[{"data":1,"prerenderedAt":3486},["ShallowReactive",2],{"subject-zhi-wu":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},421,"zhi-wu","植物","植物画高清赏析","精选中国历代植物题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3581ad2639196dbb374c6682ba4be01.jpg",0,313,[14,46,67,84,101,120,132,147,168,184,199,215,230,244,258,287,299,310,322,336,354,368,380,393,406,422,435,453,469,490,503,519,530,541,555,570,581,593,604,618,640,651,662,680,691,704,717,734,745,757,774,786,800,813,823,837,847,856,869,883,904,913,926,939,948,959,970,983,994,1006,1015,1027,1036,1047,1057,1066,1075,1092,1103,1112,1124,1141,1150,1162,1171,1180,1191,1201,1214,1226,1238,1251,1261,1273,1284,1292,1300,1311,1323,1332,1339,1351,1360,1369,1378,1388,1398,1408,1420,1433,1443,1458,1470,1479,1490,1502,1512,1523,1537,1554,1566,1580,1590,1606,1617,1625,1634,1643,1655,1664,1674,1685,1696,1708,1717,1734,1742,1751,1761,1769,1778,1786,1797,1807,1818,1826,1834,1843,1852,1860,1873,1883,1892,1901,1910,1921,1932,1944,1952,1958,1966,1975,1989,2001,2010,2018,2027,2036,2043,2053,2063,2073,2082,2092,2099,2110,2125,2135,2147,2156,2163,2170,2183,2200,2213,2221,2233,2250,2260,2270,2279,2288,2297,2307,2316,2326,2339,2356,2365,2374,2382,2391,2402,2413,2422,2432,2441,2452,2469,2479,2492,2500,2509,2519,2529,2538,2547,2557,2565,2584,2592,2604,2614,2622,2630,2637,2648,2662,2674,2683,2699,2706,2716,2725,2734,2746,2755,2764,2773,2782,2790,2798,2805,2812,2821,2828,2838,2846,2853,2864,2876,2884,2893,2901,2907,2914,2920,2931,2945,2964,2974,2983,2991,3001,3008,3021,3033,3043,3051,3059,3071,3083,3092,3100,3108,3115,3122,3128,3139,3157,3172,3181,3196,3205,3213,3222,3234,3243,3251,3259,3269,3280,3295,3303,3312,3320,3328,3335,3342,3353,3363,3374,3386,3394,3404,3414,3420,3426,3440,3452,3460,3469,3478],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":38,"material":39,"size":40,"collection":41,"collections":42,"showCount":43,"zanCount":44,"manualWeight":11,"mainColor":45},218243,"shui-yue-guan-yin-tu-yi-ming-218243","水月观音图","不详","佚名","美国大都会艺术博物馆","观音自在趺坐，披帛流云曳水，红裳金纹若焰，白纱轻透如雾。圆光笼身似月华轻泻，眉目低垂间慈悲满溢。净瓶插柳清寂，下方童子仰首献诚，水波微动处莲草点缀。线条婉转细腻，衣袂流转间庄严与温婉交织。水月之境的空灵与观音悲悯相融，静穆中藏生机，尽显古典造像的神韵雅致。",[23,24,25,26,27,28,29,30,31,32,33,7,34,35,36,37],"高清","国画","书画","立轴","宗教","工笔","设色","人物","童子","水","石头","明月","饰品","瓶","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ff68d9e4a23b4ea007f24b249a1fb16.jpg","绢本,设色","102.9x51.8","人物画精选",[41],5238,25,"795548",{"id":47,"slug":48,"title":49,"dynasty":50,"author":19,"museum":51,"description":52,"tags":53,"thumbUrl":61,"material":39,"size":62,"collection":63,"collections":64,"showCount":65,"zanCount":66,"manualWeight":11,"mainColor":45},218717,"xin-shao-hua-niao-tu-yi-ming-218717","新韶花鸟图","宋","台北故宫博物院","画中山茶花、梅花、菊花和水仙花围绕着海石盛开，各种植物和叶子交相辉映，一对麻雀在一旁观望，画面十分丰富。除了画底没有鸟之外，这幅作品的构图和表达方式与宋代李迪的《花鸟图》和南唐徐熙的《玉堂富贵图》相似。宋代郭若虚的《图说》中提到，南唐时有一种用于悬挂在宫殿中的 亭花，这可能是后来明代的仿制品。",[23,54,24,25,26,28,29,55,56,57,58,7,59,60],"名画","花鸟","花卉","禽鸟","山石","花朵","鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91b842f5975229d677278c15f942eb45.jpg","83.4x28.9","宋画精选",[63],864,21,{"id":68,"slug":69,"title":70,"dynasty":71,"author":72,"museum":51,"description":73,"tags":74,"thumbUrl":78,"material":39,"size":79,"collection":80,"collections":81,"showCount":82,"zanCount":83,"manualWeight":11,"mainColor":45},214726,"hua-hui-tu-chen-chun-214726","花卉图","明","陈淳","这幅画描绘了在海石后面盛开的各种花朵，包括五种栀子花、玫瑰花、百合花、天竺葵和红丹参。花朵是用无骨笔描绘的，栀子花和百合花的白色花朵是用钩花和点叶描绘的。景观安排得很细致，着色柔和优雅，不显庸俗，有别于晚年放笔写意的习惯，应该是五十岁以前的作品。",[23,24,25,54,26,29,75,55,56,76,77,7],"写意","孤石","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c023ce4b74affaefcba3f3678377db.jpg","188x96.9","花鸟画精选",[80],619,14,{"id":85,"slug":86,"title":87,"dynasty":71,"author":88,"museum":89,"description":90,"tags":91,"thumbUrl":96,"material":39,"size":97,"collection":41,"collections":98,"showCount":99,"zanCount":100,"manualWeight":11,"mainColor":45},216291,"er-shi-si-xiao-tu-ce-chou-ying-216291","二十四孝图册","仇英","藏地不详","二十四孝图是明朝时期著名的书画作品，由仇英创作。它描绘了中国传统文化中的二十四种孝道场景。二十四孝图的内容涵盖了人生各个阶段的孝道行为，从小学阶段的“孝悌忠信”到晚年的“慈孝双全”。这幅作品在明朝时期广受欢迎，并被视为一部重要的文化遗产。",[54,24,25,92,28,29,30,93,94,95,7],"册","孩童","土墙","石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea9bda63260d3643cffa6017775670d8.jpg","",[41],563,5,{"id":102,"slug":103,"title":104,"dynasty":105,"author":106,"museum":51,"description":107,"tags":108,"thumbUrl":112,"material":113,"size":114,"collection":80,"collections":115,"showCount":117,"zanCount":118,"manualWeight":11,"mainColor":119},222780,"hua-yin-shuang-he-tu-zhou-lang-shi-ning-222780","花阴双鹤图轴","清","郎世宁","此图是郎世宁花鸟画的代表作。画面描绘一对绚丽丰润的仙鹤，和两只小鹤。一只仙鹤阔步行走回首下顾，注视着满身细毛茸茸的小鹤；另一只仙鹤转颈整理羽毛，一脚举起，神态安详。他吸收并采用中国画的传统技法，糅合中西画法进行创作。是二百年前外来文化“中国化”的尝试，是别具一格的杰作。",[23,26,28,29,55,109,110,76,7,111],"鹤","月季","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32c3aa01f28ae73498d5f6eecf70dfd2.jpg","绢本设色","170.7厘米×93.1厘米.",[80,116],"设色画精选",495,6,"F48FB1",{"id":121,"slug":122,"title":123,"dynasty":50,"author":124,"museum":51,"description":125,"tags":126,"thumbUrl":128,"material":39,"size":129,"collection":63,"collections":130,"showCount":117,"zanCount":131,"manualWeight":11,"mainColor":45},219194,"ci-xiong-bai-ji-tu-zhao-ji-219194","雌雄白鸡图","赵佶","红冠如焰，燃亮白羽霜华。雄鸡昂首振翅，尾羽若流云舒展；雌鸡依偎身侧，软羽轻覆，尽显亲昵。枝叶舒展间，墨色淡染，衬得禽鸟生动如活。笔锋细腻处，羽丝根根分明，冠色层层晕染，既见写实功力，更含脉脉温情。素朴背景中，生灵之趣与雅致之美交融，似闻晨啼轻响，恍见晨光微熹，尽显对生命意趣的细腻捕捉与诗意表达。",[23,54,24,25,26,28,29,55,127,7],"鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d30065e7ab2d7ef0ea568cb41dfe6c1.jpg","纵152横37.4cm",[63,80,116],7,{"id":133,"slug":134,"title":135,"dynasty":136,"author":137,"museum":89,"description":138,"tags":139,"thumbUrl":142,"material":39,"size":143,"collection":116,"collections":144,"showCount":145,"zanCount":146,"manualWeight":11,"mainColor":45},219227,"hu-lu-hua-ping-tu-chen-lin-219227","葫芦花瓶图","元","陈琳","葫芦形花瓶静立中央，上下两腹铺陈盎然生机：上腹花叶扶疏，禽鸟栖于枝间；下腹莲荷绽放，游鱼隐于水藻。工笔细描尽显物象之态，花瓣晕染得宜，鸟羽纹理纤毫可见，设色古雅温润，与背景暗纹相映成趣。瓶中世界仿佛自成天地，静谧中藏着灵动生机，尽显传统绘事对自然意趣的凝练与表达，观之令人心生悠然。",[23,24,25,26,29,28,55,56,140,141,7],"器物","葫芦瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26c245651b0116b5d744e49060ab67f7.jpg","86X41",[116],423,8,{"id":148,"slug":149,"title":150,"dynasty":136,"author":151,"museum":152,"description":153,"tags":154,"thumbUrl":163,"material":113,"size":164,"collection":80,"collections":165,"showCount":166,"zanCount":100,"manualWeight":11,"mainColor":167},221855,"qian-kun-sheng-yi-tu-juan-xie-chu-fang-221855","乾坤生意图卷","谢楚芳","大英博物馆","此《乾坤生意图》卷由元代谢楚芳绘。画卷内容主题为动物和昆虫捕食：画面中各类花草盛开，一只蟾蜍埋伏等待着正在肢解蝴蝶的蚂蚁，一只蜻蜓袭击蜥蜴捕获的一只小昆虫，以及螳螂捕蝉等六部分，每组画面看似生机勃勃，实则是动物为生存而绞杀捕猎场景。此卷现藏于大英博物馆。\n这幅精致而珍贵的工笔画是大英博物馆于 1998 年在国家艺术收藏品基金会和布鲁克史威尔永久基金的赞助下花巨资收购的，在丝质封套内有一枚英国人威廉巴特勒 ( Williambutler) 的入藏章，章上的日期标明为 1797 年，是目前所知英国人最早收藏的中国画，曾被大英博物馆列为 “最珍贵的十种馆藏中国文物之一，在英国的中国文物收藏史上占有特殊的地位。",[23,24,25,155,29,28,55,156,157,158,56,159,7,160,161,162],"长卷","竹","蝴蝶","蜻蜓","草虫","书法","行书","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e1c56124fe25c7b1d901efbb1fb8345.jpg","27.8x352.9cm",[80,116],368,"BDBDBD",{"id":169,"slug":170,"title":171,"dynasty":172,"author":19,"museum":173,"description":174,"tags":175,"thumbUrl":180,"material":39,"size":97,"collection":80,"collections":181,"showCount":182,"zanCount":183,"manualWeight":11,"mainColor":45},216908,"lu-yan-fu-rong-tu-yi-ming-216908","芦雁芙蓉图","隋","私人收藏","芦雁芙蓉图是一幅佚名的隋代画作，它的创作时间大约在6世纪中期。这幅画的主题是芦雁和芙蓉，被认为是隋朝时期最优秀的花卉画之一。\n\n芦雁是一种常见的水鸟，在古代中国文学中常被描写为优美、品性高尚的鸟类。芙蓉是一种常见的花卉，被认为是一种具有极高艺术价值的植物。在这幅画中，芦雁和芙蓉被描绘得栩栩如生，使用的颜色十分丰富，线条流畅，构图巧妙，是一幅充满美感的艺术品。\n\n芦雁芙蓉图被认为是隋朝时期花卉画的代表作之一，其创作背景和风格反映了当时的文化、艺术特点。它对后世的艺术家们也产生了深远的影响。",[23,24,29,28,26,55,176,177,178,32,33,57,56,7,179],"雁","芙蓉","芦苇","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a48aa75a4e73cbfea994365e8bccc65.jpg",[80],356,4,{"id":185,"slug":186,"title":187,"dynasty":71,"author":188,"museum":189,"description":190,"tags":191,"thumbUrl":195,"material":113,"size":196,"collection":80,"collections":197,"showCount":198,"zanCount":183,"manualWeight":11,"mainColor":45},222080,"qiu-hua-jia-die-tu-wen-chu-222080","秋花蛱蝶图","文俶","天津博物馆","赵文俶(1595-1634年)字端容，今苏州人。文从简的女儿，适赵宦光子赵灵筠，故文俶常在画上落“天水赵氏文俶”款，钤“赵文俶印”。文俶生性聪慧，善绘画，见物既能摹写，年四十便去世。她的画擅长花卉，传说她平日居家偶然看见奇花异草、小虫怪蝶，都随手画下，共收集千种，合成一册，题名“寒山草木昆虫状”，可说写生功力极深，因此对捕捉花木草虫的性情特徵，有独到之处。",[23,24,25,28,29,55,192,193,7,194],"蛱蝶","秋花","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F336545c0cf2814e864937a1efd910257.jpg","纵105厘米，横67厘米",[80,116],328,{"id":200,"slug":201,"title":202,"dynasty":105,"author":203,"museum":204,"description":205,"tags":206,"thumbUrl":210,"material":211,"size":212,"collection":80,"collections":213,"showCount":214,"zanCount":183,"manualWeight":11,"mainColor":167},214364,"duan-wu-tu-zhou-wang-shi-min-214364","端午图轴","王时敏","北京故宫博物院","墨笔点染的花草疏密有致，剑形菖蒲叶挺拔劲健，似携端午驱邪的古意；蜀葵叶片浓淡相宜，花瓣柔婉舒展；百合与细碎小花点缀其间，姿态娇俏。线条勾勒细腻传神，枝叶脉络清晰可见，墨色层次丰富，从浓墨到浅灰过渡自然。文人意趣融于一花一叶，素净中透出盎然生机，淡雅间藏着温润诗意。无艳色却自具清幽之美，尽显传统花卉画的雅致情韵与端午时节的独特氛围，让人于素纸上感受到自然的生机与文化的绵长。",[23,54,24,25,26,207,29,55,28,56,7,208,59,209],"水墨","叶子","菖蒲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3414e2605b1e19c796fba5f04650202d.jpg","纸本,水墨","100.8x40.1",[80],314,{"id":216,"slug":217,"title":218,"dynasty":219,"author":220,"museum":152,"description":221,"tags":222,"thumbUrl":226,"material":39,"size":97,"collection":41,"collections":227,"showCount":228,"zanCount":229,"manualWeight":11,"mainColor":45},219500,"juan-xiu-tu-zhou-wen-ju-219500","倦绣图","五代十国","周文矩","此作用柔婉工笔铺陈深闺日常，床帏内仕女斜倚，眉宇间带着绣作之余的慵懒倦怠，身侧侍女静立侍奉。左侧侍者端物缓步而来，右侧仕女凭桌伫立，似在打理妆台。边角案几陈设着盆栽器物，衬出闺阁的雅致静谧。设色清淡古雅，线条匀细柔丽，将深阁女子闲散松弛的情态刻画入微，晕染出日常闺中休憩的幽柔氛围，藏着平淡雅致的闺中诗意。",[23,54,24,25,155,28,29,30,223,224,7,225,111],"美人","床帐","桌椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bc8762f2527e714db62518fa3278003.jpg",[41,116],257,3,{"id":231,"slug":232,"title":233,"dynasty":50,"author":234,"museum":235,"description":236,"tags":237,"thumbUrl":240,"material":39,"size":241,"collection":41,"collections":242,"showCount":243,"zanCount":183,"manualWeight":11,"mainColor":45},218667,"gong-nv-tu-liu-song-nian-218667","宫女图","刘松年","日本东京国立博物馆","画面铺展雅致静谧的宋式日常，几位宫女衣袂轻扬，或持物相待，或静立侧畔，神情温婉如春水。浴盆中孩童戏水喧闹，稚态可掬，与身旁娴静形成生动对照。背景苍劲的绿植与古朴小桌相映，笔墨细腻处见衣纹流转，设色淡雅间显器物温润。整幅画以细腻笔触捕捉宫廷生活的温情片刻，既藏宋画的精致风骨，又含人间烟火的柔软，似将千年的静谧与鲜活，凝于这一方绢素之上。",[23,54,24,25,238,29,28,30,223,76,239,7],"扇面","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8003e2340ab08b6d3bbb4b0c835b26ac.jpg","24.4x25.8",[41],240,{"id":245,"slug":246,"title":247,"dynasty":50,"author":248,"museum":204,"description":249,"tags":250,"thumbUrl":252,"material":253,"size":254,"collection":63,"collections":255,"showCount":256,"zanCount":257,"manualWeight":11,"mainColor":167},221297,"xie-sheng-jia-die-tu-juan-zhao-chang-221297","写生蛱蝶图卷","赵昌","该画作描绘了群蝶恋花的田园小景。轻灵振翅的蛱蝶起舞于画幅的上半部；秋花枯芦摇曳于画卷的底边。笔法上，蝶、蚱以工笔细描，花草则以双勾填色法。设色清淡、浓艳各得其所，彩不压墨。在物象表现上，作者用双勾填色法画土坡、草丛、蛱蝶。其勾线富于顿挫和粗细变化，墨色亦有浓淡轻重之分，敷色积染多层，特别是蛱蝶的翅翼更因积染而色彩浓艳厚重，从而与主要以植物色染就的草叶形成“轻”与“重”的对比。",[23,24,25,155,28,29,192,251,7,157,56,160,111],"花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d1b406765c81dbad32d814e51b46fac.jpg","纸本设色画","纵27.7厘米，横91厘米",[63,80,116],238,2,{"id":259,"slug":260,"title":261,"dynasty":71,"author":262,"museum":204,"description":263,"tags":264,"thumbUrl":281,"material":282,"size":283,"collection":97,"collections":284,"showCount":285,"zanCount":286,"manualWeight":11,"mainColor":167},233375,"shui-mo-pu-tao-tu-zhou-xu-wei-233375","水墨葡萄图轴","徐渭","此图曾经清代李佐贤、陈希濂等收藏。\n图中画一架葡萄，叶片茂盛，藤蔓缠绕，果实累累。作者以草书笔法作画，行笔豪迈而不肆野，叶、果用淡墨加胶矾挥洒，墨气淋漓酣畅，产生了极佳的晕散效果。\n画中所题诗见于《徐文长集三》卷十一，是徐渭作画时常书写的诗作之一，抒发了作者一生不遇的坎坷痛苦的心境。画中题字受米芾行书风格影响，结体紧凑，运笔舒缓大气，竖笔、捺笔流畅雄健，收锋沉稳，体现了其身为晚明大书家的深厚的艺术功力。",[24,25,26,207,75,265,266,208,267,56,268,269,270,271,272,273,274,275,7,276,277,278,279,280],"葡萄","藤蔓","果实","蔬果","大写意","墨色变化","藤蔓缠绕","果实垂挂","枝叶舒展","水墨淋漓","文人画风格","水墨植物","墨叶","墨果","藤蔓线条","写意花鸟","htt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　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[23,24,29,207,75,329,325,330,7,58],"兽","芭蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73a86222d0db22e107ac26316d3450be.jpg","纸本设色","150cmx40cm",[],187,{"id":337,"slug":338,"title":339,"dynasty":105,"author":19,"museum":204,"description":340,"tags":341,"thumbUrl":349,"material":350,"size":351,"collection":97,"collections":352,"showCount":353,"zanCount":11,"manualWeight":11,"mainColor":45},236172,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236172","雍正十二月行乐图轴","这是一组表现雍正皇帝日常生活的作品，按春、夏、秋、冬四季十二个月的顺序排列，分别为“正月观灯”、“二月踏青”、“三月赏桃”、“四月流觞”、“五月竞舟”、“六月纳凉”、“七月乞巧”、“八月赏月”、“九月赏菊”、“十月画像”、“十一月参禅”和“腊月赏雪”。每幅图轴纵188.2厘米，横102.2厘米。从描绘的景物判断，表现的对象应为圆明园。\n画面以山水楼阁为主，建筑描绘细腻，其中既有中式园林建筑，又有西式亭台楼阁，更有中西合璧者，画面的景观可能是画家以圆明园的建筑结合自己的想象而创作的。圆明园是雍正作皇子时的封赐，他解释说“圆明园”的赐名大有深意：“圆而入神，君子之时中；明而普照，达人之睿智也。” 雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这十二幅行乐图展现了其在圆明园生活的各个场景，也表现了十二个月的不同节令风俗。",[24,28,342,29,343,30,344,345,346,347,348,58,7],"界画","山水","楼阁","树木","水面","庭院","栏杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e92a7368abaea9d15bd4eedf67eb66b.jpg","绢本，设色","纵188.2厘米，横102.2厘米",[],179,{"id":355,"slug":356,"title":357,"dynasty":105,"author":358,"museum":51,"description":359,"tags":360,"thumbUrl":364,"material":29,"size":365,"collection":80,"collections":366,"showCount":367,"zanCount":257,"manualWeight":11,"mainColor":167},220984,"yin-xing-li-fang-yun-shou-ping-220984","银杏栗房","恽寿平","恽寿平（1633年－1690年），初名格，字寿平，改字正叔，号南田，又号云溪外史、白云外史，武进（今江苏常州）人，清代画家。\n恽寿平生于明崇祯六年（1633年），父恽日初为复社要人。寿平八岁能咏莲，少年遭遇战乱，随父参加抗清运动，兵败后与父失散，被总督陈锦之妻收留。陈锦遇刺身亡，寿平扶灵北归时，在灵隐寺与父相遇，留寺为僧，后回乡与家人团聚。\n子恽念祖，娶西营汤氏，汤谟孙女、汤自明次女。\n生前视钱如无物，晚年贫病交迫，卒于清康熙二十九年（1690年），由好友王翚出资安葬。",[23,24,25,92,361,29,28,362,363,194,7],"没骨","银杏","栗房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff79d66c05b6bf9a17cc28bba35d1c764.jpg","50.8厘米",[80,116],170,{"id":369,"slug":370,"title":371,"dynasty":105,"author":372,"museum":51,"description":373,"tags":374,"thumbUrl":377,"material":318,"size":378,"collection":97,"collections":379,"showCount":367,"zanCount":286,"manualWeight":11,"mainColor":167},219873,"er-shi-si-fan-hua-xin-feng-tu-tong-hua-yu-mai-hua-dong-gao-219873","二十四番花信风图-桐花与麦花","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。",[24,25,92,29,28,160,161,375,376,7,56,194,111],"桐花","麦花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdb86962c9013f1d6120ae7f94813ca0.jpg","20x14.2厘米",[],{"id":381,"slug":382,"title":383,"dynasty":136,"author":384,"museum":173,"description":385,"tags":386,"thumbUrl":389,"material":39,"size":390,"collection":80,"collections":391,"showCount":392,"zanCount":100,"manualWeight":11,"mainColor":45},219073,"jia-zhu-an-chun-tu-qian-xuan-219073","夹竹鹌鹑图","钱选","图中是一个由绿竹和夹竹桃组成的花架，竹子的叶子已经变黄，夹竹桃盛开着粉色和白色的细小花瓣，两只圆圆的、有棕色、白色和黑色羽毛的鹌鹑正在花下进食，一前一后。",[23,24,54,25,28,29,55,387,388,7,179],"鹌鹑","夹竹桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66567dd4c694ac4de660e6f61b5e303d.jpg","54x40cm",[80],169,{"id":394,"slug":395,"title":396,"dynasty":50,"author":19,"museum":397,"description":398,"tags":399,"thumbUrl":402,"material":39,"size":403,"collection":80,"collections":404,"showCount":405,"zanCount":183,"manualWeight":11,"mainColor":167},216748,"jia-die-tu-ye-yi-ming-216748","蛱蝶图页","辛辛那提艺术博物馆","蛱蝶图页是一幅著名的宋朝绘画，被认为是宋朝早期艺术发展的重要代表作之一。这幅画是由佚名艺术家创作的，其名字尚不为人所知。\n\n蛱蝶图页描绘了一只蛱蝶飞舞的场景，画面上的蛱蝶美丽、优美，表现出轻盈、自然的感觉。画中的蛱蝶身体清晰可见，细腻地描绘了蛱蝶的身体结构和色彩。蛱蝶的翅膀上有精细的花纹，使得整幅画充满了生动的艺术气息。\n\n蛱蝶图页是宋朝绘画发展的一个里程碑，它体现了宋朝早期艺术家对自然界的观察和描绘能力的高超。这幅画也是宋朝艺术史上非常重要的一件作品，被认为是宋朝绘画艺术的重要代表作之一。",[23,54,24,25,238,400,28,29,55,157,192,401,7],"册页","草叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50bde642897008fa269f1fcefa22eeff.jpg","25.4x24.8cm",[80],164,{"id":407,"slug":408,"title":409,"dynasty":50,"author":410,"museum":51,"description":411,"tags":412,"thumbUrl":417,"material":418,"size":419,"collection":63,"collections":420,"showCount":421,"zanCount":183,"manualWeight":11,"mainColor":45},221380,"huo-lang-tu-su-han-chen-221380","货郎图","苏汉臣","画面上描绘一位走乡串村的老货郎，推着小货车，走到一棵老梅树下的空旷场院上，货郎的到来，给孩子们带来了极大的快乐：货郎车上挂满了木叉、们‘耙，帽子、围巾、布兜、小风车、拨浪鼓、花篮、糖葫芦、花灯笼，各种佩饰等，品种繁多，琳琅满日。连货郎肩上、腰间、背后都有货物。由于货郎的到来，引来了四面八方的孩子，欣喜若狂地在货车周围戏耍。靠近货郎的一个背着小弟弟的男娃子，好像刚刚跑到这里，眼巴巴地瞧着货郎车上的东西，似有想买又没有买到的样子，所以老货郎的目光投向了这个背着弟弟而迟到的男娃子，停止了车，一手撒把指着小花鼓招引孩子：在车轮旁两个小孩，由于买到了喜爱的玩物，离开货车转身就跑，其中大的孩子手持糖葫芦满面笑容，兴高彩烈的样子。另一个小的孩子满心欢跳，一不小心，仰面跌了一个大跟斗，但是双眼还在找他喜爱的玩具。车头前又有两个站着的孩子，头上、身上戴着佩饰的那个孩子，一手指着货郎车的东西，似在告诉另一个孩子什么玩具好。头戴帽子穿着长袍的孩子，举起双手摇摆着，似有不让货郎车走开的意思。",[23,24,54,28,29,30,413,414,7,35,415,416,56],"儿童","梅","日用品","衣冠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdca69375cfc2c3f744733e8fa2fb6541.jpg","绢本","纵159.2厘米，横97厘米",[63,41,116],161,{"id":423,"slug":424,"title":425,"dynasty":136,"author":426,"museum":427,"description":428,"tags":429,"thumbUrl":431,"material":39,"size":432,"collection":80,"collections":433,"showCount":434,"zanCount":286,"manualWeight":11,"mainColor":45},219077,"zhu-que-tu-wang-yuan-219077","竹雀图","王渊","费城艺术博物馆","三月，万物复苏，荆棘的枯叶和果实尚未脱落，杂草和绿竹已逐渐变绿，四只羽毛蓬松、身体圆润的鹌鹑在一起玩耍、进食。",[24,25,54,430,26,28,29,55,156,60,33,7],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc32bae4473f9f585646637c2c7a6b60d.jpg","53x38cm",[80],160,{"id":436,"slug":437,"title":438,"dynasty":50,"author":439,"museum":51,"description":440,"tags":441,"thumbUrl":449,"material":39,"size":450,"collection":41,"collections":451,"showCount":452,"zanCount":286,"manualWeight":11,"mainColor":45},219975,"ting-ruan-tu-li-song-219975","听阮图","李嵩","此图园中高木奇石，枝叶掩映翁郁，树下士人持拂闲坐于榻上，左腿盘起，聆听拨阮演乐并赏古玩。旁有仪态娇美仕女，焚香、拈花、持扇随侍。人物线条流畅，绘法近似明代画家杜蓳、唐寅。",[24,54,25,26,28,29,30,442,443,444,305,445,330,56,446,447,448,7],"文人","仕女","侍女","树","桌案","家具","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f429ae99228b49a6346c6be40873864.jpg","177.5x104.5公分",[41],142,{"id":454,"slug":455,"title":456,"dynasty":10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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。",[476,477,29,56,7,478,208,479,480,481,482,483],"印象派","油画","百子莲","草丛","自然景观","光影","色彩晕染","写意笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5ee6f81839b5b83565121b0f7c652c2.jpg","未知","Xcm*Xcm","油画精选",[487],132,{"id":491,"slug":492,"title":493,"dynasty":105,"author":494,"museum":204,"description":495,"tags":496,"thumbUrl":500,"material":501,"size":97,"collection":80,"collections":502,"showCount":489,"zanCount":286,"manualWeight":11,"mainColor":167},224229,"lao-shao-nian-zhou-wu-chang-shuo-224229","老少年轴","吴昌硕","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。",[23,24,25,26,29,75,161,111,56,7,497,498,499],"枝干","红叶","绿叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8ca4315e839c5191b026d588d9a0432.jpg","纸本",[80,116],{"id":504,"slug":505,"title":506,"dynasty":18,"author":507,"museum":89,"description":508,"tags":509,"thumbUrl":516,"material":485,"size":486,"collection":487,"collections":517,"showCount":518,"zanCount":257,"manualWeight":11,"mainColor":45},225768,"irises-1889-fan-gao-225768","Irises 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x 35.3厘米",[41,116],104,{"id":652,"slug":653,"title":654,"dynasty":71,"author":19,"museum":655,"description":656,"tags":657,"thumbUrl":659,"material":97,"size":97,"collection":97,"collections":660,"showCount":661,"zanCount":257,"manualWeight":11,"mainColor":45},232911,"fang-qian-xuan-hua-niao-tu-yi-ming-232911","仿钱选花鸟图","美国克利夫兰艺术博物馆","钱选以花鸟画成就最高。他的成熟花鸟画，在院画基础上吸取 扬无咎 一派水墨花卉的技法，创造了新的体格。\n后人很多仿画。",[23,24,25,155,28,29,658,55,156,177,588,60,157,7],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e0b54ca3ef8f0e19e5c3536b8481fe.jpg",[],96,{"id":663,"slug":664,"title":665,"dynasty":71,"author":72,"museum":51,"description":666,"tags":667,"thumbUrl":676,"material":332,"size":677,"collection":80,"collections":678,"showCount":679,"zanCount":11,"manualWeight":11,"mainColor":167},222555,"qiu-tang-hua-ya-zhou-chen-chun-222555","秋塘花鸭轴","陈淳，1483年生，1544年逝世（另一种说法是1482—1539），长洲（今江苏苏州）人。字道复，后以字行，更字复甫，号白阳，又号白阳山人。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。在绘画史上，陈淳与徐渭并称为“白阳、青藤”， 陈淳的绘画当属文人隽雅一路的，即“白阳”一派画家。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。\n陈淳中年以后间作山水，技法学米友仁、高克恭，多以江南风景为题材，手法简练，极具文人生活情趣，文徵明曾微笑着说：“吾道复举业师耳，渠书、画自有门径，非吾徒也。”存世作品有《红梨诗画图》《山茶水仙图》《葵石图》《罨画图》等。其子陈括继承父风、擅花卉。\n陈淳绘山水，效法米友仁、高克恭，水墨淋漓，颇得氤氲之气。他的泼墨之功，往往见于画烟云之中。在写意花卉方面，陈淳独得玄门，笔法挥洒自如，富有疏朗轻健的风姿，用墨设色，则如徐沁所谓“浅色淡墨之痕俱化矣！”王世贞在《州续稿》中说：“胜国（元朝）以来，写花卉者无如吾吴郡，而吴郡自沈启南（周）后，无如陈道确，陆叔平（治）”。近代画家如蒲华、吴昌硕、齐白石等，在诗文题书画中，都对陈淳做出了极高的评价。明万历年间即有人曾评价过陈淳在花卉方面的造诣和声誉都超过了文征明，成为继沈周之后的吴门大家。明清以来画家，尤其在花鸟画方面，受他的影响很深。他与徐渭齐名，人称“青藤白阳”。现存的陈淳作品大部分均在博物馆收藏，民间甚少得见。",[23,24,26,207,29,75,55,633,668,669,634,178,670,671,57,56,7,672,673,280,674,675],"莲蓬","鸭子","明代","秋景","淡彩","文人画","水墨设色","明代绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ed2c1673a772976ff5fcf779defb76.jpg","90.8x36.2厘米",[80,116],95,{"id":681,"slug":682,"title":683,"dynasty":50,"author":684,"museum":89,"description":685,"tags":686,"thumbUrl":687,"material":418,"size":688,"collection":63,"collections":689,"showCount":690,"zanCount":11,"manualWeight":11,"mainColor":45},221442,"xie-sheng-cao-chong-tu-juan-cui-bai-221442","写生草虫图卷","崔白","崔白，字子西，北宋濠梁人，杰出的花鸟画家。北宋中期翰林图画院画家，擅长画花鸟，所做动物在写生基础上概括，形象生动活泼。他不仅擅画花竹翎毛、败荷凫雁，而且画佛道鬼神、山水、人物亦精妙绝伦，尤长于写生，所画鹅、蝉、雀堪称三绝。他一改百余年画风，成为北宋画坛革新主将，数百年来颇受画坛尊祟。\n崔白的一生中大部分时间只是个民间画工，生活颠沛流离，后来有很多人都为他的不得赏识打抱不平。像米芾在他的《画史》中说，在嘉年间（1056—1063年），公卿贵族们的收藏竞相一味求古，多是阎立本、韩滉一类画家的赝品，而对于像崔白这么优秀的当代画家的画作，他们却熟视无睹。",[23,24,25,155,28,29,537,159,157,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff80e1171b5cd251561cf91850b031251.jpg","26×150",[63,80,116],94,{"id":692,"slug":693,"title":694,"dynasty":105,"author":695,"museum":696,"description":697,"tags":698,"thumbUrl":700,"material":29,"size":701,"collection":80,"collections":702,"showCount":703,"zanCount":11,"manualWeight":11,"mainColor":45},219810,"hua-niao-cao-chong-tu-sun-long-219810","花鸟草虫图","孙龙","上海博物馆","此册绢本设色，共十二图，描绘荷塘鹡鴒、蓼花螳螂、水藻玄蝉、秋塘青蛙、秋草蝗虫、蜀葵、黄叶麻雀、海棠白头等内容。",[24,54,29,55,159,699,7,111],"螳螂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84436a5c33a598cea9820f16146645fc.jpg","纵22.9 厘米 横21.5 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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》。",[24,25,26,29,207,161,111,76,740,7,741],"枯枝","皴法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc0e8896205933dd0727840cc37da2b.jpg",[80,638],85,{"id":746,"slug":747,"title":748,"dynasty":71,"author":749,"museum":20,"description":750,"tags":751,"thumbUrl":753,"material":39,"size":754,"collection":80,"collections":755,"showCount":756,"zanCount":11,"manualWeight":11,"mainColor":45},219312,"hua-die-tu-lv-jing-fu-219312","花蝶图","吕敬甫","棕褐底色如古笺轻展，鲜妍花卉自其间漾开生机。粉白花瓣晕染淡红边缘，似沾晨露般娇嫩；翠叶柔茎交错，脉络清晰如织。彩蝶翩跹，或振翅掠花，或停瓣小憩；草虫隐于叶底，细足微蜷，灵动毕现。笔墨细腻见工致，设色淡雅含明艳，晕染自然天成。画面简而丰沛，动静相宜，将田园闲逸凝于尺幅。观之如沐清风，心随蝶影轻飏，仿佛能闻花叶簌簌、虫翅微振，尽得自然野趣与雅致情味。",[24,28,29,55,157,526,56,670,7,752],"飞虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F487bfc2f1c455b3d2ec1c663f8992c9a.jpg","101.6x53cm",[80],84,{"id":758,"slug":759,"title":760,"dynasty":105,"author":326,"museum":89,"description":761,"tags":762,"thumbUrl":770,"material":350,"size":771,"collection":41,"collections":772,"showCount":773,"zanCount":286,"manualWeight":11,"mainColor":167},223328,"qun-xian-zhu-shou-shou-juan-ren-yi-223328","群仙祝寿手卷","《群仙祝寿图》作于金笺之上，由十二条通景画构成。表现46个神仙人物共赴王母的寿筵祝寿的仙灵境界，场面宏大，内容祥瑞。对于这幅巨制，唐云先生曾写文章谈到，“‘群仙祝寿图’，尽管是在描写民间传说中的神仙故事，但一举一动都反映出人的性格和情感。把行动诡异的仙人和举止窈窕的仙女种种神态，对照起来看，分外有趣。仙女和仙人，有从空中来，有从海上来，来的地方不同，画面似将各地不同的习惯和性情都表达出来了。一只白鹤，忙着跨上白玉阑干，展翅起舞，回头迎生，竟似一个仙女在拍手热烈欢迎仙宾的情感一样。一对孔雀，也有不同性情:一只爱凑热闹，凝神看着一个举袖轻舞的仙女，另一只似乎嫌太烦乱了，飞到荷香深处，安踞石上，静听着仙女们演奏的美妙音乐，景态十分生动。十二幅通景屏，幅幅风光旖旎，融洽愉快，充分表达了祝寿场面的气氛。”",[23,24,25,155,29,28,763,343,764,765,344,633,345,58,7,766,767,768,769],"人物画","仙鹤","祥云","仙人","服饰","祝寿元素","兼工带写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d7fbafaea1f350faf3fa62a1bc3481.jpg","全图尺幅高206.8厘米，横宽720厘米（每幅条屏宽59.5厘米）",[41,116],83,{"id":775,"slug":776,"title":777,"dynasty":105,"author":106,"museum":51,"description":778,"tags":779,"thumbUrl":783,"material":29,"size":784,"collection":97,"collections":785,"showCount":773,"zanCount":286,"manualWeight":11,"mainColor":167},222743,"xian-e-chang-chun-tu-03a-lang-shi-ning-222743","仙萼长春图-03a","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。",[23,54,24,25,92,29,28,460,461,55,56,76,780,59,77,7,781,782,194,58,251],"叶片","色彩","造型逼真","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83860a3be34dc8440f2f86b13d28b9f5.jpg","宽28.4公分，高33.7公分",[],{"id":787,"slug":788,"title":789,"dynasty":790,"author":791,"museum":792,"description":793,"tags":794,"thumbUrl":796,"material":797,"size":97,"collection":97,"collections":798,"showCount":799,"zanCount":11,"manualWeight":11,"mainColor":167},220594,"gong-chong-ce-ye-huang-e-qi-bai-shi-220594","工虫册页·黄蛾","民国","齐白石","中国现当代美术文献研究中心","淡赭草叶以写意出之，笔致松灵简淡，晕染柔和随性，似将郊野晚风里的轻摇之态凝于纸面。一旁黄蛾则以工细之笔刻画，翅脉纹路纤毫毕现，触须细劲灵动，躯体绒毛的蓬松质感呼之欲出，仿佛正敛翼小憩，下一刻便将振翅飞入晚风之中。\n\n工笔与写意相映，粗简的野趣衬出虫身的精巧，将乡野间最易被忽略的闲静小景定格，朴拙雅致间藏着鲜活生机，尽显对日常细微之美的独到体察，满溢着悠然的田园意趣。",[24,25,92,28,75,29,795,7],"蛾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaaefe56d12a470f33be48accf1d4c1d.jpg","纸本水墨设色",[],82,{"id":801,"slug":802,"title":803,"dynasty":105,"author":804,"museum":722,"description":805,"tags":806,"thumbUrl":810,"material":318,"size":97,"collection":116,"collections":811,"showCount":812,"zanCount":257,"manualWeight":11,"mainColor":45},219257,"cao-chong-tu-shang-rui-219257","草虫图","上睿","画面以古雅绢色铺底，苍劲岩石兀立其间，其上百合舒展素瓣，清雅动人；旁侧藤蔓牵绕，细碎小花点缀，更添自然生趣。一只雀鸟振翅而来，羽翼纤毫毕现，姿态灵动似欲停驻花间。笔墨细腻处见功夫：花卉勾勒精致，叶片脉络分明；岩石皴擦有致，尽显朴拙质感。设色淡雅温润，白百合与暖棕背景相映成趣，整体氛围静谧中藏生机，仿佛能闻得隐于画间的花香鸟语，尽显清代花鸟画作的雅致意韵。",[23,24,25,28,29,55,76,807,808,809,7],"飞鸟","百合","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86c78ce61f7fcee14a5c12b26c976e97.jpg",[116],81,{"id":814,"slug":815,"title":816,"dynasty":105,"author":817,"museum":89,"description":818,"tags":819,"thumbUrl":820,"material":485,"size":486,"collection":80,"collections":821,"showCount":822,"zanCount":257,"manualWeight":11,"mainColor":167},238472,"hua-hui-tu-ce-jiang-ting-xi-238472","花卉图册","蒋廷锡","蒋廷锡（1669年－1732年），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，清朝康熙、雍正时期官员、画家、文献学家、藏书家。\n蒋廷锡为康熙四十二年（1703年）进士，授翰林编修。雍正帝即位后历任礼部侍郎、户部尚书等职。雍正六年（1728年）拜文华殿大学士，仍兼理户部事，并任《明史》总裁。次年（1729年）加太子太傅。累封一等阿达哈哈番。雍正十年（1732年）卒于任内，谥号“文肃”。\n蒋廷锡在官秉公抚政、剔除积弊，声誉甚著。为人博学精敏，尤善诗画。擅长花鸟，以逸笔写生，奇正率工，敷色晕墨，兼有一幅，能自然洽和，风神生动，得恽寿平韵味。点缀坡石，偶作兰竹，亦具雅致。曾画塞外花卉70种，被视为珍宝收藏于宫廷。今有《牡丹扇面》《岁岁久安图》《桃花鹦鹉图》《竹石图》轴及《花卉图》等传世。",[24,25,92,29,28,55,56,157,7,208,526,160,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d07b787cc47539c1c123f3829eddaf8.jpg",[80,116,553],78,{"id":824,"slug":825,"title":826,"dynasty":71,"author":827,"museum":51,"description":828,"tags":829,"thumbUrl":832,"material":833,"size":834,"collection":80,"collections":835,"showCount":836,"zanCount":286,"manualWeight":11,"mainColor":45},222173,"jia-he-cao-chong-tu-wu-bing-222173","嘉禾草虫图","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38.4×30.3",[80],64,{"id":960,"slug":961,"title":962,"dynasty":219,"author":963,"museum":51,"description":964,"tags":965,"thumbUrl":968,"material":39,"size":97,"collection":41,"collections":969,"showCount":958,"zanCount":286,"manualWeight":11,"mainColor":45},216985,"luo-han-zhou-guan-xiu-216985","罗汉轴","贯休","罗汉图是五代十国时期的一件珍贵的文物。它是一幅画，描绘了佛教的著名的罗汉（又被称作“菩萨”）。这幅画的特别之处在于，它是由贯休所画。\n\n贯休（907年-971年）是五代十国时期的一位著名的佛教徒和文学家。他是宋朝的开国皇帝赵匡胤的政治顾问，在赵匡胤建立宋朝后，贯休成为了宋朝的一位高级官员。贯休是当时佛教界的知名人士，他著有许多佛教经典，并且在佛教研究方面有很高的造诣。\n\n罗汉图是五代十国时期最重要的佛教文物之一，它对于研究这一时期的佛教文化和历史具有重要的价值。",[24,25,26,27,763,29,28,30,7,140,966,967],"佛教题材","传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dce4cc8cc12226031be8f6e4d29a72c.jpg",[41],{"id":971,"slug":972,"title":973,"dynasty":71,"author":974,"museum":173,"description":975,"tags":976,"thumbUrl":978,"material":318,"size":979,"collection":97,"collections":980,"showCount":981,"zanCount":286,"manualWeight":11,"mainColor":982},216259,"ming-za-hua-ce-6-wang-zhong-216259","明杂画册-6","汪中","汪中指的是汪建中（1501-1593年），他是明朝时期的一位著名画家。明杂画册是指他绘制的一组绘画作品集，通常指其中一部名为《汪中杂画册》的作品。《汪中杂画册》是一部非常著名的画册，由汪建中在明朝末期绘制而成。它共有24册，收录了许多他的绘画作品，包括花卉、山水、虫鸟、人物等。这些作品都非常精美，被认为是中国画史上的杰作。《汪中杂画册》目前被认为是中国明朝时期最重要的画册之一，并被认为是中国画史上的经典之作。",[24,29,28,111,55,159,7,267,977,208],"根茎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32f2d1231e91e0eead919ad5dde30bb8.jpg","30x27cm",[],63,"FDD835",{"id":984,"slug":985,"title":986,"dynasty":50,"author":987,"museum":89,"description":988,"tags":989,"thumbUrl":991,"material":97,"size":97,"collection":97,"collections":992,"showCount":993,"zanCount":286,"manualWeight":11,"mainColor":167},227816,"xie-sheng-zi-wei-wei-sheng-227816","写生紫薇","卫昇","卫昇，(公元1世纪)〔南宋〕其生平仅见元代夏文彦撰《图绘宝鉴》卷四载“卫昇，画花鸟甚佳”7字，与南宋画人平列在一起，可见卫昇为南宋时人。\n传世作品仅有《写生紫薇图》册页，绢本，设色，纵2.8厘米，横25.厘米，以工笔重色法写折枝盛开之紫薇花，造型精确，结构严谨，用笔工整，敷色雅丽，是一幅精到之作，具有南宋院体画特点，现藏 。",[23,54,24,25,28,29,55,990,7],"紫薇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcaa4997a97e82526f8899902e8a264a.jpg",[],60,{"id":995,"slug":996,"title":522,"dynasty":136,"author":384,"museum":89,"description":997,"tags":998,"thumbUrl":1003,"material":97,"size":97,"collection":97,"collections":1004,"showCount":1005,"zanCount":11,"manualWeight":11,"mainColor":45},228316,"jin-hui-dui-tu-qian-xuan-228316","起于元，盛于清末，俗称“打翻字纸篓”，以画残破的文物片段堆栈构成画面。\n郑达甫先生被公认为此领域的唯一能手 锦灰堆 最早起源于何时，现无准确文献记载，相传是元代与赵孟頫齐名的画家钱选，在一次醉酒后兴起，将当天散落在饭桌上的下酒菜吃剩残物，如蟹脚、蚌壳、莲房、鸡翎、鱼刺等、信手绘制成一幅横卷，并挥笔题款“锦灰堆”。\n这可能是“锦灰堆”最早的历史记载。\n“锦灰堆”致力于特色陶瓷礼品研制、开发与销售。\n旗下品牌有锦瓷，锦瓷窑，泥道等。\n锦瓷只要生产红瓷，青花瓷，天目釉，茶具，格致古典，服务当下，具有深厚传统情怀的锦灰堆机构，于借礼品进而使得当下国人在器用和精神层面上回归古典，回归宁静，从而让现代人从喧嚣浮躁的盲动中找到某种心灵的归宿，达到静养身心，调节自我的目的。\n再者，通过对古代生活器用的阐扬、恢复，在更宏大的视野中，我们希望能为整个民族的精神回归作出点滴贡献。\n在推进整个古典生活场景的复原中，锦灰堆首推华丽、时尚的红瓷系列，并从功夫茶的发源地潮汕地区切入，引入此间的红头船文化和航海文化，凸显火“红”的福字主题。\n重构中国人的雅致生活 锦，绮丽繁华，天下莫此为甚。\n中国风雅的源头《诗经》，有“终南何有？有条有梅。\n君子至止，锦衣狐裘。\n”锦衣狐裘，诸侯方可穿着。\n《仪礼·聘礼》复有“皆奉玉锦束请觌”之句。\n锦为何物？《说文解字》云：锦，襄邑织文。\n《毛诗正义》则说，锦者，杂采为文。\n锦于中国人，乃成美好事物的普遍象征，遂有锦绣、锦囊、锦瑟、锦带、锦江、锦文、锦鳞，凡物着一锦字，读之立刻口齿芬芳。\n至于家国河山，古人亦以锦名之，曰锦绣河山。\n事实上，只有中国人可以用一种逍遥俯瞰的之态，描述壮丽宏大的山水，正如元代以降的山水画所表达的，“收拾河山入画图”。\n灰，则表达了古典中国人对世俗和底层生活的关注和亲密，这一点，则全非近代以前泰西诸国等级森然的社会体制所能及。\n“满面尘灰烟火色”，白乐天对一个卖炭老翁的细致描绘，恰恰说明了这一点。\n古代士大夫就是在“锦”与“灰”两端中求得心灵的平衡，从而达到中庸和无为的至高境界。\n宋末吴兴人钱选，一代画师。\n其时也，蒙元入主中国，钱选尚气节，不事新朝，特立独行，与赵孟頫辈异。\n选流连诗酒，无酒不能作画，此其雅癖之一；曾作小横卷，所绘举凡螯钤、鸡翎、莲房等食余剥剩、无用当弃之物，名之曰“锦灰堆”，此其雅癖之二。\n锦灰堆遂成一特异之画种，又称“八段锦”。\n生活零碎之物而形诸笔墨锦笺，而独放异彩，或可称怪异之三。\n钱选之作，有堪称国宝者，后多收入清宫大内，为清帝御览之宝。\n凡经御览，都为卷册，名曰《石渠宝笈》。\n钱选作品被收入《石渠宝笈初编》。\n民初海上，锦灰之堆润格攀涨，山水人物花鸟，不得专宠矣。\n所绘之物，由食余吐物，扩而及之“一页旧书、半张残帖、公文、私札、废契、短简”。\n若以当代美学考量，锦灰堆作为一种绘画门类，具有一种潜在的解构主义，可谓当代艺术潮流的远古鼻祖。\n会此意者，定当一笑。\n京城王世襄先生，亦慕钱选之高格与戏作，以“锦灰堆”名其文集。\n世襄年过九旬，于经世致用之学而外，洞彻古玩器物，举凡明家具、鹰鹞、烹饪、古建筑、蟋蟀、鸽子、竹艺、漆器等等，均深有发现。\n黄苗子遂以“玩物成家”目之。\n玩物而不丧志，其渊源幽淼，直可追溯先秦。\n《考工记》行文古雅，而凡世间百工造物，靡不涉及。\n魏晋诸子，倡而导之，经东坡等宋代诸儒，至明清而成玩物洪流矣。\n唐陆鸿渐行迹编海内而著《茶经》，后人饮茶，便得宗旨；宋人朱肱于杭州开酒坊，自酿自卖，著《北山酒经》流传于世，酒于是而得经典。\n而花草树木果树陶瓷园艺文房，乃至闺阁妆奁，人间烟火，皆入明代士大夫法眼，各种著述层出不穷。\n文震亨著《长物志》，高濂著《遵生八笺》，张岱著《陶庵梦忆》，玲琅满目，胪列不尽。\n执着于充满人情的尘世生活，是中国人典型的文化心理。\n明代变乱之前，物质的繁荣导致士大夫和普通民众的生活，在最求细节方面面达到了极致。\n庭除屋宇、园林百卉、钿光钗影、杯来盏往，余怀之《板桥杂记》所录晚明民众生活，其细致处，真是呼之欲出。\n悠闲，华美，逸乐，侠游，乃中国古代生活物质层面之四维。\n“闲者，匪徒尸居肉食，无所事事之谓。\n”高濂解释闲是一种境界，“闲可以养性，可以悦心，可以怡生安寿”。\n时乎坐陈钟鼎，几列琴书，榻排松窗之下，图展兰室之中，帘栊香霭，栏槛花妍，虽咽水餐云，亦足以忘饥永日。\n张岱论人，谓“人无癖，不可与交，以其无深情也；人无疵，不可与交，以其无真气也。\n” 张岱本人亦癖灯、癖游赏，癖器物。\n“少为纨绔子弟，极爱繁华，好精舍，好美婢，好娈童，好鲜衣，好美食，好骏马，好华灯，好烟火，好梨园，好鼓吹，好古董，好花鸟，兼以茶淫橘虐，书蠹诗魔。\n” 清代玩家自亦不少，晚明遗风，渔洋、袁枚等，接踵其后。\n然现代以来，士大夫之闲情雅致竟至泯然无迹，前人所持、所做、所饮、所餐、所观，遂成绝响，仅可于故纸堆中觅得鳞爪。\n此于国人，殊为憾事。\n前尘往事，并非定成空幻，成梦影。\n在器物层面，重构中国人古典生活方式，易于行，行远必将影响当下国人的价值认知。\n何也？一杯一盏，一花一木，一庐一室，一瓢一饮，均深蕴中国古典之价值，优雅，缠绵，温柔，富丽。\n似锦绣之质，浸俗世之情，于锦灰堆中，觅见风雅。\n1、 潮汕濒临南海，浮海可至南洋、印度、非洲海岸，乃至泰西诸国。\n这里是中西文明交流的一条重要路径——海上丝绸之路的必经之地，瓷器、丝绸、茶叶等中国固有的大宗产品从这里出口，而南洋的香料、珍宝、木材等，也远远不断，由此进入内地。\n潮汕也是古代中国人南迁之后的落脚点，所以，这里积存这丰厚的汉文化的元素。\n潮汕人很早就浮海去南洋谋生，其中，又以暹罗（泰国）居多。\n清代，此间与南洋的航运，是从中暹大米贸易开始的。\n为适应远洋航行的需要，原来有双桅、单桅之“潮州红头船”，发展成为“翘首高舷，备大桅樯三具”的远洋大帆船。\n《樟东风物记》：大型红头船长二十余丈，载重数百吨，三桅，有四帆开笑之称。\n红头船来自，源于清代之海禁。\n当时制度，凡出海之舶，须设色以辨。\n沿海省份，共设四色。\n广东在南，五行属火，用色为赤，遂“红油漆饰，青色钩字”。\n红头船不仅用朱砂油头，且以白粉油腹，头两侧画黑圈，再于船舷刻黑字。\n无形中，红头船具有了一种祛除不详的心理期待功能，融入到整个潮汕文化当中。\n红头船功夫茶具，不仅承载着这段具有强烈海洋文化特色的历史，还寄托着自生民以来就具有的祈福。\n2、功夫茶 苏辙诗曰：“闽中茶品天下高，倾身事茶不知劳。\n”此乃咏功夫茶诗也。\n功夫茶源于宋潮州府及福建的漳州、泉州。\n饮茶发展到功夫茶阶段，跟当时理学与禅宗的兴盛密不可分。\n功夫茶，茶中见性，以茶养性。\n除了水、火和冲泡这一程序性之外，功夫茶还衍生出极具形式美感的茶具。\n清俞蛟《潮嘉风月记》：“工夫茶，烹治之法，本诸陆羽《茶经》，而器具更为精致……杯盘则花瓷居多，内外写山水人物，极工致……杯小而盘如满月。\n” 锦灰堆功夫茶具，具本于宋代以降的人文传统。\n同时，亦融入时尚的造型，以适合现代人的审美。\n、红瓷 红瓷极尊贵，其制作之难亦冠各瓷之首。\n红瓷承载着吉祥、尊贵、自古就成为皇室追求的珍品。\n红瓷也是中国民间审美中至正之色，象征生命、繁衍和尊贵。\n红瓷釉料迥异于青花与青瓷等，其不耐高温的特性，使得一件红瓷的诞生很艰难。\n红瓷烧制，工艺复杂，须四次进炉：素烧，釉烧，红烧，金烧。\n每一环节不可偏差。\n尽管如此，仍是 “十窑九不成”。\n然则，更显红瓷的稀缺与珍贵。\n锦灰堆红头船红瓷功夫茶具，釉色分布匀停，光可鉴人，或蟠龙游凤，或牡丹缠枝，或花开富贵。\n而轻巧圆润，恰供清赏。\n（1）、红茶壶（鸿福） 壶，象盛器之形。\n日常不可或离之物，亦为礼器。\n古代常升华为美好之意。\n《春秋公羊传》：国子执壶浆。\n《三国志·诸葛亮传》：箪食壶浆。\n《芙蓉楼送辛渐》：一片冰心在玉壶。\n普通话，壶与“福”谐音，锦灰堆红茶壶便有了“鸿福”之意，同时，亦有“鸿鹄”之意，谓抱负远大也。\n（2）、红茶垫（托福） 茶垫又称壶托、托壶，红茶垫便可谐“福托”“托鸿福”“托福”等音。\n传统礼仪，接人待物，皆须谦逊。\n接茶、送茶之间，中华礼节，于细节中呈现。\n礼仪著于双方，也体现于每个个体，人借“托”举，“福”方永存。\n（）、福杯（吊鸿福杯） 杯，古又曰“爵”，饮器也。\n爵，象征荣誉和地位，即福禄寿喜之“禄”。\n与“福”为邻，传统抱负，合二为一。\n（4）、公杯（聚福） “大道之行也，天下为公。\n”《礼记》规定了中国人的最高社会理想。\n“公之为言公正无私也”。\n小小茶具，竟含儒家大道，此亦古人寄理想于“长物”之旨吧。\n公，也是古代爵位的最高等级。\n（5）、红茶渡（渡鸿福、鸿福渡） 渡，济也，引导也。\n这是一个暗藏禅机的词语，意蕴深厚。\n舍己渡人，方得超脱，这是佛家之道。\n若以当代社会伦理视之，此器亦公器也。\n然于公器之外，更充满英雄主义和绅士风度。\n（余可参照原文） （6）、精致小茶海 方寸之间，可容宇宙。\n海浩瀚无涯涘，在空间上以为这难以逾越，然则可以器用喻之。\n人心隔海，有渡可致。\n具物取名，古代闲情逸致之士乐此不疲，关键是，他们的想象力一如大海。\n海，又与潮汕之风俗相贯通。\n1）、大富大贵 “唯有牡丹真国色，花开时节动京城”，牡丹一直是中国富贵文化的核心意象，唐刘禹锡的诗恰好证明了这一点。\n作为花中之王，牡丹是历代文人雅士歌咏的对象。\n而龙、凤和蝶等意象的融合，则意味着一派高贵、长寿等怡人景象。\n2）、龙腾吉祥 在中国的语境中，龙一直是帝王的象征。\n当这一意象进入整个民族的心理深层结构，变成了众多行为的指南，一系列的崇拜也由此而来。\n龙也成了祈福消灾的对象。\n）、常年富贵 花团锦簇，一团和气，是古代人家最为看重的。\n等花卉图案，构成了众多居家要素，比如瓷器、锦缎。\n枝枝相连的形态暗示了中国人邻里相助和子孙繁衍的愿望，“连”也是“年”的谐音，于是便有“常年富贵”之名。\n4）、年年好运 运，行也。\n引申而为命运，“运隆祚永”是国家追求的目标，而祈求好运于一般人也变顺理成章。\n5）、6周年庆 大红的底色意味的喜气扑面而来。\n运筹红色，这正好是红瓷专家最为擅长的领域。\n黄色的五星，如暗夜繁星，耀人眼目，也如天女散花。",[23,24,25,155,28,29,55,526,7,999,1000,56,157,1001,267,208,1002],"题跋","墨迹","杂物","虫蛀痕迹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F413580bf86f0f2f07a385084ba691349.jpg",[],59,{"id":1007,"slug":1008,"title":707,"dynasty":71,"author":1009,"museum":51,"description":1010,"tags":1011,"thumbUrl":1012,"material":39,"size":97,"collection":80,"collections":1013,"showCount":1014,"zanCount":11,"manualWeight":11,"mainColor":167},219446,"duan-yang-jing-tu-chen-jia-yan-219446","陈嘉言","墨石崚嶒，以浓淡干湿之笔写出苍劲肌理，似含嶙峋风骨。石畔百合舒卷有致，瓣白如玉，清雅绝尘；艳艳红花点缀其间，色如渥丹，相映成趣。细碎野花丛生，黄绿枝叶错落，笔墨兼工带写，设色明丽却不艳俗。整幅画面生机盎然，野趣中透着雅致，仿佛能嗅到端阳时节的草木清气，尽显文人画的疏朗意韵。笔意洒脱，构图疏密得当，于不经意间流露自然之美，引人沉醉于这方清幽小景里。",[24,26,29,207,75,55,76,808,56,7,208,711,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ef5005627b1e39b1323e869dbb1145.jpg",[80],58,{"id":1016,"slug":1017,"title":1018,"dynasty":71,"author":1019,"museum":204,"description":1020,"tags":1021,"thumbUrl":1023,"material":501,"size":1024,"collection":80,"collections":1025,"showCount":1026,"zanCount":11,"manualWeight":11,"mainColor":167},222129,"xin-yi-mo-cai-tu-juan-shen-zhou-222129","辛夷墨菜图卷","沈周","第一段：本幅无款，右下钤印“启南”（朱文）。另有吴宽题诗：“半含成木笔，本号是辛夷。一树石庭下，故园增我思。”钤印“延州来季子后”（朱文）。另钤“项元汴印”（朱文）等鉴藏印多方。此幅采用没骨法绘折枝辛夷，以苍秀古拙之笔画花卉枝干，以不同水分的色墨画出花瓣叶片，色泽浓淡分明，层次丰富，再用重墨劲细之笔勾画叶筋。构图疏密有致，设色清妍秀雅，富于蕴蓄之致。\n第二段：本幅无款，右下钤“启南”朱文印。另有吴宽题诗：“翠玉晓茏葱，畦间足春雨。咬根莫弄叶，还可作羹煮。”钤“原博”朱文印。另钤项元汴“平生真赏”朱文印等鉴藏印多方。画中运用干笔的飞白、水墨的渲染和重笔浓墨的点写将一棵普普通通的白菜表现得栩栩如生。此画突出了书法用笔的特点，粗放率意，转折自然，用墨亦变化多端，颇具逸致，天趣盎然。",[23,155,207,29,75,1022,632,56,7,111,160],"辛夷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36497ff253f3762a4bf12e6f7a25d7a3.jpg","第一段，纸本，设色，纵34.9厘米，横58.8厘米；第二段，纸本，墨笔，纵34.9厘米，横58.8厘米。",[80,638],56,{"id":1028,"slug":1029,"title":1030,"dynasty":71,"author":19,"museum":427,"description":1031,"tags":1032,"thumbUrl":1033,"material":39,"size":1034,"collection":41,"collections":1035,"showCount":1026,"zanCount":11,"manualWeight":11,"mainColor":45},218451,"mao-nv-tu-yi-ming-218451","毛女图","飞瀑自崖间倾泻，溅起细碎水痕，苔石旁草木疏朗。毛女侧立，发髻簪着粉白小花，衣袂轻垂，眉目间透着悠然清寂。身旁灵鹿昂首，似与她共赏山光。山石以淡墨皴擦，肌理朴拙却藏层次；瀑布线条流畅，动静相衬。绢本的古雅色调，更添岁月沉淀的温润。画面简淡却意韵悠长，将毛女栖隐山林、与兽为友的传说，化作一卷仙逸之境，笔墨间满是山野的清旷与绝尘的况味。",[24,25,238,29,28,30,329,343,725,76,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa13675267f743bc53cfd605358debfb0.jpg","21x21.4",[41],{"id":1037,"slug":1038,"title":1039,"dynasty":105,"author":494,"museum":89,"description":1040,"tags":1041,"thumbUrl":1042,"material":332,"size":1043,"collection":1044,"collections":1045,"showCount":1046,"zanCount":11,"manualWeight":11,"mainColor":167},224235,"cuo-luo-shan-hu-zhi-tu-wu-chang-shuo-224235","错落珊瑚枝图","吴昌硕善于画花卉，此幅《错落珊瑚枝》为吴氏花卉画之力作，“错落珊瑚枝，铁网出海底”，如其款识中所题，画面结构严谨，用笔遒劲，吴昌硕善于用线，每枝枝干、每片花叶都似铁杆般坚韧，富有生命力。其构图极为讲究，画家首先用两尊顽石坐落于画面两侧，稳住了画面重心。数枝天竺从顽石后方穿插向上，更与树叶形成疏密对比，几簇天竺果高低错落、顾盼生姿、扶摇而上。",[23,24,26,75,29,207,741,58,7,267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4feda463be4617f92164883644e7b38b.jpg","纵183厘米，横93厘米","山水画精选",[1044,116],55,{"id":1048,"slug":1049,"title":1050,"dynasty":105,"author":1051,"museum":89,"description":1052,"tags":1053,"thumbUrl":1054,"material":485,"size":486,"collection":97,"collections":1055,"showCount":1056,"zanCount":257,"manualWeight":11,"mainColor":119},239079,"hua-niao-ping-liao-yun-jin-239079","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。",[24,28,29,55,76,60,588,194,809,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F957fa757ccae928e12a60604cca10b13.jpg",[],54,{"id":1058,"slug":1059,"title":1060,"dynasty":105,"author":372,"museum":89,"description":1061,"tags":1062,"thumbUrl":1064,"material":97,"size":97,"collection":553,"collections":1065,"showCount":1056,"zanCount":286,"manualWeight":11,"mainColor":167},238317,"qiu-hua-si-shou-zhou-dong-gao-238317","秋花四首轴","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[24,25,26,29,28,727,193,1063,7,56,111],"花篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f70d4386e484a0de4f87b2b3e7b37d2.jpg",[553],{"id":1067,"slug":1068,"title":1069,"dynasty":105,"author":106,"museum":51,"description":778,"tags":1070,"thumbUrl":1073,"material":29,"size":784,"collection":97,"collections":1074,"showCount":1056,"zanCount":286,"manualWeight":11,"mainColor":167},222736,"xian-e-chang-chun-tu-yu-mei-ren-yu-hu-die-hua-lang-shi-ning-222736","仙萼长春图虞美人与蝴蝶花",[23,24,25,55,28,29,1071,1072,76,7],"虞美人","蝴蝶花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8cf8ef4ea03d3198d245b3fb1aea4e0.jpg",[],{"id":1076,"slug":1077,"title":1078,"dynasty":71,"author":1079,"museum":1080,"description":1081,"tags":1082,"thumbUrl":1088,"material":1089,"size":1090,"collection":1044,"collections":1091,"showCount":1056,"zanCount":286,"manualWeight":11,"mainColor":167},222225,"si-wan-shan-shui-tu-wan-gan-yan-yu-wen-bo-ren-222225","四万山水图-万竿烟雨","文伯仁","京都国立博物馆","明代中期吴派风格自形成以来盛极一时，他们的画法，上探北宋董巨，近追元代四家，与以往明代绘画所不同的是，吴派山水属于文人画体系，被称为“利家”画并为发展文人画做出了重大贡献，同时他们的画风为后世文人所推重直至今日。文伯仁，字德承，号五峰，作为吴派山水画家和文氏家族中重要的一员，“笔力清劲，布景奇兀，时以巧思发之能传家学，颇负出蓝之誉”，并善于学习古人，画功精湛，在他存世并不众多的作品中不难发觉元代王蒙与叔父文徵明的影子，而与此二人作品相较，比王蒙的山水少了高不可攀的险峻，比文徵明的山水多了鲜明的个人情趣。徐沁在名画录赞叹文伯仁的山水“横披大幅，层峦郁茂不在衡山之下。”\n《四万山水图》指的是四幅分别以“万壑松风”、“万竿烟雨”、“万顷晴波”、“万山飞雪”为题的画作的总称，是明代画家文伯仁为友人顾从义而画，作于文伯仁50岁时。各图上有明末艺苑的代表文人董其昌所题的画赞。文伯仁是明代苏州（江苏省吴县）文人画即吴派的中心人物文征明的外甥，据说其在文氏一门之中画技最为出色。文征明及其一门的画家喜爱描绘山泉林间闲游的文人，但文伯仁的山水画以清静、浅显、清楚的白描风格或淡彩为基调，以充满色彩感的画风为特色，为文人画开辟了新的境界。本图是嘉靖年间（1522～66年）吴派的代表作品之一。《四万山水图》描绘了文人的闲适，作品中大量使用了清劲的白描笔法，表现密度极高。",[23,24,207,26,343,156,1083,725,95,479,741,71,1084,1085,7,480,75,1086,1087],"烟雨","传统","水墨山水","笔墨","渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2827fdbc7f7dd9a85fe05f339586423b.jpg","纸本墨笔","48X123cm",[1044,638],{"id":1093,"slug":1094,"title":1095,"dynasty":71,"author":574,"museum":51,"description":1096,"tags":1097,"thumbUrl":1100,"material":318,"size":1101,"collection":80,"collections":1102,"showCount":1056,"zanCount":286,"manualWeight":11,"mainColor":45},218840,"cao-hua-ye-qin-tu-lv-ji-218840","草花野禽图","绘高梁丛底下，一对野雉正在低头觅食，另外还有三只荜雀翱翔于上，构景既真实生动，又富趣味性。画上并没有作者的签名，因为钤盖了吕纪的印章，而被误认为是他的作品。实际上这幅画虽然极好，但风格却和吕纪不尽相同，推测应该出自明代其他高手所作。吕纪（活动于1439—15○5年间），浙江鄞县人。明孝宗时任职于仁智殿作画，并被授予锦衣指挥的官名。",[54,24,25,26,28,29,55,807,1098,1099,58,7,111],"野禽","草花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28a86ac72036a3a520bff486521df824.jpg","146.4x58.7cm",[80],{"id":1104,"slug":1105,"title":1106,"dynasty":136,"author":19,"museum":51,"description":1107,"tags":1108,"thumbUrl":1109,"material":29,"size":97,"collection":116,"collections":1110,"showCount":1111,"zanCount":11,"manualWeight":11,"mainColor":45},219326,"lao-pu-qiu-rong-tu-yi-ming-219326","老圃秋容图","画面中，数丛秋菊凌霜绽放，黄蕊凝金、紫瓣含晕，叠瓣层舒间尽显妍丽之态；叶片墨绿带苍，脉络清晰如染秋霜。旁侧墨石以皴擦写就，苍劲古朴，石上苔点疏密错落，更添岁月厚重。几只麻雀或栖石巅梳理羽翅，或低空掠飞相逐，灵动身姿为静谧秋景注入鲜活生气。笔墨兼具工细与写意，设色淡雅却见精神，秋意浓而不俗，尽显文人画“逸”之韵致——仿佛能闻菊香幽幽，听雀语啾啾，于方寸绢素间藏尽老圃秋日的清旷雅趣。",[24,29,28,55,877,60,76,7,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1869d6dcdca848d4e68850d5569f1ae2.jpg",[116],53,{"id":1113,"slug":1114,"title":1115,"dynasty":105,"author":1116,"museum":89,"description":1117,"tags":1118,"thumbUrl":1121,"material":97,"size":97,"collection":97,"collections":1122,"showCount":1123,"zanCount":11,"manualWeight":11,"mainColor":167},228998,"she-se-shan-shui-ce-shi-tao-228998","设色山水册","石涛","此作以虚实相生之趣写山林幽境，主峰半隐于翻涌云海间，一道飞瀑垂落，破开山石沉凝。留白衬出云气的空濛氤氲，干湿浓淡的水墨晕染出山峦苍润肌理。右下亭台隐于深林，坡岸幽草间似有幽人卧看云起，野趣横生。两枚朱红点染左上，为水墨素朴添了古雅意趣。\n\n笔墨简淡却丘壑暗藏，以意造境，将江南山林的静穆萧散尽显，仿佛能聆听到瀑声潺潺，嗅见草木清芬，于尺幅之间尽显林泉高致，藏着文人山水独有的幽寂禅意与雅逸情怀。",[24,29,207,343,344,1119,1120,58,7,30,111,741,92],"瀑布","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ae6fd993ba1f516bdea0e22920187e0.jpg",[],52,{"id":1125,"slug":1126,"title":1127,"dynasty":50,"author":19,"museum":51,"description":1128,"tags":1129,"thumbUrl":1135,"material":1136,"size":1137,"collection":97,"collections":1138,"showCount":1139,"zanCount":286,"manualWeight":11,"mainColor":1140},223437,"song-xiu-ju-hua-lian-er-zhou-yi-ming-223437","宋绣菊花廉（二）轴","通幅以沉暗墨色为底，金针彩线织就案头秋供盛景。主株菊丛葳蕤繁茂，团花如簇，瓣层叠似凝霜聚雪，花叶以套色勾勒晕染，明暗过渡自然，将秋菊的清隽风骨尽数铺展。四周蝶影轻翩，细碎蜂蝶点染虚空，为静雅画面添上灵动生机。\n\n下方朱漆条案承托主盆，两侧配衬小花盆栽，章法端严对称，尽显宋人居室清供的雅致意趣。绣工精绝，戗色、盘金技法交织，针脚细密匀整，丝绒光泽晕开花鸟雅韵，静穆晕着秋日庭间的清寂诗意，尽显宋人尚雅的审美意趣。",[23,1130,1131,28,29,26,877,157,1132,56,7,55,1133,239,1134],"宋代","刺绣","花盆","盆栽","装饰纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe36b2a6209c7a620404ab879a6cb7f2c.jpg","轴绢本","150.4x64厘米",[],51,"37474F",{"id":1142,"slug":1143,"title":1144,"dynasty":136,"author":426,"museum":51,"description":1145,"tags":1146,"thumbUrl":1147,"material":29,"size":1148,"collection":80,"collections":1149,"showCount":1139,"zanCount":11,"manualWeight":11,"mainColor":45},219896,"ying-zhu-hua-mei-zhou-wang-yuan-219896","鹰逐画眉轴","此帧画一只苍鹰自空中急速俯冲而下，即将迫及画眉，画眉则张口失声伧促逃窜，一幕弱肉强食的情况活跃在纸上。全幅用笔甚工，设色温雅，颇有宋画遗风。",[23,54,24,25,26,28,207,29,55,807,564,7,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F430c0da1dc68285a385d2a617339a9ad.jpg","117.2x53.3公分",[80],{"id":1151,"slug":1152,"title":1153,"dynasty":50,"author":1154,"museum":204,"description":1155,"tags":1156,"thumbUrl":1158,"material":418,"size":1159,"collection":63,"collections":1160,"showCount":1161,"zanCount":11,"manualWeight":11,"mainColor":167},221469,"ling-feng-bo-ge-tu-lu-zong-gui-221469","玲峰鹁鸽图","鲁宗贵","绘鹁鸽两羽，全身白色，只留尾巴黑色，一只立于湖石上，微张的尖嘴似与地面上的另一只打招呼；画面竹枝繁茂，花团锦簇，春光融融。鲁宗贵，南宋画家，工花竹、禽鸟、窠石，用笔意趣有余，描染佳妙。",[23,54,24,25,28,29,55,60,1157,33,7],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac548a4d2e561d376899c9dbecd6e64.jpg","28 × 52 cm",[63,80,116],50,{"id":1163,"slug":1164,"title":683,"dynasty":136,"author":384,"museum":173,"description":1165,"tags":1166,"thumbUrl":1167,"material":418,"size":1168,"collection":97,"collections":1169,"showCount":1170,"zanCount":286,"manualWeight":11,"mainColor":45},232831,"xie-sheng-cao-chong-tu-juan-qian-xuan-232831","此卷设色典雅，用笔精微，一花一竹，一虫一鸟，皆细致入神，工中见意，精巧传神，一丝不苟，可谓写生妙手。\n钱选（1239-1299），宋末元初著名画家，与赵孟?等合称为“吴兴八俊”。字舜举，号玉潭，又号巽峰，霅川翁，别号清癯老人、川翁、习懒翁等，湖州（今浙江吴兴）人。山水师从赵令穰，人物师从李公麟，花鸟师赵昌，青绿山水师赵伯驹。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。",[23,24,25,155,29,28,537,55,159,266,208,56,526,7,111,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b6e400748db309145ac39941fe71144.jpg","34x310厘米",[],46,{"id":1172,"slug":1173,"title":1174,"dynasty":219,"author":220,"museum":89,"description":1175,"tags":1176,"thumbUrl":1178,"material":97,"size":97,"collection":97,"collections":1179,"showCount":1170,"zanCount":286,"manualWeight":11,"mainColor":45},231033,"ting-yuan-tong-xi-tu-zhou-wen-ju-231033","庭院童戏图","画面里，玲珑湖石错落而立，旁侧蜀葵抽茎绽红，晕开雅致清幽的庭中底色。三个稚童于廊下嬉玩，或俯地、或跪坐，手持玩具专注投入，憨态天真尽显笔端。\n\n作者以精细笔触勾勒出衣纹的软柔灵动，设色古雅温润，将孩童嬉闹的鲜活日常描摹得生动自然。静谧庭苑与稚子烂漫相映，把细碎童趣晕化成悠然平和的古典意趣，藏着旧时世家庭院里的温柔烟火气。",[23,54,24,25,28,29,30,1177,76,863,347,7,56],"童戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c8bf418623c3f4f8d9458352c316f86.jpg",[],{"id":1181,"slug":1182,"title":1183,"dynasty":18,"author":473,"museum":89,"description":474,"tags":1184,"thumbUrl":1189,"material":485,"size":486,"collection":487,"collections":1190,"showCount":1170,"zanCount":11,"manualWeight":11,"mainColor":1140},225957,"iris-1914-1917-mo-nai-225957","Iris, 1914-1917",[476,477,1185,514,1186,1187,1188,56,7,499,480],"笔触松散","光影表现","色彩交融","鸢尾花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca07925f586f72b9cf51d00327278db0.jpg",[487],{"id":1192,"slug":1193,"title":1194,"dynasty":50,"author":124,"museum":89,"description":1195,"tags":1196,"thumbUrl":1198,"material":97,"size":97,"collection":97,"collections":1199,"showCount":1200,"zanCount":11,"manualWeight":11,"mainColor":45},227488,"xie-sheng-hou-qin-tu-zhao-ji-227488","写生猴禽图","赵佶，即宋徽宗，1100-1125年在位。在位时广收古物和书画，网罗画家，扩充翰林图画院，使文臣编纂《宣和书谱》、《宣和画谱》等。擅书画，真书学薛曜，自称“瘦金书”，也写狂草。绘画重视写生，以精工逼真著称，工花鸟，相传用生漆点睛，尤为生动。",[23,24,54,25,28,207,29,922,526,1197,76,7,111],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bc738dc39291aa94d5820e8dca012b6.jpg",[],45,{"id":1202,"slug":1203,"title":1204,"dynasty":105,"author":19,"museum":51,"description":1205,"tags":1206,"thumbUrl":1211,"material":318,"size":1212,"collection":116,"collections":1213,"showCount":1200,"zanCount":286,"manualWeight":11,"mainColor":167},219370,"wu-kuan-hua-yin-wo-quan-zhou-yi-ming-219370","无款花阴卧犬轴","花阴覆处，湖石嶙峋，几丛花草点缀其间，生机暗涌。群犬嬉戏成趣：一犬蜷身侧卧，颈间红绳系铃，眸光慵懒似梦；旁侧幼犬挤卧亲昵，绒毛软嫩如棉，另有小犬蹒跚学步，爪印浅浅印于草间。湖石皴法细腻，纹理毕现；花草设色淡雅，与犬之墨韵相映成趣。整幅画无喧嚣之态，唯有闲居之暖，似将时光凝于花阴下，藏住一段温柔的日常。笔触柔润却不失精准，将犬的憨态与场景的静谧融于一体，尽显生活中的细碎温情，让人观之忘俗。",[24,29,28,26,329,1207,1208,76,588,7,1209,1210],"犬","幼犬","阴景","多犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4e148e8acfd6744eb02cf49cd8a5dd6.jpg","123.3x153.7",[116],{"id":1215,"slug":1216,"title":1217,"dynasty":18,"author":1218,"museum":89,"description":1219,"tags":1220,"thumbUrl":1223,"material":485,"size":486,"collection":97,"collections":1224,"showCount":1225,"zanCount":11,"manualWeight":11,"mainColor":1140},230648,"bao-nan-gua-de-shao-nv-fu-shi-tuo-zuo-na-luo-230648","抱南瓜的少女","浮士托·佐那罗","浮士托·佐那罗fausto zonaro(1854年9月18日- 1929年7月19日)，他是一名意大利画家，以他的现实主义风格的生活和奥斯曼帝国的历史绘画而闻名。",[477,461,29,30,1221,1222,7,479,499,448],"少女","南瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae1afabc5e032ac22c4fa0cb818add4b.jpg",[],43,{"id":1227,"slug":1228,"title":1229,"dynasty":71,"author":1230,"museum":89,"description":1231,"tags":1232,"thumbUrl":1235,"material":97,"size":97,"collection":80,"collections":1236,"showCount":1237,"zanCount":11,"manualWeight":11,"mainColor":45},237663,"san-si-tu-zhou-yu-qi-feng-237663","三思图轴","俞奇逢","俞奇逢，[明]，福建沙县人。沙县俞氏自存胜得其舅氏边文进之传，遂世业花鸟。",[24,25,26,29,28,55,1233,1234,807,7,809],"鹰","白鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facc809c2646c002bed50c182f923e9d9.jpg",[80,116],40,{"id":1239,"slug":1240,"title":1241,"dynasty":50,"author":384,"museum":51,"description":1242,"tags":1243,"thumbUrl":1247,"material":1248,"size":1249,"collection":80,"collections":1250,"showCount":1237,"zanCount":286,"manualWeight":11,"mainColor":167},221706,"san-shu-tu-zhou-qian-xuan-221706","三蔬图轴","画塘上有乾隆帝题：秋圃真香。钱选（约1235-1307前），字舜举，浙江吴兴人。工诗，善书画，与赵孟俯同为“吴兴八俊”之一。",[23,24,29,28,1244,1245,1246,7,111,160],"茄子","瓜","蔬菜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52ac9cca7755d4ddbdc81bfe39278a07.jpg","纸本，设色","97.6x47.4cm",[80,116],{"id":1252,"slug":1253,"title":1254,"dynasty":105,"author":326,"museum":89,"description":327,"tags":1255,"thumbUrl":1258,"material":485,"size":486,"collection":97,"collections":1259,"showCount":1260,"zanCount":11,"manualWeight":11,"mainColor":167},235115,"xi-zhi-ai-e-tu-zhou-ren-yi-235115","羲之爱鹅图轴",[24,25,26,29,207,294,30,156,1256,179,7,459,1084,1257],"鹅","工写结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04fa5201165d8c09e15839d296e87072.jpg",[],37,{"id":1262,"slug":1263,"title":1264,"dynasty":71,"author":19,"museum":89,"description":1265,"tags":1266,"thumbUrl":1271,"material":97,"size":97,"collection":97,"collections":1272,"showCount":1260,"zanCount":286,"manualWeight":11,"mainColor":45},234931,"ming-ren-qiu-jing-huo-lang-tu-zhou-yi-ming-234931","明人秋景货郎图轴","当“双十一”掀开一个全民购物狂欢的序幕，放眼远在千百年前的临安街头，货郎们一人一担一声叫卖，仅凭这种最原始的“人肉购物车”，便足以吸引市井众人的注目，引出一番欢悦的情景。李嵩等画家以此为题奋笔挥毫，定格了过去一段段市井风貌。沉醉于塞满购物车再一朝清空快感的，不光只有21世纪的网购达人，中国古人的“购物车”更是让人眼花缭乱，甚至叹为观止。 在历代流传下来的“货郎图”图示中，我们便可略窥一二。宋代绘画是写实主义的巅峰，《货郎图》则是这一巅峰上的一片奇岫。南宋吴自牧《梦粱录》中提到，当时杭州的小贩在沿街叫卖时“挑担抬盘架”，“担瑜石钉铰金装架儿”，《清明上河图》中，也有货郎在一根扁担的两头各挑一个货架，说明这种一根扁担挑两个货架的销售形式，在两宋很是普遍。因此，画中这位货郎和他的货担，可谓是对十一至十三世纪的流动小商贩的忠实记录。“货郎图”是宋代较为流行的一种表现当时流动小商品买卖的绘画形式。如今存世较为知名的主要有四幅南宋李嵩的《货郎图》（分别藏于北京故宫博物院、台北故宫博物院、美国大都会博物院、美国克利夫兰美术馆）以及一幅传为北宋苏汉臣所作的《货郎图》。",[24,29,28,26,30,413,1267,1268,345,348,58,251,140,671,767,1269,1270,7],"妇女","货郎","货郎担","棚架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b38b5a780482a0e4fa98b8ed68079b5.jpg",[],{"id":1274,"slug":1275,"title":1276,"dynasty":105,"author":1277,"museum":89,"description":1278,"tags":1279,"thumbUrl":1282,"material":97,"size":97,"collection":97,"collections":1283,"showCount":1260,"zanCount":11,"manualWeight":11,"mainColor":167},229039,"chan-chu-zha-meng-tu-ye-jiao-bing-zhen-229039","蟾蜍蚱蜢图页","焦秉贞","设色清润雅致，绘就幽隅小景。修长鸢尾挺秀舒展，蓝白花瓣晕染细腻，斑纹纤毫毕现，尽显清雅之态。浅粉小花依偎坡边，柔婉动人。草畔小兽茸毛写实鲜活，正凝神窥伺翩飞蚱蜢，将刹那间的野趣定格于尺幅。整作工写兼融，草叶苍劲、花卉柔润、虫兽灵动相映成趣，悄然铺展出郊野一隅的鲜活生机，以细腻笔触勾勒物象情态，尽显恬淡雅致的自然意趣，于尺幅之间藏纳野逸悠然的生机之美。",[24,25,92,28,29,55,329,1280,1281,7],"蟾蜍","蚱蜢","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06d0f4e38e1f50913125f4aa5cc68db5.jpg",[],{"id":1285,"slug":1286,"title":1287,"dynasty":18,"author":507,"museum":89,"description":508,"tags":1288,"thumbUrl":1290,"material":485,"size":486,"collection":487,"collections":1291,"showCount":1260,"zanCount":286,"manualWeight":11,"mainColor":45},225881,"wild-roses-april-may-fan-gao-225881","Wild roses (April - May )",[477,29,560,1289,59,208,7],"玫瑰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0963962b5ae60baef8cf939bd255454b.jpg",[487],{"id":1293,"slug":1294,"title":1295,"dynasty":105,"author":106,"museum":51,"description":778,"tags":1296,"thumbUrl":1298,"material":29,"size":784,"collection":97,"collections":1299,"showCount":1260,"zanCount":11,"manualWeight":11,"mainColor":167},222737,"xian-e-chang-chun-tu-dou-hua-lang-shi-ning-222737","仙萼长春图豆花",[23,54,24,25,92,29,28,461,460,55,1297,630,464,95,7,807],"豆花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf7cbebeb96400b2f7cc4f921366e047.jpg",[],{"id":1301,"slug":1302,"title":1303,"dynasty":219,"author":963,"museum":204,"description":1304,"tags":1305,"thumbUrl":1307,"material":1308,"size":1309,"collection":97,"collections":1310,"showCount":1260,"zanCount":11,"manualWeight":11,"mainColor":45},221173,"na-ga-xi-na-zun-zhe-tang-ka-bu-ben-guan-xiu-221173","那伽犀那尊者（唐卡布本）","贯休(832年-912年)，俗姓姜，字德隐，婺州兰溪(今浙江省兰溪市)人。唐末五代时期前蜀画僧、诗僧。七岁出家和安寺，日读经书千字，过目不忘。唐天复间入蜀，被前蜀主王建封为禅月大师，赐以紫衣。\n天复二年（902年），黄巢起义席卷大半个中国，兵火连年，战祸惨烈。古稀之年的贯休，带着对命运和时代的切肤之悟，做出了人生中一个重大决定：“一瓶一钵垂垂老，千水千山得得来。”他从黔中（今湖南怀化）出发，经三峡，沿长江逆流而上，于次年初春到达成都，度过了人生的最后十年。",[23,54,24,25,26,29,27,30,329,445,55,920,60,809,7,28,37,1306],"桃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b41f5da4d64a7095b0f7c7ead52295.jpg","布本，设色","通高143厘米，宽89厘米，画心纵82厘米，横56厘米",[],{"id":1312,"slug":1313,"title":1314,"dynasty":18,"author":473,"museum":89,"description":474,"tags":1315,"thumbUrl":1320,"material":485,"size":486,"collection":487,"collections":1321,"showCount":1322,"zanCount":286,"manualWeight":11,"mainColor":45},225930,"flowers-at-vetheuil-1880-mo-nai-225930","Flowers at Vetheuil, 1880",[476,477,481,1316,515,59,898,7,345,1317,346,890,1318,480,893,892,1319],"色彩丰富","河流","远景","水景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3d1346f087a032be70d9ec8d35c5427.jpg",[487],36,{"id":1324,"slug":1325,"title":1326,"dynasty":50,"author":19,"museum":51,"description":1327,"tags":1328,"thumbUrl":1330,"material":39,"size":97,"collection":41,"collections":1331,"showCount":1322,"zanCount":286,"manualWeight":11,"mainColor":167},218862,"cai-yao-xian-lv-tu-yi-ming-218862","采药仙侣图","这幅画描绘了一位白袍医生和仙人从医书中挑选药材，而他们身后是隐藏在古松和祥云中的仙山和宫殿。岩山空无一物，背上长满青苔，松树和白鹤都很逼真。",[23,24,25,238,29,28,30,343,7,1329],"采药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb92b197d6b8f4dd837b06346da680a16.jpg",[41],{"id":1333,"slug":1334,"title":1335,"dynasty":71,"author":88,"museum":89,"description":90,"tags":1336,"thumbUrl":1337,"material":39,"size":97,"collection":97,"collections":1338,"showCount":1322,"zanCount":11,"manualWeight":11,"mainColor":45},216268,"er-shi-si-xiao-tu-23-chou-ying-216268","二十四孝图-23",[24,28,29,342,30,348,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7e14e088df464f82bfa3795e5d49abe.jpg",[],{"id":1340,"slug":1341,"title":1342,"dynasty":71,"author":1343,"museum":51,"description":1344,"tags":1345,"thumbUrl":1347,"material":501,"size":1348,"collection":97,"collections":1349,"showCount":1350,"zanCount":286,"manualWeight":11,"mainColor":167},232695,"fang-wang-meng-jiao-shi-tu-qian-gu-232695","仿王蒙蕉石图","钱毂","该画左侧画有高大的芭蕉，枝干粗壮挺拔，蕉叶茂盛，蕉叶的大小和形状各异在芭焦树右侧下，竖立着一块巨石，紧紧依仗在芭蕉树干上。奇石下长着数株花朵盛开的牡丹和茂密的枝叶。该画以粗笔泼墨把芭蕉，牡丹和湖石创造而成，细致的刻画没有作做。该幅墨韵气势，奔放横溢，笔墨和造型在徐渭的写意画中生动的表现出来，把花鸟、蔬菜、走兽、人物、山水等都给显示其中，令人耳目一新",[24,25,26,207,294,741,658,111,330,76,7,1346],"蕨类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9519a20dcb4c79c70479b45708fd193.jpg","145.8x49.8 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。明末清初画家，中国画一代宗师。",[24,25,92,207,75,7,497,780,111,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8afb9d7da92b5f64516cfa52133f8b17.jpg",[],34,{"id":1399,"slug":1400,"title":1401,"dynasty":50,"author":19,"museum":89,"description":1402,"tags":1403,"thumbUrl":1406,"material":97,"size":97,"collection":97,"collections":1407,"showCount":1397,"zanCount":257,"manualWeight":11,"mainColor":45},223643,"liao-gui-tu-yi-ming-223643","蓼龟图","此作构图疏淡清寂，以淡赭铺陈出秋日汀洲的柔和底色。坡石间灵龟敛息静伏，背甲纹理勾勒写实，憨态稚拙尽显。旁侧蓼花柔茎舒展，青绿叶片晕染雅致，淡紫碎花垂曳生姿，下方蓝紫小花点缀水岸，野趣悠然。\n画作工写相融，灵龟与花木刻画精细，设色清雅柔和，大片留白烘托出幽谧空寂的意境，尽显宋人小品的雅致意趣，将郊野闲逸之景凝于尺幅间，藏着对自然细微之美的敏锐体察，晕开悠然沉静的田园诗意。",[23,54,24,25,92,28,29,55,329,1404,1405,76,7],"龟","蓼草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9b574896c7d5eafa0c0c152a688c269.jpg",[],{"id":1409,"slug":1410,"title":1411,"dynasty":71,"author":19,"museum":89,"description":1412,"tags":1413,"thumbUrl":1417,"material":39,"size":1418,"collection":80,"collections":1419,"showCount":1397,"zanCount":11,"manualWeight":11,"mainColor":45},219906,"xuan-kui-shuang-li-tu-yi-ming-219906","萱葵双鹂图","垂柳叶丝轻曳水畔，两只黄鹂栖停枝梢，翅羽晕染细腻绵密，灵动身姿似正私语嬉游。左侧蜀葵攒簇粉艳花团，浓绿叶片饱满鲜活，下方萱花舒展素白瓣朵，依偎嶙峋湖石而生。\n\n整作设色古雅沉稳，沉褐绢底衬得花叶明丽、禽鸟娇俏。工笔晕染精妙入微，将蜀葵秾艳、萱花清柔，黄鹂的娇憨灵动画韵尽显，留白水岸清寂悠远，把初夏水畔的闲静生机凝于绢上，笔致工秀柔和，揉合雅致野趣，尽显悠然清逸的隐逸意趣。",[23,24,29,28,55,1414,1415,726,58,1416,807,56,7],"萱草","蜀葵","百合花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d1ccf1c70a12fed695098a1073e3dd5.jpg","纵118厘米 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jaunes et mauves, 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创作的纸本设色画，现藏于台北故宫博物院。\n该图描绘的是秋天的景色。\n一只野鸭正立于水岸边上，河里水波阵阵泛起，岸上野草丛生，一株芙蓉树正开得鲜艳。\n该图绿头鸭造型准确，勾勒工谨，以水墨晕染，略加花青、赭石淡彩，花草笔墨纵逸简括。\n此图中一只体硕羽丰的野鸭临水而立，霜晴溪碧，秋意浓郁。\n该画幅左有赵孟頫题记：“陈仲美戏作此图，近世画人皆不及也。\n子昂。\n” 诗塘有元人仇远题跋。\n其中右上的芙蓉、下方的坡石小草和粗笔的水波都是赵孟頫所加，粗笔水波之下还可见到陈琳原画细笔波纹的痕迹。\n画上钤有清人耿昭忠、乾隆帝、宣统帝等收藏印多方。\n《溪凫图》是陈琳求教与赵孟頫时，在赵氏的松雪斋中所作。\n时值元大德五年（11年），该图是在赵氏手把手的指导下，并且由赵氏润色题识共同合作完成的一幅作品。\n整幅画面保留了宋代花鸟相对严谨的造型和章法，区别在于通过相对粗拙的笔墨来作整体的勾染以呈现主体物象。\n野凫的喙以苍厚而毛涩的线勾出外轮廓，再以干笔淡墨循其形理擦染而成，形质俱在。\n鼻孔则又以浓墨细线勾其内外以示其形。\n头部则以浓淡不同的墨色来擦染。\n首先以不同紧松的笔触擦写以表现头部及脖子不同部位组织的软硬质地以及相互关系，然后根据需要敷以花青、染以不同深浅的墨色以体现头部皮肤及羽绒状况。\n浓墨细线，以肯定的笔触圈出眼眶，淡色渲染眼球，晶莹、润泽，浓墨圈点眼瞳，传野凫特有之眼神。\n颈与躯干相连接部分为白色羽毛，仅用两根界线勾出外轮廓，略施极淡的墨。\n野凫的前胸部则以点染笔法两至三遍地完成羽毛，较好地表现了短羽的松软。\n以粗拙的线条勾出左腿部及脚蹼，大腿上的羽毛较长用淡而长的弧线堆砌、错综，以显羽毛的自然情状。\n又以淡墨和赭石细勾分染以增其层次。\n为了表现紧紧包裹着小腿的皮的质感，则又细勾慢染，显脚部皮质的起伏与韧坚。\n背上翅部则是精雕细琢的部分，以勾染绘出根部外侧细毛层叠蓬松。\n翅前端几根大羽则用浓淡不同的线依其物理的方向，以富有弹性的线勾出，与细羽形成对比，尾部上面翅之最前端以极概括的手法涂染、大笔写出。\n整只野凫的描绘以明显的带有书写性的笔法绘出。\n整体结构的精准表现了野凫的一贯常态，极为传神。\n补景行笔从容，线条极具概括力，笔触简洁、富有意趣，轻松地表现了画幅上部的芙蓉以及下部的杂草。\n坡石的线条极为自如，看似随意间形质皆备，诚是“笔简而意繁”叠压在细劲水纹上粗简的复笔，润而凝、松而实。\n这些笔触表现的虽是背景，但横贯画幅，时于整体意笔气氛的营造有着极为重要的作用。\n画面写生式的画一只野鸭，本来构图容易陷于平板，但坡岸一条很粗的斜曲线，使画面起了变化，加以淡墨的不规则的水纹线条，使之有了起伏变化。\n然后在右上角用线描出芙蓉花，以及坡上车前草和两丛野草，使之丰满充实，疏密有致。\n现代文学家、画家 ：这画的确美妙、生动和自然。\n连霜消日晒、光暖波凉的感觉都能让人感到。\n虽是戏作，笔墨却是上乘。\n你看，这土坡的苍厚，鸭羽的柔软，花叶的肥嫩，水纹的光滑，全用不同质感的线条区分开。\n颜色不多却非常丰富；赭黄的调子洋溢着秋天的风韵。\n陈琳的《溪凫图》与其他画家的作品一起成为种标向，在花鸟画发展中做出了两个方面的贡献。\n其一是把绘画中的行利之分逐渐地引导到种新的审美境界中去，展现文人画的进一步发展，与此同时，其自身也成为了一种传统。\n将宋人绘画中的严谨、规整、刻画的造型，逐步向松灵、抒写、淡治转移。\n二是把黄家的设色体制水墨化，其特征是：1、保持黄体的基本构图和严格的造型性，但在表现形式上由紧转松。\n2、将对于形廓的勾勒线描，变纤细为可以粗重并加强其抒写性。\n、变体面的色彩呈现为墨分五彩，变三矾九染的渲染法为皴、擦、书写为主的干湿表现。\n该图曾经耿昭忠及清内府收藏。\n现藏于台北故宫博物院。\n217年1月4日—12月25日，台北故宫博物院举办“国宝的形成”特展，《溪凫图》在其中展出。\n陈琳，生卒年未详。\n元代画家。\n字仲美，钱塘（今浙江杭州）人。\n南宋画院待诏陈珏子。\n琳世其业。\n善画花鸟、山水、人物，得赵孟颊指授，多所资益，故其画不俗，尤善临摹古迹。\n尝作《夏木图》，张雨题诗，有“董源夏木不复见，俗本纷纷何足观；陈郎笔力能扛鼎，写此千章生昼寒”之句。\n传世作品有与赵孟頫合作的《溪凫图》轴。",[23,24,25,207,29,55,1485,725,7,76,160,111],"鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ab4dc7748b9ac3a1f0f3e1f60d4cb74.jpg","35.7x47.5",[80],30,{"id":1491,"slug":1492,"title":1493,"dynasty":105,"author":1494,"museum":89,"description":1495,"tags":1496,"thumbUrl":1499,"material":485,"size":486,"collection":97,"collections":1500,"showCount":1501,"zanCount":11,"manualWeight":11,"mainColor":167},239451,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239451","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。",[24,25,92,28,29,55,1497,1498,56,7,159],"牡丹","兰花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faef2ed2dae437b368ec5f5836264d4e1.jpg",[],29,{"id":1503,"slug":1504,"title":1505,"dynasty":105,"author":1506,"museum":89,"description":1507,"tags":1508,"thumbUrl":1509,"material":97,"size":1510,"collection":41,"collections":1511,"showCount":1501,"zanCount":286,"manualWeight":11,"mainColor":167},237549,"wu-liang-shou-fu-zhou-ding-guan-peng-237549","无量寿佛轴","丁观鹏","其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”",[24,25,26,29,28,27,30,343,76,725,7,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad762207352ab4f7beb208dc41e22025.jpg","纵99.3厘米，横61.9厘米",[41],{"id":1513,"slug":1514,"title":1515,"dynasty":18,"author":477,"museum":89,"description":1516,"tags":1517,"thumbUrl":1521,"material":485,"size":486,"collection":97,"collections":1522,"showCount":1501,"zanCount":11,"manualWeight":11,"mainColor":45},230599,"ren-jian-le-yuan-you-hua-230599","人间乐园","这片异色天地满溢诡谲幻想，左侧的异形建筑糅合血肉、植被与塔楼，盘旋的飞鸟撕碎静谧，仿佛是从意识裂隙中生长出的荒诞造物。右侧蓝紫色尖峰虬曲怪诞，悬垂的装饰为冷峻山体添上妖异气息。\n\n地面之上，温驯大象与异兽错落在青绿原野，打破现实的秩序边界。隐喻与狂想揉进笔触，违背常理的视觉符号编织出朦胧迷幻的幻梦，引观者坠入超验秘境，在怪诞共生的图景里，触摸脱离俗世逻辑的奇幻美学底色。",[477,29,27,343,329,1518,1519,922,807,345,7,464,1520],"龙","象","奇幻场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F473effe115c5ad9cd1bb2a47ae38513f.jpg",[],{"id":1524,"slug":1525,"title":1526,"dynasty":18,"author":507,"museum":89,"description":508,"tags":1527,"thumbUrl":1535,"material":485,"size":486,"collection":487,"collections":1536,"showCount":1501,"zanCount":11,"manualWeight":11,"mainColor":45},225874,"wheat-field-with-cypresses-1889-fan-gao-225874","Wheat Field with Cypresses 1889",[54,477,560,510,1528,1529,1530,1531,1532,1533,56,7,1534],"麦田","柏树","天空","云朵","远山","田野","色彩浓烈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf1a2ba98df646a99e7b0f8e7364e4c2.jpg",[487],{"id":1538,"slug":1539,"title":1540,"dynasty":50,"author":1541,"museum":51,"description":1542,"tags":1543,"thumbUrl":1551,"material":113,"size":1552,"collection":97,"collections":1553,"showCount":1501,"zanCount":286,"manualWeight":11,"mainColor":167},221590,"qiu-hui-cao-chong-tu-li-di-221590","秋卉草虫图","李迪","此画左下方斜出数茎花草，相互掩映。一叶梢上栖息着一只螳螂，回首张望，高举双臂，似是盯着正在飞舞捕食的金龟。螳螂自腰部至头部弯转，其弧度与金龟外壳圆缓的轮廓线、草木花叶的线条都甚利落。其最精彩的部分应属精细的敷色，顺着叶片弧度，用石绿叠出深浅及细细叶脉。石青点染的鸭跖草，及天青色花瓣，虽色已剥落，仍有透薄之感。花间用白粉描绘小花头，螳螂上半部因敷白粉，突出了甲壳的平滑立体，其前臂更是富于变化，虽只勾勒出轮廓，但黄褐、淡黄、橄榄绿等色叠变，显示出更细致的部位变化，其金色的龟壳以金粉钩染，斑纹历历在目。",[23,24,25,92,29,28,55,159,878,526,56,7,1544,1545,1546,1547,77,1548,461,671,251,1549,1550],"虫类","工笔花鸟","宋代绘画","设色花鸟","细笔","小生灵","花鸟草虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0fa271539c516bc1fca226558e483c4.jpg","25.2x26.1厘米",[],{"id":1555,"slug":1556,"title":1557,"dynasty":71,"author":1558,"museum":20,"description":1559,"tags":1560,"thumbUrl":1561,"material":1562,"size":1563,"collection":80,"collections":1564,"showCount":1565,"zanCount":286,"manualWeight":11,"mainColor":45},222417,"cao-chong-ce-ye-wen-liang-222417","草虫册页","温良","温良，山西山阴人，明朝政治人物。进士出身。\n永乐九年，辛卯科山西乡试中举。永乐十九年（1421年）辛丑科进士，授户部郎中",[23,24,29,28,92,159,809,7,266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78c9ca4b052ee1ae78ddd46b0f652dc2.jpg","绢本水墨设色","12.7×17.1",[80,116],28,{"id":1567,"slug":1568,"title":1569,"dynasty":105,"author":1570,"museum":51,"description":1571,"tags":1572,"thumbUrl":1576,"material":501,"size":1577,"collection":80,"collections":1578,"showCount":1579,"zanCount":11,"manualWeight":11,"mainColor":167},237346,"jian-chun-zhou-lu-hui-237346","饯春轴","陆恢","陆恢（1851—1920），清末民初著名画家。原名友恢，一名友奎，字廉夫，号狷叟，一字狷盫，自号破佛盫主人，原籍江苏吴江，居吴县（今江苏苏州）。",[24,25,26,28,29,1497,1573,1574,7,267,208,1575,1133,239],"壶","篮","木桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e4c18372e35b5a588fefe72981a0da5.jpg","151x39.5",[80,116],26,{"id":1581,"slug":1582,"title":1583,"dynasty":105,"author":1584,"museum":204,"description":1585,"tags":1586,"thumbUrl":1587,"material":1248,"size":1588,"collection":97,"collections":1589,"showCount":1579,"zanCount":11,"manualWeight":11,"mainColor":167},233728,"wu-rui-tu-zhou-xu-gu-233728","五瑞图轴","虚谷","瓶花是虚谷喜画的题材之一。图中蜜桃、枇杷、百合等是日常生活中常见的花果，给人以朴素、亲切的感觉。图中瓷瓶及百合用勾染法描绘，线条简练，造型准确；花卉、蜜桃及枇杷用没骨法表现，层层渲染，增添了花果的层次感及质感。画面设色润泽鲜艳，富有淡雅清新的韵味。\n“五瑞”即端午祥瑞之意。蜜桃、枇杷、百合均有吉祥寓意。此图当为祝贺是年端午节而作。",[24,29,75,55,56,267,1132,194,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eacdc52cbfaccb9957c899b8b80fc7e.jpg","纵177.8厘米，横46.3厘米",[],{"id":1591,"slug":1592,"title":1593,"dynasty":18,"author":1594,"museum":89,"description":1595,"tags":1596,"thumbUrl":1604,"material":485,"size":486,"collection":97,"collections":1605,"showCount":1579,"zanCount":11,"manualWeight":11,"mainColor":45},226151,"conception-giovanni-battista-tiepolo-226151","Conception","Giovanni Battista Tiepolo","乔凡尼·巴蒂斯塔·提埃坡罗，常被称为詹巴蒂斯塔（Giambattista），巴洛克及洛可可时期意大利著名画家，威尼斯画派最后的代表人物。",[27,477,30,1597,1598,1518,1531,56,1599,1600,1601,7,461,481,1316,1602,1603],"天使","鸽子","披风","翅膀","球体","神话生物","小天使","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da7c27f4bcc1dbe29780391e7ba55ab.jpg",[],{"id":1607,"slug":1608,"title":1609,"dynasty":18,"author":473,"museum":89,"description":474,"tags":1610,"thumbUrl":1615,"material":485,"size":486,"collection":487,"collections":1616,"showCount":1579,"zanCount":11,"manualWeight":11,"mainColor":1140},226145,"wistarias-at-giverny-mo-nai-226145","Wistarias at Giverny",[476,477,1611,482,1612,1613,266,499,7,56,1614],"光影捕捉","笔触轻快","紫藤花","自然景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86b0e9a23d613eabce3b15b3e7e09b8b.jpg",[487],{"id":1618,"slug":1619,"title":1620,"dynasty":18,"author":19,"museum":89,"description":1621,"tags":1622,"thumbUrl":1623,"material":485,"size":486,"collection":97,"collections":1624,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":167},231793,"ming-qing-ri-ben-gu-hua-hua-niao-shan-shui-ren-wu-fen-ben-hua-niao-juan-yi-ming-231793","明清日本古画花鸟山水人物粉本-花鸟卷","此卷三段取景，意趣各别。首段紫茄垂枝，晕染柔和饱满，将蔬果的鲜活质感尽显无余。中段群芳错生，凤仙秾艳、牵牛幽蓝、鸡冠明黄，草间蜻蜓静立，工笔勾勒柔劲相济，淡彩敷色清润雅致，将花草舒展之姿描摹入微。末段坡泽野趣盎然，蛙类或跃或伏，紫藤垂缀如瀑，蜂蝶振翅穿梭，生机灵动。全卷笔致秀雅，兼具工细写生的精工与自然野逸之趣，淡墨轻色温润和谐，将四时小景的鲜活意趣融于长卷，尽显写生花鸟的雅致风神。",[23,24,25,155,29,28,55,7,526,712,831,208,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9311663ccaeea82c7a495e62a25ee48c.jpg",[],{"id":1626,"slug":1627,"title":1628,"dynasty":105,"author":1629,"museum":89,"description":1630,"tags":1631,"thumbUrl":1632,"material":97,"size":97,"collection":97,"collections":1633,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":167},224168,"zhu-ju-tu-zhou-xi-gang-224168","竹菊图轴","奚冈","画面以山水衬花木，竹枝挺秀于右上角，涧水蜿蜒穿石而过，丛菊沿溪盛放，白花墨叶相互映衬。山石以淡墨皴擦留白作泉流，笔致松秀灵动，菊花以细笔勾勒花瓣，淡墨晕染花叶，清妍雅致。\n\n行书长题与画作相映，寄寓爱菊慕寿的文人雅趣。整体意境清寂高旷，将花木清隽与山水静逸融为一体，淡墨浅彩间尽显幽淡冲和的林下之风，是文人花鸟画中诗画合璧的逸品。",[23,24,25,26,29,741,156,934,725,58,588,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefc656bde3d4ac43914a891d3b7e6eef.jpg",[],{"id":1635,"slug":1636,"title":1637,"dynasty":71,"author":974,"museum":89,"description":1638,"tags":1639,"thumbUrl":1640,"material":28,"size":1641,"collection":97,"collections":1642,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":982},222047,"de-qu-zai-ren-ce-13-kai-7-wang-zhong-222047","得趣在人册13开7","汪中，明代画家，以翎毛、山水、人物精擅一时。汪中应人之邀作《得趣在人》册页，共十二开，工笔绘芭蕉、哺雀、舞剑等，此册技法上笔墨雅韵，意境深邃。",[23,24,29,28,92,55,7,526,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56a12d7639698270f51dfddb83da789f.jpg","30×27厘米",[],{"id":1644,"slug":1645,"title":1646,"dynasty":105,"author":1647,"museum":89,"description":1648,"tags":1649,"thumbUrl":1652,"material":485,"size":486,"collection":97,"collections":1653,"showCount":1654,"zanCount":286,"manualWeight":11,"mainColor":167},235318,"hua-niao-tu-zhou-ling-heng-235318","花鸟图轴","凌恒","画面留白疏朗，坡岸生棘草野卉，红实垂缀枝梢，暗涌浅秋生机。四只小雀栖于柔条之上，或整羽、或顾盼，灵动娇憨。石坡间斑鸠独立，翎毛晕染细腻柔和，神态安然娴静。\n\n此作工写相融，敷色清雅克制，禽鸟形神兼备，草木勾勒秀逸简淡，以极简布景烘托出郊野幽寂安闲的氛围，将荒陂秋日的恬然生机藏于笔底，尽显平和雅致的林下意趣。",[24,26,29,28,55,807,60,7,267,1650,1651],"杂草","地面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7fd4ecfe92a7ecfebd88f9ec0e17f39.jpg",[],24,{"id":1656,"slug":1657,"title":1658,"dynasty":105,"author":106,"museum":204,"description":1659,"tags":1660,"thumbUrl":1661,"material":350,"size":1662,"collection":97,"collections":1663,"showCount":1654,"zanCount":286,"manualWeight":11,"mainColor":167},232975,"hua-niao-ce-lang-shi-ning-232975","花鸟册","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。",[54,24,25,28,29,460,55,157,56,7,526,711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a5b70c75f435968ca94dcef15bf7a87.jpg","纵32.6厘米，横28.6厘米",[],{"id":1665,"slug":1666,"title":1667,"dynasty":50,"author":19,"museum":89,"description":1668,"tags":1669,"thumbUrl":1671,"material":97,"size":97,"collection":97,"collections":1672,"showCount":1673,"zanCount":286,"manualWeight":11,"mainColor":45},227927,"dou-jia-qing-ting-tu-yi-ming-227927","豆荚蜻蜓图","《豆荚蜻蜓图》是宋代佚名画家创作的一幅 设色画，现藏于 。\n此图画面为长圆扇形，绘豆花上栖息一只黄褐色蜻蜒，枝叶微向下垂。\n整幅作品结构自然，疏密得体，色彩丰富，工写结合。\n其中蜻蜒的描绘神妙入微。\n画家不仅再现了蜻蜒的形态，甚至连透明的翅膀及纹络都表现了出来。\n而豆花则以简笔写出，野趣天然。\n此图旧传为徐熙所作。\n图中画的是田野苗圃间菜豆花与蜻蜓之类昆虫常见的景物。\n画面为长圆扇形，画家以独具的慧眼撷之入画，采取了特写镜头，只取其豆花的枝头，豆茎自左下向右上斜出，枝叶微下垂，枝上有浅紫色的豆花、绿色的豆叶和沉甸甸地挂下来的长长豆荚。\n枝梢上歇息着一只大蜻蜓，正在吮吸豆荚嫩叶的鲜汁。\n蜻蜓呈黄褐色，张开双翼，长长的身子下垂，尾部稍有弯曲。\n图中豆荚一枝，果实乍结。\n一只黄褐色的蜻蜓轻轻停落在枝端，将豆荚压得微微颤动。\n画面构图简洁自然，疏密得体。\n画家用中锋细笔勾勒豆荚枝叶的轮廓，用花青、石绿轻染，以白粉点花瓣，线条沉稳，色彩丰富，形象写实逼真。\n图中尤以蜻蜓描绘得出神入化，其翅膀透明的质感以及清晰的纹络都表现得清清楚楚，活灵活现，反映了宋画在写实方面所达到的高度水平。\n图右下方押“徐熙”二字伪款，不见于著录。\n本幅鉴藏印有：“徐熙”朱文杯形，另一印不辨。\n注：中国古代书画鉴定组定为宋人画。\n旧题为徐熙所作，押‘馀熙”印。\n押印是否可靠，现今难以证实。\n但此图的画法与画史对徐熙画风的记载颇相吻合，可能是北宋时徐熙画派的画家所作。\n整幅作品结构自然，疏密得体，色彩丰富，工写结合。\n其中蜻蜓的描绘神妙入微。\n画家不仅再现了蜻蜓的形态，甚至连透明的翅膀及纹络都表现了出来。\n而豆花则以简笔写出，野趣天然。\n整幅作品结构自然，疏密得体，中锋运笔，线条沉稳，色彩丰富，写实逼真，作者善于刻画和铺排是这幅作品在技巧上的特色。\n菜豆的枝干、花叶、荚部是用粗简的线条勾出，然后略施粉彩，尤其对蜻蜓的描绘神妙人微。\n蜻蜓身子晕染工细，头部网网眼和翅翼细细刻画轻轻染色，十分清晰透剔，甚至连透明的翅膀及纹络状的小组织．都细微地表现了出来。\n蜻蜓身上的色斑与浅紫色的豆花，一深一浅，使主题显明突出，这充分反映了宋画在写实方面所达到的高度水平。\n从绘画题材及笔墨技巧上看，具有徐熙画的特征。\n《圣朝名画评》说，徐熙画花卉“多做园圃以求情状，虽蔬菜茎苗，以人图写。\n”但本图无款识，至少可以这样说，虽非出于徐熙之手笔，但可以代表北宋徐熙一派的画风，亦可以说此幅是徐派留下来的凤毛麟角般的珍品。\n此图右下方押“徐熙”二字伪印。\n此图无款，有“徐熙”朱印。\n旧题为徐熙作。\n徐熙“善画花竹林木、蝉蝶草虫之类，多游园圃以求情状，虽蔬菜茎苗亦人图。\n写意出古人之外，自造于妙。\n尤能设色，绝有生意”。\n从这幅作品亦可领略上述特点，所以虽非出于徐熙之手，也可代表北宋徐熙一派的画风。\n此图写豆茎一枝自右下向左上斜出，而梢头着一大蜻蜓。\n这农家随处可见的景物，画家以独具的慧眼撷之入画，可谓别开生面。\n豆花、豆叶，点缀生动，长豆三两根，垂垂可喜。\n茎、叶、豆荚，均以墨勾，疏疏几笔，中设豆绿色，叶中锈斑、虫蚀均为描出，紫白色的豆花和蜻蜓，以没骨法晕染，蜻蜒尤备极工细，神韵奕奕。\n对花写照的写生功力，令人惊叹。\n色调素雅，变化层次微妙，工写兼施，相映成趣。\n构图善从一角生发，全幅荡漾着空灵的诗意，尤觉流走圆美。\n不是面面俱到，或泛泛大略，而是择取一枝一梢作精心的观赏，一枝一叶总动情，这种审美性格为宋人所独具，风气所开，遥领千古。\n此图笔墨间随处散发着一种田园佳趣，尤为感人至深，而熠耀其中的是诗意的空间。\n宋画一如宋诗，其异于唐人之处：一为田园气息，二为哲理之思(以景喻理)。",[23,54,24,25,238,28,29,55,1670,158,1130,526,7],"豆荚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48eea5d1a6887f57421ffd7e0488a89c.jpg",[],23,{"id":1675,"slug":1676,"title":1677,"dynasty":18,"author":507,"museum":89,"description":508,"tags":1678,"thumbUrl":1683,"material":485,"size":486,"collection":487,"collections":1684,"showCount":1673,"zanCount":11,"manualWeight":11,"mainColor":45},225737,"der-rote-weinberg-fan-gao-225737","Der 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，设色","纵70.11cm，横53.4cm",[80,116],{"id":1735,"slug":1736,"title":1737,"dynasty":136,"author":384,"museum":89,"description":1738,"tags":1739,"thumbUrl":1740,"material":97,"size":97,"collection":97,"collections":1741,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":167},228014,"shuang-ya-tu-ye-qian-xuan-228014","双鸭图页","此作用色清隽雅致，以澄澈钴蓝晕染水面，铺就幽宁底色。枯涩崖岸旁，蓼花垂曳轻摇，荇花绽于浅波，野趣盎然。白鸭昂首引吭，绒毛以淡墨层层晕染，柔润蓬松，憨态灵动，将水禽的慵懒自在尽显无遗。\n左侧题字墨色沉郁古雅，书画合璧，晕开文人逸趣。整幅画作工致却无板滞之感，褪去浓艳浮华，以清简笔触定格江南水畔一隅生机，在平淡天真里晕染出静逸诗意，把闲淡野逸的水乡意趣藏于笔底，尽显雅致悠然的文人审美意韵。",[23,54,24,25,92,28,29,1485,809,7,56,346],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264f3c409d648d2eabd5847edaa99ecd.jpg",[],{"id":1743,"slug":1744,"title":1745,"dynasty":136,"author":19,"museum":89,"description":1746,"tags":1747,"thumbUrl":1749,"material":97,"size":97,"collection":97,"collections":1750,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":45},223624,"cao-chong-tu-zhu-ye-juan-ben-yi-ming-223624","草虫图竹叶绢本","画面错落铺陈野趣生机，上方疏枝斜探，中段群芳舒展。明黄蜀葵柔丽妍秀，紫花秾艳、朱英点点，深浅花色交映成趣。粉蝶蹁跹、蜉蝣轻翔，草虫灵动如生，隐于枝叶花间。\n\n落笔工细秀逸，晕染雅致沉静，深褐绢底托衬出花木清妍，将初秋郊野的幽寂鲜活晕染开来。工致中带着写意澹远，把小景生机藏于古雅色调，静中含动，尽显写生花鸟的含蓄雅致，淡冶清和之间，古韵悠然流转，将草木虫豸之微末意趣，铺展成耐人品味的幽闲景致。",[23,24,54,25,418,29,28,159,1748,56,157,158,7],"竹叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ed08f0802a9845b116d1f8c75cdf940.jpg",[],{"id":1752,"slug":1753,"title":1754,"dynasty":71,"author":19,"museum":89,"description":1755,"tags":1756,"thumbUrl":1758,"material":97,"size":97,"collection":97,"collections":1759,"showCount":1760,"zanCount":257,"manualWeight":11,"mainColor":45},234681,"ming-ren-hong-liao-qing-ting-wan-ye-yi-ming-234681","明人红蓼蜻蜓纨页","扇面画的历史源流，据张彦远《历代名画记》记载，三国时，曹操就有请杨修为其画扇的故事。到了唐代画扇之风更为盛行，当时的扇子还是圆形的，故称团扇。宋代宫廷画家更是画扇成风，且留下扇面画也很多，扇子的形制出现了芭蕉形的扇子。集书法、绘画于一扇，则始于明代，这是因为折扇形式的出现。国人历来都有这种习性，一件实用品总要给它艺术化，扇面画就是这样经过明清书画家的匠心经营，从而逐步确定了其作为一种独特的艺术品种而广泛普及、流传下来，继而也逐步形成了扇面画独立的审美体系。及至清代、民国，扇面画都是书画家乐于染翰和文人雅士乐于把玩、收藏的艺术品。",[24,25,238,28,29,55,1757,158,7,526],"红蓼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd4dece5ebaf33ae1126c53f9846d96a.jpg",[],20,{"id":1762,"slug":1763,"title":1764,"dynasty":18,"author":473,"museum":89,"description":474,"tags":1765,"thumbUrl":1767,"material":485,"size":486,"collection":487,"collections":1768,"showCount":1760,"zanCount":11,"manualWeight":11,"mainColor":45},226077,"the-iris-garden-at-giverny-1899-1900-mo-nai-226077","The Iris Garden at Giverny, 1899-1900",[476,477,1188,889,345,1766,251,7,480],"小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3e8a5d135301cb3766f578cad93232a.jpg",[487],{"id":1770,"slug":1771,"title":1772,"dynasty":18,"author":507,"museum":89,"description":508,"tags":1773,"thumbUrl":1776,"material":485,"size":486,"collection":487,"collections":1777,"showCount":1760,"zanCount":11,"manualWeight":11,"mainColor":1140},225730,"cineraria-1886-fan-gao-225730","Cineraria 1886",[477,888,29,1774,56,7,208,1132,1775],"静物","桌面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff71ceede03367886e17a4c572f56e1f8.jpg",[487],{"id":1779,"slug":1780,"title":1781,"dynasty":105,"author":19,"museum":89,"description":1782,"tags":1783,"thumbUrl":1784,"material":39,"size":97,"collection":97,"collections":1785,"showCount":1760,"zanCount":11,"manualWeight":11,"mainColor":45},216720,"hong-lou-meng-fu-tu-ce-5-yi-ming-216720","红楼梦赋图册-5","墨笔竖书的赋文如流水淌过笺页，字里行间似藏着红楼儿女的喁喁私语。环绕的缠枝绿意轻舒，粉蕊点缀其间，像把大观园的春愁秋恨织进了文字的肌理。淡彩勾勒的纹样不事张扬，却与端雅的小字相映成趣，仿佛能闻见纸页间漫出的墨香与花香。每一处线条的婉转，每一笔色彩的晕染，都暗合着赋文里的悲欢：那些红楼旧梦，那些聚散浮萍，都在这清雅的构图里，化作一抹挥之不去的怅惘，引观者沉入古典文学的温柔秘境。",[23,24,25,92,29,160,548,266,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc66a6efec35222818c1cba6fa7d41d6.jpg",[],{"id":1787,"slug":1788,"title":1789,"dynasty":105,"author":1790,"museum":89,"description":1791,"tags":1792,"thumbUrl":1794,"material":485,"size":486,"collection":97,"collections":1795,"showCount":1796,"zanCount":11,"manualWeight":11,"mainColor":167},238662,"ping-wu-fu-tu-zhou-shen-quan-238662","平五福图轴","沈全","沈全，江苏人。清末宫廷画家。以写仕女、花鸟著称。主要作品《韬养斋笔记、湖社月刊》。",[24,25,26,28,29,30,413,1793,58,626,727,7],"梅树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d7d691b311114c7246584b6556ef31a.jpg",[],19,{"id":1798,"slug":1799,"title":1800,"dynasty":18,"author":473,"museum":89,"description":474,"tags":1801,"thumbUrl":1805,"material":485,"size":486,"collection":487,"collections":1806,"showCount":1796,"zanCount":11,"manualWeight":11,"mainColor":1140},226131,"the-water-lily-pond-at-giverny-1917-mo-nai-226131","The Water-Lily Pond at Giverny, 1917",[476,477,1802,1803,346,1804,345,251,7,480,481,482,1438],"池塘","睡莲","倒影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e3a8fb7d461b825bc9f879091fc468a.jpg",[487],{"id":1808,"slug":1809,"title":1810,"dynasty":18,"author":507,"museum":89,"description":508,"tags":1811,"thumbUrl":1816,"material":485,"size":486,"collection":487,"collections":1817,"showCount":1796,"zanCount":11,"manualWeight":11,"mainColor":45},225876,"wheatfield-june-fan-gao-225876","Wheatfield (June - )",[54,477,560,1812,515,1813,1528,1533,345,1530,1814,7,1815],"厚涂法","色彩鲜艳","小路","山丘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F993a4033e4ca4492e2043bb928a737af.jpg",[487],{"id":1819,"slug":1820,"title":1821,"dynasty":18,"author":507,"museum":89,"description":508,"tags":1822,"thumbUrl":1824,"material":485,"size":486,"collection":487,"collections":1825,"showCount":1796,"zanCount":11,"manualWeight":11,"mainColor":45},225750,"garden-with-butterflies-1889-fan-gao-225750","Garden with butterflies 1889",[477,560,510,515,1823,899,464,157,7,401],"色彩浓郁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fd199a6ed2579950996617568558994.jpg",[487],{"id":1827,"slug":1828,"title":1829,"dynasty":105,"author":372,"museum":89,"description":1061,"tags":1830,"thumbUrl":1831,"material":97,"size":97,"collection":97,"collections":1832,"showCount":1833,"zanCount":11,"manualWeight":11,"mainColor":167},238368,"dong-gao-yan-chun-hui-cai-tu-ce-dong-gao-238368","董诰延春荟彩图册",[24,25,92,29,28,55,588,7,934,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bc3e82873bcb91b1732d6a8cb1e97dd.jpg",[],18,{"id":1835,"slug":1836,"title":1837,"dynasty":18,"author":473,"museum":89,"description":474,"tags":1838,"thumbUrl":1841,"material":485,"size":486,"collection":487,"collections":1842,"showCount":1833,"zanCount":11,"manualWeight":11,"mainColor":45},226107,"the-reeds-study-mo-nai-226107","The Reeds (study)",[476,477,1185,1187,1186,178,7,480,1839,1840],"朦胧氛围","水域边景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa73e7413da72fb11e6bd4f97a244fe7c.jpg",[487],{"id":1844,"slug":1845,"title":1846,"dynasty":18,"author":473,"museum":89,"description":474,"tags":1847,"thumbUrl":1850,"material":485,"size":486,"collection":487,"collections":1851,"showCount":1833,"zanCount":286,"manualWeight":11,"mainColor":45},225960,"irises-1914-17-mo-nai-225960","Irises, 1914-17",[476,477,1848,1849,1188,7,251],"色彩融合","笔触自由","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde6f543826f5e14a7efb29668df9d017.jpg",[487],{"id":1853,"slug":1854,"title":1855,"dynasty":18,"author":507,"museum":89,"description":508,"tags":1856,"thumbUrl":1858,"material":485,"size":486,"collection":487,"collections":1859,"showCount":1833,"zanCount":11,"manualWeight":11,"mainColor":45},225757,"green-field-1889-fan-gao-225757","Green Field 1889",[560,477,510,515,514,1533,1529,890,1530,1531,464,7,1857],"乡村景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d65c08f6c36af04b692061c139fc88f.jpg",[487],{"id":1861,"slug":1862,"title":1863,"dynasty":71,"author":1864,"museum":204,"description":1865,"tags":1866,"thumbUrl":1870,"material":1248,"size":1871,"collection":97,"collections":1872,"showCount":1833,"zanCount":11,"manualWeight":11,"mainColor":45},222088,"qiu-zhi-yuan-tu-juan-qian-gu-222088","求志园图卷","钱谷","在明代吴门画家的作品中，有许多以他人的室名别号为题，这类作品被张丑称之为“别号图”，如推而广之，还应包括以庄园、庭院为题材的作品。它们在描绘人造园林真实性的基础上，力图表现园林主人的生活理想，反映他们身居闹市，却追求“与深山野水为友”的操守与志向，这类作品成为吴门画派所表现的一种突出的艺术现象，而钱穀的《求志园图》正是其中颇具代表性的一件。\n此卷是钱穀应友人张凤翼之请，描绘其家园春夏之间的景色，卷首有文徵明题“文鱼馆”三字，卷后有王世贞行书《求志园记》。画家从右侧园门画起，以怡旷轩、风木堂、尚友斋为中心，前有庭，后有园，渐次展开，王世贞所撰《求志园记》中采芳径、文鱼馆、香雪廊皆按图可索，抚记展图，这座“旦而旭、夕而月、风于春、雪于冬”的甲第名园中当年文人云集、清谈雅会的盛景似乎随着手卷展开历历在目。虽写实景，却不是简单的再现，更注意了人造景观与湖渚山色的自然风光的谐调与结合，突出了中国古代“虽由人造，宛自天成”的造园理念，用修篁古木、冬梅花篱、白鹅紫鸳表现画主人对归隐生活的向往，是托物言志的再创造。事实上，由于画家与画主人在情感、思想、旨趣上的相通，图中寄寓的对天地灵秀、淡泊胸襟的意趣追求，同样是画家本人的内心写照。",[23,24,155,29,28,25,161,548,111,344,345,1867,863,725,890,347,1451,1724,1868,1869,864,7],"亭子","柳","园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66742fa1af93fb6e7fea758c370c8f5a.jpg","纵29.8厘米，横190.2厘米",[],{"id":1874,"slug":1875,"title":1876,"dynasty":136,"author":19,"museum":89,"description":1877,"tags":1878,"thumbUrl":1880,"material":97,"size":97,"collection":80,"collections":1881,"showCount":1882,"zanCount":286,"manualWeight":11,"mainColor":45},238064,"po-shu-kun-chong-ye-yi-ming-238064","坡蔬昆虫页","此作以小品之境写就郊野秋意，淡墨晕染坡岸，尽显荒疏松软的野地质感。野蔬茎干挺秀，菜叶以赭红晕染，舒展间带着晚风轻拂的柔态，旁侧兰叶修长劲挺，笔墨清简古雅。\n\n三只草虫各得其所，伏于菜叶的凝神静立，栖于长茎的振翅欲飞，勾勒精细入微，翅脉纤毫毕现，将秋虫灵动之态定格。整体设色浅淡含蓄，意境清寂淡远，把乡野一隅的幽微生机全然铺展，尽显简淡空灵的审美意韵，藏着秋日郊野的闲静野趣。",[54,24,25,28,29,1879,1246,526,7,711],"坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29a3dd3a5853542e3360f6f0e64b0218.jpg",[80],17,{"id":1884,"slug":1885,"title":1886,"dynasty":105,"author":1887,"museum":204,"description":1888,"tags":1889,"thumbUrl":1890,"material":1248,"size":97,"collection":97,"collections":1891,"showCount":1882,"zanCount":11,"manualWeight":11,"mainColor":167},237181,"hua-niao-kun-chong-ce-zhou-quan-237181","花鸟昆虫册","周铨","沈铨 （1682—1760），字衡之，号南苹，其画远师黄筌画派，近承明代吕纪，工写花卉翎毛、走兽，以精密妍丽见长，也擅长画仕女。设色妍丽，工致精丽、赋色浓艳，极尽构梁之巧。画人物得不传之秘。注重写实，画风谨严工细，造型准确生动。尝写《花蕊夫人宫词》为图，笔意殊极巧妙。\n雍正九年（1731）沈铨应日本天皇之聘，偕弟子郑培、高钧等东渡日本，历时3年，形成“南苹派”写生画，深受日人推崇，被称为“舶来画家第一”，从习画者颇多，日本江户时代长崎画派即在其影响下形成，尤以圆山应举最为著名。归得金帛散给友朋，橐仍萧然。\n沈铨归国后声誉大震，传至京城，朝廷便下旨命沈铨作画上贡，乾隆7年作《花蕊夫人宫词意》受到好评，除此，沈铨还陆续为宫廷作吉祥寓意之画，由此沈铨及弟子童衡在中国画史上被称为宫廷画家，沈铨晚年寄居于苏州，孜孜不倦地致力于书画艺术之研究，在乾隆27年81岁的沈铨还能作《花鸟图》。1762年沈铨逝世后，从子沈天骧进新市南频府，守孝三年，继承画业，唯一入室弟子童衡离开沈宅到新市明因寺为僧，闲余作画终身。沈铨把一生献给了绘画事业，在继承院体派传统的基础上，独创了强大的南苹画派，在当时的江南独树一帜，有诗予以很高的评价“江南高手谁第一，吴兴沈生世无匹”。",[24,29,28,55,526,157,699,7,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2343f6636f8ad99ed8390e4becb1304a.jpg",[],{"id":1893,"slug":1894,"title":1895,"dynasty":18,"author":473,"museum":89,"description":474,"tags":1896,"thumbUrl":1899,"material":485,"size":486,"collection":487,"collections":1900,"showCount":1882,"zanCount":11,"manualWeight":11,"mainColor":1140},225935,"giverny-roses-and-waterlilies-mo-nai-225935","Giverny, Roses and Waterlilies",[476,477,1611,514,1185,1897,1898,1289,1803,726,890,464,1802,7,889,345,898,1319,900],"户外写生","自然光影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9966ae20ecd5dd7785816cc86e135faa.jpg",[487],{"id":1902,"slug":1903,"title":1904,"dynasty":105,"author":106,"museum":204,"description":1659,"tags":1905,"thumbUrl":1908,"material":350,"size":1662,"collection":97,"collections":1909,"showCount":1882,"zanCount":11,"manualWeight":11,"mainColor":167},222790,"hua-niao-ce-ye-10-lang-shi-ning-222790","花鸟册页10",[23,54,24,25,400,28,29,460,461,55,1188,59,208,33,7,481,1906,1907],"透视","重彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26cf8023c1a700d7d63d7c95b0ee1172.jpg",[],{"id":1911,"slug":1912,"title":1913,"dynasty":105,"author":1914,"museum":89,"description":1915,"tags":1916,"thumbUrl":1918,"material":97,"size":97,"collection":97,"collections":1919,"showCount":1920,"zanCount":11,"manualWeight":11,"mainColor":45},235990,"mo-ai-tu-zhou-zou-zhe-235990","墨艾图轴","邹喆","《墨艾图》是清代画家邹喆创作的一幅纸本墨笔画，本幅所绘墨笔艾草运笔浓淡有致，并通过墨色的变化营造出了空间感。\n本幅右上角题款：“景泰四年癸酉夏正午日，相谿沈贞。\n”钤“沈氏贞吉”（朱方）、“南斋”（朱方）印。\n款印皆伪，系后添。\n左下角为邹喆本款：“萧艾有清芬，为性本芳洁。\n寄言熏德者，不扶芑自直。\n癸巳午月题于节霞阁， 邹喆。\n”钤“邹喆之印”（白方）、“方鲁”（朱方）印。\n收藏印五方 ：“震泽王氏鉴藏画印”、“公绶”、“公绶”、“子孙宝之”、“购甲辰进士弟”。\n本幅所绘墨笔艾草运笔浓淡有致，并通过墨色的变化营造出了空间感。\n艾草在中国民间有着驱邪的寓意。\n邹喆作为文人画家也在自己的绘画中表现具有风俗元素的题材，使得作品既具有文人绘画的雅致，又具有风俗绘画的活泼与贴近时令，显得颇有韵味。\n邹喆（生卒年不详），字方鲁，江苏吴县人，客居金陵（今江苏省南京市）。\n工书善画，擅长山水、花卉，得其父邹典的家传，名列“金陵八家”之一。",[54,24,25,26,207,7,1917],"艾草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a6babe724a535a74d429861156ecd38.jpg",[],16,{"id":1922,"slug":1923,"title":1924,"dynasty":50,"author":19,"museum":89,"description":1925,"tags":1926,"thumbUrl":1930,"material":97,"size":97,"collection":97,"collections":1931,"showCount":1920,"zanCount":11,"manualWeight":11,"mainColor":45},227881,"tong-yin-wan-yue-tu-ye-yi-ming-227881","桐荫玩月图页","此作以工致笔触铺陈出夏夜闲游的雅景。界笔精谨绘就深宅错落屋宇，窗牖梁枋皆细致入微，尽显宅邸雅致规制。虬劲梧桐亭亭如盖，枝叶扶苏间筛下朦胧月色，晕开夏夜清宁。\n\n廊下雅客围坐把盏，清谈消暑，尽是松弛意态；阶前仕女凭栏凝睇，似浸在月色里漫思幽怀，阶下仆役垂首静立，衬出宅邸的安闲氛围。淡墨晕开暮色，草木柔润晕染，将宋人士族日常宴游的闲雅意趣藏进方寸之间，把玩月的悠然诗意刻画尽致，尽显宋人刻入日常的雅致慢调。",[23,24,54,28,29,342,30,223,344,34,1927,347,1928,1929,7],"老树","台阶","石盆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff31f6caa12baf6d4b5085cfd27df4b4.jpg",[],{"id":1933,"slug":1934,"title":1935,"dynasty":105,"author":1689,"museum":1690,"description":1691,"tags":1936,"thumbUrl":1942,"material":418,"size":1694,"collection":97,"collections":1943,"showCount":1920,"zanCount":11,"manualWeight":11,"mainColor":167},222896,"hong-lou-meng-21-sun-wen-222896","红楼梦21",[23,54,24,25,155,28,29,418,1937,1938,1939,863,725,30,223,345,330,726,58,348,347,1940,1941,864,7],"工笔人物","设色山水","亭台楼阁","园林景观","水体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ff0777d2de3e5717a1c6f1d360c602d.jpg",[],{"id":1945,"slug":1946,"title":816,"dynasty":105,"author":817,"museum":89,"description":818,"tags":1947,"thumbUrl":1949,"material":485,"size":486,"collection":97,"collections":1950,"showCount":1951,"zanCount":11,"manualWeight":11,"mainColor":167},238481,"hua-hui-tu-ce-jiang-ting-xi-238481",[24,25,92,29,28,161,111,55,56,158,76,780,1948,526,7],"题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd7c9fca31ee664bedfe2e8bead96273.jpg",[],15,{"id":1953,"slug":1954,"title":816,"dynasty":105,"author":817,"museum":89,"description":818,"tags":1955,"thumbUrl":1956,"material":485,"size":486,"collection":97,"collections":1957,"showCount":1951,"zanCount":11,"manualWeight":11,"mainColor":167},238479,"hua-hui-tu-ce-jiang-ting-xi-238479",[24,25,92,29,28,161,111,55,56,157,76,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedd3fdf4c9fd65cc5b501bf17420963f.jpg",[],{"id":1959,"slug":1960,"title":1961,"dynasty":105,"author":372,"museum":89,"description":1962,"tags":1963,"thumbUrl":1964,"material":485,"size":486,"collection":97,"collections":1965,"showCount":1951,"zanCount":11,"manualWeight":11,"mainColor":167},238405,"xuan-jin-lu-fang-tu-ce-dong-gao-238405","绚锦胪芳图册","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），首席军机大臣，上书房总师傅，钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，赠太傅，赐谥号文恭，入祀贤良祠。嘉庆亲写哀诗“只有文章传子侄，绝无货币置田庄”，并亲自拨款建立“董公祠”。",[24,25,92,28,29,55,56,7,208,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fdd040efee4721af882715093651378.jpg",[],{"id":1967,"slug":1968,"title":1969,"dynasty":71,"author":1970,"museum":89,"description":1971,"tags":1972,"thumbUrl":1973,"material":485,"size":486,"collection":97,"collections":1974,"showCount":1951,"zanCount":11,"manualWeight":11,"mainColor":167},235657,"mu-mian-tu-zhou-sun-ai-235657","木棉图轴","孙艾","此图绘折枝木棉花一枝，枝叶茂密，木棉花怒放。用花青没骨法画叶，以浓色为面，淡色为背，叶之正背转折、花之娇态刻画细致，画风清新雅逸。无款印。沈周在其题诗之后云：“世节生纸写生，前人亦少为之。甚得舜举天机流动之妙。观其蚕桑、木棉二纸，尤可骇瞩，且非泛泛草木所比，盖寓意用世。世节读书负用，于是乎亦可见矣。弘治新元中秋日，沈周志。”",[54,24,25,26,29,55,7,59,208,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0ca4bf5bbf819d2aec5e1c45abceae0.jpg",[],{"id":1976,"slug":1977,"title":1978,"dynasty":18,"author":1979,"museum":89,"description":1980,"tags":1981,"thumbUrl":1987,"material":485,"size":486,"collection":97,"collections":1988,"showCount":1951,"zanCount":11,"manualWeight":11,"mainColor":45},232575,"wei-lian-a-dao-fu-bu-ge-luo-190-wei-lian-a-dao-fu-bu-ge-luo-232575","威廉·阿道夫·布格罗190","威廉·阿道夫·布格罗","威廉·阿道夫·布格罗，1825年生于法国拉罗谢尔，是一名画家。他是法国19世纪学院派最重要人物，曾先后在安格尔画室、法朗索瓦·爱德华·皮柯特工作室接受训练，后入巴黎国家高等美术学院，以及到罗马进修。\n875年在巴黎朱利安美术学院教学，1888年成为巴黎国家高等美术学院教授。画风唯美，擅长创造美好、理想化的境界。题材多为神话、天使和寓言。",[1982,477,461,29,1597,1600,1983,1984,464,266,7,59,1985,893,481,1986],"新古典主义","卷发","石质平台","箭囊","裸体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7189aa6cf41c5a116086c984ea337ce2.jpg",[],{"id":1990,"slug":1991,"title":1992,"dynasty":18,"author":1993,"museum":89,"description":1994,"tags":1995,"thumbUrl":1999,"material":485,"size":486,"collection":97,"collections":2000,"showCount":1951,"zanCount":11,"manualWeight":11,"mainColor":167},231786,"ming-qing-ri-ben-gu-hua-fen-ben-niao-shou-xi-hua-juan-he-guo-xiao-zhai-231786","明清日本古画粉本-鸟兽戏画卷","河锅晓斋","河鍋曉齋是日本幕末至明治時期的浮世絵師。評論家認為他是「一個獨立的帶有個人主義的，可能是傳統日本畫的最後大師」。",[23,24,25,155,294,207,28,922,1996,1997,1998,325,60,445,58,711,7,329,30,55],"兔","蛙","狮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1999d93bfc618f73b31dacf8332bcf76.jpg",[],{"id":2002,"slug":2003,"title":2004,"dynasty":18,"author":19,"museum":89,"description":2005,"tags":2006,"thumbUrl":2008,"material":97,"size":97,"collection":97,"collections":2009,"showCount":1951,"zanCount":11,"manualWeight":11,"mainColor":167},230522,"fang-gu-shan-shui-dong-wu-fen-ben-shou-ye-jia-tu-juan-yi-ming-230522","仿古山水动物粉本(狩野家图卷)","此作以工写相融之笔绘就水畔闲景，一对鸳鸯依偎石间，雄鸟羽色妍秀，翎毛晕染精微，绒绒肌理宛然可见，雌鸟素朴温婉，二者亲昵缱绻，尽显静好之态。旁侧芍药轻绽，粉花柔叶勾勒秀雅，设色清润柔和。坡石以淡墨晕染虚化，留白衬出水泽空濛，将院体花鸟的精工细腻，与文人写意的淡逸糅合一处，把缱绻温情藏在幽寂小景里，静雅恬然，晕染出东方花鸟独有的诗意韵致。",[23,24,29,28,2007,1497,58,55,7,179],"鸳鸯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9d5f83429ae56c7ef5eae540e6bcdd.jpg",[],{"id":2011,"slug":2012,"title":2013,"dynasty":50,"author":19,"museum":89,"description":2014,"tags":2015,"thumbUrl":2016,"material":97,"size":97,"collection":97,"collections":2017,"showCount":1951,"zanCount":11,"manualWeight":11,"mainColor":45},227378,"qiu-ting-ru-quan-tu-yi-ming-227378","秋庭乳犬图","宋人小品画有很多题材，其中表现宠物犬的画作就有不少，尤其是宫廷贵妇在闲情逸致之时所驯养的小型观赏犬。毛益的《萱草戏狗图》与李迪的《秋葵山石图》，以及南宋无款的《秋庭乳犬图》、《秋葵犬蝶图》、《鸡冠乳犬图》、《萱花乳犬图》等就是典型代表。既反映了南宋院体花鸟画技艺的高超，又显现出画作中宠物犬的生动传神。千年之隔，犹如昨日。",[24,25,54,50,28,29,238,329,1207,76,7,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9de381462da7dc521dfb837af9d57c0.jpg",[],{"id":2019,"slug":2020,"title":2021,"dynasty":18,"author":473,"museum":89,"description":474,"tags":2022,"thumbUrl":2025,"material":485,"size":486,"collection":487,"collections":2026,"showCount":1951,"zanCount":11,"manualWeight":11,"mainColor":45},226062,"the-corner-of-the-garden-at-montgeron-1876-mo-nai-226062","The Corner of the Garden at Montgeron, 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(见图)又名《猿猴献果图》，绢本设色，纵117.2厘米，横56厘米，现存台北“故宫博物院”。他创作此幅《罗汉图》正是受禅宗思想的影响，把佛教壁画中守护在菩萨身边的罗汉，变成游山玩水的世俗僧人。图中前面是一棵历尽沧桑的枯树，树干由下而上呈“s”型，枯树叶已脱尽，只剩下遍体的嶙峋与凌乱的树权。后面是一株枝叶茂盛的阔叶大树，两树中间夹着结满果实的小树。画中的罗汉双手相交，趴伏在一横斜树枝上，深情地注视着面前两只温顺的小鹿，表情亲切、温和，流露出世俗的欢乐。罗汉的头部造型准确，虽与全身相比略显大些，但五官刻画细致，具有神韵。树上的两只猿猴居高临下，形态生动、活泼，正在摘熟透的果子。树下一清秀文雅的小和尚双袖合抱去接其中一只猿猴扔下的果子，一只小鹿仰头观望。这种极富生活情趣的描写，不仅表现了人与自然相依相存的亲密关系，也淡化了作品的宗教气氛。\n此画风格属于刘松年工整细润一路，是他晚年成熟的作品。画中人物用铁线描绘而成，线条流畅有力。服饰与面部均刻画得极其精细，用笔沉着稳健，神形兼备。画中罗汉与小和尚的僧袍色彩在多样变化中求得协调和统一，树木与山石注重写实。特别是树石的用笔，勾勒与皴擦，墨色浓淡相间，充分表现出了树干与山石的坚硬质感与体积感。枯树满身结疤和苍老坚硬的枝条与后面一棵枝叶浓密的树形成强烈对照，表现出了大自然所蕴涵的无限生机。浓密的枯枝与树叶衬托出疏朗的人物，形成疏密的对比，使人物形象在画中十分突出。此幅作品称得上是山水画和人物画完美结合的成功之作。\n这幅《罗汉图》虽然取自佛教题材，实际上已有着明显的世俗化的倾向。在意境表现上，画家通过对山石树木等自然景物的精心布置和渲染，营造出一个草木丰茂、秋清气爽、山果飘香的画境。罗汉与小和尚置身其境，神情悠然自得，营造了人与自然、人与动物之间互相依存的祥和气氛。\n另外，这幅《罗汉图》在艺术处理上吸取了佛教壁画在佛像头部画上佛光的方法，其表现手法是十分高超的。罗汉头像的佛光就如聚光灯一般，如雾如纱。朦胧中一组树枝隐约可见，使画面的虚实对比更加强烈。",[24,25,26,1130,28,29,27,30,876,7,2141,2142,767,140],"拐杖","扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33bad5af550efbba55abfcfb88b17f3e.jpg","绢本设色画","纵117公分，横55.8公分",[],{"id":2148,"slug":2149,"title":2150,"dynasty":18,"author":19,"museum":89,"description":2151,"tags":2152,"thumbUrl":2154,"material":97,"size":97,"collection":97,"collections":2155,"showCount":2134,"zanCount":11,"manualWeight":11,"mainColor":1140},225552,"fu-shi-hui-17-yi-ming-225552","浮世绘17","此作以墨色为底，将丹红鹦鹉作为视觉重心，艳色于沉暗中愈发鲜亮夺目。浅金棕的线条细腻勾勒，晕染出鹦鹉羽毛蓬松柔润的层次，飞羽的蓝灰点缀其间，增添灵动变化。枝桠叶片与浆果也以同色系刻画，脉络纹理纤毫毕现，雅致精巧。\n画面留白疏朗空寂，将禽鸟栖停的静谧瞬间定格，兼具装饰美感与东方禅意。整体配色克制又极具张力，华丽中带着侘寂的闲雅，尽显悠然平和的生机意趣。",[2050,29,55,2153,111,60,7],"木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2ababaa6fa83130bc02c69fe11905f.jpg",[],{"id":2157,"slug":2158,"title":816,"dynasty":105,"author":817,"museum":89,"description":818,"tags":2159,"thumbUrl":2160,"material":485,"size":486,"collection":97,"collections":2161,"showCount":2162,"zanCount":11,"manualWeight":11,"mainColor":167},238482,"hua-hui-tu-ce-jiang-ting-xi-238482",[24,25,92,29,28,55,56,7,111,161,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf3c885708c60ef0a4db10475b9f1c78.jpg",[],12,{"id":2164,"slug":2165,"title":2166,"dynasty":18,"author":473,"museum":89,"description":474,"tags":2167,"thumbUrl":2168,"material":485,"size":486,"collection":487,"collections":2169,"showCount":2162,"zanCount":11,"manualWeight":11,"mainColor":45},226080,"the-japanese-footbridge-1920-22-mo-nai-226080","The Japanese Footbridge, 1920-22",[476,477,515,1611,1534,1804,863,725,345,346,7,480,901],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d821bdc237cb738e8fdd058a4846293.jpg",[487],{"id":2171,"slug":2172,"title":2173,"dynasty":18,"author":1979,"museum":89,"description":1980,"tags":2174,"thumbUrl":2180,"material":485,"size":486,"collection":97,"collections":2181,"showCount":2182,"zanCount":11,"manualWeight":11,"mainColor":45},232589,"wei-lian-a-dao-fu-bu-ge-luo-203-wei-lian-a-dao-fu-bu-ge-luo-232589","威廉·阿道夫·布格罗203",[477,1982,461,29,30,93,2175,1600,2176,2177,1928,7,56,1986,2178,2179,901],"带翼人物","弓箭","石柱","坐姿","站姿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18093c9f14851c36be0b35e0cc03b672.jpg",[],11,{"id":2184,"slug":2185,"title":2186,"dynasty":18,"author":19,"museum":89,"description":2187,"tags":2188,"thumbUrl":2198,"material":485,"size":486,"collection":97,"collections":2199,"showCount":2182,"zanCount":11,"manualWeight":11,"mainColor":167},230488,"fu-shi-hui-125-yi-ming-230488","浮世绘125","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[2050,2153,29,1119,345,58,725,30,864,2189,2190,2191,7,2192,2193,2194,480,2195,2196,2197],"小屋","水域","浴场场景","山石景观","人物活动","传统建筑","彩色版画","线条勾勒","色彩渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb8451450e532362118b932c616a263.jpg",[],{"id":2201,"slug":2202,"title":2203,"dynasty":71,"author":2204,"museum":189,"description":2205,"tags":2206,"thumbUrl":2210,"material":501,"size":2211,"collection":1044,"collections":2212,"showCount":2182,"zanCount":11,"manualWeight":11,"mainColor":45},222382,"yi-shou-zun-zhe-xiang-ding-yun-peng-222382","益寿尊者像","丁云鹏","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”",[23,24,25,54,26,294,28,207,30,27,1157,1451,33,7,31,2207,2208,2209],"尊者","念珠","长袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae92872a9b1d7917f96a1cd18188de0.jpg","52.8x117.8",[1044,638],{"id":2214,"slug":2215,"title":2216,"dynasty":105,"author":695,"museum":696,"description":697,"tags":2217,"thumbUrl":2219,"material":29,"size":701,"collection":97,"collections":2220,"showCount":2182,"zanCount":11,"manualWeight":11,"mainColor":45},219806,"hua-niao-cao-chong-tu-4-sun-long-219806","花鸟草虫图-4",[24,25,54,92,29,75,55,177,111,159,674,56,7,2218],"虫鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16b52c7ce8c0823943b1da2bc3f62bbb.jpg",[],{"id":2222,"slug":2223,"title":2224,"dynasty":105,"author":19,"museum":89,"description":2225,"tags":2226,"thumbUrl":2230,"material":485,"size":486,"collection":97,"collections":2231,"showCount":2232,"zanCount":11,"manualWeight":11,"mainColor":45},234446,"da-lai-la-ma-yuan-liu-sang-jie-gong-ba-tang-ka-yi-ming-234446","达赖喇嘛源流——桑结贡巴唐卡","唐卡（Thang-ga）也叫唐嘎，唐喀，系藏文音译，指用彩缎装裱后悬挂供奉的宗教卷轴画。唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。\n唐卡是藏族文化中一种独具特色的绘画艺术形式。具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，用明亮的色彩描绘出神圣的佛的世界；颜料传统上是全部采用金、银、珍珠、玛瑙、珊瑚、松石、孔雀石、朱砂等珍贵的矿物宝石和藏红花、大黄、蓝靛等植物为颜料以示其神圣。这些天然原料保证了所绘制的唐卡色泽鲜艳，璀璨夺目，虽经几百年的岁月，仍是色泽艳丽明亮。因此被誉为中国民族绘画艺术的珍品，被称为藏族的”百科全书”也是中华民族民间艺术中弥足珍贵的非物质文化遗产。\n传统唐卡的绘制要求严苛、程序极为复杂，必须按照经书中的仪轨及上师的要求进行，包括绘前仪式、制作画布、构图起稿、着色染色、勾线定型、铺金描银、开眼、缝裱开光等一整套工艺程序。制作一幅唐卡用时较长，短则半年完成，长则需要十余年。",[2227,27,459,29,28,343,344,30,56,765,2228,725,807,2229,864,7],"唐卡","火焰","护法像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf8e2f08a901fdb378793604111aff49.jpg",[],10,{"id":2234,"slug":2235,"title":2236,"dynasty":18,"author":1979,"museum":89,"description":1980,"tags":2237,"thumbUrl":2248,"material":485,"size":486,"collection":97,"collections":2249,"showCount":2232,"zanCount":11,"manualWeight":11,"mainColor":1140},232581,"wei-lian-a-dao-fu-bu-ge-luo-195-wei-lian-a-dao-fu-bu-ge-luo-232581","威廉·阿道夫·布格罗195",[477,2238,1982,2239,2240,2241,2242,2243,2244,1603,1600,2245,345,464,1532,7,2246,901,2247],"写实主义","光影处理","色彩柔和","细腻笔触","人物写实","设色典雅","女性人物","石凳","蓝色布料","人物互动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf5b38d6d09cfc2cc0507ac0b77a0cb1.jpg",[],{"id":2251,"slug":2252,"title":2253,"dynasty":18,"author":19,"museum":89,"description":2254,"tags":2255,"thumbUrl":2258,"material":485,"size":486,"collection":97,"collections":2259,"showCount":2232,"zanCount":11,"manualWeight":11,"mainColor":167},231792,"ming-qing-ri-ben-gu-hua-hua-niao-shan-shui-ren-wu-fen-ben-hua-hui-juan-yi-ming-231792","明清日本古画花鸟山水人物粉本-花卉卷","此卷以三段铺展草木清趣：左幅淡墨晕染勾勒，花卉枝叶似笼轻烟，朦胧雅致，尽显晕染之妙；中段设色清妍，蓝花团簇搭配朱红穗草，墨色深浅铺陈绿叶，鲜活自然，将杂卉相生的野趣娓娓道来；右枝蓝花挺秀舒展，线条隽秀利落，把花枝舒展的姿态勾勒尽致。\n\n整体气息静谧清和，笔致简淡却饱含生机，画师以细腻体察捕捉花木的雅致姿态，将写生意趣融于其中，古雅温婉，尽显东方草木美学的隽永意境。",[23,2256,24,25,155,29,294,56,7,711,2257,780,111],"古画","蓝色小花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F556544f3ce8c1f43d39f21b466f94812.jpg",[],{"id":2261,"slug":2262,"title":2263,"dynasty":136,"author":19,"museum":89,"description":2264,"tags":2265,"thumbUrl":2268,"material":97,"size":97,"collection":97,"collections":2269,"showCount":2232,"zanCount":11,"manualWeight":11,"mainColor":45},228202,"xia-chi-shuang-e-tu-ye-yi-ming-228202","夏池双鹅图页","此作用色清简枯淡，以水墨晕染出夏池幽寂之境。画面双鹅为意趣核心，一鹅昂首振翅，白羽晕染层次细腻，绒羽蓬松宛然在目，翅根淡墨晕开融于池水，似将破水而起，满是灵动野逸。另一鹅垂颈敛翼，姿态闲静安适，一动一静，相映成趣。\n\n背景以淡墨点汀渚小藻，枝梢偃仰朦胧，暗合夏日溽热将散的慵懒松弛。全画不做繁复勾勒，以晕染写就形神，将幽塘里的片刻生趣轻然定格，带着萧散空寂的元画意韵，淡而有味，余韵悠长。",[23,24,54,25,92,29,28,55,1256,57,2266,2267,7],"夏景","池水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a479a5c9e58f04cbb797b9a5f3f521c.jpg",[],{"id":2271,"slug":2272,"title":2273,"dynasty":18,"author":19,"museum":89,"description":2274,"tags":2275,"thumbUrl":2277,"material":97,"size":97,"collection":97,"collections":2278,"showCount":2232,"zanCount":11,"manualWeight":11,"mainColor":167},225349,"fu-shi-hui-103-yi-ming-225349","浮世绘103","浅米柔瓣舒展如蝶，墨绿茎叶劲挺修长，勾勒出水边鸢尾悠然盛放的景致。隐于花叶间的蚱蜢，为这清寂画面添了几分野趣生机。淡蓝水色晕染底色，浅灰天域铺陈清冷底色，将水岸幽谧夏日凝于纸面。\n\n笔致细腻温婉，线条兼具刚柔，既刻画出鸢尾的舒展灵动，也衬出独有的侘寂清宁。版画肌理带着温润质感，把微风拂过花茎的悠然瞬间藏进细节里，将幽淡闲逸的自然意趣尽显无余。",[2050,2153,29,2276,1188,208,251,7,56],"版画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f5ed2277f9fd24e2d11e2997268fb1.jpg",[],{"id":2280,"slug":2281,"title":2282,"dynasty":105,"author":1689,"museum":1690,"description":1691,"tags":2283,"thumbUrl":2286,"material":418,"size":1694,"collection":97,"collections":2287,"showCount":2232,"zanCount":11,"manualWeight":11,"mainColor":167},222906,"hong-lou-meng-31-sun-wen-222906","红楼梦31",[23,28,29,2284,30,344,347,345,58,330,726,223,2285,343,7],"青绿","人物群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7ad46eaf03b41f28f3bb2717498a2ac.jpg",[],{"id":2289,"slug":2290,"title":2291,"dynasty":71,"author":19,"museum":89,"description":2292,"tags":2293,"thumbUrl":2294,"material":485,"size":486,"collection":97,"collections":2295,"showCount":2296,"zanCount":11,"manualWeight":11,"mainColor":45},238960,"qun-yan-tu-ye-yi-ming-238960","群雁图页","此作用笔工细写实，取景郊野坡岸，杂卉幽枝交错排布，虚实相映，将秋日荒陂的清寂氛围感拉满。两只禽鸟情态各异，一鸟栖于细枝侧目远眺，姿态警觉灵动；一鸟垂首理羽，翎毛晕染细腻蓬松，质感逼真鲜活。设色调和古雅，以花青、赭石晕染草木枯荣，衬以古绢沉郁底色，更添沉静古韵。承继院体花鸟写生精髓，写实精妙又不失野逸之趣，将郊野一隅的幽微生机定格笔端，尽显传统花鸟的雅致意趣。",[24,25,238,29,28,55,807,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2afa8fcfeb8b687184de858a46c6275.jpg",[],9,{"id":2298,"slug":2299,"title":2300,"dynasty":105,"author":2301,"museum":204,"description":2302,"tags":2303,"thumbUrl":2304,"material":332,"size":2305,"collection":97,"collections":2306,"showCount":2296,"zanCount":11,"manualWeight":11,"mainColor":167},238300,"shi-liu-luo-han-ce-jia-quan-238300","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。",[24,25,92,29,28,27,30,58,7,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a4d9ec55366d1fac6f4ecaf960d781a.jpg","纵31.5厘米横25厘米",[],{"id":2308,"slug":2309,"title":2310,"dynasty":105,"author":2311,"museum":89,"description":2312,"tags":2313,"thumbUrl":2314,"material":97,"size":97,"collection":97,"collections":2315,"showCount":2296,"zanCount":11,"manualWeight":11,"mainColor":167},238283,"hua-qia-xuan-yuan-tu-ce-huang-yue-238283","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。",[24,29,28,92,712,251,1306,208,711,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a39b3a7af0938c4ac3b55f3903b933b.jpg",[],{"id":2317,"slug":2318,"title":2319,"dynasty":71,"author":2320,"museum":696,"description":2321,"tags":2322,"thumbUrl":2323,"material":211,"size":2324,"collection":97,"collections":2325,"showCount":2296,"zanCount":11,"manualWeight":11,"mainColor":167},219788,"za-hua-ce-2-guo-xu-219788","杂画册-2","郭诩","郭诩（1456—1532），字仁弘，号清狂道人，江西泰和人。工书画，善山水，尝遍历名山，曰“岂必谱也，画在是矣。”同时江夏吴伟、北海杜堇、姑苏沈周俱以画名，莫不延颈原交，天下竟传清狂画，风之百金。有贵人欲多得诩画，诩瞠目数屋梁不对。固索，辄跮跖狂趋，叫奡跳号去。弘治（一四八八至一五零五）中徵天中善画者，应诏京师。宸濠召与语，辄辞谢之。往依王守仁献画题诗所见志。又善杂画，信手作人物，辄有奇趣。七十三岁尚作磨镜图。他的作品传世不多，八开《杂画册》现藏上海博物馆，《琵琶行》图轴藏北京故宫博物院。",[24,25,400,29,207,75,55,712,157,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31a9678b7cd4af80b4e4f68a303b7cde.jpg","纵28.5 厘米 横46.5 厘米",[],{"id":2327,"slug":2328,"title":2329,"dynasty":105,"author":19,"museum":204,"description":2330,"tags":2331,"thumbUrl":2337,"material":29,"size":97,"collection":97,"collections":2338,"showCount":2296,"zanCount":11,"manualWeight":11,"mainColor":167},217313,"gu-xiu-wu-shi-san-can-tu-ce-4-yi-ming-217313","顾绣·五十三参图册-4","这幅顾绣作品以针代笔，将修行场景凝于丝缕间。一侧鹿踏祥云，老者衣袂翩跹，童子紧随；另一侧行者戴笠持杖，缓步郊野，童子仰头望之，神态毕肖。绣线劈丝如发，设色雅致温润，人物动态鲜活，场景清幽自然。画面分帧却气韵连贯，传递出善财童子参访善知识的虔诚，与寻访途中的悠然意趣。顾绣特有的细腻针法，让衣纹的褶皱、鹿的肌理、郊野的草木皆显生动，于方寸间藏修行之境，见工艺之精，尽显“以线代墨”的独特艺术魅力。",[2332,1131,29,28,92,30,920,2333,445,32,2334,2335,2141,2336,7,111],"顾绣","云","蓑笠","小孩","山坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7b1b24bd78f5120284a3a2e41180a97.jpg",[],{"id":2340,"slug":2341,"title":2342,"dynasty":105,"author":19,"museum":89,"description":2343,"tags":2344,"thumbUrl":2354,"material":39,"size":97,"collection":97,"collections":2355,"showCount":2296,"zanCount":11,"manualWeight":11,"mainColor":45},216690,"hong-lou-meng-fu-tu-ce-34-yi-ming-216690","红楼梦赋图册-34","亭榭临阶，绿阴覆檐。亭内女眷凭栏凝睇，或执扇低语，鬓边钗环衬着素色衫裙；庭中三姝款步，一伞轻撑，衣袂沾着淡粉的花影。院角石案上盆花静静吐蕊，围墙漏窗映出远处苔痕。笔墨细腻如丝，设色清雅温润，将红楼闺阁的温婉与庭院幽致融于一纸。人物眉眼间藏着细碎情致，亭内与庭外的呼应似有未言故事，风过枝桠的轻响仿佛在画中流转，尽显清代仕女画的雅致与红楼场景的细腻动人。",[23,24,29,28,92,342,30,344,345,348,1132,223,347,2345,2346,2347,2348,864,7,2349,2350,2351,1928,2352,2353],"石阶","围墙","假山","窗棂","庭院景观","传统服饰","假山石","中式建筑","花木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69ff7f875c5cffd7c564ec18ca19e6ea.jpg",[],{"id":2357,"slug":2358,"title":2359,"dynasty":105,"author":2360,"museum":89,"description":2361,"tags":2362,"thumbUrl":2363,"material":97,"size":97,"collection":97,"collections":2364,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":167},238249,"sai-wai-hua-hui-nian-si-zhong-tu-ce-zhang-ruo-cheng-238249","塞外花卉廿四种图册","张若澄","以淡墨白描绘就花枝，花瓣柔婉舒展，枝叶穿插错落，将花草清妍之态细腻勾勒，写实中带着悠然意趣。留白处散落墨点如星子垂落，将塞外野卉的清灵和空寂辽远的意境相融。朱红印章错落排布，暖艳色泽中和素墨的清冷，让画面虚实相生，静雅里晕开古拙文气，将自然野趣与文人雅韵凝于尺幅，尽显雅致幽远的笔墨情致。",[24,25,92,294,28,56,7,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc928e2daf20b4c28e5f8c5850e16a137.jpg",[],{"id":2366,"slug":2367,"title":2368,"dynasty":18,"author":19,"museum":89,"description":2369,"tags":2370,"thumbUrl":2372,"material":485,"size":486,"collection":97,"collections":2373,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":167},231632,"lian-cang-shi-dai-ma-yi-cao-zhi-hua-juan-yi-ming-231632","镰仓时代 马医草纸画卷","此绘卷图文共生，一半是工笔晕染的本草写生，叶脉舒展、敷色清润，将药草形貌细腻还原；另一半以古雅铁线描勾勒和风古俗场景，人物衣袂翩跹，殿宇车马拙朴雅致，尽得古意。\n\n题跋与绘境交织，将本草物语与民俗轶事相融，既有博物图鉴的写实谨严，又带着古绘卷独有的雅致松弛。泛黄纸页晕开岁月的温度，清雅朴拙之间，尽显东洋中古绘卷的悠然意韵。",[25,155,29,30,2371,7,864,160,28],"马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682563a8668f46d15365053274079789.jpg",[],{"id":2375,"slug":2376,"title":2377,"dynasty":71,"author":19,"museum":89,"description":2378,"tags":2379,"thumbUrl":2380,"material":97,"size":97,"collection":97,"collections":2381,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":167},231360,"hu-die-cao-chong-tu-yi-ming-231360","蝴蝶草虫图","蝴蝶是一种漂亮的小动物，它千姿百态，绚丽缤纷，穿梭于繁花丛中，常被人赋予“虫国佳丽”、“会飞的花朵”、“百花仙子”等美名，更引得历代不少文人墨客为之咏怀。长期以来，历代画家更是把蝴蝶作为重要的创作题材之一，点景于花鸟画中。",[23,24,25,238,28,29,55,157,159,7,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb044f767b5955063e9771401885f8b.jpg",[],{"id":2383,"slug":2384,"title":2385,"dynasty":18,"author":473,"museum":89,"description":474,"tags":2386,"thumbUrl":2389,"material":485,"size":486,"collection":487,"collections":2390,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":45},226126,"the-tuileries-study-1876-mo-nai-226126","The Tuileries. Study, 1876",[476,477,1186,482,2387,345,464,864,1530,2388,30,1766,7],"朦胧质感","雾气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ad0b93ae7d80f2f293399ebebc0b45d.jpg",[487],{"id":2392,"slug":2393,"title":2394,"dynasty":18,"author":473,"museum":89,"description":474,"tags":2395,"thumbUrl":2400,"material":485,"size":486,"collection":487,"collections":2401,"showCount":146,"zanCount":11,"manualWeight":11,"mainColor":45},226084,"the-moreno-garden-at-bordighera-1884-mo-nai-226084","The Moreno Garden at Bordighera, 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2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[2460,2461,29,27,28,2462,30,2463,2464,2465,2466,7],"唐代","壁画","飞天","云纹","坐佛","供养菩萨","台座","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d5f40df538a35fd7afa4235da52aa3.jpg",[],{"id":2470,"slug":2471,"title":2472,"dynasty":18,"author":507,"museum":89,"description":508,"tags":2473,"thumbUrl":2477,"material":485,"size":486,"collection":487,"collections":2478,"showCount":131,"zanCount":11,"manualWeight":11,"mainColor":45},225786,"olive-trees-1889-fan-gao-225786","Olive 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一股“我闺女棒棒哒”的自豪溢出来了～\n蒋淑（生卒年不详），清代杰出女性画家，从其画作上判断她大致生活于清康熙至雍正年间，字又文，江苏常熟人。蒋廷锡女，华亭王敬妻。其父蒋廷锡官至大学士，闲暇之余以逸笔作写生花卉，机趣天然。蒋淑自幼秉承家教，亦以擅绘花鸟著称。",[24,25,92,658,207,28,55,56,7,208,267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c881c37ed9446de5597120cb72574fa.jpg",[],{"id":2548,"slug":2549,"title":2550,"dynasty":50,"author":2551,"museum":204,"description":2552,"tags":2553,"thumbUrl":2554,"material":113,"size":2555,"collection":97,"collections":2556,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":45},233989,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233989","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。",[54,24,25,92,294,207,29,30,549,1927,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6335300d6c06ab16b07654d665d0d6f7.jpg","60.33x41.04厘米",[],{"id":2558,"slug":2559,"title":2560,"dynasty":18,"author":19,"museum":89,"description":2187,"tags":2561,"thumbUrl":2563,"material":485,"size":486,"collection":97,"collections":2564,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":1140},225315,"fu-shi-hui-52-yi-ming-225315","浮世绘52",[2050,342,29,30,344,863,725,2562,223,7,864],"孤舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f70554bdf46d54672590acfbd6859e.jpg",[],{"id":2566,"slug":2567,"title":2568,"dynasty":105,"author":2523,"museum":204,"description":2569,"tags":2570,"thumbUrl":2581,"material":350,"size":2582,"collection":97,"collections":2583,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":167},223156,"yao-xie-shi-yi-tu-ce-di-si-kai-ding-dou-cuo-ju-guo-jian-sui-fang-zun-kai-ren-xiong-223156","姚燮诗意图册-第四开：饤饾错菹果，饯岁方尊开","此套共十册，每册十二开，每开除录有姚燮诗句外，还分别钤“熊”朱文印或“渭长”白文印。册页最后另有四开，分别有任熊、熊松之、吴云、沈钰、曹峋、李鸿裔等人题跋。据任熊自跋，作品完成于咸丰元年（1851年），时年29岁。\n这套共计一百二十张的册页是任熊在友人姚燮家里居住时为主人所画。姚燮，字梅伯，号复庄，浙江镇海人。道光年间举人，以诗见称于世。此册以姚燮的诗句命题，题材丰富多样，人物鬼神、花鸟鱼虫、仙山楼阁、亭榭风月皆聚于尺幅之间。全册别具匠心，常有神来之笔；设色则于鲜丽中见古雅之气，堪称任氏巅峰时期的铭心佳构。",[23,24,25,29,92,28,239,2571,268,265,2572,2573,7,2574,2575,2576,2577,2578,2579,2580],"竹篮","石榴","果盘","陶罐","果子","菜篮","纹饰器物","插枝植物","果碟","糕点","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb855b634faa03c61e6e4e8c9bfe31e74.jpg","纵27.3厘米，横32.5厘米",[],{"id":2585,"slug":2586,"title":1391,"dynasty":71,"author":2320,"museum":696,"description":2587,"tags":2588,"thumbUrl":2589,"material":501,"size":2590,"collection":97,"collections":2591,"showCount":100,"zanCount":11,"manualWeight":11,"mainColor":167},221926,"za-hua-ce-guo-xu-221926","郭诩（1456—1532），字仁弘，号清狂道人，江西泰和人。工书画，善山水，尝遍历名山，曰“岂必谱也，画在是矣。”同时江夏吴伟、北海杜堇、姑苏沈周俱以画名，莫不延颈原交，天下竟传清狂画，风之百金。有贵人欲多得诩画，诩瞠目数屋梁不对。固索，辄跮跖狂趋，叫奡跳号去。弘治（一四八八至一五零五）中徵天中善画者，应诏京师。宸濠召与语，辄辞谢之。往依王守仁献画题诗所见志。又善杂画，信手作人物，辄有奇趣。七十三岁尚作磨镜图。他的作品传世不多，八开《杂画册》现藏上海博物馆，《琵琶行》图轴藏北京故宫博物院。\n山水、人物，风格豪放，笔法师略，清细柔和，墨气轠然，尤是绘古人清士。题署简逸，缙绅无不重之。与吴伟齐名，为吴伟、沈周、杜堇所推重。 花鸟杂画，信手拈来，颇有奇趣。草虫书法工写兼备，其画风在明中期 别成一格。",[23,24,25,92,207,29,30,329,7,294,111,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7678b3d6c6df414bd09ef325b23c449.jpg","纵28.5 厘米横46.5 厘米",[],{"id":2593,"slug":2594,"title":2595,"dynasty":105,"author":19,"museum":89,"description":2596,"tags":2597,"thumbUrl":2602,"material":485,"size":486,"collection":97,"collections":2603,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":167},259073,"qing-hua-song-zhu-mei-tu-mei-ping-yi-ming-259073","青花松竹梅图梅瓶","青花瓷（blue and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[2598,2599,1724,156,414,459,2600,7,2601],"陶瓷","青花","釉下彩","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d091a6306ff47d8b97e6a9f55a9abf1.jpg",[],{"id":2605,"slug":2606,"title":2607,"dynasty":105,"author":19,"museum":89,"description":2608,"tags":2609,"thumbUrl":2612,"material":485,"size":486,"collection":97,"collections":2613,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":45},257775,"dou-cai-song-shu-pu-tao-wen-da-wan-yi-ming-257775","斗彩松鼠葡萄纹大碗","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。",[105,2598,2610,29,2611,265,266,208,329,7,239],"斗彩","松鼠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3693230efc6c1bd57113a4d093d94d2d.jpg",[],{"id":2615,"slug":2616,"title":2310,"dynasty":105,"author":2311,"museum":89,"description":2312,"tags":2617,"thumbUrl":2620,"material":97,"size":97,"collection":97,"collections":2621,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":167},238281,"hua-qia-xuan-yuan-tu-ce-huang-yue-238281",[24,25,92,29,28,2618,33,711,7,2619],"虫","小石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F890cbd6d671f51e4395ee87a2b5aab4c.jpg",[],{"id":2623,"slug":2624,"title":2625,"dynasty":71,"author":19,"museum":89,"description":2626,"tags":2627,"thumbUrl":2628,"material":485,"size":486,"collection":97,"collections":2629,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":45},237907,"chen-yuan-du-qu-tu-shan-yi-ming-237907","陈渊度曲图扇","此作以庭院雅景铺陈，三位仕女居于画面中心，二人对坐晤面，案上置茶盏弦具，似正和曲品茗，侍女躬身随侍，情态温婉柔静。衣纹勾勒轻逸舒展，将仕女柔婉仪态尽显。\n\n布景错落有致，古木虬枝、玲珑湖石与篱畔小景交织，晕染出幽谧雅致的庭院氛围，设色调和清雅，淡墨晕染衬出草木山石的温润质感，将晚明文人耽于丝竹茶事的从容心境藏于尺幅扇面之中，笔致细腻秀雅，尽显雅集闲淡意趣。",[238,24,29,207,28,30,445,463,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ab1152ca17f36f5c1bad10876b93cbc.jpg",[],{"id":2631,"slug":2632,"title":1391,"dynasty":105,"author":534,"museum":89,"description":2633,"tags":2634,"thumbUrl":2635,"material":485,"size":486,"collection":97,"collections":2636,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":167},235060,"za-hua-ce-hua-yan-235060","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。",[24,25,92,207,29,30,58,7,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0850fa70b9cb9f90000274ce397851c7.jpg",[],{"id":2638,"slug":2639,"title":2640,"dynasty":18,"author":2641,"museum":89,"description":2642,"tags":2643,"thumbUrl":2646,"material":485,"size":486,"collection":97,"collections":2647,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":167},232558,"mi-lai-si-102-yue-han-ai-fu-li-te-mi-lai-si-232558","米莱斯102","约翰·埃弗里特米莱斯","John Everett Millais十九世纪英国画家，是拉斐尔前派的三个创始人中年龄最小、才华最高的一位，其它两位是亨特和布朗。其油画《基督在自己父母家中》(1850)中体现了该派精神，以画风细腻著称。\n米莱斯是拉斐尔前派中最有才华的一个。他出生于南埃普顿，幼年就表现出非凡的绘画才能。10岁时，他的绘画就获得了艺术协会颁发的银质奖章。据说当时他的个子还没有讲台高，只能站在凳子上领奖。两年后，他的天赋为马丁·希伊勋爵发现，转入皇家美术学院的附属学校(希伊后来是皇家美术学院院长)，以后又转入皇家美术学院，以后又多次获奖，并在18岁那年获得金质奖章，是学院公认的高材生。",[294,30,588,7,2644,34,2645],"狗","线描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9afb0d5ebec280c97564b5495f65410.jpg",[],{"id":2649,"slug":2650,"title":2651,"dynasty":18,"author":2652,"museum":89,"description":2653,"tags":2654,"thumbUrl":2660,"material":485,"size":486,"collection":97,"collections":2661,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":45},232330,"a-er-ma-57-lao-lun-si-a-er-ma-ta-de-ma-232330","阿尔玛57","劳伦斯·阿尔玛-塔德玛","劳伦斯·阿尔玛-塔德玛（Lawrence Alma-Tadema, 1836年1月8日—1912年6月25日）是英国维多利亚时代的知名画家，他的作品以豪华描绘古代世界（中世纪前）而闻名。\n生于荷兰的德龙赖普（Dronrijp），他的父亲彼得·塔德玛（Pieter Tadema）是一名公证人，在他4岁时便去世了。阿尔玛是他教父的名字，他的生母是他父亲的第二名妻子，家庭人口相当众多。家里原准备让他继承父业，但他表现出了对艺术的强烈偏好，因此将他送至安特卫普，在1852年进入了那里的艺术学院，并在亨德利克·利思（Hendrik Leys）的画室学习。",[54,477,29,2655,30,2656,2657,2574,464,345,864,347,901,2285,2658,2659,7],"古典风格","女性","花环","装饰性","古典场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a6e205212eed2caf31a2cf49bd1af91.jpg",[],{"id":2663,"slug":2664,"title":2665,"dynasty":18,"author":2666,"museum":89,"description":2667,"tags":2668,"thumbUrl":2672,"material":485,"size":486,"collection":97,"collections":2673,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":1140},230610,"rembrandt-harmensz-van-rijn-0190-lun-bo-lang-230610","Rembrandt Harmensz.van Rijn - 0190","伦勃朗","伦勃朗·哈尔曼松·凡·莱因（Rembrandt Harmenszoon van Rijn，1606年7月15日～1669年10月4日）是欧洲17世纪最伟大的画家之一，也是荷兰历史上最伟大的画家。\n伦勃朗早年从师P.拉斯特曼，1625年在家乡开设画室。画作体裁广泛，擅长肖像画、风景画、风俗画、宗教画、历史画等领域。",[477,461,2669,30,1986,2670,809,7,1941,2671,37,481],"明暗对比","捆绑","暗背景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03554afda93db018cefa92bf8cbc75a2.jpg",[],{"id":2675,"slug":2676,"title":2677,"dynasty":105,"author":2678,"museum":89,"description":2679,"tags":2680,"thumbUrl":2681,"material":97,"size":97,"collection":97,"collections":2682,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":167},224572,"mao-shi-pin-wu-tu-kao-si-ce-qing-ren-224572","毛诗品物图考（四）册","清人","《域外汉籍珍本文库第一辑：经部（套装共5册）》是28年1月人民出版社出版的图书，作者是域外汉籍珍本文库第一辑：经部（套装共5册）。\n这批汉籍不乏宋元珍本，如《毛诗要义》为宋淳祐十二年魏克愚徽州郡斋刻本，有清人钱天树、莫友芝手识，今藏于日本天理大学附属图书馆，为日本“重要文化财”；《集韵》为宋淳熙十四年金州军刻本，存九卷，今藏于日本宫内厅图书寮，原系日本中世纪时代金泽文库外流汉籍之一种。\n又有鲜见的旧钞本，如清人钱大昭所撰的《广雅疏义》，原为归安陆心源皕宋楼之旧藏，今归日本静嘉堂文库。\n这批汉籍还收集了品质较好的和刻本等域外刊本。\n其中对元代卢以纬的《助语词》，分别采用了两种版本，均为和刻本，为学术界提供校勘之便。\n此外，日本、高丽等国学者所撰的汉文著作也选取有价值者数种，像日本江户时期大儒安井衡所撰的日本明治三年刊本《左传辑释》就具有很高的思想造诣。\n这也说明了汉籍在域外的流布影响深远。\n第一册 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宋苏轼、苏辙撰",[24,25,92,28,29,55,548,7,526],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa09d03ad3203d8837b963c6c84f630da.jpg",[],{"id":2684,"slug":2685,"title":2686,"dynasty":105,"author":1277,"museum":204,"description":2687,"tags":2688,"thumbUrl":2696,"material":97,"size":2697,"collection":97,"collections":2698,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":167},223203,"geng-zhi-tu-ce-jiao-bing-zhen-223203","耕织图册","《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。",[54,24,28,29,92,30,890,345,7,343,2689,2690,1465,2691,2692,2693,2694,2695],"田地","工具","椅子","劳作场景","日常劳作","农耕","纺织","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec7be90100c899cc1bf3bb0f9d2b18bc.jpg","34.7cm×27.7cm",[],{"id":2700,"slug":2701,"title":2686,"dynasty":105,"author":1277,"museum":204,"description":2687,"tags":2702,"thumbUrl":2704,"material":97,"size":2697,"collection":97,"collections":2705,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":167},223195,"geng-zhi-tu-ce-jiao-bing-zhen-223195",[24,28,29,342,400,460,1906,30,890,345,891,347,7,2694,2692,864,1614,2703,482],"细致线条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a7e62abef33f1a50cee03a9181381d0.jpg",[],{"id":2707,"slug":2708,"title":2709,"dynasty":105,"author":19,"museum":204,"description":2710,"tags":2711,"thumbUrl":2714,"material":29,"size":97,"collection":97,"collections":2715,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":167},217300,"gu-xiu-wu-shi-san-can-tu-ce-17-yi-ming-217300","顾绣·五十三参图册-17","画面分左右两帧，左帧神将衣袂如流云飘展，纹饰华美，手持法器威而不怒，旁侧童子仰头凝神，似承教诲；右帧老者骑青牛缓步，衣袍素雅如秋云，童子随行恭谨，青牛步履从容。绣线与笔墨交织，针脚细密处见肌理，淡彩晕染间显空灵。山石以简笔点染，草木疏朗有致，云雾轻绕添仙意。题款印章相映成趣，融文人雅致于绣绘之中。整体构图疏宕，人物动态鲜活，既具顾绣“针笔合一”的精妙，又含传统故事的悠远意境，尽显清代工艺与艺术交融的灵韵之美。",[24,25,92,29,28,27,30,2335,2712,156,2713,7],"牛","山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b5e00aeb8cd2e650e49d1f9f903407a.jpg",[],{"id":2717,"slug":2718,"title":2719,"dynasty":105,"author":19,"museum":204,"description":2720,"tags":2721,"thumbUrl":2723,"material":29,"size":97,"collection":97,"collections":2724,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":167},217295,"gu-xiu-wu-shi-san-can-tu-ce-16-yi-ming-217295","顾绣·五十三参图册-16","丝线作墨，晕染出渡海问道的禅意清境。左幅中，红衣高僧踏莲茎凌波，衣袂飘举间尽显从容；稚童涉水随行，神态专注。右幅里，黄衫长者立于浪涛，衣纹如流云婉转；旁侧童子持物相伴，水波以旋纹绣出，灵动如真。顾绣融绘入绣，人物眉目传神，衣饰色彩雅致，淡墨勾线与彩线交织，将五十三参的修行故事凝于方寸。每一针线皆藏匠心，于素绢上铺展禅门清韵，尽显传统工艺与佛教文化的交融之美。",[1131,92,29,27,30,2722,7,28],"水纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa178bec8e5d4bfa81983c72e6cf982e0.jpg",[],{"id":2726,"slug":2727,"title":2728,"dynasty":105,"author":19,"museum":89,"description":2729,"tags":2730,"thumbUrl":2732,"material":39,"size":97,"collection":97,"collections":2733,"showCount":183,"zanCount":11,"manualWeight":11,"mainColor":45},216697,"hong-lou-meng-fu-tu-ce-27-yi-ming-216697","红楼梦赋图册-27","墨笔赋文如织，密密匝匝铺陈画面中央，似将红楼旧梦的缱绻与唏嘘，凝进每一处笔画里。左侧红蔓垂垂，缀着点点朱实，如泣血的相思缠绕；右侧绿柯横斜，衬着殷红小果，若含露的情丝牵萦。顶部青芦舒展，间杂绯色花穗，风致嫣然，恰与文中婉转韵致相映。图文相契，笔墨间既有闺阁清雅，又藏繁华落尽的怅惘，仿佛金陵十二钗的影影绰绰，正于纸页间流转不灭余韵。",[23,24,25,92,29,28,160,161,7,266,499,2731],"红果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eaccf15f20d6155b4e6ec6303ef06ff.jpg",[],{"id":2735,"slug":2736,"title":2737,"dynasty":18,"author":19,"museum":89,"description":2738,"tags":2739,"thumbUrl":2744,"material":485,"size":486,"collection":97,"collections":2745,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":167},289533,"auguste-renoir-studies-of-landscape-trees-and-exotic-fruit-yi-ming-289533","Auguste Renoir--Studies of Landscape, Trees, and Exotic Fruit","这组写生小稿松弛随性，水色晕染带着鲜活松弛的意趣。暖橙糅着明黄铺就郊野天光，灰调晕开柔化了光影边界，蓝绿冷色晕簇出植被与异果，寥寥淡线轻勾轮廓。\n\n创作者以即兴笔触捕捉自然瞬息，没有规整构图，零散色块与晕染间草木、云色舒展自在，将郊野一隅的光影风物定格在即兴涂抹里。水色交融间生机漫溢，细碎色块拼凑郊野朦胧氛围，藏满对自然的敏锐感知。",[2740,2741,2742,345,7,267,2743],"水彩画","速写","风景","写生稿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76f80d7196dea4e1da3f9993ef01fd92.jpg",[],{"id":2747,"slug":2748,"title":2749,"dynasty":105,"author":2750,"museum":89,"description":2751,"tags":2752,"thumbUrl":2753,"material":97,"size":97,"collection":97,"collections":2754,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":167},236508,"sun-shan-shui-ce-wang-ji-236508","孙山水册","王诘","王诘（1813-1889），号兰峰，上虞人，清代画家。工写意人物。中年游楚地，适遇湖广总督官文方微服出访，受特邀襄理营务，允参赞事务却不受官职。诘生性恬适，淡泊名利，以画自给，终生未娶。尝建“仙枣亭”于武昌，着僧衣隐居，自称“衲衣翁”；受命监修黄鹤楼，又于洛阳渡口立“雾云亭”；往游南岳衡山，建“会仙亭”于山麓；游洞庭湖，立“留仙亭”。光绪十四年（1888），上虞大水，募集二千余金救济灾民。翌年，在汉口去世，后归葬上虞梁湖。",[24,25,92,207,343,34,549,1157,344,111,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec80a5748cb3bf62c57a572a43f0f8eb.jpg",[],{"id":2756,"slug":2757,"title":2758,"dynasty":105,"author":2759,"museum":89,"description":2760,"tags":2761,"thumbUrl":2762,"material":485,"size":486,"collection":97,"collections":2763,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":167},235535,"xi-xiang-tu-ce-ye-bu-235535","西廂图册","叶逋","《西厢记》故事，最早起源于唐代元稹的传奇小说《莺莺传》，叙述书生张珙与同时寓居在普救寺的已故相国之女崔莺莺相爱，在婢女红娘的帮助下，两人在西厢约会，莺莺终于以身相许。后来张珙赴京应试，得了高官，却抛弃了莺莺，酿成爱情悲剧。亦相传为元稹假借张生的自传体小说或故事。这个故事到宋金时代流传更广，一些文人、民间艺人纷纷改编成说唱和戏剧，王实甫编写的多本杂剧《西厢记》就是在这样丰富的艺术积累上进行加工创作而成的。",[24,25,92,29,28,161,30,347,345,330,864,2691,348,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a49e7812a4e7c7e6e9e2907740b9b9a.jpg",[],{"id":2765,"slug":2766,"title":2767,"dynasty":71,"author":2768,"museum":89,"description":2769,"tags":2770,"thumbUrl":2771,"material":97,"size":97,"collection":97,"collections":2772,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":167},233303,"shi-zhu-zhai-pu-ce-hu-ri-cong-233303","十竹斋谱册","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。",[24,25,92,29,28,111,55,208,588,267,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14a6c616ab72d83fa9cf7810006945e3.jpg",[],{"id":2774,"slug":2775,"title":2776,"dynasty":71,"author":19,"museum":89,"description":2777,"tags":2778,"thumbUrl":2780,"material":97,"size":97,"collection":97,"collections":2781,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":45},228795,"chen-jian-bu-yi-tu-yi-ming-228795","晨间补衣图","此作用淡赭绢本晕出沉古色调，崖石奇崛苍劲，芭蕉垂叶翩然舒展，木栏圈起一方幽庭。老僧趺坐石台，捻须抬掌凝神观思，衣褶线条清劲宛转，将静定悠然的神态藏在笔墨褶皱里。侍童躬身托盏，神态恭谨温顺，身形比例合度，情态生动自然。\n\n构图疏密相宜，浓墨点染的崖石衬出人物素淡清雅，以极简笔墨铺陈晨时禅居日常，把幽寂古雅的林下清趣缓缓晕开，笔简却意韵悠长，将空澹沉静的禅意融在画面的边角细节里，尽显古雅宁和的幽居之美。",[24,28,29,294,26,30,58,348,7,2779],"补衣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda2dba1f05a310b8dd8320899f492d8d.jpg",[],{"id":2783,"slug":2784,"title":27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Buskin","这处残片将服饰质感描摹得极具张力，鞣制皮革的粗粝肌理顺着靴面自然延展，编织系带错落咬合，褶皱起伏间明暗层次分明，将金属扣件的冷硬与蝴蝶结饰的柔润形成鲜明反差。一旁织物的回纹古典规整，纹样勾勒利落凝练，衬出戎装靴履的威严厚重。背景植被晕染柔和朦胧，与主体的精细刻画形成虚实对比，以局部见整体，尽显写实技法的精湛功力，将古典戎装的工艺考究与威仪质感凝缩于方寸残片之中。",[3027,3028,3029,29,3030,2958,7],"西洋画","人物局部","靴履","装饰纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2132753c942d6d831ee2c71fbfb2cc3.jpg",[],{"id":3034,"slug":3035,"title":3036,"dynasty":18,"author":19,"museum":89,"description":3037,"tags":3038,"thumbUrl":3041,"material":485,"size":486,"collection":97,"collections":3042,"showCount":286,"zanCount":11,"manualWeight":11,"mainColor":167},288707,"william-henry-fox-talbot-photogenic-drawing-of-a-plant-yi-ming-288707","William Henry Fox Talbot--[Photogenic Drawing of a Plant]","这是早期摄影术留存的诗意定格，以光为笔将植物拓印在相纸上。纤弱舒展的花序与叶片化作温润的白色剪影，在氧化泛黄的底色里晕开旧时光晕。脉络细节清晰留存，将植物鲜活的姿态凝为永恒的标本式印记，带着自然原生的细腻温柔。黄褐色调如同旧书页的肌理，为画面晕开复古朦胧的质感，仿佛将山野间的一瞬呼吸封存在纸间，让生命的轻盈形态与岁月沉淀的厚重感相融，静诉着早期影像技法与自然美学的浪漫邂逅。",[3039,7,194,56,3040],"摄影作品","剪影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd55a79a999f900d5330fddc24320e9f.jpg",[],{"id":3044,"slug":3045,"title":3046,"dynasty":105,"author":19,"museum":89,"description":3047,"tags":3048,"thumbUrl":3049,"material":485,"size":486,"collection":97,"collections":3050,"showCount":286,"zanCount":11,"manualWeight":11,"mainColor":45},273937,"feng-yan-cao-yi-ming-273937","凤眼草","此作为写实本草写生，平铺的凤眼草以枯褐为主色调，形制舒展如敛翅的细羽，风干后自然褶皱与纤维纹理被细致留存。没有繁复着色晕染，以素朴直白的方式还原药材本貌，将寻常草木的枯寂质感全然呈现。笔触克制沉静，带着记录本草的严谨，将不起眼的草本药材定格成兼具实用记录性与朴素审美的视觉载体，于静默间流露对世间风物的细致观察，藏着对本草的珍视与敬意。",[3046,7,1774],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7138b992cef5f2822c34164222aad817.jpg",[],{"id":3052,"slug":3053,"title":3054,"dynasty":105,"author":19,"museum":89,"description":3055,"tags":3056,"thumbUrl":3057,"material":485,"size":486,"collection":97,"collections":3058,"showCount":286,"zanCount":11,"manualWeight":11,"mainColor":45},273933,"jin-deng-long-yi-ming-273933","锦灯笼","此作以枯败锦灯笼为绘，将宿存萼片的褶皱枯色摹写入微，每一片都带着风霜剥蚀后的松弛肌理，沉朴棕褐褪去鲜亮时的艳态，尽显草木凋敝的沉静质感。散落的籽粒点缀其间，为枯寂画面添了几分余韵。无繁复构图与浓丽设色，仅以写实手笔定格野物本真，褪去矫饰尽显极简克制的古典意趣，将寻常草木的枯荣瞬间凝为隽永，带着侘寂淡然的静美，把平凡风物的质朴生机藏于枯败表象之下，尽显细腻写实功底与沉静内敛的审美意涵。",[24,25,55,7,3054],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d7200ebc2ed4d18f5f6d00b8b4ab87.jpg",[],{"id":3060,"slug":3061,"title":3062,"dynasty":105,"author":19,"museum":89,"description":3063,"tags":3064,"thumbUrl":3069,"material":485,"size":486,"collection":97,"collections":3070,"showCount":286,"zanCount":11,"manualWeight":11,"mainColor":167},258527,"qian-long-kuan-fen-cai-ying-xi-tu-gai-guan-yi-ming-258527","乾隆款粉彩婴戏图盖罐","此罐描金饰彩，华贵雅致。盖钮作莲苞状，盖面、颈足部饰缠枝宝相花与回纹，勾勒出匀整富丽的边饰。\n器身通景婴戏图，孩童们或燃爆竹、或抬花灯，嬉游于蕉梅庭院间，神态灵动鲜活，衣色鲜妍明快，粉彩晕染柔润细腻，将稚子嬉闹的吉庆童趣铺陈开来。整器绘工精湛考究，把祥瑞意趣融于瓷绘，尽显彩瓷妍丽精巧的典型风貌，藏着旧时匠人的细腻巧思与雅致审美。",[459,2598,3065,29,3066,345,251,3067,3068,30,7,1134],"粉彩","婴孩","回纹","缠枝纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff99ca14894554181f39cc59dd79f34d3.jpg",[],{"id":3072,"slug":3073,"title":3074,"dynasty":71,"author":19,"museum":89,"description":3075,"tags":3076,"thumbUrl":3081,"material":485,"size":486,"collection":97,"collections":3082,"showCount":286,"zanCount":11,"manualWeight":11,"mainColor":167},249948,"jing-tai-kuan-qia-si-fa-lang-yu-gang-yi-ming-249948","景泰款掐丝珐琅鱼缸","器型饱满圆融，沉稳雅致。深邃霁蓝铺底，缀满如碎钻星子的圆点，晕开华贵底色。金彩开光勾勒出一方方莲塘小景，粉荷绽露娇容，碧叶随波舒展，水禽闲立汀洲，水草轻曳生姿。掐丝婉转流畅，将夏日荷塘的清逸雅致凝于缸身，色彩明丽鲜妍，填色匀净细腻。铜口质朴古雅，底部回纹圈衬，晕开古朴意趣。\n\n整器将富丽华贵与清雅意趣相融，掐丝珐琅工艺尽显精妙，静赏间仿佛能闻塘间荷香，窥见水漾清风，藏着造物的匠心巧思。",[670,3077,3078,3079,29,633,764,32,7,3080,55,239],"掐丝珐琅","珐琅器","铜制","开光装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffef7630b9fa2da9d9c62cdc635e119c.jpg",[],{"id":3084,"slug":3085,"title":3086,"dynasty":105,"author":3087,"museum":89,"description":3088,"tags":3089,"thumbUrl":3090,"material":485,"size":486,"collection":97,"collections":3091,"showCount":286,"zanCount":11,"manualWeight":11,"mainColor":45},241250,"lun-hua-zhou-chen-xi-zu-241250","论画轴","陈希祖","陈希祖（1767-1820，一作1765-1820）字敦一，又字稚孙，号玉香，更号玉方，一作玉芳。江西新城钟贤（今江西省黎川县中田乡）人。官御史。清代学者、著名书法家。",[25,26,161,29,588,156,7,160],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e56cafabe5bdfb77cacee33fe1bffdf.jpg",[],{"id":3093,"slug":3094,"title":3095,"dynasty":105,"author":1382,"museum":89,"description":3096,"tags":3097,"thumbUrl":3098,"material":485,"size":486,"collection":97,"collections":3099,"showCount":286,"zanCount":11,"manualWeight":11,"mainColor":167},236663,"bie-you-feng-wei-ce-huang-shen-236663","别有风味册","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。",[24,25,92,207,161,111,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b866aba7949ca83ea11703709f71d69.jpg",[],{"id":3101,"slug":3102,"title":1391,"dynasty":105,"author":3103,"museum":89,"description":3104,"tags":3105,"thumbUrl":3106,"material":485,"size":486,"collection":97,"collections":3107,"showCount":286,"zanCount":11,"manualWeight":11,"mainColor":167},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。",[24,25,92,29,161,111,1197,7,497,207],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b8e671cfc84177a6224e86d98fae0ab.jpg",[],{"id":3109,"slug":3110,"title":3111,"dynasty":71,"author":2768,"museum":89,"description":2769,"tags":3112,"thumbUrl":3113,"material":97,"size":97,"collection":97,"collections":3114,"showCount":286,"zanCount":11,"manualWeight":11,"mainColor":167},233647,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233647","十竹斋五色笺谱册",[24,25,92,2153,29,55,7,56,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3a771dc2e4dd6376b6cd23ffc6d4145.jpg",[],{"id":3116,"slug":3117,"title":3111,"dynasty":71,"author":2768,"museum":89,"description":2769,"tags":3118,"thumbUrl":3120,"material":97,"size":97,"collection":97,"collections":3121,"showCount":286,"zanCount":11,"manualWeight":11,"mainColor":167},233608,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233608",[24,25,92,2153,29,239,3119,7,111],"兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F540a4b24eb0b0ed7bfc5d9df6b035cf8.jpg",[],{"id":3123,"slug":3124,"title":3111,"dynasty":71,"author":2768,"museum":89,"description":2769,"tags":3125,"thumbUrl":3126,"material":97,"size":97,"collection":97,"collections":3127,"showCount":286,"zanCount":11,"manualWeight":11,"mainColor":167},233601,"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233601",[24,25,92,294,29,58,2333,807,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca22e328cd1a066abd1b723b1b17467.jpg",[],{"id":3129,"slug":3130,"title":3131,"dynasty":18,"author":3132,"museum":89,"description":3133,"tags":3134,"thumbUrl":3137,"material":485,"size":486,"collection":97,"collections":3138,"showCount":286,"zanCount":11,"manualWeight":11,"mainColor":45},232440,"he-er-bai-yin-99-he-er-bai-yin-232440","荷尔拜因99","荷尔拜因","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》。\n荷尔拜因在创作一幅肖像画以前，经常用铅笔描绘衣物、装饰品等细节，有时也用钢笔或垩笔，然后在纸上沿轮廓扎上小孔，铺在画布上，用炭粉将其转移到画布上。在晚年也使用复写纸。他的画作对细节描绘非常详细、真实，甚至于仪器上的刻度、信笺上的文字、桌布上的花纹都描绘的一丝不苟，但整体风格仍然非常统一，人文主义风格非常明显，俄罗斯作家陀斯妥耶夫斯基曾经评价他的作品《墓中的基督》：“可以把许多人的信仰夺去。” 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