[{"data":1,"prerenderedAt":714},["ShallowReactive",2],{"subject-zhou-chuan":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},501,"zhou-chuan","舟船","舟船画高清赏析","精选中国历代舟船题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0e0e1fe5b705681af59de798156ca05.jpg",0,51,[14,50,76,93,107,120,139,154,172,188,200,211,230,243,256,270,282,318,327,341,355,368,378,391,400,413,426,437,447,459,470,480,493,504,515,527,539,549,561,572,585,598,612,624,635,646,656,668,679,694,704],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":40,"material":41,"size":42,"collection":43,"collections":44,"showCount":47,"zanCount":48,"manualWeight":11,"mainColor":49},221382,"qian-li-jiang-shan-tu-wang-xi-meng-221382","千里江山图","宋","王希孟","北京故宫博物院","《千里江山图》卷是北宋画家王希孟传世的唯一作品。此图描绘了祖国的锦绣河山。画面上峰峦起伏绵延，江河烟波浩淼，气象万千，壮丽恢弘。山间高崖飞瀑，曲径通幽，房舍屋宇点缀其间，绿柳红花，长松修竹，景色秀丽。山水间野渡渔村、水榭楼台、茅屋草舍、水磨长桥各依地势、环境而设，与山川湖泊相辉映。此卷以概括精练的手法、绚丽的色彩和工细的笔致表现出祖国山河的雄伟壮观，一向被视为宋代青绿山水中的巨制杰构。\n画家在构图上充分利用传统的长卷形式所具有的多点透视之特点，在十余米的巨幅长卷中将景物大致分为六部分，每部分均以山体为主要表现对象，各部分之间或以长桥相连，或以流水沟通，使各段山水既相对独立，又相互关联，巧妙地连成一体，达到了步移景异的艺术效果。高远、深远、平远多种构图方式的穿插使用更使画面跌宕起伏，富有强烈的韵律感，引人入胜。\n《千里江山图》卷在设色和用笔上继承了传统的“青绿法”，即以石青、石绿等矿物质为主要颜料，敷色夸张，具有一定的装饰性，被称为“青绿山水”。此种表现方法是我国山水画技法中发展较早的一种，在隋唐时期如展子虔、李思训、李昭道等许多画家均擅长青绿山水画。纵观宋代画坛，虽然也有一些画家用此法创作，但从目前存世作品看，尚无一件可以超越《千里江山图》卷。王希孟在继承前法的基础上，表现出更趋细腻的画风，体现了北宋院画工整严谨的时代风格。此图用笔精当，一点一画均无败笔。人物虽细小如豆，却动态鲜明。微波水纹均一笔笔画出，渔舟游船荡曳其间，使画面平添动感。综观全幅，又不失雄阔的境界和恢宏的气势，远观近睹均令人折服。在用色上，画家于单调的蓝绿色中求变化，虽然以青绿为主色调，但在施色时注重手法的变化，色彩或浑厚，或轻盈，间以赭色为衬，使画面层次分明，色如宝石，光彩夺目。元代著名书法家溥光对此卷推崇备至，在卷后题跋中赞道：“在古今丹青小景中，自可独步千载，殆众星之孤月耳。”此论可谓公允之见。\n从此卷所描绘的景物看，系以南方清丽秀润的山水为主体，在部分山峦的表现上加进了一些北方山水的特征，可谓集南北山水于一体的精心之作。从画面表现的建筑形式以及江南水乡的生活场景、生产劳作使用的工具等方面看，画家对江南地区有着较为深刻的了解，其艺术创作当来源于生活，而王希孟于18岁时即创作出如此宏幅巨制，不可能没有深厚的生活积累，由此笔者推测，画家王希孟应是江南人，至于具体籍贯便无从知晓了。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,7,38,39],"高清","国画","名画","书画","长卷","青绿","设色","工笔","皴法","山水","山峦","河流","小桥","树木","亭台","云雾","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d4787ef8c440e7ab09e9fddb2ac7117.jpg","绢本，设色","纵51.5厘米，横1191.5厘米","宋画精选",[43,45,46],"人物画精选","设色画精选",809,10,"795548",{"id":51,"slug":52,"title":53,"dynasty":54,"author":55,"museum":56,"description":57,"tags":58,"thumbUrl":70,"material":71,"size":72,"collection":45,"collections":73,"showCount":74,"zanCount":75,"manualWeight":11,"mainColor":49},216367,"ri-ben-chang-hen-ge-tu-juan-xia-juan-shou-ye-shan-xue-216367","日本· 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全畫用筆細勁古樸，恰如“春蠶吐絲”。山川樹石畫法幼稚古樸，所謂“人大於山，水不容泛”，體現了早期山水畫的特點。",[23,24,27,30,29,85,60,99,32,7,86,87,36,63,61,100,38],"美人","马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f91a02ada093698df90828a9cfe6c6.jpg","长卷 绢本 设色","28x699厘米",[43,45,46],192,1,{"id":108,"slug":109,"title":110,"dynasty":54,"author":111,"museum":56,"description":112,"tags":113,"thumbUrl":115,"material":116,"size":117,"collection":89,"collections":118,"showCount":119,"zanCount":106,"manualWeight":11,"mainColor":49},287927,"qing-ming-shang-he-tu-ju-bu-chou-ying-287927","清明上河图(局部)","仇英","《清明上河图》是明代画家仇英创作的一幅重彩风俗画作品，现收藏于辽宁省博物馆。 现存世作品《清明上河图》有多本传为仇英所作，除此卷外，另有青州市博物馆藏本 ，台北故宫博物院藏本 ，以及多本流落私人之手。而辽宁省博物馆藏的此卷《清明上河图》，流传有绪，现学术界一般认为其为仇英真迹。\n此卷《清明上河图》参照了张择端《清明上河图》的构图形式，采用青绿重设色方式，描绘明代苏州城的社会生活情景，画中人物超过两千，且都神态各异，栩栩如生。整个画面工整细腻，色彩鲜艳，典雅清丽，工而不板，细而不繁，妍而不媚。\n此卷《清明上河图》代表了后世《清明上河图》题材创作的典型风格和最高水平。既是中国古代绘画史上承前启后的风俗巨作，也是研究明代中后期社会生活和文化史的有力图证。",[25,24,27,29,30,60,61,35,62,7,100,114],"市井","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8286e97dc6c0f4fdbe8f31d7811db1c6.jpg","未知","Xcm*Xcm",[],159,{"id":121,"slug":122,"title":123,"dynasty":54,"author":124,"museum":81,"description":125,"tags":126,"thumbUrl":132,"material":133,"size":134,"collection":135,"collections":136,"showCount":137,"zanCount":138,"manualWeight":11,"mainColor":49},221994,"tao-yuan-wen-jin-tu-quan-juan-wen-zheng-ming-221994","桃源问津图全卷","文徴明","全图画远山冈峦，叠翠连绵，溪水横流，树木葱郁，屋舍村字，掩映其间，有老者山道边策杖观瀑沉思，有妇人携幼拄杖于院篱门口问路，屋内四男子席地而坐，饮酒高谈。图中线条粗细旋转富于变化，墨色浓淡干湿，层次丰富。该图款识：“嘉靖甲寅二月既望。徵明识。时年八十有五。”嘉靖甲寅年为1556年。",[23,24,32,127,128,129,29,27,130,131,7],"山","水","树","写意","纸本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5be4d911f0f1c59073981b4c71b9d7db.jpg","纸本设色","纵23厘米，横578.3厘米","山水画精选",[135,46],158,2,{"id":140,"slug":141,"title":142,"dynasty":18,"author":143,"museum":144,"description":145,"tags":146,"thumbUrl":148,"material":71,"size":149,"collection":43,"collections":150,"showCount":151,"zanCount":152,"manualWeight":11,"mainColor":153},218926,"tian-zhong-shui-xi-tu-li-song-218926","天中水戏图","李嵩","台北故宫博物院","这幅画表现的是一艘用金色画成的巨大龙舟，上面有雕梁画栋和花窗装饰，宏伟而精致。龙头高耸，眉毛突出，张牙舞爪，舌头张开，船身密布鳞片，船尾高度弯曲上翘，给人一种威严的形象。",[23,24,25,26,147,59,29,30,61,86,7,69],"册","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4cc9b39f9dfd96d1ccdd35955b36a94.jpg","24.5x25.1",[43],154,3,"BDBDBD",{"id":155,"slug":156,"title":157,"dynasty":18,"author":158,"museum":56,"description":159,"tags":160,"thumbUrl":169,"material":116,"size":117,"collection":89,"collections":170,"showCount":171,"zanCount":106,"manualWeight":11,"mainColor":49},288321,"xi-yuan-ya-ji-tu-ma-yuan-288321","西园雅集图","马远","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[23,25,24,27,161,60,32,162,163,164,63,61,35,62,165,7,166,167,168],"水墨","松树","枯树","瀑布","竹丛","马匹","文人雅集","宴饮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef6165e95977efed01ca7108e9daefd.jpg",[],150,{"id":173,"slug":174,"title":175,"dynasty":54,"author":111,"museum":20,"description":176,"tags":177,"thumbUrl":184,"material":41,"size":185,"collection":89,"collections":186,"showCount":187,"zanCount":11,"manualWeight":11,"mainColor":153},222192,"ren-wu-gu-shi-tu-xun-yang-pi-pa-chou-ying-222192","人物故事图-浔阳琵琶","全册共十开，内容取材于历史故事、寓言传说、文人轶事和诗文寓意，具体为子路问津、明妃出塞、贵妃晓妆、南华秋水、吹箫引凤、高山流水、竹院品古、松林六逸、浔阳琵琶、捉柳花图等。这些题材历史上常被画家描绘，但仇英在作品立意、形象塑造和笔墨表现等方面，都注入了自己的才思和技巧，显示出鲜明的个性风格。\n作品主题明确，构思巧妙，不仅人物活动的细节刻画具体明晓，而且注意环境气氛的烘托，使每幅画页都有很强的观赏性。如“贵妃晓妆”页，以杨贵妃清晨在华清宫端正楼对镜理髻为中心，将宫女奏乐、采花和携琵琶等情节同现于一个画面，集中表现了贵妃爱牡丹、喜簪花、善声乐、好打扮的习性，也概括反映了贵妃奢华纵乐的生活内容。又如“高山流水”页，取材于伯牙鼓琴的故事，在描绘俞伯牙草亭弹琴，钟子期拾阶而上，知音相遇的具体情节同时，布置了高山飞瀑、松林流水的静谧清幽环境，形象地表达了高山流水的音乐内容，也衬托出人物的高雅情操，以象征性手法营造出了一个情景交融的臻境。\n此图册运用工笔重彩法。人物情态描绘得细腻精微，文人举止高雅潇洒，仕女容貌端庄娟美。建筑器皿工整精细，山石树木形态各具。笔致工细而不板滞，流畅自然，刚柔相济。敷色艳丽，又多和色，整体色调和谐、清雅。作品具有雅俗共赏的艺术效果，是仇英对唐宋工笔重彩法的创新和发展。",[23,24,178,29,179,60,7,32,36,180,181,182,183],"工笔重彩","册页","骆驼","音乐","历史故事","文人轶事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc35abb769ff5e9054e9cf450da226925.jpg","每开纵41.4厘米，横33.8厘米",[],88,{"id":189,"slug":190,"title":191,"dynasty":54,"author":111,"museum":56,"description":192,"tags":193,"thumbUrl":197,"material":116,"size":117,"collection":89,"collections":198,"showCount":199,"zanCount":106,"manualWeight":11,"mainColor":49},287561,"fang-li-tang-shan-shui-tu-chou-ying-287561","仿李唐山水图","此图卷画法山石分面后用大斧劈皴法，是李唐家数，极明暗变化之能事。浙派学南宋，都和墨皴染，石面无‘钉头’，乏老硬笔意，仇实父实得李唐画石之三味。",[23,25,24,26,27,32,29,31,84,33,36,194,7,35,62,195,196],"房屋","行书","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bece0ca5a5d1ae85f5b79d72f19d2f.jpg",[],81,{"id":201,"slug":202,"title":203,"dynasty":204,"author":205,"museum":56,"description":206,"tags":207,"thumbUrl":208,"material":89,"size":89,"collection":89,"collections":209,"showCount":210,"zanCount":11,"manualWeight":11,"mainColor":49},227243,"gong-dian-tu-ye-li-zhao-dao-227243","宫殿图页","唐","李昭道","大小李将军：李思训、李昭道\n\n李思训 (653一718)唐代书画家。成纪(今甘肃天水)人。唐宗室,高宗时为江都令。武则天当政，弃官潜匿。神龙元年(705)出为宗正卿。玄宗开元初官左武卫大将军。李邕碑称「云麾将军」。工书法，尤擅画山水树石，笔力犹劲。格调细密。好写湍獭潺湲，云霞缥缈之景，鸟兽草木，皆穷其态。朱景玄说他「国朝山水第一，列神品」。这种青绿为质、金碧为纹的山水画，富有装饰性，源出于隋代展子虔，继承并发展了六朝以来以色彩为主的表现形式。明代董其昌推之为「北宗上之祖。唐代张彦远说「山水之变，始于吴(道子)，成于二李(思训、昭道)」。世称「二李」为「大、小李将军」。画迹有《山居四皓图》、《江山渔乐图》、《群峰茂林图》等十七件，著录于《宣和书谱》。存世作品有《江帆楼阁图》轴，绢本，设色，长松秀岭，翠竹掩映，山径层迭，碧殿朱廊，江天阔渺，风帆溯流，具唐衣冠者四人，山右青绿，有简单斫笔，安岐评谓「傅色古豔，笔墨超轶。」现藏台北故宫博物院。",[23,24,26,28,29,59,32,61,63,36,7,60,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba0c482941c845fe70d4fbfffeaffeec.jpg",[],73,{"id":212,"slug":213,"title":214,"dynasty":215,"author":216,"museum":20,"description":217,"tags":218,"thumbUrl":225,"material":226,"size":227,"collection":89,"collections":228,"showCount":229,"zanCount":11,"manualWeight":11,"mainColor":153},233808,"ceng-yan-die-he-tu-zhou-kun-can-233808","层岩叠壑图轴","清","髡残","此图山峦重叠，结构饱满，一条山路顺山势自下而上蜿蜒曲折，使景物繁复而不迫塞，布局巧妙，具有“奥境奇辟，缅邈幽深，引人入胜”的意境。以干笔皴擦山石，浓墨点苔，气韵浑厚。用笔苍浑、老辣，用墨层次丰富，展现了石谿极具个性的绘画风格，是代表石谿成熟画风的杰作。",[24,26,219,32,161,31,29,220,221,164,35,62,222,7,36,63,61,223,224],"立轴","层岩","叠壑","远山","路径","亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F741b209c7c58099e2e9ad6724a3f19a9.jpg","纸本，设色","纵169厘米，横41.5厘米",[],66,{"id":231,"slug":232,"title":233,"dynasty":54,"author":124,"museum":144,"description":234,"tags":235,"thumbUrl":239,"material":240,"size":241,"collection":135,"collections":242,"showCount":229,"zanCount":152,"manualWeight":11,"mainColor":153},221996,"hu-xi-cao-tang-hua-xin-wen-zheng-ming-221996","浒溪草堂画芯","作品是作者六十六岁时所作。描绘的是吴邑沉天民的浒溪草堂，既反映了草堂主人淡泊明志，不追逐名利的品格，又对映了主人热情好客的秉性，同时也折射出了作者本人的好恶。\n《浒溪草堂图》原藏沉天民家中，明末遗失。沉天民曾孙沈培风少时曾在朋友姚子文家见到此画，想要购回，却终究没好意思开口，一直是心头的一块心病，念念不忘。二十年后的一天，得知姚子文已于一年前的冬天患病不治而逝的讯息后，沈培风立即前往浙江的姚宅，欲觅得此画，可惜宅内已空无一物。有道是功夫不负有心人，不久有人将画送上门来。经过二十年世事沧桑，百变流转，培风又遇此画，便下定决心说什么也不能让机会从自己身边再次溜走。于是，几乎倾其所有，重金购得，并请工匠重新装裱后珍藏起来。此举显示出培风与其曾祖一样不忘本，具有难得的孝心。当年天民虽生活在城市，但仍不忘先祖的桑梓生活而在城市中修建草堂，取名为浒溪，才得以有画作《浒溪草堂图》留传至今，让后人一睹名家画作的风采。\n此画画法秀润，意境清幽，构图严谨，笔法细腻，设色明快。画面上描绘的是高木浓荫，掩映草堂，群山环抱，清波蜒曲，帆樯林立，榭阁屋宇错落。近处草堂敞轩，二高士案前对坐，正在高谈阔论；远山以石青晕染，近山则石青加赭石微抹，树干纯以赭石钩染，枝叶以石绿加石青点染，背光处加渴墨，显得更加郁郁葱葱。在艺术表现手法上，用笔细腻严谨，山石仅用渴笔微抹，以点苔显出明暗，经营位置，得写生之助化出清幽境界。",[23,24,32,127,128,129,236,237,7,29,238,130,27,131],"房","桥梁","浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeb9da20bb028a48cc761920595df3e9.jpg","绢本","166 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“春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色淡雅。“平流涌瀑”画夏日高树浓荫，茂茂森森，以浓厚的墨色点染，华滋苍润。“万松叠翠”写秋时萧瑟之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的松树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以传统界画的精湛技法把扬州当时“两堤花柳全依水，一路楼台直到山”的繁荣景象真切形象地展现在观者面前。",[23,25,24,26,32,59,29,30,61,385,36,7,34,38,386],"明月","柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9218ea22d441b2dddefafa0a46fa6764.jpg","纵57cm，横66.1cm",[],31,{"id":392,"slug":393,"title":394,"dynasty":18,"author":80,"museum":56,"description":395,"tags":396,"thumbUrl":397,"material":89,"size":89,"collection":89,"collections":398,"showCount":399,"zanCount":11,"manualWeight":11,"mainColor":49},227371,"luo-shen-fu-tu-di-yi-juan-yi-ming-227371","洛神赋图第一卷","曹植的作品中，除了“七步诗”，最有名的就是《洛神赋》了，后来，著名的画家顾恺之依据《洛神赋》，画了流传千古的名画《洛神赋图》，其中最感人的一段描绘是曹植与洛神相逢，但是洛神却无奈离去的情景。\n\n全卷分为三个部分，曲折细致而又层次分明地描绘着曹植与洛神真挚纯洁的爱情故事。人物安排疏密得宜，在不同的时空中自然地交替、重叠、交换，而在山川景物描绘上，无不展现一种空间美。\n\n此图卷无论从内容、艺术结构、人物造形、环境描绘和笔墨表现的形式来看，都不愧为中国古典绘画中的瑰宝之一。",[23,24,27,29,30,85,337,196,60,99,249,7,32,36,62,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda06f1d6798502716c251cdbc934d11d.jpg",[],29,{"id":401,"slug":402,"title":403,"dynasty":54,"author":80,"museum":404,"description":405,"tags":406,"thumbUrl":408,"material":409,"size":410,"collection":135,"collections":411,"showCount":412,"zanCount":11,"manualWeight":11,"mainColor":49},223400,"si-ji-tu-juan-yi-ming-223400","四季图卷","日本京都高桐院","该作品，以开阔的画面展示了从卷头的春景开始到卷末的冬景结束，连续画出了四季山水的变迁。仔细观摩之，这一春夏秋冬的四季也分别画成孟、仲、季三景，并且通过巧妙的布置而连成一景。一卷四季变化实属罕见。托名李唐之作，当是明人仿古之作。",[23,27,24,25,26,32,264,31,29,61,35,62,224,363,7,33,36,407],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90cf2282e5eee3e7a82bdfb99910e204.jpg","绢本墨笔","35.1X661.9",[135,316],22,{"id":414,"slug":415,"title":416,"dynasty":18,"author":417,"museum":56,"description":418,"tags":419,"thumbUrl":423,"material":116,"size":117,"collection":89,"collections":424,"showCount":425,"zanCount":11,"manualWeight":11,"mainColor":153},289451,"cheng-jiang-bi-xiu-tu-zhao-bo-ju-289451","澄江碧岫图","赵伯驹","赵伯驹（生卒不详），宋代画家，字千里，宋宗室。主要活动在12世纪中前期。工山水、花果、翎毛、楼台，青绿山水尤善。他将水墨山水的趣味与技法融入唐代李思训、李昭道父子的大青绿画法中，形成了一种介于院体画和文人画之间的“精工之极，又有士气”的风格。",[24,25,420,32,421,7,33,36,29,28,422,31],"扇面","江景","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0425698f92ed84c5738bd73d1af16597.jpg",[],20,{"id":427,"slug":428,"title":429,"dynasty":430,"author":55,"museum":56,"description":431,"tags":432,"thumbUrl":435,"material":89,"size":89,"collection":89,"collections":436,"showCount":425,"zanCount":11,"manualWeight":11,"mainColor":49},230484,"chang-hen-ge-tu-juan-shi-qi-shi-ji-shang-juan-shou-ye-shan-xue-230484","长恨歌图卷十七世纪（上卷）","不详","这卷长卷以工笔重彩铺展离乱行旅，移步换景间复刻出千乘万骑西南行的史诗场面。从宫阙启銮到盘山栈道，扈从仪仗连绵逶迤，宫眷臣僚的形貌衣冠分毫毕现，屋宇建制严整合度，山石皴染带着苍劲古意。\n\n设色雅致清淡，细腻笔触里藏着仓皇离京的沉郁悲戚，将长诗里的恸惋具象为视觉图景。既是对唐代仪制的精细纪实，也把文学哀婉揉入疏密构图，以铺陈群像勾勒出时代恸哭，尽显古典叙事画的隽永张力。",[23,24,27,29,30,59,60,61,32,36,433,35,37,64,276,7,434,63],"火焰","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa3f33a6b01bde2948c81fb1e32b14a2.jpg",[],{"id":438,"slug":439,"title":440,"dynasty":215,"author":80,"museum":56,"description":441,"tags":442,"thumbUrl":445,"material":89,"size":89,"collection":89,"collections":446,"showCount":425,"zanCount":11,"manualWeight":11,"mainColor":49},223661,"nao-long-zhou-yi-ming-223661","闹龙州","这幅工笔风俗画以春日江畔为底色，屋舍朱黛错落，楼阁上下人头攒动，凭栏共览盛景，市井烟火扑面而来。水面之上龙舟劈波竞渡，旌旗招展，健儿合力挥桨，浪涛随舟翻涌，喧腾的节庆氛围满溢卷间。\n\n远处山峦逶迤浅黛，汀渚桃杏初绽，柔化了喧闹的底色，晕开融融春意。整作设色雅致明丽，工笔细腻入微，将官民同观竞渡的鲜活民俗盛景定格，于细节处铺陈清代市井百态，尽显院体风俗画的写实功力，把春日水乡的温婉与节庆的喧腾完美相融。",[23,25,24,26,27,30,29,59,32,61,60,7,443,224,237,194,65,276,444,63,34,66,36],"桃花","栏杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53fe0824f719b89c17c45135e87db139.jpg",[],{"id":448,"slug":449,"title":450,"dynasty":18,"author":451,"museum":56,"description":452,"tags":453,"thumbUrl":455,"material":116,"size":117,"collection":89,"collections":456,"showCount":457,"zanCount":11,"manualWeight":11,"mainColor":458},288977,"xia-shan-tu-qu-ding-288977","夏山图","屈鼎","京师（今河南开封）人。仁宗朝（一o二三）为图画院只候。工画山水，得燕文贵之髦髴。画四时风物之变态，与夫烟霞惨舒，泉石凌砾之状，善分布，涧谷间见屈曲之状。然有笔而无思致，林木皆崦霭而已，虽为许道宁之师，道宁气格似过之，学不及也。",[25,24,27,161,31,32,33,250,34,7,38,454],"夏景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5ed240c08185678837f9810e468620.jpg",[],19,"37474F",{"id":460,"slug":461,"title":462,"dynasty":215,"author":382,"museum":20,"description":463,"tags":464,"thumbUrl":466,"material":71,"size":467,"collection":89,"collections":468,"showCount":469,"zanCount":106,"manualWeight":11,"mainColor":49},219137,"yang-zhou-si-jing-tu-chun-tai-ming-yue-yuan-yao-219137","扬州四景图-春台明月","这组画屏是袁耀晚年的佳作，所绘为南京北郊的到处名胜景区，均为写生之作。 “春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色典雅。“平流涌瀑”画夏日高树掩映，茂茂森森，以独特的落墨点染，华滋苍润。“万松叠翠”写秋时寂寥之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的柳树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以特色界画的娴熟技法把扬州曾经“两堤花柳全依水，一路楼台直到山”的繁盛景象真切形象地展现在观者面前。",[23,25,24,26,59,29,30,32,61,385,7,36,62,465],"台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bc2083e3304ec61a774b10ba10ced57.jpg","纵57厘米，横66.1厘米",[],18,{"id":471,"slug":472,"title":473,"dynasty":54,"author":80,"museum":56,"description":474,"tags":475,"thumbUrl":477,"material":116,"size":117,"collection":89,"collections":478,"showCount":479,"zanCount":11,"manualWeight":11,"mainColor":49},289943,"fang-dong-yuan-xia-shan-tu-yi-ming-289943","仿董源夏山图","此作用笔追摹董源风骨，以披麻皴绘平缓山峦，苍润朴拙，晕染出江南夏山的氤氲空蒙。浩渺平湖横亘画面，洲渚间林木蓊郁，渔村山居错落隐现，三两渔舟泛于烟波间，野趣悠然满溢。\n\n全图以平远章法铺展丘壑，苔点繁密缀于山体，尽显草木华滋之态，复刻出南宗山水平淡天真的意趣，将夏日山林的温润葱郁与水滨幽寂融为一体，把江南夏景的淡远生机尽显于绢素之上，是得董源神韵的仿古佳制。",[23,25,24,27,476,29,31,33,307,250,363,7,84],"山水画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ba79ab403ce26b026d8e1580f30d144.jpg",[],17,{"id":481,"slug":482,"title":483,"dynasty":54,"author":484,"museum":485,"description":486,"tags":487,"thumbUrl":490,"material":131,"size":491,"collection":89,"collections":492,"showCount":479,"zanCount":11,"manualWeight":11,"mainColor":153},231594,"song-xing-tu-shen-zhou-231594","送行图","沈周","上海博物馆","在明代以前，作为一种表现送别主题的“江岸送别”图式在南宋时期就已经产生。学者石守谦认为，十二世纪晚期佚名画家的《送海东上人归国图》）是现存最早的江岸“送别图”。此幅作品采用南宋时期常用的半边式构图，画中景物都集中在右半边，右侧岸边上有两棵松树，松树下有一个小亭，旁边共有五人，站在亭子外面看着左边正要离去的船。其中有两人抱拳鞠躬在向船上的人临江告别。而在画面中央波涛汹涌的江面上，有一艘大船被巨浪包围着，船上的水手们或鼓帆拉弦，或奋力划船，气氛十分紧张，与岸上的依依送别之情形成鲜明的对比。纵观整幅作品，从浩瀚江面上扬帆起航的行舟，到送者与被送者隔岸拜别，再到岸边的饯别小亭，其所描绘的“送别”景象基本上构成了江岸送别图式的基本要素，标志着江岸送别图式的形成。这种图式中，岸边友人拱手送别、水中舟船待发等场景是必不可少的。",[23,24,26,27,161,29,31,195,488,337,196,32,36,60,7,34,63,162,489,224,289],"篆书","竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e41518bb5ef131e0f1424e3a5b315e2.jpg","纵30.0厘米，横125.5厘米",[],{"id":494,"slug":495,"title":496,"dynasty":18,"author":80,"museum":56,"description":497,"tags":498,"thumbUrl":501,"material":89,"size":89,"collection":89,"collections":502,"showCount":503,"zanCount":11,"manualWeight":11,"mainColor":153},227865,"chun-jiang-fan-bao-tu-ye-yi-ming-227865","春江帆饱图页","近岸怪石崚嶒，古松盘虬错节，笔墨苍劲朴拙，尽显山野清旷之气。江面波平水远，风帆饱胀满张，逐浪悠游，远山晕染在烟霭之中，虚实相生铺展出平远无尽的江天胜景。\n\n诗画合璧，将春水放舟的闲逸融入尺幅之间，以小景承载阔远意境，简淡空灵里暗合寄情林泉的幽远意趣，尽显含蓄隽永的古典山水审美意韵。",[23,24,26,179,161,29,31,32,499,7,36,63,222,500,195,196],"江水","帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f17c75276403ef9deb01b11f04db765.jpg",[],16,{"id":505,"slug":506,"title":507,"dynasty":18,"author":80,"museum":56,"description":508,"tags":509,"thumbUrl":512,"material":116,"size":117,"collection":89,"collections":513,"showCount":514,"zanCount":11,"manualWeight":11,"mainColor":49},288364,"jin-ming-chi-zheng-biao-tu-yi-ming-288364","金明池争标图","《金明池争标图》绘金明池及岸边的景物和人物。由画面下部“池门”入园，以界画手法分别细致描绘了“临水殿”、“宝津楼”、“棂星门”、“仙桥”、“五殿”、“奥屋”等主要建筑物。画面中各龙舟左突右进的空间安排，营造出争标的激烈、刺激与紧张气氛。“仙桥”右下方的“水傀儡”、“水秋千”、“乐船”的描绘则将宋代的水上百戏表演呈现在观者面前。\n《金明池争标图》上众多人物汇聚图上，虽微小如蚁，但仔细观察，人物比例恰当，姿态各异，神情生动，颇具艺术魅力。\n《金明池争标图》中描绘的景物、活动与宋孟元老所撰《东京梦华录》等史料中相关的记载吻合，因此又具有较高的历史文献价值。",[25,24,59,30,29,61,35,62,7,510,37,386,511],"池苑","龙舟争标","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F599da7a1c7e07ac0c449915bde4d91c3.jpg",[],15,{"id":516,"slug":517,"title":518,"dynasty":215,"author":519,"museum":20,"description":520,"tags":521,"thumbUrl":523,"material":41,"size":524,"collection":89,"collections":525,"showCount":526,"zanCount":11,"manualWeight":11,"mainColor":153},234193,"bai-di-ye-yue-tu-juan-wang-hui-234193","白堤夜月图卷","王翚","王翚（1632—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。祖上五世均善画，曾祖王伯臣，善画花鸟，祖父王载仕，擅长山水、人物、花卉；父亲王云客也善画山水，画风秀雅。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，融会南北诸家之长，创立了所谓南宗笔墨、北宗丘壑的新面貌，故王时敏称“画有南北宗，至石谷而合为一”。在王翚35岁到60岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 不及以前的作品生动清新。",[23,24,26,25,27,29,32,31,385,35,62,7,36,61,224,162,386,194,522],"岸堤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24027dcacd6db83d61b7db7fb396350b.jpg","纵39厘米，横219.5厘米",[],14,{"id":528,"slug":529,"title":530,"dynasty":18,"author":80,"museum":56,"description":531,"tags":532,"thumbUrl":536,"material":116,"size":117,"collection":89,"collections":537,"showCount":538,"zanCount":11,"manualWeight":11,"mainColor":153},289942,"fang-guo-zhong-shu-xue-ji-jiang-xing-tu-yi-ming-289942","仿郭忠恕雪霁江行图",",画雪江上大船两只,船之结构及船夫劳作之状被刻画得精妙入微,此图已经裁割.画面已不完整,",[23,24,27,59,26,421,7,533,534,337,61,84,535],"雪霁","雪景","行舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdce44be3bb9a4fc815fe20943e725c8.jpg",[],12,{"id":540,"slug":541,"title":542,"dynasty":54,"author":543,"museum":56,"description":544,"tags":545,"thumbUrl":547,"material":116,"size":117,"collection":89,"collections":548,"showCount":538,"zanCount":11,"manualWeight":11,"mainColor":49},288020,"hu-qiu-shan-tu-jing-xin-sun-zhi-288020","虎丘山图镜心","孙枝","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。",[23,24,26,476,59,161,29,61,35,62,7,350,36,546,60],"山丘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4f35e696980bb7bf3cd169dfe3be2dd.jpg",[],{"id":550,"slug":551,"title":552,"dynasty":54,"author":553,"museum":56,"description":554,"tags":555,"thumbUrl":558,"material":116,"size":117,"collection":89,"collections":559,"showCount":560,"zanCount":11,"manualWeight":11,"mainColor":153},290923,"yuan-ye-wu-bin-290923","元夜","吴彬","吴彬（1550—1643），字文中，又字文仲，明代绘画大师，别字质先，别称文中父、文中子，自号壶谷山樵、遵道生、织履生、一枝栖、枝隐生、枝隐居士、朱湖太生洞天居士、枝隐庵主、枝庵发僧、枝隐头陀、枝隐庵头陀和“金粟如来”等，兴化府（今福建省莆田市）黄石人。流寓金陵（今江苏省南京市）。万历年间，明神宗朱翊钧召见吴彬，试殿中第一，授中书舍人，历工部主事。供职于宫廷画院。工山水，布置绝不摹古，佛像人物，形状奇怪，迥别前人，自立门户。中国国画大师，明代宫廷大画家，晚明人物“变形主义画风”和“复兴北宋经典山水画风”的主要倡导者和领导者之一，享有“画仙”之誉。1988年11月，其名作《文杏双禽图》被收入《中国历代绘画》，列为中国上下五千年的28幅绘画杰作之一。2009年，北京保利秋拍吴彬名作《十八应真图卷》最终以1.6912亿元高价成交，创下当时中国画拍卖价格新的世界纪录。",[24,27,29,30,60,7,556,61,36,557,196],"水岸","节庆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafdccf43a1a80c361ca71e3b7e0bb31b.jpg",[],11,{"id":562,"slug":563,"title":564,"dynasty":54,"author":111,"museum":20,"description":176,"tags":565,"thumbUrl":567,"material":41,"size":568,"collection":89,"collections":569,"showCount":570,"zanCount":11,"manualWeight":11,"mainColor":571},233762,"ren-wu-gu-shi-ce-9-chou-ying-233762","人物故事册9",[25,24,26,147,30,29,32,60,7,100,36,69,196,566],"重彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff150a0f18d24abd56a8a4f1dc7a0f2.jpg","纵41.4厘米，横33.8厘米",[],9,"F48FB1",{"id":573,"slug":574,"title":575,"dynasty":54,"author":576,"museum":577,"description":578,"tags":579,"thumbUrl":582,"material":583,"size":89,"collection":89,"collections":584,"showCount":570,"zanCount":11,"manualWeight":11,"mainColor":153},219071,"xiao-xiang-ba-jing-ce-2-zhang-fu-219071","潇湘八景册-2","张复","天津博物馆","字复阳，以字行（佩文斋书画谱、复阳重截）号南山，浙江平湖人。",[23,24,161,29,147,31,32,289,36,194,580,581,7,290],"远峰","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffac73debdcee6c35a13a33c73a553724.jpg","纸本,设色",[],{"id":586,"slug":587,"title":588,"dynasty":54,"author":589,"museum":144,"description":590,"tags":591,"thumbUrl":594,"material":89,"size":595,"collection":89,"collections":596,"showCount":597,"zanCount":11,"manualWeight":11,"mainColor":153},222240,"shui-cheng-tu-qian-gu-zhang-fu-222240","水程图","钱谷 张复","钱谷，[明]（一五○八至？）一作（一五○八至一五七二）字叔宝，自号悬罄室，吴县（今江苏苏州）人。少孤贫，失学，迨壮始知读书。\n家无典籍，游文徵明门下，日取架上书读之，以其余功点染水墨，便学心通。山水爽朗可爱，兰竹兼妙，翩翩不名其师学，而自腾踔於艺苑名公间。手录古文金石书几万卷。善书，行法苏，篆法二李，小楷法虞、欧，每得其妙於法外，识者以为真有渴骥奔猊、漏痕折钗之势。然为画掩，世罕知者。按明史附文徵明传作壬申（一五七二）六十五卒。考故宫博物字藏有万历六年（一五七八）客金陵王氏修行馆作兰竹卷，时年七十一。《冯元成集、肯史·文徵明传、列朝诗集小传、苏州府志、明画录、无声诗史、明史·艺文志》\n朱彝尊《列朝诗传》：钱谷字叔宝，少孤贫，游文侍诏门下，日取架上书读之。以其余力点染水墨，得沈氏之法。晚葺故庐，读书其中。闻有异书，虽病必强起，匍匐请观。手自抄写，几於充栋，穷日夜校勘，至老不衰。钱谷手抄之书，一丝不苟，为后来藏家所重。陆心源皕宋楼曾藏有钱氏抄本《会稽掇英集》，后有文震孟跋说：《会稽掇英集》皆集唐宋名贤时文，宇内流传绝少，是其早岁所抄，无一惰笔，乃从宋刻本而录者，为世珍重可知矣。钱谷家贫，故文徵明为题室名悬罄就是空无所有的意思。文震孟《姑苏名贤小记》：叔宝先生不为家，家逾贫。先太史过而题其室曰'悬罄'。先生笑曰：'吾志哉！'而其嗜读日益甚。收录古文金石书几数千卷。\n看到文徵明收藏的典籍罗列，顿生羡慕之心，遂有志于藏书。先后购求及手录古籍至几万卷，闻有异书，虽病必强起借观，手自抄写，校雠至子夜不辍。所录古文、金石书近万卷，皆为当时佳本秘籍。建藏书室有“悬罄室”，由文徵明为其命名并题写匾额。老屋三间，藏书充栋。所藏多人间罕见版本。刘凤作有《悬罄室集》。又命名多处藏书、藏画室名如“十友斋”、“意远轩”、“红木轩”、“梦雉斋”等。藏书印有“句吴逸民”、“三吴漫士”、“吴越王子孙”、“中吴钱氏收藏印”、“钱谷手抄”、“百计寻书志亦迂，爱护不异隋侯珠。有假不还遭神诛，子孙不宝真其愚”、“钱氏叔宝”、“悬罄室”等。喜刻书，刻印有唐、宋秘籍众多，数千卷近百种。编有《续吴都文粹》、《静观室三苏文选》等，著有《三国类抄》、《隐逸集》、《南北史摭言》、《长洲志》、《吴中人物志》、《悬罄室杂录》、《悬罄室诗》、《苏州三刺史诗》等。子钱允治，亦酷喜藏书。 [1]\n钱允治（1541~？），字功甫，好书一如其父。钱曾《读书敏求记》说：功甫老屋三间，藏书充栋。白曰检书，必秉烛，缘梯上下。所藏多人间罕见之本。《列朝诗传》则称：年八十余，隆冬病疡，映日钞书，薄暮不止。功甫殁，无子，其遗书皆散去。自是吴中文献无可访问，先辈读书种子绝矣。\n二、[清]字子璧，号内史，晚号东海逸民，华亭（今上海市松江）诸生。诗、画俱工绝。清朝以来，松江以书名者，则有钱谷、曹思邈、沈楫。钱、曹皆名宿，而结构精劲当钱第一。晚年名益重，求书者巵尝满。《三冈识略、江苏诗徽、画家知希录》\n三、[清]号龙泓，浙江萧山人。善山水，不拘於绳墨而气格自高，其疏纵处近学罗牧，深郁处远师黄吾野。《越画见闻》。\n四、清各州县官署名主办钱粮、赋税、会计的幕僚。俗称钱谷师爷，亦称钱粮师爷。\n张复[明]（一四0三至一四九0）道士。字复阳，以字行（佩文斋书画谱、复阳重截）号南山，浙江平湖人。",[24,161,147,32,34,592,350,593,7,36,87,59],"城镇","城楼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04fabe384c3582a29de017a39cc4327e.jpg","25.1x38.4公分厘米",[],7,{"id":599,"slug":600,"title":601,"dynasty":54,"author":602,"museum":485,"description":603,"tags":604,"thumbUrl":609,"material":89,"size":89,"collection":45,"collections":610,"showCount":597,"zanCount":11,"manualWeight":11,"mainColor":611},201509,"han-gong-chun-xiao-tu-juan-you-qiu-201509","汉宫春晓图卷","尤求","画卷铺展，汉宫春日的雍容景致徐徐浮现。亭台楼阁间，仕女们或临窗对弈，或凭栏观花，或泛舟湖上，情态生动自然。线条细劲流畅，白描技法勾勒出人物衣袂的轻盈与建筑的精巧，界画工整精准，尽显宫苑的规制与雅致。花木扶疏，山石点缀，春日的生机与宫廷的闲逸交融，每一处细节皆见匠心。画面空间转换巧妙，从庭院到室内，从舟楫到轩榭，层次分明，宛如一部流动的宫苑生活长卷，将汉宫春晓的温婉与繁华尽纳其中。",[85,59,30,60,61,224,7,605,63,27,606,607,608,23],"花木","仕女","宫苑","春日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02c2c91d643b9d3f8440d1a033708222.jpg",[45],"000000",{"id":613,"slug":614,"title":285,"dynasty":54,"author":615,"museum":56,"description":616,"tags":617,"thumbUrl":622,"material":116,"size":117,"collection":89,"collections":623,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":49},288068,"yu-le-tu-zhou-chen-288068","周臣","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。他生活在成化至嘉靖年间。生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。",[23,24,27,161,29,60,32,289,62,290,618,337,619,162,620,7,621],"草书","渔村","竹林","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d6016ca5fec09df5ebc518e20343612.jpg",[],{"id":625,"slug":626,"title":627,"dynasty":430,"author":80,"museum":56,"description":628,"tags":629,"thumbUrl":633,"material":116,"size":117,"collection":89,"collections":634,"showCount":92,"zanCount":11,"manualWeight":11,"mainColor":49},231729,"jiang-hu-shi-qi-xiang-cun-gu-shi-hui-juan-shang-bu-yi-ming-231729","江户时期 乡村故事绘卷-上部","此绘卷为典型和汉物语长卷形制，图文错落排布。平假名草书舒展流丽，浅底衬着莳金暗纹，古雅沉静。三幅设色古画各有意趣：山林间高士凭崖闲坐，水畔处甲士趁舟行军，廊下众人雅集清谈。敷色沉稳古拙，线条朴拙生动，将乡野旧闻的叙事性藏于笔间，把文情画意融于长卷，带着旧纸特有的温润质感，铺展开一卷裹着古意的乡野往昔。",[23,27,29,30,337,618,60,32,100,67,291,28,62,7,36,630,631,632],"聚会场景","骑马场景","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ced2fa0e0a87ba1faa1d5cc78070d2e.jpg",[],{"id":636,"slug":637,"title":638,"dynasty":215,"author":80,"museum":56,"description":639,"tags":640,"thumbUrl":644,"material":116,"size":117,"collection":89,"collections":645,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":458},260570,"sa-lan-you-miao-jin-bi-tong-yi-ming-260570","洒蓝釉描金笔筒","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[641,642,643,60,7,32,36],"陶瓷","描金","笔筒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d2b233039b1d46c740452fd83d70fd9.jpg",[],{"id":647,"slug":648,"title":649,"dynasty":54,"author":650,"museum":56,"description":651,"tags":652,"thumbUrl":654,"material":89,"size":89,"collection":89,"collections":655,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":153},236631,"song-mao-jin-jiang-nan-ming-sheng-tu-ce-song-mao-jin-236631","宋懋晋江南名胜图册","宋懋晋","宋懋晋（？—1620年后）明代画家。字明之，松江（今属上海市）人。\n幼见牧童躯牛，从壁上图之辄神似。既长，不乐为经生言，去而学画。穷日夜临摹古迹，从宋旭受业，参以宋、元遗法，富有丘壑，与赵左抗衡。其气韵间与刘珏相埒。仙山楼阁，位置得当，为时所称，深受董其昌、邹迪光等推重，为“松江派”名家之一。兼善写松，题跋尤奕奕有风韵。万历十三年（1585）作山水扇，泰昌元年（1620）作山水图。其《金陵廿四景》图册，现藏南京博物院。作于万历四十四年（1616）的《汉宫春晓图》扇面（藏上海博物馆）等。",[24,29,32,59,147,61,653,127,128,36,374,7],"塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fe9876839ccc753bd132cae785acbb2.jpg",[],{"id":657,"slug":658,"title":659,"dynasty":215,"author":80,"museum":56,"description":660,"tags":661,"thumbUrl":666,"material":116,"size":117,"collection":89,"collections":667,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":153},272843,"zi-tan-mu-bian-zuo-xi-chi-mu-qian-yu-ren-tu-cha-ping-yi-ming-272843","紫檀木边座鸂鶒木嵌玉人图插屏","此插屏以鸂鶒木镂雕层叠岩壑与古松，虬松苍劲蟠曲，山石错落层深，湖蓝色晕染出幽远水色，铺就林泉雅境。白玉嵌饰更添清韵：玉人或凭崖伫立，或松下闲观，衣袂灵动宛然；水面两艘玉舟通透莹润，舱室窗棂分毫毕现，仿若正载着雅士悠游湖中。木雕沉古质感搭配白玉清润莹白，刚柔相济，将文人寄情山水的幽趣定格于方寸之间，静穆古雅，尽显雅致工艺与山水意境的交融之美。",[662,663,664,665,32,60,7,36,63],"插屏","雕刻","木质","玉石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed0c0fb6a2804301e282380b4c89ca79.jpg",[],{"id":669,"slug":670,"title":671,"dynasty":215,"author":80,"museum":56,"description":672,"tags":673,"thumbUrl":677,"material":116,"size":117,"collection":89,"collections":678,"showCount":138,"zanCount":11,"manualWeight":11,"mainColor":49},263518,"qing-hua-shi-nv-tu-wan-yi-ming-263518","青花仕女图碗","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。",[641,674,675,60,606,32,7,676],"日用具","青花","云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fe1c871b8cc9a30de31869a04afb969.jpg",[],{"id":680,"slug":681,"title":682,"dynasty":430,"author":80,"museum":56,"description":683,"tags":684,"thumbUrl":692,"material":116,"size":117,"collection":89,"collections":693,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":153},289477,"canaletto-lagoon-capriccio-recto-architectural-scene-yi-ming-289477","Canaletto--Lagoon Capriccio (recto); Architectural Scene","这幅水彩以淡彩晕染铺就水泽氛围，右侧临水旧居爬满苍藤，斑驳钟楼孑然矗立，断壁残垣刻着岁月剥蚀的痕迹。左侧石桥横跨水面，坍塌古堡静立河畔，水面停泊木舟，船工、纤夫的身影点缀其间，将烟火气揉入荒颓景致。\n画家以精细线条勾勒建筑筋骨，淡墨晕开厚重云层，干湿水彩交织出水汽氤氲的朦胧质感。虚构的水泽秘境糅合水乡风貌，鲜活的日常剪影相伴废墟萧索，将逝去年华的寂寥藏进波光与残墙之间，在写实与幻梦里，铺陈开带着怅惘诗意的废墟美学。",[685,686,687,688,689,690,556,7,350,60,691],"风景画","淡彩","线描","石桥","塔楼","残垣","阴天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73caa945399a303dbb04349290a8b6f4.jpg",[],{"id":695,"slug":696,"title":697,"dynasty":215,"author":80,"museum":56,"description":698,"tags":699,"thumbUrl":702,"material":116,"size":117,"collection":89,"collections":703,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":49},269104,"xiang-ya-diao-yue-man-qing-you-liu-yue-jing-ce-yi-ming-269104","象牙雕月曼清游六月景册","此帧以牙雕复刻消暑闲景，牙丝细摹岸柳，柔条垂拂如烟似雾，将溽夏暑气揉作清幽凉意。凌波亭台蜿蜒，仕女或登舟闲泛，或执扇凭栏，衣袂翩跹间尽显闺中雅意，持竿拨水、执荷消暑的细节灵动鲜活，将六月消暑的悠然闲情定格。\n\n右侧行书题字墨色沉润，笔势舒展潇洒，与牙雕图景呼应相融，将游赏意趣诉诸笔墨与刀工。刀下有诗意，笔间见清怀，一雕一书合为雅帧，尽显旧时消夏的闲散诗意，雅致脱俗，尽显清人工巧与文心。",[147,663,700,99,61,7,195,337,606,701],"象牙","游赏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f438295671c2de8c08800a4653688ab.jpg",[],{"id":705,"slug":706,"title":707,"dynasty":215,"author":80,"museum":56,"description":708,"tags":709,"thumbUrl":712,"material":116,"size":117,"collection":89,"collections":713,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":49},269904,"wang-gai-kuan-mu-diao-shan-shui-tu-bi-tong-yi-ming-269904","王概款木雕山水图笔筒","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[710,664,663,711,32,7,35,61],"器","木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb719059026086747237401365ce0fa01.jpg",[],1777535709076]