[{"data":1,"prerenderedAt":2195},["ShallowReactive",2],{"subject-zhi-gan":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},91,"zhi-gan","枝干","枝干画高清赏析","精选中国历代枝干题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff369e530e148657ca45396fc2e5d6b39.jpg",0,201,[14,40,60,77,95,104,118,136,147,163,178,191,205,220,233,246,259,273,286,300,310,322,332,347,356,368,382,397,412,425,434,445,457,470,494,505,517,527,538,550,564,574,597,606,614,630,640,652,660,672,683,692,704,721,734,744,754,764,774,785,795,805,818,838,847,857,868,880,890,899,911,920,928,938,948,958,966,985,996,1006,1018,1030,1040,1052,1073,1084,1095,1106,1112,1121,1136,1147,1156,1166,1177,1189,1212,1222,1231,1238,1245,1254,1266,1277,1288,1296,1308,1315,1324,1331,1342,1351,1358,1366,1376,1387,1397,1406,1414,1432,1449,1461,1468,1474,1485,1496,1507,1516,1526,1534,1544,1550,1560,1569,1577,1586,1595,1603,1610,1618,1625,1634,1647,1661,1674,1685,1693,1703,1709,1720,1727,1735,1745,1754,1761,1773,1783,1790,1799,1805,1812,1820,1828,1837,1845,1852,1859,1865,1873,1885,1895,1905,1911,1917,1927,1937,1945,1960,1970,1979,1987,1997,2010,2017,2028,2039,2047,2055,2063,2071,2086,2095,2107,2119,2127,2137,2145,2155,2163,2172,2182],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":32,"material":33,"size":34,"collection":35,"collections":36,"showCount":37,"zanCount":38,"manualWeight":11,"mainColor":39},216663,"hua-niao-ce-sun-ke-hong-216663","花鸟册","明","孙克弘","上海博物馆","孙克弘的折枝画鸟画名重一时，是册共含牡丹、山茶、冬梅等花鸟画十六开，设色秀润清新，用墨精妙淡雅。孙克弘题引首：草木霑春。华亭克弘书。钤“雪居”朱文印、“汉阳长印”白文印。并自题“洞庭樵海张山人者，清贫守道，耻干谒人，真隐君子也。短褐一瓢，歌咏于青山白云中，消磨半生矣。兹老贫不能支吾薪水，因访余东皋雪堂，余又以贫不能为赠。聊写杂卉一册贻之。倘好事者以数斗易去，亦足为山人一箸之助也。汉阳守，华亭雪居孙克弘书并画。”",[23,24,25,26,27,28,29,30,7,31],"国画","册","设色","水墨","花鸟","花卉","鸟","枝叶","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F966c437cd22b844a3f1dd020db83444b.jpg","纸本,设色","纵31.7厘米，横61.8 厘米","花鸟画精选",[35],5957,35,"BDBDBD",{"id":41,"slug":42,"title":43,"dynasty":44,"author":45,"museum":20,"description":46,"tags":47,"thumbUrl":54,"material":33,"size":55,"collection":56,"collections":57,"showCount":58,"zanCount":59,"manualWeight":11,"mainColor":39},214708,"chun-hua-tu-ba-kai-3-yun-shou-ping-214708","春花图八开-3","清","恽寿平","恽寿平画了八种春天的花，包括桃花、牵牛花、牡丹、绣球、萱草、月季、樱花和鸢尾花。这幅画是在他晚年的时候画的，当时他五十三岁，虽是没骨而近乎写意，用笔已是纯青。",[48,23,49,24,25,50,27,51,7,52,53,31],"高清","书画","没骨","桃花","叶子","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3854c4a04d540aad1f6fd4f84bc9fda.jpg","26.3x35.7","",[],2124,9,{"id":61,"slug":62,"title":63,"dynasty":44,"author":45,"museum":64,"description":65,"tags":66,"thumbUrl":70,"material":71,"size":72,"collection":35,"collections":73,"showCount":75,"zanCount":76,"manualWeight":11,"mainColor":39},220975,"shan-shui-hua-hui-tu-ce-mu-dan-yun-shou-ping-220975","山水花卉图册-牡丹","北京故宫博物院","《山水花鸟图》是清代 创作的纸本设色画。\n\n每图各有 题识，分别钤“寿平”白朱文印、“正叔”朱文印、“寿平”白文印、“恽正叔”白文印、“寿平印”白文印等。\n\n每图各有乾隆皇帝题诗一首。\n\n鉴藏印有：“ 御赏之宝”、“淳化轩”、“石渠宝笈”、“臣庞元济恭藏”、“虚斋至精之品”等二十余方。\n\n本图册第三开、第十开分别署年款“乙卯秋”、“乙卯十月”。\n\n“乙卯”为清康熙十四年（1675年），此作应为恽寿平4岁时作品。\n\n此山水花卉图册分别描绘鹅群、荷花、山水、古木寒鸦、牡丹、乔柯急涧、夜雨初霁、菊花、兰花蝴蝶花、溪山行旅等。\n\n全册为作者临仿宋、元、明诸家。\n\n山水以宗董源、巨然、米芾、赵孟頫诸家为主，秀骨清幽，富有文人书卷之气。",[48,23,67,49,24,25,68,50,27,69,52,7,31],"名画","工笔","牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F330e3e872b432c5d096fddbd7eafe407.jpg","纸本，设色","纵27.5厘米，横35.2厘米。",[35,74],"设色画精选",1541,7,{"id":78,"slug":79,"title":80,"dynasty":81,"author":82,"museum":83,"description":84,"tags":85,"thumbUrl":89,"material":90,"size":91,"collection":92,"collections":93,"showCount":75,"zanCount":94,"manualWeight":11,"mainColor":39},216083,"qiu-kui-tu-li-shi-zhong-216083","秋葵图","宋","李士忠","台北故宫博物院","写秋葵一枝，工笔勾勒填彩，花瓣用粉细勾，叶用重绿，姿韵生动，重彩渲染，布局严谨。两朵开着的花与疏疏的叶子，充分表现出秋葵的神态，是南宋写生佳作。",[48,67,23,49,68,25,27,86,87,88,7],"秋葵","花","叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90e4f46a0ef378e801baa321bbe7168c.jpg","绢本,设色","25x28cm","宋画精选",[92,35],10,{"id":96,"slug":97,"title":98,"dynasty":44,"author":45,"museum":20,"description":46,"tags":99,"thumbUrl":100,"material":33,"size":55,"collection":56,"collections":101,"showCount":102,"zanCount":103,"manualWeight":11,"mainColor":39},214706,"chun-hua-tu-ba-kai-6-yun-shou-ping-214706","春花图八开-6",[48,23,49,67,24,50,25,27,87,88,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0a989ce46045ab5e8868995eea818ba.jpg",[],1054,6,{"id":105,"slug":106,"title":107,"dynasty":44,"author":45,"museum":108,"description":109,"tags":110,"thumbUrl":113,"material":114,"size":115,"collection":35,"collections":116,"showCount":117,"zanCount":59,"manualWeight":11,"mainColor":39},220998,"hua-hui-tu-ce-gui-hua-yun-shou-ping-220998","花卉图册·桂花","美国纳尔逊阿特金斯艺术博物馆","《花卉图册》绘有荷花、梨花、水仙、桃花、山矾、罂粟、茶蘼、金萱石榴、牵牛、双凤、桂枝及雁来红等十二种花。画用新没骨法，不用墨线钩勒，而直接着色点染而成。点色的用笔很洒脱、飘逸。十二种花，各具姿色。色彩艳而不俗，色调的表情是清丽和冷艳，在秀雅之中含有一种凛然难犯的韵味。画册中，作者或题名或赋诗，那秀劲古逸、和婉密丽的书体，与这种艳雅的画风相结合，相得益彰，更具魅力。该图册是恽寿平绘画中的精品。\n恽寿平（1633—1690），初名格，字寿平，号南田，武进（江苏常州）人。其诗格超逸，书法遒劲，擅长山水画，尤精没骨花卉画，画笔生动。",[48,67,23,49,24,25,50,27,28,111,7,112],"桂花","叶片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d3d4803a177ac67268b07a8c66a1114.jpg","纸本 设色","24.5×29.3cm",[35,74],657,{"id":119,"slug":120,"title":121,"dynasty":81,"author":122,"museum":83,"description":123,"tags":124,"thumbUrl":131,"material":90,"size":132,"collection":35,"collections":133,"showCount":134,"zanCount":103,"manualWeight":11,"mainColor":135},216777,"xue-zhu-wen-qin-tu-huang-quan-216777","雪竹文禽图","黄筌","在这幅「雪竹文禽」图中，画家将树石等主要实景置于幅左，而将江河与水鸭置于幅右。这种虚实对映的布局，不仅显示出南宋独特的审美趣味，也展现了自然生态活泼灵动的特质。画家绘以梅、竹，以及成对成双的游禽与飞鸟，不但点出了早春时序，更具有吉祥的祝幅之意。\n黄筌是五代后蜀的宫廷名画家，北宋时随着蜀主归宋后，便与其子黄居寀同入画院供职，对北宋初期花鸟画影响深远。黄筌喜用勾勒填彩，设色上也较为浓艳。本幅「雪竹文禽」的画风野逸简淡，以画风来看，可能不是黄筌真迹，而是南宋画院画家的作品。",[48,67,23,49,68,26,25,125,126,127,128,129,130,7],"竹","禽鸟","石头","枯树","雪","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5f9706b1a724681c40f304326ac14e5.jpg","26.3 x 45.7厘米",[35,92],641,"795548",{"id":137,"slug":138,"title":139,"dynasty":44,"author":45,"museum":83,"description":140,"tags":141,"thumbUrl":143,"material":25,"size":144,"collection":35,"collections":145,"showCount":146,"zanCount":103,"manualWeight":11,"mainColor":39},220988,"yu-zao-tu-ce-bai-he-yun-shou-ping-220988","鱼藻图册-百合","此套《瓯香馆写生册》共十幅，天津博物馆藏，描写了四时的花果，从春到夏分别是桃花、海棠、碧海珊瑚、牡丹、枇杷、卷丹、洛阳花、凤仙花、菊花、梅花。除了梅花一开，作者写明是学杨补之的水墨画法之外，其余各开全用没骨法，完全不用墨线勾勒，直接用颜色点厾出花朵、叶片、果实，只以色线勾勒叶茎。落色点花的没骨花，既不同于细线勾勒再层层渲染的工笔花卉，也不同于水墨淋漓的大写意花卉，它介于两者之间，也被称作“小写意”花卉。工笔求逼真，写意求意趣，恽氏没骨花所求正在“似与不似之间”。着色花卉自然比纯粹的水墨更逼真，但直接点染的“落色花”比起层层渲染的工笔花卉又有更大的随意性，不必被物象的细枝末节所羁绊，可以放手表现花的风骨。就气质而言，没骨花介于工笔与大写意之间，既不刻画，也不放逸，清新洒脱。",[48,23,49,24,50,25,27,142,52,7],"百合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2762924bf1e1eee5608b789b14168bf1.jpg","37.8x60.5厘米",[35,74],626,{"id":148,"slug":149,"title":150,"dynasty":81,"author":151,"museum":83,"description":152,"tags":153,"thumbUrl":159,"material":90,"size":160,"collection":35,"collections":161,"showCount":162,"zanCount":94,"manualWeight":11,"mainColor":39},218393,"xie-sheng-xing-hua-tu-zhao-chang-218393","写生杏花图","赵昌","这是一幅单枝杏花的画作，盛开的杏花，显得春意盎然。笔触精致优雅，花瓣主要用白粉上色，只有花蕾用胭脂上色，给人一种半透明的感觉；花头用胭脂涂抹，颜色丰富，给人一种女性的感觉。",[48,67,23,49,154,68,25,155,27,156,7,157,158],"扇面","写生","杏花","花朵","花蕊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa90c7d76318230f696dd0a532f0faf.jpg","25.2x27.3",[35],572,{"id":164,"slug":165,"title":166,"dynasty":167,"author":168,"museum":83,"description":169,"tags":170,"thumbUrl":173,"material":90,"size":174,"collection":35,"collections":175,"showCount":176,"zanCount":177,"manualWeight":11,"mainColor":135},216222,"hua-niao-tu-yi-ming-216222","花鸟图","元","佚名","一对锦鸡被描绘成在花朵和岩石间游动，而一对燕子和喜鹊则各自点缀着这一场景。雉鸡的羽毛鲜艳夺目，与盛开的鲜花交相辉映。这幅画的色彩斑斓和绚丽通过笔法的运用得到了加强。花和鸟的笔触相当细致，有一种优雅的品质。叶子的着色似乎是杂乱无章的，有几处已经模糊或剥落。这幅画没有标记，但仍有元代的题记。",[23,49,67,68,25,27,29,87,130,171,142,7,172],"菊花","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ce90ed3be06a8274a00daaccbc1bec.jpg","167.6x101.9cm",[35],520,4,{"id":179,"slug":180,"title":181,"dynasty":81,"author":182,"museum":183,"description":184,"tags":185,"thumbUrl":187,"material":90,"size":188,"collection":92,"collections":189,"showCount":190,"zanCount":76,"manualWeight":11,"mainColor":135},218635,"shan-cha-tu-wu-bing-218635","山茶图","吴炳","费城艺术博物馆","画面上画的是一枝山茶花，狭长的枝条上的叶子是深绿色的，边缘是黄色的，枝条上火红的花瓣，淡黄色的花药，伪装的色彩很鲜艳，很自然。",[23,49,67,27,68,25,186,7,52,53,31],"山茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef7aab5fc08907b55afa575d2a696c4a.jpg","25.7x25.7",[92,35],487,{"id":192,"slug":193,"title":194,"dynasty":44,"author":195,"museum":196,"description":197,"tags":198,"thumbUrl":200,"material":201,"size":202,"collection":35,"collections":203,"showCount":204,"zanCount":103,"manualWeight":11,"mainColor":39},222678,"si-ji-hua-niao-tu-ping-chen-mei-222678","四季花鸟图屏","陈枚","天津博物馆","此花鸟屏共八条，绘四季花卉：春桃、夏荷、秋菊、冬梅，配以四时禽鸟。由于作者有西洋绘画的功底，所绘画鸟造型准确，赋色大胆艳丽，栩栩如生。西洋技法加上传统绘画的笔墨意趣，使画面韵律生动，极富表现力。作者为宫廷画家，此八条屏作于雍正丙午，即公元1726年，是年作者因供奉内廷有功，获赏内务府掌仪司员外郎衔。\n由于作者有西洋绘画的功底，所绘花鸟造型准确，赋色大胆艳丽，栩栩如生，将一年四季的美妙景色勾勒的惟妙惟肖，让人怦然心动。\n整幅图运用了西洋技法加上传统绘画技巧，笔墨细腻，充满意趣，使画面韵律生动，极富表现力。",[48,23,49,68,25,69,172,199,7],"绿叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b9c1625db6482ffad4734737f73a34.jpg","绢本","139X41CM",[35],434,{"id":206,"slug":207,"title":208,"dynasty":44,"author":209,"museum":20,"description":210,"tags":211,"thumbUrl":215,"material":33,"size":216,"collection":35,"collections":217,"showCount":218,"zanCount":219,"manualWeight":11,"mainColor":39},214283,"pi-pa-tu-xu-gu-214283","枇杷图","虚谷","枇杷图是清代画家虚谷的一幅代表作。这幅画作描绘了枇杷树的生长过程。\n\n在这幅画作中，虚谷巧妙地捕捉了枇杷树的生长特征。他用浓墨重彩的画法，勾勒出了枇杷树的树冠和树干。他还用细腻的线条勾勒出了枇杷树的果实，让人感受到了枇杷树的自然韵味。",[48,67,23,49,25,27,26,212,213,7,52,214],"写意","枇杷","果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c08115f1f5f8532ace747821d30036.jpg","112.5x52",[35],408,5,{"id":221,"slug":222,"title":223,"dynasty":224,"author":225,"museum":183,"description":226,"tags":227,"thumbUrl":229,"material":90,"size":230,"collection":35,"collections":231,"showCount":232,"zanCount":219,"manualWeight":11,"mainColor":135},219095,"shou-tao-tu-ding-qian-219095","寿桃图","五代十国","丁谦","桃实饱满，粉白肌理间晕开胭脂般的红晕，似刚从枝头摘下，还带着晨露的润意。环绕的叶片深浅交织，墨绿老叶与黄绿新叶相映，蜷曲叶缘藏着自然生机，叶脉走向如细密思绪，勾勒出叶片柔软质感。绢本古旧色调裹着画中鲜活，笔墨轻缓却藏饱满情致，仿佛把一段丰收与吉祥的时光定格，每一笔都透着中式美学的雅致，让人在静谧中感受生命的温润与美好。",[23,68,25,228,52,7,31],"桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f630b561defc6ba2065e820e3396041.jpg","纵24.1横48.6厘米",[35],399,{"id":234,"slug":235,"title":236,"dynasty":44,"author":45,"museum":64,"description":237,"tags":238,"thumbUrl":241,"material":33,"size":242,"collection":35,"collections":243,"showCount":244,"zanCount":245,"manualWeight":11,"mainColor":39},220275,"tao-hua-tu-yun-shou-ping-220275","桃花图","图绘一花团锦簇的折枝桃花斜入画面。笔法轻快疏秀，设色淡雅清丽，充分体现了以没骨法点染物象的独特魅力，不仅表现出花之媚，叶之柔，同时表现出春光下桃花含烟带雾、“习习香熏薄薄烟”的诗意。",[48,23,49,239,240,50,25,51,7,52],"立轴","花鸟画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd26c1e63df902ca04500cd59486069.jpg","纵133厘米，横55.5厘米",[35],384,11,{"id":247,"slug":248,"title":249,"dynasty":44,"author":250,"museum":251,"description":252,"tags":253,"thumbUrl":254,"material":33,"size":255,"collection":56,"collections":256,"showCount":257,"zanCount":258,"manualWeight":11,"mainColor":39},216252,"jing-fu-si-qi-dong-jing-tu-6-qian-wei-cheng-216252","景敷四气冬景图-6","钱维城","美国大都会艺术博物馆","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n不妨叶面擎微雪，雅称花心射晓晖。独恨品题遗陆羽，仍慙色相号杨妃。钤印：会心不远、徳充符",[23,49,68,25,31,27,186,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e691047e218ba377e5b36caab22cef1.jpg","21.9 × 30.2cm",[],317,1,{"id":260,"slug":261,"title":262,"dynasty":18,"author":263,"museum":64,"description":264,"tags":265,"thumbUrl":268,"material":90,"size":269,"collection":35,"collections":270,"showCount":271,"zanCount":272,"manualWeight":11,"mainColor":135},216937,"mei-hua-shuang-qin-juan-chen-ji-ru-216937","梅花双禽卷","陈继儒","梅花双禽卷是中国明朝时期陈继儒所作的一幅山水画。这幅画描绘了两只居于梅花树下的雄鹰，它们正在寻找猎物。画中的景象十分写实，雄鹰的羽毛细腻而生动，而梅花树下的草地也非常逼真。梅花双禽卷被认为是陈继儒最杰出的作品之一，并被誉为“中国画史上的经典之作”。",[48,23,266,25,27,267,29,53,31,7,157],"长卷","梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F026b7f00452e9bbd679851fd52e23c4e.jpg","纵32.5cm，横256.5cm",[35],277,2,{"id":274,"slug":275,"title":276,"dynasty":18,"author":277,"museum":64,"description":278,"tags":279,"thumbUrl":281,"material":282,"size":283,"collection":35,"collections":284,"showCount":285,"zanCount":177,"manualWeight":11,"mainColor":39},222416,"bai-hua-tu-zhou-zhi-mian-222416","百花图","周之冕","是图有作者自识：“萬曆壬寅(1602年)秋日寫，汝南周之冕。”系周之冕的晚年之作。该图勾画了四季花卉，其中木本花卉多为折枝。画家将吴派的写意山水笔墨转化为花鸟画的造型语言，形成了勾花点叶派。画家以写意的手法勾写或涂抹出花叶、枝干，随意之中透露着明快和清雅，反映出文人画家淡泊不羁的胸臆。\n清《石渠宝笈·三编》著录。",[48,23,49,25,68,27,266,267,51,280,28,30,7],"玉兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4a3ecd116129eeb96dfb86398c9a098.jpg","纸本，墨笔","纵31.5厘米，横706厘米",[35,74],273,{"id":287,"slug":288,"title":289,"dynasty":44,"author":290,"museum":83,"description":291,"tags":292,"thumbUrl":296,"material":33,"size":297,"collection":56,"collections":298,"showCount":299,"zanCount":258,"manualWeight":11,"mainColor":39},219883,"er-shi-si-fan-hua-xin-feng-tu-rui-xiang-yu-shui-xian-dong-gao-219883","二十四番花信风图-瑞香与水仙","董诰","古人认为春风守信，如期而来，催开百花，称为“花信风”。春天自“小寒”到“谷雨”经历四个月，共八节气，每五天为一候，前后为二十四番花信风，以梅花居首，楝花居末。此套《画二十四番花信风图》册页十二开，共二十四幅，画二十四番花信风。",[23,49,24,25,68,293,294,295,7,157,52,31],"瑞香","水仙","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ab8b06d96331425eb7144b02fc54b4d.jpg","20x14.2厘米",[],264,{"id":301,"slug":302,"title":303,"dynasty":81,"author":151,"museum":83,"description":152,"tags":304,"thumbUrl":159,"material":90,"size":306,"collection":92,"collections":307,"showCount":308,"zanCount":309,"manualWeight":11,"mainColor":39},220176,"xing-hua-tu-zhao-chang-220176","杏花图",[48,67,23,49,305,25,68,27,156,7,31],"团扇","纵25.2厘米，横27.3厘米",[92,35],250,3,{"id":311,"slug":312,"title":313,"dynasty":44,"author":290,"museum":83,"description":291,"tags":314,"thumbUrl":319,"material":33,"size":297,"collection":56,"collections":320,"showCount":321,"zanCount":258,"manualWeight":11,"mainColor":39},219872,"er-shi-si-fan-hua-xin-feng-tu-mu-dan-yu-liu-hua-dong-gao-219872","二十四番花信风图-牡丹与柳花",[67,23,49,24,25,68,69,315,316,317,7,318],"柳花","花枝","柳叶","题款","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb09a9f572835af6efd69b2ef51c9f79a.jpg",[],246,{"id":323,"slug":324,"title":325,"dynasty":44,"author":290,"museum":83,"description":291,"tags":326,"thumbUrl":329,"material":33,"size":297,"collection":56,"collections":330,"showCount":331,"zanCount":272,"manualWeight":11,"mainColor":39},219874,"er-shi-si-fan-hua-xin-feng-tu-mu-lan-yu-li-hua-dong-gao-219874","二十四番花信风图-木兰与梨花",[23,49,24,25,68,27,327,328,7,157,53,31],"木兰","梨花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e7899210f12729525c86d211dedbbfe.jpg",[],237,{"id":333,"slug":334,"title":335,"dynasty":18,"author":336,"museum":337,"description":338,"tags":339,"thumbUrl":343,"material":90,"size":344,"collection":35,"collections":345,"showCount":346,"zanCount":309,"manualWeight":11,"mainColor":135},218918,"fu-gui-rong-hua-tu-lv-ji-218918","富贵荣华图","吕纪","私人收藏","吕纪，花鸟初师边景昭，又学林良，并广泛师法唐宋诸家，所作有工笔重彩和水墨写意两种画法，前者描绘精工，色彩富丽，法度谨严；后者粗笔挥洒，随意点染，简练奔放，富有气势和动感。其山水宗法马远、夏圭，以大斧劈皴画山石，苍劲有力。人物亦法南宋院体，衣纹线条简练顿挫。初学边景昭工笔法，亦受林良水墨法影响，后临仿唐宋诸家名迹，遂自成一体，独步当代。其花鸟画风呈两种面貌，一作工笔重彩，精工富丽，多绘凤鹤、孔雀、鸳鸯之类，辅以树木坡石、滩渚流泉背景，既具法度，又富生气。另一类为水墨写意画，粗笔挥洒，简练奔放，接近林良的风格。他亦兼善人物、山水，宗法南宋马远、夏圭画法。他的花鸟画风在当时宫廷内外影响甚大，继承者不乏其人。",[48,67,23,49,239,68,25,201,340,27,341,342,199,7],"明代","红花","白花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bcefe113f289970b9573cff9f3de1c6.jpg","49x25cm",[35],232,{"id":348,"slug":349,"title":350,"dynasty":44,"author":250,"museum":251,"description":351,"tags":352,"thumbUrl":353,"material":33,"size":255,"collection":56,"collections":354,"showCount":355,"zanCount":258,"manualWeight":11,"mainColor":39},216248,"jing-fu-si-qi-dong-jing-tu-9-qian-wei-cheng-216248","景敷四气冬景图-9","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n小艇沿溪兴致高，南枝春信屡相遭。还应傲得襄阳孟，何必探寻踏雪劳。钤印：得佳趣",[23,49,25,68,27,87,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d1b750876d25321dfc423a8a3b9d04e.jpg",[],230,{"id":357,"slug":358,"title":359,"dynasty":44,"author":360,"museum":361,"description":362,"tags":363,"thumbUrl":364,"material":71,"size":365,"collection":35,"collections":366,"showCount":367,"zanCount":258,"manualWeight":11,"mainColor":39},224231,"ju-hua-2-wu-chang-shuo-224231","菊花2","吴昌硕","藏地不详","吴昌硕所作之菊，线条凝练遒劲，刚柔并济；墨色浓淡相间，不落俗格。并伴以山岩、野石、溪水，或插入孤高细瘦的古瓶，皆与秋菊幽独淡雅、冷逸傲世的情态相映成趣。",[48,23,49,67,239,25,26,212,171,295,7,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67cb43cd66a1da94239b42b0c422a249.jpg","235*50cm",[35,74],225,{"id":369,"slug":370,"title":371,"dynasty":372,"author":373,"museum":374,"description":375,"tags":376,"thumbUrl":379,"material":56,"size":56,"collection":56,"collections":380,"showCount":381,"zanCount":309,"manualWeight":11,"mainColor":39},220526,"lan-mao-xu-bei-hong-220526","懒猫","民国","徐悲鸿","中央美术学院美术馆","明黄葵朵肆意盛放，苍劲枝叶舒展铺陈，将晴日生机晕染满幅。两只猫儿卧于石上，一猫懒腰哈欠，蓬松毛发纤毫毕现，娇憨慵懒之态跃然纸面；另一猫蜷身假寐，神态松弛安适。\n\n画作融西画写实与东方笔墨，以水墨晕染葵叶苍润质感，重彩点亮花瓣明妍鲜活，生灵造型精准生动，于日常闲景中，将繁花蓬勃与猫儿慵懒相映成趣，静动之间晕开松弛悠然的雅致意韵，尽显闲淡生机。",[48,23,49,25,26,212,377,378,7,52],"向日葵","猫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56021136e3f49aa5e8fa268f00e74249.jpg",[],219,{"id":383,"slug":384,"title":385,"dynasty":44,"author":386,"museum":387,"description":388,"tags":389,"thumbUrl":391,"material":392,"size":393,"collection":35,"collections":394,"showCount":396,"zanCount":11,"manualWeight":11,"mainColor":39},222642,"mu-dan-tu-li-zhou-gao-feng-han-222642","牡丹图立轴","高凤翰","美国克利夫兰艺术博物馆","此幅长卷有《梅花》和《牡丹》两幅合并而成，左侧《梅花》图绘梅枝从画上端斜入，细枝颇多，寒冬中梅花绽放出铮铮傲骨；《牡丹》图中二朵牡丹开放，花瓣层层叠叠，还有一朵藏于石后，含羞露出一半，一枝花枝从牡丹花后露出，姿态优美。",[48,23,49,239,25,27,26,390,31,69,87,7,52,53],"行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aed756d0a5f52a061a356ddf8967852.jpg","纸本，水墨","20x317cm",[35,395],"水墨画精选",184,{"id":398,"slug":399,"title":400,"dynasty":44,"author":401,"museum":361,"description":402,"tags":403,"thumbUrl":407,"material":408,"size":409,"collection":56,"collections":410,"showCount":411,"zanCount":11,"manualWeight":11,"mainColor":39},223091,"hua-niao-tu-li-zhou-ren-xun-223091","花鸟图立轴","任薰","任薰(1835-1893)，字 舜琴 ，又字阜长，其父任椿，兄 任熊 都是画家。少丧父，从兄学画，青年时在 宁波 卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、 任预 均从其习画。人物与其兄同师 陈洪绶 ，常用高古游丝、铁线、行云流水、兰叶几种描法。\n任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与 顾文彬 子顾承相友善，曾为设计怡园。 1888年54岁时双目失明，后病卒于苏州。 与任熊、任颐时称三任，合任预为四任，并为 海上画派 代表画家之一。\n任薰作画题材广泛，对人物、山水、花卉、翎毛、走兽(马、羊等)无所不能，更擅长花鸟、人物。粗写意、细双勾。技法初学其兄谓长，后吸取陈老莲的传统技法。用笔沉着力。\n在构图上有其特长，在大小不同的画面上，创作出许多新颖、宽广、意境深远的作品，尤其适应扇面上的表现技法，能笔随意转，在极小的团扇、折扇画面上，开拓出广阔、妙趣盎然的意境。\n任薰作品在结构上比较严谨，很重视疏密虚实的主从关系，无论一人、一花、一鸟的主从关系都能巧心安排得体。平淡中亦能出奇，宁静中又能生动。画面上给人一种空灵明快之感。\n他的另一特点是工于着色，浓淡相宜，清新可爱，绝无柔媚习气。他尤长于使用重彩着色，能把对比鲜明的色彩调和统一起来，使画面上的景色更显壮丽，又能从鲜艳色彩中透出古朴的意趣。任薰人物画，线条遒劲圆韧。尤其晚年人物衣褶，运笔如同书法中行草，似有行云流水之感，形态多奇伟的身躯，出乎 寻常容貌，带有性格的神态，别出心匠。",[48,404,23,49,239,68,25,27,405,87,406,7,157],"清代","鹦鹉","树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ea923f5fc4a6a88156616b48b14abb.jpg","立轴 纸本","128x34",[],172,{"id":413,"slug":414,"title":415,"dynasty":44,"author":416,"museum":361,"description":417,"tags":418,"thumbUrl":420,"material":421,"size":422,"collection":35,"collections":423,"showCount":424,"zanCount":272,"manualWeight":11,"mainColor":39},222707,"mei-hua-tu-li-zhou-jin-nong-222707","梅花图立轴","金农","水墨绘梅树枝杆，中间淡墨皴染，外部浓墨晕染，粗壮遒劲；古梅细枝繁多，每一枝枝头皆花朵绽放，红色花朵娇艳欲滴，红花丛中绿叶渐渐长开，一个春天即将到来。",[48,23,49,239,26,25,267,7,419,53,31],"梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5d44ddc3ccfb0f322631c48caa18fc7.jpg","纸本","61cmx33cm",[35,74],170,{"id":426,"slug":427,"title":17,"dynasty":18,"author":428,"museum":361,"description":429,"tags":430,"thumbUrl":431,"material":56,"size":56,"collection":35,"collections":432,"showCount":433,"zanCount":272,"manualWeight":11,"mainColor":39},237664,"hua-niao-ce-ling-bi-zheng-237664","凌必正","[明]字贞卿，一字蒙求，号约庵，太仓（今江苏太仓）人。崇祯四年（一六三一）进士，官至广西副使。善山水，设色妍雅，位置精密，接轸宋人。间画花鸟，尚欠超逸生动之致。《太仓州志、无声诗史、桐阴论画》",[67,23,49,24,25,68,27,7,52,157,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb686e450eda3e1b564356a6d16a40e28.jpg",[35,74],144,{"id":435,"slug":436,"title":437,"dynasty":44,"author":360,"museum":64,"description":438,"tags":439,"thumbUrl":442,"material":421,"size":56,"collection":35,"collections":443,"showCount":444,"zanCount":258,"manualWeight":11,"mainColor":39},224229,"lao-shao-nian-zhou-wu-chang-shuo-224229","老少年轴","使用西洋红设色，一老一新两丛雁来红，构图成对角斜势，虚实相生，主体突出。此作当是吴昌硕大胆运用洋红的最佳范例之一。他把金石的古厚质朴的意趣，引用到绘画用色方面来，自然不落于平薄，更无粉脂俗艳。吴昌硕可以说是大写意花卉史上最善于用色的高手之一。这种绘画方法，对之后的海派绘画，乃至齐白石等京派绘画产生了重大影响。",[48,23,49,239,25,212,390,31,28,440,7,441,199],"植物","红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8ca4315e839c5191b026d588d9a0432.jpg",[35,74],132,{"id":446,"slug":447,"title":448,"dynasty":44,"author":449,"museum":83,"description":450,"tags":451,"thumbUrl":454,"material":33,"size":56,"collection":56,"collections":455,"showCount":456,"zanCount":258,"manualWeight":11,"mainColor":39},214850,"xie-sheng-ce-13-hua-yan-214850","写生册-13","华嵒","华嵒是一位清代著名画家和艺术家。他的写生册是一本记录他写生草稿的册子，通常包含他对自然和人物的写生绘画。写生册是画家们练习和提高技巧的重要工具，因为它们能够帮助画家观察、捕捉和描绘细节。华嵒的写生册中可能包含了他对山水、花鸟、人物等的写生画作。",[23,49,24,26,25,27,452,453,214,440,130,7,52,155],"蜻蜓","蝴蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5365c66340a204067495a18471d8430a.jpg",[],125,{"id":458,"slug":459,"title":460,"dynasty":18,"author":461,"museum":83,"description":462,"tags":463,"thumbUrl":466,"material":90,"size":467,"collection":74,"collections":468,"showCount":469,"zanCount":11,"manualWeight":11,"mainColor":135},219418,"hua-niao-zhou-bian-wen-jin-219418","花鸟轴","边文进","此图绘竹、梅、雀，经营位置错落有致，鸟之姿态生动富情趣；用笔学宋朝院体勾勒填彩，设色妍丽生动。以梅竹、百雀为主题，象征吉祥瑞应。",[23,49,239,68,25,27,125,172,464,465,7],"老树","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4928cc9b3bf2e52344cbbd9dc5bf5f65.jpg","160.1x74.2公分",[74],123,{"id":471,"slug":472,"title":473,"dynasty":44,"author":474,"museum":361,"description":475,"tags":476,"thumbUrl":491,"material":56,"size":56,"collection":56,"collections":492,"showCount":493,"zanCount":258,"manualWeight":11,"mainColor":39},228930,"shu-guo-tu-gu-luo-228930","蔬果图","顾洛","此作用长卷铺陈出满幅鲜活意趣，以工笔淡彩晕染描摹，设色清妍雅致。枝蔓果蔬次第绵延，宛如将乡野生机尽数铺展于素纸之上。石榴裂瓣露籽，饱满鲜活；水蜜桃色泽娇嫩，肌理宛然，各类蔬果皆刻画入微，菜叶舒展自然，浆果晶莹饱满，连蒜叶、菜根都写实生动，将日常烟火里的瓜果蔬蔬，赋予了文人画的隽雅格调，把清蔬佳果的鲜活生命力淋漓尽致地呈现，于平实间尽显雅致意韵。",[48,23,68,25,266,477,478,479,480,481,482,483,484,485,486,487,488,489,490,52,7],"蔬果","石榴","草莓","桃子","梨","辣椒","茄子","玉米","豆角","白菜","萝卜","梅子","桑葚","栗子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaf3cd4ae119b84b1a3922ca91fd46c7.jpg",[],122,{"id":495,"slug":496,"title":497,"dynasty":167,"author":498,"museum":83,"description":499,"tags":500,"thumbUrl":501,"material":502,"size":503,"collection":35,"collections":504,"showCount":493,"zanCount":11,"manualWeight":11,"mainColor":135},214818,"jia-tu-guan-dao-sheng-214818","茄图","管道升","管道升（生卒年不详）是中国元代（1271年 - 1368年）的画家。他主要以写意山水画著称。管道升的茄图是一幅以茄子为主题的山水画。茄子是一种常见的蔬菜，被广泛用于烹饪。这幅画中的茄子极具写意，呈现出自然的姿态和神韵。管道升善于运用水墨画的技法，表现出山水中的细腻和精致。\n\n管道升的茄图是一幅脍炙人口的名作，被广泛传颂和收藏。它的笔墨简洁，意境深远，描绘出了大自然的美丽和生机。这幅画不仅描绘了山水的美景，而且也表达了作者对生活的感悟和思考。管道升的茄图是中国山水画史上的经典之作，对中国画坛产生了深远的影响。",[23,49,26,68,27,483,7,52,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ad2d3ee1317752964db7545c6ea152f.jpg","纸本,水墨","52.1x28.4",[35],{"id":506,"slug":507,"title":508,"dynasty":44,"author":509,"museum":387,"description":510,"tags":511,"thumbUrl":513,"material":421,"size":514,"collection":56,"collections":515,"showCount":516,"zanCount":258,"manualWeight":11,"mainColor":39},231946,"fang-shen-zhou-hua-hui-tu-wang-wu-231946","仿沈周花卉图","王武","作品是在国民期间被带入国门的，但有几幅作品却被比齐白石的画漂亮，画的细节比齐白的还好。\n齐白石牛的蝉，比不过他画的天牛，可惜作品少了海外！这本书国画精口的细节很少，就是画了三张天牛画在上面树上的野画。简单的绘画风格与齐白石的一样，但作品却充满了满满的童趣。\n如果不是亲眼所见，谁也不会相信这是一张清朝的绘画，而且是由王武一个画家画出来的。笔墨十分的潇洒，尤其是在婚纱中的小作品中，烘焙精品的超小纸条。\n作品贵的精巧，贵在细节上面，大家仔细看绘画的整体风格，实际上比齐白石的作品外观要，而且布局更漂亮，但在工整秀丽之间又不失童趣。把一些动物与植物相间的神韵的画出来，难怪在外国的目光，这一类作品太妙了。\n对比的绘画，这只天牛虽然是属于水墨画，但要知道在200多年前，这水墨的风格画，尤其是场景小类的，能画到非常逼真的多，最重要的就如真的还活着，余生如生。\n一张好画的感觉体验一个人的绘画天赋，更表现了一个人的绘画功底。像王武和齐白石的作品，深入要光，还需要依靠对艺术绘画的一种深入理解，这样子有神韵！",[48,23,26,25,27,512,7,52,214,24,212],"昆虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25155c1c911c2cd3f45e7be509419dbd.jpg","53x38 厘米",[],121,{"id":518,"slug":519,"title":520,"dynasty":18,"author":461,"museum":83,"description":521,"tags":522,"thumbUrl":524,"material":90,"size":525,"collection":35,"collections":526,"showCount":516,"zanCount":272,"manualWeight":11,"mainColor":135},221937,"san-you-bai-qin-tu-bian-wen-jin-221937","三友百禽图","《三友百禽图》描绘了初冬时节，百禽嬉戏于松竹梅之间的场景，画中禽鸟或飞翔，或栖息，或嬉戏，或高瞻远瞩，或转首探望，或自理羽毛，无一重复，整个画面气氛热闹欢快，一派生机勃勃。\n此图中各个禽鸟的动姿刻画得生动活泼，诸鸟细致入微的描绘，使大多鸟类品种可辨，布满全幅的构图，呈现“茂密”的特点，画风工细精微又富装饰性，堪称边景昭最具宫廷花鸟特色的佳作。\n《三友百禽图》中以松、竹、梅和坡石为主要架构，其间穿插近百只禽鸟于枝头、坡上、空中等处。画面下部绘有数块峻峭的山石，在坡石缝隙之间，只见一截老松弯卧，树干表面显得沧桑嶙峋；在老松一侧两株粗壮的翠竹凛然耸起，直入画外，上不见其端顶，下不着其根部，在两棵竹子之间，一枝幼竹迎而立，竹叶繁密；在画面左上角，古老的梅干斜逸而出，茁壮的梅枝低垂，白色梅花凌寒怒放；梅竹之后，又有苍翠的松枝隐现其间。",[48,23,68,25,239,27,523,125,267,29,172,130,7,465],"松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cb578f9fef886db366ada747d3fe3e2.jpg","纵152.2厘米，横78.1厘米",[35,74],{"id":528,"slug":529,"title":530,"dynasty":18,"author":336,"museum":337,"description":338,"tags":531,"thumbUrl":534,"material":90,"size":535,"collection":35,"collections":536,"showCount":537,"zanCount":272,"manualWeight":11,"mainColor":135},218920,"fu-rong-shuang-yan-tu-lv-ji-218920","芙蓉双雁图",[48,23,67,68,25,27,532,533,440,7,52,28],"芙蓉","雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac8fb431edd8bf3e6cbb2221cc53cd04.jpg","114x52cm",[35],119,{"id":539,"slug":540,"title":541,"dynasty":44,"author":542,"museum":337,"description":543,"tags":544,"thumbUrl":547,"material":502,"size":56,"collection":548,"collections":549,"showCount":537,"zanCount":11,"manualWeight":11,"mainColor":39},214517,"shui-mo-tu-ce-zheng-min-214517","水墨图册","郑旼","郑旼是清代著名的画家，他的水墨图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了郑旼对自然的热爱和对传统文化的尊重。他运用了水墨画的特点，使得整件作品显得舒缓而优美。\n\n郑旼是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在水墨图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，郑旼的水墨图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了郑旼对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到郑旼的画风魅力，还能了解中国传统的山水风情。",[24,26,390,53,545,128,295,7,31,546],"山水","皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35a214c726747716788dfbbb381e5298.jpg","山水画精选",[548,395],{"id":551,"slug":552,"title":378,"dynasty":44,"author":553,"museum":196,"description":554,"tags":555,"thumbUrl":559,"material":560,"size":561,"collection":56,"collections":562,"showCount":563,"zanCount":11,"manualWeight":11,"mainColor":39},223235,"mao-ren-yi-223235","任颐","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。\n海派中的佼佼者，其绘画发源于民间，重视继承传统，吸收西画技法，形成风姿多采的独特画风，在“四任”中成就最为突出。 　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[48,23,25,26,556,378,557,7,558,130],"兼工带写","芭蕉","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3992e488d1b2dab6e076bb2a4b4a642e.jpg","纸本设色","150cmx40cm",[],115,{"id":565,"slug":566,"title":567,"dynasty":44,"author":45,"museum":20,"description":568,"tags":569,"thumbUrl":570,"material":90,"size":571,"collection":56,"collections":572,"showCount":573,"zanCount":272,"manualWeight":11,"mainColor":39},219820,"hua-hui-shi-kai-3-yun-shou-ping-219820","花卉十开-3","以没骨技法晕染桃花，枝桠清疏舒展，粉瓣柔妍动人。花色由深粉晕向柔白，过渡柔和自然，将桃花初绽的缱绻柔态尽显，仿佛携带着春日融融暖意。嫩绿叶芽点缀枝间，与粉花相映，愈衬花色明丽清新，未用轮廓勾勒却形神兼备。\n\n左侧题诗与右侧钤印呼应，诗画交融，将桃花不拟梅之傲雪、自有柔香引蝶的雅致品格点明，文人意趣跃然纸上。整幅画作清润秀雅，尽显淡逸之风，将春日桃花的娇柔定格，雅致脱俗，尽显没骨花鸟的动人韵味。",[23,67,49,24,50,25,27,28,7,52,53,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff19bf3a15b42d07ec373376a6522b8c.jpg","20.4×29.2厘米",[],114,{"id":575,"slug":576,"title":577,"dynasty":167,"author":578,"museum":64,"description":579,"tags":580,"thumbUrl":593,"material":282,"size":594,"collection":548,"collections":595,"showCount":596,"zanCount":309,"manualWeight":11,"mainColor":39},221721,"wu-jia-he-hui-juan-zhao-yong-wang-mian-zhu-de-run-zhang-guan-fang-cong-yi-221721","五家合绘卷","赵雍 王冕 朱德润 张观 方从义","《元五家合绘》卷，元，赵雍、王冕、朱德润、张观、方从义作。\n此卷包括元代5位画家的5件绘画作品，作品尺幅相近，后人将其合裱为一卷。\n其一《松溪钓艇图》，元，赵雍作，纸本，墨笔，纵30厘米，横52.8厘米。\n款署：“至正二十年二月既望仲穆画。”钤“仲穆”、“魏国世家”。另有清乾隆皇帝御题诗及鉴藏印。至正二十年为1360年，赵雍时年72岁。图绘近岸坡石双松，孤舟钓叟，隔水平峦远岫，意境清幽，笔墨苍润。\n（二）《墨梅图》，元，王冕作，纸本，墨笔，纵31.9厘米，横50.9厘米。\n自题：“吾家洗研池头树，个个花开淡墨痕。不要人夸好颜色，只流清气满乾坤。王冕元章为良佐作。”钤“元章”、“文王子孙”。另有清乾隆皇帝御题诗及鉴藏印。画面中一枝梅花横出，枝干秀挺，花朵疏朗。以淡墨点染花瓣，再以浓墨勾点萼蕊，墨色清润，高情逸趣溢于笔端，表达了作者藉墨梅标榜清高孤洁的思想情感。\n曾经清人梁清标和清内府收藏，《石渠宝笈·续编》著录。\n（三）《松溪放艇图》，元，朱德润作，纸本，墨笔，纵31.5厘米，横52.6厘米。\n自题：“丑石半蹲山下虎，长松倒卧水中龙。试君眼力知多少，数到云峰第几重。朱泽民。”钤“朱泽民氏”。另有清乾隆皇帝御题诗及鉴藏印。\n图绘巨石怪松，孤舟徐行。画松枝用笔爽利迅捷，坡石皴法温润，人物用白描法，笔简意浓。\n曾经明沈周、清安岐收藏。\n（四）《疏林茅屋图》，元，张观作，纸本，墨笔，纵25.8厘米，横59.6厘米。\n款署：“至正戊戌八月，张观制。”另有清乾隆皇帝御题诗及安岐鉴藏印。至正戊戌为元至正十八年（1358年）。\n图画平坡老树，茅舍掩映，水阔山远，清雅控幽。树木勾点结合，错落有致，坡石用墨湿润，画风承北宋李成、郭熙一脉。\n（五）《山水图》，元，方从义作，纸本，墨笔，纵26.5厘米，横45.3厘米。\n款署：“方方壶作。” 另有清乾隆皇帝御题诗及明项元汴等多家鉴藏印。\n图画密林茅舍，小桥流水。画面景物丰满，墨色浓淡相间，笔法灵活潇洒。",[48,23,49,266,26,546,31,545,406,464,581,267,295,582,583,584,585,586,587,7,87,588,128,589,590,591,592,30],"孤舟","水面","渔船","人物","远岫","岸","茅屋","松树","岸滩","船只","山间","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ad6676a3f8f4d776bd2cf92396b87c9.jpg","纵30cm，横52.8cm",[548,395],111,{"id":598,"slug":599,"title":600,"dynasty":44,"author":195,"museum":196,"description":197,"tags":601,"thumbUrl":603,"material":201,"size":202,"collection":56,"collections":604,"showCount":605,"zanCount":309,"manualWeight":11,"mainColor":39},222680,"si-ji-hua-niao-tu-ping-3-chen-mei-222680","四季花鸟图屏3",[48,23,49,67,239,68,25,27,602,29,342,199,7],"玉兰花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb354d235264b4e3fbffcc1189098cae9.jpg",[],107,{"id":607,"slug":608,"title":609,"dynasty":44,"author":45,"museum":20,"description":610,"tags":611,"thumbUrl":612,"material":90,"size":571,"collection":56,"collections":613,"showCount":605,"zanCount":177,"manualWeight":11,"mainColor":39},219814,"hua-hui-shi-kai-9-yun-shou-ping-219814","花卉十开-9","这幅没骨花卉，以淡色晕染出栀子清姿，不用墨线拘囿轮廓，色阶自然过渡，将花瓣莹白温润的质感描摹入微。盛放的花朵舒展柔瓣，如琼玉初绽；待放的花苞敛藏静美，浓淡不一的青叶或苍润鲜碧，或带枯斑，枯荣相衬，更显生机清隽。左上角题诗与画意相融，笔墨间漫溢着文人画的清雅淡远，将江南草木的温婉灵秀，化作平和冲淡的审美意趣，尽显雅致脱俗的笔墨格调。",[23,49,24,25,68,50,27,28,52,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1235f17160dbe697ecea3722caedca0e.jpg",[],{"id":615,"slug":616,"title":617,"dynasty":44,"author":618,"museum":619,"description":620,"tags":621,"thumbUrl":625,"material":626,"size":627,"collection":35,"collections":628,"showCount":629,"zanCount":258,"manualWeight":11,"mainColor":135},222774,"liu-yin-shuang-jun-tu-lang-shi-ning-222774","柳荫双骏图","郎世宁","镇江市博物馆","《柳荫双骏图》卷绘两匹马一立一卧，一棵老柳树，斜在背景中，马匹及树木均画出了明暗和凹凸，强调物象的质感和立体感。郎世宁书款中不署“臣”字，显然该作品不是为皇帝画的，受画者应当是某位有着亲王或郡王身份的满洲贵族。",[48,67,23,49,68,25,622,623,464,465,624,7],"马","柳","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b142639faf49024649f5fe7e4a3f35c.jpg","绢本设色","横62厘米，纵115.1厘米",[35,74],106,{"id":631,"slug":632,"title":633,"dynasty":44,"author":618,"museum":83,"description":634,"tags":635,"thumbUrl":637,"material":25,"size":638,"collection":56,"collections":639,"showCount":629,"zanCount":258,"manualWeight":11,"mainColor":39},222741,"xian-e-chang-chun-tu-02a-shao-yao-lang-shi-ning-222741","仙萼长春图-02a（芍药）","本册共十六开内容分别描绘牡丹、桃花、芍药、海棠玉兰、虞美人、蝴蝶花、黄刺玫牡丹、石竹、樱桃、罂粟、紫白丁香、百合花牡丹、翠竹牵牛、荷花慈姑花、豆花稷穗、鸡冠花、菊花等，其中有八开还画有鸟禽，整册内容与《石渠宝笈三编》著录之〈郎世宁画花卉册〉一致，对幅皆是空白，而最末一开有宋体书款「臣郎世宁恭画」，依据画风特色推测是郎世宁雍正时期的花鸟佳作。全册不仅设色精緻，构图手法也见新意。特别能于鸟禽形体姿态上有超乎传统的表现，是西法透视手法的精采成果。画中花鸟多处能够显示光影明暗，透过白色颜料提点高光的技巧也常见运用。整册画风都一再显示其与郎世宁雍正前期画风有关。",[48,23,67,68,25,27,636,87,88,7,130],"芍药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c91a3aea82e716ab6aa9b460afb178.jpg","宽28.4公分，高33.7公分",[],{"id":641,"slug":642,"title":643,"dynasty":44,"author":45,"museum":361,"description":644,"tags":645,"thumbUrl":647,"material":648,"size":649,"collection":35,"collections":650,"showCount":651,"zanCount":11,"manualWeight":11,"mainColor":39},220974,"shuang-qing-tu-yun-shou-ping-220974","双清图","本幅是恽寿平55岁时所作。以“双清”为画名是因为梅花以“众芳摇落独暄妍”的品格而水仙以淡色疏香和清气逼人的特性同被视为传统绘画题材中的“清物”。此图以淡花青晕染绢地，烘托双清的花色。梅树苍干繁枝，横斜取势，其花瓣法南宋扬无咎的画法，即以墨笔圈线为瓣，线条雅秀雄健，勾勒出花之勃勃生机。水仙法元人赵孟坚的白描笔韵，叶片用笔富于急迟、粗细、顿折诸变化，花儿或仰或俯，或张或合，亦变化多端。作者以活泼多变的表现技法成功地展示出梅花、水仙暗香浮动的美感。全图不刻意求工、求似，唯求自然天趣，揭示出恽寿平一向所追求的平淡超逸的审美意趣。",[48,23,49,239,404,50,25,27,419,294,7,112,646],"传统技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25d9b08a441f3b8f0cf2cc92ce26149c.jpg","绢本，设色","纵88.5厘米，横54厘米",[35,74],98,{"id":653,"slug":654,"title":655,"dynasty":44,"author":195,"museum":196,"description":197,"tags":656,"thumbUrl":657,"material":201,"size":202,"collection":56,"collections":658,"showCount":659,"zanCount":258,"manualWeight":11,"mainColor":39},222685,"si-ji-hua-niao-tu-ping-8-chen-mei-222685","四季花鸟图屏8",[48,23,49,239,68,25,27,267,186,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff120bb949e796c509e974641e34be539.jpg",[],94,{"id":661,"slug":662,"title":663,"dynasty":44,"author":360,"museum":361,"description":664,"tags":665,"thumbUrl":668,"material":669,"size":670,"collection":56,"collections":671,"showCount":5,"zanCount":258,"manualWeight":11,"mainColor":39},235635,"bai-lian-tu-zhou-wu-chang-shuo-235635","白莲图轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[23,49,239,26,25,27,666,667,7,212],"荷","荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82c0df205ec2ce42c42492c16896f1a8.jpg","未知","Xcm*Xcm",[],{"id":673,"slug":674,"title":675,"dynasty":44,"author":676,"museum":361,"description":677,"tags":678,"thumbUrl":680,"material":56,"size":56,"collection":56,"collections":681,"showCount":682,"zanCount":272,"manualWeight":11,"mainColor":135},228927,"bai-tou-rong-gui-tu-li-zhou-ma-quan-228927","白头荣贵图立轴","马荃","此作绘就清秋雅景，桂树虬枝斜出，繁花缀于叶间，两只白头翁栖于枝头，羽色晕染细腻，灵动悠然，似在细嗅甜香。苔石苍古朴拙，旁侧芙蓉柔花绽蕊，粉白相衬，妍丽温婉。\n\n笔触工秀兼具，禽鸟绒毛蓬松鲜活，花叶勾勒柔婉，设色明丽雅致却艳而不俗。以白头翁谐“白头”，丹桂、芙蓉寄寓荣华，将秋日生机与吉庆祈愿相融，笔底尽是温婉意趣，静赏间漫溢清和雅致的古典韵味。",[48,67,23,49,239,68,25,27,69,679,295,7,52,404],"白头鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa823023cfbac82a24300a34fb689b2f2.jpg",[],90,{"id":684,"slug":685,"title":686,"dynasty":44,"author":195,"museum":196,"description":197,"tags":687,"thumbUrl":689,"material":201,"size":202,"collection":56,"collections":690,"showCount":691,"zanCount":309,"manualWeight":11,"mainColor":39},222681,"si-ji-hua-niao-tu-ping-4-chen-mei-222681","四季花鸟图屏4",[48,68,25,27,29,688,199,342,7],"红果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F215e604db490f4a6381ab7f2e744c172.jpg",[],89,{"id":693,"slug":694,"title":695,"dynasty":81,"author":696,"museum":697,"description":698,"tags":699,"thumbUrl":701,"material":90,"size":702,"collection":35,"collections":703,"showCount":691,"zanCount":272,"manualWeight":11,"mainColor":135},218925,"yuan-yang-za-qin-tu-han-you-218925","鸳鸯杂禽图","韩佑","美国弗利尔美术馆","这幅画上画着密密麻麻的梅花和山茶花，表达了冬天的精致。一对鸳鸯依偎在萧瑟的坡岸上，为画面增添了一丝温情。这幅画据说是宋代的韩佑所作，但山石的风格是明代画院的风格，官方网站将其定为15至16世纪。",[67,23,49,239,68,25,27,267,700,126,28,7],"鸳鸯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc9960809d93f2f94c401c8fe943f369.jpg","154x94.2cm",[35],{"id":705,"slug":706,"title":707,"dynasty":18,"author":708,"museum":196,"description":709,"tags":710,"thumbUrl":715,"material":716,"size":717,"collection":548,"collections":718,"showCount":719,"zanCount":258,"manualWeight":11,"mainColor":720},220896,"jiu-feng-han-cui-tu-dong-qi-chang-220896","九峰寒翠图","董其昌","董其昌书法上有“邢张米董”之称，即把他与临邑邢侗、晋江张瑞图、须天米钟并列；绘画上有南董北米之说。莫是龙、陈继儒提倡“南北宗”之说，即把“院体”山水画与“文人画”分为南北两派。董其昌一生创作的书画作品不可胜数，临仿古人的绘画和诗帖是其中的一个重要部分。他在《画禅室随笔》中所说的“读万卷书”正是指一个人要想成为艺术家，必须学习传统，学习古人。他17岁开始学习书法时临写颜真卿的《多宝塔》，22岁学习绘画时师法黄公望，以后又遍学诸家，这种以古人为师的作法八十而不辍，伴其终生。他广泛吸取对唐宋元诸家优长，抉精探微，使其书画取得了超越古人的艺术成就。\n在研习经史之余，董其昌与同僚诸友切磋书画技艺，纵论古今，品评高下。又从韩世能那里借阅晋、唐、宋、元法帖宝绘，心摹手追，有时废寝忘餐，因而学问大进，开始在京中有些名气。在家乡，董其昌筑“来仲楼”、“宝鼎斋”、“戏鸿堂”、“画禅室”、“香光室”等，牙签玉轴，左图右史，置身其中，著书立说，探究古今书画艺术。他不遗余力地搜集王羲之、王献之、谢安、桓温、赵佶、米芾诸名家法书，于万历三十一年（1603年）刊刻《戏鸿堂法帖》行世。病休松江时期，他正值四十余岁的盛年，广闻博识，采集众长，悠居林泉，心闲手熟，创作了《葑泾访古图》《鹤林春社图》《浮岚暖翠图》《神楼图》《西湖八景图》《溪回路转图》等许多描绘江南风光的著名山水画。\n董其昌强调以古人为师，但反对单纯机械地模拟蹈袭。随着阅历的增加、思想的成熟，他在继承前人技法时不倚傍他人庑下“作重台”，而是有选择地取舍，融入自己的创意。他认为如果离开了自己的创意，古人的精神也难以表达，故应以自己独创的形式再现古人的“风神”。凭借自己对古人书画技法得失的深刻体会，他摄取众家之法，按己意运笔挥洒，融合变化，达到了自成家法的化境。\n董其昌的山水画大体有两种面貌，一种是水墨或兼用浅绛法，这种面貌的作品比较常见；另一种则是青绿设色，时有出以没骨，比较少见。他十分注重师法古人的传统技法，题材变化较少，但在笔和墨的运用上，有独特的造诣。他的绘画作品，经常是临仿宋元名家的画法，并在题识中加以标榜，虽然处处讲摹古，并不是泥古不化，而是能够脱窠臼，自成风格，其画法特点，在师承古代名家的基础上，以书法的笔墨修养，融会于绘画的皴、擦、点划之中，因而他所作山川树石、烟云流润，柔中有骨力，转折灵变，墨色层次分明，拙中带秀，清隽雅逸，他在天启二年，67岁时临摹北宋范宽的《溪山行旅图》采取青绿设色、水墨兼并浅绛的综合绘画技艺手法，充分表现出他的人物工笔精湛、山水风格独特画坛艺术自然传承的巨匠魅力。他的画风在当时声望显著，成为“华亭派”的首领。\n董其昌特别讲求用墨的技巧，水墨画兼擅泼墨、惜墨的手法，浓淡、干湿自然合拍，着墨不多，却意境深邃，韵味无穷；无须炫异矜奇，而真气横溢，充塞纸间。董其昌的设色山水，或用杨升没骨法，从彩笔代替墨笔，完成线条、轮廓、钩、勒、皴、擦，尽态极妍，不为刻画；或仿黄公望的浅绛法，参以赵大年、赵孟頫的青绿法，别树一格，层次分明，淡雅清新，生机盎然。\n董其昌作画强调写意，使绮丽多姿的山水显得有些捉襟见肘的色彩。但是他兼长书法、诗文，每每绘完山水，题以诗文，行楷簇簇如行蚕，闪闪如迅霆飞电，全图诗、书，画相映成趣，和谐一致，更富有抒情意境。董氏的创作，因而成为文人画追求意境的典范。",[48,67,23,49,239,26,25,546,545,128,295,711,712,713,7,714],"远山","近坡","树木","坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00897204c426cfaa8bef08fe4ba772cf.jpg","绢本 墨笔","123.7cmx46cm",[548,395],86,"F48FB1",{"id":722,"slug":723,"title":724,"dynasty":18,"author":725,"museum":726,"description":727,"tags":728,"thumbUrl":730,"material":560,"size":731,"collection":56,"collections":732,"showCount":733,"zanCount":11,"manualWeight":11,"mainColor":39},222568,"hua-hui-tu-7-chen-chun-222568","花卉图7","陈淳","美国波士顿博物馆","此图册是陈淳晚年作品。卷尾自题“嘉靖庚子，余游玉山，过周氏六观草堂。主人出此册，具丹粉，欲图杂卉。留连累月，不觉盈帙，见者亦且以草本视之可也。道复志”。按照其生卒年推算， “嘉靖庚子” 陈淳应为58岁，此作亦为其是画风成熟之作。从其题跋可以得知陈淳游历数月，画作颇丰，认为此作为“草本”，可见其自觉并无刻意求工，描写大略而已。\n卷尾文彭题曰：“赵昌王友已无伦，更学徐熙更逼真。意到不论颜色似，笔端原有四时春。阅白阳杂花漫题。文彭。”充分体现了吴门花鸟画的文人雅趣，“意到不论颜色似”概括了文人写意的特征，而“漫题”也体现了题咏者的状态，反映出文人书画家的共同气质特点与审美追求。\n文人王穉登的题跋则突出了对陈淳花卉写生推崇与称赞。“写生贵在约略点染，天真烂如。不当以分葩计蕊为似，重丹叠翠为工。观此册陈道复先生所作，粉墨萧闲，意象自足，所谓千金骏骨，识者求之牝牡骊黄之外可也。”此段题跋强调了陈淳花卉写生最主要的特点，即约略点染，不求工细，而意象自足。\n卷尾的金农长跋也对陈淳“行笔绝无时蹊，设色亦未敷采炫目，画以意似而非以形似也”的风格进行梳理，论述了写意书写的源流。但这段题跋存在一些问题。其一，通篇书体较为拘谨，特别是每行末字，刻意缩减对齐，非常局促。其二，“后世临写纷纷，徒劳豪楮”中“豪”应为“毫”之误。此出自大文人之手，有些牵强。其三，“此册九叶，花草凡七，间以山水两帧。”所述并非此册，极有可能是将他处题跋移接此处所致。所以这段金农题字不足以为据，至于真伪原由的评断，是另外的话题。本文主要论及陈淳花卉写生的艺术特点，就不将此段金农的论述作为讨论的依据了。\n变化生动自然，是陈淳花卉写生的代表作。如果将此册置于陈淳传世花鸟画作品中做一纵向比对，可以发现其共性的特征集中体现在这件作品中，同时，这件作品还有一些不同于其他作品的独到之处，都统一在率意自足的书写风格之中。所以这件陈淳绘画风格成熟期的作品，总体来看，体现了陈淳如下几个方面的鲜明的艺术特点。",[48,67,23,49,340,212,26,25,27,28,30,7,157,729],"写意花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42c3b1556563313a1660bdbd2d2b3b30.jpg","32.5×57.3厘米",[],85,{"id":735,"slug":736,"title":737,"dynasty":18,"author":725,"museum":83,"description":738,"tags":739,"thumbUrl":740,"material":33,"size":741,"collection":35,"collections":742,"showCount":743,"zanCount":11,"manualWeight":11,"mainColor":39},214727,"mu-dan-tu-chen-chun-214727","牡丹图","这幅画是用牡丹树枝作画，用的是没骨法，笔触很活泼，又很沉稳，不过很可惜，随着时间的推移，颜料已经褪色，让人感觉略显淡薄。这些铭文质量很高，是白杨对毛笔的熟练掌握的结果。碑文写于1544年，在他的最后一年。铭文和绘画各占面板的一半，诗句通过歌唱花朵来传达 「人生行乐当及时」的意趣。",[23,49,239,212,26,25,390,53,27,69,7,52,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf5bd451f1f135ae69ce5a8dd712153b.jpg","122x33.3",[35],84,{"id":745,"slug":746,"title":747,"dynasty":18,"author":748,"museum":251,"description":749,"tags":750,"thumbUrl":751,"material":90,"size":56,"collection":56,"collections":752,"showCount":753,"zanCount":11,"manualWeight":11,"mainColor":39},218020,"za-hua-ce-10-chen-hong-shou-218020","杂画册-10","陈洪绶","陈洪绶是明朝时期著名的画家。他最著名的作品是他的杂画册，其中包含了许多精美的花鸟画和山水画。陈洪绶的杂画册是明朝时期最著名的画册之一，并被认为是中国画的杰出代表作之一。\n\n陈洪绶的杂画册中包含了多幅优美的花鸟画，其中包括了各种鸟类、花卉和动物。这些画作都是陈洪绶对自然界的精确再现，并且富有生命力。此外，陈洪绶还创作了许多优美的山水画，其中包含了各种山川、河流、湖泊和其他自然景观。这些画作也是陈洪绶对自然界的精确再现，并且富有感染力。\n\n总的来说，陈洪绶的杂画册是一部杰出的画册，其中包含了许多优美的花鸟画和山水画，是中国画的杰出代表作之一。陈洪绶的画风精细而细腻，他对自然界的描绘充满生命力和感染力，使他的作品在艺术史上占有重要地位。",[23,24,68,25,27,453,87,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bc13f67dd3cc500eef8a4c1c0bb9a75.jpg",[],83,{"id":755,"slug":756,"title":757,"dynasty":44,"author":758,"museum":361,"description":759,"tags":760,"thumbUrl":761,"material":56,"size":56,"collection":56,"collections":762,"showCount":763,"zanCount":11,"manualWeight":11,"mainColor":720},224343,"she-se-mu-dan-zhou-fan-qi-224343","设色牡丹轴","樊圻","这幅作品以湖石为骨，牡丹为魂，湖石以浓墨勾勒皴擦，嶙峋苍古，朴拙沉厚，稳稳托举花株。牡丹以没骨晕染，粉瓣柔润层叠，白蕊轻透蓬松，自带雍容妍态；绿叶以汁绿晕染出阴阳向背，鲜活舒展。\n笔墨兼容工致与写意，设色秀雅沉静，将牡丹华贵与湖石清奇相融，柔刚相济。整幅画面静穆中藏生机，雅致脱俗，尽显花石相映的清幽意趣。",[48,404,23,239,25,68,27,69,130,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9dfde28aebea23e14127821d8f6868d.jpg",[],80,{"id":765,"slug":766,"title":767,"dynasty":18,"author":768,"museum":361,"description":769,"tags":770,"thumbUrl":771,"material":669,"size":670,"collection":56,"collections":772,"showCount":773,"zanCount":258,"manualWeight":11,"mainColor":39},236014,"shui-mo-mu-dan-tu-zhou-xu-wei-236014","水墨牡丹图轴","徐渭","徐渭（1521年3月12日－1593年），汉族，绍兴府山阴（今浙江绍兴）人。初字文清，后改字文长，号青藤老人、青藤道士、天池生、天池山人、天池渔隐、金垒、 金回山人、山阴布衣、白鹇山人、鹅鼻山侬、田丹水、田水月（一作水田月 ）。明代中期文学家、书画家、戏曲家、军事家。\n徐渭曾担任胡宗宪幕僚，助其擒徐海、诱汪直。胡宗宪被下狱后，徐渭在忧惧发狂之下自杀九次却不死。后因杀继妻被下狱论死，被囚七年后，得张元忭等好友救免。此后南游金陵，北走上谷，纵观边塞阨塞，常慷慨悲歌。晚年贫病交加，藏书数千卷也被变卖殆尽，他自称“南腔北调人”，于万历二十一年（1593年）去世，年七十三\n徐渭多才多艺，在诗文、戏剧、书画等各方面都独树一帜，与解缙、杨慎并称“明代三才子”。他是中国“泼墨大写意画派”创始人、“青藤画派”之鼻祖，其画能吸取前人精华而脱胎换骨，不求形似求神似，山水、人物、花鸟、竹石无所不工，以花卉最为出色，开创了一代画风，对后世画坛（如八大山人、石涛、扬州八怪等）影响极大；书善行草，写过大量诗文，被誉为“有明一代才人”；能操琴，谙音律；爱戏曲，所著《南词叙录》为中国第一部关于南戏的理论专著。另有杂剧《四声猿》《歌代啸》及文集传世。",[67,23,49,239,26,212,27,69,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F803b9b9003c0b06152df4c09bc658910.jpg",[],79,{"id":775,"slug":776,"title":777,"dynasty":81,"author":168,"museum":64,"description":778,"tags":779,"thumbUrl":781,"material":648,"size":782,"collection":56,"collections":783,"showCount":784,"zanCount":258,"manualWeight":11,"mainColor":135},233017,"ye-he-hua-tu-ye-yi-ming-233017","夜合花图页","图中夜合花一根两枝，右枝花朵含苞未放，左枝花朵半开半合，洁白如玉，清雅绝尘。花朵轻勾淡染，用白粉点画花蕊，花叶先以细笔勾勒轮廓和筋脉，后用汁绿与花青染之。绿叶穿插向背，层次安排巧妙，画面简约而不单薄。",[67,23,49,24,68,25,27,780,52,7],"夜合花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cf71474db059bf26e08b661dea46f53.jpg","纵24.5cm，横25.4cm",[],78,{"id":786,"slug":787,"title":788,"dynasty":18,"author":789,"museum":83,"description":790,"tags":791,"thumbUrl":792,"material":90,"size":793,"collection":35,"collections":794,"showCount":784,"zanCount":11,"manualWeight":11,"mainColor":39},219378,"shuang-xi-tu-wang-wei-lie-219378","双喜图","王维烈","王维烈，字无竞，吴郡（今江苏苏州）人，游周之冕之门，明代苏州画家。",[23,49,25,68,27,267,29,341,7,127],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4a7e80f45c240fc050ed87c323beb18.jpg","85×39cm",[35],{"id":796,"slug":797,"title":798,"dynasty":44,"author":416,"museum":361,"description":799,"tags":800,"thumbUrl":802,"material":421,"size":422,"collection":35,"collections":803,"showCount":804,"zanCount":11,"manualWeight":11,"mainColor":39},222708,"mei-hua-tu-zhou-jin-nong-222708","梅花图轴","金农（1687年—1763年），字寿门、司农、吉金，号冬心先生、稽留山民、曲江外史、昔耶居士等，因其人生历经康熙、雍正、乾隆三朝，所以自封“三朝老民”的闲号，钱塘（今浙江杭州）人，布衣终身。清代书画家，扬州八怪之首。\n他好游历，卒无所遇而归。晚寓扬州，卖书画自给。嗜奇好学，工于诗文书法，诗文古奥奇特，并精于鉴别。书法创扁笔书体，兼有楷、隶体势，时称“漆书”。五十三岁后才工画。其画造型奇古，善用淡墨干笔作花卉小品，尤工画梅。\n代表作有《东萼吐华图》《空捍如洒图》《腊梅初绽图》《玉蝶清标图》《铁轩疏花图》《菩萨妙相图》《琼姿俟赏图》等。著有《冬心诗集》《冬心随笔》《冬心杂著》等\n\n书法成就:\n金农是扬州八怪的核心人物。他在诗、书、画、印以及琴曲、鉴赏、收藏方面都称得上是大家。金农从小研习书文，文学造诣很高。浓厚的学养使他居于“扬州八怪”之首。\n但是金农天性散淡，他的书法作品较扬州八怪中的其他人来说，传世作品数量是非常少的。他生活在康、雍、乾三朝，因此他给自己封了个“三朝老民”的闲号。金农初不以工书为念，然书法造诣却在“扬州八怪”中成为最有成就的一位，特别是他的行书和隶书均有着高妙而独到的审美价值。\n他的隶书早年是“墨守汉人绳墨”的，风格规整，笔划沉厚朴实，其笔划未送到而收锋，结构严密，多内敛之势，而少外拓之姿，具有朴素简洁风格，金农的书法艺术以古朴浑厚见长。他首创的“漆书”，是一种特殊的用笔用墨方法。“金农墨”浓厚似漆，写出的字凸出于纸面。所用的毛笔，象扁平的刷子，蘸上浓墨，行笔只折不转，象刷子刷漆一样。这种方法写出的字看起来粗俗简单，无章法可言，其实是大处着眼，有磅礴的气韵。\n最能反映金农书法艺术境界的是他的行草。他将楷书的笔法、隶书的笔势、篆书的笔意融进行草，自成一体，别具一格。其点画似隶似楷，亦行亦草，长横和竖钩都呈隶书笔形，而撇捺的笔姿又常常近于魏碑，分外苍劲、灵秀。尤其是那些信手而写的诗稿信札，古拙淡雅，有一种真率天成的韵味和意境，令人爱不释手。 金农的行书从其早期开始就不入常格，而以碑法与自家的“漆书”法写成的行草书，用笔率真，随心所欲，点画浪藉而又笔墨醇厚，粗头烂服之间，透出苍逸稚拙之趣，令人叹服；其“写经雕版”式的楷书，似乎与民间书法一脉相通，没有轻重的线条变化和圆润的转折用笔，也没有提顿中的波挑，以均匀的线条和方硬的转折，书写出类似单线体美术字的书体，却又具有器形文字般的古茂，其书法的启迪意义非常深远。传世书迹有《度量如海帖》，今流入日本。《盛仲交赞》，绢本漆书。\n\n绘画成就:\n年五十始从事于画，涉笔即古，脱尽画家之习，良由所见古迹多也。初写竹师石室老人，号稽留山民，继画梅师白玉蟾，号昔邪居士。画佛号心出家盦粥饭僧。又画马自谓得曹、韩法，赵王孙不足道也。其山水花果布置幽奇，点染闲冷，非复尘世间所睹，盖皆意为之。问之则曰贝多龙窠之类也。他画梅，自称“江路野梅”、要求“天大寒时香千里”，画马题道：“今予画马，苍苍凉凉，有顾影酸嘶自怜之态，其悲跋涉之劳乎？世无伯乐，即遇其人，亦去暮矣？吾不欲求知于风尘漠野之间也。”足见其怀才不遇的心情。他在一册页上画一士大夫高卧四面通风的水池亭中，题曰：“风来四面卧当中”。逍遥自在，不及世事，亦以“清高”自居。金农申言要把自己“平生高岸之气”，一一见之画中。“以抒不平鸣”。在一幅《墨竹图》中，他竟然直书：“磨墨五升，画此狂竹，不钓阳鲚，而钓诸侯也。” 喜画瘦竹，说“画竹宜瘦，瘦多寿，自然饱风霜耳”。每画毕，必有题记，如“虚心高节，挺立不屈，久而不改其操，竹之美德也。”《雨后修篁图》题诗曰：“雨后修篁分外青，萧萧如在过溪亭。世间都是无情物，只有秋声最好听。”\n所画人物造型奇古夸张，笔法古拙简练，形象鲜明突出；山水构图别致，随意挥写点染，简朴疏秀 ；其梅、竹用笔奇拙 ，凝练厚重 。书法从《天发神谶碑》、《禅国山碑》、《谷郎碑》变化而出，运笔扁方，竖轻横重，别具奇趣，风格独特，自谓漆书。金农的书画在当时享誉很高 ，为扬州八怪之一 。有《山水人物册》、《月华图》、《携杖图》、《东萼吐华图》、《墨竹图》等传世。著《冬心诗集》、《冬心随笔》、《冬心杂著》等。",[48,23,239,26,212,267,7,130,31,53,801],"漆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa7b6c67932d0a5c269f78907c8a7ade.jpg",[35,74],77,{"id":806,"slug":807,"title":808,"dynasty":372,"author":809,"museum":810,"description":811,"tags":812,"thumbUrl":814,"material":815,"size":56,"collection":56,"collections":816,"showCount":817,"zanCount":11,"manualWeight":11,"mainColor":39},220601,"gong-chong-ce-ye-mo-e-qi-bai-shi-220601","工虫册页·墨蛾","齐白石","中国现当代美术文献研究中心","此作工写相映成趣。几片贝叶以写意出之，赭色晕染叶片，红笔勾勒叶脉，寥寥数笔便带着舒展松弛的野趣，似将秋光揉进纸间。右侧墨蛾则以工细笔法刻画，翅脉纹理纤毫毕现，躯体斑纹层次分明，黑褐晕染厚重通透，将飞蛾朴拙鲜活的姿态精准定格，仿佛振翅欲飞。\n\n简淡写意与精细工笔相互衬映，把乡野日常小景绘得意韵悠长，藏着对檐下秋虫的脉脉温情，以小品之态尽显雅致鲜活的生机，笔底皆是烟火气里的自然意趣。",[23,49,24,68,26,25,813,52,7],"蛾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbd4614bf0ace25e61b5220a30eff0cc.jpg","纸本水墨设色",[],76,{"id":819,"slug":820,"title":821,"dynasty":822,"author":823,"museum":361,"description":824,"tags":825,"thumbUrl":834,"material":669,"size":670,"collection":835,"collections":836,"showCount":837,"zanCount":258,"manualWeight":11,"mainColor":135},225897,"apple-trees-in-bloom-1873-mo-nai-225897","Apple Trees in Bloom, 1873","不详","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。",[826,827,828,829,830,87,624,831,832,833,713,7,199],"印象派","油画","光影","色彩","苹果树","山坡","阳光","阴影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7dc2ba4e0472dde8bd5d3e98edc5a16.jpg","油画精选",[835],75,{"id":839,"slug":840,"title":841,"dynasty":44,"author":618,"museum":83,"description":634,"tags":842,"thumbUrl":844,"material":25,"size":638,"collection":56,"collections":845,"showCount":846,"zanCount":11,"manualWeight":11,"mainColor":39},222742,"xian-e-chang-chun-tu-02b-lang-shi-ning-222742","仙萼长春图-02b",[48,67,23,49,24,68,25,27,29,280,28,7,843],"翎毛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44752a8e4622ebb38b8e513c4f4c435f.jpg",[],73,{"id":848,"slug":849,"title":850,"dynasty":44,"author":851,"museum":361,"description":852,"tags":853,"thumbUrl":854,"material":669,"size":670,"collection":56,"collections":855,"showCount":856,"zanCount":177,"manualWeight":11,"mainColor":39},239078,"hua-niao-ping-liao-yun-jin-239078","花鸟屏","廖云锦","廖云锦，生卒年不详，约活动于清道光年间（1821－1850年）。字蕊珠，号织云、锦香居士，华亭（今属上海）人，袁枚女弟子。自幼从父廖古檀吟诗作画同，后归泗泾马氏。",[23,49,68,25,27,29,87,130,341,342,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5a9039e5f16dbbf65a5783f0a67ae17.jpg",[],72,{"id":858,"slug":859,"title":860,"dynasty":44,"author":861,"museum":361,"description":862,"tags":863,"thumbUrl":866,"material":56,"size":56,"collection":56,"collections":867,"showCount":856,"zanCount":258,"manualWeight":11,"mainColor":39},224367,"hua-hui-si-ping-zhi-si-ju-lian-224367","花卉四屏之四","居廉","此作用没骨晕染绘绣球，淡蓝敷色晕出团花柔润雅致，赭石点染萼边枝叶，清妍动人。湖石以淡墨勾皴，留白衬出空灵剔透的嶙峋肌理，与花枝相映成趣。两只秋蝉振翅穿飞，翅脉纤毫毕现，将静雅画面揉入灵动生机，暗合清秋将临的闲淡意韵，整体明秀温婉，笔法秀逸轻盈，尽显婉约雅致的花鸟意趣。",[48,23,49,68,25,27,130,864,7,865],"花簇","飞虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7ed7a1dd429364a77988b1cdcaa1b67.jpg",[],{"id":869,"slug":870,"title":871,"dynasty":167,"author":872,"museum":873,"description":874,"tags":875,"thumbUrl":878,"material":90,"size":56,"collection":35,"collections":879,"showCount":856,"zanCount":258,"manualWeight":11,"mainColor":135},219070,"dan-feng-shuang-niao-tu-zheng-xi-219070","丹枫双鸟图","郑禧","印度安纳波利斯艺术博物馆","一棵彩绘枫树，主干粗壮，细枝上零星的枫叶褪去了红色，两只鸟儿栖息在最高的树枝上，蓬松的羽毛，细长的尾羽，白色的腹部和棕色的亮点，深蓝色的背部，为深秋增添色彩。",[48,23,49,240,68,25,876,239,877,441,172,7],"元代","枫树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65f0262c254e21ca62b76dea8b204ed4.jpg",[35],{"id":881,"slug":882,"title":883,"dynasty":18,"author":748,"museum":337,"description":884,"tags":885,"thumbUrl":886,"material":421,"size":887,"collection":56,"collections":888,"showCount":889,"zanCount":272,"manualWeight":11,"mainColor":135},231484,"li-hua-tu-chen-hong-shou-231484","梨花图","陈洪绶号曰老莲，章侯其字也，先祖原居河南许昌，南宋时随高宗南迁，定居于浙江诸暨枫桥镇。陈洪绶在少年时代即显示出在绘画艺术的天授之才，著名画家蓝瑛、孙杕看到陈洪绶十岁时的画作，惊叹道：“使斯人画成，道子、子昂均当北面，我辈尚敢措笔乎！”又曰：“此天授也”。此后陈随蓝、孙两师学习，继而研习、临摹古代大师传世之作，师法唐人，兼学宋元诸名家，人物、山水、花鸟无所不学，他的艺术天分加上勤学苦练使他很早就在画坛声名大振。 陈洪绶生活在晚明时期，朝廷极度腐败，文化方面却呈现出多变而丰富的面貌，陈洪绶是彼时最具强烈个性的艺术巨匠，在绘画的各个题材中均有独特的创造性，并影响中国绘画数百年，流风至今不衰。\n陈洪绶的这件《梨花图》绘于绢本，纵76公分，横26公分，题款：老莲洪绶画。虽未署年款，据陈洪绶传世的其它创作于深柳读书堂的作品及《梨花图》的风格推断，这件作品应创作于十七世纪三十年代中期，那时陈洪绶年龄近四十，绘画技巧已然十分纯熟。画面高低变化，巧妙地丰富了画面的视觉效果。陈洪绶的花鸟画作品，体现了他的精神品位，在构图和造型上都打破了传统样式的束缚，有古拙之趣，造型新颖、拙朴率真，这是在继承传统的基础上显现出的强烈个人风格风貌。其花鸟画表现手法，受宋代院体画风的影响，造型严谨，工笔双钩，设色艳丽，由此汲取艺术精华并发展而来。又受明末大写意花鸟画的影响，用笔洒脱灵动，兼工带写，水墨交融。这件《梨花图》既是画家长期写生锤炼的结晶，也是宋代花鸟画的神韵所在。因陈洪绶花鸟绘画具有高度的装饰性，所以类似《梅花图》这样的题材在当时必定广受欢迎。",[48,23,49,239,68,25,27,328,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ed725b25d09198789d5bf2f2832ed81.jpg","76×26 cm",[],70,{"id":891,"slug":892,"title":893,"dynasty":44,"author":360,"museum":361,"description":894,"tags":895,"thumbUrl":896,"material":560,"size":897,"collection":35,"collections":898,"showCount":889,"zanCount":258,"manualWeight":11,"mainColor":39},224220,"chun-feng-chui-chu-hong-wu-chang-shuo-224220","春风吹出红","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。”吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。\n清道光二十四年（1844年）8月1日，生于浙江省孝丰县鄣吴村（今湖州市安吉县）一个读书人家。幼时随父读书，后就学于邻村私塾。10余岁时喜刻印章，其父加以指点，初入门径。\n咸丰十年（1860年）太平军与清军战于浙西，全家避乱于荒山野谷中，弟妹先后死于饥馑。后又与家人失散，替人做短工、打杂度日，先后在湖北、安徽等地流亡数年。\n同治四年（1865年），中秀才。是年，海上先辈名家任薰与周闲合作，为吴昌硕绘画像。\n同治八年（1869年），赴杭州，就学于诂经精舍，从名儒俞樾习小学及辞章。编成《朴巢印存》。\n同治十一年（1872年），赴上海，得以认识高邕之。\n光绪六年（1880年），寓吴云（平斋）两礨轩，以《篆云楼印存》请教，吴云为之删削，更名为《削觚庐印存》。识吴秋农、金心兰、顾茶村、胡三桥、方子昕等。与杨岘（见山）结为朋友。\n光绪八年（1882年），居苏州。友人荐作小吏以维持生计。与虞山沈石友结为朋友。\n光绪九年（1883年），在沪识任伯年。任伯年为作《芜菁亭长小像》。\n光绪十三年（1887年），至沪，任伯年为作《棕荫纳凉图》。\n光绪十五年（1889年），在苏州。时伯年来访，为之作《酸寒尉像》，自题诗。施旭臣、谭复堂为《缶庐诗》作序。\n光绪十六年（1890年），居上海。识吴大澄。\n光绪十八年（1892年），任伯年又为作《蕉荫纳凉图》。\n光绪十九年（1893年），在上海编选壬辰年以前所作诗三卷刊行，题名《缶庐诗》。\n光绪二十（1894年），在北京以诗及印谱赠翁同龢。中日战争爆发，参佐吴大澄戎幕，北上抗日，兵败继续为吴大澄戎幕。\n光绪二十一年（1895年），任伯年为作《棕荫忆旧图》、《山海关从军图》。十一月，任伯年病殁沪上，作诗哭之并撰联。\n光绪二十五年（1899年）十一月，得丁葆元保举，任安东县令，一月即辞去。\n致力书画\n光绪二十六年（1900年），日本河井仙郎投之于门下。\n光绪二十九年（1903年），自订润格。编选壬寅以前所作诗为《缶庐诗》第四卷，连同前刊三卷，又《别存》一卷合为一册。\n光绪三十年（1904年），移居桂和坊19号，名其斋曰“癖斯堂”。赵子云（赵云壑）投门下。\n光绪三十五年（1909年），在沪加入上海豫园书画善会。\n民国元年（1912年），至杭州与西泠诸友宴集。始以字行。\n民国二年（1913年），西泠印社成立，任社长。秋，梅兰芳来会。与王一亭结为至交。王一亭在上海商界、金融界推介吴昌硕的书画金石艺术，使其名声大振。\n民国三年（1914年），王一亭为吴昌硕在六三园举办生平第一次个展，使吴派艺术开始为日本艺界所了解和推崇。上海书画协会成立，任会长。\n民国四年（1915年），上海“题襟馆书画会”推先生为名誉会长。\n民国六年（1917年），吴昌硕继配施氏夫人在上海去世。\n民国九年（1920年），日本长崎首次展出其书画，东京文求堂继刊《吴昌硕画谱》，长崎双树园刊行《吴昌硕画帖》。诸乐三列为门弟子。\n民国十年（1921年），赴杭西泠印社宴集。《汉三老碑》被日商购去，与西泠同仁奔走呼吁，作画义卖，终募款八千大洋将碑赎回。日本朝仓文夫为范铜像。\n民国十二年（1923年），潘天寿由诸闻韵引见来谒，撰联以赠。门弟子陈师曾去世。\n民国十四年（1925年），沙孟海由王贤引列为门弟子。为已逝师友周闲遗作《花卉长卷》作引首并题。\n民国十六年（1927年）十一月二十九日，逝于上海寓所。\n民国二十二年（1933年）十一月，迁葬于浙江余杭县塘栖附近超山报慈寺西侧山麓宋梅亭畔。\n\n篆刻:\n少年时他因受其父熏陶，即喜作书，印刻。楷书始学颜鲁公，继学钟元常；隶书学汉石刻；篆学石鼓文，用笔之法初受邓石如，赵之谦等人影响，以后在临写《石鼓》中融汇变通。行书得黄庭坚、王铎笔势之欹侧，黄道周之章法，个中又受北碑书风及篆籀用笔之影响，大起大落，遒润峻险。\n吴昌硕篆刻从“浙派”入手，后专攻汉印，也受邓石如、吴让之、赵之谦等人影响，善于留白，或对角欹斜，气象峥嵘，构图块面体积感极强。刀融于笔，篆刻雄而媚、拙而朴、丑而美、古而今、变而正。上取鼎彝，下挹秦汉，以“出锋钝角”的刻刀，将钱松、吴攘之切、冲两种刀法相结合治印。\n吴昌硕在继承前人冲刀法和切刀法优秀成果的基础上，融诸家之长，在大量的篆刻创作实践中，不断探索，将冲刀和切刀两种刀法融合在一起，形成了自己的冲切结合的刀法。这种刀法灵活多变，或冲中带切，或切中带冲，甚至切中带削……这种多变的刀法，把冲刀的猛利、挺劲、爽快与切刀的含蓄、浑朴融为一体，将书意和刀意表现得淋漓尽致，使他的篆刻刀法雄浑朴茂中寓秀逸的个性化特点凸现了出来。他与厉良玉、赵之谦并称“新浙派”的三位代表人物。\n残缺刀法是吴昌硕篆刻创作中的一种常用手法。我们知道，秦汉古印大多因年深日久，水土的浸蚀，自然的风化，印面及文字线条失去了原先的平整和光洁，变得残缺不全。恰恰是这些残缺给我们以古朴、含蓄、浑厚、苍拙等特殊的审美效果，这是自然的造化使然。吴昌硕善于巧夺天工，在传统的冲、切刀法的基础上，辅之以敲、击、凿、磨或借用砂石、鞋底、钉头等，极大地丰富了篆刻艺术的表现手法，并创造性地将篆刻艺术中刀石效果产生的金石味，上升到残缺美的审美新境界。\n主要篆刻作品：《寿山老坑巧色雕狮钮》《作了天下事》《读遍千古书》《好学为福》《黑青田》《一月安东令》《湖州安吉县》《泰山残石楼》《园丁生于梅洞长于竹洞》《暴书》《千寻竹斋》《千寻竹斋》3刻《吴俊卿信印日利长寿》《安吉吴俊章》《雷浚》《鲜鲜霜中菊》《归仁里民》。\n\n绘画:\n绘画的题材以花卉为主，亦偶作山水。前期得到任颐指点，后又参用赵之谦画法，并博采徐渭、八大、石涛和扬州八怪诸家之长，兼用篆、隶、狂草笔意入画，色酣墨饱，雄健古拙，亦创新貌。其作品重整体，尚气势，认为“奔放处不离法度，精微处照顾气魄”，富有金石气。讲求用笔、施墨、敷彩、题款、钤印等的疏密轻重，配合得宜。 吴昌硕自言：“我平生得力之处在于能以作书之法作画。”\n他以篆笔写梅兰，狂草作葡萄。所作花卉木石，笔力老辣，气势雄强，布局新颖，构图也近书印的章法布白，喜取“之”字和“女”字格局，或作对角斜势。用色上似赵之谦，喜用浓丽对比的颜色，尤善用西洋红，色泽浓艳。\n吴昌硕因以“草篆书”入画，状物不求写实，形成了影响近现代中国画坛的直抒胸襟，酣畅淋漓的“大写意”笔墨形式。\n他酷爱梅花，以写大篆和草书笔法为之，墨梅、红梅兼有，画红梅水分及色彩调和恰到好处，红紫相间，笔墨酣畅。又喜作兰花，喜以或浓或淡的墨色和用篆书笔法画成，刚劲有力。画竹竿以淡墨轻抹，叶以浓墨点出，疏密相间，富有变化，或伴以松、梅、石等，成为“双清”或“三友”。菊花也是他经常入画的题材，伴以岩石，或插以高而瘦的古瓶，与菊花情状相映成趣。菊花多作黄色，亦或作墨菊和红菊。墨菊以焦墨画出，菊叶以大笔泼洒，浓淡相间。\n晚年较多画牡丹，以鲜艳的胭脂红设色，含有较多水分，再以茂密的枝叶相衬，生气蓬勃。荷花、水仙、松柏也是经常入画的题材。\n菜蔬果品如竹笋、青菜、葫芦、南瓜、桃子、枇杷、石榴等也一一入画，极富生活气息。推崇周闲果蔬风格，作品色墨并用，浑厚苍劲，对于近世花鸟画影响深远。\n主要绘画作品：《天竹花卉》《紫藤图》《墨荷图》《五月枇杷图》《杏花图》《花卉十二屏风》《梅花》《花卉四屏》《牡丹》《兰石图》《松石图》《花卉》2幅《紫藤图》《杂画册（之—、二）》《依样》《天香露图》《杞菊延年》《泥盆菊草图》《牡丹图》《牡丹水仙图》《大富贵》《佛像图》《富贵神仙图》《红梅图》2幅《蔷薇芦桔图》《秋艳图》《三千年结实》《人物》《三千年结实之桃》《神仙福寿》《石梅》《石竹图》《松梅图》《岁寒交图》《桃实图》《瓜果》《灯下观书》《姑苏丝画图》等。\n①金石气息：吴昌硕绘画艺术的第一大特色是有金石气息。所谓金石气息，指的就是钟鼎上所铸的金文与刻在石碑上的文字所具有的味道。人们常说谁谁的画作有金石气息，其实这种评论标准都是从吴昌硕的绘画风格出现以后才有的。比如，人们在谈到徐青藤、八大山人时，就从来没有听说过评价他们的画作有金石气息。\n②笔力雄浑：吴昌硕绘画艺术的第二大特色是笔力雄浑。所谓笔力雄浑，指的就是其画作中的笔触朴拙、苍茫、老辣，极具浑圆、雄强的力量感。人们常说吴昌硕绘画的气息很厚、很重，按照书画圈儿里人的说法就是“笔头子”很大。所谓“笔头子”很大，并不是说他用的毛笔很大，而指他笔下的气息非常浑厚，一笔下去，浑金璞玉，力透纸背，又意蕴丰富、气象万千。\n③设色浓丽：吴昌硕绘画艺术的第三大特色是设色浓丽。过去人们总是说中国画不能搞那么多颜色，用太多颜色容易俗气。不过，张俊东却指出，吴昌硕绘画的用墨就特别浓，设色也特别大胆，特别鲜艳和浓丽。比如，吴昌硕画过很多牡丹，很多都是大红大紫的，但是却不会让人觉得俗气，而且非常有文人的那种风骨。所以张俊东认为，中国画设色的关键不在多少，而在谁来用以及怎么去用。\n④富于变化:吴昌硕绘画艺术的第四大特色是笔法和墨法富于变化。这里边又体现在几个方面。张俊东举例介绍说，比如吴昌硕在画菊花时，可以将一朵菊花无论是正面的，侧面的，静态的，动态的，都能画得非常丰富。\n\n书法:\n吴昌硕的楷书，始学颜鲁公，隶习汉代石刻，篆学石鼓文。行书学黄庭坚、王铎。\n吴昌硕书法作品，以篆书、行草为主，晚年所书隶书，结体变长，取纵势，用笔雄浑、饱满，具有篆书痕迹，将篆、隶溶为一体，形成独特面貌。\n吴昌硕的隶书遍临《汉祀三公山碑》《张迁碑》《嵩山石刻》《石门颂》等汉碑。中年以后，博览众多金石原件及拓本，选择石鼓文为主要临摹对象。数十年间，反复钻研，故所作石鼓文凝练遒劲，风格独特。60岁后所书尤精，圆熟精悍。喜将石鼓文字集语书写对联。晚年以篆隶笔法作草书，笔势奔腾，苍劲雄浑，不拘成法。\n\n诗文:\n吴昌硕善作诗文，苦吟数十年，未尝间断。其诗文，奇崛古朴，用典较多，不甚通俗。但有些绝句纯用白描手法，活泼自然，接近口语，具有明丽俊逸的特点，风格上与民歌很相近。有些绝句则活泼自然，接近口语，时含有讽刺意味，抒发生活实感。所作题画诗寄托深远，颇有浪漫主义气息；评论前人书画，尤多独到见地。早年所作五古，有一部分含有讽刺意味，揭露了当时黑暗社会某些不平现象。他的散文作品写得不多，大都是序跋、考证和题画小品之类，写的都很朴质淳厚，平易近人。题画小品中尤多精心之作。发抒生活实感，鞭挞丑恶现象，颇能以少胜多；读时依稀与作者一灯相对，娓娓而谈，意味非常深长。",[48,23,49,27,25,26,53,31,69,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe082f7e60dc29bf6eac47500e2168d46.jpg","69x104厘米",[35,74],{"id":900,"slug":901,"title":902,"dynasty":18,"author":903,"museum":83,"description":904,"tags":905,"thumbUrl":907,"material":33,"size":908,"collection":35,"collections":909,"showCount":910,"zanCount":258,"manualWeight":11,"mainColor":39},218878,"xian-chun-bao-xi-tu-liu-shi-ru-218878","先春报喜图","刘世儒","虬枝盘曲如铁，嫩蕊缀枝似霞，寒香暗浮处，数只喜鹊栖于梅间。或翘首啼鸣，清音欲穿晓寒；或侧耳相和，墨羽轻拂春风。花瓣染粉带露，枝干皴擦见骨，工笔与写意相融，既得梅之清雅，又显鹊之灵动。题字与花鸟相映，诗趣入画，更添文人雅韵。整幅画如早春晨曦，将料峭生机与报喜暖意悄然铺展——梅开先春，鹊鸣报喜，每一笔藏岁月期许，每处细节漾人间欢悦，观之令人心脾俱畅，仿佛已闻春声渐近。",[23,49,239,25,68,27,267,172,906,53,7],"喜鹊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0bf908b018a03efb77d029306b4e34c.jpg","113.4x56.6cm",[35],69,{"id":912,"slug":913,"title":914,"dynasty":44,"author":360,"museum":361,"description":664,"tags":915,"thumbUrl":917,"material":669,"size":670,"collection":56,"collections":918,"showCount":919,"zanCount":11,"manualWeight":11,"mainColor":39},236379,"li-zhi-tu-shan-ye-wu-chang-shuo-236379","荔枝图扇页",[23,49,154,25,26,390,31,27,916,52,7],"荔枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4049316925f6e1ce520b3918ad37dd08.jpg",[],68,{"id":921,"slug":922,"title":923,"dynasty":44,"author":360,"museum":361,"description":664,"tags":924,"thumbUrl":925,"material":669,"size":670,"collection":56,"collections":926,"showCount":927,"zanCount":258,"manualWeight":11,"mainColor":39},239521,"yu-tang-fu-gui-zhou-wu-chang-shuo-239521","玉堂富贵轴",[23,27,212,26,25,69,7,52,157,53,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c73ad8ff25daf55e25f22d50c25068f.jpg",[],66,{"id":929,"slug":930,"title":931,"dynasty":44,"author":932,"museum":361,"description":933,"tags":934,"thumbUrl":936,"material":56,"size":56,"collection":56,"collections":937,"showCount":927,"zanCount":258,"manualWeight":11,"mainColor":135},230112,"hua-niao-tu-ce-wu-zhang-230112","花鸟图册","吴璋","此作为绢本工笔小景，设色温婉雅致。石榴枝桠斜斜舒展，丹红榴花灼灼盛放，饱满的石榴绽裂果皮，紫实累累，尽显秋日生机。\n\n两只麻雀栖于细枝，一只侧目远眺，一只垂首理羽，羽色晕染细腻，绒毛细毫毕现，将禽鸟娇憨灵动之态尽数描摹。叶片的阴阳向背晕染得体，线条秀逸柔和，写实之中暗含清逸雅致的意趣，将果熟禽闲的静谧小景刻画鲜活，于方寸间尽显工笔花鸟的精巧匠心，带着悠然恬淡的闲趣韵味。",[67,23,49,68,25,935,27,478,29,341,199,7,404],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9458be09e16cb478d2d52da2905a209b.jpg",[],{"id":939,"slug":940,"title":941,"dynasty":44,"author":942,"museum":20,"description":943,"tags":944,"thumbUrl":945,"material":502,"size":946,"collection":56,"collections":947,"showCount":927,"zanCount":11,"manualWeight":11,"mainColor":39},214685,"mei-hua-zhu-shi-tu-ce-4-wang-shi-shen-214685","梅花竹石图册-4","汪士慎","汪士慎（1785-1842）是清代著名画家，他的《梅花竹石图册》是他的一部杰作。\n\n这本图册包含了许多描绘梅花、竹子和石头的精美图画。汪士慎以其精湛的绘画技巧和对自然的热爱，捕捉了这些自然元素的精髓。他的作品常常被赞赏为具有浓郁的内涵和细腻的笔触。\n\n汪士慎的《梅花竹石图册》被认为是中国画的经典之作，并且被广泛收藏和展览。它们不仅展示了汪士慎的艺术才华，也提醒人们认识到自然界的美丽和精妙。",[23,49,24,26,267,7,31,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbde73194740c744ed0cccc189c29a405.jpg","纵25 厘米 横31.5 厘米",[],{"id":949,"slug":950,"title":951,"dynasty":18,"author":725,"museum":20,"description":952,"tags":953,"thumbUrl":954,"material":502,"size":955,"collection":56,"collections":956,"showCount":957,"zanCount":11,"manualWeight":11,"mainColor":39},214630,"hua-hui-ce-13-chen-chun-214630","花卉册-13","陈淳（1483—1544），字道复,后以字行,更字复甫,号白阳,又号白阳山人，江苏苏州人。曾从文徵明学画，但是不拘于师法，山水、花卉自具门径。花卉善写意，淡墨浅色，生动有致。与徐渭并称“青藤白阳”，代表明中期水墨写意花鸟画的新格调，是吴门画派的代表画家。\n用笔简洁，笔势潇洒，行笔迅疾，许多花卉草虫仅用深浅浓淡的不同墨色，却能完整地表达出物象的形状及立体效果，富有生意，具有强烈的笔墨情趣。",[23,26,212,24,27,532,28,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80dbb715aac8d345cce54540e4225f1d.jpg","纵28 厘米 横37.9 厘米",[],65,{"id":959,"slug":960,"title":166,"dynasty":81,"author":151,"museum":83,"description":961,"tags":962,"thumbUrl":963,"material":201,"size":56,"collection":35,"collections":964,"showCount":965,"zanCount":258,"manualWeight":11,"mainColor":135},219649,"hua-niao-tu-zhao-chang-219649","以淡墨晕染花木，浓淡间晕出花叶阴阳向背，将海棠柔润花瓣、舒展枝叶的层次尽数铺陈。静栖枝头的禽鸟刻画入微，蓬松羽毛的绒质感纤毫毕现，敛翼凝神的姿态悠然恬淡。\n\n整幅画作不着浓艳设色，却将春日花木的柔媚与禽鸟的闲适融于一纸，清雅空灵间满溢融融春意。淡笔轻勾里藏着写实的精妙，简淡笔墨晕染出静谧温柔的诗意，尽显雅致的审美意趣，将自然生机诉诸笔端，淡而愈真，简而弥远，是水墨写生花鸟中的绝佳范本。",[67,23,49,68,25,27,29,28,7,112,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d886b9329342c4d5a14bb7b5782996.jpg",[35],64,{"id":967,"slug":968,"title":969,"dynasty":44,"author":618,"museum":83,"description":970,"tags":971,"thumbUrl":981,"material":648,"size":982,"collection":35,"collections":983,"showCount":984,"zanCount":11,"manualWeight":11,"mainColor":39},222793,"jin-chun-tu-lang-shi-ning-222793","锦春图","《锦春图》设色浓艳鲜丽，充分体现郎世宁的绘画特色。锦鸡花卉得写实之真，而湖石坡草又表现中国画的笔墨趣味。画春华锦鸡。锦鸡全用西法。点景树石笔墨是旧院体。构景一仍是陈法。当出另一画家补绘。设色画山涧旁湖石杂卉，二锦鸡栖石上。",[48,67,23,49,239,68,25,972,973,974,975,126,295,28,592,976,977,978,7,979,714,980,843],"中西合璧","光影透视","写实","锦鸡","岩壑","野花","奇石","苔草","花叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2017289c044d5d1fb6ebf7be3f2e2187.jpg","横68.6厘米，纵121.6厘米",[35,74],57,{"id":986,"slug":987,"title":988,"dynasty":44,"author":553,"museum":196,"description":554,"tags":989,"thumbUrl":993,"material":560,"size":561,"collection":56,"collections":994,"showCount":995,"zanCount":11,"manualWeight":11,"mainColor":39},223233,"mu-zi-ping-an-tu-ren-yi-223233","母子平安图",[48,404,23,49,25,212,27,990,991,51,713,7,157,992,624],"母鸡","小鸡","草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f8484418d23a6d00d3a4500767ec3af.jpg",[],56,{"id":997,"slug":998,"title":999,"dynasty":44,"author":45,"museum":361,"description":1000,"tags":1001,"thumbUrl":1003,"material":33,"size":1004,"collection":35,"collections":1005,"showCount":995,"zanCount":11,"manualWeight":11,"mainColor":39},219990,"yao-pu-qiong-pa-tu-yun-shou-ping-219990","瑶圃琼葩图","图绘湖石一块，形状怪异；后有牡丹围绕，枝繁叶茂，枝头花朵或粉红，或红白相间，花瓣层层叠叠，层次清晰。此幅敷色生硬，或是后人摹本。",[48,23,49,27,67,239,50,25,68,69,127,1002,28,30,7],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52a659286fd748d9c56f400aa903af4c.jpg","120×54",[35],{"id":1007,"slug":1008,"title":1009,"dynasty":44,"author":1010,"museum":361,"description":1011,"tags":1012,"thumbUrl":1015,"material":25,"size":56,"collection":35,"collections":1016,"showCount":1017,"zanCount":11,"manualWeight":11,"mainColor":135},220145,"chang-nian-bai-zi-fu-gui-tu-li-shan-220145","长年百子富贵图","李鱓","李鱓，（1686年—1756年），字宗扬，号复堂，别号懊道人、墨磨人，清康熙二十五年（1686）生，乾隆二十一年（1756）卒，江苏扬州府兴化人，明代状元宰相李春芳第六世孙。清代著名画家，“扬州八怪”之一。\n工细笔法放逸，以泼墨等画法，创作出了生动、鲜活、淋漓、奔放、形神兼备的花鸟画作品，“纵横驰骋，不拘绳墨”，以至于被后人视为“怪物”。",[48,23,49,239,25,26,212,27,588,69,1013,1014,7],"藤蔓","怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda79c3a547dcbd57a9fa5702339cdc28.jpg",[35],54,{"id":1019,"slug":1020,"title":1021,"dynasty":18,"author":1022,"museum":64,"description":1023,"tags":1024,"thumbUrl":1026,"material":90,"size":1027,"collection":35,"collections":1028,"showCount":1029,"zanCount":11,"manualWeight":11,"mainColor":135},220375,"yan-long-yu-shu-tu-chen-lu-220375","烟笼玉树图","陈录","陈录，[明]生卒年不详，字宪章，以字行，号如隐居士，会稽（今浙江绍兴）人。善墨梅、松、竹、兰蕙，笔意儒雅，与王谦齐名。评者以二家虽格意不同，录笔力实过王谦。正统十一年（一四四六）尝作墨梅图。传世作品有《万玉图》、《烟笼玉树图》、《梅花图》等。《图绘宝鉴续纂》、《画史会要》、《绍兴府志》、《明画录》、《无声诗史》、《越画见闻》。\n《烟笼玉树图》中树干苍劲，绽花枝头，构图巧妙，点染精当，可谓花鸟花上品。",[48,23,26,25,239,27,267,7,157,212,1025],"烟笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd62ea251e0e978b64171ad65c333d8be.jpg","纵137.5厘米，横65.4厘米",[35,74],52,{"id":1031,"slug":1032,"title":1033,"dynasty":81,"author":168,"museum":83,"description":1034,"tags":1035,"thumbUrl":1036,"material":90,"size":1037,"collection":92,"collections":1038,"showCount":1039,"zanCount":258,"manualWeight":11,"mainColor":135},231057,"fu-gui-hua-li-tu-yi-ming-231057","富贵花狸图","枝桠遒劲舒展，牡丹素瓣柔润晕染，似凝露轻绽。花叶疏密错落，暗衬盛放雍容。花狸伏身软草间，墨白毛色过渡自然无痕，双目凝注身前游虫，警觉中带着憨柔慵懒，将灵动感藏于静息姿态。\n\n整幅设色古雅沉静，绢底旧调晕开澹澹古韵，工细写实中带着雅致意趣，将繁花雍容与狸奴野趣相映成趣，闲静画面里暗涌鲜活生机，于清淡古拙间晕开平和悠然的氛围感，尽显小景中的雅致禅意。",[48,23,67,239,68,25,27,69,378,558,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8509dd73930dd4201e8b570bf5528f6.jpg","141x107.5",[92],51,{"id":1041,"slug":1042,"title":1043,"dynasty":44,"author":1044,"museum":361,"description":1045,"tags":1046,"thumbUrl":1049,"material":56,"size":56,"collection":56,"collections":1050,"showCount":1051,"zanCount":258,"manualWeight":11,"mainColor":39},230118,"xie-sheng-hua-niao-tu-qu-zhao-lin-230118","写生花鸟图","屈兆麟","此作以工笔设色绘就庭院清秋小景，桂树新枝缀着嫩绿叶瓣与细碎繁花，枝头双雀依偎和鸣，另有群雀或振翅掠空，或伫立于朱漆栏杆，将灵雀憨态描摹得鲜活入微。\n\n下方幽石错落，阔叶草木舒展柔姿，淡色小花点缀其间，晕染出静谧雅致的庭间氛围。设色清妍柔和，线条匀净秀润，兼具院体花鸟的工致写实，又暗含文人写意的清幽意趣，将寻常庭院的花鸟日常，晕染为一方诗意盎然的雅致画境，尽显写生花鸟的细腻妙趣。",[48,23,49,239,68,25,27,172,406,7,52,1047,1048,127,87],"麻雀","栅栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0eac61a99c9ad9c38167017ba4112f0.jpg",[],49,{"id":1053,"slug":1054,"title":1055,"dynasty":18,"author":1056,"museum":1057,"description":1058,"tags":1059,"thumbUrl":1069,"material":201,"size":1070,"collection":56,"collections":1071,"showCount":1072,"zanCount":258,"manualWeight":11,"mainColor":135},231591,"kong-que-tu-lu-zhao-yang-231591","孔雀图","卢朝阳","印第安纳波利斯艺术博物馆","这幅画描绘了一对生活在牡丹丛中巨石上的孔雀，以及杏花丛中的一对蓝丝带。 卢朝阳代代相传的作品很少。 这个有边景昭，吕纪风致，可以看出他学来的渊源。",[48,23,25,68,27,1060,69,419,172,295,28,340,201,843,1061,1062,1063,126,1064,7,157,1065,1066,1067,1068],"孔雀","花卉禽鸟","传统绘画","工笔重彩","花木","羽毛","苔点","晕染","勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee51507f3008fc01a7b7141c72840283.jpg","281x119厘米",[],48,{"id":1074,"slug":1075,"title":1076,"dynasty":44,"author":209,"museum":64,"description":1077,"tags":1078,"thumbUrl":1080,"material":421,"size":1081,"collection":56,"collections":1082,"showCount":1083,"zanCount":11,"manualWeight":11,"mainColor":39},222824,"mei-he-tu-xu-gu-222824","梅鹤图","《梅鹤图》为1891年(清光绪十七年)，虚谷时年69岁所作。以梅鹤双清为题。两株梅树茁壮挺拔，细枝交错穿插，花朵星星点点，二只白鹤立于梅枝间。梅树始以湿笔淡墨写出，后以干笔复加勾点，线条断续顿挫。梅树奇绝，如剑如戟、铁干清曜。梅花花瓣棱角分明，突出其天生寒骨、峥嵘向上的铮铮傲骨。白鹤亦造型古朴，一改光洁华美、悠闲典雅的贵族气象，长颈后缩收紧，雪羽铺展。画面设色清淡，鹤顶却以朱红重色点醒，使整幅画冷俊之中又富变化，质朴而又耐人寻味。此画作充分体现了虚谷的用笔特点，虚谷晚年代表作之一。顾鹤逸曾称虚谷作画“清而不枯，密而不乱”，此画可见一斑。",[48,67,23,49,239,26,25,212,27,267,1079,7],"鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd13b85f24a66a6be354601ee9a0b9ed2.jpg","纵145.2厘米，横78.9厘米",[],45,{"id":1085,"slug":1086,"title":1087,"dynasty":44,"author":168,"museum":337,"description":1088,"tags":1089,"thumbUrl":1091,"material":90,"size":1092,"collection":35,"collections":1093,"showCount":1094,"zanCount":258,"manualWeight":11,"mainColor":135},218954,"shou-dai-jin-ji-tu-yi-ming-218954","绶带锦鸡图","锦鸡立于古桩，羽色斑斓：颈间鳞纹细密如织，朱红尾羽迤逦垂落，身姿卓然带贵气。枝头绶带鸟或栖或嬉，翅羽轻展时神态灵动，似有细语在梅间。寒梅绽雪般素白，竹影疏斜着青绿，与棕褐绢底相映成趣，古雅中藏生机。工笔线条细劲如丝，勾勒禽鸟之态、花木之姿皆栩栩如生；设色温润含蓄，红与白、青与褐的层次里，晕染出清逸韵致。整幅画融富贵吉祥于宁静之境，动静相宜间，尽显传统花鸟的雅致与意趣。",[23,49,68,25,27,975,1090,29,267,125,28,7],"绶带鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F575939c4968d07c9264ca108a1481a65.jpg","79x36cm",[35],43,{"id":1096,"slug":1097,"title":1098,"dynasty":44,"author":1099,"museum":361,"description":1100,"tags":1101,"thumbUrl":1103,"material":669,"size":670,"collection":56,"collections":1104,"showCount":1105,"zanCount":11,"manualWeight":11,"mainColor":39},239455,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239455","邹一桂花鸟草虫图册","邹一桂","邹一桂（1688-1772），清代画家。字元褒，号小山、二知、让卿、乡森子，江苏无锡人。雍正五年(1727)进士，官至礼部侍郎。擅工笔花卉。尝作《百花》卷，各系一诗。传世作品有《白梅山茶图》、《太古云岚图》、《水仙红梅图》等。",[23,49,24,25,68,53,390,31,28,52,7,1102,171],"海棠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F184e5bc5ce80dbafe8c1b9f55367f8dd.jpg",[],42,{"id":1107,"slug":1108,"title":1098,"dynasty":44,"author":1099,"museum":361,"description":1100,"tags":1109,"thumbUrl":1110,"material":669,"size":670,"collection":56,"collections":1111,"showCount":1105,"zanCount":11,"manualWeight":11,"mainColor":39},239453,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239453",[68,25,27,87,88,7,31,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F710b3a5b340fe224e86cc6619d357ad7.jpg",[],{"id":1113,"slug":1114,"title":1115,"dynasty":44,"author":1116,"museum":361,"description":1117,"tags":1118,"thumbUrl":1119,"material":669,"size":670,"collection":56,"collections":1120,"showCount":1105,"zanCount":11,"manualWeight":11,"mainColor":39},237932,"za-hua-ce-zhu-da-237932","杂画册","朱耷","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[23,26,212,390,31,280,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbff5408474c757baba63f71ce63905bf.jpg",[],{"id":1122,"slug":1123,"title":1124,"dynasty":18,"author":1125,"museum":1126,"description":1127,"tags":1128,"thumbUrl":1133,"material":421,"size":1134,"collection":35,"collections":1135,"showCount":1105,"zanCount":258,"manualWeight":11,"mainColor":39},222178,"hong-xing-ye-fu-tu-zhou-lu-zhi-222178","红杏野凫图轴","陆治","安徽省博物馆","此画杏花盛开、野尧戏游、水草挺秀，一派自然界安宁、雅静、自由、活泼的和谐景象。赏之让人生趣，令人神往。\n画面上的“天空”，几乎被杏树的枝条占满了，盛开的红色杏花伸展于水面的上空，可以用“花枝招展”来形容杏树的形态。花枝横跨画面，连画的右侧顶端也是杏树的枝干，画面的下部，是一只大野尧，优哉优哉地浮现于水面之上，仿佛被盛开的红杏所吸引，在偏首高望;画面的左下侧，河岸边的水草簇簇挺拔，卓然而立。生动和谐、愈趣高雅的画面体现出作者观察之细腻，绘画技艺之高超，令人赏心悦目。这幅花鸟写意画中的“亮”，即是野鸭。古代时这种水鸟，是甚有声望的。",[48,23,49,239,25,26,27,1129,1130,1131,1132,7,390],"红杏","野凫","水","水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe33b057f3aab56336cb3fa23d67505c5.jpg","43.1x119cm",[35,74],{"id":1137,"slug":1138,"title":1139,"dynasty":18,"author":768,"museum":64,"description":1140,"tags":1141,"thumbUrl":1142,"material":1143,"size":1144,"collection":56,"collections":1145,"showCount":1146,"zanCount":11,"manualWeight":11,"mainColor":39},233465,"ren-wu-hua-hui-ce-xu-wei-233465","人物花卉册","该册十八页，其中画十五页，分别作写意山水人物、写生花卉，内容有婴戏、对弈、牡丹、兰花、稻穗螃蟹等等。笔墨简括豪放，随意自然。选其二页，可窥真趣。",[67,23,49,24,26,212,28,52,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61f867355f75d02b3f2bc5518af5ed94.jpg","纸本水墨","纵26.9厘米 横38.3厘米",[],41,{"id":1148,"slug":1149,"title":1150,"dynasty":44,"author":290,"museum":337,"description":1151,"tags":1152,"thumbUrl":1153,"material":421,"size":1154,"collection":56,"collections":1155,"showCount":1146,"zanCount":11,"manualWeight":11,"mainColor":39},231949,"hua-hui-ce-ye-12-kai-dong-gao-231949","花卉册页12开","龚心钊题跋。龚心钊（1870-1949），字怀希，号仲勉，安徽合肥人，寓居上海。他19岁中举人，26岁中进士，是清代最后一任科举考官。光绪年间出使英、法等国，清末出任加拿大总领事，是清代著名的外交家。\n董诰（1740-1818），字雅伦，西京，号蔗林，一号柘林，董邦达长子，浙江富阳人。乾隆二十八年（1763），中顺天乡试举人，明年成进士，殿试各列一甲第三，乾隆帝以其系大臣子，改置二甲第一，为传胪，授翰林院庶吉士，充国史三通馆协修，武英殿篡修。散馆后，改任编修。",[67,23,49,24,68,25,27,28,52,7,53,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa16aa1373de0204c155ba084d3f5fee4.jpg","21×26cm×12",[],{"id":1157,"slug":1158,"title":166,"dynasty":44,"author":1159,"museum":83,"description":1160,"tags":1161,"thumbUrl":1163,"material":90,"size":1164,"collection":35,"collections":1165,"showCount":1146,"zanCount":11,"manualWeight":11,"mainColor":39},218876,"hua-niao-tu-yu-sheng-218876","俞笙","绘制八哥相搏，情态甚为生动。画柳、芙蓉、草虫，笔意潇洒简当。",[23,25,68,26,27,172,69,1162,7,980],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F027ca06eef5220d7c34a3b53d8eedd35.jpg","132.5x49cm",[35],{"id":1167,"slug":1168,"title":1169,"dynasty":18,"author":1170,"museum":1057,"description":1171,"tags":1172,"thumbUrl":1174,"material":502,"size":56,"collection":56,"collections":1175,"showCount":1176,"zanCount":258,"manualWeight":11,"mainColor":39},214924,"mo-hua-ce-3-shen-zhou-214924","墨花册-3","沈周","沈周是一位著名的明朝画家，他的作品《墨花册》是一本插图本，其中包含了许多令人惊叹的墨花图案。《墨花册》是沈周的代表作之一，因其精美的图案和精湛的插画技巧而广受赞誉。在《墨花册》中，沈周用黑墨和水彩画描绘了许多精美的墨花图案，包括花卉、鸟类、动物和人物等。沈周的作品充满了生机和活力，他的绘画技巧非常出色，深受人们的喜爱。",[48,67,23,49,26,1173,52,7,31,24],"花果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9bc8e0e22c8ac2a3d56fdc5547b6ef7.jpg",[],39,{"id":1178,"slug":1179,"title":1180,"dynasty":167,"author":1181,"museum":83,"description":1182,"tags":1183,"thumbUrl":1184,"material":1185,"size":1186,"collection":548,"collections":1187,"showCount":1188,"zanCount":11,"manualWeight":11,"mainColor":135},221787,"shuang-song-tu-zhou-cao-zhi-bai-221787","双松图轴","曹知白","滨水石坡上两棵虬松，拔地而起，势如参天，背衬以杂树，掩映在烟霭中，渐远渐晦。并立双松，干顶枝条向周围虬蟠伸长，旁配以远水，成无尽景，画成于1329（天历二年），时年曹知白五十八。以松树成为山水画中描摹的一重点，概与元朝整个大环境有关，画家藉事物明志，而松之坚拔，使双松正可作为友情坚贞之象徵\n在元画中这类作品甚夥，如朱德润、唐棣等大家之作。审视诸家之双松，皆可找出从李衎以来，所持有李郭派描写树石的严谨传统。但和诸家笔下略带书法性夸张的松树相较，先生在树形及用笔上，展现了平实的个人风貌。\n画家以直线皴配合鳞皴表现松干皮，并在树身上加上齐列的横点苔，显得工整规律，但伸展曲折诡谲的松枝经营，枝梢回转上仰之姿，和向四面散射细疏的松针，打破了松身的平整。杂树枯枝则取蟹爪笔法，和其晚年七九岁所作《群峰雪霁图》前景三松简淡笔墨对照，此幅用笔显得严整而厚实。",[48,23,49,239,26,546,545,588,295,713,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e1cce535f431daf2980dd1b72ee3a27.jpg","绢本,水墨","132.1x57.4公分",[548,395],37,{"id":1190,"slug":1191,"title":1192,"dynasty":822,"author":1193,"museum":361,"description":1194,"tags":1195,"thumbUrl":1209,"material":669,"size":670,"collection":835,"collections":1210,"showCount":1211,"zanCount":11,"manualWeight":11,"mainColor":135},225819,"small-pear-tree-in-blossom-april-fan-gao-225819","Small pear tree in blossom (April - )","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。",[827,1196,1197,1198,1199,25,1200,7,1201,1202,1203,1204,1205,1206,1207,1208],"后印象派","厚涂技法","色彩明快","笔触奔放","开花的梨树","白色花朵","小径","围栏","背景树木","建筑","土地","木桩","春季景象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe25f0c7734775190e16aca4cfd79954c.jpg",[835],36,{"id":1213,"slug":1214,"title":1215,"dynasty":44,"author":1216,"museum":361,"description":1217,"tags":1218,"thumbUrl":1220,"material":669,"size":670,"collection":56,"collections":1221,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},239059,"shan-shui-hua-niao-ce-yang-jin-239059","山水花鸟册","杨晋","杨晋 （1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。",[23,49,24,26,1219,27,87,88,7,31],"白描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc63e6e415ef05404b5373e9472d91023.jpg",[],{"id":1223,"slug":1224,"title":1225,"dynasty":44,"author":360,"museum":361,"description":1226,"tags":1227,"thumbUrl":1229,"material":56,"size":56,"collection":56,"collections":1230,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":39},237411,"tian-zhu-zhou-wu-chang-shuo-237411","天竹轴","以篆隶笔意写绘，枯笔勾勒的枝干苍古嶙峋，尽显朴拙老辣的金石质感。叶片以浓淡墨色晕染，层次分明，艳红、明黄的天竹果实点缀其间，鲜活饱满，与水墨的素雅形成强烈对比，艳而不俗。\n\n右侧以大写意绘顽石，笔致写意简括，虚实相生，衬出天竹的清逸生机。整幅画作将花木的蓬勃生命力与文人画的雅致意趣相融，笔墨沉郁浑朴，尽显雄浑古拙的独特风韵。",[67,23,49,239,27,25,26,212,1228,130,7],"天竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93127e7d2bdb1b52ef872fb7c8c28e5.jpg",[],{"id":1232,"slug":1233,"title":931,"dynasty":18,"author":168,"museum":361,"description":1234,"tags":1235,"thumbUrl":1236,"material":669,"size":670,"collection":56,"collections":1237,"showCount":38,"zanCount":11,"manualWeight":11,"mainColor":135},228809,"hua-niao-tu-ce-yi-ming-228809","以赭色绢面为底，绘就郊野秋光。蓝花明妍澄澈，黄花柔婉轻绽，阔叶舒展带露，棘枝斜斜挑立，野卉错落交织，自呈生趣。一只蜻蜓振翅悬停半空，翅脉纤毫毕现，似正贪恋花间清芬，草叶之下还隐有小虫静伏，幽微生机暗涌其间。\n设色清妍古雅，勾勒工稳精细，花叶向背、虫翼薄透皆写实入微，既有院体花鸟的雅致工整，又带着郊野的疏野天然，将秋日荒闲里的细碎生机凝于绢上，淡朴中藏精妙，笔底暗蕴着对幽逸野趣的脉脉倾心。",[23,25,68,24,27,87,88,7,512],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F111fb455a724f674c275d32dfc9429e3.jpg",[],{"id":1239,"slug":1240,"title":1115,"dynasty":44,"author":1116,"museum":361,"description":1117,"tags":1241,"thumbUrl":1242,"material":669,"size":670,"collection":56,"collections":1243,"showCount":1244,"zanCount":11,"manualWeight":11,"mainColor":39},237936,"za-hua-ce-zhu-da-237936",[23,49,24,26,212,440,7,112,31,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8afb9d7da92b5f64516cfa52133f8b17.jpg",[],34,{"id":1246,"slug":1247,"title":1248,"dynasty":18,"author":1170,"museum":64,"description":1249,"tags":1250,"thumbUrl":1251,"material":71,"size":1252,"collection":56,"collections":1253,"showCount":1244,"zanCount":11,"manualWeight":11,"mainColor":39},233835,"wo-you-tu-ce-xing-hua-shen-zhou-233835","卧游图册－杏花","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。",[67,23,49,24,26,25,27,156,7,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf1f2aa10e8f3812d10b6863c0c7125a.jpg","纵27.8厘米，横37.3厘米",[],{"id":1255,"slug":1256,"title":1257,"dynasty":44,"author":1258,"museum":361,"description":1259,"tags":1260,"thumbUrl":1264,"material":56,"size":56,"collection":56,"collections":1265,"showCount":1244,"zanCount":11,"manualWeight":11,"mainColor":39},230973,"su-di-xiao-xia-tu-zhu-cheng-230973","苏堤消夏图","朱偁","此作以兼工带写之笔铺陈夏意，柔柳垂条拂过崖槎，白鹭独立其上，白羽莹洁，黑喙配明黄眼眸，神态傲然灵动，尽显禽鸟生趣。下方荷塘白莲亭亭舒展，淡墨晕染荷叶，晕开江南盛夏的湿润水汽。枯木苍朴遒劲，与莲柳的清柔相映成趣。设色浅雅清和，禽鸟刻画工细鲜活，花木则写意纵逸，于尺幅间绘就苏堤消暑的幽寂闲澹，将夏日暑热里的清宁逸致娓娓道来，尽显海派花鸟灵动秀雅的风韵。",[48,23,25,27,1261,1262,1263,667,7,556],"鹭","荷花","柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f9f28911d8a7133a06f0c24a7adda13.jpg",[],{"id":1267,"slug":1268,"title":1269,"dynasty":18,"author":1270,"museum":196,"description":1271,"tags":1272,"thumbUrl":1273,"material":1274,"size":1275,"collection":35,"collections":1276,"showCount":1244,"zanCount":272,"manualWeight":11,"mainColor":135},222051,"bing-hun-leng-rui-tu-wang-qian-222051","冰魂冷蕊图","王谦","用墨笔截取倒垂老梅，枝干劲健挺拔，梅花双勾而成，繁花密蕊，清奇可爱。 以淡墨晕染绢地，更衬托出梅花凄厉冷艳的姿色。 作品画格雄健，与晚明及清代梅花作品风格迥然相异。",[48,23,67,49,26,212,267,130,7,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00fb28109c7cdb6700ac5749c89e75c4.jpg","绢本墨笔","纵186cm，横111cm",[35,74],{"id":1278,"slug":1279,"title":1280,"dynasty":44,"author":416,"museum":251,"description":1281,"tags":1282,"thumbUrl":1283,"material":1284,"size":1285,"collection":56,"collections":1286,"showCount":1287,"zanCount":11,"manualWeight":11,"mainColor":720},233868,"mei-hua-ce-jin-nong-233868","梅花册","金农（1687—1764），字寿门，号冬心，又号稽留山民、曲江外史、昔耶居士等，浙江仁和（杭州）人。金农一生用过很多号、别号，印记也很多，据秦岭云考证，金农号有：冬心、司农、吉金、竹泉、古泉、老丁、耻春亭翁、寿道士、稽留山民、曲江外史、昔耶居士、莲身居士、龙梭仙客、金二十六郎、仙坛扫花人、金牛湖上诗老、百二砚田富翁、心出家庵粥饭僧、金牛、金吉金（苏伐罗吉苏伐罗）、枯梅庵主、龙梭仙馆旧客、荆蛮民、小善庵主、老金、惜花人、之江钓师、三朝老民、十九松长者、朱阳馆主、纸裘老生。所钤印记有：寿、农、寿门、古泉、金农、竹泉金吉金、莲身居士、金农之印、金吉金之印、冬心先生、金老丁、生于丁卯、金农印信、金寿门氏、努力加餐饭、寿道士、明月入怀、乐此不疲、布衣雄世。某些字号、印章颇具生活气息，其晚年多用佛门别号。",[23,49,24,1219,26,27,267,464,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb34432e0d3f92f887635aac9010c975.jpg","纸本墨笔","25.4cm ×29.8cm",[],33,{"id":1289,"slug":1290,"title":1291,"dynasty":18,"author":1170,"museum":64,"description":1249,"tags":1292,"thumbUrl":1294,"material":71,"size":1252,"collection":56,"collections":1295,"showCount":1287,"zanCount":11,"manualWeight":11,"mainColor":39},233839,"wo-you-tu-ce-bai-he-hua-shen-zhou-233839","卧游图册－百合花",[67,23,49,24,25,27,53,1293,7,52],"百合花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd177d95a67cb0c312fa86f838a680905.jpg",[],{"id":1297,"slug":1298,"title":1299,"dynasty":167,"author":1300,"museum":83,"description":1301,"tags":1302,"thumbUrl":1304,"material":502,"size":1305,"collection":35,"collections":1306,"showCount":1307,"zanCount":11,"manualWeight":11,"mainColor":39},219501,"tao-hua-you-niao-tu-zhang-zhong-219501","桃花幽鸟图","张中","图绘折枝桃花，枝上栖一禽鸟。画家用墨直接点写出枝叶，桃花或勾或点，禽鸟略加勾染。构图、用笔都很疏简，较王渊的墨笔花鸟更为简逸，近于写意的画法，亦属墨戏之作。画幅上有杨维桢、范公亮等十余人题咏。",[23,49,26,27,51,29,7,53,390,1303,31,212],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39e824d8b7c3ee45995275c79f83170d.jpg","纵112.2厘米，横31.4厘米",[35],32,{"id":1309,"slug":1310,"title":1311,"dynasty":18,"author":1170,"museum":1057,"description":1171,"tags":1312,"thumbUrl":1313,"material":502,"size":56,"collection":56,"collections":1314,"showCount":1307,"zanCount":11,"manualWeight":11,"mainColor":39},214922,"mo-hua-ce-5-shen-zhou-214922","墨花册-5",[48,23,49,24,26,27,214,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F402e05eb7f08d5ca2c23bfd7228fa47e.jpg",[],{"id":1316,"slug":1317,"title":17,"dynasty":18,"author":1318,"museum":361,"description":1319,"tags":1320,"thumbUrl":1321,"material":669,"size":670,"collection":56,"collections":1322,"showCount":1323,"zanCount":11,"manualWeight":11,"mainColor":39},235739,"hua-niao-ce-tan-zhi-yi-235739","谈志伊","谈志伊，字公望，号学山，一字思重，无锡人，明代画家。",[23,49,24,68,25,27,267,172,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2685cf988a45bc4025b950c37cac040e.jpg",[],30,{"id":1325,"slug":1326,"title":17,"dynasty":18,"author":1318,"museum":361,"description":1319,"tags":1327,"thumbUrl":1329,"material":669,"size":670,"collection":56,"collections":1330,"showCount":1323,"zanCount":11,"manualWeight":11,"mainColor":39},235733,"hua-niao-ce-tan-zhi-yi-235733",[23,25,68,24,27,1328,30,7,31],"菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4176ac9d5c01d070e14ab41ce4d20973.jpg",[],{"id":1332,"slug":1333,"title":1334,"dynasty":44,"author":1335,"museum":83,"description":1336,"tags":1337,"thumbUrl":1339,"material":90,"size":1340,"collection":35,"collections":1341,"showCount":1323,"zanCount":11,"manualWeight":11,"mainColor":39},219389,"bai-ying-zhou-ai-qi-meng-219389","白鹰轴","艾启蒙","白鹰昂首立于岩巅，翎羽皎洁若初雪，纹理细密如织，双目炯炯透着凛凛锐气。旁侧红叶灼灼似燃，与苍劲山石相映，添几分艳色却不掩清旷。山石皴法古拙，枯枝虬劲，而白鹰造型写实入微，翎羽的轻盈与岩石的厚重形成张力。中西技法相融，既得禽鸟生动之态，又存传统山水的古雅意境。淡远的背景晕染出空濛，更衬出主体的傲然独立，整幅画气韵生动，尽显自然灵趣与生命的雄健风骨。",[23,239,25,68,1338,130,441,465,588,7,31],"白鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11345bfb0ef7050087f410e403155550.jpg","179.2x95",[35],{"id":1343,"slug":1344,"title":1345,"dynasty":18,"author":748,"museum":361,"description":1346,"tags":1347,"thumbUrl":1348,"material":502,"size":56,"collection":56,"collections":1349,"showCount":1350,"zanCount":11,"manualWeight":11,"mainColor":135},216320,"xi-xiang-ji-zhen-ben-tu-ce-9-chen-hong-shou-216320","西厢记真本图册-9","虬枝盘曲如古篆流转，墨叶疏朗似淡诗铺展。花萼以淡墨轻勾，含露欲绽；隐于枝后的身影半遮半显，暗合西厢幽会的朦胧意趣。线条刚劲中藏柔婉，转折处见古拙，尽显笔底奇崛风神。枝叶排布疏密有致，留白处余韵悠长，将戏曲里的缠绵情愫凝于尺幅间。每一笔都似低诉西厢千古情肠，古雅动人，让观者于墨色流转中，触到那份跨越时空的雅致与温柔。",[23,49,24,1219,27,87,29,7,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8810db7fb6ea742688c7209acba8d1ed.jpg",[],29,{"id":1352,"slug":1353,"title":17,"dynasty":18,"author":1318,"museum":361,"description":1319,"tags":1354,"thumbUrl":1355,"material":669,"size":670,"collection":56,"collections":1356,"showCount":1357,"zanCount":11,"manualWeight":11,"mainColor":39},235726,"hua-niao-ce-tan-zhi-yi-235726",[67,23,49,24,68,25,27,87,88,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4c1639c45707c2b0e70e21707f1682f.jpg",[],28,{"id":1359,"slug":1360,"title":1361,"dynasty":18,"author":1170,"museum":361,"description":1362,"tags":1363,"thumbUrl":1364,"material":56,"size":56,"collection":56,"collections":1365,"showCount":1357,"zanCount":258,"manualWeight":11,"mainColor":39},228831,"zhe-zhi-hua-zhi-shen-zhou-228831","折枝花枝","以水墨晕染出海棠花枝，老干苍劲朴拙，用笔凝练老辣，皴擦间尽显饱经风霜的沉厚质感。新发嫩梢轻盈舒展，墨色清浅柔润，与老干形成鲜明虚实对照。枝头繁花淡墨点染，留白为瓣，晕透出通透娇柔的春日情态，叶片浓淡错落，层次分明，鲜活尽现海棠盛放之姿。\n题跋与画作相映成趣，诗书画意交融，尽显文人画雅致意趣。整幅简淡天真，不事雕琢，以极简笔墨抓住花木神韵，将春日雅兴寄于毫端，平朴间自有冲淡空灵的意境，寥寥数笔便铺陈出海棠疏淡清雅之态，藏着江南文人闲居的悠然意致。",[48,23,49,239,26,28,7,52,157,53,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52bbf1cdcefb49755ec2f8724f6aeda7.jpg",[],{"id":1367,"slug":1368,"title":1369,"dynasty":44,"author":416,"museum":337,"description":1370,"tags":1371,"thumbUrl":1372,"material":1185,"size":1373,"collection":56,"collections":1374,"showCount":1375,"zanCount":11,"manualWeight":11,"mainColor":39},216330,"jin-nong-ba-kai-hua-niao-tu-4-jin-nong-216330","金农八开花鸟图-4","八开花鸟图是清朝时期金农所绘的著名图画作品之一。金农是清朝时期著名的画家，他的八开花鸟图是他最著名的作品之一。\n\n这幅画中，金农绘制了许多花和鸟的形象，这些花和鸟形象都非常生动，充满了生机和活力。画中的花和鸟共同组成了一个浓郁的自然风景，让人们感受到花园中的清新与自然。\n\n金农的八开花鸟图被认为是中国画史上的杰作，在当时也广受欢迎，被认为是一幅非常优秀的作品。",[23,49,26,212,239,27,28,7,52,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a4a4c16d57ac37a6163886acbe3d554.jpg","30.5x40.9cm",[],26,{"id":1377,"slug":1378,"title":1379,"dynasty":44,"author":290,"museum":361,"description":1380,"tags":1381,"thumbUrl":1384,"material":669,"size":670,"collection":56,"collections":1385,"showCount":1386,"zanCount":258,"manualWeight":11,"mainColor":39},238353,"hua-hui-ce-dong-gao-238353","花卉册","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），首席军机大臣，上书房总师傅，钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，赠太傅，赐谥号文恭，入祀贤良祠。嘉庆亲写哀诗“只有文章传子侄，绝无货币置田庄”，并亲自拨款建立“董公祠”。",[23,25,68,24,27,28,69,52,7,1382,199,1383],"粉花","草茎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8d9c4200a4698643a8ae724a399a702.jpg",[],25,{"id":1388,"slug":1389,"title":1390,"dynasty":44,"author":290,"museum":361,"description":1391,"tags":1392,"thumbUrl":1394,"material":56,"size":56,"collection":56,"collections":1395,"showCount":1396,"zanCount":258,"manualWeight":11,"mainColor":39},238375,"dong-gao-yan-chun-hui-cai-tu-ce-dong-gao-238375","董诰延春荟彩图册","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[23,49,67,24,25,68,27,1393,441,7,214],"黄花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ff5895b5249671caf851158c42e1e27.jpg",[],23,{"id":1398,"slug":1399,"title":17,"dynasty":44,"author":1400,"museum":361,"description":1401,"tags":1402,"thumbUrl":1404,"material":56,"size":64,"collection":56,"collections":1405,"showCount":1396,"zanCount":258,"manualWeight":11,"mainColor":39},236609,"hua-niao-ce-ma-yuan-yu-236609","马元驭","马元驭（1669—1722）清代画家。字扶羲，号栖霞，又号天虞山人，江苏常熟人。",[23,49,24,25,68,27,87,88,7,1403],"花苞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89204bb2a41be7e314e451f48f74790b.jpg",[],{"id":1407,"slug":1408,"title":1379,"dynasty":44,"author":1409,"museum":361,"description":1410,"tags":1411,"thumbUrl":1412,"material":56,"size":56,"collection":56,"collections":1413,"showCount":1396,"zanCount":258,"manualWeight":11,"mainColor":39},234788,"hua-hui-ce-jin-li-ying-234788","金礼嬴","金礼嬴（1772—1807）一作礼瀛，字云门，号五云，东桥、云门女史、会稽内史、自号昭明阁女史，一称昭明阁内史，山阴（今浙江绍兴）人，晚居钱塘（今浙江杭州）。嘉兴王昙（仲瞿）继室。幼娴翰墨，志趣高远。夫妇以诗文、书、画像商榷，志趣高远。王昙曾自撰门联云：家中有碧水丹山，妻太聪明夫太怪，门外省青磷白骨，人何寥落鬼何多。\n礼嬴性喜佳山水，吴越幽胜之区，探索殆尽。故其画得游览之助为多。佣笔自给，求者踵至而画益工。凡人物、仕女、界画楼室、山水、花卉，悉能匠心独运，妙夺古人，尤精画佛，庄严妙丽。得者宝之。画梅亦妙。书法晋、唐，兼工汉隶，诗多清灵凄婉之致，著有《秋红丈室遗诗》。卒年三十六。",[23,25,68,27,69,51,52,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8e60c2d75b328e598ef5c3aa3bf09fe.jpg",[],{"id":1415,"slug":1416,"title":1417,"dynasty":81,"author":168,"museum":83,"description":1418,"tags":1419,"thumbUrl":1429,"material":1185,"size":1430,"collection":56,"collections":1431,"showCount":1396,"zanCount":11,"manualWeight":11,"mainColor":135},223424,"song-ren-ping-chou-hu-du-zhou-yi-ming-223424","宋人平畴呼犊轴","树叶和芦矛经霜成了赭黄色，秋意已深。在平原上游散着一大一小两头牛，小牛被遗落在后，急了便高耸着鼻子呼唤。母牛停下了脚步，回过头来等候着，足见母子情深。画家描绘小牛的鸣叫，张着唇吻，屈着前足，背高高的耸起，尾却朝上轻摇。对牛在鸣叫时骨骼筋络的反应，研究观察得非常精细，使人看了，仿佛也可以听到小牛的呼叫声。诚为一南宋无款佳作",[48,23,49,239,25,68,1420,1421,128,1422,1423,465,592,1424,1425,1426,7,1427,992,1428,974],"牛","兽","杂草","平野","田野","水牛","犊牛","土坡","细笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf1f0accd9c0ce6a2dcc5675ccf7d880.jpg","97x52.4",[],{"id":1433,"slug":1434,"title":1435,"dynasty":81,"author":1436,"museum":83,"description":1437,"tags":1438,"thumbUrl":1445,"material":201,"size":1446,"collection":56,"collections":1447,"showCount":1448,"zanCount":11,"manualWeight":11,"mainColor":135},221553,"luo-han-tu-5-liu-song-nian-221553","罗汉图5","刘松年","刘松年 （约1131-1218），号清波，南宋画家，历孝宗、光宗、宁宗三朝，浙江省金华市汤溪镇宅口人。刘松年与刘龟年兄弟随父亲宦居钱塘清波门，以住地自号刘清波，因清波门又称南“暗门”，故外号宋“暗门刘”。",[48,67,23,49,1439,68,25,584,406,1440,1441,295,1002,1421,7,1442,1443,1444],"宗教","猴","鹿","虬树","小和尚","罗汉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81f3e58b37ca2ec5227fa60b958ee26e.jpg","纵117公分，横55.8公分",[],22,{"id":1450,"slug":1451,"title":1452,"dynasty":167,"author":1453,"museum":387,"description":1454,"tags":1455,"thumbUrl":1458,"material":421,"size":1459,"collection":35,"collections":1460,"showCount":1448,"zanCount":11,"manualWeight":11,"mainColor":135},220043,"li-shu-tu-ge-shu-ying-220043","栗鼠图","葛淑英","此作用笔极简却意韵悠长，枯木以浓墨皴擦，苍劲古拙斜斜探出，细枝悬垂栗叶与蓬果，淡墨点染间形神兼备。\n\n两只栗鼠是全画灵气所在，以淡墨晕毫铺陈绒毛，鲜活蓬松，一只捧栗细嚼，神态憨然专注，一只俯身探看，灵动俏皮。留白铺陈出空寂秋林的氛围感，将山野林下的悠然生机晕染开来，尽显以简驭繁的水墨意趣，把小生灵的憨态与秋林的萧疏相融，寥寥数笔就勾勒出幽寂天真的林下闲趣。",[48,23,26,239,1421,1456,1457,7,52,68],"鼠","栗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b9064a9feaeefb0b5da195d381a5714.jpg","97x39.4",[35],{"id":1462,"slug":1463,"title":1379,"dynasty":44,"author":290,"museum":361,"description":1380,"tags":1464,"thumbUrl":1465,"material":669,"size":670,"collection":56,"collections":1466,"showCount":1467,"zanCount":258,"manualWeight":11,"mainColor":39},238349,"hua-hui-ce-dong-gao-238349",[67,23,49,24,25,68,28,87,88,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8e4abae61be2ea347057d04631ec90e.jpg",[],21,{"id":1469,"slug":1470,"title":17,"dynasty":18,"author":428,"museum":361,"description":429,"tags":1471,"thumbUrl":1472,"material":56,"size":56,"collection":56,"collections":1473,"showCount":1467,"zanCount":258,"manualWeight":11,"mainColor":39},237666,"hua-niao-ce-ling-bi-zheng-237666",[23,49,24,25,68,27,87,88,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ae3543ad9fc93aac2600c3c971d6e62.jpg",[],{"id":1475,"slug":1476,"title":1477,"dynasty":18,"author":1478,"museum":64,"description":1479,"tags":1480,"thumbUrl":1483,"material":421,"size":56,"collection":548,"collections":1484,"showCount":1467,"zanCount":11,"manualWeight":11,"mainColor":39},237452,"qing-xue-zhang-song-tu-zhou-zhang-rui-tu-237452","晴雪长松图轴","张瑞图","张瑞图书法、绘画兼精。书法得张旭、怀素神韵，与董其昌等并称“明末四大书家”，但其书法风格则迥异他人，风貌奇倔狂逸，后世称“瑞图书法奇逸，钟、王之外，另辟蹊径。”绘画则学黄公望，风格苍劲，点染清逸。他的画作大多是偶然兴至所作，故而传世作品甚少，其大幅画作特点是笔墨粗放，构景空疏。此图墨笔绘清泉细石，苍松之上落满积雪，全图面貌苍润，用笔皴染结合、勾点交错，笔力浑厚，足见张氏笔墨功力精到。\n本幅自题：“冻泉依细石，晴雪落长松。庚午春仲果亭图写”，钤“瑞图”朱文方印，“张长公”朱文方印。题字结体狂怪，笔画劲健纵逸，气韵外露，颇富“奇异”之态。据此，可知此图作于崇祯三年（1630），张瑞图时年60岁，正是他罢官遣归之年。图中题句出自杜甫诗《谒真谛寺禅师》。",[23,49,239,26,545,588,295,1481,546,713,7,1482],"雪景","墨笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0c986419dee5327b255f01afe2fab23.jpg",[548,395],{"id":1486,"slug":1487,"title":1488,"dynasty":18,"author":1489,"museum":64,"description":1490,"tags":1491,"thumbUrl":1492,"material":421,"size":56,"collection":35,"collections":1493,"showCount":1495,"zanCount":11,"manualWeight":11,"mainColor":39},236274,"jiang-shang-qi-shu-juan-yao-shou-236274","江上七树卷","姚绶","姚绶（1422—1495），明早中期画家。字公绶，号丹丘生，又号谷庵子、谷庵、仙痴、云东逸史，浙江嘉兴府嘉善县大云寺人。少有才名，专攻古文辞，诗赋茂畅。天顺中赐进士，官监察御史，奉命巡盐两淮，铲除积弊。因得罪权贵，谪永宁知府。以母老辞归，居大云，筑室名丹丘。又作沧江虹月舟，泛游吴越间。姚绶工行草书，初学宋克，后法魏晋钟繇、王羲之，劲婉咸妙。出入钟、王而别具拙朴风神，风格近张雨。擅画山水，宗吴镇，也取法赵孟、王蒙，好作沙坳水曲景色，墨色苍润；间写竹石，潇洒可爱，笔墨酷似吴镇。传世名作有《秋江渔隐图》轴（北京故宫博物院藏）、《山水图》册页（上海博物馆藏）、《竹石图》轴（辽宁省博物馆藏）。著有《谷庵集》、《云东集》、《天人合旨》、《姚御史诗文》。小景好作沙坳小曲，孤钓独吟，其阔幅重林远瀍，著四五渔船而已。图成或售于人，遂厚价返收之，其自重如此。与杜琼、刘珏、谢缙等明代早期文人画家，都承继了元四家衣钵，为明代中期吴门派的勃兴，起到了承前启后的作用，是吴门派的前期画家。\n姚绶得吴仲圭、盛子昭二家法，苍厚敦穆，简拙之中别具秀润，自是文人逸格。复参赵孟、王蒙笔意，皴染圆厚，书卷气极浓。姚绶曾画竹自云：“画竹如写字，枝叶皆从八法来，苦苦欲求形似者，清风安得扫尘埃”姚绶竹石题材的作品多以吴镇为宗。画竹一般以书入画，在竹子的处理上“叶叶着枝，枝枝着节”行笔轻灵劲健，竹叶已完全融入了他的书法用笔，姚绶早年书法宗宋克，中年后以张雨为宗，又致力于赵孟俯，黄庭坚，最终合张、黄、赵三家为一体，所以竹叶有其书法体态上的奇宕多姿，清逸而又雄迈的韵味。姚绶此类相近的竹石题材作品如：台北故宫藏《竹石图》，与北京故宫藏《竹石图》可窥其精华一二。",[67,23,49,266,26,546,713,464,831,7,53,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F171927c81b7c87363f9a4fca9993c187.jpg",[35,395,1494],"书法精选",20,{"id":1497,"slug":1498,"title":17,"dynasty":44,"author":618,"museum":64,"description":1499,"tags":1500,"thumbUrl":1504,"material":648,"size":1505,"collection":56,"collections":1506,"showCount":1495,"zanCount":258,"manualWeight":11,"mainColor":39},232971,"hua-niao-ce-lang-shi-ning-232971","此图册分别描绘了牡丹、兰花、罂粟、萱草、荷花、梅花等艳丽多姿的花卉和体态生动的蝶、鸟。构图上取法中国传统花鸟画的格局，以虚托实，注重对所绘物象的突出。在表现技法上，则充分发挥了欧洲绘画注重明暗及透视的特点，以工致细腻的笔触，刻画出花瓣、叶片以及鸟雀的羽毛质感和体积感，呈现出与传统的中国花鸟画迥然不同的艺术风貌。这种“中西合璧”的画风成为清代宫廷绘画艺术的一大特色，受到了清皇室的青睐。",[67,23,49,24,68,25,972,1501,1502,7,27,974,1503,828],"兰","石","笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f6041cf4527a2b11a1a31782ac66d2a.jpg","纵32.6厘米，横28.6厘米",[],{"id":1508,"slug":1509,"title":1510,"dynasty":44,"author":449,"museum":361,"description":1511,"tags":1512,"thumbUrl":1514,"material":56,"size":56,"collection":56,"collections":1515,"showCount":1495,"zanCount":11,"manualWeight":11,"mainColor":39},224172,"han-mei-cui-niao-tu-hua-yan-224172","寒梅翠鸟图","水墨写就老梅枯干，苍劲嶙峋，以浓淡墨色晕染出覆霜带雪的清寒况味，淡粉轻缀梅花，疏落间暗透暗香。\n三只禽鸟各有意态，枝上两只翠鸟头颈相偎，亲昵宛然，羽色晕染细腻柔和；另有一鸟振翅掠空，灵动破寂，为萧寒画面添上蓬勃生趣。\n右侧题跋行书笔致洒脱，文辞与画意相融，更衬出文人雅意。全作用留白铺就冬日清寂底色，却于冷逸间藏着融融生机，将写生的鲜活与文人笔墨的简逸灵秀合而为一，落笔传神尽显幽淡空灵的冬韵雅趣。",[48,23,49,26,25,212,27,267,1513,172,7,157,53,31],"翠鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ddfd247e50aebab76cda504b1f8c58f.jpg",[],{"id":1517,"slug":1518,"title":1519,"dynasty":18,"author":748,"museum":337,"description":1520,"tags":1521,"thumbUrl":1523,"material":90,"size":1524,"collection":56,"collections":1525,"showCount":1495,"zanCount":11,"manualWeight":11,"mainColor":39},220219,"hua-niao-cao-chong-xie-sheng-ce-mei-jue-shi-zi-chen-hong-shou-220219","花鸟草虫写生册-梅绝世姿","陈洪绶的绘画，尤其是他以之驰誉艺坛的双勾设色花鸟画，其特点有三，一是造型的古拙，二是色彩的古艳，三是线条的寓迟涩于劲挺，既厚重且圆润。",[48,23,49,24,25,68,267,1522,27,155,7,157],"枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca7845904a88bd5bfeec2baca608c104.jpg","21.5×16cm",[],{"id":1527,"slug":1528,"title":17,"dynasty":44,"author":1400,"museum":361,"description":1401,"tags":1529,"thumbUrl":1531,"material":56,"size":64,"collection":56,"collections":1532,"showCount":1533,"zanCount":11,"manualWeight":11,"mainColor":39},236613,"hua-niao-ce-ma-yuan-yu-236613",[23,49,24,26,25,212,27,1530,52,7,31],"板栗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F261498a4d6e42c115e8696a7c858dffe.jpg",[],19,{"id":1535,"slug":1536,"title":1537,"dynasty":44,"author":553,"museum":361,"description":1538,"tags":1539,"thumbUrl":1541,"material":648,"size":1542,"collection":56,"collections":1543,"showCount":1533,"zanCount":11,"manualWeight":11,"mainColor":39},234988,"hua-hui-ling-mao-ping-6-ren-yi-234988","花卉翎毛屏6","任颐(1839-1896)，初名润，字伯年，一字次远，号小楼(亦作晓楼)，萧山城厢镇人。其父善画肖像，任颐自幼随之习画。人物、山水、花卉、翎毛等均有扎实功底，尤以人物画见长，他在十余岁时即能勾勒出来访者容貌，使人见其画如见其人。\n咸丰十一年(1861)，太平军占领杭州、绍兴，任颐即投笔从戎，参加太平军，掌军旗，为前驱。同治二年(1863)，太平军撤离浙江，任留居家乡；次年，移居宁波，得到任熊、任薰悉心指导。同治七年(1868)春，随任薰去苏州，是年冬，转至上海定居。从此，任颐步入新兴的上海画派之列。\n任颐画路宽拓，所画人物具有独特的风韵，更以描写风俗人情、民间传说和神话故事中人物见长，如《女娲》、《钟 馗》、《八仙》、《群仙祝寿》等作品，将艺术与现实巧妙地容贯于画面。其人物肖像画既有深厚的传统基础，又注重写生，每次外出，备有速写本，随时勾录。寓居上海后，以卖画为生，创作甚富。《钟馗》、《关河一望萧索》、《苏武牧羊》、《野塘雨后》和《三友图》等为其代表作。且其参用画意的书法亦奇惊不凡，光绪二十二年(1896)逝世。\n任伯年因是浙江山阴人，故画面署款多写山阴任颐。儿时随父学画，十四岁到上海，在扇庄当学徒，后以卖画为生。所画题材，极为广泛，人物、花鸟、山水、走兽无不精妙。他的画用笔用墨，丰富多变，构图新巧，创造了一种清新流畅的独特风格，在正统派外别树一帜。\n任颐是近代杰出画家。字伯年，号小楼，浙江山阴人，因此他的画署款多写山阴任颐。任伯年的绘画题材广泛，人物、肖像、山水、花卉、禽鸟无不擅长。用笔用墨，丰富多变，构图新巧，主题突出，疏中有密，虚实相间，浓淡相生，富有诗情画意，清新流畅是他的独特风格。任伯年的主要成就是在于人物画和花鸟画方面，往往寥寥数笔，便能把人物整个神态表现出来，着墨不多而意境深远。其线条简练沉着，有力潇洒。他常画钟馗，他笔下的钟馗心胸磊落、不怕鬼，不信邪。他的花鸟画，总是把花与鸟连在一起，禽鸟显得很突出，花卉有时只作背景，整个画面充满了诗的意境。",[23,25,27,843,1540,127,7,28,212],"紫藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F732c0e22aa12b2b03e6b6fb61ec195a1.jpg","149 x 61 cm",[],{"id":1545,"slug":1546,"title":1280,"dynasty":44,"author":416,"museum":251,"description":1281,"tags":1547,"thumbUrl":1548,"material":1284,"size":1285,"collection":56,"collections":1549,"showCount":1533,"zanCount":11,"manualWeight":11,"mainColor":39},233866,"mei-hua-ce-jin-nong-233866",[23,49,24,26,53,267,7,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0da4a4c9fdf9047d3f8e3350b2ae6c59.jpg",[],{"id":1551,"slug":1552,"title":1553,"dynasty":44,"author":942,"museum":361,"description":1554,"tags":1555,"thumbUrl":1556,"material":421,"size":1557,"collection":56,"collections":1558,"showCount":1559,"zanCount":11,"manualWeight":11,"mainColor":39},231546,"xun-mei-tu-wang-shi-shen-231546","寻梅图","汪士慎（1686-约1762），清代书画家、篆刻家。字近人，号巢林、溪东外史、左盲生、天都寄客，安徽歙县人，一作安徽休宁人，流寓江苏扬州。精篆刻、隶书，擅画花卉，尤擅画梅，笔墨疏落清劲，气清而神腴，墨淡而趣足，具有秀润恬静之致，与李方膺“铁干铜皮”形成鲜明对比。与金农、华品山等友善，为扬州八怪之一。\n汪士慎极爱梅花，擅长画梅竹，工于篆刻与八分书。人们评论他的梅竹说：“宠梅念竹有真意，剪水断冰无俗痕。”汪士慎跟金农、高翔、罗聘，被时人称为四大画梅高手。\n这幅《梅花》清淡秀雅，瘦劲姿媚，让我们看到了他画梅花的独特风格。汪士慎留世的梅花作品，其枝、花并不太繁，而以疏朗清瘦见长，给人一种疏影潇洒、冷香四溢的感觉。",[48,23,49,239,26,53,390,31,267,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebaace359b8eb216fa28c0c02b7b725.jpg","63x160厘米",[],18,{"id":1561,"slug":1562,"title":1379,"dynasty":44,"author":1563,"museum":361,"description":1564,"tags":1565,"thumbUrl":1566,"material":421,"size":56,"collection":56,"collections":1567,"showCount":1568,"zanCount":11,"manualWeight":11,"mainColor":39},237287,"hua-hui-ce-wu-kai-237287","吴楷","吴楷，男，清嘉庆—咸丰时期（公元十八——十九世纪）著名画家 。\n吴楷： 清嘉庆——咸丰时期著名画家。一名允楷，字辛生，别号骞林外史，室名云静庐，吴县(今江苏苏州)人。 [2] 工花卉兰石，兼善山水。 （详见《中国书画家印鉴款识》第444页。）",[23,49,67,24,25,68,28,532,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f178840eaee77e57ff2f1eb327e2707.jpg",[],17,{"id":1570,"slug":1571,"title":1572,"dynasty":44,"author":1099,"museum":361,"description":1573,"tags":1574,"thumbUrl":1575,"material":669,"size":670,"collection":56,"collections":1576,"showCount":1568,"zanCount":258,"manualWeight":11,"mainColor":39},235704,"hua-hui-tu-ce-zou-yi-gui-235704","花卉图册","邹一桂（1688年－1772年）清代官员，画家。字原褒，号小山，又号让卿，晚号二知老人，江苏无锡人。雍正五年二甲第一名进士，授翰林院编修。历官云南道监察御史、贵州学政、太常寺少卿、大理寺卿、礼部侍郎，官至内阁学士。擅画花卉，学恽寿平画法，风格清秀。曾作《百花卷》，每种赋诗，一经进呈，皇上亦赐题绝句百篇，一桂复写一卷，恭录御制于每种之前，而书己作于后，藏于家。著有《小山画谱》、《大雅续稿》。",[67,23,49,24,68,25,27,1540,52,7,31,390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F642a32b506aca4f5b3fdd8c65965b3b9.jpg",[],{"id":1578,"slug":1579,"title":1580,"dynasty":18,"author":168,"museum":361,"description":1581,"tags":1582,"thumbUrl":1584,"material":56,"size":56,"collection":56,"collections":1585,"showCount":1568,"zanCount":11,"manualWeight":11,"mainColor":135},235680,"chen-lu-yu-tu-zheng-qing-tu-zhou-yi-ming-235680","陈录玉兔争清图轴","此作用淡墨晕染明月，清辉遍洒，老梅盘虬苍劲，主干皴擦见古拙质感，枝桠舒展斜逸，层层向上铺展。枝头繁花密缀，以浓淡墨色勾点花瓣，如星子攒聚，尽显寒梅莹洁灵动。\n\n梅枝挺秀清癯，凌然风骨暗藏其中，月色与梅影相映成趣，空寂清隽的冬夜幽境跃然绢上。笔意简淡苍润，将梅的孤高与月的空净相融，晕染出冬夜梅月争清的幽绝景致，尽显清雅出尘的文人意趣，寥寥笔墨写尽寒梅傲雪品格，意境清寂淡远。",[23,49,239,26,25,267,1583,464,7],"明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F001113171e468916c1f3343f48898518.jpg",[],{"id":1587,"slug":1588,"title":1572,"dynasty":44,"author":1589,"museum":64,"description":1590,"tags":1591,"thumbUrl":1593,"material":626,"size":56,"collection":56,"collections":1594,"showCount":1568,"zanCount":11,"manualWeight":11,"mainColor":39},232944,"hua-hui-tu-ce-fan-ting-zhen-232944","范廷镇","范廷镇（清），字鹿畴，一作祉安，或止安，号芷庵，一号冻亭，又号乐亭，武进（今江苏常州）人。能作花卉草虫，并书法，俱效恽寿平。\n范廷镇是恽寿平的亲传弟子，最能得恽南田没骨写生花卉之神髓，他的个别作品甚至可以达到乱真的地步，也是恽寿平的主要代笔人。包括他的书法与恽寿平都十分相近，接近于形神兼备，但格调稍欠，诗文才情更是与恽寿平相差甚远。",[23,25,68,27,28,1592,52,7,214],"石榴花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84d45a3a4ef84fb670f1773aecae1f58.jpg",[],{"id":1596,"slug":1597,"title":1598,"dynasty":44,"author":618,"museum":361,"description":1599,"tags":1600,"thumbUrl":1601,"material":669,"size":670,"collection":56,"collections":1602,"showCount":1568,"zanCount":258,"manualWeight":11,"mainColor":39},230210,"hua-niao-ce-ye-lang-shi-ning-230210","花鸟册页","郎世宁（Giuseppe Castiglione，1688.7.19-1766.7.16），原名朱塞佩·伽斯底里奥内，圣名若瑟，天主教耶稣会修士、画家，意大利米兰人。\n1715年（清康熙五十四年）来中国传教，随即入皇宫任宫廷画家，历经康熙、雍正、乾隆三朝，在中国从事绘画50多年，并参加了圆明园西洋楼的设计工作，为清代宫廷十大画家之一。 郎世宁擅绘骏马、人物肖像、花卉走兽，风格上强调将西方绘画手法与传统中国笔墨相融合，受到皇帝的喜爱，也极大地影响了康熙之后的清代宫廷绘画和审美趣味。\n其主要作品有《十骏犬图》《百骏图》《乾隆大阅图》《瑞谷图》《花鸟图》《百子图》《聚瑞图》《仙萼长春图册》《心写治平图》（《乾隆帝后妃嫔图卷》）等。",[48,67,23,49,935,68,25,972,974,27,406,316,341,342,199,7,53,390,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd86884ab1f15d686ff36b410f28ce7da.jpg",[],{"id":1604,"slug":1605,"title":1280,"dynasty":44,"author":416,"museum":251,"description":1281,"tags":1606,"thumbUrl":1607,"material":1284,"size":1285,"collection":56,"collections":1608,"showCount":1609,"zanCount":11,"manualWeight":11,"mainColor":39},233862,"mei-hua-ce-jin-nong-233862",[23,49,24,26,1219,419,7,53,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60346c88438f5bbe9ef487e719159592.jpg",[],16,{"id":1611,"slug":1612,"title":1613,"dynasty":44,"author":290,"museum":361,"description":1380,"tags":1614,"thumbUrl":1615,"material":669,"size":670,"collection":56,"collections":1616,"showCount":1617,"zanCount":11,"manualWeight":11,"mainColor":39},238405,"xuan-jin-lu-fang-tu-ce-dong-gao-238405","绚锦胪芳图册",[23,49,24,68,25,27,28,440,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fdd040efee4721af882715093651378.jpg",[],15,{"id":1619,"slug":1620,"title":1379,"dynasty":18,"author":19,"museum":361,"description":1621,"tags":1622,"thumbUrl":1623,"material":669,"size":670,"collection":56,"collections":1624,"showCount":1617,"zanCount":11,"manualWeight":11,"mainColor":39},237687,"hua-hui-ce-sun-ke-hong-237687","明书画家、藏书家。一作克宏，字允执，号雪居，松江（今属上海市）人。礼部尚书孙承恩子。以荫授应天治中，官至汉阳知府。生性巧慧，声音洪亮，状貌疏野。所居四壁皆画苍松老柏，崩浪流泉，有一种澄泓萧瑟之意萦绕其间。他喜交友，陈继儒谓其“好客之癖，闻于江东，履綦如云，谈笑生风，坐上酒尊，老而不空”。卒年八十（一作七十九）。",[23,49,24,26,390,28,7,52,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80173eb72f033a5c308ecbc5cce28297.jpg",[],{"id":1626,"slug":1627,"title":1628,"dynasty":44,"author":1629,"museum":361,"description":1630,"tags":1631,"thumbUrl":1632,"material":56,"size":56,"collection":56,"collections":1633,"showCount":1617,"zanCount":11,"manualWeight":11,"mainColor":39},234371,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234371","临蒋廷锡花卉册","蒋淑","蒋淑，蒋廷锡之女。蒋淑不仅得其父亲蒋廷锡的指点，而且经常以其父的作品为学习范本。《临蒋廷锡花卉图册》便是她临摹蒋廷锡花卉的代表作，用笔设色均有其父的画风神韵。每开也均有蒋廷锡题诗，赞美之辞溢于言表。 一股“我闺女棒棒哒”的自豪溢出来了～\n蒋淑（生卒年不详），清代杰出女性画家，从其画作上判断她大致生活于清康熙至雍正年间，字又文，江苏常熟人。蒋廷锡女，华亭王敬妻。其父蒋廷锡官至大学士，闲暇之余以逸笔作写生花卉，机趣天然。蒋淑自幼秉承家教，亦以擅绘花鸟著称。",[23,49,24,25,68,27,51,7,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84c35963c6e683461725a955fceeb37b.jpg",[],{"id":1635,"slug":1636,"title":1637,"dynasty":44,"author":449,"museum":64,"description":1638,"tags":1639,"thumbUrl":1644,"material":71,"size":1645,"collection":56,"collections":1646,"showCount":1617,"zanCount":11,"manualWeight":11,"mainColor":39},233196,"qiu-shu-dou-qin-tu-zhou-hua-yan-233196","秋树斗禽图轴","此图绘古树一株，枝上藤萝缠绕，黄叶飘零，一派深秋之景。一只黑色的鸜鵒（音瞿欲，俗称八哥）倒挂枝头，注视着正在空中相斗的另外两只，它们争斗激烈，情节颇为有趣，增强了画作的生活气息和生动感。\n全幅用笔灵活清新，枯枝、藤萝用率笔写意，翎毛用兼工带写之法，虚实结合，为华氏大写意画之代表作。",[23,49,239,25,26,212,27,1640,464,172,126,7,1641,1642,829,1643],"枯藤","秋叶","墨色","斗禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52808a81b496ddbe9081578a515878f7.jpg","纵117厘米，横54.3厘米",[],{"id":1648,"slug":1649,"title":1650,"dynasty":822,"author":823,"museum":361,"description":824,"tags":1651,"thumbUrl":1659,"material":669,"size":670,"collection":835,"collections":1660,"showCount":1617,"zanCount":11,"manualWeight":11,"mainColor":39},225993,"orchard-in-bloom-1879-mo-nai-225993","Orchard in Bloom, 1879",[826,827,1198,1652,1653,1654,1202,584,1206,7,157,1655,1656,713,30,1657,1658],"光影表现","果园","开花树木","春天","泥土路","自然景观","光影效果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F161af25153e641362b6181796ab7d047.jpg",[835],{"id":1662,"slug":1663,"title":1664,"dynasty":1665,"author":1666,"museum":20,"description":1667,"tags":1668,"thumbUrl":1671,"material":56,"size":56,"collection":35,"collections":1672,"showCount":1617,"zanCount":11,"manualWeight":11,"mainColor":1673},202896,"qiang-wei-tu-zhou-huang-bin-hong-202896","蔷薇图轴","近代","黄宾虹","画面中蔷薇枝干虬劲，带刺的枝蔓纵横交错，墨色浓淡相间，尽显老辣笔力。花朵或粉或白，瓣瓣舒展似含清露，设色淡雅却鲜活灵动。叶片以泼墨写意，浓淡层次分明，与工致的花瓣相映成趣，兼工带写间，柔媚花姿与坚韧枝干浑然相融。构图疏密有致，枝蔓向上延展，花朵点缀其间，既有自然野趣，又蕴笔墨雅韵，尽显传统花鸟的生机与意趣。",[23,27,25,556,1669,7,1670,112,48],"蔷薇","荆棘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c9ef5dec67948f875df0cac4ec3f743.jpg",[35],"dcd0b7",{"id":1675,"slug":1676,"title":1677,"dynasty":44,"author":1678,"museum":20,"description":1679,"tags":1680,"thumbUrl":1682,"material":421,"size":56,"collection":56,"collections":1683,"showCount":1684,"zanCount":11,"manualWeight":11,"mainColor":135},233186,"hua-hui-ce-hua-hui-ye-zhao-zhi-qian-233186","花卉册-花卉页","赵之谦","赵之谦（1829-1884），字益甫、孺卿，又号瀚寮，初字冷君，中年更号悲盦，晚号无闷，浙江会稽（今绍兴）人。早年曾游按察使缪梓幕，咸丰九年（1859）举人，同治元年（1862）入京，四年（1866）会试，之后历官鄱阳、奉新、南城知县。家藏秘册甚富，以篆刻名世，为晚清印坛代表人物。同时擅书、工花卉。此册画十二开，各绘牡丹、萱草、芙蓉、桃花、梅竹、杂卉等，造型新颖，设色鲜亮。",[23,49,24,25,27,28,1681,52,7,53,31],"月季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d8a60034e0f2aa9cbe6407d84c18d44.jpg",[],14,{"id":1686,"slug":1687,"title":1688,"dynasty":44,"author":290,"museum":361,"description":1380,"tags":1689,"thumbUrl":1690,"material":669,"size":670,"collection":56,"collections":1691,"showCount":1692,"zanCount":11,"manualWeight":11,"mainColor":39},238355,"hua-hui-xiao-ce-dong-gao-238355","花卉小册",[23,49,24,25,68,27,28,87,88,7,31,390],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e347ed0d63a8fbe5f3317408121a67c.jpg",[],13,{"id":1694,"slug":1695,"title":1696,"dynasty":44,"author":1697,"museum":361,"description":1698,"tags":1699,"thumbUrl":1701,"material":56,"size":56,"collection":56,"collections":1702,"showCount":1692,"zanCount":11,"manualWeight":11,"mainColor":39},238277,"hua-qia-xuan-yuan-tu-ce-huang-yue-238277","化洽翾蜎图册","黄钺","黄钺（1750年9月5日-—1841年8月16日），字左田，又名左君，号壹斋、左庶子，安徽芜湖人，清朝大臣，历仕乾隆、嘉庆、道光三朝。是著名的教育家、画家、艺术评论家。\n黄钺师法韩愈、苏轼、黄庭坚三人。 [5] 著有《壹斋集》40卷，其中《奏御集》2卷，杂篇6卷，《萧、汤二老遗诗合编》1卷，《画品》1卷。工诗文、书画，所绘山水，有萧云从余韵，“久邀睿赏，与富阳首相。国称董（浩）黄（钺）二家”，宫内名画，多为其鉴定真伪。诗词有苏东坡风韵，年九十一岁失明，自号“盲左”仍吟诗作画，故乡风情，吟咏殆尽，所作《于湖竹枝词》66首，亦诗亦史，富有深厚乡情。宋子才有“太白脱靴”，“山谷返棹”两图，石刻在太平府尊经阁内。《志》谓“子才七世孙，元太平路经历景阳刻”。嘉庆十七年（1812），黄钺在作此图时也注为元景阳刻。后觉有误，自责捉笔：“承讹袭谬，未暇深考。顷友人拓赠二纸，始知其谬，愧赧无已，爰记以诗，以志吾荒陋焉”。虚怀若谷，难能可贵。\n道光五年（1825），黄钺76岁，请求归休。宣宗“温旨慰留”。次年，又申前请，获准荣归。道光二十一年六月三十日申时（即1841年8月16日15时至17时）在芜湖家中逝世，享年九十二岁。宣宗悼惜，追封为太子太保衔，入祀贤良祠，按尚书条例抚恤，谥号“勤敏”。命史馆立传，赐祭葬，树石碑，葬于当涂南褐山下。同年，奉旨入芜湖乡贤祠。 [3]\n清代乾隆、嘉庆、道光年间，当涂出了一位赫赫有名的内阁尚书、军机大臣。黄钺，字左田，号左君，又号壹斋、左盲，生于乾隆十五年（1750年），卒于道光二十一年（1841年）。因其一生敏而好学，著述甚多，又“执掌皖南北书院十载”，对当地文化、教育做出了重要贡献。\n乾隆三十八年（1773年）十月，年仅23岁的黄钺在太平府学政使院参加岁试。安徽提督学政朱筠阅其卷，以为“奇才异能”，称道不止。朱筠在离开当涂回京都时，特地将这位年轻人带入京城应试，虽未中试，但得以在《四库全书》馆做誉录工作，因之学识大进。乾隆五十三年（1788年），黄钺考中举人，五十五年中进士，授户部主事。当时权臣和坤主管户部，因二人意见相左，借故请假回家，协助安徽巡抚李世杰在芜湖赭山谪翠轩创建中江书院，招员授业。嘉庆四年（1799年），仁宗亲政，黄钺奉命进京加封为“懋勤殿行走”。嘉庆九年（1804年），提升为“赞善，入直南书房”。嘉庆十年，出任山西学政，又特旨任湖北、山东、顺天等地的乡试主考官，后又兼任山西、山东学政，准予密折奏事。嘉庆十五年（1810年），迁侍讲学士，十八年擢升内阁学士，十九年升任户部侍郎，不久，又调任礼部侍郎。嘉庆二十四年（1819年），升任礼部尚书，并“赐紫禁城骑马肩舆入直，加封太子少保衔”。次年，升会试主考官。道光元年（1821年），宣宗亲政，封其为军机大臣，不久，又调任户部尚书，参与大典事宜，从事“京察议叙”。道光三年，宣宗“赐宴玉澜堂”，并给功臣绘像，黄钺是当时朝廷15名老臣之一。道光五年，黄钺已75岁，请求归休，宣宗又“温旨慰留”。次年，又申前请，始获准归乡。黄钺在朝廷历时27年。\n黄钺一生为封建统治阶级“矢勤矢慎”，但他笔耕不辍，在学术上也很有造诣。著有《壹斋集》四十卷、《壹斋诗集》三十六卷、《韩诗增注正讹》十一卷、《萧汤二老遗诗合编》二卷、《奏御集》二卷，另有《画友录》、《泛浆录》、《游黄山记》、《两朝恩赉记》、《二十四画品》等著作。他善画山水花鸟，尤长画梅，初学王 ，晚学王原祁，与“四王”末流董邦达并称山水画家。他的画，笔墨苍厚，他的字，既有书卷气，也有台阁气。他的诗，别具一格，很有气势。曾作的《花卉图》、《端阳佳景图》、《高冈长松图》等，无论青绿山水和水墨山水都很有特色。\n黄钺在绘画艺术上经过多年的实践和探索，将自己积累的经验进行理论概括，撰成画学专著《二十四画品》一书。《二十四画品》是仿照唐司空图撰写的中国古代文集约名著《二十四诗品》的体例而写成的。书中运用四言韵语，把各种绘画艺术风格概括为：一气韵，二神妙，三高古，四苍润，五沉雄，六冲和，七淡远，八补拙，九超脱，十奇辟，十一纵横，十二淋漓，十三荒寒，十四清旷，十五性灵，十六圆浑，十七幽邃，十八明净，十九健拔，二十简洁，二十一精谨，二十二隽爽，二十三空灵，二十四韶秀。整部著作文词典雅，清丽可诵，表现了栩栩如生的艺术形象。\n黄钺对谢朓、李白、黄庭坚十分崇拜，曾多次游览青山和采石矶。他颂扬谢朓“谢公爱青山，结宇恣啸咏”；在《咏李翰林》诗中讴歌李白：“仙骨埋青山，草木发灵异。”到采石矶“高怀吊古”，“掩英雄之泪，吟供奉之诗”。在他作的《采石矶赋》一文中，除了历数在这里发生的许多惊天动地的事件和英雄人物外，还特地为李白而感叹，说：“白也不群，宗之潇洒，着宫锦而扬帆，共兰舟而持 。旁若无人，歌清四野，当此之时，何其壮也！”黄钺又诗云：“平轩遥瞰一湖开，闻说涪翁守郡来。当日到官才九日，未应便起读书台。”该诗也附注曰：“赭山有滴翠轩，相传为涪翁读书处。李之仪跋山谷二词：‘鲁直请无为、当涂，而得当涂，犹蹭蹬一年方到官，既到九日而罢，又数日乃去。’“\n道光十一年（1831年），长江发生水患，回到家乡的黄钺 积极倡兴赈济，带头捐献俸银千两。道光十三年，濒临江淮的州县又遭水灾，黄钺又“捐百金助赈”，以救乡民。次年，当涂、芜湖一带饥荒，米珠薪桂，人民生计困难，黄钺又与王泽、许耕余等发动有田富户及绅士14家，按田交谷600担，兴办“丰备义仓”12座，当义仓上梁即将落成时，黄钺以诗记其事道：“成城缘众志，图匮在年丰。”并在“丰备义仓”的旁边建立私塾，招收蒙童，普及地方教育事业。\n道光十六年，88岁已不能认字，但仍吟诗咏物，所作《于湖竹枝词》66首，亦诗亦史，深入浅出，富有深厚的爱乡之情。",[23,49,24,25,68,27,1700,1530,52,7],"蜜蜂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ec5d2125b3f66079c8dc44268369a57.jpg",[],{"id":1704,"slug":1705,"title":17,"dynasty":44,"author":1400,"museum":361,"description":1401,"tags":1706,"thumbUrl":1707,"material":56,"size":64,"collection":56,"collections":1708,"showCount":1692,"zanCount":11,"manualWeight":11,"mainColor":39},236610,"hua-niao-ce-ma-yuan-yu-236610",[23,49,24,26,27,87,88,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc63ceef61be75d044d6fd66cee9e6cd.jpg",[],{"id":1710,"slug":1711,"title":1712,"dynasty":44,"author":1713,"museum":361,"description":1714,"tags":1715,"thumbUrl":1717,"material":669,"size":670,"collection":56,"collections":1718,"showCount":1719,"zanCount":11,"manualWeight":11,"mainColor":720},238854,"mian-yi-hua-hui-xiao-ce-mian-yi-238854","绵亿花卉小册","绵亿","绵亿（1764年9月10日－1815年4月14日），直隶省顺天府大兴县（今北京市）人，清高宗弘历之孙，荣纯亲王永琪第五子，母侧福晋索绰罗氏，左都御使观保之女。",[23,49,24,25,27,267,28,7,52,68,1716,556],"水墨线条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F368e50a27bb90081f6d4e4370ea94c70.jpg",[],12,{"id":1721,"slug":1722,"title":1688,"dynasty":44,"author":290,"museum":361,"description":1380,"tags":1723,"thumbUrl":1725,"material":669,"size":670,"collection":56,"collections":1726,"showCount":1719,"zanCount":11,"manualWeight":11,"mainColor":39},238797,"hua-hui-xiao-ce-dong-gao-238797",[23,49,24,25,68,27,87,88,7,1724,404],"丁香","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9984731b85ee0896951fbbd0b5358cde.jpg",[],{"id":1728,"slug":1729,"title":1730,"dynasty":44,"author":1010,"museum":361,"description":1731,"tags":1732,"thumbUrl":1733,"material":56,"size":56,"collection":56,"collections":1734,"showCount":1719,"zanCount":11,"manualWeight":11,"mainColor":39},224315,"hua-niao-ce-shi-kai-5-li-shan-224315","花鸟册十开5","紫英垂悬如瀑，花瓣以淡墨晕染，浓淡间分出初绽苞蕾与盛放娇花，枝叶以枯笔淡绿点染，随性舒展，野趣天成。翎羽以赭黄铺陈，丹喙亮眼，禽鸟振翅欲动，垂首窥花，灵动神态跃然纸上。\n\n行书题字纵逸跌宕，笔意与画意相融，诗画合璧更添清雅文韵。兼工带写间，把花鸟生机藏于笔墨，随性又不失精致，尽显文人写意的疏朗意趣，将江乡春日花鸟的鲜活景致，凝于尺幅之间。",[48,23,49,24,25,212,390,31,27,172,1540,7,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e68e1bbf2be065a2dd861feabc0ade8.jpg",[],{"id":1736,"slug":1737,"title":1738,"dynasty":18,"author":168,"museum":1739,"description":1740,"tags":1741,"thumbUrl":1742,"material":90,"size":56,"collection":35,"collections":1743,"showCount":1719,"zanCount":11,"manualWeight":11,"mainColor":1744},219269,"xue-shu-shuang-jiu-tu-yi-ming-219269","雪树双鸠图","耶鲁大学艺术博物馆","绢本的古雅色泽里，冬日的清寂缓缓铺展。虬枝盘曲如铁铸，枝桠间薄雪若碎玉，清冷中透着岁月的苍劲。双鸠相偎于枝头，羽色与雪、树相融，姿态安闲，似在低语，为寂静雪林添了脉脉温情。雪坡简洁，几茎细草隐于雪下，更显天地空阔。画中无喧嚣，唯有雪的静穆、树的古拙、鸟的柔暖，将冬日的冷寂与生命的暖意悄然交织，让观者于冷冽中触到一丝安宁与慰藉，仿佛时光在此凝驻，只剩自然的恬淡与生机。",[48,23,49,25,68,27,406,129,29,7,714],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F809e2794ea016ae3eaf5316c3ed2a9cf.jpg",[35],"37474F",{"id":1746,"slug":1747,"title":1748,"dynasty":44,"author":386,"museum":1749,"description":1750,"tags":1751,"thumbUrl":1752,"material":33,"size":56,"collection":56,"collections":1753,"showCount":245,"zanCount":258,"manualWeight":11,"mainColor":39},214811,"shan-shui-hua-hui-tu-ce-7-gao-feng-han-214811","山水花卉图册-7","日本大阪市立美术馆","高凤翰（1762-1843）是一位著名的清代画家，他的主要作品是山水花卉图册。高凤翰生于江苏省的吴县，他曾在杭州学习画画，后来进入了江南画派。他的画风独特，被称为“高氏画法”，以其精细、细腻的线条和浓郁的色彩闻名。\n\n高凤翰的山水花卉图册是他的代表作之一，包括了许多精美的山水画作品。这些作品描绘了自然风光，包括山峦、河流、湖泊、树木、花草等。高凤翰的山水画作品经常带有浓厚的写意气息，表现出自然之美。他的画作还常常加入人物、建筑、动物等元素，使得作品更加丰富多彩。\n\n高凤翰的山水花卉图册在当时颇受欢迎，并且被视为江南画派的杰出代表作。他的作品被认为是清代山水画发展的重要贡献，对后世的山水画家也产生了很大的影响。",[23,26,267,31,24,27,7,28,212,1482],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F170ba3249f647175672fdb1aab2746a6.jpg",[],{"id":1755,"slug":1756,"title":1688,"dynasty":44,"author":290,"museum":361,"description":1380,"tags":1757,"thumbUrl":1759,"material":669,"size":670,"collection":56,"collections":1760,"showCount":94,"zanCount":11,"manualWeight":11,"mainColor":39},238792,"hua-hui-xiao-ce-dong-gao-238792",[23,25,68,24,27,28,267,1758,7,52],"绣球","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84b43bb37fc49a7818cda700d89d15e9.jpg",[],{"id":1762,"slug":1763,"title":1764,"dynasty":44,"author":1765,"museum":64,"description":1766,"tags":1767,"thumbUrl":1770,"material":560,"size":1771,"collection":56,"collections":1772,"showCount":94,"zanCount":11,"manualWeight":11,"mainColor":39},238304,"shi-liu-luo-han-ce-jia-quan-238304","十六罗汉册","贾全","贾全，生卒年不详，乾隆时供奉内廷。工画人物及马。此册画不同形象的罗汉十六尊。佛像采用中国传统人物画技法，勾线填色。人物神态平和，面部晕染有致，衣纹流畅，背景简率。",[23,49,25,26,68,24,1439,584,295,713,7,1013,1768,1769],"拐杖","篮子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea59d68857ff452e20637f318e5edea.jpg","纵31.5厘米横25厘米",[],{"id":1774,"slug":1775,"title":1776,"dynasty":44,"author":1777,"museum":361,"description":1778,"tags":1779,"thumbUrl":1781,"material":56,"size":56,"collection":35,"collections":1782,"showCount":94,"zanCount":11,"manualWeight":11,"mainColor":39},236715,"hua-niao-guo-ce-li-qi-236715","花鸟果册","李圻","此作用水墨写就枝间野趣，禽鸟栖于细枝之上，喙衔小虫，姿态灵动自若。以浓淡墨色晕染禽鸟羽毛，层次宛然，将绒羽蓬松质感尽数展现，鲜活如生。右侧枯枝苍劲，松针皴擦老辣枯涩，与禽鸟的细腻刻画形成鲜明反差，虚实相映。左侧题字笔力苍拙，书画相融，更添文人雅韵。整幅简淡疏朗，于写意间暗含写生之真趣，寥寥笔墨便将林间小景的野逸之态尽显，清雅生动，意韵悠长。",[23,49,24,26,27,29,1780,126,7],"树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84c311ed68016fef5ab151c351fbaca3.jpg",[35,395],{"id":1784,"slug":1785,"title":1379,"dynasty":44,"author":1589,"museum":361,"description":1786,"tags":1787,"thumbUrl":1788,"material":56,"size":56,"collection":35,"collections":1789,"showCount":94,"zanCount":11,"manualWeight":11,"mainColor":39},235566,"hua-hui-ce-fan-ting-zhen-235566","此作以枯淡水墨绘就梅石，左侧顽石晕染出厚重质感，苔痕暗藏生机，细草柔蔓斜出，中和石之嶙峋冷硬；右侧老梅枝干虬曲苍劲，花苞圆浑饱满，墨色枯润相济，尽显古梅傲雪之姿。\n\n书画相融无间，题诗借旧语寄慨，以梅石抒怀，将幽独清高的文人襟怀寄寓在朴拙笔墨中。整体简淡萧疏，刚柔相衬，以画言情，风骨凛然，尽显诗画相生的雅致意趣，朴拙之中见清逸，余韵悠长。",[23,49,24,26,130,28,7,558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F408c8a09ac4f62a1af0ad8c556f2968f.jpg",[35],{"id":1791,"slug":1792,"title":1793,"dynasty":44,"author":1010,"museum":361,"description":1794,"tags":1795,"thumbUrl":1797,"material":56,"size":56,"collection":56,"collections":1798,"showCount":94,"zanCount":309,"manualWeight":11,"mainColor":39},224317,"hua-niao-ce-shi-kai-7-li-shan-224317","花鸟册十开7","此帧绘牵牛绕竹，藤蔓蜷曲舒展，翠叶柔嫩鲜活，蓝紫花瓣晕染出通透光泽，将朝颜初绽的柔媚尽致展现。笔意兼具工致与写意，花叶灵动鲜活，如见晨露未晞的篱边实景。左侧书法笔力苍劲，诗书与绘事相映，文人雅趣尽显。以写生捕捉朝花之真，以笔墨挥洒写意之韵，将草木柔媚与文人意趣相融，雅致脱俗，尽显花间清逸之美。",[48,23,24,25,212,27,1013,1796,112,7,53,31],"牵牛花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365822b4c1cbcce04446c2d41651ab33.jpg",[],{"id":1800,"slug":1801,"title":1379,"dynasty":18,"author":19,"museum":361,"description":1621,"tags":1802,"thumbUrl":1803,"material":669,"size":670,"collection":56,"collections":1804,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":39},237679,"hua-hui-ce-sun-ke-hong-237679",[23,49,24,26,390,28,111,52,7,157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f4d37d83c8aaf04938e8a539bd09f79.jpg",[],{"id":1806,"slug":1807,"title":1572,"dynasty":44,"author":449,"museum":361,"description":1808,"tags":1809,"thumbUrl":1810,"material":669,"size":670,"collection":56,"collections":1811,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":39},236003,"hua-hui-tu-ce-hua-yan-236003","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、离垢居士等，老年自喻“飘篷者”，福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年（1703）华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上“高山云鹤”、“水国浮牛”、“青松悬崖”和“倚马题诗”四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，“得交当路巨公，名闻于上”，但并不得意，据戴熙《习苦斋画絮》载：“华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。”他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鱓、郑板桥及盐商巨子马曰琯、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。",[23,49,24,25,27,28,7,52,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2427aa512035cbb993a01c78f18877b.jpg",[],{"id":1813,"slug":1814,"title":1815,"dynasty":44,"author":168,"museum":361,"description":1816,"tags":1817,"thumbUrl":1818,"material":56,"size":56,"collection":35,"collections":1819,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":39},235884,"yuan-ji-hua-hui-tu-ce-yi-ming-235884","原济花卉图册","此作用水墨写意绘梅，运笔老辣纵恣。虬曲枝桠以焦墨枯笔写就，顿挫间尽显苍古拙劲，宛若经霜老干。花朵以淡墨晕染花形，浓墨点簇花蕊，虚实相映，将寒梅的清雅疏朗尽数铺展。留白空灵透气，愈发衬出梅之孤高清逸。\n题款与朱印错落点缀，添衬文雅意趣。整幅以少胜多，墨色干湿浓淡间尽显写意精神，将花木神韵与文人逸气相融，寥寥数笔便让梅的傲骨泠然浮现，暗香仿佛随笔墨浮动，尽显中式水墨的写意精妙。",[23,49,24,26,27,419,7,157,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68f9050df817c203e38108fb9c6e9289.jpg",[35],{"id":1821,"slug":1822,"title":1379,"dynasty":44,"author":1823,"museum":361,"description":1824,"tags":1825,"thumbUrl":1826,"material":669,"size":670,"collection":56,"collections":1827,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":39},235217,"hua-hui-ce-zhang-wei-235217","张伟","清代画家张伟的花卉写生图，是一组工笔细描的花卉图。",[23,25,68,24,31,27,87,214,88,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1f84291aecc038684609472935e96f2.jpg",[],{"id":1829,"slug":1830,"title":1831,"dynasty":18,"author":1832,"museum":64,"description":1833,"tags":1834,"thumbUrl":1835,"material":71,"size":56,"collection":56,"collections":1836,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":39},234237,"mei-hua-tu-juan-shu-jun-su-234237","梅花图卷","殳君素","殳君素，晚明画家。字质夫，江苏苏州人；师文嘉、钱谷，为入室弟子，有出蓝之美。古人涉山观水，常倚靠一根简便竹杖。因此，“携杖”几乎是中国文人山水画中高士、隐者的动作“标配”。",[48,23,49,266,26,390,1303,31,267,464,7,157,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c9fb05d15f30782dc4a115340379934.jpg",[],{"id":1838,"slug":1839,"title":1840,"dynasty":18,"author":748,"museum":361,"description":1841,"tags":1842,"thumbUrl":1843,"material":502,"size":56,"collection":56,"collections":1844,"showCount":59,"zanCount":11,"manualWeight":11,"mainColor":135},216305,"xi-xiang-ji-zhen-ben-tu-ce-18-chen-hong-shou-216305","西厢记真本图册-18","分幅构图却气韵牵萦，左枝垂穗带叶，似有风过轻颤；右柯布叶绽花，如藏幽庭私语。线条兼工带写，既存春蚕吐丝的柔韵，又藏铁线勾勒的筋骨，墨色淡染纸痕，古雅中透着生趣。不事繁缛堆砌，却以极简笔触勾连西厢故事的园林意绪——枝叶间仿佛凝着长亭外的软风，花瓣上似沾着西厢月下的清露，将戏曲里含蓄的情愫融于草木情态，观者于简笔淡墨中，自能触到那份藏在景深处的柔婉与怅惘。",[23,49,24,1219,26,27,7,52],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2346394581a30092e3ab12b180dea69.jpg",[],{"id":1846,"slug":1847,"title":1688,"dynasty":44,"author":290,"museum":361,"description":1380,"tags":1848,"thumbUrl":1849,"material":669,"size":670,"collection":56,"collections":1850,"showCount":1851,"zanCount":11,"manualWeight":11,"mainColor":39},238807,"hua-hui-xiao-ce-dong-gao-238807",[23,49,24,68,25,27,280,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c080ffc320ad73cae9d74ae2b06e7db.jpg",[],8,{"id":1853,"slug":1854,"title":1688,"dynasty":44,"author":290,"museum":361,"description":1380,"tags":1855,"thumbUrl":1857,"material":669,"size":670,"collection":56,"collections":1858,"showCount":1851,"zanCount":11,"manualWeight":11,"mainColor":39},238802,"hua-hui-xiao-ce-dong-gao-238802",[67,23,49,24,25,68,27,28,1856,52,7],"绣球花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0312e03dcc4f5c546cbc631edc36971a.jpg",[],{"id":1860,"slug":1861,"title":1379,"dynasty":44,"author":290,"museum":361,"description":1380,"tags":1862,"thumbUrl":1863,"material":669,"size":670,"collection":56,"collections":1864,"showCount":1851,"zanCount":11,"manualWeight":11,"mainColor":39},238358,"hua-hui-ce-dong-gao-238358",[23,25,24,68,27,28,30,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39eb19dc68d748f33e354ce19a983803.jpg",[],{"id":1866,"slug":1867,"title":1868,"dynasty":81,"author":168,"museum":361,"description":1869,"tags":1870,"thumbUrl":1871,"material":669,"size":670,"collection":56,"collections":1872,"showCount":1851,"zanCount":258,"manualWeight":11,"mainColor":135},238122,"hua-hui-si-duan-tu-juan-yi-ming-238122","花卉四段图卷","四段花木各显风姿：首段梅枝老干虬曲，冷白小花疏落绽于枝梢，清寒疏朗，尽现孤洁傲骨。芙蓉一段柔枝舒展，粉艳花团轻缀其间，碧叶晕染出鲜活肌理，秾丽又带着温柔生机。素花柔枝一则，莹白花朵配温润绿叶，明媚恬淡如春日浅光。末段小花攒聚枝上，粉瓣娇俏灵动，带着融融春意。\n\n全卷以没骨法绘就，纯以色泽晕染成型，清隽柔和的色彩间，将四时花木的各自风骨与舒展柔婉尽数绘出，藏着雅致审美，淡色轻晕里晕开静谧生趣。",[48,67,23,49,266,68,25,27,267,532,1102,51,7,52,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0728e825826d5c3185aac75a84ab3440.jpg",[],{"id":1874,"slug":1875,"title":1876,"dynasty":18,"author":1877,"museum":1878,"description":1879,"tags":1880,"thumbUrl":1882,"material":33,"size":1883,"collection":56,"collections":1884,"showCount":1851,"zanCount":11,"manualWeight":11,"mainColor":39},217877,"zhou-li-yuan-shang-kuan-shen-ce-er-hu-yu-kun-217877","周栎园上款什册(二)","胡玉昆","大英博物馆","右侧山水以淡墨勾勒皴染，嶙峋山石间几株枯树枝桠虬劲，疏朗有致；岩畔茅舍隐于树后，远山淡远朦胧，留白处尽显空灵。左侧题跋行楷相间，墨色沉厚清逸，文字与画境相生相契。整幅作品简淡中见真味：枯树无华却藏风骨，茅舍简陋更显幽寂，远山淡远引人流连。诗画合一的韵致，于笔墨间传递出文人寄情丘壑的清寂孤远，在古典雅致中尽显简素之美，是文人画里以意取胜的佳例。",[67,23,49,26,545,128,587,295,713,1881,7,53,390,546],"山峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9b55b0b2efd8517fd33b2057e3feed9.jpg","24.7x32.3cm",[],{"id":1886,"slug":1887,"title":1888,"dynasty":44,"author":1889,"museum":20,"description":1890,"tags":1891,"thumbUrl":1892,"material":56,"size":56,"collection":56,"collections":1893,"showCount":1851,"zanCount":11,"manualWeight":11,"mainColor":1894},202732,"yu-lan-tu-zhou-huang-zu-min-202732","玉兰图轴","黄足民","苍干虬枝如铁，玉兰花影疏疏，清逸雅致。枝干以浓淡墨线勾勒，兼施皴擦，显古木沧桑肌理；花瓣轻描淡写，线条灵动，花蕊点缀其间，生机暗涌。竖轴构图中，树干挺拔向上，枝丫舒展，留白得当，意境空灵。素绢之上，墨色层次分明，玉兰的温婉与枝干的遒劲相映成趣，传递出静谧悠远的春日气息，尽显文人画的清幽韵味。",[23,239,27,26,546,1219,280,7,157,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33760e198117283587874184f3937082.jpg",[],"a7947c",{"id":1896,"slug":1897,"title":1898,"dynasty":44,"author":1899,"museum":20,"description":1900,"tags":1901,"thumbUrl":1902,"material":56,"size":56,"collection":35,"collections":1903,"showCount":1851,"zanCount":11,"manualWeight":11,"mainColor":1904},201850,"hua-hui-dou-fang-zhou-zhe-zhang-201850","花卉斗方轴","禇章","墨色浓淡相济间，上幅牡丹开得酣畅，浓墨点染花瓣肌理，淡墨晕出朦胧层次，枝干以劲毫勾勒，叶片泼洒见风神。下幅花草姿态疏朗，线条轻盈灵动，墨块与细茎相映，石畔生机隐然。整作以水墨为媒，笔意洒脱，花木之态与文人逸趣相融，尽显清雅韵致。",[26,27,69,1502,7,112,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F401b94dc3ece4122fca095022b932af1.jpg",[35],"ddcebd",{"id":1906,"slug":1907,"title":1688,"dynasty":44,"author":290,"museum":361,"description":1380,"tags":1908,"thumbUrl":1909,"material":669,"size":670,"collection":56,"collections":1910,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":39},238787,"hua-hui-xiao-ce-dong-gao-238787",[23,67,49,24,25,68,27,69,980,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8035a2d18661a2164f9536837a18a9b7.jpg",[],{"id":1912,"slug":1913,"title":1379,"dynasty":44,"author":360,"museum":361,"description":664,"tags":1914,"thumbUrl":1915,"material":669,"size":670,"collection":56,"collections":1916,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":39},235197,"hua-hui-ce-wu-chang-shuo-235197",[23,49,24,26,390,31,27,602,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe55a7a815fac4e3df952ba468947d1e1.jpg",[],{"id":1918,"slug":1919,"title":1920,"dynasty":44,"author":1921,"museum":361,"description":1922,"tags":1923,"thumbUrl":1925,"material":71,"size":56,"collection":56,"collections":1926,"showCount":76,"zanCount":11,"manualWeight":11,"mainColor":39},234280,"hua-guo-ce-wang-yun-234280","花果册","王云","王云，字汉藻，号清痴，一字雯庵，号竹里，江苏高邮人。斌子。楼台、人物近似仇英，康熙时驰名江、淮。写意山水，得沈周遗意。于朝，圣祖赏逾等。",[23,49,24,25,27,1924,88,7],"果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba2442719933c64768eb46ee98186974.jpg",[],{"id":1928,"slug":1929,"title":1930,"dynasty":81,"author":1931,"museum":64,"description":1932,"tags":1933,"thumbUrl":1934,"material":626,"size":1935,"collection":56,"collections":1936,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":135},233997,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233997","画赵构书唐风册","马和之","马和之，中国南宋画家 。生卒年不详，活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。宋高宗绍兴（1131-1162）中登第，一说官至工部或兵部侍郎。画院待诏，为南宋宫廷画院中官品最高的画师，居御前画院十人之首（周密：“御前画院仅十人，和之居其首焉”）。擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描（一作马蝗描），用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[67,23,49,1219,26,68,546,295,713,172,464,7,465],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e5aa785732da9a4f5ab32275a9bd7d.jpg","60.33x41.04厘米",[],{"id":1938,"slug":1939,"title":1940,"dynasty":167,"author":168,"museum":361,"description":1941,"tags":1942,"thumbUrl":1943,"material":56,"size":56,"collection":56,"collections":1944,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":135},230902,"hua-hui-tu-ye-yi-ming-230902","花卉图页","此作用色清和柔婉，以没骨法晕绘花枝。素白花瓣轻透柔润，攒聚的细点圈出花蕊，朴拙中带着精巧意趣。叶片以深浅绿意铺陈，随枝条自然舒展，将花枝的绰约姿态托衬得愈发清雅。古绢的沉褐底色晕开旧时光晕，让整幅画面浸着幽淡娴静的古雅气韵，似将暮春庭隅的清寂花影凝在绢上，淡而不薄，简而有味，尽显文人意趣里的雅致闲情。",[48,67,23,49,24,68,25,27,28,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea57ae90d4205641248ba1b657896677.jpg",[],{"id":1946,"slug":1947,"title":1948,"dynasty":44,"author":1949,"museum":108,"description":1950,"tags":1951,"thumbUrl":1956,"material":1957,"size":1958,"collection":56,"collections":1959,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":39},222651,"zhi-hua-xi-lie-zhi-hua-pen-zai-la-mei-gao-qi-pei-222651","指画系列-指画·盆栽腊梅","高其佩","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[48,23,1952,25,1953,1954,1955,31,7,52],"指画","盆栽","腊梅","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe266dd1f1a02c252d6d394d0fc6a9bc.jpg","浅设色","35.88x57.31cm",[],{"id":1961,"slug":1962,"title":1963,"dynasty":44,"author":1964,"museum":20,"description":1965,"tags":1966,"thumbUrl":1967,"material":56,"size":56,"collection":56,"collections":1968,"showCount":103,"zanCount":11,"manualWeight":11,"mainColor":1969},202686,"li-hua-niao-die-tu-zhou-sun-yi-202686","梨花鸟蝶图轴","孙億","画面中梨花素蕊轻绽，枝桠虬曲间禽鸟姿态各异：或敛翅栖于老干，绒羽细腻可触；或振翼欲飞，尾羽舒展如剪。粉蝶翩跹于花叶间，翅脉通透似绢，与素雅梨花相映成趣。枝干以淡墨勾皴，苍劲中含秀逸；花叶晕染温润，设色古朴雅致。工笔技法精谨，禽鸟情态灵动，蝶影轻盈，梨花清妍，构图疏密得宜，尽显自然生机与花鸟之趣，韵致恬淡悠远。",[68,25,27,328,172,453,7,980,126,48],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cdc6d9b1f2ee5f4b1d306c20d1a93db.jpg",[],"88604f",{"id":1971,"slug":1972,"title":1973,"dynasty":18,"author":1974,"museum":361,"description":1975,"tags":1976,"thumbUrl":1977,"material":669,"size":670,"collection":56,"collections":1978,"showCount":219,"zanCount":11,"manualWeight":11,"mainColor":39},236805,"hua-song-shan-mian-li-liu-fang-236805","画松扇面","李流芳","李流芳（1575～1629年），字长蘅，一字茂宰，号檀园、香海、古怀堂、沧庵，晚号慎娱居士、六浮道人，南直隶徽州歙县（今安徽歙县）人，侨居嘉定（今上海嘉定），明代诗人、书画家。\n三十二岁中举人，后绝意仕途。诗文多写景酬赠之作，风格清新自然。与唐时升、娄坚、程嘉燧合称“嘉定四先生”。擅画山水，学吴镇、黄公望，峻爽流畅，为“画中九友”之一，亦工书法。崇祯二年，卒于檀园，享年五十五岁。",[23,154,26,546,523,128,7,130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F877dac155f5c4776fc977e126374dad0.jpg",[],{"id":1980,"slug":1981,"title":17,"dynasty":18,"author":1982,"museum":361,"description":1983,"tags":1984,"thumbUrl":1985,"material":56,"size":56,"collection":56,"collections":1986,"showCount":219,"zanCount":11,"manualWeight":11,"mainColor":39},236543,"hua-niao-ce-tang-zhi-yin-236543","唐志尹","唐志尹[清]字相五，江苏扬州人，住姜堰。一作字聘三，海陵（今泰州）人。志契弟。花鸟得吕纪、王偕之传。所居万竹园，冒襄、蓝瑛辈尝过访之。康熙（一六六二至一七二二）初年八十余。与侄日昌，兄志契时称三唐。《泰州志、无声诗史、图绘宝鉴续纂、画史会要》",[67,23,49,24,68,25,27,172,52,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4a93d43129c7fc6eab177b5986d4881.jpg",[],{"id":1988,"slug":1989,"title":1990,"dynasty":822,"author":823,"museum":361,"description":824,"tags":1991,"thumbUrl":1995,"material":669,"size":670,"collection":835,"collections":1996,"showCount":219,"zanCount":11,"manualWeight":11,"mainColor":39},226144,"winter-landscape-mo-nai-226144","Winter Landscape",[827,826,828,829,1992,1993,1481,713,7,1994,1424,1657],"笔触","冬季","雪地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe113d6f4efce39eecc6830ad1762e1c6.jpg",[835],{"id":1998,"slug":1999,"title":2000,"dynasty":44,"author":2001,"museum":2002,"description":2003,"tags":2004,"thumbUrl":2006,"material":2007,"size":2008,"collection":56,"collections":2009,"showCount":219,"zanCount":11,"manualWeight":11,"mainColor":56},220743,"shan-shui-ji-4-wang-shi-min-weng-ling-wu-hong-deng-220743","山水集4","王時敏,翁陵,吳宏等","香港中文大学文物馆","此作以枯淡笔墨写古松风骨，老干虬曲斑驳，皴擦间尽显嶙峋苍古，仿佛阅尽岁序风霜。松针攒簇劲挺，笔致细密爽利，将老松傲岸之姿勾勒尽致。右上角题款清雅隽秀，笔墨与题识相映成趣，极简构图烘托出古松沉静超拔的林下风神。整体笔意高简清逸，带着文人画特有的幽澹意趣，寥寥数笔便将古松坚韧不拔的苍劲之态尽显，藏着古拙澹远的山林雅致意蕴。",[23,49,24,26,546,588,1522,7,2005,130],"松针","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F315f8395b0f70be8ef6e3b43ca0c1d1e.jpg","水墨,紙本,冊","各約22 × 14.2厘米",[],{"id":2011,"slug":2012,"title":931,"dynasty":44,"author":1400,"museum":361,"description":2013,"tags":2014,"thumbUrl":2015,"material":669,"size":670,"collection":56,"collections":2016,"showCount":177,"zanCount":11,"manualWeight":11,"mainColor":39},239401,"hua-niao-tu-ce-ma-yuan-yu-239401","马元驭（1669—1722）清代画家。字扶羲，号栖霞，又号天虞山人，江苏常熟人。\n画传家法，而气韵超逸突过乃父。赋性落拓，纵酒逞笔，乃益豪放。写生得恽寿平亲传，又与蒋廷锡讨论六法，故没骨画益工，神韵飞动，不拘陈迹。元驭自以为得沈周、陆治遗意，其超纵处诚有陆氏风规，而老健远逊石田，盖能品也。兴至之作，逸笔尤佳，多用水墨。书亦隽雅。卒年五十四。",[23,49,24,26,25,27,419,7,53,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3dbb6b0a245bb3983ee242efdb43686.jpg",[],{"id":2018,"slug":2019,"title":2020,"dynasty":18,"author":2021,"museum":361,"description":2022,"tags":2023,"thumbUrl":2026,"material":669,"size":670,"collection":56,"collections":2027,"showCount":177,"zanCount":11,"manualWeight":11,"mainColor":39},237821,"xing-lin-du-bu-shan-zhang-hong-237821","杏林独步扇","张宏","张宏（1577年－1652年后），字君度，号鹤涧，江苏苏州长洲县人，明代画家、篆刻家。善画山水、人物、翎毛。擅长山水，颇有意趣，亦能画兰，笔墨有元人古意，是明末吴门画坛的中坚人物。吴中学者尊崇之。另外近代学者指出他擅长“地图式绘画”，描绘旅游所见景色，是与其他吴派画家不同之处。",[23,49,154,25,2024,2025,464,7,28],"杏树","仙鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7be1a13adf0e6e80517ea00e4ea9d968.jpg",[],{"id":2029,"slug":2030,"title":2031,"dynasty":18,"author":2032,"museum":361,"description":2033,"tags":2034,"thumbUrl":2037,"material":56,"size":56,"collection":56,"collections":2038,"showCount":177,"zanCount":11,"manualWeight":11,"mainColor":39},224554,"shu-hua-ce-ye-19-xiao-yun-cong-wang-shi-zhen-224554","《书画册页》-19","萧云从 王士祯","以淡墨晕染烟霭长空，崖壁奇崛高耸，文士策杖凭崖，凝望远江平芜。枯木虬枝错落坡岸，间有柔枝茂叶点缀荒寒，笔墨以干淡皴擦勾勒山石肌理，兼得宋画苍劲与文人画雅逸。\n\n题跋朱印错落留白处，诗画相融，将幽居林泉的隐逸心绪藏在萧疏景致间，清寂淡远的古意漫溢纸面，暗合画中孤高文人心志。",[23,49,24,26,25,546,53,31,545,584,464,130,2035,465,713,7,2036,558],"悬崖","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdaae4723fd04a5f2ab0bf9de09a0ba0.jpg",[],{"id":2040,"slug":2041,"title":1572,"dynasty":44,"author":2042,"museum":361,"description":2043,"tags":2044,"thumbUrl":2045,"material":669,"size":670,"collection":56,"collections":2046,"showCount":309,"zanCount":258,"manualWeight":11,"mainColor":135},238495,"hua-hui-tu-ce-jiang-pu-238495","蒋溥","蒋溥（1708—1761年），大学士蒋廷锡长子，字质甫，号恒轩，江苏常熟人，清朝大臣，画家，善画花卉，深得家传。雍正八年二甲第一名进士，官至东阁大学士兼户部尚书。性情宽厚而警敏，任职后，精心奉职，勤于政事，是乾隆时期的重臣，亦是蒋派花鸟画艺术的重要代表。\n乾隆二十六年（1761）四月，病逝于任上。乾隆皇帝亲临祭奠，加赠太子太保，谥曰文恪，入祀贤良祠。",[23,25,68,24,27,87,88,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56fd414f405ccc1a317b56e8cc143af7.jpg",[],{"id":2048,"slug":2049,"title":1115,"dynasty":44,"author":2050,"museum":361,"description":2051,"tags":2052,"thumbUrl":2053,"material":669,"size":670,"collection":56,"collections":2054,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":39},237987,"za-hua-ce-xue-huai-237987","薛怀","薛怀（1717—1804），清代著名书画家。字小凤，号竹君，晚号竹居老人。桃源（今江苏泗阳县）监生，居山阳（今淮安市淮安区）。 边寿民甥。工书、画，花卉小品，清远绝俗。画用钩勒再以枯笔渍染，阴阳向背，极为明豁。写芦雁酷似其舅，又善画宜兴茶器。卒年八十七。《艺林月刊、墨林今话、墨香居画识、梧门诗话、宋元明清书画家年表附录》。",[23,49,24,68,26,25,27,214,52,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa50e2086db067e2d719e39a3fc5f110.jpg",[],{"id":2056,"slug":2057,"title":1379,"dynasty":44,"author":2058,"museum":361,"description":2059,"tags":2060,"thumbUrl":2061,"material":669,"size":670,"collection":56,"collections":2062,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":39},234780,"hua-hui-ce-wang-lu-234780","王露","王昙（1760～1817）诗人清代。又名良士，字仲瞿。秀水（今浙江嘉兴）人。当地有瓶山，因以瓶山自号。乾隆五十九年举人。会试不第，白衣终身，著有《烟霞万古楼文集》等。时人将他与常州诗人黄仲则诗合刻，题曰“乾隆二仲”。王昙与孙原湘、舒位并称“后三家”或“江左三君”。",[23,26,24,212,28,30,87,88,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe05c413b751b04685bbdc3a90dafb5fb.jpg",[],{"id":2064,"slug":2065,"title":2066,"dynasty":44,"author":1010,"museum":361,"description":2067,"tags":2068,"thumbUrl":2069,"material":56,"size":56,"collection":56,"collections":2070,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":39},224300,"hua-hui-shi-er-kai-12-li-shan-224300","花卉十二开12","此作折枝秋菊错落生姿，紫、粉、白菊次第绽放，没骨绘就的花瓣薄润鲜活，叶片舒展带着清润生机，笔墨放逸却不失秀润意趣，将秋菊清隽之态尽显。\n\n右侧行书题诗笔致率意洒脱，诗书与花木相映成趣。诗句将晚晴霞色附于花枝，让娇花似染落日余晖，把花木风神与文思诗意相融，尽显文人画以物寄情的意趣。画面雅洁灵动，笔情墨趣间，尽是悠然自得的文人情致。",[48,23,49,24,25,28,52,7,53,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe76a21249cc0b1c6fd6cf767055061e9.jpg",[],{"id":2072,"slug":2073,"title":2074,"dynasty":44,"author":2075,"museum":64,"description":2076,"tags":2077,"thumbUrl":2083,"material":56,"size":2084,"collection":56,"collections":2085,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":39},223198,"geng-zhi-tu-ce-jiao-bing-zhen-223198","耕织图册","焦秉贞","《御制耕织图》又名《佩文斋耕织图》，不分卷，清圣祖玄烨题诗，焦秉贞绘图，朱圭、梅玉凤镌刻，清康熙三十五年（1696年）内府刊本。耕图、织图各23幅，共计46幅图。每页34.7cm×27.7cm。图框24.4cm×24.4cm。四周单边。册页装。\n《耕织图》以江南农村生产为题材，系统地描绘了粮食生产从浸种到入仓，蚕桑生产从浴蚕到剪帛的具体操作过程，每图配有康熙皇帝御题七言诗一首，以表述其对农夫织女寒苦生活的感念。\n《耕织图》是中国农桑生产最早的成套图像资料，它的绘写渊源可上溯至南宋，绘者为楼璹。楼璹在宋高宗时期任於潜（今浙江省临安市）县令时，深感农夫、蚕妇之辛苦，即作耕、织二图诗来描绘农桑生产的各个环节。《耕织图》成为后人研究宋代农业生产技术最珍贵的形象资料。南宋嘉定三年（1210年），楼璹之孙楼洪、楼深等以石刻之传于后世，南宋理熙元年（1237年）有汪纲木刻复制本。宋以后关于本书的记载已不多见，较著名的有南宋刘松年编绘的《耕织图》，元代程棨的《耕织图》45幅。明代初年编辑的《永乐大典》曾收《耕织图》，已失传。明天顺六年（1462年）有仿刻宋刻之摹本，虽失传，但日本延宝四年（1676年）京都狩野永纳曾据此版翻刻，今均以狩野永纳本《耕织图》作楼璹本《耕织图》之代表。\n清康熙二十八年（1689年）康熙帝南巡时，江南士子进献藏书甚丰，其中有“宋公重加考订，诸梓以传”的《耕织图》。康熙帝即命焦秉贞据原意另绘耕图、织图各23幅，并附有皇帝本人的七言绝句及序文。绘画内容略有变动，耕图增加“初秧”、“祭神”二图，织图删去“下蚕”、“喂蚕”、“一眠”三图，增加“染色”、“成衣”二图，图序亦有变换。宋、清《耕织图》的布景与人物活动大同小异，但焦图画中的风俗易为清代，所绘更为工细纤丽，在技法上还参用了西洋焦点透视法。\n《耕织图》初印于康熙三十五年（1696年），后又出现了很多不同版本，木刻本、绘本、石刻本、墨本、石印本均行于世。如康熙年间的康熙三十八年（1699年）张鹏翮刻本，康熙五十一年（1712年）内府刻本，雍亲王胤禛绢底彩绘本，康熙五十三年（1714年）歙县汪希古恭摹刻48块墨板，宫廷绘白描本等，乾隆年间的康熙、雍正、乾隆三帝题诗刊本，清内府刻《授时通考》本，袖珍彩绘本，乾隆四年（1739年）清内府图为木刻、诗为石刻的经折装本，乾隆三十四年（1769年）北京刻朱墨套印本，杨大章彩绘本，乾隆三十四年（1769年）高宗命画院据元代程棨本临摹之《耕织图》，石刻嵌在皇家清漪园延赏斋左右廊壁的拓本，乾隆三十五年（1770年）徽州守臣摹刻的墨版。此外，还有嘉庆十三年（1808年）《耕织图诗》补刊本，同治十一年（1872年）刊本，光绪五年（1879年）上海点石斋《御制耕织图》石印本，光绪十一年（1885年）上海文瑞楼本，光绪十二年（1886年）上海点石斋石印本。民国时期也有多种版本，较著名的为武进陶兰泉刊本；日本、朝鲜、琉球等国亦有《耕织图》的摹本、翻刻本。\n《耕织图》不但版本众多，版式等也不尽相同，如上文下图本，左图右文本，版框带有龙纹的装饰本，袖珍刻本，木刻填色本，书中序文、诗文前后玺印朱色钤印本，前后玺印为刊版墨印本等。",[67,23,49,68,25,24,584,406,2078,1769,1206,2079,2080,7,2081,2082,974],"梯子","水域","桑叶","农作","田园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddfa3ff08fd0858a1cae274f52f25af3.jpg","34.7cm×27.7cm",[],{"id":2087,"slug":2088,"title":2089,"dynasty":44,"author":2090,"museum":361,"description":2091,"tags":2092,"thumbUrl":2093,"material":669,"size":670,"collection":56,"collections":2094,"showCount":272,"zanCount":11,"manualWeight":11,"mainColor":39},237709,"qiu-sui-hua-niao-ce-qiu-sui-237709","裘穟花鸟册","裘穟","清，钱塘(今杭州)人。焕子，艺术家，代表作《图绘宝鉴续纂》等。",[23,49,24,25,27,53,31,87,88,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa451df08c99e6ff3a0c701244fd4e239.jpg",[],{"id":2096,"slug":2097,"title":2098,"dynasty":1665,"author":1921,"museum":20,"description":2099,"tags":2100,"thumbUrl":2104,"material":56,"size":56,"collection":56,"collections":2105,"showCount":272,"zanCount":11,"manualWeight":11,"mainColor":2106},202804,"wu-liang-shou-fo-xiang-zhou-wang-yun-202804","无量寿佛像轴","画面以水墨设色铺陈，古木虬枝交错盘曲，枫叶染暖橙色调，与浓淡交织的墨色枝干相映成趣。树下两位僧人，红衣者趺坐合十，眉眼低垂间神态安详；白衣者立其后，手持法器，神情沉静肃穆。人物刻画细腻传神，衣纹线条流转自然，树木笔墨苍劲有力。整体氛围静谧空灵，尽显古朴雅致之韵，传递出澄澈悠远的宗教意境。",[23,25,584,26,2101,1439,239,2102,7,2103],"古木","枫叶","神态","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F167b226c856d5cb8f3be2194cebb018f.jpg",[],"c1bdb0",{"id":2108,"slug":2109,"title":2110,"dynasty":44,"author":386,"museum":20,"description":2111,"tags":2112,"thumbUrl":2116,"material":56,"size":56,"collection":56,"collections":2117,"showCount":272,"zanCount":11,"manualWeight":11,"mainColor":2118},202281,"mu-dan-tu-zhou-gao-feng-han-202281","牡丹图轴","此图以水墨写意绘牡丹，枝干以焦墨勾勒，线条苍劲如铁，暗含篆隶笔意；花瓣用淡墨层层晕染，留白处显蓬松质感；叶片浓墨泼洒，大小错落间见生机。构图虚实相生，左侧枯干与右侧繁花形成对比，题款以狂草题于右侧，笔势飞动，与画面气韵呼应。诗书画印融于一体，尽显文人画雅韵。墨色浓淡干湿变化丰富，既得牡丹雍容之态，又具野逸之趣，左手运笔的朴拙与灵动并存，传递出画家独特的艺术个性与生命情怀。",[26,212,69,7,112,318,2113,2114,1067,2115,48],"文人画","左手书画","苍劲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb459d1cad2ed00c296d4f385ceca3ee.jpg",[],"c0a77e",{"id":2120,"slug":2121,"title":1115,"dynasty":44,"author":2122,"museum":361,"description":2123,"tags":2124,"thumbUrl":2125,"material":669,"size":670,"collection":56,"collections":2126,"showCount":258,"zanCount":11,"manualWeight":11,"mainColor":39},235872,"za-hua-ce-zhang-sheng-235872","章声","章声（清），字子鹤，仁和（今杭州）人。父谷工山水，善写真，声与兄长采，能绍父艺，山水尤工。所作雪山大幅，笔墨谨严，结构雄伟，乃胎息荆、关，绝无宋、元以来婉媚之习。康熙十六年（1671）尝在屏山阁作山水图。",[23,49,24,25,390,31,1640,440,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b8e671cfc84177a6224e86d98fae0ab.jpg",[],{"id":2128,"slug":2129,"title":2130,"dynasty":44,"author":2075,"museum":361,"description":2131,"tags":2132,"thumbUrl":2135,"material":33,"size":56,"collection":56,"collections":2136,"showCount":258,"zanCount":11,"manualWeight":11,"mainColor":39},215081,"tui-bei-tu-ce-28-jiao-bing-zhen-215081","推背图册-28","焦秉贞是中国清朝时期著名的画家，他被认为是中国水墨画史上最伟大的画家之一。其中最著名的作品是他的推背图册，其中包含了十幅推背图。推背图是一种特殊的水墨画，它们通常是用单一的墨色在纸上描绘的，并且使用了特殊的技巧来创造出立体感。焦秉贞的推背图册在当时被认为是一件杰出的艺术品，并且至今仍然备受赞赏。",[48,23,49,24,68,25,2133,478,7,52,2134],"石榴树","小草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ebee294549550e0f3b3b4d422644eee.jpg",[],{"id":2138,"slug":2139,"title":2140,"dynasty":44,"author":416,"museum":20,"description":2141,"tags":2142,"thumbUrl":10,"material":56,"size":56,"collection":56,"collections":2143,"showCount":258,"zanCount":11,"manualWeight":11,"mainColor":2144},203441,"mo-mei-tu-zhou-jin-nong-203441","墨梅图轴","这幅墨梅图枝干以焦墨纵逸挥洒，如铁骨嶙峋，虬曲盘折间尽显苍劲老辣之态；花朵以淡墨点染，疏疏落落地缀于枝间，暗香浮动的意趣跃然纸上。留白处空灵澄澈，与浓墨枝干形成虚实相生之境，意境幽远清寂。右侧题诗笔墨古朴厚重，诗画交融，尽现“诗书画印”合一的文人画韵致。梅之孤傲清雅，恰是画者品格的隐喻，冷韵袭人，风骨卓然，尽显清代文人画的逸趣与精神。",[23,49,239,26,212,53,390,31,267,7,157],[],"cfc2bd",{"id":2146,"slug":2147,"title":2148,"dynasty":44,"author":168,"museum":361,"description":2149,"tags":2150,"thumbUrl":2153,"material":669,"size":670,"collection":56,"collections":2154,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":135},250600,"niu-you-shi-hua-cha-yi-ming-250600","牛油石花插","此件器物质地莹润如凝蜜，暖黄柔光内敛通透。以圆雕结合透镂技法随形施艺，将花插与花枝巧融一体，枝虬曲缠绕，花瓣舒展娇柔，花叶错落层叠，仿若将春日芳华凝于石间。刀法细腻婉转，既保留石材质感的温润肌理，又以疏密有致的镂刻营造出花影婆娑的灵动意趣，实用与赏玩并存。整体生机盎然，雅致清隽，将文房案头的闲情雅韵尽数藏纳，尽显手工造物的精巧意趣。",[44,2151,2152,1955,7,28],"雕刻","玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F545a404270a449a2acebf8f3fe566ce3.jpg",[],{"id":2156,"slug":2157,"title":1115,"dynasty":44,"author":2158,"museum":361,"description":2159,"tags":2160,"thumbUrl":2161,"material":669,"size":670,"collection":56,"collections":2162,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},239394,"za-hua-ce-zhu-xiao-chun-239394","朱孝纯","朱孝纯（1729～1784）益州书画录附录误作朱纯孝。字子颍，号思堂，一号海愚，人呼戟髯。隶奉天汉军正红旗，东海（今山东郯城西）人。",[23,49,24,26,584,130,1640,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F341fcd2e02099856c12d6da0e176967f.jpg",[],{"id":2164,"slug":2165,"title":2166,"dynasty":44,"author":2167,"museum":361,"description":2168,"tags":2169,"thumbUrl":2170,"material":56,"size":56,"collection":56,"collections":2171,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},235089,"hua-zhu-hong-you-xiang-fang-xun-bu-jing-zhou-zhang-gong-zhi-235089","画朱鸿猷像方薰补景轴","张贡植","此作为肖像与补景合璧之作，肖像写实细腻，淡设色晕染出主人公清癯面容，苍髯垂胸，宽袍广袖，身姿端凝沉静，尽显温雅端方的儒者风骨。补景以水墨绘就寒林枯木，虬曲老干皴笔苍劲，枝桠枯涩舒展，坡石淡墨晕染铺陈，意境清寂萧疏。\n\n清寂景致与人物的沉静安然相互映衬，烘托出主人公林下优游的高逸襟怀，笔致清隽秀逸，文人气韵盎然，是肖像与山水融和的精妙佳构。",[23,239,25,26,584,128,295,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4dccc0c0e6f449141b17e38e7d4f756.jpg",[],{"id":2173,"slug":2174,"title":2175,"dynasty":18,"author":2176,"museum":361,"description":2177,"tags":2178,"thumbUrl":2180,"material":56,"size":56,"collection":56,"collections":2181,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":39},233595,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233595","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。",[23,49,24,2179,25,464,7,267,130],"木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3268f84ae0e74326c3a7ee88f3bb805d.jpg",[],{"id":2183,"slug":2184,"title":2185,"dynasty":44,"author":168,"museum":361,"description":2186,"tags":2187,"thumbUrl":2193,"material":669,"size":670,"collection":56,"collections":2194,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":135},229983,"diao-xi-jiao-cha-yi-ming-229983","雕犀角槎","此器随犀角天形，雕作乘槎仙游之境。槎身仿老枯木肌理，皴裂纹理古拙苍劲，周身阴刻流云惊波，恍若行舟星河之上。槎间仙者凭栏斜倚，衣袂褶皱灵动自然，枝梢灵鸟与之相望，尽显悠然自在。虬枝以透雕镂刻，虚实相映，将乘槎遨游的超然仙气铺陈尽致。\n犀角质色沉褐莹润，包浆柔然。匠师以刀代笔，将神话意趣融于肌理，既保留原料天然意趣，又雕琢出出尘世外的意境，是清代犀作摹古传神的精妙之品。",[404,2188,2151,2189,2190,2191,584,2192,7],"犀角","浮雕","透雕","槎","云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c8d40b95b29c04c2ed7f73f0fe12e9c.jpg",[],1777535701308]