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虽然有关陈居中的记载十分简单，但他留下的作品却比较多且十分精彩，这在南宋宫廷画家中是十分难得的。就目前所知确为其真迹的作品有《文姬归汉图》、《胡茄十八拍图》、《绝塞逢春图》、《进马图》、《四羊图》等。这些作品所表现的多为历史故事或少数民族风情题材，这与“专工人物、蕃马”的记载是相吻合的。这些作品的画法多样，技艺高超，笔法精细，形象传神，正如明人吴其贞在题陈居中《八骏图》时所评：“精彩逼真似唐画，系临史道硕、韩干之辈，为两宋人物第一神品也。”",[52,23,24,53,54,55,56,57,58,59,60,7],"高清","书画","长卷","工笔","设色","茄子","枝叶","花朵","昆虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a2515db414029768f29a0bf0dd13bc.jpg","35.8x 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鸳鸯造型精巧，色墨交融，栩栩如生。 岸边画一枝老柳，笔墨老辣。 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横67.7厘米",[],22,{"id":414,"slug":415,"title":416,"dynasty":74,"author":417,"museum":49,"description":418,"tags":419,"thumbUrl":424,"material":36,"size":425,"collection":37,"collections":426,"showCount":427,"zanCount":11,"manualWeight":11,"mainColor":69},231953,"su-shi-liu-dai-tu-cui-zi-zhong-231953","苏轼留带图","崔子忠","宋神宗年间(1078年前后)苏东坡与佛印法师是知心好友，称为“忘形交”。一天苏东坡突然来访，直入方丈室。佛印正欲为僧众说法，故意开玩笑不让苏东坡坐，说：“此间无坐处”。苏东坡随即用禅宗之语答道：“暂借佛印四大为座”。佛印见他居然班门弄斧，便想难难他，提出如果答出问题就请他坐，答不出就把玉带输掉。苏轼自以为难不倒他欣然答应。佛印问：“既然四大皆空，五蕴非有，居士向哪里坐?”(四大：“地、水、火、风”大，佛教认为是构成物质的四大元素。五蕴：“色、受、想、行、识”蕴，是构成人身的五种因素)。你想，既然四大皆空，五蕴非有，便是空空如也，一无所有。哪里还会有什么座位呢?苏东坡果然被难住了。只得解下玉带相赠。佛印也当即取出一幅自己的衲裙回赠。真得感谢这位聪明的和尚，为我们留下了这件珍贵的文物。苏东坡还写了三首诗记这件事，题目叫《玉带施元长老，元以衲裙相报次韵》，其中有“此带阅人如传舍，流传到我亦悠然。锦袍销落应相称，乞与佯狂老万回”等句，流露出政治上失意上图专为存放苏东坡玉带供人观瞻的“留玉阁”\n这幅《留带图》，画的正是苏轼与僧人参廖子的故事。崔子忠师承董其昌，在人物画上与陈洪绶齐名，并称南陈北崔。所画人物面目清奇而有古意。惜乎所寻的这幅《留带图》太小，咱竟不能见识其笔力。也罢，苏胡子是多面手，不但词文冠绝天下，连书法绘画都是超一流名家。宋四家“苏黄米蔡”，苏胡子书法排名大宋第一。崔画不清晰，录一幅苏胡子的字以弥补。《黄州寒食帖》，号称天下行书第三。\n“有情风万里卷潮来，无情送潮归”，“对潇潇暮雨洒江天，一番洗清秋”，“无边落木萧萧下，不尽长江滚滚来”，就是这样的联想，就是这样的博大开阔的境界。\n婉约为正宗的词在苏轼那里有了极大的开拓，但是可惜其他人没有追随上来。天才常常比一般人走得快一点吗？秦观，仍是词人之词，他为何不学苏轼做诗人之词？但秦观依然有其特色之处，一般人常把抽象的感情比作具象的景物，但秦观却能够把具体的形象比作抽象的感情。",[420,24,53,55,56,25,142,163,101,421,422,423,353,84,227,7],"明代","建筑","家具","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62ad3b4fbcab6254827d3f2934fc1b38.jpg","81.4x50",[],19,{"id":429,"slug":430,"title":431,"dynasty":94,"author":248,"museum":432,"description":433,"tags":434,"thumbUrl":437,"material":37,"size":37,"collection":38,"collections":438,"showCount":439,"zanCount":11,"manualWeight":11,"mainColor":42},236730,"shan-shui-ce-hua-yan-236730","山水册","美国弗瑞尔美术馆","华嵒（1682～1756），福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。华嵒是清康雍乾年间的著名画家，他笔下的鸟堪称一绝，最负盛名。\n华喦就是我们所熟知的新罗山人，但我相信这一套山水画册，大部分人都不是熟悉，这山水画册页并没有藏在国内，而是藏在美国的弗利尔美术馆，其可称为华喦非常精致的一套山水册页。",[24,25,56,177,251,353,84,238,101,7,435,436],"浅滩","山峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F996fa25e4caf6ad41e71fda95c25e82d.jpg",[38,66],12,{"id":441,"slug":442,"title":443,"dynasty":18,"author":190,"museum":49,"description":444,"tags":445,"thumbUrl":448,"material":86,"size":449,"collection":65,"collections":450,"showCount":439,"zanCount":11,"manualWeight":11,"mainColor":69},232262,"xing-e-tu-yi-ming-232262","杏鹅图","描绘水滨双鹅，旁有两棵柳、杏，飞燕穿梭柳叶之间，柳阴下斜出几枝杏花。从绘画内容及布局看来，它像是明院体大幅花鸟画的构图，画柳干之皴纹，有仿吕纪之笔意，画鹅则似林良写禽之趣，应是结合林良、吕纪影响之作。",[24,53,23,78,56,25,55,177,446,447,163,116,7],"鹅","杏树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55c57300cc263debb9b3f1259bef7939.jpg","142.8x81.4厘米",[65],{"id":452,"slug":453,"title":454,"dynasty":94,"author":307,"museum":96,"description":455,"tags":456,"thumbUrl":459,"material":266,"size":460,"collection":37,"collections":461,"showCount":462,"zanCount":11,"manualWeight":11,"mainColor":42},233381,"yuan-ji-jin-shan-long-you-si-shi-yi-ce-shi-tao-233381","原济金山龙游寺诗意册","本幅墨笔山水画金山龙游寺风景。共12开，每开均有自印，第十二开上方有自题一段。印记：“子英秘玩”，“蜀客”，“浙东陆钢鉴藏之印”等印45方。后页二方。题跋：后页姚虞琴题记一段。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,53,251,25,177,457,84,238,458,101,7],"行书","松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc555274dea7bbe31768bc088686b31c1.jpg","纵24.6cm横17.6cm",[],11,{"id":464,"slug":465,"title":466,"dynasty":335,"author":467,"museum":96,"description":468,"tags":469,"thumbUrl":482,"material":289,"size":290,"collection":483,"collections":484,"showCount":485,"zanCount":11,"manualWeight":11,"mainColor":69},226013,"road-near-giverny-1885-mo-nai-226013","Road near Giverny, 1885","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。",[470,471,472,473,474,475,163,476,477,478,479,480,388,7,481],"印象派","油画","笔触轻快","色彩明亮","光影效果","道路","山坡","草地","天空","乡村风光","弯曲道路","远处景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22eb37904a61172dbd792f004d4782bf.jpg","油画精选",[483],10,{"id":487,"slug":488,"title":489,"dynasty":490,"author":491,"museum":191,"description":492,"tags":493,"thumbUrl":10,"material":37,"size":37,"collection":66,"collections":495,"showCount":496,"zanCount":11,"manualWeight":11,"mainColor":497},203000,"ba-jun-tu-heng-pi-ge-quan-203000","八骏图横披","近代","戈荃","画面中八匹骏马神态各异，或昂首伫立，或交颈亲昵，或低头啮草，姿态生动自然。背景以淡墨晕染的柳树、嶙峋山石与疏草相映，营造出清雅旷远的郊野氛围。画家以细腻工笔勾勒马匹轮廓，设色淡雅温润，既表现出马体的肌理质感，又通过飘逸的鬃毛、灵动的四肢传递出骏马的矫健身姿与闲适意态。整体画风工写结合，笔墨简练却形神兼备，将自然之趣与骏马之美融为一体，尽显生机盎然之韵。",[24,56,55,263,494,101,7,53,52],"柳树",[66],7,"c2b79d",{"id":499,"slug":500,"title":501,"dynasty":74,"author":502,"museum":274,"description":503,"tags":504,"thumbUrl":507,"material":266,"size":37,"collection":37,"collections":508,"showCount":509,"zanCount":11,"manualWeight":11,"mainColor":42},233853,"shi-hua-he-bi-ce-zhou-yong-233853","诗画合璧册","周用","周用（1476—1547，一作1476-1548），字行之，号伯川，南直隶苏州府吴江县（今江苏省苏州市吴江区）人。弘治十五年（1502）进士，授行人。正德初，迁南京兵科给事中，进言谏迎佛事及镇守江西中官不法事，迁广东布政司参议。嘉靖中，历官南京工部、刑部尚书。九庙灾，自陈致仕。后以工部尚书总督河道，官至吏部尚书。\n周用，字行之，吴江人。弘治十五年进士。授行人。正德初，擢南京兵科给事中。父忧服阕，留补礼科。已，乞南。改南京兵科。谏迎佛乌斯藏及以中旨迁黜尚书、都给事中等官，且请治镇守江西中官黎安罪。出为广东参议，预平番禺盗，有功。历浙江、山东副使。擢福建按察使，改河南右布政使。代监司鞫南阳滞狱，狱为之空。嘉靖八年擢右副都御史，巡抚南、赣。召协理院事。历吏部左、右侍郎。以起废不当，尚书汪鋐委罪僚属，乃调用南京刑部。就迁右都御史，工、刑二部尚书。九庙灾，自陈致仕。用端亮有节概。既罢，中外皆惜之，频有推荐。久之，以工部尚书起督河道，数月，改漕运。未上，召拜左都御史。二品九年满，加太子少保。二十五年代唐龙为吏部尚书。明年卒官。赠太子太保，谥恭肃。曾孙宗建，自有传。\n用掌宪时，慎自持而已，无所献替。其后宋景、屠侨继之，大略皆廉洁，与用相似。景未久卒，而侨居职八年。属严嵩柄政，风纪不振。议丁汝夔狱，受杖不能去。",[24,53,251,25,56,142,240,101,7,505,84,177,506],"远山","扇子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1575daded0dd84731ed33873af0a13d2.jpg",[],6,{"id":511,"slug":512,"title":513,"dynasty":335,"author":190,"museum":96,"description":514,"tags":515,"thumbUrl":522,"material":289,"size":290,"collection":37,"collections":523,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":524},289072,"joseph-wright-smaller-italian-sketchbook-yi-ming-289072","Joseph Wright--Smaller Italian Sketchbook","以排线晕染砖石的粗粝肌理，湿墨晕开苔痕野意，残损拱券间虬曲藤蔓垂落，荒草漫过坍圮的断壁。天光从颓败穹顶漏入，为沉郁的废墟晕开一层柔雾。\n\n笔触松弛自然，将古迹被野林吞噬的萧索温柔定格，明暗层次里藏着旧文明沉眠的余温。风穿拱门的轻响仿佛随画面漫出，荒芜里揉着静谧诗意，把遗迹与荒林交融的沧桑寂寥，缓缓铺陈在纸面之上。",[516,517,518,519,82,7,520,521],"素描","风景写生","废墟","拱门","古建遗存","手绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3347dc84bd9362d3002862e69fa1741e.jpg",[],"F48FB1",{"id":526,"slug":527,"title":528,"dynasty":94,"author":529,"museum":96,"description":530,"tags":531,"thumbUrl":533,"material":37,"size":37,"collection":37,"collections":534,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":42},239303,"fang-gu-shan-shui-ce-wu-lin-239303","仿古山水册","吴麐","吴麐（1691～1772），字粟园，一作粟原，一字尧圃，安徽歙县籍，家江西景德镇。其家有景德镇古窑，与唐熊年三窑并称吴窑。山水学黄公望，以疏散简淡为主，用墨干湿相参不见痕迹，长于小幅，若大幅则病其翠弱，亦不多见。生平有古君子风，老客扬州汪贻士家。",[24,25,251,177,238,32,240,532,7],"水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa457ff173cf445b6309d8c245c6fc557.jpg",[],{"id":536,"slug":537,"title":538,"dynasty":94,"author":539,"museum":191,"description":540,"tags":541,"thumbUrl":544,"material":37,"size":37,"collection":545,"collections":546,"showCount":68,"zanCount":11,"manualWeight":11,"mainColor":547},201996,"ku-mu-zhi-shi-tu-zhou-shen-rong-201996","枯木芝石图轴","沈荣","画面中嶙峋湖石以水墨写意而成，墨色浓淡相济，皴擦间尽显苍劲肌理；旁侧枯木枝干虬曲，线条简劲疏朗，意韵清寂。左下角灵芝亭亭而立，杂草丛生，笔触灵动鲜活，与顽石枯木相映成趣。整体构图疏宕有致，意境幽远，尽显文人画雅致情致，简淡中藏生机，古拙中见韵致。",[25,27,177,542,32,543,7,52],"枯木","灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd5cc715cf338ab8dd7cd94aa6d3b43.jpg","水墨画精选",[545],"baa794",1777535713214]