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突兀的眼睛,锋利的牙齿,粗壮强劲的躯体,无不揭示了这是一条充满力量和超凡脱俗功力的神化了的龙。画上有画家自题: “扶河汉,触华嵩。普厥施,收成功。骑元气,游太空。所翁作。”画上钤有几方收藏印章。",[23,24,25,26,27,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35519b25bbea9229aa8a1232b23672c8.jpg","纵201.5厘米 横130.5厘米","花鸟画精选",[50],642,5,{"id":55,"slug":56,"title":57,"dynasty":58,"author":59,"museum":60,"description":61,"tags":62,"thumbUrl":78,"material":79,"size":80,"collection":81,"collections":82,"showCount":84,"zanCount":85,"manualWeight":11,"mainColor":86},221043,"luo-shen-fu-chang-juan-gu-kai-zhi-221043","洛神赋长卷","晋","顾恺之","辽宁省博物馆","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。",[63,23,25,64,65,66,67,68,69,70,71,7,72,73,74,75,76,77,24],"高清","长卷","工笔","设色","人物","美人","舟","山水","树木","飞鸟","亭","印章","书法","行书","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be74a2f3958ac41ec1cd6403d832e66.jpg","绢本","横572.8cm，纵27.1 cm","山水画精选",[81,83],"设色画精选",613,9,"795548",{"id":88,"slug":89,"title":90,"dynasty":91,"author":92,"museum":20,"description":93,"tags":94,"thumbUrl":97,"material":98,"size":99,"collection":100,"collections":101,"showCount":102,"zanCount":103,"manualWeight":11,"mainColor":40},228413,"shui-yue-guan-yin-xiang-yi-ming-228413","水月观音像","明","佚名","位于法海寺大殿内的壁画 距今已有六百多年",[23,65,66,95,67,7,72,96],"宗教","荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdab14eeab9a7f06bbdb65fb5f0a0afc0.jpg","未知","Xcm*Xcm","",[],494,2,{"id":105,"slug":106,"title":107,"dynasty":91,"author":108,"museum":109,"description":110,"tags":111,"thumbUrl":114,"material":115,"size":116,"collection":81,"collections":117,"showCount":119,"zanCount":120,"manualWeight":11,"mainColor":121},222112,"chun-yun-die-zhang-li-zhou-shen-zhou-222112","春云叠嶂立轴","沈周","北京故宫博物院","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。",[63,23,27,26,70,7,112,71,113,28,74],"山石","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F911a706d3e48a8c708d471d8a1448b00.jpg","纸本设色","纵152.2厘米，横43.2厘米",[81,118],"水墨画精选",463,6,"BDBDBD",{"id":123,"slug":124,"title":125,"dynasty":18,"author":92,"museum":126,"description":127,"tags":128,"thumbUrl":130,"material":131,"size":132,"collection":81,"collections":133,"showCount":134,"zanCount":53,"manualWeight":11,"mainColor":86},218620,"luo-shen-fu-tu-yi-ming-218620","洛神赋图","大英博物馆","这幅卷轴是暗示顾恺之时代的众多卷轴之一，其中两幅在北京紫禁城和辽宁省博物馆。然而，大英博物馆有一幅与北京紫禁城流传下来的南宋亲笔画类似的画卷，这两幅画都是重新创作的版本，人物和风景之间的关系更加协调。故宫博物院研究员于辉认为，这卷书是抄自紫禁城内的南宋卷，可追溯到明朝初期。如果对两卷进行仔细比较，本卷明显优于南宋宫廷卷，应抄袭本卷，本卷应在南宋初年完成。不幸的是，这卷书损坏太严重，很少能买到。这个博物馆恰好有两卷高分辨率的图像，有识之士可以查看其装饰性，或者说剩下的字是不是假的。",[63,64,65,66,67,70,29,69,7,71,112,129],"亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8daa44aeeabdd0261586d0876b40f8f4.jpg","绢本,设色","53.7x832.8",[81,36],458,{"id":136,"slug":137,"title":138,"dynasty":18,"author":139,"museum":140,"description":141,"tags":142,"thumbUrl":150,"material":151,"size":152,"collection":153,"collections":154,"showCount":155,"zanCount":120,"manualWeight":11,"mainColor":121},221307,"han-shi-shi-su-shi-221307","寒食诗","苏轼","台北故宫博物院","《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。",[63,75,76,64,74,27,143,144,145,7,146,147,148,149],"纸","江","雨","寒","夜","乌","小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5142f6a2af64f24798e0cf80caebeccb.jpg","纸本","横34.2厘米，纵18.9厘米","书法精选",[153],452,{"id":157,"slug":158,"title":159,"dynasty":91,"author":160,"museum":140,"description":161,"tags":162,"thumbUrl":164,"material":165,"size":166,"collection":167,"collections":168,"showCount":169,"zanCount":170,"manualWeight":11,"mainColor":121},219374,"guan-shi-yin-pu-sa-chou-ying-219374","观世音菩萨","仇英","“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。",[24,23,25,26,95,67,65,66,7,74,163],"饰品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7abb1842c0f8a808d878fbae1f0f0b1.jpg","纸本,设色","纵104.2横52.5厘米","人物画精选",[167,83],393,4,{"id":172,"slug":173,"title":174,"dynasty":175,"author":176,"museum":20,"description":177,"tags":178,"thumbUrl":184,"material":185,"size":186,"collection":81,"collections":187,"showCount":188,"zanCount":103,"manualWeight":11,"mainColor":121},222620,"shan-shui-tu-juan-1-gong-xian-222620","山水图卷-1","清","龚贤","全图为长卷形式，重山复岫横向展开，绵延起伏，用平远构图。山石短笔皴擦，树木以横竖排点画出，整卷结构缜密，气韵苍莽，幻景与实境交融，可观、可游、可居，“引人着胜地”。后纸行书长题，论及学道、读书、性情、嗜好，表达了画家对待艺术和生活的态度，兹录如下：\n“画于众技中最末。及读杜老诗，有云：刘侯天机精，好画入骨髓。世固有好画而入骨髓者矣！余能画，似不好画，非不好画也，无可好之画也。曾见唐、宋、元、明初诸家真迹，亦何尝不坐卧其下，寝食其中乎？问之好画者，曰：士生天地间，学道为上，养气读书次之，即游名山川、出交贤豪长者皆不可少，余力则工词赋、书画、棋琴。夫天生万物，惟人独秀，人之所以异于草木瓦砾者，以有性情，有性情便有嗜好，一无嗜好，惟恣饮啖，何异马牛而襟裾也。不能追禽而之踪，便当居一小楼，如宗少文张图绘于四壁，抚弦动操则众山皆响。前贤之好画往往如是，乌能悉数！余此卷借从心中肇造，云雾、丘壑、屋宇、舟船、梯凳、溪径，要不背理，使后之玩者可登可涉、可止可安，虽曰幻境，然自道眼观之，同一实境也。引人著胜地，岂独酒哉！戊辰秋杪半亩龚贤画并题。”\n下钤“龚贤”朱文印、“钟山野老”白文印。鉴藏印有“虚斋秘玩”等七方。戊辰为康熙二十七年（1688年），龚贤71岁。",[63,24,23,25,64,27,28,70,179,180,181,7,182,183,73],"山","石","树","瀑布","溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa47f0e3c3d0ffbbbc50ccb661ca0951c.jpg","纸本，墨笔","纵28.8厘米，横404.1厘米",[81,118],229,{"id":190,"slug":191,"title":192,"dynasty":18,"author":193,"museum":194,"description":195,"tags":196,"thumbUrl":198,"material":199,"size":200,"collection":81,"collections":201,"showCount":202,"zanCount":203,"manualWeight":11,"mainColor":121},218565,"yun-shan-yan-shu-tu-mi-fei-218565","云山烟树图","米芾","美国弗利尔美术馆","画中的山峰高耸入云，层峦叠嶂，岸边停靠着一艘船，堤坡上生长着几棵树，墨色浓郁；左边可以看到两座小屋，可以看到一个学者在窗边认真读书或写字。这幅画是米氏山水画的特点，但应归于明代。",[23,25,24,26,27,70,28,179,7,181,73,197,113],"孤舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6782374152ab7d32375f6c3507c0a5f3.jpg","纸本,水墨","103.4x37.6cm",[81],201,1,{"id":205,"slug":206,"title":207,"dynasty":18,"author":19,"museum":208,"description":209,"tags":210,"thumbUrl":211,"material":199,"size":212,"collection":50,"collections":213,"showCount":214,"zanCount":170,"manualWeight":11,"mainColor":86},218750,"yun-xing-yu-shi-tu-chen-rong-218750","云行雨施图","美国大都会艺术博物馆","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。",[63,23,25,64,27,28,29,181,112,7,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa093ef59801c36ccbbb03de72275687d.jpg","40x180cm",[50],196,{"id":216,"slug":217,"title":218,"dynasty":18,"author":19,"museum":140,"description":219,"tags":220,"thumbUrl":221,"material":34,"size":222,"collection":50,"collections":223,"showCount":224,"zanCount":11,"manualWeight":11,"mainColor":86},219210,"lei-yu-sheng-long-tu-chen-rong-219210","雷雨升龙图","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”。",[63,23,25,24,64,27,29,7,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517aa1aaeada469a2fccc91ffd164825.jpg","纵29.6横56.6cm",[50],181,{"id":226,"slug":227,"title":228,"dynasty":18,"author":19,"museum":20,"description":229,"tags":230,"thumbUrl":232,"material":100,"size":100,"collection":100,"collections":233,"showCount":234,"zanCount":11,"manualWeight":11,"mainColor":86},227690,"mo-long-tu-juan-chang-juan-chen-rong-227690","墨龙图卷(长卷)","理宗端平二年（1235）进士，知平阳县。时与名士论文讲艺，敷绎大义，士习以兴。曾为国子监主簿、福建莆田太守，官至朝散大夫。诗文豪壮，暇则游翰墨，善画龙，宝佑（1253-1258）间名重一时。画龙善用水墨，深得变化之意，泼墨成云，噀水成雾。特别是醉余大叫，脱巾濡墨信手涂抹，然后以笔成之，或全体，或一臂一首，隐约而不可名状者，皆得妙似。贾似道尝招致宾幕，醉辄狎侮之，贾不为忤。兼写松竹，学李煜“铁钩锁”法。晚年笔力简易精妙，绛色者可并董羽。偶亦画虎，勾染斑毛极工细。有赝本托以流传。现存美国波士顿博物馆之《九龙图》卷，恐是元人摹本。",[63,24,23,64,27,29,7,231],"波浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeade678f60985fee28594e370dca39b.jpg",[],172,{"id":236,"slug":237,"title":238,"dynasty":18,"author":239,"museum":140,"description":240,"tags":241,"thumbUrl":244,"material":34,"size":245,"collection":36,"collections":246,"showCount":247,"zanCount":203,"manualWeight":11,"mainColor":86},220237,"zuo-shi-kan-yun-tu-li-tang-220237","坐石看云图","李唐","画中物象安排较多，与一般南宋山水画半边留白模式略有差异。但仔细观察画面，不难注意其中仍具有一巧妙的斜向构图手法。依此斜向虚线，左上与右下半两部呈现出有趣的虚实对照关系。右下两位人物着宽袍濯足，望向左上侧景致。这一佳景林木繁盛，嶙峋山岩以青绿添墨染成，又间以赭石增添色彩变化。于李唐〈万壑松风图〉的逼真山石质感，揉入赵令穰小景的细腻情调，距北宋山水特色不远。",[63,23,25,24,70,67,242,7,243,28,27,66],"孤石","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6df661a9b20032e251b879ebfce45eb8.jpg","27.7x30",[36],171,{"id":249,"slug":250,"title":251,"dynasty":18,"author":193,"museum":194,"description":252,"tags":253,"thumbUrl":254,"material":199,"size":255,"collection":81,"collections":256,"showCount":257,"zanCount":258,"manualWeight":11,"mainColor":259},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。",[23,25,26,27,28,70,7,181,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa252b41bf8de2207a07dcd8bb3debcc4.jpg","55.2x27.7cm",[81],162,3,"F48FB1",{"id":261,"slug":262,"title":263,"dynasty":18,"author":92,"museum":140,"description":264,"tags":265,"thumbUrl":267,"material":34,"size":268,"collection":36,"collections":269,"showCount":270,"zanCount":103,"manualWeight":11,"mainColor":121},218670,"qiu-shan-yu-ji-tu-yi-ming-218670","秋山雨霁图","雨霁后的秋山，似被洗去尘嚣。云雾如轻纱漫笼峰峦，在谷间缓缓流转，若隐若现的山影透着清润的轮廓。近坡上树木疏朗，枝叶带着湿意舒展，浅滩溪流潺潺，石间水痕依稀，犹存雨落余韵。墨色淡雅却层次分明，干笔皴擦勾勒山石肌理，湿墨晕染晕开云雾空濛，将秋山初晴的静谧与生机凝于一纸。那朦胧间的悠远清寂，恰是宋人山水中独有的意境——不刻意雕琢，却于简淡中藏着天地的灵秀，引人沉浸于这刚醒的秋意里，忘乎尘嚣。",[63,23,27,28,70,179,7,71,72,266,183],"岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaad32c24dfc8fad734affdf00c5c629.jpg","28.9x50.4cm",[36,81],155,{"id":272,"slug":273,"title":274,"dynasty":275,"author":92,"museum":20,"description":276,"tags":277,"thumbUrl":281,"material":98,"size":99,"collection":100,"collections":282,"showCount":283,"zanCount":203,"manualWeight":11,"mainColor":121},290029,"long-hu-tu-ping-feng-yi-ming-290029","龙虎图屏风","不详","左屏苍龙穿云破浪，墨色晕开翻涌云水，鳞爪张弛间尽显遒劲威严，龙神腾跃于江海云雾，动静间裹挟磅礴气势。右屏玄豹踞于苍松危岩，身姿沉凝雄健，斑纹写实灵动，山涧飞瀑与留白云雾衬出山野幽寂，静穆中暗藏猛兽蛰伏的张力。\n\n整作以水墨晕染写意，留白营造空濛禅意，笔力苍劲老辣，将神兽威仪与山水意境相融，尽显东方水墨走兽画的古典意韵。",[63,23,27,278,29,279,7,31,280,112,182],"屏风","虎","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bf2facc69f5f4dd4ac4b11950993457.jpg",[],147,{"id":285,"slug":286,"title":287,"dynasty":91,"author":108,"museum":140,"description":288,"tags":289,"thumbUrl":293,"material":294,"size":295,"collection":81,"collections":296,"showCount":283,"zanCount":103,"manualWeight":11,"mainColor":86},222102,"chun-yun-die-zhang-tu-shen-zhou-222102","春云叠嶂图","春云叠嶂图，绢本墨笔，故宫博物院藏。其款题：十日消闲障子成，看君堂上白云生。 有人若问谁持赠，万叠千重是我情。文美赵君，知余老，报拙静远，以汉鼎为赠，用助萧斋日长，焚沉悦性，其惠多矣，文美读书好古，于书画尤萃意焉。因作春云叠嶂报之，愧莫敌施也。弘治新元七夕日，沈周。 此作在康熙年间，被高士奇收藏，并著录于其《江村消夏录》。其题画诗见于《四库全书*列朝诗集》明代五十六丙集第八。",[63,23,25,290,27,28,179,7,181,113,112,73,291,243,183,292],"山水画","枯藤","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb54811e543fce13bf211196f60045fc.jpg","绢本墨笔","152 2x43 2cm",[81,118],{"id":298,"slug":299,"title":300,"dynasty":91,"author":92,"museum":140,"description":301,"tags":302,"thumbUrl":310,"material":131,"size":100,"collection":167,"collections":311,"showCount":312,"zanCount":53,"manualWeight":11,"mainColor":121},218219,"gu-xiu-ba-xian-qing-shou-gua-ping-yi-ming-218219","顾绣八仙庆寿挂屏","这幅画采用了典型的明朝画风，包括浓艳的色彩、精细的线条和富有章法的构图。画中的人物均为虚构的仙人，每一位仙人都有着独特的服装和长相，并且每一位仙人的手持的吉祥物也不尽相同。\n\n整幅画呈现出一种和谐美的氛围，传达出祝福寿星的良好意愿。这幅画非常适合用来装饰寿星的家中，作为庆祝寿辰的艺术品。",[63,303,304,66,67,305,7,306,307,308,309],"顾绣","挂屏","八仙","祝寿","刺绣","仙禽","法器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feea7d97637a772d7995c32ddac177cc0.jpg",[167],140,{"id":314,"slug":315,"title":316,"dynasty":91,"author":92,"museum":140,"description":317,"tags":318,"thumbUrl":319,"material":131,"size":320,"collection":167,"collections":321,"showCount":322,"zanCount":103,"manualWeight":11,"mainColor":86},218526,"fo-xiang-tu-yi-ming-218526","佛像图","这些天人各自手持法器，被他们的同伴骑着并护送着，他们都面朝右边，坐在天空的云朵上，可能是一组描绘天人聆听佛陀教诲的佛画的一部分。三面六臂的力士可能是来自八大天师的阿修罗；持剑的武士和美女是罗刹，罗刹是十二天之一，原本是异教的恶魔，被降服后成为佛教的保护者。整块画板用薄薄的颜料描绘了天人的肌肉，他们的袖子卷起又折起的样子，大多是兰花叶的样式，是吴道子以来专业画家的风格。这幅画的衣服上也有丰富的金色和钩纹装饰，颜料也有很多地方是泥金的。从这幅画的风格来看，它是在15世纪明朝时期绘制的。",[63,23,25,26,65,66,95,67,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd052330f7cc5224c48e44b4f0a6b3ba9.jpg","143.7x81.5",[167],137,{"id":324,"slug":325,"title":326,"dynasty":18,"author":327,"museum":328,"description":329,"tags":330,"thumbUrl":333,"material":199,"size":334,"collection":36,"collections":335,"showCount":336,"zanCount":11,"manualWeight":11,"mainColor":121},219861,"yuan-xiu-qing-yun-tu-mi-you-ren-219861","远岫晴云图","米友仁","日本大阪市立美术馆","《远岫晴云图》是北宋书画家米友仁所创作的一幅水墨设色画，现藏于日本大阪市立美术馆。\n该画作是一幅文人画，描绘的是米友仁笔下常见的山水风景，画中以湿润的笔墨点染云山树石，表现烟云变幻、山色朦胧的动人景象。“米氏云山”的特色展示得淋漓尽致。\n《远岫晴云图》绘制的是烟雨迷蒙时的风景，远山模糊不清，近树萧疏迷离，一条溪流潺潺自远处绕到赏者面前。图中左下角作一小丛树，间隔溪水的对岸是云气缭绕的疏林，远处是尖锐如刻削的山峦。\n画面上有款“元晖戏作”四个字，上方另有横纸又自题“绍兴甲寅元夕前一日，自新昌泛舟来赴朝参，居临安七宝山戏作小卷，付与廪收口”。",[24,23,25,27,70,331,7,71,112,28,332],"远山","米点皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefe5e3ae0ecfe57c4dc77a8c68325a4c.jpg","24.7x28.6cm",[36],134,{"id":338,"slug":339,"title":340,"dynasty":91,"author":160,"museum":140,"description":341,"tags":342,"thumbUrl":345,"material":131,"size":346,"collection":167,"collections":347,"showCount":348,"zanCount":258,"manualWeight":11,"mainColor":86},220438,"qun-xian-hui-zhu-tu-chou-ying-220438","群仙会祝图","本幅左下方有「实父仇英堇制」款，虽为托名之作，然精雕细造，为罕见的「苏州片」佳作。此作描绘主题应是群仙共赴蟠桃大会，为王母娘娘祝寿。陆、海、空诸景穿插层叠，构图工丽复杂；诸路神仙、瑞兽以此为舞台，现示各样神通。画面右下角小坡上骑着张果老驴子乱奔的李铁拐，元神已由葫芦中化成一道光束，回环飞至天际谒见太上老君。相对仙人简单的装束，画中楼阁器用装饰华美、结构繁缛。以金线细腻描绘的云龙纹样，在每根红色立柱上皆费心经营不同图案。人物与动物虽略有小疵，但不减其整体精彩，应为当时祝寿用的高档献礼。",[63,23,24,25,65,66,343,67,344,70,71,72,7,113],"界画","楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e1fc9c8db033a209857210a716124ba.jpg","99x 148.4",[167,83],126,{"id":350,"slug":351,"title":352,"dynasty":353,"author":354,"museum":355,"description":356,"tags":357,"thumbUrl":360,"material":151,"size":361,"collection":153,"collections":362,"showCount":363,"zanCount":170,"manualWeight":11,"mainColor":121},220843,"gui-qu-lai-ci-juan-zhao-meng-fu-220843","归去来辞卷","元","赵孟頫","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。",[63,75,76,64,25,27,74,197,72,113,358,359,7],"孤松","菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c01f7704017ae933116236829fd1108.jpg","纵26厘米，横239厘米",[153],123,{"id":365,"slug":366,"title":367,"dynasty":91,"author":368,"museum":126,"description":369,"tags":370,"thumbUrl":371,"material":131,"size":372,"collection":167,"collections":373,"showCount":363,"zanCount":103,"manualWeight":11,"mainColor":40},218375,"ri-ben-luo-han-tu-dui-fu-ji-shan-ming-zhao-218375","日本· 罗汉图对幅","吉山明兆","他在东福寺工作，是寺庙的看门人，负责打扫殿堂和点灯，被称为兆殿司。他学习了中国宋元的绘画技巧，用笔有力，色彩浓重。",[63,23,26,95,66,65,67,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e7af49e70e9910ccb9bd13b6073fbb8.jpg","107.2x50.2",[167],{"id":375,"slug":376,"title":377,"dynasty":91,"author":108,"museum":109,"description":378,"tags":379,"thumbUrl":381,"material":382,"size":383,"collection":100,"collections":384,"showCount":385,"zanCount":258,"manualWeight":11,"mainColor":121},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。",[23,27,70,380,28,179,7,181,32,112,74,25,76],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4868fee16962b07ce024455e75393200.jpg","纸本，设色","纵27.8厘米，横37.3厘米",[],118,{"id":387,"slug":388,"title":389,"dynasty":175,"author":92,"museum":140,"description":390,"tags":391,"thumbUrl":394,"material":131,"size":395,"collection":81,"collections":396,"showCount":397,"zanCount":258,"manualWeight":11,"mainColor":121},214660,"qian-long-ke-si-shan-shui-gua-ping-si-zhou-1-yi-ming-214660","乾隆缂丝山水挂屏四轴-1","此四轴用挑经显纬的刻丝之法绘就仙山楼阁，有仙鹤和白云，象征着吉祥如意。在山体的岩石部分用蓝色和赭石绘制的织品，使其与丝绸和纸上的绘画完全相同，显示出乾隆时期丝绸织品的精致。",[23,392,66,70,344,71,112,7,393],"缂丝","鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f9319e86c70e3c72abbd72d15b43374.jpg","93.8x25.6",[81],116,{"id":399,"slug":400,"title":401,"dynasty":175,"author":92,"museum":20,"description":402,"tags":403,"thumbUrl":410,"material":98,"size":99,"collection":100,"collections":411,"showCount":412,"zanCount":11,"manualWeight":11,"mainColor":121},234412,"qing-ren-lv-cai-shen-xiang-zhou-yi-ming-234412","清人绿财神像轴","画面核心的绿财神身覆翠色，忿怒面容暗含慈悲，踞坐白狮宝座，宝冠披帛华丽庄严，尽显护法尊神的威仪。虚空云海间环布诸位化现圣尊，层次分明；下方雪域山林间，信众牵驼持礼，列队朝奉，烟火供品俱全，融肃穆神性与鲜活世情于一体。\n\n以矿物彩料敷色，青蓝底色衬得诸像明丽厚重，铁线描流畅勾勒衣袂飘逸、瑞兽雄健，精准恪守藏传造像仪轨，又以细腻笔触铺陈出佛国盛景，尽显清代藏式唐卡富丽庄严的独特风韵。",[23,26,404,66,65,95,67,30,405,406,407,72,7,70,408,409],"青绿","大象","马","狮子","供品","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51485349796cab9064d6a260e9da4fb8.jpg",[],114,{"id":414,"slug":415,"title":251,"dynasty":18,"author":327,"museum":416,"description":417,"tags":418,"thumbUrl":419,"material":199,"size":420,"collection":81,"collections":421,"showCount":422,"zanCount":203,"manualWeight":11,"mainColor":121},218637,"yun-shan-tu-mi-you-ren-218637","费城艺术博物馆","画面上群山耸立，半山腰上云雾缭绕，山脚下隐约可见一排排房屋、一座座小桥和船只，泥泞的平原上有几棵水墨画般的树木，树干细长，枝叶茂密。",[63,23,25,27,28,76,70,7,179,181,197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F370b493c400d975bccc00e55e62a050b.jpg","27.8x23.5",[81],111,{"id":424,"slug":425,"title":426,"dynasty":91,"author":427,"museum":109,"description":428,"tags":429,"thumbUrl":431,"material":151,"size":432,"collection":81,"collections":433,"showCount":434,"zanCount":203,"manualWeight":11,"mainColor":121},220918,"shan-shui-ce-dong-qi-chang-220918","山水册","董其昌","《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。",[63,23,27,28,380,75,76,74,70,179,32,181,180,242,430,7,113],"房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3477349258756401379299bbf5a6cf8a.jpg","纵26.4cm，横16cm",[81,118],108,{"id":436,"slug":437,"title":438,"dynasty":175,"author":439,"museum":140,"description":440,"tags":441,"thumbUrl":446,"material":131,"size":447,"collection":167,"collections":448,"showCount":449,"zanCount":258,"manualWeight":11,"mainColor":121},216966,"xian-ren-tu-xu-liang-biao-216966","仙人图","许良标","仙女被描绘成骑着一只凤凰，或西方的王母。仙女拿着一顶花帽，并由一只携带生日珍珠的白鹿陪伴。景色清晰，色彩鲜艳，是对长寿的长久赞美。人物、凤凰和白鹿的着色受到西方绘画的明暗影响。",[24,23,25,26,65,66,442,443,444,445,7],"仙人","鹿","花卉","竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0446b8d31845aaa90342626f5354c64.jpg","260.5x142.6",[167],107,{"id":451,"slug":452,"title":453,"dynasty":18,"author":454,"museum":20,"description":455,"tags":456,"thumbUrl":459,"material":100,"size":100,"collection":100,"collections":460,"showCount":461,"zanCount":11,"manualWeight":11,"mainColor":259},227724,"zuo-kan-yun-qi-xia-gui-227724","坐看云起","夏圭","《坐看云起图》为南宋画家夏圭所绘。左侧山石处款署“夏圭”。\n图绘江流滚滚，一人坐于临江高台上，旁放一高杖。身后峭壁有一古松，盘虬曲折。\n\n夏圭，临安人（杭州），生卒年不详，字禹玉，中国著名山水画大家，南宋四家之一，与马远、刘松年、李唐齐名。在南宋画坛，他与著名画家马远合称“马夏”。他没有入官，但进入过南宋画院担任待诏工作。\n\n据文献记载，夏圭在绘画上入手学习的是人物画，但不久以后他转入了山水并作为主攻方向。夏圭学习过李唐、范宽、米芾、米友仁的山水画技术，并主要以李、范为根基。夏圭在笔墨构建上，倾向于苍劲、开张、有力的特色，所以他的山水画有滋润淋漓之美。山水画技术中，有一种皴法泥里拔钉皴，就是夏圭首先运用的。这种皴法先用淡墨铺底染，然后根据其湿度状况，加以浓墨勾皴，使得浓淡墨达到理想的交融状态，视觉上有层次丰富之效果。\n\n夏圭更为人称道的是他的构图法。他经常只取景施绘在画面的一部分，而空出另一部分。这种处理法的好处是将重点突出，让欣赏者有更佳的代入感。因此人们将夏圭这种方式称作“夏半边”，它与马远的“马一角”并称南宋画坛。\n\n夏圭的作品传世至今尚有不少珍品，其中冠名为他的绘画有长卷画《江山清远图》、《长江万里图》等。有其他立轴、方幅画《溪山无尽图》、《溪山奇观图》、《山川钟秀图》、《雪山图》、《松崖客话图》、《溪山清远图》等。这些作品大多收藏在北京故宫博物院、台北故宫博物院等著名机构中。",[63,24,23,27,70,457,28,67,458,113,242,7],"扇面","松树","http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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。",[63,23,25,64,27,28,75,74,70,7,179,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93c039deab9afe4cc4ef8caa6e9340eb.jpg","纵27.2厘米，横212.6厘米",[36,153],102,{"id":473,"slug":474,"title":475,"dynasty":91,"author":160,"museum":109,"description":476,"tags":477,"thumbUrl":482,"material":483,"size":484,"collection":100,"collections":485,"showCount":486,"zanCount":258,"manualWeight":11,"mainColor":86},233748,"yu-dong-xian-yuan-tu-zhou-chou-ying-233748","玉洞仙源图轴","画面奇峰峻岭，苍松翠柏，琼楼水阁，溶洞流溪，云烟缥缈其间，山壑或隐或现。溪水潺湲的溶洞前，一隐士临流盘膝，停琴静坐，侍童们忙着煮茶、端盘、陈设古玩，俨然人间仙境。这类隐逸题材作品十分多见，而仇英在幽美宁静的意境中表现了一种明快的情调，健康的意趣，在同类作品中颇具特色。\n作品取景宏阔，结构严整，层次清晰，布局有序，景物繁杂而不拥塞，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。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，同时融以细密的皴法，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，代表了仇英青绿山水的典型画风。",[23,25,26,66,65,404,70,67,344,478,113,458,479,480,112,73,481,7,71,180,181],"小桥","山洞","云雾","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F705c7a9ce596ceca751a614dbc006b66.jpg","绢本，设色","纵169厘米，横65.5厘米",[],98,{"id":488,"slug":489,"title":490,"dynasty":18,"author":193,"museum":491,"description":492,"tags":493,"thumbUrl":494,"material":495,"size":496,"collection":100,"collections":497,"showCount":498,"zanCount":203,"manualWeight":11,"mainColor":86},223341,"yun-qi-lou-tu-mi-fei-223341","云起楼图","赛克勒美术馆","画中“云起楼图”题字，确为明董其昌真迹，非常珍贵。\n米芾最擅长的是以笔墨点染的方式描绘江南山水，本件《云起楼图》是典型的“米氏云山”的传统，在技法上，采用江南画家董源、巨然的传统，以苔墨点与晕染来画圆弧形的山峦，让山水形象融合在一片雾气中，特别具有抒情的韵味。\n画面约中景处，丘陵顶端有一两座院落，下可眺望江景，远观则为烟云变幻的山峦。这让人联想起米芾位于润州（江苏镇江）北固山的故居“海岳庵”，附近有名胜“甘露寺”与“多景楼”，米芾时常登览赋诗（例如《秋暑憩多景楼诗》），浏览江南云雾变化的景致。米芾之子米友仁的《潇湘奇观卷》亦是描绘“海岳庵”一带的山川景色。米芾润州家居的景观，成为创作云山图最重要的题材之一。\n近景亦以类似的墨点图写前后两排的松木，墨色稍浓，其间及其与远山间，仍以烟云留白的技法分隔空间，与整幅图表达空间层次感的幽缈之意相映成趣。其山木树石的风格似乎可从董源处寻其渊源。除此之外，米芾“以山水古今相师”，即融合古人技法与对自然山水的体悟成一家，风格独特，故世称“大米”。\n这幅又作《天降时雨图》，画家巧妙地运用“烟云掩映”的技法，分隔远山与松木之间的空间感，尤其是墨点晕染的圆转山头，可见其山顶积墨浓重、表现阴影，山腰以下则没人淡墨晕染的烟云中，仿佛连绵的山峦出入云霭间，幽缈、空远。",[63,23,27,70,7,71,28,344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F104b03b59e1d79cc0c5f6fda4b889ce9.jpg","绢本水墨","150cm×78.8cm",[],97,{"id":500,"slug":501,"title":502,"dynasty":175,"author":92,"museum":20,"description":503,"tags":504,"thumbUrl":507,"material":98,"size":99,"collection":100,"collections":508,"showCount":509,"zanCount":103,"manualWeight":11,"mainColor":86},230301,"wu-tun-si-bi-hua-yi-ming-230301","五屯寺壁画","壁画，墙壁上的艺术，即人们直接画在墙面上的画。作为建筑物的附属部分，壁画的装饰和美化功能使它成为环境艺术的一个重要方面。壁画为人类历史上最早的绘画形式之一。\n早在汉朝就有在墙壁上作画的记载，多是在石窟、墓室或是寺观的墙壁，到了现在结合了现代工艺和文化气息，墙壁作画越来越多元、个性地发展，更多地被人们在装修时应用。",[505,95,66,65,67,30,7,506],"壁画","乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef9b800e912ccd3d8292c2cba716e374.jpg",[],93,{"id":511,"slug":512,"title":513,"dynasty":91,"author":160,"museum":126,"description":514,"tags":515,"thumbUrl":516,"material":131,"size":517,"collection":167,"collections":518,"showCount":519,"zanCount":11,"manualWeight":11,"mainColor":86},218359,"luo-han-tu-chou-ying-218359","罗汉图","这是一幅十八罗汉过海拜见龙王的画，笔触轻快，造型优美，但与仇英的风格不同。",[63,64,65,66,343,95,67,7,32,344,30,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa252c007a7e4f43338f663e8242a9940.jpg","24.3x321",[167],91,{"id":521,"slug":522,"title":251,"dynasty":353,"author":523,"museum":416,"description":524,"tags":525,"thumbUrl":527,"material":199,"size":528,"collection":81,"collections":529,"showCount":519,"zanCount":203,"manualWeight":11,"mainColor":86},217908,"yun-shan-tu-gao-ke-gong-217908","高克恭","云山图是元朝时期画家高克恭的代表作之一。它是一幅山水画，以精细的笔墨和色彩表现出美丽的山水风光。画中的山川曲折，云雾缭绕，景色壮美。高克恭在画中运用了多种技法，包括透视法、深浅对比和色彩叠加，使得画面栩栩如生，充满了立体感。\n\n高克恭的云山图吸引了众多观众的目光，因为它不仅展现了美丽的山水风光，还展现了元朝时期画家对自然的深刻观察和对细节的精确捕捉。同时，云山图还蕴含着对中国传统文化的热爱和尊重。画中的山水景观被渲染得如此逼真，令人流连忘返。高克恭的云山图是中国传统山水画的精品，值得欣赏和珍藏。",[23,27,28,70,7,181,526],"山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89c75652c5efc54f87590867c62f5b03.jpg","114x52cm",[81],{"id":531,"slug":532,"title":533,"dynasty":18,"author":534,"museum":20,"description":535,"tags":536,"thumbUrl":537,"material":100,"size":100,"collection":100,"collections":538,"showCount":539,"zanCount":11,"manualWeight":11,"mainColor":121},227633,"zuo-kan-yun-qi-tu-wang-wei-shi-yi-ma-lin-227633","坐看云起图-王维诗意","马麟","行到水穷处，坐看云起时。",[63,23,24,25,27,66,70,28,112,71,7,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36fc5a4c30410523ad6dec74afa8db56.jpg",[],90,{"id":541,"slug":542,"title":543,"dynasty":18,"author":19,"museum":544,"description":545,"tags":546,"thumbUrl":549,"material":294,"size":550,"collection":36,"collections":551,"showCount":539,"zanCount":11,"manualWeight":11,"mainColor":86},221459,"mo-long-juan-chen-rong-221459","墨龙卷","日本民间","此画绘墨龙一条，圆睁两眼，昂首腾空，遨游于云天之中。\n画面乌云密布，雷电交加，洪水汹涌，生动地表现了墨龙的雄奇和兴云作雨的本领。\n作者用泼墨和破墨画浓云，用墨线表现起伏的洪水，用笔劲健。",[63,23,27,64,29,7,32,547,548],"写意","泼墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd432ff264797bbb1461c11c9690c404d.jpg","185.8厘米×106.1厘米",[36,50,118],{"id":553,"slug":554,"title":555,"dynasty":175,"author":556,"museum":194,"description":557,"tags":558,"thumbUrl":560,"material":151,"size":561,"collection":100,"collections":562,"showCount":563,"zanCount":203,"manualWeight"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“花池深桃”的构想。",[63,23,27,26,70,28,179,182,181,7,266,666],"松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb78e056810e1f7dd2565d481fd90d58f.jpg","绢本，水墨","54x188.6cm",[81,118],78,{"id":673,"slug":674,"title":675,"dynasty":353,"author":523,"museum":676,"description":677,"tags":678,"thumbUrl":680,"material":199,"size":681,"collection":81,"collections":682,"showCount":671,"zanCount":11,"manualWeight":11,"mainColor":121},217119,"yun-chao-tu-gao-ke-gong-217119","云巢图","私人收藏","《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。",[63,23,25,26,27,28,70,243,182,72,679,266,7,75,74],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87509821832412b45eeb4aaff52bb945.jpg","60.5x32.7cm",[81],{"id":684,"slug":685,"title":686,"dynasty":91,"author":92,"museum":20,"description":687,"tags":688,"thumbUrl":689,"material":98,"size":99,"collection":81,"collections":690,"showCount":691,"zanCount":11,"manualWeight":11,"mainColor":121},234924,"dong-qi-chang-shan-shui-ce-yi-ming-234924","董其昌山水册","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。",[23,25,380,27,70,179,181,7,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd808de803d791f66197ab19d95eb2ca7.jpg",[81],77,{"id":693,"slug":694,"title":695,"dynasty":175,"author":92,"museum":20,"description":696,"tags":697,"thumbUrl":699,"material":131,"size":100,"collection":167,"collections":700,"showCount":691,"zanCount":203,"manualWeight":11,"mainColor":40},218125,"fu-hua-luo-han-jiu-zhang-lao-xiang-yi-ming-218125","佛画·罗汉九长老像","佚名的佛画 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是一幅非常精美的佛教画作，其中所传达出的超凡慈悲和修行成果，对于追求佛道的人来说是一种极大的启发和鼓励。",[63,95,66,65,404,67,181,112,698,7],"瑞兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a09e08d048331cf689d6066907fd6fc.jpg",[167],{"id":702,"slug":703,"title":704,"dynasty":353,"author":92,"museum":20,"description":705,"tags":706,"thumbUrl":709,"material":98,"size":99,"collection":100,"collections":710,"showCount":711,"zanCount":203,"manualWeight":11,"mainColor":86},228240,"yu-lan-guan-yin-zhou-yi-ming-228240","鱼篮观音轴","此尊观音菩萨即为鱼篮观音，像高束发，垂发挽结，自然舒卷，搭在双肩，富有写实感。观音菩萨面相丰满，头微颔，双眼作俯视状，双眉正中嵌珍珠白毫。五官刻画柔和，轮廓端正，表情和悦，深沉内省，充分表现出观音菩萨大慈大悲、慈悯众生的佛性。观音菩萨袒露前胸，佩戴牡丹花饰缨络项链，内束裙，裙边饰花纹，折迭自然起伏，裙带扎束小结，线条流畅细腻，富有动感。外罩双领下垂大衣，衣领雕饰牡丹花草，翻卷自由活泼，富有写实性和立体感。",[63,23,26,66,65,95,67,707,96,7,708],"鱼","篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe41ecfe8a6fc43621a056f7ae4293a6a.jpg",[],76,{"id":713,"slug":714,"title":715,"dynasty":91,"author":160,"museum":109,"description":716,"tags":717,"thumbUrl":719,"material":483,"size":720,"collection":100,"collections":721,"showCount":711,"zanCount":11,"manualWeight":11,"mainColor":121},222187,"ren-wu-gu-shi-tu-chui-xiao-yin-feng-chou-ying-222187","人物故事图-吹箫引凤","全册共十开，内容取材于历史故事、寓言传说、文人轶事和诗文寓意，具体为子路问津、明妃出塞、贵妃晓妆、南华秋水、吹箫引凤、高山流水、竹院品古、松林六逸、浔阳琵琶、捉柳花图等。这些题材历史上常被画家描绘，但仇英在作品立意、形象塑造和笔墨表现等方面，都注入了自己的才思和技巧，显示出鲜明的个性风格。\n作品主题明确，构思巧妙，不仅人物活动的细节刻画具体明晓，而且注意环境气氛的烘托，使每幅画页都有很强的观赏性。如“贵妃晓妆”页，以杨贵妃清晨在华清宫端正楼对镜理髻为中心，将宫女奏乐、采花和携琵琶等情节同现于一个画面，集中表现了贵妃爱牡丹、喜簪花、善声乐、好打扮的习性，也概括反映了贵妃奢华纵乐的生活内容。又如“高山流水”页，取材于伯牙鼓琴的故事，在描绘俞伯牙草亭弹琴，钟子期拾阶而上，知音相遇的具体情节同时，布置了高山飞瀑、松林流水的静谧清幽环境，形象地表达了高山流水的音乐内容，也衬托出人物的高雅情操，以象征性手法营造出了一个情景交融的臻境。\n此图册运用工笔重彩法。人物情态描绘得细腻精微，文人举止高雅潇洒，仕女容貌端庄娟美。建筑器皿工整精细，山石树木形态各具。笔致工细而不板滞，流畅自然，刚柔相济。敷色艳丽，又多和色，整体色调和谐、清雅。作品具有雅俗共赏的艺术效果，是仇英对唐宋工笔重彩法的创新和发展。",[63,23,65,66,343,67,68,344,70,72,29,7,71,718],"石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f759dfb5ab9012ad81e69f828566888.jpg","每开纵41.4厘米，横33.8厘米",[],{"id":723,"slug":724,"title":725,"dynasty":353,"author":726,"museum":727,"description":728,"tags":729,"thumbUrl":731,"material":143,"size":732,"collection":100,"collections":733,"showCount":711,"zanCount":203,"manualWeight":11,"mainColor":121},221749,"jiu-ge-tu-ji-ci-juan-zhu-ti-zhang-wo-221749","九歌图及词卷主体","张渥","吉林省博物院","《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。",[63,24,23,25,64,730,27,67,75,74,7,181],"白描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19bda932e8c57e252c3f7db62b08b53.jpg","纵28 厘米 横62.4 厘米",[],{"id":735,"slug":736,"title":737,"dynasty":353,"author":354,"museum":738,"description":356,"tags":739,"thumbUrl":742,"material":151,"size":743,"collection":153,"collections":744,"showCount":711,"zanCount":103,"manualWeight":11,"mainColor":121},220844,"gui-qu-lai-ci-zhao-meng-fu-220844","归去来辞","上海博物馆",[63,25,75,64,76,358,69,666,359,7,740,179,741],"鸟","田园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48c86013046154464d778c5a0c6f7247.jpg","纵25.9 厘米，横139.4 厘米",[153],{"id":746,"slug":747,"title":748,"dynasty":353,"author":749,"museum":140,"description":750,"tags":751,"thumbUrl":753,"material":199,"size":754,"collection":81,"collections":755,"showCount":711,"zanCount":103,"manualWeight":11,"mainColor":121},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。",[63,23,25,26,27,28,74,75,76,70,179,7,752,181,182,112,480],"雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6ec60bc5870f2b71d67a4af41f89a6c.jpg","62.6x25.5厘米",[81],{"id":757,"slug":758,"title":759,"dynasty":91,"author":427,"museum":60,"description":760,"tags":761,"thumbUrl":763,"material":764,"size":765,"collection":81,"collections":766,"showCount":767,"zanCount":11,"manualWeight":11,"mainColor":121},220955,"xiao-xiang-bai-yun-tu-dong-qi-chang-220955","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。",[63,23,25,64,27,76,28,179,7,71,430,762,183,331,480],"村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3151f35931331bfc154487fa44cd8cf8.jpg","长卷，纸本水墨","纵29.3厘米，横340.8厘米",[81,118],74,{"id":769,"slug":770,"title":771,"dynasty":353,"author":772,"museum":109,"description":773,"tags":774,"thumbUrl":775,"material":483,"size":776,"collection":81,"collections":777,"showCount":778,"zanCount":11,"manualWeight":11,"mainColor":121},221753,"zuo-kan-yun-qi-tu-sheng-mao-221753","坐看云起图","盛懋","图绘古木平岗，林木错落有致，一士人手执如意，席地而坐，岗下山石嶙峋，水中苇草丛生；远处双雁振翅，云雾迷蒙，山峰隐现于云海之中。本幅图体现了雅士宁静的生活情趣。",[63,23,25,457,27,66,28,70,67,72,243,291,112,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dc41d70c8a6c3e79ab91e8b28705867.jpg","27*28cm",[81,83],67,{"id":780,"slug":781,"title":782,"dynasty":18,"author":92,"museum":783,"description":784,"tags":785,"thumbUrl":787,"material":199,"size":788,"collection":167,"collections":789,"showCount":778,"zanCount":11,"manualWeight":11,"mainColor":121},217001,"jiu-ge-tu-yi-ming-217001","九歌图","黑龙江省博物馆","此《九歌图》共九段，分别绘《东君》《河伯》《湘夫人》《大司命》《少司令》《云中君》《湘君》 《山鬼》《国荡》，缺《东皇太一》《礼魂》。",[63,23,25,64,730,27,67,786,7],"古树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ec00dfbd7a8b8065f4b1da78192376.jpg","33x743",[167],{"id":791,"slug":792,"title":793,"dynasty":175,"author":794,"museum":140,"description":795,"tags":796,"thumbUrl":799,"material":800,"size":801,"collection":81,"collections":802,"showCount":803,"zanCount":103,"manualWeight":11,"mainColor":86},224488,"yun-bai-shan-qing-tu-juan-wu-li-224488","云白山青图卷","吴历","此幅山水画作於1668年（三十七岁），临摹古画功力极深，於青绿著色者尤有独到之处，气息颇近似宋元人作品，通卷皆用青绿红白重色，而能不觉躁浊，於清虚灵动中妙造自然。",[63,23,64,404,66,70,179,7,181,72,481,797,182,112,718,430,292,798,183],"小径","雾气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86f1f40e927b107f59c209c6dfc46117.jpg","白纸本","该幅25.9x117.2公分；隔水一14.6公分；隔水二 14.6公分",[81],66,{"id":805,"slug":806,"title":807,"dynasty":353,"author":523,"museum":140,"description":808,"tags":809,"thumbUrl":810,"material":811,"size":812,"collection":81,"collections":813,"showCount":814,"zanCount":11,"manualWeight":11,"mainColor":86},221690,"hua-chun-shan-qing-yu-zhou-gao-ke-gong-221690","画春山晴雨轴","高克恭（1248－1310），号房山。其先回鹘人，占籍大同，后居武林。字彦敬，号房山老人，仕至刑部尚书。画山水，学米氏父子，造诣精绝。后学董源、李成、巨然笔法，专取写意气韵，亦擅长墨竹。高克恭画盛名盖世，而流传作品不多。此幅画溪边小景，云影满山，用笔含蓄凝练，用墨温婉蕴藉，突出宁静的氛围。",[63,23,26,27,66,28,70,179,7,181,458,113,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcbf1df459b73c36527176870aa88973.jpg","绢本浅设色","125.1 x 99.7cm.",[81,118],65,{"id":816,"slug":817,"title":818,"dynasty":175,"author":819,"museum":140,"description":820,"tags":821,"thumbUrl":823,"material":165,"size":824,"collection":81,"collections":825,"showCount":814,"zanCount":203,"manualWeight":11,"mainColor":121},219377,"fang-yuan-ren-xi-ting-dui-ju-tu-wang-wu-219377","仿元人溪亭对菊图","王武","峭壁如削，云雾似练缠绕层岩，恍若仙境浮于九霄。飞瀑垂练漱石，清音暗渡幽谷。松下红叶灼灼如霞，映得山亭一角温馨。亭中之人凭栏而坐，与秋菊相对，静听松涛闲观云起。笔墨苍润，山石皴染有致，树木姿态各异，色彩淡雅却秋意盎然。整幅画融雄奇山水与文人雅趣于一体，意境清幽引人遐思，尽显传统山水画之神韵——将自然之奇、林下之逸凝于尺幅，如一首无声的秋山雅韵，叩击观者心弦。",[23,66,70,28,73,113,666,822,67,7,112],"红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89601cd5bad2948de86aff9379129c86.jpg","167.8x45.2",[81],{"id":827,"slug":828,"title":829,"dynasty":175,"author":92,"museum":20,"description":830,"tags":831,"thumbUrl":835,"material":100,"size":100,"collection":100,"collections":836,"showCount":837,"zanCount":11,"manualWeight":11,"mainColor":86},223491,"ming-wang-tang-ka-yi-ming-223491","明王（唐卡）","唐卡（Thang-ga）也叫唐嘎，唐喀，系藏文音译，指用彩缎装裱后悬挂供奉的宗教卷轴画。 唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。 唐卡是藏族文化中一种独具特色的绘画艺术形式。",[63,832,95,67,66,65,833,7,834],"清代","布料","火焰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc45b75d2d19f4d7bac59bc0e28e8dbc.jpg",[],64,{"id":839,"slug":840,"title":841,"dynasty":18,"author":19,"museum":20,"description":842,"tags":843,"thumbUrl":844,"material":100,"size":100,"collection":100,"collections":845,"showCount":846,"zanCount":203,"manualWeight":11,"mainColor":40},227687,"shen-long-jiu-xian-tu-juan-chen-rong-227687","神龙九现图卷","在中国文化中，“龙”可谓是至高无上的图腾。从龙身人首的伏羲、女娲，再到“黄帝龙轩辕氏龙图出河”。龙的传人们对这个腾云驾雾、翱翔九天神秘形象充满敬畏，而以为精神寄托。乃至进入互联网时代，亦有着诸多亲眼见真龙的都市传说广为流传。",[63,23,25,64,27,66,29,70,7,75,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13d3746f4b89b0a937e5719e8b89fb81.jpg",[],61,{"id":848,"slug":849,"title":850,"dynasty":353,"author":851,"museum":140,"description":852,"tags":853,"thumbUrl":854,"material":66,"size":855,"collection":50,"collections":856,"showCount":857,"zanCount":203,"manualWeight":11,"mainColor":121},221743,"gu-he-yun-song-tu-zhou-ba-yan-bu-ha-221743","古壑云松图轴","巴颜布哈","该幅构景很突出，苍松高耸，峰岭出于云表。\n笔墨颇具文人画的趣味。\n【规格】该幅12242.2公分；全幅6公分 【收藏】 主题与关键字：松、云 石渠宝笈续编（乾清宫），第一册，页51 故宫书画录（卷五），第三册，页194 故宫书画图录，第五册，页1-14 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等绘制的一幅画。\n款识：“乾隆十八年四月臣张宗苍奉勅恭绘。\n”下钤二朱文方印“张”、“宗苍”。\n“ 十八年”即175年，乾隆皇帝时年4岁。\n画幅右上乾隆皇帝御题五言诗：“松石流泉间，阴森夏亦寒。\n构思坐盘陀，飘然衫带宽。\n能者尽其技，劳者趁此闲。\n谓宜入图画，匪慕竹皮冠。\n癸酉夏日题。\n”下钤“即事多所欣”白文方印、“乾隆御笔”朱文方印。\n该诗文与张宗苍于同一年奉勅绘的《 》轴所题内容相同。\n图绘 一身文士装扮，提笔创作的形象。\n乾隆皇帝作为清王朝盛世期的统治者，闲暇之余广学博览，不仅孜孜不倦地学习汉文化，并且积极地参与文学创作，其诗文绝大部分是其从政、巡幸、筵宴、读书、玩赏等活动中的即兴之作，诗意多平淡，缺少文学艺术性，但具有一定的史料价值。\n据统计，其仅御制诗就达4万余首，尚不包括他即位之前的《 》7余首和其他零星作品，虽然其中有的诗是经翰林词臣们润色或代笔，并为之作注的，但是，其作品数量之大，仍然冠历朝作者之首。\n乾隆皇帝出于对写诗作文的喜爱，常谕令宫廷画家们绘制他在创作时的儒雅形象，此图便是其中之一。\n图中乾隆皇帝的画像写实逼真，其冥思苦想的表情传神生动。\n山石连皴带染，以无规则的墨点作苔点，既得厚重之力，又得灵动之美。\n挺拔的松树以劲键有力、娴熟的笔法表现，营造出满目苍翠的神仙之境，与乾隆皇帝洒脱高逸的文人形象相契合。\n张宗苍（1686—1756年），字默存，一字墨岑，号篁村、蔗翁、太湖渔人，晚称瘦竹，吴县（今江苏苏州）人。\n师承清代娄东画派的传人黄鼎，擅画山水。\n初以主簿理河工事。\n清乾隆十六年 （1751年）高宗南巡，以绘《吴中十六景》画册敬献，称旨，命入都祗候内廷。\n十九年（1754年）授户部主事。\n其山水画用笔沉着，山石多加积染，表现出深远的意境，具有苍劲秀雅之风，深得高宗皇帝赏识，成为乾隆朝宫廷的重要画家。\n《石渠宝笈》著录画作116件。\n71岁时卒于故里。",[24,23,25,1022,27,66,28,458,67,70,266,182,183,7],"横轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8df7f2229ff6e2483b5711f97d5f894d.jpg",[],50,{"id":1027,"slug":1028,"title":426,"dynasty":175,"author":1029,"museum":20,"description":1030,"tags":1031,"thumbUrl":1032,"material":98,"size":99,"collection":81,"collections":1033,"showCount":1025,"zanCount":11,"manualWeight":11,"mainColor":121},235509,"shan-shui-ce-cha-shi-biao-235509","查士标","查士标，查士标（1615-1698） ，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。安徽休宁人。\n查士标（1615-1698）与弘仁、孙逸、汪之瑞称“新安四大家”。在新安四家中，是位高产书画家，就技法而言，以他为最高，作品也最多。后流寓扬州、镇江、南京。善书画、工诗文、精鉴赏。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。\n山水师法黄公望、吴镇、倪瓒、董其昌，笔墨疏简，格调秀远，书法受董其昌影响。在新安四家中，是位高产书画家，他学倪黄，但能广泛吸收前人各家各派画法。就技法而言，以他为最高，作品也最多。\n其作品高达百万，甚至数百万。\n最早提出“新安画派”名称的是清朝康熙所间的艺术理论家张庚，张庚之后，人多沿用，“新安画派”遂成定称。新安画派成员众多，力量雄厚。画艺可观者近80人，其中卓然自成一家者约有20人，分为四个层面：先驱程嘉燧、李永昌、李流芳；画派领袖僧渐江；鼎盛期主要成员方式玉、王瘭素、吴山涛、程邃、汪家珍、戴本孝、吴龙、顺田生、程正揆、郑旼、汪之瑞、孙逸、查士标、汪洪度、雪庄；现代后继者黄宾虹。",[23,25,380,27,70,179,7,181,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a4280bacbc5da11ddb8e014095b837d.jpg",[81],{"id":1035,"slug":1036,"title":1037,"dynasty":91,"author":108,"museum":109,"description":1038,"tags":1039,"thumbUrl":1042,"material":1043,"size":1044,"collection":100,"collections":1045,"showCount":1025,"zanCount":11,"manualWeight":11,"mainColor":121},234971,"yun-shan-tu-zhou-shen-zhou-234971","云山图轴","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”。",[23,26,27,70,28,179,7,71,73,1040,1041],"河流","小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63fbcf4ecea4aec65a5d0eb188770189.jpg","纸本 ，局部淡设色","纵155.2cm，横73cm",[],{"id":1047,"slug":1048,"title":1049,"dynasty":18,"author":327,"museum":20,"description":1050,"tags":1051,"thumbUrl":1052,"material":66,"size":1053,"collection":36,"collections":1054,"showCount":1055,"zanCount":11,"manualWeight":11,"mainColor":86},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。",[63,24,23,25,64,27,28,75,74,70,179,7,32,197,71],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29e394bfd90e74778f0999e18a35a29a.jpg","34x195.",[36,81,118],49,{"id":1057,"slug":1058,"title":1059,"dynasty":353,"author":1060,"museum":738,"description":1061,"tags":1062,"thumbUrl":1063,"material":1064,"size":1065,"collection":81,"collections":1066,"showCount":1067,"zanCount":203,"manualWeight":11,"mainColor":86},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。",[23,64,27,28,70,181,180,7,32,197,430,75,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d099573b441bf66cceba505e064a29f.jpg","水墨,纸本","23×68.4cm",[81],48,{"id":1069,"slug":1070,"title":1071,"dynasty":175,"author":92,"museum":20,"description":1072,"tags":1073,"thumbUrl":1081,"material":98,"size":99,"collection":100,"collections":1082,"showCount":1083,"zanCount":103,"manualWeight":11,"mainColor":86},264257,"hong-se-di-wu-cai-yun-fu-long-feng-wen-zhuang-hua-duan-pao-liao-yi-ming-264257","红色地五彩云蝠龙凤纹妆花缎袍料","朱红地色热烈雍容，妆花技法晕染出鲜活华彩。矫健苍龙穿云破雾，鳞爪遒劲尽显威严；灵凤翩跹舒展羽翅，绰约温婉自成意趣。云蝠、四灵兽与团寿纹样错落点缀，将福寿绵长、龙凤呈祥的吉庆寓意织入寸缕经纬。构图疏密相宜，走线细腻灵动，彩绒交叠晕染出层次丰富的光泽，将皇家礼制的庄重与祥瑞意趣融于一体，尽显清代丝织工艺的巅峰造诣，藏着织造匠人独运的精妙匠心。",[1074,833,1075,1076,1077,29,1078,7,1079,1080],"织绣","袍料","五彩","妆花","凤","蝙蝠","寿纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a37599b63f54c74074b4e4aad17f203.jpg",[],46,{"id":1085,"slug":1086,"title":1087,"dynasty":1088,"author":92,"museum":20,"description":1089,"tags":1090,"thumbUrl":1093,"material":98,"size":99,"collection":100,"collections":1094,"showCount":1083,"zanCount":11,"manualWeight":11,"mainColor":86},223706,"yun-long-wen-jing-yi-ming-223706","云龙纹镜","南北朝","八出葵花形，内切圆形，圆钮。一龙盘曲，龙头面向镜钮作戏珠状，双角后翘，张口吐舌， 背鳍、腹甲、鳞片、刻画细密，前肢伸张，后肢曲伸，四肢露出三尖爪，身体矫健，神志轩昂。龙身四周环绕如意云头纹，线条飘逸。边缘八瓣内， 有长尾鸟、短尾鸟、 蜂蝶、蜻蜓分别飞向折枝花，花均为两叶两苞，设计精巧细致。",[1088,1091,1092,29,7],"铜制","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4165f6bf70a49531d448e9403c93ce68.jpg",[],{"id":1096,"slug":1097,"title":1098,"dynasty":91,"author":1099,"museum":140,"description":1100,"tags":1101,"thumbUrl":1104,"material":131,"size":100,"collection":81,"collections":1105,"showCount":1083,"zanCount":11,"manualWeight":11,"mainColor":86},219472,"si-hao-tu-xie-shi-chen-219472","四皓图","谢时臣","幅中所绘，是秦汉间隐居于商山的四位老人悠闲的生活。他们或下棋，或闲步。四围则是云雾蒸腾，溪泉潺潺，松树盘踞，驯鹿嬉游，山石险阻，与外隔绝，似是为高人隐士所设的福地洞天。用笔苍劲有力，墨色变化丰富，气势雄浑。以画水闻名的谢时臣，尤其长于表现云烟之变幻多端。",[23,1102,70,179,32,1103,181,7,547,26,79,66,404],"古道","房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe185e2259777abdcf74ad407a3280f3b.jpg",[81],{"id":1107,"slug":1108,"title":1109,"dynasty":18,"author":639,"museum":109,"description":1110,"tags":1111,"thumbUrl":1126,"material":1127,"size":1128,"collection":100,"collections":1129,"showCount":1130,"zanCount":11,"manualWeight":11,"mainColor":86},221530,"shui-tu-juan-ma-yuan-221530","水图卷","《水图》共有十二段。除第一段因残缺半幅而无图名外，其余图名分别是：“洞庭风细”、“层波叠浪”、“寒塘清浅”、“长江万顷”、“黄河逆流”、“秋水回波”、“云生沧海”、“湖光潋滟”、“云舒浪卷”、“晓日烘山”、“细浪漂漂”。这十二段作品，专门画水，除个别幅有极少岩岸之外，其它没有任何别的景色，完全通过对水的不同姿态的描写，表现出种种不同的意境。作者对水观察的细致入微，以及创造出来的形态美感和笔墨技能，都令人惊叹不已。如“洞庭风细”，波浪如鳞，不激不怒，近大远小以至于水天一色，彷佛觉得微风习习，轻轻掠过了那开阔的湖面，使人心旷神怡，宠辱皆忘。“层波叠浪”是以颤抖的笔法，描写浪涛的起落，彷佛其下有蛟龙蛰伏。那汹涌澎湃的气势，使人精神振奋而感到豪壮。“湖光潋滟”一幅，画家以轻快流畅的笔法，画出水波的跳动，浪峰无规则的排列，显然受到乱风的吹荡，即使画家不染上红色，也使观者感到阳光明媚，不由得想起“湖光潋滟晴偏好”的杭州西湖景象来。“云舒浪卷”一幅，却又是另外一番境界。画家以凝涩的笔触，画出一个浪头，它彷佛咆哮着要腾空而起，天空中黑云滚动，与水相接，更增加有如冲锋陷阵的气概。画面虽小，而气魄宏大壮观。其它各幅，都各有不同的笔法特点和意境，就留待读者自己体会。",[63,23,64,25,27,66,70,32,231,1112,1113,1114,1115,7,1116,1117,1118,1119,1120,1121,1122,1123,1124,1125],"湖面","江河","沧海","风","晓日","细浪","叠浪","逆流","回波","潋滟","浪卷","心旷神怡","豪壮","气魄宏大","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F608b77553133468e4bb46dc87ada9d69.jpg","绢本，淡设色","纵26.8厘米，横41.6厘米",[],45,{"id":1132,"slug":1133,"title":1134,"dynasty":592,"author":593,"museum":140,"description":1135,"tags":1136,"thumbUrl":1138,"material":800,"size":1139,"collection":81,"collections":1140,"showCount":1130,"zanCount":11,"manualWeight":11,"mainColor":86},221094,"ming-huang-xing-shu-tu-li-zhao-dao-221094","明皇幸蜀图","作品描绘人马行走于崇山峻岭间。画上有乾隆三十九年（1774）的御题诗：青绿关山迥，崎岖道路长。客人各结束，行李自周详。总为名和利，那辞劳与忙。年陈失姓氏，北宋近乎惠”。《明皇幸蜀图》体现了二李画派的典型风格，时代特征明显，是反映唐代山水画面貌的重要传世作品。",[63,23,70,179,32,181,7,66,65,1137,79],"横披","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8a04cfa4068831cfeaed0b412c23431.jpg","纵55.9厘米，横81厘米",[81,83],{"id":1142,"slug":1143,"title":1144,"dynasty":18,"author":1145,"museum":640,"description":1146,"tags":1147,"thumbUrl":1148,"material":66,"size":1149,"collection":36,"collections":1150,"showCount":1151,"zanCount":103,"manualWeight":11,"mainColor":86},221317,"jiu-ge-shu-hua-juan-zhang-dun-li-221317","九歌书画卷","张敦礼","《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。",[63,23,24,25,64,66,65,67,70,7,181,75,74,981,906],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F799e28b7c8a53f49ea8a67fbad151b43.jpg","23.5 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笛吹地藏图","狩野探幽","素线勾勒的身影乘云翩跹，衣袂舒展如流霞漫卷。唇边横笛轻启，清韵似随柔风逸出，绕过身后朦胧圆月，在云气间悠悠弥散。线条柔婉却藏静定之姿，地藏的慈悲在笛音里化作淡暖光晕，与月色相融。整幅画如一首无声禅曲，空灵中裹挟着抚慰人心的力量，将佛性悲悯与艺术清雅织就成静谧天地，引人沉于这份超越尘嚣的平和安宁。",[24,23,25,26,95,730,27,67,7,1282],"笛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4950f0b0cd418d7e2e7b2082d209528.jpg","98.5x38.1",[167],40,{"id":1288,"slug":1289,"title":251,"dynasty":91,"author":1290,"museum":1180,"description":1291,"tags":1292,"thumbUrl":1293,"material":131,"size":1294,"collection":81,"collections":1295,"showCount":1286,"zanCount":203,"manualWeight":11,"mainColor":86},217944,"yun-shan-tu-he-cheng-217944","何澄","《云山图》是一幅山水画，描绘的是山峦起伏的山岭，被浓密的云雾笼罩。何澄在画中运用了笔触细腻的技巧，将云山的起伏变化和神秘感表现得淋漓尽致。画中还有几只飞鸟，增添了画面的生动感。\n\n《云山图》被认为是何澄的代表作，也是明朝山水画的经典之作。它不仅体现了何澄的艺术才华，也展示了明朝时期对自然、山水的描绘方式。",[23,25,26,27,70,7,179,32,71,242,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F668c05cfb3d1386b314e770bdd9f091c.jpg","94.6x39.1cm",[81],{"id":1297,"slug":1298,"title":1299,"dynasty":91,"author":427,"museum":738,"description":1300,"tags":1301,"thumbUrl":1303,"material":165,"size":100,"collection":100,"collections":1304,"showCount":1286,"zanCount":11,"manualWeight":11,"mainColor":121},214649,"qiu-xing-ba-jing-tu-ce-8-dong-qi-chang-214649","秋兴八景图册-8","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。",[23,25,380,66,404,76,75,28,70,197,344,71,72,113,112,7,1302],"岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42cbb4fb5fa1b201a43ea69f5624d486.jpg",[],{"id":1306,"slug":1307,"title":1308,"dynasty":353,"author":1309,"museum":109,"description":1310,"tags":1311,"thumbUrl":1312,"material":382,"size":1313,"collection":100,"collections":1314,"showCount":1315,"zanCount":11,"manualWeight":11,"mainColor":86},233787,"ge-zhi-chuan-yi-ju-tu-zhou-wang-meng-233787","葛稚川移居图轴","王蒙","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。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。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。",[23,25,26,66,404,70,28,67,406,112,113,71,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faff523932734437a78bb03a9d5015869.jpg","纵139厘米，横58厘米",[],39,{"id":1317,"slug":1318,"title":1319,"dynasty":91,"author":1320,"museum":140,"description":1321,"tags":1322,"thumbUrl":1324,"material":165,"size":1325,"collection":81,"collections":1326,"showCount":1315,"zanCount":11,"manualWeight":11,"mainColor":121},231418,"ming-wen-bo-ren-fang-hu-tu-wen-bo-ren-231418","明文伯仁方壶图","文伯仁","《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。",[63,23,66,65,74,70,7,179,32,481,71,597,1323],"桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25cb1e79d895645a041522290ad040b2.jpg","纵120.6公分、横31.8公分",[81],{"id":1328,"slug":1329,"title":1330,"dynasty":175,"author":1331,"museum":109,"description":1332,"tags":1333,"thumbUrl":1335,"material":382,"size":100,"collection":100,"collections":1336,"showCount":1337,"zanCount":11,"manualWeight":11,"mainColor":121},234153,"jiu-ge-tu-juan-ding-guan-peng-234153","九歌图卷","丁观鹏","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。",[63,23,25,64,65,66,67,70,29,73,69,7,1334,112,71,344,113,74],"雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46a6bd8c93261ba462ca762cf3d0505c.jpg",[],38,{"id":1339,"slug":1340,"title":1341,"dynasty":175,"author":1342,"museum":109,"description":1343,"tags":1344,"thumbUrl":1347,"material":382,"size":1348,"collection":100,"collections":1349,"showCount":1337,"zanCount":203,"manualWeight":11,"mainColor":121},233917,"yun-dong-liu-quan-tu-zhou-kun-can-233917","云洞流泉图轴","髡残","此图作于髡残53岁时。表现的是他晚年居地南京城郊牛首祖堂山幽栖寺一带的景致。本幅自题诗：“端居兴未索，觅径恣幽讨。沿流戛琴瑟，穿云进窈窕。源深即平旷，巘杂入霞表。泉响弥清乱，白石净如扫。兴到足忘疲，岭高溪更绕。前瞻峰如削，参差岩岫巧。吾虽忽凌虚，玩松步缥缈。憩危物如遗，宅幽僧占少。吾欲饵灵砂，巢居此中老。”此图尺幅不大，但具有宏伟壮阔的气势，构图严谨，虚实互衬，繁密的山石、林木与空疏的云、水、天构成疏密明暗的变化。运笔施墨张驰有度，粗犷娴熟，浓淡墨相宜，干湿笔相生，全图一气呵成，意境幽邃高远。此幅堪称髡残的精品佳作。",[23,25,26,70,28,27,66,7,939,1345,458,344,112,71,798,182,1346,481,292],"流泉","峰峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62778fcf1da11e7c4313da023f47a86a.jpg","纵110.3厘米，横30.8厘米",[],{"id":1351,"slug":1352,"title":1353,"dynasty":91,"author":1354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in a wheatfield","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[1414,1415,1416,1417,1418,1419,71,1420,7,1421,1422],"油画","后印象派","笔触厚重","色彩鲜明","麦田","农舍","天空","草地","田野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99996059a343e52197373a7b63606710.jpg","油画精选",[1424],34,{"id":1428,"slug":1429,"title":1430,"dynasty":18,"author":1431,"museum":109,"description":1432,"tags":1433,"thumbUrl":1435,"material":151,"size":1436,"collection":100,"collections":1437,"showCount":1438,"zanCount":11,"manualWeight":11,"mainColor":86},232627,"xi-yue-jiang-ling-tu-juan-quan-juan-li-gong-lin-232627","西岳降灵图卷全卷","李公麟","《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。",[63,23,24,64,730,67,406,7,906,1434,74],"仪仗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38fa89bfeaab83091e6e70ab92b978e3.jpg","纵26.5厘米，横513.7厘米",[],33,{"id":1440,"slug":1441,"title":1442,"dynasty":18,"author":639,"museum":20,"description":1443,"tags":1444,"thumbUrl":1446,"material":100,"size":100,"collection":100,"collections":1447,"showCount":1438,"zanCount":11,"manualWeight":11,"mainColor":86},227823,"shi-bi-kan-yun-tu-ma-yuan-227823","石壁看云图","这幅小品以边角取景，尽显简淡空灵之美。烟雨如纱晕染朦胧江天，对岸石壁在烟霭中半隐半现，恍若蜃境。左侧老木斜出，苍枝带着疏朗新叶，探向空茫水面，与右下策杖伫立的白衣士人遥遥相望。\n\n士人昂首望云，似在静赏流云舒卷，将世俗心绪尽数融在烟水间。全作用笔苍秀简劲，以水墨晕染铺就空濛氛围感，以少胜多，把文人观云忘机、寄情山水的雅逸襟怀藏在留白之中，尽显含蓄悠远的世外意趣。",[63,23,25,457,70,28,66,67,1445,7,181,112],"石壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4363302bd8bcc307d085b159df2b994.jpg",[],{"id":1449,"slug":1450,"title":1451,"dynasty":175,"author":1452,"museum":140,"description":1453,"tags":1454,"thumbUrl":1455,"material":1456,"size":1457,"collection":81,"collections":1458,"showCount":1438,"zanCount":11,"manualWeight":11,"mainColor":121},222843,"hua-wan-he-xiang-yun-zhou-hong-wu-222843","画万壑祥云轴","弘旿","弘旿（1743-1811），为康熙帝玄烨孙，字恕斋，又字醉迂，号一如居士、瑶华道人，官封固山贝子。兼工诗、书、画，有三绝之誉。画初学董邦达（1699-1769），又上追宋、元，笔墨秀润，山水特为蓊郁华滋。本幅为全景式布局，画松壑重重高起，山中并见烟云缭绕，景境幽深。居中的主峰，峰顶矾头错落，并用短笔点簇密林，饶有浑厚峻拔的气势。右下方自题「恭仿范宽笔意」，惟皴山多用长笔披麻，已去范宽（约950-1031间）风格甚远。",[63,23,26,70,27,66,28,179,7,458,478,113,430,112,71],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb6dc0050c390fb85ef72eff1bad4a7b.jpg","立轴，纸本，设色","112.2×53cm",[81,83],{"id":1460,"slug":1461,"title":1462,"dynasty":175,"author":1463,"museum":20,"description":1464,"tags":1465,"thumbUrl":1466,"material":100,"size":100,"collection":100,"collections":1467,"showCount":1468,"zanCount":203,"manualWeight":11,"mainColor":121},238484,"hua-hong-li-han-shan-xue-hai-shi-yi-juan-jiang-pu-238484","画弘历寒山雪海诗意卷","蒋溥","此作用淡墨晕开云涛，以干笔皴擦山石肌理，苍松虬踞崖畔，丹叶点染峰峦，将翻涌海波与凌天奇山揽入卷中。云雾缠裹岩岫，虚实相生间，尽显山海雄奇又清寂的高旷意境。\n\n卷尾题诗与画意呼应，书画合璧，把缥缈出尘的山海胜境，凝作可赏可游的具象图景，将诗意中的仙幻空灵落于笔端，尽显山海灵奇，是诗画交融的精妙佳构。",[23,25,64,70,27,66,179,7,458,266,75,76,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e07fc6c731d6d48ebf6f49830545eac.jpg",[],32,{"id":1470,"slug":1471,"title":1472,"dynasty":353,"author":523,"museum":109,"description":1473,"tags":1474,"thumbUrl":1476,"material":115,"size":1477,"collection":36,"collections":1478,"showCount":1468,"zanCount":11,"manualWeight":11,"mainColor":86},221694,"chun-yun-xiao-ai-tu-zhou-gao-ke-gong-221694","春云晓霭图轴","用花青与墨渲染，用色较重，而矾头多露白，对比强烈，使人有雨后晴山的感觉。曾著录于《大观录》、《江村销夏录》。此图正是运用了米点皴法，但在学米的同时又参用董源的画法，故山水画的浑厚、重大，而烟云环抱山峦，一线瀑布飞下，又使群山飘渺起来，气象万千。石涛《画语录》“境界章”中提到山水画的“分疆”，认为画面可作“三叠两段”的处理，三叠是指“一层地，二层树，三层山”，所谓“两段”是指“景在下，山在上，云在中”，将画隔做两段。古代作品中不发此类画例，如明人王孟端的《溪山深秀图》、文嘉的《天地山月图》等。该件高克恭的“春云晓霭图”也大致属此。当然，“三叠两段”是一种山水画中曾出现过的章法，而不是法则，我们不可刻舟求剑。",[63,23,290,26,28,66,179,7,181,559,478,113,72,1475],"塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eafa9868d9774cd0d4a19bc06632019.jpg","纵138.1厘米，横58.5厘米",[36,81,83],{"id":1480,"slug":1481,"title":1482,"dynasty":175,"author":1483,"museum":949,"description":1484,"tags":1485,"thumbUrl":1487,"material":66,"size":100,"collection":81,"collections":1488,"showCount":1489,"zanCount":11,"manualWeight":11,"mainColor":121},219058,"shan-shui-tu-shan-yue-ming-qiu-si-shang-rui-219058","山水图扇-月明秋思","上睿","扇面之上，月色如纱轻覆山林。疏林间几树浅黄晕开秋意，墨色浓淡交织出枝叶层叠的生趣，或深或浅的笔触里藏着自然的韵律。小径上三五身影闲步，衣袂飘飘似在共赏明月、低语秋思。右侧茅舍隐于树后，檐角与草木相映，静谧中透着烟火气。\n\n笔墨清润灵动，水墨晕染出空濛月色，秋意与清辉交融成悠然雅致的氛围。仿佛能触到秋夜微凉，望见月光流转的温柔，文人的闲情与秋日的清寂，凝于这一方扇面，满纸皆是诗意的秋思。",[63,23,457,66,70,654,181,73,67,7,112,1486,28],"秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11813952ce248c3a101af6a0ec5aea6f.jpg",[81],31,{"id":1491,"slug":1492,"title":1191,"dynasty":175,"author":92,"museum":140,"description":1493,"tags":1494,"thumbUrl":1499,"material":100,"size":100,"collection":83,"collections":1500,"showCount":1501,"zanCount":11,"manualWeight":11,"mainColor":86},238933,"qing-ren-qun-xian-zhu-shou-tie-luo-yi-ming-238933","云端仙袂翩跹，分群御风而来，祥龙隐于霭雾，漫溢祥瑞清贵之气。下方山道水畔，凡世之人或骑行牵犊，或执乐赶路，各携贺礼奔赴寿典，满是人间欢悦之态。\n\n此作以缂丝技艺织就，设色古雅柔和，线条细腻灵动。仙凡同贺的祝寿盛景虚实相映，将福寿绵长的美好祈愿，藏在每一处衣褶与云纹里，让悠远的祥瑞意趣缓缓流淌而出。",[23,65,66,67,29,70,1495,406,1496,181,7,112,1497,231,1498],"骆驼","羊","草木","祝寿场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ce35673770dccb61bbc8a5bd24e3c42.jpg",[83],30,{"id":1503,"slug":1504,"title":1505,"dynasty":353,"author":772,"museum":109,"description":773,"tags":1506,"thumbUrl":1507,"material":79,"size":1508,"collection":100,"collections":1509,"showCount":1501,"zanCount":11,"manualWeight":11,"mainColor":121},233203,"zuo-kan-yun-qi-tu-ye-sheng-mao-233203","坐看云起图页",[23,25,457,27,66,28,70,7,243,72,67,112,331,480,71],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567c9ea4707965f97951bafa9c5e46b8.jpg","纵27cm; 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。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。",[63,75,76,64,27,151,1553,179,180,7],"铁船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1411d7dfebd52277f93e0eef00d69aa.jpg",[],28,{"id":1558,"slug":1559,"title":1560,"dynasty":175,"author":1561,"museum":20,"description":1562,"tags":1563,"thumbUrl":1564,"material":100,"size":100,"collection":100,"collections":1565,"showCount":1556,"zanCount":203,"manualWeight":11,"mainColor":86},224424,"yun-feng-shu-se-tu-wang-shi-min-224424","云峰树色图","王时敏","《云峰树色图》是清代画家王时敏创作的绢本设色画，现藏于 。\n此图以“高远”法取势，构图呈“S”形循环上升。\n山石沉浑雄健，树木苍厚繁密，画风凝重古朴。\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 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。",[63,23,25,26,66,70,28,179,7,181,666,180,113,430],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97c21bc9c7b497cbaa4d829b8d874e53.jpg",[],{"id":1567,"slug":1568,"title":1569,"dynasty":91,"author":1570,"museum":109,"description":1571,"tags":1572,"thumbUrl":1582,"material":1583,"size":1584,"collection":153,"collections":1585,"showCount":1556,"zanCount":11,"manualWeight":11,"mainColor":121},222354,"zi-shu-ci-juan-tang-yin-222354","自书词卷","唐寅","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。",[63,622,75,76,64,27,74,654,1573,70,197,478,113,73,72,291,243,1574,1575,280,359,1163,1576,1165,1577,707,1115,145,752,7,928,147,1578,1579,1580,1581],"夕阳","梅","兰","牡丹","水仙","春","夏","秋","冬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47d4bbb43b2575078730ba53af232464.jpg","纸本，行书","纵23.3厘米，横551.3厘米",[153],{"id":1587,"slug":1588,"title":1589,"dynasty":353,"author":92,"museum":140,"description":1590,"tags":1591,"thumbUrl":1592,"material":199,"size":1593,"collection":81,"collections":1594,"showCount":1556,"zanCount":203,"manualWeight":11,"mainColor":121},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。",[63,23,25,26,27,28,70,7,181,180,113,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d2bce35e6488169e35f98daeffd676d.jpg","103.8x35.4厘米",[81,118],{"id":1596,"slug":1597,"title":1598,"dynasty":175,"author":1599,"museum":676,"description":1600,"tags":1601,"thumbUrl":1603,"material":165,"size":100,"collection":100,"collections":1604,"showCount":1556,"zanCount":11,"manualWeight":11,"mainColor":121},214591,"fang-gu-shan-shui-ce-13-wang-hui-214591","仿古山水册-13","王翚","王翚（1768年－1849年）是清代著名的画家，他出生于江苏省南京市，是清代名门望族，他的祖父王恭是清代名将王莽的儿子。王翚早年曾在父亲的教导下学习书法和绘画，后来又师从著名画家黄庭坚学习。\n\n王翚擅长画山水，他的作品《仿古山水册》是他的代表作之一。这本册子包含了王翚的许多优秀作品，其中包括了他的山水画、人物画、花鸟画等，作品风格秀丽自然，富有感染力。《仿古山水册》被誉为王翚代表作之一，在当时颇受欢迎。\n\n王翚的画风受到了清代著名画家黄庭坚的影响，但他也在此基础上创造出了自己独特的画风。他善于运用墨色，擅长表现山水的秀美和雄伟，并融入了自己的个人特色。王翚的画作经常带有浓郁的文化气息，富有哲理性和艺术性。\n\n总的来说，王翚的《仿古山水册》是一部优秀的山水画集，值得一看。",[23,25,380,66,28,1602,70,654,7,181,113,1011,197],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39f501390a2a4e60586411f7d7211255.jpg",[],{"id":1606,"slug":1607,"title":1608,"dynasty":175,"author":1609,"museum":140,"description":1610,"tags":1611,"thumbUrl":1614,"material":66,"size":1615,"collection":81,"collections":1616,"showCount":1617,"zanCount":11,"manualWeight":11,"mainColor":121},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","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。",[63,23,25,26,27,28,70,179,180,7,73,71,183,75,74,1346,1612,480,1613],"林木","题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde04473deae771195c36214c7564a0f8.jpg","18.5x148.5cm",[81,118],27,{"id":1619,"slug":1620,"title":1621,"dynasty":175,"author":1622,"museum":20,"description":1623,"tags":1624,"thumbUrl":1625,"material":100,"size":100,"collection":100,"collections":1626,"showCount":1627,"zanCount":203,"manualWeight":11,"mainColor":86},224344,"xiao-pin-1-qiao-gu-224344","小品1","樵谷","此作为绢本设色仙山图景，画面分上下两段铺陈。上方松下仙岛，长髯高士安坐，侍童持如意随侍，丹顶鹤啄衔芝草，意态闲和疏朗。下方仙鹿曳车，车载灵卉仙酿，海雾裹挟红鲤翻涌而出，恍若灵气蒸腾。\n\n笔墨细劲清逸，设色古雅沉静，人物刻画悠然恬淡，瑞兽仙禽生动传神。布景疏密相宜，晕染出道家虚缈出尘的仙境氛围，藏纳福寿绵长的吉祥意趣，尽显传统仙道题材的雅致意韵。",[63,23,25,26,66,65,67,406,393,707,458,112,7,1184],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff7ab3700c076272c9bf608fb083bfbf.jpg",[],26,{"id":1629,"slug":1630,"title":1631,"dynasty":175,"author":1609,"museum":140,"description":1610,"tags":1632,"thumbUrl":1633,"material":1634,"size":1635,"collection":81,"collections":1636,"showCount":1627,"zanCount":11,"manualWeight":11,"mainColor":86},223117,"hua-fan-zhao-gui-yun-tu-zhou-dong-bang-da-223117","画返照归云图轴",[63,23,25,24,26,290,28,66,179,32,7,1573,71,266,1040],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e89609eb1517d1843f2e8924eba4cf4.jpg","淺設色","251.1x158.6",[81,118],{"id":1638,"slug":1639,"title":1640,"dynasty":175,"author":948,"museum":949,"description":950,"tags":1641,"thumbUrl":1643,"material":79,"size":954,"collection":100,"collections":1644,"showCount":1627,"zanCount":11,"manualWeight":11,"mainColor":121},222970,"hong-lou-meng-95-sun-wen-222970","红楼梦95",[63,23,65,66,67,344,70,71,1642,331,7],"庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5c0f8a526064311858b402e15a02cdd.jpg",[],{"id":1646,"slug":1647,"title":1648,"dynasty":91,"author":1201,"museum":109,"description":1649,"tags":1650,"thumbUrl":1651,"material":1652,"size":1653,"collection":100,"collections":1654,"showCount":1655,"zanCount":11,"manualWeight":11,"mainColor":121},233478,"zhu-shi-yun-quan-tu-shan-ye-ding-yun-peng-233478","竹石云泉图扇页","此图最醒目的是绘有大面积的竹林，竹竿挺拔峭立，竹叶苍翠欲滴，它们整齐地沿河岸分列，构筑出一个典雅清幽的自然环境。图中的竹以工细的笔法，一丝不苟地精心刻画，竹节笔笔分明，竹叶施墨有近浓远淡之分，它们于虚实间扩展了画面的空间层次，也显现出作者工而不板的竹画功底。此幅是作者送给友人环海先生的画作，在此巧妙地使用有着“四君子”之一美誉的竹子为题材，以此赞赏友人具有象竹一样高风亮节、虚怀若谷的品格。",[23,25,457,27,65,70,280,180,7,1204],"https:\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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。",[63,23,25,64,70,66,27,76,1752,74,28,179,32,73,181,266,7],"楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f172726d9fa486d3ca8271b1624e3a.jpg",[],{"id":1756,"slug":1757,"title":1758,"dynasty":175,"author":948,"museum":949,"description":950,"tags":1759,"thumbUrl":1760,"material":79,"size":954,"collection":100,"collections":1761,"showCount":1745,"zanCount":11,"manualWeight":11,"mainColor":121},222935,"hong-lou-meng-60-sun-wen-222935","红楼梦60",[63,23,65,66,280,181,344,67,68,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5db42a90d6fe4e64e16bda3b725d04a4.jpg",[],{"id":1763,"slug":1764,"title":1765,"dynasty":175,"author":948,"museum":949,"description":950,"tags":1766,"thumbUrl":1767,"material":79,"size":954,"collection":100,"collections":1768,"showCount":1745,"zanCount":11,"manualWeight":11,"mainColor":121},222897,"hong-lou-meng-22-sun-wen-222897","红楼梦22",[63,23,65,66,67,68,73,7,952,409,406],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef217ec87d521d082d3099f352f8cf8e.jpg",[],{"id":1770,"slug":1771,"title":1772,"dynasty":91,"author":1773,"museum":738,"description":1774,"tags":1775,"thumbUrl":1776,"material":100,"size":100,"collection":100,"collections":1777,"showCount":1745,"zanCount":203,"manualWeight":11,"mainColor":121},222514,"shen-xian-tu-ce-3-zhang-lu-222514","神仙图册3","张路","张路（1464—1538 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。亦工鸟兽、花卉。\n早年画学戴进，临摹能肖其神，画法工细。至南京后，又宗法吴伟，变为粗笔写意。他善画人物，多绘神仙、士子、渔夫，形象质朴，神态清朗，具高昂向上的气质。景致简略，笔墨遒劲，风格豪放，然少秀逸和蕴藉之致；为浙派健将，亦开后来学者粗率之风。他具有典型风貌的水墨写意作品较多，人物多用顿折的重墨线条勾勒，山石以粗犷的笔触作大斧劈皴，运笔迅捷，水墨淋漓，具有豪放动荡的气势。亦能画写意花鸟。",[63,23,25,380,27,66,730,67,7,95,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F550e7d0b37b6943a07ff6d20c23d1aa2.jpg",[],{"id":1779,"slug":1780,"title":1781,"dynasty":18,"author":1782,"museum":140,"description":1783,"tags":1784,"thumbUrl":1791,"material":151,"size":1792,"collection":153,"collections":1793,"showCount":1745,"zanCount":203,"manualWeight":11,"mainColor":121},221234,"shu-xi-jiang-yue-ci-zhong-shu-221234","书西江月词","仲殊","北宋僧人、词人。字师利。安州（今湖北安陆）人。本姓张，名挥，仲殊为其法号。\n曾应进士科考试。生卒年不详。年轻时游荡不羁，几乎被妻子毒死，弃家为僧，先后寓居苏州承天寺、杭州宝月寺，因时常食蜜以解毒，人称蜜殊；或又用其俗名称他为僧挥。他与苏轼往来甚厚。徽宗崇宁年间自缢而死。",[63,24,23,25,75,76,27,1785,1786,1787,1238,1788,7,1115,1789,1790],"红旗","黄钺","湖","霜","帆","春天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F893f5c450e666968341f30dfe2e9e801.jpg","48.7x70.3厘米",[153],{"id":1795,"slug":1796,"title":1797,"dynasty":175,"author":903,"museum":126,"description":904,"tags":1798,"thumbUrl":1799,"material":131,"size":908,"collection":100,"collections":1800,"showCount":1745,"zanCount":11,"manualWeight":11,"mainColor":121},218335,"shen-xian-gu-shi-tu-ce-4-leng-mei-218335","神仙故事图册-4",[63,24,23,25,380,65,66,67,70,7,71,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81ab169d7708da28bcaab243755917c4.jpg",[],{"id":1802,"slug":1803,"title":1804,"dynasty":175,"author":1805,"museum":20,"description":1806,"tags":1807,"thumbUrl":1808,"material":98,"size":99,"collection":100,"collections":1809,"showCount":1810,"zanCount":203,"manualWeight":11,"mainColor":121},237449,"wu-gu-xiang-qing-lu-heng-yun-shan-mian-wu-gu-xiang-237449","吴穀祥晴麓横云扇面","吴穀祥","吴谷祥（1848—1903）清代画家。原名祥，字秋农，初字蓉甫，别号瓶山画隐，晚号秋圃老农，浙江嘉兴人。山水远宗文、沈，近法戴熙，亦善花卉、仕女，用笔苍劲，设色清丽。俞曲园评其画为“神品”。清末在上海鬻画，时画风习尚纵横草率，而其独能不落时尚。因当时吴石仙正以西法融云烟山水盛名沪上，而秋农画艺为其所掩，胡公寿颇为不平，说：“其人抑何聩聩，有目而不识秋农丹青之佳胜也。”",[23,25,457,66,27,70,112,71,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2a7f0dc5675aae5a446ce84cedfe87a.jpg",[],21,{"id":1812,"slug":1813,"title":1814,"dynasty":175,"author":556,"museum":20,"description":1815,"tags":1816,"thumbUrl":1817,"material":100,"size":1818,"collection":167,"collections":1819,"showCount":1810,"zanCount":11,"manualWeight":11,"mainColor":86},236308,"lie-zi-yu-feng-zhou-hua-yan-236308","列子御风轴","列子是与老子、庄子同时代的道家学术代表人物，著有《列子》学说一书。关于列子有一则非常有名的典故，便是“列子御风”，体现出“大道至简”的理念，而华喦将这则典故变成一幅飘逸洒脱的画作。",[23,25,26,27,70,67,71,7,72,28,243,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5baafd21ec43e88cc5e6ae79800d83c.jpg","长78、宽32.5厘米",[167,83],{"id":1821,"slug":1822,"title":1823,"dynasty":91,"author":914,"museum":109,"description":1824,"tags":1825,"thumbUrl":1828,"material":483,"size":1829,"collection":100,"collections":1830,"showCount":1810,"zanCount":11,"manualWeight":11,"mainColor":86},233697,"yun-he-cang-yu-tu-zhou-lan-ying-233697","云壑藏渔图轴","此图为蓝瑛73岁（1657年）时的力作。该图构图奇险，尤其是画幅的上半部，一段奇峭耸立的山峰嵯峨壮观，于危峙耸拔呼之欲倒的险迫中，又具“去天不盈尺”的崇高感，显示出作者较强的造景生势能力。蓝瑛在树木的表现上亦有较强的造型能力，他能准确而生动地把握各种树木的形态特征，伸枝布叶，饶有情致。树叶的表现技法极为丰富，有以线勾双边的夹叶法，以墨直接卧笔横点的点叶法，还有松针勾簇、罩以淡彩的勾染结合法。山石皴法，仿宋人李希古（李唐）笔意，以粗犷的墨笔勾勒石之轮廓，以侧锋横擦的小斧劈皴皴擦石面，成功地显现出山岩凝重的质感。该图既有职业画家的行业气，又有文人画家的书卷气，二者巧妙地融汇贯通，表明蓝瑛不愧是明末职业画家向文人绘画靠拢的代表人物。",[23,25,26,66,70,28,7,1826,197,458,1165,112,182,1827],"壑","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad4d2c8bdbaefa91e4ad1677373af496.jpg","纵369厘米，横98厘米",[],{"id":1832,"slug":1833,"title":1834,"dynasty":175,"author":1835,"museum":328,"description":1836,"tags":1837,"thumbUrl":1838,"material":199,"size":1839,"collection":81,"collections":1840,"showCount":1810,"zanCount":203,"manualWeight":11,"mainColor":86},219720,"yun-ling-shui-sheng-tu-wang-jian-zhang-219720","云岭水声图","王建章","《云岭水声图》画层峦叠嶂，瀑布挂落，溪流绕岸，小径蜿蜒，云雾弥漫，数间房舍掩映于葱郁的树林间，境界超逸。山石以披麻皴描绘，树木以湿润浓墨点染，画面苍郁沉厚。图右题唐诗：“横云岭外千里树，流水声中三五家。”诗情画意交融。",[63,23,24,27,28,26,70,7,182,113,71,430,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18c7c418b4dff5a1a53023aff36e0194.jpg","纵95厘米,横48．1厘米",[81],{"id":1842,"slug":1843,"title":1844,"dynasty":175,"author":1845,"museum":109,"description":1846,"tags":1847,"thumbUrl":1851,"material":1583,"size":1852,"collection":153,"collections":1853,"showCount":1854,"zanCount":11,"manualWeight":11,"mainColor":121},240043,"xing-shu-yuan-ren-shi-zhou-liang-shi-zheng-240043","行书元人诗轴","梁诗正","释文：\n每忆城西路，曾来好画亭。兰花经雨白，野竹入云青。\n波影浮春砌，山光扑昼扃。褰衣对萝薜，凉月照人醒。\n元人一律。梁师正。\n款署 “梁诗正”，钤“梁诗正”白文印、“薌林”朱文印。引首钤“十二楼前侍从印”朱文椭圆形印。\n此幅书元王士熙《题玩芳亭五首》之一。梁诗正书法初学柳公权，后参以赵孟頫、文徵明，晚年师法颜真卿、李邕。此作笔画伸展，结字严紧，骨力矫健，集众家之长，得雍容俊拔之态。",[26,76,75,73,1575,280,654,1848,7,1849,1850,145],"山光","波","花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3553d66abb03032c0de31ff38bc875ed.jpg","纵129厘米，横56.8厘米",[153],20,{"id":1856,"slug":1857,"title":1858,"dynasty":175,"author":1859,"museum":20,"description":1860,"tags":1861,"thumbUrl":1863,"material":100,"size":100,"collection":100,"collections":1864,"showCount":1854,"zanCount":11,"manualWeight":11,"mainColor":121},238245,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238245","山静日长图册","张雨森","张雨霖，初名雨，字作霖，一字紫琅，号苍野，安徽当涂人，经子，工山水，得文家风韵。善泼墨，惜用墨皆渗以胶。亦善画花鸟。乾隆时曾供奉内廷。乾隆时供奉内廷，乾隆帝题其《山水图》有“悬之高堂六月凉，助我清兴生吟席”句，又题其《仿沈周山水图》“吴中沈周清狂客，雨森笔似人亦肖”句。画迹有摹燕文贵《江干雪霁图》卷，著录于《石渠宝笈初编》。",[23,25,66,65,28,380,70,67,181,112,7,1862,481],"路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F736080caf8a60380e1e550c8695a5962.jpg",[],{"id":1866,"slug":1867,"title":1868,"dynasty":175,"author":1869,"museum":20,"description":1870,"tags":1871,"thumbUrl":1872,"material":100,"size":1873,"collection":100,"collections":1874,"showCount":1854,"zanCount":11,"manualWeight":11,"mainColor":121},238026,"hong-ren-shan-shui-tu-ce-hong-ren-238026","弘仁山水图册","弘仁","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。",[23,25,380,27,28,70,181,112,7,242],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd878af4f1ee29a1194aa9d7c0a0456e.jpg","50×36",[],{"id":1876,"slug":1877,"title":1739,"dynasty":175,"author":1029,"museum":20,"description":1878,"tags":1879,"thumbUrl":1880,"material":100,"size":100,"collection":100,"collections":1881,"showCount":1854,"zanCount":11,"manualWeight":11,"mainColor":121},234203,"fang-mi-you-ren-yun-shan-tu-juan-cha-shi-biao-234203","查士标在《秋林暮霭图》的款识中曾说自己的山水画初学米芾，后学倪瓒，并且寻根求源，以自己的绘画实践追溯董、巨，从中探索绘画源流的发展变化。而创造米点山水的米芾和米友仁，他们在绘画上开创了水墨山水的新风尚，为了抒写胸臆而不求工细，即在董源水墨山水的基础上，挥洒出了江南烟雨空濛的景象。米芾长子米友仁，继承家学，作画尤其在于尽兴，自称“墨戏”。总体来看，“二米”山水多作江南平远景色，突破了前人运用线条表现峰峦、云水、树木的画格，另辟蹊径。山石不作轮廓，而用清水笔墨润泽出大概，再以淡墨渍染，然后用稍浓的墨笔破出并皴擦大体层次，趁笔墨尚湿之时再以大小错落的浓墨、焦墨横点叠垛。山体上部用墨稍浓，用笔较密，下部用墨稍淡，用笔较疏。云气以淡墨空勾并加以渲染。树木枝干多用浓墨一笔画出，以大浑点作叶。山脚坡岸用浓淡适中的水墨横扫，多数不加皴斫。整个过程显得随意而自然，表现出江南山水烟雨蒙眬、丘陵晦明、丛林隐现的意境，大大丰富了中国山水画的表现技法。这种新的山水风格，对元以后的水墨山水产生了较大影响。从目前所见画迹来看，查士标最早一幅仿米家山水的作品，是顺治十七年（1660）夏四月所作《山谷闲云图》。其题诗有云：“闲云无四时，散漫此山谷。\n幸乏霖雨姿，何妨媚幽独。”该幅作品完全仿学米氏云山，横点山、树之形，间及渲染，烟雨空濛之景跃然纸上。题诗也不乏自得之意，可以见出查士标在米家山水方面下过较大的功夫。除此之外，查士标临仿米家山水的作品尚有很多，如北京荣宝斋藏查士标康熙二年（1663）嘉平月六日夜作《云树江村图》、扬州市博物馆藏查士标康熙五年（1666）六月作《云山图》、故宫博物院藏查士标康熙十一年（1672）作《鹤林烟雨图》、山西省博物馆藏查士标康熙十三年（1674）秋天作《米家云山图》和故宫博物院藏查士标康熙十九年（1680）六月作《南山云树图》等，这些作品都是他学习米家山水的优秀代表。其中，扬州市博物馆所藏《云山图》，是查士标52岁时仿学米友仁《楚山清晚图》而作。该画主峰突起，衬以远山，近处桥屋树木，均寥寥数笔，然墨气淋漓，大有烟雨空濛之感。在作品中，查士标抓住了米友仁自称“墨戏”的特点—写意大于写形，因此在构图形式与笔墨变化上，较米友仁更为肆意潇洒。米友仁在画中以横点水墨的浓淡积染，分出山体的层次，试图摆脱轮廓线的束缚，但画中的墨点还是显得比较严谨、缜密，细察之下还有无形的轮廓线在羁绊着笔墨的灵动。而到了查士标这里，画面近乎泼墨，充分体现了他在用墨上的灵动变化。特别是上述故宫博物院藏其康熙十九年（1680）六月作《南山云树图》长卷，作品以“迷远法”构图，图中云雾占有大半。卷首云海弥漫，山峦隐约可见，远山坡脚随着云气的浮动变幻，逐渐显露，并重叠起伏地展开，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。",[63,23,27,64,917,70,179,7,181,478,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c02eb2b2d562b653515952d5eb03d8.jpg",[],{"id":1883,"slug":1884,"title":1885,"dynasty":275,"author":1886,"museum":20,"description":1887,"tags":1888,"thumbUrl":1889,"material":98,"size":99,"collection":100,"collections":1890,"showCount":1854,"zanCount":11,"manualWeight":11,"mainColor":121},231741,"an-tu-tao-shan-shi-dai-gui-tu-ping-feng-shou-ye-yong-de-231741","安土桃山时代 桧图屏风","狩野永德","狩野永德（1543年～1590年），日本画家。名州信，通称源四郎。1543年1月13日生于山越国（今京都），卒于1590年9月14日。他的传世作品还有《唐狮子屏风》、《桧图屏风》及《洛中洛外图屏风》等。",[63,24,23,25,290,66,70,181,113,112,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40c0049bfcdc4c1a73a70e15f916753b.jpg",[],{"id":1892,"slug":1893,"title":1894,"dynasty":175,"author":92,"museum":109,"description":1895,"tags":1896,"thumbUrl":1900,"material":1901,"size":1902,"collection":100,"collections":1903,"showCount":1854,"zanCount":203,"manualWeight":11,"mainColor":121},223366,"guang-xu-nian-jian-bai-duan-di-guang-xiu-san-yang-kai-tai-gua-ping-xin-yi-ming-223366","光绪年间白缎地广绣三阳开泰挂屏心","此挂屏心是在白色缎地上施五彩绣。画面中一轮红日高挂，草木葱郁，山石玲珑，3只羊嬉戏于湖边草地上，9只瑞鸟飞鸣栖息于花间树梢，展现出一派春光明媚、万物滋生的美好景象。作品采用了洒插针、辫子股针、扭针、刻鳞针、打籽针和风车针等针法，针工细密，有较强的立体感。三只羊形态各异，刻画逼真，羊身上用辫子股针绣成一圈圈凸起的圈线，颇具毛绒感。画面施以浅驼、驼、古铜、沉香、灰、驼黄、黄、绿、蓝、石青和大红等色，色彩艳而不俗，富于装饰性，充分体现了广绣独特的风格。\n此挂屏心的主题以“羊”与“阳”的谐音寓意“三阳开泰”，作为新年伊始的祝福。此为广绣的杰作。",[63,832,1897,307,66,1496,30,72,181,7,1898,1011,1421,1899,304],"广绣","太阳","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7ff1a6d481f46a46864196ab03a7f3b.jpg","屏心","高67厘米，宽52厘米",[],{"id":1905,"slug":1906,"title":1907,"dynasty":18,"author":92,"museum":140,"description":1908,"tags":1909,"thumbUrl":1910,"material":131,"size":1911,"collection":81,"collections":1912,"showCount":1854,"zanCount":11,"manualWeight":11,"mainColor":121},218735,"yun-pu-song-tao-tu-yi-ming-218735","云瀑松涛图","这幅画的题款是 宋人云瀑松涛，仔细一看，笔法剪裁得很好，岩石的结构似乎是学自郭熙，但总体上与宋人无关。",[63,23,25,70,66,28,666,7,182,112,71,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40ecd3a26247fdb733f50aa5412a65f3.jpg","22.6x27.5",[81],{"id":1914,"slug":1915,"title":1916,"dynasty":175,"author":92,"museum":20,"description":1917,"tags":1918,"thumbUrl":1923,"material":98,"size":99,"collection":100,"collections":1924,"showCount":1925,"zanCount":11,"manualWeight":11,"mainColor":86},248756,"hei-qi-qian-luo-dian-yun-long-wen-chang-fang-cuan-he-yi-ming-248756","黑漆嵌螺钿云龙纹长方攒盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[1919,1920,1921,29,7,832,1922],"漆器","嵌螺钿","黑漆","长方","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f2bc7ffc179cee3cb98288af19f3938.jpg",[],19,{"id":1927,"slug":1928,"title":1929,"dynasty":91,"author":1930,"museum":20,"description":1931,"tags":1932,"thumbUrl":1933,"material":100,"size":100,"collection":81,"collections":1934,"showCount":1935,"zanCount":11,"manualWeight":11,"mainColor":86},237695,"yun-shan-fang-guang-zhou-xiang-yuan-bian-237695","云山放光轴","项元汴","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。",[23,25,26,27,28,179,7,180,72,445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8320ab5ca362924ab59d1050aabcc8c.jpg",[81],18,{"id":1937,"slug":1938,"title":1939,"dynasty":18,"author":639,"museum":109,"description":1940,"tags":1941,"thumbUrl":1942,"material":668,"size":1943,"collection":100,"collections":1944,"showCount":1935,"zanCount":11,"manualWeight":11,"mainColor":86},234071,"shi-bi-kan-yun-tu-ye-ma-yuan-234071","石壁看云图页","此图为典型的南宋院派山水画风格的作品，构图简练，根据需要把自然山水理想化，选景皆为主题服务，给人以联想的空间.",[23,27,66,28,380,70,242,67,7,181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a3308367e3d067d9670be8e7a73643.jpg","23.7厘米，横：24厘米",[],{"id":1946,"slug":1947,"title":251,"dynasty":353,"author":523,"museum":20,"description":1948,"tags":1949,"thumbUrl":1950,"material":151,"size":1951,"collection":100,"collections":1952,"showCount":1935,"zanCount":11,"manualWeight":11,"mainColor":86},231593,"yun-shan-tu-gao-ke-gong-231593","在元六家中，高克恭虽不算家喻户晓，但许多人认为其作品无论是用墨还是笔法，都体现着元代绘画极高的艺术水准。虽带有异域血统，但他却凭借自己对汉文化的刻苦钻研，成为一代大师。\n高克恭是色目人，色目是当时对少数民族的统称，他与父辈在元朝时迁居至燕京。相传他生于哈萨克斯坦，异域血统让他连长相都有些与众不同。好友朱德润评价其为“高侯回纥长髯客，唾洒冰纨作秋色”。从后世流传的画像中，我们也能看到他卷发虬须、五官深邃，带有几分外国人的模样。\n作为古代少有的几位少数民族书画大师之一，高克恭在山水画方面造诣极高，包括董其昌、张大千在内的艺术家纷纷模仿其画作。其创作的《仿米氏山水手卷》以299万人民币的价格在2012年的北京春拍中成交，创下其个人作品最高成交纪录。\n“国朝名笔谁第一，尚书醉后妙无敌。”是人们评价高克恭的溢美之词。能被冠以如此高的评价不仅仅是因他对后世书画创作的影响，其在为人处世方面的成就让他在世人心中的形象进一步升华。\n高克恭从小就在父亲的引导下发奋学习，潜心研究各家经典。对他而言，书画创作从不是独取一家所长，而是在融会贯通中诞生出全新内涵。\n他初学米芾、米友仁的画风，后又吸收了董源、巨然作品中的用笔，将“点”的运用发挥到了极致。但在创作一段时间后，他发现这种画风只是一味地模仿前人，并不能真正地表达自己心目中的山水形象。\n在多次钻研且不断尝试后，高克恭发现画家李成笔下的山水是有“骨架”的。他选择引线入点，将三位大师的创作融合起来。这种表现手法既能凸显出江南云山烟树的朦胧缥缈，又能不失山川的挺峻硬朗之感。\n对当时的大多数书画家来说，米芾、董源、巨然等人是可望不可及的书画名家。人们争相学习，将其绘画手法奉为圭臬，又有几个人能提出反对意见？像高克恭这样，在发现问题后并加以改进的画家更是少之又少。有时，大师只比我们多了一份质疑。\n除了融合多家技法特点，高克恭的画作中还有几分西方画法的韵味。他的创作绝不仅仅是单凭印象，而是在仔细观察后动笔。在写实方面，西方画作凭借色彩变化、光影明暗表现画面，而中国山水画则靠用墨浓淡展现层次。\n高克恭便是山水画用墨的佼佼者。其开创“积点法”，以墨色渲染层次，表现山水意境。近代画家黄宾虹的积墨山水就是在此基础上发展而成。",[63,24,23,25,27,70,28,179,7,181,430,32,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20b1cdab788f221b5a3d716dbd9ef70e.jpg","32×63cm",[],{"id":1954,"slug":1955,"title":1956,"dynasty":91,"author":92,"museum":20,"description":1957,"tags":1958,"thumbUrl":1959,"material":100,"size":100,"collection":100,"collections":1960,"showCount":1935,"zanCount":11,"manualWeight":11,"mainColor":121},228382,"ming-gu-xiu-ba-xian-qing-shou-gua-ping-si-he-xian-gu-zhou-yi-ming-228382","明顾绣八仙庆寿挂屏（四）何仙姑轴","此件绣品取素绫为地，何仙姑卓立云涛间，眉目温婉娴静，身姿柔逸出尘。衣袂纹饰配色清雅柔和，针脚平齐细密，将衣物垂坠质感尽现。她手持的莲蓬花杖鲜亮灵动，枝头翎羽如生，鲜活别致。\n\n祥云以淡墨勾形，浅晕铺色，虚实晕染间漾出缥缈仙气。整作以绣代笔，融画理于针绣，施色雅致柔和，构图疏朗空灵，将何仙姑的仙家清婉风姿描摹尽致，尽显画绣相融的独特风韵，是仙佛题材绣作中的精巧佳构。",[23,25,26,303,66,67,7,32,95,1394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23bc9ce7f215e9ddb5a38c65af6fcc75.jpg",[],{"id":1962,"slug":1963,"title":1964,"dynasty":175,"author":1452,"museum":140,"description":1965,"tags":1966,"thumbUrl":1970,"material":1456,"size":1457,"collection":81,"collections":1971,"showCount":1935,"zanCount":11,"manualWeight":11,"mainColor":121},222844,"hua-wan-bang-sui-lv-tu-juan-hong-wu-222844","画万邦绥屡图卷","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。",[63,23,64,66,70,28,67,406,1496,1967,71,72,112,1421,1968,1969,7],"帐篷","牧童","牧民","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf84832b44c645958e870473163f5207.jpg",[81,83],{"id":1973,"slug":1974,"title":1975,"dynasty":91,"author":92,"museum":1668,"description":1669,"tags":1976,"thumbUrl":1977,"material":505,"size":100,"collection":100,"collections":1978,"showCount":1935,"zanCount":203,"manualWeight":11,"mainColor":86},222150,"fu-hui-dong-yi-ming-222150","赴会东",[63,23,505,95,66,65,67,7,1850,70,71,1040,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffedf582a554b3556230ac7d6e2ef4fa2.jpg",[],{"id":1980,"slug":1981,"title":1982,"dynasty":18,"author":1983,"museum":109,"description":1984,"tags":1985,"thumbUrl":1989,"material":151,"size":1990,"collection":153,"collections":1991,"showCount":1935,"zanCount":11,"manualWeight":11,"mainColor":121},221561,"cheng-nan-chang-he-shi-juan-quan-juan-di-yi-duan-zhu-xi-221561","城南唱和诗卷全卷第一段","朱熹","《城南唱和诗卷》，对章草笔意的运用达到了随心所欲、挥洒自如的境界。杨维桢把晋唐楷法和汉隶、章草、今草笔法融合在一起，故独有奇拙、古朴的趣味。所谓“矫杰横发”（李东阳）“狂怪不经”（徐有贞）“大将班师，三军奏凯。破斧缺斨，例载而归”（吴宽）就是指杨维桢书风中豪迈雄强、形态怪异、用笔粗放的特点。而这种激越奔放的气势，刀斫斧劈的雄强，正是筑基于章草笔法的渗入。\n此诗卷是朱熹为和张栻城南诗20首所作。张栻，字敬夫，号轩，张浚之子、宋代著名学者。居谭州（今长沙）。构城南书院，城南有风景20处、故题诗20首。朱孝宗乾道三年（公元1167年）八月，朱熹与张南轩游城市诸胜景，和南轩二十咏。时年朱熹38岁，此诗卷书写年代则较晚。此卷书法笔墨精妙，萧散简远，笔意从容，灵活自然，为朱熹传世佳作。明陆简《朱熹城甫唱和诗帖跋》云：“紫阳夫子平生讲道之功日不暇给，而于辞翰游戏之事亦往柱精诣绝人。评书家谓其书郁有道义之气、固耳。”",[63,76,75,64,1986,74,179,32,7,752,1238,73,180,1987,359,1575,1988,144,1580,1581,1164,69,666,1115,1704,1241,280,1574],"墨迹","林","桂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcb576060bbf9033850da273c683961f.jpg","纵31.5厘米横275.5厘米",[153],{"id":1993,"slug":1994,"title":1995,"dynasty":175,"author":1996,"museum":109,"description":1997,"tags":1998,"thumbUrl":2001,"material":100,"size":100,"collection":153,"collections":2002,"showCount":2003,"zanCount":11,"manualWeight":11,"mainColor":121},240036,"yuan-ji-shu-guang-ling-shu-xia-zuo-shi-shi-tao-240036","原济书广陵树下作诗","石涛","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。",[75,76,32,7,1999,73,179,1246,2000,181,393,74],"孤云","烟岚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff15ca7091459c0f80d077ebe7c568a8b.jpg",[153],17,{"id":2005,"slug":2006,"title":1037,"dynasty":175,"author":1720,"museum":20,"description":2007,"tags":2008,"thumbUrl":2009,"material":100,"size":100,"collection":81,"collections":2010,"showCount":2003,"zanCount":11,"manualWeight":11,"mainColor":121},237872,"yun-shan-tu-zhou-wang-jian-237872","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[23,25,26,27,28,70,7,179,181,478,113,73,481,112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d4f86feecf65a9d018a086dddca5822.jpg",[81,118],{"id":2012,"slug":2013,"title":2014,"dynasty":91,"author":1740,"museum":20,"description":2015,"tags":2016,"thumbUrl":2017,"material":98,"size":99,"collection":100,"collections":2018,"showCount":2003,"zanCount":11,"manualWeight":11,"mainColor":121},235801,"yun-shan-shan-chen-chun-235801","云山扇","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。",[457,27,70,7,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b562831a2df6fa625f5c50d7e6bba2c.jpg",[],{"id":2020,"slug":2021,"title":2022,"dynasty":175,"author":903,"museum":109,"description":2023,"tags":2024,"thumbUrl":2025,"material":382,"size":100,"collection":100,"collections":2026,"showCount":2003,"zanCount":11,"manualWeight":11,"mainColor":121},234306,"hua-luo-han-ce-leng-mei-234306","画罗汉册","清代宫廷画家冷枚画罗汉册20开，每开右侧有张照题字，故宫博物院藏。\n冷枚（约1669-1742），字吉臣，号金门画史，山东胶州人，焦秉贞弟子。善画人物、界画，尤精仕女。所画人物工丽妍雅，笔墨洁净，色彩韶秀，其画法兼工带写，点缀屋宇器皿，笔极精细，亦生动有致。\n张照（1691-1745），字得天、长卿，号泾南、梧窗、天瓶居士，清松江府娄县人。康熙四十八年（1709）进士，官至刑部尚书。书法早年学董其昌，得母舅王鸿绪亲授；后又学米芾，并受赵孟頫较大影响。但不一意守师法，而是努力创新，特别是率真之作，更显得变化多端，精彩动人。",[24,23,25,380,65,66,730,95,67,962,7,112,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ffa5f662044fc7647ba37921698a2ec.jpg",[],{"id":2028,"slug":2029,"title":2030,"dynasty":91,"author":2031,"museum":109,"description":2032,"tags":2033,"thumbUrl":2034,"material":151,"size":100,"collection":100,"collections":2035,"showCount":2003,"zanCount":11,"manualWeight":11,"mainColor":121},234179,"wen-jia-fang-mi-yun-shan-tu-juan-wen-jia-234179","文嘉仿米云山图卷","文嘉","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。”",[63,23,25,64,917,27,28,70,179,7,32,75,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc34426a88d7b44a9134580564d722f8.jpg",[],{"id":2037,"slug":2038,"title":2039,"dynasty":91,"author":1099,"museum":109,"description":2040,"tags":2041,"thumbUrl":2042,"material":1652,"size":2043,"collection":100,"collections":2044,"showCount":2003,"zanCount":11,"manualWeight":11,"mainColor":121},234049,"mu-yun-shi-yi-tu-shan-ye-xie-shi-chen-234049","暮云诗意图扇页","图绘暮色笼罩下的百花潭烟云缭绕的景致。此图为水墨写意画，运笔飞写自如，气贯笔锋，刚健洒脱。用墨富于变化，浓淡相衬。构图虚实相应，物象间层次清晰，又浑然一体。从右向左横贯画扇中部的云雾以其空灵、多变既增加了画面的高远感，又增加了深远感，同时盘活了整个画面的气韵，使之具有行云流水般的生气。",[23,25,457,27,28,70,71,112,7,74,75,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F848c425ef828e37833c6cdd2189b899a.jpg","纵18.5厘米，横50.7厘米",[],{"id":2046,"slug":2047,"title":2048,"dynasty":275,"author":92,"museum":20,"description":2049,"tags":2050,"thumbUrl":2053,"material":98,"size":99,"collection":100,"collections":2054,"showCount":2003,"zanCount":11,"manualWeight":11,"mainColor":86},231643,"shi-ting-shi-dai-jiu-tu-ping-feng-di-1-ping-yi-ming-231643","室町时代 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云痴不舍峰，雨到先鸣树。\n涧口归渔人，林端起群鹜。\n浑脱房山法，妙蕴丹阳句。\n伫待吟溟濛，遥天镇微露。\n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。",[63,23,25,64,27,70,179,7,181,182,72,183,331,582,112,480,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62cdb96f4e97e9b848732bd4506f3fe0.jpg",[],{"id":2290,"slug":2291,"title":2292,"dynasty":275,"author":92,"museum":20,"description":2293,"tags":2294,"thumbUrl":2298,"material":98,"size":99,"collection":100,"collections":2299,"showCount":2274,"zanCount":11,"manualWeight":11,"mainColor":121},230776,"qing-hua-ba-xian-qing-shou-da-bi-tong-yi-ming-230776","青花八仙庆寿大笔筒","青花瓷（blue and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[2295,2296,67,7,95,2297],"陶瓷","青花","庆寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6e6b7db99b044aad4d0ac3ec41398b3.jpg",[],{"id":2301,"slug":2302,"title":2303,"dynasty":18,"author":92,"museum":738,"description":2304,"tags":2305,"thumbUrl":2306,"material":79,"size":2307,"collection":100,"collections":2308,"showCount":2274,"zanCount":11,"manualWeight":11,"mainColor":86},223378,"shi-liu-ying-zhen-du-hai-tu-juan-yi-ming-223378","十六应真渡海图卷","文中斯别开生面。形状奇怪夙所称，耳熟闻之目新见。苍鳞若龙若非龙，擎爪来闻法以现。第一。据树坐椸钵多罗，鸦鹊来餐香积饭。第二。飘然白鹤驾以降，屈眴七条披已惯。第三。数珠在手。第四。把明珠。第五。自摇箑其貌颟顸。第六。端立左铃而右杵。第七。扶童者迵顾彼崖。第八。是皆渡海履水物。水物狰狞名不辨。拍持具叶。第九。促舍汉。第十。白泽曳轮坐以晏。别有袖手乘骞槎。第十一。相参法喜作佳伴。据石入定若无人。第十二。牛哀跪伏如猫豢，傍见共谘二大士，其一默坐。第十三。一持扇。第十四。似步而迥更迥，第十五。臃肿披缁目光炫。第十六。跏趺相对谈二禅。云空。第十七。云色。第十八。色空幻，是为不二法之宗。绣居士说法编，向曾韵统考同文。位号次第订梵汉。莆田愚者不羁士。传神何碍后前舛。长歌笑我尚拘墟。山阴讶似镜中按。乾隆乙巳（1785）仲秋，御题。",[63,23,24,64,730,27,95,67,279,30,112,71,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fbfb5332900a9dfc823e81b021913cf.jpg","29X322",[],{"id":2310,"slug":2311,"title":2312,"dynasty":175,"author":2313,"museum":20,"description":2314,"tags":2315,"thumbUrl":2316,"material":66,"size":100,"collection":100,"collections":2317,"showCount":2274,"zanCount":11,"manualWeight":11,"mainColor":121},223131,"qun-xian-tu-ren-xun-223131","群仙图","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。\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。\n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。\n任薰作品在香港拍卖较多，1986年即有作品参加拍卖，1986年5月一件《双钩花鸟册》（共十二张）卖到45000港元。1989年5月又拍卖过两幅作品，一幅扇面《钟馗》以24200港元成交，另一幅《秋景山水》轴也是24000港元。1990年11月拍卖的一件《花卉草虫画集》册页价格偏低，只有17600港元，第二年9月是一件册页则达到12万港元，这是一件八开山水人物册页，山水人物比他的花卉草虫要珍贵得多。\n任薰作品也在纽约拍卖，1989年拍卖的《人物》四屏立轴卖到18700美元，1990年11月拍卖的一幅《仕女》扇面是1540美元。1992年6月纽约苏富比公司又推出两幅任薰作品，一为山水轴（128.6*60.3），作于1876年，估价不高，为1200－1500美元，以1700美元成交。另一幅人物轴（92.7*41.3公分）由于起价太高而未拍出。",[63,23,25,66,65,67,70,344,71,30,7,478,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a6b02a2a93b694310e08a39e6c70fa4.jpg",[],{"id":2319,"slug":2320,"title":2321,"dynasty":175,"author":2322,"museum":20,"description":2323,"tags":2324,"thumbUrl":2329,"material":98,"size":99,"collection":100,"collections":2330,"showCount":2331,"zanCount":11,"manualWeight":11,"mainColor":121},240410,"deng-shi-ru-xin-zhou-shi-zhou-deng-shi-ru-240410","邓石如新洲诗轴","邓石如","邓石如 1743-1805。安徽怀宁人。单名邓琰，字石如，因避讳以字行，又字顽伯、号完白山人、完白山民、古浣、古浣子、游笈道人，又有凤水渔长、龙山樵长、顽道人。斋堂为铁砚山房。布衣。少好篆刻，为寿州寿春书院诸生，後客梅鏐府，因得纵观历代吉金石刻，徠用洎功頭樤八年，遂工四体书。篆法以二李为宗，而纵横阖辟之妙则得之史籀，稍参隶意，杀锋以取劲折，分书则遒丽淳质，变化不可方物，结体极严整而浑融天迹。篆刻初宗二汉，後以小篆入印，刀法圆转苍。",[75,26,2325,144,1238,1789,2326,2327,2328,7,32,1115,74],"隶书","沙","城","木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f5fd049f5e081db1b2468fc63d1e1b9.jpg",[],12,{"id":2333,"slug":2334,"title":2335,"dynasty":91,"author":92,"museum":20,"description":2336,"tags":2337,"thumbUrl":2338,"material":98,"size":99,"collection":100,"collections":2339,"showCount":2331,"zanCount":11,"manualWeight":11,"mainColor":121},238577,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238577","明人升平翊赞图并书赞册","这幅作品以山海分野铺陈画面，左畔怒涛卷雪，水怪与神兵于浪尖缠斗翻涌，波谲云诡间尽显征伐张力；右列仪卫整肃，旌旗猎猎，神将冠服严整端凝，满是安邦肃穆之气。\n\n设色华贵明丽，赤金与青绿撞色浓烈却谐和，线条铁画银钩，既绘出惊涛奔涌的动感，又将仪卫威仪刻画入微。以神魔靖海的图景暗喻绥疆平乱，把征伐的惊险与受降的庄穆并置，将庙堂祈愿的升平藏于奇幻工致的院体笔墨中，笔底皆是护国安澜的恢弘叙事。",[23,25,380,65,66,67,31,112,71,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F902b103254387191a4e0bc0f152e6f24.jpg",[],{"id":2341,"slug":2342,"title":2343,"dynasty":91,"author":2344,"museum":20,"description":2345,"tags":2346,"thumbUrl":2347,"material":100,"size":100,"collection":100,"collections":2348,"showCount":2331,"zanCount":11,"manualWeight":11,"mainColor":86},237891,"ba-xian-tu-zhou-zheng-wen-lin-237891","八仙图轴","郑文林","郑文林，号颠仙，明代画家，闽侯（今属福建）人。生卒年不详。活动时期约在嘉靖间（1522—1566）。工山水、人物，与汪肇、钟礼、张路等均为浙派后期名家。继蒋嵩之后，多用焦墨枯笔，点染粗豪，板重颓放，尤其是人物。《图绘宝鉴续纂》卷一以颠仙与袁尚统（字叔明，苏州人）并列一条目，谓两人“画人物俱野放”，并被吴派讥评为“狂邪”，其实颠仙所作有其独特风格。\n传世作品有《二仙图》轴、《女仙图》轴，现均藏中央美术学院；《群仙图》轴藏广州美术馆；《牧人瑞梦图》轴藏美国高居翰景元斋；《渔童吹笛图》轴、《柳荫人物图》轴均流入日本。图1以泼墨侧锋，拖泥带水，尽情挥写乱石老柳，以细碎之笔，密点柳叶，疾写杂草。人物造型，偏头斜目，举止怪诞，神情诙谐，更以颤笔写衣纹，颠狂之气，跃然画外。此幅图吸取牧溪、梁楷天然之趣，而舍浙派生硬之弊，构成此图动人的艺术特点。",[23,25,26,67,95,66,65,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F992b234331038a7f652c8fbf536d1a1d.jpg",[],{"id":2350,"slug":2351,"title":2352,"dynasty":175,"author":1996,"museum":109,"description":2353,"tags":2354,"thumbUrl":2357,"material":382,"size":2358,"collection":100,"collections":2359,"showCount":2331,"zanCount":11,"manualWeight":11,"mainColor":121},233774,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233774","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。",[23,25,380,27,66,70,2225,2355,2356,67,1573,7,1899,76,547,28],"亭子","菊花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ca4420878f973ed6cbf1457c2815973.jpg","纵27厘米，横21.3厘米",[],{"id":2361,"slug":2362,"title":2363,"dynasty":353,"author":92,"museum":20,"description":2364,"tags":2365,"thumbUrl":2366,"material":100,"size":100,"collection":100,"collections":2367,"showCount":2331,"zanCount":11,"manualWeight":11,"mainColor":86},231911,"luo-han-tu-di-shi-zun-zhe-ming-ban-tuo-jia-yi-ming-231911","罗汉图（第十尊者名半托迦）","注荼半托迦尊者者生性愚钝，常因背不下经而遭嘲笑， 但他却坚定不移地修持佛法，终成阿罗汉果。释迦牟尼将他说成是改变他人观念的比丘中最杰出的一位。注荼半托迦尊者双手作禅定印，结跏趺坐于山石卜，神情专注。座前是怀抱小狮戏耍雄狮的侍者。树间化现金刚手菩萨和阿底峡大师。",[23,25,26,95,66,67,7,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d69a3c64c7094b1bbe1a0ccbe1a8826.jpg",[],{"id":2369,"slug":2370,"title":2371,"dynasty":175,"author":1561,"museum":20,"description":2372,"tags":2373,"thumbUrl":2374,"material":98,"size":99,"collection":100,"collections":2375,"showCount":2331,"zanCount":11,"manualWeight":11,"mainColor":86},224425,"yun-feng-shu-se-tu-zhou-zhuang-biao-wang-shi-min-224425","云峰树色图轴（装裱）","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。",[63,23,25,26,66,404,28,70,917,179,7,181,666,180,113,481,292],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb013ea1a092bbe1e7b0683866b99698e.jpg",[],{"id":2377,"slug":2378,"title":2379,"dynasty":175,"author":2380,"museum":140,"description":2381,"tags":2382,"thumbUrl":2385,"material":151,"size":2386,"collection":153,"collections":2387,"showCount":2388,"zanCount":11,"manualWeight":11,"mainColor":121},240710,"shi-juan-liu-yong-240710","诗卷","刘墉","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。",[63,75,76,64,74,654,70,144,1172,2356,2383,2384,1115,147,7,1850],"星","火","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb205c3850b765c4e2b6b30fd470f7041.jpg","金笺22.5x232cm",[153],11,{"id":2390,"slug":2391,"title":2392,"dynasty":175,"author":2393,"museum":20,"description":2394,"tags":2395,"thumbUrl":2396,"material":100,"size":100,"collection":81,"collections":2397,"showCount":2388,"zanCount":11,"manualWeight":11,"mainColor":86},238535,"shan-shui-xiao-ce-qian-wei-cheng-238535","山水小册","钱维城","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。",[23,25,380,27,28,70,179,32,181,7,430,112,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd10b34553d9b8d1d07a3932b261aec8c.jpg",[81,118],{"id":2399,"slug":2400,"title":2352,"dynasty":175,"author":1996,"museum":109,"description":2353,"tags":2401,"thumbUrl":2402,"material":382,"size":2358,"collection":100,"collections":2403,"showCount":2388,"zanCount":11,"manualWeight":11,"mainColor":121},233776,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233776",[23,25,380,66,70,67,430,71,112,7,75,76,74,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4915b7fd405c9234966f025821e03ed9.jpg",[],{"id":2405,"slug":2406,"title":2407,"dynasty":91,"author":1201,"museum":20,"description":2408,"tags":2409,"thumbUrl":2410,"material":100,"size":100,"collection":100,"collections":2411,"showCount":2388,"zanCount":11,"manualWeight":11,"mainColor":121},228910,"tian-dou-xiao-ri-tu-ding-yun-peng-228910","天都晓日图","此作全景铺展山岳胜境，远景群峰刺破晓雾，朝日晕染出暖红云色，嶙峋峰峦间银瀑垂落，汇入翻涌云海。中下部以苍劲笔法绘虬松怪石，古松盘曲交错，松针层叠蓊郁，谷中流云如浪，晕出缥缈仙气。溪涧蜿蜒穿林，文士临流闲坐，幽意悠然。\n\n画作工写兼备，设色清雅沉稳，山石勾勒皴擦尽显苍朴质感，云霞以卷云法绘就柔润灵动，既撷取黄山奇崛之态，又融入文人隐逸山居的雅趣，是明代山水画里实景写生与抒情写意相融的精妙之作。",[63,23,26,70,66,65,28,179,182,7,458,183,67,71,480,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10a01ea600daad7995372d79e13f6114.jpg",[],{"id":2413,"slug":2414,"title":2415,"dynasty":91,"author":92,"museum":20,"description":93,"tags":2416,"thumbUrl":2417,"material":98,"size":99,"collection":100,"collections":2418,"showCount":2388,"zanCount":11,"manualWeight":11,"mainColor":86},228406,"di-shi-dong-yi-ming-228406","帝释东",[23,65,66,95,67,7,409,1394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facffa2febf11f22c318ed51cdf3bd943.jpg",[],{"id":2420,"slug":2421,"title":2422,"dynasty":275,"author":2423,"museum":20,"description":2424,"tags":2425,"thumbUrl":2432,"material":98,"size":99,"collection":1424,"collections":2433,"showCount":2388,"zanCount":11,"manualWeight":11,"mainColor":121},226085,"the-old-rue-de-la-chaussee-argenteuil-1872-mo-nai-226085","The Old Rue de la Chaussee, Argenteuil, 1872","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[1414,2426,2427,2428,2429,430,67,1420,2430,7,2431],"印象派","外光","笔触","街道","土路","日光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d9720b916f795a04f7872360a160d7a.jpg",[1424],{"id":2435,"slug":2436,"title":2437,"dynasty":175,"author":2438,"museum":20,"description":2439,"tags":2440,"thumbUrl":2441,"material":98,"size":99,"collection":100,"collections":2442,"showCount":2388,"zanCount":11,"manualWeight":11,"mainColor":40},224130,"fu-luo-han-kanakavatsa-tang-ka-224130","佛罗汉Kanakavatsa","唐卡","唐卡（Thang-ga）也叫唐嘎，唐喀，系藏文音译，指用彩缎装裱后悬挂供奉的宗教卷轴画。唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。\n唐卡是藏族文化中一种独具特色的绘画艺术形式。具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，用明亮的色彩描绘出神圣的佛的世界；颜料传统上是全部采用金、银、珍珠、玛瑙、珊瑚、松石、孔雀石、朱砂等珍贵的矿物宝石和藏红花、大黄、蓝靛等植物为颜料以示其神圣。这些天然原料保证了所绘制的唐卡色泽鲜艳，璀璨夺目，虽经几百年的岁月，仍是色泽艳丽明亮。因此被誉为中国民族绘画艺术的珍品，被称为藏族的”百科全书”也是中华民族民间艺术中弥足珍贵的非物质文化遗产。\n传统唐卡的绘制要求严苛、程序极为复杂，必须按照经书中的仪轨及上师的要求进行，包括绘前仪式、制作画布、构图起稿、着色染色、勾线定型、铺金描银、开眼、缝裱开光等一整套工艺程序。制作一幅唐卡用时较长，短则半年完成，长则需要十余年。",[95,66,65,67,181,112,7,30,928,404],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F104cace312feb421db8b1985ddc37e4b.jpg",[],{"id":2444,"slug":2445,"title":2446,"dynasty":91,"author":1201,"museum":20,"description":2447,"tags":2448,"thumbUrl":2449,"material":34,"size":100,"collection":100,"collections":2450,"showCount":2388,"zanCount":11,"manualWeight":11,"mainColor":121},217045,"bai-miao-ying-zhen-tu-14-ding-yun-peng-217045","白描应真图-14","丁云鹏是明朝时期的著名画家，他的白描应真图是一种具有代表性的画风。白描应真图是一种画风，它采用的是白色笔触描绘轮廓，然后使用墨色来填充和渲染图案。这种画风通常用于描绘自然风景、建筑物和人物，其中白色笔触代表着阳光和光影，而墨色则用来表示颜色和细节。丁云鹏的白描应真图具有鲜明的对比和丰富的视觉效果，它们也因其精确的再现和细腻的笔触而备受赞赏。",[23,25,64,95,343,730,67,29,7,622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa28c29db30895a5c6ff31b7affc79fcf.jpg",[],{"id":2452,"slug":2453,"title":2454,"dynasty":91,"author":1354,"museum":20,"description":2455,"tags":2456,"thumbUrl":2457,"material":199,"size":100,"collection":100,"collections":2458,"showCount":2388,"zanCount":11,"manualWeight":11,"mainColor":86},216317,"xi-xiang-ji-zhen-ben-tu-ce-4-chen-hong-shou-216317","西厢记真本图册-4","画面分作两帧，左帧云雾如絮漫卷，山石嶙峋似卧，墨线勾勒的云气与简笔丘壑相映，晕开空濛之韵；右帧闺阁深深，女子凭窗凝睇，衣袂轻垂间线条如铁线缠枝，刚柔相济。她鬓发高挽，神情温婉却藏着一丝怅惘，窗前栏杆与室内陈设皆简笔勾勒，却见匠心。整幅画古雅奇崛，山水的疏淡与人物的工致相映，将西厢故事里的幽微心绪，凝在这一纸墨痕中。每一笔都透着古拙的意趣，人物情态与自然景致交融，似能窥见那段缠绵故事里的片刻静思。",[23,25,380,730,343,67,68,242,7,344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1026ffdb44986e871987f8d0db8b221.jpg",[],{"id":2460,"slug":2461,"title":2462,"dynasty":175,"author":92,"museum":20,"description":2293,"tags":2463,"thumbUrl":2466,"material":98,"size":99,"collection":100,"collections":2467,"showCount":2468,"zanCount":11,"manualWeight":11,"mainColor":2469},258737,"jia-qing-kuan-huang-di-qing-hua-yun-long-wen-zhi-chui-shi-ping-yi-ming-258737","嘉庆款黄地青花云龙纹纸槌式瓶",[2295,832,2296,2464,2465,29,7,66,1394],"黄地","云龙纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14109e540c23977c1954357d3febff2c.jpg",[],10,"2A56C6",{"id":2471,"slug":2472,"title":2473,"dynasty":91,"author":92,"museum":20,"description":2293,"tags":2474,"thumbUrl":2475,"material":98,"size":99,"collection":100,"collections":2476,"showCount":2468,"zanCount":11,"manualWeight":11,"mainColor":40},257274,"jia-jing-kuan-qing-hua-long-feng-yun-he-wen-wan-yi-ming-257274","嘉靖款青花龙凤云鹤纹碗",[622,2295,2296,29,1078,7,393,1394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2463ccab179ec9b0140abebfc7073919.jpg",[],{"id":2478,"slug":2479,"title":2480,"dynasty":353,"author":2481,"museum":109,"description":2482,"tags":2483,"thumbUrl":2487,"material":151,"size":2488,"collection":153,"collections":2489,"showCount":2468,"zanCount":11,"manualWeight":11,"mainColor":121},239623,"wu-gu-shi-tie-ye-zhang-yuan-239623","五古诗帖页","张渊","释文：\n云卧三十年，好闲复爱仙。蓬壶虽冥绝，鸾鹤心悠然。归来桃花岩，得憩云窗眠。对岭人共语，饮潭猿相连。时升翠微上，邈若罗浮巅。两岑抱东壑，一嶂横西天。树杂日易隐，崖倾月难圆。芳草换野色，飞萝摇春烟。入远构石室，选幽开山田。独此林下意，杳无区中缘。永辞霜台客，千载方来檐。用拙斋书。\n钤“张氏清夫”印。鉴藏印钤“仪周鉴赏”、“莲樵鉴赏”、“景贤”、“谭氏区斋书画之章”等10方。\n张渊书法学赵孟頫，用笔结字亦步亦趋，形神兼备，有相当的功力。此帖学赵孟頫中年书体，笔画清健，笔力圆劲，结体方阔，点画精美，翩翩有致。",[76,75,2267,74,27,2110,1234,179,2484,1243,679,928,1246,1238,1165,393,2485,180,7,2486,145,280],"田","潭","峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F724ec50f12966d6fdc1a11a385cc48b9.jpg","纵27.4厘米, 横52.7厘米",[153],{"id":2491,"slug":2492,"title":2335,"dynasty":91,"author":92,"museum":20,"description":2493,"tags":2494,"thumbUrl":2495,"material":98,"size":99,"collection":100,"collections":2496,"showCount":2468,"zanCount":11,"manualWeight":11,"mainColor":121},238574,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238574","此作以工笔重彩铺展神界仪典：右侧巨象驮龙踏浪而行，绯云漫卷海天，朝日熔金于沧溟之上。左侧主尊为宝幡明烛簇拥，甲胄神将踏云列阵，煊赫仪仗有序排布，下方水神蛟众逐浪随行。\n设色浓丽古雅，线条劲细流畅，以云涛分割场景，将天神巡临、水族迎候的恢宏场面铺陈开来。仙云柔婉舒卷，浪涛层叠带势，神兽威仪俨然，人物衣冠华整，仪仗森然尽显神界庄严雍容，将升平祥瑞之意蕴藏于山海云涛之间，尽显天界巡游的煊赫气象与山海灵韵。",[23,66,65,380,95,29,67,7,32,928],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffe8f349a67ede1d707df1efbbe08115.jpg",[],{"id":2498,"slug":2499,"title":2500,"dynasty":91,"author":92,"museum":20,"description":93,"tags":2501,"thumbUrl":2502,"material":98,"size":99,"collection":100,"collections":2503,"showCount":2468,"zanCount":11,"manualWeight":11,"mainColor":86},228416,"fu-hui-dong-quan-tu-yi-ming-228416","赴会东全图",[23,66,65,95,67,70,71,1040,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b687fd5235dc9913210ece4e58eb6fc.jpg",[],{"id":2505,"slug":2506,"title":2507,"dynasty":18,"author":92,"museum":20,"description":2508,"tags":2509,"thumbUrl":2512,"material":98,"size":99,"collection":100,"collections":2513,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":86},289440,"guan-yun-tu-yi-ming-289440","观云图","这幅小品以边角取景，暮色昏沉里，墨色晕染开氤氲云烟，将天地晕成一派幽寂朦胧。左侧高台朱栏隐现，隐约可见人影凭栏远眺，似在静看流云舒展、山岚轻移。右侧危峰兀立，林舍错落于山脚，远山在烟霭里淡成一抹浅痕，虚实相映间尽显空灵悠远。\n\n全作用墨苍润柔和，以简淡笔意勾勒出暮色观云的清寂氛围，将寄情山水、静观天地的雅致襟怀融于尺幅之间，把片刻悠然闲思永久定格，氤氲着静谧淡远的古典意趣。",[23,290,343,27,344,596,7,2510,2511],"古建","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0705d23c95cd7cabb9f8c7c23e6b37fb.jpg",[],{"id":2515,"slug":2516,"title":2517,"dynasty":175,"author":92,"museum":20,"description":2518,"tags":2519,"thumbUrl":2524,"material":98,"size":99,"collection":100,"collections":2525,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":86},272851,"zi-tan-mu-bian-zuo-qian-fa-lang-tao-he-tu-cha-ping-yi-ming-272851","紫檀木边座嵌珐琅桃鹤图插屏","黑地映出莹润饰纹，仙气满溢。浮空仙阁静立云涛之上，丹鹤振翅穿云，灵动翩跹。下方仙山生奇木灵草，仙人袂带飘飘，乘云往来，仿若携着袅袅清辉。\n\n整器构图主次分明，流云缠绕串联画面，将缥缈仙境铺陈眼前。镶嵌工艺精巧入微，莹白饰件在乌木底色映衬下愈显雅致，将道家超凡意境具象呈现，尽显古人对长生仙境的向往，是工艺美学与仙道雅趣融合的精妙之作，藏着清代造物的极致巧思。",[2520,2521,2522,73,393,7,344,442,2523],"插屏","木质","珐琅器","工艺品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9e1044d0c1507e92e0e46d1cba283bf.jpg",[],{"id":2527,"slug":2528,"title":2529,"dynasty":2530,"author":92,"museum":20,"description":2531,"tags":2532,"thumbUrl":2535,"material":98,"size":99,"collection":100,"collections":2536,"showCount":85,"zanCount":203,"manualWeight":11,"mainColor":121},248931,"cai-hui-qi-yun-long-wen-yuan-pan-yi-ming-248931","彩绘漆云龙纹圆盘","汉","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。",[2533,1919,2534,66,29,7,1394],"汉代","彩绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6e8597fc34312e358ecbd77b8e6a0e5.jpg",[],{"id":2538,"slug":2539,"title":2540,"dynasty":175,"author":2541,"museum":20,"description":2542,"tags":2543,"thumbUrl":2549,"material":98,"size":99,"collection":100,"collections":2550,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":121},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。",[25,75,2544,74,2545,2546,2547,71,69,1242,179,1580,2356,32,7,2327,2548],"行楷","海门","津门","园林","丹丘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1bcce9a43123efbbaf561503896286f.jpg",[],{"id":2552,"slug":2553,"title":2554,"dynasty":175,"author":2555,"museum":20,"description":2556,"tags":2557,"thumbUrl":2559,"material":98,"size":99,"collection":100,"collections":2560,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":86},241315,"wu-lv-zhou-dai-ming-shuo-241315","五律轴","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。",[25,75,26,76,74,7,752,740,393,654,2558],"五岳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb59a841e4fcb1d3b6d4a28a2f9e2fb23.jpg",[],{"id":2562,"slug":2563,"title":2564,"dynasty":91,"author":2565,"museum":20,"description":2566,"tags":2567,"thumbUrl":2570,"material":98,"size":99,"collection":100,"collections":2571,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":121},241149,"xin-chun-deng-shi-han-zhu-zhan-ji-241149","新春等诗翰","朱瞻基","明宣宗朱瞻基（1399年3月16日－1435年1月31日），号长春真人，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”。\n明宣宗朱瞻基生于北平燕王府。幼年聪颖，深得祖父朱棣喜爱。永乐九年（1411年），册立为皇太孙，多次跟随明成祖朱棣征讨蒙古。洪熙元年（1425年）即位。宣德元年（1426年），平定汉王朱高煦叛乱。在政治上，重视整顿吏治和财政，提升内阁地位，任用“三杨”、蹇义、夏原吉等；教导宦官读书参政。经济上，实行休养生息，缓和社会矛盾的措施。对外关系上，进行第七次郑和下西洋；停止用兵交趾；于宣德三年（1428年）出塞，并修建永宁、隆庆诸城。明宣宗的一系列措施使得社会经济空前的发展，与其父明仁宗统治时期合称“仁宣之治”。同时明宣宗在书画方面极有造诣，翰墨图书，极为精致。“点墨写生，遂与宣和（宋徽宗）争胜”，书法能于圆熟之外见遒劲。工于绘事，山水、人物、走兽、花鸟、草虫均佳，曾钤“广运之宝“、”武英殿宝”及“雍熙世人”等印章。\n宣德十年（1435年），明宣宗去世，终年三十六岁，庙号宣宗，谥号宪天崇道英明神圣钦文昭武宽仁纯孝章皇帝，葬于景陵。著《明宣宗御制乐府》一卷，至今已佚，存词二首。传位长子朱祁镇。",[63,75,76,64,74,752,1238,1115,1850,179,32,2568,7,928,2569],"天","地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7be7a94c8a0c1162eee63a9d2c0330ac.jpg",[],{"id":2573,"slug":2574,"title":2575,"dynasty":91,"author":2576,"museum":20,"description":2577,"tags":2578,"thumbUrl":2582,"material":98,"size":99,"collection":100,"collections":2583,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":121},240667,"zhuan-shu-chun-jiang-qu-shi-zhou-wang-qi-shu-240667","篆书春江曲诗轴","汪启淑","汪启淑（1728-1799）字秀峰，号讱庵，一字慎仪。自称“印癖先生”。清著名藏书家、金石学家、篆刻家安徽歙县人，居于杭州。家以经商致富，遂捐官为工部都水司郎中，迁至兵部郎中。喜交友，与厉鹗、杭世骏、朱樟结“南屏诗社”。嗜古代印章，曾搜罗周代、秦代迄宋、元、明各朝印章数万钮。又精纂刻，在巨珠上刻篆文，以补诸品中所未备。",[77,75,26,74,144,1115,2579,2383,2580,1334,928,1243,2581,145,7],"浪","杨花","鸥鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2886693bfc35e9ee748bceda1b07557.jpg",[],{"id":2585,"slug":2586,"title":426,"dynasty":91,"author":2587,"museum":140,"description":2588,"tags":2589,"thumbUrl":2590,"material":151,"size":100,"collection":81,"collections":2591,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":86},237432,"shan-shui-ce-jiang-qian-237432","蒋乾","蒋嵩，字三松，号徂来山人、三松居士，江宁（今江苏南京）人。生卒年不详，从艺活动约在成化、嘉靖间。善画山水人物，画法宗吴伟，为浙派名家之一。喜用焦墨枯笔，亦善用淡墨，浓淡相间，浑然一体，如《渔舟读书图》，山石多用大片湿墨，颇见功力，虽尺幅山水，却云蒸雾变，烟霞触目。亦工人物，与郑文林、钟礼、张路等都是浙派晚期名手。又因他们纵笔豪放，多越矩度，曾被吴派讥为「狂态邪学」。",[23,66,70,380,67,458,344,478,7,179],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd29fe2b50889a5b1d4e8f2b7c75fef4c.jpg",[81,83],{"id":2593,"slug":2594,"title":2595,"dynasty":175,"author":948,"museum":949,"description":950,"tags":2596,"thumbUrl":2599,"material":79,"size":954,"collection":100,"collections":2600,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":121},222917,"hong-lou-meng-42-sun-wen-222917","红楼梦42",[63,832,23,65,66,67,344,2597,112,444,2598,71,7],"芭蕉","窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1046085ff2b6d5f0b337935821daf21c.jpg",[],{"id":2602,"slug":2603,"title":2604,"dynasty":175,"author":92,"museum":109,"description":2605,"tags":2606,"thumbUrl":2610,"material":66,"size":100,"collection":100,"collections":2611,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":121},217313,"gu-xiu-wu-shi-san-can-tu-ce-4-yi-ming-217313","顾绣·五十三参图册-4","这幅顾绣作品以针代笔，将修行场景凝于丝缕间。一侧鹿踏祥云，老者衣袂翩跹，童子紧随；另一侧行者戴笠持杖，缓步郊野，童子仰头望之，神态毕肖。绣线劈丝如发，设色雅致温润，人物动态鲜活，场景清幽自然。画面分帧却气韵连贯，传递出善财童子参访善知识的虔诚，与寻访途中的悠然意趣。顾绣特有的细腻针法，让衣纹的褶皱、鹿的肌理、郊野的草木皆显生动，于方寸间藏修行之境，见工艺之精，尽显“以线代墨”的独特艺术魅力。",[303,307,66,65,380,67,443,7,181,32,2131,2051,2607,2608,2609,74],"拐杖","山坡","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7b1b24bd78f5120284a3a2e41180a97.jpg",[],{"id":2613,"slug":2614,"title":2615,"dynasty":91,"author":160,"museum":140,"description":2616,"tags":2617,"thumbUrl":2618,"material":131,"size":2619,"collection":100,"collections":2620,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":121},214894,"di-wang-dao-tong-wan-nian-tu-ce-16-chou-ying-214894","帝王道统万年图册-16","绘伏羲、神农、黄帝、少昊、舜、后稷、大禹、夏启、商汤、商高宗武丁、周文王、周武王、周成王、汉高祖、汉文帝、汉武帝、汉明帝、宋孝宗、宋太祖、宋仁宗等",[63,23,25,380,66,404,65,67,70,458,654,30,112,7,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f2210df041ffad4bd91c680c314e4b1.jpg","32.5*32.6",[],{"id":2622,"slug":2623,"title":2624,"dynasty":175,"author":2625,"museum":676,"description":2626,"tags":2627,"thumbUrl":2628,"material":165,"size":100,"collection":100,"collections":2629,"showCount":85,"zanCount":203,"manualWeight":11,"mainColor":121},214375,"tian-guang-yun-jing-tu-ce-3-zhu-da-214375","天光云景图册-3","朱耷","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。",[63,23,27,28,380,74,70,179,181,430,73,7,180],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F705bd5dffcc371cdd75a36c158966065.jpg",[],{"id":2631,"slug":2632,"title":2633,"dynasty":353,"author":92,"museum":20,"description":2634,"tags":2635,"thumbUrl":26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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。",[832,1919,1920,1921,29,7,2465,2911,1394],"圆盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4779df94d93478450cb874b242641a43.jpg",[],{"id":2915,"slug":2916,"title":2917,"dynasty":175,"author":2918,"museum":20,"description":2919,"tags":2920,"thumbUrl":2928,"material":98,"size":99,"collection":100,"collections":2929,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":40},241694,"qi-lv-heng-pi-xu-fu-241694","七律横披","徐郙","徐郙（1838—1907），字寿蘅，号颂阁，江苏嘉定（今上海嘉定）人。同治元年（1862）状元，先后授翰林院修撰、南书房行走、安徽学政、江西学政、左都御史、兵部尚书、礼部尚书等职，拜协办大学士，世称徐相国。\n徐颂阁工诗，精于书法，擅画山水，入词馆，被召直南书房。慈禧常谕徐郙字有福气，晚年御笔作画，悉命徐郙题志，传世慈禧画作中多见徐郙行楷诗题。因兼具金石派学养，黄宾虹评价徐郙云：“徐颂阁、张野樵一流，为乾嘉画家所不逮”。\n徐郙收藏金石拓片珍本与名画甚多。据李寿民《还珠楼丛谈》记载，庚辰本《脂砚斋重评石头记》也曾为徐郙旧藏。\n徐郙与康熙状元王敬铭、乾隆状元秦大成并称“嘉定三状元”。",[75,1752,1137,66,2921,928,29,1169,2922,2923,2924,2925,2926,2927,7,1078],"瑶池","春水","宫花","御炉","金壶","玉碗","殿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88bbc2bf8edaa3451a106409287e19fd.jpg",[],{"id":2931,"slug":2932,"title":2933,"dynasty":175,"author":2934,"museum":109,"description":2935,"tags":2936,"thumbUrl":2938,"material":151,"size":2939,"collection":153,"collections":2940,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":86},241319,"xing-kai-qi-lv-zhou-wang-zhi-shu-241319","行楷七律轴","王之枢","王之枢，字声远，河北定州城内东街人，康熙甲子、乙丑两年，参加乡试、会试，考中进士。康熙四十年（1701年），任云南督学，振兴云南书院，云南南部学风日盛。康熙四十四年，主持江南科考，次年任武举会试总裁。康熙四十七年，王之枢祖母八十三岁，康熙皇帝亲书“锡庆堂”匾额悬挂府中。康熙五十三年皇帝寿诞日，王之枢恰于当日编撰完成《历代帝王年表》，康熙大喜，对之枢父母子女恩赐官爵。康熙五十四年，出任会试总裁。五十六年任湖南巡抚。因当时湖南省税赋沉重，之枢奏请减赋，但因下属官员未能正确实行，出了问题，受到朝廷谴责，并责令之枢赔偿所亏税款，一直不得离开湖南，雍正十年遇赦，但终老于湖南，享年六十五岁。",[2544,75,26,1165,1575,2568,928,7,2937],"河","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86bead2f1ef88e12c1a1d49572fc7955.jpg","高28.6厘米横364.5厘米",[153],{"id":2942,"slug":2943,"title":2944,"dynasty":175,"author":1029,"museum":109,"description":2945,"tags":2946,"thumbUrl":2947,"material":151,"size":100,"collection":100,"collections":2948,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":121},237213,"shu-hua-he-bi-ce-cha-shi-biao-237213","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。",[23,25,380,27,76,74,70,181,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ee2b2e1e25f82d5000d3c75bfab3c2.jpg",[],{"id":2950,"slug":2951,"title":2952,"dynasty":175,"author":2953,"museum":109,"description":2954,"tags":2955,"thumbUrl":2956,"material":382,"size":100,"collection":100,"collections":2957,"showCount":120,"zanCount":203,"manualWeight":11,"mainColor":86},236820,"fang-gu-shan-shui-ce-zhao-cheng-236820","仿古山水册","赵澄","[明]（一五八一至？）晚年得铜汉章改名澄，字雪江，一字湛之，颍州（今安徽阜阳）布衣。山水泼墨、细谨两擅其长。学宗董源、范宽、李唐诸家。又善临摹，见大内所藏皆缩为小幅，无一笔不肖。又仿古二十幅极精，为琉球国王所得，永为海外珍宝。并工写照，得意之作皆用铜章。以博学能诗称。顺治十一年（一六五四）仿各家山水册时年七十四。《国[清]朝画徵录、读画录、图绘宝鉴续纂、桐阴论画》",[23,25,380,66,70,179,7,32,197,181,559,822],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a30aa2fa945692c7adc8c743f499f66.jpg",[],{"id":2959,"slug":2960,"title":2961,"dynasty":18,"author":92,"museum":20,"description":2962,"tags":2963,"thumbUrl":2964,"material":100,"size":100,"collection":100,"collections":2965,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":121},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。",[63,23,25,27,66,70,1789,7,32,69,76,74,331],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f10e214dabe06bffc5da9e27b7f30bb.jpg",[],{"id":2967,"slug":2968,"title":2969,"dynasty":18,"author":92,"museum":20,"description":2970,"tags":2971,"thumbUrl":2974,"material":98,"size":99,"collection":100,"collections":2975,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":121},223867,"yun-long-jing-yi-ming-223867","云龙镜","龙纹镜类：可分双龙镜和单龙镜。从目前所见资料单龙镜极少。双龙镜，有八菱形、六菱形、葵花形、炉形、带柄菱花形等形式。双龙分别在钮两侧，身躯盘曲于头的上方，一后肢于尾交缠，形成一环形。二龙对看圆钮，以钮为宝珠，作戏珠状。一龙张嘴一龙闭嘴，钮下方有一三足香炉置于岸边，岸下海浪翻腾。此型龙纹镜不管镜形如何，但龙的纹饰及布局都基本一样，特征十分明显。江西高安南宋理宗宝祐三年１２５５年　墓出土一面。另一面铜镜上铸出“嘉熙戊戌吴氏淑静”铭文，“嘉熙戊戌”即南宋理宗嘉熙二年１２３８年，可知这种镜子流行与南宋较晚的时期。从目前能知道的资料看，此型镜子传世和出土较多，是宋代最为流行的镜类之一。",[18,2972,1091,1092,29,7,2973],"青铜器","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00829449555b6afa9310d04a1c32844e.jpg",[],{"id":2977,"slug":2978,"title":2979,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老舍《四世同堂》四九：“他看不起绸缎的衣服，与文雅的态度，可又有点自惭形秽。”",[833,409,307,7,393,3167,66],"暗八仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784a52a0dfd1d15d21db1349db84135e.jpg",[],{"id":3171,"slug":3172,"title":3173,"dynasty":175,"author":92,"museum":20,"description":2909,"tags":3174,"thumbUrl":3176,"material":98,"size":99,"collection":100,"collections":3177,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":86},258762,"jia-qing-kuan-bai-di-lv-cai-yun-long-wen-pan-yi-ming-258762","嘉庆款白地绿彩云龙纹盘",[175,2295,1394,3175,29,7],"绿彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F522dc7b19401a65f6d9d77c02aaa19f2.jpg",[],{"id":3179,"slug":3180,"title":3181,"dynasty":175,"author":92,"museum":20,"description":3182,"tags":3183,"thumbUrl":3184,"material":98,"size":99,"collection":100,"collections":3185,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":86},258019,"kang-xi-kuan-huang-di-wu-cai-yun-long-wen-wan-yi-ming-258019","康熙款黄地五彩云龙纹碗","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。",[175,2295,1076,66,29,7,1394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffce047ba8ce5132efe8b5f412f666434.jpg",[],{"id":3187,"slug":3188,"title":3189,"dynasty":175,"author":3190,"museum":20,"description":3191,"tags":3192,"thumbUrl":3195,"material":98,"size":99,"collection":100,"collections":3196,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":121},241692,"qi-yan-shi-zi-tiao-yin-zhi-241692","七言诗字条","胤祉","爱新觉罗·胤祉（1677年3月23日—1732年7月10日），清朝宗室，清圣祖爱新觉罗·玄烨第三子，清世宗爱新觉罗·胤禛异母兄，生母荣妃马佳氏。",[75,25,1752,27,3193,7,2756,1850,3194,928,2383],"虹","宫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67673758148f0daba46e97efa98cd229.jpg",[],{"id":3198,"slug":3199,"title":3200,"dynasty":91,"author":3201,"museum":20,"description":3202,"tags":3203,"thumbUrl":3205,"material":151,"size":100,"collection":153,"collections":3206,"showCount":170,"zanCount":203,"manualWeight":11,"mainColor":121},241087,"you-chong-hua-si-shi-juan-chen-yi-241087","游崇化寺诗卷","陈沂","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。\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。",[91,76,75,64,1574,179,7,32,3204,1850,74],"寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b1e28fdcdfbbedc46c7f43d9be018d6.jpg",[153],{"id":3208,"slug":3209,"title":3210,"dynasty":175,"author":3211,"museum":20,"description":3212,"tags":3213,"thumbUrl":3214,"material":151,"size":100,"collection":153,"collections":3215,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":121},240112,"shi-ye-wang-shi-zhen-240112","诗页","王士祯","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。",[76,75,74,27,70,344,7,145,752,679,243,144,2327,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf03ac5238f595e37015f53d2889acba.jpg",[153],{"id":3217,"slug":3218,"title":3219,"dynasty":175,"author":3220,"museum":20,"description":3221,"tags":3222,"thumbUrl":3223,"material":98,"size":99,"collection":100,"collections":3224,"showCount":170,"zanCount":11,"manualWeight":11,"mainColor":121},239532,"fang-gu-ji-you-tu-ce-huang-yi-239532","访古纪游图册","黄易","黄易（1744 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5,"material":98,"size":99,"collection":100,"collections":3646,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":121},237500,"shan-shui-hua-hui-ce-jiang-shou-cheng-237500","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。",[23,25,380,75,76,27,7,74],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89a25027d4952d0d36aff68c55f9650a.jpg",[],{"id":3648,"slug":3649,"title":3463,"dynasty":175,"author":3650,"museum":20,"description":3651,"tags":3652,"thumbUrl":3653,"material":98,"size":99,"collection":100,"collections":3654,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":121},237393,"shan-shui-tu-ce-xue-xuan-237393","薛宣","薛宣（生卒年不详），字赣君，东海郡郯县（今山东省郯城县）人。西汉丞相，汉宣帝刘询的女婿。\n精通律法，起家廷尉书佐、都船狱吏，出任不其县丞、乐浪郡丞。举茂才出身，出任宛句县令，迁长安令，颇有政绩。汉成帝时期，历任御史中丞、临淮陈留二郡太守、左冯翊、少府卿、御史大夫，赏罚分明，威德并施，功劳卓著，迎娶敬武长公主。鸿嘉元年（前20年），出任御史大夫，代替张禹出任丞相，册封高阳侯。永始二年（前15年），办理邛成太后丧事不周，辞去丞相之职。\n汉哀帝时，免为庶人，最终在家中去世。",[23,25,380,27,28,70,179,181,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa852b2738dd840553fadfc672424fc68.jpg",[],{"id":3656,"slug":3657,"title":3658,"dynasty":175,"author":92,"museum":20,"description":3659,"tags":3660,"thumbUrl":3661,"material":98,"size":99,"collection":100,"collections":3662,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":86},237254,"ming-chen-gu-shi-deng-xu-ti-song-ce-yi-ming-237254","名臣故事邓旭题颂册","界画精工秀雅，青绿层楼浮空而起，檐角翘立如振翅飞鸟，朱漆廊柱衬着碧色重檐，在缱绻云海间宛若阆苑仙宫，晕染柔润的流云轻拥楼宇，将缥缈仙气晕满画面。\n\n左侧题笔清劲隽秀，墨色沉凝匀净，笔势流转顾盼有情，诗画合璧，文辞咏叹先贤风骨，字画相映，既见界画的严整工致，又融文人雅致意趣，静赏间仿若追随着流云遥想先贤襟怀，古韵悠然萦怀。",[23,25,380,66,343,76,74,65,344,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66ebc0132611dd647edc7b2b01f1a77b.jpg",[],{"id":3664,"slug":3665,"title":2815,"dynasty":175,"author":2816,"museum":109,"description":2817,"tags":3666,"thumbUrl":3667,"material":382,"size":100,"collection":100,"collections":3668,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":121},234749,"huang-shan-tu-ce-jiang-zhu-234749",[27,70,76,28,380,179,182,7,430,113,1011],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08e5155c424c968405ab0a79b1b0bb24.jpg",[],{"id":3670,"slug":3671,"title":3672,"dynasty":175,"author":92,"museum":20,"description":3673,"tags":3674,"thumbUrl":3675,"material":98,"size":99,"collection":100,"collections":3676,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":121},234415,"liu-shi-ban-chan-luo-sang-ba-dan-yi-xi-xiang-zhou-yi-ming-234415","六世班禅洛桑巴丹益西像轴","主尊安坐莲台法座，面容慈悲沉静，明黄僧衣衬出清贵仪容，结印说法，法座雕饰威严瑞兽，宝相庄严。上方云端化生三尊圣像，或忿怒伏魔，或跏趺圆寂，或持律安坐，尽显藏传佛教诸般法相。下方护法驰马踏焰，威赫慑人。背景青绿晕染出灵秀秘境，祥云缭绕托举天界殊胜。整幅设色浓丽厚重，金彩勾勒细节，线条流畅劲健，以分层构图铺陈佛国图景，将宗教的神圣肃穆与雪域灵境相融，兼具信仰厚重感与审美意趣。",[175,95,66,65,2438,67,29,406,70,71,7,30,444],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F006dc3394ef538d2aac7e7c1a5dd5d8a.jpg",[],{"id":3678,"slug":3679,"title":3680,"dynasty":91,"author":3681,"museum":20,"description":3682,"tags":3683,"thumbUrl":3684,"material":100,"size":100,"collection":100,"collections":3685,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":3686},233627,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233627","十竹斋五色笺谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、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。",[23,25,380,2151,66,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77c42841dd489d1813e7cd15808465f1.jpg",[],"FFFFFF",{"id":3688,"slug":3689,"title":3690,"dynasty":275,"author":3691,"museum":20,"description":3692,"tags":3693,"thumbUrl":3694,"material":98,"size":99,"collection":100,"collections":3695,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":86},231993,"de-jia-8-de-jia-231993","德加8","德加","埃德加·德加（Edgar Degas，1834年7月19日—1917年9月27日），印象派重要画家。他出身于金融资本家的家庭，他的祖父是个画家，因此他从小就生长在一个非常关心艺术的家庭中。\n中学毕业后，德加报考了美术学校，他在意大利学习意大利的艺术，特别是文艺复兴时期的艺术。与此同时，他又在让-奥古斯特·多米尼克·安格尔（Jean-Suguste Dominique Ingres，1780-1867）的一位得意门生路易·拉莫特（Louis Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[1414,2426,66,1420,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2303299471b2a1717e9d496d75a97022.jpg",[],{"id":3697,"slug":3698,"title":3699,"dynasty":175,"author":3700,"museum":20,"description":3701,"tags":3702,"thumbUrl":3709,"material":100,"size":100,"collection":100,"collections":3710,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":121},231048,"xing-shu-zhou-lin-shu-231048","行书轴","林纾","此作用笔苍朴老辣，揉合帖学流秀与碑学沉厚，起收可见颜体沉雄，又兼得苏黄萧散意韵。通篇行气疏朗，字势错落欹侧，首句起笔舒缓墨足，随诗文情绪铺展，笔墨愈见跳宕，至末句笔锋开张，尽显放达之态。题款小字敛藏锋芒，与正文虚实相映，章法疏密得宜。\n\n以文人笔意入书，将诗文禅寂悠然融于笔墨间，整幅既是书法佳构，亦是作者心性襟怀的展露，漫溢出山林世外的清逸意趣。",[63,24,23,25,75,76,26,3703,3704,145,3705,7,3706,1241,3707,3708,179,1574,2856],"水寺","钟楼","野僧","深院","船","道人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f1dfb6014cf5b75cddea9b9ecd5908a.jpg",[],{"id":3712,"slug":3713,"title":3714,"dynasty":275,"author":92,"museum":20,"description":3715,"tags":3716,"thumbUrl":3717,"material":98,"size":99,"collection":100,"collections":3718,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":121},230519,"fang-gu-ren-wu-fen-ben-shou-ye-jia-tu-juan-yi-ming-230519","仿古人物粉本(狩野家图卷)","此卷以淡墨晕染铺陈意境，分段构绘诸般景致。仙翁伴瑞鹿白羊，执杖徐行，古意悠然；枯木红枫间隐士独坐，萧散出尘。江渚行旅衬以空濛山水，意境清旷；怒浪之中神游渡海，奇诡奇幻。末段稚童嬉闹鲜活灵动，尽显世俗意趣。\n\n笔墨写意简劲，设色淡雅清隽，将仙逸、幽隐、百态日常融于一卷。笔致松脱随性，留白营造出悠远空寂的东方意境，兼具文人画的萧散情致与叙事意趣，是笔墨与意韵俱佳的佳构。",[63,23,25,64,730,27,66,917,67,443,1574,181,7,3095,74,70],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F155773197d4e4fc6f85f53673b323d53.jpg",[],{"id":3720,"slug":3721,"title":3722,"dynasty":91,"author":92,"museum":20,"description":3723,"tags":3724,"thumbUrl":3726,"material":98,"size":99,"collection":100,"collections":3727,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":86},228529,"hong-di-huang-cai-yun-long-wen-gai-guan-yi-ming-228529","红地黄彩云龙纹盖罐","罐直口，短颈，丰肩，鼓腹，腹以下收敛，圈足。盖面中部凸起承宝珠形纽，盖口沿下弧收。器身外壁及盖面红地黄彩海水云龙纹装饰，图案轮廓及细部均用金彩勾描。盖内、罐内及圈足内均施青白釉。外底署青花楷书“大明嘉靖年制”双行六字款。",[2295,66,3725,29,7,1394,91],"黄彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F510aa9ef02b3b478645248cd78a8c2ce.jpg",[],{"id":3729,"slug":3730,"title":3731,"dynasty":91,"author":3254,"museum":20,"description":3732,"tags":3733,"thumbUrl":3738,"material":100,"size":100,"collection":100,"collections":3739,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":121},224557,"shu-hua-ce-ye-22-xiao-yun-cong-wang-shi-zhen-224557","《书画册页》-22","此幅行书取韵萧散疏朗，笔锋清逸灵动，起笔舒缓，笔势随诗句渐生幽寂。“簷影依稀遐佛塲”笔致清隽，将禅意悄藏笔底，至“云深处剩清凉追”，笔墨愈见简淡洗练，把山涧空花、林径药香的幽寂禅境尽数铺展。\n\n落款小字清瘦端凝，与正文的萧散雅逸相映成趣。朱印点缀素笺，丹素相生，添就静穆古雅之意，将文人诗意与书法意趣相融，尽显林下清谈的散淡襟怀。",[23,25,2110,75,76,74,3734,3735,752,1850,7,3736,3737,113],"山月","涧水","影","佛塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cf07178e94ab741122d0c84ea758a9e.jpg",[],{"id":3741,"slug":3742,"title":3743,"dynasty":18,"author":3744,"museum":194,"description":3745,"tags":3746,"thumbUrl":3747,"material":199,"size":3748,"collection":100,"collections":3749,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":121},217978,"shi-liu-ying-zhen-tu-10-fan-long-217978","十六应真图-10","梵隆","本卷采用李公麟的白描风格，描写了16罗汉的境界，每一种境界都通过他所达到的三昧而表现出不同的奇异境界。",[63,23,25,730,95,67,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96a11a8c4c55b2d6b8c63efcacee4f8b.jpg","30.5x1062.5",[],{"id":3751,"slug":3752,"title":3753,"dynasty":175,"author":92,"museum":3520,"description":3754,"tags":3755,"thumbUrl":3759,"material":131,"size":100,"collection":100,"collections":3760,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":86},215988,"di-jian-tu-shuo-cai-hui-ben-18-yi-ming-215988","帝鉴图说彩绘本-18","红柱支起青瓦飞檐，朱墙围合的庭院层次错落。阶前众人或躬身揖让，或垂首静候，衣袂飘飘间尽显古礼之序；门侧卫士执戟肃立，身姿挺拔，守着朝堂的威严。左下角推车人躬身前行，木轮轻转，似把尘世烟火悄悄揉进这庄重画面。画中藏“隐迹待时”之典，贤士韬光的沉静与君臣相期的期许交织，每处细节皆含深意：既有礼制的肃穆之美，亦显贤才处世的智慧，色彩明丽却不失雅致，线条细腻又藏风骨，静静铺展着古代贤士与朝堂间的微妙联结。",[23,25,66,65,343,67,344,1642,1170,71,1184,3756,3757,3758,1420,7],"台阶","柱","屋顶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f6a6117e9c0933e7fd172079ffee785.jpg",[],{"id":3762,"slug":3763,"title":3764,"dynasty":175,"author":3147,"museum":20,"description":3148,"tags":3765,"thumbUrl":3766,"material":165,"size":100,"collection":100,"collections":3767,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":121},215100,"tui-bei-tu-ce-3-jiao-bing-zhen-215100","推背图册-3",[63,24,23,25,380,65,66,67,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd15d2ef400c30986bc8fa12f22fe8ba6.jpg",[],{"id":3769,"slug":3770,"title":3771,"dynasty":175,"author":3147,"museum":20,"description":3148,"tags":3772,"thumbUrl":3773,"material":165,"size":100,"collection":100,"collections":3774,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":121},215072,"tui-bei-tu-ce-36-jiao-bing-zhen-215072","推背图册-36",[63,23,65,66,380,67,73,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d3f0325794a8c106f3a1b42f18a6a87.jpg",[],{"id":3776,"slug":3777,"title":2085,"dynasty":91,"author":3778,"museum":738,"description":3779,"tags":3780,"thumbUrl":3781,"material":100,"size":100,"collection":100,"collections":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（1842年—1922年），湖南道县人。 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这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[4132,1092,29,7,832,1394],"玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0986d1816268f44355018cc1766d65c.jpg",[],{"id":4136,"slug":4137,"title":4138,"dynasty":175,"author":92,"museum":20,"description":4139,"tags":4140,"thumbUrl":4142,"material":98,"size":99,"collection":100,"collections":4143,"showCount":203,"zanCount":11,"manualWeight":11,"mainColor":86},229237,"diao-xi-jiao-yun-long-wen-gong-yi-ming-229237","雕犀角云龙纹觥","此作随犀角天然形制施艺，仿树瘤古拙肌理，将材质瑕弊化为古朴意趣。杯身高浮雕透镂云龙纹，苍龙盘虬穿梭于瘿结褶皱之间，鳞爪毕现，隐现腾云破雾之态，威严灵动。口沿顺势舒展，保留犀角天然璞润质感，器身皴皱起伏与龙纹浑然相融，雕工虚实相生，顺势巧用天工，又以精湛刀笔赋予器物灵动生气，将犀角的自然之美与匠心雕刻完美结合，尽显工料相宜、天人合一的精妙造诣。",[832,1092,4141,29,7,952],"犀角","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d20e6b8aed330d84e6bb1f3686b1d26.jpg",[],{"id":4145,"slug":4146,"title":4147,"dynasty":175,"author":92,"museum":20,"description":1917,"tags":4148,"thumbUrl":4150,"material":98,"size":99,"collection":100,"collections":4151,"showCount":203,"zanCount":11,"manualWeight":11,"mainColor":86},229128,"ti-cai-yun-long-fang-he-yi-ming-229128","剔彩云龙方盒",[832,1919,3990,29,7,4149],"盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60d975c2df10e2e98b2add7f322fc1d2.jpg",[],{"id":4153,"slug":4154,"title":4155,"dynasty":91,"author":92,"museum":20,"description":3016,"tags":4156,"thumbUrl":4159,"material":98,"size":99,"collection":100,"collections":4160,"showCount":203,"zanCount":11,"manualWeight":11,"mainColor":86},228552,"dou-cai-tian-ma-gai-guan-yi-ming-228552","斗彩天马盖罐",[91,4157,2295,66,4158,7,3574,1394],"斗彩","天马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02f2c8f1cc9d28606404d8e7859de6bd.jpg",[],{"id":4162,"slug":4163,"title":4164,"dynasty":91,"author":92,"museum":20,"description":2293,"tags":4165,"thumbUrl":4166,"material":98,"size":99,"collection":100,"collections":4167,"showCount":203,"zanCount":11,"manualWeight":11,"mainColor":86},228517,"qing-hua-yun-long-wen-yin-ding-shi-he-yi-ming-228517","青花云龙纹银锭式盒",[622,2296,2295,29,7,1394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0fba683f0e31d437d7e9623802a8ce0.jpg",[],{"id":4169,"slug":4170,"title":4171,"dynasty":275,"author":92,"museum":20,"description":4172,"tags":4173,"thumbUrl":4175,"material":98,"size":99,"collection":100,"collections":4176,"showCount":203,"zanCount":11,"manualWeight":11,"mainColor":86},225585,"fu-shi-hui-81-yi-ming-225585","浮世绘81","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。",[4174,27,547,278,30,7],"浮世绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0be2a5e05400504ec8f4954a73c3b05f.jpg",[],{"id":4178,"slug":4179,"title":4180,"dynasty":275,"author":92,"museum":20,"description":4172,"tags":4181,"thumbUrl":4184,"material":98,"size":99,"collection":100,"collections":4185,"showCount":203,"zanCount":11,"manualWeight":11,"mainColor":121},225562,"fu-shi-hui-35-yi-ming-225562","浮世绘35",[4174,730,67,68,506,1850,3504,7,4182,4183],"窗景","服饰花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25f240da6a710cd26854de3895e4e0a5.jpg",[],{"id":4187,"slug":4188,"title":4189,"dynasty":91,"author":3254,"museum":20,"description":4190,"tags":4191,"thumbUrl":4192,"material":100,"size":100,"collection":100,"collections":4193,"showCount":203,"zanCount":11,"manualWeight":11,"mainColor":121},224559,"shu-hua-ce-ye-24-xiao-yun-cong-wang-shi-zhen-224559","《书画册页》-24","这幅行书尺牍清隽疏朗，用笔灵动秀逸，起收间暗合魏晋帖学雅韵。字形欹正相生，章法错落自然，字距留白透气，尽显萧散简远的文人意趣。\n\n笔势连贯遒劲，牵丝映带间贴合诗句意境，将蜀道千峰云林的壮怀幽寂寄寓笔墨，文思与笔墨相融。浅淡古旧的笺纸配朱红古雅钤印，墨色与印色相衬，晕开明清之际文人士大夫沉静风雅的审美意趣。",[23,25,380,76,27,75,74,2486,7,1987,1102,752,1573,344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3faaa018bf64f093840ed594760d1a3.jpg",[],{"id":4195,"slug":4196,"title":4197,"dynasty":175,"author":92,"museum":3520,"description":4198,"tags":4199,"thumbUrl":4200,"material":131,"size":100,"collection":100,"collections":4201,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ags":4267,"thumbUrl":4270,"material":98,"size":99,"collection":100,"collections":4271,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},272681,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-hong-cang-bu-jian-lan-mo-yi-ming-272681","御制月令七十二候诗色墨-虹藏不见蓝墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[4268,4269,1092,70,458,7,66],"墨","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa93621ecc9c3d59f3137ecce7e235546.jpg",[],{"id":4273,"slug":4274,"title":4275,"dynasty":175,"author":92,"museum":20,"description":4130,"tags":4276,"thumbUrl":4277,"material":98,"size":99,"collection":100,"collections":4278,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":86},272513,"cao-su-gong-zi-yu-guang-mo-xiang-lu-feng-mo-yi-ming-272513","曹素功紫玉光墨－香炉峰墨",[4268,3362,70,344,7,75,4269],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48afd795e9b97f24ab9a555cdf94fa52.jpg",[],{"id":4280,"slug":4281,"title":4282,"dynasty":175,"author":92,"museum":20,"description":4283,"tags":4284,"thumbUrl":4287,"material":98,"size":99,"collection":100,"collections":4288,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":121},265905,"ming-huang-se-sha-xiu-cai-yun-fu-jin-long-wen-nv-dan-long-pao-yi-ming-265905","明黄色纱绣彩云蝠金龙纹女单龙袍","清代皇帝服饰有朝服、吉服、常服、行服等。皇帝的龙袍属于吉服范畴，比朝服、衮服等礼服略次一等，平时较多穿着。穿龙袍时，必须戴吉服冠，束吉服带及挂朝珠。龙袍以明黄色为主也可用金黄杏黄等色。古时称帝王之位，为九五之尊。九、五两数，通常象征着高贵，在皇室建筑、生活器具等方面都有所反映。清朝皇帝的龙袍，据文献记载，也绣有九条龙。从实物来看，前后只有八条龙，与文字记载不符，缺一条龙。有人认为还有一条龙是皇帝本身。其实这条龙客观存在着，只是被绣在衣襟里面，一般不易看到。这样一来，每件龙袍实际即为九龙，而从正面或背面单独看时，所看见的都是五龙，与九五之数正好相吻合。另外，龙袍的下摆，斜向排列着许多弯曲的线条，名谓水脚。水脚之上，还有许多波浪翻滚的水浪，水浪之上，又立有山石宝物，俗称“海水江涯”，它除了表示绵延不断的吉祥含意之外，还有“一统山河”和“万世升平”的寓意。\n皇后常服样式，与满族贵妇服饰基本相似，圆领、大襟，衣领、衣袖及衣襟边缘，都饰有宽花边，只是图案有\n所不同。本图展示的服装纹样为凤穿牡丹。整件服装在鲜艳的蓝色缎地上，绣八只彩凤，彩凤中间，穿插数朵牡丹。牡丹的颜色处理得净穆而素雅，色彩变化惟妙，具有传统的山水画特点。与此相反，凤的颜色比较浓重，红绿对比度极为强烈，具有典型民族风格和时代特色。\n清代官服主要品种为长袍马褂。官帽与前朝截然不同，凡军士、差役以上军政人员都戴似斗笠而小的纬帽，按冬夏季节有暖帽、凉帽之分，还视品级高低安上不同颜色、质料的“顶子”，帽后拖一束孔雀翎。翎称花翎，高级的翎上有“眼”（羽毛上的圆斑），并有单眼、双眼、三眼之别，眼多者为贵，只有亲王或功勋卓著的大臣才被赏戴。皇帝有时还赏穿黄马褂，以示特别恩宠。影响所及，其他颜色的马褂遂在官员士绅中逐渐流行，成为一般的礼服。四、五品以上官员还项挂朝珠，用各种贵重珠宝、香木制成，构成清代官服的又一特点。丝纺绣染及各种手工专业的进步，为清代服饰品种的丰富创造了条件。\n清代男装主要是长袍和马褂，袖端呈马蹄形是历代不曾见过的。长袍造型简练，立领直身，偏大襟，前后衣身有接缝，下摆有两开衩（古时称“缺裤”），四开衩和无开衩几种类型。皇室贵族为便于骑射，着四面开衩长袍，即衣前后中缝和左右两侧均有开衩的式样，平民则着左右两侧开衩或称“一裹圆”的不开衩长袍。在我国文学名著《红楼梦》第九十四回“宴海棠贾母赏花妖”一节中，记述了一段内容“那日宝玉本来穿着”一裹圆的皮袄在家休息，忽听贾母要来，便去换了一件狐腋箭袖，罩了一件玄狐腿外褂。这里说明“一裹圆”，是休闲衣服，不可登大雅之堂，所以贾母的到来，必须换掉便装，改着正式穿戴。满清时期长袍外面的马褂身长不过膝，袖宽且短。衣服上的佩饰比较琐繁，一个金银牌上垂挂着数十件小东西，如耳挖子、镊子、牙签，还有一些古代兵器的小模型，如戟、枪之类，佩挂饰物在清代已经形成风尚。",[409,833,4285,29,7,1079,4286],"纱绣","宫廷服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F507acfbe57b2a8f4b102c29db8ef3ca3.jpg",[],{"id":4290,"slug":4291,"title":4292,"dynasty":175,"author":92,"museum":20,"description":3563,"tags":4293,"thumbUrl":4295,"material":98,"size":99,"collection":100,"collections":4296,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":40},263545,"you-li-san-se-ba-ma-tu-gu-yi-ming-263545","釉里三色八马图觚",[2295,1394,406,666,7,4294],"釉里三色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47445d3c3df716900630a88e6495b12c.jpg",[],{"id":4298,"slug":4299,"title":4300,"dynasty":175,"author":92,"museum":20,"description":4301,"tags":4302,"thumbUrl":4303,"material":98,"size":99,"collection":100,"collections":4304,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":86},262291,"cheng-hua-kuan-dou-cai-yun-he-wen-xiao-bei-yi-ming-262291","成化款斗彩云鹤纹小杯","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。",[2295,952,4157,393,7,3125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd184611597d03231e4d1358e9f9776.jpg",[],{"id":4306,"slug":4307,"title":4308,"dynasty":175,"author":92,"museum":20,"description":2293,"tags":4309,"thumbUrl":4311,"material":98,"size":99,"collection":100,"collections":4312,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":86},261603,"qing-hua-shi-ju-shan-shui-ren-wu-tu-guan-yi-ming-261603","青花诗句山水人物图罐",[2295,2296,70,67,73,478,71,112,7,654,4310,3575],"瓷罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde31f90ef547e488676774319f93860b.jpg",[],{"id":4314,"slug":4315,"title":4316,"d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2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[23,25,505,95,66,65,67,7,833],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc149a5fdbbf744563f60031641b5f151.jpg",[],{"id":6035,"slug":6036,"title":6037,"dynasty":91,"author":92,"museum":20,"description":6038,"tags":6039,"thumbUrl":6043,"material":131,"size":100,"collection":100,"collections":6044,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":121},216489,"xuan-da-shan-xi-san-zhen-tu-149-yi-ming-216489","宣大山西三镇图-149","画面采用图文互证的形式，左页以凝练墨笔详述边镇地理脉络与防务部署，右页则以青绿设色绘就山川关隘。长城如巨龙蜿蜒穿梭于层叠峰峦间，关堡错落有致，标注清晰的城池与营垒，直观呈现出边防体系的严密。山峦以写意晕染显层次，道路线条简洁精准，兼具舆图的实用价值与传统绘画的雅致韵味。整幅作品既是明代边镇军事地理的珍贵遗存，也为后人窥探当时的边防布局与地理认知，提供了鲜活而直观的视觉窗口。",[63,23,25,66,343,70,6040,481,1102,179,7,6041,6042],"长城","道路","城池","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9240adeb66a73d4907c92b83873d482.jpg",[],{"id":6046,"slug":6047,"title":6048,"dynasty":91,"author":92,"museum":20,"description":6049,"tags":6050,"thumbUrl":6051,"material":131,"size":100,"collection":100,"collections":6052,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":121},216473,"xuan-da-shan-xi-san-zhen-tu-168-yi-ming-216473","宣大山西三镇图-168","右侧以青绿设色绘山峦，峰峦错落有致，山道蜿蜒穿行，井坪城居于核心，城郭形制明晰，道路连缀周边聚落，尽显地理战略之要。左侧题跋详述城防布局与军事价值，文图相契，兼具纪实性与艺术性。青绿设色温润雅致，山峦勾勒简洁有神，道路与城郭标注清晰，既承载边防舆图的实用功能，又融入文人画的审美意趣，是明代军事地理认知与艺术表达融合的佳作，尽显当时对边镇防务的细致描摹与创作巧思。",[63,23,25,66,343,70,6042,1102,7,596,481,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f585f132854e74b4a11a7680a0c6fc0.jpg",[],{"id":6054,"slug":6055,"title":6056,"dynasty":91,"author":92,"museum":20,"description":6057,"tags":6058,"thumbUrl":6060,"material":131,"size":100,"collection":100,"collections":6061,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":121},216465,"xuan-da-shan-xi-san-zhen-tu-175-yi-ming-216465","宣大山西三镇图-175","左页墨笔恭录，详述三镇疆域沿革、关隘兵防之要，字迹端凝；右页以青绿写山水，山峦层叠间云雾轻笼，“分河堡”匾额醒目，营垒、旗帜等符号错落，既存舆图的精准实用，又含山水画的雅致意趣。整幅作品古朴沉静，将军事地理信息与传统绘画面貌相融，是明代边镇视野下的独特遗存，尽显舆图艺术的双重价值——实用与审美之合，于笔墨设色间勾勒出边地防务的鲜活图景。",[63,23,25,70,66,404,75,179,7,2680,74,6059],"文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d9af72a0fb3f6f2353d99a1bacfb0b0.jpg",[],{"id":6063,"slug":6064,"title":6065,"dynasty":91,"author":92,"museum":20,"description":6066,"tags":6067,"thumbUrl":6068,"material":131,"size":100,"collection":100,"collections":6069,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":121},216430,"xuan-da-shan-xi-san-zhen-tu-211-yi-ming-216430","宣大山西三镇图-211","画面分左右两帧，左以墨笔题跋详述地理防御脉络，文字古朴流畅，尽现边疆戍守的严谨布局；右则以青绿设色绘山峦丘壑，峰峦叠翠间，蜿蜒路径串联起标注“五云堂”的节点，旁列塔状符号似为关隘标识。山峦以程式化笔触勾勒，青蓝晕染显层次，既具军事舆图的纪实性，又暗含文人山水的雅致意趣。图文相契，将边疆地理的壮阔与防御布局的严谨融于一纸，尽显明代舆图绘制的独特匠心——于实用中藏审美，在纪实里见笔墨。",[63,23,404,66,70,75,380,65,179,7,6041,6059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbba305b7f7d21e6e9843143fc601f65f.jpg",[],{"id":6071,"slug":6072,"title":6073,"dynasty":175,"author":92,"museum":20,"description":6074,"tags":6075,"thumbUrl":6077,"material":199,"size":100,"collection":100,"collections":6078,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":121},215608,"tian-xia-ming-shan-tu-14-yi-ming-215608","天下名山图-14","笔墨勾勒的峰峦如剑戟般刺破云霭，线条如流水游走于山石肌理间，皴擦点染藏着草木的低语。近景峭壁纹理清晰，似能触到岩石冷硬；中景山势层叠，隐现的屋宇漏出人间烟火；远景云气缭绕，将天地连成浩渺一片。整幅画以线为骨、以意传神，静穆中透着山河壮阔，仿佛能听见山风穿峡的回响，看见云雾在峰尖缓缓流动。每一笔都凝着对自然的敬畏，把名山的雄奇与灵秀收于尺幅，让观者心随画游，沉醉在这片笔墨构筑的山水秘境里。",[23,25,730,70,179,7,71,6076,1346],"峭壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94287d078c1957cca19cd0f5038dfe0d.jpg",[],{"id":6080,"slug":6081,"title":6082,"dynasty":175,"author":92,"museum":20,"description":6083,"tags":6084,"thumbUrl":6085,"material":199,"size":100,"collection":100,"collections":6086,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":121},215605,"tian-xia-ming-shan-tu-13-yi-ming-215605","天下名山图-13","线痕勾勒层峦脉络，皴擦间藏山石苍劲肌理。云雾似轻纱漫过峰巅，晕染出远近丘壑的虚实层次。山顶亭台隐于云霭，如遗落的仙踪；林麓溪涧藏于深谷，似有潺潺声入耳。细密笔触铺展林木，葱茏间透着生机；劲挺线条刻画石崖，嶙峋中显风骨。整幅画以线为骨，以意传神，凝名山雄浑与灵秀于一纸。静穆里带着悠远气息，仿佛牵引观者踏入烟霞深处，尽览丘壑间的万千意趣——山石的沉稳、云雾的轻盈、草木的鲜活，皆在笔墨流转中，化作可感的山水诗行。",[23,25,730,28,70,179,7,71,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd8394b00c27a1825ce9e44ffccd130e.jpg",[],{"id":6088,"slug":6089,"title":6090,"dynasty":175,"author":92,"museum":20,"description":6091,"tags":6092,"t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