d125aaa3e.jpg",[122,1120],{"id":12869,"slug":12870,"title":12871,"dynasty":146,"author":431,"museum":175,"description":12872,"tags":12873,"thumbUrl":12874,"material":319,"size":12875,"collection":122,"collections":12876,"showCount":12748,"zanCount":1288,"manualWeight":39,"mainColor":40},220859,"lin-yu-zhen-lan-ting-zhao-meng-fu-220859","临玉枕兰亭","关于玉枕兰亭传说颇多，有言贾秋壑得一石枕，光莹可爱，使廖莹中以灯影缩小法刻于灵壁石上，宛如定武本，缺损处皆全，人称玉枕兰亭。\n缩临古帖，历来有之，似为携带方便，可以随时展玩，故有《玉枕兰亭》之传。明代更有将《兰亭》缩于方寸之间者，则已近乎后来的微型书法了。赵孟頫不仅有此《缩本兰亭》，还有一种将字体放大五、六倍的临本，明初书家宋克曾经见之，称之为“笔法位置全然相似，亦当世之名迹也”。可见，这种或放大、或缩小的临摹，可能是赵氏练习手眼的一种方式，也可能是勤学苦练过程中放松精神的一种“游戏”。但赵孟頫是落笔便作千古想的，所以 “虽戏写亦如欲刻金石”，绝不会有丝毫懈怠。事事认真，正是他获得大成的原因之一。",[86,119,134,7,52,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e32b4427919d25ac2c78252539055fa.jpg","纵7.1厘米，横26.2厘米",[122],{"id":12878,"slug":12879,"title":12880,"dynasty":146,"author":431,"museum":175,"description":12881,"tags":12882,"thumbUrl":12883,"material":12884,"size":12885,"collection":213,"collections":12886,"showCount":12748,"zanCount":39,"manualWeight":39,"mainColor":75},220842,"you-huang-dai-sheng-tu-juan-zhao-meng-fu-220842","幽篁戴胜图卷","该图画幽篁细枝，停着一只戴胜鸟，正在返首回望。\n该图笔法工整细致，既有南宋院体画意又自设细染，使画面清雅和谐，构图简洁明快。\n此图画了一只戴胜停伫在一新篁枝上，正返首回望。",[49,23,51,52,25,27,358,66,86,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706af52cdeacaaa277655150f946ab40.jpg","纸本 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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。",[49,50,23,51,52,26,403,119,7,5401,6920,12997,12998,12999,311],"葱","蒜","黄瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b940c2439fdac30eea8813cf5a83875.jpg","28×206.5厘米",[],{"id":13004,"slug":13005,"title":13006,"dynasty":146,"author":7721,"museum":175,"description":13007,"tags":13008,"thumbUrl":13009,"material":668,"size":13010,"collection":107,"collections":13011,"showCount":12937,"zanCount":1288,"manualWeight":39,"mainColor":75},233824,"tao-zhu-jin-ji-tu-zhou-wang-yuan-233824","桃竹锦鸡图轴","该图上有王渊款：“至正已醜(1349年)王若水爲惠明作桃竹錦雞圖。”钤私印两方。是图将工整双勾的线条和细腻的水墨渲染合为一体，形成兼工带写的绘画技巧，以墨代色，脱胎于五代黄筌“黄家富贵”的工笔设色画风，反映了文人画重墨轻色的审美观。画家以水墨皴擦、晕染、粗细笔并用，行笔稳健而不乏洒脱，水墨层次变化丰富，颇有透明感，全图不着一色已俱见典雅端丽，画意蕴藉清润、幽静深秀。",[23,51,84,26,54,27,1817,358,1682,277,1227,1239,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04fe80188608afae39245cc2e1cd29b2.jpg","纵102.3cm，横55.4cm",[],{"id":13013,"slug":13014,"title":7228,"dynasty":18,"author":2181,"museum":175,"description":6562,"tags":13015,"thumbUrl":13016,"material":391,"size":6565,"collection":70,"collections":13017,"showCount":12937,"zanCount":39,"manualWeight":39,"mainColor":40},233800,"shan-shui-ce-dong-qi-chang-233800",[23,51,24,26,25,56,55,870,406,64,85,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034929475ad5bc8450af2c928ccea8b8.jpg",[70],{"id":13019,"slug":13020,"title":13021,"dynasty":192,"author":5521,"museum":222,"description":13022,"tags":13023,"thumbUrl":13024,"material":319,"size":13025,"collection":107,"collections":13026,"showCount":12937,"zanCount":1288,"manualWeight":39,"mainColor":75},232269,"gu-shi-si-tie-zhang-xu-232269","古诗四帖","通篇笔画丰满，绝无纤弱浮滑之笔。行文跌宕起伏，动静交错，满纸如云烟缭绕，实乃草书颠峰之篇。北京大学教授、引碑入草开创者李志敏评价：“古诗四帖无一笔不争，无一笔不让，有呼有应，浑然天成。”今人郭子绪云：“《古诗四帖》，可以说是张旭全部生命的结晶，是天才美和自然美的典型，民族艺术的精华，永恒美的象征。”\n释文:东明九芝盖，北烛五云车。飘飖入倒景，出没上烟霞。春泉下玉溜，青鸟向金华。汉帝看桃核，齐侯问棘花。应逐上元酒，同来访蔡家。\n北阙临丹水，南宫生绛云。龙泥印玉简，大火练真文。上元风雨散，中天哥吹分。虚驾千寻上，空香万里闻\n谢灵运王子晋赞\n淑质非不丽，难之以万年。储宫非不贵，岂若上登天。王子复清旷，区中实哗嚣。喧既见浮丘公，与尔共纷翻。\n岩下一老公，四五少年赞\n衡山采药人，路迷粮亦绝。过息岩下坐，正见相对说。一老四五少，仙隐不别可？其书非世教，其人必贤哲。\n备注:《古诗四帖》录文为四首诗赋。前两首分别是南北朝庾信的《道士步虚词》之六和之八，后两首是南朝谢灵运的《王子晋赞》和《岩下见一老翁四五少年赞》。\n《庾子山集》和《谢灵运集校注》分别录有原文如下：\n东明九芝盖，北烛五云车。飘飖入倒景，出没上烟霞。春泉下玉溜，青鸟向金华。汉帝看桃核，齐侯问枣花。上元应送酒，来向蔡经家。\n北阙临玄水，南宫生绛云。龙泥印玉策，大火炼真文。上元风雨散，中天歌吹分。灵驾千寻上，空香万里闻。\n谢灵运王子晋赞\n淑质非不丽，难以之百年。储宫非不贵，岂若登云天。王子爱清净，区中实骅嚣。喧既见浮丘公，与尔共纷翻。\n岩下见一老翁四五少年赞\n衡山采药人，路迷粮亦绝。过息岩下坐，正见相对说。一老四五少，仙隐不可别。其书非世教，其人必贤哲。\n《古诗四帖》是否为张旭所作，尚有争议，但它是张旭笔法系统中一件重要的作品。它大部分线条不强调提按，而重视粗细均匀的线条中使转与速度的变化。中侧锋并用，笔锋常落在线条端部的一侧，但立即转为中锋；同时流畅中又往往生出圭角，如“年”、“别”等字，有不可端倪之感。左右部分衔接时，有时用粗重的线条。这一点在颜真卿《刘中使帖》中“期”、“将”的笔触也可看到，通过此点能看到颜、张的关系。\n狂草中的点画与其他书体中的点画不同。其一，狂草点画在连续运动中完成，而且较为快速，对控制用笔的敏捷、准确有很高要求；其二，其他书体字体中留驻、按顿等常用的方法在狂草中无法使用，只能更多地依靠手腕及其他关节的控制，因此在临习中一定要找到与点画形状相配合的运动方式。一种点画，书家可以用不同的笔法临写出大体相似的形状，但对狂草来说，只有自然而流畅地书写出这一形状才是可取的，其它操作方法不是把学习者和欣赏者引向另一种风格，而是引人离开草书。\n《古诗四帖》中有少量弱笔，但无损于整个作品的流动、敦厚，就大部分线条而言，已达到得心应手、落笔成趣的境界。草书中不离法则而随意驱运法则，这是高闲等人从来不曾梦想过的境地。\n“四帖”中真正使人感到意外的还是字结构。由于阅读与欣赏习惯的影响，“单字结构”总是欣赏者感觉中甩不掉的一个层面。与张旭其他作品相比，这件作品不符合他惯常的构字规则。\n《古诗四帖》属狂草。特点是较过去更为狂放，整体气势如长江大河一泻千里，急风骤雨，所以在草书发展史上是新突破。它打破了魏晋时期拘谨的草书风格。把草书在原有的基础结构上，将上下两字的笔画紧密相连，所谓“连绵还绕”，有时两个字看起来象一个字，有时一个字看起来却象两个字。在章法安排上，也是疏密悬殊很大。在书写上，也一反魏晋“匆匆不及草书”的四平八稳的传统书写速度，而采取了奔放、写意的抒情形式。\n《古诗四帖》，张旭自己并未书款，说它是张旭作品是根据董其昌鉴定， 后人多沿此说，但也颇有争议。\n张旭草书的章法大致可以分为单字界限清晰和单字界限不清晰这样两类。前者如《晚复帖》，后者如《古诗四帖》。两类作品书写时的心态有所不同。前一类作品书写时注意力可以主要放在字结构上，同时关注各字的连缀即可；后一类作品书写时以线条疏密及连续性的控制为首要目标。狂草中空间的疏密有时出现强烈的变化，但张旭的作品中，疏密变化都是逐渐发生的。换言之，由疏到密，或由密到疏，都有个过渡阶段，《肚痛贴》中从“肚痛”到“不可”这样突兀的变化只是个特例。\n《古诗四帖》笔法奔放不羁，如惊电激雷，倏忽万里，而又不离规矩。行文跌宕起伏，动静交错，满纸如云烟缭绕，实乃草书颠峰之篇。董其昌评说：“有悬崖坠，急雨旋风之势。”\n《古诗四帖》通篇气势奔放，运笔无往不收，如锥划沙，无纤巧浮华之笔。盛唐时期，以张旭为代表的一派草书风靡一时，它打破了魏晋时期拘谨的草书风格。把草书在原有的基础结构上，将上下两字的笔画紧密相连，所谓“连绵还绕”，有时两个字看起来象一个字，有时一个字看起来却象两个字。在章法安排上，也是疏密悬殊很大。在书写上，也一反魏晋“匆匆不及草书”的四平八稳的传统书写速度，而采取了奔放、写意的抒情形式。正如唐代文学家韩愈《送高闲上人序》中所云：“张旭善草书，不冶它技，喜怒窘穷，忧悲愉佚，怨恨，思慕，酣醉无聊，不平，有动于心，必于从草书焉发之。”\n《古诗四帖》早在北宋宋仁宗嘉佑年间已有刻本流传，墨迹进入北宋内府。“靖康之乱”散入民间，南宋后期为贾似道收藏。后转入南宋收藏家赵与勤家。明代归著名收藏家华夏的真赏斋，后又归项元汴，清时入内府。\n宋《宣和书谱》定为南北朝谢灵运书，元明时《云烟过眼录》、《珊瑚网书跋》、《平生壮观》均有记载，传至明朝中期，对作者产生怀疑，直到董其昌，才从诗韵变化揭示原说破绽并据草书肯定为张旭之作。《石渠宝笈初编》将此帖误断为赝品。\n关于是否是张旭真迹，明清均有争议，到现在仍有学者有不同意见。",[49,50,23,51,86,52,462,7,25,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b552411f9ee44f8aa35e32c763c8a8.jpg","纵28.8厘米，横192.3厘米",[],{"id":13028,"slug":13029,"title":13030,"dynasty":97,"author":1180,"museum":99,"description":13031,"tags":13032,"thumbUrl":13033,"material":319,"size":13034,"collection":35,"collections":13035,"showCount":12937,"zanCount":743,"manualWeight":39,"mainColor":40},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。",[49,23,84,26,25,27,528,277,7,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c20d7acbfac92920da123a70b33adeb.jpg","125x29",[35,72],{"id":13037,"slug":13038,"title":13039,"dynasty":97,"author":1180,"museum":99,"description":13040,"tags":13041,"thumbUrl":13042,"material":107,"size":107,"collection":107,"collections":13043,"showCount":12937,"zanCount":39,"manualWeight":39,"mainColor":924},224214,"pin-mei-tu-wu-chang-shuo-224214","品梅图","此作为典型文人清供小景，红梅老枝苍劲朴拙，胭脂点染花苞艳而不妖，尽显虬枝凌寒盛放的生机。茶炉以淡墨晕染，焦墨点出炽红炭火，留白暗喻水汽蒸腾，古雅茶壶静置炉上，角落油伞添了几分俗世烟火意趣，将围炉品茗赏梅的幽居闲逸铺陈开来。\n\n作者以金石笔法入画，笔力雄健老辣，苍劲题诗与疏朗画面浑然一体，诗书画印相融相合，将文人雅致闲情寄寓寻常清景中，寥寥数笔便勾勒出冬日小聚的清寂快意，把日常小景升华为超然雅致的文人意境。",[49,23,51,84,25,26,528,420,181,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb20264ba227d2d6600d508cc9d63b4ae.jpg",[],{"id":13045,"slug":13046,"title":13047,"dynasty":115,"author":207,"museum":175,"description":13048,"tags":13049,"thumbUrl":13051,"material":183,"size":13052,"collection":107,"collections":13053,"showCount":12937,"zanCount":11,"manualWeight":39,"mainColor":75},223475,"zhe-zhi-hua-hui-tu-yi-ming-223475","折枝花卉图","此卷画折枝海棠、栀子、芙蓉、梅花共四幅，枝页繁茂，花儿怒放。花瓣、花页用勾勒填色法。花之娇态、页之正反和明暗表现得恰到好处。图中用笔缜密严谨，但工而不板，设色艳而不俗。第一段海棠树干上署有「赵昌」二字款，从字迹、画风分析，此款伪，实为当时高手所作。画面钤有「乾隆御览之宝」、「嘉庆御览之宝」、「宣统御览之宝」等印玺。曾经陈自明、清内府收藏。不见著録。",[49,23,51,52,1073,54,25,13050,28,528,308,30,7],"折枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e760018d01b4d8788990c09188ef3fe.jpg","每段49.2x77.6cm",[],{"id":13055,"slug":13056,"title":13057,"dynasty":97,"author":13058,"museum":175,"description":13059,"tags":13060,"thumbUrl":13062,"material":391,"size":13063,"collection":107,"collections":13064,"showCount":12937,"zanCount":39,"manualWeight":39,"mainColor":40},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。",[49,23,25,403,84,7,11725,8138,345,13061,2559,30],"如意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55fe051adda6e8cbfcf05822d916be9c.jpg","91cmx34.7cm",[],{"id":13066,"slug":13067,"title":13068,"dynasty":18,"author":2059,"museum":2698,"description":13069,"tags":13070,"thumbUrl":13071,"material":227,"size":13072,"collection":70,"collections":13073,"showCount":12937,"zanCount":743,"manualWeight":39,"mainColor":75},221975,"wu-zhong-sheng-gai-tu-quan-juan-wen-zheng-ming-221975","吴中胜概图全卷","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。",[49,23,51,52,25,56,119,86,55,54,278,715,59,60,61,62,63,66,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbea8d9ae2d8130ad7485b843268d551.jpg","纵31.5厘米，横453厘米",[70,72],{"id":13075,"slug":13076,"title":1698,"dynasty":115,"author":1699,"museum":175,"description":13077,"tags":13078,"thumbUrl":13079,"material":183,"size":13080,"collection":107,"collections":13081,"showCount":12937,"zanCount":743,"manualWeight":39,"mainColor":40},221676,"zhao-ling-liu-jun-tu-zhao-lin-221676","此图依据唐太宗昭陵六骏石刻而绘，全卷分六段，每段画一马，旁有题赞。骏马的形态既忠于原作，又注意发挥绘画之长，通过遒劲的笔法和精微的设色，将马匹的毛色表现得更加真实自然，战骑驰骋疆场的雄姿也刻画得十分生动。无论是奔驰、腾跃，还是徐行、伫立，都能曲尽其态。\n六骏中，有侍者率引的飒露紫最为精采。据《旧唐书·王行恭传》记载：“初，从讨王世充，会战于邙山之上，太宗欲知其虚实强弱，乃与数十骑冲之，直出其后，众皆披靡，莫敢当其锋，所杀伤者甚众。寻有劲骑数人追及太宗，矢中御马，行恭乃回骑射之，发无不中，余贼不敢复前，然后下马拔箭，以其所乘马进太宗。行恭于御马前步执长刀，巨跃大呼，斩数人，突阵而出，得入大军。贞观中，有诏刻石为人马以像行恭拔箭之状，立于昭陵阙前。”画面选取的正是王行恭为飒露紫拔箭的刹那情景，粗壮膘悍的王行恭，右手拔箭，左手推抚，身体后倾，目光温和，疼爱之情溢于言表。受伤的马驯顺地伫立，马头与王行恭紧紧相贴，也极富感情色彩。飒露紫前腿紧绷，后腿微屈，极细微地描绘出了战马强忍剧痛的动态。在细节刻画方面，此画较之石刻更加精微。\n其余五匹，拳毛騧为李世民平刘黑闼时所乘，特勒骠为征宋金刚时所骑，均作徐步行进状，双耳竖起，目光有神。身中九箭的拳毛騧，起步轻捷，头部前昂，更显得英俊坚毅，透出久经沙场之神骏的不凡气质。白蹄乌、青骓、什伐赤分别为李世民与薛仁果、窦建德、王世充作战时乘骑，皆作奔驰之状，四蹄腾空，鬃毛飞扬，突出了飞奔的动态和勇猛的冲势，呈现出冲锋陷阵时的雄姿。六匹骏马以不同的动作、神情、气势，表现出共有的轩昂雄健气宇，在历代战马图像中堪称上乘之作。\n从画风看，此图明显吸收了汉族艺术传统，继承唐和北宋时代的画马技法，尤多唐代韩干遗韵。造型准确朴拙，线描柔和匀细，设色浓重沉厚，渲染富有质感。\n此图出自金代画家赵霖之手，为其存世孤本。每段题赞为金代著名书法家赵秉文所写，赵的流传书迹也甚少。唐昭陵六骏浮雕在宋初被勒石摹刻，此画与石刻拓片的线条结构几乎一致，赵霖很可能参酌了北宋的石刻拓片（原石刻现藏陕西省博物馆）而作。\n该卷引首有乾隆帝书《昭陵石马歌》，后幅有赵秉文题记，指出作者是赵霖。",[49,23,51,52,25,54,225,58,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93242b603674493d0c3b514b8339e19.jpg","纵27.4厘米，横444.9厘米",[],{"id":13083,"slug":13084,"title":13085,"dynasty":115,"author":2718,"museum":175,"description":13086,"tags":13087,"thumbUrl":13089,"material":183,"size":13090,"collection":213,"collections":13091,"showCount":12937,"zanCount":1288,"manualWeight":39,"mainColor":75},221628,"shi-jing-xiao-ya-lu-ming-zhi-shen-tu-ma-he-zhi-221628","诗经小雅鹿鸣之什图","此卷是南宋著名画家马和之创作的《诗经》系列画作品中的一卷。全卷书、画共10段，每段前小楷书《诗经》原文，文后为图。首段开头书“鹿鸣之什”四字，末段书三首诗名及小序，末又书“鹿鸣之什十篇”。\n第一段：鹿鸣　　画面上一所豪华的宫殿中华灯盛宴，一王者相貌之人踞坐殿中，嘉宾与臣下列坐两侧，以突出王者宴嘉宾臣下之意。殿外丹墀之下内侍环立，乐工鼓琴奏乐，以乐君臣。右侧是高大的树木与叠起的云霭，仿佛形成一道屏风，将画面自然隔开，表现群鹿于山谷之中，或鸣，或奔，或低首觅食，各具姿态。全图紧扣宴乐嘉宾之中心，表现得浅显而明了，使人易于理解其深刻的含意。\n第二段：四牡　　《四牡》一章是在慰劳外国使臣时演唱的。此段描绘外国使臣来朝路上的情节。画面上一辆四驾马车左行，一人手持节旄端坐车中，四名仆从于车前挽辔而行，车后一人跟随。衬景仅绘一丛树木，表现出路途的荒凉与使臣远行的艰辛。图中主要人物面部表情并不欢愉，而是略带一丝忧愁，这正与诗中“周道倭迟，岂不怀归”的人物心情之刻画相契合，但“王事靡艰，我心伤悲”，主人公又表现出一种为了国家、王事而心忧的复杂情愫。\n第三段：皇皇者华　　此段绘山间路上一辆四匹马驾的车正逶迤行进，与前段人物的运行方向相反，为自左向右行。诗序云：“皇皇者华，君遣使臣也，送之以礼乐，言远而有光华也。”一人手挽缰绳坐于车中，车旁一随从手擎使臣所用之节旄，仆从各携不同物品跟随于马车前后。此段表现使臣奉王命出行的场面。四周草木丛杂，山谷幽深，山间小溪流淌，通过环境的描绘表现出使臣为国事奔走的艰辛劳瘁之状。\n第四段：常棣　　此段绘坡岸上三人立于水畔，形貌几乎相同，似表现兄弟三人正在观看水中的植物。水中植物亦为三株，错落生长，或即为常棣之木。封建社会讲究孝悌，悌指兄弟和睦，此诗此图意皆在此。《常棣》诗云：“兄弟既翕，和乐且湛，宜尔家室，乐尔妻帑。……”古人谓“齐家治国”，兄弟和睦方能齐家，故此乃治国的前提条件。\n第五段：伐木　　此段绘山高草深，林木茂盛，山谷间二人手执利斧，在一株较矮小的树下作砍伐状。二人视线均集于树上的一只栖鸟身上，以扣紧“出自幽谷，迁于乔木”之主题。此段画面较为平直，而诗中的引申之意则未加表现。\n第六段：天保　　此段画面绘高山峻岭，乔松挺秀，碧海翻波，祥云瑞霭，红日初升于水上，皎月掩映于峰峦之间，光华耀人。诗中末段云：“群黎百姓，编为尔德，如月之恒，如日之升，如南山之寿，不蹇不崩，如松柏之茂，无不尔或承。”此诗意在表示王权天授，江山如松柏之不凋，如南山之不崩，如日月之永恒，以祈江山永固。此段所录诗中“恒”字缺最后二横笔，避宋真宗赵恒讳。\n第七段：采薇　　此段图绘山林间一队车马右向奔驰，驾车之马皆着甲胄。旌旗冽冽随风飘舞，马蹄声声踏破了山间的宁静。画面上只画出7人8马，但山坡顶部扬起的数杆旗帜却令人有千军万马随之而来的感觉。诗中一再强调戍边将士远离家园、忍饥挨冻都是边患未靖之故，鼓励将士为国出力，抵御外侮，勤劳王事。这一点在南宋初年亦是极具现实意义的。\n第八段：出车 此段描绘王者乘车出郊慰劳戍边而还的将士之场面。诗云：“我出我车，于彼牧矣，自天子所，谓我来矣。”画面上五乘车马左行，甲胄整齐，兵刃森森，军旗飘扬。此图以人物车马为主，衬景仅是边角上点缀几丛杂树，远处山丘隐现。\n第九段：杕杜　　图绘山林间茅屋隐现，小路上一妇人提篮远眺，在祈盼逾期未归的丈夫。远处山顶旗帜隐现，寓征夫将还之意。\n第十段：鱼丽　　此段绘池塘中二人划一小舟，肩扛捕获的鱼向岸边而来，岸上二人正在指点谈论。此段意在表现政权安定后物阜民丰，然“始于忧勤，终于逸乐”，故需取之有时的为政思想，对统治者施政有一定的劝戒寓意。\n马和之抓住原诗中的某一个细节，发挥自己的主观想象，以浅显易懂的绘画语言绘制出号称三百篇的《诗经》插图，在绘画创作上堪称浩大的工程。\n马和之创作《诗经图》历经高宗、孝宗二朝。据《绘事备考》载：“高宗尝以毛诗三百篇诏和之图写，未及竣事而卒。”后由孝宗继其事，仍令和之补图。《鹿鸣之什》卷见于《绘事备考》记载，可知创作于高宗朝。然马和之《诗经图》问世不久即出现摹本、临本，存世至今约16卷，风格、水平不一，显然有真迹、摹本、仿作之分。今观是卷，绘画简逸流动，属马和之典型的“蚂蝗描”，书法端庄萧洒，为高水平的高宗书体，书画均属真迹，是极难得的存世赵书马画合璧真迹。",[49,23,51,52,135,25,119,86,58,59,64,13088,56,7],"车马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e854a26934fa436dd74c1f474bc2b0.jpg","纵28厘米，横864厘米",[213,70,72],{"id":13093,"slug":13094,"title":13095,"dynasty":192,"author":8368,"museum":222,"description":13096,"tags":13097,"thumbUrl":13098,"material":319,"size":107,"collection":122,"collections":13099,"showCount":12937,"zanCount":743,"manualWeight":39,"mainColor":40},221107,"qian-zi-wen-quan-juan-ou-yang-xun-221107","千字文全卷","《千字文》为南北朝时周兴嗣编纂，全文共1000字，四字成句，对仗工整，文句平白如话，易诵易记，是中国最重要的蒙学教材之一，并译有多语种传于海外。\n自《千字文》出，历代书家无有例外，必常年书写，终生不倦。据载，隋智永法师所书真草《千字文》800册，分送于当时浙东诸寺。又如赵孟頫、文徵明等书家一生所书《千字文》无数，无不尽思其妙，更有两体、四体、六体不同风貌。《千字文为》为历代书家所重，多做日常必修。近有于右任、王蘧常、黄宾虹、沈尹默等《千字文》作品名世。可见，《千字文》不该为当代所轻。\n《千字文》不仅以古代蒙学作为中国传统文化内容之一再提及，同时作为书法当今常规书写题材，都有着一定的意义。此系列专题意在飨有所好，若勤而常习，自有裨益。",[49,86,417,52,51,7,418,4832],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62dd6476b0650a40a9ab1d2aee27b171.jpg",[122],{"id":13101,"slug":13102,"title":13103,"dynasty":18,"author":2181,"museum":81,"description":13104,"tags":13105,"thumbUrl":13106,"material":634,"size":13107,"collection":70,"collections":13108,"showCount":12937,"zanCount":39,"manualWeight":39,"mainColor":40},220962,"feng-jing-fang-gu-tu-dong-qi-chang-220962","葑泾仿古图","此图古意森然而秀润，正体现了画家的艺术特点，用笔柔中带刚，中锋直皴。 董其昌的山水画，大体有两种面貌，一种是水墨或兼用浅绛法，此画便属于这一种。另一种则是青绿设色，有时出以没骨，比较少见。在这幅作品中，既有董源、巨然、米芾、赵孟頫、黄公望、倪云林乃至李唐的遗风余韵，又有他自己的动人华彩。",[49,23,51,26,56,55,134,86,119,7,60,61,64,150,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a40e34b394a4d345fd98856c1f31ff1.jpg","纵79.72cm 横30.25cm",[70,242],{"id":13110,"slug":13111,"title":13112,"dynasty":97,"author":9309,"museum":525,"description":13113,"tags":13114,"thumbUrl":13115,"material":88,"size":107,"collection":70,"collections":13116,"showCount":12937,"zanCount":39,"manualWeight":39,"mainColor":40},217980,"fang-bei-yuan-qiu-shan-ting-zi-tu-wu-li-217980","仿北苑秋山亭子图","吴历的画风清新自然，笔法简洁流畅。在这幅画中，他巧妙地运用了构图、色彩和线条的对比，使得整幅画面显得格外生动。他还细心地捕捉了自然界的细节，比如山亭的屋顶上长满青苔，树叶上的露珠闪闪发光。\n\n这幅画被认为是吴历的杰作之一，其独特的画风和精细的绘画技巧得到了广泛赞誉。它不仅是一幅美丽的画作，也是对中国古代山水画的精湛再现。",[23,51,26,56,63,871,150,55,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bd29e36c3ff5f94f648797f2e11c33d.jpg",[70],{"id":13118,"slug":13119,"title":13120,"dynasty":97,"author":207,"museum":81,"description":13121,"tags":13122,"thumbUrl":13123,"material":33,"size":13124,"collection":35,"collections":13125,"showCount":12937,"zanCount":1288,"manualWeight":39,"mainColor":40},216208,"xuan-zong-yu-ti-hua-ma-yi-ming-216208","宣宗御题画马","宣宗御题画马 是一件佚名的清朝时期的著名画作。这幅画描绘了一匹神骏的马，看起来非常生动和真实。据说这幅画是宣宗本人亲笔题写的，因此得名。宣宗（生于1711年，卒于1735年）是清朝乾隆皇帝的第三个儿子，在位期间，他对文化艺术有着浓厚的兴趣。这幅画被认为是宣宗对艺术的贡献之一，同时也是清朝时期的艺术瑰宝。",[49,23,51,25,54,225,1116,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5818583a57e5269ba4a314a5f27b2ed.jpg","292.6x257.3cm",[35],{"id":13127,"slug":13128,"title":13129,"dynasty":97,"author":1167,"museum":81,"description":2470,"tags":13130,"thumbUrl":13131,"material":33,"size":107,"collection":107,"collections":13132,"showCount":12937,"zanCount":39,"manualWeight":39,"mainColor":40},214842,"xie-sheng-ce-19-hua-yan-214842","写生册-19",[23,51,24,26,25,225,967,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f06695717fd42b73d213f402b2362a.jpg",[],{"id":13134,"slug":13135,"title":13136,"dynasty":1037,"author":8178,"museum":99,"description":13137,"tags":13138,"thumbUrl":13141,"material":689,"size":690,"collection":107,"collections":13142,"showCount":13143,"zanCount":39,"manualWeight":39,"mainColor":75},289926,"xue-tu-ju-ran-289926","雪图","其画面分为三个层次，组成一个硕头小脚“之”字。上层双峰并立，左低右高，危岩耸立，白雪皑皑，令人生畏；眼恋意留，不敢攀附。雪峰之上，古木郁郁，生机勃勃。特别是锯齿状的岩裂，触目惊心，将北方的雪映衬得更加雄浑、霸气。中层雪景呈斜倚之势漫漶开来，楼阁深入，分布有别；古树对峙，雪路茫然；骑者行于山径之上，左顾右盼，两岸风光引人入胜。它恰好将近景生动地连接起来，苍松如帘，层次分明却又浑然一体。仿佛听见覆雪之下，冬泉泠泠；雪压松枝，不时跌落，飒飒有声。",[49,50,23,51,56,84,26,55,13139,13140,59,1050,7],"雪山","寒树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0d1b6444505baf420412d317f53a4fb.jpg",[],59,{"id":13145,"slug":13146,"title":6067,"dynasty":115,"author":13147,"museum":99,"description":13148,"tags":13149,"thumbUrl":13151,"material":689,"size":690,"collection":107,"collections":13152,"showCount":13143,"zanCount":743,"manualWeight":39,"mainColor":75},288324,"xi-yuan-ya-ji-tu-liu-song-nian-288324","刘松年","刘松年 （约1131-1218），号清波，南宋画家，历孝宗、光宗、宁宗三朝，浙江省金华市汤溪镇宅口人。刘松年与刘龟年兄弟随父亲宦居钱塘清波门，以住地自号刘清波，因清波门又称南“暗门”，故外号宋“暗门刘”。\n刘松年工山水人物，山水皴法受李唐影响，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[49,50,23,52,51,25,54,58,56,60,61,150,2611,777,3875,28,5579,1017,13150,7],"赏景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1182922653740754f1d2cf37a3c1d6.jpg",[],{"id":13154,"slug":13155,"title":13156,"dynasty":130,"author":13157,"museum":99,"description":13158,"tags":13159,"thumbUrl":13160,"material":689,"size":690,"collection":107,"collections":13161,"showCount":13143,"zanCount":39,"manualWeight":39,"mainColor":40},288066,"zhong-lang-tie-xie-an-288066","中郎帖","谢安","《中郎帖》是传为东晋人谢安书写的一封报丧书信，信中告知中郎突然去世的消息，同时表达了自己内心痛苦不堪、难以忍受的情感。\n《中郎帖》又称《八月五日帖》。此帖有“德寿”玺印，为南宋高宗之印（高宗赵构做太上皇时曾退居德寿殿），另据此帖纸、墨等判断，可确认它为南宋绍兴御书院中人所临摹的古帖，虽然不是谢安的真迹，依然宝贵。\n在南宋，由于高宗以来历代皇帝对二王及晋人书的嗜好，上行下效，使南宋书风充满古雅萧散的气质。此帖行笔圆转流畅，笔法纯熟，具有典雅丰腴、气度雍容的特点。",[49,86,119,418,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb01a21dca3941d610e11a94e8d446ca5.jpg",[],{"id":13163,"slug":13164,"title":13165,"dynasty":97,"author":1082,"museum":99,"description":1382,"tags":13166,"thumbUrl":13168,"material":689,"size":690,"collection":107,"collections":13169,"showCount":13143,"zanCount":39,"manualWeight":39,"mainColor":40},283628,"mu-gua-tu-ye-zhu-da-283628","木瓜图页",[23,27,25,26,13167,7],"木瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa77c387388d496516ea355d516ace384.jpg",[],{"id":13171,"slug":13172,"title":13173,"dynasty":146,"author":207,"museum":175,"description":13174,"tags":13175,"thumbUrl":13176,"material":668,"size":13177,"collection":70,"collections":13178,"showCount":13143,"zanCount":39,"manualWeight":39,"mainColor":40},239526,"ni-zan-qiu-ting-jia-shu-tu-zhou-yi-ming-239526","倪瓒秋亭嘉树图轴","图中绘平坡远岫，草亭嘉树，广阔的江面上露出汀渚一角，幽静雅洁，仿佛笼罩在一片月色之中。画面取三段式构图，用笔尖峭秀逸，树干皆双勾，稍事皴染，树叶点法富于变化。墨色较为干淡，仅以浓墨点苔，提出精神，为沉寂的画面融入了些许生气。\n本幅自题：“七月六日雨，宿云岫翁幽居，文伯贤良以此纸索画，因写秋亭嘉树图并诗以赠。风雨萧条晚作凉，两株嘉树近当窗。结庐人境无来辙，寓迹醉乡真乐邦。南渚残云宿虚牖，西山青影落秋江。临流染翰摹幽意，忽有冲烟白鹤双。瓒。”\n本卷上诗塘有吴宽、朱果二家题记。曾经清内府收藏。",[23,26,84,86,7,55,56,871,63,358,751,2247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08768391940841042688571157736a1b.jpg","纵114cm，横34.3cm",[70,122],{"id":13180,"slug":13181,"title":7459,"dynasty":97,"author":13182,"museum":99,"description":13183,"tags":13184,"thumbUrl":13185,"material":107,"size":107,"collection":35,"collections":13186,"showCount":13143,"zanCount":39,"manualWeight":39,"mainColor":40},237457,"mu-dan-zhou-zhang-meng-gao-237457","张孟皋","张孟皋，一字梦皋，名学广，以字行，工画人物，翎毛、花卉、尤工折枝。道光时官钱塘典史。所作元气浑然。 张孟皋之名，盖由近人吴昌硕师事其风而名声振广，吴缶翁师其数十年，题画多见拟仿学、临等。尤如张赐宁等为官江浙者，其作赋色妍丽，用笔洒脱，极得时人珍爱，任伯年亦有题师张孟皋。\n张孟皋是清代嘉道时期的一位花卉画家，画史上介绍很简单，他名学广，字孟皋，以自行。多记载他是天津人，实际应是北平（今北京）大兴人，他在自己的画作上多次题“北平张孟皋”。",[23,84,25,54,27,308,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71d14e2a9c338194b64463d0442e5d96.jpg",[35],{"id":13188,"slug":13189,"title":4598,"dynasty":97,"author":445,"museum":175,"description":3557,"tags":13190,"thumbUrl":13191,"material":319,"size":107,"collection":70,"collections":13192,"showCount":13143,"zanCount":39,"manualWeight":39,"mainColor":40},237235,"yuan-ji-shan-shui-tu-zhou-shi-tao-237235",[23,26,84,51,50,56,8442,64,293,1902,1597,61,7,86,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5e43feaef33afb1b1431c649b984048.jpg",[70],{"id":13194,"slug":13195,"title":8439,"dynasty":97,"author":2568,"museum":99,"description":5018,"tags":13196,"thumbUrl":13197,"material":689,"size":690,"collection":70,"collections":13198,"showCount":13143,"zanCount":1288,"manualWeight":39,"mainColor":40},235611,"hong-ren-shan-shui-ce-hong-ren-235611",[23,51,26,56,59,610,8442,150,4940,3363,55,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff9adc4adea84818538ce7cff5131eed.jpg",[70],{"id":13200,"slug":13201,"title":2827,"dynasty":115,"author":289,"museum":99,"description":13202,"tags":13203,"thumbUrl":13204,"material":689,"size":690,"collection":107,"collections":13205,"showCount":13143,"zanCount":39,"manualWeight":39,"mainColor":40},230972,"wu-ma-tu-li-gong-lin-230972","此图画的是宋朝元佑初年天驷监中的五匹西域名马，马旁各有一名奚官或圉人执辔引领。画中无作者款印，前4马后，各有黄庭坚签题的马名、产地、年岁、尺寸，卷末有黄庭坚“李公麟作”题跋：这些由西域诸国进贡的骏马，马名依序是“凤头骢”、“锦膊骢”、“好头赤”、“照夜白”，第五匹马佚名，经考证可能为“满川花”。画中的5位马官，两位是汉人，其余的为外族，形貌、服饰、神情各不相同，但在气质上却有着微妙的类似之处。",[49,50,23,51,52,135,25,58,225,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fec0ca19437f2221e38f8bcfaa50fb4.jpg",[],{"id":13207,"slug":13208,"title":13209,"dynasty":2807,"author":207,"museum":99,"description":13210,"tags":13211,"thumbUrl":13212,"material":689,"size":690,"collection":107,"collections":13213,"showCount":13143,"zanCount":39,"manualWeight":39,"mainColor":75},230838,"cai-hui-si-bi-ru-yi-lun-guan-yin-xiang-yi-ming-230838","彩绘四臂如意轮观音像","此作以自在坐姿塑法相，菩萨面容沉静端严，宝冠缀饰华贵，璎珞环身尽显庄严。四臂各司其职，主臂托腮思惟，余臂持印握器，将悲悯自在的神韵相融。设色古雅厚重，石青、朱砂晕染出衣袂层次，头光环叠晕彩，衬出清寂高华。岁月留痕的斑驳残损，更添沧桑质感，圆转线条勾勒出舒展灵动的体态，尽显古雅释画的典雅法度，静穆间裹挟着慈悲意趣，是兼具宗教性与艺术性的珍贵遗存。",[49,23,51,25,1284,58,54,1626,7,2811,9513],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ca1f62971c665b5f5fb84f347665e2f.jpg",[],{"id":13215,"slug":13216,"title":13217,"dynasty":115,"author":1923,"museum":99,"description":13218,"tags":13219,"thumbUrl":13220,"material":107,"size":107,"collection":107,"collections":13221,"showCount":13143,"zanCount":39,"manualWeight":39,"mainColor":40},227721,"ci-yue-fei-pi-da-juan-zhao-gou-227721","赐岳飞批剳卷","岳飞（1103~1142）字鹏举，汉族。北宋相州汤阴县永和乡孝悌里（今河南省安阳市汤阴县菜园镇程岗村）人。中国历史上著名战略家、军事家、民族英雄、抗金名将。岳飞在军事方面的才能则被誉为宋、辽、金、西夏时期最为杰出的军事统帅、连结河朔之谋的缔造者。同时又是两宋以来最年轻的建节封侯者。南宋中兴四将（岳飞、韩世忠、张俊、刘光世）之首。岳飞主要军工基本建立在南方，与之相对应的还有镇守四川的大将吴阶。",[86,119,52,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F230ca8bf8edd33756c6f84022931725d.jpg",[],{"id":13223,"slug":13224,"title":13225,"dynasty":97,"author":3136,"museum":81,"description":13226,"tags":13227,"thumbUrl":13228,"material":634,"size":13229,"collection":70,"collections":13230,"showCount":13143,"zanCount":743,"manualWeight":39,"mainColor":40},224433,"fang-wang-wei-jiang-shan-xue-ji-zhou-wang-shi-min-224433","倣王维江山雪霁轴","王时敏师承董其昌，师法黄公望，少时就极为聪颖，祖父王锡爵嘱托董其昌对其进行指导，创作了绘画人门的画稿即《课徒稿》。受董其昌的影响，王时敏少年便从摹古开始，因家里名画收藏丰富，方便王时敏深入钻研宋、元传统的笔墨画法。王时敏对黄公望顶礼膜拜，对其作品中干枯的笔墨和浑厚潇洒的画，风学习最下功夫。到了晚年时期，王时敏画风日益成熟，他追求用笔本身的变化，形成了用笔求“毛”的独特风格，要求有枯有润，有苍有秀，淡墨干笔皴擦，浓墨加湿渲染，老辣苍茫，墨法淳厚，从而形成了苍茫浑厚的山水画风",[23,25,56,134,55,84,7,870,2954,871,60,61,727,1902,279,293],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818fb305d0e6313b1d20a32166c9149c.jpg","133.7x60",[70],{"id":13232,"slug":13233,"title":13234,"dynasty":97,"author":4509,"museum":81,"description":13235,"tags":13236,"thumbUrl":13237,"material":634,"size":13238,"collection":70,"collections":13239,"showCount":13143,"zanCount":39,"manualWeight":39,"mainColor":40},223121,"xi-hu-shi-jing-juan-dong-bang-da-223121","西湖十景卷","《西湖十景图卷》由清代书画家董邦达绘。虽名为「十景」，画上却以隶书标注了西湖五十四处景点：断桥残雪、平湖秋月、曲院风荷、三潭印月、苏堤春晓、柳浪闻莺、双峰插云、花港观鱼、雷峰西照、南屏晓钟等等。\n乾隆皇帝在南巡前从未亲访江南。他对江南的所有印象与知识，皆构筑在相关图籍或他人的描述上。这件〈西湖十景〉卷，为南巡出发前夕，臣工提供给他各式江南旅游资讯的例子。此画为董邦达（1699-1769）所绘製，虽名为「十景」，画上却标出五十四个景点，将西湖可游处扩增五倍以上，实为「招游」之作。乾隆皇帝在南巡前一年（1750）的题跋，显示此图的确挑起游兴，让他打算于明春南巡时亲自感受久闻的西湖之美，印证实境与画境。诗句中流露出他对游览西湖的期待之情。\n康乾二帝每次南巡前后，都会有官绘本西湖图问世，或是为皇帝南巡作详导，或是总结皇帝南巡圣迹。故而，传世“西湖十景”图以清宫旧藏为主体。在这些清宫旧藏的“西湖十景”图中，董邦达为数最巨，有5件之多。",[49,23,51,52,25,56,55,1962,7,59,60,61,64,150,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd37682559659c3eec6e7025d6f306b2a.jpg","41.6×361.8",[70],{"id":13241,"slug":13242,"title":13243,"dynasty":97,"author":655,"museum":99,"description":13244,"tags":13245,"thumbUrl":13246,"material":319,"size":13247,"collection":35,"collections":13248,"showCount":13143,"zanCount":39,"manualWeight":39,"mainColor":40},222710,"an-ma-tu-jin-nong-222710","鞍马图","图绘一人一马，所绘人物头戴翎毛宽边帽，身披红色披风，满脸胡茬一幅西域人的长相；身边的白马高大威武，颈脖上挂了一串红色绒球，尾巴用红绳扎上，主人手抚马背，可见主人对马儿的喜爱。",[49,23,51,84,26,25,58,225,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaa5a47ca9c74a302637305b2584337b.jpg","76x43厘米",[35,72],{"id":13250,"slug":13251,"title":13252,"dynasty":18,"author":9245,"museum":175,"description":13253,"tags":13254,"thumbUrl":13255,"material":13256,"size":13257,"collection":242,"collections":13258,"showCount":13143,"zanCount":39,"manualWeight":39,"mainColor":40},222167,"qi-shui-qing-feng-tu-xia-chang-222167","淇水清风图","夏昶（1388至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，昆山（今江苏昆山）人。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有“夏卿一个竹，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。\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。",[49,23,51,52,26,541,86,7,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd1e1ca00868d871f0471a4a53755cd6.jpg","纸本设","纵27.6CM 横98CM",[242],{"id":13260,"slug":13261,"title":13262,"dynasty":97,"author":248,"museum":81,"description":13263,"tags":13264,"thumbUrl":13265,"material":634,"size":13266,"collection":35,"collections":13267,"showCount":13143,"zanCount":1288,"manualWeight":39,"mainColor":924},220982,"wu-qing-tu-zhou-yun-shou-ping-220982","五清图轴","恽寿平为人敦厚，个性孤介洒脱，不愿应试科举，以卖画为生，过着与世无争的日子，气节和人品相当受人敬重，而他的画也如他的人品一样，具有高洁不流俗的风格。五清指的是松、竹、梅及水、月。松柏经霜雪而不凋谢，竹子以其有节空心，代表君子的节操与虚心；梅花不畏风霜，愈冷愈开花，是品格坚贞的写照；而水与明月更是清澈透明、洁白无瑕的象征，所以合称「五清」，自古以来就常被用来比喻君子的德行。君子才德兼备，有高风亮节的情操，和「贫贱不能移，富贵不能屈」的志节，是社会上值得尊敬的人。这幅画，恽寿平以五清来代表君子，构图简单，分为三段，上段画老松由右横斜至左，明月高挂当空，中段则有梅花盛开，伴着青翠绿竹；下段流水潺潺。款识「辛酉初秋南田寿平制」，是恽寿平四十九岁的作品。笔墨多变，有的墨色饱含水份，有的枯干焦浓。有的先湿后枯，先浓后淡，墨趣丰饶。用笔温文柔和，呈现一种平和宁静的气氛，就像他所敬重的谦谦君子一般",[49,23,84,25,777,528,358,700,944,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F870f71bba414a2c44d511dc3af19b001.jpg","86.1x38.4",[35,72],{"id":13269,"slug":13270,"title":13271,"dynasty":146,"author":431,"museum":329,"description":13272,"tags":13273,"thumbUrl":13274,"material":319,"size":13275,"collection":122,"collections":13276,"showCount":13143,"zanCount":39,"manualWeight":39,"mainColor":40},220860,"wang-xi-zhi-yi-shi-tie-zhao-meng-fu-220860","王羲之轶事帖","赵孟頫《王羲之轶事帖》，又名《右军四事帖》、《王羲之书事卷》等，书于元代大德年间，是赵氏传世作品中的精品佳作。纸本行书，帖芯24.4×117cm，全卷含题跋26.5×851.2cm，原为美国顾洛阜旧藏，现藏于纽约大都会博物馆。\n《羲之四事帖》书风，以《阁帖》中王羲之书和《兰亭序》为主，兼以《十七帖》笔意，布局精严。赵孟頫学王羲之书，可谓“前无古人，后无来者”。赵孟頫的唯美主义书法整整影响了元、明、清三代，明人何良俊《四友斋丛说》中曾云：“上下五百年，纵横一万里，举无此书”。\n释文：羲之书在始未有奇殊，不胜庾翼、郗愔，迨其末年，乃造其极。尝以章草答庾亮，亮以示翼，翼叹服，因与羲之书云：“吾昔有伯英章草书十纸，过江亡失，常痛妙迹永绝，忽见足下答家兄书，焕若神明，顿还旧观。”\n羲之罢会稽，住蕺山下。旦见一老姥，把十许六角竹扇出市。王聊问：“比欲货耶，一枚几钱？”答云：“二十许。”右军取笔书扇，扇五字。姥大怅惋云：“老妇（妇字原缺，据明抄本补）举家朝餐，俱仰于此，云何书坏。”王答曰：“无所损，但道是王右军书字，请一百。”既入市，人竞市之。后数日，复以数扇来诣，请更书，王笑而不答。\n羲之曾自书表与穆帝，专精任意。帝乃令索纸色类，长短阔狭，与王表相似。使张翼写效，一毫不异，乃题后答之。羲之初不觉，后更相看，乃叹曰：“小人乱真乃尔。”羲之性好鹅，山阳昙忀村有一道士养好者十余。王清旦乘小船，故往看之。意大愿乐，乃告求市易，道士不与。百方譬说，不能得之。道士言性好道，久欲写河上公老子，缣素早办，而无人能书。府若能自书老子（老子原作屈，据明抄本改）《道德》各两章，便合群以奉。羲之停半日，为写毕。笼鹅而归。",[49,52,86,119,418,7,501,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F815b7aa9a62e80c21a0150d35e609d27.jpg","帖芯24.4×117cm，全卷含题跋26.5×851.2cm",[122],{"id":13278,"slug":13279,"title":13280,"dynasty":146,"author":1303,"museum":2192,"description":13281,"tags":13282,"thumbUrl":13283,"material":319,"size":13284,"collection":242,"collections":13285,"showCount":13143,"zanCount":39,"manualWeight":39,"mainColor":40},220805,"yun-shi-qiao-ke-tu-zhou-ni-zan-220805","筠石乔柯图轴","此画用笔变中锋为侧锋，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，小中见大，外落寞而内蕴激情。树杆上挂满了细繁的藤蔓垂条，图中的篁竹属于倪瓒墨竹中叶尖向上的新篁画法，颇见功力。画面一如倪瓒一贯呈现的风格：构图简洁，干笔皴檫，意境清远萧疏。",[49,23,84,26,55,358,700,871,2681,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e4ba73df5db160da5171569d0a459b0.jpg","横67.3厘米，横36.8厘米",[242,921],{"id":13287,"slug":13288,"title":13289,"dynasty":18,"author":13290,"museum":81,"description":13291,"tags":13292,"thumbUrl":13293,"material":26,"size":107,"collection":199,"collections":13294,"showCount":13143,"zanCount":39,"manualWeight":39,"mainColor":40},219509,"xian-zong-lv-he-tu-wu-wei-219509","仙踪侣鹤图","吴伟","吴伟（1459-1508）明代著名画家。字次翁，又字士英、鲁夫、号小仙。江夏（今湖北武汉）人，流寓金陵。画院待诏。孝宗时授锦衣卫百户及赐“画状元”的图章。他自幼收养于钱昕家，伴其子读书，行有窃弄笔墨的机会。年二十后至金陵，书画之名已渐起，画法与戴进相似。精山水，落笔健壮，最长于白描人物。时与杜堇、沈周、郭翊齐名。用笔奔放，画时泼墨如云，旁观者骇，巨细曲折，各有条理，人皆为之叹服。传其画法的有蒋嵩、张路、宋臣、蒋贵、宋澄春、王仪等，被称为“江夏派”。代表作品有：《采芝图》、《仙踪侣鹤图》、《芝仙图》、《溪山渔艇图》以及白描《人物图》、《神仙图》等。",[23,26,58,1480,403,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feda2e7992cbb8a068d0f82e6784bf8ce.jpg",[199],{"id":13296,"slug":13297,"title":13298,"dynasty":146,"author":13299,"museum":175,"description":13300,"tags":13301,"thumbUrl":13302,"material":88,"size":13303,"collection":70,"collections":13304,"showCount":13143,"zanCount":743,"manualWeight":39,"mainColor":40},218302,"lin-tang-xiao-se-tu-wu-jin-218302","林塘晓色图","吴瑾","淡墨晕开晓雾，塘面似蒙轻纱，水汽氤氲间，近岸松石苍劲。松针以中锋勾勒，如笔如毫，透着坚韧；山石干笔皴擦，纹理古拙，与湿墨晕染的水面相映，干湿相济，漫出清晨的湿润。远岫隐于薄雾，墨色渐浅，层次叠生，平远之境悠然展开。林木错落，枝干虬曲，似沐晨风，摇曳生姿。无浓艳设色，仅以水墨浓淡虚实，织就林塘晓色的静谧清幽。元代文人画“以意为先”的韵致在此尽显——观者仿佛立于塘边，闻晨露滴叶，见天光初透，心随画面沉入那份天地初醒的恬淡与悠远。",[23,51,712,26,55,403,7,86,64,150,61,2334,294,967,777,751],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F248c446d889f8b9b86494e01e5e523fe.jpg","30x54cm",[70],{"id":13306,"slug":13307,"title":1302,"dynasty":18,"author":13308,"museum":13309,"description":13310,"tags":13311,"thumbUrl":13312,"material":88,"size":13313,"collection":70,"collections":13314,"showCount":13143,"zanCount":39,"manualWeight":39,"mainColor":40},218002,"zhu-shi-tu-chen-jia-yan-218002","陈嘉言","金贝尔艺术博物馆","竹石图是中国明朝时期陈嘉言所作的一幅图画，它是一种颇具特色的中国山水画，具有很高的艺术价值和历史意义。\n\n陈嘉言是明朝时期著名的画家，他的作品中有许多著名的山水画，其中竹石图是他最著名的作品之一。这幅画以竹子和石头为主要元素，描绘了一片幽静的山水风景。\n\n竹石图被认为是中国传统山水画的杰作，因为它能够准确地再现了山水之间的关系，同时还能够表现出山水的美好之美。在这幅画中，陈嘉言用竹子和石头来表现山水之间的关系，同时还用色彩的变化来表现山水的深浅和质感。\n\n竹石图是陈嘉言在明朝时期的代表作之一，它不仅体现了陈嘉言艺术上的成就，同时也是中国山水画发展史上的一个重要里程碑。如今，竹石图已经成为了中国艺术史上最著名的山水画之一，并被广泛欣赏和珍藏。",[49,23,51,84,26,55,358,277,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa388b5265f5b7302a3252f8f6876b7c.jpg","80x43.5cm",[70,35],{"id":13316,"slug":13317,"title":5529,"dynasty":146,"author":431,"museum":99,"description":13318,"tags":13319,"thumbUrl":13320,"material":689,"size":690,"collection":107,"collections":13321,"showCount":13322,"zanCount":1288,"manualWeight":39,"mainColor":75},290935,"que-hua-qiu-se-tu-quan-juan-zhao-meng-fu-290935","鹊华秋色图，元代画家赵孟頫于元贞元年（1295）回到故乡浙江为好友周密所作的纸本水墨设色山水画，现藏于台北故宫博物院。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带秋景，画境清旷恬淡，表现出恬静而悠闲的田园风味。采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。",[49,50,23,52,51,712,25,26,55,56,64,727,3652,1062,715,119,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3acdbfa403f50624d802c30aec9c15a.jpg",[],58,{"id":13324,"slug":13325,"title":13326,"dynasty":3733,"author":13327,"museum":99,"description":13328,"tags":13329,"thumbUrl":13332,"material":689,"size":690,"collection":107,"collections":13333,"showCount":13322,"zanCount":39,"manualWeight":39,"mainColor":40},290098,"you-chun-tu-quan-juan-zhan-zi-qian-290098","游春图全卷","展子虔","《游春图》是隋朝画家展子虔创作的绘画作品，绢本、青绿设色，画上有宋徽宗题写的“展子虔游春图”六个字，现存北京故宫博物院绘画馆。\n图中展现了水天相接的情形，上有青山叠翠，湖水融融，也有士人策马山径或驻足湖边，还有美丽的仕女泛舟水上，熏风和煦，水面上微波粼粼，岸上桃杏绽开，绿草如茵。\n画家用青绿重着山水，用泥金描绘山脚，用赭石填染树干，遥摄全景，人物布局得当，开唐代金碧山水之先河，在早期的山水画中非常具有代表性。 该画是展子虔传世的唯一作品，也是迄今为止存世最古的画卷。",[49,23,50,52,53,25,56,13330,13331,278,61,57,64,66,86,119,7],"春景","游春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c745d85afcbc62c30de0087d4f06b8a.jpg",[],{"id":13335,"slug":13336,"title":2525,"dynasty":115,"author":881,"museum":99,"description":13337,"tags":13338,"thumbUrl":13339,"material":689,"size":690,"collection":107,"collections":13340,"showCount":13322,"zanCount":39,"manualWeight":39,"mainColor":40},288325,"yi-yun-xian-xing-tu-ye-ma-yuan-288325","此图只画出从画幅左下角伸出的花枝的一部分，这种局部描写的构图手法，与他的山水画中的“一角”、“半边”处理有相通相似之处。花枝曲折横斜，然后一分枝指向左上，一分枝指向右下。枝条以细笔浓墨钩勒，再施以水墨渲染；枝上层层叠叠盛开的花朵、含苞欲放的花蕾则施以厚重的白粉加淡红，萼片施以紫色。整个花枝既有曲折多变而挺秀的姿态之美，又透露出几分华贵之气。",[23,51,3363,27,54,25,2967,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32788a69655290214fe87653a0b2a620.jpg",[],{"id":13342,"slug":13343,"title":9308,"dynasty":97,"author":5795,"museum":99,"description":13344,"tags":13345,"thumbUrl":13346,"material":107,"size":107,"collection":70,"collections":13347,"showCount":13322,"zanCount":39,"manualWeight":39,"mainColor":40},237873,"shan-shui-tu-zhou-kun-can-237873","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。",[23,26,55,84,51,119,7,56,278,64,293,754,294,1902,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517a9cc096f9e8a965e8e054e4adea5b.jpg",[70,122],{"id":13349,"slug":13350,"title":13351,"dynasty":97,"author":445,"museum":175,"description":13352,"tags":13353,"thumbUrl":13354,"material":391,"size":13355,"collection":107,"collections":13356,"showCount":13322,"zanCount":11,"manualWeight":39,"mainColor":40},233959,"dui-ju-tu-zhou-shi-tao-233959","对菊图轴","图绘双松虬结的庭院内梅、竹互映，房舍错落，屋内高士观赏秋菊，其品菊的举止生动传神，点明了“对菊”的画作主题。庭院外是迂回盘桓的山峦和自远而近的江水，它们为高士远离世俗的隐居之地平添了几分清幽。此图与石涛贯有的笔墨雄健纵恣、豪放洒脱的画风不同，刻画工整细腻，或徐或疾的笔致和富于节奏变化的朱点、墨点自得一股苍莽之气。此幅当属石涛居住扬州时期创作的一幅难得的精细之作。",[23,51,26,55,84,7,56,777,529,11110,150,64,60,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7030dd986967133b9acf5ab16c143856.jpg","纵99.5厘米，横40.2厘米",[],{"id":13358,"slug":13359,"title":472,"dynasty":97,"author":248,"museum":99,"description":473,"tags":13360,"thumbUrl":13361,"material":107,"size":107,"collection":107,"collections":13362,"showCount":13322,"zanCount":39,"manualWeight":39,"mainColor":40},233910,"hua-hui-shan-shui-ce-yun-shou-ping-233910",[23,50,26,56,64,62,727,119,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f978b31f4e82d9cf3cbe5710996a355.jpg",[],{"id":13364,"slug":13365,"title":13366,"dynasty":115,"author":13367,"museum":99,"description":13368,"tags":13369,"thumbUrl":13370,"material":107,"size":107,"collection":107,"collections":13371,"showCount":13322,"zanCount":1288,"manualWeight":39,"mainColor":75},227521,"song-si-jia-chi-du-cai-xiang-227521","宋四家尺牍－","蔡襄","“宋四家”即指宋人苏黄米蔡的书法，是苏轼、黄庭坚、米芾、蔡襄的合称，被后世认为是最能代表宋代书法成就的书法家。有人认为苏黄米蔡的“蔡”应为北宋初年的书法家蔡襄。但就古人十分看重的年齿排辈而言，蔡若为蔡襄，则蔡应当排在苏之前。苏、黄、米皆按年齿排列，因此，作为北宋末年人的蔡京是为蔡，应当毫无争议。而后人认为蔡是指蔡襄，是因为蔡京的名声太臭，导致徽宗亡国，历史地位无法与前几位相提并论，故后人更加喜欢认为蔡指蔡襄。\n\n宋四家传世作品甚多，墨迹传世也不少，故介绍宋四家时以现存墨迹较好的作为推荐。",[86,119,319,435,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24a3d33148651eeecd1f5d52609cefbc.jpg",[],{"id":13373,"slug":13374,"title":13375,"dynasty":115,"author":748,"museum":99,"description":13376,"tags":13377,"thumbUrl":13378,"material":107,"size":107,"collection":107,"collections":13379,"showCount":13322,"zanCount":1288,"manualWeight":39,"mainColor":75},227514,"ting-pu-tu-mi-fei-227514","听瀑图","北宋·米芾《听瀑图》(传)，纸本，42x35厘米，美国弗利尔美术馆藏。世已无米芾画迹传世，应该是明、清好事者按记载中的米芾画法为蓝本而进行的臆造之迹。\n\n元代以后，由苏轼（1037-1101）、米芾等人倡导的“文人画”审美趣味大为发展，并逐渐成为画坛主流，苏轼、米芾等人因首倡之功而备受推崇。一些“文人画”家和持“文人画”观点的理论家更是将米芾提升到画圣的高度。\n\n晚明大书画家、理论家董其昌（1555-1636）便极力推崇米芾，他说：“诗至少陵，书至鲁公，画至二米，古今之变，天下之能事毕矣。”在董其昌看来，米芾不仅是严格意义上的画家，而且还是一代宗师，画史地位是非常高的。\n\n董其昌在整个明清画坛的影响是毋庸置疑的，米芾因董其昌的极力推崇，在明清画坛上牢牢占据着重要地位。清书画鉴赏家卞永誉（1645-1712）评米芾画：“岂知南宫迥不群，一扫千古丹青尘。”显然，卞永誉也将米芾作为开宗立派的大家看待",[49,50,23,51,26,135,56,58,293,358,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b61a781aa7191005d890d7f6abbfaf4.jpg",[],{"id":13381,"slug":13382,"title":13383,"dynasty":97,"author":3423,"museum":99,"description":13384,"tags":13385,"thumbUrl":13386,"material":107,"size":107,"collection":107,"collections":13387,"showCount":13322,"zanCount":39,"manualWeight":39,"mainColor":40},224370,"hua-hui-qi-shi-ce-shi-er-kai-10-ju-lian-224370","花卉奇石册-十二开-10","此作以灵秀湖石为主体，朴拙纹理自带幽古意趣。细茎挺出，嫩黄碎花娇俏垂曳，与苍朴湖石形成柔刚对照。石上豆娘静立，翅脉纤毫毕现，将小虫灵动之态尽致描摹。\n\n画中运用撞水撞粉技法，花叶水润鲜活，苔草以淡青晕染，与赭石湖石色调柔润相融，静中藏动，生机暗涌。全幅工写兼备，寥寥数笔便将庭院小景的恬然意趣捕捉，将草木生灵的幽微情态勾勒无遗，尽显写生精妙，满溢闲逸清雅的文人意韵。",[49,23,51,24,25,54,27,28,6798,1989,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F057086feec0f2550986e5d5e2c2e3f6a.jpg",[],{"id":13389,"slug":13390,"title":13391,"dynasty":97,"author":10725,"museum":99,"description":10726,"tags":13392,"thumbUrl":13393,"material":319,"size":107,"collection":107,"collections":13394,"showCount":13322,"zanCount":1288,"manualWe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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。",[49,23,51,26,135,24,58,967,1240,7,531],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0573efbe7b213e884e25992b2193b58.jpg","纵28.5 厘米横46.5 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，元代画家。自称浙东平阳人。陶宗仪《辍耕录》称其“本姓陆”，出继温州平阳黄氏为义子，因改姓黄，名公望，字子久，号一峰、大痴道人等。\n黄公望曾任中台察院掾吏，一度入狱；后加入全真教，往来杭州、松江等地卖卜；晚年居住杭州筲箕泉，元顺帝至正十四年（1354年）十月二十五日逝世，享年八十六岁。\n黄公望工书法，通音律，善诗词散曲。尤擅画山水，曾得赵孟頫指授，宗法董源、巨然、荆浩、关仝、李成等。水墨、浅绛俱作，以草籀奇字法入画，气势雄秀，笔简神完，自成一家，得“峰峦浑厚，草木华滋”之评。名列“元四家”（黄公望、吴镇、倪瓒、王蒙）之首。传世画作有《富春山居图》《水阁清幽图》《天池石壁图》《九峰雪霁图》《富春大岭图》等。著有画论《写山水诀》。",[50,23,51,84,26,56,1902,61,60,2611,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ada88a03a52c4de8777c1e838bcd236.jpg",[],57,{"id":13566,"slug":13567,"title":13568,"dynasty":115,"author":11749,"museum":99,"description":13569,"tags":13570,"thumbUrl":13572,"material":689,"size":690,"collection":107,"collections":13573,"showCount":13564,"zanCount":39,"manualWeight":39,"mainColor":75},289947,"song-xi-fan-yue-tu-xia-gui-289947","松溪泛月图","为夏圭的典型之作，近景几株松树，渔翁泛舟江上，明月高悬，烟波浩淼，水天一色。简洁的用笔，渲染出深远的意境，四位点景人物以寥寥数笔绘出，亦觉生动形象。边角剪裁的构图，空灵巧妙，情景交融，富有浓浓诗意，显示出含蓄蕴藉的艺术魅力。",[49,822,23,50,26,55,610,62,944,56,13571,7,8091],"泛舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f2945a3cf2401ced6554359bde119ad.jpg",[],{"id":13575,"slug":13576,"title":13577,"dynasty":192,"author":1614,"museum":99,"description":8232,"tags":13578,"thumbUrl":13581,"material":689,"size":690,"collection":107,"collections":13582,"showCount":13564,"zanCount":1288,"manualWeight":39,"mainColor":75},287742,"ma-gu-xian-tan-ji-yan-zhen-qing-287742","麻姑仙坛记",[86,2226,417,418,11073,1337,13579,13580,405,7],"麻姑","仙坛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7722d87b73190fdc8e7c527828bc3676.jpg",[],{"id":13584,"slug":13585,"title":13586,"dynasty":18,"author":524,"museum":99,"description":13587,"tags":13588,"thumbUrl":13589,"material":107,"size":107,"collection":35,"collections":13590,"showCount":13564,"zanCount":39,"manualWeight":39,"mainColor":75},237698,"shan-shui-hua-guo-ce-xiang-sheng-mo-237698","山水花果册","项圣谟，生于明代万历二十五年（1597年），卒于清代顺治十五年（1658年），初字逸，后字孔彰，号易庵，别号甚多，已知者有子璋、子毗、胥山樵、胥樵、古胥山樵人、兔鸣叟、莲塘居士、松涛散仙、大酉山人、存存居士、烟波钓徒、狂吟客、鸳湖钓叟、逸叟、不夜楼中士、醉疯人、烟雨楼边钓鼇客等，浙江嘉兴人。祖父项元汴，为明末著名书画收藏家和画家。伯父项德新也善画。项圣谟自幼受家庭熏陶，精研古代书画名作，虽然曾由秀才举荐为国子监太学生，但不求仕进，而把兴趣投入到书画中，从而在绘画创作上，他很早就显现出了多方面的才能，山水、人物、花鸟无一不精，曾得到明末两位最为著名的鉴赏家，董其昌和李日华的高度评价。董其昌在他的画册上题跋，称“古人论画，以取物无疑为一合，非十三科全备，未能至此。范宽山水神品，犹借名手为人物，故知兼长之难。项孔彰此册，乃众美毕臻，树石屋宇，皆与宋人血战，就中山水，又兼元人气韵，虽其天骨自合，要亦工力至深，所谓士气、作家俱备。项子京有此文孙，不负好古鉴赏百年食报之胜事矣”，李日华称赞他的画风“英思神悟，超然独得”，是“崛起之豪”。\n项圣谟的作品，以山水为多，也是他成就的主要方面。他早年从学习文徵明入手，但很快就跳出了文徵明画法画风的局限，而直接向古人学习。这主要是受益於其家族富甲天下的历代名画收藏，从而可以使他很快改学宋人用笔的周密严谨、兼取了元人的韵致。除了宗乳於祖辈的丰富家藏，亦得力其自身的观察自然、远游写生的经验，使其画面布局大开大合，意境明净清雅，结构严谨而富于变化，笔法简洁秀逸，气韵高雅，极富书卷气，具有很高的品格和思想内涵。\n他的画有两点最值得称道，也是当时其他画家所不及的。其一是强烈的政治色彩，他用画反映民间疾苦，寄托对人民的同情和对明王朝的忠贞。在先后经历了“甲申”和“乙酉”之变，满清入主中原后，项圣谟在画上就不再题写朝代的纪年，仅用干支，并钤盖“江南在野臣”、“大宋南渡以来辽西郡人”、“皇明世胄之中嘉禾处士”等印，以彰其志节。此段时间的作品，大多借用绘画抒写胸中郁愤，表现强烈的遗民感情，由徐树铭题项圣谟清顺治三年（1646）所作《山水诗画册》：“六月雪篇有时变之感，望扶桑篇有故国之思，诗史之董狐也。”于画作中寓写深意，反应时代，以画为史。李铸晋认为其在亡国后的作品，蕴含著效忠前朝，表达亡国之痛的图画象徵，如：红色，以“朱”为明朝；枝干壮硕却无叶的树木，喻为国家，虽历风雨，枝干仍傲然挺立，有著不可折屈的精神；在暮色中栖息的飞鸟是无处可归，何处为家之意等。现藏北京故宫之《大树风号图》的题跋“风号大树中天立，日落西山四海孤。短策且随时旦莫，不堪回首望菰蒲”可作其心境写照。\n其二是极其严谨的画风和写实态度。项圣谟善于从生活中摄取素材，他的画贴近现实，造型准确，严肃不苟，一反当时潦草粗疏，追求“逸笔草草”的画风。吴山涛在题项圣谟《秋声图轴》曾说到：“孔彰先生为予老友，作画必凝神定志，一笔不苟，予常嗤其太劳。君曰：我辈笔墨，欲流传千百世，岂可草草乎？旨哉其言也。”可见项圣谟这种严肃认真的好的作风，直接影响到他的画风，使他的绘画在当时的画坛上别树一帜，而赢得了“士气作家俱备”的称誉。\n项圣谟喜画高大的乔木，尤喜画松树，树木勾，擦，染精细，树干之嶙峋，历历几可扪捉，有强烈的凹凸感，而留出的受光部分则颇具体积感，与一般文人画示意性的画法迥然有别，故明时有“项松之名满东南”之誉。他画的大树，树干挺直，刚强伟岸，拟人化的画面形象鲜明强烈，具有强大的人格力量。\n在花鸟画的创作上项圣谟同样具有自己鲜明的特色，尤其讲究造型，经意构图，善于表现花叶和花瓣的层次，向背以及受光点的明暗，从而有别于当时其他花鸟画家的画风。项圣谟很认真地吸收了黄筌画派精谨慎严的审物造物精神，但在画法上，受写意画影响，形成一种工写结合的形式，酲酿了黄筌画派工笔花鸟画新的发展趋势。在技法上，大都以水墨或略施淡彩，有时也纯用色彩作没骨法，色彩淡而不薄。在用笔上，十分凝重秀逸，故而虽有姣妍之色相，却寓嶙峋之风骨，整个调子和气氛，非常飘洒雅致，不同凡俗，好似有一股冷艳暗香浮动其间。他的这种风格在之后的恽寿平、蒋廷锡等人的作品中都有所体现。\n除绘画外，项圣谟亦精书法，善赋诗。其书法端庄严谨，峻拔出脱中不失书卷气。其诗多为题画诗，除了描绘山光水色、自然美景的山水诗外，还有许多是表达其对人民疾苦的同情和对故国的怀念，文辞警策凝重，格调悲壮慨然，反映出他的个性为人。因国破家亡，其晚年家贫，却志存高洁，不结交权贵，靠卖画自给。著有《朗云堂集》、《清河草堂集》、《历代画家姓氏考》、《墨君题语》。",[23,50,25,54,6443,530,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf6cca07ebe77c836898663ca11c9d3b.jpg",[35,70],{"id":13592,"slug":13593,"title":13594,"dynasty":115,"author":289,"museum":4269,"description":13595,"tags":13596,"thumbUrl":13597,"material":319,"size":13598,"collection":107,"collections":13599,"showCount":13564,"zanCount":39,"manualWeight":39,"mainColor":40},231424,"xiao-xiang-wo-you-tu-juan-li-gong-lin-231424","潇湘卧游图卷","《潇湘卧游图》为纸本墨笔，纵30.2厘米，横399.4厘米，意境开阔，大开大阖，随着观者视觉的移动，描绘了潇湘美景。 卷首有乾隆皇帝御题“气吞云梦”四字。乾隆帝又于卷中两处分别题有一跋一诗，题咏不足，又在卷尾画了一丛竹子并有款识。卷后有同时代题跋五纸九人，九人分别为信斋葛郯（绍兴二十四年进士，卒于淳熙八年）、串斋张贵谟、蒙斋章深、淡斋葛郛（约1131—约1196）、可斋葛邲（约1131—约1196）、如斋彦章、愚斋张泉甫、筠斋（筠斋后接“随喜”二字，当非名字）、理窟，除“理窟”未署斋名外，其他均署斋号。一人写到：“大地山河是幻，画是幻幻，只今说幻亦幻”。其中葛郯以一句“一人惯行草路，未免荆棘参天。一人顺水推舟，不觉浪来头上”暗示云谷（或他的朋友）遭受不白之冤。\n潇湘是一个合称，具体指发源于中国湖南宁乡的潇水和发自广西兴安的湘水（或湘江）经衡阳、湘潭等地汇入洞庭湖流域，这里烟雨蒙蒙，景色轻灵别致，不异于人间仙境。唐宋的诗人骚客无不以造访此奇景，吟诗以赞人生幸事，文人画家也纷纷着墨渲染。一位早年云游四方的禅僧云谷圆照晚来久居吴兴，以未见潇湘奇景为憾，遂求各路名家为其画“潇湘图”以补此缺。其中仅有一幅画由“舒城李氏”所作的潇湘画作流传至今，即为《潇湘卧游图》。\n《潇湘卧游图》是对《潇湘八景》的一种阐释，但是画家或者赞助人意味深长的修改了它。这幅山水包括的主题有落雁、烟寺、山市、晾晒渔网的渔村，以及暗示“归帆”的鼓足的风帆，但是三幅晚景图——“暮雪”、“夜雨”、“秋月”却难以描绘。如果加以表现，它们会在朦胧云雾中格外黯淡不明\n《潇湘卧游图》作者运用晕染模糊了山峦的轮廓，将界限融入轻雾之中。绵延的手卷以柔和纤细的线条、精致的细节和半透明的晕染绘制而成。笔触所现之处，或为表现如桥、舟之类细节的细如发丝的线条，或为湿润点染以表现树叶的墨点。\n南开大学文艺美学博士生王鹤《流失的国宝：世界著名博物馆的中国珍品》：“此画中群山连绵不绝，其景其情令人感叹。感叹其境美中蕴壮美，也感叹画家高超的技法。”\n《潇湘卧游图》存于日本已经超过一个世纪，即使作者并非有名的画家，实际身份背景也不明确，这一幅历经劫难的山水画，作为十二世纪末，从北宋迈入南宋，富有融合与转型意义的“潇湘”主题山水画代表作品之一，仍受美术史学者的重视。学者分别探讨过该画作的构图、笔法、水墨表现、形式风格等等面向。其中，铃木敬教授在1973年—1979年作过详尽研究；Valerie Malenfer Ortiz女士的专书以《潇湘卧游图》为主轴，全面讨论其在中国山水画创作及鉴赏的历史进程中所呈现的特殊价值。",[49,23,51,52,26,56,55,86,119,7,751,6096,64,3547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3264c38a117918d8cc34daaa95c49552.jpg","纵30.2厘米，横399.4厘米",[],{"id":13601,"slug":13602,"title":13603,"dynasty":97,"author":6653,"museum":99,"description":13604,"tags":13605,"thumbUrl":13607,"material":107,"size":107,"collection":107,"collections":13608,"showCount":13564,"zanCount":1288,"manualWeight":39,"mainColor":40},229034,"shan-shui-lou-ge-tu-ce-chen-mei-229034","山水楼阁图册","朱楹黄瓦的殿宇层叠错落，界笔勾勒工整流丽，台磴之上的小人三两，为深庭晕开细碎烟火。中景平湖如镜，枯木疏朗映于水面，板桥衔起村郭，行人缓步，将皇家苑囿的华贵揉进乡野清趣。\n\n远景山峦晕染如烟，似被流云轻裹，墨色由浓转淡，与天际融作一处。工笔重彩糅合浅绛晕染，明雅清润的设色下，殿宇的富丽与林泉的清逸相映成趣，将楼阁的精巧与山水的悠远调和得恰到好处，尽展清妍秀逸的幽隽意境。",[23,1962,25,54,24,7,56,59,60,64,150,295,1019,279,751,967,13606,1240],"石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ebd3d8df34ba8b4cbd50100c696319.jpg",[],{"id":13610,"slug":13611,"title":13612,"dynasty":115,"author":221,"museum":99,"description":13613,"tags":13614,"thumbUrl":13618,"material":107,"size":107,"collection":107,"collections":13619,"showCount":13564,"zanCount":39,"manualWeight":39,"mainColor":40},227491,"liu-ya-lu-yan-tu-juan-zhao-ji-227491","柳鸦芦雁图卷","《柳鸦芦雁图》是北宋宋徽宗赵佶创作的一幅纸本淡设色中国画，现藏于上海博物馆。\n此图共分为二段，前段画柳鸦，后段画芦雁。鸦的头顶和腹部施以白粉，鸦身敷浓墨，黝黑如漆。柳树的斑驳老干，富有质感。柳鸦的墨彩很酣，笔势很壮，显示出赵佶用墨的特色。后段四只芦雁在芦草蓼花边栖息，以浅赭设色，增强了秋天萧疏的气氛。",[49,50,23,51,52,54,26,25,7,13543,13615,13616,13617,85,66,871,104],"鸦","芦","雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d888a8bed9a38a24bfea78fe527b0a.jpg",[],{"id":13621,"slug":13622,"title":13623,"dynasty":97,"author":445,"museum":99,"description":13624,"tags":13625,"thumbUrl":13626,"material":107,"size":107,"collection":107,"collections":13627,"showCount":13564,"zanCount":39,"manualWeight":39,"mainColor":75},224529,"zi-yun-jing-kai-yi-zhi-yan-shi-tao-224529","自云荆开一支眼","此作用开合之法排布丘壑，左右双峰雄峙，清溪自幽谷蜿蜒而出，层层铺展山水景深。笔法师法自然却不拘成法，方折勾勒山石轮廓，皴擦间带出苍厚质感，以赭石晕染岩面、花青点染林木苔痕，冷暖色调交织晕融，让雄奇山势裹着清润秀逸。\n\n谷间山居隐于林麓，暗合幽栖林下的野逸意趣，题识与画面相映成趣，诗画共生。笔墨纵恣灵变，摆脱摹古桎梏，以己心观照山水，将丘壑藏于笔底，尽显洒脱疏朗的性灵意趣，是借山川写胸臆的佳构。",[49,23,51,56,25,55,150,64,727,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d708bf201803287d6fb36b1c9262a54.jpg",[],{"id":13629,"slug":13630,"title":13631,"dynasty":18,"author":8906,"museum":81,"description":13632,"tags":13633,"thumbUrl":13634,"material":634,"size":13635,"collection":35,"collections":13636,"showCount":13564,"zanCount":39,"manualWeight":39,"mainColor":75},222020,"hua-xia-li-nu-tu-zhou-zhu-zhan-ji-222020","花下貍奴图轴","此画构图呈对角线，所画的猫、湖石、秋花均在对角线上，可谓全幅构图别致，虚实结合。狸奴造型准确，画法先淡色涂染全身，背上的毛用干笔涂擦点簇而成，表现了狸奴细毛的质感。以焦墨点睛，炯炯有神。湖石则用长麻皮皴。",[49,23,51,84,25,54,1085,310,277,7,86,1116,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F511c301cd9d9a27486446cb728c20d37.jpg","纵41．5厘米，横39．3厘米",[35,72],{"id":13638,"slug":13639,"title":13640,"dynasty":146,"author":7721,"museum":81,"description":13641,"tags":13642,"thumbUrl":13644,"material":319,"size":13645,"collection":35,"collections":13646,"showCount":13564,"zanCount":39,"manualWeight":39,"mainColor":40},221841,"ma-que-shan-qin-tu-li-zhou-wang-yuan-221841","麻雀山禽图立轴","王渊，元代画家，字若水，号澹轩，一号虎林逸士，生卒年不详。杭（杭州）人。幼习丹青，赵孟多指教之，故所画皆师古人，无一笔院体。山水师郭熙，花鸟画师承后蜀黄筌，先勾勒后皴染水墨，浓淡深浅，极有韵致，地写生之妙，时称“绝艺”。人物师唐人吴道子，一一精妙，注重线条勾勒，不讲究墨彩渲染，史称“有笔而无墨”，自成风韵。尤精墨花鸟竹石，当代绝艺。天机溢发，肖古而不泥古。",[49,50,23,51,84,26,54,27,358,13643,66,277,7],"麻雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0258e250c8d399555994ef46f70fc70b.jpg","60x198cm",[35,242],{"id":13648,"slug":13649,"title":13650,"dynasty":115,"author":1755,"museum":81,"description":13651,"tags":13652,"thumbUrl":13653,"material":239,"size":13654,"collection":70,"collections":13655,"showCount":13564,"zanCount":39,"manualWeight":39,"mainColor":40},221187,"bing-zhu-ye-you-tu-ma-lin-221187","秉烛夜游图","朦胧的幽雾，伴随着鹅黄的月光，轻轻地降临人间。黝黑的短亭、长廊前，一朵朵犹如淡抹著胭脂、醉卧在绿沙中的海棠花们，深深地吸引着屋内主人的目光。他唤来了仆人，点起了蜡烛；在烛光映衬下，他满足地倚坐于亭内，望著这万重绰约如仙的红颜，看得都痴了。\n宋人爱花成痴的傻劲儿，是令人称奇，也令人称羡的。其中，又以素有「花中神仙」之称的海棠，最令宋人钟情、痴狂。海棠激发了宋人赏花的热情，不仅不分晴雨，也不分昼夜。古人燃烛夜赏芳华，或为牡丹，或为梅花；但能令宋人「只恐夜深花睡去，高烧银烛照红妆」的，却独独只有海棠。",[23,50,54,25,1962,59,58,64,944,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F578e2ffd01bb31fc19a9ed719b2041d1.jpg","24.8 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25.2公分",[70,242],{"id":13657,"slug":13658,"title":13659,"dynasty":18,"author":2181,"museum":222,"description":13660,"tags":13661,"thumbUrl":13662,"material":4816,"size":13663,"collection":70,"collections":13664,"showCount":13564,"zanCount":39,"manualWeight":39,"mainColor":40},220954,"xiao-xiang-bai-yun-tu-dong-qi-chang-220954","潇湘白云图","董其昌，字玄宰，号思白，华亭（今上海）人。万历十六年进士，官至礼部尚书。精鉴藏，工书善画。山水宗董巨，集宋元诸家之长。倡南北宗论，以南宗为正统，对清代画坛影响甚巨。\n此轴董氏描绘山村小景，境本寻常。奇峰矗立于天外，云影项洞于林表，遂觉景况清爽，分外宜人。画山画树皆用淡墨起手，逐层加浓。树中如有烟气，山色明净而郁厚，盖皆用墨之功也。\n由于勤奋和高寿，董其昌一生创作了许多山水画，“早年英锐，中年苍润，晚年纯以骨力胜”。据著录所载，董氏作品之多，在明代画家中仅有文征明可与之相比。这些山水画的题材比较丰富，大致可分为两类：一类是仿古名家的作品，如仿王维《寒林远岫图》、仿董源《夏口待渡图》、仿巨然《出云降雨图》、仿米芾《潇湘白云图》、仿王诜《烟江叠嶂图》、仿赵伯驹《春山读书图》、仿米友仁《楚山清晓图》、仿赵令穰《江乡清夏图》、仿高克恭《夏山烟雨图》、仿黄公望《富春山居图》、仿王蒙《云山小隐图》、仿倪瓒《横云秋霁图》、仿沈周《岚容川色图》等。这类作品虽称仿作，但不是摸拟蹈袭，而是在学习前人技法的同时，融以自己的风格，含有继承传统、进而创新的成分。\n另一类是独自的创作，如《升山图》（现藏南京博物院）、《遥峰泼翠图》、《山川出云图》、《赠逊之山水图册》、《秋兴八景图册》（现藏上海博物馆）、《岩居图》、《潇湘奇观图》（现藏故宫博物院）、《霜林秋思图》、《婉娈草堂图》（现藏台北士林故宫博物院）、《山水八景图》（现藏美国普林斯顿大学美术馆）、《江山秋霁图》（现藏美国克里夫兰美术馆）等。",[49,23,51,52,26,55,119,86,7,56,1207,64,727,751,9969,294],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21fdc195369ed63e4dec9e5360e472cd.jpg","卷纵29.3厘米横340.8厘米",[70,242],{"id":13666,"slug":13667,"title":13668,"dynasty":146,"author":431,"museum":222,"description":13669,"tags":13670,"thumbUrl":13671,"material":319,"size":13672,"collection":122,"collections":13673,"showCount":13564,"zanCount":743,"manualWeight":39,"mainColor":40},220866,"qiu-sheng-fu-quan-juan-zhao-meng-fu-220866","秋声赋全卷","大字行书欧阳修《秋声赋》全文，用笔挺劲，中藏锋锷，英标劲骨，遒美俊逸，欲与秋声斗雄。\n行间茂密，丰容缛婉，为其书法风格的典型代表。\n书法既有晋魏名家，特别是二王本来面貌，又反映自家书法特点，是一件集前人大成之作。",[49,86,119,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe99fc940545db866cd864f26dc0271e3.jpg","书心纵4.8、横182.2厘米。",[122],{"id":13675,"slug":13676,"title":13677,"dynasty":115,"author":355,"museum":81,"description":13678,"tags":13679,"thumbUrl":13680,"material":319,"size":13681,"collection":122,"collections":13682,"showCount":13564,"zanCount":1288,"manualWeight":39,"mainColor":40},220232,"bao-yue-tie-yu-chuai-cha-tie-su-shi-220232","宝月贴与啜茶贴","啜茶帖作于元丰三年，此帖为《致杜氏五札》之一，是东坡写给好友杜道源的一则便条，内容是邀请道源前来饮茶，顺便有事相商。\n啜茶帖用墨丰腴，笔触精到，每字各具姿态；大小错落，连绵有致，行间气脉贯穿，带有明显的晋人风韵。通篇而论，笔法精严而不拘束，姿态妍美而不做作，行文内容的轻松随意使得落笔自由挥洒，筋骨在形，神情寓内，短短32字气韵生动，传递出一种法度之上更有自在的适然情绪。\n宝月帖于治平二年书,此帖也为《致杜氏五札》之一\n此帖中“大人”，应指东坡之父苏洵；“宝月”，即指东坡族兄僧惟简；“令子监簿”大概指杜道源，吴歼跋云：“明允(苏洵)友君懿而兄事之，道源以父任簿其官。”东坡书此帖时，父亲尚在世。文中云“催了《礼书》事”，这《礼书》即苏洵参与编纂的《太常因革礼》一百卷。《续资治通监》卷六三英宗治平二年九月辛酉：“提举编纂礼书、参知政事欧阳修奏，已编纂书成百卷，诏以《太常因革礼》为名，赐修等银帛有差。”又，欧阳修《故霸州文安县主簿苏君(明允)墓志铭》：“为《太常因革礼》一百卷，书成方奏未报，而君以疾卒。实治平三年四月戊申也。”谈《礼书》事，必在治平三年苏洵死前，且在治平二年九月书成之前。故定为治干二年初书此帖为宜。孔凡礼将此札编人《苏轼文集·轶文汇编》时归人《与杜道源五首》中，有误。因为治乎二年，杜道源之“令子”杜孟坚尚年少，未能“监簿”。\n此帖笔法峻健锐利，应为早年书，是东坡存世墨迹的肇始之作。",[51,86,119,7,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c4c2d78a4e0cd6c8a1c9598d173294b.jpg","23厘米×17.7厘米",[122],{"id":13684,"slug":13685,"title":13686,"dynasty":97,"author":800,"museum":13687,"description":13688,"tags":13689,"thumbUrl":13690,"material":319,"size":13691,"collection":122,"collections":13692,"showCount":13564,"zanCount":39,"manualWeight":39,"mainColor":40},220137,"jie-lu-huai-su-zi-xu-tie-zheng-ban-qiao-220137","节录怀素自叙帖","武汉博物馆","此轴以画法入笔，左低右高，疏密有致，大小相宜，可谓“乱石铺街”，如“雨夹雪”。它不但完美地展现了板桥书法“真气、真意、真趣”的艺术风格，同时也彰显了艺术家狂放不羁、无拘无束的个性魅力。",[49,84,86,119,462,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb7b134b4869b9dcbeea028d9e01d678.jpg","159cm×91cm",[122],{"id":13694,"slug":13695,"title":13696,"dynasty":18,"author":1014,"museum":175,"description":13697,"tags":13698,"thumbUrl":13699,"material":88,"size":13700,"collection":242,"collections":13701,"showCount":13564,"zanCount":11,"manualWeight":39,"mainColor":40},220132,"zhen-shou-tang-tu-juan-tang-yin-220132","贞寿堂图卷","图绘以平远、阔远之法，画青山秀水之畔，有堂屋两间筑于山坳回抱之处、松竹掩映，篱落曲折。堂内家人聚首，共叙天伦；堂侧隔桥一人正袖手而立，作静观之状。图中山石皴笔劲利，晕染轻淡；树法丰富，枝干俯仰有态，点叶、夹叶兼备，点景人物衣纹细劲，神态闲适。风格秀润，意境幽淡，为唐寅早期画作的佳制。",[49,23,51,52,26,25,55,119,86,56,59,137,277,60,61,63,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29da086db6e0222144fd39f45bbfb2d9.jpg","纵28.3厘米 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同吴昌硕尤为密切。蒲华长吴昌硕十二岁，昌硕幼时便闻蒲华画名，关系在师友之间，互取所长，风貌因之相近。\n善用湿笔，水墨淋漓，光彩照人。善花卉、山水，尤擅画竹，有“蒲竹”之誉。\n吴昌硕作十二友诗，记蒲华曰：“蒲作英善草书、画竹，自云学天台傅啸生，仓莽驰骤、脱尽畦畛。家贫，鬻画自给，时或升斗不继，陶然自得。余赠诗云：蒲老竹叶大于掌，画壁古寺苍涯琏。墨汁翻衣吟犹着，天涯作客才可怜。朔风鲁酒助野哭，拔剑斫地歌当筵。柴门日午叩不响，鸡犬一屋同高眠”。\n吴昌硕为蒲华所作《芙蓉庵燹馀草》作序言：“作英蒲君为余五十年前之老友也，晨夕过从，风趣可挹。尝于夏月间，衣粗葛，橐笔两三枝，诣缶庐，汗背如雨，喘息未定，即搦管写竹，墨沈淋漓。竹叶如掌，萧萧飒飒，如疾风振林，听之有声，思之成咏。其襟怀磊落，逾恒人也如斯。”\n谢稚柳论言：“蒲华的画竹与李复堂、李方膺是同声相应的，吴昌硕的墨竹，其体制正是从蒲华而来”。\n蒲华中年尤勤书学，寝馈旭、素，斗墨千纸，数日而尽。至于元明各家书帖，也常把玩临摹。以书入画，酣畅恣肆。\n蒲华晚年，笔老墨精。其书法，淳厚多姿；其绘画，燥润兼施，苍劲妩媚。尤喜画大幅巨幛，莽莽苍苍，蔚为大观。所作山水大轴或册页，虽多为山居、读书等传统题材，但布局新颖，风韵清隽。\n蒲吴两家粗豪奔放的画风，使因袭纤巧之时风大为逊色，一新画派崛起于沪上画坛。\n癖好古琴，遇即购藏，视为心爱之物，名其居屋为“九琴十砚楼”。",[49,23,25,26,84,27,358,529,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f837281a5a3ede855624505ab9f5514.jpg","纸本，册页，设色","纵27厘米、横34厘米",[35,72],{"id":13865,"slug":13866,"title":13867,"dynasty":18,"author":8189,"museum":81,"description":13868,"tags":13869,"thumbUrl":13870,"material":33,"size":13871,"collection":242,"collections":13872,"showCount":13767,"zanCount":1288,"manualWeight":39,"mainColor":40},222227,"song-gang-zhu-wu-tu-zhou-wen-bo-ren-222227","松冈竹坞图轴","文伯仁松的《冈竹坞图》画中前景有戴笠僧人拄杖前行，将进入林间寺院；中景有一渡桥文士，或许即为“放浪溪山已有年”的文伯仁；远景宛若随著云雾浮现，凛立天际的秀峻山头，应是令作者追求神往的盛景。文伯仁是习仿文征明风格的后辈与学生中，自成面目，卓然出众者。他将文征明结构繁复的图式，朝更精致严密的方向发展，以工细的用笔与敷色，别出心裁的构图，表现郁茂清幽的山林胜景，散发出文派作品特有的雅澹气质。",[49,23,51,84,26,25,55,7,56,777,358,63,60,61,150,64,66,137,2142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2a43776896fe834580cb168f04bc481.jpg","132.6x30.7cm",[242,72],{"id":13874,"slug":13875,"title":13876,"dynasty":18,"author":161,"museum":175,"description":13877,"tags":13878,"thumbUrl":13880,"material":319,"size":13881,"collection":35,"collections":13882,"showCount":13767,"zanCount":39,"manualWeight":39,"mainColor":40},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。",[49,52,26,25,403,13879,4210,28,1481,7,86],"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。",[35,242],{"id":13884,"slug":13885,"title":13886,"dynasty":115,"author":2718,"museum":46,"description":13887,"tags":13888,"thumbUrl":13889,"material":239,"size":13890,"collection":213,"collections":13891,"showCount":13767,"zanCount":743,"manualWeight":39,"mainColor":75},221451,"xiao-ya-nan-you-jia-yu-pian-ma-he-zhi-221451","小雅·南有嘉鱼篇","马和之（生卒不详）：中国南宋画家。活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。高宗绍兴(1131-1162)中登第，一说官至工部或兵部侍郎。画院待诏（画家），为南宋宫廷画院中官品最高的画师，居御前画院十人之首。周密曾谓“御前画院仅十人，和之居其首焉”。擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描(一作马蝗描)，用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[49,50,23,51,52,135,25,119,7,86,58,59,61,60,63,137,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95614c3f4e3eb9f4c63c1368cfcfd9c2.jpg","27×383厘米",[213,70,72],{"id":13893,"slug":13894,"title":13895,"dynasty":192,"author":13896,"museum":99,"description":13897,"tags":13898,"thumbUrl":13899,"material":13900,"size":13901,"collection":122,"collections":13902,"showCount":13767,"zanCount":1288,"manualWeight":39,"mainColor":75},221085,"shan-jian-lv-guo-quan-221085","善见律","国诠","国诠，初唐经生，生平不详。此卷为其贞观廿二年（648年）十二月十日手抄小乘佛教律部重要经典《善见律》。字作典型的唐代“经生体”，结构谨严优美，笔画挺拔腴润，使转灵活生动。全文二百六十余行，四千四百多字，一笔不苟，整齐匀净，表现了书者虔诚的心境与深湛的功力，实为唐人小楷上乘之作。\n\n今日所见唐人写经主要为百年前敦煌藏经洞发现，多出民间写手，且断烂残破。此卷则为千年传世之本，首尾俱全。卷末题名中有“赵模监”、“阎立本总监”字样，赵氏为宫廷“搨书人”，曾摹《兰亭序》；阎氏后官至右相，曾绘《步辇图》。研究者据此认定此卷是当时奉敕所作的皇家珍品。\n同样难得的是此卷的传承过程。它曾入南宋内府，钤有高宗“绍兴”、理宗“缉熙殿宝”二玺；元代曾归赵孟頫、皇姊祥哥剌吉两大藏家；明代华夏、董其昌及清初王鸿绪曾藏；入清宫后著录于《秘殿珠林续编》。卷后赵孟頫、冯子振、赵岩、邢侗、董其昌等大家的题跋相互辉映，为之增重不少。",[49,86,436,417,52,7,2601,9636],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb6d148a7b0d6cda68adfb7b22af8e2c.jpg","国诠书，纸本","纵22.6厘米，横468.8厘米",[122,1120],{"id":13904,"slug":13905,"title":13906,"dynasty":130,"author":13907,"museum":175,"description":13908,"tags":13909,"thumbUrl":13911,"material":13912,"size":13913,"collection":122,"collections":13914,"showCount":13767,"zanCount":1288,"manualWeight":39,"mainColor":40},221018,"chu-shi-song-suo-jing-221018","出师颂","索靖","《出师颂》是古代流传的一幅章草体书法作品。原文作者是东汉史岑，书法作者存疑，据传为西晋索靖书。此作是存世书法作品中为数不多的古章草书作之一，书法笔势险峻，字体古朴简洁，具有很高的历史和艺术价值。",[86,52,13910,7,435],"章草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd5ac14567e428f1703c50bf72472b9b.jpg","纸本，章草书","纵21.2cm，横127.8cm",[122],{"id":13916,"slug":13917,"title":13918,"dynasty":18,"author":13290,"museum":20,"description":13919,"tags":13920,"thumbUrl":13922,"material":88,"size":13923,"collection":199,"collections":13924,"showCount":13767,"zanCount":39,"manualWeight":39,"mainColor":40},219405,"tie-di-tu-wu-wei-219405","铁笛图","《铁笛图》表现的是一位文人雅士饮酒作歌的场景。画面的背景为古松森森、四寂无人的僻静之处；画的当中为一文士，焚香而坐，手端酒杯，其态陶然欲醉；侧边有一侍女，双手棒着一支尺许铁笛。此画技法精湛，松树以浓墨描画而成，令人一睹之下有雄健劲硕之感；画中人物线条流畅，神态毕肖，奇逸潇洒，分外动人。",[23,51,135,58,610,700,5348,501,502,5349,13921,178,7],"扇子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e37d0c161bcf80421932b82d79808e2.jpg","纵32.1厘米，横155.4厘米",[199],{"id":13926,"slug":13927,"title":13928,"dynasty":97,"author":736,"museum":81,"description":13929,"tags":13930,"thumbUrl":13931,"material":152,"size":13932,"collection":72,"collections":13933,"showCount":13767,"zanCount":1288,"manualWeight":39,"mainColor":40},219303,"shi-jun-tu-zhi-xue-dian-diao-zhou-lang-shi-ning-219303","十骏图之雪点雕轴","郎世宁（一六八八－一七六六）意大利人。十九岁，入天主教耶稣会为修士。曾习油画，兼习建筑。二十七岁来华，以绘事供奉内廷，历仕康熙、雍正、乾隆三朝。善画人物、花鸟，尤善犬马。科尔沁郡王诺们额尔和图于乾隆八（西元一七四三）年，进贡骏马一匹。",[23,50,84,25,54,225,1116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e84b14360acb49ba0390128d53f6779.jpg","238.2x270.6",[72],{"id":13935,"slug":13936,"title":13937,"dynasty":115,"author":207,"museum":99,"description":13938,"tags":13939,"thumbUrl":13940,"material":239,"size":13941,"collection":213,"collections":13942,"showCount":13767,"zanCount":1288,"manualWeight":39,"mainColor":75},219049,"xun-mei-fang-you-tu-yi-ming-219049","寻梅访友图","2012年6月3日，北京保利古代书画夜场，南宋佚名《寻梅访友图》同样也争夺激烈，最终以超出估价80多倍的880万落槌，该作品之前估价为RMB: 50,000-100,000。",[49,50,23,51,25,55,56,137,63,61,58,225,7,150,60,528],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1279c5adc874b1dfa7d108c60362dd6b.jpg","24×24.5",[213],{"id":13944,"slug":13945,"title":13946,"dynasty":115,"author":881,"museum":525,"description":10185,"tags":13947,"thumbUrl":13948,"material":152,"size":10188,"collection":107,"collections":13949,"showCount":13767,"zanCount":39,"manualWeight":39,"mainColor":40},218043,"song-di-ming-ti-ce-jiu-ma-yuan-218043","宋帝命题册(九)",[49,23,51,24,25,56,55,610,1597,1050,751,279,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7726c39dbc3e8cdc7addde7e073c08e0.jpg",[],{"id":13951,"slug":13952,"title":13953,"dynasty":97,"author":1082,"museum":525,"description":13954,"tags":13955,"thumbUrl":13956,"material":33,"size":107,"collection":107,"collections":13957,"showCount":13767,"zanCount":39,"manualWeight":39,"mainColor":40},214368,"tian-guang-yun-jing-tu-ce-zhu-da-214368","天光云景图册","朱耷（1628-1705）是清代著名的画家，他的作品《天光云景图册》是其代表作之一。\n\n《天光云景图册》描绘了各种天气现象的画面，其中包括云彩、雾气、雪花、雨水等。朱耷在画中运用了精细的笔墨和细腻的造型，勾勒出天空的层次感和气象的变化。作品中的云彩、雾气、雪花、雨水都表现出了天气现象的细腻与丰富，使观者感受到大自然的魅力。\n\n《天光云景图册》被认为是朱耷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，《天光云景图册》也是收藏家们青睐的经典之作。",[49,23,51,24,26,56,64,727,277,66,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cfec1f032a3c376c5af72892319e611.jpg",[],{"id":13959,"slug":13960,"title":13961,"dynasty":18,"author":161,"museum":81,"description":2140,"tags":13962,"thumbUrl":13964,"material":88,"size":13965,"collection":242,"collections":13966,"showCount":13967,"zanCount":39,"manualWeight":39,"mainColor":75},291002,"gu-song-tu-shen-zhou-291002","古松图",[50,23,51,26,7310,2681,13963,86,7],"松果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f287011696dffb4e0f719e2224fed22.jpg","73.9x51.2",[242],55,{"id":13969,"slug":13970,"title":13971,"dynasty":192,"author":193,"museum":81,"description":13972,"tags":13973,"thumbUrl":13974,"material":689,"size":690,"collection":107,"collections":13975,"showCount":13967,"zanCount":1288,"manualWeight":39,"mainColor":40},289889,"zhu-lin-wu-jun-tu-yan-li-ben-289889","竹林五君图","阎立本（601年—673年），雍州万年（今陕西省西安市临潼区）人。唐朝时期宰相、画家，隋朝殿内少监阎毗之子。\n隋朝时，阎立本门荫入仕，累迁朝散大夫、将作少监。唐武德年间，担任秦王（李世民）府库直。贞观年间，历任主爵郎中、刑部郎中，迁将作少监。绘制“昭陵六骏”和“凌烟阁”功臣图，监修翠微宫。显庆元年（656年），出任将作大匠，迁工部尚书。总章元年（668年），检校右丞相，册封博陵县男。当时姜恪凭借战功擢任左丞相，时人有“左相宣威沙漠，右相驰誉丹青”之说。举荐名臣狄仁杰，累迁中书令。咸亨四年（673年11月14日），去世，追赠司空。\n阎立本擅长工艺，富于巧思，工篆隶书，对绘画、建筑都很擅长。兄长阎立德擅长书画、工艺及建筑工程。阎毗、阎立德、阎立本父子三人并以工艺、绘画闻名于世。代表作品《步辇图》《历代帝王像》等。",[49,23,50,84,25,58,358,86,7,5579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F189baa2b3db03fad97d5e31e862a3468.jpg",[],{"id":13977,"slug":13978,"title":13979,"dynasty":1037,"author":7857,"museum":99,"description":13980,"tags":13981,"thumbUrl":13984,"material":689,"size":690,"collection":107,"collections":13985,"showCount":13967,"zanCount":39,"manualWeight":39,"mainColor":75},289774,"kan-shu-tu-wang-qi-han-289774","勘书图","此图绘一文士勘书之暇挑耳自娱的情景。文人白衣长髯，袒胸赤足，坐于书几前，左手扶椅，右手作挑耳状，神态怡然自得。书几上有摊开的书卷，一书童于几旁侍立。文人身后为三叠屏风，上画青绿设色山水。屏风前横一长案，上陈卷帙。画家十分巧妙地选取画中人“校读间隙挑耳”这一看似平常的动作，着意刻画了其惬意的神情。加之环境的铺陈、烘托，生动地表现了南唐贵族文人闲适的情状，展示出他们日常生活的一个侧面\n该图描写手法高超，形神兼备，反映了昔日勘书者的荡然性格与狂放的气质。画中环境，为室内陈设着的屏风、几案、卷册之类。全图构思十分精密，合适有度。",[23,50,58,25,56,7,497,13982,13983,4118,51],"室内","书桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa4a6cead538d88190b79a941501ae13.jpg",[],{"id":13987,"slug":13988,"title":13989,"dynasty":115,"author":221,"museum":99,"description":2051,"tags":13990,"thumbUrl":13991,"material":689,"size":690,"collection":107,"collections":13992,"showCount":13967,"zanCount":39,"manualWeight":39,"mainColor":75},288117,"xie-sheng-ling-mao-tu-zhao-ji-288117","写生翎毛图",[49,50,23,52,54,25,27,66,315,1194,28,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa279f39fe2fa81aa6da60077492747c2.jpg",[],{"id":13994,"slug":13995,"title":13996,"dynasty":18,"author":955,"museum":99,"description":9336,"tags":13997,"thumbUrl":13998,"material":689,"size":690,"collection":107,"collections":13999,"showCount":13967,"zanCount":1288,"manualWeight":39,"mainColor":75},287345,"pi-pa-xian-shou-tu-chen-hong-shou-287345","枇杷献寿图",[49,23,50,84,25,54,58,136,564,513,86,7,6929],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F848b9bd281fa2cf446c195de1b79955a.jpg",[],{"id":14001,"slug":14002,"title":14003,"dynasty":192,"author":5521,"museum":99,"description":14004,"tags":14005,"thumbUrl":14006,"material":689,"size":690,"collection":107,"collections":14007,"showCount":13967,"zanCount":39,"manualWeight":39,"mainColor":40},287312,"gu-shi-si-tie-quan-juan-gao-qing-zhang-xu-287312","古诗四帖全卷(高清)","张旭（685年？—759年？），字伯高，一字季明，苏州吴县（今江苏苏州）人，唐代书法家，擅长草书，喜欢饮酒，世称“张颠”，与怀素并称“颠张醉素”，与贺知章、张若虚、包融并称“吴中四士”，又与贺知章等人并称“饮中八仙”，其草书则与李白的诗歌、裴旻的剑舞并称“三绝”。\n张旭出生于一个门第不低的家庭，曾向堂舅陆彦远学习书法，学有所成后为吴道子、颜真卿等钦慕；年长后通过应举或荐举、征辟而入仕，释褐为常熟县尉；先后任左率府长史、金吾长史，因而被世人称为“张长史”；大约在乾元二年（759年）逝世，享年大约七十五岁。\n在书法方面，张旭勤于观察客观事物，善于将客观的自然物象与个人的主观情感结合起来，既继承传统，又勇于创新，在继承前人书法成就并加以创新而使得自身的狂草艺术在盛唐时期达到了一个高峰。",[49,50,51,86,462,418,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb590f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出版。\n菊花书画卷(局部) 花卉山水人物册页四开 花卉册页二开 仿李觯册页四开 花卉(合作) 花卉山水册页五开 山水册页二开 山水 墨兰 水仙 梅花 碧霞元君祠图 拟沈周夏日山居图 北京风俗图册页三十四开 秋花奇石 墨荷 鬼趣图 钟馗读书图 达摩图 读画图 深山古寺 山林人家 仙鹤 岁寒清供图 深山秋烟 姚华小像 花卉四条 清供图 菊石图 山水册页四开 花卉四条 松树 听秋图 蔬笋 拟吴仲圭山水 群仙上寿图 山水 花鸟四屏 山水 仿沈周山水 山水 山水册页四开 忽见千帆 半山流泉 荷 芍药 些 芭蕉 花卉四屏 菊石 兰竹 仿石涛山水 鸡冠花 金壶细叶 携酒与鱼 梅花 兰石 梅竹双雀(合作) 佛手 赤壁图 山水 桃花 梅石 芭蕉菊花 腊梅秀石 山水长卷(合作) 花卉 山水册页 溪流浣衣 江乡秋获 山原行旅 村醪泥醉 雨洗铅华 空谷幽香 烟寒雨昏 老圃秋容 梅竹 月季花 花卉四条 秋园晚艳 桃花 绣球花 山林楼影 姜白石词意图册十二开 山水册页四开 山水诗画册页十六开 竹 写摩诘诗意 园林小景册页六开 山水册页二开 花卉山水册页十开 山水花果册页四开 枇杷 竹笋 杨诚斋诗意图册页六开 花卉册页八开 枇杷 秋柳图 达摩图 猴戏图(合作) 菊石 玉兰 墨笔山水 溪山松居图 山林静处 霜林红万山 山林深处 竹石 花红叶翠 附：常用印章 陈师曾年表",[23,51,24,25,26,56,59,66,944,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f22ccc2a5c9017120af6648fb95f4bf.jpg",[],{"id":14047,"slug":14048,"title":14049,"dynasty":18,"author":45,"museum":99,"description":14050,"tags":14051,"thumbUrl":14052,"material":107,"size":107,"collection":107,"collections":14053,"showCount":13967,"zanCount":39,"manualWeight":39,"mainColor":75},228432,"guan-yin-xiang-li-zhou-chou-ying-228432","观音像立轴","此作用铁线白描写就，观音安坐高榻之上，衣褶线条细劲匀停，如流云舒卷，将纱衣轻柔垂坠之态尽皆铺展。菩萨面容温婉沉静，宝相端严，身旁童子神态稚拙恭谨，烘托出清和肃穆的禅意。\n\n右上方题跋与造像相映成趣，画幅下方浅绘乘蛟逐月，笔意简淡空灵，衬出佛界的幽远高渺。整作未施丹青，却凭借精妙线法勾勒出丰盈神态与物象质感，褪去浓丽浮华，尽显白描素净洗练之美，将观音的慈悲静定，融于每一缕流转的线条之中，清寂中自含庄严禅韵。",[49,84,1284,54,135,1962,58,405,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe329623b759309ed5ef59a72ea6029c0.jpg",[],{"id":14055,"slug":14056,"title":14057,"dynasty":18,"author":955,"museum":99,"description":14058,"tags":14059,"thumbUrl":14060,"material":107,"size":107,"collection":107,"collections":14061,"showCount":13967,"zanCount":39,"manualWeight":39,"mainColor":75},228324,"pu-sa-mo-ding-tu-chen-hong-shou-228324","菩萨摩顶图","此作用笔清劲圆转，白描衣纹古拙又带着灵动意趣，翩然衣袂暗藏沉静厚重的质感。高僧垂目含凝，面相奇古内敛，斜倚的锡杖间，清肃威仪隐然流露。身旁童子神态鲜活灵动，一动一静反差相生，暗合禅家动静之趣。\n\n古雅错落的题跋与画面相映，书画合璧交融文气禅意。设色素淡克制，以赭石与墨色晕染，尽显古澹空灵意境。笔底揉合出世静定与入世生气，简约铺陈间晕开幽远禅韵，寥寥数笔勾勒出超脱世外的清寂氛围感。",[49,18,23,51,84,1284,58,25,135,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd13b60712db3d2482a26bf69baa0e528.jpg",[],{"id":14063,"slug":14064,"title":14065,"dynasty":18,"author":955,"museum":99,"description":9336,"tags":14066,"thumbUrl":14067,"material":689,"size":690,"collection":107,"collections":14068,"showCount":13967,"zanCount":39,"manualWeight":39,"mainColor":75},228299,"hua-niao-ce-xie-zhi-liu-ti-ba-ben-chen-hong-shou-228299","花鸟册（谢稚柳题跋本）",[23,51,24,25,54,27,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8661ccd841a6b0332bdf5e8f1dd2c7bf.jpg",[],{"id":14070,"slug":14071,"title":14072,"dynasty":115,"author":881,"museum":99,"description":14073,"tags":14074,"thumbUrl":14075,"material":107,"size":107,"collection":107,"collections":14076,"showCount":13967,"zanCount":39,"manualWeight":39,"mainColor":75},227820,"song-yin-guan-lu-tu-ma-yuan-227820","松荫观鹿图","此作用笔清劲爽利，取景以偏概全，将平远之境铺陈得含蓄悠长。右侧虬松横斜，松针如铁，苍劲古雅的身姿探入空濛烟水。凭栏雅士白衣素简，静望烟岚深处，身旁侍童垂首伫立，简笔勾勒便将悠然意态尽显。对岸林影以淡墨晕染，朦胧虚化，汀洲浅渚间麋鹿低头啮草，为清寂画面添了灵动生趣。大片留白晕开浩渺江天，以少胜多，把幽居林下的闲静逸思藏在笔墨间，淡墨轻岚间漫溢着清寂萧散的雅致，意境空远悠长。",[49,23,50,51,56,26,25,55,777,5835,58,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1ecf7d98118704a77489ac9ae5f3019.jpg",[],{"id":14078,"slug":14079,"title":14080,"dynasty":18,"author":14081,"museum":81,"description":14082,"tags":14083,"thumbUrl":14084,"material":88,"size":14085,"collection":199,"collections":14086,"showCount":13967,"zanCount":1288,"manualWeight":39,"mainColor":40},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。",[49,23,2205,84,58,1115,7,403,26,1116,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F206effd797ba2e6ba61c8c1c5ee3941c.jpg","纵101.5厘米 横55.3厘米",[199],{"id":14088,"slug":14089,"title":14090,"dynasty":18,"author":8906,"museum":99,"description":14091,"tags":14092,"thumbUrl":14095,"material":319,"size":107,"collection":70,"collections":14096,"showCount":13967,"zanCount":39,"manualWeight":39,"mainColor":40},222422,"lian-peng-tu-song-yin-tu-zhu-zhan-ji-222422","莲蓬图松荫图","画卷破裂为两段，一段为莲蒲段，一段为松荫段。此画为莲蒲段画面。画面绘荷叶、莲蓬、小鸟、湖石、水草。极少勾勒，类似没骨画法，用浓淡墨色晕染，格调简逸质朴。封面为铜版纸印刷，作品为宣纸印刷。",[49,23,51,25,54,27,463,29,610,1714,14093,104,751,14094,7],"枯荷","云朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87a1522d7865cbf91ab2342631f19567.jpg",[70,242],{"id":14098,"slug":14099,"title":14100,"dynasty":18,"author":2059,"museum":175,"description":14101,"tags":14102,"thumbUrl":14103,"material":8353,"size":14104,"collection":107,"collections":14105,"showCount":13967,"zanCount":743,"manualWeight":39,"mainColor":40},221997,"xiang-jun-xiang-fu-ren-tu-wen-zheng-ming-221997","湘君湘夫人图","该图是文徵明早期仅存的人物画名作。此图根据屈原《九歌》中“湘君”、“湘夫人”两章而作。画面上湘君、湘夫人一前一后，前者手持羽扇，侧身后顾，似与后者对答，神情生动。人物造型来自晋顾恺之《女史箴图》、《洛神赋图》，形象古雅，体态修长，长袖飘逸，衣裙曳地，用游丝描，施朱红及白粉，精工古雅。从文徵明和王稺登的题跋可知，文徵明曾请仇英以此题作画，但文氏看过后并不满意，自己又重新创作。可见，文氏是在刻意追求一种“古意”，与仇英有不同的审美趣好。画上方自书《湘君》、《湘夫人》两章，后署“正德十二年丁醜二月已未停雲館中書”。正德十二年（1517年），时文徵明48岁。本幅有文徵明、文嘉、王稺登题跋。\n经清·耿昭忠等鉴藏。",[49,23,51,50,84,54,135,25,58,136,7,86,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe97f60c8237a52c52ad96b4e9d3caf10.jpg","纵100.8厘米，横35.6厘米",[],{"id":14107,"slug":14108,"title":14109,"dynasty":115,"author":14110,"museum":175,"description":14111,"tags":14112,"thumbUrl":14115,"material":183,"size":14116,"collection":213,"collections":14117,"showCount":13967,"zanCount":39,"manualWeight":39,"mainColor":75},221419,"lu-ting-mi-xue-tu-quan-juan-liang-shi-min-221419","芦汀密雪图全卷","梁师闵","此卷为梁师闵的传世孤品，描绘严冬时节的沙渚平川，坡石竹枝已尽为白雪覆盖，丛丛干枯的芦草在阴沉晦暗的背景下瑟瑟隐现。清寂之中，一池湖水尚未封冻，两只鸂鶒（音xī chì）（有学者考证为赤麻鸭）在沙洲上相互依偎，一对鸳鸯于寒波中游水嬉戏，此情此景与漫天密雪的荒寒景色形成对比，充满诗意，是一幅山水与花鸟融汇的湖天小景佳作。正如卷后元赵巖所题诗：“江天雪意暮萧萧，望外寒沙半落潮。鸂鶒双眠看画里，潇湘极目梦魂遥。”画幅中乾隆帝御题的“鸳鸯两两相随逐，不为严寒异故心”的诗句则直接点出此画寄兴游心的主题。\n整幅用笔细润，皴法简括，水墨为主，略施赭色，大片空白的运用正体现了中国传统绘画“于无画处皆成妙境”的特质，恰到好处地表现出江南的湖山雪景。",[49,23,51,52,54,25,1061,2954,62,66,14113,14114,56,7,119,86],"寒沙","江天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a58a63dfbbd8dca1f12f17d87a436e6.jpg","纵26.5厘米，横145.6厘米",[213,70,242],{"id":14119,"slug":14120,"title":14121,"dynasty":891,"author":5805,"museum":1724,"description":14122,"tags":14123,"thumbUrl":14124,"material":107,"size":107,"collection":107,"collections":14125,"showCount":13967,"zanCount":39,"manualWeight":39,"mainColor":40},220480,"cui-can-fu-bao-shi-220480","摧残","以淡墨晕染枝叶，萧疏破败的墨痕间，残存的花朵带着褪败的艳色，晕开朦胧颓靡的氛围。以花木残败之态寄寓心绪，将感时伤世的沉郁藏入写意笔触里。枝叶偃蹇错落，墨色虚实相生，带着随性却压抑的格调，残花虽仍有灼灼余韵，却难掩周身衰颓破败之意。\n\n题字拙朴厚重，与画面萧索的意境呼应，没有直白的呼号，只借残卉枯枝暗喻时局，把乱世忧思藏入花木描摹中，含蓄沉郁，将文人画的雅致与悲怆的忧怀相融，落笔皆是怅惘。",[49,23,51,26,25,27,529,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ecf1760b67ff2b8a9221984d65f156b.jpg",[],{"id":14127,"slug":14128,"title":14129,"dynasty":146,"author":1644,"museum":20,"description":14130,"tags":14131,"thumbUrl":14132,"material":88,"size":14133,"collection":199,"collections":14134,"showCount":13967,"zanCount":1288,"manualWeight":39,"mainColor":75},219621,"song-tai-zu-cu-ju-tu-qian-xuan-219621","宋太祖蹴鞠图","原图为宋代名画家苏汉臣所绘，钱选在临摹之后题字：“蹴鞠图旧藏秘府，今摹图之。若非天人革命，应莫观之，言何画哉。”表现出了对此画仰慕已久的心情。明人唐文凤在《梧冈集》中有《题蹴鞠图》诗，诗中说明前两人踢球的是宋太祖赵匡胤与其弟宋太宗，后四人观看的是大臣赵普、楚昭辅、党进、石守信，都是宋朝开国的功勋，他们都喜欢踢球；“明良相逢同一时，乘闲且复相娱嬉，军中之乐谅亦宜。”此图说明了蹴鞠是宋代初年军中之乐，是宋朝开国皇帝和贵族都喜爱的活动，因此，开启了中国古代足球发展的第二个高潮时期。在《宋史·礼志》《乐志》中记载，凡是朝廷的盛大宴会都有足球表演。在《武林旧事》中记载，宋代除了官家有蹴鞠专业艺人之外，民间的瓦子中也有蹴鞠艺人表演，而在宋代开展最为广泛的则是“寒食蹴鞠”民俗活动；“寒食梁州十万家，蹴鞠秋千尚豪华。”（陆游《春晚感事》）在这样从上到下全国的足球热潮氛围中，便有了高俅、张明、柳三复等因踢球而发迹的人物。《宋太祖蹴鞠图》为后人提供了研究宋代足球发展最宝贵的资料。",[23,51,54,25,58,134,7,86,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a53204849892062b0904a61f11a9dd7.jpg","宽28.6厘米，长56.3厘米",[199],{"id":14136,"slug":14137,"title":14138,"dynasty":115,"author":13147,"museum":446,"description":14139,"tags":14140,"thumbUrl":14141,"material":152,"size":14142,"collection":122,"collections":14143,"showCount":13967,"zanCount":1288,"manualWeight":39,"mainColor":75},219554,"san-sheng-tu-liu-song-nian-219554","三生图","画中所绘的情景，正是李源在侍从的陪同下前去赴约，已长成十三岁的今生骑牛牧童即前世园泽，唱着歌谣徐徐而来，是为“三生”也。",[49,50,23,51,52,54,25,55,58,56,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F306c01041dc84d596efb145b5bd7b859.jpg","24x100厘米",[122,199],{"id":14145,"slug":14146,"title":14147,"dynasty":18,"author":955,"museum":329,"description":14148,"tags":14149,"thumbUrl":14150,"material":152,"size":107,"collection":107,"collections":14151,"showCount":13967,"zanCount":1288,"manualWeight":39,"mainColor":40},218022,"za-hua-ce-8-chen-hong-shou-218022","杂画册-8","陈洪绶是明朝时期著名的画家。他最著名的作品是他的杂画册，其中包含了许多精美的花鸟画和山水画。陈洪绶的杂画册是明朝时期最著名的画册之一，并被认为是中国画的杰出代表作之一。\n\n陈洪绶的杂画册中包含了多幅优美的花鸟画，其中包括了各种鸟类、花卉和动物。这些画作都是陈洪绶对自然界的精确再现，并且富有生命力。此外，陈洪绶还创作了许多优美的山水画，其中包含了各种山川、河流、湖泊和其他自然景观。这些画作也是陈洪绶对自然界的精确再现，并且富有感染力。\n\n总的来说，陈洪绶的杂画册是一部杰出的画册，其中包含了许多优美的花鸟画和山水画，是中国画的杰出代表作之一。陈洪绶的画风精细而细腻，他对自然界的描绘充满生命力和感染力，使他的作品在艺术史上占有重要地位。",[50,23,51,24,54,25,27,528,29,2681,137,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3872c863e7a4d020187cfd8dc2c8c712.jpg",[],{"id":14153,"slug":14154,"title":1125,"dynasty":18,"author":4410,"museum":81,"description":14155,"tags":14156,"thumbUrl":14159,"material":88,"size":14160,"collection":70,"collections":14161,"showCount":13967,"zanCount":39,"manualWeight":39,"mainColor":40},214729,"shan-shui-tu-qian-gu-214729","这幅画描绘了一位士子读书，一位客人拿着琵琶来访。完全基于文征明的方法，这幅画的构图密集而优雅，充满了书卷气。",[23,51,84,26,55,576,7,56,150,64,63,610,2001,2955,279,1903,14157,4940,14158,2611,3548],"林间","层岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F455082ac469620323dfec9e54692861c.jpg","117.6x24.6",[70],{"id":14163,"slug":14164,"title":14165,"dynasty":115,"author":748,"museum":20,"description":14166,"tags":14167,"thumbUrl":14168,"material":88,"size":813,"collection":107,"collections":14169,"showCount":13967,"zanCount":39,"manualWeight":39,"mainColor":40},214262,"duo-jing-lou-shi-tie-20-mi-fei-214262","多景楼诗帖-20","墨色浓淡交织，似藏无尽章法于其间。每一笔皆如骤雨惊风，却又收放自如——长画如引弓待发，短撇若惊鸿一瞥。飞白处见筋骨，重墨时显沉雄。字与字气脉相连，顾盼有情，仿佛能听见纸墨相触的脆响，窥见书者挥毫的洒脱姿态。笔法跌宕起伏里，藏着不拘一格的才情，读来只觉意气飞扬，心神被灵动线条牵引，沉醉于率真与雄健的交融之美。那肆意挥洒的笔势，既见功底的深厚，更显性情的奔放，将书写时的畅快与豪情，凝在每一处转折提按之中。",[86,119,26,7,418,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba50dd4540257478299585be2cb34631.jpg",[],{"id":14171,"slug":14172,"title":14173,"dynasty":97,"author":14174,"museum":81,"description":14175,"tags":14176,"thumbUrl":14177,"material":88,"size":14178,"collection":122,"collections":14179,"showCount":13967,"zanCount":39,"manualWeight":39,"mainColor":40},214240,"li-shu-liu-yan-lian-xia-ding-214240","隶书六言联","夏鼎","这幅隶书联作，笔法古拙沉厚，蚕头燕尾的波磔分明却不张扬，横画舒展如古松偃卧，竖笔挺劲似石笋立崖。字形宽博方正，规整中藏灵动——“飞”字撇捺轻扬带行云意，“月”字弧笔圆转含清辉态。两联对称呼应，墨色浓淡相宜，枯笔见筋骨，润笔显华滋，章法疏朗气脉贯通。整体气息雅正醇厚，既有汉隶古朴沉雄遗韵，又融个人笔意鲜活灵动，将六言联语文趣与隶书金石味完美糅合。观之如临古雅书斋，墨香与诗韵交织，笔墨间见岁月沉淀的温润风骨，尽显传统书法的静穆之美与文人意趣。",[49,105,86,5663,5664,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa47e82bd1e4d31ff74ba3a8613e2d34b.jpg","130.8x29.4",[122],{"id":14181,"slug":14182,"title":2350,"dynasty":18,"author":2181,"museum":99,"description":5719,"tags":14183,"thumbUrl":14184,"material":689,"size":690,"collection":107,"collections":14185,"showCount":14186,"zanCount":1288,"manualWeight":39,"mainColor":40},290886,"lin-ni-zan-dong-gang-cao-tang-tu-zhou-dong-qi-chang-290886",[23,26,712,134,137,1768,150,86,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6845308d6e74e26371b15c8a563743f4.jpg",[],54,{"id":14188,"slug":14189,"title":14190,"dynasty":115,"author":13418,"museum":99,"description":14191,"tags":14192,"thumbUrl":14194,"material":689,"size":690,"collection":107,"collections":14195,"showCount":14186,"zanCount":1288,"manualWeight":39,"mainColor":40},288326,"qiu-hui-cao-chong-tu-li-di-288326","秋卉草虫图","本幅画叶稍上，螳螂高举双臂，想要捕食金龟子，金龟子适时察觉，立即振翅飞起。螳螂扑了空，只好无奈地回首怅望。昆虫追逐与逃脱的生死瞬间，透过画家的描绘，扣人心弦",[50,23,54,25,27,5824,4241,14193,7],"秋草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78d045300c5b04cb819d7d29c68685b7.jpg",[],{"id":14197,"slug":14198,"title":14199,"dynasty":18,"author":1014,"museum":99,"description":1334,"tags":14200,"thumbUrl":14201,"material":689,"size":690,"collection":107,"collections":14202,"showCount":14186,"zanCount":1288,"manualWeight":39,"mainColor":40},287732,"wei-zhu-zui-yu-tu-tang-yin-287732","苇渚醉渔图",[23,50,26,84,56,62,944,1061,714,86,7,945],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3ed30e7e4f9029d9633816e33680693.jpg",[],{"id":14204,"slug":14205,"title":14206,"dynasty":18,"author":459,"museum":5878,"description":14207,"tags":14208,"thumbUrl":14209,"material":319,"size":107,"collection":122,"collections":14210,"showCount":14186,"zanCount":39,"manualWeight":39,"mainColor":40},240643,"tang-shi-zhou-xu-wei-240643","唐诗轴","徐渭（1521年3月12日－1593年），漢族，紹興府山陰（今浙江紹興）人。初字文清，後改字文長，號青藤老人、青藤道士、天池生、天池山人、天池漁隱、金壘、 金回山人、山陰布衣、白鷳山人、鵝鼻山儂、田丹水、田水月（一作水田月 ）。明代中期文學家、書畫家、戲曲家、軍事家\n徐渭曾擔任胡宗憲幕僚，助其擒徐海、誘汪直。胡宗憲被下獄後，徐渭在憂懼發狂之下自殺九次卻不死。後因殺繼妻被下獄論死，被囚七年後，得張元忭等好友救免。此後南遊金陵，北走上谷，縱觀邊塞阨塞，常慷慨悲歌。晚年貧病交加，藏書數千卷也被變賣殆盡，他自稱“南腔北調人”，於萬曆二十一年（1593年）去世，年七十三。\n徐渭多才多藝，在詩文、戲劇、書畫等各方面都獨樹一幟，與解縉、楊慎並稱“明代三才子”。他是中國“潑墨大寫意畫派”創始人、“青藤畫派”之鼻祖，其畫能吸取前人精華而脱胎換骨，不求形似求神似，山水、人物、花鳥、竹石無所不工，以花卉最為出色，開創了一代畫風，對後世畫壇（如八大山人、石濤、揚州八怪等）影響極大；書善行草，寫過大量詩文，被譽為“有明一代才人”；能操琴，諳音律；愛戲曲，所著《南詞敍錄》為中國第一部關於南戲的理論專著。另有雜劇《四聲猿》《歌代嘯》及文集傳世。\n徐渭的文藝創作所涉及的領域很廣，但它們共同的特徵是：藝術上絕不依傍他人，喜好獨創一格，具有強烈的個性，風格豪邁而放逸，而且常常表現出對民間文學的愛好。\n明代的詩壇，由於前七子與後七子的提倡，出現了一股擬古的風潮。這種擬古的風氣，在一定意義上有礙於詩歌藝術的發展。徐渭對此深致不滿，並作了尖鋭的批評。 [16] 他説：“鳥學人言，本性還是鳥；寫詩如果一意模擬前人，學得再像，也不過是鳥學人言而已，毫無真實的價值。”徐渭自己的詩歌創作，注重表達個人對社會生活的實際情感，風格略近李賀，問學盛唐，並雜取南朝，出入宋元，而終不失其為自我。這個傾向為稍後主張抒發性靈的公安派所繼承，對改變晚明詩風具有重要意義。公安派的代表人物袁宏道對徐渭的詩有一段精彩的評述：“文長既不得志於有司，遂乃放浪麴櫱，恣情山水……其所見山奔海立。如寡婦之夜泣，羈人之寒起。當其放意，平疇千里；偶爾幽峭，鬼語秋墳。” [6] [17]\n徐渭的散文，以《自為墓誌銘》一篇最為出色。此外，許多尺牘也很有特色，潑辣機智，幽默多趣，文風遠啓金聖嘆一流。但總的來説，徐渭散文方面的成就不及詩歌。\n徐渭的書法和明代早期書壇沉悶的氣氛對比顯得格外突出，他最擅長氣勢磅礴的狂草，但一般人很難看懂，用筆狼藉，他對自己的書法極為喜歡，自認為“書法第一，詩第二，文第三，畫第四”。\n徐渭打破了以“台閣體”為主導的明代書壇的寂寞，開啓和引領了晚明“尚態”書風，把明代書法引向了新的高峯。陶望齡認為其書法“稱為奇絕，謂有明一人”。袁宏道則稱：“予不能書，而謬謂文長書決在王雅宜、文徵仲之上，不論書法而論書神，先生者誠八法之散聖，字林之俠客矣！”\n徐渭的書法及書法觀的產生，與明朝中、晚期的思想、文化、審美觀念巨大變遷相吻合。他的書法也是從吳門書派主張唐法的反叛中出發，繼而吸取北宋蘇軾、黃庭堅、米芾追求藝術個性化的積極因素中走來。徐渭的作品諸如《寄雲嶽子九首冊》《為仰南書六首詩卷》《李白蘇軾九首詩卷》《春園暮雨詩軸》等作品中黃庭堅書法的筆意比比皆是。\n徐渭在《書季子微所藏摹本蘭亭》中所説的“時時露己筆意” 的審美精神。他的原話是：“非特字也，世間諸有為事，凡臨摹直寄興耳，銖而較，寸而合，豈真我面目哉？臨摹《蘭亭》本者多矣，然時時露已筆意者，始稱高手。予閲茲本，雖不能必知其為何人，然窺其露已筆意，必高手也。優孟之似孫叔敖，豈並其鬚眉軀幹而似之耶？亦取諸其意氣而已矣。”\n如果説徐渭的行書已用“己意”實現了對傳統筆法的改變，那麼，最大的改變是那些高頭大軸的中堂行草書。以前説“董其昌破壞了墨法”，在這則要説“徐渭破壞了筆法”。徐渭在書法從卷冊翰札的文房把玩轉向廳堂展示審美的變革中，實現了作品創作中筆法的改造。《代應制詠劍草書軸》和《代應制詠墨草書軸》是其代表作。徐渭這種借鑑於繪畫的點畫表現方法，是對晉唐筆法的創造性破壞。對於書法藝術這種美術化傾向的改變。\n明代的水墨寫意畫迅速發展，以徐渭為代表的潑墨大寫意畫非常流行。徐渭憑藉自己特有的才華，成為明代成就極高的寫意畫大師。\n徐渭的潑墨寫意花鳥畫，別開生面，自成一家。其花鳥畫，兼收各家之長而不為所限，大膽變革，極具創造力。其寫意畫，無論是花卉還是花鳥，皆一揮而就，一切盡在似與不似之間，對筆下的四時花木，畫家運用勾、點、潑、皴等多種筆墨形態，將牡丹之雍容、紫薇之雋秀、竹子之蕭疏、霜菊之孤傲、寒梅之挺潔的神韻刻畫的入木三分，分別舒展九尺與五尺的梧桐和芭蕉，直衝畫外，不見首尾，與密如驟雨的葡萄、虯如蟠龍的藤蔓構成了巨大的張力，充溢在畫面中的縱橫之氣和豪放境界更是前所未有。他的水墨葡萄，串串果實倒掛枝頭，水鮮嫩欲滴，形象生動，茂盛的葉子以大塊水墨點成，風格疏放，不求形似，代表了徐渭的大寫意花卉的風格。豐富的運動軌跡與濃淡、徐疾、大小、乾濕、疏密程度各異的筆蹤墨韻，無不具備振筆疾書的即興性和不可重複性，呈現出中國繪畫中最為強烈的抽象表現主義，使其藴含某種內在的氣質、精神，這種氣質、精神又使欣賞者有如臨其境之感。徐渭筆下的南瓜、菊花圖，一氣呵成，驅墨如雲，氣勢逼人，同時又恰如其分的駕馭筆墨，輕重、濃淡、疏密、乾濕極富變化。墨法上既呈隨意浸滲的墨暈，又見控制得宜的濃淡。雖然被徐渭自稱“戲抹”，然而在寫意中仍生動的傳達出了花果的不同秉性和生韻。它的梧桐圖，只以潑墨筆法繪其一小部分，卻有使人聯想到挺拔正直的參天梧桐。正如翁方綱所説：“紙才一尺樹百尺，何以著此青林廬。恐是磊落千丈氣，夜半被酒歌噓唏。” 徐渭以其精湛的筆法，在似與不似之間，為欣賞者營造出一片開闊的審美天地。\n徐渭將自己的書法技巧和筆法融於畫中，正如張岱所言：“今見青藤（徐渭）諸畫，離奇超脱，蒼勁中姿媚躍出，與其書法奇絕略同。昔人謂摩詰之詩，詩中有畫，摩詰之畫，畫中有詩；餘謂青藤之書，書中有畫，青藤之畫，畫中有書。” [24] 他的《墨葡萄圖》，墨的濃淡顯示了葉的質感，題詩的字體結構與行距不規則，如葡萄藤蔓一樣在空中自由延伸，書與畫融為一體。\n徐渭的書法造詣很高，其跌宕縱橫的筆法有助於繪畫藝術的巧妙變化，如畫墨荷、葡萄，大刀闊斧，縱橫馳騁，沒有深厚的書法功力是難以做到的。徐渭曾做一幅《梅花蕉葉圖》，將梅花與芭蕉放在一起，並且在畫上題寫道：“芭蕉伴梅花，此是王維畫”，顯示出徐渭與王維在某些構圖上的源流關係。當然，王維畫雪裏芭蕉，更突出一種禪機，即，使得雪的清寒與芭蕉的心空構成畫面的宗教底藴，而徐渭在這樣的畫面組合中，更突出一種超越時空的主體解放性。\n徐渭的書法和畫法都極為嫺熟，功底深厚，他的題字，如他的潑墨寫意畫，縱橫不羈，洋洋灑灑；他的潑墨寫意畫，融合了精熟的筆法，意趣橫生，極富韻味。\n徐渭晚年悲苦淒涼，形影相弔，他將自己的悲憤和懷才不遇之感融注於筆端，筆下的墨竹，枝淡葉濃，逸筆草草，竹枝氣勢勁健，竹葉俯垂含情，雖屬竹枝而高潔清爽之氣不減。這正是畫家身處下層，懷才不遇，品格高潔，絕世獨立人格的光輝寫照。他的潑墨牡丹，不拘於牡丹的富貴高雅特徵，色彩絢爛，他卻常常以水墨繪之，有意改其本性，其目的是有賦予牡丹清雅脱俗的格調和神韻，所謂“從來國色無裝點，空染胭脂媚俗人。”\n徐渭的繪畫主觀感情色彩強烈，筆墨揮灑放縱，從而把中國寫意花鳥畫推向了書寫強烈思想情感的最高境界，把在生宣紙上隨意控制筆墨以表現情感的寫意花鳥畫技巧提高到了前所未有的高度。成為中國寫意花鳥畫發展中的里程碑，開創了中國大寫意畫派的先河，為文人畫的發展提供了廣闊的空間。其畫風對清代的八大山人、石濤、揚州八怪以及近現代的吳昌碩、齊白石等都產生了深遠影響。\n徐渭既採用北雜劇的形式，又吸收南曲的自然格律，創作有雜劇集《四聲猿》，其中包括《狂鼓史漁陽三弄》《玉禪師翠鄉一夢》《雌木蘭替父從軍》《女狀元辭凰得鳳》四個獨立的戲。《狂鼓史漁陽三弄》又稱《陰罵曹》，是有感於嚴嵩殺害沈鍊之事而創作的，表現出狂傲的反抗精神。後兩個戲都是寫女扮男裝建功立業的故事，反映了他對婦女的看法，有一定的反封建意義。這些作品都打破了雜劇固定的格式，為戲劇形式上的多樣化開拓了門津。《四聲猿》，高華爽俊，有着反抗思想與革新精神，對明代中後葉的戲曲創作起到重要的影響。湯顯祖曾説：“《四聲猿》乃詞壇飛將，輒為之演唱數通，安得生致文長，自拔其舌！”\n此外，徐渭對當時流行的輕視南戲之風非常反感。他認為南戲有自己寬鬆自由的格律，受到民間的歡迎，它通俗、多采，“無今人時文氣”，可是卻“無人選集，亦無表其名目者”。為此，徐渭寫下了《南詞敍錄》，首次對南戲加以總結，研究了南戲的藝術特點，著錄了宋元南戲六十種、明初戲文四十七種，以反對戲曲創作的駢麗風尚，扶植新興的俗曲。 [6] 這是中國第一部關於南戲的理論專著，在戲劇史上具有重要意義。雜劇《歌代嘯》、小説《雲合奇縱》（即《英烈傳》），據説也是徐渭所作。\n在戲劇理論方面，徐渭主張“本色”，即戲劇語言應當符合人物的身份，應當使用口語和俗語，以保證人物的真實性，而反對典雅的駢語，過度的修飾，這些看法都頗有見地。\n徐渭文自負才略，喜出奇謀，談論行軍打仗的形勢策略大多得其要領。擔任胡宗憲的幕僚時，協助其抗擊倭寇，並參與制定誘降海盜汪直、徐海等人的計謀。晚年悉心培養名將李如松，使其建立不朽功勳。",[23,51,84,26,7,86,462],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f3a57aac6b64d6fc61ee1dcd1d59672.jpg",[122],{"id":14212,"slug":14213,"title":14214,"dynasty":1037,"author":207,"museum":99,"description":14215,"tags":14216,"thumbUrl":14217,"material":107,"size":107,"collection":107,"collections":14218,"showCount":14186,"zanCount":39,"manualWeight":39,"mainColor":75},239547,"huang-quan-xie-sheng-zhen-qin-tu-juan-yi-ming-239547","黄筌写生珍禽图卷","此作写实功底极尽精微，将十余类禽鸟、虫豸与灵龟一一铺陈。画师以淡墨细勾轮廓，随类施色晕染，禽鸟绒羽纤毫毕现，虫翼轻薄通透，龟甲纹理凹凸逼真。每一只生灵都形神兼备，振翅的雀鸟、爬行的甲虫、静立的水禽，皆定格住最鲜活的瞬间，尽显对自然万物的入微体察。\n\n虽为写生稿的合集，却处处彰显工笔花鸟的极致功底，将生灵的鲜活神韵凝于绢素之上，尽显五代写实工笔的隽永魅力。",[23,50,51,52,54,25,27,66,317,1990,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F332fee9c6e6f4bf61e5511d43efcaedc.jpg",[],{"id":14220,"slug":14221,"title":9034,"dynasty":97,"author":1180,"museum":99,"description":14222,"tags":14223,"thumbUrl":14224,"material":107,"size":107,"collection":35,"collections":14225,"showCount":14186,"zanCount":1288,"manualWeight":39,"mainColor":40},239112,"mo-mei-tu-zhou-wu-chang-shuo-239112","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。",[23,51,84,26,528,137,86,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57278f7c874bcd2afc57071bfc181d8f.jpg",[35,122],{"id":14227,"slug":14228,"title":14229,"dynasty":97,"author":341,"museum":99,"description":10840,"tags":14230,"thumbUrl":14233,"material":107,"size":107,"collection":122,"collections":14234,"showCount":14186,"zanCount":1288,"manualWeight":39,"mainColor":40},238317,"qiu-hua-si-shou-zhou-dong-gao-238317","秋花四首轴",[23,51,84,25,54,11725,14231,14232,1481,28,7],"秋花","花篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f70d4386e484a0de4f87b2b3e7b37d2.jpg",[122],{"id":14236,"slug":14237,"title":2149,"dynasty":97,"author":14238,"museum":99,"description":14239,"tags":14240,"thumbUrl":14241,"material":689,"size":690,"collection":35,"collections":14242,"showCount":14186,"zanCount":39,"manualWeight":39,"mainColor":40},235211,"hua-hui-ce-zhang-wei-235211","张伟","清代画家张伟的花卉写生图，是一组工笔细描的花卉图。",[23,51,27,24,25,54,529,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0af649121c5bfa8eb70d98878fbc2a5.jpg",[35],{"id":14244,"slug":14245,"title":1973,"dynasty":97,"author":445,"museum":99,"description":14246,"tags":14247,"thumbUrl":14248,"material":107,"size":107,"collection":107,"collections":14249,"showCount":14186,"zanCount":1288,"manualWeight":39,"mainColor":40},228979,"shan-shui-tu-ce-8-kai-shi-tao-228979","此作取景清逸疏淡，枯淡笔墨勾皴江岸崖石，浅赭晕染土质坡台，素白村居朴拙静雅，隐于山坳江湾。苍松倚岸，添了几分苍润生机。江上双帆缓行，似是收棹将归，细笔轻描微波，水色空明澄澈，晕开江天静穆悠然。\n左侧题笔隽秀，诗画相融，点出如镜江色的清灵意趣。笔墨干湿互用，皴擦间带着疏朗纵逸之气，未作繁复堆砌，只以极简景致，绘出渔乡日暮的安闲意韵，尽显山水间萧散淡远的林下之风。",[50,23,51,24,26,25,56,1976,150,64,1597,1977,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc902b0dd15f94b2abc4bd478738d2ba3.jpg",[],{"id":14251,"slug":14252,"title":14253,"dynasty":146,"author":1003,"museum":99,"description":14254,"tags":14255,"thumbUrl":14256,"material":689,"size":690,"collection":107,"collections":14257,"showCount":14186,"zanCount":39,"manualWeight":39,"mainColor":75},228079,"xiao-xia-tu-liu-guan-dao-228079","消夏图","描绘一文士赤裸半身躺于卧榻，右手持尘，左手拈书卷，目视前方，若有所思。他的身后放一琴，榻后的桌上陈放有书卷、砚台，茶盏等，可见主人是个风雅文士。榻的旁边有一屏风，对面两名侍女，一个手拿蒲扇，另外一名双手抱一包裹似乎主人需要之物。",[49,50,23,51,52,25,58,497,564,3875,3009,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F621dcab5316c928d6d5eb788d601bacf.jpg",[],{"id":14259,"slug":14260,"title":14261,"dynasty":115,"author":9422,"museum":99,"description":14262,"tags":14263,"thumbUrl":14264,"material":107,"size":107,"collection":107,"collections":14265,"showCount":14186,"zanCount":39,"manualWeight":39,"mainColor":40},227293,"mo-lan-tu-zheng-si-xiao-227293","墨兰图","《元郑思肖墨兰图》是元代画家郑思肖所创作的一幅写意水墨画，现为日本大阪市立美术馆藏。该作也是作者留下的传世作品，也是反映他创作思想和艺术造诣的代表作。该作是一幅非常抒情的文人写意水墨画，描绘出兰的野逸、不畏风霜，孤高自傲，无人花自馨的高尚品格。作者借笔墨抒发胸中逸气，是自我思想品格的写照。",[49,23,51,52,26,251,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6c729b870cc6b268814e99c4e289b7d.jpg",[],{"id":14267,"slug":14268,"title":14269,"dynasty":146,"author":1644,"museum":329,"description":14270,"tags":14271,"thumbUrl":14272,"material":319,"size":14273,"collection":107,"collections":14274,"showCount":14186,"zanCount":39,"manualWeight":39,"mainColor":40},221713,"wang-xi-zhi-guan-e-tu-quan-juan-qian-xuan-221713","王羲之观鹅图全卷","《王羲之观鹅图》是描写东晋书圣王羲之观白鹅的情景。此图画法，笔画简约，千墨燥锋，似是枯瘦格调，而其皴山石、立屋宇，却是较为精密且有顿挫有致的用笔技巧。山石皴笔时见飞动与疏密有致，笔划松动而老辣，空灵而沉着。\n此画为长卷，画面开阔。远景为平远山水景色，中景为一片宽阔河水，水面开阔平如镜，有几只白鹅正在河面上戏水，使谧静的河上略见生气：近处为村落，下面为坡石，坡石间和平地上，丛生松林杂树，树的后边为一座较大的屋宇水榭，水榭中站着两人，高者为此画主人公王羲之，正在凝视前方河面上戏水的鹅群，神情专一，仔细观看鹅群戏水的多姿多态。王羲之的身后为幼童，似乎也随着主人正在观看一群白鹅。\n在画面左侧，作者有一首七言题诗： “修竹林间爽致多，闲庭坦腹意如何。为书道德遗方士，留得风流一爱鹅。”\n画卷隐居题签为乾隆御笔：“钱选《观鹅图》真迹，内府御玩。”下钤“神品”、“御赏”二玺。在画卷引首部分书有“山阴逸兴”四字，上钤“乾隆御笔”玺。画心左上方有乾隆丙寅御笔诗：“墓高风有足多，独推书圣却云何。行云流水参神韵，笔阵传来只白鹅。”画心上部钤“稽古右文之玺”，上有“苍”字，与之配套的有内府五玺：“三希堂精鉴玺”， “宜了孙”、 “乾隆鉴赏”、 “乾隆御览之宝”与“石渠宝笈”玺",[49,23,51,52,25,54,119,7,56,58,63,358,64,5210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31301d79c761a30f82e35acb1616dd0c.jpg","23.2X92.7厘米",[],{"id":14276,"slug":14277,"title":14278,"dynasty":115,"author":14279,"museum":99,"description":14280,"tags":14281,"thumbUrl":14282,"material":239,"size":14283,"collection":213,"collections":14284,"showCount":14186,"zanCount":39,"manualWeight":39,"mainColor":40},221322,"shi-yong-tu-quan-juan-zhang-xian-221322","十咏图全卷","张先","此图是一幅山水人物画，画卷的开首部分便是吴兴南园一角，主体建筑为一座重檐歇山顶的楼阁，相配小亭栏杆回环曲折，花草树木掩映，庭中有鹤，亭角有花一株，环境幽雅而气象恢宏。楼阁内，马太守正陪二老对坐奕棋；小亭内，二老手扶栏杆，一面赏景一面闲话；另二老或携琴或曳杖，款款而来。此外有童仆衙役陪伴侍候。这是一次风流儒雅的集会，轻松愉快，表现出一派太平盛世的气氛。这一段表现了三首诗的内容，除前述一首之外，另有《庭鹤》、《玉蝴蝶花》二首。\n南园临水而建，湖对岸远渚汀洲，村庄茅舍，树木葱浓，群山耸翠，依次表现出《孤帆》、《宿清江小舍》、《归燕》、《闻砧》、《宿后陈庄偶书》、《送丁秀才赴举》、《贫女》七首诗的内容。\n张先的绘画作品，无论历史流传还是文献记载，仅此一幅。至于它的时代，从山石皴法及布置方法看，大体是北派山水的继承，属于荆浩、关同体系，而无李成、郭熙痕迹，更不入南宋格调，显然是北宋前期的风格。\n这件作品的文献价值一直受到前人的重视，它所记载的当时的文化活动及有关人物，都是唯一的现存第一手资料。陈振孙根据南园立石，对各种人物作了详细的笔录和考证。刻石在元代便毁灭了，颜尧焕的跋记录颇详。到今天，其画和所有的题跋，更弥足珍贵。\n此画原为清宫收藏，溥仪以赏溥杰的名义将画盗出宫廷，后携至长春。伪满政权覆灭时，此画被窃，此后50年中不知下落。\n1995年，在北京瀚海拍卖公司的拍卖会中此画才再度面世。故宫博物院根据徐邦达、启功、刘九庵等专家的建议，并得到国家文物局的批准，以1800万元竞价将此画购回，使这件国宝找到了它应有的归宿。国家文物局和故宫博物院用这么多的钱保护一件国宝，用启功先生的话说：“两个字，值得。”",[49,23,51,52,25,56,59,63,61,62,64,150,58,7,86,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb43225b3fa18322ee72418abdc181ec0.jpg","画心纵52厘米，横125.4厘米",[213,70,242],{"id":14286,"slug":14287,"title":8089,"dynasty":146,"author":376,"museum":81,"description":14288,"tags":14289,"thumbUrl":14290,"material":319,"size":14291,"collection":70,"collections":14292,"showCount":14186,"zanCount":1288,"manualWeight":39,"mainColor":40},220809,"shan-shui-zhou-wang-meng-220809","王蒙（1308-1385），元代著名画家，字叔明（一作叔铭），晚年居黄鹤山，号黄鹤山樵。又自称香光居士。王蒙是元初著名书画家赵孟頫的外甥，出身书画世家，曾一度任官。绘画主要师法董、巨，与倪瓒、黄公望、吴镇齐名并有交往，后人称“元四家”。",[49,23,51,84,26,55,56,150,64,61,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a6dcb4762f048b8615a5bade13370e9.jpg","该幅 211.1x34.4公分、全幅 67.5公分",[70,242],{"id":14294,"slug":14295,"title":14296,"dynasty":146,"author":431,"museum":485,"description":14297,"tags":14298,"thumbUrl":14299,"material":152,"size":14300,"collection":199,"collections":14301,"showCount":14186,"zanCount":743,"manualWeight":39,"mainColor":40},220304,"shen-qi-tu-zhao-meng-fu-220304","神骑图","赵孟頫（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。",[49,52,54,25,86,7,225,1116,871,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57852e2c7d3771acfec8f2e8b15502eb.jpg","16.8x87厘米",[199,72],{"id":14303,"slug":14304,"title":14305,"dynasty":146,"author":14306,"museum":81,"description":14307,"tags":14308,"thumbUrl":14309,"material":152,"size":14310,"collection":70,"collections":14311,"showCount":14186,"zanCount":1288,"manualWeight":39,"mainColor":75},220239,"song-he-guan-quan-tu-ma-wan-220239","松壑观泉图","马琬","马琬，生卒年不详，元末画家。宇文璧，号鲁钝生，灌园人，秦淮（今江苏南京）人，元末客居松江（今属上海市）。少时就学于杨维祯。1370年（明太祖洪武三）官抚州知府。擅画山水，远法董源、巨然和米芾，近师黄公望，笔墨清润，构图密茂。颇负时誉。",[49,23,51,84,26,55,56,610,4644,150,63,64,294,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39cd60e15a5e9385b875c42233475d64.jpg","60.8x29.3公分",[70],{"id":14313,"slug":14314,"title":14315,"dynasty":146,"author":7721,"museum":81,"description":14316,"tags":14317,"thumbUrl":14318,"material":88,"size":14319,"collection":35,"collections":14320,"showCount":14186,"zanCount":39,"manualWeight":39,"mainColor":75},219241,"tao-zhu-chun-qin-tu-wang-yuan-219241","桃竹春禽图","此幅画坡石桃竹，两双锦鸡楼于坡石之间。桃枝上的一双小鸟作欲飞状。枝上桃花或盛开，或含苞欲放。图中花和叶都用水墨点画而成，不用线勾。作者以深浅不同的色调，表现出阴阳向背和不同的颜色。鸟身的羽毛举涂染皴划粗细笔兼用，不作精雕细琢。全画笔墨稳练、文雅，气韵苍古，是花鸟画在元代由设色向墨笔过渡的代表性作品。",[49,23,50,84,26,54,27,1817,358,29,66,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c252bcf6ed4c5540285f24044384b10.jpg","117.6x55公分；全幅72.5公分",[35],{"id":14322,"slug":14323,"title":14324,"dynasty":115,"author":14325,"museum":290,"description":14326,"tags":14327,"thumbUrl":14328,"material":14329,"size":14330,"collection":35,"collections":14331,"showCount":14186,"zanCount":1288,"manualWeight":39,"mainColor":40},218938,"jun-gu-tu-gong-kai-218938","骏骨图","龚开","《骏骨图》绘一匹老马，瘦骨嶙峋，低首漫步风中，无辔头、缰绳，鬓尾在风中微动，腰间15条肋骨历历可数，铜骨铁臀，精神矍铄，仍有千里之志。",[49,23,51,52,135,26,225,86,119,462,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe2baa8be9cf7b52aad181b30341ca78.jpg","水墨,纸本","纵29.9厘米，横56.9厘米",[35,122,242],{"id":14333,"slug":14334,"title":14335,"dynasty":18,"author":14336,"museum":81,"description":14337,"tags":14338,"thumbUrl":14341,"material":33,"size":14342,"collection":35,"collections":14343,"showCount":14186,"zanCount":1288,"manualWeight":39,"mainColor":75},218840,"cao-hua-ye-qin-tu-lv-ji-218840","草花野禽图","吕纪","绘高梁丛底下，一对野雉正在低头觅食，另外还有三只荜雀翱翔于上，构景既真实生动，又富趣味性。画上并没有作者的签名，因为钤盖了吕纪的印章，而被误认为是他的作品。实际上这幅画虽然极好，但风格却和吕纪不尽相同，推测应该出自明代其他高手所作。吕纪（活动于1439—15○5年间），浙江鄞县人。明孝宗时任职于仁智殿作画，并被授予锦衣指挥的官名。",[50,23,51,84,54,25,27,66,14339,14340,150,1481,7],"野禽","草花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28a86ac72036a3a520bff486521df824.jpg","146.4x58.7cm",[35],{"id":14345,"slug":14346,"title":14347,"dynasty":115,"author":207,"museum":20,"description":14348,"tags":14349,"thumbUrl":14352,"material":152,"size":14353,"collection":213,"collections":14354,"showCount":14186,"zanCount":39,"manualWeight":39,"mainColor":75},218619,"yuan-lu-tu-yi-ming-218619","猿鹭图","在画山的一棵老松树上，一只猴子右手抱着一只苍鹭，左手挥舞着，似乎在吓唬坐在树顶的另一只苍鹭，尽管树顶的苍鹭确实受到了惊吓，它张着尖嘴，翅膀微微张开，似乎准备逃走了。紧握着的游隼张开的嘴，似乎在呼救。",[49,50,23,51,822,25,54,7,14350,14351,610,85,277,137,66,1116],"猿","鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe68a43a8dfe0798f567015c2597b7b30.jpg","23.3x23.8",[213],{"id":14356,"slug":14357,"title":14358,"dynasty":18,"author":4410,"museum":81,"description":14359,"tags":14360,"thumbUrl":14361,"material":33,"size":107,"collection":199,"collections":14362,"showCount":14186,"zanCount":39,"manualWeight":39,"mainColor":40},216980,"zhong-kui-tu-qian-gu-216980","钟馗图","这幅画描绘了钟馗带着他的涉猎器在寒冷的森林中独自行走，旧传锺馗本唐德宗时之武举魁首，因貌丑见斥，自刎身亡，德宗后悔莫及，封为驱魔大神。此后，钟馗的名气越来越大，人们在年底和端午节挂起钟馗的雕像，以驱除邪气。钱谷的这件作品，色彩淡雅，气氛独特，与民间形象不同。",[23,51,84,26,135,58,967,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0421f0df4b30dcc416c55929cbe0eab3.jpg",[199],{"id":14364,"slug":14365,"title":14366,"dynasty":97,"author":4509,"museum":81,"description":14367,"tags":14368,"thumbUrl":14369,"material":88,"size":14370,"collection":70,"collections":14371,"showCount":14186,"zanCount":39,"manualWeight":39,"mainColor":40},216780,"si-mei-ju-he-fu-tu-dong-bang-da-216780","四美具合幅图","明末，顾从义收藏有顾恺之的《女史箴图》、李公麟的《湘妃卧榻图》、《蜀江图》和《九歌图》。这四卷书后来遗失了，在乾隆十一年，它们被逐渐转移到皇室。梁实秋、王玉盾和张若昀的画跋中提到，乾隆十年，他把这幅画和《雪》、《秋》、《博远图》一起保存在三希堂，这四位美女 其实是相互映衬的。此图为董其昌《四美图》两卷中的右幅。",[23,51,50,84,26,55,56,60,61,63,58,1115,871,358,727,751,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54f2473dd5a6c940a97462bec011f41a.jpg","171.7x111.8",[70],{"id":14373,"slug":14374,"title":3622,"dynasty":18,"author":14375,"museum":81,"description":14376,"tags":14377,"thumbUrl":14378,"material":33,"size":14379,"collection":199,"collections":14380,"showCount":14186,"zanCount":39,"manualWeight":39,"mainColor":75},214747,"luo-han-tu-zhao-xiu-lu-214747","赵修禄","画中的罗汉眉毛胡子一把抓，左手持袖，右手持珠，化作水波，脚踏浪花，形象生动。衣服的轮廓和画作的线条都非常清晰细腻，所谓流畅的笔触可能就是这种笔触风格的体现。",[23,51,84,1284,58,25,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f0de78a831d6c5e798e599ccb531b57.jpg","82.3x24.2",[199],{"id":14382,"slug":14383,"title":14384,"dynasty":115,"author":221,"museum":175,"description":14385,"tags":14386,"thumbUrl":14387,"material":1636,"size":14388,"collection":122,"collections":14389,"showCount":14390,"zanCount":39,"manualWeight":39,"mainColor":40},239597,"su-shi-gui-yuan-tie-ye-zhao-ji-239597","苏轼归院帖页","释文：\n此虽云同归院，亦不云宿于院中。不知别有文字，证得是宿学士院为复。只是公家传说如此，乞更批示。轼白。\n今当改云宿学士院为复，且只依旧云宿待漏舍，幸批示。\n鉴藏印钤“子孙永保“、”项氏子京“、”项墨林父秘笈之印“、”退密“、”宣统御览之宝“等五方。\n此帖是《宋人法书六种》卷之一，叙述了批示“同归院”、“宿学士院”、“宿待漏舍”三个名称统一之事。从帖文中可知，该帖是苏轼做翰林学士时所书，时间应为北宋元祐元年至四年之间（1086―1089年），苏轼时年51至54岁。\n前人虽云苏轼书学颜真卿、杨凝式，但实际受徐浩行书的影响最深。此帖笔致萧散，结态随意，似不经意而笔到法随，已不见学古痕迹。诚如苏轼自己所说：“不践古人，自出新意。”虽短短五行，已臻化境。\n《石渠宝笈续编》重华宫著录。",[49,50,23,51,119,86,7,319,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e060cd1b3354e1c0cf55b5c1306316.jpg","纵35.1厘米，横12.4厘米",[122],53,{"id":14392,"slug":14393,"title":3499,"dynasty":97,"author":3500,"museum":175,"description":3501,"tags":14394,"thumbUrl":14395,"material":107,"size":107,"collection":107,"collections":14396,"showCount":14390,"zanCount":11,"manualWeight":39,"mainColor":75},237118,"shi-nv-ce-cui-wei-237118",[23,51,24,25,54,136,181,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F519e14663043a6abef08f50ab0e10161.jpg",[],{"id":14398,"slug":14399,"title":14400,"dynasty":18,"author":13308,"museum":175,"description":14401,"tags":14402,"thumbUrl":14403,"material":1087,"size":107,"collection":107,"collections":14404,"showCount":14390,"zanCount":39,"manualWeight":39,"mainColor":40},234167,"song-zhu-mei-juan-chen-jia-yan-234167","松竹梅卷","纵毫挥染，笔致松秀，设色清丽，韵格兼胜。",[49,50,23,51,52,26,541,7,86,777,358,528],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb706e263f815b90ab97a1bb3c330a393.jpg",[],{"id":14406,"slug":14407,"title":2515,"dynasty":18,"author":161,"museum":175,"description":2516,"tags":14408,"thumbUrl":14409,"material":319,"size":2519,"collection":107,"collections":14410,"showCount":14390,"zanCount":39,"manualWeight":39,"mainColor":40},234093,"wu-zhong-shan-shui-ce-shen-zhou-234093",[23,51,24,26,56,63,64,150,119,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8897142206a362f22c1dbeaf4b0aeea3.jpg",[],{"id":14412,"slug":14413,"title":14414,"dynasty":18,"author":2059,"museum":175,"description":14415,"tags":14416,"thumbUrl":14417,"material":14418,"size":14419,"collection":107,"collections":14420,"showCount":14390,"zanCount":1288,"manualWeight":39,"mainColor":40},233711,"wen-zheng-ming-lv-yin-chang-hua-tu-zhou-wen-zheng-ming-233711","文徵明绿荫长话图轴","《绿荫草堂图》绘山中村落之景，于崇山环抱中见开阔。一瀑飞泻，汇成清清池塘。村居数间皆掩映于绿荫之下。山中闲居，有客拄杖来访。其意态优容，尽显隐士风流。画上除作者自书两题外，尚有蔡羽、王宠、陆师道诸家题记。",[23,84,26,55,56,137,60,61,58,150,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe16c50eb1cb998daffc1a6e2435c3d91.jpg","纸本 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御题行书(乾隆甲辰御题。诗文不录)。\n鉴藏宝玺 乾隆御览之宝。古稀天子。五福五代堂古稀天子宝。八徵耄念之宝。避暑山庄。钤於诗塘。文津阁宝。钤於左边幅。太上皇帝之宝。钤於右边幅。五玺全。嘉庆鉴赏。三希堂精鉴玺宜子孙。三印钤於右边幅。宝笈三编。",[49,23,26,56,62,358,871,150,1977,7,55,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f664c5ad22e60535497a22874ce361.jpg","纵47厘米，横37.8厘米",[70,242],{"id":14466,"slug":14467,"title":5794,"dynasty":18,"author":5263,"museum":2430,"description":14468,"tags":14469,"thumbUrl":14470,"material":239,"size":14471,"collection":70,"collections":14472,"showCount":14390,"zanCount":1288,"manualWeight":39,"mainColor":75},222172,"shan-shui-tu-juan-ling-bi-zheng-222172","凌必正，明朝时期人物，字贞卿，一字蒙求，号约庵，太仓（今江苏太仓）人。",[49,23,52,25,55,54,56,63,60,61,59,64,150,727,6498,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d833055d321b7858277278949b9816d.jpg","32X159厘米",[70,242],{"id":14474,"slug":14475,"title":14476,"dynasty":146,"author":13706,"museum":81,"description":14477,"tags":14478,"thumbUrl":14479,"material":227,"size":14480,"collection":70,"collections":14481,"showCount":14390,"zanCount":39,"manualWeight":39,"mainColor":75},221823,"lin-xia-ming-qin-zhou-zhu-de-run-221823","林下鸣琴轴","画面为江边数棵参天古松，松下围坐三位逸士。一人抚琴，二人静听。江中渔夫垂钓，似为琴声吸引。江面辽阔，空中一行芦雁。对岸峰峦迭翠，亭台楼宇掩映其间。山峦皴笔有如卷云，古松秃枝形似鹰爪。画法取乎郭熙而又自立新意。",[49,23,26,55,84,56,610,62,58,61,137,2681,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff739ee5a552d9953abf1bb9e06365a6a.jpg","239X62.5",[70,242],{"id":14483,"slug":14484,"title":14485,"dynasty":115,"author":221,"museum":99,"description":14486,"tags":14487,"thumbUrl":14488,"material":239,"size":107,"collection":213,"collections":14489,"showCount":14390,"zanCount":39,"manualWeight":39,"mainColor":75},221321,"shan-ying-tu-ye-zhao-ji-221321","山鹰图页","宋徽宗赵佶（1082年11月2日-1135年6月4日），号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。 哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”， 并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。 他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[49,50,23,51,24,54,25,66,967,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42e2bf0c5effb80786fbb766f9d19af2.jpg",[213,35,72],{"id":14491,"slug":14492,"title":14493,"dynasty":115,"author":10665,"museum":81,"description":14494,"tags":14495,"thumbUrl":14496,"material":227,"size":14497,"collection":213,"collections":14498,"showCount":14390,"zanCount":39,"manualWeight":39,"mainColor":75},221296,"jin-men-ying-zhao-zhou-guo-zhong-shu-221296","金门应诏轴","郭忠恕(？-977)五代末期至宋代初期的画家，〔北宋〕字恕先，又字国宝，洛阳(今属河南)人 。\n兼精文字学、文学，善写篆、隶书和“八分体”，以楷书最为著名。 尤其“界画”为世人推重。“界画”是随着山水画发展而派生的一科，主要是画与山水画中有关的亭台楼阁、舟船车舆。《圣朝名画评》中评他的界画，为“一时之绝”，列为“神品” 。\n工书，诸体皆能。曾有人得鸟迹篆，忠恕一见辄诵如宿习。清刘熙载《艺概.书概》称：“忠恕以篆古之笔溢为分隶，独成高致。”传有《三体阴符经》、《汗简》、《佩觽》等书。其画风画技在当时和后世有较大影响。",[49,23,51,1962,84,25,54,58,59,358,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e85929dfecd1409924803dab3ee25f0.jpg","30x28",[213,199,72],{"id":14500,"slug":14501,"title":14502,"dynasty":115,"author":116,"museum":99,"description":14503,"tags":14504,"thumbUrl":14505,"material":7618,"size":14506,"collection":122,"collections":14507,"showCount":14390,"zanCount":1288,"manualWeight":39,"mainColor":40},221271,"chi-du-quan-ce-huang-ting-jian-221271","尺牍全册","黃庭堅（1045年6月12日—1105年9月30日），字魯直，乳名繩權，號清風閣、山谷道人、山谷老人、涪翁、涪皤、黔安居士、八桂老人，世稱黃山谷、黃太史、黃文節、豫章先生。宋江南西路洪州府分寧人（今江西省九江市修水縣）人。祖籍浙江省金華市。北宋詩人黃庶之子，南宋中奉大夫黃相之父。北宋大孝子，《二十四孝》中“滌親溺器”故事的主角。北宋著名文學家、書法家、江西詩派開山之祖。\n黃庭堅在詩、詞、散文、書、畫等方面取得很高成就。黃庭堅與張耒、晁補之、秦觀都遊學於蘇軾門下，合稱為“蘇門四學士”。黃庭堅的詩，被蘇軾稱為“山谷體”。黃庭堅的書法獨樹一格，自成一家，他和北宋書法家蘇軾、米芾和蔡襄齊名，世稱為“宋四家”。在文學界，黃庭堅生前與蘇軾齊名，時稱“蘇黃”。作品有《山谷詞》《豫章黃先生文集》等。\n治平四年（1067年），黃庭堅進士及第，歷任葉縣縣尉、北京國子監教授、泰和縣知縣、德平鎮監、秘書省校書郎、《神宗實錄》編修官、集賢校理、國史局編修官、起居舍人、宣州知州、鄂州知州、涪州別駕、宣議郎監鄂州、奉議郎兼寧國軍判官、朝奉郎兼舒州知州、吏部員外郎、太平州知州等職。1105年，黃庭堅病逝於宜州南樓，享年61歲。而後，宋高宗追贈黃庭堅為“龍圖閣大學士”。1265年，宋度宗追贈黃庭堅諡號：文節。黃庭堅一生為官清正，治學嚴謹，以文壇宗師、孝廉楷模垂範千古。",[49,51,86,119,24,7,435],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F516ad2358344b02e001f0260a856c627.jpg","27.8cm×47.4cm",[122],{"id":14509,"slug":14510,"title":14511,"dynasty":18,"author":2181,"museum":2192,"description":14512,"tags":14513,"thumbUrl":14514,"material":1087,"size":14515,"collection":70,"collections":14516,"showCount":14390,"zanCount":1288,"manualWeight":39,"mainColor":40},220904,"fang-huang-zi-jiu-jiang-shan-qiu-ji-tu-juan-dong-qi-chang-220904","仿黄子久江山秋霁图卷","在研习经史之余，董其昌与同僚诸友切磋书画技艺，纵论古今，品评高下。又从韩世能那里借阅晋、唐、宋、元法帖宝绘，心摹手追，有时废寝忘餐，因而学问大进，开始在京中有些名气。在家乡，董其昌筑“来仲楼”、“宝鼎斋”、“戏鸿堂”、“画禅室”、“香光室”等，牙签玉轴，左图右史，置身其中，著书立说，探究古今书画艺术。他不遗余力地搜集王羲之、王献之、谢安、桓温、赵估、米芾诸名家法书，于万历三十一年刊刻《戏鸿堂法帖》行世。病休松江时期，他正值四十余岁的盛年，广闻博识，采集众长，悠居林泉，心闲手熟，创作了《葑泾访古图》《鹤林春社图》《浮岚暖翠图》《神楼图》《西湖八景图》《溪回路转图》等许多描绘江南风光的著名山水画。",[49,50,23,51,52,26,55,56,870,406,64,7,86,119,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d1f5b42426e5016ad5e6067a25246c5.jpg","28.3*206cm",[70,72],{"id":14518,"slug":14519,"title":8089,"dynasty":97,"author":14520,"museum":81,"description":14521,"tags":14522,"thumbUrl":14523,"material":88,"size":14524,"collection":70,"collections":14525,"showCount":14390,"zanCount":1288,"manualWeight":39,"mainColor":40},219481,"shan-shui-zhou-huang-ding-219481","黄鼎","这幅画中，江亭空旷，江山深邃，秀美。",[23,26,84,55,7,56,871,150,60,379,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff353d9af0a3e032c79871c2d0edac77a.jpg","78x39.3",[70],{"id":14527,"slug":14528,"title":14529,"dynasty":146,"author":207,"museum":81,"description":14530,"tags":14531,"thumbUrl":14532,"material":25,"size":107,"collection":72,"collections":14533,"showCount":14390,"zanCount":39,"manualWeight":39,"mainColor":75},219326,"lao-pu-qiu-rong-tu-yi-ming-219326","老圃秋容图","画面中，数丛秋菊凌霜绽放，黄蕊凝金、紫瓣含晕，叠瓣层舒间尽显妍丽之态；叶片墨绿带苍，脉络清晰如染秋霜。旁侧墨石以皴擦写就，苍劲古朴，石上苔点疏密错落，更添岁月厚重。几只麻雀或栖石巅梳理羽翅，或低空掠飞相逐，灵动身姿为静谧秋景注入鲜活生气。笔墨兼具工细与写意，设色淡雅却见精神，秋意浓而不俗，尽显文人画“逸”之韵致——仿佛能闻菊香幽幽，听雀语啾啾，于方寸绢素间藏尽老圃秋日的清旷雅趣。",[23,25,54,27,310,29,277,1481,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1869d6dcdca848d4e68850d5569f1ae2.jpg",[72],{"id":14535,"slug":14536,"title":14537,"dynasty":192,"author":5447,"museum":81,"description":14538,"tags":14539,"thumbUrl":14541,"material":239,"size":107,"collection":242,"collections":14542,"showCount":14390,"zanCount":39,"manualWeight":39,"mainColor":40},219232,"hua-niu-dai-song-219232","画牛","戴嵩 ，生卒年不详，唐代画家。韩滉弟子，韩滉镇守浙西时，嵩为巡官。擅画田家、川原之景，画水牛尤为著名，后人谓得“野性筋骨之妙”。相传曾画饮水之牛，水中倒影，唇鼻相连，可见之观察之精微。明代李日华评其画谓：“固知象物者不在工谨，贯得其神而捷取之耳。”与韩干之画马，并称“韩马戴牛”。",[9636,23,51,50,26,25,54,1115,58,871,14540,1714,7],"小狗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf1d4166525a0816f7b92f6d8b121fdb.jpg",[242],{"id":14544,"slug":14545,"title":14546,"dynasty":146,"author":376,"museum":525,"description":14547,"tags":14548,"thumbUrl":14549,"material":152,"size":14550,"collection":70,"collections":14551,"showCount":14390,"zanCount":39,"manualWeight":39,"mainColor":75},217743,"nan-cun-cao-tang-tu-wang-meng-217743","南村草堂图","南村草堂图是一幅画作，它描绘了王蒙在南村的草堂中写诗的场景。在这幅画中，王蒙坐在一张桌子前，手拿笔，正在写诗。画中还有许多自然元素，如树、花和鸟。这幅画反映了王蒙对自然的喜爱，也表现了他作为一位文人的生活方式。\n\n南村草堂图是王蒙的一部重要作品，它体现了他对自然、人生和社会的独特观点。通过这幅画，我们可以了解到王蒙的性格和想法，以及他对人生的看法。",[49,23,51,52,26,25,55,119,7,86,56,59,60,61,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f321da5e3294ddbe21991bf518c888b.jpg","27.2x88.8cm",[70],{"id":14553,"slug":14554,"title":14555,"dynasty":18,"author":14556,"museum":81,"description":14557,"tags":14558,"thumbUrl":14560,"material":33,"size":14561,"collection":199,"collections":14562,"showCount":14390,"zanCount":39,"manualWeight":39,"mainColor":75},217034,"bai-ma-tuo-jing-tu-ding-yun-peng-217034","白马驮经图","丁云鹏","白马驮经图是中国明朝时期画家丁云鹏所作的一幅著名的中国画。这幅画描绘了一匹白马背负着丰满的袋子，路过田野、山谷和小村庄，显然是在途中运送物资。\n\n丁云鹏是明朝时期著名的画家，他的作品风格独特，被称为“丁式画法”。他的作品中经常出现农村生活的题材，善于捕捉农民劳作的真实生活。白马驮经图就是其中的一幅代表作。\n这幅画的特点在于对光影的运用，丁云鹏巧妙地运用阴影和明暗来突出画面的立体感，让人感觉白马和背负的袋子都是立体的，充满了生命力。此外，画中的风景也很优美，景色宁静而美好，给人带来深刻的视觉冲击。\n\n总的来说，白马驮经图是一幅充满生命力和美感的中国画，值得一看。",[49,23,51,54,25,1284,58,225,871,56,150,3653,715,7,10053,14559],"经箱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74fd292e518fbf95bea5b9e942631f6c.jpg","130.9x54.5",[199],{"id":14564,"slug":14565,"title":14566,"dynasty":97,"author":697,"museum":20,"description":698,"tags":14567,"thumbUrl":14568,"material":88,"size":702,"collection":107,"collections":14569,"showCount":14390,"zanCount":39,"manualWeight":39,"mainColor":40},214676,"mei-hua-zhu-shi-tu-ce-11-wang-shi-shen-214676","梅花竹石图册-11",[23,51,24,26,403,27,528,358,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a2dccd336217afc6590120e3bc47b60.jpg",[],{"id":14571,"slug":14572,"title":14573,"dynasty":18,"author":14574,"museum":485,"description":14575,"tags":14576,"thumbUrl":14577,"material":33,"size":14578,"collection":70,"collections":14579,"showCount":14390,"zanCount":1288,"manualWeight":39,"mainColor":40},214379,"jiang-feng-juan-diao-tu-wang-qi-214379","江风卷钓图","王綦","明代王綦的江风卷钓图是一幅令人钦佩的作品，它描绘了一个渔夫在江边钓鱼的生动场景。\n\n这幅画的色彩鲜艳，笔触细腻，构图巧妙。画中的渔夫坐在船上，手持鱼竿，朝着江边抛出鱼饵。鱼儿们在水面上游动，形成一道道弧线，展现了渔夫抓鱼的技巧和耐心。背景是江边的树木和山峦，体现了王綦对自然的描绘。\n\n王綦是明代著名画家，他的作品擅长运用自然色彩，表现出自然界的美感。在《江风卷钓图》中，他运用了浅蓝色和淡黄色来描绘水面和天空，使整幅画显得清新自然。同时，他还运用了细腻的笔触来描绘渔夫和鱼儿的细节，使得这幅画充满生命力和真实感。\n\n总的来说，明代王綦的江风卷钓图是一幅精美的艺术品，它描绘了明代渔民的生活，也体现了王綦对自然的描绘。通过这幅画，我们不仅能感受到王綦的艺术才华，还能了解明代渔民的生活和文化。",[49,23,51,84,26,55,56,137,2681,60,61,225,58,150,64,7,1050],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa90fc46736ca32af793a380d64ede047.jpg","130.2x32.2",[70],{"id":14581,"slug":14582,"title":14583,"dynasty":146,"author":1303,"museum":81,"description":14584,"tags":14585,"thumbUrl":14586,"material":88,"size":14587,"collection":107,"collections":14588,"showCount":14589,"zanCount":1288,"manualWeight":39,"mainColor":40},291019,"yun-shi-gu-cha-tu-ni-zan-291019","筠石古槎图","枯树一株，寥寥数笔，下笔含蓄而有力。坡石皆用淡墨，而以焦墨写竹，极雅淡且极萧散。款下有云林子一印，旧说云林画中惟有荆蛮民一印，亦未可执一而论。",[50,23,51,84,26,967,358,277,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bd707629052de9cb100aa4bd7ee76e9.jpg","44.5x32",[],52,{"id":14591,"slug":14592,"title":14593,"dynasty":18,"author":14594,"museum":99,"description":14595,"tags":14596,"thumbUrl":14597,"material":689,"size":690,"collection":107,"collections":14598,"showCount":14589,"zanCount":39,"manualWeight":39,"mainColor":75},289888,"wang-fu-zhu-he-shuang-qing-tu-zhou-bian-jing-zhao-289888","王绂竹鹤双清图轴","边景昭","边景昭，字文进，明代画家。陇西（今甘肃陇西）人，生卒年不详。边景昭的花鸟画以工笔重彩法见长，传统渊源无疑来自宋代“院体”，如清方薰《山静居画论》评：“边鸾（应作边景昭）、吕纪、林良、戴进，纯以宋院题为法，精工毫素、魄力甚伟，黄（笙）、赵（昌）、崔（白）、徐（熙）之作，犹可想见。”明李开先《中麓画品》更具体的指出：“边景昭其源出于李安忠。”清顾复《平生壮观》记边氏《聚禽图》时也指出：“得黄要叔父子遗意。”黄要叔父子即北宋初黄筌及其子黄居采，所创工笔重彩花鸟画风，成为宋初“院体”标准体制.\n李安忠是宣和朝画院画家，花鸟亦善然而出，边氏出生地的福建，又沿续着南宋院画风格和元代边武、张舜咨传至闽地的文人水墨花鸟画风，趋于粗简劲健，故边氏也受到一定影响。其成熟的花鸟画法即粗细相兼，妍雅并重。花鸟主体勾勒设色，工细妍丽，树石北京水墨皴染，简劲清雅，在工致华美中透出雍容浑朴气象，遂自成一格，开创了明代“院体”花鸟新风。",[23,84,27,26,358,1480,86,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e16c83ba939e92b50a0d66ced3a9ca.jpg",[],{"id":14600,"slug":14601,"title":14602,"dynasty":97,"author":9011,"museum":99,"description":9012,"tags":14603,"thumbUrl":14605,"material":689,"size":690,"collection":107,"collections":14606,"showCount":14589,"zanCount":39,"manualWeight":39,"mainColor":40},289652,"chun-hua-ti-niao-jing-xin-ren-yi-289652","春花啼鸟镜心",[49,23,2343,27,25,54,66,14604,7],"春花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3419b0daa27ad6da934e8775bd43d751.jpg",[],{"id":14608,"slug":14609,"title":14610,"dynasty":115,"author":14611,"museum":99,"description":14612,"tags":14613,"thumbUrl":14616,"material":689,"size":690,"collection":107,"collections":14617,"showCount":14589,"zanCount":39,"manualWeight":39,"mainColor":40},289350,"sha-ting-yan-shu-tu-hui-chong-289350","沙汀烟树图","惠崇","此图画沙汀烟树迷离的早春景色。江南水乡的初春，杨柳刚吐新绿，春溪满溢，潺潺流淌，河岸水草随风摇曳，成群的水鸟在水上栖止飞翔，隔岸丛树掩映在一片云烟之中，若隐若现，具有浓郁的抒情色彩，在表现微妙迷惘的感觉上获得了成功。取景立意似南方画派，但画法上又不似南方画那样轻淡圆润，山石树木用墨较浓，用笔也较方硬。杂草用笔点簇而成，柳树以方直线条勾出老干，然后再涂染色彩，远山用淡墨平画，很雅致。",[49,23,712,51,26,119,7,86,137,66,14614,14615],"沙汀","烟树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F445107f68aa7c5aafbac1748922679d9.jpg",[],{"id":14619,"slug":14620,"title":14621,"dynasty":97,"author":1180,"museum":99,"description":1655,"tags":14622,"thumbUrl":14623,"material":689,"size":690,"collection":107,"collections":14624,"showCount":14589,"zanCount":1288,"manualWeight":39,"mainColor":40},288529,"ci-hua-ruo-lao-shi-yi-tu-zhou-wu-chang-shuo-288529","此花若老诗意图轴",[49,23,84,26,25,27,308,277,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f598f5c457146f401751b0950996e9f.jpg",[],{"id":14626,"slug":14627,"title":14628,"dynasty":97,"author":5660,"museum":99,"description":14629,"tags":14630,"thumbUrl":14633,"material":689,"size":690,"collection":107,"collections":14634,"showCount":14589,"zanCount":39,"manualWeight":39,"mainColor":40},287996,"zhuan-shu-bai-shi-cao-tang-ji-deng-shi-ru-287996","篆书白氏草堂记","邓石如（1743—1805年），初名琰，因避清仁宗讳，遂以字行，更字顽伯，号完白山人、笈游道人等，怀宁（今安徽安庆）人。清代乾、嘉时期著名碑学大师。少好刻石，弱冠谒江宁梅镠，梅家多藏金石善本，尽出与石如，使专摹习。客梅氏八年，学既成，又客于两江总督毕沅幕府。三年后辞归。工书法、篆刻。书工各体，以篆、隶为最精，颇得古法，兼融各家之长，形成独特风格。清李兆洛谓其书“真气弥满，楷则俱备，其手之所运，心之所追，绝去时俗，同符古初，津梁后生，一代宗仰。”对清代中、后期书坛有巨大影响。著有《完白山人篆刻偶存》等书行世，《清史稿》有传。",[49,86,541,84,51,14631,14632,7],"名帖","白氏草堂记","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50c5d1e16b90a9a938f5767e25d30edf.jpg",[],{"id":14636,"slug":14637,"title":14638,"dynasty":18,"author":2181,"museum":99,"description":5719,"tags":14639,"thumbUrl":14641,"material":689,"size":690,"collection":107,"collections":14642,"showCount":14589,"zanCount":39,"manualWeight":39,"mainColor":40},283750,"xi-shan-yue-guan-tu-zhou-dong-qi-chang-283750","溪山樾馆图轴",[50,23,51,84,26,56,64,14640,150,55,86,7],"屋宇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F778662d1b02ed3453eaa167d51351294.jpg",[],{"id":14644,"slug":14645,"title":8325,"dynasty":97,"author":697,"museum":20,"description":14646,"tags":14647,"thumbUrl":14648,"material":779,"size":14649,"collection":35,"collections":14650,"showCount":14589,"zanCount":39,"manualWeight":39,"mainColor":40},238069,"mei-hua-tu-ce-wang-shi-shen-238069","汪士慎(公元1686—约1759年)，字近人，号巢林，别号溪东外史、晚春老人等。安徽省歙县人，居扬州，以卖画为生。他一生清贫，却能安贫乐道，精研艺术，善画墨笔梅、兰、竹，尤以画梅著称。其画疏淡秀雅，清妙多姿，有“铁骨冰心”之号。54岁后，双目相继失明，遂练习以手摸索写字作画，竟能“工妙胜未瞽时”。亦工诗、篆刻和八分书，为“扬州八怪之一”，有《巢林诗集》行世。此册共12开，多以润笔淡墨画梅干，浓墨点刺，梅树曲劲奇倔，枝梢瘦劲，墨法单纯却风姿多变。花朵或用扬补之圈白法，浓墨密蕊，秀润清丽;或用崖白点墨法，干老花疏，风格独具。金农评他的梅花“巢林画繁枝，千花万蕊，管领冷香，俨然灞桥风雪中。”从其存世画梅作品看，并非全是繁枝，也常画疏枝，但不论繁简，都有空里疏香，风雪山林之趣。此册作于乾隆壬戌(公元1742年)二月，画家时年57岁。",[23,51,24,26,7,27,528],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44d108d80e52eee9a2465656a987baad.jpg","纵25.1厘米，横32.3厘米",[35],{"id":14652,"slug":14653,"title":14654,"dynasty":97,"author":207,"museum":99,"description":14655,"tags":14656,"thumbUrl":14657,"material":107,"size":107,"collection":107,"collections":14658,"showCount":14589,"zanCount":39,"manualWeight":39,"mainColor":40},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。",[23,26,403,27,102,103,86,119,7,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb26610f2567b72eb84b2c567e8c8efe.jpg",[],{"id":14660,"slug":14661,"title":14662,"dynasty":97,"author":445,"museum":175,"description":14663,"tags":14664,"thumbUrl":14665,"material":1087,"size":107,"collection":107,"collections":14666,"showCount":14589,"zanCount":1288,"manualWeight":39,"mainColor":40},234504,"yuan-ji-mei-hua-ce-dan-ye-shi-tao-234504","原济梅花册单页","石涛（1642年－1708年）清代著名画家，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“清初四僧”。\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。",[23,51,50,24,26,135,119,7,528],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf3586e802482ec56e20f1a800f31d1e.jpg",[],{"id":14668,"slug":14669,"title":14670,"dynasty":18,"author":45,"museum":175,"description":14671,"tags":14672,"thumbUrl":14673,"material":183,"size":14674,"collection":107,"collections":14675,"showCount":14589,"zanCount":743,"manualWeight":39,"mainColor":75},233416,"tao-cun-cao-tang-tu-zhou-chou-ying-233416","桃村草堂图轴","自题：“仇实父为少岳先生制”，钤“十洲”朱文葫芦形印。此图是仇英师承南宋“二赵”风格的作品，描绘的是幽深静逸的隐居环境。草堂位于山坳，其后桃林一片，溪流出其下，一童子踞溪侧洗砚。更上则高岭白云，丛树列布，意境幽深。画作富有诗意，画法精细工谨，细致入微。通幅大青绿着色，色彩艳丽深重。方薰在《山静居论画》中说：“设色不以深浅为难，难于色彩相合，合则神气生动。”此图将滴翠的石绿、秀雅的淡赭、温润的墨色自然和谐地统一在一起，具有一种雅俗共赏的艺术效果。此图为仇英青绿山水画的代表作之一。\n据徐石雪题跋考证，画中主人公为项元淇。仇英此图是应项元淇之约而作。项元淇，字子瞻，号少岳。工诗文，善草书，著名收藏家项元汴之兄。图中项氏襟带飘然，风度高雅，四周环境清幽，景色宜人，宛如人间仙境。裱边有董其昌、昆虔、徐宗浩题跋。经清内府收藏，后为徐石雪所得。",[23,84,54,25,53,56,64,63,61,60,58,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7b542990eb17d240c9f1d39023cb377.jpg","纵150厘米，横53厘米",[],{"id":14677,"slug":14678,"title":14679,"dynasty":146,"author":1303,"museum":81,"description":14680,"tags":14681,"thumbUrl":14683,"material":319,"size":14684,"collection":107,"collections":14685,"showCount":14589,"zanCount":39,"manualWeight":39,"mainColor":40},231338,"an-chu-zhai-tu-yuan-dai-ji-jin-zhi-san-ni-zan-231338","安处斋图－元代集锦之三","《安处斋图》，近景一脉土坡，树三五株，草屋一座，中间上方空白，以示淼淼湖波，山脉淡淡，天宇明朗，前所未有的调调。右下倪瓒题诗：“湖上斋居处士家。淡烟疎柳望中赊。安时为善年年乐。处顺谋身事事佳。竹叶夜香缸面酒。菊苗春点磨头茶。幽栖不作红尘客。遮莫寒江卷浪花。十月望日。写安处斋图。并赋长句。倪瓒。”不隐不仕，漂泊江湖，这“安处斋”可是云林心之安顿处?\n此图右上乾隆爷题款。乾隆爷爱题款，没办法，这画曾经是人家家藏的，随手拿来就写了。而且，当时，没有人说他没倪瓒写得好。可是如今，这画安在，这画中人，都去了哪里?",[50,23,51,52,26,56,55,119,7,751,14682,967,1597,277],"湖水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c1742d69b49bcf6d9e560d192602cca.jpg","纵33cm 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书，纸本。\n纵6.7厘米，横5.7厘米。\n草书，71行596字，计（自警辞）正文44行15字，天祥跋文27行281字。\n钤“文天祥氏”朱文印，卷后有王应麟书赞语、元代蒋岩、明代万韫辉、郝智、廖驹、程启充跋文及谢昌元后人谢源小楷书谢昌元《行实》。\n以行书在此卷包首题签“文天祥书谢昌元座右铭。\n内府鉴藏。\n”下钤“神品”、“乾隆宸翰”之印。\n文天祥（126－128），原名云孙，字宋瑞，又字履善，号文山。\n吉州庐陵（今 ）人。\n南宋杰出的民族英雄和爱国诗人。\n宝祐四年（1256）年进士第一，因父丧未受官职。\n开庆 初年（1259）蒙古军攻鄂州（今 ）， 董宋臣请理宗迁都以避敌锋，文天祥上疏请斩董宋臣，以振奋人心，并献御敌之计，未被采纳。\n后历任刑部郎官，知瑞州等职。\n咸淳六年（127），因得罪奸相贾似道而遭到罢斥。\n德祐元年（1275）正月，闻元军东下，文天祥在赣州组织义军，开赴临安（今杭州，当时南宋的京城）。\n次年被任为右丞相兼枢密使。\n其时元军已进逼临安，被派往元营中谈判，遭扣留，押往北就。\n二月底，天祥与其客杜浒等十二人，夜亡入真州。\n复由海路南下，至福建与张世杰、陆秀夫等坚持抗元。\n景炎二年（1277），进兵 ，收复州县多处。\n不久，为元重兵所败，妻子儿女皆被执，将士牺牲甚众，天祥只身逃脱，乃退 继续抗 。\n后因叛徒引元兵袭击，同年十二月，在五坡岭（今广东海丰县）被俘。\n元将张弘范迫其招降张世杰，乃书《 》诗以诉之。\n末句云：“人生自古谁无死，留取丹心照汗青。\n”次年，被押送大都（今北京），囚禁四年，经历种种严酷考验，始终不屈。\n于128年从容就义，年仅47岁。\n文天祥创作了大量的诗、词和散文作品。\n其中诗作达百余首，成就很高。\n有《 》，其中有《过零丁洋》、《正气歌》等千古绝唱。",[49,86,52,462,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2b38d55b9a799e7ddfed90fa50dcef5.jpg","纵36.7厘米，横335.7厘米",[122],{"id":14777,"slug":14778,"title":14779,"dynasty":146,"author":431,"museum":14780,"description":14781,"tags":14782,"thumbUrl":14784,"material":14785,"size":14786,"collection":122,"collections":14787,"showCount":14589,"zanCount":743,"manualWeight":39,"mainColor":40},220836,"bei-long-geng-yun-shu-juan-zhao-meng-fu-220836","北陇耕云书卷","亳州市博物馆","该帖行草相间，其气势如大河波涛，滚滚直下，神采照人，其用笔如龙飞凤舞，转折自如，百炼刚化，为绕指柔，实为罕见，代表着赵孟頫行草书的最高水平，反复谛观，时时令人动临池之兴。",[49,51,52,119,86,26,7,1207,14783,56],"陇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7104a163641e42f4f36ddf0344ee4184.jpg","青石","纵29厘米，横222厘米",[122],{"id":14789,"slug":14790,"title":14791,"dynasty":18,"author":459,"museum":485,"description":1795,"tags":14792,"thumbUrl":14794,"material":88,"size":1798,"collection":107,"collections":14795,"showCount":14589,"zanCount":39,"manualWeight":39,"mainColor":40},220097,"shi-er-mo-hua-tu-juan-1-xu-wei-220097","十二墨花图卷-1",[23,51,52,26,403,27,462,7,14793],"墨花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b62eb182373bb75f2464f99871c93e.jpg",[],{"id":14797,"slug":14798,"title":14799,"dynasty":192,"author":207,"museum":4269,"description":14800,"tags":14801,"thumbUrl":14802,"material":88,"size":14803,"collection":122,"collections":14804,"showCount":14589,"zanCount":1288,"manualWeight":39,"mainColor":40},219859,"shi-shuo-xin-shu-juan-di-liu-can-juan-yi-ming-219859","世说新书卷第六残卷","《世说新书》是笔记小说集的一种，为中国六朝时代的南朝刘宋文学家临川王刘义庆（403—444）著，将东汉末年到东晋间名士的言行或逸事，以三十八个部门分别集录，并由南朝梁的文学家刘峻（字孝标，462—521）作注。",[49,9636,52,417,86,2601,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa56aa6c1c5966b809f57b2827d750550.jpg","纵27.1cm，横397.0cm",[122],{"id":14806,"slug":14807,"title":14808,"dynasty":97,"author":736,"museum":81,"description":14809,"tags":14810,"thumbUrl":14811,"material":152,"size":14812,"collection":72,"collections":14813,"showCount":14589,"zanCount":743,"manualWeight":39,"mainColor":40},219421,"shi-jun-tu-zhi-ben-xiao-cong-zhou-lang-shi-ning-219421","十骏图之奔霄骢轴","郎世宁（一六八八－一七六六）意大利人。十九岁，入天主教耶稣会为修士。曾习油画，兼习建筑。二十七岁来华，以绘事供奉内廷，历仕康熙、雍正、乾隆三朝。善画人物花鸟，尤善犬马。翁牛特贝勒彭苏克于乾隆八（西元一七四三）年，进贡骏马一匹。郎氏奉命写生，大小尺寸与真马近似，故生动逼真。",[23,51,84,25,54,225,1116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88cc43dc7390def7e0d6582757e42846.jpg","240x270.5",[72],{"id":14815,"slug":14816,"title":14817,"dynasty":146,"author":14818,"museum":81,"description":14819,"tags":14820,"thumbUrl":14821,"material":33,"size":14822,"collection":199,"collections":14823,"showCount":14589,"zanCount":39,"manualWeight":39,"mainColor":924},218831,"xiang-ma-tu-zhou-zhao-lin-218831","相马图轴","赵麟","赵麟（西元十四世纪），浙江吴兴人。雍之子，孟俯之孙，字彦征，官浙江省检校。工书，善画人物，至正壬午（一三四二年）作春山图，乙巳（一三六五年）作洗马图。赵麟画传世绝少，此帧画老树枯枝，藤萝缠绕。一人朱衣纱帽，坐树根。前一马低首啮草。其人端详视其骨相以度骏驽。人物衣褶、马之鬃鬣，皆细劲有力。树稍逊，款书极得家法。",[23,51,50,84,25,54,58,225,2681,137,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faac95bc04a45d346bbbbee2ed1b2bee5.jpg","95.7x30.1cm",[199],{"id":14825,"slug":14826,"title":14827,"dynasty":146,"author":14828,"museum":81,"description":14829,"tags":14830,"thumbUrl":14832,"material":33,"size":14833,"collection":70,"collections":14834,"showCount":14589,"zanCount":1288,"manualWeight":39,"mainColor":40},214721,"xi-shan-yan-ai-tu-cui-yan-fu-214721","溪山烟霭图","崔彦辅","这幅画描绘了一座山和一条山脉，烟雾和雾气围绕着溪流。崔彦辅传世画迹罕见，此幅或学荆关，颇有新意。",[23,51,56,26,55,86,7,119,150,64,294,14831,277,63],"烟霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c68b55b40754b6527e503dbf1a05080.jpg","71x39.2",[70],{"id":14836,"slug":14837,"title":14838,"dynasty":192,"author":10882,"museum":99,"description":14839,"tags":14840,"thumbUrl":14841,"material":689,"size":690,"collection":107,"collections":14842,"showCount":14843,"zanCount":39,"manualWeight":39,"mainColor":75},288262,"hu-ting-you-qi-tu-li-zhao-dao-288262","湖亭游骑图","李家画山水，构图复杂而巧妙。常以均匀的细笔画出山石树木轮廓，再填染赭石、石青、石绿等浓重的颜色。还常再加上泥金的线条，衬在山石轮廓线的内侧，特别显出金碧辉煌的感觉。后人称为“青绿”山水，为“北宗”所主。这一幅是属于李家山水法，画幅右下角有“李昭道画”的落款。",[49,23,53,25,56,1962,59,60,63,58,225,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa461a3188e9dc97ebe9f0559f0d8fe9c.jpg",[],51,{"id":14845,"slug":14846,"title":14847,"dynasty":115,"author":221,"museum":99,"description":2051,"tags":14848,"thumbUrl":14849,"material":689,"size":690,"collection":107,"collections":14850,"showCount":14843,"zanCount":39,"manualWeight":39,"mainColor":75},287889,"hong-li-shan-qin-tu-zhao-ji-287889","红荔山禽图",[50,23,51,822,25,54,27,1194,66,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F499471b14708a88846e258b8065c8c2e.jpg",[],{"id":14852,"slug":14853,"title":14854,"dynasty":18,"author":45,"museum":99,"description":14855,"tags":14856,"thumbUrl":14861,"material":689,"size":690,"collection":107,"collections":14862,"showCount":14843,"zanCount":39,"manualWeight":39,"mainColor":75},287413,"jie-bo-tu-juan-chou-ying-287413","揭钵图卷","此图系佛教故事画，描绘佛世尊为惩治鬼子母而将其幼子宾伽罗扣于钵下，鬼子母遣众小鬼意欲揭钵救子的情景。图中佛世尊神态安然地趺坐在莲花座上，众天神手执兵器耀武扬威地护其左右，正藐视地静观众小鬼徒劳无功的揭钵场面。小儿于钵中哭叫着张手求救，小鬼们不遗余力地用尽各种方法抢救，鬼子母面带忧色地被众孩儿团团围住，她显然已为解救幼子而心力交瘁。",[49,50,23,52,25,54,58,1284,10400,14857,14858,5029,14859,436,86,7,14860],"佛陀","神兽","战马","战争场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932dc5ed50526f84734c179fdbbe4024.jpg",[],{"id":14864,"slug":14865,"title":573,"dynasty":18,"author":4381,"museum":99,"description":4927,"tags":14866,"thumbUrl":14867,"material":689,"size":690,"collection":107,"collections":14868,"showCount":14843,"zanCount":39,"manualWeight":39,"mainColor":40},287387,"mu-dan-tu-lu-zhi-287387",[49,23,84,25,27,308,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7bc5204a6108eddf32dca501575edba.jpg",[],{"id":14870,"slug":14871,"title":2895,"dynasty":97,"author":1082,"museum":99,"description":1382,"tags":14872,"thumbUrl":14873,"material":689,"size":690,"collection":107,"collections":14874,"showCount":14843,"zanCount":39,"manualWeight":39,"mainColor":40},237934,"za-hua-ce-zhu-da-237934",[50,105,26,403,1085,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3541396bcba653734846251d31deed0f.jpg",[],{"id":14876,"slug":14877,"title":14878,"dynasty":97,"author":5100,"museum":175,"description":14879,"tags":14880,"thumbUrl":14881,"material":107,"size":107,"collection":35,"collections":14882,"showCount":14843,"zanCount":39,"manualWeight":39,"mainColor":40},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》。",[23,51,84,25,27,308,181,7,86,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9ed4d9db10b63206fec6a4df1288307.jpg",[35,72],{"id":14884,"slug":14885,"title":14886,"dynasty":97,"author":14887,"museum":99,"description":14888,"tags":14889,"thumbUrl":14890,"material":319,"size":107,"collection":199,"collections":14891,"showCount":14843,"zanCount":39,"manualWeight":39,"mainColor":40},237083,"jiang-feng-shi-nv-ce-jiang-feng-237083","蒋峰仕女册","蒋峰","仕女画在中国传统绘画中属于人物画的范畴，但由于它以女性为描绘对象，通过塑造优美动人的妇女形象，来反映当时的社会生活，传达特定的艺术趣味和审美观念，在题材内容、思想内涵、创作方法、表现形式等方面都有独特之处，其肇始、成熟、演变、发展的历史轨迹也不全与人物画同步，因此，它已成为中国绘画中的一个独立画科，其艺术传统还一直延续到今天，对当代的国画、年画，以及牙雕、玉器、雕漆、宫灯、花丝镶嵌等工艺品有着不可忽视的影响。",[23,51,24,25,54,58,136,178,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93f5e9f674e02a1ae624093d9b343a35.jpg",[199],{"id":14893,"slug":14894,"title":14895,"dynasty":97,"author":1180,"museum":99,"description":14896,"tags":14897,"thumbUrl":14898,"material":107,"size":107,"collection":107,"collections":14899,"showCount":14843,"zanCount":1288,"manualWeight":39,"mainColor":40},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。",[23,51,84,26,25,403,27,3787,896,265,541,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5000c77ba43cc4203afefb648a729f86.jpg",[],{"id":14901,"slug":14902,"title":2515,"dynasty":18,"author":161,"museum":175,"description":2516,"tags":14903,"thumbUrl":14904,"material":319,"size":2519,"collection":107,"collections":14905,"showCount":14843,"zanCount":39,"manualWeight":39,"mainColor":40},234094,"wu-zhong-shan-shui-ce-shen-zhou-234094",[23,51,24,26,56,119,7,55,86,60,61,64,870],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F281cd9bcebb3bee363a0e64bf0753972.jpg",[],{"id":14907,"slug":14908,"title":14909,"dynasty":97,"author":929,"museum":99,"description":14910,"tags":14911,"thumbUrl":14912,"material":319,"size":14913,"collection":107,"collections":14914,"showCount":14843,"zanCount":39,"manualWeight":39,"mainColor":40},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”。",[49,23,51,84,26,403,102,103,10264,27,1061,104,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3527f96ea3aeadc84c0dedcfd0c340f.jpg","56.4x104cm",[],{"id":14916,"slug":14917,"title":1722,"dynasty":97,"author":9011,"museum":99,"description":14918,"tags":14919,"thumbUrl":14921,"material":107,"size":107,"collection":107,"collections":14922,"showCount":14843,"zanCount":1288,"manualWeight":39,"mainColor":40},230127,"hua-niao-ce-ye-ren-yi-230127","画面设色秀雅清润，两只山雀依偎枝桠，翎毛晕染细腻柔和，憨态可掬尽显亲昵意趣。月季柔瓣轻展，粉色素净雅致，枝叶皴染结合，深浅浓淡晕开蓬勃生机。右上方题字笔意隽秀，与画面相映成趣。整体构图疏朗空灵，以兼工带写之法，将草木柔态与禽鸟灵动融为一体，把寻常花鸟小景绘成充满温情的雅致小品，晕染出恬淡悠然的江南雅韵，尽显清隽婉约的文人画意趣。",[23,51,24,25,27,54,7,29,332,14920,265],"枝蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb68230908224e58f73ae2820e23e446.jpg",[],{"id":14924,"slug":14925,"title":14926,"dynasty":97,"author":14927,"museum":99,"description":14928,"tags":14929,"thumbUrl":14930,"material":689,"size":690,"collection":107,"collections":14931,"showCount":14843,"zanCount":743,"manualWeight":39,"mainColor":40},229055,"ai-xin-jue-luo-min-ning-shu-fa-dui-lian-he-ji-qian-nian-song-he-wan-gu-min-ning-229055","爱新觉罗·旻宁书法对联鹤箕千年松鹤万古","旻宁","清宣宗爱新觉罗·旻宁（1782年9月16日—1850年2月25日），原名绵宁，清朝第八位皇帝，定都北京后的第六位皇帝。生于紫禁城撷芳殿中所。年号道光。清仁宗嘉庆皇帝第二子",[49,51,86,84,5664,119,7,777],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7687407d9ad23419eab296631444583.jpg",[],{"id":14933,"slug":14934,"title":14935,"dynasty":146,"author":1027,"museum":99,"description":14936,"tags":14937,"thumbUrl":14938,"material":689,"size":690,"collection":107,"collections":14939,"showCount":14843,"zanCount":39,"manualWeight":39,"mainColor":40},228264,"you-gu-xian-chun-ce-ye-wang-mian-228264","幽谷先春册页","三阳腊底渐敷宣，幽谷寒梅得气先；吐萼独标百花首，含苞已露早春前。琼姿应是瑶台侣，玉骨欣逢阆苑仙；诗兴漫从雪中觅，画图省识冷香传。款：嘉庆甲子新正上澣御题。钤印二：嘉。庆。",[49,50,23,51,24,26,528,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa71783c73ddb4cf2c5ef39924e309c3a.jpg",[],{"id":14941,"slug":14942,"title":14943,"dynasty":97,"author":445,"museum":99,"description":14944,"tags":14945,"thumbUrl":14946,"material":107,"size":107,"collection":107,"collections":14947,"showCount":14843,"zanCount":625,"manualWeight":39,"mainColor":40},224521,"shan-shui-tu-ce-8-kai-7-shi-tao-224521","山水图册8开-7","此作以高远之法取景，陡崖奇崛凌霄，枯笔皴擦写出山石嶙峋肌理，勾勒出峭拔苍劲的山势。崖畔林麓隐着古寺，山道间策杖行旅徐行，松下石台点缀幽境，留白处淡墨晕染云海，虚实相生，漾出空山幽寂之韵。\n\n笔墨干湿互用，松针勾勒劲挺老辣，题款小字清隽雅致，朱红印章点染提亮，既有黄山风骨，又自具萧散疏朗的文人意趣，将天地浩渺与林泉幽怀相融，藏着以造化为师的灵思，尽显山水间悠然淡远的禅意。",[49,50,23,51,24,26,25,55,56,58,64,150,279,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a6020bb641d0c028408138c6b6de59.jpg",[],{"id":14949,"slug":14950,"title":14951,"dynasty":18,"author":4381,"museum":81,"description":14952,"tags":14953,"thumbUrl":14955,"material":1561,"size":14956,"collection":70,"collections":14957,"showCount":14843,"zanCount":1288,"manualWeight":39,"mainColor":75},222175,"tian-chi-shi-bi-zhou-lu-zhi-222175","天池石壁轴","陆治（1496－1576），字叔平，明代画家。吴县（今江苏苏州）人，因居包山，自号包山。倜傥嗜义，以孝友称。\n陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[49,23,84,712,25,55,14954,2001,64,610,754,5691,150,279,7],"石壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd07d9dc6fb51d4ebd3729366331c84f8.jpg","本幅 70.6x30.3公分、全幅 44.5公分",[70,242],{"id":14959,"slug":14960,"title":14961,"dynasty":146,"author":1644,"museum":99,"description":14962,"tags":14963,"thumbUrl":14964,"material":227,"size":14965,"collection":35,"collections":14966,"showCount":14843,"zanCount":743,"manualWeight":39,"mainColor":75},221705,"shu-tu-qian-xuan-221705","鼠图","他画的《黠鼠图》是目前我们所能见到的最早的一件画鼠作品。\n画中的老鼠正在偷食瓜果，每个老鼠的形态不一，笔触细腻，老鼠的狡黠形象跃于纸上。",[49,23,51,25,54,3252,1116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d3d4a9ecece2b0a34a04e94dee2d0a5.jpg","24.3 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即宋徽宗。北宋书画家。神宗子，哲宗时封端王。登位前，独好笔研丹青，图史射御。与王诜、赵令穰、黄庭坚、吴元瑜等交往。在位（1100-1125）期间，政治腐败，穷奢极侈，任由蔡京、童贯等权奸把持朝政，推行「守内虚外」政策，河北、山东、江南等地农民暴动迭起。\n公元1126年1月（宣和七年十二月），传位子赵桓（钦宗)，自称“太上皇”。1127年（靖康二年），与钦宗等被金兵俘虏，死於五国城之越里吉（今黑龙江依兰）。在位时广收历代文物、书画，极一时之盛；亲自掌管翰林图画院，使文臣编辑《宣和书谱》、《宣和画谱》、《宣和博古图》等书。任米芾为书画学博士，赐予画院的画家佩带金紫鱼袋，将画院列在其他各院（书、琴、棋等）之上。任命宋子房为主考官，用科举办法选拔画家，对绘画艺术，具有推动和倡导的贡献。擅书法，真书学薛曜，草书学黄庭坚，後自创瘦劲锋利如“屈铁断金”的“瘦金体”。《铁围山丛谈》谓：“裕陵（赵佶）作黄庭坚书体，後自成一法。”\n传世书迹有真书及草书《千字文卷》等，现藏上海博物馆。绘画得吴元瑜传授，继承崔白风格，重视写生，体物入微，以精工逼真著称；工花鸟，相传用生漆点鸟睛，尤见生动。认为画孔雀上墩，必先左脚。经观察一如期言。亦擅山水和人物。获有“妙体众行、兼备各法”之誉。但有些作品乃画院中高手代笔。画后押字用“天水”及“宣和”、“政和”小玺或用瓢印虫鱼篆文，还常押书“天下一人”。传世作品有《芙蓉锦鸡图》轴，现藏北京故宫博物院；《柳塘芦雁图》卷，藏上海博物馆；《摹张宣虢国夫人游春图》卷，藏辽宁省博物馆。",[86,419,4832,12745,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74553f1d42cf7f1b11a62f410cab9735.jpg","44.5x61.9",[],{"id":14987,"slug":14988,"title":14989,"dynasty":115,"author":10149,"museum":175,"description":14990,"tags":14991,"thumbUrl":14992,"material":319,"size":14993,"collection":107,"collections":14994,"showCount":14843,"zanCount":39,"manualWeight":39,"mainColor":40},221232,"dao-fu-zan-juan-quan-juan-di-yi-duan-fan-zhong-yan-221232","道服赞卷全卷-第一段","此帖是范仲淹为同年友人“平海书记许兄”所制道服撰写的一篇赞文，称友人制道服乃“清其意而洁其身”之举。宋代文人士大夫喜与道士交往，“道家者流，衣裳楚楚。君子服之，逍遥是与。”穿着道服，遂成一时风气。此卷行笔清劲瘦硬，结字方正端谨，风骨峭拔。时人称此帖“文醇笔劲，既美且箴。”为范仲淹晚年书。。",[49,50,51,52,417,86,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68bcbaa000d4b623b9df17446a27bebd.jpg","34.8*47.9cm",[],{"id":14996,"slug":14997,"title":14998,"dynasty":192,"author":1614,"museum":175,"description":4154,"tags":14999,"thumbUrl":15000,"material":319,"size":15001,"collection":122,"collections":15002,"showCount":14843,"zanCount":39,"manualWeight":39,"mainColor":1441},221055,"zheng-zuo-wei-tie-cang-ben-quan-juan-yan-zhen-qing-221055","争座位帖藏本全卷",[49,86,119,2226,52,418,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19720981560762221af62aac56dad7b8.jpg","38x370cm",[122,1120],{"id":15004,"slug":15005,"title":15006,"dynasty":18,"author":2181,"museum":81,"description":15007,"tags":15008,"thumbUrl":15009,"material":15010,"size":15011,"collection":122,"collections":15012,"showCount":14843,"zanCount":39,"manualWeight":39,"mainColor":1441},220929,"lu-chang-shi-zhou-dong-qi-chang-220929","陆畅诗轴","董其昌以草书抄录唐陆畅〈惊雪〉：“怪得北风急，前庭如月晖。天人宁许巧，剪水作花飞。”此作书于绫本上，整体的书写效果与纸本相当不同，墨色的深浅变化较不明显，稍微晕染的性质也让整体线条精致度下滑。相较董其昌纸本书法对于材质与用笔的讲究，绫本的特性让他在书写态度上无须如此精谨，用笔也可以比较率性而不假修饰。无论是书写或是视觉表现上，此作都反映出较多应酬书法的特性。",[51,86,84,119,7,26,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac515934bf51ea7276a8c5e7cae2a703.jpg","绫本","95.9x28.8",[122],{"id":15014,"slug":15015,"title":6515,"dynasty":146,"author":431,"museum":175,"description":15016,"tags":15017,"thumbUrl":15018,"material":12173,"size":15019,"collection":242,"collections":15020,"showCount":14843,"zanCount":39,"manualWeight":39,"mainColor":75},220839,"gu-mu-zhu-shi-tu-zhou-zhao-meng-fu-220839","枯木竹石图是历代文人善画的题材,约始于唐代，至北宋文同、苏轼有较大的发展，南宋、金元间继有作者，至赵孟頫加以强调，形成一时风尚，终元一代盛行不衰。\n赵孟頫画枯木竹石，在继承文、苏的基础上，将书法的用笔融于绘画之中，他主张“书画同源”，即以书入画，其驰名古今画坛的名诗句“石如飞白木如籀，写竹还于八法通。”对后世画坛影响巨大，此图即体现了这一理论，用书法的“飞白”写出石及枯树干，章法简洁，笔法苍健洒脱，透出力度。竹以流畅的笔调，以“个”字或“介”字，一笔一笔撇捺，既有力又含蓄，富笔墨情趣，体现了文人画家的风雅韵致。\n从此图署款和绘画风格推断，当是赵孟頫晚年之作。",[49,23,51,50,84,26,135,137,358,277,531,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7888eb16c9309e34f9ae3a0c0744039a.jpg","纵108.2cm，横48.8cm",[242,921],{"id":15022,"slug":15023,"title":15024,"dynasty":18,"author":12963,"museum":81,"description":15025,"tags":15026,"thumbUrl":15027,"material":33,"size":15028,"collection":70,"collections":15029,"showCount":14843,"zanCount":39,"manualWeight":39,"mainColor":40},220139,"han-shan-gao-yi-tu-zhang-hong-220139","寒山高逸图","张宏（1577-1652后）字君度，号鹤涧，明代绘画大师，南直隶苏州府吴县（今江苏省苏州）人。善画山水，重视写生，笔力峭拔、墨色湿润、层峦叠嶂、秋壑深邃、有元人古意；他画石面皴染结合作为其特色。所作写意人物，形神俱佳，散聚得宜，是明末吴门画坛中的中坚人物，吴中学者尊崇之。",[23,51,84,26,25,56,150,967,58,727,1903,1902,294,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55adcf750f0530ec73bbae83ff894f8e.jpg","184.3x59厘米",[70,72],{"id":15031,"slug":15032,"title":15033,"dynasty":18,"author":8906,"museum":81,"description":15034,"tags":15035,"thumbUrl":15036,"material":33,"size":107,"collection":199,"collections":15037,"showCount":14843,"zanCount":39,"manualWeight":39,"mainColor":40},219650,"shou-xing-tu-zhu-zhan-ji-219650","寿星图","明成祖朱棣之孙，明仁宗朱高炽长子，明朝第五位皇帝（1425年5月29日—1435年1月31日在位）、书画家，年号“宣德”。",[23,51,58,25,54,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55e610390b67ca78dfcbe69d37be9a06.jpg",[199],{"id":15039,"slug":15040,"title":15041,"dynasty":146,"author":4259,"museum":81,"description":15042,"tags":15043,"thumbUrl":15044,"material":88,"size":15045,"collection":35,"collections":15046,"showCount":14843,"zanCount":39,"manualWeight":39,"mainColor":75},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。",[50,23,26,403,55,358,700,529,531,7113,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff64ea458d2092b5764321504018ff651.jpg","126.5厘米，横75.2厘米",[35],{"id":15048,"slug":15049,"title":15050,"dynasty":146,"author":1644,"museum":99,"description":15051,"tags":15052,"thumbUrl":15053,"material":689,"size":690,"collection":107,"collections":15054,"showCount":15055,"zanCount":743,"manualWeight":39,"mainColor":40},290959,"lan-ting-guan-e-tu-qian-xuan-290959","兰亭观鹅图","宋钱选兰亭观鹅图卷：传说东晋大书法家王羲之生性喜鹅，曾见一道士有白鹅甚可爱，因书《黄庭经》以换之。此图即钱选据传说附会而成。近景树木蓊郁，竹林茂密，亭台掩映，白鹅戏水，王羲之凭栏观望。远山苍翠，村庄隐现于雾霭山林间。境界秀雅明润，风格古拙高逸。青绿设色，画法直追唐人。钱选（公元1239─1301年），浙江吴兴人。字舜举，宋景定间乡贡进士。为“吴兴八俊”之一。入元不仕，流连诗画以终其身。山水、人物、花鸟无不擅长。",[50,23,51,52,53,25,56,63,59,58,358,64,5210,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e36723340126cf3064bb0ea8d3c7df5.jpg",[],50,{"id":15057,"slug":15058,"title":15059,"dynasty":97,"author":7770,"museum":99,"description":15060,"tags":15061,"thumbUrl":15064,"material":689,"size":690,"collection":107,"collections":15065,"showCount":15055,"zanCount":1288,"manualWeight":39,"mainColor":40},290314,"sui-chao-li-jing-zhou-chen-shu-290314","岁朝丽景轴","通过描绘各种带有良好意愿谐音的物品，来表达对新年的祈盼和祝福。运用谐音、象征的表现手法，在明清许多吉庆画中屡见不鲜，体现着含蓄、高雅的情调，带有较强的文化气息。",[23,84,54,25,27,528,344,488,15062,4231,1183,4458,15063,7,7579,7774],"红果","陶瓷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4db4869e407e5adfdd4127d79baf616d.jpg",[],{"id":15067,"slug":15068,"title":15069,"dynasty":97,"author":2568,"museum":99,"description":5018,"tags":15070,"thumbUrl":15072,"material":689,"size":690,"collection":107,"collections":15073,"showCount":15055,"zanCount":39,"manualWeight":39,"mainColor":40},288637,"huang-shan-yun-gu-si-jing-si-tu-hong-ren-288637","黄山云谷寺静思图",[49,23,50,26,56,55,64,150,84,86,7,15071],"静思","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaaea923c897237e0b14245625c7f0ac.jpg",[],{"id":15075,"slug":15076,"title":3358,"dynasty":115,"author":881,"museum":99,"description":15077,"tags":15078,"thumbUrl":15080,"material":689,"size":690,"collection":107,"collections":15081,"showCount":15055,"zanCount":1288,"manualWeight":39,"mainColor":75},287755,"yue-xia-ba-bei-tu-ma-yuan-287755","这幅马远传世精品《月下把杯图》，虽只一开册页，然画面“小中见大”，笔墨颇见生动精逸之境。此构图看似平夷，实则“平中生险”，尽显山涧深峻幽险之气。此图所绘的是十五中秋美景之夜，一轮圆月高挂空中，照的天地是那么的明亮。在这“每逢佳节倍思亲”的美景月下，恰逢远方多年不见的好友佳节来访，这让刚刚还在睹物思友的主人家中，立即增添了极大的精神欢乐。有诗句曰：“得好友来如对月，有奇书读胜观花”，似乎正是这个意境。\n画面上的主人，体态轻盈，举止文雅，面如春风，手中把杯迎友，显得是那么的亲密愉快。旁有四童仆，一侍立待呼，一侍果备用，另一侍酒小童，正在回望另一侍琴上台阶的半隐文童。整幅画面虽只写主仆六人，然内含笔墨神态各异，颇具生动真趣。月下空旷的山林是那么的幽雅静谧，然而月色中，依旧挡不住这欢愉间的良辰和美酒。",[50,23,51,25,58,944,358,179,15079,86,7,8091],"聚饮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5828b63db994147999e5823f6ea3bf59.jpg",[],{"id":15083,"slug":15084,"title":10218,"dynasty":18,"author":3070,"museum":99,"description":7468,"tags":15085,"thumbUrl":15086,"material":689,"size":690,"collection":107,"collections":15087,"showCount":15055,"zanCount":39,"manualWeight":39,"mainColor":40},287453,"hua-hui-tu-ce-chen-chun-287453",[86,5663,24,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa0e04f4d9ae9e6e8e101a02b7e45561.jpg",[],{"id":15089,"slug":15090,"title":15091,"dynasty":192,"author":4182,"museum":99,"description":15092,"tags":15093,"thumbUrl":15094,"material":107,"size":107,"collection":122,"collections":15095,"showCount":15055,"zanCount":39,"manualWeight":39,"mainColor":75},239650,"wu-kuan-lin-yin-zhong-ba-xian-ge-juan-huai-su-239650","无款临饮中八仙歌卷","怀素（737~799），史称“草圣”，唐代杰出书法家。字藏真，僧名怀素，俗姓钱，汉族，永州零陵（湖南零陵）人，是大历十才子之一考功郎中钱起的外甥。\n自幼出家为僧，经禅之暇，锐意草书，与张旭齐名，合称“颠张狂素”，形成唐代书法双峰并峙的局面，也是中国草书史上两座高峰。怀素草书，笔法瘦劲，飞动自然，如骤雨旋风，随手万变。书法率意颠逸，千变万化，法度具备。北京大学教授、引碑入草开创者的李志敏评价：“怀素的草书奔逸中有清秀之神，狂放中有淳穆之气”。\n传世书法作品有《自叙帖》《小草千字文》纸本、《苦笋帖》《圣母帖》《论书帖》诸帖。",[49,50,23,51,52,134,86,462,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1e2b9f758d87ba9232cc8518581c6ab.jpg",[122],{"id":15097,"slug":15098,"title":15099,"dynasty":97,"author":207,"museum":99,"description":15100,"tags":15101,"thumbUrl":15102,"material":107,"size":107,"collection":242,"collections":15103,"showCount":15055,"zanCount":1288,"manualWeight":39,"mainColor":40},236420,"yuan-ji-zhu-lan-tu-zhou-yi-ming-236420","原济竹兰图轴","石涛（1642年－1708年），清初画家，原姓朱，名若极，广西桂林人，祖籍安徽凤阳，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。南明元宗朱亨嘉之子，与弘仁、髡残、朱耷合称“清初四僧”。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。",[23,84,26,358,251,7,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffbbf2516dddb2cd2d26eee2b4d6cb66.jpg",[242,921],{"id":15105,"slug":15106,"title":7459,"dynasty":97,"author":1180,"museum":99,"description":15107,"tags":15108,"thumbUrl":15109,"material":107,"size":107,"collection":107,"collections":15110,"showCount":15055,"zanCount":39,"manualWeight":39,"mainColor":40},235221,"mu-dan-zhou-wu-chang-shuo-235221","以金石篆隶笔法挥写牡丹，枝干如屈铁苍劲老辣，尽显嶙峋骨力。墨叶以积墨破墨晕染，浓淡干湿交叠，厚重淋漓间烘托出花头的娇妍。花冠轻施胭脂淡色，水色晕开，与焦墨绿叶形成强烈浓淡对冲，艳而不俗，腴润中带着雄健气度。\n\n左侧长题诗文以古拙笔墨书就，书画浑然一体，将文人意趣与花木生机相融，老辣烂漫兼具秀润雅致，尽显大写意花鸟的风神风骨。",[23,51,84,27,308,25,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F127a4f127c53d3abf1eb6f939ff6861b.jpg",[],{"id":15112,"slug":15113,"title":15114,"dynasty":97,"author":15115,"museum":99,"description":15116,"tags":15117,"thumbUrl":15118,"material":689,"size":690,"collection":107,"collections":15119,"showCount":15055,"zanCount":1288,"manualWeight":39,"mainColor":40},234981,"mu-dan-shan-mian-ren-xiong-234981","牡丹扇面","任熊","任熊，男，（1823年7月19日—1857年11月23日），字渭长，一字湘浦，号不舍，浙江萧山人，清代晚期著名画家，“海派”艺术的代表人物之一。\n幼时家贫，跟塾师学画人像，后寓居苏州、上海以卖画为生。曾流浪到宁波。曾居于挚友周闲之范湖草堂三年，并得遇著名文人姚燮，在其家“大梅山馆”学画，深得宋人笔法。任熊是绘画全才，人物、花卉、山水、翎毛、虫鱼、走兽，无一不精。画法宗陈洪绶，与弟任薰，儿子任预、侄任颐合称“海上四任”，又与朱熊、张熊合称“沪上三熊”。概述图为任熊自画之像。\n代表作有为著名词人与画家周闲所绘之《范湖草堂图》、以及由周闲等题跋之《十万图册》等。",[23,822,25,54,27,308,277,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ef6e39009c0679e8fbde899009d894d.jpg",[],{"id":15121,"slug":15122,"title":2555,"dynasty":18,"author":2556,"museum":175,"description":15123,"tags":15124,"thumbUrl":15125,"material":227,"size":2561,"collection":107,"collections":15126,"showCount":15055,"zanCount":39,"manualWeight":39,"mainColor":40},234190,"mei-hua-shuang-qin-juan-chen-ji-ru-234190","陈继儒字仲醇，号眉公，明代松江府华亭县（今上海）人，生于嘉靖三十七年（1558）十一月，卒于崇祯十二年（1639）。陈自幼研习书画，与董其昌同学并为一生至交，他们都是晚明名声甚隆、影响甚大的士人，但有所不同的是陈继儒年纪轻轻便放弃了仕途。\n陈继儒所处的时代是政治腐朽、党争激烈、矛盾尖锐、皇帝荒淫、社会风气堕落的晚明，他清醒地认识到再走科举一途己无多大意义，因此，毅然下定决心“谢去青襟”，隐居山林。朝廷屡次征召，他“皆以疾辞”。\n晚明时代是一个求变与保守交织的时代，从吴门画派以后，晚明绘画大致划分为两派，一是以徐渭、陈洪绶为代表的创新派，一是以董其昌为代表的书斋文人画派，这两种风格不断竞争，构成了晚明画坛的主要特点。虽然强烈的社会变革要求造就了一批卓具改革精神的画家，但是作为当时的文化主流则依然是因循保守的士大夫绘画，其代表人物就是“松江画派”的董其昌，而陈继儒所属的云间画派也是正统文人画的风向标。\n陈继儒的画风与整个晚明时代的气息显得有些格格不入，他的作品清雅脱俗，静中不显荒疏，且无不满或是失望留于画面，而是与世无争，以平和的心态面对世间百态，独辟蹊径，潜心创作，凭着自己丰富的学养在乱世中取得了书画上的成就。从流传的作品中可知陈继儒山水、梅竹作品居多。梅竹上追宋元，山水师法董巨",[49,23,51,52,25,54,528,27,66,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa65883b1783be479b0e29d8bfbac1daf.jpg",[],{"id":15128,"slug":15129,"title":9034,"dynasty":97,"author":655,"museum":175,"description":15130,"tags":15131,"thumbUrl":15132,"material":668,"size":15133,"collection":107,"collections":15134,"showCount":15055,"zanCount":39,"manualWeight":39,"mainColor":40},233856,"mo-mei-tu-zhou-jin-nong-233856","本幅自题：“香雨三兄良友以前明内库纸乞予画江梅小直幅。因仿元人王元章法。奉其教益，茶熟香温时定多物外之赏也。并题一诗：砚水生冰墨半干，画梅须画晚来寒。树无丑态香沾袖，不爱花人莫与看。稽留山民金农，时年七十。”钤“金氏寿门”朱文印。\n本幅绘梅花离离疏影，生气盎然。以湿润的淡墨写枝干，以细笔勾画花蕊。整幅画面悠然淡雅。",[23,51,84,26,528,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef244f5ba25fb7abf04927afec90742e.jpg","纵117厘米，横43.6厘米",[],{"id":15136,"slug":15137,"title":15138,"dynasty":115,"author":1755,"museum":99,"description":15139,"tags":15140,"thumbUrl":15141,"material":239,"size":15142,"collection":107,"collections":15143,"showCount":15055,"zanCount":39,"manualWeight":39,"mainColor":40},232873,"xie-sheng-hu-die-hua-hui-tu-juan-ma-lin-232873","写生蝴蝶花卉图卷","图绘群蝶恋花的田园小景。轻灵振翅的蛱蝶起舞于画幅的上半部；秋花枯芦摇曳于画卷的底边。在物象表现上，作者用双勾填色法画土坡、草丛、蛱蝶。其勾线富于顿挫和粗细变化，墨色亦有浓淡轻重之分，敷色积染多层，特别是蛱蝶的翅翼更因积染而色彩浓艳厚重，从而与主要以植物色染就的草叶形成“轻”与“重”的对比。图中蛱蝶的形象最为传神，作者逼真地刻画了蛱蝶之翼薄如绢纱的质感、绚丽斑斓的花纹和蛱蝶细如发丝的根根须脚。传神的笔墨展示了作者深厚的写生功底，使本图成为研究古代蝶种的形象资料。",[50,23,51,52,25,54,2641,27,315,28,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb467a89c60170e8b6134389615759f31.jpg","27.85*334.93厘米",[],{"id":15145,"slug":15146,"title":15147,"dynasty":97,"author":5319,"museum":2430,"description":15148,"tags":15149,"thumbUrl":15150,"material":239,"size":15151,"collection":107,"collections":15152,"showCount":15055,"zanCount":39,"manualWeight":39,"mainColor":75},231352,"tuan-shan-pai-huai-tu-luo-pin-231352","团扇徘徊图","画以水墨画一侧面仕女，手执团扇目视前方，似进似退徘徊不定。\n右上角画一飞雁，上下呼应，连成一脉。画题“奉帚平明金殿开，且将团扇\n暂徘徊，玉颜不及寒鸦色，犹带昭阳日影来”。署款“甲寅新秋两峰道人以指\n头图此见赠。回忆王江宁长信秋词语，遂援笔书之。春湖”。",[49,23,51,84,26,25,58,136,66,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa2ccb06ebdae0ec08e182f813cb13c1.jpg","纵98，横31.9厘米",[],{"id":15154,"slug":15155,"title":15156,"dynasty":97,"author":15157,"museum":99,"description":15158,"tags":15159,"thumbUrl":15160,"material":107,"size":107,"collection":107,"collections":15161,"showCount":15055,"zanCount":39,"manualWeight":39,"mainColor":40},230297,"mei-hua-ce-ye-li-fang-ying-230297","梅花册页","李方膺","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。",[23,51,24,26,403,528,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7461b818d7022997533cd484a86bcb9.jpg",[],{"id":15163,"slug":15164,"title":15165,"dynasty":115,"author":1532,"museum":99,"description":15166,"tags":15167,"thumbUrl":15171,"material":107,"size":107,"collection":107,"collections":15172,"showCount":15055,"zanCount":1288,"manualWeight":39,"mainColor":75},228400,"shu-shan-zhan-dao-tu-guo-xi-228400","蜀山栈道图","此作以全景铺展蜀中山川，层峦叠嶂氤氲在淡墨轻岚之中，岩壁苍劲厚重，林木蓊郁苍润。栈道盘桓于幽谷险峰之间，山坳间村舍山居错落，行旅、舟桥点缀其间，将蜀道的奇崛险峻与山野烟火相融。\n画师以温润秀劲的笔墨，兼工带写晕染山石肌理，赭石敷色古雅沉静，以高远、平远交替的章法，尽显山川宏阔清旷的苍莽意境，将蜀地山水的雄秀灵奇和行旅幽情完美相合，尽显全景山水的雄浑雅致。",[49,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厘米",[213,35],{"id":15220,"slug":15221,"title":15222,"dynasty":192,"author":8368,"museum":175,"description":15223,"tags":15224,"thumbUrl":15225,"material":11506,"size":15226,"collection":122,"collections":15227,"showCount":15055,"zanCount":39,"manualWeight":39,"mainColor":40},221109,"xing-bo-shang-du-shu-tie-ye-ou-yang-xun-221109","行卜商读书帖页","释文：\n“卜商讀書畢，見孔子。孔子問焉，何爲於書。商曰，書之論事，昭昭如日月之代明，離離如參辰之錯行，商所受于夫子者，志之於心，弗敢忘也。”\n这段文字见于《尚书大传》，是孔子与弟子卜商的一段对话。应是欧阳询当年著述手稿，收入他所著的《艺文类聚》卷五五《杂文部·读书》之中，与史籍相较，帖中个别字有出入。\n卜商是孔子弟子，字子夏，春秋时卫国人。师事孔子，师生间常有议论问答，极富哲理。\n此帖为双钩廓填本，墨气鲜润。从书法上看，笔法严谨又不失生动气韵，点画的起止处强化方切硬折。欧阳询晚年将北碑用笔特点融于二王书风，而兼容南北正是“欧体”独到之处。此为欧阳询代表作之一。\n此帖宋代藏于宋徽宗宣和御府，清代归安岐所有，后入乾隆内府，辑入《法书大观》册中。\n宋周密《云烟过眼录》，清卞永誉《式古堂书画汇考》、吴升《大观录》、安岐《墨缘汇观》等书著录。",[49,86,119,418,24,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ec07a542b148372350a60cce3f3a5d.jpg","纵25.7厘米，横16.5厘米",[122],{"id":15229,"slug":15230,"title":15231,"dynasty":192,"author":5045,"museum":175,"description":15232,"tags":15233,"thumbUrl":15234,"material":239,"size":15235,"collection":122,"collections":15236,"showCount":15055,"zanCount":39,"manualWeight":39,"mainColor":75},221087,"lan-ting-shi-quan-juan-liu-gong-quan-221087","兰亭诗全卷","《兰亭诗》卷释文\n本幅无款印。\n卷前引首清乾隆皇帝行书题“笔谏遗型”，题签“兰亭八柱第四”，题记一段。又有瘦金体题签“唐柳公权书群贤诗”。\n卷后有宋邢天宠、杨希甫、习之、蔡襄（后添）、李处益、孙大年、王易、黄伯思（伪）、宋适，金王万庆，明王世贞（两段）、莫是龙、文嘉、张凤翼，清王鸿绪等题跋和观款。\n此书传为柳公权所书东晋穆帝永和九年（353年）三月三日，王羲之与谢安、孙绰等人在会稽（今浙江绍兴）兰亭修禊时与会者所赋的37首诗及诗序。\n本卷笔法僵硬粗糙，且多枯锋，但较自然率易。卷后宋代黄伯思尾题（伪）中云“传柳书”，细观之，个别字的用笔明显不是出自柳书，如：孙统四言诗中的“希”字、庾友四言诗中的“则”字、王涣之四言诗中的“足”字等末笔写的非常丑怪，字的结体亦多不够沉稳，失于浮躁，与柳氏所书王献之《送梨帖》后之题跋墨迹对比不但笔法不类，连结体也无丝毫相同之处。从诗文看，颇有不通处，如：把孙绰四言诗“怀彼伐木”误书为“怀彼代水”，把谢安四言诗“伊昔夫子”误书为“伊昔先子”。“伐木”是《诗经》中语，“夫子”是指孔丘，说明书写者是一位文墨不够精通之人。无论从艺术特征还是艺术水平来分析，该卷决非柳公权之笔。\n此卷断为宋以前抄本。从所录37首诗中可看出，个别用字不避宋讳，如谢安诗中“契慈玄执，寄教林丘”的“玄”字、王肃之诗中“嘉会欣时游，豁朗畅心神”的“朗”字等都没有避北宋始祖皇帝赵玄朗之讳。另外从书法的主体风格看，推测应写于唐代，与杜牧墨迹《张好好诗卷》大略相近，并且是信笔直书，不是临仿得来。作为唐抄古本，此卷与敦煌遗书中《文选·陆机短歌行等残卷》（伯2554）、《玉台新咏卷第二残卷》（伯2503）有同样的文学价值。\n宋《宝章待访录》，明《东图玄览》、《清河书画舫》、《清河见闻表》，清《珊瑚网书凭》、 《式古堂书画汇考》、《大观录》、《石渠宝笈·续编》、《石渠随笔》著录。",[49,51,86,52,119,417,7,26,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b8d7f88a916d9db75382a5a25a16e8.jpg","纵26.5厘米，横365.3厘米",[122,1120],{"id":15238,"slug":15239,"title":15240,"dynasty":18,"author":2181,"museum":99,"description":15241,"tags":15242,"thumbUrl":15243,"material":52,"size":15244,"collection":122,"collections":15245,"showCount":15055,"zanCount":1288,"manualWeight":39,"mainColor":924},220959,"zi-jia-shi-juan-dong-qi-chang-220959","紫茄诗卷","《董其昌书法经典鉴赏》是216年四川美术出版社出版的图书，作者是周世闻。\n董其昌，明代书画家。\n书法出入晋唐，自成一格，能诗文，刻有《戏鸿堂帖》。",[49,51,52,86,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf60a44922b4e634d8287b3b643ba82e.jpg","长414厘米、高24．5厘米",[122],{"id":15247,"slug":15248,"title":15249,"dynasty":18,"author":9186,"museum":3815,"description":15250,"tags":15251,"thumbUrl":15252,"material":15253,"size":15254,"collection":122,"collections":15255,"showCount":15055,"zanCount":39,"manualWeight":39,"mainColor":107},220716,"xing-shu-jie-quan-wang-chong-220716","行书借券","王宠字履仁，后更字履吉，号雅宜山人，吴县（今苏州）人。出生于业商家庭，父王贞雅好收藏古器物书画，并与文征明等贤达时相往来，情谊甚笃。王宠早年与兄王守在苏州太湖洞庭山随蔡羽求学，既而读书石湖之上，二十年中「非岁时省侍，不数数入城。」王宠生平以名节着闻，关于他性情高洁的记述屡见于文词，其洒然出尘的隐者形象深入人心。自正德庚午（1510）至嘉靖辛卯（1531）间，王宠共参加了八次科考，但皆以失败告终，最后一次赴试离他去世只有两年，可想见其终生都在为科名繁忙。\n\n嘉靖七年（1528）四月，王宠请文彭作中，向袁褒借银五十两。文物馆所藏王宠借券，为是次告贷的一纸票据。全券行书八行六十八字，尺幅细小，但历经累世题咏，已成一帧长手卷。券中，双方约定以二分起息，并于同年十二月连本带利偿还，券末有王宠与文彭署名及花押，从内容到形式适合于市井借贷的常例。尽管如此，此券是否真为一件当时借贷的凭据，历来意见不一，从卷后各家的题跋可以窥其大端。质疑者认为，王宠与袁氏交情素厚，借五十金本不必有券，即使有券，亦不必言利，因而仅以「游戏之笔」视之。不过因嘉靖七年是王宠第七次赴科试之年，不少人有见于王宠当时的经济状况和赴考花销，认为借贷之举应是确有其事，虽则王、袁有通财之谊，但既属借贷，王宠也就按著成规，正式立下了借据。\n\n此券后为好事者藏去，数经转徙，甚至一度险付劫灰，而终得以保全，三四百年中代有名贤题咏赞赏，考据二氏生平及往来唱酬之风雅韵事，盖皆当日诸君无从料想之事。惜天不假年，王宠得寿仅四十。虽然人生短暂，其生前的艺术成就已为他赢得书法史上重要的一席。明中期书法以吴门为盛，年轻书家辈出，而唯有王宠得与祝允明、文征明二巨公并称「三家」而无异议。王宠书艺成熟得较早，二十多时已初具规模，大体规摹永兴、大令，高蹈晋法，后虽日臻成熟，其初衷无改。此帧借券书于三十五岁时，属「晚期」之作，即呈现出他那种为世所知的书风。虽然在王宠的传世书作中，此借券不甚起眼，且非「用意之作」，却得后世跋者如林，有为之歌咏作长篇者，有详悉考之成文章者，实洋洋大观，是知王宠书迹可贵，不独以艺事之工。而此券的流传，无疑又为后世提供了「书以人重」的又一典范。",[49,86,51,52,119,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71a5c0832584c8de37372e723ca0e418.jpg","水墨,纸本,手卷","24.3 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，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[23,51,822,26,134,55,86,7,56,63,871,150,293,751],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9946beb712e3f30922fe588e598acbf8.jpg",[],{"id":15399,"slug":15400,"title":675,"dynasty":97,"author":248,"museum":99,"description":685,"tags":15401,"thumbUrl":15402,"material":689,"size":690,"collection":107,"collections":15403,"showCount":15311,"zanCount":39,"manualWeight":39,"mainColor":40},235086,"yun-shou-ping-hua-hui-ce-yun-shou-ping-235086",[23,51,24,25,264,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70b0a915e22f1438d7007f6edc85c06e.jpg",[],{"id":15405,"slug":15406,"title":15407,"dynasty":97,"author":1082,"museum":99,"description":15408,"tags":15409,"thumbUrl":15410,"material":107,"size":107,"collection":107,"collections":15411,"showCount":15311,"zanCount":1288,"manualWeight":39,"mainColor":40},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。",[49,23,51,52,26,403,86,7,119,28,777,6849,3875,420,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10690432eee4f9791878f7dce4625503.jpg",[],{"id":15413,"slug":15414,"title":15415,"dynasty":146,"author":709,"museum":175,"description":15416,"tags":15417,"thumbUrl":15418,"material":12173,"size":15419,"collection":107,"collections":15420,"showCount":15311,"zanCount":39,"manualWeight":39,"mainColor":40},234099,"yu-fu-tu-zhou-wu-zhen-234099","渔父图轴","在中国古代，渔、樵、耕、读，常常被文人士大夫视为理想化的生活方式，并常被用作文艺作品的主题，以表达作者避世遁隐的愿望，其中尤以“渔隐”的素材最为普遍。时至元代，汉族文人仕进无门，社会地位骤降，江南士人遭遇尤甚。于是，“渔隐”就更频繁地出现在绘画作品中，其中以吴镇的《渔父图》最为典型。吴镇善作“渔隐”题材的山水画，传世《渔父图》即有多幅，此图是其中较有代表性的一幅。图中描绘江南水乡景色，平冈丛树，一渔父驾小舟逍遥于湖弯水色之间。全图墨色苍润，山石、树木、枝叶都注意到了墨色浓淡的交替运用，借以表现层次关系并突出主要物象。笔法多变，皴擦点染，均可看出作者高超的控笔能力。湖山间幽僻清寂的意境跃然纸上，给人以远离尘俗之感。吴镇的《渔父图》大都以秀劲潇洒的草书《渔父群》相配，诗、书、画相得益彰。即如此图中所书：“目斷煙波青有無，霜凋楓葉錦模糊。千尺浪，四鰓鱸，詩筒相對酒葫蘆。”诗为画图点睛，真切地表达出 “一叶随风万里身”的隐逸情思。",[23,51,84,26,55,119,7,56,62,61,137,713,714],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7e0d50dd46d8af9d83496cf46482b72.jpg","纵84.7厘米，横29.7厘米",[],{"id":15422,"slug":15423,"title":15424,"dynasty":146,"author":7721,"museum":175,"description":15425,"tags":15426,"thumbUrl":15427,"material":319,"size":15428,"collection":107,"collections":15429,"showCount":15311,"zanCount":39,"manualWeight":39,"mainColor":40},233810,"mu-dan-tu-juan-wang-yuan-233810","牡丹图卷","两幅画里的杜鹃、桃花却是点虱而成，虽然只是简单的用笔，却也表现出花朵的墨色变化。这些花鸟因用水墨表现出来，显得素洁安静给人以超凡脱俗之美。王渊的画是从淡彩晕染演绎出淡彩渲染，似乎是要通过淡彩画出五色绚烂的效果。而淡彩渲染又服从于总体效果，又有了浓墨渲染便有了墨色浓淡的层次。王渊的墨彩之所以能够如此绚丽，不得不归功于另一个重要因素——纸。中国画是离不开绢和纸的，就像笔离不开墨一样。绢和纸决定了一幅画的描绘，虽然有相同处，然而在具体的用笔用墨、气质上格调上还是有本质区别的。宋以前的画一般都是用绢，绢是丝织品，透明而有光泽，不散墨，可以一遍遍的描绘，更好的塑造形象。宋以后的画包括著色画一般是用纸来完成的。纸是植物制品，而绢是丝织品，性质不同就注定用两者作画会有不一样的效果。绢的运用在绘画上做出了辉煌的贡献，已经达到了极致，而纸的使用使笔墨发生了变化，使画有了另一种味道，因此也有了流派上的变迁。元代的画纸是一种质地坚硬、半生半熟的纸，一般水墨会停留在纸面上，遵循着配合到描绘对象的写实原则，水墨落在纸上就会出现似化非化的效果，线条会有一种渴润的韵致，墨色也会更加有苍茫之感。而中国古代画家用的纸都是精心取材，按着严谨的制造程序来做的，因此无论纸还是绢都是非常好的。而现代制纸大都没那么考究，或是有些制造经验已经失传了。",[23,50,51,52,26,54,27,308,7,7113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbb9ec2e52112fc99757bf6c16e4be0f.jpg","纵37.7cm、横61.6cm",[],{"id":15431,"slug":15432,"title":15433,"dynasty":97,"author":445,"museum":329,"description":15434,"tags":15435,"thumbUrl":15436,"material":319,"size":107,"collection":107,"collections":15437,"showCount":15311,"zanCount":743,"manualWeight":39,"mainColor":40},232606,"ku-gua-he-shang-shu-hua-ce-shi-tao-232606","苦瓜和尚书画册.","此画册《苦瓜和尚书画册》为清代画家石涛绘，共12幅，一图一诗。旧藏日本大收藏家桑名铁城，书名页 “石涛道人书画神品”为日本著名画家富冈铁斋题，现藏于美国大都会博物馆。这些书画大约书绘于1695年。\n石涛（1642年－1708年），清初画家，原姓朱，名若极，广西桂林人，祖籍安徽鳳陽，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。与弘仁、髡残、朱耷合称“清初四僧”。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石涛擅长山水，常体察自然景物，主张“笔墨当随时代”，画山水者应“脱胎于山川”，“搜尽奇峰打草稿”，进而“法自我立”。所画的山水、兰竹、花果、人物，讲求新格，构图善于变化，笔墨笔墨恣肆，意境苍莽新奇，一反当时仿古之风。\n第十二帧：君与梅花同赏，岁寒时许争夸，暖日睛窗拈笔，几回清思无涯。小乘客，济。",[23,51,24,26,119,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07884430a5f9c035d5167b0df2cde5b3.jpg",[],{"id":15439,"slug":15440,"title":15441,"dynasty":115,"author":3092,"museum":99,"description":15442,"tags":15443,"thumbUrl":15444,"material":107,"size":107,"collection":107,"collections":15445,"showCount":15311,"zanCount":39,"manualWeight":39,"mainColor":75},227966,"gui-qu-lai-xi-tu-juan-li-tang-227966","归去来兮图卷","此作将陶潜归田之思铺陈于绢素之上，前段平远旷阔，烟波轻笼田舍村墟，农人往来、隐者凭栏，尽显乡居安闲意趣；后段峰峦崔嵬，林木蓊郁，幽涧流泉间高士策杖寻幽。\n笔墨糅合北宋山水的雄浑与苍劲院体笔法，勾勒简括，皴染厚重，丘壑幽邃与田园清逸相融。搭配纵逸题笔，诗书画印浑然一体，把守拙归园、寄情山水的林下襟怀淋漓展现，萧散静穆的隐逸气象扑面而来。",[50,23,51,52,26,25,56,58,59,60,61,63,871,150,1206,86,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a5cc3cee1ceef518ee7b74df05ac966.jpg",[],{"id":15447,"slug":15448,"title":15449,"dynasty":115,"author":2788,"museum":99,"description":15450,"tags":15451,"thumbUrl":15452,"material":25,"size":15453,"collection":213,"collections":15454,"showCount":15311,"zanCount":39,"manualWeight":39,"mainColor":75},221486,"hao-shan-wu-shu-tu-juan-mi-you-ren-221486","好山无数图卷","全景以留白的云霭，穿梭于峰峦叠翠间，重山翠岭连绵不绝，自左而右、渐行空远。技法上以“米点”墨色铺陈山峦及树石，另以较为浅淡的墨色晕染沙渚岸边；工笔浓墨装点枝干、独桥及扁舟。画家铺陈山景的风格及技法，与其父米芾颇有相通之处，故《画继》中称其所作山水“点滴烟云，草草而成，而不失天真，其风气肖乃翁(芾)也”，故画史上有“大米”及“小米”之称。此幅充满诗意、适时应景的画题，可溯自其父米芾，甚而宋迪“萧湘八景”图。它旨在将游历山景的心境投射于画境中，透过米点皴染表现出来，诗画合一。",[49,50,23,51,52,26,55,86,7,56,870,1207,406,62,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29e394bfd90e74778f0999e18a35a29a.jpg","34x195.",[213,70,242],{"id":15456,"slug":15457,"title":15458,"dynasty":115,"author":116,"museum":81,"description":5064,"tags":15459,"thumbUrl":15460,"material":24,"size":15461,"collection":122,"collections":15462,"showCount":15311,"zanCount":1288,"manualWeight":39,"mainColor":75},221265,"shu-qi-yan-jue-ju-ce-huang-ting-jian-221265","书七言绝句册",[50,23,51,24,119,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897115f90609f128a729a4ed0cbc97a6.jpg","55.5x82.4",[122],{"id":15464,"slug":15465,"title":15466,"dynasty":115,"author":289,"museum":485,"description":15467,"tags":15468,"thumbUrl":15469,"material":152,"size":15470,"collection":213,"collections":15471,"showCount":15311,"zanCount":1288,"manualWeight":39,"mainColor":75},220333,"yuan-ming-gui-yin-tu-li-gong-lin-220333","渊明归隐图","本画将《归去来兮辞》原文分为七段配以相应的绘本，完整描绘渊明归去来的一连串情节，画面热闹，用笔工整讲究，但与《归去来兮辞》中所描写的略有出入，倒有些像是辞官后富贵还乡的场景。",[49,23,52,135,25,86,119,7,58,56,63,62,66,64,61,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68210320aa225634ebd2bcf13157b263.jpg","37.0x521.5",[213],{"id":15473,"slug":15474,"title":15475,"dynasty":18,"author":3070,"museum":446,"description":15476,"tags":15477,"thumbUrl":15478,"material":121,"size":107,"collection":70,"collections":15479,"showCount":15311,"zanCount":39,"manualWeight":39,"mainColor":40},219893,"zhou-jin-tang-ji-chen-chun-219893","昼锦堂记","陈淳(1483-1544)，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。",[49,23,51,52,119,462,541,26,25,58,59,60,61,62,63,871,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba68ea872e59a506e45fdc29a7bc85d6.jpg",[70,122],{"id":15481,"slug":15482,"title":15483,"dynasty":18,"author":15484,"museum":20,"description":15485,"tags":15486,"thumbUrl":15487,"material":152,"size":107,"collection":199,"collections":15488,"showCount":15311,"zanCount":1288,"manualWeight":39,"mainColor":40},219891,"wang-yang-ming-xiao-xiang-cai-shi-xin-219891","王阳明肖像","蔡世新","众画师绘制王阳明的正面像，很难描绘出其两颧棱峭的面貌特征，王阳明多不满意。蔡世新年幼即从王阳明学习，非常熟悉老师的形貌特征",[23,51,8547,58,54,25,2601,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F275b5a52018d4ba6a2ede02fa6df1460.jpg",[199],{"id":15490,"slug":15491,"title":15492,"dynasty":192,"author":5447,"museum":81,"description":15493,"tags":15494,"thumbUrl":15495,"material":33,"size":15496,"collection":35,"collections":15497,"showCount":15311,"zanCount":39,"manualWeight":39,"mainColor":40},218796,"hua-niu-tu-dai-song-218796","画牛图","壮硕的水牛缓步踏于郊野，肌理褶皱与蓬松毛发以浓淡墨色晕染，憨态中藏着沉实力量。牛背上的牧童半倚牛身，袖角轻扬似伴风哼歌，眉眼间漫着未泯的天真。旁侧老树枝干虬曲，墨叶层叠如盖，树下蜷伏的小狗探头张望，添了几分灵动野趣。\n\n整幅画以简练线条勾出轮廓，墨色深浅衬出物象质感，田园的悠然生机凝于尺幅。每处细节皆藏着对生活的细腻观察：牛蹄的厚重、牧童的松弛、树影的斑驳，仿佛能听见风过叶隙的轻响，与牧童唇边隐约的调子，瞬间跌入那片静谧的乡野时光里。",[49,50,23,51,26,25,54,1115,58,871,7,3011],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c7dfa521d6e806e13ca8e77c45568ad.jpg","56.1x32.2cm",[35],{"id":15499,"slug":15500,"title":3622,"dynasty":18,"author":15501,"museum":81,"description":15502,"tags":15503,"thumbUrl":15504,"material":33,"size":15505,"collection":199,"collections":15506,"showCount":15311,"zanCount":39,"manualWeight":39,"mainColor":40},217000,"luo-han-tu-chen-yuan-217000","陈远","罗汉图是明朝陈远所作的一幅著名的书画作品。它描绘了一群罗汉在山间修行的场景，山水画风格细腻，造型生动，富有表现力。罗汉是佛教徒中的一种职业，被视为道德模范，修行苦修，常常身着袈裟，头戴顶冠，手持佛像，在山林中修行禅定。\n\n陈远（1360-1453年），字元和，号清臣，是明朝著名的书画家。他的作品中有许多著名的山水画，其中罗汉图是其代表作之一。陈远的画风浑厚而不失精细，富有感染力，是明朝画坛的重要代表。",[23,51,84,1284,54,25,58,137,181,180,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e868355eac240b9a49b9ea292fc510f.jpg","101.7x50",[199],{"id":15508,"slug":15509,"title":15510,"dynasty":18,"author":2181,"museum":20,"description":2182,"tags":15511,"thumbUrl":15512,"material":33,"size":107,"collection":107,"collections":15513,"showCount":15311,"zanCount":39,"manualWeight":39,"mainColor":40},214647,"qiu-xing-ba-jing-tu-ce-10-dong-qi-chang-214647","秋兴八景图册-10",[23,51,24,26,25,119,7,55,56,64,715,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F733353bab86339fd091579c32aef95fe.jpg",[],{"id":15515,"slug":15516,"title":1302,"dynasty":146,"author":431,"museum":81,"description":15517,"tags":15518,"thumbUrl":15519,"material":121,"size":15520,"collection":107,"collections":15521,"showCount":15311,"zanCount":39,"manualWeight":39,"mainColor":40},214362,"zhu-shi-tu-zhao-meng-fu-214362","这幅画用枯木、竹子和石头画成，用笔既写实又有书法的趣味，最初的记录是元代一位无名艺术家的作品。竹子的画风与他夫人管道昇的画风比较相似，而石头和干木头是赵孟頫自己的，所以不清楚这幅画是否是他们夫妇的合作。",[49,50,23,51,26,24,358,700,277,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F926a3adbd17609f8effa8e71d46a7253.jpg","26.6x52.2",[],{"id":15523,"slug":15524,"title":15525,"dynasty":146,"author":709,"museum":81,"description":15526,"tags":15527,"thumbUrl":15528,"material":634,"size":15529,"collection":107,"collections":15530,"showCount":15531,"zanCount":1288,"manualWeight":39,"mainColor":40},290819,"zhu-shi-zhou-wu-zhen-290819","竹石轴","吴镇存世之作几为墨画，晚年墨竹作品尤为多，由於作品上留有大量的题语，显露出个人绘画思想乃至一生学养，其中又以《竹谱册》为著。元代由於大环境的改变，文人好写“三友图”，以松竹梅表达象徵意义，或寄托情怀，吴镇亦有言“墨戏之作，盖士大夫词翰之馀，适一时之兴趣也”。然审视此轴，实为笔墨黯熟之潇洒佳作，非仅一时随兴之墨戏。竹干、岐枝皆下笔圆健，竹枝劲利，稍带回锋，尽管分枝多、发叶少，但叶随枝生，生态盎然；淡墨石以卧笔混点。幅中之墨色皆不浓重，显现一种平淡冲和的色感。竹石间，吴镇以流畅有力，墨色较浓重的行笔题下款识，画面益显沈稳。和《竹谱册》相较，此图乃其精心之作。",[23,50,51,84,26,358,277,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1811347de2004269449e6bfa0b94c55f.jpg","90.6x42.5公分",[],48,{"id":15533,"slug":15534,"title":15535,"dynasty":115,"author":1755,"museum":81,"description":15536,"tags":15537,"thumbUrl":15538,"material":121,"size":15539,"collection":107,"collections":15540,"showCount":15531,"zanCount":39,"manualWeight":39,"mainColor":40},289563,"xi-shan-xing-lv-tu-ma-lin-289563","溪山行旅图","马麟，麟一作驎，钱塘（今浙江杭州）人。南宋画家。马世荣之孙，马远之子。\n生卒年不详。其父马远是宋光宗、宋宁宗两朝（1190～1224）画院待诏，马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。宁宗嘉泰间（1201～1204）授画院祗候，颇得宁宗赵扩、恭圣皇后杨氏及杨妹子称赏，每于父子画上题句。在《层叠冰绡图》中题诗云：“浑如冷蝶宿花房，拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。”",[49,50,23,51,84,26,56,55,59,2142,150,225,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbb3bd480aa2c88a3b827d39dcc5bc3.jpg","147.9x60.5",[],{"id":15542,"slug":15543,"title":15544,"dynasty":115,"author":355,"museum":99,"description":15545,"tags":15546,"thumbUrl":15548,"material":689,"size":690,"collection":107,"collections":15549,"showCount":15531,"zanCount":39,"manualWeight":39,"mainColor":1441},288988,"gu-bai-tu-su-shi-288988","古柏图","苏轼（1037年1月8日—1101年8月24日），字子瞻，一字和仲，号铁冠道人、东坡居士，世称苏东坡、苏仙、坡仙，汉族，眉州眉山（今四川省眉山市）人，祖籍河北栾城，北宋文学家、书法家、美食家、画家，历史治水名人。\n嘉祐二年（1057年），苏轼进士及第。宋神宗时在凤翔、杭州、密州、徐州、湖州等地任职。元丰三年（1080年），因“乌台诗案”被贬为黄州团练副使。宋哲宗即位后任翰林学士、侍读学士、礼部尚书等职，并出知杭州、颍州、扬州、定州等地，晚年因新党执政被贬惠州、儋州。宋徽宗时获大赦北还，途中于常州病逝。宋高宗时追赠太师；宋孝宗时追谥“文忠”。\n苏轼是北宋中期文坛领袖，在诗、词、散文、书、画等方面取得很高成就。文纵横恣肆；诗题材广阔，清新豪健，善用夸张比喻，独具风格，与黄庭坚并称“苏黄”；词开豪放一派，与辛弃疾同是豪放派代表，并称“苏辛”；散文著述宏富，豪放自如，与欧阳修并称“欧苏”，为“唐宋八大家”之一。苏轼善书，“宋四家”之一；擅长文人画，尤擅墨竹、怪石、枯木等。李志敏评价：“苏轼是全才式的艺术巨匠。”\n作品有《东坡七集》《东坡易传》《东坡乐府》《潇湘竹石图》《枯木怪石图》等。",[23,50,26,52,51,15547,137,1424,277,7,55],"古柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a070c6607dcc35014c7ddfa1ae14d46.jpg",[],{"id":15551,"slug":15552,"title":15553,"dynasty":146,"author":12693,"museum":99,"description":12694,"tags":15554,"thumbUrl":15557,"material":689,"size":690,"collection":107,"collections":15558,"showCount":15531,"zanCount":39,"manualWeight":39,"mainColor":75},287305,"long-chi-jing-du-tu-wang-zhen-peng-287305","龙池竞渡图",[49,50,23,52,1962,26,59,60,61,15555,58,7,86,12697,15556],"龙舟","宫廷园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7d18a1215d8f0edb9c0cf295fdfa17c.jpg",[],{"id":15560,"slug":15561,"title":15562,"dynasty":97,"author":15563,"museum":99,"description":15564,"tags":15565,"thumbUrl":15569,"material":689,"size":690,"collection":107,"collections":15570,"showCount":15531,"zanCount":39,"manualWeight":39,"mainColor":40},283781,"jin-yu-tu-weng-luo-283781","金鱼图","翁雒","江苏吴江. 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钤白文方印“服卿氏”、“周之冕印”。画面中有吴幼培、杜大中题诗数首，图后有朱鹭题跋。\n吴门画派是明中期重要的绘画流派，尤以山水画成就最高，标志着文人画走向极盛！而周之冕画得最多也最有成就的是山水画。",[49,23,51,52,134,26,135,27,528,529,420,308,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff15bf087597467f842c177242ffd37.jpg",[35,242],{"id":15705,"slug":15706,"title":15707,"dynasty":18,"author":161,"museum":175,"description":15708,"tags":15709,"thumbUrl":15711,"material":668,"size":15712,"collection":35,"collections":15713,"showCount":15531,"zanCount":39,"manualWeight":39,"mainColor":40},222130,"chu-ji-tu-ye-shen-zhou-222130","雏鸡图页","本幅自题七言诗：“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。”自识“沈周”，钤“启南”朱方印、“白石翁”白方印。收藏印钤“朱卧庵收藏印”、“之赤”、“昆王成宪画印”等，右下骑缝花押。\n从自题诗看，画家对这只已然半大的雏鸡表现了担忧之情，总是啾啾寻母，长大后如何承担起催日报晓的责任呢？不难看出画家借雏鸡图寄予了期望后代早日成才的心愿。\n此画构图简练，为一只墨笔写意的雏鸡。其背部羽毛以湿润的墨色渲染，体形轮廓则以简约的墨线勾勒，虽为写意，仍能照顾到物象的立体感。雏鸡两翅以淡墨细笔写出，角度与比例配合得当。整幅画虽题材简单，但笔韵内敛传神，雏鸡稚嫩的体态通过水墨尽得显现。此作品为沈周所作有关鸡之题材绘画的代表作，此时的沈周已经完全摆脱了元人一味摹宋的工致画风，而是真正将自己的心神融入到笔锋之中，达到了写形传神的境界。",[49,23,51,26,119,27,15710,7],"雏鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6374170d786fdeec4131bd7de6727b5b.jpg","纵28.1厘米，横37.6厘米",[35,242],{"id":15715,"slug":15716,"title":15717,"dynasty":18,"author":9478,"museum":99,"description":15718,"tags":15719,"thumbUrl":15720,"material":107,"size":107,"collection":35,"collections":15721,"showCount":15531,"zanCount":39,"manualWeight":39,"mainColor":40},221878,"xie-sheng-hua-hui-juan-zhou-tao-cheng-221878","写生花卉卷轴","此作所绘湖石、竹簧、水仙与山茶树，松竹花石高与纸齐，往往笔力苍挺，气象峥嵘，而乏悠远层迭之趣。水仙与新竹双钩留白，与浓变化的山茶叶呼应对比，煞是美妙。虽率意布置，而秀润苍老，清气满幅，笔情墨法，令人不能窥其稚奥，真独步艺苑。\n陶成，字孟学，一作懋学，后更字敬学，号云湖、云湖山人，尝自署云湖仙人。江苏宝应人，成化七年举人。陶成为明代中前期以“诗书画三绝”盛名于世的奇才，他生性疏狂、不拘小节、放荡不羁，有米南宫、郭忠恕之风而豪荡过之。其艺术活动主要在成化、弘治年间，画芙蓉最著名且为世人所珍。陶成晚年因坐谪而被戍边，虽时间不久，然放归后即离世。",[49,23,51,52,26,25,2641,28,529,358,531,150,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90df80a9b3832e286d021025ff6327e5.jpg",[35,242],{"id":15723,"slug":15724,"title":15725,"dynasty":115,"author":116,"museum":175,"description":15726,"tags":15727,"thumbUrl":15728,"material":319,"size":15729,"collection":122,"collections":15730,"showCount":15531,"zanCount":1288,"manualWeight":39,"mainColor":75},221279,"huan-hua-xi-tu-yin-juan-huang-ting-jian-221279","浣花溪图引卷","释文：\n［拾］［遗］［流］［落］［锦］［官］城，故人作尹眼［为］［青］。碧鸡坊西［结］茅屋，百花［潭］［水］濯冠缨。［故］［衣］未补新衣［绽］，空［蟠］胸中书万［卷］。探道欲度［义］皇前，论诗未［觉］国风远。干［戈］峥嵘暗寓县，杜陵韦［曲］［无］鸡犬。老妻稚［子］且眼前，［弟］［妹］漂零不相［见］。［此］翁乐易极可［人］，［园］翁溪友肯［卜］邻。［邻］［家］有酒邀皆去，得意鱼鸟［来］［相］亲。浣花酒舩散车骑，野[墙］［］无主看桃李。［宗］［文］守家宗武扶，［落］日蹇驴驮［醉］起。愿闻解［鞍］脱兜鍪，老［儒］［不］用千户侯。［中］原未得平安［报］，醉［里］眉攒万国［愁］。生綃铺墙粉［墨］落，平生忠［义］［今］寂寞。儿呼不［苏］驴失脚，犹［恐］［醒］来有新作。［长］［使］诗人拜画［图］，［煎］胶续絃千古无。（注：［］内字为后补。）\n鉴藏印有“绍兴”、“内府书印”、“贞元”、“乾坤清赏”、“有明王氏图书之印”及清嘉庆内府诸印等。卷后有明吴宽、王世贞跋。\n此卷为火烧残本，后经明代夏德声补齐（见释文中［］内字）。\n此卷见载于《山谷外集》，作于北宋元祐三年（1088年），黄庭坚时年42岁。作品笔法苍老，多骨少肉，具有作者晚年书法的风格特征。卷后明王世贞跋中评道：“……老杜浣花溪图引也。歌词力欲求奇，然是公最合作语。书笔横逸疏荡，比素师饶姿态，亦稍平易可识。而结法之密、腕力之劲、波险神奇，似小不及也……。”可知书“素师”是指唐代著名书家怀素，王世贞对黄庭坚与怀素书法特点的比较非常准确。此件作品虽然残处较多，仍不失为佳作。\n著录于《孙氏书画钞》上册、《石渠宝笈三编·延春阁》。",[49,50,23,51,52,462,86,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f5498ec208de96393364fd15d1d1c1f.jpg","纵35.5厘米,横391.4厘米",[122],{"id":15732,"slug":15733,"title":15734,"dynasty":18,"author":2181,"museum":329,"description":15735,"tags":15736,"thumbUrl":15737,"material":15738,"size":15739,"collection":122,"collections":15740,"showCount":15531,"zanCount":39,"manualWeight":39,"mainColor":40},220961,"jing-xi-zhao-yin-tu-juan-dong-qi-chang-220961","荆溪招隐图卷","《荆溪招隐图》，图上有题识：“荆溪招隐图。辛亥人日董玄宰写于宝鼎斋。”图后又附一篇长文题记：“此余辛亥岁为澈如光禄作也，今年予自田间被征，与澈如同一启事。予既已誓墓不出，而澈如亦意在鸿冥。余举赠友人诗，题此卷曰：我如远山云，君如朝日暾。出处各有宜，何必鹤与猿。惟容避世者，终老桃花源。澈如携此游江门，时以展之。去余不作红稚圭举止也。癸丑八月中秋后三日华亭年弟董其昌书于吴昌舟次。”",[49,23,51,52,26,56,55,6095,86,119,7,278,64,754,60,61,279,755,2955,150,3547,379],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F430208679d199a4467c6e992ac417f39.jpg","手卷，纸本设色","纵26厘米，横92.6厘米",[122],{"id":15742,"slug":15743,"title":15744,"dynasty":146,"author":376,"museum":81,"description":15745,"tags":15746,"thumbUrl":15747,"material":634,"size":15748,"collection":107,"collections":15749,"showCount":15531,"zanCount":1288,"manualWeight":39,"mainColor":40},220813,"qin-shu-zi-yu-tu-zhou-wang-meng-220813","琴书自娱图轴","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[49,23,51,84,26,55,56,64,59,150,8760,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8731d7e633af79f8819632ef335518d0.jpg","144.6x41.9",[],{"id":15751,"slug":15752,"title":15753,"dynasty":891,"author":892,"museum":15754,"description":15755,"tags":15756,"thumbUrl":15757,"material":15758,"size":107,"collection":107,"collections":15759,"showCount":15531,"zanCount":1288,"manualWeight":39,"mainColor":40},220582,"xian-tao-qi-bai-shi-220582","仙桃","Hwajeong Museum","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。",[891,23,822,25,403,27,4231,265,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcecf3a3089bcebf91a06cfe9e353c2e9.jpg","color on paper",[],{"id":15761,"slug":15762,"title":15763,"dynasty":97,"author":4047,"museum":81,"description":15764,"tags":15765,"thumbUrl":15767,"material":33,"size":15768,"collection":70,"collections":15769,"showCount":15531,"zanCount":39,"manualWeight":39,"mainColor":40},220112,"yan-bo-diao-ting-tu-qian-long-220112","烟波钓艇图","清高宗爱新觉罗·弘历（1711年9月25日—1799年2月7日），清朝第六位皇帝，定都北京之后的第四位皇帝。年号“乾隆”，寓意“天道昌隆”。在位六十年，禅位后又继续训政，实际行使最高权力长达六十三年零四个月，是中国历史上实际执掌国家最高权力时间最长的皇帝，也是最长寿的皇帝。",[49,23,51,26,84,56,62,713,598,1061,15766,7],"水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a0610d85cb942d3d36056cbf98c91f3.jpg","58.8x30.7",[70],{"id":15771,"slug":15772,"title":15773,"dynasty":146,"author":15774,"museum":20,"description":15775,"tags":15776,"thumbUrl":15777,"material":14329,"size":15778,"collection":70,"collections":15779,"showCount":15531,"zanCount":1288,"manualWeight":39,"mainColor":75},219740,"dian-shan-song-bie-tu-li-sheng-219740","澱山送别图","李升","李升（生卒年不详），元代画家。字子云，号紫筼生。濠梁(今安徽凤阳)人。晚年居青浦(今属上海)淀山湖畔，筑草堂，人称“谪仙”。擅墨竹，喜作窠石平远山水，颇有清趣。",[23,52,26,55,56,871,700,1207,406,62,727,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d099573b441bf66cceba505e064a29f.jpg","23×68.4cm",[70],{"id":15781,"slug":15782,"title":15783,"dynasty":97,"author":12638,"museum":485,"description":15784,"tags":15785,"thumbUrl":15787,"material":33,"size":15788,"collection":199,"collections":15789,"showCount":15531,"zanCount":39,"manualWeight":39,"mainColor":924},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。",[23,51,84,26,25,403,58,15786,11725,311,7],"老人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a98079d56aeaa314481baecfab8d367.jpg","102x40厘米",[199],{"id":15791,"slug":15792,"title":15793,"dynasty":115,"author":221,"museum":81,"description":15794,"tags":15795,"thumbUrl":15797,"material":152,"size":107,"collection":35,"collections":15798,"showCount":15531,"zanCount":39,"manualWeight":39,"mainColor":40},219224,"li-peng-qiu-zhan-zhao-ji-219224","栗蓬秋绽","墨叶扶疏间，栗蓬携尖刺静绽，外壳微裂处，嫩实隐现如珠。工笔细描的叶片脉络分明，墨色晕染出苍劲与柔润的层次，枝干线条如篆如隶，藏着书法般的骨力。秋意凝于绢素，既有院体画的精工写实，又含文人画的雅致韵致。一笔一画皆见对自然物态的深察，从刺尖的锋芒到叶脉的转折，皆细致入微，尽显宋画格物致知的精神，让秋之栗蓬的生机与静美，在方寸扇面间流转不息。",[49,1073,23,51,822,54,25,27,15796,265,1227,7],"栗蓬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc547c3110157d019ed1ea0f90ee3b260.jpg",[35],{"id":15800,"slug":15801,"title":15802,"dynasty":18,"author":1014,"museum":446,"description":1826,"tags":15803,"thumbUrl":15804,"material":152,"size":1829,"collection":107,"collections":15805,"showCount":15531,"zanCount":1288,"manualWeight":39,"mainColor":75},218347,"ren-wu-gu-shi-ce-3-tang-yin-218347","人物故事册-3",[49,23,51,24,25,58,54,86,7,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F703960e64914b7762ff9858c151f68d9.jpg",[],{"id":15807,"slug":15808,"title":15809,"dynasty":18,"author":1014,"museum":446,"description":1826,"tags":15810,"thumbUrl":15811,"material":152,"size":1829,"collection":107,"collections":15812,"showCount":15531,"zanCount":1288,"manualWeight":39,"mainColor":75},218342,"ren-wu-gu-shi-ce-7-tang-yin-218342","人物故事册-7",[49,50,23,51,24,25,54,58,137,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4b9e28443792172ef7912cf70bbfdee.jpg",[],{"id":15814,"slug":15815,"title":15816,"dynasty":115,"author":748,"museum":20,"description":15817,"tags":15818,"thumbUrl":15819,"material":88,"size":813,"collection":107,"collections":15820,"showCount":15531,"zanCount":39,"manualWeight":39,"mainColor":40},214277,"duo-jing-lou-shi-tie-6-mi-fei-214277","多景楼诗帖-6","墨色浓枯相济，浓处如坠石沉渊，枯笔飞白似裂帛牵丝。笔锋横扫间带着率意锋芒，每一笔如奔马脱缰却收放自如，欹侧结构藏着奇险趣味。字间牵丝映带，行气如流泉穿石般连贯，线条粗细变化里藏着书写的呼吸节奏——时而重若崩云，时而轻如蝉翼。那种“刷”出的痛快感，仿佛可见书者挥毫的洒脱姿态。章法疏朗却气脉贯通，留白处透着灵动，整体如疾风骤雨过后的晴空，既有千钧之力又不失飘逸韵致，尽显宋人尚意的书法风骨，读来令人心驰神往。",[86,119,418,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59d9c0635b53d5216d1eb22fb1deeaec.jpg",[],{"id":15822,"slug":15823,"title":15824,"dynasty":97,"author":11197,"museum":81,"description":15825,"tags":15826,"thumbUrl":15827,"material":88,"size":15828,"collection":122,"collections":15829,"showCount":15531,"zanCount":39,"manualWeight":39,"mainColor":40},214239,"xing-shu-li-bai-qiu-deng-xuan-cheng-xie-tiao-bei-lou-zheng-xie-214239","行书李白秋登宣城谢眺北楼","笔锋游走处，楷隶骨力与行草灵动交织成独特韵律。横画如竹枝劲挺，撇捺似兰叶舒展，尽显板桥体疏朗宕逸的风骨。墨色浓淡相济，沉厚如秋潭映月，轻扬若风过疏桐，暗合诗意里的秋空澄澈与凭栏远眺的旷达。结体错落有致，字间顾盼生姿，仿佛谢朓楼头山影叠嶂，又藏李白诗中逸兴遄飞。章法疏密得宜，笔墨与纸页的对话间，怀古之思与秋景清寂化作纸上流转气韵，尽展文人书法的情韵与风骨。",[49,50,23,51,84,119,86,26,7,56,406],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5bd6865fed3b355a77b57411d0da99f.jpg","164x90.2",[122],{"id":15831,"slug":15832,"title":15833,"dynasty":97,"author":1180,"museum":99,"description":1655,"tags":15834,"thumbUrl":15835,"material":689,"size":690,"collection":107,"collections":15836,"showCount":15837,"zanCount":39,"manualWeight":39,"mainColor":40},290423,"shan-hu-zhu-tu-wu-chang-shuo-290423","珊瑚珠图",[49,23,50,51,84,25,27,12744,553,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2766eac4a62e51b7669d8120e882a655.jpg",[],47,{"id":15839,"slug":15840,"title":15841,"dynasty":18,"author":207,"museum":99,"description":15842,"tags":15843,"thumbUrl":15845,"material":689,"size":690,"collection":107,"collections":15846,"showCount":15837,"zanCount":39,"manualWeight":39,"mainColor":75},290419,"fang-fan-kuan-xi-shan-xing-lv-tu-yi-ming-290419","仿范宽溪山行旅图","此作用笔沉郁苍厚，主峰拔地而起，以密集皴法刻画山石肌理，尽显山峦雄浑磅礴的质感。山间烟岚轻笼，虚实相生，将高旷幽深的山野意境铺陈开来。下方林麓环合，流泉自幽谷间蜿蜒而出，板桥山居隐于林木之中，静穆里藏着灵动生机。整体追摹北派山水的雄浑气象，既复刻出山野荒寒之态，又暗合沉静意韵，把大山大水的壮阔与林泉幽居的闲逸融为一体，是颇具古韵功力的山水佳作。",[23,712,84,26,55,15844,293,294,64,134,7],"高山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F096a6ea931c37ee34c32a9f99876af1c.jpg",[],{"id":15848,"slug":15849,"title":15850,"dynasty":115,"author":1912,"museum":81,"description":15851,"tags":15852,"thumbUrl":15854,"material":689,"size":690,"collection":107,"collections":15855,"showCount":15837,"zanCount":743,"manualWeight":39,"mainColor":75},290328,"han-lin-tu-zhou-li-cheng-290328","寒林图轴","该幅画以近景为主，画幅中央矗立著三株巨树，一湾溪水三叠流出，激流漱石，幅内烟岚飘忽游于林中，虚实相映。勾画树干、皴树皮、点叶皆用细笔，虽劲拔挺捷，然仍具一股娟秀气息，树干上勾圈出很多木瘿，枝桠若龙蛇四面分张，苍劲遒逸，涧流两侧土坡淡墨卧笔层叠皴染，笔法细腻又具变化。水纹及腾溅水花之取笔粗细并用，且劲挺有力，似闻激溅之声。",[23,50,84,26,56,58,967,3040,150,293,15853,86,7],"寒景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7053bf2f5e8d19cc962f067e8bb0dcd9.jpg",[],{"id":15857,"slug":15858,"title":15859,"dynasty":146,"author":431,"museum":99,"description":15860,"tags":15861,"thumbUrl":15863,"material":689,"size":690,"collection":107,"collections":15864,"showCount":15837,"zanCount":39,"manualWeight":39,"mainColor":40},289948,"luo-shen-fu-juan-zhao-meng-fu-289948","洛神赋卷","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。",[50,23,51,52,119,86,418,15862,1337,136,7],"洛神","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8139c393ba42d92a1104b63075d6602a.jpg",[],{"id":15866,"slug":15867,"title":15868,"dynasty":115,"author":13147,"museum":99,"description":15869,"tags":15870,"thumbUrl":15872,"material":689,"size":690,"collection":107,"collections":15873,"showCount":15837,"zanCount":11,"manualWeight":39,"mainColor":40},288356,"qiu-chuang-du-yi-tu-liu-song-nian-288356","秋窗读易图","这件作品笔墨工致严谨，气格宁静雅逸，具有一种宫廷的富贵气息，是刘松年细腻、典雅画风的杰出代表。也有专家认为，他的山水画是把李唐开创的风格“向后拉”(所谓“向后拉”，就是把李唐刚猛的画风进行减缓和柔化)，而马远、夏圭则是把李唐的画风“向前拉”，此说颇为形象。画面表现的是读书的场景。水畔树石掩映之下，书斋门窗敞开，主人在窗前展卷沉思，一书童在门外侍立。景色清幽，主人儒雅，童子恭敬，各尽其态。房屋、院落、树木、篱笆墙，都是精工细写，一丝不苟，将秋天的氛围渲染得恰到好处。一片湖光水色之外，更有远景的山石隐现。山石的画法明显是学自李唐，先用健朗的线勾轮廓，然后施以斧劈皴，精巧、有力，青绿设色，杂树用夹叶法，这些都是典型的南宋画法。但细读之下，却也不尽然。《秋窗读易图》同时呈现出另一种风貌。我们拿这张作品和刘松年的《四景山水图》做比较，就会发现这个问题。《四景山水图》画山石用斧劈皴和淡墨渲染，具有刚硬的特点。树的弯曲，用笔偏于方折，远山仅画一角。虽然画面的总体感觉上是湿润的，但具体景物却是干裂的。再看《秋窗读易图》的山石画法，很明显地具有董源、巨然的风格——长披麻皴的运用和具有江南柔美的韵致。另外，从树木、苔点、远山、秀水的画法中，我们可以感觉得到一种萧散和淳厚，这又具有元人的绘画风韵。\n总体而言，《秋窗读易图》较之《四景山水图》，硬朗之风略逊，而优雅、闲适之气则胜之。从这个意义上讲，刘松年的作品突破了时代的风格，以典雅、秀丽的风貌预示了元代山水画的走向。虽然元代山水画的一个典型的特征是排斥南宋绘画传统，但刘松年绘制的这件作品，正好从另一个方面说明了元代山水画家或者说南宗山水画家将反对的对象集中在马远和夏圭上的主要原因。",[49,23,822,51,25,54,1962,56,610,59,86,119,7,3652,15871],"读易","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c6dadc0e51fb4a03d05372ce1324e11.jpg",[],{"id":15875,"slug":15876,"title":15877,"dynasty":97,"author":207,"museum":99,"description":15878,"tags":15879,"thumbUrl":15880,"material":689,"size":690,"collection":107,"collections":15881,"showCount":15837,"zanCount":39,"manualWeight":39,"mainColor":40},235609,"niu-shi-hui-he-ya-tu-zhou-yi-ming-235609","牛石慧荷鸭图轴","此作用水墨写就秋塘小景，留白空阔清寂。以淋漓泼墨挥写荷叶，浓淡层叠，枯湿相济：舒展的大叶墨色沉浑尽显饱满生机，残荷则笔意简劲，自带清秋萧疏之态。\n\n游鸭以焦墨勾定轮廓，淡墨晕染羽色，憨然浮于水面，俯仰间野趣自生。水面仅以细碎墨点、短线轻勾，清浅灵动，衬出水塘的空静。右上角题字笔力苍朴，与画面浑融一体。\n\n整幅不作繁复刻画，却以极简笔墨尽抒秋塘疏朗雅逸之致，以形写神，尽显写意水墨以少胜多的精妙意趣。",[23,84,26,27,420,3577,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3338331e1a2764fd325c249421dcbcf6.jpg",[],{"id":15883,"slug":15884,"title":15885,"dynasty":18,"author":15886,"museum":175,"description":15887,"tags":15888,"thumbUrl":15889,"material":391,"size":15890,"collection":70,"collections":15891,"showCount":15837,"zanCount":1288,"manualWeight":39,"mainColor":40},234806,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-qian-ren-zuo-tu-ye-wen-jia-234806","吴门诸家寿袁方斋三绝册-千人座图页","文嘉","此册页是吴门画家文嘉、文伯仁、陆治、陈道复为姓袁者六十大寿而绘的吴门一带的盛景，每位画家绘制五开，共20开，妹夫对开均有提拔。",[23,51,24,25,56,55,58,63,150,64,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0427d2997d7f999e233f980c215411ae.jpg","22.2*26.7cm",[70],{"id":15893,"slug":15894,"title":15895,"dynasty":97,"author":15896,"museum":99,"description":15897,"tags":15898,"thumbUrl":15899,"material":107,"size":107,"collection":107,"collections":15900,"showCount":15837,"zanCount":39,"manualWeight":39,"mainColor":40},234520,"hua-niao-wan-shan-zhu-cheng-234520","花鸟纨扇","朱偁","朱偁[清]（1826—1900，一作1826—1899）清代画家，早岁名琛，后更今名，字梦庐，号觉未，别署鸳湖散人、玉溪外史、玉溪钓者、鸳湖画史、胥山樵叟，浙江嘉兴人。熊弟。工花鸟，初法张熊，暇辄借临，熊自视几不能辨。及王礼得名以超脱胜张熊之工细，遂改从礼，兼得张画之华瞻工细与王画之超脱飘逸，神似华喦，成为名家，在上海书画界享有盛誉。题字款识，莫不酷似。晚年精进，惜未脱霸气。间仿华岩亦得其神似，卒年七十五（一作七十四）。\n事迹收录于《海上墨林》、《桐阴复志》、《近代六十名家画传》 。",[23,51,822,25,54,27,277,29,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29f6db911ad00282fc6ef5a8e0e78eae.jpg",[],{"id":15902,"slug":15903,"title":15904,"dynasty":97,"author":11187,"museum":175,"description":15905,"tags":15906,"thumbUrl":15907,"material":239,"size":107,"collection":35,"collections":15908,"showCount":15837,"zanCount":39,"manualWeight":39,"mainColor":40},234108,"hua-hong-li-du-jiang-shi-yi-juan-zhang-zong-cang-234108","画弘历渡江诗意卷","张宗苍（1686-1756），字默存，江苏苏州人，画家。师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。\n公元1751年，乾隆皇帝南巡，张宗苍进献了画册《吴中十六景》，深得乾隆皇帝的欣赏，后来进入清宫廷画院供奉，为宫廷作画，是乾隆时期一位重要的宫廷画家。清代宫廷绘画在清代绘画史上有着重要的地位，特别是乾隆时期，设立了如意馆广收人才，创作了很多纪实、历史故事、宗教及装饰题材的作品，具有特殊的历史与艺术价值，在乾隆一朝的宫廷画家中，张宗苍是很重要的一位。张宗苍的山水画，画风苍劲，用笔沉着。山石皴法多以干笔积累，林木之间使用淡墨，干笔和皴擦的手法相结合，表现出了深远的意境和深厚的气韵，一洗宫廷画院惯有的甜熟柔媚的习气，特别被乾隆皇帝所喜爱\u2028 《石渠宝笈》收录了他的116幅作品，很多作品上都有乾隆皇帝的题诗。 初以主簿理河工事。善画，山水出黄鼎之门，用笔沈著，山石皴法多以乾笔积累，林木间亦用淡墨，乾擦凑合，神气颇觉葱蔚可观。乾隆十六年（一七五一）高宗南巡，以吴中十六景画册进呈，称旨。命入都祗候内廷。十九年（一七五四）授户部主事。年七十一卒於家。",[23,51,52,25,56,715,6000,5692,10510,64,150,7,119,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa140c914ee1ce52abac214f62a6488a8.jpg",[35,70,72],{"id":15910,"slug":15911,"title":15912,"dynasty":18,"author":8189,"museum":175,"description":15913,"tags":15914,"thumbUrl":15915,"material":391,"size":15916,"collection":107,"collections":15917,"showCount":15837,"zanCount":1288,"manualWeight":39,"mainColor":40},232954,"wan-he-song-feng-tu-zhou-wen-bo-ren-232954","万壑松风图轴","作者绘高峰巨嶂、松竹叠翠和隐庐数间，构图和笔墨、造型尽得元代王蒙的形与神。构图繁密而不拥塞，行笔细密却不琐碎，山路松声，云壑泉涌，满幅风动。气韵浑然一体，纯系文徵明传派的风韵。",[23,51,84,56,26,55,610,150,293,15170,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f80f6c03b7173bd4fc3b16e9e9bfec6.jpg","纵104.7厘米，横25.8厘米",[],{"id":15919,"slug":15920,"title":15921,"dynasty":97,"author":15922,"museum":99,"description":15923,"tags":15924,"thumbUrl":15925,"material":107,"size":107,"collection":107,"collections":15926,"showCount":15837,"zanCount":39,"manualWeight":39,"mainColor":40},230298,"fang-ni-zan-shan-shui-ce-cha-shi-biao-230298","仿倪瓒山水册","查士标","此作用淡墨轻写，意境萧疏清寂。双松挺峙画面中心，枝干枯笔皴擦，清瘦古劲，松针簇簇写意点染，简而有神。旁侧湖石奇崛，勾勒皴擦极简，尽显玲珑古拙之态。远山以淡墨晕染留白，虚实相生，漾着空濛淡远之致。边角茅舍板桥静立，不见人影却暗合幽居雅意，暗承逸笔草草的旨趣。全幅笔墨松灵简净，淡墨轻岚间尽显林下幽冷出尘的意趣，于极简淡的尺幅里，藏着澹然出尘的文人情思。",[23,26,55,134,7,86,24,56,137,277,2955,727],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ea8fd0934d7a09654b2d44ef119846.jpg",[],{"id":15928,"slug":15929,"title":15930,"dynasty":97,"author":3423,"museum":99,"description":15931,"tags":15932,"thumbUrl":15933,"material":107,"size":107,"collection":107,"collections":15934,"showCount":15837,"zanCount":39,"manualWeight":39,"mainColor":40},224377,"hua-hui-qi-shi-ce-shi-er-kai-7-ju-lian-224377","花卉奇石册-十二开-7","此帧小品清隽雅致，以淡墨皴写湖石，瘦透间带玲珑孔洞，苍朴石色晕染出经年古意，苔迹隐现似藏时光痕迹。石畔新抽的嫩株以没骨晕染，心形叶片从墨绿到浅碧过渡柔润通透，细劲叶脉勾勒出鲜活生机。\n\n两只丹红斑黑的瓢虫悄悄栖止，一在叶端一在石巅，静中生趣，将幽寂小景晕开鲜活意趣。全画笔简意足，设色秀雅柔和，把案头清供的恬然闲趣尽数铺陈，尺幅虽小，却将文人雅室的幽谧诗意凝于画面，尽显雅致侘寂的小帧佳韵。",[49,23,51,24,25,7,27,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6982ad98498646a071e78689c3bf1bf.jpg",[],{"id":15936,"slug":15937,"title":15938,"dynasty":115,"author":116,"museum":175,"description":15939,"tags":15940,"thumbUrl":15941,"material":15942,"size":15943,"collection":122,"collections":15944,"showCount":15837,"zanCount":1288,"manualWeight":39,"mainColor":40},221270,"ba-fan-zhong-yan-dao-fu-zan-huang-ting-jian-221270","跋范仲淹道服赞","宋代政治家、书法家范仲淹墨迹。\n范仲淹(989～152)字希文，吴县(今江苏苏州)人。\n祥符八年进士,官至枢密副使,参知政事,卒谥“文正”。\n道服赞并序，自识为“平海书记许兄”作。\n书法方劲，落笔痛快沉着，略有《乐毅论》遗法。\n卷后文同、吴立礼、戴蒙、柳贯、胡助、刘魁、戴仁、马、吴宽、卢濬、王世贞跋。\n另黄庭坚一题，是后人抄录其文，非黄氏亲笔所书。",[86,51,119,7,435,7113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aa8080d7d4c8bfd22a1317a584909e9.jpg","纸本（疑伪）","纵 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此作山石樹法與北京故宮所藏趙左萬曆四十一年繪製的山水冊近似，疑為趙左代筆、董其昌題款的作品。",[49,23,51,84,26,25,55,56,64,150,715,727,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cc7b8372b4b3ac2ca482b3a013bba9b.jpg","绢本浅设色","12×48.7厘米",[70,72],{"id":15991,"slug":15992,"title":15993,"dynasty":18,"author":2181,"museum":81,"description":15994,"tags":15995,"thumbUrl":15996,"material":15997,"size":107,"collection":70,"collections":15998,"showCount":15837,"zanCount":39,"manualWeight":39,"mainColor":40},220933,"fang-song-yuan-ren-suo-ben-hua-ji-ba-ce-dong-qi-chang-220933","仿宋元人缩本画及跋册","这套册页共二十二开，前副页两开，题「小中现大」四字，款：「董其昌题」。二十二开尺寸不一，本幅分别以绢本与纸本，临摹十一位宋元名家的作品，包括李成、董源、巨然、范宽、王诜、高克恭、赵孟頫、黄公望、吴镇、王蒙与倪瓒。",[50,23,51,24,134,56,1050,277,26,55,7,119,239,319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F795fd891f5b93b5371f8d9eee15c8941.jpg","绢本与纸本",[70,242],{"id":16000,"slug":16001,"title":16002,"dynasty":146,"author":431,"museum":81,"description":16003,"tags":16004,"thumbUrl":16005,"material":319,"size":16006,"collection":122,"collections":16007,"showCount":15837,"zanCount":1288,"manualWeight":39,"mainColor":40},220887,"zhi-xian-yu-shu-chi-du-zhao-meng-fu-220887","致鲜于枢尺牍","该帖基本上是将行书和草书两种写法交替使用\n释文：（前文残缺）陆沉于尘土中。不得致书。悬仰之怀。何可云喻。即日伏惟动静胜常。昨见教化公。言有铜器见赠。留足下处。望附良便。发与湖州舍下为感。都下绝不见古器物。书画却时得见之。多绝品。至有不可名状者。（有晋人谢稚三牛图。妙入神。非牛非麟。古不可言。）近见双幅董元著色大青大绿。真神品也。（韩干明皇试马。张萱日本女骑。皆真迹。）若以人拟之。是一个无拘管放泼底李思训也。上际山。下际幅。皆细描浪纹。中作小江船。何可当也。又两轴屈原渔父。又一轴江乡渔父。皆董元绝品。并双幅。不得不报耳。（鲁公自书太子少师告。朝回马病帖。乞米帖。怀素客舍等帖。伯时天神鬼马。妙。又驴鸣马惊图。）因赵彦伯侍郎南去。辄附片纸。近有新收。不惜报示也。正远惟善护兴息。不宣。四月廿四日。孟頫再拜。（伯几想安胜。便中冀为道意。）",[49,86,119,26,51,12562,5502,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4d22ce51678593caef9837e5d02c776.jpg","38.4x60.6厘米",[122],{"id":16009,"slug":16010,"title":16011,"dynasty":115,"author":355,"museum":81,"description":16012,"tags":16013,"thumbUrl":16014,"material":88,"size":16015,"collection":122,"collections":16016,"showCount":15837,"zanCount":1288,"manualWeight":39,"mainColor":40},220041,"bei-you-tie-su-shi-220041","北游帖","苏轼书于元丰元年(1078)。纸本。行书，信札一则。凡9行，计61字。",[49,86,119,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7729091c501372697bacbc86bcc08b52.jpg","26.1厘米×29.5厘米",[122],{"id":16018,"slug":16019,"title":16020,"dynasty":115,"author":355,"museum":81,"description":16021,"tags":16022,"thumbUrl":16023,"material":319,"size":16024,"collection":122,"collections":16025,"showCount":15837,"zanCount":1288,"manualWeight":39,"mainColor":40},220039,"ba-li-bu-chen-gong-shi-tie-su-shi-220039","跋吏部陈公诗帖","【释文】故三司副使吏部陈公 轼不及见其人，然少时所 识，一时名卿盛士多推 尊之，尔来前辈凋丧 略尽能称诵 公者渐不复见，得其 理言遗事，皆当记录 宝藏，况其文章乎 公之孙（师仲）录 公之诗廿五篇以示轼三 复太息，以想见 公之大略云，元丰四年十 一月廿四日眉阳苏轼书。",[49,86,119,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfaffe0183d39974fb89480f5b4ed34f.jpg","27.8厘米×60.6厘米",[122],{"id":16027,"slug":16028,"title":16029,"dynasty":115,"author":355,"museum":81,"description":16030,"tags":16031,"thumbUrl":16032,"material":319,"size":16033,"collection":122,"collections":16034,"showCount":15837,"zanCount":743,"manualWeight":39,"mainColor":40},220037,"dong-wu-tie-su-shi-220037","东武帖","苏轼于元佑四年写的手札",[49,86,119,7,51,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1252dbf3f75818f4f173fe00671dccc5.jpg","28.7厘米×66.1厘米",[122],{"id":16036,"slug":16037,"title":16038,"dynasty":146,"author":14306,"museum":6976,"description":16039,"tags":16040,"thumbUrl":16041,"material":88,"size":16042,"collection":70,"collections":16043,"showCount":15837,"zanCount":39,"manualWeight":39,"mainColor":40},219943,"cheng-xi-jing-yue-tu-ma-wan-219943","澄溪静樾图","马琬（？—1378？）元末明初画家。字文璧，号鲁钝生、灌园人、西处士。江苏南京人，长期寓居松江府（今上海金山吕巷）。有志节，工诗善画，诗工古歌行，画长山水，官至抚州郡守。善画山水人物，工诗能书。诗书画时号“三绝”。",[49,50,23,51,84,26,55,56,60,61,150,64,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5f75498f05d30a6b58ef024fbc5bd1b.jpg","58.5x31.0厘米",[70],{"id":16045,"slug":16046,"title":16047,"dynasty":18,"author":1014,"museum":446,"description":16048,"tags":16049,"thumbUrl":16050,"material":88,"size":16051,"collection":70,"collections":16052,"showCount":15837,"zanCount":39,"manualWeight":39,"mainColor":40},219799,"xi-shan-cao-tang-tu-tang-yin-219799","西山草堂图","这幅手卷名为《西山草堂》。它描绘了暮色朦胧中的山水风光。河岸青山连绵起伏。在画面前方，一位学者坐在他的乡村小屋里，享受着乡村隐居生活。打开手卷，可以看到更多的山水景色。将手卷展开，从左方一弯水路映入眼帘。这幅画有唐寅的亲笔题词。乾隆皇帝曾经也拥有过这幅画，画上有乾隆皇帝在公元1751年的题词。在山水画的下方有后来的收藏者和鉴赏家留下的11段文字，他们对画作或画家进行了评论。",[23,52,26,25,56,1768,64,727,716,751,55,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F412ecac14e5fb577bdedc689f4edd938.jpg","32x876.8cm",[70],{"id":16054,"slug":16055,"title":12846,"dynasty":18,"author":607,"museum":446,"description":16056,"tags":16057,"thumbUrl":16058,"material":88,"size":16059,"collection":70,"collections":16060,"showCount":15837,"zanCount":1288,"manualWeight":39,"mainColor":40},219772,"han-lin-tu-wen-zheng-ming-219772","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”。",[49,23,26,84,55,56,967,137,150,61,3040,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff2886a246a12879ab8f83cd5651ca80.jpg","纵90.5横31",[70],{"id":16062,"slug":16063,"title":79,"dynasty":18,"author":16064,"museum":81,"description":16065,"tags":16066,"thumbUrl":16067,"material":121,"size":16068,"collection":35,"collections":16069,"showCount":15837,"zanCount":39,"manualWeight":39,"mainColor":75},219508,"zhu-tu-lv-duan-jun-219508","吕端浚","此作用水墨写就，运笔爽利遒劲，丛竹叶叶交叠，以浓淡墨色区分层次，俯仰向背各具意态，繁密却不失条理，尽显修竹清刚挺拔之姿，仿佛有穿林风声拂过纸面。\n\n下方奇石以淡墨晕染轮廓，焦墨点苔，朴拙古雅，稳稳承托劲竹，与秀逸修竹形成刚柔相济的意趣，地面细草寥寥几笔，野趣自生。\n\n题款与画面相映成趣，整幅以极简水墨承载文人意趣，将竹的君子风骨融于尺素，笔情墨韵间满是萧散出尘的雅致。",[23,84,26,358,277,531,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F944e6c300e61ee66ba74b2b616fa2a07.jpg","169.1x87.6",[35],{"id":16071,"slug":16072,"title":16073,"dynasty":18,"author":4381,"museum":20,"description":16074,"tags":16075,"thumbUrl":16076,"material":33,"size":16077,"collection":199,"collections":16078,"showCount":15837,"zanCount":1288,"manualWeight":39,"mainColor":40},219413,"yuan-ye-yan-ji-tu-juan-lu-zhi-219413","元夜燕集图卷","陆治（1495-1576），字叔平，号包山，江苏苏州人。明代书画家，擅行、楷，尤精绘事。为祝允明、文徵明弟子。工写生，得徐、黄遗意。山水受吴门派影响，也兼取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗。\n这幅画是陆治记录嘉靖二十六年丁未（1547）年元旦参加文徵明家元旦集会的纪实之作，卷后附诗并记其事。钤朱文“叔”、“平”连珠印。",[49,18,23,51,52,25,54,119,86,7,58,59,63,64,150,1019,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef790692ba6b005ce05b71ce60c88a59.jpg","纵28厘米，横118.4厘米",[199,122],{"id":16080,"slug":16081,"title":16082,"dynasty":97,"author":5309,"museum":175,"description":16083,"tags":16084,"thumbUrl":16085,"material":33,"size":16086,"collection":70,"collections":16087,"showCount":15837,"zanCount":743,"manualWeight":39,"mainColor":40},218369,"dou-he-ben-quan-tu-wang-hui-218369","陡壑奔泉图","此图为王翚于康熙十五年（1676年），时年四十五岁时所作，仿王蒙画法，皴法细腻，墨色干湿相间，层次分明，气韵秀润。该图为清宫旧藏。",[49,23,51,84,26,55,56,64,610,150,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F843436601bf77f374d0da682061f8e02.jpg","纵74.3厘米，横31.4厘米",[70],{"id":16089,"slug":16090,"title":16091,"dynasty":146,"author":709,"museum":99,"description":8431,"tags":16092,"thumbUrl":16093,"material":689,"size":690,"collection":107,"collections":16094,"showCount":16095,"zanCount":743,"manualWeight":39,"mainColor":75},290818,"hou-chi-bi-fu-tu-zhou-wu-zhen-290818","后赤壁赋图轴",[23,51,84,26,56,62,277,66,58,61,64,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8fc9aa4f2daf4de27981cc4e04cc0c.jpg",[],46,{"id":16097,"slug":16098,"title":16099,"dynasty":97,"author":16100,"museum":99,"des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，湖州（今浙江吴兴）人。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。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。",[49,23,51,52,25,54,2641,27,5824,896,265,28,1989,1481,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b6e400748db309145ac39941fe71144.jpg","34x310厘米",[],{"id":16241,"slug":16242,"title":16243,"dynasty":18,"author":207,"museum":99,"description":16244,"tags":16245,"thumbUrl":16246,"material":239,"size":16247,"collection":107,"collections":16248,"showCount":16095,"zanCount":625,"manualWeight":39,"mainColor":75},232605,"zhu-zhi-tang-lang-tu-ye-yi-ming-232605","竹枝螳螂图页","古人认为，螳螂是饮风食露的草虫，于深秋产卵，在芒种初候阴气产生时破壳生长。",[23,25,54,358,4241,277,7,27,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc943d63001ea01c7ad8a4d2c85125971.jpg","23×239cm",[],{"id":16250,"slug":16251,"title":354,"dynasty":146,"author":1303,"museum":7132,"description":16252,"tags":16253,"thumbUrl":16254,"material":319,"size":16255,"collection":107,"collections":16256,"showCount":16095,"zanCount":39,"manualWeight":39,"mainColor":40},231478,"mo-zhu-tu-ni-zan-231478","倪瓒善画水墨山水画，元朝， 创造“折带皴”，是平远画法的典型，取材于太湖一带平原风景，其画萧瑟幽寂，寒林浅水，不见人踪，画出他伤时感事的心情。倪瓒以这种空旷而辽远的太湖意境征服了画坛，以致后世常有“太湖属于倪云林”之说。\n倪瓒的画“似嫩而苍”，简中寓繁，小中见大，外落寞而内蕴激情。他也善画墨竹，风格“遒逸”，瘦劲开张。画中题咏很多。他的画由于简练，多年来伪作甚多，但不容易仿出他的萧条淡泊的气质。\n倪瓒的绘画属于宋代兴起的“文人画”——通过主观的描绘表达更多的作者自身情怀，进入“有我之境”（李泽厚语）。他将自己的画法风格和追求总结成“逸气”一语， 可以说是中国画“笔墨”一说的最好代表。",[50,23,51,26,358,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1cb10c76f5727e7efa78d2e5d9ea2c9.jpg","高29.2厘米，宽28.7厘米",[],{"id":16258,"slug":16259,"title":16260,"dynasty":97,"author":445,"museum":99,"description":16261,"tags":16262,"thumbUrl":16263,"material":107,"size":107,"collection":107,"collections":16264,"showCount":16095,"zanCount":39,"manualWeight":39,"mainColor":40},228976,"shan-shui-ce-12-kai-shi-tao-228976","山水册12开","此帧取峡谷行舟之景，以淡赭浅绿晕染峰峦，笔墨清润秀雅。江流蜿蜒淌过春色，两岸崖石简括空灵，枯槎倒挂于危岩，野趣暗生。扁舟篷屋静立，舟子缓棹行于碧波，将羁旅闲意揉进烟岚里。\n\n左侧题诗与山水相契，把远客随波逐流的幽寂心境藏在空濛山色中。画师以灵动简约的笔法，融山川清旷与江湖行旅的澹泊诗意于一纸。不着浓艳重彩，仅以浅墨淡彩铺陈暮春江峡的柔婉空蒙，寥寥数笔便勾画出天地间的悠然意趣，引观者随舟驶入这片清远绝尘的山水烟霞，沉醉于疏朗安闲的世外情致之中。",[23,51,24,25,26,56,62,61,150,64,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eda3d02caac8e2863fc2d9a4078a1ad.jpg",[],{"id":16266,"slug":16267,"title":16268,"dynasty":18,"author":13290,"museum":99,"description":16269,"tags":16270,"thumbUrl":16271,"material":107,"size":107,"collection":107,"collections":16272,"showCount":16095,"zanCount":1288,"manualWeight":39,"mainColor":40},228369,"pi-pa-mei-ren-tu-wu-wei-228369","琵琶美人图","《琵琶美人图》是吴伟创作的一幅中国国画作品，创作于明代。\n该画纸本水墨，现藏于美国印地安那波里斯美术馆。\n作品描绘的是一位侧面低首，神情幽怨哀愁的抱着琵琶的仕女。\n吴伟的这件传世国画作品描绘的是一位侧面低首，神情幽怨哀愁的抱着琵琶的仕女。\n作者采用近白描的简略笔墨勾画出人物形象，衣饰线条转折流畅，似行云流水，仅在某些局部以淡墨略加渲染。\n画面无任何背景，主体突出，简洁明快。\n作品上面上有孙一元、黄姬水等三人题的诗跋，称“江夏兹图，允为神品”。\n《琵琶美人图》在表现技法上与工笔白描一体，略似北宋李公麟。\n但是较之画家早年的《铁笛图》，更加流畅秀润，风神俊爽。\n《画史会要》、《 》等著录。\n画一位手抱琵琶的女子,侧面低首,神情幽怨哀愁。\n画家用近折描的简略笔墨勾画出人物形象，衣饰线条转折流畅，似行云流水，仅在某些局部以淡墨略加渲染。\n吴伟（1459-158 ），江夏（今湖北武昌）人。\n龆龄流落至海虞（今江苏常熟），收养于钱昕家，伴其子读，时窃弄笔墨，画山水人物之状，钱见而奇之，曰：“若作画工耶？”即与笔札厚给养之。\n弱冠至金陵画名遂起。\n相传伟性戆直，有气岸而豪放，尝遇庞老人击石得髓，伟饮其半，遂以画名。\n成国朱公延至幕下，以小仙呼之，因以为号。\n宪宗时待诏仁智殿，好剧饮狎妓，人欲得伟画者，则载酒携妓往。\n一日被诏正醉，中官扶掖入殿，命作松泉图。\n伟跪翻墨汁，信手涂抹，宪宗叹曰：「真仙笔也。\n]又孝宗命画称旨，授锦衣百户，赐印章曰「画状元」。\n吴伟画人物出自吴道子，纵笔不甚经意，而奇逸潇洒动人，山水树石俱作斧劈皴。\n白描尤佳。\n尝游 渴，从老妪索茗，明年复过之，老妪已谢世。\n援笔追写其像，其子见之大恸，乞而藏之。\n又尝饮友人家，酒间作画，戏取莲房濡墨印纸上数处，莫测其用意，忽起纵笔挥洒成捕蟹图，最为神妙。\n孝宗喜马、夏画风，而画院戴进、吴伟均承继马、夏，成为一时风尚，号为“浙派”。\n吴伟亦号“江夏派”。\n其后吴派既盛，浙派渐归澌灭。\n卒年五十。",[49,23,51,84,135,26,58,136,178,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08e5696b91097f04f9e47a6f55178478.jpg",[],{"id":16274,"slug":16275,"title":4191,"dynasty":18,"author":16276,"museum":99,"description":16277,"tags":16278,"thumbUrl":16279,"material":107,"size":107,"collection":107,"collections":16280,"showCount":16095,"zanCount":39,"manualWeight":39,"mainColor":40},228349,"zhu-lin-tu-tao-hong-228349","陶红","以水墨晕写坡岸幽篁，修竹错落层叠，运笔秀劲灵动，竹叶以个字、介字点簇，笔断意连，尽显竹之清逸风骨。浅墨轻笼烟岚远山，淡赭晕染坡脚水岸，虚实相生间铺展出空濛雅致的林麓之景。\n\n山石以淡墨勾勒皴擦，简淡不饰雕琢，留白拓出水天相融的空阔意境，将文人画尚简重意的意趣融于尺幅间。观之如临幽林，似聆林风穿叶，清寂淡远的林下雅韵扑面而来，尽显静穆淡远的林下幽居之趣。",[23,51,26,358,56,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27b74b593200ac6a53a7c1f309a38c8b.jpg",[],{"id":16282,"slug":16283,"title":16284,"dynasty":1037,"author":7419,"museum":99,"description":16285,"tags":16286,"thumbUrl":16287,"material":689,"size":690,"collection":107,"collections":16288,"showCount":16095,"zanCount":39,"manualWeight":39,"mainColor":75},226153,"xie-sheng-zhen-qin-quan-juan-huang-quan-226153","写生珍禽全卷","黄筌是五代时期最有名的宫廷画家，一个在前蜀、后蜀画院任职40年的大画家，入宋后，又得到宋太祖的激赏。入宋百年一直把他的笔法当作画院画家作画的模范。宋代《宣和画谱卷十八》记载：“祖宗以来，图画院之较艺者，必以黄筌父子笔法为程序……”\n黄筌画出来的画，上自皇帝下至走卒，没有不连声赞叹的。而他留下来的这幅画稿《写生珍禽图卷》，也同样是技巧精湛、内涵丰实、人人叹服的绝世之作。\n这幅画中，画了24只小生物，都是珍禽异鸟。它们在皇宫中受到细心的养护，品种优良，造型独特，有的五彩斑斓，眩人耳目。黄筌在宫中画院任职，能够利用画院的便利条件，观察这些珍禽异鸟，而把它们揽入他的绢素中。\n也许有人会说这幅画没有意境，没有布局章法，鸟、虫都自顾自的，没有交集。其实没布局是有其道理的，因为这是画稿嘛，不是完整独立的画作，只是针对个别鸟虫而画，初学者基本上能掌握住这些生物的外形、动态就行。\n这24只小生命像图鉴般被安置在一方小小绢布上，不但不见拥挤、单调，反倒觉得谐和热闹，视觉上也很赏心悦目。",[49,23,50,52,54,25,2641,27,66,3567,1990,1989,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc941f2cb06acdd7b030fbea827f9f0e.jpg",[],{"id":16290,"slug":16291,"title":16292,"dynasty":97,"author":5309,"museum":2192,"description":16293,"tags":16294,"thumbUrl":16295,"material":8353,"size":16296,"collection":70,"collections":16297,"showCount":16095,"zanCount":39,"manualWeight":39,"mainColor":40},224461,"song-qiao-tang-tu-juan-wang-hui-224461","松乔堂图卷","图绘远处山峦连绵，树木苍翠；近处右侧河面一片平静，中部数座楼阁、回廊依山而建，院落外翠竹环绕，院内树木高大，白鹤踱步，屋内人们或谈天，或端坐，或忙碌，大隐于此，岂不快哉！",[49,23,51,52,26,25,56,55,86,119,7,870,406,610,59,64,277,2955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c51ae3cb96668d6ecb508f9cd46a47.jpg","纵25cm，横236cm",[70,242],{"id":16299,"slug":16300,"title":16301,"dynasty":18,"author":16302,"museum":222,"description":16303,"tags":16304,"thumbUrl":16305,"material":239,"size":16306,"collection":70,"collections":16307,"showCount":16095,"zanCount":39,"manualWeight":39,"mainColor":924},222549,"ma-shi-yan-yu-tu-sheng-ying-222549","马嗜烟雨图","盛颖","此图绘寺庙景色。寺院墙外树木、楼阁处于云烟细雨中，有一种缥缈梦幻之意境；院内庙宇数座，可见正前方大雄宝殿中立一大鼎，房前树木粗壮苍翠。全图以俯视视角绘出，房屋建造遵循南北趋势，院中有院，整个建筑宏大考究。",[49,23,51,25,1962,7,59,64,279,60,1019],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6424afaa9502d7f9fa2aca839f973ae5.jpg","28.3×56.84cm",[70,72],{"id":16309,"slug":16310,"title":16311,"dynasty":146,"author":1466,"museum":175,"description":16312,"tags":16313,"thumbUrl":16314,"material":183,"size":16315,"collection":199,"collections":16316,"showCount":16095,"zanCount":39,"manualWeight":39,"mainColor":75},221773,"zhang-guo-jian-ming-huang-tu-quan-juan-ren-ren-fa-221773","张果见明皇图全卷","此卷是元代画家任仁发人物故事画的代表作。图绘传说中的“八仙”之一张果老及其弟子谒见唐明皇的故事。画面截取张果老施法术于明皇前的片断。图右侧一老者坐绣墩上，着青衣，双掌向上，面带微笑作言语状。身前一小童于布袋中放出鞍辔皆全的小驴，驴作奔跑状。左侧一人着黄袍，戴幞头，坐于椅上，头略低，对所发生的一切表现出关注的神情。此人身材壮伟，面相庄严，显然是唐玄宗李隆基。其身后站立的四名侍从神情各异。全图设色明丽古雅，人物表情生动细腻，瞬间的动态表现得极为成功，小驴的奔跑构成了全图的视觉中心，将所有人的目光集中于此，增强了画面的故事性。张果老的沉着自如，唐玄宗略带惊讶的神情，表现得恰到好处，体现了元代人物画高超的艺术水平。\n本幅左下款署：“云间任仁发笔。”下钤“任氏子明”印。画面中部有清弘历题七言诗一首，末款“甲申夏六月上浣御题。”",[49,23,51,52,25,54,58,7,86,180,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F534612c4c5adfdb60bcc11e1eab2da2b.jpg","纵41.5cm，横107.3cm",[199,72],{"id":16318,"slug":16319,"title":16320,"dynasty":192,"author":2031,"museum":81,"description":16321,"tags":16322,"thumbUrl":16323,"material":634,"size":16324,"collection":70,"collections":16325,"showCount":16095,"zanCount":1288,"manualWeight":39,"mainColor":75},221073,"yuan-ma-zhou-han-gan-221073","猿马轴","该幅无款，旧题唐代韩干作。韩干，大梁人（河南开封），亦有作长安或蓝田人。公元742－755年（天宝）召入宫中为供奉。曾师曹霸，以画马而得名，唐张彦远极为推崇之。此幅绘竹石树林，三猿戏於枝间石上，其下绘黑白双骏。画上宋徽宗题字和“御书”一玺，及理宗“缉熙殿宝”玺皆伪，当为后加。然画中不论猿、马、树石、枝叶，皆描绘细腻，或为南宋作品。",[49,23,84,54,25,1116,8312,225,871,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf7b8bdb4c78758314a20784df579585.jpg","48.58X136.8",[70,242],{"id":16327,"slug":16328,"title":16329,"dynasty":115,"author":1644,"museum":175,"description":16330,"tags":16331,"thumbUrl":16332,"material":33,"size":16333,"collection":199,"collections":16334,"showCount":16095,"zanCount":39,"manualWeight":39,"mainColor":40},219623,"xi-hu-yin-qu-tu-qian-xuan-219623","西湖吟趣图","钱选（1239—1299），宋末元初时期的遗民画家，字舜举，号玉潭，晚年更号溪翁，吴兴（今浙江省湖州市）人。南宋景定（1260—1264年）年间乡贡进士，入元后隐居不仕，寄情于山水书画。画学颇为庞杂，花鸟、山水、人物无一不精，且成就极高，当时有“老钱丹青当世无”的美誉。元初，与赵孟頫、王子中、陈式等人并称“吴兴八俊”。",[49,23,51,52,25,54,119,7,58,56,277,528,1480,13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在书法上，陈与义 书法清简，与其诗文相近，为本朝绍兴初期所独有，因此，曾被宋高宗下诏为 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虹桥市集、城墙、天津之桥等段落，人物栩栩如生的描绘非常形象，各种活动及商店买卖，也相当精彩，是明代苏州女孩的优秀模仿作品。",[49,50,23,52,25,54,58,59,60,16530,16531,16532,225,86,7,134,1572],"商铺","市集","城墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52111166a0d9cb90d99f022c1eb4318b.jpg","絹本","纵38x横673.4公分",[],{"id":16538,"slug":16539,"title":16540,"dynasty":115,"author":207,"museum":99,"description":16541,"tags":16542,"thumbUrl":16543,"material":107,"size":107,"collection":107,"collections":16544,"showCount":16396,"zanCount":39,"manualWeight":39,"mainColor":40},227832,"cong-ju-tu-ye-yi-ming-227832","丛菊图页","《丛菊图页》是南宋画家佚名创作的一幅绢本设色画。\n本幅无款。\n鉴藏印钤“□藤仙馆书画”、“云谷”、“□华宝有”，另有一印残。\n图绘秋菊一丛，红白相间，繁枝茂叶，生机勃发，不见肃杀秋意。\n花瓣用中锋细笔勾描，再以朱红或白粉晕染；花蕊用细笔点出；茂密的叶片或用赭石、或略入汁绿、或稍加藤黄染出，以示老嫩不同的色彩。\n花之欲开、盛开、将残，叶之翻卷及明暗向背，刻画得恰到好处。\n画风工致细腻，构图丰满，繁而不乱，密而不窒，设色艳而不俗，为南宋写生画佳作。",[49,50,23,51,24,54,25,27,529,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5312cc31255d3afb48112f73e8e7a3f.jpg",[],{"id":16546,"slug":16547,"title":16548,"dynasty":115,"author":221,"museum":99,"description":16549,"tags":16550,"thumbUrl":16551,"material":107,"size":107,"collection":107,"collections":16552,"showCount":16396,"zanCount":39,"manualWeight":39,"mainColor":75},227488,"xie-sheng-hou-qin-tu-zhao-ji-227488","写生猴禽图","赵佶，即宋徽宗，1100-1125年在位。在位时广收古物和书画，网罗画家，扩充翰林图画院，使文臣编纂《宣和书谱》、《宣和画谱》等。擅书画，真书学薛曜，自称“瘦金书”，也写狂草。绘画重视写生，以精工逼真著称，工花鸟，相传用生漆点睛，尤为生动。",[49,23,50,51,54,26,25,8312,1989,2681,277,1481,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bc738dc39291aa94d5820e8dca012b6.jpg",[],{"id":16554,"slug":16555,"title":16556,"dynasty":2807,"author":207,"museum":5890,"description":16557,"tags":16558,"thumbUrl":16560,"material":689,"size":690,"collection":107,"collections":16561,"showCount":16396,"zanCount":1288,"manualWeight":39,"mainColor":75},226507,"fu-shuo-bo-re-bo-luo-mi-duo-xin-jing-shou-gao-yi-ming-226507","佛说般若波罗蜜多心经手稿","佛说圣佛母般若波罗蜜多心经，如是我闻。一时世尊。在王舍城鹫峰山中。与大苾刍众千二百五十人俱。并诸菩萨摩诃萨众。而共围绕。尔时世尊。即入甚深光明宣说正法三摩地。时观自在菩萨摩诃萨在佛会中。 而此菩萨摩诃萨。已能修行甚深般若波罗蜜多。观自五蕴自性皆空。尔时尊者舍利子。承佛威神。前白观自在菩萨摩诃萨言：若善男子善女人， 于此甚深般若波罗蜜多法门，乐欲修学者，当云何学？",[1284,436,86,417,58,7,16559,25],"手稿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81e1da114336cb368bee1189390d642d.jpg",[],{"id":16563,"slug":16564,"title":16565,"dynasty":97,"author":1180,"museum":99,"description":16566,"tags":16567,"thumbUrl":16569,"material":107,"size":107,"collection":107,"collections":16570,"showCount":16396,"zanCount":39,"manualWeight":39,"mainColor":40},224233,"zhong-kui-wu-chang-shuo-224233","钟馗","此作跳出钟馗惯常的狞厉驱邪范式，以写意之笔勾勒出闲散疏朗的别样风神。淡墨晕染衣袍，寥寥数笔便将宽袍缓带的慵懒姿态写尽，腰间佩剑暗藏威仪，却无肃杀之气。钟馗抬首凝望丝线上的小虫，神情松弛淡然，全然不见捉鬼镇邪的刚猛，更似幽居世外的逸士。\n\n左侧题诗与画意相得益彰，篆籀笔法的题字朴拙雄劲，和简淡的人物形成视觉张力，尽显诗画合璧的文人意趣，将民间俗神化为寄寓闲情逸致的文人心象，笔墨间满是随性自在的雅逸格调。",[49,23,51,25,26,58,5029,119,7,16568],"蜘蛛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2cb6298ff111c592b2ddf649923c616.jpg",[],{"id":16572,"slug":16573,"title":16574,"dynasty":1037,"author":207,"museum":99,"description":16575,"tags":16576,"thumbUrl":16577,"material":107,"size":107,"collection":107,"collections":16578,"showCount":16396,"zanCount":743,"manualWeight":39,"mainColor":75},223600,"shen-jun-tu-juan-yi-ming-223600","神骏图卷","画面分野有致，左侧白马踏波驰行，骑手身姿稳练，骏马昂首翘尾，四蹄舒展，神骏勃发之态毕现。右侧林下石台，红衣士人凭坐回望，僧者坦腹怡然对晤，旁侧仆童持毛刷侍立，情态松弛闲适。\n设色古雅沉稳，青绿晕染坡岸，墨线细劲流畅，将人马灵动与林下幽逸相融，把世外雅集的清旷高逸尽显纸面，残卷仍掩不住精工雅致的风韵，尽显六朝清谈雅集的风流意趣。",[49,23,51,52,25,54,58,225,871,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d9205dfb3e7d9803703624ce638d146.jpg",[],{"id":16580,"slug":16581,"title":16582,"dynasty":115,"author":207,"museum":175,"description":16583,"tags":16584,"thumbUrl":16585,"material":227,"size":16586,"collection":107,"collections":16587,"showCount":16396,"zanCount":39,"manualWeight":39,"mainColor":40},223591,"shu-he-sha-niao-tu-ye-yi-ming-223591","疏荷沙鸟图页","图中所绘残败的荷叶表明了时当秋日，荷塘的一角，一枝枯瘦的莲蓬横出画面，鹡鸰栖止于莲梗上，侧首注视着上方的一只小蜂，其凝神专注的神态刻画得惟妙惟肖。莲梗两端的鹡鸰与莲蓬巧妙地平衡了画面，而鹡鸰目向小蜂的视线则带动观者的视线落于画面上方，这种布局使画面显得既稳定又生动。此图格调典雅，用笔精致，画风细腻，荷叶枯黄的斑点和细小的筋脉均描绘得一丝不苟。",[49,50,23,51,24,54,25,119,86,7,102,11855,29,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd83a87f455c33296c9ed4d781844a8fe.jpg","纵25厘米，横25．6厘米",[],{"id":16589,"slug":16590,"title":16591,"dynasty":18,"author":9393,"museum":46,"description":16592,"tags":16593,"thumbUrl":16594,"material":26,"size":16595,"collection":107,"collections":16596,"showCount":16396,"zanCount":39,"manualWeight":39,"mainColor":40},222077,"hu-qiu-tu-juan-xie-shi-chen-222077","虎丘图卷","此幅《虎丘图卷》，笔法苍古，墨色稳健，气格清隽高雅，接近沈石田粗豪蕴藉一路的山水风格。",[49,23,51,52,26,25,56,55,119,7,86,59,60,61,62,63,64,150,8760],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F995bbad5d6523cb39112fba363c9046b.jpg","19.0 x 210厘米",[],{"id":16598,"slug":16599,"title":16600,"dynasty":146,"author":3963,"museum":175,"description":16601,"tags":16602,"thumbUrl":16603,"material":391,"size":16604,"collection":70,"collections":16605,"showCount":16396,"zanCount":1288,"manualWeight":39,"mainColor":75},221865,"xie-dan-you-qi-zhao-yong-221865","挟弹游骑","画中一乌帽朱衣人，乘黑花马于平坡上缓缓而行，手执弹弓，悠然仰望，似在搜寻猎物，眉目生动传神。图上人马先以淡墨勾线，后施色彩，晕染匀净。树木则用双勾填色，工整精细。全图画风古朴雅致，有唐人笔意。自识“至正七年四月望仲穆畫”，钤“仲穆”、“ 天水圖書”二印。元至正七年为1347年。画幅上方有元人迺贤题诗数行。\n古今以游骑射猎为题材的图画不可胜数，但大多是对射猎场面的描绘，如此图般绘写游猎之人闲适地搜寻猎物的作品则寥若晨星，别具巧思，耐人寻味。赵雍独具一格、匠心独运的绘画风格于此可见一斑。\n此图经清内府收藏，有嘉庆、宣统诸印。《石渠宝笈·三编》著录。",[49,23,51,84,25,54,58,225,871,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c7470f8757d79778b720a9254a3ab74.jpg","纵109厘米，横46.3厘米",[70,72],{"id":16607,"slug":16608,"title":16609,"dynasty":146,"author":16610,"museum":642,"description":16611,"tags":16612,"thumbUrl":16613,"material":779,"size":16614,"collection":242,"collections":16615,"showCount":16396,"zanCount":39,"manualWeight":39,"mainColor":40},221797,"ji-zhu-you-qin-tu-zhang-yan-fu-221797","棘竹幽禽图","张彦辅","此图绘秀石旁两株修竹交柯而立，棘条屈曲上扬，两双禽鸟栖于棘上。构图疏朗，秀石用笔直皴，以水墨略染，修竹、棘条笔墨清劲，双禽略加色染，意在工鸟之间，画格疏劲清幽。无款识，仅钤“彦辅图书游戏清玩”、“西宇道人”二印。图左有隶书题记“子昭偕周正已过太乙宫，彦辅为作棘竹幽禽图以赠之，时至正癸未三月十七日也，濮人吴孟思书”。可知此图作于至正三年即公元一三四三年，吴孟思即当时名书家吴叡。图中另有杜本、凌翰、鞠菴、邵弘远、雅虎、林泉生、潘纯等人题跋。图中钤有明项元汴，清初梁清标，近人谭敬、张珩等鉴藏印。此图为张彦辅传世的惟一作品。",[49,50,23,51,26,7,358,277,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30574047ecaa25214e6269f083c885cb.jpg","63．8厘米横50．7厘米",[242,921],{"id":16617,"slug":16618,"title":16619,"dynasty":146,"author":16620,"museum":175,"description":16621,"tags":16622,"thumbUrl":16623,"material":183,"size":12858,"collection":199,"collections":16624,"showCount":16396,"zanCount":39,"manualWeight":39,"mainColor":75},221766,"ren-ma-tu-zhou-ren-xian-zuo-221766","人马图轴","任贤佐","任贤佐于其父书斋“可诗堂”作此图，当绘于任仁发去世（1327年）之前。图画一着唐朝官服的圉官，拱手持缰，身后立一花马，画风得自家传，用笔细劲，设色简约而轻淡，严谨造型。本幅作者自识“子良于可诗堂作”，钤印“任氏子良”。另钤清“项子京家珍藏”和乾隆帝的印玺等13方。",[49,23,54,25,58,225,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F560b087e401581b870cf754e3b9d10ec.jpg",[199,72],{"id":16626,"slug":16627,"title":16628,"dynasty":146,"author":10518,"museum":175,"description":16629,"tags":16630,"thumbUrl":16631,"material":1087,"size":16632,"collection":70,"collections":16633,"showCount":16396,"zanCount":39,"manualWeight":39,"mainColor":40},221727,"wu-yi-fang-zhao-tu-zhou-fang-cong-yi-221727","武夷放棹图轴","此图画武夷山景。武夷山在今福建省崇安县西南，绵亘百余里，有36峰、37岩，水流其间，分为九曲，为我国南方风景名胜之地。古代，道家将它称为第十六洞天，是道教活动较为集中的地区。此图是方从义为同道周敬堇而作。画面右侧一峰高耸，峰下水中一叶小舟徐徐划行，岸上怪石嶙峋，林木丛生其间。笔墨浓润，酣畅淋漓，山体用纵向长线条皴染，以增其峭砺高耸之感。布局奇特，笔法多变，融古法为己用，表现出独具特色的艺术格调。",[49,23,26,55,84,7,86,119,56,62,61,64,1902,279,751],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5af5cec7247fdbac2e6efeac445c24b.jpg","纵74.4厘米，横27.8厘米",[70,242],{"id":16635,"slug":16636,"title":16637,"dynasty":115,"author":2718,"museum":175,"description":16638,"tags":16639,"thumbUrl":16640,"material":7516,"size":16641,"collection":122,"collections":16642,"showCount":16396,"zanCount":39,"manualWeight":39,"mainColor":40},221620,"hou-chi-bi-tu-zhao-gou-shu-fu-juan-quan-juan-ma-he-zhi-221620","后赤壁图赵构书赋卷全卷","马和之，生于北宋，生卒年代均未见记载，钱塘（今浙江杭州）人。主要活动于北宋末至南宋初期。南宋高宗绍兴年间（1131—1162年）中进士第，官至工部侍郎。工画山水、人物、佛像，风格独特，笔法飘逸高古，迥异于南宋院体画法，时人目为“小吴生”。在表现山水、人物时，他更多地融入了一些书法的笔趣，古朴自然，务去华藻。 有一种说法认为马和之是南宋画院画家，然而，根据目前所知资料，两宋画院画家自有其品秩，而无进士及第任官后尚充任画院画家者。此外，马和之的画风与院画的总体面貌也有相当大的差距。马和之宗法北宋李公麟而有所变化，表现人物所用线条较为短促，运笔迅疾，兰叶描已变为后世所称之“蚂蝗描”。因此，马和之不是南宋画院的宫廷画家，他以“艺精一世，命之总摄画院事”是有一定可能性的，但却并非服务于宫廷的职业画家，而应与李公麟等文人画家并列。",[49,23,50,52,51,119,26,55,7,62,61,137,58,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ccaebc0284553636c09753513a1edf6.jpg","25.9*143cm",[122],{"id":16644,"slug":16645,"title":16646,"dynasty":18,"author":2181,"museum":175,"description":16647,"tags":16648,"thumbUrl":16649,"material":183,"size":16650,"collection":70,"collections":16651,"showCount":16396,"zanCount":39,"manualWeight":39,"mainColor":75},220921,"yan-ling-cun-tu-dong-qi-chang-220921","延陵村图","《董其昌延陵村图轴》是明代画家 创作的一幅绢本设色画。\n本幅自题：“延陵村在茅山之东，有张从申碑。\n从申，唐大历时司直。\n赵子固称其书品在李北海之右。\n玄靖天师碑与延陵季子此碑皆在华阳，笔法类徐浩三藏法师碑。\n延陵碑萧定作也。\n略曰‘听乐辩刊国之兴亡，审贤知世数之存没，挂剑示不言之信，避国保无欲之贞，玄风可想，至德如存云’。\n旁有四贤，以祀董永、韦昭、王素与季子而四。\n癸亥二月，画于丹阳舟中，因命之延陵村图并书此。\n董玄宰。\n“癸亥”为明天启三年（162年），董其昌时年69岁。\n清青浮山人编《董华亭书画录一卷》著录。",[49,23,51,84,26,25,55,119,7,56,150,64,727,751,752,1902],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da1148d2290dcb3cc11ce0563bf06a8.jpg","纵78.5厘米，横30.2厘米",[70,242],{"id":16653,"slug":16654,"title":16655,"dynasty":18,"author":6822,"museum":20,"description":16656,"tags":16657,"thumbUrl":16658,"material":88,"size":16659,"collection":70,"collections":16660,"showCount":16396,"zanCount":39,"manualWeight":39,"mainColor":75},220351,"shan-shui-he-juan-du-qiong-220351","山水合卷","此卷原是摺册，佚存五开，入清连跋裱成一卷。其中第一幅杜琼，第三、四幅刘珏，均是晚年笔。第二幅沈周尚是早年之作。第五幅无款印，风格与刘珏相同。",[49,23,51,52,26,55,56,870,406,871,63,60,61,279,1902,13606,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1629f0915cbca22a90245242ec026360.jpg","纵29.2厘米，横44.2厘米",[70],{"id":16662,"slug":16663,"title":16664,"dynasty":97,"author":16665,"museum":2192,"description":16666,"tags":16667,"thumbUrl":16668,"material":88,"size":16669,"collection":70,"collections":16670,"showCount":16396,"zanCount":39,"manualWeight":39,"mainColor":40},220006,"shi-liang-yu-lai-ting-tu-dai-xi-220006","石梁雨来亭图","戴熙","南宋贾似道在石梁创昙花亭。清道光戊戌，即1838年，亭被毁。适舍人潘功甫（名曾沂）过石梁，议集资兴修。寺僧请求改昙华亭为雨来亭，因天台山田多旱，改名以志喜。潘功甫为此作诗一首，诗云：“平章事业江河大，有漏涓涓自不知。七十二蓬参遍了，昙华亭上雨来时。”\n图绘天台山石梁飞瀑，天生桥东西方向，连接着对峙的两座山崖，溪水三折，冲出桥洞，形成了如虹一般的飞瀑，起舞婆娑，坠入脚下的惠泽潭。雨来亭坐落在飞瀑之畔，方广寺如在天外，唯见其塔。全图有一种上下贯通的浩然之气与空灵之韵。",[49,23,51,52,26,55,5663,7,56,63,60,61,66,64,150,293],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aaf57368d5249cfd0b4a4f0247cc250.jpg","纵35cm，横316cm",[70],{"id":16672,"slug":16673,"title":16674,"dynasty":18,"author":10700,"museum":16675,"description":16676,"tags":16677,"thumbUrl":16678,"material":25,"size":107,"collection":70,"collections":16679,"showCount":16396,"zanCount":39,"manualWeight":39,"mainColor":40},219985,"shan-shui-tu-fang-huang-gong-wang-lan-ying-219985","山水图-仿黄公望","芝加哥大学艺术博物馆","画法是作钩勒浅绛法。",[49,23,51,52,134,55,56,870,700,871,86,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F937195e9a071267f38f8616689e68d3a.jpg",[70],{"id":16681,"slug":16682,"title":16683,"dynasty":146,"author":2747,"museum":175,"description":16684,"tags":16685,"thumbUrl":16686,"material":26,"size":16687,"collection":199,"collections":16688,"showCount":16396,"zanCount":39,"manualWeight":39,"mainColor":40},219275,"li-er-shou-jing-tu-sheng-mao-219275","李耳授经图","盛懋，字子昭，浙江嘉兴人，约活动于元至正年间(1341--1367年)。其家世代以画为业，他继承家学，善画人物、山水，风格近董源和赵孟頫，用笔较尖峭繁细，山石多用披麻、解索皴，设色明丽，主体面貌属董巨派系。",[49,23,51,52,135,54,58,610,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7141c0d84eb6efa5c43db7928d3b5e.jpg","24.8x117.7厘米",[199],{"id":16690,"slug":16691,"title":16692,"dynasty":146,"author":7721,"museum":81,"description":16693,"tags":16694,"thumbUrl":16695,"material":88,"size":16696,"collection":35,"collections":16697,"showCount":16396,"zanCount":39,"manualWeight":39,"mainColor":40},218819,"xie-sheng-tu-wang-yuan-218819","写生图","墨色晕染间，禽鸟栖于石畔，羽翼纹理随淡墨流转，似能触到绒羽温软。老枝横斜，梢头悬一轮清月，清辉洒在疏叶上，竹影与草茎在风里轻摇。工细处见笔力，写意时显灵动，水墨浓淡干湿交织出自然生趣，无艳色却满溢生机。留白藏幽远，题跋墨迹与画面相映，笔墨间流淌着元代文人的清雅心境——于寂静中观天地，于细微处藏深情。每一笔都似在低语，将自然之美与文人意趣融于尺幅，尽显“墨花墨禽”的韵致，让人在古雅气息里沉醉。",[23,51,26,54,2641,944,27,277,1988,1227,85,7,86,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0627d9a79cc3230361415249eb53ed87.jpg","88.3x45.3cm",[35],{"id":16699,"slug":16700,"title":16701,"dynasty":97,"author":5309,"museum":175,"description":16702,"tags":16703,"thumbUrl":16704,"material":33,"size":16705,"collection":70,"collections":16706,"showCount":16396,"zanCount":39,"manualWeight":39,"mainColor":40},218367,"teng-bi-qiao-song-tu-wang-hui-218367","藤薜乔松图","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， 不及以前的作品生动清新。",[49,23,84,25,56,610,1902,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4939b85389cc00563a2e6e13f75696e.jpg","45.4x20.5cm",[70],{"id":16708,"slug":16709,"title":16710,"dynasty":146,"author":376,"museum":81,"description":16711,"tags":16712,"thumbUrl":16713,"material":88,"size":16714,"collection":107,"collections":16715,"showCount":16396,"zanCount":39,"manualWeight":39,"mainColor":75},218122,"hua-xi-yu-yin-tu-san-wang-meng-218122","花溪渔隐图(三)","此图写霅溪风景，款题为玉泉尊舅作。玉泉已不可考。通幅用笔绵密而精工，垂柳一行，与赵孟𫖯「鹊华秋色」卷中画柳之法相同。「花谿渔隐」是从〈桃花源记〉衍生的画题，创始于赵孟𫖯。王蒙是赵孟𫖯的外孙，所受影响，不仅技法而已。",[49,23,51,26,55,56,62,61,871,150,714,7,379,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4f2f4aff7c235556ddedd556c4afb9c.jpg","129x58.3cm",[],{"id":16717,"slug":16718,"title":16719,"dynasty":18,"author":955,"museum":329,"description":14148,"tags":16720,"thumbUrl":16721,"material":152,"size":107,"collection":107,"collections":16722,"showCount":16396,"zanCount":743,"manualWeight":39,"mainColor":40},218021,"za-hua-ce-9-chen-hong-shou-218021","杂画册-9",[23,51,24,135,25,528,358,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb52c3b4ffb7cffa51007098fdadd2ea1.jpg",[],{"id":16724,"slug":16725,"title":16726,"dynasty":18,"author":10139,"museum":81,"description":16727,"tags":16728,"thumbUrl":16729,"material":88,"size":16730,"collection":199,"collections":16731,"showCount":16396,"zanCount":39,"manualWeight":39,"mainColor":40},216994,"ning-qi-fan-niu-tu-zhou-chen-216994","宁戚饭牛图","周臣（生卒年不祥），字舜卿，号东村，吴县（今江苏苏州）人，活动于15世纪末至16世纪初。擅画山水、人物、花鸟，画法主宗南宋李唐、马远等院体画风，并受文人画的一定影响，功力深厚。周臣是一位富有创新精神的职业画师，为了适应人们的欣赏趣味，他一方面突破职业画家的局限，创作了大量以文人生活为题材的作品，一方面尝试在技法上学习文人画的笔墨情趣，使其作品具有周密雄劲而又清旷秀美的格调，在画坛上独树一帜。唐寅、仇英为其门下高足。",[23,50,51,84,26,135,55,58,1115,137,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fed04e633925c11d278f84b1628a630.jpg","126.7x68.9",[199],{"id":16733,"slug":16734,"title":16735,"dynasty":18,"author":161,"museum":16377,"description":16378,"tags":16736,"thumbUrl":16737,"material":88,"size":107,"collection":107,"collections":16738,"showCount":16396,"zanCount":39,"manualWeight":39,"mainColor":40},214919,"mo-hua-ce-7-shen-zhou-214919","墨花册-7",[49,23,51,24,26,27,14793,1195,265,7,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d1312eda36b374f88d54899f06fea72.jpg",[],{"id":16740,"slug":16741,"title":4926,"dynasty":97,"author":7428,"museum":99,"description":10219,"tags":16742,"thumbUrl":16743,"material":689,"size":690,"collection":107,"collections":16744,"showCount":16745,"zanCount":39,"manualWeight":39,"mainColor":75},290318,"sui-chao-tu-zhou-jiang-ting-xi-290318",[50,23,84,25,54,27,777,528,488,6849,28,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b36f951d2dbef57185121b60fa59eb.jpg",[],44,{"id":16747,"slug":16748,"title":16749,"dynasty":97,"author":445,"museum":99,"description":3557,"tags":16750,"thumbUrl":16751,"material":689,"size":690,"collection":107,"collections":16752,"showCount":16745,"zanCount":39,"manualWeight":39,"mainColor":40},289930,"dan-ya-ju-he-tu-zhou-shi-tao-289930","丹崖巨壑图轴",[23,51,26,55,56,1902,610,294,58,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff090c35d7e1dcc8c4a08bd16d3b69000.jpg",[],{"id":16754,"slug":16755,"title":16756,"dynasty":115,"author":328,"museum":99,"description":16109,"tags":16757,"thumbUrl":16760,"material":689,"size":690,"collection":107,"collections":16761,"showCount":16745,"zanCount":1288,"manualWeight":39,"mainColor":40},288539,"xie-sheng-jia-die-tu-zhao-chang-288539","写生蛱蝶图",[49,23,50,51,52,54,25,27,1746,5824,28,16758,119,7,16759],"野草","秋意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97796390b63dc3cfc3af98bc62a819e5.jpg",[],{"id":16763,"slug":16764,"title":10218,"dynasty":97,"author":5100,"museum":99,"description":16765,"tags":16766,"thumbUrl":16767,"material":689,"size":690,"collection":107,"collections":16768,"showCount":16745,"zanCount":39,"manualWeight":39,"mainColor":40},288454,"hua-hui-tu-ce-zhao-zhi-qian-288454","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》。",[49,23,51,24,25,27,488,6849,150,86,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264efa0c0138cb942593d7fd8f6558d0.jpg",[],{"id":16770,"slug":16771,"title":16772,"dynasty":97,"author":1082,"museum":99,"description":1382,"tags":16773,"thumbUrl":16774,"material":689,"size":690,"collection":107,"collections":16775,"showCount":16745,"zanCount":39,"manualWeight":39,"mainColor":40},241106,"zhu-da-ti-hua-shi-zhou-zhu-da-241106","朱耷题画诗轴",[86,462,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u00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u-juan-tang-yin-228468","事茗图卷","此作为诗书画印合璧的长卷，绘江南山居幽景：茅舍临溪，主人幽坐煎茶，苍松倚石，烟云绕峰，飞瀑藏于远山淡霭之间，尽展林泉雅寂的隐逸氛围。\n\n书法由榜书大字开篇，笔力沉凝苍劲；行书题诗俊逸疏朗，收尾小楷《事茗辩》端秀清雅。将品茶雅事寄寓山水，把日常茶事升为精神栖居，尽显明代文人茶中寻幽、以茶寄怀的林下风流，诗书画印浑融无间，是写意文人雅趣的绝佳之作。",[49,50,23,51,52,26,25,712,55,86,119,7,56,871,727,58,150,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F055da1b43b081819b900223c28def283.jpg",[],{"id":16841,"slug":16842,"title":16843,"dynasty":115,"author":3092,"museum":99,"description":16844,"tags":16845,"thumbUrl":16846,"material":107,"size":107,"collection":107,"collections":16847,"showCount":16745,"zanCount":1288,"manualWeight":39,"mainColor":75},227965,"qi-zi-du-guan-tu-juan-li-tang-227965","七子度关图卷","此卷以苍林古道铺展荒寒底色，将避乱行旅的群像铺陈于绢素。旅人或策驴徐行、或驻马待发，仆从牵驮辎重、神色仓皇，将乱世迁客的羁旅劳顿藏在蹙额的神情、驱驰的动态之间，写实工细又带着沉郁的氛围感。\n\n卷后篆额古拙雄奇，行书题跋笔墨隽秀，书画合璧晕开史事余韵。既有宋画的精工写实，又兼具文人画幽远意趣，将乱世怆然与丹青雅致融于一卷，尽显古画的厚重底蕴与迁客流离的沉痛感怀。",[49,23,51,52,54,25,58,225,871,150,2142,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd484ab2362b165a1f08fdab816e5527.jpg",[],{"id":16849,"slug":16850,"title":16851,"dynasty":115,"author":16852,"museum":99,"description":16853,"tags":16854,"thumbUrl":16855,"material":107,"size":107,"collection":107,"collections":16856,"showCount":16745,"zanCount":1288,"manualWeight":39,"mainColor":75},227696,"qun-xian-bo-gu-tu-juan-zhao-bo-ju-227696","群贤博古图卷","赵伯驹","赵伯驹（约1120年—约1182年），字千里，汴京（今河南开封）人。南宋著名画家。宋朝宗室，宋太祖七世孙。宋室南渡后流寓钱塘（今浙江杭州），后以画扇为宋高宗赵构赏识并予召见，曾官至浙东兵马钤辖。工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子，笔法纤细，直如牛毛，极细丽巧整的风致，建南宋画院的新帜。",[49,51,23,50,52,53,25,54,55,86,7,56,58,59,60,61,62,63,277,181,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe01ac1afa07ecf4a88ab31a884696a18.jpg",[],{"id":16858,"slug":16859,"title":7109,"dynasty":115,"author":8837,"museum":99,"description":16860,"tags":16861,"thumbUrl":16862,"material":107,"size":107,"collection":107,"collections":16863,"showCount":16745,"zanCount":39,"manualWeight":39,"mainColor":75},227691,"wen-ji-gui-han-tu-chen-ju-zhong-227691","故宫收藏的这幅《文姬归汉》，并没有作者的签名或者印记，旧传是是南宋宁宗时代的宫廷画家陈居中所画。此一题材在南宋初年，相当地流行。原因是北宋灭亡时，徽宗、钦宗两位皇帝和一干后妃们，均遭金人所挟持。情况和文姬当年的际遇，颇为类似。描绘文姬归汉的故事，正好符合了南宋臣民祈盼皇帝归来的心情。",[49,23,50,52,54,25,58,225,7,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46b0b01bd2a87126fc14abc0b1bfe988.jpg",[],{"id":16865,"slug":16866,"title":16867,"dynasty":97,"author":5309,"museum":99,"description":15394,"tags":16868,"thumbUrl":16869,"material":689,"size":690,"collection":107,"collections":16870,"showCount":16745,"zanCount":1288,"manualWeight":39,"mainColor":40},224454,"shan-shui-tu-shan-mian-wang-hui-224454","山水圖扇面",[49,23,51,822,26,55,56,63,137,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21e2c6d018d8d60dc5c74f88cf991c8b.jpg",[],{"id":16872,"slug":16873,"title":16874,"dynasty":97,"author":3423,"museum":99,"description":16875,"tags":16876,"thumbUrl":16877,"material":107,"size":107,"collection":107,"collections":16878,"showCount":16745,"zanCount":39,"manualWeight":39,"mainColor":40},224371,"hua-hui-qi-shi-ce-shi-er-kai-11-ju-lian-224371","花卉奇石册-十二开-11","此作以淡墨晕染奇石，皴擦间尽显朴拙质感，留白透气，清润雅致。红草以没骨法点染，色泽明丽却不俗艳，叶片舒展柔态毕现；蓝黄雏菊娇俏鲜活，枝蔓穿插错落，野趣自生。石上蜻蜓纤毫细致，翼脉清晰可见，悄然驻足为画面添灵动生机。\n整体兼工带写，将草木清隽与顽石朴拙相融，静中生趣。画面简淡空灵，把秋日小景的闲逸意蕴铺陈开来，笔底藏着雅致的审美意趣，于方寸间尽显自然小景的幽恬清宁，带着悠然静穆的中式美学韵味。",[49,23,24,25,54,7,277,28,529,66,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c03336a008070491717018219acd353.jpg",[],{"id":16880,"slug":16881,"title":10724,"dynasty":97,"author":16882,"museum":99,"description":16883,"tags":16884,"thumbUrl":16885,"material":689,"size":690,"collection":107,"collections":16886,"showCount":16745,"zanCount":39,"manualWeight":39,"mainColor":40},224284,"xin-jing-fu-shan-224284","傅山","傅山，初名鼎臣，字青竹，改字青主，又有浊翁、观化等别名，汉族，山西太原人。明清时期道家思想家、书法家、医学家。\n傅山自称为老庄之徒，他自己也在很多场合与作品中反复强调、自陈：“老夫学老庄者也”、“我本徒蒙庄”、“吾师庄先生”、“吾漆园家学”。自觉继承道家学派的思想文化。他对老庄的“道法自然”、“无为而治”、“泰初有无”、“隐而不隐”等命题，都作了认真的研究与阐发，对道家传统思想作了发展 ,常以老庄之徒自居。\n傅山于学无所不通，经史之外，兼通先秦诸子，又长于书画医学。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态”。 著有《霜红龛集》等。一些武侠小说里，傅山被描写为武侠高手。他是著名的道家学者，哲学、医学、内丹、儒学、佛学、诗歌、书法、绘画、金石、武术、考据等无所不通。他被认为是明末清初保持民族气节的典范人物。\n傅青主与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”。著有《傅青主女科》《傅青主男科》等传世之作，在当时有“医圣”之名。《清史稿》卷五百一有传。",[49,97,51,86,436,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F207038e9219276266d8b1302b8b30770.jpg",[],{"id":16888,"slug":16889,"title":16890,"dynasty":97,"author":16891,"museum":99,"description":16892,"tags":16893,"thumbUrl":16894,"material":107,"size":107,"collection":107,"collections":16895,"showCount":16745,"zanCount":1288,"manualWeight":39,"mainColor":40},223691,"xie-qin-fang-you-tu-shang-rui-223691","携琴访友图","上睿","，画作，清代上睿作。\n画心纵28.1厘米，横17.厘米。\n纸本，设色。\n画中一位有琴童跟随的琴家，已离开自己的住舍，走上木桥，正在向闲卧在梧竹幽居中的知音友人那里进发。\n全图景物按排聚散合度，虚实相生。\n以极其纤美的笔触对环境进行铺垫描绘，收到了烘托人物的活动和突出主题的良好效果。\n款署“癸酉小春用文太史笔意为友桐先生补图。\n蒲室子睿。\n”钤“目存”印。\n清宫宝玺有“乾隆鉴赏”、“嘉庆御览之宝”、“宣统御览之宝”等。\n曾经清内府庋藏。\n《秘殿珠林石渠宝笈续编》著录。\n旅顺博物馆收藏。",[49,23,51,52,25,54,56,58,60,61,64,379,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bca0e59957d14b3aa934eb38c7e22eb.jpg",[],{"id":16897,"slug":16898,"title":16899,"dynasty":115,"author":207,"museum":81,"description":16900,"tags":16901,"thumbUrl":16902,"material":634,"size":16903,"collection":213,"collections":16904,"showCount":16745,"zanCount":39,"manualWeight":39,"mainColor":75},223418,"zi-mu-ji-tu-yi-ming-223418","子母鸡图","此图绘一只母鸡引领着几只孵出不久的小鸡，在地上漫步啄食。母鸡雪白的羽毛蓬松亮丽，目光中充满着慈爱，小鸡则稚嫩怯弱，依偎在母亲的羽翼保护下。母鸡俯身与宝宝们对话，神情爱怜。此画虽无陪衬，却能以情动人。作品在技法处理上，母鸡以勾线、施毛渲染，而小鸡则以施毛勾出轮廓，全以渲染，两者对比，更显小鸡稚嫩，母鸡慈爱。更精妙的是作者在对母鸡眼睛的处理上，把留白的位置留在眼珠的最前面，使其俯身之姿更加强烈",[49,50,23,51,54,25,27,2631,10978,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92d3bda73641850315ec173a9cfe7fc6.jpg","纵59.99cm 横32.83cm",[213],{"id":16906,"slug":16907,"title":1302,"dynasty":18,"author":3904,"museum":16908,"description":16909,"tags":16910,"thumbUrl":16911,"material":16912,"size":16913,"collection":35,"collections":16914,"showCount":16745,"zanCount":39,"manualWeight":39,"mainColor":75},222830,"zhu-shi-tu-zhu-yun-ming-222830","河北省博物馆","竹石图轴，此图顽石突兀，修竹三竿，清雅宜人。构图简洁明晰，用墨浓淡适.",[49,23,51,84,26,358,700,55,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc92f7cc0839c81fbce897d7978e64e42.jpg","绫本，墨笔","纵163.5、横52厘米",[35,242],{"id":16916,"slug":16917,"title":16918,"dynasty":115,"author":355,"museum":81,"description":16919,"tags":16920,"thumbUrl":16921,"material":319,"size":16922,"collection":122,"collections":16923,"showCount":16745,"zanCount":1288,"manualWeight":39,"mainColor":40},221306,"song-si-jia-tao-sheng-qie-zhong-hua-qi-xun-ren-du-hai-su-shi-221306","宋四家:陶生,惬中,花气熏人,渡海","《花气薰人帖》是中国宋代书法家黄庭坚的小品之作，一首二十八个字的小诗，以随意自在的笔法写来，把平日严谨的中锋线和草书中的宛转结合起来，构成一幅完美的小品，是欣赏书法不可多得的佳作。帖上有南宋「缉熙殿宝」的印，入过南宋内府。也有清代朝鲜人安仪周的收藏印安歧是当时最著名的大收藏家。此帖现藏台北故宫博物院。",[49,86,51,52,119,462,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53dcca8709989e4feb06bb6f1620632e.jpg","30.7×43.2cm",[122],{"id":16925,"slug":16926,"title":16927,"dynasty":18,"author":2181,"museum":81,"description":16928,"tags":16929,"thumbUrl":16930,"material":319,"size":16931,"collection":122,"collections":16932,"showCount":16745,"zanCount":39,"manualWeight":39,"mainColor":40},220927,"zhou-zi-tong-shu-dong-qi-chang-220927","周子通书","此作书写的是北宋大儒周敦颐所著《通书》中的内容：“圣可学乎？曰可。有要乎？曰有要。一为要。一者，无欲也。无欲则静虚动直。静虚则明，动直则公。明则通，公则溥。庶矣乎！”董书之内容与周敦颐之原文有出入",[49,86,119,26,51,23,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49525064acaf73341e131973f30c9278.jpg","纵189.4厘米，横154.5厘米",[122],{"id":16934,"slug":16935,"title":14511,"dynasty":18,"author":2181,"museum":2192,"description":14512,"tags":16936,"thumbUrl":16937,"material":1087,"size":14515,"collection":70,"collections":16938,"showCount":16745,"zanCount":39,"manualWeight":39,"mainColor":40},220905,"fang-huang-zi-jiu-jiang-shan-qiu-ji-tu-juan-dong-qi-chang-220905",[49,23,51,52,26,134,55,86,7,56,2001,64,61,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31afc9e40856158c191fd7216f9770fa.jpg",[70,72],{"id":16940,"slug":16941,"title":16942,"dynasty":146,"author":431,"museum":2698,"description":16943,"tags":16944,"thumbUrl":16945,"material":16946,"size":16947,"collection":122,"collections":16948,"showCount":16745,"zanCount":625,"manualWeight":39,"mainColor":75},220893,"gao-shang-da-dong-yu-jing-zhao-meng-fu-220893","高上大洞玉经","趙孟頫的作品為歷代書家所重，其小楷書風主要得益於二王、鍾繇以及東晉道士楊羲。元代書法家鮮于樞在趙孟頫《過秦論》卷後跋云：“子昂篆、隸、正、行、顛草 俱 為當代第一，小楷又為子昂諸書第一”。\n《高上大洞玉經》是趙孟頫小楷代表作之一。紙本 卷，縱29.7釐米，橫457釐米，共276行，全卷近4700字，書於大德九年（1305）。 卷中鈐有明代著名收藏家項元汴的收藏印記。卷首有“乾隆御覽之寶”“乾清宮鑑藏寶”鑑藏印，可知此卷曾為清宮舊藏，現藏於天津藝術博物館。\n書寫此卷時，書家年已五十有二，正值壯年。加之虔心向佛，書法勁健圓暢，結體妍麗， 用筆遒勁，一筆不苟；略呈行意，宏觀見結構，十足耐看。著名書畫鑑定家徐邦 達先生稱此卷 “精勁渾厚，字字珠璣，全卷洋洋灑灑小楷數千言，而首尾精力充沛，似一氣呵成，著實驚人。”誠是一件傳世精品之作。",[49,86,436,52,417,26,1284,7,2601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4003d5f3f30ddffa391ebf4005d664bb.jpg","纸本,墨迹","縱29.7釐米，橫457釐米",[122],{"id":16950,"slug":16951,"title":16952,"dynasty":891,"author":2402,"museum":5878,"description":16953,"tags":16954,"thumbUrl":16955,"material":779,"size":107,"collection":107,"collections":16956,"showCount":16745,"zanCount":39,"manualWeight":39,"mainColor":40},220523,"xing-shu-wei-ren-min-fu-wu-xu-bei-hong-220523","行书（为人民服务）","此作用魏碑筋骨揉入行书意趣，笔墨沉厚苍劲。右侧笔势开张纵逸，起笔斩截收笔朴拙，将满腔热忱寄于开张笔锋之中，尽显雄强气魄。左侧稍敛锋芒，笔画敦实厚重，墨色枯润相生，枯笔处见苍茫意趣，藏锋裹气尽显沉稳内敛。落款小字与正文形成疏密对比，举重若轻，通篇错落有致，刚柔并济，将碑版的雄强与行书的流丽融为一体，质朴誓言化作沉浑笔墨力量，尽显笔墨风骨与赤诚襟怀。",[51,86,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690533d439aa7dab00bb7a9de44aceb1.jpg",[],{"id":16958,"slug":16959,"title":16960,"dynasty":18,"author":16961,"museum":16962,"description":16963,"tags":16964,"thumbUrl":16965,"material":121,"size":16966,"collection":242,"collections":16967,"showCount":16745,"zanCount":39,"manualWeight":39,"mainColor":75},220402,"yue-mei-tu-liu-shi-ru-220402","月梅图","刘世儒","日本东京国立博物馆","刘世儒，字继相，号雪湖，山阴(（今浙江绍兴)）人，生卒不详，明代画家，传世作品有《雪梅双兔图》、《梅花图》长卷、《月梅图》、《先春报喜图》等。\n刘世儒，艺术活动主要于明代正德、嘉靖时期。\n少年时偶然得元人王冕的墨梅，废寝忘食地临摹学习。随后遍走山林，观察各种梅花习性，终成墨梅大师。刘世儒一生好梅，时人谓之年九十，而画梅八十。\n曾作《铁干回春图》赠送胡元瑞。《雪湖梅谱》是其一生画梅之心得。",[49,23,51,84,26,25,528,944,7,86,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88375881b16d084f1d1d60260c6ab4e.jpg","136.4x71.8厘米",[242,35],{"id":16969,"slug":16970,"title":16971,"dynasty":97,"author":9309,"museum":175,"description":16972,"tags":16973,"thumbUrl":16974,"material":33,"size":16975,"collection":70,"collections":16976,"showCount":16745,"zanCount":39,"manualWeight":39,"mainColor":40},220125,"wu-li-chun-zao-qing-xue-tu-zhou-wu-li-220125","吴历春早晴雪图轴","吴历（1632年—1718年）清初书画家，天主教传教士。字渔山，号墨井道人、桃溪居士，江南常熟（今属江苏）人 。 [3] 少时学诗于钱谦益，学画于王鉴、王时敏。康熙二十一年入天主教，继至澳门进耶稣会，前后在嘉定、上海等处传教三十年。著有《墨井诗钞》《三巴集》《桃溪集》《墨井画跋》。",[49,23,51,56,1050,967,727,1903,61,751,63,26,25,55,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85907768a5ded9464952c88429d0ded3.jpg","纵168cm，横41cm",[70],{"id":16978,"slug":16979,"title":16980,"dynasty":18,"author":524,"museum":175,"description":16981,"tags":16982,"thumbUrl":16983,"material":319,"size":16984,"collection":72,"collections":16985,"showCount":16745,"zanCount":1288,"manualWeight":39,"mainColor":40},219868,"da-shu-feng-hao-tu-xiang-sheng-mo-219868","大树风号图","图绘古树一株，参天独立于空旷的原野之上，一老者拄杖遥望远山。作者自诗曰：“风啸大树中天立，日薄西山四海孤。短策且随时旦莫，不堪回首望菰蒲。”此图主体鲜明，形象生动，构思别具，笔法严谨。",[49,23,84,25,137,58,56,277,751,2142,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4aadf5523f019f3c8f0bd22bdc1029e.jpg","纵115.4cm，横50.4cm",[72],{"id":16987,"slug":16988,"title":16989,"dynasty":115,"author":207,"museum":81,"description":16990,"tags":16991,"thumbUrl":16992,"material":239,"size":107,"collection":122,"collections":16993,"showCount":16745,"zanCount":1288,"manualWeight":39,"mainColor":40},218712,"za-shi-tie-yi-ming-218712","杂诗帖","绢本素笺泛着岁月的暖黄，墨色沉敛如漆，行笔间藏着宋人的疏朗意趣。笔画时而轻若游丝，时而重若坠石，牵丝映带处似有春风拂过纸页，随性却不失章法。诗句里的江山清晖、岁月流转，与笔墨的简淡相映，读来竟觉纸间有清风吹出。朱红钤印如晨星落纸，与沉墨、暖绢相映成趣，更添古雅。这帧手札无刻意雕琢，却在日常书写中流露出宋人审美底色——平淡天真，余味悠长。仿佛执笔人临窗挥毫的呼吸仍在字间，每一笔都是时光痕迹，静静诉说千年前文人情思。",[49,115,119,86,51,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01222659e4ef1f33f027553818ee7200.jpg",[122],{"id":16995,"slug":16996,"title":16997,"dynasty":97,"author":16998,"museum":446,"description":16999,"tags":17000,"thumbUrl":17001,"material":152,"size":17002,"collection":107,"collections":17003,"showCount":16745,"zanCount":39,"manualWeight":39,"mainColor":40},218353,"shi-nv-tu-ce-2-li-ting-xun-218353","仕女图册-2","李廷薰","本卷描绘了四位美女，其风格与蔡奇和费丹旭相似。李廷勋，被称为秦贤和花痴，是一位罕见的艺术家，或者说是广东人。",[23,51,25,54,58,136,180,1860,86,7,2811],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29b94ddb9dca2a24390e96ab7141eea0.jpg","19x28",[],{"id":17005,"slug":17006,"title":17007,"dynasty":146,"author":10518,"museum":525,"description":17008,"tags":17009,"thumbUrl":17010,"material":88,"size":17011,"collection":70,"collections":17012,"showCount":16745,"zanCount":1288,"manualWeight":39,"mainColor":40},218097,"yun-lin-zhong-xiu-tu-fang-cong-yi-218097","云林钟秀图","这幅画描绘了一片苍茫的云海和山脉，山峰高耸，山腰上漂浮着一条厚厚的云带，朦朦胧胧，山下的两岸长满了树木，树木的影子在白云带中时隐时现，突出了苍茫云海的运动。画中一高一低的山峰耸立在白云之上，山峰的顶端用墨水着色，下面是深谷和溪流。在画的右端是几棵古松，用浓墨点出了浓密的树枝和树干。在画面的最后，密林中出现的房屋像是道教寺庙的集中地，有门、有墙、有宫殿，应该是龙虎山上清宫的主殿，而其他寺庙则散落在各处。这幅画的用墨很随意，不拘一格。云山上的大笔水墨，苍茫润泽，富于变化。",[49,50,23,51,52,26,56,55,7,119,278,279,64,754,294,751,6096,4940,2003,727],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876493dc3425bb5b3eb370d2bc11a31c.jpg","24x105cm",[70],{"id":17014,"slug":17015,"title":17016,"dynasty":18,"author":207,"museum":3527,"description":17017,"tags":17018,"thumbUrl":17019,"material":152,"size":17020,"collection":70,"collections":17021,"showCount":16745,"zanCount":39,"manualWeight":39,"mainColor":40},217883,"fang-li-di-shan-shui-tu-yi-ming-217883","仿李迪山水图","李迪是明朝时期著名的画家，他的作品以精细的写实和优美的构图著称。作者的仿李迪山水图也是以精细的写实和优美的构图为特点，但是与李迪不同的是，作者在作品中运用了更加丰富的色彩，使得作品更加生动。\n\n作者的仿李迪山水图展现了中国传统山水画的高超技巧，他的作品中经常出现山峦、溪流、森林、村庄等元素。他擅长运用描绘山水的技法，使作品看起来栩栩如生。此外，作者还注重作品的构图，他善于运用构图中的线条、弧线、曲线等元素，使作品看起来更加流畅。\n\n如果你是艺术爱好者，不妨去看看佚名的仿李迪山水图，感受一下中国传统山水画的魅力。",[23,51,56,134,55,25,150,64,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35d43d203f636dbbfcb84fda42745f1c.jpg","36.8x33cm",[70],{"id":17023,"slug":17024,"title":17025,"dynasty":97,"author":17026,"museum":81,"description":17027,"tags":17028,"thumbUrl":17029,"material":88,"size":17030,"collection":122,"collections":17031,"showCount":16745,"zanCount":39,"manualWeight":39,"mainColor":40},214312,"min-xian-mo-bao-lin-ze-xu-214312","闽贤墨宝","林则徐","此卷将圣人林则徐、严复、郭尚贤的笔墨集于一卷",[49,97,86,119,84,822,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63c2bbac2a035f9020459ada7d9b6c2a.jpg","29.1x31.1",[122],{"id":17033,"slug":17034,"title":17035,"dynasty":146,"author":376,"museum":99,"description":2943,"tags":17036,"thumbUrl":17040,"material":689,"size":690,"collection":107,"collections":17041,"showCount":17042,"zanCount":39,"manualWeight":39,"mainColor":40},290837,"ceng-luan-song-cui-zhou-wang-meng-290837","层峦耸翠轴",[23,26,84,56,55,17037,150,64,61,62,17038,7,17039],"层峦","亭阁","渔者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcedd8bd1842dbdc4031e3d3b7ea5de38.jpg",[],43,{"id":17044,"slug":17045,"title":17046,"dynasty":97,"author":5630,"museum":99,"description":17047,"tags":17048,"thumbUrl":17049,"material":689,"size":690,"collection":107,"collections":17050,"showCount":17042,"zanCount":39,"manualWeight":39,"mainColor":40},290427,"shan-shui-tu-ce-10-kai-gong-xian-290427","山水图册10开","龚贤（1618—1689）明末清初著名画家，金陵八大家之一。又名岂贤，字半千、半亩，号野遗，又号柴丈人、钟山野老，江苏昆山人，流寓金陵（今南京市），早年曾参加复社活动，明末战乱时外出漂泊流离，入清隐居不出，居南京清凉山，买画课徒，生活清苦。性孤僻，与人落落寡合。工诗文，善行草，源自米芾，又不拘古法，自成一体。著有《香草堂集》他与同时活跃于金陵地区的画家樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪等并称“金陵八家”；与清初著名诗书画家吕潜（号半隐）并称“天下二半”。",[23,51,24,26,56,150,64,86,119,55,7],"h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nColor":40},228179,"xiu-ye-xuan-tu-juan-zhu-de-run-228179","秀野轩图卷","淡墨轻岚晕染平远丘壑，山峦温润迤逦，洲渚间林木蓊郁，秀野轩临水静立，溪岸萦回、浅汀横斜，尽显江南山居的清寂野趣，将湖山灵秀与林下幽居的隐逸意趣相融。\n\n引首榜书沉雄苍劲，后接数十段题跋，行楷秀逸舒展，笔致清和雅致。诗书画印一体，以画绘景，以诗述怀，书法映托山水雅韵，尽显元代文人寄情林泉、雅集酬唱的林下襟怀，淡墨间晕开幽远诗意，是元人山水画中诗画合璧的经典之作。",[49,23,50,52,26,55,56,64,727,17201,751,6096,119,7],"亭轩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2a06906c63a6a83703b85153edd1ffe.jpg",[],{"id":17205,"slug":17206,"title":17207,"dynasty":115,"author":17208,"museum":99,"description":17209,"tags":17210,"thumbUrl":17212,"material":107,"size":107,"collection":107,"collections":17213,"showCount":17042,"zanCount":39,"manualWeight":39,"mainColor":75},227959,"ya-zi-zhen-ji-zhu-ke-rou-227959","鸭子真迹","朱克柔","此作用缂丝之艺摹绘水畔小景，紫鸭静立石上，抬首远眺，神态悠然舒展，将水禽野逸之态尽显。羽色以淡紫晕染，层次柔润细腻，将绒羽蓬松质感逼真呈现。旁侧墨竹挺劲清逸，枝叶错落舒展，虚实相生间烘托出幽寂雅致的水汀氛围。整体兼工带写，以丝代笔，既保留了工笔的细腻精致，又暗含文人写意的疏朗意趣。配色淡雅和谐，含蓄审美藏于方寸之间，将禽鸟野趣与清雅意境相融，尽显缂丝工艺与花鸟意趣的绝妙结合。",[49,23,51,27,25,54,17211,358,7,2651],"鸭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaed484653346668e58fa3412de78120.jpg",[],{"id":17215,"slug":17216,"title":17217,"dynasty":115,"author":11749,"museum":99,"description":17218,"tags":17219,"thumbUrl":17220,"material":107,"size":107,"collection":107,"collections":17221,"showCount":17042,"zanCount":39,"manualWeight":39,"mainColor":75},227729,"mei-xia-du-shu-tu-ye-xia-gui-227729","梅下读书图页","夏圭的山水画看似简单却饱含意境，“夏半边”的陈设方式在表现山水韵味的基础上具有一定的文人画意味，这种画面的大胆裁剪体现出了中国画“计白当黑”的美学标准，是画面“置陈布势”的重要组成部分。",[49,23,51,24,26,25,56,58,528,62,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe46974e98376d3ea1cd40fa451fdba27.jpg",[],{"id":17223,"slug":17224,"title":4859,"dynasty":115,"author":207,"museum":99,"description":17225,"tags":17226,"thumbUrl":17227,"material":107,"size":107,"collection":107,"collections":17228,"showCount":17042,"zanCount":743,"manualWeight":39,"mainColor":40},227387,"shu-kui-yi-ming-227387","此画选自《宋人收藏绘本》。 原本应该是一种具有实用功能的扇形面条，但后来以相册的形式转化为草图。 全幅双钩挂满，写有一株蜀葵（古称木槿），花苞无数，第二次绽放，布局和姿态自然生动。 比如花瓣的钩子和叶子的锯齿筋，笔刷都一展身手。 枝条、花萼、叶背也染上了青绿色和多汁的绿色，翻到一旁时，显得十分美丽和真实。 虽非作者印章，但画风具有宋代庭院花画的清秀特点，应该出自南宋画院专家之手。",[49,50,23,51,54,25,27,332,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb3504db8c782a0bf56ff3d8e7afbe96.jpg",[],{"id":17230,"slug":17231,"title":17232,"dynasty":115,"author":17233,"museum":99,"description":17234,"tags":17235,"thumbUrl":17236,"material":107,"size":107,"collection":107,"collections":17237,"showCount":17042,"zanCount":39,"manualWeight":39,"mainColor":75},226559,"zhuo-xie-tu-juan-hu-gui-226559","卓歇图卷","胡瓌","《卓歇图》是五代 创作的一幅绢本设色画，现收藏于北京故宫博物院。\n纵观整幅图，前半段为立歇部分，马背上的猎物点缀了人马刚从追逐和喧闹中转入静态，在马群的尽头是走向乐舞场地的捧花女，把歇息和乐舞两段有机地结合起来。\n舞蹈者在音乐的伴奏下跳跃，构成全图的高潮，充分显示了画家处理大场面中人马动静、聚散的艺术能力，充满了浓厚的北方草原民族的生活气息。\n全画可分为三大段，第一、第二段，一大群密密匝匝的人马占据了画面的大半部分。\n主要是画狩猎归来，人马嘈杂的场面及骑士们滚马下鞍牵马准备休息时互相交谈的场面。\n他们有的席地而坐，静静地休息。\n有的整理马鞍，马鞍上驮着鹅雁等猎物还未曾卸下，也有的伫立交谈，形态各异。\n整幅画面中的骑士虽然众多，他们或聚或散地占据了大半画面，但并不是画中的主角。\n画卷最后一段描述宴饮的场面才是真正的主角，画幅中的契丹大汗正端坐在豪华地毯上饮酒观舞，大汗服饰华丽，神态悠闲，看面容似乎被舞者美妙的舞姿所吸引，正凝神观望，颇为陶醉。\n他的妻子阏氏着汉装于右侧相陪，二人面前有一侍者跪立奉盏，还有一侍者挥动衣袖，翩翩起舞，以助酒兴。\n佩戴弓矢的彪悍侍卫和纤纤玉立的侍女站立在汗王与阏氏的周围，全神戒备，细心侍候。\n该图引首有清代张照书“番部卓歇图”五字和乾隆皇帝题写的“卓歇歌”三字，后幅有元代王时，清代高士奇、张照的跋文。\n本幅及前后隔水有“忠孝之家”“吴龙之印”“石阊”“简静斋”“高士奇图书记”“江村秘藏”“竹窗堂章”（半印）等多枚鉴藏印记。\n南宋初期，宋廷为绥靖和善或刺探情报，大量派使团出使金国。\n入金后，按女真风习，必然将汉族儒士的右衽服改为左衽，并且要先随女真头领出猎数日后，方可商议政事。\n这是一件有史实性的人马画，惜无题记，难知其具体的历史故实。\n从画面上看，作者表现了南宋使臣随金朝官僚出猎时小歇的情景。\n《卓歇图》中“卓歇”一词的汉语含义并不是十分明晰。\n《辽史》中偶有“卓枪”、“卓帐”等与“卓”有关的词语。\n其“卓”带有“立”或“暂立”的意思。\n关于“卓歇”，可以理解为“搭起帐篷临时休息”的意思。\n此作中虽然没有帐篷。\n但是由于胡壤的同类题材作品多以“卓歇图”命名，所以，后人也将其作为这件作品的名字。\n也有学者认为，该图虽然传为辽代胡瓌的画迹，但据画中所绘的少数民族族别系金代女真人，其不可能是胡壤的真品，系金初（12世纪上半叶）汉族画家的手笔。\n在画卷的左侧，两个主要人物盘腿坐于毯上，身着契丹服装的男子即为契丹可汗，他的阏氏则穿着白色汉服，看起来彬彬有礼的样子。\n男女侍从分列二人身后恭敬以待，前面有侍者跪地敬酒，可汗接酒豪饮，还有一男子在乐队的伴奏下跳起舞蹈助兴，献花者向可汗和阏氏缓缓走来。\n画面再向远处是骑兵休息的地方，这些骑士或坐或立，面露倦容，有的打着哈欠，有的伸腰展背，有的安顿马匹，有的相互交谈，等待着支起帐篷。\n马匹上的猎物还未曾卸下，鞍鞯上缚着大雁等飞禽，显然在刚才的围猎中收获颇丰。\n图中人物各异的姿态和服饰，显示着他们的等级地位，具有一定的写实性。\n《卓歇网》的构图匠心独运，图中人物有7人，马约24匹，但画家处理得错落有致，疏密跌宕，又有条不紊。\n浑然一体。\n胡瓌所描画的线条准确有力，“虽繁复细巧，而用笔清劲”，不仅将人物的各异形神传达得恰到好处，而且也表现出不同衣服的质感。\n这种笔法与唐代中原地区的绘画存在许多近似之处，体现着各民族在文化艺术方面的相互影响和交流。\n看此卷的表现手法，展现了画家娴熟的创作技巧，画面背景荒凉寂静，笔法古健雄劲，线条繁密多变而流畅，色彩沉着，人物、鞍马的造型，既简洁凝重又准确自然，具有很高的艺术水平，画家通过长、短、粗、细等不同的线条把物象刻画得极为生动，无论是勾勒鞍马、衣服的长线，还是表现人物发须的短线，用笔皆沉稳扎实，体现了当时北方画派的特色和契丹画师的独特画风。\n另外，作品中的一些细节之处（像悬挂在鞍鞯之上的猎物），画家也描绘得细致入微、一丝不苟。\n中国艺术研究院研究员 ：这是一幅北方游牧民族生活场景的风俗画面，很富于地方色彩和情趣。\n笔法古劲，精密，色彩沉着，具有很高的艺术水平。\n《卓歇图》卷奠定了金代人马画的发展走向，即线条凝练、造型生动、画风淳朴，着意于表现女真族勇悍和粗犷的民族个性及浪漫不羁的草原生活，并一直影响了元初的人马画艺术。\n这件《卓歇图》被冠以胡壤之名后，更增添了对后世人马画的范本作用，尤其是画中的人物发式和服饰，几乎成了表现北方少数民族人物形象的定式。\n这幅作品为了解中国少数民族历史提供了实录，具有很大的史料价值。\n清代阮元《石渠随笔》、高士奇《江村书画目》、清内府《石渠宝笈·续编》对该图有著录。\n《宣和画谱》曾载有胡瓌《卓歇图》九幅，但现存的这一幅没有宜和的印章和题跋，不知是否曾为宣和所收藏。\n南宋杨王体《中兴馆阁储藏》和元周密《云烟过眼录》中都提到胡《卓歇图》，但也无从考证是否就是这幅画。\n现存的《卓歇图》曾经《石果宝笈续编》著录，上最早的题跋是元代的王时，据清代高上奇的考证，说他是元代皇帝的侍御之臣。\n到了明代，当时鉴藏家张丑，在《清河书画舫》里说：“绢本胡番部卓歇图，尘垢破裂，神彩如生，明昌秘物也，今在韩氏。\n”的确，清初画卷落到高十士奇手里的时候，绢素已经碎裂得很厉害，经过了一次重装，后来为清宫所收藏，乾隆在画上题了“神完景肖”四个大字，还做了一首《卓歇歌》写在引首。\n解放后藏故宫博物院。\n胡瓌，五代后唐画家。\n山后契丹乌索固部落人。\n随李克用（856—98）入中原，居范阳（今河北涿州）。\n善画契丹人马．写北方游牧民族生活，举凡帐篷毡幕、旗帜、弓箭以及人马装饰等，曲尽塞外景色。\n笔调清劲爽利，构图繁富细巧。\n传世作品有《卓歇图》、《蕃马图》等。",[49,54,25,52,58,225,7,86,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ea4336c19ab1c123b73479d19a84a80.jpg",[],{"id":17239,"slug":17240,"title":17241,"dynasty":97,"author":5237,"museum":99,"description":17242,"tags":17243,"thumbUrl":17244,"material":319,"size":17245,"collection":107,"collections":17246,"showCount":17042,"zanCount":1288,"manualWeight":39,"mainColor":40},223372,"lan-tu-yun-xiang-223372","兰图","清代女道士，无锡人，生卒年不详，俗姓王，名静莲，一名岳莲。自幼出家于惠山福慧双修庵，后自度为女道士。因慕明末秦淮八艳之一卞玉京为人，故取号玉井道人，又号清微道人。韵香能书擅画，尤擅画兰。韵香收藏有《空山听雨图册》，韵香将此图册视为生家性命，因图册佚失，她特地请画家文人重新作图题诗，不料图册再度佚失，韵香因此遭受打击，心灰意懒，不久即离开了人世。韵香死后，《空山听雨图册》几经流转，散而复聚，最后归于无锡博物院。\n《空山听雨图册》外尺寸为横25.5厘米×纵36.5厘米，每开画心尺寸不一，其名称缘于清代金石书画家奚冈为韵香所作《空山听雨图》。今图册中有吴让之所题隶书“空山听雨图”，并跋云：“清微道人有奚铁生所画空山听雨图，生平寄意在此，乞一时名贤题咏……”奚冈所作《空山听雨图》原作佚去，奚冈生卒年为1746—1803年，此图的创作年代不会晚于1803年。无锡博物院所收藏的《空山听雨图》共有5开，吕培一开，作于壬申（1821年）首夏。许乃谷一开，未署年款，落款注明“清微道人属写”。沈梧两开，分别作于同治甲子（1864）年、乙丑（1865）年。叶衍兰一开，作于光绪丁丑（1877）年。沈叶二图当为后世藏家追慕前贤，作图以示敬仰之意。吕培所作为浅设色，许乃谷所作为水墨，二人均用米家云山图写之，水渚烟树小阁，濛潆凄迷。奚冈原作虽不可见，从吕许二人所作云山图可以想象原作大致面貌。\n《空山听雨图》有上百人题咏，其中刘墉一开，其题咏不会晚于刘墉卒年1804年。洪亮吉、赵怀玉同题于一开，分别为1804年和1805年。刘洪赵这二开当为《空山听雨图》未佚失前的原有题咏。（赵钦仁辑）",[49,50,23,51,52,26,251,277,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F098d109487c7c07d1876d37c94f78122.jpg","28x383厘米",[],{"id":17248,"slug":17249,"title":17250,"dynasty":97,"author":736,"museum":81,"description":737,"tags":17251,"thumbUrl":17252,"material":25,"size":740,"collection":107,"collections":17253,"showCount":17042,"zanCount":39,"manualWeight":39,"mainColor":40},222726,"xian-e-chang-chun-tu-tao-hua-tu-lang-shi-ning-222726","仙萼长春图桃花图",[49,54,25,27,57,66,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F609bc1638fb111c0e9f3c89cf15214aa.jpg",[],{"id":17255,"slug":17256,"title":17257,"dynasty":97,"author":4135,"museum":11531,"description":17258,"tags":17259,"thumbUrl":17260,"material":9268,"size":17261,"collection":70,"collections":17262,"showCount":17042,"zanCount":39,"manualWeight":39,"mainColor":75},222633,"tian-tai-bai-song-tu-gao-feng-han-222633","天台白松图","绘松树两棵，松杆粗壮，松针茂密；灵芝依树而生，形状如耳。此幅图亦是一幅祝寿图，松树寓长寿，灵芝是长生，瑞草有“松树延年 灵芝祥瑞”的寓意。图上自题：“天台白松 高凤翰左手 祝”。",[49,50,23,51,84,26,610,150,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F108d7a22714402bfdc04e275079a27eb.jpg","105x34cm",[70,242],{"id":17264,"slug":17265,"title":17266,"dynasty":18,"author":3070,"museum":46,"description":12533,"tags":17267,"thumbUrl":17268,"material":1561,"size":12536,"collection":107,"collections":17269,"showCount":17042,"zanCount":39,"manualWeight":39,"mainColor":40},222564,"hua-hui-tu-3-chen-chun-222564","花卉图3",[49,50,23,51,27,403,26,25,28,277,7,8547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb34c461d6fd907b9261669a6aad2bf19.jpg",[],{"id":17271,"slug":17272,"title":17273,"dynasty":18,"author":3070,"museum":46,"description":12533,"tags":17274,"thumbUrl":17276,"material":1561,"size":12536,"collection":107,"collections":17277,"showCount":17042,"zanCount":39,"manualWeight":39,"mainColor":40},222559,"hua-hui-tu-11-chen-chun-222559","花卉图11",[49,23,51,27,403,25,26,28,552,17275,7],"花叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdcd1dfcc3d68a8385963786e0c07ab3.jpg",[],{"id":17279,"slug":17280,"title":17281,"dynasty":18,"author":10139,"museum":2728,"description":10140,"tags":17282,"thumbUrl":17283,"material":25,"size":17284,"collection":70,"collections":17285,"showCount":17042,"zanCount":39,"manualWeight":39,"mainColor":75},222374,"mao-shi-tu-li-zhou-zhou-chen-222374","毛诗图立轴",[49,23,51,84,26,25,54,55,56,58,137,967,727,715,17211,2955,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e12fdc6c23cc97a6172a922d5bc6c1.jpg","54．70x38．40cm",[70,242],{"id":17287,"slug":17288,"title":17289,"dynasty":18,"author":45,"museum":222,"description":17290,"tags":17291,"thumbUrl":17292,"material":183,"size":17293,"collection":107,"collections":17294,"showCount":17042,"zanCount":743,"manualWeight":39,"mainColor":40},222216,"chi-bi-tu-juan-quan-juan-chou-ying-222216","赤壁图卷全卷","传世仇英所作《赤壁图》，我们所见有三幅：一藏辽宁省博物馆，一藏上海博物馆，再者便是《石渠宝笈初编》著录的这一卷了。前二幅皆绢本短卷，画的都是白露横江、断岸千尺，东坡与客泛舟中流这一情景。本幅则为纸本而略长，后段多了苇汀浅屿、石桥曲涧、秋林霜浓等山间夜景。读者可以借画家营造的美景，去想象苏轼舍舟登岸，“摄衣而上，履腵岩，披蒙茸，攀栖鹘之危巢，俯冯夷之幽宫”这一夜游情境。其构思立意较前二图更为丰富美备\n三幅《赤壁图》画家都未记年。上海博物馆一图，用笔峻健方硬，应是他得到周臣指授，力学李唐等南宋院画的盛年时作品。辽宁省博物馆一图，与仇英在项元汴家《临宋人六景》画风相近，应是他较晚之作。《石渠宝笈初编》著录的这幅《赤壁图》卷，画法细缜，淡冶蕴藉，与几幅可以断为仇氏早年真迹的作品风格相似，创作年代比上海博物馆《赤壁图》要略为早些。\n关于仇英早年画风，学者们都认定他受到文徵明的影响。援引的史料一是彭年所说“十洲少即见赏于衡翁”；一是文徵明《湘君图》上王登转述文氏自己的话，说他“曾使仇实父设色，两易纸皆不满意”，不得不自己重作之。上述二处记载，一般可以看作是文氏对青年仇英的赏识器重。不过，如对题跋做进一步思索，则可以发现文、仇二人非同寻常的关系。中国绘画史上多有老师画成墨稿后请学生敷彩的情况，如吴道子的画作每使弟子翟琰、张藏布色，文徵明是一个谦和温厚之人，他这么做并如此直言不讳，至少可见他们师徒般真率坦诚的情谊。\n此幅《赤壁图》 画出了宋代苏东坡《后赤壁赋》的诗意，其上钤有“石渠宝笈”、“乾隆御览之宝”、“嘉庆御览之宝”、“宣统御览之宝”及“三希堂精鉴玺”等印，笔法俊朗，风神秀雅，气息纯正，款字极精，印章亦佳。加上又是清宫旧藏且著录于《石渠宝笈》初编，清晰可考，珍稀之极。\n从其画风来看属画家在中年时期所作。仇英在年轻时结交了文徵明、周臣等一批书画家，故而其中年作品里也受了文徵明等人的技法影响，皴法多以小皴为主。在这幅《赤壁图》就能看见披麻皴、斧劈皴等典型皴法，皴笔绵密画风工整细腻。\n《赤壁图》本幅则为纸本而略长，后段多了苇汀浅屿、石桥曲涧、秋林霜浓、云房窅深等等山间夜景。此画以石青、石绿为主色调，画苏轼携友泛舟夜游赤壁。作者用细腻的笔触将一个秋高气爽、月光如银的宁静夜晚极富诗情地融入于令人陶醉的画意之中。布局爽朗、明媚，用笔工细绵密，敷色淡雅清丽，技法纯熟稳健，具有笔致墨韵，为仇英佳作。\n拍卖\n《赤壁图》在2007年11月7日嘉德拍卖中最终以7952万元人民币成交，创造了当时中国绘画拍卖成交价的世界纪录，标志着中国绘画作品的拍卖成交价首次超过1000万美元级别。",[49,23,51,52,25,54,53,119,7,56,58,62,3207,64,150,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79a1ca13ecd5f3c3d80de512b422359.jpg","25.1×90.8cm",[],{"id":17296,"slug":17297,"title":17298,"dynasty":146,"author":17299,"museum":175,"description":17300,"tags":17301,"thumbUrl":17302,"material":319,"size":17303,"collection":35,"collections":17304,"showCount":17042,"zanCount":39,"manualWeight":39,"mainColor":40},221829,"shui-xian-tu-can-juan-wang-di-jian-221829","水仙图残卷","王迪简","王迪简[元]字庭吉，号蕺隐，新昌（今浙江新昌）人，南宋遗民（公元13世纪末），生卒年不详。，终生隐逸于浙江绍兴乐郊蕺山之阳，善画水仙，亦善山水。所绘水仙布局繁密，繁而不乱，花叶穿插、伸展、俯仰自如，层次分明，恣态生动，淡墨渲染，恬淡雅逸，画风与南宋赵孟坚相近",[49,23,51,52,135,488,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F277d45077ca97bfec784e17da06c3c1d.jpg","39X415",[35,242],{"id":17306,"slug":17307,"title":17308,"dynasty":115,"author":7751,"museum":46,"description":17309,"tags":17310,"thumbUrl":17311,"material":25,"size":17312,"collection":213,"collections":17313,"showCount":17042,"zanCount":743,"manualWeight":39,"mainColor":75},221317,"jiu-ge-shu-hua-juan-zhang-dun-li-221317","九歌书画卷","《九歌》是《楚辭》篇名。原為傳說中的一種遠古歌曲的名稱，戰國楚人屈原據民間祭神樂歌改作或加工而成。共十一篇：《東皇太一》、《雲中君》、《湘君》、《湘夫人》、《大司命》、《少司命》、《東君》、《河伯》、《山鬼》、《國殤》、《禮魂》。《國殤》一篇，是悼念和頌讚為楚國而戰死將士;多數篇章，則皆描寫神靈間的眷戀，表現出深切的思念或所求未遂的傷感。王逸說是屈原放逐江南時所作。但現代研究者多認為作於放逐之前，僅供祭祀之用。",[49,23,50,51,52,25,54,58,56,1207,871,86,7,1574,7755],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F799e28b7c8a53f49ea8a67fbad151b43.jpg","23.5 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后幅页又自跋云：“少陵诗体宏众妙，意匠经营高出万层，其奥博沉雄，有掣鲸鱼探凤髓之力，故宜标准百代，冠古绝今，余每读七律，见其所写景物，瑰丽高寒，历历在眼，恍若身游其间，辄思寄兴盘礴。\n适旭咸甥以巨册属画，寒窗偶暇，遂拈景联佳句，点染成图，顾以肺肠枯涸，俗赖填塞，于作者意惬飞动之致，略未得其毫末。\n诗中字字有画，而画中笔笔无诗，漫借强题，钝置浣花翁不少，惭愧！惭愧！西庐老人王时敏”。\n此册页画巫峡弈棋，松云绝壁，山村春色，藤月荻花。\n用笔颇为潇逸，满纸墨韵，非常生动。\n王时敏（1592—168年），字逊之，号烟客，晚号西庐老人，江苏太仓人。\n其祖父是明礼部尚书兼文渊阁大学士王锡爵，父亲是明翰林编修王衡。\n明万历二十九年（161年）举进士，崇祯初以荫仕至太常寺卿，崇祯十三年（164年）辞官隐居，入清不仕。\n工隶书，善画山水，以元黄公望、倪瓒为宗，又受董其昌影响。\n他极力主张恢复古法，反对自出新意，是清初画坛正统派的领袖，后世称“娄东派”，与王鉴、王石谷、王原祁合称“四王”，位列“清初四王”之首，在当时有很大影响。\n第一开 设色 康熙乙巳（四年，一六六五年） 丛山落涧。\n自识：[蓝水远从千涧落，玉山高并两峰寒。\n]钤[王时敏印]（白文）。\n第二开 设色 康熙乙巳（四年，一六六五年） 江村月色。\n自识：[白沙翠竹江村暮，相送柴门月色新。\n]钤[逊之]（朱文）。\n第三开 设色 康熙乙巳（四年，一六六五年） 山村春色。\n自识：[花径不曾缘客扫，柴门今始为君开。\n]钤[烟客]（朱文）。\n第四开 墨笔 康熙乙巳（四年，一六六五年） 松云绝壁。\n自识：[断壁过云开锦绣，疏松隔水奏笙篁。\n]钤[烟客]（朱文）。\n第五开 设色 康熙乙巳（四年，一六六五年） 秋山红树。\n自识：[含风翠壁孤烟细，背日月枫万木稠。\n]钤（烟客）（朱文）。\n第六开 墨笔 康熙乙巳（四年，一六六五年） 落木江帆。\n自识：[无边落木萧萧下，不尽长江滚滚来。\n]钤[逊之]（朱文）。\n第七开 设色 康熙乙巳（四年，一六六五年） 山城夕照。\n自识：[孤城返照红将敛，近寺浮烟翠且堇。\n]钤[时敏]（白文）。\n第八开 墨笔 康熙乙巳（四年，一六六五年） 山庄草阁。\n自识：[白年地僻柴门过，五月江波草阁寒。\n]钤[烟客]（朱文）。\n第九开 墨笔 康熙乙巳（四年，一六六五年） 藏藤月荻花。\n自识：[请看石上藤萝月，已映舟前芦荻花。\n]钤[时敏]（白文）。\n第十开 设色 康熙乙巳（四年，一六六五年） 秋山枫菊。\n自识：[石出倒听枫叶下，橹摇背指菊花开。\n]钤[烟客]（朱文）。\n第十一开 设色 康熙乙巳（四年，一六六五年） 巫峡弈棋。\n自识：[楚江巫峡半云雨，清口疏帘看弈棋。\n]钤[烟客]（朱文）。\n第十二开 设色 康熙乙巳（四年，一六六五年） 雪涧寒林。\n自识：[涧遣余寒历冰雪，石门斜日到林止。\n乙巳腊月写少陵诗意十二帧似旭咸贤甥，时年七十有四，时敏。\n]钤[王时敏印]（白文）[真寄]（朱文）。\n作品在立意、布局、运笔、色彩、线条等方面都达到了登峰造极的地步，在 海中是一朵瑰丽的奇葩，永不凋谢",[49,23,50,56,25,55,24,870,406,293,294,64,150,279,1597,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed362af805b6b8e900886c925e20e209.jpg",[],{"id":17606,"slug":17607,"title":2687,"dynasty":146,"author":7721,"museum":99,"description":17608,"tags":17609,"thumbUrl":17610,"material":107,"size":107,"collection":107,"collections":17611,"showCount":17445,"zanCount":39,"manualWeight":39,"mainColor":75},228163,"hua-niao-tu-ye-wang-yuan-228163","此作工写兼融，敷色清柔淡雅。枝桠苍劲古拙，梅花清逸绽放，山茶柔艳含娇，笔墨秀雅细腻，将花木妍态尽展。枝头禽鸟造型工致写实，蓝羽红腹晕染柔和灵动，抬首凝视间生机暗藏。浅淡竹叶衬于下方，愈发衬得画面清寂雅致。整幅既具院体花鸟的精工细致，又蕴含文人画的澹远意趣，褪去浓艳俗态，将春日花鸟的悠然意态晕染开来，尽显幽淡平和的雅致意境，是工笔花鸟之中别具韵致的精妙佳构。",[23,51,50,25,54,27,528,308,29,358,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27a089108778c2a97fb4773d6b972852.jpg",[],{"id":17613,"slug":17614,"title":17615,"dynasty":18,"author":10235,"museum":99,"description":3894,"tags":17616,"thumbUrl":17617,"material":319,"size":17618,"collection":107,"collections":17619,"showCount":17445,"zanCount":39,"manualWeight":39,"mainColor":75},222699,"zhong-kui-jia-mei-tu-qian-gu-222699","钟馗嫁妹图",[49,50,23,51,52,135,26,54,58,11544,1116,5029,1574,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c26209f23737e8706df0896ba1b8b9f.jpg","33.3*257.5",[],{"id":17621,"slug":17622,"title":16457,"dynasty":146,"author":17623,"museum":81,"description":17624,"tags":17625,"thumbUrl":17626,"material":88,"size":17627,"collection":35,"collections":17628,"showCount":17445,"zanCount":1288,"manualWeight":39,"mainColor":40},221764,"mo-mei-zhou-chen-li-shan-221764","陈立善","款题：“白玉蟾善画梅，梅枝戍削几类荆棘，著花甚繁，寒葩冻萼不知有世上人。玉蟾本姓葛名长庚，出游海上，号海琼子，又号缤庵、武夷散人、神霄散吏、紫清真人，殆乎仙者也。昔年曾见其小幅题诗亦清绝，今擬之颇多合处。予初号两峰子，又号花之寺僧、金牛山人、蓼洲渔父、鹿裘生、人日生人，可谓遥遥相契于千载上矣。此帧为云峰先生作回溯厥画梅之源自若家始也。己亥孟冬罗聘记”。钤“两峰”白文印。“己亥”为乾隆四十四年（1779年），罗聘时年47岁。\n图绘傲风凌寒的梅花竞相绽放，一派生机勃勃的景致。图中花瓣或以仿元赵孟頫的“水墨”法墨晕，或以仿元王冕的“空圈”法线勾，无色晕染的花瓣于交叠辉映中，自得“不要人夸好颜色，只留清气满乾坤”的丽质，这种气质正是作者仿南宋葛长庚的梅画所要追求的清绝意韵。",[49,23,51,84,26,528,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd340bc3b59e9c79c1a466dbf8d908424.jpg","纵125.5厘米，横42.5厘米",[35,242],{"id":17630,"slug":17631,"title":17632,"dynasty":115,"author":13418,"museum":175,"description":17633,"tags":17634,"thumbUrl":17635,"material":183,"size":17636,"collection":213,"collections":17637,"showCount":17445,"zanCount":39,"manualWeight":39,"mainColor":40},221593,"lie-quan-tu-li-di-221593","猎犬图","犬类作为专门的绘画题材最早出现在北宋《宣和画谱》中的“鸟兽”一门。宋代不乏画犬的专家，如宫廷画家李迪、李嵩、赵永年等。此图描绘的是宫廷御用猎犬，步伐矫健而闲雅。画风追求工整写实、细腻华丽而又形神兼备的宫廷审美趣味，是宋代院画的典型作品。",[49,50,23,51,54,25,1116,3011,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8b356f522e268e5858d309346e863d8.jpg","纵26.5厘米，横26.9厘米",[213,35,72],{"id":17639,"slug":17640,"title":17641,"dynasty":115,"author":2718,"museum":222,"description":17642,"tags":17643,"thumbUrl":17644,"material":183,"size":17645,"collection":213,"collections":17646,"showCount":17445,"zanCount":39,"manualWeight":39,"mainColor":75},221450,"zhou-song-qing-miao-zhi-shen-tu-quan-juan-ma-he-zhi-221450","周颂清庙之什图全卷","马和之《诗经·周颂·清庙之什图卷》取材《诗经·周颂》的内容，其内容是西周初年周王朝祭祀宗庙的舞曲歌辞，用典重的词章歌颂祖先的功德并祈求降福子孙。全图绘《清庙之什》十篇诗意，字画各十段，每段画前有《周颂》全文。右书左图，各幅相间，依次为《清庙》、《维天之命》、《维清》、《烈文》、《天作》、《昊天有成命》、《我将》、《时迈》、《执竞》、《思文》。",[49,50,23,51,52,25,54,135,86,7,58,56,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc01c50754e74ad6bb6c4843682dac0cb.jpg","32.6*973cm",[213,70,242],{"id":17648,"slug":17649,"title":17650,"dynasty":18,"author":2181,"museum":525,"description":17651,"tags":17652,"thumbUrl":17653,"material":239,"size":107,"collection":122,"collections":17654,"showCount":17445,"zanCount":39,"manualWeight":39,"mainColor":75},220895,"lin-mi-fei-fang-yuan-an-ji-quan-juan-dong-qi-chang-220895","临米芾方圆庵记全卷","《董其昌临米芾方圆庵记》，绢本，二十五开，每开六行，行五或六、七、八字。全文共计七百六十八字，首题“方圆庵记”四大字，末署四十一小字。与米芾宋拓原文对照，第十八行阙“然而”二字；第六直三行“佛”字前阙“至于吾”三字；第六十六行中“以”原文为“其”，第七十二行中“圣”原文为“先”，第八十五行“异”后少“观”字；第九十四行则多一“庵”字。\n米芾《方圆庵记》书于北宋元丰六年（一○八三年），是专为当时天竺高僧辩才法师主持杭州龙井山方圆庵所作。由陶拯刊石，墨迹末传。刻石早毁，故宋拓鲜见。沈石田旧藏此记拓本，同过沈俨云：“米友仁称，‘其父书，四角转折有八面，笔笔皆翔劲’，又称，‘有云烟卷舒飞扬之态’。观此记信然矣！” 董其昌（一五五五——一六三六）卒年八十二。少早学李邕，又学米芾，二家盘旋最深，得李十之二三，米之五六。生平无所不临。七十岁时初师颜真卿，又学虞永兴。进而****晋唐诸家，继往开来。行楷之妙，跨绝一代。自云：“与赵文敏较，各有短长……当吾作意，赵书迹输一筹。”但对米芾，则云：“米元章书沉着痛快，直夺晋人之社。”又云：“米老行草书传于世间，与晋人几争道驰矣”！屡云“学书运笔得米元章髓”。 辩才法师方圆之道，亦正米、董书法方贺之悟，所以“过予爱之”。此书是董其昌临本，所以流转与自运无别，一经着其作意书得秀色，于是淋漓翰墨，随意所如，更自起自倒，自收自束，自成体势，笔不能自休，以之书“先”为“圣”，少“观”多“庵”，一气呵成，书之雅逸扑人，熠熠夺目，堪称董书中神品，与米氏宋拓孤本正相映媲美，令人陶然入胜。董书喜用淡墨，但类此着意书往往为浓墨。又历来书家恨不见真迹，现在影印与真迹极度近，是一大快事。此帖因是真迹，或更宝于宋拓孤本。 李宗翰云：“米芾书《方圆庵记》年才三十三岁，正专学晋人之时，运笔能控引王羊，其他诸帖每以奇气掩其古法。因些，世人称此帖为米书第一。”此帖结体用“圣教序”，且兼用大令，褚河南两家之法。董其昌的临写过程不仅再现了米芾风神骏爽的神韵，而且在此基础上发挥国自己个性的他造。",[49,86,52,134,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c1602f2b3800c830ac35c9871d04782.jpg",[122],{"id":17656,"slug":17657,"title":17658,"dynasty":146,"author":431,"museum":20,"description":17659,"tags":17660,"thumbUrl":17661,"material":779,"size":17662,"collection":122,"collections":17663,"showCount":17445,"zanCount":743,"manualWeight":39,"mainColor":40},220857,"ling-yin-da-chuan-ji-chan-shi-ta-ming-zhao-meng-fu-220857","灵隐大川济禅师塔铭","元代对书法的重视不亚于前代，书法得到一定的发展。探索和认真的临学，在学习古人的传统基础上“托古改制”，使晋、唐的传统法度得以恢复和发展，扭转了南宋以来由于士大夫多“趋时贵书”形成的所谓“恶札流饰”的积习,开启了元代的书法风格。久之已成为在社会上流行最普遍，在日常生活中最切实用的字体。在应用价值上来说，算得是最伟大的。故能自后汉相传至今，历久而弥新。《元·赵孟頫法书选——行书灵隐大川济禅师塔铭》为基中一本。\n《灵隐大川济禅师塔铭》卷系赵孟頫于杭州任上所书。有专家考证，此作书于大德十一年，即公元1307年，时年书家54岁。此卷书写工致，融右军、北海笔意于一炉，丰润间蕴含劲拔，一字一珠，是赵中年后极为纯熟的代表作品。后有元人虞集、黄溍、郑元祐等跋，曾经王世贞、徐渭仁等收藏。",[49,119,86,418,2226,7,52,26,1284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e38dd2350bd2b52a6a1e955152a6ae5.jpg","纵34.4厘米，横408.9厘米",[122,1120],{"id":17665,"slug":17666,"title":17667,"dynasty":97,"author":207,"museum":81,"description":17668,"tags":17669,"thumbUrl":17670,"material":25,"size":17671,"collection":72,"collections":17672,"showCount":17445,"zanCount":39,"manualWeight":39,"mainColor":40},219365,"yuan-ben-lie-quan-zhou-yi-ming-219365","院本猎犬轴","猎犬身姿挺拔，黑缎般的背毛与浅棕四肢相映，尽显优雅矫健。颈间金纹项圈缀红饰，隐透宫廷驯养的尊贵。画师以工笔细描毛发纹理，尾梢卷曲如绒球，每根毫毛皆见匠心。素净绢底衬出犬的灵动，既写实传神，又暗含对生灵的细腻体察。画面无多余布景，简约中见精致，仿佛能感受到猎犬静立间蓄势待发的活力，尽显清代院体画的严谨与生动。",[23,84,25,54,1116,3011,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24ee1d17944b0d5b85a5ac8ea9548254.jpg","120.5x158.3厘米",[72],{"id":17674,"slug":17675,"title":17676,"dynasty":18,"author":17677,"museum":175,"description":17678,"tags":17679,"thumbUrl":17681,"material":319,"size":17682,"collection":122,"collections":17683,"showCount":17445,"zanCount":39,"manualWeight":39,"mainColor":40},219148,"xing-shu-yu-zhong-du-zhuo-shi-xu-lin-219148","行书·雨中独酌诗","徐霖","此书为徐霖自作七言律诗一首，表露了老年人的一种伤感情怀。\n此帖书法用笔骨力遒劲，内含刚柔，结体流美秀丽，线条粗细均匀，无显著的波磔变化，仍保留着这些篆书的笔法。",[49,50,51,86,119,319,7,17680],"笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54909960222c10b5660fd59f71e7cbad.jpg","纵23.7厘米，横36.7厘米",[122],{"id":17685,"slug":17686,"title":17687,"dynasty":115,"author":207,"museum":290,"description":17688,"tags":17689,"thumbUrl":17690,"material":88,"size":107,"collection":35,"collections":17691,"showCount":17445,"zanCount":743,"manualWeight":39,"mainColor":40},219089,"san-mu-tu-yi-ming-219089","散牧图","素净雪景铺展天地，淡墨晕染出苍茫清寂。枯树枝桠疏朗，似在寒风中轻颤；山石皴法简练，线条勾勒雪的厚重。几株老树苍劲，与留白雪地相映，更显悠远。牛群或缓步觅食，或嬉戏追逐，牧童骑于牛背，衣袂轻扬，尽展山野童趣。远处林峦朦胧，似隐似现，添了几分空濛。构图疏密有致，笔法细腻却不失洒脱，传递出人与自然相融的宁静之美，尽显雅致恬淡的意趣，仿佛能听见牧童的嬉笑声，随晚风消散在雪后的山林间。",[49,23,51,52,26,55,7,56,1115,58,967,277,1116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d87cbb3dc7c63f2731e50347052b00d.jpg",[35],{"id":17693,"slug":17694,"title":17695,"dynasty":146,"author":431,"museum":81,"description":17696,"tags":17697,"thumbUrl":17698,"material":33,"size":17699,"collection":35,"collections":17700,"showCount":17445,"zanCount":39,"manualWeight":39,"mainColor":40},218828,"bai-bi-gua-tu-zhao-meng-fu-218828","白鼻䯄图","笔墨流转间，神骏之姿跃然纸上。马身淡墨晕染，线条如篆籀般圆劲，鬃毛轻扬处藏笔锋灵动，白鼻轻点更显温驯雅致。牵马人身着异域服饰，衣袂飘飘，神态悠然，与马的从容相映成趣。画面上方题跋清逸，诗画相生，尽展“书画同源”之韵。作品不刻意写实，却于简淡中藏深意，笔墨韵味与形象生动完美融合，传递出静谧悠远的意境，仿佛能听见马蹄轻踏，感受到人与马的默契温情，尽显文人画的雅逸风骨。",[50,23,51,26,25,58,225,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472c59d0294d40e3fb352cc6ee315fc6.jpg","26.2x41.8cm",[35],{"id":17702,"slug":17703,"title":17704,"dynasty":18,"author":207,"museum":99,"description":17705,"tags":17706,"thumbUrl":17708,"material":152,"size":17709,"collection":199,"collections":17710,"showCount":17445,"zanCount":39,"manualWeight":39,"mainColor":75},218431,"hu-ren-qi-she-tu-yi-ming-218431","胡人骑射图","奔马四蹄腾空，尘烟似随绢纹浮动。骑手或弓弦满张如满月，箭簇欲破风而去；或俯身控缰，衣袂猎猎卷动。红带束腰、尖顶帽饰，勾勒出游牧者的剽悍身姿。马匹鬃毛飞扬，有的昂首嘶鸣，有的侧首避箭，动态十足。赭褐底色晕染出苍茫旷野的气息，古绢的纹理如岁月刻痕，将骑射的豪壮与奔放凝于方寸之间。每一笔线条都带着力量，仿佛能听见马蹄声与弓弦响交织，尽显马背民族的飒爽英姿。",[23,51,50,25,54,58,225,7,17707],"骑射","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F754cc051e9eb8b734538664b52ca4eb4.jpg","33x161",[199],{"id":17712,"slug":17713,"title":17714,"dynasty":115,"author":207,"museum":81,"description":17715,"tags":17716,"thumbUrl":17717,"material":152,"size":17718,"collection":35,"collections":17719,"showCount":17445,"zanCount":1288,"manualWeight":39,"mainColor":40},218396,"hua-an-chun-tu-yi-ming-218396","画鹌鹑图","这是一幅描绘两只鹌鹑在沙地上玩耍和觅食的画。其生动的造型和多变的笔触使其成为宋元微型绘画的典范。",[49,23,51,84,54,25,27,10302,406,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98f7c7b18cd6012e81e56549879d6d73.jpg","35.3x25.8cm",[35],{"id":17721,"slug":17722,"title":11417,"dynasty":97,"author":17723,"museum":81,"description":17724,"tags":17725,"thumbUrl":17726,"material":88,"size":17727,"collection":122,"collections":17728,"showCount":17445,"zanCount":39,"manualWeight":39,"mainColor":40},214242,"xing-shu-qi-yan-lian-zuo-zong-tang-214242","左宗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[1] 。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。 [2]\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[49,51,52,86,119,7,26,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7d1f22c20897817f0de3feff1bc57dd.jpg",[122],{"id":17762,"slug":17763,"title":684,"dynasty":97,"author":248,"museum":99,"description":685,"tags":17764,"thumbUrl":17765,"material":689,"size":690,"collection":107,"collections":17766,"showCount":17736,"zanCount":39,"manualWeight":39,"mainColor":40},239426,"shan-shui-hua-hui-ce-yun-shou-ping-239426",[23,51,24,26,135,277,967,358,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46879573d1358b6fa55ffe759b2f7a28.jpg",[],{"id":17768,"slug":17769,"title":17770,"dynasty":97,"author":341,"museum":99,"description":7178,"tags":17771,"thumbUrl":17772,"material":689,"size":690,"collection":107,"collections":17773,"showCount":17736,"zanCount":1288,"manualWeight":39,"mainColor":40},238417,"xiu-gu-cong-fang-tu-ce-dong-gao-238417","绣谷丛芳图册",[23,51,50,24,25,54,27,332,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8763ad1a0827aa8984cd36e4279b56ec.jpg",[],{"id":17775,"slug":17776,"title":17777,"dynasty":97,"author":17778,"museum":99,"description":17779,"tags":17780,"thumbUrl":17781,"material":107,"size":107,"collection":107,"collections":17782,"showCount":17736,"zanCount":39,"manualWeight":39,"mainColor":40},238135,"fang-ni-zan-shi-zi-lin-tu-juan-fang-cong-238135","仿倪瓒狮子林图卷","方琮","此作用淡墨铺展园居全景，开篇修竹扶苏，清韵悠悠，茅舍草堂错落其间，屋中有人凭案闲坐，庭前老木虬枝疏朗，衬出院落萧散简远。\n\n整卷笔墨极简，以干笔淡皴写就山石林木，线条清劲秀逸，全无繁冗之笔，承袭古淡空灵的笔意。留白疏阔，氤氲出静穆冷寂的古雅意境，将观者带入无人尘扰的幽居，坐看竹影摇窗、苔痕覆阶，尽显文人画的隐逸高致，笔底藏着天真古淡的林下之风，写尽园居清趣与幽人逸怀。",[49,23,51,52,26,135,134,59,63,358,871,150,1019,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37103644d51d567e8b77eae43a2e67bb.jpg",[],{"id":17784,"slug":17785,"title":17786,"dynasty":97,"author":17787,"museum":99,"description":17788,"tags":17789,"thumbUrl":17790,"material":689,"size":690,"collection":107,"collections":17791,"showCount":17736,"zanCount":39,"manualWeight":39,"mainColor":40},237944,"hua-die-tu-shan-ye-ren-xun-237944","花蝶图扇页","任薰","任薰（1835年—1893年），字舜琴，又字阜长，其父任椿，兄任熊都是画家。少丧父，从兄学画，青年时在宁波卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、任预均从其习画。人物与其兄同师陈洪绶，常用高古游丝、铁线、行云流水、兰叶几种描法。任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与顾文彬子顾承相友善，曾为设计怡园。1888年54岁时双目失明，后病卒于苏州。与任熊、任颐时称“三任”，合任预为“四任”，并为海上画派代表画家之一。",[50,23,51,822,25,54,27,6224,529,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57bd5590052ab002d16d24d19df57820.jpg",[],{"id":17793,"slug":17794,"title":17795,"dynasty":97,"author":5309,"museum":99,"description":17796,"tags":17797,"thumbUrl":17798,"material":107,"size":107,"collection":242,"collections":17799,"showCount":17736,"zanCount":39,"manualWeight":39,"mainColor":40},237493,"san-jia-he-zuo-wu-qing-zhou-wang-hui-237493","三家合作五清轴","王翚（1632-1717），字石谷，臞樵，号乌目山人，耕烟散人，又号耕烟外史，剑门樵客，清晖老人，室名清晖阁，江苏常熟人。王翚祖上几代均染指丹青。四世祖王伯臣擅长花鸟，师崔白画风，祖父王载仕山水花鸟皆擅，父亲王云客专攻山水，画风秀雅。王翚幼喜丹青，十六岁时拜同乡张珂为师，后入王鉴、王时敏之门，遍临他们所藏宋、元名迹，在承袭传统的基础上，又外师造化，逐渐形成了华滋清逸的画风，当时的名公巨卿、文人学士争相交之。六十岁时以布衣征召供奉内廷，主持绘制康熙《南巡图》，被赐“山水清晖”，为清初“虞山派”领袖。著有《清晖画跋》，辑有《清晖赠言》、《清晖赠贻尺牍》，与恽寿平合著《画筌评》。",[50,23,51,84,26,25,777,358,528,944,86,7,54,55,15766],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3351e99781cdb65f9a423bfdf5e44492.jpg",[242,122],{"id":17801,"slug":17802,"title":17,"dynasty":97,"author":17803,"museum":99,"description":17804,"tags":17805,"thumbUrl":17806,"material":319,"size":107,"collection":35,"collections":17807,"showCount":17736,"zanCount":39,"manualWeight":39,"mainColor":75},237349,"hua-niao-ce-wang-gang-237349","王冈","王冈，清代粜臫人頭，字南樤石，号旅云山人，上海人，工花卉、人物，并善写真，后出己意，写生入妙，亦善山水，尝游京师为董邦远客，凡画苑供奉之作，半出其手。\n（一六七七至一七七o）一作（一六九七至一七七o）字南石，号旅云山人，上海人。黄本复弟子。工花卉、人物，并善写真，后出己意，写生入妙。水族草虫，尤觉生动。亦善山水，尝游京师为董邦远客，凡画苑供奉之作，半出其手。其得意处，近似倪瓒。卒年九十四，一作七十四。",[23,51,24,25,27,307,358,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3aa7f6b70cd20a98fe57417a482275a.jpg",[35,72],{"id":17809,"slug":17810,"title":17811,"dynasty":97,"author":15922,"museum":99,"description":17812,"tags":17813,"thumbUrl":17814,"material":107,"size":107,"collection":70,"collections":17815,"showCount":17736,"zanCount":39,"manualWeight":39,"mainColor":40},236571,"zha-mei-he-shan-shui-shi-zhen-cha-shi-biao-236571","樝梅壑山水十帧","查士标（1615—1698），字二瞻，号梅壑、懒老，安徽休宁人。擅山水，宗法元人倪瓒、吴镇。用笔疏简超逸，意境荒寒清旷。与渐江、孙逸、汪之瑞并称“新安四大家”（又名“海阳四家”）。著有《种书堂遗稿》。\n查士标用笔以方折线条为主，笔墨疏简的风格中有吴镇的温润、苍茫，又有倪瓒的高逸、舒秀，别具自家风貌。\n这几开山水，群峰起伏，林木葱蘢，山径盘区，溪水横流；高士行吟于林壑之间，屋宇坐落于幽深之地，画面极赋诗情画意，虽 用笔不多，却风神飘散，气韵荒寒，为不可多得的佳品！",[23,51,24,26,119,7,55,56,610,58,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97aaddabf21fec2cdc2cda2b7408da7e.jpg",[70,122],{"id":17817,"slug":17818,"title":17819,"dynasty":97,"author":11187,"museum":175,"description":17820,"tags":17821,"thumbUrl":17822,"material":779,"size":17823,"collection":70,"collections":17824,"showCount":17736,"zanCount":39,"manualWeight":39,"mainColor":40},236111,"pan-shan-bie-shu-zhou-zhang-zong-cang-236111","盘山别墅轴","位于盘山的静寄山庄，是乾隆朝“法皇祖避暑山庄之例”而修建的。乾隆皇帝学仿康熙皇帝，仿照避暑山庄，在现在的天津蓟县盘山南麓营建了属于自己的皇家园林，位于京城以东80余公里之外，是乾隆帝朝谒东陵的必经之地。静寄山庄也叫盘山行宫，于乾隆九年（1744）开始兴建，至乾隆十九年（1754）竣工，是清代鼎盛期著名的皇家园林之一，也是在京城以外仅次于避暑山庄的第二大皇家行宫园林。乾隆朝多位宫廷画家、词臣画家甚至乾隆皇帝本人，都描绘过这里。",[50,23,51,84,26,55,56,61,150,64,295,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4cfa4cf9fbe519c088dfe3a6254fc08.jpg","162×93.5厘米",[70,242],{"id":17826,"slug":17827,"title":17828,"dynasty":97,"author":2120,"museum":99,"description":17829,"tags":17830,"thumbUrl":17831,"material":107,"size":107,"collection":70,"collections":17832,"showCount":17736,"zanCount":39,"manualWeight":39,"mainColor":40},235336,"fang-gu-shu-hua-ce-wang-jian-235336","仿古书画册","此作绘冬日山居雪景，峰峦素雪覆顶，苍松虬劲错落，枝桠缀雪愈见清寒古雅。山坳村居隐于林间，溪涧凝冰，冷寂空蒙。以淡墨晕染山峦肌理，留白铺陈出漫林雪意，萧疏静谧间尽显古山水的苍浑意趣。\n\n对开行书笔意疏朗清逸，诗句呼应画中深巷积素、残晖映雪之境，书画相映，将冬日山居的幽寂淡远凝于尺幅，于简淡笔墨间尽显隽永雅致，藏着沉厚的仿古功力。",[23,51,24,26,25,56,134,119,7,870,871,60,61,727,610,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1df774cba5454f3e332ba7b07901837.jpg",[70,72],{"id":17834,"slug":17835,"title":2515,"dynasty":18,"author":161,"museum":175,"description":2516,"tags":17836,"thumbUrl":17837,"material":319,"size":2519,"collection":107,"collections":17838,"showCount":17736,"zanCount":39,"manualWeight":39,"mainColor":40},234091,"wu-zhong-shan-shui-ce-shen-zhou-234091",[23,51,24,26,55,119,7,56,64,62,61,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F768131a771cc65321f3cd34baec811ed.jpg",[],{"id":17840,"slug":17841,"title":2515,"dynasty":18,"author":161,"museum":175,"description":2516,"tags":17842,"thumbUrl":17843,"material":319,"size":2519,"collection":107,"collections":17844,"showCount":17736,"zanCount":39,"manualWeight":39,"mainColor":40},234087,"wu-zhong-shan-shui-ce-shen-zhou-234087",[23,51,24,26,55,119,7,56,60,61,64,727,62,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc46249d3f1a8b1efdae161fb0542ffbf.jpg",[],{"id":17846,"slug":17847,"title":17848,"dynasty":18,"author":161,"museum":175,"description":6486,"tags":17849,"thumbUrl":17850,"material":391,"size":6489,"collection":107,"collections":17851,"showCount":17736,"zanCount":1288,"manualWeight":39,"mainColor":40},233838,"wo-you-tu-ce-shui-niu-shen-zhou-233838","卧游图册－水牛",[23,51,50,24,26,1115,1116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F892357b8d795353c9df9c3dad573e9ae.jpg",[],{"id":17853,"slug":17854,"title":17855,"dynasty":18,"author":459,"museum":175,"description":17856,"tags":17857,"thumbUrl":17858,"material":4816,"size":17859,"collection":107,"collections":17860,"showCount":17736,"zanCount":39,"manualWeight":39,"mainColor":40},233465,"ren-wu-hua-hui-ce-xu-wei-233465","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。",[50,23,51,24,26,403,28,265,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61f867355f75d02b3f2bc5518af5ed94.jpg","纵26.9厘米 横38.3厘米",[],{"id":17862,"slug":17863,"title":17864,"dynasty":97,"author":17865,"museum":99,"description":17866,"tags":17867,"thumbUrl":17868,"material":319,"size":107,"collection":70,"collections":17869,"showCount":17736,"zanCount":39,"manualWeight":39,"mainColor":40},231951,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-ceng-yan-dong-231951","七道子山水人物画册18帧","曾衍东","曾衍东生于清乾隆十五年（1750年），字青瞻，一字七如，号七如居士、七道士，祖籍山东嘉祥，为曾子第67代孙。清乾隆壬子（1792年）举人，清乾隆至道光年间画家、小说家、杂剧家。\n据嘉祥《曾氏祖谱》记载，其祖上在明代嘉靖十八年（1539年）被封为翰林院五经博士，并从此世袭爵位。曾衍东的父亲名尚渭，是个恩贡生，游宦江南，曾官居广东博罗县令。曾衍东自幼随父游走南北，童年的经历奠定了其开阔的胸襟，同时也开启了他坎坷飘荡的一生。\n他仕途坎坷，直至50岁迟暮之年由人举荐，才得任湖北江夏县令，后调任巴东县令。曾衍东个性清高、倔强。他曾在《日长随笔》里写道：“人所不能做的，我偏要做去，人所不能减的，我偏要减去。”依这种性格，他在中国官场的遭遇可想而知。63岁那年，因断案而触怒巡抚，而他坚持“此官可去案不移”，终被降罪罢官，流放温州。\n曾衍东携家小流放温州后，先住在同姓旧宦曾儒璋后人曾立亭的家中。曾立亭居温州郡西，其宅名“依绿园”。他念同姓之谊，款接曾衍东居园之“入画楼”。第二年曾衍东在园边宝庵桥附近一大榕树下自建房屋。这里面向九山湖，湖光山色正好，于是他把自己的居所命名“小西湖”。并在门上写了一副对联：“挂冠自昔曾骑虎，闭户于今好画龙。”\n嘉庆二十五年（1820），道光帝即位，曾衍东遇赦，但已贫老不得归乡，约十年后，客死于温州。\n曾衍东生性落拓不羁，工诗及书画，尤善画人物，市井风情、生活百态皆入其构中，举重若轻。在技巧上以笔墨狂放的写意风格取胜。镌图章，摩古出奇，得之者无不视为拱璧，然清贫自守。在近代画坛特别在人物画领域受曾衍东影响的画家有很多，比如王震和丰子恺。但是对他在画坛上地位的认识有所不足，因此当代著名画家程十发先生颇为其抱不平。他在曾衍东的一本人物册中写到：“七道士乃青藤（徐渭）后身，诗文词曲皆胜场，且从书画中与世俗相左而现风骚之气。余曰：近人不重曾衍东是一大遗憾也。”可以说推崇备至。",[49,23,51,24,26,58,225,7,119,86,713],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e31d6bfb1d8831f9c256406aa1f6a9e.jpg",[70,199],{"id":17871,"slug":17872,"title":17873,"dynasty":97,"author":341,"museum":525,"description":17874,"tags":17875,"thumbUrl":17876,"material":319,"size":17877,"collection":107,"collections":17878,"showCount":17736,"zanCount":39,"manualWeight":39,"mainColor":40},231949,"hua-hui-ce-ye-12-kai-dong-gao-231949","花卉册页12开","龚心钊题跋。龚心钊（1870-1949），字怀希，号仲勉，安徽合肥人，寓居上海。他19岁中举人，26岁中进士，是清代最后一任科举考官。光绪年间出使英、法等国，清末出任加拿大总领事，是清代著名的外交家。\n董诰（1740-1818），字雅伦，西京，号蔗林，一号柘林，董邦达长子，浙江富阳人。乾隆二十八年（1763），中顺天乡试举人，明年成进士，殿试各列一甲第三，乾隆帝以其系大臣子，改置二甲第一，为传胪，授翰林院庶吉士，充国史三通馆协修，武英殿篡修。散馆后，改任编修。",[50,23,51,24,54,25,27,28,265,31,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa16aa1373de0204c155ba084d3f5fee4.jpg","21×26cm×12",[],{"id":17880,"slug":17881,"title":17882,"dynasty":146,"author":3963,"museum":99,"description":17883,"tags":17884,"thumbUrl":17885,"material":107,"size":107,"collection":107,"collections":17886,"showCount":17736,"zanCount":39,"manualWeight":39,"mainColor":40},228027,"lin-li-gong-lin-ren-ma-tu-zhao-yong-228027","临李公麟人马图","说明：元 赵雍 纸本设色 （美国）弗利尔美术馆藏 纵1.7厘米 横7.5厘米 此卷为临仿北宋李公麟白描《五马图》中的第一组人马像，并敷以颜色。\n牵马者身穿朱衣，两臂袍于腹前，侧脸望着身后的贡马，漫步前行。\n画人马用线细劲连绵，人物胡须及马尾线描极为精彩。\n与原作相比，马体略显肥胖，而神骏英发之气似嫌不足。\n字仲穆，吴兴（今浙江湖州）人，赵孟頫次子。\n官至集贤待制，同知湖州路总管府事，晚年隐居在家，往来于湖、杭间。\n承家学诗文书画皆精，善鉴赏，人物、山水、界画、花鸟、鞍马无所不能。\n幼即勤奋，得母指教，稍懈母即严责之。\n稍长，“所画浓淡浅深皆至理”。\n山水宗父法，参学董、巨、李、郭、萧散清远，笔力劲健，有个人面貌。\n兰竹师其母，腴润洒脱，颇有风致，尤精人物鞍马，法唐人，有古意，行走滚卧，驰骤奔跳，浴水啮草，各式姿容神态皆生动，深得文人学士甚至皇帝好评。\n书善正、行、草，亦长篆书，体势清劲。\n赵雍传世作品有至正二年（142）作《采菱图》轴、至正七年（147）作《挟弹游骑图》轴、（16）作《松溪钓艇图》卷及《沙苑图》卷，现藏故宫博物院；《着色兰竹图》轴、《青影红心图》《长松系马图》《清溪垂钓图》藏上海博物馆；溪山渔隐图》哦张衍旧藏，图录于《中国名画宝鉴》。\n至正十二年（152）作《骏马图》轴，藏台北故宫博物院；至正十九年（159）作《人马图》卷，藏美国纽约大都会艺术博物馆；《澄江寒月图》纨扇藏 ，另有《墨竹图》等。\n著有《赵待制遗稿》一卷。",[49,50,23,51,52,25,135,58,225,86,119,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5606825de98a93d91568a7d11e00af43.jpg",[],{"id":17888,"slug":17889,"title":17890,"dynasty":115,"author":17891,"museum":99,"description":17892,"tags":17893,"thumbUrl":17894,"material":107,"size":107,"collection":107,"collections":17895,"showCount":17736,"zanCount":39,"manualWeight":39,"mainColor":40},227798,"yao-tai-bu-yue-tu-liu-zong-gu-227798","瑶台步月图","刘宗古","《宋刘宗古瑶台步月图》是宋代画家刘宗古所创作的一幅设色画。\n此图原载《四朝选澡册》（见《石渠宝笈续编》）。\n题 作。\n《 》云：“刘宗古，京师人。\n间（公元1119一1125），以待诏官至成叫郎。\n乱离后，归江左，朝廷方寻访车辂式，而宗古进本称旨，除提举车辂院。\n其画人物，长于成染，不背粉，水墨轻成，但笔墨织弱耳。\n”此画布局疏朗，设色清丽，不失为一件精构。\n本幅无款印。\n对开清 题七言绝句一首。\n钤乾隆内府诸收藏印。\n《石渠宝笈续编·养心殿》著录。\n图页写中秋 赏月情景，人物纤秀，风格婉约，景色空蒙。\n宋人册页中的楼阁画除了描写完整的单体建筑或建筑群的全景，还有描绘建筑局部的作品。\n此页即界画平台的局部，虽只是作为人物活动的背景，但深棕色嵌玉栏杆、莲花柱头装饰和台子的斗拱样式交代得准确清楚，与描绘建筑全图的作品恰是一种互补，展现了 楼阁小品画活泼的表现形式及丰富的表现手法。",[49,50,23,51,822,25,54,58,59,136,944,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F505e3900af9740a371e317730b4d7558.jpg",[],{"id":17897,"slug":17898,"title":17899,"dynasty":2807,"author":207,"museum":5890,"description":17900,"tags":17901,"thumbUrl":17902,"material":689,"size":690,"collection":107,"collections":17903,"showCount":17736,"zanCount":1288,"manualWeight":39,"mainColor":75},226508,"fu-shuo-yan-luo-wang-shou-ji-si-zhong-yu-xiu-sheng-qi-wang-sheng-jing-tu-jing-yi-ming-226508","佛说阎罗王授记四众预修生七往生净土经","简称《佛说十王经》。为卷轴式手抄彩绘卷。本经卷属晚唐五代时期敦煌所绘，画风古朴，十分珍罕。本卷为法国伯希和从敦煌带走藏于法国国图的《阎罗王授记经》三种绘卷之一，",[52,51,23,1284,25,58,59,54,436,405,7,86,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00260a4feaf64cbf8c2e55965c1febc7.jpg",[],{"id":17905,"slug":17906,"title":17907,"dynasty":97,"author":787,"museum":99,"description":17908,"tags":17909,"thumbUrl":17910,"material":107,"size":107,"collection":107,"collections":17911,"showCount":17736,"zanCount":39,"manualWeight":39,"mainColor":40},224586,"du-mu-shi-yi-tu-zou-yi-gui-224586","杜牧诗意图","此作取诗意入画，绘就晚秋幽林。危崖峻拔，以苍劲皴笔写尽山石嶙峋骨相，淡墨晕染出岫间云霭，衬出山居空寂高远之境。坡岸秋木杂生，丹红枝叶点缀其中，暗合霜叶胜花的诗意。溪湾浅滩处，渔人泛槎而归，为清冷秋景添上几分烟火野趣。\n\n全作用笔干湿互济，干笔皴擦刻绘山石肌理，淡墨晕染烘托空濛氛围，将诗句里停车赏枫的悠然心境化入尺幅之中，诗画相映，尽显秋日山林的萧疏雅致，闲淡高古的意韵扑面而来。",[49,23,51,84,25,54,55,56,150,64,5740,751,2184,2955,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33b4eca18f66a0d481bcc101936a3f5.jpg",[],{"id":17913,"slug":17914,"title":17915,"dynasty":97,"author":3423,"museum":99,"description":17916,"tags":17917,"thumbUrl":17918,"material":107,"size":107,"collection":107,"collections":17919,"showCount":17736,"zanCount":39,"manualWeight":39,"mainColor":40},224375,"hua-hui-qi-shi-ce-shi-er-kai-5-ju-lian-224375","花卉奇石册-十二开-5","此作以淡逸笔调铺陈案头清趣，湖石奇崛空灵，以写意皴擦勾勒出瘦透之姿，韵致古拙。旁侧方盆雅致，盆中花卉粉萼柔妍、翠叶莹润，没骨晕染将草木鲜活之态尽揽笔底，淡粉轻绿相映，娇而不艳。左下角拳松短针苍劲利落，与柔花顽石形成刚柔互衬。\n整幅画面留白疏朗，工写兼济，将文房清供的闲雅意趣晕染尽致，清隽静和的气息漫溢纸面，尽显雅致脱俗的文人意韵，草木生机融于案头幽寂，淡而有味。",[49,23,51,24,54,25,277,28,4458,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f869a343a57705320bea4f60deed39d.jpg",[],{"id":17921,"slug":17922,"title":17923,"dynasty":97,"author":1180,"museum":99,"description":1655,"tags":17924,"thumbUrl":17925,"material":689,"size":690,"collection":107,"collections":17926,"showCount":17736,"zanCount":39,"manualWeight":39,"mainColor":40},224217,"xiao-rong-shi-ce-zhuan-shu-wu-chang-shuo-224217","小戎诗册篆书",[49,541,86,24,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ac50f5eaec7f55cb5dcad0fa1a75421.jpg",[],{"id":17928,"slug":17929,"title":17930,"dynasty":97,"author":17931,"museum":99,"description":17932,"tags":17933,"thumbUrl":17934,"material":107,"size":107,"collection":107,"collections":17935,"showCount":17736,"zanCount":1288,"manualWeight":39,"mainColor":40},224205,"ying-wu-xi-die-tu-hu-mei-224205","鹦鹉戏蝶图","胡湄","《鹦鹉戏蝶图》是画家胡湄所作的一幅画，现藏于上海博物馆。\n此画中的花鸟仿宋人笔，工笔重色，细致艳丽。\n梅花之沉稳雅致与鹦鹉之灵动飞扬成对比，造型精确、形态生动。\n花朵胭脂设色，鲜嫩娇美，墨绿树叶作为衬托，层次向背各自分明。\n鹦鹉的羽毛用白粉工笔勾描，质感柔绵，整幅画无一懈笔，青铜架上的绿锈、红霉均细致地得到表现。\n在和煦的阳光下，大地一片清新蓊郁，在村宅的一隅，一枝怒放的梨花，张开笑脸，散发出阵阵清香，这时两只斑灿美丽的蝴蝶向飘落的梨花追逐，一只原系立于铜架上的鹦鹉反身而下，全力地扑向彩蝶，形态生动。\n署款“晚山胡湄写”。\n钤 “湄印”白文印、“晚山”朱文印。\n从这幅画中可以看到，画家别有心意，十分留心自然界中所发生的一点一滴，并体察入微，将之再现于画画，让人们领略到这美妙而富有的生活情趣的景象。\n折枝梨树，画画左侧横上舒枝展叶，枝头缀满花朵，有的向阳怒放，有的含蕾待放，煞是可爱。\n花朵设色，鲜嫩可爱，以墨绿树作为衬托，层次向背各自分明。\n鹦鹉的羽毛用粉笔勾描，显示出羽毛柔绵的质感。\n勾画眼、嘴、爪均用较浓的墨色。\n此画的艺术特色足以简雅清淡取胜。\n全幅境象疏朗，笔墨简练，结构上不作繁密丰满、全景式的布局，其他树石、花木作为陪衬，剪裁得宜，取景自然。\n在画法上，不事雕琢，笔墨不多，却能使此画满幅生辉，使欣赏者获得美的享受。\n胡湄，生卒年不详。\n字飞涛，号晚山，又号秋雪，浙江平湖人。\n诸生，项元汴外孙。\n由于项氏收藏 甲天下，故胡氏受到完整的古代绘画艺术的薰陶。\n他为人耿直，富人以金帛求画多拒之。\n他画的花鸟虫鱼、“时称仙笔”。\n传世作品有《鹦鹉戏蝶图》。",[49,23,51,50,84,54,25,27,4347,315,332,1227,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72d4e5bf65a6b3e2e6a86eefde4da10a.jpg",[],{"id":17937,"slug":17938,"title":17939,"dynasty":97,"author":1167,"museum":99,"description":17940,"tags":17941,"thumbUrl":17942,"material":107,"size":107,"collection":107,"collections":17943,"showCount":17736,"zanCount":1288,"manualWeight":39,"mainColor":40},224181,"hua-niao-li-zhou-hua-yan-224181","花鸟立轴","梅枝虬曲绽花，主鸟独立高枝，振羽引吭，翎毛以淡墨晕染，尽显蓬松柔润。下方竹枝斜出，两只小雀依偎私语，憨态可掬。顽石以枯淡笔墨勾勒，墨色浓淡相破，野意盎然。\n全作用兼工带写之法，将禽鸟灵动与花木清逸相融，题款错落排布，书画相映，晕染出幽寂早春的澹远意趣，笔意秀逸脱俗，把春日禽鸟迎春的生机悄然铺展，清隽雅致，饶有闲情。",[49,23,84,25,26,27,528,358,277,29,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa32f2c98cbf9f8e2905ef51e67f151d1.jpg",[],{"id":17945,"slug":17946,"title":17947,"dynasty":97,"author":2322,"museum":81,"description":12630,"tags":17948,"thumbUrl":17950,"material":4816,"size":17951,"collection":35,"collections":17952,"showCount":17736,"zanCount":743,"manualWeight":39,"mainColor":40},222693,"xin-shao-ru-yi-tu-zhou-qian-wei-cheng-222693","新韶如意图轴",[49,23,51,84,25,54,8137,17949,6849,1183,528,777,332,181,7],"盆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c76e4882c3861113c1dfe14fc016849.jpg","105.2x55.9厘米",[35,72],{"id":17954,"slug":17955,"title":17956,"dynasty":18,"author":17957,"museum":222,"description":17958,"tags":17959,"thumbUrl":17960,"material":319,"size":17961,"collection":70,"collections":17962,"showCount":17736,"zanCount":39,"manualWeight":39,"mainColor":40},222572,"wan-he-qiu-tao-tu-he-hao-222572","万壑秋涛图","何浩","此幅作品就画的是松树。据此笔者认为这个名叫何浩的画家，是一位明代中期与画家林良同时或略晚于林良的供职宫廷的职业画家。那么，现在又可以多出一名明朝的宫廷画家了，又可以增加一幅明朝的宫廷绘画作品了。",[49,23,51,52,26,56,55,64,150,61,279,7,8547,3652,15170,2003],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c2dc1674f138f535644c5f04d9896db.jpg","纵27厘米、横448厘米",[70,242],{"id":17964,"slug":17965,"title":17966,"dynasty":146,"author":4259,"museum":81,"description":17967,"tags":17968,"thumbUrl":17969,"material":88,"size":15045,"collection":242,"collections":17970,"showCount":17736,"zanCount":39,"manualWeight":39,"mainColor":40},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。",[49,23,26,84,358,700,529,531,403,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8549ad8c921d08b75438863fa146dd22.jpg",[242,921],{"id":17972,"slug":17973,"title":17974,"dynasty":115,"author":4917,"museum":175,"description":17975,"tags":17976,"thumbUrl":17977,"material":1636,"size":17978,"collection":122,"collections":17979,"showCount":17736,"zanCount":1288,"manualWeight":39,"mainColor":924},221205,"shou-fu-tie-ye-wu-ju-221205","寿父帖页","吴琚“性嗜书”，学米芾能神似。此帖为其行书代表作之一，乃淳熙末年为官襄阳时谈论宦途境况的一封尺牍。《墨缘汇观》评为“初视之以为米书”。",[49,86,119,418,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42acbd1c8113c63f546b4b08295fa08c.jpg","纵32.9厘米，横48.9厘米",[122],{"id":17981,"slug":17982,"title":17983,"dynasty":192,"author":2994,"museum":175,"description":17984,"tags":17985,"thumbUrl":17986,"material":17987,"size":17988,"collection":122,"collections":17989,"showCount":17736,"zanCount":39,"manualWeight":39,"mainColor":40},221150,"lan-ting-ba-zhu-tie-chu-sui-liang-221150","《兰亭八柱帖》","兰亭八柱帖属于历代丛帖。\n位于中山公园西南角。\n共8卷。\n清乾隆四十四年（1779）内府辑刻。\n此帖是集唐人王羲之《兰亭序》的摹本、明人董其昌和清乾隆的临本刻于一起的作品，计有：《虞世南摹兰亭序》、《褚遂良摹兰亭序》、《冯承素摹兰亭序》、《柳公权书兰亭诗》、《重摹董其昌所收》、《于敏中补缺文》、《董其昌临》和《清高宗弘历临》，各为一卷。\n每一卷刻于一方形石柱之上，再以此8柱建亭于圆明园。\n相关信息 咸丰十年（186）圆明园被焚后此亭石柱未毁，1917年被移至中山公园。\n2世纪7年代初中山公园修整开放前，重建此亭。\n石刻已多有漫漶。",[49,86,119,134,7,2226,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81fc06ca0857dbfef5b2d9e373eb55dd.jpg","乌金精拓","纵29．8厘米，横17.3厘米。",[122],{"id":17991,"slug":17992,"title":17993,"dynasty":97,"author":17994,"museum":446,"description":17995,"tags":17996,"thumbUrl":17997,"material":33,"size":17998,"collection":70,"collections":17999,"showCount":17736,"zanCount":39,"manualWeight":39,"mainColor":40},220078,"feng-dong-tu-ye-xin-220078","风洞图","叶欣","叶欣（生卒年未详，公元17—18世纪)，字荣木，华亭(今上海市松江)人，流寓江苏金陵(今南京)，书画家。善山水，学宋赵令穰法，复师明姚允在之意，能独抒性灵。山水画素以“工细幽淡”著称。\n叶欣的山水画素以“工细幽淡”著称，所作野岭荒烟，孤城古渡，大有令人动秦月汉关之思。此画描绘春游之景，在桃花三月，荡舟于青湖绿山之中，徜徉于烟雾弥漫的秀丽中，陶陶然如醉如痴。此画用笔轻灵，墨色清淡，景致悠远，意境秀雅，真所谓“淡远又淡远，淡远以至于无”的情趣。",[49,23,712,26,55,150,64,58,16213,8760,86,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51675d8aeea351bbbd90ae98e8b724b.jpg","88.2X52.3",[70],{"id":18001,"slug":18002,"title":18003,"dynasty":115,"author":207,"museum":20,"description":18004,"tags":18005,"thumbUrl":18006,"material":152,"size":18007,"collection":35,"collections":18008,"showCount":17736,"zanCount":39,"manualWeight":39,"mainColor":75},218965,"he-tang-ji-ling-tu-yi-ming-218965","荷塘鹡鸰图","枯枝斜倚间，鹡鸰敛翅而立。羽色黑白相衬：墨色背羽似覆薄霜，腹羽轻敷淡粉，尾羽挺括如剑；尖喙微垂，似在打量水面游弋的细物，爪尖紧扣枝桠，力道藏于柔劲线条。背景是朦胧荷塘一角：淡墨晕染的荷叶若隐若现，水波漾成细碎纹理，远处岸汀模糊成浅褐色块，留白处似有清风掠过。\n\n整幅画以小见大，写实中透着空灵。无繁复堆砌，仅用简练笔墨勾勒生命鲜活——宋人的雅致尽在方寸间。观者于静谧里捕捉自然幽微：鸟的凝神、风的轻拂、水的微动，皆融于淡雅色调，似能听见荷叶婆娑，触到空气里的湿润凉意。",[50,23,51,822,54,25,27,420,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa026a32cb53006818e2bc15bbd910790.jpg","22.4x23cm",[35],{"id":18010,"slug":18011,"title":18012,"dynasty":115,"author":510,"museum":81,"description":18013,"tags":18014,"thumbUrl":18016,"material":152,"size":18017,"collection":35,"collections":18018,"showCount":17736,"zanCount":39,"manualWeight":39,"mainColor":40},218678,"qiu-qing-cong-ju-tu-lin-chun-218678","秋晴丛菊图","晴光轻洒，簇簇秋菊绽于绢素间。瓣瓣舒展如凝霜，或嫩黄带暖，或素白含清，层叠纹理似能触到柔润质感。叶片墨色浓淡相宜，脉络隐现风中之姿，转折处藏着未褪的生机。圆形构图里，花枝错落有致，留白处似有余晖漫漾。笔触细腻却不刻意，设色温润清雅，将秋晴下菊的恬淡与灵动凝于方寸。仿佛能嗅到淡淡的菊香，随微风漫过画面，静享这秋日里的一抹雅致闲逸。每一处细节皆见匠心，把晴秋的清和与菊的风骨，悄然融于这一方团扇之中。",[49,50,23,51,54,25,27,529,18015,7],"秋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F750cb01efbb3fd284998c56993afeae5.jpg","25x26.5",[35],{"id":18020,"slug":18021,"title":18022,"dynasty":115,"author":207,"museum":642,"description":18023,"tags":18024,"thumbUrl":18025,"material":88,"size":18026,"collection":199,"collections":18027,"showCount":17736,"zanCount":39,"manualWeight":39,"mainColor":75},218602,"shi-liu-luo-han-tu-yi-ming-218602","十六罗汉图","墨线勾勒间，十六罗汉神态各异：或静立松下凝思，或拄杖徐行于林麓，或与猿猴嬉戏、鹤鹿为邻。松竹掩映，怪石嶙峋，山野之趣与禅意相融。人物衣袂飘举，线条简练却见风骨，寥寥数笔便传神情——有的须眉微蹙似在参禅，有的笑靥舒展如悟真机，有的俯身逗猴尽显自在。画面清寂中藏生机，简淡里见深致，以自然景致衬罗汉超脱之态，笔墨洗练却形神兼备，尽显古代绘者对禅林世界的诗意描摹，亦让观者于尺幅间感受那份远离尘嚣的宁静与旷达。",[49,23,51,52,135,26,1284,58,3737,8312,5835,1116,777,358,871,700,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf090e8c5463c31d1dff3f90f8004b00.jpg","32.7x848.4",[199],{"id":18029,"slug":18030,"title":18031,"dynasty":115,"author":18032,"museum":99,"description":18033,"tags":18034,"thumbUrl":18036,"material":152,"size":107,"collection":70,"collections":18037,"showCount":17736,"zanCount":39,"manualWeight":39,"mainColor":75},218596,"gui-zhou-tu-yang-an-dao-218596","归舟图","杨安道","绢素底色晕开时光的温厚，近岸层岩以皴笔刻出苍劲肌理，岸边茅亭隐于林麓，似含待归之意。中流归舟破水而行，船篷织纹细密如织，舟子俯身撑篙，浪涛翻涌处，笔触如丝缕缠连，尽现江水柔劲与动荡。远处峰峦淡染烟霭，山影浮沉于水色之间，天地悠远尽纳圆幅。细劲线条勾摹山水清旷，墨色层次含蓄蕴藉，既见自然之浩渺，又藏归舟之温情——烟波里每道波纹，皆似诉说归途远近，观者于静谧中触到羁旅者的心跳，于方寸间感怀天地与人心的交融。",[49,23,50,822,25,56,62,18035,278,61,7,63,714],"岸石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe97e0d78ead1baca9afea6b99613fa71.jpg",[70],{"id":18039,"slug":18040,"title":4606,"dynasty":146,"author":10518,"museum":3527,"description":18041,"tags":18042,"thumbUrl":18043,"material":33,"size":18044,"collection":70,"collections":18045,"showCount":17736,"zanCount":39,"manualWeight":39,"mainColor":40},217890,"yun-shan-tu-fang-cong-yi-217890","这幅图画描绘了云山之间的壮丽景色。方从义精细地捕捉了云山间的层次感，并使用清晰的线条勾勒出了山体的轮廓。同时，他还运用了多种不同的颜色来表现云山的美丽，让图画整体看起来十分生动。\n\n除了描绘自然景色，云山图中还有许多人物和动物的身影。这些人物和动物与山体相互呼应，使图画看起来更加真实。\n\n总的来说，云山图是一幅令人惊叹的艺术杰作，值得一看。",[23,51,822,26,55,56,1207,870,871,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F027831a0ebcaf82168a5a483608c7ea1.jpg","22.9x25.1cm",[70],{"id":18047,"slug":18048,"title":18049,"dynasty":146,"author":709,"museum":81,"description":1490,"tags":18050,"thumbUrl":18051,"material":88,"size":107,"collection":107,"collections":18052,"showCount":17736,"zanCount":39,"manualWeight":39,"mainColor":40},216383,"mo-zhu-pu-ce-6-wu-zhen-216383","墨竹谱册-6",[23,51,24,26,119,358,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe89212c009f37154e122f2c251742aa.jpg",[],{"id":18054,"slug":18055,"title":18056,"dynasty":146,"author":709,"museum":81,"description":1490,"tags":18057,"thumbUrl":18058,"material":88,"size":107,"collection":107,"collections":18059,"showCount":17736,"zanCount":39,"manualWeight":39,"mainColor":40},216378,"mo-zhu-pu-ce-11-wu-zhen-216378","墨竹谱册-11",[23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厘米 横48.3 厘米",[],{"id":18070,"slug":18071,"title":7459,"dynasty":18,"author":3070,"museum":99,"description":7468,"tags":18072,"thumbUrl":18073,"material":689,"size":690,"collection":107,"collections":18074,"showCount":18075,"zanCount":39,"manualWeight":39,"mainColor":40},290917,"mu-dan-zhou-chen-chun-290917",[23,51,84,25,27,308,462,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd604a7f23d710fc1906b3c2c491b0d88.jpg",[],40,{"id":18077,"slug":18078,"title":18079,"dynasty":18,"author":161,"museum":99,"description":2140,"tags":18080,"thumbUrl":18081,"material":689,"size":690,"collection":107,"collections":18082,"showCount":18075,"zanCount":39,"manualWeight":39,"mainColor":40},290883,"fang-fan-kuan-shan-shui-shen-zhou-290883","仿范宽山水",[23,51,24,56,26,55,134,150,293,59,60,61,2142,63,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25a350eb2b74dd16ad3ce93a6b3410da.jpg",[],{"id":18084,"slug":18085,"title":12109,"dynasty":97,"author":15157,"museum":99,"description":18086,"tags":18087,"thumbUrl":18088,"material":689,"size":690,"collection":107,"collections":18089,"showCount":18075,"zanCount":39,"manualWeight":39,"mainColor":40},290000,"zhu-shi-tu-li-zhou-li-fang-ying-290000","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。",[49,50,23,51,84,26,358,277,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51cc84485d0a2bea0a112203a6013e0.jpg",[],{"id":18091,"slug":18092,"title":18093,"dynasty":115,"author":14279,"museum":99,"description":18094,"tags":18095,"thumbUrl":18096,"material":689,"size":690,"collection":107,"collections":18097,"showCount":18075,"zanCount":39,"manualWeight":39,"mainColor":40},289869,"shi-yong-tu-zhang-xian-289869","十咏图","张先（990—1078），字子野，乌程（今浙江湖州）人。北宋词人。婉约派代表人物。天圣八年（公元1030）进士。历任宿州掾、吴江知县、嘉禾（今浙江嘉兴）判官。皇祐二年（1050），晏殊知永兴军（今陕西西安），辟为通判。后以屯田员外郎知渝州，又知虢州。以尝知安陆，故人称“张安陆”。治平元年（1064）以尚书都官郎中致仕，元丰元年病逝，年八十八岁。",[49,50,23,51,52,1962,25,56,59,5578,61,278,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab6ee46a4d67fb75fc131910fa6d3ee0.jpg",[],{"id":18099,"slug":18100,"title":573,"dynasty":1037,"author":18101,"museum":81,"description":18102,"tags":18103,"thumbUrl":18104,"material":689,"size":690,"collection":107,"collections":18105,"showCount":18075,"zanCount":39,"manualWeight":39,"mainColor":75},288263,"mu-dan-tu-teng-chang-you-288263","滕昌佑","滕昌佑，唐末五代画家。字胜华，本为吴（治今江苏苏州）人。唐广明元年十二月（公元881年）初黄巢起义军攻克长安，避乱随唐僖宗入蜀，卒年八十五。以文学从事。",[49,50,23,51,84,25,27,54,308,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1df52c67747442a7481301f56b33a898.jpg",[],{"id":18107,"slug":18108,"title":18109,"dynasty":97,"author":2322,"museum":81,"description":12630,"tags":18110,"thumbUrl":18111,"material":391,"size":3897,"collection":107,"collections":18112,"showCount":18075,"zanCount":39,"manualWeight":39,"mainColor":40},287449,"chun-hua-san-zhong-tu-qian-wei-cheng-287449","春花三种图",[23,51,27,54,25,57,488,344,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fe3f57876cfbf2226aba3808e32cc62.jpg",[],{"id":18114,"slug":18115,"title":18116,"dynasty":97,"author":8927,"museum":175,"description":18117,"tags":18118,"thumbUrl":18119,"material":18120,"size":18121,"collection":122,"collections":18122,"showCount":18075,"zanCount":743,"manualWeight":39,"mainColor":40},239982,"zhao-meng-fu-da-shi-zan-juan-ai-xin-jue-luo-yong-xing-239982","赵孟頫大士赞卷","释文：\n秉般若。剑推黑暗尽光明。洞然行佛心，令令行如焰。无处凑泊，锋锷未露，天魔胆落。\n明月一圆，清风两袖。笊篱笊篱，虽工莫售。莫信者何，劳心碌碌。譬动水珠，竟无捞摸。\n彼卖鱼者，一钱两尾。踏破指头，白昼见鬼。隐菩萨身，化童女真。非大悲心，着甚死嗔。\n飞鸟拍肩，蹲蹲将及。正未及闲，狂心顿息。天和气薰，小雨沾裳。浮云柳絮，空阔飞扬。师猎得麕，师农得粟。善财无法，礼菩萨足。菩萨不定，前瞻后瞩。汝自问取，白云青竹。\n赵文敏公大士赞。为恒府德斋书。成亲王。\n款署 ：“为恒府德斋书。成亲王。”钤“成亲王”、“诒晋斋印”白文印2方。鉴藏印钤“芸阶姚氏收藏”朱文印。\n外有题签“成哲亲王书赵文敏公大士赞。石雪居士题签”。钤“徐宗浩印”。知此卷曾为徐石雪所藏。\n此作以恭楷录赵孟頫大士赞。用笔清劲峭拔，结字整肃，极见唐人楷法之精绝。",[86,417,52,7,1284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b807dbacbd0c0949eec6226c73eab8a.jpg","纸本，楷书","纵32.8厘米，横89厘米",[122],{"id":18124,"slug":18125,"title":7794,"dynasty":97,"author":1180,"museum":99,"description":14222,"tags":18126,"thumbUrl":18127,"material":107,"size":107,"collection":35,"collections":18128,"showCount":18075,"zanCount":39,"manualWeight":39,"mainColor":40},239219,"mei-zhu-tu-zhou-wu-chang-shuo-239219",[23,51,84,26,25,27,528,358,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c3d44613f7fe705c6f0e261e00a6fe.jpg",[35],{"id":18130,"slug":18131,"title":18132,"dynasty":18,"author":18133,"museum":175,"description":18134,"tags":18135,"thumbUrl":18136,"material":319,"size":107,"collection":35,"collections":18137,"showCount":18075,"zanCount":39,"manualWeight":39,"mainColor":40},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。",[23,26,84,358,7,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51936768834ede011f6ae5fbcc3fc68b.jpg",[35,242],{"id":18139,"slug":18140,"title":2895,"dynasty":97,"author":1167,"museum":99,"description":18141,"tags":18142,"thumbUrl":18143,"material":107,"size":107,"collection":35,"collections":18144,"showCount":18075,"zanCount":39,"manualWeight":39,"mainColor":40},234298,"za-hua-ce-hua-yan-234298","华嵒的山水画转益多师，石涛的沉浑恣肆、恽寿平的松秀隽逸、北宗的峭利缜密、元人的深邃郁茂，都被他吸收融合。他没有泥古不化，在游览山河的过程中，不断的“师造化”，形成了晚年疏放、简率、冷峭、蕴藉的主流风格。华喦的山水画设色，多用浅绛或小青绿设色，承诸黄公望、王蒙和董其昌的传统，于统一中求对比，色调明洁淡雅。新罗山人在山水画设色上的创新是发展了青绿没骨山水。这种没骨山水是综合唐宋人、董玄宰和恽格没骨山水并参用清初四王笔法而形成的一种格制。华嵒的山水画从总体来看善于用色彩表达个人的情绪，用笔墨描绘悠远的意境，创造了独特的笔墨语言和表现技法，充分表达了其“刷尘”，“离垢”的理想。",[23,24,25,27,358,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18261950f2c430698f9dc86a6d3b1d6c.jpg",[35,70],{"id":18146,"slug":18147,"title":18148,"dynasty":18,"author":2059,"museum":175,"description":18149,"tags":18150,"thumbUrl":18151,"material":5179,"size":18152,"collection":107,"collections":18153,"showCount":18075,"zanCount":39,"manualWeight":39,"mainColor":75},234133,"wen-zheng-ming-lin-song-xue-lan-shi-juan-wen-zheng-ming-234133","文徵明临松雪兰石卷","画幽兰一丛,小竹一枝,生于坡石之间,点缀以荆棘杂草",[49,23,51,52,26,119,134,7,251,358,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56557e2a2e1aa0a998c2c9f99a8dcc16.jpg","纵28厘米,横62.5厘米",[],{"id":18155,"slug":18156,"title":7228,"dynasty":146,"author":4144,"museum":175,"description":18157,"tags":18158,"thumbUrl":18159,"material":391,"size":18160,"collection":70,"collections":18161,"showCount":18075,"zanCount":39,"manualWeight":39,"mainColor":75},233170,"shan-shui-ce-cao-zhi-bai-233170","故宫博物院藏有曹知白《山水册》一套，共八幅山水小景，由明代董其昌题诗，经项元汴、刘恕等藏。纸本墨笔，纵33.1cm，横27.4cm。\n在这套画册中，曹知白巧妙地把北方山水中特有的萧瑟寒林融入进恬淡氤氲的南方地貌中，形成了柔美却不失凝重的风格，可谓刚柔相济。",[23,51,24,26,55,56,870,406,871,63,60,610,150,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5ceab44884d9db9693abf1ae763ef66.jpg","纵33.1cm，横27.4cm",[70,122],{"id":18163,"slug":18164,"title":18165,"dynasty":115,"author":116,"museum":18166,"description":18167,"tags":18168,"thumbUrl":18169,"material":18170,"size":18171,"collection":107,"collections":18172,"showCount":18075,"zanCount":39,"manualWeight":39,"mainColor":1441},232615,"nian-nu-jiao-chi-bi-huai-gu-huang-ting-jian-232615","念奴娇·赤壁怀古","武氏墓群石刻博物馆","黄庭坚《念奴娇·赤壁怀古》，武氏墓群石刻博物馆藏。武氏墓群石刻博物馆位于山东省嘉祥县，是全国第一批重点文物保护单位，以收藏着大量东汉时代武氏墓群的石刻文物而闻名于世。《念奴娇·赤壁怀古》全文的四块石刻，每块刻石均长方形，按石刻拓片每块约高 35cm、宽101cm。\n一、苏东坡是北宋大文豪，千古传颂，世界闻名。《念奴娇·赤壁怀古》词为其重要代表作，脍炙人口。黄庭坚亦乃诗词书法大名家。故此刻石当是珠联璧合的“苏黄”双绝，文化价值、历史价值、文物价值皆珍贵异常。\n二、黄庭坚书写东坡此词，说明两人不同一般的师生情谊，也折射出黄庭坚对苏词之推崇。\n三、刻石完整保留了至今已难得一见的黄庭坚墨宝真迹，而且是一幅长达百字的巨作，笔力遒劲，跌宕起伏，晋风唐韵，龙飞凤舞，一如行云流水，恰似东坡豪迈词意，酣畅淋漓，气象磅礴，雄浑壮美。《三希堂法帖》有黄氏20件墨宝，却缺此件。\n四、此词系东坡谪居黄州游赤壁时所写的千年名篇，流传甚广，而版本各异。黄庭坚作为苏轼门下，自身当时就是著名词人，故其墨迹堪称原始版本，足以作为诸版本之校勘依据。",[49,86,119,2226,52,418,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0e0349f0fe749f5ac5eba8fa71d1f19.jpg","碑","35cm、宽101cm",[],{"id":18174,"slug":18175,"title":18176,"dynasty":146,"author":1644,"museum":99,"description":18177,"tags":18178,"thumbUrl":18180,"material":107,"size":107,"collection":107,"collections":18181,"showCount":18075,"zanCount":39,"manualWeight":39,"mainColor":40},228016,"xiao-niao-tu-tuan-shan-qian-xuan-228016","小鸟图团扇","此作截取清秋小景，斜出的桂枝缀着苍润绿叶，细碎黄花藏于叶底，似有暗香悠悠溢出。枝头的白头鹎栩栩如生，白羽如凝雪覆于头颈，青灰背羽晕染出柔和层次，尖喙微张，仿佛正啼鸣于凉秋。\n\n画家以淡墨晕染底色，设色清隽雅致，未作繁复勾勒，只以轻染淡彩便将花鸟形神尽数描摹，尽显幽淡闲远的文人意趣。尺幅团扇间，将秋日清寂里的鲜活生机定格，把山野寻常小景晕染成充满诗意的刹那剪影，笔底带着松弛闲散的文人情思，淡而有味，雅韵悠长。",[49,50,23,51,822,25,27,18179,30,7],"小鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6ab02594b013a2f743dbd67a5ec0c06.jpg",[],{"id":18183,"slug":18184,"title":18185,"dynasty":115,"author":13418,"museum":99,"description":18186,"tags":18187,"thumbUrl":18188,"material":107,"size":107,"collection":107,"collections":18189,"showCount":18075,"zanCount":1288,"manualWeight":39,"mainColor":75},227958,"mu-yang-tu-juan-li-di-227958","牧羊图卷","此作用工写兼融之笔，铺展秋日郊原之景。沙渚浅坡晕染淡赭，细草缀以青绿，衬出疏阔静穆的荒寒氛围。林间枯木虬劲苍古，残叶间点缀秋红，暗合塞晚秋光。\n\n群羊姿态各异，或卧地慵憩，或垂首啮草，或两两相逐，毛发蓬松温润，刻画细腻灵动，尽显羊只闲适之态。整卷设色雅致柔和，既有院体画的精工写实，又暗含文人画的淡逸意趣，将牧羊日常化为悠远诗意，把塞北秋原的宁和生机，尽数融于长卷之中，意韵清寂悠长。",[49,23,50,51,52,54,25,55,8840,1116,871,137,3653,294,66,86,7,150,2334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2dfddaef68b627b4fae245934cf60aa.jpg",[],{"id":18191,"slug":18192,"title":18193,"dynasty":115,"author":11749,"museum":99,"description":18194,"tags":18195,"thumbUrl":18196,"material":107,"size":107,"collection":107,"collections":18197,"showCount":18075,"zanCount":39,"manualWeight":39,"mainColor":75},227727,"song-xi-fan-yue-tu-ye-xia-gui-227727","松溪泛月图页","《松溪泛月图》页，南宋，夏圭，绢本设色，24.7×25.2cm，北京故宫博物院藏。\n\n夏圭《松溪泛月图》是《宋元集萃册》中之一开，纨扇式小品画。图中绘清朗的月夜，数人乘一叶扁舟畅游湖上，微风徐拂，月明如镜，水天一色，在一派澄净中，只有溪流与松风的和奏飘荡在水面上。",[49,50,23,51,24,26,55,56,777,944,62,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73d8343726fb542a41407b3b3bf085bb.jpg",[],{"id":18199,"slug":18200,"title":16284,"dynasty":1037,"author":7419,"museum":99,"description":16285,"tags":18201,"thumbUrl":18202,"material":689,"size":690,"collection":107,"collections":18203,"showCount":18075,"zanCount":1288,"manualWeight":39,"mainColor":75},226154,"xie-sheng-zhen-qin-quan-juan-huang-quan-226154",[49,54,25,52,2641,27,29,1989,1990,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ea7bbb08ea8dee423e5e1bfd185218.jpg",[],{"id":18205,"slug":18206,"title":4227,"dynasty":97,"author":787,"museum":99,"description":18207,"tags":18208,"thumbUrl":18209,"material":107,"size":107,"collection":107,"collections":18210,"showCount":18075,"zanCount":39,"manualWeight":39,"mainColor":40},224592,"pan-tao-tu-zou-yi-gui-224592","此作取瑞祥之意，笔墨清妍雅致。丹顶鹤仙骨清奇，翎毛皴染细致，墨线勾出纤毫肌理，雪衣朱顶立于苍岩，石畔灵芝添幽趣。古桃枝夭矫横斜，硕实饱满，胭脂晕染果皮，将桃实鲜活温润之态尽显，枝叶敷色鲜亮，满目生机。飞瀑轻垂，晕开空山幽寂之境，左上题诗补白，让文思画意相融。画面疏密相宜，工致兼具文雅，将吉庆绵长的寓意藏于笔底，满卷悠然仙气，尽抒福寿安康的美好祈愿。",[49,23,54,25,7,1480,1817,150,293,6849,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7350a1afd655bc04aa623e85fabbe12d.jpg",[],{"id":18212,"slug":18213,"title":18214,"dynasty":97,"author":3423,"museum":99,"description":18215,"tags":18216,"thumbUrl":18217,"material":107,"size":107,"collection":107,"collections":18218,"showCount":18075,"zanCount":39,"manualWeight":39,"mainColor":40},224374,"hua-hui-qi-shi-ce-shi-er-kai-3-ju-lian-224374","花卉奇石册-十二开-3","此作笔致秀润恬和，淡墨勾皴湖石，奇崛古拙，空灵苍润间尽显嶙峋意趣。素盆秋菊柔色轻绽，嫩蕊鲜妍和素净瓷盆相映，晕开一室清雅文气。\n\n角落散落的花生、坠果带着日常烟火意趣，石畔小兽探头轻觑，为幽寂的文房清供添上灵动野趣。整体设色浅淡明净，衬着绢底古雅底色，将文人闲居的恬淡意兴融于尺幅，工写兼济间，把清供小品的雅静与鲜活日常交织，尽显平淡天真的悠然情致。",[49,23,51,24,54,25,27,277,529,181,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90b4da7d3931604a708831e97b24647c.jpg",[],{"id":18220,"slug":18221,"title":18222,"dynasty":97,"author":18223,"museum":99,"description":18224,"tags":18225,"thumbUrl":18226,"material":107,"size":107,"collection":107,"collections":18227,"showCount":18075,"zanCount":39,"manualWeight":39,"mainColor":40},224244,"yuan-ji-shi-yi-tu-gai-qi-224244","元机诗意图","改琦","《清改琦元机诗意图》是中国清代画家 创作的一幅人物画。\n此图画的是唐代女诗人 的。\n鱼玄机是个很有才华，而遭遇却很不幸的人，她大约生于844年，卒子871年，字幼微、蕙兰，清代时因避康熙玄烨的讳改称为鱼元机。\n嫁给李忆为妾，因受李妻的妒忌，被迫出家，在长安咸宜观做了女道士。\n由于喜读书，有才思，擅作诗，受到当时文人们的重视，温庭筠等名家常与她作诗唱和。\n后因忌妒笞杀侍婢绿翘，被判死刑，其时年仅二十多岁。\n留有诗文一卷。\n此图设色古雅，衣纹秀劲，玄机倚坐展卷。\n姿容秀美，含蓄深思，刻画传神。\n改琦(177-1828)字伯蕴，号香白，或作香伯，又号七芗，别号玉壶外史。\n先世为西域人，祖为松江参将，遂占籍为华亭（今上海松江）人。\n通敏多能，善书画，人物画出入李公麟、赵孟頫、唐寅及陈洪绶，花草兰竹小品迥出尘表，叉善画佛像，人以新罗山人相比，为清代中叶画坛名家。\n工诗词，曾与钦善、姜皋等结课诗词，辑《泖东诗课》。",[49,23,51,25,54,58,136,7,86,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F125f440623b2edc344cb81826355bd02.jpg",[],{"id":18229,"slug":18230,"title":18231,"dynasty":115,"author":207,"museum":99,"description":18232,"tags":18233,"thumbUrl":18236,"material":107,"size":107,"collection":107,"collections":18237,"showCount":18075,"zanCount":1288,"manualWeight":39,"mainColor":40},223619,"hong-liao-shui-qin-tu-ye-yi-ming-223619","红蓼水禽图页","取景以简驭繁，水禽伫立于红蓼柔梢，翎毛晕染入微，丝缕毕现，禽鸟垂喙凝神，灵动宛若将欲振翅。淡墨轻勾浅淡水纹，留白衬出汀洲空寂，将秋日水滨的清寒野趣凝于尺幅纨扇。工笔摹形，写意传情，把小景生机与幽澹诗意相融，尽显雅致空疏的审美意趣，不负“传写物态，蔚有生意”之誉，是小品画中以形传神的绝佳之作。",[49,50,23,51,3363,54,25,27,18234,18235,30,7],"水禽","红蓼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa3aae2e3e700ea4306d26b41921ec2.jpg",[],{"id":18239,"slug":18240,"title":18241,"dynasty":18,"author":18133,"museum":18242,"description":18243,"tags":18244,"thumbUrl":18245,"material":15010,"size":18246,"collection":122,"collections":18247,"showCount":18075,"zanCount":39,"manualWeight":39,"mainColor":40},222538,"wu-yan-lv-shi-si-shou-juan-wang-duo-222538","五言律诗四首卷","无锡市博物馆","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。\n王铎工正、行、草书，得力于钟繇、王献之、颜真卿、米芾，笔力雄健，长于布局。 [6-7] 有北宋大家之风。当时书坛流行董其昌书风，王铎与黄道周、倪元璐、傅山等人提倡取法高古，于时风中另树一帜。\n在书法上王铎是一位各体皆能、风格多样的书法全才。无论是伟岸遒劲的大楷、高古朴厚的小楷书，还是他那飞腾跳踯的行草书，在晚明书坛上都应说是一流的。正书在王铎作品中不多见，源于唐人而能自出胸襟。\n王铎降清后八、九年时间，书风更趋成熟老辣，其狂草技法已臻化境。书法成了其“贰臣”的心理矛盾和落寞情怀的排遣，故作品已失去崇祯朝的扛鼎之力和奋发之气，而转为理性和孤冷。\n《洛州香山诗轴》，在结字上把米芾的倚侧发挥到了极致，再以涨墨法略去点画改变字形，确实有“破鬼胆”之怪；再以中锋强力掠扛，轻重对比强烈，真正有神龙飞腾的不测之力。\n《明资政大夫正治上卿兵部尚书节寰袁公偕配诰封夫人宋氏合葬墓志铭》是王铎于明崇祯十年（1637年）十二月二十七日为其恩师袁可立书丹，铭文近五千字，是不能多见的王铎长篇小楷。\n《壬午临柳公权帖轴》，行草，王铎用三行布白法，写出五行书来：起首在一行空白中挤出密密的两行小字，结尾以贴零的方法在边沿空隙中挤出一行小字。完全打破了传统的章法平衡美原则。\n《王维五言诗卷》，书于崇桢十六年（1643年），绫本，楷书、草书。此诗卷后半部分的行草在王铎作品中则不乏见，章法变化丰富，行笔能纵能敛，整体感强，结体欹正莫测，点画错综复杂，线条枯实互应，故其成就被人给予很高评价。\n《临王筠帖轴》为四行书，主题三行书如空中的柳条左右摇曵飞舞，没有一处是垂直平衡和安静的，最后一行书乃落款小字，更是从左上向右下摇荡，末了还在边空贴零挤上“王铎”二字穷款。邱振中曾用“轴线连缀”的方法分析王铎每行书的左右摇摆度，以感知这种章法的平面几何关系。这种翰札书、藁草书中很常见的章法布白，一下子在大幅立轴作品中产生了前所未有的惊险效果。这正是王铎平面视觉空间构筑上贯彻其所谓“幽险狰狞”的“魔鬼美学”原则，让人在视觉上如此强烈地感受到“劈山超海，飞沙走石，天旋地转，鞭雷电而骑雄龙”的意象。王铎在书法作品平面空间构成上的美学创造，已历四百年而无人居其右\n《赠张抱一行书诗卷》和《赠张抱一草书诗卷》是王铎五十岁在怀州所书作品，这二卷分别是王铎行书和草书的精品。王铎诗宗杜甫，此二卷十数首感事伤时的诗中发出了“百感中原事，魂魂向夜生”的悲鸣，乃是离乱战火中奔波有感于生灵涂炭的“诗史”品格，因此前卷行书尤显沉雄深厚，后卷草书乃感幽怨缠绵。黄道周评价王铎书法曾有“五十自化”之说 ，这是强调生活与人格历练对书法风格成熟的审美卓见。徐悲鸿曾有一诗，用“蟠、蛟、螭”这种极尽其变的“神龙”来比拟王铎草书所塑造的形象，并赞之曰：“有明书法推第一，屈指匹敌空坤维。”他甚至还发问说：“文安诗作猛虎吼，谁执王字相雌雄？”\n《奉龚孝升书卷》为酒后佳作，行笔刚毅，元气充盈，既是晚年颓废生活偶发牢骚的写照，也是悲剧情怀的痛苦表露，堪称行书代表作之一。\n王铎画山水宗荆浩、关仝，继承了五代荆浩和关仝的风格，王铎的作品丘壑峻伟，皴擦不多，以晕染作气，傅以淡色，沉沉丰蕴，意趣自别。。同时他也吸收董源和王维的画法，主要以水墨晕染为主，皴擦不多，略施淡色，山川显得厚实雄伟，生机勃勃。他的山水画景色比较写实，山石的造型方峻，勾皴相间。他的山水画是以元人的笔墨技法画出了宋人味道。王铎的人物画极少见，而且画法比较简略、写意。间作兰、竹、梅、石，洒然有物外趣。\n王铎能画，但作品流传不多。 他的山水画仿荆浩、关仝却无大山大水的气势，《山水册》中的平冈高松，林峦深壑，空薄烟雨，曲径茅屋倒有苍秀清新之气，引人人胜。王铎善以书法之笔描写花卉枯荣盛衰的姿态，从上海博物馆藏《花卉卷》里可窥一斑。此卷作竹、兰、菊、竹叶、菊瓣及兰叶皆以中锋出之，信手写来，洒脱中含有拙味，与他纵而能敛的书法特点相统一。着意神采，不求形似，洒然有象外之意，最能流露出他文人画的情致逸趣。清顺治三年（1646年）作《渔舟萧闲图》，收入《历代名贤画粹》；清顺治七年（1650年）作《雪景山水图》，收入日本《支那名画宝鉴》；清顺治八年（1651年）罢官归里，作《兰石图》卷、《山水卷》，分别收入《新版世界美术全集》《支那名画宝鉴》。王铎善于画山水和梅兰竹石，山东省济南市博物馆收藏的《雪景竹石图》是王铎为睢阳袁枢精心创作的一幅雪竹作品。",[49,86,462,52,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63bfad7f5c9832225ba8082013f88182.jpg","纵31cm，横238cm",[122],{"id":18249,"slug":18250,"title":18251,"dynasty":146,"author":11427,"museum":81,"description":18252,"tags":18253,"thumbUrl":18254,"material":319,"size":18255,"collection":199,"collections":18256,"showCount":18075,"zanCount":39,"manualWeight":39,"mainColor":40},221733,"ni-zan-xiang-juan-zhang-yu-221733","倪瓒像卷","工书画，其书法初学赵孟頫，后学怀素，张旭。字体楷草结合，俊爽清洒自成一格。存世书迹有《山居即事诗帖》，《登南峰卷》等。倪瓒在《题张贞居书卷》称“贞居真人诗，人，字，画，皆为本朝道品第一”。其画以淡彩见长，善画石木，用笔古雅，尤善以败笔点缀石木人物，颇有意韵。画迹有《霜柯秀石图》，《双峰含翠图》等。",[23,51,52,135,25,54,58,7,500,3009,56,1574],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30d126c273a363dbcf40b1fda9a0860a.jpg","该幅28.2x60.9公分",[199,72],{"id":18258,"slug":18259,"title":18260,"dynasty":115,"author":1644,"museum":81,"description":18261,"tags":18262,"thumbUrl":18263,"material":391,"size":18264,"collection":35,"collections":18265,"showCount":18075,"zanCount":1288,"manualWeight":39,"mainColor":40},221706,"san-shu-tu-zhou-qian-xuan-221706","三蔬图轴","画塘上有乾隆帝题：秋圃真香。钱选（约1235-1307前），字舜举，浙江吴兴人。工诗，善书画，与赵孟俯同为“吴兴八俊”之一。",[49,23,25,54,6288,10362,6442,1481,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52ac9cca7755d4ddbdc81bfe39278a07.jpg","97.6x47.4cm",[35,72],{"id":18267,"slug":18268,"title":18269,"dynasty":115,"author":11656,"museum":175,"description":18270,"tags":18271,"thumbUrl":18272,"material":779,"size":18273,"collection":213,"collections":18274,"showCount":18075,"zanCount":39,"manualWeight":39,"mainColor":40},221428,"chun-shan-tu-quan-juan-yan-su-221428","春山图(全卷)","燕肃(公元991—1040年)字穆之。祖籍青州益都(今山东青州)，后迁居于阳翟(今河南禹县)。真宗朝进士，官至龙阁直学士，礼部尚书，颇有政绩。巧思过人，有不少发明创造，是一位很有成就的科学家。工诗，善作水墨山水，亦能作壁画。作竹有超然之气，能脱离画工尺度，使之有诗人清丽的神韵。此图描绘了一幅春山水乡的风光。图中群峰耸立，飞瀑长流，一条山道穿谷而过，远山形貌隐约，山下林木苍翠，清溪迂缓，水泽开阔，木桥横卧而联属，水滨点辍着茅舍草屋、水亭渔舟。图中几人或在亭内吟诗，或在水边捕鱼，有的赶马，有的送客，一派生机盎然的景象。此图用笔简练，墨色凝重，风格质朴自然。无作者款印，卷后有36家题跋，分别出自元明时期文人名流，如虞集、刘基、唐肃、徐贲等，从跋文中可以推断此图为燕肃所作。图上钤有、、、诸印及清内府收藏印。《石渠宝笈初编》著录。",[49,23,51,52,26,25,56,60,61,277,137,63,66,55,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88542d532ea368288a52e16a96eaf191.jpg","纵47.3厘米，横115.6厘米",[213,70,242],{"id":18276,"slug":18277,"title":18278,"dynasty":115,"author":355,"museum":175,"description":18279,"tags":18280,"thumbUrl":18281,"material":319,"size":18282,"collection":122,"collections":18283,"showCount":18075,"zanCount":39,"manualWeight":39,"mainColor":40},221314,"ti-wang-shen-shi-tie-ye-su-shi-221314","题王诜诗帖页","释文：\n晋卿为仆所累，仆既谪齐安，晋卿亦贬武当。饥寒穷困，本书生常分，仆处之不戚戚。固宜。独怪晋卿以贵公子罹此忧患而不失其正，诗词益工，超然有世外之乐。此孔子所谓可与久处约，长处乐者耶。元祐元年九月八日苏轼书。\n北宋元祐元年（1086年）苏轼年49岁。\n本帖钤“金巩伯精鉴印”“景行维贤”“小如庵秘笈”“卞令之鉴定”等鉴藏印四方，左右各有“式古堂”等半印六方。此帖原装于王诜《颖昌湖上诗，蝶恋花词卷》后，但非此卷原配，而是从别处挪移而来。《石渠宝笈续编》著录。\n该帖是苏轼为王诜自书诗所作的题跋，记述了王诜因受其累而贬至武当，然仍醉心于诗词，有世外之乐。此跋在《东坡集》卷六五有记载。《东坡集》卷一三中还有苏轼另一跋“和王晋卿诗、并叙”的记载：“元丰二年，予得罪贬黄州，而驸马都尉王诜亦坐类远谪，不相闻者七年。予既召用，而诜亦还朝，相见殿门之外，感叹之余，做诗相属。词虽不慎工，然托物悲慨厄穷而不怨，泰而不骄，怜其贵公子有志如此，故和其韵。”以上两段跋文再结合《宋史》卷二四八《公主传》中的史料，证明了王诜的贬官一方面是受苏轼的牵连，另一方面是因为得罪了他的妻子魏国大长公主。\n该帖笔丰墨满，结体长短交错，纵横抑挫，富有动感。虽是叙事而兼有议论，充满感情色彩，是为知己而作。",[51,86,119,26,7,418,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faffbc82412091c1976ee6ce24e619542.jpg","纵29.9厘米，横25.7厘米",[122],{"id":18285,"slug":18286,"title":5499,"dynasty":115,"author":355,"museum":81,"description":18287,"tags":18288,"thumbUrl":18289,"material":18290,"size":18291,"collection":122,"collections":18292,"showCount":18075,"zanCount":39,"manualWeight":39,"mainColor":40},221311,"du-hai-tie-su-shi-221311","元符三年（1100），苏轼被诏徙廉州（今广西合浦），路过澄迈（今海南澄迈）时未遇赵梦得，便留下此札。为其晚年书迹之代表，如同东坡自云：“自出新意，不践古人。”全作信笔写来，浑然天成。此札用笔劲利，结体斜向右上，时人认为颇有李邕（北海）之风，如黄庭坚语：“沉著痛快，乃似李北海。”\n“我书意造本无法，点画信手烦推求”，这是苏轼对自己书法的评语。相异传统的笔法与特殊结字，是其书法中最受赞赏的部分。\n此作又名「渡海帖」，为典型苏轼风格，苍劲有力，沉著痛快，为其晚年之代表作。上有项元汴千字文第八0一“具”字编号。",[50,23,51,86,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0824dd81f2df22aa2f03b4e91a13bfe7.jpg","行书，纸本","纵28.6，横4.2cm",[122],{"id":18294,"slug":18295,"title":18296,"dynasty":115,"author":355,"museum":99,"description":18297,"tags":18298,"thumbUrl":18299,"material":319,"size":107,"collection":122,"collections":18300,"showCount":18075,"zanCount":39,"manualWeight":39,"mainColor":40},221305,"tian-ji-wu-yun-tie-you-cheng-song-yang-tie-su-shi-221305","天际乌云帖又称嵩阳帖","《天际乌云帖》又称《嵩阳帖》，苏轼诗文一章，行书，真迹曾由明代项元汴收藏，清归翁方纲，有翁氏题跋。共三十六行，计三百零七个字。藏处不详。\n此帖无年款，据清翁方纲所考，苏轼有《常润道中，有怀钱唐，寄述古五首》之作，其次章有“去年柳絮飞时节，记得金笼放雪衣”句，并自注云：“杭人以放鸽为太守寿。”此正是帖中所言陈太守放营妓周韶事，杭人称誉之。因周韶诗中有“开笼若放雪衣女”事，正应放鸽为寿。此在熙宁五、六年间事。翁氏又考苏诗外集有《过潍州驿，见蔡君谟题诗壁上云：“绰约新娇生眼底，逡巡旧事上眉尖。春来试问愁多少，得似春潮夜夜添。不知为谁而作也?和一首》。此事在苏轼自密州移徐州之际，即在熙宁九年苏轼潍州度岁时。翁氏即猜此帖在熙宁十年书。然诗与帖又有矛盾：帖云“仆在钱塘”见“堂前小阁中壁上”书蔡君谟“绰约新娇”诗，而诗云：“过潍州驿，见蔡君谟题诗壁上云：‘绰约新娇……'。”二者必有一伪。再，《苏文忠公诗编注集成总案》又载苏轼《题蔡君谟诗草》云：“此蔡君谟—《梦中》—诗,真迹在济明家，笔力遒劲。”并自署为“元皊五年十月四日”。此是苏轼知杭州事，距初悴杭州又十五、六年时间。这又留下一个可猜想的余地。但帖中“仆在钱塘”云云，书此帖时必不在钱塘。因之，断为熙宁十年左右较合理。然翁氏在帖考中又云此帖书颇类《满庭芳词——为王长官作》和《上清宫词》书。前者书于元丰六年，后者书于元皊二年。因此断定在熙宁十年至元皊二年这十年之间。此又平添一重疑难也。\n翁氏收藏此帖后，又引起了是否钧填本的争论。因存世苏书钩填本很多，而此帖纸质擦损严重，“有二一描失处”，故疑之。但翁氏肯定说这是真迹本，并将此帖与《快雪堂帖》刻本逐一比较，而断定《快雪堂帖》刻本所据乃为董其昌记载所见之摹本。在没有寻找到更多的证据前，我们尊重翁氏之论，也是有道理的。",[49,86,119,52,418,51,26,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c9cd5f10698a081bf325106fa748e07.jpg",[122],{"id":18302,"slug":18303,"title":18304,"dynasty":115,"author":207,"museum":81,"description":18305,"tags":18306,"thumbUrl":18308,"material":152,"size":18309,"collection":213,"collections":18310,"showCount":18075,"zanCount":39,"manualWeight":39,"mainColor":75},221236,"tong-shi-xiu-ling-zhou-yi-ming-221236","桐实修翎轴","画面留白空灵悠远，尽显极简造境之妙。禽鸟停驻桐枝，翎毛刻画细致入微，茸绒毕现，抬首凝伫间神态机警灵动，将野雀鲜活生姿定格绢素。\n\n桐叶与桐实以水墨晕染，墨色苍润层次分明，枯枝虬曲苍劲，古朴野逸。全画笔法兼具工细与写意，写实中饱含清雅诗意，将林下一隅的幽寂生趣尽致展现，尽显格物致知的审美意趣，淡墨轻岚间晕开沉静古雅的宋韵风神。",[49,23,50,84,27,54,25,29,1227,18307,7],"桐实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb521334d6a0b978dd8fa170f2109cdc2.jpg","纵103.4cm，横33cm",[213,70,242],{"id":18312,"slug":18313,"title":18314,"dynasty":146,"author":431,"museum":2192,"description":18315,"tags":18316,"thumbUrl":18318,"material":319,"size":107,"collection":242,"collections":18319,"showCount":18075,"zanCount":39,"manualWeight":39,"mainColor":40},220870,"zhu-shi-you-lan-tu-juan-zhao-meng-fu-220870","竹石幽兰图卷","首先，观察此幅赵孟頫《竹石幽兰图》卷，给人的感觉是绘画飘逸如风，笔墨挥洒自如，构图结构恰当。款识与落款，看似与赵孟頫书风大相径庭，疑似后添所为。经认真详查，款识与落款确为后添，墨气与绘画迥异，墨色也游离于绘画之外。其次，观察绘画作品，十足的赵孟頫笔触所为，用飞白勾画窠石轮廓，用撇捺笔划书写竹叶，用中锋逆笔迅疾书写兰花。正如赵孟頫所言：石如飞白木如籀，写竹还需八法通。若也有人能会此，方知书画本来同。　　 由于此幅作品断开，似有拼接痕迹，款识后添当为后人重新题写。“孟頫为善夫写”，推论是为顾善夫而画。展览方图录结论：据清代程祖庆《吴郡金石目》记载此幅作品赵孟頫题字：顾善夫以公至都，将南迁，用此纸求画，乃为作此图，子昂。新的研究结果已证实此卷并非《吴郡金石目》所著录的赵孟頫为顾信所画的那幅，两个题字亦不同。\n展览方认为，这幅赵孟頫《竹石幽兰图》卷，上面虞集题诗，与《道园学古录》卷二十九中虞集题赵孟頫《兰石图》四首之一，还原了此幅作品的原貌。\n笔者查阅几位老先生的访美读画笔记，结论如下：纸本水墨。左右各拚一条，下部再拚一窄长条，由四纸拚成，在名家作品中为仅见。老笔纵横，至精之品。后有韩性、西夏昂吉、赵奕、仇远、虞集、陈基、姚广孝等题。又张渥题，字学赵，与上博访戴图上款字少异。此必真。\n从绘画方面看，此幅《竹石幽兰图》卷，应属真迹无疑。但是，还要从文献上找到证据，展览方只从元末明初《道园学古录》虞集的诗集证实是赵孟頫《兰石图》。\n为进一步找到贴近赵孟頫的时代，要从韩性、仇远、张渥等元代名人查找。经查仇远在自己《山村遗集》明确记载题赵松雪《竹石幽兰图》，仇远与赵孟頫同属一个时代，当然是最可信的著录。元代名士顾瑛的《草堂雅集》卷十一记载于立题诗，《题子昂兰石》虽然名不相同，诗文完全一致，题兰石也就是竹石幽兰。在元代顾瑛《草堂雅集》卷七，记载张渥《题赵翰林墨兰》，诗文也是完全一致，此幅绘画是描绘竹石幽兰，题墨兰字义上也可以相通。　　 至此，将赵孟頫《竹石幽兰图》卷出处，历代著录记载情况基本搞清楚了，还原一幅赵孟頫精彩作品的真相。在判断一幅古人的作品时，不能为某些瑕疵蒙蔽，而是找出事实真相。此幅作品明显有被割断痕迹，上面题识、落款又是明显后添，那就要去伪存真找出真相，不能湮灭一件优秀的作品。",[49,50,23,51,52,26,119,55,358,700,18317,277,7],"幽兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe687eff90f3c2bf5fb4687e73675735c.jpg",[242,921],{"id":18321,"slug":18322,"title":18323,"dynasty":115,"author":1923,"museum":3815,"description":18324,"tags":18325,"thumbUrl":18328,"material":319,"size":18329,"collection":107,"collections":18330,"showCount":18075,"zanCount":39,"manualWeight":39,"mainColor":107},220759,"yu-fu-ling-zi-cong-shan-ben-lan-xu-ting-zhao-gou-220759","御府领字从山本兰序亭","王羲之原作赵构临本（*：赵构临本刻画）",[86,119,2226,7,18326,4832,18327],"碑帖","朱印","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0c11fe643b87c5f89c7183551bba413.jpg","26.2 × 12.5厘米",[],{"id":18332,"slug":18333,"title":18334,"dynasty":891,"author":2402,"museum":5878,"description":18335,"tags":18336,"thumbUrl":18337,"material":18338,"size":107,"collection":107,"collections":18339,"showCount":18075,"zanCount":1288,"manualWeight":39,"mainColor":40},220520,"zeng-tie-fu-dui-lian-xu-bei-hong-220520","赠铁夫对联","此作取法汉隶，笔力沉浑苍劲，起收斩截利落，线条如铸铁一般厚重雄强，兼具碑版金石气与写意疏朗意趣。竖向排布行气贯通，大字舒张宽博，每字皆具筋骨力道，墨色浓枯自然变幻，朴茂之中暗含灵秀意韵。左侧小字题款灵动跳脱，与正文的端稳厚重形成动静对照，朱红印文提亮画面，整幅刚柔相济，将碑学雄健气度与文人雅逸风骨相融，尽显沉郁大气的书风，字里行间尽显创作者的磊落襟怀。",[86,5664,417,119,7,26,891,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf85e58c30355e2301e59706de7ba709.jpg","纸本墨笔、 纸本墨笔",[],{"id":18341,"slug":18342,"title":18343,"dynasty":97,"author":18344,"museum":2192,"description":18345,"tags":18346,"thumbUrl":18347,"material":88,"size":18348,"collection":70,"collections":18349,"showCount":18075,"zanCount":39,"manualWeight":39,"mainColor":40},219981,"meng-you-tian-tai-tu-qian-du-219981","梦游天台图","钱杜","此卷作于嘉庆十九年甲戌（1814 年）三月，钱杜时年50岁。上款“云伯”即清代诗人陈文述。陈文述（1771～1843）初名文杰，字谱香，又字隽甫、云伯，英白，后改名文述，别号元龙、退庵、云伯，又号碧城外史、颐道居士、莲可居士等，钱塘（今浙江杭州）人。嘉庆时举人，官昭文、全椒等知县。诗学吴梅村、钱牧斋，博雅绮丽，在京师与杨芳灿齐名，时称“杨陈”，著有《碧城诗馆诗钞》、《颐道堂集》等。据《陈鸿寿年表》，这一年画家当与陈文述同在溧阳。按画卷上的题跋，钱杜是在春天画成此画，到七月秋天的时候，钱杜到吴中桂叶书堂，展玩已经装裱成卷的《梦游天台图卷》，即兴在卷后补题诗一首。",[49,23,26,52,86,7,55,56,150,64,293,754,751,279,294,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1613412aaaf28443ed367cc74a41e904.jpg","29.8X131厘米",[70],{"id":18351,"slug":18352,"title":18353,"dynasty":146,"author":207,"museum":81,"description":18354,"tags":18355,"thumbUrl":18356,"material":26,"size":18357,"collection":242,"collections":18358,"showCount":18075,"zanCount":39,"manualWeight":39,"mainColor":75},219961,"chun-shan-tu-yi-ming-219961","春山图","皴山画树，笔法灵动天然，毫不雕饰，质朴中具冷逸幽趣。幅中山石大都呈圆弧状，以枯笔浓墨和遒劲挺捷的笔法勾勒，淡墨渲染不多或因纸质关系而年久微退去，故浓墨圆笔点苔及枯枝树则显得甚为突出，全幅散发出一股冷涩枯寂的美感。\n该幅无作者名款，有学者从画上杨维祯题诗之书法风格与画中山石的轮廓线条笔意相仿，认为款题与画作皆出于一人之手。",[49,23,26,55,86,7,56,137,60,61,277,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04333cd7272b341e82a959a4c32fe0f3.jpg","73.2x42.3公分",[242],{"id":18360,"slug":18361,"title":18362,"dynasty":18,"author":14556,"museum":329,"description":18363,"tags":18364,"thumbUrl":18365,"material":33,"size":107,"collection":70,"collections":18366,"showCount":18075,"zanCount":1288,"manualWeight":39,"mainColor":40},219715,"xun-yang-song-ke-tu-ding-yun-peng-219715","浔阳送客图","此作以平远之法铺陈秋江暮色，设色清隽雅致。远景山峦以淡墨轻晕，烟岚空蒙，晕染出江天寥廓的空寂。江岸枯木萧疏，苍松虬然挺立于岩岫之间，为凄清秋意晕开一抹苍劲生机。\n\n画中江畔舟中对坐执盏，将临别之际的缱绻不舍凝于咫尺。线条清劲柔婉，山石林木以赭石花青轻染，带着吴门画派的温润秀雅，以简淡意境烘托出离别的黯然销魂，将诗文里的浔阳别绪藏进苍茫江色，淡而韵长，尽写古人送别的缱绻情深。",[23,25,54,56,58,62,64,150,715,55,84,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4df47f62d0026f7a3a39ac0a0b6aecb.jpg",[70],{"id":18368,"slug":18369,"title":18370,"dynasty":18,"author":18371,"museum":485,"description":18372,"tags":18373,"thumbUrl":18374,"material":33,"size":18375,"collection":70,"collections":18376,"showCount":18075,"zanCount":1288,"manualWeight":39,"mainColor":40},219677,"fang-gu-shan-shui-ce-yun-xiang-219677","仿古山水册","恽向","恽向（1586--1655）明代画家。原名本初，字道生、曙臣，号香山，武进（今属江苏）人。崇祯末举贤良方正，授内阁中书舍人。擅诗文工山水，早年学董源，巨然，以悬肘中锋作画，骨力圆劲，浓墨润湿，纵横淋漓，自成一派，晚年敛笔于倪瓒、黄公望的风格，惜墨如金，挥洒自如，妙合自然。由于他常往来于齐鲁之间，并登临泰山，故笔下山水自然雄浑之气。他曾为周亮公画山水，自题云：“逸品之画，笔似近而远愈甚，似元而有愈甚；其嫩处如金，秀处如铁，所以可贵，未易为俗人道也。”",[24,25,119,7,55,56,870,137,62,61,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a9216d1ebee0a965f0c8cc37df5f44c.jpg","26x15.2",[70],{"id":18378,"slug":18379,"title":1125,"dynasty":18,"author":18380,"museum":525,"description":18381,"tags":18382,"thumbUrl":18383,"material":33,"size":18384,"collection":70,"collections":18385,"showCount":18075,"zanCount":1288,"manualWeight":39,"mainColor":75},218091,"shan-shui-tu-huang-qin-218091","黄溱","黄溱是明朝时期的一位著名山水画家。他的山水画风格独特，笔力清晰而富有张力，善于表现大自然的神韵和精神内涵。\n\n黄溱的山水图常常被视为“水墨山水画的巅峰之作”。他善于运用水墨画的特色，在画面中运用点、线、面三种基本元素，给人以一种清新自然、平和祥和的感觉。在他的山水图中，山峰挺拔，水流潺潺，构图精妙，富有层次感。同时，他还注重细节的表现，如树木的枝叶、山峰的峰顶、云的形态等都是细致而生动的。\n\n黄溱的山水图不仅对后世的山水画家产生了巨大的影响，也为我们展现了明朝时期浓郁的文化气息和自然风光。",[49,23,26,56,50,84,60,61,2001,64,3549,11110,86,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea7f968486d57ed34a990414f516411c.jpg","89.4x47.6cm",[70],{"id":18387,"slug":18388,"title":18389,"dynasty":146,"author":709,"museum":81,"description":1490,"tags":18390,"thumbUrl":18391,"material":88,"size":107,"collection":107,"collections":18392,"showCount":18075,"zanCount":39,"manualWeight":39,"mainColor":40},216388,"mo-zhu-pu-ce-2-wu-zhen-216388","墨竹谱册-2",[50,23,51,26,24,119,7,358,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c3c05bce231b2c30f11f1daf051aca3.jpg",[],{"id":18394,"slug":18395,"title":18396,"dynasty":97,"author":207,"museum":485,"description":18397,"tags":18398,"thumbUrl":18400,"material":88,"size":18401,"collection":199,"collections":18402,"showCount":18075,"zanCount":1288,"manualWeight":39,"mainColor":40},214914,"qian-dai-jun-chen-gu-shi-tu-yi-ming-214914","前代君臣故事图","前代君臣故事图是清朝时期的一幅条幅式绘画，其中描绘了前代君臣的故事。这幅画作品的画家是清朝时期的一位佚名画家。\n\n前代君臣故事图中描绘了许多传说中的君臣人物，如唐朝的李靖、西汉的范蠡、周朝的车骑将军等。这些君臣人物均以其忠心耿耿、才华横溢的形象呈现在画面中，并以细腻精巧的线条勾勒出了他们的肖像。\n\n在前代君臣故事图中，这些君臣人物被描绘成温厚谦逊、不畏权势、敬畏天命的英雄人物。他们不仅身经百战、深谙军事，而且还具有极高的政治才能，深受皇帝信任。\n\n前代君臣故事图是清朝时期一幅非常著名的绘画作品，其中所描绘的君臣人物形象鲜活生动，富有感染力，对后代的绘画艺术具有重要的影响。",[49,23,51,52,135,26,58,225,7,417,18399],"历史故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36ae494934b6299c2afccbf637aa0c5c.jpg","24.1x299.4",[199],{"id":18404,"slug":18405,"title":18406,"dynasty":115,"author":18407,"museum":99,"description":18408,"tags":18409,"thumbUrl":18410,"material":689,"size":690,"collection":107,"collections":18411,"showCount":18412,"zanCount":39,"manualWeight":39,"mainColor":40},290864,"ke-si-shan-shui-zhou-shen-zi-fan-290864","缂丝山水轴","沈子蕃","祖籍定州孟家庄。缂丝名匠。",[50,23,84,1138,53,25,56,63,60,61,62,137,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34435ac0ec43f64123746736c26b0390.jpg",[],39,{"id":18414,"slug":18415,"title":18416,"dynasty":146,"author":709,"museum":99,"description":18417,"tags":18418,"thumbUrl":18419,"material":689,"size":690,"collection":10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水北原南野草新，雪消风暖不生尘。城中车马知无数，能解闲行有几人。\n款署：“其昌。”钤“董氏玄宰”、“大宗伯印”、“玄赏斋”。鉴藏印有“鹤舟所藏”、“紫云山房鉴藏书画印”。\n本幅书唐张籍《与贾岛闲游》七言诗，文字与原诗作有出入。此幅诗轴未署年款，从书风及所钤“大宗伯印”判断，当为董其昌77岁就任南京礼部尚书、掌詹事府事以后之作品。\n书法行中夹草，融合自然，行笔流畅，风格洒脱，为董氏晚年之代表作。",[86,119,84,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb750b29f43e687b97622e1861b58bdd.jpg","金笺，草书","纵145.1厘米，横34.7厘米",[122],{"id":18460,"slug":18461,"title":18462,"dynasty":18,"author":459,"museum":99,"description":18463,"tags":18464,"thumbUrl":18465,"material":319,"size":107,"collection":122,"collections":18466,"showCount":18412,"zanCount":39,"manualWeight":39,"mainColor":40},240282,"li-bai-qi-lv-shi-juan-xu-wei-240282","李白七律诗卷","徐渭（1521年3月12日－1593年），漢族，紹興府山陰（今浙江紹興）人。初字文清，後改字文長，號青藤老人、青藤道士、天池生、天池山人、天池漁隱、金壘、 金回山人、山陰布衣、白鷳山人、鵝鼻山儂、田丹水、田水月（一作水田月 [1] ）。明代中期文學家、書畫家、戲曲家、軍事家。\n徐渭曾擔任胡宗憲幕僚，助其擒徐海、誘汪直。胡宗憲被下獄後，徐渭在憂懼發狂之下自殺九次卻不死。後因殺繼妻被下獄論死，被囚七年後，得張元忭等好友救免。此後南遊金陵，北走上谷，縱觀邊塞阨塞，常慷慨悲歌。晚年貧病交加，藏書數千卷也被變賣殆盡，他自稱“南腔北調人”，於萬曆二十一年（1593年）去世，年七十三 。\n徐渭多才多藝，在詩文、戲劇、書畫等各方面都獨樹一幟，與解縉、楊慎並稱“明代三才子”。他是中國“潑墨大寫意畫派”創始人、“青藤畫派”之鼻祖，其畫能吸取前人精華而脱胎換骨，不求形似求神似，山水、人物、花鳥、竹石無所不工，以花卉最為出色，開創了一代畫風，對後世畫壇（如八大山人、石濤、揚州八怪等）影響極大；書善行草，寫過大量詩文，被譽為“有明一代才人”；能操琴，諳音律；愛戲曲，所著《南詞敍錄》為中國第一部關於南戲的理論專著。另有雜劇《四聲猿》《歌代嘯》及文集傳世。",[49,50,23,51,52,86,462,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ace3b212d7aeb7683d77d34168c4296.jpg",[122],{"id":18468,"slug":18469,"title":18470,"dynasty":130,"author":11298,"museum":175,"description":18471,"tags":18472,"thumbUrl":18473,"material":319,"size":18474,"collection":122,"collections":18475,"showCount":18412,"zanCount":39,"manualWeight":39,"mainColor":75},239552,"cao-ping-fu-tie-juan-lu-ji-239552","草平复帖卷","草隶书9行86字。\n释文:\n“彥先羸瘵 ，恐難平復，往屬初病，慮不止此，此已爲慶。承使唯男，幸爲複失前憂耳。吳子楊往初來主，吾不能盡。臨西複來，威儀詳跱。舉動成觀，自軀體之美也。思識□量之邁前，勢所恒有，宜□稱之。夏伯榮寇亂之際，聞問不悉。”（释文据启功《〈平复帖〉说并释文》）\n《平复帖》内容涉及三个人物：贺循，字彦先，是陆机的朋友，身体多病，难以痊愈；陆机说他能够维持现状，已经可庆，又有子侍奉，可以无忧了。吴子杨，以前曾到过陆家，但未受到重视；如今将西行，复来相见，其威仪举动，自有一种较前不同的气宇轩昂之美；最后说到夏伯荣，他因寇乱阻隔，没有消息。\n《平复帖》的书写年代距今已有1700余年，是现存年代最早并真实可信的西晋名家法帖。它用秃笔写于麻纸之上，笔意婉转，风格平淡质朴，其字体为草隶书。《平复帖》在中国书法史上占有重要地位，同时对研究文字和书法变迁方面都有参考价值。\n根据尾纸董其昌、溥伟、傅增湘、赵椿年题跋，可得知《平复帖》历代递藏情况。此帖宋代入宣和内府，明万历间归韩世能、韩逢禧父子，再归张丑。清初递经葛君常、王济、冯铨、梁清标、安岐等人之手归入乾隆内府，再赐给皇十一子成亲王永瑆。光绪年间为恭亲王奕訢所有，并由其孙溥伟、溥儒继承。后溥儒为筹集亲丧费用，将此帖待价而沽，经傅增湘从中斡旋，最终由张伯驹以巨金购得。张氏夫妇于1956年将《平复帖》捐献国家。\n清吴其贞《书画记》、顾复《平生壮观》、安岐《墨缘汇观》等书著录。",[86,462,52,7,418,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31aa77e4c74940daedb5f0924c0d3ded.jpg","纵23.7厘米，横20.6厘米",[122],{"id":18477,"slug":18478,"title":18479,"dynasty":130,"author":2922,"museum":175,"description":18480,"tags":18481,"thumbUrl":18482,"material":319,"size":2927,"collection":122,"collections":18483,"showCount":18412,"zanCount":1288,"manualWeight":39,"mainColor":40},239551,"zhong-qiu-tie-juan-wang-xian-zhi-239551","中秋帖卷","《中秋帖》是著名的古代书法作品，曾被清高宗弘历（乾隆皇帝）誉为“三希”之一，意即希世珍宝。\n行草书3行，共22字，释文：\n“中秋不復不得相還爲即甚省如何然勝人何慶等大軍。”\n无署款。\n《中秋帖》是《宝晋斋法帖》所刻的王献之《十二月割帖》的不完全临本，原帖在“中秋”之前还有“十二月割至不”六字。帖用竹料纸书写，这种纸东晋时尚制造不出，约到北宋时方出现。从行笔中可知，所用毛笔是柔软的无心笔，而晋朝使用的是有心硬笔，吸水性较差，笔的提、按、转折往往不能灵活自如，常出贼毫，如此帖那种丰润圆熟、线条连贯、行气贯通、潇洒飘逸的效果是写不出来的。清吴升《大观录》云：“此迹书法古厚，墨采气韵鲜润，但大似肥婢，虽非钩填，恐是宋人临仿。”据当代书画鉴定家研究，大多认为是宋米芾所临，故同样宝贵。\n卷前引首清高宗弘历行书题“至寶”两字。\n前隔水乾隆御题一段。\n帖正文右上乾隆御题签“晉王獻之中秋帖”一行。\n卷后有明董其昌、项元汴，清乾隆帝题跋，并附乾隆帝、丁观鹏绘画各一段。\n卷前后及隔水钤有宋北京“宣和”内府、南宋内府，明项元汴、吴廷，清内府等鑑藏印。\n此帖曾经宋代宣和、绍兴内府，明项元汴，清内府收藏。民国时由敬懿皇贵妃携出宫外，流散民间，由郭葆昌拥有，再转予其子郭昭俊。后与王珣《伯远帖》一起被典当于香港一家外国银行。1951年底，典当期将满时，国外有人意图购获，周恩来总理闻讯，当即指示有关部门购回，入藏故宫博物院。\n宋内府《宣和书谱》、明张丑《清河书画舫》、《清河见闻表》、《清河秘箧表》、汪砢玉《珊瑚网书跋》，清顾復《平生壮观》、卞永誉《式古堂书画汇考》、吴升《大观录》、内府《石渠宝笈·初编》等书著录。",[49,50,23,51,52,462,86,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa2f29d78cce5184152131f558be9eff.jpg",[122],{"id":18485,"slug":18486,"title":15596,"dynasty":97,"author":7428,"museum":99,"description":10219,"tags":18487,"thumbUrl":18488,"material":689,"size":690,"collection":107,"collections":18489,"showCount":18412,"zanCount":39,"manualWeight":39,"mainColor":40},239237,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239237",[50,23,51,27,54,25,308,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13ecd88630bd04820be3a3d042fb3549.jpg",[],{"id":18491,"slug":18492,"title":2895,"dynasty":97,"author":1082,"museum":99,"description":1382,"tags":18493,"thumbUrl":18494,"material":689,"size":690,"collection":107,"collections":18495,"showCount":18412,"zanCount":39,"manualWeight":39,"mainColor":40},237933,"za-hua-ce-zhu-da-237933",[23,51,24,26,27,528,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39d84fb47152fc632f858825f45ba2e6.jpg",[],{"id":18497,"slug":18498,"title":8089,"dynasty":97,"author":5795,"museum":99,"description":18499,"tags":18500,"thumbUrl":18501,"material":107,"size":107,"collection":70,"collections":18502,"showCount":18412,"zanCount":39,"manualWeight":39,"mainColor":40},236915,"shan-shui-zhou-kun-can-236915","髡 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。\n髡 残,善画山水，亦工人物、花卉。山水画主要继承元四家传统，尤其得力于王蒙、黄公望。构图繁复重叠，境界幽深壮阔，笔墨沉酣苍劲，以及山石的披麻皴、解索皴等表现技法，多从王蒙变化而来；而荒率苍浑的山石结构，清淡沉着的浅绛设色，又近黄公望之法。他还远宗五代董源、巨然，近习明代董其昌、文徵明等，兼收并蓄，博采众长。在学习传统基础上，重视师法自然，自谓“论画精髓者，必多览书史。登山寡源，方能造意”。一生中大部分时间都在山水中度过，经常驻足于名山大川，流连往返。他“僻性耽丘壑”、“泉石在膏肓”，主观的情感、性灵与客观的景物、意境相感应、交融，使其山水画景真情切，状物与抒情成为一体。所作山水，在平淡中求奇险，重山复水，开合有序，繁密而不迫塞，结构严密，稳妥又富于变化，创造出一种奇辟幽深，引人入胜之境，生动地传达出江南山川空口茂密、浑厚华滋的情调。他喜用渴笔、秃毫，苍劲凝重，干而不枯，并以浓淡墨色渲染，使得笔墨交融，形成郁茂苍浑、酣畅淋漓的情趣，使画面产生雄浑壮阔、纵横蓬勃的气势。存世代表作有《报恩寺图》，绘南京聚宝门外报恩寺，通过概括提炼，表现了金陵名胜的磅礴、奇异气象。《云洞流泉图》、《层岩叠壑图》和《雨洗山根图》（均藏故宫博物院），以繁密的布局、苍劲的用笔、郁茂的景致、幽深的境界，显现出石溪鲜明的艺术特色。",[23,26,55,84,86,7,56,59,150,64,2955,379,751,279,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfe511ee2e75e086c05f0dfcddd70af4.jpg",[70,242,122],{"id":18504,"slug":18505,"title":444,"dynasty":97,"author":9309,"museum":99,"description":18506,"tags":18507,"thumbUrl":18508,"material":107,"size":107,"collection":70,"collections":18509,"showCount":18412,"zanCount":39,"manualWeight":39,"mainColor":40},235638,"shan-shui-tu-ce-wu-li-235638","此作用笔苍秀，干笔皴擦间墨色清润澹远。近岸枯木虬曲，石径隐于荒草间，寒林错落自具苍劲姿态。水畔茅亭孑立，空无一人，愈发衬出周遭岑寂。远景汀渚层叠，烟波留白晕出水天浩渺，将江南水滨冬日的荒寒淡远尽数铺陈。\n\n画面萧疏冷寂，题句呼应着幽栖独处的意趣，以简淡笔墨写尽林泉幽致，尽显文人画的雅致襟怀，把避俗幽居的澹泊心境融于山水间，空濛冷逸，意境萧散清远。",[23,26,56,24,55,63,137,61,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd513fedc147c373822b59addc09428d0.jpg",[70],{"id":18511,"slug":18512,"title":2515,"dynasty":18,"author":161,"museum":175,"description":2516,"tags":18513,"thumbUrl":18514,"material":319,"size":2519,"collection":107,"collections":18515,"showCount":18412,"zanCount":39,"manualWeight":39,"mainColor":40},234089,"wu-zhong-shan-shui-ce-shen-zhou-234089",[23,51,24,26,119,55,56,870,406,871,137,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cd47a46f6ca498fde781cc73a947eca.jpg",[],{"id":18517,"slug":18518,"title":18519,"dynasty":18,"author":8189,"museum":81,"description":18520,"tags":18521,"thumbUrl":18522,"material":33,"size":18523,"collection":70,"collections":18524,"showCount":18412,"zanCount":39,"manualWeight":39,"mainColor":40},231418,"ming-wen-bo-ren-fang-hu-tu-wen-bo-ren-231418","明文伯仁方壶图","《明文伯仁方壶图》描绘的是碧波万顷、祥云缭绕中，有仙岛浮现，道观数处隐于其间。依道教传说：仙山有五，方壶山即其一。即言：“渤海之东，不知几亿万里，有大壑焉。其中有五山焉:一曰岱舆，二曰员蟜，三曰方壶，四曰瀛洲，五曰蓬莱。”此画既取材于道教，所以在上方题名及下方款识处，也仿照了早期释道画加框榜题的习惯。此图无论在翻卷的波涛、飘动的云海或是尖拔的山峰、茂密的叶木，皆处处著笔繁谨，设彩明丽，呈现出家学的细笔画风。",[49,23,25,54,7,56,1207,870,406,295,64,5692,6770],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25cb1e79d895645a041522290ad040b2.jpg","纵120.6公分、横31.8公分",[70],{"id":18526,"slug":18527,"title":4958,"dynasty":97,"author":445,"museum":99,"description":18528,"tags":18529,"thumbUrl":18530,"material":107,"size":107,"collection":107,"collections":18531,"showCount":18412,"zanCount":1288,"manualWeight":39,"mainColor":40},228980,"shan-shui-hua-hui-tu-ce-shi-tao-228980","在石涛的山水花卉图册共有八幅，多为水墨设色。\n在此选二幅，其一《豆角》，笔意恣肆，浓墨点干写藤，豆角略敷彩青，繁简细拙，得自天成。\n于画幅中自题：“紫花白花狼藉尽，眉毛碧翠眼中青。\n炎炎日晒草先腐，遮过流萤几点星。\n”属款“清湘枝下人济”。\n: : : 作者: 流派: 原作尺寸:51．92．4cm (1642―约1718)：清初书画家、画学理论家。\n僧人。\n俗姓朱，名若极，广西全州人。\n法名原济，一作元济(后人传为“道济”，道乃尊称，非名字，实误)，小字阿长，字石涛，号大涤子、清湘陈人、清湘遗人，晚号瞎尊者、零丁老人等， 自称苦瓜和尚。\n明宗室靖江王赞仪之十世孙。\n与梅清、梅庚、戴本孝等交往，相互影响，合称“黄山派”。\n擅画花果兰竹，兼工人物，尤擅山水，画名极盛。\n与弘仁、髡残、朱耷合称“清初四僧”。\n对后来扬州画派与近代画风影响极大。\n传世作品有《春江垂钓图》、《细雨虬松图》、《 》、《黄山八胜图》、《采菊图》、《秋山图》、《双清阁图》、《山水清音图》、《竹石图》、《荷花图》、《李白诗意图》。\n著有《苦瓜和尚画语录》，阐述了他对山水画的认识，提出“一画”说，主张“借古以开今”，“我用我法”，和“搜尽奇峰打草稿”等，在中国画史画论上具有十分重要的影响与意义。\n其二《芙蓉》，写芙蓉花临波照影之姿。\n以淡墨疏笔横写水波，浅青纵点，形成水波粼粼之态。\n粗笔大写花叶，芙蓉却以细笔勾出筋脉，娇艳柔美，墨彩相得益彰。\n画幅左下角自题：“秋水江楼弥洁，芙蓉曲岸生文。\n小立坡头如画，夕阳影落缤纷。\n”属款“膏肓子济”。",[50,23,51,24,26,55,86,7,56,60,61,62,1902,64,576],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d4a84d90ea1a3c6dfbcb2ae487102f.jpg",[],{"id":18533,"slug":18534,"title":2234,"dynasty":192,"author":2235,"museum":99,"description":18535,"tags":18536,"thumbUrl":18538,"material":107,"size":107,"collection":107,"collections":18539,"showCount":18412,"zanCount":39,"manualWeight":39,"mainColor":75},227095,"gao-yi-tu-sun-wei-227095","《高逸图》，又名《竹林七贤图》，是唐代孙位创作的一幅彩色绢本人物画，现藏于上海博物馆。\n画名“孙位高逸图”为宋徽宗赵佶所题，这幅图所描绘的是魏晋时期竹林七贤的故事，该画作刻画了魏晋士大夫“高逸风度”的共性，又刻画出了他们的个性。现存《高逸图》为《竹林七贤图》残卷，图中只剩四贤。在长卷式的画面上，主体人物是四个封建士大夫分别坐于华丽的毡毯上，每人身旁都有一名小童侍候。",[49,50,23,52,54,25,58,871,700,86,7,181,10053,13921,18537],"垫子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa92cbdfc50fff24528a4673b6c49d4.jpg",[],{"id":18541,"slug":18542,"title":18543,"dynasty":97,"author":800,"museum":99,"description":1425,"tags":18544,"thumbUrl":18545,"material":634,"size":107,"collection":122,"collections":18546,"showCount":18412,"zanCount":39,"manualWeight":39,"mainColor":40},223303,"zhu-shi-tu-zhou-5-zheng-ban-qiao-223303","竹石图轴5",[49,23,51,84,26,358,277,119,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9af9eb8cd727abdde614938ed2da94da.jpg",[122],{"id":18548,"slug":18549,"title":18550,"dynasty":97,"author":9442,"museum":642,"description":15688,"tags":18551,"thumbUrl":18552,"material":3361,"size":18553,"collection":70,"collections":18554,"showCount":18412,"zanCount":39,"manualWeight":39,"mainColor":40},222646,"zhi-hua-xi-lie-zhi-hua-xin-zhu-gao-qi-pei-222646","指画系列-指画·新竹",[49,23,51,15690,26,358,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb762941767222f61c46e64997c0aa546.jpg","35.88x57.31cm",[70,35],{"id":18556,"slug":18557,"title":18558,"dynasty":18,"author":18133,"museum":222,"description":18243,"tags":18559,"thumbUrl":18560,"material":319,"size":18561,"collection":122,"collections":18562,"showCount":18412,"zanCount":39,"manualWeight":39,"mainColor":40},222529,"lin-tang-tai-zong-tie-wang-duo-222529","临唐太宗帖",[49,86,462,134,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f26ea79c07df6d303f5d07394524c59.jpg","纵252厘米横50厘米",[122],{"id":18564,"slug":18565,"title":18566,"dynasty":18,"author":3904,"museum":18567,"description":18568,"tags":18569,"thumbUrl":18570,"material":319,"size":18571,"collection":122,"collections":18572,"showCount":18412,"zanCount":1288,"manualWeight":39,"mainColor":40},222476,"teng-wang-ge-xu-zhu-yun-ming-222476","滕王阁序","苏州博物馆","此作是其56岁时的杰作。高头长卷，洋洋洒洒近千字，“奔蛇走虺，骤雨旋风”，意到笔随，一气呵成，有行风行水上之势，变幻无穷。祝允明的书法面目多变，每卷有每卷的情致风规，如这卷草书，用小笔硬毫，笔画瘦劲而婉约，纵横挥洒，满纸云烟，偏多怀素遗意。全卷前段尚有拘矜之态，愈后则愈解脱自在，最后渐入化境，超妙自得。全卷草书多用连笔连字，以至兴到之时，笔势自生，大小相参， 上下左右，起止映带，都能达到神妙的意境。",[49,119,86,52,7,26,418,51,62,59,56,66,2956,944],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc222aec76d124e12a1b24cabea82763.jpg","纵32.9cm 横842.6cm",[122],{"id":18574,"slug":18575,"title":18576,"dynasty":18,"author":161,"museum":81,"description":18577,"tags":18578,"thumbUrl":18580,"material":319,"size":107,"collection":107,"collections":18581,"showCount":18412,"zanCount":1288,"manualWeight":39,"mainColor":40},222091,"tai-jing-lin-ting-tu-shen-zhou-222091","苔迳林亭图","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。 其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[49,822,26,55,56,63,137,150,18579,7],"苔藓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a2b67b5b31a4fb17975c34793c69e7.jpg",[],{"id":18583,"slug":18584,"title":18585,"dynasty":18,"author":4410,"museum":81,"description":18586,"tags":18587,"thumbUrl":18588,"material":33,"size":18589,"collection":70,"collections":18590,"showCount":18412,"zanCount":39,"manualWeight":39,"mainColor":40},222087,"xi-tong-tu-zhou-qian-gu-222087","洗桐图轴","此图以人物为主，其背景作为陪衬，在画幅左下角画有连绵不断的山石，山石向竹草从杂\n此图绘一高士，坐在圏手椅上，头戴浩然巾，面日清瘦，身着宽服长袍，宽袖，双脚露出，双手扶在手椅上。圏手椅形制如栲佬式，传说唐代诗人孟浩然始用，明清时为流行，常用于文人逸士。这位高士仰首观望二童子洗园中一棵桐树，桐树下一童予抬水桶，往上使劲，又有一童子蹬坐在树楼上，左手扶着桐树枝，右手正用力吊起水桶为洗桐之用，另一童穿着开襟宽袖长服，持有鹅毛扇伫立于高土左侧，亦在目不转珠地望着两个孩童洗桐的情景。",[49,23,51,84,25,54,58,871,150,4118,3009,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5caf239e655e2b04c3f4276936b930.jpg","纵129.8厘米，横445厘米",[70,72],{"id":18592,"slug":18593,"title":18594,"dynasty":146,"author":1466,"museum":175,"description":15204,"tags":18595,"thumbUrl":18596,"material":183,"size":15207,"collection":107,"collections":18597,"showCount":18412,"zanCount":39,"manualWeight":39,"mainColor":40},221768,"er-ma-tu-ren-ren-fa-221768","二马图ＨＤ",[49,23,52,54,25,225,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e07ee211c41e1abdfd34684fd9b51ce.jpg",[],{"id":18599,"slug":18600,"title":4719,"dynasty":115,"author":3050,"museum":20,"description":4270,"tags":18601,"thumbUrl":18602,"material":227,"size":18603,"collection":107,"collections":18604,"showCount":18412,"zanCount":39,"manualWeight":39,"mainColor":75},221603,"bu-dai-he-shang-tu-liang-kai-221603",[49,23,51,58,1284,26,4272,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a3b6d4db81452ecdf7a090b19e5c62.jpg","纵31 3厘米，横24 5厘米",[],{"id":18606,"slug":18607,"title":18608,"dynasty":115,"author":1532,"museum":329,"description":5291,"tags":18609,"thumbUrl":18610,"material":5276,"size":1884,"collection":213,"collections":18611,"showCount":18412,"zanCount":39,"manualWeight":39,"mainColor":40},221290,"shu-se-ping-yuan-tu-quan-juan-guo-xi-221290","树色平远图全卷",[49,23,51,52,712,26,25,55,54,86,119,7,56,871,62,60,61,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F133bd0410f393e8330e8a86e03d40536.jpg",[213,70,242],{"id":18613,"slug":18614,"title":18615,"dynasty":115,"author":7045,"museum":81,"description":18616,"tags":18617,"thumbUrl":18618,"material":319,"size":18619,"collection":122,"collections":18620,"showCount":18412,"zanCount":1288,"manualWeight":39,"mainColor":40},221193,"shu-chi-du-lu-you-221193","书尺牍","陆游（1125—1210），字务观，号放翁，绍兴人。自幼好学不倦，29岁时，赴南宋临安（杭州）应锁厅试，名列第一，因居秦桧孙子之前，又因他不忘国耻“喜论恢复”，竟在复试时被除名。他始终坚持抗金恢复中原，在仕途上不断受到当权派的排斥打击。中年入蜀抗金，任夔州（今四川奉节）通判和蜀州、嘉州、荣州代理通判、知州等职。宋光宗继位后，升为礼部郎中兼实录院检讨官，不久即因“嘲咏风月”罢官归居故里。主要著作有《渭南文集》《剑南诗稿》《放翁词》《南唐书》《老学庵笔记》。",[86,119,26,319,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba1722258b27ccb271c6c41ad7f642de.jpg","40.5x70.7",[122],{"id":18622,"slug":18623,"title":18624,"dynasty":97,"author":248,"museum":99,"description":18625,"tags":18626,"thumbUrl":18627,"material":319,"size":107,"collection":70,"collections":18628,"showCount":18412,"zanCount":39,"manualWeight":39,"mainColor":75},221004,"du-shu-le-zhi-tu-yun-shou-ping-221004","读书乐志图","自从恽南田以高逸的山书画和寓意的没骨花卉写生画问世后，追随者众多。常州画派就是在这种审美风尚的趋引下，自然形成的的。",[49,822,26,55,56,2681,137,295,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbbc2d65fab42a70cd08850963b499af.jpg",[70,242],{"id":18630,"slug":18631,"title":18632,"dynasty":18,"author":2181,"museum":81,"description":18633,"tags":18634,"thumbUrl":18635,"material":319,"size":18636,"collection":122,"collections":18637,"showCount":18412,"zanCount":1288,"manualWeight":39,"mainColor":40},220922,"chi-du-shang-ce-dong-qi-chang-220922","尺牍上册","明代董其昌行书临东坡尺牍册，纵25厘米；横14.1厘米，万历四十年（1612）书，上海博物馆藏。\n本册为董氏节录苏轼尺牍七段，阮元《石渠随笔》曾载此册，记为六段，又收入《石渠宝笈续编》。金粟笺本，笔精墨妙。有脱漏或改动字句处。1612年，董文敏58岁，其时于深研二王基础上，董氏进而汲取宋四家之长，除米芾外，钻研最深的便是苏轼。董书以灵动绰约见长，虽不如苏书沉厚雄健，然圆润秀逸则过之。",[49,86,119,24,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d04668bd94745352a74901f084f5ebd.jpg","35.7x42.3",[122],{"id":18639,"slug":18640,"title":18641,"dynasty":115,"author":207,"museum":81,"description":18642,"tags":18643,"thumbUrl":18645,"material":152,"size":18646,"collection":213,"collections":18647,"showCount":18412,"zanCount":39,"manualWeight":39,"mainColor":75},220385,"wu-kuan-xing-lin-xi-chi-tu-yi-ming-220385","无款杏林鸂鶒图","上方行书“乐意”圆融雍容，点破画中真趣。下方小景绘江岸荒寒，枯木虬曲倚傍顽石，疏枝如篆，幽篁错落，晕染出冬日萧索野致。滩涂浅水间，一对鸂鶒相偎理羽，亲昵悠然，为清寂画面晕开温柔暖意。\n\n整幅以淡墨轻色铺陈，极简构图却藏天人妙趣，将林泉幽寂与禽鸟温情相融，用荒寒之境托举欣然乐意，尽显宋画以小景见天地的雅致审美，于冷澹笔墨里，晕染出宋人藏于山水间的幽微意趣，冷寂中暗淌脉脉生机。",[49,23,51,25,54,86,7,27,18644,2161,1714,406,85],"杏树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd38691268d61502131b8aa44711cc88f.jpg","37.3x49.8",[213],{"id":18649,"slug":18650,"title":18651,"dynasty":18,"author":18652,"museum":81,"description":18653,"tags":18654,"thumbUrl":18657,"material":33,"size":18658,"collection":199,"collections":18659,"showCount":18412,"zanCount":39,"manualWeight":39,"mainColor":75},219392,"cong-di-xian-yu-tu-ye-guang-219392","丛荻闲渔图","叶广","叶广（明代人），字元博，号海渔，巢县人。诗人、画家。擅名丹青，胸藏丘壑，笔洒烟云。作品《渔翁图》远近闻名。叶广是米（芾）派画家，米体山水及大小画，劲骨远神，时流莫及。叶广擅长作诗，饶有高致。其诙谐调笑，雅重一时。四方缙绅名人，与叶广交往甚多，岁时不绝。",[23,50,51,84,26,25,58,406,18655,5393,18656,714,7],"渔网","荻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71deaee102e50cdb9d0829265b1976a2.jpg","114.3x31",[199],{"id":18661,"slug":18662,"title":18663,"dynasty":146,"author":13733,"museum":525,"description":18664,"tags":18665,"thumbUrl":18666,"material":88,"size":18667,"collection":70,"collections":18668,"showCount":18412,"zanCount":1288,"manualWeight":39,"mainColor":40},217867,"qiu-shan-xu-ting-tu-gu-ying-217867","秋山虚亭图","顾瑛，字晓元，号秋山虚亭，是中国元朝时期的一位著名画家。他的《秋山虚亭图》是他的代表作之一，在中国历史上享有盛誉。\n\n《秋山虚亭图》是一幅山水画，描绘了秋山虚亭所在的景观。虚亭本身便是一座建于山上的小亭子，顾瑛在画中给人以一种轻松、自然的感觉。画中的山峦、岭壑、林木、岚烟都十分逼真，令人观赏时感到沉醉。顾瑛运用了自然界中各种色彩，如绿、黄、棕、蓝等，使画面更加丰富多彩。\n\n顾瑛的《秋山虚亭图》不仅因其逼真的描绘技巧而闻名，同时也因其艺术风格的独特性而受到赞誉。他的画风清新自然，没有过多的装饰和修饰，从而让观者感受到一种轻松、恬静的心情。\n\n总的来说，顾瑛的《秋山虚亭图》是一幅精美的山水画作，值得一看。",[23,51,84,26,55,119,7,56,7689,63,64,150,727,294,7113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ae3bdef31feed66d361d23d9d2fdb34.jpg","69.5x39.4cm",[70],{"id":18670,"slug":18671,"title":18672,"dynasty":18,"author":161,"museum":16377,"description":16378,"tags":18673,"thumbUrl":18674,"material":88,"size":107,"collection":107,"collections":18675,"showCount":18412,"zanCount":1288,"manualWeight":39,"mainColor":40},214924,"mo-hua-ce-3-shen-zhou-214924","墨花册-3",[49,50,23,51,26,6443,265,31,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9bc8e0e22c8ac2a3d56fdc5547b6ef7.jpg",[],{"id":18677,"slug":18678,"title":18679,"dynasty":192,"author":2994,"museum":99,"description":18680,"tags":18681,"thumbUrl":18682,"material":689,"size":690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《板桥集》、《书画纪略》、《滇南书画录》",[50,23,51,24,26,251,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54a27f24753f601b614b775dd8f1accc.jpg",[35],{"id":18795,"slug":18796,"title":18797,"dynasty":18,"author":524,"museum":175,"description":18798,"tags":18799,"thumbUrl":18800,"material":668,"size":18801,"collection":70,"collections":18802,"showCount":18684,"zanCount":39,"manualWeight":39,"mainColor":40},237697,"fang-huang-gong-wang-shan-shui-zhou-xiang-sheng-mo-237697","仿黄公望山水轴","此画为仿古山水画，有黄公望遗风。本幅上自题：“曾见痴翁半张纸，不多数笔山与水。自然苍润有云烟，聊复从翁画如此。此为会嘉兄临黄子久半张纸，是画即藏李氏秘笈中。崇祯壬申二月晦日题于鹤梦轩，项圣谟。”钤印“项圣谟诗画”、“拙胜”等。",[23,51,84,134,55,26,119,56,870,871,277,727,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f7793cd0d1b4e78c00e3fefb6342305.jpg","43.7厘米，横：31厘米",[70,122],{"id":18804,"slug":18805,"title":3499,"dynasty":97,"author":3500,"museum":175,"description":3501,"tags":18806,"thumbUrl":18807,"material":107,"size":107,"collection":107,"collections":18808,"showCount":18684,"zanCount":39,"manualWeight":39,"mainColor":40},237115,"shi-nv-ce-cui-wei-237115",[23,51,24,54,25,58,136,180,181,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73a9e178aab2ac2740e50cc503c1b5e.jpg",[],{"id":18810,"slug":18811,"title":18812,"dynasty":97,"author":3136,"museum":99,"description":18813,"tags":18814,"thumbUrl":18815,"material":107,"size":107,"collection":199,"collections":18816,"showCount":18684,"zanCount":39,"manualWeight":39,"mainColor":40},235773,"qing-chu-liu-da-jia-ji-ce-shan-shui-ye-wang-shi-min-235773","清初六大家集册-山水页","绢本水墨 纵112 横5.2厘米 清 代 绢本水墨 纵112 横5.2厘米 荡浮烟岚的峰峦冈岭，逶迤起伏连绵不断。\n山坳平坦处水榭、茅舍散落于林溪岸畔。\n近处的麓坡岸石，各种苍郁古茂的大树掩映着的草亭尤显幽静。\n上方题：“作画意在笔先，以得势为主….时康熙乙亥仲夏望后麓台祁”。\n王原祁（1642-1715年）字茂京，号麓台。\n江苏太仓人。\n王时敏之孙。\n擅山水，精鉴定，有“娄东派”之称。\n为清初六大家之一",[23,51,50,24,26,55,56,278,64,727,13496,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F711b08e8224858c05339fb7b788a52d4.jpg",[199,242],{"id":18818,"slug":18819,"title":16492,"dynasty":18,"author":19,"museum":99,"description":18820,"tags":18821,"thumbUrl":18822,"material":107,"size":107,"collection":107,"collections":18823,"showCount":18684,"zanCount":1288,"manualWeight":39,"mainColor":40},234204,"mo-zhu-juan-sun-ke-hong-234204","中国成语中有“胸有成竹”之说，原意是指画竹之前心里已经有了竹子的形象，后来比喻在做事之前已经有了全面的设想和安排。“胸有成竹”出自宋代苏轼的《文与可画筼筜谷偃竹记》——“故画竹，必先得成竹于胸中”。苏轼的这篇文章写的是文同画竹。宋代文同开创了“墨竹”一派，在中国绘画史上有着重要的地位，而他笔下的竹也被赋予了一种百折不挠的奋斗精神。例如在他的作品《墨竹》中，竹子在岩石的压迫下，先俯以应时，再延伸而上仰，展现出旺盛的生命意志。历代画竹者数不胜数，很多人能够面对“墨竹”这一题目画一辈子。除文同之外，历史上亦有赵孟頫、管道昇、夏昶、李衎、吴镇等人笔下的竹堪称经典。历朝历代也不乏优秀的画家以竹作为描绘对象抒写胸中逸气，明代孙克弘便是其中之一。\n现藏于苏州博物馆的孙克弘《墨竹图》（见下图）纵113厘米、横31.8厘米。画家在画面左下角题识：“湘皋春雨楚烟霏，绿玉参差路欲迷。流水接天人不见，满林花落鹧鸪啼。雪居。”画面右下角生出三枝竹子，其中一枝成为此画的主角。竹子从右下方生长至左上角，显得生机盎然。竹叶施以浓墨，墨笔犀利，竹干和竹枝则用淡墨描绘。画家将两者的前后关系清楚地展现在观者面前，同时又突显了全画的主角，从中可以看出他的良苦用心。另外两枝竹子则沿画面右侧而上，均以淡墨着色，再次衬托出画面中心的主角。\n孙克弘（1533—1611），字允执，号雪居，上海松江人。他善楷、隶、篆等书体，取法宋克，上追秦汉，自成风格。在绘画方面，他早期长于写生花鸟，师法徐熙、赵昌、沈周、陆治。他的绘画作品或工笔，画法工整，色彩明丽；或写意，笔墨放逸，造型工致。他画墨竹仿文同。此幅《墨竹图》笔法谨严有致，又不失潇洒之态，深得文同墨竹的精髓。墨竹不仅如同文人画的一种标本和尺度，同时也反映了中国画笔墨的基本。此画中，竹干劲挺。画面正中的一枝呈“S”形构图，竹枝虬曲，变化中不失弹性，具有一定的节奏感。竹子枝头向上挑起，密叶以向上的趋势奔放扩张、凌空倚势，显示了无穷的生命力度。竹节与竹节之间虽断离而又有牵连之意。画面下方的小枝行笔疾速，婉顺而柔和。三枝主枝横斜曲直、顾盼有情。再看整幅画面的竹叶，看似笔笔随意却又不失生意，显得疏密有致、聚散兼顾。\n孙克弘的《墨竹图》画面整体层次分明，墨色的运用和处理较为丰富。竹干墨色偏淡，不同枝干上的竹叶颜色有深有浅。画家以浓墨描绘竹叶正面，以淡墨表现竹叶背面；老枝以浓墨绘成，嫩叶新枝又以淡墨表现。画面的前后关系随着一虚一实、一明一暗的节奏来表达。同时，画面中留有大量空白，带给人无限的遐想。从画面中，还可以看到无处不在的书法用笔。撇叶锋长却不露毫芒，叶尾转折处提笔露白，以示向背之势，这足以显示出孙克弘深厚的书法功底。\n古人喜画墨竹。从这些墨竹中，后人可体会到观万物之生意的意境，并对这种绵延不息的生意肃然起敬。古人云：“天地之大德曰‘生’。”“生”便是一切万物之源，而墨竹恰恰就体现了这种倔强的生机。画家通过对竹的不同形式的表达，所要传递的便是“生生之谓易”（《周易》）的道理。这也是中国文化中十分珍贵的精义。",[49,23,26,52,358,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1ab4f26dfa87319af0ed8c422a44a60.jpg",[],{"id":18825,"slug":18826,"title":13832,"dynasty":97,"author":3871,"museum":175,"description":18827,"tags":18828,"thumbUrl":18830,"material":391,"size":107,"collection":107,"collections":18831,"showCount":18684,"zanCount":39,"manualWeight":39,"mainColor":40},234153,"jiu-ge-tu-juan-ding-guan-peng-234153","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏(？-1771后)清代画家，艺术活动于康熙末期至乾隆中期，北京人。胡敬《国朝院画录》谓：“观鹏克传家学。”工道释、人物、山水，亦能作肖像，尤擅仙佛、神像，以宋人为法，不尚奇诡，画风工整细致，受到欧洲绘画的影响，学明代的丁云鹏笔法，有出蓝之誉。雍正四年(1726)进入宫廷为画院处行走，是雍正、乾隆朝画院高手，与唐岱、郎世宁、张宗苍、金廷标齐名。造诣深湛，得乾隆帝赏识，曾为《圣制诗》初集、二集、三集之多幅画卷题诗。在宫廷画院五十年左右，作品近二百件。传世作品有完成于乾隆三十二年(1767)《法界源流图》卷，纵33厘米，横1635厘米，该卷场面宏大，人物众多，描金设色，精细绚丽，为中国佛教艺术瑰宝、世界佛教艺术明珠，现藏吉林省博物馆；乾隆十三年(1748)作《乞巧图》卷藏上海博物馆；二十六年(1761)作《无量寿佛图》轴、《宝相观音图》轴藏故宫博物院；三十五年(1770)八月作《说法图》轴藏西柏林民俗博物馆。弟丁观鹤，亦供奉内廷，工人物。",[49,23,51,52,54,25,58,56,405,63,1206,1207,18829,150,64,59,61,7],"雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46a6bd8c93261ba462ca762cf3d0505c.jpg",[],{"id":18833,"slug":18834,"title":18370,"dynasty":18,"author":2181,"museum":175,"description":6562,"tags":18835,"thumbUrl":18836,"material":391,"size":6565,"collection":107,"collections":18837,"showCount":18684,"zanCount":39,"manualWeight":39,"mainColor":40},233961,"fang-gu-shan-shui-ce-dong-qi-chang-233961",[23,51,24,119,86,7,25,55,56,64,150,294,727],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2597824fb0e8f717ef82a8d2784b338.jpg",[],{"id":18839,"slug":18840,"title":18841,"dynasty":97,"author":445,"museum":175,"description":18842,"tags":18843,"thumbUrl":18844,"material":391,"size":18845,"collection":107,"collections":18846,"showCount":18684,"zanCount":39,"manualWeight":39,"mainColor":40},233958,"yun-shan-tu-zhou-shi-tao-233958","云山图轴","此图轴是石涛晚年之作，此时他的山水画构图新颖大胆，出奇制胜，极尽含蓄隐约之妙。图中打破一层地、二层树、三层山的“三叠式”和北宋式的上留天、下留地、中间设景的构图程式，而是用“截取法”直接截取景致中最优美、最有代表性的一段。作者描绘半露的山体，树木间以水墨渍出云态，天空用淡墨渲染，以显现出云的白净和飘浮的动感。",[23,51,84,26,55,56,5633,279,150,64,1050,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8523eeee7217dae1b5bb91657e0c2417.jpg","纵45.1厘米，横30.8厘米",[],{"id":18848,"slug":18849,"title":18850,"dynasty":115,"author":881,"museum":175,"description":18851,"tags":18852,"thumbUrl":18853,"material":239,"size":18854,"collection":107,"collections":18855,"showCount":18684,"zanCount":39,"manualWeight":39,"mainColor":75},233724,"kong-zi-xiang-tu-ye-ma-yuan-233724","孔子像图页","《孔子像》人物衣纹用笔为钉头鼠尾法，线长而劲利。孔子身着长袍,拱手而立,沉静肃穆，若有所思，神情十分生动。全图用秃笔写衣纹，简练概括，线条劲拔，寥寥数笔，形神毕现，设色浅淡，韵味高雅。",[23,50,51,24,135,58,180,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1051bbe0d77bafbd4cbd1e6129b59667.jpg","纵27.7厘米 横23.2厘米",[],{"id":18857,"slug":18858,"title":18859,"dynasty":18,"author":2059,"museum":175,"description":18860,"tags":18861,"thumbUrl":18862,"material":779,"size":18863,"collection":107,"collections":18864,"showCount":18684,"zanCount":39,"manualWeight":39,"mainColor":40},233169,"wen-zheng-ming-yi-lan-shi-tu-juan-wen-zheng-ming-233169","文徵明猗兰室图卷","文徵明花鸟、人物、山水皆擅，尤其以山水画成就最高，虽然他到过北京，但毕竟居苏州为多，画园林小景尤真。绘画分为“粗”、“细”两种突出的风格。其中“细”画最具特色，成就也最高。\n此图构图严谨缜密，境界幽雅清旷，用笔精细而苍秀，无一笔随意，沉稳而文静，自成一种工秀清苍的风格。这正是文徵明细笔画的突出特征，也是明画不同于元画，更不同于宋画的突出特征。\n虽然文徵明细笔画精工细谨，为宋、元画所不及，但其笔墨的生动性却较宋、元画为逊色。虽有大幅、小幅、设色和水墨之别，大抵皆如此。",[23,51,52,26,54,86,119,7,610,727,58,1019,150,6545],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c87cd8f162906ee461fcf682ad41ec4.jpg","纵26.3CM 横67CM",[],{"id":18866,"slug":18867,"title":18868,"dynasty":18,"author":18869,"museum":7132,"description":18870,"tags":18871,"thumbUrl":18872,"material":1561,"size":18873,"collection":107,"collections":18874,"showCount":18684,"zanCount":39,"manualWeight":39,"mainColor":40},231568,"zhu-lin-mao-wu-tu-song-ke-231568","竹林茅屋图","宋克","作者通过画面，将文人隐逸山林，抒发情思的自娱、适意、消遣的感情表达了出来。画家用笔畅健雄放，笔锋洒脱，多法李成；破笔焦墨点苔，则从董、巨而来。",[49,23,51,52,26,56,358,379,64,150,86,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cb4e1d6245dcb71a7735c7e31eea1c0.jpg","25.5×110cm",[],{"id":18876,"slug":18877,"title":18878,"dynasty":97,"author":655,"museum":99,"description":18879,"tags":18880,"thumbUrl":18881,"material":107,"size":107,"collection":107,"collections":18882,"showCount":18684,"zanCount":39,"manualWeight":39,"mainColor":40},230234,"mo-xi-tu-ce-jin-nong-230234","墨戏图册","这幅画以淡墨轻色晕染出初夏庭院的闲静意趣。垂拂的柳丝漫过墙头，池面散落点点花片，廊间文士负手凭栏，将心神沉溺在眼前景致里。画面与题诗相映，把荷开新晴后的慵懒缱绻缓缓晕开。\n\n简淡的线条勾勒出人物与庭院轮廓，浅施色彩晕染出江南空濛柔婉的氛围，形简而意足。将文人闲居的清雅心境藏在笔底，淡而有味，静中生情。松弛的书卷气漫在画面里，寥寥数笔便揉进中式文人的隐逸闲情，把江南初夏独有的缱绻诗意铺展开来，尽显文人画以意取胜的妙处，藏着日常闲居的松弛意趣，耐看又动人。",[23,51,24,26,25,7,86,58,102,598,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc85b2036e93ac5dade0ec531e29c266f.jpg",[],{"id":18884,"slug":18885,"title":18886,"dynasty":146,"author":7721,"museum":99,"description":18887,"tags":18888,"thumbUrl":18889,"material":107,"size":107,"collection":107,"collections":18890,"showCount":18684,"zanCount":39,"manualWeight":39,"mainColor":75},228162,"fu-rong-hua-tu-ye-wang-yuan-228162","芙蓉花图页","以水墨写就芙蓉，淡墨晕染花瓣，层层铺陈间将柔媚蓬松的花态尽显，花瓣边缘虚淡朦胧，如带清露。浓墨绘叶，枯笔勾勒叶脉，晕分出叶片阴阳向背之态，枝叶舒展错落，尽显芙蓉清妍雅致之姿。\n\n画面间题诗错落排布，朱红印章点缀其间，诗画合璧，褪去设色浓丽，以素净水墨尽现芙蓉秀润风骨，尽显尚意简淡的审美意趣，将文人情思融于笔墨意趣之中，清雅脱俗，余韵悠长。",[23,51,24,26,54,27,314,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9168b45b7cbef3fdbda8ee446bb21498.jpg",[],{"id":18892,"slug":18893,"title":2921,"dynasty":130,"author":2922,"museum":99,"description":18894,"tags":18895,"thumbUrl":18896,"material":107,"size":107,"collection":107,"collections":18897,"showCount":18684,"zanCount":1288,"manualWeight":39,"mainColor":40},227045,"zhong-qiu-tie-wang-xian-zhi-227045","《中秋帖》，传为晋王献之书，纸本，手卷，纵27厘米，横11.9厘米。\n《中秋帖》是著名的古代书法作品，曾被清高宗弘历（乾隆皇帝）誉为“三希”之一，意即希世珍宝。\n行草书3行，共22字，释文：\n“中秋不復不得相還爲即甚省如何然勝人何慶等大軍。”\n无署款。\n《中秋帖》是《宝晋斋法帖》所刻的王献之《十二月割帖》的不完全临本，原帖在“中秋”之前还有“十二月割至不”六字。帖用竹料纸书写，这种纸东晋时尚制造不出，约到北宋时方出现。从行笔中可知，所用毛笔是柔软的无心笔，而晋朝使用的是有心硬笔，吸水性较差，笔的提、按、转折往往不能灵活自如，常出贼毫，如此帖那种丰润圆熟、线条连贯、行气贯通、潇洒飘逸的效果是写不出来的。清吴升《大观录》云：“此迹书法古厚，墨采气韵鲜润，但大似肥婢，虽非钩填，恐是宋人临仿。”据当代书画鉴定家研究，大多认为是宋米芾所临，故同样宝贵。\n卷前引首清高宗弘历行书题“至寶”两字。\n前隔水乾隆御题一段。\n帖正文右上乾隆御题签“晉王獻之中秋帖”一行。\n卷后有明董其昌、项元汴，清乾隆帝题跋，并附乾隆帝、丁观鹏绘画各一段。\n卷前后及隔水钤有宋北京“宣和”内府、南宋内府，明项元汴、吴廷，清内府等鑑藏印。\n此帖曾经宋代宣和、绍兴内府，明项元汴，清内府收藏。民国时由敬懿皇贵妃携出宫外，流散民间，由郭葆昌拥有，再转予其子郭昭俊。后与王珣《伯远帖》一起被典当于香港一家外国银行。1951年底，典当期将满时，国外有人意图购获，周恩来总理闻讯，当即指示有关部门购回，入藏故宫博物院。\n宋内府《宣和书谱》、明张丑《清河书画舫》、《清河见闻表》、《清河秘箧表》、汪砢玉《珊瑚网书跋》，清顾復《平生壮观》、卞永誉《式古堂书画汇考》、吴升《大观录》、内府《石渠宝笈·初编》等书著录。",[49,86,119,52,51,7,25,58,64,85,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa82a2dbb0797a6f684a6a878caebc856.jpg",[],{"id":18899,"slug":18900,"title":18901,"dynasty":97,"author":3423,"museum":99,"description":18902,"tags":18903,"thumbUrl":18904,"material":107,"size":107,"collection":107,"collections":18905,"showCount":18684,"zanCount":39,"manualWeight":39,"mainColor":40},224373,"hua-hui-qi-shi-ce-shi-er-kai-2-ju-lian-224373","花卉奇石册-十二开-2","此作以赭色绢本为底，湖石嶙峋通透，枯墨勾皴轮廓，淡墨晕染凹处，将灵璧石的空透雅态尽展。旁侧方盆月季，莹白瓣边晕染浅粉，枝叶敷色清润鲜活，柔媚动人。石顶细草轻缀，一只蜻蜓敛翼停驻，翅脉纤毫毕现，为静雅案头景致添入灵动生机。\n\n全作用色秀妍温婉，没骨技法工写相融，既将草木虫豸描摹得细腻鲜活，又以写意笔法带出湖石的苍古意趣，把文房清供的幽寂闲雅尽数铺陈，尽显柔润秀逸的江南画韵，将小品静物的雅致情致刻画得恰到好处。",[49,23,25,54,24,28,6798,316,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9d737743b159527daa080f75cc1af3a.jpg",[],{"id":18907,"slug":18908,"title":18909,"dynasty":146,"author":207,"museum":175,"description":18910,"tags":18911,"thumbUrl":18913,"material":319,"size":18914,"collection":107,"collections":18915,"showCount":18684,"zanCount":39,"manualWeight":39,"mainColor":40},223560,"yu-lan-guan-yin-tu-yi-ming-223560","渔篮观音图","鱼篮观音是三十三观音相之一，脚踏鳌背，手提盛鱼的竹篮或手提鱼篮的民间少妇形象，因是马郎之妇，故别名唤作”马郎妇观音“。\n佛教中三十三观音之一。手持鱼篮。明宋濂有《鱼篮观音像赞》：“序按《观音感应传》：唐元和十二年（公元817年），陕右金沙滩上有一美艳女子，絜篮鬻鱼，人竞欲室之。女曰：‘妾能授经，一夕能诵《普门品》者，事焉。’黎明，能者二十。女辞曰：‘一身岂堪配众夫邪！请易《金刚经》，如前期。’能者复居其半。女又辞，请易《法华经》，期以三日。惟马氏子能。女令具礼成婚。入门，女即死，死即糜烂立尽，遽瘗之。他日，有僧同马氏子启藏观之，惟有黄金锁子骨存焉。僧曰：‘此观音示现以化汝耳。’言讫飞空而去。自是陕西多诵经者。“",[49,50,23,51,84,1284,58,26,135,86,7,18912],"篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc18d37597ee238c26ceb0b013f0ee58.jpg","82.1x32",[],{"id":18917,"slug":18918,"title":6390,"dynasty":97,"author":10725,"museum":99,"description":18919,"tags":18920,"thumbUrl":18921,"material":319,"size":107,"collection":107,"collections":18922,"showCount":18684,"zanCount":39,"manualWeight":39,"mainColor":40},223277,"jin-gang-jing-hong-yi-fa-shi-223277","《节录金刚般若波罗蜜经》，书于1936年，全卷20米余，这个版本是弘一法师传世墨迹中的精品，手抄经书代表作。以行楷的风格书写此经，主要以中锋圆笔为用，线条甚有灵动之美，而起笔之处又多微微出锋而含蓄，具有很强的资料收藏价值。",[49,86,436,417,2601,7,97,1284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6b85ba1efb72fd52b463400028f1ba6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，明末清初书画家、文学家。一名祚明，字尔礼，又字玄恭，号恒轩，又自号归藏、归来乎、悬弓、园公、鏖鏊钜山人、逸群公子等，昆山（今属江苏）人。明代散文家归有光曾孙，书画篆刻家归昌世季子，明末诸生，与顾炎武相友善，有“归奇顾怪”之称，顺治二年在昆山起兵抗清，事败亡命，善草书、画竹，文章胎息深厚，诗多奇气。有《玄弓》《恒轩》、传世者名《归玄恭文钞》《归玄恭遗著》。",[49,105,51,3363,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0175a63c532bdaa1c34eaf797535b8ec.jpg","纵24.5厘米，横35.5厘米",[122],{"id":18934,"slug":18935,"title":18936,"dynasty":97,"author":4509,"museum":175,"description":18937,"tags":18938,"thumbUrl":18939,"material":634,"size":18940,"collection":70,"collections":18941,"showCount":18684,"zanCount":39,"manualWeight":39,"mainColor":75},223103,"san-xi-tang-ji-yi-tu-dong-bang-da-223103","三希堂记意图","图为人物故事题材，以山水、楼阁作为环境衬托。画以水墨为主，略作淡设色，笔墨清朗，儒雅涵蓄，富文人画韵致。史上关于王氏父子的故事有很多，此图即表现其中一则。据传，王献之自幼学书甚勤，全神贯注。王羲之趁其不备从身后欲拔其手中之笔，却未提起，于是称赞他握笔有力。图中，献之神态端凝，伏案作书，羲之正欲提笔，人物生动，画面情节性很强",[49,23,51,56,26,55,150,64,293,63,295,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01542a4359a4273ef1ba982d468592bb.jpg","纵201.5cm，横154cm",[70,242],{"id":18943,"slug":18944,"title":18945,"dynasty":18,"author":161,"museum":81,"description":18946,"tags":18947,"thumbUrl":18948,"material":107,"size":107,"collection":35,"collections":18949,"showCount":18684,"zanCount":1288,"manualWeight":39,"mainColor":40},222126,"jiao-yin-qin-si-tu-shen-zhou-222126","蕉阴琴思图","一块长形的太湖石，一株高大翠绿的芭蕉，下坐一名高士扶琴静思，左上题诗日：“焦下不生暑，坐生知古心。抱琴未须鼓，天地自知音。”落款长洲沈周。整幅作品笔简意赅，虽墨点无多却意蕴凿凿、余味深长，布局与《秋林独步图》如出一辙，其悠然自得之情跃然方寸。",[49,50,23,51,822,26,25,58,277,5861,178,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebd64831ee8b273146574817aaefdc3.jpg",[35,72],{"id":18951,"slug":18952,"title":18953,"dynasty":146,"author":8403,"museum":99,"description":18954,"tags":18955,"thumbUrl":18956,"material":319,"size":7872,"collection":35,"collections":18957,"showCount":18684,"zanCount":39,"manualWeight":39,"mainColor":40},221722,"san-hua-tu-juan-zhao-zhong-221722","三花图卷","赵衷，元代画家。生卒年不详，主要活动于元至正年间。字原初，号东吴野人，嘉兴（今浙江嘉兴）人，一作吴江（今江苏吴江）人。世本业医，能篆、隶，善画白描人物。山水、花卉，无所不能，有白描兰亭图。至正元年（一三四一）作墨花图。《书史会要、石渠宝笈、唐五代宋元名画选》",[49,23,51,52,135,26,27,308,488,552,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250f7b82e15859ba7790be28f7ad50c3.jpg",[35,242],{"id":18959,"slug":18960,"title":18961,"dynasty":115,"author":2788,"museum":175,"description":9157,"tags":18962,"thumbUrl":18963,"material":668,"size":9162,"collection":107,"collections":18964,"showCount":18684,"zanCount":39,"manualWeight":39,"mainColor":40},221484,"yun-shan-mo-xi-tu-mi-you-ren-221484","云山墨戏图",[49,23,51,52,26,56,279,64,2001,55,119,7,86,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66167bb6cc21347584025b2d972b0ccf.jpg",[],{"id":18966,"slug":18967,"title":18968,"dynasty":115,"author":14770,"museum":222,"description":18969,"tags":18970,"thumbUrl":18971,"material":18972,"size":18973,"collection":122,"collections":18974,"showCount":18684,"zanCount":39,"manualWeight":39,"mainColor":40},221461,"mu-ji-ji-xu-wen-tian-xiang-221461","木鸡集序","文天祥（一二三六——一二八二），为有宋一代名臣。吉州吉水人。字宋瑞，又字履善，号文山。年二十八岁时举进士，理宗亲拔为第一。考官王应麟对他考卷的评价是：[是卷古谊若龟鉴，忠肝如铁石，臣敢为得人贺。]文天祥后来落入敌手，宁死不屈的经历也确实证明了王应麟是一位有远见的考官。\n文天祥书法宗法二王，以《圣教序》为蓝本，参之以米芾的部分结字，在运笔中则以黄山谷悠扬笔致为指归，笔画粗细变化不大，但注意在布置安排中的疏密变化，观其作品仿佛有一股清泉在流溢，秀逸并富文人气息。\n对宋四家的开拓创新，自朱熹开始，不少人依然是特反对态度的，于是便出现了返归二王正尝的呼声，文天祥无疑是站在这一立场上的。但是，每位书家都难以摆脱一些优秀书家的影响，所以，尽管如此，文天祥或多或少受到宋四家影响。文天祥的这件作品点画精劲微妙，轻起轻落，显得清疏挺竦，有一股神逸癯然的姿态。在结字中他很注意留空，所以，他的每个字的结构显得十分空灵，即便在字与字的连结上，依然是以气势连贯为主，而不强调笔画之间的连带，另外，他将每个字的重心压得较低，故字显得沉稳而有姿态，这无疑是受了米芾的影响。在书写速度上，显得不疾不缓，雍容不迫，颇有大家的风范。\n他的这种笔画及行气的处理方式，可能是与他采用篆法与章草的方法有关，因为，他对于这两种字体，看来也并不陌生，所以，我们可以肯定地说，文天祥在书法上是比较向往魏晋以上的古朴书风的。\n从整个宋代的书法格局来看，文天祥书法并不占很重要的位置，然而，由于其刚正不阿的品性，为后代读书人确立了一个榜样，古人常把人品与书品联系起来，所以在后人的评价中也基本上是出于这一立场。如明王鏊说：[公之精忠大节，焯焯天地间，而字画精妙，虽纸墨之微，亦皆不苟。]这是说他处事为人端严不苟。而明李时勉则是由字仰见其人了：[观公札子，其忠正之气，凛然见于言词之间，俯仰概慕之余，若将见之。]这些对于通过学习书法来提高自己的品德修养，都不无借鉴和警戒的意义。",[49,86,119,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e23c04ce51184fe7d6f62aca85de72f.jpg","纸本 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后，隐居桃源深处，于四十岁公元1651年 出家做了和尚。其后，便到各地云游，与高僧们参究禅学。四十三岁(公元1654年)到了南京，住在城南大报恩寺，有时住栖霞寺和天龙古院，晚年定居牛首祖堂山幽栖寺十余年，一直到老终。\n顺治十三年(公元1656年)髡残和清代学术大师顾炎武结为朋友，一见如故，情投意合，常在一起饮酒赋诗，切磋学问。他最知己的朋友是程正揆，二人既是同乡，又是佛教徒，都擅长诗、书、画。顺治十四年程辞官后回到南京，常去栖霞、牛首，髡残老年多病，去城里看病，也是宿在程氏家。他们共同商讨艺术，鉴赏书画，一起作画。当时“金陵八家”中之龚贤对他们二人的艺术推崇至极，龚在给周亮工题程正揆《山水册》里说：“金陵画家能品最夥，而神品、逸品亦各有数人，然逸品首推二谿：曰石谿，曰青谿。石谿，残道人也，青谿，程正揆侍郎也，皆寓公。残道人画粗头乱服，如王孟津清书法家王铎书法，程侍郎画冰肌肉骨，如董华亭明季书画家董其昌书法。百年来论书法则王、董二公应不让，若论画艺，则今日两谿又奚肯多让乎哉。”可见髡残、程正揆在南京画坛的地位，是非常突出的了。",[49,50,23,51,52,26,25,55,56,967,150,61,62,2956,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eabf1eab9024ddbec39703a04a2ae13.jpg",[],{"id":19190,"slug":19191,"title":19192,"dynasty":146,"author":14306,"museum":81,"description":19193,"tags":19194,"thumbUrl":19195,"material":779,"size":19196,"collection":107,"collections":19197,"showCount":74,"zanCount":743,"manualWeight":39,"mainColor":40},231336,"chun-shan-qing-ji-tu-yuan-dai-ji-jin-zhi-wu-ma-wan-231336","春山清霁图－元代集锦之五","画中高山层层迭迭突起，林木长长矗立，清溪蜿蜒，渔舟摇摇，山村亭阁，曲径相通，滋润的笔墨，体会出大地草木华兹。款题：“春山清霁（楷书）。至正丙午岁（1366年）春正月望日，马文璧画于书声斋。”丙午（1366年）去黄公望《富春山居》之“庚寅”（1350年）题记，只有满15年之距离。全幅结构皴法，大抵出于元黄公《望富山居图》，如以近景主山峰的造形，远山一列丘陵起伏，近者淡远者浓，与皴法运用，勾线涂抹，几与《富春山居》相同；此“春山”也不尽让人想起同样的画《富春山居》。\n黄公望《富春山居》（无用师卷）山峰树石草木，表现出来的是重视笔趣与墨意，从元人的画迹来了解，黄公望《富春山居》成为一种文人画山水的“典范”。也就是以五代北宋董源、巨然为主的风格传承。从赵孟頫为起点，尔后，另一位吴镇也有充满着“披麻皴”风格的人物。那踵步者足为代表，应是这件马琬《春山清霁》。款题所指：“画于书声斋（行书），”为夏士文之斋居，也是云间夏氏知止堂裔孙。夏士文为夏士良文彦兄弟行。杨维祯至正二十年庚子秋曾为作《书声斋记》。元黄公望《富山居图》款题即书于夏氏“知止堂”。夏氏云间“知止堂”。主人为谁？杨维桢又有《知止堂记》，主人是云间老人夏谦齐氏，取《老子》之经有警人者，曰“知止不殆”的典故，堂有匾是赵孟俯所书。其四叶孙颐贞，在兵火之后，重建。马琬为杨维祯学生，张雨、黄公望均与杨维祯友好。马琬生平也是一位亲炙过黄公望的人物。",[23,51,52,26,55,56,150,64,61,62,59,7,86,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb9a84ff4dd4e7bbd78e820d09fd9b8d.jpg","纵27厘米，横102．5厘米",[],{"id":19199,"slug":19200,"title":444,"dynasty":97,"author":1082,"museum":99,"description":1382,"tags":19201,"thumbUrl":19202,"material":689,"size":690,"collection":107,"collections":19203,"showCount":74,"zanCount":39,"manualWeight":39,"mainColor":40},230276,"shan-shui-tu-ce-zhu-da-230276",[23,26,55,24,7,56,137,150,727,751],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4472f7aa214cb40bd93f48ed4bffbe09.jpg",[],{"id":19205,"slug":19206,"title":7228,"dynasty":97,"author":5795,"museum":99,"description":19207,"tags":19208,"thumbUrl":19209,"material":107,"size":107,"collection":107,"collections":19210,"showCount":74,"zanCount":39,"manualWeight":39,"mainColor":40},228965,"shan-shui-ce-kun-can-228965","淡赭晕开薄暮天色，月色悬于天际晕出朦胧清光，远山隐在烟岚之中，如被夜雾浸得温润朦胧。近林以焦墨挥写，笔意苍劲老辣，繁枝密叶错落有致，将山野草木萧森之态尽显。\n\n蜿蜒山径之上，白衣策杖人缓步行游，为幽密林色添上清寂文人气韵。画作以干湿浓淡的墨色变化，揉合出月夜空山的空濛辽远，静穆萧散的禅意藏在笔底，将夜游林麓的幽闲况味融在烟霞里，淡远悠长的林下之思随月色漫溢开来，清寂悠然直入人心。",[49,23,51,50,26,55,7,56,944,2142,64,58,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8628031461d94722f467f710beefc78.jpg",[],{"id":19212,"slug":19213,"title":19214,"dynasty":18,"author":19215,"museum":99,"description":19216,"tags":19217,"thumbUrl":19218,"material":107,"size":107,"collection":107,"collections":19219,"showCount":74,"zanCount":39,"manualWeight":39,"mainColor":40},228404,"mo-he-tu-li-zhou-xiang-yuan-bian-228404","墨荷图立轴","项元汴","此作虚实相生，以文绘相融尽显文人意趣。右上角题诗留白衬映画面，下半段挥写墨荷。大写意泼染荷叶，墨色干湿浓淡交织，晕染出翠盖舒展的蓬勃野态；花瓣以清隽白描勾勒，尽显菡萏清雅绰约之姿。挺劲荷茎点缀苔斑，舒展兰草环绕侧畔，更添幽塘清逸之趣。\n\n整幅以极简水墨抒怀，将荷塘晓风的清寂诗意融于笔底，以简驭繁尽显晚明文人画重韵尚意的风骨，在水墨氤氲间晕染出空灵澹远的幽塘意境，是借物寄怀的文人水墨佳构。",[49,23,51,84,26,102,103,104,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e662119b33919b8f58181bb78653082.jpg",[],{"id":19221,"slug":19222,"title":19223,"dynasty":18,"author":955,"museum":19224,"description":19225,"tags":19226,"thumbUrl":19227,"material":88,"size":107,"collection":107,"collections":19228,"showCount":74,"zanCount":39,"manualWeight":39,"mainColor":40},228296,"lao-zi-qi-niu-chen-hong-shou-228296","老子骑牛","1","画面以清简之笔勾勒出超脱意趣，老子清癯古雅，神色淡然恬和，衣褶线条凝练劲挺，带着金石质感，古拙高逸。水牛憨拙沉稳，缓步渡溪，笔墨朴拙间尽显生动意态。布景疏朗，几竿修竹斜逸出尘，淡赭坡岸搭配墨色流云，留白铺就出空寂悠远的道家天地。设色雅致柔和，浅绛基调晕染出古淡空灵的氛围，将清逸超脱的意境尽数铺展，把天人合一的玄妙意趣藏于笔底，尽显古雅奇崛的画风特质，沉静里裹挟着出尘的悠远韵味。",[49,23,25,54,58,1115,358,277,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0ce83cdace5474ad255b551c4c99211.jpg",[],{"id":19230,"slug":19231,"title":19232,"dynasty":115,"author":207,"museum":99,"description":19233,"tags":19234,"thumbUrl":19235,"material":107,"size":107,"collection":107,"collections":19236,"showCount":74,"zanCount":743,"manualWeight":39,"mainColor":75},227350,"gong-nv-tu-tuan-shan-yi-ming-227350","宫女图团扇","团扇，又称宫扇、纨扇，是中国汉族传统工艺品及艺术品，是一种圆形有柄的扇子，它代表着团圆友善、吉祥如意 [1] 。团扇起源于中国。扇子最早出现在商代，用五光十色的野鸡毛制成，称之为“障扇”。\n当时，扇子不是用来扇风取凉，而是作为帝王外出巡视时遮阳挡风避沙之用。西汉以后，扇子开始用来取凉。三国时诸葛亮轻摇鹅毛扇，妙计横生，运筹帷幄。羽扇出风缓软，不入腠理。东汉时，大都改羽扇为丝、绢、绫罗之类织品，以便点缀绣画。一轮明月形的扇子称之为“纨扇”或“团扇”，也叫“合欢扇”。当时扇子有长圆、葵花、梅花、六角、匾圆之形；亦有木、竹、骨等材之柄；还有扇坠、流苏、玉器之饰。\n宋以前称扇子，都指团扇。王昌龄《长信愁》诗：“奉帚平明秋殿开，且将团扇共徘徊”。《杖扇新录》载：近世通用素绢，两面绷之，或泥金、瓷青、湖色，有月圆、腰圆、六角诸式，皆倩名人书画，柄用梅烙、湘妃、棕竹，亦有洋漆、象牙之类。名为“团扇”。圆形或近似圆形扇面，扇柄不长。现在的团扇扇柄较长，越来越符合大众审美。",[49,50,23,51,822,25,58,54,136,181,180,1860,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3a0f76cfffbd1d013df65fbdf7e9d6f.jpg",[],{"id":19238,"slug":19239,"title":19240,"dynasty":18,"author":9186,"museum":99,"description":12300,"tags":19241,"thumbUrl":19242,"material":319,"size":19243,"collection":107,"collections":19244,"showCount":74,"zanCount":1288,"manualWeight":39,"mainColor":40},222243,"yue-yi-lun-wang-chong-222243","乐毅论",[49,86,417,26,7,5943,51,134,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73c8ad259d9b2083b71961ca8508794a.jpg","29.63*90.31",[],{"id":19246,"slug":19247,"title":19248,"dynasty":18,"author":19249,"museum":81,"description":19250,"tags":19251,"thumbUrl":19252,"material":88,"size":19253,"collection":242,"collections":19254,"showCount":74,"zanCount":39,"manualWeight":39,"mainColor":40},221877,"yun-lin-shu-shi-zhou-gu-zheng-yi-221877","云林树石轴","顾正谊","顾正谊 ， 明代画家、诗人。字仲方，号亭林。华亭（今上海松江）人。父中立，官至参知政事。正谊以父荫，于万历时由太学生官中书舍人。晚年筑小亭园于江畔以终老，故号亭林。工画，早年即以诗画驰名江南，后游长安，名声大噪。董其昌曾记云：“吾郡画家，顾仲方中舍最著。其游长安，四方士大夫求者填委，几欲作铁门限以却之，得者如获拱璧。”",[49,23,26,84,55,871,85,277,86,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca8b4dda7acc4293094d57d245fb08e.jpg","92.6 x 38.8 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。\n该画作画面人物纤细娇弱，娟秀清丽，刻画细致工整，具典型的费氏风格。\n环境则以逸笔写出，淡彩晕染，墨笔勾皴，空灵秀润，以衬托出中心人物。\n费丹旭（182—185年），字子苕，号晓楼、环溪生、偶翁，乌程（今浙江湖州）人。\n自幼从父珏（芝原）习画，擅绘仕女，笔致轻灵淡雅，颇得女性娟秀之美、柔弱之态。\n工于肖像，以如镜取影、情神酷肖为人称道。\n亦能山水、花卉，取法恽寿平，笔墨洁净清丽，具闲散意趣。\n长年流寓上海、江浙一带，交游于文士间，艺术修养广博深邃。",[23,51,54,25,136,528,2954,60,277,137,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41e746477fca8a1d104025dece421627.jpg",[],{"id":19503,"slug":19504,"title":19505,"dynasty":97,"author":19506,"museum":99,"description":19507,"tags":19508,"thumbUrl":19509,"material":107,"size":107,"collection":107,"collections":19510,"showCount":19345,"zanCount":39,"manualWeight":39,"mainColor":75},229004,"ma-gu-xian-shou-tu-huang-shan-shou-229004","麻姑献寿图","黄山寿","画面里仕女温婉端柔，手捧仙瓶静立，衣纹舒展灵动，衣饰纹饰细密雅致，尽显秀润华美感。身旁老者苍颜皓首，拄蟠桃树杖，神态矍铄安然。此作用笔工写相融，线条清劲流畅，设色调和古雅，将二人仙逸气质烘托恰到好处。整体画面祥和悠然，把福寿吉庆的美好意蕴藏于笔墨之间，尽显传统吉祥题材画作的精妙意趣，以细腻的人物塑造传递出雅致祥瑞的贺寿主题，尽显古典人物画的匠心之美。",[23,51,84,25,54,58,136,181,180,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57f630caf622323c7378dd7917517fa5.jpg",[],{"id":19512,"slug":19513,"title":19514,"dynasty":115,"author":2788,"museum":99,"description":19515,"tags":19516,"thumbUrl":19517,"material":107,"size":107,"collection":107,"collections":19518,"showCount":19345,"zanCount":1288,"manualWeight":39,"mainColor":40},227705,"mi-you-ren-si-ma-huai-shan-shui-he-juan-mi-you-ren-227705","米友仁司马槐山水合卷","米友仁（1074—1153年，一作1086—1165年），南宋书画家。一名尹仁，字元晖，晚号嫩拙老人，祖籍太原(今属山西)，迁襄阳(今属湖北)，定居润州(今江苏镇江)。米芾长子，人称“小米”。早年即以擅长书画知名，徽宗宣和四年（1122年）应选入掌书学。南渡后，官兵部侍郎，敷文阁直学士。高宗赵构曾命他鉴定法书，但其鉴别书画之际“往往有一时附会迎合上意者”。善行书，人谓其虽不逮其父，然如王、谢家子弟，自有一种风格。其山水画发展了米芾技法，略有变化，别具面目。用水墨横点，连点成片，构成“烟云变灭，林泉幽壑，生意无穷”的画面，强调“借物写心”，崇尚“平淡天真”，运笔草草，自称“墨戏”，对后来“文人画”中的笔墨纵放、脱略形状颇有影响。自题于《潇湘图》长卷中称：“夜雨欲霁，晓烟既泮，则其状类此，余盖戏为潇湘，写千变万化不可名神奇之趣。”",[49,23,51,52,26,55,86,7,56,64,150,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f2f43864087629e2b88a87765eedeee.jpg",[],{"id":19520,"slug":19521,"title":19522,"dynasty":115,"author":11118,"museum":99,"description":19523,"tags":19524,"thumbUrl":19525,"material":107,"size":107,"collection":107,"collections":19526,"showCount":19345,"zanCount":39,"manualWeight":39,"mainColor":40},227632,"pu-tu-xu-gao-ou-yang-xiu-227632","谱图序稿","欧阳修《谱图序稿》，实际上包括《欧阳氏谱图序》和《夜宿中书东閤》七律一首。从跋文中可知前者作于至和二年(1055)，作者时年四十九岁，后者作于嘉祐八年(1063)，时年五十七岁。 \u2028 卷中钤有宋中书省印九叠朱文印记及清内府鉴藏印记多方。卷后有宋周必大，元张雨、欧阳玄，明宋濂等人题跋。《谱图序稿》书法左边“右欧阳氏谱图序稿”8个字为周必大所题。南宋名臣周必大写于淳熙乙巳的三篇题跋，每篇题跋的右方都盖上了“中书省印”，足足盖了三颗，卷中还有明宋濂题跋云：“欧阳公《谱图序》，作于至和二年乙未，后一百三十一年，平园周益公得公所具检槁一段并嘉祐八年癸卯夜宿中书东阁诗八句，联为一卷，诗阴有中书所录裕陵出阁亲挥两行，亦不弃去，而附见之，且各题其左，而识以中书省印者三，卷首又识以益国之章，其慎重之意至矣。”\n此卷南宋时由周必大所藏，元代时欧阳修六世孙欧阳耐轩得于钱塘(今浙江杭州)，又传其八世孙欧阳彦珍，清嘉庆时入内府收藏。",[86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd2ac32deeae8c09cbc2f6c83a1b2097.jpg",[],{"id":19528,"slug":19529,"title":19530,"dynasty":115,"author":221,"museum":99,"description":16549,"tags":19531,"thumbUrl":19532,"material":107,"size":107,"collection":107,"collections":19533,"showCount":19345,"zanCount":39,"manualWeight":39,"mainColor":40},227487,"hai-tang-bai-tou-tu-juan-zhao-ji-227487","海棠白头图卷",[49,23,51,52,54,26,27,1170,29,30,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250407a0c16f93208498d2d02f6623ad.jpg",[],{"id":19535,"slug":19536,"title":19537,"dynasty":115,"author":1699,"museum":99,"description":19538,"tags":19539,"thumbUrl":19540,"material":107,"size":107,"collection":107,"collections":19541,"showCount":19345,"zanCount":1288,"manualWeight":39,"mainColor":75},227416,"zhao-ling-liu-jun-tu-juan-chang-juan-zhao-lin-227416","昭陵六骏图卷(长卷)","《昭陵六骏图》卷，金，赵霖作，绢本，设色，纵27.4厘米，横444.9厘米。\n此图依据唐太宗昭陵六骏石刻而绘，全卷分六段，每段画一马，旁有题赞。骏马的形态既忠于原作，又注意发挥绘画之长，通过遒劲的笔法和精微的设色，将马匹的毛色表现得更加真实自然，战骑驰骋疆场的雄姿也刻画得十分生动。无论是奔驰、腾跃，还是徐行、伫立，都能曲尽其态。\n六骏中，有侍者率引的飒露紫最为精采。据《旧唐书·王行恭传》记载：“初，从讨王世充，会战于邙山之上，太宗欲知其虚实强弱，乃与数十骑冲之，直出其后，众皆披靡，莫敢当其锋，所杀伤者甚众。寻有劲骑数人追及太宗，矢中御马，行恭乃回骑射之，发无不中，余贼不敢复前，然后下马拔箭，以其所乘马进太宗。行恭于御马前步执长刀，巨跃大呼，斩数人，突阵而出，得入大军。贞观中，有诏刻石为人马以像行恭拔箭之状，立于昭陵阙前。”画面选取的正是王行恭为飒露紫拔箭的刹那情景，粗壮膘悍的王行恭，右手拔箭，左手推抚，身体后倾，目光温和，疼爱之情溢于言表。受伤的马驯顺地伫立，马头与王行恭紧紧相贴，也极富感情色彩。飒露紫前腿紧绷，后腿微屈，极细微地描绘出了战马强忍剧痛的动态。在细节刻画方面，此画较之石刻更加精微。\n其余五匹，拳毛騧为李世民平刘黑闼时所乘，特勒骠为征宋金刚时所骑，均作徐步行进状，双耳竖起，目光有神。身中九箭的拳毛騧，起步轻捷，头部前昂，更显得英俊坚毅，透出久经沙场之神骏的不凡气质。白蹄乌、青骓、什伐赤分别为李世民与薛仁果、窦建德、王世充作战时乘骑，皆作奔驰之状，四蹄腾空，鬃毛飞扬，突出了飞奔的动态和勇猛的冲势，呈现出冲锋陷阵时的雄姿。六匹骏马以不同的动作、神情、气势，表现出共有的轩昂雄健气宇，在历代战马图像中堪称上乘之作。\n从画风看，此图明显吸收了汉族艺术传统，继承唐和北宋时代的画马技法，尤多唐代韩干遗韵。造型准确朴拙，线描柔和匀细，设色浓重沉厚，渲染富有质感。\n此图出自金代画家赵霖之手，为其存世孤本。每段题赞为金代著名书法家赵秉文所写，赵的流传书迹也甚少。唐昭陵六骏浮雕在宋初被勒石摹刻，此画与石刻拓片的线条结构几乎一致，赵霖很可能参酌了北宋的石刻拓片（原石刻现藏陕西省博物馆）而作。\n该卷引首有乾隆帝书《昭陵石马歌》，后幅有赵秉文题记，指出作者是赵霖。",[49,50,23,52,54,25,225,58,86,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdd803f502ab548d08a4d7881bc0191c.jpg",[],{"id":19543,"slug":19544,"title":19545,"dynasty":97,"author":3423,"museum":99,"description":19546,"tags":19547,"thumbUrl":19548,"material":107,"size":107,"collection":107,"collections":19549,"showCount":19345,"zanCount":39,"manualWeight":39,"mainColor":40},224376,"hua-hui-qi-shi-ce-shi-er-kai-6-ju-lian-224376","花卉奇石册-十二开-6","此小品清逸雅致，构图疏密相宜。主石瘦透空灵，以水墨晕染出嶙峋肌理，通透孔洞尽显怪石清奇之态，石上菖蒲青绿鲜活，柔叶劲挺，生机跃然纸面。右下角小石块缀生细草，与主石菖蒲呼应，平衡画面更添野趣。\n\n设色淡朴雅致，赭色勾勒石纹衬出底色古拙，水墨干湿互用，将石之坚硬与草之柔润对比鲜明。笔简意足，藏幽居赏玩的悠然心境于尺幅，尽显文人案头清供的闲逸雅趣。",[49,23,51,24,25,54,277,251,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcee3360256c0b1e325bd7e4e054ad8bc.jpg",[],{"id":19551,"slug":19552,"title":19553,"dynasty":97,"author":4047,"museum":99,"description":19554,"tags":19555,"thumbUrl":19561,"material":107,"size":107,"collection":107,"collections":19562,"showCount":19345,"zanCount":39,"manualWeight":39,"mainColor":75},224111,"yi-jian-shuang-lu-tu-qian-long-224111","一箭双鹿图","画面中纵马弯弓的骑手利落射出箭矢，双鹿中箭颓然仆地，骏马昂首扬蹄，骑手身姿果决干练，将骑射的飒爽力道尽显无余。背景里苍松虬劲、层林尽染秋意，远山澹澹铺展，把围猎的迅疾动感揉入山野林泉的静穆悠远间。\n\n右上角题诗以笔墨追怀射猎快意，诗画相映，将驰骋校猎的豪情与秋日林野的清旷融为一体。写实笔触细致勾勒出鞍马、人物的衣饰肌理，既带着纪实性的鲜活，又晕染出诗意闲情，把骑射勇武和林下逸趣完美糅合，是兼具叙事感与审美性的精妙之作。",[49,23,25,54,58,225,5835,1116,56,19556,8566,751,17707,19557,7,19558,19559,19560],"苍松","围猎","题诗","豪情","诗意闲情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d24e76a0609e08c272f52e9f257d0a4.jpg",[],{"id":19564,"slug":19565,"title":19566,"dynasty":115,"author":207,"museum":175,"description":19567,"tags":19568,"thumbUrl":19569,"material":227,"size":19570,"collection":107,"collections":19571,"showCount":19345,"zanCount":39,"manualWeight":39,"mainColor":75},223481,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-223481","摹顾恺之洛神赋图","描绘了作者对洛水之神宓妃的爱慕以及神人殊隔、不能交接的惆怅。作品将不同情节置于同一画卷，洛神和曹植在一个完整的画面的不同场景中反复出现，以山石、林木及河水等背景，将画面分隔成不同情节，使画面既分隔又相联接。图中山石、林木，反映了早期山水画的表现技法和面貌。",[50,23,51,52,134,135,25,54,58,405,56,59,66,12696,7755,7754,64,1902,61,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba227c4592b380f204fd43c2f9873fd7.jpg","644x26.1厘米",[],{"id":19573,"slug":19574,"title":19575,"dynasty":97,"author":9011,"museum":2430,"description":19576,"tags":19577,"thumbUrl":19578,"material":1561,"size":19579,"collection":107,"collections":19580,"showCount":19345,"zanCount":39,"manualWeight":39,"mainColor":40},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",[49,23,25,26,403,1116,8840,531,2956,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04307a52460e0e28b559ac3ccee2c932.jpg","145cmx75cm",[],{"id":19582,"slug":19583,"title":19584,"dynasty":18,"author":2181,"museum":222,"description":19585,"tags":19586,"thumbUrl":19587,"material":319,"size":19588,"collection":122,"collections":19589,"showCount":19345,"zanCount":39,"manualWeight":39,"mainColor":40},220953,"lei-gao-ben-juan-dong-qi-chang-220953","勒稿本卷","《楷书勒搞本卷》是董其昌亲笔书写的明朝万历皇帝对其父母、妻子封赏的诏书。卷首有乾隆御笔题跋,原收入清宫《石渠宝笈》。董其昌楷书《楷书勒搞本卷》为高丽笺纸乌丝栏格楷书告身二通,装裱成一卷，前段为追封其父董汉儒、母沈氏告身,后段为封董其昌本人及夫人龚氏等告身。前者书于明万历二十四年(1596)闰八月二十四日,后者书同年同月二十八日,二者仅隔四天。引首有乾隆长题,讲述诰封产生及演变。",[86,119,52,7,2601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3055e911536ebd4bd7921f02a8f218cf.jpg","横4143cm,纵26.8cm",[122],{"id":19591,"slug":19592,"title":19593,"dynasty":146,"author":431,"museum":81,"description":19594,"tags":19595,"thumbUrl":19596,"material":319,"size":19597,"collection":35,"collections":19598,"showCount":19345,"zanCount":39,"manualWeight":39,"mainColor":40},220838,"shuang-jun-tu-juan-zhao-meng-fu-220838","双骏图卷","“书画同源”这四个字简单地概括出了书法和绘画之间的相互关系。书法和中国画作为中国最传统的两门艺术，本就存在着许多相似之处。笔墨纸砚作为书写时的必要工具，同时也是中国画在绘画时的必要工具。另外，书法作为一门线的艺术，其本身在于研究线的多样性，同样，中国画如果失去了线，本身也毫无艺术感可言。\n由此可见，书法和绘画本身是相同的。“书画同源”的绘画理想是通过文人画家的努力实现的。赵孟頫作为一个艺术全才，在书法和绘画领域都有着极高的成就，为书法和绘画的结合提供了坚实的基础。\n赵孟頫在绘画中追求画面的真实和完美，身体力行，擅长山水、花鸟、人物、鞍马和竹石墨戏，同时亦精通工笔、写意、设色、水墨，并且在长期的实践中，他逐渐厚积薄发，取得了高超精湛的技艺，以其凝重简练，浓丽隽秀的艺术语言，通过不断的努力，他将书法与绘画用笔有机地结合起来，找到了书画的内在联系，转移了一代画风，对元代文人画的理论、技法、风格的兴盛起到了开创性的作用，在中国绘画历史上占据了举足轻重的地位，尤其是文人画史留下了浓郁的一笔。",[49,23,51,50,52,25,54,225,967,9552,6892,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F915d4bbcd23d66254959e7c9838e7b20.jpg","纵19cm",[35,72],{"id":19600,"slug":19601,"title":19602,"dynasty":146,"author":1303,"museum":2865,"description":19603,"tags":19604,"thumbUrl":19605,"material":319,"size":19606,"collection":70,"collections":19607,"showCount":19345,"zanCount":39,"manualWeight":39,"mainColor":75},220802,"shu-lin-tu-zhou-ni-zan-220802","疏林图轴","书生的告老还乡之路，和出门赶考一样的漫长。似乎，人的出门远走，就是为了白发还乡，叶落归根。",[49,23,51,84,26,55,56,137,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3069f922f766f4292a865aab0bf382ef.jpg","68x57cm",[70,242],{"id":19609,"slug":19610,"title":19611,"dynasty":146,"author":376,"museum":525,"description":19612,"tags":19613,"thumbUrl":19615,"material":33,"size":19616,"collection":70,"collections":19617,"showCount":19345,"zanCount":743,"manualWeight":39,"mainColor":40},220091,"zhi-lan-shi-tu-wang-meng-220091","芝兰室图","王蒙《芝兰室图》是为杭州净慈寺古林昌公所作。卷首绘秃山怪石，重岩飞瀑。山石不着树木，仅有数丛荒草于风中摇曳。过瀑布，有茅屋数椽，为古林和尚之芝兰室。芝兰室庭院临水，岸边遍植兰与芝;庭院前厅供奉佛像，左右置椅，内置芝兰数盆;厅外长松入云，枝苍叶翠。松荫之下，僧儒席地而坐，听泉论道。小童手捧芝草侍立身后。图左绘山崖壁立，各色杂树遮天蔽日，曲折的小径掩映其间。卷尾绘岩穴临径，岩穴中三僧一儒相谈甚欢，石径之上，侍者穿梭。\n《芝兰室图》卷首篆题有“宝石泉壑，芝兰室图”八字，卷中所绘飞瀑流泉、松风万壑。宝石山位于西湖北里湖之北岸，山体属火成岩中的流岩和凝灰岩，含氧化铁而呈赭红色。在日光的映照下，满山流霞缤纷，熠熠闪光如宝石一般。王蒙绘制此卷亦以写生法为之，山石略施淡赭石红以应，正所谓“随类赋彩”。",[49,50,23,51,52,26,25,55,56,59,277,63,137,19614,293,150,64,7,86,119,541],"古林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b969ba820d4e2d7d9f47016d1cf0529.jpg","画心：25×103 cm题跋：25×228 cm.",[70],{"id":19619,"slug":19620,"title":19621,"dynasty":97,"author":19622,"museum":446,"description":19623,"tags":19624,"thumbUrl":19626,"material":152,"size":107,"collection":70,"collections":19627,"showCount":19345,"zanCount":39,"manualWeight":39,"mainColor":75},219809,"ping-sha-luo-yan-yun-qiao-zhu-ren-219809","平沙落雁","云樵主人","此作用淡墨晕染出平远空阔的秋江暮色，远岸沙洲隐现于昏黄霭气之中，雁群点点掠过长空，次第栖落平沙，将秋日暮景的清寂铺展开来。近景枯木萧疏，残叶缀于寒枝，幽人策蹇徐行于林畔，更添幽闲野趣。\n\n笔墨简淡清逸，以浅赭铺就暮色底色，淡墨勾绘水岸枯槎，不着浓艳色彩，却将平沙落雁的清远意境渲染尽致。题诗与画面相映，把霜天暮景的荒寒淡远，和林泉高致的澹泊闲静相融，观之如闻晚雁轻鸣，似觉江风掠沙，尽显文人寄情林泉的幽寂意趣。",[23,25,56,66,137,967,19625,7,119,64],"沙地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a02bdb4ff53f238c50f9692217fd07f.jpg",[70],{"id":19629,"slug":19630,"title":19631,"dynasty":18,"author":9393,"museum":81,"description":19632,"tags":19633,"thumbUrl":19634,"material":152,"size":19635,"collection":70,"collections":19636,"showCount":19345,"zanCount":39,"manualWeight":39,"mainColor":75},219475,"bin-feng-tu-xie-shi-chen-219475","豳风图","豳，一作邠，国名。在岐山之北，原隰之野，周先世公刘立国于此。成王立，周公摄政。作豳风七月之诗一篇，述后稷公刘政教之始。述其政教之中，则为豳雅。述其政教之成，则为豳颂，以戒成王。",[23,51,84,26,55,7,56,58,59,60,64,61,63,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F476c65952113e072f06deae20e1e7a3a.jpg","196.6x109厘米",[70],{"id":19638,"slug":19639,"title":19640,"dynasty":97,"author":736,"museum":81,"description":19641,"tags":19642,"thumbUrl":19643,"material":152,"size":19644,"collection":72,"collections":19645,"showCount":19345,"zanCount":743,"manualWeight":39,"mainColor":40},219423,"shi-jun-tu-zhi-chi-hua-ying-zhou-lang-shi-ning-219423","十骏图之赤花鹰轴","郎世宁（一六八八－一七六六）意大利人。十九岁入天主教耶稣会为修士，习画与建筑。二十七岁来华传教，召入内廷供奉。善画人物、花鸟，尤善画马。郎氏奉写生边疆藩臣进贡之良马，以与真马近似之大小尺寸绘之，生动逼真。画成于乾隆八年（一七四三）。",[23,50,84,25,54,225,1116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F148a10de8ec028577bca1ae64f04eaac.jpg","234.6x270.8",[72],{"id":19647,"slug":19648,"title":19649,"dynasty":18,"author":2818,"museum":175,"description":19650,"tags":19651,"thumbUrl":19652,"material":319,"size":19653,"collection":122,"collections":19654,"showCount":19345,"zanCount":39,"manualWeight":39,"mainColor":40},219146,"xing-shu-yang-jian-tie-ye-liu-jue-219146","行书·仰间帖页","此帖书法类赵孟頫，结体圆健规整，用笔娴熟、洒脱、颖秀，笔画之间连带自然且行气酣畅淋漓，这与他曾经提到朋友所赠之华丽笺纸的愉悦心境是分不开的。",[49,50,23,51,24,119,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f590e552490dec8731a0a67301c8ea6.jpg","纵27.9厘米，横42厘米",[122],{"id":19656,"slug":19657,"title":19658,"dynasty":97,"author":19659,"museum":81,"description":19660,"tags":19661,"thumbUrl":19664,"material":152,"size":19665,"collection":70,"collections":19666,"showCount":19345,"zanCount":1288,"manualWeight":39,"mainColor":40},218723,"fang-zhao-qian-li-jiu-cheng-gong-tu-sun-hu-218723","仿赵千里九成宫图","孙祜","这幅画描绘的是一座高大的宫殿，人物众多，尺寸不大，是清朝宫廷画家孙祜和丁观的作品，赵伯驹的原作还在，相比之下，孙祜的画一定是再创作，精度极高。",[23,51,50,84,19662,1962,54,25,56,59,19663,150,64,58,1019,8760,295,86,7],"青绿山水","宫殿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cdff0e72c31b9ba871ad9ac21069156.jpg","43.4×42.3cm",[70],{"id":19668,"slug":19669,"title":19670,"dynasty":18,"author":19671,"museum":1510,"description":19672,"tags":19673,"thumbUrl":19674,"material":239,"size":19675,"collection":199,"collections":19676,"showCount":19345,"zanCount":39,"manualWeight":39,"mainColor":40},218411,"mao-nv-tu-sun-jue-218411","毛女图","孙珏","松枝苍劲盘桓，草木葱茏点缀，扇面间铺展一方清幽天地。数人衣袂轻扬，姿态闲雅，或低语浅笑，或凭杖伫立，仙逸之态尽显。笔墨细腻处，衣纹流转如行云，树石皴擦见古意；设色淡雅，晕染自然，更添悠远之韵。画面虽咫尺，却藏山林之静谧、人物之超然，似将尘嚣隔绝在外，只留一份清宁与古雅，引人沉醉于这方隐逸仙境之中。",[49,23,51,822,25,54,58,64,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F863ccaf21cf3e252db5ff5928ee8576e.jpg","25.1x23.5",[199],{"id":19678,"slug":19679,"title":19680,"dynasty":18,"author":1014,"museum":175,"description":19681,"tags":19682,"thumbUrl":19683,"material":88,"size":19684,"collection":242,"collections":19685,"showCount":19345,"zanCount":39,"manualWeight":39,"mainColor":40},218405,"wang-gong-bai-xiang-tu-tang-yin-218405","王公拜相图","这幅画表现的是王鏊上山做官，是唐寅作为弟子画的，所以画得很用心。王鏊在1506年左右来到宫廷，当时唐寅36岁，其画风，山石树木如李唐，人物如李公麟，无疑是真迹。",[49,23,51,52,26,25,54,55,86,119,7,58,56,59,64,150,63,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc31d64915532e56e517bdba4db86340f.jpg","73.5x20",[242],{"id":19687,"slug":19688,"title":4719,"dynasty":146,"author":207,"museum":99,"description":19689,"tags":19690,"thumbUrl":19691,"material":88,"size":107,"collection":199,"collections":19692,"showCount":19345,"zanCount":39,"manualWeight":39,"mainColor":75},218276,"bu-dai-he-shang-tu-yi-ming-218276","这位布袋和尚被画上了宽大的袖子，脸上挂着微笑，地上放着一根锡杖。只用了几笔，这一幕就把一个态度简单而天真的和尚带入了现实。",[23,26,58,1284,7,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9be83ceba1bfced12ebb72dc642dd94f.jpg",[199],{"id":19694,"slug":19695,"title":19631,"dynasty":146,"author":19696,"museum":1467,"description":19697,"tags":19698,"thumbUrl":19701,"material":88,"size":19702,"collection":199,"collections":19703,"showCount":19345,"zanCount":39,"manualWeight":39,"mainColor":40},218245,"bin-feng-tu-lin-zi-huan-218245","林子奂","《豳风图》全卷共分七段，依次为《七月》《鸱号》《东山》《破斧》《伐柯》《九罭》《狼跋》，每段画前书《豳风》原文。图中人物形象生动，衣纹用兰叶描，笔法流畅潇洒，设色清丽古雅。",[49,23,51,52,135,26,86,119,7,58,56,64,66,61,60,1206,19699,379,19700],"农田","农具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb1a0555d1ec4931a6edfed8747e1ab0.jpg","26.5x446",[199],{"id":19705,"slug":19706,"title":19707,"dynasty":97,"author":207,"museum":81,"description":19708,"tags":19709,"thumbUrl":19710,"material":33,"size":107,"collection":199,"collections":19711,"showCount":19345,"zanCount":1288,"manualWeight":39,"mainColor":40},217029,"li-dai-ming-ren-tu-xiang-ce-yi-ming-217029","历代名人图像册","《历代名人图像册》是清朝时期的一部著名图书。它记录了中国历史上许多著名人物的生平事迹和照片。这本书是由佚名编著的，出版于清朝末年。\n\n《历代名人图像册》共分为五卷，每卷都以一个主题为线索，按时间顺序记录了许多著名人物的生平事迹和照片。其中，第一卷记录了中国古代的著名人物，第二卷记录了中国近代的著名人物，第三卷记录了中国现代的著名人物，第四卷记录了世界各国的著名人物，第五卷记录了清朝时期的著名人物。\n\n《历代名人图像册》是一部非常有价值的参考书，对于了解中国历史和文化有着重要的意义。这本书在当时是非常受欢迎的，并且至今仍被广泛使用。",[23,25,24,58,713,181,180,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e42f4a5701f36ca6e9dd38e25d06d7.jpg",[199],{"id":19713,"slug":19714,"title":19715,"dynasty":146,"author":709,"museum":81,"description":1490,"tags":19716,"thumbUrl":19717,"material":88,"size":107,"collection":107,"collections":19718,"showCount":19345,"zanCount":1288,"manualWeight":39,"mainColor":40},216382,"mo-zhu-pu-ce-7-wu-zhen-216382","墨竹谱册-7",[23,51,24,26,358,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6728098eeee9dc357748de79d615f7b3.jpg",[],{"id":19720,"slug":19721,"title":19722,"dynasty":97,"author":19723,"museum":99,"description":19724,"tags":19725,"thumbUrl":19726,"material":26,"size":19727,"collection":122,"collections":19728,"showCount":19345,"zanCount":39,"manualWeight":39,"mainColor":40},215143,"min-sheng-yan-chang-tu-juan-ti-ba-pu-sa-bao-215143","闽省盐场图卷-题跋","菩薩保","清朝时期的闽省盐场图卷是一组图画，其中包含了当时闽省的盐场的景象。这些图卷通常都有题跋，即对图卷内容的文字说明。根据题跋介绍，这些图卷可能描绘了盐场的布局、生产过程、以及当时的盐业政策等信息。菩薩保是清朝时期的一位著名画家，他创作的闽省盐场图卷在当时颇受欢迎。",[49,51,52,119,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7031c098e33d9c148e9da888311d124b.jpg","38x860",[122],{"id":19730,"slug":19731,"title":19732,"dynasty":115,"author":748,"museum":20,"description":19733,"tags":19734,"thumbUrl":19735,"material":88,"size":813,"collection":107,"collections":19736,"showCount":19345,"zanCount":39,"manualWeight":39,"mainColor":40},214276,"duo-jing-lou-shi-tie-7-mi-fei-214276","多景楼诗帖-7","墨痕纵横处，豪情激荡如江浪奔涌。笔锋八面出，时而骤雨击石般凌厉，时而流云舒卷般婉转。字形跌宕不拘：开张时若奔马脱缰，收敛处似潜龙伏渊，大小错落间暗藏章法。墨色浓淡干湿相济——浓如漆，淡若雾，飞白见筋骨，饱满显精神。通篇行气如长江大河，一泻千里，细节处却藏匠心：每笔皆有生机，每字都含情韵。运笔如刷，锋芒毕露却不失蕴藉，尽显书家放达胸襟与超凡笔墨功力，读之如临高阁天风，心魄为之振。",[86,119,418,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45a637310a5c0b0f426e700838fc3fe7.jpg",[],{"id":19738,"slug":19739,"title":19740,"dynasty":115,"author":748,"museum":20,"description":19741,"tags":19742,"thumbUrl":19743,"material":88,"size":813,"collection":107,"collections":19744,"showCount":19345,"zanCount":39,"manualWeight":39,"mainColor":40},214275,"duo-jing-lou-shi-tie-9-mi-fei-214275","多景楼诗帖-9","笔势纵横捭阖，如疾风骤雨掠过纸面，每一笔都带着“刷字”的劲健洒脱。线条粗细跌宕，提按转折间藏千钧力道——“浮”字点画如坠石，“来”字撇捺若长枪，欹侧中见平衡，狂放里藏规矩。墨色浓淡干湿交织，湿润处晕染豪情，干枯处皴擦苍劲，行气连贯如长江奔涌，字与字顾盼生姿，似有金石之声在纸间回响。这般率意挥洒，正是米芾精髓：不拘绳墨却自有法度，豪放中见精微，将胸中丘壑化作笔底波澜，读来如见他登楼题诗时的快意豪情，心潮随之澎湃。",[86,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c44b1366753b7cef38c48434966423.jpg",[],{"id":19746,"slug":19747,"title":19748,"dynasty":146,"author":709,"museum":99,"description":8431,"tags":19749,"thumbUrl":19751,"material":689,"size":690,"collection":107,"collections":19752,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":75},290820,"xi-shan-yu-yi-tu-zhou-wu-zhen-290820","溪山雨意图轴",[50,23,51,84,26,56,55,60,3548,137,19750,86,7],"雨景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d46bbb9394f7778397efac4b923ef92.jpg",[],{"id":19754,"slug":19755,"title":19756,"dynasty":18,"author":6966,"museum":81,"description":19757,"tags":19758,"thumbUrl":19760,"material":689,"size":19761,"collection":70,"collections":19762,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":40},290552,"lu-shan-du-shu-tu-zhou-xu-ben-290552","庐山读书图轴","篆书自题‘‘庐山读书”，署款“洪武丁丑春日徐贲写：”钤印二“徐贲之印”、“幼文”。另有乾隆御题五绝诗：此图画庐山一带景色，这里山青水秀，风景幽美。画面上重峦叠嶂，幽亭秀木，溪流茅屋，岚色郁苍，树木丛生，枝干劲挺，远山深秀，树木葱茏。草舍隐于溪边树丛巾，在舍外有两位高士，相面席地而坐，似正在边渎边交流：左侧有一板桥窄架溪岸，一位僮子携琴走来。通过画家徐贲的笔下，描绘出观画读书的情景，颇能领略远离闹市的山居之乐，道出了画家深埋心中的孤寂之感、尽管庐山未必真有此景，但画家毕竟是基于写生，平所熟悉的环境加以提炼概括，在此图中倾注了画家真挚感情。",[23,51,84,26,56,55,59,60,64,150,7,19759],"读书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89929cd534577a024cd492255244a800.jpg","63.1x26.3",[70],{"id":19764,"slug":19765,"title":19766,"dynasty":97,"author":4047,"museum":99,"description":19767,"tags":19768,"thumbUrl":19770,"material":689,"size":690,"collection":107,"collections":19771,"showCount":38,"zanCount":1288,"manualWeight":39,"mainColor":924},290452,"shu-fa-li-zhou-qian-long-290452","书法立轴","清高宗弘历，清朝第六位皇帝，清军入关之后的第四位皇帝，生于1711年9月24日，卒于1799年2月7日。年号“乾隆”，寓意“天道昌隆”。\n清高宗于1736年2月12日开始使用“乾隆”年号，至1796年2月8日为止。1795年10月3日，清高宗立爱新觉罗·颙琰为皇太子，并下令从1796年2月9日开始改用“嘉庆”年号 。1796年2月9日，清高宗传位于爱新觉罗·颙琰，正式退位。但是皇宫内依然用“乾隆”纪年，如乾隆帝临终医案仍为乾隆六十三年十二月。",[49,86,84,119,7,1284,28,2811,19769],"烟霞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20014fbbbca23c3809a74e13bfaf1bef.jpg",[],{"id":19773,"slug":19774,"title":19775,"dynasty":115,"author":3452,"museum":81,"description":19776,"tags":19777,"thumbUrl":19779,"material":689,"size":690,"collection":107,"collections":19780,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":75},289872,"lu-yan-tu-zhou-cui-bai-289872","芦雁图轴","崔白（1004-1088），字子西，濠州（今安徽凤阳）人，北宋画家。崔白是开始发挥写生精神的画家，其无前人的画稿可临摹或参考，但其依靠超越前人的观察研究及描绘能力，探索花木鸟兽的生意，摆脱花鸟属装饰图案的遗影，开创新的发展方向。其擅花竹、翎毛，亦长于佛道壁画，画佛道鬼神、山水、人物亦精妙绝伦，尤长于写生。所画鹅、蝉、雀堪称三绝，手法细致，形象真实，生动传神，富于逸情野趣。一改百余年墨守成规的花鸟画风（指“黄筌画派”），成为北宋画坛的革新主将，数百年来颇受画坛尊崇。",[23,50,84,1501,25,54,13617,1061,19778,3042,7,86,66],"河滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3268d051a3a5f1a61e3fc7aa0356935b.jpg",[],{"id":19782,"slug":19783,"title":19784,"dynasty":18,"author":1250,"museum":99,"description":19785,"tags":19786,"thumbUrl":19787,"material":689,"size":690,"collection":107,"collections":19788,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":40},288021,"tao-hua-yuan-yang-tu-shan-mian-zhou-zhi-mian-288021","桃花鸳鸯图扇面","周之冕（1521—？）明代杰出画家，字服卿，号少谷，长洲（今江苏苏州）人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。善用勾勒法画花，以水墨点染叶子，画法兼工带写，人称勾花点叶法。所作花鸟，形象真实，意态生动，颇有影响。写意花鸟，最有神韵。设色亦鲜雅，家畜各种禽鸟，详其饮啄飞止，故动笔具有生意 。特以嗜酒落魄，不甚为世重耳。又善古隶。",[49,822,23,50,51,25,27,57,11856,60,2681,137,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77bf6fdf6141f8c8ffcd4f1175cbe18f.jpg",[],{"id":19790,"slug":19791,"title":19792,"dynasty":146,"author":1303,"museum":99,"description":6553,"tags":19793,"thumbUrl":19794,"material":689,"size":690,"collection":107,"collections":19795,"showCount":38,"zanCount":1288,"manualWeight":39,"mainColor":40},287598,"gu-mu-zhu-shi-ni-zan-287598","古木竹石",[23,26,137,358,277,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F703c19b30314285dda62309469a0f7db.jpg",[],{"id":19797,"slug":19798,"title":16165,"dynasty":97,"author":16166,"museum":99,"description":16167,"tags":19799,"thumbUrl":19800,"material":689,"size":690,"collection":107,"collections":19801,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":40},239059,"shan-shui-hua-niao-ce-yang-jin-239059",[23,51,24,26,135,27,332,2152,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc63e6e415ef05404b5373e9472d91023.jpg",[],{"id":19803,"slug":19804,"title":19805,"dynasty":97,"author":7770,"museum":99,"description":19806,"tags":19807,"thumbUrl":19808,"material":319,"size":19809,"collection":35,"collections":19810,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":40},238972,"hua-hui-zhou-chen-shu-238972","花卉轴","陈书（1660～1736）字南楼，号上元弟子，晚号南楼老人，秀水（今浙江嘉兴）人，适海监钱纶光，善画花鸟虫草，家贫，卖画自给，教子甚严。以长子钱陈群诰封太淑人。\n陈书在书画方面的造诣很高，笔墨娴雅，结构严谨。当时书画家评论她画的人物称得上逸品，画的山水、花卉称为神品，可见对她的评价相当高。陈书的子孙受她的影响也能书画，在笔墨技法上很像她，可以说一门数代继承家风。她的作品曾为清代皇室珍藏，流传民间也不少。嘉兴博物馆藏有她的花卉真迹，笔者在杭州、苏州、扬州等地也看到过她的作品。她的诗为人们所重视，《复庵吟稿》收集了她诗作的精华，流传至今。",[23,51,84,25,26,27,345,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8444c4174ac46ef74113137226711cf.jpg","33*65厘米",[35,122],{"id":19812,"slug":19813,"title":19814,"dynasty":97,"author":4509,"museum":99,"description":19815,"tags":19816,"thumbUrl":19817,"material":107,"size":107,"collection":70,"collections":19818,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":40},238708,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238708","画弘历和江文通诗意图册","此作用淡墨绘就幽居小景，敞轩之内，文士展卷校读，神态悠然专注。周遭古木虬枝舒展，湖石玲珑错落，浅溪萦回其间，清寂雅致。\n\n笔墨秀润清简，以淡墨皴擦晕染山石肌理，细笔点染出林叶苍然之态，构图疏密得宜，将林下闲居的静穆氛围铺陈开来。画作呼应诗意，把耽于文墨、寄兴丘山的隐逸襟怀融于景致之中，尽显冲淡萧散的文人雅趣，将文人心底幽远的林下之思藏在清和水墨间，尽显风雅静谧的文人画意趣。",[23,51,24,26,55,58,63,64,150,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa84e46151266133c953b99627ae19f1f.jpg",[70,199,242],{"id":19820,"slug":19821,"title":2974,"dynasty":97,"author":2568,"museum":99,"description":2975,"tags":19822,"thumbUrl":19823,"material":107,"size":2978,"collection":107,"collections":19824,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":40},238032,"hong-ren-shan-shui-tu-ce-hong-ren-238032",[23,26,55,3363,56,610,150,4940,85,61,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ebf488d534c551f08afd778cd7b6d19.jpg",[],{"id":19826,"slug":19827,"title":19828,"dynasty":97,"author":445,"museum":99,"description":3557,"tags":19829,"thumbUrl":19830,"material":107,"size":107,"collection":242,"collections":19831,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":40},237930,"yuan-ji-mo-zhu-tu-zhou-shi-tao-237930","原济墨竹图轴",[23,51,84,26,358,86,7,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe56ab48f8433faa0c3d1fc3aa96ea0d3.jpg",[242,122],{"id":19833,"slug":19834,"title":19835,"dynasty":97,"author":15157,"museum":99,"description":19836,"tags":19837,"thumbUrl":19838,"material":319,"size":107,"collection":35,"collections":19839,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":40},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。",[23,51,84,26,119,7,403,2342],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b19355579f3c5af08250390d4501ce2.jpg",[35],{"id":19841,"slug":19842,"title":15269,"dynasty":18,"author":15886,"museum":99,"description":19843,"tags":19844,"thumbUrl":19845,"material":107,"size":107,"collection":70,"collections":19846,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":40},236404,"xiao-xiang-ba-jing-ce-wen-jia-236404","其潇湘八景初未尝命名，后人乃以平沙落雁、远浦帆归、山市晴岚、江天暮雪、洞庭秋月、潇湘夜雨、烟寺晚钟、鱼邨落照等目之。对古代山水画家而言，潇湘八景除了作为风景画本身的审美价值外，还另有两重价值，一是隐，二是谏。隐乃穷则独善其身，有忿怨之情；谏乃达则兼善天下，含劝喻之功。北宋范仲淹因庆历新政被贬，作《岳阳楼记》述怀，泄露了潇湘八景的玄机：貌似写景抒情，实为牢骚议政，有如屈原作《离骚》。范仲淹的览物之情、去国怀乡之思，无论居庙堂之高，还是处江湖之远，都涉及“吾谁与归”的人生终极问题。当然，后来的画家，不管文人也好，禅僧也罢，虽难达“先天下之忧而忧，后天下之乐而乐”的境界，但也能各出机枢，纳洞庭潇湘之八百里山水于胸臆，并诉诸尺素笔墨。\n文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[23,26,24,56,62,63,137,7,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d1f1866b63e635521521dd0043dc9a.jpg",[70,72],{"id":19848,"slug":19849,"title":19850,"dynasty":97,"author":3871,"museum":99,"description":19851,"tags":19852,"thumbUrl":19854,"material":689,"size":690,"collection":199,"collections":19855,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":40},236027,"di-jiu-ba-ga-gu-la-zun-zhe-ding-guan-peng-236027","第九拔嘎沽拉尊者","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[23,51,50,54,25,1284,58,7,319,1574,7124,19853],"坐像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc438e95fc298e7d9772a7f546f3f2f00.jpg",[199],{"id":19857,"slug":19858,"title":19859,"dynasty":18,"author":3070,"museum":99,"description":7468,"tags":19860,"thumbUrl":19861,"material":689,"size":690,"collection":107,"collections":19862,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":40},235800,"qiu-kui-tu-shan-chen-chun-235800","秋葵图扇",[23,51,822,26,403,27,5642,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ec55ae0b1c4d7da1e7662300f3fccfc.jpg",[],{"id":19864,"slug":19865,"title":19866,"dynasty":97,"author":445,"museum":175,"description":19867,"tags":19868,"thumbUrl":19869,"material":566,"size":19870,"collection":107,"collections":19871,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":40},233957,"yuan-ji-cai-shi-tu-zhou-shi-tao-233957","原济采石图轴","《采石图》中石头峻峭奇丽，独具一格。石涛石涛山水画非常大胆新奇，他对景物的勾勒描绘灵活多变，意境高深，他人很难模仿，他笔下的景物有一种灵性和生命，是中国山水画的珍品。",[23,26,55,84,56,277,610,150,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a194ee879f1e77435ad72edf054ce3b.jpg","纵46.5cm，横30.7cm",[],{"id":19873,"slug":19874,"title":15634,"dynasty":18,"author":524,"museum":99,"description":13587,"tags":19875,"thumbUrl":19876,"material":107,"size":15637,"collection":107,"collections":19877,"showCount":38,"zanCount":1288,"manualWeight":39,"mainColor":40},233915,"hua-hui-cao-chong-ce-xiang-sheng-mo-233915",[23,51,24,25,119,7,598,531,277,61,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F924abbb355c3eba59bb164c267fd9492.jpg",[],{"id":19879,"slug":19880,"title":19881,"dynasty":97,"author":655,"museum":175,"description":19882,"tags":19883,"thumbUrl":19884,"material":319,"size":19885,"collection":107,"collections":19886,"showCount":38,"zanCount":1288,"manualWeight":39,"mainColor":40},233719,"zi-hua-xiang-zhou-jin-nong-233719","自画像轴","此图为扬州八怪之一金农73岁时的自画像。画中老者身着布衣，持杖侧身而立，姿态笃定，神情超然。其头部画法较为写实，具有肖像画的特征，浓密的长髯，细细的发辫，矍烁的双目，真实传神地描绘出金农本人奇倔傲世的性格特征。\n图中人物的体貌不求形似，极尽夸张，具有漫画意味，这是一种文人画家逸笔的肖像画。画家以焦墨渴笔勾勒人物形象，线条生拙简朴，脱胎于南宋马和之“兰叶描”，与题款及诗文的“漆书”共同体现出生涩拙朴、奇绝脱俗的风格。",[23,51,84,135,26,58,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a9ed191e96e74c538004f23d2e40f11.jpg","纵131.3厘米 ，横59.1厘米",[],{"id":19888,"slug":19889,"title":19890,"dynasty":18,"author":10139,"museum":175,"description":19891,"tags":19892,"thumbUrl":19893,"material":391,"size":19894,"collection":107,"collections":19895,"showCount":38,"zanCount":1288,"manualWeight":39,"mainColor":75},233233,"chun-quan-xiao-yin-tu-juan-zhou-chen-233233","春泉小隐图卷","此图为别号图，是周臣为一位裴姓，号春泉的文人所作。画面起首以裴君的草堂为中心展开，草堂轩敞明亮，陈设简洁，堂外古松盘曲。主人正伏案假寐，堂外一童子持帚清扫，体现出闲雅出尘之趣。其后，板桥连岸，春水潺湲，远处青山逶迤，平湖无涯。中国画中往往绘文人隐士昼眠以示对外界的漠不关心，暗示他们与作官者有不同的享受，宣扬自我解脱、自我慰籍的处世哲学。画家巧妙地突出近景的板桥流水，以示“春泉”之意，又以假寐表示“小隐”，点明主题。\n此件作品在艺术风格上继承了南宋的“院体”画传统，构图洗练紧凑，状物准确生动，人物线条细劲流畅，情态传神。树石用笔刚劲峭利，多为小斧劈皴，墨色浓重而清润，显示了画家高超的绘画技巧。",[23,52,26,54,55,56,60,61,58,63,610,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1304a7914be5bc7d69117e298de3e6c9.jpg","纵26.3厘米，横85.5厘米",[],{"id":19897,"slug":19898,"title":19899,"dynasty":97,"author":724,"museum":175,"description":19900,"tags":19901,"thumbUrl":19902,"material":9618,"size":19903,"collection":70,"collections":19904,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":40},233160,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233160","草堂十志图册","此册山水是王原祁据唐代卢鸿《草堂十志图》图意，分别仿宋、元诸家笔意，重新加以艺术创作而成。卢鸿原作早已失传，今尚存宋人的临仿本，与此册相较甚殊，是画家师其意而不师其迹之作。该册无纪年，以画笔之苍劲，当是画家晚年之作。10页画，有6开设色，并兼用墨笔，色、墨兼施，浑然一体，清丽中有苍厚之致，为画家毕生努力所形成的特色。其晚年曾请告老还乡，屡为康熙帝所挽留，难免有“身在魏阙，心存江湖”之想，此图册似即追慕前贤草堂之隐的无奈心境的写照，为其晚年代表作。",[23,51,24,25,56,55,870,406,871,295,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16167bc107fdf43a3be3d557727deba3.jpg","纵29厘米，横29.5厘米",[70,72],{"id":19906,"slug":19907,"title":19908,"dynasty":146,"author":1644,"museum":99,"description":19909,"tags":19910,"thumbUrl":19911,"material":319,"size":19912,"collection":107,"collections":19913,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":75},232903,"shi-lei-wen-dao-tu-juan-qian-xuan-232903","石勒问道图卷","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。",[49,23,51,52,25,54,58,64,85,150,7,1284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07e96d6b7370b4a6dd7401122337fd33.jpg","28.6x138.5厘米",[],{"id":19915,"slug":19916,"title":19917,"dynasty":97,"author":4047,"museum":81,"description":19918,"tags":19919,"thumbUrl":19920,"material":107,"size":107,"collection":70,"collections":19921,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":40},232797,"yu-bi-shi-jing-quan-tu-shu-hua-he-bi-tu-ce-qian-long-232797","御笔诗经全图书画合璧图册","乾隆四年暮春至十年季夏，乾隆皇帝与词臣陆续书写《诗经》三百零五篇，并补「笙诗」六篇，凡三百一十一篇，同时敕画院诸臣规抚宋人马和毛诗图笔意，完成前所未有的《御笔诗经泉图书画合璧》三十册，此书画册今藏台北故宫博物院图书文献处善本书库。\n乾隆此举当然具有政教宣示作用，但与宋高宗的立场绝不相同，因为国势盛衰相去甚远，故乾隆不免要嘲讽宋高宗「徒以西湖为销金窠」，根本不懂什麼叫做「诗」。不过，马和之高妙的笔意，不也是驱使盛清气势下的乾隆想完成此一巨擘的动力？因此，他御令画院诸臣，将旧有的临摹，已缺的补绘，完成《御笔诗经全图书画合璧》三十大册。此从文献资料的角度来看，确实提供了马和之图绘《毛诗》的一个轮廓，让我们得以配合当年同一时间内所编纂的《石渠宝笈》，去思索当时的内府究竟存有多少马和之所绘的《毛诗图》？而与今日所存的作品之间又有何种差异？同时，从诗经图的发展驶来看，乾隆朝的《御笔诗经图》虽然创意不很高，倒是以一个完整的姿态，为诗经图的历史画下一个美好的句点。\n故本论文主要论述有两方面：一是考察整个诗经图的发展历史，而马和之可说是其中最重要的一位。在他之前，只有文献上的记载；在他之後，又以临摹为多。虽然如此，随著时代的演变，许多以《诗经》为题材的画作，已渐与诗义脱离，而彰显著不同时代的文化情境，直到乾隆，其雄心壮志，反而使诗经图回归到诗义的本身，虽然所掌握的诗义和马和之有所不同，到底还是以马画为依归。其次，《御笔诗经图》既从现存的马画和文献资料中获得一些讯息，从而想像那些已不知所踪的画作是何等面貌。",[49,23,51,24,135,26,417,86,56,58,63,64,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ec80eb8579f58c3fe32a317b0d4e306.jpg",[70],{"id":19923,"slug":19924,"title":19925,"dynasty":18,"author":10235,"museum":81,"description":19926,"tags":19927,"thumbUrl":19929,"material":319,"size":19930,"collection":107,"collections":19931,"showCount":38,"zanCount":1288,"manualWeight":39,"mainColor":40},232695,"fang-wang-meng-jiao-shi-tu-qian-gu-232695","仿王蒙蕉石图","该画左侧画有高大的芭蕉，枝干粗壮挺拔，蕉叶茂盛，蕉叶的大小和形状各异在芭焦树右侧下，竖立着一块巨石，紧紧依仗在芭蕉树干上。奇石下长着数株花朵盛开的牡丹和茂密的枝叶。该画以粗笔泼墨把芭蕉，牡丹和湖石创造而成，细致的刻画没有作做。该幅墨韵气势，奔放横溢，笔墨和造型在徐渭的写意画中生动的表现出来，把花鸟、蔬菜、走兽、人物、山水等都给显示其中，令人耳目一新",[23,51,84,26,135,55,134,7,3875,277,1481,19928],"蕨类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9519a20dcb4c79c70479b45708fd193.jpg","145.8x49.8 厘米",[],{"id":19933,"slug":19934,"title":2895,"dynasty":97,"author":1082,"museum":99,"description":19935,"tags":19936,"thumbUrl":19937,"material":107,"size":107,"collection":107,"collections":19938,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":40},230278,"za-hua-ce-zhu-da-230278","此帧以极简笔墨绘就松下双鹿，苍松横斜，枯干缀以寥寥松针，山石空灵淡远。双鹿姿态悠然，犄角挺秀，躯体线条清劲凝练，于幽寂山隅流露自在生机。\n\n配书题诗笔致圆劲古雅，朴拙疏朗，诗画相生，将世外丘壑的清逸冷寂尽藏其间。清冷笔墨下暗涌细腻意趣，荒简构图里饱含澹泊襟怀，尽显简远空灵的禅意逸韵，将天地生灵与林泉幽境融为一体，尽释超然物外的文人意趣。",[23,51,24,26,5835,1116,610,150,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7626f6421259e86c2bb63e5b96a3926d.jpg",[],{"id":19940,"slug":19941,"title":19942,"dynasty":115,"author":207,"museum":99,"description":19943,"tags":19944,"thumbUrl":19945,"material":107,"size":107,"collection":35,"collections":19946,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":75},227901,"bai-tou-cong-zhu-tu-ye-yi-ming-227901","白头丛竹图页","《白头丛竹图》是南宋佚名创作的绢本设色画，现藏于 。\n图中绘小竹数竿，清翠欲滴，两只山雀栖于枝头，一只低头俯视，一只眺望前方。\n竹用双钩填彩，笔墨缜密严谨，色调沉着。\n山雀用淡彩层层晕染，再以尖毫细笔绘出绒羽，刻画准确，富有质感。\n图绘白头翁鸟两只，栖于丛竹之中。\n图中的丛竹，自竹篁中长出的几枝落叶的老枝，画幅左上方伸展，这就打破了左面景物过于稀疏的格局。\n左侧的老枝，竹叶开始枯黄，在几处竹叶根部略见积雪，分明是初冬时节。\n两只鸟伫立于一根枝权上，上者低头梳理羽毛，长尾下垂；下者凝视前方，姿态逼肖。\n本幅无款。\n钤鉴藏印“佟氏家藏”。\n此图过去一直被认为代表了唐代李思训画派的风格，后经傅熹年考证，认为其时代上限不超越南宋中期，而且很可能出自既不了解唐代宫苑之制、也未亲见宋代宫苑贵邸的临安以外地区的民间画家之手。\n此图画竹先以浓墨细笔勾出枝叶，再以淡色渍染，染色时从尖到根逐渐加深，叶根部留白作雪。\n笔墨严谨，色调沉着。\n设色除了竹叶较重的青绿，其他部分用色都很清淡，做到工而不板，丽而不俗。\n两只白头翁先用笔层层晕染，然后用尖毫细笔画出它们身上的绒羽，这样刻画出丰满可爱的白头翁形象，与竹枝、竹叶的劲利画法不同，而柔软蓬松的翎羽与刚直劲挺的竹枝、竹叶，形成艺术效果的对比。\n足见作者在此图上施以多种手法而得到的艺术效果甚佳。\n这是作者对自然界的花鸟进行认真观察、勇于摸索、不断实践创作的结果。\n画面上，两只白头翁立在竹枝之间．一只平视前方，另一只低着头，用喙梳理羽毛，动作显得十分传神。\n竹子采用双钩填彩画法，尤是竹叶似剑锋不锐利。\n在着布局上，色调构图缜密。\n《白头丛竹图》在用线上，竹的线条勾勒坚挺劲利，用笔顿挫提按有力，叶的勾勒显出飘逸、灵动，枝的用线则稳健，叶与枝在统一中求变化。\n白头翁身上的绒羽则用尖毫细笔勾出，与竹一柔一刚形成强烈的张力，既表明了两者形态、质感上的不同，也强化了内在的冲突：环境严寒、凛冽而白头翁的温柔可爱。\n凌寒不屈的寓意需要相应的笔法和设色与之相称。\n白头翁作为主体以黑、白、灰为主，既朴素大方，又对比强烈地镇住画面。\n在中国传统色彩学中，黑与白是所有色彩中的极色，它们在这幅画中被赋予特殊的关注。\n衬景的竹子先染墨后施色，显出了色调的沉着，竹叶稳沉的绿与古铜色绢底既有反差，又有参差的层次，构成和谐的统一。\n叶尖、叶背以及次要的竹枝淡淡施以摊墨，进一步融合了绢与竹在色彩与空间上的联系。\n通幅调子淡雅、朴素、沉着，既是客观的写照而又融人主观的情趣，体现了工笔花鸟画形式所特有的设色的法度：主辅必明，傅染必渐，洪托必匀，雅俗必分，层层值染，使得墨与色和谐相融。\n这一切不仅增加了色彩的厚度，而且也使画面显得细腻而丰富。\n这种微妙屯自然、柔和的变化及空间控制之精妙，是意笔花鸟画难以企及的。\n在构图上，静态的白头翁栖于主位，理羽的白头翁处于辅位，一静一动主次的安排，既莫定画面“静”的基调又使画面有“动”的生气。\n衬景中最醒目的竹干从画面中下部向左中下方斜长出画外，白头翁站立的竹枝伸向右中上方，与右斜带叶小枝形成右上方与中下部的连势，加之竹叶横生长势，与白头翁站立的竹枝同长于一个竹节点，但长势相反且与止于画面的辅枝一起，形成多层次的、非十字形的交叉，既丰富又统一，与冲出画外的竹干长势一同把人的联想引到画外无限的空间。\n会员李敬仕：画家以不同的手法，表现了不同对象的质感和精神气质，使白头翁与劲利的竹枝、叶片形成刚柔对比的艺术效果。",[49,50,23,51,822,24,54,25,27,358,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31eabac537775fc8e4c72a25d5260302.jpg",[35],{"id":19948,"slug":19949,"title":1632,"dynasty":115,"author":1923,"museum":99,"description":19950,"tags":19951,"thumbUrl":19952,"material":107,"size":107,"collection":107,"collections":19953,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":40},227722,"luo-shen-fu-zhao-gou-227722","重整宋家旧河山的高宗赵构，其书法水平也不一般。\n\n他的草书书法长卷《洛神赋》绢本，纵27.9cm，横398cm，辽宁省博物院藏。\n\n《洛神赋卷》未署年款，但卷末署“德寿殿书”款，钤“德寿殿御书宝”朱文印，可知是赵构做太上皇之后所作，处帝王之尊，颇具神韵。是其成熟期的作品。\n\n此卷草法出规入矩，运笔沉着浑厚，飞动流畅，虽是草书，但字字独立，字与字变化很多，字法熟练生动，提按转折无不如意，虽字与字之间无引带，仍然呈现了一气呵成、流畅自如，显示其深的书法造诣。",[49,86,119,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92cd4351f98e1e48eb868c2042887edd.jpg",[],{"id":19955,"slug":19956,"title":7750,"dynasty":115,"author":7751,"museum":99,"description":19957,"tags":19958,"thumbUrl":19959,"material":107,"size":107,"collection":107,"collections":19960,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":75},227333,"jiu-ge-tu-zhang-dun-li-227333","《九歌》是《楚辞》篇名。原为传说中的一种远古歌曲的名称，战国楚人屈原据民间祭神乐歌改作或加工而成。共十一篇：《东皇太一》、《云中君》、《湘君》、《湘夫人》、《大司命》、《少司命》、《东君》、《河伯》、《山鬼》、《国殇》、《礼魂》。《国殇》一篇，是悼念和颂赞为楚国而战死将士;多数篇章，则皆描写神灵间的眷恋，表现出深切的思念或所求未遂的伤感。王逸说是屈原放逐江南时所作。但现代研究者多认为作于放逐之前，仅供祭祀之用。",[49,50,23,51,52,54,25,58,405,279,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc07a8d04ca48dae273e9dc351d5ef844.jpg",[],{"id":19962,"slug":19963,"title":19964,"dynasty":97,"author":7428,"museum":99,"description":19965,"tags":19966,"thumbUrl":19968,"material":107,"size":107,"collection":107,"collections":19969,"showCount":38,"zanCount":1288,"manualWeight":39,"mainColor":75},224580,"shu-kui-xuan-hua-tu-jiang-ting-xi-224580","蜀葵萱花图","此作用没骨技法写就，构图疏朗空灵，主次有致。柔粉蜀葵袅袅舒展，花瓣晕染出轻软娇柔的质感，苍绿枝叶勾勒出阴阳向背，鲜活如生。配搭艳红榴花与橙黄萱花，冷暖色调相映，明丽雅致，将仲夏群芳盛放之态尽数铺陈。\n笔墨兼具院体的工致与文人画的秀逸，晕染细腻柔和，不见勾勒之痕却形神兼备，整体意境恬淡悠然，尽显温婉清隽的花鸟意趣，藏着中式美学里独有的夏日闲情。",[49,23,51,25,54,27,4859,19967,2559,265,7],"萱花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9121d78fdc9453ee8ae006a9bede611.jpg",[],{"id":19971,"slug":19972,"title":19973,"dynasty":97,"author":16882,"museum":99,"description":19974,"tags":19975,"thumbUrl":19976,"material":107,"size":107,"collection":70,"collections":19977,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":40},224270,"shan-shui-hua-hui-ce-fu-shan-224270","山水花卉冊","此作用笔纵逸随性，以淡墨写垂柳长条，笔致轻柔连贯，如见春风拂柳之姿。芙蓉花以浓淡墨色晕染点簇，淡墨勾描花瓣轮廓，浓墨点苔铺叶，干湿互衬，尽显花之娇柔蓬松。\n\n画面留白疏朗，右上角题字与绘景相映成趣，诗画交融间尽显文人画萧散简淡的意韵。整幅水墨写意不重形似而尚神趣，带着林下幽人的闲适疏放，将花木清灵与文人澹泊襟怀相融，寥寥笔墨间晕染出清逸脱俗的雅致氛围。",[49,23,51,24,26,27,475,308,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57b0015526d185a3e1348fa9df2adfd1.jpg",[70,35],{"id":19979,"slug":19980,"title":10816,"dynasty":115,"author":207,"museum":99,"description":19981,"tags":19982,"thumbUrl":19983,"material":107,"size":107,"collection":107,"collections":19984,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":75},223638,"xiao-yi-zhuan-lan-ting-tu-yi-ming-223638","此作用笔细劲圆韧，设色古雅沉着，将一场机锋暗涌的智斗藏于寻常茶谈之间。画面分两组人物，老僧松弛端坐，意态舒展毫无戒心，对面之人敛神静坐，表面闲散实则暗怀城府。侍童仆从各司其职，衬出主客间暗流涌动的张力。\n器物陈设皆循古制，案几、茶具细节写实，尽显古朴雅致。全画以静写动，将巧取《兰亭》的权谋算计融在淡然晤对中，叙事含蓄却极具戏剧感，摹写精细传神，尽显唐画神韵，累代鉴藏朱印环伺，更添传世厚重底蕴。",[49,23,51,52,54,135,26,25,58,7,86,5348,501,502,5349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2e31b4f44578334bb757880c21d79b3.jpg",[],{"id":19986,"slug":19987,"title":86,"dynasty":97,"author":800,"museum":99,"description":1425,"tags":19988,"thumbUrl":19989,"material":319,"size":107,"collection":122,"collections":19990,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":75},223291,"shu-fa-zheng-ban-qiao-223291",[49,86,119,84,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c550b955dd9dc9b64ba0d922a1a85e0.jpg",[122],{"id":19992,"slug":19993,"title":19994,"dynasty":18,"author":14081,"museum":20,"description":19995,"tags":19996,"thumbUrl":19997,"material":107,"size":107,"collection":107,"collections":19998,"showCount":38,"zanCount":1288,"manualWeight":39,"mainColor":40},222505,"shen-xian-tu-ce-11-zhang-lu-222505","神仙图册11","张路（1464—1538 ，一作1464—1537）明代画家。字天驰，号平山，汴梁（今河南省开封）人，明代画家。绘人物，师法吴伟，山水学戴进“狂态”，用笔豪放纵逸，水墨酣畅淋漓，与朱端、蒋嵩、汪肇等同为“浙派”名家 。亦工鸟兽、花卉。\n早年画学戴进，临摹能肖其神，画法工细。至南京后，又宗法吴伟，变为粗笔写意。他善画人物，多绘神仙、士子、渔夫，形象质朴，神态清朗，具高昂向上的气质。景致简略，笔墨遒劲，风格豪放，然少秀逸和蕴藉之致；为浙派健将，亦开后来学者粗率之风。他具有典型风貌的水墨写意作品较多，人物多用顿折的重墨线条勾勒，山石以粗犷的笔触作大斧劈皴，运笔迅捷，水墨淋漓，具有豪放动荡的气势。亦能画写意花鸟。",[49,23,51,24,25,58,1284,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f86f8279f8525d35d5189fc4ce7660f.jpg",[],{"id":20000,"slug":20001,"title":20002,"dynasty":18,"author":9186,"museum":99,"description":12300,"tags":20003,"thumbUrl":20004,"material":319,"size":20005,"collection":107,"collections":20006,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":40},222244,"lin-wang-xi-zhi-huang-ting-jing-wang-chong-222244","临王羲之黄庭经",[49,86,51,134,417,418,436,7,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f49c46116a4b6aecf820e4482f4c79b.jpg","纵29cm，横155cm",[],{"id":20008,"slug":20009,"title":20010,"dynasty":115,"author":11118,"museum":175,"description":20011,"tags":20012,"thumbUrl":20013,"material":319,"size":20014,"collection":122,"collections":20015,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":40},221434,"xing-zhuo-ai-tie-quan-juan-ou-yang-xiu-221434","行灼艾帖全卷","释文：\n“修啓，多日不相見，誠以區區。見發言，曾灼艾，不知體中如何？來日修偶在家，或能見過。此中醫者常有，頗非俗工，深可與之論搉也。亦有閒事，思相見。不宣。修再拜，學正足下。廿八日。”\n帖中“见发言”的“发”即欧阳修长子欧阳发。据考，此帖是欧阳修写给自己的学生焦千之的，对其身体状况表示关心，并邀其来家相见。\n关于欧书特点，苏轼评价说：“公用尖笔干墨作方阔字，清眸丰颊，进退晔如。”李东阳在帖后的诗跋中称赞欧书“宋代书家自不孤，当时只许蔡君谟。若将晋法论真印，此老风流世亦无”。\n此帖本幅及前后隔水钤“吴郡张口”“仲口”“世昌”（半印）“仪周鉴赏”“德量审定”“希逸”“江德量鉴藏印”以及项元汴、张珩等鉴藏家印记。尾纸有李东阳、翁方纲题跋。清安岐《墨缘汇观·上编》著录。",[49,51,86,119,52,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f4927ee06864027294d250f9799058c.jpg","纵25厘米，横18厘米",[122],{"id":20017,"slug":20018,"title":20019,"dynasty":115,"author":1836,"museum":99,"description":20020,"tags":20021,"thumbUrl":20022,"material":239,"size":1840,"collection":107,"collections":20023,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":75},221327,"chao-yuan-xian-zhang-tu-di-er-duan-wu-zong-yuan-221327","朝元仙仗圖-第二段","《朝元仙仗圖》為北宋宗教畫家武宗元所繪製的一幅絹本白描長卷， 曾收藏於美國華人收藏家王季遷手中，在其去世後失竊下落不明。\n\n該畫作描繪了五方帝君中的三個帝君，去往朝謁天上的最高統治者時的隊仗行列。畫家以流利的長線條描繪此圖，畫中人物栩栩如生，表情生動，描畫出了不同的人物的不同的身份與形態特徵，成功地表現出帝君的莊嚴、神將的威武和仙女的丰姿，是白描人物畫的代表作。",[49,50,23,51,52,135,1284,58,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e1d50323372fd5dbe926cdd9c052086.jpg",[],{"id":20025,"slug":20026,"title":20027,"dynasty":115,"author":20028,"museum":81,"description":20029,"tags":20030,"thumbUrl":20031,"material":668,"size":20032,"collection":213,"collections":20033,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":40},221258,"dao-yi-juan-mou-yi-221258","捣衣卷","牟益","牟益（1178-？），四川人。活動於理宗、度宗兩朝，工畫人物，兼善古文與篆書。 〈擣衣圖〉作於1240年，創作原型取自南朝詩人謝惠連（397-433）〈擣衣詩〉。純以白描輕墨，畫婦女卅二人，在將寒時節，循序進行搗練、剪裁、製衣、裝箱、封寄的過程。畫中諸女皆面容圓潤，衣裙寬大，猶保有唐人餘韻。人物儀態，舉止優雅，惟在眉宇間多有愁思之意，傳透出對良人從軍未歸的掛念情愫。足稱是南宋繪畫中，描寫夫妻兩地相思，最含蓄、也最成功的作品。",[50,23,51,52,135,58,180,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa52f0b5c8e369f08c112946b110d3131.jpg","纵27.1厘米，横266.4厘米",[213,199,72],{"id":20035,"slug":20036,"title":20037,"dynasty":146,"author":431,"museum":81,"description":20038,"tags":20039,"thumbUrl":20043,"material":634,"size":20044,"collection":70,"collections":20045,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":75},220894,"que-hua-qiu-se-quan-juan-zhao-meng-fu-220894","鹊华秋色全卷","鹊华秋色图，元代画家赵孟頫于元贞元年（1295）回到故乡浙江为好友周密所作的纸本水墨设色山水画，现藏于台北故宫博物院。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带秋景，画境清旷恬淡，表现出恬静而悠闲的田园风味。采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。\n《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。画题就是由这两座山而起的。鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。水边轻舟数叶，舟中渔叟正安静地工作。其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者虽然受召于元朝，遭到众多宋氏遗臣的诟病，却终其一生都对隐而不仕的南宋遗臣表达出相当程度的理解和尊重。从这个意义上说，《鹊华秋色图》也是在向那些对南宋一朝忠心耿耿而隐居不仕的士人传达作者自己的真实意图。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。在刚柔对比中，更显得华不注山的险峻奇突。图中中景、近景表现出一片辽阔苍茫的景象。平川洲渚，红树芦荻，房舍隐现。图中林木种类颇多，红绿相间，枯润相杂。树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。用笔似乎旋转，线条往复重叠，增添了树干的质感。画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。鹊山用披麻，皴法较密。华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。\n明·陈继《泥古录》：山头皆着青绿，全学王右丞与董源。\n在《鹊华秋色图》中，作者以深湛的笔墨功力诠释了即达放逸的山水意境，不仅丰富了文人山水画的表现手段和内涵，更初步确立了元代山水画坛清远自然的整体风格和蕴藉典雅的审美格调，为后世的中国山水画奠定了基础。",[49,23,51,52,26,25,54,55,86,119,7,56,20040,1062,715,64,727,755,449,6096,3041,20041,20042],"孤山","远树","近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc6e45f6523596086c4e10a81385abb5.jpg","纵：28.4厘米，横：90.2厘米",[70,72],{"id":20047,"slug":20048,"title":20049,"dynasty":18,"author":19215,"museum":81,"description":20050,"tags":20051,"thumbUrl":20052,"material":88,"size":20053,"collection":199,"collections":20054,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":40},220022,"shan-cai-ding-li-tu-xiang-yuan-bian-220022","善财顶礼图","项元汴（明 1525—1590）字子京，号墨林，别号墨林山人、香严居士、退密庵主人、退密斋主人、惠泉山樵、墨林嫩叟、鸳鸯湖长、漆园傲吏\n明鉴藏家。国子生。精于鉴赏，辨别真赝，析及毫发，当时无人可比。尝得铁琴一，上有“天籁”二字，因以名阁。又曾遴选能工巧匠制作各种器具，凡几榻、架柜、奁盒等，镌以铭识，都极精巧。 工绘画，兼擅书法。有《墨林山人诗集》、《蕉窗九录》等。",[23,51,84,26,56,58,277,61,610,150,279,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6608705547db80176fd9fd3ef2b8ff11.jpg","130*30.5cm",[199],{"id":20056,"slug":20057,"title":20058,"dynasty":146,"author":4144,"museum":485,"description":20059,"tags":20060,"thumbUrl":20061,"material":88,"size":107,"collection":70,"collections":20062,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":40},219967,"shan-shui-xian-ju-tu-cao-zhi-bai-219967","山水闲居图","此作用平远之法铺展江南水色，烟波浩渺的湖面横贯画幅，汀渚错落间晕开清寂悠远的意韵。近岸林木萧疏苍劲，茅亭临水待客，村舍隐于林间，野意悠然。\n\n以干笔皴擦勾勒山石林木，笔法松秀简淡，墨色清润虚实相生，带着元代文人画特有的萧散简远。将幽居林下、寄情烟水的雅逸心境藏进留白与笔锋里，尽显天真幽淡的林下风致，把江南水乡的闲淡隐逸之趣铺陈得恰到好处。",[49,23,51,52,26,56,55,64,63,715,751,727,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca037a1b408a2cad9f2a4430094ab374.jpg",[70],{"id":20064,"slug":20065,"title":20066,"dynasty":18,"author":4381,"museum":81,"description":20067,"tags":20068,"thumbUrl":20069,"material":25,"size":20070,"collection":72,"collections":20071,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":40},219457,"bu-yu-tu-lu-zhi-219457","捕鱼图","芦滩飞雪白茫茫，\n顶寒冒冻捕鱼忙。\n操舟撒网坐渔罾，\n辛勤劳作鱼满舱。",[23,135,26,62,714,61,58,1061,2342,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11a1b935711c876124aff6736eb6d7d8.jpg","43.3X34.3cm",[72],{"id":20073,"slug":20074,"title":20075,"dynasty":97,"author":736,"museum":81,"description":20076,"tags":20077,"thumbUrl":20080,"material":152,"size":20081,"collection":72,"collections":20082,"showCount":38,"zanCount":743,"manualWeight":39,"mainColor":40},219424,"shi-jun-tu-zhi-pi-li-xiang-zhou-lang-shi-ning-219424","十骏图之霹雳骧轴","画面中白马低首伫立，鬃毛如流云般蓬松柔软，细腻笔触勾勒出毛发的层次与光泽，肌肉线条流畅而富有张力——既藏着写实技法的精准，又含东方笔墨的温润韵味。马蹄的金属质感刻画入微，似能触到那份冷硬厚重。淡雅绢本为底，衬得白马愈发纯净灵动，仿佛下一秒便要抬蹄轻踏。四周题字墨色清劲，朱印错落点缀，红与墨相映成趣，添了文人意趣与雅致。整幅作品将异域写实与东方传统相融，骏马不仅形态鲜活如生，更承载着跨越文化的创作巧思，静静流淌着独特的艺术交融之美。",[50,23,84,54,25,225,7,86,239,20078,20079],"中西融合","写实技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F370ab5df30d34c686775d70ba842eb2d.jpg","239.3x270.1",[72],{"id":20084,"slug":20085,"title":20086,"dynasty":97,"author":12638,"museum":99,"description":20087,"tags":20088,"thumbUrl":20089,"material":33,"size":20090,"collection":199,"collections":20091,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":40},219176,"ma-gu-xian-xiang-tu-huang-shen-219176","麻姑仙像图","画面中麻姑面容温婉，眉宇间透着仙逸之气。宽袍大袖随风轻扬，赤足踏地，姿态闲适自在。肩扛阔大芭蕉叶，叶间点缀红蕊，生机暗涌；叶下枝茎修长，握于手中似有轻摇之态。腰间悬橙黄葫芦，系蓝绦，旁缀花草，野趣盎然。笔墨简括洒脱，线条灵动，衣纹用折芦描，流畅中见顿挫，尽显人物飘逸之姿。右侧题跋笔墨纵横，与人物形象相映成趣，融书法与绘画于一体，文人画意趣浓郁。整幅作品仙气与生活气息交织，既见仙家超脱，又含人间鲜活，是写意人物画中的精妙之作。",[49,23,51,403,25,58,180,1481,3009,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F387ab015edbbb395537ee9821345d6c1.jpg","纵176厘米，横105.3厘米",[199],{"id":20093,"slug":20094,"title":20095,"dynasty":97,"author":20096,"museum":99,"description":20097,"tags":20098,"thumbUrl":20106,"material":33,"size":107,"collection":199,"collections":20107,"showCount":38,"zanCount":1288,"manualWeight":39,"mainColor":40},218454,"a-gui-xiang-shen-zhen-218454","阿桂像","沈贞","画中人物身着清代官服，团龙纹袍服纹饰精细，朝珠垂挂胸前，顶戴花翎彰显尊贵身份。面容刻画入微，眉眼间透着沉稳威严，胡须梳理整齐，尽显儒雅气度。整幅画作工笔细腻，设色庄重典雅，线条流畅利落，服饰的褶皱与纹饰皆栩栩如生，既展现出宫廷肖像画的严谨规制，又蕴含着画家对人物神态的精准捕捉，将清代重臣的威仪与风范跃然纸上。",[23,50,3480,20099,54,25,20100,20101,20102,20103,7,20104,20105],"肖像画","官服","朝珠","顶戴花翎","团龙纹","沉稳威严","儒雅气度","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8176e3478d5b1dae651c81db0bcf7b0c.jpg",[199],{"id":20109,"slug":20110,"title":17007,"dynasty":146,"author":10518,"museum":1510,"description":20111,"tags":20112,"thumbUrl":20114,"material":88,"size":20115,"collection":70,"collections":20116,"showCount":38,"zanCount":1288,"manualWeight":39,"mainColor":40},217901,"yun-lin-zhong-xiu-tu-fang-cong-yi-217901","云林钟秀图描绘的是一座位于云林县的庙宇，画面中的庙宇极其写实，细节丰富，富有层次感。画中的山水、建筑、树木等都栩栩如生，充分展现出了当时云林的美景。\n\n云林钟秀图被认为是方从义的杰作，因为它体现了方从义对写生图画的高超技艺，也因为它能够真实地反映当时云林的风貌。它被广泛收藏，并被认为是元朝时期写生图画的杰作之一。",[23,51,52,26,55,86,119,56,278,279,64,715,60,754,1902,2003,294,751,8459,20113,403,17680,7113,7],"留白","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F120f73ed8db53c5a080a857830f7ff35.jpg","24.8x108cm",[70],{"id":20118,"slug":20119,"title":20120,"dynasty":18,"author":2181,"museum":525,"description":20121,"tags":20122,"thumbUrl":20123,"material":33,"size":107,"collection":107,"collections":20124,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":40},217031,"fang-gu-shan-shui-ce-liu-kai-4-dong-qi-chang-217031","仿古山水册六开-4","董其昌是明朝时期著名的画家，他的仿古山水册六开是他的代表作之一。这本册子包含了六幅仿古山水画，每幅画都经过精心绘制，画面细腻，线条流畅，再现了古代山水的美感。董其昌在绘制这些画的时候，采用了仿古的手法，借鉴了古代画家的画风，使得这些画看起来非常传统和古朴。这本册子被广泛认为是董其昌最优秀的作品之一，也是明朝仿古山水画的典范。",[49,23,51,24,26,56,55,870,871,63,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F058f786e47ba6cf40da75011cdde6f41.jpg",[],{"id":20126,"slug":20127,"title":20128,"dynasty":146,"author":709,"museum":81,"description":1490,"tags":20129,"thumbUrl":20130,"material":88,"size":107,"collection":107,"collections":20131,"showCount":38,"zanCount":39,"manualWeight":39,"mainColor":40},216375,"mo-zhu-pu-ce-14-wu-zhen-216375","墨竹谱册-14",[2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玉石、金属、木头、石头等。印章是中国传统文化的代表之一\n明代（1368～1644年）皇帝、王府之宝用玉箸篆玉印。这种篆书“笔画两头肥瘦均匀，末不出锋”，乃“篆书正宗也”（清?陈沣《摹印述》）。御宝舍两宋九叠文而直溯唐以上之玉箸篆，意味着九叠文禁锢公印的冰山已经松动。\n此外，明代内阁印用玉箸文银印，直钮，方一寸七分，厚六分；将军印用柳叶文，平羌、平蛮、征西、镇朔等将军印用螭鼎文，皆银印虎钮，方三寸三分，厚九分；其余百官印都用九叠文，铜印直钮，这类印比重最大。如故宫博物院藏明洪武二十二年（1389年）造“朵颜卫都指挥使司之印”。\n明代直钮已由两宋长方形板状钮变为上小下大的椭圆柱状，加高到8厘米左右，形成后世俗称的“印把子”。明代官印背款皆凿年款及编号。\n应该指出，两宋之时，九叠文中所谓的“九”是—个概数，极言其多，不一定确有九叠，也可能只有五叠、七叠，叠即一字中横画的层数。但明代九叠文中绝大多数确有九层横画。\n清代百官印等级区分同样十分严格，印章普遍有所增大。其字体有蒙古文楷书、满文、汉篆等。最常见的是汉满文对照同时出现在印面上，这也是清公印的一大特点。其中汉篆中，九叠文不太兴盛，出现了玉箸篆、悬针篆、柳叶篆、芝英篆等等。",[7,5943,541],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec28587ed6839dd7e64efb0686ed6ae3.jpg",[],{"id":20213,"slug":20214,"title":20215,"dynasty":18,"author":2181,"museum":99,"description":5719,"tags":20216,"thumbUrl":20217,"material":689,"size":690,"collection":107,"collections":20218,"showCount":20138,"zanCount":39,"manualWeight":39,"mainColor":40},283737,"qiu-xing-ba-jing-tu-ce-ba-kai-dong-qi-chang-283737","秋兴八景图册（八开）",[23,51,24,712,25,119,86,7,56,870,871,61,3652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79bc40c5e2273545f34270f3d8b5316c.jpg",[],{"id":20220,"slug":20221,"title":20222,"dynasty":18,"author":3070,"museum":175,"description":20223,"tags":20224,"thumbUrl":20225,"material":319,"size":107,"collection":122,"collections":20226,"showCount":20138,"zanCount":39,"manualWeight":39,"mainColor":924},240900,"yue-yang-lou-ji-juan-chen-chun-240900","岳阳楼记卷","陈淳（1483—1544），字道复，后以字行，号白阳山人。吴（今江苏苏州）人。文徵明弟子，擅长山水、花鸟，中年以后，笔墨放纵，自成一家。与稍后的徐谓并称“青藤白阳”。",[86,52,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42a2085250d0b01a6a315db1aad136ce.jpg",[122],{"id":20228,"slug":20229,"title":20230,"dynasty":97,"author":1180,"museum":99,"description":1655,"tags":20231,"thumbUrl":20233,"material":689,"size":690,"collection":107,"collections":20234,"showCount":20138,"zanCount":39,"manualWeight":39,"mainColor":40},240259,"wu-chang-shuo-lin-shi-gu-wen-si-tiao-ping-wu-chang-shuo-240259","吴昌硕临石鼓文四条屏",[86,541,134,20232,7],"四条屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e0d90d58107bbd9505651a5be0bcb89.jpg",[],{"id":20236,"slug":20237,"title":2441,"dynasty":97,"author":787,"museum":99,"description":2442,"tags":20238,"thumbUrl":20239,"material":689,"size":690,"collection":107,"collections":20240,"showCount":20138,"zanCount":39,"manualWeight":39,"mainColor":40},239447,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239447",[23,51,24,25,54,310,265,531,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc401e2cdf7d2ed07edbdcabcbab0feec.jpg",[],{"id":20242,"slug":20243,"title":15596,"dynasty":97,"author":7428,"museum":99,"description":10219,"tags":20244,"thumbUrl":20245,"material":689,"size":690,"collection":107,"collections":20246,"showCount":20138,"zanCount":39,"manualWeight":39,"mainColor":40},239242,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239242",[23,51,27,54,25,308,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda4debb91bb733c10921f16d9083987f.jpg",[],{"id":20248,"slug":20249,"title":20250,"dynasty":115,"author":207,"museum":99,"description":20251,"tags":20252,"thumbUrl":20253,"material":107,"size":107,"collection":199,"collections":20254,"showCount":20138,"zanCount":39,"manualWeight":39,"mainColor":75},238123,"luo-shen-fu-tu-juan-yi-ming-238123","洛神赋图卷","山峦烟波连绵铺陈，林木蓊郁掩映着红彩勾描的殿宇与行游伫立的人物，将缥缈仙乡揉入苍古山水间。笔意朴拙苍润，沉雅的设色在旧绢上晕开朦胧古韵，把人神邂逅的缱绻怅惘融在丘林烟水之中。循着长卷舒展，仿佛能触碰那段仙凡相望的怅惋情缘，古典浪漫的幽柔余韵顺着山峦水波漫溢开来，让悠远诗意随着卷幅缓缓流淌，将文字中的缥缈幻境化为可观可感的具象图景，晕染出绵长的东方浪漫意趣。",[50,23,51,52,54,135,25,58,56,9837,59,64,279,405,225,63,136,134,7,61,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F475d23ff1062208a9ad78b661dc95388.jpg",[199],{"id":20256,"slug":20257,"title":2895,"dynasty":97,"author":1082,"museum":99,"description":1382,"tags":20258,"thumbUrl":20259,"material":689,"size":690,"collection":107,"collections":20260,"showCount":20138,"zanCount":39,"manualWeight":39,"mainColor":40},237936,"za-hua-ce-zhu-da-237936",[23,51,24,26,403,1481,31,553,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8afb9d7da92b5f64516cfa52133f8b17.jpg",[],{"id":20262,"slug":20263,"title":17,"dynasty":18,"author":5263,"museum":99,"description":5264,"tags":20264,"thumbUrl":20265,"material":107,"size":107,"collection":107,"collections":20266,"showCount":20138,"zanCount":39,"manualWeight":39,"mainColor":40},237673,"hua-niao-ce-ling-bi-zheng-237673",[23,51,24,25,54,27,29,332,1227,265,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd19c88dd409fb513d29e61df5f1d5f60.jpg",[],{"id":20268,"slug":20269,"title":20270,"dynasty":97,"author":5309,"museum":99,"description":17796,"tags":20271,"thumbUrl":20272,"material":107,"size":107,"collection":107,"collections":20273,"showCount":20138,"zanCount":39,"manualWeight":39,"mainColor":40},237583,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237583","王翚仿古山水册",[23,26,51,3363,6244,134,55,7,870,700,871,777,3547,294,754],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96d20d5d72ffbd6c3dd89af475576be0.jpg",[],{"id":20275,"slug":20276,"title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而又略参南宋技法，用笔苍润，疏简秀逸，意境清远。\n《雪江渔艇图》描绘了一江两岸之冬天平远雪景。\n近处枯木寒林参天，枝干虬曲多姿，枝头多呈鹰爪、鹿角状，江边平岸上有一草舍，宽阔浩淼的江面有点点渔舟出没。",[23,26,52,56,2681,137,62,714,7,55,946,2954,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140bd121ac180e6fe6a42634e3a802d2.jpg","27.59*92.5厘米",[],{"id":20310,"slug":20311,"title":6732,"dynasty":146,"author":2747,"museum":175,"description":20312,"tags":20313,"thumbUrl":20314,"material":668,"size":6737,"collection":107,"collections":20315,"showCount":20138,"zanCount":39,"manualWeight":39,"mainColor":40},233747,"qiu-jiang-dai-du-tu-zhou-sheng-mao-233747","是图以两段式深远构图法画近树繁茂，远山起伏，中间澄江如练，芦雁惊飞，风吹树杪，一派清秋气氛。岸上一年老儒者携书童坐地待渡，江中一舟载客摇橹而来，意境清幽。画法略近董源，用笔疏简尖硬，是盛氏代表佳作。",[23,51,84,26,25,55,54,56,64,62,61,751,1902,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f65342cf58865624dc1a8d91ec27f81.jpg",[],{"id":20317,"slug":20318,"title":20319,"dynasty":146,"author":17677,"museum":99,"description":20320,"tags":20321,"thumbUrl":20323,"material":107,"size":107,"collection":107,"collections":20324,"showCount":20138,"zanCount":1288,"manualWeight":39,"mainColor":75},233021,"jiu-feng-dao-ren-san-jun-tu-juan-xu-lin-233021","九峰道人三骏图卷","徐霖字子元，号九峰，人呼为髯仙。其先吴人，徙金陵。七岁能诗，九岁能大书，操笔成体。善画松竹花卉蕉石，奕奕有致。武庙南巡，屡幸其家，赏赉甚渥。与沈周交善。",[23,51,52,25,54,225,58,86,119,7,20322,5029],"鞍马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F320aca22552c8e5380201d37034b90fe.jpg",[],{"id":20326,"slug":20327,"title":20328,"dynasty":115,"author":289,"museum":81,"description":20329,"tags":20330,"thumbUrl":20331,"material":20332,"size":20333,"collection":107,"collections":20334,"showCount":20138,"zanCount":1288,"manualWeight":39,"mainColor":40},232915,"bai-miao-mian-zhou-tu-juan-li-gong-lin-232915","白描免胄图卷","《免胄图》卷所绘即为郭子仪率数十骑免胄（徒手不着盔甲）见回纥首领大酋，大酋舍兵下马拜见的情景。图卷左侧是郭子仪所率部将兵骑，仪容镇定，伫立于侧。右侧是入侵关中的回纥兵骑，阵营庞大而惶惶无措。回纥大酋着戎装，携副将滚鞍落马，正单膝跪地作钦服之状，拜见免胄着燕服的郭子仪。郭神情雍穆诚恳，俯身援手以礼相见，体现出从容大度的一代名将风范。\n此卷描绘唐代名将郭子仪说服回纥大破吐蕃一事。关于这一著名战事，《旧唐书》有详细记载。唐太宗广德二年（764），回纥、土蕃西域诸国数十万大军，入侵长安，郭子仪奉命率军镇守泾阳，由于双方兵力悬殊，郭子仪决定亲赴敌营，希望说服回纥将领退兵，郭子仪是大唐名将，颇受蕃将敬重，当郭子仪脱去戎装，单骑来到回纥阵前，回纥统帅药葛罗一见，心悦诚服，下马跪迎，双方言和，药葛罗立即退兵，并发誓不再侵唐。",[49,50,23,51,52,135,58,225,7,5029,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2a54c261d4257de502d94fbe837eb3b.jpg","纸本长卷","纵32.3厘米，横223.8厘米",[],{"id":20336,"slug":20337,"title":20338,"dynasty":146,"author":10518,"museum":81,"description":20339,"tags":20340,"thumbUrl":20341,"material":33,"size":20342,"collection":107,"collections":20343,"showCount":20138,"zanCount":1288,"manualWeight":39,"mainColor":40},231417,"shen-yue-qiong-lin-tu-fang-cong-yi-231417","神岳琼林图","此图以写意的笔法，画层峦琼林之景观，画面山色苍茫，意境幽深。\n此图危峰耸立，气势磅礴。近景坡岸延伸，杂树丛生，几条潺泼的小溪汇聚成潭，断岸溪桥，屋字隐伏，流水人家。一条小径蜿蜒曲折，若隐若现，通往山林的深处。远处高峰矗立，山腰云气氤氲，恍惚缥缈，隐约可见一条山径顺着山势盘绕而上。一高上注目远眺，神情闲雅，寄情于山光水色之中。\n此图自题：“岁在旃蒙天荒落三月十一日，鬼谷山人方方壶为南溟真人作神岳琼林图。”",[23,51,84,26,56,2001,64,60,61,1902,294,1903,55,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad2cb1101f18f7f0c099bd9034314950.jpg","纵120.3cm，横55.7cm",[],{"id":20345,"slug":20346,"title":20347,"dynasty":146,"author":20348,"museum":81,"description":20349,"tags":20350,"thumbUrl":20351,"material":647,"size":20352,"collection":107,"collections":20353,"showCount":20138,"zanCount":39,"manualWeight":39,"mainColor":40},231335,"cui-yu-xuan-tu-yuan-dai-ji-jin-zhi-ba-zhuang-lin-231335","翠雨轩图－元代集锦之八","庄麟","庄麟所绘的《翠雨轩图》为元人集锦卷之一，也是庄麟传世的唯一作品。绘临溪的坡岸上设茅屋一间，树木环绕，溪水浅滩，极为渺远。一叟曳杖度桥而来。境界萧疏淡远，静寂清幽。画家以淡墨为基调，用笔清逸流畅。将翠雨轩置于特定的环境中。使观者也似乎感受到远离喧嚣的静谧。\n此图写林中茅屋一间，一老者策杖过桥，步伐坚定,与桥下的溪流淙淙共同构筑了画面的幽寂和飘逸。并不像过去贬斥画工的那些描述那样，很有元代文人画家的趣味。满纸水墨挥洒，不但舒意而且流畅，画家用大写意的手法，画出翠雨轩的茅舍溪桥，画面疏疏密密，浓浓淡淡，没有精心雕琢的痕迹，反而传达了一种萧闲的意境。画上有清代乾隆皇帝的御题诗，对画面意境和风格作了极为贴切的评述。\n以文人的齐居作为绘画题材，元代画家已有涉及，如朱德润 《 秀野轩图》、 张渥《竹西草堂图 》、赵原《合溪草堂图》等。至明代则成为文人画家创作中经常出现的一种题材。",[23,51,26,56,55,52,60,61,379,137,58,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cce050135140f0e09ecbb560cf14c24.jpg","纵：26.2厘米，横：65.4厘米",[],{"id":20355,"slug":20356,"title":2697,"dynasty":18,"author":161,"museum":2698,"description":2699,"tags":20357,"thumbUrl":20358,"material":1561,"size":2702,"collection":35,"collections":20359,"showCount":20138,"zanCount":39,"manualWeight":39,"mainColor":40},230957,"ping-he-tu-shen-zhou-230957",[49,23,51,84,25,54,102,103,181,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9937a425003a6af29aa49db4e9aa7adf.jpg",[35,72],{"id":20361,"slug":20362,"title":20363,"dynasty":115,"author":20364,"museum":99,"description":20365,"tags":20366,"thumbUrl":20367,"material":689,"size":690,"collection":107,"collections":20368,"showCount":20138,"zanCount":39,"manualWeight":39,"mainColor":40},230846,"gong-shi-tie-cai-jing-230846","宫使帖","蔡京","蔡京（1047年2月14日－1126年8月11日），字元長，福建路興化仙遊（今福建省莆田市）人。北宋時期書法家、政治家，先後四次任宰相，掌權共達十七年之久。",[86,119,7,26,115,51,14631],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1903805d2c334bb9b74fe673b1850d5e.jpg",[],{"id":20370,"slug":20371,"title":20372,"dynasty":18,"author":1948,"museum":99,"description":20373,"tags":20374,"thumbUrl":20375,"material":107,"size":107,"collection":107,"collections":20376,"showCount":20138,"zanCount":39,"manualWeight":39,"mainColor":40},228855,"hua-hui-tu-ce-ye-wen-chu-228855","花卉图册页","折枝斜斜舒展于素纸之上，碧叶晕染出通透莹润的质感，隐现的叶脉似携着朝露清光。粉白花萼轻绽，花瓣柔媚含娇，垂首的蓓苞似攒着春日私语，将草木温婉之态藏于笔底。\n此作用淡彩没骨晕染，设色清妍秀雅，摒弃浓艳，仅以浅绛水色晕出花叶鲜活，笔致细腻温婉，静逸情思流于毫端。画面留白简淡空阔，衬出花木幽柔之美，悠悠古意漫溢纸面，尽显雅致静穆的闺阁意趣，是小品花木里的上乘之作。",[49,23,51,24,54,25,27,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f944568edf7a4ea2c9b422bafac893.jpg",[],{"id":20378,"slug":20379,"title":20380,"dynasty":146,"author":1466,"museum":99,"description":20381,"tags":20382,"thumbUrl":20383,"material":107,"size":107,"collection":107,"collections":20384,"showCount":20138,"zanCount":39,"manualWeight":39,"mainColor":75},228171,"jiu-ma-tu-juan-ren-ren-fa-228171","九马图卷","长卷铺陈出闲适的厩苑日常，人马排布错落自然。左侧马厩中，良驹或垂首饮水，圉人侍立旁侧打理，马匹肌理骨骼刻画写实细腻，鬃毛发丝晕染柔和，尽显膘肥体健的神骏姿态。中段花马被牵徐行，昂首灵动，牵马人步履悠然，动态鲜活。右侧骏马昂然伫立，侍者低语顾盼，氛围平和悠然。\n整作线条劲挺流畅，设色清雅柔和，将鞍马画的写实功力尽显，既描摹出良驹矫健俊朗的风神，又勾勒出牧马日常的恬淡图景，藏着对写实工笔的精妙把控，尽显古风雅致的鞍马画韵致。",[49,23,50,52,54,25,225,58,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53f1d3e204d63756ad26041aa9243c11.jpg",[],{"id":20386,"slug":20387,"title":20388,"dynasty":146,"author":15774,"museum":99,"description":20389,"tags":20390,"thumbUrl":20391,"material":107,"size":107,"collection":107,"collections":20392,"showCount":20138,"zanCount":1288,"manualWeight":39,"mainColor":40},228081,"wei-mo-shuo-jing-tu-li-sheng-228081","维摩说经图","水墨晕染山峦层叠，烟岚轻笼江岸，汀渚林木错落隐现，江天浩渺间漾出空寂禅意。简淡笔墨勾勒萧散清远的山水胜境，将讲经的悠然禅心融于烟水林泉之中，以景衬意，尽显超脱物外的况味。\n\n拖尾题跋笔意苍秀疏朗，书画相映成趣，尽显元人尚意的文人雅韵。整幅长卷删繁就简，于留白间烘托出空灵淡远的禅境，笔墨虽简，却将山水的悠远与释家的沉静完美相融，尽显宋元山水萧散简远的独特意趣。",[49,23,51,52,26,56,55,86,7,278,64,60,61,754,279,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd70c5fc6a158cfb06bc94a9595e27ebe.jpg",[],{"id":20394,"slug":20395,"title":20396,"dynasty":115,"author":207,"museum":99,"description":20397,"tags":20398,"thumbUrl":20400,"material":107,"size":107,"collection":107,"collections":20401,"showCount":20138,"zanCount":39,"manualWeight":39,"mainColor":40},227935,"qing-feng-ju-die-tu-yi-ming-227935","青枫巨蝶图","《青枫巨蝶图》是宋代佚名画家创作的一幅绢本设色画。\n描绘了伸出嫩绿色枫树一株，枝叶婆娑。\n一只赭黄色巨蝶从右上侧凌空飞临，与枫叶构成平衡的对角关系。\n本幅无款。\n鉴藏印钤“大观”葫芦形朱文印以及“石渠宝笈”、“乐 善堂图书记”、“重华宫鉴藏宝”印。\n钤清乾隆、嘉庆二御览印。\n图左下方更有鲜红色 伏于枫叶之上，十分俏皮。\n画风高度写实，细致入微。\n画法的特点一是细线勾勒，笔若游丝，使蝶与枝、叶的形态皆极为轻倩灵秀；二是设色淡雅明快，红、绿、黄对比鲜明，给人以清新出尘之感，不落浓艳俗套。\n存《 》册中。\n《 》著录。",[49,50,23,51,822,25,27,54,20399,315,7],"枫树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b2cd2c17f1f932ab06e135ac4df848.jpg",[],{"id":20403,"slug":20404,"title":20405,"dynasty":192,"author":1614,"museum":99,"description":5410,"tags":20406,"thumbUrl":20407,"material":107,"size":107,"collection":107,"collections":20408,"showCount":20138,"zanCount":39,"manualWeight":39,"mainColor":75},227244,"zi-shu-gao-shen-yan-zhen-qing-227244","自书告身",[86,417,435,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dade46987770c6acf3d339faa8b1280.jpg",[],{"id":20410,"slug":20411,"title":20412,"dynasty":192,"author":193,"museum":99,"description":20413,"tags":20414,"thumbUrl":20415,"material":689,"size":690,"collection":107,"collections":20416,"showCount":20138,"zanCount":39,"manualWeight":39,"mainColor":1441},227078,"yi-yu-lai-wang-tu-ye-yan-li-ben-227078","异域来王图页","此幅应为伪本",[49,23,50,51,24,25,54,58,1116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdfae74aa3a781c82197b6a3cd63ac32.jpg",[],{"id":20418,"slug":20419,"title":20420,"dynasty":97,"author":1167,"museum":99,"description":20421,"tags":20422,"thumbUrl":20423,"material":107,"size":107,"collection":107,"collections":20424,"showCount":20138,"zanCount":39,"manualWeight":39,"mainColor":75},224185,"hua-niao-cao-chong-tu-ba-04-hua-yan-224185","花鸟草虫图八-04","此作画境清寂空灵，以大片素净绢底铺就秋意寥廓。枯曲枝桠携残叶斜垂，晕染出沉郁秋容，瘦硬题诗暗合秋声萧瑟。\n\n寒蝉静栖残叶之上，翼脉纤细通透，躯体晕染青绿，将蛰伏静气藏于枯叶间；野蜂振翅独行，墨色凝练收拢，晕开秋日细碎生机。设色简淡克制，枯褐与浅绿相映，将清秋的清寒与虫豸生趣相融，以小景见秋深，尽显文人写意的淡远雅致，把清秋里幽微的生命意趣娓娓道来。",[49,23,51,50,24,25,26,27,5824,896,265,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5a6ebe9dc7f416e70b255842e6dea0d.jpg",[],{"id":20426,"slug":20427,"title":16559,"dynasty":97,"author":10725,"museum":99,"description":10726,"tags":20428,"thumbUrl":20429,"material":319,"size":107,"collection":122,"collections":20430,"showCount":20138,"zanCount":39,"manualWeight":39,"mainColor":40},223270,"shou-gao-hong-yi-fa-shi-223270",[49,51,86,119,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba929a2566c55462d1563549dbb0007c.jpg",[122],{"id":20432,"slug":20433,"title":20434,"dynasty":146,"author":20435,"museum":81,"description":20436,"tags":20437,"thumbUrl":20438,"material":25,"size":20439,"collection":35,"collections":20440,"showCount":20138,"zanCount":1288,"manualWeight":39,"mainColor":40},221859,"tie-di-tu-zhou-yang-wei-zhen-221859","铁笛图轴","杨维桢","乾隆皇帝于苏州题咏时，引杨维祯〈冶师行〉的内容作题，认为舟上吹笛者为杨维祯，岸上听笛者是为其铸铁笛的冶师缑长弓。题诗内容展现他对杨维祯诗文、生平的认识，以及将文史知识连结到画面内容的欣赏角度",[50,23,51,84,26,58,358,62,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff828bd52bc7e967b8fa17905c2fe1009.jpg","该幅 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(1322)六月，他逝于吴兴。临死还观书作字，谈笑如常。享年六十九岁。",[51,86,119,7,5502,435],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f411ab4cfabac501b963148fcc20b3.jpg",[122],{"id":20477,"slug":20478,"title":20479,"dynasty":18,"author":607,"museum":329,"description":20480,"tags":20481,"thumbUrl":20482,"material":33,"size":20483,"collection":199,"collections":20484,"showCount":20138,"zanCount":39,"manualWeight":39,"mainColor":40},219969,"cong-gui-zhai-tu-wen-zheng-ming-219969","丛桂斋图","本图乃文征明为祝贺同乡郑子充考中进士而作。古时，科考多在八月桂花盛开之时举行，所以人们也将科举及第称为“折桂”。画卷中表现的是子充自家庭园，他正靠在书斋墙边，似乎正全神贯注地看着风景。透过窗户，还能看到一个装满了卷轴的柜子，可见其对艺术的鉴赏。",[49,23,51,52,26,55,56,871,12754,63,1714,727,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d9f9610b44a8cc096102b26bc0ab20b.jpg","31.6x56.2",[199],{"id":20486,"slug":20487,"title":20488,"dynasty":97,"author":20489,"museum":20,"description":20490,"tags":20491,"thumbUrl":20492,"material":26,"size":107,"collection":199,"collections":20493,"showCount":20138,"zanCount":39,"manualWeight":39,"mainColor":40},219751,"su-xiao-mei-xiang-chen-zhuan-219751","苏小妹像","陈撰","此作以极简白描勾勒仕女，凝练舒展的墨线塑就身形，少女垂首捧卷，眉梢眼底尽是沉浸书卷的静雅温婉，将才女的灵秀聪慧藏于无言。画面左侧题诗与人物相映成趣，诗画共生，晕染出清雅脱俗的文人意趣。全作不施多余敷色，纯以墨线写形传神，寥寥数笔便将闺中才女耽于诗书的娴静情态刻画入微，笔墨清逸秀朗，尽显写意雅致的格调，把人物的温婉灵韵全然铺陈开来，尽显文人仕女画的写意风神。",[23,51,84,135,26,58,136,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1c45638293df21733715bda30704781.jpg",[199],{"id":20495,"slug":20496,"title":20497,"dynasty":18,"author":20498,"museum":81,"description":20499,"tags":20500,"thumbUrl":20501,"material":319,"size":107,"collection":35,"collections":20502,"showCount":20138,"zanCount":1288,"manualWeight":39,"mainColor":40},219652,"qiu-kui-shuang-ji-tu-zhou-fan-219652","秋葵双鸡图","周蕃","此作用淡墨晕染铺陈，秋葵斜逸而出，花瓣晕开柔润淡影，掌状叶片以浓墨勾描筋络，舒展挺拔，枝梢花苞含露清气。下方双鸡依偎，以干湿变化的墨色细摹蓬松羽翎，冠爪勾勒劲挺，一只抬首侧目，一只探身藏于其后，神态警觉安然，野趣自生。全幅以水墨写意，笔意简逸苍秀，未施粉彩却形神俱足，将篱边秋日的闲雅生机尽显，把禽鸟憨态与秋花清姿相融，尽显文人画的疏淡雅致，留白里浸透悠然禅意，是水墨花鸟的精妙之作。",[8547,23,51,84,26,1501,5642,2631,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2c031920dbfd5e8ccfc4aacb6d33eaa.jpg",[35],{"id":20504,"slug":20505,"title":20506,"dynasty":18,"author":20507,"museum":81,"description":20508,"tags":20509,"thumbUrl":20510,"material":152,"size":20511,"collection":72,"collections":20512,"showCount":20138,"zanCount":1288,"manualWeight":39,"mainColor":40},219327,"ling-yan-ji-xue-tu-liu-yuan-qi-219327","灵岩积雪图","刘原起","积雪如絮覆层峦，岩岫叠嶂间清寒弥漫。枯木疏枝裹银装，青松攒雪挺劲立，枝桠凝霜似玉。曲径蜿蜒入幽，茅舍隐于林间，溪面冰凝如镜，偶见踏雪痕浅。远山朦胧，塔影依稀，似有古寺钟声隐现。笔墨淡逸，留白衬雪色之净，枯笔写疏林之寂，意境静谧雅致，尽显冬日山林的幽旷与清宁，恍若尘外之境，引人沉心入画。",[23,51,56,54,25,55,7,870,2954,610,967,727,715,60,10510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64a1a1cbb5ed0b803e372ed42714c4d8.jpg","63.3x31.6",[72],{"id":20514,"slug":20515,"title":20516,"dynasty":146,"author":207,"museum":81,"description":20517,"tags":20518,"thumbUrl":20519,"material":152,"size":20520,"collection":199,"collections":20521,"showCount":20138,"zanCount":39,"manualWeight":39,"mainColor":40},218228,"di-yi-a-ying-a-ji-da-zun-zhe-yi-ming-218228","第一阿迎阿机达尊者","尊者趺坐石畔，衣纹流转如微风拂过的涟漪，一手托腮，眸光低垂却似洞穿万象。眉宇间凝着浅浅思索，唇边漾开若有若无的笑意，禅意便在这静默神态里漫溢。身后古木虬枝，叶影婆娑，与头顶圆光相衬，晕开温润光晕。远处峰石隐现，亭台依稀，似是尘外清境。\n\n笔墨以线塑形，婉转中见骨力，淡墨晕染出清寂氛围，将尊者的沉静与天地的悠远交织。无需浓墨重彩，只凭简淡之笔，便勾勒出禅者澄明心境，尽显元人绘佛的空灵韵致——于寻常物象藏深意，于静默观照见真如。",[23,51,84,1284,135,26,25,58,64,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75cf9de2fc1b5e28c349fd7a531f9aaa.jpg","109.5x46",[199],{"id":20523,"slug":20524,"title":20525,"dynasty":97,"author":6468,"museum":3815,"description":20526,"tags":20527,"thumbUrl":20528,"material":88,"size":20529,"collection":70,"collections":20530,"showCount":20138,"zanCount":39,"manualWeight":39,"mainColor":40},218099,"xin-an-yi-yun-ce-zheng-min-shan-shui-zheng-min-218099","新安逸韵册(郑旼山水)","郑旼的 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幅左篆书款署嘉靖己酉（一五四九），时仇英约五十六岁。左下角「剑光阁」、「华氏明伯」两印，均华云所有，故此画应是仇英为华氏所作",[23,50,51,84,135,26,58,610,178,7,20599],"闲逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79ccceac39e78de66c277baf5ea414e1.jpg","54.9×28.4",[],{"id":20604,"slug":20605,"title":8089,"dynasty":146,"author":709,"museum":99,"description":8431,"tags":20606,"thumbUrl":20607,"material":689,"size":690,"collection":107,"collections":20608,"showCount":20584,"zanCount":1288,"manualWeight":39,"mainColor":75},290830,"shan-shui-zhou-wu-zhen-290830",[23,50,51,84,26,55,56,64,59,60,61,150,3548,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facd82f292a0555682f810ce48433f32c.jpg",[],{"id":20610,"slug":20611,"title":20612,"dynasty":97,"author":20613,"museum":99,"description":20614,"tags":20615,"thumbUrl":20617,"material":689,"size":690,"collection":107,"collections":20618,"showCount":20584,"zanCount":39,"manualWeight":39,"mainColor":40},290593,"yu-yuan-mu-chun-shi-zhou-zhang-ruo-ai-290593","御园暮春诗轴","张若霭","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。",[23,51,712,25,55,56,727,610,598,60,150,57,119,7,20616],"暮春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba828b43d4a0f1aabbf6021ad4427947.jpg",[],{"id":20620,"slug":20621,"title":20622,"dynasty":146,"author":147,"museum":99,"description":13560,"tags":20623,"thumbUrl":20624,"material":689,"size":690,"collection":107,"collections":20625,"showCount":20584,"zanCount":39,"manualWeight":39,"mainColor":75},290284,"ceng-luan-die-cui-tu-huang-gong-wang-290284","层峦叠翠图",[49,23,52,51,56,26,55,278,64,164,61,119,5663,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F363eb754bba65b5e5f9deefabdc145b5.jpg",[],{"id":20627,"slug":20628,"title":20629,"dynasty":97,"author":5795,"museum":99,"description":13344,"tags":20630,"thumbUrl":20632,"material":689,"size":690,"collection":107,"collections":20633,"showCount":20584,"zanCount":39,"manualWeight":39,"mainColor":40},289978,"qiu-shan-you-jing-tu-zhou-kun-can-289978","秋山幽静图轴",[50,23,84,26,56,60,61,62,59,63,2681,137,20631,55,7,86,3652,3548],"幽静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec2ddd0155bf080eb2a2b6efcf533b5c.jpg",[],{"id":20635,"slug":20636,"title":20637,"dynasty":146,"author":431,"museum":99,"description":15860,"tags":20638,"thumbUrl":20639,"material":689,"size":690,"collection":107,"collections":20640,"showCount":20584,"zanCount":39,"manualWeight":39,"mainColor":40},289971,"qiu-jiang-diao-ting-tu-zhou-wei-zhao-meng-fu-289971","秋江钓艇图轴（伪）",[49,50,23,84,25,56,58,2681,137,62,61,277,714,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28d7f8a32356591cce9ceadf2028a5ee.jpg",[],{"id":20642,"slug":20643,"title":20644,"dynasty":115,"author":748,"museum":99,"description":20645,"tags":20646,"thumbUrl":20647,"material":689,"size":690,"collection":107,"collections":20648,"showCount":20584,"zanCount":39,"manualWeight":39,"mainColor":40},289970,"zhen-su-tie-mi-fei-289970","真酥帖","米芾（1051年-1107年），初名黻，后改芾，字元章，自署姓名米或为芊，祖居太原，后迁湖北襄阳，谪居润州(现江苏镇江)，时人号海岳外史，又号鬻熊后人、火正后人。北宋书法家、画家、书画理论家，与蔡襄、苏轼、黄庭坚合称“宋四家”。曾任校书郎、书画博士、礼部员外郎。\n米芾书画自成一家，枯木竹石，山水画独具风格特点。在书法也颇有造诣，擅篆、隶、楷、行、草等书体，长于临摹古人书法，达到乱真程度。 主要作品有《张季明帖》《李太师帖》《紫金研帖》《淡墨秋山诗帖》等。\n米芾所书《蜀素帖》，亦称《拟古诗帖》，是天下第八行书，被后人誉为中华第一美帖",[86,119,418,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc33639ef80c2b03da6a61daf247878.jpg",[],{"id":20650,"slug":20651,"title":20652,"dynasty":18,"author":19020,"museum":99,"description":20653,"tags":20654,"thumbUrl":20655,"material":689,"size":690,"collection":107,"collections":20656,"showCount":20584,"zanCount":39,"manualWeight":39,"mainColor":75},289757,"wu-yue-tu-juan-que-yi-jing-song-xu-289757","五岳图卷(缺一景)","五岳，是中国五大名山的总称，指东岳泰山、西岳华山、中岳嵩山、北岳恒山、南岳衡山。五岳起源于古代中国人的山川崇拜，是和国君对山神的祭祀联系在一起的。此图分别绘制了五岳之中的日观晴曦、太华清秋、融峰两色、恒塞积雪、二室争奇等自然美景，作品采用浓淡相间、虚实对比的手法使画面层次分明。在构图上，画家运用了传统的平远构图法，景物近大远小，近实远虚，具较强的深远感。画面用笔粗犷，潇洒秀逸，笔力雄劲，既充实了画面，也体现出明代文人画诗、书、画相结合的时代特色，不求形似，唯求达意，颇得沈周晚年画作沉郁苍茫的风韵。",[49,50,23,51,52,56,26,55,278,279,2611,59,754,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff18ca5187f1b1f5f6c2dcd2fba8a8f05.jpg",[],{"id":20658,"slug":20659,"title":3677,"dynasty":115,"author":221,"museum":99,"description":20660,"tags":20661,"thumbUrl":20663,"material":689,"size":690,"collection":107,"collections":20664,"showCount":20584,"zanCount":39,"manualWeight":39,"mainColor":40},289725,"liu-ya-lu-yan-tu-zhao-ji-289725","此图共分为二段，前段画柳鸦，后段画芦雁。鸦的头顶和腹部施以白粉，鸦身敷浓墨，黝黑如漆。柳树的斑驳老干，富有质感。柳鸦的墨彩很酣，笔势很壮，显示出赵佶用墨的特色。后段四只芦雁在芦草蓼花边栖息，以浅赭设色，增强了秋天萧疏的气氛。",[49,50,23,52,1501,26,25,54,598,1061,85,3680,13615,12745,7,86,20662],"寒江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaa7fe1a9da342eabc769e9f1cdda3f4.jpg",[],{"id":20666,"slug":20667,"title":20668,"dynasty":97,"author":655,"museum":99,"description":12622,"tags":20669,"thumbUrl":20671,"material":689,"size":690,"collection":107,"collections":20672,"showCount":20584,"zanCount":39,"manualWeight":39,"mainColor":40},289653,"da-mo-ming-xiang-jin-nong-289653","达摩冥想",[23,50,51,84,1284,26,25,58,20670,277,7],"达摩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9d5d61c05ffae860bb0c53c96985fb9.jpg",[],{"id":20674,"slug":20675,"title":20676,"dynasty":1037,"author":1985,"museum":99,"description":13772,"tags":20677,"thumbUrl":20678,"material":689,"size":690,"collection":107,"collections":20679,"showCount":20584,"zanCount":39,"manualWeight":39,"mainColor":75},287366,"xie-sheng-an-chun-shui-jiu-tu-juan-huang-quan-287366","写生鹌鹑水鸠图卷",[49,50,23,51,52,54,25,27,10302,18234,66,358,28,1902,104,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4b6e0e83d5ceda284e56fba76b021e1.jpg",[],{"id":20681,"slug":20682,"title":20683,"dynasty":18,"author":2181,"museum":99,"description":5719,"tags":20684,"thumbUrl":20685,"material":689,"size":690,"collection":107,"collections":20686,"showCount":20584,"zanCount":39,"manualWeight":39,"mainColor":40},283748,"shan-shui-tu-ce-ba-kai-dong-qi-chang-283748","山水图册（八开）",[23,24,26,55,56,64,727,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F438769c9f3457e4c3c930a50fcdcfa13.jpg",[],{"id":20688,"slug":20689,"title":20690,"dynasty":18,"author":18133,"museum":99,"description":20691,"tags":20692,"thumbUrl":20693,"material":319,"size":107,"collection":122,"collections":20694,"showCount":20584,"zanCount":39,"manualWeight":39,"mainColor":40},240425,"wang-duo-shi-zhou-wang-duo-240425","王铎诗轴","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。",[8547,86,51,84,119,462,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38973f25a308f9343ab9f19300e7f3bb.jpg",[122],{"id":20696,"slug":20697,"title":20698,"dynasty":115,"author":355,"museum":99,"description":20699,"tags":20700,"thumbUrl":20701,"material":107,"size":107,"collection":122,"collections":20702,"showCount":20584,"zanCount":39,"manualWeight":39,"mainColor":40},239687,"su-shi-san-ma-tu-zan-can-juan-su-shi-239687","苏轼三马图赞残卷","此卷笔墨丰腴厚重又不失灵动跳脱，行书笔意裹挟楷法筋骨，朴茂沉雄间自带旷达书卷气。将追思神骏的惘然寄于笔端，起落转合皆是率真性情。纸间朱印错落排布，与墨色题字相映成趣。残卷的斑驳痕迹晕开旧时光晕，笔墨情思与岁月质感交织相融，尺牍行间既有咏叹神骏的豪迈，又藏旧友追思的缱绻，尽显宋代文人书法的隽永意韵。",[52,119,86,7,51,225,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e4139420856c9df426a7a93e05413dd.jpg",[122],{"id":20704,"slug":20705,"title":15596,"dynasty":97,"author":7428,"museum":99,"description":10219,"tags":20706,"thumbUrl":20707,"material":689,"size":690,"collection":107,"collections":20708,"showCount":20584,"zanCount":39,"manualWeight":39,"mainColor":40},239240,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239240",[23,51,24,54,25,27,308,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fead65018ac90dcc87621195a8419817f.jpg",[],{"id":20710,"slug":20711,"title":684,"dynasty":97,"author":20712,"museum":99,"description":20713,"tags":20714,"thumbUrl":20715,"material":689,"size":690,"collection":35,"collections":20716,"showCount":20584,"zanCount":1288,"manualWeight":39,"mainColor":40},239154,"shan-shui-hua-hui-ce-chen-heng-ke-239154","陈衡恪","陈师曾（1876年3月12日—1923年9月17日），男，原名衡恪，字师曾，号朽道人、槐堂，江西南昌义宁（今江西修水）人，著名美术家、艺术教育家。\n陈师曾出身书生门第，祖父是湖南巡抚陈宝箴，父亲是著名诗人陈三立。1902年东渡日本留学，1909年回国，任江西教育司长。从1911年2月至1913年4月，他受南通张謇之邀，至通州师范学校（今南通师范学校）任教，专授博物课程。1913年又赴长沙第一师范任课，后至北京任编审员之职。先后兼任北京女子高等师范学校、北京高等师范学校、北京美术专门学校教授。1923年9月为奔母丧回南京，不幸染病逝世，终年仅47岁。",[23,51,24,25,26,86,7,528,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ef877738ff31c16dc13027b98f191b9.jpg",[35,70,72],{"id":20718,"slug":20719,"title":20720,"dynasty":97,"author":207,"museum":99,"description":20721,"tags":20722,"thumbUrl":20723,"material":668,"size":20724,"collection":199,"collections":20725,"showCount":20584,"zanCount":1288,"manualWeight":39,"mainColor":40},238022,"hua-di-wang-ming-chen-xiang-ce-zhu-ge-liang-yi-ming-238022","画帝王名臣像册-诸葛亮","淡墨轻勾，绘出武侯宽袍博带的儒雅身形，发丝虬髯丝丝分明，眉眼间沉敛着半生尽瘁朝堂的弘毅忠忱，将其智绝忠纯的风骨凝于笔端。左侧配精整小楷题跋，录武侯生平评赞，笔墨清隽端雅，与画像彼此映衬。\n\n整作摒弃浓艳修饰，以工致写实的手法，用素净无华的笔触勾勒贤相仪容，不求繁复，只凭淡墨线条便将武侯忠贞弘毅的精神内核尽数彰显，书画合璧，尽显肖像画以形传神的精妙意趣，把一代名相的卓然风骨藏于简淡笔墨之中。",[23,51,24,135,26,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e19027ae7c4d5721732c1c5739a3d8c.jpg","纵25.1厘米，横20厘米",[199],{"id":20727,"slug":20728,"title":2895,"dynasty":97,"author":20729,"museum":99,"description":20730,"tags":20731,"thumbUrl":20732,"material":689,"size":690,"collection":35,"collections":20733,"showCount":20584,"zanCount":39,"manualWeight":39,"mainColor":40},237986,"za-hua-ce-xue-huai-237986","薛怀","薛怀（1717—1804），清代著名书画家。字小凤，号竹君，晚号竹居老人。桃源（今江苏泗阳县）监生，居山阳（今淮安市淮安区）。 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》。",[23,26,24,7,7084,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5c02b9ac6b226b056d529a5e4f8b6e1.jpg",[35],{"id":20735,"slug":20736,"title":17,"dynasty":18,"author":5263,"museum":99,"description":5264,"tags":20737,"thumbUrl":20738,"material":107,"size":107,"collection":107,"collections":20739,"showCount":20584,"zanCount":1288,"manualWeight":39,"mainColor":40},237675,"hua-niao-ce-ling-bi-zheng-237675",[23,51,24,25,54,26,528,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F359d5c55d4ebcc585ed4026001545636.jpg",[],{"id":20741,"slug":20742,"title":20743,"dynasty":97,"author":9011,"museum":175,"description":20744,"tags":20745,"thumbUrl":20746,"material":391,"size":20747,"collection":122,"collections":20748,"showCount":20584,"zanCount":39,"manualWeight":39,"mainColor":40},237137,"qi-qiao-tu-ce-zhuang-zhou-ren-yi-237137","乞巧图册装轴","此幅描绘的是民间女子简朴的乞巧场景。任颐（1839-1896），初名润，字伯年。其父任声鹤为民间肖像画家，大伯父为任熊，二伯父为任薰，自幼善画，受民间版画影响深刻。1854-1855年，十五六歳时在上海卖画，模仿任熊作品沿街出卖，恰逢任熊路过，非但不怒，反而赏识其才华，招为弟子，传为逸话。1861年，太平天国进入绍兴时，父卒。曾被招入太平天国军当旗手战时麾之，以为前驱。其后天京（太平天国首都南京）陷落，返乡。1895年因资产丢失之痛及吸食鸦片引发肺炎而死。\n画风在练习铅笔速写后变得较为奔逸，晚年吸收华岩笔意，更简逸灵活。\n任伯年花鸟画的技巧更高，但人物画影响较大，原因大致是当时画人物画家少。",[23,51,24,25,58,136,54,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccb981087f212936d0f96ab20398dbf4.jpg","34.5×34.5cm",[122],{"id":20750,"slug":20751,"title":2149,"dynasty":97,"author":20752,"museum":99,"description":20753,"tags":20754,"thumbUrl":20755,"material":689,"size":690,"collection":35,"collections":20756,"showCount":20584,"zanCount":39,"manualWeight":39,"mainColor":40},235710,"hua-hui-ce-zou-xian-ji-235710","邹显吉","字黎眉，号思静，一号华斋，自称湖北居人，晚号城南老圃，江苏无锡诸生。尝学诗于吴伟业，画摹宋、元，山水、人物均得古法。写生有邹菊之目。著北游集、湖北草堂诗。一门风雅，妻能画梅，兄、弟、子、侄，皆工画，新处各画小品一二种成卷，为时所艳称。康熙三十九年（一七oo）作罗浮佳处卷，时年六十五。",[50,23,51,24,25,54,119,7,28,309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8fc76969934fa525c9ae94e7f22e5b0.jpg",[35,72],{"id":20758,"slug":20759,"title":20760,"dynasty":18,"author":12963,"museum":175,"description":20761,"tags":20762,"thumbUrl":20763,"material":391,"size":20764,"collection":107,"collections":20765,"showCount":20584,"zanCount":1288,"manualWeight":39,"mainColor":40},234253,"shu-dao-nan-tu-juan-zhang-hong-234253","蜀道难图卷","《蜀道难图》是明代画家张宏与书法家韩道亨的书画唱和之作。画中绝壑幽谷，飞流急湍，栈道高架，崖壁千丈，极尽蜀道之险，将李白诗作的波诡云谲与韩道亨书法的笔走龙蛇融为一体，相得益彰。画家不追求面面俱到，仅截取蜀道之一角，便再现出蜀道之崔嵬峥嵘与突兀森郁。其构思之用心，可谓别具一格。",[49,23,51,52,26,25,56,8442,2142,119,7,55,279,9396,150,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb61da97da6c5a119c5ac62467270d9a0.jpg","纵32.4厘米 横100.5厘米",[],{"id":20767,"slug":20768,"title":20769,"dynasty":97,"author":655,"museum":329,"description":20770,"tags":20771,"thumbUrl":20772,"material":779,"size":20773,"collection":107,"collections":20774,"showCount":20584,"zanCount":39,"manualWeight":39,"mainColor":924},233868,"mei-hua-ce-jin-nong-233868","梅花册","金农（1687—1764），字寿门，号冬心，又号稽留山民、曲江外史、昔耶居士等，浙江仁和（杭州）人。金农一生用过很多号、别号，印记也很多，据秦岭云考证，金农号有：冬心、司农、吉金、竹泉、古泉、老丁、耻春亭翁、寿道士、稽留山民、曲江外史、昔耶居士、莲身居士、龙梭仙客、金二十六郎、仙坛扫花人、金牛湖上诗老、百二砚田富翁、心出家庵粥饭僧、金牛、金吉金（苏伐罗吉苏伐罗）、枯梅庵主、龙梭仙馆旧客、荆蛮民、小善庵主、老金、惜花人、之江钓师、三朝老民、十九松长者、朱阳馆主、纸裘老生。所钤印记有：寿、农、寿门、古泉、金农、竹泉金吉金、莲身居士、金农之印、金吉金之印、冬心先生、金老丁、生于丁卯、金农印信、金寿门氏、努力加餐饭、寿道士、明月入怀、乐此不疲、布衣雄世。某些字号、印章颇具生活气息，其晚年多用佛门别号。",[23,51,24,135,26,27,528,137,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb34432e0d3f92f887635aac9010c975.jpg","25.4cm ×29.8cm",[],{"id":20776,"slug":20777,"title":444,"dynasty":18,"author":2181,"museum":175,"description":6562,"tags":20778,"thumbUrl":20779,"material":391,"size":6565,"collection":107,"collections":20780,"showCount":20584,"zanCount":39,"manualWeight":39,"mainColor":40},233805,"shan-shui-tu-ce-dong-qi-chang-233805",[23,51,24,26,55,56,871,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fc0101e770c5965b8981d382075a663.jpg",[],{"id":20782,"slug":20783,"title":17855,"dynasty":18,"author":459,"museum":175,"description":17856,"tags":20784,"thumbUrl":20785,"material":4816,"size":17859,"collection":107,"collections":20786,"showCount":20584,"zanCount":39,"manualWeight":39,"mainColor":40},233469,"ren-wu-hua-hui-ce-xu-wei-233469",[50,23,51,24,26,403,7084,6815,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d7da0a86ef5dffe025cc71e769143d1.jpg",[],{"id":20788,"slug":20789,"title":3972,"dynasty":115,"author":881,"museum":175,"description":3973,"tags":20790,"thumbUrl":20791,"material":183,"size":3977,"collection":107,"collections":20792,"showCount":20584,"zanCount":1288,"manualWeight":39,"mainColor":75},233455,"bai-qiang-wei-tu-ye-ma-yuan-233455",[23,50,51,24,54,25,27,3975,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd156bc8fd7cb24c1008aafd5d77f9bce.jpg",[],{"id":20794,"slug":20795,"title":10479,"dynasty":146,"author":1644,"museum":175,"description":10480,"tags":20796,"thumbUrl":20797,"material":391,"size":10483,"collection":107,"collections":20798,"showCount":20584,"zanCount":39,"manualWeight":39,"mainColor":75},233219,"you-ju-tu-juan-qian-xuan-233219",[23,51,52,53,25,54,55,56,870,406,871,63,60,61,62,58,727,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F632995a029649dc360969921b2503da9.jpg",[],{"id":20800,"slug":20801,"title":1094,"dynasty":115,"author":221,"museum":175,"description":20802,"tags":20803,"thumbUrl":20805,"material":183,"size":20806,"collection":107,"collections":20807,"showCount":20584,"zanCount":39,"manualWeight":39,"mainColor":75},232935,"ting-qin-tu-zhou-zhao-ji-232935","此幅描绘官僚贵族雅集听琴的场景。主人公道冠玄袍，居中端坐，凝神抚琴，前面坐墩上两位纱帽官服的朝士对坐聆听，左面绿袍者笼袖仰面，右面红袍者持扇低首，二人悠然入定，仿佛正被这鼓动的琴弦撩动着神思，完全陶醉在琴声之中。叉手侍立的蓝衫童子则瞪大眼睛，注视着拨弄琴弦的主人公。作者以琴声为主题，巧妙地用笔墨刻画出“此时无声胜有声”的音乐的意境。画面背景简洁，如盖的青松和摇曳的绿竹衬托出庭园高雅脱俗的环境，而几案上香烟袅袅的薰炉与玲珑石上栽植着异卉的古鼎与优雅琴声一道，营造出一种清幽的氛围。\n画面上方有宰相蔡京手书七言绝句一首，右上有宋徽宗赵佶瘦金书题“听琴图”三字。\n作品构图简净，人物举止形貌刻画生动传神，衣纹线描劲挺略带战笔，树石器具描写工致而毫无呆板，着色浑厚而不失清丽，是宋代宫廷人物画的代表作品。\n由于作品本幅有徽宗题名与画押，作品一度被认为是赵佶所画，后经学者考证，此幅为宣和画院画家描绘徽宗赵佶宫中行乐的作品，而图中抚琴者，正是赵佶本人。",[50,23,51,84,54,25,58,610,358,5851,7,497,178,11723,20804,1481],"凳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a06d38e220a4cfb38a1f63704749fe0.jpg","纵147.2厘米，横51.3厘米",[],{"id":20809,"slug":20810,"title":20811,"dynasty":146,"author":1644,"museum":7132,"description":19909,"tags":20812,"thumbUrl":20813,"material":319,"size":20814,"collection":107,"collections":20815,"showCount":20584,"zanCount":39,"manualWeight":39,"mainColor":40},232698,"gua-jia-tu-juan-qian-xuan-232698","瓜茄图卷",[49,50,23,51,52,25,54,27,86,7,6288,265,1195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6384b84d66760e6e53124845392246.jpg","10.5×66.5cm",[],{"id":20817,"slug":20818,"title":20819,"dynasty":115,"author":289,"museum":175,"description":20820,"tags":20821,"thumbUrl":20823,"material":319,"size":20824,"collection":107,"collections":20825,"showCount":20584,"zanCount":39,"manualWeight":39,"mainColor":75},232627,"xi-yue-jiang-ling-tu-juan-quan-juan-li-gong-lin-232627","西岳降灵图卷全卷","《西岳降灵图》图卷描绘了各种形形色色人物，包括贵族及其眷属随从，甚至市井中的商人、乞丐、渔父、玩把戏的等等。在不同的程度上表现了各种人的特点。道教画放手描写市井人物，因为道教相信神仙会隐迹在普通人群中间，可以具有普通人的外表。因而这样的道教画又具有了风俗画的特点。李公麟的绘画风格，是重实践而又追求清新的。\n《西岳降灵图》画卷被认为是北宋著名画家李公麟的传世名作之一。从画卷后的跋语及其所钤盖的印章来看，该画卷在明初曾为黔宁王沐英家族收藏，明成化至正德时，又流落到大太监钱宁手中，清代则为鉴藏家梁清标所有。该画卷最后的私人收藏者是近现代佛学大师、书画家、鉴藏家叶恭绰先生。特别值得一提的是，叶恭绰先生曾经的重要藏品还有《鸭头丸贴》、《毛公鼎》等等。虽然《西岳降灵图》并未见诸著录，但经许多收藏大家之手审定、珍藏，也可说是流传有序了。",[49,23,50,52,135,58,225,1207,7755,20822,7],"仪仗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38fa89bfeaab83091e6e70ab92b978e3.jpg","纵26.5厘米，横513.7厘米",[],{"id":20827,"slug":20828,"title":20829,"dynasty":18,"author":20830,"museum":99,"description":20831,"tags":20832,"thumbUrl":20833,"material":107,"size":107,"collection":107,"collections":20834,"showCount":20584,"zanCount":39,"manualWeight":39,"mainColor":40},228889,"xie-sheng-you-xi-tu-juan-chen-gua-228889","写生游戏图卷","陈栝","《陈栝写生游戏图卷》是明代画家陈栝创作的一幅设色画。\n此图是陈氏写生画，图中从右至左绘牡丹、兰花、玉兰、桃花、荷花、水仙等9种花卉，花间穿插飞燕、蝴蝶、鱼虾、鸳鸯等。\n花卉没骨、双钩兼用，鸟用意笔写之，生动活泼，颇富野趣。\n画风学陈淳而琐碎过之。\n卷末左下自题“陈栝戏笔”。\n下钤“古吴陈栝”、“沱江子”二印。\n引首有清高宗弘历（乾隆皇帝）御题“造物为师”四字。\n曾经清内府收藏。\n鉴藏印有“乾隆御览之宝”、“石渠宝笈”、“嘉庆御览之宝”、“宣统御览”、“笔研精良人生一乐”等。\n清内府《石渠宝笈·初编》著录。",[49,23,51,52,25,27,66,102,308,7,2641],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa86071febaedaa6fcbabea897e0e51df.jpg",[],{"id":20836,"slug":20837,"title":20838,"dynasty":18,"author":207,"museum":99,"description":20839,"tags":20840,"thumbUrl":20841,"material":107,"size":107,"collection":107,"collections":20842,"showCount":20584,"zanCount":1288,"manualWeight":39,"mainColor":40},228793,"ni-zan-qiu-lin-ye-xing-tu-yi-ming-228793","倪瓒秋林野兴图","此作用笔萧疏简淡，近岸枯木虬枝舒展，坡石间茅亭孤峙，一水横陈，远山澹然隐现，将太湖秋郊的荒寒清旷晕染开来。以干笔淡墨皴擦山石，逸笔草草却尽得山水神韵，意境冷寂空濛，尽显幽居林下的散淡意兴。\n\n卷后题咏往复，书画合璧，将文人出世襟怀融于水墨间，淡墨轻岚里满溢疏离尘嚣的隐逸之思，简淡中见真味，把秋日郊野的静穆与林下野兴，尽数铺展在咫尺卷中，尽显文人水墨写意的澹远精神。",[49,23,51,52,26,56,967,277,63,55,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe698103b9ad62460364be9a270631b54.jpg",[],{"id":20844,"slug":20845,"title":20846,"dynasty":18,"author":13743,"museum":99,"description":20847,"tags":20848,"thumbUrl":20849,"material":689,"size":690,"collection":107,"collections":20850,"showCount":20584,"zanCount":39,"manualWeight":39,"mainColor":40},228393,"shi-liu-luo-han-tu-juan-wu-bin-228393","十六罗汉图卷","画卷为佛教人物题材，描绘释迦牟尼的得道弟子十六罗汉，卷首为明代书画家米万钟题引首：應真變現，卷末有汤宾尹书般若波罗蜜多心经。",[49,23,52,25,54,86,7,58,14445,64,150,1284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff53a6c1c40c19bbcdc893c795d160448.jpg",[],{"id":20852,"slug":20853,"title":20854,"dynasty":18,"author":955,"museum":99,"description":20855,"tags":20856,"thumbUrl":20857,"material":107,"size":107,"collection":107,"collections":20858,"showCount":20584,"zanCount":39,"manualWeight":39,"mainColor":75},228292,"li-fo-tu-chen-hong-shou-228292","礼佛图","此作用笔清劲圆韧，尽显高古奇逸之风。崖上枯松虬曲苍劲，枝桠裹挟冷冽清气，石崖趺坐的尊者素衣宽博，神色澹然，以丝缕牵出云端佛影，引渡下界向佛之心。下方沙弥合掌长跪，衣褶层叠温婉，满脸至诚恭敬。\n\n玲珑剔透的太湖石错落排布，衬出画面空灵疏朗的禅意，设色清雅柔和，仅以淡赭、浅青晕染，将出世的静穆禅韵融于尺幅之间，笔端藏着静水流深的禅思，把礼佛的虔敬化作悠远澄澈的画境。",[49,23,51,84,1284,54,135,25,58,277,967,610,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c721a086c33d6299e0b1c0e20fa17b.jpg",[],{"id":20860,"slug":20861,"title":20862,"dynasty":146,"author":20863,"museum":99,"description":20864,"tags":20865,"thumbUrl":20867,"material":107,"size":107,"collection":107,"collections":20868,"showCount":20584,"zanCount":11,"manualWeight":39,"mainColor":40},228038,"mo-lou-shu-can-zhi-tu-chang-juan-cheng-qi-228038","摹楼璹蚕织图（长卷）","程棨","此作以长卷铺陈江南蚕织全序，从浴蚕收种、稚蚕养护，直到煮茧缫丝、上机成绸，将蚕户从春到夏的辛劳日常一一绘就，每段配书题诗，图文呼应。笔触温润写实，农妇饲桑、调丝的动作鲜活自然，院舍桑田、织机筐篓细节考究，忠实还原宋本原貌，又晕染出元人清雅的笔墨质感，将耕织烟火揉进细腻笔锋里，是后世窥见古时丝织工艺与乡野民俗的珍贵图像长卷。",[49,23,51,52,134,54,25,86,7,58,59,64,1019,181,4165,20866],"蚕桑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3e1a06d4ccdb8d1b366fe00d978d814.jpg",[],{"id":20870,"slug":20871,"title":20872,"dynasty":115,"author":207,"museum":99,"description":20873,"tags":20874,"thumbUrl":20875,"material":107,"size":107,"collection":107,"collections":20876,"showCount":20584,"zanCount":1288,"manualWeight":39,"mainColor":924},227834,"zheng-qin-tu-ye-yi-ming-227834","争禽图页","折枝山茶斜斜铺展，莹白花朵团簇绽放，叶片晕染出浓淡层次，尽显阴阳向背的苍润生机。两只禽鸟打破静谧，一鸟振翅俯冲，姿态凌厉，细枝上的小雀瑟缩避让，将枝头争闹的瞬间精准定格。\n\n全作用笔精细入微，禽鸟纤毫毕现，山茶设色清润雅致，淡绢底色更衬古雅气韵。以小幅尺幅定格春日花鸟间的刹那灵动，把自然生趣凝练于方寸之间，尽显写生格物、以小见大的精妙造诣，生机满溢，意趣悠长。",[49,50,23,51,822,25,54,27,66,332,2152,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7afa4755efb0dfc6d21d7a5d1a31d71.jpg",[],{"id":20878,"slug":20879,"title":20880,"dynasty":115,"author":116,"museum":99,"description":20881,"tags":20882,"thumbUrl":20883,"material":107,"size":107,"collection":107,"collections":20884,"showCount":20584,"zanCount":39,"manualWeight":39,"mainColor":40},227594,"xing-song-si-shi-jiu-zhi-shi-juan-huang-ting-jian-227594","行送四十九侄诗卷","《送四十九侄诗》卷，北宋，黄庭坚书，纸本，行楷书，纵35.5厘米，横130.2厘米。\n释文：\n诗送四十九侄。有妷财相见，何堪举别觞。共期同奋发，更勉致轩昂。接物宜从厚，修身贵有常。翁翁尤念汝，早去到亲旁。\n（注释：妷：同“侄”。财：同“才”。翁翁：犹“公公”，多指祖父。）\n帖后无名款。鉴藏印有“白石山房”、“蔡子木歌颂斋”、“宋荦审定”、“宣统御览之宝”。\n此帖原为《宋元宝翰》册之一，后改装成卷。此诗在《山谷外集》中没有记载，四十九侄亦无考。\n该帖字大如拳，结体多取柳公权法，字大方可尽其笔势。撇捺特长，笔画多取横势，字势舒展俊朗，跌宕起伏，变化出新，极具挺拔之态。\n与黄庭坚同为“苏门四学士”的张耒评黄庭坚诗句：“不践前人旧行迹，独经斯世擅风流。”用此句评论黄庭坚的书法是很恰当的。\n著录于《装余偶记》卷五、《石渠宝笈初编》卷一。",[49,50,23,51,52,26,119,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29821737f2406a22c55be35d08a7b3fa.jpg",[],{"id":20886,"slug":20887,"title":20888,"dynasty":115,"author":207,"museum":99,"description":20889,"tags":20890,"thumbUrl":20891,"material":107,"size":107,"collection":107,"collections":20892,"showCount":20584,"zanCount":39,"manualWeight":39,"mainColor":75},223627,"he-ting-xiao-xia-tu-yi-ming-223627","荷亭消夏图","近岸古松盘曲如铁，老木横卧如长虹枕在浅草汀洲，野意自生。林间荷亭翼然明敞，朱棂黛瓦隐在浓荫里，将溽暑拦在林外，似有荷风穿窗而过，裹着清润凉意。杨柳柔条垂烟，轻蘸水面，把夏意晕成一片慵懒。\n\n远景山峦化在濛濛水汽里，只剩淡墨晕开的黛色轮廓，和烟水织就空濛底色。工写相融的笔触里，亭台勾勒精工，林木皴染苍润，淡墨烘出水汽蒸腾的溽暑空茫，把幽居消夏的闲静揉进画面。蝉声隐在叶底，时光漫过松荫，只余一室清凉，将盛夏的燥热尽数消解，藏起宋人藏在小景里的雅致闲情。",[49,23,50,25,54,55,7,56,63,64,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd39d36753c7bf7f5e869b068f452a9c8.jpg",[],{"id":20894,"slug":20895,"title":20896,"dynasty":115,"author":207,"museum":175,"description":20897,"tags":20898,"thumbUrl":20899,"material":239,"size":20900,"collection":107,"collections":20901,"showCount":20584,"zanCount":1288,"manualWeight":39,"mainColor":75},223494,"chun-yan-tu-juan-quan-juan-yi-ming-223494","春宴图卷全卷","此图旧题“唐人春宴图”，为李世民创建文学馆，招纳贤才，杜如晦、房玄龄等被称为十八学士。此图绘十八学士集会宴饮的情景，图卷场面宏大，人物姿态各异，构图繁而不乱。",[49,23,51,52,54,25,58,225,871,11723,11724,180,1017,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5739e812fc48146e4bb8636f43c7fb7.jpg","23x573",[],{"id":20903,"slug":20904,"title":20905,"dynasty":18,"author":3904,"museum":222,"des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沉云黑,露冷莲房坠粉红。 关塞极天惟鸟道,江湖满地一渔翁 枝山",[49,86,51,462,26,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0796796b3151d6d2714112888fafc285.jpg","106.5 X37 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，福建侯官縣人，清代中期政治家、文學家、思想家，民族英雄。\n林則徐是嘉慶十六年（1811年）進士，歷官翰林編修、江蘇按察使、東河總督、江蘇巡撫、湖廣總督等職。道光十九年（1839年），以欽差大臣赴廣東禁煙時，派人明察暗訪，強迫外國鴉片商人交出鴉片，並將沒收鴉片於虎門銷燬。該事件被認為是第一次鴉片戰爭的導火線。戰爭爆發不久，林則徐被構陷革職，發往新疆戍邊。道光二十五年（1845年）重獲起用，歷任陝甘總督、陝西巡撫、雲貴總督等職，加太子太保。道光三十年（1850年），林則徐在奉命鎮壓拜上帝會起事途中，病逝於潮州普寧。獲贈太子太傅，諡號“文忠”。有《林文忠公政書》等作品傳世。\n林則徐一生遍歷地方，治績卓著。雖在兩廣抗擊西方入侵，但對於西方的文化、科技和貿易則持開放態度，主張學其優而用之。他至少略通英、葡兩種外語，且着力翻譯西方報刊和書籍。他主持編譯的《四洲志》及魏源編撰的《海國圖志》，對晚清的洋務運動乃至日本的明治維新都具有啓發作用。",[97,86,119,134,26,319,21107,7,51,23],"屏条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9455903956a89eeb7a0d8aeb82bc5f83.jpg",[122],{"id":21111,"slug":21112,"title":21113,"dynasty":18,"author":459,"museum":99,"description":4616,"tags":21114,"thumbUrl":21115,"material":689,"size":690,"collection":107,"collections":21116,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},239871,"qi-lv-zhou-xu-wei-239871","七律轴",[18,86,84,119,462,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc005f883ee27f9e4510a7c83aa66459a.jpg",[],{"id":21118,"slug":21119,"title":21120,"dynasty":18,"author":21121,"museum":99,"description":21122,"tags":21123,"thumbUrl":21124,"material":107,"size":107,"collection":35,"collections":21125,"showCount":257,"zanCount":1288,"manualWeight":39,"mainColor":40},239420,"hua-zhu-zhou-chen-qin-239420","画竹轴","陈芹","陈芹，生于1515年，卒年不详。字子野，号横崖，上元（南京）人，为安南国（越南）王后代，永乐年间来中国避战乱。擅长绘画，山水花卉竹枝均能，",[23,51,84,26,358,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaf9f100d12ff5ef9f1a592126067433.jpg",[35],{"id":21127,"slug":21128,"title":21129,"dynasty":97,"author":20613,"museum":81,"description":20614,"tags":21130,"thumbUrl":21131,"material":107,"size":107,"collection":70,"collections":21132,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":75},238256,"wu-da-fu-song-tu-juan-zhang-ruo-ai-238256","五大夫松图卷",[23,51,52,26,55,777,137,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b2767d1893093d6fd6a0d715c493fd.jpg",[70],{"id":21134,"slug":21135,"title":21136,"dynasty":97,"author":21137,"museum":99,"description":21138,"tags":21139,"thumbUrl":21140,"material":107,"size":107,"collection":35,"collections":21141,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":75},236714,"hua-niao-guo-ce-li-qi-236714","花鸟果册","李圻","此作以大写意绘荷塘小景，阔笔泼墨晕染荷叶，墨色苍润交融，浓淡层次尽显夏日池面的氤氲水汽，落笔尽显酣畅率意。两朵白莲以淡墨勾形，留白作瓣，素净雅致，与浓墨荷叶形成强烈的虚实对照，清雅之气扑面而来。荷茎以劲爽线条勾勒，挺拔柔韧，寥寥数笔便将莲茎风姿尽显。画面两侧题上行草，笔墨意趣与画境呼应，诗书画浑然一体。构图疏密相宜，简逸空灵，以极简笔墨传递出荷塘清寂淡远的幽谧意境，尽显写意功底与文人雅致襟怀。",[23,51,50,24,26,420,102,103,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdca8a3f7e25a409507aba1c306024f12.jpg",[35,242,122],{"id":21143,"slug":21144,"title":21145,"dynasty":97,"author":724,"museum":99,"description":21146,"tags":21147,"thumbUrl":21148,"material":107,"size":107,"collection":70,"collections":21149,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},236389,"fang-dong-qi-chang-shan-shui-zhou-wang-yuan-qi-236389","仿董其昌山水轴","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」\n见《清史稿》、秦祖永《桐荫论画》。",[23,51,84,26,55,134,7,56,150,64,727,60,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28132a1aa86a2afd0d9dbcc643e59524.jpg",[70,242],{"id":21151,"slug":21152,"title":2149,"dynasty":97,"author":697,"museum":175,"description":21153,"tags":21154,"thumbUrl":21155,"material":391,"size":21156,"collection":35,"collections":21157,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},236311,"hua-hui-ce-wang-shi-shen-236311","此图册十二页，分别画十二种花卉。\n汪士慎(1686-1759)清代著名画家。字近人，号巢林、溪东外史等。安徽休宁人，寓居扬州。汪士慎在诗、书、画、印诸方面皆有很高的成就。擅画花卉，随意勾点，清妙多姿。精画兰竹，尤擅长画梅，笔致疏落，超然出尘，笔意幽秀，气清而神腴，墨淡而趣足，其秀润恬静之致，令人争重。金农称他画梅之妙和高西唐(翔)异曲同工。西唐善画疏枝，巢林善画繁枝，都有空里疏香、风雪山林之趣。千花万蕊，颇富诗意。老年一目失明，尚能挥写自如，不失当年风韵。为“扬州八怪”之一。工诗，善写隶书，又长篆刻。在一目失明作画时，自刻一印云：“尚留一目看梅花”，后来，双目俱瞽，但仍挥写，署款“心观”二字。时金农赞他“盲于目，不盲于心”。阮元《广那个诗事》说他：“老而目瞽，然为人画梅，或作八分书，工妙胜于未瞽时。”其代表作有《苍松偃蹇图》、《潇湘灵芳图》、《绿萼梅开图》、《洒香梅影图》、《月珮风襟图》、《灵根出谷图》等。著有《巢林诗集》。",[23,51,24,26,27,528,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb8c7ea965ffa8a1b378d01899052fef.jpg","纵24厘米 横27.5厘米",[35,72],{"id":21159,"slug":21160,"title":2895,"dynasty":97,"author":1082,"museum":99,"description":1382,"tags":21161,"thumbUrl":21162,"material":689,"size":690,"collection":107,"collections":21163,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},235506,"za-hua-ce-zhu-da-235506",[23,51,24,26,488,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd35aa4bd3e30e431fdcc63c5911fed21.jpg",[],{"id":21165,"slug":21166,"title":2515,"dynasty":18,"author":161,"museum":175,"description":2516,"tags":21167,"thumbUrl":21168,"material":319,"size":2519,"collection":107,"collections":21169,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},234088,"wu-zhong-shan-shui-ce-shen-zhou-234088",[23,26,24,119,56,137,60,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fcfb606921be0b9986e3b5388576f24.jpg",[],{"id":21171,"slug":21172,"title":18193,"dynasty":115,"author":11749,"museum":175,"description":21173,"tags":21174,"thumbUrl":21175,"material":227,"size":21176,"collection":107,"collections":21177,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":75},234070,"song-xi-fan-yue-tu-ye-xia-gui-234070","夏圭《松溪泛月图》是《宋元集萃册》中之一开，纨扇式小品画。图中绘清朗的月夜，数人乘一叶扁舟畅游湖上，微风徐拂，月明如镜，水天一色，在一派澄净中，只有溪流与松风的和奏飘荡在水面上。\n简洁的用笔，渲染出深远的意境，四位点景人物以寥寥数笔绘出，亦觉生动形象。\n边角剪裁的构图，空灵巧妙，情景交融，富有浓浓诗意，显示出含蓄蕴藉的艺术魅力。作者以极为简括的构图和痩劲的线条反映了文人士大夫在当时的时代背景下追求心灵自由、亲近自然山水的诉求，艺术风格朴素清逸，可称是夏圭山水画的代表作品。\n夏圭（生卒年不详），一作夏珪，字禹玉，钱塘（今浙江杭州）人。南宋画家，与李唐、刘松年、马远并称“南宋四大家”。宁宗时任画院待诏，赐金带。善画山水，属水墨苍劲一派，喜用秃笔，下笔凝重，继承发展了李唐的大斧劈皴。取景简练，常以半边景物表现空间，与马远有异曲同工之妙，有“马一角，夏半边”之称。",[23,50,51,3363,26,25,55,56,610,61,62,944,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b1dcf60be19a97c3123327632de9860.jpg","24.7×25.2cm",[],{"id":21179,"slug":21180,"title":21181,"dynasty":18,"author":2059,"museum":175,"description":21182,"tags":21183,"thumbUrl":21184,"material":16503,"size":21185,"collection":107,"collections":21186,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},233796,"lan-hua-tu-wen-zheng-ming-233796","兰花图","此图绘兰花与荆棘相伴而生的田野风光。文氏以挥洒豪放的笔墨，表现兰叶摇曳之美；以迟缓的中锋运笔，表现荆棘的坚韧而多刺。在一件作品中将不同的物象施以迥异的笔法，由此可见文氏所具的高超绘画技法。",[23,822,26,311,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ad7f5e71de08d28870f10ffda834f80.jpg","纵16.8厘米，横50.9厘米",[],{"id":21188,"slug":21189,"title":4389,"dynasty":146,"author":7331,"museum":175,"description":21190,"tags":21191,"thumbUrl":21192,"material":239,"size":21193,"collection":107,"collections":21194,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},233215,"zhu-shi-tu-zhou-gu-an-233215","《竹石图》 。该图里画的是在顾安作品里较少见的晴竹。只见几竿瘦竹挺立于石边，前后分布，迎让相宜，并以淡墨绘出。前边两竿的枝叶呈生长旺势，以重墨写就的竹叶参差错落，且线条锋锐有力；劲健的笔法，表现出爽利的韵味。竹节是用一小扁圆圈表示的，这种画法习惯上称“圈节法”，与后世画家常用的“乙字勾节法”不同。画竹笋叶尖的笔墨非常精巧，顿挫扭转，生意盎然。后面的竹竿上，依稀可辨的嫩叶又显现出新竹的娇影，使读者可感画家对生活细腻的观察，和对竹韵的精微刻画。\n左上方有顾安自题年款，款下有三印：“顾安”与“顾定之”和“山月吟窗”，顾安的“山月吟窗”是一方富有诗意的闲章。\n顾安，字定之，号迂讷老人。平江（今江苏苏州）人。祖籍淮东（今江苏），故自称淮东人。曾任泉州同安县尉。擅画竹，常写风竹新篁。\n图中绘墨竹三竿，瘦劲挺拔，风梢云干，萧疏清逸。枝下窠石圆润互叠，缀以新篁，更添野趣。以干笔淡墨画竹竿，以书法捺笔写出竹叶，行笔遒劲自如。用浓、淡墨烘染，似烟云浮动，烘托出竹子的清幽秀骨。",[23,51,84,26,358,277,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c2a0b28fc7cfc65ebf4a460dda8477a.jpg","170.7x99.7cm",[],{"id":21196,"slug":21197,"title":21198,"dynasty":18,"author":2059,"museum":175,"description":21199,"tags":21200,"thumbUrl":21202,"material":566,"size":21203,"collection":70,"collections":21204,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},233133,"ming-ren-xi-shan-sheng-jing-he-bi-ce-wen-zheng-ming-shi-hu-tu-ye-wen-zheng-ming-233133","明人西山胜景合壁册-文徵明石湖图页","此册又名《明人西山胜景书画合璧册》（见《故宫博物馆藏文物珍品大系：吴门绘画》），著录于《墨缘汇观》，合题跋共计十四页，依次为：刘钰《踞湖山图》、沈周《茶磨屿图》、《新郭图》（对页陈淳题诗一首）、唐寅《越来溪图》、《行春桥图》、《饶稼桥图》（对页自题诗一首）、文徵明《横塘图》、《石湖图》（对页自题诗一首）和陈淳《桃花坞图》、《紫薇村图》，后页徐朗白题。\n颇为吊诡的是这套册页似乎从未完整发表过，就目前所见，《中国古代书画目录》是分开著录，其中刘钰一页、唐寅《饶稼桥图》以及四页题诗都未著录，而《中国古代书画图目》则只选印了沈周和陈淳的四页。《文徵明精品集》发表了两画及一页题诗，《唐寅绘画集》也只发表了《越来溪图》、《行春桥图》两页，《故宫博物馆藏文物珍品大系：吴门绘画》刊印了沈周、文徵明、唐寅各两页，陈淳《桃花坞图》一页，略去了四页题跋。刘钰《踞湖山图》、唐寅《饶稼桥图》及另外三页题跋始终未见，其中或有伪作吧（文徵明的两页画曾于去年苏博特展展出，未见图录，不知是否有完整发表）。但学术乃天下之公器，国内许多博物馆的出版态度素来可恶，很多作品在各类出版物中情况不一，往往“有头无尾”，以致研究一件作品需“东拼西凑”。\n吴门诸家歌咏、描绘吴中名胜之风颇盛，与平日游踪所及和地域意识渐起有关，留存于世的风景名胜图极多，甚至祝寿、官员离任，也以吴中风景图册为赠。值得注意的是，此册中沈周、文徵明、唐寅、陈淳的作品都是早年笔，集三代才人妙墨，想来这套作品的收藏者花了不少心思。末页崇祯五年徐朗白题云：“我朝画法变宋化元，正嘉间吴中诸先进一时杰出、擅采争奇，直使静庵而下皆瞠乎其后矣，此十册俱西山胜景，首为完庵次石田次六如衡山白阳，景虽未尽，人已才难，不特片羽之吉光抑且狐裘之集腋也。什袭见珍，援毫见重。”并题一歌，语涉浮夸无足取。",[23,51,24,26,56,150,64,62,21201,119,7],"湖面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7401370fa8da2f24b34abe414e0b35f.jpg","纵22.8cm，横33.2cm",[70,72],{"id":21206,"slug":21207,"title":21208,"dynasty":192,"author":1112,"museum":7132,"description":21209,"tags":21210,"thumbUrl":21212,"material":239,"size":21213,"collection":107,"collections":21214,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":75},232625,"xi-cheng-gui-le-tu-juan-han-huang-232625","西成归乐图卷","一说风俗画，各位可别想歪了哈，这风俗画其实是以社会风气习俗为题材的绘画，表现的可能是某地某时的社会活动、风物特产，或是时令气候，风俗画虽然被归在人物画的范畴下，但却具有独特的艺术魅力，要比一般的人物画有意思的多。\n其实，最有名的风俗画便是张择端所绘制的《清明上河图》了，描绘了北宋汴京一带的风景、城郭、市肆、村舍，以及人们的生产生活，是一幅精美绝伦的风俗画巨制，流传至今，备受瞩目。但是今天，我们不说他。\n目前还能见到的风俗画雏形，是各地出土的汉代画像砖，这些图像涉及歌舞宴乐、狩猎农桑等一系列民众活动，直观再现了汉代下至民间百姓，上至贵族的真实生活。\n有表现劳动生产的，如播种、收割、舂米、酿造、盐井、桑园放牧等，有描绘社会风俗的如宴乐、杂技、舞蹈等，有神话故事如西王母、月宫等，还有表现统治阶级车马出行的。\u2028 风俗画的兴盛至晚出现在南宋时期，这和当时的商品经济、市民经济发展有关。",[49,23,51,52,54,135,58,1115,225,65,21211,86,7,119],"耕作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe65d45b34c3b7c6f1debaca0eb192617.jpg","27.2 x 101.5",[],{"id":21216,"slug":21217,"title":21218,"dynasty":18,"author":1014,"museum":99,"description":21219,"tags":21220,"thumbUrl":21221,"material":107,"size":107,"collection":107,"collections":21222,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},230992,"shao-yao-tu-tang-yin-230992","烧药图","《烧药图》是明朝诗人唐寅所作诗词。\n明 人来种杏不虚寻，彷佛庐山小径深。\n常向静中参大道，不因忙里庆清呤。\n愿随化雨之春泽，未许云间一片心。\n老我近来多肺疾，如另紫雪把 。",[50,23,51,52,26,25,55,119,86,7,58,56,610,137,150,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e987fb42398f70635b32fd13cd9023.jpg",[],{"id":21224,"slug":21225,"title":21226,"dynasty":115,"author":13367,"museum":99,"description":21227,"tags":21228,"thumbUrl":21229,"material":107,"size":107,"collection":107,"collections":21230,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},230862,"li-dou-tie-cai-xiang-230862","离都帖","《离都帖》，又名《致杜君长官尺牍》， ，行书，纸本，纵29.2cm，横46.8cm， 作品，书于155年。\n该帖书法丰腴厚重处似颜真卿，兼有 行草之俊秀。\n中国 藏 。\n襄启。\n自离都至南京。\n长子匀感伤寒七日。\n遂不起此疾。\n南归殊为荣幸。\n不意灾祸如此。\n动息感念。\n哀痛何可言也。\n承示及书。\n并永平信。\n益用凄恻。\n旦夕渡江。\n不及相见。\n依咏之极。\n谨奉手启为谢。\n不一一。\n襄顿首。\n杜君长官足下。\n七月十三日。\n贵眷各佳安。\n老儿已下无恙。\n永平已曾于递中。\n驰信报之。\n此帖乃蔡襄即将渡长江“南归”途中所书，追述离都（开封）行至南京（今商丘）而痛失长子。\n友人来信慰问，襄作此书答谢。\n蔡襄（112－167），字君谟。\n其先本光州人，居仙游（今属 省），迁甫田。\n官至端明殿学士，知杭州，谥忠惠。\n工正、行、草、隶书，又能飞白书，尝以散笔作草书，称为“散草”或“飞草”。\n书法学 、 ，并取法 人。\n世人评蔡襄行书第一，小楷第二，草书第三。\n与苏轼、黄庭坚、米芾，共称“ ”，誉满书苑。",[86,119,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafffa824fbc4214de71bced66eb5f727.jpg",[],{"id":21232,"slug":21233,"title":21234,"dynasty":97,"author":655,"museum":99,"description":21235,"tags":21236,"thumbUrl":21237,"material":107,"size":107,"collection":107,"collections":21238,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":924},230855,"lian-jin-nong-230855","联","此作以漆书成字，用墨浓重如泼，字形方朴奇崛似刀削斧凿，笔力苍浑老辣。每字排布开张错落，“非”字敦厚沉凝，“佛”“仙”字形简古开张，钝重横画与尖劲出锋形成强烈反差，尽显汉碑古拙气度。左侧题款以灵动草书搭配，与正文沉厚漆书形成动静对照，拙雅相映，自带金石意趣。\n\n整体苍古高华，将隶书的庄重浑穆与个人奇逸审美相融，自出机杼，尽显碑学风尚下的艺术新意，朴茂沉雄之间藏着清逸古雅的文人意趣。",[86,5664,5663,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bf774f2af00992fdf4d936d7ab248b5.jpg",[],{"id":21240,"slug":21241,"title":21242,"dynasty":97,"author":1082,"museum":99,"description":21243,"tags":21244,"thumbUrl":21245,"material":107,"size":107,"collection":107,"collections":21246,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},230277,"gu-guo-xing-bei-shi-hua-ce-su-qin-wang-juan-shou-zhu-da-230277","故国兴悲诗画册(肃亲王卷首)","此幅书法以行书书就四字，笔力苍劲沉凝，线条如枯藤老树，藏锋裹住满腔郁愤，露锋破开沉重心绪，字形宽博朴拙，尽显沉郁厚重的气度。左侧题款小字清隽端雅，与大字的雄健悲凉形成强烈视觉反差。疏朗留白间朱印点缀，将山河破碎的怆怀融于笔墨，于尺幅间铺陈出悠悠无尽的家国哀思，笔墨起落间皆是乱世流离的沉恸。",[49,23,51,24,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa89e9df92d4a66217f7060c595690bf2.jpg",[],{"id":21248,"slug":21249,"title":21250,"dynasty":97,"author":9011,"museum":99,"description":21251,"tags":21252,"thumbUrl":21253,"material":107,"size":107,"collection":107,"collections":21254,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},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。",[23,25,26,27,29,1227,17275,7,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb56f8d8e8fbbb64afde5123e88597a17.jpg",[],{"id":21256,"slug":21257,"title":21258,"dynasty":97,"author":5100,"museum":99,"description":21259,"tags":21260,"thumbUrl":21261,"material":107,"size":107,"collection":107,"collections":21262,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},228949,"chun-man-zhi-tou-zhao-zhi-qian-228949","春满枝头","此作将群芳收于团扇尺幅，花枝虬曲穿插，蔷薇、山茶错落在苍枝间，繁而不乱。墨叶以浓淡晕出层次，苍厚朴拙，带着写意的朴野意趣；花卉以没骨晕染，粉艳、朱红、米黄诸色鲜活柔润，妍丽却不甜俗。\n\n兼工带写的笔意，将草木的舒展生机与文人画的隽雅格调相融，角落题字清雅端凝，和画面浑然一体。把暮春盛放的鲜活景致凝缩方寸之间，生机盎然，尽显清隽的写生意趣，是兼具笔墨情致与自然意韵的小品佳制。",[49,23,51,50,822,25,27,28,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F633ca1d9c7a81bb71031bb55fe76c1ba.jpg",[],{"id":21264,"slug":21265,"title":21266,"dynasty":18,"author":6966,"museum":99,"description":21267,"tags":21268,"thumbUrl":21269,"material":107,"size":107,"collection":107,"collections":21270,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":924},228260,"xi-shan-tu-xu-ben-228260","溪山图","此作画风承接元人山水余韵，以全景式构图铺展溪山胜境。层叠山峦以披麻皴写就，笔墨苍秀清润，尽显山石纹理质感与巍峨气势。山岩裂隙间飞泉垂落，添得山林灵动生机。山脚林木蓊郁，村居错落掩映于树荫之下，茅舍俨然，勾勒出幽寂恬然的山居意趣。\n\n画面上方题跋错落排布，书画相映成趣，晕染出文雅沉静的氛围。整作墨色层次丰富，勾勒点染间尽显静穆淡远的隐逸之美，将江南溪山的温润灵秀，与文人栖居的闲雅意致相融无间，格调萧散淡远，尽显文人山水的清雅风神。",[49,23,51,84,26,55,56,150,64,294,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c87a9d67988fc66837c4291b05d87c3.jpg",[],{"id":21272,"slug":21273,"title":12169,"dynasty":146,"author":10780,"museum":81,"description":21274,"tags":21275,"thumbUrl":21276,"material":1149,"size":12174,"collection":107,"collections":21277,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":75},228071,"yue-yang-lou-tu-xia-yong-228071","对开清代李佐贤题跋：“岳阳楼图，界画精巧，飞阁层檐，一丝不乱，楼中人物，纤悉具备，殆类鬼工。上题岳阳楼记，楷书如蝇头蚊脚，足使离娄失明，不知作者如何着笔。此等书画，乃宋人绝技，元明以后，已成《广陵散》矣。古今人不相及，即艺事可见。李佐贤识。”钤：“竹朋”印。\n岳阳楼位于今湖南省境内，相传最早为三国时东吴名将鲁肃训练水师的阅兵台，更因北宋著名文学家范仲淹脍炙人口的《岳阳楼记》而著称于世，其与滕王阁、黄鹤楼并称为我国古代“三大名楼”。\n此幅与故宫藏另一件《岳阳楼图》之构图、技法如出一辙，只是一为纨扇，一为册页。其精整工细的线描正可谓“细若蚊睫，侔于鬼工”。这种纯以墨笔白描界画建筑的手法到元代以后已成绝响，以至于清人李佐贤误以为此图是宋人所为。",[23,50,51,1962,135,59,56,58,150,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9a48c01606623521039e6e1df769255.jpg",[],{"id":21279,"slug":21280,"title":21281,"dynasty":146,"author":20863,"museum":99,"description":21282,"tags":21283,"thumbUrl":21287,"material":107,"size":107,"collection":107,"collections":21288,"showCount":257,"zanCount":1288,"manualWeight":39,"mainColor":40},228037,"mo-lou-shu-geng-zuo-tu-chang-juan-cheng-qi-228037","摹楼璹耕作图（长卷）","此作以长卷铺陈田家岁时劳作全程，从垦壤播种到刈获登场，每段农事场景鲜活写实，农人的动作、形制各异的农具、田陇桑野的细节皆一一细致摹绘，还原出耕织劳作的质朴烟火。笔墨兼具宋画的精工写实，又暗含元人淡和的写意韵致。卷上题跋鉴印层层累叠，带着历代递藏的厚重脉络，将田家稼穑的日常，与文人题咏的雅致融于一卷，既是记录古代农桑的图像实录，也是承载着鉴藏史迹的书画珍存。",[49,23,51,52,134,25,54,86,7,58,1115,19700,21284,21285,64,61,21286,60],"农舍","田地","稻禾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67c64d15f526a4ae7c823223adca9895.jpg",[],{"id":21290,"slug":21291,"title":1260,"dynasty":115,"author":1261,"museum":99,"description":21292,"tags":21293,"thumbUrl":21294,"material":107,"size":107,"collection":107,"collections":21295,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},227698,"sui-han-san-you-tu-zhao-meng-jian-227698","洁净的扇面上，作者绘松、竹、梅折枝，以墨笔画上一株饱结花朵、苞蕾的梅枝，继而交错、绕夹着如星芒般的松针与墨影般的竹叶，将它们横斜置于画面中央，以松针的灰和墨竹的黑来衬托出梅花的白。松叶如钢针，竹叶如刀剑，更表现出梅花的傲骨冰心。整个画面笔墨秀丽，清绝幽雅，意趣横生。这幅《岁寒三友图》通过对画面的安排，明确表达出作者刚正、坚贞的气节。画扇的右上方钤“子固”白文印。\n\n用笔上，画中的梅花以淡墨衬染着用细笔，浓墨所圈钩的花瓣、松针用笔尖挺劲拔，墨竹以中锋运使，挺劲有力。松、竹、梅画法各异，充满韵致，是幅极具精神的南宋小品。赵孟坚的作品一笔一画都注意书法与画法的结合，可以代表宋末文人画的艺术特色。",[49,23,51,822,135,26,777,358,528,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F999c0b646b9a079331a43aabd414c35c.jpg",[],{"id":21297,"slug":21298,"title":21299,"dynasty":115,"author":116,"museum":99,"description":21300,"tags":21301,"thumbUrl":21302,"material":107,"size":107,"collection":107,"collections":21303,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},227591,"lian-po-lin-xiang-ru-lie-zhuan-huang-ting-jian-227591","廉颇蔺相如列传","黄庭坚书法《廉颇蔺相如传》白纸本，纵32.5厘米，横1822厘米。美国纽约大都会博物馆藏 。\n\n此卷为黄庭坚书《史记．廉颇蔺相如列传》，文中有节略。卷尾无书写纪年和史款，约书于绍圣二年（1095年）。卷内钤有“ 内府书印”、“绍兴”连珠印、 “内省斋”、“秋壑图书”、欧阳玄印”、“项子京家珍藏”、等印鉴，还有项元汴跋。此卷是传世黄书中的名迹，《式古堂书画会考》、安歧的《黑缘会观》等书均有著录。\n\n草书发展到盛唐，狂草成熟，在流动中求得笔法、节奏、线条、结构的丰富变化，成为草书不可移易的定则。黄庭坚是钦服唐人狂草的，对张旭、怀素都有会心之论，自言“得藏真（怀素）自叙于石杨休家，谛观数日，恍然自得，落笔便觉超异”。\n无疑，黄庭坚对草书笔法的深刻认识和掌握，当是“得张长史、僧怀素、高闲墨迹，乃窥笔法之妙”的。他在《跋此君轩诗》中写道：“近时士大夫罕得古法，但弄笔左右缠绕，遂号为草书可，不知蝌蚪、篆、隶同法同意。数百年来，唯张长史、永州狂僧怀素及余三人悟此法可。苏才翁有悟处而不能尽其宗趣，其余碌碌耳。”\n\n以黄庭坚的颖悟与才力，不至领会不到唐人草书的要义，然而他的草书却一改唐人旧法，速度放慢，略加顿挫，在许多地方放弃线条的连续而着意于空间的摆布，结果形成与唐人迥然不同的一种风格，“草书之法，至此又一变矣”（姜夔语）。黄庭坚的草书，线条中奔放的气势当然不能与唐人相比，但空间结构所表现出来的气度和变化的丰富性，却不让于唐人。\n\n黄庭坚不饮酒，其作草全在心悟，以意使笔。然其参禅妙悟，虽多理性使笔，也能大开大合，聚散收放，进入挥洒之境。而其用笔，相形之下更显从容娴雅，虽纵横跌宕，亦能行处皆留，留处皆行。\n有学者评：“黄庭坚引鹤铭入草，雄强逸荡，境界一新”。黄庭坚所作诸草书帖，乃真得其妙理，也正由此，黄庭坚开创出了中国草书的又一新境。",[2651,86,462,52,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a8127995eb55ccdd242d64d3f5390a.jpg",[],{"id":21305,"slug":21306,"title":21307,"dynasty":1037,"author":1985,"museum":99,"description":21308,"tags":21309,"thumbUrl":21310,"material":107,"size":107,"collection":107,"collections":21311,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},227266,"yuan-yang-shuang-xi-qi-tu-huang-quan-227266","鸳鸯双西栖图","黄荃在中国古代花鸟画发展史上占有重要地位。他集众家之长，鸟雀师刁光胤，山水师李昇，龙水、松石、墨竹师孙位，他能自出新意，不重蹈抄袭他人的陈迹，创出一种新体并使工笔花鸟画达到成熟期。黄荃的《写生珍禽图》其表现翎毛、昆虫等自然物态的精确性及其作为艺术形象的审美趣味性，确已达到妙造自然、形神兼备的地步。黄荃还继承和发展了边鸾描写活禽生卉的传统，以优美的笔致和赋色技巧表现动植物的生动情态。黄荃也能画山水、人物。与徐熙并称“徐熙野逸，黄家富贵。”。今有《写生珍禽图》传世。子黄居宷、黄居宝等亦擅花鸟，承其父法，黄居宷有《山鹧棘雀图》传世。",[49,23,50,51,822,54,25,27,11856,137,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28c674b72f9c4538a81c5d18574dd6ea.jpg",[],{"id":21313,"slug":21314,"title":21315,"dynasty":97,"author":4047,"museum":81,"description":21316,"tags":21317,"thumbUrl":21318,"material":319,"size":21319,"collection":70,"collections":21320,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},224122,"qing-gao-zong-yu-bi-kai-tai-shuo-bing-fang-ming-xuan-zong-kai-tai-tu-zhou-qian-long-224122","清高宗御笔开泰说并仿明宣宗开泰图轴","该幅据其自题，谓壬辰（1772）新春，自制开泰说一篇，又仿明宣宗作开泰图。三羊造型，实仿朗世宁开泰图。花石则系邹一桂奉诏补景之作。\n“三阳开泰”词意源出于《易经》：“正月为泰卦，三阳生于下”，取其冬去春来，阴消阳长，表示佳运即将开始，是新年吉祥的贺词。“三阳”取其谐音写生绵羊三只，母羊与小羊表情动人；配景的花石，用笔自由写意，乃出自于乾隆朝翰林词臣画家邹一桂（1686－1772）之手。邹一桂生于江苏无锡，雍正五年（1727）进士，官至礼部侍郎。",[49,23,84,25,54,1116,8840,277,1239,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f4c9e77f35eea21414f4325ecb0cef4.jpg","127.7×63厘米",[70,242],{"id":21322,"slug":21323,"title":21324,"dynasty":97,"author":5795,"museum":2698,"description":21325,"tags":21326,"thumbUrl":21327,"material":7136,"size":21328,"collection":107,"collections":21329,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":75},222664,"po-mo-xi-shan-tu-zhou-kun-can-222664","泼墨溪山图轴","《髡残泼墨溪山图》作者一反秃笔渴墨之常法，而以湿笔淡墨勾山画树，与大面积浑点泼墨融合生发，再以重墨刻画桥、屋、人物。用笔松动，施墨淋漓，画面酣畅而又蓊郁朴厚，洋溢着蓬勃生机。配以行草题跋，随意挥洒，粗服乱头，体现其独具的审美意趣。",[49,23,51,50,84,26,55,56,63,60,61,64,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F053c5bca500d486edd2cf07e7d775590.jpg","77.2cmx27cm",[],{"id":21331,"slug":21332,"title":21333,"dynasty":18,"author":8484,"museum":81,"description":21334,"tags":21335,"thumbUrl":21336,"material":319,"size":21337,"collection":107,"collections":21338,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},222457,"li-shu-gui-qu-lai-ci-zhou-shen-du-222457","隶书归去来辞轴","《归去来辞》是东晋诗人陶渊明的名作，文中表达淡泊名利，追求圆满自足的田园之乐，向来是文人雅士嚮往的理想境界。此幅隶书用笔劲健，点画平齐规律，或是想要以拙朴有古意的书体，传达千载以前陶诗的意境。",[8547,86,51,84,5663,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff17f51da867c7f977aefcd7184026e97.jpg","52 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繁笔勾皴和屋宇的简笔勾勒，形成疏密的对比，墨色也富有虚实轻重的变化，使画面产生强烈的装饰美感。",[49,23,51,24,25,56,59,64,63,86,7,55,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674619dee4ce4fad476bb3400d91654b.jpg","纵42.2厘米，横23.8厘米",[],{"id":21366,"slug":21367,"title":21368,"dynasty":18,"author":4410,"museum":81,"description":21369,"tags":21370,"thumbUrl":21371,"material":21372,"size":21373,"collection":70,"collections":21374,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},222086,"hui-shan-zhu-quan-tu-zhou-qian-gu-222086","惠山煮泉图轴","钱谷此图绘与友人四人品茶赏景谈天，三童一汲方池惠泉，另二于松下煽火备茶。图中树木多以乾笔皴擦、人物偶现几处浓墨点缀，浓淡表现恰到好处，笔法灵巧，呈现了晚明文人潇洒怡然的生活情景。",[49,23,51,84,26,25,55,58,64,150,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc265a3d40fc91feae57afc4851a3c8e.jpg","轴、纸本、浅设色","265x57.2",[70,72],{"id":21376,"slug":21377,"title":21378,"dynasty":146,"author":20435,"museum":20,"description":21379,"tags":21380,"thumbUrl":21381,"material":319,"size":21382,"collection":122,"collections":21383,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":924},221843,"zhen-jing-an-mu-yuan-shu-juan-shu-yang-wei-zhen-221843","真镜庵募缘疏卷书","《真镜庵募缘疏卷》是杨维桢的行草书佳作。作者晚年与僧道交往频繁，经常出入于寺庙道院，此卷特地为真镜庵募缘所撰写。其书章局变化丰富，随意而奇崛，用笔力遒韵稚，笔法跳宕，竭尽一唱三叹、回肠荡气的能事。用墨浓淡互济，干湿对比强烈，表现出作者的强烈的艺术个性，怪癖性格的极度张扬。",[49,50,23,51,52,86,119,462,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4da8dc6697a68cc4bc1fefa0121d77.jpg","纵33.3厘米，横278.4厘米",[122],{"id":21385,"slug":21386,"title":21387,"dynasty":115,"author":2718,"museum":175,"description":21388,"tags":21389,"thumbUrl":21390,"material":183,"size":21391,"collection":213,"collections":21392,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":75},221453,"bin-feng-tu-juan-quan-juan-ma-he-zhi-221453","豳风图卷全卷","作者根据《诗经·国风》之《豳风》诗意而作。全卷共分七段，依次为《七月》、《鸱号》、《东山》、《破斧》、《伐柯》、《九罭》、《狼跋》，每段画前书《豳风》原文。图中人物形象生动，衣纹用兰叶描，笔法流畅潇洒，设色清丽古雅，在诸本毛诗图中，亦属精作。此卷无款印，旧传为马和之画，宋高宗赵构书。但在《伐柯》篇内“構”字因避高宗讳而缺一笔，如“”，说明该书不是赵构所写，而是画院高手代笔。此图大约在元代初年被分割为两卷，仅《破斧》篇为赵孟頫收藏，明末董其昌误认为是赵孟頫补图。清乾隆年间两卷入内府，合璧装成一卷，并将董其昌、高士奇跋移往后幅。卷首有清高宗弘历御书“苇龠余风”四字，尾纸除董其昌、项元汴等三则题记外，尚有乾隆御题一则，钤明项元汴、清高士奇、梁清标及乾隆、嘉庆、宣统内府藏印多方。\n张丑《清河书画舫》、卞永誉《式古堂书画汇考》、吴升《大观录》、《石渠宝笈·续编》、《石渠随笔》等书著录。",[49,23,51,52,135,25,58,56,137,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56e13d25db108e203ad6d928b942d2a2.jpg","纵25.7厘米，横55.7厘米",[213,70,242],{"id":21394,"slug":21395,"title":21396,"dynasty":130,"author":21397,"museum":81,"description":21398,"tags":21399,"thumbUrl":21400,"material":24,"size":21401,"collection":1120,"collections":21402,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":1441},221012,"bei-song-ta-jiang-tie-ba-ce-liu-ling-221012","北宋榻绛帖 （八）册","刘伶","一醉能醉三年？刘伶不信这个邪。他走进酒馆，问杜康要酒喝，杜康给了他一杯、两杯、三杯，不断地劝他别喝多了。刘伶不依不饶，三杯下肚，顿觉天旋地转，连忙道别。\n刘伶跌跌撞撞回到了家，对妻子交代：「我若死，就埋在酒池内，用酒盅酒壶陪葬。」说完，就人事不知，连呼吸也没有了。刘伶妻子以为他死了，痛哭不已。后来，照刘伶的「遗愿」，妻子安葬了他。\n三年后，杜康来到刘伶家，说是来讨要酒钱的。刘伶的妻子又气又恨，恨杜康给刘伶喝酒喝死了人，要拉杜康去见官。不料，杜康却说：「你的丈夫并没有死，他只是醉了。不信你们把棺材打开。」\n众人将信将疑，如杜康所言，开棺查看。果真见刘伶面色红润，栩栩如生。只听杜康高声叫道：「刘伶醒来，刘伶醒来！」棺材里的刘伶伸了一下懒腰，打个哈欠，居然真的活过来了，嘴里还说道：「好酒，好酒！」",[2226,86,418,24,7,119,462],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437251458fa66f869ebc603ef68c9564.jpg","28.3x33.8 厘米",[1120],{"id":21404,"slug":21405,"title":21406,"dynasty":18,"author":161,"museum":525,"description":21407,"tags":21408,"thumbUrl":21409,"material":88,"size":21410,"collection":70,"collections":21411,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},220083,"yi-zhu-tu-shen-zhou-220083","移竹图","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代画家，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文，青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。 其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格， 在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[49,23,51,52,26,55,119,7,6095,358,150,64,727,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b023fa09cc7e63d573812ca97d8e8bb.jpg","24.5 x 98cm",[70],{"id":21413,"slug":21414,"title":21415,"dynasty":146,"author":630,"museum":81,"description":21416,"tags":21417,"thumbUrl":21418,"material":88,"size":21419,"collection":35,"collections":21420,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},219501,"tao-hua-you-niao-tu-zhang-zhong-219501","桃花幽鸟图","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。",[23,51,26,27,57,29,31,86,119,462,7,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39e824d8b7c3ee45995275c79f83170d.jpg","纵112.2厘米，横31.4厘米",[35],{"id":21422,"slug":21423,"title":21424,"dynasty":18,"author":524,"museum":81,"description":21425,"tags":21426,"thumbUrl":21427,"material":152,"size":21428,"collection":70,"collections":21429,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},219465,"gu-shan-fang-he-tu-xiang-sheng-mo-219465","孤山放鹤图","项圣谟（1597-1658），字孔彰，浙江嘉兴人，著名收藏家项元汴之孙，其画精赡，不同时俗。孤山在浙江杭州西湖，宋代高士林逋（968-1028）隐居于此，种梅养鹤，不仕不娶，人谓「梅妻鹤子」。相传其泛舟湖中时，如友朋来访，家童即纵鹤飞报，遂归。然本幅却将孤山场景，融入苏轼名篇〈放鹤亭记〉（亭在江苏徐州云龙山）的内容，故绘鹤归来兮，山人相迎。而长堤迤逦，分明是西湖；数点梅花，又扣回林逋故事。实景、掌故与文章，在画家的想像里交织。画采俯瞰视角，以长堤环抱，横切狭长画幅，独具一格。画家二度题识，其一自署「再生丁酉人」，盖项氏生于万历丁酉年，至此又一甲子，故此作极有可能为其暮年所为。",[23,51,84,26,55,56,63,10510,871,727,7,86,119,66,20040],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4d720118a917ab54392b2fa1433c93.jpg","94.8x32.7",[70],{"id":21431,"slug":21432,"title":21433,"dynasty":18,"author":21434,"museum":20,"description":21435,"tags":21436,"thumbUrl":21437,"material":88,"size":21438,"collection":199,"collections":21439,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},219409,"bai-miao-fo-xiang-tu-juan-cui-zi-zhong-219409","白描佛像图卷","崔子忠","崔子忠（约1574-1644年），初名丹，字开予，改名子忠，字道母，号青蚓。山东莱阳人，寓居顺天府（今北京）。善画人物、肖像，传世作品较少。此幅白描佛画，似说法或授经图，取法李公麟，人物高古，衣纹流美，作于崇祯四年（1631)，作者时年约五十八岁，款署“辛未九月九日长安门下士崔子忠识。”另纸有明田大受崇祯四年（1631）手书《金刚经》，款曰“崇祯辛未重阳日瀛州奉佛弟子田大受沐手敬书。”",[18,23,51,52,1284,135,58,150,64,7,86,436],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb93c57ab1883defa55547102439778a.jpg","纵30厘米，横56厘米",[199],{"id":21441,"slug":21442,"title":21443,"dynasty":115,"author":207,"museum":20,"description":21444,"tags":21445,"thumbUrl":21446,"material":152,"size":21447,"collection":70,"collections":21448,"showCount":257,"zanCount":1288,"manualWeight":39,"mainColor":75},218545,"shui-ge-na-liang-tu-yi-ming-218545","水阁纳凉图","这幅画描绘了一个池塘的一角，池塘表面有荷叶，池塘上方坐着一个亭子，一侧有柳树遮挡，亭子里的人在风中吹气，以保持凉爽。在通往亭子的栏杆上，可以看到两个孩子，一个站在凳子上采摘水果，另一个站在一边观看。",[49,23,51,1962,26,56,59,61,64,225,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F168e0fb0842b2e8361dde396b28c2a8f.jpg","24.4x24.9cm",[70],{"id":21450,"slug":21451,"title":21452,"dynasty":18,"author":14336,"museum":175,"description":21453,"tags":21454,"thumbUrl":21455,"material":152,"size":21456,"collection":199,"collections":21457,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":75},216778,"lv-ji-lv-wen-ying-zhu-yuan-shou-ji-tu-lv-ji-216778","吕纪吕文英竹园寿集图","这幅画是吕纪和吕文英在1499年画的，根据序言和题诗，吏部尚书屠滽、户部尚书周敬、御史郑捷三人同时过60岁生日，众官员在周敬的府上饮酒庆贺。\n这三位养老金领取者是主要人物，周围有客人、仆人和孩子。画中所有的人（除了孩子）都有名字，有的在院子里看仙鹤跳舞，有的在竹林里用笔墨写字，还有的在石桌上写诗。画卷最后的两个人，看着画卷，是画家陆机和陆文英，分别身着绿色和绿色的官服。\n吕纪和吕文英同时在朝廷任职，被称为 大吕 和 小吕。吕纪以画花鸟著称，这幅画的背景是鸟和树，整齐好看，接近吕纪的风格；吕文英擅长人物，线条沉稳，脸部轮廓平实，形态逼真，五官分明，与吕文英的风格相似",[49,23,51,52,25,54,58,358,777,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffee6afe5130a0922557acf3dd49180a0.jpg","33.8x395.4",[199],{"id":21459,"slug":21460,"title":21461,"dynasty":146,"author":709,"museum":81,"description":1490,"tags":21462,"thumbUrl":21463,"material":88,"size":107,"collection":107,"collections":21464,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},216377,"mo-zhu-pu-ce-12-wu-zhen-216377","墨竹谱册-12",[23,51,24,26,358,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b84d902bdcd0dfa7857eb27af954466.jpg",[],{"id":21466,"slug":21467,"title":21468,"dynasty":146,"author":709,"museum":81,"description":1490,"tags":21469,"thumbUrl":21470,"material":88,"size":107,"collection":107,"collections":21471,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},216370,"mo-zhu-pu-ce-18-wu-zhen-216370","墨竹谱册-18",[23,51,24,26,86,7,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffaa4c6b21b52e04071e7e763f1f29e9.jpg",[],{"id":21473,"slug":21474,"title":21475,"dynasty":97,"author":655,"museum":525,"description":21476,"tags":21477,"thumbUrl":21478,"material":21479,"size":21480,"collection":107,"collections":21481,"showCount":257,"zanCount":1288,"manualWeight":39,"mainColor":40},216332,"jin-nong-ba-kai-hua-niao-tu-2-jin-nong-216332","金农八开花鸟图-2","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。",[23,51,24,26,2342,104,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda7016f993e9c69a865fbe99d0bf92ad.jpg","设色,水墨","30.5x40.9cm",[],{"id":21483,"slug":21484,"title":21485,"dynasty":18,"author":9393,"museum":485,"description":21486,"tags":21487,"thumbUrl":21488,"material":239,"size":21489,"collection":107,"collections":21490,"showCount":257,"zanCount":39,"manualWeight":39,"mainColor":40},216249,"chi-bi-sheng-you-tu-xie-shi-chen-216249","赤壁胜游图","这幅画描绘了诗人游赤壁之景，宽阔的河面，水天一色，小船随河水起伏，船上的人驶向赤壁赏景，构图深远，笔法接近沈周。画中的岩石和树木线条松散而稳健，人物的线条简单，而石头的堆砌紧凑而富有变化，色彩的搭配富于深浅变化，使物体的层次清晰地凸显出来，显示出文人在场景前的闲适和优雅。",[49,23,51,52,26,25,55,119,86,7,56,62,64,150,715],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fede19bc0fd7f7a0caf0e5f4ff140f866.jpg","23 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出守翰林，职在闲冷，亲情嘱托，谁肯响应，深察感幸。公权呈。\n鉴藏印有宋“绍兴”、“瑞文图书”、“贤志赏”，元“赵氏子昂”、“乔氏篑成”、“齐郡张绅士行”，明“冯氏鹿庵珍藏图籍印”，清“安岐之印”、“王常宗”、“陈氏彦廉”、“韩世能印”、“韩逢禧印”等。\n此帖传为柳公权写的一通信札，告诉对方自己年老体衰，能力有限，虽然有个闲官职位，可也不能为别人办什么大事，请谅解自己的难处。\n南宋所刻《兰亭续帖》中收有《翰林帖》（或称《蒙诏帖》），其文曰：“公权年衰才劣，昨蒙恩放出翰林，守以闲冷，亲情嘱托，谁肯响应，惟深察，公权敬白。”据文意推测该帖应写于文宗时柳氏任翰林院书诏学士期间，而本帖中的“出守翰林”在文辞上不符合当时居官者职守的称谓，因此可能是宋人据《翰林帖》的大意写出。书法的前四行用笔较雄畅，结字亦尚稳妥，而后几行用笔逐渐瘦薄，结字多松散，末行的“权”字笔画也不成结构，与柳氏遒媚劲健的书风悬殊较大。种种迹象表明，本帖非柳书，乃是宋人仿本。\n明詹景凤《东图玄览》、张丑《南阳书法表》、《真迹日录》，清安岐《墨缘汇观》著录。",[86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e336129e2c0fb37f0eb11ef2d3893f.jpg",[122],{"id":21626,"slug":21627,"title":21628,"dynasty":97,"author":21629,"museum":99,"description":21630,"tags":21631,"thumbUrl":21632,"material":107,"size":107,"collection":70,"collections":21633,"showCount":21515,"zanCount":39,"manualWeight":39,"mainColor":40},239415,"fang-gu-shan-shui-ping-qin-zu-yong-239415","仿古山水屏","秦祖永","此作为浅绛山水，取高远、深远构图，层峦叠嶂渐次推展。山石以干笔皴擦，兼施淡赭花青晕染，松苍枫艳，满溢秋意。林麓间山居隐现，山道上行旅往来，山口茅亭有人闲坐，处处缀出悠然的山居烟火气。\n画作师法前贤，笔致松秀温润，设色清雅柔和，题诗呼应画意，将宋元山水的苍浑气象，揉入文人画的秀逸雅致中，尽显静穆淡远的林下雅趣，是晚清仿古山水中极具意韵的佳构。",[23,25,56,55,6244,870,871,63,58,8760,150,610,20399,7,60,2142,727,3550,3652,17680,53,26,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa922d4fea8744735b2bda1b5ca2a1160.jpg",[70,72],{"id":21635,"slug":21636,"title":21637,"dynasty":97,"author":1180,"museum":99,"description":21638,"tags":21639,"thumbUrl":21640,"material":107,"size":107,"collection":107,"collections":21641,"showCount":21515,"zanCount":39,"manualWeight":39,"mainColor":40},239285,"song-shu-tu-zhou-wu-chang-shuo-239285","松树图轴","此作用篆籀笔法写就老松，主干以苍辣浓墨挥扫，嶙峋树皮尽显饱经岁月的古拙质感，松针攒簇如戟，笔力沉雄凝练，仿佛将穿林风骨锁于纸间。\n\n右侧长款行草笔势奔腾跌宕，与画面笔墨意趣融为一体，诗书画印相映成趣。暑日挥毫，汗透衣衫仍笔底生风，将老松傲骨峥嵘的姿态尽致展现，苍郁雄浑的气韵扑面而来，尽显吴氏金石写意的典型风貌，把文人笔墨意趣与古松坚韧生机完美相融。",[23,51,84,26,610,86,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69e5299d3cfddb23c06d20f3f2c9ff8b.jpg",[],{"id":21643,"slug":21644,"title":2974,"dynasty":97,"author":2568,"museum":99,"description":2975,"tags":21645,"thumbUrl":21646,"material":107,"size":2978,"collection":107,"collections":21647,"showCount":21515,"zanCount":39,"manualWeight":39,"mainColor":40},238029,"hong-ren-shan-shui-tu-ce-hong-ren-238029",[23,51,24,26,25,56,277,64,61,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10102ec27a9d86269d3849cb605c37b2.jpg",[],{"id":21649,"slug":21650,"title":2895,"dynasty":97,"author":1082,"museum":99,"description":1382,"tags":21651,"thumbUrl":21652,"material":689,"size":690,"collection":107,"collections":21653,"showCount":21515,"zanCount":39,"manualWeight":39,"mainColor":40},237937,"za-hua-ce-zhu-da-237937",[23,51,24,26,119,462,150,64,403,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb86108c56dd64ee2459aadeca6d13748.jpg",[],{"id":21655,"slug":21656,"title":20270,"dynasty":97,"author":5309,"museum":99,"description":17796,"tags":21657,"thumbUrl":21658,"material":107,"size":107,"collection":70,"collections":21659,"showCount":21515,"zanCount":39,"manualWeight":39,"mainColor":40},237602,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237602",[23,51,24,26,55,134,119,7,56,150,293,64,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901d55e3abf423efff694b4d83b35d25.jpg",[70,122],{"id":21661,"slug":21662,"title":21663,"dynasty":97,"author":9011,"museum":175,"description":21664,"tags":21665,"thumbUrl":21666,"material":668,"size":21667,"collection":199,"collections":21668,"showCount":21515,"zanCount":39,"manualWeight":39,"mainColor":40},236467,"gong-sun-da-niang-wu-jian-tu-zhou-ren-yi-236467","公孙大娘舞剑图轴","图绘著名教坊舞伎公孙大娘舞剑之情景。公孙大娘主要活动于唐代开元年间（713—741年），以擅长舞剑享有盛名。相传怀素、张旭观其舞剑曾启发了他们的草书创作，形成了狂草之笔风。\n是图线条劲健流畅，墨笔枯润浓淡自如，有明末陈洪绶笔法，但又具自家面貌，为任氏用意之作。",[23,51,50,84,135,26,58,136,5980,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F289a3ce8d2d9ae38ee061b2d227a8155.jpg","纵41.9㎝，横28㎝",[199,242],{"id":21670,"slug":21671,"title":2895,"dynasty":97,"author":21672,"museum":99,"description":21673,"tags":21674,"thumbUrl":21675,"material":689,"size":690,"collection":35,"collections":21676,"showCount":21515,"zanCount":39,"manualWeight":39,"mainColor":40},236275,"za-hua-ce-chen-zi-236275","陈字","陈字，1634年出生，清初名儒祯，小名鹿头，浙江诸暨人，艺术家。",[23,51,24,25,54,27,5740,1989,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf91b3188b1d2657236050474f40d5dd.jpg",[35,72],{"id":21678,"slug":21679,"title":2895,"dynasty":97,"author":1082,"museum":99,"description":1382,"tags":21680,"thumbUrl":21681,"material":689,"size":690,"collection":107,"collections":21682,"showCount":21515,"zanCount":39,"manualWeight":39,"mainColor":40},235505,"za-hua-ce-zhu-da-235505",[23,26,24,1171,531,7,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cbc32cb105dc79b84d7242b1e6cb60a.jpg",[],{"id":21684,"slug":21685,"title":7228,"dynasty":18,"author":21686,"museum":99,"description":21687,"tags":21688,"thumbUrl":21692,"material":689,"size":690,"collection":70,"collections":21693,"showCount":21515,"zanCount":743,"manualWeight":39,"mainColor":40},235285,"shan-shui-ce-shen-hao-235285","沈颢","补博士弟子员。性豪放好奇。工诗文。书法真、草、隶、篆，无所不能。山水近沈周，晚年笔意挺秀，点色清妍，深于画理，“似而不似，不似而似”是他的创见。著有《画尘》及《枕瓢》、《焚砚诸集》。",[23,51,24,25,56,137,59,751,7,21689,21690,8760,64,278,21691],"淡彩山水","古建","水墨设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9bb44391cc599f7dca8959c352ba7c.jpg",[70,35],{"id":21695,"slug":21696,"title":21697,"dynasty":97,"author":21698,"museum":99,"description":21699,"tags":21700,"thumbUrl":21701,"material":107,"size":107,"collection":107,"collections":21702,"showCount":21515,"zanCount":39,"manualWeight":39,"mainColor":40},234697,"fang-wu-li-shan-shui-shan-mian-qian-wei-qiao-234697","仿吴历山水扇面","钱维乔","钱维乔（1739~1806），字树参，号竹初居士等，武进（今江苏常州）人，钱维城弟。工书画、擅戏曲。在山水画创作上承袭董其昌的绘画理念，推崇宋元诸家的绘画风格，强调笔墨技法，追求蕴藉平和的审美意趣。\n钱维乔以笔笔有古意为创作宗旨，此图是他仿黄公望、吴镇法，绘制的江南景致。山石的皴擦点染以及树木的勾描，均可见钱氏已能熟练地运用黄、吴的笔墨技法，表现其平淡娟雅的山水意境。",[23,51,822,26,25,55,56,870,871,1902,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea4796b8f97833f8f76881a0e589dcc.jpg",[],{"id":21704,"slug":21705,"title":21706,"dynasty":97,"author":445,"museum":99,"description":14663,"tags":21707,"thumbUrl":21708,"material":107,"size":107,"collection":107,"collections":21709,"showCount":21515,"zanCount":39,"manualWeight":39,"mainColor":40},234544,"yuan-ji-san-tao-tu-zhou-shi-tao-234544","原济三桃图轴",[23,51,84,26,25,27,1817,1227,265,7,86,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F734589d4fb2c5b2b166fe490b533beaa.jpg",[],{"id":21711,"slug":21712,"title":17855,"dynasty":18,"author":459,"museum":175,"description":17856,"tags":21713,"thumbUrl":21714,"material":4816,"size":17859,"collection":107,"collections":21715,"showCount":21515,"zanCount":39,"manualWeight":39,"mainColor":40},233468,"ren-wu-hua-hui-ce-xu-wei-233468",[23,51,24,26,251,277,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab684c1f0d51b50b3c8334384a777334.jpg",[],{"id":21717,"slug":21718,"title":21719,"dynasty":18,"author":21720,"museum":329,"description":21721,"tags":21722,"thumbUrl":21723,"material":1561,"size":21724,"collection":107,"collections":21725,"showCount":21515,"zanCount":39,"manualWeight":39,"mainColor":924},231569,"fang-ma-yuan-yan-yun-die-zhang-tu-li-zai-231569","仿马远烟云叠嶂图","李在","李在（1400年－1487年），字以政，福建莆田江口郑板村人，明代宫廷画家。",[49,23,51,52,26,56,55,278,279,64,150,86,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013a2fc6a37091ae937949aa02030f9c.jpg","纵27.9厘米，横320厘米",[],{"id":21727,"slug":21728,"title":21729,"dynasty":115,"author":1755,"museum":99,"description":21730,"tags":21731,"thumbUrl":21732,"material":239,"size":1759,"collection":107,"collections":21733,"showCount":21515,"zanCount":743,"manualWeight":39,"mainColor":75},231501,"mei-zhu-tu-ye-ma-lin-231501","梅竹图页","《梅竹图》就是一幅意境幽远的佳作。图为已故名画家、书画鉴藏家唐云所藏，画寒梅数枝，横斜劲挺，其间绿竹穿差，偃仰扶疏，顾盼生情。造型精准，设色明丽，笔法秀朗，虽然画面简单，但因为在疏密、错落、主宾诸方面经过十分经意的安排，故在在恰到好处，着墨不多而生机满幅。\n可见，马麟不仅有敏锐的观察把握自然美的能力，更有诗人般的取舍剪裁能力；他有精准的造型手段，不仅能恰到好处摹写对象的形质，更能生动地凸现其风姿神采，并且务求简炼而意趣自足。清初鉴藏家吴升、吴其贞这样描述马麟传世的几幅梅花：“勾染逼真”，“傅彩妍洁，落笔灵动”，“清瘦伶仃，有不胜雪压之状”，“清简之甚，意趣有余”，都可与这幅《梅竹图》相互印证。若拿今藏故宫博物院的马麟名作《层叠冰绡图》与之作比较，更可发现它们在构图、画法及精神气度上的相似之处。元明间一位无名氏有诗赞马麟曰“当时写姿妙绝品”，用妙绝之品来形容这幅《梅竹图》，同样不算过分。",[50,23,51,24,54,25,27,528,358,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9422d460442581c12adf5086caf0ecb4.jpg",[],{"id":21735,"slug":21736,"title":21737,"dynasty":18,"author":2181,"museum":81,"description":21738,"tags":21739,"thumbUrl":21740,"material":319,"size":107,"collection":107,"collections":21741,"showCount":21515,"zanCount":1288,"manualWeight":39,"mainColor":40},231420,"fang-gu-shan-shui-ce-di-er-kai-fang-yan-wen-gui-bi-yi-dong-qi-chang-231420","《仿古山水册》第二开：仿燕文贵笔意","天启二年（1622），董其昌看了北宋燕文贵（967-1044）画卷而倣作此图，但改采立轴表现。画中几株秀树聚于带有倾侧之势的山石上；中景处大胆移置一段远山；画幅上部的远景却出现了视觉比例上更接近观者的中景山石坡林。全作笔墨秀润，构思状似平淡却大胆奇特，为其传世佳作。",[23,51,24,134,55,25,56,967,610,150,61,7,751],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9af16821e2b753ddcf5d5ee76ac26bc.jpg",[],{"id":21743,"slug":21744,"title":21745,"dynasty":146,"author":4144,"museum":81,"description":21746,"tags":21747,"thumbUrl":21749,"material":88,"size":21750,"collection":107,"collections":21751,"showCount":21515,"zanCount":1288,"manualWeight":39,"mainColor":40},231413,"qun-feng-xue-ji-tu-cao-zhi-bai-231413","群峰雪霁图","《元曹知白群峰雪霁图》是元代大画家曹知白晚年创作的一幅纸本水墨中国画作品，该作尺寸纵129.7公分，横56.4公分，现藏 。\n在技法上已经达到了融会贯通的境界。\n画面的左下方，几株松树巍然矗立，在这银装素裹的冰雪世界里更显现出一派凛然不屈的丈夫气概；从构图上看，又与右侧庭榭周围的另外几株树遥相呼应。\n在这幅作品中，画家通过对树木长短远近、虚实疏密的变化处理，使画面产生出强烈的纵深效果，进而使景象开阔，意境深幽。\n此作虽然是描绘雪景，却没有给人萧瑟荒凉的感受，相反，在这冰天雪地的景色之中，似乎还隐约能够感受到一丝融融的春意。\n一道在山崖间飞泻直下的流泉，虽然只是一处看似寻常的点缀之笔，却为画面增添了动感，使作品有声有色，更富有观赏情趣。\n此作的构图布局采用的是“高远法”，整体山势不以险峻取胜。\n平稳和缓的峰峦，带有明显的江南景象的特征，重重叠叠，层层递进，大有江山无尽之感。\n【名称】元曹知白群峰雪霁图 【类别】中国 【 【 【 【简介】 图轴，纸本，水墨画，纵：129.7公分，横：56.4公分。\n该画以白颜色为主要色调，技法表现看似简单，实则匠心独运，法度森严，虚实得当，计白当黑，尤其是在水榭、树木这些细微之处更见功夫。\n用笔简约疏朗，刚柔相济；用墨润燥相间，清淡温和；巧妙地把北方山水所特有的苍浑巍峨的“河朔气象”融入恬淡雅逸的江南景色的韵味，形成了柔美、宁静、凝重的风格。\n观者在一望之间，即能体会到北方山川的厚重沉稳，也能品味出南方山水的内在之美。\n另外，有学者认为「雪图」，可能是 早年精仿宋人之作。\n曹知白（1272-155年），字又玄，一字贞素，号云西，华亭（今属上海松江）人。\n工诗文，善画山水，画法师李成、郭熙，笔墨清润，全无俗气。\n晚年笔法苍简，自成一格。\n对后世绘画有一定的影响。",[23,2205,712,84,55,7,21748,1050,293,64,727,278,1977,967,610],"群峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a999b20c2e336d2ab5e434cb134b279.jpg","纵129.7厘米，横56.4厘米",[],{"id":21753,"slug":21754,"title":21755,"dynasty":146,"author":21756,"museum":81,"description":21757,"tags":21758,"thumbUrl":21760,"material":21761,"size":21762,"collection":107,"collections":21763,"showCount":21515,"zanCount":743,"manualWeight":39,"mainColor":40},231339,"shan-shui-tu-yuan-dai-ji-jin-zhi-qi-lin-juan-a-231339","山水图－元代集锦之七","林卷阿","这件作品是元代集锦卷之一，也是林卷阿传世的唯一的传世国画作品。作品描绘的有坡树，悬崖，阔永远山，有两个人在悬崖上对坐畅谈。江中有一孤舟正泛波而行，远山连绵起伏，境界清旷。作者将董巨、郭熙画风融为一体，用笔圆润秀逸。在作品的尾部有作者自己题的款识“癸丑闰十一月，余访远斋副使于竹崎，谈诗论画。因道余师方壶公及孟循张先生，乃知用行尝与二师游，好古博雅，尤精书法。”",[23,26,712,52,51,55,56,277,21759,64,716,751,20042,279,7],"沙渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc95f024886affd29ce1db2823207e22.jpg","卷,纸本,墨笔","纵25厘米，横61.5厘米",[],{"id":21765,"slug":21766,"title":21767,"dynasty":18,"author":8906,"museum":99,"description":21768,"tags":21769,"thumbUrl":21770,"material":107,"size":107,"collection":107,"collections":21771,"showCount":21515,"zanCount":1288,"manualWeight":39,"mainColor":40},228893,"you-yu-tu-juan-zhu-zhan-ji-228893","游鱼图卷","此卷以没骨淡墨绘就水族盛景，虾蟹轻螯微动，群鱼姿态各殊，或摆尾穿游于荇草间，或结群逐戏，动静相生、灵动鲜活。全图不施一笔画水，仅以飘摇的水藻、鳞鳍的动势，烘托出水流清浅柔润的空濛意境，仿佛可见池底幽谧生机。\n墨色轻晕淡染，将水泽的澄澈质感尽数烘托，简淡笔触里尽显自然生意，将水畔野趣鲜活定格绢素，尽显悠游自在的清致。",[49,23,52,26,54,2342,104,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf6784ede5dbadd64dafc49ae0651dc3.jpg",[],{"id":21773,"slug":21774,"title":21775,"dynasty":18,"author":9453,"museum":99,"description":21776,"tags":21777,"thumbUrl":21778,"material":107,"size":107,"collection":107,"collections":21779,"showCount":21515,"zanCount":39,"manualWeight":39,"mainColor":75},228374,"xi-shan-qiu-ai-tu-bian-wen-yu-228374","溪山秋霭图","《清卞文瑜溪山秋蔼图》是清代卞文瑜的画作，手卷，纸本，水墨，26×18厘米。\n现在收藏于大都会艺术博物馆藏。\n卞文瑜，明末清初画家。\n本姓徐，后改卞，字润甫，号浮白。\n江苏苏州人人。\n他擅长山水画，布局结构颇富巧思，对树石的刻划富有笔意。\n他曾从董其昌研求笔墨，因此他的画风与董其昌很接近，但落墨太松，失之于弱。\n所作绘画小景居多，大幅少见。\n卞文瑜（1576-1655），明末清初画家。\n字润甫，号浮白，号花龛，长洲（今江苏苏州）人。\n擅画山水，树石勾剔，甚有笔意，尝从董其昌讲求笔法，故笔墨亦相近。\n善作小景，因落墨松散故不善作大幅。\n亦为“画中九友”之一。\n卞文瑜以擅画山水著称于世，其绘画风格大致可分为两个阶段：早年和中年的山水画受赵左影响较深，承袭吴门遗风；同时又从董其昌讲求笔法，将董以笔墨气势取胜的特点与吴门强调诗意的结构布局相结合，形成了其特有的绘画风格。\n因此后世多用“布局结构殊有思致，树石钩剔颇具笔意”评价他这一时期的作品特点，但过于强调笔墨风趣与形象脱略，故未免缺乏自然山川之真实感，因此对其画又有“落墨太松，失之弱耳”、“山水多滑，少苍老”的批评。\n卞文瑜晚年的山水画风格变化较大，开始摆脱赵左的影响，而上追宋元诸家。\n这一变革主要是受王时敏、王鉴的影响，据王鉴跋卞文瑜《仿古山水册》云：“先生（卞文瑜）学画凡五十载，惟知赵文度（赵左）一派。\n晚年始与余交，及遇娄东奉尝烟翁（王时敏），乃见画中董、巨及元季四家真迹。\n每至娄中观古人画，则伏卧其下，不忍释手。\n”由于结识王时敏、王鉴等人，使得卞文瑜在其晚年得以看到董源、巨然及黄公望、王蒙、吴镇、倪瓒等大家的真迹名品，并且潜心临习，因此王鉴评价他晚年的作品：“笔法遒美，元气灵通，与生平画迥不相类。\n”从卞文瑜传世的作品看，他晚年的画作多题临仿古人之名，且多是小景山水，如故宫博物院藏《仿古山水册》，上海博物馆藏《仿宋元山水图册》，天津艺术博物馆藏《山水扇面》等，笔墨苍润，意境深远，较其早年、中年学赵左的作品要成熟得多。\n正如吴梅村在《画中九友歌》中评价卞文瑜时说：“画龛巨幅千峰稠，小景点出林塘幽。\n晚年笔力真沧州，幅中鹤绿轻王侯。\n”这是对他晚年绘画风格和艺术特色的准确概括。",[49,23,51,52,26,55,119,86,7,56,870,64,727,294,279,3652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4376ea56324cce93786eb26cd604bdd.jpg",[],{"id":21781,"slug":21782,"title":14261,"dynasty":115,"author":1261,"museum":99,"description":21783,"tags":21784,"thumbUrl":21785,"material":107,"size":107,"collection":107,"collections":21786,"showCount":21515,"zanCount":1288,"manualWeight":39,"mainColor":40},227697,"mo-lan-tu-zhao-meng-jian-227697","《墨兰图》卷，宋，赵孟坚作，纸本，淡墨，纵34.5厘米，横90.2厘米。\n\n本幅款署“彜齋趙子固仍賦”。钤“子固寫生”一印。墨兰是赵孟坚善画的题材。画面上绘墨兰二株，呈放射状的长叶参差错落，分合交叉，俯仰伸展。自题诗曰：“六月衡湘暑氣蒸，幽香一噴冰人清。曾將移入浙西種，一歲才華一兩莖。”诗中表露了作者孤高脱俗的思想境界。\n\n图中运笔柔中带刚，花朵及兰草叶均一笔点划，土坡用飞白笔轻拂，略加点苔。兰叶皆用淡墨，花蕊墨色微浓，变化含蓄，形成墨色对比。画虽为水墨，但格调高雅，“远胜着色”。其好友周密曾云：“赵孟坚墨兰最得其好，其叶如铁花，茎亦佳，……前人无此作也。”\n\n清卞永誉《式古堂书画汇考》、吴升《大观录》、安岐《墨缘汇观》、吴修《青霞馆论画绝句》等书著录。",[49,23,52,26,135,27,251,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd92597e894b5d42c872718b468778597.jpg",[],{"id":21788,"slug":21789,"title":21790,"dynasty":115,"author":207,"museum":99,"description":21791,"tags":21792,"thumbUrl":21793,"material":107,"size":107,"collection":107,"collections":21794,"showCount":21515,"zanCount":1288,"manualWeight":39,"mainColor":75},227374,"mu-dan-wan-shan-tu-yi-ming-227374","牡丹纨扇图","扇上绣着两株牡丹枝条，绯红花瓣，绿叶，金边，叶脉，处处彰显牡丹的华美！",[23,50,51,822,25,54,27,308,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec1b0957ed3bdec055f08a2afa604184.jpg",[],{"id":21796,"slug":21797,"title":21798,"dynasty":115,"author":17233,"museum":99,"description":21799,"tags":21800,"thumbUrl":21801,"material":107,"size":107,"collection":107,"collections":21802,"showCount":21515,"zanCount":743,"manualWeight":39,"mainColor":75},226558,"fan-qi-tu-juan-quan-juan-hu-gui-226558","番骑图卷全卷","《番骑图》所绘的是一队番骑逆风艰难前行的情形。塞北冬日，漠野荒寒，朔风劲吹，扑鼻冲面。胡人男女或以袖掩鼻、或面纱覆口，马匹、骆驼或低首踉跄、或屏息慢行，“胡天惨冽”的气候特征被刻画得惟妙惟肖。画家通过人物瑟缩之态、马匹蹒跚之形，衬托北地胡天之风疾天寒，以实写虚、虚实结合，可谓“曲尽塞外不毛之景趣”，堪称“番马画”中的出色之作。",[49,50,23,51,52,135,25,58,225,8076,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F277e2d10ec8e8cc208f99d4fd1c3a917.jpg",[],{"id":21804,"slug":21805,"title":21806,"dynasty":97,"author":5309,"museum":99,"description":21807,"tags":21808,"thumbUrl":21809,"material":107,"size":107,"collection":107,"collections":21810,"showCount":21515,"zanCount":39,"manualWeight":39,"mainColor":40},224443,"fang-li-song-gu-mu-he-qun-wang-hui-224443","仿李嵩古木鹤群","此作画境清寂古雅，半边绘苍虬古木，枝干蟠曲交错，松针层叠如织，丹鹤或栖于枝梢理羽，或振翼掠林，姿态闲逸舒展。另一半以浅绛晕染出山峦坡陀，淡绿点染草木苔痕，空灵淡远。\n\n工写兼施法追摹古意，将院体精工与文人画淡逸相融，设色柔润清和。苍木古拙硬挺，衬出丹鹤秀雅灵动，山林幽寂与天际空阔相生，将林下闲逸的幽情藏于尺幅之间，引人坠入清远出尘的林泉之境。",[23,51,54,25,55,134,7,137,66,150,610],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd25c7958a10ee40cc2e1e5c90df00a4.jpg",[],{"id":21812,"slug":21813,"title":21814,"dynasty":97,"author":5309,"museum":99,"description":21815,"tags":21816,"thumbUrl":21817,"material":107,"size":107,"collection":107,"collections":21818,"showCount":21515,"zanCount":39,"manualWeight":39,"mainColor":75},224439,"lin-dong-yuan-xia-jing-shan-kou-dai-du-tu-juan-wang-hui-224439","临董源夏景山口待渡图卷","此作用平远构图铺展江南水色，烟波浩渺间洲渚错落，平缓山峦连绵舒展，披麻皴晕染出山峦温润质感，草木扶苏郁郁苍苍。渔村茅舍隐于林间，扁舟三两泛于水面，野渡渔人点缀其中，处处透着夏初江南的安闲静谧。\n\n笔墨苍秀柔和，淡墨晕染出水色空明澹荡之态，复刻董源山水平淡天真的意趣，又自带秀润清和的笔底风神，整体意境悠远恬澹，恍若将观者带入溽暑未至的江南水乡，静赏这方安闲雅致的林下烟江。",[49,50,23,51,52,25,56,134,55,61,62,64,66,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0817a3be691b2edd3029ce0cbafbb222.jpg",[],{"id":21820,"slug":21821,"title":21822,"dynasty":97,"author":3136,"museum":81,"description":21823,"tags":21824,"thumbUrl":21825,"material":634,"size":21826,"collection":107,"collections":21827,"showCount":21515,"zanCount":39,"manualWeight":39,"mainColor":40},224434,"luo-mu-han-quan-tu-zhou-wang-shi-min-224434","落木寒泉图轴","该图写太湖秋高气爽之景色。设景简略，绘平坡疏树，山麓茅亭。在画法上宗法倪瓒，山石树木勾勒用渴笔正锋侧出，转折处露锋芒而笔墨浑然，但点叶与小树画法仍近黄公望笔意，其苍厚蕴藉的风致反映的是画家晚年的典型面貌。",[49,23,51,84,26,55,56,64,776,150,61,63,751,6096,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2adb5680f897abc61971068a52abe5f.jpg","纵83cm,横41.2cm",[],{"id":21829,"slug":21830,"title":21831,"dynasty":97,"author":21832,"museum":99,"description":21833,"tags":21834,"thumbUrl":21836,"material":107,"size":107,"collection":107,"collections":21837,"showCount":21515,"zanCount":1288,"manualWeight":39,"mainColor":40},224292,"teng-hua-ru-ji-zhou-xu-you-224292","籐花乳鸡轴","许佑","柔蔓紫藤垂挂如紫霞流泻，淡紫花瓣晕染柔和，间衬嫩绿叶色，将春日柔媚尽藏枝桠。下方浅草茸茸，数只乳鸡或低头啄食，或相互依偎，茸毛蓬松鲜活，憨态尽显，灵动稚拙的模样似要跃出纸面。\n\n整作笔墨秀润清逸，工细兼具写意，将藤花的柔雅与雏鸡的生机相融，动静相映，把乡野间寻常的春日小景，晕染出恬和悠然的闲趣，平和雅致间满溢鲜活生机。",[23,84,25,54,7,27,307,21835,3653],"乳鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fada398b14092fd03535ab4dce02ea007.jpg",[],{"id":21839,"slug":21840,"title":21841,"dynasty":97,"author":10535,"museum":99,"description":21842,"tags":21843,"thumbUrl":21844,"material":689,"size":690,"collection":107,"collections":21845,"showCount":21515,"zanCount":39,"manualWeight":39,"mainColor":40},224166,"lin-yan-zhen-qing-gao-shen-juan-wang-you-dun-224166","临颜真卿告身卷","汪由敦（1692-1758年3月1日），初名汪良金，字师苕，号谨堂、松泉居士。安徽休宁人。雍正二年（1724）进士，改庶吉士。乾隆间，先后担任了工部尚书与刑部尚书又兼署了左都御史一职。乾隆十一年（1746年）任军机大臣，吏部尚书，老诚敏慎，在职勤劳。金川用兵，廷谕皆出其手。\n乾隆二十三年（1758年），汪由敦逝世。乾隆皇帝亲自前往吊唁，加赠其为太子太师，谥号为文端，入祀贤良祠。汪由敦学问渊深，文辞雅正，兼工书法。著有《松泉集》。",[49,51,52,86,134,417,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf59529c1ee02a3b772ccd63884c015.jpg",[],{"id":21847,"slug":21848,"title":21849,"dynasty":97,"author":5319,"museum":7132,"description":21850,"tags":21851,"thumbUrl":21852,"material":668,"size":5031,"collection":199,"collections":21853,"showCount":21515,"zanCount":39,"manualWeight":39,"mainColor":40},222833,"suo-jian-tu-luo-pin-222833","锁谏图","此画最成功之处在于针对人物的神情进行了细致入微的刻画：只见陈元达双手持笏，紧抱大树，嘶喊着进谏之言，尽忠、尽职的焦急心情溢于言表；两名侍卫拉住陈氏的腰带与上衣奋力外扯，他们虽然胡须飞扬，双眼圆睁，亦不能将其奈何；穿着便服的刘聪横眉相向，目露凶光，放在膝上的左手紧握，显然十分激动，余怒未消的神态跃然纸上；合手伫立的刘皇后眼见事端因己而起，心神不宁，急派侍女送交君王密柬以缓解急迫的形势。\n画面对紧张氛围的渲染及对人物形神的描绘吸引了观者的视线，显示出画家独具一格的精妙构思。就画法来看，人物容颜用细笔描绘轮廓，须发纤毫毕现，面部略施淡墨表现起伏，服饰穿戴的线条勾写顿挫转折自具章法，有拙涩古朴之趣，观者能从中感受到罗聘娴熟地驾驭笔墨的高妙功力。",[49,23,51,52,135,26,58,1116,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77aa4d64989e7747df80436c432cebaf.jpg",[199],{"id":21855,"slug":21856,"title":21857,"dynasty":97,"author":655,"museum":2698,"description":10341,"tags":21858,"thumbUrl":21859,"material":239,"size":21860,"collection":107,"collections":21861,"showCount":21515,"zanCount":1288,"manualWeight":39,"mainColor":75},222709,"yan-dao-ren-mei-hua-ge-jin-nong-222709","檐道人梅花歌",[49,51,86,84,5663,7,528],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87e8b2be5a26c1593983f801884d2858.jpg","122x40.7",[],{"id":21863,"slug":21864,"title":21865,"dynasty":18,"author":14336,"museum":81,"description":21866,"tags":21867,"thumbUrl":21869,"material":88,"size":21870,"collection":35,"collections":21871,"showCount":21515,"zanCount":39,"manualWeight":39,"mainColor":40},222396,"han-xue-shan-ji-tu-zhou-lv-ji-222396","寒雪山鸡图轴","画家以运笔迅速的墨线、墨块为主，以干、湿笔交互运作，用飞白的线条，疾速完成枯树枝桠、山石流泉，造成黑白对比",[49,23,84,27,54,26,25,21868,1050,967,85,150,7,1988],"山鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F096ba06be874b0a719bffcf11369d20a.jpg","纵135.3厘米，横47.2厘米",[35,72],{"id":21873,"slug":21874,"title":15868,"dynasty":18,"author":9453,"museum":329,"description":21875,"tags":21876,"thumbUrl":21877,"material":319,"size":21878,"collection":70,"collections":21879,"showCount":21515,"zanCount":39,"manualWeight":39,"mainColor":40},222378,"qiu-chuang-du-yi-tu-bian-wen-yu-222378","卞文瑜（约1576年—1655年），明代江苏苏州人，字润甫，号浮白、萝庵。书画家。艺芳书画录云：“本姓徐，非姓卞，盖因有避而托者。”善山水、树石勾剔，甚有笔意。尝从董其昌讲求笔法，故笔墨亦相近，但落墨太松，失之弱耳。万历三十九年(1611)作荷亭销夏扇，康熙十年(1671)作湖庄清夏扇，均藏故宫博物院。主要作品有《图绘宝鉴续纂》《明画录》《桐阴论画》《江南通志》《艺芳书画录》《画史会要》。\n卞文瑜以擅画山水著称于世，其绘画风格大致可分为两个阶段：早年和中年的山水画受赵左影响较深，承袭吴门遗风；同时又从董其昌讲求笔法，将董以笔墨气势取胜的特点与吴门强调诗意的结构布局相结合，形成了其特有的绘画风格。因此后世多用“布局结构殊有思致，树石钩剔颇具笔意”评价他这一时期的作品特点，但过于强调笔墨风趣与形象脱略，故未免缺乏自然山川之真实感，因此对其画又有“落墨太松，失之弱耳”、“山水多滑，少苍老”的批评。\n卞文瑜晚年的山水画风格变化较大，开始摆脱赵左的影响，而上追宋元诸家。这一变革主要是受王时敏、王鉴的影响，据王鉴跋卞文瑜《仿古山水册》云：“先生（卞文瑜）学画凡五十载，惟知赵文度（赵左）一派。晚年始与余交，及遇娄东奉尝烟翁（王时敏），乃见画中董、巨及元季四家真迹。每至娄中观古人画，则伏卧其下，不忍释手。”由于结识王时敏、王鉴等人，使得卞文瑜在其晚年得以看到董源、巨然及黄公望、王蒙、吴镇、倪瓒等大家的真迹名品，并且潜心临习，因此王鉴评价他晚年的作品：“笔法遒美，元气灵通，与生平画迥不相类。”从卞文瑜传世的作品看，他晚年的画作多题临仿古人之名，且多是小景山水，如故宫博物院藏《仿古山水册》，上海博物馆藏《仿宋元山水图册》，天津艺术博物馆藏《山水扇面》等，笔墨苍润，意境深远，较其早年、中年学赵左的作品要成熟得多。正如吴梅村在《画中九友歌》中评价卞文瑜时说：“画龛巨幅千峰稠，小景点出林塘幽。晚年笔力真沧州，幅中鹤绿轻王侯。”这是对他晚年绘画风格和艺术特色的准确概括。",[49,23,51,52,26,55,56,870,406,64,727,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5425a26530b9662c58fbbc9ca2f31ae1.jpg","26×108",[70,242],{"id":21881,"slug":21882,"title":21883,"dynasty":1037,"author":21884,"museum":46,"description":21885,"tags":21886,"thumbUrl":21887,"material":21888,"size":21889,"collection":122,"collections":21890,"showCount":21515,"zanCount":1288,"manualWeight":39,"mainColor":40},221176,"dong-dan-wang-chu-xing-tu-li-zan-hua-221176","东丹王出行图","李赞华","《辽代李赞华东丹王出行图》是辽代画家李赞华（即东丹王耶律倍）创作的一幅中国古画，现收藏于美国波士顿美术馆。作品是表现人物鞍马内容的画，画中绘有六人骑在骏马上，他们各具姿态，衣冠、服饰、佩带皆因身份的不同而各异。\n作品中的马矫健、丰肥，左右顾盼，慢跑前行。东丹王在马背上手把缰绳，面带忧郁，若有所思，情绪正和他弃辽投后唐的处境吻合。人物及马的线条描绘细腻精良，赋色华丽，尽显宫廷绘画之特色。构图布势前后照应，疏密相宜，整个画面人物和马的动态形成—种行进的韵律。卷末有无名氏题“世传东丹王是也”，书风近宋高宗赵构。李赞华自投后唐明宗后，长期居住在中原，其画风对后人影响很大，郭若虚《图画见闻志》、刘道醇《圣朝名画评》均有著录与评价。从文献著录来看，此卷是接近李赞华画风的—件精品。",[49,23,51,52,25,58,225,54,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b3f6f9e1883d6b08661f268900a674a.jpg","绢本，立轴","纵27.8厘米，横125.1厘米",[122],{"id":21892,"slug":21893,"title":21894,"dynasty":2807,"author":207,"museum":7132,"description":21895,"tags":21896,"thumbUrl":21897,"material":319,"size":21898,"collection":122,"collections":21899,"showCount":21515,"zanCount":11,"manualWeight":39,"mainColor":40},221046,"sui-ren-xie-jing-da-ban-nie-pan-jing-jia-ye-pu-sa-pin-shou-juan-yi-ming-221046","隋人写经大般涅槃经迦叶菩萨品手卷","该卷经文用笔犀利\n行笔淋漓尽致",[49,436,86,417,52,1284,2601,7,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F828a17b3e983bfa837f24dc56406fdc8.jpg","20.9厘米x380.3厘米",[122],{"id":21901,"slug":21902,"title":21903,"dynasty":130,"author":2922,"museum":99,"description":21904,"tags":21905,"thumbUrl":21906,"material":21907,"size":107,"collection":1120,"collections":21908,"showCount":21515,"zanCount":39,"manualWeight":39,"mainColor":75},221024,"e-qun-tie-wang-xian-zhi-221024","鹅群帖","《鹅群帖》是一幅行草书法作品，为东晋王献之所书翰札。宋代《淳化阁帖》收刻。原作墨迹不可考，有宋代米芾临本。历代书法名家多有临摹，如元代鲜于枢，明代邢侗、王铎，清代傅山等。\n《鹅群帖》与《鸭头丸帖》二帖，草、行相参，随兴变化，不主故常，笔画连绵相属，气势奔放洒脱，毫无顾忌，正体现出献之豪放不羁的性情与功力相生相发的高度结合。（徐利明《中国书法风格史》197页）",[86,119,2226,51,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3513d85327aae12fb62333d46ca473aa.jpg","行草",[1120],{"id":21910,"slug":21911,"title":21912,"dynasty":97,"author":1710,"museum":81,"description":21913,"tags":21914,"thumbUrl":21915,"material":33,"size":21916,"collection":199,"collections":21917,"showCount":21515,"zanCount":39,"manualWeight":39,"mainColor":40},220252,"pin-quan-tu-zhou-jin-ting-biao-220252","品泉图轴","图绘月下林泉，一文士坐於靠溪的垂曲树干上啜茗，状至悠闲，一童蹲踞溪石汲水，一童竹炉燃炭，三人的汲水、备茶、啜茗动作，恰恰自然的构成了一幅汲水品茶的连环图画。画面上明月高挂，清风月影，品茗赏景，十分自在。本幅山水人物浅设色，笔墨精鍊，人物清秀，圆短脸形的文人造型极富特色，衣袖襟襬皱摺转折猷劲，皆与记载中的「折芦描」相近。",[49,23,50,25,54,58,61,64,944,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b3431179624016bbae30476a9512741.jpg","纵58厘米，横73.8厘米",[199],{"id":21919,"slug":21920,"title":21921,"dynasty":18,"author":161,"museum":525,"description":21922,"tags":21923,"thumbUrl":21924,"material":88,"size":21925,"collection":70,"collections":21926,"showCount":21515,"zanCount":39,"manualWeight":39,"mainColor":40},220088,"qiu-shan-ce-zhang-tu-shen-zhou-220088","秋山策杖图","沈周，吴门画派之开启者，“明四家”之首，以其艺事之高，硕德之重，为明早中期江南人望。擅山水，出宋入元，雄健渊穆，自成大家。亦擅花卉，妍雅朴厚，对后世写意画家影响至深。此卷为其最晚年作，笔意简朴，墨法清润，已入铅华洗净、不求好而自好之境。款亦由熟返生，稚拙之趣可掬，老境可尚如此。\n卷后有一代鉴界巨擘张葱玉、谢稚柳长题。皆断其为石田晚年的笔，亦为此卷增色。石田翁名倾朝野，人又宽厚，其在世时已赝作泛滥，故此卷弥足珍贵。",[49,23,26,56,55,119,86,7,58,64,150,2955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53ac56827735c8101dc33f1513a4a0d7.jpg","26 × 134 cm",[70],{"id":21928,"slug":21929,"title":21930,"dynasty":97,"author":1998,"museum":81,"description":21931,"tags":21932,"thumbUrl":21933,"material":88,"size":21934,"collection":70,"collections":21935,"showCount":21515,"zanCount":39,"manualWeight":39,"mainColor":40},219933,"fang-wu-zhen-shan-shui-tang-dai-219933","仿吴镇山水","唐岱（1673年—1752年之后），字毓东，号静岩，又号知生、爱庐、默庄，满洲正蓝旗人，清代著名画家。承祖爵，任骁骑参领，官内务府总管，以画祗候内廷。山水画初从焦秉贞学，后与王敬铭、张宗苍同为王原祁弟子，名动京师。康熙帝甚赏其画，常召作画，赐称“画状元”。",[50,23,51,84,26,55,56,870,700,64,60,294,727,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f5f9e8cffd9a888365e8183c5e4e72d.jpg","93.6x53.5厘米",[70],{"id":21937,"slug":21938,"title":19184,"dynasty":97,"author":21939,"museum":446,"description":21940,"tags":21941,"thumbUrl":21942,"material":33,"size":21943,"collection":70,"collections":21944,"showCount":21515,"zanCount":39,"manualWeight":39,"mainColor":40},219855,"qiu-shan-tu-xiao-yun-cong-219855","萧云从","萧云从(1596年-1673年) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。",[49,23,51,52,25,56,55,86,119,7,58,59,64,150,61,63,610,967,5740,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac94aed01aba754dc8c5c87a314abc26.jpg","27.5x224cm",[70],{"id":21946,"slug":21947,"title":21948,"dynasty":18,"author":19020,"museum":81,"description":21949,"tags":21950,"thumbUrl":21951,"material":33,"size":21952,"collection":199,"collections":21953,"showCount":21515,"zanCount":39,"manualWeight":39,"mainColor":40},219337,"da-mo-zhou-song-xu-219337","达摩轴","红衣裹身，赤足踏浪，达摩于烟波中笃定前行。衣袂褶皱随浪涛起伏，墨线勾勒的水纹层层叠叠，似与风声共振。眉眼间坚毅藏着渡世慈悲，耳畔环珮轻晃，难扰心湖澄明。淡赭底色晕染朦胧水气，红袍浓艳如烈火，在素净背景里燃出修行的热烈。笔墨凝注禅意厚重，将达摩渡江典故镌于绢素。任时光流转，那份向道执着仍在浪尖熠熠生辉，引人沉潜于禅思的静谧与力量之中。",[23,51,84,1284,25,58,7,406,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6403bcd89cc0c43ba5d3a7a16bc88d1a.jpg","72.1×31.8",[199],{"id":21955,"slug":21956,"title":21957,"dynasty":97,"author":4509,"museum":81,"description":21958,"tags":21959,"thumbUrl":21960,"material":33,"size":21961,"collection":70,"collections":21962,"showCount":21515,"zanCount":39,"manualWeight":39,"mainColor":40},218430,"liu-lang-wen-ying-yu-ti-zhou-dong-bang-da-218430","柳浪闻莺御题轴","院藏董邦达（1699 —1769）绘制的「西湖十景」轴共两套，分别作于第一次南巡与第二次南巡之后。两套尺寸不同，但图像相仿，皆出自董邦达于第一次南巡前进献的〈西湖四十景〉册中对十景的描绘。本次展出的两件「柳浪闻莺」，描绘的是西湖「柳浪桥」景。该桥位于南宋御园内，堤岸植柳，迎风摇扬若浪，因而得名。",[23,84,26,25,56,63,60,64,295,55,7,86,119,541],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e8329ccaab65d8759d05b7f651894a0.jpg","126.9x66.8cm",[70],{"id":21964,"slug":21965,"title":21966,"dynasty":97,"author":1082,"museum":525,"description":21967,"tags":21968,"thumbUrl":21969,"material":88,"size":107,"collection":107,"collections":21970,"showCount":21515,"zanCount":39,"manualWeight":39,"mainColor":40},214395,"shan-shui-tu-ce-3-zhu-da-214395","山水图册-3","淡墨皴出的山影若隐若现，疏枝横斜如写胸中丘壑。半露的小亭孑立山坳，似在静待清风叩扉。墨色枯润相济，浓处见骨，淡处生烟，留白处恰是山岚流动的空隙。画面无繁复铺陈，却于极简中藏着幽远的荒寒之境——似有人迹罕至的静谧，又含遗世独立的清寂。每一笔都似与天地对谈，将喧嚣滤尽，只留心与自然的默然相望。简淡笔墨里晕开的余韵，如一首冷寂的禅诗，让人见之忘俗，仿佛能听见山风掠过枝桠的轻响，触到水墨间流淌的清旷。",[49,23,26,24,55,56,63,871,150,7,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcff80993fccdfe78a8262678da749c0a.jpg",[],{"id":21972,"slug":21973,"title":21974,"dynasty":115,"author":748,"museum":20,"description":21975,"tags":21976,"thumbUrl":21977,"material":88,"size":813,"collection":107,"collections":21978,"showCount":21515,"zanCount":39,"manualWeight":39,"mainColor":40},214273,"duo-jing-lou-shi-tie-10-mi-fei-214273","多景楼诗帖-10","墨色浓淡相济，笔锋起落如惊鸿掠影。字形欹正相生，灵动中藏沉稳，险绝处见平正。线条兼具刚劲与柔婉，“刷字”之爽利尽显：厚重处似坠石崩云，轻盈处若流泉漱玉，飞白留韵，干湿交错。章法气脉贯通如长河奔涌，跌宕间藏浑然天成之趣。每一字皆具姿态，或如奇峰耸峙，或如松涛摇曳，无一字雷同，无一处板滞。观之仿佛触到书家运笔时的豪情快意，笔墨间跃动山河气象与文人风骨，法度与性情熔铸于尺幅，展万千波澜，令人心折于其笔底风雷与胸臆丘壑。",[86,119,418,26,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b6eaf322d14fcbe7d57e25ef7710255.jpg",[],{"id":21980,"slug":21981,"title":21982,"dynasty":21983,"author":892,"museum":20,"description":21984,"tags":21985,"thumbUrl":21986,"material":107,"size":107,"collection":199,"collections":21987,"showCount":21515,"zanCount":39,"manualWeight":39,"mainColor":21988},203352,"dai-yu-zang-hua-tu-zhou-qi-bai-shi-203352","黛玉葬花图轴","近代","画面捕捉黛玉葬花的幽微瞬间，仕女发髻别致，衣着淡粉衬浅蓝，线条简练却见飘逸。手持花锄，身侧花囊半垂，姿态低垂间，眉间眼底的愁绪悄然流露。笔墨兼工带写，面部神情刻画细腻，衣纹用线流畅洒脱，设色淡雅清新，尽显古典仕女的温婉韵致。齐白石以朴拙传神的笔触，将红楼经典场景凝于尺幅，既有传统文人画意趣，又融入个人独特风格，让黛玉的多愁善感跃然纸上，动人心弦。",[23,25,58,136,54,26,84,7,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71ac8fc7e1c5ded46edaee5ae1a848e4.jpg",[199],"cdc2b4",{"id":21990,"slug":21991,"title":21992,"dynasty":97,"author":9309,"museum":175,"description":21993,"tags":21994,"thumbUrl":21996,"material":33,"size":21997,"collection":70,"collections":21998,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":40},301856,"heng-shan-qing-ai-tu-wu-li-301856","横山晴霭图","起首上角有作者书：“横山晴霭。”钤“墨井”印，幅下右角钤“延陵”。卷尾作者自题：“笔正写山横，烟云乱石生。破窗蕉雨过，添却砚池平。十日画成，海天雨霁，红日窗明，展卷题之。康熙丙戌年秋仲，墨井道人。”钤“墨井”印。\n“丙戌”是清康熙四十五年（1706年），吴历时年75岁。\n尾纸处吴历自跋：“余近年作画，似勤似懒，有时不辞呵冻，忘暑忘餐，挥毫疾就；有时春暖晴窗，楮墨精良，对之瞌睡。吾不知此病之所来，或谓老之故也。然少年辈往往亦有如此。予数日前颇觉腕力笔健，漫学山樵而成小卷，虽未得其超逸，观之亦可消长夏。五月墨道人又跋。”下钤 “吴历之印”、“墨井道人”，迎首钤“延陵”。\n本幅及自跋纸上鉴藏印有“陆廷燦印”、“平原陆幔亭鉴藏印”等。后幅有戴兆芬、公望、顾文彬三家题记。\n作者在尾纸中说此图系学元代王蒙之笔，确有苍茫超逸之意。全图多用干笔勾廓，粗笔皴擦，浑朴厚实，脉络分明。由于画家早年曾寓居澳门，接触过一些西洋绘画，画中的群山呈显出阴阳向背，似有晴日当空之感，群峰层层推向远方，颇有些空间意识。吴历是中国山水画史上最早融合西洋绘画的画家，该图十分自然妥贴地吸收了西洋绘画重明暗、讲透视的造型技巧，是为一绝。",[49,50,23,51,52,56,26,55,278,64,61,62,66,164,3208,119,7,21995],"晴霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0012b5f25c464e3c315914ea34a89b42.jpg","纵22.8厘米，横157.3厘米",[70],{"id":22000,"slug":22001,"title":22002,"dynasty":115,"author":207,"museum":99,"description":22003,"tags":22004,"thumbUrl":22006,"material":689,"size":690,"collection":107,"collections":22007,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":1441},290978,"yang-liu-guan-yin-tu-yi-ming-290978","杨柳观音图","杨柳观音是三十三观音之一。又称药王观音。左手结施无畏印，右手持杨柳枝。若修杨柳枝药法，可消除身上之众病。",[23,51,84,1284,10400,58,22005,135,25,7,86],"观音","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc03eea1fd620da39fa264ae4805f320.jpg",[],{"id":22009,"slug":22010,"title":22011,"dynasty":18,"author":1014,"museum":81,"description":22012,"tags":22013,"thumbUrl":22014,"material":88,"size":22015,"collection":107,"collections":22016,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":40},290842,"xi-zhou-hua-jiu-tu-zhou-tang-yin-290842","西洲话旧图轴","该画作山水、人物、花鸟，画中山重岭复，以小斧劈皴为之，雄伟险峻，而笔墨细秀，布局疏朗，风格秀逸清俊。",[23,84,26,86,119,7,967,277,63,58,358,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a8caa51702d0723ff578a2a8a49be70.jpg","110.7x52.3",[],{"id":22018,"slug":22019,"title":22020,"dynasty":146,"author":709,"museum":99,"description":8431,"tags":22021,"thumbUrl":22022,"material":689,"size":690,"collection":107,"collections":22023,"showCount":125,"zanCount":1288,"manualWeight":39,"mainColor":40},290824,"mo-zhu-san-wu-zhen-290824","墨竹（三）",[23,26,358,7,86,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fcbdb1a42a7030f4ce75bb66d49ab79.jpg",[],{"id":22025,"slug":22026,"title":22027,"dynasty":18,"author":524,"museum":99,"description":11451,"tags":22028,"thumbUrl":22029,"material":689,"size":690,"collection":107,"collections":22030,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":40},290350,"ju-hua-zhu-shi-zhou-xiang-sheng-mo-290350","菊花竹石轴",[23,84,26,27,529,358,277,86,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88993b9b7cc8037876cb5a27b4424100.jpg",[],{"id":22032,"slug":22033,"title":13979,"dynasty":1037,"author":7857,"museum":99,"description":13980,"tags":22034,"thumbUrl":22035,"material":689,"size":690,"collection":107,"collections":22036,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":75},290139,"kan-shu-tu-wang-qi-han-290139",[50,23,51,25,58,6787,13983,10792,499,56,7,497,500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37fa9c6a247d3036f1d8a3cae7e653f5.jpg",[],{"id":22038,"slug":22039,"title":22040,"dynasty":1037,"author":1985,"museum":99,"description":22041,"tags":22042,"thumbUrl":22044,"material":689,"size":690,"collection":107,"collections":22045,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":40},288996,"ping-po-shan-niao-tu-huang-quan-288996","苹婆山鸟图","竹石花雀学刁光胤与滕昌佑、山水松石学李升、人物龙水学孙位、画鹤学薛稷，皆能脱去古人格律，自创新意。而且，黄筌一家具擅绘画，其弟唯亮，子居宝、居实、居寀，其中尤以黄居寀的成就最大，黄氏父子的花鸟画，在当时人们普遍认为其风格特点是“黄家富贵”。宋人沈括在《梦溪笔谈》中明确指出：“诸黄(指黄氏一家)画花妙在傅色，用笔极新细，殆不见墨迹，但以轻色染成，谓之写生”。\n入秋的山林，一颗颗绯红了脸颊的苹果，悬挂在枝叶间。芬芳的气味、鲜艳的色彩，招来了不少「小过客」们在此停留，留下了许多的斑点与啮痕。一只娇小的粉红鹦嘴，也忍不住好奇地飞了上来。它轻巧地停落在弯细的枝桠上，仰着圆小的脸蛋，摇着细长的尾巴，淘气地又蹦又跳的，好不开心！\n粉红鹦嘴旧名黄头，是种可爱、善斗的小鸟。而吸引粉红鹦嘴的苹果树，传统名为「林檎（禽）」或「来禽」。名称的由来，据说是因为它的果实（即苹果）味道甘醇、甜美，因此常常能吸引许多鸟禽来此聚集的缘故。至于画名以「苹婆」（即柰，又名凤眼珠）相称，应是古人误题了，两者事实上并不相同。\n这幅精巧的「苹婆山鸟」，旧传为五代画家黄筌（活动于903-965）所作。黄筌是中国花鸟画史里，开创工笔细致风格的大师，对五代到北宋初期的画坛影响深远。这幅画作虽非大师亲笔，可是无论是特写式的取景方式或是精辟入理的写实趣味，都明显受到黄筌的影响，是一幅宋代杰出的花鸟画小品。",[50,23,51,822,54,25,27,66,22043,7],"苹婆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F026b677f07f3a3d8631d92c9824879ac.jpg",[],{"id":22047,"slug":22048,"title":22049,"dynasty":115,"author":207,"museum":99,"description":22050,"tags":22051,"thumbUrl":22053,"material":689,"size":690,"collection":107,"collections":22054,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":75},288968,"ru-ya-tu-yi-ming-288968","乳鸭图","画面取景清雅，一只雏鸭垂首理羽，憨态可掬。作者以极精微的笔触晕染绒毛，蓬松柔暖的质感跃然绢上，鸭身墨色浓淡过渡自然，将幼雏软萌稚嫩的神态描摹得灵动鲜活。\n一旁兰草舒展挺秀，叶片脉络清晰纤细，间杂的阔叶小草团簇温润，淡绿设色清和雅致，和雏鸭的柔润相互映衬，衬出水畔郊野的悠然生机。\n整幅小品设色秀雅沉静，笔致工细却无板滞之感，将春日闲静意趣藏于毫厘之间，尽显雅致禅意，方寸之间自有天地生机。",[23,54,25,27,22052,6083,7],"小鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e5f4905c91d849f56a494b088f736e0.jpg",[],{"id":22056,"slug":22057,"title":22058,"dynasty":97,"author":724,"museum":99,"description":22059,"tags":22060,"thumbUrl":22061,"material":689,"size":690,"collection":107,"collections":22062,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":40},288525,"shan-shui-tu-li-zhou-wang-yuan-qi-288525","山水图立轴","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」",[49,50,23,51,84,26,56,55,150,64,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6783404b672c1a4de3525377c1613bba.jpg",[],{"id":22064,"slug":22065,"title":22066,"dynasty":18,"author":80,"museum":99,"description":22067,"tags":22068,"thumbUrl":22069,"material":689,"size":690,"collection":107,"collections":22070,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":40},288044,"shan-shui-zhu-shi-tu-ye-wang-fu-288044","山水竹石图页","王绂(wángfú)， 明初大画家，擅长山水，尤精枯木竹石，画竹兼收北宋以来各名家之长，具有挥洒自如、纵横飘逸、清翠挺劲的独特风格，人称他的墨竹是“明朝第一”。永乐元年(1403年)开始参与编纂《永乐大典》。",[49,23,51,26,358,137,277,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febd653c41a55eeac3370945450740a77.jpg",[],{"id":22072,"slug":22073,"title":22074,"dynasty":97,"author":4509,"museum":99,"description":22075,"tags":22076,"thumbUrl":22078,"material":689,"size":690,"collection":107,"collections":22079,"showCount":125,"zanCount":1288,"manualWeight":39,"mainColor":40},287874,"xi-hu-shi-jing-tu-juan-dong-bang-da-287874","西湖十景图卷","虽名为「十景」，画上却以隶书标注了西湖五十四处景点：断桥残雪、平湖秋月、曲院风荷、三潭印月、苏堤春晓、柳浪闻莺、双峰插云、花港观鱼、雷峰西照、南屏晓钟等等。\n乾隆皇帝在南巡前从未亲访江南。他对江南的所有印象与知识，皆构筑在相关图籍或他人的描述上。这件〈西湖十景〉卷，为南巡出发前夕，臣工提供给他各式江南旅游资讯的例子。此画为董邦达（1699-1769）所绘製，虽名为「十景」，画上却标出五十四个景点，将西湖可游处扩增五倍以上，实为「招游」之作。乾隆皇帝在南巡前一年（1750）的题跋，显示此图的确挑起游兴，让他打算于明春南巡时亲自感受久闻的西湖之美，印证实境与画境。诗句中流露出他对游览西湖的期待之情。\n康乾二帝每次南巡前后，都会有官绘本西湖图问世，或是为皇帝南巡作详导，或是总结皇帝南巡圣迹。故而，传世“西湖十景”图以清宫旧藏为主体。在这些清宫旧藏的“西湖十景”图中，董邦达为数最巨，有5件之多。",[49,50,23,51,52,712,25,56,9970,278,279,64,60,754,59,22077,755,66,62,86,7],"古塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2ff4504c2d496d7a2e818e1566ebad.jpg",[],{"id":22081,"slug":22082,"title":22083,"dynasty":97,"author":5660,"museum":99,"description":14629,"tags":22084,"thumbUrl":22085,"material":689,"size":690,"collection":107,"collections":22086,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":40},287790,"bo-re-bo-luo-mi-duo-xin-jing-zhuan-shu-deng-shi-ru-287790","般若波罗密多心经(篆书)",[50,23,51,86,541,436,1284,7,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25053c6de0983a13b159453929f5d3a1.jpg",[],{"id":22088,"slug":22089,"title":7996,"dynasty":18,"author":1014,"museum":81,"description":1334,"tags":22090,"thumbUrl":22093,"material":88,"size":22094,"collection":70,"collections":22095,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":924},283644,"guan-pu-tu-tang-yin-283644",[23,26,84,712,22091,150,6358,61,279,22092,497,8091,55,86,7],"观瀑","崖岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73a99f08040b3c5a6341b58459d3069.jpg","103.6x30.3",[70],{"id":22097,"slug":22098,"title":22099,"dynasty":97,"author":16882,"museum":22100,"description":22101,"tags":22102,"thumbUrl":22103,"material":15010,"size":22104,"collection":122,"collections":22105,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":75},241028,"wu-gu-zhou-fu-shan-241028","五古轴","山西晋祠博物馆","傅山，初名鼎臣，字青竹，改字青主，又有浊翁、观化等别名，汉族，山西太原人。明清时期道家思想家、书法家、医学家。\n傅山自称为老庄之徒，他自己也在很多场合与作品中反复强调、自陈：“老夫学老庄者也”、“我本徒蒙庄”、“吾师庄先生”、“吾漆园家学”。自觉继承道家学派的思想文化。他对老庄的“道法自然”、“无为而治”、“泰初有无”、“隐而不隐”等命题，都作了认真的研究与阐发，对道家传统思想作了发展 [2] ,常以老庄之徒自居。\n傅山于学无所不通，经史之外，兼通先秦诸子，又长于书画医学。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态”。 [3] 著有《霜红龛集》等。一些武侠小说里，傅山被描写为武侠高手。他是著名的道家学者，哲学、医学、内丹、儒学、佛学、诗歌、书法、绘画、金石、武术、考据等无所不通。他被认为是明末清初保持民族气节的典范人物。\n傅青主与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”。著有《傅青主女科》《傅青主男科》等传世之作，在当时有“医圣”之名。《清史稿》卷五百一有传。",[86,462,84,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0425945fb7925c47b1a21ae98ddb68c0.jpg","143x48cm",[122],{"id":22107,"slug":22108,"title":22109,"dynasty":18,"author":207,"museum":99,"description":22110,"tags":22111,"thumbUrl":22112,"material":689,"size":690,"collection":107,"collections":22113,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":75},241010,"chen-chun-shi-zhou-yi-ming-241010","陈淳诗轴","此作用笔纵恣奔逸，以狂草写就，线条苍劲老辣，干湿浓淡相映成趣。字间牵丝映带，大开大合，行气连贯畅达。章法错落疏朗，跌宕之间尽显不羁意气，笔力雄健洒脱，墨色燥润相生，枯笔见筋骨，湿墨显厚重。\n\n文人疏狂意趣藏于笔墨流转，通篇元气淋漓，尽显放旷恣肆的浪漫书风，笔墨间裹挟蓬勃抒怀张力，将诗意与书韵融为一体，尽展洒脱自在的心境。",[86,462,84,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe55f2b1f93dccb9d43ec488e6c4bd1cd.jpg",[],{"id":22115,"slug":22116,"title":22117,"dynasty":97,"author":1082,"museum":175,"description":22118,"tags":22119,"thumbUrl":22120,"material":462,"size":107,"collection":122,"collections":22121,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":40},240552,"pi-pa-xing-juan-zhu-da-240552","琵琶行卷","朱耷（1626—1705），字雪个，又字个山、道朗、个山驴、朗月、 庵、传綮、破云樵者、人屋、驴屋和因是僧、八大山人等。江西南昌人。明朱元璋之子宁献王朱权的后裔。八大山人书法成就颇高，但被画名所掩，注目者不多。黄宾虹尝称“书一画二”，确为至言。八大的书体，以篆书的圆润等线体施于行草，自然起截，了无藏头护尾之态，以一种高超的手法把书法的落、起、走、住、叠、围、回，藏蕴其中而不着痕迹。藏巧于拙，笔涩生朴，此中真义必临习日久才能有所悟。简而言之，是用篆书的笔法去写行草书，与《天发神恰似□碑》以隶笔写篆书一样异曲同工。",[49,86,52,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33dcc5e932fd20cc12ee7e8c9c692f64.jpg",[122],{"id":22123,"slug":22124,"title":22125,"dynasty":97,"author":445,"museum":99,"description":3557,"tags":22126,"thumbUrl":22127,"material":107,"size":107,"collection":122,"collections":22128,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":40},239910,"yuan-ji-shi-juan-shi-tao-239910","原济诗卷",[49,23,51,52,26,119,462,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b5781609d7b62ce41d0583ef62356b2.jpg",[122],{"id":22130,"slug":22131,"title":22132,"dynasty":146,"author":22133,"museum":175,"description":22134,"tags":22135,"thumbUrl":22136,"material":319,"size":22137,"collection":122,"collections":22138,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":40},239638,"zhou-bo-qi-zhuan-shu-gong-xue-guo-shi-er-zhen-zhou-bo-qi-239638","周伯琦篆书宫学国史二箴","周伯琦","释文：\n宫学箴。惟民生厚，迷复曷反。爰作之师，由近及远。夔兴虞庠，旦扬周典。有美国胄，执经宫馆。养正匪蒙，勿亟勿缓。庸之煣之，圣功斯显。经国子民，所赉岂浅。惟严惟尊，不在躬践。毁范裂模，皋毗有腼。敬谂从者，圅丈有勔。国史箴。乾象昭列，人文肇兴。结绳既邈，方册是徵。姚妃典谟，三代诰命。褒善斯勖，恶有惩。获麟聿削，是式是承。合辞比类，历世相仍。晋狐称良，奸憝齿冰。暴私蔑实，起薉售憎。史尚传信，匪信匪能。执简以告，下严或圣。蕃阳周伯琦述并书。\n本幅钤“周氏伯琦”、“玉雪坡真逸”、“致用斋”印记三方。鉴藏印有：“越琪私印”、“长白李慎勤伯氏鉴赏章”、“叶恭绰誉虎印”等多方。引首有李慎篆书“伯温墨妙”。本幅后有张雨、方鼎录题跋观款。\n“宫学”指为皇族子弟设立的学校，“国史”指一国之史或一朝之史。“箴”乃一种文体，用以规劝他人或戒律自己。由《元史》本传得知，伯琦于元至正元年（1341年）“为宣文阁授经郎，教戚里大臣子弟。每进讲，辄称旨。”上述二箴或是当时进讲用的教材。\n周伯琦之篆书在当时有“本朝之冠”的美誉。陶宗仪在《书史会要》一书中称“伯琦篆师徐铉、张有，行笔结构殊有隶体。”明代杨士奇认为“其作字结构，盖出泰山李斯旧碑。”伯琦虽师法前人，但不拘于古法，在结体和笔法上参以石鼓文，笔兼方圆，使转变化亦多，整体风格于规整圆熟中见生拙萧散之致，有别于稳妥匀称一类的平庸之作。此卷结字严谨端庄，笔势沉稳丰润，为周氏篆书的上佳之作。",[49,541,86,52,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb068151c2e79aefcb7d9d92cdf0abc72.jpg","纵26厘米，横284.5厘米",[122],{"id":22140,"slug":22141,"title":22142,"dynasty":97,"author":341,"museum":99,"description":7178,"tags":22143,"thumbUrl":22144,"material":689,"size":690,"collection":35,"collections":22145,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":40},238320,"yu-pu-fei-xiang-tu-xiao-ce-dong-gao-238320","玉圃霏香图小册",[23,51,24,25,54,27,529,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F475255c6acc359abf01bc8ea3ff6976d.jpg",[35,72],{"id":22147,"slug":22148,"title":22149,"dynasty":97,"author":9442,"museum":99,"description":22150,"tags":22151,"thumbUrl":22152,"material":689,"size":690,"collection":199,"collections":22153,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":40},238048,"zhi-hua-luo-shen-fu-tu-ce-gao-qi-pei-238048","指画洛神赋图册","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。\n康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。",[50,23,51,24,15690,26,58,136,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc193fb3353f5ff44c34401634128615d.jpg",[199,242],{"id":22155,"slug":22156,"title":22157,"dynasty":97,"author":22158,"museum":99,"description":22159,"tags":22160,"thumbUrl":22161,"material":107,"size":107,"collection":70,"collections":22162,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":40},237734,"wu-sheng-shi-yi-tu-ce-huang-yi-237734","无声诗意图册","黄易","黄易（1744 年11月22日—1802年3月26日），字大易，号小松、秋盦，又号秋影庵主、散花滩人。浙江钱塘人，钱塘黄氏八世。兼擅篆刻，与丁敬并称丁黄，为“西泠八家”之一。",[23,51,24,26,25,55,727,64,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83da3788d7a2cc1ffec29df6911883a8.jpg",[70,72],{"id":22164,"slug":22165,"title":22166,"dynasty":18,"author":1014,"museum":175,"description":22167,"tags":22168,"thumbUrl":22169,"material":918,"size":22170,"collection":35,"collections":22171,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":40},237676,"hua-zhu-tu-zhou-tang-yin-237676","画竹图轴","此图画竹枝两枝自左斜出，临风飒飒，构图新颖，俯仰有致。用笔铦利洒落，墨色秀润。\n画上自题：“满窗萧洒五更风，怪是无端搅梦中。梦见故人忙起望，白烟寒竹路西东。南塘邹蠡溪过余学圃堂，因言及南沙知己，故写此为寄。唐寅。”钤：“唐伯虎”朱文印。\n鉴藏印：“陆润之藏”朱文印、“天泉阁”朱文印等。",[23,51,84,26,358,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a12578cd86679d31ca70dbe5bae2925.jpg","纵83.4厘米 横44.5厘米",[35],{"id":22173,"slug":22174,"title":5869,"dynasty":97,"author":445,"museum":99,"description":22175,"tags":22176,"thumbUrl":22177,"material":107,"size":107,"collection":107,"collections":22178,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":40},235882,"yuan-ji-shan-shui-tu-ce-shi-tao-235882","此作书画合璧，尽显文人雅趣。绘卷以淡墨轻皴山石，信笔挥写篁竹木卉，萧疏纵逸，随性自然。坡岸茅庐掩映于繁叶之间，远山淡染留白，晕染出江南水乡的澹泊野逸，仿若幽居江湖的避世之境。\n题诗行书笔意苍劲纵恣，与画中清寂意境相得益彰。诗画相映，将文人寄情山水、栖身林下的襟怀尽显无余，简淡笔墨间风神自现，寥寥数笔勾勒出悠远林下意趣，以写意抒怀，尽显随性疏朗的文人画风貌。",[23,51,24,26,119,7,56,358,379],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3639aa9933df3fcdbab944c903548fff.jpg",[],{"id":22180,"slug":22181,"title":17,"dynasty":18,"author":12724,"museum":99,"description":22182,"tags":22183,"thumbUrl":22184,"material":689,"size":690,"collection":107,"collections":22185,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":40},235739,"hua-niao-ce-tan-zhi-yi-235739","谈志伊，字公望，号学山，一字思重，无锡人，明代画家。",[23,51,24,54,25,27,528,66,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2685cf988a45bc4025b950c37cac040e.jpg",[],{"id":22187,"slug":22188,"title":17,"dynasty":18,"author":12724,"museum":99,"description":22182,"tags":22189,"thumbUrl":22190,"material":689,"size":690,"collection":107,"collections":22191,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":40},235733,"hua-niao-ce-tan-zhi-yi-235733",[23,25,54,24,27,529,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4176ac9d5c01d070e14ab41ce4d20973.jpg",[],{"id":22193,"slug":22194,"title":2895,"dynasty":97,"author":1082,"museum":99,"description":1382,"tags":22195,"thumbUrl":22196,"material":689,"size":690,"collection":107,"collections":22197,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":40},235503,"za-hua-ce-zhu-da-235503",[23,26,403,27,420,102,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90727016f355f8a136bac506bf6ea3cf.jpg",[],{"id":22199,"slug":22200,"title":22201,"dynasty":18,"author":19215,"museum":99,"description":22202,"tags":22203,"thumbUrl":22204,"material":689,"size":690,"collection":107,"collections":22205,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":40},235245,"mo-he-tu-zhou-xiang-yuan-bian-235245","墨荷图轴","项墨林（1525—1590），原名项元汴，字子京，号墨林，别号墨林山人、墨林居士、香严居士、退密庵主人、退密斋主人、惠泉山樵、墨林嫩叟、鸳鸯湖长、漆园傲吏等，浙江嘉兴人。明国子生，为项忠后裔，为明代著名收藏家、鉴赏家。\n少即英敏，博雅好古，绝意仕进。当时风雅之士来嘉兴必访项元汴，名画家文彭、文嘉等与项元汴交往尤密。明万历年间神宗朱翊钧闻其名，特赐玺书征他出来做官，不赴。\n项元汴所藏书法、名画以及鼎彝玉石，甲于海内。项元汴精于鉴赏，辨别真赝，析及毫发，当时无人可比。与项同时代的人记载：“项氏所藏如顾恺之《女史箴图》等，不知其数，观者累月不能尽也。其他墨迹及古彝器尤多。其家累世富厚，不惜重赀以购，故江南故家宝藏皆入其手。”他遴选能工巧匠制作的各种器具，凡几榻架柜奁盒等，镌以铭识，都极精巧，如同秦汉之物。清顺治二年（1645）闰六月，清兵攻破嘉兴府城，其藏品被千夫长汪六水所劫掠，散失殆尽，存世的藏品多归于皇宫，现仍藏于故宫博物院和其他博物馆。\n项元汴曾获一古琴，上刻“天籁”两字，故将其储藏之所取名“天籁阁”，并镌有天籁阁、项墨林等印，凡藏品都钤有印记，往往满纸满幅。项氏以天籁阁名传后世，阁早已毁，今城内建设街道天籁里即以天籁阁命名。\n项元汴工绘画兼擅书法。山水学元代黄公望、倪瓒，笔致疏秀，神合处辄臻胜境，书法出入唐智永、元赵孟頫。刊有《天籁阁帖》，著有《墨林山人诗集》等。",[23,84,26,102,7,86,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd29e44d2355a6bedb9232bd77ee1969b.jpg",[],{"id":22207,"slug":22208,"title":22209,"dynasty":97,"author":11881,"museum":99,"description":22210,"tags":22211,"thumbUrl":22212,"material":391,"size":22213,"collection":199,"collections":22214,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":40},234297,"hua-ji-chan-yin-tu-ce-xiao-chen-234297","滑稽禅隐图册","此作笔墨秀隽，意境清寂澹远。画面之中，长衫文士仰面抬首，凝睇枝桠初花，神色悠然沉谧，似在静赏春信、体悟幽怀。身旁小童捧壶恭谨侍立，主仆情态一动一静，衬出文人林下幽栖的淡然意趣。\n\n作者以淡墨轻皴岩壁，枯树枝干苍劲虬曲，点染花枝轻俏雅致，设色浅净柔和，留白铺陈出萧疏空寂的林下氛围，将文人耽于林泉、静悟禅意的雅趣融于简淡笔墨之中，尽显清润雅致的书卷气息，是兼具雅致意趣与文人情怀的小品佳作。",[23,51,24,25,58,871,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb108253a57ede07e91c1de652b22bfe6.jpg","19×24.2cm",[199,72],{"id":22216,"slug":22217,"title":22218,"dynasty":97,"author":19659,"museum":175,"description":22219,"tags":22220,"thumbUrl":22221,"material":391,"size":107,"collection":70,"collections":22222,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":40},234290,"xue-jing-gu-shi-ce-sun-hu-234290","雪景故事册","孙祜生卒年不详，江苏人。工人物、山水，宗法王原祁。乾隆（1736-1795）时供奉内廷，为宫廷画家。",[23,51,24,25,54,119,7,56,1050,150,967,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29476d87f834ed55ad1ade830e240ad6.jpg",[70,72],{"id":22224,"slug":22225,"title":22226,"dynasty":18,"author":161,"museum":175,"description":6486,"tags":22227,"thumbUrl":22229,"material":391,"size":6489,"collection":107,"collections":22230,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":40},233836,"wo-you-tu-ce-kui-hua-shen-zhou-233836","卧游图册－葵花",[23,50,51,24,25,26,27,22228,30,28,7],"葵花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dbf48238765c284f9c5dd2053777823.jpg",[],{"id":22232,"slug":22233,"title":22234,"dynasty":2807,"author":207,"museum":99,"description":22235,"tags":22236,"thumbUrl":22238,"material":107,"size":107,"collection":107,"collections":22239,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":40},231580,"yu-en-chun-qiu-liang-yuan-ying-hua-pu-tu-juan-yi-ming-231580","浴恩春秋两园樱花谱图卷","虽然日本没有官方的国花，但樱花之于日本的重要性不言而喻，日本文化的精气神都能在樱花身上得到体现，樱花也成为日本绘画中的常见题材。早在远古，日本人就将樱花看作是春天的化身，是花的神灵。日本语中的“樱时”(古语)，意思就是“春天的时节”。每当春天来临，人们最关注的就是樱花一年一度的花开花落。花蕾结得多少好坏，开花时能否躲过春雨的淋洗开得灿烂，凋谢时能不能遇上春风落瓣洁净。樱花是否开花顺利在日本人看来，意味着这一年是否风调雨顺，五谷丰登。所以每当花开时节，人们就聚集在樱花树下，放歌畅饮，祈祷神灵保佑。",[49,52,51,25,54,462,119,7,22237],"樱花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5f94d981568dc00430a3f7f9eb71592.jpg",[],{"id":22241,"slug":22242,"title":22243,"dynasty":97,"author":22244,"museum":99,"description":22245,"tags":22246,"thumbUrl":22247,"material":107,"size":107,"collection":107,"collections":22248,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":40},229012,"shi-jun-ma-tu-wang-zhi-cheng-229012","十骏马图","王致诚","《千姿百态画骏马》是一本书籍，上海书店出版社; 第1版 (26年月1日)出版，开本16。\n丛书名: 国画训练新编系列2 平装: 页 正文语种: 简体中文 条形码: 786784845, 978786784846 尺寸: 28.5 21.2 . cm 重量: 181 g 《千姿百态画骏马》内容简介：在中同美术史上，几乎每个朝代的艺术作品都有以马为题材的杰作。\n如先秦时代青铜器盠驹尊，秦始皇陵出土的大批陶马俑、四汉霍去病墓前的《马踏匈奴》石雕、东汉青铜器《马踏飞燕》、唐代画马高手韩斡笔下的《神骏图》、韦偃画了两千余匹千姿百态骏马的《牧放图》、宋代李公麟的名作《五马图》、元代赵孟頫的《浴马图》，明代仇英的《秋园猎骑图》、清代王致诚的《十骏马图》，直至近代徐悲鸿的大量奔马立马图……由此可见，马是中国历代艺术家最热衷的题材之一。",[23,51,54,25,225,150,64,28,86,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266c74560a21981e18d0b59b83e4fb52.jpg",[],{"id":22250,"slug":22251,"title":22252,"dynasty":18,"author":4381,"museum":485,"description":22253,"tags":22254,"thumbUrl":22255,"material":107,"size":107,"collection":107,"collections":22256,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":40},228312,"xun-yang-qiu-se-tu-quan-juan-lu-zhi-228312","浔阳秋色图全卷","近岸坡坨疏林错落，霜叶点染秋意，远渚青岫浮沉烟霭，一江秋水空濛无际，铺展出江天寥廓的清寂秋光，暗合江州送客的孤凉心境。\n\n整卷诗书画共生，卷首擘窠大字雄沉苍劲，小楷录《琵琶行》全诗文雅端润，笔意随文辞跌宕，把迁客失意羁愁，融在水墨秋光中。画境萧瑟清和，书意或沉郁或秀雅，将曲中天涯沦落的怅惘落寞，与江色秋容织为一体，尽显诗画共情的文人雅趣。",[49,23,51,52,25,55,119,7,56,64,715,62,751,9971],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312ff3b95e0169d0f7879fc0be151e48.jpg",[],{"id":22258,"slug":22259,"title":22260,"dynasty":18,"author":955,"museum":99,"description":22261,"tags":22262,"thumbUrl":22263,"material":107,"size":107,"collection":107,"collections":22264,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":75},228288,"lin-xia-gao-shi-chen-hong-shou-228288","林下高士","画作以枯荣相衬的林木构起幽境，两位高士席地对坐，姿态安闲，似在晤言清谈。流泉隐于林石间，远处茅亭藏于麓林深处，尺幅之中铺展出清寂雅致的林下天地。\n\n设色调和古雅，青绿叶色与枯木寒枝形成鲜明对照，山石勾勒奇崛苍劲，带着朴拙古意。鲜妍设色未露半分媚俗，反倒衬出林境沉静出尘的气质，将文人遁迹丘山、寄情林泉的雅怀藏入画面。构图疏密相宜，笔端静穆雅致，把林下雅集的散逸清旷尽数铺展，尽显古雅出尘的隐逸意趣。",[49,23,51,25,54,56,58,63,137,150,64,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0debeaf5261a36d5a12e371c8f048cd3.jpg",[],{"id":22266,"slug":22267,"title":22268,"dynasty":146,"author":22269,"museum":81,"description":22270,"tags":22271,"thumbUrl":22272,"material":88,"size":22273,"collection":35,"collections":22274,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":40},228010,"xi-fu-tu-zhou-chen-lin-228010","溪凫图轴","陈琳","《溪凫图》为元代画家 创作的纸本设色画，现藏于台北故宫博物院。\n该图描绘的是秋天的景色。\n一只野鸭正立于水岸边上，河里水波阵阵泛起，岸上野草丛生，一株芙蓉树正开得鲜艳。\n该图绿头鸭造型准确，勾勒工谨，以水墨晕染，略加花青、赭石淡彩，花草笔墨纵逸简括。\n此图中一只体硕羽丰的野鸭临水而立，霜晴溪碧，秋意浓郁。\n该画幅左有赵孟頫题记：“陈仲美戏作此图，近世画人皆不及也。\n子昂。\n” 诗塘有元人仇远题跋。\n其中右上的芙蓉、下方的坡石小草和粗笔的水波都是赵孟頫所加，粗笔水波之下还可见到陈琳原画细笔波纹的痕迹。\n画上钤有清人耿昭忠、乾隆帝、宣统帝等收藏印多方。\n《溪凫图》是陈琳求教与赵孟頫时，在赵氏的松雪斋中所作。\n时值元大德五年（11年），该图是在赵氏手把手的指导下，并且由赵氏润色题识共同合作完成的一幅作品。\n整幅画面保留了宋代花鸟相对严谨的造型和章法，区别在于通过相对粗拙的笔墨来作整体的勾染以呈现主体物象。\n野凫的喙以苍厚而毛涩的线勾出外轮廓，再以干笔淡墨循其形理擦染而成，形质俱在。\n鼻孔则又以浓墨细线勾其内外以示其形。\n头部则以浓淡不同的墨色来擦染。\n首先以不同紧松的笔触擦写以表现头部及脖子不同部位组织的软硬质地以及相互关系，然后根据需要敷以花青、染以不同深浅的墨色以体现头部皮肤及羽绒状况。\n浓墨细线，以肯定的笔触圈出眼眶，淡色渲染眼球，晶莹、润泽，浓墨圈点眼瞳，传野凫特有之眼神。\n颈与躯干相连接部分为白色羽毛，仅用两根界线勾出外轮廓，略施极淡的墨。\n野凫的前胸部则以点染笔法两至三遍地完成羽毛，较好地表现了短羽的松软。\n以粗拙的线条勾出左腿部及脚蹼，大腿上的羽毛较长用淡而长的弧线堆砌、错综，以显羽毛的自然情状。\n又以淡墨和赭石细勾分染以增其层次。\n为了表现紧紧包裹着小腿的皮的质感，则又细勾慢染，显脚部皮质的起伏与韧坚。\n背上翅部则是精雕细琢的部分，以勾染绘出根部外侧细毛层叠蓬松。\n翅前端几根大羽则用浓淡不同的线依其物理的方向，以富有弹性的线勾出，与细羽形成对比，尾部上面翅之最前端以极概括的手法涂染、大笔写出。\n整只野凫的描绘以明显的带有书写性的笔法绘出。\n整体结构的精准表现了野凫的一贯常态，极为传神。\n补景行笔从容，线条极具概括力，笔触简洁、富有意趣，轻松地表现了画幅上部的芙蓉以及下部的杂草。\n坡石的线条极为自如，看似随意间形质皆备，诚是“笔简而意繁”叠压在细劲水纹上粗简的复笔，润而凝、松而实。\n这些笔触表现的虽是背景，但横贯画幅，时于整体意笔气氛的营造有着极为重要的作用。\n画面写生式的画一只野鸭，本来构图容易陷于平板，但坡岸一条很粗的斜曲线，使画面起了变化，加以淡墨的不规则的水纹线条，使之有了起伏变化。\n然后在右上角用线描出芙蓉花，以及坡上车前草和两丛野草，使之丰满充实，疏密有致。\n现代文学家、画家 ：这画的确美妙、生动和自然。\n连霜消日晒、光暖波凉的感觉都能让人感到。\n虽是戏作，笔墨却是上乘。\n你看，这土坡的苍厚，鸭羽的柔软，花叶的肥嫩，水纹的光滑，全用不同质感的线条区分开。\n颜色不多却非常丰富；赭黄的调子洋溢着秋天的风韵。\n陈琳的《溪凫图》与其他画家的作品一起成为种标向，在花鸟画发展中做出了两个方面的贡献。\n其一是把绘画中的行利之分逐渐地引导到种新的审美境界中去，展现文人画的进一步发展，与此同时，其自身也成为了一种传统。\n将宋人绘画中的严谨、规整、刻画的造型，逐步向松灵、抒写、淡治转移。\n二是把黄家的设色体制水墨化，其特征是：1、保持黄体的基本构图和严格的造型性，但在表现形式上由紧转松。\n2、将对于形廓的勾勒线描，变纤细为可以粗重并加强其抒写性。\n、变体面的色彩呈现为墨分五彩，变三矾九染的渲染法为皴、擦、书写为主的干湿表现。\n该图曾经耿昭忠及清内府收藏。\n现藏于台北故宫博物院。\n217年1月4日—12月25日，台北故宫博物院举办“国宝的形成”特展，《溪凫图》在其中展出。\n陈琳，生卒年未详。\n元代画家。\n字仲美，钱塘（今浙江杭州）人。\n南宋画院待诏陈珏子。\n琳世其业。\n善画花鸟、山水、人物，得赵孟颊指授，多所资益，故其画不俗，尤善临摹古迹。\n尝作《夏木图》，张雨题诗，有“董源夏木不复见，俗本纷纷何足观；陈郎笔力能扛鼎，写此千章生昼寒”之句。\n传世作品有与赵孟頫合作的《溪凫图》轴。",[49,23,51,26,25,27,3577,61,1481,277,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ab4dc7748b9ac3a1f0f3e1f60d4cb74.jpg","35.7x47.5",[35],{"id":22276,"slug":22277,"title":22278,"dynasty":115,"author":13147,"museum":99,"description":22279,"tags":22280,"thumbUrl":22281,"material":107,"size":107,"collection":107,"collections":22282,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":75},227805,"can-shi-tu-liu-song-nian-227805","蚕事图","整作以全景式铺陈桑蚕劳作日常，分构两处空间。左侧棚下匠人各司其职，抽丝、分拣有条不紊；右侧窗内，闺中女眷闲坐观览，将劳作与闲憩相映成趣，右上角民夫搬运蚕茧，更添烟火劳顿之气。\n\n画作以淡墨白描绘就，线条清雅柔和，屋舍瓦楞、林木枝桠皆刻画入微，人物神态鲜活自然。将江南蚕织农家的日常图景如实铺展，平和质朴间尽现宋代田园的生活真味，把风俗烟火融于清淡笔墨中，尽显写实风俗画的雅致意趣，藏着宋时江南的悠悠烟火意。",[23,51,50,54,25,1962,52,58,727,64,20866,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e367156bf61318f3d34559af6f02c1.jpg",[],{"id":22284,"slug":22285,"title":22286,"dynasty":115,"author":2788,"museum":99,"description":7848,"tags":22287,"thumbUrl":22288,"material":107,"size":107,"collection":107,"collections":22289,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":40},227294,"yun-shan-de-yi-tu-juan-mi-you-ren-227294","云山得意图卷",[23,51,52,26,55,1207,870,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9f6696c7db63fd91413ad5ba48a8e1e.jpg",[],{"id":22291,"slug":22292,"title":22293,"dynasty":97,"author":22294,"museum":99,"description":22295,"tags":22296,"thumbUrl":22297,"material":107,"size":107,"collection":107,"collections":22298,"showCount":125,"zanCount":1288,"manualWeight":39,"mainColor":40},224602,"xiao-pin-1-peng-qiao-224602","小品1","蓬樵","此作用平远之法绘就水岸林泉，近渚古木清森，枝桠舒展含姿，林梢掩映间透出村居一角，野意自生。留白作水，虚处见烟波澹荡之意。远山以干笔淡墨皴写，石棱隐现、苔点错落，丘壑简而有味。\n\n画风师法倪瓒，笔墨松秀苍润，简逸空灵。整幅以淡墨铺陈，萧散简远，将江南水岸清寂淡远的幽谧意境尽显。题印朱白相映，衬出画面的古雅淡远，尽显文人画疏旷清逸的意趣，暗合幽栖林泉的雅逸襟怀。",[49,23,51,12781,26,55,56,64,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd02bc93dccf30a6d0e7dc6cfbefdf48d.jpg",[],{"id":22300,"slug":22301,"title":22302,"dynasty":97,"author":445,"museum":99,"description":22303,"tags":22304,"thumbUrl":22305,"material":107,"size":107,"collection":107,"collections":22306,"showCount":125,"zanCount":1288,"manualWeight":39,"mainColor":40},224523,"shan-shui-tu-ce-8-kai-8-shi-tao-224523","山水图册8开-8","此作用边角布局造景，右侧崖壁以浓墨皴擦，朴拙苍劲，留白铺就浩渺湖面，虚实相映尽显烟波空濛。水面渔舟错落，渔人或撑舟放网，或围坐闲谈，野趣盎然，崖头行人凭栏远眺，一动一静间，将湖畔日常的闲散诗意铺陈开来。\n\n墨色干湿浓淡层次分明，远山以淡墨晕染，朦胧悠远，近岸苔点灵动鲜活，晕染出江南水泽的温润生机。题诗朱印与画作浑然一体，书画印相映成趣，把偶然得见的湖光野景寄于笔墨，将文人雅趣与世俗烟火相融，尽是师法自然的恬淡悠然。",[49,23,26,25,55,24,7,119,56,62,58,66,277,61,714],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31c782c5e41a5ccb190b00e358db8a2c.jpg",[],{"id":22308,"slug":22309,"title":22310,"dynasty":97,"author":3136,"museum":99,"description":22311,"tags":22312,"thumbUrl":22313,"material":107,"size":107,"collection":107,"collections":22314,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":75},224407,"cong-lin-qu-diao-tu-wang-shi-min-224407","丛林曲调图","此作用高远之景铺陈山峦层叠，以干笔淡墨勾勒皴擦山石，披麻皴晕染出苍朴肌理，笔意苍松秀润。山谷间山居错落排布，溪泉隐于乱石之间，枯荣林木交映成趣，萧淡之中暗蕴温润生机。\n追摹元人笔法意趣，墨色清润雅致，虚实相生，将秋山清寂淡远的意境烘托尽致。简淡笔墨间藏着浑朴苍厚的气韵，把林泉幽居的野趣诉诸笔端，观之恍如踏入静谧空幽的世外山居，尽显文人画平淡天真的雅致意韵。",[49,23,51,84,26,55,56,60,61,137,150,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd808ae66ac4c7a08a26404215a3f3a0.jpg",[],{"id":22316,"slug":22317,"title":22318,"dynasty":97,"author":22319,"museum":99,"description":22320,"tags":22321,"thumbUrl":22322,"material":107,"size":107,"collection":107,"collections":22323,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":40},224356,"zhang-lin-xiao-yao-tu-jian-jiang-224356","长林逍遥图","渐江","此作用渴笔淡墨写尽丘壑幽寂，危崖层叠如削，奇崛冷峻，崖间飞瀑隐于褶皱，暗传空谷清音。近岸枯木疏朗清瘦，枝桠劲挺如铁，寒潭平湖以留白铺陈，汀渚渔隐敛于浅处，愈显天地空茫。\n\n笔墨师古而出新，线条方折硬挺，皴擦极简，淡墨晕染山石，清润秀雅全无冗赘。画面融黄山奇峭与江南灵秀于一体，清冷萧疏间藏着遗世襟怀，将枯淡山水里的逍遥意趣，藏在每一处留白与笔锋之中，尽显孤高淡远的出尘风骨。",[49,23,51,84,26,55,56,293,61,137,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F501da569d2b40fd1f218f16cf826ca93.jpg",[],{"id":22325,"slug":22326,"title":22327,"dynasty":115,"author":207,"museum":81,"description":22328,"tags":22329,"thumbUrl":22330,"material":227,"size":22331,"collection":107,"collections":22332,"showCount":125,"zanCount":1288,"manualWeight":39,"mainColor":40},223434,"song-tai-zong-li-xiang-zhou-yi-ming-223434","宋太宗立像轴","宋太宗赵光义（939年11月20日－997年5月8日），宋朝第二位皇帝（976年11月15日—997年5月8日在位）。本名赵匡义，后因避其兄宋太祖名讳而改名赵光义，即位后又改名赵炅。开宝九年（976年），宋太祖驾崩，赵光义继位。即位后使用政治压力，迫使吴越王钱俶和割据漳、泉二州的陈洪进于太平兴国三年（978年）纳土归附。次年亲征太原，灭北汉，结束了五代十国的分裂割据局面。两次攻辽，企图收复燕云十六州，都遭到失败，从此对辽采取守势。在位期间，采取治国驭将方针，明显地走上了“崇文抑武”的道路，并最终构成为宋朝“祖宗家法”的重要内容。 在位共二十一年，至道三年（997年），赵光义去世，谥号神功圣德文武皇帝，庙号太宗，葬于永熙陵。\n画像上太宗头戴幞头，黑鬓发，淡眉，微须，目光柔和，身着褎袖白袍，腹下束朱带，双手于胸部平放，脚穿皂纹靴而立。",[50,23,51,84,54,25,58,180,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc991137f15e1ca6a6c464ed8c2444a.jpg","纵74.5厘米横47.4厘米",[],{"id":22334,"slug":22335,"title":22336,"dynasty":192,"author":207,"museum":5832,"description":22337,"tags":22338,"thumbUrl":22339,"material":239,"size":22340,"collection":122,"collections":22341,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":40},223396,"tang-mo-lan-ting-xu-yi-ming-223396","唐摹兰亭序","这卷原托名为褚遂良所书《兰亭序》，正文质地为绢本，黄褐色，亦称“黄绢本”。这卷唐摹《兰亭序》，尽管看不出是哪一家的墨迹，却反映了初唐时期的书法风尚。\n卷前引首有明代著名书画家、鉴赏家董其昌题书“墨宝”二字（残存）。",[49,50,23,51,52,134,119,86,418,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3875c37e8068d0dba2f56617e5948b96.jpg","24.5×65cm",[122],{"id":22343,"slug":22344,"title":22345,"dynasty":146,"author":207,"museum":81,"description":22346,"tags":22347,"thumbUrl":22350,"material":1149,"size":22351,"collection":107,"collections":22352,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":75},223365,"liu-tang-bai-yan-tu-zhou-yi-ming-223365","柳塘白燕图轴","元代工笔画很少的，多的是水墨写意的文人画，其实元代画坛另一路已经走向极致的绘画语言就是写实艺术。 ​​​",[49,50,23,51,54,25,13543,22348,22349,102,103,104,7],"塘","白燕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d166284910d93d3270e5a93502379d8.jpg","31.1×60.6",[],{"id":22354,"slug":22355,"title":7550,"dynasty":97,"author":22356,"museum":2430,"description":22357,"tags":22358,"thumbUrl":22359,"material":4816,"size":22360,"collection":35,"collections":22361,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":75},223304,"gu-mu-zhu-shi-tu-luo-mu-223304","罗牧","图绘岸边一隅古木树叶凋零，枝杆苍劲；石块耸立，粗笔勾勒其轮廓，中部留白；四周翠竹环绕，繁茂苍翠，生机勃勃。",[49,23,26,84,137,2681,358,277,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0b8c417963c4bbe141ba7b938a3e34.jpg","纵127cm，横54cm",[35,242],{"id":22363,"slug":22364,"title":22365,"dynasty":97,"author":22366,"museum":81,"description":22367,"tags":22368,"thumbUrl":22369,"material":1149,"size":22370,"collection":70,"collections":22371,"showCount":125,"zanCount":1288,"manualWeight":39,"mainColor":40},222846,"hua-lin-lu-qiu-qing-zhou-hong-wu-222846","画林麓秋晴轴","弘旿","弘旿（1743年－1811年），爱新觉罗氏，是清朝康熙帝二十四子允秘的次子，画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。生母为允秘的侧福晋殷氏，殷大成之女。他在乾隆八年癸亥九月三十日寅时生，乾隆二十八年（公元1763年）封二等镇国将军，乾隆三十九年（公元1774年）晋贝子，乾隆四十三年（公元1778年）因事革退，乾隆五十九年（公元1794年）封奉恩将军，嘉庆四年（公元1799年）又革退，嘉庆十四年（公元1809年）复封奉恩将军。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆帝对他笔墨的赞许。其《自题山水画册》诗，有疏朗、清越之韵律。工于书画，书兼四体，其山水画作得董邦达之妙谛，花木具有古朴陈香；治石印有元、明篆刻的风格。有《听泉图》、《板桥僧舍图》、《江山拱翠图》、《仿唐寅山水图》、《素濑松吟》等。乾隆五十七年（1792）和阮元、铁保等人游万寿寺，写《七松图扇》等。家富于藏书，藏书楼名“静寄轩”，嘉庆十六年（公元1811年）薨，享年68岁，有子7人。由第五子永松袭封奉恩将军。",[49,23,51,84,53,25,55,56,64,294,1597,5740,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3f990fb452e81332c9093c68f4898e5.jpg","120x22",[70,72],{"id":22373,"slug":22374,"title":22375,"dynasty":18,"author":8906,"museum":175,"description":22376,"tags":22377,"thumbUrl":22378,"material":1561,"size":22379,"collection":199,"collections":22380,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":40},222421,"wu-hou-gao-wo-tu-juan-zhu-zhan-ji-222421","武侯高卧图卷","从款中“宣德戊申”可知，此幅作于明宣德三年（1428年），是宣德皇帝赐予陈瑄的御作。当时陈瑄已六十有余，宣宗赐画给他的目的是激励他效法前贤为国鞠躬尽瘁。\n作品描绘的是诸葛亮出茅庐辅助刘备之前隐居南阳的形象。修竹丛下，诸葛亮坦胸露怀，头枕书匣，躺卧于草地上，神态安逸。\n整幅构图饱满，人物用“钉头鼠尾” 法描绘，线条洗练流畅，背景画竹林一片，笔墨潇洒，显示出相当高的绘画技巧。",[49,23,51,52,26,135,358,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F819d2965a332e5986283ad45900d2c5f.jpg","纵27.7厘米，横40.5厘米",[199,242],{"id":22382,"slug":22383,"title":22384,"dynasty":18,"author":9186,"museum":20,"description":22385,"tags":22386,"thumbUrl":22387,"material":502,"size":22388,"collection":107,"collections":22389,"showCount":125,"zanCount":1288,"manualWeight":39,"mainColor":75},222313,"you-bao-shan-ji-juan-wang-chong-222313","游包山集卷","1520年，王宠游昆陵包山，曾任游诗数首，结为《包山集》。1526年冬，王宠过鸿溪宿友人补菴居士处，居士几他索书。第二年（1527年），他便将八年前游包山所作的游诗用小楷抄录了二十二首寄给了补菴居士。他的朋友文嘉在居士处见到这卷小楷后，称之为“天才妙绝”。后人普遍认为《游包山集》是王宠的小楷代表作。宋苏轼曾说：“大字难于结密而无间，小字难于宽绰而有余。”王氏这卷《游包山集》，其结体“宽绰而有余”，其书风旷适疏宕，遒媚飘逸，谓王氏上乘之作言而不虚。",[49,86,52,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8d485a391896b76017a1fa0081d0aa1.jpg","纵21.6cm，横323.5cm",[],{"id":22391,"slug":22392,"title":22393,"dynasty":146,"author":22394,"museum":81,"description":22395,"tags":22396,"thumbUrl":22397,"material":88,"size":22398,"collection":107,"collections":22399,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":40},221794,"luo-shen-tu-zhou-wei-jiu-ding-221794","洛神图轴","卫九鼎","该画以单一人物为主，意在突出洛神的灵韵。 画家以简率的淡墨刻划远景的山丘，使得江面益发显得空旷清新。幅中主要是用纤细绵长而柔韧的白描线条绘就，墨色轻淡，更衬托出主角人物的娴静幽雅，绝尘出世。辽阔江面上水纹波汤，蒸腾云气中冉冉升起一位白衣佳人在水一方，手持绘有山水图案的扇子，身形纤细窈窕，仪容端庄，繁复的衣纹圆柔婉转，衣带飞升飘扬。看她凌波微步，驾云御风而行，显然并非平凡的女子。从倪瓒的题字，知道画中人是因曹植所写的《洛神赋》而永垂不朽的理想女性美典型——洛神。传世诸多以《洛神赋》为题的画中，有的强调云龙随行、神奇壮观的叙事性场景",[23,51,84,135,26,58,136,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F360421bac69de8e240dd3bb2ce9169ff.jpg","90.8x31.8公分",[],{"id":22401,"slug":22402,"title":13493,"dynasty":146,"author":10518,"museum":81,"description":22403,"tags":22404,"thumbUrl":22405,"material":634,"size":22406,"collection":70,"collections":22407,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":40},221729,"gao-ting-tu-fang-cong-yi-221729","山峰突耸于云海之中，近景的峰顶设孤亭，一人沿山径向峰顶走去。画家画山水直接用破墨法晕染远处山石，再加以浓墨点缀，用简笔勾出山中云烟并留白，近处栈道山崖崖壁用浓墨湿笔施以大斧劈，再轻轻罩染。用笔草草，破墨山水墨气淋漓。从此图中可窥见董巨、米氏山水之风，兼有梁楷简笔、吴镇湿墨、马夏斧劈之韵。从其自识“纵笔写之”可看出其用书法笔意画写意山水的逸趣，这正贴合了元初赵孟頫倡导的“书画同源”的志趣。而这些正构成了方从义“纵逸”山水的风格。\n方从义曾在1343年到北方游历，不只结交许多高官文士，在其间获得名声，更饱览各地名山胜景，使他胸襟开阔，落笔不凡。同时代人对其画技，皆以潇散非世人所能及，明代画评家王世贞论其画与高克恭、倪瓒等人同列为“品之逸者也” 。如此幅钩云点苔，随意不羁，风格简逸，而山川精气更在水墨精微中见出，体现元代道士藉山水追求清静自然，心灵解脱之哲学，用笔草草，意境无穷。",[49,23,50,51,84,26,55,56,63,64,7,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F693e4c4c741ebf8c7d852d6aa0cb4a93.jpg","纵62.1cm，横27.9cm",[70,242],{"id":22409,"slug":22410,"title":22411,"dynasty":115,"author":13418,"museum":175,"description":22412,"tags":22413,"thumbUrl":22414,"material":183,"size":22415,"collection":107,"collections":22416,"showCount":125,"zanCount":1288,"manualWeight":39,"mainColor":40},221598,"ji-chu-dai-si-tu-ye-li-di-221598","鸡雏待饲图页","本幅款识：“庆元丁巳岁李迪画。”“庆元丁巳”即宋宁宗庆元三年（1197年）。鉴藏印钤宋代“张则印”，明代“项元汴印”、“墨林秘玩”、“项墨林鉴赏章”、“神”、“品”等，又一朱文印模糊不辨。裱边钤清乾隆皇帝“太上皇帝之宝”、“八征耄念之宝”玺印2方。\n图绘两只雏鸡一卧一立，面朝同一方向，屏气凝神，仿佛听见母亲觅食的召唤，正欲奔去。画面描绘传神，将雏鸡嗷嗷待哺的情态表现得淋漓尽致，充分反映了温馨的农家情调。画家用黑、白、黄等细线密实地描绘出雏鸡毛绒的质感，生动地绘出鸡雏幼小可人的生动神态，体现了深厚的绘画功力。此图为李迪晚年所画，构图极其简洁，无任何背景相衬，却捕捉住了鸡雏回眸的刹那间神情，动人心弦。\n此幅与画家在前一年创作的《枫鹰锦鸡图》相比，在审美意趣上全然不同，前者展示的是和风细雨的婉约情调，后者则是张扬自然界生命相残的严酷氛围，由此可见李迪表现各种题材的能力。\n此图自民间入藏清内府后，雅好书画的乾隆皇帝除赏识其艺术造诣外，还从帝王角度联想到勤政爱民的治国之策。他于乾隆五十三年（1788年）临摹此件作品，并且喻令摹刻多份，颁赐给各省督抚，希望这些地方父母官将所辖地区的百姓视为图中的鸡雏，在处理政务时要“实心经理，勿忘小民嗷嗷待哺之情”。",[49,50,23,51,24,54,25,27,2631,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40efabd7d00ba834838d90b0ccf1737a.jpg","纵23.7厘米，横24.6厘米",[],{"id":22418,"slug":22419,"title":22420,"dynasty":192,"author":2994,"museum":81,"description":22421,"tags":22422,"thumbUrl":22423,"material":22424,"size":22425,"collection":107,"collections":22426,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":40},221148,"lin-wang-xian-zhi-fei-niao-tie-juan-chu-sui-liang-221148","临王献之飞鸟帖卷","褚遂良临王献之《飞鸟帖》正书二十一行，麻纸本，纵二二公分，横四七.四公分。后有元柯九思、王守诚二跋，《石渠宝笈初编》有著录，原迹今藏台北故宫博物院。卷内钤有“绍兴”（宋内府）、“子固”（赵子固）、“欧阳玄”、“应召”（张应召），又项墨林及诸内府等收传印记。帖后有项墨林手书小字一行曰“唐褚遂良临晋王大令献之《飞鸟帖》项元汴真赏，其值……（下模糊不清）”。元人柯九思跋称其：“具有元常遗意，绝无宋人气，是唐无疑耳”。然献之之文既属荒诞，褚遂良临亦非真笔，唯运笔精敛，气韵高古。则此卷虽非褚氏真笔，亦不失为唐人妙迹。",[50,23,51,52,134,119,86,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F167a534360a4f83c33c8b431e70cafa6.jpg","手卷 纸本 水墨","22x47.4厘米",[],{"id":22428,"slug":22429,"title":22430,"dynasty":146,"author":431,"museum":222,"description":22431,"tags":22432,"thumbUrl":22433,"material":22434,"size":22435,"collection":35,"collections":22436,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":40},220892,"yin-ma-tu-zhao-meng-fu-220892","饮马图","浙江省博物馆举办的《守望千年：唐宋元书画珍品特展》将于明天闭幕，此展共展出浙江省博物馆和辽宁省博物馆36件国宝级书画珍品，其中就有元代赵孟頫的《饮马图》。\n赵孟頫是浙江吴兴(今浙江湖州)人，现在湖州建有“赵孟頫故居旧址纪念馆”。他身处宋末元初的历史时期，在中国传统书画艺术的领域中，继往开来，对于元代新的绘画高峰的开创、发展，作出了无与伦比的贡献，成为一个时代的画学宗师。辽宁省博物馆藏有6件赵孟頫的书画作品，这次选送4件精品参展。《饮马图》清时收入内府，溥仪在逊位前，以赏赐的名义盗运出宫，后藏于长春伪满洲国皇宫。日本投降后，溥仪携逃被截，上交东北文管会，后归东北博物馆(即今辽宁省博物馆)收藏。\n《饮马图》卷纵25厘米，横59.8厘米，纸本，水墨。图绘奚官饮马的情景：一奚官弯腰曲臂，双手提着满装饮水的木桶，吃力地向前移步。对面的木柱上系着一马，昂首抬腿，急不可待。场景极其生动。构图简练，无一赘物。勾线细劲圆润，略加晕染，无论人物的着装、神态，还是马匹的结构、动态，都十分地严谨，简洁，透出唐代鞍马画的优雅气息，给人以视觉享受，也可以从中感悟赵孟頫“作画贵有古意。若无古意，虽工无益”的艺术追求。他对自己的鞍马画很有信心，“自谓不愧唐人”。\n唐代是我国传统人物画的鼎盛时期，当时画山水还只是作人物画的背景，稚拙而未完善。五代、北宋，山水画渐趋成熟，进入元代，绘画的主流转向山水画，名家辈出，形成又一座高峰。但人物画和花鸟画相形冷落。赵孟頫年轻时显然钟情于鞍马画，于是慨叹道：“宋人画人物不及唐人远甚。予刻意学唐人，殆欲尽去宋人笔墨。”赵孟頫这里指责的，是他年轻时亲身感受的南宋宫廷画院的院体绘画，如他陈述：“今人但知用笔纤细，傅色浓艳，便自为能手。殊不知古意既亏，百病横生，岂可观也。”南宋确实也很少鞍马画传世。那么我们再来欣赏传世的赵孟頫的鞍马画，如北京故宫博物院的《人骑图》、《浴马图》、《秋郊饮马图》，纽约大都会博物馆的《人马图》，台北故宫博物院的《调良图》，加上这幅《饮马图》等，可以大致看到赵孟頫鞍马画的风格，体会赵孟頫崇尚的“古意”所在。赵孟頫自述：“吾所作画，似乎简率，然识者知其近古，故以为佳。”\n一个是“虽工无益”，一个是“似乎简率”。我想，这就是宣告从宋的写实转向元的写意的一场绘画革新的展开。",[49,23,51,52,26,54,225,58,7,86,119,541,1116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad93279af47ffd0b84592f068b874842.jpg","纸本设色，手卷","900×26cm",[35,72],{"id":22438,"slug":22439,"title":22440,"dynasty":146,"author":431,"museum":6204,"description":22441,"tags":22442,"thumbUrl":22443,"material":319,"size":22444,"collection":122,"collections":22445,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":40},220882,"gui-qu-lai-ci-juan-hua-xin-zhao-meng-fu-220882","归去来辞卷画芯","自东晋陶渊明的一曲《归去来辞》问世以来，为历代文士所雅好。赵孟頫以宋室后裔入仕元朝，在其任官期间许多次以真、行书写过此篇，其归隐思乡情绪全在其中。\n此卷书于元延佑五年，即1318年，是年赵孟頫六十五岁。\n全篇以行、楷为主，偶参草书，笔法秀媚典雅，苍劲浑厚，结构严密，用笔婉转停匀，具有晋人风范。",[49,50,23,51,52,119,135,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58edf3bc226e67307b138bb359553070.jpg","纵48厘米，横455厘米",[122],{"id":22447,"slug":22448,"title":22449,"dynasty":146,"author":431,"museum":222,"description":22450,"tags":22451,"thumbUrl":22452,"material":22453,"size":22454,"collection":199,"collections":22455,"showCount":125,"zanCount":39,"manualWeight":39,"mainColor":40},220872,"hong-yi-xi-yu-seng-tu-juan-zhao-meng-fu-220872","红衣西域僧图卷","《红衣罗汉图》重彩画一红衣僧人，头上有光环，坐于大树下，满头深褐色短发，络腮胡须浓密，鼻子隆起，耳佩金环，目光深邃，皮肤黝黑，寿眉朱唇，座下铺朱红毛毡，身傍置一双红色僧鞋，面带微笑，表情静穆而慈祥，左手伸出，手心向上。\n《红衣罗汉图》是借悼念去逝的萨迦派帝师胆巴之名， 隐喻正在萨迦大寺做总持的故宋恭帝（瀛国公），以寄托画家内心的哀婉情思\n《红衣罗汉图》，全画无论人物、衣饰、树石，均用勾勒法，其风格并非写实，而系仿古手法。\n《红衣罗汉图》绘一红色袈裟的僧人，盘膝端坐在嘉树下的坡石上。此僧浓眉深眼，大鼻隆突，胡须络腮，肤色黝黑，一看就不像是汉人。其目光深邃，面容慈祥，左手向前平伸，掌心向上，右手抱入红衣之内，身后藤蔓缠绕着菩提树。似在说法布道，而头后有光环，则显示此僧已经得道修成，是一个了脱生死的罗汉了。这不是一个普通的僧人，而是一个来自印度的罗汉。\n赵孟頫在元初画坛中，无论在画艺上或理想上，都居于领导地位。他提倡古意之说。主要是以为南宋晚年，画风过于浮薄，于是提倡古意，从古画中吸取古人写真实人物牛马山水精神，而再创出新的作风。人物画到了宋代，其重要地位已为山水画代替。但到了元初，赵孟頫，钱选等仍希望从魏晋以来的古画中，吸取其传统的精神，而开创新的道路。《红衣罗汉图》就代表了赵孟頫及元初复古过程中的一个重要阶段。\n赵孟頫长时期提学江南，南宋的故国山河实在太容易使他这样的宗室后裔触景生情，浮想连翩，远在西南做萨迦寺总持的灜国公，也使他同样难以忘怀。转辗传来的萨迦方面的消息，不管是直接的或间接的与少帝有关，都会在赵孟頫的心头激起波澜，当他闻知曾与瀛国公有来往的胆巴喇嘛过世时，就情不自禁地挥动起画笔，以唐人的古意为准范，借西域僧的形象，一吐心中的情愫。\n红衣袈裟是萨迦派喇嘛的象征，背景中小青绿的树石，将此鲜红的记号衬托得更为夺目。尤其是赵孟頫对喇嘛手印的处理，似乎亦有寓意。左手掌平直伸出，大拇指贴掌微翘，罗汉的手印，此“吉尼印”，取外道邪法之意，修其法者得自在之通力。赵孟頫的方外好友释大诉好象通晓此义，故以“岩石宁须着幼奥，陵烟不必求诸将”的典故隐喻之。这是一种对大唐盛世的追慕来补偿眼前赵宋皇帝无可奈何的境遇，对赵孟頫和释大诉来说，瀛国公无疑是《红衣罗汉图》名实关系中最终亮相的主角了。\n《红衣罗汉图》中，僧盘腿而坐，全身披红衣，仅胸部稍露，胸毛甚多。此外其左手伸出，掌向上。以印度之手势而言，当为施恩之意。僧头部之背后，有光环，表示此僧已成罗汉。僧座石上，眥后亦有大石数堆，并有一大树，枝开两旁，一部分树叶垂下；全画中，罗汉之衣及坐下之兽皮与脚下之皮履，均为红色；地下及石块，均用青绿，树干则用褐色。全画无论人物衣饰、树石，均用勾勒法，其风格井非写实，全系仿古。\n《红衣罗汉图》与前代的一些作品相比，也具有明显变化：人物采用工笔画法，衣纹用遒劲圆畅的中锋作铁线勾描，洋红底上晕染朱砂，色彩效果鲜艳而厚重。背景采用小青绿山水的画法，地面和石头以较细而灵活的线条勾出轮廓，每以干笔侧锋作粗略的麻点皴，在浅草绿底色上薄薄地晕染一层石绿，地面凹陷处，轻扫几笔淡赭色，而在僧人背后，则画了一棵根深叶茂、古藤缠绕的大树。树和藤的画法染色，又与坡石不同，更显得古拙而苍秀。树根、石缝以及石头与地面相接处，均以墨绿色剔画小草十数丛，穿插其间，笔笔见力，起到一种统一协调的作用。僧人前边，又画小花两株，亦用双勾法，花着洋红，茎叶染石绿，看上去画法似不甚经意。\n《红衣罗汉图》把人物画与山水画的技法结合起来，在色彩运用和线条的变化等方面进行大胆的尝试，充分发挥出了自己的特长，为研究者研究元代的重彩人物画，提供了宝贵的资料。",[49,23,51,52,25,54,1284,58,871,150,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F933dfda15f02d818beff78391ced69d4.jpg","纸本，手卷，设色","（画心）纵25.7厘米、横51.3厘米；（全卷）纵31厘米、横168.2厘米。",[199,72],{"id":22457,"slug":22458,"title":22459,"dynasty":146,"author":22460,"museum":81,"description":22461,"tags":22462,"thumbUrl":22463,"material":33,"size":22464,"collection":70,"collections":22465,"showCount":125,"zanCount":1288,"manualWeight":39,"mainColor":75},219926,"qiao-mu-shan-zhuang-tu-chen-ru-yan-219926","乔木山庄图","陈汝言","陈汝言（1331-1371年），元末明初画家、诗人。字惟允，号秋水，先世系本蜀阆州（今四川阆中市）人，后居江西南康，父陈征流寓吴中，遂为吴县人。 能诗，擅山水，兼工人物。与兄陈汝秩（字惟寅）齐名，时人呼为大髯小髯。\n陈汝言画山水远师董源、巨然，近宗赵孟頫、王蒙，行笔清润，构图严谨，意境幽深。与王蒙契厚，传说王蒙在泰安时，曾面泰山作画，随兴所至，不时加笔，一幅图画了三年。陈汝言正巧来访，时遇大雪，他便用小弓挟粉笔弹在画上，将图改作雪景。王蒙叫绝，以为神奇，遂改题为《岱宗密雪图》。",[23,51,52,26,55,56,870,279,64,727,7,2003,61,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7c27c974c825234b28d9272c4efdeff.jpg","本幅 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得沈周笔意而稍变。多作长卷巨幛，峰峦雄伟。尤善画水，江河湖海，种种皆妙。笔墨纵横自如，富有气势，介乎戴进和沈周之间。唯刻画不 够精微，殊少秀韵。",[49,50,23,51,84,26,55,56,59,60,61,63,150,64,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9527df7914879b235439099ab530acc9.jpg",[],{"id":22622,"slug":22623,"title":22624,"dynasty":146,"author":431,"museum":99,"description":15860,"tags":22625,"thumbUrl":22626,"material":689,"size":690,"collection":107,"collections":22627,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":75},287529,"guan-quan-tu-zhao-meng-fu-287529","观泉图",[23,50,84,25,56,58,610,150,61,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe18ccffe8a3c3cabe7d0bb04da6a7a08.jpg",[],{"id":22629,"slug":22630,"title":22631,"dynasty":18,"author":955,"museum":99,"description":9336,"tags":22632,"thumbUrl":22633,"material":689,"size":690,"collection":70,"collections":22634,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":40},287451,"mo-gu-ce-ye-chen-hong-shou-287451","摹古册页",[23,3363,26,56,610,20040,776,7,86,134,55,6996],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64eebb7edbcb8537c7f5ef1326afd6bb.jpg",[70],{"id":22636,"slug":22637,"title":11272,"dynasty":146,"author":1644,"museum":99,"description":19909,"tags":22638,"thumbUrl":22639,"material":689,"size":690,"collection":107,"collections":22640,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":40},283618,"li-hua-tu-qian-xuan-283618",[49,23,50,52,51,27,645,119,86,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c47c67343792d97cc1609ddfe962a6c.jpg",[],{"id":22642,"slug":22643,"title":22644,"dynasty":97,"author":12418,"museum":175,"description":22645,"tags":22646,"thumbUrl":22647,"material":319,"size":22648,"collection":122,"collections":22649,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":924},241375,"lu-you-shi-zhou-zheng-fu-241375","陆游诗轴","此轴书录唐代诗人王建七言诗《上李吉甫相公》，自识：“王建上李吉甫相公。谷口郑簠书。”下钤“郑簠之印”、“谷口农”印二方。具体书写时间不详。本幅无藏印。\n此轴书法结体端秀雅逸，尚有《曹全碑》灵动飘逸之风神，而笔划的粗细及运笔却极富变化，舍汉隶之方正而求“盘盂跳荡”之姿，尤其是一些草书笔法的应用，更增加了全幅飘逸灵动之势，同时又不乏庄重沉实的气息。此轴代表了郑簠隶书的典型风格，此种书风虽然减弱了汉隶的博大与庄重，但对于开创清代隶书的新风格却具有十分重要的意义。",[86,5663,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa883f1071fd67d1a92eba35d1d693aa6.jpg","纵202.2厘米，横96.9厘米",[122],{"id":22651,"slug":22652,"title":22653,"dynasty":97,"author":207,"museum":175,"description":22654,"tags":22655,"thumbUrl":22657,"material":1636,"size":22658,"collection":122,"collections":22659,"showCount":92,"zanCount":743,"manualWeight":39,"mainColor":40},239698,"yu-min-zhong-shu-bu-xi-hong-tang-ke-liu-gong-quan-lan-ting-shi-que-bi-juan-yi-ming-239698","于敏中书补戏鸿堂刻柳公权兰亭诗阙笔卷","于敏中擅长书法，尤工楷书和行书，其书法风格乃是透过学习赵孟頫与董其昌而上溯至二王，是几位经常为乾隆皇帝捉刀的大臣之一，曾负责为皇帝拟定诏书。《戏鸿堂法帖》所刻柳公权兰亭诗多有阙笔不全，乾隆四十三年（1778年）命于敏中就刻本漫漶阙划处，因其偏旁补成全字，并仿董其昌临本（兰亭八柱之七）书之，原刻本及董书所无之阙字、阙句，则仍按其旧。目的是既要重新摹刻上石，又要保留原来的书法风貌，“俾还旧观”。本幅正是于敏中奉敕摹补柳公权书兰亭诗阙笔卷。其原诗用较大字书写，遇有某首诗有补阙的字、原刻的别字、错字，诗后则小字注明，如：王彬之四言诗“丹崖竦立，葩藻映林，渌水扬波，载浮载沉”后注：按此诗崖字、扬字原刻有阙笔今补；王羲之五言诗“……大矣造化功，万殊莫不均，……”后注：按此诗“功”字原刻作“切”，今从董临本改。有的地方，董临本没有的或阙损严重的，于敏中就其具体情况，也有补添上的。如:在郗曇、虞悦、孙嗣的三首五言诗后，注：按郗曇、虞悦、孙嗣三诗董临本所无，而原刻有之，今仍为临补；王徽之五言诗“先师有冥藏，安用羁世罗，未若保冲真，齐契箕山河”后注：后阙二句，董临本无，而原刻有之，亦为临补……。由于是皇帝之命，不敢草率行事，书写起来格外仔细认真，结字严整，布白均匀，墨之浓淡恰到好处。但是三十七首诗中，也同样与内府钩填本一样缺少王涣之五言诗最后一句“玄契齐古今”，除此之外，它呈现出的是兰亭诗墨迹的全貌。\n著录于《石渠宝笈续编》。清代刻入“兰亭”八柱，列为第六。",[49,86,119,52,7,22656,26,435],"补阙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2d7970b003c44a350301a35655f7790.jpg","纵28.7厘米，横688.2厘米",[122],{"id":22661,"slug":22662,"title":22663,"dynasty":115,"author":400,"museum":175,"description":22664,"tags":22665,"thumbUrl":22666,"material":2926,"size":22667,"collection":122,"collections":22668,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":40},239637,"chen-rong-shu-zi-shu-shi-juan-chen-rong-239637","陈容书自书诗卷","释文：\n潘公海夜饮书楼。陈容。夫君美无度，视世一鼠肝。□夫失意时，不知枢在环。云气上罍樽，渠作瓦缶看。八暝同眼精，我眼双剑寒。潘江字□海，陆海无波澜。文章有战胜，此道难跻攀。向来闻歌商，政以静体观。收心学潜圣，吾身重丘山。岂必猎众智，茫茫芡走盘。诫身与教子，户内天壤宽。苜蓿上朝盘，道人斋入关。土田非蒺藜，莫问岁事艰。夫君不长贫，身在世转难。戊戌前四月书。公海执此为历。此纸得之临川故人家，借此言久交耳。诗不足道。\n本幅鉴藏印钤“双清”、“是为双氏在山泉馆藏物”、“双清长寿”及叶恭绰诸印。卷后有叶恭绰题跋一则。文中纪年“戊戌前四月书”，为宋嘉熙二年（1238年）。\n此书放笔恣纵，有颜真卿遗意，圆中带方，又不尽颜法。行字大小错落，线条粗细变化明显，跌宕有致，自成一格。",[49,86,52,119,462,26,435,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F617a32f0c07c0ede918e5171afbf90a1.jpg","纵31.1cm，横382.8cm",[122],{"id":22670,"slug":22671,"title":2441,"dynasty":97,"author":787,"museum":99,"description":2442,"tags":22672,"thumbUrl":22673,"material":689,"size":690,"collection":107,"collections":22674,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":40},239449,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239449",[23,50,24,54,25,27,86,7,28,1195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e4a14bf201db386ebf68f255bd0b66a.jpg",[],{"id":22676,"slug":22677,"title":2441,"dynasty":97,"author":787,"museum":99,"description":2442,"tags":22678,"thumbUrl":22679,"material":689,"size":690,"collection":107,"collections":22680,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":40},239448,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239448",[50,23,51,24,54,25,488,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0105ff045dc6a068152ce6f9fd188750.jp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，字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。",[23,51,24,26,56,358,871,277,22692,751,55,7],"茅舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e340cdb6f9a982c4336e6e154f1d51a.jpg",[],{"id":22696,"slug":22697,"title":22698,"dynasty":97,"author":7292,"museum":99,"description":22699,"tags":22700,"thumbUrl":22701,"material":689,"size":690,"collection":107,"collections":22702,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":40},238540,"fang-jiang-ting-xi-niao-pu-tu-ce-yu-sheng-238540","仿蒋廷锡鸟谱图册","余省（1692年—1767年） ，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。",[23,50,24,54,25,27,66,277,7,86,417],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc42360a66af189821ac5b798a1b2dc8.jpg",[],{"id":22704,"slug":22705,"title":2895,"dynasty":97,"author":1082,"museum":99,"description":1382,"tags":22706,"thumbUrl":22707,"material":689,"size":690,"collection":107,"collections":22708,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":40},237939,"za-hua-ce-zhu-da-237939",[23,51,24,119,462,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d4b1ad720901e7cba07e192eb1d6e38.jpg",[],{"id":22710,"slug":22711,"title":22712,"dynasty":97,"author":3871,"museum":99,"description":22713,"tags":22714,"thumbUrl":22715,"material":107,"size":22716,"collection":199,"collections":22717,"showCount":92,"zanCount":1288,"manualWeight":39,"mainColor":40},237549,"wu-liang-shou-fu-zhou-ding-guan-peng-237549","无量寿佛轴","其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”",[23,51,84,25,54,1284,58,56,277,61,1481,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad762207352ab4f7beb208dc41e22025.jpg","纵99.3厘米，横61.9厘米",[199],{"id":22719,"slug":22720,"title":8089,"dynasty":97,"author":22721,"museum":99,"description":22722,"tags":22723,"thumbUrl":22724,"material":107,"size":107,"collection":70,"collections":22725,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":40},237466,"shan-shui-zhou-jiang-yun-237466","姜筠","姜筠（1847－1919），字颖生，别号大雄山民，安徽省怀宁人。光绪十七年（1891）举人，官礼部主事。1913年梁启超在北京雅集词人诗友于万牲园，举行癸丑上巳修禊，颖生曾作图纪念。\n姜筠工书画，书法学苏轼，兼善篆刻。山水专学王翚，笔墨浓重，苍润古秀，殊乏清疏之气，间作花卉。工写兼至，别有韵味。《深山白云图》画大山、坡岸、房屋、渔舟，一派生机勃勃的景象。山中白云飘浮，更衬托了远山的深远，山上密密杂树寓意着新的生命处在潜伏的酝酿 期。姜筠作画以古法入，在借鉴古人笔意上又力图摆脱古人，从而寻找自己的绘画道路。图中的山石树木借鉴古法，重视造化，而点缀其中的 房屋、渔舟、云气正是表现了人的伟大和大自然的永恒",[23,84,56,26,55,63,293,150,64,3550,51,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379f525512d15f8340c282baf34191bd.jpg",[70,242],{"id":22727,"slug":22728,"title":22729,"dynasty":18,"author":607,"museum":175,"description":22730,"tags":22731,"thumbUrl":22737,"material":1087,"size":22738,"collection":70,"collections":22739,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":75},236617,"yu-qing-ji-shi-tu-wen-zheng-ming-236617","雨晴纪事图","《明文征明幽谷清泉图》描绘了水边丛树，图中较好地表现出江南初雨后空气清新、草木富于生机的景物特征。\n图中绘水边丛树，本幅自识：“入春连月雨霖霪，一日雨晴春亦深。碧涧平添三尺水，绿榆新涨一庭阴。征明雨晴纪事。庚寅三月八日。”“文征明印”白文方印、“停云”朱文圆印。庚寅为明嘉靖九年，即公元1530年，作者时年六十一岁。\n“入春连月雨淋漓，一日雨晴春亦深。碧沼平添三尺水，绿榆新涨一池荫。”这件山水小景是画家在阴雨初晴之时所作，以纪事且记情。画中描绘了一雾气弥漫的平沼近岸，碎石散置，绿苔满布，细草丛生。数棵杂树相簇，绿叶枯枝，相互扶助。此作笔法宽厚，墨色浑润，浓淡变化，层次丰富。虽为小景，但亦显得境界开阔，气势厚重，有翠湿欲滴之意。",[23,26,56,1537,22732,22733,22734,22735,22736,7,86],"平沼","碎石","绿草","雾气","雨后初晴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76002b37ca01ffa2c511c43609a5dafe.jpg","纵：130厘米，横：60.8厘米",[70,242],{"id":22741,"slug":22742,"title":22743,"dynasty":18,"author":3070,"museum":99,"description":7468,"tags":22744,"thumbUrl":22745,"material":689,"size":690,"collection":107,"collections":22746,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":40},235798,"zhu-ju-shan-chen-chun-235798","竹菊扇",[23,51,822,26,27,358,529,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff13ad5e4256b3c5c649deb37133f7c7.jpg",[],{"id":22748,"slug":22749,"title":22750,"dynasty":18,"author":955,"museum":99,"description":9336,"tags":22751,"thumbUrl":22752,"material":689,"size":690,"collection":107,"collections":22753,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":40},235794,"hua-shi-hu-die-tu-shan-ye-chen-hong-shou-235794","花石蝴蝶图扇页",[50,23,51,822,25,54,27,315,332,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F929eff4102003e83d39418c727068bd0.jpg",[],{"id":22755,"slug":22756,"title":9034,"dynasty":97,"author":15157,"museum":99,"description":22757,"tags":22758,"thumbUrl":22759,"material":107,"size":107,"collection":107,"collections":22760,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":40},235634,"mo-mei-tu-zhou-li-fang-ying-235634","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。",[23,84,26,528,86,119,7,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eb1f39a221903b5fa8c775b8d3f18ac.jpg",[],{"id":22762,"slug":22763,"title":22764,"dynasty":115,"author":207,"museum":175,"description":22765,"tags":22766,"thumbUrl":22768,"material":183,"size":22769,"collection":107,"collections":22770,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":40},234013,"xian-nv-cheng-luan-tu-ye-yi-ming-234013","仙女乘鸾图页","图绘一鸾凤于薄云淡雾中振翅飞鸣，其背上一仙女正茫然回首目视身后的一轮圆月。画家将仙女回眸之一刹那所显露出的怅惘之情刻画的生动传神，使本来单调的景物变得极富情趣并给人以想像力。仙女的眼神原无形，然作者却利用它使圆月和鸾凤之间产生一种内在的呼应关系，使画面具有气脉贯通的完整性。画家通过描绘仙女的衣带向后飘举暗示出无形的风力，并以此表明鸾凤疾翔时的速度与强烈的动感，与圆月之间形成动与静的对比。\n在人物形象的塑造上，仙女的造型越出了隋唐时期仕女画丰腴健壮的体态，表现出女性身材比例合理，造型匀称的特点。\n此图旧签题以及对幅耿昭忠的题记均言作者是五代周文矩。周文矩受南唐后主李煜颤笔书法的影响，喜以瘦挺颤掣的笔法入画，线条多转折顿挫，刚中有柔。此图线条工谨精细，如春蚕吐丝，柔中见刚，与周文矩的用笔特点不符，因此，它应是宋代佚名画家所作。",[23,50,51,24,822,54,25,136,22767,944,7],"鸾鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae22542a4bef5e8d5926c3d431eae647.jpg","纵25.3厘米，横26.2厘米",[],{"id":22772,"slug":22773,"title":22774,"dynasty":97,"author":2568,"museum":175,"description":22775,"tags":22776,"thumbUrl":22777,"material":1087,"size":22778,"collection":107,"collections":22779,"showCount":92,"zanCount":1288,"manualWeight":39,"mainColor":40},233827,"you-ting-xiu-mu-tu-zhou-hong-ren-233827","幽亭秀木图轴","“辛丑”为清顺治十八年(1661年)，受赠者名罗衮期，字岳生，安徽歙县呈坎人，是一位信奉佛教的儒生。图上有罗衮期小跋：“启悟师久慕渐江笔意，属予代索，遂以寄予者转赠之。”又有弘仁侄江注题诗“吾师漫写倪迂意，古木孤亭水石幽。优钵昙花题品在，禅门珍秘抗王侯。为启公题家师笔”。\n作为明遗民画家，弘仁曾在民族危难之时挺身而出，参加抗清活动，明亡后，遁迹江湖，寄兴诗画。他眷怀故国，作诗曰：“偶将笔墨落人间，绮丽楼台乱后删。花草吴宫皆不问，独余残渖写钟山。”钟山是明太祖先元璋的陵墓所在地，此诗悲凉沉郁，感怀至深，表达了弘仁不忘故国的坚贞气节，正是这种情怀，使他的绘画倾向于倪瓒的风格，倪画中荒寒萧瑟的意境引起了他心灵的共鸣。此图是弘仁晚年居住在歙县五明寺时所作。画风为倪瓒的变格，作平远布局，近处坡岸茅亭，亭前后有松杉杂木高耸，略去浅水遥岑，使前景成为独立的主体，加强了山石结构的表现，产生较为平和的亲切感。画上坡石用笔为倪瓒独特的折带皴，若淡若疏，骨力内蕴。树木的勾勒点染也出之以简疏的笔法，中锋下笔，复笔皴擦，看似简淡，实含腴润。正如杨翰《归石轩画谈》评述的“于极瘦削处见腴润，极细弱处见苍劲，虽淡无可淡，而饶有余韵。”弘仁仿倪，绝不是以追求倪瓒的画法为目的，他广泛吸收前人的成果，取其意，而不在笔墨迹象间，师法倪瓒、黄公望，同时以自然为师，抒己胸臆，从而形成了其山水画的基本面貌。此画中亦可见一斑。",[23,51,50,84,26,55,63,871,56,277,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbedb8101e25e0b3da1b9d79531e46d3b.jpg","纵68厘米，横50.4厘米",[],{"id":22781,"slug":22782,"title":22783,"dynasty":97,"author":8731,"museum":99,"description":22784,"tags":22785,"thumbUrl":22786,"material":107,"size":107,"collection":107,"collections":22787,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":40},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。",[23,51,84,26,25,27,403,528,1480,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6fa1dda8c69bfb89af210776a782370.jpg",[],{"id":22789,"slug":22790,"title":22791,"dynasty":97,"author":5100,"museum":20,"description":22792,"tags":22793,"thumbUrl":22795,"material":319,"size":107,"collection":107,"collections":22796,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":75},233194,"hua-hui-ce-ying-su-hua-ye-zhao-zhi-qian-233194","花卉册-罂粟花页","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。",[23,51,24,25,27,22794,28,54,7],"罂粟花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6bc79346a1a651cfdd68b3179673136.jpg",[],{"id":22798,"slug":22799,"title":22800,"dynasty":18,"author":955,"museum":99,"description":9336,"tags":22801,"thumbUrl":22802,"material":689,"size":690,"collection":107,"collections":22803,"showCount":92,"zanCount":1288,"manualWeight":39,"mainColor":75},230955,"xue-jiao-tu-ye-chen-hong-shou-230955","雪蕉图页",[50,23,51,24,54,25,5861,277,2954,332,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F874e621d854c924252505ec09a442862.jpg",[],{"id":22805,"slug":22806,"title":22807,"dynasty":18,"author":22808,"museum":99,"description":22809,"tags":22810,"thumbUrl":22812,"material":107,"size":107,"collection":107,"collections":22813,"showCount":92,"zanCount":1288,"manualWeight":39,"mainColor":75},230949,"shou-shan-fu-hai-tu-leng-qian-230949","寿山福海图","冷谦","此作以浩渺沧海为主体，细劲线条勾绘层叠水纹，如鳞似浪，将海涛不息的灵动与苍莽尽数铺展。几座仙山错落浮沉于碧波间，山石以青绿晕染，皴笔勾勒出奇崛硬朗的山势，刚劲山海与柔婉浪涛形成绝妙的刚柔对照。\n\n右上角题诗衬景，让烟波之间更添缥缈仙气，整幅画作将山海辽远之境与祥瑞题旨相融，工致古雅，尽显静谧恢宏的山海气象。",[49,23,51,84,25,56,22811,150,277,7,8108,55],"海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F680aaa4850da94d3d3296008a2b2c881.jpg",[],{"id":22815,"slug":22816,"title":22817,"dynasty":97,"author":17787,"museum":99,"description":22818,"tags":22819,"thumbUrl":22820,"material":107,"size":107,"collection":107,"collections":22821,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":40},230880,"hua-niao-shan-ren-xun-230880","花鸟扇","泥金扇面上，折枝海棠柔媚盛放，粉白花瓣晕染雅致，枝叶扶疏灵动，古拙苍润的奇石与花枝相映成趣。翎鸟独立枝桠，蓝首白羽配黑尾，身姿悠然静敛，将春日清宁定格。\n\n此作用笔工致秀雅，设色明丽又不失清雅，工笔间带着写意的灵动，将院体画的精致与海派雅俗共赏的特质相融，将暮春庭间幽景凝于尺幅。笔墨晕染出江南春日的缱绻温柔，满溢闲雅生机，读来如沐春风，尽显恬淡隽美的东方意趣。",[23,51,822,25,54,27,57,277,1227,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcb5357899a9ec840bb8208254de86e0.jpg",[],{"id":22823,"slug":22824,"title":10218,"dynasty":97,"author":655,"museum":99,"description":22825,"tags":22826,"thumbUrl":22827,"material":107,"size":107,"collection":107,"collections":22828,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":40},230243,"hua-hui-tu-ce-jin-nong-230243","此作以墨笔绘桃花，虬曲老枝苍劲朴拙，淡墨晕染花瓣，浓墨点簇花蕊、勾描枝叶，虚实间将桃花柔媚之态，融于水墨清逸之中。\n\n左侧题诗与画幅相映成趣，诗书合璧尽显文人雅韵。并未刻意摹写春日桃林的秾艳繁丽，以生拙古雅的笔墨，勾勒出花枝疏朗清寂之姿，跳出传统花鸟的妍丽范式，以简淡水墨营造出幽淡空寂的春日氛围，寄寓着寄情花木的闲散心境，尽显文人画独有的萧散风神，于浅淡笔墨里藏着隽永诗思。",[23,51,24,26,27,57,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd42f7eab48e499ad7c30d130f7f4c555.jpg",[],{"id":22830,"slug":22831,"title":22832,"dynasty":97,"author":4047,"museum":99,"description":22833,"tags":22834,"thumbUrl":22835,"material":107,"size":107,"collection":107,"collections":22836,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":40},230163,"shi-hua-hui-ce-qian-long-230163","诗花卉册","清缂丝乾隆御制诗花卉册是清乾隆时期的花卉册。\n册页是在本色地上缂织玉兰、蔷薇、桃花、望春花、婪尾春（即古人谓之芍药）、石榴花、紫栋花、水仙花共8开，每幅帧首以隶书缂织高宗御制七言绝句诗一首，诗下分别缂织朱白文印“齐物”、“丛云”、“涵虚朗鉴”、“爱竹学心虚”、“垂露”、“会心不远、德充符”、“云霞思”、“几暇临池”。\n此册页缂工简单，以平缂、构缂织成，但缂工细致，用蓝、白、深浅绿等色彩完成画面，以着笔渲染表现枝叶的阴阳向背，沉稳典雅，花卉写实生动。\n这8开册页，从画法上看，既有传统工笔重彩法，又有恽寿平的设色没骨法，属于清代“院体”花鸟画。\n钤有“乾隆御览之宝”、“石渠宝笈”、“石渠定鉴”、“宝笈重编”、“宣统御览之宝”、“三希堂精鉴玺”、“宜子孙”、“乾清宫鉴藏宝”、“乾隆鉴赏”朱印。\n《石渠宝笈续编》五函十八册著录。",[23,25,54,86,7,24,27,933],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f806d3c057c256306303c3e9b22b7bb.jpg",[],{"id":22838,"slug":22839,"title":22840,"dynasty":18,"author":2059,"museum":99,"description":22841,"tags":22842,"thumbUrl":22843,"material":107,"size":107,"collection":107,"collections":22844,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":40},228881,"cui-zhu-tu-wen-zheng-ming-228881","翠竹图","此作为诗画合璧的文人佳构，下方墨竹以淡墨写竿，笔致劲挺通脱，浓墨挥写竹叶，俯仰向背错落有致，疏密间尽显萧散清逸，将翠竹挺拔君子之姿淋漓尽显，满幅皆含清和雅正之气。\n上方题诗行书秀雅舒展，笔意温润隽秀，诗与画两相呼应，寄寓着幽居伴竹、静赏林泉的文人雅趣。书画一体，尽显吴门画派的雅致风神，暗合作者淡远冲和的品格心性，整体意境清润隽永，是文人画诗书画交融的精妙之作。",[23,51,84,26,86,119,7,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F937c38e3fa101fbcb4b94656e5b43285.jpg",[],{"id":22846,"slug":22847,"title":22848,"dynasty":18,"author":207,"museum":99,"description":22849,"tags":22850,"thumbUrl":22851,"material":107,"size":107,"collection":107,"collections":228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玉兔呈祥”起源于“遇兔呈祥”。\n\n《淮南子》中有这样的记载，月中有桂树，果实每年四五月后飘落人间。因玉兔是月中仙童，所以人们常将兔子隐于桂树丛中，先找到的，会有“蟾宫折桂”的祥兆。",[49,50,23,51,3363,54,25,1171,1116,2681,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc1c09a8d4be96ac742975ab827a34a8.jpg",[],{"id":22886,"slug":22887,"title":22888,"dynasty":115,"author":22889,"museum":99,"description":22890,"tags":22891,"thumbUrl":22892,"material":107,"size":107,"collection":107,"collections":22893,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":40},227708,"mei-hua-shi-yi-tu-chang-juan-wang-yan-sou-227708","梅花诗意图（长卷）","王岩叟","《梅花诗意图》是南宋朝时期画家岩叟所作，现藏于弗利尔美术馆。\n\n图中画盛开的梅花，树干上墨书有岩叟”二字，应是作者的名或号。从画风上看，不似北宋，或为南末后期至元初之作。\n\n以北宋王岩叟为作者，不足为信。此图运笔道劲有力，构图疏密有致，枝条穿插，富有韵味，具扬补之遗法，为补之传派中上乘之作。\n\n岩叟，生卒年不详，即北宋王岩叟。字彦霖，《宋史》有传，未称其擅画，或为画家之号。南宋宋伯仁，号雪岩，擅画梅叟或即宋伯仁自号，待考。",[49,50,23,51,52,26,528,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9933a60aeb10151b1d452b59e5b1ccc4.jpg",[],{"id":22895,"slug":22896,"title":11019,"dynasty":115,"author":1261,"museum":99,"description":22897,"tags":22898,"thumbUrl":22899,"material":107,"size":107,"collection":107,"collections":22900,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":40},227700,"shui-xian-tu-zhao-meng-jian-227700","本幅画水仙四十余株，花苞花蕊百八十余朵。全卷结构严谨，花叶繁简得宜，繁而不乱，疏密有致，或花蕊盛开，或含苞待放；花叶组合、穿插映带，阴阳相背，抵昂顾盼，层次分明，画面处理得有条不紊而生意盎然，墨色的浓淡深浅都掌握得恰到好处，既合于水仙的自然生长状态，又高于自然，清雅绝俗。可以看出此图作者扎实非凡的写实功力。此图土坡采取“飞白石”画法，用笔轻拂，笔墨十分虚灵，与他的两幅墨兰卷土坡画法极为相近；其丛丛小草采用中锋浓墨写出，笔法劲利，沈稳而富于变化，凡此种颇有宋元人淡雅蕴藉、气韵淳古的风致，诚为一幅难得的佳作，绝非一般庸工俗史所能及。此卷比起以前所见诸卷赵款水仙画都要精彩得多，故陈鹏年在后幅题记中写道：此卷“长寻丈有奇，花凡数十百本，姿态百出，生动变化，自非功力精到不能有此，几案间足令寒香袭人衣袂也”。",[49,23,51,52,135,26,25,86,119,7,488],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff0e9ff39b8a658d8889d784b15fb6f.jpg",[],{"id":22902,"slug":22903,"title":22904,"dynasty":115,"author":207,"museum":99,"description":22905,"tags":22906,"thumbUrl":22907,"material":107,"size":107,"collection":107,"collections":22908,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":75},227371,"luo-shen-fu-tu-di-yi-juan-yi-ming-227371","洛神赋图第一卷","曹植的作品中，除了“七步诗”，最有名的就是《洛神赋》了，后来，著名的画家顾恺之依据《洛神赋》，画了流传千古的名画《洛神赋图》，其中最感人的一段描绘是曹植与洛神相逢，但是洛神却无奈离去的情景。\n\n全卷分为三个部分，曲折细致而又层次分明地描绘着曹植与洛神真挚纯洁的爱情故事。人物安排疏密得宜，在不同的时空中自然地交替、重叠、交换，而在山川景物描绘上，无不展现一种空间美。\n\n此图卷无论从内容、艺术结构、人物造形、环境描绘和笔墨表现的形式来看，都不愧为中国古典绘画中的瑰宝之一。",[49,23,52,25,54,135,86,7,58,136,7755,9837,56,64,61,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda06f1d6798502716c251cdbc934d11d.jpg",[],{"id":22910,"slug":22911,"title":22912,"dynasty":97,"author":445,"museum":22913,"description":774,"tags":22914,"thumbUrl":22915,"material":647,"size":22916,"collection":107,"collections":22917,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":40},224522,"shan-shui-tu-ce-8-kai-7-zhang-da-qian-jiu-cang-shi-tao-224522","山水图册8开-7-张大千旧藏","张大千先生的旧藏",[49,23,26,55,24,56,277,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38185d388bd2aef7f301241ae98f8694.jpg","14.9x27.3cm",[],{"id":22919,"slug":22920,"title":22921,"dynasty":97,"author":1167,"museum":99,"description":22922,"tags":22923,"thumbUrl":22925,"material":107,"size":107,"collection":107,"collections":22926,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":40},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。",[49,23,51,50,84,26,25,403,27,598,66,475,22924,7],"柳叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cc17306c49b0de13f4dc3c68321e5f.jpg",[],{"id":22928,"slug":22929,"title":22930,"dynasty":18,"author":3904,"museum":22931,"description":22932,"tags":22933,"thumbUrl":22934,"material":319,"size":22935,"collection":122,"collections":22936,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":75},222470,"ji-yang-deng-tai-bai-jiu-lou-que-ji-shi-hu-zhou-zhu-yun-ming-222470","济阳登太白酒楼却寄施湖州","贵州省博物馆","本书内容包括：《居延误死马驹册》、《永元兵器册》、《出师颂》、 、《 》、《孔侍中帖》、 、《适得书帖》、《疖肿帖》、《 》、《中秋帖》等。\n所著《中国行草名帖一百讲》对 的《适得书帖》，张旭的《古诗四帖》等名家名作都有扎实透彻的解读。\n全书遴选古帖名作1篇，对蕴含在作品中的意象，韵律，节奏，情绪展开了深入的美学探讨；并对作品的结构，章法，线条甚至留白都有独到的分析并全面阐释作品的精神内涵与作品特色。\n朱以撒，195年出生，福建泉州人。\n现为 教授、博士生导师， 副主席，中国书法家协会学术委员会委员， 会员。\n长期从事书法教学、创作及理论研究工作，出版书法论著及散文集多部，29年被评为“中国书坛十大年度人物”。\n汉 《居延误死马驹册》 汉 《永元兵器册》 索靖 《出师颂》 陆机 《平复帖》 王羲之 《兰亭序》 王羲之 《孔侍中帖》 王羲之 《丧乱帖》 王羲之 《适得书帖》 王荟 《疖肿帖》 王徽之 《新月帖》 王献之 《廿九日帖》 王献之 《中秋帖》 王献之 《鸭头丸帖》 王献之 《东山I阽》 王殉 《伯远帖》 王慈 《翁尊体安帖》 王志 《一日无申帖》 智永 《草书千字文》 隋人 《出师颂》 欧阳询 《仲尼梦奠帖》 欧阳询 《张翰思鲈帖》 虞世南 《汝南公主墓志铭》 陆柬之 《文赋》 李世民 《温泉铭》 唐 《赵丑胡贷练契》 武则天 《升仙太子碑》 高正臣 《明征君碑》 孙过庭 《书谱》 怀仁 《集王羲之书三藏圣教序》 唐 《康才艺牒》 唐 《杨大智租田契》 唐 《功德文簿》 李邕 《李思训碑》 李隆基 《鹊钨颂》 张旭 《古诗四帖》 李白 《上阳台帖》 李怀琳 《绝交书》 贺知章 《孝经》 颜真卿 《祭侄文稿》 颜真卿 《瀛州帖》 颜真卿 《裴将军诗》 徐浩 《朱巨川告身》 林藻 《马斋帖》 怀素 《自叙帖》 怀素 《论书帖》 柳公权 《蒙诏帖》 高闲 《千字文残卷》 杜牧 《张好好诗并序》 李煜 《入其国帖》 杨凝式 《神仙起居法》 杨凝式 《韭花帖》 杨凝式 《 》 李建中 《土母帖》 蔡襄 《去德帖》 苏轼 《黄州寒食诗》 苏轼 《一夜帖》 黄庭坚 《刘梦得竹枝九篇》 黄庭坚 《赠张大同卷跋尾》 米芾 《蜀素帖》 米芾 《真庥帖》 赵佶 《草书千字文》 薛绍彭 《上清连年帖》 吴琚 《观唐李氏谱牒》 赵构 《行草千字文》 陆游 《致原伯知府判院》 赵眘 《法书赞》 朱熹 《述庐陵秋谷残卷》 范成大 《 》 赵孟叛 《洛神赋》 赵孟頫 《致季宗源二札卷》 赵孟頫 《行书三段卷》 鲜于枢 《苏轼海棠诗》 吴镇 《题松泉图诗》 张雨 《自书诗册》 康里恫巎巎 《述笔法》 杨维桢 《张氏通波阡表》 宋克 《急就章》 祝允明 《济阳登太白酒楼却寄施湖州》 文徵明 《乐志论》 唐寅 《七律四首卷》 蔡羽 《书说》 王宠 《瞻眺诗》 王宠 《访王元肃虞不值诗卷》 徐渭 《青天歌卷》 邢慈静 《自书诗册》 董其昌 《宋词册》 张瑞图 《邓公聪马行》 黄道周 《山中杂咏》 王铎 《诗翰四首》 倪元璐 《草书信札》 陈洪绶 《两日帖》 傅山 《丹枫阁记》 查士标 《诗文册》 金农 《行书尺牍》 黄慎 《五言诗卷》 郑燮 《七言诗卷》 刘墉 《米芾诗轴》 王文治 《剪水山房诗序》 何绍基 《临王羲之兰亭序》 赵之谦 《忆昔从军诗》 附录：《行草书欣赏论》 后记",[49,86,462,52,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c68492318509a690999cf7fc20f2abb.jpg","高24.5公分，长84公分",[122],{"id":22938,"slug":22939,"title":22940,"dynasty":18,"author":4381,"museum":81,"description":22941,"tags":22942,"thumbUrl":22943,"material":1087,"size":22944,"collection":35,"collections":22945,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":40},222177,"hua-xi-yu-yin-zhou-lu-zhi-222177","花谿渔隐轴","陆治（西元一四九六－一五七六年），江苏吴县人，字叔平，号包山子。倜傥好义，以教友著称于乡里。诗文书画并佳。曾和文征明、祝允明一起作画吟诗。画的名声和文征明一样好。\n这幅用淡墨干笔，画丛山叠树，渔父鼓舟前进，一面洗脚，二人在高坡上坐着似在观看瀑布。用色淡雅而有变化。画成于陆治七十三岁。陆治有诗，曾自比「桃源中人」，以喻其隐居状况。\n此画在笔法与构图，均受元代王蒙花溪渔隐图影响，颇有自况意味",[49,23,51,84,25,56,60,61,62,967,150,293,66,63,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27346d2b1c70fea305cfb7ed193a52f4.jpg","239.6x53.3",[35,72],{"id":22947,"slug":22948,"title":22949,"dynasty":18,"author":161,"museum":81,"description":22950,"tags":22951,"thumbUrl":22952,"material":22953,"size":22954,"collection":35,"collections":22955,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":40},222124,"zhi-shi-tu-shen-zhou-222124","芝石图","此作未署年款，画芝石笔墨肥润，其书法及款印，与画秋葵相近，似为同年作品。题识：“烨烨神芝，钤冈之。九英挺秀，五色纷披。兆厥祥，杰阁宏基。宸翰辉赫，日丽星义。表以延恩，汪无涯。奕叶朱房，灵光永绥。”钤印：“石田”“日夕堂”。",[49,23,51,50,822,26,25,6849,700,531,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14977f5430a499d1e4b5206e785058b3.jpg","泥金，纸本，设色","纵18.1厘米，横52.4 厘米",[35,72],{"id":22957,"slug":22958,"title":22959,"dynasty":146,"author":1644,"museum":7132,"description":22960,"tags":22961,"thumbUrl":22962,"material":183,"size":22963,"collection":107,"collections":22964,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":40},221716,"xiao-yi-zhi-zhuan-lan-ting-xu-tu-juan-qian-xuan-221716","萧翼智赚兰亭序图卷","唐何延之《兰亭记》详细地记载了监察御史萧翼从辩才处智取《兰亭序》真迹的故事，明代李日华、近人余绍宋皆认为不可信，但是据此画成的《萧翼赚兰亭图》在宋及以后多被反复临仿。 现存宋人摹《萧翼赚兰亭图》计有三本，除北京故宫藏卷外，另两卷分别藏辽宁省博物馆、台北故宫博物院，其中辽博和台北故宫藏本较为完整，北京故宫藏本相对较简略。 该图绘四人，左为一僧端正地坐于一竹篾坐垫、靠背的椅上，面部的笑容、捋起的衣袖及右手前伸的动态，表明他正在兴致高昂的谈论某事，较为端正的身姿似又暗示了他一贯的谨慎和克制。图右绘一中年书生和僧人相对坐于鼓形凳上，面容清瘦，专注的表情和身体前倾的动态，表明了他对僧人谈话的极力迎合。中年僧人、书生身后各有一童子相随。在人物动态和艺术风格上，该本和辽博本较为接近，但省略了僧人身后仆从烹茶的情形，另在僧人坐姿、仆从及器物等上与辽博本也有不同之处。 徐邦达先生认为辽博、台北故宫藏本大致全是宋人临本，北京故宫藏本衣纹带方折而多顿挫，为南宋人作无疑。北京故宫藏本前后旧绢隔水钤“南师中印”、“伯谦精鉴”、“龙有鉴赏”等收藏印五方，尾纸附旧拓《兰亭序》帖，帖后有南宋王厚之，元王蒙、张翥题跋，三人题跋中均未谈及图画，该帖钤有收藏印二十九方。",[49,23,51,52,25,54,58,181,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8090c7e77955e254b3f443be55f54090.jpg","纵26.6cm，横44.3cm",[],{"id":22966,"slug":22967,"title":22968,"dynasty":115,"author":2718,"museum":175,"description":22969,"tags":22970,"thumbUrl":22971,"material":183,"size":22972,"collection":213,"collections":22973,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":75},221627,"shi-jing-xiao-ya-jie-nan-shan-zhi-shen-tu-juan-quan-juan-ma-he-zhi-221627","诗经·小雅·节南山之什图卷全卷","马和之是一位山水、人物、花鸟全能的画家，人物画的线条吸收了唐吴道子用笔飞动流畅的特点，下笔重而出笔轻，是典型的兰叶描法，线条组织松散，给人以清俊闲雅之感。\n《诗经》作为儒家经典，一直备受封建统治者的推崇，此卷以图画形式使诗歌的内容形象化，藉此宣传儒家礼教",[23,51,52,135,25,56,58,64,63,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc555b229615a13e54be0497c1481073c.jpg","纵26.2厘米，横857.6厘米",[213,70,72],{"id":22975,"slug":22976,"title":22977,"dynasty":115,"author":22978,"museum":81,"description":22979,"tags":22980,"thumbUrl":22981,"material":319,"size":22982,"collection":122,"collections":22983,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":40},221364,"si-cheng-tie-chi-du-xu-xuan-221364","私诚帖尺牍","徐铉","徐铉（916-991），五代宋初文学家。字鼎臣。广陵（今江苏扬州）人。早年仕于南唐，官至吏部尚书。后随李煜归宋，官至散骑常侍,世称徐骑省。淳化二年（991）被贬谪为静难行军司马，不久就死在贬所。\n他擅长李斯小篆，也工于隶书。他与其弟徐锴是当时最杰出的篆书书法家，被称为“二徐”，他们考订了《说文解字》。此外，北宋淳化五年（994）重刻秦代《峄山刻石》，即根据徐铉的摹本。徐铉所书的篆书，映日视之，笔画中心有缕浓墨，因其笔锋直下不倒侧，故笔锋常在画中，故人也称其如“屋漏痕”、“锥画沙”。黑龙江省博物馆藏有他的《篆书千字文残卷》（宋摹本）。",[49,86,119,7,5502,435],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa001d309fa974056d7525f4e5a98e998.jpg","29.1×44.8cm",[122],{"id":22985,"slug":22986,"title":22987,"dynasty":115,"author":116,"museum":329,"description":5923,"tags":22988,"thumbUrl":22989,"material":634,"size":5926,"collection":107,"collections":22990,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":40},221278,"lian-po-lin-xiang-ru-lie-zhuan-can-di-er-duan-huang-ting-jian-221278","廉颇蔺相如列传(残)第二段",[49,51,86,462,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd0b7f2742fc34b19f8a020a3c9a7761.jpg",[],{"id":22992,"slug":22993,"title":22994,"dynasty":97,"author":22995,"museum":2069,"description":22996,"tags":22997,"thumbUrl":22998,"material":107,"size":107,"collection":107,"collections":22999,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":40},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。",[49,23,51,50,84,26,403,251,700,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8271038a5f32366ba9121a2549da8d79.jpg",[],{"id":23001,"slug":23002,"title":23003,"dynasty":18,"author":14556,"museum":81,"description":23004,"tags":23005,"thumbUrl":23006,"material":25,"size":23007,"collection":199,"collections":23008,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":75},219311,"shi-ba-ying-zhen-xiang-zhou-ding-yun-peng-219311","十八应真像轴","祥云裹挟金芒倾泻而下，漫卷的云海间，十八应真或骑狮踞象，或趺坐参禅，或执杖笑谈，神态各异如活现眼前。衣纹线条精谨流畅，兽形憨态与威严并存，群像错落间藏着疏密有致的章法。淡墨晕染出缥缈的云雾与波澜，将神圣与世俗的气息悄然融合——既见罗汉的庄严法相，亦有生动活泼的人间意趣。每一处细节皆见匠心：或眉眼间的慈悲，或兽足踏浪的灵动，都在泛黄的绢本上沉淀出时光的厚重，尽显传统人物画的精妙神韵。",[23,51,84,1284,58,1116,135,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2a6776ed79f7001c79a87c79325b796.jpg","109.1x50.9",[199],{"id":23010,"slug":23011,"title":23012,"dynasty":146,"author":431,"museum":81,"description":23013,"tags":23014,"thumbUrl":23015,"material":152,"size":23016,"collection":35,"collections":23017,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":75},218827,"ma-tu-zhao-meng-fu-218827","马图","两马相依而立，一深一浅的墨色晕染出温润质感。鬃尾线条如行书般挥洒流畅，圆劲的笔触似篆籀勾勒马身筋骨，肥瘦得宜的体态里藏着含蓄的力度。红衣人抚髯凝睇，神情悠然若与马语；白衣者侧立相伴，身姿闲雅如随景停驻。\n\n画面以书入画，笔墨间透着文人的清雅韵致。没有繁复的铺陈，仅用简练线条与淡墨渲染，便将马的温顺灵动、人物的闲适默契刻画入微。静穆的氛围里，仿佛能听见马的轻嘶与衣袂的微动，形神兼备的意趣，恰是元代文人画中“以形写神”的生动注脚。",[23,54,25,58,225,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3743a6d57a932955b20032b8187e236.jpg","52.5x48.2cm",[35],{"id":23019,"slug":23020,"title":23021,"dynasty":97,"author":21939,"museum":3815,"description":20526,"tags":23022,"thumbUrl":23023,"material":88,"size":20529,"collection":70,"collections":23024,"showCount":92,"zanCount":1288,"manualWeight":39,"mainColor":40},218112,"xin-an-yi-yun-ce-xiao-yun-cong-shan-shui-xiao-yun-cong-218112","新安逸韵册(萧云从山水)",[23,51,24,26,55,56,150,967,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8cbb8859bdf0c6370f0ecf6c6f9f55e.jpg",[70],{"id":23026,"slug":23027,"title":23028,"dynasty":146,"author":709,"museum":81,"description":1490,"tags":23029,"thumbUrl":23030,"material":88,"size":107,"collection":107,"collections":23031,"showCount":92,"zanCount":39,"manualWeight":39,"mainColor":40},216387,"mo-zhu-pu-ce-3-wu-zhen-216387","墨竹谱册-3",[50,23,51,24,26,358,86,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b5d935d0f7c698447c6c743080d955a.jpg",[],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清高宗以此作与《富春山居图》（子明卷）相比，认为两作“纸色墨气，古穆无二”。细察两作石法、树法，乃至题款书风近似，或出于一人之手，为明末清初的作品。",[23,84,56,26,55,14158,23107,60,61,59,7,86],"曲涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdb06ecbde0e10adb8891902cce34b3f.jpg",[],{"id":23111,"slug":23112,"title":23113,"dynasty":97,"author":248,"museum":99,"description":685,"tags":23114,"thumbUrl":23115,"material":689,"size":690,"collection":107,"collections":23116,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":40},290535,"lu-xie-yun-shou-ping-290535","芦蟹",[23,24,26,25,7084,19342,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6713dbec3223e093d3cfa431c11abbef.jpg",[],{"id":23118,"slug":23119,"title":23120,"dynasty":97,"author":248,"museum":81,"description":685,"tags":23121,"thumbUrl":23122,"material":33,"size":23123,"collection":107,"collections":23124,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":40},290528,"zhu-shi-ku-cha-tu-zhou-yun-shou-ping-290528","竹石枯槎图轴",[23,84,26,358,967,150,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b53a062749880b1168b4136a30d6c4.jpg","95.1x46.8",[],{"id":23126,"slug":23127,"title":23128,"dynasty":146,"author":22269,"museum":99,"description":23129,"tags":23130,"thumbUrl":23131,"material":689,"size":690,"collection":107,"collections":23132,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":75},290502,"han-lin-zhong-kui-zhou-chen-lin-290502","寒林钟馗轴","绘严寒冬季，树木枝叶疏落，在萧旷之野，身材魁伟的钟馗伫立于林下的坡地上!胸怀中抱有笏板，头戴幞巾，穿宽身袍服，腰系玉带，脚穿皂靴，厂‘袖因风而飘，缩着颈脖，显出寒风凛凛冷意。但形象威严，目睛圆瞪，须髯如戟，炯炯有神，背景为枯树荆柯，宽阔坡陀为枯草所覆盖，斜坡上长有几棵大树，树干挺拔直上，顶天立地：树干上有不少疤结，枝叶疏落，大树下的丛丛荆柯枝干交错，树叶脱落，显示是严寒的冬天季节。作者所描绘一片寒林，枯梢老槎，显得苍劲高古，枝丫相互穿插，虚实、浓淡的处理，都是为了表现寒林的深度，画家利用虚实关系拉大了空间，作者不但在寒林的后面用淡墨画了类似的树木，还以云雾来加强树林的纵深，使人感到寒气逼人、全图笔法简括刚韧，以线描为主，辅以皴染，明显带有南宋画院体风貌。人物造型准确，刻画得生动传神，钟馗的衣纹十分简洁，和周围景物的描绘上又十分准确精到，因而能达到情景交融的境界。这是此画最为成功之处。它在于将钟馗缩脖无颈，一副缩着脖子畏寒的样子跃然纸上，瑟缩着的钟馗和寒林一样都突出一个寒字，相互衬托，加强了作品荒寒气氛。故此画在人物形态神情的刻画及其立意上颇有独到之处。",[23,84,58,26,967,16565,7,3040],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa9242d4dde31567d9c1e594d9288317.jpg",[],{"id":23134,"slug":23135,"title":23136,"dynasty":115,"author":328,"museum":99,"description":16109,"tags":23137,"thumbUrl":23138,"material":689,"size":690,"collection":107,"collections":23139,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":75},290297,"hua-hua-niao-zhou-zhao-chang-290297","画花鸟轴",[23,84,27,54,25,66,28,30,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47da3bc28d94f9c87e40145887010832.jpg",[],{"id":23141,"slug":23142,"title":23143,"dynasty":97,"author":1180,"museum":99,"description":1655,"tags":23144,"thumbUrl":23145,"material":689,"size":690,"collection":107,"collections":23146,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":40},290182,"zhu-tu-li-zhou-wu-chang-shuo-290182","竹图立轴",[49,23,84,26,358,86,7,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63d7eb58b8faf622716972b5c27606cf.jpg",[],{"id":23148,"slug":23149,"title":23150,"dynasty":97,"author":2568,"museum":99,"description":23151,"tags":23152,"thumbUrl":23153,"material":689,"size":690,"collection":107,"collections":23154,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":40},290180,"tao-an-tu-zhou-hong-ren-290180","陶庵图轴","本幅是作者送友人汪尧德的写生之作。汪尧德（1620—1685年），字子陶，号陶庵、子翁居士，歙县潜口人(见《康熙歙县志》)。早年客居松江，与董其昌、陈继儒等文人交往。晚年家居30年，以书画自娱。此图是弘仁与友人罗逸（字远游，歙县人）游黄山经过潜口时所绘汪尧德隐居之所。其屋舍傍山而筑，临溪而建，一片离尘幽美之景。作者以折带皴和干笔渴墨表现山石，得徽地清幽冷峻的山林之美；以苍劲整洁的线条勾出柳丝，得生机盎然之趣。其洗练简逸的笔墨与汪氏简朴的居所相得益彰，映衬出汪氏志在清高自守、乐在林泉云游的脱俗之气。",[49,23,84,26,56,967,278,727,60,7,55,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfb845dce80ebf0ae222beb3c4e517a4.jpg",[],{"id":23156,"slug":23157,"title":23158,"dynasty":146,"author":4144,"museum":99,"description":23159,"tags":23160,"thumbUrl":23161,"material":689,"size":690,"collection":107,"collections":23162,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":40},290159,"shi-an-gu-song-tu-cao-zhi-bai-290159","石岸古松图","曹知白（1272～1355），元代画家，藏书家。字又玄，贞素，号云西，人称贞素先生，松江华亭（今上海青浦）人。从小机敏颖悟，很有见识，爱读书，好黄老之学。家有藏书数千卷，也喜蓄字画。曾被荐为昆山教谕，不久辞去。结交赵孟頫、邓文原、虞集、王冕等名流，与倪瓒、黄公望交往最密，常以书画相唱和。 咸淳八年 （1272年）三月廿八日出生。至元三十一年 (1294年)曹知白在开凿吴淞江中功绩居多。大德八年(1304年)提出填阏成堤之法，取得良好效果。至正十五年 乙未 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山西太原人。明清时期道家思想家、书法家、医学家。\n傅山自称为老庄之徒，他自己也在很多场合与作品中反复强调、自陈：“老夫学老庄者也”、“我本徒蒙庄”、“吾师庄先生”、“吾漆园家学”。自觉继承道家学派的思想文化。他对老庄的“道法自然”、“无为而治”、“泰初有无”、“隐而不隐”等命题，都作了认真的研究与阐发，对道家传统思想作了发展 ,常以老庄之徒自居。\n傅山于学无所不通，经史之外，兼通先秦诸子，又长于书画医学。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态”。 [3] 著有《霜红龛集》等。一些武侠小说里，傅山被描写为武侠高手。他是著名的道家学者，哲学、医学、内丹、儒学、佛学、诗歌、书法、绘画、金石、武术、考据等无所不通。他被认为是明末清初保持民族气节的典范人物。\n傅青主与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”。著有《傅青主女科》《傅青主男科》等传世之作，在当时有“医圣”之名。《清史稿》卷五百一有传。",[23,51,84,26,251,23344,7],"芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5c35d01ea4392d55c4239ad5cde0d02.jpg",[35],{"id":23348,"slug":23349,"title":23350,"dynasty":18,"author":4381,"museum":99,"description":4927,"tags":23351,"thumbUrl":23352,"material":689,"size":690,"collection":107,"collections":23353,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":40},237416,"shan-shui-shan-lu-zhi-237416","山水扇",[23,51,822,25,55,56,63,871,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4a20d4c676566f1a237f2ff55f49b4.jpg",[],{"id":23355,"slug":23356,"title":23357,"dynasty":18,"author":23358,"museum":175,"description":23359,"tags":23360,"thumbUrl":23361,"material":107,"size":107,"collection":70,"collections":23362,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":40},236562,"xiao-ke-guan-shan-shui-ce-shao-mi-236562","小可观山水册","邵弥","邵弥(1594-1642)，晚明时吴门人，字僧弥，号瓜畴，性孤僻，似贤云野鹤，不染尘氛。擅诗，尤喜书画，瘦冷清逸，一如其人，极为时人所重，与董其昌、王时敏等同为“画中九友”之一。亦好收藏，张丑《清河书画舫》尝记之。所收沈石田《湾东草堂图》为石田精品，可见目力不凡。\n此册拟古，或仿营丘，或仿北苑，或仿云林、黄鹤，或仿千里、大痴；或危岩层起泉落云飞，或山间小筑傍竹临水；或寻诗晚而忘归，或山间独居与朝云暮霭相伴。画笔俊秀精工而书卷之气满目，幅幅皆似诗中浸出，雨露中洗过，是他画中极精致品。对幅和后跋有金俊明、文柟、方夏、刘能始、周之文等诗题，其中文柟一开称其与友人丘令和晨夕相对，“兴至”则为点染，真所谓“五日一山十日一水之趣，简远秀逸自胚胎中来。”可见是在闲和恬适之时，与知己相对，兴来挥毫，不计时日的精心之作，故命意不凡，幅幅俱佳。极珍贵。",[50,23,51,24,26,55,119,7,56,277,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1aad0cc7f91d98f5d6db48d517385e2.jpg",[70,72],{"id":23364,"slug":23365,"title":17,"dynasty":18,"author":12724,"museum":99,"description":22182,"tags":23366,"thumbUrl":23367,"material":689,"size":690,"collection":107,"collections":23368,"showCount":231,"zanCount":1288,"manualWeight":39,"mainColor":40},235729,"hua-niao-ce-tan-zhi-yi-235729",[23,51,24,54,25,27,308,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff24a476c3157793412130d56a2bc8c12.jpg",[],{"id":23370,"slug":23371,"title":17,"dynasty":18,"author":12724,"museum":99,"description":22182,"tags":23372,"thumbUrl":23373,"material":689,"size":690,"collection":107,"collections":23374,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":40},235726,"hua-niao-ce-tan-zhi-yi-235726",[50,23,51,24,54,25,27,332,2152,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4c1639c45707c2b0e70e21707f1682f.jpg",[],{"id":23376,"slug":23377,"title":2149,"dynasty":97,"author":6313,"museum":99,"description":8275,"tags":23378,"thumbUrl":23379,"material":689,"size":690,"collection":107,"collections":23380,"showCount":231,"zanCount":1288,"manualWeight":39,"mainColor":40},235603,"hua-hui-ce-wang-wu-235603",[23,51,24,25,54,27,777,332,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5203f98c5bc6b88482bddebc1961fe00.jpg",[],{"id":23382,"slug":23383,"title":23384,"dynasty":18,"author":2413,"museum":99,"description":23385,"tags":23386,"thumbUrl":23387,"material":319,"size":23388,"collection":107,"collections":23389,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":75},234163,"zhou-tian-qiu-cong-lan-zhu-shi-juan-zhou-tian-qiu-234163","周天球丛兰竹石卷","周天球,字公瑕，号幼海，又号六止居士，江苏太仓人。善画写意兰草，在文徵明门下学习书法，文徵明赞其：“他日得吾笔者，周生也。”晚年独创书风，当时丰碑大碣皆出自他手。于《心经》气脉贯通，工稳有致，峻厚妍秀，温润苍劲。是谓经典。",[49,50,23,51,52,26,119,7,86,251,358,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa44acfd326529873a27f79f238cb93b7.jpg","纵28.3cm，横56.8cm",[],{"id":23391,"slug":23392,"title":23393,"dynasty":97,"author":1167,"museum":175,"description":23394,"tags":23395,"thumbUrl":23396,"material":391,"size":23397,"collection":35,"collections":23398,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":40},233942,"hua-yan-zi-hua-xiang-tu-zhou-hua-yan-233942","华嵒自画像图轴","华嵒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，华嵒潜心诗文书画，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。华嵒一生贫苦，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，华嵒身着夏衫，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。",[50,23,51,84,26,25,55,403,56,58,277,61,150,6545,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaa167316f143627c91b7a6fa3bf4f48.jpg","纵130.5厘米，横50.7厘米",[35,23399],"明清缂绣画",{"id":23401,"slug":23402,"title":23403,"dynasty":97,"author":5795,"museum":175,"description":23404,"tags":23405,"thumbUrl":23406,"material":319,"size":23407,"collection":107,"collections":23408,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":40},233792,"chan-ji-hua-qu-zhou-kun-can-233792","禅机画趣轴","作者以一个僧人的目光把所赏阅的江南山川荟萃于尺幅之中。\n此画幅虽不大，呈一长条幅，但气势恢宏，只见远处群山叠嶂，诸峰矗立，云雾缠绕。\n山坡的平地坐落着寺院和房舍，在山坡和丛树间或隐或现：近景，山脚下水榭、房阁数间，坡岸乱石相连，在乱石坡岸上树木丛生，近处溪边水草茂盛，下端左侧一条长长的板桥，且有齐整的扶栅。\n右侧有一板桥将两溪岸相连，有一位身着长袍头戴风帽手持拐杖的长者，正在缓行过桥。\n中景，有山有水，有树木、房舍等，水随山转。\n有数只扁舟，渔人独坐轻舟浮荡，显得十分幽静清雅。\n画幅上端作者长题：“米南宫尝以玩好书画载之方舟，坐卧其中，适情乐性，任其所之，咸指之一：‘此米家书画船也。\n’石秃曰：‘此固前人食痴公癣，咄咄青溪亦后有此耶，虽然青溪好古博雅，胸中负古文奇字，此犹不过成都子昂之弄故琴耳。\n玄道隐于小成言：隐于荣华，若以天地为虚舟，万物为图籍，予坐卧其中，不知天地外更有此舟，不知舟之中更有子昂否耶？而为之偈曰：大地为舟，万物图画，坐卧其中，嗒焉洒洒，渺翩翩而独征兮，有谁知音机弦而歌兮，清风古今人山往返之劳兮，已为这个不了，若是了得兮。\n此画构图高旷清远，用笔苍劲老辣，颇具黄公望笔意。\n细察此画为中年笔墨，荒率枯淡，稍染淡赭，乃有苍厚之韵。\n构图上，近景的坡岸乱石及树木与远景苍山院寺房舍相对比；前景的溪水回转与远景的云雾轻绕遥相呼应。\n整幅构图繁复、饱满、充实，下不留地，上不留天，仅有上部空白处，经自长题而填补。虽画面的景物繁多，但仍能做到疏密有致。总体来说，整幅画浑然一体，气脉畅达。",[23,51,84,26,55,7,119,56,60,61,62,63,66,137,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9d9169d444881f8ff792bc46e2b0aa1.jpg","125.7x31.4厘米",[],{"id":23410,"slug":23411,"title":17855,"dynasty":18,"author":459,"museum":175,"description":17856,"tags":23412,"thumbUrl":23413,"material":4816,"size":17859,"collection":107,"collections":23414,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":40},233473,"ren-wu-hua-hui-ce-xu-wei-233473",[23,26,24,403,58,62,104,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7f4e85145f2771a2c5af092a652fd77.jpg",[],{"id":23416,"slug":23417,"title":23418,"dynasty":115,"author":1923,"museum":175,"description":23419,"tags":23420,"thumbUrl":23421,"material":319,"size":23422,"collection":107,"collections":23423,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":924},232819,"bai-ju-yi-zi-yong-shi-quan-juan-zhao-gou-232819","白居易自咏诗全卷","赵构《行书白居易诗》，纸本手卷，卷心高27.2厘米，长4296厘米。每行两字，字大如拳，无名款，书后钤有御书葫芦印和朱文方印各一枚，并在接纸骑缝处有“御书之宝”印多方。明陶宗仪《书史会要》：“高宗善真、行、草书，天纵其能，无不造妙。或云初学米芾，又辅以六朝风骨，自成一家。”\n书录白居易诗《自咏》一首：“随宜饮食聊充腹，取次衣裘亦暖身。未必得年非瘦薄，无妨长福是单贫。老龟岂羡牺牲饱，蟠木宁争桃李春。随分自安心自断，是非何用问闲人。”\n赵构实际上是一位艺术家，他精通诗词与音乐，擅长书法、绘画，志趣一直在笔墨方面，是一位相当勤于学习书法的皇帝。他最初是学黄庭坚，中年学米芾，绍兴七年（1137年）书的《赐岳飞手敕》是典型的米芾笔法。\n宋高宗不仅有实际的书画创作，对书法理论也很有研究，著有《翰墨志》一卷，是他在退居德寿宫以后谈论书法的语录，在书法理论上有很精辟的见解，这是南宋前期书法理论的重要著作，也有人将它称为南宋书法理论的代表著作。",[50,51,52,119,86,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b10fef921c08ba8bc86a57c3bf82896.jpg","卷心高27.2厘米，长4296厘米",[],{"id":23425,"slug":23426,"title":23427,"dynasty":18,"author":11785,"museum":81,"description":23428,"tags":23429,"thumbUrl":23430,"material":319,"size":23431,"collection":107,"collections":23432,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":40},231567,"da-mo-tu-zhu-jian-shen-231567","达摩图","此图绘达摩一苇渡江的故事，达摩身材魁梧，鼻梁高耸，眼珠圆凸，虬须怒张，两手置于胸前，侧身南望，戴头巾，身穿僧衣，赤足立于苇竿上，一第竿迎着风涛挺进，苇花在江风中摇曳，达摩脚下为滚滚的江水，奔腾而流。背景为一望无际的江水，弥雾茫茫无边无际。此图作于明成化庚子（1480）时年33岁，为他的中年佳作。钤“广运之宝”朱文印。\n明宪宗朱见深，英宗长子，天顺八年（1464）继位，年号成化（1465-1487）。先宗是一位有所作为的皇帝，嗜好艺术，也工书善画，尤擅人物和山水小景，并以御翰墨，赐予大臣们。此《达摩图》是他人物画中的佳作。\n达摩是菩提达摩的简称，是中国佛教禅宗的创始人。相传南朝梁武帝时，印度僧人天竺禅宗第二十八祖达摩，从海道前来我国传布佛教，梁武帝迎至金陵。他是乘坐船只从海道而来，但历来不少画家为神化达摩的道行，便画他脚踏芦苇，飘海而至。此画面所画正是这样。\n此画虽为宪宗即兴之作，即随意画成，但人物形象的刻画极其精练，神情表现细致入微。画法新颖别致，真切自然。人物的特征，用不多笔墨便勾画出来，头中和僧衣更为简练，袍下露出一双赤脚，亦真实地表现出来。衣褶用苇叶描，用笔如作书，转折之间，见其方整。江水波涛的烘染也很自然。总体来说，此画构图简括，笔墨简练，笔势放纵，将达摩的形象刻画入微，神采奕奕，精致地描绘出达摩超然尘表的形象特点，给人留下深刻的印象。",[49,23,51,135,26,1284,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08f2b8d36724bb198e8256b183c8f56f.jpg","纵76.8厘米,横47.4厘米",[],{"id":23434,"slug":23435,"title":23436,"dynasty":115,"author":13367,"museum":99,"description":23437,"tags":23438,"thumbUrl":23439,"material":689,"size":690,"collection":107,"collections":23440,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":40},230864,"cheng-xin-tang-tie-cai-xiang-230864","澄心堂帖","精致的纸质，配上蔡襄秀致而庄重的墨迹，使得这幅“澄心堂”帖格外显得清丽动人。全文以行楷写成，结体端正略扁，字距行间宽紧合适，一笔一画都甚富体态，工致而雍容。信札署有“癸卯”（1063年）年款，时蔡襄年52岁，《澄心堂纸帖》正是他晚年崇尚端重书风的代表之作。\n蔡襄学习“二王”、虞世南、颜真卿。此贴依归“二王”，参以颜公健厚之笔，王颜互用，风貌独具，以柔翰而发之以劲腕，姿容绰约，而勾勒婉健，笔墨浑厚，气势宏大。时有淳淡隽美，更具风韵。",[86,119,7,418,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70595ff81b15475df319f65f0235ed61.jpg",[],{"id":23442,"slug":23443,"title":23444,"dynasty":97,"author":1167,"museum":99,"description":23445,"tags":23446,"thumbUrl":23447,"material":107,"size":107,"collection":107,"collections":23448,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":40},230168,"lan-zhu-ming-qin-tu-hua-yan-230168","兰竹鸣禽图","此作工写相融，意趣悠然。上端禽鸟俯身垂首，似将啄饮，羽色以淡赭晕染，蓬松柔润，神态灵动鲜活。旁侧枯枝缀浅叶，墨色清透疏朗，衬得禽鸟愈发温婉生趣。\n\n下方坡石以泼墨写意，淡绿晕染衬出苍润苔痕，兰草、新竹生于石畔，笔致秀逸舒展，墨色虚实相生，尽显草木清姿。整卷以清浅淡远的色调，将生灵意趣与林下幽寂融为一体，笔墨兼具雅致与野趣，尽显文人写意画的空灵韵味。",[49,23,51,84,27,26,25,358,251,66,277,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcb95074029fc5bb85e91a524cb89d6a.jpg",[],{"id":23450,"slug":23451,"title":23452,"dynasty":18,"author":207,"museum":99,"description":23453,"tags":23454,"thumbUrl":23455,"material":107,"size":107,"collection":107,"collections":23456,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":40},228917,"mo-zhou-wen-ju-zhong-ping-hui-qi-tu-yi-ming-228917","摹周文矩重屏会棋图","此作追摹古意，以精妙笔触还原文人雅集场景：四人围坐博弈，神色各有不同，或蹙眉凝思，或悠然观局，侍童静立旁侧，案上鼎彝、书卷陈列有致，尽显中古文人的闲雅意趣。\n\n画作巧用画中画的重屏构景，层层延展空间，线条细劲工致，设色古雅沉静，尽显原作的院体写实风神。拖尾题跋琳琅，鉴藏朱印错落排布，细数历代递藏脉络，让这幅摹本不止是复刻经典，更成为串联起后世文人追慕古贤的载体，让千年前的文会清韵流转至今。",[49,23,51,52,134,25,54,58,499,4118,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbb1113a03fad3557a7452ed4931a72b.jpg",[],{"id":23458,"slug":23459,"title":23460,"dynasty":18,"author":161,"museum":99,"description":23461,"tags":23462,"thumbUrl":23463,"material":107,"size":107,"collection":107,"collections":23464,"showCount":231,"zanCount":1288,"manualWeight":39,"mainColor":40},228831,"zhe-zhi-hua-zhi-shen-zhou-228831","折枝花枝","以水墨晕染出海棠花枝，老干苍劲朴拙，用笔凝练老辣，皴擦间尽显饱经风霜的沉厚质感。新发嫩梢轻盈舒展，墨色清浅柔润，与老干形成鲜明虚实对照。枝头繁花淡墨点染，留白为瓣，晕透出通透娇柔的春日情态，叶片浓淡错落，层次分明，鲜活尽现海棠盛放之姿。\n题跋与画作相映成趣，诗书画意交融，尽显文人画雅致意趣。整幅简淡天真，不事雕琢，以极简笔墨抓住花木神韵，将春日雅兴寄于毫端，平朴间自有冲淡空灵的意境，寥寥数笔便铺陈出海棠疏淡清雅之态，藏着江南文人闲居的悠然意致。",[49,23,51,84,26,28,31,265,2559,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52bbf1cdcefb49755ec2f8724f6aeda7.jpg",[],{"id":23466,"slug":23467,"title":23468,"dynasty":18,"author":1014,"museum":99,"description":23469,"tags":23470,"thumbUrl":23471,"material":107,"size":107,"collection":107,"collections":23472,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":40},228469,"nan-you-tu-tang-yin-228469","南游图","《南游图》是明朝唐寅写的一首诗。\n江上春风吹嫩榆，扶琴送子曳长裙。\n相逢若有知音者，随地芟茅好结庐。\n唐寅（147---152），初字伯虎，更字子畏，号六如居士，明代画家，吴县（今江苏苏州）人。\n他是吴门画派的代表人物，与沈周、文徵明、仇英并称明代四大家（吴门四家）。\n出生于一个商人家庭，从小聪明好学，诗文书画，无一不精。\n29岁时，他考中应天府（今南京）乡试第一名解元，自诩为“江南第一才子”。\n但在第二年的会试中，因好友科举舞弊案的牵连，被捕入狱，从此功名断绝。\n出狱后，唐伯虎性情大变，从此绝意仕途，潜心书画，终成一代大家。\n唐伯虎擅长画山水、人物、花鸟等。\n他的山水画师法周臣、李唐、刘松年，风格秀逸清俊，笔墨细秀，布局疏朗。\n人物画师承唐代传统，多以仕女和历史故事为题材，色彩或艳丽或清雅，线条清细，体态优美。\n花鸟画洒脱随意，格调秀逸，长于水墨写意。\n传世画作有《骑驴思归图》、《山路松声图》、《事茗图》、《王蜀宫妓图》、《秋风纨扇图》等。",[49,23,51,52,25,54,55,119,86,7,56,64,58,60,61,751],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b85449ec179089e2a5b76fcc8c7693e.jpg",[],{"id":23474,"slug":23475,"title":23476,"dynasty":115,"author":16852,"museum":99,"description":23477,"tags":23478,"thumbUrl":23479,"material":107,"size":107,"collection":107,"collections":23480,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":40},228164,"lao-shu-han-ya-tu-juan-zhao-bo-ju-228164","老树寒鸦图卷","此作用淡墨晕染铺就江天寥廓，滩渚浅岸清寂冷逸，枯木虬枝错落舒展，干笔皴擦尽显苍劲老辣，不着多余修饰，便将冬日江郊的荒疏萧索尽数铺陈。\n画面以平远取景，水墨清润简淡，把寒水空濛、林梢凝寒的江洲冬境，化作空寂禅意。简淡笔墨暗合宋人极简美学意趣，于萧索冷冽间晕染出悠长幽远的诗意，尽得荒寒淡远的文人山水意境。",[49,50,23,51,52,26,25,56,137,1915,277,64,7,86,119,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab012e2191f40ce6f95225846f98cfe1.jpg",[],{"id":23482,"slug":23483,"title":23484,"dynasty":146,"author":10780,"museum":99,"description":23485,"tags":23486,"thumbUrl":23487,"material":107,"size":107,"collection":107,"collections":23488,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":40},228072,"teng-wang-ge-tu-ye-xia-yong-228072","滕王阁图页","此作以铁线白描界画楼宇，依山临江的名楼层叠错落，飞檐翘角、榫卯结构皆毫厘毕现，廊庑间人物往来顾盼，鲜活灵动，将楼阁巍峨工致描摹入微。\n\n江面上扁舟随波浮沉，远山澹澹晕开，简淡山水与精工楼宇相映，在尺幅之中铺展出宏阔雅致的胜景。整幅工细却不板滞，白描线条劲挺匀净，既复刻出名楼的壮伟形制，又晕染出江南水畔的清灵意韵，将登临名楼的雅致意趣凝于方寸之间，尽显界画的极致工巧，藏着对江南胜景的隽永追慕。",[49,23,50,1962,24,135,26,59,56,62,871,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49a4378908f12da247e608b1311e041d.jpg",[],{"id":23490,"slug":23491,"title":23492,"dynasty":115,"author":20028,"museum":81,"description":23493,"tags":23494,"thumbUrl":23495,"material":634,"size":20032,"collection":107,"collections":23496,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":40},227718,"dao-yi-tu-juan-mou-yi-227718","捣衣图卷","《捣衣图》南宋画家牟益创作的纸本水墨画作品，现收藏于台北故宫博物院。\n\n《捣衣图》描绘南朝谢惠连《捣衣诗》之诗意。画中庭院秋深，高槐叶落，景象凄凉，绘三十二位妇女捣练、裁衣、缝衣之劳动情景。画家通过建筑物的相连、人物的往来、花木的点缀，前后贯通，画中的人物造型准确，生动有致，面容圆润，衣裙宽大，犹有唐人余韵。",[49,23,50,51,52,135,58,136,1019,64,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbff35647b7e53622cc6bfd8715853cbc.jpg",[],{"id":23498,"slug":23499,"title":23500,"dynasty":130,"author":2922,"museum":485,"description":23501,"tags":23502,"thumbUrl":23503,"material":107,"size":107,"collection":107,"collections":23504,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":40},227047,"bao-mu-tie-wang-xian-zhi-227047","保母帖","王献之《保母帖》，清宫旧藏，流散后，本帖和部分题跋存弗利尔美术馆（赵子昂、郭天锡、董其昌、徐守和等），大部分题跋存故宫博物院（姜夔、赵子昂、周密、仇远、鲜于枢等）。",[49,86,119,2226,52,7,418,7113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614954f526555092c1e1af4e18e4ebab.jpg",[],{"id":23506,"slug":23507,"title":23508,"dynasty":97,"author":12499,"museum":99,"description":23509,"tags":23510,"thumbUrl":23511,"material":107,"size":107,"collection":107,"collections":23512,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":40},226630,"si-shi-shan-shui-03-pu-ru-226630","四时山水03","溥儒(1895-1963)，满族，北京人。近代国画大师，出身清皇族，姓爱新觉罗，字心畲，又号羲皇上人﹑西山逸士。曾留学德国，笃嗜诗文、书画，皆有成就。画工山水、兼擅人物、花卉及书法，昔时与张大千有“南张北溥”之誉，又与吴湖帆并称“南吴北溥”。",[49,23,51,26,55,24,56,58,150,64,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a54730262b673b5e2e522748b6b7275.jpg",[],{"id":23514,"slug":23515,"title":23516,"dynasty":97,"author":445,"museum":99,"description":23517,"tags":23518,"thumbUrl":23519,"material":107,"size":107,"collection":107,"collections":23520,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":40},224530,"li-pu-yi-pei-juan-shi-tao-224530","醴浦遗佩卷","以水墨绘就兰竹顽石，起手野兰配淡墨牡丹，焦墨兰叶纵逸跌宕如虬龙逶迤，花瓣含露，幽姿绰约。中段蕙兰丛生繁花绽枝，笔意渐趋简淡，与疏竹交错，清寂之致尽显。末段兰草倚石而生，苔痕皴染古雅，顽石朴拙苍劲。\n\n全卷以草书笔意入画，墨色干湿浓淡互衬，一气呵成。题识榜书朴茂雄浑，与画作清逸互为表里，将兰之幽贞、石之古厚融为一体，绘写出幽兰遗世独立、如佩环叮咚的清逸风骨，墨痕间满溢疏淡幽远的林下风致，尽显文人以物明志的清雅意趣。",[49,23,51,52,26,251,358,277,86,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe167157fb1e1c6dcb8e7e354c9d500e8.jpg",[],{"id":23522,"slug":23523,"title":23524,"dynasty":97,"author":445,"museum":99,"description":23525,"tags":23526,"thumbUrl":23527,"material":107,"size":107,"collection":107,"collections":23528,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":40},224508,"shan-shui-ce-kai-si-shi-tao-224508","山水冊开(四)","此作用淡彩晕染出清润空濛的氤氲之气，远山以花青轻扫，糅合浅赭底色，将山岚初醒的柔缓暖意晕开。一江春水蜿蜒穿谷，两侧山石枯笔皴擦，兼施淡墨点苔，苍松矮柏错落栖于岩间，野趣横生。\n江心扁舟上渔翁垂坐，似静听水声松涛，将天地悠然诗意凝于咫尺。右上角行书题诗笔墨疏朗，与山水清寂意境相映，尽显文人画诗书画印相融的雅趣。\n整体笔致松秀灵动，删繁就简，不假雕琢却生机暗涌，将江南山水的温润澹远与幽居野钓的林下襟怀融为一体，漫溢静穆淡宕的禅意。",[49,23,51,24,26,25,56,62,61,278,64,6108,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa34fc4fd4add0addbea11ed1f356d11.jpg",[],{"id":23530,"slug":23531,"title":23532,"dynasty":97,"author":3136,"museum":99,"description":23533,"tags":23534,"thumbUrl":23536,"material":107,"size":107,"collection":107,"collections":23537,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":75},224432,"qian-jiang-xi-shan-tu-wang-shi-min-224432","浅绛溪山图","此作用浅绛写层叠溪山，以密集细笔皴擦出山峦苍郁厚重的肌理，林麓茅舍隐现其间，暗合幽居野逸的文人情致。后幅行书题跋笔意苍劲朴拙，书画合璧尽显文人风雅。\n整体气息浑穆沉厚，循传统山水丘壑程式又自出灵趣，简淡赭石晕染烘出山林秋意，将江南溪山的温润秀逸藏于繁密点染之间，是文人卧游林泉、澄怀观道的精神寄托，笔墨间浸着历经世事的澹然平和，尽显静雅悠长的山水意韵。",[49,23,51,52,23535,25,55,119,7,56,60,61,63,137,150,64,294,278,3547,379],"浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05f203733ec712aa2cbbb7186aada126.jpg",[],{"id":23539,"slug":23540,"title":23541,"dynasty":97,"author":22319,"museum":99,"description":23542,"tags":23543,"thumbUrl":23544,"material":107,"size":107,"collection":107,"collections":23545,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":40},224355,"zhi-yang-dong-hu-tu-juan-jian-jiang-224355","芝昜东湖图卷","此作用淡墨晕染湖山，浅赭轻敷屋宇路径，清润雅洁。平远构图铺陈东湖胜景：波心渔舟缓行，沿岸村舍错落衔连，山麓古寺朱墙醒目，远山淡抹空灵悠远。\n\n笔墨师法宋元却自出机杼，既得元人萧散简淡的意境，又以宋法布陈细节，秀逸清劲却不失周密，绝无板滞或空疏之弊，将水乡丘壑的静穆淡和尽绘纸上，尽显澄怀观道的山水意趣，平淡里藏着深秀丘壑，是师古化新的精妙之作。",[49,23,51,52,26,25,55,134,7,86,56,59,64,610,967,61,62,63,755,10510,751,6096,295,60,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52fdc9987ea396b2047437152f739a3a.jpg",[],{"id":23547,"slug":23548,"title":23549,"dynasty":97,"author":1167,"museum":99,"description":23550,"tags":23551,"thumbUrl":23552,"material":107,"size":107,"collection":107,"collections":23553,"showCount":231,"zanCount":1288,"manualWeight":39,"mainColor":75},224183,"hua-niao-cao-chong-tu-ba-02-hua-yan-224183","花鸟草虫图八-02","此作以折枝秋菊入画，兼工带写间尽显秋花意韵。艳红团菊秾丽雅致，绒花攒簇，尽显盛放之态；白瓣舒展清逸，纤条轻曳自带疏朗之气。墨叶枯润相济，笔致松灵，晕染出秋意萧疏却生机不减的情态。\n左侧行书题诗与绘景呼应，诗书入画融成清雅文心，淡赭底色晕开古雅沉静氛围，将秋菊傲霜之姿与文人寄寓的高洁品格融为一体，寥寥数笔便将秋花神韵与清冷意趣尽显，雅致脱俗，意韵悠长。",[49,23,25,27,529,30,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe20b48cd30353e2ac00ef4f5e148df1f.jpg",[],{"id":23555,"slug":23556,"title":23557,"dynasty":97,"author":6468,"museum":329,"description":23558,"tags":23559,"thumbUrl":23560,"material":4816,"size":107,"collection":70,"collections":23561,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":40},222721,"huang-shan-ba-jing-tu-ce-zheng-min-222721","黄山八景图册","郑旼 1632-1683年 传世作品有康熙二十一年作《雨气真寂图》及《林泉小亭图》二轴，现藏安徽省博物馆；《溪山泛舟图》轴藏浙江省博物馆；康熙十三年（1674）作《香烟诗意图》轴藏香港刘均量虚白斋；十二年（1673）作《九龙潭图》轴藏故宫博物院；同年作《山水图》轴藏上海博物馆。著有《拜经斋集》《致道堂集》《正己居集》等。",[49,23,51,24,26,56,277,55,86,7,64,751],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d82fb54fc6a1eb3e1a5c47fd4a31691.jpg",[70,122],{"id":23563,"slug":23564,"title":19766,"dynasty":97,"author":655,"museum":23565,"description":10341,"tags":23566,"thumbUrl":23568,"material":319,"size":23569,"collection":107,"collections":23570,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":40},222704,"shu-fa-li-zhou-jin-nong-222704","上海朵云轩",[49,105,86,84,10343,5663,23567,7],"文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81e06d86f797680d46d9d80a553a1685.jpg","122×45cm",[],{"id":23572,"slug":23573,"title":23574,"dynasty":18,"author":1014,"museum":175,"description":23575,"tags":23576,"thumbUrl":23580,"material":1636,"size":23581,"collection":122,"collections":23582,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":40},222354,"zi-shu-ci-juan-tang-yin-222354","自书词卷","此为唐寅所作词并自书，分《集贤宾》、《锦衣公子》、《山坡羊》三组曲牌，共24首。 唐寅博学多能，吟诗作曲，能书善画。他的传世绘画较多，书法甚少。其书以行楷见长，学赵孟頫并参以李北海笔意，笔画婉转流畅，风格俊秀潇洒。此书结构严谨，圆转遒丽，丰润优雅，形成了劲骨于内、美形于外、缜密流便的独特风格，词、书并美，堪称珠联璧合，从中可欣赏到往昔“江南第一风流才子”的儒雅韵致及其纯熟的书法功力。",[49,8547,86,119,52,26,7,944,2956,56,62,60,61,63,66,2681,137,528,251,358,529,420,308,57,488,2342,5209,1593,2954,1207,11152,1595,23577,23578,18015,23579],"春","夏","冬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47d4bbb43b2575078730ba53af232464.jpg","纵23.3厘米，横551.3厘米",[122],{"id":23584,"slug":23585,"title":23586,"dynasty":18,"author":11785,"museum":175,"description":23587,"tags":23588,"thumbUrl":23589,"material":391,"size":23590,"collection":107,"collections":23591,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":75},222081,"yi-tuan-he-qi-tu-li-zhou-zhu-jian-shen-222081","一团和气图立轴","此图作于1465年。粗看似一笑面弥勒盘腿而坐，体态浑圆，细看却是三人合一。左为一着道冠的老者，右为一戴方巾的儒士，二人各执经卷一端，团膝相接，相对微笑，第三人则手搭两人肩上，露出光光的头顶，手捻佛珠，是佛教中人。作品构思绝妙，人物造型诙谐，用图像的形式揭示了儒、释、道“三教合一”的主题思想。\n作品线条细劲流畅，顿挫自如，显示出作者纯熟的绘画技艺。",[49,23,51,84,25,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0757d39ae29ad50e272852e0bd8a3181.jpg","48.7x36",[],{"id":23593,"slug":23594,"title":23595,"dynasty":146,"author":6285,"museum":175,"description":23596,"tags":23597,"thumbUrl":23598,"material":319,"size":23599,"collection":107,"collections":23600,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":40},221744,"qiu-shen-tie-guan-dao-sheng-221744","秋深帖","管道升行书秋深帖是管道升给婶婶的问安、馈赠的家信，实为赵孟頫所书。其笔力扎实，体态修长，秀媚圆活，畅朗劲健。赵氏信笔写来一时忘情，末款署了自己的名，发觉后忙又改过，还可以看出涂改之迹。",[49,50,23,51,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F709a2cf3722df1bd28d60e5ffd14c32f.jpg","纵26.9cm，横53.3cm",[],{"id":23602,"slug":23603,"title":23604,"dynasty":146,"author":207,"museum":81,"description":23605,"tags":23606,"thumbUrl":23607,"material":88,"size":23608,"collection":70,"collections":23609,"showCount":231,"zanCount":1288,"manualWeight":39,"mainColor":40},221700,"bai-yun-shan-fang-tu-zhou-yi-ming-221700","白云山房图轴","此画是陈贞为大空道者写白云山房。画面上远山叠嶂，山头似乎被云雾笼罩，只露出平坦的山顶和山段，再近些一座山峰在充溢着水气的墨色中浅淡生幽。右上侧较为空旷，只有时隐时现的小山头。画中部为崎岖不平的山石、树木和杂草丛生，山坡的左侧几间屋宇、茅亭座落山坡一侧，用简笔描绘出几间房屋楼阁。近景有较为宽阔的河道，河道的右侧为一座小山岗，上面长有几株树木；河道的左侧为山坡湖石，点缀着数株乔木。此幅图中树木堪称一绝，姿态不一，品种各异，有的枝叶稀疏，有的枝叶低垂，有的高大繁茂葱郁，还有的枝干虬然。此图的画法，图中巨冈坡石和主峰，运用凝重柔和的披麻皴层层皴擦，表现出浑厚伟峻的形势。远山和树丛的表现，充分吸收了米氏云山技徠法垍頭，或用條水墨轻染淡抹，或用浓淡墨色纵横点染。此图在水墨皴染的基调上，还巧妙地敷施色彩。如山峦坡陀罩染一层淡淡青绿，山巅向阳面敷薄薄的赭石，树叶点染花青。画家善于把山峦、溪水、草木、烟云有机地组成一体，使画面气脉流通，神彩焕发，塑造出白云山房奇丽意境。款识“至正辛卯秋九月既望。陈贞履元为大空道者写白云山房。",[49,23,51,84,26,55,56,1207,871,700,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d2bce35e6488169e35f98daeffd676d.jpg","103.8x35.4厘米",[70,242],{"id":23611,"slug":23612,"title":23613,"dynasty":115,"author":355,"museum":175,"description":23614,"tags":23615,"thumbUrl":23616,"material":319,"size":23617,"collection":122,"collections":23618,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":40},221308,"xin-sui-zhan-qing-ren-lai-de-shu-tie-su-shi-221308","《新岁展庆人来得书帖》","《新岁展庆帖》释文：\n轼启：新岁未获展庆，祝颂无穷，稍晴起居何如？数日起造必有涯，何日果可入城。昨日得公择书，过上元乃行，计月末间到此，公亦以此时来，如何何如？窃计上元起造，尚未毕工。轼亦自不出，无缘奉陪夜游也。沙枋画笼，旦夕附陈隆船去次，今先附扶劣膏去。此中有一铸铜匠，欲借所收建州木茶臼子并椎，试令依样造看。兼适有闽中人便，或令看过，因往彼买一副也。乞蹔付去人，专爱护便纳上。余寒更乞保重，冗中恕不谨，轼再拜。季常先生丈阁下。正月二日。\n子由亦曾言（此字旁注），方子明者，他亦不甚怪也。得非柳中舍已到家言之乎，未及奉慰疏，且告伸意，伸意。柳丈昨得书，人还即奉谢次。知壁画已坏了，不须怏怅。但顿着润笔新屋下，不愁无好画也。\n《人来得书帖》释文：\n轼启：人来得书。不意伯诚遽至于此，哀愕不已。宏才令德，百未一报，而止于是耶。季常笃于兄弟，而于伯诚尤相知照。想闻之无复生意，若不上念门户付嘱之重，下思三子皆不成立，任情所至，不自知返，则朋友之忧盖未可量。伏惟深照死生聚散之常理，悟忧哀之无益，释然自勉，以就远业。轼蒙交照之厚，故吐不讳之言，必深察也。本欲便往面慰，又恐悲哀中反更挠乱，进退不皇，惟万万宽怀，毋忽鄙言也。不一一。轼再拜。\n另纸行书：知廿九日举挂，不能一哭其灵，愧负千万，千万。酒一担，告为一酹之。苦痛,苦痛。\n《新岁展庆》《人来得书》二帖裱于同一卷中。卷后有董其昌跋。鉴藏印有“御府书印”、“御府宝绘”、项元汴诸印、安岐诸印等。\n此二帖均是苏轼写给陈慥（季常）的书札，《新岁展庆帖》是相约陈慥与公择（李常）同于上元时在黄州相会之事；《人来得书帖》是为陈慥的哥哥伯诚之死而慰问陈慥所作。\n《东坡集》卷五十《岐亭五首序》中记载了苏轼于北宋元丰三年（1080年）五月贬谪黄州时与陈慥相见之事。并有“明年复往见之，……凡余在黄四年，三往见季常，而季常七来见余……”在《东坡集》中共有苏轼写给陈慥的十六封书札，“俱在黄州时作”。《新岁展庆帖》中所写时间（上元）与《岐亭五首序》中所记“明年复往见之”的时间与事由一致，而宋傅藻《东坡记年表》中记载，东坡于“元丰四年辛酉在黄州，正月二十日往岐亭”。由以上记载可推知，该《新岁展庆帖》应作于北宋元丰四年（1081年）春季，苏轼时年44岁。该帖在徐邦达先生的《古书画过眼要录》中有详细的考证。\n苏轼在黄州时与陈慥书信往来频繁，在与他人之信中亦常提及陈慥，可知二人友谊深厚。\n《新岁展庆》、《人来得书》二帖下笔自然流畅，劲媚秀逸，精心用意。虽为书札，却写得非常精致，字的入笔、收笔、牵连笔笔交代分明，是苏轼由早年书步入中年书的佳作。\n《墨缘汇观》、《大观录》著录。",[49,86,119,418,7,52,501,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ad00b3f14d230ed716a804c1d3a34fd.jpg","前帖30.2X48.8cm，后帖29.5X45.1cm",[122],{"id":23620,"slug":23621,"title":23622,"dynasty":115,"author":1923,"museum":81,"description":23623,"tags":23624,"thumbUrl":23627,"material":23628,"size":23629,"collection":107,"collections":23630,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":40},221200,"shu-qi-yan-lv-shi-zhao-gou-221200","书七言律诗","《宋赵构书七言律诗》是宋代时期宋高宗创作的书法作品。\n此幅墨迹是宋高宗以楷书书写 的七言律诗（即事），又名「暮春三月诗帖」。\n此一诗帖以中锋书写，通幅看来章法疏朗，字体匀称、圆润，墨色统一，令人看来赏心悦目。\n杜甫这首七律的意境如画，高宗笔墨洗鍊，二者可说是相得益彰。\n诗後原来还有元代赵孟頫为此诗作的图，可惜已被人裁去。\n高宗在绍兴三十二年（1162）晚年时退休，这段时期所作的楷书，多典雅圆融，端正停匀，有一种飘逸潇洒的趣味。\n这幅作品不仅接近这样的风格，因诗幅後还有高宗在位时的用印（御书之宝），因此推测它书写的时间应距退休时间不远。",[49,115,86,51,119,7,435,319,23625,17680,23626],"汉字","律诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920a2edf348ab63e87e4a67ff0261287.jpg","行楷书","27.1×48.7cm",[],{"id":23632,"slug":23633,"title":7044,"dynasty":115,"author":7045,"museum":222,"description":7046,"tags":23634,"thumbUrl":23635,"material":1636,"size":7049,"collection":107,"collections":23636,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":40},221198,"zi-zuo-shi-juan-quan-juan-di-yi-duan-lu-you-221198",[49,86,119,52,26,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66cd86e4e28de5c93a83e0f57568a97a.jpg",[],{"id":23638,"slug":23639,"title":23640,"dynasty":146,"author":431,"museum":81,"description":23641,"tags":23642,"thumbUrl":23643,"material":634,"size":23644,"collection":199,"collections":23645,"showCount":231,"zanCount":1288,"manualWeight":39,"mainColor":40},220832,"diao-liang-tu-zhao-meng-fu-220832","调良图","画中仅绘一身形矫健、长鬃毛的马和一奚官，毫无背景。作者捕捉住了一阵风吹过时的瞬间来加以描绘——马儿低头避风，牵马者搭袖回望。马尾、马鬃、人须、衣襟随风飘动，作者通过细韧灵动的线条和纤毫毕现的白描手法将画面表现得栩栩如生。\n赵孟頫所画的人物画，虽然在后世盛名，但远不如他的山水、花鸟画。但对他的高超的造诣，不得不使人们所钦佩，他的画无所不精，皆造神品，尤其画马甚佳。董其昌谓其画“有唐人之致去其纤。有北宋人之雄去其犷。”他年轻时就勤于画马，并下过苦功。师法唐代曹霸、韩干，自称可以和李公麟媲美。他在继承前人传统的基础上，又亲自到实地观察，潜心琢磨，有时为了画好某种姿势的马，曾自己在床上学马的动态，此《调良图》册，就是他画马的精心之作。\n赵孟頫存世的作品中，时间最早的可能是《调良图》，中国艺术史学家李铸晋教授认为此画应属13世纪80年代的真本，当时赵孟頫只有26岁左右。\n此画为细致入微的高古游丝描，是典型的唐人风范。马的形象也是典型的唐人趣味，此马肥瘦得当，体格雄健，身披黑色毛，四肢健壮有力，在低头吃草，长长的尾巴拽在右后腿旁，尤其引人注目的马颈部根根竖立的马鬃，威风凛凛，经作者工笔细描。其人物也如此的工整细致。\n从图中可看到此画刻意学唐人，线条圆润，皴染简法，墨色浓丽，形象刻画，严谨认真，对马的形体质感，广阔田野，人物的侧立姿态，都认真的描绘，一丝不苟。\n从此画的布局来看，画面虽仅是一马一人，但给观赏者点出境外尚有无限的景物，画似尽而意犹未尽，既突出了主题，又给观赏者以回味的余地。\n北京故宫博物院研究员余辉：画家上承北宋李公麟的白描技法，渲染有度，特别是方折劲挺的铁线描形成的人物衣褶和圆活腴润的弧线勾划出的马体及风动如火焰的虬髯、马鬃、马尾显现了作者丰富精湛的表现力和藏抑不住的创作激情。\n中国美术史学家高居翰：赵孟頫的《调良图》会把人物和马匹孤立出来，衬着空荡荡的画底，这一点也和两位前辈的做法相同。虽然画中有一股强风吹过马尾、马鬃和马夫的衣服，看起来也只是在画幅之内回旋，使构图活泼了，但是基本上还是一个自成一体的世界。",[50,23,51,25,58,225,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a777345816f4cfc952a6c798a4d7af7.jpg","纵22.7厘米 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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。",[49,50,23,51,26,27,66,86,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F132cf789b8ee3ec3fcb32f156b958594.jpg",[],{"id":23691,"slug":23692,"title":23693,"dynasty":18,"author":23694,"museum":81,"description":23695,"tags":23696,"thumbUrl":23697,"material":152,"size":107,"collection":70,"collections":23698,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":40},215034,"han-lin-gao-yi-tu-shen-shi-chong-215034","寒林高逸图","沈士充","寒林高逸图是明朝沈士充所绘的一幅著名图画。它描绘了一片寒冷的林中，一群动物在寻找温暖。图中，可以看到一头鹿、一只老鹰、一只海狮和一只熊，他们都非常冷，因此他们决定联合起来，燃烧起火来取暖。最后，大家一起坐在火边取暖，显得非常愉快。\n\n寒林高逸图被认为是沈士充最著名的作品之一，它描绘了动物之间的友好相处和合作的主题。这幅图画同时也被认为是对人类社会的一种警示，提醒人们应该像这些动物一样，在困难时期相互合作，共同度过难关。",[23,51,50,822,56,58,2681,137,277,55,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2bb9e640476fbb36251ae27f22cda34.jpg",[70],{"id":23700,"slug":23701,"title":23702,"dynasty":115,"author":748,"museum":20,"description":23703,"tags":23704,"thumbUrl":23705,"material":88,"size":813,"collection":107,"collections":23706,"showCount":231,"zanCount":39,"manualWeight":39,"mainColor":40},214274,"duo-jing-lou-shi-tie-8-mi-fei-214274","多景楼诗帖-8","笔锋游走间，“刷字”神韵跃然纸上。每一笔皆似快剑出鞘，利落干脆：“回”字折角如刀削，棱角分明；“列”字撇捺舒展若鹏翼，裹挟江楼远眺的旷达之气。墨色枯润相间，浓处如乌云聚顶，淡处似薄雾笼山，牵丝映带间行气连贯，如流泉穿石，一气呵成。字势欹侧跌宕，却于欹倾中见平衡——似风中翠竹摇曳生姿，根节仍坚劲不移。这般率意挥洒，融晋韵之飘逸与宋意之灵动，将米颠的疏狂才情凝于笔墨。读之如临多景楼头，涛声与墨韵交织，直教人忘尘俗之扰，心随字势共赴一场快意挥洒的笔墨之约。",[86,51,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26efecb79f1f1b7604adbaa8e9df93b0.jpg",[],{"id":23708,"slug":23709,"title":23710,"dynasty":146,"author":1027,"museum":99,"description":8714,"tags":23711,"thumbUrl":23714,"material":689,"size":690,"collection":107,"collections":23715,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":40},291030,"mei-zhu-shuang-qing-juan-wang-mian-291030","梅竹双清卷",[86,119,52,7,528,23712,23713,51],"孤月","冻云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F691ca9f6c2d3a5aaa99998e8b89d2ef3.jpg",[],{"id":23717,"slug":23718,"title":23719,"dynasty":115,"author":1755,"museum":99,"description":15536,"tags":23720,"thumbUrl":23722,"material":689,"size":690,"collection":107,"collections":23723,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":40},291004,"tang-song-yuan-hua-ji-jin-ce-fu-rong-cui-yu-ma-lin-291004","唐宋元画集锦册 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黄道周善楷、行、草诸体书，又工隶书。他的楷书，如《孝经卷》、《张溥墓志铭》，字体方整近扁，笔法健劲，风格古拙质朴，十分类似钟繇楷法。不同处是，钟书于古拙中显得浑厚，黄书则见清健，可以看到其受王羲之楷法的影响。他的行草书，如《五言古诗轴》，大略类其楷书的体势，行笔转折方健，结字欹侧多姿，朴拙的风格同样接近钟繇。他的隶书正具有“清截遒媚”的特点，不如楷书那样古拙清刚。从黄道周书论中，反映出他对魏晋书法是比较倾心的，尤其对钟繇、索靖等具有古朴书风的书法更为欣赏，而对其当代书法，如董其昌的书法，则并非如此。",[86,51,52,119,26,7,23859],"榕树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff36769674ee7c84e872e15c893bbd6a2.jpg","绫本楷书","12．5X 23．8厘米",[122],{"id":23865,"slug":23866,"title":23867,"dynasty":97,"author":23868,"museum":99,"description":23869,"tags":23870,"thumbUrl":23872,"material":107,"size":107,"collection":122,"collections":23873,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":40},239808,"lin-su-shi-tie-heng-fu-chong-en-239808","临苏轼帖横幅","崇恩","崇恩（1803—1878），觉罗氏，字仰之，禹舲、语舲、 雨舲，别号香南居士、敔翁、语铃道人，室名壶青阁、香南精舍、吾亦爱吾等。满洲正红旗人（一作正蓝旗），系满清皇室。出生于嘉庆八年（1803），官仕道光、咸丰、同治三朝，先后任山东巡抚、内阁学士等。工书，法苏轼。画山水，出入宋、元诸名家，撷其精华，故能超轶凡近。喜收藏、精鉴赏，收藏历代书画、古籍碑帖极富，是清代中晚期著名的书法家、收藏家、鉴赏家、金石学家、诗人。著有《香南居士集》《香南精舍金石契》《金石玉铭》《枕琴轩诗草》《崇雨舲中丞诗稿守岱集》等。",[49,86,119,134,23871,7,418],"横幅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba04e72a16ceb09d2fd0f65dcc44e99a.jpg",[122],{"id":23875,"slug":23876,"title":11804,"dynasty":1037,"author":7523,"museum":175,"description":23877,"tags":23878,"thumbUrl":23879,"material":2926,"size":11808,"collection":122,"collections":23880,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":40},239575,"xia-re-tie-yang-ning-shi-239575","《夏热帖》是杨凝式写的一封信札。内容大致是，因天气炎热，送给僧人消夏饮料“酥密水”表示问候。\n释文：\n“凝式啓：夏熱體履佳宜，長□酥密水，即欲致法席，苦□□□乳之供，酥似不如也。(以下数字残损难识)病？(下二行残损)。”\n首署款：“凝式”。\n后纸有宋王钦若，元鲜于枢、赵孟頫，清张照题跋及乾隆皇帝的释文。\n卷前后及隔水上钤有宋“賢志堂印”，元赵孟頫，明项元汴，清曹溶、纳兰成德、清内府等鉴藏印。另有数方古印不辨。\n此帖是杨凝式唯一的传世草书作品，书法兼取唐颜真卿、柳公权笔法，体势雄奇险崛，运笔爽利挺拔，《神仙起居法》有异曲同工之妙，为杨凝式书法代表作品作之一。\n此帖曾刻入《三希堂法帖》。\n明汪砢玉《珊瑚网书跋》，清吴其贞《书画记》、顾復《平生壮观》、卞永誉《式古堂书画汇考》、内府《石渠宝笈·初篇》等书著录。",[49,86,462,7,502,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ec344d88b3dc1f7b96f45d8b8ae900.jpg",[122],{"id":23882,"slug":23883,"title":16165,"dynasty":97,"author":16166,"museum":99,"description":22690,"tags":23884,"thumbUrl":23885,"material":107,"size":107,"collection":107,"collections":23886,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":40},239052,"shan-shui-hua-niao-ce-yang-jin-239052",[23,51,24,25,26,27,528,358,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd43799d0004778e938618486c94ebe75.jpg",[],{"id":23888,"slug":23889,"title":23890,"dynasty":97,"author":2322,"museum":99,"description":12630,"tags":23891,"thumbUrl":23892,"material":107,"size":107,"collection":70,"collections":23893,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":924},238935,"qi-xia-shan-quan-tu-juan-qian-wei-cheng-238935","棲霞山全图卷",[23,52,26,56,55,62,7,64,150,279,715,59,5076,610],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e39f32ceb97c4b748313f235bf3e3ee.jpg",[70,242],{"id":23895,"slug":23896,"title":23897,"dynasty":97,"author":341,"museum":99,"description":7178,"tags":23898,"thumbUrl":23899,"material":689,"size":690,"collection":35,"collections":23900,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":40},238376,"jin-ying-ning-lu-tu-xiao-ce-dong-gao-238376","金英凝露图小册",[23,51,24,54,25,27,529,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca8dd959dd7f8e67a3b4a11cdf0ce96d.jpg",[35,72],{"id":23902,"slug":23903,"title":23904,"dynasty":97,"author":23905,"museum":99,"description":23906,"tags":23907,"thumbUrl":23908,"material":107,"size":107,"collection":70,"collections":23909,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":40},238246,"yan-shan-ba-jing-tu-ce-zhang-ruo-cheng-238246","燕山八景图册","张若澄","《燕山八景图》册（8开），清，张若澄绘，绢本，设色，纵4.7cm，横4.cm。\n燕山八景图册 自题：“臣张若澄敬写。\n”下钤“臣若澄”、“笔露思雨”二方印。\n对幅均有清乾隆帝题诗。\n钤清乾隆内府诸收藏印。\n此册以北京城著名的“燕京八景”为题而画。\n燕京八景一说始自金《明昌遗事》，当时金章宗完颜璟将燕京的八处风光名胜选定为燕京八景，即“居庸叠翠”、“玉泉垂虹”、“太液秋风”、“琼岛春荫”、“蓟门飞雨”、“西山积雪”、“卢沟晓月”和“金台夕照”。\n“燕京八景”历金、元、明、清四代，又有称 “燕台八景”、“燕山八景”、“京师八景”、“京畿八景”者，虽景点相同，八 景的名称在不同时期则有所变化。\n乾隆十六年（1751年），乾隆曾御制《燕山八景诗》，将八景定名为“琼岛春荫”、“太液秋风”、“玉泉趵突”、“西山晴雪”、“蓟门烟树”、“卢沟晓月”、“金台夕照”、“居庸叠翠”，沿用至今。\n该画册中建筑的刻画不用界尺，但是对建筑的特征却描绘得生动准确，表现手法活泼而不失稳重，是画家对景写实的佳作。",[23,51,24,25,1962,56,59,64,62,15168,7,119,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c0adf7b2fcbdf57fa597e8cf40b281f.jpg",[70,72],{"id":23911,"slug":23912,"title":23913,"dynasty":18,"author":15886,"museum":99,"description":23914,"tags":23915,"thumbUrl":23917,"material":319,"size":107,"collection":122,"collections":23918,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":40},237410,"shi-hu-xiao-jing-zhou-wen-jia-237410","石湖小景轴","文嘉（151年～158），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。\n大书画家 次子。\n吴门派代表画家。\n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。\n精于鉴别古书画，工石刻，为明一代之冠。\n画得徵明一体，善画山水，笔法清脆，颇近 ，着色山水具幽澹之致，间仿 皴染，亦颇秀润，兼作花卉。\n明人 评：“其书不能如兄，而画得待诏（ ）一体。\n”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。\n” 吴门派代表画家文徵明的次子，兄 。\n是明清篆刻的一代宗师。\n文家后来还出了位名气极大的人： 。\n长洲（今江苏苏州）人。\n文嘉精于鉴古，临古之功也深，画风传乃父衣钵，惟所闻古人名迹至多，故下笔能脱去习俗，颇不易得。\n文嘉初为 ，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。\n精于鉴别古书画，工石刻，为明一代之冠。\n继承家学，小楷轻清劲爽，宛如瘦鹤，稍大，便疏散不结束，迳寸行书亦然，皆不逮父兄，画得征明一体，善画山水，笔法清脆，颇近 ，着色山水具幽澹之致，间仿 皴染，亦颇秀润，兼作花卉。\n明人 评：“其书不能如兄，而画得待诏（ ）一体。\n”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。\n”然，文嘉一生一直在追求，王世懋在《跋文嘉书古诗十九首》后称：“休承晚年书奇进，几不减京兆。\n”传世作品有嘉靖十九年（154）作《 》十开，现藏 ，二十年（1541）作《垂虹亭图》卷藏苏州市博物馆；万历元年（157）作《寒林钟馗图》轴藏南京博物院；《江南春色图》卷藏 ；《水亭觅句图》轴、《设色山水图》轴藏 ；《秋塘红藕图》藏 ；《石湖小景图》轴、《夏山高隐图》轴、《 》轴、二年（1574）作《 》轴藏故宫博物院；《沧江渔笛图》、《曲水园图》卷藏 。\n著有《钤山堂书画记》、《和州诗》。\n享年八十三岁。\n他还对藏书亦不遗余力，藏书楼有“归来堂”，藏书印有“五峰山人”、“元珠室”、“五峰樵客”、“肇锡余以嘉名”等。\n精于书画和鉴别古籍，著名藏书家项元汴每遇到宋椠元刻时，则聘文彭、文嘉兄弟，为其鉴定版本，故项墨林藏书皆精妙绝伦。\n文氏藏书散佚约在明万历末年至崇祯间，清代藏书家如张均衡、张金吾等曾收藏有文氏旧藏，多是宋刻善本。\n著有《和州诗》、《严氏书画记》等。\n孙文从鼎，字定之，继承藏书，并另有藏书处为“心远阁”、“园贤堂”、“惜阴斋”等。\n孙文从简（1574～1648），字彦可，号枕霞老人，亦能藏书，有“开云楼”。\n关系 姓名 简介 祖父 文林（1445—1499），字宗儒，世称交木先生。\n长洲人。\n成化壬辰进士，授为永嘉知县，改博平，后升任南京太仆寺丞，迁知温州府。\n为政斐然。\n有《文温州集》、《琅琊漫钞》等。\n父亲 文徵明（147.11.28—1559..28），原名壁（或作璧），字徵明，明代杰出画家、书法家、文学家。\n四十二岁起，以字行，更字徵仲。\n因先世衡山人，故号“衡山居士”，世称“文衡山”，汉族，长州（今江苏苏州）人。\n文徵明的 造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗 、 ，文受业于 ，学书于 ，学画于沈周。\n其与沈周共创“吴派”。\n在画史上与 、 、 合称“ ”（“吴门四家”）。\n在诗文上，与 、 、 并称“ ”。\n伯父 文徵静（1469—156）读书善笔札，生平气义自胜，不为贵势拙折，喜好交诗友书画。\n兄长 文彭（1498—157）字寿承，号三桥，别号渔阳子、三桥居士、国子先生， （今江苏苏州）。\n长子。\n以 第一，授秀水训导。\n官国子监博士。\n工书画，尤精篆刻，能诗，有《博士诗集》。\n堂弟 文伯仁（152—1575）明代画家，字德承，号五峰、摄山长、葆生、摄山老农、 人、五峰樵客，汉族，湖广 人， （今江苏苏州）。\n侄子 儿子 （1554—1589）明代画家。\n字子长，号虎丘，明湖广衡山人，系籍长州（今江苏苏州）。\n孙， 之子。\n幼承家学，书画逼真其父。\n坦率好施。\n文元善擅画龙，也绘作山水木石，殊多逸致。\n传世作品有《墨龙图》等。\n惜早逝，未竟其能。\n卒年三十六。\n妇翁王穉登，铭其墓曰：“画品第一，诗品第二。\n” 孙子 （1574—1648），明末画家。\n字彦可，号枕烟老人，明代湖广衡山人，系籍 （今 ）。\n曾孙， 孙， 之子。\n崇祯十三年（164年）拔贡，入清后退居林下，以书画自娱。\n传世画作有《长林徙倚图》、《 风物图》、《潇湘八景图》、《望云图》、《松江高土图》、《江山平远图》、《幡溪通兴图》、《介石书院图》、《寒山寺图》等。\n曾孙女 (1595—164)明代著名女画家。\n长洲（今江苏苏州）人。\n明代画家 女， 孙女，文徵明玄孙女，嫁赵灵均，与丈夫一同隐居。\n精于花草虫蝶画的创作，长于写生，多画幽花异卉、小虫怪蝶，能曲肖物情，颇得生趣。\n作品笔墨细秀，风格娟丽，深得时人赏识。\n有《花卉》册、《萱石图》等传世。\n第一代 第二代 第三代 第四代 第五代 第六代 第七代 第八代 第九代 文定聪 文惠（入赘苏州人张声远家，遂迁居长洲） 文洪（成化1465举人，涞水县学教谕，配陈氏、顾氏、吕氏） 文林（成化1472进士，温州知府，配祁守端） 文征静 文伯仁（画家） 文征明（娶昆山吴愈第三女） 文彭（国子监博士） 文元发（卫辉府同知，娶彭氏，继娶周氏） 文震孟（状元，东阁大学士，娶陆氏） 文秉、文乘 文震亨（画家，武英殿给事） 文嘉（画家） 文元善（画家） 文从简 文俶（女画家，嫁赵灵均） 文台 文室 文森（成化1487进士，右佥都御史） 文彬（赐同进士出身） 文微臣（庠生） 十九年（154年）作 《山水花卉图册》 嘉靖二十年（1541年）作 《垂虹亭图》，现藏 万历元年（157年）作 《寒林钟馗图》，现藏 《江南春色图》，现藏 《水亭觅句图》轴、《设色山水图》轴，现藏 《秋塘红藕图》，现藏天津市艺术博物馆 《石湖小景图》轴、《夏山高隐图》轴、《琵琶行图》轴、 万历二年（1574年）作 《溪山行旅图》轴，现藏故宫博物院 《沧江渔笛图》《曲水园图》卷，现藏 万历八年（158年）作 《村径稻香图》轴 《钤山堂书画记》 《和州诗》 太湖石畔种芭蕉，色映轩窗碧雾摇。\n瘦骨主人清似水，煮茶香透竹间桥。\n山斋雨坐漫焚香，几净窗明竹树凉。\n午睡起来无一事，自翻残墨写潇湘。\n不到天平三十载，每于图画忆登临。\n何时倚杖苍松侧，来看峰头万笏林。\n己卯秋日茂苑文嘉。\n钤“休承”、“文水道人”印。\n收藏印钤“颐椿庐通理藏”。\n“己卯”为明万历七年（1579年），文嘉时年79岁。\n《七绝诗》为文嘉自撰七绝诗首。\n书法清丽秀气，简净劲爽。\n通篇笔画圆曲、细长，运笔正斜、曲直、连断、轻重、虚实表现自然得当。\n体势疏密相间，多取斜势。\n文嘉书受其父 风格的影响，又有所变化。\n《昨日歌》 昨日兮昨日，昨日何其好！昨日过去了，今日徒烦恼。\n世人但知悔昨日，不觉今日又过了。\n水去汩汩流，花落日日少。\n万事立业在今日，莫待明朝悔今朝！ 《今日歌》 今日复今日，今日何其少！今日又不为，此事何时了？人生百年几今日，今日不为真可惜！若言姑待明朝至，明朝又有明朝事。\n为君聊赋《今日诗》，努力请从今日始！ 《明日歌》 明日复明日，明日何其多！日日待明日，万事成蹉跎。\n世人皆被明日累,明日无穷老将至。\n晨昏滚滚水东流,今古悠悠日西坠。\n百年明日能几何？请君听我《 》。\n关于《 》的作者，有两种版本。\n一为明代的文嘉，一为同为明朝的 。\n钱鹤滩生于公元1461年，卒于公元154年。\n如两种版本确实有联系，则原本《 》的著作权应归钱鹤滩，文嘉版本系修改而成。\n该砚石品集石眼、焦叶白、青花、鱼脑、火捺、虫蛀皮于一身，极为难得。\n砚首部随形镌刻金鲤戏水深浮雕，虚实相间，形神俱佳。\n砚背面的刻款更是诗、书、印、刻，水乳交融，精彩完美。\n刻款内容是一首咏笔的绝句：“紫竹纤毫线扎成，如龙似虎伴书生。\n渴来玉砚池中饮，饱向花笺纸上行。\n”书法劲挺秀美，正是文嘉最为擅长的小楷行书；诗句也工正流畅，其对书画艺术的热爱之情跃然而出。\n刻工刀随笔势，具铁划银勾之力而又细致入微，非深谙书法点画之美者莫为。\n落款“文水道人”下刻有“文嘉”阳文印，与《倪瓒真书江南春词图卷》（152年）和《文嘉两洞记游图册》（1544年）上的“文嘉”用印如出一辙，毫无二致。\n可以想见，笔、墨、纸、砚文房四宝在文嘉的生活中扮演了多么重要的角色。\n他动用了诗歌、书法、绘画、雕刻的各种手法，将对文房四宝的深厚感情和文学艺术的深厚造诣熔铸在这方端溪佳石上，使得该砚具备了丰富的审美内涵，而文嘉多方面的艺术才华也由此得到了极生动难得的彰显。",[23,51,84,26,56,55,86,7,119,871,150,62,61,751,23916],"岸坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47b9b6f08b360d0a0c34b2a0a751e093.jpg",[122],{"id":23920,"slug":23921,"title":2895,"dynasty":97,"author":21672,"museum":99,"description":23922,"tags":23923,"thumbUrl":23924,"material":319,"size":107,"collection":35,"collections":23925,"showCount":202,"zanCount":1288,"manualWeight":39,"mainColor":40},237276,"za-hua-ce-chen-zi-237276","陈道（1707-1760），字绍洙，号凝斋。江西新城钟贤（今江西省黎川县中田乡）人。清代文学家、理学家。生于康熙四十六年。从小品行端重，刚入塾学，白天听老师讲课，晚上则随父听诵《小学近思录》，庄诵不倦，并以此作为学与行准则。稍长，协助父亲治理产业及施行善事。一有闲暇，便手不释卷，孜孜以求。国子监肄业时，为主监事孙嘉淦所器重。后从师广昌黄永年，钻研宋儒理学，兼攻水利农田、军政边防等书籍。他尊崇周敦颐、程颢、程颐，研习陆九渊，王守仁，尤服罗点「主静不妄语」、「不为物所役」的主张。乾隆九年（1744）中举。乾隆十三年（1748）中进士，候选知县，以父母年高、无同胞兄弟为由拒官。后皇上令诏经学，他被推举，亦推辞不去。安心在家侍奉双亲，埋头读书。父经商，家境富裕，他辅佐父亲在乡兴办慈善事业。设立义田二千亩扶助贫苦，以使「读书有赡，鳏寡孤独废疾有养，婚丧有助」。捐白银二千两，为「盱江书院」讲学费。二十四年协助知县创建「黎川书院」，捐助学费，并在此掌教多年。还建桥修亭，施棺舍药，遇灾荒年景，奉父命购运粮食，按户计口平粜以救饥，并劝说或强制某些囤粮闭粜的富户粮商参与赈济。陈道一生，为人严毅清苦，「自少至老未一日怠惰」。治学以力行为主。经常与雷宏、夏之瀚、祝淦、涂登、涂瑞等交往切磋，甚得一些贤士、大夫所赏识。卒于乾隆二十五年，年五十四岁。文章多为讲学书稿，文风醇古淡泊，真意盎然。诗歌常流露对社会的不满，反映他不与时俗合流的对抗情绪。尝欲注《春秋五传》和编《江西文统》，未成而终。陈道去世后，其子陈守诚和同邑学生、同乡学者鲁九皋将其文稿收集整理成《凝斋遗集》（文6卷，诗2卷），刊印后被四库馆以《凝道斋集》收入《四库全书总目》，《清史列传》行于世。",[23,51,24,25,54,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F494a86d42e56684196274a0260d6d4d8.jpg",[35],{"id":23927,"slug":23928,"title":23929,"dynasty":18,"author":955,"museum":99,"description":9336,"tags":23930,"thumbUrl":23931,"material":689,"size":690,"collection":107,"collections":23932,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":75},236673,"hua-die-shan-mian-chen-hong-shou-236673","花蝶扇面",[8547,23,51,822,54,25,27,332,6224,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b54cb9209504cd4723c9d1cce8320d5.jpg",[],{"id":23934,"slug":23935,"title":23936,"dynasty":97,"author":3871,"museum":99,"description":19851,"tags":23937,"thumbUrl":23938,"material":689,"size":690,"collection":107,"collections":23939,"showCount":202,"zanCount":1288,"manualWeight":39,"mainColor":40},236026,"ben-shi-shi-jia-mu-ni-fu-ding-guan-peng-236026","本师释迦牟尼佛",[105,23,54,25,1284,58,1626,7,541,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65f5b2a6a5e1ab8fac54283430404232.jpg",[],{"id":23941,"slug":23942,"title":23943,"dynasty":18,"author":23944,"museum":99,"description":23945,"tags":23946,"thumbUrl":23947,"material":107,"size":107,"collection":107,"collections":23948,"showCount":202,"zanCount":1288,"manualWeight":39,"mainColor":75},235853,"dian-nan-jin-sha-jiang-jing-zhou-huang-xiang-jian-235853","滇南金沙江景轴","黄向坚","此作用高远、深远构图铺展峡谷盛景，以披麻皴晕染山石肌理，苍厚朴拙的笔力勾勒出两岸层叠峰峦。崖间古松错落虬劲，金沙江蜿蜒穿谷，江面上轻舟随波缓行，山脚佛塔古寺隐于林麓，野意盎然。\n\n淡墨晕开江雾空濛，将滇南山河的荒寒奇秀尽藏毫端，搭配题诗将纪游的真切感触融于山水间，既绘就西南山川的雄阔幽寂，也以笔墨寄放行旅途中对山河的体察，是纪游山水中兼具纪实性与抒情性的佳构。",[23,84,26,55,56,61,62,63,277,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff430ba9b406814fba1294612a5fa22cd.jpg",[],{"id":23950,"slug":23951,"title":23952,"dynasty":18,"author":23953,"museum":99,"description":23954,"tags":23955,"thumbUrl":23956,"material":107,"size":107,"collection":107,"collections":23957,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":40},235772,"ming-qing-zhu-jia-ji-jin-ce-ren-wu-ce-ye-you-qiu-235772","明清诸家集锦册-人物册页","尤求","此作以淡墨绘就林泉雅事，崖边枯木虬曲苍劲，斜曳出清寂幽境。三人围坐，对弈二人敛神注目棋局，指尖将未落子，似正斟酌决胜一步，侧旁老者俯身探看，全神贯注，唯恐错漏棋势起落。\n\n线条清劲秀雅，衣褶灵动简练，淡墨晕染铺陈山石草木层次，留白恰到好处，烘托出静谧悠远的林下氛围，尽抒文人寄情山水、忘忧纹枰的隐逸闲趣，笔墨简淡却意韵悠长，将文人雅致襟怀藏于方寸之间。",[23,51,24,135,26,58,137,277,7,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc6837d6bfa5b3dba7db71de50a37861.jpg",[],{"id":23959,"slug":23960,"title":17,"dynasty":18,"author":12724,"museum":99,"description":22182,"tags":23961,"thumbUrl":23962,"material":689,"size":690,"collection":107,"collections":23963,"showCount":202,"zanCount":1288,"manualWeight":39,"mainColor":40},235725,"hua-niao-ce-tan-zhi-yi-235725",[8547,27,25,54,24,308,66,598,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ab96946ae2ed7db4b749f4c96637450.jpg",[],{"id":23965,"slug":23966,"title":17,"dynasty":18,"author":12724,"museum":99,"description":22182,"tags":23967,"thumbUrl":23969,"material":689,"size":690,"collection":107,"collections":23970,"showCount":202,"zanCount":1288,"manualWeight":39,"mainColor":40},235722,"hua-niao-ce-tan-zhi-yi-235722",[50,23,51,24,54,25,27,29,1227,23968,7],"松针","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1157157ff73f55ff4b221685f7f203fc.jpg",[],{"id":23972,"slug":23973,"title":23974,"dynasty":18,"author":3070,"museum":99,"description":7468,"tags":23975,"thumbUrl":23976,"material":689,"size":690,"collectio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。少时学诗于钱谦益，学画于王鉴、王时敏。康熙二十一年入天主教，继至澳门进耶稣会，前后在嘉定、上海等处传教三十年。著有《墨井诗钞》《三巴集》《桃溪集》《墨井画跋》。",[49,23,84,26,55,7,56,610,4940,150,59,61,64,295],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2360df74dde1940bb17a7183928f6ea7.jpg",[],{"id":24046,"slug":24047,"title":1531,"dynasty":146,"author":2747,"museum":99,"description":24048,"tags":24049,"thumbUrl":24050,"material":107,"size":107,"collection":107,"collections":24051,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":40},228045,"qiu-shan-xing-lv-tu-sheng-mao-228045","此作用淡墨皴染山峦，层层铺展出秋日山林的萧疏苍润，飞泉自崖间垂落，点活了幽寂山境。坡岸松林苍劲错落，细笔勾勒枝叶，兼具挺秀与萧散之致。山径行旅人影点缀其间，衬出林山空阔辽远。\n\n画作以淡赭轻敷，晕染出秋高气清的氛围感，笔法兼得院体精工与文人雅致，将秋日山野的静谧悠远与行旅意趣相融，尺幅间铺展出声色俱寂却暗蕴生趣的山水诗境，尽显元代山水尚简淡、重意境的风神。",[49,23,51,50,56,26,55,25,870,871,61,293,1536,150,7,3652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F957c8bac516a56247b6613d7daeb6e4e.jpg",[],{"id":24053,"slug":24054,"title":24055,"dynasty":115,"author":207,"museum":99,"description":24056,"tags":24057,"thumbUrl":24058,"material":107,"size":107,"collection":107,"collections":24059,"showCount":202,"zanCount":1288,"manualWeight":39,"mainColor":75},227902,"bai-mei-cui-qin-tu-yi-ming-227902","白梅翠禽图","画面取一隅枝桠，寒梅初绽，翠禽独立，将早春清寂揉进尺幅之间。禽鸟刻画入微，绒羽蓬松柔润，腹羽暖褐与翎羽浓黑相映，翼上白羽似落雪轻沾，圆目凝睇，沉静安然，将生机藏于娴静姿态里。梅花勾勒细腻，瓣边晕染浅淡墨色，花苞缀于枝梢，清润雅致。苍劲枝桠虬曲伸展，留白铺陈出空阔淡远的意境。整体色调温婉柔和，以极简物象晕染出宋人雅趣，把花鸟之态融于幽寂氛围，尽显空灵隽永的宋韵品格，将早春枝头上的轻悄生机，晕成一段淡而不散的雅致诗意。",[49,50,23,51,54,25,27,528,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86abed12ed0046a10b30eaab1a6ca674.jpg",[],{"id":24061,"slug":24062,"title":24063,"dynasty":115,"author":24064,"museum":99,"description":24065,"tags":24066,"thumbUrl":24067,"material":107,"size":107,"collection":107,"collections":24068,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":40},227807,"yu-le-tu-zhou-dong-qing-227807","鱼乐图","周东卿","《宋元周东卿鱼乐图》是中国宋末元初时期的画家 创作的一幅中国古画。\n画作是纸本，设色，纵.8厘米,横59.7厘米。\n现收藏于美国 。\n此图以横卷式构图展开画面：依次绘出各种各样、大大小小的鱼类，在长满水草的水中，它们自由自在地漫游着，或有聚有散地沉浮穿梭着。\n画家以精细的笔调描绘出群鱼的轻巧灵动，萍藻的随波摇曳，以及碧水的流动之感和水中游鱼自得其乐的趣味。\n表现手法以没骨为主，以淡色、淡墨或极轻之笔触细加晕染，先画出鱼的形体，再用细线略勾鱼鳞和斑纹。\n萍藻是用更淡的墨勾染，生动地营造出其若隐若现之状。\n还有整个画面所呈现出的流动着的韵律，体现了群鱼恣肆盎然的生机，进而把观者带入轻松自由、疏放闲适的意境。\n是宋元的画鱼名家。\n关于他的生平，史料记载甚少。\n有文天祥赞周东卿画鱼诗云：“观君潇湘图，起我濠上心。\n”可见他还另有作品流传。",[49,50,23,51,52,54,26,25,2342,104,7,3010],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faeae98aad7836a3579ce62bca5af282e.jpg",[],{"id":24070,"slug":24071,"title":24072,"dynasty":97,"author":445,"museum":22913,"description":774,"tags":24073,"thumbUrl":24074,"material":647,"size":22916,"collection":107,"collections":24075,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":40},224524,"shan-shui-tu-ce-8-kai-8-zhang-da-qian-jiu-cang-shi-tao-224524","山水图册8开-8-张大千旧藏",[49,23,26,55,24,51,7,119,56,62,1061,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e46120bfc311a87046dd8a2c51cf479.jpg",[],{"id":24077,"slug":24078,"title":24079,"dynasty":97,"author":445,"museum":99,"description":24080,"tags":24081,"thumbUrl":24082,"material":107,"size":107,"collection":107,"collections":24083,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":40},224507,"shan-shui-ce-kai-shi-er-shi-tao-224507","山水冊开(十二)","此作用笔灵动苍润，以高远、平远之法铺展丘壑。远处群峰以淡赭浅墨晕染，峰峦层叠间氤氲着空濛清气，似含朝烟暮霭。近景顽石以浓墨勾皴，朴拙厚重，与远山的虚淡相映成趣。留白作水，扁舟渔父悄然行于烟波，林间墨点为木，寥寥数笔便点染出幽寂野趣。\n\n题画诗与山水浑然相融，将山河野旷间的放逸襟怀娓娓道来，寄寓着纵浪天地、栖心林泉的隐逸之思。笔墨干湿浓淡相生，以简驭繁，萧散淡远中尽显清逸灵秀的意韵，将天地山水间的自在之境铺陈开来，余韵悠长。",[49,23,51,24,26,25,55,7,56,62,150,64,2247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F921716ec4a10b4154f9394b12795127a.jpg",[],{"id":24085,"slug":24086,"title":24087,"dynasty":97,"author":24088,"museum":99,"description":24089,"tags":24090,"thumbUrl":24091,"material":689,"size":690,"collection":107,"collections":24092,"showCount":202,"zanCount":1288,"manualWeight":39,"mainColor":40},224345,"hua-ping-lian-da-shi-zhou-xu-can-224345","画瓶莲大士轴","徐灿","徐灿（约1618－1698），字湘蘋，又字明深、明霞，号深明，又号紫言（竹字头）。江南吴县（今苏州市西南）人。明末清初女词人、诗人、书画家，为“蕉园五子”之一。光禄丞徐子懋女，弘文院大学士海宁陈之遴继妻。从夫宦游，封一品夫人。\n工诗，尤长于词学。她的词多抒发故国之思、兴亡之感。又善属文、精书画、所画仕女设色淡雅、笔法古秀、工净有度、得北宋人法，晚年画水墨观音、间作花草。\n著有《拙政园诗馀》三卷，诗集《拙政园诗集》二卷，凡诗二百四十六首，今皆存。",[49,23,51,84,135,1284,58,102,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43be0cc671ca5772a59c46547ea695db.jpg",[],{"id":24094,"slug":24095,"title":24096,"dynasty":97,"author":1082,"museum":99,"description":24097,"tags":24098,"thumbUrl":24099,"material":107,"size":107,"collection":107,"collections":24100,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":40},224260,"lin-lan-ting-xu-zhu-da-224260","临兰亭序","此作用笔枯淡古拙，将原本兰亭序的飘逸秀雅彻底解构，以欹侧跌宕的字形、稚倔朴茂的线条，揉入自身沉郁孤高的心境。章法错落疏朗，留白间满是冷逸疏离的况味，打破了原作舒展灵动的韵律，代以疏狂萧索的气度，把半生颠沛的孤寂寄寓笔端，在临帖之中注入强烈的个人风骨，为旧文赋予了全新的精神内核，是借经典抒己怀的绝佳范本。",[49,86,134,119,51,7,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F719ef5e05a8d705368f4e2ad924f5ebb.jpg",[],{"id":24102,"slug":24103,"title":24104,"dynasty":2807,"author":207,"museum":99,"description":24105,"tags":24106,"thumbUrl":24107,"material":107,"size":107,"collection":107,"collections":24108,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":75},223686,"qi-shi-wen-shu-tu-yi-ming-223686","骑狮文殊图","此作用笔清劲雅致，以淡墨晕染铺陈。文殊端坐狮背，身伴圆光，面容沉静悲悯，手持如意，衣袂舒展飘逸，尽显出尘慧雅的气度。青狮昂首踏浪而行，兽目圆睁威严尽显，层叠海浪以淡墨晕染，古拙灵动，烘托出踏浪而行的悠然之势。\n\n上方题诗与画像呼应，将菩萨的般若智慧和空灵禅意融于尺幅间，兼蓄宗教肃穆与文人笔墨意趣。",[49,23,51,84,1284,58,1116,135,26,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a1e4a5bcd97d0b2b84bdd429e2890f5.jpg",[],{"id":24110,"slug":24111,"title":24112,"dynasty":97,"author":4509,"museum":81,"description":24113,"tags":24114,"thumbUrl":24116,"material":25,"size":24117,"collection":70,"collections":24118,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":40},223116,"hua-du-fu-shi-yi-gao-zong-yu-ti-zhou-dong-bang-da-223116","画杜甫诗意高宗御题轴","董邦达（1699－1769或1774）清代官员、书画家。字孚闻、非闻，号东山，浙江富阳人。雍正十一年进士，乾隆二年授编修，官礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虔山派之间。与董源、董其昌并列。",[49,23,51,84,26,55,56,870,700,1207,63,64,294,86,7,24115,1936,279,7113],"峰峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde04473deae771195c36214c7564a0f8.jpg","18.5x148.5cm",[70,242],{"id":24120,"slug":24121,"title":24122,"dynasty":146,"author":4259,"museum":81,"description":24123,"tags":24124,"thumbUrl":24125,"material":634,"size":24126,"collection":122,"collections":24127,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":40},221830,"shu-jiu-cheng-gong-li-quan-ming-zhou-ke-jiu-si-221830","书九成宫醴泉铭轴","本幅以小楷书抄录〈九成宫醴泉铭〉，以王羲之笔法为主，时而显露欧阳询、颜真卿笔法，反映其书学之渊源。全作用笔健劲，结体平正中见敧侧，秀逸中透质朴，表现出特殊的审美意趣。",[49,23,51,84,86,417,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68a5e687de3935f13e1834cc01421261.jpg","横31.7cm，纵26.8",[122],{"id":24129,"slug":24130,"title":24131,"dynasty":146,"author":1303,"museum":175,"description":24132,"tags":24133,"thumbUrl":24134,"material":1087,"size":24135,"collection":107,"collections":24136,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":40},221818,"yang-zhu-xi-xiao-xiang-quan-juan-ni-zan-221818","杨竹西小像全卷","这是一幅元代人物肖像画的经典作品，由王绎与著名山水画家倪瓒共同绘制。图绘一老者策杖立坡间，旁点缀松石等简单衬景。本幅左侧倪瓒题款：“杨竹西高士小像，严陵王绎写，句吴倪瓒补作松石。癸卯二月。”癸卯为至正二十三年（1363年）。据款识可知此卷为王绎、倪瓒合作而成。此图所绘应为杨氏归老林泉后的晚年肖像。图中杨谦头戴乌巾，右手执杖，衣袍宽松，面相清癯、磊落而有神。描绘精细，人物面部均以淡墨为之，以线为主，略事烘染，着墨不多而神情毕肖，表现出很高的艺术水平。倪瓒所补松石，笔墨枯淡、松秀，与人物相得益彰，共同构成了一幅精美的肖像画作品。\n此图由王绎画杨谦（号竹西）小像，倪瓒补画松石平坡。图中杨谦留着长发，头戴小帽，身着长袍，持杖独立。人物面部用细笔勾描，略用淡墨烘染，形象生动逼真。笔墨不多，却较好地表现了杨竹西“清谦谨慎”的性格。画像后亲以小石的弧松，更加烘托了杨竹亡在宋亡后不仕朝迁的气节。画中倪瓒题云：“杨竹西高士小像，严陵王绎写，句吴倪瓒补作松石。癸卯二月。”癸卯为至正二十三年，即公元1363年。卷后有元人邓元祜、杨维祯等十一家题记。",[49,23,51,52,135,26,58,277,137,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2134019448775058ad4a63eadde0d16a.jpg","纵27.7厘米，横86.8厘米",[],{"id":24138,"slug":24139,"title":10148,"dynasty":115,"author":10149,"museum":175,"description":10150,"tags":24140,"thumbUrl":24141,"material":319,"size":10153,"collection":122,"collections":24142,"showCount":202,"zanCount":1288,"manualWeight":39,"mainColor":40},221231,"er-zha-tie-fan-zhong-yan-221231",[49,51,86,119,418,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3eeca4d08ded70a5ea11316f1b9c881.jpg",[122],{"id":24144,"slug":24145,"title":24146,"dynasty":97,"author":5630,"museum":20,"description":24147,"tags":24148,"thumbUrl":24149,"material":319,"size":24150,"collection":107,"collections":24151,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":40},219854,"ba-jing-shan-shui-tu-3-gong-xian-219854","八景山水图-3","这一卷山水，全卷共分八段，绘江南湖光潋滟、烟雨朦胧之色。卷内，水墨，设色之景相互穿插，较为全面的展现出龚贤山水画的多种面貌。\n龚贤画山水，用墨以层层积墨见长，虽不用泼墨，效果却极强烈，具有浑厚、苍秀、沉郁的独特风格，成功地表现了江南山水茂密、滋润、幽深的特征。",[23,26,56,967,1597,8637,279,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe19de21601c89225b55803f981dddc27.jpg","24.4x49.7厘米",[],{"id":24153,"slug":24154,"title":24155,"dynasty":97,"author":9011,"museum":175,"description":24156,"tags":24157,"thumbUrl":24159,"material":33,"size":24160,"collection":199,"collections":24161,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":40},219629,"ren-yi-hua-shen-lu-ting-du-hua-tu-xiang-zhou-ren-yi-219629","任颐画沈芦汀读画图像轴","画面分为上下两段，文墨相融。下方写意绘就雅集读画的场景，对坐的主客神态专注，侍者垂手捧卷静立一旁，人物形神兼备，衣纹线条简括灵动，水墨晕染出树影苍润，浅淡设色衬出雅致清和的氛围，将文人赏画的闲散意趣尽显。上方题诗笔意舒展，与画作呼应，把寄情书画、耽于林泉的林下风流铺陈开来。整作以写意之笔，摹写文人雅事，尽显清淡隽秀的文人审美意韵。",[49,23,51,84,25,26,119,24158,58,13983,6235,64,7],"工笔写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5e54df0d3458667c8290256debccb71.jpg","纵33cm，横40cm",[199],{"id":24163,"slug":24164,"title":24165,"dynasty":97,"author":736,"museum":81,"description":24166,"tags":24167,"thumbUrl":24168,"material":152,"size":24169,"collection":72,"collections":24170,"showCount":202,"zanCount":743,"manualWeight":39,"mainColor":40},219422,"shi-jun-tu-zhi-nie-yun-shi-zhou-lang-shi-ning-219422","十骏图之籋云驶轴","骏马伫立绢间，身姿挺拔似蓄势待发，鬃尾如墨线流转却不失蓬松质感。斑纹晕染自然，似晨曦拂过皮毛，肌肉的起伏藏着解剖学的精准，却以东方设色的温润消解了西画的生硬。素净背景上，题字与朱印错落，添了几分古雅韵致。它将西方写实的生动与东方写意的空灵揉合，每一笔都似在诉说骏马的灵动与画师的巧思，让观者于方寸间见得跨文化艺术碰撞的火花，尽显皇家名驹的神采与画作的独特魅力。",[23,25,54,225,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1119013fe0d826d6735418558cca191c.jpg","239.5x270.4",[72],{"id":24172,"slug":24173,"title":24174,"dynasty":18,"author":24175,"museum":175,"description":24176,"tags":24177,"thumbUrl":24179,"material":319,"size":24180,"collection":122,"collections":24181,"showCount":202,"zanCount":39,"manualWeight":39,"mainColor":40},219164,"shi-han-ce-peng-nian-219164","诗翰册","彭年","此册书法欹峭微侧，有苏轼书法意韵。王世贞《吴中往哲像赞》云：彭年 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隋僧智果心成颂，旌德姚仲虞始标出，以为书学真传，确不可易。甘伯属录其文，置之坐右。欣然下笔，几忘炎暑。同治乙丑五月赵之谦记。\n钤“赵之谦印”、“汉后隋前有此人”印二方。左下角钤“师氏珍藏”收藏印一。裱边有师守玉题一行，钤“师守玉印”。\n作品书隋僧智果所作《心成颂》。智果，会稽人，出家为僧，居永兴寺。擅书，得王羲之法，张怀瓘《书断》将其隶、行、草书列入能品。《淳化阁帖》卷五刻有智果所书《梁武帝评书帖》。他将书写心得著成《心成颂》，以示执笔作字之法。此文后经清人姚配中（1792—1844年，字仲虞,安徽旌德人）作注，遂大行于时，成为一篇重要的书法论文。\n此轴是赵之谦应友人“甘伯”之请而书。甘伯即胡澍（1825—1872年），字荄甫，一字甘伯，号石生，安徽绩溪人。精篆刻，工篆书，得秦汉人遗意。赵之谦对他十分推崇，交往多年，与之文章道谊相切磋，考古订今，搜奇选胜，“非君不在不乐也”。\n赵之谦书法初宗颜真卿，后专意于北朝碑版，融而自化，自成一家。书兼各体，以楷书最富特色。据此作年款“同治乙丑”可知，作品创作于清同治四年（1865年），赵氏时年37岁。笔法劲直舒展，结体沉雄方正，墨气浑厚丰润，风格端妍遒丽，是赵之谦早期师法魏碑的精整之作。",[417,86,84,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29ea3adda373a0101884e3594a6156a9.jpg","纵128.5厘米，横36厘米",[122],{"id":24426,"slug":24427,"title":24428,"dynasty":18,"author":459,"museum":99,"description":4616,"tags":24429,"thumbUrl":24430,"material":689,"size":690,"collection":107,"collections":24431,"showCount":110,"zanCount":39,"manualWeight":39,"mainColor":40},240852,"qian-zi-wen-juan-xu-wei-240852","千字文卷",[49,51,86,52,119,462,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb6408452e577c55dc92323b19a5b6fc.jpg",[],{"id":24433,"slug":24434,"title":24435,"dynasty":97,"author":655,"museum":99,"description":12622,"tags":24436,"thumbUrl":24437,"material":689,"size":690,"collection":107,"collections":24438,"showCount":110,"zanCount":39,"manualWeight":39,"mainColor":40},240578,"shen-zhou-xu-shi-zhou-jin-nong-240578","沈周叙事轴",[86,5663,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe156db587f690f2f7db18a58fdcf2282.jpg",[],{"id":24440,"slug":24441,"title":24442,"dynasty":192,"author":11160,"museum":175,"description":24443,"tags":24444,"thumbUrl":24445,"material":319,"size":24446,"collection":122,"collections":24447,"showCount":110,"zanCount":39,"manualWeight":39,"mainColor":75},239554,"zhang-hao-hao-shi-juan-du-mu-239554","张好好诗卷","释文：\n张好好诗并序。 牧大和三年佐故吏部沈公江西幕。好好年十三，始以善歌舞来乐藉中。后一岁，公镇宣城，复置好好于宣城藉中。后二年，沈著作述师以双鬟纳之。又二岁，余于洛阳东城重睹好好，感旧伤怀，故题诗赠之。 君为豫章姝，十三才有余。翠茁凤生尾，丹脸莲含跗。高阁倚天半，晴江连碧虚。此地试君唱，特使华筵铺。主公顾四座，始讶来踟蹰。吴娃起引赞，低徊暎长裾。双鬟可高下，才过青罗襦。盼盼下垂袖，一声离凤呼。繁弦迸关纽，塞管引圆芦。众音不能逐，袅袅穿云衢。主公再三叹，谓之天下殊。赠之天马锦，副以水犀梳。龙沙看秋浪，明月游东湖。自此每相见，三日以为疏。玉质随月满，艳态逐春舒。绛唇渐轻巧，云步转虚徐。旌旆忽东下，笙歌随舳舻。霜凋小（此字点去）谢楼树，沙暖句溪蒲。身外任尘土，罇前且欢娱。飘然集仙客（著作任集贤校理），讽赋期相如。聘之碧玉佩，载以紫云车。洞闲水声远，月高蟾影孤。尔来未几岁，散尽高阳徒。洛阳重相见，绰绰为当炉。怪我苦何事，少年生白须。朋游今在否，落拓更能无。门馆恸哭后，水云愁景初。斜日挂衰柳，凉风生座偶。口口口（洒尽满）襟泪，短章聊口口（一书）\n此卷鉴藏印有“弘文之印”、“宣龢”、“政和”（连珠）、“宣和”、“政龢”、“内府图书之印”、“秋壑图书”、“张氏珍玩”、“北燕张氏珍藏”、“项子京家珍藏”、“张则之”、“蕉林居士”、“宋荦审定”、“张伯驹珍藏印”等，以及清代乾隆、嘉庆、宣统三帝御览及清内府鉴藏印11方，朱文）等张伯驹鉴藏印。\n此卷是唐代诗人、书法家杜牧的仅存墨迹，也是稀见的唐代名人书法作品之一。张好好是一名歌妓，容颜娇美，才华出众。杜牧的这首五言长诗，就是为她而作。诗中描写了作为少年歌妓的张好好始得高官沈传师宠遇，终因沈的去世而流落市井的不幸身世，寄托了对她的无限同情，是杜牧诗作名篇。诗载杜牧《樊川集》中，墨迹的末二句，因伤残缺“洒尽满”、“一书”五字，然不伤书诗的整体精神。\n该卷书用麻纸，制作相当精细。书用硬笔，笔法劲健，颇多叉笔。这些都是唐代书法的用纸、笔法的特点。《宣和书谱》一书评杜牧书法：“气格雄健，与文章相表里”，是说作者诗文、书法有统一的风格。卷前有宋徽宗赵佶书签“唐杜牧张好好诗”，并钤有宋徽宗御府的诸玺印，保存着北宋内府装潢式样。兹后曾递藏于宋贾似道、明项元汴、张孝思、清梁清标等人，乾隆年间入藏内府。据《式古堂书画记考·卷七》所记，该卷后元人诸跋，是从唐赵模《千字文》后移来。《宣和书谱》、《悦生所藏书画别录》、《平生壮观》、《大观录》、《吴越所见书画录》、《石渠宝笈·初编》等书著录。\n该卷曾被清逊帝溥仪携出宫外，流散民间后归张伯驹所有。1956年张伯驹先生将其捐赠政府，此珍贵文物重为故宫博物院收藏。",[49,51,86,119,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6dc7418c00d9320a7545a844dc2089e.jpg","纵28.2厘米，横162厘米",[122],{"id":24449,"slug":24450,"title":24451,"dynasty":18,"author":4898,"museum":175,"description":24452,"tags":24453,"thumbUrl":24454,"material":391,"size":24455,"collection":70,"collections":24456,"showCount":110,"zanCount":39,"manualWeight":39,"mainColor":40},239088,"shan-shui-tu-zhou-qiu-lin-tu-zhao-zuo-239088","山水图轴（秋林图）","此图表现晚秋湖山景色，故又名《秋林图》。画远岫如带，平湖无波，曲水孤舟，瑟瑟丛林映照在落日余晖中，茅舍和渔舟中高士静坐。构图以平远为主，山石多用披麻皴，笔力劲秀，设色浅淡。是赵左晚年山水画佳作。\n撰稿人：杨丹霞",[23,51,84,26,25,55,56,137,62,61,277,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f4485f30120b1bf0257ea35e273536.jpg","纵67.5厘米，横32.2厘米",[70],{"id":24458,"slug":24459,"title":684,"dynasty":18,"author":24460,"museum":99,"description":24461,"tags":24462,"thumbUrl":24463,"material":689,"size":690,"collection":35,"collections":24464,"showCount":110,"zanCount":39,"manualWeight":39,"mainColor":40},237499,"shan-shui-hua-hui-ce-jiang-shou-cheng-237499","蒋守成","蒋守成明代画家。字继之,号晓山。丹阳人。善画山水,师法宋元画家赵千里,赵子昂、吴仲圭。亦作花鸟、竹石,都很出色,可惜中年患有眼疾,传世作品甚少。",[23,51,24,119,25,26,277,6083,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc2c3b2d058865e91051a0184ddf0335.jpg",[35,70],{"id":24466,"slug":24467,"title":24468,"dynasty":18,"author":207,"museum":99,"description":24469,"tags":24470,"thumbUrl":24471,"material":689,"size":690,"collection":107,"collections":24472,"showCount":110,"zanCount":39,"manualWeight":39,"mainColor":40},237419,"lu-zhi-hai-tang-shan-yi-ming-237419","陆治海棠扇","此作用没骨法绘就海棠，粉花轻晕，翠叶柔匀，枝桠清逸舒展，将海棠初绽的娇柔之态尽显。洒金扇底晕染雅致，设色明妍却不浓艳，透着清润娴雅的格调。\n\n左侧题诗与花枝相映，笔墨隽秀，朱红印信错落点缀，融书画印为一体，晕开悠然诗意。整体章法疏朗空灵，将春日海棠的柔媚与文人赏春的雅趣相融，尽显小品画的清丽脱俗，带着江南暮春的缱绻温柔，是雅致动人的花鸟小帧。",[23,822,25,54,27,1170,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba8a47bbde996d5459b024765019b247.jpg",[],{"id":24474,"slug":24475,"title":24476,"dynasty":97,"author":5309,"museum":222,"description":24477,"tags":24478,"thumbUrl":24479,"material":4816,"size":24480,"collection":70,"collections":24481,"showCount":110,"zanCount":39,"manualWeight":39,"mainColor":40},237388,"fang-gao-ke-gong-yun-shan-zhou-wang-hui-237388","仿高克恭云山轴","此图学元代高克恭画风，画幅左上角作者署款：「庚辰清和广陵舟次，仿高房山笔。麓台祁。」款前印：「古期斋」（朱长方），款后印：「原祁茂京」（白朱方）。另有收藏印章六方。",[23,26,55,134,84,7,56,5633,150,64,60,61,62,63,279,293],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F356e1b3850289f759a8da25a23f6e2cc.jpg","99×47.2cm",[70],{"id":24483,"slug":24484,"title":24485,"dynasty":97,"author":1235,"museum":99,"description":24486,"tags":24487,"thumbUrl":24488,"material":107,"size":107,"collection":199,"collections":24489,"showCount":110,"zanCount":39,"manualWeight":39,"mainColor":40},236084,"hua-luo-han-ce-leng-mei-236084","画罗汉册","画面右首，罗汉安坐蒲团，神情恬然松弛，四位侍者或展长衲、或持具侍立，将佛门补衲日常刻画得鲜活生动。衣纹勾勒秀劲流畅，设色清雅柔和，人物情态各有不同，写实细腻间尽显灵动意趣。\n\n左侧题诗呼应画中主题，诗画合璧暗合禅意，把修行之人朴素自在的日常铺陈开来。笔墨兼具工致细腻与空灵韵味，将清寂平和的禅门氛围晕染开来，雅致静穆的意境扑面而来，是融写实意趣与禅宗意境为一体的精妙之作。",[50,23,51,3363,1284,54,25,58,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb75896d04e3b54e8ea11ec868c668f.jpg",[199,72],{"id":24491,"slug":24492,"title":24493,"dynasty":97,"author":5309,"museum":99,"description":24494,"tags":24495,"thumbUrl":24496,"material":107,"size":107,"collection":107,"collections":24497,"showCount":110,"zanCount":39,"manualWeight":39,"mainColor":40},235856,"shan-yuan-jia-qu-zhou-wang-hui-235856","山园佳趣轴","《王翚山园佳趣》是清代诗人弘历创作的一首七言绝句。\n仙馆洞房绿荫稠，隔溪书屋更清幽。\n高人挈杖闲来往，流水行云意不留。\n弘历， 即爱新觉罗·弘历。\n清朝皇帝。\n世宗第四子。\n雍正十一年封和硕宝亲王。\n十三年八月嗣位，次年改元乾隆。\n即位后驱逐在内廷行走之僧道；释放被幽禁之允(胤)禵等，恢复允(胤)禵等宗室身份；又将宗室诸王所属旗人，均改为“公中佐领”，即归皇帝掌握。\n对汉族知识分子，采用笼络与惩罚并行手段，既于乾隆元年开博学鸿词科，三十八年开《四库全书》馆；又大兴文字狱，前后大案不下数十起，并借修书之便，销毁或窜改大量书籍。\n对西北方面，平定准噶尔部，消灭大小和卓木势力，解决康、雍以来遗留问题。\n在位时六次南巡，多次进行镇压土司叛乱、农民起事战争，耗费大量钱财。\n晚年任用和珅，吏治腐败；陶醉于“十全武功”，自称十全老人，对敢于指斥时弊之官吏，常严加斥责。\n同时，对各省亏空严重、督抚多不洁身自爱之状，知之甚详。\n五十八年，接见英国特使马嘎尔尼，拒绝英国所提出之侵略性要求，然并未引起任何警惕之心。\n六十年，宣布明年禅位皇十五子颙琰。\n次年正月，举行授受大典，自称太上皇帝，仍掌实权。\n在位六十年。\n谥纯皇帝。",[23,51,84,26,56,55,63,358,871,60,7,8760,150,294,1019],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c84613f5fdccf3f412dbdbbae14912d.jpg",[],{"id":24499,"slug":24500,"title":24501,"dynasty":18,"author":15886,"museum":99,"description":24502,"tags":24503,"thumbUrl":24505,"material":689,"size":690,"collection":107,"collections":24506,"showCount":110,"zanCount":39,"manualWeight":39,"mainColor":40},235811,"hua-mei-gui-hua-zhou-tian-qiu-shu-mei-gui-fu-he-bi-shan-wen-jia-235811","画玫瑰花周天球书玫瑰赋合璧扇","文嘉（1501年～1583），字休承，号文水，南直隶 苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[23,51,822,25,27,24504,86,7],"玫瑰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71faa4378c6f9e8510d6f90708e3ceb4.jpg",[],{"id":24508,"slug":24509,"title":24510,"dynasty":18,"author":23358,"museum":99,"description":24511,"tags":24512,"thumbUrl":24513,"material":689,"size":690,"collection":35,"collections":24514,"showCount":110,"zanCount":39,"manualWeight":39,"mainColor":40},235752,"mei-hua-wen-cong-jian-shi-he-bi-ce-shao-mi-235752","梅花文从简诗合璧册","邵弥，明末清初书画家。字僧弥，后以字为名，号瓜畴、芬陀居士。长洲（今江苏苏州）人。",[23,51,24,26,528,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff0207095efee64f9320a1ddf2f251c.jpg",[35],{"id":24516,"slug":24517,"title":24518,"dynasty":97,"author":9011,"museum":99,"description":24519,"tags":24520,"thumbUrl":24523,"material":183,"size":24524,"collection":107,"collections":24525,"showCount":110,"zanCount":39,"manualWeight":39,"mainColor":40},234993,"hua-hui-ling-mao-ping-11-ren-yi-234993","花卉翎毛屏11","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。",[23,50,51,84,25,54,27,2631,24521,265,332,24522,7],"豆藤","竹架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc51dae55e91611f90ab3b25efa239ea.jpg","149 x 61 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丝描表现高古，成为中国传统人物画法的丰盛宝库。陈洪绶一生秉性孤傲倔强，吞恨而终。他是一位擅长人物、精工花鸟、兼能山水的绘画大师，与北方崔子忠齐名，号称“南陈北崔”。当代国际学者推为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。",[49,50,23,51,84,25,54,135,58,136,181,180,24579,24580,11725,7,86],"案几","烛台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb41f69a47f37ac516a406b8b50194ed5.jpg","95×44厘米",[],{"id":24585,"slug":24586,"title":24587,"dynasty":97,"author":1082,"museum":99,"description":24588,"tags":24589,"thumbUrl":24590,"material":107,"size":107,"collection":107,"collections":24591,"showCount":110,"zanCount":39,"manualWeight":39,"mainColor":40},230269,"lin-gu-shan-shui-ye-zhu-da-230269","临古山水页","此作笔意简淡老辣，枯笔淡墨皴擦奇崛山石，嶙峋崖壁孤傲出尘，虬曲枯木萧疏错落，满纸萧寒荒寂之气。留白肆意铺陈，以少胜多勾勒出幽僻空蒙的山水秘境。\n\n错落题字与山水相映，书画浑然相融。极简笔墨间藏着沉郁清冷的心境，将身世沧桑寄寓荒寒山林，冷逸空灵的意境直抵观者心底，于简淡中尽显极强笔墨张力，尽显疏淡孤傲的独特意趣。",[49,23,26,134,55,7,86,119,24,56,967,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a04e65a06c5e5dd23ad39258130058b.jpg",[],{"id":24593,"slug":24594,"title":24595,"dynasty":97,"author":5319,"museum":99,"description":24596,"tags":24597,"thumbUrl":24598,"material":107,"size":107,"collection":107,"collections":24599,"showCount":110,"zanCount":39,"manualWeight":39,"mainColor":40},230144,"hua-guo-tu-ce-12-kai-luo-pin-230144","花果图册12开","此作以淡墨枯笔勾勒柏干，蜿蜒虬曲，苍劲老辣尽现古柏历经风霜的拙朴筋骨。枝桠间以焦墨攒点成叶，浓淡交错间虚实相生，将蓊郁繁茂之态暗藏疏密错落里，笔墨洗练却意境饱满。\n\n侧旁题字率意朴拙，笔锋苍劲与画中古柏意趣相融，诗书画印合为一体。全幅不求精细描摹形貌，只以极简笔墨抓取老树虬劲生机，将幽寂古雅的文人意韵藏于方寸间，淡而有味，拙中见灵。",[23,51,24,26,137,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ba5f4b087d39a09468e880350835f7f.jpg",[],{"id":24601,"slug":24602,"title":24603,"dynasty":97,"author":787,"museum":99,"description":24604,"tags":24605,"thumbUrl":24606,"material":107,"size":107,"collection":107,"collections":24607,"showCount":110,"zanCount":39,"manualWeight":39,"mainColor":40},229025,"hua-hui-ba-kai-zou-yi-gui-229025","花卉八开","柔梅斜枝舒展，粉瓣层叠轻绽，深浅花色晕染出娇柔妍态，苍劲老干皴擦尽显古拙意趣。旁侧新竹挺秀，翠叶临风摇曳，清刚之姿与梅花柔媚相映成趣，一动一静间尽显花木灵韵。\n\n右上角题诗娟秀雅致，诗画相融更添文人情思。设色明丽柔和，勾勒晕染兼具工细与写意之妙，将春日花木的生机神韵尽数铺陈，笔底饱含清雅悠然的文人意趣，将这一隅小景绘就成生机盎然又古雅沉静的清逸画卷。",[23,51,24,25,54,27,358,308,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28d8a09956eafa777e9025de0f632c7d.jpg",[],{"id":24609,"slug":24610,"title":24611,"dynasty":97,"author":445,"museum":99,"description":3557,"tags":24612,"thumbUrl":24613,"material":689,"size":690,"collection":107,"collections":24614,"showCount":110,"zanCount":39,"manualWeight":39,"mainColor":40},228988,"bai-miao-luo-han-tu-juan-shi-tao-228988","白描罗汉图卷",[49,50,23,51,52,135,1284,58,150,64,3737,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9099139807f3e55a6295db547dc07a8.jpg",[],{"id":24616,"slug":24617,"title":24618,"dynasty":18,"author":207,"museum":99,"description":24619,"tags":24620,"thumbUrl":24621,"material":689,"size":690,"collection":107,"collections":24622,"showCount":110,"zanCount":1288,"manualWeight":39,"mainColor":75},228775,"xia-yuan-shui-guan-tu-yi-ming-228775","下元水官图","道家有三官：天官、地官、水官，谓天官赐福，地官赦罪，水官解厄。三官的诞生日分别为农历的正月十五、七月十五、十月十五，这三天被称为“上元节”、“中元节”、“下元节”。下元节，就是水官解厄旸谷帝君解厄之辰，俗谓是日。",[1284,541,7,51,86,25,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe99035456ab0e4b057bbd6aea0852718.jpg",[],{"id":24624,"slug":24625,"title":24626,"dynasty":18,"author":955,"museum":99,"description":24627,"tags":24628,"thumbUrl":24629,"material":107,"size":107,"collection":107,"collections":24630,"showCount":110,"zanCount":39,"manualWeight":39,"mainColor":75},228287,"za-hua-tu-ce-8-kai-chen-hong-shou-228287","杂画图册8开","此作用平远法铺展景致，山峦层叠迤逦，以圆润苍劲的皴笔勾勒石体质感，淡赭敷色晕染出暖调山光，清润柔和。水面留白尽显空濛烟波之意，不着一笔却漾漾有水气流动。山石间点缀青绿苔点，冷色调打破赭石的厚重，为静穆山水晕染出鲜活生机。\n整幅简淡清旷，以复古笔致意摹古贤意趣，无繁复刻画，只以极简的点染铺陈，将江南水畔温软沉静的山光凝于尺幅，悠悠透出文人沉湎林泉的静穆襟怀，淡远清和，尽显含蓄内敛的古典诗意。",[49,23,51,24,25,55,7,56,277,61,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbac4124007a9a2c95659e7ef43ddff79.jpg",[],{"id":24632,"slug":24633,"title":24634,"dynasty":115,"author":3092,"museum":99,"description":24635,"tags":24636,"thumbUrl":24637,"material":107,"size":107,"collection":107,"collections":24638,"showCount":110,"zanCount":39,"manualWeight":39,"mainColor":75},227769,"shan-jian-ting-yin-tu-ye-li-tang-227769","山涧亭荫图页","李唐（1066年－1150年），字晞古，亦作希古，宋朝著名画家，河阳三城（今河南孟县）人。\n\n李唐原供奉北宋徽宗的画院，1127年金兵攻陷汴京，李唐颠沛流离，逃往临安（今杭州），以卖画度日。南宋恢复画院后，李唐经人举荐，进入画院，授成忠郎职务。\n\n李唐精于山水画，变荆浩、范宽之法，山水画最初用峭劲的笔墨，写出北方山河雄峻气势；晚年去繁就简，创大斧劈皴；画水打破鱼鳞纹程式，而得盘涡动荡之状；兼工人物画，初似李公麟，后衣褶变为方折劲硬；并以画牛著称。\n\n描绘青绿山水，如《万壑松风图》、《长夏江寺图》等，是北派山水的著名代表人之一，其后用笔及取景变的简括凝炼、构图精练、意境优美，开辟南宋的新画风，并创作人物画《胡笳十八拍》、《采薇图》等，借历史抒发怀念故国，希图中兴的感情。\n\n李唐的画风对后世有很大影响，他也培养了一些杰出弟子如萧照，其后马远、夏圭继承和发展了他的画风，和他一起，并称为“南宋四家”（李唐、刘松年、马远、夏圭）。",[49,50,23,51,3363,25,55,56,63,59,64,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd62d8b679d7f4f502dfbd58fec656d8e.jpg",[],{"id":24640,"slug":24641,"title":24642,"dynasty":115,"author":116,"museum":81,"description":24643,"tags":24644,"thumbUrl":24645,"material":107,"size":107,"collection":107,"collections":24646,"showCount":110,"zanCount":1288,"manualWeight":39,"mainColor":40},227590,"ku-sun-fu-tie-huang-ting-jian-227590","苦笋赋帖","此帖凡11行，181字，书于元符二年(1099年)。曾经吴桢、安岐、陈定等人收藏.《平生壮观》、《墨缘汇观》、《石渠宝笈续编》、《故宫书画录》等著录。《御刻三希堂石渠宝笈法帖》、《仁聚堂法帖》、《墨缘堂藏真帖》、《宋四家墨宝》等收录。现藏台北故宫博物院。\n\n宋徽宗曾说：“黄书如抱道足学之士，坐高车駟马之上，横钳上下，无不自如。”山谷书法对当时及后世影响很大，受到极高的评价，為北宋四大家之一。此帖笔势遒劲，中宫敛结，长笔外拓，英俊洒脱，显示出山谷纵逸豪放的雅韵，并充分发挥倾侧的动向美感。选自《宋四家墨宝》册。",[50,51,86,119,26,319,9897,4832,7,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7eb941959901f32fb43c8955cbc0a87.jpg",[],{"id":24648,"slug":24649,"title":24650,"dynasty":97,"author":445,"museum":99,"description":24651,"tags":24652,"thumbUrl":24653,"material":107,"size":107,"collection":107,"collections":24654,"showCount":110,"zanCount":39,"manualWeight":39,"mainColor":40},224502,"shan-shui-ce-kai-wu-shi-tao-224502","山水冊开(五)","此作用笔简括空灵，以淡赭、花青晕染山峦，干湿墨色相生，晕开江南水乡的清润秀雅。近岸枯槎疏枝带着残冬清寂，零星墨叶点缀出些许生机，板桥卧波，黛林掩映村舍，浅渚渔舟悠然随波，渔人安坐其中，自在松弛。\n\n远景山峦淡逸朦胧，与留白水面相映，铺展出萧散淡远的意境。题画诗与景致相融，将寄迹林泉、脱却尘俗的幽怀藏于笔墨丘壑间，以画言情，尽显隐逸文人心境，淡墨轻岚间晕染出闲逸野趣。",[49,23,26,25,55,24,56,60,61,62,137,150,727,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf60ae206638ff7c579a55431223839b.jpg",[],{"id":24656,"slug":24657,"title":24658,"dynasty":97,"author":2120,"museum":99,"description":24659,"tags":24660,"thumbUrl":24661,"material":107,"size":107,"collection":107,"collections":24662,"showCount":110,"zanCount":39,"manualWeight":39,"mainColor":40},224477,"fang-mei-dao-ren-shan-shui-tu-wang-jian-224477","仿梅道人山水图","此作用笔苍浑沉厚，取法梅道人山水意趣，层峦叠嶂铺陈高远之境，主峰巍峨雄峙，矾头苔点繁密，晕染出江南山峦郁茂华滋的温润质感。\n\n山坳村居错落，板桥卧波、溪流蜿蜒穿梭林麓间，林木疏密交织，将林泉幽居的隐逸意趣缓缓铺展。以披麻皴写山体肌理，湿墨点苔晕染空濛氛围，恪守古法的同时融入自身秀逸笔性，于苍劲间不失温润，既复刻出荒寒清寂的古雅意境，又暗含自家风骨，是师古能化的仿古佳作。",[49,23,26,55,134,84,56,150,727,64,61,60,7,137,294],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007451ec2d4ea6bc6dbcfc06f0197dab.jpg",[],{"id":24664,"slug":24665,"title":5619,"dynasty":97,"author":11187,"museum":81,"description":24666,"tags":24667,"thumbUrl":24668,"material":319,"size":24669,"collection":70,"collections":24670,"showCount":110,"zanCount":39,"manualWeight":39,"mainColor":40},224265,"hua-shan-shui-zhou-zhang-zong-cang-224265","《石渠宝笈》所录画作数量，张宗苍名列第一，其上多有乾隆皇帝题诗。此作原本贴于品茗茶舍「试泉悦性山房」壁上。乾隆皇帝认为其画风清峻，可与元代倪瓒和黄公望的作品相匹敌，幅上多则乾隆皇帝御题，其中更提到过去观看张宗苍作画的回忆，并在拳石留白处书一「神」字，显示对此作的高度评价。",[23,51,84,26,55,86,7,56,150,64,294,295],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0364f6d1ae9eda5d1b76368b4cb7d3ba.jpg","138.1x64.3",[70],{"id":24672,"slug":24673,"title":24674,"dynasty":97,"author":4509,"museum":81,"description":24113,"tags":24675,"thumbUrl":24676,"material":647,"size":24677,"collection":70,"collections":24678,"showCount":110,"zanCount":39,"manualWeight":39,"mainColor":40},223122,"shuang-lin-xiao-si-tu-zhou-dong-bang-da-223122","霜林萧寺图轴",[49,23,84,25,55,56,150,64,24355,60,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02e95f112757ec9a532d663ea2c1066f.jpg","79.1x36.8",[70,242],{"id":24680,"slug":24681,"title":24682,"dynasty":18,"author":10700,"museum":175,"description":24683,"tags":24684,"thumbUrl":24686,"material":319,"size":24687,"collection":35,"collections":24688,"showCount":110,"zanCount":39,"manualWeight":39,"mainColor":40},222603,"qiu-se-wu-tong-tu-lan-ying-222603","秋色梧桐图","此画面一片秋高气爽的气氛，上杂红树一枝。一只美丽的小鸟，悠闲地栖立于梧桐枝上，形象生动自然，神气逼肖。在构图上采用传统折枝的方法，截取梧桐与丹枫的枝头横斜下垂之势。在枝叶参差错落之中，求得疏密有致。花木点染随意，桐叶饱含水墨，抒情性很强。墨笔写成枝干，糅合了山水画的用笔，显得枝干劲健有力。山鸟基本以墨画成，略施淡赭色彩，令人感到素雅可亲。双勾的丹枫叶，显得挺俏遒劲；在画法上，勾染兼施，笔法活脱，墨色浓淡适度，看来随意写出，反映了作者娴熟的笔墨技巧。",[49,23,51,26,25,403,1238,29,1227,265,7,86,119,27,24685],"秋色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F288e93218349e6d8e418d86b3be8a8b4.jpg","65X32",[35,72],{"id":24690,"slug":24691,"title":24692,"dynasty":18,"author":9186,"museum":81,"description":12300,"tags":24693,"thumbUrl":24694,"material":319,"size":24695,"collection":122,"collections":24696,"showCount":110,"zanCount":39,"manualWeight":39,"mainColor":40},222310,"shu-za-shi-juan-wang-chong-222310","书杂诗卷",[86,119,52,7,435,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a6b4b44c3a956de196f240c247d3843.jpg","25.7x317.6",[122],{"id":24698,"slug":24699,"title":24700,"dynasty":146,"author":4259,"museum":5101,"description":24701,"tags":24702,"thumbUrl":24703,"material":7618,"size":24704,"collection":122,"collections":24705,"showCount":110,"zanCount":743,"manualWeight":39,"mainColor":75},221835,"lao-ren-xing-fu-ke-jiu-si-221835","老人星赋","《上京宫词》是柯九思创作的一幅书法作品。\n《上京宫词》卷是柯九思在朝廷任职期间奉敕记载元文宗赏赐皇姑大长公主情状的诗，后录呈无言大禅师。\n此卷用笔纵击，富有弹力，其入纸处颇类著名北碑张玄墓志，俊美中露峭拔，平和中寓筋力。\n直点多作短竖，深得《兰亭序》“犹”字点意态；横画虽波磔不露，但多呈隶书笔致，又颇似褚遂良书风。\n《兰亭序》“天朗气清”的神韵，褚遂良“瑶台春林”的清丽同张玄墓志的俊俏笔意的结合，正是柯九思历观前代书迹后的自然流露。\n字形有长有扁，以扁为多。\n长字取纵势，挺拔而不松懈，扁字取横势，笃实而不呆板，既有钟繇《戎路》、《宣示》帖的体格，更有苏东坡“石压虾蟆”般的沉稳紧密。\n特别值得一提的是，长字同扁字虽各逞姿态，但又和谐协调，体现了美的多样统一。\n整体书风坦然清纯，字字挺立，体态舒朗，结体的纵横聚散恰倒好处，而笔势连贯，用笔挺拔爽健，富于弹性美和节律感，点画之形态随笔势的节奏而起伏，不无表现出肯定明确的法度。\n题目“上京宫词”四字，节奏均匀而稍缓，雍容典雅，悠长清丽，正合“宫词”意境。\n而正文的书写节奏，也同题目四字，大有宫廷气象。\n但作者在主调统一的前提下很注意局部的变化，如“伏”字、“多”字、“冷”字、“锡”字、“独”字、“暇”字以参用行书笔法变，“暑”字、“飘”字、“高”字、“日”字、“有”字、“立”字、“禾”字以加粗线条，加重墨色变，而在字形上则更以长扁互用变，这些变化在“平和”的水面上时泛涟漪，正契合了《上京宫词》的内容。\n它们产生的微刺激，也正符合了记号中的角色“九重”与“千官”们的心态。\n通篇节奏平和。\n柯九思在书写《上京宫词》卷时，对词意是有很深的感悟的。\n作为一位“鉴书博士”，他虽然也有积极思维的时候，但“闲暇”决不会少，也正因为如此，这书迹也应是“千官”之一的柯九思的“心画”。\n不过，书画对心态的反映毕竟是模糊的，“九重”的平和节奏会同“千官”的混同，“庙堂”的闲暇也难同“山林”的闲暇区分，也正因为如此，博学如何良俊者，也只好说柯九思的绘画似逸非逸、似神非神而难以名状了，对于更为抽象的书法当然更是如此。",[49,86,417,52,7,435,2601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a8950c49521b1c45b07c366f4d4502a.jpg","25cm*268cm",[122],{"id":24707,"slug":24708,"title":24709,"dynasty":146,"author":431,"museum":329,"description":24710,"tags":24711,"thumbUrl":24712,"material":1561,"size":24713,"collection":107,"collections":24714,"showCount":110,"zanCount":39,"manualWeight":39,"mainColor":40},221785,"san-shi-ren-ma-tu-zhao-meng-fu-221785","三世人马图","为赵孟頫、赵雍、赵麟祖孙三人所画人马图合卷。卷后有陈洪绶等人题跋，谓其“三老不失笔墨宗风，古来大小李将军、高家父子、米家父子之类比。”、“古来父子祖孙以忠孝节义道应文学相传，不替者之类耳。”对比吴湖帆题款中所及“蒋氏密韵楼藏赵氏三世画马卷对临一本，并记原题款识于后，王蒙等跋亦入。”可见吴湖帆所临乃是另一卷传世“赵氏三世人马图”，由雪庭禅师收藏，王蒙、文征明等五家曾于其上题跋。",[49,50,23,51,52,25,135,58,225,119,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09f2e833da4843b79c3641463d061b4a.jpg","纵30.2厘米，横178.1厘米",[],{"id":24716,"slug":24717,"title":24718,"dynasty":18,"author":2181,"museum":175,"description":24719,"tags":24720,"thumbUrl":24721,"material":24722,"size":24723,"collection":122,"collections":24724,"showCount":110,"zanCount":39,"manualWeight":39,"mainColor":924},220957,"bai-yu-shan-fu-dong-qi-chang-220957","白羽扇赋","唐代诗人及宰相张九龄，受朝中权臣排挤，因玄宗赐白羽扇，作赋以明志，含有明哲保身的涵义。董其昌这件作品写于七十八岁（1632）高龄，仍然不失一贯的秀逸畅快的节奏，令人觉得余韵无穷。",[49,50,23,51,52,119,86,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2567439e23f4a801151c3d6db729acb.jpg","绫本，轴","纵长：136.5厘米，横长：60.2厘米",[122],{"id":24726,"slug":24727,"title":24728,"dynasty":18,"author":2181,"museum":24729,"description":24730,"tags":24731,"thumbUrl":24732,"material":239,"size":24733,"collection":122,"collections":24734,"showCount":110,"zanCount":39,"manualWeight":39,"mainColor":40},220899,"shu-du-gong-bu-shi-dong-qi-chang-220899","书杜工部诗","昆仑堂美术馆","董其昌世称“董香光”、“董文敏”、“董华亭”，在明末以书画名重海内。行书以“二王”为宗，用笔精到，用墨讲究，布局闲适舒朗，神采风韵自足。\n董其昌是明代重要的画家、书法家。《明史》中称其：“自成一家，名闻外国，其画集宋元诸家之长行以己意，潇洒生动，非人力所及也。四方金石之刻，得其制作手书，以为二绝，造请无虚日，尺素短札流布人间，争购宝之。精于品题，收藏家得片语只字以为重。”\n董其昌的书法对后人的影响极大，康熙帝赞其：“天姿迥异，其高秀圆润之致流行于褚墨间，非诸家所能及也。 每于若不经意处丰神独绝，如微云卷舒，清风飘拂，尤得天然之趣。”董其昌作为学古而成的书家，其风格面貌的形成与其独特的学书观密切相关。\n在中国古代艺术理论中，一直有“师古”和“师心”的论争，各自从不同角度出发衍生出一整套艺术理论。董其昌在这个时期坚持“师古”观点，要求在对古代作品的临摹中锻炼自己的技法并深入领悟古人的精神内蕴。在这个过程中形成自己的风格，结合历史时代背景后，最终产生新的艺术风格。",[49,86,119,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a9c1043aa026bf462ec1c1d0cf17a9c.jpg","横279cm，纵28.5cm",[122],{"id":24736,"slug":24737,"title":24738,"dynasty":97,"author":9011,"museum":329,"description":24739,"tags":24740,"thumbUrl":24741,"material":4816,"size":107,"collection":107,"collections":24742,"showCount":110,"zanCount":39,"manualWeight":39,"mainColor":40},220470,"shi-shang-du-shu-ren-yi-220470","石上读书","画面以瘦透皱漏的太湖石为布景，雅士踞坐石侧，展卷潜读，神情悠然沉谧，全然沉浸于书卷意趣之中。\n\n设色清雅柔和，衣纹勾勒简练劲挺，将文士宽袍博带的闲适姿态尽显。太湖石以淡墨晕染，辅以皴擦勾勒出空灵剔透的质感，虚实相生间衬出幽寂安闲的氛围。整幅扇面构图疏密得当，把文人幽居耽书的雅静意趣铺陈开来，尽显精妙的笔墨格调。",[23,51,822,25,54,58,277,19759,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e528abdd16572b6722a32a318064bf1.jpg",[],{"id":24744,"slug":24745,"title":24746,"dynasty":1037,"author":17233,"museum":81,"description":24747,"tags":24748,"thumbUrl":24751,"material":1550,"size":24752,"collection":199,"collections":24753,"showCount":110,"zanCount":39,"manualWeight":39,"mainColor":75},220248,"hui-lie-tu-hu-gui-220248","回猎图","胡瓌，范阳（河北涿县）人，或做山后契丹人，约活动于九、十世纪之间。精于描绘契丹之人马，凡帐棚、车辆、射猎器用、生活杂物及牲畜犬马，都形容备尽。本幅描写契丹族人，携鹰出猎之情景，人物着典型契丹族之衣冠，其猎鹰、座骑亦具特色。四只猎鹰中，三只可能是不同花色的海东青。鹫鹰科及隼科之鸟类，善猎者有数种，其中以海东青为极品，产地即在契丹之领域中，以善猎天鹅而闻名。马匹似有「裂耳犁鼻」之状，据云是当时契丹（辽金）人养育马匹的特殊方式：「…..谓鼻不破裂，则气盛冲肺。耳不裂，则风传而不闻音声…..」（注 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年11月22日—1802年3月26日），字大易，號小松、秋盦，又號秋影庵主、散花灘人。浙江錢塘人，兼擅篆刻，與丁敬並稱丁黃，為“西泠八家”之一。\n嘗有聲幕府，以詩筒畫筆，與簿書迭進，不廢風雅。工書，嫺熟隸法。隸書摹校官碑額，小隸有似武梁祠題字。精於博古，故隸法中參以鐘鼎，愈見古雅。撫印為丁敬高弟，有出藍之譽。嘗謂“小心落墨，大膽奏刀”。二語可為刻印三昧。所至輒搜訪殘碑斷碣於荒煙宿莽間，孜孜惟恐不及。嘗自寫訪碑圖十六幀，頗有逸緻，翁方綱為之書碑文於上，最為精妙。山水法董、巨，冷逸幽雋，以澹墨簡筆寫取神韻，而有金石味。兼工花卉，宗惲壽平。官濟寧時，一花片葉皆能於斤庫易錢。間作墨梅亦饒逸緻。",[105,86,5663,5664,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5df6b9a65a431f9f3f26b1f2df21b164.jpg","108.5×24cm",[122],{"id":25027,"slug":25028,"title":25029,"dynasty":18,"author":3904,"museum":175,"description":25030,"tags":25031,"thumbUrl":25033,"material":319,"size":25034,"collection":122,"collections":25035,"showCount":5,"zanCount":1288,"manualWeight":39,"mainColor":40},239573,"guan-gong-miao-bei-ye-zhu-yun-ming-239573","关公庙碑页","祝允明（1461年1月17日-1527年1月28日）生于天顺四年十二月六日，卒于嘉靖五年十二月二十七日，字希哲，长洲（今江苏吴县）人，因长像奇特，而自嘲丑陋，又因右手有枝生手指，故自号枝山，世人称为“祝京兆”，明代著名书法家。\n祝允明的科举仕途颇为坎坷，十九岁中秀才，五次参加乡试，才于明弘治五年（1492）中举，后七次参加会试不第。甚至其子祝续也在前一科中进士，于是祝允明绝了科举念头，以举人选官，在正德九年（1514），授为广东兴宁县知县，嘉靖元年（1522），转任为应天（今南京）府通判，不久称病还乡。\n祝允明擅诗文，尤工书法，名动海内。他与唐寅、文徵明、徐祯卿并称“吴中四才子”。又与文徵明、王宠同为明中期书家之代表。楷书早年精谨，师法赵孟頫、褚遂良，并从欧、虞而直追“二王”。草书师法李邕、黄庭坚、米芾，功力深厚，晚年尤重变化，风骨烂熳。北京大学教授、引碑入草开创者的李志敏评价：“祝枝山的狂草，骨力弱于旭、素，但在宋人影响下，又自成一格”。 [1] 其代表作有《太湖诗卷》《箜篌引》《赤壁赋》等。所书“六体书诗赋卷”“草书杜甫诗卷”“古诗十九首”“草书唐人诗卷”及“草书诗翰卷”等皆为传世墨宝。",[86,119,25032,7,8547],"碑文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea117ecdc2acfc65ec3addd9779f1ecc.jpg","26.7×49.6cm",[122],{"id":25037,"slug":25038,"title":7228,"dynasty":97,"author":16189,"museum":99,"description":25039,"tags":25040,"thumbUrl":25041,"material":107,"size":107,"collection":70,"collections":25042,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":40},238148,"shan-shui-ce-yun-xi-238148","此作用淡墨晕染出清寂湖山，近岸坡石虬松错落，幽居隐于林木间，远山澹澹衔着烟水，飞泉垂落打破岑寂，将山林幽居的闲逸禅意融于尺幅。笔墨简淡秀雅，不事浓丽雕琢，尽显空灵悠远之致。题诗与画意相映，诗画合璧，把寄情林泉的出世襟怀藏在留白之中，尽显文人山水静穆萧散的雅趣。",[23,51,24,26,55,56,870,406,871,700,293,62,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d49518b2e5f38132c3ad663c86af5e3.jpg",[70,72],{"id":25044,"slug":25045,"title":25046,"dynasty":18,"author":3070,"museum":99,"description":7468,"tags":25047,"thumbUrl":25048,"material":689,"size":690,"collection":107,"collections":25049,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":40},238060,"mei-lan-zhu-shan-ye-chen-chun-238060","梅兰竹扇页",[822,23,26,403,27,528,251,358,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63542c020985ced6481b981062ae7c7f.jpg",[],{"id":25051,"slug":25052,"title":25053,"dynasty":18,"author":955,"museum":175,"description":25054,"tags":25055,"thumbUrl":25058,"material":183,"size":25059,"collection":122,"collections":25060,"showCount":5,"zanCount":1288,"manualWeight":39,"mainColor":75},237693,"qi-shi-tu-zhou-chen-hong-shou-237693","乞士图轴","图绘乞士拄杖而立。款题“陈洪绶摹李伯时乞士图”，钤“陈洪绶印”白文印、“章侯父”白文印。乞士为比丘的别称，有“上乞法于佛，下乞食于一切众生”之意。《法华义疏》卷一云：“比丘者名为乞士，上从如来乞法以练神，下就俗人乞食以资身，故名乞士。”比丘的境界也含有破除一切烦恼，了一切生死而能成正果的意思。\n图中人物造型略为夸张，线条简洁洗练，高古奇隽。清代张庚在《国朝画征录》中指出，陈洪绶画人物“躯干伟岸，衣纹清圆细劲，兼有（李）公麟、（赵）子昂之妙”。此图虽题为摹李公麟，实则变圆为方，化整为散，主要是仿李公麟白描画法的秀灵和神韵，形不似而神似，寥寥数笔即刻画出乞士超脱不凡的精神境界。",[23,84,54,58,25056,25057,86,119,7],"拐杖","帽子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffed15b0fa176fc9c04a100b5058ac344.jpg","纵34.4厘米，横26.2厘米",[122],{"id":25062,"slug":25063,"title":25064,"dynasty":97,"author":5309,"museum":99,"description":17796,"tags":25065,"thumbUrl":25067,"material":107,"size":107,"collection":35,"collections":25068,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":40},237580,"wang-hui-ke-mu-zhu-shi-zhou-wang-hui-237580","王翚柯木竹石轴",[23,51,84,26,55,358,25066,700,406,531,7,86,119],"柯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c301fee55a5c4f3a9597b8c83070258.jpg",[35],{"id":25070,"slug":25071,"title":25072,"dynasty":18,"author":3070,"museum":99,"description":7468,"tags":25073,"thumbUrl":25074,"material":689,"size":690,"collection":107,"collections":25075,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":75},237461,"hua-hui-zhu-shi-shan-ye-chen-chun-237461","花卉竹石扇页",[23,822,26,403,28,358,700,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f6c7829f1897ea897ac4e80b7fe8a8d.jpg",[],{"id":25077,"slug":25078,"title":25079,"dynasty":18,"author":19,"museum":99,"description":25080,"tags":25081,"thumbUrl":25082,"material":689,"size":690,"collection":107,"collections":25083,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":40},236808,"mu-dan-shan-ye-sun-ke-hong-236808","牡丹扇页","明书画家、藏书家。一作克宏，字允执，号雪居，松江（今属上海市）人。礼部尚书孙承恩子。以荫授应天治中，官至汉阳知府。生性巧慧，声音洪亮，状貌疏野。所居四壁皆画苍松老柏，崩浪流泉，有一种澄泓萧瑟之意萦绕其间。他喜交友，陈继儒谓其“好客之癖，闻于江东，履綦如云，谈笑生风，坐上酒尊，老而不空”。卒年八十（一作七十九）。",[23,51,822,26,27,308,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff367b5a6cdf57f9efb3c6201f3f1738b.jpg",[],{"id":25085,"slug":25086,"title":25087,"dynasty":18,"author":19215,"museum":175,"description":25088,"tags":25089,"thumbUrl":25091,"material":4816,"size":25092,"collection":35,"collections":25093,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":40},236129,"bai-zi-tu-zhou-xiang-yuan-bian-236129","柏子图轴","图绘湖石及柏树、翠竹、荆棘等。柏树昂扬郁茂，有藤萝缠绕，翠竹挺拔玉立，荆棘屈曲虬劲，三者结合，高低自然，疏密得当，相互映衬，意味悠长。用笔粗细随类，墨色浓淡相宜，风格疏爽，清新静逸。",[23,51,84,26,55,25090,85,277,7],"柏树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff40827a5b89dd11e84e82d1b56e6a6ed.jpg","纵84.6厘米，横26.5厘米",[35,242],{"id":25095,"slug":25096,"title":2149,"dynasty":97,"author":6313,"museum":99,"description":8275,"tags":25097,"thumbUrl":25098,"material":689,"size":690,"collection":107,"collections":25099,"showCount":5,"zanCount":1288,"manualWeight":39,"mainColor":40},235599,"hua-hui-ce-wang-wu-235599",[23,51,24,25,27,28,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ac02c7830b4e4f8ae7d6de5d2c5fd28.jpg",[],{"id":25101,"slug":25102,"title":7228,"dynasty":97,"author":25103,"museum":99,"description":25104,"tags":25105,"thumbUrl":25106,"material":107,"size":107,"collection":35,"collections":25107,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":40},235323,"shan-shui-ce-wen-dian-235323","文点","此作用笔清劲简淡，近景双松虬枝舒展，扎根嶙峋石畔，旁生细草杂木，野趣悠然。白衣高士静踞溪岸，凭虚远眺，将幽居林泉的澹泊心境寄于山水间。\n画面以留白代秋水，远山以浅墨轻晕，烟岚弥漫，虚实相生间，萧疏淡远的氛围油然而生。题识小诗与景致相融，愈发衬出画面简净空灵的意趣，尽显文人画澄怀观道的雅逸格调，将观者带入这无尘烟嚣的静穆天地，共赴林泉高致之约。",[23,51,24,26,55,56,871,150,58,7],"https:\u002F\u002Foss.chuangqi.st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知，此《水竹居图》作于元至正三年（1343年），倪瓒43岁时作品。此图系倪瓒依友人所述而浮想创作而成。\n倪瓒生长在太湖之滨的一个地主家庭里。有一所庞大的庄园，其中的清閟阁藏书画达数千卷，为倪瓒提供了成长为一个封建文人画家的物质条件。倪瓒的画，大多描绘幽居山林或漫游太湖的景色，但更多的是画了主观的感受，有着强烈的感情色彩。静谧、荒寒、孤独、空虚，可以说是倪瓒作为画家的状态写照，使内心无告的忧烦，在这样的意境中寻求排遣与解脱。《水竹居图》即是体现了这一点。\n另外，此《水竹居图》有拆割、拼配题跋、加钤伪印等迹象，故也被部分学者认为是伪作。特别是《水竹居图》上的文、董二题，分别题于诗塘和裱边，非常容易被割移、拼配，且很多书画鉴定家认为，此作品本幅上的作者印鉴本身就是被加钤的伪印鉴，但这些都并不能必然地说明《水竹居图》本身为伪作。现多数鉴家仍评定，此为《水竹居图》为真迹勿疑。\n《水竹居图》是倪瓒内心寻求排遣与解脱的写照，画中自题的诗句更是道出了画家的隐居思想，是倪瓒的“自娱”与“适兴”之作。该图是画家根据友人叙述，景州城东有水竹胜景，依靠想象图绘坡石、树木、茅屋等景象。在题诗中画家想象了在此隐居，与琴诗为伴的理想生活。诗都反映出元代中晚期的隐逸思想。元代中后期的隐逸是一种任情适性，是将个人的精神价值与日常生活行为相融合的生活方式。文人不再热衷于在政治上有所作为，而是在自然中寻求自我身境与心境的安适。\n此《水竹居图》中“一水两岸”，即由近坡、中水、远丘组成的“三段式”构图，画面中的竹树茅屋，隔溪远岫平林但由于前后景排得较近，所以显得紧凑坚实，所写物象、图上晋韵小楷长题及荒寒幽冷之意境则与之一脉相承，整个画面弥散着幽静、清凉的气氛。\n《水竹居图》用笔浑厚圆润，与后来的轻笔渴墨显然不同，但内在笔性还是一致的。图中树叶用松针点、介字点、仰叶点等数种，用笔浓淡相间，树干多渲染皴擦，极近形似。远处的树，树干只用淡墨画出外轮廓，没有皴染，树叶用排点点出，显得郁郁葱葱，似不经意而韵味内存。唐志契在所著《绘事微言》中提到树木画法时说：“写枯树最难苍古，然画中最不可少名家枯树各各不同，如荆关则于秋冬二景最多，其枯枝古而浑，乱而整，简而有趣，到郭河阳则用鹰爪，加以细密，如范宽则其上如扫帚样，亦有古趣，李成则繁而琐碎，笔笔清劲，董源则一味古雅，简当而已。倪元镇则数君可以兼之，要皆难及者也。”《水竹居图》里的树木，有董源的简当古雅之质，特别是后面的排树，在后面的山体的衬托下，很容易让人看到董源《潇湘图》的影子。\n明代宗泐：“山人水行居，画图看更好，十年不归来，茅屋秋风老。”（《题〈水竹居图〉》）\n明代张丑：“余初蓄户南仙山楼阁卷，人多致焉，赖久之未几自定……乃今赏鉴元镇僦居城东矮幅，虽家喻尸晓，弗信也，鲜有不非笑之者，然不笑不足以为道。鸣呼.安能起三公于九原与之面相印可耶？”（《清河书画舫》）\n近代书画鉴赏家马宝山：《水竹居图》是倪早年作品，与其晚年作品本有所不同。（《书画碑帖见闻录》）",[49,23,712,6095,25175,379,25176,25177,25178,60,1936,278,25179,25180,7444,7888,25181,417,86,7,55],"青绿设色","修竹","坡石","溪水","水渚","仙居","幽冷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40b691851048c31237d37c2b1b88f286.jpg","纵48厘米，横28厘米",[],{"id":25186,"slug":25187,"title":25188,"dynasty":146,"author":25189,"museum":81,"description":25190,"tags":25191,"thumbUrl":25192,"material":88,"size":25193,"collection":107,"collections":25194,"showCount":5,"zanCount":1288,"manualWeight":39,"mainColor":40},231412,"yan-ling-diao-tai-tu-sa-dou-ci-231412","严陵钓台图","萨都刺","诗塘款题云：\n山川牵惹心我旌。迢递驱驰万里程。蹻步薜分声柝柝。瀑流涧汇响砰砰。钓竿台上无形迹。丘壑亭中有隐名。富贵可遗志不易。鼎彝犹似羽毛轻。予自都门历南。跋涉驱驰。奔走几半万里。闻严台钓矶。山秀寰拱。碧水澄渊。余强冷启敬共登。既而游归。启敬强余绘图。漫为作此。至元己卯（1339年）八月燕山天锡薩都剌写。并题於武林。",[49,23,26,119,86,55,7,51,56,62,610,8442,727,751,2184],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F375ad6aa0e419933d8c53ef10dae7dd4.jpg","58.7 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中国古画、扇面画 私人收藏 宣纸，尺寸：4.×4.cm\u002F 盛懋，元代画家，字子昭，原籍临安（今浙江省杭州市）。\n承袭父业，以精湛的技艺称誉当世，和吴镇的墨竹、岳彦高的草书、章文茂的笔，共被誉为“武塘四绝”。\n他善画山水，兼作人物、花卉。\n详细介绍“盛懋” 《秋溪钓艇图》绘一叶渔艇行于江中，有一翁于船尾垂钓，右边是茫茫江水，近处可见山石树木，而远处渐见山峦。\n整幅作品结构严整，笔墨清润，在浓郁浑厚的气韵中具有潇洒隽逸的格调",[49,23,25,56,62,61,64,714,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d3c21778a859a2f0bf01a09c1d9a01b.jpg",[],{"id":25262,"slug":25263,"title":25264,"dynasty":115,"author":25265,"museum":81,"description":25266,"tags":25267,"thumbUrl":25268,"material":634,"size":107,"collection":107,"collections":25269,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":40},227750,"feng-yan-zhan-juan-zhao-bo-su-227750","风檐展卷","赵伯骕","本幅画傍山临水，庭院湖石点缀，长松修竹环抱，营造出文人理想燕居之室。亭内屏前设卧榻，漆桌上置书卷、瓷瓶、香炉，文士右持羽扇，左倚凭几，神态悠闲；左方仕女二人凭栏而立，右方两童手执茶具，趋步向亭。题签订为南宋画家赵伯骕（1124-1182），对幅书法则为乾隆御题。宋人强调「烧香、烹茶，挂画、插花，四般闲事」（见南宋《梦粱录》）。此帧小扇面，除了反映宋代文人品茶挂画的生活文化，更保留了宋代园林建筑及家具的造型特色，弥足珍贵。",[49,50,23,51,25,54,56,58,63,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc92817d91df028c880aa3c02bbd0c810.jpg",[],{"id":25271,"slug":25272,"title":13650,"dynasty":115,"author":1755,"museum":81,"description":25273,"tags":25274,"thumbUrl":25275,"material":107,"size":107,"collection":107,"collections":25276,"showCount":5,"zanCount":1288,"manualWeight":39,"mainColor":40},227636,"bing-zhu-ye-you-tu-ma-lin-227636","《宋马麟秉烛夜游图》是宋代画家马麟创作的一幅古画。\n\n朦胧的幽雾，伴随着鹅黄的月光，轻轻地降临人间。黝黑的短亭、长廊前，一朵朵犹如淡抹著胭脂、醉卧在绿沙中的海棠花们，深深地吸引着屋内主人的目光。他唤来了仆人，点起了蜡烛；在烛光映衬下，他满足地倚坐于亭内，望著这万重绰约如仙的红颜，看得都痴了。\n\n宋人爱花成痴的傻劲儿，是令人称奇，也令人称羡的。其中，又以素有「花中神仙」之称的海棠，最令宋人钟情、痴狂。海棠激发了宋人赏花的热情，不仅不分晴雨，也不分昼夜。古人燃烛夜赏芳华，或为牡丹，或为梅花；但能令宋人「只恐夜深花睡去，高烧银烛照红妆」的，却独独只有海棠。",[49,50,23,51,2651,25,1962,59,58,64,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff35159932efb51b829eecc61539b4cc0.jpg",[],{"id":25278,"slug":25279,"title":25280,"dynasty":192,"author":2031,"museum":99,"description":25281,"tags":25282,"thumbUrl":25283,"material":107,"size":107,"collection":107,"collections":25284,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":40},227079,"yu-ren-cheng-ma-tu-ming-mo-ben-han-gan-227079","圉人呈马图（明摹本）","韩斡《 圉人呈马图》，生动地表现了骏马的体态神情，准确、简炼，真实。牧马人的形象也威武生动。从画风来看，牧马人两腮胡须，体格高大肥壮，是为胡人相貌;马匹神骏雄健，属来自西域之品种。在造形上，黑白二马健硕丰满，生动逼真，但在线条的描绘上却是细致流畅。",[49,23,50,51,52,134,25,58,225,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b526faf361dadc7a0848f07e8fe74aa.jpg",[],{"id":25286,"slug":25287,"title":25288,"dynasty":97,"author":4047,"museum":81,"description":25289,"tags":25290,"thumbUrl":25291,"material":634,"size":25292,"collection":35,"collections":25293,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":40},224117,"kai-tai-shuo-bing-san-yang-kai-tai-tu-juan-qian-long-224117","开泰说并三阳开泰图卷","是清代乾隆弘历的亲笔图，该幅是摹仿收藏于台北故宫博物院明宣宗（1399－1435）与郎世宁（1688－1766）同名之作。该幅据其自题，谓壬辰（1772）新春，自制开泰说一篇，又仿明宣宗作开泰图。三羊造型，实仿朗世宁开泰图。花石则系邹一桂奉诏补景之作",[49,50,23,51,52,26,119,7,86,1116,8840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0619277c0f73ea795b19279dee6e8c7f.jpg","27.7×63厘米",[35,242],{"id":25295,"slug":25296,"title":25297,"dynasty":115,"author":207,"museum":175,"description":25298,"tags":25299,"thumbUrl":25301,"material":183,"size":25302,"collection":213,"collections":25303,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":75},223605,"qiu-lin-fang-du-tu-zhou-yi-ming-223605","秋林放犊图轴","画面描绘了一个男孩在岸边与平坡之间的秋林中给牛溪喂食的场景。 牛肥壮，孩子调皮。",[49,50,23,84,25,54,8566,64,25300,9552,7],"牛犊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27c9fbfac81e21e219709419b2fe821c.jpg","96.3＊53.2cm",[213,70,242],{"id":25305,"slug":25306,"title":25307,"dynasty":115,"author":207,"museum":222,"description":25308,"tags":25309,"thumbUrl":25310,"material":319,"size":25311,"collection":107,"collections":25312,"showCount":5,"zanCount":1288,"manualWeight":39,"mainColor":40},223492,"ming-huang-ji-qiu-tu-quan-juan-yi-ming-223492","明皇击球图全卷","图绘十六人击球之场面。画作左右各绘球门一扇，均两人守一门，画中部唐明皇带领后宫佳丽及臣子骑马击球，人物姿态各异，穿着随意，表情喜庆欢乐。旧传为李公麟所作，卷尾有明傅著、吴乾、董其昌等跋，",[49,50,23,51,52,135,58,225,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68798f2e4eb8278bdfe8b44f29281933.jpg","32.1×226",[],{"id":25314,"slug":25315,"title":25316,"dynasty":115,"author":207,"museum":222,"description":25317,"tags":25318,"thumbUrl":25319,"material":239,"size":25320,"collection":35,"collections":25321,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":75},223449,"han-ya-tu-juan-yi-ming-223449","寒鸦图卷","此图淡彩画雪霁严林、群鸭、寒塘衰草。",[49,23,51,52,26,25,54,55,86,7,967,137,66,1050,61,3291,6892],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69ba2c5fb104dfc8ae7bd32e5b801ac1.jpg","27.1×113.2cm",[35,72],{"id":25323,"slug":25324,"title":25325,"dynasty":115,"author":207,"museum":175,"description":25326,"tags":25327,"thumbUrl":25329,"material":227,"size":25330,"collection":107,"collections":25331,"showCount":5,"zanCount":1288,"manualWeight":39,"mainColor":75},223373,"xie-sheng-cao-chong-tu-yi-ming-223373","写生草虫图","画面右侧绘野生花草，狗尾、紫菀莛叶穿插。菜粉蝶落在花上吸取花蜜，蜻蜓徐徐低飞，蚱蜢跃跃欲跳，整幅画面充满动感。3只昆虫在画面上的等边三角形构图平衡了丛生的野草所造成的重心偏倚，使画面结构稳定。野草和花叶用花青加汁绿勾填，花用没骨法出之，昆虫兼工带写，形态逼真",[49,50,23,51,54,25,2641,27,5824,316,315,12021,25328,2559,7],"草本植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf81f5379cd474d1d26ba4e587d518bb.jpg","25.9x26.9",[],{"id":25333,"slug":25334,"title":25335,"dynasty":97,"author":800,"museum":99,"description":1425,"tags":25336,"thumbUrl":25337,"material":319,"size":107,"collection":122,"collections":25338,"showCount":5,"zanCount":743,"manualWeight":39,"mainColor":40},223292,"wu-yan-shi-zheng-ban-qiao-223292","五言诗",[49,23,51,84,119,7,26,105,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa3c5a5bdcf2543aa3e72177efe971d9.jpg",[122],{"id":25340,"slug":25341,"title":25342,"dynasty":97,"author":15115,"museum":175,"description":25343,"tags":25344,"thumbUrl":25345,"material":183,"size":25346,"collection":35,"collections":25347,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":75},223146,"yao-xie-shi-yi-tu-ce-di-yi-kai-fu-jian-long-yuan-shen-hua-tian-zhong-shan-shu-ren-xiong-223146","姚燮诗意图册-第一开：俯见龙渊深，花田种珊树","此套共十册，每册十二开，每开除录有姚燮诗句外，还分别钤“熊”朱文印或“渭长”白文印。册页最后另有四开，分别有任熊、熊松之、吴云、沈钰、曹峋、李鸿裔等人题跋。据任熊自跋，作品完成于咸丰元年（1851年），时年29岁。\n这套共计一百二十张的册页是任熊在友人姚燮家里居住时为主人所画。姚燮，字梅伯，号复庄，浙江镇海人。道光年间举人，以诗见称于世。此册以姚燮的诗句命题，题材丰富多样，人物鬼神、花鸟鱼虫、仙山楼阁、亭榭风月皆聚于尺幅之间。全册别具匠心，常有神来之笔；设色则于鲜丽中见古雅之气，堪称任氏巅峰时期的铭心佳构。",[49,23,25,24,54,56,61,150,1239,967,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9a59808ca4c73d2f3f45837adf2e796.jpg","纵27.3厘米，横32.5厘米",[35],{"id":25349,"slug":25350,"title":25351,"dynasty":97,"author":1235,"museum":175,"description":9384,"tags":25352,"thumbUrl":25353,"material":183,"size":9387,"collection":107,"collections":25354,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":75},222871,"shi-gong-ci-tu-ce-10-leng-mei-222871","十宫词图册10",[49,23,51,24,25,54,1962,58,59,63,28,150,86,7,136,1019,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bd2236aae6940996a247db8ce2dd9c7.jpg",[],{"id":25356,"slug":25357,"title":25358,"dynasty":97,"author":736,"museum":81,"description":25359,"tags":25360,"thumbUrl":25361,"material":183,"size":25362,"collection":35,"collections":25363,"showCount":5,"zanCount":1288,"manualWeight":39,"mainColor":40},222797,"xue-dian-diao-tu-lang-shi-ning-222797","雪点雕图","此马是科尔沁郡王诺们额尔图稣图于乾隆八年（公元1743）进贡郎世宁奉命绘制此图。雪点雕真迹2米大估计是采1:1尺寸画下此马，观看雪点雕会有一种大气帝王之相的感觉尤其是炯炯有神的眼神，站姿祥而不燥威而不俗，在十骏中无论是外型或是命名雪点雕都堪称是帝王最爱的珍宝，所以雪点雕被称为帝王之星真是恰如其分。",[49,23,51,50,54,25,225,1116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e4f72d5a32ce2413da55c7f05bde973.jpg","94.69-110cm",[35,72],{"id":25365,"slug":25366,"title":25367,"dynasty":18,"author":524,"museum":81,"description":25368,"tags":25369,"thumbUrl":25370,"material":1087,"size":25371,"collection":70,"collections":25372,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":40},222675,"lin-quan-gao-yi-tu-xiang-sheng-mo-222675","林泉高逸图","水墨绘山水一隅，山石围水而立，山坡平缓起伏，水面宽阔平静，一派安详静谧之气氛。项圣谟，初字逸，号易庵，明末清初画家，善画山水、人物、花卉，擅绘松树，有“项松之名满东南”之誉",[49,23,26,52,56,150,64,9970,751,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90f17316dac0c91e0c3ee608508eb723.jpg","33x126cm",[70,242],{"id":25374,"slug":25375,"title":25376,"dynasty":18,"author":14081,"museum":20,"description":19995,"tags":25377,"thumbUrl":25378,"material":107,"size":107,"collection":107,"collections":25379,"showCount":5,"zanCount":743,"manualWeight":39,"mainColor":40},222513,"shen-xian-tu-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菜根长出一株杂草，细长的草茎上栖息着一只蚱蜢。 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卒年四十九。有依旧草堂遗稿。",[23,51,135,58,225,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc96b52fee85089219cf472c59aba9ed.jpg",[199],{"id":25866,"slug":25867,"title":25868,"dynasty":18,"author":14081,"museum":99,"description":25869,"tags":25870,"thumbUrl":25871,"material":107,"size":107,"collection":107,"collections":25872,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":40},237921,"qi-lv-lao-zhe-zhou-zhang-lu-237921","骑驴老者轴","以极简写意之笔绘就策驴老者，笔墨酣畅率意，脱尽繁缛。淡墨勾勒衣袍褶皱，寥寥数笔便将老者宽袍缓行、神态悠然的模样尽显，驴儿抬蹄疾走的野趣亦跃然纸上，形神兼备。画面留白雅致，搭配题诗相映成趣，将文人林下游赏归来，不沾尘俗的疏旷随性勾勒尽致，尽显山野逸趣，把超脱不羁的林下襟怀藏进简练笔墨之中。",[23,51,84,26,58,3725,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac1de4e9ca22fe124f140d49132608d5.jpg",[],{"id":25874,"slug":25875,"title":25876,"dynasty":97,"author":25199,"museum":99,"description":25877,"tags":25878,"thumbUrl":25879,"material":107,"size":107,"collection":70,"collections":25880,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":40},237690,"mei-qing-qu-xing-shi-shi-tu-zhou-mei-qing-237690","梅清瞿硎石室图轴","梅清（1623-1697），清初画家、诗人。原名士羲，后改今名，字渊公，号瞿山、敬亭山农，宣城（今属安徽）人。世祖顺治十一年（1654）举人，四次 北上会试，不第告终。与石涛交往友善，相互切磋画艺。石涛与梅清，皆有“黄山派”巨子的誉称。后遭家落，屏迹稼园，郁郁无所处，寄情诗画自娱。屡登黄山，观烟云变幻，银涛起伏，印心手随，景象奇伟。笔法松秀，墨色苍浑；后人称 梅清、梅庚、石涛，戴本孝等为黄山派。传世作品有《山村清景图》、《黄山图》、《黄山十九景图》、《黄山炼丹台图》等。",[23,84,26,56,58,610,277,55,7,86,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4980073cdbde0a994569769bb864028f.jpg",[70],{"id":25882,"slug":25883,"title":2895,"dynasty":97,"author":1082,"museum":99,"description":5399,"tags":25884,"thumbUrl":25885,"material":319,"size":107,"collection":107,"collections":25886,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":40},237624,"za-hua-ce-zhu-da-237624",[23,26,403,27,1227,265,332,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21c05936f6377c0e60f7f681d653d679.jpg",[],{"id":25888,"slug":25889,"title":2895,"dynasty":97,"author":1082,"museum":99,"description":5399,"tags":25890,"thumbUrl":25891,"material":319,"size":107,"collection":107,"collections":25892,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":40},237623,"za-hua-ce-zhu-da-237623",[23,26,403,27,24,29,420,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2e7d89a315d4450c5939afbbf6e3ae3.jpg",[],{"id":25894,"slug":25895,"title":20270,"dynasty":97,"author":5309,"museum":99,"description":17796,"tags":25896,"thumbUrl":25897,"material":107,"size":107,"collection":107,"collections":25898,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":40},237582,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237582",[23,51,24,26,55,134,56,967,137,277,1902,9552,64,2611,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57baa8839dc6361ac243cc972732649b.jpg",[],{"id":25900,"slug":25901,"title":25902,"dynasty":18,"author":25903,"museum":99,"description":25904,"tags":25905,"thumbUrl":25906,"material":689,"size":690,"collection":35,"collections":25907,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":40},237274,"zhi-hua-ce-chen-dao-237274","指画册","陈道","陈道，字常经，生卒年不详。明代广东归善县铁炉湖人。正统八年（1443）贡监，授抚州府推官，代理全府之事务。有一年闹饥荒，陈提出发放仓库里的粮食赈灾。一些府官则说，必须按惯例向上级申请。陈说：“人们都快要饿死了，怎么还能等到申请获得批准？责任由我个人承担，决不连累你们。”仓库的粮食不够赈济，陈就将自己的薪金捐献出去。总共救济了几万灾民。不久上级认为陈专权，严厉责备他。陈不顾自己生活困难，毅然辞职归田。陈对子女管教得很严，规劝子女不要穿华丽的服饰。他的子孙后代，名声很好。",[23,51,24,15690,26,1171,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfa92256e6d38e8d50e01978afc127fa.jpg",[35,242],{"id":25909,"slug":25910,"title":25911,"dynasty":97,"author":445,"museum":99,"description":3557,"tags":25912,"thumbUrl":25913,"material":689,"size":690,"collection":107,"collections":25914,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":40},236343,"yuan-ji-lan-shi-shan-shi-tao-236343","原济兰石扇",[50,23,51,822,26,251,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F681a6f9bf2925a9eb7dfa44cdf8ba289.jpg",[],{"id":25916,"slug":25917,"title":5869,"dynasty":97,"author":445,"museum":99,"description":25918,"tags":25919,"thumbUrl":25920,"material":107,"size":107,"collection":107,"collections":25921,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":40},235883,"yuan-ji-shan-shui-tu-ce-shi-tao-235883","此开以淡墨晕染出夜江空濛之境，远山如笼轻烟，朦胧柔婉。坡岸古松虬曲苍劲，枝叶疏密交错，暗合晚风拂林之态。浅滩扁舟静泊，舱内灯影隐约，将羁旅夜泊的清寂诗意缓缓铺陈。\n\n行书题诗与画面相映成趣，笔意疏朗清逸，诗句将烟月横塘的缱绻旅思娓娓道来，诗画交融无间。整幅以简驭繁，淡设色烘托出静谧悠远的晚江氛围，寥寥数笔便写尽江湖寄兴的闲淡意绪，尽显文人画诗画合璧的雅致风神，把幽寂淡远的羁愁融于尺幅之间。",[23,51,24,26,25,56,610,1597,278,119,86,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d386381e3f4f6870eb0fa126626adb4.jpg",[],{"id":25923,"slug":25924,"title":17,"dynasty":18,"author":12724,"museum":99,"description":22182,"tags":25925,"thumbUrl":25926,"material":689,"size":690,"collection":107,"collections":25927,"showCount":141,"zanCount":743,"manualWeight":39,"mainColor":40},235723,"hua-niao-ce-tan-zhi-yi-235723",[50,23,51,24,26,27,552,265,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F754d533672d348e12400db586ea98fde.jpg",[],{"id":25929,"slug":25930,"title":25931,"dynasty":18,"author":524,"museum":99,"description":11451,"tags":25932,"thumbUrl":25933,"material":689,"size":690,"collection":107,"collections":25934,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":40},235480,"lan-shi-zhou-xiang-sheng-mo-235480","兰石轴",[23,84,26,25,119,86,7,403,251,700],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e8e1ec05a2947cf61302ad7de572a69.jpg",[],{"id":25936,"slug":25937,"title":25938,"dynasty":97,"author":15896,"museum":99,"description":15897,"tags":25939,"thumbUrl":25940,"material":107,"size":107,"collection":107,"collections":25941,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":40},234627,"hua-hui-wan-shan-zhu-cheng-234627","花卉纨扇",[23,51,822,25,27,28,358,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa358ac9a104d3e850308a86b6a320292.jpg",[],{"id":25943,"slug":25944,"title":7228,"dynasty":97,"author":1082,"museum":175,"description":25945,"tags":25946,"thumbUrl":25947,"material":1087,"size":25948,"collection":107,"collections":25949,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":40},234302,"shan-shui-ce-zhu-da-234302","朱耷，明太祖朱元璋第十七子朱权九世孙，本名朱统托，字雪箇，号八大山人、箇山 、人屋、道朗等，江西南昌人。其他别号，尚有箇山驴、驴屋、驴汉、人屋、刃庵、拾得、何园、洛园、黄竹园、书年、书疾、八还等，不一而足。其祖父朱多炡、父朱谋觐、叔父朱谋垔均能诗善画。\n朱耷八岁即能诗，十一岁能画山水，悬腕写米家小楷。明亡朱耷为僧为道，所作写意花鸟，形象夸张，笔墨凝練，风格雄奇；山水笔致简洁，静穆疏旷。 花甲始用八大山人署名，常四字连缀，仿佛哭之笑之，为清初四僧之一。",[23,26,55,24,7,56,62,64,150,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F407a0f23048f46ee0041bf52f26c96e4.jpg","纵二六厘米，横四一厘米",[],{"id":25951,"slug":25952,"title":25953,"dynasty":18,"author":25954,"museum":99,"description":25955,"tags":25956,"thumbUrl":25957,"material":107,"size":107,"collection":107,"collections":25958,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":40},234216,"bai-miao-jiu-ge-tu-juan-wu-gui-234216","白描九歌图卷","吴桂","《九歌》是屈原《楚辞》的篇名之一。此《九歌图》卷由元代张渥绘，褚奂隶书题词。画卷依次描绘了《九歌》的十一篇：东皇太一、云中君、湘君、湘夫人、大司命、少司命、东君、河伯、山鬼、国殇、礼魂。此卷现藏于美国克利夫兰艺术博物馆，约绘于元至正二十一年，拖尾有陆时化、叶恭绰、吴湖帆、吴华源、徐邦达等人跋。",[49,23,51,52,135,58,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74b4805ad4afd40f680d4258ef202e2b.jpg",[],{"id":25960,"slug":25961,"title":20769,"dynasty":97,"author":655,"museum":329,"description":20770,"tags":25962,"thumbUrl":25963,"material":779,"size":20773,"collection":107,"collections":25964,"showCount":141,"zanCount":1288,"manualWeight":39,"mainColor":40},233864,"mei-hua-ce-jin-nong-233864",[23,50,24,26,86,7,528,59,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49e7776150e91fd80518976f353159d7.jpg",[],{"id":25966,"slug":25967,"title":25968,"dynasty":18,"author":8906,"museum":175,"description":25969,"tags":25970,"thumbUrl":25971,"material":25972,"size":25973,"collection":107,"collections":25974,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":40},233830,"san-shu-tu-juan-zhu-zhan-ji-233830","三鼠图卷","该画卷由三件画作组成，分别为：苦瓜鼠图（纸本墨笔）、菖蒲鼠荔图（绢本设色）、食荔图。卷末有明宪宗朱见深御制题跋。此卷现藏于北京故宫博物院，钤明末宋荦、清乾隆、嘉庆、宣统等藏印。\n虽然同为一卷画，但《苦瓜鼠图》与《菖蒲鼠荔图》《食荔图》的风格有很大的不同。《苦瓜鼠图》用笔爽朗，逸笔草草，与朱瞻基《武侯高卧图卷》（北京故宫博物院藏）中的墨竹、丛草以及《松云荷雀图卷》中的荷叶、兰草和寿石的笔法一致。而《菖蒲鼠荔图》和《食荔图》则工整秀逸，笔法精到。画中老鼠偷食苦瓜及红荔饶有趣味，前者将并不为人待见的老鼠的憨态与顽皮神态鲜活地表现出来，正如韩昂在《图绘宝鉴续纂》中评朱瞻基画艺所说：“万几之暇，留神词翰，于图画之作，随意所至，尤极精妙” ；后者所写 “荔枝” 有语带双关之意，“红荔” 与 “红利” 谐音，而 “荔枝” 又有 “一本万利” 之义，故老鼠啃食荔枝，具有吉祥寓意，其画中的内涵，已然超越了画作本身。",[23,51,52,54,25,3252,1194,12209,265,1714,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37524d5d18f707fb2aabe2b8bb52ec5.jpg","纸本墨笔、绢本设色","纵28.2，横 38.5 厘米",[],{"id":25976,"slug":25977,"title":25978,"dynasty":97,"author":18344,"museum":175,"description":25979,"tags":25980,"thumbUrl":25981,"material":391,"size":25982,"collection":107,"collections":25983,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":40},233794,"zi-lang-xian-guan-tu-zhou-qian-du-233794","紫琅仙馆图轴","《紫琅仙馆图》原为赵孟頫所作，钱杜曾于京城见过真迹，后为友人月樵先生背临而成。根据该图所题款识可知此图作于清嘉庆二十四年（1819年），作者时年56岁。20余年后（道光二十二年，1842年），此图为梅盦主人所得，又延请钱杜在画上重题一则。\n《紫琅仙馆图》画面意境清幽萧疏，气氛安逸，表现了文人理想化的幽居生活。作者通过对文人高雅清幽的生活环境的描写，来反映他们的生活理想和人品情操。此图虽源于赵氏原作，但用笔细密工整，人物、楼宇刻划精微，古拙之中见灵秀之气，此则是钱氏自家的特点。其构图形式与着色则带有吴门画派的特点，尤其有文徵明“细笔”画法的影响。",[23,84,25,56,59,60,58,64,55,54,7,86,150,295,1050],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F756d04cdbae0e571becc2aae1f06cd9f.jpg","纵132厘米，横27.1厘米",[],{"id":25985,"slug":25986,"title":25987,"dynasty":97,"author":9011,"museum":175,"description":25988,"tags":25989,"thumbUrl":25990,"material":319,"size":25991,"collection":107,"collections":25992,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":40},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。",[50,23,51,84,26,25,58,5348,5347,7,86,119,54,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F997cb5d2b0b5987d9282370e10f50eb4.jpg","纵64.5 厘米，横36.2 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107.1x28.9公分、詩塘 50.4×28.9公分、全幅 52.5公分",[],{"id":26027,"slug":26028,"title":26029,"dynasty":97,"author":5309,"museum":99,"description":26030,"tags":26031,"thumbUrl":26032,"material":107,"size":107,"collection":107,"collections":26033,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":40},230960,"guan-mei-tu-wang-hui-230960","观梅图","观梅图卷，清代，王翠作画。\n纸本，画心纵28.8，横7.厘米。\n浅设色，写峰峦幽深，飞瀑流泉，半山高台处筑一草亭，亭内盘坐一人，倾身仰望溪流边芬芳吐艳的红梅。\n用笔虽简，但人物的神态竟被捕捉无遗。\n草亭四周翠竹环绕与远处的密林构成一种清幽的环境。\n山石多用干笔皴擦，配以浓墨苔点，古朴苍劲，款署“耕烟散人王翚画于天潭邃谷”，钤“耕烟散人时年七十有四”。\n此图当为康熙四十五年(176)所作。\n鉴赏章有“乾隆御览之宝”、“宣统鉴赏”等章。\n原为清内府所藏，现藏旅顺博物馆。",[23,51,26,55,56,528,63,293,61,150,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8a2eb106bca04ce73a4b61fc1f9cf4.jpg",[],{"id":26035,"slug":26036,"title":26037,"dynasty":97,"author":26038,"museum":99,"description":26039,"tags":26040,"thumbUrl":26041,"material":689,"size":690,"collection":107,"collections":26042,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":40},230136,"lin-mi-fei-pai-pin-yi-wei-ai-xin-jue-luo-xuan-ye-230136","临米芾（拍品疑伪）","爱新觉罗.玄烨","清圣祖爱新觉罗·玄烨（1654年5月4日—1722年12月20日），清朝第四位皇帝，清定都北京后第二位皇帝（1661年-1722年在位），年号“康熙”。蒙古人称为恩赫阿木古朗汗；西藏方面尊称为“文殊皇帝”。顺治帝第三子，生母为孝康章皇后佟佳氏。",[49,86,119,134,7,84,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08abe9b0d1b45a0e2b049510cb17c466.jpg",[],{"id":26044,"slug":26045,"title":13961,"dynasty":18,"author":2059,"museum":99,"description":26046,"tags":26047,"thumbUrl":26048,"material":107,"size":107,"collection":107,"collections":26049,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":40},228874,"gu-song-tu-wen-zheng-ming-228874","此作用笔苍秀老辣，古松盘虬屈曲，躯干以淡墨皴擦晕染，尽显嶙峋斑驳的百年肌理。留白勾出枯槎如银铁之骨，横斜扭转间尽露倔强姿态。松针以焦墨攒簇锋芒毕现，如寒戟森森，满溢凌然风骨。\n\n左侧题字笔意清劲挺拔，与画中奇松相得益彰，书画合璧。整幅以素净纸色衬出古松孤高，水墨洗练却真气弥满，将古松岁寒不凋的君子品格刻画得入木三分，尽抒孤傲清刚的文人意趣。",[49,23,51,52,26,55,777,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2dec8a1811c9c694ad2963a886ad04d.jpg",[],{"id":26051,"slug":26052,"title":23012,"dynasty":146,"author":1466,"museum":99,"description":26053,"tags":26054,"thumbUrl":26055,"material":107,"size":107,"collection":107,"collections":26056,"showCount":141,"zanCount":1288,"manualWeight":39,"mainColor":40},228174,"ma-tu-ren-ren-fa-228174","此画以淡墨细劲勾勒出马的轮廓，辅以温润晕染烘托出躯体丰腴质感，垂首敛颈的骏马神态温驯悠然。以淡墨点簇晕开斑纹，层次柔润自然，细腻晕染下可见肌理起伏，牵丝勾勒的鬃毛劲挺顺滑，尽显良驹的神俊内敛。浅褐绢面留白衬出马儿松弛沉静的状态，右上角朱红方印古雅沉静，与底色相映成趣。整幅画作工致又不失写意松弛，于简淡笔墨间尽显写实功力，将鞍马温顺沉静的气质刻画入微，尽显古雅清隽的画中逸韵。",[49,50,23,51,54,25,225,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F559e9ea5c261803d6c4da058f76d720c.jpg",[],{"id":26058,"slug":26059,"title":7349,"dynasty":146,"author":1466,"museum":99,"description":26060,"tags":26061,"thumbUrl":26062,"material":107,"size":107,"collection":107,"collections":26063,"showCount":141,"zanCount":1288,"manualWeight":39,"mainColor":924},228173,"ren-ma-tu-juan-ren-ren-fa-228173","此卷绘三匹神骏，或昂首徐行，或垂目安步，筋骨肌理刻画入微，膘肥体健，神骏之态毕现。牵马者神情各异，衣冠服饰线条劲挺流畅，设色雅致沉稳，将人物的身份气度描摹得鲜活自然。\n\n画作写实精妙，比例精准，尽显创作者观察细致、笔力深厚。搭配的题字笔墨酣畅，与绘作相映成趣，整卷古意悠然，将人马之间的呼应刻画得浑然天成，尽显鞍马人物画的高古雅致风韵。",[49,50,23,51,52,54,25,58,225,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd27670cfe79fb7e698f1516afb9d52f7.jpg",[],{"id":26065,"slug":26066,"title":26067,"dynasty":146,"author":7721,"museum":99,"description":26068,"tags":26069,"thumbUrl":26070,"material":107,"size":107,"collection":107,"collections":26071,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":40},228161,"qiu-jing-chun-que-tu-wang-yuan-228161","秋景鹑雀图","此作为水墨花鸟精品，以全景式铺陈秋日小景。枝桠虬劲舒展，数只雀鸟或振翅翻飞、或栖枝理羽，灵动鲜活，将秋空的清寂晕开几分生机。坡石苍朴古拙，枯笔写意勾勒尽显嶙峋质感，旁侧竹篁挺秀、野菊含芳，笔墨秀雅细腻，晕染间尽显草木清疏之态。\n\n坡下鹌鹑伏于浅草间，羽色纹理描摹入微，憨态尽显。整作纯以水墨绘就，摒去设色浮华，以浓淡干湿变化表现物象肌理，工写相融，既有禽鸟刻画的精工雅致，又有花木坡石的写意苍润，将秋日郊野的清旷意趣与灵动生机揉合一处，尽显清淡古雅的文人意韵。",[49,23,51,84,26,54,27,358,529,277,66,3567,7,531,1116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5177d8103b4a3a8119cd7797cf489d1.jpg",[],{"id":26073,"slug":26074,"title":26075,"dynasty":115,"author":26076,"museum":99,"description":26077,"tags":26078,"thumbUrl":26079,"material":107,"size":107,"collection":107,"collections":26080,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":75},227984,"lin-luan-ji-cui-tu-juan-jiang-can-227984","林峦积翠图卷","江参","《中国历代绘画鉴赏》收录了从战国一直到民国初年的著名传世绘画多幅。\n每幅画作附有简明的阐释文字，包括创作年代、质地、尺寸、图版名称、作者简介以及2字左右的赏析文字。\n赏析文字从审美和史学的视角比较全面地展示了每一幅画作的艺术特色和史学价值。\n《中国历代绘画鉴赏》由 出版。\n赵启斌，1968年出生于山东省滕州市，1997年毕业于 ，2年进入南京博物院古代艺术研究所，从事书画艺术研究工作。\n先后参与完成《江苏历代书画精选》、《南京博物院珍藏系列一明清肖像画》、《河山在目一傅抱石百年纪念画集》、《中国美术分类全集·其他地区画像砖》、《南京博物院藏—陈之佛家族捐·陈之佛绘画作品集》、《南京博物院藏·傅抱石家族捐·傅抱石绘画作品集》、《雨花石志》等书的编撰工作，或执笔完成理论部分。\n先后在专业期刊上发表研究论文8余篇，同时致力于古体诗词、现代诗词和书画创作。\n序 人物龙凤图\u002F佚名 人物御龙图\u002F佚名 一号汉墓帛画\u002F佚名 洛神赋图\u002F顾恺之 女史箴图\u002F顾皑之 列女图\u002F顾恺之 职贡图\u002F萧绎 北齐校书图\u002F杨子华创稿阎立本再稿 游春图\u002F展子虔 步辇图\u002F阎立本 历代帝王图\u002F阎立本 江帆楼阁图\u002F李思训 明皇幸蜀图\u002F李昭道（传） 五星二十八神形图\u002F梁令瓒（传） 捣练图\u002F张萱 送子天王图\u002F吴道子 长江积雪图\u002F王维 辋川图\u002F王维（传） 伏生授经图\u002F王维（传） 八公图\u002F陈闳（传） 文苑图\u002F韩混（传） 五牛图\u002F韩洗（传） 簪花仕女图\u002F周防 真言七祖·不空像\u002F李真 \u002F佚名 \u002F佚名 二观世音菩萨像\u002F佚名 高逸图\u002F孙位 雪景行旅图\u002F荆浩（传） 琉璃堂人物图\u002F周文矩 后主观棋图\u002F周文矩 宫中图卷\u002F周文矩 十六罗汉图\u002F贯休（传） 夏景山口待渡图\u002F董源 龙宿郊民图\u002F董源 潇湘图\u002F董源 二祖调心图\u002F石恪 晴峦萧寺图\u002F李成 读碑窠石图\u002F李成 寒林骑驴图\u002F李成（传） 明皇避暑宫图\u002F郭忠恕（传） 渔父图\u002F许道宁 聚猿图\u002F易元吉 调马图\u002F郝澄 窠石平远图\u002F郭熙 湖庄消夏图\u002F赵令穰 \u002F李公麟（传） 文会图\u002F赵佶 五色鹦鹉图\u002F赵佶 翠竹双禽图\u002F赵佶 听琴图\u002F赵佶 清明上河图\u002F张择端 睢阳五老图\u002F侠名 晋文公复国图\u002F李唐（传） 山水图（二幅）\u002F李唐 潇湘奇观图\u002F米友仁 林峦积翠图\u002F江参 前赤壁图\u002F杨士贤（传） 四季牧牛图\u002F阎次平 ……",[49,23,50,51,52,26,55,56,64,60,61,62,150,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97db37cffb87548402a787e2be5270f2.jpg",[],{"id":26082,"slug":26083,"title":26084,"dynasty":115,"author":881,"museum":99,"description":26085,"tags":26086,"thumbUrl":26087,"material":107,"size":107,"collection":107,"collections":26088,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":75},227829,"wen-dao-tu-ma-yuan-227829","问道图","《明戴进洞天问道图》是明朝画家戴进创作的绢本设色画。\n描绘了深山大川、弥散的云气、 的青松、激荡的水流等山中之景。\n作品现藏于 。\n此图描绘 黄帝至 向 问道的故事。\n画面左侧峰峦突起，直入云霄，右侧古松茂蔚，老干虬枝。\n山谷险道上，身着衮服的皇帝孤身赴洞天问道。\n山石用斧劈皴，人物作琴弦描。\n设色淡雅。\n画风学南宋[画体]而又有元人秀劲的特色，为戴氏前期比较精微优美的佳构。\n画中署有[同郡戴文进为德宣卿友制]。\n后钤[钱塘戴氏文进]、[文进]二。\n此画笔法劲秀，描写精工，皴染淹润，着色清淡，画面境界有一种神秘幽渺之感。\n整幅作品皴法繁密，有条不紊，理在其中，深远之处用墨稍重，皴擦紧密，传达出了空间深远之感。\n图中山谷险道通往洞天，左侧峰突兀，右边长松茂蔚。\n山石用斧劈皴，人物作琴弦描，结构严谨，笔法秀劲，系南宋院体画法，属于 前期比较精微、优秀的佳作。\n戴进（公元188—1462年），明代画家，《明商录》作名班，学文进，号静庵，父号玉泉山人。\n钱塘（今浙江杭州）人。\n少时作银工，所作钗朵精巧绝伦，以为得以传之久远，后见销银者所熔销之物即出已作，遂改学画。\n神像、人物、走善、花果，翎毛俱精绝。\n所作山水，师马远，夏理，并取法轮照、李唐，俱道劲苍洞，行管顿挫多变，设色敷积沉重出严。\n宜宗时与谢廷循等同为待识，因进绘朱农人垂钓而遭谗。\n放归穷死。\n世评戴进为“浙派”之祖，明朝画流第一。\n传世作品有《春山积翠图》轴、《南屏雅集图》卷等。",[49,50,23,51,26,135,25,58,1115,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe614a528d695d5f88bfee95f233c5e03.jpg",[],{"id":26090,"slug":26091,"title":26092,"dynasty":115,"author":26093,"museum":99,"description":26094,"tags":26095,"thumbUrl":26096,"material":107,"size":107,"collection":107,"collections":26097,"showCount":141,"zanCount":743,"manualWeight":39,"mainColor":40},227639,"bi-tao-yi-shi-tu-ye-ma-shi-rong-227639","碧桃倚石图页","马世荣","《碧桃图》页，宋，纨扇页，绢本，设色，纵24.8厘米，横27厘米。\n\n本幅无款。钤鉴藏印“于”、“腾”、“阿蒙精赏”3方。\n\n图中盛开的碧桃红白相映，枝叶扶疏，娇柔妩媚。虽然画面上仅绘桃花两枝，但它的繁花簇簇、苞蕾盈枝则透露出浓郁的春意。花瓣用多变的细线条勾描后再以白粉或粉红色多层晕染，嫩叶用细红线勾轮廓和叶筋，然后填以花青和汁绿。整幅画面赋色淡雅，自然生动，体现了宋代册页画小中见大的风貌。",[49,50,23,51,24,25,54,27,57,277,119,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00bbefa1115cc37dbd7d4d25f6ff030e.jpg",[],{"id":26099,"slug":26100,"title":26101,"dynasty":115,"author":207,"museum":99,"description":26102,"tags":26103,"thumbUrl":26104,"material":107,"size":107,"collection":107,"collections":26105,"showCount":141,"zanCount":1288,"manualWeight":39,"mainColor":40},227384,"ke-si-mu-dan-tu-ye-yi-ming-227384","缂丝牡丹图页","宋代尤其南宋是纯欣赏性缂丝诞生的摇篮，宋代缂丝，设色典雅，技术精巧，表现手法写实，是缂丝的黄金时代。纵观宋代帝王诸如仁宗、神宗、徽宗、高宗、光宗、宁宗等，他们都对国画有不同程度的兴趣，出于审美心理和装点宫廷的需要都很重视宫廷画院建设，北宋时还曾一度设立画学，尤其是徽宗赵佶，其工笔画及独创书法“瘦金体”（图1-3-3-1，赵佶《闰中秋月诗帖》，现藏北京故宫博物院）体现了他作为艺术家的杰出才能和修养。上行下效，宋代文人士大夫创作、收藏、品鉴艺术品蔚然成风，不少文人在艺术实践的题材、形式及审美旨趣上都有自己的独特见解和品位。",[49,50,23,51,2651,822,1138,25,27,308,315,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17764363065a04d11b9b2bb3a5d41b69.jpg",[],{"id":26107,"slug":26108,"title":26109,"dynasty":97,"author":5100,"museum":99,"description":26110,"tags":26111,"thumbUrl":26112,"material":107,"size":107,"collection":107,"collections":26113,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":75},224600,"da-ji-yang-fu-gui-tu-zhao-zhi-qian-224600","大吉羊富贵图","此作以祥花瑞果铺陈画面，雍容牡丹居于视觉中心，晕染得丰腴饱满，尽显华贵姿态。梅枝斜逸而出，山茶、水仙错落排布，石榴垂坠其间，将四时佳卉瑞果汇聚一堂，暗合多重吉祥寓意。\n\n笔墨兼工带写，叶片勾勒皴擦带着金石书法的刚劲质感，设色雅致沉稳，古旧底色更衬出沉静古韵。左侧题字笔力雄健苍劲，书画相映成趣，将文人意趣与世俗吉庆融为一炉，以朴拙厚重的金石气注入雅致花绘，尽显独特审美风骨，是雅俗共赏的精妙佳构。",[49,23,51,25,27,528,308,28,1195,30,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54f7d887f9a203f39a6a4a9c43134cd3.jpg",[],{"id":26115,"slug":26116,"title":26117,"dynasty":97,"author":25199,"museum":99,"description":26118,"tags":26119,"thumbUrl":26120,"material":107,"size":107,"collection":107,"collections":26121,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":75},224340,"shan-shui-jing-pin-mei-qing-224340","山水精品","此作用笔清劲老辣，山石以干笔枯皴勾勒轮廓，方折奇崛，尽显峭拔之态。虬松横斜苍劲，枝桠如铁，掩映处茅舍幽居，恍若世外灵台。\n\n画作以虚衬实，下半幅大片留白以代深谷云岚，将山谷幽邃辽远尽数托出，虚实相生间，把山林空寂超逸的禅意缓缓铺展。题诗与笔墨相映，文气郁郁，尽显画师胸中丘壑，淡远静穆里，藏着出世高蹈的雅逸襟怀。",[49,23,51,84,26,55,56,277,63,777,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a46e171cbd8812b39da98beb1afde6.jpg",[],{"id":26123,"slug":26124,"title":26125,"dynasty":97,"author":1082,"museum":99,"description":26126,"tags":26127,"thumbUrl":26129,"material":319,"size":107,"collection":122,"collections":26130,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":40},224261,"xing-cao-zhong-tang-zhu-da-224261","行草中堂","雲雾山头顶。雲边阚小房。夏凉窗近竹。冬暖阁朝阳。茧纸衣裳软。山田饭粥香。此生随分过。无可得思量。",[49,86,119,462,51,105,7,26128],"中堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F396395465f833e40ffe3753c9ec0d7d7.jpg",[122],{"id":26132,"slug":26133,"title":26134,"dynasty":97,"author":17994,"museum":99,"description":26135,"tags":26136,"thumbUrl":26137,"material":107,"size":107,"collection":107,"collections":26138,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":40},224197,"bai-he-ling-tu-ye-xin-224197","白鹤岭图","这幅画作以淡墨勾勒皴擦，绘就层叠陡峻的岭岳，山道逶迤盘桓，楼阁凭崖而立，将雄奇山势与雅致人文景致相融。远山以简笔淡染，衬出江天浩渺的空寂意境，整体笔致清疏秀雅，尽显静穆萧散的文人画气质。\n画面右上角题字与山水呼应，文气悠然晕开。以简淡笔墨写尽丘壑之幽，既有山峦的苍浑厚重，又不失江南山水的秀逸空灵，将登高览胜的开阔心境藏于层叠山石间，意韵悠长内敛，是小品山水画里的清逸佳构。",[49,23,51,56,26,25,55,86,7,150,59,2142,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9eec84ce1e5fd0e1223a28f0051174f.jpg",[],{"id":26140,"slug":26141,"title":26142,"dynasty":97,"author":4047,"museum":99,"description":26143,"tags":26144,"thumbUrl":26146,"material":107,"size":107,"collection":107,"collections":26147,"showCount":141,"zanCount":743,"manualWeight":39,"mainColor":75},224124,"chou-xiu-shu-guo-gua-ping-xin-qian-long-224124","绸绣蔬果挂屏芯","清乾隆绸绣蔬果挂屏芯现藏 清乾隆绸绣蔬果挂屏芯 纺织品 清乾隆年间 清宫旧藏 现藏北京 纵68cm，横8cm。\n此屏芯为书法、绘画、刺绣合璧之作品。\n缃黄色绸地上绣乾隆御题诗六首，讲述了笋、桃、梅、杏、茄子、佛手柑的特点及其典故。\n诗文下部绣出此6种果蔬，形象写真，颇有生活情趣。\n刺绣技法娴熟，巧妙地运用了抢针、套针晕色、平针、斜缠等针法绣细微之处，将各种蔬果绣得惟妙惟肖。\n御制诗则用青色丝线以斜缠针、齐针绣制，虽针法简单，但针脚平齐细密，绣出的字体笔锋勾挑忠实于原笔意，传达了原作的神韵。",[49,26145,25,5401,28,66,86,7,7645],"绸绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb09c0aeb8178ebe61a0857c2dfc9cd6d.jpg",[],{"id":26149,"slug":26150,"title":26151,"dynasty":97,"author":4047,"museum":99,"description":26152,"tags":26153,"thumbUrl":26154,"material":107,"size":107,"collection":107,"collections":26155,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":75},224115,"xian-chun-ru-yi-tu-qian-long-224115","先春如意图","此作以淡墨写就岁朝清供之景，素净瓷瓶斜插早梅，虬曲瘦枝缀着冰蕊，冷意里暗透早春暗香。下方朱柿圆润饱满、灵芝卷叶层叠、水仙含苞待放，暗合事事如意、福寿延绵的新春祈愿。\n\n全画笔墨清润雅致，瓶身晕染出莹润瓷光，梅枝苍劲见疏朗之态，蔬果花木写实生动，既有宋院画的精工雅致，又具文人墨戏的淡远意趣。右侧题诗笔致秀逸，诗画相映，将文人雅怀与世俗祈盼相融，淡和清雅间，晕开新春的温婉期许，是意趣俱佳的清供小品。",[23,51,26,135,54,528,181,7,6849,1406],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1356a5120fad8c5835ba6f0bc99ddd19.jpg",[],{"id":26157,"slug":26158,"title":26159,"dynasty":97,"author":1569,"museum":81,"description":7575,"tags":26160,"thumbUrl":26162,"material":15681,"size":15682,"collection":107,"collections":26163,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":40},223092,"hua-dong-fang-chi-guo-tian-wang-xiang-zhou-yao-wen-han-223092","画东方持国天王像轴",[49,105,1284,54,25,84,2779,64,150,66,178,7,26161,5981],"宗教人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc165691c4bc3ab130621b6e655775497.jpg",[],{"id":26165,"slug":26166,"title":26167,"dynasty":18,"author":3904,"museum":20,"description":26168,"tags":26169,"thumbUrl":26170,"material":319,"size":26171,"collection":122,"collections":26172,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":40},222471,"mu-dan-fu-zhu-yun-ming-222471","牡丹赋","此卷笔法精熟,恣肆纵逸,夺人心魄，是为记园内牡丹盛开而书即兴之赋。祝氏中年行草居多，至晚年则喜作大草。由于涉猎广博才分自高，祝氏所书下手便直接晋唐宋元，融会贯通之下独立高标。尤其是他五十岁之后的草书之作，更是吞吐腾挪出神入化。他的此类创作显然得法于唐代张旭、怀素两家，同时也受“宋四家”中黄庭坚的影响，但相形之下愈加狂放烂漫",[49,86,462,52,26,7,308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59a84f256639e0c7480e9acd4a8875bf.jpg","纵30.8 厘米 横925.5 厘米",[122],{"id":26174,"slug":26175,"title":11856,"dynasty":18,"author":1250,"museum":81,"description":26176,"tags":26177,"thumbUrl":26178,"material":319,"size":26179,"collection":107,"collections":26180,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":40},222413,"yuan-yang-zhou-zhi-mian-222413","周之冕（1521—？）明代杰出画家，字服卿，号少谷，长洲（今江苏苏州）人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。善用勾勒法画花，以水墨点染叶子，画法兼工带写，人称勾花点叶法。所作花鸟，形象真实，意态生动，颇有影响。写意花鸟，最有神韵。设色亦鲜雅，家畜各种禽鸟，详其饮啄飞止，故动笔具有生意 。特以嗜酒落魄，不甚为世重耳。又善古隶。\n有明以来写花草者，无如吴郡，而吴郡自沈周之后，无如陈道复（1483—1544）陆叔平（1496—1576）然道复妙而不真，叔平真而不妙，周之冕似能兼之。周之冕采陈道复、陆治二家之长，为吴门画派重要画家。\n万历三十年（1602）作《竹石雄鸡图》轴和《百花图》卷，现藏故宫博物院；（1601）作 桃柳春燕图 手卷；《桂树榴雀图》轴藏南京博物院；万历十三年（1585）作《芙蓉凫鸭》图轴藏上海博物馆；十五年（1587）作《芙蓉双凫图》轴藏沈阳故宫博物院；三十年作《墨花图》卷藏天津市艺术博物馆；同年作《杏花锦鸡图》轴藏苏州市博物馆；二十四年作《梅花野雉图》轴藏辽宁省博物馆。",[49,822,25,54,27,11856,137,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98587f1cbafb6c6a4d818fd057a66c80.jpg","17.5x47.3",[],{"id":26182,"slug":26183,"title":26184,"dynasty":18,"author":14556,"museum":81,"description":26185,"tags":26186,"thumbUrl":26187,"material":319,"size":26188,"collection":107,"collections":26189,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":40},222380,"shi-ba-luo-han-tu-ding-yun-peng-222380","十八罗汉图","该幅白描画十八罗汉，手中分持柱杖、念珠、如意、麈尾、金刚铃等，或行或坐。人物形貌有别，姿势各殊，生动自然。衣纹细劲流畅，并略施墨染，表现立体感。面目轮廓、须眉发丝，用笔纤细如缕，柔韧有力。由此观之，丁氏之作诚如画史所言，“丝发之间，而眉睫意态毕具”。",[49,50,23,51,52,1284,135,26,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4d1bfea05cbdf8b3e027a1ccd7d4949.jpg","该幅28.9x372.3公分",[],{"id":26191,"slug":26192,"title":26193,"dynasty":146,"author":9966,"museum":81,"description":26194,"tags":26195,"thumbUrl":26199,"material":24,"size":26200,"collection":107,"collections":26201,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":40},221803,"jiang-xiang-qiu-wan-juan-li-shi-xing-221803","江乡秋晚卷","此卷画江村平远景色，近处树石掩映，矮屋傍崖。远处行人骑马渡桥，汀渚处处，渔舟往还。石用长皴，山头石间苔点繁密。画幅透视呈现前后高低不同的两个水面，至为奇特。",[49,23,50,52,712,26,56,26196,26197,60,3550,225,11752,26198,61,55,86,7,3652],"树石","矮屋","汀渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F941d89f7717939388ed4acf286c77356.jpg","该幅31x117.4公分",[],{"id":26203,"slug":26204,"title":26205,"dynasty":115,"author":14770,"museum":175,"description":26206,"tags":26207,"thumbUrl":26208,"material":319,"size":26209,"collection":122,"collections":26210,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":40},221462,"shang-hong-zhai-tie-juan-wen-tian-xiang-221462","上宏斋帖卷","此帖内容是祝贺宏斋（包恢）晋官，并述政治。书于宋度宗咸淳元年（1265年），文天祥时年30岁。是年正月文氏除湖南提刑，三月到任，书此札时尚在乡里。\n关于此帖书写原由，明代李时勉跋曰：“盖度宗初接位，招宏父为刑部尚书、签书枢密院事，封南城县侯，故公贺以此书也。”\n此件书法清疏挺竦，风格秀劲，古雅可爱。札中内容涉及文天祥在江西任上对赣寇“用兵丁万人，声罪致讨”之事，对研究当时的历史有重要价值。\n明汪砢玉《珊瑚网》、郁逢庆《郁氏续书画题跋记》，清《式古堂书画汇考》、顾复《平生壮观》、安岐《墨缘汇观》等书著录。",[49,86,119,52,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F507eee38ab40acdd9255c30fe796ae68.jpg","纵39.2cm，横149.9cm",[122],{"id":26212,"slug":26213,"title":26214,"dynasty":115,"author":7045,"museum":222,"description":7046,"tags":26215,"thumbUrl":26216,"material":1636,"size":7049,"collection":107,"collections":26217,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":40},221199,"zi-zuo-shi-juan-quan-juan-di-er-duan-lu-you-221199","自作诗卷（全卷）第二段",[49,50,23,51,52,119,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabd787697f329c54f001fda4d3482ba4.jpg",[],{"id":26219,"slug":26220,"title":26221,"dynasty":2807,"author":207,"museum":99,"description":26222,"tags":26223,"thumbUrl":26224,"material":107,"size":107,"collection":122,"collections":26225,"showCount":141,"zanCount":1288,"manualWeight":39,"mainColor":40},221048,"ji-yi-qie-fu-de-san-mei-jing-juan-yi-ming-221048","集一切福德三昧经卷","【涅槃部】 大乘经五大部中之第五部。",[49,1284,86,436,417,52,502,501,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a682b6d006132fdc9dc1275129a8f68.jpg",[122],{"id":26227,"slug":26228,"title":26229,"dynasty":18,"author":2181,"museum":3815,"description":26230,"tags":26231,"thumbUrl":26232,"material":24,"size":3819,"collection":107,"collections":26233,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":107},220749,"fang-ge-jia-shan-shui-7-dong-qi-chang-220749","仿各家山水-7","近景苍松虬曲古拙，针叶层叠如盖，旁侧杂木疏朗灵动。中景水面渔舟错落，渔人隐于舟间，似在休憩闲坐。层岩以干笔淡墨皴擦，山峦起伏间林木簇生，墨色浓淡晕染出山峦向背。远景峰峦以淡墨轻描，融于空蒙烟波，留白尽显湖山悠远空寂。\n\n全作用笔松秀空灵，简淡中饱含苍润意趣，脱略具象形态而独取山水神韵，将平淡天真的文人意境藏于虚实笔墨之间，尽显萧散简远的山水格调，寥寥笔墨铺展出清雅绝尘的林下幽居之境。",[49,50,23,51,56,26,55,134,7,64,150,66,61,751],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa816efc8ede313cf979ab484ec12fee.jpg",[],{"id":26235,"slug":26236,"title":26237,"dynasty":18,"author":26238,"museum":446,"description":26239,"tags":26240,"thumbUrl":26241,"material":33,"size":26242,"collection":199,"collections":26243,"showCount":141,"zanCount":1288,"manualWeight":39,"mainColor":75},219547,"he-he-er-xian-tu-wang-wen-219547","和合二仙图","王问","寒山与拾得两位大师，是佛教史上著名的诗僧。唐代天台山国清寺隐僧寒山与拾得，行迹怪诞，言语非常，相传是文殊菩萨与普贤菩萨的化身。千百年来，以寒山与拾得为主题的绘画作品数不尽数，此画虽名不见经传，但构图却也别具一格。此画看点在于寒山与拾得所组成的“和合二仙”与民间的旺财神兽金蟾同时出现在一幅画面中，寓意着和谐兴旺吉祥，实为稀有。",[49,23,51,84,26,403,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42e02e7e313cc92df18ce4c447322c93.jpg","156.4x86.8厘米",[199],{"id":26245,"slug":26246,"title":26247,"dynasty":18,"author":26238,"museum":81,"description":26248,"tags":26249,"thumbUrl":26250,"material":26,"size":26251,"collection":199,"collections":26252,"showCount":141,"zanCount":1288,"manualWeight":39,"mainColor":40},219371,"shi-de-xiang-zhou-wang-wen-219371","拾得像轴","拾得是唐朝时能作诗的和尚。他的老师丰干禅师走在赤城的道路上，听到被遗弃小婴儿的哭声，就捡拾教养他，因此名叫“拾得”。拾得与另一位高僧寒山齐名。\n这一幅画，以狂放的笔调，大肆挥洒画出，顷刻之间，就画完成，这是大写意的画法，对于表现拾得疯疯颠颠的形象，真有传神之妙。\n拾得与当世高僧寒山友善，俱以癫狂，好吟词偈。两人传记见於唐人写的《寒山拾得诗》序文：“寒山文殊，遁迹国清；拾得普贤，状如贫子，又似疯狂。”得知时人将二人喻为佛教中的文殊、普贤菩萨。又言：“或长廊徐行，叫嗓凌人。或望空独笑，时僧逐捉打骂，乃驻立抚掌，呵呵大笑，良久而去。”日后画家描绘二人图像，大抵以此为根据，存世作品多见对幅形式，此幅或为其一，唯寒山图去向未知。 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。",[23,51,84,26,58,86,7,119,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11f956757995f65c01ff0229243eb84a.jpg","117.8x54.4",[199],{"id":26254,"slug":26255,"title":26256,"dynasty":97,"author":26257,"museum":81,"description":26258,"tags":26259,"thumbUrl":26260,"material":152,"size":26261,"collection":35,"collections":26262,"showCount":141,"zanCount":1288,"manualWeight":39,"mainColor":75},218812,"liang-ji-liu-zhou-shen-qing-lan-218812","良吉骝轴","沈庆兰","画中良驹伫立绢素之上，棕褐皮毛温润如釉，鬃尾如墨线垂落，拂过坚实的蹄踝。其姿态从容，双目沉静，既见温顺之态，亦藏健硕筋骨之美。笔触细腻处，连皮毛的光泽与蹄质的纹理都清晰可辨，尽显工笔之精。背景素净无饰，更衬出马匹的主体地位，仿佛能感受到它沉稳的呼吸。旁缀题识与朱印，墨色与丹红相映，为画面添了几分古雅的文气。整幅作画笔法工致却不刻板，形神兼备间，藏着对生灵的细致观察与脉脉温情，是清代工笔畜兽画中颇具意趣的一笔。",[50,23,51,84,54,25,225,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15b23658366c2bd9b62d128c660491ae.jpg","161.1x107.5cm",[35],{"id":26264,"slug":26265,"title":26266,"dynasty":97,"author":26267,"museum":525,"description":26268,"tags":26269,"thumbUrl":26270,"material":88,"size":107,"collection":70,"collections":26271,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":40},218096,"song-gang-li-ce-tu-li-shi-zhuo-218096","松岗篱筞图","李世倬","李世倬的松岗篱筞图是一幅古老的图画，它描述了李世倬在清朝时期的生活。李世倬是一位著名的政治家和文学家，在清朝时期担任过多项重要的官职。\n\n松岗篱筞图是画家绘制的，描述了李世倬在一个被松树环绕的小山丘上休息的场景。图中的李世倬坐在草地上，身旁有一棵松树，头戴蓝色的帽子，身穿蓝色的衣服。图中还有许多其他的元素，如山峰、水池、花和草，构成了一幅优美的图画。\n\n松岗篱筞图的意义在于描述了李世倬的生活，展示了他在清朝时期的形象。这幅图画被广泛收藏，并被认为是一件艺术珍品。",[23,51,84,26,56,777,150,58,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bc95db06db85e19d2b7b7b3001002f0.jpg",[70],{"id":26273,"slug":26274,"title":26275,"dynasty":18,"author":955,"museum":329,"description":14148,"tags":26276,"thumbUrl":26277,"material":152,"size":107,"collection":107,"collections":26278,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":40},218025,"za-hua-ce-6-chen-hong-shou-218025","杂画册-6",[23,51,24,25,58,54,119,181,2601,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d621bec8e19bfddf815ee74ab5a3807.jpg",[],{"id":26280,"slug":26281,"title":26282,"dynasty":18,"author":26283,"museum":81,"description":26284,"tags":26285,"thumbUrl":26286,"material":33,"size":23007,"collection":199,"collections":26287,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":40},216974,"shi-ba-ying-zhen-xiang-zheng-zhong-216974","十八应真像","郑重","该图描绘了十八罗汉过海的故事，罗汉们有各种不同的身份，包括骑着神兽的罗汉和有神力的罗汉。衣服的简单描绘和优雅的色彩使这幅作品对郑重来说是一件强有力的作品。",[23,51,84,1284,58,54,25,7,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a11ecd225128596dfa7d61ef7e5c7d6.jpg",[199],{"id":26289,"slug":26290,"title":26291,"dynasty":97,"author":5319,"museum":20,"description":5320,"tags":26292,"thumbUrl":26293,"material":88,"size":107,"collection":107,"collections":26294,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":924},214689,"hua-hui-ce-4-luo-pin-214689","花卉册-4",[23,51,24,26,528,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F894fb7c0ea0cb65124498b55262dc141.jpg",[],{"id":26296,"slug":26297,"title":26298,"dynasty":18,"author":3904,"museum":81,"description":3905,"tags":26299,"thumbUrl":26300,"material":88,"size":3908,"collection":107,"collections":26301,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":40},214553,"za-shu-shi-tie-juan-2-zhu-yun-ming-214553","杂书诗帖卷-2",[49,86,462,52,418,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c0cc921ec4eb0e988df91f919cb9d5.jpg",[],{"id":26303,"slug":26304,"title":26305,"dynasty":97,"author":445,"museum":485,"description":3029,"tags":26306,"thumbUrl":26307,"material":33,"size":3032,"collection":107,"collections":26308,"showCount":141,"zanCount":39,"manualWeight":39,"mainColor":40},214531,"yi-jin-ling-ce-3-shi-tao-214531","忆金陵册-3",[23,51,24,26,25,56,58,137,62,727,64,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2aff57056092af138d63c25edfe525d.jpg",[],{"id":26310,"slug":26311,"title":18353,"dynasty":146,"author":20435,"museum":99,"description":26312,"tags":26313,"thumbUrl":26314,"material":689,"size":690,"collection":107,"collections":26315,"showCount":26316,"zanCount":1288,"manualWeight":39,"mainColor":75},290952,"chun-shan-tu-yang-wei-zhen-290952","杨维桢（1296年－1370年），字廉夫，号铁崖、铁笛道人，又号铁心道人、铁冠道人、铁龙道人、梅花道人等，晚年自号老铁、抱遗老人、东维子。绍兴路诸暨州枫桥全堂（今浙江省诸暨市枫桥镇全堂村）人。元末明初诗人、文学家、书画家。\n杨维桢自幼聪颖，其父杨宏对他寄予厚望。泰定四年（1327年）中进士，放天台县尹，因惩治作恶县吏，遭奸吏报复免官。后任职钱清盐场，因请求减轻盐税被斥为忤上，以至十年不调。后官至建德路总管府推官，继升江西儒学提举。元末避乱居富春山，后迁居钱塘（今杭州）。张士诚居浙西时屡召不赴，后徙松江，从此遨游山水，以声色自娱，东南才俊之士登门求教不绝。\n杨维桢的诗，最富特色的是他的古乐府诗，既婉丽动人，又雄迈自然，史称“铁崖体”，极为历代文人所推崇。有称其为“一代诗宗”、“标新领异”的，也有誉其“以横绝一世之才，乘其弊而力矫之”的，当代学者杨镰更称其为“元末江南诗坛泰斗”。他著述等身，行于世的著作有《春秋合题着说》《史义拾遗》《东维子文集》《铁崖古乐府》《丽则遗音》《复古诗集》等近二十种。\n书法以行草最工，笔势岩开，有“大将班师，三军奏凯，破斧缺牖，例载而归”之势，传世作品有楷书《周上卿墓志铭》，行书《张氏通波阡表》《真镜庵募缘疏卷》《鬻字窝铭》《城南唱和诗卷》《元夕与妇饮诗》、草书《梦游海棠城诗卷》《竹西草堂记卷》《致理斋尺牍》《晚节堂诗》《沈生乐府序》等，其余墨迹则多见于书札及书画题跋之中。",[50,23,51,56,26,55,86,119,7,137,60,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cf89c0a69b3ee926f600580cf3131eb.jpg",[],23,{"id":26318,"slug":26319,"title":15050,"dynasty":146,"author":1644,"museum":99,"description":15051,"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1956年张伯驹夫妇将其捐献故宫博物院。",[49,86,119,52,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02431add9c7834cf0e008dcc8b0958b5.jpg","纵34.8厘米,横47.9厘米",[122],{"id":26499,"slug":26500,"title":16165,"dynasty":97,"author":16166,"museum":99,"description":22690,"tags":26501,"thumbUrl":26502,"material":107,"size":107,"collection":107,"collections":26503,"showCount":26316,"zanCount":39,"manualWeight":39,"mainColor":40},239051,"shan-shui-hua-niao-ce-yang-jin-239051",[23,51,24,26,55,7,56,58,61,277,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6136e48c08d32b04c6c2777897512f54.jpg",[],{"id":26505,"slug":26506,"title":7228,"dynasty":97,"author":16166,"museum":99,"description":26507,"tags":26508,"thumbUrl":26509,"material":107,"size":107,"collection":70,"collections":26510,"showCount":26316,"zanCount":39,"manualWeight":39,"mainColor":40},238987,"shan-shui-ce-yang-jin-238987","杨晋 （1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。\n杨晋是清代宫廷画家，以画界画见长，他能恰到好处地发挥传统工笔界画的特长，把人工建筑的楼阁台榭及人物举止和天然山水景色紧密结合起来，在结构上作了极好的剪裁，满而不闷，画风细致明秀、娟丽清新，层次过渡非常自然。《石谷骑牛图》绘石谷悠然骑于牛背之上，神态安详平和，状写简逸传神。石谷即清代大画家王翚，也是杨晋的老师。",[23,51,24,25,56,55,64,1597,62,61,751,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66b2b48963874015c5128a1c9ccdd5a4.jpg",[70,72],{"id":26512,"slug":26513,"title":26514,"dynasty":97,"author":7770,"museum":99,"description":7771,"tags":26515,"thumbUrl":26517,"material":689,"size":690,"collection":199,"collections":26518,"showCount":26316,"zanCount":39,"manualWeight":39,"mainColor":40},238544,"chen-shu-hua-li-dai-di-wang-dao-tong-tu-qian-chen-qun-shu-zan-he-ce-chen-shu-238544","陈书画历代帝王道统图钱陈群书赞合册",[23,51,24,25,54,58,119,86,7,64,150,14700,26516,1574,295],"人群","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b1bf6b2c65b651b60c09fe8353699f2.jpg",[199,72],{"id":26520,"slug":26521,"title":26522,"dynasty":97,"author":7292,"museum":99,"description":22699,"tags":26523,"thumbUrl":26524,"material":689,"size":690,"collection":35,"collections":26525,"showCount":26316,"zanCount":39,"manualWeight":39,"mainColor":40},238541,"hua-shou-pu-ce-yu-sheng-238541","画兽谱册",[23,51,24,25,1116,56,150,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9544dfd446f8c2df9428c8857d17029f.jpg",[35,72],{"id":26527,"slug":26528,"title":17770,"dynasty":97,"author":341,"museum":99,"description":7178,"tags":26529,"thumbUrl":26531,"material":689,"size":690,"collection":107,"collections":26532,"showCount":26316,"zanCount":39,"manualWeight":39,"mainColor":40},238420,"xiu-gu-cong-fang-tu-ce-dong-gao-238420",[23,51,24,54,25,7,27,28,314,265,26530],"白色花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7bc8ef58248a0fab2f7773f16975fec.jpg",[],{"id":26534,"slug":26535,"title":26536,"dynasty":97,"author":2568,"museum":99,"description":5018,"tags":26537,"thumbUrl":26538,"material":689,"size":690,"collection":107,"collections":26539,"showCount":26316,"zanCount":39,"manualWeight":39,"mainColor":40},237794,"hong-ren-song-zhu-you-ting-tu-shan-ye-hong-ren-237794","弘仁松竹幽亭图扇页",[23,51,822,26,55,777,358,63,277,56,58,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa10aaadad94df684872c4363df1411bc.jpg",[],{"id":26541,"slug":26542,"title":26543,"dynasty":97,"author":5309,"museum":99,"description":26544,"tags":26545,"thumbUrl":26546,"material":107,"size":107,"collection":122,"collections":26547,"showCount":26316,"zanCount":1288,"manualWeight":39,"mainColor":40},237459,"mo-chi-feng-yu-zhou-wang-hui-237459","墨池风雨轴","王翚(1632--1717)，清代画家。字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等，江苏常熟人。祖上五世均善画，父王云客专画山水，画风秀雅。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。后受王鉴赏识，被其收为弟子，教他读书和学习书法。又从师王时敏。其山水画虽以临古入手，但并非专摹一家，王维的雪景、李成的寒林、董源的平峦远渚、巨然的秋山萧寺、王诜的渔村小雪、米氏父子的云山烟雨以及元代黄公望、吴镇、王蒙、倪瓒的作品，都是他摹绘的对象。他于传统技法有很深的功底，而且能融会贯通，合众长于一手，但又不完全为成法所束缚，比较注重写生。他贯通诸家，以南宋笔墨，运北宋丘壑，创造出秀润多姿的风格和面貌。其画在清代极负盛名，康熙三十年奉诏绘制《康熙南巡图》，3年完成，得到皇帝的褒奖，被视为画之正宗，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。有《康熙南巡图》（与杨晋等人合作）、《秋山萧寺图》、《虞山枫林图》、《秋树昏鸦图》等传世。",[23,26,84,55,86,7,56,870,406,279,64,727,62,293,715],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e681591a3a90ad29ea44492c596fa2c.jpg",[122],{"id":26549,"slug":26550,"title":26551,"dynasty":97,"author":15922,"museum":175,"description":26552,"tags":26553,"thumbUrl":26554,"material":319,"size":107,"collection":70,"collections":26555,"showCount":26316,"zanCount":39,"manualWeight":39,"mainColor":40},237208,"shu-hua-he-bi-ce-cha-shi-biao-237208","书画合壁册","查士标（1615-1698），字二瞻，一号梅壑散人，懒老。安徽休宁人。他是明诸生，入清后不应举，工研书画。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。他的绘画亦是气韵高逸，查士标常常在画上自题拟云林笔意、仿倪云林法等，而懒标之号亦从倪云林懒瓒之称而来，可谓是风神遥接。晚年画益超迈，直窥元人之奥。凡应酬临池挥洒，必於深夜，不以为苦。八十馀尚童颜。卒年八十四，著有《种书堂遗稿》等。",[23,51,24,26,56,119,55,64,727,1902,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e055ebce03d4fbdd5de2d3bc3d6a0db.jpg",[70,72],{"id":26557,"slug":26558,"title":26559,"dynasty":18,"author":26560,"museum":175,"description":26561,"tags":26562,"thumbUrl":26563,"material":7136,"size":26564,"collection":199,"collections":26565,"showCount":26316,"zanCount":39,"manualWeight":39,"mainColor":40},237096,"guan-yin-zhou-fang-wei-yi-237096","观音轴","方维仪","明末清初安徽桐城才女方维仪是一位擅于图绘观音像的闺阁画家。作为富有收藏的大理少卿之女，方维仪自幼便浸淫在浓厚的热爱丹青图绘的家庭气氛中，并终其一生不断绘事。方维仪所绘白描观音大士像，被王士祯称为“妙品”，列闺秀绘画魁首。现藏于故宫博物院的《观音图》是方维仪七十一岁时所作。这种舍弃背景、不施色彩的画风，传承自宋代李公麟遗风。据说方维仪家藏有李公麟白描宗教人物画《过海揭钵图》，而她经过多年的临习，所画之白描观音“几突过龙眠”。\n方维仪多图绘观音与其坎坷的人生际遇有关。方维仪出阁嫁与姚孙棨为妻，但年仅17岁便成为寡妇，之后终身未曾再嫁。丧夫之后，方氏又遭受接二连三的打击：姐夫张秉文在抵抗清兵入济南城之战中牺牲、姐姐方孟式投水自尽、弟媳吴令仪年少早夭、堂妹方维则16岁丧夫而后孀居终生……明清鼎革之际的动乱环境带来不可言说的人生际遇，惟有慈悲为怀的观音大士最能平复失去至亲的痛苦，慰藉其寒灯守夜的孤寂。",[23,51,84,1284,58,135,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F973321fad6cac359dcd7b1b160fc7a39.jpg","56.5cmx26.6cm",[199],{"id":26567,"slug":26568,"title":26569,"dynasty":18,"author":20507,"museum":99,"description":26570,"tags":26571,"thumbUrl":26572,"material":689,"size":690,"collection":107,"co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”朱文印。\n《童子礼佛图》描绘四名儿童搭佛塔礼佛的情景。\n图中一太湖石竖立，石前放一尊雕琢精致的佛造像和供佛用的铜塔。\n佛前，二儿童拜佛，一儿童献花，另一儿童跪着擦拭铜塔，各个神态专注，他们收敛 起顽皮，显露出庄重，其中一名儿童磕头时露出胖臀，不免令人忍俊不禁。\n此图太湖石用较粗的笔法勾画，玲珑剔透，轮廓线多呈弧状，尖利而挺拔。\n佛像及人物全用细劲的线条画出，层次细腻，风格典雅，设色明丽温和，技法纯熟，人物神形兼备，富有情趣。\n此图反映了陈洪绶在表现儿童方面的精湛技艺和深厚功力，也充分体现了佛教信仰在百姓的日常生活中对儿童的熏陶与影响。\n陈洪绶(1597—1652年)，字章侯，号老莲、悔迟，诸暨（今属浙江省）人。\n明代画家。\n早年受业于著名学者刘宗周、黄道周门下，1642年曾到北京为国子监生，授中书舍人，供奉内廷，不久即离京南归。\n明朝灭亡后，为躲避清兵，一度在绍兴云门寺出家为僧，自号悔迟，亦号老迟。\n后在杭州以卖画为生。\n工诗，擅画，山水、人物、花鸟无一不精。\n其画初受蓝瑛影响，后广泛临学古人，并大胆突破创新，所作人物、花鸟形象古拙，擅用夸张变形手法，独树一帜，为晚明变形主义绘画大师。\n与崔子忠齐名于南北，世称“南陈北崔”。\n其画风对后世有巨大影响。\n著《宝纶堂集》。",[49,23,51,84,1284,54,25,58,277,24883,310,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6af7033f8cadf5f5c26728c6a40368bb.jpg",[],{"id":26702,"slug":26703,"title":23484,"dynasty":146,"author":10780,"museum":99,"description":26704,"tags":26705,"thumbUrl":26706,"material":107,"size":107,"collection":107,"collections":26707,"showCount":26316,"zanCount":39,"manualWeight":39,"mainColor":40},228069,"teng-wang-ge-tu-ye-xia-yong-228069","《滕王阁图》是 夏永创作的绢本墨笔画，现藏于美国波士顿美术馆。\n该图描绘中国名胜滕王阁的形势景色，画上并以细微楷写唐代王勃《滕王阁序》，用笔极为精细而不失矩度，堪称界画绝品。\n滕王阁位于江西 城外，唐高祖为其子 洪州刺史所建，元婴后封滕王故得名。\n此图用俯瞰法，视点高，同时显示多景的场面，已从纯粹描绘建筑物变成与自然环境结合的风景画面。\n高台之下，江坡浩渺，鱼舟往来，高低错落的楼阁亭台,殿内文士雅集，颇有园林趣味。\n如此规模的绘画景点，作者竟然在楼阁台基旁还描绘了陈设的精美古盆和盆景，一只高足束腰敞口渣斗式古盆，栽培着一棵 ，陈设在高阁空荡平台的中间。\n由此也可证实，当时社会时尚和作者艺术生活与美学观念的倾向。\n此图采用册页形式，取景重心偏置于画幅边角，以墨笔白描法表现著名楼阁。\n夏永擅画界画，喜绘滕王阁、岳阳楼、黄鹤楼，颇合营造规模，能迎合士夫趣味，画风对后世影响很大。\n此图用细若发丝线描为之，刻画细腻，气势宏伟，把巍峨楼阁融于浩渺旷远之自然景观中。\n夏永（公元14世纪中）， 画家，字明远，钱塘（今浙江杭州）人，生卒年不详。\n擅长宫殿楼阁界画，师法王振鹏。\n所作《滕王阁图》、《 图》、《岳阳楼图》用细若发丝线描为之，刻画细腻，气势宏伟，把巍峨楼阁融于浩渺旷远之自然景观中。\n《花间笑语》云：“细若蚊睫，侔于鬼工。\n”画上并以细微楷，写王勃《滕王阁序》或范仲淹《岳阳楼记》，用笔极为精细而不失矩度，堪称界画绝品。\n传世作品有至正七年（147）作《岳阳楼图》册页，绢本，墨笔，纵25厘米，横26厘米，图右上书范仲淹《岳阳楼记》全文，款署“至正七年四月二十日，钱塘夏永明远画并题”；《丰乐楼图》册页，绢本，墨笔，纵25.8厘米，横25.8厘米，图中有夏永微楷书“十里挲平丰乐楼”长题，未署款，钤有“夏明远印”一方，现均藏故宫博物院；《岳阳楼图》页和《黄鹤楼图》页，尺寸相同，绢本，设色，纵27.厘米，横27.6厘米，藏 ；《滕王阁图》册页藏上海博物馆；《楼阁山水图》册页，绢本，设色，纵21.5厘米，横26.1厘米，藏美国高居翰教授景元斋。",[49,23,51,1962,135,59,62,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0e076c91b09ebf8640c247633824730.jpg",[],{"id":26709,"slug":26710,"title":26711,"dynasty":115,"author":207,"museum":99,"description":26712,"tags":26713,"thumbUrl":26714,"material":107,"size":107,"collection":107,"collections":26715,"showCount":26316,"zanCount":39,"manualWeight":39,"mainColor":75},227859,"mo-zhou-fang-xi-ying-quan-juan-yi-ming-227859","摹周昉戏婴全卷","此作画风承续唐人遗韵，绢本设色雅致柔丽。画面之中，闺中仕女温婉安坐，垂眉含笑逗弄稚童，孩童们或蹒跚学步或偎依撒娇，娇憨天真尽显；家犬蹭玩一旁，满卷皆是融融天伦暖意。\n线条细劲柔丽，将仕女纱衣的通透莹润、幼童肌肤的软嫩质感晕染恰到好处，复刻出周昉一派柔婉绮丽的仕女画格调。整卷将深宅里寻常嬉游的日常，绘就为传世温情，尽显雅致世俗意趣，是宋摹唐画里颇具情致的佳作。",[49,23,51,52,134,54,25,58,136,10633,1574,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe007d3c6b842efb4988a0404266ac130.jpg",[],{"id":26717,"slug":26718,"title":26719,"dynasty":115,"author":207,"museum":99,"description":26720,"tags":26721,"thumbUrl":26722,"material":107,"size":107,"collection":107,"collections":26723,"showCount":26316,"zanCount":39,"manualWeight":39,"mainColor":75},227833,"lin-liu-fu-qin-tu-yi-ming-227833","临流抚琴图","画面以边角取势，古松虬曲苍劲，垂藤萦绕，将崖岸的荒古野逸晕开。临流石上，隐士安然抚琴，襟怀自适。远处汀渚隐现于烟岚薄雾之间，水色空蒙，淡墨轻皴尽绘江天寥廓。\n笔墨简淡却意韵悠长，以苍劲勾勒写松之老态，晕染铺就江天虚静，将林下幽居、寄情山水的文人意趣藏于尺幅间，尽显尚简求雅的禅寂风骨，静穆之中，似有琴音随波远逝，恍若带人走入物我两忘的幽远之境。",[49,23,26,55,822,56,58,61,64,277,178,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F525e8494d45cb369b9a329292fc78b89.jpg",[],{"id":26725,"slug":26726,"title":26727,"dynasty":115,"author":26728,"museum":99,"description":26729,"tags":26730,"thumbUrl":26732,"material":689,"size":690,"collection":107,"collections":26733,"showCount":26316,"zanCount":39,"manualWeight":39,"mainColor":40},227328,"zi-zhi-tong-jian-can-gao-si-ma-guang-227328","资治通鉴残稿","司马光","是司马光手迹原本",[49,51,86,52,119,7,2601,435,26731],"稿本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd7b7aadcc6600349ef79463d337d6b2.jpg",[],{"id":26735,"slug":26736,"title":26737,"dynasty":97,"author":12499,"museum":99,"description":23509,"tags":26738,"thumbUrl":26739,"material":107,"size":107,"collection":107,"collections":26740,"showCount":26316,"zanCount":39,"manualWeight":39,"mainColor":40},226634,"si-shi-shan-shui-07-pu-ru-226634","四时山水07",[49,23,51,26,25,55,56,63,610,150,727,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb559be15cbf0d7b675d5eeea0f7e508f.jpg",[],{"id":26742,"slug":26743,"title":26744,"dynasty":7908,"author":207,"museum":99,"description":26745,"tags":26746,"thumbUrl":26749,"material":689,"size":690,"collection":107,"collections":26750,"showCount":26316,"zanCount":39,"manualWeight":39,"mainColor":75},223700,"bu-qu-jiang-yin-tong-yin-yi-ming-223700","「部曲将印」铜印","铜印章是由金属铜铸造而成，具有硬度大，不变形，保存时间长的特点。当代，由中国铜领域第一人的朱炳仁大师开创了熔铜铸印，每枚形态各异，造型独特，极具艺术性。\n铜印的印面，也可见到极少数的棱形和圆形铜印，印纽的形状变化较多，有瓦纽，兔纽，兽纽，柄纽，片纽等等。古代铜印从印文内容上又可分为官印，人名印，闲章，吉祥语，图案印，斋室印，收藏印，在古代遗留下的书画作品或其他文史资料中，人们可以常常可以看到这类印文。\n从拍卖市场来看，铜印中的官印最受市场追捧，像“统军千户之印”，印背一侧刻“统军千户之印”，另一侧刻“中书礼部造，太平二年月日”，系元末农民起义军徐寿辉所铸。另外一枚魏晋时期的奉车都尉鎏金青铜玺印，估价5万至8万元，成交价则达到了19.04万元。奉车都尉是一种官名，自汉武帝设立之后，到宋代废弃，这枚铜印无疑是当时历史的一段记载。\n相比官印，肖形印也是铜印中的主要品种。在2007年中国嘉德秋拍中，一枚估价仅为2000至4000元的战国肖形青铜印，成交价达到了4万余元。这枚铜印的印面为龙形图案，虎钮，造型生动活泼，栩栩如生，不可多得。肖形印，亦称画印、图印、封蜡印及生肖印，是印学研究中不可缺少的重要组成部分，它有别于文字印，但内容十分广泛。\n值得注意的是，随着铜印身价的与日俱增，赝品也越来越多地出现在市场上。由于铜本身的价格不如金银，因此造假成本比较低，加上拍卖价格比较高，因此巨大的利益驱使了造假者纷纷出手。收藏市场上的铜印赝品，绝大多数是翻砂浇铸的粗劣之作。印钮两侧的标记文字也是浇铸成形的，文字不清或似是而非。为了使赝品更加逼真，造假者往往会人为制作黑色包浆，常用办法是涂上油腊烤烧数遍之后即成，但往往可以通过手剥看到下面的黄铜。",[7,9481,26747,9700,541,26748,5943],"铜制","汉代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5245d648c76686f8381092778b31c12.jpg",[],{"id":26752,"slug":26753,"title":26754,"dynasty":7908,"author":207,"museum":99,"description":26745,"tags":26755,"thumbUrl":26756,"material":689,"size":690,"collection":107,"collections":26757,"showCount":26316,"zanCount":39,"manualWeight":39,"mainColor":75},223699,"zuo-wan-tong-yin-yi-ming-223699","「左万」铜印",[7,9481,26747,5943],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe26db28ff70c149dad200cdf40b4bfc.jpg",[],{"id":26759,"slug":26760,"title":26761,"dynasty":115,"author":207,"museum":175,"description":26762,"tags":26763,"thumbUrl":26764,"material":183,"size":26765,"collection":107,"collections":26766,"showCount":26316,"zanCount":1288,"manualWeight":39,"mainColor":75},223474,"zhe-zhi-guo-tu-ye-yi-ming-223474","折枝果图页","在技法上，树干用细笔勾勒，充满赭光，厚重古朴； 轮廓用粗细的彩虹勾勒出来，再染上青色和墨绿色，色彩鲜艳。",[49,23,51,24,25,54,13050,1195,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb395bb89c0cb2fa1af556b191181cff9.jpg","52.8x46.5cm",[],{"id":26768,"slug":26769,"title":5342,"dynasty":115,"author":207,"museum":194,"description":26770,"tags":26771,"thumbUrl":26772,"material":183,"size":26773,"collection":107,"collections":26774,"showCount":26316,"zanCount":39,"manualWeight":39,"mainColor":40},223377,"bei-qi-xiao-shu-tu-yi-ming-223377","《北齐校书图》所绘内容为天宝七年（556年）文宣帝高洋命樊逊等人校勘内府所藏图书的事件。旧传此卷为唐阎立本所作，现多将其归于北齐画家杨子华名下。\n图中三组人物。第一段共七人，其中胡服文士持书卷踞胡床（三国时传入中国的坐具，形制近似于今天使用的马扎），为此段中心；第二段共十人，四文士坐于榻上，婢女、小童伺立榻周，文士中二人校勘书卷，另二人似乎正因意见相左而有所争执；第三段为侍从和牵马的奚奴。\n画中的家具器用、人物服饰皆胡汉杂糅，符合北齐的实际情况。人物面庞呈椭圆形是此卷的鲜明特点，联系到近年来的考古发现，似乎与北齐时期的墓室壁画中人物有同样的特征，因此《北齐校书图》也屡屡为学界引用以论证北齐画风。尽管北齐是一个极短命的王朝，但是越来越多的考古发现证明，在这一时期，艺术呈现出极鲜明的面貌，并很可能影响到唐代的审美趣味。",[49,50,23,51,52,54,25,58,225,180,7,86,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5da306b34154b0d7c31d14521fdcc73.jpg","27.6*114CM",[],{"id":26776,"slug":26777,"title":26778,"dynasty":18,"author":3904,"museum":23565,"description":26779,"tags":26780,"thumbUrl":26781,"material":107,"size":26782,"collection":107,"collections":26783,"showCount":26316,"zanCount":39,"manualWeight":39,"mainColor":40},222474,"li-bai-shi-er-shou-zhu-yun-ming-222474","李白诗二首","明代中期的书坛以吴门祝允明（1460-1526）、文徵明（1470-1559）、陈淳（1483-1544）、王宠（1494-1533）最为著名，他们生活在同时代、同地域，在书法艺术方面都成就斐然，影响深远，为书史上一奇观。这四人中，祝允明、陈淳书风以劲健放纵见长，文徵明、王宠书风偏于劲健工稳。所同者在“劲健”，用笔讲求力度，结体尚端正，即使祝、陈的狂草亦难脱此风。其中祝、文二人虽学通魏晋、唐宋，但受黄山谷影响较重，祝之草、文之行皆脱胎于山谷，无山谷之温文尔雅，但大开大合处亦可称道。陈淳出于文徵明而颠逸放纵以成自家面目，端庄逊于文而姿态过之。王宠用心魏晋，宋后习气稍少，相比于前三人，个性不足却韵致为高。",[49,23,51,86,462,52,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26105ef6460b281c4ecbfaf6305aa842.jpg","25.3X310cm",[],{"id":26785,"slug":26786,"title":26787,"dynasty":18,"author":3904,"museum":2698,"description":26788,"tags":26789,"thumbUrl":26790,"material":319,"size":26791,"collection":122,"collections":26792,"showCount":26316,"zanCount":39,"manualWeight":39,"mainColor":40},222472,"yun-jiang-ji-zhu-yun-ming-222472","云江记","此卷写于弘治八年（1495年），祝允明35岁，是他早期的草书。末署“弘治八年秋日，长洲枝山祝允明书”，并钤“允明之印”和“希哲”二印。\n该卷写得劲健豪放，刚柔相济，点画狼藉，烟云变幻。可以看到他已经将二王、怀素、张旭、黄山谷融会贯通。但较其晚年狂草作品，则显出用笔稍轻，因而有人疑为伪。\n祝允明（1460—1527年），字希哲，因为他多生一指，又号枝指生，枝指山人，枝山等。祝允明的祖父祝颢、外祖父徐有贞都是进士，学问渊博，工诗善书。由于先天的禀赋和祖父外、外祖父的影响祝允明的才华很早就显露出来了。\n祝允明五岁能作径尺大字，读书一目数行，九岁即能作诗，而且出语惊人。当他晚年回忆童年学书时说：“所幸独蒙先人之教，自髫丱以来，绝其令学近人书，目所接皆晋、唐帖也。”由于先辈的教诲，他一开始学书，就取法乎上，打下很好的基础。\n祝允明的草书主要是受他外祖父徐有贞的影响，徐的草书学张旭、怀素，雄肆奔放，这对祝氏草书风格的形成起了决定的作用。祝允明书法风格从精楷到狂草，跨度之大令人惊异，一方面是受这二位前辈的启迪，另一方面则是他横溢的才华决定的。\n明弘治五年(1492年)，祝允明33岁，参加乡试中了举人。他的考卷很得主考王鏊的赏识。他踌躇满志，以为凭自己的才学，进京考试中进士，易如反掌。没想到后来七次会试都不见录。\n仕途的失意，大大改变了祝允明的人生态度，使他从发奋读书、追求功名的圣贤之徒，变成了游戏人生，放荡不羁的漫士。这一转变也带来他笔下的变化，他40岁前后很少作草书，50岁后所作草书就多了起来，而且越来越狂放。\n从不同时期的作品中，可以看出他这种风格的变化。",[49,86,462,119,52,17680,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6ac6aa2b52b706efe936629884f10c6.jpg","纵26.6厘米，横265.5厘米",[122],{"id":26794,"slug":26795,"title":26796,"dynasty":18,"author":161,"museum":222,"description":26797,"tags":26798,"thumbUrl":26799,"material":391,"size":26800,"collection":107,"collections":26801,"showCount":26316,"zanCount":39,"manualWeight":39,"mainColor":40},222120,"pen-ju-you-shang-tu-quan-juan-shen-zhou-222120","盆菊幽赏图全卷","图中平坦幽静之处立一小亭，亭四周树木蓊郁；亭两侧摆放数盆菊花，盆中菊花绽放，红白花朵，煞是好看；亭内三人对饮，一僮持壶侍立，一派秋高气爽的意境。",[49,50,23,51,52,26,25,119,86,7,55,6095,63,871,60,61,58,310,150,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dae7349998c775da2fdf56e74c90c5f.jpg","23.4×86cm",[],{"id":26803,"slug":26804,"title":10349,"dynasty":115,"author":2718,"museum":222,"description":26805,"tags":26806,"thumbUrl":26807,"material":239,"size":26808,"collection":107,"collections":26809,"showCount":26316,"zanCount":1288,"manualWeight":39,"mainColor":75},221624,"tang-feng-tu-juan-quan-juan-ma-he-zhi-221624","全卷笔墨精炼，线条流畅多变，设色淡雅；楷法工整劲健。传世《唐风图》共三卷，与其他相比，此卷最佳。史载宋高宗赵构曾书写《诗经》，马和之为之各画一图，但现传世真迹罕见，此卷与诸卷《毛诗图》相比亦为上乘。\n马和之，钱塘（今浙江杭州）人，绍兴中进士，官至工部侍郎，擅人物、山水，人物上追吴道子，有“小吴生”之誉。本卷卷后有乾隆行书跋，明张丑《清河书画舫》、清《石渠宝笈•续编》等书著录。曾经南宋曾覿、明韩世能、项元汴、清耿昭忠、索额图、清内府收藏。",[49,23,50,52,135,26,51,7,56,58,63,64,150,59,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4ac88ae55d3994f4336d0c4ddb17ef2.jpg","纵28.5厘米，横803.8厘米",[],{"id":26811,"slug":26812,"title":26813,"dynasty":115,"author":13367,"museum":81,"description":26814,"tags":26815,"thumbUrl":26816,"material":5067,"size":26817,"collection":107,"collections":26818,"showCount":26316,"zanCount":39,"manualWeight":39,"mainColor":40},221369,"zi-shu-xie-biao-bing-shi-juan-cai-xiang-221369","自书谢表并诗卷","北宋时期，著名书家蔡襄曾得到仁宗皇帝御书赐字『君谟』。为此，蔡襄深感皇恩，楷书谢表并赋七言诗一首︰『臣襄伏蒙联合会下特遣中使赐臣御书一轴，其文曰︰御笔赐字君莫者。臣孤贱远人，无大才艺，陛下亲宸翰，推着经义，俾臣佩诵以尽谟谋之道……。』卷后，有米芾、鲜于枢、解缟、吴宽、陈继儒、董其昌、张祖翼=罗振玉等众多宋、元、明、清名人题跋。这卷流传有绪的墨迹曾经南宋赵明诚收藏，无代曾为乔篑成收藏，明代曾经黄钟、赵用贤收藏，清初为安岐收藏，后又总计著名沣收藏，清末为端方所藏。后流入日本国，现藏于日本书道博物馆。全卷纵二十九点三厘米，横长总计八百二十九点五厘米。据方家评说，台北故官博物院、日本东京国立博物馆也藏有这卷墨迹的不同书写本，但本卷最佳。",[86,119,52,7,4832,319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7485e83f20b6f838ccd280dcc988874.jpg","全高25.8隔水一10.8本幅25x10",[],{"id":26820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× 38.5 cm",[70],{"id":26863,"slug":26864,"title":26865,"dynasty":18,"author":13290,"museum":175,"description":26866,"tags":26867,"thumbUrl":26869,"material":319,"size":26870,"collection":199,"collections":26871,"showCount":26316,"zanCount":39,"manualWeight":39,"mainColor":40},219862,"wen-jin-tu-wu-wei-219862","问津图","吴伟（1459—1508年），字士英，又字次翁，号小仙，江夏（今湖北武汉）人。",[49,23,51,52,25,119,541,58,137,2142,26868,64,7],"马车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f7f98dcd688a6d6944b102a42c5da70.jpg","纵46.3cm; 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），字建侯。鄂州江夏县（今湖北省武汉市武昌区）人。唐朝宰相，江夏太守李邕从孙。\n李鄘出身“江夏李氏” 。唐代宗时登进士第，补秘书省正字，擢累吏部员外郎，进御史中丞。唐宪宗时，由河东节度使被召拜为门下侍郎、同平章事（宰相）。晚年以太子少傅致仕，累封江夏县开国侯。\n元和十五年（820年），李鄘去世，追赠太子太保，谥号“肃”。《唐文拾遗续拾》录有其文一篇",[49,23,54,25,1171,66,137,1902,1501,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda0a93abe923ed1343f9eb30ea9c799f.jpg",[],{"id":27104,"slug":27105,"title":27106,"dynasty":97,"author":27107,"museum":99,"description":27108,"tags":27109,"thumbUrl":27111,"material":689,"size":690,"collection":107,"collections":27112,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":40},287933,"ge-zhen-fu-xiang-juan-ceng-jing-287933","葛震甫像卷","曾鲸","字波臣，福建莆田人，中国明代画家。一生往来江浙一带，为人写真。擅画肖像，在继承粉彩渲染传统技法的同时，汲取西洋画的某些手法，形成注重墨骨，层层烘染，立体感强的独特画法。所画人物肖像强调观察体会，抓住最动人处，精心描绘，尤注重点睛，形象逼真，栩栩如生，有“如镜取影，俨然如生”之誉，从学者甚众，遂形成“波臣派”。",[49,23,52,27110,26,25,86,119,7],"人物肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6ef4a2f08f7f0710ad60aa6cf8149cb.jpg",[],{"id":27114,"slug":27115,"title":27116,"dynasty":18,"author":13290,"museum":99,"description":27117,"tags":27118,"thumbUrl":27119,"material":689,"size":690,"collection":107,"collections":27120,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":75},287799,"ren-wu-yi-wu-wei-287799","人物一","吴伟（1459年－1508年），字次翁，又字士英、鲁夫、号小仙，江夏（今湖北省武汉）人，明朝画家。",[49,23,26,58,225,713,598,137,1536,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d4c1954e8fb2a5e143379421bc0fea1.jpg",[],{"id":27122,"slug":27123,"title":27124,"dynasty":97,"author":2120,"museum":99,"description":20182,"tags":27125,"thumbUrl":27126,"material":689,"size":690,"collection":107,"collections":27127,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":40},287766,"lin-ni-yun-lin-shan-shui-wang-jian-287766","临倪云林山水",[49,50,23,26,56,84,134,967,1597,751,21581,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6176eb91d0b5026fde9245d39c7a0089.jpg",[],{"id":27129,"slug":27130,"title":27131,"dynasty":18,"author":2181,"museum":99,"description":27132,"tags":27133,"thumbUrl":27134,"material":689,"size":690,"collection":107,"collections":27135,"showCount":26956,"zanCount":1288,"manualWeight":39,"mainColor":40},283774,"lin-he-jing-shi-yi-tu-zhou-dong-qi-chang-283774","林和靖诗意图轴","此图是根据北宋诗人林和靖诗意而创作。以深远法构图，峰峦起伏，林木葱郁，溪水相映，茅屋草舍点缀其间。用笔萧散，用墨秀润，得黄公望遗韵，有秀逸苍浑之气。",[23,50,84,26,56,60,61,137,150,63,86,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdde5cabc181c1cbd8bf88ecac7a2e3fe.jpg",[],{"id":27137,"slug":27138,"title":27139,"dynasty":18,"author":2181,"museum":99,"description":5719,"tags":27140,"thumbUrl":27141,"material":689,"size":690,"collection":107,"collections":27142,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":40},283739,"bao-hua-shan-zhuang-tu-ce-ba-kai-dong-qi-chang-283739","宝华山庄图册（八开）",[23,24,26,55,56,3652,63,60,61,64,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F751091c3049470a475a93a684e5e6fa8.jpg",[],{"id":27144,"slug":27145,"title":27146,"dynasty":97,"author":12418,"museum":99,"description":27147,"tags":27148,"thumbUrl":27154,"material":319,"size":22648,"collection":122,"collections":27155,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":75},241563,"qi-yan-shi-zhou-zheng-fu-241563","七言诗轴","此轴书法结体端秀雅逸，尚有《曹全碑》灵动飘逸之风神，而笔画的粗细及运笔却极富变化，舍汉隶之方正，而求“盘于跳荡”之姿，尤其是一些草书笔法的应用，更增加了全幅飘逸灵动之势，同时又不乏庄重沉实的气息，代表了郑簠隶书的典型风格。\n郑簠（1622-1694年），字汝器，号谷口，清代上元（今江苏南京）人。工书法，尤以隶书擅名于清初书坛。其隶书初学明代宋珏，后专意于《曹全碑》，并在隶书中融入草书笔法，形成疏宕纵逸、顿挫飞扬的独特风格，对清代隶书产生很大影响。包世臣将其书列为“逸品上”，时有“谷口八分古今第一”之誉。",[5663,86,84,7,27149,1937,27150,1480,27151,4668,27152,700,27153],"山堂","飞絮","落叶","柏子","水湾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe12525d09d8811e336635d39972f7289.jpg",[122],{"id":27157,"slug":27158,"title":27159,"dynasty":146,"author":27160,"museum":99,"description":27161,"tags":27162,"thumbUrl":27164,"material":689,"size":690,"collection":107,"collections":27165,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":40},241451,"lin-shu-su-shi-hai-tang-shi-juan-xian-yu-shu-241451","临书苏轼海棠诗卷","鲜于枢","鲜于枢（1246年—1302年），字伯机，号困学山民、直寄老人，晚年营室名“困学之斋”，祖籍金代德兴府（今张家口涿鹿县），生于汴梁（今河南开封），汉族，大都（今北京）人，一说渔阳（今津蓟州区）人，元代著名书法家，寓居扬州、杭州。大德六年（1302年）任太常典薄。元世祖至元年间以才选为浙东宣慰司经历，后改浙东省都事。\n鲜于枢晚年任太常典簿。好诗歌与古董，文名显于世，书法成就最著。明朱权《太和正音谱》将其列于“词林英杰”一百五十人之中。《新元史》有传。鲜于枢善诗文，工书画。尤工草书，酒酣吟诗作字，奇态横生，赵孟頫极推重之。有《困学斋杂录》、《困学斋诗集》。",[86,52,134,27163,26,7],"行草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5b6b60d750ee2656f515e46218d5017.jpg",[],{"id":27167,"slug":27168,"title":27169,"dynasty":18,"author":459,"museum":99,"description":4616,"tags":27170,"thumbUrl":27171,"material":689,"size":690,"collection":107,"collections":27172,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":75},240894,"zhou-jin-tang-ji-zhou-xu-wei-240894","昼锦堂记轴",[84,119,86,502,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1f409c5aa46f457f2f28622eb41cf21.jpg",[],{"id":27174,"slug":27175,"title":27176,"dynasty":97,"author":4289,"museum":175,"description":27177,"tags":27178,"thumbUrl":27182,"material":18120,"size":27183,"collection":122,"collections":27184,"showCount":26956,"zanCount":1288,"manual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绝出尘象之外。",[49,23,51,52,26,135,27,528,251,358,529,308,488,314,57,277,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F824a49108093b390bf2a18fe74a97e32.jpg",[],{"id":27368,"slug":27369,"title":27370,"dynasty":97,"author":5309,"museum":329,"description":16702,"tags":27371,"thumbUrl":27372,"material":227,"size":27373,"collection":107,"collections":27374,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":40},234202,"xi-shan-xue-yi-tu-juan-wang-hui-234202","溪山雪意图卷",[49,23,52,56,26,55,25,1050,278,715,64,967,610,727,60,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee8941243ea2d3a259d941be6a2a0dce.jpg","纵41厘米，横241.3厘米",[],{"id":27376,"slug":27377,"title":27378,"dynasty":18,"author":15886,"museum":175,"description":27379,"tags":27380,"thumbUrl":27381,"material":1087,"size":107,"collection":107,"collections":27382,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":40},234154,"wen-jia-bao-zhu-tu-juan-wen-jia-234154","文嘉保竹图卷","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。”",[49,23,51,52,26,119,7,86,358,56,277,64,58,60,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3523bbb22b15f36522d988a8763fc7f1.jpg",[],{"id":27384,"slug":27385,"title":27386,"dynasty":97,"author":16665,"museum":175,"description":27387,"tags":27388,"thumbUrl":27389,"material":27390,"size":27391,"collection":107,"collections":27392,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":40},234113,"yi-song-tu-juan-dai-xi-234113","忆松图卷","该画颇有“北宋”山水的气势，在意境上突破了“四王派”末流的萧淡枯寂，一定程度上表现了雄浑沉厚，山石形态及皴法。\n《忆松图》是戴熙“师造化”的最好例证。画家跋云：“地近方山，山有龙池云洞诸胜，多松，漫溪弥谷，旷望无际，常月夜行万松中，遇要氏兄弟，结苑读书其下，赋诗赠答，慨然有卜邻之志。后来京师，每值风和月霁，辄追忆之，嘱写《忆松图》，落落五年末有以报，丁未早春，侨居都下颇忆故山松径……”\n戴熙（1801—1860）浙江钱塘（今杭州）人，字醇士（一作莼溪），号榆庵、松屏，别号鹿牀居士（一作樚牀）、井东居士。道光十一年进士，十二年翰林，官至兵部侍郎，后引疾归，曾在崇文书院任主讲。咸丰十年太平天国克杭州时死于兵乱。谥号文节。工诗书，善绘事。山水早年师法王翚，进而摹拟宋元诸大家，对于王蒙、吴镇两家笔意更有所得。晚年观摩巨然真迹，在用墨方面有深切的领会。道光时宫廷书画多出于其手。又能画花、人物，以及梅竹石，笔墨皆隽妙。秦祖永的评论是：“临古之作形神兼备，微嫌落墨稍板，无灵警浑脱之致，盖限于资也。所写竹石小品停匀妥帖，尚为蹊径所缚，未能另立门庭也。”\n他的山水画属“虞山”一派，因受奚冈的影响，所以他的画风也接近于“娄东”派，他的山水多用擦笔，山石以干墨作皴，然后以湿笔渲染，颇得物象的形象和神髓，世人谓之蝉翼皴。他晚年所画的《山水长卷》笔致醇朴。有《习苦斋集》、《习苦斋花絮》等。",[23,52,26,56,55,86,119,7,870,406,777,871,700,293,2955,727,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff00379ba924bd77a66435a66df038176.jpg","纸本墨色","纵37.7厘米，横123.2厘米",[],{"id":27394,"slug":27395,"title":27396,"dynasty":18,"author":21434,"museum":175,"description":27397,"tags":27398,"thumbUrl":27399,"material":27400,"size":27401,"collection":107,"collections":27402,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":40},234046,"wen-dao-tu-shan-ye-cui-zi-zhong-234046","问道图扇页","图绘一年轻男子正向老者作揖行礼，老者则举手指点作回答状的场景，因此，本幅又名《说法图》。崔子忠的人物画在师法顾恺之、陆探微、阎立本、吴道子等传统笔墨的基础上而有创新。他注重人物表情的刻画，在故宫博物院所藏其《洗象图》、《藏云图》及《渔家图》中，都能准确地画出不同身份的人物的特征。在此图中，他将年轻人问询时谦卑的表情和老者自信淡定的神态均表现得生动传神。衣纹用笔圆润细劲，线条颤掣，虬折多变，突出了衣服质料的柔软质感和随风飘的动势。树木的枝叶以双线勾边填色，用笔工细，富装饰性。",[23,51,822,25,54,58,137,150,751,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe607e403e39498919d386dbca761bcc9.jpg","金笺，设色","纵20.8厘米，横60.2厘米",[],{"id":27404,"slug":27405,"title":20769,"dynasty":97,"author":655,"museum":329,"description":20770,"tags":27406,"thumbUrl":27407,"material":779,"size":20773,"collection":107,"collections":27408,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":40},233861,"mei-hua-ce-jin-nong-233861",[23,51,24,26,135,528,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F934177b8030c4d46405a94c29707459e.jpg",[],{"id":27410,"slug":27411,"title":27412,"dynasty":18,"author":2059,"museum":175,"description":27413,"tags":27414,"thumbUrl":27416,"material":668,"size":27417,"collection":107,"collections":27418,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":40},233819,"wen-zheng-ming-qu-gang-gui-zhou-tu-zhou-wen-zheng-ming-233819","文徵明曲港归舟图轴","本幅自题五言诗并署：“雨绝树如沐，云空山欲浮。草分波动处，曲港有归舟。徵明。”钤“徵仲父印”（白文）印。本幅有明彭年、陆师道、王穀祥及清乾隆帝题诗共四则。作品曾经清内府收藏。近代庞莱臣《虚斋名画录》著录。\n画中描绘山间雨后的景象，云雾蒸腾，林木葱郁，笔墨工稳细润，意境清新幽静，是文氏细笔山水画的代表作。",[23,51,84,26,55,7,56,64,293,150,294,2002,277,967,27415],"常绿树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f6fe0a25489fc8e6c0b2921a67b3c49.jpg","纵115厘米，横33.6厘米",[],{"id":27420,"slug":27421,"title":27422,"dynasty":18,"author":2059,"museum":99,"description":27423,"tags":27424,"thumbUrl":27425,"material":27426,"size":27427,"collection":107,"collections":27428,"showCount":26956,"zanCount":743,"manualWeight":39,"mainColor":40},233675,"wen-zheng-ming-feng-zhu-shan-mian-wen-zheng-ming-233675","文徵明风竹扇面","释文：风揽青桐叶半摧，时飘一片点苍苔。山僮不识林亭趣，却併松枝尽扫开。",[23,51,822,26,358,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25766ea4c8354139c698f5eeaf00d99d.jpg","泥金纸本","17×52cm",[],{"id":27430,"slug":27431,"title":10340,"dynasty":97,"author":27432,"museum":99,"description":27433,"tags":27434,"thumbUrl":27435,"material":319,"size":14913,"collection":107,"collections":27436,"showCount":269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，都擅长书法。\n徐浩出生于会稽，因此后人称他为“会稽”、“徐会稽”，又因他在唐代宗时任吏部侍郎，又称作“徐吏部”，他的父亲徐峤，人称“大徐”，而又以“小徐”指代徐浩。\n徐浩《古迹记》中说他祖父“真、行、草，皆名冠古今，无与为比”，是与事实相符的。\n他生活在祖、父辈都善书的环境中，得到家学传授，其书法精能，也是必然的。\n《宣和书谱》评之曰：“师道已精于书，峤之复以善书称，且以法授其子浩，故浩又杰然为一家法。\n自师道到浩盖三世矣，是亦熟于翰墨之场者也。\n” 谒禹庙唐- 亩浍敷四海，川源涤九州。\n既膺九命锡，乃建洪范畴。\n鼎革固天启，运兴匪人谋。\n肇开宅土业，永庇昏垫忧。\n山足灵庙在，门前清镜流。\n象筵陈玉帛，容卫俨戈矛。\n探穴图书朽，卑宫堂殿修。\n梅梁今不坏，松祏古仍留。\n负责故乡近，朅来申俎羞。\n为鱼知造化，叹凤仰徽猷。\n不复闻夏乐，唯馀奏楚幽。\n婆娑非舞羽，镗鞳异鸣球。\n盛德吾无间，高功谁与俦。\n灾淫破凶慝，祚圣拥神休。\n出谷莺初语，空山猿独愁。\n春晖生草树，柳色暖汀州。\n恩贷题舆重，荣殊衣锦游。\n宦情同械系，生理任桴浮。\n地极临沧海，天遥过斗牛。\n精诚如可谅，他日寄冥搜。\n唐玄宗时，宰相张说见徐浩所作《喜雨》、《五色鸽》两赋，十分器重，荐为丽正殿校理，后改监察御史里行，出为河阳令，又任都官郎中，岭南选补史等职。\n肃宗即位，由襄州刺史召为中书舍人。\n徐浩因擅书法，文字富丽，当时四方诏令以至玄宗传位诏册，多出其手。\n肃宗爱其才，加兼尚书右丞。\n后为国子祭酒，因事贬为庐州长史。\n代宗即位，征拜中书舍人，集贤殿学士，迁工部侍郎，封会稽县公。\n后出为岭南节度使，后又召为吏部侍郎，主持官吏选拔举荐工作，因包庇妾弟冒选长安尉，被御史弹劾，贬为明州别驾。\n德宗初年，又召为彭王傅，进爵郡公。\n年八十去世，赠太子少师，谥“定”。\n徐浩传世书迹有隶书《嵩阳观圣德感应颂》、《张庭 墓志》 （1977年伊川出土），楷书《朱巨川告身》 （墨迹本）、《大征禅师碑》、《虢国公遗像记》、《 》、《宝林寺诗帖》、《不空和尚碑》，近些年又新出土徐浩书写的楷书墓志碑：《李岘妻墓志》、《李岘墓志》、《陈尚仙墓志》。\n撰有《书法论》一篇。\n徐浩所处的时代，正是唐朝由极盛渐入衰弱的时期，尤其在开元天宝年间，虽然时局动荡，但书家辈出，涌现了张旭、颜真卿、褚庭诲、张少悌、韩泽木等名家。\n徐浩比颜真卿年长六岁，早逝三年，二人曾过从甚密。\n二人对书法亦长时间有过切磋，所以二人书法风格亦相近。\n现在留下的徐浩的书迹，最早的是他岁时所写的《陈尚仙墓志》，于2年春出土于河南洛阳红山乡，该志全称《唐御史大夫张公故夫人陈氏墓志铭并序》，由唐代大诗人“朝议郎行尚书司门袁外郎张鼎”撰文，“右拾遗徐浩书”。\n墓主的丈夫张守 ，是唐代名将。\n该墓志史料价值大，足以补史、证史，志高72厘米，宽7厘米，青石质。\n志文25行，满行25字，楷书，有界格。\n这是目前所能见到的徐浩最早的书法作品。\n这通墓志铭书法清雅秀逸，点画净洁爽朗，笔势流畅，顾盼生姿，可以见出王羲之一脉之流绪，与虞世南、褚遂良的书法韵味神态相类，字画瘦硬，骨力遒劲。\n结体宽博，平正刚健，气韵自足，婉美华丽。\n从这篇墓志中，可以看出徐浩早年书法宗逸少之飘逸，兼及伯施之秀润，善登之平正与瘦劲。\n在西安市长安区郭杜镇2年出土的另一方墓志《李岘妻独孤峻墓志铭》，刊葬于天宝十三年（754），志石边长72.5厘米，志文三十一行，满行三十一字，楷书，李岘撰文，徐浩书丹。\n长安博物馆收藏。\n夫妻两通墓志现均已纳入《中国古代珍稀碑帖丛书》出版。\n墓主独孤峻，河南人，15岁嫁给梁国公李岘（后为肃宗朝宰相），封南华县君，婚后二十年即天宝十二载病逝于李岘当时任职的魏郡，享年9岁。\n徐浩书此碑时年52岁，其书法风格更饶灵逸气息和圆和姿态。\n与褚遂良书法结体相类，字形宽疏，横画细长，撇捺舒展，“锋藏画心，力出字外”（元陶宗仪语），正如徐浩书四十二幅屏中言：“朔风动秋草，边马有归心。\n”给人一种苍茫辽阔之感受。\n《李岘墓志》全称《唐故光禄大夫检校兵部尚书兼衢州刺史充本州团练使赠太子少师上柱国梁国公李岘墓志铭》，与《李岘妻墓志》同出土于西安市长安区郭杜镇，志为正方形青石制成，边长91厘米，厚14厘米，共2行，满行字，共计15字，字体楷书。\n墓主人李岘字延鉴，其曾祖为唐太宗李世民之第三子吴王恪。\n此碑书风与颜真卿《多宝塔》笔意相近。\n徐浩长颜真卿六岁，徐浩书此书时年64岁，书法已臻佳境，点画刚劲，结字宽雄，笔势舒展爽利，谦谦如君子乎，蕴藉却又自显生动、流畅，非常耐得起咀嚼、玩味，似在颜真卿《多宝塔》格调之上。\n徐浩在68岁时所书《大德大证禅师碑》以褚遂良的结体为法，形体稍见疏瘦，楷法中规入矩，遒媚劲健蕴藉，但略显板滞。\n此碑石现存河南登封嵩岳寺。\n碑高八尺，广尺9寸。\n计25行，行52字，篆额行9字。\n碑文由王缙所撰。\n此碑残存6余字，能辨认者有余字。\n写于同时期的留存墨迹《朱巨川告身》因无徐浩署名而有争议，然有标签，为清代梁清题作“徐季海书朱巨川告”，由徐浩书于唐代宗大历三年（768），书体以楷书为主而参用行书笔法，所谓疏欲风神，密欲老气，两者兼而有之，书体整肃，用笔多变，平正婉转，体现出徐浩晚年书作已达炉火纯青。\n徐浩78岁所书《不空和尚碑》 （又名《广智三藏和尚碑》）现存西安碑林，严郢撰文，楷书，计24行，行48字。\n徐浩老年所书，是他楷书典范作品，体现了中唐前期楷体书风经过变革之后的楷法用笔特点。\n此碑书体厚重丰腴，含蓄温润，用笔圆劲深厚，锋藏画心，力出字外，笔画内中裹筋，有雍容大度之气象。\n结体老劲而乏清逸。\n《书史会要》曰：“盖浩书锋画心，力出字外，得意处往往似王羲之，其妙实在楷法也。\n” 《谒禹庙诗帖》拓本，兰亭续帖凡16行，刊于日本《中国书道全集》 （四），《宝林寺诗帖》拓本，凡12行，兰亭续帖，上海博物馆藏，刊于日本 《中国书道全集》（四）。\n这二帧拓本刻帖均是小楷，法度谨严，一丝不苟，结体疏朗，撇、捺、走字底的点画有飘逸之风致，轻盈灵动，与王献之《玉版十三行》风格相近。\n徐浩的书迹据宋赵明诚《金石录》记载有近种，其中楷书12种，行书7种，隶书1种。\n留存于世的隶书代表作品有《嵩阳观纪圣德感应颂》，天宝三年（744）徐浩41岁时所书，李林甫撰文，有文字25行，行5字。\n《张廷 墓志》，天宝五年（746）徐浩4岁时撰文并书，碑文计4行，行7字。\n唐代的楷书因初唐有欧阳询、虞世南、褚遂良、薛稷，中唐有颜真卿、徐浩，晚唐时有柳公权，达到了中国书法楷书的顶峰，但隶书至汉代则已登峰造极。\n唐代隶书比之汉隶则大为逊色。\n明代赵宦光评唐隶“视汉似古而体稍不雅”，清钱泳则认为“别体杂出，有意圭角，擅用挑踢”。\n徐浩的隶书是从汉碑中取法，然又有创新，《嵩阳观纪圣德感应颂碑》笔法十分遒丽，姿态横生，与唐时隶书碑版有所不同，与汉 《娄寿》 碑、《韩仁铭》碑风格相类，清圆疏古，字形扁平，结构紧凑，波画飘逸，给人清劲秀雅之感，也许受唐代时风的影响，有的点画乏篆籀笔意而多用楷法，用笔提按顿挫轻重缓疾的变化也不够，就整体而论，还是中锋圆笔，沉着稳健，有一种雄阔气势。\n《张廷 墓志》笔画更有古雅之态，点画略呈瘦削之状，字势奇崛而有神采。\n而且有用笔风格多变，似更有奇趣。\n因为徐浩隶书碑多，清王澍《虚舟题跋》评曰：“唐人隶书之盛无如季海，隶书之工也无如季海。\n” 有唐一代，越中贡献了三位影响中国书法发展的大家，他们是初唐的虞世南、贺知章，中唐的徐浩。\n三位书法家都长寿，当时他们写下的书法作品也多，影响深远。\n他们留下的书迹为世世代代的中国人所珍藏、学习。\n他们的书法受到后代书法家的很高评价。\n宋朱长文《续书断》中评论徐浩“受书法于父。\n少而清劲，随肩褚、薛；晚益老重，潜精羲、献。\n其正书有可谓妙之又妙也，八分、真、行皆入能。\n尝论书云：鹰隼之彩而翰飞戾天者，骨劲而气猛也； 翟备色而翱翔百步者，肉丰而力沉也。\n若藻曜而高翔，书之凤凰矣。\n故浩之为书，识锐于内，振华于外，有君子之器焉。\n尝书四十二幅屏，八体具备，其朔风动秋草，边马有归心十数字，草隶相参，皆为精绝。\n识者评云：怒猊抉石，渴骥奔泉。\n尤为司空图所宝爱。\n”黄庭坚也认为“唐自欧虞后能备八法者，独徐会稽与颜太师耳。\n然会稽多肉，颜师多骨”，“季海暮年乃更摆脱王氏规模，自成一家”（《山谷题跋》）。\n然而米芾却说徐浩“晚年力过，更无气骨”，清冯班《钝吟书要》则认为米芾所言见解偏颇，说“季海筋在画中，晚年有一种渴骥奔泉之势，老极，所以熟而不俗”。\n古人对徐浩书法的评论见仁见智，若从书法史的发展来看，唐初的几位楷书大家已立唐法，到中唐，书体继续求变，希望突破二王，有所变化，探索一种在法度中寻自由抒情的方式。\n徐浩的书法体现出了这种努力，因此中唐的楷书大都仿效之。\n徐浩的书法可以说是中唐的一面旗帜。",[417,86,7,2601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F017762d93cc0369c285afeda6809bbef.jpg",[],{"id":27462,"slug":27463,"title":2234,"dynasty":18,"author":2181,"museum":99,"description":27464,"tags":27465,"thumbUrl":27466,"material":107,"size":107,"collection":107,"collections":27467,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":40},230850,"gao-yi-tu-dong-qi-chang-230850","此作用笔松秀灵动，以干笔枯墨绘就，兼施淡墨晕染。画面分远中近三境，远山以淡墨轻扫，虚灵空濛，似含烟霭；中平湖如镜，汀渚错落，漾出澹澹清寂；近景枯木虬曲苍古，姿态疏朗萧散，尽显荒寒雅逸之气。\n\n以书入画，笔墨间自带文人疏淡风骨，删繁就简，褪去实景冗杂，独留山水精神，将林下高贤寄情丘壑、坐忘林泉的隐逸意趣藏于尺幅之间，静穆清寂的氛围里，尽显文人画尚意重韵的极致品格。",[49,23,51,26,55,119,86,56,64,150,715,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F209df79a27a9101f03f274d4311d3360.jpg",[],{"id":27469,"slug":27470,"title":5463,"dynasty":97,"author":929,"museum":99,"description":27471,"tags":27472,"thumbUrl":27473,"material":107,"size":107,"collection":107,"collections":27474,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":40},230293,"hua-niao-ce-shi-kai-li-shan-230293","此作用笔放逸老辣，以泼墨晕染荷叶，浓淡干湿一气呵成，淋漓间尽显叶片舒展厚重的质感。荷花花苞则以焦墨勾边，淡墨晕染花瓣，妍雅秀润，与荷叶的苍劲朴拙形成鲜明反差，寥寥数笔便勾勒出夏荷出尘之姿。\n\n画面搭配题诗与朱印，书画印浑然一体。书法朴拙跌宕，与水墨荷花相映成趣，将文人意趣与花鸟神韵相融，以简驭繁，尽显写意酣畅情致，把荷花清逸风骨与自身疏朗襟怀尽数诉诸笔端，是笔墨性情与物象神韵完美契合的写意佳作。",[23,51,50,24,26,27,102,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e2b5537a93897bce1aaae99efc57378.jpg",[],{"id":27476,"slug":27477,"title":27478,"dynasty":97,"author":3136,"museum":99,"description":27479,"tags":27480,"thumbUrl":27481,"material":107,"size":107,"collection":107,"collections":27482,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":40},230177,"fang-gu-tu-ce-wang-shi-min-230177","仿古图册","《清王翚仿古山水册》是清代 作者创作的画册。\n纸本设色。\n此册共二十开，是王石谷早期刻意继承古人传统画法的代表作。\n此册由苏州过云楼后人捐赠。\n现收藏于常熟博物馆。\n王翚作。\n纸本设色。\n此册共二十开，是王石谷早期刻意继承古人传统画法的代表作。\n其中，仿董源、范宽各二开，仿王维，关仝、高克明、李成、郭熙、王诜、宋徽宗、阎次平、李唐、刘松年、赵伯驹、赵大年、夏圭、黄公望、赵孟頫、王蒙各一开。\n此册由苏州过云楼后人捐 赠。\n21年， 与 强强联手，共同打造了数字化、立体化的权威知识普及平台： 之 。\n该数字馆通过陶瓷器馆、铜器馆、金银器等分馆，全方位展示了 的众多珍贵展品。\n【简介】 纸本，水墨，纵：25.6厘米，横：2.5厘米。\n《 》共计十二页，其中设色二页，水墨十页。\n仿董源、巨然、米芾、赵大年、赵孟頫、吴镇、倪瓒、王蒙、黄公望、管道升、曹知白、陈汝言等而作。\n每幅均自题七律一首，末开款署“壬寅六月王翚”，册尾有顾复初题跋。\n前选一图，系仿曹云西山水，写柳汀板桥、芦荻孤舟，晓风残月，雁影徘徊。\n笔墨疏秀，意境苍莽迷蒙。\n得名家传授，又博览古人佳作和游历真山实水，画艺日臻成熟，4岁时即名闻海内。\n王翚出生于绘画世家，他的曾祖王伯臣、祖父王载仕、父亲王云客都是画家，幼时即得到家学熏陶，初学画于同乡画家张珂。\n顺治年间王鉴游虞山时，见王翚画扇，极为赏识，赞其天资超人，收为弟子。\n后转师王时敏，得以临摹许多历代名家真迹，镕铸造南北画派于一炉，技艺大进。\n尝与王时敏遍游大江南北，广识著名收藏家，观摹宋、元真迹。\n其摹古功力极得王时敏赞赏：“（石谷）凡唐宋诸名家无不摹仿逼肖，偶一点染展卷即古色苍然，毋论位置溪径，宛然古人，而笔墨神韵一一夺真，且仿某家，则全是某家，不杂一他笔，使非题款，虽善鉴者，不能辨。\n”于是他在摹古仿古的基础上，综合诸家之长，晚年画风简练苍浑，有独到的艺术风格，在“四王”中，王翚的艺术成就最为显著，门生弟子很多，以杨晋较为著名，其山水画的影响极为深广。\n王翚（162—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。\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。\n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。\n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”。\n在王翚5岁到6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。\n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”。",[23,26,24,134,55,56,871,61,727,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c633d3f56a943ca1180e458ba8904cf.jpg",[],{"id":27484,"slug":27485,"title":9383,"dynasty":97,"author":1235,"museum":99,"description":27486,"tags":27487,"thumbUrl":27488,"material":107,"size":107,"collection":107,"collections":27489,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":75},230146,"shi-gong-ci-tu-ce-leng-mei-230146","《避暑山庄图》是清代画家 创作的一幅绢本设色画，该画现收藏于北京故宫博物馆 。\n此画景物右至武烈河及东部山区，左至西岭山区为止，并从山庄东部崖殿“万壑松风”殿座开始，一层层向北展开，包罗四围秀岭，十里湖湘的整个湖区、平原区主要建筑和自然风貌，体现了冷枚高度的概括能力和精湛的艺术技巧，历史与艺术价值很高 。\n画中青山环抱，绿树成荫，后山一股清泉，流入山庄，湖水荡漾，荷花盛开，岸柳垂荫，亭台、水榭、宫室、高楼，因地制宜，聚散错落 。\n图中湖泊东侧低岩上耸立的那座仿造宝塔，似乎是从镇江金山寺移植过来的。\n苑中树木郁郁葱葱，清幽宁静，左右两侧绵延起伏的群山，于巍峨壮观中又透出几分灵秀。\n丘壑相连，迤逦苍茫，呈现出一派江山无限的景象 。\n画幅右下角自题：“小臣冷枚恭画”楷书款，下钤“臣冷枚”朱白文印和“夙夜匪懈”白文方印。\n另有乾隆、嘉庆、宣统藏印五方 。\n避暑山庄，又称“承德离宫”、“热河行官”，在今河北承德市区东北。\n它始建于清康熙四十二年（17年），乾隆时又进行了大规模的扩建，是清朝皇帝夏、秋季避暑的行宫 。\n《避暑山庄图》绘于康熙五十二年（公元171年），这时避暑山庄刚建成“万壑松风、芝径云堤、无暑清凉、镜水云岭、曲水荷香、四面云山、暖流渲波”等三十六景，冷枚以鸟瞰的形式俯视整座园林，把三十六景中的三十景都囊括其中 。\n此图采用鸟瞰式构图，描绘了实景的山水画。\n图中表现的是清代一处皇家园林——避暑山庄。\n画面的前部是工整细巧的宫殿，稍后是一组具有江南园林格调的建筑物，从画面上还可以看到一座仿照镇江金山寺而建的木结构高塔，画面的后部是高耸起伏的山峦，整座山庄由逶迤曲折的石墙围绕，最右方是承德的一处奇特景观——棒锤峰。\n冷枚具有传统工笔界画的基础，描绘建筑物时又适当参用了欧洲的透视画法，从而加强画面的纵深感 。\n此画描绘了十里澄湖、后苑建筑及周围山岭。\n由于冷枚既擅长运用传统的界画技法，又了解西方绘画的透视法，因而将避暑山庄中的建筑物表现得错落有致，造型准确、细腻 。\n此画以全景式的表现手法，充分展现了避暑山庄的整体风貌，根据画面的描绘再结合文献记载考察，大致可以断定此图画的是乾隆时扩建山庄之前的面貌，这对于人们了解避暑山庄的原始格局具有重要价值 。\n217年6月至1月中旬，《避暑山庄图》在香港文化博物馆举办的“八代帝居——故宫养心殿文物展”中展出 。\n冷枚（约1669—1742），字吉臣，号金门画史，山东胶州人。\n是清代画家，曾在宫廷中担任过画职，是当时大画家焦秉贞的弟子。\n他的绘画题材有人物也有山水楼台，人物主要以仕女为主，所画人物工丽妍雅，笔墨洁净，色彩韶秀，画面精美。\n其画法兼工带写，生动有致，他的主要作品有《养正图册》、《十宫词图册》、《罗汉图册》、《避暑山庄图》、《连生贵子图》等 。",[23,51,24,54,25,1962,119,7,86,58,59,136,405,1206,406,871],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F535a93f1cb226249d9c611dcdae64e41.jpg",[],{"id":27491,"slug":27492,"title":27493,"dynasty":18,"author":3070,"museum":99,"description":27494,"tags":27495,"thumbUrl":27496,"material":107,"size":107,"collection":107,"collections":27497,"showCount":26956,"zanCount":1288,"manualWeight":39,"mainColor":40},228741,"fang-mi-you-ren-yun-shan-tu-juan-chen-chun-228741","仿米友仁云山图卷","此作用米家云山之法，以淡墨晕染山峦，间以浓墨点醒林麓，水汽弥漫，烟岚浮动，将江南丘壑的空濛秀雅尽藏尺素。简率的笔墨勾勒汀洲林木，苍润松秀，不求刻绘精细，只以水墨氤氲传递出云气漫过山峦的朦胧诗意，尽显“墨戏”的萧散意趣。\n\n画面留白与晕染相映，在虚实之间铺展出悠远淡宕的山水意境，契合文人画尚意重韵的追求。后幅题识亦为画卷添就文雅格调，整卷以水墨写意尽显平淡天真的米家山水风神，是明代文人水墨山水的逸品。",[49,23,51,52,26,55,134,119,86,7,56,1207,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec63ab7769bad38fa9c94164b033efd6.jpg",[],{"id":27499,"slug":27500,"title":7228,"dynasty":18,"author":18371,"museum":99,"description":27501,"tags":27502,"thumbUrl":27503,"material":107,"size":107,"collection":107,"collections":27504,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":40},228490,"shan-shui-ce-yun-xiang-228490","此作用笔苍浑松秀，右幅层岩叠壑间飞泉直下，涧水环石隐于葱郁杂木，板桥茅亭隐于一隅，野逸幽寂。以干笔皴擦晕染，尽显山川厚重质感，氤氲静穆古雅的山水气韵。左幅行书题跋笔力遒劲舒展，书画合璧，尽显文人意趣。\n画作以元人笔墨写江南丘壑，简淡苍劲脱去甜熟，将山川朴茂元气藏于构图之中，以画寄兴，褪去匠气直追古意，于简雅之间尽显山水生机，暗含画者胸中丘壑与沉静文人风骨。",[50,23,51,24,26,56,63,60,61,119,86,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89d53472a535054b50cf8412a73495aa.jpg",[],{"id":27506,"slug":27507,"title":27508,"dynasty":18,"author":1014,"museum":485,"description":27509,"tags":27510,"thumbUrl":27511,"material":107,"size":107,"collection":107,"collections":27512,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":40},228476,"meng-xian-cao-tang-tu-juan-tang-yin-228476","梦仙草堂图卷","《梦仙草堂图》是明朝 的绘画作品。\n《 》此幅题为“东原先生写图”，从作者题款透露着构思的意想：闲来隐几枕书眠，梦入壶中别有天。\n仿佛希夷亲面目，大还真诀得亲传。\n横图（见图）右实左虚，实处写崇山峻岭，苍松、修竹、瀑布、幽径，优美的环境中草堂坐落其中，成为画面的视觉中心。\n堂中有一 伏案作“枕书眠”状。\n虚处约略作连绵山头，空蒙处置一宽袍大袖的士大夫，衣饰整洁，大袖随风飘动似有飘然于仙境之感。\n图中将“枕书眠”的真实表现引伸到“梦入壶中”的幻想境界，将真与幻，现实与想象相结合来构成富有幻想色彩的画意，使观赏者产生梦幻境界的联想，在一定的时空中创造可视的审美形式。\n在“ ”中沈（周）画深厚；文（征明）画清婉；仇（英）精细，而唐（寅）画则以 见长，明王世贞评 的画“秀润缜密而有 ”，大体上概括了其画风的审美特征。\n此图石法最能体现 风格特点。\n一、细笔长线匡廓，爽利而缜密的丛线， 、细秀、流畅，兼以 方折、密集、利落的皴纹。\n二、这种皴法是吸收传统中披麻、斧劈、乱柴、钉头等几种笔法。\n小斧劈中兼用披麻法，一变南宋斧劈皴法，并融汇元人方法，演变为细长柔劲线条略带写意的画法。\n三、山体凸处用线简括疏朗，至凹处皴纹稠密，湿时化线为面（“破墨”，湿时晕染），有效地体现出阴阳向背的体、质感。\n皴笔以湿笔为主，墨色淋漓润泽，所谓带水长皴，连皴带染的方法，基本上一次完成。\n用墨单纯明快，具庄丽清润的审美效果，和元人一笔中强调中、侧锋、较重快慢、干湿浓淡，靠复笔逐步深入，最后达到“浑厚 ”苍茫含蓄的“ ”画法不同。\n从石法上最能体现出 取法南宋李唐、刘松年等人的画法，并融合元人的韵致，将苍劲刚健和淡雅秀逸的风格相结合，整体上属北格南韵的气格。\n(147--152)字伯虎,号桃花庵主，晚年信佛，有六如居士等别号。\n江苏苏州人。\n举乡试第一( )。\n后因科场舞弊案受牵连，功名受挫，又遭家难，经历坎坷。\n后半生在 西北桃花坞建一“桃花庵”，以 鬻画闻名天下。\n时与 , ,文徵明,切磋文艺,号“ ”。\n唐寅“ 不羁，颇嗜声色”，自署印“江南第一风流才子。\n”他博学多能，吟诗作曲，能书善画，是我国绘画史上杰出的大画家,擅人物、山水、花鸟。\n唐寅书法为画名所掩，主要学 ，更受 影响，笔画俊逸挺秀，婉转流畅，笔力稍弱，钩挑绵软，看不出一丝狂态。\n评曰：“伯虎入吴兴堂庑，差薄弱耳。\n”(《州山人稿》)流传墨迹有《自书诗》、《联句诗》、《落花诗卷》等。",[49,23,51,52,56,25,26,119,417,7,55,870,406,63,871,1902,1207],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f172726d9fa486d3ca8271b1624e3a.jpg",[],{"id":27514,"slug":27515,"title":27516,"dynasty":18,"author":955,"museum":99,"description":9336,"tags":27517,"thumbUrl":27518,"material":689,"size":690,"collection":107,"collections":27519,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":75},228283,"ting-die-tu-chen-hong-shou-228283","听蝶图",[49,23,51,84,25,54,58,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efe86ca90f6efa2eb1ee0012fc34988.jpg",[],{"id":27521,"slug":27522,"title":27523,"dynasty":115,"author":3092,"museum":99,"description":27524,"tags":27525,"thumbUrl":27526,"material":107,"size":107,"collection":107,"collections":27527,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":40},227772,"mo-fan-kuan-xi-shan-du-diao-tu-juan-li-tang-227772","摹范宽溪山独钓图卷","李唐的山水画师法荆浩和范宽，但是学而有变，属于青出于蓝、能举一反三的那类人物，他笔下的山川气势雄峻，笔墨峭劲。李唐晚年时对山水画用笔进行了一系列创新，造型上去繁就简，创造了国画中著名的二十三皴法之一——“大斧劈皴法”，又将水的画法改进，由原来僵化的鱼鳞纹水波变成有动式的旋涡状，使山水更显生动。",[49,50,23,51,52,134,55,26,25,86,7,56,62,713,61,150,64,277,714],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5adbe6f970d845a646ce629a70464885.jpg",[],{"id":27529,"slug":27530,"title":27531,"dynasty":115,"author":289,"museum":99,"description":27532,"tags":27533,"thumbUrl":27534,"material":107,"size":107,"collection":107,"collections":27535,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":75},227611,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-227611","陶渊明隐归图全卷","陶渊明与李公麟在家庭出身方面颇有相似之处，都出身于官宦世家，自幼都受到良好的儒学教育。在仕途方面陶渊明曾先后五次辞官，而李公麟却在八、九品的末吏官位上周旋了三十年，可见他“山林”思想中呈现出很深的“吏隐”特点。造成这种差异的因素很复杂，这中间既有具体政治文化环境的不同，也有二人性格上的反差。但隐逸的思想共同存在，只不过有着归田与归山林形式上的区别，“隐”却是最终的和最根本的精神指向。从隐逸文化发展史来看，隐逸文化进入宋代以后被重新整合与完善，“吏中求隐”是这一时期的重要表现，“归去来兮”式的理想家园，大多存在于精神层面。李公麟仕途三十年，隐逸情感常伴其间，但却始终没有选择彻底的遁入山林，这是他世俗化隐逸方式的体现，同时也是宋代士夫阶层群体化的呈现。可见，李公麟身上折射出的，带有吏隐特点的“山林”思想背后有着深厚的文化以及社会环境的影响。",[49,23,51,52,135,25,58,56,63,60,61,62,64,59,86,7,1019,6498,6545],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefa6897d09c276c438301cb310ecebd0.jpg",[],{"id":27537,"slug":27538,"title":27539,"dynasty":115,"author":27540,"museum":99,"description":27541,"tags":27542,"thumbUrl":27545,"material":107,"size":107,"collection":107,"collections":27546,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":40},227418,"feng-xue-song-shan-tu-quan-juan-li-shan-227418","风雪松杉图全卷","李山","《风雪松杉图》卷，金， 李山作品，绢本墨笔，29.7cm×79.2cm，美国福利尔美术馆藏。图中一排劲松顶天立地，犹如一天然屏嶂，背景雪山寒雾之中，隐现雪竹、庭院、溪流，立意别出心裁，技法有北宋李成画风的迹象。",[49,50,23,51,52,26,25,55,86,119,7,56,27543,27544,2001,1019,64,150],"松杉","风雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1de0b693786da0eb66983f3e2c958492.jpg",[],{"id":27548,"slug":27549,"title":27550,"dynasty":115,"author":8006,"museum":99,"description":27551,"tags":27552,"thumbUrl":27555,"material":107,"size":107,"collection":107,"collections":27556,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":40},227334,"jiang-fan-shan-shi-juan-song-ren-227334","江帆山市卷","艺术赏析 江上帆船一艘，船头有缫车，后舱篷顶，笼畜雄鸡一，盖用以报晓取时。\n江波粼粼，用笔细挺。\n岸旁已停泊三舟，皆有笼鸡之蓄。\n岸上有驱驴者，道逢相拜者，骑驴投店者。\n山道间，远处迷濛，有驼队成群。\n山谷中岚烟凝白，飞鸟结阵，一片黄昏景色。\n两山回抱而起，山峰结构及树法、水波画法，与 画风极接近。\n【名称】宋人江帆山市卷 【规格】28.644.1公分 【收藏】 主题与关键字： 夏景、房舍、茅草屋、鸡、客舫、帆船、寺庙、店铺、骆驼、狗、骡．驴、马、回廊、孩童、侍从（侍女、童仆）、渔夫、船夫、百姓、行旅、官员（臣）、江河、湖海。\n石渠宝笈初编（重华宫），下册，785页；故宫书画录（卷八），第四册，78页；故宫书画图录，第十七册，21-22页。",[50,23,51,52,26,55,56,27553,27554,6000,755,751,6096,7],"江帆","山市","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc42d48136e2cb3cdf0a480af5efb4a.jpg",[],{"id":27558,"slug":27559,"title":27560,"dynasty":115,"author":27561,"museum":99,"description":27562,"tags":27563,"thumbUrl":27565,"material":689,"size":690,"collection":107,"collections":27566,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":40},227329,"yan-guan-gu-si-tu-ye-jia-shi-gu-227329","严关古寺图页","贾师古","贾师古，生卒年不详，南宋画家。汴（今河南开封）人，善画道释人物，师法李公麟。高宗绍兴时为画院祗候。白描人物，颇得闲逸自在之状。尝作《归去来图》，有所谓“一笔法”，甚古雅。梁楷为其高足，名过其师。传世作品有《岩关古寺图》、《大士像》等。",[49,23,51,24,25,55,7,56,610,150,27564,751,752],"古寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f001dee4f7caf5c80f9cbb0734173ec.jpg",[],{"id":27568,"slug":27569,"title":11804,"dynasty":1037,"author":7523,"museum":99,"description":27570,"tags":27571,"thumbUrl":27572,"material":107,"size":107,"collection":107,"collections":27573,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":40},227270,"xia-re-tie-yang-ning-shi-227270","《夏热帖》，五代，杨凝式书，纸本，手卷，纵23.8厘米，横33厘米。草书8行，共32字。\n《夏热帖》是杨凝式写的一封信札。内容大致是，因天气炎热，送给僧人消夏饮料“酥密水”表示问候。\n释文：\n“凝式啓：夏熱體履佳宜，長□酥密水，即欲致法席，苦□□□乳之供，酥似不如也。(以下数字残损难识)病？(下二行残损)。”\n首署款：“凝式”。\n后纸有宋王钦若，元鲜于枢、赵孟頫，清张照题跋及乾隆皇帝的释文。\n卷前后及隔水上钤有宋“賢志堂印”，元赵孟頫，明项元汴，清曹溶、纳兰成德、清内府等鉴藏印。另有数方古印不辨。\n此帖是杨凝式唯一的传世草书作品，书法兼取唐颜真卿、柳公权笔法，体势雄奇险崛，运笔爽利挺拔，《神仙起居法》有异曲同工之妙，为杨凝式书法代表作品作之一。\n此帖曾刻入《三希堂法帖》。\n明汪砢玉《珊瑚网书跋》，清吴其贞《书画记》、顾復《平生壮观》、卞永誉《式古堂书画汇考》、内府《石渠宝笈·初篇》等书著录。",[49,462,86,51,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c764be838b3a960970b6f300cc2fe6b.jpg",[],{"id":27575,"slug":27576,"title":27577,"dynasty":97,"author":787,"museum":99,"description":27578,"tags":27579,"thumbUrl":27580,"material":107,"size":107,"collection":107,"collections":27581,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":40},224585,"si-jun-zi-tu-zou-yi-gui-224585","四君子图","此作用淡墨晕开空濛远景，留白铺就清寂天地。左侧古松虬枝盘曲，鳞皴苍劲，松针攒簇如团，枯荣交织尽显古拙生机。右侧长松挺立于石畔，与老松两两相望，野竹荒草偃仰生姿，添得山野意趣。\n\n全作以焦墨醒出松节针叶，淡墨晕染坡岸远景，笔法清隽秀雅，未施一色，全凭水墨勾勒晕染，将松柏坚凝君子风骨寄寓萧散小景之中，静穆简淡却暗含蓬勃生气，淡而不寡，简中见厚，尽显清寂雅致的文人意趣与不俗笔力。",[49,23,50,51,26,54,777,358,277,7,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7af38b1cc2ec84ef8742819cb96280.jpg",[],{"id":27583,"slug":27584,"title":27585,"dynasty":97,"author":445,"museum":99,"description":27586,"tags":27587,"thumbUrl":27588,"material":107,"size":107,"collection":107,"collections":27589,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":40},224520,"shan-shui-tu-ce-8-kai-6-zhang-da-qian-jiu-cang-shi-tao-224520","山水图册8开-6-张大千旧藏","近处村舍错落，农人悠然，烟火气晕开山林野趣。中峰以枯笔勒石骨，淡墨晕出山岚，焦墨点苔缀松，干湿浓淡铺展出苍莽层次。右侧题笔朴拙老辣，诗画相映，将秋山萧索寄于木叶疏凉。\n\n笔意纵恣灵秀，不拘成法，以简淡笔墨写尽丘壑生机，把山居隐逸的静穆与山川清旷融为一体，借景抒怀，尽显山野朴拙之态，亦藏画者洒落襟怀。",[49,23,26,25,24,55,56,727,64,278,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb60ef25126ad857219560ef580fe319.jpg",[],{"id":27591,"slug":27592,"title":27593,"dynasty":97,"author":724,"museum":99,"description":27594,"tags":27595,"thumbUrl":27596,"material":107,"size":107,"collection":107,"collections":27597,"showCount":26956,"zanCount":1288,"manualWeight":39,"mainColor":40},224394,"fang-ni-zan-shan-shui-zhou-wang-yuan-qi-224394","仿倪瓒山水轴","近岸坡石错落，修篁杂木扶苏，林间草庐隐现，一人凭石静憩。远山以淡墨轻勾浅皴，留白代水，漾开萧疏淡远的空寂氛围。\n以干笔枯墨勾勒皴擦山石，笔意松秀古拙，墨色清润层次分明。题诗与画面相映成趣，将幽居林下的隐逸雅怀藏于尺幅间，尽显空疏冷隽的林下之风，尽显文人山水独有的简淡清和意趣。",[23,51,84,26,55,56,358,277,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfdd7175bc5126f78214c90c4a16c909.jpg",[],{"id":27599,"slug":27600,"title":27601,"dynasty":97,"author":25199,"museum":99,"description":27602,"tags":27603,"thumbUrl":27604,"material":107,"size":107,"collection":107,"collections":27605,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":75},224342,"huang-shan-tian-dou-feng-tu-mei-qing-224342","黄山天都峰图","《梅清黄山天都峰图轴》是清代梅清创作的纸本墨笔画。\n本幅款署：“十年幽梦系轩辕，身历层岩始识尊。\n天上云都供吐纳，江南山尽列儿孙。\n峰抽千仞全无土，路入重霄独有猿。\n谁道丹台灵火息，朱砂泉水至今温。\n天都峰。\n仿荆关笔意。\n瞿山梅清并题。\n”钤“瞿硎清”白文印、“渊公”朱文印。\n天都峰为黄山三大主峰之一。\n古时有“群仙所都”之称，意为天上都会，故名。\n此峰卓立地表，险峭雄奇，气势博大，最为雄伟壮丽。\n图中天都峰陡立奇险，冲出云天，山腰间云气缭绕，矮岩上的古寺为林木掩映，两位文士静立观赏山的峻峭与云的变幻。\n在艺术表现手法上，画家突出表现天都峰奇险雄秀的气势而不求形似，通过顶天立地式的布局与弥漫山间的浮云相配合，从侧面烘托了画面气氛，避免直白的艺术表现，增加了观者的空间感，展示出兼具雄浑奔放和清秀空灵的绘画风格，给人以强烈的艺术感染。\n此外，墨色的浓淡相宜既显示了画家非比寻常的绘画技巧，也使得画面完整而统一，没有杂乱无章之感。\n梅清（1624—1697年），原名士羲，后改梅清，字渊公，号瞿山、敬亭山农，宣城（今属安徽省）人。\n清初画家、诗人。\n工诗善画，以画山水、松石、梅花著称，时有“画山水入妙品”，“松入神品”，画梅花“枝干奇古”之评。\n山水画大多是黄山景致，风格雄奇豪放，为宣城地区画坛领袖。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。\n他的创作最重师法自然，曾在各地游历名山大川，终日面对青山描摹写生。\n黄山和家乡宣城是梅清绘画中最着力表现的题材。\n著有《天延阁集》、《梅氏诗略》等书。",[49,23,51,56,26,55,84,2001,610,279,63,58,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fead2c64c87e758f439ebdbbe68526dc0.jpg",[],{"id":27607,"slug":27608,"title":27609,"dynasty":97,"author":929,"museum":99,"description":27610,"tags":27611,"thumbUrl":27612,"material":107,"size":107,"collection":35,"collections":27613,"showCount":26956,"zanCount":1288,"manualWeight":39,"mainColor":40},224297,"hua-hui-shi-er-kai-ce-li-shan-224297","花卉十二开册","此画取材寻常蔬食，笔意写意疏朗。茼蒿茎叶以淡绿晕染，线条舒展灵动，尽显菜叶柔润鲜活之态；生姜皴擦朴拙，还原肌理质感，红辣椒设色鲜亮醒目，点亮画面。\n\n搭配题诗与蔬果相映成趣，以日常食材寄寓情志，将烟火清欢融入文人雅趣之中。淡朴的市井风物化作笔下意趣，不见雕琢之迹，尽显冲淡天真的笔墨意韵，于寻常日常里，勾勒出文人画以物明心的雅致情致。",[49,23,51,24,25,119,7,403,4210,4211,5401],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ad80d7081dfe9a6e575a0b565504dc3.jpg",[35],{"id":27615,"slug":27616,"title":27617,"dynasty":97,"author":27618,"museum":99,"description":27619,"tags":27620,"thumbUrl":27621,"material":689,"size":690,"collection":107,"collections":27622,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":40},224158,"fang-zhao-da-nian-zhou-li-224158","仿赵大年","周笠","周笠，字牧山，清嘉定人，周颢之侄。善刻竹，与周颢齐名。擅长绘画，山水师法元四家，水墨花卉生意盎然。周笠少时与周颢同学画，同刻竹，但各得其意，各不相袭。清人评其作品“生意远出，神气内涵，万点当虚，千层叠起，浑厚中自露秀色”。周笠晚年客居扬州，六十岁而病卒，今传世作品较少。",[49,23,25,56,63,58,871,134,7,86,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe513da2bebf872dfea6fb96b6d62e632.jpg",[],{"id":27624,"slug":27625,"title":27626,"dynasty":115,"author":207,"museum":81,"description":27627,"tags":27628,"thumbUrl":27631,"material":227,"size":27632,"collection":107,"collections":27633,"showCount":26956,"zanCount":1288,"manualWeight":39,"mainColor":75},223517,"sang-guo-shan-niao-tu-yi-ming-223517","桑果山鸟图","此图有宫廷画院的工丽之风，却多了几分粗犷率真。画面取一斜伸桑枝，在一细劲的枝条上站立一只山鸟，憨态可掬，嘴里还叼着桑葚，表情很有几分稚趣",[49,50,23,51,54,25,27629,27630,29,27,1227,2152,7],"桑","果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1693f8902501da32c2e9093c661caa4.jpg","纵25.2厘米 横26.4厘米",[],{"id":27635,"slug":27636,"title":27637,"dynasty":97,"author":4509,"museum":81,"description":24113,"tags":27638,"thumbUrl":27641,"material":319,"size":27642,"collection":70,"collections":27643,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":40},223119,"qiu-shu-yun-fan-zhou-dong-bang-da-223119","秋树云帆轴",[49,23,51,84,26,55,7,56,27639,27640,60,61,62,63,58,150,64],"秋树","云帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4681dcd6e0cf39452c603f9d6d6ece6e.jpg","121x59.8",[70,242],{"id":27645,"slug":27646,"title":27647,"dynasty":97,"author":1235,"museum":175,"description":9384,"tags":27648,"thumbUrl":27649,"material":183,"size":9387,"collection":107,"collections":27650,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":75},222869,"shi-gong-ci-tu-ce-08-leng-mei-222869","十宫词图册08",[49,23,51,24,25,54,1962,119,86,58,59,1019,64,179,180,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7348f8fa73a5adb30a79c2bd01d24a6d.jpg",[],{"id":27652,"slug":27653,"title":3962,"dynasty":97,"author":736,"museum":81,"description":8626,"tags":27654,"thumbUrl":27655,"material":183,"size":8629,"collection":107,"collections":27656,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":40},222756,"ba-jun-tu-lang-shi-ning-222756",[49,50,23,51,84,54,25,12526,9414,225,598,58,7,9552],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28adc62fbf3174d00b42d379a53d67ea.jpg",[],{"id":27658,"slug":27659,"title":27660,"dynasty":18,"author":10700,"museum":27661,"description":27662,"tags":27663,"thumbUrl":27664,"material":1561,"size":27665,"collection":70,"collections":27666,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":924},222581,"lin-da-chi-shan-shui-tu-juan-lan-ying-222581","临大痴山水图卷","美国芝加哥艺术学院","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。\n蓝瑛 （1585-1664），一作（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂”，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n蓝瑛一生以绘画为职业，曾漫游南北，饱览名胜，眼界开阔，因而不断丰富了创作内容。他的传派，直接继承衣钵的有蓝氏一家子孙，如蓝孟、蓝深、蓝涛等，弟子刘度、王奂等都各有成就。明末同时和稍后的如陈洪绶以及金陵八家等著名画家，也都受他的影响。\n蓝瑛绘画对明末清初影响很大，被后人称为“武林派”。画史上称之为“后浙派”，将其与戴进、吴伟合称“浙派三大家”。 [2] 但实际上他的画风与戴进等不同，不能完全附属于“浙派”之后。蓝瑛字田叔，号蜨叟，晚号石头陀，又号东郭老农，所居榜额曰“城曲茅堂”。\n蓝瑛是我国明末清初的画家，曾有美术史家把他列为“浙派”，对此，有专家学者提出异议认为：蓝瑛与戴进之间既无师承关系，在绘画面貌、艺术风格上也大相径庭，故不应因二人同处浙江杭州而列为同一画派“浙派”。\n清代沈宗骞在《芥舟学画编》中提出“蓝瑛倡为武林派”，蓝瑛和他的追随者们应称为“武林派”。我们知道，画史上有一些画家因种种原因没有留下更多的生平资料，使后人很难从他们一生的行踪、生活背景、个性脾气、思维方式中去了解他们所形成的艺术风格、审美理念，只能从他们留存于世的绘画作品中去洞察其艺术之轨迹，蓝瑛就是这众多画家中的一位。长期以来，学术界对文人画家及其作品比较重视，由于蓝瑛是一位职业画家，又没有诗文和著作留存于世，因此在画史上很少有关于他的记载和涉及。本文试通过对蓝瑛绘画作品的具体分析，来阐述蓝瑛山水绘画的艺术特色和所取得的成就。\n画家的创作理念和他个人所生活的时代、环境、文化素养、审美标准是分不开的。蓝瑛作为明末清初的画家，他的绘画风格同样也脱离不开他所生活的时代。因此，在探讨蓝瑛山水绘画的艺术特色之前，我们首先要对蓝瑛的生平及师承有所了解。\n蓝瑛，生于公元1585年，卒年不详，1664年尚在，字田叔，号蜨叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号西湖外民、西湖外史、东郭老农、吴山农等，所居榜额曰“城曲茅堂”。生长于“浙派”发源地钱塘(今浙江杭州)，二十三岁寓居松江，后来长期活动于杭州、嘉兴、南京、扬州、绍兴等地，卖画授徒，影响深远，追随者主要集中于杭州一带，被称为“武林派”(武林为今杭州别称)，在明末万历到清初康熙年间足以与“松江派”抗衡。其画风融合南北两宗，自成一家，属于一位文人画的职业画家。清代以来不少学者把蓝瑛称为“浙派”的“后劲”或“殿军”。\n他工书善画，长于山水、竹石、梅兰、人物、花鸟等，技法全面，尤以山水画著名，是明末清初颇具影响力的山水画家。他的绘画特点比较明显的是用笔有顿挫，以疏秀苍劲取胜，善写秋景。在其作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”等，实则所画均为他自己的面目。他的山水绘画画法有两种：一种作钩勒浅绛法，另一种作没骨法，设色鲜艳夺目，所画青山、红树、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水绘画作品。蓝瑛享年八十有余，一生以绘画为职业，笔耕不辍，传世的绘画作品面貌多样，数量众多。\n从蓝瑛传世的作品看，他的山水画创作大致可分为早、中、晚三个时期。早期为其五十岁以前。从现存蓝瑛早期的绘画作品中可以看出，他在临习古人绘画作品的过程中，打下了扎实的笔墨功底。在艺术成就的取得上，他主要得益于黄公望、王蒙、倪瓒、吴镇的助力。元四家的笔墨虽不尽相同，但蓝瑛在学习他们的绘画技法时却能择良而取，并注意吸取对自己有用的东西，藉以丰富个人的表现能力。博采众长，应该是一个艺术家取得成就的途径之一，这也是我国艺术史上久经证明的成功经验。此时蓝瑛作品呈现出的面貌基本是以中锋运笔，皴法以长披麻皴、解索皴、荷叶皴为主。山石的画法润泽浑圆，没有过多的棱角，苔点圆润。树木的画法则是多种多样，体现了他绘画技法的娴熟。在构图上，近景的树木与远景的山峦之间具有明显的空间感。设色平淡和润，风格秀润清和，疏松简略。\n《溪山秋色图》为癸丑新秋(1613年)，画家29岁时创作的一件传世绘画佳作。画卷右起为辽阔的水域，远山朦胧，云气蒸腾。中部山石突起，溪水潺潺，蜿蜒的水流从山石间缓缓淌过，坡石上零星地分布着杂草树木。整幅画作淡泊宁静，用笔柔和，山石少皴，偶有淡淡的荷叶皴，构图松秀，设色清和，墨色滋润，从中可看出蓝瑛此时的绘画受“松江派”绘画风格影响之痕迹。\n《仿李唐山水图》是蓝瑛早年创作的一件绘画作品。图中景物茂密，近景岩石累累，形成坡坨，处于曲流之畔。坡石上树木茂蔚，造型古朴，刻画细致，疏密枯润，各显生态。树林间有一茅亭临于溪边，亭内二隐士对坐畅聊。隔溪远景是巨石高峰，岩石突兀奇特，下有瀑布，泻入清溪。整个画面山石崚嶒，古树结节，山石的皴法，以小斧劈皴、刮铁皴相济并用，稍以色彩点簇，水墨晕染，刚中见柔。布局稳当，气氛清谧。远山近树，继承了李唐院体画派的风范而自有发挥，作品较多地留有宋代遗风。\n中期为五十至六十五岁之间。这时他不但取法郭熙、李唐及马远、夏圭，而且对二米、云山也精心研究，对黄公望的画更是悉心尤力。时人吴门画派沈周、文徵明的笔法他也热心师效。加之他漫游南北涉猎广泛，眼界宽广，兼融南北，形成了苍劲雄强、骨力刚硬的个人风格，此时的蓝瑛已经达到能“分别宋元家数，某人皴梁法脉，某人蹊径勾点，毫不差谬”的水平。他以自己对各家绘画特色的见解，以中锋、侧锋交替运笔，用各种皴法、点苔法熟练地画出各种形态的山石、树木。以各家的典型构图，或高远或平远，或简或繁，显现出一种笔墨苍劲、气势雄浑的境界，反映出他在三十余年仿古绘画的实践中渐渐脱开单纯的临与仿，开始形成了自己独立的绘画风格。\n《仿古山水册》作于乙亥春仲(1635年)，画家时年51岁。此山水画册的风格以临黄子久为主，笔触粗短，用笔方折，山石少皴，偶用折带、荷叶皴，略加修饰，山石敷以淡青绿和浅绛，加浓墨苔点醒神，用笔简练，设色淡雅。全册共计十二幅，每幅均可见蓝瑛中年绘画之风格。首幅水墨画枯树数株，槎枒矗立，画上题云：“云林之法，妙在简远。瑛法之，未必耳。笑笑。”第二幅浅设色画，一红衣士人立于松下，隔岸观瀑，画上题云：“偶法郭河阳画。西湖外史蓝瑛。”第三幅设色画临水岩上，桃红满树，舟人浮江而行，款“蓝瑛画”。第四幅设色画村舍数间，丛树环绕，小桥流水，画上自题：“赵令穰画法，蓝瑛。”第五幅设色画层峦飞瀑，草阁间士人独坐，画上自题“蓝瑛法大痴画”；第六幅水墨画水畔虚亭，自题：“梅华道人画法，画于富春之吉祥山房。蓝瑛。”第七幅设色画青山红树，画上题云：“元之高彦敬尚书画法米南宫，有白云红树画。蓝瑛仿之。”第八幅设色画层峦蓊郁，群树繁茂，士人独坐水岸，观泉听瀑，自题“王黄鹤听泉图。蓝瑛法。”第九幅设色画苍松红树，孤舟临岸，画上题云：“赵仲穆画似其翁，一段秀古，自成别门。蓝瑛法。”第十幅设色画秋林丹翠，篷舟沿溪，自题：“乙亥春仲法李唐画。西湖外史蓝瑛。”第十一幅设色画秋林丛聚，清雾弥漫，士人独行，自题：“法松雪斋秋林觅句。蓝瑛。”第十二幅设色画，白雪覆树，水岸亭间，士人观景，自题：“乙亥春仲法右丞画。蓝瑛田叔。”\n《乔岳松年图》是蓝瑛55岁时为宁庵祝寿时所绘。画上的景物，笔墨苍劲，山石突兀嶙峋，白云在山间缭绕，远处的楼阁隐现于流动的烟雾之中，时隐时现，增加了画面的动感。画之近处有九株苍干虬枝的古松，繁密的松针，碧绿青翠，使得画面苍浑郁茂，平添了清新的气氛。在松树的掩映下有一茅亭，亭内一老者正在观赏那飞流而下的瀑布。整个画面笔墨精到，用色灵巧，再加上山石间有规律的点以苔藓，使得画中的景物更加雄奇壮观。\n晚年为六十五岁以后，这是蓝瑛一生中最精彩的时期。此时他在融会贯通前人技法的基础上，自立门户，形成了自己的绘画风貌。有人评其晚年画风“绝似仲圭，复似启南”，一语道出蓝瑛画风在渊源上与文人画的关系和晚年苍劲雄浑的画风。从此时期的作品来看，笔法苍劲疏宕，伟峻老练，画风呈多种面貌，有些作品笔墨含蓄隽雅，有些作品青绿重设色，画法工细，色调浓丽，愈老而愈工。这一时期他主要以敏捷快速的粗笔山水为主，山石的轮廓线短小、破碎、躁动，以破笔点苔，以侧锋皴擦；树木的画法更加曲屈苍老和类型化。构图上也基本形成了一种统一的样式：巍峨雄伟的山体以棱角分明的几何体组成并繁复堆积，占据画面的大部分且多偏向一侧，而于另一侧留出一定的空间，山顶突出。山间有飞瀑丛树，山脚以渔樵隐士、老树茅屋点缀。同时出现了山体的立轴画中纵向拉长，在手卷中则横向延伸的变形现象。晚年的作品中没有了早期所保留的一定的空间感，代之以一种逼人的气势，无论是仿荆浩、董源还是仿黄公望，在风格和笔墨上已经没有了差别，它们都已化为蓝瑛的典型山水样式。蓝瑛晚年的作品，笔益精良，构图高嶂巨壁，丘壑深远，重山叠翠，更加苍浑古朴。\n《华岳高秋图》作于1652年，画家时年68岁。画中远景，高山耸立，山顶作平台状，山隈深处，楼阁崔嵬，流泉飞溅，山石勾勒线条硬折，运用荷叶皴、折带皴和牛毛皴，树草稀少，显得崚嶒。中景，群山环绕之中，筑有楼榭，溪流淙淙而下，老树粗壮，用短笔勾成，树叶采用双勾夹叶填色，松针用传统笔法，排列有序，挺拔有力，不失古气。水口用笔转折生硬，受南宋影响，类似浙派。近景，山径迂回，满山红树，二高士漫步小道，观瀑笑语。构图气势雄伟，笔势刚健豪迈。山石用荷叶皴，参以折带皴加水墨渲染，罩花青赭色，树木苍劲，枫叶明丽，描绘出华岳的深秋景色。\n《秋壑飞泉图》为蓝瑛74岁时所作的传世佳作。该画尺幅巨大，气势磅礴，画心高近四米，颇见蓝氏构图设景之能力所在，作品凝聚了画家毕生的技艺与功力。画面层峦耸翠，幽谷深邃，轻岚浮动，红树青山。山谷间的飞瀑和桥上的高士顾盼有情，高远及深远相结合，是典型的蓝氏山水画之模式。画中的高山巨峰，上部的山石重叠峻峋，瀑布悬崖，飞泉溅落。中部巨石杂树间有一茅亭，一人于内赏景，稍下建筑数座，红叶映天，浮桥卧地，小桥上二叟持杖交谈，颇有生活意趣。从这幅绘画的技法上，可以看出他在融汇前人技法方面的成就，也能看出他在创新方面的景物。作者采用“荷叶皴”，在形式与内容方面得到了和谐的结合，取得了较好的效果。那独具特点的置苔，尤显得画面苍润而厚重。有些树叶以赭色画出，突出了节令气氛，使画面秋意盎然。该画构图雄伟，气势阔大，足见蓝瑛博大精深的笔墨造诣。\n纵观蓝瑛早、中、晚三个时期的绘画作品，大体可以得到这样一些认识：早年的作品，是学宋代诸大家的笔法，尤其是学元四家的作品。此时笔法较细润，明显地呈现出某派的笔法痕迹。中年，在学习前人技法的基础上开始变法，也就是向开创独特风格的途程上逐步迈进。晚年则开创了一种雄伟浑穆的独特面貌，画不离苔以及多画秋景，善施赭色，巧用荷叶皴等等，也都是蓝瑛作品的特点。\n蓝瑛的山水画艺术成就，得益于他“性耽山水”。虽然他下苦功夫临习了晋唐宋元诸家，并达到了精妙乱真的程度，但他不以摹仿为能事。他不仅擅于师古人之意进行变革创新，而且还注重生活，注重行万里路，饱游饫看，“游闽粤荆襄，历燕秦晋落，涉猎既多，眼界弘远”。因为他胸中有真丘壑的观察积累，眼界开阔，所以能落笔纵横，水墨淋漓，独创一格一派—武林派。蓝瑛的绘画，影响广泛，师法他的人可分成三类：一类是蓝瑛的嫡传弟子，如早期的刘度、蓝孟等人；第二类是出自蓝瑛的嫡传弟子门下或模仿蓝瑛画风的职业画家，如蓝涛等；第三类是早年曾经出自蓝氏门下，后来自立门户创立了独立画风的陈洪绶、禹之鼎等。千百年来，为祖国锦绣山河传神写貌的画家，能够开宗立派的屈指可数。蓝瑛的绘画崛起于江南，熔铸古今，独开门庭，这是难能可贵的。",[49,23,51,52,134,55,25,86,119,7,56,64,150,60,61,63,66,2681,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaf31e04d0d80d510a4c1e05e83812c0.jpg","纵58 58厘米，横962 98厘米",[70,72],{"id":27668,"slug":27669,"title":27670,"dynasty":18,"author":27671,"museum":222,"description":27672,"tags":27673,"thumbUrl":27674,"material":1087,"size":27675,"collection":107,"collections":27676,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":40},222432,"ren-wu-cao-chong-tu-quan-juan-du-da-cheng-222432","人物草虫图全卷","杜大成","明代·杜大成（生卒年不详）。十六—十七世纪初，字允修，号三山狂生，一作山狂生。苏南京人。嗜声诗，工音律，善画禽虫花木，嫣秀生动。传世作品有《花卉草虫图册》，纸本，墨笔，现藏辽宁省博物馆。从艺活动约在嘉靖、万历间。名画家杜大成的《人物草虫图》寥寥几笔，似不经意，而花叶、草虫却生意盎然，栩栩如生。",[49,23,50,51,52,135,26,54,7,86,58,5824,610,85,251,277,66,4635,2880,3009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbc23865987ff0a8c397d24a26b83c9f.jpg","30x336",[],{"id":27678,"slug":27679,"title":5639,"dynasty":18,"author":161,"museum":81,"description":27680,"tags":27681,"thumbUrl":27682,"material":27683,"size":27684,"collection":35,"collections":27685,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":40},222123,"qiu-kui-tu-shen-zhou-222123","此作采用没骨法写生法绘秋葵一枝，叶与干全用老绿一再渍染，因泥金地上有油质，本不托色，故笔迹重，锋芒都尽，布景不多，自有一种简秀朴质之韵。书法较晚年略觉软熟，可能是其五十至六十岁间的作品。作品左边题识：“庭前秋葵一枝。欹栏独立。檀心自舒。犹佳人含思清愁。大有可怜之态。第恐一朝萎露。因寄之丹青以永观。周”钤印“石田”。右边题识：“条条秋风清。湛湛秋露泫。许有向阳心。秋云任舒卷。石田又题于静观阁。” 钤印“启南”。",[49,50,23,51,822,25,27,86,7,5642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07b2133c05bcc2d6a54e38c46654ab66.jpg","纸本，泥金，扇面，设色","纵18.0厘米， 横53.6厘米",[35,72],{"id":27687,"slug":27688,"title":27689,"dynasty":146,"author":20303,"museum":2192,"description":27690,"tags":27691,"thumbUrl":27692,"material":227,"size":27693,"collection":107,"collections":27694,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":40},221811,"you-yu-xian-tu-juan-yao-ting-mei-221811","有余闲图卷","《有余闲图》的画幅不长，风格和故宫博物院的《雪江游艇图》一致，是典型的文人绘画。它的珍贵处，在于卷后元人题跋超多，前后二十余家，蔚为大观。\n卷前引首是章弼题写的“有余闲”三字篆书，画卷绘一高士坐于临水的茅舍前，姚廷美题：“至正廿年（1360）春正月□日作此，并系鄙语于尾，地偏人远闭柴关，满院松阴白昼闲。眼底风尘浑忘却，坐看流水卧看山。吴兴姚廷美书”。\n后接绢、纸七张，各接缝处有梁清标押缝小印，先是杨维桢绢本《有余闲说》，署“至正庚子（1360）二月初吉东维子书”。",[49,23,52,51,26,55,86,119,7,56,64,150,727,22692],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc526d0800068df29e80deb17c760a832.jpg","23.1 x 84厘米",[],{"id":27696,"slug":27697,"title":27698,"dynasty":146,"author":12240,"museum":4269,"description":27699,"tags":27700,"thumbUrl":27701,"material":27702,"size":27703,"collection":107,"collections":27704,"showCount":26956,"zanCount":1288,"manualWeight":39,"mainColor":75},221724,"han-shan-shi-de-tu-chan-ji-tu-duan-jian-yin-tuo-luo-221724","寒山拾得图禅机图断简","自宋代以来就一直在禅僧间广受喜爱。本图是描绘寒山、拾得二人被问及丰干禅师行踪时，沉默不语、只是哈哈大笑的情景。虽然因袭了将人物脸部画得细致、衣衫以粗略笔致来表现的\n日本在 早年流入日本的中国禅画也因此备受日本人的珍视，被视为国宝级的文物。目前收藏在日本东京国立博物馆的《寒山拾得图》，就是这样一幅隐含机锋的禅机图。\n以寒山和拾得为主题的图画有许多版本，而最负盛名的禅画则是这幅元代画家因陀罗所作的《寒山拾得图》。此图为纸本、墨画，在画面最左边，题有楚石梵琦写的赞：“寒山拾得两头陀，或赋新诗或唱歌。试问丰干何处去，无言无语笑呵呵。”这幅画，描写寒山与拾得两位仙人席地坐于一株古树下，背依石丘，相对谈天说地，一副逍遥自在的样子。\n画中的寒山拾得蓬头光脚笑颜，一人双手相握，一人俟身向前。画面线条玲珑，浓淡衬托有力。虽寥寥数笔，但傲笑自若的禅僧形象已跃然纸上，流露出一种超脱物累、大智若愚、狂放不羁的精神。画家用了多种笔法来表现这一充满静谧禅机的场面：以吹墨法画头发，使之有蓬松自然之感；以阔笔焦墨画襟带，使之有临风而动的飘逸感；以渴笔画树石，使之有苍劲古逸之感。画意损深邃，画风简约，拙朴木纳，又不失活泼、诙谐。",[49,23,51,26,135,58,277,777,86,7,1284,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa264b290c261cf662029c6b3e3ec36d8.jpg","墨本","纵35.2cm 横49.7cm",[],{"id":27706,"slug":27707,"title":25264,"dynasty":115,"author":16852,"museum":81,"description":27708,"tags":27709,"thumbUrl":27710,"material":26,"size":27711,"collection":107,"collections":27712,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":40},221674,"feng-yan-zhan-juan-zhao-bo-ju-221674","画中的建筑物——敞轩，即所谓的「界画」。古代的风景画或人物画中有建筑物的构图，依赖界尺将建筑物的飞檐、楼阁、楹椽等画得唯肖唯妙，这种有直线的画，称为「界画」。其实界画极难，如非高手绝难胜任。界画是用千万条长短、横直和弯曲的线条交织画成，繁复单调，又不容有一笔差错。如何把呆版的线条绘成生动的画面，就是绘界画最困难之处。",[49,50,23,51,25,54,2966,7,56,63,58,777,64,295],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b511f6b89d3f3ff1e22db0037b5b729.jpg","24.9x26.7",[],{"id":27714,"slug":27715,"title":15868,"dynasty":115,"author":13147,"museum":222,"description":15869,"tags":27716,"thumbUrl":27721,"material":227,"size":27722,"collection":107,"collections":27723,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":75},221548,"qiu-chuang-du-yi-tu-liu-song-nian-221548",[49,23,712,822,54,9140,7440,53,25,27717,27718,27719,150,64,9292,497,27720,11111,8091,86,7],"夹叶法","书斋","湖光水色","读书场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc7f7a8a4570c2aef05e8549b15cb55c.jpg","25.7×26厘米",[],{"id":27725,"slug":27726,"title":27727,"dynasty":115,"author":1070,"museum":175,"description":27728,"tags":27729,"thumbUrl":27731,"material":183,"size":27732,"collection":107,"collections":27733,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":75},221492,"qian-tang-guan-chao-tu-quan-juan-li-song-221492","钱塘观潮图全卷","本幅无款印。引首及前后隔水有清乾隆题诗，后幅有张仁近、杨基题跋。收藏印有项子京、清内府、梁清标诸印。\n少年时曾作过木工的画院画家李嵩是善画建筑的高手。台北故宫博物院收藏的李嵩所绘《月夜看潮图》页是对南宋官式建筑的风格和细部特点的忠实写真，而此卷则带有缘物抒情的感情色彩，展现了李嵩的其另一种建筑画风。\n每年农历八月十六至十八日为浙江钱塘江的大潮汐期。自南宋迁都临安（今浙江杭州）后，观潮成为临安一年一度的盛大活动。其时海水沿喇叭形的钱塘江口逆江而上，如“玉域雪岭，际天而来，大声如雷霆，震撼激射，吞天沃日，势极雄豪”。\n此幅画面除表现滔滔的江水，即写“大内临江起飞阁”的都城临安。耐人寻味的是作者并没有以其擅长的细腻精微的表现手法再现皇家殿宇的巍峨辉煌、临安城池的雄伟整饬、“岁岁观潮乐”的繁华热烈，而只以简括的笔法写出成片的半露瓦顶于薄雾树影之中朦胧隐现，茂林中三面围墙的宽大空场或许即南宋的宫室所在，意境颇显空寂。作者活动的年代，正值南宋时局动荡，国家面临内忧外患，而小朝廷又沉湎于“钱塘江上开皇畿”，“贪看秋潮忘黍离”的耽乐奢靡。身为画院待诏得以侍于君侧的李嵩忠君忧国而又无力回天的孤寂心境在画面中似有曲折流露。",[49,50,23,51,52,54,25,119,7,86,14973,27730,58,59,62],"江面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79fd3ce03bbccea8289caf4b7a3e6d4f.jpg","纵17.4厘米，横83厘米",[],{"id":27735,"slug":27736,"title":27737,"dynasty":115,"author":27738,"museum":222,"description":27739,"tags":27740,"thumbUrl":27741,"material":319,"size":27742,"collection":122,"collections":27743,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":40},221480,"wang-shi-bao-ben-an-ji-zhang-ji-zhi-221480","汪氏报本庵记","张即之","帖后有文徵明跋、项元汴题记。卷前后又有项氏诸印和卞永誉式古堂印，清乾隆、嘉庆、宣统三朝印玺。文徵明云：“按《皇宋书录》，即之，安国之后，甚能传其家学。……。其书师颜鲁公、尝为高宗所称。即之稍变而刻急，遂成名家。”《汪氏报本庵记》一文原为楼钥所撰，汪氏是楼的外祖家，不知道与张即之有无瓜葛，要录写这篇文章。书后的“淳熙十二年(公元1252年)三月二日”款，原应在文内，为后人挖移篇末。此卷小字行书，运笔流畅而劲健，比即之其它擘窠书《杜甫诗卷》要秀逸些，是张氏传世墨迹中的佳作。 乾隆时曾刻入《墨妙轩法帖》第四册。\n相关说明:\n北宋遭靖康之耻，汴京被金兵陷落，徽、钦二帝被虏，宋高宗赵构南逃，建都于临安，此便是历史上的南宋王朝，自建炎元年至祥兴二年先后易九主计一百五十二年。南宋虽苟安一时，但江南之地，物产丰富，人杰地灵，且宋高宗赵构雅好翰墨，北宋刊刻之《淳化阁帖》至南宋时影响渐广，学米《芾》学黄（山谷》学二王之风蔚然一时，帖学又得到长足的发展《鼎帖》、《淳熙秘阁续帖》、《世釆堂帖》相继问世，高宗还设置书学，命米友仁任书学博士．在这种文化氛围的熏陶下，南宋亦出现了不少著名的书家，如岳飞、吴说、范成大、吴琚、朱熹、陆游、姜夔、张即之、文天祥、赵孟坚等人．从总体上来说，南宋书法不及北宋之新意迭出，生气蓬勃，显得比较保守，模仿之风亦较盛，但其中亦不乏富有创意和个性的书家，张即之即是其中的代表人物。\n张即之生于南宋孝宗淳熙十三年（一一八六），卒于理宗咸淳二年（一二六六），字溫夫，号樗寮，安徽和州人．他是参知政事张孝伯之子，南宋的著名书家张孝祥又是他的伯父、即之年青时即以父荫补官．授承务郎，父亡后擢司农寺丞，调任嘉兴知事，因遭受他人巫陷，未赴任上，特授直秘阁而离职，即之一生仕途并不顺利，据《李伯嘉墓志铭》中记其官职为“太中大夫，直秘阁致仕、历阳县开国男、食邑三百户、赐紫金鱼袋”，后引年告老，终年八十一岁。\n张即之的书法在幼年时便受到其伯父张孝祥的影响，始学米芾，后则肆力于褚遂良楷书笔法，在这基础之上，又糅合了隋唐人写经的笔意而自创一格，特别是他的楷书，写得清劲绝俗，用笔极其精到细腻，发笔处喜用搭锋，点画之间，顾盼呼应，而兼行草笔意，又善于用方笔侧锋，显得姿态生动，极其圆熟．即之的书法在南宋时名声就很大，金人常出高价来收购他的宇，据《宋史本传》谓：“即之以能书闻天下，金人尤宝其翰墨”。张即之小楷以精巧圆熟为特征，正如梁闻山《评书帖》所谓：“原自欧出，参有褚法，结体尚紧，特多讨巧之处而不成大方耳”。其实小楷以精巧为特征本身即是一种风格，况即之喜写经文，而经文中重复的字很多，比较难写，即之能在楷法中自成一格，别开生面是非常不容易的，正如叶昌炽《语石．张即之一则》中谓：“张即之，书中之畸士也。好用侧笔，望之如矮松偃盖，婆娑可爱，其运笔以收为纵，又如长房缩地，咫尺有千里之势”。本册所载《张即之书报本庵记》后有“淳熙十二年三月二日二“，考淳熙十二年为一一八五年，而张即之生于一一八六年，故知此为报本庵记写于淳熙十二年，非即之书于此午也．此册行楷骨力劲健，点画精到，结字生动，笔意流动，显得神采焕发，给人以一种轻松自如之感，从其成熟的风格上来看，当为其晚年时所书，无疑是其生平的代表作品。",[49,50,51,52,119,86,7,2601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8e8ee6f88ad6a055877d8d6149cbe3c.jpg","，纵29.3厘米，横91.4厘米",[122],{"id":27745,"slug":27746,"title":27747,"dynasty":115,"author":27748,"museum":175,"description":27749,"tags":27750,"thumbUrl":27751,"material":11506,"size":27752,"collection":107,"collections":27753,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":40},221410,"gui-zhai-tie-li-jian-zhong-221410","贵宅帖","李建中","释文：\n“貴宅諸郎各計安侍奉，所示請改章服。昨東封須得出身歷任家狀一本，並須齎擎官告敕牒去，未審此來如何行遣也。兼爲莊子事，已令彼僧在三學院安下，近已往彼去來回。此莊始初見說甚好，只是少人管勾，若未貨，可且收拾課租，亦是長計，不知雅意如何也。侯親家亦言可惜拈卻。建中（花押）諮。劉秀才久在科場，洛中拔解，今西遊兼欲祗侯府主，希略一見也。”\n“谘”同咨，是公文的一种。宋代百官有事申述，皆用“状”，唯学士院用咨报，由当值学士一人押字。《贵宅帖》就是这样一篇咨文。文中主要说了三件事：先说与“东封”有关事宜，“东封”是指大中祥符元年（1008年）宋真宗封祀泰山之行；再谈“庄子事”；最后提到“刘秀才”，此人可能即《同年帖》中李建中的女婿刘仲谟。\n《贵宅帖》作于李建中64岁时，书风沉着朴厚，具其所特有的“风骨俊整，骨肉停匀”的艺术美感。帖后明代刘日升七言诗题，称建中书有钟(繇)、王(羲之)法度，足以令后学者效法。此帖钤“东山”“无恙”及项元汴诸鉴藏印。\n明汪珂玉《珊瑚网书跋》、郁逢庆《郁氏读书画题跋记》、吴其贞《吴氏书画记》，清卞永誉《式古堂书画汇考》、顾复《平生壮观》等书著录。",[49,86,119,7,501,502,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6e53bb741113da6474d5694e8d1bf6f.jpg","纵31厘米，横27.5厘米",[],{"id":27755,"slug":27756,"title":27757,"dynasty":18,"author":2181,"museum":81,"description":27758,"tags":27759,"thumbUrl":27760,"material":319,"size":27761,"collection":122,"collections":27762,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":40},220950,"du-fu-ye-yuan-huang-di-shi-dong-qi-chang-220950","杜甫谒元皇帝诗","这幅墨迹实为临摹唐代大书法家徐浩所书写的杜少陵诗《冬日洛城北谒玄元皇帝庙》。董其昌晚年楷书承颜鲁公圆劲朴厚之风。而我们要知道，在唐代，事实上徐浩的书名要远远超过颜真卿。据说，徐浩曾传授颜真卿以笔法，可谓颜鲁公的老师。那么，董其昌临徐浩的文本，则是其追索笔法的用意了。你看，董其昌写清楚了，他所临的版本“相传为徐季海所书，虽方实圆，脱去虞褚姿媚态，余每临之，此其一也。”",[49,86,119,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07ba04c1cc98e019c868058e4aaa874e.jpg","纵181厘米，横46厘米",[122],{"id":27764,"slug":27765,"title":27766,"dynasty":891,"author":5977,"museum":2069,"description":27767,"tags":27768,"thumbUrl":27769,"material":107,"size":107,"collection":107,"collections":27770,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":40},220514,"chuan-yue-jiang-shan-de-ju-li-pu-xin-she-220514","穿越江山的距离","以淡墨晕染烟江叠嶂，远山轻描淡扫，留白托出平湖空寂，幽远淡宕。近岸佳木扶苏，笔致清劲灵秀，苍枝翠叶错落生姿，坡石间高士垂眉静坐，与烟水林泉相融无间。\n题跋笔墨隽雅，诗画相映，将幽居闲赏的林下襟怀藏于尺幅间。极简的水墨层次铺展空疏淡远之境，把天地间的清寂逸趣凝缩在这一纸烟岚里，尽显东方文人画的静穆禅意。",[49,23,51,84,26,55,119,7,56,64,62,58,150,751,752],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a7f7ce3d1ef48dddd8b0d0f9283b6ce.jpg",[],{"id":27772,"slug":27773,"title":27774,"dynasty":18,"author":13290,"museum":175,"description":27775,"tags":27776,"thumbUrl":27777,"material":88,"size":27778,"collection":199,"collections":27779,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":40},220399,"ge-wu-tu-wu-wei-220399","歌舞图","此图真实地反映了文士狎妓观舞的场景。狎客们与二女妓围坐一周，神态各异。狎客或侧首细品，或低头凝视，或举目静观，或捻须沉思。陪坐的女妓或机械地执板伴奏，或心不在焉地笼袖而坐，与狎客们专注的神情形成鲜明的对比。据画幅上唐寅墨款“吴门唐寅题李奴奴歌舞图，时弘治癸亥三月下旬，李奴奴十岁”可知，圈中翩翩起舞者是年方满10岁、但已为妓数载的李奴奴。明代是青楼业昌盛的时期，一方面资本主义萌芽逐渐兴起，都市经济日益壮大，商品市场迅速成长，为青楼业的生存和发展提供了广阔的空间；另一方面，腐败的明政府实行罚良为娼的政策，并在金陵(即南京)官办著名的十六楼(妓院)：南市、北市、鹤鸣、醉仙等，促使包括李奴奴在内的众多女子在遭遇各种生活的不幸后沦落青楼而成为玩物。鉴于青楼文化的兴盛，吴伟、唐寅等许多极富才情、仕途失意的画家纷纷饮酒狎妓，试图通过游妓来摆脱失意的郁闷和伦理的负担，获得心理的平衡与精神的松弛。他们对于自己的放浪行为并不加以掩示，唐寅自刻“江南第一风流才子”印章及吴伟所创作的此图，都意在表明自己以游妓为荣耀、玩世不恭的人生观。\n此图为吴伟45岁时所作。在表现技法上与《武陵春图》相近，属于细笔白描人物画。构图简约明了，主体人物突出，无繁复的景致烘托，仅通过人物生动的情态举止及其间的相互呼应抒发出富有生活情趣的诗意。",[49,23,51,8547,84,135,58,178,3009,7113,7,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb328ad9749d5d3efa719be4dbcbb7979.jpg","纵118.9厘米，横64.9厘米",[199,242],{"id":27781,"slug":27782,"title":27783,"dynasty":97,"author":27784,"museum":81,"description":27785,"tags":27786,"thumbUrl":27787,"material":239,"size":27788,"collection":70,"collections":27789,"showCount":26956,"zanCount":39,"manualWeight":39,"mainColor":40},219888,"zhong-liu-di-zhu-zhou-qian-xu-219888","中流砥柱轴","钱旭","钱旭，生卒年不详，画史载其生平资料甚简，字东白，浙江杭州人，工画山水、人物。此幅为冷金笺本，水墨画嶙峋石柱，耸出于洪涛间，云气环绕着山腰，与波光相缥缈。皴石用中锋，起笔成钉头状向左右横趯，并用浓墨点苔，云及水纹则用淡墨勾勒，构景虽简，然颇富笔墨趣味。",[23,51,84,26,55,56,277,61,7],"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作品有《西成民乐图卷》《岁丰图卷》等。",[23,50,712,26,55,62,63,60,278,1977,64,86,7,8091],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd46adb2dfd4a776f60c4615a48352537.jpg","40.8x29.7",[],{"id":28022,"slug":28023,"title":28024,"dynasty":97,"author":724,"museum":99,"description":22059,"tags":28025,"thumbUrl":28026,"material":689,"size":690,"collection":107,"collections":28027,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":40},288284,"fang-wang-meng-xia-ri-shan-ju-tu-wang-yuan-qi-288284","仿王蒙夏日山居图",[23,50,51,84,56,26,55,134,278,64,59,61,60,3548,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa815f93b91dc942a5a6d9712d40cbc0d.jpg",[],{"id":28029,"slug":28030,"title":28031,"dynasty":97,"author":1180,"museum":99,"description":1655,"tags":28032,"thumbUrl":28034,"material":689,"size":690,"collection":107,"collections":28035,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":40},288233,"pu-shi-tu-wu-chang-shuo-288233","葡石图",[49,23,84,25,403,27,529,277,28033,86,7],"篱栅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb383eea42ba1bb69dffc0ad52bc2e546.jpg",[],{"id":28037,"slug":28038,"title":28039,"dynasty":192,"author":7219,"museum":99,"description":28040,"tags":28041,"thumbUrl":28042,"material":689,"size":690,"collection":107,"collections":28043,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":2307},288114,"fu-yi-jiao-jing-sun-guo-ting-288114","佛遗教经","孙过庭（646～691），名虔礼，以字行。杭州富阳（今属浙江）人，一作陈留（今河南开封）人。唐代书法家、书法理论家。\n孙过庭著《书谱》2卷，已佚。今存《书谱序》，分溯源流、辨书体、评名迹、述笔法、诫学者、伤知音6部分，文思缜密，言简意深，在古代书法理论史上占有重要地位。其中许多论点，如学书三阶段、创作中的五乖五合等，对后人仍有意义。有墨迹《书谱》传世。",[86,436,1284,462,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc47c00928601abc1178dc70456928ad2.jpg",[],{"id":28045,"slug":28046,"title":25701,"dynasty":115,"author":11749,"museum":99,"description":28047,"tags":28048,"thumbUrl":28049,"material":689,"size":690,"collection":107,"collections":28050,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":75},287718,"xi-hu-liu-ting-tu-xia-gui-287718","画西湖中的柳树、长堤、水榭、湖舍、画舫和游客，风轻云淡，水墨氤氲，画面丰满，笔墨精谨，远处人物也不用其它山水画中点景人物那样简率的笔法，即所谓的“人物面目，点凿为之，衣褶柳梢，间有断缺”，而是刻画通真，极为精妙，笔调也是沉着含蓄，明媚秀润",[50,23,712,26,25,55,598,60,61,62,63,59,11110,714,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb88e6785745c02b8900bab6ee66c74eb.jpg",[],{"id":28052,"slug":28053,"title":28054,"dynasty":97,"author":5795,"museum":99,"description":13344,"tags":28055,"thumbUrl":28057,"material":689,"size":690,"collection":107,"collections":28058,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":40},287690,"you-ju-tu-kun-can-287690","幽居图",[23,26,56,50,60,61,62,28056,278,64,55,7],"幽居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc75a6e8ddc61f4f930a7c121024ce85b.jpg",[],{"id":28060,"slug":28061,"title":28062,"dynasty":18,"author":955,"museum":99,"description":9336,"tags":28063,"thumbUrl":28065,"material":689,"size":690,"collection":107,"collections":28066,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":75},287344,"xiao-shu-tu-chen-hong-shou-287344","校书图",[49,23,51,84,25,58,528,181,2601,7,86,497,28064],"校书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bb6ed904b9db960628b800d036e09ae.jpg",[],{"id":28068,"slug":28069,"title":28070,"dynasty":146,"author":28071,"museum":99,"description":28072,"tags":28073,"thumbUrl":28074,"material":689,"size":690,"collection":107,"collections":28075,"showCount":156,"zanCount":743,"manualWeight":39,"mainColor":75},241469,"jin-gang-jing-juan-gu-xin-241469","金刚经卷","顾信","代太仓墨妙亭与淮云寺的建造者顾信是元末名人昆山顾阿瑛的父亲",[49,86,436,417,52,7,1284,2601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30ad66996841ada2b78c2b273b72b4e.jpg",[],{"id":28077,"slug":28078,"title":28079,"dynasty":97,"author":28080,"museum":99,"description":28081,"tags":28082,"thumbUrl":28083,"material":319,"size":107,"collection":122,"collections":28084,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":40},241323,"ge-ti-shu-lin-tie-si-zhong-ping-weng-fang-gang-241323","各体书临帖四种屏","翁方纲","翁方綱（1733～1818年），字正三，一字忠敍，號覃溪，晚號蘇齋，順天大興（今北京大興區）人。清代書法家、文學家、金石學家。\n乾隆十七年進士，授編修。歷督廣東、江西、山東三省學政，官至內閣學士。嘉慶二十三年，卒。\n精通金石、譜錄、書畫、詞章之學，書法與同時的劉墉、梁同書、王文治齊名。論詩創“肌理説”，著有《粵東金石略》《蘇米齋蘭亭考》《復初齋詩文集》《小石帆亭著錄》等。",[51,86,134,119,417,541,5663,462,26,319,7,21107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf2f5361f3aeafb6e3eaaacb213bbc36.jpg",[122],{"id":28086,"slug":28087,"title":28088,"dynasty":18,"author":9326,"museum":99,"description":28089,"tags":28090,"thumbUrl":28091,"material":319,"size":28092,"collection":122,"collections":28093,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":75},241027,"zhang-rui-tu-wu-jue-zhou-zhang-rui-tu-241027","张瑞图五绝轴","释文：\n“与君青眼尽，共有白云心。不向东山去，旦旦春草深。瑞图。”\n本幅款钤“张长公”、“瑞图”印2方，迎首钤“文学侍从之臣”印。收藏印钤“固始张氏镜菡榭嗣主玮审定续考”、“志仁历史文物馆藏”。\n此轴书法从钟、王入手，笔势生辣，点画纵横，坚实劲挺，虽为行书而折笔侧入，形体尖锐，起止转折倔强，力量饱满，笔墨酣畅。清秦祖永《桐阴论画》评：“瑞图书法奇逸，钟王之外，另辟蹊径。”",[86,119,462,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5f6bfdd672775f742fb91dad10f457.jpg","纵172.7厘米，横43.5厘米",[122],{"id":28095,"slug":280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），汉族，字幼玄， 一作幼平或幼元，又字螭若、螭平，号石斋，世人尊称石斋先生。为明末学者、书画家、文学家、民族英雄。 福建漳州府漳浦县（今福建省东山县铜陵镇）人， 祖籍福建莆田，其曾祖从莆田迁徙至漳州。\n天启二年（1622年）进士，改庶吉士，深得考官袁可立赏识。历官翰林院修撰、詹事府少詹事。南明隆武（1645年-1646年）时，任吏部尚书兼兵部尚书、武英殿大学士（首辅）。因抗清失败被俘。隆武二年（1646年）壮烈殉国，享年62岁 。隆武帝赐谥“忠烈”，追赠文明伯。清乾隆四十一年（1776年）追谥“忠端”。与刘宗周并称“二周”。\n黄道周通天文、理数诸书。工书善画，诗文、隶草皆自成一家，先后讲学于浙江大涤、漳浦明诚堂、漳州紫阳、龙溪邺业等书院，培养了大批有学问有气节的人。",[86,84,119,462,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29e7d9d45111b0594551cedc04ee5b5e.jpg","綾本行草","158.6×50.4cm",[122],{"id":28112,"slug":28113,"title":7228,"dynasty":97,"author":28114,"museum":99,"description":28115,"tags":28116,"thumbUrl":28117,"material":107,"size":107,"collection":70,"collections":28118,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":40},239361,"shan-shui-ce-wang-san-xi-239361","王三锡","此作用淡墨晕染崖石，清润苍朴，古松横斜倚立，枯笔写出的松针苍劲蓬松，自带古拙生机。飞瀑自岩间垂落，以留白暗喻水势，撞石溅浪后顺着浅滩汇入清溪，浅纹细波将流水的清浅柔缓尽数写出。\n\n右下角溪岸双鹤幽立，姿态闲雅，衬出林涧的空寂安谧。左侧题诗与画境相融，将“岩前花落，涧上月明”的幽寂禅思藏进笔墨之间，整体意境淡远疏朗，寥寥数笔勾勒出世外幽居的清雅意趣，尽显文人山水的空灵雅致。",[23,51,24,26,55,119,7,56,610,61,150,1480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f2220afc42963645c5176b9924a2ca1.jpg",[70,72],{"id":28120,"slug":28121,"title":16165,"dynasty":97,"author":16166,"museum":99,"description":28122,"tags":28123,"thumbUrl":28124,"material":107,"size":107,"collection":107,"collections":28125,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":40},239056,"shan-shui-hua-niao-ce-yang-jin-239056","此帧以淡墨晕染烟霭远山，浅皴轻点绘就嶙峋危崖。崖顶古松盘曲若游龙，半遮山亭，似有幽人凭槛远眺江帆。山径逶迤接引视线，山下村居田亩隐于墨色浅深间，野趣自生。\n\n全幅笔致松秀简淡，将江南山水的温润清和融于尺幅之中。浅淡烟岚晕化开天地边界，远江帆影轻似闲云，悠悠漾开山水纵深感。左侧题字清雅，笔墨与画意相映成趣，以极简笔墨勾勒出林泉高致，尽显文人寄情丘壑的闲淡意趣。",[23,26,24,55,56,63,62,871,150,727,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cfc4436b9b6be9d016480c45a840438.jpg",[],{"id":28127,"slug":28128,"title":28129,"dynasty":18,"author":26020,"museum":99,"description":28130,"tags":28131,"thumbUrl":28132,"material":107,"size":107,"collection":70,"collections":28133,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":40},239013,"ju-jie-shan-shui-zhou-ju-jie-239013","居节山水轴","画史记载居节“尚气节，虽窭甚，惟以丹青自娱，不曳侯门裾” (《无声诗史》)。这样看来，如果说画面的前半部分是类文徵明的细劲、秀丽，那么远景山水的画法可不可以说是居节“尚气节”的“清高”和“骨气”的表现呢?我以为，也正是这种略显枯硬的画法，让他的山水画在吴派绘画基本风格的基础上又具有了宋人雄浑、劲健、简率的作风。\n从这幅作品中，我们看到了居节的文雅与气节两个方面的表现，可称为他的代表作。另外，从居节传世作品《潮满春江图》(镇江博物馆藏)、《万松小筑图》(上海博物馆藏)都可以看出居节在这两方面所做的努力。",[23,51,84,26,55,86,7,56,63,64,150,58,8760],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae00f4c63d3c5de5bd06031dced56aac.jpg",[70,242,122],{"id":28135,"slug":28136,"title":28137,"dynasty":97,"author":28138,"museum":99,"description":28139,"tags":28140,"thumbUrl":28141,"material":107,"size":107,"collection":199,"collections":28142,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":40},238940,"hua-guan-gui-yu-zhou-hua-guan-238940","华冠归渔轴","华冠","华冠 (公元18世纪)〔清〕原名庆冠，初名点，字庆吉，号吉崖，江苏无锡人，生卒年不详。官广西同知，工写照，擅长白描。\n原名庆冠，初名点，字庆吉，号吉崖，江苏无锡人，生卒年不详。官广西同知，工写照，擅长白描。乾隆帝南巡，写御容称赏，旋征召入都，供绘事，为藩邸所赏，声溢公卿，归里后求画者麇至。年七十余尝画邑庙径丈仙像壁画。兼工山水、木石、花卉。",[23,51,84,26,58,713,714,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faea2c454a335712a9a7ee2339f38b2fe.jpg",[199,242],{"id":28144,"slug":28145,"title":28146,"dynasty":97,"author":2568,"museum":99,"description":5018,"tags":28147,"thumbUrl":28148,"material":689,"size":690,"collection":107,"collections":28149,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":40},237969,"hong-ren-qiu-feng-shan-hong-ren-237969","弘仁秋枫扇",[23,822,26,55,56,25818,58,295,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee672f2e629a5f8260a53c32f8a229d6.jpg",[],{"id":28151,"slug":28152,"title":12498,"dynasty":18,"author":13743,"museum":99,"description":28153,"tags":28154,"thumbUrl":28155,"material":689,"size":690,"collection":107,"collections":28156,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":75},237943,"shan-shui-shan-mian-wu-bin-237943","吴彬（1550—1643），字文中，又字文仲，明代绘画大师，别字质先，别称文中父、文中子，自号壶谷山樵、遵道生、织履生、一枝栖、枝隐生、枝隐居士、朱湖太生洞天居士、枝隐庵主、枝庵发僧、枝隐头陀、枝隐庵头陀和“金粟如来”等，兴化府（今福建省莆田市）黄石人。流寓金陵（今江苏省南京市）。万历年间，明神宗朱翊钧召见吴彬，试殿中第一，授中书舍人，历工部主事。供职于宫廷画院。工山水，布置绝不摹古，佛像人物，形状奇怪，迥别前人，自立门户。中国国画大师，明代宫廷大画家，晚明人物“变形主义画风”和“复兴北宋经典山水画风”的主要倡导者和领导者之一，享有“画仙”之誉。1988年11月，其名作《文杏双禽图》被收入《中国历代绘画》，列为中国上下五千年的28幅绘画杰作之一。2009年，北京保利秋拍吴彬名作《十八应真图卷》最终以1.6912亿元高价成交，创下当时中国画拍卖价格新的世界纪录。",[23,51,822,26,55,56,150,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102ba100191b06c111a401b4fc3e003d.jpg",[],{"id":28158,"slug":28159,"title":10218,"dynasty":97,"author":12638,"museum":99,"description":12639,"tags":28160,"thumbUrl":28161,"material":689,"size":690,"collection":35,"collections":28162,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":924},237736,"hua-hui-tu-ce-huang-shen-237736",[23,51,24,25,27,57,462,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f6d3308e823ae3cb916c2c7fb98374a.jpg",[35],{"id":28164,"slug":28165,"title":17,"dynasty":18,"author":5263,"museum":99,"description":5264,"tags":28166,"thumbUrl":28167,"material":107,"size":107,"collection":107,"collections":28168,"showCount":156,"zanCount":1288,"manualWeight":39,"mainColor":40},237666,"hua-niao-ce-ling-bi-zheng-237666",[23,51,24,25,54,27,332,2152,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ae3543ad9fc93aac2600c3c971d6e62.jpg",[],{"id":28170,"slug":28171,"title":444,"dynasty":97,"author":28172,"museum":99,"description":28173,"tags":28174,"thumbUrl":28175,"material":689,"size":690,"collection":70,"collections":28176,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":40},237479,"shan-shui-tu-ce-yao-song-237479","姚宋","姚宋（1648—1721），字雨金，一作雨京，号野梅。安徽新安（今安徽歙县）人。清代画家。\n姚宋寓居芜湖。擅长山水画，其初学弘仁，后期广学诸家，成为新安派画家之一。姚宋所画人物、花鸟、鱼虫、兰竹、无不工致。",[23,51,24,26,56,55,119,7,870,406,871,60,727,63,1714],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F386dd09a026bd7288f1b27e4adf58aca.jpg",[70],{"id":28178,"slug":28179,"title":9308,"dynasty":97,"author":28180,"museum":99,"description":28181,"tags":28182,"thumbUrl":28183,"material":107,"size":107,"collection":70,"collections":28184,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":40},237468,"shan-shui-tu-zhou-zhou-tang-237468","周棠","周棠（1806 ～ 1876），字召伯，一字少白，号兰西，山阴（今浙江绍兴）人。官光禄寺署正。写意花卉酷似徐渭、陈淳。山水则师石涛。晚年专画石，张之万称为清代画石第一。朝鲜使者每乞其画归。能诗，兼工篆、隶，善刻印章。",[23,51,84,26,403,56,379,64,58,531,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d739fa2aaf5310e49b14142a60cf5b.jpg",[70,242],{"id":28186,"slug":28187,"title":28188,"dynasty":97,"author":5309,"museum":81,"description":28189,"tags":28190,"thumbUrl":28191,"material":319,"size":107,"collection":107,"collections":28192,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":40},237206,"shan-shui-zhu-shi-ce-wang-hui-237206","山水竹石册","王翚（1632-1717），子石谷，号耕烟散人，清晖主人等，江苏常熟人。幼即嗜画，年二十师事王鉴，复经王鉴引荐，师王时敏。王时敏尽出家藏，与之临摹，相与参究，他的摹古能力在清六家中首屈一指。除擅长山水之外，偶亦画花鸟竹石。王翚在艺术实践中能排除门户之见，综合南北之长，汲取诸家技法，冶为一炉，形成自家风格。他的作品章法变化多，墨笔和青绿皆精，山石树法清润秀雅，风格清逸秀丽。王翚60岁时奉康熙帝诏赴京师，任绘制《康熙南巡图》主笔。历经六年，完成了12卷总长达半华里的历史巨作。康熙帝赐“山水清晖”四字。遂自号“清晖主人”。从此“声名震海内”，追随者甚众，为“虞山派”之开山祖，有“画圣”之誉。",[23,51,24,26,56,358,700,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cce4f8f5ac5d999d33e87735030674e.jpg",[],{"id":28194,"slug":28195,"title":28188,"dynasty":97,"author":5309,"museum":81,"description":28189,"tags":28196,"thumbUrl":28197,"material":319,"size":107,"collection":107,"collections":28198,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":40},237205,"shan-shui-zhu-shi-ce-wang-hui-237205",[23,51,24,26,56,871,700,61,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdef44c46debc96ae64d8e2e55d88d995.jpg",[],{"id":28200,"slug":28201,"title":7228,"dynasty":18,"author":28202,"museum":99,"description":28203,"tags":28204,"thumbUrl":28205,"material":319,"size":107,"collection":70,"collections":28206,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":40},237027,"shan-shui-ce-zhang-yan-237027","张彦","张彦（？－？），字伯美，号无诤道人，嘉定（今属上海市）人，一作江苏苏州人，明朝画家。\n与董其昌同时，善于画山水、人物、花卉，与苏州张宏齐名。",[23,51,24,26,55,56,150,64,4940,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f632a06e9383dc4a5468b0b3c0a111b.jpg",[70,72],{"id":28208,"slug":28209,"title":10218,"dynasty":97,"author":787,"museum":99,"description":10847,"tags":28210,"thumbUrl":28211,"material":689,"size":690,"collection":107,"collections":28212,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":40},235708,"hua-hui-tu-ce-zou-yi-gui-235708",[23,51,24,54,25,27,28,86,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a6086d34e6ad0d6be64dfbeba2af35a.jpg",[],{"id":28214,"slug":28215,"title":28216,"dynasty":18,"author":4381,"museum":99,"description":4927,"tags":28217,"thumbUrl":28218,"material":689,"size":690,"collection":107,"collections":28219,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":40},235532,"shan-shui-shan-ye-lu-zhi-235532","山水扇页",[822,23,51,26,25,56,64,63,61,62,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fe1ef5fbf574dd1807ab602c8ebf44d.jpg",[],{"id":28221,"slug":28222,"title":28223,"dynasty":97,"author":28224,"museum":99,"description":28225,"tags":28226,"thumbUrl":28227,"material":107,"size":107,"collection":107,"collections":28228,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":40},235295,"hua-niao-ce-fang-zhou-yuan-jiang-235295","花鸟册方轴","袁江","此作用笔兼具工细与写意之妙，枝间禽鸟造型写实传神，以淡赭晕染躯体，细笔丝出绒羽肌理，昂首引吭的姿态将啼鸣瞬间定格，灵动鲜活。\n\n粉艳海棠柔枝斜出，花瓣以脂水晕染，从瓣尖到瓣根渐次褪淡，叶片以浓淡墨色分出阴阳向背，娇柔雅致。素净绢底衬出花木禽鸟，留白清寂悠然，将春日枝间啼鸣的闲逸氛围尽显笔端，尽显传统花鸟的诗意意趣。",[23,51,24,54,25,27,29,332,1227,265,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc14114421003c2cbab785058178e601f.jpg",[],{"id":28230,"slug":28231,"title":28232,"dynasty":97,"author":16166,"museum":99,"description":16167,"tags":28233,"thumbUrl":28234,"material":689,"size":690,"collection":107,"collections":28235,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":40},234923,"mei-zhu-lan-shi-tu-zhou-yang-jin-234923","梅竹兰石图轴",[23,51,84,26,27,528,358,251,700,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8537edec523b3144ca08d3569009d41e.jpg",[],{"id":28237,"slug":28238,"title":28239,"dynasty":97,"author":207,"museum":175,"description":28240,"tags":28241,"thumbUrl":28242,"material":227,"size":28243,"collection":70,"collections":28244,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":75},234898,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234898","唐岱小园闲咏图册","唐岱（1673—1752后），字毓东，号静岩，又号默庄，满洲正蓝旗人。康熙中以荫官参领。从王原祁学画，丘壑似王原祁，远宗宋人，“泼墨淋漓，气韵生动”。康熙后期常将其召入宫中作画，品题其画为当时第一手，赐称“画状元”。\n第一开：曲径通幽。对开题：“为隔尘氛远，应怜曲径长。迂回山势抱，逦迤竹垣藏。鹤歩苔痕合，春归花气香。板桥流水外，别有读书堂。”\n第二开：芳屿围棋。对开题：“乘兴步芳屿，逍遥任所之。已看苔作席，最爱柳成帷。漫煮蒙溪茗，闲抛赌墅棋。东山称盛事，吟望寄遐思。”\n第三开：桃溪步履。对开题：“山桃开也未，杖策试探寻。好景春来遍，芳溪曲处深。明霞千树叠，傍水一枝临。何必武陵路，随缘物外心。”\n第四开：竹坞春深。对开题：“闲过山坞里，粉脱见新篁。劲节当春绿，踈竿泛籁长。萧骚寒雨夜，彷佛辋川庄。不肯裁为管，无劳引凤凰。”\n第五开：芳港闻莺。对开题：“春色堂堂去，莺声恰恰来。缗蛮听处涩，风景暗中催。长日慵摊饭，新缸喜拨醅。笙簧随分有，何必舞三台。”\n第六开：春湖涵碧。对开题：“碧水漾平湖，空明一镜铺。须眉应可鉴，尘壤杳然无。点点浮青荇，双双下白鳬。春风浴沂水，视此意何殊。”\n第七开：石坂烹云。对开题：“敲火乌卿炽，烹云玉液清。龙团曾未点，鱼目已旋生。漫说肠堪润，应知眼倍眀。披襟成小啜，孤鹤一声鸣。”\n第八开：广厦冰壶。对开题：“天伏三庚永，堂开六月凉。深深屏隔暑，叠叠簟含霜。底事挥纨扇，无劳问蔗浆。冰壶供坐卧，乐意自相忘。”\n第九开：镜水荷香。对开题：“半夜芙蓉雨，三间水月楼。清香随处度，风景一时收。干密妨鱼跃，花深隐鹭游。诗情频入座，不必问渔舟。”\n第十开：月楼夕幌。对开题：“雨洗尘氛静，天空花鸟闲。月楼开一面，夕幌卷千山。牧笛耳边过，征鸿眼里还。桂香依旧发，付与阿谁攀。”\n第十一开：兰桡独钓。对开题：“秋湖鱼怯饵，把钓事如何。绿水一竿竹，清风几领簑。蒹葭尘外老，星月个中多。夜静独归去，清光挂女萝。”\n第十二开：竹篱鹤歩。对开题：“结社松为宅，看家鹤守门。偏知人客至，不负稻粱恩。宿月精神古，梳风毛羽繁。由来好僮仆，不必贵乘轩。”\n第十三开：芦岸秋晴。对开题：“秋色知多少，芦花尽白头。战风摇夕浦，饮露亚寒洲。生意知将谢，随时未肯休。苍茫烟水里，好去弄扁舟。”\n第十四开：板桥霜迹。对开题：“隔溪亭子迥，为架板桥通。秋老碧天白，寒流枫叶红。卷帘吟夜月，着屐歩霜风。爱此双双迹，扶笻过水东。”\n第十五开：雪径梅姿。画心左下款署“唐岱恭画”。对开题：“四时花木足，最喜是园梅。傲雪三冬里，因风几朵开。清香流玉骨，冷润滴氷腮。独有幽人赏，巡檐杖策来。右《小园闲咏》十五首，雍正乙卯夏五月，宝亲王长春居士著”。梁诗正谨书。",[23,51,24,25,119,86,7,56,59,150,64,66,944],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5d9b3ab8de6f6a73f21664055f4b51a.jpg","25.7×33厘米",[70,72],{"id":28246,"slug":28247,"title":7228,"dynasty":18,"author":23358,"museum":99,"description":28248,"tags":28249,"thumbUrl":28250,"material":107,"size":107,"collection":70,"collections":28251,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":40},234664,"shan-shui-ce-shao-mi-234664","邵弥(1594-1642)，晚明时吴门人，字僧弥，号瓜畴，性孤僻，似贤云野鹤，不染尘氛。擅诗，尤喜书画，瘦冷清逸，一如其人，极为时人所重，与董其昌、王时敏等同为“画中九友”之一。亦好收藏，张丑《清河书画舫》尝记之。所收沈石田《湾东草堂图》为石田精品，可见目力不凡。此册拟古，或仿营丘，或仿北苑，或仿云林、黄鹤，或仿千里、大痴；或危岩层起泉落云飞，或山间小筑傍竹临水；或寻诗晚而忘归，或山间独居与朝云暮霭相伴。画笔俊秀精工而书卷之气满目，幅幅皆似诗中浸出，雨露中洗过，是他画中极精致品。对幅和后跋有金俊明、文柟、方夏、刘能始、周之文等诗题，其中文柟一开称其与友人丘令和晨夕相对，“兴至”则为点染，真所谓“五日一山十日一水之趣，简远秀逸自胚胎中来。”可见是在闲和恬适之时，与知己相对，兴来挥毫，不计时日的精心之作，故命意不凡，幅幅俱佳。极珍贵。",[23,26,55,24,56,63,277,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4269d646d2ab43af2063d5c5f19277c0.jpg",[70],{"id":28253,"slug":28254,"title":28255,"dynasty":97,"author":7428,"museum":99,"description":16484,"tags":28256,"thumbUrl":28257,"material":107,"size":107,"collection":107,"collections":28258,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":75},234417,"tang-shang-bai-tou-dan-ye-jiang-ting-xi-234417","堂上白头单页",[23,51,24,25,54,27,29,332,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F115a4427e2d551d43ce1b52894609ebd.jpg",[],{"id":28260,"slug":28261,"title":28262,"dynasty":18,"author":2059,"museum":99,"description":28263,"tags":28264,"thumbUrl":28265,"material":107,"size":107,"collection":107,"collections":28266,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":40},234224,"wen-zheng-ming-yu-xi-tu-juan-wen-zheng-ming-234224","文徵明雨溪图卷","文壁（1470年－1559年），字徵明，中年后以字行，更字徵仲，号衡山居士、停云生，直隶长州（今江苏苏州）人，祖籍湖广衡山（今湖南衡东），明代画家，与唐寅、沈周、仇英合称为“明四家”（亦称“吴门四家”或“吴门四杰”）；并与唐寅、祝允明、徐祯卿并称“吴中四才子”。一生历经成化、弘治、正德、嘉靖四朝，晚年与老师沈周并驾齐驱，继沈周之后成为吴派领袖。\n从正德到嘉靖年间，据《吴门画史》一书统计，吴派画家共有876人，人材济济，但在当时，出类拔萃，声名显赫，唯有沈周、文徵明等一些人。",[49,23,51,52,26,56,64,85,727,61,751,119,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8170da07386953cd65ae2ac94a4c1c02.jpg",[],{"id":28268,"slug":28269,"title":2547,"dynasty":18,"author":2059,"museum":175,"description":28270,"tags":28271,"thumbUrl":28272,"material":391,"size":107,"collection":107,"collections":28273,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":40},234141,"lan-zhu-tu-wen-zheng-ming-234141","文征明（1470-1559），世称“文衡山”，明代画家、书法家、文学家。生于明宣宗成化六年，卒于明世宗嘉靖三十八年，年九十岁。在诗文上，与祝允明、唐伯虎、徐真卿并称“吴中四才子”。在画史上与沈周、唐伯虎、仇英合称“吴门四家”。",[49,23,51,26,135,119,7,251,358,277,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd54efcd564c78baf1fe43aa7a6391a66.jpg",[],{"id":28275,"slug":28276,"title":28277,"dynasty":97,"author":207,"museum":175,"description":28278,"tags":28279,"thumbUrl":28282,"material":319,"size":28283,"collection":107,"collections":28284,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":40},233077,"ping-ding-yi-li-hui-bu-zhan-tu-ce-yi-ming-233077","平定伊犁回部战图册","《平定伊犁回部战图册》（平定准噶尔回部得胜图）是乾隆皇帝炫耀武功的作品，其宏大的战争场面，荣耀的献俘场景，皆彰显出清帝国极盛时代的不可一世。乾隆三十年（1765年），“传旨西洋人郎世宁等四人起得胜图稿十六张，着丁观鹏等五人用宣纸依照原稿着色画十六张”。这一批画由西洋传教士起稿，后又送至法国制版印刷成铜版画，是当时受西洋技法影响较深的画作。",[50,23,51,24,25,58,225,28280,10819,7,28281],"战争","西洋技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F417686d09d9e621d9bdc8b831384b87f.jpg","纵55.4cm，横90.8cm",[],{"id":28286,"slug":28287,"title":28288,"dynasty":192,"author":1313,"museum":175,"description":23186,"tags":28289,"thumbUrl":28290,"material":319,"size":28291,"collection":107,"collections":28292,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":40},232987,"jiu-cheng-bi-shu-tu-ye-li-si-xun-232987","九成避暑图页",[53,25,1962,56,59,63,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febf97e3a54593299e198f3eff15e7d0e.jpg","纵28.5cm，横31.6cm",[],{"id":28294,"slug":28295,"title":28296,"dynasty":115,"author":116,"museum":81,"description":28297,"tags":28298,"thumbUrl":28303,"material":319,"size":28304,"collection":107,"collections":28305,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":40},232813,"han-shan-zi-pang-ju-shi-shi-huang-ting-jian-232813","寒山子庞居士诗","《寒山子庞居士诗帖》是唐代隐士寒山劝戒诗与居士庞蕴诗偈，庞蕴（？—1808），唐代著名禅者。字道玄。世称庞居士、庞翁。湖南衡阳人。曾参谒石头希迁，颇有领悟。遗有《庞居士语录》。《寒山子庞居士诗帖》是黄庭坚晚年杰作，落笔奇伟，点画用笔的“沉着痛快”，笔笔似自空中蕩漾而來，充滿飞动之势。结体舒展大度，气宇轩昂，其个性特点十分显著。\n纵观《寒山子庞居士诗》帖，用笔凝练有力、遒劲郁拔，而神闲意株，尤得秦篆中实、汉隶俊俏笔意。行笔曲折顿挫，如同逆水撑舟，力能扛鼎。正如清初诗人冯班《钝吟杂录》所评：“笔从画中起，回笔至左顿腕，实画至右住处，却又跳转，正如阵云之遇风，往而却回也。”结体奇特，几乎每一字都有一些夸张的长画，并尽力送出，形成中宫紧收、四边发散的结字风格。章法富有创造性，经常运用移位的方法打破单字之间的界限，使线条形成新的组合。通篇大气磅礴，笔墨淋漓。清康有力曾评曰：“宋人之书，吾尤爱山谷，虽昂藏郁拔，而神闲意称，入门自媚。若其笔法，瘦劲婉通，则自篆隶。”\n黄庭坚的书法，大抵行书结字修长，中宫紧抱，聚而不散，用笔夸张，如长枪大戟，一波三折，摇电而行，韵味绵长；草书更在形式上突破，挪腾跳跃、奇崛放纵，大有超张迈素之势。山谷书风独特而强烈，故今天被认为是[宋四家]中最自我、最叛逆的一家。但我们不妨再看看他的学书经历。他自己曾说：[余学草书三十余年，初以周越为师，故二十年抖擞俗气不脱。晚得苏才翁、子美书观之，乃得古人毛意。其后又得张长史、僧怀素墨迹，乃窥笔法之妙。]又说[元褡间书，笔意痴钝，用笔多不到，晚入峡见长年荡桨，乃悟笔法。]显而易见，他的叛逆完全是在三个基础上的创变和超越。这三个基础就是：一、有选择、善反思地师古人；二、以敏锐的观察力师造化；三、通过[窥]、[悟]而师吾心。此时他已脱 去“抖擞俗气”，形成了逆势涩行之法，而在结体上的辐射式开张也不再怒张、突兀，可以说是实现了他个人的书法审美主张：绝俗和重韵。\n卷末有元代书家龚璛题跋。龚璛（1266-1331），一作肃，字子敬，号谷阳生，江苏高邮人，后徙居平江（今江苏吴县）。少为徐琬辟幕下，后充和靖、学道两书院山长。以浙江儒学副提举致仕。与戴表元、仇远等人交善。工诗文，擅书法，有晋唐人法度。有《存悔斋集》一卷，补遗一卷。小传详见《苏州府志》。传世书迹有《教授帖》、《静春堂诗序》、《宣城诗并识卷》等。\n释文：我见黄河水，凡经几度清。水流如激箭，人世若浮萍。癡属根本业，爱为煩恼阬。轮迴几許劫，不解了旡明。寒山出此语，举世狂癡半。有事对面說，所以足人怨。心真语亦直，直语无背面。君看渡奈河，谁是喽罗汉。寄语諸仁者，仁以何为怀。归源知自性，自性即知來。任运堂試张通笔为法聳上座书寒山子庞居士诗兩卷。涪翁題。",[49,86,119,2651,28299,28300,7949,28301,7,4832,28302,7952],"中锋行笔","笔画劲健","章法布局","笔力雄健","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e5948567560da19a69ec363536ed45a.jpg","29.1x213.8cm",[],{"id":28307,"slug":28308,"title":28309,"dynasty":115,"author":116,"museum":99,"description":28310,"tags":28311,"thumbUrl":28312,"material":107,"size":107,"collection":107,"collections":28313,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":1441},232789,"du-fu-shi-san-shou-yu-gu-tai-fa-tie-huang-ting-jian-232789","杜甫诗三首（郁孤台法帖）","黄庭坚草书十分强调节奏韵律，注重笔法腕法，绫条沉着老辣，极富振荡感、立体感；在结字和章法上也有重大突破，形成独特风格——苍老跌宕。本帖中的山谷草书，精选于《宋拓郁孤台法帖》。在山谷传世书迹中，存有大量有阅佛门禅语之作，如《发愿文》、《华严疏》、《头陀赞》、《阴长生诗》、《诸上座帖》等，多为行楷体书写《诸上座帖》虽为大草，但经清梁清标鉴定为摹怀素书。故本帖中《香严袭灯大师智闲颂十九首》的传世，能使后学者在山谷的大草书中体悟浓烈的见性成佛，领略机锋迅捷的佛家三昧，为研究中国书法史上的特殊类型！！禅书，大开方便之门。此外，黄山谷书录杜甫诗的传世作品也十分罕见，台北「故宫博物院」尚有草书墨迹一件《寄贺兰恬》，而《郁孤台法帖》为我们保存了三首黄山谷草书杜甫诗《西郊》、《别李义》、《秦州杂诗》，弥足珍贵，因此也都收入此帖。",[2651,86,462,2226,418,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6585ab1cf3e1f3d9f4834771cb1893c.jpg",[],{"id":28315,"slug":28316,"title":28317,"dynasty":115,"author":1435,"museum":7132,"description":28318,"tags":28319,"thumbUrl":28320,"material":319,"size":107,"collection":107,"collections":28321,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":75},231493,"fang-zhong-li-fang-dao-tu-jing-hao-231493","仿钟离访道图","董其昌 (1555–1636)《锺离访道图》，又有《卸甲图》。此荆浩笔也。董其昌题。",[49,23,51,712,26,25,55,54,86,119,7,58,56,150,64,2142,63,115,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5460da347cdee46dc9314bd20b3ce2.jpg",[],{"id":28323,"slug":28324,"title":15358,"dynasty":97,"author":2120,"museum":525,"description":28325,"tags":28326,"thumbUrl":28327,"material":319,"size":28328,"collection":107,"collections":28329,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":40},231488,"xi-shan-xian-guan-tu-wang-jian-231488","《溪山仙馆图》作于“甲寅春暮”即康熙十三年（1674），时年王鉴76岁。因为王鉴77岁那一年春天，王翚曾携弟子杨晋一起来到太仓王鉴的染香庵拜访他，杨晋还为王鉴画了肖像，王翚为肖像作补景，王鉴本人也在画上题了跋语。这幅“写照入神，运笔飞动”的肖像画令王鉴欢喜，因为此时的王鉴已患中风，“备诸丑态，子鹤（杨晋，字子鹤）隐陋，曲貌形外之神”（王鉴画上跋语，见《吴越所见书画录》），将王鉴的精神面貌画出来了。王鉴寿高80，76、77岁之后作品较为少见，大约与其晚年曾患中风有关。此幅《溪山仙馆图》是王鉴中风之前所作，非常难得。\n王鉴万历二十六年（1598）出生在江苏太仓一个功名世宦之家，曾祖父王忬是嘉靖二十年进士，官至兵部左侍郎，蓟辽总督。祖父王世贞少年时即被视神童，嘉靖二十六年19岁时就考取进士，虽然仕途不畅，却是明代中后期的文坛盟主。父亲王士骐也是一位才子，万历十年南京乡试解元，万历十七年进士，幷曾官礼部、吏部。出身在如此显赫家庭，王鉴亦才华横溢，但是功名平平，36岁时才在乡试中考取举人，之后再无进展，而是受到祖荫照拂任左府事，继而出任广东廉州（今为广西合浦）太守。然而其天生一副文人性格，不合污流，上任不久即遭遇宦官们以开矿为名横征暴敛、鱼肉百姓的“粤中开采”之事，他挺身而出，以太守之力“力请上台得罢”，企图阻止“开矿恶政”，却险些引来牢狱之灾。两年后王鉴退隐原籍，再不出仕，一生都在诗文书法中度日。\n王鉴绘画受到董其昌影响，对于北宋董源、巨然深有研究，幷专注于元四家、尤其倾心黄公望。《溪山仙馆图》纸本设色，纵78厘米，横39厘米。所绘布局严谨，近景松树成林，但茂而有致，绝无繁芜之感，中景、远景绘山，丘壑深邃却层次井然，毫不琐碎，加以色墨交融，皴染幷施，绘出了华润气象。\n此画清代民国以来历经三位著名收藏家收藏：第一位是同治光绪年间的南京人李溥泉，此人眼力好，但是特别会做生意，故曾遭赵之谦等人的白眼，左下角“白门李氏珍藏”印即为其所钤。第二位是晚清时以盐业起家、并官至内阁学士的慈溪人严信厚，严信厚字小舫、筱舫，斋名小书画舫等，“小书画舫”收藏书画很有名，我们今天仍经常可见到一些古代书画上留有“小书画舫”所钤收藏印，此画在“白门李氏珍藏”印之上那方“小书画舫秘玩”印即为其所钤。第三位是现代大收藏家钱镜塘，此画“钱家样”的装裱，就是当年钱镜塘的专用裱画师严桂荣所为。此画钱镜塘曾请吴湖帆过目，包首签条即为吴湖帆所题。《溪山仙馆图》“文革”时被抄，“文革”结束后未归还，后流入市场。",[49,23,51,84,25,55,56,60,61,137,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d42a5940438066fc2ad4b01874fd21.jpg","78×39cm",[],{"id":28331,"slug":28332,"title":28333,"dynasty":18,"author":26283,"museum":81,"description":28334,"tags":28335,"thumbUrl":28336,"material":319,"size":28337,"collection":107,"collections":28338,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":40},231416,"fang-wang-meng-ge-hong-yi-ju-tu-zheng-zhong-231416","仿王蒙葛洪移居图","明郑重仿王蒙葛洪移居图，中国古画，1612年（明神宗万历四十年）作。原属故宫博物院旧藏，现藏于台北故宫博物院。该幅作品描绘葛洪移居情景。布居窄长，用笔仿王蒙之焦墨來臫頭、渴樤苔，设色清雅。题材虽属道教故实，然人物比例远逊于山川林屋，观此画例，足证元明以降，山水画已蔚成国画作之主导。\n來臫頭《葛樤洪移居图》绘道教故事，晋代著名道士葛洪移居情景。葛洪为晋朝句容人，自号抱朴子，习炼丹术于郑隐，后闻交趾出丹砂，携子侄赴广东罗浮山炼丹。画中妻子鲍氏怀抱孩童，葛洪在后，俱骑牛。一童牵牛，一童担家具，一童捧鹅背药瓢。又有一羊二犬。画中山峦层层，用笔茂密，正是王蒙风格，点景人物，亦生动活泼。",[49,23,51,84,25,55,134,7,56,58,59,60,61,225,610,293,1903,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37d01a20b306b009a195204eafa7223.jpg","该幅135.8x29.1公分；全幅50.7公分",[],{"id":28340,"slug":28341,"title":28342,"dynasty":97,"author":26586,"museum":99,"description":28343,"tags":28344,"thumbUrl":28345,"material":107,"size":107,"collection":107,"collections":28346,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":75},230358,"sui-han-san-you-tu-zhou-fan-qi-230358","岁寒三友图轴","枯梅清枝斜出，苍劲瘦硬，花苞轻缀，暗蕴幽芳。丹红山茶花晕染柔润，鲜翠枝叶错落生姿，浓黑泼墨湖石与之相映，冷暖明暗碰撞，艳而不俗，拙而不僵。下方水仙挺秀舒展，冰姿玉洁，与湖石皴擦出的奇崛顽态相得益彰。\n全画工写兼施，笔致秀雅含蓄，将冬日清友齐聚尺素，把岁暮天寒里的融融春意暗藏其间，既有文人画的清逸格调，又鲜活晕透出明丽生机，让观者于画中品味隆冬清妍风骨，静赏幽然雅集意趣。",[49,23,51,84,25,27,528,251,358,277,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F504a4ddf8e1f808198416479420c9b74.jpg",[],{"id":28348,"slug":28349,"title":5167,"dynasty":97,"author":736,"museum":99,"description":28350,"tags":28351,"thumbUrl":28352,"material":107,"size":107,"collection":107,"collections":28353,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":40},230205,"xian-e-chang-chun-tu-lang-shi-ning-230205","此作将中西绘法相融，牡丹花瓣以精微晕染过渡色彩，从柔粉浅白渐次晕作玫红，层层叠叠如凝露含芳，饱满鲜活尽显盛放娇姿。叶片皴擦兼具明暗光影与中式笔墨意趣，叶脉舒展清晰，枝茎挺秀带着蓬勃生机。朱红鉴藏印落于素绢之上，雅致端庄，为画作更添古雅意韵。整体既得西洋画的写实质感，又留存东方花鸟的清雅意蕴，将花之雍容华贵尽数铺展于绢素之上，仿若春色凝于方寸间。",[49,50,23,51,25,54,27,308,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e4b0937087e0a16c2d15c63c187e3c.jpg",[],{"id":28355,"slug":28356,"title":28357,"dynasty":18,"author":20830,"museum":99,"description":28358,"tags":28359,"thumbUrl":28360,"material":107,"size":107,"collection":107,"collections":28361,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":40},228890,"san-you-tu-juan-chen-gua-228890","三友图卷","此帧以水墨写就，老松虬曲苍劲，枯笔焦墨勾勒皴擦，尽显鳞皴老干的嶙峋古意。松针攒簇劲挺，如刃似戟。垂挂的藤萝以淡墨长线曳落，柔丝曼曼，和老干的刚硬形成绝妙反差。下方嫩竹亭亭，小篁数丛简淡清雅，寥寥数笔便把清拔姿态绘就。\n画面留白疏朗，水墨浓淡干湿相生相合，笔意纵恣却暗含法度，将岁寒之友的清逸孤傲风骨尽显，藏着文人写意的澹澹禅心，清雅脱俗，意韵悠长。",[8547,23,51,52,26,135,7,777,358,700],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff43250ffaea547b9ef3fabbd4b5c2e4e.jpg",[],{"id":28363,"slug":28364,"title":28365,"dynasty":18,"author":207,"museum":99,"description":28366,"tags":28367,"thumbUrl":28368,"material":107,"size":107,"collection":107,"collections":28369,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":75},228792,"zao-chun-tu-yi-ming-228792","早春图","此作用青绿晕染层叠翠峰，赭石铺展江天色底，将江南早春的温润灵秀尽纳卷中。苍松虬枝倚着黛色山峦，茂林吐翠，汀洲渔村、朱阁殿宇错落分布，烟波轻笼远山扁舟，晕开和煦澹宕的春日盛景。\n\n全卷兼工带写，界画工致严整，山水皴染细腻，设色妍雅沉静，既承袭宋青绿山水的富丽精工，又带着明文人山水的秀逸意趣。卷尾长题与朱印错落排布，丹青与纸墨交映，让山水清晖与传世文心相融，尽显春日江山的悠悠雅致。",[49,50,23,51,52,25,53,54,55,7,86,56,59,60,61,63,64,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60605b4fe3e20e5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万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[49,23,51,822,56,25,55,150,64,751,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a4553a79a1bb08b744bb24b9bf960af.jpg",[],{"id":28427,"slug":28428,"title":28429,"dynasty":115,"author":207,"museum":99,"description":28430,"tags":28431,"thumbUrl":28433,"material":689,"size":690,"collection":107,"collections":28434,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":75},223621,"hu-jia-shi-ba-pai-quan-juan-yuan-pai-yi-ming-223621","胡笳十八拍全卷（原拍）","所谓“胡茄十八拍”，是指蔡琰谱写的茄谱及歌词的总称。明胡笳十八拍图卷为明中期摹本。无款印， 图中人物勾写严谨，神情如生。",[49,23,52,54,25,58,225,295,56,28432,86,7],"旗帜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b0162d600dbddb17ec2ee4e429f3fbf.jpg",[],{"id":28436,"slug":28437,"title":28438,"dynasty":115,"author":207,"museum":99,"description":28439,"tags":28440,"thumbUrl":28442,"material":107,"size":107,"collection":107,"collections":28443,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":40},223594,"bai-zi-xi-chun-tu-ye-yi-ming-223594","百子嬉春图页","团扇之上，戏台喧嚷，满卷皆是稚子嬉游的鲜活意趣。画中孩童攒聚戏台周遭，台下人头攒动，有的踮脚引颈叫好，有的相互挤闹，更有孩童攀附围栏、扒着楼栏，翘首往戏台望去。雅座里的小观众们或凭栏专注，或交头接耳。\n衣纹勾勒细腻柔婉，设色古雅沉静，将巷陌春日观戏盛景铺陈开来，把稚子们的灵动与市井烟火的融融暖意凝聚在尺幅之间，仿佛能听见戏台丝竹与孩童嬉闹声交织，尽显古早世俗生活的鲜活温情。",[49,23,51,3363,25,54,58,59,119,7,28441],"百子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbe8cd4ad68a694628c1a2e22f6adec2.jpg",[],{"id":28445,"slug":28446,"title":28447,"dynasty":115,"author":207,"museum":7132,"description":28448,"tags":28449,"thumbUrl":28451,"material":227,"size":28452,"collection":107,"collections":28453,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":75},223550,"yu-ying-tu-yi-ming-223550","浴婴图","图绘婴儿洗澡场景。画面共三个妇人，四个小孩，当中摆一长形浴盆。画面设色淡雅明快，气氛温馨和谐，妇人的神情慈祥、婴儿的天真无邪，无不充满了浓郁的人情和现实意义",[49,23,51,2651,54,25,58,10875,28450,1574,7],"浴盆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1adebda59fef40ba30b6d41a58cc6f31.jpg","纵35.8厘米，横35.9厘米",[],{"id":28455,"slug":28456,"title":28457,"dynasty":97,"author":10725,"museum":99,"description":28458,"tags":28459,"thumbUrl":28460,"material":319,"size":107,"collection":107,"collections":28461,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":2307},223264,"fu-shuo-wu-da-shi-jing-hong-yi-fa-shi-223264","佛说五大施经","《佛说五大施经》全文共154字，言五大施者即不杀生、不偷盗、不邪染、不妄语、不饮酒，若能做到即处天上或人间也得安隐乐。弘一法师晚年书法称「弘一体」，拙朴天真有如老僧入定，火气全无，平淡至极。正如他所言：「朽人之字所示者，平淡、恬静、冲逸之致也。」",[49,86,436,417,7,2601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0969ea3f16997017e0ce7c6a7fdf2c77.jpg",[],{"id":28463,"slug":28464,"title":28465,"dynasty":97,"author":1235,"museum":175,"description":9384,"tags":28466,"thumbUrl":28467,"material":183,"size":9387,"collection":107,"collections":28468,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":75},222870,"shi-gong-ci-tu-ce-09-leng-mei-222870","十宫词图册09",[49,23,51,24,86,119,25,54,58,59,63,1019,180,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce0cfacbb125c73cfee62496604deddc.jpg",[],{"id":28470,"slug":28471,"title":28472,"dynasty":97,"author":2322,"museum":81,"description":3894,"tags":28473,"thumbUrl":28475,"material":1561,"size":13488,"collection":70,"collections":28476,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":40},222695,"hua-jie-shan-zhai-tu-zhou-qian-wei-cheng-222695","画借山斋图轴",[49,23,51,84,56,55,25,870,406,64,727,294,751,7,150,28474],"道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8d4bfa5c29a8ba7cf79a8b52cded174.jpg",[70,72],{"id":28478,"slug":28479,"title":28480,"dynasty":18,"author":18133,"museum":2698,"description":28481,"tags":28482,"thumbUrl":28483,"material":319,"size":28484,"collection":122,"collections":28485,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":40},222534,"wang-wu-tu-bing-shi-juan-wang-duo-222534","王屋图并诗卷","此卷草书用墨苍润，行笔峻爽遒劲，布白参差错落，纵逸之中含有稳健，沉郁之中富有灵性，从中可以看出他集数十年的功力，融会“二王”、李北海、颜真卿、怀素、黄庭坚、米芾、赵孟俯于一炉的化境。可谓是“风樯阵马，笔走龙蛇”，后人鲜有至者。",[49,52,51,119,462,86,26,56,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47ba62362da41f16cf87df548bbc578c.jpg","纵29.9厘米，横639.8厘米",[122],{"id":28487,"slug":28488,"title":28489,"dynasty":18,"author":161,"museum":81,"description":28490,"tags":28491,"thumbUrl":28492,"material":25,"size":28493,"collection":107,"collections":28494,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":40},222115,"shu-yin-chui-diao-tu-shen-zhou-222115","树阴垂钓图","老树三株，点叶笔极老辣。平坡上坐一老者垂纶，笔细挺而有致。对山数石，横波数抹。",[49,23,822,26,56,871,714,7,86,119,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e71db6d9e06df008768db3647fc1e04.jpg","纵18.5公分，横50公分",[],{"id":28496,"slug":28497,"title":28498,"dynasty":146,"author":27160,"museum":81,"description":28499,"tags":28500,"thumbUrl":28501,"material":462,"size":16006,"collection":107,"collections":28502,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":40},221687,"lun-zhang-xu-huai-su-gao-xian-xian-yu-shu-221687","论张旭怀素高闲","与赵孟頫同时期的鲜于枢（公元1256—— 1301年），是元代另一位有影响的大书法家。他的书法主要取法唐人，长于楷、行、草各体。赵孟頫曾说：“尝与伯机（鲜于枢字）同学草书，伯机过余甚远，极力追之而不能及。伯机已矣，世乃称仆能书，所谓无佛处称尊耳。”赵孟頫与鲜于枢交往很深，鲜于枢早逝，赵孟頫对他的草书特加赞颂，不是言不由衷，而是符合事实的。鲜于枢的草书，不像赵孟頫那样谨遵二王，而是更多地继承了唐代张旭、怀素的癫狂气势。他的草书墨迹《论张旭怀素高闲草书帖》，文为：“张长史、怀素、高闲皆各善草书。长史颠逸，时出法度之外；怀素守法，特多古意；高闲用笔……粗十得六七耳。至山谷乃大坏，不可复理。”他在此帖不但盛赞张旭、怀素，而且笔法也酷似怀素《自叙帖》。至于对黄庭坚的贬抑，固然反映了元人尊唐卑宋的心理，但以同是学怀素的两个人相比，鲜于枢自己觉得比黄庭坚学得好，也是他小看黄庭坚的一个原因。",[86,462,12562,7,51,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32ba66bb5c8c28fea5285ddd0a16f398.jpg",[],{"id":28504,"slug":28505,"title":28506,"dynasty":115,"author":881,"museum":175,"description":28507,"tags":28508,"thumbUrl":28509,"material":5276,"size":28510,"collection":107,"collections":28511,"showCount":156,"zanCount":1288,"manualWeight":39,"mainColor":75},221517,"han-shan-zi-tu-ma-yuan-221517","寒山子图","马远擅山水、花鸟、人物，其山水师法李唐，多画江浙山水，树木杂卉多用夹笔，用大斧劈皴带水墨画山石，方硬严整；构图取自然山水之一角，山峦雄奇峭拔，或峭峰直上而不见顶，或绝壁直下而不见其脚，或近山参天而远山则低，或孤舟泛月而一人独坐。马远艺术上克承家学而超过了他的先辈，他继承并发展了李唐的画风，以拖技的多姿形态画梅树，尤善于在章法大胆取舍剪裁，描绘山之一角水之一涯的局部，画面上留出大幅空白以突出景观。",[49,50,23,51,1073,135,26,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe92de5fcd660f91864765bf62958c6c1.jpg","49x53",[],{"id":28513,"slug":28514,"title":28515,"dynasty":115,"author":116,"museum":99,"description":28516,"tags":28517,"thumbUrl":28518,"material":319,"size":28519,"collection":122,"collections":28520,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":40},221280,"wei-qing-dao-ren-tie-ye-huang-ting-jian-221280","惟清道人帖页","《惟清道人帖》中作者记录了惟清道人的操行品质及其与张商英（天觉）的交往。黄庭坚于北宋绍圣元年（1094年）在江西分宁，从帖文分析，此帖当书于其年夏日，时年51岁。帖中所提之惟清道人在《嘉泰录》卷六中有所记载，俗姓陈，南州武宁（在江西）人，为江西隆兴府黄龙寺禅师，北宋政和七年（1117年）卒。\n此帖行书行间宽绰而字间紧密，所以笔画多取横势，结体欹侧，左低右高，有峭拔之态，充分体现了黄庭坚小行书的特点，为其代表作品。\n此帖为清宫旧藏，收在《法书大观册》内。乾隆帝题赞“凌冬老干偃蹇岩壑”（《三希堂法帖》卷十三可见），后此赞墨迹及清内府藏印被挖去。\n著录于《妮古录》卷四、《平生壮观》卷二、《墨缘汇观》法书卷上。",[49,51,86,119,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd4c125c7929f0a4b3662a02431c4c44.jpg","纵29.3厘米，横31.8厘米",[122],{"id":28522,"slug":28523,"title":28524,"dynasty":18,"author":19215,"museum":81,"description":28525,"tags":28526,"thumbUrl":28527,"material":319,"size":28528,"collection":70,"collections":28529,"showCount":156,"zanCount":39,"manualWeight":39,"mainColor":40},219466,"shan-cai-ding-li-tu-xiang-yuan-bian-219466","善才顶礼图","项元汴（西元一五二五－一五九0年）字子京，别字墨林居士，为江南的大收藏家，家藏既多，薰习之久，亦能自运。其山水学元黄公望、倪瓒，尤醉心于倪，得其胜趣。此幅画松石崖瀑，用笔秀劲流畅，构景命意皆静穆之甚。善才童子向空顶礼，取势生动，似见仇英风范。虽云画佛，仍是山水画格局。右下有其孙项圣谟之题识「天童弟子通变天籁阁孙男圣谟。壬辰（一六五二）中秋日拜题」。",[23,51,84,26,56,58,150,64,715,610,279,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fadde91c721a075251422a51b21041e.jpg","130x30.5",[70],{"id":28531,"slug":28532,"title":28533,"dynasty":97,"author":28534,"museum":81,"description":28535,"tags":28536,"thumbUrl":28537,"material":33,"size":28538,"collection":70,"collections":28539,"showCount":156,"zanCount":1288,"manualWeight":39,"mainColor":75},219431,"fan-cheng-da-mai-chi-dai-ci-tu-cao-kui-yin-219431","范成大卖痴呆词图","曹夔音","这幅画是范成达农历十二月村田乐府诗中关于卖痴呆症的诗。 苏州风俗，孩子怕自己痴呆，所以想卖“痴呆”。 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：“韫斋大公祖大人正。弟何绍基。”钤“何绍基印”朱文印、“子贞”白文印。\n何绍基书法初学北魏张玄墓志，后师法颜真卿，并追溯篆、隶书渊源，特别研习《张迁碑》，晚年喜摹欧阳询，融入沉着雄健之韵味。此作虽为楷书，但结体宽绰，稍作斜欹，笔致飘逸自由，不拘成法，具有个性风范。",[5664,86,417,7,4832,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe66bed45fc908f74cd870bb98d7371fc.jpg","纵191.4厘米，横42.8厘米",[122],{"id":28905,"slug":28906,"title":28907,"dynasty":18,"author":18133,"museum":175,"description":28908,"tags":28909,"thumbUrl":28910,"material":28911,"size":28912,"collection":122,"collections":28913,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":75},240055,"xing-shu-wu-lv-shi-zhou-wang-duo-240055","行书五律诗轴","释文：\n每每遇烟扉，江枫坠客衣。乡音随地改，龙影入云微。樵爨仓皇了，菱歌隐约归。吁嗟鵽（鸟）翼，（得意）向南飞。壬午嘉兴作。戊子寒食后一日书于琅华馆。王铎。\n落“鸟”、“得意”共三字。\n款署：“戊子寒食后一日书于琅华馆。王铎。”钤“王铎之印”、“烟潭渔叟”白文二印。\n此幅录自作五律诗《嘉兴》，载《拟山园选集》卷二十二。此诗是王铎在明崇祯十五年壬午（1642年）南下避乱，途经嘉兴时所作，书于清顺治五年（1648年），书法骨力峭拔，书风沉雄俊逸。",[86,119,462,84,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90a4de9797f05b0dfb4c001375ec5ef0.jpg","绫本，行书","纵186.1厘米，横51.9厘米",[122],{"id":28915,"slug":28916,"title":28104,"dynasty":97,"author":28917,"museum":99,"description":28918,"tags":28919,"thumbUrl":28920,"material":107,"size":107,"collection":122,"collections":28921,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},239795,"shi-zhou-zhang-xue-ceng-239795","张学曾","崇祯六年(1633)副贡，官苏州知府。张学曾为“画中九友”之一，在艺术上受董其昌、王时敏之影响非浅，其艺术风格，与当时流派相融合。山水师董源，出入于宋、元诸家。喜仿元人笔，苍秀疏简，妍而不甜，枯而不涩。程正揆题其画云：“此道寥寥，得其解者，唯约庵吾友，差足与语，不复多见矣。",[86,119,84,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbeaefd9151a0aa1d9ba86db34d25851.jpg",[122],{"id":28923,"slug":28924,"title":28925,"dynasty":146,"author":27160,"museum":175,"description":28926,"tags":28927,"thumbUrl":28928,"material":1636,"size":28929,"collection":122,"collections":28930,"showCount":169,"zanCount":743,"manualWeight":39,"mainColor":40},239673,"du-gong-bu-xing-ci-zhao-ling-shi-juan-xian-yu-shu-239673","杜工部行次昭陵诗卷","释文： 舊俗疲庸主，群雄問獨夫。譏歸龍鳳質，威定虎狼都。 天屬尊堯典，神功協禹謨。風雲隨絕足，日月繼高衢。 文物多師古，朝廷半老儒。直詞寧戮辱，賢路不崎嶇。 往者災猶降，蒼生喘未蘇。指揮安率土，盪滌撫洪爐。 壯士悲陵邑，幽人拜鼎湖。玉衣晨自舉，鐵馬汗長趨。 松柏瞻虛殿，塵沙立冥途。寂寞開國日，流恨滿山隅。 右工部行次昭陵詩，困學民書。\n末识：“右工部行次昭陵詩，困學民書。”钤“鲜于”、“白几印章”、“箕子之裔”、“虎林隐吏”、“中山后人”印五方。卷末有王祎、宋濂二跋。鉴藏印记有清乾隆、嘉庆、宣统诸玺及梁清标、宋濂、王祎等印多方。\n这是鲜于枢以行书大字录写的杜甫五言《行次昭陵诗》。杜甫是唐朝著名的现实主义诗歌代表人物，他的作品内容大都与当时的朝政有关，此首诗亦充满了对国家兴衰的关注。\n此帖结体疏朗，笔势雄浑，与鲜于枢个人性情正相吻合。如柳贯所评：“公毅然美大夫，面带河朔伟气，每酒酣骜放，挥毫结字，奇态横生，势有不可遏者。”此卷是鲜于枢大字行书的代表作品。\n明顾复《平生壮观》卷四，清《石渠宝笈初编》卷三一，《故宫已佚书画目》著录。",[49,86,119,52,7,435,23625,7673,12562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c203c0d459c74dc96ff17a149a16b3c.jpg","纵32厘米，横342厘米",[122],{"id":28932,"slug":28933,"title":28934,"dynasty":146,"author":431,"museum":99,"description":28935,"tags":28936,"thumbUrl":28937,"material":107,"size":107,"collection":107,"collections":28938,"showCount":169,"zanCount":11,"manualWeight":39,"mainColor":40},239665,"hang-zhou-fu-shen-guan-ji-juan-zhao-meng-fu-239665","杭州福神观记卷","此作用笔圆劲苍润，起转提按皆具法度，既存唐楷端稳筋骨，又兼行书灵动意趣，点画粗细富于韵律，尽显笔底风华。\n\n通篇布局疏朗匀停，字势顾盼映带，长篇巨制却行气贯通一气呵成，枯湿浓淡交叠变化，整饬之中透着萧散雅逸的书卷清气。笔墨间融含静穆清虚之意，将方外福地的清灵韵致凝于笔端，尽显沉厚的笔墨功底与超然的文人意趣，是行书臻于化境的典范之作。",[49,86,119,52,7,26,1284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f2129985fd99668b5192c226470e825.jpg",[],{"id":28940,"slug":28941,"title":28942,"dynasty":18,"author":3904,"museum":99,"description":28943,"tags":28944,"thumbUrl":28945,"material":107,"size":107,"collection":122,"collections":28946,"showCount":169,"zanCount":1288,"manualWeight":39,"mainColor":40},239611,"yang-sheng-lun-juan-zhu-yun-ming-239611","养生论卷","祝允明（1461年1月17日-1527年1月28日）生于天顺四年十二月六日，卒于嘉靖五年十二月二十七日，字希哲，长洲（今江苏吴县）人，因长像奇特，而自嘲丑陋，又因右手有枝生手指，故自号枝山，世人称为“祝京兆”，明代著名书法家。\n祝允明的科举仕途颇为坎坷，十九岁中秀才，五次参加乡试，才于明弘治五年（1492）中举，后七次参加会试不第。甚至其子祝续也在前一科中进士，于是祝允明绝了科举念头，以举人选官，在正德九年（1514），授为广东兴宁县知县，嘉靖元年（1522），转任为应天（今南京）府通判，不久称病还乡。\n祝允明擅诗文，尤工书法，名动海内。他与唐寅、文徵明、徐祯卿并称“吴中四才子”。又与文徵明、王宠同为明中期书家之代表。楷书早年精谨，师法赵孟頫、褚遂良，并从欧、虞而直追“二王”。草书师法李邕、黄庭坚、米芾，功力深厚，晚年尤重变化，风骨烂熳。北京大学教授、引碑入草开创者的李志敏评价：“祝枝山的狂草，骨力弱于旭、素，但在宋人影响下，又自成一格”。 其代表作有《太湖诗卷》《箜篌引》《赤壁赋》等。所书“六体书诗赋卷”“草书杜甫诗卷”“古诗十九首”“草书唐人诗卷”及“草书诗翰卷”等皆为传世墨宝。",[49,51,52,119,462,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d67df0af9f879bce1f09da0c83364d1.jpg",[122],{"id":28948,"slug":28949,"title":28950,"dynasty":146,"author":431,"museum":175,"description":28951,"tags":28952,"thumbUrl":28953,"material":319,"size":28954,"collection":122,"collections":28955,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},239582,"zhang-zong-guan-mu-zhi-ming-juan-zhao-meng-fu-239582","张总管墓志铭卷","既具大楷沉着刚劲之气，又有小楷秀逸灵动之姿，在赵氏存世墨迹中甚少见。卷后有祝允明、永瑆题识。",[49,51,86,52,119,417,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc6ff13d72d8c1ed754db59d6fdcde15.jpg","纵32.7厘米；横259厘米",[122],{"id":28957,"slug":28958,"title":28959,"dynasty":18,"author":28960,"museum":99,"description":28961,"tags":28962,"thumbUrl":28963,"material":689,"size":690,"collection":35,"collections":28964,"showCount":169,"zanCount":1288,"manualWeight":39,"mainColor":40},239254,"shu-hua-tu-ce-cheng-min-239254","书画图册","程敏","此作以湖石为骨，双竹环衬成景。湖石以淡墨勾廓皴擦，寥寥数笔便尽显瘦透空灵之态，藏着文人赏石的雅趣。两侧墨竹笔法分野鲜明，一侧重墨点染叶片，笔力苍劲厚重，尽显疾风劲节；另一侧以淡墨轻描，竹叶疏朗清隽，自带幽柔之姿。\n虚实相映间，留白铺就幽寂氛围，将君子以竹石明志的寄寓藏于尺幅之中，简淡笔墨写尽文人写意的疏朗风神，于小幅册页晕开悠长意趣。",[23,26,277,358,7,24,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40387eeee6771c441a9a036b6d6d64bf.jpg",[35,242],{"id":28966,"slug":28967,"title":17770,"dynasty":97,"author":341,"museum":99,"description":7178,"tags":28968,"thumbUrl":28969,"material":689,"size":690,"collection":107,"collections":28970,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},238419,"xiu-gu-cong-fang-tu-ce-dong-gao-238419",[23,51,24,54,25,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F088ef8b23fe745006aa4a5642538e6f4.jpg",[],{"id":28972,"slug":28973,"title":7177,"dynasty":97,"author":341,"museum":99,"description":7178,"tags":28974,"thumbUrl":28975,"material":689,"size":690,"collection":107,"collections":28976,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},238397,"xuan-jin-lu-fang-tu-ce-dong-gao-238397",[23,51,24,25,54,27,332,2152,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eff07e312fd939963256b8d34f05660.jpg",[],{"id":28978,"slug":28979,"title":7228,"dynasty":97,"author":1998,"museum":99,"description":28980,"tags":28981,"thumbUrl":28982,"material":107,"size":107,"collection":70,"collections":28983,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},238195,"shan-shui-ce-tang-dai-238195","此作设色明雅清润，山峦以石青、石绿轻晕，间以赭石点染秋容，苍木栖于岩岫，村居隐于林麓，清溪萦回映带远峰淡岚，咫尺铺展千里丘壑之致。\n\n题诗与绘境相映，写尽秋山疏净之姿，飞木凝霜、红瀑分青峰，笔底兼得元人笔墨秀润与宋人丘壑整饬。朱印错落排布，与书画交相辉映，静雅悠然，将林泉高致藏于尺幅，尽显秋日山居的萧逸澄明，是融诗意与笔情的精妙佳构。",[23,25,56,64,1902,7,24,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98f1995860dbc30df65bb885416d4376.jpg",[70,72],{"id":28985,"slug":28986,"title":28987,"dynasty":97,"author":22366,"museum":99,"description":28988,"tags":28989,"thumbUrl":28990,"material":107,"size":107,"collection":70,"collections":28991,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},238097,"hong-wu-shan-shui-ce-hong-wu-238097","弘旿山水册","爱新觉罗·弘旿（1743-1811），清朝宗室、画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。康熙帝爱新觉罗·玄烨孙，爱新觉罗·胤秘第二子。封固山贝子，两次缘事革退，复赏封奉恩将军。能诗，工书、画，以三绝称。弘旿工画，师董邦达，自署瑶华道人，名与紫琼道人胤禧并。论者称其“山水得董、黄之妙谛。”永珠既夺爵 [1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。\n观其传世作品，似受董邦达影响为多。此卷笔墨秀润，细皴密擦，林麓滃郁华滋，功力不浅。卷末落“臣”字款，又自称“恭绘”，可见是进御之作。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆对这位同宗兄弟笔墨的赞许。但从流传的弘旿作品看，此卷却是其中极为精彩的一幅，且保存完好，值得珍视。",[23,51,24,26,55,56,137,62,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc717244aa971e7b3f826512d59005905.jpg",[70,72],{"id":28993,"slug":28994,"title":28995,"dynasty":97,"author":207,"museum":99,"description":28996,"tags":28997,"thumbUrl":28998,"material":668,"size":20724,"collection":199,"collections":28999,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},238020,"di-wang-ming-chen-xiang-ce-wei-cao-cao-yi-ming-238020","帝王名臣像册- 魏曹操","此作为淡墨白描肖像，衣纹线条简练劲挺，勾勒出人物端方身形。曹操头戴幅巾官帽，长髯垂胸，神色沉凝内敛，眉眼间暗藏枭雄的沉雄机略，不见跋扈张扬，却自有威压气度。\n左侧小传书法清隽工整，与肖像合为一体，书画相映。全作用墨浅淡却形神兼备，以洗练笔墨捕捉人物神韵，将乱世雄主的城府与威仪融于平和面相之中，尽显雅致写实的风韵，文史意趣与笔墨审美兼具。",[23,51,24,135,26,58,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2161e723946aaec937536d76b6a16651.jpg",[199],{"id":29001,"slug":29002,"title":29003,"dynasty":97,"author":29004,"museum":99,"description":29005,"tags":29006,"thumbUrl":29007,"material":689,"size":690,"collection":107,"collections":29008,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},237835,"tian-zhong-jing-ying-tu-shan-ye-yun-huai-ying-237835","天中景映图扇页","恽怀英","图绘牡丹、枇杷等各色花果，它们以五彩染就，不见笔痕，色调巧妙搭配，浓淡变化自然，脱去尘俗，于妍丽中见秀雅，粉墨中露清姿，颇得恽寿平花鸟画灵秀天趣之美，呈现出一派喜庆祥和的景象，与作者自题“喜写”的意愿相契合。",[822,25,54,27,332,265,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6f440ef47ec15b743171c3ffaf0a7e3.jpg",[],{"id":29010,"slug":29011,"title":29012,"dynasty":18,"author":207,"museum":99,"description":29013,"tags":29014,"thumbUrl":29016,"material":107,"size":107,"collection":107,"collections":29017,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},237612,"you-qiu-pin-gu-tu-zhou-yi-ming-237612","尤求品古图轴","此作用淡墨铺就庭院雅集，右侧古木盘根虬曲，苍皮皴裂间枝繁叶茂，湖石芭蕉相衬，晕出院内清幽静雅。堂中文士围案环坐，展玩古物，或蹙眉细观，或颔首低语，神态灵动鲜活；僮仆随侍左右，奉茶侍立，动静之间尽显闲雅松弛。\n\n笔线细劲秀逸，淡墨晕染出清雅氛围，将文人耽于博古清赏的雅趣，娓娓铺陈在画面之中，处处浸透闲适古雅的文人情致。",[23,51,84,26,54,135,58,497,1713,871,777,358,3875,700,500,29015,7],"古器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c72ed92b7852720229e817e865720c.jpg",[],{"id":29019,"slug":29020,"title":2149,"dynasty":18,"author":524,"museum":222,"description":9129,"tags":29021,"thumbUrl":29022,"material":647,"size":9132,"collection":107,"collections":29023,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},237442,"hua-hui-ce-xiang-sheng-mo-237442",[23,24,25,119,7,137,28,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17741ed89c251e1b5a5cb8ee1b6c2eac.jpg",[],{"id":29025,"slug":29026,"title":29027,"dynasty":18,"author":4381,"museum":99,"description":4927,"tags":29028,"thumbUrl":29029,"material":689,"size":690,"collection":107,"collections":29030,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},237417,"you-zhang-gong-dong-shan-lu-zhi-237417","游张公洞扇",[822,23,56,25,55,610,150,7,86,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F193fe877694581eca743fdfcdc0ae876.jpg",[],{"id":29032,"slug":29033,"title":29034,"dynasty":18,"author":524,"museum":99,"description":11451,"tags":29035,"thumbUrl":29036,"material":689,"size":690,"collection":107,"collections":29037,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":75},236814,"song-zhu-shi-shan-xiang-sheng-mo-236814","松竹石扇",[822,26,55,777,358,700,251,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8cd6951a13d0417c0924d7867b83608.jpg",[],{"id":29039,"slug":29040,"title":29041,"dynasty":97,"author":26267,"museum":175,"description":29042,"tags":29043,"thumbUrl":29044,"material":391,"size":29045,"collection":199,"collections":29046,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},236751,"zhi-hua-sui-chao-tu-li-shi-zhuo-236751","指画岁朝图","此画名为岁朝图。中国传统的农历春节为一年之始，故名“岁朝”。本幅通过童子将怀抱的花瓶进献给手持如意的老者的情景着新岁吉祥如意的开始。\n整幅作品全用手指沾墨绘就，别有一种苍茫古雅的趣味。",[23,51,84,15690,26,25,58,528,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d88d01db1c3c131c37fbf3ed2b5343e.jpg","纵104.5厘米，横46.3厘米",[199,242,122],{"id":29048,"slug":29049,"title":7228,"dynasty":97,"author":1167,"museum":7132,"description":29050,"tags":29051,"thumbUrl":29052,"material":107,"size":107,"collection":70,"collections":29053,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},236731,"shan-shui-ce-hua-yan-236731","华嵒（1682～1756），福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。华嵒是清康雍乾年间的著名画家，他笔下的鸟堪称一绝，最负盛名。\n华喦就是我们所熟知的新罗山人，但我相信这一套山水画册，大部分人都不是熟悉，这山水画册页并没有藏在国内，而是藏在美国的弗利尔美术馆，其可称为华喦非常精致的一套山水册页。",[23,26,24,86,7,56,62,277,61,1537,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc43d5f7e219be9710dcb9f942f6ea8a7.jpg",[70,72],{"id":29055,"slug":29056,"title":29057,"dynasty":97,"author":15385,"museum":29058,"description":29059,"tags":29060,"thumbUrl":29062,"material":1087,"size":29063,"collection":70,"collections":29064,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},236655,"wang-zhi-rui-shan-shui-zhou-wang-zhi-rui-236655","汪之瑞山水轴","浙江省博物馆","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》。",[23,56,26,55,84,60,150,137,64,16213,279,294,6683,29061,7,12482,403],"书法题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a96e75f994f79e3ac05eab026f1d56b.jpg","纵：136厘米，横：56.7厘米",[70,242],{"id":29066,"slug":29067,"title":17,"dynasty":97,"author":1167,"museum":7132,"description":29068,"tags":29069,"thumbUrl":29070,"material":107,"size":9215,"collection":107,"collections":29071,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},236625,"hua-niao-ce-hua-yan-236625","华喦（1682-1756），清画家。字秋岳，号新罗山人、东园生、布衣生等，福建上杭人。自幼即喜绘画，尤精花鸟。所作花鸟，多姿多态，生趣盎然，干笔枯墨间以淡彩，寓雅逸于艳丽之中，构图独出心裁，为清代中叶花鸟画之中坚，对后世扬州派、海派花鸟产生莫大影响。",[23,51,24,25,26,27,66,25328,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06312802578ce589174d3d293fb9797a.jpg",[],{"id":29073,"slug":29074,"title":29075,"dynasty":18,"author":7959,"museum":175,"description":29076,"tags":29077,"thumbUrl":29078,"material":319,"size":107,"collection":35,"collections":29079,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},236274,"jiang-shang-qi-shu-juan-yao-shou-236274","江上七树卷","姚绶（1422—1495），明早中期画家。字公绶，号丹丘生，又号谷庵子、谷庵、仙痴、云东逸史，浙江嘉兴府嘉善县大云寺人。少有才名，专攻古文辞，诗赋茂畅。天顺中赐进士，官监察御史，奉命巡盐两淮，铲除积弊。因得罪权贵，谪永宁知府。以母老辞归，居大云，筑室名丹丘。又作沧江虹月舟，泛游吴越间。姚绶工行草书，初学宋克，后法魏晋钟繇、王羲之，劲婉咸妙。出入钟、王而别具拙朴风神，风格近张雨。擅画山水，宗吴镇，也取法赵孟、王蒙，好作沙坳水曲景色，墨色苍润；间写竹石，潇洒可爱，笔墨酷似吴镇。传世名作有《秋江渔隐图》轴（北京故宫博物院藏）、《山水图》册页（上海博物馆藏）、《竹石图》轴（辽宁省博物馆藏）。著有《谷庵集》、《云东集》、《天人合旨》、《姚御史诗文》。小景好作沙坳小曲，孤钓独吟，其阔幅重林远瀍，著四五渔船而已。图成或售于人，遂厚价返收之，其自重如此。与杜琼、刘珏、谢缙等明代早期文人画家，都承继了元四家衣钵，为明代中期吴门派的勃兴，起到了承前启后的作用，是吴门派的前期画家。\n姚绶得吴仲圭、盛子昭二家法，苍厚敦穆，简拙之中别具秀润，自是文人逸格。复参赵孟、王蒙笔意，皴染圆厚，书卷气极浓。姚绶曾画竹自云：“画竹如写字，枝叶皆从八法来，苦苦欲求形似者，清风安得扫尘埃”姚绶竹石题材的作品多以吴镇为宗。画竹一般以书入画，在竹子的处理上“叶叶着枝，枝枝着节”行笔轻灵劲健，竹叶已完全融入了他的书法用笔，姚绶早年书法宗宋克，中年后以张雨为宗，又致力于赵孟俯，黄庭坚，最终合张、黄、赵三家为一体，所以竹叶有其书法体态上的奇宕多姿，清逸而又雄迈的韵味。姚绶此类相近的竹石题材作品如：台北故宫藏《竹石图》，与北京故宫藏《竹石图》可窥其精华一二。",[50,23,51,52,26,55,64,137,5133,31,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F171927c81b7c87363f9a4fca9993c187.jpg",[35,242,122],{"id":29081,"slug":29082,"title":29083,"dynasty":97,"author":20613,"museum":81,"description":29084,"tags":29085,"thumbUrl":29086,"material":1087,"size":107,"collection":242,"collections":29087,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},236113,"song-zhu-ming-qin-zhou-zhang-ruo-ai-236113","松竹鸣禽轴","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。\n以书、画供奉内廷，一日太后出方寸之玉佩，命书心经一篇。竟日而就，因赐上方珍玩无算。善画山水、花鸟，得王糓祥、周之冕遗意。乾隆十一年（1746）随帝西巡，因病回京，不久卒，谥文僖。有《岁寒三友图》、《仿王元章疏影寒香图》传世。卒年三十四（按清代画史、清画家诗史均作三十二岁，中国画家人名大辞典作三十六岁）。著《晴岚诗存》。",[23,84,26,54,777,358,66,277,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3d9922684aec53b3958be0fa2735536.jpg",[242,921],{"id":29089,"slug":29090,"title":5869,"dynasty":97,"author":445,"museum":99,"description":29091,"tags":29092,"thumbUrl":29093,"material":107,"size":107,"collection":107,"collections":29094,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},235880,"yuan-ji-shan-shui-tu-ce-shi-tao-235880","行书笔致纵逸苍劲，诗文清雅隽秀，墨色浓淡辗转间笔势连贯舒展，尽显随性放达的文人意趣。\n\n下方山水以淡墨晕染铺就烟岚轻笼的悠远底色，山峦以枯笔皴擦勾勒肌理，植被点染灵动错落。留白虚实相生，铺陈出丘林幽寂的空濛意境，淡赭晕染山脚，糅合出清雅温润的色调层次，将江南山水的氤氲柔婉与嶙峋风骨相融。\n\n整幅诗画合璧，书意与画韵彼此衬映，诗书画印相得益彰，尽显文人画雅致品格，把幽居林泉的隐逸心境藏于笔墨之中，意韵悠长。",[23,51,24,119,26,25,55,86,7,56,278,64,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f749a49e7b8c667c20c3c60e27a09e8.jpg",[],{"id":29096,"slug":29097,"title":5869,"dynasty":97,"author":445,"museum":99,"description":29098,"tags":29099,"thumbUrl":29100,"material":107,"size":107,"collection":107,"collections":29101,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},235879,"yuan-ji-shan-shui-tu-ce-shi-tao-235879","这幅册页诗画合璧，行书题诗萧散俊逸，笔墨间自带林下幽居的清寂意趣。\n\n山水取景奇崛苍润，危崖拔地而起，飞泉挂壁落于溪涧，苍松杂木错落生姿，山居隐于林间烟岚之中，淡墨轻皴写尽丘壑之态。笔底兼具黄山奇峭风神，又融禅意隐逸之思，以简驭繁，将诗中静伴秋雨、枯禅幽栖的心境，铺陈在咫尺画卷里。\n诗境衬着画境，画境晕染诗心，淡远空灵的气韵漫溢纸面，尽显文人画诗画交融的雅致风神。",[23,51,24,119,26,56,277,64,7,86,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73b855edfdb93578bdd513ec9b3f934a.jpg",[],{"id":29103,"slug":29104,"title":29105,"dynasty":18,"author":207,"museum":99,"description":29106,"tags":29107,"thumbUrl":29108,"material":107,"size":107,"collection":107,"collections":29109,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},235841,"lu-zhi-tian-ping-shan-tu-ye-yi-ming-235841","陆治天平山图页","此作左文右图，诗画合璧。右侧绘层岩峻耸，浅绛设色清润柔和，山石勾勒苍秀兼具，山脚水陂萦回，隐见村舍错落其间，远山晕染朦胧杳霭，尽显江南丘壑灵秀清旷之意。远景山峦淡抹轻皴，近景林木屋舍细致清雅，于工写之间晕染出山林幽寂野趣。\n左侧行书题跋笔意舒展流畅，以文述景，将山川形胜娓娓铺陈，把实景奇崛与人文底蕴融于一卷，笔墨间晕开清雅意趣，将江南名山的形神与文人情思相融，淡远空灵，古意悠然。",[23,51,24,25,56,870,700,64,61,63,86,119,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff31993646a95510e802b9f5b7f7282af.jpg",[],{"id":29111,"slug":29112,"title":29113,"dynasty":97,"author":2568,"museum":99,"description":5018,"tags":29114,"thumbUrl":29115,"material":689,"size":690,"collection":107,"collections":29116,"showCount":169,"zanCount":39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，远处峰峦终于出现在团团白云之中。中段主峰耸立，林木扶疏，表现出远近层次。全卷云树掩映，峰峦明灭，处处体现出生意郁勃的造化生机和苍莽雨雾的特殊韵致。画面水墨淋漓，少见笔触，形象不作具体细致的刻画，含蓄自然，浑然一体，给人留下了远景云山空濛的印象。查士标在款识中有云：\n康熙庚申六月，余客润州。再登金山，留宿慈云阁。雨中为德润禅兄画南山云树，仿米家笔意，累日乃竣事。\n根据他的款识记载，我们知道这件作品是他在润州（今镇江）登金山，看到烟江缥缈的景致后，联想起米家山水的粉本，触景生情而作。这件作品也得到了后人的称赞，如清人张熊在题跋中评说：\n此卷仿米家泼墨云山，简淡清新，直欲上追宋元。洵是罕见逸品，岂浅学者所能梦见耶。",[49,23,26,52,134,56,870,1207,871,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c02eb2b2d562b653515952d5eb03d8.jpg",[],{"id":29173,"slug":29174,"title":29175,"dynasty":146,"author":2747,"museum":175,"description":29176,"tags":29177,"thumbUrl":29178,"material":227,"size":29179,"collection":107,"collections":29180,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},234081,"yu-qiao-wen-da-tu-dan-ye-sheng-mao-234081","渔樵问答图单页","图中绘江水涛涛，远处山峦起伏，江中蓬船上一渔人垂杆而钓，坡岸树阴下樵夫踞坐，与舟中人对语，身旁置柴一担。笔墨精到，设色谈雅，营造出静谧祥和的氛围。渔樵问答是常见的表现隐逸文人的题材。",[23,51,26,56,58,64,62,713,86,7,55,61,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d70c5c72cefda0f9a15b291e9a86fa3.jpg","纵29.1厘米磺20.3厘米",[],{"id":29182,"slug":29183,"title":7228,"dynasty":18,"author":2181,"museum":175,"description":29184,"tags":29185,"thumbUrl":29191,"material":29192,"size":6565,"collection":107,"collections":29193,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},234056,"shan-shui-ce-dong-qi-chang-234056","第一开，右上角题：“仿唐杨昇。”钤“董其昌印”。鉴藏印钤“王掞”、“烟客真赏”、“虚斋精上品”、“壶中墨缘”。\n对开董其昌题：“唐杨昇峒关蒲雪图，见之明州朱定国少府，以张僧繇为师，只为没骨山，都不落墨。曾见日本画有无笔者，意亦唐法也。米元章谓王晋卿山水似补陀岩，以丹青染成。王洽正泼墨渖。多种法门皆李成、董源以前独善者。”钤印“董玄宰”。收藏印钤“庞来臣珍赏印”、“壶公”、“子清所见”、“王时敏印”、“颛庵”。\n设色青绿山水，画峰峦秋树。\n第二开，左上角题：“仿梅花道人。”钤“董其昌印”。收藏印钤“虚斋鉴赏”、“壶中墨缘”、“王时敏印”、“颛庵”。\n对开董其昌题：“今日遇武塘题吴仲圭故居，称梅花巷者。自号梅花和尚，实居士也。画学巨然，字学怀素，皆受和尚法，故云。仲圭与盛懋同巷对宇。人每指金帛诣盛求画，仲圭之家闻如也。家人以为谪，仲圭曰：‘待二十年后自有定论’。已而盛之身价果逊。至今三百年犹尔。辛酉三月廿三日识。”钤“董玄宰”印。收藏印钤“庞来臣珍藏印”、“壶公”、“王时敏印”。\n设色画水阁、青山、瀑布。\n第三开，左上题：“仿惠崇。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“壶中墨缘”、“虚斋鉴赏”。\n对开董其昌题：“惠崇宋诗僧，建阳人也。在巨然之前，画学王维，精工妍丽如诗家。温、李辈《香辽集》生于情者。东坡、山谷为题其小景。余所见有京口陈氏江南惠卷及鄞朱定国所赠巨轴《早春图》。”钤印“董玄宰”。收藏印钤“王时敏印”、“藻儒”、“壶公”、“庞来臣珍赏印”。\n设色画青溪两岸云树房屋。\n第四开，右上题：“仿卢鸿草堂笔。”钤印“其昌”。收藏印钤“壶中墨缘”、“子清所见”、“王时敏印”。\n对开董其昌题：“鸿乙草堂明皇尝令人就图之，鸿乙画入神品，与右丞伯仲。嵩山十志各有楚词。至宋时李伯时作图令诸名公书其诗，人各一景。秦少游、僧参寥、米元章皆与焉。余见之项氏者亦十体，不显名姓。谢时臣亦临一本，第得其位置耳。唐人用墨高简，意到而笔不到，所以妙绝。”钤印“董玄宰”。收藏印钤“逊之”、“王掞之印”、“庞来臣珍赏印”、“壶公”。\n墨笔画疏林坡石，高崖瀑布。\n第五开，左上方题：“仿倪元镇。”钤“其昌”。收藏印钤“烟客真赏”、“王掞之印”、“壶中墨缘”、“虚斋精上品”。\n对开董其昌题：“倪迂画学冯觐。觐，《宣和画谱》所载宋宦官也。觐画世无传本。倪迂自题谓得荆关遗意，岂讳言觐耶？张伯雨题云：‘能与米颠相伯仲，风流还只数倪迂。应将尔雅虫鱼笔，为写乔林恠石图。’最为迂叟吐气。大都倪高士之画学冯觐，如朱晦翁之书学曹孟德，皆不问其师承也。倪迂书学《黄庭内景经》，《内景经》倪氏之物也。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“庞来臣珍藏印”、“壶公”。\n设色画平远秋景山水。\n第六开，左上方题：“仿米元晖。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞”、“壶中墨缘”。\n对开董其昌题：“米元晖潇湘图余得之项玄度，有宋人题跋甚夥。朱晦翁亦一再见。后有王宗常叙诸跋卷人出处之概，书品亦佳，沈石田自题七十五岁方得一观，以快生平，为米卷第一。图不作点，只用墨破凹凸之形，树木屋宇皆精工，都画勾云亦变体也。元晖凡再题数百字。”钤印“其昌”。收藏印钤“逊之”、“王掞”、“庞来臣珍藏印”、“壶公”。\n墨笔画潇湘烟雨景。\n第七开，左上方题：“仿黄鹤山樵。”钤“董其昌印”。收藏印有“王时敏印”、“王掞之印”、“壶中墨缘”。\n对开董其昌题：“元季四大家惟王叔明仕于国初，为泰安州倅。何元郎记有雪图作于齐郡者是也。倪云林题有笔精墨妙语，又云澄怀观道是宗少文也。又临池学书出王右军、王虞，笔力能扛鼎，五百年来无此君，推挹至矣。于北宋诸家无所不摹，尤善右丞法。”钤印“董玄宰”。收藏印有“藻儒”、“逊之”、“壶公”、“庞来臣珍藏印”。\n墨笔画关山松涧。\n第八开，左上题：“仿李伯时山庄图。”钤“董其昌印”。收藏印有“王时敏印”、“颛庵”、“壶中墨缘”、“虚斋鉴藏”。\n对开董其昌题：“潇洒营丘水墨仙，浮空出没有无间。尔来一变风流尽，谁见将军设色山。\n无数青山落照边，遥知风雨不同川。此中有句无人认，道与襄阳孟浩然。\n二绝句皆东坡题画之什，深得画家三昧方能为，是语米老不如也。”钤印“董玄宰”。\n又题记：“辛酉三月游武林，归途闲暇作此八景。时画史杨彦冲同观。玄宰识。钤“虚斋审定”。\n此图册是董其昌于明天启元年（1621年）游武林（今杭州）时创作的，董氏时年67岁。图册分别仿杨升、卢鸿、惠崇、米友仁、李公麟、吴镇、倪瓒、王蒙等唐宋元诸家山水。画面集取古人不同的山水画景观，同时融入画家自己对于天地、山川的感受，“以意取之”，“各出意造”。在构图上虽与古人相似，但在审美情趣上董其昌追求的是一种平淡古雅的意境和逸趣。如仿唐杨昇山水，在画法上使用没骨设方法，摒弃了原作者金碧山水的华丽浓艳，继承了其中的古拙和典雅，寓丰富而鲜艳的色彩于平稳和谐的色调之中，笔法精妙秀雅，笔致轻松生动，从而使画面传达出一种平静而不淡泊、明媚而不躁动的美感，具有董氏自己的特点。又如米友仁芾画潇湘烟雨之景，以董、巨笔法皴染山石，用笔沉着稳重，通过墨色干湿浓淡的变化烘染出远山近水的空间感以及烟云雾气的变化。树木及房屋用笔多变化，墨色酣畅淋漓，层次丰富。这种董其昌笔下的米家山水，平淡之中更见秀雅。其他几开山水画同样反映了董其昌所追崇的文人画情趣，均以董源、巨然为归依。在仿古山水画中，他尝试运用各种不同的绘画形式诠释古法，同时表现出对于古法的继承和发展，从而阐述了自己的审美观，这是他创作众多仿古山水画最为重要的意义。此外，此件作品对开中董其昌的题记对于人们认识董其昌的艺术同样具有重要的史料价值。",[23,51,24,56,25,26,53,134,55,24115,27639,27179,293,727,7870,25177,24396,29186,86,7,29187,29188,29189,29190],"松涧","云树","水阁","平远秋景","没骨法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd349114a80d63e993d3286109e0fd10e.jpg","纸本，水墨和设色",[],{"id":29195,"slug":29196,"title":29197,"dynasty":97,"author":22158,"museum":175,"description":29198,"tags":29199,"thumbUrl":29200,"material":391,"size":29201,"collection":70,"collections":29202,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},233918,"dai-lu-fang-bei-tu-ce-huang-yi-233918","岱麓访碑图册","图名里的“岱”即指位于山东省中部的泰山。《岱麓访碑图》册共24开，以左文右图的形式描绘黄易在清嘉庆二年（1797年）由济宁到泰山访碑的种种情形。据作者本人题跋可知，其中一部分册页记录泰山的碑刻情况，如“岱顶”、“开元磨崖碑”、“石经谷”、“王母池”等，另一部分则是记录作者在往返途中所见的碑刻情况，如“大明湖”、“孟子庙”、“孔林”、“孔子庙”、“大汶口”等。除此之外，作者还在题跋中介绍了碑刻的具体状况，为后人研究提供了资料。\n黄易一生致力于金石碑版的研究，曾经四处寻访存世的残碣断碑，并较为系统地加以整理与著录，对我国传统金石学的发展起到了积极的作用。与众不同的是，他亲自用画笔将每次寻访古碑的过程都完整地记录下来，绘制成许多作品，被当时的艺术家们广为称颂。《岱麓访碑图》册便是其中的一套作品。\n纵观整套册页，作者采用了水墨与浅绛两种中国画表现技法，但呈现出的艺术风格却是统一的。具体而言，他注重线条的断续与转折，多用粗笔短线描写碑刻所在地周围的景色，使得画面景致简明，意境幽僻清寂，有平淡天真的艺术趣味。",[23,26,55,24,56,63,64,1902,58,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365d96a04c3dfd290a7d014ab25a0f80.jpg","纵17.4厘米，横50.8厘米",[70,35],{"id":29204,"slug":29205,"title":29206,"dynasty":18,"author":19215,"museum":175,"description":29207,"tags":29208,"thumbUrl":29210,"material":5731,"size":29211,"collection":107,"collections":29212,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},233913,"gui-zi-xiang-yuan-tu-zhou-xiang-yuan-bian-233913","桂子香园图轴","本幅墨笔，上方自题：”园同三五夜，香并一枝芬。项元汴戏为客写桂枝香园图，并题二美交胜，两间造化生物之妙有如此者吾不得而知亦无得而言。请客手眼无隐乎尔。“钦”墨林山人“”檇李“等印。\n项元汴（1524—1590年），明嘉兴（今浙江省嘉兴）人，字子京，号墨林山人，别号香岩居士、鸳鸯湖长、退密斋主人，收藏家、画家。富藏书画等古名物，在明代私家收藏中堪称巨擘。精鉴赏。常见主要印记有“项元汴印”、“子京”、“檇李项氏世家珍玩”、“神品”等。",[23,51,84,26,119,86,7,29209,358,1714,531],"桂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d180f3eaa8b34b9f6e6327b9d5e9f1a.jpg","纵104.5cm，横34.8cm",[],{"id":29214,"slug":29215,"title":25148,"dynasty":97,"author":445,"museum":175,"description":29216,"tags":29217,"thumbUrl":29218,"material":319,"size":6298,"collection":107,"collections":29219,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},233125,"yuan-ji-shan-shui-ce-shi-tao-233125","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。",[23,51,24,26,25,56,59,967,150,7,86,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93ecd5e9a88ca195d5a33c884ecf3e42.jpg",[],{"id":29221,"slug":29222,"title":25148,"dynasty":97,"author":445,"museum":175,"description":29216,"tags":29223,"thumbUrl":29224,"material":319,"size":6298,"collection":107,"collections":29225,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},233124,"yuan-ji-shan-shui-ce-shi-tao-233124",[23,26,25,55,24,56,59,60,61,62,63,64,727,751,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c602cd77091e21913fd0d6ad29641db.jpg",[],{"id":29227,"slug":29228,"title":29229,"dynasty":97,"author":29230,"museum":81,"description":29231,"tags":29232,"thumbUrl":29233,"material":1561,"size":29234,"collection":107,"collections":29235,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":75},232815,"gao-zong-yu-ti-fan-cheng-da-ji-zao-ci-zhou-kun-232815","高宗御题范成大祭灶词","周鲲","周鲲 ，字天池，江苏常熟人。画承家学，工山水、人物，梅花亦佳。乾隆(一七三六至一七九五)时供奉如意馆。尝以闾阎疾苦情形托诸艺事，蒙御题，有:监门遗故事，咨尔溯其踪句。所作多藏石渠宝笈。《国[清]朝画徵续录、虞山画志、石渠宝笈、清画家诗史》\n宋代诗人范成大的《祭灶词》对当时民间祭灶作了极其生动的描写：古传腊月二十四，灶君朝天欲言事。云车风马小留连，家有杯盘丰典祀。猪头烂热双鱼鲜，豆沙甘松粉饵团。男儿酌献女儿避，酹酒烧钱灶君喜。婢子斗争君莫闻，猫犬角秽君莫嗔；送君醉饱登天门，杓长杓短勿复云，乞取利市归来分。\n周鲲所绘《范成大祭灶词》 立轴上有乾隆帝所书宋代诗人范成大的《祭灶词》：古传腊月二十四，灶君朝天欲言事。云车风马小留连，家有杯盘丰典祀。猪头烂热双鱼鲜，豆沙甘松粉饵团。男儿酌献女儿避，酹酒烧钱灶君喜。婢子斗争君莫闻，猫犬角秽君莫嗔；送君醉饱登天门，杓长杓短勿复云，乞取利市归来分。\n清高宗爱新觉罗·弘历即乾隆帝，在位六十年，禅位后又任三年零四个月太上皇，实际行使国家最高权力长达六十三年零四个月，是中国历史上实际执掌国家最高权力时间最长的皇帝，也是中国历史上最长寿的皇帝。\n乾隆的书法从学习赵孟入手。乾隆本人雅赏赵孟的书法，心慕手追，身体力行。游览名胜每到一处，作诗纪胜，御书刻石，其书圆润秀发，在宫中、御园、名胜古迹、寺庙等几乎到处可见其墨迹，至今海内乾隆御碑甚多，其擅书之名流传普遍。 从他的书法作品中可以发现，书学起步仍是康熙时流行的宫廷馆阁体书法，后在承学各家中选定赵孟丰圆肥润的书法。从存世的乾隆书迹看，他的字字体稍长，楷书中多有行书的笔意，行书中又往往夹杂着草书的韵味，点画圆润均匀，结体婉转流畅，缺少变化和韵味，并无明显的成就，评者称其“虽有承平之象，终少雄武之风”。",[49,23,51,84,26,25,54,55,56,58,64,967,610,727,715,150,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44de7adfd07f2e2945457b9bb674cfc2.jpg","113×28.6cm",[],{"id":29237,"slug":29238,"title":29239,"dynasty":115,"author":8309,"museum":99,"description":29240,"tags":29241,"thumbUrl":29243,"material":239,"size":29244,"collection":107,"collections":29245,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":75},232628,"qiu-jing-zhang-yuan-tu-juan-yi-yuan-ji-232628","秋景獐猿图卷","郭若虚《图画见闻志》成书于成熙七年(1074)，是最早记载易元吉生平的典籍。此后成书于宣和二年（1120）的《宣和画谱》、至正二十五年（1365）的《图绘宝鉴》之类画史著作所录的易元吉传，都来源于《图画见闻志》中的这段文字：\n易元吉，字庆之，长沙人。灵机深敏，画制优长。花鸟蜂蝉，动臻精奥。始以花果专门，及见赵昌之迹，乃叹服焉。后志欲以古人所未到者驰其名，遂写獐猿。尝游荆湖间，入万守山百余里，以觇猿狖獐鹿之属，逮诸林石景物，一一心传足记。得天性野逸之姿，寓宿山家，动经累月，其欣爱勤笃如此。又尝于长沙所居舍后疏凿池沼，间以乱石丛花、疏篁折苇，其间多蓄诸水禽，每穴窗伺其动静游息之态，以资画笔之妙。治平甲辰岁，景灵宫建孝严殿，乃召元吉画迎厘斋殿御扆。其中扇画太湖石，仍写都下有名鹁鸽及雒中名花，其两侧扇画孔雀。又于神游殿之小屏画牙獐，皆极其思。元吉始蒙其召也，欣然闻命，谓所亲曰：“吾平生至艺，于是有所显发矣。”未几，果敕令就开先殿之西庑张素画《百猨图》，命近要中贵人领其事，仍先给粉墨之资二百千。画猨才十余枚，感时疾而卒。元吉平日作画，格实不群，意有疏密。虽不全拘师法，而能伏义古人。是乃超忽时流，周旋善誉也。向使元吉卒就《百猨》，当有遇于人主；然而遽丧，其命矣夫。有獐猿、孔雀、四时花鸟、写生蔬果等传于世。建隆观翊教院殿东獐猿林石绝佳。(又尝于余杭后市都监厅屏风上画鹞子一只，旧有燕二巢，自此不复来止。)\n这段文字共四百一十八个字，在《图画见闻志》所有画家传记中字数最多。后世大名鼎鼎的画家很多，其传记也就几十字到三百多字不等，如董源七十二字，范宽九十四字，郭熙九十五字，黄筌二百二十八字，徐熙一百四十六字，崔白二百四十三字，武宗元三百二十三字，等等。传记文字的数量与传主的分量是成正比的，由此可见易元吉在郭若虚心目中的地位。\n秦汉以来，士人取名好引经据典，至宋尤盛。南宋俞成说：“尝观《进士同年录》：江南人习尚机巧，故其小名多是好字，足见自高之心；江北人大体任真，故其小名多非佳字，足见自贬之意。”唐代贞观元年（627），天下为十道，江南道范围包括今湖北南部、江西、湖南。这段文字用来形容长沙人易元吉的取名，也无不可。易姓在北宋时期的长沙是大姓。易元吉之名字，应当来源于《易经》的履卦“上九”象传：“元吉在上，大有庆也。”据此以“元吉”为名，“庆之”为字。姓“易”而以《易经》的文字来命名，比其他任何用《易经》文句取名的姓氏都要显得浑然天成，也可见易元吉的父辈当并非普通白丁。\n郭若虚的这篇传记没有具体记载易元吉的生卒年，只能大体推断出他的活动时间。易元吉于治平甲辰岁（1064）入宫绘制屏风，则此之前应当是名家。从“未几……感时疾而卒”来看，易元吉的去世时间当在入宫后不久，所以其主要活动时间是在宋仁宗（1022—1063年在位）时期。由于《图画见闻志》中关于易元吉入宫的时间只出现年份而不见月份，只能推测他大概于宋英宗治平二年（1064）末或者治平三年（1065）初去世。\n易元吉有多方面才能，而绘画方面特别突出。在整个宋代，被载入美术史的湖南画家只有易元吉一人，但一些资料显示，当时在长沙及周边一带的书画交易十分兴盛，从侧面反映出当时的长沙有一个规模较大的画家群体。例如，张南本的水陆画，“后来为人模写，窃换真迹，鬻与荆湖商贾。”米芾（1051—1107）《画史》载：“长沙富民收水鸟芦花六幅。”《图画见闻志》没有记载易元吉的直接师承，他“以花果专门”之后才见到赵昌的作品，而且毅然改换绘画题材，才有了后来以“猿獐”名世的易元吉。他的师父不会很有名，甚至有可能是自学成才。在长沙期间，易元吉于家舍附近种花养禽，随时写生。他在园圃中观察自然对象研习绘画的形象成为画史上的经典，直到清代的文人仍旧对此充满想象：“易元吉于圃中畜鸟兽，伺其饮啄动止，而随态图之。”",[49,50,23,52,25,53,54,56,871,5740,29242,10196,150,293,7],"獐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f627a5c8207974fc409e1ac152f093c.jpg","36.7x321",[],{"id":29247,"slug":29248,"title":29249,"dynasty":2807,"author":29250,"museum":99,"description":29251,"tags":29252,"thumbUrl":29253,"material":239,"size":29254,"collection":107,"collections":29255,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},231578,"hua-yin-ying-hua-tu-juan-guang-lai-231578","花隐樱花图卷","広瀬","江户时代樱花的萌芽增加，作者广濑花隐以描绘樱花而美丽。",[49,23,51,52,27,54,25,22237,1227,2559,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b5f9759be870fb50edb3c6a69b4f7f.jpg","21×31cm厘米",[],{"id":29257,"slug":29258,"title":29259,"dynasty":97,"author":6313,"museum":99,"description":8275,"tags":29260,"thumbUrl":29261,"material":689,"size":690,"collection":107,"collections":29262,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},230928,"lan-shi-tu-wang-wu-230928","兰石图",[23,51,822,26,25,403,251,700,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818304cde9ff66cdef25c7b98f674d5b.jpg",[],{"id":29264,"slug":29265,"title":29266,"dynasty":115,"author":13367,"museum":99,"description":29267,"tags":29268,"thumbUrl":29269,"material":107,"size":107,"collection":107,"collections":29270,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},230863,"tao-sheng-tie-cai-xiang-230863","陶生帖","《病中偶书二首》是宋代诗人蔡襄所作诗词之一。\n宋 蔡襄（112－167），字君谟，原籍仙游枫亭乡东垞村，后迁居莆田蔡垞村，天圣八年（1）进士，先后在宋朝中央政府担任过馆阁校勘、知谏院、直史馆、知制诰、龙图阁直学士、枢密院直学士、翰林学士、三司使、端明殿学士等职，并出任福建路（今福建福州市）转运使，知泉州、福州、开封（今河南开封市）和杭州府事。\n卒赠礼部侍郎，谥号忠。\n主持建造了我国现存年代最早的跨海梁式大石桥——泉州洛阳桥，蔡襄为人忠厚、正真，讲究信义，而且学识渊博，书艺高深，书法史上论及宋代书法，素有“苏、黄、米、蔡”四大书家的说法。\n蔡襄书法以其浑厚端庄，淳淡婉美，自成一体。\n蔡襄传世墨迹有《自书诗帖》、《谢赐御书诗》，以及《陶生帖》《郊燔帖》、《蒙惠帖》墨迹多种，碑刻有《万安桥记》、《昼锦堂记》及鼓山灵源洞楷书 “忘归石、”“国师岩”等珍品。\n已感节候变，物态 。\n那复壮年意，如今多病身。\n净室焚香久，烘炉煮药频。\n神欢百虑解，销尽眼前尘。",[86,119,51,2651,418,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13fa495c119733907c887b832e87e117.jpg",[],{"id":29272,"slug":29273,"title":29274,"dynasty":97,"author":1082,"museum":99,"description":1382,"tags":29275,"thumbUrl":29276,"material":689,"size":690,"collection":107,"collections":29277,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},230285,"tang-sun-ti-shi-zhu-da-230285","唐孙逖诗",[49,23,51,119,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d7084dd8942d92792c4688b230d5796.jpg",[],{"id":29279,"slug":29280,"title":29281,"dynasty":97,"author":1082,"museum":99,"description":29282,"tags":29283,"thumbUrl":29284,"material":107,"size":107,"collection":107,"collections":29285,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},230275,"shan-shui-ce-12-fu-zhu-da-230275","山水册12幅","此作用笔枯淡老辣，以焦墨勾勒皴擦山石轮廓，删繁就简，褪去繁杂修饰，只留山水神骨。萧疏古木枝桠奇崛扭曲，带着孤傲冷逸的姿态，山居错落隐于林麓之间，藏着幽僻野趣。\n\n画作留白开阔肆意，将天地空寂的氛围感拉满，寥寥数笔便铺展出荒寒山居的清冷意境，把遗世独立的心境融于淡墨疏林之中。笔意简远通透，以极简的水墨写意尽显空灵禅味，清冷幽寂的山水图景，尽显水墨写意的高妙格调，将孤寂澹泊的心绪藏于每一处淡笔枯墨之中。",[23,26,24,55,7,56,150,64,727,751,294],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd21323aa743aff19ec0971a23cc6574f.jpg",[],{"id":29287,"slug":29288,"title":29289,"dynasty":97,"author":1082,"museum":99,"description":1382,"tags":29290,"thumbUrl":29291,"material":689,"size":690,"collection":107,"collections":29292,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},230274,"nei-jing-jing-zhen-ji-7-zhen-zhu-da-230274","内景经真迹7帧-",[49,86,119,436,7,51,319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8edada7cd47b23b6ae58f1db52e17f32.jpg",[],{"id":29294,"slug":29295,"title":29296,"dynasty":97,"author":800,"museum":99,"description":29297,"tags":29298,"thumbUrl":29299,"material":107,"size":107,"collection":107,"collections":29300,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},230141,"si-yan-lian-zheng-ban-qiao-230141","四言联","此作用笔纵逸老辣，主体“得大自在”四字雄开张拓，线条提按顿挫尽显朴厚筋骨，带着标志性的“六分半书”意趣，融诸体于一体，打破规整法度，奇崛跌宕。\n\n两侧小字题款灵动流美，与大字形成疏密虚实的鲜明对比，让整幅章法错落和谐，气息贯通无碍。墨色枯湿浓淡相宜，枯笔见苍劲，重墨显沉浑，将书法的形式美感与“得大自在”的禅意抒怀完美相融，尽显作者疏朗超脱的襟怀，把清人尚意抒怀的书法特质挥洒尽致，文气与笔力共生，是极具个人风格的书法精品。",[49,23,51,84,26,5664,119,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f41e7ff2e617d50d91127a94c018d01.jpg",[],{"id":29302,"slug":29303,"title":29304,"dynasty":18,"author":2059,"museum":99,"description":16056,"tags":29305,"thumbUrl":29306,"material":689,"size":690,"collection":107,"collections":29307,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},228878,"shan-mian-16-kai-wen-zheng-ming-228878","扇面16开",[49,23,51,822,25,26,56,610,727,58,449,64,150,2955,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68c9a8fe894a74a812bf08326153bd60.jpg",[],{"id":29309,"slug":29310,"title":354,"dynasty":146,"author":11427,"museum":99,"description":29311,"tags":29312,"thumbUrl":29313,"material":107,"size":107,"collection":107,"collections":29314,"showCount":169,"zanCount":1288,"manualWeight":39,"mainColor":75},228258,"mo-zhu-tu-zhang-yu-228258","此作用淡墨挥写新竹，枝茎瘦劲清健，自斜角逸出，竹叶疏密有致、俯仰生姿，寥寥数笔便将竹的疏朗孤傲尽显。不着浓艳，仅以水墨晕染出君子清拔之态，尽显文人写意画的极简意趣。\n画面搭配题咏诗书，印信点缀其间，诗书画印相融，将竹的霜节高格与作者幽淡襟怀合而为一，以竹喻人、托物言志。浅淡墨痕里藏着林下高致，萧散笔墨间尽是淡泊脱俗的心境，虽是水墨小品，却将文人画借物抒怀的意韵表达尽致，尽显水墨写心的清雅魅力。",[49,50,23,51,26,119,7,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55750a6d6d41cc71996763bb18ed76ba.jpg",[],{"id":29316,"slug":29317,"title":29318,"dynasty":146,"author":12693,"museum":99,"description":29319,"tags":29320,"thumbUrl":29321,"material":107,"size":107,"collection":107,"collections":29322,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},228053,"bai-miao-jie-bo-tu-juan-wang-zhen-peng-228053","白描揭钵图卷","此作用纯白描演绎佛教故事，铁线描劲挺匀细如游丝盘桓。画面中众天魔女施百般神通、力士悍然围护，围绕钵盂拉扯对抗，将救子的焦灼与护法的沉凝刻画尽致，人物神态各殊，动静对冲间戏剧张力拉满。布景简淡清逸，衬出道释故事的庄严氛围感。卷后长题跋笔意跌宕，书画合璧，尽显此作的极致造诣，将宗教叙事与笔墨意趣完美融合，是白描人物画的典范之作。",[49,50,23,51,52,135,54,1284,58,1116,64,150,5029,28432,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ee76ff91c7c036c27dda83ba2b0fe54.jpg",[],{"id":29324,"slug":29325,"title":29326,"dynasty":115,"author":29327,"museum":99,"description":29328,"tags":29329,"thumbUrl":29330,"material":107,"size":107,"collection":107,"collections":29331,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},227754,"song-deng-jing-lu-tu-yan-ci-ping-227754","松磴精庐图","阎次平","《宋阎次平松磴精庐图》是宋代阎次平所创的扇面图。\n\n石矶满布的江畔山岩，长松横斜，密竹丛生。一座典雅的精舍（或书院），紧密地镶嵌在这青山绿水之间。小径由岸边蜿蜒而上，岬角处两张圆石小凳闲置于松下，风景优美而宁静。",[49,23,51,822,25,56,55,7,610,59,62,150,64,1977],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fb29b476fe0467fa83caa5ca6d6b7ba.jpg",[],{"id":29333,"slug":29334,"title":29335,"dynasty":115,"author":29336,"museum":81,"description":29337,"tags":29338,"thumbUrl":29339,"material":634,"size":107,"collection":107,"collections":29340,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},227720,"yun-ding-shan-shi-juan-xue-shao-peng-227720","云顶山诗卷","薛绍彭","薛绍彭行草书《云顶山诗卷》等杂书卷，纸本，26.1x303.5cm。台北故宫博物院藏。\n\n此卷由四帖所组成，含《云顶山诗》、《上清帖》等，其中有诗作有信札，内容都涉及到四川的风物，是薛绍彭在四川作官时与友人倡和之作。云顶山的云顶寺在四川广汉，此作书於建中靖国元年（1101），可知薛绍彭此时已入川為绵州梓潼路漕。上清宫位在四川青城山上，始建於晋代，是著名的道教胜地。左绵山在四川绵阳（今绵阳）北方。诗中“岳王楼”在绵州（今四川绵州东）西北，旧名“岳王台”，唐显庆中，太宗子越王贞為刺史时所建。",[49,86,52,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd35e7eb66535a2091fe015b24658a8c.jpg",[],{"id":29342,"slug":29343,"title":29344,"dynasty":115,"author":14325,"museum":99,"description":29345,"tags":29346,"thumbUrl":29347,"material":107,"size":107,"collection":107,"collections":29348,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},227711,"zhong-shan-chu-you-tu-juan-gong-kai-227711","中山出游图卷","《中山出游图》是元代画家龚开创作的一幅墨笔画，现藏于美国弗利尔美术馆。\n\n《中山出游图》绘钟馗及小妹乘舆出游的情景，鬼卒们形状诡异，修短不齐，趋前走后，或抬轿肩壶，或挑行李、持包裹。钟馗环目虬须，回首视妹，目光中流露出无限爱怜之态。小妹端坐舆中，与使女皆以墨代脂粉涂于脸颈，奇趣横生，令人哑然失笑。\n\n《中山出游图》用笔粗放，不绘背景，不敷色彩，只以水墨勾染，风格浑朴，别开生面。",[49,23,51,52,135,26,58,225,5029,7,86,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1438e1115f4bdc1b4a44a1253afcd6a.jpg",[],{"id":29350,"slug":29351,"title":29352,"dynasty":115,"author":2788,"museum":99,"description":19515,"tags":29353,"thumbUrl":29356,"material":107,"size":107,"collection":107,"collections":29357,"showCount":169,"zanCount":1288,"manualWeight":39,"mainColor":40},227707,"chu-shan-qiu-ji-tu-shou-juan-mi-you-ren-227707","楚山秋霁图手卷",[49,23,51,52,26,55,7,119,541,56,278,279,3652,29354,29355],"雨后","放晴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27a30fa25fd1b03b5b47718accee7969.jpg",[],{"id":29359,"slug":29360,"title":29361,"dynasty":115,"author":116,"museum":99,"description":29362,"tags":29363,"thumbUrl":29364,"material":107,"size":107,"collection":107,"collections":29365,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},227587,"zao-jiang-tie-huang-ting-jian-227587","糟姜帖","庭坚顿首，承惠糟姜银杏，极感远意，雍酥二斤，青州枣一蔀，漫将怀向之勤，轻渎不罪，庭坚顿首。\n\n《糟姜帖》，又称《承惠帖》，凡5行，37字。无书写时间，从笔法、结体、风格来判断，应是早年所书，大约书于 1086-1093元祐年间。此帖深得张旭、怀素草书飞动洒脱之神韵。用笔紧峭，瘦劲奇崛，气势雄健，结体变化多端。从首行下笔处，便见笔墨自由舒展，至末尾更显随意，可谓心手双畅，臻入化境。此篇手札虽小，而意含万千气象，达到了东坡所谓“少小时须气象峥嵘、彩色绚烂，渐老渐熟，乃造平淡”、“无意于佳乃佳”的境界。",[50,23,51,119,7,4832,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6f56cd8e80bf195332966996f270d3b.jpg",[],{"id":29367,"slug":29368,"title":29369,"dynasty":115,"author":207,"museum":99,"description":29370,"tags":29371,"thumbUrl":29373,"material":107,"size":107,"collection":107,"collections":29374,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},227549,"fang-guo-zhong-shu-xue-ji-jiang-xing-tu-yi-ming-227549","仿郭忠恕雪霁江行图","长于界画的河南籍画家郭忠恕，以纯以墨线描绘两艘冒雪前行、满载货物的船只。画中不但表现了对船体正确结构的兴趣，也呈现出船夫们多样的活动情态，可藉此图想见五代宋初北方界画达到的艺术水平。",[49,23,51,52,1962,54,25,56,59,12696,946,29372,86,119,7],"帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc497068d2ecd6fc3d6b39bdd1d0a3fbf.jpg",[],{"id":29376,"slug":29377,"title":29378,"dynasty":115,"author":207,"museum":99,"description":29379,"tags":29380,"thumbUrl":29381,"material":107,"size":107,"collection":107,"collections":29382,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},227417,"jiang-shan-xing-lv-tu-juan-yi-ming-227417","江山行旅图卷","金代，太古遗民《江山行旅图》素笺本墨笔，手卷，纵40厘米，横449厘米，现藏美国纳尔逊美术馆。\n\n江山行旅图画艺精湛，保存完好，并且流传有绪，实为金代山水画的珍品。 依据款署“太古遗民”推断，此画作者应为一位北宋遗民画家，他隐姓埋名，深居简出，不忘大宋，不愿屈服而甘当遗民。另根据“东皋”钤印判断，这位画家有可能籍贯为东皋 (今山西河津)，而从画面描绘的北方山川风物景色来看也与此地域相近，也可能借此怀念前朝往事。",[49,23,51,52,26,55,56,58,59,60,61,62,63,66,2681,137,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b7a6e166095eda52c8ee30b92608df.jpg",[],{"id":29384,"slug":29385,"title":29386,"dynasty":1037,"author":2876,"museum":99,"description":29387,"tags":29388,"thumbUrl":29389,"material":107,"size":107,"collection":107,"collections":29390,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":75},226704,"su-li-bie-yi-juan-1-zhou-wen-ju-226704","苏李别意卷-1","该幅是描绘苏武与李陵于荒寒北地殷殷话别的情景。",[23,51,52,25,54,58,225,7,1574,5029],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4d99aa3ce15fe27667317bcda79a286.jpg",[],{"id":29392,"slug":29393,"title":29394,"dynasty":97,"author":1167,"museum":99,"description":29395,"tags":29396,"thumbUrl":29397,"material":107,"size":107,"collection":107,"collections":29398,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},224172,"han-mei-cui-niao-tu-hua-yan-224172","寒梅翠鸟图","水墨写就老梅枯干，苍劲嶙峋，以浓淡墨色晕染出覆霜带雪的清寒况味，淡粉轻缀梅花，疏落间暗透暗香。\n三只禽鸟各有意态，枝上两只翠鸟头颈相偎，亲昵宛然，羽色晕染细腻柔和；另有一鸟振翅掠空，灵动破寂，为萧寒画面添上蓬勃生趣。\n右侧题跋行书笔致洒脱，文辞与画意相融，更衬出文人雅意。全作用留白铺就冬日清寂底色，却于冷逸间藏着融融生机，将写生的鲜活与文人笔墨的简逸灵秀合而为一，落笔传神尽显幽淡空灵的冬韵雅趣。",[49,23,51,26,25,403,27,528,23721,66,31,2559,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ddfd247e50aebab76cda504b1f8c58f.jpg",[],{"id":29400,"slug":29401,"title":29402,"dynasty":192,"author":207,"museum":99,"description":29403,"tags":29404,"thumbUrl":29405,"material":18120,"size":29406,"collection":122,"collections":29407,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},223397,"tang-mo-huang-ting-jing-quan-juan-yi-ming-223397","唐摹黄庭经全卷","《黄庭经》是道教经典，叙述的养身方面的，分为《外景经》和《内景经》二种，而此卷为《外景经》，卷后依次有宋代滕仲嚞、明代董其昌和元代陈绎曾题跋。本摹本书法峭快，结构稳固，字字传神，为后人学习临摹好字帖。",[49,50,51,52,417,134,86,418,7,436,9636],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d3b9a8c80c061dcb0801cde82733274.jpg","40X190cm",[122],{"id":29409,"slug":29410,"title":29411,"dynasty":97,"author":10725,"museum":99,"description":10726,"tags":29412,"thumbUrl":29413,"material":319,"size":107,"collection":122,"collections":29414,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},223272,"shou-gao-zhen-ji-di-zang-pu-sa-jiu-hua-shan-ying-ji-ji-hong-yi-fa-shi-223272","手稿真迹-地藏菩萨九华山应蹟记",[49,86,119,1284,52,436,7,23567],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff73b63ea74c5c2705758cb2bd5ea5a.jpg",[122],{"id":29416,"slug":29417,"title":29418,"dynasty":18,"author":3904,"museum":81,"description":29419,"tags":29420,"thumbUrl":29421,"material":319,"size":29422,"collection":122,"collections":29423,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},222478,"shi-tie-bai-ma-pian-zhu-yun-ming-222478","诗帖《白马篇》","书曹植《乐府》四首，又称《手卷曹植诗四首》又名《箜篌引》。《手卷曹植诗四首》是祝允明草书成就的最杰出代表。作品狂而不乱，情浓势足，激跃奔发，气度不凡。其将字中妍媸和巧丽的笔画起收动作幅度缩短，增加行笔过程中的饱满度和厚实感。使人在视觉上既感到朴拙、沉劲而又不失流丽多姿。祝允明在这一卷后自识“冬日烈风下写此，神在千五百年前，不知知者谁也”，道出了他意在追摹汉人，以及对自己作品的自负。是祝允明的代表作品。",[49,50,23,51,52,462,418,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F747861785a4e69632da691f06e6f31d3.jpg","纵36.1厘米，横1147.5厘米",[122],{"id":29425,"slug":29426,"title":29427,"dynasty":18,"author":9186,"museum":2698,"description":29428,"tags":29429,"thumbUrl":29433,"material":319,"size":29434,"collection":107,"collections":29435,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},222319,"xi-yuan-shi-juan-wang-chong-222319","西苑诗卷","《西苑诗》为明代书法家王宠所书，是王宠的行书力作。该作书于1530年，正值王宠盛年。王宠一生极其短暂，写完此书后的第三年就去世了。",[49,119,86,52,4832,20590,56,29430,17038,7,29431,29432],"池沼","疏朗秀雅","明代书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F350669abdb79a0b55660e6422bb97d35.jpg","25×235cm",[],{"id":29437,"slug":29438,"title":29439,"dynasty":18,"author":21434,"museum":81,"description":29440,"tags":29441,"thumbUrl":29442,"material":33,"size":29443,"collection":107,"collections":29444,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":75},222079,"hua-su-shi-liu-dai-tu-zhou-cui-zi-zhong-222079","画苏轼留带图轴","崔子忠（？-1644），字道母，是明末著名的“变形主义”画家，画中如梅枝树石等方折的造型，即为其特色。此作描绘的是苏轼与金山寺僧佛印说偈，输了腰上玉带的故事。画中苏东坡手上所持的蓝色带状物，或许就是崔子忠想象中的玉\n第三次南巡时，乾隆皇帝想起藏在御书房中的崔子忠《画苏轼留带图》，命人快递至江南欣赏留跋。从此之后，崔子忠此轴也成了南巡行李箱中的常备成员，每每于金山寺中与苏轼玉带一同欣赏展玩。",[49,23,51,84,25,54,58,137,150,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2038d1e050db9cc5392e7d0aa0a73114.jpg","79.4 x 50 cm",[],{"id":29446,"slug":29447,"title":29448,"dynasty":18,"author":2059,"museum":81,"description":29449,"tags":29450,"thumbUrl":29451,"material":634,"size":29452,"collection":107,"collections":29453,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":75},222017,"jin-shan-tu-zhou-wen-zheng-ming-222017","金山图轴","文氏将金山描绘成万顷波涛中的一座岛屿，波涛间点缀着风帆。全幅以秃笔中锋出之，笔致苍健。乾隆皇帝南巡经过金山寺江阁，曾取此图展玩，并题诗云:“携将亲证取，当境固如斯”，说明了他携带古画即景印证的雅好。",[49,23,51,84,26,55,56,59,62,7,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6db83391670deabb833cf95e93affb45.jpg","横23.8cm，纵70cm",[],{"id":29455,"slug":29456,"title":7828,"dynasty":18,"author":2059,"museum":99,"description":29457,"tags":29458,"thumbUrl":29459,"material":239,"size":29460,"collection":107,"collections":29461,"showCount":169,"zanCount":743,"manualWeight":39,"mainColor":75},221979,"qian-zi-wen-wen-zheng-ming-221979","文徵明小楷《千字文》，嘉靖十四年乙未（1535年）夏四月二十有九日。徵明时年六十六岁书。他的书法温润秀劲，稳重老成，法度谨严而意态生动。\n在众多的书体中，文征明的小楷艺术成就最高，其取法高古，有“小楷名动海内”之誉。\n他小楷初学赵孟俯，后以晋唐小楷为基础，一改元人软弱秀媚之习气，尤其晚年力追魏晋锺、王笔意，力求古朴苍劲，法度严谨，如朱谋垔所言：“深得智永笔法”。其子文嘉评曰: “始亦规摹宋元之撰，既悟笔意，遂悉弃去，专法晋唐，小楷虽自《黄庭》《乐毅》中来，而温纯精绝，虞、褚而下弗论也。”\n纵观其传世作品，虽各阶段书风略显不同，早期形体略扁，起笔尖细，多棱角; 中期如丰坊《书诀》所述: “五十岁以后，因书诰敕，颇兼时体，渐尚整齐”； 晚年则宗法二王，人书俱老，已入化境。\n但却可以看出他一生都沉浸于小楷，正如王世懋云: “衡山先生……时作小楷，多偏锋，太露芒颖，年九十犹作蝇头书，人以为仙。然行笔未免涩强，其最称合作者，以字行后五六十时也。”可见其对小楷的用功极深。",[49,51,86,417,119,26,319,7,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0979d9d6d2e102a78d798de62745e07.jpg","34×74厘米",[],{"id":29463,"slug":29464,"title":29465,"dynasty":146,"author":10470,"museum":222,"description":29466,"tags":29467,"thumbUrl":29468,"material":779,"size":29469,"collection":107,"collections":29470,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":40},221750,"zhu-xi-cao-tang-tu-zhang-wo-221750","竹西草堂图","图绘竹林葱郁，远山盘亘，江水如镜。依山傍水处有一草堂，苍松杂树环绕，环境清幽。一人独坐堂内，两臂依榻上，目视前方。",[49,50,23,51,52,26,135,55,86,119,7,56,358,64,1768,60,61,58,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa64d49c24695ec3831a892132d8a8eae.jpg","纵27.4、横81.2厘米",[],{"id":29472,"slug":29473,"title":29474,"dynasty":18,"author":18133,"museum":3815,"description":29475,"tags":29476,"thumbUrl":29477,"material":29478,"size":29479,"collection":107,"collections":29480,"showCount":169,"zanCount":39,"manualWeight":39,"mainColor":107},220661,"xing-shu-song-peng-zi-jian-zhi-chu-shi-wang-duo-220661","行书送彭子籛之楚诗","王铎，字觉斯，号嵩樵、烟潭渔叟等，孟津（今河南孟津）人。明朝天启二年（1622）进士，先后于明崇祯朝、南明弘光朝及清顺治朝为官，累官至礼部尚书、大学士等，死后谥文安。此幅行书挂轴写于清顺治三年（1647），书五言律诗《送彭子籛之楚》赠予前辈张端（字天柱）。\n\n王铎好诗文，有「文唯昌黎，诗惟少陵而已」之论。其诗宗杜甫，尤爱五律，此应与晚明出现的杜诗热有关。王铎《拟山园集》所收录的诗歌，就以五律居多，多见学杜诗沉郁顿挫的格调。此《送彭子籛之楚》即可见其学杜之风。彭子籛即彭而述，明崇祯进士，河南邓州人，入清后转侍清廷。顺治初年，调任湖南，王铎因而写诗送行以表不舍与祝福。王、彭两人本是同乡，又同于明末避走战乱，经历生死，成为至交，故诗中有「昔年同患难」之句。该诗未收入王铎的《拟山园集》，却记录了王、彭两人的交往情谊，为研究王铎的交游提供了参考资料。\n\n王铎因降清，被视为「贰臣」，传统以来对其人品颇有微言，但书法成就却为世称道。他书宗二王，参学米芾，且一生不曾间断临习《淳化阁帖》，终能自出抒机，尝自评书艺「五十自化」。此轴书于五十五岁，正入化境：笔画粗拙，字体方折欹侧，大气淋漓中流露王米的书学渊源。值得留意的是，明代因建筑宏大，像这种长逾两米的大尺幅挂轴开始流行。据载，王铎因难在桌案上书写长作品，常令仆人在两头拉绢，自己在一侧书写。因此，字行时常如本幅所见歪斜摆动，却营造出跌宕气势和节奏。面对如此大绢幅，依然写得流畅有力，其功力之深可以想见。",[23,51,84,119,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4b7c529d2a52a163aaba46af45ba11c.jpg","水墨,绫本,立轴","画心：235.2 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，元代著名的女书法家、画家、诗词创作家。\n南宋景定三年生。幼习书画，笃信佛法。曾手书《金刚经》数十卷，赠名山寺。嫁元代吴兴书画名家赵孟頫为妻，封吴兴郡夫人，世称管夫人，延祐四年（1317年），封魏国夫人。\n管道昇所写行楷与赵孟頫颇相似，所书《璇玑图诗》笔法工绝。精于诗。尤擅画墨竹梅兰。晴竹新篁，为其首创。延佑六年（1319年）病逝。存世的《水竹图》等卷，现藏北京故宫博物院，《竹石图》1帧，藏台湾故宫博物院。",[50,23,26,84,358,277,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f7878310a226e545764562d59ddf2c7.jpg","87.1x28.7",[],{"id":29741,"slug":29742,"title":29743,"dynasty":18,"author":1014,"museum":99,"description":1334,"tags":29744,"thumbUrl":29745,"material":689,"size":690,"collection":107,"collections":29746,"showCount":29578,"zanCount":39,"manualWeight":39,"mainColor":40},287518,"hua-shan-tu-zhou-tang-yin-287518","华山图轴",[49,23,51,84,56,26,25,55,15844,61,293,59,150,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F319ea38f2626b03e03ba78a2222a254b.jpg",[],{"id":29748,"slug":29749,"title":29750,"dynasty":18,"author":955,"museum":99,"description":9336,"tags":29751,"thumbUrl":29752,"material":689,"size":690,"collection":107,"collections":29753,"showCount":29578,"zanCount":39,"manualWeight":39,"mainColor":75},287349,"gao-xian-ren-wu-tu-chen-hong-shou-287349","高贤人物图",[49,23,50,51,84,25,58,497,24918,5348,501,502,5349,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d59eaa13f4b03c1b47792d71384cb70.jpg",[],{"id":29755,"slug":29756,"title":29757,"dynasty":97,"author":207,"museum":99,"description":29758,"tags":29759,"thumbUrl":29763,"material":689,"size":690,"collection":107,"collections":29764,"showCount":29578,"zanCount":39,"manualWeight":39,"mainColor":1441},249958,"qian-long-kuan-qia-si-fa-lang-shuang-feng-wen-jing-yi-ming-249958","乾隆款掐丝珐琅双凤纹镜","景泰蓝（Cloisonne），中国的著名特种金属工艺品类之一，到明代景泰年间这种工艺技术制作达到了最巅峰，制作出的工艺品最为精美而著名，故后人称这种金属器为“景泰蓝”。景泰蓝正名“铜胎掐丝珐琅”，俗名“珐蓝”，又称“嵌珐琅”，是一种在铜质的胎型上，用柔软的扁铜丝，掐成各种花纹焊上，然后把珐琅质的色釉填充在花纹内烧制而成的器物 。因其在明朝景泰年间盛行，制作技艺比较成熟，使用的珐琅釉多以蓝色为主，故而得名“景泰蓝”。",[105,29760,29761,26747,29762,308,7],"掐丝珐琅","珐琅器","凤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e432cbef8fc9b55ec1ff54ee6e7aad3.jpg",[],{"id":29766,"slug":29767,"title":29768,"dynasty":97,"author":207,"museum":99,"description":29769,"tags":29770,"thumbUrl":29771,"material":107,"size":107,"collection":1120,"collections":29772,"showCount":29578,"zanCount":39,"manualWeight":39,"mainColor":1441},242174,"lan-ting-ba-zhu-tie-xi-hong-tang-ke-liu-gong-quan-lan-ting-shi-yi-ming-242174","《兰亭八柱帖》戏鸿堂刻柳公权兰亭诗","此拓本墨色沉凝乌亮，字口清劲挺括，将柳公权书法瘦硬通神的筋骨风神尽数留存。笔画斩截爽利，结体端庄开阔，尽显柳书的刚健雅正。刻工精妙入微，把笔锋的起落转折复刻无遗，虽经刻拓，却未失笔墨原初的鲜活意趣。旁侧题识笔意舒展，与帖文相映成趣，添增文韵雅致，让这件拓本兼具碑刻的金石沉浑与翰墨的灵动雅致，尽显兰亭诗帖的悠远意蕴。",[86,2226,7,119,417,418,134,5943],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ed4c57aeefb2b4f1aed893dbe676dbb.jpg",[1120],{"id":29774,"slug":29775,"title":29776,"dynasty":18,"author":29777,"museum":175,"description":29778,"tags":29779,"thumbUrl":29780,"material":319,"size":107,"collection":122,"collections":29781,"showCount":29578,"zanCount":39,"manualWeight":39,"mainColor":40},240994,"zhi-fu-shu-juan-wang-shou-ren-240994","致父书卷","王守仁","王守仁（1472年10月31日－1529年1月9日），本名王云，字伯安，号阳明，浙江余姚人，汉族。明朝杰出的思想家、文学家、军事家、教育家，南京吏部尚书王华的儿子。\n弘治十二年（1499年），中进士，起家刑部主事，历任贵州龙场驿丞、庐陵知县、右佥都御史、南赣巡抚、两广总督、南京兵部尚书、左都御史等职，接连平定南赣、两广盗乱及朱宸濠之乱，获封新建伯，成为明代凭借军功封爵的三位文臣之一。嘉靖八年十一月（1529年1月9日），逝世，时年五十七。明穆宗继位，追赠新建侯，谥号“文成”。万历十二年（1584年），从祀于孔庙。\n明代心学发展的基本历程，可以归结为：陈献章开启，湛若水完善，王守仁集大成 。王守仁的阳明心学后传入了日本、朝鲜等国。其弟子极众，世称“姚江学派”。文章博大昌达，行墨间有俊爽之气。有《王文成公全书》传世。",[86,119,52,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e954c78860c35d7dca1d080111ae09.jpg",[122],{"id":29783,"slug":29784,"title":29785,"dynasty":97,"author":29786,"museum":99,"description":29787,"tags":29788,"thumbUrl":29789,"material":689,"size":690,"collection":107,"collections":29790,"showCount":29578,"zanCount":39,"manualWeight":39,"mainColor":40},240471,"yi-bing-shou-wu-yan-lian-yi-bing-shou-240471","伊秉绶五言联","伊秉绶","伊秉绶（1754-1815），字组似，号墨卿，晚号默庵，清代书法家，福建汀州府宁化县人，故人又称“伊汀州”。乾隆四十四年举人，乾隆五十四年进士，师戴联奎，历任刑部主事，后擢员外郎。\n嘉庆四年任惠州知府，因与其直属长官、两广总督吉庆发生争执，被谪戍军台，昭雪后又升为扬州知府，1802年（嘉庆七年），伊秉绶54岁时，因父病死，去官奉棺回乡，扬州数万市民洒泪送别。62岁病逝后，扬州人为仰慕其遗德，在当地“三贤祠”（祀欧阳修、苏轼、王士祯三人之祠）中并祀伊秉绶，改称“四贤祠”。在任期间，以“廉吏善政”著称。\n伊秉绶喜绘画、治印，亦有诗集传世。工书，尤精篆隶，精秀古媚。其书超绝古格，使清季书法，放一异彩。隶书尤放纵飘逸，自成高古博大气象，与邓石如并称大家。",[86,5663,5664,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ffd3ce9877a50b33016bcecc8a616d9.jpg",[],{"id":29792,"slug":29793,"title":29794,"dynasty":97,"author":26267,"museum":99,"description":29795,"tags":29796,"thumbUrl":29797,"material":107,"size":107,"collection":122,"collections":29798,"showCount":29578,"zanCount":39,"manualWeight":39,"mainColor":40},240402,"liu-zong-yuan-shi-zhou-li-shi-zhuo-240402","柳宗元诗轴","李世倬[清]（1687―1770）字天章，一字漢章、天濤，別號十石居士、太平拙吏、伊祁山人、清在號谷齋，又號菉園、星厓，居士，奉天（今遼寧瀋陽）人，一作三韓（今內蒙喀喇沁旗西南）人，隸籍漢軍正黃旗。如龍子，高其佩（1672—1734）外甥。官至副都御史。曾任太常，人稱李太常。\n善畫山水、人物、花鳥、果品，各臻其妙。少隨父宦遊江南，見王翬（1632—1717）得其講論，後與馬逸遊，故宗法純正而筆亦秀雋。其人物，自言得吳道子水陸道場圖而閲之，遂悟其法。其花鳥、果品各種寫意，蓋得諸舅氏之指墨而易以筆，故能各名一家。晚年喜用指墨作人物、花鳥小品，以焦墨細擦，頗得輕重淺深之致。年逾八旬猶能作畫，書小楷。",[23,51,84,119,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdd077ee39e7390f7a56bda17b054e41.jpg",[122],{"id":29800,"slug":29801,"title":29802,"dynasty":97,"author":28080,"museum":175,"description":29803,"tags":29804,"thumbUrl":29805,"material":107,"size":107,"collection":122,"collections":29806,"showCount":29578,"zanCount":39,"manualWeight":39,"mainColor":40},240054,"xing-shu-lun-shu-juan-weng-fang-gang-240054","行书论书卷","翁方纲(1733～1818)，字正三，一字忠叙，号覃溪，晚号苏斋，顺天大兴(今北京大兴区)人。清代书法家、文学家、金石学家。乾隆十七年进士，授编修。历督广东、江西、山东三省学政，官至内阁学士。精通金石、谱录、书画、词章之学，书法与同时的刘墉、梁同书、王文治齐名。",[49,119,86,52,7,319,435],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e94a414d463d97def4dd844bf31d23.jpg",[122],{"id":29808,"slug":29809,"title":28104,"dynasty":18,"author":29810,"museum":175,"description":29811,"tags":29812,"thumbUrl":29813,"material":319,"size":29814,"collection":122,"collections":29815,"showCount":29578,"zanCount":39,"manualWeight":39,"mainColor":75},239988,"shi-zhou-ni-yuan-lu-239988","倪元璐","诗轴用笔迅捷，酣畅洒脱，其结体多取斜姿，以求奇险之势，气息较为古朴。虽未署年款，但从书风、款印分析，当为倪氏中期向晚期过渡时的作品。",[23,51,84,7,119,462,86,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e8ea93099a42877a977dd039276642.jpg","纵133.7厘米，横41.9厘米。",[122],{"id":29817,"slug":29818,"title":16409,"dynasty":97,"author":1180,"museum":99,"description":29819,"tags":29820,"thumbUrl":29821,"material":107,"size":107,"collection":122,"collections":29822,"showCount":29578,"zanCount":39,"manualWeight":39,"mainColor":40},239945,"qi-yan-lian-wu-chang-shuo-239945","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。",[23,51,84,26,7,5664,119,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d1c846cf7899990640b1874b2d333b4.jpg",[122],{"id":29824,"slug":29825,"title":29826,"dynasty":18,"author":29827,"museum":99,"description":29828,"tags":29829,"thumbUrl":29830,"material":107,"size":107,"collection":122,"collections":29831,"showCount":29578,"zanCount":39,"manualWeight":39,"mainColor":40},239889,"ming-dai-ming-ren-gu-yan-wu-deng-shu-han-ce-shen-hong-239889","明代名人，顾炎武等书翰册","沈泓","沈泓，生卒年不详。字临秋，一作临求，号悔庵，一作晦庵，浙江嘉善人，一说松江华亭（今属上海）人 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龚贤，王时敏，[元] 边鲁。\n本书突破传统意义的画谱、画册形式，以八开折叠的方式，原色、原迹、高清的面貌呈现，整体全面且完整，局部精彩而丰富。\n收录了以下作品：《清溪放艇图松溪石壁图》《山楼客话图》《起居平安图》《挂壁飞泉图》。\n《清溪放艇图松溪石壁图》收录了2幅代表作。\n《清溪放艇图》为大写意山水画，描绘的是秋日山水风景。\n查士标以简率的浓淡两色笔墨，夹以枯笔，画出一派静寂空寥的秋江意象。\n画中一叶扁舟，渔夫垂钓于上，江面微波仅以几根简单的线条勾勒，生动形象。\n放眼望去山脉连绵，远处天空盘旋着几只寒鸦，令人生出孤冷寂寥之感。\n《松溪石壁图》采用高远构图法，描绘了壮丽的山林景色。\n画中兀立的山体几乎充满画面，画上方的空白处更显得透气爽朗，也衬托了天地之大。\n峦头峰顶时用“鼠足小点”苔点法，使画面疏密节奏异常鲜明。\n近景古松茂密，仰对山峦，其间溪水盘迁，似有山风穿涧而过。\n远景高峰耸立，气象宏大，一道飞泉直泄，气势奔放。\n屋宇或小舍，掩于远处的山脚或坡岸，显示了人与自然的和谐之境。\n《山楼客话图》采用深远构图法，描绘了雄伟壮丽的山水风景。\n画面山峦层叠，溪流深壑，茂林密布，水阁散立其间。\n此画以赭墨为主，深厚而单纯，清脱而滋润。\n山石大量使用披麻皴，细劲有力，丝丝入扣。\n点苔用墨，浓淡相杂，疏落有致。\n该画作于康熙十四年（1675年），是王时敏晚年作品。\n《起居平安图》作品画一巨石上立一锦鸡，扬尾低头张喙呜叫。\n石旁有竹枝、枸杞、兰草之属。\n锦鸡刻画细微，石勾皴结合，其他形象刻画得也十分精细，双勾加淡墨染。\n有宋画精密不苟的韵致。\n画左上角自识：“魏郡边鲁制。\n”此图的寓意是采用民间艺术以谐音方法来表达，雉为“誓”的谐音，雉石画在一起暗指意志坚定，画枸杞取的是“苟”的谐音，暗指不苟且偷生，即“不屈不挠，宁誓死而不苟活”的坚定信念。\n《一道飞泉图挂壁飞泉图》收录龚贤2幅画作。\n《一道飞泉图》采用高远构图法，描绘了江南山水雄伟壮丽的景色。\n画面崇山峻岭，山上树木丛生，枝繁叶茂，几间茅屋掩映于丛林之中，寂静的山林更增添了幽邃之感。\n一道清泉顺山而下，明快优雅。\n整幅画面笔酣墨润，气韵十足，真实生动地表现出江南山水的浑厚和苍秀，给人以清新自然之感。\n《挂壁飞泉图》采用深远构图法，描绘了崇山峻岭，树木繁盛，一道飞瀑从山崖间顺势直泻，气势奔放。\n画面主峰成尖塔形，雄奇而安稳，披麻皴层层叠加，线条短促，略似范宽雨点皴法。\n龚贤墨法焦湿并用，层层积染，用笔雄浑厚重，风标独特。\n整幅作品构图严谨，画格寂静、空旷，禅意浓厚，是龚贤画作精品。\n《清溪放艇图松溪石壁图》 《山楼客话图》 《起居平安图》 《挂壁飞泉图》",[49,23,51,84,26,55,56,62,66,137,61,277,714,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87bec418d6de53416cd6e98304cd5b6f.jpg",[],{"id":30141,"slug":30142,"title":30143,"dynasty":146,"author":207,"museum":99,"description":30144,"tags":30145,"thumbUrl":30146,"material":107,"size":107,"collection":107,"collections":30147,"showCount":29578,"zanCount":39,"manualWeight":39,"mainColor":40},230899,"zhang-yu-ti-ni-zan-xiang-yi-ming-230899","张雨题倪瓒像","画中主人斜坐榻上，眉眼疏朗沉静，素衣简饰尽显出尘之姿。侍童捧盏垂首静立，仆从持帚恭谨侍于侧旁，案头清供文玩雅致小巧，背景浅绘林峦远汀，暗合主人简淡的笔墨意趣。左侧题诗与遍身鉴藏朱印，为画作添上流传的厚重底色。\n\n全作设色清雅柔润，线条细劲秀逸，将元末文人耽于泉石诗书的狷介风骨尽数铺陈，人物情态鲜活自然，把肖像纪实与文人雅趣精妙相融，尽显元人肖像画的含蓄意韵。",[50,23,51,52,25,54,135,58,7,86,4118,3009,4119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67502f268a6b09045cf37786e306694e.jpg",[],{"id":30149,"slug":30150,"title":30151,"dynasty":97,"author":30152,"museum":99,"description":30153,"tags":30154,"thumbUrl":30156,"material":689,"size":690,"collection":107,"collections":30157,"showCount":29578,"zanCount":39,"manualWeight":39,"mainColor":40},230265,"shu-fa-tiao-fu-lin-san-zhi-230265","书法条幅","林散之","此作用笔纵逸老辣，枯湿浓淡对比强烈，中锋侧锋兼施，线条极具张力。主文笔势连绵奔涌，重墨如坠石沉凝，枯笔似惊鸿掠影，将草书写意性发挥尽致。左侧题款简劲灵动，与正文虚实相衬，章法疏密相宜，萧散朴拙间自带着雄浑大气，尽显炉火纯青的笔墨功夫。整幅书作将诗意与书境相融，笔墨间流淌着飘逸苍劲的文人风骨，尽显不凡笔力。",[105,86,462,30155,26,7],"条幅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66e0d2e67e17ccf9fb572ceeecdce0a3.jpg",[],{"id":30159,"slug":30160,"title":30161,"dynasty":97,"author":736,"museum":99,"description":30162,"tags":30163,"thumbUrl":30164,"material":107,"size":107,"collection":107,"collections":30165,"showCount":29578,"zanCount":1288,"manualWeight":39,"mainColor":40},230209,"hua-a-yu-xi-chi-mao-dang-kou-tu-juan-lang-shi-ning-230209","画阿玉锡持矛荡寇图卷","《玛瑺斫阵图》是意大利籍画家 创作的纸本设色国画，现藏于 。\n是中国清代清军平定西域战争中的立功者。\n他曾随副将军富德讨伐 叛乱，奋勇冲杀，三箭将敌酋射落马下，后来被敌军所围，战马负伤倒毙，玛瑺弃坐骑步战，负伤十余处，仍坚持作战，以战功升为护军统领。\n图中玛瑺纵马弯弓追杀，敌酋中箭，垂首弃矛坠马。\n郎世宁以他擅长的“写真”技艺，精细、真实地刻画了一位勇士的形象，作者将所有的背景舍去，突出了画中的人物。\n人及马匹的画法十分细致，采用的是欧洲的画风。\n同样题目、内容和构图的画有二幅，另一幅现藏于德国柏林东方美术馆。\n此图中画敌将负伤，耷拉着脑袋，乘黑马飞速逃窜。\n光着脑袋，上穿束袖黑衣，下穿米黄色袴裤，两手支撑在马的肩部，低头怒目斜视，惟恐有乘骑迫上，中二箭，黑马四蹄伸展作飞腾般的逃窜。\n后面画有清勇将玛瑺手持弓箭，上佩带红锦“撒袋”（即装了箭的袋），撒袋内装满了弓箭，御白马紧迫其后。\n画面中显示了一场惊心动魄厮杀决斗的场面，敌将受伤逃窜，形象十分狼狈。\n玛瑺乘骑追赶，抬头挺胸显得威风凛凛，双目凝神，专注盯住着前方的敌将。\n1759年（乾隆二十四年）清军勇士玛瑺跟随右副将军富德率军在呼尔满（今莎车东北）平定回部叛乱，玛瑺歼敌英姿焕发，奋勇冲杀，以三箭毙敌，後被敌所困，负伤仍坚持抵抗，因其战役的特殊表现，升为护军统领。\n在平定西域准部回部的战役中，乾隆皇帝特别称赏玛瑺与阿玉锡两位勇士的战功，除了油画脸像、功臣像小稿、功臣像立轴玛瑺与阿玉锡皆在列外，还让郎世宁绘了《玛瑺斫阵图》及《阿玉锡持矛荡寇图》并要求宫廷画家绘制《玛瑺得胜图》以及《阿玉锡得胜图》等贴落大画。\n画中的人物和马匹，造型准确，物象逼真，描绘深入细腻。\n人物和马匹比例结构十分准确，其姿态和动势俱合法度，足见作者的功力之深厚。\n光的使用是郎世宁绘则的另一个特色，这幅画卷中，人物、马匹均应用了光的原理，使物象极富立体感，马皮毛的质感也很好地表现出来。\n明显地采用了西洋画的投影法，但只要细细观察，仍含有中国绘画传统手法，即马匹上所采用的阴影，亦是以中国的传统渲染方法来完成的，但骨子里还是西洋古典画的成分较中国画的成分为浓，体现了高度的写实技巧。\n总体来说，此画设色轻淡，用笔精谨，线条清劲，是一幅难得的精品。\n主题与关键字：马、军士、兵器、蕃族、马鞍。\n石渠宝笈续编（宁寿宫），第六册，页49 故宫书画录（卷四），第二册，页284 故宫书画图录，第二十一册，页175-178 （1688—1766）是意大利人，生于米兰，1715年（清康熙五十四年）到中国，随即入宫，曾参加圆明园西洋楼的设计工作，历任康、雍、乾三朝，在中国从事绘画达5多年。\n由于郎世宁带来了西洋绘画技法，向皇帝和其他宫廷画家展示了欧洲明暗画法的魅力，他先后受到了康熙、雍正、乾隆的重用。\n他是一位艺术上的全面手，人物、肖像、走兽、花鸟、山水无所不涉、无所不精，成为雍正、乾隆时 的代表人物。\n他的代表作品有《 》《 》《 》《弘历及后妃像》《平定西城战图》等。",[23,51,52,25,54,58,225,5029,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30b05b41246e11eef45301f413a00ec.jpg",[],{"id":30167,"slug":30168,"title":16292,"dynasty":97,"author":5309,"museum":99,"description":30169,"tags":30170,"thumbUrl":30171,"material":107,"size":107,"collection":107,"collections":30172,"showCount":29578,"zanCount":39,"manualWeight":39,"mainColor":40},229020,"song-qiao-tang-tu-juan-wang-hui-229020","此作为全景山水长卷，以平远章法铺展丘园山居。山峦以披麻皴晕染，墨色温雅清润，层叠峰峦间林木蓊郁，村居茅舍错落隐于松石溪畔，漾出江南山居的幽寂雅致。\n\n画作糅合元人笔墨逸趣与宋人丘壑之美，笔致秀逸温婉，将林泉高致的隐逸意趣藏于尺幅。卷后长题与绘境相映，文墨与画韵相得益彰，尽显清雅出尘的文人画格调，是兼具写景抒情的山水佳构。",[49,23,51,52,25,56,55,610,150,727,751,64,63,61,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15c561e116abb11fa5628ec40e21a60a.jpg",[],{"id":30174,"slug":30175,"title":30176,"dynasty":18,"author":9255,"museum":99,"description":30177,"tags":30178,"thumbUrl":30179,"material":689,"size":690,"collection":107,"collections":30180,"showCount":29578,"zanCount":39,"manualWeight":39,"mainColor":40},228846,"da-mo-zhi-hui-neng-liu-dai-zu-shi-tu-juan-dai-jin-228846","达摩至慧能六代祖师图卷","图中捕绘达摩端坐于深山洞中，面壁打坐，神态平和又虔诚。还有二祖神光（后更名慧可）、三祖僧璨、四祖信道、五祖弘忍、六祖慧能（唐高僧，佛教禅宗南宗的开创者），以及其他僧15个人。此画技法精熟，人物衣纹工整流畅，深得李唐、刘松年遗意。",[49,23,51,52,1284,58,56,26,25,55,86,119,7,64,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75473e50ad591868084cb87012e07044.jpg",[],{"id":30182,"slug":30183,"title":30184,"dynasty":18,"author":161,"museum":99,"description":30185,"tags":30186,"thumbUrl":30187,"material":689,"size":690,"collection":107,"collections":30188,"showCount":29578,"zanCount":39,"manualWeight":39,"mainColor":40},228832,"zhi-xing-yu-you-tu-juan-shen-zhou-228832","支硎遇友图卷","沈周（1427～1509）字启南，号石田、白石翁等，长洲（今江苏苏州）人。生於明宣德二年，卒於明正德四年，享年八十三岁。不应科举，专事诗文、书画，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。",[49,23,51,52,56,25,26,55,119,7,870,871,379,62,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aeef33843a62e33d32642d607f6d0b8.jpg",[],{"id":30190,"slug":30191,"title":30192,"dynasty":18,"author":18869,"museum":99,"description":30193,"tags":30194,"thumbUrl":30195,"material":107,"size":107,"collection":107,"collections":30196,"showCount":29578,"zanCount":39,"manualWeight":39,"mainColor":40},228356,"wan-zhu-tu-juan-song-ke-228356","万竹图卷","此作用淡墨白描绘就溪岸幽篁，坡石以简淡皴擦带出肌理，丛竹错落生于岩畔，疏密有致，满卷清寂萧散。以草书法度入画，笔致瘦硬爽利，竹叶萧洒灵动，将行草的跌宕意趣融于竹间，笔墨苍秀，兼具法度与文人雅韵。\n整卷画书合璧，晴川修竹间尽显江南林下清旷之致，暗合文人寄情林泉、澄怀观道的襟怀，是笔墨意趣与林下雅志完美相融的佳构。",[49,23,51,52,26,56,358,64,61,7,119,462,55,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fc7f485e2b2663e38e2c02ace4472a1.jpg",[],{"id":30198,"slug":30199,"title":30200,"dynasty":146,"author":14818,"museum":99,"description":30201,"tags":30202,"thumbUrl":30203,"material":689,"size":690,"collection":107,"collections":30204,"showCount":29578,"zanCount":39,"manualWeight":39,"mainColor":40},228026,"fan-qi-tu-chang-juan-zhao-lin-228026","番骑图（长卷）","作品绘边塞人马、骆驼行进行列，人物披裘戴高帽，以袖掩面，马匹步履蹒跚，展现出沙漠荒原风急天寒的气候环境。作品线条细劲流畅，具很高的艺术水平。明代都穆见其《番骑图》，赞日：“黄沙野蒿，鞭马疾驰，非余之目击，则也莫能知其妙也。”",[49,50,23,51,52,135,26,58,225,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F246a845a72a843b74c51a17e490a6d72.jpg",[],{"id":30206,"slug":30207,"title":30208,"dynasty":115,"author":30209,"museum":99,"description":30210,"tags":30211,"thumbUrl":30213,"material":107,"size":107,"collection":107,"collections":30214,"showCount":29578,"zanCount":39,"manualWeight":39,"mainColor":75},227809,"liu-yan-tu-mao-yi-227809","柳燕图","毛益","这幅小品以虚实相生铺陈春景。右畔老柳虬曲苍劲，墨色浓深尽显枝干肌理，柔细柳绦随风漫卷，笔触轻丽流逸，如见春风穿拂。枝头宿鸟两两相依，勾勒简练却灵动传神，各有情态。左侧留白空灵幽远，一只春燕振翅斜穿，破虚而来，让静景生出灵动生气。\n\n全作以水墨晕染，淡赭绢底晕化出暮春烟霭，仅以墨色轻重分出物象层次，无繁复设色。将宋人对春日的细微体察藏于简淡笔墨间，留白处似有春意在流动，仿佛能耳闻燕语呢喃、柳丝簌簌，把郊野寻常春景，晕染出悠远清和的诗意，尽显宋代小品画的雅致意趣。",[23,51,822,25,27,598,30212,66,277,7],"燕子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd706605ac2a870d038a49e2b48362bc8.jpg",[],{"id":30216,"slug":30217,"title":30218,"dynasty":115,"author":30219,"museum":99,"description":30220,"tags":30221,"thumbUrl":30223,"material":107,"size":107,"collection":107,"collections":30224,"showCount":29578,"zanCount":39,"manualWeight":39,"mainColor":75},227800,"yan-jiang-fan-ying-tu-xia-sen-227800","烟江帆影图","夏森","此作用淡墨晕染出空濛烟江，远山清瘦，隐在漫卷的雾霭中，只露出错落峰尖，虚实间揉碎了天地边界，将江南烟雨的柔婉朦胧铺展开来。近岸林木简笔勾勒，与烟岚相融，愈发衬出江天的空寂辽远。左下角孤舟凌波，渔人悠然棹行，寥寥数笔便点染出江上行旅的幽寂况味。\n\n全幅以留白衬出水天长阔，笔简意足，将静穆禅意藏在烟波里，把江上一瞬的清寂之美定格，淡远含蓄，尽显山水空濛悠远的诗意。",[49,23,51,50,822,26,56,62,946,871,279,30222,7],"帆影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaf554147c093468663cf70503980f95.jpg",[],{"id":30226,"slug":30227,"title":30228,"dynasty":115,"author":30229,"museum":99,"description":30230,"tags":30231,"thumbUrl":30232,"material":107,"size":107,"collection":107,"collections":30233,"showCount":29578,"zanCount":39,"manualWeight":39,"mainColor":40},227761,"shu-han-wen-gao-quan-juan-zhu-xi-227761","书翰文稿(全卷)","朱熹","行草《书翰文稿》卷，该卷由两件作品组成，前一件用笔以篆为主，圆钦于方，第二件作品则时见隶笔，以方见长，但两件作品都是字密集，行距宽松，强调书写之势的一泻而下。是南宋文学家、教育家朱熹的代表作之一。\n\n朱熹行草《书翰文稿》卷，此卷分为前后两段，前段纵33.5厘米、横45.3厘米，后段纵28.2厘米、横113.6厘米。此卷中部分内容为：“老拙衰病，幸未即死；但脾胃终是怯弱，饮食小失节，便觉不快。兼作脾泄挠人，目疾则尤害事，更看文字不得也。”又：“我者是亦似矣。然反身而诚，乃物格知至以后之事，言其穷理之至，无所不尽。故凡天下之理，反求诸身，皆有以见其如目视、耳听、手持、足行之事，毕具于此。”这里所说主要是修身养性及日常之事，心态平和，徐徐道来。\n\n该作品后有元、明两代共有十一位书画家的题识跋浯，内容包括朱熹画像。",[49,50,23,51,52,119,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165c1f3f4c3ffb316f2d335641b0d856.jpg",[],{"id":30235,"slug":30236,"title":30237,"dynasty":130,"author":2922,"museum":485,"description":30238,"tags":30239,"thumbUrl":30240,"material":107,"size":107,"collection":107,"collections":30241,"showCount":29578,"zanCount":39,"manualWeight":39,"mainColor":40},227710,"song-ta-bao-mu-tie-quan-juan-wang-xian-zhi-227710","宋搨保母帖全卷","王献之（344年－386年），字子敬，小名官奴，汉族，祖籍琅玡临沂（今山东临沂），生于会稽山阴（今浙江绍兴）。东晋著名书法家、诗人、画家，为书圣王羲之第七子、晋简文帝司马昱之婿。官至中书令，为与族弟王珉区分，人称“大令”，与其父王羲之并称为“二王”。与张芝、钟繇、王羲之并称“书中四贤”。 王献之自幼聪明好学，在书法上专攻草书隶书，也擅长绘画。他自小跟随父亲练习书法，胸有大志，后期兼取张芝，自创新体。他以行书和草书闻名，但是楷书和隶书亦有深厚功底。王献之亦善画，张彦远在《历代名画记》中目其画为“中品下”。",[49,86,2226,119,52,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F230b293c4212ad01d0e3e459b678bbfa.jpg",[],{"id":30243,"slug":30244,"title":30245,"dynasty":115,"author":30246,"museum":99,"description":30247,"tags":30248,"thumbUrl":30249,"material":107,"size":107,"collection":107,"collections":30250,"showCount":29578,"zanCount":39,"manualWeight":39,"mainColor":75},227694,"qi-lv-jiao-you-tu-ma-gong-xian-227694","骑驴郊游图","马公显","马公显为南宋四家马远的伯父，马远家族世代以画佛家传，至马远马麟始以山水闻名。本图为马公显传世孤本，主要是描写唐代的药山禅师与朗州刺史李翱“云在青天水在瓶”的禅宗对话故事；李翱，字习之，唐河北赵郡人，韩愈门人，亦为愈之姪婿。不为师之思想所拘，以客观採取佛学之精华。为朗州刺史时，访药山禅师，禅师于松下阅经，不理睬。李曰：“见面不如闻名。”禅师曰：“何得贵耳贱目？”李问：“如何是道？”禅师向上一指，向下一指，曰：“云在青天水在瓶。”李闻之，茅塞顿开，呈偈曰：“练得身体似鹤形，千株松下两函经；吾来问道无馀说，云在青天水在瓶。”图上看到药山禅师石桌上放置经函与瓶梅，梅枝倒挂，颇有禅意。图右下角有“马公显”三字款。",[50,23,51,84,26,58,3725,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74f96df2cd6c3756724ede8d7c227a03.jpg",[],{"id":30252,"slug":30253,"title":30254,"dynasty":115,"author":116,"museum":81,"description":30255,"tags":30256,"thumbUrl":30258,"material":107,"size":107,"collection":107,"collections":30259,"showCount":29578,"zanCount":39,"manualWeight":39,"mainColor":40},227593,"zhi-jing-dao-shi-qi-shi-jun-chi-du-huang-ting-jian-227593","致景道十七使君尺牍","黄庭坚《致景道十七使君尺牍》宋人袁立儒、范成大题跋 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》。\n这开画表现李白的千古名篇“静夜思”。\n月光在画面上并没有出现，只画一人倚于窗前做望月状，这就足够了。\n屋后的灌木以白粉掺色画出，再加上屋后的山以隐隐约约的笔触写出，迷迷朦朦，霜意表现的极佳。\n册页左上以隶书题写，古拙可爱。\n唯“床前明月光”之“前、明”写作“头、看”，这是因为版本不同的缘故。",[49,23,26,25,55,24,56,62,137,727,150,64,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fde1928ce926a554338cf76be73ab55.jpg",[],{"id":30292,"slug":30293,"title":29609,"dynasty":97,"author":23283,"museum":99,"description":28884,"tags":30294,"thumbUrl":30295,"material":689,"size":690,"collection":107,"collections":30296,"showCount":29578,"zanCount":1288,"manualWeight":39,"mainColor":1441},224437,"shu-fa-dui-lian-he-shao-ji-224437",[86,5664,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa19723fa203ce6b93cc4b22740314ff7.jpg",[],{"id":30298,"slug":30299,"title":30300,"dynasty":97,"author":929,"museum":99,"description":30301,"tags":30302,"thumbUrl":30303,"material":107,"size":107,"collection":107,"collections":30304,"showCount":29578,"zanCount":39,"manualWeight":39,"mainColor":40},224319,"hua-niao-ce-shi-kai-9-li-shan-224319","花鸟册十开9","淡粉晕染月季花瓣，瓣尖轻施浓色，将盛放的娇柔饱满、花苞含露的娇憨情态描摹尽致。带刺的细枝斜逸舒展，枝叶晕染出阴阳向背，鲜活生动。旁侧行草题字笔势纵横跌宕，墨色浓淡错落，诗画相映。\n\n花木的缱绻生机，合着文人疏放的笔墨意趣，形神兼备。笔简意足，在秀雅鲜活的写生中，又带着独有的桀骜风骨，将花木情态与文人心绪融于尺幅之间，尽显写意风神。",[49,23,51,24,25,27,309,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c574adcbda1a40cb7c88b1fb4f19147.jpg",[],{"id":30306,"slug":30307,"title":30308,"dynasty":97,"author":1167,"museum":99,"description":30309,"tags":30310,"thumbUrl":30311,"material":107,"size":107,"collection":107,"collections":30312,"showCount":29578,"zanCount":39,"manualWeight":39,"mainColor":40},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。",[49,23,51,27,403,25,29,1227,57,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa30dec5d8321ce381f3e219c75141f00.jpg",[],{"id":30314,"slug":30315,"title":30316,"dynasty":97,"author":30317,"museum":99,"description":30318,"tags":30319,"thumbUrl":30322,"material":107,"size":107,"collection":107,"collections":30323,"showCount":29578,"zanCount":1288,"manualWeight":39,"mainColor":40},224167,"ting-ruan-tu-liu-yan-chong-224167","听阮图","刘彦冲","《 》是清代画家刘彦冲创作的一幅设色画。\n图中文人身着高冕宽服，抱膝而坐，正听一位歌女弹奏阮琴。\n阮音清扬，四处芳草如茵，梧桐枝叶繁茂，又配以湖石、芭蕉、翠竹，清幽异常。\n《听阮图》图中款识可知此画是刘彦冲以其八兄为描绘对象绘出的。\n图中人物用线细劲圆润，颇有古意，设色妍 丽明快。\n草地以大面积花青渲染，以重色细笔根根绘出，间以浓淡的变化，形成雾动云涌之感。\n梧桐近乎淡墨白描，更有幽深清丽之意。\n整个背景有一种缥缈空灵的虚幻意味，衬托出人物笔墨的写实生动；画中人物的表情动态，又反衬阮音的悠扬动听。\n虚实相辅，以有写无，形成脱俗越尘的艺术效果。\n刘彦冲(187—1847)，初名荣，字咏之，四川铜梁人。\n擅山水、人物、花卉，工诗文。\n从师朱生昂学山水，常随师出游，尽得其法。\n兼采众家之长。\n泼墨作小米云山，亦蓊郁可观。\n人物花卉，笔法娴熟，活泼多变。\n传世作品有《柳燕图》、《松荫高士图》、《群峰秋翠图》等。",[49,54,25,58,178,64,358,3875,12745,497,30320,1713,150,5851,30321,7,1574],"侍女","书箱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d001b9b4db0438891675b109cf69c51.jpg",[],{"id":30325,"slug":30326,"title":30327,"dynasty":115,"author":207,"museum":175,"description":30328,"tags":30329,"thumbUrl":30330,"material":183,"size":30331,"collection":107,"collections":30332,"showCount":29578,"zanCount":39,"manualWeight":39,"mainColor":40},223495,"chun-xi-shui-zu-tu-ye-yi-ming-223495","春溪水族图页","此图是现存宋画中游鱼类题材画的一幅佳作。春暖花开，群鱼戏藻。鲢鱼摆尾漫游，鲶鱼回身在后，鳜鱼则迎头向上，隐喻了“连年有贵”的吉祥含义。画家通过鱼儿欢快游动时自由弯转的体态和藻类植物在游鱼冲击下漂浮不定的形状，巧妙地暗示出流水的动势以及春水的清洌透明感。3尾大鱼均施以工笔重彩，用笔沉稳工致，片片鱼鳞描绘得一丝不苟；而衬景的小鱼、小虾和水藻则纯用没骨法渍染，将鱼虾的灵动和水藻的轻盈表现得恰到好处。\n对幅有清乾隆御题七言诗一首：“庄惠曾论知弗知，传为奇语却无奇。试如驳曰我非子，便是答云彼岂斯。春水初生具春意，文鳞群泳爱文漪。漫訾意浅色鲜耳，颇类濠梁博辩时。戊申仲秋御题。”“戊申”为乾隆五十三年（1788年）。钤“古稀天子之宝”、“犹日孜孜”印。",[49,23,50,51,24,54,25,7,2342,420,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F859ddf48b1c91ddef47588963053a15e.jpg","纵24.3cm，横25.5cm",[],{"id":30334,"slug":30335,"title":30336,"dynasty":97,"author":30337,"museum":81,"description":30338,"tags":30339,"thumbUrl":30340,"material":253,"size":30341,"collection":70,"collections":30342,"showCount":29578,"zanCount":39,"manualWeight":39,"mainColor":40},222805,"qiu-shan-ping-yuan-zhou-he-yi-222805","秋山平原轴","赫奕","赫奕，赫舍里氏，字澹士，号南谷，别号碧岩箫史，一作碧箫外史，满洲正黄旗人，开国名臣希福之孙，工部尚书帅颜保之子。清朝政治人物、清朝工部尚书。\n以侍卫入仕，任内务府总管。康熙五十二年十二月己卯，接替满笃，担任清朝工部尚书，后革。由孙渣济接任。雍正十三年再任总管内务府大臣。乾隆八年，尚书衔总管内务府大臣赫奕病故。\n性澹泊，琴书之外专事于画。初学黄鼎，继为王原祁弟子。山水宗法元人，而独开生面，迥异时流。时有南王北赫之称。",[49,23,51,84,25,56,55,119,7,7689,1062,64,62,63,150,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d919660f9b59c4912c5a9f1ee3b3bc8.jpg","99.4x48.3cm",[70,72],{"id":30344,"slug":30345,"title":30346,"dynasty":97,"author":30347,"museum":81,"description":30348,"tags":30349,"thumbUrl":30352,"material":107,"size":30353,"collection":1120,"collections":30354,"showCount":29578,"zanCount":39,"manualWeight":39,"mainColor":1441},222688,"shu-wu-liang-shou-fo-jing-ce-ruan-yuan-222688","书无量寿佛经册","阮元","阮元（1764年2月21日 [110] －1849年11月27日 ），字伯元，号芸台、雷塘庵主、揅经老人、怡性老人 ，江苏扬州仪征人。清朝中期官员、经学家、训诂学家、金石学家 。\n阮元为乾隆五十四年（1789年）进士，先后在礼部、兵部、户部、工部供职，并出任山东、浙江学政，浙江、江西、河南巡抚及漕运总督、湖广总督、两广总督、云贵总督等职。身历乾隆、嘉庆、道光三朝，所至之处，以提倡学术、振兴文教为自任，勤于军政，治绩斐然。晚年官拜体仁阁大学士，致仕后加官至太傅。道光二十九年（1849年），阮元去世，年八十六。获赐谥号“文达”。\n阮元提倡朴学，曾罗致学者编书刊印，主编《经籍籑诂》，校刻《十三经注疏》，汇刻《皇清经解》等，于数学、天算、舆地、编纂、金石、校勘等方面亦多有建树 ，史称其“身历乾、嘉文物鼎盛之时，主持风会数十年，海内学者奉为山斗焉” 。生平著述丰富，撰有《揅经室集》《十三经注疏校勘记》等三十余种著述传世。",[105,417,436,24,30350,7,86,2601,30351],"金书","装饰花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff66e7fce4cddb8dbe65e647ec9a947ab.jpg","25.3x50.8 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者断为祝四十岁左右师古之作，有一定道理。观其 点画、结体，《兰亭》意味极浓，又有钟法存乎其 间，淳厚典雅，参以赵孟頫，然变化多致；其行笔 从容不迫，笔笔到位，一派君子之风。此类前贤师 古之作对我们今天学书法者极有借鉴价值。\n祝允明（1460——1526）明代重要书 家，字希哲，号枝山。生而枝指，又号枝指生。长 洲（今江苏苏州）人。与徐祯卿、唐寅、文徵明 号称吴中四才子。以举人授兴宁令，稍迁应天府 通判，未几乞归。书法受外祖父徐有贞和岳父李 应祯指点，上自张芝、钟繇、二王、索靖、智永， 下迄唐宋元之虞世南、欧阳询、张旭、怀素、苏 轼、黄庭坚、米芾、赵孟頫等无不用心。其书法无 论真、草，法度森严，全以力胜。其真行以元常、 王羲之为宗，借鉴于赵孟頫，写得古厚蕴藉；草 书法乳于二王，犹得力于山谷，其点画长戈大戟， 生辣厚重，力量更在山谷之上。祝允明草书名世， 为二王、旭素、山谷后最重要的草书家，一是草 法纯正，二是有鲜明个性特征。读他的草书大作， 奔腾如虬蛇的点画，汹涌如大河的气势促人振 奋，有很强的感招力。这种情形是斤斤于艺事，追 求优雅闲适的书家所难以梦见的境界。草贵气 势，祝允明草书正以气势胜，但他草中之点画分 明，毫无苟且之处，犹如作真。他是一位杰出的 入古以出新者，他在《奴书订》中说：『觚筦士 有「奴书」之论，亦自昔兴，吾独不解此。艺家 一道，庸讵缪执至是，人间事理，至处有二乎哉？ 为圆不从规，拟方不按矩，得乎？自粗归精，既 据妙地，少自翔异，可也。必也革其故而新是图， 将不故之并亡，而第新也与。故尝谓自卯金当涂， 底于典午，音容少殊，神骨一也。沿晋游唐，守 而勿失。今人但见永兴匀圆，率更劲瘠，郎邪雄 沉，诚悬强毅，与会稽分镳，而不察其为祖宗本 貌自粲如也（帖间固存）。迩后皆然，未暇遑计。 赵室四子，莆田恒守惟肖，襄阳不违典刑；眉、豫 二豪，啮羁蹋靮，顾盼自得。观者昧其所宗：子 瞻骨干平原，股肱北海，被服大令，以成完躯。鲁 直白云得长沙三昧。诸师无常而具在，安得谓果 非陪臣门舍耶？而后人泥习耳聆，未尝神访，无 怪执其言而失其旨也。遂使今士举为秘谈，走也 狂简，良不合契，且即肤近。为君谋之，绘日月 者，心规圆而烜丽，方而黔之，可乎？啖必谷，舍 谷而草，曰谷者「奴餐」，可乎?学为贤人必法 渊赐；晞圣者必师孔。违洙泗之衺曲，而曰为孔、 顏者「奴贤」、「奴圣」者也，可乎？』反映了 他这一思想。\n之所以说祝允明书法是一个伟大的未成品， 是因为他的书法仍以『实』称，虚境未全现，而 由实入虚、虚实相生是书道之至境。今人徒务虚 而涉谈境界者，常会轻视他的重于法度，直如只 欲得花，而不知花本生于根与枝叶也．",[49,86,11388,417,119,52,435,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F406c903a42458b570f3fc10f0d8d774d.jpg","纵20.1cm，横161cm",[],{"id":30380,"slug":30381,"title":30382,"dynasty":18,"author":27978,"museum":175,"description":30383,"tags":30384,"thumbUrl":30385,"material":668,"size":30386,"collection":107,"collections":30387,"showCount":29578,"zanCount":39,"manualWeight":39,"mainColor":40},222427,"san-tuo-tu-li-shi-da-222427","三驼图","《三驼图》绘三个驼背的老者，一提篮侧顾，一向提篮者作揖，一拍手大笑，三人形象滑稽，笑态可掬。画家以驼者之间的相互戏谑，来讽喻“世上无直人”。衣纹用“浑描”，须发皆不见钩勒痕迹，笔墨圆润，柔若无骨，可见作者高度的笔墨造型功力。其上方有钱允治诗云：“张驼提盒去探亲，李驼遇见问缘因；赵驼拍手呵呵笑，世上原来无直人。”点明了此幅的讽世主题。李士达的此画如钱允治的题诗一样，将民间歌谣形之于画图，带有通俗而又诙谐的情调。",[49,23,51,84,26,135,58,7,119,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bc90e03e64b2e24f32eaba2b927d55.jpg","纵78.5厘米，横30.3厘米",[],{"id":30389,"slug":30390,"title":13095,"dynasty":18,"author":2059,"museum":99,"description":30391,"tags":30392,"thumbUrl":30393,"material":239,"size":30394,"collection":122,"collections":30395,"showCount":29578,"zanCount":1288,"manualWeight":39,"mainColor":40},222013,"qian-zi-wen-quan-juan-wen-zheng-ming-222013","文征明是明代吴门四家之一，沈周而后，在吴中艺坛执牛耳数十年。他生于1470年，与唐寅同年，卒于1559年，享年90，是艺术家中有数的寿星之一。其祖父为举人，父亲为进士，母亲祁氏亦工诗善画。文征明幼年不慧，至11岁“始能言语”，但父亲不离不弃，请当时吴中状元吴宽教授古文，号称“国朝第一”的中书舍人李应祯（祝允明的岳父）教授书法，又请吴中文人领袖沈周教授绘画。一时风云际会，文征明很快就与唐寅、祝允明、徐祯卿并名为“吴中四才子”。\n文征明是明代吴门四家之一，沈周而后，在吴中艺坛执牛耳数十年。他生于1470年，与唐寅同年，卒于1559年，享年90，是艺术家中有数的寿星之一。其祖父为举人，父亲为进士，母亲祁氏亦工诗善画。文征明幼年不慧，至11岁“始能言语”，但父亲不离不弃，请当时吴中状元吴宽教授古文，号称“国朝第一”的中书舍人李应祯（祝允明的岳父）教授书法，又请吴中文人领袖沈周教授绘画。一时风云际会，文征明很快就与唐寅、祝允明、徐祯卿并名为“吴中四才子”。",[49,86,119,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03d71153f24ac240045c29a0c4ff8888.jpg","31厘米x284厘米",[122],{"id":30397,"slug":30398,"title":30399,"dynasty":18,"author":955,"museum":2192,"description":25409,"tags":30400,"thumbUrl":30401,"material":24,"size":107,"collection":107,"collections":30402,"showCount":29578,"zanCount":39,"manualWeight":39,"mainColor":40},221910,"hua-niao-jing-pin-ce-7-chen-hong-shou-221910","花鸟精品册7",[50,23,51,24,54,25,27,8138,29,332,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cddf38ba075919c3ebe33ab022f3cf6.jpg",[],{"id":30404,"slug":30405,"title":30406,"dynasty":146,"author":13476,"museum":2192,"description":30407,"tags":30408,"thumbUrl":30409,"material":5276,"size":30410,"collection":107,"collections":30411,"showCount":29578,"zanCount":39,"manualWeight":39,"mainColor":75},221720,"zhong-kui-yu-ye-chu-you-tu-juan-yan-hui-221720","钟馗雨夜出游图卷","画面绘钟馗在鬼族是簇拥下雨夜巡游的情形。画中七个鬼卒，牛头马面，头戴蒙军头盔，类似杂要，正击鼓簇拥钟馗夜游，寄寓了画家蔑视蒙古统治者既仇恨又无赖的心情。\n其笔法浑厚坚实敦朴流畅，不乏宋代院体人物之工细，其造型生动传神，意态舒畅洒脱抒情而又有艺术性和理，不象刘贯通、王绎等人笔下人物之肖象，准确、逼真、刻板而写实。\n画面清旷幽冷，形象深遂含蓄，堪称精品。作为对宋体工致写实画风的承继与元代画风渐显写意抒情之势的前启，颜辉的人物画是承前启后的关捩。",[49,7452,135,52,58,11544,5029,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c78d99f746b70906b57c0cd5975c505.jpg","24.8cmx240.3cm",[],{"id":30413,"slug":30414,"title":30415,"dynasty":115,"author":13147,"museum":81,"description":30416,"tags":30417,"thumbUrl":30420,"material":239,"size":30421,"collection":107,"collections":30422,"showCount":29578,"zanCount":1288,"manualWeight":39,"mainColor":75},221552,"luo-han-tu-4-liu-song-nian-221552","罗汉图4","刘松年 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“少时知江宁府，颇以清介持躬，名播海内，妇人女子无不服其品谊，至以包孝肃比之”，朝鲜使臣称赞。以奉公守法、清正廉洁闻名于世。",[49,86,84,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3116915c619e2cdd936739642496926c.jpg",[],{"id":30606,"slug":30607,"title":30608,"dynasty":97,"author":1180,"museum":99,"description":1655,"tags":30609,"thumbUrl":30610,"material":689,"size":690,"collection":107,"collections":30611,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},290424,"ke-ru-qing-tong-gen-ru-shi-tu-zhou-wu-chang-shuo-290424","柯如青桐根如石图轴",[49,23,51,84,26,25,277,6358,2681,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe41d1300ae2de9120a26555f2abfb69.jpg",[],{"id":30613,"slug":30614,"title":30615,"dynasty":146,"author":30616,"museum":99,"description":30617,"tags":30618,"thumbUrl":30619,"material":689,"size":690,"collection":107,"collections":30620,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},290259,"shan-lin-ye-zhang-tu-jin-fu-290259","山林曳杖图","金黼","此图画高耸入云的树木，枝干虬曲，占据了画面的大半。树下一位长者手持竹杖，正向远方眺望，身后随从一侍童。树干勾勒细致，枝梢有蟹爪皴与夹叶皴，墨色浓淡得宜，陂陀及树干上以浓墨醒点，颇具精神。图中有元倪瓒、虞良、尤玘、董昶等人诗题。金黼的作品流传极少，此幅殊为珍贵。",[50,23,84,26,56,137,2681,61,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dfcca3c77b56ec4f2d79d414d7cfba1.jpg",[],{"id":30622,"slug":30623,"title":11655,"dynasty":115,"author":11656,"museum":99,"description":30624,"tags":30625,"thumbUrl":30626,"material":689,"size":690,"collection":107,"collections":30627,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":75},289333,"guan-shan-ji-xue-tu-yan-su-289333","燕肃(961年—1040年)，字穆之，字仲穆，一署上谷，祖籍青州益都，定居曹州（今山东曹县）。北宋著名科学家、画家、诗人。\n燕肃少孤贫，巧思过人，宋真宗大中祥符年间进士，官至龙图阁直学士，人称“燕龙图”。学识渊博，精通天文物理，有指南车、记里鼓、莲花漏等仪器的创造发明，著有《海潮论》，绘制《海潮图》以说明潮汐原理。工诗善画，以诗入画，意境高超，为文人画的先驱者。",[49,50,23,56,55,13139,13140,60,59,2142,8059,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90f888ec04b576c2129955fcf0e84f93.jpg",[],{"id":30629,"slug":30630,"title":30631,"dynasty":115,"author":207,"museum":99,"description":30632,"tags":30633,"thumbUrl":30634,"material":689,"size":690,"collection":107,"collections":30635,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":75},289108,"ke-si-mu-dan-zhi-shan-yi-ming-289108","缂丝牡丹执扇","此作以缂丝之艺定格牡丹芳华，团扇形制温婉雅致。两簇牡丹主次有致，朱红瓣色由深渐浅，缂丝走线勾勒花瓣层叠肌理，将花之雍容饱满尽数铺展，艳而不俗。深浅蓝灰晕染衬叶，柔婉舒展于花侧，冷色调恰好调和花之浓艳，疏密间尽显构图巧思。\n\n四方印鉴错落布于扇面，晕染出古雅沉静的氛围。岁月晕黄了底料，却未减工艺精妙，缂丝的齐整走线依旧清晰可辨，藏着刻入丝缕中的审美意趣，将工巧雅致与花之华贵相融，静述旧时风雅。",[50,23,51,822,27,25,308,1138,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d2b5dc1457291d8f16ccbb586352c0d.jpg",[],{"id":30637,"slug":30638,"title":30639,"dynasty":1037,"author":1985,"museum":99,"description":13772,"tags":30640,"thumbUrl":30641,"material":689,"size":690,"collection":107,"collections":30642,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},289011,"xie-sheng-yuan-yang-tu-huang-quan-289011","写生鸳鸯图",[49,23,50,822,54,25,27,11856,967,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99eb3603f22742b8d0c861e116284f61.jpg",[],{"id":30644,"slug":30645,"title":14324,"dynasty":115,"author":14325,"museum":99,"description":30646,"tags":30647,"thumbUrl":30648,"material":689,"size":690,"collection":107,"collections":30649,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},288962,"jun-gu-tu-gong-kai-288962","龚开（1222年～约1302），宋末元初画家，字圣予（一作圣与），号翠岩，晚号龟城叟、岩叟，人称龚高士。淮阴龟山（今属江苏省淮安市洪泽区老子山镇）人。",[50,23,51,26,135,225,1116,7,86,6996],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25d4572c7967b6ea59fd60add1018fb5.jpg",[],{"id":30651,"slug":30652,"title":30653,"dynasty":115,"author":30654,"museum":99,"description":30655,"tags":30656,"thumbUrl":30657,"material":689,"size":690,"collection":107,"collections":30658,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},288921,"xi-shan-ji-xue-tu-gao-ke-ming-288921","溪山积雪图","高克明","高克明，生卒年不洋，绛州(今山西新绛) 人，主要活动时期在太宗，仁宗二朝，为当时著名的山水画家。善佛道、人马、花竹、翎毛、禽虫、畜兽、鬼神、屋宇，皆造于妙。工画山水，采撷诸家之美，参成一艺之精，团扇卧屏，尤长小景，但矜其巧密，殊乏飘逸之致。喜幽默，多行郊野间，览山林之趣，箕坐终日，归则求静室以居，沉屏思虑；神游物外，景造笔下。景德（1004-1007）中游京师，大中祥符（1008-1016）中入图画院，与太原王端、上谷燕文贵、颖川陈用志为画友。尝诏入殿，命画图壁。迁至待诏，守少府监主簿，赐紫衣。景佑初仁宗命画臣鲍国资画四时景于彰圣阁，国资战惧不已，不能下笔，诏克明代之。淮海富商陈永以百千求春龙起蛰图，克阴坚让不从。皇佑初受勅图画三朝盛德之事，人物才及寸余，宫殿山川，銮与仪衞，成备焉。凡一百事，名三朝训鉴图。 《圣［宋］朝名画评、图画见闻志、宣和画谱、书画题殴记、挥尘后录》。高克明的山水画创作，大多是从实地观察获得素材，复经自己 深思熟虑、苦心经营中得来，并不专师于一家，却能注意采撷诸家之美，参成一艺之精，自为体格，颇有创新的味道。\n高克明的绘画成就，在当时已得到公认。《宋朝名画评》将其作品列为妙品第一，认为：“高克明铺成景物，自 成一家，当代少有。”宋高宗赵恒曾写诗云：“(高)克明已死（许）道宁逝，郭熙后有新成名。”认为高克明品第尚在著名画家郭熙之上。明 人王世贞甚至说：“今世称二马(远、麟)、刘(松年)、夏珪，要亦以易知之耳。若克明，殆犹顾(恺之)、陆(探微)之于张(僧鹞)、吴(道子)， 岂可同日语哉！”高克明山水画作品的代表作为《雪意图》(现藏美国)，描绘溪山雪后的清寒景色。画面中央为一片溪水，近岸为树木房屋， 远方则遥山对峙，稍近又绘有树木房屋道路。整幅画画上表现出一种清旷荒寒的烙调，而又不失苍秀嫣润的气韵。另外，经营位置的周详得当 ，意境表达的幽静深院，笔墨运用的精细整饬，都有自创的新意在内。高克明的其他山水画作品，见于著录的还有《夏山飞瀑》、《窠石野渡 图》，《烟岚窠石图》各二幅。",[23,50,56,1050,86,119,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d06dfcc696c5dd85402e98745a0a984.jpg",[],{"id":30660,"slug":30661,"title":13449,"dynasty":146,"author":431,"museum":99,"description":15860,"tags":30662,"thumbUrl":30663,"material":689,"size":690,"collection":107,"collections":30664,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":75},288919,"san-ma-tu-zhao-meng-fu-288919",[50,23,51,225,1116,25,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3abfb6ffc7928bdc000bc0337dcf800b.jpg",[],{"id":30666,"slug":30667,"title":30668,"dynasty":146,"author":1644,"museum":99,"description":30669,"tags":30670,"thumbUrl":30674,"material":689,"size":690,"collection":107,"collections":30675,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},288158,"qiu-jiang-dai-du-qian-xuan-288158","秋江待渡","画面中间部分是辽阔的江面，空阔邈远，远处乃是绵延不绝的群山。近处，红树一簇，树下有几人引颈眺望，而江面上隐隐约约有一叶小舟，那就是待渡者的希望。江面空阔，小舟缓缓，似渺然难见，它和人急迫的等待之间构成强大的情绪张力。正是眼前渺渺秋江阔，隔岸扁舟发棹迟。",[49,50,23,52,51,56,25,54,30671,62,20174,66,21581,1535,3652,30672,3040,119,7,30673,8091],"秋江","斜阳","待渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7ea90e2472344b5a66a2202ee6516b3.jpg",[],{"id":30677,"slug":30678,"title":30679,"dynasty":97,"author":18223,"museum":99,"description":30680,"tags":30681,"thumbUrl":30682,"material":689,"size":690,"collection":107,"collections":30683,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},288139,"ting-zhong-yu-ba-jiao-tu-li-zhou-gai-qi-288139","庭中雨芭蕉图立轴","改琦（1773年－1828年），字伯蕴，号香伯，一号七芗，又号玉壶外史，江苏华亭（今上海市松江区）人，祖籍北京宛平，是清代中期的画家。\n先世为西域人，祖父改光宗曾任寿春镇总兵。改琦多才多艺，尤善绘画，其人物画被认为是嘉道后最工者，其画受李公麟、赵孟𫖯、唐寅、陈洪绶等影响，花草竹等画也擅长。曾绘《红楼梦图》。",[49,23,84,26,51,50,58,3875,277,1019,19750,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F497f08e6a1c9e24cec2c2bca45e5ab65.jpg",[],{"id":30685,"slug":30686,"title":30687,"dynasty":115,"author":289,"museum":99,"description":6068,"tags":30688,"thumbUrl":30690,"material":689,"size":690,"collection":107,"collections":30691,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},287657,"wan-fang-zhi-gong-tu-quan-juan-li-gong-lin-287657","万方职贡图全卷",[49,50,23,51,52,26,712,86,119,417,7,30689],"历史题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc12fa9c4c1d20df1573091eadb23d1cc.jpg",[],{"id":30693,"slug":30694,"title":30695,"dynasty":18,"author":4898,"museum":99,"description":30696,"tags":30697,"thumbUrl":30699,"material":689,"size":690,"collection":107,"collections":30700,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":75},287614,"qiu-tang-cao-ting-tu-zhao-zuo-287614","秋塘草亭图","赵左(1573-1644)左一作佐，字文度。活跃于明代后期。万历、崇祯时华亭(今上海松江)人。赵左，为诸生时，诗文即出众，曾赴北京，以一首秋草诗一鸣惊人，人呼为'赵秋草'。后得顾正谊赏识，让他与宋懋晋向好友宋旭学画，此后画名渐显。山水师法董源，兼学黄公望、倪瓒。画云山以己意出之，有似米(芾)非米之妙。善用干笔焦墨而又长于烘染，后受董其昌的画风影响，形成笔墨灵秀、设色雅致的风格。他与弟子沈士充、朱轩、叶有年、陈廉、李肇亨等构成的艺术群体，被人们称为'苏松派'。论画主张要得所画物象之势，应取势布景交错而不繁乱。因一生穷困，曾为董其昌代笔。以画山水最为擅长，主要师法'明四家'之一的沈周，风格雄劲古拙，为'松江派'之祖。赵左的山水画是以宋旭为基础，上溯源流，追摹董源、倪瓒笔意，兼采米氏云山与黄子久浅绛法，善用干笔焦墨，长于烘染，水墨湿润，极富神韵。他创作的山水画，亦力求体现这些思想。景物大多较为繁复，有时画烟岚云雾流动于层峦叠嶂、坡谷幽溪涧;并以斜径、溪桥、房屋、树木,掩映穿插。笔墨方面,或用浓、湿、浅、淡的墨色染出山峦向背，同时渍出浮动的白云;或作浅绛设色，与笔墨的运用相融。",[49,50,23,51,84,53,25,56,63,64,150,3652,30698,7],"草亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F962f475396b35bf70b0dbb4b90e5673e.jpg",[],{"id":30702,"slug":30703,"title":7595,"dynasty":192,"author":21059,"museum":99,"description":18680,"tags":30704,"thumbUrl":30705,"material":689,"size":690,"collection":107,"collections":30706,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},287572,"ni-kuan-zan-zhe-sui-liang-287572",[86,417,418,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28a5e185d753373b80a884082307a48d.jpg",[],{"id":30708,"slug":30709,"title":30710,"dynasty":18,"author":2181,"museum":99,"description":5719,"tags":30711,"thumbUrl":30713,"material":689,"size":690,"collection":107,"collections":30714,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},287385,"luo-shen-fu-shu-hua-he-bi-juan-shou-juan-dong-qi-chang-287385","洛神赋书画合璧卷手卷",[49,52,9897,51,86,119,15862,1632,5011,7,136,30712],"抒情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77f190c9c6dafc6a2436407bd792cb11.jpg",[],{"id":30716,"slug":30717,"title":30718,"dynasty":18,"author":2181,"museum":99,"description":5719,"tags":30719,"thumbUrl":30720,"material":689,"size":690,"collection":107,"collections":30721,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":75},283718,"fang-mei-dao-ren-shan-shui-tu-zhou-dong-qi-chang-283718","仿梅道人山水图轴",[23,84,26,56,64,727,278,134,7,86,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F240a7ad71fa54122d8e46c92daf6aa7d.jpg",[],{"id":30723,"slug":30724,"title":30725,"dynasty":18,"author":2181,"museum":81,"description":30726,"tags":30727,"thumbUrl":30733,"material":634,"size":690,"collection":107,"collections":30734,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},283715,"lin-mi-fei-wu-jiang-chui-hong-ting-zhu-tie-juan-dong-qi-chang-283715","临米芾吴江垂虹亭诸帖卷","此卷董氏节临米芾《垂虹亭诗帖》《蜀素帖》等，文字稍异。其用笔跌宕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书为舫西先生侍御尊兄正。嘉庆丁卯花朝。愚弟伊秉绶。\n伊氏早年拜在乾隆四大家之一的刘墉门下学习书法，并与王文治、桂馥、黄易、孙星衍等人师友相交，研讨书艺，加之其天资聪敏，融铸古今，遂形成独具特色的艺术风格。\n此作书于清嘉庆十二年（1807年），伊秉绶时年55岁，已是晚期作品。此联结字方正，舍隶书之波磔，突破了传统隶书的结构和笔法，凝重整肃，气势宏大，显示出伊秉绶晚年对隶书艺术不断开拓变革的境界和魄力。",[86,5664,5663,26,7,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff95b9cb1945d5e0145f740cd4c0c5442.jpg","纵109.3厘米，横25.3厘米",[122],{"id":30777,"slug":30778,"title":29785,"dynasty":97,"author":29786,"museum":99,"description":29787,"tags":30779,"thumbUrl":30780,"material":689,"size":690,"collection":107,"collections":30781,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},240137,"yi-bing-shou-wu-yan-lian-yi-bing-shou-240137",[86,5664,5663,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85bfa546eb01321f2886a760774bd04c.jpg",[],{"id":30783,"slug":30784,"title":30785,"dynasty":18,"author":30786,"museum":99,"description":30787,"tags":30788,"thumbUrl":30789,"material":107,"size":107,"collection":122,"collections":30790,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},239979,"qi-lv-juan-zhang-bi-239979","七律卷","张弼","张弼（1425～1487）字汝弼，家近东海，故号东海，晚称东海翁。松江府华亭县（今上海奉贤青村）人 [1] 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简介张若澄从小饱读诗书，书画皆工。乾隆十年（公元1745年），24岁的他考中乙丑科殿试二甲第十六名进士，第二年奉命入值南书房，陪伴乾隆左右，成为炙手可热的天子近臣。乾隆十一年，其兄张若霭在一次扈从皇帝西巡途中，不幸感染风寒，英年早逝，年仅34岁。张若霭21岁中进士，后官至内阁学士，曾是乾隆最为倚重的英才之一。长兄早逝，对张若澄打击很大，他奉旨在懋勤殿行走，“上知其工于绘事，尝命临摹古人图画”，这样他有机会遍观内廷所藏历代名人书画，在潜心临摹、作画中，他平复了心中伤痛，绘画技艺也得到提升，并形成独具特色的绘画风格。他的画风工整细致，笔墨丰润，构图平和，观其画，“有令人于春风侍坐时矜平而躁释”，其画设色富丽，颇有皇家气息，因而极受皇室喜爱。乾隆皇帝大加赞赏，在一次给张若澄的画作题咏中，写有“炼雪斋中弟继兄”之句，肯定了张若澄的绘画成就，张若澄也就逐渐成为乾隆时期与董邦达、钱维诚等齐名的宫廷画家。他的画作除了《兴安岭图轴》入选《石渠宝笈》外，还有《阿弥陀经》等被载入《熙朝名画续集》，广为流传，成为后世学画者临摹的蓝本。\n张若澄能写墨花，工山水，善画梅。兼长翎毛。传世作品有《塞花二十四种图册》，纸本，墨笔，描绘塞外花卉二十四幅，细枝柔叶，别逞异姿，现藏故宫博物院；《山水图》轴，纸本，墨笔，描绘御制“僧敲月下门”诗意，构图严谨，意境深邃，左上题识：“月上惊栖鸟，山僧归自邻。应门乏五尺，叩扇借孤筠。小立莓苔滑，低临松竹匀。上人权在外，守者未生嗔。讵湿袈裟露，凭参响寐尘。维摩不二法，司户有前因。剥琢原无碍，形容直逼真。本来敲绝好，推字想欺人。御制赋得僧敲月下门。臣张若澄敬写并书。”\n现藏安徽省桐城县博物馆；《丹凤朝阳》立轴，工笔，墨，此画本意为希望得到乾隆赏识，委以重任，其所画丹凤，气宇轩昂，雄霸一方，大有一飞冲天之势，笔法线条分明，刚劲有力，左上题识：“丹羽圗成势欲飞，梧桐百尺已多围，露生碧汉流文彩，日出沧溟覧朝晖，盛代鸣时原是瑞，高岗立处自成威。”现已流落于民间；著有《绣碧轩集》。《香树斋文集、熙朝名画录、读画辑略》。",[49,23,52,26,54,135,7,58,6946,61,64,1061,66,714,56,6498,10409,18655,6735,598,713,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7aeee336cf4e5b6127f0b8addd15c6.jpg","纵23厘米，横352.2厘米",[],{"id":31018,"slug":31019,"title":20769,"dynasty":97,"author":655,"museum":329,"description":20770,"tags":31020,"thumbUrl":31021,"material":779,"size":20773,"collection":107,"collections":31022,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},233858,"mei-hua-ce-jin-nong-233858",[23,51,24,135,26,27,528,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F697b9b210a11113f3a2283868babba80.jpg",[],{"id":31024,"slug":31025,"title":31026,"dynasty":146,"author":10518,"museum":175,"description":31027,"tags":31028,"thumbUrl":31029,"material":1087,"size":31030,"collection":107,"collections":31031,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":75},233753,"xi-qiao-you-xing-tu-fang-cong-yi-233753","溪桥幽兴图","此图是元代道士画家方从义所作，山水画。图绘山水一区，高山云锁，溪水自山间流淌，草桥横架，一人策杖前行，远山隐现，茅舍隐于林木之中，意境清谧静逸。笔墨酣畅，多用染法，用笔多横向。树木点染之笔疏率，以墨之浓淡分远近。图中景物都集中于画面下部，上部则非常空旷，使画面显得深邃幽远。",[23,51,50,26,56,60,61,64,150,55,119,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2a07ffc8543e2c18834f837374b8bda.jpg","纵63.3厘米，横35厘米",[],{"id":31033,"slug":31034,"title":31035,"dynasty":97,"author":5100,"museum":20,"description":22792,"tags":31036,"thumbUrl":31037,"material":319,"size":107,"collection":107,"collections":31038,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},233187,"hua-hui-ce-qiu-hua-ye-zhao-zhi-qian-233187","花卉册-秋花页",[23,51,24,25,27,28,14231,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7481cd7f83edf53988bff1d31b456a53.jpg",[],{"id":31040,"slug":31041,"title":31042,"dynasty":97,"author":5100,"museum":20,"description":22792,"tags":31043,"thumbUrl":31044,"material":319,"size":107,"collection":107,"collections":31045,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":75},233183,"hua-hui-ce-mu-dan-ye-zhao-zhi-qian-233183","花卉册-牡丹页",[23,51,24,25,403,27,308,529,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbe6a2e27ec670de7c6c5f49941f2e3a.jpg",[],{"id":31047,"slug":31048,"title":26634,"dynasty":18,"author":31049,"museum":175,"description":31050,"tags":31051,"thumbUrl":31052,"material":9268,"size":31053,"collection":107,"collections":31054,"showCount":519,"zanCount":1288,"manualWeight":39,"mainColor":75},233145,"shan-shui-juan-wang-yan-qiang-233145","王彦强","绘江边山峦起伏，林木繁茂，隐约可见村合依山而建。山石用披麻皴，笔法秀劲细密，林木简笔勾干，以浓淡水墨点叶。\n此图景色清新，境界清寂淡泊，具有春日山乡写生的特点，为王立中罕见传世品。",[23,51,52,26,55,56,64,278,715,1714,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95037f673dc059a04e041dad1bea72e2.jpg","纵25．2厘米横53．3厘米",[],{"id":31056,"slug":31057,"title":31058,"dynasty":97,"author":5100,"museum":525,"description":31059,"tags":31060,"thumbUrl":31061,"material":5105,"size":31062,"collection":107,"collections":31063,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},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。",[23,51,822,25,26,403,27,529,277,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbd190ad7341a8baac238ac32249ed8e.jpg","17×54厘米",[],{"id":31065,"slug":31066,"title":31067,"dynasty":115,"author":116,"museum":525,"description":31068,"tags":31069,"thumbUrl":31070,"material":319,"size":31071,"collection":107,"collections":31072,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},232814,"di-zhu-ming-quan-juan-huang-ting-jian-232814","砥柱铭全卷","黄庭坚《砥柱铭》，行书。此卷长八米，抄录唐代魏征《砥柱铭》，全文六百多字。黄庭坚大字行书凝练有力，结构独特，是北宋书坛杰出的代表，与苏轼、米芾、蔡襄并称“宋四家”。\n天津美术学院美术史系教授刘金库指出，《砥柱铭》在宋代时为王厚之、南宋权相贾似道收藏，是贾似道收藏的“黄庭坚双璧”之一；入明则为著名收藏家项元汴所藏，在明代鉴赏家张丑的《真迹日录》中著录，明天顺年间归黄庭坚十一世族孙黄洵（字公直）所藏；入清则为项源、伍元蕙、罗天池等有名藏家所藏，后从广东流入日本，为日本有邻馆收藏，此后被一个台湾收藏家购得，最终，在时隔915年之后，现身于北京。并于2010年6月3日被拍出了中国艺术品成交记录——3.9亿元，加上12%的佣金，总成交价4.368亿元。",[49,86,119,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9beded5450133e161e889393e118a59d.jpg","此卷长八米",[],{"id":31074,"slug":31075,"title":31076,"dynasty":146,"author":207,"museum":329,"description":31077,"tags":31078,"thumbUrl":31079,"material":239,"size":31080,"collection":107,"collections":31081,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},232803,"xiang-ma-tu-juan-shui-jing-gong-dao-ren-fang-han-gan-yi-ming-232803","相马图卷(水精宫道人仿韩干)","明人王世贞曾说：“文人画起自东坡，至松雪敞开大门。”这句话基本上客观地道出了赵孟頫在中国绘画史上的地位。无论是研究中国绘画史，还是研究中国文人画史，赵孟頫都是一个不可绕开的关键人物。如果说，唐宋绘画的意趣在于以文学化造境，而元以后的绘画意趣更多地体现在书法化的写意上，那么，赵孟頫在其间起到了桥梁作用。如果说，元以前的文人画运动主要表现为舆论上的准备，元以后的文人画运动以其成功的实践逐步取代正规画而演为画坛的主流，那末，引发这种变化的巨擘仍是赵孟頫。",[49,23,51,52,25,134,58,225,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b1e492db706ac5af78cddf44ad061db.jpg","30.5x102.9厘米",[],{"id":31083,"slug":31084,"title":31085,"dynasty":115,"author":116,"museum":99,"description":28310,"tags":31086,"thumbUrl":31087,"material":107,"size":107,"collection":107,"collections":31088,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},232793,"shi-yi-zheng-mu-zhi-ming-huang-ting-jian-232793","史翊正墓志铭",[86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8159859da97a876c2336d4e81f25bfca.jpg",[],{"id":31090,"slug":31091,"title":31092,"dynasty":97,"author":697,"museum":99,"description":31093,"tags":31094,"thumbUrl":31095,"material":319,"size":31096,"collection":107,"collections":31097,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},231546,"xun-mei-tu-wang-shi-shen-231546","寻梅图","汪士慎（1686-约1762），清代书画家、篆刻家。字近人，号巢林、溪东外史、左盲生、天都寄客，安徽歙县人，一作安徽休宁人，流寓江苏扬州。精篆刻、隶书，擅画花卉，尤擅画梅，笔墨疏落清劲，气清而神腴，墨淡而趣足，具有秀润恬静之致，与李方膺“铁干铜皮”形成鲜明对比。与金农、华品山等友善，为扬州八怪之一。\n汪士慎极爱梅花，擅长画梅竹，工于篆刻与八分书。人们评论他的梅竹说：“宠梅念竹有真意，剪水断冰无俗痕。”汪士慎跟金农、高翔、罗聘，被时人称为四大画梅高手。\n这幅《梅花》清淡秀雅，瘦劲姿媚，让我们看到了他画梅花的独特风格。汪士慎留世的梅花作品，其枝、花并不太繁，而以疏朗清瘦见长，给人一种疏影潇洒、冷香四溢的感觉。",[49,23,51,84,26,86,119,7,528,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebaace359b8eb216fa28c0c02b7b725.jpg","63x160厘米",[],{"id":31099,"slug":31100,"title":31101,"dynasty":146,"author":1644,"museum":99,"description":31102,"tags":31103,"thumbUrl":31104,"material":107,"size":107,"collection":107,"collections":31105,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},231481,"qie-zi-tu-ye-qian-xuan-231481","茄子图页","宋元间湖州吴兴人，字舜举，号玉潭，又号巽峰、霅川翁、清臞老人。幼有文名。宋景定间乡贡进士。入元不仕。工书，善画人物花木。尤善作折枝，其得意者，自赋诗题之。",[50,23,51,3363,25,54,6288,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c9d9d4102a916a0108a8d95ed82deeb.jpg",[],{"id":31107,"slug":31108,"title":31109,"dynasty":97,"author":26586,"museum":99,"description":31110,"tags":31111,"thumbUrl":31113,"material":107,"size":107,"collection":107,"collections":31114,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},231365,"xue-ji-tu-fan-qi-231365","雪霁图","樊圻（公元1616—1694尚在），字会公，更字洽公，江宁（今江苏南京人）。清代画家，\n江苏南京人，他与其兄樊沂均以画出名。与龚贤、高岑、吴宏、叶欣、胡慥、谢荪、邹喆等人并称为“金陵八家”。山水师赵令穰，刘松年、赵孟孚等而能自成风貌，王铎尝题其小景云：“洽公吾不知为谁，此幅全摹赵松雪、赵大年，穆然恬静，若厚德醇儒，敦庞湛凝，无忒无（兆） 。灯下睇观，觉小雷、大雷、紫溪、白岳一段，忽移于尺幅间矣。”又云：“是古人笔，不是时派。时派即钟谭诗也。”小印模糊，误视会公为洽公，圻后即以洽公行，咸知己也。 他的仕女画幽闲静逸，神韵俱佳，特别是[清]顺治八年，即公元1651年与吴宏合作的《寇湄像》，堪称佳作。",[49,50,23,51,25,54,2954,777,358,29,31112,150,27,7],"冰挂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4acd3e8fb8205ab2533358e709fef854.jpg",[],{"id":31116,"slug":31117,"title":31118,"dynasty":115,"author":13367,"museum":99,"description":31119,"tags":31120,"thumbUrl":31121,"material":689,"size":690,"collection":107,"collections":31122,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},230898,"zi-shu-shi-cai-xiang-230898","自书诗","蔡襄（1012年3月7日－1067年9月27日），字君谟。兴化军仙游县唐安乡连江里青泽亭境蔡坑（今福建省仙游县枫亭镇九社村蔡坑自然村）人。北宋名臣，书法家、文学家、茶学家。\n宋仁宗天圣八年（1030年），蔡襄登进士第，先后任馆阁校勘、知谏院、直史馆、知制诰、龙图阁直学士、枢密院直学士、翰林学士等职，在朝为谏官时，以直言著称。后数度外出，历知泉州、福州、开封府事。宋英宗即位后正授三司使，再以端明殿学士出知杭州。治平四年（1067年），蔡襄逝世。累赠少师，谥号“忠惠”。\n蔡襄为官正直，所到之处皆有政绩。在福州时，去民间蛊害；在泉州时，与卢锡共同主持建造洛阳桥；在建州时，倡植福州至漳州七百里驿道松，主持制作北苑贡茶“小龙团”。所著《茶录》总结了古代制茶、品茶的经验；《荔枝谱》则被称赞为“世界上第一部果树分类学著作”。蔡襄的诗文清妙，书法浑厚端庄，淳淡婉美，自成一体，为“宋四家”之一。有《蔡忠惠集》等传世。",[49,86,119,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e90b7b0597277a3f428e13c7a06decb.jpg",[],{"id":31124,"slug":31125,"title":31126,"dynasty":115,"author":27748,"museum":99,"description":31127,"tags":31128,"thumbUrl":31129,"material":107,"size":107,"collection":107,"collections":31130,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},230891,"tu-mu-tie-li-jian-zhong-230891","土母帖","《宋李建中书谘册》是宋代时期李建中创作的书法作品。\n所示要土母。\n今得一小笼子。\n封全谘送。\n不知可用否。\n是新安门所出者。\n复未知何所用。\n望批示。\n春冬衣历头。\n贤郎未捡到。\n其宅地基尹家者。\n根本未分明。\n难商量耳。\n见别访寻稳便者。\n若有成见宅子又如何。\n细希示及。\n（押字）。\n谘。\n孙号西行少车。\n今有旧车。\n如到彼不用。\n可货却也。\n北宋初期的 ，承袭唐人的传统，以丰肥为美。\n李建中是北宋初期的书法名家，他的书法骨肉停匀，神气清秀，对宋代书家有很深的影响。\n除了黄庭坚曾以“肥而不剩肉”的世间美女赞誉他的字之外，《宋史》本传中，也称赞他“行笔尤工，多构新体，草、隶、篆、籀、八分亦妙”。\n这幅作品又名“ ”，是李建中存世墨迹的代表作。\n天下十大行书之一， 排第十。\n作品中，字的结体紧密而修长，用笔沉着而丰腴。\n虽写的是行书，但起笔、收笔处仍见严谨的楷法笔意，可看出不少唐人书法的特质。\n此外，由于尺牍内提及“新安门”，地近洛阳，所以推测这是李建中晚年居住在洛阳时所写。\n李建中（945—11年），字得中，自称岩夫民伯，京兆（陕西西安）人，北宋初年著名书家。\n进士，曾官曹、解、颖、葵四州刺史，进金部员外郎。\n因掌西京留司御台史，世称“李西台”。\n《宋史》本传称他：“善书札，行笔尤工，多构新体，草、隶、篆籀、八分亦妙。\n人多摹习，争取以为楷法。\n”",[50,23,51,86,418,119,4832,319,435,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29b80d16fd2eded94b4ea57e1d1a647b.jpg",[],{"id":31132,"slug":31133,"title":31134,"dynasty":97,"author":31135,"museum":99,"description":31136,"tags":31137,"thumbUrl":31138,"material":107,"size":107,"collection":107,"collections":31139,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":75},230853,"hua-hui-tu-zhang-yu-230853","花卉图","张敔","此作截取荷塘一隅取景，虚实相生间尽显写意妙趣。浓墨挥写半幅枯老荷叶，焦墨劲挺勾勒叶脉，苍浑厚重带着岁月沉凝的质感；淡墨晕染新叶与待放菡萏，清润柔和，与浓墨形成鲜明对比，暗合新旧交替的生机。荷梗以枯涩带点的笔线写出，朴拙老辣，带着疏野萧散的意趣。朱红闲章轻点画面，以一抹亮色调和水墨的清冷，平衡视觉重心。整幅以简驭繁，不用浓丽设色，仅以水墨干湿浓淡的层次变化，将秋日荷塘残而未颓的清寂诗意晕染开来，于随性挥洒间尽显文人写意的疏淡格调。",[23,51,50,26,27,420,103,463,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1252ffd258c16f4357c28c9363dd76d8.jpg",[],{"id":31141,"slug":31142,"title":31143,"dynasty":97,"author":26586,"museum":99,"description":26587,"tags":31144,"thumbUrl":31145,"material":689,"size":690,"collection":107,"collections":31146,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},230356,"shan-shui-ce-ba-kai-fan-qi-230356","山水册八开",[23,51,50,24,25,55,7,56,277,137,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95306f468bab19553397d0d062d40e68.jpg",[],{"id":31148,"slug":31149,"title":31150,"dynasty":97,"author":10725,"museum":99,"description":17175,"tags":31151,"thumbUrl":31152,"material":689,"size":690,"collection":107,"collections":31153,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":75},230261,"zhuan-shu-dui-lian-hong-yi-fa-shi-230261","篆书对联",[49,86,541,5664,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc3f0082cd2356172086231095f1cd39.jpg",[],{"id":31155,"slug":31156,"title":31157,"dynasty":18,"author":2059,"museum":99,"description":31158,"tags":31159,"thumbUrl":31160,"material":107,"size":107,"collection":107,"collections":31161,"showCount":519,"zanCount":743,"manualWeight":39,"mainColor":40},228875,"chang-qing-jing-jing-lao-zi-lie-zhuan-wen-zheng-ming-228875","常清净经.老子列传","此作右幅白描老君，线条清劲简淡，勾勒出老者仙风道骨、超然出尘之态，形神兼备。左幅小楷精整秀雅，点画劲挺端稳，结体舒展端庄，笔墨间尽显平和冲淡之气，将道家澄心守静的意涵融于笔底。\n\n全卷朱钤错落，朱墨相映，书画印浑然一体，晕开古雅静穆的氛围，尽显文人清雅审美，把对道旨的敬慕化入毫端，是精工兼具文心的晚年佳作。",[49,23,51,52,135,26,417,119,86,436,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19e5331a756d311cefa90dd585e691c7.jpg",[],{"id":31163,"slug":31164,"title":31165,"dynasty":18,"author":161,"museum":99,"description":31166,"tags":31167,"thumbUrl":31168,"material":107,"size":107,"collection":107,"collections":31169,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},228827,"jing-jiang-song-bie-tu-juan-quan-juan-shen-zhou-228827","京江送别图卷全卷","《京江送别图》是明代画家 创作的纸本设色画，现收藏于北京故宫博物院。\n图卷绘沈周与友人长汀送别的情景，大刀夺阔，远山起伏，汀岸有板桥、杨柳、桃花，崖上草色青青，十人拜揖道别，一人立于船上还礼，依依不舍。\n该画笔法苍劲，墨色浑厚，远山川用粗笔披麻皴画成。\n该画描绘的是沈周等人在京江送别叙州太守吴愈赴任的情景。\n画面以横卷形式展开由右向左，依次是近景的丛树、板桥，坡岸，一片杨柳依依桃花烂漫的江南春色。\n及至中部也是作品的中心。\n众人在岸边长揖作别，江面上一叶小舟，主人正乘乘舟远去，水色苍茫。\n远景是逶迤连绵的群山。\n画首有清王时敏跋书“名迹贻薇”四字，后幅为明文林书“送吴叙州之任序”、祝允明书“叙州太守吴公诗序”，及沈周等人跋。\n钤“启南”朱方一印。\n引首清，王时敏隶书“名迹贻征”四字。\n后纸有明，文林“送吴叙州之任序州府太守伍公诗序”，沈周、陈琦、吴瑄、张习、都穆、朱存理、刘嘉囗题诗，以及清代顾开增、顾济乾、吴云题记。\n鉴藏印记有【吴云平生珍藏】等七十五方。\n明弘治时期，南京刑部郎中吴惟谦小任叙州（今属四川省）太守，顷途过家，亲朋好友闻之，欢喜若狂，多作诗歌赞颂：其婿请沈周作画，复请祝允明作序相送。\n此图画成于弘治四年（1491）三月，沈周时年六十五岁。\n京江，当是镇江口的长江段，叙州相当今之四川宜宾。\n吴是苏州府太仓州人。\n如果从家中赴任，在苏州稍事逗留，即可乘舟沿古运河到镇江，由此向西直溯蜀地。\n这里对岸即是瓜洲古渡，正如长安的灞桥一样，常为古人惜别之地。\n这是沈周中晚年的代表作。\n从这幅画中可见沈周既有传统笔法。\n充分体现书卷气，又根据自然风貌，设置一定情节引人入胜，展现自己的面目。\n《京江送别图》构图简洁，水天一色。\n因受南宋画家构图的影响，此幅显得具有分外寥廓、无垠之意，对面的远山用披麻皴画出，多矾头和黑色苔点。\n显然是受董源、吴镇等画法影响，表现了关山重重和征途悠远：近处的树丛杨柳依依、槐桧掩映，用笔在郭熙和黄子久间，树下的泥石用笔豪放，这样就将它向观者拉近了距离。\n此图画面布景得宜，疏密有致，近处长林巨嶂，远处青山叠翠，遥相呼应。\n近景桃花，杏花点缀，春意盎然。\n图的内容虽然描绘的是真人真事，但却没有刻板的描绘送别的场面，而以背景衬托，船舱内着官服的人，当为吴惟谦，寥寥数笔，形象逼真，生动传神，表示一副十分谦恭的神态，岸边四人拜揖告别，神情真切，双方的情感真切虔诚，这正是文人画的特点。\n此图画法有宋、元诸家笔意而有所创造。\n该画曾经陆恭、孙煜峰、翁嵩年、顾开增、张珩等收藏 ，现藏于北京故宫博物院。\n212年11月—21年1月，《京江送别图》在苏州博物馆举办的“石田大穰——吴门画派之沈周特展”展览中展出。\n沈周（1427年—159年），明代画家。\n字启南、号石田、白石翁、玉田生、有居竹居主人等，是明中叶画坛上四大艺术家（另三人为文徵明、唐寅、仇英）之一，人称江南“吴门画派”的班首，在画史上影响深远。\n沈家世代隐居吴门，居苏州相城，故里和墓在今相城区阳澄湖镇。\n沈周的曾祖父是王蒙的好友，父亲恒吉，又是杜琼的学生，书画乃家学渊源。\n父亲、伯父都以诗文书画闻名乡里。",[49,23,51,52,26,56,60,61,62,63,66,64,86,119,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3050617f0de18f29fed07db854e6eea5.jpg",[],{"id":31171,"slug":31172,"title":31173,"dynasty":18,"author":4381,"museum":485,"description":31174,"tags":31175,"thumbUrl":31176,"material":107,"size":107,"collection":107,"collections":31177,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},228313,"xun-yang-qiu-se-tu-juan-lu-zhi-228313","浔阳秋色图卷","此作用淡赭与花青晕染江岸秋景，浅滩汀渚在烟水间连绵铺展，远山如黛，浮沉于空濛江面之上。近岸枯木点缀残红，坡岸清寂冷峭，留白极尽空疏淡远之致。\n画面暗合卷中《琵琶行》的落寞诗意，将江州清秋送客的孤凄萧瑟具象化，把贬谪失意的羁旅愁思藏在冷寂的秋山寒水之中。书画合璧，以景衬情，将迁客怅惘的心境融在烟霭迷离的江天秋色素景中，尽显文人寄情诗画、以景抒怀的雅致意趣。",[49,23,51,52,25,56,86,119,55,64,715,278,6735,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c302e25a8950fc199901eccbec3e1b8.jpg",[],{"id":31179,"slug":31180,"title":9716,"dynasty":146,"author":4144,"museum":99,"description":31181,"tags":31182,"thumbUrl":31183,"material":107,"size":107,"collection":107,"collections":31184,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":75},228253,"ku-shu-tu-ye-cao-zhi-bai-228253","画面以古木为核心，老干虬曲扭结，皴擦简劲尽显树皮斑驳嶙峋，枯瘦枝桠如铁铸般舒展，倒挂的垂丝晕开幽寂清冷的氛围。侧旁杂木参差，枯荣相衬，更衬出主树孤高之姿。\n\n下方坡石以淡墨勾勒晕染，棱角浑朴古拙，托举着古木更见苍劲。构图疏朗空灵，以极简笔墨铺展出荒寒淡远的意境，尽显元代文人尚简重意的风骨。笔意苍劲松秀，枯中藏腴，淡而弥厚，将冬景萧瑟化作沉静的精神图景，淡墨轻岚间，寄寓着幽淡清寂的隐逸心绪，尽显疏旷出尘的文人意趣。",[49,23,51,3363,26,56,967,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aa7ec689131e19f51954940a33d2460.jpg",[],{"id":31186,"slug":31187,"title":31188,"dynasty":115,"author":207,"museum":99,"description":31189,"tags":31190,"thumbUrl":31192,"material":107,"size":107,"collection":107,"collections":31193,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":75},227893,"yu-le-tu-ye-yi-ming-227893","渔乐图页","这幅小品以虚实相生铺展江渚闲情。右侧江岸苍松虬曲，墨色皴擦间晕染出枝叶蓊郁的清寂意韵，留白处烟霭漫过江天，晕开空濛淡远的朦胧诗意。\n\n水面扁舟轻漾，渔人围坐舟中，姿态松弛悠然，帐幔酒旗随江风微动，将寻常渔居琐事晕染出世外之味。简淡笔墨勾勒人物情态，寥寥数笔便写尽江湖渔隐的闲散日常，将俗世烟火揉入水墨淡彩间。\n\n整体雅致静穆，把宋人寄情林泉的隐逸襟怀藏进烟波里，尽显宋代小品画的诗意意境，将渔家寻常的片刻欢愉，铺陈为悠远淡和的江居雅卷。",[49,23,822,26,25,56,62,19556,58,714,10410,55,7,31191],"烟波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F943293d6916514a78dbafe73eefd7416.jpg",[],{"id":31195,"slug":31196,"title":31197,"dynasty":115,"author":12189,"museum":99,"description":31198,"tags":31199,"thumbUrl":31200,"material":107,"size":107,"collection":107,"collections":31201,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},227539,"fan-wang-li-fo-tu-zhao-guang-fu-227539","藩王礼佛图","《番王礼佛图》，宋代赵光辅作，卷绢本，设色，纵28.6厘米，横103.5厘米。现藏美国克里夫兰艺术博物馆。\n\n此图画中国周边少数民族酋长、番王朝拜佛祖的形象。佛祖高坐莲台，诸番王作礼拜、贡献之状，服饰皆异域装束。画面气势宏大，人物安排疏密有致，表情各异，生动自然，是宋代人物画的一幅杰作。",[49,50,23,51,52,1284,25,54,58,7,86,180,417,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40c003e5ab7391900ab1a6e34dd38cf6.jpg",[],{"id":31203,"slug":31204,"title":31205,"dynasty":115,"author":31206,"museum":99,"description":31207,"tags":31208,"thumbUrl":31209,"material":107,"size":107,"collection":107,"collections":31210,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":75},227438,"chu-shi-bei-jiang-tu-juan-yang-bang-ji-227438","出使北疆图卷","杨邦基","杨邦基，生卒年不详。金画家。字德懋，号息轩，陕西华阴人。幼孤，好学。擅画山水、人物、鞍马。人物画有李公麟格调；山水学李成。潇洒脱俗，令人渺然有江湖尘外之思。存世作品有《聘金图》。\n\n《金史》称：杨邦基，字德懋，华阴人。父綯，宋末为易州州佐。宗望伐宋，蔡靖以燕山降，易州即日来附，綯被杀，邦基年十余岁，匿僧舍中，得免。既长，好学。天眷二年，登进士第，调滦州军事判官，迁太原交城令。太原尹徒单恭贪污不法，托名铸金佛，命属县输金，邦基独不与。徒单恭怒，召至府，将以手持铁拄杖撞邦基面，邦基不动。秉德廉察官吏，尹与九县令皆免去，邦基以廉为河东第一，召为礼部事。以兵部员外郎摄吏部差除，坐铨注李庆之、大奉国臣，与高衎等皆贬官，邦基降坊州宜君簿。转高密令。大定初，尚书省拟邦基刑部郎中，世宗曰：“县官即除郎中，如何？”太师张浩对曰：“邦基前为兵部员外郎矣，且其人材可用。”上许之。改太府少监，知登闻检院，为秘书少监，迁翰林直学士，再迁秘书监兼左谏议大夫，修起居注。中都警巡使张子衍与邦基姻家，子衍道中遇皇太子卫仗，立马市门不去伞，卫士诃之，子衍以鞭鞭卫士诃己者。御史台劾奏子衍，邦基见台官为子衍求解，及入见显宗，求脱子衍罪。诏削子衍官两阶。邦基坐削官一阶，出为同知西京留守事，徙山东东路转运使，永定军节度使，致仕。大定二十一年，卒。邦基能属文，善画山水人物，尤以画名当世云。",[49,50,23,51,52,25,56,55,58,225,610,278,279,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7813fa368ac32a990250cd1cd532baa8.jpg",[],{"id":31212,"slug":31213,"title":31214,"dynasty":192,"author":2994,"museum":99,"description":31215,"tags":31216,"thumbUrl":31217,"material":107,"size":107,"collection":107,"collections":31218,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},227083,"wen-huang-ai-ce-ye-tie-chu-sui-liang-227083","文皇哀册页帖","《文皇哀册》在传世的小楷作品中，久负盛名。相传为真迹，但文稿后並无书人落款。据古代学者考证，乃是褚遂良在公元649年为唐太宗文皇之死而作的。\n\n据唐元陵《仪注》所记唐代宗丧礼，当皇帝灵柩下葬，在灵驾往山陵引发之际，要在太极宫承天门外举行遣奠之礼，由中书令宣读哀册，然后再把哀册纳入山陵之中。唐太宗的丧礼《仪注》虽未记载，但大致推想其礼仪当与代宗李豫相似，甚至过之。太宗驾崩时，褚遂良恰好为中书令，因此由他宣读并撰文书写“哀册”便是合情合理的事了。这篇《哀册》的文字曾见载于《文苑英华》、《唐大诏令集》等。作为法书真迹，《文皇哀册》最早记载于宋高宗的藏品中。此外原真迹本后还有宋人于瑰和薛绍彭、米友仁等人的题记，以及绍兴御府印记。其中尤以米友仁的跋引人注目。米友仁跋曰：“褚遂良在唐贤诸名世士书中，为秀颖得羲之法最多者，真字有隶法，自成一家，非诸人可以比肩，此书盖其晚年笔。”米友仁为米芾之子，本身是一位著名的书画家及鉴赏家，所以《文皇哀册》被判断为褚书，可以说是权威之见。此后元末明初的宋濂、明王世贞等人亦对此帖真迹的流传作了记载。从记载中我们得知，历代收藏者有著名收藏家岳珂、郭守敬以及王世贞等，可见这幅作品的身价之高。",[86,24,417,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33af4a7d295c4b58c6b2d52909cdeb14.jpg",[],{"id":31220,"slug":31221,"title":31222,"dynasty":97,"author":5309,"museum":81,"description":31223,"tags":31224,"thumbUrl":31225,"material":634,"size":107,"collection":107,"collections":31226,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":924},224469,"xi-shan-hong-shu-wang-hui-224469","溪山红树","此图为王翚仿黄鹤山樵王蒙的一件极具特色的代表作，描绘的是遍生红树的一片秋日山林景色。画中以圆转重叠、突兀高耸的山峰为主体，山溪逶迤前行，涟漪阵起，秋波荡漾，两岸林木，红翠相间，整个画中意境深幽，秋气袭人。画家拟王蒙笔意与布局，构景繁密，山势云动，境界深奇。山石画法以墨笔牛毛皴和解索皴为主，干笔皴擦，浓墨点苔，既显浓密厚重，又鲜艳夺目，光彩熠熠。",[49,23,51,712,25,55,7,86,119,56,64,5740,59,293,294,1902],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F613cf57d2a1886ceabf81e3e254b741a.jpg",[],{"id":31228,"slug":31229,"title":31230,"dynasty":97,"author":5309,"museum":99,"description":31231,"tags":31232,"thumbUrl":31233,"material":107,"size":107,"collection":107,"collections":31234,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},224440,"xian-shan-lou-guan-tu-wang-hui-224440","仙山楼观图","此作画境苍浑雅致，重岩峻岫拔地而起，皴笔磊落厚重，将山石嶙峋肌理尽皆铺展。古松虬劲横斜，间错排布，掩映起层叠楼阁，朱檐黛瓦隐于林壑间，似藏洞天秘境。\n\n山脚溪湾萦回，村居错落临水而建，渔舟泊于浅滩，烟火意趣晕开仙家清寂，将尘寰烟火与云山灵境相融。整幅画笔致兼具工细与苍茫，干湿墨色交织，既见峰峦雄奇之态，亦得林泉幽居之恬，恍若踏入可居可游的世外清境。",[49,23,51,84,56,59,2681,137,61,150,55,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb079ccf42f95315b2b3056257b58765c.jpg",[],{"id":31236,"slug":31237,"title":31238,"dynasty":97,"author":929,"museum":99,"description":31239,"tags":31240,"thumbUrl":31242,"material":107,"size":107,"collection":107,"collections":31243,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},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。",[49,23,51,84,25,403,55,119,7,27,137,277,31241],"凌霄花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F330a94e92eb6ad613697bf518f9e4fc9.jpg",[],{"id":31245,"slug":31246,"title":31247,"dynasty":97,"author":31248,"museum":31249,"description":31250,"tags":31251,"thumbUrl":31252,"material":107,"size":31253,"collection":1120,"collections":31254,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":75},224146,"yu-qu-yuan-zhi-zheng-wen-chao-xin-zha-yu-yue-224146","俞曲园致郑文焯信札","俞樾","美国华盛顿国立美术馆","俞樾（1821年12月25日—1907年2月5日），字荫甫，自号曲园居士，浙江省德清县城关乡南埭村人。清末著名学者、文学家、经学家、古文字学家、书法家。现代诗人俞平伯的曾祖父，章太炎、吴昌硕、日本井上陈政皆出其门下。清道光三十年（1850年）进士，曾任翰林院编修。\n俞樾后受咸丰皇帝赏识，放任河南学政，被御史曹登庸劾奏“试题割裂经义”，因而罢官。遂移居苏州，潜心学术达40余载。治学以经学为主，旁及诸子学、史学、训诂学，乃至戏曲、诗词、小说、书法等，可谓博大精深。海内及日本、朝鲜等国向他求学者甚众，尊之为朴学大师。所著凡五百余卷，称《春在堂全书》。除《群经平议》五十卷、《诸子平议》五十卷、《茶香室经说》十六卷、《古书疑义举例》七卷外，其《第一楼丛书》三十卷、《曲园俞楼杂纂》共百卷。《清史稿》有传。\n俞樾是晚清有影响的学者。他长于经学和诗词、小说、戏曲的研究，所作笔记搜罗甚广，包含有中国学术史和文学史的珍贵资料。善诗词，工隶书，学识渊博，对群经诸子、语文训诂、小说笔记，撰著颇丰，一生著述不倦，主要著述有《小浮梅闲话》《右台仙馆笔记》《茶香室杂钞》等，辑为《春在堂全书》，凡500卷。\n在通俗小说方面的重要贡献是修改《三侠五义》，使这部小说得以广泛流传。赵景深在1956年1月所作的《三侠五义》前言中说：《三侠五义》原名《忠烈侠义传》，出现于光绪五年（1879）。1889年俞樾初见此书，认为第一回狸猫换太子“殊涉不经”，便参考《宋史》和《默记》等加以删改；他还认为书中所叙不只三侠，“南侠、北侠、丁氏双侠、小侠艾虎，则已得五侠矣。而黑妖狐智化者，小侠之师也；小诸葛沈仲元者，第一百回中盛称其从游戏中生出侠义来。然则此两人非侠而何？即将柳青、陆彬、鲁英等人概置不数，而已得七侠矣。”就改名为《七侠五义》，与《三侠五义》并行流传。这里反映了俞樾关于小说的学术观，可供历史小说创作的参考。\n他对小说的艺术研究也很精湛，赵景深又说，俞樾对于这书的评话特性也有极 好的比喻：“事迹新奇，笔意酣恣，描写既细入毫芒，点染又曲中筋节。正如柳麻子说《武松打店》，初到店内无人，蓦地一吼，店中空缸空甏皆瓮瓮有声；闲中着色，精神百倍。如此笔墨，方许作评话小说；如此评话小说，方算得天地间另一种笔墨。”如果有人写一部《中国俗小说史》，不可不能提到俞樾。",[49,86,119,30257,7,319,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefc4e7907f81b8c51ce121fce1b550ae.jpg","30x135",[1120],{"id":31256,"slug":31257,"title":31258,"dynasty":97,"author":4047,"museum":99,"description":31259,"tags":31260,"thumbUrl":31262,"material":107,"size":107,"collection":107,"collections":31263,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":75},224125,"shi-lu-li-lu-ting-tu-zhou-qian-long-224125","诗鹭立芦汀图轴","清乾隆缂丝乾隆御制诗鹭立芦汀图轴是清乾隆时期的图轴。\n米色地上缂织芦花白鹭，右上方以黑线缂织高宗隶书御制诗一首： 采采亚汀洲，为花岂自由。\n群摇令夕雨，不异去年秋。\n藏鹭恋青叶，凌波颤白头。\n吟看惊隙影，荣落宜淹留。\n诗末织圆、方朱印“乾”、“隆”各一方。\n此图轴的特点在于先缂织出物象形状，其上再着笔渲染，如 即先以白丝线织其形态，而后用墨笔画羽毛，地上的小草则全以笔描画，这种织与画的结合，可以画笔来描绘细小而不易缂织之处，弥补了织的不足。\n此作品织与画搭配得当，缂工上乘，以平缂、构缂、环缂、子母经为主。\n画面上还钤有阳文朱印“乾隆御览之宝”、“宣统御览之宝”、“石渠宝笈”、“石渠定鉴”、“三希堂精鉴玺”、“无逸斋精鉴玺”、“乾清宫鉴藏宝”、“宣统鉴赏”和“乾隆鉴赏”、“宜子孙”、“宝笈重编”阴文印章。\n《石渠宝笈续编》著录。",[49,50,23,51,84,54,25,14351,1061,31261,277,7],"汀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdffc101a696745672e7f2512cd182300.jpg",[],{"id":31265,"slug":31266,"title":31267,"dynasty":5343,"author":207,"museum":99,"description":31268,"tags":31269,"thumbUrl":31271,"material":689,"size":690,"collection":107,"collections":31272,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":75},224054,"wei-xing-tai-shou-zhang-yi-ming-224054","「魏兴太守章」","鎏金龟钮，方面铜印，印面铸篆体印文「魏兴太守章」五字，做白文三行，有白边。汉景帝中二年(148 B.C.)将秦官「郡守」改名「太守」，沿用至后世，宋代起改称「知府」，相当于现在的「省长」。本印置于清乾隆朝「金薤留珍」之五箧其中「壁」屉之中，「金薤留珍」乃乾隆朝时将内府所收的前代印记整理编次而成；包含铜官印221件，私印1070件，共1291件，存放于「东」、「壁」、「图」、「书」、「府」五个黑地金漆龙纹屉匣中，并依各柜所藏编制印谱。印谱目录编次方式以官印为始，继以私印，可能是承袭明顾从德《集古印谱》之编目方法。",[5343,7,5943,26747,9700,31270],"龟形钮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16464cc568cfebe6469b48e5f378f842.jpg",[],{"id":31274,"slug":31275,"title":31276,"dynasty":18,"author":207,"museum":329,"description":31277,"tags":31278,"thumbUrl":31279,"material":239,"size":31280,"collection":107,"collections":31281,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":75},223576,"quan-xi-tu-yi-ming-223576","犬戏图","三只白底黑点的大狗趴在地上，仿佛看着它们的皮肤吐着皮毛，而其中的两只正在锻炼和玩耍，三只胖嘟嘟的傻傻的表情非常可爱。",[49,23,51,25,54,1116,5028,610,1714,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F661ed9dda15d3f39a9490584687bc98a.jpg","36X35cm",[],{"id":31283,"slug":31284,"title":31285,"dynasty":146,"author":207,"museum":7132,"description":31286,"tags":31287,"thumbUrl":31288,"material":183,"size":107,"collection":107,"collections":31289,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":75},223393,"cheng-ma-tu-yi-ming-223393","呈马图","绘八人三马，马匹壮硕矫健，二黑一白，脖上系红缨长坠，马鬃及马尾毛发浓密，马背上皆搭具有民族特图案色的垫毯，马头打扮亦精致。八人身着民族特色衣饰，面部或粗旷，或白净，表情各异。",[49,23,50,52,25,54,58,225,7,86,541],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9237c5a6f17766247b13fda0fad8a1b1.jpg",[],{"id":31291,"slug":31292,"title":31293,"dynasty":97,"author":3871,"museum":81,"description":31294,"tags":31295,"thumbUrl":31298,"material":25,"size":31299,"collection":107,"collections":31300,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},223323,"wu-xing-er-shi-ba-xiu-shen-xing-tu-ding-guan-peng-223323","五星二十八宿神形图","此《五星二十八宿神形图》卷据传为唐代梁令瓒绘。此图原分为上下两卷，描绘五星（岁星、荧惑、镇星、太白、辰星），以 及二十八星宿对应的人物神怪图像。每星宿一图，或人或兽，或人身兽首，每图前有篆书说明。今仅存上卷的五星和 “角” 至 “危” 十二宿。此内含三种卷本。\n“五星二十八宿” 中的 “五星” ， 亦可称五纬， 即中国古代天文学中的金、 木、 水、 火、 土五大行星。 其中， 金星古称明星， 又名太白金星；木星， 古称岁星； 水星， 古称辰星； 火星， 因其时明时暗， 行踪不定， 古称荧惑星； 土星， 古称镇星、 填星、 信星等。 “二十八宿” ， 源于道教文化。二十八宿， 其中东方青龙七宿是角、 亢、 氐、 房、心、 尾、 箕； 北方玄武七宿是斗、 牛、 女、 虚、 危、室、 壁； 西方白虎七宿是奎、 娄、 胃、 昴、 毕、 觜、参； 南方朱雀七宿是井、 鬼、 柳、 星、 张、 翼、 轸。",[49,105,54,25,135,119,7,134,58,225,1116,1284,1337,86,31296,31297,20322],"线条","神形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4cf4849e8cdfb46d12f18ed03910394.jpg","26.5x70.9",[],{"id":31302,"slug":31303,"title":31304,"dynasty":97,"author":23905,"museum":99,"description":31305,"tags":31306,"thumbUrl":31308,"material":227,"size":31309,"collection":70,"collections":31310,"showCount":519,"zanCount":1288,"manualWeight":39,"mainColor":40},223254,"yan-shan-ba-jing-tu-qiong-dao-chun-yin-zhang-ruo-cheng-223254","燕山八景图-琼岛春荫","此册以北京城著名的“燕京八景”为题而画。燕京八景一说始自金《明昌遗事》，当时金章宗完颜璟将燕京的八处风光名胜选定为燕京八景，即“居庸叠翠”、“玉泉垂虹”、“太液秋风”、“琼岛春荫”、“蓟门飞雨”、“西山积雪”、“卢沟晓月”和“金台夕照”。“燕京八景”历金、元、明、清四代，又有称“燕台八景”、“燕山八景”、“京师八景”、“京畿八景”者，虽景点相同，八景的名称在不同时期则有所变化。乾隆十六年（1751年），乾隆曾御制《燕山八景诗》，将八景定名为“琼岛春荫”、“太液秋风”、“玉泉趵突”、“西山晴雪”、“蓟门烟树”、“卢沟晓月”、“金台夕照”、“居庸叠翠”，沿用至今。该画册中建筑的刻画不用界尺，但是对建筑的特征却描绘得生动准确，表现手法活泼而不失稳重，是画家对景写实的佳作。",[49,50,23,51,25,1962,7,56,59,10510,60,61,64,150,5692,31307,28474,1240],"园林建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99e64bf8b756daf54e558d61066d3f36.jpg","34.7cm，横40.3cm",[70,72],{"id":31312,"slug":31313,"title":31314,"dynasty":97,"author":19659,"museum":81,"description":31315,"tags":31316,"thumbUrl":31317,"material":31318,"size":31319,"collection":107,"collections":31320,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},222861,"hua-shi-ba-xue-shi-tu-juan-sun-hu-222861","画十八学士图卷","孙祜（公元18世纪）江苏人，生卒年不详。工人物、山水，宗法王原祁。乾隆（1736-1795）时供奉内廷，为宫廷画家。乾隆元年（1736）曾与陈枚、金昆、戴洪、程志道绘《清明上河图》卷进呈，得邀乾隆帝审题，五年（1740）与陈枚、金昆、程志道、丁观鹏合作《庆丰图》册，六年（1741）又与周鲲、丁观鹏合作《汉宫春晓图》卷。\n周鲲字天池，江苏常熟人。黄霆子。画承家学，工山水、人物，梅花亦佳。乾隆（一七三六至一七九五）时供奉如意馆。尝以闾阎疾苦情形托诸艺事，蒙御题，有：“监门遗故事，咨尔溯其踪”句。所作多藏石渠宝笈。\n丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。",[23,51,52,25,54,119,7,137,64,1062,3653],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F070705f270ed15cd0e1471e60583dd9b.jpg","設色,青綠,描金","39×1138.2",[],{"id":31322,"slug":31323,"title":31324,"dynasty":97,"author":4135,"museum":7055,"description":10570,"tags":31325,"thumbUrl":31326,"material":319,"size":31327,"collection":107,"collections":31328,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},222644,"xi-ting-chun-yan-tu-gao-feng-han-222644","西亭春艳图",[49,23,50,52,25,54,27,308,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe91fd621aef32d569363dd50492f6e6.jpg","21×122cm",[],{"id":31330,"slug":31331,"title":27188,"dynasty":18,"author":9186,"museum":175,"description":31332,"tags":31333,"thumbUrl":31334,"material":2926,"size":27192,"collection":107,"collections":31335,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},222318,"li-bai-gu-feng-shi-juan-wang-chong-222318","本幅款署“雅宜山人王宠书”。钤“王履吉印”、“韡韡斋”，迎首钤“大雅堂”。收藏印钤“侯宝璋心赏”、“玉华堂绝品”、“玉华堂紫箫客”、“青萝山馆”、“披肝沥胆”。卷后有裘曰修、侯宝璋题跋。\n《李白古风诗》共8首，用金粟山藏经纸书写。此纸质地硬，纸面光滑，故笔墨线条清晰可辨，用笔转折历历在目。书法体势宽博疏拓，笔法丰沉圆遒，字形婉转结势，姿态奇特。王世贞曾评王宠书：“虽结法小疏，而天骨烂然，姿态横出，有威风千仞之势。”卷后裘曰修言：“雅宜山人书法大令，天骨秀拔，风神疏朗，名重一时。”",[49,462,52,86,26,7,944,947,870,406],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67be2d310bcf7052aa6cc69f361390e3.jpg",[],{"id":31337,"slug":31338,"title":31339,"dynasty":18,"author":161,"museum":81,"description":31340,"tags":31341,"thumbUrl":31342,"material":31343,"size":31344,"collection":107,"collections":31345,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},222119,"shu-lin-ting-zi-tu-shen-zhou-222119","疎林亭子图","高树茅亭，桥间策杖。自题：湖上清湾是子家，绿杨岸下水红花。去年载酒会相覓，一路寻诗览物华。款：沈周为君泽题。钤印三：石田、煮石亭。著录：石渠宝笈续编、故宫书画录卷八。收传印记：石渠定鉴、宝笈重编、乾隆御览之宝、嘉庆御览之宝、石渠宝笈、乾清宫鉴藏宝。",[49,822,26,55,86,7,7870,2002,64,379,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dca097bc0d71acf5434ad657cde3e77.jpg","片金纸","21.5×57cm",[],{"id":31347,"slug":31348,"title":31349,"dynasty":18,"author":4410,"museum":175,"description":31350,"tags":31351,"thumbUrl":31352,"material":391,"size":31353,"collection":107,"collections":31354,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":75},222088,"qiu-zhi-yuan-tu-juan-qian-gu-222088","求志园图卷","在明代吴门画家的作品中，有许多以他人的室名别号为题，这类作品被张丑称之为“别号图”，如推而广之，还应包括以庄园、庭院为题材的作品。它们在描绘人造园林真实性的基础上，力图表现园林主人的生活理想，反映他们身居闹市，却追求“与深山野水为友”的操守与志向，这类作品成为吴门画派所表现的一种突出的艺术现象，而钱穀的《求志园图》正是其中颇具代表性的一件。\n此卷是钱穀应友人张凤翼之请，描绘其家园春夏之间的景色，卷首有文徵明题“文鱼馆”三字，卷后有王世贞行书《求志园记》。画家从右侧园门画起，以怡旷轩、风木堂、尚友斋为中心，前有庭，后有园，渐次展开，王世贞所撰《求志园记》中采芳径、文鱼馆、香雪廊皆按图可索，抚记展图，这座“旦而旭、夕而月、风于春、雪于冬”的甲第名园中当年文人云集、清谈雅会的盛景似乎随着手卷展开历历在目。虽写实景，却不是简单的再现，更注意了人造景观与湖渚山色的自然风光的谐调与结合，突出了中国古代“虽由人造，宛自天成”的造园理念，用修篁古木、冬梅花篱、白鹅紫鸳表现画主人对归隐生活的向往，是托物言志的再创造。事实上，由于画家与画主人在情感、思想、旨趣上的相通，图中寄寓的对天地灵秀、淡泊胸襟的意趣追求，同样是画家本人的内心写照。",[49,23,52,25,54,51,119,417,7,59,64,2002,60,61,727,1019,85,777,13543,20590,295,1481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66742fa1af93fb6e7fea758c370c8f5a.jpg","纵29.8厘米，横190.2厘米",[],{"id":31356,"slug":31357,"title":31358,"dynasty":18,"author":2059,"museum":175,"description":13069,"tags":31359,"thumbUrl":31360,"material":319,"size":31361,"collection":122,"collections":31362,"showCount":519,"zanCount":39,"manualWeight":39,"mainColor":40},221950,"s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寒树图轴",[49,23,84,26,56,13140,277,727,751,7,86,55,30579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165a14128aeb069047921dc97c301c36.jpg",[],{"id":31660,"slug":31661,"title":941,"dynasty":18,"author":2059,"museum":99,"description":16056,"tags":31662,"thumbUrl":31663,"material":689,"size":690,"collection":107,"collections":31664,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},287816,"chi-bi-fu-wen-zheng-ming-287816",[86,119,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a14562a9ab63a7d4dfa3289cadbe6a2.jpg",[],{"id":31666,"slug":31667,"title":31668,"dynasty":146,"author":31669,"museum":81,"description":31670,"tags":31671,"thumbUrl":31672,"material":33,"size":31673,"collection":107,"collections":31674,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":75},287768,"lin-luan-fu-di-zhou-zhao-xi-yuan-287768","林峦福地轴","赵希远","原题。福地真传霹雳开。仰空虚窦瞰崔嵬。千盘磴道穿深黑。万古仇池接往来。颇怪洞中常见日。翻从地底一登台。耸身且自崖间出。回首仙踨怅□来。茂苑文嘉。钤印二。休。承。\n鉴藏宝玺 乾隆御览之宝。乾隆鉴赏。五玺全。宝笈三编。宣统御览之宝。\n收传印记 文谦光印。君珂鉴赏。潘志省印。又三印漫漶。\n谨按赵希远。与王蒙同时。蒙有香光居士图。希远爱而临之。见画史会要。",[50,23,84,712,55,25,278,293,59,610,61,2142,5835,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb027e2c1284cdaf85c752a1e80f0f639.jpg","127.5x31.1",[],{"id":31676,"slug":31677,"title":31678,"dynasty":97,"author":207,"museum":99,"description":31679,"tags":31680,"thumbUrl":31681,"material":689,"size":690,"collection":107,"collections":31682,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},287698,"fang-huang-gong-wang-fu-shan-chun-ju-tu-yi-ming-287698","仿黄公望富山春居图","此作用笔苍秀松灵，以披麻皴写山峦丘壑，复刻出原作浑厚华滋的山水意趣。远山淡晕如黛，近渚萦回清浅，林麓村居错落萧疏，尽显富春山野逸空濛之态。\n卷尾题跋笔墨雅致，与画境浑融一体，暗合元人山水“以画为寄”的隐逸风神，虽摹古却自见韵致，将江南富春山的空灵秀润尽藏尺幅间，是颇具功力的仿古佳制。",[49,23,52,26,712,134,55,278,3207,1936,86,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4982c0319d064f8f446d442b55159a94.jpg",[],{"id":31684,"slug":31685,"title":31686,"dynasty":97,"author":31687,"museum":99,"description":31688,"tags":31689,"thumbUrl":31690,"material":689,"size":690,"collection":107,"collections":31691,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},287420,"jiu-lu-tu-jin-kun-287420","九鹿图","金昆","金昆，清朝画家，善画。康熙（一六六二至一七二二）时供奉内廷，有庆丰图、虎邱待月图均邀御题。",[49,23,50,51,52,53,25,54,56,5835,610,61,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04b723b70834eaea898fe493dbe1921f.jpg",[],{"id":31693,"slug":31694,"title":31695,"dynasty":18,"author":6822,"museum":99,"description":31696,"tags":31697,"thumbUrl":31698,"material":689,"size":690,"collection":107,"collections":31699,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},287358,"lin-wang-meng-tai-bai-shan-tu-du-qiong-287358","临王蒙太白山图","杜琼（1396~1474年），字用嘉，号东原，五坞山人,延绿亭主人,私谥渊孝先生.人称东原先生，南直隶苏州府吴县（今江苏苏州市）人。明朝文学家，书画家、藏书家，史学家。\n杜琼出身于富贵之家，自幼勤学聪颖，以孝闻名乡里，后师从陈继，并承其业，教书授徒。之后被举荐参与过《太宗（朱棣）实录》《宣宗实录》《舆地志》的修撰，并参与《苏郡志》的校定，备受朝廷礼遇和乡里尊宠，享誉遐迩。1474年，杜琼逝世，享年79岁。\n杜琼虽受朝廷礼遇和乡宠，但是他淡泊功名而醉于谈诗论画的隐居生活。其精于翰墨书画，尤以画山水为著，集众家之长而直追董巨，画风秀逸，是吴门派早期代表画家。\n其传世画作有《南村别墅图》《为吴宽作山水图》《友松图卷》等，此外还著有《东原集》《耕馀杂录》《纪善录》等诗文作品。",[49,23,52,712,134,26,25,55,278,1936,755,727,17038,294,66,119,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0297dd5ace6aed29811f36a49e164bc.jpg",[],{"id":31701,"slug":31702,"title":31703,"dynasty":18,"author":2181,"museum":99,"description":31704,"tags":31705,"thumbUrl":31706,"material":689,"size":690,"collection":107,"collections":31707,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},283752,"lan-rong-chuan-se-tu-zhou-dong-qi-chang-283752","岚容川色图轴","此图是董其昌74岁（1628年）时创作的，以笔墨表现为主旨，意在聊写胸中丘壑。作者在静观自然景象的基础上，以娴熟的笔墨技法阐释自己对自然山川的本质感悟，它超越了山水云树的具体形貌，以形写神，故图中每一景、每一境虽都不是自然景观的真实描绘，但读者却可从其谨严的笔墨塑造中领略到真山实水的存在。以近景的树木为例，形态各异的树木，互有遮掩地生长在凹凸不平的坡地上。树干以短线条双勾，高低不同且有曲直变化，干体以淡墨或皴或晕，增强了其明暗效果及立体感；树叶表现得更为丰富，有的以侧锋卧笔大点横贯，有的浓淡墨相互交叠，有的直接落笔画线成叶，有的则以线勾双边成夹叶状，各具神采。但将它们参照客观存在的植物，却难以分辨出其树种，显然它们是董其昌“读万卷书，行万里路，胸中脱去尘浊，自然丘壑内营，成立鄄鄂（注：指城廓），随手写出，皆为山水传神矣”的美学观的最好图释。",[23,50,84,26,56,86,7,278,64,61,277,1115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4139975bf6ec2cb9c58f64adc8a49b12.jpg",[],{"id":31709,"slug":31710,"title":31711,"dynasty":18,"author":2181,"museum":99,"description":5719,"tags":31712,"thumbUrl":31713,"material":689,"size":690,"collection":107,"collections":31714,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},283751,"qi-xia-si-shi-yi-tu-zhou-dong-qi-chang-283751","栖霞寺诗意图轴",[50,23,51,84,26,56,278,64,164,61,86,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76d4bb1db2fef7caa8986b31a95ba498.jpg",[],{"id":31716,"slug":31717,"title":31718,"dynasty":18,"author":2181,"museum":99,"description":5719,"tags":31719,"thumbUrl":31721,"material":689,"size":690,"collection":107,"collections":31722,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},283730,"yin-fu-jing-fu-jun-bei-juan-dong-qi-chang-283730","阴符经府君碑卷",[86,417,52,436,7,31720,418,51],"道家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5364d070484396cfc55300bda7378eb6.jpg",[],{"id":31724,"slug":31725,"title":18370,"dynasty":18,"author":2181,"museum":99,"description":5719,"tags":31726,"thumbUrl":31727,"material":689,"size":690,"collection":107,"collections":31728,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},283721,"fang-gu-shan-shui-ce-dong-qi-chang-283721",[23,24,26,56,64,727,278,55,7,86,1050],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5863dcecefd581d26dc3b868ce3a66c.jpg",[],{"id":31730,"slug":31731,"title":31732,"dynasty":97,"author":207,"museum":99,"description":31733,"tags":31734,"thumbUrl":31735,"material":689,"size":690,"collection":107,"collections":31736,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},270218,"zhu-gu-qian-gu-bian-qian-ci-xi-yu-xi-hua-mei-hua-tu-mian-zhe-shan-yi-ming-270218","竹股嵌骨边钤慈禧御玺画梅花图面折扇","此扇墨梅清逸出尘，以浓墨写出苍劲虬曲的梅枝，穿插错落，尽显古木凌寒的硬朗风骨，淡墨晕染花苞朵蕊，留白衬出梅花冰洁素雅，暗香浮动仿佛随扇开合漫溢而出。侧旁题诗行书舒展雅致，笔意与画意相融，将咏梅诗意与绘梅清境合二为一。\n\n竹股嵌骨的扇身暗合梅竹同心的文人情致，钤印更添古雅端重。整扇书画印骨浑然一体，将文人慕梅的高洁意趣藏纳其中，轻摇间尽是清冷雅致的中式诗意。",[822,23,26,528,86,7,4929],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13a1d2657b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，横59.1cm",[122],{"id":31779,"slug":31780,"title":31781,"dynasty":97,"author":800,"museum":99,"description":31782,"tags":31783,"thumbUrl":31784,"material":319,"size":107,"collection":122,"collections":31785,"showCount":426,"zanCount":1288,"manualWeight":39,"mainColor":40},240602,"zheng-xie-shi-zhou-zheng-ban-qiao-240602","郑燮诗轴","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。\n②峰石图: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。",[86,119,7,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F434cdb4e2ed64e8239b9850672b71425.jpg",[122],{"id":31787,"slug":31788,"title":28104,"dynasty":18,"author":31789,"museum":99,"description":31790,"tags":31791,"thumbUrl":31792,"material":319,"size":107,"collection":122,"collections":31793,"showCount":426,"zanCount":1288,"manualWeight":39,"mainColor":40},240329,"shi-zhou-tang-huan-240329","汤焕","汤焕，生卒年不详，字尧文，号邻初，斋号五桂轩等。仁和(今浙江杭州)人。擅书法，亦工篆刻，有诗名。与许光祚同郡，时人号曰“汤许”。",[50,23,51,84,462,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a280ab1f6e9d145161fe000d26e5da8.jpg",[122],{"id":31795,"slug":31796,"title":31797,"dynasty":18,"author":26390,"museum":5832,"description":31798,"tags":31799,"thumbUrl":31800,"material":319,"size":107,"collection":122,"collections":31801,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},240050,"shi-gao-ce-cheng-jia-sui-240050","诗稿册","程嘉燧（1565～1643）明代書畫家、詩人。字孟陽，號松圓、偈庵，又號松圓老人、松圓道人、偈庵居士、偈庵老人、偈庵道人。晚年皈依佛教，釋名海能。南直隸徽州府休寧縣（今安徽休寧）人，應試無所得，僑居嘉定，折節讀書，工詩善畫，通曉音律，與同裏婁堅、唐時升，並稱“練川三老”。謝三賓合三人及李流芳詩文，刻為《嘉定四先生集》，有《浪淘集》。",[51,24,119,7,528,1480,870,2954],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48c210a8ad98f709920c7948536772e2.jpg",[122],{"id":31803,"slug":31804,"title":31805,"dynasty":97,"author":445,"museum":175,"description":31806,"tags":31807,"thumbUrl":31809,"material":107,"size":107,"collection":122,"collections":31810,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},240036,"yuan-ji-shu-guang-ling-shu-xia-zuo-shi-shi-tao-240036","原济书广陵树下作诗","原济(1642一1707)，俗姓朱。名若极，字石涛，号大涤子，广西全州人。明藩靖江王朱守谦后裔，父亲在明末被追杀，时若极五岁，削发为僧得以存活。法名原济，一作元济，自称苦瓜和尚。与弘仁、髡残、朱耷合称“四僧”。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。对后来扬州画派和近代画风，影响极大。",[86,119,406,1207,31808,63,870,18722,18427,871,1480,7],"孤云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff15ca7091459c0f80d077ebe7c568a8b.jpg",[122],{"id":31812,"slug":31813,"title":31814,"dynasty":146,"author":31815,"museum":99,"description":31816,"tags":31817,"thumbUrl":31818,"material":107,"size":107,"collection":122,"collections":31819,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},239905,"zhuang-zi-nei-pian-juan-yu-ji-239905","庄子内篇卷","虞集","虞集（1272年3月21日－1348年6月20日），字伯生，号道园，世称邵庵先生 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。元朝官员、学者、诗人，南宋左丞相虞允文五世孙。\n虞集自少受家学，曾随名儒吴澄游学。元成宗大德初年，被举荐为大都路儒学教授，历任国子助教、博士等。元仁宗时，迁集贤殿修撰，除授翰林待制。元文宗时，累官至奎章阁侍书学士、通奉大夫。元宁宗驾崩后，称病返回临川。至正八年（1348年），虞集去世，年七十七。获赠江西行中书省参知政事、护军、仁寿郡公，谥号“文靖”。\n虞集素负文名，与揭傒斯、柳贯、黄溍并称“元儒四家”；诗与揭傒斯、范梈、杨载齐名，并称“元诗四大家”。曾领修《经世大典》，著有《道园学古录》《道园遗稿》等。",[49,86,52,119,7,2601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44f83d15da8d44635581f70c9dc234c8.jpg",[122],{"id":31821,"slug":31822,"title":31823,"dynasty":146,"author":20435,"museum":175,"description":31824,"tags":31825,"thumbUrl":31826,"material":2926,"size":31827,"collection":122,"collections":31828,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},239632,"yang-wei-zhen-cheng-nan-chang-he-shi-tie-yang-wei-zhen-239632","杨维桢城南唱和诗帖","《城南唱和诗帖》释文\n款钤“廉夫”、“会稽杨维槙印”二方。鉴赏印有“太原颛庵王氏拙修堂收藏图书”、“王掞私印”、“西田”、“娄江王藻儒氏真赏”等，另钤孙承泽、王南屏私家藏印及嘉庆、宣统内府诸印。题跋有孙承泽、陈献章、谢肇淛、徐等家。《铁网珊瑚》、《庚子消夏录》、《石渠宝笈》三书著录。\n此卷书《城南杂咏》20首，原诗为南宋著名理学家张栻所作。张栻曾于长沙妙高峰筑城南书院，以居学者。《城南杂咏》20首即其对长沙城南诸胜景的咏怀之作。此后不久，朱熹访张栻于城南书院，和南轩诗作，遂成《城南唱和》20首。朱熹手迹经朱氏五世孙之手散出流传于世，辗转归元人虞子贤。当时张栻所书《城南杂咏》原迹已佚，虞氏遂请杨维桢追和张栻原诗，铁崖遂录张栻原诗20首。除原诗外，杨维桢又书“赘评”二则，简述为虞氏补书起因，并对张南轩诗作了评介，以为“有古风人思致”。\n在元代复古潮流中，杨维桢的书法因点画多不守常规，所以表现得格外出奇。结体上虽无珠圆玉润和儒雅精到之感，但其笔锋硬峭，筋骨强健，体势奇崛，具有一种壮美堂皇之气象。明代书法家吴宽评其书：“大将班师，三军奏凯，破斧缺斨，例载而归。廉夫书或似之。”徐有贞亦称：“铁崖狂怪不经，而步履自高。”此件作品写于杨维桢67岁时，笔势开拓，奔放不羁，风格清劲可喜。",[49,86,462,52,7,435,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea1de427f78f196ea2b5a9b77078d8eb.jpg","纵31.6厘米，横216.6厘米",[122],{"id":31830,"slug":31831,"title":31832,"dynasty":18,"author":2059,"museum":99,"description":31833,"tags":31834,"thumbUrl":31836,"material":107,"size":107,"collection":107,"collections":31837,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},239518,"wen-zheng-ming-luo-mu-kong-jiang-zhou-wen-zheng-ming-239518","文徵明落木空江轴","此作淡墨轻岚，清寂出尘。枯木虬枝错落江渚，疏朗劲健，寥寥几笔便写尽秋林残意。远景山峦以淡墨晕染，隐于烟霭，不作繁复皴擦，只凭墨色深浅晕出山形悠远空濛，留白代江，愈发衬出天地寥廓的清寒萧索。\n\n题诗与绘景浑然相合，诗画映带间铺展出深秋空江的落寞意趣，带着独有的文雅书卷气。以极简笔墨写尽清秋况味，淡而不寡，清而愈幽，尽显文人画以意驭笔的雅致格调，将秋日江天的寂寥空阔藏于浅淡笔墨之中。",[23,51,84,26,56,967,358,31835,150,7,55],"空江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e9d3f069edebe6cf45c6c0dd769af5d.jpg",[],{"id":31839,"slug":31840,"title":31841,"dynasty":97,"author":31842,"museum":99,"description":31843,"tags":31844,"thumbUrl":31845,"material":689,"size":690,"collection":107,"collections":31846,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},239481,"qiu-hua-tu-wan-shan-lian-xi-239481","秋花图纨扇","莲溪","此帧团扇布局疏密有致，湖石侧峙稳住画面重心，将红枫、黄菊错落排布。菊瓣淡描晕染，舒展柔婉，尽现清寒里盛放之姿；枫叶设色秾丽鲜亮，与黄花翠叶形成冷暖对照，鲜活耐看。湖石以水墨写意皴擦，兼工带写间尽显随性洒脱，笔墨兼具写生之真与写意之趣。\n左侧行书题款清雅疏朗，朱红印鉴点缀其间，书画印相映成趣。整体氤氲着晚秋清寂又明艳的诗意，将花木傲霜之态跃然绢上，暗合文人淡泊自持的襟怀，尽显灵动雅致的传统花鸟审美意趣。",[23,822,25,27,54,529,277,5740,7,86,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bd2fadc75dbee1a2a72d834478b1581.jpg",[],{"id":31848,"slug":31849,"title":7228,"dynasty":97,"author":15922,"museum":99,"description":31850,"tags":31851,"thumbUrl":31852,"material":107,"size":107,"collection":70,"collections":31853,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},239325,"shan-shui-ce-cha-shi-biao-239325","此作用淡墨晕染江天，留白铺就悠远空濛之境。岸畔垂柳依依轻拂水面，三两渔舟泛于烟波之上，尽显江南春日出尘之致。笔致松秀简淡，摒弃繁复皴擦，以极简笔墨勾勒出萧散清远的山水意趣。\n\n左侧行书题诗与画意呼应，笔墨温润舒展，诗书与绘事相得益彰，文气盎然。整幅作品将文人画简淡天真的审美意趣尽显无遗，把春日春江的静穆柔婉融于尺幅之间，淡而弥永，余韵悠长，尽显隐逸安然的林下之风。",[23,51,24,119,26,55,56,62,713,64,1977,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f9afb62b36cf20a64628c29321c4312.jpg",[70],{"id":31855,"slug":31856,"title":2149,"dynasty":97,"author":11101,"museum":99,"description":11102,"tags":31857,"thumbUrl":31858,"material":689,"size":690,"collection":107,"collections":31859,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},239095,"hua-hui-ce-ma-yuan-yu-239095",[23,50,51,24,25,27,66,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b30ddd64bda961704f25e2e005f1a5a.jpg",[],{"id":31861,"slug":31862,"title":31863,"dynasty":97,"author":31864,"museum":99,"description":31865,"tags":31866,"thumbUrl":31867,"material":689,"size":690,"collection":107,"collections":31868,"showCount":426,"zanCount":1288,"manualWeight":39,"mainColor":75},239025,"hua-xie-zhou-lang-bao-chen-239025","画蟹轴","郎葆辰","郎葆辰(1763—1839)，初名福延，又名遂峯，字文台，号苏门，晚号桃花山人。浙江安吉人。1817年（嘉庆二十二年），授翰林院编修，掌印给事中，升贵州粮储道。",[23,51,84,26,403,7084,30,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dc269c151aed2324928eccad2f99e61.jpg",[],{"id":31870,"slug":31871,"title":31872,"dynasty":115,"author":31873,"museum":99,"description":31874,"tags":31875,"thumbUrl":31876,"material":689,"size":690,"collection":107,"collections":31877,"showCount":426,"zanCount":1288,"manualWeight":39,"mainColor":40},238561,"mu-dan-chun-man-tu-ye-li-cong-xun-238561","牡丹春满图页","李从训","杭州人。宣和（一一一九―一一二五）待诏，绍兴（一一三一―一一六二）间复宫补承直郎，赐金带。工画道释、人物、花鸟，位置不凡，传彩精妙，高出流辈。",[50,23,51,822,1073,54,25,119,7,308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a16f8bd6480230e81b4a3f4a60ff8f6.jpg",[],{"id":31879,"slug":31880,"title":11483,"dynasty":115,"author":207,"museum":99,"description":31881,"tags":31882,"thumbUrl":31883,"material":107,"size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在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”\n王翚自幼嗜画，继承家学，又随学黄公望画法的同乡张珂学画，很早便表现出非凡的绘画才能。王翚师从王时敏、王鉴。但他所画山水不拘于一家，广采博揽，集唐宋以来诸家之大成，熔南北画派为一炉。王翚在王时敏、王鉴发展南宗画派的基础上，借鉴北宗的某些技法，比较全面地对山水画传统进行整理，形成具有综合概括性质的法则。王翚将黄公望、王蒙的书法性用笔与巨然、范宽的构图完美地结合起来，创造出一种华滋浑厚、气势勃发的山水画风格。因而他所画的江南小景往往生趣盎然，清幽灵动。王翚作画喜好干笔、湿笔并用，而且多以细笔皴擦，画面效果比较繁密。曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。他早期画风清丽工秀，晚期则倾向苍茫浑厚。章法富于变化，水墨与浅绛渲染得法。也有评者指出王翚用笔过于圆熟，某些画则显得刻露，墨法少有变化，构图略感壅塞。",[23,51,24,26,134,55,7,56,63,871,967,751,6096,2955,727],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc7bbd6a2fa761e8a9d5c62b9b73fbe.jpg",[70],{"id":31930,"slug":31931,"title":8721,"dynasty":97,"author":8722,"museum":175,"description":8723,"tags":31932,"thumbUrl":31933,"material":391,"size":107,"collection":107,"collections":31934,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},237181,"hua-niao-kun-chong-ce-zhou-quan-237181",[23,25,54,27,1989,315,4241,1481,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2343f6636f8ad99ed8390e4becb1304a.jpg",[],{"id":31936,"slug":31937,"title":14886,"dynasty":97,"author":14887,"museum":99,"description":14888,"tags":31938,"thumbUrl":31939,"material":107,"size":107,"collection":107,"collections":31940,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},237093,"jiang-feng-shi-nv-ce-jiang-feng-237093",[50,23,51,24,25,58,136,277,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfcb49a6e78083fa76c65babef7f4d18.jpg",[],{"id":31942,"slug":31943,"title":31944,"dynasty":18,"author":21686,"museum":99,"description":21687,"tags":31945,"thumbUrl":31946,"material":689,"size":690,"collection":242,"collections":31947,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},237017,"mo-mei-ce-shen-hao-237017","墨梅册",[23,51,24,26,119,7,528,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a0ca65ea98fd5f3298cad75afd81b2a.jpg",[242,35],{"id":31949,"slug":31950,"title":7228,"dynasty":97,"author":1167,"museum":7132,"description":29050,"tags":31951,"thumbUrl":31952,"material":107,"size":107,"collection":70,"collections":31953,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},236729,"shan-shui-ce-hua-yan-236729",[23,51,24,25,26,56,63,420,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F796e93be747b35bfd33272ec848edc2a.jpg",[70,72],{"id":31955,"slug":31956,"title":31957,"dynasty":18,"author":31958,"museum":99,"description":31959,"tags":31960,"thumbUrl":31961,"material":689,"size":690,"collection":107,"collections":31962,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},236694,"mei-que-tu-shan-ye-wang-zhong-li-236694","梅雀图扇页","王中立","王中立（公元16－17世纪初），活动于十七世纪，明代画家，字振之、彦强，号子正、子和、玄洲、玄洲生，吴县今江苏苏州人。善画花鸟，笔力苍老，钩写兼用，设色绚丽，造型生动，颇有生意。\n师法陈淳，画风似鲁治、王谷祥，为吴派画家之一。",[23,822,25,27,528,3567,1714,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82bef6d53dcfb50ede47d8bc6f59ecde.jpg",[],{"id":31964,"slug":31965,"title":11444,"dynasty":97,"author":697,"museum":175,"description":11079,"tags":31966,"thumbUrl":31967,"material":107,"size":107,"collection":107,"collections":31968,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},236587,"lan-mei-ce-wang-shi-shen-236587",[23,51,24,26,27,528,251,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff9be90f87a50342bb3940f357e6e12.jpg",[],{"id":31970,"slug":31971,"title":31972,"dynasty":18,"author":3070,"museum":99,"description":7468,"tags":31973,"thumbUrl":31974,"material":689,"size":690,"collection":107,"collections":31975,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},236518,"mo-ju-shan-ye-chen-chun-236518","墨菊扇页",[23,51,822,26,310,27,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fa8094773a549a15b7aa0ff8fdec3c7.jpg",[],{"id":31977,"slug":31978,"title":31979,"dynasty":97,"author":31980,"museum":99,"description":31981,"tags":31982,"thumbUrl":31983,"material":107,"size":107,"collection":70,"collections":31984,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":75},236426,"hua-lu-jian-ceng-chu-sai-xiang-gao-feng-han-bu-jing-zhou-zhang-hang-236426","画卢见曾出塞像高风翰补景轴","张珩","高凤翰（1683年～1749年）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。\n汉族，山东胶州三里河村（今山东青岛市胶州市）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》。",[23,51,84,25,58,225,8076,66,2142,56,7,86,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdef365da266c40d5b375e28de2dc4011.jpg",[70,242,122],{"id":31986,"slug":31987,"title":31988,"dynasty":97,"author":31989,"museum":99,"description":31990,"tags":31991,"thumbUrl":31993,"material":107,"size":107,"collection":107,"collections":31994,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},235997,"hua-guo-tu-ping-zhou-shu-xi-235997","花果图屏","周淑禧","《周淑禧周淑祜花果图屏》是清代周淑禧、周淑祜合绘的一幅画。\n周淑祜与周淑禧为书画家周荣起的长女和次女。\n此为两姐妹合绘的花果四条屏，每幅均钤“江上女子”与“祜禧合图”印。\n条屏分绘乳柑子、猕猴桃、枇杷和柿子，每幅上均裱有对此种花果的文字介绍，其中两幅下裱有收藏者补题的周淑禧、周淑祜的小传。\n此屏在选材方面自出机杼，巧妙地捕捉到花果的特性，具有女性绘画细腻的特色。\n设色浓重妍丽，继承了文徵明传派的画法，用笔精细工整，一丝不苟，将花果描绘得富有生趣，可爱诱人。\n周氏姊妹传世作品很少，此件作品双姝合璧，甚为难得。",[23,51,25,54,6443,31992,119,86,7],"猕猴桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa215492358992d0a7c64b8deb738e66.jpg",[],{"id":31996,"slug":31997,"title":31998,"dynasty":97,"author":207,"museum":99,"description":31999,"tags":32000,"thumbUrl":32001,"material":107,"size":107,"collection":107,"collections":32002,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},235911,"yuan-ji-mo-bai-cai-tu-ye-yi-ming-235911","原济墨白菜图页","此作用水墨写意落笔，以浓淡墨色铺陈菜叶层次，叶片舒张宛然如生，运笔放逸洒脱，墨晕间尽显菜叶鲜嫩蓬松的质感，留白勾勒叶脉肌理，将白菜蓬勃生机尽显无余。下方以淡墨点缀野菜杂草，简淡写意，与主体虚实相映，画面疏密得宜。全幅未施丹青，纯以水墨造势，将寻常菜蔬赋予清雅意趣，暗含清蔬寄怀的文人襟怀，于朴素物象间寄托超脱世俗的审美追求，尽显水墨小品极简雅致的意韵，是借日常风物抒怀的写意佳作。",[23,51,26,7,4210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6ea26e2ceab68f8b07f7638d0369fc1.jpg",[],{"id":32004,"slug":32005,"title":4581,"dynasty":97,"author":445,"museum":99,"description":32006,"tags":32007,"thumbUrl":32008,"material":107,"size":107,"collection":107,"collections":32009,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},235891,"yuan-ji-huang-shan-you-tu-ce-shi-tao-235891","这幅山水以水墨晕染烟岚，春山隐在翻涌云气间，虚实掩映晕出空山新雨的湿润。近景茅庐藏于芦荻深处，水牛静卧溪头，田畴青苗含露。\n以枯湿浓淡的多变笔墨绘就山峦苔点，苍劲朴拙，烟霭则以淡墨留白晕染，铺展出山野初春的空蒙柔润。题诗与画境相融，将山农冒雨春耕的野趣藏在淡烟疏柳里，揉合田园闲逸与山野生机，笔底兼具自然意趣与文人气韵，寄寓着隐逸耕读的林下雅情。",[23,26,55,403,50,56,870,279,531,1115,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95a1219c43d19bd359589ad745709dc4.jpg",[],{"id":32011,"slug":32012,"title":32013,"dynasty":97,"author":26586,"museum":99,"description":32014,"tags":32015,"thumbUrl":32016,"material":107,"size":107,"collection":107,"collections":32017,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},235857,"qiu-shan-tu-ye-fan-qi-235857","秋山图页","此作用笔简秀清雅，以淡墨晕染出空濛烟霭，远山隐没在寒雾之中，只留浅淡轮廓，尽显秋日山空的疏寂。近景枯木虬枝错落，苍劲古拙，板桥横跨浅溪，石畔秋意萧索，寥寥数笔便勾勒出深秋山林的清冷之态。\n\n对页题诗与画意呼应，书画合璧，将荒寒淡远的林泉逸趣烘托尽致。淡彩轻敷，留白写意，铺陈出澹泊宁和的山水诗意，仿佛将人带入清寂幽远的秋日丘壑，沉浸式感受这份沉静内敛的古韵幽情，尽显文人山水的清雅意致。",[23,51,24,26,56,967,277,751,2142,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa673113de5c7f14f0084268c94e28ccf.jpg",[],{"id":32019,"slug":32020,"title":32021,"dynasty":18,"author":3070,"museum":99,"description":7468,"tags":32022,"thumbUrl":32023,"material":689,"size":690,"collection":107,"collections":32024,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},235801,"yun-shan-shan-chen-chun-235801","云山扇",[822,26,56,1207,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b562831a2df6fa625f5c50d7e6bba2c.jpg",[],{"id":32026,"slug":32027,"title":10218,"dynasty":97,"author":787,"museum":99,"description":10847,"tags":32028,"thumbUrl":32029,"material":689,"size":690,"collection":107,"collections":32030,"showCount":426,"zanCount":1288,"manualWeight":39,"mainColor":40},235704,"hua-hui-tu-ce-zou-yi-gui-235704",[50,23,51,24,54,25,27,307,265,31,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F642a32b506aca4f5b3fdd8c65965b3b9.jpg",[],{"id":32032,"slug":32033,"title":5869,"dynasty":97,"author":445,"museum":99,"description":3557,"tags":32034,"thumbUrl":32036,"material":689,"size":690,"collection":107,"collections":32037,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},235516,"yuan-ji-shan-shui-tu-ce-shi-tao-235516",[50,23,51,24,26,55,56,61,1714,871,32035,7],"屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71841c15cb618845d5db6ccb80c74caa.jpg",[],{"id":32039,"slug":32040,"title":7228,"dynasty":97,"author":15922,"museum":99,"description":29649,"tags":32041,"thumbUrl":32042,"material":689,"size":690,"collection":107,"collections":32043,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},235512,"shan-shui-ce-cha-shi-biao-235512",[23,51,24,26,55,56,871,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bf7e157e72d37c48a54a51b3ad40a28.jpg",[],{"id":32045,"slug":32046,"title":16785,"dynasty":97,"author":12638,"museum":99,"description":32047,"tags":32048,"thumbUrl":32049,"material":107,"size":107,"collection":107,"collections":32050,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},235468,"mo-ju-zhou-huang-shen-235468","以泼墨写意挥写丛菊，老干挺劲欹斜，花枝向上舒展，墨色浓淡铺陈，层次分明。花瓣以大块墨晕点染，间用枯笔勾出细劲筋脉，苍润交织，将寒菊傲霜绽放之态尽显笔端。\n\n右上角草书题款跌宕疏放，笔墨与野菊的朴拙刚健呼应相合，诗画相融，尽显疏放雅致的文人意趣。整幅以简驭繁，以水墨氤氲传递出菊花孤高清绝的品格，把画者疏狂随性的性情与凌霜佳卉的风骨融为一体，尽显大写意花鸟以形写神的妙处。",[23,51,84,26,403,86,119,7,529],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F306e636315367da95f923c6eec5c6800.jpg",[],{"id":32052,"slug":32053,"title":9308,"dynasty":18,"author":15886,"museum":99,"description":32054,"tags":32055,"thumbUrl":32056,"material":107,"size":107,"collection":107,"collections":32057,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},235310,"shan-shui-tu-zhou-wen-jia-235310","此作用笔秀雅清润，以淡墨勾勒皴擦山石，间施浅赭晕染，营造出空寂淡远的山居之境。画面自上而下铺展，云山层叠掩隐古寺，虬松斜生崖畔，溪石错落，溪滩处隐士垂坐独钓，处处透着林泉雅意。题诗与画境呼应，将文人寄情山水、超脱尘俗的隐逸情怀尽显，是吴门画派温润雅致风格的典型体现，笔墨精简却意蕴悠长，尽显明代文人山水画的抒情特质。",[23,84,26,25,56,610,150,58,164,279,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876beebe5658113260f2436ce7960e89.jpg",[],{"id":32059,"slug":32060,"title":8439,"dynas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书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[23,51,24,26,277,61,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29304ad26117c88366b592ace23b072.jpg",[35,72],{"id":32174,"slug":32175,"title":17,"dynasty":97,"author":736,"museum":175,"description":8291,"tags":32176,"thumbUrl":32178,"material":183,"size":8294,"collection":107,"collections":32179,"showCount":426,"zanCount":1288,"manualWeight":39,"mainColor":40},232977,"hua-niao-ce-lang-shi-ning-232977",[50,23,51,54,25,9414,12526,27,32177,30,150,7],"鸡冠花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f9ab946d5a201439dab3f6a1a5100fc.jpg",[],{"id":32181,"slug":32182,"title":17,"dynasty":97,"author":736,"museum":175,"description":8291,"tags":32183,"thumbUrl":32184,"material":183,"size":8294,"collection":107,"collections":32185,"showCount":426,"zanCount":1288,"manualWeight":39,"mainColor":40},232970,"hua-niao-ce-lang-shi-ning-232970",[50,23,51,24,54,25,27,308,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46ba3f49ef4299402ca4a0e9edac5c37.jpg",[],{"id":32187,"slug":32188,"title":24009,"dynasty":18,"author":2059,"museum":175,"description":24010,"tags":32189,"thumbUrl":32190,"material":319,"size":24013,"collection":107,"collections":32191,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},232958,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232958",[23,51,24,26,119,86,7,56,60,64,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5a14ee541d3763f5d0fed21da63f835.jpg",[],{"id":32193,"slug":32194,"title":1125,"dynasty":146,"author":431,"museum":81,"description":32195,"tags":32196,"thumbUrl":32197,"material":319,"size":32198,"collection":107,"collections":32199,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},232256,"shan-shui-tu-zhao-meng-fu-232256","溪涧、泉松水榭桥文房用具文玩（琴棋书画）香炉．火盆瀑布高士（士人、隐士）侍从（侍女、童仆） 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:32328,"tags":32329,"thumbUrl":32332,"material":107,"size":107,"collection":107,"collections":32333,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},227925,"jiao-yin-ji-qiu-tu-ye-yi-ming-227925","蕉荫击球图页","《蕉阴击球图》是宋代佚名画家创作的一幅绢本设色画，现藏于 。\n无作者款印。\n对幅清高宗弘历御题诗一首。\n本幅、对幅及裱边钤高宗弘历“古稀天子”、“八徵耄念之宝”、“ ”等鉴藏印，共6方。\n此外，湖石拉开了前景人物与背景芭蕉间的距离，增强了画面的纵向层次感。\n在笔法上，作者注重物象间的对比互衬关系。\n人物与芭蕉为中锋运笔，线条工整细匀，如行云流水；着色渲染浓淡相宜，清新明洁的色调有助于表达轻松活泼的主题。\n湖石则以粗笔重墨表现，线条劲练，转折顿挫中见洒脱。\n湖石所呈现出的坚硬质地成功地衬托出人物纤秀婉约的形象及芭蕉飘逸润泽的自然美。\n在宋代类似于《蕉阴击球图》的作品很多。\n以写实的笔法描绘民间生活、反映“市井细民”的审美趣味是宋代绘画的一大特色。\n当时涌现出众多绘风俗画的著名画家，如王居正、张择端、李嵩、苏汉臣等人，他们的作品以富有浓郁的生活气息而在中国绘画史上占有重要的地位。\n原题签作者为苏汉臣。\n此幅虽在题材、笔法上与苏汉臣的画风较为接近，但在艺术表现的造诣上却远不及苏汉臣，因此，此图当是与苏汉臣同时代的佚名画家之作。\n此图原载《宋人名流集藻册》。\n图绘一仕女童于桌旁观看一老一小两人作击球行了游戏。\n庭院中绿草如茵，湖石矗立，芭蕉成荫。\n仕女认真观球的神态和儿童击球的细小动作刻画得自然生动。\n全图用工笔重彩法，衣纹勾线简练细劲，设色艳而不火，工而不板，为南宋小幅人物画精作。\n此图蕉题签为苏汉臣作，但究其画风，与苏汉臣有别。\n在古代，见婴戏必题 作，见牛必题戴嵩，见马即题韩干之类，实属偏见，故今改为无名氏作。\n画中钤有「东莱」印一方，经《 》著录。",[49,23,51,3363,54,25,58,1713,32330,119,7,32331],"蕉树","击球","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ea29c347ebabee65faf94a2305bd7ce.jpg",[],{"id":32335,"slug":32336,"title":32337,"dynasty":115,"author":207,"museum":99,"description":32338,"tags":32339,"thumbUrl":32342,"material":107,"size":107,"collection":107,"collections":32343,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},227838,"xian-nv-cheng-luan-tu-yi-ming-227838","仙女乘鸾图","《五代周文矩仙女乘鸾图》是五代南唐画家 所创作的一幅 。\n此图原载《历代名笔集胜册》第一册。\n此图线条工谨精细，如春蚕吐丝，柔中见刚。\n《五代周文矩仙女乘鸾图》，图画明月一轮，一仙女乘鸾飞翔。\n笔墨精妙飞动，设色艳丽，构图简洁，为宋画中精品。\n无款，旧题周文矩作。\n画中钤有「黔宁王子子孙孙永保之」、「都尉耿信公书画之章」、「信公珍赏」、「珍秘」、「会侯珍藏」、「明安国玩」、「宜尔子孙」等印多方。\n对幅有耿昭忠题，经《虚斋名画录》著录。\n耿昭忠题云：“风格高妙，飘飘然有凌霞绝尘之姿，是盖周文矩胸中迥出天机，故落笔超乎物表。\n张、吴、顾、陆、何难继踵。\n”襄平耿昭忠题。\n”本幅及裱边、对幅钤耿昭忠“真赏”、“黔宁王子孙永保之”、“丹诚”、“都尉耿信公书画之章”、“信公珍藏”、“珍秘”、“宜尔子孙”、“公”等鉴藏印，共17方。\n《圣朝名画评》云：“周文矩，建康句容人。\n美风度，学丹青，颇有精思。\n仕李煜，为待诏，能画冕服车器人物仕女。\n”又云：“周文矩用意深远，于繁富则尤工。\n”按此图虽无款，而作风飞动精丽，允为北宋早期的作品。\n旧题 作，今从之。\n《五代周文矩仙女乘鸾图》图绘一鸾凤于薄云淡雾中振翅飞鸣，其背上一仙女正茫然回首目视身后的一轮圆月。\n画家将仙女回眸之一刹那所显露出的怅惘之情刻画的生动传神，使本来单调的景物变得极富情趣并给人以想像力。\n仙女的眼神原无形，然作者却利用它使圆月和鸾凤之间产生一种内在的呼应关系，使画面具有气脉贯通的完整性。\n画家通过描绘仙女的衣带向后飘举暗示出无形的风力，并以此表明鸾凤疾翔时的速度与强烈的动感，与圆月之间形成动与静的对比。\n在人物形象的塑造上，仙女的造型越出了隋唐时期仕女画丰腴健壮的体态，表现出女性身材比例合理，造型匀称的特点。\n此图旧签题以及对幅耿昭忠的题记均言作者是五代周文矩。\n周文矩受南唐后主李煜颤笔书法的影响，喜以瘦挺颤掣的笔法入画，线条多转折顿挫，刚中有柔。\n与周文矩的用笔特点不符，因此，它应是宋代佚名画家所作。\n周文矩，生卒年代不详，句容（今属江苏）人，曾在南唐后主李煜时任画院翰林待诏。\n工画佛道、人物、车马、屋木、山水，尤精于仕女，多以宫廷或文人生活为题,以“用意深远”著称。\n其仕女画师从周昉，作风更加纤丽繁复，用笔多以“战笔”为特点。\n现藏故官博物院的《重解会棋图》是他的传世作品之一。\n传世作品有《重屏会棋图》、《 》等。",[49,23,822,54,25,58,136,32340,66,32341,279,7],"神鸟","月亮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecd1fa7526358a03d725c63f905f8a92.jpg",[],{"id":32345,"slug":32346,"title":12188,"dynasty":115,"author":12189,"museum":99,"description":32347,"tags":32348,"thumbUrl":32349,"material":107,"size":107,"collection":107,"collections":32350,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},227577,"fan-wang-li-fo-tu-juan-zhao-guang-fu-227577","此图画中国周边少数民族酋长、番王朝拜佛祖的形象。佛祖高坐莲台，诸番王作礼拜、贡献之状，服饰皆异域装束。画面气势宏大，人物安排疏密有致，表情各异，生动自然，是宋代人物画的一幅杰作。\n\n赵光辅 (公元10世纪中-11世纪初)〔北宋〕耀州华原(今陕西耀县)人，五代南唐时布衣，北宋初爲图画院学生，故乡里呼爲“赵评事”，生卒年不详。画艺活动在宋太祖、太宗、真宗(960-1022)间。工画道释人物，兼精蕃马走兽，亦工竹木花卉，笔锋劲利，名“刀头燕尾”。所作线条流畅，人物形象清楚，骨骼厚重，刻画细致入微，设色典雅沉稳，有唐吴道子遗风。曾在许昌开元、龙兴两寺创作壁画，在开元寺所画之《五百罗汉图》，“姿质风度互有意思，坐立瞻听皆得其妙，貌若悲觉以动观者”。据北宋绍圣元年(1094)著名金石、书画家游师雄《题赵光辅画壁》碑云：“云阳(今陕西泾阳县)孟店镇西寺殿后画《自在观音》一壁，曲尽端严闲暇态度。其左有外国胡王与人从焚香状，貌极恭虔；其右有衣王者服，罄瞻礼之容，旁有衔花野兽，麋鹿虎豹各尽驯伏情状。至于竹木花卉，无不精至，南向画魔女恼佛，云雷震电，其势可怖；魔女变形，揽镜自照，遽作惊惭自失之状，尤爲奇绝。然后知光辅不独工于马也。……”碑今存泾阳县文化馆。",[49,23,51,52,25,54,1284,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20b7f502dddb1a49e90b3c6d1c398b59.jpg",[],{"id":32352,"slug":32353,"title":32354,"dynasty":97,"author":445,"museum":99,"description":32355,"tags":32356,"thumbUrl":32357,"material":107,"size":107,"collection":107,"collections":32358,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},224514,"shan-shui-tu-ce-8-kai-3-zhang-da-qian-jiu-cang-shi-tao-224514","山水图册8开-3-张大千旧藏","淡墨晕开平湖烟波，水汽裹着远山晕成一片黛色，皴擦写意的峰峦带着朴拙苍劲的质感，晕染出清旷的天地底色。近岸林木错落，干湿浓墨交织出深浅层次，三两渔舟横斜泊岸，静卧于烟水间。江畔幽坐的旅人凝望远山，留白铺就的水面将万般归思揉进空濛雾色。题画小字清雅错落，朱红闲章点缀素净画面，盘活了满卷静气。整幅笔意纵恣随性，以极简笔墨勾勒出山川清旷之美，将羁旅幽怀融于烟水林峦，藏着静穆淡远的禅意，尽显写意山水的空濛悠远。",[49,23,26,55,24,51,7,56,62,64,278,58,379],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F546454255510cf28a6ced2790a597e6c.jpg",[],{"id":32360,"slug":32361,"title":32362,"dynasty":97,"author":1167,"museum":99,"description":32363,"tags":32364,"thumbUrl":32367,"material":107,"size":107,"collection":107,"collections":32368,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},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。",[49,23,51,84,25,27,403,32365,32366,7],"八哥","梅枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F139f403993c7353c724ca1f532a8d0a2.jpg",[],{"id":32370,"slug":32371,"title":15535,"dynasty":115,"author":207,"museum":81,"description":32372,"tags":32373,"thumbUrl":32374,"material":7516,"size":32375,"collection":107,"collections":32376,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},223569,"xi-shan-xing-lv-tu-yi-ming-223569","图上重山迭峰，雄深苍莽。山头茂林丛密，两峰相交处一白色飞瀑如银线飞流而下在严肃、静穆的气氛中增加了一分动意。近处怪石箕居，大石横卧于冈丘，其间杂树从生，亭台楼阁露于树颠，溪水奔腾着向远处流去，石径斜坡透迤于密林荫底。",[49,23,51,822,26,55,86,119,7,56,277,64,60,61,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbce1a8b5a603f292840b46f377d5eb9e.jpg","28.6 x 44.1 cm",[],{"id":32378,"slug":32379,"title":32380,"dynasty":115,"author":207,"museum":175,"description":32381,"tags":32382,"thumbUrl":32384,"material":9268,"size":32385,"collection":107,"collections":32386,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":75},223454,"shan-po-lun-dao-tu-ye-yi-ming-223454","山坡论道图页","这幅画站在山中间，有几根竹枝。 左侧像桃花。 一个和尚和一个男人隐约出现； 一个和尚和一个男人在客厅里说话，画着一个拿着棍子听着的男孩，他身后是树。",[49,23,25,26,55,24,56,58,967,358,150,7,32383],"论道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93e2d076740b9bf0b6ffda59a11b9da0.jpg","20X20",[],{"id":32388,"slug":32389,"title":32390,"dynasty":192,"author":207,"museum":175,"description":32391,"tags":32392,"thumbUrl":32393,"material":32394,"size":32395,"collection":122,"collections":32396,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},223395,"tang-ren-fa-hua-jing-xuan-zan-juan-yi-ming-223395","唐人法华经玄赞卷","此卷界乌丝栏，首尾皆缺，书者不明。书写内容为《法华经玄赞》，这是唐代玄奘法师的弟子窥基（632—682年）撰述的一部阐说《妙法莲华经》教义的专著。\n唐人写经多为楷书，草书者极为罕见。此卷行气均匀，风格典雅，字形虽小，但使转精妙，法度俨然，今草之中略带章草韵味，可与隋人《出师颂》及孙过庭《书谱》互参，应为初唐高手所写。",[49,86,436,52,417,7,319,4832],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff307974923d709fff0cac39ca1111c3a.jpg","乌丝","纵28.4cm，横373.2cm",[122],{"id":32398,"slug":32399,"title":32400,"dynasty":18,"author":18133,"museum":222,"description":18243,"tags":32401,"thumbUrl":32402,"material":319,"size":32403,"collection":122,"collections":32404,"showCount":426,"zanCount":743,"manualWeight":39,"mainColor":40},222528,"san-tan-shi-juan-wang-duo-222528","三潭诗卷",[49,86,52,5663,7,17680],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e76e495d10d9e265c6a85b332c96765.jpg","横261.2，纵27.3厘米",[122],{"id":32406,"slug":32407,"title":32408,"dynasty":18,"author":14556,"museum":99,"description":32409,"tags":32410,"thumbUrl":32411,"material":1561,"size":32412,"collection":107,"collections":32413,"showCount":426,"zanCount":39,"manualWeight":39,"mainColor":40},222384,"guan-yin-tu-ding-yun-peng-222384","观音图","此图人物面相与手指以工笔重彩，平涂淡色，粗细，浓淡间对比强烈，转换自如，其设色古朴、秀雅不俗，较全面地体现了丁云鹏在粗笔佛像、人物画方面的最高成就。此图天地开阔，中以浅色工笔画白衣大士端坐岩石之上，双目下垂，身旁净瓶插青新竹数枝。",[49,23,84,1284,25,58,277,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F957ac31aa1de24fce5dd74cd1ec3b914.jpg","33.1x97.2",[],{"id":32415,"slug":32416,"title":32417,"dynasty":18,"author":8189,"museum":175,"description":32418,"tags":32419,"thumbUrl":32422,"material":1561,"size":32423,"collection":107,"collections":32424,"showCount":426,"zanCount":1288,"manualWeight":39,"mainColor":40},222222,"ping-qiao-yuan-shui-tu-juan-wen-bo-ren-222222","平桥远水图卷","此卷为文伯仁仿元赵孟頫《水村图卷》之作，亦称《平桥远水图卷》。作者用水墨之笔，轻渲淡染，以近景为主，远处则略加留白，以示水光苍茫。此图意境萧疏清旷，从容深秀，深得赵孟頫《水村图》之神韵。\n全卷层峦叠谳，岗岭蜿蜒，起伏不断。江面空旷，波光激荡，舟帆点点，远山朦胧。野色桥边，树石掩映，露出茅屋草亭，人物幽闲。青山高耸，俯临秋水，草木茂密，掩映楼阁。此图兼工带写，构图严密，既继承家法，又追宗王蒙， 山石多用蜷曲皴笔，有条不紊，理具其中而得质感。整卷布景奇兀，笔力清劲。署“嘉靖庚午秋仿赵文敏笔，五峰文伯仁。”钤“五峰山人”白文印和“文伯仁印”朱文印。",[49,50,23,51,52,26,55,56,32420,32421,967,278,61,64,279,7],"平桥","远水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5ef409fd3029ecdb8f7bb06b1fc56fe.jpg","26.7x231cm",[],{"id":32426,"slug":32427,"title":32428,"dynasty":18,"author":32429,"museum":81,"description":32430,"tags":32431,"thumbUrl":32432,"material":107,"size":32433,"collection":199,"collections":32434,"showCount":426,"zanCount":1288,"manualWeight":39,"mainColor":40},222171,"hua-tong-zhen-xiang-zhou-zhu-kan-222171","画童贞像轴","朱侃","此幅童贞朱衣绿襟，手持宝蓝经书，衬以层层白云，设色雅淡，笔法细劲圆润。童贞为文殊菩萨的化身。\n文殊菩萨除本形外，亦现童子、僧人或龙女形象。现童子像时，多如本图所绘散发披肩，双手捧经，立于云中。",[49,8547,23,84,1284,25,58,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbac7a39d314a89f4b0545e2d2cbde633.jpg","该幅 94.1x46.3公分、全幅 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隆武帝改庙号为威宗。",[86,119,26,84,7,51,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F006507ca5262abed2fe9cfb7af640d36.jpg",[122],{"id":32893,"slug":32894,"title":32895,"dynasty":146,"author":27160,"museum":175,"description":32896,"tags":32897,"thumbUrl":32898,"material":107,"size":107,"collection":122,"collections":32899,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":75},239686,"du-fu-wei-jiang-jun-ge-juan-xian-yu-shu-239686","杜甫魏将军歌卷","释文：将军昔着从事衫，铁马弛突重两衔。被坚执锐略西极，昆仑月窟东巉岩。君门羽林万猛士，恶若哮虎子所监。五年起家列霜戟，一日过海收风帆。平生流辈徒蠢蠢，长安少年气欲尽。魏侯骨耸精神紧，华岳峰尖见秋隼。星躔宝校金盘陀，夜骑天驷超天河。搀枪荧惑不敢动，翠蕤五旓相荡摩。吾为子起歌部擭，酒阑插剑肝胆露。勾陈苍苍风玄武，万岁千秋奉明主，临江节士安足数。",[49,86,462,52,7,12562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ccb3a98ca28892a94249052f0114102.jpg",[122],{"id":32901,"slug":32902,"title":32903,"dynasty":115,"author":116,"museum":99,"description":27029,"tags":32904,"thumbUrl":32905,"material":107,"size":107,"collection":122,"collections":32906,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":75},239644,"jun-yi-tie-ye-huang-ting-jian-239644","君宜帖页",[2651,86,119,7,51,435,319,3363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c8ed1965e5015ecc210f24a653c622f.jpg",[122],{"id":32908,"slug":32909,"title":32910,"dynasty":18,"author":11843,"museum":175,"description":32911,"tags":32912,"thumbUrl":32913,"material":462,"size":32914,"collection":122,"collections":32915,"showCount":187,"zanCount":743,"manualWeight":39,"mainColor":40},239628,"zi-shu-shi-juan-jie-jin-239628","自书诗卷","解缙《自书诗》卷释文\n本幅共录自作诗 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创作的一幅画。\n图绘群山巍峨、叠嶂攀升、峡谷溪涧曲转迂回之景，山腰处的古刹及林谷间隐现的屋舍均表明此山此景是士人希冀向往的隐居之所。\n全幅为高远式构图，重点描绘了中远之景。\n其景致充盈，繁而不乱，令人有望之所见、遐所不见之思。\n图中的物象被施以各种技法加以表现，山石以短线条皴擦，山脊以落茄点横向点染，苔草以焦墨擢点，醒目灵动。\n树叶以墨晕、双圈设色逸笔绘出。\n全图以青、绿、赭石兼墨色皴擦渲染，使山林呈现郁郁明净之气，既得黄公望画格的精髓，又有超逸之趣。\n本图是作者步入中年时仿黄公望浅绛山水笔意精心绘制之作，用以祝王时敏之子王揆5岁寿辰，并祝贺王揆之子王原祁29岁登进士第之禧。\n本幅款署：“岁己酉，芝翁先生春秋五十，翬寄迹金陵，阙跻堂称祝之礼。\n今年春，令嗣茂京先生南宫高捷，余方倦游归，闻报雀跃，亟图此幅为先生寿，并以致茂京得隽之贺云。\n庚戌闰月既望，虞山石谷子王翚。\n”钤“王翚之印”朱文印。\n“庚戌”即清康熙九年（167年），作者时年9岁。\n鉴藏印有“金黼廷瘦仙氏收藏”、“固始张氏收藏金石文字”等诸方。",[23,51,84,26,55,56,150,64,727,61,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5185714d6608092df8218c1174e80ce5.jpg",[],{"id":33123,"slug":33124,"title":33125,"dynasty":97,"author":33126,"museum":99,"description":33127,"tags":33128,"thumbUrl":33129,"material":689,"size":690,"collection":107,"collections":33130,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":40},235008,"shan-shui-tu-shan-ye-zou-zhe-235008","山水图扇页","邹喆","邹喆，生卒年不详，清代画家。字方鲁，江苏吴县人。自幼随父亲客游金陵。他的画宗其父，山水工稳而有古气，富简淡清逸的情趣。兼长水墨花卉，勾勒敷彩渲染有元人王渊的体格。“金陵八家”之一。",[23,51,822,56,25,55,150,64,10510,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F912897ef9d1a3fe8291eca786da8f4b5.jpg",[],{"id":33132,"slug":33133,"title":33134,"dynasty":97,"author":5795,"museum":175,"description":33135,"tags":33136,"thumbUrl":33137,"material":5731,"size":33138,"collection":107,"collections":33139,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":40},234967,"wu-wai-tian-yuan-tu-ce-kun-can-234967","物外田园图册","引首二开清汪洪度行书“物外田园”四大字。画六开，各附长篇对题。末开款识：“余半年来弄此，樵者归：留此册，强余涂之。卧起点缀如此，云中鸡犬，僬者亦能亦点头否。石道人。”后钤“石谷”(白文)。余五开无款识，有钤印。\n据列题可知此册作于壬寅，即康熙元年(1662)，髡残时年五十一岁。其时他正隐居于南京牛首山。",[23,26,55,24,86,119,56,150,64,60,63,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26de27a970adfeee45dad7edbe20f4fb.jpg","纵21.5cm，横16.9cm",[],{"id":33141,"slug":33142,"title":22743,"dynasty":18,"author":524,"museum":99,"description":11451,"tags":33143,"thumbUrl":33144,"material":689,"size":690,"collection":107,"collections":33145,"showCount":187,"zanCount":1288,"manualWeight":39,"mainColor":40},234829,"zhu-ju-shan-xiang-sheng-mo-234829",[822,26,358,529,27,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31652eb5aff878bf1eb816c29e9f89b6.jpg",[],{"id":33147,"slug":33148,"title":33149,"dynasty":18,"author":207,"museum":99,"description":33150,"tags":33151,"thumbUrl":33152,"material":107,"size":107,"collection":107,"collections":33153,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":75},234691,"ming-ren-xue-jing-shan-shui-ce-ye-yi-ming-234691","明人雪景山水册页","雪地实景，苍茫而润泽，冰雪覆盖了自然界中的山川树木，使人们的视觉不再被五彩缤纷的万物所迷惑，从而使人们更为关注于白茫茫的冰雪积压、融变的过程，这种自然属性恰好与水墨形式相得益彰。因此，雪景山水画一直是中国山水画中的一个很有特色的部分。",[23,25,56,1050,62,967,150,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0c5051c35d93cc31f1ab80646be71c8.jpg",[],{"id":33155,"slug":33156,"title":33157,"dynasty":97,"author":33158,"museum":99,"description":33159,"tags":33160,"thumbUrl":33161,"material":107,"size":107,"collection":107,"collections":33162,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":40},234661,"shu-guo-tu-shan-mian-ni-can-234661","蔬果图扇面","倪灿","倪灿，清初学者、史志目录学家。字闇公，号雁园，江苏省江宁府上元县人。\n其先居钱塘（今浙江杭州）。诸生。康熙六年（1667）中举，十八年（1679）召试博学鸿儒，倪灿中榜，为一等二名，官授翰林院检讨。受荐修《明史》，作《明史艺文志·序》，与姜宸英《刑法志·序》，并称杰作。他鉴于《明史艺文志·序》以专收明一代著述为限，未能补救宋、辽、金、元四朝艺文志所缺，数百年文化史，残缺不全，依据黄虞稷《千顷斋书目》，就补辑宋人所撰“四部”图书“六百七十八家、一万二千七百四十二卷”。与黄虞稷灿哥共同修撰《宋史艺文志补》1卷。鉴于辽金元三史原先都没有纂修艺文志，又编纂《补辽金元艺文志》1卷，由卢文弨校订。对考定宋辽金元各代的学术源流，有很大帮助。开启了清代学者补修史志的工作，于是从补辽、金、元三代入手而蔚为一时风气。自此之后，补成史志目录达20余种。工于诗文，书法则秀绝一时。",[23,51,822,25,54,5401,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14fdbfb30efaafcffbc74d2df0fe17cd.jpg",[],{"id":33164,"slug":33165,"title":33166,"dynasty":97,"author":207,"museum":99,"description":33167,"tags":33168,"thumbUrl":33169,"material":107,"size":107,"collection":70,"collections":33170,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":40},234551,"yu-mu-shang-xin-ce-jiang-zhu-shan-shui-ce-ye-yi-ming-234551","娱目赏心册-江注山水册页","《娱目赏心册》收集了十三幅绘画作品，分别出自于十二位画家之手，尽管是不同画家的手笔，但整个册页非常统一，弥漫的是一股浓浓的文人气息",[23,51,24,26,119,7,3875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd63b49a98dfed4752166cc9dfed195c5.jpg",[70,35],{"id":33172,"slug":33173,"title":33174,"dynasty":97,"author":30037,"museum":175,"description":30038,"tags":33175,"thumbUrl":33176,"material":107,"size":107,"collection":107,"collections":33177,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":40},234468,"gao-mu-yuan-shui-tie-luo-shen-zhen-lin-234468","高木远水贴落",[23,25,54,251,277,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F949c6bc60908770b8bcf72c3ec9de469.jpg",[],{"id":33179,"slug":33180,"title":7389,"dynasty":97,"author":7390,"museum":99,"description":7391,"tags":33181,"thumbUrl":33182,"material":107,"size":107,"collection":107,"collections":33183,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":40},234369,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234369",[23,25,54,134,24,27,528,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9a6a6707d8ca83714ef7aa915ac2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39岁的程正揆决意创作《江山卧游图》卷，至死，共画了500卷之多，集中了他一生所作山水画中的精华。此卷是其中第435卷，绘自然山川之胜景。画家截取了山体的中部进行描写，营造出一种独特的狭长视角，将人物置于山腰行走，俯瞰江水，仰眺长空，平视可见山涧自上而下的流泉。景随步迁，生动写实。笔法朴拙放逸，设色淡雅。在当时摹古风气笼罩下的画坛，程正揆堪称是一位具有新意的画家。",[49,23,51,52,26,56,55,86,119,7,870,406,64,63,60,61,62,1902,727,8760],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf86b6a2adc5b5fb26bc60b95856116.jpg","纵23.8厘米，横210厘米",[],{"id":33210,"slug":33211,"title":33212,"dynasty":18,"author":2059,"museum":175,"description":33213,"tags":33214,"thumbUrl":33215,"material":918,"size":33216,"collection":107,"collections":33217,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":40},234130,"wen-zheng-ming-za-hua-si-duan-juan-wen-zheng-ming-234130","文徵明杂画四段卷","一、兰花小鸟。款识：[征明]钤印：[文征明印]白方、[征仲]朱方\n二、花鸟 款识：[落叶萧萧苦竹深，茆檐斜日唤双禽。棘丛岂是棲身地，三月春风满上林。征明。]钤印：[文征明印]白鞍钢、[征仲]朱方\n三、观瀑 款识[征明]钤印：[文征明印]白方、[征仲]朱方\n四、柏石 自题：[古石棱竞玄玉，乔柯偃蹇苍虬。着个修篁带雨，分明铁网琳球。征明。]钤印：[文征明印]白方、[征仲]朱谠",[49,23,51,52,26,135,119,7,56,27,58,777,358,700,531,29,528,251,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf293294d9a450f075036e4b99807eab.jpg","每段 纵32.6厘米 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，尽显对自然生趣的细致体察，把禽鸟的慵懒幽闲与秋意的萧索柔和相融，是小品中的精妙之制。",[49,23,51,822,25,54,27,137,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34fcea6e0955e2524931f7f5c1713d17.jpg",[],{"id":33432,"slug":33433,"title":33434,"dynasty":115,"author":207,"museum":99,"description":33435,"tags":33436,"thumbUrl":33437,"material":107,"size":107,"collection":107,"collections":33438,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":40},227905,"qiu-ting-ying-xi-tu-ye-yi-ming-227905","秋庭婴戏图页","《秋庭婴戏》是24年7月1日 出版的图书 出版社: 上海书画出版社; 第1版 (24年7月1日) 丛书名: 国宝在线 平装: 4页 开本: 8开 ISBN: 78672664 条形码: 978786726648 尺寸: 29.8 22.4 .6 cm 重量: 281 g 这套丛书按绘画题材、风格技法等要素重新进行分类，将中国画史上的国宝级名作聚于一堂，放大至原寸，为学画者提供了下真迹一等的范本。\n本书对书中收入的每一幅名画进行了详尽的介绍与分析，部分局部放大，叙述这些流传千年的国宝背后的故事，并插入与之相关的其他名画的照片与材料，为广大喜爱中国艺术的读者提供了丰富的欣赏素材和参考资料。\n欣赏和学习中国画，离不开对画史上经典名作的了解。\n中国画的历史源远流长，由于种种原因，古代流传至今的绘画名作非但数量十分稀少，而且散佚于世界各地。\n缘于此，我们编辑了这套《国宝在线》丛书，按绘画题材、风格技法等要素重新进行分类，将中国画史上的国宝级名作聚于一堂，精心印制，并尽量放大至原寸，为学画者提供了下真迹一等的范本。\n此外，我们还对书中收入的每一幅名画进行了详尽的介绍与分析，叙述这些流传千年的国宝背后的故事，并插入与之相关的其他名画的照片与材料，为广大喜爱中国艺术的读者提供了丰富的欣赏素材和参考资料。\n书评 婴戏题材在唐代便已出现，时间当与仕女画相差无几，但数量不多，技法也远未发展成熟。\n据《宣和画谱》记载，唐代著名人物画家张萱善旦画人物……又能写婴儿，此尤为难。\n盖婴儿形貌、态度自是一家，要于大小岁数间，定其面目髫稚。\n世之画者，不失之于身小而貌壮，则失之于似妇人。\n又贵贱气调与骨法，尤须各别。\n事实上，婴孩的画法脱胎于成人，因此，早期一些不成功的婴戏画中往往会具有一小大人的特征，铅华未洗，尚不能表现出儿童稚气天真的特质。\n正如唐代人物画的兴盛与其成教化，助人伦的辅政功能不可分割一样，宋代婴戏题材画之所以流行也同样有其社会背景。\n宋代重文治，虽然对外一直积弱不振，但内部局势却相对较为稳定。\n农业生产不断增长，城市经济日渐繁荣，工商业发达，人口集中。\n市民阶层迅速壮大并逐渐形成一支可以影响画坛趣味的力量。\n绘画从主要服务于宗教及贵族阶层的利益，转而开始考虑普通群众的需求。\n人物画的题材中，道释及帝王肖像一统天下的局面被打破，表现市井平民生活的风俗画开始兴盛，这其中便包括以孩童嬉戏为主要表现内容的婴戏题材画。\n当时的观念认为，儿童可以消灾解难，会带来吉祥幸福。\n例如，北宋熙宁年间京师久旱，皇帝便让京师的儿童祈雨；南宋时期，除夕时在皇宫里，呈王女童驱傩，装六丁、六甲、六神之类一等等。\n因此，宋代社会对儿童事业颇为重视，当时的京城中设有官办的慈心幼局类似于今天的幼儿园或孤儿院，还出现了私人的儿科大夫和儿童药房等。\n显然，这种社会时尚在当时的文艺创作中不能不有所反映，就绘画而言，可以说婴戏画正是在这样的背景下发展起来的。\n著名的瓷器孩儿枕也出现于这一时期。\n一 在宋代，擅作婴戏题材的画家已有相当的人数，如勾龙爽、刘宗道、杜孩儿、苏汉臣、徐世荣等。\n其中以苏汉臣最为著名，流传下来的作品也最多，以 收藏的《秋庭婴戏图》最引人观注。\n他的成就，从后世作婴戏图者多托名于之便可见一斑。\n杜孩儿，顾名思义，因擅画婴儿而得名，《画继》说他在政和间，其笔盛行，而不遭遇，流落辇下。\n画院众工，必转求之，以应宫禁之须。\n《画继》还记载：刘宗道，京师人。\n作《照盆孩儿》，以水指影，影亦相指，形影自分。\n每作一扇，必画数百本，然后出货，即日流布，实恐他人传模之先也。\n由此可见婴戏画在当时流行风靡的程度。\n又据《图绘宝鉴》所云：勾龙爽，蜀人。\n好丹青，喜为古衣冠，多作质野不媚之状。\n尤善婴孩，得其态度。\n国初为翰林待诏。\n徐世荣，画界画，兼工婴儿。\n然而，遗憾的是这些画家的作品均已失传，我们只能通过前人的寥寥数语来想像他们的风貌了。\n宋代的画坛还有一些精通人物、山水、花鸟的全能画家，如李嵩、刘松年等，他们也画过一些婴戏题材作品，而且都极为精妙。\n我们知道，宋人作画重视写生，宋代画家在再现客观世界的能力方面较之前代画家取得了长足的进步。\n因此，尽管总体而言人物画的地位远逊于晋唐，但画家的技能不仅不逊于前辈，通常还有过之而无不及。\n婴戏画便是很能说明问题的例子。\n宋代画家很好地解决了前代在画孩童时常出现的问题，他们已能够驾轻就熟地表现儿童那种特有的体貌和神态了。\n这种技术上的进步与宋代婴戏题材的流行可以说是一种互为因果的关系。\n婴戏题材除了在两宋较为兴盛外，明、清以及民国时期也十分常见，这也和其时代的经济、文化繁荣息息相关。\n然而，像宋代那样有大批一流画家参与婴戏题材创作的情况却不复再现，作品也殊难和宋画相媲美。\n纵观历朝历代的人物画，婴戏题材并不占有十分重要的地位，但却不可或缺。\n由于婴戏画反映的是生活中美好、祥和的一面，为广大群众所喜闻乐见，因此常成为表现节日里吉庆欢愉的吉祥画，而在近代，这一题材则逐渐转化成祈求安康、丰乐的年画而进入寻常百姓家了。\n宋 苏汉臣 秋庭婴戏图 轴 绢本 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 婴戏图 页 绢本 宋 苏汉臣 婴戏图 页 绢本 宋 佚名 冬日婴戏图 轴 绢本 宋 佚名 冬日婴戏图 轴 局部 宋 佚名 冬日婴戏图 轴 局部 宋 李嵩 货郎 图 卷 绢本 宋 李嵩 货郎图 卷 局部 宋 李嵩 货郎图 卷 局部 宋 李嵩 市担婴戏图 宋 李嵩 骷髅幻戏图 页 绢本 宋 李嵩 骷髅幻戏图 页 局部 宋 佚名 狸奴婴戏图 页 绢本 宋 佚名 荷亭婴戏图 页 绢本 宋 佚名 荷亭婴戏图 页 局部 宋 佚名 秋庭婴戏图 页 绢本 宋 佚名 秋庭婴戏图 页 绢本 宋 佚名 秋庭婴戏图 页 局部 宋 佚名 蕉阴击球图 页 绢本 宋 佚名 蕉阴击球图 页 局部 宋 佚名 百子嬉春图 页 绢本 宋 佚名 端阳婴戏图 页 绢本 元 佚名 杂技戏孩图 元 佚名 货郎图 轴 绢本",[49,50,23,51,24,54,25,58,10633,1714,64,7,86,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bfe0afb989a2894074a38cc534a2c6c.jpg",[],{"id":33440,"slug":33441,"title":33442,"dynasty":115,"author":207,"museum":99,"description":33443,"tags":33444,"thumbUrl":33445,"material":107,"size":107,"collection":107,"collections":33446,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":40},227889,"cang-hai-yong-ri-tu-ye-yi-ming-227889","沧海涌日图页","此作用浓淡变幻的墨色勾勒翻涌沧波，层叠浪涛卷着白沫奔涌不息，一轮朝日自海雾中缓缓浮现，晕染开朦胧天光。水纹肌理刻画入微，浪涛的雄浑动感与朝日的静穆柔和相映，将拂晓山海间辽远磅礴又带着初醒静谧的意境尽数铺展。\n\n左侧题诗与画境呼应，诗画合璧，以尺幅团扇承载浩瀚山海气象，尽显以小见大的精妙意趣，笔力苍劲细腻，墨色层次丰富，把沧海涌日的磅礴瞬间凝于绢素之上，藏天地灵韵于方寸之间。",[49,1073,23,51,24,54,25,56,22811,4670,11152,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29729fff9eb5bf2c5f979e5438cdbc4f.jpg",[],{"id":33448,"slug":33449,"title":33450,"dynasty":115,"author":207,"museum":99,"description":33451,"tags":33452,"thumbUrl":33453,"material":107,"size":107,"collection":107,"collections":33454,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":40},227865,"chun-jiang-fan-bao-tu-ye-yi-ming-227865","春江帆饱图页","近岸怪石崚嶒，古松盘虬错节，笔墨苍劲朴拙，尽显山野清旷之气。江面波平水远，风帆饱胀满张，逐浪悠游，远山晕染在烟霭之中，虚实相生铺展出平远无尽的江天胜景。\n\n诗画合璧，将春水放舟的闲逸融入尺幅之间，以小景承载阔远意境，简淡空灵里暗合寄情林泉的幽远意趣，尽显含蓄隽永的古典山水审美意韵。",[49,23,51,3363,26,25,55,56,3207,9837,64,150,751,29372,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f17c75276403ef9deb01b11f04db765.jpg",[],{"id":33456,"slug":33457,"title":33458,"dynasty":115,"author":207,"museum":99,"description":33459,"tags":33460,"thumbUrl":33462,"material":107,"size":107,"collection":107,"collections":33463,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":40},227852,"shan-dian-feng-lian-tu-ye-yi-ming-227852","山店风帘图页","此帧水墨小品以边角取景，于尺幅间铺展幽寂冬日山居。嶙峋崖石以斧劈皴利落勾勒，苍劲笔墨写出硬质肌理，枯木虬枝弯折古拙，尽显萧寒之态。山坳间的野店隐于林泉，淡墨晕染的远峰裹挟烟岚，朦胧悠远。画师以简淡洗练的笔法拉开远近层次，留白空灵清旷，将山野间荒寒冷寂的氛围渲染尽致，暗含着文人士大夫心向往之的静穆淡远林下幽思，尽显以小见大、以景寄情的隽永意趣。",[49,23,51,24,26,25,56,55,119,7,870,1902,64,295,33461],"风帘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09d24dc4618a7f329647a52ced4edb35.jpg",[],{"id":33465,"slug":33466,"title":33467,"dynasty":115,"author":116,"museum":99,"description":33468,"tags":33469,"thumbUrl":33470,"material":107,"size":107,"collection":107,"collections":33471,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":40},227595,"song-si-shi-jiu-zhi-shi-juan-huang-ting-jian-227595","送四十九侄诗卷","《送四十九侄诗》卷，北宋，黄庭坚书，纸本，行楷书，纵35.5厘米，横130.2厘米。\n\n释文：\n诗送四十九侄。有妷财相见，何堪举别觞。共期同奋发，更勉致轩昂。接物宜从厚，修身贵有常。翁翁尤念汝，早去到亲旁。\n（注释：妷：同“侄”。财：同“才”。翁翁：犹“公公”，多指祖父。）\n\n帖后无名款。鉴藏印有“白石山房”、“蔡子木歌颂斋”、“宋荦审定”、“宣统御览之宝”。\n\n此帖原为《宋元宝翰》册之一，后改装成卷。此诗在《山谷外集》中没有记载，四十九侄亦无考。\n\n该帖字大如拳，结体多取柳公权法，字大方可尽其笔势。撇捺特长，笔画多取横势，字势舒展俊朗，跌宕起伏，变化出新，极具挺拔之态。\n\n与黄庭坚同为“苏门四学士”的张耒评黄庭坚诗句：“不践前人旧行迹，独经斯世擅风流。”用此句评论黄庭坚的书法是很恰当的。",[49,86,119,52,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3ee6efaf6a6bc07864e1e94e0d9ef0e.jpg",[],{"id":33473,"slug":33474,"title":33475,"dynasty":115,"author":355,"museum":99,"description":33476,"tags":33477,"thumbUrl":33478,"material":107,"size":107,"collection":107,"collections":33479,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":40},227506,"ci-bian-cai-yun-shi-su-shi-227506","次辩才韵诗","《次辩才韵诗帖》这件作品写于苏轼被放杭州一年之后。这一年，苏轼在西湖上修筑了南北长堤，便是后人称颂至今的“苏堤”。辩才是苏轼的一位僧人诗友，他的这幅作品就是盛赞辩才老师超然物外、仙风道骨，自己与辩才能二老同游，当是人生幸事。大千世界，一切有法，且如是观之。作品落笔沉着、从容，已没有十年前书写《黄州寒食诗帖》时的激宕，墨色浓重却透着清雅之气，丰腴浑厚仍有秀逸之质。",[49,2651,86,119,23,51,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde73bd160d54e4ef7de788179945ba55.jpg",[],{"id":33481,"slug":33482,"title":13366,"dynasty":115,"author":355,"museum":99,"description":28398,"tags":33483,"thumbUrl":33486,"material":107,"size":107,"collection":107,"collections":33487,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":40},227499,"song-si-jia-chi-du-su-shi-227499",[49,86,119,19470,33484,7,4832,33485],"纸质","手札","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cc6353cbfb4d1adc7fb04a91c01ed60.jpg",[],{"id":33489,"slug":33490,"title":33491,"dynasty":97,"author":12499,"museum":99,"description":33492,"tags":33493,"thumbUrl":33494,"material":107,"size":107,"collection":107,"collections":33495,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":2307},226627,"shu-fa-shan-mian-pu-ru-226627","书法扇面","溥儒 满族，北京人。字心畲，号西山居士、西山逸士、旧王孙等。出身清皇族，姓爱新觉罗，是是道光皇帝第六子亲王的次孙，末代皇帝溥仪的堂兄弟。溥儒自幼饱学，稍长专心研究文学艺术，1911年入贵胄政治学堂，毕业后再入青岛德国威廉帝国研究院，又留学柏林大学，学习天文和生物，获得博士学位，他也精通经史和书画，回国后笃嗜诗文、书画，皆有成就。先住清河二旗村，后隐居西山戒台寺10年，从此专事绘画，以卖书画自食其力。解放前夕出海舟山，后居台湾，于1963年病故。\n溥儒善山水、人物、花鸟、走兽，曾以画名与蜀人张大千并称“南张北溥”；又与吴湖帆并称“南吴北溥”。山水以“北宗”为基，笔法以“南宗”为法。注重线条钩摹，较少烘染。书法习柳公权、裴休出，略近成亲王而风骨过之。",[49,105,86,822,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87caf1417859bc4b8e6fabe2b405790c.jpg",[],{"id":33497,"slug":33498,"title":33499,"dynasty":97,"author":445,"museum":99,"description":33500,"tags":33501,"thumbUrl":33502,"material":107,"size":107,"collection":107,"collections":33503,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":40},224516,"shan-shui-tu-ce-8-kai-4-zhang-da-qian-jiu-cang-shi-tao-224516","山水图册8开-4-张大千旧藏","此作笔墨纵逸灵秀，近景矶石层叠错落，古松浓荫如盖，半山楼阁隐现其间，扁舟系于石畔，漾出静雅思致。水面留白悠远，远景以淡墨晕染平峦，淡青轻覆山尖，虚实相生间晕开江南水畔的清寂底色。\n\n笔意枯湿浓淡随性自然，将山林幽居的萧散野趣尽显无余，题书朴拙苍劲，与画境浑然相融，藏着寄情林泉的隐逸襟怀，寥寥数笔便勾勒出静穆淡远的诗意山水。",[49,23,26,25,24,55,56,62,63,871,150,751,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffcb11f13f60708864df487319738a70.jpg",[],{"id":33505,"slug":33506,"title":33507,"dynasty":97,"author":445,"museum":99,"description":33508,"tags":33509,"thumbUrl":33510,"material":107,"size":107,"collection":107,"collections":33511,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":40},224503,"shan-shui-ce-kai-ba-shi-tao-224503","山水冊开(八)","此作用笔清润秀雅，以淡墨晕染远山，将春山笼在烟岚薄雾之中。江岸村落隐于林莽间，江渚渔舟系泊静卧，近岸茅舍错落，柔柳轻拂堤岸，浅赭淡绿敷色晕染，晕开春日融融暖意。\n\n右上题诗与画面相生，将江畔春景揉进诗意之中，简淡空灵间尽显田园意趣。笔墨简而意足，淡而弥厚，把江南春日的缱绻春深藏在浅淡晕染里，将乡野间恬然闲静的春日氛围铺陈开来，让观者仿若踏入这烟柳春江，沉醉在这份闲寂又充满生机的乡野春光中。",[49,23,51,24,26,25,55,86,7,56,62,61,727,64,751],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e7cb140b5bf9176162a92b4b69e5d7.jpg",[],{"id":33513,"slug":33514,"title":33515,"dynasty":97,"author":5309,"museum":99,"description":33516,"tags":33517,"thumbUrl":33518,"material":107,"size":107,"collection":107,"collections":33519,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":40},224465,"fang-li-ying-qiu-jiang-gan-qi-shu-tu-zhou-wang-hui-224465","倣李营丘江干七树图轴","此作用笔苍秀兼具，以枯淡之墨绘就寒林古木，虬枝如蟹爪舒张，苍松挺拔卓立，近景瀑流涓涓，旅人策蹇徐行，野意悠然。远景江水浩渺，远山以淡墨晕染，轻岚笼山，平远之境清旷空灵。\n画作师法前贤，糅合北派山水的雄浑与南宗温润雅致，将冬日江干的荒寒萧疏铺陈开来，萧寒之气与空阔江天相融，摹古却自出机杼，尽显平远山水的幽渺意境。",[49,23,51,56,84,134,55,26,150,137,610,61,62,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb2b6e269a01d7966da987a19da3ed77.jpg",[],{"id":33521,"slug":33522,"title":33523,"dynasty":97,"author":15611,"museum":99,"description":33524,"tags":33525,"thumbUrl":33526,"material":107,"size":107,"collection":107,"collections":33527,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":40},224240,"tan-xue-tu-juan-li-zong-wan-224240","探雪图卷","此作用平远视角铺展林泉雅境，以披麻皴绘层峦，石骨温润，淡赭晕染出浅淡暖意，衬出山峦清和质感。长溪蜿蜒穿谷，汀渚错落板桥连缀村居，黛瓦茅庐或临水依崖，或藏于花林松荫。\n\n山径、板桥之上，雅士策杖寻幽、携琴晤谈，暗合林泉高致。桃林初绽、松枝苍劲，红白点缀浅绛山水之间，冷润雅致。全卷以精工细笔写尽山居闲旷，将文人心中的世外烟霞融于尺幅，尽显静谧悠然的林下意趣，淡远清和的气息漫卷整幅画卷。",[49,23,51,52,54,55,25,56,1050,60,61,58,59,64,150,379,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff435c1018f07729175bd8cc1346e76e1.jpg",[],{"id":33529,"slug":33530,"title":33531,"dynasty":97,"author":33532,"museum":99,"description":33533,"tags":33534,"thumbUrl":33535,"material":107,"size":107,"collection":107,"collections":33536,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":40},224196,"yan-zi-ji-mo-chou-hu-er-jing-tu-quan-juan-wu-hong-224196","燕子矶莫愁湖二景图全卷","吴宏","此作以全景长卷铺展金陵山水，分绘两处胜景：一侧是燕子矶危崖耸峙，江涛浩渺，帆樯往来，山坞村居错落于林木间，笔墨苍劲，尽显丘壑雄奇；一侧是莫愁湖烟水空濛，汀洲软碧，人家隐于柳岸，笔意清润尽揽湖山温婉。\n\n浅绛设色调和雅致，皴擦勾勒松秀苍逸，远近层次井然，将实景山水晕染出文人意趣。长题诗跋与书画相映，把凭吊幽怀寄于烟岚水色，书卷气漫溢全卷，尽显实景入画又抒情写意的绝妙风韵。",[49,23,51,52,26,56,55,870,406,9970,150,64,6000,7,86,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F367d279b39c6d14e9d989d272bc2f3b3.jpg",[],{"id":33538,"slug":33539,"title":33540,"dynasty":891,"author":207,"museum":99,"description":33541,"tags":33542,"thumbUrl":33543,"material":689,"size":690,"collection":107,"collections":33544,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":40},224053,"wang-jing-wei-zheng-quan-guo-min-zheng-fu-te-bie-fa-ting-ting-zhang-ya-yin-yi-ming-224053","汪精卫政权「国民政府特别法庭庭长」牙印","战国时期，主张合纵的名相苏秦佩戴过六国相印。近几年来，出土的文物又把印章的历史向前推进了数百年。也就是说，印章在周朝时就有了。\n传世的古代玺印，多数出于古城废墟、河流和古墓中。有的是战争中战败者流亡时所遗弃，也有在战争中殉职者遗弃在战场上的，而当时的惯例，凡在战场上虏获的印章必须上交，而官吏迁职、死后也须脱解印绶上交。其它有不少如官职连姓名的，以及吉语印、肖形印等一般是殉葬之物，而不是实品。其它在战国时代的陶器和标准量器上，以及有些诸侯国的金币上，都用印章盖上名称和记录上制造工匠的名姓或图记性质的符号，也被流传下来。\n古玺是先秦印章的通称。我们现在所能看到的一般最早的印章大多是战国古玺。印文笔画细如毫发，都出于铸造。白文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。官玺的印文内容有“司马”、“司徒”等名称外，还有各种不规则的形状，内容还刻有吉语和生动的物图案。朱文古玺大多加边栏，或在中间加一竖界格，文字有铸有凿。",[7,5943,541,25800,891],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a2390ac0c580721b377f8a39a55097e.jpg",[],{"id":33546,"slug":33547,"title":33548,"dynasty":115,"author":207,"museum":175,"description":33549,"tags":33550,"thumbUrl":33551,"material":239,"size":33552,"collection":107,"collections":33553,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":75},223567,"xi-shan-shui-ge-tu-ye-yi-ming-223567","溪山水阁图页","此幅绘溪水寒林，峭壁危岩，远山空濛，白云缭绕，溪前敞榭虽只以粗笔界尺寥寥勾出，但造型准确，结构清晰。近景徒手意笔写板桥，颇有野趣。榭中人物凭栏远眺，于湖光山色映衬下，画面清秀明净而略显空寂。山石用斧劈皴，树略拖枝，带有马远风格，是宋人册页中粗笔楼阁的代表作品。",[49,23,26,25,56,59,60,61,967,150,7,1962,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d0e302f06c57c4580f073851fafef4.jpg","24.2x24.7厘米",[],{"id":33555,"slug":33556,"title":33557,"dynasty":115,"author":207,"museum":175,"description":33558,"tags":33559,"thumbUrl":33560,"material":227,"size":33561,"collection":107,"collections":33562,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":40},223402,"chui-yang-fei-xu-tu-yi-ming-223402","垂杨飞絮图","图绘新绿垂柳四枝，袅袅生姿，柳絮似雪飞舞，透露无限春意。画中柳枝用中锋一笔画出；柳叶用细笔勾勒，并填以汁绿；柳絮用白粉信笔点之。全图用笔工整，赋色淡雅。构图疏密得体。上方垂下的柳枝与右侧伸出的柳枝将画面分割成形状不等的四部分，小中见大，引人遐思。图的左上方有宋宁宗皇后杨氏的题诗：“线捻依依绿，金垂袅袅黄”，并钤八卦中的“坤卦”形印。",[49,23,51,54,25,119,7,11151,27150,475],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1985b24190a5d26949764d7e323e9b9f.jpg","25.8*24.6厘米",[],{"id":33564,"slug":33565,"title":33566,"dynasty":97,"author":10725,"museum":99,"description":10726,"tags":33567,"thumbUrl":33569,"material":319,"size":33570,"collection":122,"collections":33571,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":40},223265,"xin-jian-hong-yi-fa-shi-223265","信笺",[49,105,119,33568,26,33485,23567,7],"毛笔书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79bd65ef2310e07f4469e23d873b355d.jpg","35x124",[122],{"id":33573,"slug":33574,"title":33575,"dynasty":97,"author":1235,"museum":175,"description":9384,"tags":33576,"thumbUrl":33577,"material":183,"size":9387,"collection":107,"collections":33578,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":75},222867,"shi-gong-ci-tu-ce-06-leng-mei-222867","十宫词图册06",[49,50,23,51,24,54,25,58,59,1019,4320,3011,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F168968a1c5eb89201c2550c1aad92216.jpg",[],{"id":33580,"slug":33581,"title":33582,"dynasty":97,"author":1235,"museum":175,"description":9384,"tags":33583,"thumbUrl":33584,"material":183,"size":9387,"collection":107,"collections":33585,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":75},222866,"shi-gong-ci-tu-ce-05-leng-mei-222866","十宫词图册05",[49,54,25,58,59,56,610,1240,14700,1019,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd02b3914629137d173dd81a062ecfd.jpg",[],{"id":33587,"slug":33588,"title":33589,"dynasty":97,"author":1235,"museum":175,"description":9384,"tags":33590,"thumbUrl":33600,"material":183,"size":9387,"collection":107,"collections":33601,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":75},222864,"shi-gong-ci-tu-ce-03-leng-mei-222864","十宫词图册03",[49,23,51,24,25,54,119,7,58,59,1019,33591,33592,13606,8760,64,2655,33593,33594,33595,33596,29061,33597,33598,33599],"廊","圆门","古典建筑","园林景观","传统服饰","人物群像","印鉴","建筑装饰","人物互动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bbdacdc2555c58cb249651b9849937a.jpg",[],{"id":33603,"slug":33604,"title":33605,"dynasty":18,"author":18133,"museum":99,"description":18243,"tags":33606,"thumbUrl":33607,"material":107,"size":33608,"collection":122,"collections":33609,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":75},222530,"lin-zhe-mo-lan-ting-wang-duo-222530","临禇摹兰亭",[49,51,86,134,119,7,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6b795d3b808e6c26621b5a3f414c8d4.jpg","44X144",[122],{"id":33611,"slug":33612,"title":9897,"dynasty":18,"author":3904,"museum":99,"description":33613,"tags":33614,"thumbUrl":33615,"material":107,"size":107,"collection":122,"collections":33616,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":75},222473,"shou-juan-zhu-yun-ming-222473","祝允明（1461年1月17日-1527年1月28日）生于天顺四年十二月六日，卒于嘉靖五年十二月二十七日，字希哲，长洲（今江苏吴县）人，因长像奇特，而自嘲丑陋，又因右手有枝生手指，故自号枝山，世人称为“祝京兆”，明代著名书法家。\n祝允明的科举仕途颇为坎坷，十九岁中秀才，五次参加乡试，才于明弘治五年（1492）中举，后七次参加会试不第。甚至其子祝续也在前一科中进士，于是祝允明绝了科举念头，以举人选官，在正德九年（1514），授为广东兴宁县知县，嘉靖元年（1522），转任为应天（今南京）府通判，不久称病还乡。\n祝允明擅诗文，尤工书法，名动海内。他与唐寅、文徵明、徐祯卿并称“吴中四才子”。又与文徵明、王宠同为明中期书家之代表。楷书早年精谨，师法赵孟頫、褚遂良，并从欧、虞而直追“二王”。草书师法李邕、黄庭坚、米芾，功力深厚，晚年尤重变化，风骨烂熳。北京大学教授、引碑入草开创者的李志敏评价：“祝枝山的狂草，骨力弱于旭、素，但在宋人影响下，又自成一格”。其代表作有《太湖诗卷》《箜篌引》《赤壁赋》等。所书“六体书诗赋卷”“草书杜甫诗卷”“古诗十九首”“草书唐人诗卷”及“草书诗翰卷”等皆为传世墨宝。\n祝允明出生在文化气氛很浓的苏州，他的书学生涯是在前辈的言传身教下开始的。其中对他影响最大的是外祖父徐有贞和岳父李应祯两人。 徐有贞擅长行草书。他的行草主要师法唐朝的怀素和宋朝的米芾。用笔直率而华美，结构潇洒多姿，很得古雅之气。北京大学教授、引碑入草开创者的李志敏评价：“祝枝山的狂草，骨力弱于旭、素，但在宋人影响下，又自成一格”。在祝允明二岁时，徐有贞奉诏回苏州闲居，祝允明时常寄宿在外公家里，因此徐有贞的书法风格对他影响是很深远的。\n李应祯也是一个有名的书法家。祝允明也一直得到李应祯的指导。在跟从岳父学书的十几年中，李应祯对于祝允明在书法的发展上起了很大的作用。\n据文徵明的记载，李应祯在晚年告诉他，说自己学习书法四十年才开始有所得，并向文徵明论述了书法上的很多道理。他留下的尺牍，秀丽而又有气度，行笔自然大方，横向取势的撇、捺、横都很生动有致。字的大小，粗细变化自然。他这种富于抒情性的行草书对祝允明也有很深的影响。 祝允明自己谈幼年时学习书法，说前辈不让他学习近代人的字，看到的都是晋唐人的字帖。所指的应该是楷书的学习。应该说祝允明幼年在两位前辈的指导下，打下了很好的底子，为日后的发展作了铺垫。同时两人的书风的优点也传给了祝允明。\n祝允明书法主张是“性”与“功”并重超然出神采，祝允明的书艺思想以“神采”为最终归宿。而要达到这个目标，他认为必须“性”、“功”并重。“性”是指人的精神，“功”是指书法创作的能力和功夫。他认为只有功力而无精神境界，神采就没有，而有了高尚的精神境界，如果没有表达的功夫，那么神采就不能实在地显露。两者不可缺一，必须兼备，在他的代表作《闲居秋日》《致元和手札》《燕喜亭记》《乐志论》《饭苓赋》《云江记》等就秉承了他所倡导的“性”、“功”并重的原则。 对于“功”，祝允明认为只有在向前人学习的基础上才能得到。因此他对时人不愿好好学习传统而把这称为“奴书”的说法很愤慨。特地写下了《奴书订》予以反驳。在这一点上，他晚年在《书述》中还批评了他的岳父李应祯。他强调必须“沿晋游唐”，这是源于他对书法史的深入认识。\n他认为书理极于张芝、王羲之、钟繇、索靖，后人只是在遵循他们的法则，而在根本上已不能改变。他认为唐人能循前人之理，按照当时人的法则来写；宋初还不很差，宋中期仍有可取之处，而后便大变传统，古法遭到败坏，大多流为恶怪。到元代方有赵孟頫扭转时风，复归晋唐，但终因个性不强未免有“奴书”的遗憾。所以要知书法的本来必须向晋唐学习。在学习和熟悉了传统后，其技法必须有独到之处，这是祝允明对“功”的进一步要求。他在《评书》中说自己不屑于步钟、索、羲、献的后尘，而要学习项羽和史弘肇的勇猛以开创自己。他跋 《山谷书李诗》云: “双井之学（黄庭坚之学）大抵以韵胜，文章诗书画皆然，姑论其书积功固深，所得固别。要之得晋人之韵，故形貌若悬而神爽冥会欤!此卷驰骤藏真，殆有夺胎之妙，非有若据孔子比也，其故乃是与素同得晋韵然耳。”(《祝枝山全集》卷二十五)可见他主张学古贵在求其气韵神情，而不必规规于点画形似。 ] 因此他既反对时人对传统的忽视，又强调不能真的成为“奴书”。\n祝允明对于“性”没有很多的论述。他提倡“起雅去俗”，显然是指以学识和修养来陶冶性情、净化心灵，从而达到较高的精神境界。 有了以上两点，就可以在“入神”的状态下创作具有神采的优秀作品了。他对于“入神之境”的解释是“一时超然格度之外”，在超越各种约束的情况下，才能“闲窗散笔”，自然地表达自己。 祝允明在书法理论上的要求，既符合艺术创作本身的规律，又合乎文人书画的审美要求，从而使他的书法创作成果达到了很高的水平。\n祝允明书法主要成就在于狂草和楷书。狂草来自怀素、张旭，更多的是接近黄山谷，提按和使转的笔法交互使用，行与行之间的距离很紧，形成一种汪洋恣肆的视觉效果。受黄庭坚影响很大，所以书法有铁画银钩之称。更难得的是楷书又写得相当严谨，有晋唐人的古雅气息。这种反差很大的综合素养与唐代的张旭十分相似，如《草书自诗卷》《致元和手札》《草书千字文卷》《王文恪公卷》等。 祝允明高明之处，将黄庭坚斤书笔法的特点融于自己小行楷书作中。因此，祝允明对黄庭坚的取法无疑是一种新的创造。",[49,50,23,51,52,462,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F123665fbab9a322e70bef1c799c376a3.jpg",[122],{"id":33618,"slug":33619,"title":33620,"dynasty":18,"author":27671,"museum":81,"description":27672,"tags":33621,"thumbUrl":33622,"material":319,"size":33623,"collection":107,"collections":33624,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":40},222436,"hua-die-cao-chong-3-du-da-cheng-222436","花蝶草虫3",[49,23,51,26,54,135,27,5824,315,332,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1a347739aaed6c58c2cf28ca8269f81.jpg","27x34cm",[],{"id":33626,"slug":33627,"title":33628,"dynasty":18,"author":32733,"museum":329,"description":33629,"tags":33630,"thumbUrl":33631,"material":239,"size":33632,"collection":107,"collections":33633,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":75},222390,"shan-shui-liu-ce-he-juan-sheng-mao-ye-222390","山水六册合卷","盛茂烨，明代画家，长洲（今江苏苏州）人。善山水、人物，笔力雄健，烘染精到，好作长林叠嶂巍峨险峻之景，有烟林清旷之概。\n此册六开，因藏于海外，国内学者较少提及，无论是用笔、用墨还是构图、气韵，其独特的艺术风格都表现出一流的大家风范。",[49,23,26,25,24,52,55,56,60,61,62,137,164,59,58,7,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d02a1e0c9772dc5dacd3bbddaec7765.jpg","28.6 x 30.5",[],{"id":33635,"slug":33636,"title":33637,"dynasty":18,"author":29777,"museum":99,"description":33638,"tags":33639,"thumbUrl":33640,"material":2226,"size":33641,"collection":107,"collections":33642,"showCount":187,"zanCount":1288,"manualWeight":39,"mainColor":1441},222368,"yu-ri-ren-shu-tie-wang-shou-ren-222368","与日仁书帖","王守仁（1472年10月31日－1529年1月9日），本名王云，字伯安，号阳明，浙江余姚人，汉族。明朝杰出的思想家、文学家、军事家、教育家，南京吏部尚书王华的儿子。\n弘治十二年（1499年），中进士，起家刑部主事，历任贵州龙场驿丞、庐陵知县、右佥都御史、南赣巡抚、两广总督、南京兵部尚书、左都御史等职，接连平定南赣、两广盗乱及朱宸濠之乱，获封新建伯，成为明代凭借军功封爵的三位文臣之一。嘉靖八年十一月（1529年1月9日），逝世，时年五十七。明穆宗继位，追赠新建侯，谥号“文成”。万历十二年（1584年），从祀于孔庙。\n明代心学发展的基本历程，可以归结为：陈献章开启，湛若水完善，王守仁集大成 。王守仁的阳明心学后传入了日本、朝鲜等国。其弟子极众，世称“姚江学派”。文章博大昌达，行墨间有俊爽之气。有《王文成公全书》传世。\n明宪宗成化八年（1472年），王守仁出生于浙江绍兴府余姚县一个显赫的家庭，父亲王华是成化十七年（1481年）状元，官至南京吏部尚书。\n王守仁天生有特殊的气质。他的母亲怀孕十四个月才分娩，在他诞生之前，他的祖母梦见天神衣绯玉，云中鼓吹，抱一赤子，从天而降，祖父遂为他取名为“云”，并给他居住的地方起名为“瑞云楼”。\n王守仁5岁仍不会说话，但已默记祖父所读过的书。有一高僧过其家，摸着他的头说“好个孩儿，可惜道破。”祖父根据《论语·卫灵公》所云“知及之，仁不能守之，虽得之，必失之”，为他改名为“守仁”，随后他就开口说话了。 他的父亲王华喜爱绍兴的山水，才举家离开余姚，移居绍兴。幼年的王守仁，有着良好的家世，也因此拥有一个非常优越的学习环境。\n十二岁时，王守仁正式就读书塾。十三岁，母亲郑氏去世，幼年失恃，这对他来说是一个很大的挫折。但他志存高远，心思不同常人。一次与书塾先生讨论何为天下最要紧之事，他就不同凡俗，认为“科举并非第一等要紧事”，天下最要紧的是读书做一个圣贤的人。当时国家朝政腐败，义军四起。英宗正统年间，英宗被蒙古瓦剌部所俘。这件事情在王守仁幼小的心中投下了巨大的阴影。他发誓一定要学好兵法，为国效忠。十五岁时就屡次上书皇帝，献策平定农民起义，未果。同年，他出游居庸关、山海关一月之久，纵观塞外，那时已经有经略四方之志。\n弘治元年（1488年），王守仁十七岁时，他到南昌与诸养和之女诸氏成婚，可在结婚的当天，大家都找不到他。原来这天他闲逛中遇见一道士在那里打坐，他就向道士请教，道士给他讲了一回养生术，他便与道士相对静坐忘归，直到第二天岳父才把他找回去 。\n弘治二年（1489年），王守仁十八岁时，与夫人诸氏返回余姚，船过广信，王守仁拜谒娄谅。娄谅向他讲授“格物致知”之学，王守仁甚喜。之后他遍读朱熹的著作，思考宋儒所谓“物有表里精粗，一草一木皆具至理”的学说。为了实践朱熹的“格物致知”，有一次他下决心穷竹之理，“格”了七天七夜的竹子，什么都没有发现，人却因此病倒。从此，王守仁对“格物”学说产生了极大的怀疑，这就是中国哲学史上著名的“守仁格竹”。",[49,8547,86,2226,462,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a621a4ea04ceed4b7314b3c371ac0de.jpg","29.53×76.2cm",[],{"id":33644,"slug":33645,"title":33646,"dynasty":18,"author":9326,"museum":99,"description":33647,"tags":33648,"thumbUrl":33649,"material":107,"size":107,"collection":107,"collections":33650,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":40},222052,"shu-su-shi-hou-chi-bi-fu-quan-juan-zhang-rui-tu-222052","书苏轼《后赤壁赋》全卷","本书是中国碑帖经典中的一册。收入了明代书法家张瑞图的草书《后赤壁赋》。该帖笔势矫键跌宕，锋芒凌厉，方笔多于圆笔，一扫元明俏媚之书风，虽未入神，已属不朽之作。\n该书印刷精美，较好地再现了原作，是书法爱好者的极佳范本。\n张瑞图 (1570～1641)明代书法家。字长公，又字无画，号二水、白毫庵主等。泉州晋江人。万历三十五年(1607)探花，授编修，历官少詹事、礼部侍郎、礼部尚书，后入阁办事，晋建极殿大学士，加少师。善山水，尤工书，与邢侗、米万钟、董其昌并称“明四家”。其书法奇恣横生，风格多样，不落流俗，在钟繇、王羲之之外另辟蹊径。善用露锋尖笔，笔势跳荡多姿，节奏感强烈。结体平正而内促，形态紧张，显示出一种前所未有的自抑心理。以强烈的个性与崭新的艺术风貌独树一帜。尤精大字匾额。书名远播日本、朝鲜及东南亚诸国。所书《草书后赤壁赋》，日本人视为珍品，称他是“伟大的章草体书法家”。\n学习张瑞图的书法，必须从笔法开始，在熟练掌握方笔法的基础上，才能写出其草书的姿态，要是不注重笔法，仅学其字的形态，就可能滑入丑怪。",[86,52,119,462,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bdd14654808bc7fd29b40bc7c220432.jpg",[],{"id":33652,"slug":33653,"title":33654,"dynasty":18,"author":15886,"museum":99,"description":33655,"tags":33656,"thumbUrl":33657,"material":319,"size":33658,"collection":107,"collections":33659,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":40},222023,"chuan-shan-tu-wen-jia-222023","船山图","文嘉擅山水，似倪瓒，着色山水幽雅恬淡。兼能花卉。",[49,23,56,26,55,137,870,406,62,277,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F710b91f69a768b839f2b227ce220d971.jpg","30x72cm",[],{"id":33661,"slug":33662,"title":33663,"dynasty":18,"author":955,"museum":2192,"description":25409,"tags":33664,"thumbUrl":33665,"material":24,"size":107,"collection":107,"collections":33666,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":40},221900,"hua-niao-jing-pin-ce-11-chen-hong-shou-221900","花鸟精品册11",[23,51,24,25,54,27,528,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dc4bafdc0537e2d279551e5f8a01346.jpg",[],{"id":33668,"slug":33669,"title":33670,"dynasty":146,"author":33671,"museum":175,"description":33672,"tags":33673,"thumbUrl":33674,"material":4816,"size":33675,"collection":107,"collections":33676,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":40},221806,"xian-zhi-zhai-tu-juan-wu-zhi-zhong-221806","闲止斋图卷","吴致中","此图是吴致中为他的族人吴彦能所绘山间别墅“闲止斋”的景致。\n画家自题：“野外罕人事，即事多所欣。坐止高荫下，遥遥望白云。东园吴致中为宗人彦能写闲止斋并集陶句。”下钤“延陵世家”、“吴致中”2印。\n吴彦能，字子乃，元末延陵（今江苏常州）人。出身于官宦世家，自幼受到良好的教育，曾拜在经学大师胡仲彝门下，在春秋学研究方面有很深的造诣，后隐居于至亲郑居贞的家乡歙南溪（今安徽东南部、新安江上游）。吴彦能最敬慕东晋名士陶渊明弃官归隐之高操，故将自己的隐居之所取名为“闲止斋”。\n此图在艺术手法上采用平远式构图，将近景、中景、远景有机地结合起来。画面近处高树耸立于湖畔，作为主体的“闲止斋”掩映于林木间。对江平沙曲岸，远岫遥岺，生动地点画出元代文人理想中的山林野趣。\n全画笔墨简练而不放纵，从勾皴点染之间营造出清幽雅静的氛围。山石的画法用卷云皴，可明显地看出北宋郭熙绘画技法的影响。吴致中存世作品极少，《闲止斋图》是了解其画风的重要实物资料。",[49,23,51,52,26,25,56,59,60,61,277,63,66,137,119,541,7,55,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00874a1dadd20cefff589827a0c57942.jpg","21.8厘米，横1.9厘米。",[],{"id":33678,"slug":33679,"title":33680,"dynasty":146,"author":33681,"museum":175,"description":33682,"tags":33683,"thumbUrl":33684,"material":33685,"size":33686,"collection":199,"collections":33687,"showCount":187,"zanCount":1288,"manualWeight":39,"mainColor":40},221796,"du-qiu-niang-tu-juan-du-mu-shi-zhou-lang-221796","杜秋娘图卷杜牧诗","周朗","署款：“周朗伯高。”下钤印“冰壶画隐”。本幅有元代著名书法家康里巎巎行书录唐杜牧《杜秋娘诗》，明宋璲题记二段。钤清乾隆、嘉庆、宣统内府收藏印等，共计23方。\n此图创作主题突出，无任何衬景点缀，仅绘杜秋侧身沉思状。作者运用暗喻的艺术手法，根据诗意成功地塑造出栩栩如生的杜秋形象。其雍容丰满的体态及身着的唐装表明了杜秋所处的时代特征，发髻上考究的头饰暗示出她的身份与地位，手中所持排箫则揭示出其内在的文化修养。\n此图在人物造型上与唐代周昉《挥扇仕女图》中的人物相仿。杜秋浓密的头发梳理得齐整服贴，前额不见散丝，鸭蛋形脸，丹凤眼，高鼻梁，嘴唇小而丰满，面部没有过多的表情。躯体丰腴，着以直筒形长裙，遮掩了其腰身的曲线，显示出唐代仕女画的审美意识。在表现技法上，此图受到宋以来白描画法的影响，注重以线造型，与唐人浓彩重抹的画风有所差异，充分表现了作者对线条的理解和娴熟的运用能力。人物面部轮廓以细匀的淡墨线勾勒，线条外柔内刚，富有弹性，与以浓墨晕染的高挽的发髻共同衬托出杜秋白晰的面容及细腻光滑的肌肤。衣纹用曲、直两种线条表现，直线条落笔果断，劲健有力；曲线条连绵宛转。两种线条的有机组合成功地表现出衣料柔软下坠的质感。人物肩上的披纱用细劲流动的线条勾描，不仅展现出纱带轻薄飘逸的美感，而且以其动势使画面更为活泼，增强了作品的生动性。\n周朗真迹传世仅见此一卷。清内府《石渠宝笈初编》著录。",[49,23,50,52,135,25,119,86,7,58,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3904aa0b94a417e75feeb9f16a97da2.jpg","设色，纸本","纵32.3厘米，横285.5厘米",[199],{"id":33689,"slug":33690,"title":33691,"dynasty":115,"author":3050,"museum":175,"description":33692,"tags":33693,"thumbUrl":33694,"material":183,"size":33695,"collection":107,"collections":33696,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":40},221600,"san-gao-you-shang-tu-ye-liang-kai-221600","三高游赏图页","此图原载《宋人名流集藻册》。画上题云：御前图画梁楷笔。这幅画可以代表他的人物画的风格。人物面部表情很细致，而衣履则以寥寥数笔成之，更显得迅捷有力。后来的许多画家都从他这里得到了启发。",[49,2651,23,51,6095,2205,135,4272,3363,58,56,64,1902,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33bc58b4c1c2fc63890cffa78db35ae7.jpg","纵25.3厘米，横26厘米",[],{"id":33698,"slug":33699,"title":33700,"dynasty":115,"author":289,"museum":99,"description":9044,"tags":33701,"thumbUrl":33702,"material":319,"size":9047,"collection":107,"collections":33703,"showCount":187,"zanCount":39,"manualWeight":39,"mainColor":40},221401,"fa-hai-ling-shan-tu-3-li-gong-lin-221401","法海灵山图3",[49,50,23,51,2651,135,58,1116,7,1284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F628dab8802c2613ee52979a59c9847da.jpg",[],{"id":33705,"slug":33706,"title":33707,"dynasty":18,"author":2181,"museum":81,"description":33708,"tags":33709,"thumbUrl":33710,"material":634,"size":33711,"collection":122,"collections":33712,"showCount":187,"zanCount":1288,"manualWeight":39,"mainColor":40},220951,"du-fu-ye-xuan-yuan-huang-di-miao-shi-dong-qi-chang-220951","杜甫谒玄元皇帝庙诗","董宗伯先生书法之妙。世皆知之。然皮相者。先生之行草耳。而?笔十居其七。至于楷法。世人未许梦见。此书乃先生用意临摹。楮墨精好。此予久在先生门下。见其运笔之妙。否则不知其精神所（脱一字）也。此不特得徐浩之法。兼得欧颜之神。非磨墨万锭。未可与窥其奥也。雪蓑声识。",[49,86,119,134,7,26,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c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《斗泉图》、《云山桧石》、《枯木图》、《秋野图》、《画楼酌别图》、《小景图》、《诗意图》、《谢家池塘》、《春江听雨》、《树石图》、《归思图》、《鹰桧图》等等。",[50,23,51,84,26,137,277,86,7,776],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa23b2c70790d8e5aaee246590773cd4f.jpg","112.5x35",[],{"id":33813,"slug":33814,"title":33815,"dynasty":146,"author":595,"museum":81,"description":33816,"tags":33817,"thumbUrl":33818,"material":88,"size":33819,"collection":107,"collections":33820,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":75},290734,"qiu-shan-die-cui-zhou-zhu-shu-zhong-290734","秋山叠翠轴","朱叔重[元]一作叔中，吴（今江苏苏州）人，一云娄东（今江苏太仓）人。工画，每赋一时，得摹写之妙，辄肆笔绘之。尝曰：“王维水田白鹭、夏木黄鹂之诗，即画也。",[23,50,26,56,84,7689,60,61,59,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb59a572bfd9b248af8e79cb002c6a03.jpg","69.5x26.4",[],{"id":33822,"slug":33823,"title":33824,"dynasty":146,"author":10470,"museum":99,"description":33825,"tags":33826,"thumbUrl":33827,"material":689,"size":690,"collection":107,"collections":33828,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":75},290616,"shi-liu-bi-da-shi-xiang-zhou-zhang-wo-290616","十六臂大士像轴","这是一幅白描画，一只似犬又似麒麟的动物（图2）乘云而来，法相庄严的十六臂观音端坐在莲台上。全作画得极为精细，人物轮廓和衣纹都用流畅的细线钩描，头发的发丝和莲瓣的纹理也描写入微，衣上和锦垫上的图案又绘制得一丝不苟。画幅右下角有张渥的款题，不过和张渥的真迹《九歌图》比较，发现这轴大士像的衣纹线条缺乏潇洒飘逸的韵致，应该不是张渥的亲笔。",[23,51,84,1284,135,26,58,1116,7,10400,20548],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedfea0193712440e58a078090c6e290e.jpg",[],{"id":33830,"slug":33831,"title":33832,"dynasty":97,"author":30068,"museum":99,"description":33833,"tags":33834,"thumbUrl":33835,"material":689,"size":690,"collection":107,"collections":33836,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},290386,"jiang-shan-wo-you-tu-di-yi-bai-wu-shi-juan-cheng-zheng-kui-290386","江山卧游图(第一百五十卷)","程正揆（1604年－1676年），初名正葵，字端伯，号鞠陵，别号清谿道人、青谿老人、青谿旧史，湖廣孝感（今湖北省）人，明末清初画家、书法家，政治人物。",[49,23,52,26,56,150,1936,60,61,5578,55,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefd991e50ebb9912ad98f0e5bd43f85a.jpg",[],{"id":33838,"slug":33839,"title":3622,"dynasty":115,"author":3623,"museum":99,"description":33840,"tags":33841,"thumbUrl":33842,"material":689,"size":690,"collection":107,"collections":33843,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},289880,"luo-han-tu-li-yu-289880","李遹 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隆武帝改庙号为威宗。",[50,23,51,52,86,119,7,777,5209,406,31398],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d175e537c5d64ec94a73379cf795ca0.jpg",[122],{"id":34020,"slug":34021,"title":34022,"dynasty":146,"author":431,"museum":99,"description":15860,"tags":34023,"thumbUrl":34024,"material":689,"size":690,"collection":107,"collections":34025,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},241499,"yuan-you-pian-juan-zhao-meng-fu-241499","远游篇卷",[52,119,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda5c6adeedc855e11126feed1d6948ba.jpg",[],{"id":34027,"slug":34028,"title":34029,"dynasty":97,"author":23283,"museum":99,"description":28884,"tags":34030,"thumbUrl":34031,"material":689,"size":690,"collection":107,"collections":34032,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},241163,"lu-yu-zhou-he-shao-ji-241163","录语轴",[86,84,105,5663,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d1e7ce94a3fa73ba5e0359ee09de753.jpg",[],{"id":34034,"slug":34035,"title":34036,"dynasty":97,"author":34037,"museum":99,"description":34038,"tags":34039,"thumbUrl":34040,"material":319,"size":107,"collection":122,"collections":34041,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},241103,"dong-po-lu-shan-shi-zhou-bao-shi-chen-241103","东坡庐山诗轴","包世臣","包世臣自幼家贫，但勤于词章，并喜谈国事。嘉庆十三年（1808年）中举，但多次考进士不中。此后曾先后为陶澍、裕谦、杨芳幕客。他一生研究国事，东南各官吏都纷向他咨询，以此名满江淮。\n包世臣思想，反对脱离民事，文章也大都关切时务政事。他反对传统“重农抑商”政策，以“好言利”自许，提出“本末皆富”为“千古治法之宗”、“子孙万世之计”；他又提出“生齿日繁，地之所产，不敷口食”的“人多致贫”论。他坚持经世致用之学，对鸦片战争前后的社会和经济问题，作了较为广泛的探讨，主张具有进步意义的社会改革，在当时社会上有一定影响。",[86,84,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dbcb2ad9db2821263be1d9ead32fd01.jpg",[122],{"id":34043,"slug":34044,"title":34045,"dynasty":18,"author":207,"museum":99,"description":34046,"tags":34047,"thumbUrl":34048,"material":689,"size":690,"collection":122,"collections":34049,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":75},240946,"san-wu-mo-miao-ce-chen-chun-shi-yi-ming-240946","三吴墨妙册-陈淳诗","此作用笔率意纵逸，牵丝映带灵动自如，墨色干湿浓淡富于层次变化，尽显萧散疏朗的文人书风。文字排布错落随性，字势欹正相生，通篇气息连贯畅达。\n\n诗书合璧之下，将诗文的清雅意趣与书法的写意格调融为一体，笔墨间浸透着江南文人的闲散意趣，尽显吴门书家特有的洒脱放旷的笔墨情致，即便未署真名，也能窥见晚明书法重性情、尚意趣的审美风尚，于尺幅之间尽显明代文人书法独有的抒情特质与艺术张力。",[50,23,51,24,119,26,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f768f25b85058211aad53d8a7000572.jpg",[122],{"id":34051,"slug":34052,"title":34053,"dynasty":97,"author":8927,"museum":99,"description":8928,"tags":34054,"thumbUrl":34056,"material":689,"size":690,"collection":122,"collections":34057,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},240819,"xing-shi-wen-si-tiao-ping-ai-xin-jue-luo-yong-xing-240819","行诗文四条屏",[105,119,86,51,84,26,7,34055],"诗文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34154baf2582364400dda7885830d3ef.jpg",[122],{"id":34059,"slug":34060,"title":34061,"dynasty":97,"author":1082,"museum":99,"description":1382,"tags":34062,"thumbUrl":34063,"material":689,"size":690,"collection":107,"collections":34064,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},240459,"xing-zhou-zhu-da-240459","行轴",[105,86,119,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5327296b6928bb7aaeac1d357b343cb.jpg",[],{"id":34066,"slug":34067,"title":34068,"dynasty":18,"author":2181,"museum":99,"description":5719,"tags":34069,"thumbUrl":34070,"material":689,"size":690,"collection":107,"collections":34071,"showCount":216,"zanCount":1288,"manualWeight":39,"mainColor":40},240258,"li-sao-lan-ting-juan-dong-qi-chang-240258","离骚兰亭卷",[49,18,51,86,52,119,26,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd9a0e30a0a7135aed7c58e6d367beb1.jpg",[],{"id":34073,"slug":34074,"title":34075,"dynasty":97,"author":34076,"museum":99,"description":34077,"tags":34078,"thumbUrl":34079,"material":319,"size":34080,"collection":122,"collections":34081,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},240058,"zhuan-shu-wu-yan-shi-zhou-yang-fa-240058","篆书五言诗轴","杨法","释文：三寿作朋句，尊前递咏歌。先人锡名字，其意美如何。幸得康疆体，而能甲子过。相期保真性，霜雪去岩阿。同京老学长兄先生正之，上元杨法。",[97,51,86,541,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffed047f8f8560782869c70394fcf33ef.jpg","100.5×43.5cm",[122],{"id":34083,"slug":34084,"title":34085,"dynasty":97,"author":445,"museum":175,"description":31806,"tags":34086,"thumbUrl":34091,"material":107,"size":107,"collection":122,"collections":34092,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},240034,"yuan-ji-guan-lian-hua-feng-shi-shi-tao-240034","原济观莲花峰诗",[51,86,119,26,7,1593,1207,34087,27179,34088,34089,34090,944,61],"楼","洲","树影","落日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc75ac02d4b3bcace5ae32d3549fb30ff.jpg",[122],{"id":34094,"slug":34095,"title":34096,"dynasty":97,"author":445,"museum":175,"description":31806,"tags":34097,"thumbUrl":34098,"material":107,"size":107,"collection":122,"collections":34099,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},240032,"yuan-ji-shu-ti-xue-jiang-juan-zi-shi-ye-shi-tao-2400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[1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。",[49,23,51,52,25,56,54,58,225,32471,64,150,279,727,294,7,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22b4396c56ffa5c6d5916409e929ea31.jpg",[72],{"id":34153,"slug":34154,"title":34155,"dynasty":97,"author":34156,"museum":99,"description":34157,"tags":34158,"thumbUrl":34159,"material":107,"size":107,"collection":70,"collections":34160,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},239194,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239194","三大名山十二图册","徐枋","此帧以渴笔焦墨写就山林丘壑，奇崛峰峦以短皴勾勒，尽显山石嶙峋质感，溪岸林木错落生姿，幽谷间屋舍隐现，铺陈出荒寒清寂的山居雅境。左侧行书题跋笔意萧散灵动，书画合璧，以文释意。笔墨间寄寓着画家疏离尘俗、安贫守节的隐逸襟怀，将遗民文人静守林泉的淡泊心境融于尺幅之间，是文人山水画中以意驭笔、以画明志的佳作，尽显乱世之中文人的精神归处。",[23,51,24,26,56,64,150,610,295,55,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4d3c923c0a1173967369105dfabce1a.jpg",[70,72],{"id":34162,"slug":34163,"title":12804,"dynasty":97,"author":34164,"museum":99,"description":34165,"tags":34166,"thumbUrl":34167,"material":689,"size":690,"collection":107,"collections":34168,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":75},239021,"ren-wu-zhou-min-zhen-239021","闵贞","闵贞（1730--1788年）字正斋，湖北武穴人，扬州八怪之一。其画学明代吴伟，善画山水、人物、花鸟，多作写意，笔墨奇纵，偶有工笔之作。人物画最具特色，线条简练自然，形神逼肖。传世作品有《蕉石图》《花卉图》等。",[23,51,84,26,403,58,7,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7070fada6f17c134b4df3e552349d0ee.jpg",[],{"id":34170,"slug":34171,"title":34172,"dynasty":115,"author":11656,"museum":99,"description":34173,"tags":34174,"thumbUrl":34175,"material":107,"size":107,"collection":107,"collections":34176,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":75},238957,"guan-shan-ji-xue-tu-ye-yan-su-238957","关山积雪图页","层峦素雪覆裹，棱脉以淡墨皴擦晕染，将隆冬山巅的萧寒厚重尽显。枯木虬枝错落山间，褪去芳华尽显遒劲风骨，山坳茅舍隐现板桥通途，车马徐行于雪径，为冷寂天地晕开些许烟火暖意。\n\n右上林峦间佛塔藏幽，左上危崖栈道飞桥凌虚，为山水添出世清寂。整作设色古雅简澹，以赭石托出积雪留白，融全景山势的辽远与边角意趣于一体，在荒寒冬景里暗渡生息，尽显于萧寒中暗藏温柔生机的山水意韵。",[23,25,55,3363,56,870,8059,967,60,61,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f78e16e9053b9cf2cbd0db2de712553.jpg",[],{"id":34178,"slug":34179,"title":34180,"dynasty":97,"author":34181,"museum":99,"description":34182,"tags":34183,"thumbUrl":34184,"material":689,"size":690,"collection":107,"collections":34185,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},238949,"tiao-geng-tu-ce-ye-zhou-yi-238949","调羹图册页","周怡","此作笔触秀润温婉，仕女低眉垂目，娴静俯身案前。素色襦裙以蓝朱镶边晕染雅致，衣褶线条柔婉贴合身形，发丝纤毫毕现，尽展闺阁女子柔静气质。\n\n案上茶盏釉色莹润，缠枝团花饰于桌沿，繁丽雅致。将调羹侍茶的日常小事绘得诗意悠然，设色清雅柔和，淡墨勾勒晕染相宜，留白衬出静谧闲情，把闺中日常晕开了清和雅致的古典意趣，尽显柔秀隽雅的画中情致。",[23,51,24,25,54,58,136,181,180,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a8b200d7bf06ae903d03c483e06ae9.jpg",[],{"id":34187,"slug":34188,"title":10218,"dynasty":97,"author":7428,"museum":99,"description":10219,"tags":34189,"thumbUrl":34190,"material":689,"size":690,"collection":107,"collections":34191,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},238481,"hua-hui-tu-ce-jiang-ting-xi-238481",[23,51,24,25,54,119,7,27,28,316,277,553,576,1989,1481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd7c9fca31ee664bedfe2e8bead96273.jpg",[],{"id":34193,"slug":34194,"title":10218,"dynasty":97,"author":7428,"museum":99,"description":10219,"tags":34195,"thumbUrl":34196,"material":689,"size":690,"collection":107,"collections":34197,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},238479,"hua-hui-tu-ce-jiang-ting-xi-238479",[23,51,24,25,54,119,7,27,28,315,277,1481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedd3fdf4c9fd65cc5b501bf17420963f.jpg",[],{"id":34199,"slug":34200,"title":10218,"dynasty":97,"author":7428,"museum":99,"description":10219,"tags":34201,"thumbUrl":34202,"material":689,"size":690,"collection":107,"collections":34203,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},238476,"hua-hui-tu-ce-jiang-ting-xi-238476",[23,51,24,25,54,28,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e1efc813ff48884917e56f474bfe8b3.jpg",[],{"id":34205,"slug":34206,"title":17770,"dynasty":97,"author":341,"museum":99,"description":7178,"tags":34207,"thumbUrl":34208,"material":689,"size":690,"collection":107,"collections":34209,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},238418,"xiu-gu-cong-fang-tu-ce-dong-gao-238418",[23,25,54,24,27,308,28,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad158caacdbbc58cd1eb858434d14c95.jpg",[],{"id":34211,"slug":34212,"title":34213,"dynasty":97,"author":341,"museum":99,"description":10840,"tags":34214,"thumbUrl":34215,"material":107,"size":107,"collection":70,"collections":34216,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},238414,"dong-gao-peng-hu-hui-sheng-tu-ce-dong-gao-238414","董诰蓬壶荟胜图册",[23,25,56,24,55,278,64,727,62,279,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b57bd7c4262f4b634c1cac62844ecf.jpg",[70,72],{"id":34218,"slug":34219,"title":2149,"dynasty":18,"author":524,"museum":99,"description":11451,"tags":34220,"thumbUrl":34221,"material":689,"size":690,"collection":107,"collections":34222,"sho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朱文印二方。\n第二开：自识：“远岫接烟光，斜阳在钓航。众渔归已尽，独自过横塘。东楼暑薄写此。墨井。”钤“渔山”朱文印二方。\n第三开：自识：“林鸠唤雨不成雨，山鹊呼晴亦未晴。尽日声声是何意，欲催泼墨米图成。梅雨乍霁。延陵历。”钤“吴历”朱文印、“吴历之印”白文印。\n第四开：自识：“春事已云莫，落花门外无。何为井上树，四月尚如枯。渔山子。”钤“渔山”、“墨井”朱文印二方。\n第五开：自识：“墨井道人雨窗拟古，竹醉日。”钤“延陵”、“墨井” 朱文印二方。\n第六开：自识：“萧萧踈踈，木落草枯。空山无人，夜吼於菟。墨井道人。”钤“吴历之印”白文印、“延陵”朱文印。\n第七开：自识：“写元人画，大抵要简澹趣多，曲折有韵。五月小尽日，墨井历。”钤“吴历”、“渔山” 朱文印二方。\n第八开：自识：“石激水流处，天寒松色间。墨井道人。”钤“渔山”、“墨井” 朱文印二方。\n第九开：自识：“前人草草涂抹，自然天真绚烂。小重阳后一日，渔山子。”钤“延陵”朱文印、“吴历之印”白文印。\n第十开：自识：“不是看山定画山，的应娱老不知还。商量水阔云多处，随意茆茨着两间。墨井道人从上洋归，写于东楼。”钤“吴历之印”白文印、“延陵”朱文印、“墨井”朱文印。\n鉴藏印有“虚斋审定”、“莱臣心赏”等17方。",[23,51,24,26,56,62,137,61,277,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bc84bebdcb3c8a0368bf20a1a97b797.jpg","23.2厘米，横28厘米",[],{"id":34385,"slug":34386,"title":20270,"dynasty":97,"author":5309,"museum":99,"description":15394,"tags":34387,"thumbUrl":34388,"material":689,"size":690,"collection":107,"collections":34389,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},234959,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234959",[23,51,24,25,55,134,56,150,64,751,279,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dab0f664c3f528b81070dd8fb5cd087.jpg",[],{"id":34391,"slug":34392,"title":6561,"dynasty":18,"author":207,"museum":99,"description":34393,"tags":34394,"thumbUrl":34395,"material":689,"size":690,"collection":107,"collections":34396,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},234925,"dong-qi-chang-shan-shui-ce-yi-ming-234925","此作用干笔淡墨铺陈丘壑，以极简皴擦绘出山峦层叠错落之态，苍润相生间尽显松秀空灵。萧疏林木散缀崖畔溪旁，不作繁饰，寥寥笔致便将山中秋寂清寒晕染开来。画面留白通透清灵，虚实相生间铺展出静穆澹远的林下幽境，笔墨间浸透着幽寂出尘的雅韵，观之如卧游林泉，俗尘尽涤。",[23,26,24,55,56,277,871,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cce78038cdde42a8656f3ea715d8201.jpg",[],{"id":34398,"slug":34399,"title":2149,"dynasty":97,"author":26609,"museum":99,"description":26610,"tags":34400,"thumbUrl":34401,"material":107,"size":107,"collection":107,"collections":34402,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},234787,"hua-hui-ce-jin-li-ying-234787",[23,25,54,24,308,5010,529,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18ad6591c64ce257e53a5d8511e7dbeb.jpg",[],{"id":34404,"slug":34405,"title":34406,"dynasty":18,"author":10700,"museum":99,"description":34407,"tags":34408,"thumbUrl":34409,"material":107,"size":107,"collection":107,"collections":34410,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},234628,"fang-fan-kuan-shan-shui-shan-ye-lan-ying-234628","仿范宽山水扇页","蓝瑛（1585-1664），一说（1585-约1666），明代画家。字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民。又号东郭老农，所居榜额曰“城曲茅堂” 。钱塘（今浙江杭州）人。工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻 ，与文征明、沈周并重。",[822,26,55,134,56,62,63,967,150,751,58,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8cc72bbb506c453f91f6e75f20782db.jpg",[],{"id":34412,"slug":34413,"title":34414,"dynasty":18,"author":2059,"museum":99,"description":34415,"tags":34416,"thumbUrl":34417,"material":107,"size":107,"collection":107,"collections":34418,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},234207,"wen-zheng-ming-quan-nong-tu-juan-wen-zheng-ming-234207","文徵明劝农图卷","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。 [1]\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”。",[49,23,51,52,26,119,86,7,56,58,60,61,63,1115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b09253d9d58e272bdeb6f3bee99f795.jpg",[],{"id":34420,"slug":34421,"title":11615,"dynasty":97,"author":28224,"museum":99,"description":34422,"tags":34423,"thumbUrl":34425,"material":107,"size":107,"collection":107,"collections":34426,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},234117,"hua-guo-juan-yuan-jiang-234117","清代康熙至乾隆时期，我国东南的扬州地区，由于商品经济的发展，涌现出了一批追求个性解放，锐意创新的画家群体，这就是画史上称之“扬州画派”，或曰“扬州八怪”。在这个画派中，除了拥有人数众多名震画坛的山水、花鸟和人物画家之外，还出现了一批界画作家，如李寅，颇峰、袁江、袁帽，颇岳等，而袁江、袁耀则是这批楼阁界画的佼佼者，他们成就最大，名望最高，把我国传统的界画技法发展到了一个新的高度，并对后世产生了深远的影响。\n关于袁江的生卒，由于画史无记载，我们只能在袁氏的作品中寻找。据笔者所知，袁江现存最早有纪年的作品是画于康熙三十二年(公元1693年)，最晚的作品画于乾隆八年(公元1743年)，学者以此推测他大约生于康熙十年(公元1671年)前后，卒于乾隆八年，或稍后一、二年之内。他早年生活在“千家养女先教曲，十里栽花算种田”，“夜桥灯火连星汉，水郭帆樯近斗牛”的繁华城市扬州，以后他又到过江宁(今江苏南京)、会稽(今浙江绍兴)。又根据袁江《花鸟图》二幅(藏故宫博物院)的署款“癸卯二月古榕袁江画”，他可能还到过福州，因为“榕”是福州市的别称。又据袁江传世真迹《瞻园图》判断，袁江可能还在南京生活过一段时间，\n因为瞻园是明太祖朱元璋的大将徐达的府第，(位于南京市)。雍正二年(公元1724年)，他北上抵京师(北京)作画，郭味蕖记载他在画中的自题：“在燕台作此图”就是佐证。大至到了晚年，袁江又回到家乡扬州，从他署有年款的“邗上袁江”的大量作品看就能证明这一点，因“邗”即今名的扬州市，(见《左传·哀》九年：“秋，吴城邗，沟通江淮”)。谈到袁江山水楼阁画的师承，文献记载极少，李斗《扬州画舫录》说他“初学仇十洲”，面仇英之画，近师周臣，远“摹唐来人之画，皆能夺真”，由此推之，袁江的画上溯可至唐代的李思训、李昭道父子以及赵伯驹和赵伯骑兄弟。袁江工整细致，设色浓丽的楼阁界画风格，确有仇英的遗韵。又据《画人补遗》记载：“中年得无名氏所临古人画稿”，这“无名氏”又是谁?学术界说法不一，而据有的学者推测，它应该是来人名迹，因为从袁江的山水画中，可以看出有北宋范宽，郭熙，李成、阎次平以及南宋的马远、夏圭等人的画法和遗风。在经营位置上，他又吸收了元明以来山水画的长处，予以融合变化，形成自己的特色。他学“院体”，但又脱去院画中纤弱之笔和艳俗之弊，变为凝炼厚重、工致妍美、艳而不俗的风格。袁江的楼阁界画，更是继承了唐李思训父子，宋赵伯驹兄弟和郭熙以来界画的传统以及元代王振鹏等楼阁画用笔严谨．精雕细刻的画风，并加以发扬光大。",[23,51,50,52,25,26,54,27,4231,34424,102,308,309,314,488,552,528,251,358,529,1195,28,30,7],"西瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18aa0380b6630459be1fef1dc09c8650.jpg",[],{"id":34428,"slug":34429,"title":7228,"dynasty":18,"author":10700,"museum":175,"description":34430,"tags":34431,"thumbUrl":34432,"material":1561,"size":34433,"collection":107,"collections":34434,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},233968,"shan-shui-ce-lan-ying-233968","蓝瑛（1585—约1666年），字田叔，号蜨叟、石头陀、西湖山民等，钱塘（今浙江杭州）人。擅画山水，早年以摹古为主，宗法唐宋元诸家，尤以习元黄公望、明沈周最有心得，笔致工整细润，墨色清淡妍静。中年于传统的绘画基础上形成自己的绘画面貌，笔墨苍劲雄浑，于疏简粗旷的线条组合中表现高峻突兀的江南葱郁之景。钱塘又称武林，后人将蓝瑛和从其学画的刘度、蓝孟、蓝深等合称“武林画派”。",[23,51,24,26,55,56,63,61,150,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7defdc594b8dc33e1658736fecc8c865.jpg","57×39 公分",[],{"id":34436,"slug":34437,"title":34438,"dynasty":97,"author":445,"museum":175,"description":34439,"tags":34440,"thumbUrl":34441,"material":391,"size":34442,"collection":107,"collections":34443,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},233773,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233773","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。",[23,51,24,26,25,56,64,1597,61,150,58,119,7,55,63,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facfe15b15dd27ffce25b8a5334ea64a4.jpg","纵27厘米，横21.3厘米",[],{"id":34445,"slug":34446,"title":34447,"dynasty":97,"author":15115,"museum":175,"description":34448,"tags":34449,"thumbUrl":34450,"material":34451,"size":34452,"collection":107,"collections":34453,"showCount":216,"zanCount":1288,"manualWeight":39,"mainColor":40},233720,"hua-wang-yu-yan-xie-lan-tu-xiang-pan-gong-shou-bu-tu-zhou-ren-xiong-233720","画王玉燕写兰图像潘恭寿补图轴","任熊（1823年7月19日—1857年11月23日），字渭长，一字湘浦，号不舍，浙江萧山人，清代晚期著名画家，“海派”艺术的代表人物之一。\n幼时家贫，跟塾师学画人像，后寓居苏州、上海以卖画为生。曾流浪到宁波。曾居于挚友周闲之范湖草堂三年，并得遇著名文人姚燮，在其家“大梅山馆”学画，深得宋人笔法。任熊是绘画全才，人物、花卉、山水、翎毛、虫鱼、走兽，无一不精。画法宗陈洪绶，与弟任薰，儿子任预、侄任颐合称“海上四任”，又与朱熊、张熊合称“沪上三熊”。概述图为任熊自画之像。\n代表作有为著名词人与画家周闲所绘之《范湖草堂图》、以及由周闲等题跋之《十万图册》等。",[23,51,84,25,54,58,251,871,277,529,5348,501,502,5349,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb520acac6950d49e8cce35de80872eb2.jpg","纸本,设墨","111.5cm×41.6cm",[],{"id":34455,"slug":34456,"title":34457,"dynasty":97,"author":1167,"museum":175,"description":34458,"tags":34459,"thumbUrl":34460,"material":391,"size":34461,"collection":107,"collections":34462,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":75},233718,"tian-shan-ji-xue-tu-hua-yan-233718","天山积雪图","华嵒的人物画造型极具特色，以表现人物鲜明的个性和内在的神韵取胜。《天山积雪图》是其晚年的代表作品。\n边塞行旅是华嵒经常表现的题材之一。本图画唐人远行边塞诗意。图中，天山脚下，一个身披大红斗篷、藏掖宝剑的单身旅客，牵一匹双峰老驼，艰难地缓行于冰雪之中。天色灰暗，四野空旷，道路漫漫，白雪皑皑。一只孤雁横掠空中，旅者和老驼举首仰望，此情此景似引起了游子的万千思绪。画中情景交融，意境含蓄。画面构图狭长，造成天高地迥的视觉效果，以衬托人物孤寂的内心世界。设色雅致，色彩之间的搭配，冷暖色调的对比，都十分考究。人物、老驼的形象塑造在写实的基础上恰当地运用夸张手法，人物前倾的动势，老驼富于人情味的表情，都使得主题更为突出。作品展现了画家独特的艺术构思和出众的绘画才能。",[23,51,84,25,58,8076,13139,8059,66,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c8b21a5c0ed7a5463b2bc0eedb1ac28.jpg","纵159.1厘米，横52.8厘米",[],{"id":34464,"slug":34465,"title":34466,"dynasty":97,"author":445,"museum":99,"description":7979,"tags":34467,"thumbUrl":34468,"material":668,"size":7982,"collection":107,"collections":34469,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},233687,"yuan-ji-lan-zhu-ce-lan-shi-shi-tao-233687","原济兰竹册－兰石",[23,51,24,26,251,700,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b386c4c2ab9e8e8da4c2020c0e60748.jpg",[],{"id":34471,"slug":34472,"title":34473,"dynasty":97,"author":5319,"museum":175,"description":34474,"tags":34475,"thumbUrl":34476,"material":391,"size":34477,"collection":107,"collections":34478,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},233445,"ren-wu-shan-shui-ce-luo-pin-233445","人物山水册","中国清代画家罗聘传世代表作。罗聘(1733～1799)，字遯夫，号两峰，又号花之寺僧，安徽歙县人。善画人物、佛像、花卉、山水。此图纸本，设色，纵24.2厘米，横30.7厘米。计12开：\n春柳行舟。一人站立船头。自书七言诗，并题:“冬心先生句并摹其用笔”。钤“两”“峰”印。\n春景山水。桃花盛开，一人站立桥头。自书七言诗，钤“罗聘私印”印。\n夜景山水。一人曳杖于池上行走。自书七言诗。钤“两”“峰”印。\n绿柳红桥。一人策杖立于树下。自书七言诗，钤“两”“峰”印。\n月波吹笛。自书冬心先生自度曲意。钤“遯夫”印。\n芦萍画舫。自题七言诗。印“罗两峰”印。土台流泉。二人松窗弈棋。自书七言诗。钤“遯夫”印。\n婡洎竹頭樤林僧人领鹤。自书七言诗。钤“遯夫”印。\n荷塘柳亭。自书冬心先生自度曲。钤“罗聘私印”。\n秋风落叶。一人独立空亭。自书七言诗。钤“罗聘私印”。\n晚风归舟。墨笔画。自书七言诗，钤“罗聘私印”。\n闭门赏梅。自书七言诗。款“广陵罗聘”,钤“两”“峰”印。\n无年款，似罗聘中年用心之作。\n后幅勒方锜题记。现藏故宫博物院。",[23,3363,25,319,58,56,528,379,1019,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99425d9cb891e7242e250ced234210b2.jpg","纵24.2厘米，横30.7厘米",[],{"id":34480,"slug":34481,"title":25148,"dynasty":97,"author":445,"museum":175,"description":25149,"tags":34482,"thumbUrl":34483,"material":25152,"size":25153,"collection":107,"collections":34484,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},233418,"yuan-ji-shan-shui-ce-shi-tao-233418",[23,26,55,277,56,751,1977,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92361a4fe6fb74ea4f312c51d24294e9.jpg",[],{"id":34486,"slug":34487,"title":9614,"dynasty":97,"author":655,"museum":175,"description":9615,"tags":34488,"thumbUrl":34489,"material":9618,"size":9619,"collection":107,"collections":34490,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},233400,"shan-shui-ren-wu-ce-jin-nong-233400",[23,51,24,26,25,135,56,58,62,61,4712,137,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F719bb0fb0ca34e2f5d64acbe64f13589.jpg",[],{"id":34492,"slug":34493,"title":5957,"dynasty":97,"author":445,"museum":99,"description":5958,"tags":34494,"thumbUrl":34495,"material":319,"size":5962,"collection":107,"collections":34496,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},233385,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233385",[23,26,55,24,7,56,610,1902],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb16bc5ac03306415ab3da3f1c18c313e.jpg",[],{"id":34498,"slug":34499,"title":34500,"dynasty":97,"author":5309,"museum":175,"description":34501,"tags":34502,"thumbUrl":34503,"material":1561,"size":34504,"collection":107,"collections":34505,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},233232,"qing-shan-bai-yun-shan-mian-wang-hui-233232","青山白云扇面","王翚自称「于青绿法，静悟三十年，始尽其妙」（王翚《清晖画跋》），可见其青绿山水不仅是他对色墨融合技法的探索，亦融入了其个人的人生体验。王翚画山水不为「南宗」所囿，有集「南北宗」画家之大成，《读画辑略》称「画分南北二宗至石谷合而为一」，恽寿平亦称「古今来笔墨之至龃龉不能相入者，石谷则罗而致之笔端，融洽而出，神哉技乎」。\n（张庚《国朝画徵录》卷中）集多家笔法之大成的特点在其青绿山水中有突出体现，如王翚三十八岁（一六六九年）所作《青山白云图》扇题识中说：「尝见高尚书《夏麓晴云》、赵承旨《潇湘水云》、方羽士《奇峰出云》，此写《青山白云图》，参用三家笔意，而设色兼施僧繇没骨法，不知得以古人神韵否？」此外，王翚在设色上强调「轻」、「清」，他在《清晖画跋》中言：「凡设青绿，体要严重，气要轻清，得力全在渲晕……皴擦不可多，厚在神气，不在多也，气愈清则愈厚。」强调着色本身要实，气韵要虚。",[23,51,822,25,26,56,27179,1937,64,150,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d74d1c3b7e9d91f8a42a81093d1e944.jpg","纵：22.9，横：23.9厘米",[],{"id":34507,"slug":34508,"title":34509,"dynasty":97,"author":1167,"museum":175,"description":34510,"tags":34511,"thumbUrl":34513,"material":391,"size":34514,"collection":107,"collections":34515,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},233143,"han-tuo-can-xue-tu-zhou-hua-yan-233143","寒驼残雪图轴","图绘天寒地冻、晓月高悬的雪夜，一旅者与驼露宿山路的景象。画面以对角线分割，右下为该画主体即人与驼。在雪山脚下寒林枯树旁，一枯瘦的双峰驼正低头啮雪，帐篷中一人向外观望。作者用寥寥数笔简练地绘出帐篷的圆形；人物高鼻、卷发、胡须浓密，似西域人；骆驼以线勾出后稍加晕染，驼骨微露，双目圆睁，神情专著，充分显示出华嵒减笔画的深厚功力。左上以淡墨染底表示雪夜的阴霾，以浓墨勾出一弯残月与孤雁，这与下部留白所表示的残雪形成对照，视觉反差强烈，由此可以看出华嵒驾驭画面的高超能力和文人的审美情趣。\n该画的画意与华嵒的《天山积雪图》有相似之处，二图的人物面象也略似，两件作品均形象生动，是华嵒的代表作。",[23,51,84,25,26,8076,58,34512,30018,944,66,7,1050,3366],"残雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81cfed74214149a504d200af26a333aa.jpg","纵139.7厘米，横58.4厘米",[],{"id":34517,"slug":34518,"title":34519,"dynasty":18,"author":34520,"museum":81,"description":34521,"tags":34522,"thumbUrl":34523,"material":33,"size":34524,"collection":70,"collections":34525,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},232693,"qiu-du-shu-le-tu-ju-mao-shi-232693","秋读书乐图","居懋时","居懋时［明］吴县（今江苏苏州）人。\n节子。亦善画。《苏州志》",[49,23,51,84,26,56,55,150,293,64,727,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc44755deef3b0cac993c0c25db5625a1.jpg","147.7x37.2厘米",[70],{"id":34527,"slug":34528,"title":34529,"dynasty":18,"author":524,"museum":81,"description":34530,"tags":34531,"thumbUrl":34532,"material":319,"size":34533,"collection":107,"collections":34534,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},231887,"zhao-yin-tu-xiang-sheng-mo-231887","招隐图","《三招隐图》是项圣谟创作的一幅绢本绘画作品。\n项圣谟（1597-1658年），初字逸，后字孔彰，号易庵，别号胥山樵等浙江嘉兴人。收藏家和画家元汴之孙。善于画人物、花卉，尤其以山水见长，笔法秀逸，富于变化。特别喜欢画松树，有“项松之名满东南”之誉。代表作有《郞云堂集》。",[49,23,52,26,56,55,86,119,7,150,64,61,60,63,58,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092d3a5e44efe229ec1b333761924ffd.jpg","该幅32.4x772.5公分",[],{"id":34536,"slug":34537,"title":34538,"dynasty":18,"author":2059,"museum":99,"description":16056,"tags":34539,"thumbUrl":34540,"material":107,"size":107,"collection":107,"collections":34541,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},231836,"xi-shan-ting-pu-tu-wen-zheng-ming-231836","溪山听瀑图",[49,23,51,52,26,55,119,7,56,293,64,150,63,62,61,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc9db7b6cabe2afe187e7acca740168f.jpg",[],{"id":34543,"slug":34544,"title":24104,"dynasty":2807,"author":34545,"museum":99,"description":19056,"tags":34546,"thumbUrl":34548,"material":689,"size":690,"collection":107,"collections":34549,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":75},231582,"qi-shi-wen-shu-tu-ling-cai-231582","灵彩",[49,23,51,84,1284,135,26,58,1116,1159,34547,7],"法器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb97b7cf0e134855a8876822301aa10b4.jpg",[],{"id":34551,"slug":34552,"title":34553,"dynasty":97,"author":1710,"museum":99,"description":34554,"tags":34555,"thumbUrl":34557,"material":107,"size":107,"collection":107,"collections":34558,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},230966,"zhong-kui-tan-mei-tu-jin-ting-biao-230966","钟馗探梅图","寒雪覆地，万木凝霜，虬曲老树裹着厚雪，萧索中透着清寂。画面主角敛去往日凶煞，化身乡野翁叟，斗笠覆顶，肩负梅枝，踏过小桥时眉眼松弛，似为寻得暗香忘却本职，只剩踏雪寻芳的悠然。身后小童缩着脖颈，挑着伞盖匆匆随行，憨态可掬。\n整作以淡墨晕开茫茫雪色，线条朴拙简练，将神威仙灵世俗化，把凌冬雅趣与俗世温情相融，打破固有狞厉印象，以寻常行旅的温情图景，消解题材自带的肃杀，尽显隆冬寻梅的闲逸诗意。",[23,51,25,54,58,528,34556,8059,967,1714,1050,7],"石桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ef8da1600122e28775a7e31276ba9e.jpg",[],{"id":34560,"slug":34561,"title":34562,"dynasty":2807,"author":207,"museum":99,"description":34563,"tags":34564,"thumbUrl":34565,"material":689,"size":690,"collection":107,"collections":34566,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},230530,"gu-hua-mo-ben-xia-gui-deng-tu-juan-yi-ming-230530","古画模本（夏圭等图卷）","此卷分两处景致，左端冷月悬于寒空，孤梅瘦枝横斜水岸，江石清寂，恍见幽人凭立，萧寒淡远，尽得隐逸清疏之致。右端以没骨法绘白花柔枝，晕染轻透，花瓣莹润如凝霜雪，浅蓝枝叶衬出雅致隽秀。旁题行书小诗，诗画相融，笔意简淡却藏雅人幽情，将爱花赏梅的闲逸心境织入笔墨，清寂空濛与柔婉清雅相映，尽显古典雅致的文人情致。",[49,23,51,52,25,54,27,56,58,871,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ea6b17bd705e743fcc1bac8c1e8fa4d.jpg",[],{"id":34568,"slug":34569,"title":34570,"dynasty":97,"author":1082,"museum":99,"description":34571,"tags":34572,"thumbUrl":34573,"material":107,"size":107,"collection":107,"collections":34574,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},230283,"wu-yan-pai-lv-jing-xin-zhu-da-230283","五言排律镜心","此作用笔枯润交糅，线条瘦劲老辣，凝练如铁。字距错落排布，行气舒朗连贯，虚实相生间晕开疏淡孤高的底色。\n点画简括却力透纸背，牵丝映带里尽显萧散雅逸，既有晋人行书的灵动意趣，又将沉郁心绪藏在起落转合中。笔墨间浸透着清冷遗世的风骨，把孤高心性与书法意境相融，每一处转折都暗合幽远禅意，以极简形质承载苍劲沉凝的精神内核，尽显以心驭笔的绝妙文人书意。",[49,86,119,462,26,7,2343],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10294bcc5f79ea0c65b25270013a64a0.jpg",[],{"id":34576,"slug":34577,"title":34578,"dynasty":97,"author":1082,"museum":99,"description":1382,"tags":34579,"thumbUrl":34580,"material":689,"size":690,"collection":107,"collections":34581,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},230273,"tang-geng-wei-ti-qing-yuan-si-shi-zhu-da-230273","唐耿湋题清源寺诗",[49,86,119,462,26,7,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd15d6de57e2fe44f5aaa1d3f3a16268.jpg",[],{"id":34583,"slug":34584,"title":34585,"dynasty":97,"author":10725,"museum":99,"description":17175,"tags":34586,"thumbUrl":34587,"material":689,"size":690,"collection":107,"collections":34588,"showCount":216,"zanCount":1288,"manualWeight":39,"mainColor":2307},230259,"dui-lian-dang-wei-shi-yi-hong-yi-fa-shi-230259","对联《当为世依》",[105,86,5664,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8abbaeb25fda56919c51d407bfa57c7.jpg",[],{"id":34590,"slug":34591,"title":34592,"dynasty":97,"author":10725,"museum":99,"description":17175,"tags":34593,"thumbUrl":34596,"material":689,"size":690,"collection":107,"collections":34597,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},230258,"xin-xi-lie-xin-feng-tian-jin-bo-wu-guan-hong-yi-fa-shi-230258","信系列-信封(天津博物馆)",[105,86,119,7,25,33484,34594,435,34595],"书信","传统","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20e0f3d64e776a98d557a75865bbc2e9.jpg",[],{"id":34599,"slug":34600,"title":34601,"dynasty":97,"author":655,"museum":99,"description":34602,"tags":34603,"thumbUrl":34604,"material":107,"size":107,"collection":107,"collections":34605,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},230233,"ce-ye-ba-kai-jin-nong-230233","册页八开","本幅以极简构图层叠春景意境，垂柳叶丝以淡墨晕染，袅袅拂动，柔媚尽现春日缱绻；下方桃枝枯淡勾勒，浅墨晕开花瓣，初绽芳华娇柔含露。\n\n书画相映成趣，题诗借春景抒怀，将暮春春愁融于淡墨景致。笔意简淡疏朗，脱却繁饰，留白空灵雅致，于浅淡笔墨晕染出江南春深的幽寂怅惘，尽显文人画诗韵墨香的隽永格调，以极简构图传递悠长闲愁，尽得雅致冲淡之美。",[23,51,24,26,27,13543,1817,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76b0d11efcdac5bfcb9c16040224db3.jpg",[],{"id":34607,"slug":34608,"title":34609,"dynasty":97,"author":2120,"museum":99,"description":34610,"tags":34611,"thumbUrl":34612,"material":107,"size":107,"collection":107,"collections":34613,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},230195,"fang-gu-shan-shui-ce-yi-wang-jian-230195","仿古山水册一","此作用色清雅柔润，以披麻皴绘出山峦起伏肌理，敷色温润秀雅，淡染出层叠山势的虚实层次。\n\n近岸屋舍隐于苍林之下，古木森秀，枝叶苍润；中景板桥横跨水渚，渔人泛于清波，谷壑间雾气轻漫，晕开远近景深，远景峰岫含翠，淡远空灵。\n\n整体恬静安谧，将文人幽居理想融于尺幅，笔致沉稳工细，明丽设色却无艳俗之感，尽显仿古山水的雅致格调，观之如临幽林静渚，尘虑尽消。",[23,51,24,25,56,55,134,7,60,61,64,278,727,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F371b62bc0f3bc1935cd4ac5a11e90071.jpg",[],{"id":34615,"slug":34616,"title":34617,"dynasty":18,"author":15260,"museum":99,"description":34618,"tags":34619,"thumbUrl":34620,"material":107,"size":107,"collection":107,"collections":34621,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},228491,"you-he-tu-du-jin-228491","友鹤图","此作绘水畔幽居，茅舍内隐士凭榻静思，竹松奇石环伺左右，远汀烟水空濛澹荡，晕染出清寂出尘的江乡暮色。笔墨秀润简淡，以轻岚淡墨铺就旷远意境，咫尺之间尽显林泉幽致。\n后接长篇题咏，诗书合璧，以鹤喻同心知己，寄寓了文人幽栖林下、澹泊自适，以鹤为友、物我两忘的隐逸襟怀，尽显明代文人画尚意抒情的特质，将林下高致的清雅意趣藏于尺幅之间，是兼具笔墨意趣与文人精神的上乘佳构。",[49,23,51,52,26,119,7,86,56,58,777,358,277,63,1480],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5fd2a2f16484e93696f6852f61d4223.jpg",[],{"id":34623,"slug":34624,"title":1125,"dynasty":18,"author":2818,"museum":99,"description":34625,"tags":34626,"thumbUrl":34627,"material":107,"size":107,"collection":107,"collections":34628,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},228383,"shan-shui-tu-liu-jue-228383","此作用披麻皴晕染江南丘壑，山峦平缓温润，苍松杂木错落于坡石之间，笔墨苍厚松灵，带着吴门画派特有的萧散意趣。淡墨轻烘出烟雨空蒙的氛围，溪谷蜿蜒隐现于林木山石间，尽显吴中山水的温润雅致。\n画作带着文人画的清幽品格，将林泉高致的隐逸心境藏于笔墨间，师法前贤又自出清澹之格，把江南山野的沉静雅致铺陈开来，是兼具笔墨意趣与人文情志的佳构。",[49,23,51,52,26,55,86,119,7,56,64,150,278,2955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea50e787329b0ad288fa2056b6b465b.jpg",[],{"id":34630,"slug":34631,"title":34632,"dynasty":18,"author":955,"museum":99,"description":9336,"tags":34633,"thumbUrl":34634,"material":689,"size":690,"collection":107,"collections":34635,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":75},228303,"niang-tao-tu-chen-hong-shou-228303","酿桃图",[49,23,51,84,25,54,58,528,181,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e93ba703003e6686ca8b3a91ec3f81d.jpg",[],{"id":34637,"slug":34638,"title":34639,"dynasty":18,"author":955,"museum":99,"description":9336,"tags":34640,"thumbUrl":34641,"material":689,"size":690,"collection":107,"collections":34642,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},228289,"lin-ting-qing-hua-tu-shan-chen-hong-shou-228289","林亭清话图扇",[23,51,822,26,27,277,528,529,488,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5729e6e2e3e83f03d795a0edb6b54a82.jpg",[],{"id":34644,"slug":34645,"title":86,"dynasty":18,"author":955,"museum":99,"description":9336,"tags":34646,"thumbUrl":34647,"material":689,"size":690,"collection":107,"collections":34648,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},228279,"shu-fa-chen-hong-shou-228279",[51,86,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3221a6efaf4342fec5dd9784bbb847fa.jpg",[],{"id":34650,"slug":34651,"title":34652,"dynasty":146,"author":7721,"museum":99,"description":34653,"tags":34654,"thumbUrl":34655,"material":107,"size":107,"collection":107,"collections":34656,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},228049,"liang-chang-cao-tang-he-juan-wang-yuan-228049","良常草堂合卷","此卷以清润淡墨绘就平远林泉，林木苍蔚，草堂幽隐烟峦水畔，尽显萧散简远的林下雅意，笔墨温润松秀，尽显元人山水尚意之风。\n卷后诸家题跋琳琅排布，行草篆隶各得其妙，笔意跌宕文辞清雅，与画作相映成辉。书画合璧间，藏尽彼时文人雅聚的清兴逸致，纸墨古雅韵致悠长，尽显元代诗书画一体的文人审美意趣。",[49,23,51,52,26,119,541,86,55,7,56,62,63,64,150,279,61,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d7562e2b8bda6a783c5cd69409c12ec.jpg",[],{"id":34658,"slug":34659,"title":28039,"dynasty":115,"author":27738,"museum":99,"description":34660,"tags":34661,"thumbUrl":34662,"material":689,"size":690,"collection":107,"collections":34663,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},227942,"fu-yi-jiao-jing-zhang-ji-zhi-227942","张即之（1186—1263年），宋代书法家，字温夫，号樗寮，历阳（今安徽和县）人。生于名门显宦家庭，为参知政事张孝伯之子，爱国词人张孝祥之侄，系中唐著名诗人张籍的八世孙。历官监平江府粮科院、将作监薄、司农寺丞。特授太子太傅、直秘阁致仕。",[49,50,51,52,1284,417,86,436,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4401b87f9199f68b5ef698da2758556d.jpg",[],{"id":34665,"slug":34666,"title":34667,"dynasty":115,"author":1070,"museum":99,"description":34668,"tags":34669,"thumbUrl":34670,"material":107,"size":107,"collection":107,"collections":34671,"showCount":216,"zanCount":1288,"manualWeight":39,"mainColor":40},227737,"mu-yang-tu-ye-li-song-227737","牧羊图页","本幅设色画园形，左侧款“李嵩”，对幅王玄真书黄公望句，钤“信公珍赏”、“黄氏子久”等印21方。\n\n李嵩（1166-1243年），南宋画家，钱塘人。少为木工，后为画院待诏李从训养子，随其习画。历任光宗、宁宗、理宗三朝画院待诏。擅长人物、佛像，尤长界画。",[49,1073,23,51,25,54,58,8840,1116,137,598,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7449e6fb1adde8548b9b68812e0a5f09.jpg",[],{"id":34673,"slug":34674,"title":30254,"dynasty":115,"author":116,"museum":99,"description":34675,"tags":34676,"thumbUrl":34677,"material":107,"size":107,"collection":107,"collections":34678,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},227588,"zhi-jing-dao-shi-qi-shi-jun-chi-du-huang-ting-jian-227588","此帖亦称“与景道使君书”。纸本，纵27.8、横47.4厘米。被《戏鸿堂法书》、《玉烟堂帖》、《海宁陈氏藏真帖》等丛帖收录。\n\n黄庭坚是北宋诗人、书法家，字鲁直，号涪翁，又号山谷道人。江西修水人。黄庭坚书法擅行草书，初师法周越，后上溯颜真卿、怀素，尤其得力于《瘗鹤铭》，用笔以侧险取势，纵横拗崛，自成一家。黄庭坚行书不及其草书艺术水准高，而行书小字似胜大字，当然这是见仁见智的看法。他的大字行书虽长枪大戟，气势很盛，但总觉含蓄不足，不及小字耐人寻味，比如这件尺牍，温文尔雅，收放自如，并不因字小而损气度。\n\n这件尺牍还是一件重要的书论短文：信中写“翰林苏子瞻书法娟秀，虽用墨太丰，而韵有余，于今为天下第一。余书不足学，学者辄笔（懦）无劲气。今乃舍子瞻而学余，未能择术也。”黄书与苏东坡书法比起来，确实是苏字更有韵致，当然这仅是指行书，而苏书用墨太丰，亦是小疵，黄曾戏言苏字“石压蛤蟆”，而苏反唇相讥黄字“死蛇挂树”，双方都提到了对方特点，同时也点到不足，而他们之间的调侃都是善意的，正因为这一点而成了千古佳话。",[51,86,119,19470,319,7,5502,2651],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dad10d747084894378b48a94630475a.jpg",[],{"id":34680,"slug":34681,"title":34682,"dynasty":115,"author":355,"museum":99,"description":34683,"tags":34684,"thumbUrl":34689,"material":107,"size":107,"collection":107,"collections":34690,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":75},227508,"po-yang-hu-su-shi-227508","鄱阳湖","“鄱阳湖上都昌县，灯火楼台一万家。水隔南山人不渡，东风吹老碧桃花。”这是宋代文豪苏东坡游达都昌题写的诗句。\n\n都昌县位于鄱阳湖中心区域，地处五水汇一湖之要冲，居南昌、九江、景德镇金三角中心地带。南依湖水与南昌相连；西隔入江水道与庐山相望。国土面积2669.53km2，其中水域面积多达1390.3km2。\n\n大凡熟悉鄱阳湖的人们都知道，这里地处丘陵，又有高山、河流。风光秀丽，民风淳朴，农产品、水产品十分丰富，人们觉得最冷清的冬季，这里却是天鹅等侯鸟的盛会，数十万侯鸟由西伯利亚迁入，在沿湖各乡镇落户过冬。鄱阳湖之最、之秀几乎全都聚在都昌，或许“都昌”这个县名由此而来。",[86,417,2226,7,34685,34686,34687,406,870,34688,57],"湖","灯火","楼台","东风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd688560aee1e3380d1d7e952e0266372.jpg",[],{"id":34692,"slug":34693,"title":34694,"dynasty":115,"author":355,"museum":99,"description":34695,"tags":34696,"thumbUrl":34697,"material":107,"size":107,"collection":107,"collections":34698,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},227501,"wen-zhu-tu-shou-juan-su-shi-227501","文竹图手卷","这是一首关于笋焖猪肉的打油诗，据说，苏轼在一个派对上品尝这道食物时，就作了这首诗。\n\n你可能还听过他的另一首诗，“宁可食无肉，不可居无竹。无肉令人瘦，无竹令人俗。人瘦尚可肥，士俗不可医。旁人笑此言，似高还似痴。”\n\n由此可见，苏轼对竹子的爱甚至已经超过了肉，宁可食无肉，也要“居有竹”。可能有人会想，瘦一瘦更健康，拿它跟“居无竹”相比，是不是太夸张了？",[49,23,51,52,26,358,119,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92d5e41d22c6c061286d0a76a7284bc9.jpg",[],{"id":34700,"slug":34701,"title":27058,"dynasty":115,"author":27059,"museum":99,"description":34702,"tags":34703,"thumbUrl":34704,"material":107,"size":107,"collection":107,"collections":34705,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":75},227409,"ying-gu-tu-ye-li-you-227409","宋代画家李游，长于雄鹰，有灵性的态度和优秀的音乐。 学画那两只坐在枯树上的老鹰，看上去十分悠闲，略带了猛禽凶猛的模样，却依然英姿飒爽。",[49,50,23,51,54,25,66,27,967,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b691bdf35dcf11c904d1e69d7cdd8a8.jpg",[],{"id":34707,"slug":34708,"title":34709,"dynasty":115,"author":207,"museum":99,"description":34710,"tags":34711,"thumbUrl":34712,"material":107,"size":107,"collection":107,"collections":34713,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":75},227378,"qiu-ting-ru-quan-tu-yi-ming-227378","秋庭乳犬图","宋人小品画有很多题材，其中表现宠物犬的画作就有不少，尤其是宫廷贵妇在闲情逸致之时所驯养的小型观赏犬。毛益的《萱草戏狗图》与李迪的《秋葵山石图》，以及南宋无款的《秋庭乳犬图》、《秋葵犬蝶图》、《鸡冠乳犬图》、《萱花乳犬图》等就是典型代表。既反映了南宋院体花鸟画技艺的高超，又显现出画作中宠物犬的生动传神。千年之隔，犹如昨日。",[23,51,50,115,54,25,822,1116,5028,277,1481,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9de381462da7dc521dfb837af9d57c0.jpg",[],{"id":34715,"slug":34716,"title":15369,"dynasty":97,"author":12499,"museum":99,"description":23509,"tags":34717,"thumbUrl":34718,"material":107,"size":107,"collection":107,"collections":34719,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},226636,"shou-zi-pu-ru-226636",[49,23,51,86,26,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd5ea3013245d575b459bc38ebbef6d1.jpg",[],{"id":34721,"slug":34722,"title":6244,"dynasty":97,"author":34723,"museum":99,"description":34724,"tags":34725,"thumbUrl":34726,"material":107,"size":107,"collection":107,"collections":34727,"showCount":216,"zanCount":1288,"manualWeight":39,"mainColor":40},224532,"fang-gu-wei-gen-lao-ren-224532","味根老人","此作为写意墨竹，数竿修竹错落斜出，构图疏密得宜，虚实相生。以浓淡墨色区分层次，浓墨挥写竹叶，笔势迅疾如劲风穿林，聚散合度，尽显劲挺错落之态；淡墨勾勒皴染竹干，笔力圆劲沉稳，竹节顿挫有力，将竹的清拔苍劲展露无遗。\n\n画面留白疏朗，以素净底色衬出修竹逸韵，尽显文人画尚简重意的意趣。落笔简练却神完气足，把竹之清高隽秀的品性描摹尽致，藏着画者寄情于竹的文心风骨。",[49,23,51,84,26,134,358,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea2fdbaeba4523a2230d84515b05d154.jpg",[],{"id":34729,"slug":34730,"title":34731,"dynasty":97,"author":724,"museum":99,"description":34732,"tags":34733,"thumbUrl":34734,"material":107,"size":107,"collection":107,"collections":34735,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},224383,"fang-ni-zan-she-se-shan-shui-tu-wang-yuan-qi-224383","仿倪瓚設色山水圖","此作用倪瓒平远章法却自出机杼，远景山峦以干笔皴擦，披麻皴混以苔皴写尽山石嶙峋，浑厚苍劲间不失幽淡意趣。近渚林木清劲错落，屋舍隐于洲渚林泉，脱尽尘俗烟火气。\n设色浅淡温婉，赭石花青轻晕纸面，中和倪氏水墨冷寂，添几分温润柔和。师法云林萧疏意境，落笔却沉雄老辣，将南宗秀雅与北派苍厚相融。题诗与画境呼应，诗画合璧，师古不泥，尽显文人山水的雅逸风骨。",[49,50,23,84,25,56,134,55,7,870,406,871,727,1902,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4338b8ae58b1ccd0bd17f1149f8ace0c.jpg",[],{"id":34737,"slug":34738,"title":34739,"dynasty":97,"author":16882,"museum":99,"description":34740,"tags":34741,"thumbUrl":34742,"material":107,"size":107,"collection":107,"collections":34743,"showCount":216,"zanCount":1288,"manualWeight":39,"mainColor":40},224283,"shan-shui-hua-hui-ce-shi-si-fu-shan-224283","山水花卉冊(十四)","此作用色浅淡温润，以淡赭晕染崖壁，弱化山石棱角锋芒，尽显朴拙沉静的质感。前景枯林疏枝以简笔勾勒，不着浓墨修饰，空留出大片水泽，衬出山野空寂。远山仅以淡墨轻扫，虚实相生间拉开悠远层次。\n\n全画笔墨极简，不尚繁复描摹，以写意之法直抒胸臆，将萧散淡远的林下襟怀藏于淡远景致之中，静穆古雅的气质漫溢纸面。方寸间尽是冬日空山的清寂氛围，淡而不寡，简而不空，把胸中丘壑化作纸上清景，尽显文人画以意驭形的悠长余韵。",[49,23,51,24,26,55,56,967,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F347803b95215729f574e8f7396313f9c.jpg",[],{"id":34745,"slug":34746,"title":34747,"dynasty":97,"author":1180,"museum":99,"description":1655,"tags":34748,"thumbUrl":34749,"material":689,"size":690,"collection":107,"collections":34750,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":75},224208,"shu-fa-21-wu-chang-shuo-224208","书法21",[86,84,119,541,7,944],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7447a84ab368b81850adda919cb4968.jpg",[],{"id":34752,"slug":34753,"title":34754,"dynasty":97,"author":4047,"museum":99,"description":34755,"tags":34756,"thumbUrl":34757,"material":107,"size":107,"collection":107,"collections":34758,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},224112,"lin-san-xi-tie-qian-long-224112","临三希帖","《三希堂法帖（一箱全五册）》是29年出版的图书，作者是梁诗正。\n《三希堂法帖(套装全5卷)(繁体竖排版)》分为五卷，其中四卷为原刻印本，第五卷为法帖释文和书家小传。\n《三希堂法帖》是我国清代乾隆年间由朝廷谕旨编刻的一部大型丛帖，全称为《御制三希堂石渠宝笈法帖》。\n乾隆十二年（一七四七年），乾隆皇帝敕命大学士吏部尚书梁诗正、户部尚书蒋溥等人，将内府所藏魏晋至明末的书法作品，择其精华加以校勘编次，从全国各地调集书法石刻艺人高手摹刻上石。\n法帖共分三十二册，刻石五百余块，收集自魏晋至明代末年共一百三十五位书法家的三百四十件书法作口叩和二百一十多件题跋，一千六百多方印章，共九万多字。\n帖中收有被乾隆帝视为稀世墨宝的三件东晋书迹，即王羲之的《快雪时晴帖》、王献之的《中秋帖》和王殉的《伯远帖》，而收藏这三件墨宝的地方又被乾隆称为三希堂，故法帖取名《二希堂法帖》。\n乾隆皇帝爱好书法，日理万机之余，潜心临池，遍习诸家，其书法温润妍媚，亲雅有致。\n由于《二希堂法帖》是乾隆皇帝御览之宝，所以刻印考究，版本珍贵。\n后流传民间，刻印日趋繁杂，以致版本良莠不齐。\n鉴于此，黄山书社和北京传世文化发展中心联合有关专家、学者，遴选各家藏馆版本，后选定首都图书馆善本库这套《二希堂法帖》版本予以影印出版。\n该本刻印清楚，神韵犹足，版本完整，堪称珍品。\n在此基础上，我们附加了法帖全部释文和书家小传，以便读者阅读、研习。",[49,86,134,119,52,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d59b3438eb9d2d283990bdc413c4cf5.jpg",[],{"id":34760,"slug":34761,"title":34762,"dynasty":7908,"author":207,"museum":99,"description":26745,"tags":34763,"thumbUrl":34764,"material":689,"size":690,"collection":107,"collections":34765,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},223701,"qi-bu-qu-jiang-tong-yin-yi-ming-223701","「骑部曲将」铜印",[7,5943,26747,26748,9700],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ce2a308086bc884e7e05438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钤印“徐邦达印”。鉴藏印钤“钱镜塘鉴定任伯年真迹之印”、“刘”。\n图绘著名教坊舞伎公孙大娘舞剑之情景。公孙大娘主要活动于唐代开元年间（713—741年），以擅长舞剑享有盛名。相传怀素、张旭观其舞剑曾启发了他们的草书创作，形成了狂草之笔风。\n是图线条劲健流畅，墨笔枯润浓淡自如，有明末陈洪绶笔法，但又具自家面貌，为任氏用意之作。",[49,23,51,84,105,135,26,58,5980,871,1240,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd762fde4047513733181d1229a03479d.jpg",[],{"id":34803,"slug":34804,"title":34805,"dynasty":97,"author":17787,"museum":99,"description":34806,"tags":34807,"thumbUrl":34808,"material":107,"size":107,"collection":107,"collections":34809,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":75},223082,"shui-hu-ren-wu-ren-xun-223082","水浒人物","任薰(1835-1893)，字 舜琴 ，又字阜长，其父任椿，兄 任熊 都是画家。少丧父，从兄学画，青年时在 宁波 卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、 任预 均从其习画。人物与其兄同师 陈洪绶 ，常用高古游丝、铁线、行云流水、兰叶几种描法。\n任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与 顾文彬 子顾承相友善，曾为设计怡园。 1888年54岁时双目失明，后病卒于苏州。 与任熊、任颐时称"三任"，合任预为"四任"，并为 海上画派 代表画家之一。\n任薰作画题材广泛，对人物、山水、花卉、翎毛、走兽(马、羊等)无所不能，更擅长花鸟、人物。粗写意、细双勾。技法初学其兄谓长，后吸取陈老莲的传统技法。用笔沉着力。\n在构图上有其特长，在大小不同的画面上，创作出许多新颖、宽广、意境深远的作品，尤其适应扇面上的表现技法，能笔随意转，在极小的团扇、折扇画面上，开拓出广阔、妙趣盎然的意境。\n任薰作品在结构上比较严谨，很重视疏密虚实的主从关系，无论一人、一花、一鸟的主从关系都能巧心安排得体。平淡中亦能出奇，宁静中又能生动。画面上给人一种空灵明快之感。\n他的另一特点是工于着色，浓淡相宜，清新可爱，绝无柔媚习气。他尤长于使用重彩着色，能把对比鲜明的色彩调和统一起来，使画面上的景色更显壮丽，又能从鲜艳色彩中透出古朴的意趣。任薰人物画，线条遒劲圆韧。尤其晚年人物衣褶，运笔如同书法中行草，似有行云流水之感，形态多奇伟的身躯，出乎 寻常容貌，带有性格的神态，别出心匠。",[49,50,23,51,25,58,54,135,7,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F539b08ba97b1058c07035b54833ac96a.jpg",[],{"id":34811,"slug":34812,"title":34813,"dynasty":18,"author":19020,"museum":81,"description":34814,"tags":34815,"thumbUrl":34816,"material":107,"size":107,"collection":107,"collections":34817,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},222859,"shan-shui-he-ji-juan-song-xu-222859","山水合迹卷","宋旭(1525-1606年后)，字初旸，号石门、石门山人，后为僧，法名祖玄，又号天池发僧、景西居士。浙江嘉兴人，清代《图绘宝鉴续纂》一作湖州(今浙江吴兴)人，居松江。工山水，兼长人物。师法“吴门四家”之一的沈周，画风似沈氏而又独具个性，亦宗法巨然、王蒙。其山水高华苍蔚，笔墨苍劲古朴，意境幽深，所作巨幅大幛，气势磅礴，开“苏松画派”之先声，万历年间名重海内。宋旭曾与“华亭派”画家莫廷韩(1537-1587年)入芟山社绘白雀寺壁，时称妙绝。宋旭遁入佛门以后，隐居佛寺，潜通禅理，一生画笔不辍，八十一岁时尚绘《平沙落雁图》轴，清逸传神，传为美谈。",[49,23,52,26,56,55,62,66,150,751,1977,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4617bfcb74ed5bc94d043330825ed7e6.jpg",[],{"id":34819,"slug":34820,"title":34821,"dynasty":18,"author":3904,"museum":99,"description":34822,"tags":34823,"thumbUrl":34824,"material":1636,"size":34825,"collection":122,"collections":34826,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},222481,"qi-lv-shi-bu-jiang-zhu-yun-ming-222481","七律诗不将","全卷落笔迅速，字势跌宕，行间时而穿插，时而放笔纵横，有密不通风，疏可走马的强烈视觉效果。书写时，今草与狂草交替使用，笔势连绵不绝，气势纵横，为其狂草书之杰作。",[49,51,86,462,84,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b9994f9011995d60f93f3c7748d6e8c.jpg","49.5x129.5cm",[122],{"id":34828,"slug":34829,"title":34830,"dynasty":18,"author":3904,"museum":81,"description":33613,"tags":34831,"thumbUrl":34832,"material":319,"size":34833,"collection":122,"collections":34834,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},222464,"shu-shan-ye-zhu-yun-ming-222464","书扇页",[49,822,86,119,462,51,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa44214ec1fb685b490e03762ffc07075.jpg","31.1x37",[122],{"id":34836,"slug":34837,"title":34838,"dynasty":18,"author":8513,"museum":99,"description":8514,"tags":34839,"thumbUrl":34840,"material":54,"size":8517,"collection":107,"collections":34841,"showCount":216,"zanCount":1288,"manualWeight":39,"mainColor":8519},222046,"de-qu-zai-ren-ce-13-kai-6-wang-zhong-222046","得趣在人册13开6",[49,8547,23,51,24,25,54,27,29,6815,332,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91d669a8b938105e367f73e7f247b2a3.jpg",[],{"id":34843,"slug":34844,"title":34845,"dynasty":18,"author":2059,"museum":99,"description":30391,"tags":34846,"thumbUrl":34847,"material":34848,"size":34849,"collection":122,"collections":34850,"showCount":216,"zanCount":1288,"manualWeight":39,"mainColor":75},222014,"zi-zuo-shi-juan-quan-juan-wen-zheng-ming-222014","自作诗卷全卷",[49,86,52,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F369862cbcb9f4c9abd59e3e40bed88c8.jpg","纸本手卷","27×637cm.",[122],{"id":34852,"slug":34853,"title":34854,"dynasty":18,"author":955,"museum":175,"description":34855,"tags":34856,"thumbUrl":34858,"material":34859,"size":34860,"collection":107,"collections":34861,"showCount":216,"zanCount":1288,"manualWeight":39,"mainColor":75},221893,"za-hua-tu-ce-huang-liu-ju-jin-chen-hong-shou-221893","杂画图册-黄流巨津","本册共八开，每开均有作者题跋及款印。所画题材有山水、人物、花鸟，全以工笔写之。山岩之结构，花蝶之动态，人物形象之奇特，均已加入了画家个人之造型意念，精彩绝伦。其中一册，以变形夸张的手法表现古拙奇崛的特征，描写佛教传说中的罗汉拄杖坐于大石上，对面跪拜一人，衣饰长摆，异国情调，突出了装饰性趣味，图页上自题名为“無法可說”，颇具禅机。另一册《玉兰柱石图》，图右侧一太湖石竖立，玲珑剔透，紧靠石下伸出一支玉兰花，石另一侧后面也露出一支海棠花，花上一只彩蝶。画家把握住不同的物象特征进行描绘，湖石的稳重坚硬，衬托出花朵的轻盈柔美，浓重的色调托出了玉兰的洁白。画面层次清晰，设色明丽温和，在线条的表现形式上，均用细劲的墨线勾勒，刚柔相济，巧拙互用，于对比中求统一。\n从署款和绘画风格看，此图是陈洪绶中前期作品，为其代表作之一。",[49,23,25,54,24,61,34857,150,7],"巨浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F709ce71b2c07dd179b0f05f46ed4737c.jpg","绢本、设色","纵30.2＊横25.1ＣＭ",[],{"id":34863,"slug":34864,"title":34865,"dynasty":115,"author":16852,"museum":222,"description":34866,"tags":34867,"thumbUrl":34868,"material":183,"size":34869,"collection":107,"collections":34870,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},221672,"lian-zhou-xin-yue-tu-quan-juan-zhao-bo-ju-221672","莲舟新月图全卷","此卷整体画面以色彩渲染，着色清丽,内容描写的北宋著名理学家周敦颐爱莲的故事。画面人物精神清润，能别状貌。柳树旁的两棵对称式的野花，以及坡石上的点苔都极富装饰趣味。",[49,50,23,51,52,53,25,54,119,86,7,56,102,62,944],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b08ce584a2b3aee32d00009daf8bd9.jpg","24.2x591.8cm",[],{"id":34872,"slug":34873,"title":34874,"dynasty":115,"author":27738,"museum":34875,"description":34876,"tags":34877,"thumbUrl":34879,"material":319,"size":34880,"collection":107,"collections":34881,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":75},221477,"da-de-ming-tie-dong-fu-si-bian-e-fang-zhang-zhang-ji-zhi-221477","大德名帖东福寺匾额方丈","日本京都东福寺","张即之书法深受唐人影响，后转师米芾，参以晋唐经书汉隶，并能“独传家学”，自成一家体系。张即之擅长楷书和榜书，尤喜作擘窠大字。楷书结构严谨、端庄，行书则用笔枯硬，近于刻露，毫无温润典雅之感。有人称之为宋书殿军",[49,86,417,7,34878,2651],"大字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febba7eb1e4fb50f98cf446551dfbca71.jpg","44.5X91厘米",[],{"id":34883,"slug":34884,"title":34885,"dynasty":115,"author":289,"museum":7132,"description":34886,"tags":34887,"thumbUrl":34888,"material":1087,"size":34889,"collection":107,"collections":34890,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},221405,"zui-seng-tu-juan-quan-juan-li-gong-lin-221405","醉僧图卷全卷","此画应为南宋人作。卷末有苏轼草书题跋，另有署名“东村”的长跋，“东村”不知为何人，但书法精妙，当为大家手笔。画作的真伪、年代姑且不论，亦不论卷末题跋者是否苏轼，单就书法水平而言却是着实精彩的。",[49,23,51,52,135,26,86,119,462,58,871,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59a82f9d0989e0effd94ca4473f6f65d.jpg","画芯32.5x60.8cm",[],{"id":34892,"slug":34893,"title":34894,"dynasty":115,"author":6103,"museum":222,"description":34895,"tags":34896,"thumbUrl":34897,"material":462,"size":107,"collection":107,"collections":34898,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":40},221379,"ba-sun-guo-ting-qian-zi-wen-di-wu-ben-wang-shen-221379","跋孙过庭千字文第五本","王詵[shēn]（公元約1048年—公元約1104年），字晉卿，太原（今山西太原）人，後遷汴京（今河南開封） ，北宋畫家。\n北宋熙寧二年（1069年）娶英宗女蜀國大長公主，拜左衞將軍、駙馬都尉。元豐二年，因受蘇軾牽連貶官均州。元祐元年（1086年）復登州刺史、駙馬都尉。擅畫山水，學王維、李成，喜作煙江雲山、寒林幽谷，水墨清潤明潔，青綠設色高古絕俗。亦能書，善屬文。其詞語言清麗，情致纏綿，音調諧美。存世作品有《漁村小雪圖》《煙江疊嶂圖》《溪山秋霽圖》等。",[49,86,119,51,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b7f141a38f4bd44373094a8349e4aac.jpg",[],{"id":34900,"slug":34901,"title":34902,"dynasty":115,"author":29336,"museum":175,"description":30812,"tags":34903,"thumbUrl":34904,"material":27218,"size":30815,"collection":107,"collections":34905,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":75},221256,"da-nian-tie-xue-shao-peng-221256","大年帖",[49,86,51,119,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F724c47a3271783b03c92462eed77c9b2.jpg",[],{"id":34907,"slug":34908,"title":34909,"dynasty":192,"author":207,"museum":99,"description":34910,"tags":34911,"thumbUrl":34912,"material":107,"size":107,"collection":122,"collections":34913,"showCount":216,"zanCount":1288,"manualWeight":39,"mainColor":75},221120,"da-ban-nie-pan-jing-di-er-shi-er-juan-yi-ming-221120","大般涅槃经第二十二卷","此卷小楷笔致朴拙温雅，结体端稳暗含灵动意趣，起收间带着沉静禅意。墨色沉郁苍古，晕染在泛黄斑驳的纸面之上，与岁月留下的痕迹相融，晕开千年的沉静质感。\n\n通卷书写匀净工稳，既恪守抄经的庄重法度，又自然流露书写者松弛的笔意，朱印错落点缀其间，为古卷更添传世厚重底蕴，是宗教文本与书法美学的相融之作，尽显晚唐写经的典型风骨，静静诉说着时光里的虔敬雅致。",[49,436,86,417,52,1284,9636,2601,4832,33484,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b70d2d532ac513d52eaa3284f09d462.jpg",[122],{"id":34915,"slug":34916,"title":34917,"dynasty":18,"author":8189,"museum":3815,"description":34918,"tags":34919,"thumbUrl":34920,"material":347,"size":34921,"collection":107,"collections":34922,"showCount":216,"zanCount":39,"manualWeight":39,"mainColor":107},220735,"yan-jiang-die-zhang-tu-ba-wen-bo-ren-220735","烟江叠嶂图跋","此小楷题跋笔致清劲秀雅，结体匀整端稳。书者追念原作笔墨逸趣，慨叹辗转得见真迹的幸然，盛赞原作笔意苍茫浑朴，以精妙水墨晕染出烟江层峦的空濛之致，将山川灵秀收于尺幅之间。\n\n字里行间藏着得见真迹的珍视，把寻获佳作的欣喜与对原作风神的倾慕娓娓道来。笔墨文辞相融，既为画作添上一段流传佳话，又以隽雅书迹衬合原作山水意境，尽显文人清雅意趣与鉴藏情怀，书画相映，让这份古雅意韵更添悠长。",[23,51,119,26,25,56,946,278,279,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3032ad22be1f88d0afc7499004d1d852.jpg","22 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，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。",[23,24,56,59,150,64,7,25,55,35088],"古建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31d1b419c12395cb3e0893657740dd8b.jpg",[],{"id":35092,"slug":35093,"title":23200,"dynasty":115,"author":207,"museum":99,"description":35094,"tags":35095,"thumbUrl":35096,"material":689,"size":690,"collection":107,"collections":35097,"showCount":300,"zanCount":39,"manualWeight":39,"mainColor":40},290510,"han-gong-chun-xiao-tu-yi-ming-290510","此作以圆扇为幅，绘就苑囿春晓盛景。层叠宫宇隐于烟岚佳木之间，朱阶玉栏之上宫人簇立，或整肃侍立，或执礼待驾，细节暗藏宫廷朝会的端严秩序。界画工细，将殿宇飞檐勾勒得精巧古雅，设色调和沉静，晕染出未央清晨的暖煦韶光。画作与题诗呼应，把宫娥盛饰争妍、御苑春和景明的皇家气派尽数收揽于尺幅之内，尽显宋代院画写实精妙的特质，铺展出汉宫春日早朝的雍容雅致。",[23,51,54,25,1962,58,136,59,19663,86,417,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe23e3eb117990c39592b138524fed620.jpg",[],{"id":35099,"slug":35100,"title":1125,"dynasty":146,"author":3404,"museum":99,"description":35101,"tags":35102,"thumbUrl":35103,"material":689,"size":690,"collection":107,"collections":35104,"showCount":300,"zanCount":39,"manualWeight":39,"mainColor":40},290497,"shan-shui-tu-gao-ke-gong-290497","高克恭（1248—1310）字彦敬，号房山，色畏吾儿（今维吾尔族），高克恭的先人来自西域，先定居于大同，后移居燕京（今北京），祖籍西域（今新疆）。 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-1767）字士撰。乌程（今浙江吴兴）人，其父金鸿亦为小有名声的画家，廷标能绍父艺，擅画白描人物，亦善写真（肖像），兼能花卉、山水、乾隆二十二年（1757），乾隆帝第二次南巡时，金廷标进献《白描罗汉图》，得乾隆“称旨”，遂得以入宫供职，成为当时的一名宫廷画家。\n金廷标所作画，极得乾隆欣赏，御题诗句甚多，赞美之意溢于言表，如题其《放鹤图》云：“是谓善写照，传神在阿堵。”题其《江村图》云：”七情写毕皆得神，顾陆以后今几人。”又在他《临唐寅琵琶行图》后如此题道：“内府藏弆唐寅画琵琶行于江边扁舟直写一女抱琵琶，廷标此图不画琵琶女，而画居易等属耳之情，便觉高出其上。此与宋人画‘踏花归去马蹄香’以数蝶随骑意同。向未题句，兹偶见之，因拈其妙，然画院中能作如此解者实少也。”对金廷标能高出当时的宫廷画家，给予肯定。\n金廷标死后，乾隆在翻阅他的画作时又一再叹息，有诗这样写道：“去年命写寻常事，今日谁知珍惜加。”“足称世画无双画，可惜斯人作古人。”对金廷标的去世，表示无限的惋惜。一个自命“古稀天子”的帝王，能对一名宫廷画师如此的眷顾，极为难能，于此亦可见金廷标画艺的超群。\n清代未见有“书院”之称，（文献记载仅见“书院处”一词），更不像宋代书画院中设有具体的“待诏”、“艺学”等明确的官职。清代宫廷中供职的画家，一般情况均需有人举荐，有的还需要经过考核。文献记述金廷标只是自己进献作品以自荐，即得乾隆帝的“称旨”，可见他的画艺不凡。从本文介绍的这件作品来看，他也可以称得是当时画院中具有代表性的人物画家。\n传世作品有《拜石图》，图录于《故宫书画集》；《碧桃图》《孟母移居图》《枫林晚坐图》《萱花寿石图》册页图录于《中国历代名画集》；《高贤遇隐图》轴图录于《中国绘画史图录》下册；《春元瑞兆图》轴藏日本大阪市立美术馆；乾隆二十六年(1761)作《观音大士像》轴现藏沈阳故宫博物院；《婕妤挡熊图》轴、《瞎子说唱图》轴、《罗汉图》轴、《莲塘纳凉图》轴等藏故宫博物院。",[23,25,26,55,3363,7,56,610,345,150,61,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8386cfaad20e26fd82e317e8e3a5b140.jpg",[],{"id":35741,"slug":35742,"title":28239,"dynasty":97,"author":1998,"museum":175,"description":35743,"tags":35744,"thumbUrl":35745,"material":227,"size":28243,"collection":107,"collections":35746,"showCount":300,"zanCount":39,"manualWeight":39,"mainColor":75},234286,"tang-dai-xiao-yuan-xian-yong-tu-ce-tang-dai-234286","唐岱小园闲咏图册，绢本设色，25.7×33厘米，共十五开，绘宝亲王弘历《御制小园闲咏》十五首诗意，故宫博物院藏。\n唐岱（1673—1752后），字毓东，号静岩，又号默庄，满洲正蓝旗人。康熙中以荫官参领。从王原祁学画，丘壑似王原祁，远宗宋人，“泼墨淋漓，气韵生动”。康熙后期常将其召入宫中作画，品题其画为当时第一手，赐称“画状元”。",[23,25,24,86,7,56,150,64,63,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc49860ee591171309ea73ae89226743e.jpg",[],{"id":35748,"slug":35749,"title":7228,"dynasty":97,"author":15922,"museum":99,"description":35750,"tags":35751,"thumbUrl":35752,"material":107,"size":107,"collection":107,"collections":35753,"showCount":300,"zanCount":39,"manualWeight":39,"mainColor":40},234275,"shan-shui-ce-cha-shi-biao-234275","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。\n查士标专事书画，家藏甚富，鼎彝及宋、元真迹皆有，遂精鉴赏。\n他的山水画，笔墨疏简，风神嫩散，气韵荒寒，晚年画风突变，直窥元人之奥。\n有《云山图》、《空山结屋图》、《秋林远岫图》、《云山烟树图》等传世。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。 著有《种书堂遗稿》等。",[23,51,24,26,56,871,870,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3081eba6012e76f1db4406bd622364d3.jpg",[],{"id":35755,"slug":35756,"title":35757,"dynasty":97,"author":5309,"museum":175,"description":16702,"tags":35758,"thumbUrl":35760,"material":1561,"size":35761,"collection":107,"collections":35762,"showCount":300,"zanCount":39,"manualWeight":39,"mainColor":75},234192,"han-jiang-xue-yi-tu-juan-wang-hui-234192","邗江雪意图卷",[49,23,52,26,54,56,1050,715,6000,64,295,66,60,5076,4803,35759,7],"岸堤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91dd400a99fa7145a75ac8842e975f58.jpg","纵39.3cm 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端坐于蒲团之上，正在修行。画心题“问法金銮不顺情，折盖潜向少林行。 若无断臂来承受，辜负如来十万程。”署款“庚子新春写于云间超果精舍。”押 “宋旭之印”、“石门山人”二印。",[49,23,51,84,25,55,1284,58,277,61,1481,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1fe66a812dbe56cfccf70204e699ab7.jpg","纵121.3横32.2厘米",[],{"id":35952,"slug":35953,"title":35954,"dynasty":18,"author":22808,"museum":81,"description":35955,"tags":35956,"thumbUrl":35957,"material":319,"size":35958,"collection":70,"collections":35959,"showCount":300,"zanCount":1288,"manualWeight":39,"mainColor":40},231414,"bai-yue-tu-leng-qian-231414","白岳图","此图近处是溪流、坡石、茅亭、古松；中间有丛树、竹林、板桥、人家；上部峰峦起伏，云霞映带。此图笔墨秀润，清丽萧疏，山石作披麻皴，皴擦并用，刚柔相济，不见奇峭之笔。画中景物的高低晕淡深浅，都很自然，树枝树叶，勾点结合，石上苔点恰到好处.\n此画可分为远景、中景、近景三段式。远景画面上层峦叠嶂，悬岩峭壁，古木衰草，幽深险绝；中景为崇山脚下，一片阔广平坦之地，左侧为林木丛生，密密麻麻的一片；右侧为翠竹林立，竹竿瘦劲挺拔，竹叶茂密，相互交错，互相映辉，在林木和翠竹荫下，坐落着几间屋宇茅舍，翠竹旁溪水潺潺流动，有一座高架的板桥接岸，近景为坡石堤岸，乱石横卧，山石奇特，山石间有几棵杂树，有的树干挺拔，有的盘根露土，有的枝干虬曲向左右弯斜。\n从此画题识看，该图是强余模写之作，作者对所熟悉的环境加以提炼、概括。 由自题可知，该图作元至正三年（1343年）。\n该图中，山头、山脊与怪石交织互抱，盘亘而上，变为一大平原，而从山腰到山顶，却有折搭、转换、穿插种种奇趣。凡此均非庸手所能。纯用于笔，浓墨淡墨兼施，轮廓与皴擦融为一体，尤其是善用空白，把山顶、山背、岩际、石尖，甚至山径，都表现出来。不加渲淡，不作苔点，更见笔墨凝重和骨力之美。在线条的组织与结构上，似乎十分紧密，然而石罅飞泉，山间停云，质实中还见虚灵。另一方面，作为全图的主峰却不嫌孤单，它的背后远岫罗列，它的腰际和云层里露出几个小山头，彼此之间如相揖让。这样的艺术想象、艺术构思与艺术手法，反映了大自然的节奏与生命，以及画家活泼泼的审美感情，而且和道家修养分不开。至于行笔坚硬朴实，则从传统中来。山石不以苔点修饰，乃唐人画法。明王铎题关仝《秋山晚翠》：“结撰深峭，骨苍力厚，婉转生发，又细又老，磅礴之气行于笔墨外，大家体度固如此。”冷谦此图庶几近之。而荆浩自许笔墨俱胜，米芾指出其山水特征在于“云中山顶，四面峻厚”，此图似乎兼而有之。",[23,51,84,26,56,55,150,64,60,61,295,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99888b1ef6398d1704122c6248807861.jpg","纵84.4厘米，横41.4厘米",[70],{"id":35961,"slug":35962,"title":35963,"dynasty":97,"author":787,"museum":2698,"description":35964,"tags":35965,"thumbUrl":35966,"material":1561,"size":35967,"collection":107,"collections":35968,"showCount":300,"zanCount":39,"manualWeight":39,"mainColor":75},231391,"liu-ye-shan-shui-shi-hua-tu-ce-zou-yi-gui-231391","六页山水诗画图册","此册页花卉或重粉点瓣、敷色浓丽；或没骨轻染、淡雅隽逸。此花卉用功颇深，为深入了解绘画对象，邹一桂亲自培植百余种花卉，仔细观察形态特征，获得真切感性认识，使其花卉在他笔下形神兼备、超凡脱俗。",[23,51,24,26,55,56,59,63,7,86,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa16e4b6ea57f63d4747420caa89bdae6.jpg","29×23cm×8",[],{"id":35970,"slug":35971,"title":35972,"dynasty":18,"author":207,"museum":81,"description":35973,"tags":35974,"thumbUrl":35975,"material":35976,"size":35977,"collection":107,"collections":35978,"showCount":300,"zanCount":39,"manualWeight":39,"mainColor":75},231358,"yuan-ren-hua-lie-qi-tu-zhou-yi-ming-231358","元人画猎骑图轴","一队人马行进於秋林之中，人物之衣冠，马匹之鞍具，与李唐、陈居中文姬归汉图之胡骑甚相似。但此幅用笔较为纤秀，旧传为元人之作。",[23,51,84,25,54,58,225,870,871,7,2142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ad70a4cebe3d61e2604c96263c616d7.jpg","轴","39.4x60.1公分",[],{"id":35980,"slug":35981,"title":35982,"dynasty":97,"author":207,"museum":99,"description":35983,"tags":35984,"thumbUrl":35985,"material":107,"size":107,"collection":35,"collections":35986,"showCount":300,"zanCount":1288,"manualWeight":39,"mainColor":40},230331,"qing-shi-quan-tu-ce-shi-kai-yi-ming-230331","清十犬图册-十开","《十犬图册》是清代画家佚名创作的一幅绢本设色画。\n此图册为乾隆时期的宫廷画家所绘，表现猎犬“守则有威，出则有获”，“骨相多奇，仪表可嘉”的主题。\n画法工整，具有一定的程式。\n对开有内廷侍臣陈邦彦、王图炳、励廷仪、张廷玉、蒋廷锡、张照、薄海等书写的《山海经》及晋傅休奕的《走狗赋》、唐杜甫的《天狗赋》等诗赋。",[23,51,24,54,25,1116,5028,137,277,119,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51e2d3c8edc551956dced1e277f84ec6.jpg",[35],{"id":35988,"slug":35989,"title":35990,"dynasty":97,"author":7428,"museum":99,"description":35991,"tags":35992,"thumbUrl":35994,"material":107,"size":107,"collection":107,"collections":35995,"showCount":300,"zanCount":39,"manualWeight":39,"mainColor":40},228957,"fang-song-ren-gou-ran-tu-ce-jiang-ting-xi-228957","仿宋人勾染图册","此作用淡墨勾勒花瓣轮廓，由外至内层层晕染，将盛放牡丹的丰腴柔润尽数铺展，花心以浓墨点簇，层次分明，把牡丹盛放时的娇妍饱满尽显无遗。枝叶笔墨干湿浓淡有别，叶片皴擦细致、叶脉清晰，挺秀枝干搭配舒展翠叶，清雅间带着端庄意韵。\n\n全幅未施丹青，纯以水墨晕染花卉神采，兼得宋画工致写实的格调和文人写意的澹泊雅致。错落排布的鉴藏印，更添古雅厚重的书卷意蕴，将工笔细腻与水墨清逸相融，把牡丹的华贵风骨敛在素净墨色中，静雅脱俗，余韵悠长。",[49,23,50,51,24,54,35993,26,27,308,7,134],"勾染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6c010e2f237ef06f01aef610df459e6.jpg",[],{"id":35997,"slug":35998,"title":18022,"dynasty":18,"author":19317,"museum":99,"description":35999,"tags":36000,"thumbUrl":36001,"material":107,"size":107,"collection":107,"collections":36002,"showCount":300,"zanCount":39,"manualWeight":39,"mainColor":40},228366,"shi-liu-luo-han-tu-chen-xian-228366","此作用笔极简却意韵悠长，淡墨勾勒罗汉衣袍，线条舒缓苍劲，将僧袍垂坠柔软的质感尽显无遗。罗汉面容刻画细腻入微，唇角含笑，神态恬然静定，安然的坐姿透着出尘的禅意。身旁盆栽兰草，寥寥数笔绘就舒展花叶，清雅脱俗，与罗汉气质相映成趣，烘托出静谧空寂的禅房氛围。\n\n画面以水墨写意见长，浓淡干湿自然过渡，不用浓艳敷色，以形传神，将高僧闲适安然的心境展露无余。右侧题字笔力苍劲古朴，与水墨画面气韵相融相合，尽显文人画以意驭笔的意趣，空灵悠远的禅境跃然纸上，是一件精妙的禅意小品。",[49,23,51,1284,58,26,135,7,251,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb042f67db1eec218836dfc97590a62a.jpg",[],{"id":36004,"slug":36005,"title":36006,"dynasty":18,"author":19020,"museum":99,"description":36007,"tags":36008,"thumbUrl":36009,"material":107,"size":107,"collection":107,"collections":36010,"showCount":300,"zanCount":39,"manualWeight":39,"mainColor":40},228353,"hu-zhou-shi-ba-jing-yu-tai-feng-song-xu-228353","湖州十八景－玉台峰","危崖之上古松虬劲，松针层叠如翠盖，崖间曲径蜿蜒，三两行人策杖徐行，野趣悠然。浩渺烟波铺陈于眼前，水天相接处帆影轻漾，远山黛色晕染朦胧，尽展江南山水温润灵秀之态。\n\n笔墨苍劲老辣，干笔皴擦勾勒崖石肌理，写松则笔致灵动，尽显古松凌云傲骨。设色浅淡雅致，将水墨清寂与设色明润相融，藏登临纵目的快意于丘林烟水之间，带着萧散意趣，把凭高远眺的胜景晕染得悠远澹泊，尽显清旷悠然的山水意境。",[49,50,23,51,25,55,7,56,2001,137,610,58,2955,2247,751,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58a89a51f78f356e57a9d3dcd1e9812e.jpg",[],{"id":36012,"slug":36013,"title":36014,"dynasty":18,"author":4381,"museum":99,"description":4927,"tags":36015,"thumbUrl":36016,"material":689,"size":690,"collection":107,"collections":36017,"showCount":300,"zanCount":39,"manualWeight":39,"mainColor":40},228311,"tian-chi-wan-tiao-tu-lu-zhi-228311","天池晚眺图",[49,23,51,52,56,25,55,278,64,295,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ed16a02709d4880a243cf9b576eb41.jpg",[],{"id":36019,"slug":36020,"title":36021,"dynasty":146,"author":3963,"museum":99,"description":36022,"tags":36023,"thumbUrl":36025,"material":107,"size":107,"collection":107,"collections":36026,"s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,"qing-ji-yun-qin-ding-si-ku-quan-shu-jian-ming-mu-lu-ji-bu-juan-ji-yun-224541","清纪昀钦定四库全书简明目录（集部）卷","纪昀","卷轴以仿宋式盘绦纹织锦包首，镶嵌青玉轴头，淡绿、浅黄双色绫天头，洒金笺引首，浅黄色绫隔水，海水江牙杂宝纹缥带，上端系青白玉别扦。各卷首末均钤“乾隆御览之宝”，各卷末下方署“臣纪昀恭书”并钤“纪”“昀”朱文联珠小印。\n乾隆帝认为《四库全书总目》卷帙浩繁，不易翻阅，于乾隆三十九年（1774年）命四库馆臣纪昀等另编《四库全书简明目录》。总纂官纪昀等人略去《四库全书》各类总序、小序和存目类各书提要，并将其他各书提要也大加压缩，“只载某书若干卷，注某朝某人撰”，于乾隆四十七年（1782年）汇成《四库全书简明目录》二十卷，进呈御览，由内府收藏。\n纪昀从《四库全书简明目录》中又选出最精要的内容亲笔撰写，只写书名、著者及卷数，略去存目类各书，缮成此精选本。此书无序跋，以经、史、子、集四部分类，类下列细目，每目之下各书分上下两栏书写，以小楷抄成四轴，每轴一卷，从左至右卷为一束，合装于红木书盒内，进呈皇上，以方便乾隆帝出行携带。\n此书装帧技艺精湛，仿宋锦古朴典雅，质地紧密厚实，反映了清内府书籍装潢的艺术风格。",[86,417,5943,7,2601,51,52,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e922250739de2d8cace106951324f5c.jpg",[],{"id":36092,"slug":36093,"title":36094,"dynasty":97,"author":9309,"museum":99,"description":36095,"tags":36096,"thumbUrl":36097,"material":107,"size":107,"collection":107,"collections":36098,"showCount":300,"zanCount":39,"manualWeight":39,"mainColor":40},224490,"xing-fu-an-gan-jiu-tu-juan-wu-li-224490","兴福庵感旧图卷","《吴历兴福庵感旧图卷》是清代吴历创作的一幅画。\n本幅自题：“吾友笔墨中，惟默公交最深。\n予常作客，不为话别，恐伤折柳。\n庚戌清和，游于燕蓟，往往南传方外书信，意甚殷殷。\n辛亥秋冬，将欲赋归，意谓同此岁寒冰雪，而未及渡淮，闻默公已挂履峰头，痛可言哉。\n自惭浪迹，有负同心，招魂作诔，未足抒写生平，形于绢素，訾笔陨涕而已。\n却到昙摩地，泪盈难解空。\n雪庭松影在，草诏墨痕融。\n几树春残碧，一灯门掩红。\n平生诗画癖，多被误吟风。\n鱼雁几曾隔，赋归迟悔深。\n自怜南北客，未尽死生心。\n痴蝶还疑梦，饥鸟独守林。\n云看无限意，何事即浮沉。\n甲寅年登高前二日雨霁并书。\n桃溪居士吴子历。\n”钤“吴历”印一方。\n卷尾有许之渐、纪萌、张景蔚三家题记。\n甲寅为清康熙十三年（1674年），吴历时年4岁。\n此图是作者为怀念故友默容而作，一段长题简述了二人的交往，情深意切。\n画中描绘兴福庵的景物，寺外杂树丛竹，墙内孤松白鹤，本是一处清幽之所，然人去室空，满目凄清，透露出作者以笔墨寄托哀思的心境。\n树木勾点结合，层次分明，穿插自然，蜿蜒曲折的围墙加强了画面的纵深感，山石有皴有染，大面积的青绿敷色表现了真实自然的景致，是画家兼取宋、元画法而别具一格的代表作。",[49,23,51,52,25,56,119,7,64,727,61,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f571ff10a4082ce3d8b946f44feff0.jpg",[],{"id":36100,"slug":36101,"title":36102,"dynasty":97,"author":36103,"museum":99,"description":36104,"tags":36105,"thumbUrl":36106,"material":107,"size":107,"collection":107,"collections":36107,"showCount":300,"zanCount":39,"manualWeight":39,"mainColor":75},224405,"bao-bi-zhuang-shi-er-feng-wang-xue-hao-224405","宝碧庄十二峰","王学浩","此作用笔苍润秀雅，以水墨兼淡色绘就十二枚湖石，各峰形神迥异，将赏石“瘦、透、漏、皱”之美尽致展现，或如干霄孤直，或若玲珑宛转，顽石似被赋予君子清介风骨。\n\n每石配行草题咏，笔意洒脱与奇石雅姿相互衬映，书画合璧，把文人寄情于石的雅怀尽显无余，将赏石意趣与文人情思相融，尽显传统文人画以物托志的风雅意韵，淡墨轻色间，勾勒出藏于奇石中的林下高致。",[49,23,51,52,26,25,55,119,7,277,576],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F601424168e70bd55e579842423ea8b45.jpg",[],{"id":36109,"slug":36110,"title":36111,"dynasty":97,"author":724,"museum":99,"description":36112,"tags":36113,"thumbUrl":36114,"material":107,"size":107,"collection":107,"collections":36115,"showCount":300,"zanCount":39,"manualWeight":39,"mainColor":40},224392,"tao-yuan-chun-zhou-tu-wang-yuan-qi-224392","桃源春昼图","此作用元人笔法绘就世外幽境，干笔积墨皴擦山峦，层层叠叠尽显苍浑厚重。近岸林木疏朗，粉桃绽枝，村居隐于水畔林间，溪桥连通幽处，晕染出春日清和柔缓的氛围。\n\n诗画相映，鉴藏朱印错落点缀，将武陵桃源的隐逸意趣融于尺幅之中。整体章法疏密有致，笔意内敛沉静，以苍润笔墨铺展出出世忘尘的澹然意境，尽显文人山水的清雅格调，藏着山居春日的闲逸悠然。",[49,23,51,56,25,55,57,870,406,64,379,60,61,7,119,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4861bc4696e9917281ec8d93b88f9dcf.jpg",[],{"id":36117,"slug":36118,"title":36119,"dynasty":97,"author":4047,"museum":99,"description":36120,"tags":36121,"thumbUrl":36122,"material":689,"size":690,"collection":107,"collections":36123,"showCount":300,"zanCount":39,"manualWeight":39,"mainColor":75},224113,"lin-lan-ting-qian-long-224113","临兰亭","据款署，此册于戊寅年（1758年）上巳日临于三希堂。",[49,51,86,52,134,119,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9ff6111fae3342a4f814c8ae36a7071.jpg",[],{"id":36125,"slug":36126,"title":36127,"dynasty":115,"author":207,"museum":175,"description":36128,"tags":36129,"thumbUrl":36131,"material":239,"size":36132,"collection":107,"collections":36133,"showCount":300,"zanCount":39,"manualWeight":39,"mainColor":40},223564,"xi-shan-chun-xiao-tu-dai-wei-ba-yi-ming-223564","溪山春晓图（带尾跋）","全幅虽绘秋林草屋，流泉飞瀑等景象繁多，但穿插有致、有条不紊。留白处的虚与浓墨点染处的实互为映衬，画面饱满而又不失空灵。山石用“积墨法”，以笔含墨，层层积点石面，将山石向背虚实块面体积以及雨后的湿润之感都真实地表现出来。此卷生动地表现了江南溪山浑润丰华的景象，同时也较全面地体现了龚贤在山水画上“笔法健、墨气活、丘壑奇、气韵雄“的美学追求",[49,50,23,51,52,26,25,56,55,54,119,462,417,86,7,36130,61,64,754,60,66,277],"溪山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67182705fdd916fd2124e4fc25062135.jpg","24.5x185.5",[],{"id":36135,"slug":36136,"title":36137,"dynasty":97,"author":3871,"museum":81,"description":36138,"tags":36139,"thumbUrl":36140,"material":1561,"size":36141,"collection":199,"collections":36142,"showCount":300,"zanCount":39,"manualWeight":39,"mainColor":40},223327,"di-shi-liu-a-bi-da-zun-zhe-zhou-ding-guan-peng-223327","第十六阿必达尊者轴","乾隆皇帝第二次南巡时诣访杭州圣因寺，曾将寺中所藏唐贯休（823-912）十六罗汉像的序位及名号详加考订后送还，并命丁观鹏摹绘一组。此次展出其中两轴。该组罗汉除屡屡被重绘外，亦依其形象制作玉雕，是南巡衍生出的图像新好尚。",[49,23,51,84,1284,54,25,58,277,3009,7,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92204ef8ac0f1ceed31060bb9280cade.jpg","127.5x57.5厘米",[199,72],{"id":36144,"slug":36145,"title":36146,"dynasty":18,"author":18133,"museum":175,"description":36147,"tags":36148,"thumbUrl":36149,"material":15010,"size":107,"collection":122,"collections":36150,"showCount":300,"zanCount":1288,"manualWeight":39,"mainColor":75},222536,"zhi-mei-gong-li-nian-xin-zha-wang-duo-222536","致梅公李年信札","此为米芾《行书三札卷》卷后王铎书法手迹，言其对米海岳书法欣喜欢爱，以至于喜爱的睡不着觉了。\n释文：弟昨为米韩马墨迹夜怀不能寐，天明即繇泥泞访年兄，欲一快也。不意年兄今遣苍头持来，谓恐为燕石。弟展观方二行，辄欣喜欢爱，若对海岳，亲见其运腕走毫也。五百年物，兵火不相之而寿如是。迨毕二启，其笔神淡宕，鸟王金羽戏海以簸扬，飞龙变化生云喷风雨。忽入缕针小家箝法,恶足以拟议也。且留弟斋，饫观数日，以慰輖饥。令较书多方爱护，断不敢油腻亵此宝。乃题为燕石云乎哉。虽然弟不欣喜欢爱则已，既欣喜欢爱，能不嫉妬年兄乎！今夜弟怀如何，又恐不能寐。念一笑。弟王铎顿首顿首 梅公李年兄阁下。",[49,86,119,30257,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc582b2e89dd052f54067bdc45446f467.jpg",[122],{"id":36152,"slug":36153,"title":36154,"dynasty":18,"author":27671,"museum":81,"description":27672,"tags":36155,"thumbUrl":36157,"material":319,"size":33623,"collection":107,"collections":36158,"showCount":300,"zanCount":39,"manualWeight":39,"mainColor":40},222439,"hua-die-cao-chong-7-du-da-cheng-222439","花蝶草虫7",[49,23,26,54,24,3788,531,36156,7],"草穗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f11d6090cfbb4dde430b3b43ab887e7.jpg",[],{"id":36160,"slug":36161,"title":36162,"dynasty":18,"author":27671,"museum":81,"description":27672,"tags":36163,"thumbUrl":36165,"material":319,"size":33623,"collection":107,"collections":36166,"showCount":300,"zanCount":39,"manualWeight":39,"mainColor":40},222435,"hua-die-cao-chong-2-du-da-cheng-222435","花蝶草虫2",[49,23,2205,54,5824,316,36164,1481,28,27,7,26],"蚱蜢","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74f32a7969dd3a89b2b66f9c9fc6cc97.jpg",[],{"id":36168,"slug":36169,"title":36170,"dynasty":18,"author":27671,"museum":81,"description":27672,"tags":36171,"thumbUrl":36172,"material":319,"size":33623,"collection":107,"collections":36173,"showCount":300,"zanCount":39,"manualWeight":39,"mainColor":40},222434,"hua-die-cao-chong-10-du-da-cheng-222434","花蝶草虫10",[49,23,51,26,54,27,5824,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9e4b4356761fc0aa6b43e23ce6d6298.jpg",[],{"id":36175,"slug":36176,"title":36177,"dynasty":18,"author":1014,"museum":222,"description":36178,"tags":36179,"thumbUrl":36180,"material":319,"size":36181,"collection":107,"collections":36182,"showCount":300,"zanCount":39,"manualWeight":39,"mainColor":40},222334,"wu-men-bi-shu-shi-zhou-tang-yin-222334","吴门避暑诗轴","释文：\n吴门避暑\n吴门避暑不愁难，绿柳荫浓画舫宽。\n石首鲜呈黄蜡面，杨梅肥绽紫金丸。\n密遮竹叶凉冰檐，散插榴花角黍盘。\n忽报洗天风雨至，一时龙挂万人看。",[49,119,86,7,528,700],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39006ef32cd0146555aa989f7ec5bcaa.jpg","纵138.2厘米 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释文：柔兆涒滩八月望。余侍原实孙先生过杨翁。留饮竟日。焚香啜茗。雅论清事。酒余。翁出扶风马文壁氏所画树石一幅。上有臧祥卿沤鸟。求孙先生题咏。翌日诗成。命予作篆。乃书于上。姑此以识岁月云。南村陶九成",[50,23,51,84,26,56,8566,62,61,22692,17039,3652,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034c21b2cf2060d651f01a28ac02e451.jpg","92x38",[],{"id":36424,"slug":36425,"title":36426,"dynasty":18,"author":23694,"museum":99,"description":36427,"tags":36428,"thumbUrl":36429,"material":689,"size":690,"collection":107,"collections":36430,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},290927,"liang-xin-tang-shen-shi-chong-290927","凉心堂","沈士充，明代画家，生卒年不详。字子居，华亭（今松江属上海市）人。出宋懋晋之门，兼师赵左。郡人能画者多师之。",[23,26,25,56,24,59,610,60,279,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf8e28dccfca39f0fd78b4380f31662a.jpg",[],{"id":36432,"slug":36433,"title":26822,"dynasty":18,"author":2181,"museum":99,"description":5719,"tags":36434,"thumbUrl":36435,"material":689,"size":690,"collection":107,"collections":36436,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":75},290885,"lin-yan-zhen-qing-gao-shen-tie-zhou-dong-qi-chang-290885",[84,86,134,417,418,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a702c680dd706df23fddda3735574fb.jpg",[],{"id":36438,"slug":36439,"title":36440,"dynasty":146,"author":1303,"museum":81,"description":6553,"tags":36441,"thumbUrl":36442,"material":88,"size":36443,"collection":107,"collections":36444,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},290832,"xiu-zhu-tu-zhou-ni-zan-290832","修竹图轴",[23,51,84,26,358,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F822aa93986d1b9a95aca39bfa639557a.jpg","51x34.5",[],{"id":36446,"slug":36447,"title":36448,"dynasty":146,"author":4259,"museum":81,"description":11769,"tags":36449,"thumbUrl":36450,"material":88,"size":36451,"collection":107,"collections":36452,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":75},290733,"xi-ting-shan-se-tu-zhou-ke-jiu-si-290733","溪亭山色图轴",[50,23,26,84,56,63,137,61,7,86,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5599533abc3f93415e3489adb2d0e751.jpg","63x34",[],{"id":36454,"slug":36455,"title":36456,"dynasty":97,"author":12462,"museum":99,"description":24900,"tags":36457,"thumbUrl":36458,"material":689,"size":690,"collection":107,"collections":36459,"showCount":468,"zanCount":1288,"manualWeight":39,"mainColor":40},290559,"yu-jing-zhou-xu-yang-290559","雨景轴",[23,51,50,84,26,25,56,58,60,61,59,64,150,19750,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f5a2b57a8a61a33a6e3b8f169374c0f.jpg",[],{"id":36461,"slug":36462,"title":36463,"dynasty":97,"author":4135,"museum":99,"description":33910,"tags":36464,"thumbUrl":36465,"material":689,"size":690,"collection":107,"collections":36466,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},290463,"feng-xue-shi-hua-tu-ce-gao-feng-han-290463","风雪诗画图册",[23,51,24,26,25,420,27544,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f78f50f33fd0518e35fac4c088348b5.jpg",[],{"id":36468,"slug":36469,"title":35108,"dynasty":146,"author":1303,"museum":99,"description":6553,"tags":36470,"thumbUrl":36471,"material":689,"size":690,"collection":107,"collections":36472,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":75},290399,"shan-shui-tu-ke-luo-ban-ni-zan-290399",[49,23,50,26,712,86,7,55,137,278,61,277,66,10410],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd388e9b163af066519eb6f9234c22b13.jpg",[],{"id":36474,"slug":36475,"title":8089,"dynasty":18,"author":19249,"museum":99,"description":36476,"tags":36477,"thumbUrl":36478,"material":689,"size":690,"collection":107,"collections":36479,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},290356,"shan-shui-zhou-gu-zheng-yi-290356","顾正谊 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明代画家、诗人。字仲方，号亭林。华亭（今上海松江）人。父中立，官至参知政事。正谊以父荫，于万历时由太学生官中书舍人。晚年筑小亭园于江畔以终老，故号亭林。工画，早年即以诗画驰名江南，后游长安，名声大噪。董其昌曾记云：“吾郡画家，顾仲方中舍最著。其游长安，四方士大夫求者填委，几欲作铁门限以却之，得者如获拱璧。",[23,84,26,56,55,7310,150,61,727,279,7,3548],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c18bdacdfc802b4d0c4f82866a078d5.jpg",[],{"id":36481,"slug":36482,"title":28506,"dynasty":146,"author":13476,"museum":99,"description":36483,"tags":36484,"thumbUrl":36486,"material":689,"size":690,"collection":107,"collections":36487,"showCount":468,"zanCount":1288,"manualWeight":39,"mainColor":75},290090,"han-shan-zi-tu-yan-hui-290090","颜辉，字秋月，生卒年不详，庐陵（今江西吉安）人，一作浙江江山人。宋末元初时人物画家，擅人物、佛道，亦工鬼怪，兼能画猿。其造型奇特，用笔虽见刻露，却笔法怪异，有生动传神之趣，在画法上喜作水墨粗笔，用笔劲健豪放，笔法粗犷，有梁楷遗法。元代由于山水画、文人画兴起，作为人物画家的颜辉在中国画史埋没无闻，由于其作品流传日本较多，颜辉在日本受评甚高，对日本室町时代的绘画有较大影响。传世代表作有《钟馗雨夜出游图》，《蛤蟆仙人像》，《李仙像》，《猿图》。",[23,84,25,58,10400,36485,7],"寒山子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f40c972016255aa0a6923f406d430ab.jpg",[],{"id":36489,"slug":36490,"title":36491,"dynasty":115,"author":10665,"museum":99,"description":14494,"tags":36492,"thumbUrl":36493,"material":689,"size":690,"collection":107,"collections":36494,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},290009,"gong-zhong-hang-le-tu-guo-zhong-shu-290009","宫中行乐图",[50,23,51,1962,822,25,59,19663,86,7,27946],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe45931e226c5cd5dd7d12c12b91275f1.jpg",[],{"id":36496,"slug":36497,"title":36498,"dynasty":97,"author":3871,"museum":99,"description":19851,"tags":36499,"thumbUrl":36501,"material":689,"size":690,"collection":107,"collections":36502,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},289916,"du-fu-shi-yi-tu-quan-juan-ding-guan-peng-289916","杜甫诗意图全卷",[49,23,52,26,56,58,62,754,944,64,150,86,7,36500],"诗意图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F853d9da5c5ea3102b3bf5f6ad2f01a39.jpg",[],{"id":36504,"slug":36505,"title":36506,"dynasty":97,"author":36507,"museum":99,"description":36508,"tags":36509,"thumbUrl":36510,"material":689,"size":690,"collection":107,"collections":36511,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},289912,"hua-niao-tu-ce-6-zhen-hu-jiu-si-289912","花鸟图册6帧","胡九思","字默轩，吴县（江苏苏州）人。桂子。",[23,51,24,135,26,27,528,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b94fe3269aa6e1edbb0a3352ea775cc.jpg",[],{"id":36513,"slug":36514,"title":36515,"dynasty":97,"author":341,"museum":99,"description":7178,"tags":36516,"thumbUrl":36517,"material":689,"size":690,"collection":107,"collections":36518,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},289908,"shan-shui-ce-ye-12-kai-shan-shui-ce-ye-dong-gao-289908","山水册页12开-山水册页",[23,3363,25,56,777,60,61,3548,150,64,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0ad83cff15c87a280334ef33beaac0f.jpg",[],{"id":36520,"slug":36521,"title":36522,"dynasty":146,"author":20435,"museum":99,"description":36523,"tags":36524,"thumbUrl":36525,"material":689,"size":690,"collection":107,"collections":36526,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},289795,"xing-zhu-zi-wo-ming-yang-wei-zhen-289795","行煮字窝铭","此作是一件长篇条幅，这种书法形式在元末并不多见，在杨维桢的传世作品中也属少数，因此章法布局自有其独特之处。通篇既呈绵密之势又见通达之气。结字或劲健厚阔，或轻盈妍丽，灵动圆活，融合汉隶、章草和二王格局，古澹朴拙之中显示出秀劲挺拔的独特魅力，颇具观赏价值。",[49,86,119,51,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F622f2320bec4b370b042af3f6a1eaaad.jpg",[],{"id":36528,"slug":36529,"title":36530,"dynasty":115,"author":2718,"museum":99,"description":36531,"tags":36532,"thumbUrl":36533,"material":689,"size":690,"collection":107,"collections":36534,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},289564,"xiao-jing-tu-kai-zong-ming-yi-zhang-di-yi-ma-he-zhi-289564","孝经图-开宗明义章第一","马和之，生于北宋，生卒年代均未见记载，钱塘（今浙江杭州）人。主要活动于北宋末至南宋初期。南宋高宗绍兴年间（1131—1162年）中进士第，官至工部侍郎。工画山水、人物、佛像，风格独特，笔法飘逸高古，迥异于南宋院体画法，时人目为“小吴生”。在表现山水、人物时，他更多地融入了一些书法的笔趣，古朴自然，务去华藻。 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笪重光的同乡著名书法家王文治在其所著《快雨堂题跋》中评笪重光的书法“上至章草，下至苏、米，靡所不习。书格超妙，飘然有凌云之气。”可谓推崇备至。笪重光生活的时代正是董其昌书风最为盛行之时，朝野上下以崇董为时尚，而笪重光的书法更强调师法古人，尤其注重用笔。笪重光书法比较注重用笔，在其所著《书筏》中即云：“横画之发（起笔）笔仰，竖画之发笔俯，撇之发笔重，捺之发笔轻……”此幅作品，点划圆润，运笔灵动自然，师法米芾，信笔任墨，字里行间充满沉着悠游风雅的意韵。",[86,84,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe16b47355590f53f076f3bf3c41e3b09.jpg","绫本，行草","纵242.8厘米，横52.5厘米",[122],{"id":36700,"slug":36701,"title":36702,"dynasty":97,"author":445,"museum":99,"description":3557,"tags":36703,"thumbUrl":36704,"material":689,"size":690,"collection":107,"collections":36705,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},240963,"yuan-ji-xing-lu-li-bai-shi-wu-shou-shan-mian-shi-tao-240963","原济行录李白诗五首扇面",[822,119,86,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c2409ed2d25ebe8b2868ad5c269148.jpg",[],{"id":36707,"slug":36708,"title":36709,"dynasty":97,"author":36710,"museum":99,"description":36711,"tags":36712,"thumbUrl":36714,"material":319,"size":107,"collection":122,"collections":36715,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},240889,"wu-lv-zhou-gao-shi-qi-240889","五律轴","高士奇","高士奇（1645～1704年），字澹人，號瓶廬，又號江村。浙江紹興府餘姚縣樟樹鄉高家村（今慈溪匡堰鎮高家村）人，後入籍錢塘（今浙江杭州）。 清代官員、史學家。\n早年家貧。康熙十年（1671年）入國子監，試後留翰林院辦事，供奉內廷。康熙十四年（1675年），授職詹事府錄事，不久升內閣中書，領六品俸薪，住在賞賜給他的西安門內。 高士奇每日為康熙帝講書釋疑，評析書畫，極得信任。康熙十八年（1679年）後，歷任翰林院侍講、侍讀、侍讀學士、《大清一統志》副總裁官、詹事府少詹事。康熙二十八年（1689年）隨帝南巡。冬解職歸裏，居平湖。康熙三十三年（1694年）奉召入京，充《明史》纂修官。康熙三十五年（1696年），三次隨康熙帝西征，深得信賴。翌年，以養母求歸，特授詹事府詹事。康熙四十一年（1702年），升禮部侍郎兼翰林院學士，加正一品，以母老未赴。康熙四十二年（1703年），卒於家，追諡文恪，葬於縣城南郊。\u2028 高士奇是清朝康熙皇帝的近臣，一生效忠於康熙帝，同時也是一位在文史哲諸方面都有貢獻的學者。他平生學識淵博，能詩文，擅書法，精考證，善鑑賞，所藏書畫甚富。著有《左傳紀事本末》《春秋地名考略》《清吟堂全集》《江村銷夏錄》《扈從西巡日錄》《經進文稿》《天祿識餘》《隨輦集》《北墅抱甕錄》《左傳國語輯注》等。",[23,51,84,119,86,7,700,36713],"桐叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50a15ff9d4f33fe442ad70f5eda243c9.jpg",[122],{"id":36717,"slug":36718,"title":16409,"dynasty":97,"author":800,"museum":99,"description":5786,"tags":36719,"thumbUrl":36720,"material":689,"size":690,"collection":107,"collections":36721,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},240835,"qi-yan-lian-zheng-ban-qiao-240835",[86,5664,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fba08dc6abe04a53127a166f5036e4e.jpg",[],{"id":36723,"slug":36724,"title":36725,"dynasty":97,"author":445,"museum":175,"description":36726,"tags":36727,"thumbUrl":36728,"material":36729,"size":36730,"collection":122,"collections":36731,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},240405,"zeng-gao-xiang-ke-yin-qi-gu-shi-zhou-shi-tao-240405","赠高翔刻印七古诗轴","释文：\n书画图章本一体，精雄老丑贵传神。秦汉相形新出古，今人作意古从新。灵幻只教逼造化 ，急就草创留天真。非云事迹代不精，收藏鉴赏谁其人。只有黄金不变色，磊盘珠玉生埃尘。凤冈凤冈向来铁笔许何程，安得闽石千百换与君 ，凿开混沌仍人嗔。\n署款：“凤冈高世兄以印章见赠，书谢博笑。清湘遗人大涤子草。”款下钤：“伴个溪”、“大涤子”、“大本堂若极”、“清湘遗人”印。引首印为“痴绝”。\n此书是石涛写给凤冈的一首七言古诗，以感谢赠印一事。凤冈即高翔，工书画，兼擅治印，为扬州八怪之一。\n此书以隶书为框架，并参以行楷的笔法，变化丰富。结字并非刻意安排，却能不求工而自工。行笔的笔画虽非完全顺畅，但笔画之粗细，字之大小，形态各异，因此避免了平板单调之感。整幅书法奇宕劲逸，姿态横生，显示出石涛书法艺术的个性和新意。",[51,84,119,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc726ac025a860cc95815b28d7aa6044.jpg","绫本，隶书","纵443厘米，横27.6厘米",[122],{"id":36733,"slug":36734,"title":36735,"dynasty":18,"author":2059,"museum":81,"description":36736,"tags":36737,"thumbUrl":36738,"material":319,"size":36739,"collection":122,"collections":36740,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},240283,"wen-zheng-ming-wu-lv-shi-zhou-wen-zheng-ming-240283","文徵明五律诗轴","按此诗作于甲戌（一五一四）年冬，见甫田集卷五。题为‘张明远索画，久而未成，岁暮阴寒，雪霰将集，斋居无聊，为写溪山欲雪图，并赋短句’。征明诗课甚勤，不当远录旧作，故书成与诗成之日当甚接近，然亦不必同时。书效黄庭坚，全依山谷法度。是年乙未，征明四十六。\n文征明的书法以功力卓绝见长，成就主要体现在精绝的小楷与潇洒的行书上。其小楷宗二王、欧阳询、智永，法度森严，如《归去来兮辞》（北京故宫）。行、唐、宋名家于一体，端庄而不失风流，逍劲而舒徐有余，刚柔相兼，自成一家。陶宗仪赞其：“如风舞琼花，泉鸣竹润。”如北京故宫藏《西苑诗》。晚年大字习黄庭坚，放纵摆右，骨韵兼得，如苏州博物馆藏《三绝书画》手卷。一生不喜作草书，非不能作，《四体千字文》就写的很精彩，但更偏爱工整一路的书体，这与他自身的性情有关。",[51,84,119,86,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadecb45b67a906fc24291dab7a678dd9.jpg","纵191cm，横72.2cm",[122],{"id":36742,"slug":36743,"title":36744,"dynasty":18,"author":207,"museum":99,"description":36745,"tags":36746,"thumbUrl":36747,"material":689,"size":690,"collection":107,"collections":36748,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},240251,"shen-zhou-shi-juan-yi-ming-240251","沈周诗卷","此卷行书笔意舒展灵动，结体随性朴拙，笔墨枯湿浓淡自然过渡，整卷行气贯通，尽显书写时的松弛自在。诗作为自作，将日常闲居、旧友交游的感怀一一入笔，书文相合，把江南文人隐逸散淡的雅趣融于毫端。笔画间带着吴门书派特有的清雅率真，无刻意雕琢的匠气，尽显文人士大夫的随性襟怀，是书意与文心交融的佳构，藏着明代文人日常的雅致意趣。",[49,18,51,52,119,86,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F223c74a515530f9fd4b06cd9a88854ed.jpg",[],{"id":36750,"slug":36751,"title":16409,"dynasty":97,"author":22158,"museum":81,"description":36752,"tags":36753,"thumbUrl":36754,"material":319,"size":36755,"collection":122,"collections":36756,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},240192,"qi-yan-lian-huang-yi-240192","黃易（1744 年11月22日—1802年3月26日），字大易，號小松、秋盦，又號秋影庵主、散花灘人。浙江錢塘人，兼擅篆刻，與丁敬並稱丁黃，為“西泠八家”之一。\n黃易為詩人黃樹谷之子，曾任監生、官濟寧同知。其父工篆隸，通金石。黃易繼父業，以篆刻著稱於世。隸書摹《校官碑額》，小隸有似《武梁祠題字》。精於博古，喜集金石文字，廣搜碑刻，繪有《訪碑圖》，並著《小蓬萊閣金石文字》等。故隸法中參以鐘鼎，愈見古雅。撫印為丁敬高弟，有出藍之譽，與丁敬並稱“丁黃”，為“西泠八家”之一。隸書《警語》，其書筆劃圓潤平實，氣勢宏大，深得古法，是謂大家。\n因為他與丁敬都研究金石學，兼擅篆刻，當時並稱丁黃。何元錫曾將二人印稿合揖成《丁黃印譜》。\n他有小心落墨，大膽奏刀一語，深得篆刻三昧。\n傳世墨跡有《節臨石門頌軸》《隸書軸》等。關於黃易的研究，以“西泠八家”研究學者朱琪的《黃易的生平與金石學貢獻》（《西泠印社重振金石學國際學術研討會論文集》）、《黃易家世考》《黃易字號齋室圖説》系列論文最為深入，並著有《黃易研究》《黃易年譜》等書稿。\n嘗有聲幕府，以詩筒畫筆，與簿書迭進，不廢風雅。工書，嫺熟隸法。隸書摹校官碑額，小隸有似武梁祠題字。精於博古，故隸法中參以鐘鼎，愈見古雅。撫印為丁敬高弟，有出藍之譽。嘗謂“小心落墨，大膽奏刀”。二語可為刻印三昧。所至輒搜訪殘碑斷碣於荒煙宿莽間，孜孜惟恐不及。嘗自寫訪碑圖十六幀，頗有逸緻，翁方綱為之書碑文於上，最為精妙。山水法董、巨，冷逸幽雋，以澹墨簡筆寫取神韻，而有金石味。兼工花卉，宗惲壽平。官濟寧時，一花片葉皆能於斤庫易錢。間作墨梅亦饒逸緻。\n卒年五十九。著《小蓬萊閣詩鈔》等。",[86,5664,5663,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2c2b8856755107c04017ba77501e242.jpg","纵123厘米，横30.5厘米",[122],{"id":36758,"slug":36759,"title":36760,"dynasty":97,"author":445,"museum":175,"description":31806,"tags":36761,"thumbUrl":36762,"material":107,"size":107,"collection":122,"collections":36763,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},240035,"yuan-ji-xi-jin-qiao-shang-zuo-shi-shi-tao-240035","原济西津桥上作诗",[86,119,26,105,24178,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F672cc5593011db22953ce5d243c66d5a.jpg",[122],{"id":36765,"slug":36766,"title":16409,"dynasty":97,"author":36767,"museum":99,"description":36768,"tags":36769,"thumbUrl":36770,"material":107,"size":107,"collection":122,"collections":36771,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":75},239944,"qi-yan-lian-tang-yi-fen-239944","汤贻汾","汤贻汾（1778—1853）， 字若仪，号雨生、琴隐道人，晚号粥翁，武进（今江苏常州）人。清代武官、诗人、画家。以祖、父荫袭云骑尉，授扬州三江营守备。擢浙江抚标中军参将、乐清协副将。与林则徐友契，与法式善、费丹旭等文人墨客多有交游。晚寓居南京，筑琴隐园。精骑射，娴韬略，精音律，且通天文、地理及百家之学。书负盛名，为嘉道后大家。工诗文，书画宗董其昌，闲淡超逸，画梅极有神韵。其妻董婉贞也为当时著名画家。太平攻破金陵时，投池以殉，谥忠愍。著有《琴隐园诗集》、《琴隐园词集》、《书荃析览》、杂剧《逍遥巾》等。",[105,86,5664,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9db5f11392bde62c7c395247f41ec9f.jpg",[122],{"id":36773,"slug":36774,"title":36775,"dynasty":97,"author":35447,"museum":99,"description":36776,"tags":36777,"thumbUrl":36778,"material":689,"size":690,"collection":107,"collections":36779,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},239923,"shi-cheng-lian-shang-ye-wan-cheng-ji-239923","诗呈莲裳页","万承纪（1766～1826）清篆刻家、书法家、藏书家。字廉山，一作廉三，号畴五。江西南昌人。早年由宛平到淮上谋生，乾隆五十七年（1792）举人，嘉庆初以军功任知",[86,119,7,24,25,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F806d87b102f82c10a37d7e660e6c0063.jpg",[],{"id":36781,"slug":36782,"title":36783,"dynasty":146,"author":11427,"museum":99,"description":36784,"tags":36785,"thumbUrl":36788,"material":689,"size":690,"collection":107,"collections":36789,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},239909,"wu-kuan-hang-zhou-lu-kai-yuan-gong-bei-ming-guang-mo-zi-zhou-jun-jie-he-juan-zhang-yu-239909","无款杭州路开元宫碑铭、广莫子周君碣合卷","张雨（1283--1350），字伯雨，一字天雨，号句曲外史。年二十余弃家为道士，道名嗣真，道号贞居子。他的书法初学赵孟頫。后在赵氏指点下上追李邕，并旁涉怀素、米芾。风格清虚雅逸，有晋、唐遗意。张雨书性极高，他能从赵氏入而又不被师囿，变赵氏的雍容平和为神骏卿遒，有明显的个人风格。",[49,12562,52,119,86,7,36786,36787,435,319],"碑铭","碣文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef0a0ce1827d9ab4f0ab898891d9c053.jpg",[],{"id":36791,"slug":36792,"title":36793,"dynasty":97,"author":36794,"museum":99,"description":36795,"tags":36796,"thumbUrl":36797,"material":689,"size":690,"collection":107,"collections":36798,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":8519},239880,"lin-shi-men-song-zhou-ba-wei-zu-239880","临石门颂轴","巴慰祖","巴慰祖，清（一七四四―一七九三）字予藉，一字子安，号晋堂，一作隽堂，又号莲舫，徽州歙（今黄山市歙县）人。清代篆刻家，他有《四香堂摹印》《百寿图印谱》留传，能得汉印精髓。过去因他作品极少而被列为皖派，但在战后发现的原印看来，与程邃的风格是不同的。",[86,84,134,5663,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa052d35779b8a4d077f31b98e7cae51a.jpg",[],{"id":36800,"slug":36801,"title":36802,"dynasty":18,"author":3904,"museum":99,"description":28943,"tags":36803,"thumbUrl":36804,"material":107,"size":107,"collection":122,"collections":36805,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},239876,"qiu-xing-ba-shou-juan-zhu-yun-ming-239876","秋兴八首卷",[49,51,86,462,52,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28ace7cf998ea76b631e4be7d1ea62b0.jpg",[122],{"id":36807,"slug":36808,"title":36809,"dynasty":18,"author":3904,"museum":99,"description":28943,"tags":36810,"thumbUrl":36811,"material":107,"size":107,"collection":122,"collections":36812,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},239799,"qiu-xing-shi-juan-zhu-yun-ming-239799","秋兴诗卷",[49,50,23,51,52,86,462,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86d73729556600172b0b9a6469a39c49.jpg",[122],{"id":36814,"slug":36815,"title":16409,"dynasty":97,"author":17723,"museum":99,"description":36816,"tags":36817,"thumbUrl":36818,"material":107,"size":107,"collection":122,"collections":36819,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},239693,"qi-yan-lian-zuo-zong-tang-239693","左宗棠（1812年~1885年），字季高、朴存，号上农人，湖南湘阳人。道光十二年举人，后三试礼部不第，在家深究经世之学十余年，后官浙江巡抚，咸、同间以四品京堂统军，镇压了太平军及西北回民军等，屡建战功。累官总督、拜东阁大学士，封恪靖候。",[86,5664,119,51,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a84a5f0a409461c55369f8c0c1f5fd.jpg",[122],{"id":36821,"slug":36822,"title":36823,"dynasty":97,"author":16882,"museum":175,"description":36824,"tags":36825,"thumbUrl":36826,"material":319,"size":36827,"collection":122,"collections":36828,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},239692,"meng-hao-ran-shi-juan-fu-shan-239692","孟浩然诗卷","此卷书录唐代诗人孟浩然“与诸子登岘山”等诗十八首（草书孟浩然诗卷释文），全卷凡三接纸，共书114行，末识：“张山人钺持此纸要书，雪中惜研上余墨，孟诗十八首与之。”款署“山”，下钤“傅山私印”。本幅无藏印，具体书写时间不详。\n傅山在书法艺术上主张“宁拙毋巧，宁丑毋媚，宁支离毋轻滑，宁真率毋安排”。此卷书法纵逸奇宕，字与字间不相连属，结字欹正相间，古拙雄健，但笔意相连不断，充分体现了傅山书法艺术之特色，亦是对其书法美学思想作了最好的诠释。此卷向被视为傅山草书中的上乘佳作，代表了傅山中、晚期行草书的最高艺术水平。",[49,86,52,462,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F317ddef1e2911097b3d8d09721605f28.jpg","纵28.2厘米，横394.8厘米",[122],{"id":36830,"slug":36831,"title":36832,"dynasty":146,"author":431,"museum":99,"description":36833,"tags":36834,"thumbUrl":36835,"material":107,"size":107,"collection":107,"collections":36836,"showCount":468,"zanCount":1288,"manualWeight":39,"mainColor":40},239677,"yu-ji-ni-zan-shi-han-juan-zhao-meng-fu-239677","虞集 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。\n此图为167年王翚为笪重光所作。\n描绘奇峰飞泉，寒林亭舍，一高士立于桥上悠然观瀑。\n整幅以渴笔淡墨皴擦，布局高远，雅致有元人笔意。\n题跋：“石谷为予作此图，自云深得元人笔意，未可与不知者道。\n时心契其旨而藏之七载于兹矣。\n彦标爱画同余，慕王生有年。\n以□持赠，一如在□子阁中，非明珠之漫投也。\n庚申夏四月毘陵舟中题。\n种菽翁笪在辛” 钤印：朱文“重光”、“江上外史”印。\n王翚（162-1717年）字石谷，号耕烟散人、剑门樵客、乌目山人等。\n江苏常熟人。\n工山水，为清初四王之一。\n有清初画圣之称。\n其宗学者形成“虞山派”。",[23,51,84,26,119,7,56,871,60,727,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5b500ccd1e7724fc2219bd60bdb65f9.jpg",[],{"id":37023,"slug":37024,"title":37025,"dynasty":97,"author":9442,"museum":99,"description":37026,"tags":37027,"thumbUrl":37028,"material":107,"size":107,"collection":107,"collections":37029,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},235650,"dao-sui-tang-lang-zhou-gao-qi-pei-235650","稻穗螳螂轴","《稻穗螳螂图》是清代画家 创作的纸本水墨指画，现藏于 。\n此图是描绘仲秋稻谷成熟时期的一角情景。\n画绘左侧下端有一棵截取的稻秆，向画面右上方伸展，稻叶疏密有致，相互交错，在秋风吹拂下摆动，而沉甸的稻穗将稻朴压弯，呈低沉状态。\n唯独有一只螳螂于稻叶之上，举目侧望，昂首挺胸，似欲作捕捉状，悠然自得，为整个画面增添了生气。\n此画布局方面，所画的景物都集中在画面中下端，上端却空旷一片，仅在左上角有款题。\n此画构图十分简洁，浓淡干湿墨色随意点染，飞动不露笔痕的粗细线条，将一螳螂的神形，表现得十分出色。\n故此幅画为他小品指画中的代表作之一。\n高其佩（166或1672—174年），字韦之，号且园，辽宁铁岭人，隶汉军镶黄旗，官至刑部侍郎。\n他擅长指画，即用手掌、手指和指甲勾划线条，并佐以毛笔。\n所绘人物、山水、花卉栩栩如生，丰富了中国画的表现技法，在清代画坛以指画独树一帜。\n清雍正年间曾宫中作画。",[23,51,84,25,27,6815,4241,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F372b120f258fb1d4c1366bb580f66867.jpg",[],{"id":37031,"slug":37032,"title":2903,"dynasty":18,"author":14574,"museum":99,"description":37033,"tags":37034,"thumbUrl":37035,"material":107,"size":107,"collection":107,"collections":37036,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},235604,"mei-hua-zhou-wang-qi-235604","此作以枯淡笔墨绘老梅，主干嶙峋斑驳，皴擦出饱经风霜的古拙质感，枝桠虬曲伸展，错落点缀素梅，清疏淡雅，将寒梅孤高凌冽的风骨尽显。\n\n画面留白肆意，配多幅题诗，书画合璧，以文心衬花魂，把文人寄寓梅中的淡泊狷介缓缓铺陈开来。淡墨写意间不见艳色，却尽是岁寒君子的清雅意韵，简笔藏深情，清冷雅致的梅之精神跃然纸上。",[23,51,84,26,528,137,332,7,86,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9267d35915a6580275edec3babb3d516.jpg",[],{"id":37038,"slug":37039,"title":2149,"dynasty":97,"author":6313,"museum":99,"description":8275,"tags":37040,"thumbUrl":37041,"material":689,"size":690,"collection":107,"collections":37042,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},235600,"hua-hui-ce-wang-wu-235600",[23,51,24,25,27,119,7,277,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ecafdea033fb2dd3906ac6c25436dac.jpg",[],{"id":37044,"slug":37045,"title":11459,"dynasty":18,"author":207,"museum":99,"description":37046,"tags":37047,"thumbUrl":37048,"material":689,"size":690,"collection":107,"collections":37049,"showCount":468,"zanCount":1288,"manualWeight":39,"mainColor":40},235586,"wen-chu-hua-hui-ce-yi-ming-235586","此作用泥金笺为底，淡彩绘就幽兰。兰叶以浅墨绿写形，舒展挺秀，带着清逸疏朗之态；粉茎托着青白色兰花，花瓣晕染柔润，瓣心轻敷白晕，将盛放之姿的娇妍与花苞的含露待放绘得灵动自然。\n\n画面留白疏阔，以极简笔墨勾勒出兰的清隽风骨，尽显君子雅韵，无需繁饰便将幽兰的高洁藏于淡色晕染间。右下角朱印落得妥帖，添了一抹明艳点缀，衬得整幅画作幽淡空灵，气韵悠然，观之如临空谷，暗嗅兰芷清芬。",[23,51,24,25,54,27,251,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf759215efc4b4451abec55014b8d822.jpg",[],{"id":37051,"slug":37052,"title":7228,"dynasty":97,"author":37053,"museum":99,"description":37054,"tags":37055,"thumbUrl":37056,"material":689,"size":690,"collection":70,"collections":37057,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},235493,"shan-shui-ce-liu-yu-235493","柳堉","柳堉. 工诗、画，书法李邕，山水遒逸苍茫，最得董、巨遗法。惟水口流泉，不能自然，有霸悍之态。康熙二十八年（一六八九）曾为宋牧仲（荦）写唐诗山水十二页。",[23,51,24,26,119,55,56,150,64,751,2184,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa05b75d5f6faa72eac52e45f77c8da0a.jpg",[70],{"id":37059,"slug":37060,"title":37061,"dynasty":18,"author":207,"museum":99,"description":37062,"tags":37063,"thumbUrl":37068,"material":107,"size":107,"collection":107,"collections":37069,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},235298,"sun-ai-can-sang-tu-zhou-yi-ming-235298","孙艾蚕桑图轴","以没骨法晕染桑枝，叶片水色清浅柔润，晕透出自然通透的质感，枝桠苍朴舒展，带着山野原生的意趣。桑蚕伏于叶间，身形稚拙灵动，纤毫毕现，将春蚕食叶的日常情态刻画入微。\n画面留白疏朗，搭配清雅题诗，诗画相融，把江南蚕桑的寻常乡景，晕染出文人小品的澹然意趣。笔致简淡无华，却于浅墨轻色之间，将乡野恬然生机尽数铺陈，尽显写生佳作的冲淡幽远之美。",[23,51,84,25,54,37064,37065,37066,37067,86,7],"桑枝","桑叶","桑葚","蚕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F983d4718bb25737f461472c2e21417fd.jpg",[],{"id":37071,"slug":37072,"title":33134,"dynasty":97,"author":5795,"museum":175,"description":33135,"tags":37073,"thumbUrl":37074,"material":5731,"size":33138,"collection":107,"collections":37075,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},234965,"wu-wai-tian-yuan-tu-ce-kun-can-234965",[23,51,50,24,26,55,86,7,56,277,64,727],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feab7e989e6b953554dabccfa86cb3c35.jpg",[],{"id":37077,"slug":37078,"title":6561,"dynasty":18,"author":207,"museum":99,"description":37079,"tags":37080,"thumbUrl":37081,"material":689,"size":690,"collection":107,"collections":37082,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},234927,"dong-qi-chang-shan-shui-ce-yi-ming-234927","此作用笔清润松灵，近景古木虬曲苍劲，枝桠舒展自带古拙意趣，坡岸留白晕开浅淡水汽，衬得林下村居愈发幽寂安闲。中远景山峦层叠，以淡墨轻勾慢皴，山石轮廓秀逸温润，将江南丘壑的清润质感藏于简淡笔墨之中。画面留白与钤印错落相映，晕开雅致沉静的书卷气，以尺幅之地铺陈出萧散淡远的林下闲居之境，尽显平淡天真的文人意趣，观之如临幽寂山林，静享山居清宁。",[50,23,51,24,26,55,56,870,871,727,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F409ff81a6d88494802fde213820a8874.jpg",[],{"id":37084,"slug":37085,"title":37086,"dynasty":18,"author":10700,"museum":99,"description":10701,"tags":37087,"thumbUrl":37088,"material":689,"size":690,"collection":107,"collections":37089,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},234831,"fang-huang-gong-wang-shan-shui-shan-ye-lan-ying-234831","仿黄公望山水扇页",[23,51,822,56,134,55,26,150,64,727,60,8760,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8a581639319e81fff2d3745b315c142.jpg",[],{"id":37091,"slug":37092,"title":18370,"dynasty":97,"author":5309,"museum":99,"description":37093,"tags":37094,"thumbUrl":37095,"material":1087,"size":37096,"collection":107,"collections":37097,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},234717,"fang-gu-shan-shui-ce-wang-hui-234717","《仿古山水册》共计十二页，其中设色二页，水墨十页。仿董源、巨然、米芾、赵大年、赵孟頫、吴镇、倪瓒、王蒙、黄公望、管道升、曹知白、陈汝言等而作。每幅均自题七律一首，末开款署“壬寅六月王翚”，册尾有顾复初题跋。前选一图，系仿曹云西山水，写柳汀板桥、芦荻孤舟，晓风残月，雁影徘徊。笔墨疏秀，意境苍莽迷蒙。\n王翚得名家传授，又博览古人佳作和游历真山实水，画艺日臻成熟，40岁时即名闻海内。王翚出生于绘画世家，他的曾祖王伯臣、祖父王载仕、父亲王云客都是画家，幼时即得到家学熏陶，初学画于同乡画家张珂。顺治年间王鉴游虞山时，见王翚画扇，极为赏识，赞其天资超人，收为弟子。后转师王时敏，得以临摹许多历代名家真迹，镕铸造南北画派于一炉，技艺大进。尝与王时敏遍游大江南北，广识著名收藏家，观摹宋、元真迹。其摹古功力极得王时敏赞赏：“（石谷）凡唐宋诸名家无不摹仿逼肖，偶一点染展卷即古色苍然，毋论位置溪径，宛然古人，而笔墨神韵一一夺真，且仿某家，则全是某家，不杂一他笔，使非题款，虽善鉴者，不能辨。”于是他在摹古仿古的基础上，综合诸家之长，晚年画风简练苍浑，有独到的艺术风格，在“四王”中，王翚的艺术成就最为显著，门生弟子很多，以杨晋较为著名，其山水画的影响极为深广。",[23,51,24,26,55,134,56,137,63,358,751,8788,150,1977,576,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91ed578ee3d10a4c1ccad6c5f78d6b63.jpg","25.6厘米，横：20.5厘米",[],{"id":37099,"slug":37100,"title":37101,"dynasty":97,"author":30037,"museum":175,"description":30038,"tags":37102,"thumbUrl":37106,"material":107,"size":107,"collection":107,"collections":37107,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},234465,"cui-zhu-gu-ting-tie-luo-shen-zhen-lin-234465","翠竹孤亭贴落",[23,51,37103,26,25,37104,37105,7,86,277,403,54],"贴落","翠竹","孤亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4daea092fc768f069f69a9adf8b4ae48.jpg",[],{"id":37109,"slug":37110,"title":37111,"dynasty":18,"author":7959,"museum":175,"description":37112,"tags":37113,"thumbUrl":37114,"material":1087,"size":107,"collection":107,"collections":37115,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},234241,"ku-mu-zhu-shi-juan-yao-shou-234241","枯木竹石卷","姚绶（1422—1495），字公绶，号谷庵、仙痴、云东逸史，人称丹丘先生，浙江嘉兴府嘉善县大云寺人。明代官员、书画家。\n少有才名，专攻古文辞，诗赋茂畅。明天顺年间进士，官监察御史，奉命巡盐两淮，铲除积弊。因得罪权贵，谪永宁知府。以母老辞归，居大云，筑室名丹丘。又作沧江虹月舟，泛游吴越间。\n姚绶工行草书，初学宋克，后法魏晋，风格近张雨。擅画山水，宗吴镇，也取法赵孟頫、王蒙，好作沙坳水曲景色，墨色苍润；间写竹石，潇洒可爱，笔墨酷似吴镇。传世名作有《秋江渔隐图》轴（北京故宫博物院藏）、《山水图》册页（上海博物馆藏）、《竹石图》轴（辽宁省博物馆藏）。著有《谷庵集》《云东集》《天人合旨》《姚御史诗文》。\n姚绶擅长画竹石，这是他的经典代表作品之一。他画竹以学吴镇为主，一般以书入画，在竹子的处理上“叶叶着枝，枝枝着节”行笔轻灵劲健，竹叶已完全融入了他的书法用笔。",[49,23,52,26,55,86,7,776,358,700],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3ae66c46d72f381107e4f170e614f8e.jpg",[],{"id":37117,"slug":37118,"title":37119,"dynasty":18,"author":37120,"museum":175,"description":37121,"tags":37122,"thumbUrl":37123,"material":1087,"size":107,"collection":107,"collections":37124,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},234230,"san-cai-li-qu-tu-juan-zhang-fu-yang-234230","三才理趣图卷","张复阳","张复阳(1403-1490)，名复，以字行，号南山，浙江平湖人。道士，居浙江洞霄宫一枝堂。自幼学书专法古人，能运帚作大字。径寸字极有风骨，小行楷秀整不凡。工画，山水仿吴镇，苍郁淋漓，几欲乱真；草树人物，各臻其妙。",[49,23,51,52,26,56,58,610,277,279,119,86,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00d0330ddca90d3c56a5f65f60f97e1f.jpg",[],{"id":37126,"slug":37127,"title":37128,"dynasty":18,"author":207,"museum":175,"description":37129,"tags":37130,"thumbUrl":37131,"material":391,"size":107,"collection":107,"collections":37132,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},234148,"qian-gu-xiao-yao-you-tu-juan-yi-ming-234148","钱榖逍遥游图卷","钱榖（1508—1579）字叔宝，自号罄室，吴县（今江苏苏州）人，明代画家。\n少孤贫，失学，迨壮始知读书。家无典籍，游文徵明门下，日取架上书读之，以其余功点染水墨，便觉心通。山水爽朗可爱，兰竹兼妙，翩翩不名其师学，而自腾踔于艺苑名公间。手录古文金石书几万卷。善书，行法苏，篆法二李，小楷法虞、欧，每得其妙於法外，识者以为真有渴骥奔猊、漏痕折钗之势。然为画掩，世罕知者。按明史附文徵明传作壬申（一五七二）六十五卒。考故宫博物院藏有万历六年（一五七八）客金陵王氏修竹馆作兰竹卷，时年七十一。",[49,23,51,52,26,56,58,119,462,86,7,64,61,62,63,66,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F599973daa6e861823a66c4c21576ad86.jpg",[],{"id":37134,"slug":37135,"title":35718,"dynasty":97,"author":25199,"museum":175,"description":37136,"tags":37137,"thumbUrl":37138,"material":391,"size":37139,"collection":107,"collections":37140,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},233890,"huang-shan-tu-ce-mei-qing-233890","黄山位于安徽省南部，歙县西北，山脉绵延三百余里，拥有72峰，以奇松、怪石、云海、温泉“四绝”名闻于世。清初安徽地区的著名画家弘仁、梅清、石涛等多以黄山奇景入画，形成了“黄山画派”。其中，梅清笔下的黄山以气势取胜，不同凡响。\n这套《黄山图》册是梅清晚年的精心之作。全册共八开，分别绘天都峰、莲花峰等黄山８景，或孤峰千仞，或云海茫茫，或苍松蔽日，或雄关峻岭，景色各异，气象万千。梅清画黄山之法有三，一以线条勾勒为主，二以墨色渲染为重，三是融勾勒与渲染为一炉。此图册便是采用第三种方法绘制而成。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。他的创作最重师法自然，他曾在燕、吴、齐、楚之地游历名山大川，终日面对青山描摹写生。黄山和家乡宣城是梅清绘画中最着力表现的题材。在《赠慕潭黄山十六景》册上，他自题“余游黄山，凡有笔墨，大半皆黄山矣。”可见他对黄山景色用功之勤。梅清图写黄山自写生入手，又加入自己的主观感受，再以豪放、泼辣的用笔，突出黄山奇、峻、险、秀的意境，独树一帜，别开生面。",[23,51,56,24,26,25,55,870,777,1597,58,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cc4dbbd059f61494cfc3a76e398e246.jpg","纵26厘米，横33厘米",[],{"id":37142,"slug":37143,"title":34438,"dynasty":97,"author":445,"museum":175,"description":34439,"tags":37144,"thumbUrl":37145,"material":391,"size":34442,"collection":107,"collections":37146,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},233779,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233779",[23,56,25,55,119,7,150,61,64,379,2334,60,598,610],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08499dfe7a18b26f6177db834ea5c8ca.jpg",[],{"id":37148,"slug":37149,"title":37150,"dynasty":97,"author":445,"museum":99,"description":7979,"tags":37151,"thumbUrl":37152,"material":668,"size":7982,"collection":107,"collections":37153,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},233690,"yuan-ji-lan-zhu-ce-lan-cao-shi-tao-233690","原济兰竹册－兰草",[23,51,24,26,119,7,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57d41cd98cbd4b7710323d21f2b19cd9.jpg",[],{"id":37155,"slug":37156,"title":37157,"dynasty":97,"author":445,"museum":99,"description":7979,"tags":37158,"thumbUrl":37159,"material":668,"size":7982,"collection":107,"collections":37160,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},233689,"yuan-ji-lan-zhu-ce-quan-shi-lan-zhi-shi-tao-233689","原济兰竹册－泉石兰芝",[23,51,24,26,251,358,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff06ea8d1a5f19d483fa4e2721b2b3214.jpg",[],{"id":37162,"slug":37163,"title":37164,"dynasty":97,"author":445,"museum":99,"description":7979,"tags":37165,"thumbUrl":37166,"material":668,"size":7982,"collection":107,"collections":37167,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},233684,"yuan-ji-lan-zhu-ce-lan-hua-shi-tao-233684","原济兰竹册－兰花",[23,51,24,26,119,7,251,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2180aa17525b58af0bb2e537112baac.jpg",[],{"id":37169,"slug":37170,"title":37171,"dynasty":97,"author":445,"museum":99,"description":7979,"tags":37172,"thumbUrl":37173,"material":668,"size":7982,"collection":107,"collections":37174,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},233680,"yuan-ji-lan-zhu-ce-gu-mu-lan-cao-shi-tao-233680","原济兰竹册－古木兰草",[23,51,24,26,119,251,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F797de6a6914b98ce9c32818051c84e45.jpg",[],{"id":37176,"slug":37177,"title":37178,"dynasty":115,"author":207,"museum":175,"description":37179,"tags":37180,"thumbUrl":37181,"material":183,"size":37182,"collection":107,"collections":37183,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":75},233456,"xie-sheng-cao-chong-tu-ye-yi-ming-233456","写生草虫图页","画面右侧绘野生花草，狗尾、紫菀莛叶穿插。菜粉蝶落在花上吸取花蜜，蜻蜓徐徐低飞，蚱蜢跃跃欲跳，整幅画面充满动感。3只昆虫在画面上的等边三角形构图平衡了丛生的野草所造成的重心偏倚，使画面结构稳定。野草和花叶用花青加汁绿勾填，花用没骨法出之，昆虫兼工带写，形态逼真。",[23,50,51,24,54,25,27,5824,1481,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cddca671bbcf7d7f148320861277a43.jpg","纵25.9厘米，横26.9厘米",[],{"id":37185,"slug":37186,"title":9614,"dynasty":97,"author":655,"museum":175,"description":9615,"tags":37187,"thumbUrl":37188,"material":9618,"size":9619,"collection":107,"collections":37189,"showCount":468,"zanCount":1288,"manualWeight":39,"mainColor":40},233391,"shan-shui-ren-wu-ce-jin-nong-233391",[23,51,24,25,102,59,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17ee01c8657aec74e994e0a3b9597cea.jpg",[],{"id":37191,"slug":37192,"title":37193,"dynasty":97,"author":29786,"museum":99,"description":29787,"tags":37194,"thumbUrl":37195,"material":689,"size":690,"collection":107,"collections":37196,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},232826,"jiao-wen-jiang-yi-zhi-zhai-jing-xin-yi-bing-shou-232826","较文讲艺之斋镜心",[49,97,86,5663,7,2343],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffca004c8cfc1dcb906c4369487e6d160.jpg",[],{"id":37198,"slug":37199,"title":33491,"dynasty":97,"author":10725,"museum":99,"description":37200,"tags":37201,"thumbUrl":37202,"material":319,"size":107,"collection":107,"collections":37203,"showCount":468,"zanCount":1288,"manualWeight":39,"mainColor":40},232683,"shu-fa-shan-mian-hong-yi-fa-shi-232683","李叔同（1880—1942），又名李息霜、李岸、李良，谱名文涛，幼名成蹊，学名广侯，字息霜，别号漱筒。是著名音乐家、美术教育家、书法家、戏剧活动家，是中国话剧的开拓者之一。他从日本留学归国后，担任过教师、编辑之职，后剃度为僧，法名演音，号弘一，晚号晚晴老人，后被人尊称为弘一法师。",[49,51,822,86,541,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe109b7d7975d98bad917f068d5f73a5b.jpg",[],{"id":37205,"slug":37206,"title":37207,"dynasty":97,"author":724,"museum":2192,"description":37208,"tags":37209,"thumbUrl":37210,"material":319,"size":37211,"collection":107,"collections":37212,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},232675,"shan-shui-tu-qing-shan-gu-dao-wang-yuan-qi-232675","山水图(青山古道)","丁巳为康熙十六年（1677年），王原祁时年三十六岁。册前王时敏款署西庐八十七老人题，应为康熙十七年（1678年）所题，即王原祁创作该册后的次年所书。以丁巳下推至庚午，不足十五年，而自跋中今阅十五年，当是王原祁笔误。\n画前副页有王时敏隶书灵心自悟四大字。画册后跋纸为王原祁自题：此余丁巳春间往云间笔也。先奉常见之谓余为'可教'，题识四字。个阅十五年矣，于古人笔墨终未梦见，殊愧先大父指授，为之泫然。康熙庚午长夏观于毘陵舟次谨题，原祁。钤原祁之印（白文）、麓台（朱文）、兴与烟霞会（白文），画册首副页，尾纸只有庞元济藏印11方。\n该册仿古山水，是王原祁早期绘画的代表作品。所仿元六家山水各具形貌，笔墨或设色又颇具苍润、恬淡、秀丽等不同特点，所以王时敏以灵心自悟夸赞其孙王原祁在仿古的同时，边学习古人的画法，同时又寻求开创个人独特艺术特点的创作方向。该册是研究工原祁早期绘画的宝贵材料。\n王原祁为王派山水的小字辈，后来居上。他得益于乃祖王时敏的亲授从而间接吸收营养于董其昌的艺术和思想，无疑具有功力派和灵性派两类画人的资质。在此图册的第4开上，王原祁钤盖“西庐后人”白文印，以表明自己的身份。\n王原祁在吸收南宗诸大师的画艺，特别是黄公望的长处上更见功力。其画以笔墨论，处处见笔、处处有形、处处得意、处处显情，而又浑然一片，气脉贯连。他在淡墨积笔上有独到的把握，淡墨入画虽易见活气但极难苍厚，层层覆笔又易失之于浊，王原祁以淡墨作山石，或勾线以立形，或横笔以辅面，干笔皴擦，湿笔堆点，层层见笔，层层浑合，苍古厚润兼之以“毛”、“涩”，相交生发而神采愈显。此图册的第10开王原祁钤盖“苍润”朱文葫芦印，显示了自己的审美趣味。实际上，王原祁的这枚“苍润”闲章，刻了多方，不同的型制，于30余岁就已使用，沿用一生，充分体现出王原祁的绘画美学趣味，而其绘画本色也与“苍润”之实质十分符合。",[23,51,84,25,56,150,64,2142,119,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faec42a1201b6359b7b747022555c207d.jpg","80.4x43.5cm",[],{"id":37214,"slug":37215,"title":37216,"dynasty":97,"author":7292,"museum":175,"description":37217,"tags":37218,"thumbUrl":37219,"material":319,"size":37220,"collection":107,"collections":37221,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},231886,"zhong-qiu-hua-tu-yu-sheng-231886","种秋花图","该画为全景式构图，表现课童种秋花的情景。画心上半部以远山和绿树表现出秋高气爽的时节，下半部重点突出了此画的主题——种秋花。庭院中，有的童子在房前空地处种植，有的给种好的秋卉培土、浇水。画中秋卉缤纷，蜂蝶两三萦绕篱径。整幅画面生动活泼，色彩妍丽，悦人眼目，表现出太平盛世人们安居乐业的惬意生活。",[49,23,25,54,58,64,28,150,727,1019,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbdd685cefc1d1ead85b247370e33108.jpg","纵165.8厘米，横93.7厘米",[],{"id":37223,"slug":37224,"title":37225,"dynasty":18,"author":37226,"museum":99,"description":37227,"tags":37228,"thumbUrl":37229,"material":319,"size":37230,"collection":107,"collections":37231,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},231832,"gao-feng-ke-yi-tu-wan-shou-qi-231832","高风可挹图","万寿祺","万寿祺（1603-1652），明末清初文学家、书画家。字年少，又字介若、内景，入清衣僧服，改名慧寿，又名明志道人、寿道人、寿若、若若，世称年少先生，祖籍河北沧州，出生地江苏徐州人，与陈子龙乡试同年，与沛县阎尔梅是同乡。曾参加抗清活动，兵败後隐居江淮一带。代表作有《秋江别思图》、《松石图》、《山水图》等等。万寿祺为人风流倜傥，工书画，精於六书，癖嗜印章，辑有《沙门慧寿印谱》一册。其後裔第十六代後人万中华，在当今书画中也享有很大的盛誉。",[49,23,51,52,26,135,55,7,86,119,56,277,64,967,727,716,751,1902,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40910babbfaf965a65c971e5bbc73be1.jpg","21×76 厘米",[],{"id":37233,"slug":37234,"title":37235,"dynasty":97,"author":5309,"museum":99,"description":37236,"tags":37237,"thumbUrl":37238,"material":107,"size":107,"collection":107,"collections":37239,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":924},230959,"jiang-shan-qiu-se-tu-wang-hui-230959","江山秋色图","此作开合有度，近景流泉穿林而过，丹枫缀枝暗染秋意，山居幽舍藏于崖畔林樾之中，野趣悠然。中层平湖如镜，远山澹澹含烟，铺展出清旷秋山的辽远意境。\n\n笔墨枯润相生，以干笔皴擦写山石肌理，湿笔晕染出山岚空濛，披麻皴裹挟解索皴带出苍浑质感，兼得宋元山水的古雅厚重，又透出灵动秀逸之气。将秋山萧疏清寂与幽居之冶融为一体，师古而不泥古，把秋江林泉的静穆与生机娓娓铺陈，尽显寄兴林泉的文人意韵。",[23,26,55,25,56,60,61,150,64,293,63,7,23535],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43cf446816c3e98846bde399ef42c87e.jpg",[],{"id":37241,"slug":37242,"title":37243,"dynasty":146,"author":431,"museum":99,"description":37244,"tags":37245,"thumbUrl":37246,"material":107,"size":107,"collection":107,"collections":37247,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":75},230906,"gun-ma-tu-ye-zhao-meng-fu-230906","滚马图页","画面左侧黑马就地翻滚，鬃尾张扬，筋骨肌肉的张力尽显，将骏马撒欢的野趣刻画得鲜活生动。牵马圉人神情略带无奈又习以为常，衣褶简练利落。右侧花斑马徐行，骑手神态悠然，马匹步态舒缓，一动一静相映成趣。\n此作用笔以书入画，线条圆劲雅致，兼顾院体精细与文人简逸格调，寥寥数笔便勾勒出人马神态性情，以极简笔墨传递出浓郁的草原牧歌意趣，尽显鞍马画以形写神的精妙。",[50,23,51,24,135,26,58,225,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58fd377ca46972a5ae73979c85678145.jpg",[],{"id":37249,"slug":37250,"title":37251,"dynasty":1037,"author":21884,"museum":99,"description":37252,"tags":37253,"thumbUrl":37254,"material":689,"size":690,"collection":107,"collections":37255,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},230844,"huo-lu-tu-juan-li-zan-hua-230844","获鹿图卷","耶律倍（899年—937年1月11日），又名耶律突欲，赐名李赞华，是辽太祖耶律阿保机的长子，辽太宗耶律德光的长兄，辽世宗耶律阮的父亲。\n自幼聪颖好学，深得耶律阿保机的喜爱和器重，916年被立为皇太子。926年，封为东丹国王、称“人皇王”。926年太祖病逝后，耶律德光继位为帝。天显三年（928年）东丹国南迁，升东平为南京。同时耶律德光对耶律倍施以控制和监视。930年耶律倍弃国投奔后唐。936年后唐发生政变，耶律倍遇害，葬显陵。\n947年，耶律德光去世。耶律倍长子耶律阮最终夺回了皇位，追谥耶律倍为让国皇帝，庙号义宗。",[49,50,23,51,52,25,54,58,225,1116,119,462,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74c78c4635306e17df9bb76f00a59baf.jpg",[],{"id":37257,"slug":37258,"title":37259,"dynasty":2807,"author":207,"museum":99,"description":37260,"tags":37261,"thumbUrl":37262,"material":689,"size":690,"collection":107,"collections":37263,"showCount":468,"zanCount":1288,"manualWeight":39,"mainColor":40},230529,"gu-hua-mo-ben-ma-yuan-deng-tu-juan-yi-ming-230529","古画模本(马远等图卷)","此作绘折枝白牡丹，以浅设色工笔写就。花瓣以淡墨轻勾轮廓，留白晕染出莹润肌理，层叠舒展如堆雪凝霜，将白花清贵柔雅的姿态尽显。叶片以青绿晕染，深浅过渡自然鲜活，枝叶偃仰有态，衬得牡丹愈发冰洁脱俗。\n\n画面取折枝一角取景，简淡清雅，无繁复铺陈，以极简笔墨烘托出牡丹自带的端方贵气，尽显院体花鸟的雅致意趣。勾勒晕染可见细腻功力，于素净底色里藏着幽隽诗意，淡远之中尽显传统花鸟写生的精妙意韵。",[49,23,52,27,54,25,308,7,134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bcf111fbb76a851ceea6d4d8ac6220c.jpg",[],{"id":37265,"slug":37266,"title":37267,"dynasty":97,"author":15385,"museum":99,"description":37268,"tags":37269,"thumbUrl":37270,"material":689,"size":690,"collection":107,"collections":37271,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},230362,"shan-shui-ce-ye-wang-zhi-rui-230362","山水册页","汪之瑞（？—约1660年），字无瑞，号乘槎，清朝安徽休宁人，清初画家。生卒年不可具考，约和查士标同时，为明末新安画家李永昌高足。“新安四家”之一。",[23,51,24,26,55,56,277,64,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f78b8ecd3718efd6c5667138c15a033.jpg",[],{"id":37273,"slug":37274,"title":654,"dynasty":97,"author":655,"museum":99,"description":37275,"tags":37276,"thumbUrl":37277,"material":107,"size":107,"collection":107,"collections":37278,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},230235,"han-mei-yi-zhi-hua-jin-nong-230235","笔意清疏古拙，带着金石沉凝之气的题字，将访梅逸兴与旧游心绪相融。以袖里藏春暗合梅枝不随岁华凋残的品格，折梅入袖的雅事，呼应画中寒梅冷艳清嘉的风姿。淡墨绘就孤梅，极简构图衬出孤高疏淡风韵，诗画相生，借梅自喻，尽显清癯耿介的文人风骨。字句间漫着冷香幽韵，将赏梅、忆旧、寄怀揉作一处，淡而弥远，清而愈醇，尽显以文入画、画文同趣的扬州画派意趣。",[49,23,51,119,7,528,27,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7275f1b71fa722e04d1ac278389fe7b6.jpg",[],{"id":37280,"slug":37281,"title":37282,"dynasty":97,"author":23283,"museum":99,"description":28884,"tags":37283,"thumbUrl":37284,"material":689,"size":690,"collection":107,"collections":37285,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":75},230201,"shu-fa-zhong-tang-he-shao-ji-230201","书法中堂",[49,105,86,84,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6e21ba33617a6406960aaa5eadbd0f0.jpg",[],{"id":37287,"slug":37288,"title":37289,"dynasty":97,"author":445,"museum":99,"description":37290,"tags":37291,"thumbUrl":37292,"material":107,"size":107,"collection":107,"collections":37293,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},229002,"tao-yuan-ming-shi-yi-tu-shi-tao-229002","陶渊明诗意图","《陶渊明诗意图》是清代石涛创作的纸本设色画册。\n本图册是作者根据东晋著名诗人陶渊明诗句而创作。\n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。\n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。\n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。\n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。\n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。\n此图结构精巧，人物用笔细密。\n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。\n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。\n老者远望青山，脚下溪水流淌。\n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。\n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。\n构图采用一水两岸的自然分疆法。\n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。\n树木用水墨渍出，以衬托山腰白云的动感。\n石涛（1642年－178年），清初画家，原姓朱，名若极，明靖江王朱赞仪的十世孙， 的长子。\n广西桂林人，祖籍安徽凤阳，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。\n与 、 、 合称“清初四僧”。\n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。\n工书法，能诗文。\n存世作品有《搜尽奇峰打草稿图》、《 》、《竹石图》、《 》等。",[23,51,24,25,56,119,86,7,55,16213,379,64,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd852bf65fd37c1462cfb4617891b0385.jpg",[],{"id":37295,"slug":37296,"title":4747,"dynasty":97,"author":37297,"museum":99,"description":37298,"tags":37299,"thumbUrl":37300,"material":107,"size":107,"collection":107,"collections":37301,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},228484,"mu-niu-tu-zhang-mu-228484","张穆","此作以水墨铺就郊野溪谷之景，虬曲老木扎根荒滩，崖间飞瀑漱石，溪水蜿蜒漫过浅渚。群水牛或缓步就溪啜饮，或抵角相嬉，或蜷卧青草地休憩，神态憨然自在，将耕牛卸轭后的松弛尽显。笔墨朴拙写实，勾勒皴擦间，林石苍古荒率的野趣、水牛肌理的厚重质感一一浮现，似能闻得水草清腥，听哞哞牛鸣回荡溪山，将郊野牧歌式的闲逸悠然融于尺幅间，把山野生趣与静谧氛围揉合，于平淡笔墨中尽显自然真意。",[49,23,26,52,55,1115,56,137,61,293,1902,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0eca3394d51ce6da7ee2a9c0b498ddd.jpg",[],{"id":37303,"slug":37304,"title":37305,"dynasty":18,"author":22808,"museum":99,"description":37306,"tags":37307,"thumbUrl":37308,"material":107,"size":107,"collection":107,"collections":37309,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":75},228387,"peng-lai-xian-yi-tu-juan-1-leng-qian-228387","蓬莱仙奕图卷-1","《蓬莱仙弈图》一图由明代 所绘 手卷，著录于《石渠宝笈三编》，有文征明题跋与文彭题引首，为仇英青绿山水的典型画风。\n1. 题跋。\n2. 题引首。\n. 梁清标、梁清寯、清内府递藏。\n图1中描绘池塘边敞轩水榭，绿柳掩映，塘中莲花片片，碧水微波。\n水榭中二高士对坐 ，全神贯注，另有一人侧卧床榻，一手支颐；又有三仕女，一执扇，一伏案，一取水，整幅意境悠闲雅淡。\n作品结构严整，层次清晰，布局有序，人物虽小但刻画精细，位置突出，反映出画家在驾驭复杂场景、安排主从次序方面精深的造诣。\n此图用大青绿设色，细劲的线条勾勒轮廓，浓艳的石青石绿渲染山石，追求色调的和谐，在宗法南宋青绿山水大家赵伯驹的基础上有所变化，是仇英青绿山水的典型画风。\n此件《蓬莱仙弈图》著录于《石渠宝笈三编》，有文徵明题跋与文彭题引首。\n将这幅画与北京故宫藏的一幅南宋团扇《荷亭对弈图》相比较可以发现，此图在图式、母题上与团扇有着惊人的相似之处，最大的区别只是把团扇改成了长卷，另外增加了其他画面中的母题和构图。\n而它与美国华盛顿弗利尔美术馆所藏的冷谦的《蓬莱仙弈》在构图、母题上也毫无二致。\n明代王鏊（145—1524）在《震泽长语》中首次收录了《蓬莱仙弈图》及 的仙化故事。\n“蓬莱”与“仙弈”是道教意象明显的神仙题材，在明代皇帝崇尚道教最鼎盛的嘉靖年间，凡人可成仙的观念已经凭借《蓬莱仙弈图》与多个摹本的传播而深入人心。\n作为民间职业画家的仇英绘制此一题材长卷，也深受当时社会思想风潮的影响。\n“高柳迎风，小亭临水，二人对弈，一人卧观，仕女三，一捧桃，一持扇，一盥于池，童子二，一捧瓶花，一扫地，款十洲仇英模，钤印一十洲。\n后幅题跋十洲仇子于诸画家无所不学，亦无所不似。\n此仙弈图效赵千里笔法，尤为逼真，乃未及三十时为吴文定公所作，正其卧王蒙于纸上，坐徐偃于笔端时也。\n观者可想见其临池之勤矣。\n长洲文徵明，题时丙辰七月五日。\n钤印二徵明。\n……”",[23,51,52,25,53,56,64,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f83116d1482be85f63c5b6bf0eda143.jpg",[],{"id":37311,"slug":37312,"title":37313,"dynasty":18,"author":524,"museum":99,"description":37314,"tags":37315,"thumbUrl":37316,"material":107,"size":107,"collection":107,"collections":37317,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},228306,"yan-qi-si-fang-tu-yong-shou-juan-xiang-sheng-mo-228306","岩栖思访图咏手卷","此卷以水墨铺展江林丘壑，兼具平远寥廓与高岩奇崛。开篇江天浩渺，远山如黛，汀渚间隐见梵刹，渐而危崖层叠，皴笔苍劲朴厚，石骨棱棱间林木枯荣相济，野趣盎然。\n\n左侧篱舍幽居伴山而筑，高士独行江渚，似在访寻幽栖旧友。淡墨晕染烟岚水色，空濛温润间裹挟清寂萧散之意。整卷笔墨清隽秀雅，将江南山水的静穆幽深，与林下思访的文人雅怀相融，把遁世幽栖的林下襟怀寄寓在一山一水间，尽显幽澹出尘的文人山水意趣。",[49,23,51,52,26,56,55,7,86,119,150,64,715,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cd5524c43a60e2a5714bd22dfe3beb1.jpg",[],{"id":37319,"slug":37320,"title":37321,"dynasty":146,"author":207,"museum":99,"description":37322,"tags":37323,"thumbUrl":37325,"material":107,"size":107,"collection":107,"collections":37326,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},228188,"fang-li-gong-lin-huo-lang-tu-yi-ming-228188","仿李公麟货郎图","以清隽白描勾勒市肆一隅，货郎担上层层叠叠，诸般玩物吃食错落排布，将巷陌烟火气静静铺展。线条凝练温婉暗合法度，把货郎的劳碌、路人的注目藏在毫锋起落间，将旧时街头鲜活日常凝于绢素之上。清淡笔墨晕开市肆的生动模样，细碎货品暗藏民生的鲜活图景，古雅韵致里满溢着人间烟火的温热，把市井巷陌的鲜活日常定格在绢素中。",[23,51,134,135,25,58,37324,7],"日常用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37f63d9c2b19bc616137c0b88c450cc8.jpg",[],{"id":37328,"slug":37329,"title":37330,"dynasty":146,"author":37331,"museum":99,"description":37332,"tags":37333,"thumbUrl":37334,"material":107,"size":107,"collection":107,"collections":37335,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},228176,"xuan-men-shi-zi-tu-hua-zu-li-228176","玄门十子图","华祖立","《玄门十子图卷》是元代画家华祖立、吴炳共同所绘的画作，现收藏于上海博物馆。\n该图根据元赵孟頫《十子图》石刻本和木刻本摹写而成。\n十子为春秋战国时期著名道家人物，再加上老子共十一人。\n这十位分别为尹喜、辛钘（音jian）、庚桑楚、南荣趎（音chu）、尹文、士成绮、崔瞿、柏矩、列御寇（列子）和庄周（庄子）。\n该图所绘十一位人物神情严肃、造型各异、不设背景，其侧书以与之相应的传记。\n技法上，笔法刚劲，描绘人物线条园转秀逸，婉转流畅，设色淡雅，反映了这十一人的仙风道骨。\n华祖立（元代活动于十四世纪），字唐卿，籍贯不详，擅画人物。\n吴炳（元代活动于十四世纪），字彦辉，河南开封人，擅书法。",[49,23,51,52,135,25,58,277,7,23567],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc04f788d9b54ae5367fa0e9826ee7a.jpg",[],{"id":37337,"slug":37338,"title":37339,"dynasty":115,"author":3050,"museum":99,"description":37340,"tags":37341,"thumbUrl":37342,"material":689,"size":690,"collection":107,"collections":37343,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},227978,"you-jun-shu-shan-tu-juan-ba-wen-liang-kai-227978","右军书扇图卷(跋文)","图绘王羲之为老妪书扇故事。本幅右边有梁楷题款，系后人添加，卷尾有元人赵由儁、张渊、钱良右、张世昌、石岩等人题跋，简笔人物的风格系仿自梁楷。",[49,86,119,52,7,26,51,5943],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5eaef1cd544138440d4dec3fac1cad1.jpg",[],{"id":37345,"slug":37346,"title":37347,"dynasty":115,"author":37348,"museum":99,"description":37349,"tags":37350,"thumbUrl":37351,"material":689,"size":690,"collection":107,"collections":37352,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},227947,"gao-shen-juan-si-ma-ji-227947","诰身卷","司马伋","司马伋，字季思，夏县 （今属山西）人。高宗绍兴八年（一一三八），受诏以司马光族曾孙为右承务郎，嗣光后（《建炎以来系年要录》卷一二一）。",[49,86,52,119,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff464cca5cd099bcd067dfce8a06a7aa1.jpg",[],{"id":37354,"slug":37355,"title":37356,"dynasty":115,"author":207,"museum":99,"description":37357,"tags":37358,"thumbUrl":37361,"material":689,"size":690,"collection":107,"collections":37362,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":75},227408,"tong-gu-ding-shuang-long-wen-jing-1-yi-ming-227408","铜古鼎双龙纹镜-1","实物为铜镜。纹样大体呈圆形适合式。双龙呈对称相向结构，姿态为昂首并翻腾飞舞。马首蛇躯鳞身，尾巴似鱼尾。飞动的鬣毛与“S”形的头颈结构，加强了动势并毕现了神态。前肢一爪屈起，双龙似在相互招呼。体周云气蒸腾、水波涌动，蛟龙与云水的紧密联系披图可见，同时也使整个纹饰充实、丰富而多彩。",[26747,16427,37359,54,25,28,57,7,23567,9700,37360],"龙纹","铸造","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b6b1a6752a54092a5031165f5241e9c.jpg",[],{"id":37364,"slug":37365,"title":37366,"dynasty":2807,"author":207,"museum":99,"description":37367,"tags":37368,"thumbUrl":37369,"material":107,"size":107,"collection":107,"collections":37370,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":1441},225552,"fu-shi-hui-17-yi-ming-225552","浮世绘17","此作以墨色为底，将丹红鹦鹉作为视觉重心，艳色于沉暗中愈发鲜亮夺目。浅金棕的线条细腻勾勒，晕染出鹦鹉羽毛蓬松柔润的层次，飞羽的蓝灰点缀其间，增添灵动变化。枝桠叶片与浆果也以同色系刻画，脉络纹理纤毫毕现，雅致精巧。\n画面留白疏朗空寂，将禽鸟栖停的静谧瞬间定格，兼具装饰美感与东方禅意。整体配色克制又极具张力，华丽中带着侘寂的闲雅，尽显悠然平和的生机意趣。",[30272,25,27,15959,7,29,1481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2ababaa6fa83130bc02c69fe11905f.jpg",[],{"id":37372,"slug":37373,"title":37374,"dynasty":97,"author":929,"museum":99,"description":37375,"tags":37376,"thumbUrl":37377,"material":107,"size":107,"collection":107,"collections":37378,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},224295,"bai-shi-da-ji-tu-li-shan-224295","百事大吉图","此作用笔纵恣老辣，古松盘曲虬劲，皴擦勾勒间尽显苍古拙朴之意，团簇的松针以浓墨点染，蓬勃生机扑面而来。独立松枝的雄鸡兼工带写，浓墨点染头颈尾羽，淡墨晕染躯干，寥寥数笔便将雄鸡引吭长鸣的英武之态勾勒传神。\n画面借松、鸡谐音承载吉祥意趣，将文人写意的疏放与世俗吉庆寓意相融，笔墨挥洒间脱略陈规，尽显疏狂意气，是寄情于物、雅俗共赏的写意佳作。",[49,23,51,84,26,403,27,610,2631,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1114f2ba3c8a3d2ff5cb13dc84067253.jpg",[],{"id":37380,"slug":37381,"title":37382,"dynasty":97,"author":37383,"museum":99,"description":37384,"tags":37385,"thumbUrl":37386,"material":107,"size":107,"collection":107,"collections":37387,"showCount":468,"zanCount":1288,"manualWeight":39,"mainColor":40},224245,"shang-sai-jin-lin-tu-guan-huai-224245","上塞锦林图","关槐","《上塞锦林图》是中国清代画家 的国画作品。\n该画为立轴，纸本设色，纵142.6厘米，横64.6厘米，现藏于 。\n关槐，生卒年不详，清代画家。\n字晋卿，一宇晋轩，号云岩，一号曙笙，仁和(今杭州)人，官至礼部侍郎。\n善画山水，供奉内廷。\n画风学习宋元诸家，笔法苍润恬静。\n活动于乾隆时期。\n《上塞锦林图》描绘我国长城以北塞外的锦绣风光。\n绿色的灌木丛，红彤彤的柞枫树，错落于曲流之间，真实生动，俨然另逞独特面貌。\n用笔工细，设色鲜丽而又和谐。\n上方有高宗弘历御笔题七绝四首，借此图简述其先祖及弘历本人在北塞骑猎、武功的思念，以“祖德勤承告后人”。",[49,23,51,84,25,56,55,870,871,715,3653,5740,2003,7,86,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cefaa23d51965608581f81fade69f67.jpg",[],{"id":37389,"slug":37390,"title":37391,"dynasty":97,"author":10725,"museum":99,"description":10726,"tags":37392,"thumbUrl":37393,"material":319,"size":107,"collection":1120,"collections":37394,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},223275,"fa-tie-hong-yi-fa-shi-223275","法帖",[49,86,417,26,7,5664,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7095a65f0b56772d2c979363e6860997.jpg",[1120],{"id":37396,"slug":37397,"title":21957,"dynasty":97,"author":4509,"museum":81,"description":37398,"tags":37399,"thumbUrl":37400,"material":15681,"size":37401,"collection":70,"collections":37402,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},223113,"liu-lang-wen-ying-yu-ti-zhou-dong-bang-da-223113","本幅为西湖十景之一「柳浪桥」景。该桥在清波门、涌金门外，宋时即沿堤植柳，以此得名。画中柳丝踠地，轻风摇扬，亭榭深深，如闻黄莺啼于绿荫中。笔调清秀苍润，表现出春湖景的谧静感。本轴画幅之上有乾隆皇帝题诗，下为多位文臣和诗。",[49,23,84,26,55,56,598,754,62,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04366245e18f5be234cafe05afce9032.jpg","290x58厘米",[70,242],{"id":37404,"slug":37405,"title":34805,"dynasty":97,"author":17787,"museum":99,"description":34806,"tags":37406,"thumbUrl":37407,"material":107,"size":107,"collection":107,"collections":37408,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},223089,"shui-hu-ren-wu-ren-xun-223089",[49,23,51,84,25,54,58,5029,180,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a8bcbc88ceb89b051d93d71a7863e2b.jpg",[],{"id":37410,"slug":37411,"title":34805,"dynasty":97,"author":17787,"museum":99,"description":34806,"tags":37412,"thumbUrl":37413,"material":107,"size":107,"collection":107,"collections":37414,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":40},223084,"shui-hu-ren-wu-ren-xun-223084",[49,23,51,58,54,25,135,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19c69b7831b89491435ab19058724da7.jpg",[],{"id":37416,"slug":37417,"title":19775,"dynasty":97,"author":26675,"museum":99,"description":37418,"tags":37419,"thumbUrl":37420,"material":391,"size":107,"collection":107,"collections":37421,"showCount":468,"zanCount":39,"manualWeight":39,"mainColor":924},222802,"lu-yan-tu-zhou-bian-shou-min-222802","芦雁 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无画，号二水、果亭山人、芥子、白毫庵主、白毫庵主道人、平等居士等；汉族，明代画家，晋江二十七都下行乡（福建省晋江市青阳下行乡）人。\n万历三十五年进士第三名，探花，授翰林院编修，后以礼部尚书入阁，晋建极殿大学士，加少师。崇祯三年，因魏忠贤生祠碑文多其手书，被定为阉党获罪罢归。\n以擅书名世，书法奇逸，峻峭劲利，笔势生动，奇姿横生。钟繇、王羲之之外另辟蹊径，明代四大书法家之一，与董其昌、邢侗、米万钟齐名，有“南张北董”之号。北京大学教授、引碑入草开创者的李志敏评价：“张瑞图之草书，用笔爽利，造型别致，但不耐寻味。”\n擅山水画，效法元代黄公望，苍劲有力，作品传世极希。",[23,51,84,86,119,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4917b2b3a2e09b1355131e2b1b0fd327.jpg",[],{"id":38034,"slug":38035,"title":38036,"dynasty":97,"author":3136,"museum":99,"description":17499,"tags":38037,"thumbUrl":38038,"material":689,"size":690,"collection":107,"collections":38039,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},240595,"wang-shi-min-shi-zhou-wang-shi-min-240595","王时敏诗轴",[86,84,417,7,777,700],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb2c6e902887755fab74406139c89cbe.jpg",[],{"id":38041,"slug":38042,"title":38043,"dynasty":97,"author":5660,"museum":99,"description":35401,"tags":38044,"thumbUrl":38048,"material":689,"size":690,"collection":107,"collections":38049,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},240410,"deng-shi-ru-xin-zhou-shi-zhou-deng-shi-ru-240410","邓石如新洲诗轴",[86,84,5663,946,31398,29372,38045,38046,38047,1207,406,5209,7],"沙","城","木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f5fd049f5e081db1b2468fc63d1e1b9.jpg",[],{"id":38051,"slug":38052,"title":38053,"dynasty":18,"author":2818,"museum":175,"description":38054,"tags":38055,"thumbUrl":38056,"material":1636,"size":38057,"collection":122,"collections":38058,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},240391,"qi-lv-shi-zhou-liu-jue-240391","七律诗轴","释文：\n孝行廉名是处闻，公门无迹口无文。\n陈情两度能终制，泣血三年不茹荤。\n天上星辰丹凤阙，江南烟雨白鸥群。\n楼船一路行休缓，史馆诸儒待子云。\n方庵翰林，终制起复。珏赋诗为别，情见乎词，观者幸恕其不工，而取其不浮也。时成化二年岁次丙戌孟夏上澣，山西按察佥事奉勅提督屯种、致仕、邑人刘珏廷美书于居第之撚髭亭。\n款署：“时成化二年岁次丙戌孟夏上澣，山西按察佥事奉勅提督屯种、致仕、邑人刘珏廷美书于居第之撚髭亭。”钤“廷美”朱文印、“镏氏廷美”朱文印。引首钤“彭城生”朱文印。\n鉴藏印钤“朱之赤鉴赏”朱文印、“庐子枢”白文印、“留耕堂“白文印等5方。\n本幅为自书七律诗一首，是给临行的友人（方庵翰林）的赠别诗。此书奔放酣畅，结体正欹大小不拘，行笔疾驰徐缓随意，布局疏密曲直不同，顾盼有序，天真自然，是刘珏晚年之作。\n成化二年为1466年，作者时年57岁。",[23,51,84,26,462,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5522da798fcd987e49e6b5afd171117c.jpg","纵121.2厘米，横42.2厘米",[122],{"id":38060,"slug":38061,"title":38062,"dynasty":97,"author":445,"museum":175,"description":31806,"tags":38063,"thumbUrl":38064,"material":107,"size":107,"collection":122,"collections":38065,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},240039,"yuan-ji-song-jin-shan-jue-ding-ye-shi-tao-240039","原济颂金山绝顶页",[105,86,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbbbd3c582e163ef87e6d33252387817.jpg",[122],{"id":38067,"slug":38068,"title":38069,"dynasty":97,"author":445,"museum":175,"description":31806,"tags":38070,"thumbUrl":38071,"material":107,"size":107,"collection":122,"collections":38072,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},240033,"yuan-ji-zeng-weng-shan-shi-ye-shi-tao-240033","原济赠翁山诗页",[23,51,86,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b71aa2c0e79bb949456e320b138809b.jpg",[122],{"id":38074,"slug":38075,"title":38076,"dynasty":97,"author":38077,"museum":99,"description":38078,"tags":38079,"thumbUrl":38080,"material":107,"size":107,"collection":122,"collections":38081,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},239949,"lin-wang-xi-zhi-tie-zhou-liang-yan-239949","临王羲之帖轴","梁巘","梁巘（1710年——1788年后），字闻山、文山，号松斋，又号断砚斋主人；祖居亳州十九里镇，后居住在亳州城里夏候巷街（现夏候小学西跨院），殁后埋葬在十九里集南一里半杜庄村后。{曾祖父粱继宗；祖父梁尔禄，字天赐，国学生；父亲粱接孟，字介贤，候选经历，敕赠文林郎（文职、正七品）；兄粱峰，字屏山、号六松，性孝友，善文章、工书法。梁巘长子俊业，早卒；次子伟业，嘉庆六年（1801年）辛酉拔贡，官浙江於潜县知县。业师陈师古，字圣绪，乾隆九年（1744年）甲子科举人。门生有姚莲府、萧景云、王鲁庵、许春林等。}清乾隆二十七年（1762年）敕授文林郎壬午科举人，由咸安宫教习转任湖北巴东县知县；寿州（今安徽省寿县）循理书院院长（山长）。其在书法上的成就远大于政治，他与乾隆年间五位（张照、王澍、刘墉、王文治、梁同书）重要书家齐名，为清代著名书法家之一。",[86,134,84,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47b11df7d3495d800ed5a9b1a91c25dd.jpg",[122],{"id":38083,"slug":38084,"title":38085,"dynasty":192,"author":207,"museum":99,"description":38086,"tags":38087,"thumbUrl":38088,"material":107,"size":107,"collection":122,"collections":38089,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},239684,"guang-ming-zi-ri-ben-ti-za-a-she-jing-juan-di-nian-wu-juan-yi-ming-239684","光明子（日本）题杂阿舍经卷第廿五卷","这卷写经以小字行草抄录经文，通篇排布繁密却不显拥塞，字态灵动又不失书写的规整法度，带着唐人写经特有的朴拙清雅。墨色沉厚莹润，历经岁月经虫蛀略有破损，反而晕染出古旧苍茫的质感。朱笔圈点批注错落行间，是抄录校读时的留痕，更见抄写者的专注虔诚。\n\n书写既有恪守经文抄写的恭谨，又自然流露出行笔的舒展笔意，质朴间藏着内敛文气，静静承载着千年前的笔墨信仰与岁月温度。",[49,436,86,52,1284,417,2601,7,26,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bb8301b3490a48815746b1d386cecb0.jpg",[122],{"id":38091,"slug":38092,"title":38093,"dynasty":146,"author":3963,"museum":175,"description":38094,"tags":38095,"thumbUrl":38096,"material":319,"size":38097,"collection":122,"collections":38098,"showCount":480,"zanCount":1288,"manualWeight":39,"mainColor":40},239670,"zhang-nan-ba-yong-shi-juan-zhao-yong-239670","鄣南八咏诗卷","释文：\n鄣南八咏。\n天目晴雪\n雨池银水在云中，岩壑生花瑞气隆。盐虎作寒连地合，玉鳌扶冻与天通。照人错落山应瘦，向日消残树半空。独有小梅清见骨，只将真色笑春风。\n渚溪夕照\n渚溪行过少邻家，操面黄蜂趁晚衙。一片素秋清暎水，半汀红日澹迎霞。渔竿影没人争渡，牧笛声沉雁落沙。危石路头清浅处，只消新月照梅花。\n北庄梅花\n颠倒溪流险在兹，山中忽复见横枝。天生一白世无匹，花压万红春有私。疏影卧波宜入夜，暗香蒙雪幸同时。江南地暖开容易，马上逢人寄所思。\n樊坞梨园\n旧日樊川雪作团，尚余清艳后人看。一枝香湿雨初霁，千树恨多春企寒。留月只应空院落，闭门谁复倚阑干。何当载酒来花下，洗却凡妆跨素鸾。\n梅溪春涨\n玉磬峰头积雪消，紫梅花下水平桥。喷开石窦山倾倒，怒拍溪门浪动摇。连岸白沙鸥鸟下，满川红雨鳜鱼跳。黄流引入星河去，一任乘槎上碧霄。\n独松冬秀\n撞破关门山势开，树头云起唤龙来。擎天老盖高千丈，傲雪贞标压众材。岁久节根坚作玉，风生岩壑响成雷。苍颜不改只依旧，万古相期竹与梅。\n浮玉晚娇\n白玉山前叠绮纨，故将娇艳弄轻寒。天香喷散龙涎饼，国色铺交玛瑙盘。贵重万花春作主，醉逢三月日凭阑。自从李白题诗后，不许寻常子弟看。\n石埭夜航\n顺风吹送下山前，石鼓沿溪不碍船。帆影扑开沙上月，橹声摇动水中天。沧浪一曲寻秋去，玄鹤孤鸣恼夜眠。乘涉已为天下共，载云归越在何年。\n凌孟傅诗，赵仲穆书。\n钤“仲穆”印。卷前为执柔道人篆书“鄣南八咏”，卷后有刘麟、顾应祥题诗。本幅鉴藏印有“陈子受家珍藏”、“子受秘玩”等3方。\n赵雍书法结体用笔及笔画特点都恪守家法，《书史会要》记载赵孟頫：“尝为幻住庵写金刚经未半，雍足成之，其联续处，人莫能辨。”此书结体稳健，功力深厚，形体秀美，温润闲雅，具有赵书遗意。",[49,52,51,86,119,26,7,528,2954,870,406,944,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a6d4dc89bf03fd0211961bd3fdcc68b.jpg","纵30.8厘米, 横227.9厘米",[122],{"id":38100,"slug":38101,"title":38102,"dynasty":146,"author":11427,"museum":99,"description":38103,"tags":38104,"thumbUrl":38105,"material":107,"size":107,"collection":107,"collections":38106,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":924},239653,"shi-zha-juan-zhang-yu-239653","诗札卷","《元张雨小楷诗札卷》是元代书画家 创作的一幅书法作品。\n书于元至元六年（14），现藏于故宫博物院纸本小楷，通幅。\n张雨此作对于初唐楷书大家 之“家法”有着颇多的摄取。\n这件小楷，严整清和，洋溢着古风古韵，和其“道法自然”、“道可道，非常道”的道家审美标准有着一定的距离。\n在复古大旗指引下行进的元代书法，对于古法的承续，在书法史上可谓空前。\n元代的书法家对“晋韵唐风”多是一副沉迷状，张雨亦不例外。\n故宫博物院收藏的张雨的这件《诗札卷》（图为作品局部），书于元至元六年（14），系纸本小楷，通幅纵21.5厘米，横1.9厘米。\n从书法风格来看，张雨此作对于初唐楷书大家 之“家法”有着颇多的摄取。\n欧书用笔规范严整、体势刚劲险绝，是楷书中的巅峰之作。\n赵松雪称欧阳询书法“清劲秀健，古今一人”。\n张雨小楷在承续欧书基础上，又另僻蹊径地融入一些晋人萧散飘逸的灵动之气，为自己的书作增色不少。\n从用笔的感觉上来看，此卷小楷中一些横式笔画的习惯性动作，同民间的经生所创的“写经体”有着高度的契合，这是一个值得关注的问题，或许是因为张雨自身本来就是一个隐入丛林道观的高明的“经生书手”的缘故吧。\n在此作中，一些横势用笔的斜切、轻行、重按和轻入重收都和民间“写经体”书法保持着高度的一致。\n而其中一些放式用笔的体势，又使人怀疑此作系明人写的小楷。\n从明代祝枝山、王宠的小楷体例的斜欹体式的运用中，可体察出明代小楷书家们或多或少地受到了张雨小楷书风的影响。\n这种书风和取法的“代代承传”符合书法的客观发展规律。\n而张雨此卷“楷中插行”的书法体式则自赵松雪运用以来，已逐渐成为一种惯用的书法体例。\n这一体例还频繁地出现在他后来的小楷书作之中。\n和其同时代的倪云林，其后的张瑞图、黄道周、王铎等人的作品，也同样沿用了这一体例。\n张雨此卷中钤有“敬身”、“龙泓馆印”、“玉礼治印”、“龙尾山房”、“萧山蔡陆士藏玩书画钤记”、“金瘦仙青父箱长物”、“彭城观澜阁藏”等印记，也是流传有绪的一件作品。\n张雨（128-15），元代诗文家，号句曲外史，道名嗣真，道号贞居予，自称曲外史，人称句曲先生，钱塘（今浙江杭州）人，是宋崇国公张九成之后裔。\n其人学识渊博，善谈名理，诗文、书法、绘画，无一不通。\n曾师从虞集，与赵孟颡交好，后弃家为道士，居于茅山，拜茅山檀四十三代宗师许道杞弟子周大静为师。\n曾有人邀其进京为官，不就：著《句曲外史贞居先生诗集》，今存小令五首，曲风清丽淡雅。",[49,86,52,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaaa6eafb50e0619e08776e1ab9665a7.jpg",[],{"id":38108,"slug":38109,"title":38110,"dynasty":115,"author":7266,"museum":99,"description":38111,"tags":38112,"thumbUrl":38113,"material":107,"size":107,"collection":107,"collections":38114,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},239651,"wang-da-ling-bao-mu-zhuan-ti-ba-juan-jiang-kui-239651","王大令保母砖题跋卷","此卷笔墨清劲秀雅，笔致灵动舒展，暗合晋人萧散风神。题字疏密错落，墨色枯润相生，朱印点缀素纸，丹砂与墨色相映成趣，雅致尽显。\n\n题跋兼具金石考据的谨严与文人挥毫的随性，将考证之思寄于笔墨挥洒之中，书卷气扑面而来，是宋人尚意书风里的清雅典范。清冷隽秀的笔意一如作者词韵，尽显宋代文人淡远空灵的审美意趣，耐人反复品味。",[49,50,23,51,52,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fb0fb92962b6cd0165bd6474876165a.jpg",[],{"id":38116,"slug":38117,"title":38118,"dynasty":115,"author":38119,"museum":99,"description":38120,"tags":38121,"thumbUrl":38122,"material":107,"size":107,"collection":107,"collections":38123,"showCount":480,"zanCount":743,"manualWeight":39,"mainColor":40},239649,"zi-shu-shi-lian-ju-shi-juan-wu-jun-239649","自书诗联句诗卷","吴浚","《自书诗联句诗卷》是宋年出版的图书，作者是吴浚。\n【名称】自书诗联句诗卷【年代】宋 【作者】吴浚 【类别】纸本，行书，手卷 【规格】纵6.2cm，横1cm，纵6.2cm，横141cm，79行，12字。\n本幅钤“山西”、“国”、“云根”、“虚谷”诸印。\n鉴藏印钤“生”、“南禺世史”、“丰氏人叔”、“云间邹氏珍藏”、“苕南吴氏午峰鉴赏”及项元汴诸印。\n卷后有宋朱鉴孙、翁□，明丰坊题跋。\n署年款“咸淳丁卯”，为咸淳三年（1267年）。\n此卷书法气秀色润，笔调谦和，点画精细柔媚，一钩一捺，均以温婉取态，反映了吴浚的典型书风。",[49,86,52,119,462,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F918438660d71677b30f9ca090b89abc0.jpg",[],{"id":38125,"slug":38126,"title":38127,"dynasty":18,"author":18869,"museum":175,"description":38128,"tags":38129,"thumbUrl":38130,"material":107,"size":107,"collection":122,"collections":38131,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":924},239581,"zhang-jin-xue-jie-juan-song-ke-239581","章进学解卷","宋克（1327―1387）字仲温，一字克温，自号南宫生，长洲（今江苏苏州）人。是明代初期闻名于书坛的书法家“三宋二沈”之一。与高启等称十友，诗称十才子。\n洪武初为凤翔同知。素工草隶深得钟、王之法，笔精墨妙，风度翩翩。并工写竹，虽寸冈尺堑，而千篁万玉，雨叠烟生，萧然无尘俗之气。尝作鸡栖石业条一幅，题语有“艺成不觉自敛手”之句，谓不可复得也。书学急就章，故写竹能妙。尝于试院牍尾用朱笔扫竹，张伯雨有“偶见一枝红石竹”之句，人遂以为朱竹自宋克始。卒年六十一。宋克的书法，在明代颇享盛名，与当时擅长书法的宋璲、宋广合称三宋。\n宋克处元末明初，少年英俊，磊落清爽，常以李太白、苏东坡自比，任侠使气，闻鸡起舞。其聪慧过人，博涉经史，长于丹青，尤善画竹，今尚有《万竹图》传世。诗文亦名于时,与吴门文士高启、张羽、徐贲、陈则等为友，时称“十才子”。曾从元康里之入室弟子饶介学书，所传皆二王草法，故仲温特别钟情于草书。草书流走畅贯，挥运自如，似飞剑狂舞，潇洒纵横，十分契合于宋克任侠使气的性格。宋克学书取法甚高，楷宗钟繇，行书慕二王，章草学皇象之《急就章》，笔力清峭劲拔，笔意圆融洒脱，尤其是他的小草和章草，冠绝一代，吴宽评其书谓：“一克书出魏晋，深得钟王之法，故笔精墨妙，而风度翩翮可爱……仲温书索靖草书势，盖得其妙而无愧于靖者也。”其书出于魏晋，深得钟、王之法。擅长楷书、草书，尤精工章草，为当时第一。他的章草，延续赵孟頫、邓文原的风格又有所发展，融入了今草和行书的写法，更加流利、矫健。",[49,50,23,51,52,86,462,13910,19470,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f41c8ec7ce88088c36ba2bd84e9fbde.jpg",[122],{"id":38133,"slug":38134,"title":38135,"dynasty":18,"author":80,"museum":175,"description":38136,"tags":38137,"thumbUrl":38138,"material":417,"size":38139,"collection":122,"collections":38140,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":75},239572,"zhong-guo-qing-shou-si-deng-shi-tie-wang-fu-239572","重过庆寿寺等诗帖","此作小楷书七言诗四首，乃王绂游览京城诸胜景时所成诗篇，并于永乐九年（1411年）为沈度书写。这一年王绂50岁，沈度55岁，二人为朝中同僚。作品以锺、王小楷为法，风格端劲清雅，与当时宫廷中盛行的“台阁体”相比，别具古澹意蕴。",[51,86,418,119,319,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4269fa91207891eeb7ac969b91f2a58.jpg","纵26.8厘米，横41.2厘米",[122],{"id":38142,"slug":38143,"title":38144,"dynasty":146,"author":38145,"museum":175,"description":38146,"tags":38147,"thumbUrl":38150,"material":107,"size":107,"collection":122,"collections":38151,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},239567,"xing-fang-cao-tie-ce-ye-deng-wen-yuan-239567","行芳草帖册页","邓文原","邓文原（1258年—1328年），字善之，一字匪石，人称素履先生，绵州（今四川绵阳）人，又因绵州古属巴西郡，人称邓文原为“邓巴西”。其父早年避兵入杭，遂迁寓浙江杭州，或称杭州人。\n历官江浙儒学提举、江南浙西道肃政廉访司事、集贤直学士兼国子监祭酒、翰林侍讲学士，卒谥文肃。其政绩卓著，为一代廉吏，其文章出众，也堪称元初文坛泰斗，《元史》有传。著述有《巴西文集》《内制集》《素履斋稿》等。\n邓文原擅行、草书。传世书迹有《临急就章卷》等。与赵孟頫、鲜于枢齐名，号称“元初三大书法家”，尤以擅章草而闻名。",[86,119,62,61,38148,38149,1239,7],"暮烟","鸥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc9f44f03c82473d486a19d389c5da98.jpg",[122],{"id":38153,"slug":38154,"title":38155,"dynasty":97,"author":28917,"museum":99,"description":38156,"tags":38157,"thumbUrl":38158,"material":107,"size":107,"collection":107,"collections":38159,"showCount":480,"zanCount":743,"manualWeight":39,"mainColor":40},239550,"fang-bei-yuan-shan-shui-tu-zhou-zhang-xue-ceng-239550","仿北苑山水图轴","张学曾仿北苑山水图轴是清顺治十二年的图轴。\n《仿北苑山水图》轴，张学曾绘，纸本，墨笔。\n此画远景为巨大的山石，以披麻皴绘出，山体及近处丛树、苔草施以墨点，一小桥延伸而去。\n构图简远，韵味无穷。\n“北苑”指五代时南唐著名山水画家董源，由于他曾任北苑使之职，故名。\n画幅中笔势苍茫，吐纳北苑；笔墨干湿浓淡、画风平淡天真处又受董其昌影响。\n款署：“乙未仲冬画仿北苑似子木词坛张学曾。\n”钤“张学曾印”白文印、“张尔唯氏”朱文印。\n“乙未”为清顺治十二年（1655年）。\n鉴藏印有孙煜烽、庞莱臣诸印：“孙煜烽珍藏印”朱文印、“希逸”白文印、“虚斋审定”白文印、“庞莱臣珍藏印”朱文印。",[23,51,84,26,56,60,150,64,58,7,134,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3154627689548e75d9c6124eddbd477e.jpg",[],{"id":38161,"slug":38162,"title":7228,"dynasty":18,"author":21686,"museum":99,"description":38163,"tags":38164,"thumbUrl":38165,"material":107,"size":107,"collection":107,"collections":38166,"showCount":480,"zanCount":1288,"manualWeight":39,"mainColor":40},239546,"shan-shui-ce-shen-hao-239546","此作以淡墨轻皴绘就雪后清晓之景，浅赭晕染远山，留白处隐见残雪覆于峦岫，起伏连绵间尽显空蒙萧寒。枯林错落萧疏，淡写枝干无叶之态，暗合冬日荒寂。山径间旅人策蹇缓行，为冷寂山水晕开一缕烟火暖意。\n\n画面与题诗清雅相融，以极简笔墨铺陈悠远画境，将冬日郊野的静谧诗意缓缓晕开，尽显文人画空灵淡远之致，于简淡疏朗间藏着清旷余韵，淡而不薄，枯而不涩，尽显幽远的林下诗意。",[23,51,24,26,55,56,870,871,2955,58,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf5f5f8405bde5b52b15b6edd3558efa.jpg",[],{"id":38168,"slug":38169,"title":38170,"dynasty":97,"author":38171,"museum":99,"description":38172,"tags":38173,"thumbUrl":38174,"material":107,"size":107,"collection":35,"collections":38175,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},239277,"hou-qi-zhi-hua-hua-niao-ce-hou-qi-239277","后祺指画花鸟册","后祺","此作以指为笔，尽显写意风流。枯笔焦墨勾勒老干，苍劲朴拙自带风霜之态。泼墨晕染葡萄藤叶，浓淡铺陈虚实层次，墨色酣畅淋漓，不见毛笔尖秀精巧，反生朴野天然的肌理意趣。垂挂的葡萄果实以淡墨点染，稚拙可爱，暗合秋实之味。\n\n右侧题诗与画境相融，将秋夜风摇叶落的清寂悄然铺展。整幅简淡空灵，不刻意描摹形貌，却把秋夜的幽静谧穆藏在笔墨间，文人画的雅致禅意尽显，以指画的生涩拙朴，勾勒出清秋独有的疏朗意境，韵味悠长。",[23,51,24,15690,26,119,7,27,1227,265,1195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2655be70d1638baa59bcfacabcc51dd.jpg",[35],{"id":38177,"slug":38178,"title":38179,"dynasty":97,"author":38180,"museum":99,"description":38181,"tags":38182,"thumbUrl":38183,"material":107,"size":107,"collection":35,"collections":38184,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},238995,"jiao-yang-shu-wu-zhou-xiang-kui-238995","蕉阳书屋轴","项奎","项奎（1623-1702）明末清初画家，〔清〕字天武、子聚，号东井、墙东子、墙东居士、水墨处士，秀水(今浙江嘉兴)人，元汴曾孙，德达孙，徽谟子，生卒年不详。幼承家学，善山水，兼长兰竹。山水喜用秃笔，秀雅枯淡，颇得元人枯淡之趣；所画兰竹亦逸秀可爱，年七十属友人撰生圹志，寿至八十",[23,51,84,26,135,55,119,56,379,3875,64,150,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3286bfda2e0e761bb51ae22ce879f272.jpg",[35,242],{"id":38186,"slug":38187,"title":38188,"dynasty":97,"author":36880,"museum":175,"description":36881,"tags":38189,"thumbUrl":38190,"material":319,"size":36884,"collection":70,"collections":38191,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},238983,"shan-shui-ce-zhong-lin-gao-xia-wang-chen-238983","山水册－重林高下",[23,51,24,26,25,55,56,64,150,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6b50a0c85ac70858bbdf6267b4a59f.jpg",[70],{"id":38193,"slug":38194,"title":38195,"dynasty":97,"author":38196,"museum":99,"description":38197,"tags":38198,"thumbUrl":38199,"material":689,"size":690,"collection":199,"collections":38200,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},238941,"qing-xiang-si-shi-le-tu-xiang-ce-hu-jun-sheng-238941","庆祥四时乐图像册","胡骏声","字芑香，江苏常熟人。为缓溪翁族孙。翁擅添毫之技，晚岁目力稍衰，思得弟子相佐。骏声方弱冠，从毕琛学画臻众美。翁于是挈之共游凡数载，艺益进，遂为吴中之冠。陈芝楣抚苏时延至幕中，后丧妻，奉母居郡城，颜其斋曰“望禺”，饶幽居之趣。道光十年（1830）曾作仕女图。",[23,51,24,25,54,58,225,610,150,2142,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6535153c09255e7dff49f2e5ec0692ad.jpg",[199,72],{"id":38202,"slug":38203,"title":15603,"dynasty":97,"author":341,"museum":99,"description":10840,"tags":38204,"thumbUrl":38205,"material":107,"size":107,"collection":107,"collections":38206,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},238830,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238830",[23,51,24,25,56,64,61,1597,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5706309f6fd33bb74c27c1cde65221ba.jpg",[],{"id":38208,"slug":38209,"title":15603,"dynasty":97,"author":341,"museum":99,"description":10840,"tags":38210,"thumbUrl":38211,"material":107,"size":107,"collection":107,"collections":38212,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},238829,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238829",[23,51,24,25,54,86,7,63,59,64,150,3875,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd02502eb809bcd8237cc41a3879222c5.jpg",[],{"id":38214,"slug":38215,"title":15603,"dynasty":97,"author":341,"museum":99,"description":10840,"tags":38216,"thumbUrl":38217,"material":107,"size":107,"collection":107,"collections":38218,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},238825,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238825",[23,51,24,25,53,26,56,150,64,967,63,61,7,119,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe20f4b4295b749a2cf96304df748a5cf.jpg",[],{"id":38220,"slug":38221,"title":10218,"dynasty":97,"author":7428,"museum":99,"description":10219,"tags":38222,"thumbUrl":38223,"material":689,"size":690,"collection":107,"collections":38224,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},238482,"hua-hui-tu-ce-jiang-ting-xi-238482",[23,51,24,25,54,27,28,1481,7,119,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf3c885708c60ef0a4db10475b9f1c78.jpg",[],{"id":38226,"slug":38227,"title":10218,"dynasty":97,"author":7428,"museum":99,"description":10219,"tags":38228,"thumbUrl":38229,"material":689,"size":690,"collection":107,"collections":38230,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},238478,"hua-hui-tu-ce-jiang-ting-xi-238478",[23,51,24,25,54,27,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9c6eff4fad9fec55cad2f985ee8681.jpg",[],{"id":38232,"slug":38233,"title":10218,"dynasty":97,"author":7428,"museum":99,"description":10219,"tags":38234,"thumbUrl":38235,"material":689,"size":690,"collection":107,"collections":38236,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},238477,"hua-hui-tu-ce-jiang-ting-xi-238477",[23,51,24,54,25,27,29,332,315,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaf72f563137cfc036687dab4d24ce7d.jpg",[],{"id":38238,"slug":38239,"title":8325,"dynasty":97,"author":697,"museum":20,"description":14646,"tags":38240,"thumbUrl":38241,"material":779,"size":14649,"collection":107,"collections":38242,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},238067,"mei-hua-tu-ce-wang-shi-shen-238067",[23,51,24,25,27,528,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0376da78c761439f584444d7a38c4ba3.jpg",[],{"id":38244,"slug":38245,"title":444,"dynasty":97,"author":37053,"museum":99,"description":38246,"tags":38247,"thumbUrl":38248,"material":107,"size":107,"collection":70,"collections":38249,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},237946,"shan-shui-tu-ce-liu-yu-237946","此作用笔苍秀松灵，水墨晕染细腻柔和。近岸古木扶苏，枝桠虬曲，掩映草庐幽居，野意盎然。水面开阔澹澹，远山以淡墨轻勾慢染，云气留白氤氲萦绕，将山水融于空濛烟岚之中，尽显林泉高致。\n左侧题字笔意萧散俊朗，文辞雅致，书画相映，尽显文人画以境抒怀的意趣，藏着寄情丘壑、静享林泉的隐逸之思，整幅清和淡远，悠悠古韵漫溢其间。",[23,51,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纸第一页，均弘历题写。每页有朱笔梵文书尊者名，宋印及骑缝印均伪项元汴。印记总共176方，引首及对幅上共印22方。该册另有题签一开,字二开。《故一59》",[23,51,24,25,54,1284,58,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07be9da045569add4298a9c0f650d8cb.jpg","纵30cm，横58cm",[],{"id":38568,"slug":38569,"title":24009,"dynasty":18,"author":2059,"museum":175,"description":24010,"tags":38570,"thumbUrl":38571,"material":319,"size":24013,"collection":107,"collections":38572,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},232964,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232964",[23,51,24,26,55,86,7,56,358,871,150,751],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe151099e591c78c5ae8b3d97b15ade62.jpg",[],{"id":38574,"slug":38575,"title":38576,"dynasty":97,"author":15157,"museum":930,"description":38577,"tags":38578,"thumbUrl":38579,"material":668,"size":38580,"collection":107,"collections":38581,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":2307},232901,"feng-zhu-tu-li-zhou-li-fang-ying-232901","风竹图立轴","李方膺，字虬仲，号晴江，又号秋池，抑园，白衣山人。江苏通州(南通)诸生。先后任山东兰山、安徽潜山、合肥知县，有善政、人德之。以不善逢迎，获罪罢官。寓居金陵借园，自号借园主人。常往来扬州卖画以资衣食，为扬州八怪之一。\n《潇湘风竹图》作于合肥五柳轩，时为乾隆十六年(公元1751年)，作品以秃笔湿墨逆笔取势画风中之竹，通过竹叶的独特造型，表现出狂风大作的动态。画的左下仅晒云:画史从来不画风，我于难处夺天工;请看尺幅潇湘竹，满耳丁东万玉空。\n李方膺常喜欢描绘以风雨为背景的竹石。风是抽象的东西，没有具体的形象，颇难以表现出来的。此画中画家大胆创造，写竹子数根，依于石旁，挺拔修直。\n此画中有粗竹两枝，嫩竹两枝，在狂风中摇曳生姿。主竹挺拔有力，不弯不揖，有参天凌云之气概。整个画面的气势表现在用浓墨、枯墨铺写的枝叶上，所画竹叶不讲成法，秃笔直扫，竹叶画呈扁方状倾斜方向，无叶尖，潇洒随意，尽管风势极强，但枝叶顺风飞扬而不折，透出一种镇静与傲慢。画面中，石与草都是参照物，点染出艰难、恶劣的自然环境。在疾风的鼓荡下，几叶小草已偃伏在地，坚强的石头也似乎极力抗拒，只有劲竹傲立苍穹，岿然不动，片片枝叶都呈现出百折不挠的力量。\n风是抽象的东西，没有具体的形象。画家秃笔直扫，画竹叶扁方状成倾斜方向，有力地表现了疾风的狂肆，作者不但在描绘技法上显得“因难见巧”，而且显示出竹子不畏强风的精神，笔笔枝叶呈现出坚贞不屈的力量。画家通过描绘竹叶的动态变化，有力地表现出疾风的狂吹，使不可见的风有了可视的形象，而且从竹枝飞舞、竹叶相互碰撞中，似乎还可以听到碎琼乱玉的丁东之声，其下笔如风驰雨骤，正像是抒发画家胸中的怒气，正是一种人格的写照。\n板桥之竹如清癯的老者，清淡修整，有超然之态。李方膺则不然，他由于仕途生活中得罪权贵，先后下狱罢官，但从不屈服苟且，这幅画可说是他心境的折射。他的竹宛如在战斗中的猛士，顶天立地，傲岸不屈。他借竹子来抒发情怀，借竹子不怕狂风暴雨、坚韧不拔的品格来自喻。",[49,23,51,26,84,403,358,700,531,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9395c78f0d21c4a0ec265201cad2b525.jpg","纵168.3厘米 横67.7厘米",[],{"id":38583,"slug":38584,"title":38585,"dynasty":97,"author":38586,"museum":2430,"description":38587,"tags":38588,"thumbUrl":38589,"material":779,"size":38590,"collection":107,"collections":38591,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":75},231529,"xuan-shi-tu-li-fu-tang-231529","萱石图","李复堂","李鱓是扬州八怪中最早成名者，也是扬州八怪中唯一曾供职于康熙身边的画家，并应康熙命从蒋廷锡学艺，故画笔严谨而有书卷气。后返扬州，始纵笔大写，变得粗犷奔放，不拘一格。李鱓在戏剧性的一生中，接触到了当时包括墨骨、小写意、大写意各个派别的顶尖高手，并将粗笔与工细画两者进行了个性化的融合。李鱓是一个善于学习的人，他研究各家，并不是平均用力，而是有选择的学习自己需要的东西并加以消化融合，逐渐形成自家风貌。在他的笔下，既有明代浙派花鸟画的传统根底，又受到清代宫廷工笔花鸟和民间豪放花鸟画风的影响，因此他的作品既讲求造形构图，又讲求色墨的有机融合，这种绘画风格被后来的海派画家赵之谦、任伯年、吴昌硕等人继承，可以说，李觯堪称中国绘画史上起着承先启后作用的画家。\n《萱石图》以萱草为题材，描绘卧石与萱草相生相伴的情景。萱草是画家惯常表现的吉祥植物，古人认为萱草可以忘忧，因此又称其为“忘忧草”；又认为孕妇佩带萱草可以生男孩，因此又称萱草为“宜男”。图中作者自题诗点明了画意：“墨沉淋漓映袖寒，滥图赤棘傍阑干。凭君悬向闲庭馆，解却眉尖仔细看”。",[49,23,51,26,403,4536,277,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce067b869dab8e3a386223f3e59b334.jpg","74X60cm",[],{"id":38593,"slug":38594,"title":38595,"dynasty":97,"author":38596,"museum":99,"description":38597,"tags":38598,"thumbUrl":38599,"material":689,"size":690,"collection":107,"collections":38600,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},231049,"shen-zhu-you-ju-tu-cheng-sui-231049","深竹幽居图","程邃","程邃（1607年—1692年），字穆倩、朽民，号垢区、青溪，明末清初篆刻家、书画家。 歙县（今属安徽）人，生于松江华亭（今上海松江）。",[23,26,55,51,84,56,60,61,62,727,64,278,358,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36ac9ac3c05eaead2a85ddd28c5c67b9.jpg",[],{"id":38602,"slug":38603,"title":38604,"dynasty":115,"author":116,"museum":99,"description":27029,"tags":38605,"thumbUrl":38606,"material":689,"size":690,"collection":107,"collections":38607,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},230868,"zhi-ming-shu-tong-nian-chi-du-huang-ting-jian-230868","致明叔同年尺牍",[86,119,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff09f053c7e96032c4163fa62c45b028b.jpg",[],{"id":38609,"slug":38610,"title":38611,"dynasty":2807,"author":207,"museum":99,"description":38612,"tags":38613,"thumbUrl":38614,"material":689,"size":690,"collection":107,"collections":38615,"showCount":480,"zanCount":1288,"manualWeight":39,"mainColor":40},230521,"fang-gu-shan-shui-ren-wu-fen-ben-shou-ye-jia-cang-tu-juan-yi-ming-230521","仿古山水人物粉本(狩野家藏图卷)","此作用笔清灵秀润，远景山峦以淡墨晕染烟岚，虚实相映，漾着空濛出尘的诗意。近岸急流翻涌，山石皴擦朴拙苍劲，野舟闲泊浅滩，衬出林野的幽寂清旷。\n\n崖畔山居窗内，二人对坐晤谈，为清冷山水晕开一抹人间暖意。作者以淡彩轻点秋树，将隐逸栖居的雅趣融于尺幅间。整卷动静相生，水墨为骨，淡彩辅之，把文人寄情林泉的理想缓缓铺展，笔简意长，尽显萧疏淡远的古典山水意韵。",[49,23,51,52,25,6244,7,56,58,61,64,279,150,63,293],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7a50f0e0e083ec39fc14796d667cb7.jpg",[],{"id":38617,"slug":38618,"title":38619,"dynasty":97,"author":38620,"museum":99,"description":38621,"tags":38622,"thumbUrl":38623,"material":689,"size":690,"collection":107,"collections":38624,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},230295,"lin-sheng-jiao-xu-li-hong-zhang-230295","临圣教序","李鸿章","李鸿藻（1820年2月14日—1897年7月24日），字兰荪，号石孙、砚斋，河北保定人。同光年间的清流领袖，晚清主战派重臣之一。咸丰二年（1852年）进士，选庶吉士，授编修，督河南学政。同治元年（1862年），被提拔为侍讲，深受西太后慈禧的信任，累迁内阁学士，署户部左侍郎。同治四年（1865年），再升都察院左都御史，加太子少保。光绪二年（1876年），命兼总理各国事务衙门，反对完颜崇厚擅订《里瓦几亚条约》。历任礼部尚书、协办大学士，调吏部尚书。光绪二十三年（1897年）以病乞假，旋卒，享年七十八岁，清廷予谥文正，赠太子太傅，入祀贤良祠。",[49,86,52,119,134,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F689d84932e9309fab27ff7e5a4389dad.jpg",[],{"id":38626,"slug":38627,"title":38628,"dynasty":97,"author":29786,"museum":99,"description":29787,"tags":38629,"thumbUrl":38630,"material":689,"size":690,"collection":107,"collections":38631,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},230171,"li-zhou-hua-feng-lin-lun-jin-shi-yi-bing-shou-230171","立轴-画鳳麟伦金石",[49,86,5663,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6ff3d1a14d793e1a5786b618bed3ad0.jpg",[],{"id":38633,"slug":38634,"title":38635,"dynasty":97,"author":38636,"museum":99,"description":38637,"tags":38638,"thumbUrl":38639,"material":689,"size":690,"collection":107,"collections":38640,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":75},228924,"qi-yan-jue-ju-gao-xiang-228924","七言绝句","高翔","高翔（1688--1753），字凤岗，号西唐，又号犀堂、西堂、樨堂等，别号山林外臣，擅画山水花卉，间作佛像人物。篆刻与汪士慎、丁敬齐名。又与高凤翰、潘西凤、沈凤并称四凤。高翔少年时期崇尚石涛，后与石涛结识为友，常相往来，情谊深长，受益颇深，是石涛的挚友和忠实追随者。\n高翔晚年时由于右手残废，常以左手作画。与石涛、金农、汪士慎为友。清朝的李斗在《扬州画舫录》中有过这样的记载：“石涛死，西唐每岁春扫其墓，至死弗辍”。意思是说，石涛死后，高翔每年春天都去扫墓，直到死都没有断过。从这里也可以看出他们之间的友谊很深。\n高翔除擅长画山水花卉外，也精于写真和刻印。他的山水画取法弘仁和石涛，所画的园林小景，大多是从写生中来。金农、汪士慎诗集上的小像，就是高翔的手笔，线描简练，神态逼真。著有《西唐诗钞》，“扬州八怪”之一 。",[49,86,5663,26,7,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F840829472f15aa851faf55eed47b0888.jpg",[],{"id":38642,"slug":38643,"title":38644,"dynasty":18,"author":20830,"museum":99,"description":38645,"tags":38646,"thumbUrl":38647,"material":107,"size":107,"collection":107,"collections":38648,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},228891,"san-you-tu-juan-1-chen-gua-228891","三友图卷-1","此作用笔老辣苍劲，枯木虬枝以铁线勾勒，皴擦间尽显嶙峋古拙，淡墨晕染与留白相衬，晕出清寂萧疏的幽远意境。\n以极简水墨托物言志，寥寥数笔写尽岁寒君子的坚贞品格，将物象风骨与文人逸趣融为一体。鉴藏古玺朱红点缀，为画面添上古雅厚重的传世质感，是以意驭笔的写意典范，于简淡间藏雄浑气度，枯涩中暗蕴生机，尽显水墨写意的淋漓意趣。",[23,51,52,26,56,777,358,528,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2d64f497889ad0f9607453a6af8ab34.jpg",[],{"id":38650,"slug":38651,"title":38652,"dynasty":18,"author":9255,"museum":99,"description":38653,"tags":38654,"thumbUrl":38655,"material":107,"size":107,"collection":107,"collections":38656,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},228848,"tai-ping-le-shi-ce-ye-dai-jin-228848","太平乐事册页","这幅小品以淡设色晕开市井闲趣，将夏末庭院的松弛烟火揉进笔墨之中。\n老树枝叶扶苏，筛下细碎光影暖了砖地庭院。案上杯盏果点错落，宴饮二人神态各异，把酒嗅香者意趣盎然，醉眼惺忪者颓然可爱。稚童偎依酣睡，廊下妇人牵着幼童探看，满是家常温情。\n笔意简淡灵动，设色清雅柔和，无需繁复刻画，便将太平年月里松弛鲜活的烟火日常藏在每处细节里，恬淡治愈，尽显俗世安乐。",[23,51,24,25,54,58,64,5348,5349,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3def9883fb33303890ae95371969100e.jpg",[],{"id":38658,"slug":38659,"title":38660,"dynasty":18,"author":38661,"museum":99,"description":38662,"tags":38663,"thumbUrl":38664,"material":107,"size":107,"collection":107,"collections":38665,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},228459,"pen-hua-ce-ye-sun-xue-ju-228459","盆花册页","孙雪居","此作用淡墨写意写就，构图疏朗空灵。兰叶以中锋淡墨缓缓写出，修长舒展，如君子临风，带着清逸灵动的姿态。花瓣以淡墨晕染，清浅雅致，不见繁复刻画却尽得幽兰柔婉之态。\n\n素盆简括勾勒，纹饰轻描淡写，素雅沉静，默默托衬花草。全画以少胜多，留白恰到好处，将文人画尚简重意的特质尽显。寥寥数笔便勾勒出盆中春兰的清雅之态，暗含文人寄情草木的幽怀，笔墨秀润简约，清隽耐看，尽显简淡雅致的审美意趣。",[23,24,26,135,311,181,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F015bd455deed7390a0e21b3c659fa439.jpg",[],{"id":38667,"slug":38668,"title":38669,"dynasty":18,"author":3689,"museum":99,"description":38670,"tags":38671,"thumbUrl":38672,"material":107,"size":107,"collection":107,"collections":38673,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},228372,"dong-ting-qiu-yue-tu-ye-chen-huan-228372","洞庭秋月图页","此作用淡墨轻晕出洞庭秋夜，远景汀洲隐在烟霭中似有若无，湖面细碎波纹漾开，仿佛浸着满轮秋月的清辉。近岸茂林环着临水小榭，不见明月，却以空濛水光晕染出月色铺陈的幽寂氛围，以虚写实，将秋夜湖面上的清寒辽远尽数铺开。\n\n左侧题诗行书隽秀舒展，桂香月色融在诗句与淡岚间，诗画呼应，把洞庭秋夜的澄澈空灵晕成一片静谧逸境，寥寥笔墨间尽显文人雅致的幽远诗意，勾勒出江南月夜独有的清寂意趣。",[49,23,51,24,25,26,56,944,63,64,1977,119,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9446575332c01a3b587a8e0d7377ac.jpg",[],{"id":38675,"slug":38676,"title":38677,"dynasty":18,"author":9186,"museum":99,"description":38678,"tags":38679,"thumbUrl":38680,"material":689,"size":690,"collection":107,"collections":38681,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},228340,"song-chen-zi-ling-hui-shi-shi-ye-wang-chong-228340","送陈子龄会试诗页","王宠诗文书画皆精。书法初学蔡羽，后规范晋唐，楷书师虞世南、智永；行书学王献之，融会贯通。小楷尤清，简远空灵。其名与祝允明、文征明并称。何良俊《四友斋书论》评其书：“衡山之后，书法当以王雅宜为第一。盖其书本于大令，兼人品高旷，改神韵超逸，迥出诸人上。”著有《雅宜山人集》。传世书迹较多，有《诗册》《杂诗卷》《千字文》《古诗十九首》《李白古风诗卷》等。《千字文》，纸本墨迹，行草书。此千字文，凡104行，每行字数不一，共1015字。纵28厘米，横463.6厘米。台北故宫博物院藏。《宝蕴楼书画记》著录。此篇《千字文》结体平稳，俯仰欹侧变化不大，可以窥见其师承王献之、虞世南的轨迹。此帖既有魏晋时期王氏父子风华俊丽、遒逸疏爽之姿，又具初唐时期虞世南的气秀色润、外柔内刚之气。从用笔方面来看，其行草气息平和，干净利落，一丝不苟，笔势凝重、洗练，笔画之间很少有连笔牵丝，字字独立，互不相连。综观此书作，典雅平淡，落落大方，草法严谨。",[49,86,119,51,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe52e5ea085681326edf964a9c7510da5.jpg",[],{"id":38683,"slug":38684,"title":38685,"dynasty":18,"author":2556,"museum":99,"description":38686,"tags":38687,"thumbUrl":38688,"material":689,"size":690,"collection":107,"collections":38689,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":75},228277,"da-mo-yi-wei-du-jiang-tu-chen-ji-ru-228277","达摩一苇渡江图","一苇渡江是达摩祖师的宗教故事。达摩传说渡过长江时，并不是坐船，而是在江岸折了一根芦苇，立在苇上过江的。",[49,23,51,84,1284,25,58,119,7,61,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c0240dfce7c73589d32eb17587517aa.jpg",[],{"id":38691,"slug":38692,"title":38693,"dynasty":146,"author":22460,"museum":99,"description":38694,"tags":38695,"thumbUrl":38696,"material":107,"size":107,"collection":107,"collections":38697,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":75},228246,"luo-fu-shan-qiao-tu-zhou-chen-ru-yan-228246","罗浮山樵图轴","一幅中国古画，作者 ，现为 收藏。\n此图画是应当地望族王氏后人的请求而画。\n近景以平房为主体，全用直线，随意交错；远山近树及宽阔溪流的描绘，笔法工致细微。\n于古画中亦为奇格。\n【名称】荆溪图 【规格】轴，绢本，浅设色，纵129厘米 横52.7厘米 【馆藏】台北故宫博物院 石渠宝笈续编重华宫著录， 画荆溪胜景，无名款。\n本画作题跋较多，有倪瓒、周砥、遂昌郑元佑、成都虞堪、王蒙、张经、王光大、陈植、张田、荆南樵人、陆大本、张监等题诗、钤印，鉴藏宝玺八玺全、嘉庆御览之宝、宣统御览之宝，收传印记□□画□、□□□印、一半印不可辨 。\n陈汝言，生卒不详，画家、诗人，字惟允，号秋水，临江（今江西清江）人，随父移居吴中（今江苏苏州）。\n元末明初时期的画家，擅山水兼工人物。\n其山水画法宗赵孟頫、董源、巨然，颇有元人遗意山水画风清润、古雅。\n传世之作《荆溪图》、《百丈泉图》（均藏台北故宫博物院），均图录于《故宫书画集》，《仙山图》、《罗浮山樵图》（均藏美国克利夫兰艺术馆 ）著有《秋水轩稿》。",[49,23,51,84,26,55,56,150,293,64,294,751,2184,2003,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59cd7beb58ec0a49ebb374be04846481.jpg",[],{"id":38699,"slug":38700,"title":38701,"dynasty":115,"author":289,"museum":99,"description":38702,"tags":38703,"thumbUrl":38704,"material":107,"size":107,"collection":107,"collections":38705,"showCount":480,"zanCount":1288,"manualWeight":39,"mainColor":75},227604,"wu-zhong-san-xian-tu-juan-li-gong-lin-227604","吴中三贤图卷","李公麟（1049～1106），舒州(今安徽桐城)人，宋代杰出画家。字伯时，号龙眠居士，享年五十七岁。熙宁三年（公元1070年）进士。李龙眠即李公麟，字伯时，安徽桐城人，因桐城县北有一龙眠山，李公麟曾长居于山下，所以又自号龙眠居士或龙眠山人。\n\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。",[49,50,23,51,52,135,25,58,86,119,7,2601,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75a8d47955d7901c90829f8ca4228c24.jpg",[],{"id":38707,"slug":38708,"title":38709,"dynasty":115,"author":116,"museum":99,"description":38710,"tags":38711,"thumbUrl":38712,"material":107,"size":107,"collection":107,"collections":38713,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},227589,"zhi-tian-min-zhi-ming-da-zhu-bao-shu-huang-ting-jian-227589","致天民知命大主薄书","《致天民知命大主薄书》亦称《与天民知命书》，作于1095年。《致天民知命大主薄书》是一则信礼，是黄庭坚的著名行书作品之一。黄庭坚的书法作品都比较奇特，他的很多书法作品都有别名，如《御刻三希堂石渠宝笈法帖释文》称《家书》，《大观录》称《家书帖》，《墨缘汇观》称《天民知命帖》，《珊瑚网》称《手简一通》等。他的书法特点是字体结构严谨，中宫稳重。",[51,86,119,30257,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bfddde26e8363b2f92566accb871ab7.jpg",[],{"id":38715,"slug":38716,"title":38717,"dynasty":5343,"author":207,"museum":99,"description":38718,"tags":38719,"thumbUrl":38720,"material":689,"size":690,"collection":107,"collections":38721,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":75},226536,"de-bao-ti-shi-can-bei-yi-ming-226536","德保题诗残碑","清乾隆32年。民国拓本",[49,2226,86,7,119,29486],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5085bc5bb470d7fb54d771f30f58e29c.jpg",[],{"id":38723,"slug":38724,"title":38725,"dynasty":2807,"author":207,"museum":5890,"description":38726,"tags":38727,"thumbUrl":38728,"material":689,"size":690,"collection":107,"collections":38729,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},226520,"jiu-mo-luo-shen-jin-gang-bo-re-bo-luo-mi-jing-shou-gao-yi-ming-226520","鸠摩罗什金刚般若波罗蜜经手稿","敦煌壁画特指中国敦煌石窟内壁的绘画艺术作品，属于世界文化遗产。\n敦煌壁画总面积5万多平方米，包括敦煌莫高窟、西千佛洞、安西榆林窟等522个石窟历代壁画，规模巨大，技艺精湛，内容丰富，题材广泛。\n敦煌壁画描绘了神的形象、神的活动、神与神的关系、神与人的关系，寄托良愿，安抚心灵。\n敦煌壁画具有与世俗绘画不同的审美特征和艺术风格，源于生活，美赏生活；源于艺术，集成艺术；源于世界，分享世界。",[1284,86,436,417,52,135,25,23567,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20afbc02f34d54a8b4b81f1b887565a2.jpg",[],{"id":38731,"slug":38732,"title":38733,"dynasty":2807,"author":207,"museum":99,"description":38734,"tags":38735,"thumbUrl":38736,"material":107,"size":107,"collection":107,"collections":38737,"showCount":480,"zanCount":1288,"manualWeight":39,"mainColor":40},225351,"fu-shi-hui-105-yi-ming-225351","浮世绘105","浅湖蓝带颗粒感的底色晕开沉静氛围，暖黄色线瓣菊舒展绽放，细长花瓣从花心呈放射状铺陈，辅以淡色阴影勾勒蓬松花型，柔润中带着舒展的锐气。墨绿叶片棱角分明，与柔媚花型刚柔相济。\n\n画面疏密有致，上方留白透气，下方花簇饱满错落，朱红印章点缀右侧，平衡青黄色调，添了一抹醒目的暖意。整体风格清雅悠然，以简洁套色定格秋菊孤高的意趣，将秋日花草的闲静风骨藏在柔婉的笔色里。",[30272,15959,25,529,332,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F954596b9cdaa8458eeb612b2008726e6.jpg",[],{"id":38739,"slug":38740,"title":38741,"dynasty":97,"author":929,"museum":99,"description":38742,"tags":38743,"thumbUrl":38744,"material":107,"size":107,"collection":107,"collections":38745,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},224315,"hua-niao-ce-shi-kai-5-li-shan-224315","花鸟册十开5","紫英垂悬如瀑，花瓣以淡墨晕染，浓淡间分出初绽苞蕾与盛放娇花，枝叶以枯笔淡绿点染，随性舒展，野趣天成。翎羽以赭黄铺陈，丹喙亮眼，禽鸟振翅欲动，垂首窥花，灵动神态跃然纸上。\n\n行书题字纵逸跌宕，笔意与画意相融，诗画合璧更添清雅文韵。兼工带写间，把花鸟生机藏于笔墨，随性又不失精致，尽显文人写意的疏朗意趣，将江乡春日花鸟的鲜活景致，凝于尺幅之间。",[49,23,51,24,25,403,119,7,27,66,307,31,265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e68e1bbf2be065a2dd861feabc0ade8.jpg",[],{"id":38747,"slug":38748,"title":38749,"dynasty":97,"author":929,"museum":99,"description":38750,"tags":38751,"thumbUrl":38752,"material":107,"size":107,"collection":107,"collections":38753,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},224313,"hua-niao-ce-shi-kai-3-li-shan-224313","花鸟册十开3","这幅写意花鸟以淡墨晕染禽鸟，借浓淡变化铺陈羽毛肌理，将小雀憨然俏立的姿态勾勒得灵动鲜活。虬曲花枝以枯笔挥就，老辣苍劲的笔力尽显藤蔓野逸之态，极简笔墨却生机饱满。\n右侧题诗与画面相映成趣，诗画交融尽显文人意趣。挣脱院体工整桎梏，以随性纵逸的笔墨抒发襟怀，将寻常小景晕染出清隽雅致的格调，诗书印浑然一体，尽显肆意洒脱的文人风骨，笔简意足，尽显水墨写意的疏朗之美。",[49,23,51,24,26,27,66,7,119,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ab6bcbfe1b99fd380c38ac8586d9a07.jpg",[],{"id":38755,"slug":38756,"title":38757,"dynasty":97,"author":1180,"museum":99,"description":1655,"tags":38758,"thumbUrl":38759,"material":689,"size":690,"collection":107,"collections":38760,"showCount":480,"zanCount":39,"manualWeight":39,"mainColor":40},224209,"shu-fa-23-wu-chang-shuo-224209","书法23",[86,541,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镇江\n鲍皋一生沉溺于诗，不事科举。其妻陈蕊珠(1714-1778)、子之钟(1740-1802)、三个女儿之兰(1751-1812)、之蕙(1757-1810)、之芬(1761-1808)都能诗，可称一门风雅。",[105,84,119,86,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c871edb19255706560ce3e465beafd.jpg",[122],{"id":39338,"slug":39339,"title":39340,"dynasty":97,"author":32870,"museum":99,"description":39341,"tags":39342,"thumbUrl":39343,"material":689,"size":690,"collection":107,"collections":39344,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},241343,"xian-chen-song-zhou-zhang-ting-ji-241343","贤臣颂轴","张廷济(1768—1848)，清代金石学家、书法家。原名汝林，字顺安，号叔未，一字说舟，又字作田，又号海岳庵门下弟子，晚号眉寿老人，浙江嘉兴新篁人。嘉庆三年（一七九八）解元，以后几次会试未中，遂家居从事学术研究和艺术创作。工诗词，风格朴质，善用典故，精金石考据之学，尤擅长文物鉴赏，一碑一器都能辨其真伪，别其源流。喜收藏各类古器文物，收藏鼎彝、碑版及书、画甚多。",[23,51,84,5663,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F716570aaa993bde615ded2ea4bbba5cc.jpg",[],{"id":39346,"slug":39347,"title":39348,"dynasty":97,"author":39349,"museum":99,"description":39350,"tags":39351,"thumbUrl":39352,"material":689,"size":690,"collection":107,"collections":39353,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},241336,"xing-kai-qian-wen-juan-fan-zhen-241336","行楷千文卷","樊镇","樊镇，（清）道士。俗名嗣曾，字主实，号竹师，一号煮石山人，清代北通州（今北京市通州）人。住白马庙。",[49,23,51,52,86,11388,417,119,418,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F516758955027818f87868c19a4cbbbe6.jpg",[],{"id":39355,"slug":39356,"title":39357,"dynasty":97,"author":39358,"museum":175,"description":39359,"tags":39360,"thumbUrl":39361,"material":7936,"size":39362,"collection":122,"collections":39363,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},241079,"jie-lu-ku-shu-fu-zhou-weng-tong-he-241079","节录枯树赋轴","翁同龢","翁同龢（1830年~1904年），字叔平，号松禅， 别署均斋、瓶笙、瓶庐居士、并眉居士等，别号天放闲人，晚号瓶庵居士，江苏常熟人，中国近代史上著名政治家、书法艺术家。体仁阁大学士翁心存第三子，咸丰六年（1856年）状元，历任户部、工部尚书、军机大臣兼总理各国事务衙门大臣。先后担任清同治、光绪两代帝师。卒后追谥文恭。\n翁同龢（hé）工诗 [16] ，间作画，尤以书法名世，幼学欧、褚，初学董其昌、米芾，中年后由钱沣上追颜真卿，又不受颜字束缚，结体宽博开张，笔画刚劲有力，风格苍浑遒劲，朴茂雍容，著有《翁文恭公日记》《瓶庐诗文稿》等。",[86,84,119,870,406,2342,405,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e2d62f228dfd929b8f50b5867966123.jpg","137.7×68cm",[122],{"id":39365,"slug":39366,"title":39367,"dynasty":97,"author":39368,"museum":99,"description":39369,"tags":39370,"thumbUrl":39371,"material":689,"size":690,"collection":107,"collections":39372,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},241061,"yi-men-ge-ti-shu-ji-shan-hua-he-juan-liu-wei-tan-241061","一门各体书及扇画合卷","刘位坦","清著名藏书家、书画家。字宽夫，号后园。顺天大兴（今属北京）人。道光五年（1825）拔贡生，咸丰元年（1851）以御史出守湖南辰州府，咸丰八年乞归。家收藏的碑帖拓本极富，典籍、金石、书画，无不收罗。后迁居孙承泽遗址，在城中广济寺建书室，因得到汉代河间献王刘德君子馆砖，遂名其居室为“君子馆砖馆”，又名“砖祖斋”又因所居孙退谷旧园后，作一联“君子馆砖馆，孙公园后园”。",[49,52,822,51,417,119,462,541,5663,54,25,7,27,56,308,102,488,57,309,251,358,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0646519a86aa98f1749e23a2fe9d187d.jpg",[],{"id":39374,"slug":39375,"title":39376,"dynasty":18,"author":207,"museum":99,"description":39377,"tags":39378,"thumbUrl":39379,"material":689,"size":690,"collection":107,"collections":39380,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":75},240951,"jiang-nan-chun-yi-ming-240951","江南春","此作为行书册页，用笔爽利劲挺，牵丝映带间尽显灵动意趣，结体欹正相生，章法错落自然。通篇笔墨干湿浓淡富于变化，开篇疏朗，渐次茂密，行气连贯如一。将春日江南的缱绻诗意融于笔墨，笔意随文辞起伏，把春景的柔婉与书写的洒脱相融。字里行间既有文人的清雅书卷气，又不失行书的舒展飘逸，笔墨晕染出江南春日的朦胧柔媚，书文相合，尽显尚态抒情的典型特质，是一件兼具文学意趣与书法美感的佳作。",[51,86,119,26,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a4b0ad292172f0d9b6204b4720c6dd4.jpg",[],{"id":39382,"slug":39383,"title":39384,"dynasty":18,"author":29810,"museum":99,"description":29937,"tags":39385,"thumbUrl":39386,"material":689,"size":690,"collection":107,"collections":39387,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},240895,"shi-ju-zhou-ni-yuan-lu-240895","诗句轴",[23,51,86,84,119,462,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe11b62d5770e8b24a955eeae11cc1c7f.jpg",[],{"id":39389,"slug":39390,"title":35311,"dynasty":97,"author":2109,"museum":81,"description":39391,"tags":39392,"thumbUrl":39395,"material":319,"size":39396,"collection":122,"collections":39397,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},240710,"shi-juan-liu-yong-240710","本幅为刘墉书写杜甫诗句之手卷，书于水红色、钩金花的纸张上，十分别致。起始的一首诗题名为“缚鸡行”，叙述小仆绑着鸡要到市中去卖，引起了诗人对人、鸡、虫三者间的一些感概，内容颇有意趣。至于在书法方面，圆润婉转的字体，看似柔软无骨，实际上却是将劲道隐藏于丰厚的外貌中，相当的内敛，前人评论刘墉的书法为棉里裹针，应即此意了。",[49,86,119,52,7,944,56,946,345,310,39393,39394,5209,1595,1207,332],"星","火","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb205c3850b765c4e2b6b30fd470f7041.jpg","金笺22.5x232cm",[122],{"id":39399,"slug":39400,"title":39401,"dynasty":97,"author":207,"museum":175,"description":39402,"tags":39403,"thumbUrl":39404,"material":39405,"size":39406,"collection":122,"collections":39407,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},240704,"yang-fa-zhuan-shu-qi-yan-shi-zhou-yi-ming-240704","杨法篆书七言诗轴","释文：\n落日微风倚石龛，人从江北望江南。连山不断翻波浪，夕鸟遥空飞二三。六代繁华消浊酒，一时士女擅清谈。长江天堑成虚语，千里楼船许猷探。呼吸真堪帝座通，名花迥出百花丛。繇来天上根株异，可许人间富贵同。色丽云霞共近远，既浮烟霭气冲融。临风更向瑶台立，似有霓裳奉碧空。乾隆壬午仲秋日。上元杨法。\n款署：“乾隆壬午仲秋日。上元杨法。”钤“杨法印信”朱文印、“杨已军印”白文印，鉴藏印钤“龙友审定”朱文印。\n款署“乾隆壬午”为乾隆二十七年（1762年）。作者时年66岁，为晚年作品。\n本幅书体为篆书的一种变体，用笔呈蜿蜒盘曲之状，并兼有隶书的笔画，富有装饰效果。",[86,541,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29f405887ada08f1c10da69a61f6b38a.jpg","纸本，篆书","纵120.3厘米，横28.9厘米",[122],{"id":39409,"slug":39410,"title":39411,"dynasty":97,"author":18133,"museum":99,"description":25815,"tags":39412,"thumbUrl":39413,"material":689,"size":690,"collection":107,"collections":39414,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},240278,"wang-duo-lin-ou-tie-zhou-wang-duo-240278","王铎临欧帖轴",[86,119,134,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b7f8f8bcba128cc578b9c3f071dc860.jpg",[],{"id":39416,"slug":39417,"title":39418,"dynasty":97,"author":445,"museum":175,"description":31806,"tags":39419,"thumbUrl":39420,"material":107,"size":107,"collection":122,"collections":39421,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},240038,"yuan-ji-dui-xue-shi-ye-shi-tao-240038","原济对雪诗页",[50,23,51,86,119,7,105,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eb5b79f4c7f387675ed4c8066ff45ec.jpg",[122],{"id":39423,"slug":39424,"title":39425,"dynasty":97,"author":39426,"museum":39427,"description":39428,"tags":39429,"thumbUrl":39430,"material":107,"size":39431,"collection":122,"collections":39432,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},239951,"jie-lu-han-shu-zhou-cao-xiu-xian-239951","节录汉书轴","曹秀先","常州市博物馆","曹秀先（1708—1784），字恒听，又字芝田、冰持，号地山，江西南昌新建县人。清朝翰林，政治人物，文学家，书法家。为官清廉，人称“诚敬勤慎”。为《四库全书》馆总裁，乾隆帝曾特赐“紫禁城骑马”的特殊待遇。书法，取法钟、王，自成一家。",[86,119,84,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb34ebebe7c2b12228392512fbb4aaa.jpg","97×46.1cm",[122],{"id":39434,"slug":39435,"title":39436,"dynasty":18,"author":39437,"museum":99,"description":39438,"tags":39439,"thumbUrl":39440,"material":107,"size":107,"collection":122,"colle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《法书通释》分十篇：八法、结构、执使、篇段、从古、立式、辨体、名称、利器、总论。多汇集晋、唐以来名家之论，间及苏轼、黄庭坚、姜夔之说，所取古人碑帖至唐而止，然均为习见之文。立式篇“辨古无真书之名，钟、王楷书皆是隶法”一条，足正近代俗者之陋。",[49,86,52,119,418,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e46960c1b670d0173f9d60a749a4e3.jpg",[122],{"id":39469,"slug":39470,"title":9185,"dynasty":146,"author":39471,"museum":99,"description":39472,"tags":39473,"thumbUrl":39474,"material":107,"size":107,"collection":107,"collections":39475,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":75},239642,"shi-tie-gu-lu-239642","顾禄","此作隶法醇正古雅，用笔敦实厚重，蚕头燕尾的汉隶范式鲜明，又暗糅楷法的端稳方正，消解了汉隶的开张恣肆，平添温静秀雅的意趣。结体匀整工稳，重心沉凝，笔画波磔舒展有度，粗细变化含蓄内敛。\n\n章法排布行列齐整，字距疏朗、行距紧凑，通篇气息浑融平和，墨色沉郁饱满，尽显静穆端方的庙堂气质。既恪守复古求正的书风意趣，又在法度之内流露文人隽秀的审美品格，笔墨间古意盎然，是复古思潮下颇具代表性的隶书名迹。",[86,417,7,418,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84ef7f412b982583f28298b4a21e4f2a.jpg",[],{"id":39477,"slug":39478,"title":39479,"dynasty":146,"author":39480,"museum":175,"description":39481,"tags":39482,"thumbUrl":39483,"material":319,"size":39484,"collection":122,"collections":39485,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},239583,"yu-he-zi-shu-shi-juan-yu-he-239583","俞和自书诗卷","俞和","《自书诗》卷为俞和自作、自书七言诗8首，描写他拜僧访友、游历山水的情景。 此书中的第一首诗《次陆秀才春日幽坐韵》，俞氏曾不止一次地书写，其所书《杂诗帖》卷中的第一首也是此诗，盖其得意之作，故常为人书之。俞和之书法结体稳妥，功力深厚，学赵孟頫晚年书。陈敬宗在题跋中赞云：“俞紫芝书笔意清婉，姿态风润，盖兼得赵松雪之神魄，至不能辨其真赝，可爱也。” 此诗卷曾经明项元汴、清陈子受等收藏，清乾隆年间入内府。清卞永誉《式古堂书画汇考》、安岐《墨缘汇观》著录。",[49,50,23,51,52,119,86,7,418,2601,502,501,5348,5349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c08d9bd33cc189cb73b6b68d58ab20.jpg","纵28.8cm，横216.7cm",[122],{"id":39487,"slug":39488,"title":39489,"dynasty":146,"author":376,"museum":175,"description":39490,"tags":39491,"thumbUrl":39492,"material":18290,"size":39493,"collection":122,"collections":39494,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},239564,"ai-hou-tie-ye-wang-meng-239564","爱厚帖页","释文：\n蒙顿首再拜\n德常判府相公尊契兄，恃在爱厚，輙为禀白：友人林静子山，吴兴人，亦赵氏之甥也。读书博学，多艺能，而未有成名。欲权于彼学中养赡，得三石米足矣。用是求书专注，望介注为祷。斯人年幼而多学，亦公家所当养者。王府君处意不殊此，未由晤会，万冀调攝，以膺峻擢，不具。二月廿四日，王蒙顿首再拜，余控。\n帖后钤“也园珍赏”、“世受堂”两方鉴藏印。\n无题跋。\n《爱厚帖》是王蒙存世的唯一一通尺牍，弥足珍贵。此信写给做官的朋友“德常判府”，内容是举荐他的朋友林静（赵孟頫的外孙），请求给其安排一份工作，并介绍了此人“读书博学，多艺能”等特点。德常，名张经，字德常，金坛（今镇江）人。其父张监、弟张枢与王蒙、倪瓒交往密切。元至正二十二年（1362年）张经曾任松江府判官，书中称“判府相公”，可知此信应书于至正二十二年以后，是王蒙中年的作品。\n此书学赵孟頫，不仅点画转折具赵书规模，结体也仿学极似，且笔墨圆润流畅，风格清劲飘逸。明吴宽《匏翁家藏集》云：“黄鹤山人书，当不在赵魏公下。”\n《元诸名家尺牍册》、《石渠宝笈初编》著录。",[146,119,86,51,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febd610f72ada49e0203ea8b31f3a88d5.jpg","纵33.3厘米，横58.7厘米",[122],{"id":39496,"slug":39497,"title":9034,"dynasty":97,"author":39498,"museum":99,"description":39499,"tags":39500,"thumbUrl":39501,"material":689,"size":690,"collection":107,"collections":39502,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},239023,"mo-mei-tu-zhou-yao-xie-239023","姚燮","姚燮（1805年—1864年），字梅伯，号复庄，又号大梅山民、上湖生、某伯、大某山民、复翁、复道人、野桥、东海生等，浙江宁波府镇海县崇邱乡姚家斗（今属宁波市北仑区下邵乡）人，祖籍浙江诸暨。晚清文学家、画家。\n道光举人，以著作教授终身。治学广涉经史、地理、释道、戏曲、小说、红学、诗歌、书画等多个领域。五岁赋诗，一生作诗万首。又擅画人物花鸟，尤精墨梅，人称“大梅先生”。\n著有《复庄诗问》《复庄骈俪文榷》《疏影楼词》《今乐考证》《红楼梦纲领》《退红衫》《梅心雪》《苦海航》等，编有《今乐府选》《皇朝骈文类苑》等，所著编为《大梅山馆集》传世。",[23,51,84,26,27,528,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa90a32b36989d503119f8b789a313eb6.jpg",[],{"id":39504,"slug":39505,"title":15603,"dynasty":97,"author":341,"museum":99,"description":10840,"tags":39506,"thumbUrl":39507,"material":107,"size":107,"collection":107,"collections":39508,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},238833,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238833",[23,51,24,25,56,55,86,7,60,61,64,63,870,406,379,294,2003],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c6eba943f2863483400997f8cce665d.jpg",[],{"id":39510,"slug":39511,"title":39512,"dynasty":97,"author":2322,"museum":99,"description":39513,"tags":39514,"thumbUrl":39515,"material":107,"size":107,"collection":70,"collections":39516,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":75},238535,"shan-shui-xiao-ce-qian-wei-cheng-238535","山水小册","以干淡笔墨皴擦山峦丘壑，浓淡墨色晕出层叠景深。林麓间村居错落依水而建，杂木苍秀萧疏，尽显山野幽居的闲逸散淡。淡紫轻晕云气，沿册页边角漫开，为咫尺画幅晕出空濛缥缈的意趣，将秋日山居的清寂安闲凝于尺幅间。\n\n笔墨清隽简雅，不着浓丽敷色，全以墨色层次区分山川肌理，简淡中暗含章法。萧散的文人意趣藏于每一处皴擦点染之间，观之如临林泉，静享田园闲静之致。",[23,51,24,26,55,56,870,406,871,1207,727,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd10b34553d9b8d1d07a3932b261aec8c.jpg",[70,242],{"id":39518,"slug":39519,"title":39520,"dynasty":97,"author":12462,"museum":99,"description":39521,"tags":39522,"thumbUrl":39523,"material":107,"size":107,"collection":107,"collections":39524,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":75},238213,"duan-yang-gu-shi-ce-xu-yang-238213","端阳故事册","垂柳依依拂岸，数位仕民驻足河沿，引颈望向水面竞渡的龙舟。衣袂飘然的人物各有情态，或抬指点评，或牵孩眺望，将观赛时的热切尽兴尽数藏于眉目间。水面晕开浅淡波纹，龙舟破浪而行的勃发气势呼之欲出。\n\n整作设色清润雅致，笔触工细温婉，将端阳观渡的民俗盛景晕染得鲜活生动，把清代市井端午的融融节庆意趣，收纳于绢本方寸之间，恬淡里满溢着烟火暖意，尽显民俗写生的细腻情致。",[23,51,24,25,54,58,598,1977,15555,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b9d5e5b7a0c75f0bd9ae99801bcd317.jpg",[],{"id":39526,"slug":39527,"title":8325,"dynasty":97,"author":697,"museum":20,"description":14646,"tags":39528,"thumbUrl":39529,"material":779,"size":14649,"collection":107,"collections":39530,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},238073,"mei-hua-tu-ce-wang-shi-shen-238073",[23,51,24,25,27,528,358,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8077560f467083166b093ee2047739b.jpg",[],{"id":39532,"slug":39533,"title":7228,"dynasty":97,"author":39534,"museum":99,"description":39535,"tags":39536,"thumbUrl":39537,"material":689,"size":690,"collection":70,"collections":39538,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},237910,"shan-shui-ce-cheng-ming-237910","程鸣","清代中早期画家、文人、收藏家,安徽歙县人,字友声,号松门,乾隆诸生。",[23,51,24,26,55,56,66,62,727,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e13b89d02fa3b9a8a59930c7c3adddf.jpg",[70],{"id":39540,"slug":39541,"title":39542,"dynasty":18,"author":524,"museum":99,"description":11451,"tags":39543,"thumbUrl":39545,"material":689,"size":690,"collection":107,"collections":39546,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},237839,"lin-mu-feng-yan-shan-xiang-sheng-mo-237839","林木风烟扇",[822,23,26,55,1936,64,150,39544,7],"烟雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefd98f5039969981c6fc02ae5d47c211.jpg",[],{"id":39548,"slug":39549,"title":39550,"dynasty":18,"author":13743,"museum":99,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梦楼抚琴图轴 年代：清 作者：王肇基 特征：绢本，设色 尺寸：纵54cm，横26.4cm。\n本幅王肇基题：“爱镜者美人，爱剑者侠客，名士则爱砚，嗜好各成癖。\n先生放达人，耽此琴三尺，世俗竞淫哇，太古音谁识？庚辰孟夏月，梦楼宗台抚琴图。\n王肇基绘并题。\n”下钤“王肇基印”白文印、“镜香”朱文印。\n“庚辰”为清乾隆二十五年（176年），这一年，王肇基6岁，王文治（号梦楼）1岁。\n“孟夏月”则正值会考结束，殿试、御赐之前。\n王文治在这年的五月初十日得中进士第三人。\n图绘王文治在室内的画像。\n他手持折扇神情淡定地端坐在木椅上，身旁条案上摆有古琴和香炉，身后的花架上则置有盛开的兰花一盆。\n虽然点景物象不多，但是它们高低错落的陈设，丰富了画面的纵深空间，同时，也映衬出像主王文治幽兰般的君子心志和以琴瑟为伴的文化素养。",[23,51,84,25,58,178,5851,4458,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2463e961b794a748f0e3b21f09314859.jpg",[],{"id":39695,"slug":39696,"title":22209,"dynasty":97,"author":11881,"museum":99,"description":39697,"tags":39698,"thumbUrl":39699,"material":391,"size":107,"collection":107,"collections":39700,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},235037,"hua-ji-chan-yin-tu-ce-xiao-chen-235037","萧晨（生卒年不详），字灵曦，号中素，江苏扬州人。清初画家，李寅弟子，善画山水、人物，画雪景最为有名。虽以卖画为生，但时以诗人自居。",[105,23,51,24,25,26,58,137,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21b9ea68fd581d7e4f943cc27d68e501.jpg",[],{"id":39702,"slug":39703,"title":5869,"dynasty":97,"author":445,"museum":175,"description":6295,"tags":39704,"thumbUrl":39705,"material":566,"size":6298,"collection":107,"collections":39706,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},235007,"yuan-ji-shan-shui-tu-ce-shi-tao-235007",[23,26,25,55,86,7,56,150,64,610,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f95e070eb30a633e86a181baaa50863.jpg",[],{"id":39708,"slug":39709,"title":39710,"dynasty":18,"author":207,"museum":99,"description":39711,"tags":39712,"thumbUrl":39713,"material":689,"size":690,"collection":107,"collections":39714,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":8519},234935,"zhao-shu-ban-shen-xiang-zhou-yi-ming-234935","赵曙半身像轴","此作以工整写实的笔触描摹帝王容仪，展脚幞头挺括规整，朱红朝服沉穆厚重，尽显九五之尊的威仪。画师精细晕染面部肌理，方正眉眼自带端凝神色，须髯丝丝分明，将帝王内敛持重的气度刻画入微。设色调和古雅，素净背景更衬出人物主体，笔笔恪守院体肖像的严谨法度，于细微处见功底，把帝王肃穆沉静的神态铺陈绢上，是古代帝王肖像中兼具写实性与传神度的工整佳构。",[50,23,51,84,25,58,54,8547,180,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1b5e2459d74a974d5c7ae7b0dfee9a4.jpg",[],{"id":39716,"slug":39717,"title":39718,"dynasty":18,"author":207,"museum":99,"description":39719,"tags":39720,"thumbUrl":39721,"material":689,"size":690,"collection":107,"collections":39722,"showCount":284,"zanCount":1288,"manualWeight":39,"mainColor":75},234933,"yao-guang-xiao-xiang-zhou-yi-ming-234933","姚广孝像轴","此作写实工致，将人物沉静肃穆的高僧气度尽显无遗。画中之人面相圆和，神态内敛淡然，端坐于雕花宝座之上，手持拂尘，仪容端方。衣色以沉稳朱褐搭配雅致石青，衣身织锦纹样精细繁复，暗衬出尊崇身份。画师笔下细节入微，宝座纹饰、足下登履皆描摹细致，既恪守肖像画纪实本真，又以精谨笔触烘托出人物不凡的气场，尽显明代肖像画写实传神的精妙功底。",[23,84,58,1284,25,54,180,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1b2d3e458a455e6a62e34502ba1510c.jpg",[],{"id":39724,"slug":39725,"title":23350,"dynasty":18,"author":5509,"museum":99,"description":39726,"tags":39727,"thumbUrl":39728,"material":689,"size":690,"collection":107,"collections":39729,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":75},234832,"shan-shui-shan-wei-zhi-ke-234832","魏之克（明），后名克，字和叔，上元（今南京）人。之璜弟，与兄卖画为生。工诗，善山水追宗宋元，得其兄法。兼作工装。笔法秀美，姿颜软媚，有不胜罗绮之态。",[822,23,26,56,59,62,150,64,86,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57589074d4997912e0900d20e4b199ca.jpg",[],{"id":39731,"slug":39732,"title":28216,"dynasty":18,"author":10700,"museum":99,"description":10701,"tags":39733,"thumbUrl":39734,"material":689,"size":690,"collection":107,"collections":39735,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},234830,"shan-shui-shan-ye-lan-ying-234830",[822,23,51,50,26,56,967,62,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7ffc56d629f48afc48a85f98b53415e.jpg",[],{"id":39737,"slug":39738,"title":39739,"dynasty":97,"author":39740,"museum":99,"description":39741,"tags":39742,"thumbUrl":39743,"material":107,"size":107,"collection":107,"collections":39744,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},234783,"mo-xie-bin-hua-fu-shan-xiang-zhou-wang-yin-zhai-234783","摹谢彬画傅山像轴","王荫斋","傅山（1607—1684年），字青竹，后改青主，一字仁仲，别署公之它（一作他），号朱衣道人等，阳曲（今山西太原）人。明亡后隐居不仕，以行医为生。清康熙十七年（1678年）举博学鸿词科，强征至京，以死拒，放归。能绘画，精医学。书法篆、隶、真、行、草无所不精，以草书最富特色，笔力雄奇恣肆，追求生拙真率的艺术境界，是清初书坛大家。有《霜红龛集》行世。《清史稿》列传二百八十八有传。",[23,51,84,25,58,871,150,379,4803,4711,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a7897ca39a968a036ec4605782e1aa5.jpg",[],{"id":39746,"slug":39747,"title":39748,"dynasty":18,"author":39749,"museum":99,"description":39750,"tags":39751,"thumbUrl":39752,"material":107,"size":107,"collection":107,"collections":39753,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":75},234678,"dou-jia-tang-lang-ce-ye-zhong-qin-li-234678","豆荚螳螂册页","钟钦礼","钟礼，字钦礼，号南越山人，尤擅画云山、草虫。此图采用没骨画法，描绘一只螳螂立在豆荚枝上，饱含生趣。",[23,51,24,25,27,7478,4241,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bf9c79368b74a231edc491d8e98dc18.jpg",[],{"id":39755,"slug":39756,"title":39757,"dynasty":18,"author":10700,"museum":99,"description":34407,"tags":39758,"thumbUrl":39759,"material":107,"size":107,"collection":107,"collections":39760,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor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赫奕-山水图册现藏于旅顺博物馆。",[23,26,55,24,56,150,64,61,62,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ec31a4d716636ef879ba0054929c3de.jpg","34.6cmx25cm",[],{"id":39779,"slug":39780,"title":17147,"dynasty":97,"author":17148,"museum":99,"description":17149,"tags":39781,"thumbUrl":39782,"material":391,"size":107,"collection":107,"collections":39783,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},234282,"hua-guo-ce-wang-yun-234282",[23,51,24,25,54,27,332,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312d93e1c96a34a8af1e9144398b63ad.jpg",[],{"id":39785,"slug":39786,"title":39787,"dynasty":97,"author":12638,"museum":99,"description":39788,"tags":39789,"thumbUrl":39790,"material":107,"size":107,"collection":35,"collections":39791,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},234266,"bie-you-feng-wei-ce-huang-shen-234266","别有风味册","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。",[49,23,51,24,135,26,462,7,6442],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef705fcbf5ff2df82c1954a51e8bbcbd.jpg",[35],{"id":39793,"slug":39794,"title":39795,"dynasty":146,"author":4363,"museum":175,"description":39796,"tags":39797,"thumbUrl":39798,"material":183,"size":4367,"collection":107,"collections":39799,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},234034,"long-gong-shui-fu-tu-ye-zhu-yu-234034","龙宫水府图页","此图取材于唐人小说《柳毅传》中“柳毅传书”的情节，描述洞庭龙王之女饱受丈夫虐待，在泾河岸边牧羊，秀才柳毅偶遇龙女，仗义为之传书，终使龙女得救的故事。作者选取柳毅下马揖见、龙王率众侍从出门迎请的一瞬，大不盈尺的画面充满了情节性和戏剧性。龙王宫阙上下翻腾起伏的海浪交代出与凡间迥异的环境，柳毅的平静与龙王的恭谨成功地刻画出人物的性格和心态，而画面上端的一片空白，迷濛苍茫，似云似雾，延展了画意，营造了意境。宫阙的描绘虽然用直尺界笔，但造型简括准确，线条粗放有力，异于元代流行的工谨精细的白描建筑画之风。",[25,54,58,405,225,61,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63a0f25b8472cb41c8abd15d643a6135.jpg",[],{"id":39801,"slug":39802,"title":32380,"dynasty":115,"author":207,"museum":175,"description":39803,"tags":39804,"thumbUrl":39805,"material":227,"size":39806,"collection":107,"collections":39807,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":75},234000,"shan-po-lun-dao-tu-ye-yi-ming-234000","这幅画描绘了山中一块平坦的地方，有几根竹枝。 左侧形似桃花，隐隐现出屋脊； 一个僧人和一个人坐在石头上，坐着说话，画的右边，一个男孩站着，拿着棍子听着，身后岩石上的树枝细细弯曲。 这幅画的风格与夏圭相似。",[23,51,24,26,25,58,56,358,137,7,55,32383],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f4197b57f0834d525f742c53aa0b38e.jpg","20X20cm",[],{"id":39809,"slug":39810,"title":39811,"dynasty":97,"author":34164,"museum":175,"description":39812,"tags":39813,"thumbUrl":39814,"material":391,"size":39815,"collection":107,"collections":39816,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},233951,"ba-wei-zu-xiang-zhou-min-zhen-233951","巴慰祖像轴","本幅有元焕枢题名“雋堂居士像”，金榜、达生、嗣生三家题记，吴云蒸观款，裱边有韩廷秀、程振甲等七家题记。\n画面上，巴慰祖约50岁年纪，身着青杉，外披红袍，端坐在蓝底黄花的蒲垫上，神态安详，面部瘦削，目光矍铄，但似有倦容，使人联想到顾恺之笔下维摩诘“轻羸示病之容，隐几忘言之状”的情形，可知此图作于巴氏生病之时。画家用写实画法，精细逼真，人物面部吸取“波臣派”画法，细笔勾勒，淡色晕染，深色画阴影，凹凸感显而易见。画家以色彩的运用表现人物的个性特征，两颧、双颊、眼窝交待清晰，衣纹用笔细劲，转折略有顿挫，敷色讲究，画面古朴典雅，注重形式与内容统一的整体感，将笔下的肖像表现得形神兼备，此图堪称闵贞之精品。",[23,51,84,58,25,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2675914ee742ce720b495cfcb33ee35.jpg","纵103.5厘米，横31.6厘米",[],{"id":39818,"slug":39819,"title":35718,"dynasty":97,"author":25199,"museum":175,"description":37136,"tags":39820,"thumbUrl":39821,"material":391,"size":37139,"collection":107,"collections":39822,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},233891,"huang-shan-tu-ce-mei-qing-233891",[23,51,24,26,25,56,55,86,7,2001,871,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F291696afa7319434a5c86ab9e6c655f8.jpg",[],{"id":39824,"slug":39825,"title":39826,"dynasty":146,"author":1303,"museum":175,"description":39827,"tags":39828,"thumbUrl":39829,"material":668,"size":39830,"collection":107,"collections":39831,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":75},233885,"wu-zhu-xiu-shi-tu-zhou-ni-zan-233885","梧竹秀石图轴","图中绘湖石挺立，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。",[23,51,84,26,358,1238,277,7,119,86,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe669021468b32b5f44f9d6226b16a7dc.jpg","纵96厘米，横36.5厘米",[],{"id":39833,"slug":39834,"title":39835,"dynasty":18,"author":21686,"museum":175,"description":39836,"tags":39837,"thumbUrl":39838,"material":1561,"size":39839,"collection":107,"collections":39840,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},233843,"bi-hu-zhu-shu-tu-zhou-shen-hao-233843","闭户著书图轴","画面苍松下篱门紧闭。窠石小溪，书屋内一人凭几挥笔著书。用笔工细严谨。自识“闭户著书多岁月，种松皆作老龙麟。安素先生，抱道高棲，日著书万言。穆如之风，真追支、许。其次公原定，逸才清骨，与予有缟紵之谊。近闻遷乔，写此代贺。癸酉中秋，朗道人颢”。钤“朗倩”白文方印等。另钤“乾隆御览之宝”等鉴藏印多方。按癸酉为崇祯六年，公元一六三三年，作者时年四十八岁。此图曾经清内府收藏。《石渠宝笈》著录。",[23,51,84,26,25,55,119,86,7,137,610,727,58,277,13982],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f512c1583ae2897dc676a32f26a2c32.jpg","纵96.2厘米，横40.7厘米",[],{"id":39842,"slug":39843,"title":34438,"dynasty":97,"author":445,"museum":175,"description":34439,"tags":39844,"thumbUrl":39845,"material":391,"size":34442,"collection":107,"collections":39846,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},233776,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233776",[23,51,24,25,56,58,727,64,150,1207,86,119,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4915b7fd405c9234966f025821e03ed9.jpg",[],{"id":39848,"slug":39849,"title":34466,"dynasty":97,"author":445,"museum":99,"description":7979,"tags":39850,"thumbUrl":39851,"material":668,"size":7982,"collection":107,"collections":39852,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},233691,"yuan-ji-lan-zhu-ce-lan-shi-shi-tao-233691",[23,26,24,251,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e224dbd84a4eb93b5effb45a3ce2c52.jpg",[],{"id":39854,"slug":39855,"title":9614,"dynasty":97,"author":655,"museum":175,"description":9615,"tags":39856,"thumbUrl":39857,"material":9618,"size":9619,"collection":107,"collections":39858,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},233396,"shan-shui-ren-wu-ce-jin-nong-233396",[23,51,24,25,56,58,60,137,57,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54429029827b441643489512e15b13be.jpg",[],{"id":39860,"slug":39861,"title":9614,"dynasty":97,"author":655,"museum":175,"description":9615,"tags":39862,"thumbUrl":39863,"material":9618,"size":9619,"collection":107,"collections":39864,"showCount":284,"zanCount":1288,"manualWeight":39,"mainColor":40},233395,"shan-shui-ren-wu-ce-jin-nong-233395",[23,51,24,25,135,26,56,58,137,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb161be310fe9e34df6500fcd1d828736.jpg",[],{"id":39866,"slug":39867,"title":9614,"dynasty":97,"author":655,"museum":175,"description":9615,"tags":39868,"thumbUrl":39869,"material":9618,"size":9619,"collection":107,"collections":39870,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},233393,"shan-shui-ren-wu-ce-jin-nong-233393",[23,51,24,26,25,56,279,64,119,7,277,61,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b508b39647df860015e33b12d744377.jpg",[],{"id":39872,"slug":39873,"title":5957,"dynasty":97,"author":445,"museum":99,"description":5958,"tags":39874,"thumbUrl":39875,"material":319,"size":5962,"collection":107,"collections":39876,"showCount":284,"zanCount":39,"manu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往来。\n凭着对南京画家的了解，周亮工对南京画风的演变和发展曾提出一些观点：“秣陵画，先知惟魏考叔兄弟，翰之出，而秣陵之画一变，士夫衲子无不宗之。”继被视为金陵画派先驱人物的魏之璜（字考叔）、魏之克兄弟和朱翰之后，又由周亮工率先提出“金陵八家”一说，他所列名的八位画家为：陈卓、吴宏、樊圻、邹喆、高岑、武丹、蔡泽、李又李。然而认同者仅有乾隆年间成书的《上元县志》，稍后活动于雍乾时期的张庚，在《国朝画徵录》中合称龚贤、樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪为“金陵八家”，得到较多人的认可。清末秦祖永的《桐荫论画》、李浚之的《清画家诗史》等均主其说，虽然这八家并不一定代表当时知名度最高的画家，且因其师承不同，风格迥异，也难以简单地以“画派”一词来归纳，但这一个松散的画家群体，都有着相近的生活经历和思想感情，在动荡的明清之际，有亡国之痛，有忠君之义，不事新朝，遁迹山林，以诗画寄兴，虽然个性各异，但都安贫乐道，洁身自好，在当地享有“高士”之名，彼此间亦有诗文书画往来，并有共同的朋友圈子相交往。他们之间也有较多共同的创作思想，如借绘画抒写真情，不拘于派系之争，不论浙派吴派，善法必学，故能自辟蹊径，标树己风。在笔墨技法上也有相似之处，如常用硬直之笔，作整饬的线条，画面结构清晰，注重笔墨的整体感，讲究墨色的对比和映衬等，在作画题材上多以南京近郊山水为粉本，均表现出一种简朴平实的绘画风格，由此形成17世纪金陵山水画的独特 面貌。\n\n二、17世纪金陵山水画的文化特征\n金陵画家所创的山水画，具有比较鲜明的地方特色。首先是表现了南京及附近的山水特点。南京虽然为青山环绕，但基本上是以小山头为主的丘陵地带，钟山最高峰也不过海拔442米，然而山色秀美苍润。时人顾起元曾赞叹道：“金陵之山，形家言为南龙尽处，精华之气发露无馀，故其山多妍媚，而郁纡烟容岚气，遝翠霏青，望之如古佛顶上之螺，美人眉间之黛，而特未有奇峰削壁拔地刺天，如瑶篸玉剑突起于云霄之上者。江水一泻千里，沙腾浪涌，天日为昏，最为怪伟。至静夜无风，江声隐起，余尝夜卧洪济燕矶听之，汹汹如欲崩四壁也。后湖泓渟坦沲，堤杨洲菼，绰约媚人，山色四围，如靓妆窥镜。湖山之美，何减虎林。所少者独瀑布与寒泉耳。”金陵画家创作的山水便多以此山景水色为蓝本，起伏的丘陵，苍秀的林木，而北方的那种雄浑伟岸的大山大势则比较少见。第二是南京连接江南水乡，河湖港汊较多，行船泊舟，最是司空见惯，故画家笔下江汀舟楫之景多见，岸矶草亭也成了常见的景色。第三，江南的空气湿润，云雾时起于山林，烟霭常生于河湖，尤其南京冬天昼夜温差有异，水面易生烟气，夏天炎热闷湿，暑气常多漫漫，又似薄雾轻烟，与天相接。在诗人画家的笔下，这氤氲的云烟是别饶情趣的。唐代诗人杜牧在《夜泊秦淮》中歌咏道“烟笼寒水月笼沙”，罗隐在《金陵夜泊》中歌咏“冷烟轻淡傍衰丛”，明代诗人顾梦游则有诗句道“落日淡生烟”，龚贤有诗道“老柳迷夕阳，烟波涨南浦”。画家笔下的金陵山水因此亦多云烟缭绕之状，几乎每个画家都有描绘，其表现或柔和或飘逸或湿润或轻扬，因景因情，因画家的感受不同而富于变化。第四，金陵山水中表现当地特色的景物较多见，例如：钟山的松树。据记载，钟山自东晋时便人工植松，宋代也曾种植，明代在钟山建造明代开国皇帝太祖朱元璋的孝陵，更是植松十万株。钟山青松便成为此一时期常见的山水画题材。第五，金陵山水画中有许多表现了当时文人生活时尚和爱好的内容，如山居、书屋、旅行、品茗、赏妓等，因南京为一著名的山林城市，这些反映时尚的画面也大多安置在秀丽的自然景观中。\n金陵山水画中也映现出浓重的怀旧情结。南京以名胜古迹、文化遗风和风流时尚著称，其处处可成为触景生情的诗、落笔成文的画。在诗人墨客的笔下，金陵怀古是一个永恒的题材，尤其是六朝的名胜典故，更是一个千古难解的情结，令一代又一代的文人陶醉。自唐代以来，诗人李白、杜甫、李商隐、刘禹锡都有著名的诗句传世，此后历代的诗人都不乏佳句。明末清初的文人诗作中或金陵山水画中若题有诗歌的，常常都会流露出这种对以往历史的追怀，六朝的名胜典故总像幽灵一样地在文人的诗画中徘徊。龚贤曾作《金陵怀古》二诗道：“短笛唤愁生，江船夜复清。月明争战地，潮打受降城。残柳欲无影，哀鸿只一声。石矶飞不去，凄绝古今情。”以西晋克吴、孙皓受降的六朝典故，抒发自己亡国的哀痛情怀。又有诗道：“江南六代风流地，白下多年翰墨场。古物已无王逸少，名人独剩顾长康。量宽嗜酒难逢醉，才大论诗莫禁枉。急办青钱买山隐，坐听深树候莺簧。”诗中综述六朝的文化和影响，表现出对王羲之、顾恺之等名人和六朝饮酒论诗等风流时尚的倾慕追往。\n即使那些暂居或游访过南京的画家，对南京也是难以忘怀。17世纪的著名画家石涛曾有册页名《秦淮忆旧》，为应友人之邀而作，回忆昔日与友人同在南京秦淮赏梅聚会的往事，亦引用六朝典故，其中一幅题画诗道：“沿溪四十九回折，搜尽秦淮六代奇。雪霁东山谁著屐，风高西壑自成诗。应怜孤瑟长年伴，具剩槎矛只几枝。满地落花春未了，酸心如豆耐人思。”六朝的文化，就像是一种范式，在明末清初的文人心中反复地出现和被吟咏，足见这种历史怀旧情结的坚韧。\n其三，金陵山水画反映出强烈的热爱故乡的情怀。17世纪，以地方景色为题的山水画比较流行，例如南京博物院收藏有明代宋懋晋的《江南十八景图册》、吴县一带的画家以虎丘山为题的绘画等，是文人画走向社会的表现，也是市民文化发达的结果，而以金陵风景名胜为题的山水画尤其突出。南京人爱恋故乡的强烈和真挚的程度是其他古都历史上所少见的。早在六朝之初的孙吴时期（甘露元年，265年），当吴末帝孙皓由建邺（今南京）迁都湖北武昌，百姓便有童谣道：“宁饮建邺水，不食武昌鱼。宁还建邺死，不止武昌居。”这种不计生死的眷恋，只得让吴帝于次年还都建邺，这在中国历史上恐怕也是绝无仅有的。另一个著名的例子是南唐后主李煜在被宋人俘获北上后，所作诗词中透露对故国山河的深深怀念，令人愁绝痛绝，“恰似一江春水向东流”，是超越时空界限的永远的伤怀。明清之际，金陵八家中，除樊圻和胡慥为本地人外，其余都为外地或郊县寓居南京的画家，但都表现出对南京的情有独钟，书画署名喜用“石城”“金陵”等南京的古称，将自己称作南京人。金陵八家之首的龚贤虽然自昆山移居南京，但对南京的感情很深，视南京为家，在外的奔波使他愁苦伤怀，“身老愁为客，迢迢返旧京”，亟盼着早些回到南京，并把南京选作自己最终的生活地点。明亡后，当他与友人费密同游金陵胜景，登上石头城，遥望长江，触景生情，激起了满腔难平的民族意识，遂发出“橐驼尔何物，驱入汉家营”的悲愤呼号。这种热爱故乡，热爱南京的情感，在艺术家们的笔下便诞生了金陵山水的另一种表现形式—“金陵四十八景”，将金陵的历史典故，风景名胜以山水画的形式和诗歌的吟诵来表现，并借着雕版印刷的简便，而得到雅俗的共赏。\n《金陵四十八景》的形成约在清代初年，其他则先后有零星的以金陵景色为题的书画，较为人知者如《金陵八景》《金陵十景》《金陵十八景》《金陵二十四景》《金陵四十景》等。《金陵八景》据画末题跋可知，作于万历庚子年（1600）春月，为江宁人郭存仁所绘，“八景”为“钟阜祥云、石城瑞雪、凤台秋月、龙江夜雨、白鹭晴波、乌衣晚照、秦淮渔唱、天印樵歌”，一图一咏，多基于六朝以来的历史典故和著名诗作。《金陵十景》，据《石渠宝笈续编》记载，是吴派画家之首的文徵明，在游览了金陵山水名胜后所作。《金陵十八景》为文徵明的侄子文伯仁（1502-1575）所绘，他号称摄山老农（摄山即今栖霞山），曾居住在南京，为金陵美丽的风光所感动而绘此图册。《金陵二十四景》，据1956年在湖南省长沙市发现的文物，是由文学家吴敬梓（1701-1754）所写《金陵景物图咏》，每篇诗末都注明所仿的碑帖，诗句工整，对南京的历史了如指掌。《金陵四十景》为太史朱之蕃所作。朱之蕃，江宁人，字元竹，号兰嵎，万历二十三年（1595）进士第一，工山水画，注意收集家乡江宁的山水名胜资料，“共得四十景，属陆生寿柏策蹇浮舫，躬历其境，图写逼真，撮举其概，各为小引，系以俚句”。图咏成后，朱之蕃命名为《金陵四十景图考诗咏》，并与当时的另一位太史杜士全常在金陵雅游，相互凭图咏唱。清初，金陵八家之一的高岑，字蔚生，虽老家在杭州，客居南京，但也倾心相爱这个城市，常署名“石城高岑”，平时也注意收集南京的历史资料，遍游南京的风景名胜，并在前人研究金陵胜景的基础上，精心绘制了《金陵四十景图》。清户部右侍郎、著名文人周亮工（1612-1672）为该图册写了题跋，这些图以后被刊入康熙年间的《江宁府志》。清代初年，又发展成为“金陵四十八景”。\n金陵画家包括八家的山水画中，亦有许多以金陵胜景为题的作品，甚至几代画家都钟情于此，父子者如邹典、邹喆，便都介入这一题材的创作。美国学者高居翰的景元斋收藏的《晚明人山水册》，共有10页，为不同的画家所绘，但都以南京的景色为题，如魏节“燕子矶”、黄益“献花岩”、龚达“龙江关”、谢成“幕府台”、龚贤“清凉台”、黄益“鸡笼山”、盛于斯“天阙山”、陆瑞征“玄武湖”、邹典“灵谷”、张翀“报恩塔”。又如，龚贤有《摄山栖霞图》《清凉环翠图》（故宫博物院藏），其他的金陵画家：樊圻有《江浦风帆图》、高岑有《天印樵歌图》（天津艺术博物馆藏），描绘南京附近天印山的景观，邹喆有《石城霁雪图》（上海博物馆藏），描绘南京的雪景，叶欣作《锺山图》（故宫博物院藏），描绘南京这一名山的景色。樊圻的《金陵寻胜图》，按照画后的题跋来看，应当还有吴宏的“燕矶”“莫愁”，龚贤的“清凉”“摄山”，陈卓的“天坛”“冶城”，柳堉的“天印”等画，皆是依金陵名胜的各景点而作的命题画。\n更难能可贵的是，柳堉在樊圻所绘的《金陵寻胜图卷》的题跋中还记载了当时南京人收藏金陵山水画，并以邀得名家作此命题画为荣的风尚，被视为金陵胜事，并引用一句“唯有家山不厌看”的古诗来解释这种特殊的现象。虽然这些地方山水画的繁荣或许与商业有一定的关系，但这种来自社会的热情要求和支持，足见南京人对自己故乡的热爱，这确实也是促使17世纪金陵山水画发达的原因之一。\n总之，以金陵八家为首的金陵画家，虽然各有师承，面目不一，但都能深入生活，以金陵近郊的山山水水为其粉本，融六法之精髓，入天然之丘壑，将热爱故国故乡的一腔真情和满腹怀恋都倾注于山岚变幻、草木蔚然的山水画中，故使金陵山水画独树一帜，在17世纪的画史上留下了辉煌的一页。古人道：诗为心声，画为心印，书为心画。明末清初的17世纪，金陵画家们所具有的独特艺术面貌，正是由特定的历史文化环境所造成的，从画家们无限的伤心和满怀勃郁的精神气质升华而来。那种强烈的民族意识和爱国情结，正是金陵画派山水作品内涵的共鸣、精神的统一和灵魂的所在。一位西方学者曾指出，南京是中国古都中最引人注目的城市，因为她曾经是并将永远是中国最令人怀旧和动情的城市。确实，那千古的金陵历史，千古的诗泉画源，千古的文人之魂，正是17世纪南京文化艺术繁荣的历史基因，也正是她的永恒魅力所在。",[23,26,55,24,56,150,64,610,293,727,9970,751,967,60,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F449593877e596f876b9b25838d1ec1e9.jpg",[],{"id":39886,"slug":39887,"title":39888,"dynasty":97,"author":22158,"museum":175,"description":39889,"tags":39890,"thumbUrl":39891,"material":319,"size":39892,"collection":107,"collections":39893,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},233181,"fang-gu-ji-you-tu-ce-huang-yi-233181","访古纪游图册","黄易（1744—1802年），书画家、篆刻家，字大易，号小松，又号秋庵主，浙江仁和（今杭州）人。监生，官山东兖州府、济宁运河同知。他的绘画笔墨流畅，潇洒隽永，以山水和花卉为题材的作品有着很高的艺术水平。书法则以隶书擅长。作为著名篆刻家丁敬的学生，他经过努力学习与刻苦钻研，并广泛借鉴书法、碑刻中的表现手法，形成了自己工稳生动的篆刻风格，有青出于蓝而胜于蓝之美誉。黄易一生致力于金石碑版的研究，曾经四处寻访存世的残碣断碑，并加以较为全面系统的整理与著录，对我国传统金石学的发展有着积极的意义。与众不同的是，他亲自用画笔将每次寻访古碑的过程都完整的记录下来，绘制成许多作品，当时的艺术家们广为称颂。终年59岁。著有《丁黄印谱》、《小蓬莱阁金石文字》等。",[23,51,24,26,55,7,86,119,56,277,63,64,1902,8760],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde56bbb5dd5f5082bb9e8e48065c69cc.jpg","纵17.8cm，横50.8cm",[],{"id":39895,"slug":39896,"title":39897,"dynasty":115,"author":207,"museum":175,"description":39898,"tags":39899,"thumbUrl":39901,"material":34859,"size":39902,"collection":107,"collections":39903,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},233014,"shen-tang-qin-qu-tu-ye-yi-ming-233014","深堂琴趣图页","远山一带，巨壑空茫。建筑用笔粗浑，轻刻画，重意境，形象概括，细部脱略简化而不失准确真实。整幅画面清新明净的情境赋予作为绘画主体的建筑含蓄而富于想象的空间依托，使之具有了诗一般和谐浑融的意境。\n此图画巨石、绿树环抱雅斋，朱梁绿柱的厅堂中，一白衣秀士端坐操琴，童子侍立一旁，平台上双鹤闻乐起舞，山间回荡着袅袅琴声，画面充满了文雅幽清的气息。\n《深堂琴趣图》，仅仅不盈尺幅的小纨扇，却能妙写建筑和琴声，境界布局非凡。从画中偏于左半一角的构局，也可体味马远“马一角”构图的情趣。从中甚至可以精微体验宋画中的庭院风水之妙。\n宋代人非常善于营造庭院空间，妙解风水构局，将人与绘画、建筑、庭院、山水自然融为一体，臻于华美典雅的艺术境界。这在宋诗、宋词和宋画中留有许多经典的范例。如从刘松年的《四景山水图》中可以领略庭院四季风水之妙，那是山间水涯，芳草长堤边令人流连忘返的时空流转；而《深堂琴趣图》则是从另一个角度，表现庭院建筑与音乐，与山水之间妙契的又一杰作。\n建筑与音乐，在中国诗词中有许多经典迷人的篇章，但在绘画中表现，很不容易。音乐，求其意境，要有共鸣、幽远方妙。《深堂琴趣图》，以华堂独坐一人弹古琴，琴音发越，与环境融为一体，画出来了。深堂内置大屏风，窗牖俱紧关，而正门却大开，琴音反逼更传于堂外。门外山石对立，树木高耸掩映，留出大半天空，正好一条石铺甬道小径，接门由直而转折向右，石径上又正好有双鹤，其一白鹤闻琴音而起舞，可感受音乐之魅力。庭石上又有青松一株，遥承琴声，而成风如松。环境与音乐布局协和生发，绝无滞碍。主人弹琴，恰好面东，而门对南，空间方位甚为有序。如换其他任一方位，均与环境建筑内部空间不调，从而破坏全幅的空间气势，顿失音乐之美。设若弹琴者（主人）的方位是对着门南向坐，则气正好对冲；如背门北向坐，则琴声成死寂，更无悠扬的意味可说；如侧身向西坐，则又太塞太背，与画中大半天空相背，气局又成僵局。所以，只有画中所示的侧坐向东最为佳妙，否则都会破坏画中的音乐美，有妨气局琴音的流走。这些看似细微之处，正可见宋人对画中空间风水的深刻认知。画中的空间，虚实掩映，向背分合，无一闲笔，皆为音乐而生而设，都为气韵琴音所宜。可见《深堂琴趣图》虽小幅纨页，位置经营却极为空灵，空间境界妙造天地，琴韵幽深，上遏行云，其中风水之意境，流美千古。",[1073,23,24,25,1962,54,56,59,64,1019,39900,1240,277,7],"石径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7be54f010dc1e0bed94db829cee44280.jpg","纵23.6厘米，横24.9厘米",[],{"id":39905,"slug":39906,"title":39907,"dynasty":115,"author":207,"museum":175,"description":39908,"tags":39909,"thumbUrl":39910,"material":183,"size":39911,"collection":107,"collections":39912,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":924},233010,"qiu-shu-qu-yu-tu-ye-yi-ming-233010","秋树鸜鹆图页","图绘秋日里一只鸜鹆栖于桐树之上，利爪紧握枝干，扭颈侧目似在谛听。鸜鹆目光锐利，体态丰满，尾翼整洁，羽毛黑亮，而树叶则满布虫蚀，拘挛蜷曲，颜色枯黄。构图奇崛突兀，迥异常品。鸟为纯黑一色，故全身皆用墨染，然不同部位之毛羽的质感、层次均表现无遗，何止“墨分五色”而已！古人墨法之妙于此见之。蚀朽的树叶在画家高超的技法下“化腐朽为神奇”，勾描晕染，层次丰富。中国工笔画常写病叶，原因在此。而此图之叶堪称极致。",[23,50,51,54,25,27,137,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe7bbc63767c997697bb2b3ecdf5479d.jpg","纵25厘米，横26.5厘米",[],{"id":39914,"slug":39915,"title":24009,"dynasty":18,"author":2059,"museum":175,"description":24010,"tags":39916,"thumbUrl":39917,"material":319,"size":24013,"collection":107,"collections":39918,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},232960,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232960",[23,51,24,119,7,135,26,56,137,85,150,61,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee28d2c156fc7135d314b5111aca8d44.jpg",[],{"id":39920,"slug":39921,"title":39922,"dynasty":146,"author":207,"museum":329,"description":39923,"tags":39924,"thumbUrl":39925,"material":1561,"size":39926,"collection":107,"collections":39927,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":75},232802,"liu-jun-tu-juan-yi-ming-232802","六骏图卷","《六马图卷》旧传出自赵伯驹之手，卷分两段，非出一手，后段末缘下有伪款“千里”及伪印“赵伯驹氏”，清高宗弘历在后半上两题，一为七言古风，一为识语，知款印俱伪，书于同日。此卷曾入张大千手并加跋语四行。\n乾隆皇帝题识：平川苜蓿丰且滋。清泉映带沙冈披。戎人习马知马性。此处调马实所宜。牵者樴者二皆駵，白驹黑鬛绁柳枝，昻蔵翘足骊其色，一戎跨背鞍不施，紫骝回首嘶厥匹，有駓龁草意自怡，骥不称力称其德，况复一一皆英奇，作者寓意应有在，夏官遗法谁深知，即今大宛致汗血，骨格皆合图中姿，亦不渥洼诩作瑞，亦不交河资兴师，迥立阊阖詄荡荡，欲起王孙走笔为。",[49,23,52,25,54,7,86,58,225,871],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51563118f42df0d8b09f57e6f52a9b14.jpg","纵46.2厘米，横168.3厘米",[],{"id":39929,"slug":39930,"title":39931,"dynasty":146,"author":431,"museum":81,"description":39932,"tags":39933,"thumbUrl":39934,"material":634,"size":39935,"collection":107,"collections":39936,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":75},232798,"ji-jin-juan-quan-juan-zhao-meng-fu-232798","集锦卷全卷","至梁清标时复得管道升《烟雨丛竹》。全卷8幅均有梁清标收藏印，则知此卷“集锦合璧”成于梁清标之手，后再转安仪周。又管道升一幅，有：“张镠”“达卿”两印。据吴其真《书画记》记：“赵松雪《写生水草鸳鸯图》，此图观于扬州张黄美（镠）裱室。黄美善于裱褙，幼为王公通判装潢，目力日隆。近日游艺都门，得遇大司农梁公（清标）见爱，便为佳士。时戊申季冬六日。”也不禁让人想起，这位梁清标聘请的扬州名裱画师，又精于鉴定宋画的古董商，将此《元人集锦卷》（至少是《烟雨丛竹》）售与梁清标，且理所当然地将赵孟頫夫妇作品连接，并将书画合成一卷的操刀者。从装裱史而言，此卷之装潢，理应出于“张镠”之手。",[49,23,51,52,26,55,119,86,7,56,62,60,61,63,66,137,277,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab287c56b7a933856bb134a7928bbf1a.jpg","30x650厘米",[],{"id":39938,"slug":39939,"title":39940,"dynasty":115,"author":289,"museum":329,"description":39941,"tags":39942,"thumbUrl":39943,"material":39944,"size":39945,"collection":107,"collections":39946,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},232631,"xiao-jing-tu-juan-bai-miao-tu-li-gong-lin-232631","孝经图卷(白描图)","《孝经图》水墨绢画，被一致公认为是李公麟1085年绘真迹。此卷后有南宋汗漫翁题跋，明董其昌四次题跋，清代毕沅六次题跋。其他明清人题跋十五人，还有晚清重臣李鸿章一跋。作者是依据《孝经》经义，所绘十五段的图说式画卷，以行楷书方式书写《孝经》内容，在以线描笔法绘写配图，书画合璧。\n李公麟（公元1049~1106年）北宋画家。字伯时，号龙眠居士，舒州（今安徽潜山）人。好古博学，喜藏钟鼎古器及书画。宋神宗熙宁年间中进士，官至朝奉郎。居京师十年，不游权贵之门，以访名园荫林为乐。其天赋极高，又博学勤业，书法飘逸具晋人风韵，擅画人物、山水，尤精画鞍马，更以白描画法独步当世，被评者推为宋画第一。《孝经图》是北宋著名画家李公麟在约1085年创作的绢本水墨画。该画以《孝经》为内容配以插图，充分展现了李公麟绘画和书法的雄厚功底。",[49,50,23,51,52,135,58,56,295,59,63,7,86,417,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c1137c51b1df595b6c25246f4b4866b.jpg","水墨绢画","21.9 x 475.6 cm",[],{"id":39948,"slug":39949,"title":39950,"dynasty":2807,"author":207,"museum":99,"description":39951,"tags":39952,"thumbUrl":39954,"material":689,"size":690,"collection":107,"collections":39955,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},231791,"ming-qing-ri-ben-gu-hua-hua-niao-shan-shui-ren-wu-fen-ben-ren-wu-juan-yi-ming-231791","明清日本古画花鸟山水人物粉本-人物卷","此卷以白描淡彩铺陈，笔致简逸稚拙。起首持杖人物寥寥数笔便形神尽显，随后跃马挽弓的武士气宇轩昂，线条勾勒出战马奔腾的飒爽气势，将武人豪烈之风晕染纸面。继而转绘惊马失控的骑者，笔意诙谐生动，添入俗世趣意。垂首疾行的仕人姿态恭谨，自带沉静闲雅之感。终了圆光中丰润女像，设色柔淡，神情恬和静穆。整卷将武人豪壮与世俗闲趣并置，古雅张力与谐趣意韵相融，朴拙天真间尽显别致意趣。",[49,52,135,25,58,225,39953,136,497,86,7,180,54],"武士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff33e0f2c578b5c3f6b12100a60dfe51d.jpg",[],{"id":39957,"slug":39958,"title":39959,"dynasty":18,"author":19317,"museum":7132,"description":39960,"tags":39961,"thumbUrl":39963,"material":39964,"size":39965,"collection":107,"collections":39966,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},231590,"shi-xiang-tu-chen-xian-231590","释像图","自跋：焚香合掌祭拜作于仙迹精舍，崇祯癸未菊月（1643年）。卷末再题：清紫陈贤谨识。长卷共绘有二十四位佛教人物。此卷人物线质极具特色，已是禅师们作画常用的“棒喝”性线条。\n陈贤［明］号希三，又号瞻葵，又号半秃僧，华山道人。喜画佛像人物，书法似文徵明。",[49,23,51,52,135,26,58,39962,610,150,3737,1115,86,7],"僧侣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faec35347fab7a37b924029e930db1d82.jpg","绫本设色","49.5×731.3厘米",[],{"id":39968,"slug":39969,"title":39970,"dynasty":146,"author":207,"museum":7132,"description":39971,"tags":39972,"thumbUrl":39973,"material":319,"size":107,"collection":107,"collections":39974,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":75},231495,"bai-miao-luo-han-tu-yi-ming-231495","白描罗汉图","此作用淡墨白描写就，古松虬曲苍劲，松针层叠如盖，晕染出幽寂出尘的林下禅境。右侧长眉罗汉安坐松下，神态恬然沉静，身旁侍者恭谨侍立，持器静候。左侧匍匐之人姿态虔诚，似在礼敬罗汉，案上供花素雅清冷，烘托出庄严平和的禅意氛围。\n\n线条清劲凝练，流转婉转，既勾勒出松皮斑驳褶皱、衣袂翩然动感，又细腻刻画出人物神情气度，将禅门安然清寂的意趣尽显。笔墨简淡却意蕴悠长，以素色绘出深邃禅林雅韵，尽显雅致清和的元人白描格调。",[23,51,1284,135,26,58,137,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5b9e528a641cef044779c88475e161b.jpg",[],{"id":39976,"slug":39977,"title":37267,"dynasty":97,"author":39978,"museum":99,"description":39979,"tags":39980,"thumbUrl":39981,"material":107,"size":107,"collection":107,"collections":39982,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},230296,"shan-shui-ce-ye-du-xiang-230296","杜湘","此作以幽寂山居为意趣，虚实掩映间铺陈出尘之境。苍松虬干以赭石晕染，石绿点簇松针，苍劲中带着清润生机；山石以淡墨勾勒皴擦，浓墨醒苔，厚重又不失空灵意韵。蜿蜒石径隐于谷底，将视线引向林间茅舍，屋中幽人凭窗静憩，愈发衬出林谷阒寂清冷。整幅画笔致秀雅沉静，疏密错落间尽显山林幽居的超然闲逸，把文人寄情林泉的隐逸襟怀藏在简淡笔墨之中，尽显传统山水画的写意风骨。",[23,51,24,25,56,150,610,63,1903,7,55,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1c24bd19e45d360dbc671486ec53196.jpg",[],{"id":39984,"slug":39985,"title":39986,"dynasty":97,"author":655,"museum":99,"description":12622,"tags":39987,"thumbUrl":39988,"material":689,"size":690,"collection":107,"collections":39989,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":75},230240,"qi-shu-tao-xiu-shi-qing-yi-lu-mo-ben-jin-nong-230240","漆书陶秀寔清异录（摹本）",[49,86,10343,84,5663,26,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf0fb7392e84c663d10f1cf126c872e8.jpg",[],{"id":39991,"slug":39992,"title":39993,"dynasty":97,"author":445,"museum":99,"description":39994,"tags":39995,"thumbUrl":39996,"material":107,"size":107,"collection":107,"collections":39997,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},228993,"bai-kai-luo-han-tu-81-shi-tao-228993","百开罗汉图81","此作以水墨绘就两位罗汉立身奔涌浪涛之中，背景是冷峻苍劲的崖壁。作者以淋漓墨色晕染翻涌水浪，细密线条勾勒罗汉衣袍纹饰，一动一静对比强烈。浪涛汹涌激荡，罗汉却神态静穆安然，于激流中泰然自处，尽显禅心澄澈。干湿浓淡的墨色皴擦出岩壁的厚重质感，工细的衣纹与写意山水形成鲜明反差，烘托出罗汉静定超脱的出世之态，将禅宗于喧嚣中守持本心的意涵融于笔底，笔情墨趣间尽显空灵悠远的禅境。",[23,51,24,26,1284,58,150,406,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f980403a2ac64c265f5de8dbb005cb3.jpg",[],{"id":39999,"slug":40000,"title":40001,"dynasty":97,"author":15298,"museum":99,"description":40002,"tags":40003,"thumbUrl":40004,"material":107,"size":107,"collection":107,"collections":40005,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},228969,"shi-jun-quan-tu-ce-shi-kai-ai-qi-meng-228969","十骏犬图册十开","《十骏犬图》是清代画家 创作的纸本设色画册，共1开，现藏于 。\n册页左边为以诗经体和辞赋体所作的题赞，其中六则出自梁诗正，四则出自汪由敦；右边一律先画犬，再加配河景山水。\n每开背景中虽皆可见遒劲的林木（松木、墨竹、柳树、梅花和灌木等）、怪石、溪涧或幽静的水岸，但形态皆不相同。\n所绘之犬姿态迥然，或低头饮水、或伫立沉思、或回首遥望。\n该册共十对开，顺序依次为：第一睒星狼、第二霜花鹞、第三墨玉螭、第四蓦空鹊、第五苍水虬、第六斑锦彪、第七雪爪卢、第八金翅猃、第九漆点狻、第十茹黄豹。\n款署：“臣艾启蒙恭绘。\n”钤“臣艾启蒙”白文印、“恭画”朱文印。\n每图对开页有嵇璜书写的乾隆朝大学士汪由敦和梁诗正撰写的题赞。\n图上钤有“乾隆鉴赏”、“三希堂精鉴玺”、“石渠宝笈”等印。\n据文献记载，当初朝廷为了供皇帝行猎围场之需要，宫廷特设“鹰狗处”。\n《啸亭续录》云：“鹰狗处，向在东华门内长街，设总统二人，以侍卫兼之，蒙饲御前鹰狗以备搜弥之用，其牧人皆以世家子弟充之，许其蟒袍纬帽，为执事人中之品最高者。\n壬戌今上以其非急务，命迁于东安广内长房。\n”从这段记载中可知，艾启蒙笔下所画的猎犬，多是“鹰狗处”豢养的猎犬，可谓是皇帝的宠物。\n艾启蒙仅仅是画有猎犬，而这些猎犬所处的环境，这些背景并非出自艾启蒙之手，而是为中国宫廷画家所作。\n这套画册虽只署艾启蒙一人，实际上是有中国画家的参与其事的。\n作者以西方的素描技法，运用解剖学，以短细的笔触一丝不苟地刻画出猎犬健美的体态和皮毛的质感，具有很强的写实性。\n如犬的身体，用多次烘染，分出受光和背光面：尤其注重皮毛质感的表现，注意猎犬的解剖结构，更突出了犬的真实感。\n这些都显示了欧洲绘画的特点，但从每幅画面上看，背景中所绘树石、坡陀等，从造型到技法，仍是典型的中国画。\n画家经多年来的观察和周密的研究，根据每一名犬的不同特性，将十条名犬分别安排于不同季节的自然环境中，十名犬的神情不一，曲尽其态、有正面、有侧面、有站立的、有卧伏的、有散步的、有蹲着的、有抬脚搔首的，也有跃跃欲扑的等。\n在毛皮色彩和斑纹上也各不相同，有红色的、白色的、黑色的、黄色的、棕色的，还有杂色的。\n正是这些不同的姿态和诸多的色彩，给绘画带来了活跃的气氛，引人注目。\n但总体来说所有的猎犬其共同之处都是腿长身细，腹部收缩，劲瘦有力，劲健灵动，擅长奔跑，肌肉肋骨，描绘逼真。\n每幅图的对开上均标明犬名，对宫廷御用犬的研究具有很高的史料价值。\n此图旧藏紫禁城内的乐寿堂。\n《石渠宝笈》著录。\n现藏于北京故宫博物院。\n艾启蒙（178—178年），字醒庵，原名Igntius Sickltart，波西米亚（今属捷克）人，天主教耶酥会传教士。\n乾隆十年（1745年）来华供奉内廷。\n他在清宫师从郎世宁，专擅绘人物、走兽和翎毛，力图在技法上达到中西合璧，在宫中产生了一定的影响。",[23,51,24,54,25,1116,56,137,358,1902,86,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f257f9a3674de63db64c41e1f3e40f.jpg",[],{"id":40007,"slug":40008,"title":40009,"dynasty":18,"author":2059,"museum":99,"description":40010,"tags":40011,"thumbUrl":40012,"material":107,"size":107,"collection":107,"collections":40013,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},228876,"shan-shui-shi-hua-ce-wen-zheng-ming-228876","山水诗画册","此作为行书题跋，笔墨温润秀劲，法度谨严却意态灵动，既得赵孟頫的娟秀雅致，又暗含晋唐书法的古朴意韵。行笔舒展从容，点画精到凝练，笔势连贯自然，将帖学的文雅之气尽显无余。\n\n题文评点衡山诗书，字里行间尽显题者不俗的赏鉴功底，自带冲淡平和的书卷意趣，与山水诗画的意境融为一体，尽显文人闲适雅致的赏玩心境，是一件兼具书法美感与品鉴意趣的文人题跋佳作。",[49,24,119,86,56,55,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe11878f87a44f54aae2ee00d3191a9b.jpg",[],{"id":40015,"slug":40016,"title":40017,"dynasty":18,"author":45,"museum":99,"description":40018,"tags":40019,"thumbUrl":40020,"material":689,"size":690,"collection":107,"collections":40021,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},228442,"mu-lv-tu-chou-ying-228442","募驴图","《募驴图》是一幅书画合卷,先有徐祯卿撰写《为朱君募买驴疏》,并附十位苏州文人的署名及出资金额,后由画家仇英补图,合成一卷.这幅合卷以艺术的方式纪念了为朱存理募资买驴这样一个现实事件,它将主人翁朱存理置于苏州文人的关系网络之中,他们的交往与活动映射出明代文人生活的雅趣.仇英的补图作为一幅为数不多的人物小品,理想化地呈现了先辈文人的风流遗韵,而这种补图也在某种程度上反映了他的精神归属和对于吴中文人集团的文化认同.",[23,51,52,135,58,1115,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2182a1352bb51ed21369761f8cd2a8ad.jpg",[],{"id":40023,"slug":40024,"title":26902,"dynasty":18,"author":19,"museum":99,"description":40025,"tags":40026,"thumbUrl":40027,"material":107,"size":107,"collection":107,"collections":40028,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":75},228361,"da-mo-du-jiang-tu-sun-ke-hong-228361","少林七十二绝技之一，又名一线穿、一苇渡江、又名水上飞行术，俗名踩软绳，即说部中所谓蹬萍渡水、踏雪无痕之功夫也。\n乃轻身功夫之一种，为 内壮 。\n为 的一种,能凭借柔软之物在水上等场所前进。\n相传达摩在南方传道已毕，返回时路遇一江无船可渡，折江边芦苇，抛入江中，踏苇过江。\n故后以此命名此功。\n少林七十二绝技之一,又名一线穿,一苇渡江、又名水上 ，俗名踩软绳，即说部中 所谓蹬萍渡水、踏雪无痕之功夫也。\n乃轻身功夫之一种，为软功内壮 。\n为轻功的一种,能凭借柔软之物在水上等场所前进。\n之一，又名 、 、又名水上飞行术，俗名踩软绳，即说部中所谓蹬萍渡水、 之功夫也。\n乃轻身功夫之一种，为软功内壮 。\n为轻功的一种,能凭借柔软之物在水上等场所前进。\n相传 在南方 已毕，返回时 一江无船可渡，折江边芦苇，抛入江中，踏苇过江。\n故后以此命名此功。\n凭借此功可借竹苇等在水面横行自如，属上乘轻功，非十年苦功不可得。\n其练法殊 非易易，然苟能坚心意志练习，不难成功。\n其法分数步， 入手之初，与飞行功、轻身术相同。\n即先带铅砂，在平地上练习飞驰 ，然后在山路上练习跳跃，更放石块于簸箩中，在其边上行走，逐渐 取去石块，至能在空簸箩边上行走后，即走沙道。\n以上各法，已详见 飞行功、轻身术练法中。\n惟两腿所束之铅砂，亦须按前法以猪血浸炼 ，使成死铅，始可应用。\n带铅以每腿四两起，至五斤为度，平时宜以 药水洗腿，以防损害。\n沙道走过之后，则走棉纸，用厚约三四寸之棉 纸，铺于沙道之中，人行其上，至足印不下陷时，此第一步功夫成。\n然后更以细长之木，系其两端，悬空际，约高二三尺，人即于木上往 来飞行。\n初时木心因承重之故，宕动不已，直要练得人行其上，丝毫 不动为上，至此更易木为巨绳，其法竖竹架，以巨绳横扣于架之两端 ，人于绳上行走，即如现在江湖卖解场中，即俗所谓跑马戏者，所常 见之走绳索是也。\n绳质较软，一着足必向下陷，尤易左右摇摆，不如 木之来往荡动，故练此步功夫亦较为难，直练至人行绳上，绳能不荡 不摇，则第二步功夫成。\n从此将逐渐减细，至粗不盈指之绳，亦能任 意往来于绳上，亦不荡不摇，则第三步功夫成。\n然后以最细之连绳行 之，亦能行走自如者；再将其绳两端系于河之两岸，将绳横拦于河之 水面上，仍按前法行之，能行走自如，则全功成矣。\n功成之后，可在 水面飞行，所谓水面飞行者，亦须略有假借，须用一质地轻浮之物， 如竹片木杆芦苇等物，掷于水面，人即可身立其上，推之前进也。\n余 如浮萍薄草密集之处，菱角荷叶丛生之所，亦可在上行走。\n昔日达摩老祖，传道已毕，只身西去，即以一苇渡江，即系此种功夫。\n然习此种功夫，非十余年苦功，则无以成，且须静心虚气以习之。\n洗腿药水，即以地骨皮、食盐各等量入，煎水乘汤热洗之，则血气融和，皮肤舒畅，上下交感体气究实矣。\n达摩－中国禅宗初祖。\n南天竺婆罗门人，原名菩提多罗，是南天竺香玉王的第三子，禅宗二十七至祖般若多罗到该国传法，菩提多罗从他学法，很得般若多罗的赏识，就给他改名为达摩，意译为道法，是达摩已通达到法的意思。\n梁武帝普通年到达广州，梁武帝闻其名，迎入金陵，但观念不相契合，达摩悄然北上。\n途经北江，没有渡江的工具，遂将一束苇草置于江面，踏蹑而渡。\n「达摩一苇渡江，栾巴噀酒灭火。\n」后至北魏，所到之处，以禅法教人。\n达摩的事迹，随着禅宗的发展，渐趋神异，并成为中国画家、瓷艺家所爱的题材。\n“一苇渡江”明清德化窑达摩瓷塑上常常以此为题材。\n此图为明 的“达摩渡江图”，现藏宁波“天一阁”。\n这件“达摩渡江图”正是道释人物，画的很细腻，宗梁楷“细笔”一类画风。\n人物回首顾盼，两目突出，神采毕现。\n衣纹线条虽简，但非常概括，转折有力。\n此画虽是细写，却有意笔效果。\n孙克弘（15－1611）一作克宏，字允执，号雪居， 人。\n父为进士承恩。\n孙克弘以父荫入仕，官至汉阳太守。\n孙克弘生性巧慧，声音洪亮，状貌疏野，在居处四壁上画苍松老柏。\n善书法，画上常题隶书。\n绘画擅花鸟、人物，有资料说写道释人物则学梁楷。",[49,23,51,84,1284,54,25,58,7,180,4670],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc49e44cbbf6c2d7b966e9e401cadc7c7.jpg",[],{"id":40030,"slug":40031,"title":40032,"dynasty":146,"author":207,"museum":99,"description":40033,"tags":40034,"thumbUrl":40035,"material":107,"size":107,"collection":107,"collections":40036,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":75},228238,"fei-yan-tu-wan-shan-yi-ming-228238","飞燕图纨扇","此幅纨扇小品笔墨简淡却意趣盎然。虬曲的老柳占据一隅，浓墨写出苍劲老干，尽显风霜质感，柔细柳条轻曳飘拂，笔致清逸，将春柳的柔媚姿态晕染开来。枝头禽鸟各具情态，或静栖缩羽，或侧目顾盼，寥寥数笔便点染出灵动生机。空中飞燕振翅穿掠，墨色浓淡变化间，将疾飞之姿精妙定格。\n\n画面留白开阔，淡墨轻勾远坡，衬出天地空寂，把暮春时分清寂又暗含生机的氛围铺陈开来。全作用笔极简却意韵悠长，以水墨写意之法，将春日禽柳共生的雅致生机藏于尺幅之间，尽显空灵简淡的文人意趣。",[49,23,51,822,26,66,137,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15ce88bcd629a6b17d680a5dd4e32460.jpg",[],{"id":40038,"slug":40039,"title":40040,"dynasty":115,"author":24985,"museum":99,"description":40041,"tags":40042,"thumbUrl":40043,"material":107,"size":107,"collection":107,"collections":40044,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},227945,"yue-xue-ning-su-qi-jue-tuan-shan-yang-huang-hou-227945","瀹雪凝酥七绝团扇","此作笔致清婉端丽，点画匀停秀雅，自带雍容静和之气。诗作咏叹秋日桂与蔷薇，墨色沉静古雅，与泛黄绢本相融，晕开宋人风雅意趣。\n字里行间带着娴静的宫廷意韵，起收笔温婉雅致，结体舒展匀停，既有唐楷的端整法度，又暗合行书的灵动意趣，将宋诗的清隽意境，融于笔墨之中。朱红古印错落排布，与墨色、古绢相得益彰，尽显雅致的文人赏玩之态，把秋日幽居赏景的闲淡心境，藏进娟秀笔墨里，是宋韵书法小品里精巧动人的佳作。",[49,50,23,51,822,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc166f2bbfc37bdd49a9365eb4b90133.jpg",[],{"id":40046,"slug":40047,"title":40048,"dynasty":115,"author":207,"museum":99,"description":40049,"tags":40050,"thumbUrl":40052,"material":107,"size":107,"collection":107,"collections":40053,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":75},227892,"qing-xi-feng-fan-tu-ye-yi-ming-227892","清溪风帆图页","此作用平远之法铺陈烟水湖山，近岸苍松劲拔，带着清森之气破开画角。淡墨晕染出层叠远岫，像被晨雾揉碎的黛色剪影，晕在空濛天际间。洲渚上林木成簇，在水面投下浅淡的墨色倒影。\n\n扬帆的扁舟缓行于清溪之上，船舷破开如镜的水面，为这片岑寂的山水漾开灵动涟漪。全作以水墨轻施淡染，设色清浅雅致，笔法简净秀润，将江南水乡暮霭初升时的清旷萧远尽数铺展。静穆山色与行舟动势相映，于简淡留白中晕开含蓄悠远的意韵，把烟水空蒙的湖山诗意凝在尺幅之间，引人坠入这片安谧清和的烟岚水色中。",[49,23,51,3363,26,25,56,62,40051,64,294,751,7],"风帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6a87e6aea99e632e951e926931693c8.jpg",[],{"id":40055,"slug":40056,"title":27531,"dynasty":115,"author":289,"museum":99,"description":27532,"tags":40057,"thumbUrl":40058,"material":107,"size":107,"collection":107,"collections":40059,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":75},227612,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-227612",[49,23,51,52,135,26,58,56,62,63,66,61,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fada9312dd485017bc4fab757eba67b6c.jpg",[],{"id":40061,"slug":40062,"title":40063,"dynasty":115,"author":289,"museum":99,"description":38702,"tags":40064,"thumbUrl":40065,"material":107,"size":107,"collection":107,"collections":40066,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},227602,"xian-xian-shi-shi-tu-juan-li-gong-lin-227602","先贤事实图卷",[49,23,51,52,135,58,225,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcddbbbc9cefdf5bedca92f7ccdb5a151.jpg",[],{"id":40068,"slug":40069,"title":40070,"dynasty":115,"author":289,"museum":99,"description":40071,"tags":40072,"thumbUrl":40073,"material":107,"size":107,"collection":107,"collections":40074,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},227583,"qun-xian-gao-hui-tu-juan-li-gong-lin-227583","群仙高会图卷","李公麟（1049年－1106年），北宋画家。字伯时，号龙眠居士，舒州（今安徽桐城）人。\n\n进士出身，历南康、长垣尉、泗州录事参军，官至朝奉郎。擅画人物、佛道像，吸取历代流派之长，自创一格，多用线描，笔法如行云流水，而不设色，生动地表现了人物的神情意态，人称“白描”；尤精擅画鞍马，常观察群马生活，求其变化，下笔形神兼备。注重写生，画技博取前人之长，承继顾恺之、吴道子等人笔法，在新画中表达新义。 《十八罗汉渡江图》画中人物按未渡者、方渡者、已渡者三组依序进场，人物神态，栩栩如生。李公麟画作时人评价甚高，宋徽宗曾赞他为当朝最重要画家。元符三年（1100年）病痹告老，隐居龙眠山，号龙眠居士。\n\n存世作品有《五马图》、《临韦偃牧放图》等。",[49,23,51,52,135,56,58,59,66,277,63,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173ecc080401c62a94a56f59342ed64d.jpg",[],{"id":40076,"slug":40077,"title":40078,"dynasty":115,"author":8916,"museum":99,"description":40079,"tags":40080,"thumbUrl":40081,"material":107,"size":107,"collection":107,"collections":40082,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},227523,"jiang-cun-tu-yan-wen-gui-227523","江邨图","淡墨晕开浩渺寒江，远山隐在烟霭之中，只剩浅淡轮廓，留白铺就冬江的空寂清寒。近岸枯木虬曲苍劲，枝桠带着萧寒肆意舒展，坡岸茅舍半掩，水畔小舟静泊，似候归人。\n\n整幅画色调清润冷寂，以留白晕染出空濛辽远意境，将江村冬日的荒寒淡远勾勒尽致。取景极简却意蕴悠长，淡墨皴擦与留白相映，把江天冬景的静穆萧寒藏于笔底，寥寥数笔烘托出幽寂澹泊的隐逸氛围，尽显山水以简驭繁，于淡远间见深致的隽永意趣。",[49,23,51,822,26,55,56,62,63,137,277,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b7d2658158078a79f9c64679dd76f46.jpg",[],{"id":40084,"slug":40085,"title":40086,"dynasty":115,"author":207,"museum":99,"description":40087,"tags":40088,"thumbUrl":40089,"material":107,"size":107,"collection":107,"collections":40090,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":75},227380,"qiu-zhu-wen-qin-tu-yi-ming-227380","秋渚文禽图","深秋时节，荷叶枯萎，数枝折断，叶面已破成网。 几只野灵飘散散落，河岸上的两只野鸭在秋荷塘畔，悠闲地享受着秋日的阳光。",[23,51,822,54,25,27,3577,420,406,700,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d2ab1fd7d2ce25074ac44af4540be96.jpg",[],{"id":40092,"slug":40093,"title":40094,"dynasty":115,"author":207,"museum":99,"description":40095,"tags":40096,"thumbUrl":40097,"material":689,"size":690,"collection":107,"collections":40098,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":75},227340,"fo-jing-yi-ming-227340","佛经","佛教经典：统称；藏经，俗称；佛经，也叫《大藏经》，一般由经、律、论三部分组成。“ 经”是指释迦牟尼佛亲口所说，由其弟子所集成的法本，“律”是指佛陀为其弟子所制定的戒条，“论”是佛陀的弟子们在学习佛经后所得的心得。",[23,51,84,1284,58,135,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09e1c215fe28243622481e4fd5587d6c.jpg",[],{"id":40100,"slug":40101,"title":40102,"dynasty":2807,"author":207,"museum":99,"description":40103,"tags":40104,"thumbUrl":40105,"material":689,"size":690,"collection":107,"collections":40106,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},225451,"fu-shi-hui-209-yi-ming-225451","浮世绘209","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[30272,25,15959,58,136,7,1574],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e567466ba753d4f1870bd5a9c3a5aef.jpg",[],{"id":40108,"slug":40109,"title":34267,"dynasty":97,"author":7804,"museum":99,"description":40110,"tags":40111,"thumbUrl":40112,"material":107,"size":107,"collection":107,"collections":40113,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},224358,"tong-qin-tu-zhou-yu-zhi-ding-224358","《桐禽图》是清代画家禹之鼎于康熙年间创作纸本墨笔画，现藏于故宫博物院。\n画家用劲健的粗笔描绘树干，笔断意不断；树叶先用深浅不同的墨点出，然后以浓墨勒出叶筋；小鸟用淡墨勾轮廓，然后染出躯干，最后再用焦墨画两翅和头部。\n用笔雄健豪迈，奇宕多变，用墨层次丰富，厚而不滞，轻而不淡。\n本幅左上自题：“余摹蓝田叔先生《得子图》非一本也。\n乙亥后两日，偶于京邸，因秋实老翁谈及故园风景，又属（嘱）写此幅，感其嗜痴，不知丑耳。\n广陵禹之鼎识。\n”钤“慎斋禹之鼎印”、“广陵涛上渔人”印二方。\n乙亥为清 三十四年（ ），禹之鼎时年49岁。\n从自题中得知画家此年寓居京师。\n此图用大写意法画 几枝，引来两只飞鸟栖息。\n树枝错落穿插有致，一鸟啄叼桐籽，回首张望，一鸟展翅凌空，疾飞而来。\n画面左虚右实，而左边高飞的小鸟和左上的题记不仅平衡了画面，还使画面平添了几许盈然的生机。\n自题中的“蓝田叔”指明末清初著名的山水画家 ，虽然尚无直接证据可证明禹之鼎曾直接师从蓝瑛，但禹之鼎时常临摹蓝瑛的绘画，所以从此画的笔墨来看还是深得蓝瑛之意的。\n（1647—1716年），字尚吉，号慎斋，江都(今江苏 )人。\n清康熙二十年(1681年)官鸿胪寺序班，以画供奉入 。\n善画人物、山水，尤精写真。\n初师蓝瑛，兼学宋元诸家。\n肖像画面貌多样，对 、墨骨法、江南法都有研究，所绘人物形神兼备，独具一格，一时名公小像多出其手，其肖像画在清代中期有“当代第一”之誉。",[49,23,84,26,27,66,871,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31935bf7d16f8ac9256d4a6e3fe14339.jpg",[],{"id":40115,"slug":40116,"title":40117,"dynasty":97,"author":929,"museum":99,"description":40118,"tags":40119,"thumbUrl":40120,"material":107,"size":107,"collection":107,"collections":40121,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},224311,"hua-niao-ce-shi-kai-10-li-shan-224311","花鸟册十开10","此作兼工带写，将秋菊清灵之态尽显纸上。蓝紫、粉白花瓣晕染柔润通透，明黄花心点醒生机，枝叶勾勒挺劲简练，水墨与淡彩相融，既留存秋菊鲜活质感，又带着写意疏放意趣。\n\n右侧题诗行书纵逸跌宕，笔意洒脱，诗画相映，将文人爱菊幽思寄寓花枝之间。整体色调清雅妍丽，于浅淡间尽显秋花隽逸风姿，将写生鲜活与文人写意随性相合，寥寥笔墨间生机盎然，诗画合璧更添雅韵，尽显文人花鸟画的悠然意趣。",[49,23,51,24,25,403,27,529,2559,265,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff642fb405bfa754a4ff7754cc7ac83e5.jpg",[],{"id":40123,"slug":40124,"title":40125,"dynasty":97,"author":4047,"museum":81,"description":40126,"tags":40127,"thumbUrl":40128,"material":1636,"size":40129,"collection":1120,"collections":40130,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},224121,"qing-gao-zong-yu-lin-su-shi-tie-zhou-qian-long-224121","清高宗御临苏轼帖轴","本件清高宗虽以行书写苏轼〈砚铭〉，然而却不见苏轼特有的结字与丰腴的笔法，显然是出于己意之作，仍可看出乾隆传承自王羲之的书法风格。",[49,86,134,119,84,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff556acfc1627f56b921f8f01a944aefa.jpg","纵99.7cm，横32.2cm",[1120],{"id":40132,"slug":40133,"title":40134,"dynasty":7908,"author":207,"museum":99,"description":26745,"tags":40135,"thumbUrl":40136,"material":689,"size":690,"collection":107,"collections":40137,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":75},223967,"pang-tu-si-yin-tong-yin-yi-ming-223967","「庞荼私印」铜印",[26748,7,9481,5943,26747],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8edc3869dde8582bcbfdeedd39caee90.jpg",[],{"id":40139,"slug":40140,"title":40141,"dynasty":2807,"author":207,"museum":99,"description":26745,"tags":40142,"thumbUrl":40143,"material":689,"size":690,"collection":107,"collections":40144,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},223693,"si-ma-lv-jun-tong-yin-yi-ming-223693","「司马吕君」铜印",[7,5943,26747,9700],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd20932233b8a35864b50cb8e4459d06a.jpg",[],{"id":40146,"slug":40147,"title":40148,"dynasty":115,"author":207,"museum":99,"description":40149,"tags":40150,"thumbUrl":40152,"material":107,"size":107,"collection":107,"collections":40153,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":75},223595,"pan-che-tu-yi-ming-223595","盘车图","“盘车图”题材常见于传统绘画作品，通常描写人力、畜力车辆行进出盘曲的山路间，或运粮、运货，或载人涉渡。\n此图描绘盘曲艰险的山间栈道上，脚夫们赶着黄牛驾车奋力上坡。\n向屋后眺望，林木尽头是无数的山峦烟岫。\n图中以苍浑粗括的笔墨勾勒山峰树石，风格沉郁，山石的画法受郭熙的影响，是宋人无款画中的杰作。\n【名称】盘车图 【作者】佚名 盘车图—— 轴，绢本设色，纵19厘米，横49.5厘米",[49,50,23,51,84,54,55,26,25,56,59,150,64,58,40151,2142,7],"车辆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd204e4e2690ab8ea1c2e1bad1290acde.jpg",[],{"id":40155,"slug":40156,"title":1125,"dynasty":97,"author":207,"museum":81,"description":40157,"tags":40158,"thumbUrl":40159,"material":25,"size":40160,"collection":70,"collections":40161,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},223456,"shan-shui-tu-yi-ming-223456","此作用笔秀逸简淡，远近层次疏朗分明。近岸枯木虬枝错落，皴石朴拙苍劲，涧水隐于石间，暗写潺湲之态。中景扁舟一叶，幽人披氅凭舷，随波独往，水色以留白晕出烟霭空濛之境，将冬末春初的清寂弥散纸面。远景山峦轻勾淡染，与空茫水面相融，愈发衬出天地辽远。题诗与画意呼应，诗画相生，把文人寄迹林泉、避世悠游的隐逸襟怀铺陈尽致，整体气韵清冷淡远，尽显幽隽的古典山水文人意趣。",[49,23,26,55,25,86,7,56,62,58,2681,137,150,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe496c200c21a39d397d49e0d8fbb32c1.jpg","纵23厘米 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一作昆山（今昆山）人，或作镇洋（今太仓）人。\n永乐（一四o三一至一四二四）中徵入画院，供奉三十余一年，花竹翎毛，笔致隽逸。设帐授徒，多所一造就，兼工书法，老于京师。《水东日记》、《画史会要》、《无声诗史》、《明画录》、《嘉定县志》",[49,23,51,822,25,54,27,40184,531,7],"鹭鹚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefebf39a0fd61bdbd0627f200f2c8853.jpg","33x50.1",[],{"id":40189,"slug":40190,"title":40191,"dynasty":18,"author":18133,"museum":4269,"description":40192,"tags":40193,"thumbUrl":40194,"material":15010,"size":40195,"collection":107,"collections":40196,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},222546,"zeng-zhang-bao-yi-shi-juan-wang-duo-222546","赠张抱一诗卷","《王铎草书赠张抱一诗卷》的内容，是作者王铎自撰的七律诗五首，主要为赠送友人张抱一而作，并在诗歌内容上、在书法艺术中抒发、体现自己的情感。诗卷全文如下（注：原作品没有标点断句）：\n《张抱一公祖招集湖亭》：有酒沧池对烟丘，相招者谁任意游。晋人唐人曾几度，泉水溪水还同流。钟鼓此城鸣白露，戎兵何处领高秋。芦花今古依然在，羡尔无声眠野鸥。（注：第一首七律完）《登岳庙天中阁看山同友》：四围紫逻坐相望，突兀高峰划大荒。谁复凌空呼帝座，我今乘胜挹天浆。香烟古庙通灵气，石路神丘点太阳。冻草暮云无限意，汉京封禅旧山房。（注：第二首七律完）《牛首山同堪虚静原》：一樽绝巘放高歌，回首禅房忘坎坷。旦树晴分天目近，午帆气挟海风过。山吞吴楚犹新燕，寺趁齐梁只故萝。莫管星辰朽不朽，吹箫何处倚嵯峨。（注：第三首七律完）《频入》：频入长安过九衢，谁知幽梦在髭须。只今人路何从说，渐审岩居不可无。屈指箸筹赊日月，伤心戎旅满江湖。此生休外韬真处，锦瑟琪华待醍醐。（注：第四首七律完）《汴京南楼》夷门萧瑟俯晴空，万事欷献向此中。梁苑池台新萑苇，宋家艮岳老苔丛。牧人壕外时驱犊，猎骑天边晚射鸿。旧月多情依汴水，滔滔东去更朦胧。（注：第五首七律完）崇祯十五年三月夜。洪洞同邑弟王铎具草。抱翁公祖教正。\n按：《张抱一公祖招集湖亭》卷中七律五首，有三首见于《拟山园选集》（台湾学生书局）。分别是：《登岳庙天中合看山同友》，载集中七律卷九，题作《登岳庙天中阁看山感时》，原为二首，卷中所书为第一首；《频入》，载集中七律卷三，卷中所书之“待醍醐”，集中作“醉醍醐”；《汴京南楼》亦载集中七律卷三。\n另两首虽不见于集中，但是，同书五律卷三有《湛虚、静原游牛首》、《燕子矶湛虚招同静原》、《上天开岩同湛虚、静原》三首，与卷中《牛首山同湛虚、静原》—诗显然是同时之作。湛虚，即张镜心，字孝升，湛虚为号，累官至兵部尚书，是王铎的挚友。见于《拟山园选集》（台湾学生书局）及《拟山园初集》中的与张镜心有关的诗作多达五十首以上。张镜心亦曾为王铎的《拟山园初集》作序，与王铎以“年弟”相称，盛赞王铎诗文“浩乎哉如烟海，修辞之家，未之有也。”\n王铎书法的书法，到了《赠张抱一草书诗卷》时，已经摆脱了模仿的痕迹，有了主体性较强的跌宕雄逸的意态。《赠张抱一草书诗卷》亦是王铎草书长卷现可见较早的一件。《王铎草书赠张抱一诗卷》，在王铎书法的发展过程中具有十分重要的意义，从这件作品可领略王铎若干书法艺术特点。\n一个是强烈的节奏感使草书作品产生出运动力和冲击力。《王铎草书赠张抱一诗卷》中书法的点画线质表现其弹性产生运动力，运动的返急产生冲击力，在这一点上王铎成功地将力运用到书法点画的变化上，使笔在绢、绞、纸上的运动过程中产生顿挫、仰侧、奇崛、突变，使个性的张扬发挥到极致。尤其是充满着激情的用笔，如同少林武僧，有屈铁之力，挥棒生风。\n一个是前无古人的字法造势。王铎亦受时风影响，但他站在传统基础之上，破除旧有的模式，创建出一种崭新的恢弘博大的图式，充满艺术的震撼力。王铎书法的一个鲜明特点便是造势。《王铎赠张抱一行书卷》中，通篇显现出变幻莫测的感觉，字势左右叵诡，笔致老辣，章法宕逸。唐张旭狂草《古诗四帖》，如龙蛇之行，富于变幻，王铎在这一点上进一步追求草书中险绝、突变、膨胀与内敛之势，识字者，可领略触笔、行笔、运笔中的运动轨迹。\n第三是墨象万千，酣畅淋漓。中国画中有墨分五彩之说，利用墨之浓、淡、干、湿可使画面产生出无穷的变化，显现出生机勃勃的趣味。王铎从中国画中悟出用墨之道，并大胆地运用到书法创作中，从而增强了作品的视觉效果，把涨墨之法发挥到极致。《王铎赠张抱一行书卷》中，其作品的冲击力与用墨是分不开的，他书法点画的流动感也与用墨紧密相关。历史上在王铎以前的草书大家无一人用“涨墨”法，此法实乃王铎开创也，这种不同位置的参差对比，使作品在整体视觉效果上别具一格，特点鲜明。\n最后是独特笔法。王铎笔法早年受二王影响，笔势较为平和，行笔温润，他中年学米后，笔势、笔法发生了较为明显的变化。后终于成中国书法技法集大成式的开拓者。在《王铎草书赠张抱一诗卷》中，多处凸显其集大成的大家手笔，可谓将壮美之力表现到极致。在中国书法发展的这条主线上，王铎既崇尚对传统吸收，又善标新立异达到裂变之意。\n王铎为书近五十年的探索，终自成家法，成为“有明书法推第一”（吴昌硕诗句）、“于明季书坛可谓中兴之主”（沙孟海《近三百年的书学》）。他的书法对后世影响极大。清代早期的傅山受王铎书风影响之后，创博大流变之体，标立书坛。至近现代受王铎书风影响最深，写大草的书家，如林散之、沙孟海、沈鹏等书法家，都对王铎书法有深入的研究和汲取过优秀的养分。在日本等，他更是影响东瀛书坛多年。日本人对王铎的书法极其欣赏，还因此衍发成一派别，称为“明清调”。在日本关西地区甚至整个日本书坛，有“后王（王铎）胜前王（王羲之）”的说法。",[49,462,52,86,7,26,319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706317ef80c72d495a33ab77cf4de37a.jpg","长469cm，高26cm",[],{"id":40198,"slug":40199,"title":40200,"dynasty":18,"author":18133,"museum":81,"description":18243,"tags":40201,"thumbUrl":40202,"material":319,"size":40203,"collection":107,"collections":40204,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":75},222541,"zeng-zheng-gong-du-shi-juan-wang-duo-222541","赠郑公度诗卷",[49,86,51,52,462,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43d453ef98af224b61aec3187798b045.jpg","每开纵28.3公分,横36公分",[],{"id":40206,"slug":40207,"title":40208,"dynasty":18,"author":14760,"museum":81,"description":14761,"tags":40209,"thumbUrl":40210,"material":25,"size":14764,"collection":107,"collections":40211,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},222320,"qian-li-jiang-cheng-tu-juan-1-zhou-long-222320","千里江程图卷-1",[50,23,51,52,26,55,56,64,293,150,279,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a5e82d606bd4790ed080e73a7e5d886.jpg",[],{"id":40213,"slug":40214,"title":40215,"dynasty":18,"author":9186,"museum":81,"description":40216,"tags":40217,"thumbUrl":40218,"material":319,"size":40219,"collection":107,"collections":40220,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},222315,"zi-shu-wu-yi-ge-juan-wang-chong-222315","自书五忆歌卷","这件书卷恣肆纵逸，神彩飞扬。王宠下笔硬挺，只有在转笔的地方稍微圆润一些，所以笔调硬拙峻拔。虽然这是一件今草的作品，但几乎字字独立，字迹又带有章草的笔意，如书卷中的“眠”、“泰”、“裂”等字的捺笔收尾都还保存了隶书的韵致。这件书法是王宠三十五岁的作品，写在质地坚硬的金粟山藏经纸上，更能将王宠起伏顿按、急遽有力的笔法特色表现出来，是他传世的一件精品。",[49,119,86,52,435,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27ab10ee06054449e08cd21de2467d24.jpg","29.3×294.7厘米",[],{"id":40222,"slug":40223,"title":40224,"dynasty":18,"author":161,"museum":20,"description":40225,"tags":40226,"thumbUrl":40227,"material":227,"size":40228,"collection":107,"collections":40229,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},222094,"liang-jiang-ming-sheng-tu-ce-6-shen-zhou-222094","两江名胜图册6","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。",[49,23,51,24,25,56,59,6770,12696,751,64,944,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F419cd7d3e9a099cd6e89767a3becac30.jpg","42.2×23.8厘米",[],{"id":40231,"slug":40232,"title":40233,"dynasty":18,"author":9326,"museum":222,"description":40234,"tags":40235,"thumbUrl":40236,"material":319,"size":40237,"collection":122,"collections":40238,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},222058,"guo-pu-you-xian-shi-zhang-rui-tu-222058","郭璞游仙诗","此为张瑞图草书节录晋代郭璞的《游仙诗》之三首及梁简文帝萧纲《仙客诗》，文字与原诗略有出入。",[49,50,23,51,52,86,119,462,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F684b2fc238586d292dcccf947ab9fbf9.jpg","纵28厘米，横540厘米",[122],{"id":40240,"slug":40241,"title":2895,"dynasty":18,"author":13408,"museum":20,"description":13409,"tags":40242,"thumbUrl":40243,"material":319,"size":13412,"collection":107,"collections":40244,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},221928,"za-hua-ce-guo-xu-221928",[49,50,23,51,26,135,403,58,967,5960,3009,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceb1b76eeeb2eeb356c8d3f1ed37d35a.jpg",[],{"id":40246,"slug":40247,"title":40248,"dynasty":115,"author":6103,"museum":175,"description":40249,"tags":40250,"thumbUrl":40251,"material":319,"size":40252,"collection":107,"collections":40253,"showCount":284,"zanCount":39,"manualWeight":39,"mainColor":40},221377,"ying-chang-hu-shang-shi-ci-juan-wang-shen-221377","颍昌湖上诗词卷","王诜作为画家的名声似乎要远远高出作为书法家的名声。其实，在书法方面，王诜的字清劲紧实而别具面目。《自书诗帖卷》共分四段，第一段二十三行一百五十四字，以散文叙说“前年恩移清颍（按即颍州）”，道阻于许昌，与韩维（持国）、范镇（景仁）诗酒留连于颍昌府（按即许昌）之西湖的情况。，第二段十七行九十六字，记颍昌湖上三人所作唱和诗句。第三段八行六十四字，为《蝶恋花》词一首，观其描述，亦当为湖上景色。第四段二行十七字，自言近年能饮酒，多醉书。字句之间虽然有感伤惜别的味道，但落笔痛快淋漓，锋芒毕露，可谓独具风貌。 （资料转自上海博物馆网站）\u2028 余前年恩移清颍，道出许昌，前途小阻，留西湖之别馆者几一月。常与韩持国、范景仁泛舟啸咏，使人顿忘去国流离之恨也。韩公德性温厚，风度高雅，固已可爱。范公虽老而精神不衰，议论纯正，白须红面，动辄醺酣。时余有所赋咏，公即取红莲叶命笔疾书，初不经思，佳辞丽句，顷刻而成，坐客莫不惊叹也。比闻朝庭就除端明殿学士以宠之，因思方今进任老成，如公者再起之，亦足以厚风俗耳。\u2028 颍昌湖上。余有赠诸公诗，其略曰：“清影十分月，暗香千柄莲。不知从此别，高会复何年？”韩公诗曰：“浩歌轻白雪，密意得青莲。诗就西桥月，留为好事传。”西蜀公云：“惯乘霄汉雀，翻说淤泥莲。可惜玉台处，等闲闲几年。”盖公不喜释氏，故有是句，亦可一笑也。\u2028 小雨初晴回晚照，金翠楼台倒影芙蓉沼。杨柳垂垂风袅袅，嫩荷无数青钿小，似此园林无限好，流落归来到了心情少。坐到黄昏人悄悄，更应添得朱颜老。右蝶恋花。余旧不饮酒，近年辄能饮，故多醉中所书耳。\n本卷分三段，首段记述了作者在去清颍途中受阻，与韩维（持国）、范镇（景仁）泛舟于西湖啸咏之事；中段与末段分别为三公在颍昌湖上诗作及王诜和蝶恋花词一阙。《宋史》记载，韩维在宋哲宗刚登基时上表推荐范镇，因为范在宋神宗时于建储有功，于是拜范为端明殿学士兼侍读，即文中所称“比闻朝廷就除端明殿学士以宠之”。由此可知，该帖应书于1086年。“余前年恩移清颍”中的“前年”是指1084年。其时韩、范二人亦居于许昌，颍昌湖即文中所称西湖，位于许昌的西北，所以，三人可以相遇于西湖游宴赋诗。该卷虽系以诗词和友有伤感流连之意，但下笔痛快淋漓，结体紧实，笔多横放，锋芒毕露，独具风貌。《吴氏书画记》卷六将此卷误称为黄庭坚书，至曹溶跋方为纠正。之后，《式古堂书画汇考》卷一二、《墨缘汇观》续录、《石渠宝笈续编淳化轩》、《壮陶阁书画录》、《三虞堂书画目》等均改为王诜书。",[49,51,52,119,86,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21ae0a2cd0effd3a16a39257bcac83f5.jpg","31.3×271.9 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崇祯初，累官礼部尚书，与枚十者九，寻乞归。逢元善于书法，博采众长自出已意，尤擅于行、草，世人多宝重。着有《禹贡详节》和《宗伯公集选》。",[23,51,86,84,119,462,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5901359265b98980c30a07749e322840.jpg",[122],{"id":40744,"slug":40745,"title":40746,"dynasty":146,"author":4259,"museum":99,"description":11769,"tags":40747,"thumbUrl":40748,"material":689,"size":690,"collection":107,"collections":40749,"showCount":546,"zanCount":39,"manualWeight":39,"mainColor":40},241013,"su-da-nian-ba-yu-ji-zhu-wen-fu-can-pian-juan-ke-jiu-si-241013","，苏大年跋虞集诛蚊赋残片卷",[86,119,7,52,435],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbffd8d5198e008f4b5fed14a7f6d8543.jpg",[],{"id":40751,"slug":40752,"title":40753,"dynasty":18,"author":29777,"museum":99,"description":29778,"tags":40754,"thumbUrl":40755,"material":689,"size":690,"collection":107,"collections":40756,"showCount":546,"zanCount":39,"manualWeight":39,"mainColor":40},241004,"zhi-luo-feng-zha-juan-wang-shou-ren-241004","致罗峰札卷",[49,50,23,51,52,26,119,541,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88979f0060eb58657f91f1b367c1d40f.jpg",[],{"id":40758,"slug":40759,"title":40760,"dynasty":97,"author":35409,"museum":99,"description":35410,"tags":40761,"thumbUrl":40762,"material":689,"size":690,"collection":107,"collections":40763,"showCount":546,"zanCount":39,"manualWeight":39,"mainColor":40},240984,"zhi-huang-yi-xiao-song-zha-xi-gang-240984","致(黄易)小松札",[86,119,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe93fef9ac62fcdb78efd90004efbb8e3.jpg",[],{"id":40765,"slug":40766,"title":40767,"dynasty":18,"author":40768,"museum":99,"description":40769,"tags":40770,"thumbUrl":40771,"material":319,"size":107,"collection":122,"collections":40772,"showCount":546,"zanCount":39,"manualWeight":39,"mainColor":40},240927,"wu-kuan-deng-liu-jia-kai-shu-xie-jing-ji-li-dai-fa-shu-can-pian-ji-juan-yang-shen-240927","无款、等六家楷书写经及历代法书残片集卷","杨慎","此卷合集残片，诸家笔墨风神各异。小楷写经端雅匀整，笔致清隽静穆，带着抄经时的沉虔；行草题跋则笔势跌宕纵横，铺陈出文人抒怀的疏放不羁。纸面虽有残损漫漶，墨色依旧沉厚温润，朱印斑驳晕开，晕染出岁月的古旧质感。残片拼接之间，牵系起散佚的文脉，将数代书家的伏案心境揉入长卷，既有敬谨的抄经笔意，亦有洒脱的论书闲情，古意盎然，墨迹里沉淀着悠悠时光的余温。",[49,417,119,5663,541,462,86,436,52,418,2226,7,5943,134,2601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48729af0e433bd2120beb4512ee4c60d.jpg",[122],{"id":40774,"slug":40775,"title":40776,"dynasty":97,"author":40777,"museum":99,"description":40778,"tags":40779,"thumbUrl":40780,"material":319,"size":107,"collection":70,"collections":40781,"showCount":546,"zanCount":39,"manualWeight":39,"mainColor":40},240886,"lu-tang-yao-he-shi-ju-ye-qi-zhi-jia-240886","录唐姚合诗句页","祁豸佳","字止祥，号雪瓢，山阴（今浙江绍兴）人。彪佳（1602至1645）弟。天启 明亡后，当局礼聘，却之，与董瑒、王雨谦、陈洪绶、罗坤等结“云门十子”社，日与老衲蒲团相对，谈世外烟霞。甲申（1644）后，隐梅市卖画代耕。字学 山水 间作花卉，亦多逸致，康熙八年（1669）作山水图。",[23,51,24,26,56,870,871,1597,55,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd420e1227963466a348e450bf9d57d90.jpg",[70],{"id":40783,"slug":40784,"title":40785,"dynasty":97,"author":8927,"museum":99,"description":40786,"tags":40787,"thumbUrl":40788,"material":319,"size":107,"collection":122,"collections":40789,"showCount":546,"zanCount":39,"manualWeight":39,"mainColor":40},240555,"shi-san-xing-ye-ai-xin-jue-luo-yong-xing-240555","十三行页","爱新觉罗·永瑆（1752年3月22日—1823年5月10日），少字镜泉，从号少厂，又号镜泉、即斋，别号诒晋斋主人，清朝宗室亲王，乾隆帝爱新觉罗·弘历的第十一子，嘉庆帝的异母兄，永瑆的生母是淑嘉皇贵妃金佳氏。\n乾隆十七年壬申（1752年）二月初七辰时出生于圆明园五福堂。乾隆五十四年（1789年）十一月封和硕成亲王。嘉庆四年（1799年），在军机处行走。道光三年（1823年）三月三十日午时薨，年七十二，谥曰哲。\n作为清朝著名书法家，与翁方纲、刘墉、铁保并列“乾隆四家”。著有《听雨屋集》《诒晋斋集》《仓龙集》。\n对其书法的评价，有杨翰《息柯杂著》谓：“王得窥内府所藏，而自藏又甚富，故书法大备如是，大抵皆从\n帖中问津，未深究古碑耳。”（清）礼亲王昭梿《啸亭杂录》谓：“永瑆幼时握笔，即波磔成文，少年工赵文敏，又尝见康熙时内监。言其师少时犹及见董文敏用笔。惟以前三指握管，悬腕书之，故王广推其语，作拨灯法。”又说：“永瑆名重一时，士大夫得片纸只字，重若珍宝。论者谓国朝自王若霖（澍）下，一人而已。”《息柯杂著》又谓：“诒晋斋书，素未究心，但知其从赵承旨上溯欧阳率更，虽偶涉诸家，终不离两家宗旨。集卷随手杂临，竟有脱尽町畦，不似本家笔意者。篆、隶亦有法度，盖书非一时，临非一家，不甚经意，而精神所寄，一一浑足，此无意胜于有意也。”\n善收藏。著有《听雨书屋诗集》《诒晋斋诗文集》及《续集》《随笔》《仓龙集》等。《清史稿》卷二百二十一有传。",[51,86,119,319,19470,7,105,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a7bc313925afdf882a3abc62d6938ef.jpg",[122],{"id":40791,"slug":40792,"title":40793,"dynasty":18,"author":40794,"museum":99,"description":40795,"tags":40796,"thumbUrl":40798,"material":319,"size":107,"collection":122,"collections":40799,"showCount":546,"zanCount":39,"manualWeight":39,"mainColor":40},240510,"gu-wen-cai-lian-shi-juan-gu-wen-240510","顾问采莲诗卷","顾问","顾问 蕲州人（今属湖北蕲春蕲州）人。明代著名思想家、哲学家和教育家。嘉靖十六年丁酉，举于乡。十七年戊戌（1538）进士正德六年（1511）十一月初八日生，万历十九年（1591）正月十四日卒，享年八十一岁。\n嘉靖十七年（1538）进士，弟弟 兄弟二人均为进士；均为官清正廉洁，世称“天下清绝，顾问顾阙”；均为当时著名的理学家，并称“二顾”",[49,119,86,52,26,7,102,40797,406,1206,2956,944,332],"莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb80a27c5c975ea3de6f654cd791c25ad.jpg",[122],{"id":40801,"slug":40802,"title":40803,"dynasty":97,"author":35447,"museum":99,"description":36776,"tags":40804,"thumbUrl":40805,"material":689,"size":690,"collection":107,"collections":40806,"showCount":546,"zanCount":39,"manualWeight":39,"mainColor":40},240482,"zhuan-shu-lu-wen-zhou-wan-cheng-ji-240482","篆书录文轴",[51,86,84,541,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a5eec069ada0a4fc03581152966b6e9.jpg",[],{"id":40808,"slug":40809,"title":40810,"dynasty":97,"author":5100,"museum":99,"description":16765,"tags":40811,"thumbUrl":40812,"material":689,"size":690,"collection":107,"collections":40813,"showCount":546,"zanCount":39,"manualWeight":39,"mainColor":40},240465,"lin-mi-tie-zhou-zhao-zhi-qian-240465","临米帖轴",[86,84,119,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda18544c74d9e060860a196c66f8ef0e.jpg",[],{"id":40815,"slug":40816,"title":28104,"dynasty":18,"author":29810,"museum":99,"description":29937,"tags":40817,"thumbUrl":40818,"material":689,"size":690,"collection":107,"collections":40819,"showCount":546,"zanCount":39,"manualWeight":39,"mainColor":40},240447,"shi-zhou-ni-yuan-lu-240447",[51,86,84,119,462,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb93a2a796b137abd324ce4bc50a9afb.jpg",[],{"id":40821,"slug":40822,"title":40823,"dynasty":97,"author":248,"museum":99,"description":685,"tags":40824,"thumbUrl":40825,"material":689,"size":690,"collection":107,"collections":40826,"showCount":546,"zanCount":39,"manualWeight":39,"mainColor":40},240415,"ti-hua-gao-ce-yun-shou-ping-240415","题画稿册",[23,51,24,119,7,264,27,26,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9415120a293fd2616460e625cdcc022.jpg",[],{"id":40828,"slug":40829,"title":28104,"dynasty":97,"author":40830,"museum":99,"description":40831,"tags":40832,"thumbUrl":40833,"material":319,"size":107,"collection":122,"collections":40834,"showCount":546,"zanCount":1288,"manualWeight":39,"mainColor":40},240193,"shi-zhou-bi-yuan-240193","毕沅","毕沅（1730年—1797年），字纕蘅，亦字秋帆，因从沈德潜学于灵岩山，自号灵岩山人。江苏镇洋（今江苏太仓）人。清代著名学者。\n乾隆二十五年（1760）进士，廷试第一，状元及第，授翰林院编修。乾隆五十年（1785）累官至河南巡抚，第二年擢湖广总督。嘉庆元年（1796）赏轻车都尉世袭。病逝后，赠太子太保，赐祭葬。\n嘉來庆二冄年頭（17樤97）年病逝，获赠太子太保。",[86,84,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bd0c7f5d59860c6fb46c27b0d3589d3.jpg",[122],{"id":40836,"slug":40837,"title":40838,"dynasty":18,"author":207,"museum":99,"description":40839,"tags":40840,"thumbUrl":40841,"material":107,"size":107,"collection":122,"collections":40842,"showCount":546,"zanCount":39,"manualWeight":39,"mainColor":75},240176,"wu-kuan-li-yu-ji-qi-yao-shi-jia-jing-er-shi-si-nian-gao-ming-juan-yi-ming-240176","无款李愈及妻姚氏嘉靖二十四年诰命卷","此卷制式规整典重，首端织金云龙环绕题额，朱红九叠篆玺印方正雄浑，尽显庙堂威仪。敕命以馆阁小楷书就，笔致端雅匀净，法度森严；旁侧题跋行书舒展灵动，文气隽秀。一文一跋，庙堂规整与文人意趣相映成趣。缣素古旧，朱痕晕染岁月沉韵，既承载着封建荣典的礼制重量，亦兼具织造、书法的双重审美价值，尽显明代官方文书的庄重气度与彼时工艺、书法的不俗风貌。",[49,51,52,25,405,7,541,119,417,86,2811,2601,54,5943],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F973f77157b943e606600b994ab8ce8cb.jpg",[122],{"id":40844,"slug":40845,"title":40846,"dynasty":97,"author":8927,"museum":99,"description":8928,"tags":40847,"thumbUrl":40848,"material":689,"size":690,"collection":107,"collections":40849,"showCount":546,"zanCount":39,"manualWeight":39,"mainColor":40},240062,"xing-chun-gong-shu-juan-ai-xin-jue-luo-yong-xing-240062","行春宫疏卷",[49,105,119,86,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F205b8163967c1aa7c341346d434836e0.jpg",[],{"id":40851,"slug":40852,"title":40853,"dynasty":97,"author":445,"museum":175,"description":31806,"tags":40854,"thumbUrl":40856,"material":107,"size":107,"collection":122,"collections":40857,"showCount":546,"zanCount":39,"manualWeight":39,"mainColor":40},240037,"yuan-ji-jin-shan-liu-yun-ting-chang-he-yun-shi-ye-shi-tao-240037","原济金山留云亭唱和韵诗页",[51,86,105,119,462,26,319,7,23567,24178,17680,40855,34595],"毛笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ea08cb353e3a80880d6cb515cd68110.jpg",[122],{"id":40859,"slug":40860,"title":40861,"dynasty":18,"author":2556,"museum":99,"description":40862,"tags":40863,"thumbUrl":40864,"material":107,"size":107,"collection":122,"collections":40865,"showCount":546,"zanCount":39,"manualWeight":39,"mainColor":40},239946,"qi-jue-shi-zhou-chen-ji-ru-239946","七绝诗轴","陈继儒（1558年12月14日-1639年10月16日），字仲醇，号眉公、麋公，松江府华亭（今上海市松江区）人。明朝文学家、画家。\n诸生出身，二十九岁开始，隐居在小昆山，后居东佘山，关门著述，工诗善文，书法学习苏轼和米芾，兼能绘事，屡次皇诏征用，皆以疾辞。 擅长墨梅、山水，画梅多册页小幅，自然随意，意态萧疏。论画倡导文人画，持南北宗论，重视画家修养，赞同书画同源，有《梅花册》《云山卷》等传世。著有《陈眉公全集》《小窗幽记》《吴葛将军墓碑》《妮古录》。\n陈继儒书法学苏轼、米芾，对苏、米墨迹，最为喜爱，虽残碑断简，也必搜采，手自摹刻，成《晚香堂帖》及《来仪堂帖》。\n所画山水，空远清逸，松江博物馆藏有《潇湘烟雨图》1幅。所画梅竹，点染精妙，名重当时。用水墨画梅，乃其第一次，曾编《陈眉公梅花诗画册》，为后世所法。传世作品有《梅花》《梅竹双清图》等，（现藏故宫博物院）。\n另有《梅花图》8页（藏于日本东京国立博物馆）。书法传世作品有《行书半研斋诗》《行书李白诗》等（现藏故宫博物院）。曾评批《西厢记》《琵琶记》《绣襦记》等。并善鼓琴，订正琴谱，名重一时。\n其书画印有：“陈继儒印”（阴文印2方）、“陈眉公书画记”（阳文印2方）、“眉公”（阳文印）、“雪堂”（阴文印） 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程志道、丁观鹏合作《庆丰图》册，六年（1741）又与周鲲、丁观鹏合作《汉宫春晓图》卷。传世作品有《雪景故事》册共计十开，绢本，设色，现藏故宫博物院。",[23,51,24,25,54,1050,56,59,727,150,64,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2ba6b5b5d446cd11a4073a42a45b840.jpg","纵31．5厘米 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28年出版的图书，作者是 。\n本书是历代法书真迹萃编系列之一。\n《章草急就章等(元·邓文原法书选)》是历代法书真迹萃编系列之一。\n出版社: 黄山书社; 第1版 (28年12月1日) 丛书名: 历代法书真迹萃编 平装: 2页 正文语种: 简体中文 开本: 8 ISBN: 978754611781, 754611786 条形码: 978754611781 尺寸: .2 2.4 .8 cm 重量: 181 g 邓文原（1258-128年），元代书法家。\n字善之，一字匪石，人称素履先生。\n绵州（今四川绵阳）人。\n年十五，通《春秋》。\n至元二十七年（129），辟为杭州路儒学正。\n至治二年（122），召为集贤直学士，兼 。\n泰定二年（125），召拜翰林侍讲学士。\n谱文肃。\n翰墨擅名一代，尤工于笔札，与赵孟俯齐名。\n其正、行、草书早期法二王，后法李北海（邕），章草亦颇具特色，与皇象、索靖的质朴相比，他更流利矫健，神采飞动。\n传世书迹有：《杖锡见过帖》、《与本斋札》、章草代表作《临急就章》等。\n着有《巴西文集》、《内制集》、《素履斋藁》等。\n邓文原《章草急就章》为纸本，纵2.厘米，横98.7厘米；《行书伯夷颂帖》为纸本，纵2.7厘米，横4.9厘米；《行书家书帖》为纸本，纵24.2厘米，横29.1厘米；《行书家书帖》为纸本，纵1.2厘米，横4.5厘米。\n以上作品均藏于北京故宫博物馆。\n书法，指有较高艺术水平的书法作品。\n古代将书写于缣楮纸帛而有法度的书法作品均称“法书”，或称“书”。\n《书法三味》：“作字之要，下笔须沉着，虽一点一画之间，皆须三过其笔，方为法书。\n”北宋王安石有“好事所传玩，空残法书帖”诗句。\n今通称所作之书法作品为法书，还含有尊重作者之意。",[49,86,134,52,462,7,5943,418,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa768e24b1772d5da23b0f42ad8116b23.jpg",[],{"id":41504,"slug":41505,"title":41506,"dynasty":115,"author":207,"museum":99,"description":41507,"tags":41508,"thumbUrl":41509,"material":107,"size":107,"collection":107,"collections":41510,"showCount":546,"zanCount":39,"manualWeight":39,"mainColor":40},227868,"li-gong-lin-kuan-zui-seng-tu-juan-yi-ming-227868","李公麟款醉僧图卷","此作用笔清劲秀逸，白描绘松阴下醉僧安坐，童子躬身侍弄，二仆携酒趋前，将怀素酣醉欲书的放旷神态暗蕴于简淡画面中，人物情态鲜活宛然。\n卷中题跋络绎，行书大字苍劲疏朗，长卷书法纵逸洒脱，与画作意趣呼应相合，全卷鉴印琳琅，书画合璧，尽显宋人的尚意风雅，笔墨间流转着颠僧醉后挥毫的疏狂意气，把禅意与文人情致融为一体，尽显古雅悠然的旧时艺坛意趣。",[49,50,23,51,52,135,26,58,64,1714,945,497,27006,86,119,541,7,7113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F683a9ddc056efb94f95ef1ed88605b69.jpg",[],{"id":41512,"slug":41513,"title":41514,"dynasty":115,"author":881,"museum":99,"description":41515,"tags":41516,"thumbUrl":41519,"material":107,"size":107,"collection":107,"collections":41520,"showCount":546,"zanCount":39,"manualWeight":39,"mainColor":40},227828,"shi-jing-bin-feng-tu-juan-ma-yuan-227828","诗经豳风图卷","此卷以清雅小楷书就诗篇，笔力清劲秀逸，结体舒展端雅，墨色匀净温润，尽显宋人书法的雅致意趣。原作诗画合璧，将《豳风》里的时序农桑、岁时日常铺陈于卷上，把周人春耕秋收、寒来暑往的稼穑生涯融于笔底。\n诗与画交相辉映，笔墨间既有文人书卷的清雅气韵，又带着乡野农耕的朴拙意致，将古老诗篇中的田园图景鲜活呈现，让千载之前的风土日常跃然绢素，尽显宋代文人的审美意涵，是诗书画合一的经典佳构。",[49,23,51,52,119,7,86,26,25,58,65,6545,19700,1573,135,56,41517,33595,41518,4832,239,54,403],"农事场景","古文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932ea9b37676bb120402ac80c3f96d65.jpg",[],{"id":41522,"slug":41523,"title":41524,"dynasty":115,"author":116,"museum":81,"description":41525,"tags":41526,"thumbUrl":41527,"material":107,"size":107,"collection":107,"collections":41528,"showCount":546,"zanCount":39,"manualWeight":39,"mainColor":40},227592,"jing-zhou-tie-huang-ting-jian-227592","荊州帖","《荆州帖》，纸本，行书，亦称《动静帖》、《致公蕴知县宣德执事尺牍》，30.4×43.5cm，现藏台北故宫博物院。\n\n公元1095年（绍圣二年）三月，黄庭坚在荆州登船离行前，以小行楷书与公蕴知县道珍重。该幅字势欹侧，结体开张，具其书风特色，所书笔法沉稳，惟笔画中之顿挫起伏较少，与大行书略有差别。此牍曾入宋元秘府，后并入《三希堂法帖》。",[86,51,119,7,418,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5615ef47c334626dd2da3323d409de86.jpg",[],{"id":41530,"slug":41531,"title":41532,"dynasty":2807,"author":207,"museum":99,"description":41533,"tags":41534,"thumbUrl":41535,"material":107,"size":107,"collection":107,"collections":41536,"showCount":546,"zanCount":39,"manualWeight":39,"mainColor":75},225355,"fu-shi-hui-111-yi-ming-225355","浮世绘111","这幅花绘以罂粟为主题，错落舒展的花枝打破平寂画面，苍劲墨线勾勒叶片筋脉，带着粗粝朴拙的质感。暖调淡色晕染花瓣，边缘以浓墨复勾，柔媚花姿添上几分桀骜古意。古旧底色晕开岁月沉韵，将娇妍花态与浮世绘版画特质相融。\n没有繁复布景，却将草木舒展的原生张力尽显。笔触简净凝练，以色墨浓淡层次，晕开盛放、初绽、含苞的不同情态，将春日罂粟盛放的瞬间定格为雅致风物，带着沉静的江户余韵，于简素之中见精妙意趣。",[30272,15959,25,27,332,265,51,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e41bc6c0e7f405c1ffe508554212812.jpg",[],{"id":41538,"slug":41539,"title":41540,"dynasty":97,"author":5309,"museum":99,"description":41541,"tags":41542,"thumbUrl":41543,"material":107,"size":107,"collection":107,"collections":41544,"showCount":546,"zanCount":39,"manualWeight":39,"mainColor":40},224473,"qing-wang-yun-wang-hui-he-bi-zhou-wang-hui-224473","清王云王翚合璧轴","此作用笔兼工带写，老桃枯干苍劲古拙，枝头桃花轻红柔丽，灼灼盛放，与叶芽新绿相映，晕染出春日融融生机。下方水畔鸳鸯伫立，翎毛晕染细腻，羽色明丽温润，情态安闲静雅。\n书画合璧，题字清隽秀雅，诗画呼应，将春日的恬和野趣晕透纸面，设色妍而不艳，既有院体花鸟的精工雅致，又饱含文人画的澹泊意趣，静穆中藏着蓬勃春机，尽显清和雅致的林下春光。",[49,23,51,84,25,54,27,57,85,11856,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c4efb57d002aeb7ed5287d3e5fa93fa.jpg",[],{"id":41546,"slug":41547,"title":41548,"dynasty":97,"author":724,"museum":99,"description":41549,"tags":41550,"thumbUrl":41558,"material":107,"size":107,"collection":107,"collections":41559,"showCount":546,"zanCount":39,"manualWeight":39,"mainColor":40},224395,"cong-lin-lan-re-wang-yuan-qi-224395","丛林兰若","此作用笔苍润老辣，以干笔积墨皴擦山峦，层岩叠嶂浑厚苍劲。溪涧蜿蜒穿流于蓊郁林木间，山径隐现幽林深处，铺展出清寂悠然的林下胜境。画面氤氲静谧古雅的禅意，将山野林泉的幽旷之美尽数铺陈。\n\n左侧题诗与画作相映成趣，诗画合璧，把山居雅逸的意趣烘托得淋漓尽致，仿若将观者引入这世外林泉，于山光水色里涤荡尘俗之心，尽显文人山水的悠然意境与沉静风骨。",[49,23,51,56,25,55,86,7,64,150,61,278,63,27912,294,41551,41552,41553,41554,41555,41556,41557,7113],"山峦叠嶂","干笔皴擦","浅绛设色","山石勾勒","树木丛植","溪流蜿蜒","建筑掩映","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f5a2de7daf042bb44ee28e52239a0d9.jpg",[],{"id":41561,"slug":41562,"title":41563,"dynasty":97,"author":724,"museum":99,"description":41564,"tags":41565,"thumbUrl":41570,"material":107,"size":107,"collection":107,"collections":41571,"showCount":546,"zanCount":39,"manualWeight":39,"mainColor":40},224385,"fang-da-chi-shan-shui-tu-wang-yuan-qi-224385","仿大痴山水图","此作取法大痴意趣，层峦从侧峰铺陈而下，逶迤溪水穿谷绕石，将山居屋舍、飞泉板桥藏于林壑之间，把江南山林的幽寂野趣铺展纸上。\n以干笔积墨反复皴擦，披麻皴写就山石肌理，墨色干湿浓淡交叠，苍厚生拙间带着萧散淡远的韵致。左上题跋朱印错落排布，文气晕染山水，让笔墨意境与文人意趣相融，整体清旷雅致，尽显山居林泉的静美逸致，师古而不泥古，于笔墨间氤氲出幽远的文人山水情致。",[49,23,50,51,712,26,25,150,61,60,164,41566,64,41567,55,7440,41568,6095,35165,41569,7,7113],"飞泉","林壑","干笔积墨","清旷雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbf015ee390ff81a46e533be58fbb6c.jpg",[],{"id":41573,"slug":41574,"title":41575,"dynasty":97,"author":929,"museum":99,"description":41576,"tags":41577,"thumbUrl":41578,"material":107,"size":107,"collection":107,"collections":41579,"showCount":546,"zanCount":39,"manualWeight":39,"mainColor":40},224321,"hua-niao-shi-er-kai-10-li-shan-224321","花鸟十二开10","画面书画合璧，意韵悠长。以没骨法写就江南佳果，青蜜桃圆润饱满，淡青敷色晕出带紫的熟韵，叶片舒卷含露，鲜活如生；枇杷圆实浅赭，尽显甜熟质感；杨梅黑紫莹润，衬以青灰长叶，野趣盎然。\n\n题跋行书清雅隽秀，叙南北果品风味，笔墨与风物相融，淡墨轻彩间，将文人闲赏风物的恬然心境藏于尺幅之中，设色柔和雅致，晕染细腻自然，把佳果鲜嫩鲜活的情态刻画入微，尽显小品写意的清雅意致。",[49,23,51,24,25,403,86,7,27,4231,513,1194,265,1195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febb1d64a5729b47a3279498396e83838.jpg",[],{"id":41581,"slug":41582,"title":41583,"dynasty":97,"author":929,"museum":99,"description":41584,"tags":41585,"thumbUrl":41586,"material":107,"size":107,"collection":107,"collections":41587,"showCount":546,"zanCount":11,"manualWeight":39,"mainColor":40},224317,"hua-niao-ce-shi-kai-7-li-shan-224317","花鸟册十开7","此帧绘牵牛绕竹，藤蔓蜷曲舒展，翠叶柔嫩鲜活，蓝紫花瓣晕染出通透光泽，将朝颜初绽的柔媚尽致展现。笔意兼具工致与写意，花叶灵动鲜活，如见晨露未晞的篱边实景。左侧书法笔力苍劲，诗书与绘事相映，文人雅趣尽显。以写生捕捉朝花之真，以笔墨挥洒写意之韵，将草木柔媚与文人意趣相融，雅致脱俗，尽显花间清逸之美。",[49,23,24,25,403,27,896,312,553,31,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365822b4c1cbcce04446c2d41651ab33.jpg",[],{"id":41589,"slug":41590,"title":7828,"dynasty":97,"author":16882,"museum":99,"description":16883,"tags":41591,"thumbUrl":41592,"material":689,"size":690,"collection":107,"collections":41593,"showCount":546,"zanCount":39,"manualWeight":39,"mainColor":40},224288,"qian-zi-wen-fu-shan-224288",[49,86,462,52,51,501,7,2601,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa914d3fbe1a9706062a7d66ca91061e6.jpg",[],{"id":41595,"slug":41596,"title":41597,"dynasty":97,"author":29230,"museum":99,"description":41598,"tags":41599,"thumbUrl":41600,"material":689,"size":690,"collection":107,"collections":41601,"showCount":546,"zanCount":39,"manualWeight":39,"mainColor":40},224252,"yu-zhuang-wan-ji-zhou-kun-224252","渔庄晚霁","字天池，江苏常熟人。黄霆子。画承家学，工山水、人物，梅花亦佳。乾隆（一七三六至一七九五）时供奉如意馆。尝以闾阎疾苦情形托诸艺事，蒙御题，有：“监门遗故事，咨尔溯其踪”句。所作多藏石渠宝笈。《国[清]朝画徵续录、虞山画志、石渠宝笈、清画家诗史》",[49,23,51,24,25,56,714,61,62,66,2956,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafd1a0468a1001ba98444776ec3e12d7.jpg",[],{"id":41603,"slug":41604,"title":41605,"dynasty":97,"author":32085,"museum":99,"description":41606,"tags":41607,"thumbUrl":41608,"material":107,"size":107,"collection":107,"collections":41609,"showCount":546,"zanCount":39,"manualWeight":39,"mainColor":40},224159,"dong-fang-shuo-hua-zan-wu-xi-zai-224159","东方朔画赞","此作用笔雄畅恣肆，苍劲老辣，线条提按转合间尽显潇洒意气。通篇布局疏密有致，字势欹正相生，既有帖学灵动秀雅的意趣，又融北碑雄浑厚重的骨力。\n\n笔力沉实，墨色润燥相间，枯笔处筋骨棱棱，尽现劲挺姿态；润笔时腴润饱满，暗含温婉韵致。书家将文辞高世狂狷之风寄寓于挥毫运墨之间，通篇气韵连贯酣畅，文墨互映，尽显深厚功底与恣意文人意气。",[49,86,119,52,105,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe071817abe145a54b40346226799491c.jpg",[],{"id":41611,"slug":41612,"title":41613,"dynasty":97,"author":4047,"museum":222,"description":41614,"tags":41615,"thumbUrl":41617,"material":319,"size":41618,"collection":1120,"collections":41619,"showCount":546,"zanCount":39,"manualWeight":39,"mainColor":1441},224120,"ni-jin-shu-si-de-xu-lun-qian-long-224120","泥金书四得绪论","此卷为乾隆帝在泥金纸上书写的手卷，长卷在章法布局上疏朗大气，落落大方，气韵贯通，字体端壮秀丽，运笔上讲究迟送涩进之法，弥补了泥金书在书写时迟滞的缺点。",[49,41616,86,417,52,7],"泥金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa77247b88eb1097cbe6c5b29bbacd118.jpg","35.7x502.2cm",[1120],{"id":41621,"slug":41622,"title":41623,"dynasty":115,"author":207,"museum":99,"description":41624,"tags":41625,"thumbUrl":41626,"material":107,"size":107,"collection":107,"collections":41627,"showCount":546,"zanCount":39,"manualWeight":39,"mainColor":40},223687,"gao-ge-ling-kong-tu-yi-ming-223687","高阁凌空图","这幅小品以截取之笔，将凌空高阁悄然铺展。只取楼阁西南一隅，陡斜飞梯衔接重楼飞檐，勾勒出层叠舒展的宋式营造之美，斗拱瓦当皆细致入微，暗合宋人营造的极致工巧。\n\n楼中隐见几缕人影凭栏伫立，为冷峻的木构楼宇晕开一抹暖融融的烟火气，让凌霄高阁脱离孤冷，多了人间意趣。左下角苍松虬枝斜探，古拙松针掩映楼角，为画面添了山野清寂。大片虚淡的暗褐色背景，将建筑与古松托举而出，烘托出楼阁凌云的空寂高旷，尽显宋画小品以小见大、静中生境的雅致意趣。",[49,23,51,1962,54,25,59,58,871,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4344c1c96fa89fc78daa9c322978feb4.jpg",[],{"id":41629,"slug":41630,"title":41631,"dynasty":115,"author":207,"museum":99,"description":41632,"tags":41633,"thumbUrl":41634,"material":107,"size":107,"collection":107,"collections":41635,"showCount":546,"zanCount":39,"manualWeight":39,"mainColor":924},223633,"lian-she-tu-shou-juan-quan-juan-yi-ming-223633","莲社图手卷全卷","此作以淡墨白描铺展雅集盛景，开篇台阁之上，高士凭栏凝睇林泉，随后次第铺陈林下雅聚：沙门与文人或围坐清谈，或横琴拨弦，或展卷品题，动静相生。茂林修竹、幽泉奇石错落点缀，线条圆劲秀逸，设色浅淡古雅，尽显宋画谨严清雅的笔意风神。\n\n留白疏密得宜，将林下高致晕染开来，长卷题跋与画作相映成趣，诗画合璧，把魏晋文人的超迈风雅具象呈现，古意盎然，尽显对前代名流雅事的精妙追摹。",[49,23,51,52,135,26,55,1284,58,56,85,610,1902,293,754,60,61,225,66,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eca59a9af4ab78ae9bd2f9989a1e28c.jpg",[],{"id":41637,"slug":41638,"title":41639,"dy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沈周的书法起步于家传，初学赵孟頫；四十岁左右起，泛学诸家，而对宋四家用力最勤；至晚年更倾心学黄庭坚。喜用狼毫挥书，线条锋利铦锐，结构跌宕开阖，中宫收紧而四维开张，所谓“长撇大捺”，遒劲奇崛，也是明代的书法名家。",[49,119,86,52,26,7,944,277,56,945],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc35860016e1c8c78552c7fadc8481f4c.jpg","长卷，纸本，墨书","纵30.1厘米，横420厘米",[],{"id":41718,"slug":41719,"title":40667,"dynasty":18,"author":9186,"museum":2698,"description":41720,"tags":41721,"thumbUrl":41722,"material":41723,"size":41724,"collection":107,"collections":41725,"showCount":546,"zanCount":39,"manualWeight":39,"mainColor":40},222316,"zi-shu-you-bao-shan-shi-shou-juan-wang-chong-222316","卷前钤有“且喜斋书画印”朱文长方印一枚。此书作于嘉靖三年甲申（1524年），时年王宠整三十岁。此时，他的书法尚处于兼采众长、变化融通的阶段，用笔尖锐果猛，线条圆润遒劲，字体大多欹侧且较后期书作为长。",[49,86,119,52,51,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ca7c4ddd9ab15661853407e5710232b.jpg","砑花笺","横382厘米，纵29厘米",[],{"id":41727,"slug":41728,"title":41729,"dynasty":18,"author":38362,"museum":81,"description":41730,"tags":41731,"thumbUrl":41732,"material":107,"size":41733,"collection":107,"collections":41734,"showCount":546,"zanCount":39,"manualWeight":39,"mainColor":40},222219,"dou-ji-zhu-lang-222219","斗鸡","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》",[49,23,51,822,26,27,2631,85,1714,7,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bbb2831a3ef1bdfad4dd42c78422ec8.jpg","33x56.7厘米",[],{"id":41736,"slug":41737,"title":41738,"dynasty":18,"author":161,"museum":175,"description":41739,"tags":41740,"thumbUrl":41741,"material":1636,"size":41742,"collection":107,"collections":41743,"showCount":546,"zanCount":39,"manualWeight":39,"mainColor":40},222127,"sheng-guang-tie-ye-shen-zhou-222127","声光帖页","释文：\n向自金仲寄至苏合丸，珍佩，珍佩！日来知德与位称，声光向隆，可见德门旧族风致自殊。卫中运士还，极言佩荷，足激乡里近时薄风，健羡，健羡！寒舍饥垫中，又以则户点解，村僮皆愚于料物托揽好耳。所司交纳利害，略不知头绪，尚有核桃一色，知待新方收，因不敢赍价去。缘僮俱非惜家者，凡百事为，恃在故旧之爱，希为指点，帲幪当铭刻不浅也。录尔尊先大夫心耕诗，请须裁教。外有小笔山水一帧，将意而已，未间伏惟为国，自玉不宣。\n署款：“婣生沈周再拜，全卿豸史亲家阁下。三月廿九日，锦帕二方伴缄。”款下钤印：“启南”。鉴藏印：“之赤”、“希曾”、“二谢”、“张珩审定真迹”、“周氏作民”。\n此帖是沈周写给亲家的一封书信，谈论一些日常生活中的琐事及对事物的看法。因是给关系比较密切的人写信，所以具有随意、自然的书写风格。此书师黄庭坚，兼及苏轼，笔力老练劲挺，结体紧凑不拘，笔画全以欹侧取势。",[49,86,119,418,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51f47456e0ce5dbeb104540984b501eb.jpg","纵23厘米，横40.7厘米",[],{"id":41745,"slug":41746,"title":41747,"dynasty":146,"author":20435,"museum":222,"description":41748,"tags":41749,"thumbUrl":41750,"material":41751,"size":41752,"collection":107,"collections":41753,"showCount":546,"zanCount":39,"manualWeight":39,"mainColor":40},221845,"zhu-xi-cao-tang-ji-ti-juan-yang-wei-zhen-221845","竹西草堂记题卷","主要内容是以二三子争辩引出“竹西”之号的来历，抒发其对隐逸之士的推崇。书法清虚灵动，隽逸潇洒，与其晚年豪迈不羁的风格大相异趣。",[49,50,23,51,52,119,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F068fc65dfbf8bd77079c5f4423984e87.jpg","纸本，墨迹","27.5×169.1cm",[],{"id":41755,"slug":41756,"title":41757,"dynasty":146,"author":41758,"museum":175,"description":41759,"tags":41760,"thumbUrl":41761,"material":319,"size":41762,"collection":122,"collections":41763,"showCount":546,"zanCount":39,"manualWeight":39,"mainColor":75},221730,"fa-jian-ye-tie-ye-li-xiao-guang-221730","发建业帖页","李孝光","释文：\n后五月十日，李孝光顿首上书，龙翔堂头笑隐和尚尊前：发建业时行遽，乃不得身自谢。又闻从者且至龙安驿，与克庄副使为别，此即相见，因得摅写情愫。比明日到龙安，则闻辞不来矣。愧戁悚息，不可胜言。心已知公仁厚，明我不敢为慢者。然建业市间，有一种人善为塗涴，万一少被毁惑，何以自解，故不得不切切言之。适吴溥泉台使来，便附上书致多谢，惟高明赐察。溥泉读书积学，明敏晓时务，善于为歌诗，又工书，得公为延誉诸公间，幸甚。未由相见，伏冀为佛法厚自爱，孝光拜覆。用章、玉峰、仲坚、清远入参，乞呼贱名致意，孝光又覆。\n此帖无题跋。首署：“李孝光顿首上书”。鉴藏印钤“槐庭清玩”、“东平”印两方。\n此为李孝光致龙翔集庆寺主持大訢（笑隐和尚）的信札。\n帖中云：“发建业时行遽，乃不得身自谢”，又云：“龙翔堂头”等，这正是大訢主持龙翔集庆寺的时候。前又云：“后五月十日”，据考证应是元至正元年（1341年）己酉闰五月，故知此帖为李孝光45岁时所书。其书学苏轼，笔画丰腴，运笔流畅，连带自然，且结体方扁，时出侧锋，具有相当高的艺术水平。",[49,86,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5448df518f34613d1bff7eff5d5a789d.jpg","纵31.2厘米，横38厘米",[122],{"id":41765,"slug":41766,"title":41767,"dynasty":146,"author":41768,"museum":175,"description":41769,"tags":41770,"thumbUrl":41771,"material":319,"size":41772,"collection":122,"collections":41773,"showCount":546,"zanCount":39,"manualWeight":39,"mainColor":40},221725,"qi-qi-tie-wang-li-shi-221725","骑气帖","王礼寔","《骑气帖》释文\n此帖是王礼寔写给陈植的一通信札。王、陈二人当时都在平江路（今苏州），所以礼寔有幸“追陪左右宴游”。帖中称陈植“年当强仕”，时陈植40岁，信应书于其时。书法整秀，承袭赵孟頫、鲜于枢风范。\n此帖明代时由项元汴收藏，钤鉴藏印多方。清代入乾隆内府。《石渠宝笈》初编卷十《元名家尺牍册》著录。",[49,51,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F304207807a87468592d5b6ee5f2c8697.jpg","纵31.1厘米，横58.9厘米",[122],{"id":41775,"slug":41776,"title":20846,"dynasty":146,"author":13476,"museum":99,"description":41777,"tags":41778,"thumbUrl":41779,"material":253,"size":41780,"collection":107,"collections":41781,"showCount":546,"zanCount":39,"manualWeight":39,"mainColor":75},221718,"shi-liu-luo-han-tu-juan-yan-hui-221718","在画法上，能作细致的工笔描绘，但大多喜作水墨粗笔，用笔劲健豪放。笔法粗犷，有梁楷遗法，以水墨画居多。颜辉的作品流传日本较多，对日本室町时代的绘画有较大影响。亦工山水，得北宋李成、郭熙法。所作人物，造型奇特，性格突出。笔法粗厚，钩勒粗细咸宜，起伏有致，渲染精到，以水墨烘晕，使画面衬托出阴暗凹凸，富立体感，有“笔法奇绝，八面生意”之称，这是一种前无古人之创新画法，柳贯赞之为“收揽奇怪一笔摸”，与梁楷、法常一脉相承。所画铁拐李目光咄咄逼人，形貌粗陋却一身正气，反映出仇视当权者之强烈情绪。亦善画猿，曾作《百猿图》，时人戴良释解其画意为褒扬“猿之仁也”。",[49,50,23,51,52,1284,25,58,358,871,181,3737,1116,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1758年，清朝乾隆年间著名学者、画家、诗人、文学家、收藏家。字楞山，号玉几、玉几山人等。",[49,23,51,24,26,528,86,119,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F332d1322d55703d984116195e7f69f7e.jpg",[],{"id":42069,"slug":42070,"title":39033,"dynasty":18,"author":13308,"museum":99,"description":42071,"tags":42072,"thumbUrl":42073,"material":689,"size":690,"collection":107,"collections":42074,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},290506,"duan-yang-jing-zhou-chen-jia-yan-290506","陈嘉言（1538～？）字孔彰，浙江嘉兴人。善写花卉翎毛。",[23,51,84,25,27,277,552,2101,529,7,31567],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda7058ae7dbad931a1e56864cfa4bdd3.jpg",[],{"id":42076,"slug":42077,"title":42078,"dynasty":97,"author":42079,"museum":99,"description":42080,"tags":42081,"thumbUrl":42082,"material":689,"size":690,"collection":107,"collections":42083,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},290451,"shu-fa-tuan-shan-ni-can-290451","书法团扇","倪璨","倪璨，清朝画家（1764—1841年）字研田，自号砚石锄夫，江苏甘泉（今扬州）人。",[49,822,86,119,7,51,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60e76532c03f245acd2d09a155622c4c.jpg",[],{"id":42085,"slug":42086,"title":42087,"dynasty":146,"author":9091,"museum":99,"description":37754,"tags":42088,"thumbUrl":42089,"material":689,"size":690,"collection":107,"collections":42090,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":75},290439,"dan-tai-chun-shang-tu-ke-luo-ban-lu-guang-290439","丹台春赏图（珂罗版）",[49,23,50,26,56,84,59,61,62,150,64,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06b2fe1a43f6f7452408d2f57ed3ba7d.jpg",[],{"id":42092,"slug":42093,"title":42094,"dynasty":115,"author":207,"museum":99,"description":39070,"tags":42095,"thumbUrl":42096,"material":689,"size":690,"collection":107,"collections":42097,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},290110,"wu-tong-ting-yuan-tu-yi-ming-290110","梧桐庭院图",[50,23,51,1962,24,54,25,59,1019,64,60,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbfc008d8276fa6952b4ae41102c97fe.jpg",[],{"id":42099,"slug":42100,"title":42101,"dynasty":97,"author":5309,"museum":99,"description":15394,"tags":42102,"thumbUrl":42103,"material":689,"size":690,"collection":107,"collections":42104,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":75},289933,"xia-wu-yin-mei-tu-zhou-wang-hui-289933","夏五吟梅图轴",[50,23,51,84,26,25,55,56,777,358,528,60,61,63,66,150,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbb351758d9dedc7377576f498d8c508.jpg",[],{"id":42106,"slug":42107,"title":42108,"dynasty":18,"author":2181,"museum":99,"description":5719,"tags":42109,"thumbUrl":42112,"material":689,"size":690,"collection":107,"collections":42113,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},289886,"dong-fang-shuo-da-ke-nan-dong-qi-chang-289886","东方朔答客难",[49,86,52,119,7,418,42110,42111],"东方朔","答客难","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8161550aa6d1879774d035652f465e5a.jpg",[],{"id":42115,"slug":42116,"title":12369,"dynasty":192,"author":38561,"museum":99,"description":42117,"tags":42118,"thumbUrl":42119,"material":689,"size":690,"collection":107,"collections":42120,"showCount":270,"zanCount":1288,"manualWeight":39,"mainColor":75},289760,"liu-zun-zhe-xiang-tu-ce-lu-leng-jia-289760","卢楞伽，一作棱伽，长安（今陕西西安）人，生卒年不详，约8世纪人。自汴入蜀，为吴道子弟子。画风细致，咫尺间山水寥廓，形象精备。",[49,1284,86,119,7,24,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6102513a1790afc85fbd6d1841be71bb.jpg",[],{"id":42122,"slug":42123,"title":42124,"dynasty":146,"author":12240,"museum":99,"description":42125,"tags":42126,"thumbUrl":42127,"material":689,"size":690,"collection":107,"collections":42128,"showCount":270,"zanCount":1288,"manualWeight":39,"mainColor":75},289232,"han-shan-shi-de-tu-yin-tuo-luo-289232","寒山拾得图","其实，《寒山拾得图》只是因陀罗所作的一整卷禅机图中的一部分，在日本，还有另外4幅因陀罗画的禅机图，它们分别是由石桥美术馆收藏的《丹霞烧佛图》、根津美术馆收藏的《布袋图》、静嘉堂文库美术馆收藏的《智常禅师图》以及畠山纪念馆所收藏的《李渤参智图》。这5幅作品统一被称为因陀罗的《禅机图短简》，都被指定为日本的国宝。据日本专家考证，因陀罗的禅机图并不只由这5幅画组成，可能还包括另外一幅《寒山拾得图》以及一幅《萧王问答图》，而东京国立博物馆收藏的这幅《寒山拾得图》则极有可能是整个画卷的末尾部分。\n日本自镰仓时代（1185-1333年）开始兴起收藏唐宋元等朝代的中国美术作品之风，因陀罗的禅机图也因此传入日本。不过，与中国人整卷欣赏美术作品不同，日本人更喜欢把一副长画卷裁成多个部分，然后裱制成画轴挂在茶室等房间的墙上分别欣赏。这也是因陀罗所画的一整卷禅机图被分成多个部分，现在分别由不同的美术馆收藏的原因。不过，不管是哪一幅作品都是享誉日本的名贵珍藏品。例如，《寒山拾得图》长期以来一直作为广岛藩藩主浅野家收藏的名品广为人知，其存放的木盒上还刻有以精通茶道而著称的松江藩藩主松平不昧的题签。",[23,26,58,1284,86,7,610,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a4fb5146a0d4804d5891fe4ca693d42.jpg",[],{"id":42130,"slug":42131,"title":19766,"dynasty":97,"author":3136,"museum":99,"description":17499,"tags":42132,"thumbUrl":42135,"material":689,"size":690,"collection":107,"collections":42136,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},288982,"shu-fa-li-zhou-wang-shi-min-288982",[86,84,5663,7,42133,42134,34686,30551],"纸窗","林屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F781f2b8757874e77dfb4918d9ed8b462.jpg",[],{"id":42138,"slug":42139,"title":42140,"dynasty":97,"author":800,"museum":99,"description":5786,"tags":42141,"thumbUrl":42143,"material":68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居之安立轴",[49,541,86,84,7,5943],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16d8d2ad5d7dfa084628762939e873ec.jpg",[],{"id":42170,"slug":42171,"title":822,"dynasty":18,"author":21434,"museum":99,"description":42172,"tags":42173,"thumbUrl":42174,"material":689,"size":690,"collection":107,"collections":42175,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},288082,"shan-mian-cui-zi-zhong-288082","崔子忠，1644年逝世，明画家，初名丹，字开予：改名子忠，字道母，号北海，青蚓（一作青引），生员，曾游董其昌之门，李自成克北京后，绝食死。",[822,23,50,51,25,58,137,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F806b21063373374f7c893e05e7a8a147.jpg",[],{"id":42177,"slug":42178,"title":42179,"dynasty":18,"author":207,"museum":99,"description":42180,"tags":42181,"thumbUrl":42182,"material":689,"size":690,"collection":107,"collections":42183,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},288077,"ming-dai-shu-fa-shan-mian-ji-zhen-yi-ming-288077","明代书法扇面集(帧)","此作为泥金扇面，墨色在金笺上愈发浓妍醒目。起笔行书圆融舒展，渐转草书，欹正相生，牵丝映带自然流畅，提转顿挫间尽显遒劲力道，将行草灵动与法度平衡得恰到好处。文字排布依随扇骨走势，疏密错落，气韵贯通首尾。墨色浓淡微妙变化，于尺幅小景中铺陈萧散放达的书卷意趣，尽显晚明书法尚态重情的典型风貌，是一件兼具笔墨意趣与形制美感的文人小品佳作。",[49,822,86,462,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F429545c799c68e031cc5c5b0a37c062b.jpg",[],{"id":42185,"slug":42186,"title":42187,"dynasty":18,"author":14556,"museum":99,"description":42188,"tags":42189,"thumbUrl":42190,"material":689,"size":690,"collection":107,"collections":42191,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":75},288042,"qun-xian-du-hai-tu-ye-ding-yun-peng-288042","群仙渡海图页","天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[49,23,50,135,26,58,56,7755,33933,3737,66,64,61,1337,7,3363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa756fff9ee608aeb8f33911396a94482.jpg",[],{"id":42193,"slug":42194,"title":42195,"dynasty":146,"author":11427,"museum":99,"description":35070,"tags":42196,"thumbUrl":42197,"material":689,"size":690,"collection":107,"collections":42198,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},287671,"fang-zheng-qian-lin-ting-qiu-shuang-tu-zhang-yu-287671","仿郑虔林亭秋爽图",[50,23,26,56,134,63,59,61,150,137,62,58,3652,24918,7,86,8091],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e9620ea01bc9dcbc4a772c93920f5a2.jpg",[],{"id":42200,"slug":42201,"title":42202,"dynasty":146,"author":431,"museum":99,"description":15860,"tags":42203,"thumbUrl":42204,"material":689,"size":690,"collection":107,"collections":42205,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},287666,"hua-ma-zhao-meng-fu-287666","画马",[23,51,84,225,1116,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46a1db87a9fd9fa10d9a5ba021cfd3b0.jpg",[],{"id":42207,"slug":42208,"title":42209,"dynasty":146,"author":207,"museum":99,"description":20172,"tags":42210,"thumbUrl":42212,"material":689,"size":690,"collection":107,"collections":42213,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":75},287582,"ming-fei-chu-sai-tu-yi-ming-287582","明妃出塞图",[23,50,84,25,54,58,136,225,56,64,2142,10819,7,42211],"明妃出塞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76fb6880298a3f8f31f8ea0956c72786.jpg",[],{"id":42215,"slug":42216,"title":42217,"dynasty":97,"author":5309,"museum":81,"description":15394,"tags":42218,"thumbUrl":42219,"material":33,"size":42220,"collection":107,"collections":42221,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},287446,"fang-li-ying-qiu-jiang-gan-qi-shu-tu-wang-hui-287446","仿李营丘江干七树图",[50,23,51,26,56,134,7,86,137,2681,61,62,278,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff309a0ed55d56fb2162e84b4c23405c5.jpg","96.4x54.6",[],{"id":42223,"slug":42224,"title":42225,"dynasty":97,"author":2120,"museum":99,"description":20182,"tags":42226,"thumbUrl":42227,"material":689,"size":690,"collection":107,"collections":42228,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},287438,"fang-zi-jiu-shan-shui-wang-jian-287438","仿子久山水",[49,822,23,51,56,26,134,55,278,64,727,62,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06055f87cd31c4518322ae50a39d4b51.jpg",[],{"id":42230,"slug":42231,"title":42232,"dynasty":7908,"author":207,"museum":99,"description":42233,"tags":42234,"thumbUrl":42235,"material":689,"size":690,"collection":107,"collections":42236,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":75},287380,"yuan-bo-bei-yi-ming-287380","袁博碑","汉碑(音hàn bēi）即 汉代碑刻。碑文字体以隶为主，碑额文字多用篆书。汉碑（包括拓本）流传甚多﹐著名的有《张迁碑》﹑《乙瑛碑》《华山庙碑》﹑《礼器碑》﹑《史晨碑》﹑《曹全碑》等。\n与汉碑体制的高度成熟相适应，汉碑碑文也已成为典型化的文体，即诔文。文字多达千字左右。详细记载墓主的姓名、职官、功绩、生卒日期以及立碑人书碑人姓名，并有华丽腴饰的四言韵文的颂词。\n东汉晚期，汉碑构成礼仪文化的中心“语境”，同时，儒学也开始向汉碑全面渗透。一个明显的事实是，汉碑多出在儒学中心的黄河下游的山东地区，尤其是山东省济宁市地区，有“天下汉碑半济宁”之称。这个时期，汉碑在整体上已消蚀掉早期汉隶的博大气象和自然意味，但由于刀与石的营构，进一步夸张修饰了简帛书法的特征，使汉隶在本体语言上趋于全面成熟。\n传世汉碑数量庞大，风格类型多样，被称为“一碑一奇，莫有同者”。由此，从风格类型方面研究汉碑便构成一个专门的课题。\n朱彝尊在《西岳华山庙碑跋》中说：“汉隶凡三种，一题方整，《鸿都石经》、 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在位二十五年（1796-1820年在位），年号“嘉庆”。",[86,51,417,39326,7,25,435],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b4e4444b15dc1f0671c9d7c85d4a800.jpg",[],{"id":42314,"slug":42315,"title":42316,"dynasty":97,"author":42317,"museum":99,"description":42318,"tags":42319,"thumbUrl":42320,"material":689,"size":690,"collection":107,"collections":42321,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":75},241457,"li-bai-shi-zhou-li-du-na-241457","李白诗轴","励杜纳","励杜纳(1628-1703)，字近公，一字澹园，清直隶静海县人。初冒杜姓，为生员，精楷书。清圣祖康熙二年(1663)，廷选善书之士，应试得第一，遂被录取",[86,119,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F676ccebe16f4c4b95ee73c1714833769.jpg",[],{"id":42323,"slug":42324,"title":42325,"dynasty":97,"author":42326,"museum":99,"description":42327,"tags":42328,"thumbUrl":42333,"material":689,"size":690,"collection":107,"collections":42334,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},241390,"xing-kai-shi-er-shou-zhou-chen-yuan-long-241390","行楷诗二首轴","陈元龙","陈元龙（1652—1736）字广陵，号乾斋，浙江海宁人，清朝大臣。康熙二十四年一甲二名进士，授编修，直南书房。五十七年，擢工部尚书。六十年，调礼部。乙丑科会试开始施行殿试十本进呈之制。此前，进士无十本进呈之例，这一科会试总裁官是刑部尚书张士甄，开始以前十本恭呈皇帝钦定。康熙帝拔陆肯堂进士第一人，进士第二人就是陈元龙。",[51,86,11388,7,42329,42330,20590,64,1206,42331,870,18015,310,406,1207,38046,42332],"海门","津门","田舍","丹丘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1bcce9a43123efbbaf561503896286f.jpg",[],{"id":42336,"slug":42337,"title":35976,"dynasty":18,"author":29810,"museum":99,"description":29937,"tags":42338,"thumbUrl":42339,"material":689,"size":690,"collection":107,"collections":42340,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":75},241367,"zhou-ni-yuan-lu-241367",[51,86,119,462,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aeda136172becd0096afcf5c01aea24.jpg",[],{"id":42342,"slug":42343,"title":36709,"dynasty":97,"author":42344,"museum":99,"description":42345,"tags":42346,"thumbUrl":42348,"material":689,"size":690,"collection":107,"collections":42349,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":75},241315,"wu-lv-zhou-dai-ming-shuo-241315","戴明说","戴明说（音yue，通“悦”）(1609——1686)，河北沧州人，字道默，号岩荦，道号定园，晚年自号铁帚，行一。有子戴王纶。 ... 天启丁卯(1627)科举人，崇祯甲戌(1634)科进士。",[51,86,84,119,7,1207,2954,29,1480,944,42347],"五岳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb59a841e4fcb1d3b6d4a28a2f9e2fb23.jpg",[],{"id":42351,"slug":42352,"title":42353,"dynasty":97,"author":42354,"museum":99,"description":42355,"tags":42356,"thumbUrl":42357,"material":689,"size":690,"collection":107,"collections":42358,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},241244,"dong-po-lun-shu-zhou-li-jian-241244","东坡论书轴","黎简","黎简（1747年6月30日～1799年12月3日），字简民，一字未裁。号二樵，又号石鼎道人、百花村夫子，广东顺德县弼教村人，清代乾嘉年间岭南著名诗人、书画家。",[86,119,84,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafbb23fcdcd8da24ff286dc438e28fda.jpg",[],{"id":42360,"slug":42361,"title":28104,"dynasty":18,"author":42362,"museum":175,"description":42363,"tags":42364,"thumbUrl":42365,"material":15010,"size":42366,"collection":122,"collections":42367,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},241214,"shi-zhou-wen-zhen-meng-241214","文震孟","初名从鼎，字文起，号湘南，别号湛持。长洲（今江苏苏州）人。\u2028 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(1805—1878) 字鞠如， 号菊如。山东掖县（今莱州市） 掖城人。清代画家、学者。1832年（道光十二年）选为副贡生。同治初年，山东巡抚丁宝桢在济南历下李清照故居设尚志堂，遍请“齐鲁穷经之士”来济讲学，他“巍然居首”。1878年（光绪四年），被选任临淄教谕，卒于任上，终年73岁。\n张士保是清末著名的书画家，嗜好金石文字，其行、楷、篆、隶，无所不精，尤以钟鼎文见长，他创作的诗文别有一种趣味，而最负盛名的则是画。山水、花鸟，不落恒蹊，尤工人物，悉宗古法。他画的山水花鸟，匠心独具；人物画笔意古雅，形态静穆，深得陈洪绶、崔子忠一派承宗古法的真传，笔法结构纯从汉造像得来。1860年(咸丰十年)，客居京都，与秦谊亭（秦炳文）、汪叔明（王叔明)等在松筠庵结画社，闻名京都，成为当时全国最著名的画家之一。",[541,134,84,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08471c9e2ebbf0c7e75b3138a6e6d572.jpg",[122],{"id":42471,"slug":42472,"title":28104,"dynasty":97,"author":42473,"museum":22100,"description":42474,"tags":42475,"thumbUrl":42476,"material":319,"size":42477,"collection":122,"collections":42478,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":75},240605,"shi-zhou-wang-xian-zuo-240605","王显祚","崇祯举人。顺治三年（1646年），由山东运使擢为山西布政使司参政、分守河东道。五年，任陕西按察使、管右布政使事。又转福建按察使。十年六月，擢为山西右布政使，一直到顺治十一年十一月改任。傅山十年秋才由汾州移居土堂。次年春，宋谦被捕，供词连及傅山。六月，傅山入狱。王显祚在此期间是否参与开脱傅山，史无记载。不过，王显祚任此职时间应并不长，作用有限。傅山与王显祚之交往，应是顺治十七年后的事。《清实录》载，顺治十七年（1660年），王显祚由福建左布政使转为山西左布政使。又《新编傅青主年谱》康熙二年条：“六月，申涵光游太原，访青主。访中表、山西布政使王显祚，请其为青主买宅。”是王显祚与傅山结识由申涵光所介绍。王显祚在山西做了八年布政使，时间可谓不短，与傅山交往应会不少。康熙六年（1667年），王显祚因福建道御史 而吴怀清《天生先生年谱》康熙三年条有注云：“康熙六年，总督某索赂不应，为所劾，落职归。”总督，实指当时山陕总督 依此说，王显祚之落职，非贪婪之故，而实受栽赃陷害。",[86,84,119,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a363e2dd3389051b69e740c43975a7d.jpg","纵180厘米，横62厘米",[122],{"id":42480,"slug":42481,"title":42482,"dynasty":97,"author":207,"museum":81,"description":42483,"tags":42484,"thumbUrl":42485,"material":319,"size":42486,"collection":122,"collections":42487,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},240494,"zhang-zhao-lang-guan-bi-ji-zhou-yi-ming-240494","张照郎官壁记轴","張照（1691～1745），字得天，號涇南，亦號天瓶居士，江南婁縣人。康熙四十八年進士。清藏書家、書法家、戲曲家、書畫目錄整理者。\n張照，初名默，字得天、長卿，號涇南、梧窗、天瓶居士。清松江府婁縣人，家住秀野橋西。天資聰敏，通釋氏之教，其作詩豪放好驅使禪語。能詩，善畫，通音律，精鑑賞，尤工書法。19歲成進士，官至刑部尚書，參與修纂《大清會典》及《一統志》。雍正十三年（1735年），為總理苗疆事務經略大臣，赴雲南，以“無功”被劾，革職擬斬後得寬免，命在武英殿修書處行走。乾隆七年（1742年）又升為刑部尚書，精曉法律，曾修訂過一些比較合理的刑事條例。乾隆六年（1741年），奉命與莊親王查明《律呂正義》源委，續修《律呂正義》後編。嗣後主持為平署編纂宮廷大戲，作有雜劇《月令應承》《九九大慶》等；並作傳奇《勸善金科》《昇平寶筏》，規模宏大，各有240出，供宮廷搬演，開“連台本戲”之先河。戲曲研究家星煜評價張照的戲劇創作説：“他是中國連續劇的創始者，無可爭議”。“事實上《勸善金科》和《昇平寶筏》對崑劇、京劇以及各種地方戲的影響遠比人們所想象的大得多”，“如果當年張照沒有編寫這兩部240出的連續劇，我們所看到的楊小樓、鄭長泰、蓋叫天、張翼鵬的悟空戲（猴戲）就不會有那麼豐富多彩”。乾隆九年（1744年），奉命與梁詩正等鑑別宮廷所藏曆代書畫，分類編成《石渠寶笈》（44卷），並主持編纂《秘殿珠林》（24卷）。",[86,23,51,84,119,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb221427162600041caae8c71e692323b.jpg","161.2x54.9",[122],{"id":42489,"slug":42490,"title":42491,"dynasty":18,"author":30755,"museum":175,"description":42492,"tags":42493,"thumbUrl":42494,"material":319,"size":42495,"collection":122,"collections":42496,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},240390,"lin-da-ling-tie-zhou-xing-dong-240390","临大令帖轴","邢侗（1551-1612），字子願，號知吾，自號啖面生、方山道民，晚號來禽濟源山主、世尊稱來禽夫子。\n臨邑（山東德州）人，明代書法家、畫家。\n明萬曆二年進士，官至陝西太僕寺少卿。善畫，能詩文，工書，書法為海內外所珍視。與董其昌、米萬鍾、張瑞圖並稱“晚明四大家”並位列其首，與董其昌並稱“北邢南董”。\n邢侗詩則出入李、杜、王、岑，“高古典雅，每每工而拙用之”。五七言律宗唐，古風追漢魏，如《平倭歌》等，頗有“建安風骨”。於鱗之後，子願代興，堪為一代詞宗。晉江友人黃克纘説：“餘時與（子願）唱和，每詩筒至，輙私念：‘此中有佳句’，如尹媫妤望見邢夫人，自痛其不如也”。子願有詩五百餘首，亦收入全集。\n其於繪事，“偶作意寫卷石、莎草、長松、修竹，遊戲點綴，羅羅見其清淑，大抵仿叔明、元章筆意。”不以丹青為長，不過略以自適，卻也落落大方。不過他對繪事的欣賞和理解，還是表明了他的修養品位的，在他對一些名畫的題跋中不難看出。如《題趙子昂墨竹》、《題沈石田畫》等。而其《題沈周花果》説：“畫以三筆五筆得其神者佳。雖筆筆工整、敷彩濃麗，即得其妙，神亦難至。”寫意花鳥畫到了明代，即為水墨寫意大發展時期，崇尚秀雅，強調“士氣”、“書卷氣”，屬文人畫體系。“三筆五筆得其神”，是否可以説在理論上開了“八大山人”的先河呢？邢侗一生之於詩文書畫，畫是着力少了些，但可以説少而不低。\n邢侗博採眾長，遍臨魏、唐、宋諸大家，其臨池之美，以鍾、索、二王為主，尤好右軍書，而得右軍神髓。他自己説：“與右軍書坐卧幾三十年，始克入化。”明周之士《遊鶴堂墨藪》説：“近代邢子願書，精研二王，筆法恆彷彿《十七貼》筆意；即其卷素所書，跡多述王帖，可謂極意臨摹者矣。宋、齊而下，書法衰颯，魏晉風軌掃地者，已非旦夕之故，乃公（侗）獨裒然闢除陋習，追跡逸少，無論其精旨謂何，即其矢志，則已超人一等矣。”\n邢侗行草、篆隸，各臻其妙，而以行草見長；晚年尤精章草。當時與董其昌並稱“南董北邢”，又與米萬鍾，張瑞圖並稱“邢張米董”。但藝術創造力遠不足與董其昌、張瑞圖、黃道周相比。邢侗的長處，即在於他臨古極肖，他的名作多是臨作。他工於諸體，尤其工草書，由於泥古未化古，缺少個性的顯彰。他對晚明末流書法的狂怪無法度十分反感，他的法古是對這些末流書法的警示，其書法史價值也在於此。傳世書跡有《臨王羲之帖》、《論書冊》、《古詩卷》、《臨晉人帖》等。除故宮博物院外，今倫敦博物館，日本、東南亞諸國皆存其書跡。",[23,51,84,26,134,7,462,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F233a266b423f33da1daefa6f4209a229.jpg","175.5×25.4厘米",[122],{"id":42498,"slug":42499,"title":42500,"dynasty":97,"author":1180,"museum":99,"description":1655,"tags":42501,"thumbUrl":42502,"material":689,"size":690,"collection":107,"collections":42503,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},240332,"zhuan-shu-shi-gu-wen-zhou-wu-chang-shuo-240332","篆书石鼓文轴",[105,541,84,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F026bb2bb430c296ca4e814eaa2dd17a9.jpg",[],{"id":42505,"slug":42506,"title":42507,"dynasty":97,"author":42508,"museum":99,"description":42509,"tags":42510,"thumbUrl":42511,"material":689,"size":690,"collection":107,"collections":42512,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},240320,"bei-cha-xing-ye-shen-ji-240320","焙茶行页","沈楫","沈楫［清］字蓉洲，号东山，嘉定（今属上海市）人。画法赵孟頫。",[51,24,119,86,7,5943,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec3021a03c586aa24a14da470a55984e.jpg",[],{"id":42514,"slug":42515,"title":42516,"dynasty":97,"author":655,"museum":99,"description":12622,"tags":42517,"thumbUrl":42518,"material":689,"size":690,"collection":107,"collections":42519,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},240314,"jie-lu-xi-yue-hua-shan-miao-bei-zhou-jin-nong-240314","节录西岳华山庙碑轴",[86,84,5663,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd99bbc7bc9ec0b2fba8c45cbc435d35f.jpg",[],{"id":42521,"slug":42522,"title":42523,"dynasty":97,"author":42524,"museum":99,"description":42525,"tags":42526,"thumbUrl":42527,"material":107,"size":107,"collection":122,"collections":42528,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},240312,"jie-lin-dong-qi-chang-lan-ting-xu-ye-li-shang-lin-240312","节临董其昌兰亭序页","李上林","李上林，江南如皋（今江蘇省如皋市）人。監生，明萬曆年間（1573年～1620年）以德州同知委署新泰。\n愛民如子，當時正值歲歉，請求賑濟，先向鄰縣借來粟米，新泰縣民賴以保全性命。不久對本縣進行改革：“除無名之費，定徵輸之條，嚴治左右，寬恤裏甲，修築石城，杜絕開採。”又置公學田地三頃八十二畝。李在任五年間，“桑麻遍野，邑無逃亡。”本縣士民為之立生祠祀之。祀《名宦》。李工詩，其步高如山韻所作《秋日登新甫山有感》詩刻於蓮花山雲孤寺正殿西溪摩崖之上，至今清晰可見",[86,119,134,7,870,5207,358,406,700,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3069cf3c2e28e5b843e3ea77d2e4b3a7.jpg",[122],{"id":42530,"slug":42531,"title":42532,"dynasty":97,"author":929,"museum":99,"description":42533,"tags":42534,"thumbUrl":42535,"material":689,"size":690,"collection":107,"collections":42536,"showCount":270,"zanCount":39,"manualWeight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康熙五十三年召为内廷供奉，其宫廷工笔画造诣颇深，因不愿受“正统派”画风束缚而遭忌离职。乾隆三年出任山东滕县知县，颇得民心，因得罪上司而罢官。后居扬州，卖画为生。\n李鱓工诗文书画。曾随蒋廷锡、高其佩学画。后受石涛影响，擅花卉、竹石、松柏，早年画风工细严谨，颇有法度。中年画风始变，转入粗笔写意，挥洒泼辣，气势充沛，对晚清花鸟画有较大影响。\n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。北京工艺美术出版社2005年出版“中国书画名家全集”，内收《李鱓画集》（上下卷）。",[23,51,84,119,86,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F308b3c2debc85a55603b171bd6907627.jpg",[],{"id":42538,"slug":42539,"title":42540,"dynasty":97,"author":4135,"museum":99,"description":42541,"tags":42542,"thumbUrl":42543,"material":319,"size":107,"collection":122,"collections":42544,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},240116,"shi-ye-gao-feng-han-240116","诗页","高凤翰（1683年～1749年）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。\n汉族，山东胶州三里河村（今山东青岛市胶州市）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》\n高凤翰的右手书法严谨流畅，左手书法上溯魏晋风格，继承元明笔法，气韵流动，古趣横生，被人誉为明清两朝数百年间以左手擅长书法的，尚无人与之媲美并列。当时能得到其只字片幅不是易事。\n“不抱云山骨，哪成金石心。自然奇节士，落墨见高襟。”是不是很熟悉？对，这就是高凤翰的书法作品《章草书》全诗，寓意书法作品的功底，要亲近云和山那样的风骨，才能求得金石之心。何谓云山风骨，就是像云一样潇洒飘逸变化无穷，圆转自如，像山一样坚毅挺峻，拥抱云和山的精髓，才能够体味到金石之心的真谛。后寓意为励志，意指不经历风雨，怎么见彩虹。\n高凤翰主工花卉山水，宋人雄浑之神和元人静逸之气在其作品中同时流露，艺术造诣十分精湛。高凤翰的画不拘成法，因而被人归于“扬州八怪”，也有将他列为“画中十哲”的。高凤翰的传世作品有《牡丹竹石图》轴等，并著有《南阜山人诗集》、《砚史》等书。\n高凤翰在一黑陶罐上的诗刻和画有三足陶器的《博古图》花轴引起山东大学考古工作者的注意，后人们按图上提供的信息往胶州三里河求索，终于发掘出一处重要的古文化遗址。 青岛百花苑置有他的雕像。",[51,86,119,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfa57422b9cc1367b164e0f1c594bb8f.jpg",[122],{"id":42546,"slug":42547,"title":42548,"dynasty":97,"author":42549,"museum":99,"description":42550,"tags":42551,"thumbUrl":42552,"material":107,"size":107,"collection":122,"collections":42553,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},240022,"lin-tang-tai-zong-shi-zhi-tie-ping-zhou-dai-wang-lun-240022","临唐太宗使至帖屏轴","戴王纶","戴王纶，字经碧，号一斋，直隶沧州（今河北沧县）人。其父戴明说为明崇祯四年进士，官至户部尚书。戴王纶为顺治五年（1648年）戊子科顺天乡试第五名举人，顺治十二年（1655年）中一甲第二名进士（榜眼），授翰林院编修。官至江西粮道。康熙十八年（1679年）举博学鸿词科。工诗、书，善于画兰。",[86,119,134,84,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50b7e2ca2c826c74211a9ec0588bd13c.jpg",[122],{"id":42555,"slug":42556,"title":42557,"dynasty":97,"author":42558,"museum":99,"description":42559,"tags":42560,"thumbUrl":42561,"material":107,"size":107,"collection":122,"collections":42562,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},239996,"gan-guo-ji-shi-zhou-gan-guo-bi-239996","甘国基诗轴","甘国璧","甘国璧（？—1747），字东屏，汉军正蓝旗人，云贵总督甘文焜之子，清朝官吏。",[51,86,84,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35312559c36214acbff3ca430912430d.jpg",[122],{"id":42564,"slug":42565,"title":42566,"dynasty":97,"author":42567,"museum":99,"description":42568,"tags":42569,"thumbUrl":42570,"material":107,"size":107,"collection":122,"collections":42571,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},239978,"zhuan-shu-mo-zhou-zi-zhong-zhou-wu-ting-kang-239978","篆书摹周子钟轴","吴廷康","此作用笔沉实厚重，顿挫之间筋骨尽显，结体方正宽博，将汉隶的舒展开张与北碑的雄健浑融一体，尽显古拙朴茂的金石意趣。红格界栏使得行列齐整肃穆，左侧题款灵动跳脱，与正文形成虚实相映的视觉层次。墨色匀净饱满，气息沉静醇雅，既恪守原碑的法度神韵，又融入自身笔底意趣，尽显对汉代金石气象的追慕与再创造，整体浑穆静雅，兼具庙堂端方与文人意韵。",[541,134,84,86,51,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4ab9c912e706c8feb729839d9431403.jpg",[122],{"id":42573,"slug":42574,"title":42575,"dynasty":97,"author":35447,"museum":99,"description":35448,"tags":42576,"thumbUrl":42577,"material":107,"size":107,"collection":122,"collections":42578,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},239921,"shi-song-lian-shang-ye-wan-cheng-ji-239921","诗送莲裳页",[105,51,86,119,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9ac2a5bd587d4df7383b138741ceda5.jpg",[122],{"id":42580,"slug":42581,"title":42582,"dynasty":18,"author":42583,"museum":99,"description":42584,"tags":42585,"thumbUrl":42586,"material":107,"size":107,"collection":122,"collections":42587,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},239802,"lin-lan-ting-xu-ye-yuan-yu-ling-239802","临兰亭序页","袁于令","袁于令（1592-1672年），本名原晋，字昭令，小字韫玉，号吉衣主人，苏州吴县（今江苏省苏州市）人。明末清初戏曲家、小说家。\n明末，进入国子监读书。清兵入关后，任工部虞衡司主事、营缮司员外郎等职。顺治五年，升任荆州知府。顺治十年（1653），罢官，侨寓江宁、会稽。\n康熙十一年，去世，时年八十一岁。著作有《剑啸阁传奇》《双莺传》《隋史遗文》等。",[8547,86,51,119,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe19491f91c785a89387d5a989a58924e.jpg",[122],{"id":42589,"slug":42590,"title":42591,"dynasty":97,"author":4047,"museum":99,"description":19767,"tags":42592,"thumbUrl":42594,"material":689,"size":690,"collection":107,"collections":42595,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},239781,"qian-sou-yan-gong-yi-huang-zu-yuan-yun-qi-lv-zi-tiao-qian-long-239781","千叟宴恭依皇祖元韵七律字条",[86,51,119,7,42593],"字条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3140f11bf0e3ea78228eb1c3e908fd63.jpg",[],{"id":42597,"slug":42598,"title":42599,"dynasty":97,"author":42600,"museum":99,"description":42601,"tags":42602,"thumbUrl":42604,"material":689,"size":690,"collection":107,"collections":42605,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},239764,"shu-su-shi-shu-tie-dan-ye-zhou-xing-dai-239764","书苏轼书帖单页","周兴岱","周兴岱（1744—1809）字长五，一字冠三，号东屏，四川涪州（今重庆市涪陵区）人，清朝官吏，周煌次子，清代大诗人张船山岳父。乾隆三十六年进士，改庶吉士，散馆授编修。累迁侍讲学士。超授内阁学士。擢侍郎，历礼、吏、户诸部。命在南书房行走。",[105,119,86,418,25,51,42603,7],"单页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49379d813f4dd89dac336b572613da69.jpg",[],{"id":42607,"slug":42608,"title":42609,"dynasty":192,"author":207,"museum":99,"description":42610,"tags":42611,"thumbUrl":42612,"material":107,"size":107,"collection":122,"collections":42613,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},239678,"wu-kuan-lin-huang-ting-jing-juan-yi-ming-239678","无款临黄庭经卷","《黄庭经》又名《老子黄庭经》，是道教养生修仙专著；内容包括《黄庭外景玉经》和《黄庭内景玉经》；两晋年间，新增《中景经》。作者为天师道魏华存。",[49,50,23,51,52,134,86,436,417,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F022c0ac9cc33476cc3f99a6ea7b37644.jpg",[122],{"id":42615,"slug":42616,"title":17326,"dynasty":146,"author":1303,"museum":99,"description":42617,"tags":42618,"thumbUrl":42619,"material":107,"size":107,"collection":107,"collections":42620,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},239656,"jing-ji-xuan-shi-wen-zhou-ni-zan-239656","此作书法萧散简淡，和倪氏山水意境一脉相承。正文兼融行楷意趣，笔画清瘦秀逸，排布疏朗空灵，恰似画中太湖汀渚的空寂留白，自带清冷出尘的气韵。\n\n笔墨简净却意韵悠长，将元末文人幽居避世的澹泊襟怀，藏于笔锋起落之间。题跋与正文相映成趣，朱红印信点缀素纸，为通篇的素朴增添雅致意趣，书文相合，将静寄轩的幽谧禅意落于纸面，尽显古淡天真的文人风骨。",[51,84,119,86,7],"https:\u002F\u002Foss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他的那首诗句的境界：冻泉依细石，晴雪落长松。\n张瑞图（1570-1644），明代官员、书画家。字长公、无画，号二水、果亭山人、芥子、白毫庵主、白毫庵主道人等。汉族，晋江二十七都霞行乡人（今青阳镇莲屿下行）人。万历三十五年进士第三（探花），授翰林院编修，后以礼部尚书入阁，晋建极殿大学士，加少师。崇祯三年，因魏忠贤生祠碑文多其手书，被定为阉党获罪罢归。他以擅书名世，书法奇逸，峻峭劲利，笔势生动，奇姿横生，钟繇、王羲之之外另辟蹊径，为明代四大书法家之一，与董其昌、邢侗、米万钟齐名，有“南张北董”之号；又擅山水画，效法元代黄公望，苍劲有劲，作品传世极希。擅长行草书，书法奇逸，学钟、王。山水画学黄公望，苍劲有骨。与董其昌、邢侗、米万钟齐名，时称晚明四大家 。",[23,51,24,26,56,63,64,61,55,7,86,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9175b330d087781e104258966dc8b85d.jpg",[],{"id":43143,"slug":43144,"title":43145,"dynasty":97,"author":9309,"museum":175,"description":43146,"tags":43147,"thumbUrl":43148,"material":107,"size":107,"collection":107,"collections":43149,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},234821,"qing-chu-liu-da-jia-ji-ce-shan-shui-ce-ye-wu-li-234821","清初六大家集册-山水册页","吴历（1632年—1718年），清代著名画家。本名启历，号渔山、桃溪居士。因所居有言子墨井，又号墨井道人。江苏常熟人。为“清初六家”之一。幼学画，稍长学琴。早年多与西人牧师、神父往来。1681年，吴历决意随柏应理神父赴罗马觐见教皇，原欲经澳门乘荷兰船赴欧洲，已至澳门，却未能成行，遂留居澳门约5个多月。1682年在澳门加入耶稣会，受洗名为西满·沙勿略，并遵习俗取葡式名雅古纳。常居圣保禄教堂，吟诗作画，有《渔山袖珍册》《白传湓江图卷》《秋山红叶图》等作品面世。此时他的绘画，明显有吸收西方绘画艺术之处。同时还著有《三巴集》，“三巴”即以其居地澳门圣保禄教堂之译音为名，其《澳门杂咏》30首，均与澳门有关，实为早期澳门重要的文学史料。1682年离澳，在江浙一带传教。卒于上海。",[23,51,24,26,56,62,61,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13d8c7036a760a53b283794514f30a12.jpg",[],{"id":43151,"slug":43152,"title":43153,"dynasty":18,"author":15886,"museum":175,"description":15887,"tags":43154,"thumbUrl":43155,"material":391,"size":15890,"collection":107,"collections":43156,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},234815,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-wen-jia-xi-yan-chi-tu-ye-wen-jia-234815","吴门诸家寿袁方斋三绝册-文嘉洗砚池图页",[23,51,24,25,86,56,58,598,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F100d88eefd23d232afb913d921b8e093.jpg",[],{"id":43158,"slug":43159,"title":2149,"dynasty":97,"author":38472,"museum":99,"description":38473,"tags":43160,"thumbUrl":43161,"material":689,"size":690,"collection":107,"collections":43162,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},234778,"hua-hui-ce-wang-lu-234778",[23,51,24,26,27,529,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c1cc923a47fe9c54ae5ae40b582ba50.jpg",[],{"id":43164,"slug":43165,"title":35718,"dynasty":97,"author":35719,"museum":175,"description":35720,"tags":43166,"thumbUrl":43167,"material":391,"size":107,"collection":107,"collections":43168,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},234766,"huang-shan-tu-ce-jiang-zhu-234766",[23,51,24,26,55,86,119,7,56,277,61,871],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5dea837a9d05ce0a8212a104026573d.jpg",[],{"id":43170,"slug":43171,"title":43172,"dynasty":97,"author":207,"museum":99,"description":43173,"tags":43174,"thumbUrl":43175,"material":689,"size":690,"collection":107,"collections":43176,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},234706,"gu-yun-wu-zhu-gao-shi-shan-mian-yi-ming-234706","顾沄梧竹高士扇面","此作以扇面为卷，绘就林泉幽居之景。浅淡笔墨晕染出水色空濛，茅亭临波，高士凭栏闲坐，似在静赏烟水林峦。梧竹葱茏伴山石朴拙，墨色清润秀雅，将山林的幽寂之气铺陈开来。\n题识小字错落排布，诗画相映，把文人寄情丘山、静享闲逸的心境尽数藏于尺幅之间。构图疏密相宜，亭台人物虽小巧却情态悠然，衬以苍茂竹木与朦胧水色，将江南林泉的清寂雅致融于咫尺扇面，尽显萧散出尘的文人意趣，以简淡笔墨勾勒出隐逸林下的悠然意境，尽显画中寄情林泉的悠远韵致。",[822,26,25,403,58,1238,358,63,277,56,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb882582c71de5a9c47181782de4dcba1.jpg",[],{"id":43178,"slug":43179,"title":43180,"dynasty":18,"author":37226,"museum":99,"description":43181,"tags":43182,"thumbUrl":43183,"material":107,"size":107,"collection":107,"collections":43184,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},234682,"shan-shui-dan-ye-wan-shou-qi-234682","山水单页","万寿祺（1603年－1652年），明末清初文学家、书画家。字年少，又字介若、内景，入清衣僧服，改名慧寿，又名明志道人、寿道人、寿若、若若，世称年少先生，祖籍江西南昌，曾祖辈迁至江苏徐州。 [1] 与陈子龙乡试同年，与沛县阎尔梅是同乡。曾参加抗清活动，兵败后隐居江淮一带。代表作有《秋江别思图》《松石图》《山水图》等等。 万寿祺为人风流倜傥，工书画，精于六书，癖嗜印章，辑有《沙门慧寿印谱》一册。其后裔第十六代后人万中华，在当今书画界也享有一定的声誉。",[8547,26,135,55,576,7,56,610,58,150,751,4940],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2162ccf18dc85ed28b0971b24faa8c9.jpg",[],{"id":43186,"slug":43187,"title":7228,"dynasty":97,"author":15922,"museum":99,"description":41277,"tags":43188,"thumbUrl":43189,"material":107,"size":107,"collection":107,"collections":43190,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},234642,"shan-shui-ce-cha-shi-biao-234642",[23,51,24,26,119,86,56,871,150,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bd571a94f7c6223027c110d269704e0.jpg",[],{"id":43192,"slug":43193,"title":43194,"dynasty":97,"author":43195,"museum":175,"description":43196,"tags":43197,"thumbUrl":43198,"material":107,"size":107,"collection":107,"collections":43199,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},234548,"mao-die-tu-zhou-chen-chong-guang-234548","耄耋图轴","陈崇光","陈崇光（1838—1896）原名召，字崇光，后改字若木、栎生，号纯道人，江苏扬州人。初为雕花工，后为虞蟾弟子。\n二十岁前曾参加太平天国革命，随虞蟾同在天京（今南京）绘制壁画。太平天国失败后回扬州，从洪福祥至各地画土地庙。曾客寓皖中蒯氏家，多见宋元名家真迹，力追古人，画艺锐进。工花鸟、人物、草虫、山水，尤长双钩花卉，为当时扬州大家。光绪十三年（1887）黄宾虹曾在扬州从其学花鸟画，受其影响至深，推崇其“极合古法，沉雄浑厚”。吴昌硕赞其“笔古法严，妙意从草篆中流出”。工诗，有一沤山馆选集。卒年五十八。\n传世作品有同治九年（1870）作《松鼠图》轴，著录于《中国书画家印鉴款识》；《麦间野雉图》等现藏扬州市博物馆；《花卉翎毛四条屏》图录于《中国书画报》。工诗，著有《一沤山馆选集》。",[23,51,84,26,25,403,1085,315,332,1116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F515aa50ab8e4688023a4fbb689ba2916.jpg",[],{"id":43201,"slug":43202,"title":43203,"dynasty":97,"author":30037,"museum":175,"description":30038,"tags":43204,"thumbUrl":43205,"material":107,"size":107,"collection":107,"collections":43206,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},234464,"zhu-shi-qiu-mu-tie-luo-shen-zhen-lin-234464","竹石秋木贴落",[23,51,26,135,55,358,700,137,277,56,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a82ab16ca030e25d29957577dca4f05.jpg",[],{"id":43208,"slug":43209,"title":17131,"dynasty":97,"author":12638,"museum":175,"description":43210,"tags":43211,"thumbUrl":43212,"material":1087,"size":107,"collection":107,"collections":43213,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},234323,"shan-shui-ren-wu-tu-ce-huang-shen-234323","黄慎，我国清代杰出书画家，福建宁化人，初名盛，字恭寿，恭懋，号瘿瓢子，别号东海布衣，“扬州八怪”之一。黄慎以人物画最为突出，也擅山水、花鸟。他的人物画多以神仙故事为题材，初学上官周，以工笔画居多，后用狂草笔法作画。笔姿放纵，气象雄伟，深入古法，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，气象雄伟。黄慎的草书，学自“二王”，更有怀素的笔意。\n“笔一枝，墨一斗，兴酣笔跃墨亦走。笔有神，墨无痕，山重水复蛇龙奔”。所形容的状态与意境，用来形容黄慎的书风十分贴切，疏景横斜，苍藤盘结，具有“字中有画”之趣。\n此外，他的花鸟画宗法徐渭，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。他虽“不以山水名”，但大幅和小景都各尽其妙，潇洒有致。",[23,26,135,58,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5263bc7ea04db8193900e7a1fb7a8c3.jpg",[],{"id":43215,"slug":43216,"title":17,"dynasty":97,"author":1167,"museum":7132,"description":29068,"tags":43217,"thumbUrl":43218,"material":1087,"size":9215,"collection":107,"collections":43219,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},234315,"hua-niao-ce-hua-yan-234315",[50,23,51,24,26,25,27,277,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102a71eb4272a0601ceda8e081d8be8f.jpg",[],{"id":43221,"slug":43222,"title":43223,"dynasty":18,"author":43224,"museum":175,"description":43225,"tags":43226,"thumbUrl":43227,"material":391,"size":107,"collection":107,"collections":43228,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},234237,"mei-hua-tu-juan-shu-jun-su-234237","梅花图卷","殳君素","殳君素，晚明画家。字质夫，江苏苏州人；师文嘉、钱谷，为入室弟子，有出蓝之美。古人涉山观水，常倚靠一根简便竹杖。因此，“携杖”几乎是中国文人山水画中高士、隐者的动作“标配”。",[49,23,51,52,26,119,462,7,528,137,31,2559,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c9fb05d15f30782dc4a115340379934.jpg",[],{"id":43230,"slug":43231,"title":43232,"dynasty":97,"author":5319,"museum":99,"description":43233,"tags":43234,"thumbUrl":43235,"material":391,"size":107,"collection":107,"collections":43236,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},234191,"xiang-mu-zhi-bu-jing-xiong-di-zhu-lin-xiang-juan-luo-pin-234191","项穆之补景兄弟竹林像卷","罗聘(1733—1799年)，字遯夫，号两峰，又号花之寺僧等。原籍安徽歙县，其先辈已迁居扬州。博闻好学，20余岁随金农学画，常为之代笔。曾三赴京师，因画《鬼趣图》轰动当时文坛，其才华横溢。人物、花鸟、山水兼善，画法受金农、石涛、华岩等人的影响，笔力雄厚，以清奇、拙奥、生冷见长。他所画人物造型准确，尤精于画鬼，借以揭露世态。花鸟尤以梅花突出，其妻方婉仪及子均工画梅，被称为罗家梅派。",[49,23,51,52,26,135,58,358,871,7,119,462],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47abff1d1b94387afac381e7af98b587.jpg",[],{"id":43238,"slug":43239,"title":5794,"dynasty":18,"author":1014,"museum":99,"description":1334,"tags":43240,"thumbUrl":43241,"material":107,"size":107,"collection":107,"collections":43242,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},234116,"shan-shui-tu-juan-tang-yin-234116",[23,51,52,25,55,119,86,7,56,62,61,63,66,137,277,60,714],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17c60faca73548e694ea110cd96edf3b.jpg",[],{"id":43244,"slug":43245,"title":43246,"dynasty":18,"author":9255,"museum":175,"description":43247,"tags":43248,"thumbUrl":43249,"material":391,"size":11497,"collection":107,"collections":43250,"showCount":270,"zanCount":39,"manualWeight":39,"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于21年出版的图书。\n石涛（164—177），原名朱若极，又名原济，一作元济。\n别号大涤子、清湘老人、苦瓜和尚、瞎尊者、石道人、痴纯、若极等，朱元璋侄子朱文正子靖江王朱守谦十世孙。\n生于明崇祯十三年（164）。\n①顺治二年（1645）夏，清军攻入南京，福王朱由菘等为清军所擒。\n黄道周、郑芝龙等拥立唐王朱聿键在福州称帝，石涛的父亲朱亨嘉也在桂林自称监国。\n广西巡抚瞿式耜因为朱亨嘉非皇室嫡系，没有资格称帝，暗中遣人报唐王朱聿键，朱聿键遣军攻之，朱亨嘉为其所俘，执至福州，囚禁而死。\n石涛当时年仅5岁，由内宫太监携带逃亡，遁入佛门，太监法号喝涛，朱若极法号石涛，二人以师兄弟相称。\n朱若极遂以石涛知名于世。\n石涛幼年聪颖，喜读书。\n既通晓佛典，复好诗文，并喜爱书画，十余岁时即描摹兰草花卉，小有所成。\n未成人，随师兄喝涛北上，游历荆楚岳阳、武昌一带。\n丁酉年春，复由荆楚云游江浙。\n这一时期，是石涛初学书画的时期。\n于前人书法独喜颜真卿，而没有随着当时风气学习董其昌。\n康熙丁未（1667），石涛至宣城。\n在之后的十多年中，石涛以宣城为中心，往返于宣城、太平和黄山之间，并多次游历黄山。\n得黄山烟云变幻之助，画境日进。\n当时所与游者，有著名画家梅清，曹冠五、半山和尚、黄燕思、梅庚、施闰章、江注、吴震伯等。\n诸人既以诗文相酬唱，复以画艺相切磋。\n而梅清对石涛的影响尤其巨大。\n三游黄山，更对石涛的山水绘画产生了巨大影响。\n石涛这一时期留下的绘画作品如藏于日本泉屋博古馆的《黄山八胜图》、北京故宫博物院所藏的《黄山图》21帧等，就带有明显的新安画派风格，清秀淡雅，多用淡墨枯笔，许多画面可以与黄山风景相对应。\n因此石涛曾题画云：“黄山是我师，我是黄山友。\n心期万类中，黄峰无不有。\n” 除了山水画成就外，石涛同样精于人物绘画，其传世作品经常穿插人物形象。\n石涛勤于摹古，主要师法对象有宋代画家李公麟和米芾等，并留下一些带有浓厚古风的作品。\n《石涛大士百页罗汉图册》就是这一时期的代表作。",[23,51,24,26,135,1284,58,137,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3d6691bef27d77f387063553b249a7f.jpg",[],{"id":43408,"slug":43409,"title":43410,"dynasty":18,"author":8513,"museum":99,"description":43411,"tags":43412,"thumbUrl":43413,"material":689,"size":690,"collection":107,"collections":43414,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},228907,"de-qu-zai-ren-ce-wang-zhong-228907","得趣在人册","汪中（1744—1794年），字容甫，江都（今属江苏扬州）人，祖籍安徽歙县。清朝时期著名的哲学家、文学家、史学家，与阮元、焦循同为“扬州学派” 的杰出代表。",[8547,86,51,119,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc345e2f2c7cfec8f947c3d06c4c8a3e5.jpg",[],{"id":43416,"slug":43417,"title":84,"dynasty":18,"author":29810,"museum":99,"description":43418,"tags":43419,"thumbUrl":43420,"material":107,"size":107,"collection":107,"collections":43421,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":75},228768,"li-zhou-ni-yuan-lu-228768","此作笔力雄肆奇崛，纵宕老辣，尽显晚明尚新的书法风骨。行笔斩截爽利，线条粗细腾挪跳荡，枯墨苍劲斑驳，润墨沉凝厚重，视觉张力饱满。\n\n字势欹侧错落，章法大开大合，牵丝映带间行气贯通流畅。奇拙刚劲的笔致，将诗中疏狂放达的饮酒快意尽数相融，把文人磊落狷介的襟怀诉诸笔端，跳脱了传统帖学的甜熟柔媚，以雄朴硬朗的意趣，尽显独异的艺术格调，心性与笔墨完美合一，是极具代表性的晚明行书精品。",[49,86,119,462,84,7,4832,40855,8547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6162d85078997d91f1626475259f0f57.jpg",[],{"id":43423,"slug":43424,"title":43425,"dynasty":18,"author":43426,"museum":99,"description":43427,"tags":43428,"thumbUrl":43430,"material":107,"size":107,"collection":107,"collections":43431,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},228737,"jiang-tian-mu-xue-tu-ye-fan-yun-lin-228737","江天暮雪图页","范允临","淡墨晕染层叠远山，雪色晕开清寒暮色，留白与浅灰晕织出山峦的空濛萧寒。近岸村居错落依偎，老树槎桠间点缀残红，破开些许冷意。一叶扁舟独行寒江，将天地岑寂揉入漾漾水波。\n\n左侧书法笔意疏朗俊逸，诗画相映，把冬日江村的幽隐野趣尽数铺展。简淡笔触写尽江天暮雪的冷旷萧散，将文人林下幽居的寄怀藏进每一处留白，尽显山水间的诗意雅致。",[49,23,51,3363,25,26,119,7,86,56,870,2954,871,727,43429,55,1977],"扁舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc905d1d8dceb3f5033dad9b40e17dc4.jpg",[],{"id":43433,"slug":43434,"title":43435,"dynasty":146,"author":207,"museum":81,"description":43436,"tags":43437,"thumbUrl":43438,"material":634,"size":107,"collection":107,"collections":43439,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":75},228199,"si-xiao-tu-juan-yi-ming-228199","四孝图卷","《四孝圖》描繪故事四則，以圖文相間的方式表達。第一則述王武子之妻割股作羹湯，治癒婆母寒疾；第二則述三國陸績因其母好食橘，乃於進謁袁術席間，懷橘以奉母；第三則述晉王祥為母病中思食鯉魚於冬月，而至江上卧冰求鯉；第四則述後漢曹娥之父溺斃江中不得屍靈，至娥投江，三日後方抱父屍出。是皆孝心感人之事蹟，卷末並附李居敬四孝圖序，論孝之精義。通幅人物，以勻稱之線條為主，細挺而有力。",[49,23,51,52,54,25,86,7,58,64,150,406,295,1019],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff43a9f92db263f1582800ca70cba44fa.jpg",[],{"id":43441,"slug":43442,"title":43443,"dynasty":146,"author":23301,"museum":99,"description":43444,"tags":43445,"thumbUrl":43446,"material":107,"size":107,"collection":107,"collections":43447,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},228048,"shu-qi-yan-lv-shi-san-shou-rao-jie-228048","书七言律诗三首","通篇笔墨酣畅率意，结体欹正相生。行笔温润中不失奇崛开张，牵丝映带尽显书写时的灵动思绪，笔画粗细随文势缓急自然变换，将诗作意境与笔意相融。字态各具姿态，统摄于舒朗章法之中，既带有元代书法尚态重韵的共性，又自出机杼，将文人诗韵与书法意趣完美结合，笔墨间尽显书家潇散出尘的心境，让观者在品读字迹时，亦可窥见挥毫时的快意自在，尽显元末文人放达的笔墨风流。",[12562,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3381db1a59a8d075b1a4d66507215bc.jpg",[],{"id":43449,"slug":43450,"title":43451,"dynasty":115,"author":207,"museum":99,"description":43452,"tags":43453,"thumbUrl":43454,"material":107,"size":107,"collection":107,"collections":43455,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},227919,"dan-ping-qiu-hui-tu-ye-yi-ming-227919","胆瓶秋卉图页","《宋扇面画胆瓶秋卉图》是宋代佚名画家创作的一幅设色扇面画，现藏于 。\n本幅无款。\n鉴藏印钤“交翠轩印”、“神品”、“子京父印”、“项元汴印”、“项墨林鉴赏章”、“张则之”6方。\n画页左侧题诗：“秋风融日满东篱，万叠轻红簇翠枝。\n若使芳姿同众色，无人知是小春时。\n”此为即景诗，描写瓶中之花轻红淡雅，叠簇于翠枝。\n对幅有清乾隆御题诗一首：“花似菊而红，叶则迥然异。\n自题属冬篱，殊难解用意。\n徒以设色工，选藻许其厕。\n辛亥清和御题。\n”钤 “ ”、“自强不息”、“ ”。\n图中瓶架上置一蓝釉长颈瓶，内插 。\n花朵施以勾勒填色法，花叶用没骨法出之，刻画自然细腻，渲染柔和润泽。\n秋菊艳丽而不失于秀雅，此图为南宋写生画中的优秀作品。",[49,50,23,51,24,54,25,27,529,181,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e46b6b7ac1daeee9117bf4d5b176246.jpg",[],{"id":43457,"slug":43458,"title":43459,"dynasty":115,"author":207,"museum":99,"description":43460,"tags":43461,"thumbUrl":43462,"material":107,"size":107,"collection":107,"collections":43463,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":75},227871,"song-gu-wen-dao-tu-yi-ming-227871","松谷问道图","这幅山水小品以淡墨晕染出烟岚轻笼的山谷，留白营造出朦胧空寂的悠远意境。右下古松虬曲苍劲，疏枝错落尽显山野清趣，山石以简淡皴擦勾勒，带着朴拙古雅的质感。\n\n林下二人，一人趺坐松下安闲垂目，一人躬身持礼似在问道，寥寥数笔便将山林雅聚的隐逸意趣刻画尽致。边角古印晕染着岁月沉淀的静穆，整幅画作以简驭繁，将幽闲林下意趣融于尺幅之间，笔墨清简却意韵悠长，尽显雅致的文人山水格调。",[49,23,51,25,55,7,56,610,58,150,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febd1b020784fb705e4d7c880712aa2ad.jpg",[],{"id":43465,"slug":43466,"title":43467,"dynasty":115,"author":43468,"museum":99,"description":43469,"tags":43470,"thumbUrl":43471,"material":107,"size":107,"collection":107,"collections":43472,"showCount":270,"zanCount":1288,"manualWeight":39,"mainColor":40},227709,"xie-shen-lao-jun-bie-hao-shi-shi-tu-juan-wang-li-yong-227709","写神老君别号事实图卷","王利用","《寫神老君別號事實圖》相傳爲南宋王利用所作，現藏於美國納爾遜美術館。絹本，設色。 南宋進士王利用，字賓王，今四川綿陽人，善於畫山水人物，其書法也是一絕，宋高宗尤其喜歡其書法，愛屋及烏自然也對其畫作頗爲讚賞，但就後人評述，其畫作藝術價值略遜於書法。\n\n王利用入仕之後，成爲了一名宮廷畫師，其畫作多爲宋代院體畫，其中最具代表的就是這幅《寫神老君別號事實圖》。\n\n作爲中國傳統宗教，道教的文化頗爲深入人心，尤其是在宋代這樣一個文化大發展的時代，道教的發展也到達了巔峯。關於道教創始人老子的傳說也非常繁多，本作就講述了老子的前世今生。以三皇時代開始，上三皇時爲玄中法師，下三皇時爲金闕帝君……直到周文王時文邑先生爲止，共10個別稱。",[49,23,51,52,54,25,58,1284,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a5de22a118e47aaca2e25a2be1379de.jpg",[],{"id":43474,"slug":43475,"title":43476,"dynasty":115,"author":355,"museum":99,"description":43477,"tags":43478,"thumbUrl":43479,"material":107,"size":107,"collection":107,"collections":43480,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":75},227502,"xin-sui-zhan-qing-ren-lai-de-shu-tie-he-juan-su-shi-227502","新岁展庆.人来得书帖合卷","《新岁展庆、人来得书帖》合卷，北宋，苏轼书，纸本，行书，前帖纵30.2厘米，横48.8厘米，后帖纵29.5厘米，横45.1厘米。\n《新岁展庆帖》释文：\n轼启：新岁未获展庆，祝颂无穷，稍晴起居何如？数日起造必有涯，何日果可入城。昨日得公择书，过上元乃行，计月末间到此，公亦以此时来，如何何如？窃计上元起造，尚未毕工。轼亦自不出，无缘奉陪夜游也。沙枋画笼，旦夕附陈隆船去次，今先附扶劣膏去。此中有一铸铜匠，欲借所收建州木茶臼子并椎，试令依样造看。兼适有闽中人便，或令看过，因往彼买一副也。乞蹔付去人，专爱护便纳上。余寒更乞保重，冗中恕不谨，轼再拜。季常先生丈阁下。正月二日。\n子由亦曾言（此字旁注），方子明者，他亦不甚怪也。得非柳中舍已到家言之乎，未及奉慰疏，且告伸意，伸意。柳丈昨得书，人还即奉谢次。知壁画已坏了，不须怏怅。但顿着润笔新屋下，不愁无好画也。\n《人来得书帖》释文：\n轼启：人来得书。不意伯诚遽至于此，哀愕不已。宏才令德，百未一报，而止于是耶。季常笃于兄弟，而于伯诚尤相知照。想闻之无复生意，若不上念门户付嘱之重，下思三子皆不成立，任情所至，不自知返，则朋友之忧盖未可量。伏惟深照死生聚散之常理，悟忧哀之无益，释然自勉，以就远业。轼蒙交照之厚，故吐不讳之言，必深察也。本欲便往面慰，又恐悲哀中反更挠乱，进退不皇，惟万万宽怀，毋忽鄙言也。不一一。轼再拜。\n另纸行书：知廿九日举挂，不能一哭其灵，愧负千万，千万。酒一担，告为一酹之。苦痛,苦痛。\n《新岁展庆》《人来得书》二帖裱于同一卷中。卷后有董其昌跋。鉴藏印有“御府书印”、“御府宝绘”、项元汴诸印、安岐诸印等。\n此二帖均是苏轼写给陈慥（季常）的书札，《新岁展庆帖》是相约陈慥与公择（李常）同于上元时在黄州相会之事；《人来得书帖》是为陈慥的哥哥伯诚之死而慰问陈慥所作。\n《东坡集》卷五十《岐亭五首序》中记载了苏轼于北宋元丰三年（1080年）五月贬谪黄州时与陈慥相见之事。并有“明年复往见之，……凡余在黄四年，三往见季常，而季常七来见余……”在《东坡集》中共有苏轼写给陈慥的十六封书札，“俱在黄州时作”。《新岁展庆帖》中所写时间（上元）与《岐亭五首序》中所记“明年复往见之”的时间与事由一致，而宋傅藻《东坡记年表》中记载，东坡于“元丰四年辛酉在黄州，正月二十日往岐亭”。由以上记载可推知，该《新岁展庆帖》应作于北宋元丰四年（1081年）春季，苏轼时年44岁。该帖在徐邦达先生的《古书画过眼要录》中有详细的考证。\n苏轼在黄州时与陈慥书信往来频繁，在与他人之信中亦常提及陈慥，可知二人友谊深厚。\n《新岁展庆》、《人来得书》二帖下笔自然流畅，劲媚秀逸，精心用意。虽为书札，却写得非常精致，字的入笔、收笔、牵连笔笔交代分明，是苏轼由早年书步入中年书的佳作。\n《墨缘汇观》、《大观录》著录。",[49,86,119,52,7,418,435],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F233edbd97200e5b0efe464964aa1c7a3.jpg",[],{"id":43482,"slug":43483,"title":43484,"dynasty":97,"author":43485,"museum":81,"description":43486,"tags":43487,"thumbUrl":43488,"material":239,"size":43489,"collection":107,"collections":43490,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},224599,"bai-hai-qing-he-qing-tai-224599","白海青","贺清泰","乾隆四十八年(西元1783)。达拉罕亲王。汪扎尔多尔济进白海青一架。架上白鹰，铁喙钩爪，羽毛洁白，神情威猛，深得写生之妙，此幅当是与郎士宁同时同地写生而成。两位画家从不同角度观察白鹰，并以逼真手法写生下来。\n中西结合的宫廷绘画 清代没有画院的设置，只在内务府造办处中有画画处和如意馆，负责组织画家为宫廷服务。画家地位低下，或称“南匠”，因画家多系南方人之故，或称“画画人”。画家来源或为原在宫中服务的画家子弟，或大臣推荐，或画家毛遂自荐，均经考核再录用。其中也有大臣如王原祁、蒋廷锡等，虽也创作绘画为宫廷所用，则不在此中。 顺治初见于记载的宫廷画家只有黄应谌一人。康熙时有唐岱、焦秉贞、冷枚等。唐岱山水得王原祁指授，画风亦相近。焦秉贞善山水人物，用透视法，受西方的影响，冷枚为焦秉贞的学生，以人物仕女见长。其后至乾隆时期，画家有丁观鹏、姚文瀚、金廷标、余省、张宗苍、徐扬、陈枚等。他们的作品艺术成就远不及宋代和明代。最具有清代宫廷绘画特色并创造出了艺术成就的是宫廷中的一批来自西方的传教士画家，他们中有意大利人郎世宁、安德义、潘廷章，法国人贺清泰、王致诚，波希米亚人艾启蒙等。他们根据官廷的需要与爱好，用中国的作画工具，综中、西不同的观察和表现方法，如人物用西法，背景则为中法，或背景用中国画家来画；面部塑造采用正面光，减轻明暗对比度，以适合中国传统欣赏习惯等等，因而创造出一种新的风格。",[49,23,51,84,54,25,27,2394,308,499,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81de27f18ee00b00b65c920a57e2c0fb.jpg","110x60cm",[],{"id":43492,"slug":43493,"title":43494,"dynasty":97,"author":11881,"museum":99,"description":43495,"tags":43496,"thumbUrl":43497,"material":107,"size":107,"collection":107,"collections":43498,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},224568,"yang-liu-mu-gui-tu-xiao-chen-224568","杨柳暮归图","淡墨晕染开朦胧远山，烟霭裹挟着晚春暖意漫过江岸。近岸老柳虬枝舒展，嫩叶青翠点染其间，苍柔兼具，生机暗蕴。板桥之上，耕牛驮着暮色缓步而归，村舍隐在烟树间，晕出恬然的乡野烟火气。\n画师以秀雅笔触勾勒物态，淡彩轻敷晕出水墨交融的空濛氛围，将暮归的悠然诗意藏在烟霭晕染里，题跋与画作相映，更添文人意趣。整幅画定格江南春暮的松弛恬静，铺展出中式文人眷恋的田园闲澹之美，将晚归的温柔烟火揉进湿润暮色里，叫人沉醉在这份乡野安宁中。",[49,23,51,52,25,56,137,60,1115,86,7,54,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbda02a8cf79f03f01ab82707564b4930.jpg",[],{"id":43500,"slug":43501,"title":1125,"dynasty":97,"author":3136,"museum":99,"description":43502,"tags":43503,"thumbUrl":43504,"material":689,"size":690,"collection":107,"collections":43505,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},224436,"shan-shui-tu-wang-shi-min-224436","王时敏（1592年－1680年），初名赞虞，字逊之，号烟客，晚号西庐老人，直隶太仓州（今江苏太仓市）人，明末清初重要画家。万历首辅王锡爵孙，翰林王衡独子。崇祯初年荫官为太常寺少卿，入清后不仕。\n王时敏擅画山水，少时学董其昌，并临摹家藏宋元名作，以黄公望为宗，笔墨含蓄，浑厚清逸，唯构图略少变化。王时敏开创了山水画的“娄东派”，对清代画坛影响很大。他与王鉴、王翚、王原祁并称“四王”，加上恽寿平和吴历，合称“清六家”。王翚、吴历皆出其门下，孙王原祁亦得其指授。",[49,23,822,26,56,55,64,295,2001,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88dd2455359266ee4edecf48f9ce10fd.jpg",[],{"id":43507,"slug":43508,"title":56,"dynasty":97,"author":43509,"museum":99,"description":43510,"tags":43511,"thumbUrl":43512,"material":107,"size":107,"collection":107,"collections":43513,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},224435,"shan-shui-wang-yu-224435","王昱","此作用高远、平远章法铺展秋山胜景，左畔危崖陡立，以苍劲皴法写山石肌理，丹枫村居隐于崖麓，添几分暖意生机。近岸古松盘虬，坡石隐现于浅草间，流泉脉脉。江波浩渺，远山含黛晕染出空濛暮色。\n\n画面笔墨承袭娄东一脉，干笔淡墨皴擦，浅设色晕染清雅柔和。题诗与画境相映，糅合元人萧散意趣，铺就出幽寂闲淡的江秋林下之境，将文人山水的隐逸悠然藏于尺幅之间。",[49,23,51,56,84,25,26,55,150,64,727,751,6096,610,755,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c3a78721187e680a816bc2f19330f5a.jpg",[],{"id":43515,"slug":43516,"title":43517,"dynasty":97,"author":16189,"museum":99,"description":42056,"tags":43518,"thumbUrl":43519,"material":689,"size":690,"collection":107,"collections":43520,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},224346,"yan-liu-fu-qing-yun-xi-224346","烟柳浮青",[49,23,51,25,56,13543,727,60,61,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e304ac9be4b8cdba4fd199f703a2578.jpg",[],{"id":43522,"slug":43523,"title":43524,"dynasty":97,"author":929,"museum":99,"description":43525,"tags":43526,"thumbUrl":43527,"material":107,"size":107,"collection":107,"collections":43528,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},224328,"hua-niao-shi-er-kai-6-li-shan-224328","花鸟十二开6","此作用笔兼工带写，左侧草茎以淡赭晕染，细劲清瘦，停驻一只螽斯。虫身刻画入微，翅脉纹理纤毫毕现，似将振翅齐鸣，鲜活灵动感跃然纸面。\n右侧题诗行书纵逸苍劲，笔墨朴拙老辣，与草虫的工致细密形成强烈反差，却又和谐相融。整幅留白疏朗，寥寥数笔便将秋野清寂意趣勾勒尽致，文人雅思托于草虫小景，淡逸间暗藏生趣，把秋日郊野幽谧鲜活的一隅定格，尽显清逸雅致的文人情致。",[49,23,50,51,24,25,119,7,86,27,1989,531],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba01201d5abd9179244671a03940dd41.jpg",[],{"id":43530,"slug":43531,"title":43532,"dynasty":97,"author":929,"museum":99,"description":43533,"tags":43534,"thumbUrl":43535,"material":107,"size":107,"collection":107,"collections":43536,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},224326,"hua-niao-shi-er-kai-4-li-shan-224326","花鸟十二开4","此作以紫藤栖禽入画，错落布置藤蔓花枝，枯藤蜿蜒承托禽鸟，疏密相生。禽鸟以淡赭晕染翎羽，笔触松灵，将茸毛蓬松质感尽显，朱喙圆目，神采机敏生动。紫藤花色清雅柔淡，紫花白蕊垂悬，墨色枝蔓苍劲写意，尽显花木舒展之姿。画面右侧题诗相伴，诗画相融，尽显文人写意的萧散野趣。笔意简逸却神完气足，将花鸟天然野逸之态生动勾勒，淡冶疏朗间尽显写意花鸟的韵致悠长。",[49,23,51,24,403,25,26,27,66,307,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98fe5b0a0d5e0edbe0f54985d9a40440.jpg",[],{"id":43538,"slug":43539,"title":43540,"dynasty":97,"author":929,"museum":99,"description":43541,"tags":43542,"thumbUrl":43543,"material":107,"size":107,"collection":107,"collections":43544,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},224316,"hua-niao-ce-shi-kai-6-li-shan-224316","花鸟册十开6","此作以水墨淡彩写就，右侧顽石以大写意挥就，焦墨点苔，苍劲朴拙，似藏山野沉浑之气。左侧花枝鲜活灵动，叶片以青绿分染，深浅层叠尽显舒展之姿，粉花柔婉点缀枝梢，轻丽动人。\n\n画面左上题以行书，笔意潇洒跌宕，书画相映成趣。笔致兼具放逸与秀雅，不拘成法，将花木清隽生机与顽石沉静古拙相互映衬，诗书画印浑然一体，把寻常小景绘出悠然林下之致，淡彩晕染衬出雅致格调，墨色干湿浓淡尽显写意意趣，尽显疏朗脱俗的文人审美意韵。",[49,23,51,24,403,25,119,7,277,27,17275],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0972e453f468c17ec7ec34647dfa52a.jpg",[],{"id":43546,"slug":43547,"title":43548,"dynasty":97,"author":16882,"museum":99,"description":16883,"tags":43549,"thumbUrl":43550,"material":689,"size":690,"collection":107,"collections":43551,"showCount":270,"zanCount":39,"manualWeight":39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[1] 学明代的丁云鹏笔法，有出蓝之誉。雍正四年(1726)进入宫廷为画院处行走，是雍正、乾隆朝画院高手，与唐岱、郎世宁、张宗苍、金廷标齐名。造诣深湛，得乾隆帝赏识，曾为《圣制诗》初集、二集、三集之多幅画卷题诗。在宫廷画院五十年左右，作品近二百件。传世作品有完成于乾隆三十二年(1767)《法界源流图》卷，纵33厘米，横1635厘米，该卷场面宏大，人物众多，描金设色，精细绚丽，为中国佛教艺术瑰宝、世界佛教艺术明珠，现藏吉林省博物馆；乾隆十三年(1748)作《乞巧图》卷藏上海博物馆；二十六年(1761)作《无量寿佛图》轴、《宝相观音图》轴藏故宫博物院；三十五年(1770)八月作《说法图》轴藏西柏林民俗博物馆。弟丁观鹤，亦供奉内廷，工人物。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[49,23,51,52,54,25,1284,58,1116,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33462f506791dea193935fc09761881f.jpg",[],{"id":43602,"slug":43603,"title":43604,"dynasty":97,"author":3871,"museum":3850,"description":43605,"tags":43606,"thumbUrl":43608,"material":391,"size":43609,"collection":107,"collections":43610,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},223307,"fa-jie-yuan-liu-tu-juan-12-ding-guan-peng-223307","法界源流图卷-12","该作品的艺术价值堪与北宋名画《清明上河图》媲美，被誉为世界“佛文化、绘画”艺术颠峰之作，世界无价之宝。\n丁观鹏摹张胜温法界源流图卷，是中国艺术史上的一件瑰宝，规模宏伟，人物众多，用笔十分精细认真，如此长卷在世界的佛教绘画中是罕见的。面对这一人物众多，内容复杂，描绘精良的宏篇巨制，不能不令人信服地赞叹中国传统绘画刚健的生命力。由此引起世界上学术界和观赏者的深切关注，也就是非常自然的事情了。\n该卷中所描绘的形象非常繁多，既有佛界诸宗派的人物形象，也有各种动植物和各种佛具法器，均描绘精细，不仅比例准确，而且神态生动。这些形象的汇集与成功的描绘，不由地使人对该画的作者产生由衷敬佩。虽然他的生平事迹不见任何记载，他这件辉煌作品就足以使他在美术史乃至佛教史上永远放射着巨大的光芒。\n该作品用笔细致非凡，设色浓丽，端庄典雅，是清代画家丁观鹏精心创作杰作之一。",[49,23,52,25,54,1284,58,2779,7,86,34547,43607,180,1159],"宝幢","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa83a4c1cdf24d4bae36e8d4954c5d790.jpg","纵33厘米、横1635厘米",[],{"id":43612,"slug":43613,"title":34805,"dynasty":97,"author":17787,"museum":99,"description":34806,"tags":43614,"thumbUrl":43615,"material":107,"size":107,"collection":107,"collections":43616,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},223083,"shui-hu-ren-wu-ren-xun-223083",[49,23,51,105,25,54,135,58,180,179,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffedfad1d6c0414a7a5c9db13e717bc39.jpg",[],{"id":43618,"slug":43619,"title":10218,"dynasty":18,"author":3070,"museum":46,"description":12533,"tags":43620,"thumbUrl":43621,"material":1561,"size":12536,"collection":107,"collections":43622,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},222561,"hua-hui-tu-ce-chen-chun-222561",[49,23,51,3363,6095,403,26,25,27,28,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a412704b978a282ce6585b92561f445.jpg",[],{"id":43624,"slug":43625,"title":43626,"dynasty":18,"author":9186,"museum":5101,"description":12300,"tags":43627,"thumbUrl":43628,"material":634,"size":12303,"collection":107,"collections":43629,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":8519},222248,"nan-hua-zhen-jing-1-wang-chong-222248","南华真经1",[49,51,86,436,119,7,2601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F131a05b83f3562bf28b40439e58b8b4f.jpg",[],{"id":43631,"slug":43632,"title":2895,"dynasty":18,"author":13408,"museum":20,"description":13409,"tags":43633,"thumbUrl":43634,"material":319,"size":13412,"collection":107,"collections":43635,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},221931,"za-hua-ce-guo-xu-221931",[49,50,23,51,26,403,135,58,1116,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F895fab28e99ec04a00e8f71ae1d48a7d.jpg",[],{"id":43637,"slug":43638,"title":2895,"dynasty":18,"author":13408,"museum":20,"description":13409,"tags":43639,"thumbUrl":43642,"material":319,"size":13412,"collection":107,"collections":43643,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},221929,"za-hua-ce-guo-xu-221929",[49,50,23,51,24,26,135,403,58,85,277,43640,5393,5348,43641,180,497,7],"椅子","砚台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7423d7c114d37fd72b377fa1ddb06057.jpg",[],{"id":43645,"slug":43646,"title":2895,"dynasty":18,"author":13408,"museum":20,"description":13409,"tags":43647,"thumbUrl":43648,"material":319,"size":13412,"collection":107,"collections":43649,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},221925,"za-hua-ce-guo-xu-221925",[49,8547,23,51,50,26,135,403,58,56,277,61,16758,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6615cbc99ad94c1f93fcbe8e64ec18c4.jpg",[],{"id":43651,"slug":43652,"title":43653,"dynasty":18,"author":955,"museum":175,"description":34855,"tags":43654,"thumbUrl":43655,"material":34859,"size":34860,"collection":107,"collections":43656,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":75},221890,"za-hua-tu-ce-wu-fa-ke-shuo-chen-hong-shou-221890","杂画图册-无法可说",[49,23,51,24,25,58,277,7,1284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76004253cea302ae8e7a3a78577e9718.jpg",[],{"id":43658,"slug":43659,"title":43660,"dynasty":146,"author":27160,"museum":175,"description":43661,"tags":43662,"thumbUrl":43663,"material":107,"size":107,"collection":107,"collections":43664,"showCount":270,"zanCount":39,"manualWeight":39,"mainColor":40},221686,"bao-shan-shi-jing-ce-xian-yu-shu-221686","包山十景册","此作用笔以中锋为主，力透纸背，兼具晋人草书的萧散与北地书家的雄豪气象。行笔间牵丝映带自然圆活，字势欹正相生，开合之间颇具章法韵律。墨色枯湿浓淡交替变幻，时而饱满沉厚，时而飞白劲健，让整幅作品跌宕起伏，尽显抒情写意之姿。将诗文意境融于笔墨之中，笔力纵肆却不失法度，字字呼应、行气贯通，把胸中意气与笔底风华相融，尽显行草书法的纵横捭阖之美，尽显尚意抒怀的草书佳构之姿。",[51,86,24,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d6edaed60fb6edb7770e81d0eae80b1.jpg",[],{"id":43666,"slug":43667,"title":43668,"dynasty":115,"author":2718,"museum":222,"description":43669,"tags":43670,"thumbUrl":43671,"material":183,"size":43672,"collection":107,"collections":43673,"showCount":270,"zanCount":39,"manualWeight":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，将狂草抒情性挥洒至极。布局上字势奇崛错落，大小、欹正、疏密随文势铺展，毫无滞涩之感。墨色枯湿浓淡交叠，枯笔飞白苍劲老辣，重墨处酣畅饱满。\n\n通篇气韵贯通如江河奔涌，既有怀素的颠逸之态，又暗含自家笔底筋骨，把草书肆意洒脱的意境诠释得淋漓尽致，尽显书写时的激越心绪，是极具表现力的临古佳制。",[51,86,52,134,462,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb07915226750c7616c8643d7517b5b9a.jpg",[],{"id":44195,"slug":44196,"title":27146,"dynasty":18,"author":44197,"museum":99,"description":44198,"tags":44199,"thumbUrl":44200,"material":319,"size":107,"collection":122,"collections":44201,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":75},241226,"qi-yan-shi-zhou-yang-ke-241226","杨珂","杨珂（？－？），字士佩，福建泉州府晋江县人，民籍，明朝政治人物。\n福建乡试第八名举人。嘉靖四十四年（1565年）中式乙丑科二甲第五十三名进士",[86,84,462,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ae98d327c042b6301f8d7819abc15ae.jpg",[122],{"id":44203,"slug":44204,"title":28876,"dynasty":18,"author":44205,"museum":99,"description":44206,"tags":44207,"thumbUrl":44208,"material":319,"size":107,"collection":122,"collections":44209,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":75},241224,"qi-jue-zhou-chen-lie-241224","陈烈","陈烈，字季慈，号季甫，侯官（今闽侯县南通镇陈厝村）人，宋朝官员。\n陈烈讲究道德修养，亦重视读书静养工夫，朱熹很赞赏他的做法，《朱子语类》卷十一记载：“昔陈烈先生苦无记性，一日读《孟子》‘学问之道无他，求其放心而已’，忽悟曰：‘我心不曾收，如何记得书？’遂闭门静坐百余日，以收放心，却去读书，遂览无遗。”",[8547,86,84,462,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81119615b7f2121a5edafd8a8c595e6d.jpg",[122],{"id":44211,"slug":44212,"title":44213,"dynasty":18,"author":44214,"museum":99,"description":44215,"tags":44216,"thumbUrl":44217,"material":319,"size":107,"collection":122,"collections":44218,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},241217,"wu-lv-shou-shi-zhou-zhang-tai-241217","五律寿诗轴","张泰","张泰(1435—1508年)，字叔亨，广东广州府顺德县陈村人。张泰1458年(景泰四年)中举，1466年(成仁二年)成进士，历任知县、御史、巡按、少卿、副都御史、右侍郎、南京户部尚书，是顺德建县后第一位尚书。\n最初担任福建沙县知县时，“铲平王”邓茂七起义刚遭镇压，全县田园凋零，商贸颓残，人们逃命他方，举目一片萧索。张泰事不避难，明察暗访，制定一系列安民措施，捐税免租，宽政养民，吸引着外出谋生的民众闻风返家，搭棚建社，朝耕夕息，鸡犬渐闻，春苗泛青，秋实在望，深得百姓赞颂。\n担任监察御史后，张泰面对积弊日深的朝政与盘根错节的官场，并不刻意回避矛盾，而是直面奸佞，令人敬佩。他巡察通州时，发现官仓弊端众多，所涉广众，且大多背景神秘，深不可测，但他秉公办理，按图索骥，终于干净利落，清除宿弊，令人鼓掌称快。太监钱能、覃勤勾结万贵妃逆行倒施，指鹿为马，惹祸引兵，搜刮民脂，人们敢怒缄口，道路以目。张泰寻知，暗里侦查，后与御史一起联合弹劾，力请贬斥万贵妃，严惩钱能、覃勤，但因万贵妃为皇帝宠爱，张泰龙颜捋须，惹得皇帝勃然大怒，被廷杖重创，后外放为京畿学政。不久，母亲去世，张泰趁此机会远离京城，守孝乡村，居家十年。\n1492年，57岁的张泰重起乡间，担任云南巡按。耿直如昔的他刚一上任，就惩贪斥污，弹劾失职，调解纷争，修堤筑坝，促进了民族融合，保障了居民安宁，受到民众欢迎。\n后来，甘肃骚乱，地方官员互相推诿，张泰奉命西去调查，他力排阻力，深入调查，发现祸起镇守太监傅德。他勾结总兵，侵占屯田，克扣军饷，兵亡瞒实，马失不报。张泰秉公办理，严惩不法。张泰还促成收回被宦官和边将霸占的牧场。但他因“惹是生非”，触怒权贵，被弹劾中伤，引得皇帝也对他侧目相看，还罚他半年俸禄。\n此后，张泰改任大理寺少卿，奉命调查苏州官占民田为牧场的实情。张泰深知此中暗流奔涌，稍不小心，后果不堪设想。于是，他暗中查证，将当年的田亩簿册一一勘对，证实应还民间田亩为九百三十多顷，后又对失地数字一一查清。但复命后，数遭驳难，众说纷纭，致使这一调查结果悬而不决。直到新皇帝即位，在尚书韩文促成下，朝廷才根据张泰查勘结果作出正确处理。\n1507年(正德三年)，张泰改官南京右都御史。时值宦官刘瑾弄权，大小官员都争相贿结。张泰不屑逢迎，仅在入京奏事时，带上两匹葛布作礼节性探望。刘瑾怀恨在心，扣张泰数百石俸禄以作泄恨。但张泰因多年勤勉尽忠，经吏部考绩，得获优良，升南京户部尚书，但刘瑾大进谗言，令张泰最终失官。张泰有见及此，心中无奈，于是辞呈归乡，次年逝世。",[23,51,84,462,86,7,18],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95904724a1d81f4728fe14462abd0332.jpg",[122],{"id":44220,"slug":44221,"title":44222,"dynasty":97,"author":44223,"museum":99,"description":44224,"tags":44225,"thumbUrl":44226,"material":689,"size":690,"collection":107,"collections":44227,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},241207,"lin-bei-ce-li-wen-tian-241207","临碑册","李文田","李文田（1834-1895）字畲光、仲约，号芍农、若农，广东广州府顺德县均安上村人。咸丰九年（1859年）已未科甲第三名探花，授翰林院编修，放江苏、浙江、四川乡试主考，提督江西、顺天学政。入直南书房，官至礼部右侍郎、工部右侍郎。勤于治学，是清代著名的蒙古史专家和碑学名家。\n1874年乞归故里，主讲广州凤山、应元书院，在广州筑泰华楼，藏书甚富，收藏有秦《泰山石刻》宋拓本及汉《华岳庙碑断本》宋拓本。1885年回京复职。1894年甲午战争，任京师团防大臣。1895年病逝于京城，谥号文诚。\n李文田工书善画，慈禧太后作画，常命探花李文田、状元徐郙和陆润庠、进士陆宝忠为之题志。其著作有《元秘史注》《元史地名考》《西游录注》《塞北路程考》《和林金石录》《双溪醉隐集笺》等。",[86,417,134,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F903c65ebcfe89e1e8bb567b1ec150f32.jpg",[],{"id":44229,"slug":44230,"title":44231,"dynasty":115,"author":44232,"museum":99,"description":44233,"tags":44234,"thumbUrl":44235,"material":689,"size":690,"collection":107,"collections":44236,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},241097,"wu-kuan-deng-ba-jia-ti-hou-chi-bi-fu-tu-ba-wei-can-juan-zhao-yan-241097","无款、等八家题后赤壁赋图跋尾残卷","赵岩","赵岩，原名赵霖，陈州宛丘（今河南淮阳县）人。后梁太祖朱温女婿，忠武军节度使赵犨次子。\n开平初年，授卫尉卿、驸马都尉，转天威军节度使。以勋戚自负，货赂公行，穷奢极欲。后梁灭亡后，为徐州贼温韬所杀。",[49,86,119,26,7,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b05d1f682443c5e4e4879e49df1085a.jpg",[],{"id":44238,"slug":44239,"title":44240,"dynasty":18,"author":44241,"museum":81,"description":44242,"tags":44243,"thumbUrl":44244,"material":44245,"size":44246,"collection":122,"collections":44247,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},241053,"shi-he-juan-wang-feng-yuan-241053","诗合卷","王逢元","[明]字子新，號吉山。欽佩子。擅海內書名，楷法鍾繇，草法王羲之父子。",[49,51,86,119,52,7,26,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79741274da4dca2dce551b419ee6efa6.jpg","紙本","29.7×30.8cm",[122],{"id":44249,"slug":44250,"title":44251,"dynasty":146,"author":27160,"museum":99,"description":27161,"tags":44252,"thumbUrl":44254,"material":689,"size":690,"collection":107,"collections":44255,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},241012,"yu-shi-zhen-juan-can-pian-xian-yu-shu-241012","御史箴卷残片",[86,119,7,44253,12562,4832,319],"残片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b52e364f68ca3ff6c81ea9b767f25c3.jpg",[],{"id":44257,"slug":44258,"title":44259,"dynasty":97,"author":22158,"museum":99,"description":22159,"tags":44260,"thumbUrl":44261,"material":689,"size":690,"collection":107,"collections":44262,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240966,"nan-chi-shi-san-shou-shan-mian-huang-yi-240966","南池诗三首扇面",[23,51,822,86,5663,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61c8dba4823406f5a411d98313eb7f78.jpg",[],{"id":44264,"slug":44265,"title":44266,"dynasty":18,"author":44267,"museum":99,"description":44268,"tags":44269,"thumbUrl":44270,"material":319,"size":107,"collection":122,"collections":44271,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240881,"du-huang-he-wu-lv-zhou-wu-xing-zuo-240881","渡黄河五律轴","吴兴祚","吳興祚（1632年—1697年），字伯成，號留邨，紹興府山陰（今浙江紹興）州山人，後入漢軍正紅旗。清初名臣。\n其父為吳執忠，早年作為禮親王代善的幕僚，被授為頭等護衞。 [1] 吳興祚自幼聰穎，奮攻科藝，順治七年（1650年）以貢生的身份授為江西萍鄉知縣。當時金聲桓叛變，江西的郡縣多被佔領，唯有萍鄉沒有被佔領。很快他被授為山西大寧知縣。順治十八年（1661年），遷移為山東沂州知州 [2] 。不久以驛務遲誤、對白蓮教起義鎮壓不力之罪被罷，康熙帝二年（1663）降補無錫知縣。在任內，清丈全縣田畝，編號繪圖，因田徵賦，切行“攤丁入畝”。康熙十四年（1675年）四月，進為福建按察使。招撫耿精忠部將陳龍等人，生擒朱統錩。康熙十七年（1678年），被提升為福建巡撫，率部屢敗鄭經的軍隊。因功進秩正一品，後又進為兩廣總督，他上任後上疏言前督尚之信在廣東橫徵苛斂，奏請罷除鹽埠、渡税、漁科等苛捐雜税，又奏請允開海禁。\n康熙三十五年（1696年），康熙帝親征噶爾丹，吳興祚隨康熙帝效力，康熙三十六年（1697年）逝世。",[86,119,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2ba2a34285731bb57f0b5a85bc0ccf4.jpg",[122],{"id":44273,"slug":44274,"title":35311,"dynasty":18,"author":44275,"museum":175,"description":44276,"tags":44277,"thumbUrl":44278,"material":2926,"size":44279,"collection":122,"collections":44280,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240858,"shi-juan-wang-shi-zhen-240858","王世贞","释文：\n王山人自称十岳，先有二诗见寄，极国士之许，千里命驾，曾未淹日，欲游（留）金陵，长篇志别，拂衣北首，聊此抒赠：凤鸟摩青天，片羽飞东海。却坠七尺篱，鷃目荧然改。得子頷下珠，夜必吐光彩。孙醑骄欲鸣，青灯耿相待。不谓双垂杨，果系出剡舟。野夫虽称病，为汝强梳头。沉沉薜色夏，忽起商（双）飚秋。特达壮士縒，未许黄金酬。谓予九州水，当复有九州。禺儿志五岳，逝将十岳游。酒间叩沂边，泰岱曾入手。马迹重云颠，鸡声浴日后。狂扣玉女盆，中原敬培塿。自揽烟霞色，语语不离口。五岳天中外，子尚余其九。寒暑炼玉容，去日各非有。昔予读损益，亦复思名山。晚师维摩诘，旦夕棲衡关。纵横千界表，乃在弹指间。笑攀青莲花，归插玉女鬟。奚必策玄踝，役役劳神颜。我语虽大佳，听之了无答。杯酒散城烟，孤帆凌超忽。唯余留别句，掷地金石发。后夜倘见怀，长江弄秋月。余以（亦）止观法门，留仲房不得，仲房翻笑予恋恋庭户，不则谓予坐驰也。翼日倘更为仲房牵引，蹑一屐山水间，不又为仲房大笑也。天弢居士王世贞病中书。\n钤“王元美氏”、“天弢居士”印2方。\n此卷书法闲雅秀丽，古朴清新，运笔凝练，骨力内涵，方圆并济，豪放中见沉着，遒劲中见婉秀。明朱谋垔《书史会要续编》言：“世贞书学虽非当家，而议论翩翩，笔法古雅。”其结字、布局似出自赵孟頫书法，显示了较深厚的传统功力。",[49,51,86,52,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a5250d5f49da55e3a27a14828f97fab.jpg","纵25.8厘米，横135厘米",[122],{"id":44282,"slug":44283,"title":16409,"dynasty":97,"author":22158,"museum":99,"description":22159,"tags":44284,"thumbUrl":44285,"material":689,"size":690,"collection":107,"collections":44286,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240854,"qi-yan-lian-huang-yi-240854",[86,5664,84,5663,26,7,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd92a7cf036efe5b33a61bb32bdce36b3.jpg",[],{"id":44288,"slug":44289,"title":44290,"dynasty":97,"author":18133,"museum":99,"description":25815,"tags":44291,"thumbUrl":44292,"material":689,"size":690,"collection":107,"collections":44293,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":75},240828,"wang-duo-lin-tie-zhou-wang-duo-240828","王铎临帖轴",[51,86,84,134,119,462,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17c4d7e776a8e86d9dd6eb0a7a09d694.jpg",[],{"id":44295,"slug":44296,"title":44297,"dynasty":97,"author":9442,"museum":99,"description":42940,"tags":44298,"thumbUrl":44299,"material":319,"size":107,"collection":122,"collections":44300,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":75},240797,"jie-tan-shi-zhou-gao-qi-pei-240797","戒坛诗轴",[23,51,84,119,86,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F518958c7d3997b76c3270ea88a7501b3.jpg",[122],{"id":44302,"slug":44303,"title":44304,"dynasty":97,"author":17026,"museum":99,"description":44305,"tags":44306,"thumbUrl":44307,"material":319,"size":107,"collection":122,"collections":44308,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240712,"shi-zha-ce-lin-ze-xu-240712","诗札册","林则徐（1785年8月30日 －1850年11月22日），字元抚，又字少穆、石麟，晚号俟村老人、俟村退叟、七十二峰退叟、瓶泉居士、栎社散人等 ，福建侯官县人，中国清代后期政治家、文学家、思想家，民族英雄。\n林则徐是嘉庆十六年（1811年）进士，历官翰林编修、江苏按察使、东河总督、江苏巡抚、湖广总督等职。道光十九年（1839年），以钦差大臣赴广东禁烟时，派人明察暗访，强迫外国鸦片商人交出鸦片，并将没收鸦片于虎门销毁。该事件被认为是第一次鸦片战争的导火线。战争爆发不久，林则徐被构陷革职，发往新疆戍边。道光二十五年（1845年）重获起用，历任陕甘总督、陕西巡抚、云贵总督等职，加太子太保。道光三十年（1850年），林则徐在奉命镇压拜上帝会起事途中，病逝于潮州普宁。获赠太子太傅，谥号“文忠”。有《林文忠公政书》等作品传世。\n林则徐一生遍历地方，治绩卓著。虽在两广抗击西方入侵，但对于西方的文化、科技和贸易则持开放态度，主张学其优而用之。由他主持编译的《四洲志》及魏源编撰的《海国图志》，对晚清的洋务运动乃至日本的明治维新都具有启发作用。",[51,86,119,24,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba5830a7f383b30854898ed12ea4d2c6.jpg",[122],{"id":44310,"slug":44311,"title":44312,"dynasty":97,"author":35766,"museum":99,"description":44313,"tags":44314,"thumbUrl":44315,"material":689,"size":690,"collection":107,"collections":44316,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240677,"jia-lian-shi-juan-liu-ru-shi-240677","嘉莲诗卷","柳如是（1618年～1664年），本名杨爱，字如是，又称河东君，因读宋朝辛弃疾《贺新郎》中：“我见青山多妩媚，料青山见我应如是”，故自号如是。浙江嘉兴人。与马湘兰、卞玉京、李香君、董小宛、顾横波、寇白门、陈圆圆同称“秦淮八艳”。后嫁有“学贯天人”、“当代文章伯”之称的明朝大才子钱谦益为侧室。明末清初女诗人。",[49,86,52,119,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69ddec1fe22944a9f7fb0ef4e23c2227.jpg",[],{"id":44318,"slug":44319,"title":40861,"dynasty":97,"author":44320,"museum":99,"description":44321,"tags":44322,"thumbUrl":44323,"material":319,"size":107,"collection":122,"collections":44324,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240641,"qi-jue-shi-zhou-wang-xu-ling-240641","王顼龄","王頊齡（1642-1725）：字顓士，一字容士，號瑁湖，晚號松喬老人，清·江南華亭縣（今上海市金山區）張堰鎮人，御史王廣心長子。",[86,84,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70788b27dea80da7b227e3446aab3249.jpg",[122],{"id":44326,"slug":44327,"title":25014,"dynasty":18,"author":459,"museum":99,"description":4616,"tags":44328,"thumbUrl":44329,"material":689,"size":690,"collection":107,"collections":44330,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240589,"za-ji-shu-zha-he-ce-xu-wei-240589",[86,119,462,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f9bccd7ee789c6e2f272f962ddd3564.jpg",[],{"id":44332,"slug":44333,"title":44334,"dynasty":18,"author":955,"museum":99,"description":9336,"tags":44335,"thumbUrl":44336,"material":689,"size":690,"collection":107,"collections":44337,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240551,"ci-zhou-chen-hong-shou-240551","词轴",[86,119,84,18,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe46e67a845fb0f2d7a8c444858f830a.jpg",[],{"id":44339,"slug":44340,"title":44341,"dynasty":18,"author":44342,"museum":99,"description":44343,"tags":44344,"thumbUrl":44345,"material":319,"size":107,"collection":122,"collections":44346,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240508,"qi-jia-xing-shi-han-juan-xie-duo-240508","七家行诗翰卷","谢铎","謝鐸（1435年～1510年），字鳴治，號方山，又號方石，浙江温嶺桃溪（今温嶺市大溪鎮兆岙）人。明朝官員、文學家。\n天順八年（1464年）進士，入翰林院為庶吉士，次年授編修。成化三年（1467年），參修《英宗實錄》，成化九年（1473年）校勘《通鑑綱目》，後升侍講。時值邊警，上疏《論西北備邊事宜狀》，指陳邊防弊端，主張整飭邊務。成化十四年（1478年），父喪告假回鄉。弘治初，參修《憲宗實錄》。弘治三年（1490年），升南京國子祭酒。次年辭官回鄉，家居十年，先後有數十人舉薦。明孝宗命吏部遣人員至其家，起用為南京禮部右侍郎兼國子祭酒。七十二歲告老還鄉。謝鐸博通經史，文學造詣極深。卒贈禮部尚書，諡文肅。\n謝鐸博通經史，尤精理學，文學造詣極深。時詩壇盛行台閣體，堆砌辭藻，粉飾太平。謝鐸與李東陽等主張詩歌革新，詩宗杜甫，成為茶陵派代表詩人之一，寫有不少揭露現實、關心民生疾苦詩作。應台州知府陳相之邀，纂修《赤城新志》。著有《伊洛淵源續錄》、《尊鄉錄》、《赤城論諫錄》（與黃孔昭合編）、《桃溪淨稿》等。",[49,8547,119,52,86,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf75cf53868c880203f9cca320053528.jpg",[122],{"id":44348,"slug":44349,"title":44350,"dynasty":97,"author":18133,"museum":99,"description":25815,"tags":44351,"thumbUrl":44352,"material":689,"size":690,"collection":107,"collections":44353,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240504,"wang-duo-e-mei-shan-ji-you-shi-juan-wang-duo-240504","王铎峨嵋山记游诗卷",[49,86,119,462,52,7,26,870,406,1207,31398,700,777,528,358,529],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdeb42eaa858f60f4db13931247b16798.jpg",[],{"id":44355,"slug":44356,"title":44357,"dynasty":97,"author":1180,"museum":99,"description":1655,"tags":44358,"thumbUrl":44359,"material":319,"size":107,"collection":122,"collections":44360,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240493,"wu-chang-shuo-shi-zhou-wu-chang-shuo-240493","吴昌硕诗轴",[86,84,119,541,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ce394c6dee22fe283439c8f89aaf021.jpg",[122],{"id":44362,"slug":44363,"title":44364,"dynasty":97,"author":38596,"museum":99,"description":38597,"tags":44365,"thumbUrl":44366,"material":689,"size":690,"collection":107,"collections":44367,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240464,"shi-ce-fang-zhou-cheng-sui-240464","诗册方轴",[97,23,51,24,26,119,7,56,137,150,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2677ddb3b16b2e9d41e3393f65c7e12a.jpg",[],{"id":44369,"slug":44370,"title":44371,"dynasty":97,"author":2041,"museum":99,"description":44372,"tags":44373,"thumbUrl":44374,"material":689,"size":690,"collection":107,"collections":44375,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240429,"kang-you-wei-shi-zhou-kang-you-wei-240429","康有为诗轴","康有为（1858年3月19日—1927年3月31日），原名祖诒，字广厦，号长素，又号明夷、更甡、西樵山人、游存叟、天游化人，广东省广州府南海县丹灶苏村人，人称康南海，中国晚清时期重要的政治家、思想家、教育家，资产阶级改良主义的代表人物。康有为出生于封建官僚家庭，光绪五年（1879年）开始接触西方文化。光绪十四年（1888年），康有为再一次到北京参加顺天乡试，借机第一次上书光绪帝请求变法，受阻未上达。光绪十七年（1891年）后在广州设立万木草堂，收徒讲学。光绪二十一年（1895年）得知《马关条约》签订，联合1300多名举人上万言书，即“公车上书”。",[86,119,84,7,35250,946,11152,31398,1207],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff07ed06526316ea47f5ea9522c0a6edd.jpg",[],{"id":44377,"slug":44378,"title":44379,"dynasty":97,"author":29786,"museum":99,"description":29787,"tags":44380,"thumbUrl":44381,"material":689,"size":690,"collection":107,"collections":44382,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240384,"yi-bing-shou-lin-tie-zhou-yi-bing-shou-240384","伊秉绶临帖轴",[23,51,86,84,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07fa081fb0d265df654fa8153743b97c.jpg",[],{"id":44384,"slug":44385,"title":44386,"dynasty":97,"author":2109,"museum":99,"description":30601,"tags":44387,"thumbUrl":44388,"material":689,"size":690,"collection":107,"collections":44389,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240339,"ge-jia-shou-zha-juan-liu-yong-240339","各家手札卷",[86,119,52,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d98709abc63ef82e4e099321d618fc5.jpg",[],{"id":44391,"slug":44392,"title":44393,"dynasty":97,"author":11197,"museum":99,"description":5786,"tags":44394,"thumbUrl":44395,"material":689,"size":690,"collection":107,"collections":44396,"showCount":581,"zanCount":1288,"manualWeight":39,"mainColor":40},240299,"zheng-xie-lun-shu-zhou-zheng-xie-240299","郑燮论书轴",[51,86,84,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35d27791b75036095e4161526a1f4dad.jpg",[],{"id":44398,"slug":44399,"title":34029,"dynasty":97,"author":655,"museum":99,"description":12622,"tags":44400,"thumbUrl":44401,"material":689,"size":690,"collection":107,"collections":44402,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":2307},240253,"lu-yu-zhou-jin-nong-240253",[86,84,5663,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c373037f97ff6594a08baedbaae9d6c.jpg",[],{"id":44404,"slug":44405,"title":44406,"dynasty":18,"author":955,"museum":99,"description":44407,"tags":44408,"thumbUrl":44410,"material":319,"size":44411,"collection":70,"collections":44412,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240245,"wu-lv-shi-zhou-chen-hong-shou-240245","五律诗轴","释文：\n“剪落入城市，拙岁隐者伦。亲朋虽传舌，景物最伤神。老病锦官府，还山愧野人。往来轻似叶，幸不厌清员。洪绶似玄濬道盟兄正之，二十余年不见，重为作书乐甚。”\n款钤“陈洪绶印”、“章侯氏”印2方。\n本轴书五言律诗一首，从落款处称僧人玄濬为“道盟兄”，可知此诗是陈洪绶晚年为僧时所作。\n陈洪绶的书法与绘画均显现共同而鲜明的特色，即奇异、怪诞。此轴书法结构修长，字形呈欹峭之势，用笔紧密而细腻，简洁而质朴，姿态夸张，富于变化，线条潇洒俊健，颇有风姿，表现了作者独特的书风。",[51,84,86,119,26,7,870,44409],"市","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd24d443d8c38b222178f604a0751cdec.jpg","纵141厘米，横57.5厘米",[70],{"id":44414,"slug":44415,"title":17593,"dynasty":97,"author":44416,"museum":99,"description":44417,"tags":44418,"thumbUrl":44419,"material":44420,"size":107,"collection":122,"collections":44421,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},240177,"wu-yan-lian-chen-peng-nian-240177","陈鹏年","陈鹏年（1663年～1723年）字北溟，又字沧州，康熙二十三年（1684）举人，三十年进士。历官浙江西安知县、江南山阳知县、江宁知府、苏州知府、有《道荣堂文集》、《喝月词》、《历仕政略》、《河工条约》等。\n陈鹏年死后，清廷下诏厚葬。其墓气势肃穆，规模宏大，东西长50米，南北宽15米，自东向西，成对排列着 立有花岗石牌楼、还有墓庐两栋。墓上主碑书“陈恪勤公之墓”。诰命 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被誉为“青莲再世”、“少陵复出”、清代“蜀中诗人之冠”。",[51,86,84,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484968d3445b0ccbbfc46e2523cafa2f.jpg",[122],{"id":44481,"slug":44482,"title":28104,"dynasty":18,"author":44483,"museum":99,"description":44484,"tags":44485,"thumbUrl":44486,"material":107,"size":107,"collection":122,"collections":44487,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},239912,"shi-zhou-gu-qi-yuan-239912","顾起元","顾起元（1565年～1628年），应天府江宁（今南京）人，明代官员、金石家、书法家。字太初，一作璘初、瞒初，号遁园居士。万历二十六年进士，官至吏部左侍郎，兼翰林院侍读学。乞退后，筑遁园，闭门潜心著述。朝廷曾七次诏命为相，均婉辞之，卒谥文庄。著有《金陵古金石考》《客座赘语》《说略》等。",[51,86,84,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9477840cc14d7a0d0a1a3f1f4e4791e.jpg",[122],{"id":44489,"slug":44490,"title":44491,"dynasty":97,"author":28080,"museum":99,"description":35363,"tags":44492,"thumbUrl":44493,"material":689,"size":690,"collection":107,"collections":44494,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},239882,"shu-li-er-tong-zhou-weng-fang-gang-239882","书礼二通轴",[105,51,84,119,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefeb4e5e4c4f2cbf4f43009833c5f1a5.jpg",[],{"id":44496,"slug":44497,"title":28104,"dynasty":18,"author":44498,"museum":99,"description":44499,"tags":44500,"thumbUrl":44501,"material":107,"size":107,"collection":122,"collections":44502,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},239796,"shi-zhou-yi-wang-239796","益王","此作用笔纵逸灵动，牵丝映带圆融自然，尽显草书畅达疏朗的意趣。起收提按间顿挫分明，字势欹正相生，干湿浓淡的墨色交织，既有疾风骤雨般的爽利落拓，又暗蕴沉静雅致的书卷气。\n通篇布局疏密得宜，行气如长河奔涌贯通始终，将酬唱诗句的豪迈襟怀寄于笔墨流转之间，落笔处皆是心绪与笔意的交融，把文人酬赠的情志挥洒得淋漓尽致，笔墨间裹挟着诗意豪情，雅致洒脱的气韵扑面而来。",[23,51,84,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9a16d9eb30d0d7b7e04757c99739adf.jpg",[122],{"id":44504,"slug":44505,"title":44506,"dynasty":97,"author":36086,"museum":99,"description":44507,"tags":44508,"thumbUrl":44509,"material":689,"size":690,"collection":107,"collections":44510,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":924},239763,"hong-li-xi-lv-gui-cheng-shi-ce-ji-yun-239763","弘历西旅归诚诗册","纪昀（1724年8月3日-1805年3月14日），字晓岚，别字春帆，号石云，道号观弈道人、孤石老人，直隶河间府献县人，清代文学家、官员。\n清乾隆十九年（1754年），考中进士，官至礼部尚书、协办大学士、太子少保。曾任《四库全书》总纂官。\n嘉庆十年（1805年），病逝，时年八十二岁，因其“敏而好学可为文，授之以政无不达”（嘉庆帝御赐碑文），谥号“文达”。",[86,417,24,25,7,51,2601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d6fb4c418d44254de0282c2953e3d1.jpg",[],{"id":44512,"slug":44513,"title":44514,"dynasty":18,"author":44515,"museum":175,"description":44516,"tags":44517,"thumbUrl":44518,"material":319,"size":44519,"collection":122,"collections":44520,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},239745,"shuang-he-rui-wu-fu-juan-wang-fu-zhi-239745","双鹤瑞舞赋卷","王夫之","王夫之（1619年10月7日－1692年2月18日），字而农，号姜斋，人称“船山先生，湖广衡阳县（今湖南省衡阳市）人。明遗民。明末清初思想家，与顾炎武、黄宗羲、唐甄并称“明末清初四大启蒙思想家” ，学者王朝聘的儿子。\n崇祯五年（1632年），考中秀才，组织“行社”、“匡社”。崇祯十五年，考中乡试。顺治初年，投靠永历帝朱由榔，参加反清斗争。康熙十七年（1678年）三月，拒绝为吴三桂撰写劝进表。\n康熙三十一年，病逝于湘西草堂，安葬衡阳县金兰乡高节里大罗山（现衡阳县曲兰镇船山村老屋组大罗山脉的虎形山上）。 著有《周易外传》《黄书》《尚书引义》《永历实录》《春秋世论》《噩梦》《读通鉴论》《宋论》等书。",[49,50,23,51,52,86,119,462,319,501,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88ae9484dcac62cbb54f3fcc4496a85.jpg","23.6×297.5厘米",[122],{"id":44522,"slug":44523,"title":32910,"dynasty":115,"author":9753,"museum":99,"description":44524,"tags":44525,"thumbUrl":44526,"material":107,"size":107,"collection":107,"collections":44527,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},239662,"zi-shu-shi-juan-lin-bu-239662","这件行书诗卷清劲瘦硬，萧散淡远，恰如其主梅妻鹤子的隐士襟怀。用笔瘦挺而具弹性，提按顿挫间尽显灵动，牵丝映带自然圆融，字势错落顾盼生情。宽绰行距铺展出从容疏朗的章法，褪去尘俗烟火气，满卷皆是林下清风。\n\n诗文与笔墨互为表里，将湖山行吟、赏梅观鹤的幽隐心境藏在每一处笔锋辗转间，把孤高疏淡的隐士意趣融于笔底，是宋尚意书法的绝佳注脚，书文俱佳，尽显宋代文人清雅脱俗的精神底色。",[49,50,23,51,86,52,119,26,7,528,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26372b075a6a47c8f0af2b3403e1bb9e.jpg",[],{"id":44529,"slug":44530,"title":44531,"dynasty":146,"author":431,"museum":81,"description":44532,"tags":44533,"thumbUrl":44534,"material":319,"size":44535,"collection":122,"collections":44536,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},239635,"zhao-yong-shang-zhong-feng-zha-juan-zhao-meng-fu-239635","赵雍上中峰札卷","管道昇心信佛法，是虔诚的佛教徒，拜中峰和尚为师．小札中更尊中峰和尚為“父师”，而自称女弟子：此尺牘无纪年，文中有“年时得以中首座来都”句，可知管道昇时在京都。管氏於至元二十六年（1289)与赵孟頫伉俪儷之合后，又於至大三年（1310）十月随赵孟頫应召离吴兴赴京，很有可能，此尺牘是管夫人赴京不久所书，约五十岁左右。句中“以中”为天目山僧，在天目山出任中峰和尚之首座，常代替中峰和尚外出联络，处理佛门事务，与赵孟頫、管道昇颇多交往。\n此尺牍书风与赵孟頫颇為相近，而运笔结字间时露才女特有的性情。世传管夫人书作“寸縑片纸，人争购之，后学為之模范”",[49,86,119,52,319,435,34594,7,17680],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0782f49a77fc0d17c04e62e7e00cab13.jpg","31.7×72.9cm",[122],{"id":44538,"slug":44539,"title":44540,"dynasty":146,"author":44541,"museum":175,"description":44542,"tags":44543,"thumbUrl":44546,"material":319,"size":44547,"collection":122,"collections":44548,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},239622,"gong-su-jiao-shou-tie-ye-gong-su-239622","龚璛教授帖页","龚璛","释文：\n记事拜复钱翼之教授足下，客袁州龚璛敬封。璛记事拜复翼之教授足下。小婿子行来，重为手帖，深慰岑寂。近作见教，如对笑谈。序文甚欲云云，喧嚣倥偬，实无一毫佳思，容少间尝应命，非推调也。《荔枝谱》留与小孙习之。令郎笔仗如此，可谓撞过烟楼。碧潭回，拈纸奉复。拔暇未觅挂漏，且希昭恕，兹不具。璛再拜。\n鉴藏印有项元汴、安岐、谭敬、赵叔彦、张爰等印23方，半印5方。本幅右下有明代项元汴用《千字文》编的号码“集字号”，左下方有“甲二”字样。\n此帖中“钱翼之”为钱良佑。“子行”是吾衍的字。吾衍为太末（今浙江龙游）人，居杭州，精于篆学，是龚璛之婿。“令郎”指钱氏之子逵。《荔枝谱》为宋朝蔡襄撰。《教授帖》中称“留与小孙习之”，或是蔡氏手书墨迹，待考。此帖上款称钱氏为“教授”（即教谕），可知应书于元至大年间（1308-1311年）钱氏为吴县教谕时。当时龚璛年约40余岁，应为其中年之笔。\n此帖书法运笔流畅自然，连贯潇洒，下笔强劲而有力度，可以看出龚璛很善于运用笔锋。书法表现古澹清和，不失晋人法度。\n《墨缘汇观·法书卷下》、《三虞堂书画目》著录。",[86,119,26,7,319,44544,44545,4832,24843],"元代书法","毛笔书写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F976bf4b8303c2810fea72c4762be40c2.jpg","28cm，横38.4cm",[122],{"id":44550,"slug":44551,"title":44552,"dynasty":146,"author":44553,"museum":175,"description":44554,"tags":44555,"thumbUrl":44556,"material":1636,"size":44557,"collection":122,"collections":44558,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},239620,"yuan-jue-ya-tan-tie-ye-yuan-jue-239620","袁桷雅谭帖页","袁桷","释文：\n桷比者终日获接雅谭，继即探伺，且有假书之请。迺闻风帆趁潮，将促运米舟以还，繇是不果。兹审珮音琅然，方持螯高詠，视吾徒如逐臭。妙墨相遇，惜不能与玉柱惠文相聚耳。二碑岂立谈可了，明当聚首。不具。桷再拜。\n本幅有鉴藏印“安仪周家珍藏”、“莲樵鉴赏”、“景贤”、“谭氏区斋书画之章”、“赵叔彦”等12方，半印2方。\n此帖为应酬信札，故信笔书写，无拘无束，章法自然得体，用笔结字颇有法度，提按转折，刻意精致，具有米芾沉着痛快，欹侧奇险之笔势。\n《墨缘汇观·法书卷》、《三虞堂书画目》两书著录。",[86,119,418,7,51,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45bb2338bc357d31534407d9d4f71206.jpg","纵28.3厘米, 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作品流传极少，有人得其片纸，珍如拱璧。",[23,51,822,26,358,251,86,7,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20f6b181f99b7774ac392a39807b244b.jpg",[],{"id":44815,"slug":44816,"title":44817,"dynasty":97,"author":44818,"museum":99,"description":44819,"tags":44820,"thumbUrl":44821,"material":689,"size":690,"collection":107,"collections":44822,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},237070,"mo-mei-shan-huang-zhang-237070","墨梅扇","黄章","老干虬曲苍劲，枯涩笔墨刻尽风霜，枝桠舒展错落，花苞疏密点缀相宜。以浓淡墨色区分枝干与花萼，淡墨晕染花瓣，清隽雅致尽显寒梅疏朗清癯之态，自带孤高清气。\n\n右侧题款小字娟秀，朱印点睛，书画相映成趣。将文人雅致融于咫尺扇面，把梅花凌霜傲雪的品格寄于笔端，极简笔墨勾勒出盎然生机，寥寥数笔便将冬梅清逸出尘的风骨尽显无遗，方寸之间，尽揽暗香浮动的清冷诗意，尽显文人寄情花木的写意意趣。",[23,51,822,26,528,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F014c4dd3b878b9f666b3714efe0597ef.jpg",[],{"id":44824,"slug":44825,"title":19437,"dynasty":97,"author":19438,"museum":99,"description":44826,"tags":44827,"thumbUrl":44828,"material":319,"size":107,"collection":107,"collections":44829,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},237069,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237069","此作用笔简淡松灵，以浅绛轻敷山水。层峦温润苍秀，林木枯荣交错，村居隐于林麓，板桥横溪渡水，疏密相宜间铺展出清寂淡远的山居胜境。干笔皴擦摹写山石肌理，枯木枝桠苍劲老辣，尽显山野清旷之态。\n\n左侧行书题识与山水合璧，笔墨萧散简逸，将寄情林泉的隐逸诗意融于尺幅之中，尽显幽居林下、观物寄兴的文人雅怀，是文人画诗书画意相融的典型之作。",[23,51,24,26,55,56,60,63,64,150,59,86,7,61,295,7113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3408920150f75610ff68e341a6566a69.jpg",[],{"id":44831,"slug":44832,"title":19437,"dynasty":97,"author":19438,"museum":99,"description":44833,"tags":44834,"thumbUrl":44835,"material":319,"size":107,"collection":107,"collections":44836,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},237067,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237067","此作是诗画合璧的文人小品。右侧绘就山居秋景，浅赭轻青晕出山峦，云气空濛漫于峰头，苍松挺拔、杂木错落，清溪隐石，茅庐藏于林泉深处，笔墨简淡秀雅，晕染出幽寂清远的林下意趣。\n左侧行书题诗，笔致清脱俊逸，诗境呼应画中林泉高致，将文人心底幽怀与眼前山景相融。整体淡远萧疏，恬和安宁，尽显旧时文人士大夫寄情山水、醉心丘壑的清雅襟怀。",[23,51,24,26,25,119,55,56,777,150,64,751,1207,2955,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ac8eb1b21b8fbbe8a918bde273bfbc2.jpg",[],{"id":44838,"slug":44839,"title":28216,"dynasty":97,"author":44840,"museum":99,"description":44841,"tags":44842,"thumbUrl":44843,"material":689,"size":690,"collection":107,"collections":44844,"showCount":581,"zanCount":1288,"manualWeight":39,"mainColor":40},236874,"shan-shui-shan-ye-wan-shang-lin-236874","万上遴","字殿卿，号辋冈，江西分宜（分宜城郊辋冈人）拔贡生。清朝画家，曾任清宫画院待诏，专事书画。上遴年少失父，家境清寒。从小聪颖好学，酷爱王维诗画，终日练习作画，画一幅画，就写一首诗。“诗、画、行、草”，均“细筋入骨”。",[23,822,26,25,55,56,871,610,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ba64749bd8f1082d037d2a12b1c5bb8.jpg",[],{"id":44846,"slug":44847,"title":15384,"dynasty":97,"author":15385,"museum":175,"description":15386,"tags":44848,"thumbUrl":44849,"material":107,"size":107,"collection":107,"collections":44850,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},236647,"cha-shi-biao-shu-fa-ti-wang-zhi-rui-shan-shui-ce-wang-zhi-rui-236647",[23,51,24,26,56,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0093e408abd0f99359f13f2fada7d83.jpg",[],{"id":44852,"slug":44853,"title":11444,"dynasty":97,"author":697,"museum":175,"description":11079,"tags":44854,"thumbUrl":44855,"material":107,"size":107,"collection":107,"collections":44856,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},236582,"lan-mei-ce-wang-shi-shen-236582",[23,51,24,26,119,7,528],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7e944ef294673755678cc20d44a7b5b.jpg",[],{"id":44858,"slug":44859,"title":17811,"dynasty":97,"author":15922,"museum":99,"description":17812,"tags":44860,"thumbUrl":44861,"material":107,"size":107,"collection":107,"collections":44862,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},236577,"zha-mei-he-shan-shui-shi-zhen-cha-shi-biao-236577",[23,51,24,26,119,7,56,137,63,751],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbee557396aff50c5074a6a47c1a85ad5.jpg",[],{"id":44864,"slug":44865,"title":17811,"dynasty":97,"author":15922,"museum":99,"description":17812,"tags":44866,"thumbUrl":44867,"material":107,"size":107,"collection":107,"collections":44868,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},236575,"zha-mei-he-shan-shui-shi-zhen-cha-shi-biao-236575",[23,51,24,26,119,7,55,56,871,62,58,63,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa500eae7a23d41f6746de1ac5b6f218e.jpg",[],{"id":44870,"slug":44871,"title":44872,"dynasty":97,"author":44873,"museum":99,"description":44874,"tags":44875,"thumbUrl":44876,"material":689,"size":690,"collection":107,"collections":44877,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},236552,"song-mei-shan-ye-li-bing-shou-236552","松梅扇页","李秉绶","李秉绶（1783-1842）字佩之、芸甫，号竹坪、信天翁、环碧主人。祖籍临川县温圳杨溪村（今属江西省进贤县温圳），寄籍广西桂林。清代著名画家兼诗人。曾居官工部都水司郎中，人亦称“李水部”。后辞官回桂林，专心画事。",[23,51,822,26,528,777,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38fb68fbb6b886709bb49970ba99fb69.jpg",[],{"id":44879,"slug":44880,"title":17,"dynasty":18,"author":44881,"museum":99,"description":44882,"tags":44883,"thumbUrl":44884,"material":107,"size":107,"collection":107,"collections":44885,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},236542,"hua-niao-ce-tang-zhi-yin-236542","唐志尹","唐志尹[清]字相五，江苏扬州人，住姜堰。一作字聘三，海陵（今泰州）人。志契弟。花鸟得吕纪、王偕之传。所居万竹园，冒襄、蓝瑛辈尝过访之。康熙（一六六二至一七二二）初年八十余。与侄日昌，兄志契时称三唐。《泰州志、无声诗史、图绘宝鉴续纂、画史会要》",[23,51,24,25,54,27,36567,332,700,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9079963fa5d444017c3cc9fb0683e78.jpg",[],{"id":44887,"slug":44888,"title":44889,"dynasty":18,"author":35487,"museum":99,"description":35488,"tags":44890,"thumbUrl":44891,"material":689,"size":690,"collection":107,"collections":44892,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},236468,"shu-lin-yuan-xiu-tu-shan-li-liu-fang-236468","疏林远岫图扇",[23,51,822,26,55,56,7870,751,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fc791df25ce09c2286320730928d3f4.jpg",[],{"id":44894,"slug":44895,"title":44896,"dynasty":97,"author":44897,"museum":99,"description":44898,"tags":44899,"thumbUrl":44900,"material":107,"size":107,"collection":35,"collections":44901,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},236462,"qian-shan-shui-hua-hui-ce-wang-wen-236462","潜山水花卉册","王文","此帧以淡墨写意绘就秋江之景，枯柳虬枝以极简渴笔写出，线条疏朗劲瘦，尽染萧寒秋意。持竿渔翁佝身立在岸侧，形简神足，静穆间满是江湖幽独的萧索况味。\n\n画面留白肆意空灵，将水天寥廓尽数铺陈，淡墨晕染的浅岸与细笔勾勒的衰草相映，愈发衬出荒寒清寂。题识与绘境相融，诗画共生，笔意淡宕简远，以少胜多，将隐逸幽淡的林下襟怀寄寓在寥寥笔致之中，尽显文人写意重韵不重形的逸趣。",[23,51,24,26,56,28,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8913b2d8b63ad1e3793a9b069678ca9.jpg",[35],{"id":44903,"slug":44904,"title":8089,"dynasty":18,"author":14556,"museum":99,"description":44905,"tags":44906,"thumbUrl":44907,"material":107,"size":107,"collection":70,"collections":44908,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},236390,"shan-shui-zhou-ding-yun-peng-236390","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[23,51,84,26,25,56,64,150,60,61,58,7,55,727],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ec58e07d94572dafafeadfb20222cb.jpg",[70,242],{"id":44910,"slug":44911,"title":2149,"dynasty":97,"author":697,"museum":175,"description":21153,"tags":44912,"thumbUrl":44913,"material":391,"size":21156,"collection":107,"collections":44914,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},236314,"hua-hui-ce-wang-shi-shen-236314",[23,51,24,26,528,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F270d7050c40df99455d3a285ab924491.jpg",[],{"id":44916,"slug":44917,"title":44918,"dynasty":18,"author":955,"museum":99,"description":9336,"tags":44919,"thumbUrl":44920,"material":689,"size":690,"collection":107,"collections":44921,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},236190,"hua-zhu-mei-hong-li-shu-shi-cheng-shan-chen-hong-shou-236190","画竹梅弘历书诗成扇",[23,51,822,358,528,86,26,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21843d8b6020ed0e211a8a2725c828be.jpg",[],{"id":44923,"slug":44924,"title":44925,"dynasty":18,"author":44926,"museum":175,"description":44927,"tags":44928,"thumbUrl":44929,"material":107,"size":107,"collection":70,"collections":44930,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":75},236183,"shan-shui-ren-wu-shan-ye-zhou-han-236183","山水人物扇页","周翰","周翰，是清代画家，即周沈禄，字子章，号南山，工山水、人物。生卒年月不详，约活动于明弘治至嘉靖年间。\n著作：南屏烟雨图，珍藏于北京故宫绘画馆，嘉靖三十四年（一五五五）所画，绢本，此图绘群山如蘑菇般突起，山中乔松老树葱茏茂密，山下白雪滃起，似有[山雨欲来风满楼]之势。数座楼观殿阁和梵宇，或隐于绿阴云雾之中，或屹立于山巅之上。数条小路或盘山绕涧通入峰顶，或隐没于深山幽谷之中。图中山峦以浓淡色皴染出远近层次和凹凸，富有立体的质感。苍松、杂树用笔扎实，而飘浮不定的烟云用留白烘染法。故此图是考查周翰生平、艺绩的重要史料，难能可贵。",[822,23,56,58,64,7,135,25,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae35662cfd206b419ab2d7864093d15a.jpg",[70],{"id":44932,"slug":44933,"title":17578,"dynasty":97,"author":6653,"museum":175,"description":17579,"tags":44934,"thumbUrl":44935,"material":183,"size":17582,"collection":107,"collections":44936,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},236123,"shan-shui-lou-ge-ce-chen-mei-236123",[23,51,24,25,56,59,150,64,61,1962,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02cd7b8431d0b02358a7a258104d3b57.jpg",[],{"id":44938,"slug":44939,"title":44940,"dynasty":18,"author":207,"museum":99,"description":44941,"tags":44942,"thumbUrl":44943,"material":107,"size":107,"collection":107,"collections":44944,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":924},236073,"zhu-jian-shen-yi-tuan-he-qi-tu-zhou-yi-ming-236073","朱见深一团和气图轴","乍看是笑颜可掬的布袋僧人安坐，细观才觉藏着精妙机趣——儒释道三人环抱成圆融一团。左侧文人儒巾飘逸，右侧僧侣袈裟清雅，后方道者冠带隐现，三人面容相互勾连，难分你我。\n\n衣纹圆转柔和，似随呼吸舒展流动，以极简笔墨勾勒出三家神韵，暗合三教合一的文化思潮。把同气相求、共生共荣的东方哲思，藏进这诙谐的视觉巧思里，将世间融洽无间的美好祈愿，凝在这一方圆相之中，浅淡笔墨下满是悠长意蕴。",[23,51,84,25,58,135,7,86,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe84e87759243c2e7a6cef849167a26e0.jpg",[],{"id":44946,"slug":44947,"title":44948,"dynasty":97,"author":3871,"museum":99,"description":19851,"tags":44949,"thumbUrl":44950,"material":689,"size":690,"collection":107,"collections":44951,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},236039,"di-ba-ga-na-wei-ha-wei-la-zhui-za-zun-zhe-ding-guan-peng-236039","第八嘎纳囗哈囗喇缀杂尊者",[23,51,1284,25,54,58,7,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5a76c950e19d613c9c9b1e76e6b51a5.jpg",[],{"id":44953,"slug":44954,"title":44955,"dynasty":18,"author":20278,"museum":99,"description":44956,"tags":44957,"thumbUrl":44958,"material":107,"size":107,"collection":107,"collections":44959,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},236022,"ren-wu-tu-ce-fang-long-mian-ju-shi-chui-diao-tu-wen-nan-shou-mao-weng-236022","人物图册－仿龙眠居士垂钓图","此作诗画合璧，境致萧散出尘。绘卷以淡墨晕染云烟，崖岸之上，老翁垂竿独钓，简笔勾勒便将其安坐忘机的悠然情态尽显。对面飞瀑流云隐现于烟岚之间，空濛悠远，衬出江湖林下的清寂之境。\n\n题诗呼应画意，将临渊高坐比作神仙襟怀，把垂钓不为渔获、只为寄怀林泉的隐逸心境铺陈开来。笔简而意足，水墨轻岚间尽显静穆淡远的文人雅韵，把心向丘山、超然物外的林下风致淋漓展现，诗画衬发，尽显雅逸出俗的文人寄兴。",[23,51,24,26,134,86,7,58,56,714,41566,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf37a34ac43c682c605d9c4a280b2d79.jpg",[],{"id":44961,"slug":44962,"title":7228,"dynasty":18,"author":26390,"museum":99,"description":44963,"tags":44964,"thumbUrl":44965,"material":107,"size":107,"collection":107,"collections":44966,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},235973,"shan-shui-ce-cheng-jia-sui-235973","此作用淡墨轻皴勾勒山居景致，枯树虬枝斜出，茅舍错落于浅岸，远山晕染如黛，数点飞鸟划破空寂，笔墨极简却意韵悠长，画面清空淡雅，褪去所有繁饰，独留萧寒幽寂的林下氛围。\n\n右侧行书题诗笔意清隽疏朗，诗中夜雨孤庭、松风茶经之句，与画中景致相映成趣。以画寄兴，诗画交融，尽显幽淡孤洁的文人襟怀，将山水作为安放心神的归处，于简淡萧散之中，藏着沉静出尘的文人情思。",[23,51,24,26,119,7,56,137,63,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecdbc7c2eae54d56198a7d05c3c79ada.jpg",[],{"id":44968,"slug":44969,"title":7228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赵孟坚也是南宋最出名的书画收藏家，他嗜好收藏书画古物，常用一只船载着书画文物及纸笔墨砚等，东游西适，评赏书画古玩，吟诗作画。当时人称其舟为“赵子固书画船”。史载其“多藏三代以来金石名迹，遇其会意时，虽倾囊易之而不靳也”。 据说他曾得书法珍品五字不损本兰亭，归家时，风作舟覆，其“被湿衣立浅水中，手持褉帖示人曰：‘兰亭在此，余不足惜也。’因题八字于卷首云：‘性命可轻，至宝是保。’”其酷嗜收藏到了几乎疯狂的地步。宋人周密赞曰：“噫，近世求好事博雅如子固者，岂可得哉。”（周密《齐东野语》卷19）。\n另据载赵孟坚入元以后，不乐仕进，隐居州之广陈镇（今海盐县）。“公（赵孟坚）从弟子昂（赵孟頫）自苕来访公，闭门不纳。夫人劝公，始令从后门入。坐定，第问：‘弁山笠泽近来佳否？’子昂曰：‘佳。’公曰：‘弟奈山泽佳何！’子昂退，使人濯坐具。”（《宋人轶事汇编》下册 中华书局出版，丁传靖辑）由是可见其品格甚高。诗文有《彝斋文编》。",[49,2651,86,119,7,319,435],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff250bf479213aa0b8c8ba870249d7514.jpg",[],{"id":45304,"slug":45305,"title":45306,"dynasty":97,"author":10725,"museum":99,"description":37200,"tags":45307,"thumbUrl":45308,"material":319,"size":107,"collection":107,"collections":45309,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},232679,"yuan-mei-hong-yi-fa-shi-232679","袁枚",[49,97,51,86,119,4832,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b416ea713fbd6f58899364bfd1dd18b.jpg",[],{"id":45311,"slug":45312,"title":13953,"dynasty":97,"author":1082,"museum":99,"description":45313,"tags":45314,"thumbUrl":45315,"material":107,"size":107,"collection":107,"collections":45316,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},232609,"tian-guang-yun-jing-tu-ce-zhu-da-232609","朱耷（1626—约1705年），明末清初画家，中国画一代宗师。本名朱统托，字雪个，号八大山人、个山 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攀援栖止于树枝上。\n其中两猿正品果嬉戏，另一猿右臂抓树，左臂摘取红果，形象生动可爱。\n作者运用极为工细的笔法，描绘猿猴茸茸的细毛、灵巧的动态以及老树的虬枝和枯叶，显示出深厚功力。\n图中坡石用小斧劈皴，枝叶用双钩填色，笔法精工巧丽。\n深秋季节只猿猴攀援于树枝上嬉戏摘果的情景。\n猿猴和景物都集中在画的右半边，为典型的南宋画构图方式。\n猿猴神情毕肖，尤其是茸毛的绘制极为细致严谨。\n树叶用勾勒填色法，色彩并未完全填满，显得自然随意。\n黑白色对比使画面更具动感，红色的小果实在整幅画面中十分醒目。\n深山野林中，黑白二色的三只猿猴攀援栖止于树枝上。\n其中两猿相互逗趣，另一猿右臂抓着树枝，左臂摘取红果，其贪婪、欣喜之态刻画得形神兼僃。\n点景中枯黄的树页、红色的果实，以及丛生的小草和细竹，不仅打破了山石的呆板，而且渲染了秋天萧瑟的气氛，从而增添画面的自然之趣。\n画面钤有「黔宁王子子孙孙永保之」、「都尉耿信公书画之章」、「信公珍藏」、「安国珍玩」等印多方。\n对幅有清代著名收藏家耿昭忠题记，此图曾经沐璘、耿昭忠、安岐收藏。\n《石渠宝笈》著录。",[50,23,51,822,25,1116,10196,871,30,1195,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a544e331d094ac541c1cff0a7db7c25.jpg",[],{"id":45517,"slug":45518,"title":45519,"dynasty":130,"author":857,"museum":99,"description":2295,"tags":45520,"thumbUrl":45522,"material":689,"size":690,"collection":107,"collections":45523,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":75},227056,"jin-tang-zheng-shu-wang-xi-zhi-227056","晋唐正书",[45521,86,2226,119,7,24],"晋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46bea167c0887bbf8168a2d57af6b21a.jpg",[],{"id":45525,"slug":45526,"title":45527,"dynasty":2807,"author":207,"museum":99,"description":45528,"tags":45529,"thumbUrl":45530,"material":107,"size":107,"collection":107,"collections":45531,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":75},225549,"fu-shi-hui-14-yi-ming-225549","浮世绘14","这幅作品以浓黑为底，将春日意趣铺陈得雅致清隽。俯冲的飞燕以金墨勾形，羽翼纹理细腻写实，身姿灵动舒展，仿佛携带着乍暖的春风掠过画面。下方的山茶花晕染出柔润的粉绯，花瓣层叠娇美，花叶以金彩描边填纹，点点珠光似凝着晨露，在深底色映衬下愈发清丽华贵。\n\n画面留白克制疏朗，将和风美学的侘静雅致藏在方寸之间，没有繁复铺陈，却以极简构图勾勒出春日的鲜活生机，工细的笔触融合装饰性晕染，静穆底色与柔美金彩相映，尽显矜贵雅致的东瀛美学意韵。",[30272,15959,25,7,66,27,344,265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2198415e5322402c2f144450faacae00.jpg",[],{"id":45533,"slug":45534,"title":45535,"dynasty":97,"author":724,"museum":99,"description":45536,"tags":45537,"thumbUrl":45542,"material":107,"size":107,"collection":107,"collections":45543,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},224393,"jiang-shang-chui-lun-tu-quan-juan-wang-yuan-qi-224393","江上垂纶图全卷","此作用笔苍浑松秀，以干笔皴擦间施浓墨提点，糅合元人山水意趣。长卷铺展江南水村平湖远岫，层岩叠嶂间村居隐现，汀渚渔舟萧然静泊，尽显江乡幽寂淡远的秋暮之致。构图开合起伏，元气淋漓，将胸中丘壑化作纸面清旷之景。卷后题跋与画境呼应，诗画交融，尽显文人山水画的简淡高逸，沉雄苍润的笔墨尽显正统山水的文心雅韵。",[49,23,52,712,6095,25,55,45538,278,1535,11752,26198,3207,45539,45540,45541,86,7,57],"平湖","秋暮","幽寂淡远","清旷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0bd684daf1f7232a7c873baeffea3a7.jpg",[],{"id":45545,"slug":45546,"title":45547,"dynasty":97,"author":929,"museum":99,"description":45548,"tags":45549,"thumbUrl":45550,"material":107,"size":107,"collection":107,"collections":45551,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},224331,"hua-niao-shi-er-kai-9-li-shan-224331","花鸟十二开9","淡墨晕染出松鼠身形，蓬松皮毛的质感呼之欲出，尖吻微张，长尾轻扬，攀附松枝之上，警觉灵动的神态跃然纸面。苍松以焦墨挥写，浓墨点簇松针，老辣笔力勾勒出虬曲枝干，尽显苍古拙朴的风骨。左侧行书题字与画面相得益彰，笔墨枯润相生，尽显写意随性野趣。整幅作品以简驭繁，笔情纵逸，将文人写意的酣畅与林间生机相融，寥寥数笔便定格住松间嬉游的悠然意趣，尽显写意花鸟的动人神韵。",[49,23,51,24,26,403,1116,3251,610,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523b8f0015029b872e9adff78fa964b0.jpg",[],{"id":45553,"slug":45554,"title":45555,"dynasty":97,"author":929,"museum":99,"description":45556,"tags":45557,"thumbUrl":45558,"material":107,"size":107,"collection":107,"collections":45559,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},224329,"hua-niao-shi-er-kai-7-li-shan-224329","花鸟十二开7","此作以水墨写意绘就仲夏小景，右侧柳根苍润，柔条轻垂，两只夏蝉攀附枝梢，焦墨提点蝉翼纹理，薄透如生，似将振翅长鸣，淡墨晕染柳丝清柔，浓淡间尽显灵动意趣。\n左侧题书笔意纵放跌宕，诗画相融，将暑日柳荫鸣蝉的慵懒闲逸铺陈开来。以简驭繁，不拘成法，寥寥数笔便捕捉住夏日常景的清寂意韵，笔墨带着疏放不羁的文人风骨，把寻常小景升华为清雅脱俗的逸趣之境，尽显写意花鸟的随性雅趣。",[49,23,51,24,26,403,86,7,27,4242,1481],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdecf83e6c448966e31e45e4eb25c111f.jpg",[],{"id":45561,"slug":45562,"title":45563,"dynasty":97,"author":929,"museum":99,"description":45564,"tags":45565,"thumbUrl":45566,"material":107,"size":107,"collection":107,"collections":45567,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},224318,"hua-niao-ce-shi-kai-8-li-shan-224318","花鸟册十开8","画面两只鹌鹑意态生动，一昂首远眺，一侧首低语，翎羽以枯笔皴擦、淡墨晕染，朴拙中饱含灵动生机。野菊柔枝缀满紫黄碎花，伴草叶斜曳，淡墨晕开的坡岸清润松秀，衬出清秋野趣。\n题笔行书奇崛跌宕，诗画印合为一体，以秋日野景寄寓闲淡襟怀，挣脱院体刻板法度，将写生意趣与文人雅思相融，笔底随性疏朗，尽显疏放灵秀的笔墨风神，把郊秋悠然意态凝于尺幅间，满溢着自在野逸的生机。",[49,23,24,25,27,86,7,403,29,310,531],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09b5d44b2a45a20a5b568915ee916d42.jpg",[],{"id":45569,"slug":45570,"title":45571,"dynasty":97,"author":15922,"museum":99,"description":45572,"tags":45573,"thumbUrl":45574,"material":107,"size":107,"collection":107,"collections":45575,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},224256,"xian-lou-gao-zhi-cha-shi-biao-224256","仙楼高峙","此作用淡渴墨勾勒崖壁轮廓，皴擦简率松秀，寥寥数笔便绘出山石清峭之态。坡岸与丛木以写意点染，虚实相生间，晕染出幽寂空濛的山境。左侧行书笔致萧散飘逸，笔墨舒展随性，与画中简淡意境相融，文气悠悠。\n\n整体脱去尘俗，以极简的笔墨铺陈出清旷出尘的林下仙境，尽显新安画派笔简意赅、气韵荒寒的特质，观之如临幽林高阁，心神也随之沉静，沉醉于这份水墨疏淡里的幽远禅意。",[49,23,51,24,26,55,119,7,56,59,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7674da97971c55f319361c3f120ebd48.jpg",[],{"id":45577,"slug":45578,"title":45579,"dynasty":97,"author":1167,"museum":99,"description":45580,"tags":45581,"thumbUrl":45582,"material":689,"size":690,"collection":107,"collections":45583,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},224174,"gan-li-tu-quan-juan-hua-yan-224174","敢荔图全卷","华喦（1682-1756），字德嵩，号秋岳、又号新罗山人、新罗生、白砂山人，别号东园生、布衣生、老年自喻“飘篷者”。福建上杭人。华少时酷爱绘画，常替人作山水、花鸟、人物故事画，还在寺堂庙祠画壁画。花鸟画最负盛名，吸收明代陈淳、周之冕、清代恽寿平诸家之长，形成兼工带写的小写意手法。既有大局的的挥洒简逸，又有细节的精微描写，如画禽鸟，能将蓬松的羽毛玲珑剔透地表现出来。敷色鲜嫩不腻，时用枯笔干墨淡彩。这种工写结合、清新俊秀的花鸟画风格，对后世产生了积极影响。",[49,23,51,52,25,58,56,871,86,119,541,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e347c76a16901f1b2b37187d2892d85.jpg",[],{"id":45585,"slug":45586,"title":45587,"dynasty":2807,"author":207,"museum":99,"description":45588,"tags":45589,"thumbUrl":45590,"material":107,"size":107,"collection":107,"collections":45591,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},223898,"mo-hua-zhu-zi-xiang-yi-ming-223898","墨画朱子像","此作以淡墨白描写就，细劲墨线勾勒衣袍，线条简练却贴合身形，将宽袍的古朴垂坠质感尽显。对人物面容描摹入微，眼角纹路、鬓边褶皱皆细致刻画，传神烘托出主人公温和沉静的儒雅风骨，尽显大儒的沉稳气度。旁侧题字清雅端方，与画像相得益彰。整幅画面底色古雅泛黄，晕染出厚重的岁月质感，无过多修饰，以极简笔墨承载内敛意蕴，尽显传统肖像画写实传神的特质，将东方古典美学的含蓄沉静融入其中。",[50,23,51,24,135,26,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff358068395cf5685346f594ef45313bd.jpg",[],{"id":45593,"slug":45594,"title":45595,"dynasty":115,"author":207,"museum":99,"description":45596,"tags":45597,"thumbUrl":45598,"material":689,"size":690,"collection":107,"collections":45599,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":924},223781,"nan-tu-niu-yu-yin-yi-ming-223781","南兔纽玉印","宋代，官印的尺寸多为5～6厘米见方，所用文字以小篆为基础，印文屈曲填满，线条反复折叠，次数无定则，但因古代以“九”表示为数之多所以有“九叠篆”之称。到了金、辽时代，这种叠篆的程序走向极端，并一直延续到明清和近代。元代的官印多承袭前朝形制，特殊之处在易“九叠文”为“八思巴文”。宋代是实用印章向文人篆刻艺术的过渡期。宋代文人渐开好印之风，而且对篆刻艺术发展起了重要推动作用的“集古印谱”也风行开来。到了元代，这种对印章的认识发生了质的飞跃。元初喜好集古印谱的风气有增无减。元代文人书画家所用的印章基本上呈元朱文和汉白文两大格局。印章与书画关系的紧密，使书画家自篆自刻印章的欲望日趋强烈。在汉印审美观的影响下，大约在元代中期后，出现了集写刻于一身，并以汉印风采为追求对象的文人篆刻家。经过漫长的探索，元代文人终于完成了实用印章向文人艺术篆刻的转化，为明清文人流派篆刻艺术的发展奠定了坚实的基础。",[2651,9699,7,1116,1171,9700],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F458444ec7a6667c5c451ceec905f9132.jpg",[],{"id":45601,"slug":45602,"title":45603,"dynasty":115,"author":207,"museum":99,"description":45604,"tags":45605,"thumbUrl":45606,"material":107,"size":107,"collection":107,"collections":45607,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":75},223674,"shuang-ke-zhu-jian-tu-ye-yi-ming-223674","霜柯竹涧图页","《霜柯竹涧图页》是南宋画家佚名创作的一幅绢本设色画。\n本幅无款。\n钤“义斋精玩”、“宋荦审定”收藏印2方。\n图绘山间冬季景色，天阴欲雪，霜柯临水，柯下溪涧奔流，水花飞溅，远处竹林葱茏。\n两只山鸟栖于枝头，眺望远方，将观赏者的目光引向画外，从而收到画尽而意无穷的艺术效果。\n图中老柯、丛竹用笔刚劲，水花、鸟羽笔触轻柔，流水奔腾不息，山石巍峨不动，使画面形成刚柔相济、动静对比的艺术效果。\n清《石渠宝笈三编》著录。",[49,50,23,51,24,54,25,967,358,61,66,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9c242fbd03b8dd4577b564ab01d95ef.jpg",[],{"id":45609,"slug":45610,"title":45611,"dynasty":18,"author":207,"museum":99,"description":45612,"tags":45613,"thumbUrl":45614,"material":319,"size":45615,"collection":107,"collections":45616,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},223403,"chui-hong-qiu-se-tu-yi-ming-223403","垂虹秋色图","此作用淡墨晕染出浩渺平湖，轻舟逐波缓行，汀渚之上嘉木葱茏，板桥村舍隐于烟树间，远山如黛逶迤连绵，将江南清秋的萧疏淡远尽数铺展，笔墨清润秀雅，尽显平淡天真的文人山水意趣。\n卷中题笔相生，擘窠大字雄劲苍古，行楷题跋秀逸雅致，将垂虹秋景的诗意与文人赏景的雅怀相融，实景山水与题咏情思交织，把江天寥廓的清秋意韵凝于尺幅，尽显书画合璧的文人雅韵。",[49,23,51,52,26,119,56,60,61,62,63,64,449,6947,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa448dc5f9cb1836eab9d07f9b11fabf7.jpg","24.4x122.6",[],{"id":45618,"slug":45619,"title":45620,"dynasty":97,"author":1569,"museum":81,"description":7575,"tags":45621,"thumbUrl":45623,"material":15681,"size":15682,"collection":107,"collections":45624,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},223094,"hua-di-qi-ga-na-ga-ba-sa-zun-zhe-zhou-yao-wen-han-223094","画第七嘎纳嘎巴萨尊者轴",[49,23,25,54,1284,84,58,64,28,150,61,4670,45622,7],"果盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba3e29af9ff3dfe7f92ff487a79712a8.jpg",[],{"id":45626,"slug":45627,"title":45628,"dynasty":97,"author":45629,"museum":81,"description":45630,"tags":45631,"thumbUrl":45632,"material":45633,"size":45634,"collection":107,"collections":45635,"showCount":581,"zanCount":39,"manualWeight":39,"mainColor":40},222811,"hua-li-zhu-cui-xiu-ce-mu-lan-he-da-zi-222811","画丽珠萃秀册 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字易之，号河朔外史，合鲁（葛逻禄）部人。合鲁部人东迁，散居各地，迺贤家族先居南阳（今属河南）。后其兄塔海仲良入仕江浙，他随之迁居四明（治今浙江宁波）。乃贤先世可能是黄金家族姻亲。其兄师事本乡儒者，中进士后任职宣慰，名重一时。乃贤则淡泊名利，退居四明山水之间，与名士诗文唱酬。",[51,86,418,52,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dea42f24285abad374f5ea0459b3fdd.jpg",[122],{"id":46278,"slug":46279,"title":46280,"dynasty":97,"author":207,"museum":99,"description":46281,"tags":46282,"thumbUrl":46283,"material":689,"size":690,"collection":107,"collections":46284,"showCount":395,"zanCount":1288,"manualWeight":39,"mainColor":40},241587,"chen-da-lin-wen-dai-zhao-shu-hou-chi-bi-fu-ye-yi-ming-241587","陈大临文待诏书后赤壁赋页","此作为小楷抄录《后赤壁赋》，笔法清劲凝练，结体端稳舒展，尽显晋唐小楷雅正意趣。通篇气息匀净平和，起收笔含蓄内敛，提按顿挫皆见法度，点画排布错落有致，字字独立却气脉贯通。笔墨晕染出文人闲适散淡的意韵，将东坡文辞里月夜江渚的幽寂意境，与抄录时的沉静雅致融为一体，尽显书写者不俗的笔墨功底与清雅的文人意趣，是一件颇具韵致的书法小品。",[97,86,119,7,24,4832],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa4e22570f81bc899390600b2db6e217.jpg",[],{"id":46286,"slug":46287,"title":46288,"dynasty":18,"author":46289,"museum":99,"description":46290,"tags":46291,"thumbUrl":46292,"material":319,"size":107,"collection":122,"collections":46293,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},241531,"wu-jue-er-shou-ce-ye-zhao-jun-241531","五绝二首册页","赵均","赵均（1591-1640），字灵均，苏州人，赵宧光之子。从其父传六书学，后又从燕山僧，学习梵文，博学多才。父子俩不断探究，于是“遂法其精”，赵均之妻文淑，是文征明的玄孙女，天性明慧，书画得家风传授和熏陶，成为苏州女画家中的佼佼者。书法密码微店",[51,24,119,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c108e7f346c422ef67386753d6c7535.jpg",[122],{"id":46295,"slug":46296,"title":46297,"dynasty":97,"author":46298,"museum":99,"description":46299,"tags":46300,"thumbUrl":46301,"material":689,"size":690,"collection":107,"collections":46302,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},241461,"shao-xi-yu-yin-cong-hua-zhou-liang-tong-shu-241461","苕溪渔隐丛话轴","梁同书","梁同书（1723年～1815年），清代书法家。字元颖，号山舟，晚年自署不翁、新吾长翁，钱塘（今浙江杭州）人。大学士梁诗正之子。\n梁同书于乾隆十二年（1747）中举人，十七年特赐进士，官侍讲。著有《频罗庵遗集》。 梁同书家学渊源。他自幼接触书法，12岁时即能书写擘窠大字。初学颜真卿、柳公权，中年以后又取法米芾，70岁以后融汇贯通，纯任自然。他习书60余年，久负盛名，所书碑刻极多。\n梁同书工于楷、行书，到晚年犹能写蝇头小楷，其书大字结体紧严，小楷秀逸，尤为精到。与刘墉、翁方纲、王文治并称“清四大家”。年九十余，尚为人书碑文墓志，终日无倦容，并无苍老之气。传世书迹甚富，小楷书作尤多。著有《频罗庵遗集》《频罗庵论书》等。",[105,86,119,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F530a90b60fcb9904bef6492bb19c72e1.jpg",[],{"id":46304,"slug":46305,"title":46306,"dynasty":97,"author":30347,"museum":99,"description":46307,"tags":46308,"thumbUrl":46309,"material":689,"size":690,"collection":107,"collections":46310,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":323},241399,"bai-hua-zhou-chun-qing-qi-jue-zhou-ruan-yuan-241399","白花洲春晴七绝轴","字伯元，号芸台、雷塘庵主、揅经老人、怡性老人 ，江苏扬州仪征人。清朝中期官员、经学家、训诂学家、金石学家 。\n阮元为乾隆五十四年（1789年）进士，先后在礼部、兵部、户部、工部供职，并出任山东、浙江学政，浙江、江西、河南巡抚及漕运总督、湖广总督、两广总督、云贵总督等职。身历乾隆、嘉庆、道光三朝，所至之处，以提倡学术、振兴文教为自任，勤于军政，治绩斐然。晚年官拜体仁阁大学士，致仕后加官至太傅。道光二十九年（1849年），阮元去世，年八十六。获赐谥号“文达”。\n阮元提倡朴学，曾罗致学者编书刊印，主编《经籍籑诂》，校刻《十三经注疏》，汇刻《皇清经解》等，于数学、天算、舆地、编纂、金石、校勘等方面亦多有建树 ，史称其“身历乾、嘉文物鼎盛之时，主持风会数十年，海内学者奉为山斗焉” ，是乾嘉学派晚期代表人物，也被认为是扬州学派的柱石。生平著述丰撰有《揅经室集》《十三经注疏校勘记》等三十余种著述传世。",[86,119,84,7,25,946,38046,5209,406,25817,870],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbc7ecaab75e3b90d8efb1dc2be883d5.jpg",[],{"id":46312,"slug":46313,"title":46314,"dynasty":97,"author":46315,"museum":99,"description":46316,"tags":46317,"thumbUrl":46318,"material":689,"size":690,"collection":107,"collections":46319,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},241371,"jie-lu-tian-ma-fu-zhou-shen-quan-241371","节录天马赋轴","沈荃","沈荃（1624～1684），字贞蕤，号绎堂，别号充斋，华亭（今上海松江）人。顺治九年探花，授编修，累官至翰林院侍读学士、礼部侍郎，卒谥文恪。学行醇洁，书法尤有名。他工书法，宗法米芾、董其昌，是康熙年间最重要的书法家之一。",[84,119,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f50f0aa2948f6984146293e0a4601c8.jpg",[],{"id":46321,"slug":46322,"title":46323,"dynasty":97,"author":46324,"museum":99,"description":46325,"tags":46326,"thumbUrl":46327,"material":689,"size":690,"collection":107,"collections":46328,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},241322,"zhuan-shu-ci-zhou-hong-liang-ji-241322","篆书词轴","洪亮吉","洪亮吉（1746年－1809年），字君直，一字稚存，號北江，晚號更生，江蘇陽湖（今常州市）人，祖籍安徽歙县。乾隆五十五年（1790年）庚戌恩科榜眼。",[23,51,84,541,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eca9696063f628604db6db2fcdc2479.jpg",[],{"id":46330,"slug":46331,"title":21113,"dynasty":97,"author":7017,"museum":99,"description":46332,"tags":46333,"thumbUrl":46334,"material":319,"size":107,"collection":122,"collections":46335,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},241321,"qi-lv-zhou-liang-guo-zhi-241321","梁国治（1723—1786），清代书法家，字阶平，号瑶峰，一号丰山，又号梅塘，浙江会稽（今绍兴）人。\n乾隆十三年（1748）进士，殿试头名状元。由修撰累官东阁大学士兼户部尚书。以经术勤吏治，清俭自守，好学爱才，治事敬慎缜密。有《敬思堂文集》。曾充任《四库全书》副总裁。卒谥文定。\n梁国治，清朝大臣。清代上虞中塘梁巷（又说为浙江会稽，今绍兴）人。天资聪颖，博通经史，工制艺。乾隆十三年中状元，先授编修，后充日讲起居官、国子监司业。二十一年接任广东道员二十五年，移署粮驿道。因政绩卓著，擢督察院左副都御史、吏部左侍郎。广东总督杨廷璋追论其在署粮驿道时失察家人舞弊，被夺职。后起授山西冀宁道，迁江苏学政、湖南布政使、湖北巡抚。乾隆三十四年（1769），署湖广总督，兼荆州将军。赈济灾民。三十六年，移湖南巡抚。从征金川，治军械，造弹药，筹军费，业绩卓著。三十八年召还，命在军机处行走。次年授户部侍郎，迁户部尚书，四十八年，协办大学士，五十年，累迁至东阁大学士兼军机大臣、户部尚书，并先后任广东、江西、顺天乡试正考官，又充任过《四库全书》副总裁。平生治事缜密，不徇私情，廉政清俭，俸入随手即尽。乾隆下谕赞称其“品学端醇，小心谨慎，扬历中外”。工书法，著有《敬思堂文集》。卒于乾隆五十一年，赠太子太保，谥文定。",[84,119,86,7,26,62,6606,66,56,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F982a86984c6fb1ab11ebf061f12708d3.jpg",[122],{"id":46337,"slug":46338,"title":46339,"dynasty":18,"author":46340,"museum":175,"description":46341,"tags":46342,"thumbUrl":46343,"material":319,"size":46344,"collection":122,"collections":46345,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":75},241222,"xiang-shu-wu-lv-shi-zhou-huang-yan-241222","相书五律诗轴","黄衍","此轴书法宕逸奇谲，笔力雄健，结字奇古险绝，注重点的用法，字形欹正相生，如“惊蛇走虺，骤雨狂风”，飘逸驰骋，独具特色。在清代中期扬州画家、书法家中，黄慎的书法颇富个性。此轴代表了黄慎草书的艺术水平，表现出书家以险绝求胜的书艺特点。",[86,84,462,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d8e20d3e65801db6d273221a14fd710.jpg","纵166.9cm，横84.6cm",[122],{"id":46347,"slug":46348,"title":46349,"dynasty":18,"author":2059,"museum":99,"description":16056,"tags":46350,"thumbUrl":46351,"material":689,"size":690,"collection":107,"collections":46352,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},241182,"ming-wen-zheng-ming-shou-zha-wen-zheng-ming-241182","明文徵明手札",[49,86,119,4832,33485,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5c98196188bd1c8af15ea72a6627650.jpg",[],{"id":46354,"slug":46355,"title":46356,"dynasty":97,"author":46357,"museum":99,"description":46358,"tags":46359,"thumbUrl":46364,"material":689,"size":690,"collection":107,"collections":46365,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},241166,"liang-qi-chao-qi-jue-shi-zhou-liang-qi-chao-241166","梁启超七绝诗轴","梁启超","梁启超（1873年2月23日—1929年1月19日），字卓如，一字任甫，号任公，又号饮冰室主人、饮冰子、哀时客、中国之新民、自由斋主人。广东省广州府新会县熊子乡茶坑村（今广东省江门市新会区茶坑村）人 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幼年时从师学习，八岁学为文，九岁能缀千言，17岁中举。后从师于康有为，成为资产阶级改良派的宣传家。维新变法前，与康有为一起联合各省举人发动“公车上书”运动，此后先后领导北京和上海的强学会，又与黄遵宪一起办《时务报》，任长沙时务学堂的主讲，并著《变法通议》为变法做宣传。\n戊戌变法失败后，与康有为一起流亡日本，政治思想上逐渐走向保守，但是他是近代文学革命运动的理论倡导者。逃亡日本后，梁启超在《饮冰室合集》《夏威夷游记》中继续推广“诗界革命”，批判了以往那种诗中运用新名词以表新意的做法。在海外推动君主立宪。辛亥革命之后一度入袁世凯政府，担任司法总长；之后对袁世凯称帝、张勋复辟等严词抨击，并加入段祺瑞政府。他倡导新文化运动，支持五四运动。其著作合编为《饮冰室合集》。\n1929年1月19日，梁启超在北京协和医院溘然长逝，终年56岁。",[86,84,119,7,46360,46361,11152,1595,46362,46363],"东海","红桑","潮","酒城","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26abdd14f264b99622848f1af842c8d4.jpg",[],{"id":46367,"slug":46368,"title":44406,"dynasty":18,"author":46369,"museum":99,"description":46370,"tags":46371,"thumbUrl":46372,"material":689,"size":690,"collection":107,"collections":46373,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},241148,"wu-lv-shi-zhou-fang-yi-zhi-241148","方以智","方以智（1611年－1671年11月9日），字密之，号曼公，又号鹿起，别号龙眠愚者，出家后改名大智，字无可，别号弘智，人称药地和尚。南直隶安庆府桐城（今安徽桐城）人。",[8547,86,23,51,84,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47e0384aede683fc36a175b3449a11cb.jpg",[],{"id":46375,"slug":46376,"title":46377,"dynasty":146,"author":46378,"museum":99,"description":46379,"tags":46380,"thumbUrl":46381,"material":319,"size":107,"collection":122,"collections":46382,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},241107,"xing-ti-qian-feng-shi-juan-liu-bing-241107","行题嵌峰诗卷","刘昺","刘昺（1199—1277年），祖籍宁州安定（今甘肃省宁县南义）。生当金元交替时代，后成为元朝疆臣。元睿宗（成吉思汗四子拖雷）攻灭金国时，与金朝河南从事龚忠归降，因受赏识而招赘东宫蒲察二公主，命佩索鞑，成为皇帝的信臣",[50,23,51,52,119,86,7,26,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb463bb13665fc5877deda78f05816b95.jpg",[122],{"id":46384,"slug":46385,"title":46386,"dynasty":18,"author":46387,"museum":99,"description":46388,"tags":46389,"thumbUrl":46390,"material":689,"size":690,"collection":107,"collections":46391,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},241094,"xing-shu-shou-zha-yang-yi-qing-241094","行书手札","杨一清","杨一清（1454年12月24日－1530年9月5日），字应宁，号邃庵，别号石淙，汉族，云南安宁人 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尤侗著作浩繁，大都收入《西堂全集》61卷和《余集》共135卷中。",[86,119,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e2426ddc1ba01972399dc433b6dff91.jpg",[122],{"id":46617,"slug":46618,"title":32910,"dynasty":18,"author":46619,"museum":5832,"description":46620,"tags":46621,"thumbUrl":46622,"material":239,"size":107,"collection":122,"collections":46623,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},240028,"zi-shu-shi-juan-li-dong-yang-240028","李东阳","明李东阳行草自书诗卷，该卷作于正德八年（1513年），作者时年67岁。所作的诗有《钱塘江潮歌》、《西湖春晓图》、《清明日西庄作》、《城西省墓归过赵生园池二首》、《独酌二首》、《一醉二首》。这些诗除《钱塘江潮歌》（原名为《钱塘江潮图·为乔少卿希大作》）及《西湖春晓图》（原名为《题湖山春晓图》）已收入《怀麓堂全集》外，其余的诗均未见辑集。",[49,86,119,52,4832,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F949fe8a4fe96c34611bb4dece97462ee.jpg",[122],{"id":46625,"slug":46626,"title":44406,"dynasty":97,"author":46627,"museum":99,"description":46628,"tags":46629,"thumbUrl":46630,"material":319,"size":107,"collection":122,"collections":46631,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":75},240026,"wu-lv-shi-zhou-pan-tang-240026","潘棠","潘棠（？－？），字希召，直隶宁国府太平县人，湖广辰州卫军籍，明朝政治人物。\n湖广乡试第五十一名举人。弘治十八年（1505年）中式乙丑科三甲第一百四十名进士\n曾祖潘九成；祖父潘镛；父潘汰，正七品散官。母傅氏",[50,23,51,84,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aecde9661120d4d4020dd7a9340f1aa.jpg",[122],{"id":46633,"slug":46634,"title":46635,"dynasty":18,"author":46636,"museum":99,"description":46637,"tags":46638,"thumbUrl":46639,"material":107,"size":107,"collection":122,"collections":46640,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},239994,"lin-tie-zhou-zhang-ruo-qi-239994","临帖轴","张若琪","此作用笔雄健纵逸，尽显明代狂草风貌。线条枯润互见，粗笔重墨浑朴沉厚，细笔牵丝灵动飘逸，章法大开大合，字势欹侧错落，气脉连贯悠长。\n\n字间映带自然，将诗文意趣随笔墨铺陈，萧散豪迈的意气藏于点画之间，以迅疾行笔抒发疏放不羁的文人襟怀，尽显草书抒情写意的风神，带着晚明浪漫书风的典型特质，笔墨老辣凝练，尽显狂草肆意烂漫的艺术感染力。",[8547,86,134,462,84,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52e4aff4fa1a1b7ef92d6d784c84d322.jpg",[122],{"id":46642,"slug":46643,"title":46644,"dynasty":97,"author":1167,"museum":99,"description":46645,"tags":46646,"thumbUrl":46647,"material":107,"size":107,"collection":122,"collections":46648,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},239992,"zi-shu-shi-zhou-hua-yan-239992","自书诗轴","华喦（1682—1756年），字秋岳，号新罗山人、东园生、布衣生等，福建上杭人，清代画家。擅画人物、山水，尤精花鸟、草虫走兽，重视写生，构图新颖，所绘的形象生动多姿。时用枯笔干墨淡彩，敷色鲜嫩不腻，别树一帜，对清中叶以后的花鸟画影响甚大。",[86,119,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccee985cfca50f9f69b8d1c6af755e6a.jpg",[122],{"id":46650,"slug":46651,"title":46644,"dynasty":97,"author":46652,"museum":99,"description":46653,"tags":46654,"thumbUrl":46655,"material":107,"size":107,"collection":122,"collections":46656,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},239991,"zi-shu-shi-zhou-fang-da-you-239991","方大猷","[清]（一五九七―？）字欧余，号允升，浙江乌程（今湖州）人，贰臣。明崇祯十年（一六三七）进士。降清，官山东巡抚。山水学董，间为倪、黄，多溼笔，善书、工诗。卒年八十余。",[86,119,84,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ddf4c98e63a4e6d692b9a27eccba83f.jpg",[122],{"id":46658,"slug":46659,"title":46660,"dynasty":97,"author":46661,"museum":99,"description":46662,"tags":46663,"thumbUrl":46664,"material":107,"size":107,"collection":122,"collections":46665,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},239952,"de-lin-lin-yin-miao-bei-zhou-de-lin-239952","德林临尹庙碑轴","德林","此作用笔苍劲朴拙，线条厚重凝练，将周金铭文的浑穆古雅演绎得淋漓尽致。结体奇崛错落，随字赋形，既有古籀的高古浑朴，又融入书写意趣，字形开合大小富于变化，章法疏朗空灵，行气贯通流畅。左侧小字落款与主体大篆形成疏密对比，层次分明。\n整体气息高古雄浑，兼具金石苍茫质感与笔墨抒情性，尽显临摹者对先秦金文神髓的精准把握，将古文字的厚重意蕴与清代重金石考据的风尚相融，是一件颇具功力的临古佳制。",[86,541,134,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75a294fe872d68a45b2df6c9e0f6aed9.jpg",[122],{"id":46667,"slug":46668,"title":39384,"dynasty":97,"author":800,"museum":99,"description":5786,"tags":46669,"thumbUrl":46670,"material":689,"size":690,"collection":107,"collections":46671,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},239879,"shi-ju-zhou-zheng-ban-qiao-239879",[86,84,119,5663,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3825c8688393765f47b4fa86c9f6a51.jpg",[],{"id":46673,"slug":46674,"title":46675,"dynasty":97,"author":46676,"museum":99,"description":46677,"tags":46678,"thumbUrl":46679,"material":107,"size":107,"collection":122,"collections":46680,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},239813,"fei-lu-pan-gu-qi-quan-ge-feng-chun-quan-ye-xu-xiong-239813","飞录盘古七泉歌奉春泉页","徐熊","此作为行书尺牍，行笔灵动婉转，牵丝映带间尽显随性舒展之态。章法纵有列而横无矩，行气贯通悠然，墨色枯湿浓淡富于层次，晕染出朴拙古雅的质感。笔墨随着诗文韵律跌宕起伏，将酬赠的温厚情谊藏于线条流转之中，既有文人书卷的清雅风神，又暗含沉静内敛的笔墨张力。整作简淡疏朗，尽显旧时文士日常尺牍的随性雅致，文与墨相融相合，在方寸间晕开从容温雅的文人意趣。",[51,119,7,86,97],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa38fcb557ca0771c25effbf9e506520d.jpg",[122],{"id":46682,"slug":46683,"title":46684,"dynasty":97,"author":4047,"museum":99,"description":19767,"tags":46685,"thumbUrl":46686,"material":689,"size":690,"collection":107,"collections":46687,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":75},239787,"san-xi-tang-zhi-bian-qian-long-239787","三希堂纸匾",[86,119,7,319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbwe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琼山发天秀，珠泉表地灵。柔荑吐丹葩，乔林标绛英。酌醴吸冲和，汲涧漱甘清。石门开洞门，木龙走岩扃。清飚一时至，四座浮幽馨。阆风何必远，世尘空自冥。从游当有期，淹留讵无成。左手撷紫芝，右手采黄精。振衣陟崇冈，遐观散神情。长啸烟雾里，满空鸾鹤声。吾昔年为先师杜真人赋此二诗，今其弟子袁安道来索书，因写与使藏之。延祐六年十二月廿九日松雪斋书。子昂。前诗似更有二句，然老昏忘之矣。\n末段录自作诗《寄题杜尊师白云庵琼秀亭》二首，署款：“吾昔年为先师杜真人赋此二诗，今其弟子袁安道来索书，因写与使藏之。延祐六年十二月廿九日松雪斋书。子昂。”钤印亦同前。书于元延祐六年（1319年），作者时年66岁。\n赵孟頫喜与释道人物游，执弟子礼师事者，则为僧人中峰明本与道士南谷真人。南谷名杜道坚，曾住持杭州宗阳宫等道观。本卷前二段即为南谷而书；末段则系南谷殁后为其弟子袁安道而书，亦寓纪念南谷之意，是研究赵氏生平交谊的重要资料。以书法论，三段皆精心用意之作。首段奔放跌宕，二段妍润隽逸，末段遒健苍古，堪称赵氏中、晚年行书的代表作品。卷前有元人乔宇篆书引首；尾纸有元陈旅、张雨、杜本、揭傒斯、张翥等12人及明项元汴所作题识。卷中钤有明项元汴，清李肇亨、梁清标及乾隆、嘉庆、宣统内府章。",[49,50,23,51,52,86,119,26,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89b0144482e38292a3052899d495ae76.jpg","首段纵31.1厘米，横101.5厘米，二段纵31.1厘米，横100.2厘米。三段纵29.9厘米，横103厘米",[122],{"id":46712,"slug":46713,"title":46714,"dynasty":146,"author":46715,"museum":175,"description":46716,"tags":46717,"thumbUrl":46718,"material":319,"size":46719,"collection":122,"collections":46720,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":924},239626,"an-he-tie-duan-tian-you-239626","安和帖","段天祐","释文：\n天佑顿首书奉起善贤契友执事：小林回，领书，承近候安和为喜。贱疾回杭又两发矣。二月上旬后又苦痎疟，寒暑交战，狼狈不可言。此岂俗谚所谓横赛者耶。书籍许以宽限，甚感。张子昭近来杭，解后陈思复书铺内所假书，亦曾亲与之言，明当并起善者同纳矣。师夔画帧不敢有忘，已嘱其人平昔厚善者，俟其至，即从求之。臈糟谨奉一坛，泥头上有题识。香楠木欲作少器皿，截开作正白色者不可用，烦更为物色。如沉香颜色者，价钱比前买者加贵无伤。因官窑季子良有行，灯下草草奉此。春寒祈善爱。不具。天佑顿首再拜。\n此帖钤有项元汴、安岐、何子彰、谭敬、完颜景贤、赵叔彦等人鉴藏印记。《墨缘汇观》、《三虞堂书画目》著录。\n这是段天祐写给好友起善的书信，内容谈及自己的诸多病况、归还起善等人书籍、为起善向师夔求画、请起善为自己物色木料等等。信里涉及起善、张子昭、师夔等人。\n此帖从米芾书风中取法，又具有元人特有的精致与平和。",[86,119,52,435,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fdd0117ba7b423af562fc88c8d4a99c.jpg","纵27.3厘米，横54.5厘米",[122],{"id":46722,"slug":46723,"title":46724,"dynasty":146,"author":14818,"museum":175,"description":46725,"tags":46726,"thumbUrl":46727,"material":319,"size":46728,"collection":122,"collections":46729,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},239619,"heng-tang-tie-ye-zhao-lin-239619","衡唐帖页","释文：\n今早拟欲专造，缘执事昨晚云，大尹兄到弊舍，所以不果，而专俟舟从之来临耳。不然安敢坐待，以速罪也。伏希情恕不具。赵麟拜启。衡唐征君先生。衡唐先生。赵麟完。\n本幅鉴藏印有“安岐仪周书画之章”、“无恙”、“樵李氏鹤梦轩珍藏记”、“景贤”等16方。\n赵孟頫翰墨之妙名贯一代。其孙赵麟虽无盛名，但书翰皆出规入矩，笔意流动，洒落超逸，亦不失家法。正如明陶宗仪《书史会要》所言：“麟书更益以工，便可造其父之域。”",[49,51,86,119,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab0aab4d637be25f30f819f1430d4e09.jpg","纵28.2厘米，横25.2厘米",[122],{"id":46731,"slug":46732,"title":46733,"dynasty":146,"author":9091,"museum":175,"description":46734,"tags":46735,"thumbUrl":46736,"material":11506,"size":46737,"collection":122,"collections":46738,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},239616,"shi-jian-tie-lu-guang-239616","诗简帖","《诗简帖》释文（略）\n帖上钤有项元汴、孙承泽、安岐、完颜景贤、何厚琦、赵叔彦、张爰、谭敬诸家印记。\n这两首诗并信笺是写给“克用先生”即虞堪的。虞堪是南宋名相雍国公虞允文的八世孙。虞雍公曾有古剑一柄，为人叹赏，陆广第一首诗就是咏这把剑的，同时追忆虞雍公对社稷朝廷的忠勤业绩。元代文人杨维桢、倪瓒、秦文仲等人亦有咏此剑的诗篇。第二首诗陆广记述与虞堪愉快而难忘的相会。此篇书法师《曹娥碑》，风格瘦硬清劲。\n《墨缘汇观》、《三虞堂书画目》著录。",[49,86,119,7,418,26,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6947843ad4bda8ffbb8096f4970ca09a.jpg","纵29.7厘米，横32.4厘米",[122],{"id":46740,"slug":46741,"title":46742,"dynasty":18,"author":46743,"museum":175,"description":46744,"tags":46745,"thumbUrl":46746,"material":27218,"size":46747,"collection":122,"collections":46748,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},239612,"qian-zi-bi-yin-zha-juan-zhang-jun-239612","遣子毕姻札卷","张骏","释文：\n北京遣第三子云鹤还松江毕姻，与唐亲家书。维时野梅呈腊，宫柳回春，共谂晋国郡尊太亲家，阖闳宝聚前。天锡鸿庥，日臻燕祉。乐丘园而遯迹，藉诗酒以陶情。一别星标，五更岁籥，遥切一门婘爱，不胜千里之驰思。丹凤楼头，载笔叨依于日下，黄龙浦口，飞帆未得向江南。暑递往而寒递来，霎然过眼，男将婚而女将嫁，寔尔劳心。且小儿缪习夷书，滥赝冠带。而令爱素闲红女绣，宜施衿鞶言。念唐子方以来，世系绵绵乎瓜瓞；张公瑾而下，家声秩秩乎冠缨。幸谐二姓之天缘，获缔百年之星眷。珠冠结凤，少陪奠鹰之仪，尺素衔鱼，将遂乘龙之愿。计高明之雅度，礼虽薄而无嫌， 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[清]（1843―？）字梅生，甘泉（今江苏扬州）人。尝师事朱本，与李绂尘称“南北李”。\n尝师事朱本，与李绂尘称“南北李”。工人物、花鸟、杂品，其写意花卉木石，能综各家所长，脱略高浑，下笔甚捷，有心手相和色墨并施之妙。惟山水过于求脱，又不耐皴染，是以不逮古人。而小帧扇头间一为之，又复巧于布置。尝为黄小园作花鸟虫介画册二百页，换羽移宫，层出不尽，诚杰作也。未几患臂，尚闭门临管希贤画册不止。光绪三十年（1904）尝作修竹远山图，时年六十二。亦工行、草，善八分。",[23,51,822,6848,26,358,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F344f8fe491415a39707dc4487a1ef2e8.jpg",[],{"id":47415,"slug":47416,"title":23350,"dynasty":18,"author":47417,"museum":99,"description":47418,"tags":47419,"thumbUrl":47420,"material":107,"size":107,"collection":107,"collections":47421,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":75},234562,"shan-shui-shan-li-zhao-heng-234562","李肇亨","李肇亨[明]字会嘉，号珂雪，又号醉鸥、爽溪钓士，后为僧，法名堂莹，住超果寺，嘉兴（今浙江嘉兴）人。日华子。工书法，摹褚。精画理，善山水，与赵左齐名，气息浑古，风韵静穆。尝以书法写葡萄尤妙。天启元年（一六二一）作研池墨雨册，顺治元年（一六四四）作溪山高隐图。工诗，著写山楼、率圃、梦余诸草。",[822,23,26,56,610,150,86,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F421a8e782131a3ae312d61d5f8d66fa8.jpg",[],{"id":47423,"slug":47424,"title":7228,"dynasty":97,"author":15385,"museum":175,"description":47425,"tags":47426,"thumbUrl":47427,"material":1087,"size":107,"collection":107,"collections":47428,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},234330,"shan-shui-ce-wang-zhi-rui-234330","汪之瑞，字无瑞，号乘槎，清朝安徽休宁人，清初画家。为明末新安画家李永昌高足。“新安四家”之一。",[23,51,24,26,56,150,64,119,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7791e4391f8e2a97f2345ce777519111.jpg",[],{"id":47430,"slug":47431,"title":7228,"dynasty":97,"author":15922,"museum":175,"description":35750,"tags":47432,"thumbUrl":47433,"material":391,"size":107,"collection":107,"collections":47434,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},234313,"shan-shui-ce-cha-shi-biao-234313",[24,26,119,56,58,225,137,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F451ead96bc1ffc5bf506f5a5e573c082.jpg",[],{"id":47436,"slug":47437,"title":2895,"dynasty":97,"author":21672,"museum":175,"description":47438,"tags":47439,"thumbUrl":47440,"material":391,"size":107,"collection":107,"collections":47441,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},234309,"za-hua-ce-chen-zi-234309","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。\n资质颖悟，自幼得父钟爱，善书工画，笔墨洒脱酣畅，有大家气，所绘人物、花草别树一帜。其诗亦工，然为画名所掩。时人得陈字画，宝惜如老莲之作，故有“小莲”之号。达官贵人持重金求画，虽家贫如洗，亦不供片纸只字。为人表里如一，遇有不快，即面折人。人谓乃翁遗风，老莲再世。\n陈字痛惜其父著述散佚，设法于谱牒中钩沉，至亲朋中搜集，然老莲议论时政之策，终未一见，只得将所获诗文付梓行世。其时，陈氏一族日见衰落，族人不得已出卖祖先茔地。陈字游学归里，亟言不可，然亦无力赎回。此后，渡大江，历淮扬，吊汴梁古迹，揽京师胜景。在汝南邂逅毛奇龄，相顾太息，纵酒浇愁。毛奇龄赠诗曰：“相逢衣褐在准西，走马关前日欲低。此去一寻辽海雁，何年更听推南鸡。寒风落日醉当垆，燕市还寻旧酒徒，君到安州若相忆，为予重写庆卿图。”未几，贫病而卒。著有《小莲客游诗》，其画作亦有传世。",[50,23,51,24,25,54,277,181,332,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feea103ead8b643bc8fe1c701c3daed1a.jpg",[],{"id":47443,"slug":47444,"title":47445,"dynasty":97,"author":27247,"museum":175,"description":47446,"tags":47447,"thumbUrl":47448,"material":1087,"size":107,"collection":107,"collections":47449,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},234301,"yu-mu-shang-xin-ce-shan-shui-ce-gao-cen-234301","娱目赏心册-山水册","盛唐诗人高适和岑参的合称，为盛唐边塞诗歌代表诗人的专称。但“高岑”并称，则始于他们的好友杜甫《寄彭州高三十五使君适、虢州岑二十七长史参三十韵》：“高岑殊缓步，沈鲍得同行。”说他们两人成名较晚，而才学堪比沈约、鲍照，原非专称\n高适、岑参的诗以“悲壮为宗”(胡应麟《诗薮》)。他们都积极进取，但长期功名失意。一再出塞谋求报国立功，对仕途坎坷和边塞生活有着深刻体验。所作主要以边塞战争、塞上风光和仕途艰难为题材，善于运用七言古诗等体裁，表现报国安边、治国安民的壮志和奋发进取的精神，或抒发怀才不遇、功业无成的悲愤。其诗意气豪迈，情辞慷慨，奇偶相生，手法多样。这是他们共同的地方。\n由于生活经历、个性、文学思想和渊源等差异，高适、岑参的诗又有重要区别。“高悲壮而厚，岑奇逸而峭”（王士禛《师友师传续录》）。高适善于反映战士和农民的疾苦，暴露现实，笔调严谨，直抒胸臆，以常语感人；岑参擅长讴歌胜利，描绘奇境，抒发豪情，寓情于景，以奇语动人。\n高、岑边塞诗成就最高。近人以“高岑”并称往往是因其边塞诗。同时，唐代边塞诗派也被称为“高岑诗派”，诗风相近的王之涣、王翰、王昌龄、崔颢、李颀等人均被列入此派。\n高适（700—765) ，汉族。唐代边塞诗人。字达夫、仲武，沧州(今河北省景县)人,居住在宋中(今河南商丘一带)。少孤贫，爱交游，有游侠之风，并以建功立业自期。天宝八载(749)，经睢阳太守张九皋推荐,应举中第,授封丘尉。十一载,因不忍“鞭挞黎庶”和不甘“拜迎官长”而辞官，又一次到长安。次年入陇右、河西节度使哥舒翰幕，为掌书记。安史乱后，曾任淮南节度使、彭州刺史、蜀州刺史、剑南节度使等职，官至,封渤海县侯。世称“高常侍”。 有《高常侍集》等传世。永泰元年（765年）卒，终年64岁，赠礼部尚书，谥号忠。高适为唐代著名的边塞诗人，与岑参并称“高岑”。笔力雄健，气势奔放，洋溢着盛唐时期所特有的奋发进取、蓬勃向上的时代精神。早年曾游历长安，后到过蓟门、卢龙一带，寻求进身之路，都没有成功。在此前后，曾在宋中居住，与李白、杜甫结交。其诗直抒胸臆，不尚雕饰，以七言歌行最富特色，大多写边塞生活。\n岑参 (约715年—770年)唐代诗人，原籍南阳（今属河南新野），迁居江陵（今属湖北）。汉族，荆州江陵（湖北江陵）人，去世之时56岁，是唐代著名的边塞诗人。其诗歌富有浪漫主义的特色，气势雄伟，想象丰富，色彩瑰丽，热情奔放，尤其擅长七言歌行。",[23,51,24,26,55,119,7,56,277,63,2001,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbb9dbfb8440fa8e56bd1b0b7a1a5c52.jpg",[],{"id":47451,"slug":47452,"title":17147,"dynasty":97,"author":17148,"museum":99,"description":17149,"tags":47453,"thumbUrl":47454,"material":391,"size":107,"collection":107,"collections":47455,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},234283,"hua-guo-ce-wang-yun-234283",[23,51,24,25,27,529,530,332,27630,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27289f78858cda63cc27555f601c08d3.jpg",[],{"id":47457,"slug":47458,"title":17147,"dynasty":97,"author":17148,"museum":99,"description":17149,"tags":47459,"thumbUrl":47460,"material":391,"size":107,"collection":107,"collections":47461,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},234281,"hua-guo-ce-wang-yun-234281",[23,51,24,25,27,1195,265,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8e0921266e057b0f7ace56d24ca9405.jpg",[],{"id":47463,"slug":47464,"title":17147,"dynasty":97,"author":17148,"museum":99,"description":17149,"tags":47465,"thumbUrl":47466,"material":391,"size":107,"collection":107,"collections":47467,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},234279,"hua-guo-ce-wang-yun-234279",[23,51,24,25,54,27,6443,308,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0830683b75ff643ff80fe51876d000a4.jpg",[],{"id":47469,"slug":47470,"title":2149,"dynasty":18,"author":30983,"museum":99,"description":47471,"tags":47472,"thumbUrl":47473,"material":107,"size":107,"collection":107,"collections":47474,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},234268,"hua-hui-ce-qi-xun-234268","戚勋字伯屏，号羽明。明末江阴人。\n早年为诸生，崇祯十六年秋八月，授文华殿中书舍人。弘光帝即位，奉诏督饷福建，不久南京陷落。与陈明遇迎故典史阎应元为帅。城破，戚勋在壁上书写“大明文华殿中书戚勋死节之地”，自焚死。著有《留丹集》、《佩朱随笔》。",[49,23,51,24,26,119,7,28,251,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0033685bba334666ca8ac9ae54eca497.jpg",[],{"id":47476,"slug":47477,"title":47478,"dynasty":18,"author":47479,"museum":175,"description":47480,"tags":47481,"thumbUrl":47482,"material":391,"size":107,"collection":107,"collections":47483,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},234147,"xie-sheng-shu-hua-juan-wang-gu-xiang-234147","写生书画卷","王谷祥","王榖祥 （1501-1568），字禄之，号酉室，长洲（今江苏苏州）人。嘉靖八年（一五二九）进士，官吏部员外郎。善写生，渲染有法度，意致独到，即一枝一叶，亦有生色。为士林所重。中年绝不肯落笔，凡人间所传者，皆赝本也。书仿晋人，不坠羲之献之之风，篆籀八体及摹印，并臻妙品。卒年六十八。",[49,23,51,52,26,2641,119,7,528,420,308,57,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcea5c2be707b2e0f8af30540e90fe00f.jpg",[],{"id":47485,"slug":47486,"title":47487,"dynasty":18,"author":10700,"museum":175,"description":47488,"tags":47489,"thumbUrl":47490,"material":47491,"size":47492,"collection":107,"collections":47493,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},234051,"jia-shu-qing-yun-tu-shan-lan-ying-234051","嘉树晴云图扇","蓝瑛的扇面《嘉树晴云图》，画的是山石丘壑间，古松盘桓，白云缭绕，二隐士临溪席地而憩，坐而论道。整个扇面幽静清远，洒脱自然。我国古代文人讲究“达则兼济天下，穷则独善其身”，归隐山林则成为了官场失意的士大夫避世的理想与归宿。\n《嘉树晴云图》画中的隐士坐而论道的“避世”情境，适应了我国古代文人涉、忘、出而皆备的心理需求，因此深得人们喜爱。",[23,51,822,26,25,56,58,64,1207,150,55,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ddd331fc0e7be4e9b5165c7795b3bd.jpg","金笺 ，设色","纵17.6cm，横50.7cm",[],{"id":47495,"slug":47496,"title":22411,"dynasty":115,"author":13418,"museum":175,"description":47497,"tags":47498,"thumbUrl":47500,"material":183,"size":22415,"collection":107,"collections":47501,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},234029,"ji-chu-dai-si-tu-ye-li-di-234029","图绘两只雏鸡一卧一立，面朝同一方向，屏气凝神，仿佛听见母亲觅食的召唤，正欲奔去。画面描绘传神，将雏鸡嗷嗷待哺的情态表现得淋漓尽致，充分反映了温馨的农家情调。画家用黑、白、黄等细线密实地描绘出雏鸡毛绒的质感，生动地绘出鸡雏幼小可人的生动神态，体现了深厚的绘画功力。此图为李迪晚年所画，构图极其简洁，无任何背景相衬，却捕捉住了鸡雏回眸的刹那间神情，动人心弦。\n此幅与画家在前一年创作的《枫鹰锦鸡图》相比，在审美意趣上全然不同，前者展示的是和风细雨的婉约情调，后者则是张扬自然界生命相残的严酷氛围，由此可见李迪表现各种题材的能力。\n此图自民间入藏清内府后，雅好书画的乾隆皇帝除赏识其艺术造诣外，还从帝王角度联想到勤政爱民的治国之策。他于乾隆五十三年（1788年）临摹此件作品，并且喻令摹刻多份，颁赐给各省督抚，希望这些地方父母官将所辖地区的百姓视为图中的鸡雏，在处理政务时要“实心经理，勿忘小民嗷嗷待哺之情”。\n对幅有清乾隆御题五言诗一首：“双雏如仰望，其母竟何之。未解率场啄，谁怜空腹饥。展图一絜矩，触目切深思。灾壤民待哺，慎哉群有司。”钤“含英咀华”、“即事多所欣”2印。",[23,51,24,54,25,27,47499,7,86],"鸡雏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c00f533606d7efe25a2bbeed22ee599.jpg",[],{"id":47503,"slug":47504,"title":47505,"dynasty":115,"author":207,"museum":175,"description":47506,"tags":47507,"thumbUrl":47509,"material":227,"size":47510,"collection":107,"collections":47511,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":75},233999,"shan-ju-dui-yi-tu-ye-yi-ming-233999","山居对奕图页","此图写二士人于草屋对弈，屋外树木横生，远处山峦隐约，一派世外桃园之景。作者描绘树枝用方折笔写枝干伸展之势，远山淡墨轻描，景观处理浓淡适宜，表现出作者心境之素雅。",[23,51,822,25,55,56,58,871,150,278,164,47508,7],"对弈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96e8bb8ea37344ac15c722d5c33af964.jpg","24x24.8厘米",[],{"id":47513,"slug":47514,"title":35718,"dynasty":97,"author":25199,"museum":175,"description":37136,"tags":47515,"thumbUrl":47516,"material":391,"size":37139,"collection":107,"collections":47517,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},233889,"huang-shan-tu-ce-mei-qing-233889",[23,26,56,24,55,870,610,63,279,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5662b96905e1fb069fb3633b5122a2dd.jpg",[],{"id":47519,"slug":47520,"title":47521,"dynasty":18,"author":1014,"museum":175,"description":47522,"tags":47523,"thumbUrl":47524,"material":183,"size":47525,"collection":107,"collections":47526,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},233877,"wang-shu-gong-ji-tu-zhou-tang-yin-233877","王蜀宫妓图轴","本幅自题：“蓮花冠子道人衣，日侍君王宴紫微。花柳不知人已去，年年鬥绿與爭緋。蜀後主每于宮中裹小巾，命宮妓衣道衣，冠蓮花冠，日尋花柳以侍酣宴。蜀之謠已溢耳矣，而主之不挹注之，竟至濫觴。俾後想搖頭之令，不無扼腕。唐寅。”\n此图原名《孟蜀宫妓图》，俗称《四美图》，由明末汪砢玉《珊瑚網·画录》最早定名，沿用至今。近经专文考证，当改为《王蜀宫妓图》，描绘的是五代前蜀后主王衍的后宫故事。画面四个歌舞宫女正在整妆待君王召唤侍奉。她们头戴金莲花冠，身着云霞彩饰的道衣，面施胭脂，体貌丰润中不失娟秀，情态端庄而又娇媚。蜀后主王衍曾自制“甘州曲”歌，形容著道衣的宫妓妩媚之态：“画罗裙，能结束，称腰身。柳眉桃脸不胜春，薄媚足精神。可惜许，沦落在风尘。”唐寅创作此画，则旨主揭示前蜀后主王衍荒淫腐败的生活，寓有鲜明的讽喻之意。\n此图为唐寅人物画中工笔重彩一路画风的代表作品，显示出他在造型、用笔、设色等方面的高超技艺。仕女体态匀称优美，削肩狭背，柳眉樱髻，额、鼻、颔施以“三白”，既吸收了张萱、周昉创造的“唐妆”仕女造型特色，又体现出明代追求清秀娟美的审美风尚。四人交错而立，平稳有序，并通过微倾的头部、略弯的立姿和攀连的手臂，形成动态的多样变化和相互的紧密联系，加强了形象的丰富性和生动感。笔墨技巧近法杜堇，远宗唐人，衣纹作琴弦描，细劲流畅，富有弹性和质感，冠服纹饰描画尤见精工，细致入微。设色鲜明，既有浓淡、冷暖色彩的强烈对比，又有相近色泽的巧妙过渡和搭配，使整体色调丰富而又和谐，浓艳中兼具清雅。作品画风带有雅俗共赏的艺术特色。",[23,84,25,54,58,136,180,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62b90b5cdaaed8021ed192738423274a.jpg","纵124.7厘米，横63.6厘米",[],{"id":47528,"slug":47529,"title":47530,"dynasty":97,"author":8731,"museum":175,"description":47531,"tags":47532,"thumbUrl":47533,"material":566,"size":47534,"collection":107,"collections":47535,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},233412,"hua-qin-zan-yao-xiang-zhou-xu-gu-233412","画秦赞尧像轴","虚谷（1824—1896年），姓朱，名怀仁，出家为僧后名虚谷，号紫阳山民、倦鹤等，祖籍安徽新安（今歙县），曾寓居扬州、苏州、上海等地，以卖画为生。他能诗擅画，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。他与任颐、胡公寿等人交往密切，是晚清著名的海上名家。",[50,23,51,84,135,26,25,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44d5685589758b77711520dcf9051d99.jpg","纵142.9cm，横48.6cm",[],{"id":47537,"slug":47538,"title":9614,"dynasty":97,"author":655,"museum":175,"description":9615,"tags":47539,"thumbUrl":47540,"material":9618,"size":9619,"collection":107,"collections":47541,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},233394,"shan-shui-ren-wu-ce-jin-nong-233394",[23,51,24,135,58,137,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe7c7dc02a72501f87cd3b4f416fab9c.jpg",[],{"id":47543,"slug":47544,"title":19899,"dynasty":97,"author":724,"museum":175,"description":19900,"tags":47545,"thumbUrl":47546,"material":9618,"size":19903,"collection":107,"collections":47547,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},233166,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233166",[23,26,55,24,56,150,64,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac71ef002cf26051ca62aa81d91a501a.jpg",[],{"id":47549,"slug":47550,"title":19899,"dynasty":97,"author":724,"museum":175,"description":19900,"tags":47551,"thumbUrl":47552,"material":9618,"size":19903,"collection":107,"collections":47553,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},233161,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233161",[23,51,24,26,55,7,56,150,64,60,61,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c2b802df4257c3c27bb3d8b5cad9e6b.jpg",[],{"id":47555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in-he-shao-ji-230200","临孔宙碑阴",[49,86,5663,134,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5453a79a86999fab5e32be660c7b24b2.jpg",[],{"id":47690,"slug":47691,"title":47692,"dynasty":97,"author":42456,"museum":99,"description":47693,"tags":47694,"thumbUrl":47695,"material":107,"size":107,"collection":107,"collections":47696,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},230155,"lin-shi-qu-dun-gai-wu-da-cheng-230155","临师蘧敦盖","此作用笔沉厚匀净，将金文苍古与小篆端稳相融，消弭原生金文的错落朴拙，代之以匀整排布，尽显庙堂端凝气象。字形方整敦实，间架舒张合宜，字字如古鼎静置，静穆中裹挟浑朴古意。\n\n整幅行列齐整，气息醇厚静雅，既复刻古器铭文的金石质感，又融入端谨书风，笔墨晕开斑驳古意，将商周金文的沉雄内质，以工整雅致的笔法铺陈，尽显高古浑穆的金石气韵，观之如摩挲千年古器，恍见三代遗风。",[49,86,541,134,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0191b9541a6b66ff48d56a74fbcacf97.jpg",[],{"id":47698,"slug":47699,"title":47700,"dynasty":97,"author":5309,"museum":99,"description":47701,"tags":47702,"thumbUrl":47703,"material":107,"size":107,"collection":107,"collections":47704,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},229023,"hong-ye-bai-yun-tu-wang-hui-229023","红叶白云图","此作用浅绛设色铺就秋山胜景，远景山峦隐在烟岚之中，虚渺朦胧似笼轻纱，尽显山林悠远空寂。中景层峰叠翠，茂林深秀，山居幽藏其间，流泉隐隐透出山野生机。近岸丹枫点染，古木盘曲苍劲，白石映着清溪，村舍错落排布，漾出闲适悠然的田园意趣。\n笔墨兼工带写，干笔皴擦勾勒山体肌理，淡墨晕染铺就流云轻烟，设色清润雅致，将秋日山林明静温煦的氛围晕开，既有古法山水的沉静古意，又饱含鲜活的自然意趣，把秋山清远秀逸之韵娓娓绘就。",[49,23,84,56,25,55,5740,1937,150,64,60,61,727,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dbb2a25874ce00d981fc9fd7c73488f.jpg",[],{"id":47706,"slug":47707,"title":7228,"dynasty":97,"author":9442,"museum":99,"description":47708,"tags":47709,"thumbUrl":47710,"material":107,"size":107,"collection":107,"collections":47711,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},228926,"shan-shui-ce-gao-qi-pei-228926","以指代笔，水墨写意。淡墨晕染出空濛烟岚，远山隐绰在暮雨薄雾之间，浑茫幽寂。近处以浓墨挥斫危崖，苍劲古木虬曲斜生，枝叶以焦墨点簇，朴拙老辣。临水村居简笔勾廓，素净雅致，静卧于溪岸之侧，流露出山野幽居的闲淡意趣。\n\n题诗与画境呼应，将春日迟暮、静听暮雨的萧散心境融于笔墨。整幅画面虚实相生，简淡空灵，以极简的笔墨勾勒出清远空寂的山居之境，尽显文人画简远疏淡的审美意趣。",[23,26,24,56,727,64,1902,279,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cc0b4398013bfd218a1a58a5ceb209d.jpg",[],{"id":47713,"slug":47714,"title":47715,"dynasty":18,"author":22808,"museum":99,"description":37306,"tags":47716,"thumbUrl":47717,"material":107,"size":107,"collection":107,"collections":47718,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},228919,"peng-lai-xian-yi-tu-leng-qian-228919","蓬莱仙弈图",[49,23,51,52,25,54,541,119,56,59,58,64,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8255e9747b858ce33ea55f9a372f599.jpg",[],{"id":47720,"slug":47721,"title":47722,"dynasty":18,"author":2059,"museum":99,"description":16056,"tags":47723,"thumbUrl":47724,"material":689,"size":690,"collection":107,"collections":47725,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},228863,"wu-kuan-ti-ti-yuan-yu-zi-zhi-shu-xiang-yuan-bian-ti-tao-wu-liu-shi-wen-zheng-ming-228863","无款题；题元俞紫芝书；项元汴题陶五柳诗",[23,51,24,7,5943,119,417,541,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5e96d881414ac4716f41f771645b5a8.jpg",[],{"id":47727,"slug":47728,"title":47729,"dynasty":18,"author":3904,"museum":99,"description":47730,"tags":47731,"thumbUrl":47732,"material":107,"size":107,"collection":107,"collections":47733,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},228399,"chi-bi-sheng-you-tu-juan-zhu-yun-ming-228399","赤壁胜游图卷","开卷是平远江景，淡墨晕染汀渚林峦，茅庐隐于烟霭疏树之间，清寂萧散，暗合夜游的幽旷意韵。后段行书铺陈全篇，开篇浓墨榜书造势，笔力沉厚雄奇，随后行笔渐趋舒展灵动，提按藏枯涩润秀之变，行气绵密贯通，将泛舟叩舷、酾酒临江的旷达心境，藏于笔锋流转之中。\n\n书画合璧，文辞、笔墨与画意融为一体，把夜游赤壁的浩渺襟怀，化作纸上烟岚与笔底波澜，尽显萧散狂逸的文人意趣，是书画互衬的精妙之作。",[49,23,51,52,26,119,86,56,62,64,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c3b52125cd618b3e7941437626cd79b.jpg",[],{"id":47735,"slug":47736,"title":47737,"dynasty":18,"author":8393,"museum":99,"description":47738,"tags":47739,"thumbUrl":47745,"material":689,"size":690,"collection":107,"collections":47746,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":75},228347,"huang-zhou-zhu-lou-ji-shen-zao-228347","黄州竹楼记","沈藻，字凝清，一字仲藻，华亭（今松江属上海市）人，明代书法家沈度之子。",[86,119,7,47740,870,31398,47741,1207,358,5851,3854,47742,1206,871,1480,13617,32035,38046,47743,47744,947],"竹楼","波","茶","滩濑","素月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f132ee553de624622d081448aee353c.jpg",[],{"id":47748,"slug":47749,"title":47750,"dynasty":18,"author":18133,"museum":81,"description":47751,"tags":47752,"thumbUrl":47753,"material":634,"size":40203,"collection":107,"collections":47754,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},228339,"zeng-zheng-gong-du-shi-wang-duo-228339","赠郑公度诗","金山顶鸿飞阁。秋山晚更青，垂老探玄冥。 漠漠朝多雨，苍苍夜降灵。 菊醑无客醉，萧韵与猿听。 辗转怀萧爽，银河展幔亭。 告大次寒阳山趣 懒人山是与，长夏触心光。 已见碧桃实，空思紫草芳。 辑书蛇性善，抚轸鹤音凉。 劝汝勤鞅掌，白头养石房。 上烟欲行 何道能留汝，生涯正未穷。 围城榆鼓稻，花风叶雨戎。 漕自江淮转，人才邹鲁通。 片帆安可问，海气远天空。 阳山郊 浞浞寻香岫，傍傍过水门。 江帆（安何）所事，村柳自无喧。 客况空高埠，莺音似故园。 不闻何处去，悦悟在岩根。 石惠召自浒墅入大石山。登象鼻诸峰。 牢落江湖客，偏将梵服寻。 苟非同采药，不易有幽心。 蔚荟消诸霭，琴书閟一岑。 足音无亦好，蚓食保芳林。 崇祯皇帝十六载，寓孟庄山志园灯下，书狂作数首，公度郑词丈正之。 孟津王铎年五十二岁笔",[49,86,462,119,52,26,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e866cd7553ecb789aa57fe9c56edd66.jpg",[],{"id":47756,"slug":47757,"title":47758,"dynasty":18,"author":3904,"museum":99,"description":47759,"tags":47760,"thumbUrl":47761,"material":689,"size":690,"collection":107,"collections":47762,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":75},228332,"bei-guo-fang-you-shi-zhu-yun-ming-228332","北郭访友诗","祝允明（1460—1526年），字希哲，号枝山，因手生六指，故自号枝指生，长洲（今江苏苏州）人。公元1492年（明弘治五年）举人，1514年（正德九年）授广东惠州府兴宁县知县，后转任南京应天府通判，故后世又称之为“祝京兆”。《明史》有传。工诗文书法，才华横溢，与唐寅、文徵明、徐祯卿并称“吴中四才子”。",[51,86,462,84,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd3baa5efbf07025f768025a035a16ae.jpg",[],{"id":47764,"slug":47765,"title":47766,"dynasty":146,"author":207,"museum":99,"description":47767,"tags":47768,"thumbUrl":47769,"material":107,"size":107,"collection":107,"collections":47770,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":75},228222,"qiu-lin-shan-zhuang-tu-ye-er-yi-ming-228222","秋林山庄图页二","此画以淡墨写就秋山幽居之景。萧疏枯木虬曲伸展，枝桠棱棱尽染清秋寥落之意，旁生细竹添得几分柔雅生机。山石以简笔勾勒，皴擦浅淡风骨清癯，崖畔栈道蜿蜒，板桥通连幽处茅舍，藏着山居闲逸。远景江天空阔，远山一抹轻晕，留白尽衬荒寒淡远。\n\n笔墨松秀简净，无过多繁饰，以简淡之形托出幽寂清远的林下意趣，将幽居山野的恬然与秋林清寂相融，尽显寄情林泉的文人雅怀，淡而韵长，简中见味。",[49,23,26,56,24,135,55,2681,137,358,277,60,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c54853a4977f83f600f2b3a3909c5df.jpg",[],{"id":47772,"slug":47773,"title":47774,"dynasty":146,"author":207,"museum":99,"description":47775,"tags":47776,"thumbUrl":47777,"material":689,"size":690,"collection":107,"collections":47778,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":75},228009,"ren-wu-tu-ye-yi-ming-228009","人物图页","画面古绢虽蒙尘斑驳，却难掩笔墨意韵。简劲线条勾勒出二人情态：立者头戴展脚幞头，宽袍博带，身姿端凝肃穆，俨然朝堂士人；跪者低眉躬身，奉盘以侍，神态恭谨入微，礼制尊卑尽显无疑。\n\n设色清淡古雅，构图疏朗留白，以简驭繁，不带过多雕琢，尽显写意风神，将古时朝谒的肃穆氛围悄然烘托。旁侧题字更添文气，残旧肌理晕染出古拙沉静的岁月质感，让观者恍然窥见往昔礼制中的肃穆片刻。",[49,23,51,24,25,135,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3786f1cd663d8679a41d7c12d326c928.jpg",[],{"id":47780,"slug":47781,"title":47782,"dynasty":115,"author":207,"museum":99,"description":47783,"tags":47784,"thumbUrl":47785,"material":107,"size":107,"collection":107,"collections":47786,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},227866,"wan-he-guo-suo-tu-yi-ming-227866","晚荷郭索图","《宋扇面画晚荷郭索图》是宋代画家佚名创作一幅绢本设色画。\n此画现藏于北京 。\n此图原载《烟云集绘册》（《石渠宝笈续编》著录）。\n无款，签题黄居寀作。\n居寀为筌子。\n《圣朝名画评》云：黄居寀亦善画花竹毛羽，多与筌共为之，其气骨意思，深有父风。\n孟昶时，画四时花雀图数本，当世称绝。\n评曰：居寀之画鹤，多得筌骨。\n其有佳处，亦不能决其高下。\n至于花竹禽雀，皆不失筌法。\n对开有清乾隆皇帝御题诗一首：“从来螯蛫善横行，稻熟秋风意气生。\n甲介向称无所畏，如何每入膳人烹。\n”钤“古稀天子”、“八徵耄念之宝”、“ ”等玺印多方。\n本幅无款。\n钤鉴藏印“金陵□□□□”。\n曾经清内府收藏，《石渠宝笈续编》著录。\n图中一只硕大的 张牙舞爪踞于残荷之上，肥重的身躯竟将荷梗压断。\n衬以苍老的莲蓬、枯黄的 、稀疏的 ，更增添了萧瑟冷寂的气氛。\n荷叶和莲蓬用粗笔勾描，蟹用细笔写之，笔法粗犷写实，设色鲜艳浓重。\n无名氏。\n旧签题 “黄居寀”作，究其画风，与 相距甚远，故改为无名氏画。",[49,23,51,2651,24,822,26,25,102,103,463,2173,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba4b3faac025682ff468de9c8c866068.jpg",[],{"id":47788,"slug":47789,"title":47790,"dynasty":115,"author":207,"museum":99,"description":47791,"tags":47792,"thumbUrl":47793,"material":107,"size":107,"collection":107,"collections":47794,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":75},227836,"wu-yun-lou-ge-tu-ye-yi-ming-227836","五云楼阁图页","此作以淡墨晕染铺就空濛底色，危峰如削，拔地耸峙，尽显山石嶙峋硬朗。山脚苍松错落，林麓间野路蜿蜒隐现，以边角取景营造出幽远无际的山野氛围，水墨皴擦勾勒出峭拔山势，将烟霞缥缈的世外秘境晕染得清冷出尘。\n对页题诗与画境相融，笔墨间浸透文人幽居林泉的雅趣，简淡构图里藏着辽远的天地气象，尽显宋人对山水意境的极致追寻，静穆间带着出世的空灵韵味。",[49,50,23,51,3363,822,25,119,55,1962,56,59,2001,64,279,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea704ebcc05fe27f9924065ef24fb0e.jpg",[],{"id":47796,"slug":47797,"title":47798,"dynasty":115,"author":30229,"museum":99,"description":47799,"tags":47800,"thumbUrl":47801,"material":107,"size":107,"collection":107,"collections":47802,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":75},227760,"shou-zha-yi-tong-wu-ting-jiu-cang-zhu-xi-227760","手札一通(吴廷旧藏)","从“收藏”角度而言，“书札”固然是“尺牍”之义，却是指广义的，内中是包括了一些笔记、题辞、手稿、札记、公牍、讣告、收条、请帖、名刺、板报等等种种纷繁的“杂多”形式。换言之，“书札”是纷繁的搜藏项目的一种概括。",[49,86,119,7,33485,115,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdca39154fd519ae1621c215f93bcd271.jpg",[],{"id":47804,"slug":47805,"title":47806,"dynasty":115,"author":207,"museum":99,"description":47807,"tags":47808,"thumbUrl":47809,"material":107,"size":107,"collection":107,"collections":47810,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},227346,"ming-liu-ji-zao-ce-shi-er-zhen-yi-ming-227346","名流集藻册十二帧","此《宋名流集藻册》为“蝴蝶装”形制，共十二帧。每帧有清乾隆皇帝的御笔题诗，与画意相对应，抒其感悟和评论，画页裱边的上端附有题签。依照《石渠宝笈续编》著录的顺序是，一开“燕文贵，纳凉观瀑”；二开“赵伯骕，碧山绀宇”；三开“萧照，丹林诗思”；四开“李迪，鸡雏待饲”；五开“苏汉臣，蕉阴击球”；六开“李迪，无花果图”；七开“刘松年，山馆读书”；八开“梁楷，三高游赏”；九开“梁楷，秋柳双鸦”，十开“陈宗训，秋庭戏婴”；十一开“鲁宗贵，玲峰鹁鸽”；十二开“陈可久，春溪水族”。\n\n“蝴蝶装”书籍装帧形式之一。始于唐末,盛行于北宋。其装订方法是将每页从中缝把有文字的两个半页对折,背面空白处在外,然后把这样对折的一叠散页用一张纸从前包到后面,并将各页折口处牢牢地粘连在这张纸上,以免脱落,这样就形成了蝴蝶装的书。其所以得名,是因为书册打开后左右对称,犹如蝴蝶展开双翅,因而称为“蝴蝶装”,或“蝶装”。",[49,23,51,24,822,26,25,54,56,63,1714,64,58,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca49fdb98c3f08c2121cc90ba0a38f2.jpg",[],{"id":47812,"slug":47813,"title":47814,"dynasty":115,"author":47815,"museum":99,"description":47816,"tags":47817,"thumbUrl":47818,"material":107,"size":107,"collection":107,"collections":47819,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":924},227297,"shu-guang-zong-ti-yang-bu-zhi-hong-mei-tu-shi-li-zong-227297","书光宗题杨补之红梅图诗","理宗","宋理宗赵昀（1205年1月26日－1264年11月16日），初名赵与莒，后改名赵贵诚，绍兴府山阴县（今浙江绍兴）人，宋朝第十四位皇帝（1224年9月17日—1264年11月16日在位），南宋第五位皇帝。宋太祖赵匡胤十世孙，赵德昭九世孙。 [1-2]\n嘉定十五年（1222年），被立为宋宁宗弟沂王嗣子，赐名贵诚。嘉定十七年（1224年），立为宁宗皇子，赐名昀。 [3] 宋宁宗死后，赵昀被权臣史弥远拥立为帝。赵昀继位的前十年都是在权相史弥远挟制之下，自己对政务完全不过问，自己则尊崇理学，纵情声色，直到绍定六年（1233年），史弥远死后，赵昀才开始亲政。他亲政之初立志中兴，采取罢黜史党、亲擢台谏、澄清吏治、整顿财政等改革措施，史称“端平更化”。端平元年（1234年），派兵联蒙灭金。同年出兵收复三京，但以失败告终，次年（1235年）蒙古大汗窝阔台以宋朝背约为由，全面侵宋，持续四十多年的宋蒙战争爆发。晚年赵昀又沉湎于醉生梦死的荒淫生活中，朝政相继落入丁大全、贾似道等奸相之手，国势急衰。\n景定五年（1264年），赵昀在临安去世，在位四十一年，仅次于仁宗，享年六十岁。谥号建道备德大功复兴烈文仁武圣明安孝皇帝，庙号理宗。葬于永穆陵",[49,23,51,822,119,7,528,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69ab459a45ebc90b3709cbd648351953.jpg",[],{"id":47821,"slug":47822,"title":47823,"dynasty":192,"author":207,"museum":99,"description":35302,"tags":47824,"thumbUrl":47825,"material":689,"size":690,"collection":107,"collections":47826,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":75},227127,"tang-wu-zhou-quan-nan-chan-mu-zhi-ming-yi-ming-227127","唐（武周）泉男产墓志铭",[2226,86,417,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecb972c4977eaa33cf8eff5ab57e0df9.jpg",[],{"id":47828,"slug":47829,"title":47830,"dynasty":2807,"author":207,"museum":99,"description":40103,"tags":47831,"thumbUrl":47832,"material":689,"size":690,"collection":107,"collections":47833,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},225452,"fu-shi-hui-210-yi-ming-225452","浮世绘210",[30272,15959,25,58,136,1085,7,4929,2811,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa01934067c2ea32c35ed82f92e29b322.jpg",[],{"id":47835,"slug":47836,"title":47837,"dynasty":2807,"author":207,"museum":99,"description":40103,"tags":47838,"thumbUrl":47840,"material":689,"size":690,"collection":107,"collections":47841,"showCount":395,"zanCount":1288,"manualWeight":39,"mainColor":1441},225317,"fu-shi-hui-56-yi-ming-225317","浮世绘56",[35341,47839,25,541,7,310,967,150],"嵌螺钿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ea9f568e642200151d387e3f7a41d6.jpg",[],{"id":47843,"slug":47844,"title":47845,"dynasty":97,"author":5309,"museum":99,"description":47846,"tags":47847,"thumbUrl":47848,"material":107,"size":107,"collection":107,"collections":47849,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":75},224460,"wan-wu-qiu-ying-tu-zhou-wang-hui-224460","晚梧秋影图轴","218年9月11日，“故宫博物院藏清初‘四王’绘画特展”在故宫文华殿书画馆开幕。\n该展览展出文物多达11件套，分为“‘师古’为宗”、“融古出新”以及“沾溉后学”三个单元。\n在展品的遴选上，不仅优选了艺术造诣高的绘画精品，同时又选择了能够体现“四王”画学思想的作品，如王鉴的《四家灵气图》、王原祁的《神完气足图》等。\n又如王时敏《秋山白云图》轴和王翚《晚梧秋影图》轴等，也是他们经典的代表作。\n该展览为绘画实践者提供了优秀的临摹范例，给广大观众带来深刻、丰富的艺术享受。",[49,23,51,84,26,55,777,13543,63,60,61,277,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f1cefd7828df8cbbeb1a228c219193e.jpg",[],{"id":47851,"slug":47852,"title":47853,"dynasty":97,"author":724,"museum":99,"description":47854,"tags":47855,"thumbUrl":47856,"material":107,"size":107,"collection":107,"collections":47857,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},224399,"hua-zhong-you-shi-tu-zhou-wang-yuan-qi-224399","画中有诗图轴","此作用干笔积墨绘层叠丘壑，皴擦厚重苍浑，山峦取高远之势层层铺展，尽显雄浑朴拙的肌理质感。林间错落参差，村居隐于溪畔，淡赭轻敷晕染出古雅色调，朴茂华滋里藏着悠然意趣。\n\n笔墨带着元人山水的悠远散淡，干笔反复皴叠，浓墨醒苔提点生气，将诗意晕染在山岚林泉之间。丘壑深秀，静穆安然，仿佛能听见山风穿林、溪声隐隐，把文人心中的林下幽思，尽数融在咫尺画卷里，尽显沉郁苍润的山水情致。",[23,51,84,26,55,7,86,119,56,870,64,727,715,1902,610,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb33d1963aa786cfaa42d38e735c34aed.jpg",[],{"id":47859,"slug":47860,"title":47861,"dynasty":97,"author":8927,"museum":99,"description":47862,"tags":47863,"thumbUrl":47864,"material":107,"size":107,"collection":107,"collections":47865,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":75},224362,"cheng-qin-wang-qing-yong-xing-shu-gao-zong-yu-zhi-si-shi-yan-qing-shi-zhou-ai-xin-jue-luo-yong-xing-224362","成亲王 清永瑆书高宗御制四时衍庆诗轴","此作用笔秀挺雅致，起收顿挫皆具法度，点画间顾盼有情，将馆阁体的端谨妍美诠释尽致。瘦硬清逸的笔调融合赵书娟秀与馆阁规整，字字排布齐整，章法严整又不失灵动。书写之时笔墨自带恭谨庄重，尽显深厚帖学功底，规整之中暗藏内敛文人意趣，是清代馆阁体书法中的上乘佳构，尽显盛世书法的端雅风貌。",[49,23,51,84,119,501,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d302552966b86feec697ace2f3a52b5.jpg",[],{"id":47867,"slug":47868,"title":47869,"dynasty":97,"author":929,"museum":99,"description":47870,"tags":47871,"thumbUrl":47872,"material":107,"size":107,"collection":107,"collections":47873,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},224325,"hua-niao-shi-er-kai-3-li-shan-224325","花鸟十二开3","此作以淡墨晕染雀鸟翎羽，绒毛细密质感尽显，小雀侧首凝神，灵动野趣跃然纸上。竹枝以浓淡墨色挥写，叶片俯仰错落，笔致纵逸萧散，尽显清劲风骨。诗书与绘事相融，题字欹斜错落，文气萦绕画面。整作笔简意赅，将花鸟生趣与文人幽思揉合，以意写形不拘成法，墨色干湿互衬，寥寥数笔便勾勒出江乡小景的幽寂意韵，尽显随性疏朗的文人画风骨。",[49,23,51,24,26,25,27,358,29,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F476aad52c5f6bd95cc590c2a2bb64743.jpg",[],{"id":47875,"slug":47876,"title":47877,"dynasty":97,"author":929,"museum":99,"description":47878,"tags":47879,"thumbUrl":47880,"material":107,"size":107,"collection":107,"collections":47881,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},224302,"hua-hui-shi-er-kai-3-li-shan-224302","花卉十二开3","此作以淡赭挥写竹杆，枯涩灵动间尽显苍劲挺拔之态，墨色浓淡晕染牵牛花瓣，蓝紫清妍鲜活，翠色叶片交叠错落，将朝颜娇柔生机尽数铺陈。\n\n行书题字欹侧跌宕，笔意率性不羁，与画作写意野趣相得益彰，诗书合璧尽显文人随性酣畅。整幅以简驭繁，脱略形似而神完气足，将篱间牵牛绕竹的夏日清趣揽于尺幅之间。笔底带着鲜活生机，尽显不拘成法、师法自然的写意精神，寥寥数笔便勾勒出花草疏野雅致，淡冶中见风骨，寻常小景溢出悠然林下之致。",[49,23,51,24,25,26,27,28,896,265,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b41f8a92c4e3e7a9a030332fa62736.jpg",[],{"id":47883,"slug":47884,"title":47885,"dynasty":97,"author":10535,"museum":99,"description":21842,"tags":47886,"thumbUrl":47887,"material":689,"size":690,"collection":107,"collections":47888,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},224165,"lin-su-shi-du-zi-mei-shi-zhou-wang-you-dun-224165","临苏轼杜子美诗轴",[49,23,51,84,134,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0fb18ffc17420be425cadef9d8ced6a.jpg",[],{"id":47890,"slug":47891,"title":47892,"dynasty":97,"author":43378,"museum":99,"description":47893,"tags":47894,"thumbUrl":47895,"material":107,"size":107,"collection":107,"collections":47896,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},224155,"hua-shan-mei-hua-ce-zhang-zhao-224155","画扇梅花册","上幅行书圆劲秀逸，笔墨温润舒展，词句咏梅寄怀，文思与笔意相得益彰，自带清雅书卷气。下幅墨梅以淡墨写枝，浓墨点花，清瘦枝桠错落舒展，寒梅数朵绰约含香，不着艳色却尽得冰清之姿。留白空寂悠远，尽显文人画以意取胜的韵致。\n\n双扇合璧，书画相映，将爱梅赏梅的雅趣融于尺幅之间，以简约笔墨勾勒花木品格，暗合文人心性，尽显冲淡闲和的林下之风，是意趣隽永的文人抒情小品。",[49,23,51,822,24,528,86,119,7,26,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdda413448615adeaf8857bb9601f5a07.jpg",[],{"id":47898,"slug":47899,"title":47900,"dynasty":115,"author":207,"museum":99,"description":47901,"tags":47902,"thumbUrl":47903,"material":107,"size":107,"collection":107,"collections":47904,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":75},223659,"wen-chuan-tu-juan-yi-ming-223659","问喘图卷","此作用淡墨白描写就，右侧古木虬劲苍郁，浓墨点簇枝叶，衬出林间幽寂。画面左侧水畔空濛悠远，平沙浅滩愈发衬出乡野静穆。\n\n画中士人抬手问询，田夫敛袖作揖应答，神态恳切自然，身后侍童恭立持扇，氛围悠然庄重。耕牛垂首缓行，身姿朴拙生动，将典故融于乡野实景。\n\n构图疏密相宜，淡墨晕染水色空濛，简练线条精准勾勒人物神情与物态，设色简淡素雅，尽显清雅意趣，暗含体恤民生的古韵深意，平淡画面间尽显含蓄悠远的古典风雅。",[49,23,52,135,25,7,58,1115,871,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae80987d2d826d7b80a5a3b01b261be.jpg",[],{"id":47906,"slug":47907,"title":47908,"dynasty":18,"author":207,"museum":329,"description":47909,"tags":47910,"thumbUrl":47911,"material":227,"size":47912,"collection":107,"collections":47913,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":75},223574,"mu-yang-tu-yi-ming-223574","牧羊图","绘春郊野外，羊群于坡岸吃草放牧的情景，羊群刻画生动，奔走俯首等姿态栩栩如生，有母子舔犊情深、有结伴奔跑嬉戏、有独自悠闲觅食。荒草并不丰茂，但却充满生机，平稳均衡的画面布局又隐藏着山坡横向的动感和柳树上扬下垂的起伏变化，而正在攀爬柳树的牧童，更是给看似安静的画面增添了活眼。",[49,23,822,25,58,8840,871,5133,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d76828bbf7925e25c75ff00155b1967.jpg","24.1×24.8cm",[],{"id":47915,"slug":47916,"title":47917,"dynasty":18,"author":207,"museum":81,"description":47918,"tags":47919,"thumbUrl":47920,"material":227,"size":47921,"collection":107,"collections":47922,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},223392,"ping-hu-xue-ji-yi-ming-223392","平湖雪霁","此水墨小品以暗绢托出雪意清寒。近岸枯木寒枝错落斜欹，茅舍隐于林渚间，三两渔舟泊在冰封浅滩，天地间凝着凛凛寒意。远景以淡墨轻晕远峦寒雾，留白作漫天寒雪，虚实相生间晕开空濛冷寂。\n\n未用浓墨重彩，仅以极简笔墨铺陈湖山冬日疏旷萧寒。霜风仿佛正掠过镜面平湖，冷意顺着绢面漫开，将江天雪后的岑寂澹远藏进方寸画幅，把追慕幽寂山水的雅趣融在素淡墨色里，叫人坠入这万籁俱静的清寒意境中。",[23,822,26,56,1050,34685,871,6947,51,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35e5b81a7081e638b4129936f8fc4768.jpg","38.9x81",[],{"id":47924,"slug":47925,"title":47926,"dynasty":97,"author":10725,"museum":99,"description":10726,"tags":47927,"thumbUrl":47928,"material":319,"size":107,"collection":107,"collections":47929,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},223266,"shou-jie-fa-lve-li-hong-yi-fa-shi-223266","受戒法略例",[49,86,436,417,119,7,2601,1284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ef577175a703850e5461d03d1409a1f.jpg",[],{"id":47931,"slug":47932,"title":47933,"dynasty":97,"author":18927,"museum":9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物心流水会，草外即平皋。怀土佳兵厌，占云挟雨高。学狂希羽客，引笑佐溪毛。幽影皆为象，前滩响莫涛。瓜州大慈庵夏望 吾择慈庵寂，焚香起正心。杖因江稻植，山在寺门寻。楚越中区抱，金焦大壑深。紫天开素气，鸦路意阴阴。 贺九山村已遇枇杷熟，频过碌石园。远柯兼瀑影，古凸自柴门。骨傲仍多性，兰衰尚有根。昌阳飞半腹，石穴共寒温。 问牧斋拂水山崖 欲履虞山迳，还赊六尺筇。思君偕寤语，似共万溪松。桂酒留华榭，天门落古镛。可知头尽皓，更得扰玄龙。 丙戌五月朔，王铎书。",[49,86,119,52,26,7,56,24355,7310,12754,6083,66,294,47952,17484,5578,3548,945,47953],"石穴","诗歌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb46539435de274822f16f672ccbf5c3.jpg","27X253cm",[],{"id":47958,"slug":47959,"title":47960,"dynasty":18,"author":3904,"museum":81,"description":47961,"tags":47962,"thumbUrl":47963,"material":319,"size":47964,"collection":107,"collections":47965,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},222468,"he-tao-yin-jiu-shi-ce-zhu-yun-ming-222468","和陶饮酒诗册","诗作于四十岁，为祝允明得意之作，故多次抄写，此册写于六十六岁。小楷结构宽扁，点画圆润，行笔短促，渊源于钟繇楷体，反映出他对钟繇小楷的理解与诠释。钟繇名迹《荐季直表》曾在苏州地区流传，直接影响该地区的钟体流行，祝允明约三十岁时跋此墨跡。\n祝允明(1460-1526)，字希哲，因右手有枝生手指，故自号枝山。世称祝京兆，长洲(今江苏吴县)人，自幼聪慧过人。弘治五年(1429)中举，后久试不第。正德九年(1514)，授为广东兴宁县知县，嘉靖元年(1522)，转任为应天(今南京)府通判，不久称病还乡。\n祝允明擅诗文，尤工书法，名动海内，与唐寅意气相投，遭际与共。与唐寅、文徵明、徐祯卿并称吴中四才子。与文徵明、王宠同为明中期书家之代表。楷书早年精谨，师法赵孟頫，褚遂良，并从欧，虞而直追二王。草书师法李邕，黄庭坚，米芾，功力深厚，晚年尤重变化，风骨烂熳。\n《名山藏》云:允明书出入晋魏，晚益奇纵，为国朝第一。\n清代朱和羹《临池心解》云:祝京兆大草深得右军神理，而时露伧气;小草则顿宕纯和，行间茂密，亦复丰致萧远，庶几媲美褚(遂良)公。\n代表作有《太湖诗卷》、《箜篌引》、《赤壁赋》等。所书六体书诗赋卷、草书杜甫诗卷、古诗十九首、草书唐人诗卷及草书诗翰卷等皆为传世墨宝。\n诗作于四十岁，为祝允明得意之作，故多次抄写，此册写于六十六岁。小楷结构宽扁，点画圆润，行笔短促，渊源于钟繇楷体，反映出他对钟繇小楷的理解与诠释。钟繇名迹《荐季直表》曾在苏州地区流传，直接影响该地区的钟体流行，祝允明约三十岁时跋此墨跡。册中一段章草，祝允明以流畅行书笔意融合楷书与章草，克服明初章草的生硬突兀感。用笔则是沉稳俐落，结体疏密有致，字形变化错落，行气摇曳，为明代章草之佳作，惜未有全彩清晰图。",[49,86,51,24,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14a4f5a38575721f4d66c46de5f7072f.jpg","17.3×10.3厘米",[],{"id":47967,"slug":47968,"title":47969,"dynasty":18,"author":1014,"museum":99,"description":47970,"tags":47971,"thumbUrl":47972,"material":319,"size":47973,"collection":107,"collections":47974,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},222349,"man-xing-mo-ji-quan-juan-tang-yin-222349","漫兴墨迹全卷","唐寅不仅善诗文，尤善丹表，山水、人物、仕女、花鸟、竹木无不精工，可以说其书的名为画名所掩。他所以能取得如此成就，与他所处环境有关，苏州多收藏家、裱画店，为他提供了观摩学习机会，他又与当时的名画家周臣、沈石田、王鏊、文徵明等人交往，在这种浓郁的文化氛围中再加上他的聪敏才智，造就了一代画家在艺术上的成功。唐寅变精于书法，其书上溯亚唐，尤得益于赵孟用笔之法，点画温润妍雅，结字微带欹侧之势，虽有薄弱之评，但字里行间，却洋溢着一种超轶的书卷之气，本册所载《唐寅温兴墨迹》是其为友人所书的自作温兴诗，通卷千余字一气呵成，用笔精到细腻，体势向右欹侧，富有生动姿态，如高雅之士，闲庭信步于阆苑林木之间，十分耐人寻味，卷后末署书写年月，但从其淡雅自然的笔调之中当为其晚年所书，唐寅传世真变甚少，除《落花诗册》外，《漫兴》便是其主要的代表作品，今影印出版，以飨广大书法爱好者。",[49,86,119,52,435,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7db8ea62f9571bed4949f49979c87fb.jpg","36.8x422厘米",[],{"id":47976,"slug":47977,"title":47978,"dynasty":18,"author":9186,"museum":5101,"description":12300,"tags":47979,"thumbUrl":47980,"material":634,"size":12303,"collection":107,"collections":47981,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":8519},222308,"nan-hua-zhen-jing-61-wang-chong-222308","南华真经61",[8547,86,119,319,7,2601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73d8a04fb640de66b11933898bb802a6.jpg",[],{"id":47983,"slug":47984,"title":47985,"dynasty":18,"author":13743,"museum":81,"description":47986,"tags":47987,"thumbUrl":47988,"material":1561,"size":47989,"collection":107,"collections":47990,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":75},222072,"di-yi-a-ying-a-ji-da-zun-zhe-hua-zhou-wu-bin-222072","第一阿迎阿机达尊者画轴","十六罗汉，主要依据唐玄奘翻译的《大阿罗汉难提密多罗所说法住记》，他们是：一宾度啰跋罗惰阇、二迦诺迦伐蹉、三迦诺迦跋厘堕阇、四苏频陀、五诺距罗、六跋陀罗、七迦理迦、八伐阇罗弗多罗、九戍博迦、十半托迦、十一啰怙罗、十二那伽犀那、十三因揭陀、十四伐那婆斯、十五阿氏多、十六注荼半托迦。十六罗汉是释迦牟尼佛的弟子。据经典说，他们受了佛的嘱咐，不入涅盘，常住世间，受世人的供养而为众生作福田。此外，另有十八罗汉之说。此系于十六罗汉加上二位尊者。关于所加的二尊有多种说法。",[49,23,51,84,1284,135,58,7,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6009dadca1f140131092eb0e9b93483.jpg","62.3x35.3",[],{"id":47992,"slug":47993,"title":47994,"dynasty":18,"author":9326,"museum":99,"description":47995,"tags":47996,"thumbUrl":47997,"material":107,"size":107,"collection":107,"collections":47998,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},222054,"shan-mian-1-zhang-rui-tu-222054","扇面1","张瑞图（1570-1644），明代官员、书画家。字长公、无画，号二水、果亭山人、芥子、白毫庵主、白毫庵主道人等。他以擅书名世，书法奇逸，峻峭劲利，笔势生动，奇姿横生，钟繇、王羲之之外另辟蹊径，为明代四大书法家之一，与董其昌、邢侗、米万钟齐名，有“南张北董”之号；又擅山水画，效法元代黄公望，苍劲有劲，作品传世极希。",[49,8547,822,86,119,462,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f405422bf0a2191c422398e2a1b935f.jpg",[],{"id":48000,"slug":48001,"title":48002,"dynasty":18,"author":2059,"museum":99,"description":30391,"tags":48003,"thumbUrl":48004,"material":107,"size":48005,"collection":107,"collections":48006,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},222024,"wan-shan-ji-yu-wen-zheng-ming-222024","万山积玉",[23,51,24,26,25,56,2001,55,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01c6206d5ccf2ea4aa660b1242fc9714.jpg","32x39.2",[],{"id":48008,"slug":48009,"title":2895,"dynasty":18,"author":13408,"museum":20,"description":13409,"tags":48010,"thumbUrl":48011,"material":319,"size":13412,"collection":107,"collections":48012,"showCount":395,"zanCount":39,"manualWeight":39,"mainColor":40},221932,"za-hua-ce-guo-xu-221932",[49,23,51,50,24,26,403,1115,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9205455fc7afbb5d7e63de117b17c09.jpg",[],{"id":48014,"slug":48015,"title":48016,"dynasty":18,"author":23855,"museum":9645,"description":48017,"tags":48018,"thumbUrl":48019,"material":2190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07-1688），字子羽，号越台，今胶南市琅琊镇刘家村人。生于明万历22年卒于康熙，终年82岁。著名诗人，善书法，才华横溢，倍受王渔洋推崇。《清史稿》《中国人名大词典》《中国美术家大辞典》等均有记载。\n其父刘元化为明万历举人，曾任高陵县、雒川县县令，敕授文林郎。刘翼明为元化之次子。刘翼明才华横溢、文思敏捷，自幼善书画、精书法、工诗文，有“神笔刘子羽”的美称。与当时的名士王无竟有诗坛“刘王”之称。刘翼明学识渊博、为人坦诚，视友人为手足。好友王无竟被仇家杀害，母老弟幼，不能诉讼，胶州知州又收受贿赂，偏袒仇家。于是刘翼明挺身而出为其伸冤。在青州知府衙门前，连续三天不吃不喝，披发连哭三昼夜，迫使知府将案件调出，移交另地审理，使三年冤情得伸，恶人遭到惩处。此事被清人纪圣选编成《青衿侠传奇》词曲，在胶东广为流传。刘翼明所作诗文近千首，其部分诗文被收入《镜庵集》、《北亭诗集》等。",[18,23,51,84,119,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65518ea77c7a569b309b73fc6d04788c.jpg",[122],{"id":49054,"slug":49055,"title":28104,"dynasty":97,"author":49056,"museum":99,"description":49057,"tags":49058,"thumbUrl":49059,"material":319,"size":107,"collection":122,"collections":49060,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":75},240199,"shi-zhou-xiang-lin-240199","项琳","项琳（1619年－1670年），字人玉，号太璞，又号完庵，歙人。\n出生于明末丧乱，无意于仕途，游走湖山。受到吴梅村、王士禛赏识。同屠乔孙从《晋书》、《北史》、《魏书》、《册府元龟》、《艺文类聚》、《太平御览》等书中重辑《十六国春秋》百卷，仍托名崔鸿。康熙九年（1670年），殁于江都。另著有《太璞山人集》三卷。",[23,51,86,84,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F193d42cfe1ddc97319d3a1a744f16a87.jpg",[122],{"id":49062,"slug":49063,"title":38053,"dynasty":97,"author":49064,"museum":99,"description":49065,"tags":49066,"thumbUrl":49067,"material":319,"size":107,"collection":122,"collections":49068,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":75},240196,"qi-lv-shi-zhou-yan-hang-240196","严沆","严澂(1547—1625),字道彻,号天池,常熟人,著名古琴家。据史料记载,严澂工书法,精百家言,深得老庄精髓;以父荫补中书舍人、工部郎,明万历三十二年(1604)出任邵武(今属福建省)知府,有政绩,甚得民心。严澂晚年辞官归里,徜徉于山水间,以琴、书自娱,于骑射、击剑、投壶、蹴鞠亦无不精。可见,他不仅是一个善于雅玩、才气纵横的贵族公子哥,而且也是一个品性高洁、治学有道的专家。",[84,119,86,7,944,34686,332,39393,4402,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F150d532a5ecbfffa19ab0ad250de67b7.jpg",[122],{"id":49070,"slug":49071,"title":28104,"dynasty":97,"author":49072,"museum":99,"description":49073,"tags":49074,"thumbUrl":49075,"material":319,"size":107,"collection":122,"collections":49076,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":75},240195,"shi-zhou-cao-he-240195","曹禾","曹禾（1637—1699）字頌嘉，號未庵，又號峨嵋，江蘇江陰人。\n康熙三年（1664）中癸巳科三甲進士，官內閣中書。康熙十八年（1679）應試博學宏詞，獲二等，授翰林院編修，官至國子祭酒，以事罷歸。曹禾喜縱酒，酷愛圍棋，工詩文，與顏光敏、田雯、宋犖等稱“詩中十子”，著有《未庵初集》、《峨嵋集》等。\n曹颂嘉（禾）祭酒常语余曰：“杜、李、韩、苏四家歌行，千古绝调，然语句时有利钝。先生长句，乃句句用意，无瑕可攻，拟之前人，殆无不及。”余曰：惟句句作意，此其所以不及前人也。四公之诗，如万斛泉源，不择地而出，行乎其所不得不行，止乎其所不得不止。余诗如鉴湖一曲，若放翁、遗山已下，或庶几耳。",[23,51,84,119,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb389d145c5e0e8ef0a7fb83c08934329.jpg",[122],{"id":49078,"slug":49079,"title":49080,"dynasty":97,"author":49081,"museum":99,"description":49082,"tags":49083,"thumbUrl":49084,"material":689,"size":690,"collection":107,"collections":49085,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":40},240179,"lin-cuan-fu-jun-bei-shen-ceng-zhi-240179","临爨府君碑","沈曾植","沈曾植（1850年－1922年11月20日），字子培，号巽斋，别号乙盫，晚号寐叟，浙江省嘉兴府嘉兴县人，沈维鐈孙，蒙元史地学者、书法家、史学家、同光体诗人，“于学无所不窥”，朴学宗师。",[86,134,5663,417,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbb41247b10243af1d71eda6ae991a72.jpg",[],{"id":49087,"slug":49088,"title":49089,"dynasty":97,"author":22158,"museum":99,"description":22159,"tags":49090,"thumbUrl":49091,"material":689,"size":690,"collection":107,"collections":49092,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":40},240149,"si-zi-heng-huang-yi-240149","四字横",[51,86,5663,119,7,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1faf777552d2fcd15997dd2a8d3f113e.jpg",[],{"id":49094,"slug":49095,"title":16409,"dynasty":97,"author":49096,"museum":99,"description":49097,"tags":49098,"thumbUrl":49099,"material":689,"size":690,"collection":107,"collections":49100,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":40},240139,"qi-yan-lian-pan-zu-yin-240139","潘祖荫","潘祖荫（1830～1890），清代官员、书法家、藏书家。字在钟，小字凤笙，号伯寅，亦号少棠、郑盦。吴县（今江苏苏州）人，大学士潘世恩之孙。内阁侍读潘曾绶之子，咸丰二年一甲三名进士，探花，授编修。数掌文衡殿试，在南书房近四十年。光绪间官至工部尚书。通经史，精楷法，藏金石甚富。有《攀古楼彝器图释》。辑有《滂喜斋丛书》《功顺堂丛书》。",[86,5664,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8f22056123f4a95139bb692b3bb3dad.jpg",[],{"id":49102,"slug":49103,"title":49104,"dynasty":18,"author":49105,"museum":99,"description":49106,"tags":49107,"thumbUrl":49108,"material":689,"size":690,"collection":107,"collections":49109,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":40},240127,"xing-ti-song-ba-jia-shu-ba-ye-xu-nai-pu-240127","行题宋八家书跋页","许乃普","许乃普（1787—1866）浙江钱塘人。字季鸿，一字经厓，别字滇生。钱塘廪生，嘉庆癸酉科拔贡。朝考一等一名，以七品小京官分刑部奉天司行走。嘉庆丙子科顺天乡试第一百一名举人，考补军机章京。庚辰科会试第十三名进士，殿试一甲第二名，赐进士及第，授翰林院编修，充实录馆纂修提调官。",[51,86,119,26,3363,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0feba4f3c35d065ebd5c4bdf8945af96.jpg",[],{"id":49111,"slug":49112,"title":49104,"dynasty":18,"author":49105,"museum":99,"description":49113,"tags":49114,"thumbUrl":49115,"material":319,"size":107,"collection":122,"collections":49116,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":40},240126,"xing-ti-song-ba-jia-shu-ba-ye-xu-nai-pu-240126","许乃普（1787—1866）浙江钱塘人。字季鸿，一字经厓，别字滇生。钱塘廪生，嘉庆癸酉科拔贡。朝考一等一名，以七品小京官分刑部奉天司行走。嘉庆丙子科顺天乡试第一百一名举人，考补军机章京。庚辰科会试第十三名进士，殿试一甲第二名，赐进士及第，授翰林院编修，充实录馆纂修提调官。\n乾隆五十二年五月初四未时生，同治五年(1866)卒，御赐祭葬，谥文恪，国史馆列传。\n清嘉庆二十五年(1820年)殿试一甲二名进士，即榜眼。嘉庆、道光、咸丰3朝三迁内阁学士，五度入直南书房，五充经筵讲官。历官贵州、江西学政，兵部、工部、刑部、吏部尚书，实录馆总裁，多次充任殿试、朝考读卷官、阅卷大臣。任内获道光御笔“迎祥”和咸丰御笔“宜尔子孙”匾额。谥文恪，谕称“许乃普学问优长，供职恪慎”“屡司文柄”。\n其父许学范，乾隆三十七年(1772年)进士，有七子，乃济、乃普、乃钊三子为进士，另四子为举人，有“七子登科”之美称。清代学者、书法家梁同书曾书写“世间数百年旧家，无非积德；天下第一件好事，还是读书”一联送给许学范，称颂许氏家族。",[23,51,86,119,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aac0bb7b117a9794869d64ac4e0df32.jpg",[122],{"id":49118,"slug":49119,"title":49120,"dynasty":18,"author":207,"museum":99,"description":49121,"tags":49122,"thumbUrl":49123,"material":319,"size":107,"collection":122,"collections":49124,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":40},240124,"shi-yuan-zhong-shi-ye-yi-ming-240124","释元中诗页","此件书法分幅呈现，笔墨意趣各有千秋。右侧诗作用笔酣畅恣肆，行书线条苍劲灵动，结体疏密错落、欹侧相生，牵丝映带间尽显随性潇洒，将诗句空寂幽绝的江景意境融于笔端，风神疏朗俊逸。\n左侧尺牍小字朴拙内敛，笔意厚重沉稳，枯润互见，以平实笔墨承载日常心绪，自带手札特有的质朴温情。整作大小相映、动静相宜，笔墨间浸透文人随性自在的风雅襟怀，是兼具笔墨审美与人文意趣的小品佳作。",[8547,86,51,119,7,3363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d10390a306232dd0f128201886731af.jpg",[122],{"id":49126,"slug":49127,"title":49128,"dynasty":18,"author":49129,"museum":99,"description":49130,"tags":49131,"thumbUrl":49132,"material":319,"size":107,"collection":122,"collections":49133,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":40},240122,"ceng-ti-nan-fu-ti-bi-shi-ye-wei-shu-240122","曾题南阜题壁诗页","囗淑","题壁诗始于两汉，盛于唐宋。汉代以后，题壁者代不乏人。南北朝 唐代，题壁诗骤然大增，开始形成一种风气。宋代题壁之风方兴未艾，举凡邮亭、驿墙、寺壁等处多所题咏，叫人目不暇接。",[23,51,119,26,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc006c3d52dd04e84a83844fbf6e40075.jpg",[122],{"id":49135,"slug":49136,"title":49137,"dynasty":97,"author":16882,"museum":175,"description":49138,"tags":49139,"thumbUrl":49140,"material":49141,"size":49142,"collection":122,"collections":49143,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":40},240063,"lin-da-ling-tie-juan-fu-shan-240063","临大令帖卷","释文：\n献之白。奉别告。承安和，庆慰。极冷。不审尊体复何如。献之比日如复小胜，因夜行忽复下。如欲作廗。今服药，尽温燥理。冀当可耳。然异极都不得，复小失和。卿恶亦不复得妄近生冷。体气顿至此，令人绝叹。行有佳酒便服。\n献之。承姑比日复小进退，其尔不得一极和，忧悚犹深。不审以服散，未必得力耳。比驎相闻。故云恶。悬怀。使君数得书也。\n愿余上下安和。知婢日夕疏慰意。育故羸。悬心。倪比健也。\n适奉永嘉去月十一日动静。故常患不宁。诸女无复消息。献之。\n八月十九日具疏。操之献之再拜。昨日诸愿悉达。奉奉告慰驰心。极冷。不审尊体复何如。操之创故不差。常恶。公故尔怏怏。献之昨来复下，如欲作廗。殊乏极。服石的丸，冀得力。谨白。不具。操之等再拜。\n嫂等承更恶，不审顷痊复不。必须散时。终得力耶。此药甚佳。想姊举体不能行履。服遂差。安西且无恙。府君属有和稀。久滞。行路同人，绝得此心。故当携其长幼诣。汝上下知彼骆驿。有书示。不足以慰吾意耶。冬间必欲至足下所居。承使君明练。不谓渐有胜也。君数集聚。然其大都可耳。吾止于月半间耶。\n献之等再拜。不审海盐诸舍，上下动静。比复常忧之。姊告无他事。崇虚刘道士鹅群并复归也。献之等当须向彼谢之。献之等再拜。\n甲辰初寒临为存翁词宗。真山。\n款署：“甲辰初寒临为存翁词宗。真山。”钤“傅山之印”白文印。\n此卷临王献之《安和帖》、《姑比日帖》、《愿余帖》、《适奉帖》、《昨日诸愿帖》、《嫂等帖》、《鹅群帖》诸帖，均见于《淳化阁帖》。卷后有邵松年跋，称此帖“随意挥洒，纯任自然，的是大令笔法”。书于康熙三年甲辰（1664年），傅山时年58岁。",[49,52,86,134,462,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d3b5c19c9435926783098a1722640b2.jpg","绫本，草书","纵24.5厘米，横313 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、驴屋等，汉族，江西南昌人。明宁王朱权后裔。明亡后削发为僧，后改信道教，住南昌青云谱道院。擅书画，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。存世作品有《水木清华图》、《荷花水鸟图》等。\n八大山人的书法与他的绘画风格相似，极为简练，到晚年喜用秃笔，一变锐利的笔势而变成浑圆朴茂的风格。近人研究八大书法，追其师承渊源众说纷纭。或曰宗二王、宗董其昌、宗王宠等等，终如寻其书画师承，至今无一定论一样。据王方宇先生考证，最初，八大山人受欧阳询的影响很深，稍后学董其昌的行草，又转入黄庭坚的夸张开阔等，多方探索，再追寻魏晋人书法的气质，终于参用篆书笔法，形成自己独特的风格:中锋圆润，又婉约多姿且厚重浑成，富有晋人气度。他的书法的成就，主要是笔法的改变。\n朱耷是清代著名的书画家。他的简笔写意花鸟画，以独特的面貌，开一代新风。他的书法亦与他的绘画风格相似，极为简练，到晚年喜用秃笔，一变锐利的笔势而变成浑圆朴茂的风格。\n近人研究八大书法，追其师承渊源众说纷纭。或曰宗二王、宗董其昌、宗王宠等等，终如寻其书画师承，至今无一定论一样。据王方宇先生考证，最初，八大山人受欧阳询的影响很深，稍后学董其昌的行草，又转入黄庭坚的夸张开阔等，多方探索，再追寻魏晋人书法的气质，终于参用篆书笔法，形成自己独特的风格:中锋圆润，又婉约多姿且厚重浑成，富有晋人气度。他的书法的成就，主要是笔法的改变。\n八大山人在许多绘画作品上的款跋，相当精彩奇巧。如在绘画布局上发现有不足之处，有时用款书云补其意。八大山人也能诗，所以他的画即使画得不多，题上自己随兴发挥的诗，意境就充足了。\n此册集朱耷所书信札十三通装裱成册，故又称《十三札》册。每札均有作者题名“八大山人”，大部分钤有“八大山人”印，其中第四札钤“八还”印，第五札钤“十得”印，第十札钤“遥属”印。此十三札有六通上款“鹿村先生”，六通“西翁”，一通致“僧舍方丈”。实际上都是致好友方士管的，方氏为八大的书画资助人和代理商，故札中所述多为友人间往还之事，其中不乏奉画、饮宴之约，借钱、谢赠等事，从中可以窥见八大山人当时生活的一个侧面，具有重要的文献价值。从书法风格及落款形式分析，此十三札大致为朱耷晚年之作。末开附清李葆恂题识四则。钤“李文石”、“臣葆恂印”、“文石”、“葆恂”、“文石父”等印多方。又册中第四札裱边有游悔庐主人题诗一首。\n是册书法挥洒自如，行草相间，无拘滞之感，盖由于书者致书友人，全无拘束，缘纸走笔，纵横驰骋，了无挂碍，自能得其书法真趣。此册不仅具有一定的史料价值，而且在书法艺术方面也同样具有很高的艺术价值。",[86,119,24,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264c5282b6d15bbd7c3e92463eb4b2f0.jpg","纵24.6cm，横15.1cm",[],{"id":49295,"slug":49296,"title":49297,"dynasty":18,"author":49298,"museum":175,"description":49299,"tags":49300,"thumbUrl":49301,"material":319,"size":107,"collection":122,"collections":49302,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":40},239588,"yuan-xi-tie-ce-ye-wang-cheng-239588","元夕帖册页","王偁","王偁(1370～1415年)：字孟扬，又字密斋，明朝永福县(今永泰县)人。曾任翰林院检讨、《永乐大典》副总裁，著有《虚舟集》5卷。",[86,3363,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22156d249f149a3d8ead4dd6a37d459b.jpg",[122],{"id":49304,"slug":49305,"title":49306,"dynasty":18,"author":49307,"museum":175,"description":49308,"tags":49309,"thumbUrl":49310,"material":417,"size":107,"collection":122,"collections":49311,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":40},239584,"qu-qiu-tie-ce-ye-zhang-fu-yi-239584","去秋帖册页","张复易","此幅小楷尺牍，笔致秀润温雅，点画工稳精致，结体舒展匀停，是明代台阁体一脉的典型佳作。\n作为私人书札，虽为日常家书，却不失庄重规整，笔意自带谦谨恭和的文人气韵。信笺暗饰雅致纹样，笔墨朱印相映，尽显明代文人尺牍的形制美感。排布错落自然，既恪守馆阁体的法度工整，又因私札属性暗含松弛灵动的细节，将奉亲敬长的诚挚心绪融于笔墨之间，是兼具实用价值与审美意趣的书法小品。",[51,86,119,24,7,8547,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F356acd7e09aafb9101d0abe76b74336f.jpg",[122],{"id":49313,"slug":49314,"title":49315,"dynasty":97,"author":49316,"museum":99,"description":49317,"tags":49318,"thumbUrl":49319,"material":689,"size":690,"collection":107,"collections":49320,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":40},239472,"qing-chu-shi-si-jia-shu-hua-ji-jin-ce-zhu-ce-ye-zhao-xiu-lan-239472","清初十四家书画集锦册-竹册页","赵岫兰","此作用水墨写就兰竹拳石，兰花柔茎舒展、花瓣轻绽，自有绰约风姿；兰叶劲挺修长，中锋挥写间尽显飘逸灵动之态。拳石以淡墨晕染，略作勾勒，朴拙简淡，下方竹叶偃仰交错，笔墨简括却神完气足。\n\n右侧行书笔墨纵逸，墨色浓淡富于变化，笔势连贯洒脱。书画合璧，文与画相生，尽显文人寄情草木的幽隐襟怀，将兰竹君子的清逸风骨融于纸面，寥寥数笔却意韵悠长，浸透着以物明志的传统文人审美意趣，是清代文人雅致书画小品的典型之作。",[23,51,24,26,251,358,277,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c07be911e74f05bd3c041cb09d501a.jpg",[],{"id":49322,"slug":49323,"title":18812,"dynasty":97,"author":724,"museum":99,"description":49324,"tags":49325,"thumbUrl":49326,"material":107,"size":107,"collection":107,"collections":49327,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":40},239462,"qing-chu-liu-da-jia-ji-ce-shan-shui-ye-wang-yuan-qi-239462","此作用笔苍劲老辣，以干笔积墨反复皴擦，山峦层叠间尽显丘壑幽深。高远山势裹挟飞泉垂落，平远水畔山居错落，林木扶苏掩映村居，咫尺画幅铺展出萧散淡远的山居清景。墨色干湿浓淡相济，苍润浑厚间带着元人山水的简淡意趣，却又自具沉雄苍莽的厚重质感，将江南山水的温润灵秀与文人画的书卷静气相融，笔底元气淋漓，于细碎皴染中见整饬章法，静穆雅致中藏着自然生机，尽显正统山水画的隽永风神。",[50,23,51,24,26,55,56,870,700,871,358,727,294,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bb1160b0f5169ea7571f4877751466b.jpg",[],{"id":49329,"slug":49330,"title":3840,"dynasty":97,"author":11101,"museum":99,"description":11102,"tags":49331,"thumbUrl":49332,"material":689,"size":690,"collection":107,"collections":49333,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":40},239405,"hua-niao-tu-ce-ma-yuan-yu-239405",[23,51,24,26,119,7,528,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf22855b5490b2c9110b13dfa58b31ca.jpg",[],{"id":49335,"slug":49336,"title":7228,"dynasty":97,"author":28114,"museum":99,"description":42661,"tags":49337,"thumbUrl":49338,"material":689,"size":690,"collection":107,"collections":49339,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":40},239365,"shan-shui-ce-wang-san-xi-239365",[23,50,26,25,24,56,967,279,751,1902,944,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9b6cb88617f59c43f749c11bc7316a7.jpg",[],{"id":49341,"slug":49342,"title":34155,"dynasty":97,"author":34156,"museum":99,"description":49343,"tags":49344,"thumbUrl":49345,"material":107,"size":107,"collection":107,"collections":49346,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":40},239207,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239207","此开以淡墨写意写就黄山胜境，峰峦清癯空灵，仅以极简皴擦晕染出山石肌理，古松错落、山居隐现于烟云之间，意境萧疏淡远，尽得山川清寂风神。对页行书题跋笔意苍劲舒展，笔墨朴拙老辣，诗书与画境相融相合。\n\n整幅以简驭繁，以淡墨写尽丘壑之美，将沉潜的林泉之志寄寓其中，尽显文人山水的冲淡雅致，是笔简意丰的水墨佳构。",[23,51,24,26,55,119,7,56,2001,610,63,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dd3f13e622a4c489abe8da03a5dc739.jpg",[],{"id":49348,"slug":49349,"title":34155,"dynasty":97,"author":34156,"museum":99,"description":49350,"tags":49351,"thumbUrl":49352,"material":107,"size":107,"collection":107,"collections":49353,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":40},239204,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239204","此作以干笔淡墨写就溪山幽居，层岩叠岫以披麻皴出质，苍松石上扎根、崖边错落。山溪蜿蜒，板桥卧波引渡，村居隐于林麓烟霭间，一派清冷出尘的野逸之境。\n\n笔墨萧疏简淡，不事浓丽雕琢，枯淡勾勒间藏着沉郁清刚的骨力，将林泉之志寄寓丘壑。题字与绘景相融，以画托意，在静穆淡远的林下风致里，藏着遗世独立的襟怀，简淡中见苍茫，平淡里寄深情。",[23,26,24,86,7,55,56,60,61,150,64,727,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb64ccfa451445c9655d321ed12af4da0.jpg",[],{"id":49355,"slug":49356,"title":34155,"dynasty":97,"author":34156,"museum":99,"description":49357,"tags":49358,"thumbUrl":49359,"material":107,"size":107,"collection":107,"collections":49360,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":40},239202,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239202","此帧以书画合璧尽显文人雅趣。右侧山水取观瀑之景，危崖层叠高耸，飞瀑垂空直下，古松虬劲扎根崖壁，崖畔亭台凌然悬空。山涧清流漱石，林麓间隐现村居，意境幽寂清旷。以干笔皴擦勾勒山石肌理，墨色干湿互济，苍润相生，尽显林壑深秀之致。左侧行书笔力苍劲古雅，文辞清逸疏朗，笔墨意趣与山水意境呼应相合，尽显萧散淡远的隐逸意涵，是文人寄兴的佳构。",[23,26,55,119,86,7,24,56,293,63,610,150,64,294],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a5bebba4e6122dd5281cbdd6ba6bbd1.jpg",[],{"id":49362,"slug":49363,"title":33041,"dynasty":97,"author":21672,"museum":99,"description":21673,"tags":49364,"thumbUrl":49365,"material":689,"size":690,"collection":107,"collections":49366,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":40},239185,"hua-hui-ren-wu-ce-chen-zi-239185",[50,23,51,24,25,119,7,488,277,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F401470b037fc39297ac3a27c9ad728b9.jpg",[],{"id":49368,"slug":49369,"title":49370,"dynasty":97,"author":7292,"museum":99,"description":22699,"tags":49371,"thumbUrl":49372,"material":689,"size":690,"collection":107,"collections":49373,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":40},239102,"hua-hui-ce-11-yu-sheng-239102","花卉册11",[23,51,24,26,25,27,777,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58f1d4bc684dbd579640303444fca05c.jpg",[],{"id":49375,"slug":49376,"title":49377,"dynasty":97,"author":8584,"museum":99,"description":8585,"tags":49378,"thumbUrl":49379,"material":689,"size":690,"collection":107,"collections":49380,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":40},239064,"chun-feng-de-yi-wan-shan-zhang-pan-239064","春风得意纨扇",[23,51,822,54,25,27,66,598,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa98e7b6ed35548b6109f2f31d3f1bcf2.jpg",[],{"id":49382,"slug":49383,"title":49384,"dynasty":97,"author":36880,"museum":175,"description":36881,"tags":49385,"thumbUrl":49386,"material":319,"size":36884,"collection":70,"collections":49387,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":40},238984,"shan-shui-ce-shi-tian-weng-shi-ji-fang-qi-yi-wang-chen-238984","山水册－石田翁诗即仿其意",[23,51,24,26,56,62,64,150,3207,119,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb66ca56fcaf326605d5fcd8a0d47e37.jpg",[70],{"id":49389,"slug":49390,"title":49391,"dynasty":97,"author":49392,"museum":99,"description":49393,"tags":49394,"thumbUrl":49395,"material":107,"size":107,"collection":107,"collections":49396,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":40},238954,"ren-wu-ce-ye-zhu-ba-238954","人物册页","祝芭","冬日萧寂的深院一角，枯木虬枝托着清寒，竹影依偎院墙。门内士人垂目静立，似对院下稚童的嬉闹视若无睹，动静相映间晕开松弛闲淡的氛围。\n\n设色浅淡雅致，笔意柔婉细腻。虬枝勾勒见骨力，衣纹走线轻缓舒展，将孩童打闹的鲜活跳脱，与门畔观者的沉静疏离两两对照，把深冬院落里的日常闲趣晕染开来，淡墨晕就的浅淡背景，让这份冬日里松弛鲜活的片刻意韵愈发悠长。",[23,25,54,24,58,63,967,358,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1291b563754b8801a1005c65cb9b4cdc.jpg",[],{"id":49398,"slug":49399,"title":15603,"dynasty":97,"author":341,"museum":99,"description":10840,"tags":49400,"thumbUrl":49401,"material":107,"size":107,"collection":107,"collections":49402,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":40},238826,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238826",[23,51,24,25,55,119,7,86,56,63,967,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6912eb7d16d737b45ed6a714c4c32188.jpg",[],{"id":49404,"slug":49405,"title":49406,"dynasty":97,"author":207,"museum":99,"description":49407,"tags":49408,"thumbUrl":49409,"material":107,"size":107,"collection":107,"collections":49410,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":40},238814,"dong-gao-lv-xuan-shao-jing-ce-yi-ming-238814","董诰律宣韶景册","此作以淡墨晕染铺就寒山雪境，远山层叠留白覆雪，岩岫苔点簇簇，暗衬积雪清润空寂。近岸枯木虬枝错落，寒林萧疏却暗含待春的生机，山坳隐见茅舍寺塔，曲水沿山逶迤，悠悠漾开山野空寂意趣。\n\n画师以勾勒皴擦写就山石肌理，淡墨晕染区分雪色虚实，留白见巧，不着艳色，全凭水墨层次拉开远近景深，将空山初雪的静谧清寒尽数铺展，晕出冬雪将过、春信悄临的澹澹诗意，尽显文人山水寄情林泉，静悟岁序轮转的清雅意韵。",[23,51,26,55,24,7,56,1050,870,871,967,1714,13496,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2501cf60e869162a2c68158d198d7d86.jpg",[],{"id":49412,"slug":49413,"title":19814,"dynasty":97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[明]字质夫，吴（今江苏苏州）人。师文嘉（一五0一―一五八三）钱谷\n为入室弟子，有出蓝之美。候懋功、朱朗之流亚。按画体元诠有金陵殳质，字质甫，工山水。是否一人，待考。《无声诗史、弇州续稿》",[23,51,24,26,135,56,2681,137,277,727,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa13cbd4a038b4f123be0cf94c7ef4a46.jpg",[],{"id":49964,"slug":49965,"title":7228,"dynasty":97,"author":4509,"museum":175,"description":49966,"tags":49967,"thumbUrl":49968,"material":107,"size":107,"collection":107,"collections":49969,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":40},234794,"shan-shui-ce-dong-bang-da-234794","董邦达生于康熙三十八年(1699年)，字孚存，号东山，又号非闻，浙江富阳人。他幼年家贫，致力于学，于雍正元年(1723年)被选拔为贡生。后赴京应试，屡试不第，落魄在京，期间得刑部尚书励廷仪赏识。几经周折，他终于雍正十一年中进士，被授庶吉士。“文臣画家”是董邦达的重要身份。\n乾隆二年(1737年)，董邦达被授编修一职，先后参与编修《石渠宝笈》《秘殿珠林》二书初编以及《西清古鉴》《明史纲目》《皇清文颖》《盘山新志》《热河志》诸书。乾隆三年，任陕西乡试考官，上疏官卷量少，建议用民卷补充，以便朝廷招贤纳才。不久，升任右中允，再迁侍读学士。乾隆十二年，受命入直南书房，擢升为内阁学士。乾隆十五年，迁任侍郎，历任职于户、工、吏诸部，官至礼部尚书。乾隆三十四年(1769年)卒，谥文恪。\n董邦达长于诗，且书画俱精，尤善山水。其画用笔深得古人之法，山水上窥五代董源、巨然及元黄公望，近学明人董其昌，论者称之“古今三董相承”。邱雯对三董相承有过深入阐述：董源山水写南京一带的浑厚华滋，董其昌山水写松江一带的清润宁和，董邦达山水写富春、杭州一带的秀远疏放。董邦达继承董其昌的高雅审美意识，追求山水的自然、自由、可观、可赏、可游、可居，以寄托文人的自由理想，在作品中体现为书卷气以及“和平中正”的审美取向，儒家一贯追求的清、真、雅成为其绘画的重要特征。\n董邦达广习历代名家技艺，除吸收董巨皴法及黄公望浅绛画法，还受“清初四王”影响颇深。但与“四王”不同的是，他更加重视绘画的生气，作品既能迎合皇帝喜爱的盛世升平气象，又有文人画家所追求的幽远意境。其画作中年秀润，晚年苍浑，用笔在不生不熟之间，绝无狂废之态。尤其晚年之作沉雄朴茂，极具生拙野逸之趣，所呈现的文人意趣，继承南宗笔墨的野逸疏放，与董源、董其昌异曲同工。他将文人逸气带入宫廷，与清代宫廷职业画家的工丽装饰明显不同，成为当时宫廷中雅文化的代表。\n董邦达为官35年，深得乾隆皇帝厚爱。他70岁时得乾隆钦赐“紫禁城骑马”。他以年老多病请辞引归，乾隆说：“礼部事不繁，给假安心调治，不必解任。”他不久病逝，乾隆赐其祭葬，并亲自撰写碑文，在文中悲叹：“呜呼！眷文学侍从之劳，松楸影；著老成典型之望，琬琰流辉。裕及后昆，承兹休命。”\n乾隆帝对董邦达的山水画推崇有加。董邦达作品大幅寻丈、小幅寸许，不下数百，许多都“上邀宸眷”，蒙赐御题。乾隆曾赞扬其山水画激发了自己的诗兴，感叹道：“为他山水幽佳处，往往寻题趣有余。”乾隆在评价画坛时弊以及董氏艺术时称：“吾于达也无间然，丰不觉繁俭不欠。前称北苑后香光，艺林都被卿家占。”将董邦达看作画理上的无间知己，谓其山水繁简皆佳、运转自如，认为其笔墨独到，可与画史上最具权威的“南宗”大师北苑(董源)、香光(董其昌)齐驱，可见其山水画在宫廷中地位之高。",[23,26,25,24,56,871,358,150,63,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F875ca397370e0f4af62fcea9fca3f34f.jpg",[],{"id":49971,"slug":49972,"title":17147,"dynasty":97,"author":17148,"museum":99,"description":17149,"tags":49973,"thumbUrl":49974,"material":391,"size":107,"collection":107,"collections":49975,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":40},234277,"hua-guo-ce-wang-yun-234277",[23,51,24,25,332,27630,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c9b4a248d840944071249dcc4fbdc50.jpg",[],{"id":49977,"slug":49978,"title":49979,"dynasty":18,"author":6822,"museum":99,"description":31696,"tags":49980,"thumbUrl":49981,"material":107,"size":107,"collection":107,"collections":49982,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":40},234223,"du-qiong-meng-xuan-tang-tu-juan-du-qiong-234223","杜琼梦萱堂图卷",[49,23,51,52,26,56,55,86,119,7,63,64,278,295],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4b3528e3fa7f667927b9d355b3593ba.jpg",[],{"id":49984,"slug":49985,"title":49986,"dynasty":97,"author":22158,"museum":175,"description":49987,"tags":49988,"thumbUrl":49989,"material":319,"size":107,"collection":107,"collections":49990,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":75},234140,"shi-shu-hua-he-juan-huang-yi-234140","诗书画合卷","故宫博物院藏有黄易的一纸《诗书画合卷》，在《诗书画合卷》中黄易分别临习了王羲之的《黄庭经》和《东方朔画像赞》。此二作虽为临习作品，黄易却对原作进行了大胆改变，这种改变可以说是以钟繇来冲破“二王”。首先，他临王羲之楷书中带有些许钟繇的字势特点。他将王羲之楷书结体的纵向取势变为横向取势，并在某些笔画上参入隶书笔意，特别是捺画夸张和舒展得更为明显，以隶书的波挑来调节楷书的板滞。其次，黄易改王羲之楷书的疏朗宽阔为茂密紧凑，不管是行距还是字距都远小于原作，使章法更为葱郁。再次，此作在略微增加线条厚度的同时，又增加了不少起笔和收笔的出锋，这就使作品厚重之中更具有灵动感和活泼的情趣。",[49,23,51,52,86,26,55,56,871,700,295,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2594a0466d2bc6670524a74ac93c1c2d.jpg",[],{"id":49992,"slug":49993,"title":49994,"dynasty":18,"author":42872,"museum":175,"description":49995,"tags":49996,"thumbUrl":49997,"material":319,"size":107,"collection":107,"collections":49998,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":40},233853,"shi-hua-he-bi-ce-zhou-yong-233853","诗画合璧册","周用（1476—1547，一作1476-1548），字行之，号伯川，南直隶苏州府吴江县（今江苏省苏州市吴江区）人。弘治十五年（1502）进士，授行人。正德初，迁南京兵科给事中，进言谏迎佛事及镇守江西中官不法事，迁广东布政司参议。嘉靖中，历官南京工部、刑部尚书。九庙灾，自陈致仕。后以工部尚书总督河道，官至吏部尚书。\n周用，字行之，吴江人。弘治十五年进士。授行人。正德初，擢南京兵科给事中。父忧服阕，留补礼科。已，乞南。改南京兵科。谏迎佛乌斯藏及以中旨迁黜尚书、都给事中等官，且请治镇守江西中官黎安罪。出为广东参议，预平番禺盗，有功。历浙江、山东副使。擢福建按察使，改河南右布政使。代监司鞫南阳滞狱，狱为之空。嘉靖八年擢右副都御史，巡抚南、赣。召协理院事。历吏部左、右侍郎。以起废不当，尚书汪鋐委罪僚属，乃调用南京刑部。就迁右都御史，工、刑二部尚书。九庙灾，自陈致仕。用端亮有节概。既罢，中外皆惜之，频有推荐。久之，以工部尚书起督河道，数月，改漕运。未上，召拜左都御史。二品九年满，加太子少保。二十五年代唐龙为吏部尚书。明年卒官。赠太子太保，谥恭肃。曾孙宗建，自有传。\n用掌宪时，慎自持而已，无所献替。其后宋景、屠侨继之，大略皆廉洁，与用相似。景未久卒，而侨居职八年。属严嵩柄政，风纪不振。议丁汝夔狱，受杖不能去。",[23,51,24,26,25,58,137,150,6892,751,7,55,13921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1575daded0dd84731ed33873af0a13d2.jpg",[],{"id":50000,"slug":50001,"title":35718,"dynasty":97,"author":25199,"museum":175,"description":37136,"tags":50002,"thumbUrl":50003,"material":391,"size":37139,"collection":107,"collections":50004,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":40},233441,"huang-shan-tu-ce-mei-qing-233441",[23,51,24,26,25,56,150,59,64,751,55,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcad87ebd9140b2f96032cf30f420971.jpg",[],{"id":50006,"slug":50007,"title":35718,"dynasty":97,"author":25199,"museum":175,"de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青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。 其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格， 在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[49,822,119,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18ed06e54c1727261421608c690df658.jpg",[],{"id":50124,"slug":50125,"title":50126,"dynasty":18,"author":207,"museum":99,"description":50127,"tags":50128,"thumbUrl":50129,"material":689,"size":690,"collection":107,"collections":50130,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":40},228821,"gu-xiu-shi-liu-ying-zhen-tu-yi-ming-228821","顾绣十六应真图","明嘉靖年间,露香园主顾名世之妾缪氏擅绣人物、佛像,又有顾媳韩氏仿宋元画入绣。因绣品气韵生动,于是名噪一时。",[49,7645,135,25,1284,58,871,150,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd2601ee105f36fa640e1cc4bf14f7dc.jpg",[],{"id":50132,"slug":50133,"title":50134,"dynasty":18,"author":29810,"museum":99,"description":50135,"tags":50136,"thumbUrl":50137,"material":107,"size":107,"collection":107,"collections":50138,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":40},228767,"shi-jiao-tu-ce-ni-yuan-lu-228767","石交图册","此作用笔斩截沉厚，起收爽利干脆，捺笔重拙舒展自带金石质感。字形方正端稳，排布匀整却不显板滞，繁复如“鴻”者疏密处理精妙，收放之间尽显朴茂雄浑之气。\n\n师法汉隶古意又自出机杼，将隶书的端庄雅正与书写的灵动意趣相融，笔画粗细对比鲜明，苍劲老辣又开张大气，尽显沉浑朴厚的书法意韵，视觉张力饱满，藏着刚劲爽利的气度。",[86,5663,7,24,51,5943],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa953d9cf505ccdd5b3da0d01691690dd.jpg",[],{"id":50140,"slug":50141,"title":50142,"dynasty":18,"author":29810,"museum":99,"description":50143,"tags":50144,"thumbUrl":50145,"material":107,"size":107,"collection":107,"collections":50146,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":40},228766,"liu-hua-tu-ni-yuan-lu-228766","六花图","此作为诗画合璧长卷，水墨花卉写意挥洒，墨色干湿浓淡变幻自然。牡丹、寒梅等花木虬枝苍劲，花瓣晕染淋漓，笔底带着疏朗桀骜的生气，将草木风骨跃然纸上。\n\n配题行书笔力奇崛雄健，结体欹侧跌宕，与画意相得益彰，诗文与绘事交织，融画境、文心、笔情为一体。\n笔底藏着晚明文人的疏狂耿介，将写意精神抒发尽致，是诗书画印合一的文人佳构，尽显磊落襟怀与不俗格调。",[49,23,51,52,26,119,7,528,251,420,308,488,529],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F065af1defdfd694ae2722cb69a9abca8.jpg",[],{"id":50148,"slug":50149,"title":21485,"dynasty":18,"author":3904,"museum":99,"description":50150,"tags":50151,"thumbUrl":50152,"material":107,"size":107,"collection":107,"collections":50153,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":40},228398,"chi-bi-sheng-you-tu-zhu-yun-ming-228398","首段山水小景澹然悠远，江岸林峦苍润秀雅，晕染出赤壁夜游的清寂夜色。后接长篇书作，开篇行书秀逸灵动，笔锋舒卷间尽显从容；后段转为大草，纵横跌宕，墨色浓枯变幻强烈，将苏子赤壁怀古的旷达沉醉尽数抒发。笔墨随着文辞意境流转，文心与书意交融无间，把赤壁夜游的幽远意趣铺展于卷上，尽显吴门书家的放逸才情，让观者漫游翰墨山水间，重临其境感受千古名篇的悠然况味。",[49,50,23,51,52,119,86,26,25,56,62,64,61,60,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94288a4f33978c648f5941eb7a2c2bc4.jpg",[],{"id":50155,"slug":50156,"title":50157,"dynasty":18,"author":207,"museum":99,"description":50158,"tags":50159,"thumbUrl":50160,"material":107,"size":107,"collection":107,"collections":50161,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":75},228376,"ren-wu-gu-shi-ye-yi-ming-228376","人物故事页","此作用笔挺劲，以铁线描勾勒形象，线条简练流畅，将人物衣褶的起伏褶皱精准铺展，生动带出二人一马二牛的动态。骑者神色安然，坐姿舒展，仆从赤足束发，扬杆驱策双牛，朴拙情态呼之欲出。\n\n设色简淡清雅，以赭石、石绿晕染衣饰层次，古旧绢面晕开沉厚古韵。画面捕捉羁旅行役的日常一瞬，以小见大，无繁复铺陈却将赶路的平实氛围烘托尽致。留白与古印相映，暗合古韵悠长的雅致意趣，尽显写实中暗藏写意情致的风貌，浅淡间定格行旅的烟火日常。",[49,23,25,58,1115,225,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35b314c39166e2c1ee3b7573373fd05b.jpg",[],{"id":50163,"slug":50164,"title":50165,"dynasty":115,"author":24985,"museum":99,"description":50166,"tags":50167,"thumbUrl":50168,"material":107,"size":107,"collection":107,"collections":50169,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":40},227946,"bao-bao-can-zhuang-qi-jue-tuan-shan-ce-ye-yang-huang-hou-227946","薄薄残妆七绝团扇册页","此作楷书清丽秀雅，笔致温婉端凝，起转收合间尽显宋人的雅致法度。笔底诗句将暮春残妆淡香、揽春光自适，再到厌弃繁华耽于醉乡的心境缓缓铺陈，笔墨与文思相融，自带沉静隽秀的闺中韵致。泛黄绢面晕染开古雅底色，朱红印章错落点缀，尺幅之内既有笔墨书香，更具宋韵小品的精致隽永，尽显平和内敛的审美意趣，将宋代文人的雅致心境藏于团扇方寸之间。",[49,50,23,51,822,24,417,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5abb7fcc0ede7c197ab580da97bca657.jpg",[],{"id":50171,"slug":50172,"title":43927,"dynasty":115,"author":207,"museum":99,"description":50173,"tags":50174,"thumbUrl":50176,"material":107,"size":107,"collection":107,"collections":50177,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":924},227849,"han-ke-shan-zhe-tu-yi-ming-227849","此作用笔苍劲老辣，绘就隆冬寒林之景。虬曲古柯凝着薄雪，枝桠枯瘦萧疏，晕染出彻骨清寒。两只山鹧栖于枝头，羽色晕染细腻，墨色浓淡间绒羽质感尽显，神态安闲静穆，为荒寂雪景添上灵动生机。\n\n整幅小品以极简布局营造出幽谧冷寂的意境，工写结合，山水小景与花鸟相映成趣，于简淡中藏着精微刻画，将冬日林泉的清冷凝寂与禽鸟的鲜活生机相融，尽显宋人清冷雅致的审美意趣，方寸之间，意蕴悠长。",[49,50,23,51,822,54,25,27,967,50175,277,66,7],"山鹧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8af24f946845e287b4724601d027e49d.jpg",[],{"id":50179,"slug":50180,"title":50181,"dynasty":115,"author":207,"museum":99,"description":50182,"tags":50183,"thumbUrl":50184,"material":107,"size":107,"collection":107,"collections":50185,"showCount":455,"zanCount":39,"manualWeight":39,"mainColor":40},227845,"tian-mo-gui-fan-tu-yi-ming-227845","天末归帆图","淡墨轻晕远汀，留白铺陈出浩渺水色，归帆杳杳隐在烟霭之间，寥寥数笔便写尽水天空寂的清寥诗意。\n\n右侧行书笔致苍雅隽秀，将羁人盼归的怅惘藏在笔墨间，与画境浑然相融。后幅题跋评点精当，诗书画印合为一体，尽显宋人的雅致襟怀。咫尺团扇之中，以极简的水墨语言晕染出江南泽国的空濛澹远，把山水写意与文人情思揉作一处，悠悠古韵扑面而来。",[49,23,51,26,25,56,29372,1207,406,1206,119,7,751],"https:\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少好诗古文，晚岁画宗扬补之，水仙似赵孟坚。墨梅古趣洋溢，墨兰雅润，不专一家。或肆为粉披，或敛为简淡，皆天真自然，不求妍妙而别饶风趣。 [1] 诗文师大苏，音格高雅，赋骈体皆师唐、宋，居词馆三十余年，文名动天下。卒年六十八。所著有《南雅诗文钞》，《清史列传》行于世。",[119,84,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F537079440bf1da33f780cf7b1a014b4e.jpg",[122],{"id":51227,"slug":51228,"title":51229,"dynasty":18,"author":51230,"museum":99,"description":51231,"tags":51232,"thumbUrl":51233,"material":689,"size":690,"collection":107,"collections":51234,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},241468,"qi-yan-shi-ju-zhou-yang-ji-sheng-241468","七言诗句轴","杨继盛","杨继盛（1516年6月16日－1555年），字仲芳，号椒山。直隶容城（今河北容城县北河照村）人。明朝中期著名谏臣。\n嘉靖二十六年（1547年），杨继盛登进士第，初任南京吏部主事，师从南京吏部尚书韩邦奇学习律吕。后官兵部员外郎。因上疏弹劾仇鸾开马市之议，被贬为狄道典史。其后被起用为诸城知县，迁南京户部主事、刑部员外郎，调兵部武选司员外郎。\n嘉靖三十二年（1553年），上疏力劾严嵩“五奸十大罪”，遭诬陷下狱。在狱中备经拷打，终于嘉靖三十四年（1555年）遇害，年四十。明穆宗即位后，以杨继盛为直谏诸臣之首，追赠太常少卿，谥号“忠愍”，世称“杨忠愍”。后人以其故宅改庙以奉，尊为城隍。有《杨忠愍文集》。",[86,119,84,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e3fcfb9904df575dee9b05b5a313429.jpg",[],{"id":51236,"slug":51237,"title":51238,"dynasty":97,"author":800,"museum":99,"description":5786,"tags":51239,"thumbUrl":51240,"material":689,"size":690,"collection":107,"collections":51241,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},241463,"zi-xu-gao-juan-zheng-ban-qiao-241463","自叙稿卷",[86,119,52,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F315d72a62dc01a9ad5959ff2c5717882.jpg",[],{"id":51243,"slug":51244,"title":51245,"dynasty":97,"author":28080,"museum":99,"description":35363,"tags":51246,"thumbUrl":51247,"material":689,"size":690,"collection":107,"collections":51248,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},241440,"ling-xi-xi-zha-heng-weng-fang-gang-241440","令西席札横",[86,119,26,502,7,32833],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff831f5311a37710a8242344795c3470e.jpg",[],{"id":51250,"slug":51251,"title":29296,"dynasty":97,"author":22158,"museum":99,"description":22159,"tags":51252,"thumbUrl":51253,"material":689,"size":690,"collection":107,"collections":51254,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":75},241417,"si-yan-lian-huang-yi-241417",[86,5663,5664,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87d71b5086625065c2bb79a98026c856.jpg",[],{"id":51256,"slug":51257,"title":21113,"dynasty":97,"author":12638,"museum":99,"description":12639,"tags":51258,"thumbUrl":51259,"material":689,"size":690,"collection":107,"collections":51260,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},241414,"qi-lv-zhou-huang-shen-241414",[86,84,462,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9828e5aac72ecb8c1dd3dbb0eee4e13b.jpg",[],{"id":51262,"slug":51263,"title":51264,"dynasty":97,"author":2109,"museum":99,"description":30601,"tags":51265,"thumbUrl":51266,"material":689,"size":690,"collection":107,"collections":51267,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},241413,"ti-hua-shi-juan-liu-yong-241413","题画诗卷",[52,51,119,86,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ac87767aee6107c13a29656fe90317e.jpg",[],{"id":51269,"slug":51270,"title":46635,"dynasty":97,"author":51271,"museum":175,"description":51272,"tags":51273,"thumbUrl":51274,"material":28911,"size":51275,"collection":122,"collections":51276,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},241400,"lin-tie-zhou-wang-ze-241400","王泽","释文：\n廙言五日穷思永远甘雪应时严寒奉被手诏伏\u002F承圣体御膳胜常以慰下情匆匆慈恩垂愍\u002F每见慰问感戴不胜衔遇谨表陈闻。庚寅正月廿日午时。王铎。\n这是王铎59岁时创作的行书精品。作品节录东晋王廙书《祥除帖》（见《淳化阁帖》卷二）。\n王铎学书立足于临摹古人，尤其推崇二王，认为“书不宗晋，终入野道。”他勤于临摹，精熟之功可至“不爽毫发”的境地，但步趋古人绝非其终极目标，而是他艺术创造的基础。王铎曾云：“书法之始难以入帖，继则难以出帖。”“入帖”仅仅是追摹古人，“出帖”方为脱古创新。对于古法帖，他往往不专意于内容，而是以古帖文本为依托，意在对古人传统精神的把握和追求，因此常将古帖摘而书之，或数帖杂糅并书。帖文之外，书体笔法亦不刻意模仿，而是运自家笔法，创个性书风。如王廙此帖原为楷书，王铎却行书带草，挥洒而就，展示出他晚年所取得的艺术成就，也为自己“入帖”与“出帖”作了最好的诠释。",[86,134,119,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7fc72eb87ba879f31dbddc86e5843ef.jpg","纵235厘米，横52.7厘米",[122],{"id":51278,"slug":51279,"title":51280,"dynasty":97,"author":42961,"museum":99,"description":51281,"tags":51282,"thumbUrl":51283,"material":319,"size":107,"collection":122,"collections":51284,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},241380,"xing-jie-lin-zhao-wen-min-bao-yun-si-bei-zhou-shen-zong-jing-241380","行节临赵文敏宝云寺碑轴","沈宗敬（1669—1735）《清朝畫徵錄》作雍正三年（1725）卒，清朝書畫家筆錄從之。字恪庭、南季，號獅峯、獅峯道人、雙鶴老人、雙杏草堂主人、卧虛山人等，華亭（今松江屬上海市）人，沈荃之子。今依歷代畫史匯傳。",[86,119,134,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F570db20bb1c34f1503be051ab51a2872.jpg",[122],{"id":51286,"slug":51287,"title":36709,"dynasty":97,"author":51288,"museum":99,"description":51289,"tags":51290,"thumbUrl":51291,"material":319,"size":107,"collection":122,"collections":51292,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},241379,"wu-lv-zhou-shen-sheng-qi-241379","沈圣岐","万历时人。善书。诗余画谱有其所书。",[86,119,84,7,23577,2956,7010,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecfa9905c2c722d08994fd79fd112cb9.jpg",[122],{"id":51294,"slug":51295,"title":21113,"dynasty":97,"author":3136,"museum":99,"description":17499,"tags":51296,"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[1] 。为政四十余年，清廉正直，敢于直 谏，在吏治、军事、治河、修史等方面均有显著政绩。\n乾隆三十八年（1773年），去世，时年七十五，获赠太傅，谥号文正。",[86,84,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaad8b364873777a4241de58886d8b00.jpg",[122],{"id":51383,"slug":51384,"title":31781,"dynasty":97,"author":11197,"museum":99,"description":5786,"tags":51385,"thumbUrl":51386,"material":689,"size":690,"collection":107,"collections":51387,"showCount":923,"zanCount":1288,"manualWeight":39,"mainColor":924},241129,"zheng-xie-shi-zhou-zheng-xie-241129",[97,86,84,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6690e16dbc217ea900110d0c31b4c11b.jpg",[],{"id":51389,"slug":51390,"title":28104,"dynasty":97,"author":51391,"museum":99,"description":51392,"tags":51393,"thumbUrl":51395,"material":319,"size":107,"collection":122,"collections":51396,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},241078,"shi-zhou-fang-xun-241078","方薰","方薰(1736—1799)，字兰士，一字懒儒，号兰坻、兰如、兰生、长青、樗庵，别署语儿乡农，浙江石门（今属桐乡）布衣。槑子。性高逸狷介，朴野如山僧。诗、书、画并妙，写生尤工，与钱塘奚冈（字铁生，西泠八家之一）齐名，世称浙西两高士，称“方奚”。一时能手，无出二人之上。阮元评其画说：“深得宋元人秘法。”陈希濂则说：“兰士作画，繁不重，简不略，厚在神，秀在骨，高旷之气，突过时辈。”作品有《山静居诗稿》《山静居词稿》《题画诗》《山静居画论》。",[51,84,119,86,7,46872,1207,51394,946,22811,40917,2954,5209,31398,332,406,25817,700],"湖山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67a37ec1aed7712c705ad5c860ddd550.jpg",[122],{"id":51398,"slug":51399,"title":28876,"dynasty":97,"author":16882,"museum":99,"description":16883,"tags":51400,"thumbUrl":51401,"material":689,"size":690,"collection":107,"collections":51402,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},241033,"qi-jue-zhou-fu-shan-241033",[23,51,84,462,86,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e8f5a02289221965bf397a01a47c12f.jpg",[],{"id":51404,"slug":51405,"title":36709,"dynasty":97,"author":16882,"museum":99,"description":16883,"tags":51406,"thumbUrl":51407,"material":689,"size":690,"collection":107,"collections":51408,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":75},241032,"wu-lv-zhou-fu-shan-241032",[51,84,462,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08227a425efead1a09742bf66725b770.jpg",[],{"id":51410,"slug":51411,"title":28104,"dynasty":97,"author":16882,"museum":99,"description":16883,"tags":51412,"thumbUrl":51413,"material":689,"size":690,"collection":107,"collections":51414,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},241031,"shi-zhou-fu-shan-241031",[84,86,462,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a3933bf49524d6f12812f17e0ef5155.jpg",[],{"id":51416,"slug":51417,"title":32810,"dynasty":97,"author":18133,"museum":99,"description":25815,"tags":51418,"thumbUrl":51419,"material":689,"size":690,"collection":107,"collections":51420,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":924},241024,"wang-duo-wu-lv-zhou-wang-duo-241024",[86,84,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb75211a89a0d11156842279200dda173.jpg",[],{"id":51422,"slug":51423,"title":51424,"dynasty":97,"author":51425,"museum":99,"description":51426,"tags":51427,"thumbUrl":51428,"material":319,"size":107,"collection":122,"collections":51429,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},241021,"qi-yan-zhou-gong-you-rong-241021","七言轴","龚有融","龚有融（1755～1831）清著名书画家。字晴皋，号绥山樵子，晚号拙老人，清四川省重庆府巴县人。祖父辈由营山县迁入巴县，定居西里冷水场（今重庆九龙坡区华岩乡）。\n乾隆四十四年（1779年）举人。后屡试春闱不第，以游幕和馆课为生。嘉庆十七年（1812）大挑一等，选山西崞县（今原平县）知县。旧例新令至可得数千金。龚有融单车抵县，破旧例，却金不受。在官三年，多惠政。\n会抚军巡县，供张之费，须敛民财，有融不忍，亲自支应。驺从哄于署。是时有融方食，惟麦饭豆菽，举以示之曰：“此吾所自奉，共食何如？”次日抚军启行，呼左右不即至，抚军不悦。\n未几，调任石楼知县，有融年已六十，宦情淡薄，遂称病辞官。崞县民众攀辕泣送，为立生祠祀之。归里薄置田宅，自题宅旁小溪曰“退溪”。于石碾房课徒讲学，名曰“碾斋书堂”。\n教授勤恳，远近才俊，慕名来学者众，至屋舍不能容，造就颇多。间应朋友之请，作书画得润笔以自给。晚年自号“拙老人”。高简不轻出，当道欲图一见不可得，亟重其画。某太守生辰，郡人将制锦以献。太守曰：“以幅纸得龚先生书画足矣。”有融时馆于城，竟走避。比太守拜见，不见，亦不答。\n道光十一年（1831）病卒于家。崇祀乡贤祠。",[97,51,86,84,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fb12e447b9f0ed29a963d7f48cf90b4.jpg",[122],{"id":51431,"slug":51432,"title":22099,"dynasty":97,"author":51433,"museum":99,"description":51434,"tags":51435,"thumbUrl":51437,"material":319,"size":107,"collection":122,"collections":51438,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},241019,"wu-gu-zhou-cao-ting-dong-241019","曹廷栋","生于清圣祖康熙三十八年，卒于高宗乾隆五十年，年八十七岁。诸生。少嗜学工诗，中年后，绝意进取。于所居累土为山，环植花木，以奉母，名之日慈山，因自号慈山居士。时或弹琴赋诗写兰石摹篆隶以抒其闲寂。后益耽著述，不下楼者三十年，所坐木榻穿而复补。性旷达，晚自营生圹，手植梅花成林。廷栋生平最爱贺铸诗，故所为大似北宋人。尝以《宋诗钞》漏略尚多，因搜采遗佚，为《宋百家诗存》二十八卷；他着有《产鹤亭诗集》七卷，《老老恒言》五卷，《易准》四卷，《昏礼通考》二十四卷，《孝经通释》十卷，《逸语》十卷，及《琴学内篇》一卷，《外篇》一卷，均《清史列传》并传于世。",[86,84,119,7,225,136,51436,49041,41862,944,2956,358],"渭水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f5376f4e87589ee425ab452052d0c32.jpg",[122],{"id":51440,"slug":51441,"title":51442,"dynasty":97,"author":15922,"museum":99,"description":51443,"tags":51444,"thumbUrl":51445,"material":319,"size":107,"collection":122,"collections":51446,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},241016,"shu-zha-juan-cha-shi-biao-241016","书札卷","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故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）清代钱塘（今杭州）人。崇祯十二年（一六三九）举人。清初官甘肃同谷知县，有政声。以建少陵七歌堂被诬。",[86,119,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99180d176684ae7acc0568e6f3312b33.jpg",[122],{"id":51561,"slug":51562,"title":28104,"dynasty":18,"author":51563,"museum":20,"description":51564,"tags":51565,"thumbUrl":51566,"material":319,"size":51567,"collection":122,"collections":51568,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},240441,"shi-zhou-shen-shi-xing-240441","申时行","申时行 ，汝默，号瑶泉。长洲（今江苏吴县）人。嘉靖四十一年（公元一五六二年）进士第一，授修撰。以文字受知张居正。历官礼部右侍郎、吏部右侍郎、左侍郎兼东阁大学士、礼部尚书、吏部尚书、建极殿大学士等职。万历本年为立太子问题，触怒皇帝，遭黜责，后辞官返乡。卒，谥文定。时行所著诗文，有《赐闲堂集》四十卷，《四库总目》传于世。《明史》卷二百十八有传。",[51,86,119,84,7,308],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d765f70ca9dba8874c686a445001a04.jpg","186.2×39.6cm",[122],{"id":51570,"slug":51571,"title":28104,"dynasty":97,"author":51572,"museum":99,"description":51573,"tags":51574,"thumbUrl":51575,"material":319,"size":107,"collection":122,"collections":51576,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},240436,"shi-zhou-jin-jun-ming-240436","金俊明","金俊明（1602—1675），原名袞，字孝章，一作九章，號耿庵，又號不寐道人，吳縣（今屬江蘇蘇州）人。《歷代名人年譜》作生於明萬曆二十九年，卒於清康熙十二年，年七十三歲。此從《續疑年錄》並參《清史列傳》。明諸生。少隨父官寧夏，往來燕趙間，以任俠自喜。諸邊帥爭欲延致幕府，不就。歸裏後，折節讀書，靡不研究，著名復社中。明亡，棄諸生杜門傭書自給，不復出。及卒，門人私諡貞孝先生。俊明好錄異書，工詩古文兼善書畫，尤長於墨梅。嘗寫陶詩及畫梅寄王士禎兄弟，士禎甚寶之。世稱“三絕。”\n父親去世後歸家，折節讀書。於經、史、子、集、天文、水利，均有研究。明亡入清後為遺民，杜門不出，填詞畫梅、藏異書，且手自抄錄珍本以及交遊文稿凡百餘種。",[86,462,84,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09c1146bce5c7f3636421be33858a27.jpg",[122],{"id":51578,"slug":51579,"title":51580,"dynasty":97,"author":207,"museum":99,"description":51581,"tags":51582,"thumbUrl":51583,"material":319,"size":51584,"collection":122,"collections":51585,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},240424,"zhe-ting-guan-shi-zhou-yi-ming-240424","禇廷琯诗轴","此作用笔纵逸奔放，以草书挥就，线条灵动遒劲，提按顿挫间尽显笔力张力。行气连贯舒朗，字距疏密错落，字势顾盼呼应，虚实相生间营造出灵动的章法节奏，墨色枯湿浓淡交织变化，为作品添得丰富视觉层次。\n书写随性自然，将诗意寄寓于笔墨流转之中，尽显文人书法抒情写意的特质，萧散简远的文人情致溢于纸面，把书法线条之美与诗文意境相融，率意洒脱的意韵扑面而来，是一件颇具韵味的草书佳制。",[105,86,84,462,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67dbfc12627552828b2031305dc33293.jpg","129×30cm",[122],{"id":51587,"slug":51588,"title":51589,"dynasty":18,"author":2181,"museum":99,"description":5719,"tags":51590,"thumbUrl":51591,"material":689,"size":690,"collection":107,"collections":51592,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},240406,"xian-chuang-man-bi-ce-dong-qi-chang-240406","闲窗漫笔册",[49,50,23,51,24,119,7,86,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04382bc9e7c9c0adbffb0593d29b8f25.jpg",[],{"id":51594,"slug":51595,"title":51596,"dynasty":18,"author":51597,"museum":99,"description":51598,"tags":51599,"thumbUrl":51600,"material":319,"size":107,"collection":122,"collections":51601,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},240356,"bai-lian-shi-ye-lu-shi-kai-240356","白莲诗页","陆师凯","此作用笔爽利遒劲，行书笔势灵动婉转，牵丝映带自然流畅，墨色兼具浓腴与枯涩，尽显明代行书尚态之美。字间错落排布，行气贯通一体，将咏白莲的诗意融于笔墨之中。线条粗细变化丰富，既有帖学流美雅致的意韵，又暗含挺健筋骨，文人清逸的书卷气萦绕其间，把对白莲的咏叹藏在挥毫走笔之间，书写随性却不失法度，整幅作品抒情写意兼具，尽显文人书法以笔达意的清雅格调。",[86,51,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27ae59cb7f6b2eab10ef9cddce62cd06.jpg",[122],{"id":51603,"slug":51604,"title":51605,"dynasty":18,"author":51606,"museum":99,"description":51607,"tags":51608,"thumbUrl":51609,"material":689,"size":690,"collection":107,"collections":51610,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},240352,"bing-di-lian-shi-ye-ling-lu-240352","并蒂莲诗页","凌录","此作用笔清劲秀逸，牵丝映带间尽显灵动婉转，提按顿挫富于节律变化，将行书的挥洒自如与雅致蕴藉融于一体。通篇布白疏朗匀停，字势欹正相生，敛放之间暗含行气贯通。笔墨意趣贴合诗中情致，缱绻心绪寄于笔端，既带着明人书法尚态抒情的特质，又兼具隽雅书卷气。墨色浓淡自然过渡，枯湿互见，添了几分萧散疏淡的文人意韵，尽显以书寄情的风雅品格，是一件兼具笔墨美感与文情诗意的行书佳作。",[51,119,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b3f55246bb355170a08f40a2da03751.jpg",[],{"id":51612,"slug":51613,"title":28104,"dynasty":18,"author":51614,"museum":99,"description":51615,"tags":51616,"thumbUrl":51617,"material":319,"size":107,"collection":122,"collections":51618,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},240330,"shi-zhou-li-dai-wen-240330","李待问","李待问（1603-1645），字存我。明松江府华亭县人。崇祯十六年（1643年）进士，授中书舍人。工文章，精书法。书法笔力遒劲，字体秀逸，行书可与董其昌媲美。松江博物馆藏有手迹行书诗轴。著有《玉裕堂存稿》。\n顺治二年（1645年），清兵下江南。与同郡沈犹龙、陈子龙、夏允彝、徐孚远等起义抗清，迁母于乡，身任守东门之职。八月初三日，清兵用计袭取西门，城破。见大势已无可挽回，乃从东门下来。有百户挽住说：“您读烂《四书》，今天将怎样？”待问说：“为臣死忠，这是常事，我不过想和家人作最后诀别罢了。”百户说：“您能这样，我先断头以待。”就拔刀自刎而死。待问凭尸而哭。仓卒抵家，少妾换衣涕泣，众人都劝逃走。他笑着说：“死，是我分内之事。且不死，将何以对待那位百户呢？”于是引绳自缢。气未绝而被俘。劝降不屈，慷慨就义。临死，犹告清将不可残杀民众。\n松江民众怀念他，尊为府城隍，塑像为祀。诞辰为阴历七月十四日，府城隍庙例有盛大庙会，松江城厢人民并有夜间吃豆浆的风俗，都是纪念他的。",[8547,84,86,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F506f22b629759451d56b0de7a10078f0.jpg",[122],{"id":51620,"slug":51621,"title":51622,"dynasty":97,"author":45306,"museum":99,"description":51623,"tags":51624,"thumbUrl":51625,"material":319,"size":107,"collection":122,"collections":51626,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},240304,"qi-xiang-ting-shu-zha-juan-yuan-mei-240304","歧香亭书札卷","袁枚，字子才，号简斋，生于1716年，逝于1797年，享年81岁，是清朝乾嘉时期著名的诗人、散文家和文学评论家，生平以自由洒脱，狂放不羁著称，留下许多风流韵事，代表作品有《随园诗话》及《补遗》，《小仓山房集》、《子不语》、《续子不语》、《随园食单》等。袁枚自幼熟读读书，擅长写诗作词，在乾隆四年也即1739年，年仅24岁的袁枚考中进士，被授予翰林院学士。乾隆七年即1742年，袁枚被外调做官，先后做过沭阳、江宁、上元等地的知县，袁枚执政清明，不畏权贵，颇有政绩，在乾隆十四年时，袁枚父亲去世，遂辞官回乡养母，同时在江宁也即今南京购房安居，所买随园经袁枚的翻修改造，成为了当时著名的私人园林，而袁枚也被世称为随园先生。袁枚在67岁时服完母丧后，开始远途游山玩水，先后游览过天台山、雁荡山、黄山、广东罗浮山、丹霞山、武夷山等地，袁枚在游历期间写下众多散文游记，直到去世的当年，81岁高龄的袁枚还在出游吴江，要知道古时候，交通不便，沟通不畅，袁枚以老年之态还能畅游全国山水，精神可嘉，勇气可嘉。",[49,51,52,86,119,7],"https:\u002F\u002Foss.chuangqi.sto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1822)，字墨琴，自署写韵轩，安徽休宁人，侨居吴门，为曹锐女，王芑孙妻，无金粉之好，能绘事，书法钟王，士林重之。",[23,51,84,119,462,417,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F824c855bb34f23e3b4e8153b00263aba.jpg",[122],{"id":51694,"slug":51695,"title":28104,"dynasty":97,"author":51696,"museum":99,"description":51697,"tags":51698,"thumbUrl":51699,"material":107,"size":107,"collection":122,"collections":51700,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":75},240183,"shi-zhou-sun-shi-jie-240183","孙世杰","此作用笔纵逸苍劲，以中锋立骨、侧锋取势，提按顿挫间尽显老辣雄奇。章法错落跌宕，字势欹侧相生，墨色浓枯变幻自然，重墨处浑穆淋漓，枯笔飞白间尽显苍茫意趣。\n整幅以行草书写就自作诗篇，笔墨与文辞相得益彰，既有北碑的雄强浑朴，又不失帖学的灵动流转，将郁勃豪迈的意气寄寓于点画之间，尽显清初行草书尚势的典型风尚，尽显书家不俗的胸襟与扎实笔力，是极具个性风貌的书法佳构。",[86,84,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ba6ffce4540c25f4e4241c2da97e86a.jpg",[122],{"id":51702,"slug":51703,"title":51704,"dynasty":97,"author":51705,"museum":99,"description":51706,"tags":51707,"thumbUrl":51708,"material":99,"size":107,"collection":122,"collections":51709,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},240170,"si-jia-shou-zha-juan-sun-cheng-ze-240170","四家手札卷","孙承泽","孙承泽（1593-1676），字耳北，一作耳伯，号北海，又号退谷，一号退谷逸叟、退谷老人、退翁、退道人，山东益都人，世隶顺天府上林苑（今河北大兴）。明末清初政治家、收藏家。明崇祯四年（1631）中进士。官至刑科给事中。先投降李自成大顺政权，清顺治元年（1644）又投降清朝，历任吏科给事中、太常寺卿、大理寺卿、兵部侍郎、吏部右侍郎等职。富收藏，精鉴别书、画。著有《春明梦余录》《天府广记》《庚子消夏记》《九州山水考》《溯洄集》《研山斋集》等四十余种，多传于世。卒年八十五。其故宅即今后孙公园25号，寓号“研山堂”，内有“万卷楼”。入“贰臣传”。",[49,86,52,119,462,7,26,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b5519d9af27330914d2e823572b129f.jpg",[122],{"id":51711,"slug":51712,"title":35311,"dynasty":97,"author":13058,"museum":99,"description":48587,"tags":51713,"thumbUrl":51714,"material":689,"size":690,"collection":107,"collections":51715,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":75},240150,"shi-juan-yong-rong-240150",[49,23,51,52,119,86,7,26,25,54,55,870,406,31398,2956,277,63,66,2681,137,27,529,528,358,251,420,308,57,314,488,1085,2342,61,16427,332,531,871],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51bef9db8d13140b80a43b3a09f5f780.jpg",[],{"id":51717,"slug":51718,"title":51719,"dynasty":18,"author":3904,"museum":99,"description":51720,"tags":51721,"thumbUrl":51722,"material":319,"size":107,"collection":122,"collections":51723,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},240065,"gu-shi-shi-jiu-shou-juan-zhu-yun-ming-240065","古诗十九首卷","祝允明(1460-1526) 字希哲、晞喆。因右手多生一指，故自号支指生、枝指生、枝指山人、枝山、枝山居士、枝山樵人等。世称“祝京兆”。长洲(今江苏吴县)人，自幼就聪慧过人，五岁时能写一尺见方的大字，九岁会作诗，以后博览群书，诗文有奇气。弘治五年（1429）中举，以后便久试不第， 正德九年（1514），他被授为广东兴宁县知县，在岭南五年，后升任为应天(今南京)府通判，正德十四年（1519）年称病还乡。他的仕途与他的祖辈和儿子来说，都相差甚远，实际上他是一个不得意的文人。他和唐寅等人意气相投，玩世狂放。与唐寅、文徵明、徐祯卿并称为 “吴中四才子”。晚年，他喜独居作诗文，崇尚魏晋风流和禅宗，生活更加放浪形骸而不乐拘检，甚至玩世不恭，在吴门派中，他算最具有文人特质的一位。祝允明父为徐有贞女婿，自己又是李应祯之婿，祖父祝颢为进士，曾官至山西布政司右参政，相信在这样的环境里，他受到多方面的熏染。《明史.文苑传》称其“能诗文，尤工书法，名动海内。”他的楷书早年精谨，师法赵孟頫，褚遂良，并从欧，虞而直追“二王”，其书《出师表》谨严浑朴。晚年，临写《黄庭经》不注重点画的形似，而结构疏密，转运遒逸，神韵益足。嘉靖末的书法家王樨登说：“古今临《黄庭经》者，不下十数家，然皆泥于点画形似钩环戈磔之间而已，......枝山公独能于矩绳约度中而具豪纵奔逸意气。”他的草书师法李邕，黄庭坚，米芾，功力深厚，晚年尤重变化，风骨烂熳。人称：“枝山草书天下无，妙酒岂独雄三吴！” 清代朱和羹《临池心解》认为：“祝京兆大草深得右军神理，而时露伧气；小草则顿宕纯和，行间茂密，亦复丰致萧远，庶几媲美褚(遂良)公。”代表作有《草书贾至大明宫早朝诗轴》，《箜篌引（即草书曹植诗手卷）》和《赤壁赋》等，流利洒脱，奔放不羁。《名山藏》说：“允明书出入晋魏，晚益奇纵，为国朝第一。",[49,50,23,51,52,26,7,86,462,119,418,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d3a954db750c98792c82776e8c12da1.jpg",[122],{"id":51725,"slug":51726,"title":51727,"dynasty":18,"author":51728,"museum":175,"description":51729,"tags":51730,"thumbUrl":51731,"material":319,"size":51732,"collection":122,"collections":51733,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},240024,"xing-shu-lin-jie-jin-shi-juan-cai-yu-240024","行书临解缙诗卷","蔡羽","《临解缙诗》释文\n款署“嘉靖丙申”。丙申为明嘉靖十五年（1536年）。钤“九逵”印。\n《临解缙诗》书法深得王羲之笔意，尤其得力于《集王圣教序》和《兰亭序》。笔势遒逸俊美，流媚多姿，宛转得势，结字清秀。李日华《六研斋笔记》中云：“蔡林屋行押书，遒美有逸韵。”",[49,86,52,119,134,7,26,502,102,13543,34685,11150,42440,406,332,870,31398,1207,277],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cf3bf5705f74db8508254a8b8f7366f.jpg","29×822.2cm",[122],{"id":51735,"slug":51736,"title":51737,"dynasty":18,"author":51738,"museum":99,"description":51739,"tags":51740,"thumbUrl":51741,"material":107,"size":107,"collection":122,"collections":51742,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":75},239990,"zeng-zhao-da-yin-shi-zhou-zhu-gang-239990","赠赵大尹诗轴","朱棡","朱棡（1358年12月18日 [8] －1398年3月30日 [9] ），明朝宗室亲王，明太祖朱元璋第三子，母为孝慈高皇后马氏（即马皇后），《南京太常寺志》记载为李淑妃所生，元至正十八年（1358年）十一月十八日（12月18日）生。\n明朝第一任晋王，攘夷九大塞王之一。洪武三年（1370年）四月封晋王，洪武十一年（1378年）就藩太原。\n洪武三十一年（1398年）三月十二日（3月30日），晋王朱棡薨，年41岁，明太祖震悼，哀恸不已，上谥“恭”，是为晋恭王。葬于太原城东南10公里的黑驼山之上。",[8547,84,119,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb25768dcf524aae65def79e78ba4038.jpg",[122],{"id":51744,"slug":51745,"title":35446,"dynasty":97,"author":51746,"museum":99,"description":51747,"tags":51748,"thumbUrl":51749,"material":107,"size":107,"collection":122,"collections":51750,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},239920,"zhi-lian-shang-ye-wang-chong-xi-239920","王崇熙","王崇熙，清江西省抚州府南城县人，为清代嘉庆贰拾肆年（公元1819年）《新安县志》的主编者 ( 注：广东省新安县，后名宝安县，今天广东省深圳市），主修是当时的新安县令舒懋官。",[51,86,119,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa087d44b374c08fa1ebbe93d73efb220.jpg",[122],{"id":51752,"slug":51753,"title":51754,"dynasty":18,"author":51755,"museum":99,"description":51756,"tags":51757,"thumbUrl":51758,"material":107,"size":107,"collection":122,"collections":51759,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":75},239885,"shou-xu-juan-wen-ti-ren-239885","寿序卷","温体仁","温体仁（1574年1月1日-1638年8月11日） 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著有《已宽堂集》。",[23,51,24,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa30f126de5b03811bb887d5764c53e96.jpg",[122],{"id":51813,"slug":51814,"title":51815,"dynasty":97,"author":8927,"museum":99,"description":51816,"tags":51817,"thumbUrl":51820,"material":107,"size":107,"collection":107,"collections":51821,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},239702,"shu-hong-li-ti-dong-gao-fang-yu-xie-sheng-shi-zhou-ai-xin-jue-luo-yong-xing-239702","书弘历题董诰方舆写胜诗轴","此作用笔匀净精到，点画圆润端秀，结构排布严整匀称，是清代馆阁体书法的成熟之作。\n\n通篇气息恭谨雅致，字里行间疏朗有度，既恪守森严的馆阁法度，又不失灵动隽秀的韵致。书写时笔墨带着庄重肃穆的笔意，尽显恭谨之心，同时展露世家贵胄的笔墨涵养，将馆阁体的工稳秀雅体现得淋漓尽致，是清代正统楷书的典型范本。",[23,51,86,84,319,417,51818,435,105,7,19558,51819],"馆阁体","工整","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe664881c85e75b214874235ba038f66a.jpg",[],{"id":51823,"slug":51824,"title":51825,"dynasty":146,"author":32454,"museum":99,"description":51826,"tags":51827,"thumbUrl":51828,"material":107,"size":107,"collection":107,"collections":51829,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},239672,"chun-hui-tang-ji-juan-ou-yang-xuan-239672","春晖堂记卷","《春晖堂记》卷是元代欧阳玄创作的楷书书法作品。\n署款：“国史冀郡欧阳玄记”，款下钤“冀郡欧阳玄印”。\n鉴藏印有清安岐、乾隆内府、嘉庆内府、宣统内府诸印。\n卷后有元张翥、吴当、贡师道、程益四家题诗。\n《春晖堂记》是欧阳玄为王伯善的“奉亲之堂”所撰并书的记文。\n文中赞扬了王伯善对母亲的孝敬，同时又歌颂了王母的贤惠。\n从文中可知，此奉亲之堂名“春晖”,是当时的文人吴养浩据唐孟郊“谁言寸草心，报得三春晖”的诗意而起。\n此卷后面的诗跋咏颂的都是王伯善奉孝母亲之事，而不是对欧阳玄书法的评价。\n此书学苏轼，笔法浑厚稳健，刚劲流畅，笔画精到，起承转折分明，结体方扁，分间布白极其匀称，是欧阳玄合文章、书法为双美的代表作品。\n欧阳玄（？-157）字原功，号圭斋，浏阳人。\n祖籍江西。\n系欧阳修的族裔。\n清康熙年间修浏阳县志时因避康熙皇帝玄烨讳，改玄为元，所以又有欧阳元之称。\n115年（元延二年），取中进士第三名，为官4余年先后六入翰林，两为祭酒，两任主考，以史学成就最为突出，同时也以诗文闻名天下，因其学识渊博，文绩卓著，人称“一代宗师”。",[49,50,23,51,52,119,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc486d24397cc66b8fc169a4d8a916a62.jpg",[],{"id":51831,"slug":51832,"title":51833,"dynasty":115,"author":51834,"museum":81,"description":51835,"tags":51836,"thumbUrl":51837,"material":107,"size":107,"collection":122,"collections":51838,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},239645,"shou-xia-tie-ye-wang-sheng-239645","首夏帖页","王升","父王举逸，性至孝，郡县孝廉不就，慷慨好义，急人之急，曾令仆人驾船救溺，全活数十人。王升幼承家训，立志力学。明永乐元年(1403年)，乡试中举，永乐二年成进士，选翰林院庶吉士，奉敕到江西搜求遗书。复命后，先后任江西安福、湖广罗田二县知县，都有善政，调陕西平凉府推官，历升大理寺左评事，大理寺左寺正，复审刑部、都察院、五军断事官署所移狱讼案牍，务得其实，多所平反。当时有锦衣卫张千户系狱，定为死谳，升省其冤，遂予平反。宣德五年(1430年)五月，宣宗以知府多循资格不称职，其时有重要九郡缺守，命大臣举京官廉能者充任。遂擢郎中况锺等9人为知府。这年冬，复用薜广等29人任知府。王升受宰相杨士奇荐举，出任江西抚州(今属临州市地)知府。为政重在利民，设学校，兴礼教，遇到荒年，率先捐俸赈济，全活数千人。任职9年，秩满当迁，州民相率到京师，呈请留任，朝廷遂赐王升帛，进阶正三品，并准续任。经过两年，因病辞归。正统十三年(1448年)谢世，葬鹤鸣铺恒坑山。后人祀府学乡贤祠。《明史·循吏传》有小传",[49,86,119,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F891453a5159e74f901fc904e2cc336a2.jpg",[122],{"id":51840,"slug":51841,"title":51842,"dynasty":146,"author":51843,"museum":99,"description":51844,"tags":51845,"thumbUrl":51846,"material":107,"size":107,"collection":122,"collections":51847,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},239621,"shu-shi-ce-ye-yu-yi-239621","书诗册页","庾益","庾翼（305年～345年8月16日），字稚恭。颍川鄢陵（今河南省鄢陵县）人。东晋中期将领、外戚、书法家，征西将军庾亮、晋明帝皇后庾文君之弟。世称小庾、庾征西 、庾小征西 。\n庾翼外表风仪秀伟，年轻时便有经世大略。苏峻之乱时以白衣身份守备石头城，又随庾亮逃奔温峤。事后，受太尉陶侃征辟，历任参军、从事中郎，后任振威将军、鄱阳太守，转任建威将军、西阳太守。庾亮准备北伐时，任命庾翼为南蛮校尉、南郡太守等职，镇守江陵，以协助保卫石城之功，封都亭侯。庾亮逝世后，出任都督六州诸军事、安西将军、荆州刺史，接替庾亮镇守武昌。后部署诸将，意图北伐，任征西将军、荆州刺史。永和元年（345年）去世，获赠车骑将军，谥号“肃”。有文集二十二卷。《唐会要》将其尊为魏晋八君子之一。\n庾翼工书法，《淳化阁帖》收录有《故吏帖》。《宣和书谱》称其“善草隶，与王羲之并驰争先。”有其草书《步征帖》、行书《盛事帖》。",[86,119,24,7,435],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69d60c5bdf123eceac3fa035b04bbf5e.jpg",[122],{"id":51849,"slug":51850,"title":51851,"dynasty":18,"author":51852,"museum":99,"description":51853,"tags":51854,"thumbUrl":51855,"material":107,"size":107,"collection":122,"collections":51856,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},239594,"hui-yi-tie-ce-ye-wei-ji-239594","诲益帖册页","魏骥","魏骥为明成祖永乐三年（1405年）举人，次年以进士副榜授官松江府儒学训导，参与纂修《永乐大典》。历任太常博士、吏部考功员外郎、南京太常寺少卿、行在吏部左侍郎等职，曾多次奉命巡视畿甸蝗灾，询问民间疾苦。正统八年（1443年），改礼部左侍郎，以年老力衰请求致仕，遂改南京吏部侍郎。正统十三年（1448年），再以老辞官，未获准许。次年，升任南京吏部尚书。“土木之变”时，为对瓦剌用兵献计献策，屡被朝廷采纳施行。景泰元年（1450年）致仕，家居二十余年，病逝于明宪宗成化八年（1472年），年九十八，获赐谥号“文靖”。魏骥能诗文，有《南斋前后集》《松江志》《水利事实》《水利切要》《理学正义》《南斋摘稿》等",[51,86,119,3363,319,4832,7,8547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b776fcdd8989ee74911520bab0086ff.jpg",[122],{"id":51858,"slug":51859,"title":41757,"dynasty":146,"author":41758,"museum":175,"description":41759,"tags":51860,"thumbUrl":51861,"material":1636,"size":41762,"collection":122,"collections":51862,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},239565,"fa-jian-ye-tie-ye-li-xiao-guang-239565",[49,86,119,418,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8c906c6059d7c65244bf7feabf0eba3.jpg",[122],{"id":51864,"slug":51865,"title":39888,"dynasty":97,"author":22158,"museum":99,"description":22159,"tags":51866,"thumbUrl":51867,"material":689,"size":690,"collection":107,"collections":51868,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},239534,"fang-gu-ji-you-tu-ce-huang-yi-239534",[23,26,56,24,55,86,7,63,727,64,150,8760],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f3dc0466975068a1080e129da46a211.jpg",[],{"id":51870,"slug":51871,"title":51872,"dynasty":97,"author":51873,"museum":99,"description":51874,"tags":51875,"thumbUrl":51876,"material":689,"size":690,"collection":107,"collections":51877,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},239340,"zhi-hua-hua-hui-zhou-ying-bao-239340","指画花卉轴","瑛宝","瑛宝，清代画家。姓拜都氏，满洲正白旗人。大学士永贵长子，曾官笔帖式。",[23,15690,84,25,403,28,529,1481,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf5b784683d6675644786c17ce2896c5.jpg",[],{"id":51879,"slug":51880,"title":444,"dynasty":18,"author":12963,"museum":99,"description":12964,"tags":51881,"thumbUrl":51882,"material":689,"size":690,"collection":107,"collections":51883,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},239321,"shan-shui-tu-ce-zhang-hong-239321",[23,51,24,26,55,56,277,137,2681,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35dd2edef713a7351041f53ee6949307.jpg",[],{"id":51885,"slug":51886,"title":38170,"dynasty":97,"author":207,"museum":99,"description":51887,"tags":51888,"thumbUrl":51889,"material":107,"size":107,"collection":107,"collections":51890,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},239273,"hou-qi-zhi-hua-hua-niao-ce-yi-ming-239273","此作用指为笔，水墨晕染芭蕉阔叶，浓淡干湿间尽显蕉叶向背层次，墨色苍润兼具，带着生拙朴厚的天然意趣，毫无毛笔雕琢的刻意感。旁侧新竹清瘦挺拔，枝叶舒展灵动，与芭蕉形成疏密开合的视觉对照。画面留白疏朗空灵，衬出幽寂闲适的林下意境。\n题诗呼应画境，将酒醒听蕉雨、伴鹤沐清风的隐逸闲思融于笔墨间，把夏日蕉竹的清雅禅意写尽，尽显文人水墨小品的雅致情致。",[23,51,24,15690,26,27,358,3875,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d4b97e92557060500da92c8ac74527.jpg",[],{"id":51892,"slug":51893,"title":28959,"dynasty":18,"author":28960,"museum":99,"description":51894,"tags":51895,"thumbUrl":51896,"material":689,"size":690,"collection":107,"collections":51897,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},239252,"shu-hua-tu-ce-cheng-min-239252","此幅墨兰以水墨写意写就，兰叶纯以中锋运笔，线条舒展劲挺，刚柔并济，似君子临风，错落排布间虚实相映，尽显章法之妙。花苞以浓淡墨色点染，寥寥数笔便将幽兰花苞含露待放之态勾勒传神。\n\n全幅不着背景留白相称，愈发衬出空谷幽兰的清寂高洁，暗含文人托物言志的意趣，将兰花君子般脱俗自持的品格融于笔墨间。右下角朱红小印小巧雅致，既平衡了画面构图，也为水墨素色添了一抹亮色点缀，整幅画作简淡清逸，余韵悠长。",[50,23,51,24,26,251,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f75771e4bef722c0466e9c40b148ec8.jpg",[],{"id":51899,"slug":51900,"title":34155,"dynasty":97,"author":34156,"museum":99,"description":51901,"tags":51902,"thumbUrl":51903,"material":107,"size":107,"collection":107,"collections":51904,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},239205,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239205","此帧以枯淡笔墨绘就云山胜景，嶙峋危崖如鬼斧削成，淡墨晕染出空濛烟岚，将山林古寺晕化在清寂烟霭之间，萧散简远。\n\n画作笔墨苍秀内敛，山石勾勒简劲古拙，林木层叠间见生拙之趣。左侧题跋行书笔致清刚疏宕，与山水意境浑然相融，尽显画者寄情林泉、幽独超逸的林下之风，通篇淡墨浅痕，漫溢出静穆淡远的文人雅韵，是遗民画家清冷孤高心境的笔墨写照。",[23,51,24,26,56,870,871,63,751,279,86,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff082f0001e6630a62c74dcc0fe01cbfd.jpg",[],{"id":51906,"slug":51907,"title":34155,"dynasty":97,"author":34156,"museum":99,"description":51908,"tags":51909,"thumbUrl":51910,"material":107,"size":107,"collection":107,"collections":519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题跋：31×33cm×13",[],{"id":52762,"slug":52763,"title":12569,"dynasty":18,"author":12570,"museum":81,"description":52764,"tags":52765,"thumbUrl":52766,"material":227,"size":52767,"collection":107,"collections":52768,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},231392,"jiu-lao-tu-huang-biao-231392","黄彪，明苏州（今属江苏）人，号震泉。工人物写貌，尤精于摹写。曾得张择端《清明上河图》稿本，稍作删润，加以临摹，布景著色，几能乱真。存世作品有：嘉靖三十七年作《画项少溪像》、万历二十二年作《九老图》。",[51,86,417,7,26,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91ab112e1dd3d7ab8dda0884da0049c3.jpg","27.2x193cm",[],{"id":52770,"slug":52771,"title":27828,"dynasty":18,"author":12963,"museum":99,"description":52772,"tags":52773,"thumbUrl":52774,"material":107,"size":107,"collection":107,"collections":52775,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},230915,"shi-ji-jun-chen-gu-shi-tu-zhang-hong-230915","此作笔墨秀雅清润，以平远视角铺展庭院景致。垂杨柳丝扶苏，掩映廊庑台榭，墨色晕染出清寂空疏的氛围。画面左下角，着官袍士人正与仆从揖对，旁侧马匹静候，将朝臣谒见等候的场景娓娓铺陈，人物情态生动自然，尽显古礼分寸。\n\n布景简淡洗练，线条细劲工致，淡设色晕染浅淡柔和，将史记旧事的沉静静谧融于日常朝谒场景之中。画作兼具叙事性与文人雅意，无需繁复铺陈，便把君臣故事里的恭敬庄重，藏在庭院幽寂氛围里，尽显温婉古雅的文人叙事画格调。",[23,51,25,1962,54,58,225,64,59,7,86,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ce24d8ae3f83d6f50fe771dbf7b0a0f.jpg",[],{"id":52777,"slug":52778,"title":52779,"dynasty":146,"author":207,"museum":99,"description":52780,"tags":52781,"thumbUrl":52782,"material":107,"size":107,"collection":107,"collections":52783,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":75},230903,"ge-ba-qiu-feng-tu-yi-ming-230903","歌罢秋风图","淡墨晕染芙蓉瓣，留白衬出柔润娇妍，层叠舒展间暗蕴盛放之姿。浓焦墨勾勒叶脉，苍劲利落的笔触写尽秋意萧疏，枝梗挺括暗藏清刚骨力。\n\n画幅间题诗与画境呼应，以墨代彩，褪去浓艳浮华，尽显简淡秀逸的文人意趣。水墨相生，将清秋芙蓉冷艳风骨与澹泊心境相融，淡远萧疏的氛围里，把晚风里芙蓉的清隽寂寥缓缓铺陈，简淡笔墨间留住一刹幽寂秋光，尽显文人水墨小品的空静雅韵。",[49,23,51,26,25,28,265,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78f4f12104f7914b7ff23728192398f8.jpg",[],{"id":52785,"slug":52786,"title":52787,"dynasty":2807,"author":52788,"museum":99,"description":52789,"tags":52790,"thumbUrl":52791,"material":689,"size":690,"collection":107,"collections":52792,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},230580,"ming-qing-fang-gu-fen-ben-hua-niao-juan-1-tu-zuo-bing-guang-lin-feng-230580","明清仿古粉本花鸟卷1","土佐并光琳风","此作合装成卷，兼纳诸类绘事。起首工笔禽鸟，雄雉敷色秾丽，翎毛晕染细致，华彩毕现，雌雉朴雅写实，体态宛然，形神兼备。转而为扇面界画小品，屋宇勾描工致，人物市井排布错落，尽揽俗世烟火意趣。没骨花卉晕染柔和，枝头小雀灵动生姿。写意渡头行舟、寒林归鸦则笔墨简淡，晕开萧疏禅意。仕女图线条秀逸温婉，人物神态含蓄端丽，尽显古典闺秀韵致。卷尾花鸟与书法题跋相映成趣，整卷融工笔、写意、界画技法于一炉，兼取院体工致与文人写意意趣，尽显东方古典绘事雅致抒情的笔墨意韵。",[49,23,51,52,25,54,135,134,7,27,58,62,66,314,308,63,59,61,822,36567,23326,30212,777,358,150,60,136,2342,12696,1239,64,29,119,541],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7baf0b9e253928a2066f618834c6172f.jpg",[],{"id":52794,"slug":52795,"title":52796,"dynasty":2807,"author":52797,"museum":99,"description":52798,"tags":52799,"thumbUrl":52800,"material":107,"size":107,"collection":107,"collections":52801,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},230481,"fu-shi-hui-juan-mu-he-tian-wen-cun-230481","浮世绘巻","目贺田文村","整卷以行进铺展市井嬉游图景，从左至右，妇孺牵携慢行，货郎肩挑玩偶小物，紧随其后的乐人们吹笛弄鼓、踏歌起舞，持扇艺人身姿诙谐夸张，孩童蹦跳着追逐嬉闹，收尾的女舞者扬板作拍。\n\n设色柔和淡雅，衣装纹样朴拙讨喜，每一位人物神态各有意趣，鲜活复刻出庶民节庆游行的松弛热闹，将民间日常的融融烟火气定格素纸，尽显聚焦俗世日常的温润意趣。",[49,30272,52,25,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe44c1b67e7732d5322ae0eb0f15c4ef5.jpg",[],{"id":52803,"slug":52804,"title":52805,"dynasty":97,"author":724,"museum":99,"description":52806,"tags":52807,"thumbUrl":52808,"material":107,"size":107,"collection":107,"collections":52809,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},229031,"shan-shui-shi-er-kai-wang-yuan-qi-229031","山水十二开","此作用北苑墨法写就，山峦层叠盘桓，以干笔积墨反复皴擦，线条苍劲老辣，墨色干湿浓淡交织，层层铺陈出山林的浑厚华滋。近岸杂木错落，掩映水榭村居，溪涧回环穿谷而出，衬出林泉幽寂之致。\n整体章法紧而不塞，虚实相生，将元人笔墨的疏淡苍润融入自身沉雄笔力之中，既得古法的静穆高逸，又自具苍浑朴拙气度，尽显正统山水画的笔墨意趣，将江南山林的深秀与文人画的书卷气融为一体，师法古人又自出机杼，是极具代表性的传统山水佳构。",[23,51,26,24,55,56,150,61,64,164,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd146913e1e87fe1b26f6aef5dc147242.jpg",[],{"id":52811,"slug":52812,"title":52813,"dynasty":97,"author":445,"museum":99,"description":52814,"tags":52815,"thumbUrl":52816,"material":107,"size":107,"collection":107,"collections":52817,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},228991,"bai-kai-luo-han-tu-41-shi-tao-228991","百开罗汉图41","此作用水墨晕染出清寂禅境，双罗汉对晤于松崖之间。右侧罗汉安坐危崖，衣纹圆转舒展，神色悠然抬眼望向山巅，松间罗汉隐于虬枝之下，目光回睇似共论禅机。古松盘桓错节，松针攒簇苍劲老辣，崖石以枯笔皴擦尽显奇崛之势。背景流云以涡旋墨色铺陈，裹挟空濛仙气，虚实相生间晕化出幽渺山境。\n笔意纵恣灵秀，将禅家超旷出尘的意趣融于山水人物之中，简淡笔墨里藏着苍莽空灵的世外之韵，尽显禅画合一的精妙意致。",[50,23,51,24,26,55,135,1284,58,610,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa49d7565bc3db5a2c1dec7feb41f1899.jpg",[],{"id":52819,"slug":52820,"title":52821,"dynasty":18,"author":23855,"museum":99,"description":52822,"tags":52823,"thumbUrl":52824,"material":107,"size":107,"collection":107,"collections":52825,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":75},228744,"xiao-jing-song-huang-dao-zhou-228744","孝经颂","《孝经集传（经部孝经类）\u002F中外哲学典籍大全》是22年9月1日中国社会科学出版社出版的图书，作者是[明] 黄道周 。\n《孝经集传》是明末大儒黄道周后期的著作。\n该书提炼出《孝经》的“五微义”与“十二著义”，不仅每一章有黄道周自己的诠释，还分别以二戴记、《仪礼》、《孟子》等作为义疏，认为《孝经》是六经之本，体现了黄道周后期思想中回归六经、经世致用的倾向。\n黄道周一生学在《周易》，行在《孝经》，《孝经集传》的学术价值正与其伟大气节相互辉映。\n由于该书成书历时六年，推衍极深，深为后世推许，因而《孝经集传》不仅是黄道周思想研究的必要文本，同时还是中国孝经学研究的重要著作。\n进孝经集传序 孝经集传卷一 开宗明义章第一 天子章第二 诸侯章第三 卿大夫章第四 士章第五 庶人章第六 孝经集传卷二 三才章第七 孝治章第八 圣德章第九 孝经集传卷三 纪孝行章第十 五刑章第十一 广要道章第十二 广至德章第十三 孝经集传卷四 广扬名章第十四 谏静章第十五 感应章第十六 事君章第十七 丧亲章第十八 附一 历代孝经集传序跋 明刻本孝经集传众弟子跋 康熙本孝经集传序一 康熙本孝经集传序二 康熙本孝经集传序三 四库提要 孝经集传钞序 孝经集传序 跋黄忠端楷书孝经墨刻 附二 清代以来对孝经集传的相关评价 附三 黄道周论孝八篇 孝纪序 书古文孝经後 书孝经别本後 书孝经颂後 书圣世颁孝经颂後 孝经颂 圣世颁孝经颂 孝经辨义 主要参考文献",[49,86,417,7,2601,436],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee2f527ade0e12dbadf5a04abb1f726a.jpg",[],{"id":52827,"slug":52828,"title":52829,"dynasty":18,"author":1014,"museum":99,"description":1334,"tags":52830,"thumbUrl":52833,"material":689,"size":690,"collection":107,"collections":52834,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},228474,"sui-bi-01-tang-yin-228474","随笔01",[50,23,51,24,119,7,86,26,30671,8850,42134,52831,61,52832,2956,66,5312,751,32458,14831,62],"春云","竹篱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf19c957fdf26ac11f1c1b360d532ce7.jpg",[],{"id":52836,"slug":52837,"title":52838,"dynasty":18,"author":2413,"museum":99,"description":52839,"tags":52840,"thumbUrl":52841,"material":107,"size":107,"collection":107,"collections":52842,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},228460,"wu-yan-lv-shi-zhou-tian-qiu-228460","五言律诗","此作用笔圆劲温润，线条舒展遒劲，字势顾盼有情，行气流畅悠然，尽显吴门书风的儒雅秀逸。师法文徵明又自出机杼，将晋唐行书的灵动意趣融于笔墨，牵丝映带间节奏舒缓雅致。笔墨间浸润着林下幽栖的沉静安闲，完美呼应诗文隐逸自适的意涵，通篇气息俊逸萧散，尽显风雅襟怀。",[8547,86,119,84,26,7,52838],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe729b69a26ad19c5195b4d894e038a67.jpg",[],{"id":52844,"slug":52845,"title":40593,"dynasty":18,"author":9326,"museum":99,"description":38029,"tags":52846,"thumbUrl":52847,"material":689,"size":690,"collection":107,"collections":52848,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":75},228435,"qi-yan-shi-zhang-rui-tu-228435",[49,86,462,7,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82d60b702fb244e9565cc8752079f0d5.jpg",[],{"id":52850,"slug":52851,"title":52852,"dynasty":18,"author":18133,"museum":99,"description":52853,"tags":52854,"thumbUrl":52855,"material":689,"size":690,"collection":107,"collections":52856,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":75},228338,"shi-zhou-ling-ben-wang-duo-228338","诗轴绫本","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。",[49,86,119,462,84,15010,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa99ec2c22995307e8c020f20c2c3cd5f.jpg",[],{"id":52858,"slug":52859,"title":52860,"dynasty":18,"author":52861,"museum":99,"description":52862,"tags":52863,"thumbUrl":52864,"material":107,"size":107,"collection":107,"collections":52865,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},228336,"xi-shan-zhen-shang-tu-jin-run-228336","溪山真赏图","金润","《溪山真赏图》是中国明代画家 的国画作品，现藏于天津市艺术博物馆。\n该作品纸本，设色，纵29厘米，横16.5厘米，据卷后题跋可知是为其婿陈坚远所作。\n《溪山真赏图》是中国明代画家 的国画作品，画上自题“静虚写溪山真赏图，时年七十四也”。\n卷后自题署成化戊戌款，可知此图作于成化十四年，作者时年七十四岁，属晚年之作。\n欧阳序篆书引首，拖尾有作者自题及吴宽、马迪、陈璚、杜堇、性嘉、周孟中、蒋谊等人的题跋。\n卷中钤有清初朱之赤、清内府及吴亦先、陈嗣宗、张叔诚等鉴藏印。\n该作品用笔工细简淡，设色清雅，构图平远，疏密有致，是金润画作精品，亦是其现存海内孤本。\n金润 (公元15世纪)〔明〕字伯玉，又字静虚，上元(今江苏南京)人，生卒年不详。\n幼即嗜学，年十二能赋诗，正统(146-1449)间举乡贡，授兵部司务。\n为少保于谦所重，每与之咨议兵事。\n后擢南安知府，政暇即弹琴写画赋诗。\n精通音律，工书画。\n书法类赵孟頫，山水法方从义。\n所画山水天真横溢，工整简淡，细笔勾皴，浓墨点醒，勾点兼用，构图严谨，疏密有致。\n从艺活动约在正统、成化年间。",[23,51,119,86,56,36130,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d37175f7f1a0a5de4cde2f0f3cab04.jpg",[],{"id":52867,"slug":52868,"title":25335,"dynasty":18,"author":2556,"museum":99,"description":52869,"tags":52870,"thumbUrl":52871,"material":689,"size":690,"collection":107,"collections":52872,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":75},228278,"wu-yan-shi-chen-ji-ru-228278","陈继儒（1558年12月14日-1639年10月16日），字仲醇，号眉公、麋公，松江府华亭（今上海市松江区）人。明朝文学家、画家。\n诸生出身，二十九岁开始，隐居在小昆山，后居东佘山，关门著述，工诗善文，书法学习苏轼和米芾，兼能绘事，屡次皇诏征用，皆以疾辞。 擅长墨梅、山水，画梅多册页小幅，自然随意，意态萧疏。论画倡导文人画，持南北宗论，重视画家修养，赞同书画同源，有《梅花册》《云山卷》等传世。著有《陈眉公全集》《小窗幽记》《吴葛将军墓碑》《妮古录》。",[49,50,23,51,52,119,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb45af0e2b190495cfb4d69b5a01f05ee.jpg",[],{"id":52874,"slug":52875,"title":35202,"dynasty":115,"author":207,"museum":99,"description":52876,"tags":52877,"thumbUrl":52878,"material":107,"size":107,"collection":107,"collections":52879,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},227873,"liu-tang-du-shu-tu-yi-ming-227873","苍松虬劲盘绕，柔柳垂拂溪岸，茅庐静踞山隅，堂内人影潜于书卷之间。溪石隐现于浅濑，清泠水意漫溢出纸面，远景平波澹澹，林峦在烟霭中晕化成淡墨剪影，将尘嚣完全隔绝在外。\n笔墨苍莽淋漓，皴擦间带着山野朴拙之气，将林泉高致的隐逸意趣藏在细节里，观之如身临幽寂山隅，窥见古人寄心林泉、沉潜书卷的雅静襟怀，仿佛能听见松涛卷着书香漫过水湄。",[49,50,23,51,822,54,25,56,64,727,7,55],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bd30268d4053639501778e8219f9b2a.jpg",[],{"id":52881,"slug":52882,"title":29673,"dynasty":115,"author":207,"museum":99,"description":52883,"tags":52884,"thumbUrl":52887,"material":107,"size":107,"collection":107,"collections":52888,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},227762,"qiu-jiang-ming-po-tu-yi-ming-227762","宋 佚名 秋江暝泊图 纨扇 绢本设色 23.7×24.3cm 北京故宫博物院藏\n\n秋天，黄昏，江岸楸树，水中孤舟，对岸迷茫的山林，林中隐现的庙宇，山下蜿蜒流淌的小溪，《秋江暝泊图》勾勒出了一幅典型的秋江景致。宋代院体山水画，对自然景物有丰富的表现力，从画风看应为南宋翰林院中高手所为。\n\n《秋江暝泊图》上钤有“御书之宝”、“信公珍赏”、“庞莱臣珍藏宋元真迹”等印多方，说明此图曾经南宋内府、清人耿昭忠、近人庞莱臣等收藏。《虚斋名画录》著录。此画传为宋高宗作品，经启功、徐邦达、刘九庵等鉴定大家鉴定为南宋绘画精品。\n\n宋高宗赵构（1107－1187），字德基，宋朝第十位皇帝，南宋开国皇帝，宋徽宗赵佶第九子。赵构精于书法，善真、行、草书，笔法洒脱婉丽，自然流畅，颇得晋人神韵。著有《翰墨志》，传世墨迹有《草书洛神赋》等。",[49,50,23,51,239,26,25,712,55,7,870,406,64,62,52885,3208,46401,1902,7444,52886],"停泊","自然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea2f17134a6c67312b94dde38c168262.jpg",[],{"id":52890,"slug":52891,"title":52892,"dynasty":115,"author":30229,"museum":81,"description":52893,"tags":52894,"thumbUrl":52895,"material":634,"size":46045,"collection":107,"collections":52896,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},227759,"yi-xi-ci-ce-14-zhen-zhu-xi-227759","易系辞册14帧","朱熹《书易系辞》册 纸本，共14开 台北故宫博物馆，“书易系辞”册，一向被学者公认为是朱熹存世仅见的大字真迹。\n\n《书易系辞》，纸本，全册共十四开，102字，均纵36.5厘米，横61.8厘米，是朱熹存世仅见的大字真迹。全册共十四开，一百零二字，每行仅书写二字，内容为《易经·系辞》的节句。笔力凌厉豪劲，墨色黝黑，时而又出现飞白效果，显得格外精神奕奕。古代许多书法家是不善于写大字的，但这恰恰是朱熹的擅长，所以他的大行书远远胜过小行书。作品有朱熹名款及“定静堂”印记，为林宗毅先生所藏，后捐赠与台北博物馆。",[49,2651,86,119,24,7,51,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4118aefb6f5380b7d57297807840ac9.jpg",[],{"id":52898,"slug":52899,"title":52900,"dynasty":115,"author":1070,"museum":99,"description":52901,"tags":52902,"thumbUrl":52903,"material":107,"size":107,"collection":107,"collections":52904,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},227740,"huo-lang-tu-ye-wen-zi-li-song-227740","货郎图页文字","《货郎图》是南宋画家李嵩创作的团扇绢本水墨淡设色画。李嵩创作过多幅货郎图，分别藏于北京故宫博物馆、中国台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆，现藏于北京故宫博物院的《货郎图》的规格是纵25.5cm，横70.4cm，其余的均为小幅。\n\n全图描绘了老货郎挑担将至村头，众多妇女儿童争购围观的热闹场面，表现了南宋时钱塘一带的风土人情。此画线条细腻雅致，货担上的物品用笔如丝柔韧圆转，而人物的衣纹则使用颤笔，转折顿挫恰当地表现出下层妇孺身着布衣的特色。细劲线描，传神地勾出朴实的形象，把劳动人民的生活作为审美对象来描绘，在中国古代美术发展史上有着重要的意义。",[49,1073,23,51,3363,119,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c816ffda703346d49c1e5d87e5fc6fa.jpg",[],{"id":52906,"slug":52907,"title":52908,"dynasty":192,"author":207,"museum":99,"description":52909,"tags":52910,"thumbUrl":52911,"material":107,"size":107,"collection":107,"collections":52912,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},227124,"shi-ji-di-er-shi-jiu-juan-he-qu-shu-di-qi-can-juan-yi-ming-227124","史记第二十九卷河渠书第七残卷","《史记》，二十四史之一，最初称为《太史公书》或《太史公记》、《太史记》，是西汉史学家司马迁撰写的纪传体史书，是中国历史上第一部纪传体通史，记载了上至上古传说中的黄帝时代，下至汉武帝太初四年间共3000多年的历史。太初元年（前104年），司马迁开始了《太史公书》即后来被称为《史记》的史书创作。该著作前后经历了14年，才得以完成。\n《史记》全书包括十二本纪（记历代帝王政绩）、三十世家（记诸侯国和汉代诸侯、勋贵兴亡）、七十列传（记重要人物的言行事迹，主要叙人臣，其中最后一篇为自序）、十表（大事年表）、八书（记各种典章制度记礼、乐、音律、历法、天文、封禅、水利、财用）。《史记》共一百三十篇，五十二万六千五百余字，比《淮南子》多三十九万五千余字，比《吕氏春秋》多二十八万八千余字。《史记》规模巨大，体系完备，而且对此后的纪传体史书影响很深，历朝正史皆采用这种体裁撰写。\n《史记》被列为“二十四史”之首，与《汉书》、《后汉书》、《三国志》合称“前四史” ，对后世史学和文学的发展都产生了深远影响。其首创的纪传体编史方法为后来历代“正史”所传承。《史记》还被认为是一部优秀的文学著作，在中国文学史上有重要地位，被鲁迅誉为“史家之绝唱，无韵之《离骚》”，有很高的文学价值。刘向等人认为此书“善序事理，辩而不华，质而不俚”。",[417,119,86,2601,52,7,436],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55b213715ab01b245069886378432e5a.jpg",[],{"id":52914,"slug":52915,"title":52916,"dynasty":2807,"author":207,"museum":99,"description":40103,"tags":52917,"thumbUrl":52920,"material":689,"size":690,"collection":107,"collections":52921,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},225571,"fu-shi-hui-53-yi-ming-225571","浮世绘53",[30272,15959,25,58,52918,52919,32341,7,2811],"和服","茶碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bbc4d9114b1567183a08a129a0b09a2.jpg",[],{"id":52923,"slug":52924,"title":52925,"dynasty":2807,"author":207,"museum":99,"description":52926,"tags":52927,"thumbUrl":52928,"material":107,"size":107,"collection":107,"collections":52929,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},225548,"fu-shi-hui-13-yi-ming-225548","浮世绘13","这是一幅极具东方意趣的小品，圆形画幅晕开幽邃墨底，素羽鹦鹉垂首静栖于朱红雕花横杠之上。浅刻勾勒出柔婉翎羽纹理，将禽鸟慵慵懒憩的姿态细腻铺陈，素白身形与墨色底色冷暖对冲，愈发清灵雅致。\n\n两侧宝莲纹铜盏配金色挂杆，细节处的繁丽纹饰，与鹦鹉的素净简约形成疏密对比。朱红闲章点缀一隅，晕染出古雅禅意，整体画面静谧悠然，将侘寂之美融于方寸之间，闲淡安和的氛围扑面而来。",[30272,25,54,66,7,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897f4235f88772587290660d59f7c255.jpg",[],{"id":52931,"slug":52932,"title":52933,"dynasty":97,"author":52934,"museum":99,"description":52935,"tags":52936,"thumbUrl":52937,"material":689,"size":690,"collection":107,"collections":52938,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":75},224569,"shou-zi-ce-ye-ce-qing-ren-224569","寿字册页册","清人","此作为泥金篆书百寿册页，以深色笺纸为底，明黄锦绫为缘，愈显华贵雍容。每字皆为“寿”，却各成风貌，或取钟鼎之浑朴，或仿缪篆之盘曲，亦有玉箸小篆的匀净端雅。线条圆劲通脱，排布疏密合宜，将祈福纳祥的心意藏于百变字形之中。\n它将祝寿的吉庆主题与金石书法的古雅意趣相融，既恪守篆书的庄重法度，又以灵动变体打破单调，把传统长寿文化的美好祈愿凝于笔端，尽显旧时祝寿雅事的雅致情致。",[97,51,86,24,541,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff568a4331ef792ea1b01fb3182fd646e.jpg",[],{"id":52940,"slug":52941,"title":52942,"dynasty":97,"author":929,"museum":99,"description":52943,"tags":52944,"thumbUrl":52945,"material":107,"size":107,"collection":107,"collections":52946,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},224322,"hua-niao-shi-er-kai-11-li-shan-224322","花鸟十二开11","以淡墨撇写兰叶，焦墨提点叶梢，笔锋老辣纵逸，将幽兰俯仰舒展之态信手勾勒，寥寥数笔便赋予其清灵隽秀的神韵。淡墨晕染的兰花隐于叶间，含露待放，清寂出尘。\n\n右侧题诗与画作笔意相融，书风朴拙跌宕，诗画合璧托物言志，寄寓着淡泊自持的文人风骨。整作构图极简，墨色浓淡相生，将水墨写意的抒情性发挥到极致，笔简而意足，尽显文人写意花鸟的雅逸格调，藏着画者桀骜脱俗的襟怀。",[49,23,51,24,26,251,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32c7210f59211104441499328a26b60e.jpg",[],{"id":52948,"slug":52949,"title":52950,"dynasty":97,"author":929,"museum":99,"description":52951,"tags":52952,"thumbUrl":52953,"material":107,"size":107,"collection":107,"collections":52954,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},224307,"hua-hui-shi-er-kai-8-li-shan-224307","花卉十二开8","此作用写意笔墨绘就春日杜鹃，设色清妍柔润。粉紫花瓣以淡彩晕染，瓣边留白衬出通透娇态，深红花苞点缀其间，层次鲜活分明。枝叶晕染雅致，墨色与水色交融，尽显舒展灵动之姿。淡赭勾勒枝干，笔力简括遒劲，将花枝舒展的野逸生机藏于线条间。\n\n旁侧题字笔意纵逸，书画相映成趣，诗画交融尽显文人雅韵。全画尽显率意清隽的风骨，寥寥数笔便将杜鹃柔丽烂漫的春日之态定格尺幅，于简淡挥洒中留住花木天然意趣，观之便觉春深枝上，雅韵悠然绵长。",[49,23,51,24,25,27,28,332,265,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3833b53e864ef1456151f8c63af9773.jpg",[],{"id":52956,"slug":52957,"title":52958,"dynasty":97,"author":929,"museum":99,"description":52959,"tags":52960,"thumbUrl":52961,"material":107,"size":107,"collection":107,"collections":52962,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},224299,"hua-hui-shi-er-kai-11-li-shan-224299","花卉十二开11","此作用笔极简，以水墨写兰草，枯湿浓淡间，兰叶舒展有姿，苍劲线条带着萧疏散淡的野逸之趣。振翅的草虫是点睛之笔，羽翼纹路纤毫毕现，写实的虫豸和写意兰草形成精妙对照，将深秋里的鲜活生机定格在纸上。\n\n右侧题字笔意纵肆跌宕，与画面笔墨气息呼应，诗书画印浑然相融。画作放逸却不失精微，将文人写意的随性洒脱与写生的细腻写实巧妙结合，在萧疏秋景里晕开朴拙鲜活的意趣，尽显文人画特有的清逸格调。",[49,23,51,24,26,119,462,7,27,1989,251],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F334dc0678cadf23c41e470a0eda5e33b.jpg",[],{"id":52964,"slug":52965,"title":40593,"dynasty":97,"author":16882,"museum":99,"description":16883,"tags":52966,"thumbUrl":52967,"material":689,"size":690,"collection":107,"collections":52968,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":75},224286,"qi-yan-shi-fu-shan-224286",[49,51,86,462,84,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19e514d824c31e5eeded135cd1dd6fed.jpg",[],{"id":52970,"slug":52971,"title":52972,"dynasty":97,"author":32085,"museum":99,"description":52973,"tags":52974,"thumbUrl":52975,"material":689,"size":690,"collection":107,"collections":52976,"showCount":923,"zanCount":39,"manualWeight":39,"mainColor":40},224161,"ou-yang-yong-shu-juan-wu-xi-zai-224161","欧阳永叔卷","吴让之（1799－1870），清末书画篆刻家。原江苏江宁人，自父吴明煌起移居仪征，晚年流寓泰州。原名廷飏，字熙载，50岁后更字让之、攘之，号让翁、攘翁、晚学居士、晚学生、方竹丈人、言庵、言甫、难进易退学者。斋堂为晋铜鼓斋、师慎轩。吴让之小学功力很深，画作士气盎然，书法篆所不能，且精金石考据之学。篆刻初宗汉印，悉心摹仿，后师邓石如（完白山人），参以己意，晚年之作入化境。",[49,86,52,5663,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb34980a74da411bba3130e0946736768.jpg",[],{"id":52978,"slug":52979,"title":52980,"dynasty":97,"author":31248,"museum":99,"description":52981,"tags":52982,"thumbUrl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[2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[15063,53981,25,27,529,308,7,53982,4929],"墨彩","高足盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F792289fae02b8181b6b0e0b09d70a6f9.jpg",[],{"id":53986,"slug":53987,"title":31757,"dynasty":97,"author":207,"museum":99,"description":53988,"tags":53989,"thumbUrl":53990,"material":689,"size":690,"collection":107,"collections":53991,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":1441},242599,"zhong-ke-chun-hua-ge-tie-yi-ming-242599","清拓《钦定重刻淳化阁帖》原本《淳化阁帖》。十卷又称《淳化秘阁法帖》、（阁贴》。系宋淳化三年（992年）太宗岀内府所藏历代古帖，命翰林侍书王著摹勒而成，共收录汉魏至唐历代名人及帝王书一百余家四百余种。但帖石置于宫中，除宣赐大臣以外，原刻拓木绝少流布人间。\n淸高宗鉴于日趋緊多的翻刻本已完全失去其本来面目，而宋王著昧于辨别，在采择古帖时有真赝混迹现象，编次标越也多处讹误，为避免贻谋后学，希望复原《淳化》旧观。于乾隆三十四年（1769年）持敕命于敏中等据内府所藏宋太宗赐毕士安本《淳化阁帖》详加考证，重新钩摹上石，仍为十卷，每卷隶书标题：“钦定重刻淳化阁帖第 X ”一行。卷末沟刻高宗行书题跋一段。各卷尾题:“乾隆三十四年岁在乙丑春二月奉敕校正宋淳化阁帖初拓摹勒上石”篆书四行。此帖考订详僖，校对精审，对原帖编次上的错误逐一厘订后，重新改编次第按时代先后为序。对草书不识之字。博参诸家释文依字旁列注，对其中互异之字附记考证于卷后。\n此帖由御书处刻工佳手钩刻摹刊至精。就其规模和质量来说均在明代诸家刻本之上。\n乾隆三十七年（1772年）帖石镌成后高宗皇帝犹恐失散即将毕士安赐本（淳化阁帖》与重刻原石一起贮于圆明园淳化轩内，至今二者都无下落、可能毁于1860年英法联军侵占北京圆明园之际，实为千古憾事。幸故宫藏有该帖拓本才得以观其原貌。此拓本为淸刻初拓，京折装，计十册，每册纵30.6厘米横35厘米，每册铃：“乾隆御览之宝”朱文椭圆印、”避暑山庄”朱文方印，装潢颇为考究，且拓工精良。虽已保存二百余年但字口锋神俱在，纸墨宛如新拓，堪称珍品。\n乾隆《钦定重刻淳化阁帖》石版，原贮于长春园淳化轩。英法联军火烧圆明园后,该摹帖版已湮没百余年。所幸的是,1993年夏季，圆明园管理处在清挖长春园水系时，从该遗址西侧河道掘得摹帖版7页（4整3残），今均陈列于园史展览馆。\n淳化法帖，原是北宋淳化三年（992年），奉宋太宗赵光义旨意，摹刻于秘阁之中的丛帖，世称《淳化阁帖》。它是我国历史上的第一部大型丛帖，被誉为诸帖之祖。《阁帖》共摹刻唐代以前99人书法名迹，包括夏禹、孔子、晋武帝、唐太宗、虞世南、 欧阳询、褚遂良、柳公权等，尤以王義之、王献之量迹最丰，独占全帖10册之半。\n清代乾隆帝弘历喜好书法，曾先后命在北海阅古楼和万寿山星妙轩，分别摹刻《三希堂法帖》及其续帖。但因二帖仅收魏晋以来墨迹，弘历颇嫌不足。后喜得《淳化阁帖》之“初拓赐本”，弘历如获至宝。命内廷翰林精审更定，选工钩摹上石，并在长春园含经堂之后新建两层轩阁，以帖名之曰“淳化轩”。帖版是在故宫懋勤殿直庐镌刻的,历时三年零两个月，至乾隆三十七年（1772年）四月，共摹竣144页贴版，遂镶嵌于堂后轩前之24间回廊壁间。原《阁帖》北宋初拓本，收藏于淳化轩内，I860年（咸丰十年）同毁于英法联军劫火。\n今出土的摹帖版,面幅为90厘米*33厘米，石厚11厘米。7页帖版的序号是三册一号、六号、 七号（残），四册八号（残），五册一号、十四号和九册三号（残）。其中除五册十四号为“释文订异”，九册三号为隋释智果书“王右军”帖、“蔡邕”帖之外， 余均为王義之墨迹，包括其“适得”、“比奉”、“七儿”、“省足”、“云谯”、“知足”、“期已”、“信云”、“不审”、“伏想”等近20幅名帖。出土帖版中，有2页残版的字迹略有侵蚀，余尚清晰。\n乾隆三十四年的《钦定重刻淳化阁帖》是一部很重要的本子,其所据的底本为明末清初孙承泽原藏的所谓毕士安本。以乾隆刻本和司空公本的第四、七、八卷相校,其底本肯定不是初拓本，因此，所谓毕士安本是不可能的。但这个底本应该是一个北宋拓本，和司空公本的年份相似，然而它是十卷本。问题是这个祖本已经消失，然而它在当时确实存在过，过去有的学者认为这个底本是虚构的，不存在的。可能是由于它不可能是所谓淳化四年的毕士安赐本的关系。\n这个所谓的毕士安赐本，在康熙时已入内府，康熙曾亲跋此本: “……此本乃赐翰林学士毕士安者……汉晋以来，翰墨风规，宛然犹在者，尚赖此帖之存也，朕幾政余闲，启帙披卷,如晤往昔，心意融洽,洵可宝而藏之也。\n到了乾隆三十四年，以此本作为底本重刻的《淳化阁帖》，乾隆在卷首题词中说:“内府旧藏淳化阁帖极多,而此毕士安所得赐本，拓最精好, 爰特敕选工钩摹上石，冀复旧观。\n这个本子到了嘉庆年间,成亲王永瑆题在现藏美国弗利尔美术馆的绍兴国子监本第十册末有:“余昔在上书房得见内府所藏宋太宗赐毕士安本, 此本楮墨正与相似，嘉庆庚午四月七日商丘陈伯恭先生携此本与贾似道重摹初拓本相见……”这说明，这个乾隆刻本的底本在1810年前不久仍然存在,其消失的原因很简单,乾隆在其重刻本的第十卷末有:“重摹淳化阁帖成,因并弃毕士安原本于淳化轩。这就是说，这个底本和重刻帖石一并存放在圆明园的淳化轩。I860年英法联军焚毁圆明园，所谓毕士安底本也必遭毁灭。\n乾隆重刻本，除了改变原刻整体程序外，也有对个别字体修正原刻的失误，如第八卷《此郡帖》的“非常”之“非”字,原刻失刻一笔，乾隆重摹即据《大观帖》补刻完整。此外，有的字体也有摹失,但其不可忽视之处在于它是从整套北宋拓本翻刻，在我们对比各《阁帖》本时有着比较重要的参考价值。\n弘历继位九年（1744 ）命臣将内府所藏书画著录《石渠宝笈》。乾隆十五年（1750）又敕命编刻《三希堂石渠宝笈法帖》三十二卷。谕曰：\n书为游艺之一，前代名迹流传，令人兴怀珍慕。是以好古者恒钩撫镌刻.以垂诸奕祀。宋《淳化阁帖》，其最著矣。厥后《大观》《淳熙》皆有续刻。其他名家摹本，至不可数。我朝秘府，初不以广购博收为尚，而法书真迹，积久颇富。朕曾命儒臣详慎审定，编为《石渠宝笈》一书。因思文人学士得佳迹数种，即钩摹入石，矜为珍玩。今取群玉之秘，寿之贞琨。足为墨宝大观，以公天下。\n《三希堂法帖》刻后十九年即乾隆三十四年（1769）,弘历又重新刻了一部《淳化阁帖》。这部帖是据赐毕士安本墓刻的，故书家与书帖和《阁帖》相同。然而不同的是：（一）除帝王帖置首卷外，其他帖完全按时代先后排列：第一，历代帝王；第二，上古至晋人；第三，第四、第五，晋王羲之；第六，晋人及王献之；第七，晋王献之；第八，晋至梁人；第九，陈至唐人；第十，唐及无名氏。（二）随文添刻楷书釋文。（三）卷末附释文考异和御制题跋。\n当时为什么要这样做呢？弘历在帖首自有说法：\n朕几余不自暇逸，典学之优，时及临池。曩曾辑内府所藏前人墨迹，刻为《三希堂》《墨妙轩》二帖，广示艺林。复念古帖流传可补墨迹所未备者，惟宋《淳化阁帖》，镌集尤为美富，远出《大观》《太清楼》诸本之上。但惜初拓与赐者绝勘，或云版寻残损，当时已为难得。后来翻刻愈繁，真意寝失。有志追摹者，末由津逮。内府旧藏《淳化阁帖》极多，而此毕士安所得赐本拓最精好。爰特敕选工钩摹上石，冀复旧观。\n第王著昧于辨别，其所排类标题，舛陋滋甚，不当听其沿讹，以误后学。因命于敏中等详加考正，以次呈阅，候朕参定，分识各卷。并命搜采诸家释文，依字旁注。其互异者折衷附记于后，以资省览。是于考文稽古之中，兼寓举坠订讹之益，用嘉惠海内操觎之士焉。\n特谕。\n乾隆三十四年（1769）二月六日，御笔。",[86,2226,418,119,462,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7de95ff75c6e202033ddf149ce134b61.jpg",[],{"id":53993,"slug":53994,"title":53995,"dynasty":97,"author":4047,"museum":99,"description":19767,"tags":53996,"thumbUrl":53997,"material":689,"size":690,"collection":107,"collections":53998,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},241672,"shi-ding-shi-juan-qian-long-241672","事定诗卷",[49,51,52,119,7,86,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e95ceb5d3c41171b283ca2d262382a.jpg",[],{"id":54000,"slug":54001,"title":54002,"dynasty":97,"author":4047,"museum":99,"description":19767,"tags":54003,"thumbUrl":54004,"material":689,"size":690,"collection":107,"collections":54005,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":75},241669,"hou-shao-lu-fu-juan-qian-long-241669","后哨鹿赋卷",[49,50,23,51,52,119,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01a59290c31dd9689ee613fae38a17f8.jpg",[],{"id":54007,"slug":54008,"title":54009,"dynasty":97,"author":26038,"museum":99,"description":26039,"tags":54010,"thumbUrl":54011,"material":689,"size":690,"collection":107,"collections":54012,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},241666,"jiu-ri-dui-ju-shi-zhou-ai-xin-jue-luo-xuan-ye-241666","九日对菊诗轴",[23,51,86,84,119,26,529,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F940374649d4220832d9f2cabeb1359df.jpg",[],{"id":54014,"slug":54015,"title":54016,"dynasty":115,"author":40703,"museum":99,"description":40704,"tags":54017,"thumbUrl":54018,"material":319,"size":107,"collection":122,"collections":54019,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},241660,"ming-zhu-jia-ba-ci-zhan-kui-shi-tuo-juan-zhao-shen-241660","明诸家跋赐詹骙诗拓卷",[49,52,86,2226,119,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2af34ef92ffa6be07b8b15eee8b880ab.jpg",[122],{"id":54021,"slug":54022,"title":54023,"dynasty":115,"author":207,"museum":99,"description":54024,"tags":54025,"thumbUrl":54026,"material":319,"size":107,"collection":122,"collections":54027,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":75},241655,"wu-kuan-shao-xing-shi-san-nian-chi-shu-juan-yi-ming-241655","无款绍兴十三年敕书卷","此卷行书率意洒脱，尽显宋人尚意风神。用笔苍劲朴拙，提按转折皆见筋骨，线条粗细富于韵律，行气连贯舒展。绢本底色古雅沉静，墨色浓淡自然晕染，与错落钤印相映成趣。\n卷中敕文与题跋排布疏密有致，既有官家文书的端严规整，又不失文人书法的隽逸自在，笔墨间流转着宋时的风雅法度，藏着旧日文心与典制厚重，将实用文书与书法意趣完美相融。",[49,86,51,52,119,7,2601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F030f99fe6451374a768cc8dff81941ef.jpg",[122],{"id":54029,"slug":54030,"title":49238,"dynasty":18,"author":31789,"museum":99,"description":54031,"tags":54032,"thumbUrl":54033,"material":689,"size":690,"collection":107,"collections":54034,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},241539,"wu-yan-shi-ye-tang-huan-241539","汤焕，字尧文，号鄰初。，仁和（今浙江杭州）人，斋号五桂轩等。生卒年不详，明隆庆四年（1570）举人。为江阴教谕，后征为翰林待诏，转郡丞。擅书，兼工篆刻，亦有诗名",[86,119,7,319,23567,25335],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aa438606bac007b6a67b55621890aec.jpg",[],{"id":54036,"slug":54037,"title":54038,"dynasty":97,"author":54039,"museum":99,"description":54040,"tags":54041,"thumbUrl":54042,"material":689,"size":690,"collection":107,"collections":54043,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},241538,"zhi-liu-zhou-da-xiong-shou-zha-ce-huang-yue-241538","致六舟大兄手札册","黄钺","黄钺（1750年9月5日-—1841年8月16日），字左田，又名左君，号壹斋、左庶子，安徽芜湖人，清朝大臣，历仕乾隆、嘉庆、道光三朝。是著名的教育家、画家、艺术评论家。",[86,119,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00f56d525fff733608b4c84836f785f0.jpg",[],{"id":54045,"slug":54046,"title":54047,"dynasty":18,"author":54048,"museum":99,"description":54049,"tags":54050,"thumbUrl":54052,"material":319,"size":107,"collection":122,"collections":54053,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},241530,"qi-lv-bing-ji-ye-xu-bo-241530","七律并记页","徐㶿","明代著名藏书家",[86,119,19470,33484,7,34055,8547,54051,4832],"汉字书写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f2af1ef18ac9fc898845ba59c7562fe.jpg",[122],{"id":54055,"slug":54056,"title":32910,"dynasty":146,"author":54057,"museum":99,"description":10950,"tags":54058,"thumbUrl":54059,"material":689,"size":690,"collection":107,"coll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老松烧尽结轻花，妙法来从北李家。翠色冷光何所似，墙东鬒发堕寒鸦。刘墉。\n刘墉学古不追求外表的形似而注重用笔之法。起笔喜用藏锋，转折处用偃笔作折锋，字形丰满圆润，内中骨力强劲，犹如棉里裹铁；用墨于润中见枯，拙中见巧；结体疏密有致，点划轻灵多变，气韵苍遒。清人张维屏在《松轩随笔》中指出刘墉的书法特征：“貌丰骨劲，味厚神藏，不受古人牢笼，超然独出”，可谓中的。康有为也高度评价刘墉的书法成就：“力厚思沈，筋摇脉聚。近世行草书作浑厚一路，未有能出石庵之范围者，吾故谓石庵集帖学之成也。”\n作为刘墉书法的代表作，这件作品体现了上述多种特征。所书内容取自苏轼二首诗“书李世南所画秋景二首”其一，见《全宋诗》卷十八；“谢宋汉杰惠李承晏墨”，见《全宋诗》卷二十三。",[319,119,134,54107,28299,8149,54108,7],"墨色厚重","笔力浑厚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91307d4b9f0465eca618d45d6e29ab35.jpg","纵102厘米，横58.5厘米",[122],{"id":54113,"slug":54114,"title":54115,"dynasty":97,"author":28080,"museum":99,"description":35363,"tags":54116,"thumbUrl":54117,"material":689,"size":690,"collection":107,"collections":54118,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},241396,"ji-fu-bo-yan-zhou-weng-fang-gang-241396","记伏波岩轴",[51,86,84,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70bf14e1daa93b062de5c7bf9e4cc63d.jpg",[],{"id":54120,"slug":54121,"title":54122,"dynasty":97,"author":54123,"museum":99,"description":54124,"tags":54125,"thumbUrl":54135,"material":689,"size":690,"collection":107,"collections":54136,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},241359,"shi-ping-wang-chun-ling-241359","诗屏","王春龄","此作用红格缠枝花边笺纸书写，格调雅致。小楷清隽端秀，点画工稳匀净，排布舒朗利落，墨色妍润沉静，尽显扎实笔墨功底。\n内容为题咏古玉与暮春感怀的自作绝句，将文士摩挲古物的幽然心曲、伤春惜景的缱绻清愁落于毫端，书文相融，笔底自带冲淡娴雅的书卷气。方寸之间藏尽清儒的审美意趣，是一件书文俱佳的小品佳作。",[417,86,7,944,2956,57,6606,332,40915,870,54126,13615,5209,31398,13543,54127,42440,54128,54129,406,54130,54131,4401,54132,54133,54134],"桐","陌","晓莺","晴日","金","细花","土","荆山","古玉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2cb452b73b016f82b7badd8b2556069.jpg",[],{"id":54138,"slug":54139,"title":54140,"dynasty":97,"author":54141,"museum":99,"description":54142,"tags":54143,"thumbUrl":54144,"material":689,"size":690,"collection":107,"collections":54145,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},241338,"liu-yong-xing-shi-wen-juan-liu-yong-241338","刘墉行诗文卷","刘镛","刘镛，字云仲，祖籍贵州省贯州。福建长乐人，清康熙二十六年任峄县知县。\n现事迹陈列于位于山东枣庄台儿庄古城内的枣庄古代清官廉吏展馆。",[49,86,119,52,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f4c9d71a2d2bbbd92c62e6ec8b513ba.jpg",[],{"id":54147,"slug":54148,"title":54149,"dynasty":97,"author":54150,"museum":99,"description":54151,"tags":54152,"thumbUrl":54153,"material":689,"size":690,"collection":107,"collections":54154,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},241334,"lin-zhe-tie-juan-huang-cun-shu-241334","临禇帖卷","黄存恕","此作以楷书临习褚遂良笔意，通篇气息匀雅端凝，兼具褚书空灵秀逸与清馆阁体的整饬端庄。笔致清劲挺秀，点画起收有度、筋骨暗藏，结体宽绰舒展，字字排布错落合宜，墨色匀停温润。\n\n所书《汉书》赞文，以雅正的笔意承载史辞意蕴，既恪守褚法的细劲姿媚，又融入自身的端凝工稳，尽显清人临古的谨严态度与文儒意趣，精准把握初唐褚书风神，将帖学临古的雅致与台阁的端稳融于一处，尽显笔墨涵养，是清代临古书法中颇具水准的馆阁佳制。",[86,417,134,52,418,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87698f38f46e36f17ca713983714e348.jpg",[],{"id":54156,"slug":54157,"title":54158,"dynasty":97,"author":37297,"museum":99,"description":54159,"tags":54160,"thumbUrl":54161,"material":689,"size":690,"collection":107,"collections":54162,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":75},241326,"guan-ju-shi-zhou-zhang-mu-241326","观菊诗轴","张穆（1805年11月29日 ——1849年12月22日 ），山西平定人，近代的爱国思想家、地理学家、诗人和书法家。生于嘉庆十年（1805）。鸦片战争中，他曾抱着爱国热情，上书言事，奔走呼号，联络在京友人，通过纪念顾炎武的活动，振奋人心。此后，他本着张扬国威，抵御沙俄侵略的目的，致力于西北边疆地理和蒙古史的研究。1849年12月22日（道光二十九年十一月九日，己酉年丙子月壬寅日）卒于京师，享年四十五岁 。1850年归葬故乡 。",[119,84,26,86,529,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88ae322ce816e0cee812a5aed59bfa63.jpg",[],{"id":54164,"slug":54165,"title":54166,"dynasty":97,"author":54167,"museum":99,"description":54168,"tags":54169,"thumbUrl":54170,"material":689,"size":690,"collection":107,"collections":54171,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},241277,"qi-gu-zhou-wu-rong-guang-241277","七古轴","吴荣光","吴荣光（1773 — 1843），字伯荣，一字殿垣，号荷屋、可庵，晚号石云山人，别署拜经老人，广东广州府南海县佛山镇（今佛山禅城区祖庙街道）人。清代官员、诗人、书法家、藏书家、岭南著名的书画金石鉴藏家。 [4]\n嘉庆四年（1799）进士，由编修官擢御史。道光中任湖南巡抚兼湖广总督。后坐事降为福建布政使。其不仅官至封疆大吏，还工诗文、擅书画，尤酷嗜金石，精鉴赏，名极一时，书法更为世所推重。康有为云：吾粤吴荷屋中丞帖学名家，其书为吾粤冠……”他遗留下来的书画作品已被列入国家文物局文物出境限制，精品不准出境 [4] 。著有《历代名人年谱》、《筠清馆金石录》、《筠清馆帖》、《辛丑销夏记》、《帖镜》、《石云山人文集》、《绿枷楠馆录》、《吾学录》等。 吴荣光是清中期著名汉学家，清道光十一年（1831），吴荣光在长沙创办了湘水校经堂。左宗棠在长沙湘水校经堂就读期间，吴荣光是他的授课教师。",[86,119,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc418e078515da0ae2195ad06a2c3aec.jpg",[],{"id":54173,"slug":54174,"title":54175,"dynasty":97,"author":44475,"museum":99,"description":54176,"tags":54177,"thumbUrl":54178,"material":689,"size":690,"collection":107,"collections":54179,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},241266,"jiu-piao-shi-zhou-zhang-wen-tao-241266","酒瓢诗轴","张问陶（1764年—1814年） 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弘治十三年（1500年），陈献章病逝，终年72岁，谥号“文恭”。\n万历初年，从祀孔庙，著有《白沙子全集》。陈献章提出“学贵知疑”教育理论，强调“提出问题”之于学习与成长的重要意义，逐渐形岭南学派，倡导的白沙心学，打破程朱理学沉闷和僵化的模式，开启明代心学先河，成为宋明理学史上是一个承前启后、转变风气的关键人物，推崇倡导涵养心性、静养“端倪”之说，推动明代儒学实现了由理学向心学的转变，成为儒学发展史上的一个重要转折点。高扬“宇宙在我”的主体自我价值，突出个人在天地万物中的存在意义，对整个明代文人精神的取向产生了深刻影响。",[86,51,52,119,8547,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff043b0fe5d59c2e354cb465e0ecb0432.jpg",[],{"id":54189,"slug":54190,"title":28876,"dynasty":18,"author":51807,"museum":99,"description":54191,"tags":54192,"thumbUrl":54193,"material":319,"size":107,"collection":122,"collections":54194,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},241223,"qi-jue-zhou-chen-liu-241223","字子兼，别号雨泉，吴县（今江苏苏州）人。嘉靖十七年（1538）进士，除工部营缮主事，累官至四川右布政使。诗文冲远有致，书法尤精绝。工小楷。出入钟欧，自篆、隶、行、草、擘窠以逮笺疏、榜署书，尤丰媚遒逸，有天然趣。卒年七十。 著有《已宽堂集》。",[8547,86,119,84,26,319,51,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F125ced80709d2875179352206abc7bac.jpg",[122],{"id":54196,"slug":54197,"title":54198,"dynasty":18,"author":54199,"museum":99,"description":54200,"tags":54201,"thumbUrl":54202,"material":319,"size":107,"collection":122,"collections":54203,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},241219,"wu-lv-er-shou-zhou-dang-chong-ya-241219","五律二首轴","党崇雅","党崇雅（1584年—1666年），字于姜，明末清初陕西省宝鸡市蟠龙镇人。\n明天启5年（1625）进士。累观官户部侍郎，督饷天津。清顺治元年（1644）在通州降大顺，仍于户部任职，同年6月降清，以原职赴京补用，9月改任刑部侍郎。以明律为基础，草拟成《大清律集解附例》。顺治元年（1644）秋，上奏将施死刑分为立决和监候，建议恢复朝审和秋审。顺治六年（1649），为刑部尚书、太子太保，顺治八年（1651）改户部，顺治九年（1652）请老归。顺治十一年（1654）特旨起用授翰林国史院大学士加太保兼太子太傅，时人呼为党阁老。顺治十三年（1656）再乞休，获准。\n被列入中国历代名相录，明清时期宝鸡政治地位最高、历史影响最大的文化名人。",[8547,86,84,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e22916986bad572a3300334c732211.jpg",[122],{"id":54205,"slug":54206,"title":54207,"dynasty":97,"author":42456,"museum":99,"description":42457,"tags":54208,"thumbUrl":54209,"material":689,"size":690,"collection":107,"collections":54210,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":75},241202,"zhuan-shu-zhi-guo-lun-zhou-wu-da-cheng-241202","篆书知过论轴",[541,86,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72e8ed5b9e3ba360deb0527fa6b21d34.jpg",[],{"id":54212,"slug":54213,"title":33485,"dynasty":18,"author":54214,"museum":99,"description":54215,"tags":54216,"thumbUrl":54217,"material":689,"size":690,"collection":107,"collections":54218,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},241188,"shou-zha-ge-yi-long-241188","葛一龙","葛一龙. 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浙江鄞县(今浙江宁波)人，擅长书法及山水，以医籍居南京。\n陈沂（一四六九-一五三八）[明]，字号：宗鲁、鲁南、石亭、小坡 浙江鄞县(今浙江宁波)人，擅长书法及山水，以医籍居南京。初学宗鲁﹝应系初字宗鲁之讹﹞，后改鲁南，号石亭。少年时慕苏轼学行，因号小坡。正德十二年进士，官编修，嘉靖中以行太仆卿致仕。工诗文书画，与顾璘、王韦称“金陵三俊”。相传他在六七岁时就能模仿前人画迹。年长，好画山水，在翰林院时与名画家文徵明为同僚友好，经常切磋研讨，对于技法有进一步的提高。他在做官的历程中，对于所经历的名山大川，都留心观察，临写成为画卷。",[18,119,86,52,528,870,1207,406,46399,332,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b1e28fdcdfbbedc46c7f43d9be018d6.jpg",[122],{"id":54244,"slug":54245,"title":54246,"dynasty":18,"author":54247,"museum":99,"description":54248,"tags":54249,"thumbUrl":54250,"material":319,"size":107,"collection":122,"collections":54251,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},241082,"gu-lin-zhi-shi-ting-deng-shu-zha-juan-gu-lin-241082","顾璘至石亭等书札卷","顾璘","顾璘（1476年－1545年），字华玉，号东桥居士，世称“东桥先生”，长洲（今江苏省吴县）人，寓居上元（今江苏省南京市）。 [1] 明代政治家、文学家。\n顾璘于明孝宗弘治九年（1496年）登进士第，历任广平知县、开封知府、全州知州、台州知府、浙江布政使。期间参与平定刘六、刘七起义，政绩显著。嘉靖十六年（1537年）再度被启用为湖广巡抚，后升至工部尚书。嘉靖二十三年（1544年），以南京刑部尚书之职致仕归里，建成息园，时常与宾客置酒高会、诗文唱和。嘉靖二十四年（1545年）去世，享年七十岁。\n顾璘少有才名，以诗著称于时，与刘元瑞、徐祯卿并称“江东三才”，与陈沂、王韦、朱应登并称“金陵四大家”， [1] 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。\n杨守敬一生勤奋治学，博闻强记，以长于考证著名于世，是一位集舆地、金石、书法、泉币、藏书以及碑版目录学之大成于一身的大学者。他一生著述达83种之多，被誉为“晚清民初学者第一人”，代表作《水经注疏》，是郦学史上的一座丰碑。",[97,86,5664,119,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0e6b56425898b0b69723491e90022ec.jpg",[],{"id":54527,"slug":54528,"title":42540,"dynasty":97,"author":38794,"museum":99,"description":54529,"tags":54530,"thumbUrl":54531,"material":319,"size":107,"collection":122,"collections":54532,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},240112,"shi-ye-wang-shi-zhen-240112","王士禎（1634年9月17日－1711年6月26日），原名王士禛，字子真，一字貽上，號阮亭，又號漁洋山人，世稱王漁洋。山東新城（今山東桓台縣）人。清初詩人、文學家、詩詞理論家。 [1]\n王士禎為清順治十五年（1658年）進士，康熙四十三年（1704年）官至刑部尚書，頗有政聲。諡文簡。\n王士禎在實踐“神韻説”，取得卓著詩文成果的同時，還能突破正統文壇和文人偏見，重視和高度評價小説、戲曲、民歌等通俗文學、文體。他的主要成就在詩文創作與理論方面，但在小説、戲曲、民歌、書畫、藏書、史論等方面所取得的成就亦不容忽視。",[119,86,7,26,56,59,1207,1593,2954,531,137,946,38046,406],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf03ac5238f595e37015f53d2889acba.jpg",[122],{"id":54534,"slug":54535,"title":34029,"dynasty":97,"author":46298,"museum":175,"description":54536,"tags":54537,"thumbUrl":54538,"material":1636,"size":54539,"collection":122,"collections":54540,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},240057,"lu-yu-zhou-liang-tong-shu-240057","释文：\n大苏云：把笔无定法，要使虚而宽。欧阳文忠公谓余，当使指运而腕不知，此语最妙。方其运也，左右前后却不免欹侧，及其定也，上下如引绳，此之谓笔正。柳诚悬之语良是。次公同学兄先生。乙巳三月山舟梁同书。\n钤“梁同书印”、“梁氏元颖”朱文印2方。\n此作录文出自苏轼《东坡题跋》卷五之《记欧公论把笔》，阐述执笔用笔之法，对后世颇有影响。作品书于清乾隆五十年（1785年），时梁同书63岁。此作章法疏朗，用笔平和优雅、娴熟精湛，是梁氏中晚期行书之力作。",[23,51,84,119,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d20c2d702a6159359aa63d5828a8969.jpg","纵127.5厘米，横57.8厘米",[122],{"id":54542,"slug":54543,"title":54544,"dynasty":97,"author":54545,"museum":99,"description":54546,"tags":54547,"thumbUrl":54548,"material":319,"size":107,"collection":122,"collections":54549,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},240045,"guo-chao-ming-ren-shou-jian-ce-deng-17-ren-shou-zha-huang-zong-xi-gu-yan-wu-240045","国朝名人手简册-等17人手札","黄宗羲顾炎武","黃宗羲（1610年9月24日－1695年8月12日），浙江餘姚人，字太沖，一字德冰，號南雷，別號梨洲老人、梨洲山人、藍水漁人、魚澄洞主、雙瀑院長、古藏室史臣等，學者稱“梨洲先生”。明遺民。明末清初經學家、史學家、思想家、地理學家、天文歷算學家、教育家。“東林七君子”之一黃尊素長子。\n黃宗羲提出“天下為主，君為客”的民主思想。他説“天下之治亂，不在一姓之興亡，而在萬民之憂樂”，主張以“天下之法”取代皇帝的“一家之法”，從而限制君權，保證人民的基本權利。黃宗羲的政治主張抨擊了封建君主專制制度，有極其重要的意義，對其後反專制鬥爭起了積極的推動作用。\n黃宗羲與顧炎武、王夫之、唐甄並稱“明末清初四大啓蒙思想家”，與顧炎武、方以智、王夫之、朱舜水並稱為“明末清初五大家”，與陝西李顒、直隸容城孫奇逢並稱“海內三大鴻儒”，亦有“中國思想啓蒙之父”之譽。\n黃宗羲學問極博，思想深邃，著作宏富，一生著述多至50餘種，300多卷，其中最為重要的有《明儒學案》《宋元學案》《明夷待訪錄》《孟子師説》《葬制或問》《破邪論》《思舊錄》《易學象數論》《明文海》《行朝錄》《今水經》《大統歷推法》《四明山志》等。\n\n顾炎武（1613年7月15日—1682年2月15日），本名顾绛，字宁人，人称亭林先生，南直隶昆山（今江苏昆山市）人。明末清初的杰出的思想家、经学家、史地学家和音韵学家，与王夫之、黄宗羲、唐甄并称为明末清初“四大启蒙思想家”。 明遗民。\n崇祯十六年（1643年），成为国子监生，加入复社。清兵入关后，先后依托于弘光政权、佥都御史王永柞、唐王朱聿键、诗社，组织反清活动。后期，拒绝朝廷征辟，一生辗转，行万里路，读万卷书，创立了一种新的治学方法，成为清初继往开来的一代宗师，“开山始祖”。顾炎武学问渊博，对于国家典制、郡邑掌故、天文仪象、河漕、兵农及经史百家、音韵训诂之学，都有研究。晚年，治经重视考证，开启明末清初朴学风气。治学以“博学于文，行己有耻”为主，合“学与行、治学与经世”为一，诗多伤时感事之作。\n康熙二十一年（1682年2月15日），去世，享年七十岁。著有《日知录》《天下郡国利病书》《肇域志》《音学五书》《韵补正》《金石文字记》《亭林诗集》等。",[86,119,7,502,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b38e964d38bb9c47b62937ecb85ab38.jpg",[122],{"id":54551,"slug":54552,"title":46644,"dynasty":97,"author":54553,"museum":99,"description":54554,"tags":54555,"thumbUrl":54556,"material":319,"size":107,"collection":122,"collections":54557,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},240044,"zi-shu-shi-zhou-du-shou-chang-240044","杜首昌","杜首昌，明末清初人，字湘草，江苏淮安盐商，祖籍山西太原，能诗能书，善行、草书，一时俊彦。颇豪富，以钱买官，修名园（绾秀园），种花草；崇祯十七年暮春，福王避难居其园中，见杜有妹极美，能琴能棋，遂订婚约，并得到杜的资助。杜首昌入清不仕，游历他乡，不肯结交官府，家遂败落。",[23,51,84,26,119,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb556a3613a19ed66b61a7d8e26a1594b.jpg",[122],{"id":54559,"slug":54560,"title":54561,"dynasty":18,"author":207,"museum":99,"description":54562,"tags":54563,"thumbUrl":54564,"material":689,"size":690,"collection":107,"collections":54565,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},240017,"wu-kuan-zheng-de-yuan-nian-jin-feng-ren-he-da-zhang-gong-zhu-chi-shu-juan-yi-ming-240017","无款正德元年进封仁和大长公主敕书卷","此敕书以明内府笺纸书就，浅底描金隐现五爪行龙，朱玺方印色泽沉凝庄重，墨书笔致端稳秀雅，尽显明代官方文书的规整气度。\n敕文为皇帝晋封皇姑之语，措辞温婉恳切，尽显宗室亲睦的礼制风貌。泛黄纸页晕染着时光痕迹，墨色虽经岁年依旧匀净朗润，既承载着明代皇族封典的仪制细节，也展露了明代官方馆阁体书法的端正气质，是兼具历史考据价值与书法审美意趣的珍贵遗存，凝住了大明皇室亲缘礼制的片刻过往。",[86,417,7,405,25,2601,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ea41b8ed6d247b53402a84614079609.jpg",[],{"id":54567,"slug":54568,"title":54569,"dynasty":97,"author":54318,"museum":99,"description":54319,"tags":54570,"thumbUrl":54571,"material":689,"size":690,"collection":107,"collections":54572,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},240016,"zhuan-shu-zhou-qian-dian-240016","篆书轴",[105,541,84,86,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63b494e96c1fe8bfdfd03486bbbe03ca.jpg",[],{"id":54574,"slug":54575,"title":34029,"dynasty":97,"author":54576,"museum":99,"description":54577,"tags":54578,"thumbUrl":54579,"material":107,"size":107,"collection":122,"collections":54580,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},239948,"lu-yu-zhou-wang-su-239948","王涑","字讲泉，湖州归安（今浙江湖州）籍，寄居柘水。官广西河池州知州。一门善书，其父士锤，笔法尤高，以不入俗眼，且大耄，故求者不多。涑能书得欧、柳法，与钱塘高塏齐名，名噪大江南北，在京师最久。其堂伯即複堂殿撰，京城中以楹帖、园屏、扇、册求书者，始无虚日，恒倩涑捉刀。亦能写墨兰，意在郑思肖、赵孟坚唻臫頭樤之间。　《小蓬莱阁画鉴》、《清朝书画家笔录》",[86,84,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57407924affdf670842cdb08d38179dc.jpg",[122],{"id":54582,"slug":54583,"title":54584,"dynasty":192,"author":207,"museum":99,"description":54585,"tags":54586,"thumbUrl":54588,"material":107,"size":107,"collection":107,"collections":54589,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},239940,"wu-kuan-xie-jing-can-juan-yi-ming-239940","无款写经残卷","此卷以黄绢为底，墨色清润沉凝。落笔恪守唐写经典型法度，点画匀净秀雅，结体端稳平和，通篇气息庄静雍容，尽显写经人抄经时恭谨的礼佛之心。\n行文排布齐整朗畅，字里行间既有唐人尚法的严谨规制，又带着抄写佛经时的静定气韵，笔墨晕染出禅意清宁。虽为残卷，依旧能窥见唐代写经书法的典型风貌，是释道文化与书法艺术相融的珍贵遗存，静静诉说着千年前的虔敬与风雅。",[86,436,417,2601,54587,7],"残卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F941c7fa777e7279982570e5d2926ee47.jpg",[],{"id":54591,"slug":54592,"title":54593,"dynasty":97,"author":54594,"museum":99,"description":54595,"tags":54596,"thumbUrl":54597,"material":107,"size":107,"collection":122,"collections":54598,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},239919,"zhi-yuan-shu-ye-liu-si-wan-239919","致元淑页","刘嗣绾","刘嗣绾 （1762年5月2日－1821年8月23日，乾隆二十七年四月初九日－道光元年七月二十六日），字简之，又字芙初，号醇甫。江苏省常州府阳湖县（今属常州市）人。刘于义之玄孙，武进西营刘氏第十五世。清朝翰林，政治人物，学者。专长诗、词、骈文。（清史列传作年六十岁，无卒年。此从补疑年录）少颖异，识量过人。早游京师，知名于时。嘉庆十三年，（公元一八o八年）会试第一，卷进呈，帝道：“朕久知其名，可谓得士矣！”廷试改翰林院庶吉士，散馆，授编修。和平安雅，见义无不为。年五十九，丁母忧，以毁卒。嗣绾诗及骈体文，少作多明艳，中年则以沈博排募胜，晚更清遒骏迈，以快厉之笔，达幽隐之思。所著有《尚絅堂集》，《清史列传》行于世。",[51,86,119,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a40bde7f2ad343d27197e4f5caf9567.jpg",[122],{"id":54600,"slug":54601,"title":54602,"dynasty":97,"author":54603,"museum":99,"description":54604,"tags":54605,"thumbUrl":54606,"material":107,"size":107,"collection":122,"collections":54607,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},239917,"dui-yue-ge-yi-pian-zeng-lian-shang-ye-wu-ci-he-239917","对月歌一篇赠莲裳页","吴慈鹤","生于清高宗乾隆四十三年，卒于宣宗道光六年，年四十九岁少随父俊宦游粤东、济南，所为诗规仿徐、庾、孟、韩，为时流所重。嘉庆十四年（1809）进士，改翰林院庶吉士。散馆，授编修。充云南乡试副考官，督学河南、山东。性好游览，使车所至，山水为缘，而发之于诗。官至翰林院侍讲。慈鹤工诗，善骈体文，与彭兆荪交最契，兆荪推挹甚至。著有《兰鲸录》、《凤巢山樵求是录》及《岑华居士外集》，《清史列传》并传于世。",[50,23,51,24,119,7,86,944],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e274cf8e856a7e1e7cb307a42021faa.jpg",[122],{"id":54609,"slug":54610,"title":54611,"dynasty":97,"author":54612,"museum":99,"description":54613,"tags":54614,"thumbUrl":54615,"material":107,"size":107,"collection":122,"collections":54616,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},239915,"tai-cheng-lu-yi-que-feng-lian-shang-ye-sun-yan-239915","台城路一阕奉莲裳页","孙延","工诗词、篆、隶，善写生墨梅，惜未竞其技而殁。事迹见于《墨林今话》、《畊砚田斋笔记》等。",[97,23,51,24,26,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6ce4b33d92269f6bc6a30541aeea2ab.jpg",[122],{"id":54618,"slug":54619,"title":54620,"dynasty":97,"author":54621,"museum":99,"description":54622,"tags":54623,"thumbUrl":54624,"material":689,"size":690,"collection":107,"collections":54625,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},239866,"feng-he-gong-fu-qi-xi-shi-er-shou-ye-xie-jie-shu-239866","奉和功甫七夕诗二首页","谢阶树","谢阶树（1778-1825）字欣植，又字子玉，号向亭（芗亭）。江西省宜黄县城北门人。清代官吏、学者、思想家。宣南诗社最早成员之一。",[50,23,51,24,119,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8371553bbeb2a6f50d19ffe45e06ef.jpg",[],{"id":54627,"slug":54628,"title":54629,"dynasty":97,"author":54630,"museum":99,"description":54631,"tags":54632,"thumbUrl":54633,"material":107,"size":107,"collection":122,"collections":54634,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},239850,"chu-xi-jian-mei-he-gong-fu-yun-ye-dong-guo-hua-239850","除夕见梅和功甫韵页","董国华","董国华（1773－1850）清代官员、诗人。江苏吴县（今苏州）人，字荣若，号琴南。据钱庆曾《竹汀居士年谱续编》，董氏曾在乾隆五十八年（1793）紫阳书院受业于钱大昕门下。嘉庆十三年（1808）进士，自号清闲居士，又号绿溪渔隐，道光间官至广东雷琼道。致仕归，历主云间书院，紫阳书院讲习，工诗文，词尤婉约。有《云寿堂文集》、《诗集》、《词钞》、《绿溪笔谈》、《海南笔记》等。",[86,51,24,119,7,26,528],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fa372afe99d3432cc158f6841f9a8a6.jpg",[122],{"id":54636,"slug":54637,"title":42540,"dynasty":97,"author":54638,"museum":99,"description":54639,"tags":54640,"thumbUrl":54641,"material":107,"size":107,"collection":122,"collections":54642,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},239838,"shi-ye-zhang-xiang-he-239838","张祥河","嘉庆二十五年（一八二0）进士，官工部尚书。谥温和。尝客京师董相国诰邸，与袁少迂（沛）、周芸皋（凯）讲求六法。充大清会典绘图。仁宗六旬，进庚辰万纪图诗画册，称旨。写意花草宗徐渭、陈道复，山水私淑文征明。晚年又涉石涛（道济）一派。笔颇健举，然气韵魄力仍是书生本色。黄钺告归，以书万卷先行，祥河为写饯书图，钺称其得五峰（文伯仁）意。画梅亦工。。咸丰十一年（1861年），因病致仕。次年，卒于京邸，谥“温和”。其墓在横山南麓。",[23,51,86,24,119,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266a258e18eb07c47a9e4a1347f381e8.jpg",[122],{"id":54644,"slug":54645,"title":51772,"dynasty":97,"author":207,"museum":99,"description":54646,"tags":54647,"thumbUrl":54648,"material":107,"size":107,"collection":122,"collections":54649,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},239835,"bao-jin-shi-feng-gong-fu-ye-yi-ming-239835","此作为两开尺牍小品，左开以暗纹绿笺作书，小行书清劲秀雅，行气舒展匀停，墨色在华笺上愈发莹润秀逸；右开以浅黄麻纸落墨，用笔苍朴内敛，字势错落随性，带着手札特有的松弛意趣。\n\n二者皆为日常酬唱的信札书迹，笔墨间藏着旧时文人的风雅交游，冲淡疏逸的书卷气浸透纸背，将尺素传情的知己酬答，凝为纸上耐人寻味的悠长余韵。",[86,119,7,24,51,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbd6ae6bb0cfd6992c3c19382096607c.jpg",[122],{"id":54651,"slug":54652,"title":51763,"dynasty":97,"author":54653,"museum":99,"description":54654,"tags":54655,"thumbUrl":54656,"material":107,"size":107,"collection":122,"collections":54657,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},239811,"ti-zi-ye-wu-yi-feng-239811","吴翌凤","吴翌凤（1742～1819），是清著名藏书家，字伊仲，号枚庵、一作眉庵，别号古欢堂主人，初名凤鸣，祖籍安徽休宁，侨居吴郡槐树街（今苏州），藏书家吴铨后裔。诸生。家贫而笃好典籍，无力购置，往往借书阅览。三十三年至五十二年（1768年～1787）寓陶氏东斋，日寝馈书史，得佳本，则用手抄，至数千百卷",[51,86,119,24,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76d3a54d9dd026c37e84b2e0924c51dc.jpg",[122],{"id":54659,"slug":54660,"title":54661,"dynasty":18,"author":17677,"museum":99,"description":25807,"tags":54662,"thumbUrl":54663,"material":689,"size":690,"collection":107,"collections":54664,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":75},239791,"zhuan-shu-si-yan-shi-juan-xu-lin-239791","篆书四言诗卷",[49,50,51,52,541,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5514dcd8e30ced0faaaeb587c4248d10.jpg",[],{"id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[清]一作颐(？-1744年)，字澹士，号南谷，别号碧岩箫史，一作碧箫外史，姓赫舍里氏，满州正黄旗人。清朝大臣、文人。内弘文院大学士希福之孙，工部尚书帅颜保之子，辅政大臣公索尼堂侄。\n侍卫入仕，后任总管内务府大臣。康熙五十二年十二月己卯，接替满笃，担任工部尚书。\n性澹泊，琴书之外专事于画。初学黄鼎，继为王原祁弟子。山水宗法元人，而独开生面，迥异时流。时有南王北赫之称。康熙五十五年（一七一六）作辋川诗意图。参见《国[清]朝画徵录、桐阴论画、读画辑略、宋元明清书画家年表》 等书。\n赫奕著有诗集《青霭山房诗集》。\n赫奕出身名门望族，是赫舍里氏家族的第六代子孙，亲族中的不乏名臣，赫奕作为内弘文院大学士希福之孙，礼部尚书帅颜保之子，在康熙年间任内务府主管，并兼任工部尚书，核定全国屯田、水利、工程、交通事项，以刚正闻名朝野。\n赫奕的绘画作为南宗正脉，在清代画坛地位崇高。但翻看有关这幅画作的“履历”足以发现它的命运多舛。在收录清朝内府藏画的《石渠宝笈》初篇中，《烟树山亭》被记录在案，画上钤盖着乾隆、嘉庆、宣统三位皇帝的“御览之宝”印章，足以说明它被几位皇帝珍视。赫奕所画的这幅《烟树山亭》以2530万元的天价拿下匡时秋拍古画专场的第一名，这含金量与康熙帝的御题字不无关系。赫奕所作《烟树山亭》上手书：“士人作画，当以草隶奇字之法为之。树如屈铁，山如画沙，脱去甜俗蹊径，乃为士气。不尔，纵俨然入格，已落画师魔界，不复可救药矣。若能解脱绳束，便是透网鳞也。”这是康熙帝亲笔御题的《临董其昌论画》。康熙帝将这段话题在赫奕的画上，正是他对这幅画的肯定与褒奖，康熙非常崇尚明代书画大家董其昌的画风，在赏过这幅《烟树山亭》，便题字称赞赫奕的这幅画颇有董其昌画作遗风。更为难得的是，和乾隆帝比，康熙从不轻易在别人的画作上留下痕迹，也就是说，能得到康熙墨宝的“他人画作”简直是凤毛麟角。据记载，虽然康熙御题字的画作不多，但赫奕一人独得数件。",[23,51,24,26,134,56,64,150,1977,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda9086e85a250e4259f1e3d821ac962d.jpg",[],{"id":55451,"slug":55452,"title":17578,"dynasty":97,"author":6653,"museum":175,"description":17579,"tags":55453,"thumbUrl":55454,"material":183,"size":17582,"collection":107,"collections":55455,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},236120,"shan-shui-lou-ge-ce-chen-mei-236120",[23,51,24,25,1962,56,59,63,64,61,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aad21bb0a43e8323555d60138991365.jpg",[],{"id":55457,"slug":55458,"title":17578,"dynasty":97,"author":6653,"museum":175,"description":17579,"tags":55459,"thumbUrl":55460,"material":183,"size":17582,"collection":107,"collections":55461,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},236118,"shan-shui-lou-ge-ce-chen-mei-236118",[23,51,24,1962,25,56,59,63,64,150,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c89a539ae35bc4977223d5155c20998.jpg",[],{"id":55463,"slug":55464,"title":24485,"dynasty":97,"author":1235,"museum":99,"description":55465,"tags":55466,"thumbUrl":55467,"material":107,"size":107,"collection":107,"collections":55468,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},236100,"hua-luo-han-ce-leng-mei-236100","此作工致清雅，右侧绘罗汉乘金毛雄狮缓行，侍者持幡随侍，仆役牵犬相随。线条秀劲细腻，衣袂褶皱流转自然，狮鬃毫发毕现，将雄狮的雄健与罗汉的安然肃穆烘托得淋漓尽致，设色浅淡柔和，尽显空灵禅意。左侧题识笔墨苍劲朴拙，笔势沉凝古雅。书画合璧，禅韵悠长，既承袭院体画的精工写实，又暗合文人画的清幽意趣，细微处尽显匠心，将佛门超然出尘的静穆意境铺陈开来，清隽雅致，余韵悠长。",[105,23,51,50,1284,54,25,58,14445,1116,7,86,3363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6ef532fd42f3ddad9b8c6e4ad95c102.jpg",[],{"id":55470,"slug":55471,"title":24485,"dynasty":97,"author":1235,"museum":99,"description":55472,"tags":55473,"thumbUrl":55474,"material":107,"size":107,"collection":107,"collections":55475,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},236099,"hua-luo-han-ce-leng-mei-236099","此作工笔细腻雅致，右侧白象刻画写实传神，肌肤纹理柔和温润，神态驯静安和，尽显瑞兽清灵气韵。罗汉衣纹线条凝练流畅，神态沉静古朴，自带出尘之姿；随从小童天真灵动，与罗汉的静穆形成巧妙映衬，动静相生，画面谐和悠然。\n左侧书法笔意端秀清雅，题诗与绘面呼应，点醒白象蕴含的禅意。整作设色浅淡明净，将院体画的精工与空灵禅趣相融，晕染出佛门清寂安然的悠远意境，颇具韵致。",[23,51,54,25,1284,58,1116,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6e117678922a938a7528a2a59698844.jpg",[],{"id":55477,"slug":55478,"title":24485,"dynasty":97,"author":1235,"museum":99,"description":55479,"tags":55480,"thumbUrl":55481,"material":107,"size":107,"collection":107,"collections":55482,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},236098,"hua-luo-han-ce-leng-mei-236098","画面右侧，罗汉持锡杖静立，侍者恭谨随侍身侧，斑斓猛虎伏于跟前，幼虎环绕嬉戏，凶兽尽敛凶性，尽显佛法感化的无边威能。设色清润雅致，衣纹勾勒细腻流畅，人物神态写实传神，将出尘淡然的禅意融于笔端。左侧行书题字隽秀飘逸，诗画呼应，悠悠禅意漫溢画面，烘托出空寂出尘的佛门意境。整作兼具笔情墨趣与装饰美感，以精妙的人物走兽刻画，诠释出禅境悠然的静谧氛围，是极具审美意趣的人物佳制。",[23,51,105,1284,54,25,58,14445,3737,8312,7,576,3363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8aedf101545a55889516bc3de1ace62c.jpg",[],{"id":55484,"slug":55485,"title":55486,"dynasty":97,"author":55487,"museum":99,"description":55488,"tags":55489,"thumbUrl":55490,"material":689,"size":690,"collection":107,"collections":55491,"showCount":625,"zanCount":1288,"manualWeight":39,"mainColor":40},235963,"cai-jia-hua-hui-tu-ce-cai-jia-235963","蔡嘉花卉图册","蔡嘉","蔡嘉(1686-1779)，字松原，一字岑州，号雪堂，一号旅亭，又号朱方老民，清朝江苏丹阳人，侨居扬州。所居曰高寒旧馆。与高翔、汪士慎、朱冕为诗画友。",[23,24,25,27,420,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dff31be84f9dd472ce61007950f2aba.jpg",[],{"id":55493,"slug":55494,"title":55486,"dynasty":97,"author":207,"museum":99,"description":55495,"tags":55496,"thumbUrl":55497,"material":107,"size":107,"collection":107,"collections":55498,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},235956,"cai-jia-hua-hui-tu-ce-yi-ming-235956","这幅画以湖石为骨，皴染间尽显嶙峋苍润，将顽石的朴拙厚重晕染得淋漓尽致。石畔水仙挺秀舒展，花瓣莹润留白，嫩黄的花蕊点出清雅生机，修长叶片劲挺带露，与湖石刚柔相济，旁侧细竹疏淡点缀，添几分清逸灵秀。\n\n笔墨兼工带写，设色明净素雅，勾勒晕染间将水仙的清隽姿态刻画入微。右侧题诗与画面呼应，诗画相融，悠悠文人意趣随花木舒展弥漫开来，整体意境娴静清雅，尽揽花木隽秀风骨，暗藏文士观物寄情的闲淡心境。",[23,51,24,25,26,27,488,358,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a2329e768406daed9e7f203e5808d8c.jpg",[],{"id":55500,"slug":55501,"title":42989,"dynasty":97,"author":207,"museum":99,"description":55502,"tags":55503,"thumbUrl":55504,"material":107,"size":107,"collection":107,"collections":55505,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},235888,"yuan-ji-hua-hui-tu-ce-yi-ming-235888","此作用水墨写秋菊，以浓淡变化铺陈花瓣，焦墨点醒花心，将丝缕繁复的花形表现得层次分明、舒展苍劲。叶片以大写意泼墨写出，浓淡干湿间尽显秋韵萧疏，寥寥数笔便勾勒出菊叶的清挺之态，尽显秋菊凌霜傲骨。\n\n左侧题字笔意纵逸，与画作笔势相融，诗画相映，借秋菊寄寓林下幽怀，文人意趣盎然。整幅简淡空灵，以少胜多，以水墨的纯粹晕染出清冷疏朗的意境，把传统花鸟画借物抒怀的意趣尽显无余，尽显中式写意美学的隽永之味。",[50,23,51,24,26,27,403,7,310,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a5025a954b3f6444b00e7c381e68af1.jpg",[],{"id":55507,"slug":55508,"title":42989,"dynasty":97,"author":207,"museum":99,"description":55509,"tags":55510,"thumbUrl":55511,"material":107,"size":107,"collection":107,"collections":55512,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},235887,"yuan-ji-hua-hui-tu-ce-yi-ming-235887","淡墨轻勾水纹，寥寥数笔便漾起柔缓波光，浓墨点染的汀草苍劲朴拙，与晕染浅淡的游鱼形成鲜明虚实对照。游鱼造型简括灵动，穿荇摇曳间，将水泽生机藏于简淡笔墨里。\n\n题书笔意纵逸浑朴，与画面融为一体，尽显水墨写意的随性野趣。以极简之形托出幽澹江湖之境，将水泽闲雅逸趣凝于尺幅间，淡而不寡，朴中藏灵，以意驭笔、以简胜繁，把清寂又生动的水畔一隅定格，让观者悄然窥见悠游自在的江渚意趣。",[23,51,24,26,403,119,7,420,102,28,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa0089515d0ede2814e1df1bde4747fb.jpg",[],{"id":55514,"slug":55515,"title":55516,"dynasty":18,"author":207,"museum":99,"description":55517,"tags":55518,"thumbUrl":55519,"material":689,"size":690,"collection":107,"collections":55520,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},235768,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-chen-chun-bai-hua-zhou-tu-ye-yi-ming-235768","吴门诸家寿袁方斋三绝册-陈淳百花洲图页","此作以淡彩晕染江南沙洲春景，溪岸蜿蜒舒展，疏柳轻曳掩映村舍，浅滩系着扁舟，渔翁正整理渔具，野趣悠然弥散。笔墨简淡清润，以写意笔法勾勒出水乡春日的恬柔氛围，烟柳婆娑间藏着乡居野逸之趣，将江南水畔的闲静日常晕染纸上。左侧题诗与画境相衬，书画合璧尽显雅致文心，把吴门画派独有的文人意趣融于尺幅间，淡而不寡，简中见情，将沙洲春日的闲逸定格在笔墨之中，处处透着松弛淡然的江南意韵。",[23,51,24,25,56,358,60,61,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F427bce2250ae53e129bae38db3fbe434.jpg",[],{"id":55522,"slug":55523,"title":24510,"dynasty":18,"author":23358,"museum":99,"description":24511,"tags":55524,"thumbUrl":55525,"material":689,"size":690,"collection":107,"collections":55526,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},235763,"mei-hua-wen-cong-jian-shi-he-bi-ce-shao-mi-235763",[23,51,24,26,119,7,528],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12145baf595c84674aafe4e1e47bf516.jpg",[],{"id":55528,"slug":55529,"title":24510,"dynasty":18,"author":23358,"museum":99,"description":24511,"tags":55530,"thumbUrl":55531,"material":689,"size":690,"collection":107,"collections":55532,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},235756,"mei-hua-wen-cong-jian-shi-he-bi-ce-shao-mi-235756",[23,51,24,26,119,7,528,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6757ab27764a706bf572d0ac336cb213.jpg",[],{"id":55534,"slug":55535,"title":24510,"dynasty":18,"author":23358,"museum":99,"description":24511,"tags":55536,"thumbUrl":55537,"material":689,"size":690,"collection":107,"collections":55538,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},235755,"mei-hua-wen-cong-jian-shi-he-bi-ce-shao-mi-235755",[23,51,24,26,119,7,528,277,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95b65fcd216b58af1bbec8ffc3cbfb76.jpg",[],{"id":55540,"slug":55541,"title":24510,"dynasty":18,"author":23358,"museum":99,"description":24511,"tags":55542,"thumbUrl":55543,"material":689,"size":690,"collection":107,"collections":55544,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},235754,"mei-hua-wen-cong-jian-shi-he-bi-ce-shao-mi-235754",[23,51,24,26,135,528,277,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8b3012daf04bf5a9ce3369312dcaa85.jpg",[],{"id":55546,"slug":55547,"title":18370,"dynasty":18,"author":21686,"museum":99,"description":21687,"tags":55548,"thumbUrl":55549,"material":689,"size":690,"collection":107,"collections":55550,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},235631,"fang-gu-shan-shui-ce-shen-hao-235631",[23,51,24,26,55,56,64,150,61,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f79308a3ad8d93ebe81fd24cddfcfaf.jpg",[],{"id":55552,"slug":55553,"title":18370,"dynasty":18,"author":21686,"museum":99,"description":55554,"tags":55555,"thumbUrl":55562,"material":107,"size":107,"collection":107,"collections":55563,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},235628,"fang-gu-shan-shui-ce-shen-hao-235628","此作写就晚秋江村之境。近岸危石棱峭，枯木疏枝缀着残叶，一椽茅舍静立滩头，野水浅横，汀洲错落如星。隔江岩岫错落，村舍隐在寒林之间，远景峰峦晕染如黛，归雁掠过长空，将秋意拉得清寂辽远。\n\n笔触简劲枯淡，干笔皴擦山石见苍润意趣，淡墨晕开烟岚，以寥寥笔墨铺展出幽远空寂的林下之境，题款清隽与画面相映，尽现萧散淡远的文人襟怀，清寂里藏着悠然林下闲情。",[23,51,24,26,55,134,7,56,150,64,66,63,277,6244,55556,55557,55558,403,55559,278,55560,55561,3520,2955,295],"山水景物","传统技法","文人画风格","淡墨渲染","岩壁","荒草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa33e6aa0cdae181fda2df10d0a65ae56.jpg",[],{"id":55565,"slug":55566,"title":7228,"dynasty":97,"author":48899,"museum":99,"description":48900,"tags":55567,"thumbUrl":55568,"material":689,"size":690,"collection":107,"collections":55569,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},235548,"shan-shui-ce-zhu-chang-235548",[23,51,24,26,56,277,55,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf55747da418ba7d5091bde1ab7ebcf3.jpg",[],{"id":55571,"slug":55572,"title":45043,"dynasty":97,"author":45044,"museum":99,"description":45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磨难，共享繁荣。",[49,23,51,52,26,119,7,137,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37f889f425dcc33c1856acb0a912b6e4.jpg","33cm*137.5cm",[],{"id":55779,"slug":55780,"title":55781,"dynasty":97,"author":22158,"museum":175,"description":39889,"tags":55782,"thumbUrl":55783,"material":5731,"size":55784,"collection":107,"collections":55785,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},234185,"xie-qin-fang-you-juan-huang-yi-234185","携琴访友卷",[49,23,51,52,26,25,119,7,56,58,64,277,60,61,63,727],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4af429963430d611c94223cadd68049.jpg","纵26.7cm，横90.1cm",[],{"id":55787,"slug":55788,"title":8493,"dynasty":18,"author":55789,"museum":99,"description":55790,"tags":55791,"thumbUrl":55792,"material":107,"size":107,"collection":107,"collections":55793,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},234166,"hua-niao-tu-juan-cao-pu-234166","曹镤","曹镤（？－？），字良金，直隶苏州府吴江县人，民籍，明朝政治人物。应天府乡试第一百二十二名举人。弘治六年（1493年）中式癸丑科二甲第四十一名进士.曾祖曹瑾；祖父曹𤩽；父曹珵，母李氏",[49,23,51,52,25,26,41938,7,119,27,66,29,1227,28,1714],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F483c4b66e3025fed4af1d5d6c8ef3840.jpg",[],{"id":55795,"slug":55796,"title":55797,"dynasty":115,"author":2718,"museum":175,"description":55798,"tags":55799,"thumbUrl":55800,"material":227,"size":55801,"collection":107,"collections":55802,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":75},233990,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233990","画赵构书唐风册","马和之，中国南宋画家 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（今浙江杭州）人。宋高宗绍兴（1131-1162）中登第，一说官至工部或兵部侍郎。画院待诏，为南宋宫廷画院中官品最高的画师，居御前画院十人之首（周密：“御前画院仅十人，和之居其首焉”）。擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描（一作马蝗描），用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[23,51,24,135,25,58,56,64,277,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc61718b8742bb720398eef3dacda1993.jpg","60.33x41.04厘米",[],{"id":55804,"slug":55805,"title":7228,"dynasty":97,"author":5630,"museum":175,"description":55806,"tags":55807,"thumbUrl":55809,"material":668,"size":55810,"collection":107,"collections":55811,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":924},233978,"shan-shui-ce-gong-xian-233978","此册作于乙卯年（清熙十四年，1675年）。现藏故宫博物院。本图册中第一四、八、十一、十三、十四开属于“白龚”，图中的山石、树木均以古、健、老、活的中锋勾勒轮廓线，物象具有方而不板，结而不滑的特点。本图册中第二、五、七、九、十二、十七、十九开属于“黑龚”。作者以灰墨勾出大体轮廓和经络，然后层层皴染和点染。其皴染取自宋人范觅的雨点皴而稍有变化，为头实尾虚的短笔皴。",[23,26,55,56,64,55808,2247,7],"土地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00d04ced63408e5e921bb6256a22b842.jpg","纵22.2厘米，横33.2厘米",[],{"id":55813,"slug":55814,"title":29197,"dynasty":97,"author":22158,"museum":175,"description":29198,"tags":55815,"thumbUrl":55816,"material":391,"size":29201,"collection":107,"collections":55817,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},233932,"dai-lu-fang-bei-tu-ce-huang-yi-233932",[23,51,24,26,55,56,59,63,150,8760,64,295,1903,16213,164,576,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba2d2053a509af5611c3ba9d2d607dd6.jpg",[],{"id":55819,"slug":55820,"title":35718,"dynasty":97,"author":25199,"museum":175,"description":37136,"tags":55821,"thumbUrl":55822,"material":391,"size":37139,"collection":107,"collections":55823,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},233439,"huang-shan-tu-ce-mei-qing-233439",[23,26,56,24,55,119,7,2001,64,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b1d26b63541bbc140b68dde5d3bd3a7.jpg",[],{"id":55825,"slug":55826,"title":55827,"dynasty":97,"author":55828,"museum":175,"description":55829,"tags":55830,"thumbUrl":55831,"material":183,"size":55832,"collection":107,"collections":55833,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},233407,"zhang-yun-seng-zhuang-xiang-zhou-xu-gao-233407","张昀僧装像轴","徐镐","此图是徐镐为同乡画家张昀所绘的肖像画。图中为一老者半身像，老者双手笼于袖中，身着僧人服，顶无发，胡须皆白，双目平视，神态安详庄重。\n是图画法精工，先以墨笔出形，复调色染之，使人物面部具有凹凸感，但光感不很明显，仍是中国传统肖像画技法。灰色的袍服和红色的袈裟则采用平涂的方法处理，衣纹线条细劲，颇具表现力。作为徐璋之子，徐镐很好地继承了“波臣派”肖像画的表现技法，在构图上更是力追传统，不设衬景道具，突出人物面部的表现，可谓“波臣派”余绪中的佼佼者。",[23,51,84,25,58,1284,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbab3cf78c70c568b0e5f9c9250ba3937.jpg","纵61.2厘米，横43.2厘米",[],{"id":55835,"slug":55836,"title":32167,"dynasty":18,"author":32168,"museum":99,"description":32169,"tags":55837,"thumbUrl":55838,"material":107,"size":107,"collection":107,"collections":55839,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},233302,"shi-zhu-zhai-pu-ce-hu-ri-cong-233302",[23,26,25,277,3875,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d670ca4fe5bcf366d78b46d268769a7.jpg",[],{"id":55841,"slug":55842,"title":19899,"dynasty":97,"author":724,"museum":175,"description":19900,"tags":55843,"thumbUrl":55844,"material":9618,"size":19903,"collection":107,"collections":55845,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},233168,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233168",[23,51,24,26,55,56,150,64,7,2955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f7751d38718633220fd9e84c4359f64.jpg",[],{"id":55847,"slug":55848,"title":19899,"dynasty":97,"author":724,"museum":175,"description":19900,"tags":55849,"thumbUrl":55850,"material":9618,"size":19903,"collection":107,"collections":55851,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},233164,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233164",[23,51,24,26,56,55,2001,279,64,727,150,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a094f728ed5c0a0d0fe30bf0a96562c.jpg",[],{"id":55853,"slug":55854,"title":55855,"dynasty":97,"author":207,"museum":175,"description":28278,"tags":55856,"thumbUrl":55857,"material":319,"size":28283,"collection":107,"collections":55858,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},233066,"ping-ding-yi-li-hui-bu-tu-xiang-ce-yi-ming-233066","平定伊犁回部图像册",[50,23,24,25,58,225,56,5029,7,10819,14860,28281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2efbdbddbb3716cdc8dea1c7c7345e0.jpg",[],{"id":55860,"slug":55861,"title":28277,"dynasty":97,"author":207,"museum":175,"description":28278,"tags":55862,"thumbUrl":55864,"material":319,"size":28283,"collection":107,"collections":55865,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},233064,"ping-ding-yi-li-hui-bu-zhan-tu-ce-yi-ming-233064",[50,23,51,25,54,55,58,14859,56,278,64,7,14860,55863,5029,279,1902,45451,28432],"骑兵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F890375b5c81ed92a214a850894c4ca78.jpg",[],{"id":55867,"slug":55868,"title":47557,"dynasty":97,"author":207,"museum":175,"description":47558,"tags":55869,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他曾经从同为英国王室画家的弗拉芒画家卢卡斯·霍亨布特那里学习画微型画，卢卡斯曾为他画了一幅微型画像，他自己从没有画过自画像。",[135,24749,181,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ff15714a14fe1e1481d0fe01e12ed1.jpg",[],{"id":55891,"slug":55892,"title":55893,"dynasty":2807,"author":55894,"museum":99,"description":55895,"tags":55896,"thumbUrl":55897,"material":689,"size":690,"collection":107,"collections":55898,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},231829,"jing-shang-xin-wan-juan-yi-teng-bo-wen-231829","井上馨宛卷","伊藤博文","伊藤博文伊藤（伊藤博文伊藤，1841年10月16 - 1909 10月26日）时，明治阶段日本的政治家[1] 。排名Kunto爵位在按照首位大订单的公爵。\n明治时代在4度到内阁制晚些时候推出的首相（第一代：1885年- 1888年，五代：1892年- 1896年- 7代：1898年，10代：1900年- 1901年），已知的作为。在第一次内阁时，他成为中心人物的起草工作中的明治宪法，并在时间的第二个机柜，他起草了中日和平条约。在四阶内阁中，通过创立创始人总统（在任1900 年至1903 年）组建了新政府rikken seiyūkai，并为政党政治铺平了道路。另一位主要的枢密院主席（任期1888 年-1889），主要的上议院主席府（任期1890年- 1891年），创始人韩国居住总（在办公室1905年- 1909年），参议院被服务等。\n讳是伊藤博文（伊藤博文，有时读为“ Hakubun ”）。他还称自己为“ Ochijuku Ryohirofumi 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虞集至大都，他被荐授大都路儒学教授。仁宗时，为集贤修撰。泰定帝时，升任翰林直学士兼国子祭酒。文宗为怀王时，已知虞集之名，继位后授之奎章阁侍书学士，进翰林侍讲学士，并与赵世延等编纂《经世大典》。因虞集曾草诏说顺帝非明宗子，所以顺帝即位后，他就谢病回乡。谥文靖。\n诗文为当时大家，“一时宗庙朝廷之典册，公卿士大夫碑版咸出其手。粹成一家之言”。与杨载、范□（木亨）、揭傒斯先后齐名，人称“虞、杨、范、揭”，并称“元诗四大家”。他主张宗唐宗古，以李白、杜甫为正宗，而又特别欣赏陶渊明、王维、韦应物、柳宗元等人，提倡“舒迟而淡泊”的审美观。诗文风格谨严，但多模拟前人。有《道园学古录》、《道园遗稿》。\n书法亦是大家，曾与赵孟頫同在翰林院共事，赵孟頫是他的上级，书法自然受到赵孟頫影响，观其作品，深得晋人韵味，清朗蕴藉之气不减赵氏。陶宗仪式《书史会要》称他“真行草篆皆有法度。古隶为当代第一。”明代书法家李东阳说：“书家者流，所谓人品高、师法古者，伯生殆兼有之。”书迹主要留于鉴赏题跋，传世作品还有《刘垓神道碑铭》墨迹本（上海博物馆藏）为大字真书，可见钟繇、苏轼笔法，曾为奎章阁篆印两方“奎章阁宝”、“天历之宝”，可见他的篆书在当时也很出众。虽为当时重要书家，流传作品不多，风格也不甚鲜明。",[86,119,4832,7,5502,12562,319,40855,435],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61f8b1fed963ae62c82bdac274eb8285.jpg","21×37.7cm",[],{"id":56342,"slug":56343,"title":38635,"dynasty":146,"author":11427,"museum":81,"description":56344,"tags":56345,"thumbUrl":56348,"material":44245,"size":53109,"collection":107,"collections":56349,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},221734,"qi-yan-jue-ju-zhang-yu-221734","张雨（1283－1350）字伯雨，号贞居之，又号句曲外史。元代诗文家、词曲家、书画家、茅山派道士。旧名张泽之，又名张嗣真，浙江钱塘人。\n\n张雨的书法曾得赵孟頫指授，字画清逸舒放，这幅书法是罕见的大字行草，字形倾侧动荡，忽大忽小，运墨燥湿互济，锋势劲锐，别具纵逸峻历之势，结构布局无拘无束，显示出他能放纵能收敛的高度技巧。时而出现跳跃夸张的笔画，抒发了“隐士书家”内心郁结已久的块垒，更能显现“隐士书家”特有的孤傲不群，更能将道家的自由散漫和清虚雅逸诠释的淋漓尽致。",[86,119,7,24,26,777,700,1115,56346,56347,3854],"飞鸿","樵夫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2927e44bffd84da4f10d29039f2a2e7.jpg",[],{"id":56351,"slug":56352,"title":56353,"dynasty":146,"author":11427,"museum":81,"description":56354,"tags":56355,"thumbUrl":56359,"material":502,"size":56360,"collection":107,"collections":56361,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":75},221732,"tang-ren-jue-ju-zhou-zhang-yu-221732","唐人绝句轴","张雨（西元一二八三－一三五０年），字伯雨，号句曲外史，浙江钱塘人。元代着名的道教人物。文才清丽，书画清逸，倪瓒称其诗文字画为「道品第一」。 通幅书作，运笔放纵，流转自如，劲健洒脱，用墨浓时而枯，淋漓痛快。结体圆实，行笔潇洒之处，可看出早年学赵孟頫的迹象。",[23,51,84,86,119,7,56356,777,358,3207,944,56357,56358],"秋月","翠帐","竹房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51baeeeab2d4cc8e58254774872862e1.jpg","(公分) 本幅154.3x34.3 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，字渔仙，号桃溪居士，后号墨井道人，江苏常熟人。曾笃信天主教，并往澳门逗留。工诗、善画山水，师事王时敏 (1592-1680)与王鉴 (1598-1677) ，连同王翚 (1632-1717)、王原祁 (1642-1715)和恽寿平 (1633-1690) 合称「四王吴恽」或称「清初六家」，为清代正统派绘画代表。\n\n该画为吴历应友人侯大年（约1641-约1710）之命所作，并以友人之号「凤阿」命名，绘于康熙十六年（1677）之后，为吴氏中晚年之作。画面山峦起伏，高树竹丛、屋舍数间，屋前小桥流水，一人策杖过桥。整幅作品尺幅虽不大，却构图繁密，墨色苍润，流露对笔墨的追求与讲究，是吴历的精品。事实上，吴历与侯大年交谊深厚，曾应命绘制多幅《凤阿山房图》，以表达侯氏「述祖德，守先业」并归隐的志向，然而凤阿山房终未建成。据记载，侯大年在吴历绘制完立轴后，另请他绘制小册并请诸友题咏，正是此册。全册共分上、下两册，引首朱彝尊　(1629-1709) 书「凤阿山房」，后有吴历、朱彝尊、姜宸英、梁佩兰、宋骏业、王撰、陆遵、梅庚、钱大昕等六十六家诗题，其中陆遵、梅庚补图并题诗。吴历此作无疑是全册点睛之笔，见证了他与侯大年的交谊。",[49,23,51,24,119,56,576,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f6e70b4173e7b1a03e4fcad1f425a31.jpg","水墨,设色,纸本,册页","18×34.5厘米",[],{"id":56415,"slug":56416,"title":56406,"dynasty":97,"author":56407,"museum":3815,"description":56408,"tags":56417,"thumbUrl":56418,"material":56411,"size":56412,"collection":107,"collections":56419,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":107},220673,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220673",[49,23,51,24,26,55,56,871,293,13496,63,7,86,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0947d8a7d1ff2847a29d70d56bed1f9b.jpg",[],{"id":56421,"slug":56422,"title":56423,"dynasty":18,"author":13743,"museum":81,"description":26913,"tags":56424,"thumbUrl":56425,"material":121,"size":107,"collection":107,"collections":56426,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},218203,"luo-han-zhou-7-wu-bin-218203","罗汉轴-7",[23,51,84,1284,135,58,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe308f94ab9816bb27c5720a8ca766e53.jpg",[],{"id":56428,"slug":56429,"title":56430,"dynasty":115,"author":3092,"museum":81,"description":56431,"tags":56432,"thumbUrl":56433,"material":152,"size":56434,"collection":107,"collections":56435,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},218154,"wen-ji-gui-han-tu-ce-9-li-tang-218154","文姬归汉图册-9","这本画册由18张图片组成，以上下系列的形式。每张图片大小不一，是独立的画作，与其他画作一起构成一个完整的故事。",[23,50,24,25,58,86,7,1019,59,10819,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a670d224394e2c16cb3bdacc45f5966.jpg","50.7x39.7",[],{"id":56437,"slug":56438,"title":56439,"dynasty":192,"author":12370,"museum":175,"description":12371,"tags":56440,"thumbUrl":56441,"material":152,"size":12374,"collection":107,"collections":56442,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},218144,"liu-zun-zhe-xiang-tu-ce-1-lu-leng-qie-218144","六尊者像图册-1",[49,23,51,24,1284,58,25,54,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75e6dd2732e09eed986181dac9641bc0.jpg",[],{"id":56444,"slug":56445,"title":56446,"dynasty":192,"author":12370,"museum":175,"description":12371,"tags":56447,"thumbUrl":56448,"material":152,"size":12374,"collection":107,"collections":56449,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":75},218135,"liu-zun-zhe-xiang-tu-ce-8-lu-leng-qie-218135","六尊者像图册-8",[49,23,51,24,1284,58,25,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cdc92f05642e2d14b819a5eb0c44e3b.jpg",[],{"id":56451,"slug":56452,"title":56453,"dynasty":97,"author":17865,"museum":99,"description":56454,"tags":56455,"thumbUrl":56456,"material":33,"size":107,"collection":107,"collections":56457,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},218011,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-7-ceng-yan-dong-218011","七道子山水人物画册18帧-7","曾衍东的作品大多描绘了山水风光，他喜欢运用细腻的笔法来捕捉山间的峰峦、河流的曲折和云雾的起伏。他的作品中常常出现清新的山水景观，充满了诗意和富有感染力的气氛。\n\n此外，曾衍东还经常画人物，他的人物画作品中常常出现的是闲适的书生或山民。他的人物画充满了生动的感情，能够真实地反映出人物的内心世界。",[49,23,51,24,26,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe916e76d98fec8e72e0ee5fb1f289c17.jpg",[],{"id":56459,"slug":56460,"title":56461,"dynasty":97,"author":207,"museum":175,"description":56462,"tags":56463,"thumbUrl":56466,"material":25,"size":107,"collection":107,"collections":56467,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},217309,"gu-xiu-wu-shi-san-can-tu-ce-3-yi-ming-217309","顾绣·五十三参图册-3","针丝作笔，彩线为墨，将禅意与童趣绣入绢素。左侧朱衣老者趺坐石矶，衣袂流转如流云，眉宇间藏着静定；童子执物趋前，步履轻快。右侧文士宽袍博带，持扇倚石，蕉叶舒展如伞，月华轻笼似纱；孩童匍匐戏鸭，憨态跃然。山石皴理、草木脉络皆以细针密线勾勒，笔墨意趣与丝绣肌理交织。淡彩晕染间，禅门参访的庄严与生活的温软相融，每处针脚藏着匠心，似低语古老故事，让观者于方寸间见天地、品幽情。山石的苍劲、草木的柔婉，皆化作丝缕间的生动，禅意隐于细节，童趣流于针端，尽显顾绣“绣画合一”的雅致神韵。",[17090,24,25,54,58,56464,9292,150,3875,944,56465,7,2811],"老者","栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41e0be7f82e46304bc019bc9ae78f732.jpg",[],{"id":56469,"slug":56470,"title":56471,"dynasty":97,"author":207,"museum":175,"description":56472,"tags":56473,"thumbUrl":56474,"material":25,"size":107,"collection":107,"collections":56475,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},217303,"gu-xiu-wu-shi-san-can-tu-ce-14-yi-ming-217303","顾绣·五十三参图册-14","云气氤氲间，左页仙人驾青虬踏虚而来，鳞爪飞扬带起赤色飘带，与崖边童子遥相呼应；右页佛陀趺坐莲台，莲瓣层叠如碧波绽放，侧旁稚童捧物趋近，似呈供养之礼。梅枝斜逸、山石清奇，水波与祥云勾勒出空灵之境。顾绣针丝如笔，设色清妍，将佛教故事中的庄严与灵动融于尺幅，每一处细节皆见匠心，既显信仰之虔诚，又含尘世之趣，尽显传统绣绘结合的雅致韵味。",[17090,25,24,1284,58,405,1626,2779,150,64,7,406,43727,32366],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46ecaa6be5186756685112a2299a736b.jpg",[],{"id":56477,"slug":56478,"title":56479,"dynasty":97,"author":207,"museum":175,"description":56480,"tags":56481,"thumbUrl":56482,"material":25,"size":107,"collection":107,"collections":56483,"showCount":625,"zanCount":39,"manualWeight":39,"mainColor":40},217301,"gu-xiu-wu-shi-san-can-tu-ce-11-yi-ming-217301","顾绣·五十三参图册-11","这幅绣品以针代笔，融绘入绣，尽显顾绣“画绣相参”的精妙韵致。云上神祇衣袂翩跹，纹络以细针密线勾勒，色彩层次雅致温润；持剑者英武挺拔，持琵琶者端稳从容，神态皆鲜活传神。下方小像动态轻盈，衣纹线条流转自如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其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[97,15063,57357,57358,251,700,86,7],"珐琅彩","淡黄釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F656fe6f282b064f44220e6747b3ca3be.jpg",[],{"id":57362,"slug":57363,"title":57364,"dynasty":97,"author":207,"museum":99,"description":57365,"tags":57366,"thumbUrl":57368,"material":689,"size":690,"collection":107,"collections":57369,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":75},257744,"kang-xi-kuan-wu-cai-shi-er-yue-hua-hui-wen-bei-su-yi-ming-257744","康熙款五彩十二月花卉纹杯-素","此杯胎质轻薄莹润，似冰似玉。外壁青花题诗笔致清隽疏朗，淡绘花枝若隐若现，诗画相映，将文人雅趣藏于日用之中。青花发色幽蓝静雅，字体端秀雅致，下方篆印方正规整，为器物更添文人气韵。杯型线条柔婉流畅，圈足浅矮圆润，握持称手。整体将诗、书、画、瓷融于一身，尽显秀逸内敛的东方审美意趣，把清雅诗意凝于这一方小杯之中，尽显雅致制瓷格调。",[15063,57367,25,28,7,179],"五彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F511cb9c5ac9bc8e5fafe874f9a428359.jpg",[],{"id":57371,"slug":57372,"title":57373,"dynasty":97,"author":207,"museum":99,"description":57374,"tags":57375,"thumbUrl":57376,"material":689,"size":690,"collection":107,"collections":57377,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},256592,"huang-di-fa-lang-cai-tao-hua-wen-bei-yi-ming-256592","黄地珐琅彩桃花纹杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[15063,57357,25,57,7,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa99d9fae14e42c0c6fd49b12fbceed19.jpg",[],{"id":57379,"slug":57380,"title":57381,"dynasty":7908,"author":207,"museum":99,"description":57382,"tags":57383,"thumbUrl":57384,"material":689,"size":690,"collection":107,"collections":57385,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},251284,"hong-qin-bai-yu-zhen-yi-ming-251284","红沁白玉瑱","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。\n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玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[51,24,119,7,9699,1860,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45043b951e34bd9aa57f04cf29a56bd3.jpg",[],{"id":57387,"slug":57388,"title":57389,"dynasty":97,"author":207,"museum":99,"description":53988,"tags":57390,"thumbUrl":57391,"material":689,"size":690,"collection":107,"collections":57392,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},242524,"qin-ding-zhong-ke-chun-hua-ge-tie-gou-ben-yi-ming-242524","钦定重刻淳化阁帖钩本",[86,541,7,134,418,2226,5943],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e822f629e7ca7af62ff21c56fc00849.jpg",[],{"id":57394,"slug":57395,"title":31757,"dynasty":97,"author":207,"museum":99,"description":53988,"tags":57396,"thumbUrl":57397,"material":689,"size":690,"collection":107,"collections":57398,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":1441},242498,"zhong-ke-chun-hua-ge-tie-yi-ming-242498",[86,2226,7,119,462,134,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8935d780af15271e21dd5bf0a5c3f7e5.jpg",[],{"id":57400,"slug":57401,"title":19388,"dynasty":192,"author":207,"museum":99,"description":57402,"tags":57403,"thumbUrl":57404,"material":107,"size":107,"collection":1120,"collections":57405,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":75},242232,"zheng-zuo-wei-tie-yi-ming-242232","此作用笔苍劲朴拙，点画浑厚开张，尽显宽博雄健的气度。字势欹正相生，章法疏密随性自然，笔墨间裹挟着直谏时的激愤意气，将忠义肝胆寄于笔端。\n墨色沉凝古雅，虽为刻拓却不失原作的酣畅气势，行笔间带着独有的雄浑风骨，把文人气节与书法意趣相融，字里行间皆是率真饱满的情绪起伏，尽显壮逸格调，是极具感染力的行草典范。",[86,2226,119,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5037d956fd7683d70e044ca6d075c8cb.jpg",[1120],{"id":57407,"slug":57408,"title":19388,"dynasty":97,"author":207,"museum":99,"description":57409,"tags":57410,"thumbUrl":57411,"material":107,"size":107,"collection":1120,"collections":57412,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":1441},242230,"zheng-zuo-wei-tie-yi-ming-242230","此作用笔雄健苍劲，线条跌宕恣肆，将书者朝堂据理力争的凛然风骨寄寓笔墨间。行笔纵横捭阖，墨色斑驳沉郁，尽显刻石拓本的沧桑厚重。章法欹正相生、大小错落，看似随意排布却浑然天成。\n\n笔画粗细变化极具张力，牵丝映带间融行书灵动与朴拙为一体，既不失端稳法度，又脱尽刻板拘束，以散逸不羁的姿态成为行书经典。晕染的拓痕为其添上古雅沉静的岁月质感，让观者能触摸到千年前文人的铮铮铁骨。",[86,2226,119,24,418,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6815a8f1c8fcfebc068f7bb1d47e64f3.jpg",[1120],{"id":57414,"slug":57415,"title":57416,"dynasty":18,"author":207,"museum":99,"description":57417,"tags":57418,"thumbUrl":57419,"material":107,"size":107,"collection":122,"collections":57420,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":75},242219,"bao-xian-tang-fa-tie-yi-ming-242219","宝贤堂法帖","此帖荟萃晋人手札，黑底白墨古雅沉静，尽显刻帖精妙质感。右侧书作笔意圆融灵动，点画顾盼生姿，将尺牍的随性自在铺陈开来，晋人散逸潇洒的风神跃然楮墨。左侧字迹纵逸奔放，牵丝映带间尽显挥毫时的畅快意气，笔墨藏着晋韵风流的审美底色。\n\n摹刻精良，忠实留存晋人行草的章法笔意，将两通信札的日常意趣与书法精妙合二为一，虽是刻本却毫发尽显笔底情致，可让观者遥想当年挥毫的自在情态，体味古法帖隽永的笔墨魅力。",[2226,86,119,462,7,418],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3d36d092de5a51de88c73a35db58586.jpg",[122],{"id":57422,"slug":57423,"title":57424,"dynasty":97,"author":57425,"museum":99,"description":57426,"tags":57427,"thumbUrl":57428,"material":689,"size":690,"collection":107,"collections":57429,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":75},241693,"wu-yan-shi-heng-pi-cao-hong-xun-241693","五言诗横披","曹鸿勋","曹鸿勋（1846年2月3日—1910年9月9日）清代官员。字仲铭，又字竹铭，号兰生，另号铭帛，室名益坚斋。山东莱州府潍县（今潍坊市潍城区）西南关新巷子人。",[417,86,39326,4832,105,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07347b464578b5e555324a8dc8d2321d.jpg",[],{"id":57431,"slug":57432,"title":57433,"dynasty":18,"author":2059,"museum":99,"description":16056,"tags":57434,"thumbUrl":57435,"material":689,"size":690,"collection":107,"collections":57436,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241641,"zhi-yang-hu-shu-zha-wen-zheng-ming-241641","致阳湖书札",[8547,86,119,7,319,5502,435],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F588c7c691a4650c35c73306c75c378ec.jpg",[],{"id":57438,"slug":57439,"title":57440,"dynasty":97,"author":57441,"museum":99,"description":57442,"tags":57443,"thumbUrl":57444,"material":689,"size":690,"collection":107,"collections":57445,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241603,"zhu-zhi-ci-san-shou-ye-gu-guang-xu-241603","竹枝词三首页","顾光旭","顾光旭（1731～1797）字华阳，号晴沙，又号响泉，江苏无锡人，顾可久后裔。乾隆十七年（1752）进士，官至甘肃干凉道、署四川按察司使。工书法，与王文治、刘墉、孔东山、梁同书、周稚圭相颉颃。求书必索润笔，亦甚廉 。即取以市大布制棉衣以施寒者，乡里称善人，卒年六十七 。著有《响泉集》、《梁溪诗钞》。",[51,119,7,25,34685,59,63,49041],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab3bbc5aec8ed12d63dc3e4f6a9f4af7.jpg",[],{"id":57447,"slug":57448,"title":27146,"dynasty":97,"author":36767,"museum":99,"description":57449,"tags":57450,"thumbUrl":57451,"material":689,"size":690,"collection":107,"collections":57452,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241569,"qi-yan-shi-zhou-tang-yi-fen-241569","汤贻汾（1778—1853）， 字若仪，号雨生、琴隐道人，晚号粥翁，武进（今江苏常州）人。清代武官、诗人、画家。以祖、父荫袭云骑尉，授扬州三江营守备。",[86,119,84,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0972c17ac9489951e3f6d1329328867a.jpg",[],{"id":57454,"slug":57455,"title":28876,"dynasty":97,"author":57456,"museum":99,"description":57457,"tags":57458,"thumbUrl":57459,"material":689,"size":690,"collection":107,"collections":57460,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241567,"qi-jue-zhou-cheng-feng-241567","程凤","此作草书纵肆跳宕，中锋使转圆润遒劲，线条粗细枯湿自然变幻，提按顿挫间漾开婉转韵律。字距错落行气贯通，左疏右密的排布令章法灵动不板滞，虚实相生间尽显疏密开合的意趣。\n\n笔墨酣畅肆意，将草书抒情特质挥洒尽致，牵丝映带间留存下挥毫时的连贯节奏，奔逸的动态张力里暗藏沉稳筋骨，萧散放达的文人意气裹挟在笔墨之中，尽显书写者的不俗襟怀与深厚书法功力，是尽显抒情特质的草书佳篇。",[86,462,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85dc05368378014e2622b2dd903bf056.jpg",[],{"id":57462,"slug":57463,"title":57464,"dynasty":18,"author":49174,"museum":99,"description":57465,"tags":57466,"thumbUrl":57467,"material":689,"size":690,"collection":107,"collections":57468,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":924},241566,"wu-lv-ping-zhou-song-cao-241566","五律屏轴","宋曹（1620-1701），字彬臣， 号射陵，又号耕海潜夫。明泰昌元年生于盐城县新兴场人（现盐城市亭湖区新兴镇）。宋家祠堂大门两侧曾有两朝辅弼，十世簪缨的对联。从宋曹曾祖、祖父起，皆以举人入官。\n明崇祯时，25岁官至中书舍人，其位级从七品官。南明复亡，1642年，宋曹的好友司石盘、厉豫等人因不满清朝黑暗统治，举兵起义。未及一年，兵败淮安。清政府派人四处抓拿，宋曹受其牵连，身陷囹圄。营释后，先到北宋庄，后又携家小隐居到30公里以外的汤庄，筑蔬枰园侍奉老母。每年仍到北宋庄祭祖。大纵湖有一龙兴寺，建于明开启年间，苦于无名。宋曹隐居北宋庄，让寺庙主持喜出望外，请他题名龙兴禅院，他欣然挥毫。抗战爆发，禅院毁于战火，宋曹真迹随之荡然无存了。三十寒暑，宋曹闭门养息，会友谈艺，聚首唱和，遂使诗书融合，造诣日深。康熙元年到八年间，两度诏举，不肯出林，仍隐逸汤村。康熙十七年，清以纂修明史，开博学鸿词科，征召海内名儒，侍郎严沅和江苏巡抚慕无颜共举宋曹为博学鸿词，他均以母老固辞未赴。康熙22年（1683）年，两江总督于成龙请他去 南京编撰《江南通志》，盛情难却，他带上长子恭贻一起赴任。志书编成，宋曹坚不留名，最终《江南通志》仅署了恭贻的名字。于成龙敬重他的人品，称他为射陵先生。于成龙邀其出山，终于使宋曹结束了隐居生涯。为了实现书法方面的抱负，他毅然离家出游，浪迹江淮，客维扬、润州、昆山、苏州、杭州等地，拜师会友，吊古觅胜。康熙六年，会顾炎武，互赠诗赋，结为友好。历数载，他纵觅南北名碑，吮吸精髓，悟入微际，并加以融会贯通，取舍扬弃，为自己寻得一条正宗的书法道路。",[86,119,84,7,529,944],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c53b5e4811f44127a75a253a0972ffc.jpg",[],{"id":57470,"slug":57471,"title":57472,"dynasty":97,"author":57473,"museum":99,"description":57474,"tags":57475,"thumbUrl":57478,"material":689,"size":690,"collection":107,"collections":57479,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241520,"fa-qi-jue-shi-zhou-xu-ang-241520","发七绝诗轴","徐昂","此作用笔温润秀雅，取法元人行书笔意，线条舒展灵动，牵丝映带自然圆融。结体匀称端庄，章法错落有致，字势随诗文意境缓缓铺陈。\n\n诗里溪潭夜色、泛舟沉醉的闲趣，融于笔墨虚实之间。笔锋轻重提转皆合韵律，将文人林下萧散闲适的意趣尽显无余，笔墨间流转着清雅书卷气，是颇具韵致的行书佳作，尽显传统文人书法的审美意涵。",[51,86,84,119,7,57476,358,11150,420,57477,31398],"花潭","覆水船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3e898aa97b0f30422041baa11dd5210.jpg",[],{"id":57481,"slug":57482,"title":57483,"dynasty":97,"author":57484,"museum":99,"description":57485,"tags":57486,"thumbUrl":57487,"material":689,"size":690,"collection":107,"collections":57488,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241519,"xian-ting-shi-yi-shou-zhou-mian-qin-241519","闲庭诗一首轴","绵懃","爱新觉罗·绵勤（1768—1820），乾隆帝之孙，成亲王永瑆(乾隆帝第十一子)长子，母嫡福晋富察氏，绵懿长兄，曾被封为郡王，死后追封成郡王。",[86,5663,7,84,528],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd60b09a0213fbfb6187bf86148fc0716.jpg",[],{"id":57490,"slug":57491,"title":27146,"dynasty":18,"author":57492,"museum":175,"description":57493,"tags":57494,"thumbUrl":57495,"material":319,"size":107,"collection":122,"collections":57496,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":75},241487,"qi-yan-shi-zhou-song-guang-241487","宋广","释文：\n心期仙使意无穷，彩画云车起寿宫。闻有三山未知处，茂陵松柏满西风。昌裔为仲纪书。\n钤“宋广印”、“宋昌裔”印。左侧裱边有前清遗老宝熙题跋一则。\n宋广此作运笔流畅自然，刚柔相济，虽是草书疾行，结字亦端正严谨，开合有度，诚如宝熙跋中所言有晋唐风骨。",[86,462,84,7,17680],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3c76a2664de5319766ebaf1ec2ebcc6.jpg",[122],{"id":57498,"slug":57499,"title":57500,"dynasty":97,"author":57501,"museum":99,"description":57502,"tags":57503,"thumbUrl":57504,"material":689,"size":690,"collection":122,"collections":57505,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241473,"bai-ling-shi-han-ce-zhang-bai-ling-241473","百龄诗翰册","张百龄","张百龄，清朝大臣。出为湖南按察使，调浙江，历贵州、云南布政使。",[51,24,119,86,7,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F432e640a215bbb1bf7fa1a27c89ee9e6.jpg",[122],{"id":57507,"slug":57508,"title":57509,"dynasty":97,"author":57510,"museum":99,"description":57511,"tags":57512,"thumbUrl":57513,"material":689,"size":690,"collection":107,"collections":57514,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":924},241472,"wu-jia-xing-kai-za-shu-juan-zhang-ying-241472","五家行楷杂书卷","张英","张英（1638年~1708年），字敦复，又字梦敦，号学圃，又号圃翁，安徽桐城人。清朝大臣，名相张廷玉之父。张秉彝第五子。\n康熙六年（1667年）进士，选庶吉士。翰林院编修，充日讲起居注官，累迁侍读学士。康熙十六年（1677年）设南书房，奉命入值，并得赐房第于西安门内。深得康熙器重。每逢康熙出行，张英必从。一时制诰多出其手。后历任翰林院学士，兼礼部侍郎、兵部待郎，调礼部兼管詹事府，充经筵讲官。康熙二十八年（1689年），任工部尚书、兼翰林院掌院学士，此后历任礼部尚书，国史馆总裁官。康熙三十八年（1699年），拜文华殿大学士，兼礼部尚书。张英性情温和，不图虚名。任讲筵官时，民生利病，四方水旱，知无不言。康熙帝曾称赞道：“张英始终敬慎，有古大臣风。”",[49,86,52,119,417,11388,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec3f1718dd5edeb5bbe50c9bac7f687.jpg",[],{"id":57516,"slug":57517,"title":57518,"dynasty":97,"author":57519,"museum":99,"description":57520,"tags":57521,"thumbUrl":57522,"material":689,"size":690,"collection":107,"collections":57523,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241471,"han-zhuan-yan-ge-juan-duan-mu-guo-hu-241471","汉砖研歌卷","端木国瑚","端木国瑚（1773年4月1日——1837年10月19日），字子彝、鹤田、井伯，晚号太鹤山人，浙江省青田县城太鹤山麓人。清代学者。\n7岁开始学《易经》。清嘉庆元年（1796），浙江学政阮元见国瑚的《画虎赋》，大加赞赏。邀赴杭州，就读于敷文书院。所作《定香亭赋》，清思古藻，似齐梁人手笔，一时艺林相与传诵，阮元赞不绝口，以诗相赠：“谁是齐梁作赋才，定香亭上碧莲开，括苍酒监秦淮海，招得青田白鹤来。”由此，国瑚被誉为“青田一鹤”。\n嘉庆三年，中举人。十三年，赴京会试不第，授为知县。国瑚潜心学业，呈请改任教职。道光十年（1830）宣宗皇帝改卜寿陵，国瑚以通堪舆之术，受宗室大臣举荐被召赴京，选定陵址后，任为县令，又奏请任教官。道光十三年，考取进士，仍以知县任用，再呈请注销，改任内阁中书，先后三辞县令。\n国瑚博通经史及阴阳术数，精研《易经》。道光七年，以治经闻名的龚自珍在京与国瑚论《易经》，国瑚阐述“乾初九不易世”一节，自珍叹为闻所未闻。道光十七年，朝鲜使臣慕名求见国瑚，说：“君所为《定香亭赋》，东国人皆传诵。”又请讲解《易经》，求取诗文经注手迹，欣然而去。同年三月，国瑚告老返乡，迁居瑞安。八月赴处州，游遂昌。九月感嗽疾，病故。著有《太鹤山人诗集》13卷、《太鹤山人文集》4卷、《周易指》45卷、《周易葬说》1卷、《地理元文注》4册。",[51,52,86,119,26,7,23567],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa83d48aef5fb66a8324f10a1dd1b201.jpg",[],{"id":57525,"slug":57526,"title":57527,"dynasty":97,"author":4289,"museum":99,"description":57527,"tags":57528,"thumbUrl":57529,"material":689,"size":690,"collection":107,"collections":57530,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241448,"tao-yuan-ming-shi-ce-he-chao-241448","陶渊明诗册",[86,51,24,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f31537e22ca2855a241bfa11ce09880.jpg",[],{"id":57532,"slug":57533,"title":57534,"dynasty":97,"author":29786,"museum":99,"description":29787,"tags":57535,"thumbUrl":57536,"material":689,"size":690,"collection":107,"collections":57537,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241428,"zhi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[1] 雅好诗文，能书法。\n万历四十六年（1618年）经元 ，天启五年（公元1625年）进士，授南京武选主事。为政有声，刚正不阿。与徐石麒、陈洪谧称“南都三清”，官至顺天府丞，未赴而京师亡。弘光元年闰六月十七日（公元1645年8月8日），剃发令下，嘉定民众起义抗清，其与黄淳耀被推为首领。坚守十余日，至七月四日（8月24日）城破，与二子投叶池殉国。\n南明绍宗赠兵部尚书，谥“文忠”。明监国鲁王赠左都御史，谥“忠烈”。清高宗乾隆四十一年（1776年）赐谥“忠节”。",[49,86,119,52,26,7,51,33485],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07b0b1a3cdc6065bcec6eb4e5c9e1a0d.jpg",[122],{"id":57659,"slug":57660,"title":56284,"dynasty":97,"author":57661,"museum":99,"description":57662,"tags":57663,"thumbUrl":57664,"material":689,"size":690,"collection":107,"collections":57665,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241167,"gui-qu-lai-ci-zhou-bao-gui-xing-241167","鲍桂星","鲍桂星（1764—1824）字双五，一字觉生。安徽歙县人，清朝官吏。嘉庆四年进士。历官工部侍郎、翰林学士，因事革职，官终詹事。鲍桂星师从姚鼐，诗古文并有法。",[97,86,119,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3532719e0f0683834b7df71aca48ae20.jpg",[],{"id":57667,"slug":57668,"title":28104,"dynasty":97,"author":26038,"museum":99,"description":26039,"tags":57669,"thumbUrl":57670,"material":689,"size":690,"collection":107,"collections":57671,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241165,"shi-zhou-ai-xin-jue-luo-xuan-ye-241165",[86,84,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0adcf43c7c18e2cc7ae141d575e0c22f.jpg",[],{"id":57673,"slug":57674,"title":28104,"dynasty":97,"author":57675,"museum":99,"description":57676,"tags":57677,"thumbUrl":57678,"material":689,"size":690,"collection":107,"collections":57679,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241161,"shi-zhou-wang-yuan-241161","王原","王原，上海青浦人，初名深，字仲深，一字令诒。清朝康熙27年进士出身。",[51,86,119,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F273df7a47df5a3f3df6bb6a58450fbf6.jpg",[],{"id":57681,"slug":57682,"title":57683,"dynasty":97,"author":30347,"museum":99,"description":46307,"tags":57684,"thumbUrl":57685,"material":689,"size":690,"collection":107,"collections":57686,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241158,"zai-hua-shi-zhou-ruan-yuan-241158","栽花诗轴",[51,86,119,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0834243743ac3f46afc8ed4cb817c96.jpg",[],{"id":57688,"slug":57689,"title":57690,"dynasty":97,"author":57691,"museum":99,"description":57692,"tags":57693,"thumbUrl":57694,"material":689,"size":690,"collection":107,"collections":57695,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241142,"xing-shu-shi-zha-ding-jing-241142","行书诗札","丁敬","丁敬（1695—1765），字敬身，号钝丁、砚林，别号龙泓山人、孤云、石叟、梅农、清梦生、玩茶翁、玩茶叟、砚林外史、胜怠老人、孤云石叟、独游杖者等，浙江杭州府钱塘县人。清代书画家、篆刻家。\n乾隆初年举鸿博不就，卖酒街市。嗜好金石文字，工诗善画，所画梅笔意苍秀。尤精篆刻，擅长切刀法，为“浙派篆刻”开山鼻祖，“西泠八家”之首。有《武林金石记》《砚林诗集》《砚林印存》《寿寿初稽》等。\n丁敬的亲家公为清代大文豪厉鹗。",[86,119,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F764fd00e4bce7725da5f964c6870f444.jpg",[],{"id":57697,"slug":57698,"title":57699,"dynasty":18,"author":57700,"museum":99,"description":57701,"tags":57702,"thumbUrl":57703,"material":689,"size":690,"collection":107,"collections":57704,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241100,"xing-shu-shi-juan-zhu-yue-fan-241100","行书诗卷","朱曰藩","朱曰藩，字子价，号射陂，宝应人（今江苏省宝应县），朱应登之子。生卒年不详，约明世宗嘉靖三十年前后在世。",[86,119,52,51,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e81c908fa6a504896e23f962018d349.jpg",[],{"id":57706,"slug":57707,"title":57708,"dynasty":97,"author":57709,"museum":99,"description":57710,"tags":57711,"thumbUrl":57712,"material":689,"size":690,"collection":107,"collections":57713,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241093,"zeng-wang-shi-zhen-ren-yang-zhou-shi-zhou-wang-wan-241093","赠王士禛任扬州诗轴","汪琬","汪琬（1624年～1691年），字苕文，号钝庵，初号玉遮山樵，晚号尧峰，小字液仙。长洲（今江苏省苏州市）人，清初官吏、学者、散文家，与侯方域、魏禧，合称明末清初散文“三大家”。顺治十二年（1655年）进士，康熙十八年（1679年）举鸿博，历官编修、户部主事、刑部郎中，有《尧峰诗文钞》《钝翁前后类稿、续稿》。",[86,119,84,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1f47b0a528e23c2a88c23e6daba79ff.jpg",[],{"id":57715,"slug":57716,"title":57717,"dynasty":97,"author":50997,"museum":57570,"description":57718,"tags":57719,"thumbUrl":57720,"material":1636,"size":57721,"collection":122,"collections":57722,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241090,"wu-yan-shi-zhou-jiang-chen-ying-241090","五言诗轴","姜宸英（1628－1699年），明末清初书法家、史学家，与 字西溟，号湛园，又号苇间，浙江 明末诸生，康熙十九年以布衣荐入明史馆任纂修官，分撰刑法志，记述明三百年间诏狱、廷杖、立枷、东西厂卫之害。又从 在京因得罪大学士 康熙三十六年70岁始成进士，以殿试第三名授翰林院编修。越两年为顺天乡试副考官，因主考官舞弊，被连累下狱死。着有《湛园集》《苇间集》《海防总论》。",[119,86,7,5209,1207,17335,293,3854,531,870,871,1480,2342,406,700],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F213bd352cd92152c238af991318ac0c9.jpg","64.5×32.1cm",[122],{"id":57724,"slug":57725,"title":28104,"dynasty":97,"author":57726,"museum":20,"description":57727,"tags":57728,"thumbUrl":57729,"material":57730,"size":57731,"collection":122,"collections":57732,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241084,"shi-zhou-shi-run-zhang-241084","施闰章","施闰章（1619年—1683年），字尚白，一字屺云，号愚山，媲萝居士、蠖斋，晚号矩斋，后人称施侍读、施佛子。江南宣城（今安徽省宣城市宣州区）人。 清初政治家、文学家。\n施闰章于清顺治六年（1649年）进士及第，授刑部主事。顺治十三年（1656年）出任山东学政。顺治十八年（1661年），出任江西布政司参议，后裁缺归田。康熙十八年（1679年），应召博学鸿词科，御试授翰林侍讲，修《明史》。康熙二十二年（1683年），升转翰林院侍读，充太宗圣训纂修官。同年病逝于京斋，享年六十六岁。\n施闰章博览经史，工诗词古文学。 其文意朴而气静。 其诗以辞清句丽见长， 号“宣城体”，与高咏主持东南诗坛数十年。并与宋琬齐名，有“南施北宋”之誉。 [5] 著有《双溪诗文集》《愚山诗文集》等十余种。",[86,84,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99e3059086a576c9927d6b7a21f5ab5f.jpg","纸本草书","180.1×43cm",[122],{"id":57734,"slug":57735,"title":57736,"dynasty":1037,"author":207,"museum":99,"description":57737,"tags":57738,"thumbUrl":57739,"material":689,"size":690,"collection":107,"collections":57740,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":75},241070,"jing-guang-xie-da-cheng-dao-yu-jing-juan-yi-ming-241070","浄光写大乘稻芋经卷","此卷写经以小字行书抄录，笔意简率灵动，全无刻板写经的拘谨沉滞。起收锋利落洒脱，点画间顾盼呼应，带着随性自如的文人笔致。\n\n通篇排布茂密却不失舒朗，墨色有自然的浓淡枯润变化，将抄经的虔诚融于笔墨线条之中，既有宗教写本的肃穆沉静，又带着五代民间书写的率意朴拙，在日复一日的笔耕里，尽显朴素古雅的书卷气质，是兼具书法审美与宗教文化意涵的佳制。",[51,52,1284,436,86,417,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51b2983f4ec22a1290c542e6aedc7cf4.jpg",[],{"id":57742,"slug":57743,"title":57744,"dynasty":18,"author":35542,"museum":99,"description":35543,"tags":57745,"thumbUrl":57746,"material":689,"size":690,"collection":107,"collections":57747,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241062,"qi-lv-shou-shi-zhou-zhang-chong-241062","七律寿诗轴",[86,84,462,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266dd694309cdde52594a35b0ab24cf8.jpg",[],{"id":57749,"slug":57750,"title":40861,"dynasty":18,"author":57751,"museum":99,"description":57752,"tags":57753,"thumbUrl":57754,"material":319,"size":57755,"collection":122,"collections":57756,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241055,"qi-jue-shi-zhou-kuang-lu-241055","邝露","邝露（1604-1650）字湛若，号海雪，南海大沥人。明末广东著名诗人；出生于书香世家，少年好学，五岁能诗，以才能卓异闻名于乡里。青年时曾在罗浮山明福洞苦读，邝露工于诗词，精于骈文；又是篆、隶、行、草、楷各体兼擅的有成就的书法家，其草书字迹劲秀，师法王羲之而自成一格。还通晓兵法、骑马、击剑、射箭，又是古文物鉴赏家和收藏家，还擅长古琴，是一位品格极高的琴人。其收藏的唐琴“绿绮台”为岭南“四大名琴”之一，在琴界有极高声誉。他负才不羁，行歌市上，旁若无人，对传统礼法傲然不屑，多次应试也因“违制”而落第。南明唐王时任中书舍人，永历帝时出使广州，顺治七年清兵攻广州，邝露与诸将戮力死守，凡十余月，城陷，不食，抱琴而死，从容殉国，年仅47岁。\n邝露气质浪漫，最能表现其个性的当为草书。其草法奔放，酣畅自然，略近祝枝山，而上追黄庭坚，既任情恣肆而又矩度精严，能放能收，深得书法之要。邝露书法能有很高的成就，源于他多方面的文艺修养。",[86,462,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15ea342f7ae92c8d83957ed6529d8e3b.jpg","93×36cm",[122],{"id":57758,"slug":57759,"title":57760,"dynasty":97,"author":39426,"museum":99,"description":39428,"tags":57761,"thumbUrl":57762,"material":689,"size":690,"collection":107,"collections":57763,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241041,"cao-xiu-xian-lu-wen-zhou-cao-xiu-xian-241041","曹秀先录文轴",[86,119,84,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff34ce96f9e558bf9951b359336f6ef4a.jpg",[],{"id":57765,"slug":57766,"title":57767,"dynasty":97,"author":16882,"museum":99,"description":16883,"tags":57768,"thumbUrl":57769,"material":689,"size":690,"collection":107,"collections":57770,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241040,"shu-qiu-xing-shi-juan-fu-shan-241040","书秋兴诗卷",[49,86,119,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a2bc6a8f97007e36f411118f0f5fe66.jpg",[],{"id":57772,"slug":57773,"title":21113,"dynasty":97,"author":57774,"museum":99,"description":57775,"tags":57776,"thumbUrl":57778,"material":689,"size":690,"collection":107,"collections":57779,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241038,"qi-lv-zhou-fa-ruo-zhen-241038","法若真","法若真（1613－1691）字汉儒，号黄山、黄石，祖籍济南，先祖于明朝景泰年间任职胶州，法氏后人遂定居胶州城里，以为故里。 法若真父亲法寰学识渊博，尤爱好研究经史，对《四书》、《春秋》颇有见解，著作很多，声名一时，他辞官职返乡，在城南怡云岭设学馆，以授徒讲学为业，在胶州造就了大批有用之才。",[86,84,119,26,7,946,531,332,22811,40917,57777],"馬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bf3b01a8998f7e9c0096c9510231ca6.jpg",[],{"id":57781,"slug":57782,"title":57783,"dynasty":18,"author":23855,"museum":99,"description":42448,"tags":57784,"thumbUrl":57785,"material":689,"size":690,"collection":107,"collections":57786,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},241007,"liu-jia-shou-zha-juan-huang-dao-zhou-241007","六家手札卷",[49,51,52,86,119,462,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1adb9242b3992f887867bc05df2b1e81.jpg",[],{"id":57788,"slug":57789,"title":57790,"dynasty":18,"author":207,"museum":99,"description":57791,"tags":57792,"thumbUrl":57793,"material":319,"size":107,"collection":122,"collections":57794,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240995,"jin-sheng-zha-juan-yi-ming-240995","金声札卷","此札行书隽秀清逸，笔墨简淡萧散，章法疏朗从容。行笔牵丝映带轻盈婉转，笔画粗细合宜，尽显文人书写的随性雅致，不见雕琢之态。\n\n信中叙旧访游，寄寓知己阔别惦念，日常琐语化为纸上温情，裹挟着晚明文人的林下风流。左侧题跋与手札呼应，双璧相映，兼具文献与书法双重价值，尺牍之间藏着晚明交游的文人情愫，尽显一代士人的心迹风神。",[49,8547,86,52,119,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da70fc7fb515fa67593fee5648a64c9.jpg",[122],{"id":57796,"slug":57797,"title":57798,"dynasty":2807,"author":57799,"museum":99,"description":57800,"tags":57801,"thumbUrl":57802,"material":689,"size":690,"collection":107,"collections":57803,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240993,"zhi-er-xue-xing-zha-juan-song-ling-shen-240993","致儿学行札卷","宋令申","此作为文人手札长卷，以率意行书铺陈，笔墨朴拙灵动。行笔迅疾却不失法度，字形欹侧错落，墨色枯湿浓淡富于变化。密密麻麻的小字排布紧凑却不显拥塞，带着家信独有的松弛与真切。褪去了刻意的书家姿态，将日常的牵念、叮咛尽数凝于毫端，把私人化的家常絮语与文人底蕴相融，藏着鲜活的日常心绪，质朴间尽显温度，是极具烟火气的文人尺牍典范。",[49,86,52,119,462,51,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff39d6f85c93badcb1ef99db9c578f362.jpg",[],{"id":57805,"slug":57806,"title":54089,"dynasty":18,"author":40274,"museum":99,"description":54184,"tags":57807,"thumbUrl":57808,"material":689,"size":690,"collection":107,"collections":57809,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240992,"shou-zha-juan-chen-xian-zhang-240992",[49,86,52,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F969c38c4929eecb724807e00b0501e04.jpg",[],{"id":57811,"slug":57812,"title":57813,"dynasty":97,"author":57814,"museum":99,"description":57815,"tags":57816,"thumbUrl":57817,"material":689,"size":690,"collection":107,"collections":57818,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240921,"xie-jiu-xi-tou-xing-gu-yu-zhi-wu-gu-zhou-zhao-zhi-xin-240921","携酒溪头兴谷雨至五古轴","赵执信","赵执信[shēn]（1662年～1744年）清代诗人、诗论家、书法家。字伸符，号秋谷，晚号饴山老人、知如老人。山东省淄博市博山人。十四岁中秀才，十七岁中举人，十八岁中进士，后任右春坊右赞善兼翰林院检讨。\n二十八岁因佟皇后丧葬期间观看洪升所作《长生殿》戏剧，被劾革职。此后五十年间，终身不仕，徜徉林壑。赵执信为王士祯甥婿，然论诗与其异趣，强调“文意为主，言语为役”。所作诗文深沉峭拔，亦不乏反映民生疾苦的篇目。",[86,84,119,26,7,11150,5209,870,1207],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20df3daf90b7f5e4100f06c947778008.jpg",[],{"id":57820,"slug":57821,"title":36709,"dynasty":18,"author":23855,"museum":99,"description":42448,"tags":57822,"thumbUrl":57823,"material":689,"size":690,"collection":107,"collections":57824,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240914,"wu-lv-zhou-huang-dao-zhou-240914",[23,51,84,119,462,26,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59c0e1a4bda0e37ee348d1b52fb23504.jpg",[],{"id":57826,"slug":57827,"title":40861,"dynasty":97,"author":44475,"museum":99,"description":54176,"tags":57828,"thumbUrl":57829,"material":689,"size":690,"collection":107,"collections":57830,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240901,"qi-jue-shi-zhou-zhang-wen-tao-240901",[86,84,119,7,105,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb3153d8d09ad078c188cf77d571400b.jpg",[],{"id":57832,"slug":57833,"title":57834,"dynasty":97,"author":32870,"museum":99,"description":39341,"tags":57835,"thumbUrl":57836,"material":689,"size":690,"collection":107,"collections":57837,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240896,"zhuan-shu-lin-shi-song-ding-ming-zhou-zhang-ting-ji-240896","篆书临史颂鼎铭轴",[541,134,84,86,9481,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fa6a90d8d2c3b32a73f81d92e679a5f.jpg",[],{"id":57839,"slug":57840,"title":32910,"dynasty":97,"author":57841,"museum":99,"description":57842,"tags":57843,"thumbUrl":57844,"material":689,"size":690,"collection":107,"collections":57845,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240866,"zi-shu-shi-juan-zhu-ang-zhi-240866","朱昂之","朱昂之[清]（一七六四～一八四一年后），历代人物年表碑传综表作（一七五五～？），今从宋元明清书画家年表。字青立，又字津里，江苏武进人。侨居吴中（今江苏苏州）。",[49,23,51,52,119,86,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F821d4c66fa28a8207c9ab2a396eb2f3b.jpg",[],{"id":57847,"slug":57848,"title":57849,"dynasty":18,"author":57850,"museum":175,"description":57851,"tags":57852,"thumbUrl":57856,"material":28911,"size":57857,"collection":122,"collections":57858,"showCount":1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释文：\u2028 春日深且晏，和风吹翠林。暮云起层蔼，荣柯啭时禽。\n纷乘此尽遣，静阅参道心。物化归自然，寒暑无凌侵。\n逸我理可凭，一如节候临。偃仰对壶觞，夕籁发清音。\n近作似嵩石亲家词坛政。逋史刘正宗。\u2028 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。明代名臣。\n成化八年进士，曾任陕西按察副使兼督学。弘治十五年以南京太常寺卿都察院左副都御史的头衔出任督理陕西马政。后又三任三边总制。历经成化、弘治、正德、嘉靖四朝，为官五十余年，官至内阁首辅，号称“出将入相，文德武功”，才华堪与唐代名相姚崇媲美",[86,119,462,26,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F977d08e2523c988c3dbac67cb00a5064.jpg",[122],{"id":57979,"slug":57980,"title":29427,"dynasty":18,"author":2059,"museum":99,"description":16056,"tags":57981,"thumbUrl":57982,"material":689,"size":690,"collection":107,"collections":57983,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":1441},240505,"xi-yuan-shi-juan-wen-zheng-ming-240505",[49,50,23,51,52,119,86,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff9358505ce43750aa5e202274296573.jpg",[],{"id":57985,"slug":57986,"title":40803,"dynasty":97,"author":57987,"museum":99,"description":57988,"tags":57989,"thumbUrl":57990,"material":689,"size":690,"collection":107,"collections":57991,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240452,"zhuan-shu-lu-wen-zhou-wang-tai-yue-240452","王太岳","王太岳（1722年-1785年）字基平，号芥子，直隶定兴人。生于清圣祖康熙六十一年，乾隆七年（1742年）进士，改翰林院庶吉士，擅文名，卒于高宗乾隆五十年（1785年），年六十四岁。",[105,541,84,86,7,319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bc5a9f3b2702bd3f162fc8e4c496c21.jpg",[],{"id":57993,"slug":57994,"title":54332,"dynasty":97,"author":57995,"museum":99,"description":57996,"tags":57997,"thumbUrl":57998,"material":689,"size":690,"collection":107,"collections":57999,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240446,"zhuan-shu-shi-zhou-sun-xing-yan-240446","孙星衍","孙星衍（1753年－1818年），字伯渊，一字渊如，号季述。江蘇陽湖縣（今屬江苏省常州市）人，祖籍安徽濠州，清代经史学家，考据学者，金石学家。",[541,86,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6c7ff60e557c94e1cb07dcf473bdc25.jpg",[],{"id":58001,"slug":58002,"title":28104,"dynasty":97,"author":49081,"museum":99,"description":49082,"tags":58003,"thumbUrl":58004,"material":689,"size":690,"collection":107,"collections":58005,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240431,"shi-zhou-shen-ceng-zhi-240431",[51,86,84,462,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63dafc2e68908f457de59bea201d0312.jpg",[],{"id":58007,"slug":58008,"title":32910,"dynasty":18,"author":58009,"museum":99,"description":58010,"tags":58011,"thumbUrl":58012,"material":689,"size":690,"collection":107,"collections":58013,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240421,"zi-shu-shi-juan-yan-song-240421","严嵩","严嵩（1480年3月3日—1567年），字惟中，号介溪，袁州府分宜介桥村（今江西省分宜县）人。 [16] 明孝宗弘治十八年（1505年）进士，累迁礼部尚书、翰林院学士。嘉靖二十一年（1542年）六十三岁时入阁，加少傅兼太子太师、谨身殿大学士，后改少师、华盖殿大学士，嘉靖二十七年（1548年）诬害夏言，再任内阁首辅，专擅国政近十五年之久。\n严嵩在朝期间，陷害同僚，必置之死地而后快;同时他结党营私，贪赃纳贿，而他的党羽和子孙更是跋扈骄奢，横行朝廷。严嵩的专权乱政，使明王朝的国力衰弱，边疆防御受到严重破坏，人民惨遭蹂躏。晚年因事激怒嘉靖帝而失势，嘉靖四十一年（1562年）勒令致仕，嘉靖四十三年（1564年）严世蕃案发，其恶迹败露后，世宗下诏将他罢职，削籍为民，家产被抄，奸党与家人一一治罪。\n隆庆元年（1567年），87岁的严嵩贫病交加，把持朝政20多年后，在举国一片唾骂声中死去，挤进《明史·奸臣传》。他死的时候，寄食于墓舍，既无棺木下葬，更没有前去吊唁的人。《明史》将严嵩列为明代六大奸臣之一，称其“惟一意媚上，窃权罔利”。",[49,51,52,86,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6321fcc2f8c8d1899a7ec793459c5e1e.jpg",[],{"id":58015,"slug":58016,"title":58017,"dynasty":97,"author":15922,"museum":99,"description":29649,"tags":58018,"thumbUrl":58019,"material":689,"size":690,"collection":107,"collections":58020,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240409,"cha-shi-biao-wu-lv-shi-zhou-cha-shi-biao-240409","查士标五律诗轴",[86,84,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbf34b8d2c794106c3cdaf53492d76c2.jpg",[],{"id":58022,"slug":58023,"title":58024,"dynasty":18,"author":58025,"museum":175,"description":58026,"tags":58027,"thumbUrl":58028,"material":107,"size":107,"collection":122,"collections":58029,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240393,"gu-feng-ci-gao-zong-ben-240393","孤凤辞","高宗本","天顺七年龙集癸未春三月既望赐甲戌第二甲进士出身文林郎山东道监察御史古雄高宗本书",[49,51,52,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c55ec5722bfe23bcb91d9390201d506.jpg",[122],{"id":58031,"slug":58032,"title":58033,"dynasty":18,"author":58034,"museum":99,"description":58035,"tags":58036,"thumbUrl":58037,"material":689,"size":690,"collection":107,"collections":58038,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240381,"si-jia-xing-kai-shi-shan-mian-lin-gu-du-240381","四家行楷诗扇面","林古度","林古度（1580年～1666年）明末清初著名诗人。字茂之，号那子，别号乳山道士，福建福清人。诗文名重一时，但不求仕进，游学金陵，与曹学佺、王士桢友好。明亡，以遗民自居，时人称为“东南硕魁”。晚年穷困，双目失明，享寿八十七而卒。",[8547,822,51,86,119,417,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a7ff22f3cf2560da1209ad5e6230b7a.jpg",[],{"id":58040,"slug":58041,"title":28104,"dynasty":97,"author":4509,"museum":99,"description":58042,"tags":58043,"thumbUrl":58044,"material":107,"size":107,"collection":122,"collections":58045,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240324,"shi-zhou-dong-bang-da-240324","董邦达(1696-1769)，字孚存、争存，浙江富阳人。雍正十一年进士，乾隆二年授编修，官终礼部尚书。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虞山派之间。与董源、董其昌并称三董。",[23,51,84,119,86,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67cca6a0990d3908fa270b07c4f3093a.jpg",[122],{"id":58047,"slug":58048,"title":58049,"dynasty":97,"author":58050,"museum":99,"description":58051,"tags":58052,"thumbUrl":58053,"material":689,"size":690,"collection":107,"collections":58054,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240301,"lun-shu-shi-zhou-chen-wan-qing-240301","论书诗轴","陈万青","陈万青（？——1795年），字远山，号湘南，浙江石门人。乾隆四十六年辛丑科（1781）进士第二人（榜眼），官至陕甘学政。",[86,84,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d9fab74d5c496af3065fc024bfec54c.jpg",[],{"id":58056,"slug":58057,"title":54435,"dynasty":18,"author":58058,"museum":99,"description":58059,"tags":58060,"thumbUrl":58061,"material":689,"size":690,"collection":107,"collections":58062,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240275,"xing-kai-shi-zhou-wang-zhi-deng-240275","王穉登","王穉登（1535年－1614年），字百谷、百榖、伯榖，号半偈长者、青羊君、廣長庵主等，直隸长洲（今江蘇蘇州）人，晚明文人。",[51,84,119,417,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7784839e598ff9ddb5c10a4c1877069.jpg",[],{"id":58064,"slug":58065,"title":21113,"dynasty":97,"author":58066,"museum":99,"description":58067,"tags":58068,"thumbUrl":58069,"material":689,"size":690,"collection":107,"collections":58070,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240265,"qi-lv-zhou-luo-qi-lan-240265","骆绮兰","骆绮兰，清代嘉庆间女诗人。字佩香，号秋亭，上元（今南京）人，一作江苏句容人。江宁诸生龚世治妻。早寡，少耽吟咏。袁枚、王文治诗弟子。工写生，所作芍药三朵花图卷，宗恽寿平。尤喜画兰，以寄孤清之致。有自绘《佩兰图》及《秋镫课女图》，题者不多作。字格清秀，惜少骨干，字则清轶尘俗，都极可诵。著有《听秋轩诗稿》。",[86,84,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90731dba52835eeac803c9a53dd0d390.jpg",[],{"id":58072,"slug":58073,"title":51663,"dynasty":18,"author":58074,"museum":99,"description":58075,"tags":58076,"thumbUrl":58077,"material":689,"size":690,"collection":107,"collections":58078,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240239,"qi-lv-shi-ye-yu-chun-xi-240239","虞淳熙","虞淳熙（1553年－1621年），字长孺，浙江钱塘人，生下来睡着不闭眼。曾任兵部职方事、礼部员外郎等职，曾隐居于回峰。著有《虞德园集》、《孝经集灵》1卷。",[86,119,7,51,2601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f43e8f7489019e59a4917bfee5fcd66.jpg",[],{"id":58080,"slug":58081,"title":42540,"dynasty":18,"author":58082,"museum":99,"description":58083,"tags":58084,"thumbUrl":58085,"material":689,"size":690,"collection":107,"collections":58086,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},240232,"shi-ye-yu-jiu-zhang-240232","虞九章","此作用笔灵动舒展，行气贯通流畅，牵丝映带间尽显行书自在意趣。笔画粗细错落相宜，起收见规守法度，中锋行笔扎实沉稳，兼具遒劲力与秀逸态。笔墨韵律呼应文字清雅内涵，通篇气息匀和雅致，文人书卷气溢于纸面，可见书写时松弛从容的创作状态，尽显尚意之风韵，将笔墨意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，字绣子，又字贞甫，号著花居士，广东嘉应州东街堡攀桂坊（今梅江区较场背旺巷口）人。自幼和兄弟李嗣章一同在东邨草堂读书，成绩优异，有“两陆”（陆机、陆云）、“二苏”（苏轼、苏辙）的美称。嘉庆十年(1805）乙丑科中进士（殿试金榜二甲第85名），选翰林院庶吉士。曾任江苏昭文县知县、东莞宝安书院山长等职，道光十二年（1832），在宝安逝世。《清史稿·儒林传》、《嘉应州志》、《清代学者像传》（叶恭绰编撰），都有他的专传。",[51,119,24,4832,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F152ee5d89fbe7f3e29a4ee0fcfceeccf.jpg",[122],{"id":58297,"slug":58298,"title":58299,"dynasty":97,"author":54630,"museum":99,"description":54631,"tags":58300,"thumbUrl":58301,"material":107,"size":107,"collection":122,"collections":58302,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239844,"shi-feng-gong-fu-ye-dong-guo-hua-239844","诗奉功甫页",[97,86,119,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff458a0a9afdc9f4d7a6f7ace353e6f0c.jpg",[122],{"id":58304,"slug":58305,"title":58306,"dynasty":97,"author":54630,"museum":99,"description":54631,"tags":58307,"thumbUrl":58308,"material":107,"size":107,"collection":122,"collections":58309,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239839,"qiu-qing-zuo-feng-gong-fu-ye-dong-guo-hua-239839","秋晴作奉功甫页",[86,119,24,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdefafc3dd6eb15849f30edb02d9c914f.jpg",[122],{"id":58311,"slug":58312,"title":39436,"dynasty":18,"author":46387,"museum":99,"description":58313,"tags":58314,"thumbUrl":58315,"material":107,"size":107,"collection":107,"collections":58316,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239800,"shi-han-juan-yang-yi-qing-239800","此卷狂草纵横跌宕，将笔墨意气挥洒淋漓。中锋使转提按兼施，线条枯湿浓淡交织，飞白牵丝映带字间，裹锋绞锋尽显老辣苍劲。字势欹侧错落，行气贯通如江河奔涌，整卷一气呵成毫无滞碍，点画狼藉却暗藏法度。既有颠张醉素的豪放恣肆，又自具沉郁雄健的风骨。洒金笺底衬得墨色愈见厚重，朱文小印点缀其间，于狂放中见雅致。通篇诗墨相融，将文人磊落襟怀宣泄纸上，尽显老笔纷披的磅礴气势，是尚奇书风里极具个性的佳作。",[49,86,51,52,119,462,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc188c62d53074d8bea00508dcafdf0e7.jpg",[],{"id":58318,"slug":58319,"title":58320,"dynasty":97,"author":58321,"museum":99,"description":58322,"tags":58323,"thumbUrl":58324,"material":689,"size":690,"collection":107,"collections":58325,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239794,"lu-zhu-zi-yu-zhou-fang-bao-239794","录朱子语轴","方苞","方苞（1668年5月25日－1749年9月29日），字灵皋，一字凤九，晚号望溪，安徽桐城县人，清代文学家，首创文学流派桐城派。与刘大櫆、姚鼐合称桐城三祖。",[86,119,84,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a84196ae219f7b55fcf31e06b6ff58.jpg",[],{"id":58327,"slug":58328,"title":58329,"dynasty":97,"author":341,"museum":99,"description":7178,"tags":58330,"thumbUrl":58331,"material":689,"size":690,"collection":107,"collections":58332,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239783,"shu-lin-song-si-jia-tie-ce-dong-gao-239783","书临宋四家帖册",[86,134,119,7,24,501,502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F156f0fb465ef354bf7d2e07cfe885348.jpg",[],{"id":58334,"slug":58335,"title":58336,"dynasty":97,"author":51798,"museum":99,"description":58337,"tags":58338,"thumbUrl":58339,"material":689,"size":690,"collection":107,"collections":58340,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239740,"shu-hong-li-bi-shu-shan-zhuang-sa-liu-jing-shi-ce-yu-min-zhong-239740","书弘历避暑山庄卅六景诗册","于敏中（1714年—1780年1月14日），字叔子，一字重棠，号耐圃，江苏金坛人。山西学政于汉翔之孙。宣平知县于树范之子。清朝重臣，出身簪缨世家。\n乾隆二年（1737年），于敏中一甲一名进士（即状元），授翰林院修撰。官至文华殿大学士兼首席军机大臣 ，在乾隆朝为汉臣首揆执政最久者。对同在军机处的和珅极度反感。其书法风格近于董其昌，奉旨敕书《华严经》宝塔。\n乾隆三十八年（1773年），诏议开馆校书，初刘统勋反对，于敏中主力开馆。四库全书馆开，于敏中为正总裁。乾隆四十四年十二月（1780年1月14日）去世，时年66岁，追谥为文襄。入祀贤良祠，乾隆五十一年（1786），因疑似牵涉到甘肃监粮冒赈之案被撤出贤良祠。于敏中著有《浙程备览》《临清纪略》等。",[86,417,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2fb87449eaf44a37e77f209de3bc39.jpg",[],{"id":58342,"slug":58343,"title":58344,"dynasty":18,"author":2059,"museum":99,"description":16056,"tags":58345,"thumbUrl":58346,"material":107,"size":107,"collection":107,"collections":58347,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239725,"zhang-zhou-wen-shi-chi-du-ce-zhi-yong-zhi-xie-bei-tie-wen-zheng-ming-239725","长洲文氏尺牍册-致永之写碑帖",[86,119,24,7,319,19470],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e94a95fd2c7305f6656bad6e6405e95.jpg",[],{"id":58349,"slug":58350,"title":58351,"dynasty":18,"author":2059,"museum":99,"description":16056,"tags":58352,"thumbUrl":58353,"material":107,"size":107,"collection":107,"collections":58354,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239724,"zhang-zhou-wen-shi-chi-du-ce-zhi-yong-zhi-huan-shu-tie-wen-zheng-ming-239724","长洲文氏尺牍册-致永之还书帖",[51,86,119,26,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc057a79a306f8b1138b73b7c66b25a10.jpg",[],{"id":58356,"slug":58357,"title":58358,"dynasty":97,"author":49257,"museum":99,"description":58359,"tags":58360,"thumbUrl":58361,"material":107,"size":107,"collection":107,"collections":58362,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239707,"lin-dong-qi-chang-ba-kai-huang-lan-ting-zhou-cao-wen-zhi-239707","临董其昌跋开皇兰亭轴","此作追摹董其昌笔意，行笔圆劲秀逸，兼具萧散简远之风神与温润端稳之气度。提按转合间节奏疏朗，墨色浓淡自然过渡，字距错落不失章法，将行书灵动与文人意趣相融。\n\n通篇笔意追摹原作淡远空灵，结体舒展雅致，笔画间牵丝映带尽显流畅韵致，既恪守古帖法度，又流露自身沉稳内敛的书风特质，跳出馆阁体的刻板，将兰亭题跋的清雅文思落于笔端，满卷澹泊书卷之气。",[51,86,119,134,84,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ed86c73bdd6b81c560d56adba225b5d.jpg",[],{"id":58364,"slug":58365,"title":58366,"dynasty":18,"author":207,"museum":99,"description":58367,"tags":58368,"thumbUrl":58369,"material":107,"size":107,"collection":107,"collections":58370,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239661,"zhang-yu-huai-you-shi-juan-yi-ming-239661","张羽怀友诗卷","此卷笔墨萧散清逸，以行书铺陈怀友心绪，点画牵丝映带间尽显明代文人的清雅风神。笔意随性舒展，将念友的缱绻深情藏于流动线条之中。\n\n卷上鉴藏钤印琳琅错落，历代题跋排布有致，虽经岁月磨洗，有蠹蚀墨损晕开斑驳痕迹，却恰似时光镌刻的印记，晕染出古旧温润的质感。它将私人怀愫凝为跨越时空的笔墨遗存，裹挟着古纸沉香，静静诉说昔年文人间的知己情谊，尽显尺牍诗卷的隽永韵致。",[49,23,51,52,86,712,26,119,7,56,64,295,23567],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7840233708350a9a9d0071500e0ed22.jpg",[],{"id":58372,"slug":58373,"title":49288,"dynasty":97,"author":1082,"museum":175,"description":49289,"tags":58374,"thumbUrl":58375,"material":319,"size":49292,"collection":107,"collections":58376,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239610,"shi-san-zha-ce-zhu-da-239610",[86,119,24,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbf02125aa65118492f16eddd99c7e1d.jpg",[],{"id":58378,"slug":58379,"title":49288,"dynasty":97,"author":1082,"museum":175,"description":49289,"tags":58380,"thumbUrl":58381,"material":319,"size":49292,"collection":107,"collections":58382,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239607,"shi-san-zha-ce-zhu-da-239607",[97,86,119,462,24,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bba4ebc8ab3857d44e49e7cc02ed958.jpg",[],{"id":58384,"slug":58385,"title":49288,"dynasty":97,"author":1082,"museum":175,"description":49289,"tags":58386,"thumbUrl":58387,"material":319,"size":49292,"collection":107,"collections":58388,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239602,"shi-san-zha-ce-zhu-da-239602",[23,51,24,119,462,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ffde872d857b9d2955b28f94e8aa029.jpg",[],{"id":58390,"slug":58391,"title":49288,"dynasty":97,"author":1082,"museum":175,"description":49289,"tags":58392,"thumbUrl":58393,"material":319,"size":49292,"collection":107,"collections":58394,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239600,"shi-san-zha-ce-zhu-da-239600",[86,24,119,462,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d8cc80968e956b7a08e356d79296a3a.jpg",[],{"id":58396,"slug":58397,"title":49288,"dynasty":97,"author":1082,"museum":175,"description":49289,"tags":58398,"thumbUrl":58399,"material":319,"size":49292,"collection":107,"collections":58400,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239599,"shi-san-zha-ce-zhu-da-239599",[51,24,119,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4884c9a4eb9689479146925820c91944.jpg",[],{"id":58402,"slug":58403,"title":58404,"dynasty":18,"author":3904,"museum":175,"description":25030,"tags":58405,"thumbUrl":58406,"material":107,"size":107,"collection":122,"collections":58407,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239576,"shu-yan-xi-ting-deng-si-ji-ti-zhu-yun-ming-239576","书燕喜亭等四记题",[49,86,51,52,119,7],"https:\u002F\u002Foss.chuangqi.store\u002F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熊飛本為監生，加捐縣丞。曾任同安知縣。道光六年（1826年）接替李慎彝擔任台灣府台灣縣知縣。",[23,51,24,26,25,28,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ca4797c1637f84567e6e8c651d740e5.jpg",[],{"id":58449,"slug":58450,"title":58451,"dynasty":97,"author":13058,"museum":99,"description":58452,"tags":58453,"thumbUrl":58454,"material":107,"size":107,"collection":107,"collections":58455,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239374,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239374","画载月十咏诗意册","此作用淡墨晕开烟霭，将平远松林笼在空濛清寂之中。坡岸虬松挺秀苍劲，鳞枝舒展如盖，清涧蜿蜒穿石而出，带着山涧微凉沁入画中。右侧崖畔茅庐静立，伴着孤松幽石，似在候着载月归人。\n淡笔轻皴山石，浅设晕染铺就雅淡底色，边角题诗与画境呼应相融，把林下幽居、待月听松的文人雅趣晕散开，尽显疏朗简淡的雅致意境，将幽寂旷远的林泉之思藏进每一处笔墨里。",[23,51,24,26,55,7,56,610,150,63,61,279,2955],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba0f977b1a423f77688eff26e207c30c.jpg",[],{"id":58457,"slug":58458,"title":58451,"dynasty":97,"author":13058,"museum":99,"description":48587,"tags":58459,"thumbUrl":58460,"material":689,"size":690,"collection":107,"collections":58461,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239370,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239370",[23,51,24,26,7,86,1207,406,944],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d6026e8f37091ec9ac1e937295a7084.jpg",[],{"id":58463,"slug":58464,"title":38170,"dynasty":97,"author":207,"museum":99,"description":58465,"tags":58466,"thumbUrl":58467,"material":107,"size":107,"collection":107,"collections":58468,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239282,"hou-qi-zhi-hua-hua-niao-ce-yi-ming-239282","以指代笔绘就秋菊，墨色晕染层次分明，浓淡间尽显花瓣舒展之姿，挺劲花枝带着清峭冷逸的秋意，寥寥数笔勾勒出菊花傲霜独立的风骨。旁侧题书笔力苍劲，诗文与绘景相和，将文人慕恋清逸的襟怀寄寓于菊。整幅书画相融，虚实相生，简淡疏朗间意境悠长，尽显写意花鸟的文人意趣，把深秋寒卉的孤高清雅尽数铺陈于尺幅之中。",[23,51,24,26,27,529,15690,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbfead6f604a88b656fbc6b231773246.jpg",[],{"id":58470,"slug":58471,"title":38170,"dynasty":97,"author":207,"museum":99,"description":58472,"tags":58473,"thumbUrl":58474,"material":107,"size":107,"collection":107,"collections":58475,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239279,"hou-qi-zhi-hua-hua-niao-ce-yi-ming-239279","此作为指画写意墨荷，以指代笔，用墨色浓淡晕染出荷花绰约之姿。花瓣枯润对比鲜明，半开菡萏神态舒展慵懒，焦墨勾出花脉，尽显娇柔雅致。荷茎劲挺修长，带着苍劲笔意斜曳而出，下方汀叶以泼墨写出，墨色酣畅淋漓，虚实相生间尽显荷塘萧疏淡远之致。\n\n右侧行书题诗笔意纵逸，与清润墨荷相映成趣，书画合璧尽显文人写意的随性雅致，寥寥数笔便将秋日荷塘的幽澹诗意尽显，简淡脱俗，禅意自生。",[23,51,24,15690,26,27,420,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ca6306dbad47ed0b6255ae282c4733a.jpg",[],{"id":58477,"slug":58478,"title":28959,"dynasty":18,"author":28960,"museum":99,"description":58479,"tags":58480,"thumbUrl":58481,"material":107,"size":107,"collection":107,"collections":58482,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239265,"shu-hua-tu-ce-cheng-min-239265","此作用笔极简，以淡墨勾勒湖石，留白衬出嶙峋空灵之态，枯润线条尽显硬挺质感。兰叶以中锋挥写，笔势舒展劲健，俯仰生姿，寥寥数笔便将幽兰清挺孤傲的韵致尽显。角落细碎苔草与修长兰叶形成疏密对照，画面虚实相生，清雅绝尘。\n全幅以水墨为骨，不施丹青，尽显重韵尚简之妙，借兰石托物言志，寄寓超脱世俗、守正高洁的襟怀，笔墨间晕开冲淡悠远的林下之风，是意韵悠长的写意小品佳作。",[23,51,24,26,55,251,277,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9a2bc3083f764a8425c72894ad21147.jpg",[],{"id":58484,"slug":58485,"title":34155,"dynasty":97,"author":34156,"museum":99,"description":58486,"tags":58487,"thumbUrl":58488,"material":107,"size":107,"collection":107,"collections":58489,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239201,"san-da-ming-shan-shi-er-tu-ce-xu-fang-239201","左幅行书题跋笔力苍劲疏朗，与右侧山水相映成趣。此帧以干笔皴擦写层岩峻岭，峰峦奇崛高峙，飞泉自崖壁奔涌而下，汇作浅溪环山蜿蜒。坡岸林木蓊郁，掩映山居古寺，满幅幽寂清远。\n\n全作用水墨晕染出山川氤氲之气，笔墨简淡苍秀，不事秾丽，尽显静穆萧散的林下之风。以枯淡之笔写胸中丘壑，寄寓遗世独立的清冷襟怀，将江南山水清灵与沉郁心境相融，是文人山水画以意驭笔、以画明心的佳构。",[23,51,24,26,56,86,7,55,293,64,754,61,751,2184,2003],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb501577a0aef1916a65468140f42c8f.jpg",[],{"id":58491,"slug":58492,"title":33041,"dynasty":97,"author":21672,"museum":99,"description":21673,"tags":58493,"thumbUrl":58494,"material":689,"size":690,"collection":107,"collections":58495,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239182,"hua-hui-ren-wu-ce-chen-zi-239182",[23,51,24,119,25,54,27,66,181,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a9c25053cd5fa5df0b7d2950354a5e3.jpg",[],{"id":58497,"slug":58498,"title":33041,"dynasty":97,"author":21672,"museum":99,"description":21673,"tags":58499,"thumbUrl":58500,"material":689,"size":690,"collection":107,"collections":58501,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239180,"hua-hui-ren-wu-ce-chen-zi-239180",[51,24,25,54,119,7,28,313,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e6cd09c7f2c4ee537f546cf0bad9c3.jpg",[],{"id":58503,"slug":58504,"title":58505,"dynasty":97,"author":58506,"museum":99,"description":58507,"tags":58508,"thumbUrl":58509,"material":689,"size":690,"collection":107,"collections":58510,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},239070,"chun-shan-wan-shan-niu-jia-yin-239070","春山纨扇","钮嘉荫","钮嘉荫（1857～1915），字叔文，号闻叔、夫椒山民，室名结古欢室，吴县（今苏州）人。精鉴别，工书及篆刻，金石考证，真草篆隶，均能入古。",[23,51,822,25,26,55,56,60,61,62,58,64,278,379,86,7],"https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，考授内阁中书。后入曾国藩幕府，为“曾门四弟子”之一，被曾国藩推许为可期有成者。生平淡于仕宦，自言“于人世都无所嗜好，独自幼酷喜文事”，曾主讲江宁、湖北、直隶、陕西各书院，培养学生甚众，范当世、马其昶等都出其门下。",[84,86,417,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9f52576e69badfb8f9beab75f3ff177.jpg",[],{"id":62110,"slug":62111,"title":36709,"dynasty":97,"author":62112,"museum":99,"description":62113,"tags":62114,"thumbUrl":62115,"material":689,"size":690,"collection":107,"collections":62116,"showCount":743,"zanCount":39,"manualWeight":39,"mainColor":40},241574,"wu-lv-zhou-yang-yu-zhang-241574","杨玉章","清代莆田人物杨玉章，同治九年（1870年）举人。在他的《梨园百咏》中有《唐伯虎》、《唐寅》的剧目。",[86,119,7,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8edd607e8fd51262f2267f270397a42.jpg",[],{"id":62118,"slug":62119,"title":62120,"dynasty":97,"author":62121,"museum":99,"description":62122,"tags":62123,"thumbUrl":62124,"material":689,"size":690,"collection":107,"collections":62125,"showCount":743,"zanCount":39,"manualWeight":39,"mainColor":40},241573,"qi-lv-si-shou-heng-zhuang-shou-qi-241573","七律四首横","庄受祺","庄受祺（1810-1866），武进人。字蕙生，一字卫生，编修庄令舆五世孙。道光二十年（1840）进士，殿试二甲二名。翰林院庶吉士，授编修。历充起居注协修、本衙门撰文、国史馆协修、纂修、武英殿协修、功臣馆纂修、道光二十三年（1843）山西副主考。历任福建漳州、福州、湖北宜昌府知府、安襄郧荆道、盐法武昌道、湖北粮台、福建按察使、浙江布政使。赏戴花翎。以词林起家，工古文，善书法，精兵法，尤善识别将才。著作有《湖北兵事述略》、《随时录》、《维摩室随笔》、《维摩室遗训》四卷、《枫南山馆遗集》八卷。",[51,86,119,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c2d8b80d8c027038f5544b6535f57ef.jpg",[],{"id":62127,"slug":62128,"title":62129,"dynasty":97,"author":62130,"museum":99,"description":62131,"tags":62132,"thumbUrl":62133,"material":689,"size":690,"collection":107,"collections":62134,"showCount":743,"zanCount":39,"manualWeight":39,"mainColor":40},241571,"mei-yi-lu-yu-ping-zhou-mei-yi-241571","梅釴录语屏轴","梅釴","此作用笔温润秀雅，牵丝映带间尽显行书流动之美，结体错落随性，毫无板滞之感。墨色清透匀净，随着行文自然晕开浓淡变化，古意盎然。\n\n录写古人问道读书的清雅佳话，笔墨与文意相融相合，尽显书家的文人情趣与审美意趣。落款小字精劲端严，与正文的舒展灵动形成动静对比，两枚朱印沉稳点睛，让整幅作品章法和谐完满，尽显清代帖学书法的隽雅之风，是兼具笔墨意趣与文心内涵的佳构。",[23,51,84,119,86,7,19470,319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe88482ccd6af7c80216c973f92090793.jpg",[],{"id":62136,"slug":62137,"title":62138,"dynasty":97,"author":54039,"museum":99,"description":54040,"tags":62139,"thumbUrl":62140,"material":689,"size":690,"collection":107,"collections":62141,"showCount":743,"zanCount":39,"manualWeight":39,"mainColor":40},241543,"zhi-liu-zhou-mao-cai-shou-zha-ce-huang-yue-241543","致六舟茂才手札册",[86,119,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F840b98cce88cae1e9f3484e79f53e169.jpg",[],{"id":62143,"slug":62144,"title":62145,"dynasty":97,"author":54039,"museum":99,"description":54040,"tags":62146,"thumbUrl":62147,"material":689,"size":690,"collection":107,"collections":62148,"showCount":743,"zanCount":39,"manualWeight":39,"mainColor":40},241542,"zhi-gu-qiu-xian-sheng-shou-zha-ce-huang-yue-241542","致古球先生手札册",[86,119,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bdf8ac566e26c6da753c5159c900b33.jpg",[],{"id":62150,"slug":62151,"title":62145,"dynasty":97,"author":54039,"museum":99,"description":54040,"tags":62152,"thumbUrl":62153,"material":689,"size":690,"collection":107,"collections":62154,"showCount":743,"zanCount":39,"manualWeight":39,"mainColor":40},241541,"zhi-gu-qiu-xian-sheng-shou-zha-ce-huang-yue-241541",[97,86,119,24,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07efd4d862d6c9becc3df2c60a62bc42.jpg",[],{"id":62156,"slug":62157,"title":54419,"dynasty":97,"author":62158,"museum":99,"description":62159,"tags":62160,"thumbUrl":62161,"material":689,"size":690,"collection":107,"collections":62162,"showCount":743,"zanCount":39,"manualWeight":39,"mainColor":40},241524,"lun-shu-zhou-zheng-mo-241524","郑墨","郑墨，字五桥，泰州兴化人。小郑板桥二十五岁，是板桥叔父的独生子。板桥没有同胞兄弟，只有这个堂弟，他们感情很深。",[97,86,84,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F479043b553dfd7dc7631a16269330322.jpg",[],{"id":62164,"slug":62165,"title":38053,"dynasty":97,"author":60763,"museum":99,"description":62166,"tags":62167,"thumbUrl":62171,"material":319,"size":107,"collection":122,"collections":62172,"showCount":743,"zanCount":39,"manualWeight":39,"mainColor":40},241522,"qi-lv-shi-zhou-liang-qing-biao-241522","梁清標 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副总裁。\n乾隆二十六年（1761年），完成最重要的作品《水道提纲》28卷。另著有《宝纶堂集古录》《宝纶堂文钞诗钞》《齐太史移居集》《琼台集》《历代帝王年表》《后汉公卿表》等。",[23,51,84,119,86,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ffeecd3a80757dbe9d6f751c8f7aaa1.jpg",[],{"id":62322,"slug":62323,"title":28876,"dynasty":97,"author":62324,"museum":99,"description":62325,"tags":62326,"thumbUrl":62327,"material":689,"size":690,"collection":107,"collections":62328,"showCount":743,"zanCount":39,"manualWeight":39,"mainColor":75},241268,"qi-jue-zhou-yu-hao-241268","于灏","字云谷，山西永宁州人，约活动于清康熙、乾隆时期。贡生，曾任职刑部，工于诗文、书法、善行草。",[86,84,7,462],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a29fc63344745d6d36098872f75c620.jpg",[],{"id":62330,"slug":62331,"title":32910,"dynasty":97,"author":62332,"museum":99,"description":62333,"tags":62334,"thumbUrl":62335,"material":689,"size":690,"collection":107,"collections":62336,"showCount":743,"zanCount":39,"manualWeight":39,"mainColor":40},241263,"zi-shu-shi-juan-fan-da-che-241263","范大徹","此作用笔爽利流畅，行书笔意婉转而筋骨内含，牵丝映带间尽显灵动韵致。墨色枯湿浓淡富于变化，时而丰润饱满，时而渴笔见飞白，为整卷添了几分朴拙疏朗的意趣。\n\n通篇布局疏密相宜，字与字、行与行顾盼生姿，将诗作里江南寻春的清雅心境，融于笔墨起伏之中。既有帖学一脉的秀逸灵动，又暗蓄几分拙朴厚重，尽显文人书家随性抒怀的风雅，把日常酬唱的诗意化作笔底烟霞，观之可感书写时的舒展快意，窥见旧时文人的襟怀意趣。",[86,119,52,7,19470],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b979ba63138a14d06f52633ec4f3926.jpg",[],{"id":62338,"slug":62339,"title":62340,"dynasty":97,"author":62341,"museum":99,"description":62342,"tags":62343,"thumbUrl":62345,"material":689,"size":690,"collection":107,"collections":62346,"showCount":743,"zanCount":39,"manualWeight":39,"mainColor":40},241260,"lu-du-shi-heng-zhou-xue-kai-241260","录杜诗横轴","薛开","薛开，字展也，号木庵，清顺治、康熙年间如皋人，通州泰州如皋一带书法家。书法工妙，擅长诗文，曾见其书法字字映带，行行呼应无造作之处。",[86,119,462,62344,7],"横轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4455308e3f8be4027336939c086933de.jpg",[],{"id":62348,"slug":62349,"title":62350,"dynasty":97,"author":62351,"museum":99,"description":62352,"tags":62353,"thumbUrl":62354,"material":319,"size":107,"collection":122,"collections":62355,"showCount":743,"zanCount":39,"manualWeight":39,"mainColor":924},241255,"ti-hua-zhou-zhang-mei-ru-241255","题画轴","张美如","张美如，字尊五，号玉溪，又号第五山樵，甘肃武威人。嘉庆十二年（1807）赴西安考中举人，次年赴北京考中进士，选翰林院庶吉士。嘉庆十四年（1809）散馆，改授户部主事。道光二年（1822）升任 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明遗民。\n崇祯十六年（1643年），成为国子监生，加入复社。清兵入关后，先后依托于弘光政权、佥都御史王永柞、唐王朱聿键、诗社，组织反清活动。后期，拒绝朝廷征辟，一生辗转，行万里路，读万卷书，创立了一种新的治学方法，成为清初继往开来的一代宗师，“开山始祖”。 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1840)父子著《墨林今话》记：黄均以议叙官汉阳主簿，施南同知。画山水、花卉、梅竹，入手即通其妙，而於山水尤尽能事。初师黄鼎，继法娄东，堪与王撰并驾，用笔用墨苍楚有致。诗宗晚唐，书学赵孟頫，卖画食贫，怡然自得。尝自言二十馀年以吏为隐。卒年七十六。著《墨华庵吟稿》。\n《清史稿》称：“画晚而益工，于吴中称后劲”。\n黄宾虹议黄榖原“以功力胜，不在纤秀”。",[86,84,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb44ed08c90662bba71d78f884c3ff382.jpg",[],{"id":62590,"slug":62591,"title":62592,"dynasty":97,"author":40659,"museum":99,"description":40660,"tags":62593,"thumbUrl":62594,"material":689,"size":690,"collection":107,"collections":62595,"showCount":743,"zanCount":39,"manualWeight":39,"mainColor":40},240968,"fang-shi-shu-xing-zhu-zhi-ci-zhou-fang-shi-shu-240968","方士庻行竹枝词轴",[86,119,84,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe33da60a4a1df9741ed38f452cfec6a0.jpg",[],{"id":62597,"slug":62598,"title":62599,"dynasty":18,"author":62600,"museum":99,"description":62601,"tags":62602,"thumbUrl":62603,"material":689,"size":690,"collection":107,"collections":62604,"showCount":743,"zanCount":39,"manualWeight":39,"mainColor":40},240948,"qi-lv-shi-shan-mian-gu-da-shen-240948","七律诗扇面","顾大申","顾大申，生卒年不详，约清圣祖康熙初前后在世。清代水利专家。本名镛，字震雉，号见山，又号堪斋，华亭（今上海市松江区）人。顺治九年进士，授工部主事。康熙九年，疏言浚三江故道解吴越水患。大申精水利，工诗文，善画山水，画作上追董、巨；下承黄、王，为松江派之后劲。",[822,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32b26670daf1255a965ad26823b31e0a.jpg",[],{"id":62606,"slug":62607,"title":62599,"dynasty":18,"author":52393,"museum":99,"description":62608,"tags":62609,"thumbUrl":62610,"material":689,"size":690,"collection":107,"collections":62611,"showCount":743,"zanCount":39,"manualWeight":39,"mainColor":40},240940,"qi-lv-shi-shan-mian-lu-shi-dao-240940","陆师道（1510年10月10日－1573年），字子传，号元洲，改号五湖，南直隶苏州府长洲（今江苏苏州）人。嘉靖十七年（1538 年）进士，历官工部主事、礼部主事、尚宝司少卿。师事文征明，工小楷、古篆，著有《五湖集》和《左史子汉镌》等传于世。",[50,23,51,822,119,7,86,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F872cd3ef937b1b9f28d6861958e7675c.jpg",[],{"id":62613,"slug":62614,"title":34029,"dynasty":18,"author":62615,"museum":99,"description":62616,"tags":62617,"thumbUrl":62618,"material":689,"size":690,"collection":107,"collections":62619,"showCount":743,"zanCount":39,"manualWeight":39,"mainColor":40},240909,"lu-yu-zhou-huang-chun-yao-240909","黄淳耀","黄淳耀（1605年7月13日——1645年8月24日） 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，授秀水训导。官至南京国子监博士，人称“文国博”。工书画，善诗文，尤精篆刻，有《博士诗集》。\n文彭为明代画家文徵明之子，文彭少承家学，初学钟（繇）王（羲之），后效怀素，自成一家。晚年全力倾于孙过庭，篆、隶最见精粹，曾书《古诗十九首卷》，并有嘉靖三十年（1551）《题仇十洲摹本清明上河图记》。尤精篆刻，风格工稳，与何震并称“文何”。原多作牙章，亲自落墨，请南京李石英镌刻。后得灯光石，乃多刻石章，为后世所宗，称为文人流派印章之“开山鼻祖”。传世画作有隆庆六年（1572）作《兰竹图》卷，图录于《晋唐五代宋元明清书画集》《兰花图》轴现藏故宫博物院。嘉靖四十一年（1562）作《墨竹图》轴，自题：“我爱江南小满天，繁花销尽竹娟娟。北窗自展南华读，时有凉风到枕边。文彭写寄方壶先生，壬戌端阳日。”现藏广东省博物馆。亦能诗，著有《博士诗集》。\n初学钟、王，后效怀素，晚年则全学过庭，而尤精于篆、隶。索书者接踵不断。其父以书名当代，然有时不乐书，虽权贵人不敢强。彭手不停挥，求者无不当意。工刻印，后人奉为金科玉律。所作多牙章，往往自落墨而命金陵人李文甫镌之。李善雕箑边，其所镌花卉，皆玲珑有致，彭以印属之，辄能不失笔意，故其牙章半出李手。彭后在南监时得灯光石，乃不复治牙，于是冻石之名，始艳博于世。写墨竹，老笔纵横，直入文同之室。山水苍郁似吴镇。亦善写花果。卒年七十六。\n文彭对诗文、书画、篆刻均有造诣。对六书有深入的研究，和何震主张篆刻必须精通六书，才能入印。他所用牙章，亲自篆写，请南京李石英镌刻。据说在南京时，偶然得到民间雕琢首饰用的灯光石，用来制作印材，篆刻家可以亲自镌刻，既方便又能得到满意的效果。从此冻石之名才被世知，冻石也被篆刻家所广泛采用，给明、清流派篆刻的发展提供了条件。\n继承父亲藏书和书画，有藏书处曰“清白堂”，收藏宋元古籍和当代书画作品。藏书印有“渔阳子”“清白堂”。弟文嘉，亦喜藏书，藏书楼有“归来堂”，藏书印有“五峰山人”“元珠室”“五峰樵客”等。文氏藏书散佚约在明万历末年至崇祯间，清代藏书家如张均衡、张金吾等曾收藏有文氏旧藏，多是宋刻善本。子文元发，字子悱，官卫辉同治，喜藏书，其藏书印有“二楚精神”等；孙文震孟，字文起，号湖南，亦有藏书印曰“石经堂”“两日平章”等。\n文彭草书闲散不失章法，错落有致，神采风骨，兼其父文徵明和孙过庭之长，甚见功力。善写墨竹，老笔纵横，直入文同之室。亦工山水，所作类父风，花果亦佳。精书法，与何震（字主臣、长卿，号雪渔）并称“文何”。文彭书《岳阳楼记》，取法北宋书法家黄庭坚。传世作品有辽宁博物馆藏的《小楷赤壁赋》，故宫博物院藏的《行草五律诗》轴，上海博物馆藏有《隶书有美堂记》等19幅隶、行、草书作品，文彭亦擅绘画，作品不多。\n文彭篆刻秀丽典雅，风格妍媚清新。他的朱文章法疏朗，在宋、元圆朱文的基础上加以变化，篆法略呈方，显得质朴浑厚。他另一种朱文，纯用方折结构，可能是受汉印的影响。由于他刻印讲究六书，篆文不涉怪诞，又能向秦、汉玺印汲取营养，因而他的印章在当时确使印坛面目为之一新。冻石便于镌刻，印章的边款也可以由作者自己镌刻。他的边款是先在石面上书写行楷书，再依字迹用双刀刻成。在文彭、何震的倡导和影响下，一时篆刻之风大起，文人、书法家和画家都参加篆刻创作，文彭成为文人篆刻流派的先导。苏州一带学习文彭的有陈万言、李流芳、归昌世、顾听等，后人称他们为吴门派。\n文彭在印学上的地位要比在书法上高得多,他是公认的明清流派篆刻的开山祖师。真正有史料记载第一个用青田石治印的是明代国子监博士文彭，他在南京任职时，有一天偶遇一位卖青田石的老汉，买下了四筐石头，回家锯开一看，灯光下奇石晶莹剔透，成了一方方晶莹夺目的图章，其中质优者，就是半透明的“灯光冻石”，稍差者，也是当时的老坑矿石。从此他治印不再用象牙而用青田石了。于是冻石之名始见于世，名传四方。在印章流派艺术的历史上，文彭堪称鼻祖。从此，文人学士便逐渐改用石章，自篆自刻。由于石章的广为使用，对篆刻艺术的发展起了很大的催化作用。明代著名篆刻家朱简描述：“自三桥下，无不从斯、籀，字字秦汉，猗欤盛哉！”可见文人流派篆刻艺术发展史上文彭的重要地位。文彭以后，印学大发展，四百年来，影响遍及海内外。文彭是明代江南四大才子之一文征明的长子，家学渊博，才华出众，诗文、书画、篆刻均有造诣，被后人尊为我国篆刻艺术的开山鼻祖。文彭用青田石治印，结束了我国2000多年的铜印时代，进入了以文士为主体、个性为特征、名家辈出的石章时代。由于文彭的影响,加上石质印章本身具有的优越性,以石治印便在文人中很快地流行开来。\n文彭用冻石刻印，并首创印章边款，改变了元代以来板滞纤弱的弊病，恢复了汉印传统，他和何震提出篆刻应以六书为准则，并努力创作实践，取得了空前的成就，开创了文人自篆自刻并与书画三足鼎立的局面，文人掀起了学习篆刻的热潮。有很多人专学文彭，后人称“吴门派”；有些人则学何震，后人称“徽派”或“皖派”。\n他的篆刻具有开朝华而启夕秀的承上启下的意义，作品以安逸典雅、沉静清丽为基调，白文刻意追溯汉法，朱文则取宋元遗风而自出新意。文彭还创立了明代的第一个篆刻流派--吴门派，或称三桥派，该派的健将主要有陈万言、李流芳、归昌世等。他的篆刻作品，在当时没有编过印谱，原作存世极少，而张灏在万历年间把所藏印编为《承清馆印谱》，收有文彭刻的白文印十九方，但这些印章原石，至今未曾发现。作为书画地位均很高的两京国博，文彭对篆刻的提倡与参与，对于初创阶段的篆刻艺术，其意义是巨大的。　文彭对于篆刻艺术的杰出贡献是毋庸置疑的。他开倡明清篆刻的风气，曾直接和间接地影响了以后篆刻流派的形成和发展，功莫大焉。然而过去我们对其人其艺却所知甚少，这不能不说是明清篆刻史研究中的一桩缺憾。笔者通过研究，对过去对文彭的一些错误认识，进行了必要的澄清，对其在篆刻史上的地位和贡献，进行了较为接近真实的评价。",[49,822,86,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F595e1f71fa271dc59d1f36164528c840.jpg","17.4x50.3",[],{"id":65289,"slug":65290,"title":65291,"dynasty":18,"author":65292,"museum":81,"description":65293,"tags":65294,"thumbUrl":65295,"material":1561,"size":65296,"collection":107,"collections":65297,"showCount":743,"zanCount":39,"manualWeight":39,"mainColor":40},222326,"hua-shou-xing-zhou-feng-xiao-222326","画寿星轴","冯晓","此图相传为宋人名笔。得寿星之真容",[49,23,51,84,25,54,58,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2747ebb9319f6c2623aeb8652d6b82a0.jpg","123.8×43.3cm",[],{"id":65299,"slug":65300,"title":65301,"dynasty":18,"author":18869,"museum":81,"description":65302,"tags":65303,"thumbUrl":65304,"material":634,"size":65305,"collection":107,"collections":65306,"showCount":743,"zanCount":39,"manualWeight":39,"mainColor":1441},222089,"shu-gong-yan-shi-zhou-song-ke-222089","书公䜩诗轴","此幅为明代书法家宋克所书魏刘桢五言古诗，混合行书、今草、章草和狂草。字形大小错落，行间紧凑，是承袭元末草书野逸之风的典型。\n此轴笔力清刚纵逸，古雅隽秀，具有二王潇洒流丽的韵致，又有唐人雄强豪放的气势，四尺纵幅，行笔中锋直下，圆转劲利，纵横自如，若惊蛇走虺，无丝毫滞碍疲弱之态，有俊逸豪迈之风。“鱼”字、“裔”字，波磔皆章草笔法。其用笔特有的波磔，纯属古章草笔法的流露。纵逸雄强，章、今、狂草笔法兼容并蓄。这件作品反映了宋克把握前人法度，取精用宏的超凡功力",[49,51,86,84,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3361b361f97e0b80b65a364926b760a.jpg","111.7x32.4cm",[],{"id":65308,"slug":65309,"title":65310,"dynasty":18,"author":955,"museum":2192,"description":25409,"tags":65311,"thumbUrl":65312,"material":24,"size":107,"collection":107,"collections":65313,"showCount":743,"zanCount":39,"manualWeight":39,"mainColor":40},221901,"hua-niao-jing-pin-ce-12-chen-hong-shou-221901","花鸟精品册12",[50,23,51,24,25,54,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57358218ffc17b3a458c40d072405b3c.jpg",[],{"id":65315,"slug":65316,"title":65317,"dynasty":146,"author":48026,"museum":81,"description":65318,"tags":65319,"thumbUrl":65324,"material":107,"size":107,"collection":107,"collections":65325,"showCount":743,"zanCount":39,"manualWeight":39,"mainColor":40},221800,"shu-ti-hua-qi-yan-jue-ju-feng-zi-zhen-221800","书题画七言绝句","本开为元人书蹟二幅，右幅为冯子振书七言诗，诗句中称「陆有居庐水有船，青山倒景逼沙边」，左幅是赵岩书七言诗，中有「一片晴帆欲拂天，林云江月淨娟娟」二句。从诗文内容推测，二人所题应是表现江南山水景观之画，且是「奉皇姊大长公主命题」。至元二十三年(1286)忽必烈求贤于江南，冯子振与赵孟頫同在被推荐之列，曾官集贤待制。赵岩则为驸马鲁王所识，曾应公主旨意作赋而获赏，在公主所藏画作上常能见此二人题诗",[86,119,26,51,7,62,27179,65320,65321,29372,65322,65323],"沙边","江月","天林云","湖柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cf67498e3e2d51d3052533a6f22027f.jpg",[],{"id":65327,"slug":65328,"title":65329,"dynasty":146,"author":48053,"museum":3815,"description":48054,"tags":65330,"thumbUrl":653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晚清官员、文史学家。\n光绪六年进士，官至山西道监察御史。数上封事，不避权要。日记三十余年不断，读书心得无不收录。学识渊博，承乾嘉汉学之余绪，治经学、史学，蔚然可观。长于骈文，被称为“旧文学的殿军”。\n所著《越缦堂日记》，内容涉及经史、纪事、读书记、诗文等，字数多达数百万字，是一部文史、学术宝库，人评为“可继亭林《日知录》之博，”又谓“生不愿作执金吾，惟愿尽读李公书。”为“晚清四大日记之冠”（另三部为《缘督庐日记》《翁同龢日记》和《湘绮楼日记》）。",[49,86,52,119,417,2601,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31fd5963f627123d893c453c7501b11b.jpg",[],{"id":70177,"slug":70178,"title":38053,"dynasty":97,"author":70179,"museum":99,"description":70180,"tags":70181,"thumbUrl":70187,"material":689,"size":690,"collection":107,"collections":70188,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},241509,"qi-lv-shi-zhou-chen-bao-chen-241509","陈宝琛","陈宝琛（1848—1935年），字伯潜，号弢庵、陶庵、听水老人，福州闽县螺洲（今福建省福州市仓山区螺洲镇）人。晚清大臣、学者，刑部尚书陈若霖曾孙。\n同治七年（1868年），考中进士，授翰林院庶吉士历任编修、翰林侍讲。直言敢谏，连同张之洞、张佩纶、宝廷成为“枢廷四谏官”，出任江西学政，累迁内阁学士、礼部侍郎。中法战争后，推举的唐炯、徐延投办事不力，坐罪降职。回乡赋闲，发展家乡教育事业。宣统元年（1909年），调入京城，充任礼学馆总裁、内阁弼德院顾问大臣、正红旗汉军副都统，成为宣统帝溥仪的师傅，监修《德宗实录》。工书法，学黄庭坚，又擅画松。",[86,84,119,7,30730,27179,946,8656,70182,70183,70184,70185,70186],"蛙","鸿","宿草","新墳","尊酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92de7a0e72a59414ef3c9c2999945e96.jpg",[],{"id":70190,"slug":70191,"title":70192,"dynasty":97,"author":70193,"museum":99,"description":70194,"tags":70195,"thumbUrl":70196,"material":689,"size":690,"collection":107,"collections":70197,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":75},241500,"shi-jia-xing-ji-shi-lu-yu-cheng-shan-zai-ze-241500","十家行集诗录语成扇","载泽","爱新觉罗·载泽（1868年3月17日一1929年6月），初名载蕉，字荫坪。晚清宗室大臣，立宪派的重要人物，满洲正黄旗人。清圣祖爱新觉罗·玄烨六世孙，愉恪郡王爱新觉罗·胤禑五世孙。\n同治七年（1868年），载泽出生于北京，其父奕枨过继给嘉庆帝的第五子绵愉做后嗣，光绪三年（1877年）袭封辅国公，光绪二十年（1894年）晋镇国公。光绪三十一年（1905年）七月十六日，清廷特派载泽和其他四位大臣户部侍郎戴鸿慈、兵部侍郎徐世昌、湖南巡抚端方、商部右丞绍英为出国考察政治，是为“五大臣出洋”。载泽出洋时尚未满40岁，是其中最年轻的一位。他们重点考察了美国、英国、法国、德国、俄罗斯、日本等国家，特别是日本和德意志帝国的君主立宪政体。载泽出洋考察结束回国后，向慈禧太后和光绪帝上了《奏请宣布立宪密折》，将日本的宪政体制摆在列国之首，奏请仿日德例，改行君主立宪政体。载泽还著有颇具史料价值的《考察政治日记》。\n光绪三十四年（1908年）加贝子衔。历任度支部尚书、督办盐政大臣、度支大臣。清亡后加入宗社党，成为复辟派的重要人物，1929年忧郁而终。",[822,86,119,26,14710,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4e86184f23905f7f060882f19a234ad.jpg",[],{"id":70199,"slug":70200,"title":57500,"dynasty":97,"author":57501,"museum":99,"description":57502,"tags":70201,"thumbUrl":70202,"material":689,"size":690,"collection":107,"collections":70203,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},241480,"bai-ling-shi-han-ce-zhang-bai-ling-241480",[51,24,119,7,86,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818c61f071db5779863a4b875644b422.jpg",[],{"id":70205,"slug":70206,"title":57500,"dynasty":97,"author":57501,"museum":99,"description":57502,"tags":70207,"thumbUrl":70208,"material":689,"size":690,"collection":107,"collections":70209,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},241479,"bai-ling-shi-han-ce-zhang-bai-ling-241479",[24,119,86,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1de99beac2d5ffaceb188bbe8e727a3d.jpg",[],{"id":70211,"slug":70212,"title":57500,"dynasty":97,"author":57501,"museum":99,"description":57502,"tags":70213,"thumbUrl":70214,"material":689,"size":690,"collection":107,"collections":70215,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},241476,"bai-ling-shi-han-ce-zhang-bai-ling-241476",[105,51,86,24,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65b08e1d15429d5ff8867c9b9feb48b6.jpg",[],{"id":70217,"slug":70218,"title":57500,"dynasty":97,"author":57501,"museum":99,"description":57502,"tags":70219,"thumbUrl":70220,"material":689,"size":690,"collection":107,"collections":70221,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},241475,"bai-ling-shi-han-ce-zhang-bai-ling-241475",[24,119,7,51,86,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28e53723581cb2ce8ca93f4244380110.jpg",[],{"id":70223,"slug":70224,"title":70225,"dynasty":97,"author":70226,"museum":99,"description":70227,"tags":70228,"thumbUrl":70229,"material":689,"size":690,"collection":107,"collections":70230,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},241436,"zhi-wu-qian-zha-heng-huang-pi-lie-241436","致吴骞札横","黄丕烈","黃丕烈（1763年－1825年），字绍武，又字荛圃、荛翁，別署覆翁，佞宋主人，清朝藏書家、版本目錄學家。江蘇省苏州府吳縣（今苏州市）人。",[51,86,52,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f3880b2981e76ef8c8bfd531ff578ea.jpg",[],{"id":70232,"slug":70233,"title":70234,"dynasty":18,"author":70235,"museum":99,"description":70236,"tags":70237,"thumbUrl":70238,"material":689,"size":690,"collection":107,"collections":70239,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},241424,"shi-wo-jie-ran-zhang-ye-lu-meng-long-241424","使我介然章页","陆梦龙","陆梦龙：万历进士。历任刑部主事、员外郎。因审讯张差“梃击”案，得罪权贵。天启中，以计贼功，累迁广东按察使。崇祯时，官右参政，守固原。为人慷慨好谈兵，以廓清群盗自许。后被叛匪包围于老虎沟，战死，赠太仆卿。",[86,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb3ee8bad3b6989d6f135ded670f1e1.jpg",[],{"id":70241,"slug":70242,"title":70243,"dynasty":18,"author":70244,"museum":99,"description":70245,"tags":70246,"thumbUrl":70247,"material":689,"size":690,"collection":107,"collections":70248,"showCo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，字北溟，号于山，山西永宁州（今山西省吕梁市方山县）人。清初名臣、循吏。清顺治十八年（1661年），于成龙被任命为罗城县知县，在任上明确保甲制度，百姓安居乐业，全力耕作土地。康熙六年（1667年），于成龙升任四川合州知州。后迁任湖广黄州府的同知和知府，历任代理武昌知府，福建按察使，布政使、巡抚和总督等职。康熙二十年（1681年）入京觐见，升任江南江西总督。康熙二十三年（1684年），朝廷命令于成龙兼管江苏、安徽两地巡抚的政事，不久便在任上去世。被康熙帝追赠为太子太保，赐谥“清端”。有《于清端政书》八卷等著作传世。\n于成龙在二十余年的宦海生涯中，三次被举“卓异”，以卓著的政绩和廉洁刻苦的一生，深得百姓爱戴，被康熙帝赞誉为“清官第一”。",[86,119,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b40f013a696e43c9525f8701a41fe8.jpg",[],{"id":70272,"slug":70273,"title":21113,"dynasty":97,"author":70274,"museum":99,"description":70275,"tags":70276,"thumbUrl":70277,"material":689,"size":690,"collection":107,"collections":70278,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},241381,"qi-lv-zhou-wang-ze-hong-241381","王泽弘","王泽宏（1626年－1708年），又作王泽弘，字涓来，湖广黄冈人，出生于湖广黄州府黄陂王家河王家大湾，因其官至清朝礼部尚书，康熙年间王家河因此改此名，清朝政治人物、进士出身。\n王用予之子。天启六年（1626年）出生。顺治十二年（1655年）登进士，授翰林院侍读，拜礼部左侍郎，助修栖霞寺。[1]康熙三十八年（1699年）担任左都御史。康熙三十九年（1700年）官至礼部尚书。[2]有御史犯罪被建议谪徙乌喇（今吉林市），泽宏以为乌喇死地，“流不可乌喇”，力谏不可。圣祖出巡乌喇时，深叹曰：“此非人所居，王泽宏其引朕于仁乎！”\n泽宏喜与诸名士游，王士正、姜宸英、洪异等“皆尝点定其诗”。康熙四十二年（1703年），以年老辞归，回南京养老，晚年居大功坊，“角巾散服，徜徉山水，若忘其为国老者”。康熙四十七年（1708年）卒，享年八十三岁。[4]有《昊庐集》。有子王材升、王材任、王材成、王材献、王材信、王材振。其孙王廷泰曾邀袁枚为其撰写墓碑。",[86,84,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc744d4d7a066020c0e57c9e48ee1bbe4.jpg",[],{"id":70280,"slug":70281,"title":28104,"dynasty":18,"author":70282,"museum":99,"description":70283,"tags":70284,"thumbUrl":70285,"material":689,"size":690,"collection":107,"collections":70286,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},241362,"shi-zhou-chen-kuang-241362","陈爌","陈爌（？－？），字去炫，号公朗，又号碧云。清初政治人物。",[51,84,86,462,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F451f5073b7a9fe5d82ed626988ad39c5.jpg",[],{"id":70288,"slug":70289,"title":38053,"dynasty":18,"author":70290,"museum":99,"description":70291,"tags":70292,"thumbUrl":70293,"material":689,"size":690,"collection":107,"collections":70294,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},241352,"qi-lv-shi-zhou-li-yuan-kuan-241352","黎元宽","黎元宽（1608—1687），字博庵，南昌府南昌人。崇祯戊辰科进士。官至浙江提学副使。明末清初学者。",[86,84,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff82e2886cd6234e4b6aa85d1dae2ddef.jpg",[],{"id":70296,"slug":70297,"title":70298,"dynasty":97,"author":207,"museum":99,"description":70299,"tags":70300,"thumbUrl":70301,"material":689,"size":690,"collection":107,"collections":70302,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},241341,"jin-shi-shui-you-yin-ci-zhou-yi-ming-241341","今释水尤吟词轴","此作用笔雄健酣畅，牵丝映带尽显流转灵动，行气贯通整幅。开篇起笔沉稳，字势舒张，随行文推进，笔意渐趋跌宕，字形大小错落、欹正相生。墨色浓淡枯湿层次丰富，重墨如坠石，淡锋似流云，将词作沉郁豪情铺陈开来。\n\n章法疏密有致，纵有行横无列，通篇一气呵成，把文辞里的家国忠怀化作笔底风雷，笔墨间兼具文人隽雅意趣与武将雄迈气势，尽显抒情特质，是一件以笔墨载情志的行书佳作。",[51,86,84,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef6fa95d0d69bbff738584226cc44a50.jpg",[],{"id":70304,"slug":70305,"title":70306,"dynasty":97,"author":70036,"museum":99,"description":70037,"tags":70307,"thumbUrl":70308,"material":689,"size":690,"collection":107,"collections":70309,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},241337,"wang-ming-sheng-shi-ce-wang-ming-sheng-241337","王鸣盛诗册",[86,24,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd63be2837c37970d32513106aff57119.jpg",[],{"id":70311,"slug":70312,"title":54419,"dynasty":97,"author":70313,"museum":99,"description":70314,"tags":70315,"thumbUrl":70316,"material":689,"size":690,"collection":107,"collections":70317,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},241325,"lun-shu-zhou-mao-shu-tang-241325","毛树棠","[清]字芾村，河南武陟人。嘉庆十年（一八o五）翰林，官盐场侍郎。工书，有临醴泉铭。",[86,84,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86eb51c69de62fdf150211298edd3b29.jpg",[],{"id":70319,"slug":70320,"title":70321,"dynasty":97,"author":70322,"museum":99,"description":70323,"tags":70324,"thumbUrl":70325,"material":689,"size":690,"collection":107,"collections":70326,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},241306,"yao-fang-si-duan-juan-yu-zong-ying-241306","药方四段卷","于宗瑛","字英玉，号紫亭，汉军镶红旗人，襄勤于成龙之孙。乾隆十九年（一七五四）进士，官御史。性简淡，不趋荣利。工诗文，著有来鹤堂集。书学颜真卿，参以苏、米两家。",[51,86,52,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3a512449d22414ce41e84613a5e9c56.jpg",[],{"id":70328,"slug":70329,"title":70330,"dynasty":97,"author":70331,"museum":99,"description":70332,"tags":70333,"thumbUrl":70334,"material":689,"size":690,"collection":107,"collections":70335,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},241305,"qi-lv-san-shou-juan-lv-shi-lian-241305","七律三首卷","吕师濂","吕师濂，明末清初浙江山阴人，字黍字，号守斋。吕本曾孙。明亡后散财结客，好谈兵。后历游九边。善书，工古文，诗豪迈不羁。有《何山草堂诗稿》、《守斋词》。",[105,52,119,86,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73e82f1a99a373528a6f6119e0e041dd.jpg",[],{"id":70337,"slug":70338,"title":70339,"dynasty":97,"author":70340,"museum":99,"description":70341,"tags":70342,"thumbUrl":70343,"material":689,"size":690,"collection":107,"collections":70344,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},241296,"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生于明光宗泰昌元年，卒于清圣祖康熙二十六年，年六十八岁。\n孙家世代为大商人。李自成入关，孙家即散家财组织团勇抵抗李自成，却为之所败。只身走江都，折节读书，肆力于诗古文。僦居董相祠，高不见之节。王士祯官扬州，先赠以诗，称为奇人；又特访之，与订莫逆交。康熙十八年，（公元一六七九年）举“博学鸿儒”科，因年老不能应试，特旨偕邱钟仁等七人授内阁中书。但不忘故乡，因颜所居曰溉堂，以寓西归之思。枝蔚工诗词，多激壮之音。",[86,462,84,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7240b399af809bd0871e5c04333887ec.jpg",[],{"id":70372,"slug":70373,"title":36709,"dynasty":97,"author":70374,"museum":99,"description":70375,"tags":70376,"thumbUrl":70377,"material":689,"size":690,"collection":107,"collections":70378,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},241267,"wu-lv-zhou-zhang-jie-241267","张介","此作用笔纵逸酣畅，牵丝映带圆融自然，将草书的流动意趣尽数铺展。通篇行气贯通，字势欹正相生，时而大开大合舒张放达，时而紧凑内敛顾盼有情。笔墨干湿浓淡富于层次变化，枯笔苍劲老辣，润笔饱满浑厚，尽显萧散旷达的文人意韵。\n\n诗句的清远意境与书风完美相融，将山居秋夜的幽寂空阔依托笔锋挥洒而出，笔墨间浸透了创作者寄情林泉、物我两忘的襟怀。",[86,84,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e507140c2e69efb39eb63798d3c5d58.jpg",[],{"id":70380,"slug":70381,"title":70382,"dynasty":97,"author":70383,"museum":99,"description":70384,"tags":70385,"thumbUrl":70386,"material":689,"size":690,"collection":107,"collections":70387,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},241264,"lun-hua-juan-cheng-jing-e-241264","论画卷","程京萼","程京萼：. 生卒年不详，活动于康熙年间。江苏上元人，字韦华。清代包世臣《艺舟双楫》评京萼行书为逸品下。清代梁巘《论书帖》云：“程韦华得执笔法，学山谷空灵瘦硬",[97,52,119,86,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7129c81db1859ac1d09c7da2c8292348.jpg",[],{"id":70389,"slug":70390,"title":36709,"dynasty":97,"author":70391,"museum":99,"description":70392,"tags":70393,"thumbUrl":70394,"material":689,"size":690,"collection":107,"collections":70395,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},241247,"wu-lv-zhou-xu-you-241247","许友","福建侯官人，初名宰，又名友眉，字有介，一字瓯香。许豸子。诸生。诗孤旷高迥，钱谦益尝录其诗入《吾炙集》，王士禛、朱彝尊并称之。善画工书，少师倪元璐，晚慕米芾，筑米友堂以祀之。康熙间卒。有《米友堂诗集》。",[23,51,86,84,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21cef9104ea9b968069665931d971c17.jpg",[],{"id":70397,"slug":70398,"title":40861,"dynasty":97,"author":70399,"museum":99,"description":70400,"tags":70401,"thumbUrl":70402,"material":689,"size":690,"collection":107,"collections":70403,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},241245,"qi-jue-shi-zhou-yao-nai-241245","姚鼐","姚鼐（nài）（1732年—1815年），字姬传，一字梦谷，室名惜抱轩（在今桐城中学内），世称惜抱先生，安庆府桐城（今安徽桐城市）人。清代散文家，与方苞、刘大櫆并称为“桐城派三祖”。\n姚鼐于乾隆十五年（1750年）中江南乡试，乾隆二十八年（1763年）中进士，授庶吉士，三年后散馆改主事，曾任山东、湖南副主考，会试同考官。乾隆三十八年（1773年）入四库全书馆充纂修官，乾隆三十九年（1774年）秋，借病辞官。归里后，以授徒为生，先后主讲扬州梅花书院、安庆敬敷书院、歙县紫阳书院、南京钟山书院，培养了一大批学人弟子。嘉庆二十年（1815年），逝世于钟山书院，享年八十五岁。\n姚鼐治学以经学为主，兼及子史、诗文。他文宗方苞，师承刘大櫆，主张“有所法而后能，有所变而后大”，在方苞重义理、刘大櫆长于辞章的基础上，提出“义理、考据、辞章”三者不可偏废，发展和完善了桐城派文论。为桐城派散文之集大成者。 著有《惜抱轩诗文集》，编有《古文辞类纂》等。",[84,86,119,26,7,944],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F320a2387cd59ea933c02a4bf076b9b9f.jpg",[],{"id":70405,"slug":70406,"title":28876,"dynasty":97,"author":70407,"museum":99,"description":70408,"tags":70409,"thumbUrl":70410,"material":689,"size":690,"collection":107,"collections":70411,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},241243,"qi-jue-zhou-li-xi-gun-241243","李锡袞","此作用笔纵放雄健，以草书书就，提按转折间尽显骨力苍劲。墨色枯湿浓淡富于变化，润燥相生间令线条极具张力。整幅行气连贯畅达，字势欹正错落，开篇字形舒张大开大合，随诗文意境缓缓收束沉凝，将山居晓景的幽旷野趣融于笔墨之中。\n\n书者以笔为心，把诗作里空山无人、啼鸟破寂的禅意，通过奔放恣肆又不失法度的线条传递而出，笔势裹挟着诗情，让书法成为诗意的延展，尽显旷达襟怀与扎实书功。",[86,462,84,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f2f6940f78e336c0b51d454ef46c876.jpg",[],{"id":70413,"slug":70414,"title":70415,"dynasty":97,"author":62071,"museum":99,"description":70416,"tags":70417,"thumbUrl":70418,"material":689,"size":690,"collection":107,"collections":70419,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},241240,"zhuang-bao-shu-qi-jue-zhou-zhuang-bao-241240","庄宝书七绝轴","此作为行书七绝，笔墨苍劲灵动，提按顿挫间节律婉转，起收锋棱可见筋骨力道。牵丝映带让行气贯通流转，分行布白疏朗匀停，虚实相生。\n正文大字雄逸舒展，落款小字古秀内敛，主次对比分明。枯润浓淡的墨色变化，搭配古旧绢本的岁月晕染，将诗文里幽寂的林泉禅意融于笔底，把山僧伴月、闲话忆溪的澹远雅趣尽数铺陈，尽显清代行书尚意且不失法度的文人意趣。",[86,84,119,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ec8b3ce4d939f954cf7b77dea9c5970.jpg",[],{"id":70421,"slug":70422,"title":70423,"dynasty":97,"author":70424,"museum":99,"description":70425,"tags":70426,"thumbUrl":70427,"material":689,"size":690,"collection":107,"collections":70428,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},241237,"qiu-ri-yuan-ju-shi-zhou-zhao-qian-241237","秋日园居诗轴","赵谦","此作用笔圆润灵动，以行书间杂草意，牵丝映带自然流畅，笔画粗细映带相生，行气连贯悠长。书写自作园居诗作，笔墨间尽显秋日幽居的萧散闲逸，将诗书意韵融于笔墨章法之中。通篇布局舒朗匀停，字势顾盼有情，带着秀雅温润的帖学风神，把幽居青山、静对晚色的澹然心境化作笔底意趣，尽显文人修身寄兴的清雅襟怀。",[23,51,84,119,86,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1de9595c93327a3a15e69744ceed14dc.jpg",[],{"id":70430,"slug":70431,"title":44406,"dynasty":97,"author":70432,"museum":99,"description":70433,"tags":70434,"thumbUrl":70435,"material":689,"size":690,"collection":107,"collections":70436,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},241229,"wu-lv-shi-zhou-li-shan-shu-241229","李善树","此作用笔纵逸灵动，行书间杂草意，起笔藏露相济，行笔提按顿挫富于变化，线条粗细枯润相映成趣。枯笔苍劲见筋骨，湿墨浑厚蕴丰腴，墨色层次分明，尽显笔法意趣。\n\n章法疏朗错落，字间牵丝映带自然，行气贯通流畅。笔墨疾缓呼应诗文情志，将书韵与诗意相融，放逸中不失沉稳洒脱。每一字随势生发，通篇浑然一体，尽显文人书法抒情达意的雅致，将笔法之美、章法之妙与文学意趣相合，尽显古典书法抒情与艺术之美。",[97,84,119,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F350a03ac60c6e25c04f5a206802e1774.jpg",[],{"id":70438,"slug":70439,"title":70440,"dynasty":97,"author":47571,"museum":99,"description":70441,"tags":70442,"thumbUrl":70443,"material":319,"size":107,"collection":122,"collections":70444,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},241210,"han-shi-xiao-zhou-wang-shi-hong-241210","韩诗小轴","汪士鋐（1658年—1723年），字文升，号退谷，又号秋泉居士，长洲（今江苏苏州）人。清代书法家、藏书家。汪琬从子。\n汪士鋐（1658－1723），字文升，号退谷，又号秋泉，长洲（今江苏苏州）人。康熙三十六年（1697年）会元，官中允。书法与姜西溟（宸英）称姜汪。得执笔法，书绝瘦硬颉颃张照，诸子莫及。曾题沈凡民印谱自谓初学停云馆麻姑仙坛、阴符经，友人讥为木板黄庭，因一变学赵（赵孟頫）得其弱，再变学褚（褚遂良）得其瘦。晚年尚慕篆、隶，时悬阳冰（李阳冰）颜家庙碑额于壁间，观玩摹拟而岁月迟暮，精进无几。其书能大而不能小，然有奇势，纵横自放，而分间布白，无分寸失。名公卿碑版多出其手。著瘗鹤铭考、秋泉居士集、全秦艺文志。卒年六十六。《书林纪事、履园丛话、昭代尺牍小传、论书帖》\n翁方纲诗有“楷法同时汪与何”，自注“汪谓退谷中允”，“何乃何焯也”。（复初斋诗集卷12‧院之东厅，康熙乙未秋长洲何义门学士书联云「仪凤祥麟游集盛，金书玉字职司勤。」字画遒劲，方纲摹而重锓之，记以四诗）",[51,86,84,119,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbff9120af23d3728916b1c74330b304.jpg",[122],{"id":70446,"slug":70447,"title":46484,"dynasty":97,"author":36692,"museum":99,"description":51640,"tags":70448,"thumbUrl":70449,"material":689,"size":690,"collection":107,"collections":70450,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},241195,"wu-lv-shi-shan-mian-da-chong-guang-241195",[50,23,51,822,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5eb24edfd7e25be849ad92064052e24.jpg",[],{"id":70452,"slug":70453,"title":62599,"dynasty":18,"author":49174,"museum":99,"description":57465,"tags":70454,"thumbUrl":70455,"material":689,"size":690,"collection":107,"collections":70456,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},241193,"qi-lv-shi-shan-mian-song-cao-241193",[86,822,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7958df6cac865a64d2f3f9787858ac98.jpg",[],{"id":70458,"slug":70459,"title":70460,"dynasty":18,"author":70461,"museum":99,"description":70462,"tags":70463,"thumbUrl":70464,"material":689,"size":690,"collection":107,"collections":70465,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},241187,"zhi-yao-xian-wen-zha-zuo-guang-dou-241187","致姚现闻札","左光斗","左光斗（1575年10月12日—1625年8月30日），字遗直，一字拱之、共之，号浮丘，又号苍屿。安庆府桐城县（今安徽省枞阳县横埠镇）人。明末东林党人，水利专家，“东林六君子”之一。\n左光斗自小勤奋好学。其于万历三十五年（1607年）进士及第，授中书舍人。万历四十七年（1619年），被举任为浙江道监察御史。 之后历官左佥都御史、直隶屯田事、大理寺左寺丞。天启五年三月十九日（1625年4月25日），因对抗权宦魏忠贤而下狱。七月二十六日（8月30日）在狱中被折磨而死，享年五十一岁。南明弘光时平反，谥为忠毅。\n左光斗为官清正、磊落刚直，被誉为“铁面御史”，为挽救明王朝做出了许多努力，出任屯田监察御史期间，在天津实施“三因十四议”的屯田方案。 还主持了西北水利空间范围内的京东、畿辅的水利屯田实践，取得明显成效。 后人辑有《左忠毅公集》。",[49,8547,86,119,52,7,34594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2292bb998f616576b9da118dadac97cd.jpg",[],{"id":70467,"slug":70468,"title":70469,"dynasty":97,"author":70470,"museum":99,"description":70471,"tags":70472,"thumbUrl":70473,"material":689,"size":690,"collection":107,"collections":70474,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},241185,"qing-ren-ji-jin-ce-lun-xiao-xue-ye-kong-ji-su-241185","清人集锦册-论小学页","孔继涑","孔继涑，字信夫，一字体字，号谷园，别号葭谷居士。曲阜人，六十八代衍圣公孔传铎第五子。",[23,51,24,86,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8fd58bdd7198f5e5647c12f769e395b.jpg",[],{"id":70476,"slug":70477,"title":70478,"dynasty":97,"author":70479,"museum":99,"description":70480,"tags":70481,"thumbUrl":70482,"material":689,"size":690,"collection":107,"collections":70483,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},241179,"qing-ren-ji-jin-ce-shi-ye-yang-han-241179","清人集锦册-诗页","杨翰","杨翰（1812年～1879年），字伯飞，一字海琴，号樗盦，别号息柯居士，直隶河间（今河北省河间市）人。清朝大臣，著名学者。\n嘉庆十七年，生于父亲所在四川官署。道光二十五年，中进士，授官湖南辰沅永靖道台，官至永州知府。光绪五年，病逝，享年六十七岁，葬于浯溪。",[51,24,119,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b6de3dd8351f0b75c45e2b813f8aa76.jpg",[],{"id":70485,"slug":70486,"title":46635,"dynasty":97,"author":70487,"museum":99,"description":70488,"tags":70489,"thumbUrl":70490,"material":689,"size":690,"collection":107,"collections":70491,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":924},241168,"lin-tie-zhou-li-zhao-luo-241168","李兆洛","李兆洛（1769年10月23日——1841年8月24日）， 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他是福建莆田人。",[86,119,417,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3448e10891b6addb616bf418345335a3.jpg",[],{"id":70879,"slug":70880,"title":28104,"dynasty":97,"author":70881,"museum":99,"description":70882,"tags":70883,"thumbUrl":70884,"material":319,"size":107,"collection":122,"collections":70885,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":75},240620,"shi-zhou-lu-ken-tang-240620","陆肯堂","陆肯堂（1650～1696）字邃深，（一作邃升）一字澹成，生于清世祖 康熙二十四年，（累官至 朝廷大著作，多出其手。圣祖尝赞其学问人品，屡加恩赐。肯堂颖悟嗜学，工诗古文辞，滂沛闳阔，如 着有三礼辨真、怀鸥舫诗存、陆氏人物考《清史列传》等，并行于世。\n陆肯堂是清代第十八位状元，字邃升，一字澹成，江苏 其先人世居浙江 陆延楫在乡里声名昭著，品行学识受人称道。他仁慈谨厚，好行善赈济贫困，乡人颂其为有德之人。又嗜书笃学，学识博洽，对天文地理靡不精通。陆肯堂的父亲陆兖，个性豪放，为人敏捷有智略，曾被 陆肯堂是家中独子，倍受爱抚，自幼受到良好教育，颖悟的天赋得到了开发，加之苦读嗜学，每日诵读典籍数千言，培养形成了耳目所接，一过不复忘的超人记忆能力。这一切为他顺利通过 在弱冠之年，陆肯堂补为博士弟子员，即有了秀才的身份。康熙十六年（1677）被授以 康熙二十年（1681）参加 三年后被授以颍上县学学官，未及到任，又参加了康熙二十四年（1685）乙丑科会试。是科会试，始创榜前皇帝令先以前10本试卷进呈候钦走，进呈卷由试官贴黄笺，上书拟议的第一到第十的名次。康熙皇帝 榜眼浙江海宁人状元及第，朝廷授官陆肯堂 此后，陆肯堂留京为官。康熙二十六年（1687）即充任丁卯科乡试江西正考官。他秉公办事，以才选人，所得尽知名人士，时人皆赞其公正严明。故返京城后，由于尽心尽职，康熙三十年（1691）起连续升迁，先是擢为 居京为官期间，陆肯堂在馆阁整理典籍，所撰著文字，颇受同僚推服。他撰著文章，专心尽力，倚马而就，滂沛闳阔，凌厉顿挫，文如泉涌，不可遏止。张伯行 以张伯行处理康熙五十年（1711）辛卯科江南乡试案看，他决非曲笔虚美之徒。丁卯江南乡试，正主考左必蕃，副主考赵晋，榜发解元刘捷，苏郡中试，者13人，外多中扬州盐商子弟，舆论喧哗，试子多认为是科考官受贿通关节。诸考生集于 又争作联语以讥嘲，左丘明两目无珠，赵子龙一身是胆。影射主考官和副考官。有人甚至以纸糊盖 地方官噶礼亦有受贿通关节之嫌。但他竟将考生首领下尔戬等拘押，欲以诬控谋反而治罪。朝廷命尚书逢江 苏巡抚 张伯行弹劾噶礼欺君抗旨，年 皇帝诏令解除二人职务，仍由张鹏翮审案。张鹏翮竟上奏说张伯行所弹劾之事全是子虚乌有，应革职治罪，皇帝 康熙帝认为张伯行天下清官第一，此案是非颠倒有疑，诏令 张伯行回江苏巡抚任上，噶礼革职，作弊之人分别治罪。张伯行正直高洁的品行表明，他对陆肯堂的颂言是可信的。\n陆肯堂不仅才学为人称颂，而且德行令人钦佩。孝顺父母，爱抚兄弟，赈济穷困，是封建社会的道德要求，也是中华民族的传统美德，至今为人称道。陆肯堂的品行堪称封建道德的典范。史载他天性孝友，笃于仁义。父早身亡，能尽心赡养祖父，抚养异母弟，爱护之情诚恳。对幼孤辅之成人，而对待姊妹尤为循礼关照，凡出嫁必准备一份丰厚的嫁妆。如婿贫穷，不能娶者，则扫馆迎之。宗室乡邻之人，生活匮乏，则时与馈遗赒贷。对他的仁慈爱人行为，他自以为理所当然。时人认为他的德望才学均不愧于状元之称。康熙皇帝褒嘉云：陆肯堂学问甚优，人品亦好。当陆肯堂因疾欲乞归乡里时，康熙皇帝关心地遣 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显章法精妙。笔墨韵律和题松诗意相融无间，将绝壁苍松的孤高意境，藏进跌宕舒展的线条之中。\n\n笔画粗细错落富于节律，通篇行气贯通，字字独立却气脉相连，把诗文里幽栖林泉、伴月听松的林下襟怀，借笔墨节奏缓缓铺陈。以笔达意，文心与书境浑然一体，尽显文人书法萧散出尘的雅致意趣。",[23,51,84,119,26,944,870,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eedc5cda4ff24a17b3fe23b2fdc3530.jpg",[],{"id":71360,"slug":71361,"title":28104,"dynasty":18,"author":71362,"museum":99,"description":71363,"tags":71364,"thumbUrl":71365,"material":689,"size":690,"collection":107,"collections":71366,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},240311,"shi-zhou-zhu-shi-lu-240311","祝世禄","祝世禄[明]（公元一六0二年前后在世），字世功，江西德兴人。生卒年均不详，约明神宗万历三十年前后在世。第万历十七年（公元一五八九年）进士，考选为南科给事。",[84,86,462,21907,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68c1a1c2f1a76910704b29a33c0c2434.jpg",[],{"id":71368,"slug":71369,"title":28876,"dynasty":97,"author":57691,"museum":99,"description":57692,"tags":71370,"thumbUrl":71371,"material":689,"size":690,"collection":107,"collections":71372,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},240310,"qi-jue-zhou-ding-jing-240310",[105,86,119,84,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7a57ed0b3ebc2f6640fead058b26e1f.jpg",[],{"id":71374,"slug":71375,"title":51442,"dynasty":97,"author":71376,"museum":99,"description":71377,"tags":71378,"thumbUrl":71379,"material":689,"size":690,"collection":107,"collections":71380,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},240308,"shu-zha-juan-yun-ri-chu-240308","恽日初","恽日初（？－？），字仲升，号逊菴，又号黍菴，武进人，明末清初人物。画家恽寿平之父。",[86,119,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F460de03481c656a4dbd24bcafaf518d2.jpg",[],{"id":71382,"slug":71383,"title":71384,"dynasty":97,"author":71385,"museum":99,"description":71386,"tags":71387,"thumbUrl":71388,"material":689,"size":690,"collection":107,"collections":71389,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},240306,"zheng-qin-shu-zha-shi-han-juan-huang-zong-xi-240306","郑溱书札诗翰卷","黄宗羲","黄宗羲（1610年9月24日－1695年8月12日），浙江余姚人，字太冲，一字德冰，号南雷，别号梨洲老人、梨洲山人、蓝水渔人、鱼澄洞主、双瀑院长、古藏室史臣等，学者称“梨洲先生”。明遗民。明末清初经学家、史学家、思想家、地理学家、天文历算学家、教育家。“东林七君子”之一黄尊素长子。\n黄宗羲提出“天下为主，君为客”的民主思想。他说“天下之治乱，不在一姓之兴亡，而在万民之忧乐”，主张以“天下之法”取代皇帝的“一家之法”，从而限制君权，保证人民的基本权利。黄宗羲的政治主张抨击了封建君主专制制度，有极其重要的意义，对其后反专制斗争起了积极的推动作用。\n黄宗羲与顾炎武、王夫之、唐甄并称“明末清初四大启蒙思想家”，与顾炎武、方以智、王夫之、朱舜水并称为“明末清初五大家”，与陕西李颙、直隶容城孙奇逢并称“海内三大鸿儒”，亦有“中国思想启蒙之父”之誉。",[49,52,51,26,119,417,541,7,56,62,610,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc464c77b2698f5e28a42d02a0f2fdaf.jpg",[],{"id":71391,"slug":71392,"title":71393,"dynasty":97,"author":71394,"museum":99,"description":71395,"tags":71396,"thumbUrl":71397,"material":689,"size":690,"collection":107,"collections":71398,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},240292,"xing-kai-shi-juan-zheng-liang-240292","行楷诗卷","郑梁","郑梁，出身于慈溪望族郑氏家族，字禹梅，号寒村，黄宗羲门生，康熙二十七年进士，是清初浙东史学派学者之一。",[49,97,11388,86,52,119,417,7,51],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb877e67c3bc261ab2bcefd76f103ef5.jpg",[],{"id":71400,"slug":71401,"title":62631,"dynasty":97,"author":40777,"museum":99,"description":71402,"tags":71403,"thumbUrl":71404,"material":689,"size":690,"collection":107,"collections":71405,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},240291,"tang-shi-juan-qi-zhi-jia-240291","字止祥，号雪瓢，山阴（今浙江绍兴）人。彪佳（1602至1645）弟。天启七年（1627年）举人，仕吏部司务。明亡后，当局礼聘，却之，与董瑒、王雨谦、陈洪绶、罗坤等结“云门十子”社，日与老衲蒲团相对，谈世外烟霞。甲申（1644）后，隐梅市卖画代耕。字学董其昌，而乏其秀韵。山水仿沈周，气势淋漓，笔力挺拔，自有一种不可羁勒之概。间作花卉，亦多逸致，诗文词皆有致，至於歌、弈、图章，百戏俱善。康熙八年（1669）作山水图。",[49,86,52,119,462,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3935231f4905d6b544c02a56c16d35f.jpg",[],{"id":71407,"slug":71408,"title":51442,"dynasty":18,"author":71409,"museum":99,"description":71410,"tags":71411,"thumbUrl":71412,"material":689,"size":690,"collection":107,"collections":71413,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},240280,"shu-zha-juan-wang-si-ren-240280","王思任","字季重，号遂东，晚年号谑庵，浙江山阴（今绍兴）人。明代文学家。\n万历二十三年（1595年）进士，曾知兴平、当涂、青浦三县，又任袁州推官、九江佥事。南京城破后，鲁王监国，以思任为礼部右侍郎，进尚书。清兵进逼杭州，马士英欲渡江入绍兴，王思任以《让马瑶草》致书马士英力拒道：“吾越乃报仇雪耻之国，非藏垢纳污之区也”。隆武二年（1646年），绍兴为清兵所破，绝食而死。\n为文笔意放纵诙谐，时有讽刺时政之作。以《游唤》、《历游记》两种游记成就最高，《小洋》、《天姥》诸篇尤为著名。诗重自然，才情烂漫。其子王鼎起编选《谑庵文饭小品》，后人编有《王季重十种》传世。",[49,51,86,119,462,52,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfbb352733064ca948b2838289406e5b.jpg",[],{"id":71415,"slug":71416,"title":54435,"dynasty":97,"author":71417,"museum":99,"description":71418,"tags":71419,"thumbUrl":71420,"material":689,"size":690,"collection":107,"collections":71421,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},240276,"xing-kai-shi-zhou-wang-shan-240276","王掞","王掞shàn（1645年～1728年）清朝官员。字藻儒，一作藻如，号颛庵、西田主人，江南太仓（今属江苏）人，明代首辅王锡爵曾孙。康熙九年进士，授编修，官至文渊阁大学士。康熙六十年，请重立胤礽为太子忤旨，应谪戍，以年老由子代行，寻致仕。有《西田集》。",[86,11388,84,4832,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc62c3bfd095f2514846e037660995a3b.jpg",[],{"id":71423,"slug":71424,"title":54089,"dynasty":97,"author":8927,"museum":99,"description":8928,"tags":71425,"thumbUrl":714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、绵津山人 ，晚号西陂老人、西陂放鸭翁 。归德府（今河南商丘）人。清代诗人、画家、政治家。“后雪苑六子”之一。\n清顺治四年（1647年），宋荦应诏以大臣子列侍卫。康熙三年（1664年），被授予湖广黄州通判、康熙十六年（1677年），补理藩院判，迁员外郎。历官山东按察使，江苏布政使、江西巡抚、江苏巡抚。康熙三十八至四十四年（1699—1705年），康熙皇帝三次南巡，皆由宋荦负责接待。康熙四十四年（1705年）十一月，升任吏部尚书。康熙五十二年（1713年）春，加太子少师。同年九月逝世，享年八十岁，赐祭葬于商丘西陂别墅。\n宋荦为官正直，被康熙帝誉为“清廉为天下巡抚第一”。 宋荦笃学博闻，能诗文，工书画，精鉴赏，尤以诗享盛誉于清初文坛，一时文士多与之交游。 并与朱彝尊、施闰章等人同称“康熙年间十大才子”。编著有《西陂类稿》50卷、《漫堂说诗》及《江左十五子诗选》等。",[23,51,86,24,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc8a1218491ea3fe1524fce8526d06c7.jpg",[],{"id":71607,"slug":71608,"title":42540,"dynasty":18,"author":71609,"museum":99,"description":71610,"tags":71611,"thumbUrl":71612,"material":689,"size":690,"collection":107,"collections":71613,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},240123,"shi-ye-liu-su-240123","刘塐","此幅行书诗页笔意取法晋唐，萧散简远，尽显文人随性之姿。字形欹正相生，牵丝映带间流转自如，笔墨枯湿浓淡错落，隽秀清雅。\n诗书合璧，以自作春日寄怀之诗入书，将探春闲情融于笔墨寸尺间，下笔松灵圆活，不见刻意雕琢。通篇气息淡远疏朗，尽显尚韵尚意的书法特质，寥寥数行便将文人春日感怀的逸趣尽数铺陈，是小品书法里诗书相融的佳制。",[51,86,119,7,57,13543,1593,5209,332,31398,66,56240,406,870],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa29a8f44ea41c0aa32ae63c9c10aad4c.jpg",[],{"id":71615,"slug":71616,"title":71617,"dynasty":18,"author":71618,"museum":99,"description":71619,"tags":71620,"thumbUrl":71621,"material":319,"size":107,"collection":122,"collections":71622,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},240110,"xing-zhi-yi-lao-zha-ye-cheng-fu-240110","行致伊老札页","成榑","此札以行草书就，笔势纵逸灵动，起收锋棱隐现，尽显率意自然之态。笔墨枯润相生，线条粗细随情变幻，牵丝映带间暗合章法韵律。文字排布错落随性，毫无刻意雕琢之感。\n\n作为尺牍信札，将日常寄兴的松弛情致融于笔墨流转之中，尽显萧散简远的文人意趣，藏着林下雅士的随性雅致，是兼具实用与审美意趣的小品佳构。",[51,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53eb7250aec6960896c358ca8e4c635f.jpg",[122],{"id":71624,"slug":71625,"title":71626,"dynasty":18,"author":71627,"museum":99,"description":71628,"tags":71629,"thumbUrl":71630,"material":319,"size":107,"collection":122,"collections":71631,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},240109,"xian-xing-ti-zhen-lie-chuan-ye-zhou-zuo-240109","显行题贞烈传页","周祚","周祚是唐末進士，代表作有《失題》。",[86,119,7,51,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5927a2160393ffd9c6c00de053f17e6.jpg",[122],{"id":71633,"slug":71634,"title":71635,"dynasty":97,"author":71636,"museum":99,"description":71637,"tags":71638,"thumbUrl":71639,"material":689,"size":690,"collection":107,"collections":71640,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":2307},240084,"jie-si-nong-shu-you-huai-shi-ye-qiu-guang-ye-240084","接四农书有怀诗页","邱广业","邱氏籍隶淮安卫，负责运送漕粮到京城。邱广业继承了这一行当，结果运了两趟，不知出了什么问题，所运漕粮损失不少，把家产房屋都赔了个罄尽。邱广业母亲程氏死得早，父亲邱永庆无法，只好以诸生代替儿子运粮，结果死于通州。这时邱广业才十七岁，困窘已极。到通州处理一切事务以后回淮，与弟弟广德一起搬到河下，依附舅舅程氏居住，发愤读书，恢复家业",[105,51,86,119,7,3363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6360380f0a5fc824d7513b8ee93040c.jpg",[],{"id":71642,"slug":71643,"title":71644,"dynasty":97,"author":71636,"museum":99,"description":71637,"tags":71645,"thumbUrl":71646,"material":689,"size":690,"collection":107,"collections":71647,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},240082,"lin-jiang-xian-zha-ye-qiu-guang-ye-240082","临江仙札页",[105,86,119,3363,7,51,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cf5af83ee2f1cd94368da98619235fd.jpg",[],{"id":71649,"slug":71650,"title":71651,"dynasty":97,"author":63224,"museum":99,"description":71652,"tags":71653,"thumbUrl":71654,"material":689,"size":690,"collection":107,"collections":71655,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":2307},240077,"shi-gao-ye-yang-gao-lan-240077","诗稿页","此作为行书诗稿，行笔舒展灵动，笔墨秀逸清雅，兼具帖学流美意韵与文人书写的随性自然。字迹排布错落有致，字间顾盼生情，墨色浓淡过渡自然，尽显书写时松弛的创作状态。\n\n笺纸配有浅淡暗纹，雅致温润，与信中酬唱赠别的诗文相映成趣，尽显文人以翰墨寄怀的风雅日常。笔墨间藏着旧友唱和的脉脉温情，是诗书意趣与尺牍美学融合的小品佳作，将文人间的交游雅韵藏于字里行间。",[97,51,24,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b830e453a4d0988cbf5274caa985d98.jpg",[],{"id":71657,"slug":71658,"title":71659,"dynasty":97,"author":71660,"museum":99,"description":71661,"tags":71662,"thumbUrl":71663,"material":689,"size":690,"collection":107,"collections":71664,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},240074,"wu-yan-shi-gao-ye-lu-yong-240074","五言诗稿页","卢湧","此作行书笔意松灵秀逸，牵丝映带间随性自然，毫无刻意雕琢之感。墨色枯润相生，带着手札特有的松弛温度，字势排布错落随性，不作刻意规整，将赋诗时的思绪起伏藏在笔锋起落之中。\n\n朱砂小印轻落文末，为素朴的笺纸晕开一抹沉静雅致，私语般的诗稿褪去制式书写的板正，尽显文人笔下的清隽襟怀。通篇是日常翰墨的鲜活缩影，平淡质朴里浸透着书写者的才情意趣，是小品尺牍里的清雅之作。",[97,86,119,7,319,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95c875aa60ee0e81f89a8c680bdb4371.jpg",[],{"id":71666,"slug":71667,"title":71668,"dynasty":97,"author":63233,"museum":99,"description":63234,"tags":71669,"thumbUrl":71670,"material":689,"size":690,"collection":107,"collections":71671,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},240069,"qiu-huai-si-shou-ye-huang-jue-zi-240069","秋怀四首页",[51,86,119,7,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b6471fcccc48eed1a24d76a03aaf025.jpg",[],{"id":71673,"slug":71674,"title":54544,"dynasty":97,"author":54545,"museum":99,"description":71386,"tags":71675,"thumbUrl":71676,"material":689,"size":690,"collection":107,"collections":71677,"showCount":1288,"zanCount":39,"manualWeight":39,"mainColor":40},240049,"guo-chao-ming-ren-shou-jian-ce-deng-17-ren-shou-zha-huang-zong-xi-gu-yan-wu-240049",[24,119,86,51,7,2601],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83b6bcb38a60c426a0a20722ffb6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），初名李以文、李寿成，汉族，生于广西梧州市藤县大黎里新旺村 ，太平天国后期著名将领，近代中国军事家、政治家。\n李秀成出身贫苦，幼时种地耕山，帮工就食，曾随舅父读书。道光二十九年（1849年）加入拜上帝会。辛开元年（1851年）参加太平军后，随太平军转战至天京，历任右四军帅、后殿右二十指挥、二十二检点等职。天京事变后，晋升为地官正丞相、合天侯。翼王石达开出走后，封副掌率、合天义，与又正掌率陈玉成等同主军政。 [14] 因战功卓著而被天王洪秀全赐名“秀成”。\n在太平天国统治的中后期，李秀成与陈玉成、李世贤等力撑危局，取得了一破江北江南大营、二破江北大营、三河大捷、二破江南大营等军事上的胜利，建立了苏福省、天浙省。同时抗击英法侵略者，击毙常胜军指挥者华尔、法国海军提督卜罗德，中兴太平天国。因其功勋卓著，于庚申十年（1860年）被天王洪秀全封为忠王，称“万古忠义”。\n甲子十四年（1864年），湘军攻陷天京，李秀成扶幼天王出逃，不久被俘。在狱中写下数万字的自述后，于天京从容就义，年仅四十二岁。",[86,119,7,105,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1021afa955678c16b02996e4e80e067b.jpg",[],{"id":110561,"slug":110562,"title":110563,"dynasty":97,"author":207,"museum":99,"description":110564,"tags":110565,"thumbUrl":110566,"material":689,"size":690,"collection":107,"collections":110567,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241493,"qi-yan-shi-wan-shan-yi-ming-241493","七言诗纨扇","此作为行书纨扇，笔法温婉秀润，结体舒展灵动，通篇行气连贯自然，契合纨扇的柔婉形制。书写自作七言长诗，字字顾盼有情，墨色匀净雅致，随着纸面岁月经年泛黄，更衬出沉厚的书卷意趣。没有馆阁体的刻板拘囿，尽显文人随性自在的笔墨意态，将日常襟怀寄寓点画之间，平和疏朗的气息漫溢扇面，是一件兼具书法法度与清雅文心的小品佳构。",[23,51,822,119,86,7,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F254341c3e8c5b4b6ae57ae96a987fb99.jpg",[],{"id":110569,"slug":110570,"title":110571,"dynasty":97,"author":110572,"museum":99,"description":110573,"tags":110574,"thumbUrl":110575,"material":689,"size":690,"collection":107,"collections":110576,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":75},241485,"lu-wen-cheng-shan-zhang-yu-241485","录文成扇","章钰","章钰（1864年～1937年），近代藏书家、校勘学家。字式之，号茗簃，一字坚孟，号汝玉，别号蛰存、负翁，晚号北池逸老、霜根老人、全贫居士等。藏书室名四当斋。",[822,86,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2082a3daa38e398c1d3c00886f16cff5.jpg",[],{"id":110578,"slug":110579,"title":110580,"dynasty":97,"author":110581,"museum":99,"description":57595,"tags":110582,"thumbUrl":110583,"material":689,"size":690,"collection":107,"collections":110584,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":924},241483,"shou-zha-ce-cheng-si-ze-241483","手札册","程思泽",[86,119,462,24,319,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd989f4217f65572f4553ef3725a0a09f.jpg",[],{"id":110586,"slug":110587,"title":110580,"dynasty":97,"author":110581,"museum":99,"description":57595,"tags":110588,"thumbUrl":110589,"material":689,"size":690,"collection":107,"collections":110590,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241482,"shou-zha-ce-cheng-si-ze-241482",[97,51,86,24,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F030ca2329595647e14e72fe9b1466d82.jpg",[],{"id":110592,"slug":110593,"title":57500,"dynasty":97,"author":57501,"museum":99,"description":57502,"tags":110594,"thumbUrl":110595,"material":689,"size":690,"collection":107,"collections":110596,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241474,"bai-ling-shi-han-ce-zhang-bai-ling-241474",[51,86,24,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1128f557d3601e6dcd27c88c903ace0.jpg",[],{"id":110598,"slug":110599,"title":28104,"dynasty":97,"author":110600,"museum":99,"description":110601,"tags":110602,"thumbUrl":110603,"material":689,"size":690,"collection":107,"collections":110604,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241464,"shi-zhou-wang-yi-qing-241464","王奕清","字幼芬，号拙园，江苏太仓人。清朝学者，政治人物，名门望族之裔，王时敏之孙，颛菴王掞相国之子，其曾上祖是明末万里内阁首辅王锡爵，家族不乏科考得意者，成为名副其实的簪缨之家，在江南一带被盛传“一门两宰相，父子三进士”，康熙三十年（一六九一）进士，选庶吉士，散馆翰林院编修，累官詹事府詹事兼翰林院侍读学士，曾代父赴军，历驻忒斯，雍正四年，命赴阿尔泰坐台，又十年，乾隆元年，召还，乞假葬父，翌年卒，时年七十三岁，曾奉清圣祖之命篡修康熙《钦定词谱》，善书法，工绘事篆刻。",[23,51,84,119,86,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd625145e44320f48adbcb8a5bc1669dd.jpg",[],{"id":110606,"slug":110607,"title":110608,"dynasty":18,"author":207,"museum":99,"description":110609,"tags":110610,"thumbUrl":110611,"material":689,"size":690,"collection":107,"collections":110612,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241454,"xia-shi-shu-shi-zhou-yi-ming-241454","夏时书诗轴","这幅草书诗轴纵肆雄健，以狂放笔意铺陈全篇。开篇“春风”二字开张大气，起笔如长风卷浪，迅疾洒脱。字形欹侧跌宕，线条枯湿浓淡自然变幻，牵丝映带间气脉贯通，虚实相生。\n\n笔墨节奏贴合诗意，将“春风得意马蹄疾，一日看尽长安花”的登科快意寄寓毫端。重捺如坠石，轻丝若游丝，书写时的情绪起伏跃然纸上，尽显疏放任侠的文人风骨，是明代浪漫书风的典型佳作。",[8547,86,84,462,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28984d379b2f3e9594c5c254901df6c4.jpg",[],{"id":110614,"slug":110615,"title":28876,"dynasty":18,"author":110616,"museum":99,"description":110617,"tags":110618,"thumbUrl":110619,"material":689,"size":690,"collection":107,"collections":110620,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241452,"qi-jue-zhou-huang-yun-241452","黄云","黄云，明代诗人、书法家，江苏昆山人。字应龙，号丹岩。有《丹岩集》。",[51,23,86,84,119,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50489be84c12227ab4ba18b96ae126e0.jpg",[],{"id":110622,"slug":110623,"title":110624,"dynasty":18,"author":110625,"museum":99,"description":110626,"tags":110627,"thumbUrl":110628,"material":689,"size":690,"collection":107,"collections":110629,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},241445,"san-jia-shi-han-juan-li-su-241445","三家诗翰卷","李素","李素，广东梅县人，明朝景泰七年(1456）丙子科举人，天顺四年（1460）会试乙榜。初任宾州训导，历任上犹、贵溪、当涂教谕。致仕归，讲学于东社，筑室于松冈（今梅江区白宫龙冈村），学者远近宗之。",[86,119,52,26,7,870,700,22811,405,1480,5851,406,777,358,332,29,31398,11152,1206,63,137,2142],"https:\u0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生平[编辑]. 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康熙六十年状元， 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），字原博，号匏庵、玉亭主，世称匏庵先生。直隶长州（今江苏苏州）人。明代名臣、诗人、散文家、书法家。\n吴宽为明宪宗成化八年（1472年）状元，授翰林修撰，曾侍奉孝宗读书。孝宗即位，迁左庶子，预修《宪宗实录》，进少詹事兼侍读学士。官至礼部尚书，卒赠太子太保，谥号“文定”。\n吴宽的诗深厚醲郁，自成一家，著有《匏庵集》。又擅书法，作书姿润中时出奇崛，虽规模于苏，而多所自得。\n吴宽生于明宣宗宣德十年（1435）。他成年后，以文章及品行闻名于诸生之中。明宪宗成化八年（1472年），吴宽在会试、廷试中均获第一，为明朝苏州第二位状元。后任翰林院修撰。曾侍皇太子朱佑樘，秩满进宫为右谕德。\n成化二十三年（1487）宪宗驾崩，皇太子朱祐樘即位，是为孝宗。吴宽以东宫旧僚身份，迁左庶子，参与修撰《宪宗实录》，进少詹事兼侍读学士。\n弘治八年（1495年），升任吏部右侍郞。适逢继母去世，吴宽守孝归家。吏部缺员，孝宗命虚位待之，待吴宽守丧三年，让其掌詹事府事，入直东阁，专典诰敕，并侍从皇太子朱厚照。\n宦官大多不愿让太子接近儒臣，多次用他事间断讲读。吴宽率领僚属上疏说：“东宫讲学，寒、暑及风雨天就停讲，每月初一、十五和节日停讲，讲学一年不过数月，一月不过数日，一日不过数刻。是进讲的时间少，停讲的日子多，怎能容许又借其他事妨碍讲学。古人八岁时就随师学习，居宿于外，是想他远离不好的环境亲近君子。百姓尚且如此，况且是天下之本的太子呢？”孝宗赞许并接纳了他的意见。\n弘治十六年（1503年），吴宽升任礼部尚书，仍掌詹事府事。他是当时文学侍从之臣中声望最高的一位。另一位状元谢迁进入内阁后，曾经建议引吴宽入阁参与机务，但遭到另一位阁臣刘健的反对。一次，谢迁又说：“吴公的科第、年岁、声望都超过我，我实在是自愧不如，哪是寄情于吴公呢？”到谢迁引退时，举荐吴宽接替自己，其建议仍未被采用。朝内外都为吴宽惋惜，但吴宽很是坦然，说道：“我一开始就没有入阁的念头。”\n孝庄钱太后去世时，朝臣商议将来孝肃周太后去世，与钱太后一同合葬到明英宗的裕陵中，将灵位纎享到太庙中英宗的庙室里，享受原配待遇。弘治十七年（1504年），孝肃周太后去世，准备纎享太庙，孝宗却认为将英宗周贵妃（周太后）与英宗钱皇后一同祔享太庙不合适，要求礼官重新讨论。吴宽说《诗经·鲁颂》中的《閟宫》篇以及《春秋》记载的仲子之宫都是另建一神庙，认为汉、唐也是依照此例。正好朝臣大多也主张周太后纎享别庙，孝宗允准。\n吴宽七十岁时，多次因病请辞，都被慰留，后于弘治十七年（1504年）七月十日（8月19日） 卒于礼部尚书任上。孝宗闻讯后，派官治丧，加祭二坛。追赠太子太保，谥号“文定” 。葬于木渎西花园山。孝宗破格封赠了他的两个儿子，授长子吴奭为中书舍人，补次子吴奂为国子生。\n吴宽操行高洁，不受外界的评价所干扰，对自身严格要求。他对于书籍涉猎广泛，善诗能书。他有几顷田，曾用以救济亲友中的贫困者。友人贺恩患病后，吴宽将他接到家里照顾，日夜探视。贺恩病逝后，吴宽为他服丧达一月之久。\n吴宽少壮时好学，于书无所不读，尤喜《左传》《汉书》以及唐宋大家的散文，最喜苏轼文章。他学有根底，诗文和平恬雅，有典则。《明诗评》说：“文定力扫浮靡，一归雅淡，诗如杨柳受风，煦然不冽；又如学究论天下事，亹亹竟日，本色自露。”代表作有七律《悼沈癯樵画史》《题杨铁崖墓铭后》《送张兼素出知施宗州》《谢顾良弼李世贤携酒过访》等，七古有《赋黄楼送李贞伯》等。诗文集有《家藏集》77卷，其中诗30卷，文40卷，为吴宽自订。后7卷疑为其子所增益。\n吴宽工书法 [13] ，善写真、行、草书，尤工行书，源出自苏东坡，为尊其人而爱其艺，故其书法师承东坡笔意。吴宽《跋黄庭坚“诸上座帖”》云：昔东坡见山谷草书，从旁称叹。钱穆父独惜，以为未见怀素真迹。后山谷见《自叙帖》，书法遂觉顿异。不审此卷作时是尝见耶，抑或未见耶？职方公深于书者，藏此必能辨之。\n书法家邢侗在《来禽馆帖》中曾说：“匏翁吴中前辈，行谊擅绝，不直文翰之工尔也。书法法苏学士，浓颜厚面，祛去吴习。” 吴宽学习的是苏东坡“端庄淳朴，凝重厚实”的书风，而一反当时吴中盛行的“纤巧媚美”风格。 吴宽学习苏书，以摹手追，神形兼善，更可贵的是其笔法能出新意。因此，王鏊说他“作书姿润时出奇倔，虽规模于苏而多自得。”（《震泽集》卷二）这是他能高于同时代一般书法家之所在。对稍后步入书坛的书法家祝允明、文征明等人，起到了开路先锋的作用。\n吴宽有时也作草书，喜用狂草体。他常临摹唐代著名书法家怀素和尚的《自叙帖》，几乎到乱真的境地。吴宽的传世书迹较多，如《种竹诗卷》、《题赵孟頫重江迭嶂图诗》等都是精品。《种竹诗卷》，书于弘治七年（1494），时年60余岁。纸本墨迹。行书，长卷。纵28.2厘米，横582.6厘米。上海博物馆藏。米芾书法墨拓《韩昌黎诗录三章》卷首有吴宽题跋，语曰：“昔人云米海岳书如风吹阵马，观其沉着痛快，当与钟王并行，非虚语也。”成化二年立秋日，延陵吴宽。印文：吴宽（与中国书画家印鉴款识相符）成化二年（1466年、丙戌），吴宽时年31岁，延陵镇为江苏丹阳县所属，进士录中吴宽户籍为“匠籍”，可能由中进士前的延陵（丹阳）迁到苏州。\n吴宽喜藏书，和藏书家沈周、王鏊等交游颇深，藏书以抄本多见，其抄本用红印格抄写，以私印记之。时吴中藏书家多以密册珍籍相夸尚，如朱存理、阎起山、都穆辈皆仿其抄本。抄书笔法绝伦，叶德辉称“自明以来，藏家最珍并争藏之本，首列吴抄”。《静志居诗话》云：“是时吴中藏书家多以秘册相尚，若朱性甫、吴原博、闫秀卿、都玄敬辈皆手自抄录。匏庵遗书流传者悉公手录，以私印记之，前辈风流，不可及也。”所藏抄本《嵇康集》10卷，有顾广圻、张燕昌题跋各一则，黄不烈（署荛翁、复翁）题跋三则。在京为官一品，获赐有《贞观政要》等书。藏书楼名“丛书堂”，《丛书堂书目》1卷，今已佚。预修有《宪宗实录》。著有《家藏集》77卷。",[49,18,822,86,119,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19c533997c02fc2b12e843fe75a20707.jpg",[],{"id":114061,"slug":114062,"title":114063,"dynasty":18,"author":73459,"museum":81,"description":73460,"tags":114064,"thumbUrl":114067,"material":634,"size":114068,"collection":107,"collections":114069,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},222325,"zhi-qing-shi-zun-zhang-chi-du-zhang-xian-yi-222325","致磬石尊丈尺牍",[86,119,4832,7,33484,5502,114065,114066],"界格","装饰边框","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf1029aaebc98637d9cfccd05aed34a.jpg","27.4×35.6",[],{"id":114071,"slug":114072,"title":18615,"dynasty":115,"author":73482,"museum":81,"description":73483,"tags":114073,"thumbUrl":114074,"material":319,"size":73486,"collection":107,"collections":114075,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},221655,"shu-chi-du-fan-cheng-da-221655",[49,86,119,26,7,5502,2651,435],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9effc80a1445f59900eff32013e02430.jpg",[],{"id":114077,"slug":114078,"title":32503,"dynasty":115,"author":32504,"museum":3815,"description":32505,"tags":114079,"thumbUrl":114081,"material":32508,"size":32509,"collection":107,"collections":114082,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":107},220656,"song-ke-mi-fei-ying-guang-tang-tie-mi-fei-yue-ke-220656",[114080,86,418,2226,119,7,15959,2601],"宋刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcba36e26461f4dceda54a55a85cb7e47.jpg",[],{"id":114084,"slug":114085,"title":114086,"dynasty":97,"author":17865,"museum":99,"description":56454,"tags":114087,"thumbUrl":114088,"material":33,"size":107,"collection":107,"collections":114089,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},218013,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-5-ceng-yan-dong-218013","七道子山水人物画册18帧-5",[49,23,51,26,24,56,967,727,751,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd6ddd48c80a6e79dcbfa24734c6f123.jpg",[],{"id":114091,"slug":114092,"title":114093,"dynasty":97,"author":17865,"museum":99,"description":56454,"tags":114094,"thumbUrl":114095,"material":319,"size":107,"collection":107,"collections":114096,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},218005,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-13-ceng-yan-dong-218005","七道子山水人物画册18帧-13",[49,23,51,24,119,86,26,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd26e58c67e43cbb9dce3313305ffef6d.jpg",[],{"id":114098,"slug":114099,"title":114100,"dynasty":97,"author":17865,"museum":99,"description":56454,"tags":114101,"thumbUrl":114102,"material":319,"size":107,"collection":107,"collections":114103,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},218001,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-16-ceng-yan-dong-218001","七道子山水人物画册18帧-16",[49,23,51,24,86,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F216f39b6f066a244d95e025b5e7f3fd2.jpg",[],{"id":114105,"slug":114106,"title":114107,"dynasty":97,"author":17865,"museum":99,"description":56454,"tags":114108,"thumbUrl":114109,"material":319,"size":107,"collection":107,"collections":114110,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},218000,"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-17-ceng-yan-dong-218000","七道子山水人物画册18帧-17",[49,23,51,24,26,7,119,56,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f833cd551ed3b95cc24513579ddd8d0.jpg",[],{"id":114112,"slug":114113,"title":114114,"dynasty":97,"author":36285,"museum":525,"description":36286,"tags":114115,"thumbUrl":114116,"material":33,"size":36289,"collection":107,"collections":114117,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},217007,"ruan-yuan-yi-shi-shi-jing-tu-ce-7-wang-yun-217007","阮元遗事十景图册-7",[23,51,24,25,1962,56,59,64,13606,1019,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe11f76b3d293153be1f0eb625318297a.jpg",[],{"id":114119,"slug":114120,"title":114121,"dynasty":18,"author":207,"museum":99,"description":60384,"tags":114122,"thumbUrl":114123,"material":1550,"size":107,"collection":107,"collections":114124,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":75},216651,"xuan-da-shan-xi-san-zhen-tu-4-yi-ming-216651","宣大山西三镇图-4",[49,23,51,25,53,56,60773,28474,7,86,1962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韵交融，愁绪暗生。整作简淡空灵，文人意趣浓厚，于尺幅间藏元夜幽思。",[23,26,135,58,136,277,358,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e042060843597fb3f4d3298da9d5d43.jpg",[],"c1bdad",{"id":114797,"slug":114798,"title":114799,"dynasty":18,"author":114800,"museum":20,"description":114801,"tags":114802,"thumbUrl":114803,"material":107,"size":107,"collection":107,"collections":114804,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":114805},203137,"yi-bie-tu-ce-shi-zhong-203137","忆别图册","史忠","简淡水墨晕染出离别的怅惘，三人物于坡岸间定格忆别瞬间。左侧二人拱手致意，右侧身影回身挥袖，憨朴神态中藏着真挚情谊。笔墨率性洒脱，线条寥寥却形神毕肖，写意之趣跃然纸上。留白处题跋纵横，行书笔意不羁，与画面相映成趣，书画合璧更显文人雅韵。整作不事雕琢，以情态胜，质朴中见深情，尽显明代文人抒情小品的独特风神。",[23,26,119,7,58,403],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82a91c35a0806ba231d3d9ef31a2b22e.jpg",[],"d0cbc5",{"id":114807,"slug":114808,"title":10218,"dynasty":97,"author":248,"museum":20,"description":114809,"tags":114810,"thumbUrl":114811,"material":107,"size":107,"collection":35,"collections":114812,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":36368},203134,"hua-hui-tu-ce-yun-shou-ping-203134","画面中桃花灼灼，粉瓣层叠间晕染出自然过渡，嫩蕊含露似带春温，枝叶以淡绿衬之，柔劲相生。恽寿平以没骨法写就，不用墨线勾勒，直以色彩点染花叶，形神毕肖，尽显“写生正派”之韵。旁配行书题跋，诗画相映，文气盎然，印章朱红点睛，更添雅致。整幅作品清新脱俗，将桃花的娇妍与生机凝于尺幅，尽显文人花卉的逸趣与意韵。",[264,25,27,57,24,86,7,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b0a1164ef9c9d8b91a295284e5ec1ea.jpg",[35],{"id":114814,"slug":114815,"title":31797,"dynasty":97,"author":18133,"museum":20,"description":114816,"tags":114817,"thumbUrl":114819,"material":107,"size":107,"collection":107,"collections":114820,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":114821},203094,"shi-gao-ce-wang-duo-203094","墨色如晕染的烟霞，枯笔似皴裂的古木，涨墨若积雨的云团，笔势如奔马脱缰，纵横捭阖间尽显雄健气象。线条粗细交错，结体欹侧开合，字行顾盼生姿，疏密有致中藏着章法妙趣。诗稿的笔痕浸透着文人的胸臆，每一笔都是心迹的流露，朱红印章点缀其间，添几分古朴雅韵。笔墨与心性交融，尽显书家风骨与才情。",[119,462,7949,28302,3363,7,86,114818,49],"枯润对比","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26a192ba482a4845e0276f2544d2b653.jpg",[],"ae9b80",{"id":114823,"slug":114824,"title":114825,"dynasty":21983,"author":892,"museum":20,"description":114826,"tags":114827,"thumbUrl":114828,"material":107,"size":107,"collection":107,"collections":114829,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":114830},203042,"xia-tu-zhou-qi-bai-shi-203042","虾图轴","这幅水墨虾图笔墨灵动，意趣盎然。淡墨晕染虾身，层次分明间显其透明质感；浓墨点染虾眼与钳，刚劲有神；纤细虾须如丝舒展，似随水波轻颤。数虾姿态各异，或游或戏，彼此呼应，满溢清池生机。齐白石以数十年观察之功，将虾之神韵凝于笔端，墨色浓淡相宜，线条简练传神，尽显文人画的鲜活与雅致，观之如见活虾在水，灵动不已。",[23,26,84,27,2342,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb7956e39aff7850715d064fac4cb1b9.jpg",[],"d0bea0",{"id":114832,"slug":114833,"title":50750,"dynasty":21983,"author":73978,"museum":20,"description":114834,"tags":114835,"thumbUrl":114836,"material":107,"size":107,"collection":107,"collections":114837,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":73983},203001,"ju-shi-tu-zhou-ma-gong-yu-203001","画面中孤石耸立，墨色淋漓，以泼染兼皴擦之法绘就，尽显苍劲厚重；石畔菊花簇生，淡赭花瓣舒展有致，墨叶浓淡相间，笔意洒脱，花叶与石相映成趣。题跋行书流畅自然，朱印点缀其间，添得几分雅致。整幅画作气韵生动，既见菊花傲霜之姿，又显石之坚韧，蕴含文人画的高洁意韵与笔墨情致。",[23,84,26,25,27,529,277,7,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33e9b9667f3c373e2d998b23b0844489.jpg",[],{"id":114839,"slug":114840,"title":114841,"dynasty":97,"author":23283,"museum":20,"description":114842,"tags":114843,"thumbUrl":114844,"material":107,"size":107,"collection":242,"collections":114845,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":114846},202986,"lin-shu-ce-he-shao-ji-202986","临书册","笔墨游走间，篆隶古意隐于行草线条，浑厚如钟鼎沉音，灵动似流水绕石。每一字结体欹正相生，回腕法的笔势裹着苍劲力道，却又不失帖学的婉转韵致。临摹中见自家风骨，既守传统法度，又破陈规束缚，墨色浓淡相宜，章法疏密有致，尽显书家熔铸碑帖的深厚功力与艺术巧思。右下角朱印点缀，更添古朴雅趣，一册在手，可窥书者笔底乾坤。",[86,119,462,134,26,24,7,49],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68f92c72e83549573010ce497fed7221.jpg",[242],"d2c6b5",{"id":114848,"slug":114849,"title":114850,"dynasty":21983,"author":22995,"museum":20,"description":114851,"tags":114852,"thumbUrl":114853,"material":107,"size":107,"collection":107,"collections":114854,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":114855},202900,"da-mo-xiang-tu-zhou-chen-shi-ceng-202900","达摩像图轴","朱红袈裟在素净纸面上格外醒目，达摩端坐于地，衣纹以写意笔触挥洒，褶皱间尽显笔墨韵律。背景淡墨皴染出斑驳石壁，右侧留白处缀疏枝片叶，愈衬出禅境空寂。人物面容简括传神，须眉间藏着笃定沉静，似在参透天地玄机。构图虚实相映，笔墨兼具文人意趣与禅画空灵，将达摩面壁的专注超脱凝于尺幅之间，耐人寻味。",[23,25,58,26,1284,51,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0145e2c37376a5ce8fdd87e5ba2c4736.jpg",[],"c4b29d",{"id":114857,"slug":114858,"title":114859,"dynasty":21983,"author":892,"museum":20,"description":114860,"tags":114861,"thumbUrl":114862,"material":107,"size":107,"collection":107,"collections":114863,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":114864},202863,"dao-sui-tu-zhou-qi-bai-shi-202863","稻穗图轴","画作以劲挺灵动的线条勾勒稻穗茎秆，似有风过摇曳之姿。沉甸甸的稻穗以浓墨点染，颗粒饱满，墨色浓淡交错，干湿互济，既显厚重质感，又透自然生机。背景留白开阔，衬出稻穗的鲜活质朴，满溢田园恬静意趣与丰收喜悦，尽显画家对日常景物的细腻观察与独特艺术表现力。",[23,26,25,84,6815,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cc97e6338a3b00d9b8cb7e95d67594b.jpg",[],"cac2b4",{"id":114866,"slug":114867,"title":114868,"dynasty":21983,"author":2402,"museum":20,"descri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