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为主题的历史叙事画，反映出皇帝寻找贤人的心情是多么迫切。",[88,23,128,24,25,45,65,66,67,68,69,129,7,94,93,130,44],"名画","茅屋","山路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb04d74abf76131e7ffb35a7870d8a078.jpg","172.2x107",[74],244,3,{"id":137,"slug":138,"title":139,"dynasty":18,"author":140,"museum":62,"description":141,"tags":142,"thumbUrl":148,"material":52,"size":149,"collection":150,"collections":151,"showCount":152,"zanCount":11,"manualWeight":11,"mainColor":78},216358,"xi-xiang-ji-tu-ye-8-chou-ying-216358","西厢记图页-8","仇英","清人绘，款仇英",[23,44,45,143,67,144,7,111,69,145,146,147],"界画","美人","台阶","栏杆","室内陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5046b988d6bf229c2bd14e1dcebb96ed.jpg","18.5*38","",[],226,{"id":154,"slug":155,"title":156,"dynasty":18,"author":140,"museum":20,"description":157,"tags":158,"thumbUrl":165,"material":52,"size":150,"collection":166,"collections":167,"showCount":168,"zanCount":120,"manualWeight":11,"mainColor":78},219367,"yi-zhu-tu-chou-ying-219367","移竹图","竹影婆娑间，数人合力抬竹、培土，动作连贯如活；池畔亭榭半掩，莲叶浮波，士人或俯身打理，或凭栏远眺，笔墨细腻处见生活真趣。设色温润古雅，青绿点缀山石，赭黄晕染土地，墨色浓淡层叠出林木深幽。移竹之雅事，既显文人爱竹之癖，亦藏生活劳作之态，以工笔之精融自然与人文于一卷，动静相宜。画面层次分明，上段林泉移竹见生机，下段亭池闲居显雅致，细节中藏匠心，尽显明代文人生活的诗意与烟火气。",[23,44,45,159,143,67,7,111,160,161,69,162,163,164,94],"青绿","荷塘","荷花","楼阁","廊榭","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7039905c000f406bb6ce231d79361d8a.jpg","人物画精选",[166,118,74],222,{"id":170,"slug":171,"title":172,"dynasty":173,"author":174,"museum":175,"description":176,"tags":177,"thumbUrl":181,"material":30,"size":182,"collection":150,"collections":183,"showCount":184,"zanCount":135,"manualWeight":11,"mainColor":36},216910,"hua-niao-si-tiao-ping-3-zhu-da-216910","花鸟四条屏-3","清","朱耷","私人收藏","此四条屏作于其七十前后，(款字八作二折)或作风荷拳石;或作高梧疏竹;或作双凫戏于溪头，或作群鱼悠游涧中。意境静寂，动静生发。墨淡而厚，湿而毛;笔圆而劲，重而灵;苍莽朴茂之中，有清韵流衍;笔墨不多而意境丰满。荷塘一幅，以微风摇动之花叶，烘托凝重古质之拳石，雄豪活泼之气溢于画里画外。双凫一幅，极尽墨沈之灵变。禽羽之丰满润泽，仿佛若可触摸。崖石用虚淡之笔皴点，略以浓墨点苔竹，虽满纸空白，而情韵入微。所谓无处还有是也。而游鱼一幅尤佳绝，下方危石如奇峰倒立，已出人意表。其上悬崖兀起，其间秋水空阔，群鱼悠游，或伫滞水面，或倏忽水底，其状拙质，其形简古，而不失生趣。大小二十七尾，无一雷同，为八大画中绝品。八大四屏传世绝少，识者珍视之!",[88,23,26,178,46,47,179,7,113,180,27],"写意","石榴","树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d05c4ff38b209a7f54f7cb2d4ab568.jpg","182.5×49cm",[],221,{"id":186,"slug":187,"title":188,"dynasty":189,"author":190,"museum":20,"description":191,"tags":192,"thumbUrl":204,"material":205,"size":206,"collection":207,"collections":208,"showCount":209,"zanCount":11,"manualWeight":11,"mainColor":78},221523,"yue-xia-ba-bei-tu-ma-yuan-221523","月下把杯图","宋","马远","月下把杯图》是一幅构图别致意境幽远的小品山水画佳作。作为纨扇扇面，其圆形构图对创作是一种限制。此画之妙在于，画家把重点描绘的山石、树木等景物安排在约占小半个画面的斜右下部，以浓墨钩勒树木、翠竹、篱笆、山石等，而与占大半个画面的远山、天空形成浓与淡、实与虚的对比，这即使圆形构图中的景物显得平稳安定，又富于变化。马远画山水以少见多，以偏概全，正是他艺术手法高明独到之处。图中山石画法用大斧劈皴，状其石质，画树“瘦硬如屈铁”，多折枝。远山则低，用淡墨勾染。苍茫外，露出月亮，表达作者当时思念之情。",[88,23,24,44,26,193,194,91,27,195,196,7,69,67,197,198,199,200,201,202,203],"浅设色","边角构图","册页","明月","酒具","桌子","远山","月夜","饮酒场景","文人聚会场景","宋代绘画风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e50aabe7cee1ca5997ec7a693d08c1d.jpg","绢本设色","纵25.5厘米，横25.7厘米","宋画精选",[207,74,99],220,{"id":211,"slug":212,"title":213,"dynasty":18,"author":61,"museum":214,"description":215,"tags":216,"thumbUrl":218,"material":150,"size":150,"collection":150,"collections":219,"showCount":220,"zanCount":120,"manualWeight":11,"mainColor":36},228834,"qing-yuan-tu-shen-zhou-228834","清园图","藏地不详","此图绘湖山秋色。\n该图结构严整均衡，局部富于穿插变化，使画面景物参差有致，一派清幽逸趣。\n在用笔上，该图多用秃笔中锋，将勾、皴、擦、点有机配合，实中求虚。\n【名称】《 青园图 》 【年代】明代 【作者】沈周 【简介】长卷，纸本，设色，纵19.1厘米，横188.7厘米。\n旅顺博物馆藏。\n沈周（1427年—159年）明代杰出画家。\n字启南、号石田、白石翁、玉田生、有居竹居主人等，是明中叶画坛上四大艺术家（另三人为文徵明、唐寅、仇英）之一，人称江南“吴门画派”的班首，在画史上影响深远。\n沈家世代隐居吴门，居苏州相城,故里和墓在今相城区阳澄湖镇。\n沈周的曾祖父是王蒙的好友，父亲恒吉，又是杜琼的学生，书画乃家学渊源。\n父亲、伯父都以诗文书画闻名乡里。\n沈周一生家居读书，吟诗作画，优游林泉，追求精神上的自由，蔑视恶浊的政治现实，一生未应科举，始终从事书画创作。\n他学识渊博，富于收藏。\n交游甚广，极受众望，平时平和近人，要书求画者“屦满户外”，“贩夫牧竖”向他求画，从不拒绝。\n甚至有人作他的赝品，求为题款，他也欣然应允。\n有曹太守其人，新屋落成欲图其楹庑，搜罗画家，沈周亦在其中，隶往摄之，沈周曰：“毋惊老母，旦夕往画不敢后”客人颇不平曰：“太守不知先生，何贱先生于此？渴贵游可勿往。\n”沈周答曰：“往役义也，岂有贱哉？谒而求免，乃贱耳。\n”沈周的书画流传很广，真伪混杂，较难分辨。\n文征明因此称他为飘然世外的“神仙中人”。\n沈周在元明以来文人画领域有承前启后的作用。\n他书法师黄庭坚，绘画造诣尤深，兼工山水、花鸟，也能画人物，以山水和花鸟成就突出。\n所作山水画，有的是描写高山大川，表现传统山水画的三远之景。\n而大多数作品则是描写南方山水及园林景物，表现了当时文人生活的幽闲意趣。\n在绘画方法上，沈周早年承受家学，兼师杜琼。\n后来博取众长，出入于宋元各家，主要继承董源、巨然以及元四家黄公望、王蒙，吴镇的水墨浅绛体系。\n又参以南宋李、刘、马、夏劲健的笔墨，融会贯通，刚柔并用，形成粗笔水墨的新风格，自成一家。\n沈周早年多作小幅，4岁以后始拓大幅，中年画法严谨细秀，用笔沉着劲练，以骨力胜，晚岁笔墨粗简豪放，气势雄强。\n沈周的绘画，技艺全面，功力浑朴，在师法宋元的基础上有自己的创造，发展了文人水墨写意山水、花鸟画的表现技法，成为吴门画派的领袖。",[88,23,24,109,26,45,66,93,7,92,94,27,28,91,110,69,217],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee310328773a26ff40d5f949cac4d0f3.jpg",[],219,{"id":222,"slug":223,"title":224,"dynasty":189,"author":225,"museum":226,"description":227,"tags":228,"thumbUrl":233,"material":96,"size":234,"collection":207,"collections":235,"showCount":236,"zanCount":11,"manualWeight":11,"mainColor":78},221334,"liu-ya-lu-yan-tu-zhao-ji-221334","柳鸦芦雁图","赵佶","上海博物馆","此图共分为二段，前段画柳鸦，后段画芦雁。鸦的头顶和腹部施以白粉，鸦身敷浓墨，黝黑如漆。柳树的斑驳老干，富有质感。柳鸦的墨彩很酣，笔势很壮，显示出赵佶用墨的特色。后段四只芦雁在芦草蓼花边栖息，以浅赭设色，增强了秋天萧疏的气氛。\n画卷的右半部分，高大的柳树枝上停着三只鸟鸦，其中两只背靠偎依，静观自得，另有一只向下俯视而鸣，似在呼唤躲藏于树根部的一只乌鸦。\n画卷的左半部分，一道清澈的水滩上，芦竹高耸，蓼花低垂，两雁傍水而饮，一雁趋前，作欲饮之状，另有一雁，好像已经饮完水，正啮咬湖中的摹花茎，姿态各不一致，形象生动有趣。\n图上钤有“宣和中秘”和“紫宸殿御书宝”两印。图后的赵佶落款，系后人勾填，右上角“紫宸殿御书宝”及“御书”葫芦印亦是后人描画的。卷后有南宋荣传辰、邓谏从题跋。另有邓易从、范逾跋，系后人伪作。卷首有清高宗弘历题“神韵天然”引首，并有弘历题诗。清梁清标题签。",[88,128,23,24,109,44,45,217,229,230,231,7,232,27],"乌鸦","芦苇","大雁","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cc8c5e72610db5404dd3907fbf5fc8a.jpg","纵34厘米，横223.2厘米",[207,32,118],204,{"id":238,"slug":239,"title":240,"dynasty":173,"author":174,"museum":175,"description":176,"tags":241,"thumbUrl":243,"material":30,"size":182,"collection":150,"collections":244,"showCount":245,"zanCount":77,"manualWeight":11,"mainColor":36},216912,"hua-niao-si-tiao-ping-2-zhu-da-216912","花鸟四条屏-2",[88,23,24,25,26,178,47,113,242,7,27],"枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d3572510108b8dddf5ab932d0d7dd6d.jpg",[],203,{"id":247,"slug":248,"title":249,"dynasty":173,"author":250,"museum":106,"description":251,"tags":252,"thumbUrl":257,"material":52,"size":258,"collection":150,"collections":259,"showCount":260,"zanCount":77,"manualWeight":11,"mainColor":78},214432,"xiu-yuan-tu-3-wang-yun-214432","休园图-3","王云","画面采用分段取景，局部特写的艺术手法，表现了明末清初位于扬州的私家园林—“休园”的四季景观。所画楼台殿阁、曲院长廊、碧水亭榭、假山怪石无一不玲珑透剔，各尽其致。末段画面署款“康熙乙未六月至庚子清和图成。",[88,23,24,44,45,143,93,253,111,7,232,67,164,254,255,256],"回廊","园林","建筑","浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f04a94cbad1ffb2d8f40ee56dc85b8.jpg","纵54厘米，横129.5厘米",[],199,{"id":262,"slug":263,"title":264,"dynasty":189,"author":265,"museum":226,"description":266,"tags":267,"thumbUrl":269,"material":205,"size":270,"collection":207,"collections":271,"showCount":272,"zanCount":135,"manualWeight":11,"mainColor":78},221596,"xue-shu-han-qin-tu-li-di-221596","雪树寒禽图","李迪","此图描绘了覆雪的竹叶，轻染薄雪的棘枝，以及悄立枝头栖息的伯劳。图中山坡以粗笔勾出，写一丛衰草，更添雪意。双勾写竹、树干，敷色渲染。雀鸟以没骨及勾勒相结合绘出，写实生动。对于积雪的表现，直接将白粉厚涂在枝干与竹叶上，表现出积雪压枝的凝重感，清空灵逸。\n此图绘写寒气凛冽的深冬，天空中飘扬着霏霏絮雪，山野坡地上一枝落尽残叶的棘树在寒风中挺立。一丛修篁傍树而生，积雪的竹叶依然清翠晶亮。在这冷寂的雪天里，一只孤单的伯劳鸟，似乎倦于飞翔，在这里暂且栖息，它安详地停立在枝头上。凝视着微茫的雪色",[88,23,128,24,25,44,45,268,242,47,7],"雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1115e9ff920959c5d8924f9a138d9fa.jpg","纵115.7厘米，纵52.8厘米",[207,32,118],179,{"id":274,"slug":275,"title":276,"dynasty":173,"author":277,"museum":214,"description":278,"tags":279,"thumbUrl":282,"material":150,"size":150,"collection":150,"collections":283,"showCount":284,"zanCount":77,"manualWeight":11,"mainColor":36},230172,"hua-niao-hua-shi-er-kai-10-yu-zhi-230172","花鸟画十二开-10","余稚","此作设色明丽清雅，工致写实。柔婉桃枝缀满粉英，嫩蕊轻绽，与旁侧劲挺翠竹相映，柔刚相济，晕开融融春意。三只春燕刻画入微，两只栖于花枝，黑亮绒羽莹润细腻，红颈点点鲜活灵动，似在私语春景；另一只振翅掠空，身姿轻盈舒展，尽现翩跹之态。\n\n画师笔触细腻传神，将花瓣肌理、禽鸟绒羽一一摹绘，敷色温婉秀润，无半点艳俗之感。构图疏密相宜，枝桠错落舒展，留白恰到好处，将暮春柔暖生机尽数铺陈，尽显娴静雅致的中式春日意趣，是工笔花鸟里隽秀动人的佳作。",[128,23,44,45,280,46,232,281,7,27],"册","桃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69af12c534f45c29139f1d53485b1c0e.jpg",[],177,{"id":286,"slug":287,"title":288,"dynasty":173,"author":289,"museum":62,"description":290,"tags":291,"thumbUrl":293,"material":294,"size":295,"collection":166,"collections":296,"showCount":297,"zanCount":11,"manualWeight":11,"mainColor":36},219434,"ba-jiao-mei-ren-tu-fei-dan-xu-219434","芭蕉美人图","费丹旭","图为一名女子坐在巨大的芭蕉叶下的石凳上，手握横琴，右手解开绳索。",[23,45,44,25,67,144,292,7,69],"芭蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F834ca7c705f9fff58342e9eb1411e042.jpg","纸本,设色","纵104.5横34.1厘米",[166],169,{"id":299,"slug":300,"title":301,"dynasty":173,"author":302,"museum":214,"description":303,"tags":304,"thumbUrl":305,"materia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。自知不入时人眼，画与皎溪古遗民。” 平坡上大石一堵，枯树矗立，两旁幽篁细竹相衬。淡墨写枯树干挺枝疏，竹叶以湿笔点画，挺劲洒脱。石头用干笔则锋勾皴，浓墨点醒，层次向背分明。全画笔墨简淡，风格秀逸。图中自题[古木幽篁寂滨，班班藓石翠含春，自知不入时人眼，画与蛟溪古逸民，云林生]。画幅上还有马治，松泉隐者诗题。",[88,23,24,25,26,391,7,113,392],"枯木","文人画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74dfc23fe071c9504a396c679d769fdc.jpg","纸本、墨笔","纵88.6厘米，横30厘米",[74,99],138,{"id":399,"slug":400,"title":401,"dynasty":83,"author":402,"museum":403,"description":404,"tags":405,"thumbUrl":406,"material":407,"size":408,"collection":74,"collections":409,"showCount":410,"zanCount":120,"manualWeight":11,"mainColor":411},220785,"cao-ting-shi-yi-tu-juan-wu-zhen-220785","草亭诗意图卷","吴镇","美国波士顿博物馆","诗塘董其昌题：“梅花道人画巨轴绝少，此幅气韻生动，布置古雅，大类巨然，非王蒙所能梦见也。董其昌藏并鉴定”。",[88,23,109,26,24,65,91,27,66,93,111,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eae55d370e8592275f4c843d79308fa.jpg","纸本水墨","纵23.8厘米，横277.8厘米",[74,99],132,"F48FB1",{"id":413,"slug":414,"title":415,"dynasty":173,"author":416,"museum":226,"description":417,"tags":418,"thumbUrl":421,"material":52,"size":150,"collection":166,"collections":422,"showCount":410,"zanCount":11,"manualWeight":11,"mainColor":78},218250,"ying-xi-tu-luo-pin-218250","婴戏图","罗聘","孩子们被描绘成在一棵树下以不同的姿势玩耍，有非常不同的、诙谐的行为。",[23,24,45,44,67,419,92,7,112,146,420,50],"孩童","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe10da7efee8c25f6e93f8c2460e80de8.jpg",[166],{"id":424,"slug":425,"title":426,"dynasty":173,"author":427,"museum":214,"description":428,"tags":429,"thumbUrl":431,"material":150,"size":150,"collection":150,"collections":432,"showCount":433,"zanCount":11,"manualWeight":11,"mainColor":36},233909,"hua-hui-shan-shui-ce-yun-shou-ping-233909","花卉山水册","恽寿平","恽寿平（1633-1690年），初名格，后以字行，又字正叔，别号南田，一号白云外史、云溪外史、东园客、巢枫客、草衣生、横山樵者。江苏武进人。清代著名画家。与“四王”、吴历并称“清初六大家”。其父恽日初诗文杰出，为“复社”中人。叔父恽向（道生）为著名山水画家，自创一派。恽寿平是清朝初期最享盛名的花鸟画家。其画作多写生，人称“写生正派”；更以徐崇嗣为宗，兼取各家之长，极大的发展了没骨画。所画花卉，很少勾勒，以水墨着色渲染，用笔含蓄，画法工整，明丽简洁，天趣盎然。恽寿平不仅画作出众，风格独具，而且兼工诗书，题句清丽流畅，诗格脱俗超逸，为“昆陵六逸”之冠。恽南田《山水花卉册》八帧，其中包括山水，花鸟及情景兼容的人物，攘括了恽南田所有的画种。画中有退耕堂藏印。退耕堂为徐世昌的室名。\n恽寿平一生坎坷，饱经困苦，他幼年聪颖玲利，遭遇战乱，与兄皆被俘，与父亲失散，后遇灵隐寺方丈相救，才得以与家人团聚，归家后，发奋读书学画。经刻苦钻研，于古文、诗词、书画无不精擅。他崇尚气节，誓不应科举，少时的忧患，留下深深的创痛，一生未尝忘情。却在绘画上取得了很高的成就；恽南田曾致书王（翚）说：“格于山水，终难打破一字关，曰‘窘’，良由为古人规矩法度所束缚耳。”又说：“君独步矣！吾不为第二手也”。于是恽寿平转攻花鸟，以后山水不过偶而为之。可见其艺术抱负。《山水花卉册》中的山水，取黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，吸取王蒙、二米等人之长，渐脱刻极。40岁左右作品最为精采，如43岁的《山水花鸟册》，技法灵活多变，表达各家风貌准确，艺术已臻成熟。他的花鸟画成就最为突出，取法徐崇嗣的没骨法，他的没骨花卉，揉合了黄（筌）、徐（熙）两派技法，既重视写生，力求形似，“每画一花，必折是花插之瓶中，极力描摹，得其生香活色而后已。”又强调“与花传神”。力去华靡，追求“ 澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[23,24,280,45,430,354,113,366,7,27],"没骨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6174e80dbb9482ece91dbfbb01b8787f.jpg",[],130,{"id":435,"slug":436,"title":437,"dynasty":173,"author":438,"museum":85,"description":439,"tags":440,"thumbUrl":451,"material":452,"size":453,"collection":166,"collections":454,"showCount":455,"zanCount":135,"manualWeight":11,"mainColor":36},222773,"hong-li-guan-hua-tu-lang-shi-ning-222773","弘历观画图","郎世宁","此幅利用画中画的构图方式，表现乾隆皇帝弘历在清风中欣赏《洗象图》的情景。《洗象图》描绘的是扮作普贤菩萨的乾隆皇帝正在观看众人为普贤的坐骑白象洗刷的场景。\n乾隆皇帝在其统治期间建立了一套完整的佛教文化体系，同时他还自诩是佛教中 “文殊”、“普贤”的化身，给自己罩上了一层神秘的宗教光环，意味着他不仅是人间的帝王，也是佛界的要神。因此该画在创作意图上是幅宣扬乾隆皇帝宗教信仰的作品。\n此图无作者名款，从创作手法上分析应该是中西画家的合璧之作。图中乾隆皇帝的肖像是由擅长写实画的郎世宁绘制。作者运用解剖学，以西洋绘画技法表现人物面部，五官的刻画细腻、清晰，富有层次、立体感。乾隆皇帝的服饰则由中国画家以传统的人物画“战笔描”表现，衣纹线条抖动弯曲，极具动感。图中的小童、房舍、树木等亦是由中国画家联手完成的。东、西方绘画艺术风格呈现在同一幅作品中无疑丰富了宫廷绘画创作的表现形式，这也是乾隆朝宫廷绘画的一大特色。",[88,23,45,44,441,442,443,444,445,68,7,112,94,69,446,447,448,449,450],"人物画","画中画","佛教","普贤菩萨","文殊菩萨","帝王","侍从","白象","西洋写实技法","战笔描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc096af4b80506a97a712105edd6edc41.jpg","纸本，设色","纵136.4厘米，横62厘米",[166,118],120,{"id":457,"slug":458,"title":459,"dynasty":189,"author":190,"museum":313,"description":460,"tags":461,"thumbUrl":465,"material":45,"size":466,"collection":207,"collections":467,"showCount":468,"zanCount":77,"manualWeight":11,"mainColor":78},221525,"song-shou-tu-ma-yuan-221525","松寿图","此图是马远典型的山水小景画布局风格，描绘山崖一角，苍松斜伸。一文人闲坐石台之上，仰目远眺，旁侧一童子持杖侍立。临溪疏竹丛生，远山寥寥而成。山石用斧劈皴，松树用笔奇崛。右下角行书“马远”单款，画幅上端有宋宁宗赵扩行书七言诗：“道成不怕丹梯峻，髓宝常欺石榻寒，不恋世间名与贵，长生自得一元丹。赐王都提举为寿”。",[88,23,24,25,45,66,67,65,68,69,462,463,7,464,113],"童子","文人","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa6f346761d8847499876d6085320103.jpg","纵122厘米，横52.7厘米",[207,74,99],119,{"id":470,"slug":471,"title":472,"dynasty":83,"author":84,"museum":20,"description":473,"tags":474,"thumbUrl":477,"material":478,"size":479,"collection":74,"collections":480,"showCount":481,"zanCount":11,"manualWeight":11,"mainColor":36},220170,"song-lin-ting-zi-tu-ni-zan-220170","松林亭子图","此画写的是江南山庄的景色，平远为山水，较为隐约，近处为山坡，坡陀上山石横卧。中幅画有数棵穿天大树，大树下画有一亭子，座落在远山、近石之间。\n画面左上方有倪瓒于至正十四年（1354）的一段赠友人的题跋：“亭子长松下，幽人日暮归。清晨重来此，沐发向阳晞。至正十四年初冬，倪瓒为长卿茂异写松林亭子图，并诗其上。” 幅上有潘纯题。",[88,23,24,25,26,65,66,68,475,7,199,476,50,111],"亭子","水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ebd82fa0184f444978c623ab494f284.jpg","绢本,水墨","纵83.4厘米，横52.9厘米",[74],118,{"id":483,"slug":484,"title":485,"dynasty":189,"author":486,"museum":20,"description":487,"tags":488,"thumbUrl":492,"material":45,"size":493,"collection":207,"collections":494,"showCount":495,"zanCount":11,"manualWeight":11,"mainColor":36},221227,"hu-xiang-xue-bu-tu-juan-zhao-ling-rang-221227","湖乡雪捕图卷","赵令穰","此作用淡墨晕染出江南雪后的萧寒清寂，以留白衬出遍野积雪，坡岸沙洲覆着薄雪，汀渚逶迤向远，尽显平远小景的幽旷淡荡。\n枯木虬枝错落，竹丛清劲挺拔，林间茅舍隐现，不见村人渔事，只留空寂的雪色天地。笔法温婉秀雅，淡墨轻勾慢染，不着浓艳重彩，将冬日湖乡的静谧空濛晕染开来，不取雄奇壮阔之景，只以细碎小景铺就幽寂诗意，把江南雪后的雅致清寒娓娓铺展，尽显淡远萧散的文人逸趣，是小景山水里的绝佳逸品。",[88,128,23,109,26,45,66,489,242,7,69,490,65,491,255],"雪景","小筑","雪地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a702fe2585679e8059dde2bea057470.jpg","25.9x161.7",[207,74,99],115,{"id":497,"slug":498,"title":499,"dynasty":189,"author":500,"museum":20,"description":501,"tags":502,"thumbUrl":507,"material":52,"size":508,"collection":166,"collections":509,"showCount":510,"zanCount":120,"manualWeight":11,"mainColor":78},219215,"qi-xi-qi-qiao-tu-yi-ming-219215","七夕乞巧图","佚名","该画以赵构历史故事为题材，反映了北宋和南宋之间的政治形势，是一幅重要的历史画卷",[23,24,109,44,45,143,67,93,162,111,69,164,146,503,504,505,506,7],"桌案","坐具","石阶","古树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a58d9388e985a9f6a1f3b8c8fc737cb.jpg","29.6x149.2厘米",[166],110,{"id":512,"slug":513,"title":514,"dynasty":173,"author":515,"museum":20,"description":516,"tags":517,"thumbUrl":520,"material":52,"size":521,"collection":166,"collections":522,"showCount":523,"zanCount":135,"manualWeight":11,"mainColor":36},216966,"xian-ren-tu-xu-liang-biao-216966","仙人图","许良标","仙女被描绘成骑着一只凤凰，或西方的王母。仙女拿着一顶花帽，并由一只携带生日珍珠的白鹿陪伴。景色清晰，色彩鲜艳，是对长寿的长久赞美。人物、凤凰和白鹿的着色受到西方绘画的明暗影响。",[128,23,24,25,44,45,518,317,354,7,519],"仙人","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0446b8d31845aaa90342626f5354c64.jpg","260.5x142.6",[166],107,{"id":525,"slug":526,"title":527,"dynasty":189,"author":528,"museum":20,"description":529,"tags":530,"thumbUrl":534,"material":96,"size":535,"collection":150,"collections":536,"showCount":537,"zanCount":77,"manualWeight":11,"mainColor":78},231401,"xi-yuan-ya-ji-tu-liu-song-nian-231401","西园雅集图","刘松年","宋刘松年西园雅集卷绘宋代雅士高僧苏轼、黄庭坚、米芾、圆通大师等盛会于王诜西园。十六人分四组：王诜、蔡肇和李之仪围观苏轼写书法；秦观听陈景元弹阮；王钦臣观米芾题石；苏辙、黄庭坚、晁补之、张耒、郑靖老观李公麟画陶潜归去来图；刘泾与圆通大师谈无生论。西园雅集世传多个版本。\n西园为北宋驸马都尉王诜之第，当代文人墨客多雅集于此。元丰初，王诜曾邀同苏轼、苏辙、黄庭坚、米芾、蔡肇、李之仪、李公麟、晁补之、张耒、秦观、刘泾、陈景元、王钦臣、郑嘉会、圆通大师（日本渡宋僧大江定基）十六人游园。苏轼是宋代著名诗人、文学家、书画家。京中文人学士围绕在苏轼周围，拥戴他为文坛盟主。史称“西园雅集”，众人认为可与晋代王羲之“兰亭集会”相比。",[88,23,24,109,44,45,65,67,66,112,94,92,7,68,50,93,531,532,533,48],"乐器","饮酒","笔墨纸砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0ec0fd785b62b366399fa57e2029f4f.jpg","34×191cm",[],101,{"id":539,"slug":540,"title":541,"dynasty":83,"author":500,"museum":214,"description":542,"tags":543,"thumbUrl":546,"material":52,"size":547,"collection":166,"collections":548,"showCount":549,"zanCount":11,"manualWeight":11,"mainColor":78},218444,"shui-yue-guan-yin-tu-yi-ming-218444","水月观音图","月色漫过绢面，晕开一层古雅的昏黄。观音趺坐于石上，衣袂如流水般铺展，垂眸间似含万顷慈悲。身后水月相涵，清波与月影交融成虚灵的境象，竹影疏斜掠过衣纹，添几分清寂禅意。线条柔婉却藏力道，每一笔都似在诉说禅心的空灵——不著凡尘，只留月华与水韵缠绵。这帧古画如同一枚被时光浸润的禅偈，静静铺展时，便将观者引入那片空明澄澈的水月世界，心也随之沉静下来。衣纹的流转、月色的朦胧、禅意的悠远，在方寸之间交织成一场无声的修行，让浮躁被温柔涤荡，只余对空性的敬畏与向往。",[88,23,24,25,544,44,545,45,67,196,7,113],"宗教","白描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67e706788ef465ef888e2024e9954d0f.jpg","83.8x43.2",[166],100,{"id":551,"slug":552,"title":553,"dynasty":554,"author":500,"museum":214,"description":555,"tags":556,"thumbUrl":561,"material":562,"size":563,"collection":150,"collections":564,"showCount":565,"zanCount":11,"manualWeight":11,"mainColor":372},223704,"liu-chao-liu-shi-jing-yi-ming-223704","六朝 刘氏镜","南北朝","古代铜镜。矫健飞腾，昂首卷尾，四足蹬开，张嘴吐舌，双角伸举，龙须飘扬，四周配以流动的祥云，更见气势飞扬。镜缘装饰有彩云和小花等，缘上铭“千秋”两字。从已发表的考古资料看，云龙纹镜的主纹均为单龙纹，而传世品中亦见有双龙纹的。唐代千秋节有皇帝向群臣赐镜的习俗，唐玄宗还写有《千秋节赐群臣镜》诗：“铸得千秋镜，光生百炼金，分将赐群臣，遇象见清心……。”云龙纹镜边缘铸有“千秋”铭，这种千秋镜可能即是云龙镜。唐诗中也有提及赏赐“龙镜”的，如席豫《奉和敕赐公主镜》：“令节颁龙镜，仙辉下凤台”。云龙镜在我国陕西、江苏、河南、广东等地都有出土，反映出这种镜也是普通使用的一种镜子。",[557,558,44,45,113,7,559,560],"六朝","铜制","蜻蜓","雕刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff19bab4b2498e2b813ee7283a54d58.jpg","未知","Xcm*Xcm",[],93,{"id":567,"slug":568,"title":569,"dynasty":173,"author":570,"museum":571,"description":572,"tags":573,"thumbUrl":575,"material":30,"size":576,"collection":74,"collections":577,"showCount":565,"zanCount":11,"manualWeight":11,"mainColor":36},214546,"feng-lin-tu-wang-jian-214546","风林图","王鉴","日本东京国立博物馆","这幅画据说是沈周临摹的，是后世的典范，因为沈周为元四家建立了方法。用墨深入人心，笔触比沈周的更柔和，没有老辣。",[23,24,25,26,65,66,111,69,574,7],"枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbbfe89cadeb3bc96eed8e040b30a40c.jpg","88.2x51.3",[74],{"id":579,"slug":580,"title":581,"dynasty":18,"author":61,"museum":85,"description":582,"tags":583,"thumbUrl":585,"material":452,"size":586,"collection":74,"collections":587,"showCount":588,"zanCount":120,"manualWeight":11,"mainColor":36},222116,"tao-hua-shu-wu-shen-zhou-222116","桃花书屋","这幅《桃花书屋图》的用笔与晚年粗率的用笔截然不同，是为沈周中年“细文”之作。早年的沈周绘画深受元代云林和同时代有人刘珏的影响，故而在早期的作品中可以看到非常浓厚的两家影子。而山石的绘法则取法五代董源、居然和元代的大痴，这写在沈周的《策杖图》中皆有体现。而在这幅作品中，面貌已经不同于早期的风格。《桃花书屋图》的画面形式已经有所松动，不再是《策杖图》中所表现的那般的紧迫。但是有些基本的沈周的程式已经存在，这便是仿古的山石。",[88,23,26,65,45,66,111,7,281,584,94,319,67,28,27],"小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45ec07e216d6f6ba02a5d0deaeaae9e6.jpg","纵74cm，横31cm",[74,99],89,{"id":590,"slug":591,"title":592,"dynasty":173,"author":593,"museum":20,"description":594,"tags":595,"thumbUrl":596,"material":294,"size":597,"collection":32,"collections":598,"showCount":588,"zanCount":120,"manualWeight":11,"mainColor":36},218805,"hua-niao-quan-shi-tu-dai-hong-218805","花鸟泉石图","戴洪","作者戴洪，生死时年藉贯均不详。高宗乾隆时，任职内廷画院供奉。擅长山水、花鸟画。他的画，以笔路纤细，着色秾丽见长，曾和程志道、金昆、孙佑等人，合画清明上河图，精美绝伦，深蒙乾隆赞赏。偶尔也画水墨山水，用笔虽较开放，但仍不脱细谨作风。",[23,45,44,25,46,47,48,50,7,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc83a526f4a08022e9761839fce88641.jpg","185x66.3cm",[32],{"id":600,"slug":601,"title":602,"dynasty":603,"author":604,"museum":20,"description":605,"tags":606,"thumbUrl":610,"material":368,"size":611,"collection":118,"collections":612,"showCount":614,"zanCount":77,"manualWeight":11,"mainColor":78},221076,"yuan-ma-tu-han-gan-221076","猿马图","唐","韩干","此幅绘竹石树林，三猿戏于枝间石上，其下绘黑白双骏。画上宋徽宗题字和「御书」一玺，及理宗「缉熙殿宝」玺皆伪，当为后加。然画中不论猿、马、树石、枝叶，皆描绘细腻，或为南宋作品。",[88,128,23,24,25,607,45,44,608,609,92,319,7,316],"唐代","猴","马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad40c5024213011775af0c15a6fe1dac.jpg","136.8x48.4",[118,613],"竹石精选",82,{"id":616,"slug":617,"title":618,"dynasty":18,"author":500,"museum":619,"description":620,"tags":621,"thumbUrl":627,"material":628,"size":629,"collection":150,"collections":630,"showCount":631,"zanCount":77,"manualWeight":11,"mainColor":78},231541,"shan-hai-bai-ling-tu-yi-ming-231541","山海百灵图","美国弗瑞尔美术馆","此《山海百灵》图卷（签题：唐胡瓌《蕃兽图》真迹神品上上，卷前题：山海百灵）。画卷描绘诸多怪奇神兽，这些动物形象灵感应该来自《山海经》，卷后有一段跋描述此卷的传递情况。此卷大致绘于明代（待考），现藏于赛克勒美术馆。\n胡瓌(瓌，读作guī。汉字基本字义古同“瑰”。五代·后唐〕，山后契丹乌索固部落人。随李克用(856-908)入中原，定居范阳（治今河北涿县），生卒年不详。擅写北方游牧民族牧马、驰猎等生活，穹庐什器、射猎部属，纤悉形容备尽。所作用笔清劲，构图巧密，人物气质犷悍，形象各异。尤工画马，骨骼体状生动有神。",[88,23,109,45,44,65,66,316,622,609,623,317,624,625,608,111,319,70,7,626],"虎","象","山羊","狮子","动物群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb78ddfae72c871b93075fd0f391901d5.jpg","纸本设色","34.5x744厘米",[],80,{"id":633,"slug":634,"title":635,"dynasty":189,"author":636,"museum":226,"description":637,"tags":638,"thumbUrl":640,"material":52,"size":641,"collection":166,"collections":642,"showCount":631,"zanCount":77,"manualWeight":11,"mainColor":78},219429,"ba-gao-seng-tu-liang-kai-219429","八高僧图","梁楷","《南宋梁楷八高僧故事图卷》分别描绘南北朝至唐代佛教禅宗八个高僧的故事。各个人物的神态、举止和服饰刻画入微、传神；山石多为斧劈皴，笔法简洁洗练，动静相映以烘托出人物的情绪。是梁楷作品中较为工整的一路。每幅之后，均附有明初人用行书撰写的文字说明，内容简明扼要。",[88,545,45,44,67,66,68,7,639,28,27],"孤舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1587fabe100285596e73694b143eae99.jpg","纵 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厘米",[166],{"id":644,"slug":645,"title":646,"dynasty":173,"author":338,"museum":62,"description":647,"tags":648,"thumbUrl":650,"material":96,"size":651,"collection":150,"collections":652,"showCount":653,"zanCount":11,"manualWeight":11,"mainColor":78},214345,"san-jue-shan-shui-ce-16-hua-yan-214345","三绝山水册-16","华岩的十六页中描绘了一幅清晰、优雅和空灵的风景。新罗山人擅长花鸟和人物，但山水也可以纳入收藏。",[88,23,280,26,45,66,639,113,92,649,65,7],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5412a5acb56562b5d7a9ca0fbda12789.jpg","23.4x15.8",[],79,{"id":655,"slug":656,"title":657,"dynasty":18,"author":658,"museum":659,"description":660,"tags":661,"thumbUrl":662,"material":628,"size":663,"collection":74,"collections":664,"showCount":665,"zanCount":77,"manualWeight":11,"mainColor":78},221922,"lan-ting-xiu-xi-tu-qian-gu-221922","兰亭修禊图","钱毂","美国大都会艺术博物馆","《兰亭修禊图》卷为明代画家钱榖绘。画作题材取自东晋王羲之《兰亭序》，描绘东晋永和九年，王羲之、谢安等人在浙江山阴的兰亭溪上修禊，作曲水流觞之会的故事，卷前有王榖祥题「蘭亭修禊」，卷后有钱榖书《兰亭序》及集诗。",[88,23,24,109,44,45,66,67,92,7,50,94,93,28,91,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db27d84328228253e4fe5c410dbf47f.jpg","24.1×435.6cm",[74,118],78,{"id":667,"slug":668,"title":669,"dynasty":18,"author":670,"museum":313,"description":671,"tags":672,"thumbUrl":675,"material":628,"size":676,"collection":74,"collections":677,"showCount":678,"zanCount":120,"manualWeight":11,"mainColor":36},222356,"cao-wu-pu-tuan-tu-tang-yin-222356","草屋蒲团图","唐寅","绘江南初秋之景色。前景画茅屋于山麓，屋内一文士抱膝坐于蒲团晨读。人物刻划生动，双目炯炯有神，衣纹线描流畅有力。茅屋左面巨石竖立，五株墨竹拔地参天，笔墨苍劲，虚实得当，时隐时现，给人以动感。背景用水墨烘染群山，山腰间云雾飘动，富于变化;山谷间飞泉直泄，形成清溪，环绕草屋湍流而过。整个画面环境幽雅、清静，给人以浑厚、凝重之感。唐寅，字伯虎，又字子畏，号六如居士，桃花庵主，生于明成化六年(1470)，卒于嘉靖二年(1523)。他是位很有才华的画家，初师沈周，后学周臣，远宗李唐、刘松年，近攻元四家，山水、花鸟、人物、仕女无所不精，在技法上虽取法前人，但不落尘俗，自出新意。从唐氏传世作品看，多见雅淡、秀润、细腻，而此作却多雄浑、凝重，这在唐氏作品中还是极为少见的。此图右上端作者自题：“虚亭林木里，傍水着栏干，试展团蒲坐，叶声生早寒”。五言诗一首。下钤“吴趋”、“唐居士”、“南京解元”印三方。此作品的创作时间，应在唐寅四十岁左右。",[88,128,23,24,25,26,45,65,66,67,673,7,69,111,674,112],"草屋","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26f4e471afd9024c518a44d2335c9ae3.jpg","84x52",[74,99],72,{"id":680,"slug":681,"title":682,"dynasty":189,"author":528,"museum":85,"description":683,"tags":684,"thumbUrl":686,"material":205,"size":687,"collection":150,"collections":688,"showCount":678,"zanCount":120,"manualWeight":11,"mainColor":36},221510,"lu-tong-peng-cha-tu-juan-liu-song-nian-221510","卢仝烹茶图卷","此画画山石瘦削，有松槐生石罅，下覆茅屋。卢仝拥书坐，赤脚。婢治茶具，长须奴肩壶汲泉。款落刘松年，蝇头小楷，署在松节。后幅有唐寅跋：“右玉川子烹茶图，乃宋刘松年作。玉川子豪宕放逸，傲睨一世，甘心数间之破屋，而独变怪鬼神于诗。观其《茶歌》一章，其平生宿抱忧世超物之志，洞然于几语之间，读之者可想见其人矣。松年复绘为图，其亦景行高风，而将以自企也。夫玉川子之向，洛阳人不知也，独昌黎知之。去昌黎数百年，知之者复寒矣。而松年温之，亦不可不为之遭也。予观是图于石湖卢臬副第，喜其败炉故鼎、添火候鸣之状宛然在目，非松年其能握笔乎书此以俟具法眼者。唐寅。”",[88,23,24,109,26,44,67,111,110,68,7,685,28,91],"器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89a801a8050e41c693fef9c47af61fc7.jpg","24.1x44.7",[],{"id":690,"slug":691,"title":692,"dynasty":83,"author":500,"museum":693,"description":694,"tags":695,"thumbUrl":697,"material":52,"size":698,"collection":74,"collections":699,"showCount":700,"zanCount":77,"manualWeight":11,"mainColor":78},218218,"cang-ying-wu-zhu-tu-yi-ming-218218","苍鹰梧竹图","山东省博物馆","苍鹰梧竹图是元朝时期的一幅著名图画，作者不详。这幅画描绘了一只苍鹰和一根梧竹之间的关系。苍鹰是一种大型鸟类，通常被认为是捕食者，而梧竹则是一种常见的树种。在这幅画中，苍鹰似乎正在用它的爪子抓住梧竹。",[23,128,24,44,45,46,232,696,464,7],"苍鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca78eed227b0a78bb43d1239104ae986.jpg","146x93cm",[74,32],70,{"id":702,"slug":703,"title":704,"dynasty":18,"author":500,"museum":62,"description":705,"tags":706,"thumbUrl":708,"material":52,"size":709,"collection":166,"collections":710,"showCount":700,"zanCount":120,"manualWeight":11,"mainColor":78},215030,"si-ma-guang-gui-yin-tu-yi-ming-215030","司马光归隐图","独乐园 是宋代司马光在熙宁六年（1073年）左右建造的，虽然不是什么宏伟的房子，但因为司马光在这里写了《资治通鉴》，苏轼等人也在这里写了诗，所以它就出名了。李格非的《洛阳名园记》描述了该园的 水笔、读书堂、鱼贯寺、药园 和 竹园。《竹园》、《看山台》、《浇花》中也对这七种景象进行了简单的描述。这张图片是对竹子种植园的故事的描述。画中的鲜活人物可与晋国的陶渊明媲美。",[88,23,45,44,67,7,94,69,707],"隐逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd32007569961fc2242c4cd2050def5e9.jpg","76x136",[166],{"id":712,"slug":713,"title":714,"dynasty":18,"author":715,"museum":214,"description":716,"tags":717,"thumbUrl":719,"material":150,"size":150,"collection":150,"collections":720,"showCount":721,"zanCount":77,"manualWeight":11,"mainColor":36},235648,"zhu-ji-tu-zhou-zhou-zhi-mian-235648","竹鸡图轴","周之冕","通幅以淡墨铺陈，斜耸崖壁以浓淡墨色晕出嶙峋质感，苍劲朴拙。丛竹错落而立，竿瘦劲挺括，竹叶写意挥毫，聚散疏密得宜，干湿墨色互衬，尽显萧疏清逸之态。\n\n下方竹鸡兼工带写，翎毛细笔丝染，蓬松柔润，低伏回身的姿态将野禽的机灵敏锐刻画入微。朱红印章点缀水墨之间，让幽寂山野小景更添静雅意趣。全图以水墨层次变化，融写生写实与文人意趣于一体，尽显水墨写生的精妙意韵。",[23,128,24,25,26,178,46,7,718,69],"鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e147db6898a70110d81a90adb71d06.jpg",[],69,{"id":723,"slug":724,"title":725,"dynasty":83,"author":84,"museum":20,"description":726,"tags":727,"thumbUrl":730,"material":96,"size":731,"collection":150,"collections":732,"showCount":733,"zanCount":77,"manualWeight":11,"mainColor":36},232260,"shu-lin-yuan-xiu-tu-ni-zan-232260","疏林远岫图","《疏林远岫图》水墨画河岸、疏树、竹林与房舍，对岸则山峦起伏。用笔多中锋，山石皴法以披麻为主，略有折带笔意。幅上有壬子（一三七二）年款，时七十二岁。然本幅题款，实摹自本台北故宫博物院藏倪氏真本《容膝齐图》。用笔亦无倪氏一代大家之健劲，系后代摹品。",[23,26,66,65,728,729,113,7,111,94],"疏林","远岫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f623094ce155625ea685f495651d3f9.jpg","72.9x37.5厘米",[],67,{"id":735,"slug":736,"title":737,"dynasty":189,"author":636,"museum":738,"description":739,"tags":740,"thumbUrl":742,"material":407,"size":743,"collection":150,"collections":744,"showCount":745,"zanCount":11,"manualWeight":11,"mainColor":78},221601,"liu-zu-fa-zhu-tu-liang-kai-221601","六祖伐竹图","日本京都国立博物馆","《六祖伐竹图》，国画精品，南宋画家梁楷代表作品，画家深入体察所画人物的精神特征，以简练的笔墨表现出人物的音容笑貌，以简洁的笔墨准确地抓取事物的本质特征，充分地传达出了画家的感情，从而把写意画推入一个新的高度，使时人耳目一新。",[88,128,23,24,25,26,741,178,544,67,7,113],"减笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c50153fca7867c60253d20906dc274.jpg","纵72.7cm，横31.5cm",[],66,{"id":747,"slug":748,"title":749,"dynasty":173,"author":500,"museum":175,"description":750,"tags":751,"thumbUrl":752,"material":52,"size":150,"collection":32,"collections":753,"showCount":745,"zanCount":11,"manualWeight":11,"mainColor":78},219273,"qun-hou-xi-shui-shuang-ping-yi-ming-219273","群猴戏水双屏","松枝虬曲横斜，松针如簇。枝间群猴灵动，或攀附树干探头探脑，或倒挂金钩似的垂落，长尾轻摆，神态憨然。树下涧边，几只小猴追逐打闹，或掬水顽劣，或投石逗趣，更有仰头望枝上同伴者，姿态各异，满是天真野趣。远处淡墨晕染出山水轮廓，一轮清月隐现天际，绢色沉润如古酿，笔墨简淡却意韵盎然。整幅画将猴群的活泼与山林的静谧相融，既见自然生机，又含悠然意韵，观之令人莞尔，心生清趣。",[23,24,25,26,45,316,608,68,7,66,196,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbea5c0347eed9f967050d2b173b7446b.jpg",[32],{"id":755,"slug":756,"title":757,"dynasty":173,"author":338,"museum":62,"description":647,"tags":758,"thumbUrl":759,"material":96,"size":651,"collection":150,"collections":760,"showCount":761,"zanCount":11,"manualWeight":11,"mainColor":78},214347,"san-jue-shan-shui-ce-13-hua-yan-214347","三绝山水册-13",[88,23,24,26,65,280,66,113,111,674,68,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf04188718fcb81c7be51f07fefa49c1.jpg",[],64,{"id":763,"slug":764,"title":765,"dynasty":173,"author":500,"museum":214,"description":766,"tags":767,"thumbUrl":768,"material":150,"size":150,"collection":166,"collections":769,"showCount":771,"zanCount":77,"manualWeight":11,"mainColor":36},235155,"hong-ren-shan-shui-ce-yi-ming-235155","弘仁山水册","此作为书画合璧，题字行书清隽疏朗，诗文自带幽寂襟怀，与下幅山水浑然相融。\n\n画面以淡墨皴擦写秋山，山石造型方硬简劲，不作繁复修饰，尽显冷峻清瘦之态。几株疏木错落林间，枝叶简淡萧疏，衬出空山寥落之境。林下二人对坐晤谈，于幽寂山境中添上几分文人情致，不见烟火气，只余林泉高致。整幅笔墨极简，却将静穆淡远的出世意趣尽数铺陈，淡而不枯、简而不空，尽显文人山水画以简驭繁的悠远意境，藏着寄心林泉的幽然雅怀。",[23,24,280,26,65,66,111,69,67,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a5652b925f461d694a5eb18ea56028f.jpg",[166,770],"书法精选",63,{"id":773,"slug":774,"title":775,"dynasty":83,"author":84,"museum":20,"description":776,"tags":777,"thumbUrl":784,"material":96,"size":785,"collection":150,"collections":786,"showCount":771,"zanCount":77,"manualWeight":11,"mainColor":36},232254,"tong-lu-qing-qin-tu-ni-zan-232254","桐露清琴图","元代画家倪瓒喜爱梧桐，相传他每日令童子汲水清洗院中的桐树，“门前杨柳密藏鸦，春事到桐花。敲火试新茶。想月珮，云衣故家。苔生雨馆，尘凝锦瑟，寂寞听鸣蛙。芳草际天涯。蝶栩栩，春晖梦赊。”春日阶前桐花开，画家试新茶时想起故家，有如庄周梦蝶，已是芳草天涯。这首《太常引 伤逝》题在一幅画作中，可惜画作已不见。《桐露清琴图》中几株挺拔的桐树立于竹舍茅屋边，不知是不是就是画家心中的故园呢？\n“桐花快落春风老，梅子微酸晚雨晴。从此嬉游时节少，不须日日报诗成。”春风与桐花归去后，无须整日游春赋诗，不如在雨后夏夜多读几本书吧。",[23,26,66,65,91,27,778,92,7,110,113,779,780,781,782,728,783,70,319],"山","平远构图","题款","枯笔","淡墨","草堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fd543601d23d9eda41aecdc51d37c2e.jpg","90.1x30 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万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[88,128,23,24,805,45,26,65,66,639,232,111,129,7,199,806,674],"扇面","河流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9764580d2c6dd6fa1298ad7da313bc76.jpg",[],59,{"id":811,"slug":812,"title":813,"dynasty":18,"author":140,"museum":20,"description":814,"tags":815,"thumbUrl":817,"material":294,"size":818,"collection":166,"collections":819,"showCount":809,"zanCount":11,"manualWeight":11,"mainColor":36},220378,"tong-yin-qing-hua-tu-chou-ying-220378","桐阴清话图","本幅画石峰嶙嶙，梧桐垂荫。树下两人拱立清谈，一童悄然侍立。前景另绘丛筱沿坡，野水奔流。此等景境，纵或出自画家揣想，然而人语溪声，竟恍若身历其境。岩岩画法，明显受到周臣「宁戚饭牛图」的直接影响。不过仇英此作较周臣略为谨慎，虽然线条挺拔劲健，强调笔墨的速度美感，但皴法则尽量包藏在轮廓之内，并且让岩石表面布满肌理与明暗变化，不失却形象的精准掌握。",[23,128,24,25,44,45,26,65,67,463,462,816,69,7],"桐树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5b6d0ee5bae513958f0ef6cec9a2004.jpg","279.5x100",[166,118],{"id":821,"slug":822,"title":823,"dynasty":18,"author":824,"museum":85,"description":825,"tags":826,"thumbUrl":829,"material":52,"size":830,"collection":74,"collections":831,"showCount":832,"zanCount":11,"manualWeight":11,"mainColor":78},219207,"jin-ji-tu-lin-liang-219207","锦鸡图","林良","画中主体为一对锦鸡，另有麻雀上下翻飞，布谷、斑鸠等在树枝间栖身；坚实的深壑，风中纷乱的细竹以及丛生的灌木构筑出一个生意盎然的自然空间。林良以画花鸟著称，他用细腻的笔端使品相富贵的花鸟表现出野逸自然的状态，将水彩绘画的活泼与宫廷画追求的具象严谨相统一，创造出新的审美情趣，在明代宫廷画中有巨大的影响。",[88,23,26,178,46,827,7,50,232,828],"锦鸡","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48c49c9fe8d456032a8ed3bebe9f209e.jpg","纵155厘米，横92.6厘米",[74],58,{"id":834,"slug":835,"title":836,"dynasty":18,"author":837,"museum":85,"description":838,"tags":839,"thumbUrl":841,"material":628,"size":842,"collection":118,"collections":843,"showCount":844,"zanCount":11,"manualWeight":11,"mainColor":78},237895,"ming-ren-zhu-cha-tu-zhou-ding-yun-peng-237895","明人煮茶图轴","丁云鹏","图中描绘出唐代名士卢仝煮茶的情景，是丁云鹏晚年创作的工笔精细画作。卢仝（约796—835年），济源人，祖籍范阳（今河北涿州），早年隐居少室山，自号玉川子，后移居洛阳。诗文俱佳，曾作《月蚀诗》以刺时政，得到韩愈的称赞。性好饮茶，所作《茶歌》中句多奇警。画面上的卢仝身着便服，头戴襆巾，手持羽扇，单腿盘坐于芭蕉前的青石上，背后怪石嶙峋，修竹碧绿，两名仆人在旁侍候。卢仝目不转睛地注视着火上的茶炉，全神贯注的神情被刻划得细致入微。画面花、竹、芭蕉笔笔刻画工整，怪石的阴阳、纹理交代清晰，赋色清淡冷隽，葱翠欲滴，闲和严静的幽雅气氛直扑人面。人物衣纹则用飘洒不群的高古游丝描，或清圆细劲的铁线描，以区别不同质地的衣料，显示出画家别具匠心之处。全图的绘画技巧变化多样而风格基调统一，人物神情生动，树石生机勃勃，笔法如行云流水，超然出众",[23,24,25,45,44,67,292,7,354,840],"茶具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F094a120df71d56d0cb60610819a00d95.jpg","纵137.3厘米，横64.4厘米",[118],57,{"id":846,"slug":847,"title":848,"dynasty":189,"author":225,"museum":214,"description":849,"tags":850,"thumbUrl":856,"material":150,"size":150,"collection":150,"collections":857,"showCount":844,"zanCount":11,"manualWeight":11,"mainColor":36},227491,"liu-ya-lu-yan-tu-juan-zhao-ji-227491","柳鸦芦雁图卷","《柳鸦芦雁图》是北宋宋徽宗赵佶创作的一幅纸本淡设色中国画，现藏于上海博物馆。\n此图共分为二段，前段画柳鸦，后段画芦雁。鸦的头顶和腹部施以白粉，鸦身敷浓墨，黝黑如漆。柳树的斑驳老干，富有质感。柳鸦的墨彩很酣，笔势很壮，显示出赵佶用墨的特色。后段四只芦雁在芦草蓼花边栖息，以浅赭设色，增强了秋天萧疏的气氛。",[88,128,23,24,109,44,26,45,27,851,852,853,854,7,232,92,855],"柳","鸦","芦","雁","水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d888a8bed9a38a24bfea78fe527b0a.jpg",[],{"id":859,"slug":860,"title":861,"dynasty":18,"author":140,"museum":214,"description":862,"tags":863,"thumbUrl":864,"material":562,"size":563,"collection":150,"collections":865,"showCount":866,"zanCount":77,"manualWeight":11,"mainColor":36},228455,"du-le-yuan-tu-chou-ying-228455","独乐园图","《独乐园图》卷由明代仇英绘。画卷内容根据司马光的《独乐园记》立意，依次描绘了弄水轩、读书堂、钓鱼庵、种竹斋、采药圃、浇花亭、见山堂等景致。卷后拖尾接裱为文徵明书《独乐园记》《独乐园七咏》，苏东坡《独乐园诗》及项禹揆等人题跋。",[88,23,24,109,45,44,143,67,162,112,94,93,111,7,69,164,146,828],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec1edf8089fe9785596584cae9f689ef.jpg",[],56,{"id":868,"slug":869,"title":870,"dynasty":173,"author":427,"museum":214,"description":871,"tags":872,"thumbUrl":875,"material":294,"size":876,"collection":32,"collections":877,"showCount":866,"zanCount":11,"manualWeight":11,"mainColor":36},219990,"yao-pu-qiong-pa-tu-yun-shou-ping-219990","瑶圃琼葩图","图绘湖石一块，形状怪异；后有牡丹围绕，枝繁叶茂，枝头花朵或粉红，或红白相间，花瓣层层叠叠，层次清晰。此幅敷色生硬，或是后人摹本。",[88,23,24,46,128,25,430,45,44,353,50,7,354,873,874],"枝叶","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52a659286fd748d9c56f400aa903af4c.jpg","120×54",[32],{"id":879,"slug":880,"title":881,"dynasty":83,"author":500,"museum":214,"description":882,"tags":883,"thumbUrl":885,"material":26,"size":150,"collection":99,"collections":886,"showCount":866,"zanCount":11,"manualWeight":11,"mainColor":78},218496,"dong-po-qi-lv-tu-yi-ming-218496","东坡骑驴图","驴背人影衣袂掀动，似携一身野风穿行于淡墨峰峦间。松枝斜出如笔，与天边流云共织清寂，驴蹄轻踏处，草叶簌簌声仿佛随墨色漫开。笔墨简劲却藏深情，没有繁复设色，仅以水墨勾勒人物的孤远与从容——那是坡公贬谪途中的淡然，也是画者对先贤心境的隔空呼应。峰峦的淡皴如旧梦晕染，松风与驴鸣似在耳畔低回，简淡画面里，沉潜着文人遭际中的旷达文心。每一道笔触都像在诉说：纵使前路风雨，仍以悠然姿态，踏遍山河。画面虽简，意蕴却厚，如陈酒浅酌，余味漫过时光。",[88,23,24,25,26,178,545,67,884,92,69,7],"驴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66f93ebd14f269b38bf81415ee2b5a2d.jpg",[99],{"id":888,"slug":889,"title":890,"dynasty":18,"author":891,"museum":214,"description":892,"tags":893,"thumbUrl":896,"material":150,"size":150,"collection":32,"collections":897,"showCount":898,"zanCount":11,"manualWeight":11,"mainColor":78},237577,"bai-xian-zhou-wang-wei-lie-237577","白鹇轴","王维烈","王维烈[明]花鸟在周之冕下，高阳之上。泰昌元年（一六二o）作树石孔雀图。南京博物院藏有其崇祯十三年（一六四o）作寒雀争梅图。",[23,45,44,25,46,894,68,7,69,353,49,232,895],"白鹇","古木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7a3695a1f1f05cfc401f1714fd482ef.jpg",[32,118],55,{"id":900,"slug":901,"title":902,"dynasty":173,"author":312,"museum":903,"description":904,"tags":905,"thumbUrl":907,"material":205,"size":908,"collection":150,"collections":909,"showCount":910,"zanCount":11,"manualWeight":11,"mainColor":78},223159,"bai-lu-tu-shen-quan-223159","柏鹿图","苏州博物馆","此图绘在柏树之下、溪流岸边，两只梅花鹿一立一卧，均仰视远方。图中鹿的描绘十分工整、细腻，山石的点染、溪波的勾勒也有类似笔调，尤为细致而并非完全写实，画面既真实又不泥于细节。\n此画场面雄奇壮阔，波涛汹涌的溪边，在坡石平地处，幽憩着两只梅花鹿：其中一只雄性的梅花鹿屹立于坡上，二足着地，前左腿略微弯曲上提，仰首远眺，汲角往后，短尾微翘，背复部梅花斑纹清晰可见；另一只雌性梅花鹿，卧伏于山石上，两耳耸立，伸着脖颈，双目远视，画面下端为山石横卧，山石下急流滚滚，波纹起伏。在画幅右侧下坡石后，一棵巨大的柏树拔地而起，树干粗壮，枝干曲直向上，虬枝盘旋，相互交织在一起，其中有数枝横入画幅左侧和中部。在画幅打上侧款署“乾隆丙寅二秋”即1746年。\n此图极为清丽活泼。画面内容是柏树下、溪流畔的风景，两只梅花鹿一立一卧，神态悠然，动态生动，极是传神。最为引人注意的是鹿的描绘，十分工整、细腻，山石的点染、溪波的勾勒也有类似笔调，十分细致而并非完全照抄写实，显得画面既真实又不泥于细节。\n画家所作笔墨用意有二：其一，横出的柏树枝叶，使上端牢旷的画面得以填补，起到了使画面构图充满和平衡作用；其二，浓密枝叶形成大片的树荫，正是梅花鹿憩息最好去处和场所。在古柏后有石壁远崖，隐约可见山涧泉水顺流而下，汇聚在宽阔无际的江河中，构成一幅清丽娴雅的景致，令人心旷神怡。作者在创作此画时，特别注意虚笔在背景处理中的运用，虚实相生，阴阳分明，赋色妍丽清雅。此画题材富有吉庆寓意。",[88,128,23,24,44,45,316,66,317,906,318,69,7],"柏树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e97721781d653cc08291b2edf0edcd7.jpg","纵98 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杭州）人，寓魏塘，业画。懋承家学，善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用批麻皴或解索皴，笔法精整，设色明丽。主要代表作有《秋林高士图》轴（台湾故宫博物院藏）、《秋江待渡图》轴（北京故宫博物院藏）、《沧江横笛图》轴（南京博物院藏）、《溪山清夏图》轴（台湾故宫博物院藏）和《松石图》轴（北京故宫博物院藏）等。",[88,23,24,25,45,66,67,92,7,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ec8a9ca384d405f22ee92e8e1f18d52.jpg",[74],{"id":1001,"slug":1002,"title":1003,"dynasty":18,"author":1004,"museum":85,"description":1005,"tags":1006,"thumbUrl":1007,"material":96,"size":150,"collection":150,"collections":1008,"showCount":1009,"zanCount":77,"manualWeight":11,"mainColor":36},234107,"wen-dao-tu-juan-chen-hong-shou-234107","问道图卷","陈洪绶","陈洪绶字章侯，号老莲，浙江诸暨人，明末清初画坛奇才。他的画既继承传统，又自辟乾坤，富有革新精神和独创风格，与当时居于北京的崔子忠齐名，有“南陈北崔”之称。他的人物画创作，上承六朝、盛唐的优良传统，又不为传统所囿，大胆创新，使衰微了近六百年的中国人物画再度复兴，打破了明末清初以山水花鸟画为主的格局，不仅在当时画坛独放异彩，其画风还深刻影响了此后近三百年的中国绘画。又以绣像人物插图闻名于世，所作《水浒叶子》《博古叶子》等酒牌，在民间广为流传，是古代版画史上的传世名作。",[23,128,24,109,44,545,67,66,111,319,7,68],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0aead138bc40c60ea9bc5ee98fc06ec.jpg",[],43,{"id":1011,"slug":1012,"title":1013,"dynasty":173,"author":570,"museum":85,"description":1014,"tags":1015,"thumbUrl":1016,"material":30,"size":1017,"collection":99,"collections":1018,"showCount":1009,"zanCount":11,"manualWeight":11,"mainColor":36},220113,"fang-mei-dao-ren-xi-ting-shan-se-tu-wang-jian-220113","仿梅道人溪亭山色图","图绘秋湖静水、疏林远岫的江南风景。王鉴一生推崇元人倪瓒自然淳雅的画面，乐此不疲地到处找寻其画作并且加以临摹，仅仿倪氏的《溪亭山色图》就有数件之多，此图是其中最有代表性的一幅。从一河两岸式的构图到山石树枝的方折用笔，再到以淡墨层层擦染的施墨法，均可见作者晚年对倪氏画风的摹仿已达到炉火纯青的窘境。",[88,23,24,25,26,65,66,69,94,93,92,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe03d588fe722f33791954b625b63098.jpg","纵87.4厘米，横45.7厘米",[99],{"id":1020,"slug":1021,"title":1022,"dynasty":173,"author":1023,"museum":226,"description":1024,"tags":1025,"thumbUrl":1027,"material":30,"size":1028,"collection":150,"collections":1029,"showCount":1009,"zanCount":11,"manualWeight":11,"mainColor":36},214679,"mei-hua-zhu-shi-tu-ce-9-wang-shi-shen-214679","梅花竹石图册-9","汪士慎","汪士慎（1785-1842）是清代著名画家，他的《梅花竹石图册》是他的一部杰作。\n\n这本图册包含了许多描绘梅花、竹子和石头的精美图画。汪士慎以其精湛的绘画技巧和对自然的热爱，捕捉了这些自然元素的精髓。他的作品常常被赞赏为具有浓郁的内涵和细腻的笔触。\n\n汪士慎的《梅花竹石图册》被认为是中国画的经典之作，并且被广泛收藏和展览。它们不仅展示了汪士慎的艺术才华，也提醒人们认识到自然界的美丽和精妙。",[128,23,24,280,26,1026,113,7],"梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F704a4e5300ea1599e6b93070e85467c8.jpg","纵25 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厘米",[],{"id":1031,"slug":1032,"title":1033,"dynasty":173,"author":416,"museum":85,"description":1034,"tags":1035,"thumbUrl":1036,"material":628,"size":1037,"collection":150,"collections":1038,"showCount":1039,"zanCount":11,"manualWeight":11,"mainColor":36},233969,"zui-zhong-kui-tu-zhou-luo-pin-233969","醉钟馗图轴","罗聘的《醉钟馗图》，以漫画的手法，描绘出一幅迷离朴塑、奇异怪谲的鬼怪世界，借以讽刺社会现实。有人将此图比作蒲松龄的《聊斋志异》，称它们都是用“以鬼喻人”的手法来讽诲世事。\n以上解说词是北京故宫博物院对《醉钟馗图》的介绍，这段解说词其实适用于上面的两幅画。罗聘作画题材广泛，人物肖像、鬼神佛道、山水花卉兼擅，作画大胆而细心，金农赞其“笔端聪明，无毫末之桀”。颇具画家柔中带钢、洁身自好之风。罗聘的人物画流传量甚少，其特点是人物身体结构清晰，衣纹线条垂长方折多变，人物意态栩栩如生，整个画面体现一种疏淡雅洁的格调。\n罗聘（1733－1799），字遯夫，号两峰，又号花之寺僧、金牛山人、蓼舟渔父、竹叟、衣云和尚、两峰子、喜道人、师莲老人。江苏扬州人，一作安徽歙县人。清代著名画家，扬州八怪之一。金农入室弟子。未作官，好游历。在扬州自称住处谓“朱草诗林”。工诗，善画，笔情古逸，思致渊雅，深得金农神味，墨梅、兰、竹，均极超妙，古趣盎然。道释、人物、山水、花卉，无不臻妙，别具一格。又善画鬼趣图，描写形形色色的丑恶鬼态，无不极尽其妙，借以讽刺当时社会的丑态。亦善刻印，着有《广印人传》。金农死后，他搜罗遗稿，出资刻版，使金农的著作得以传于后世。妻方婉仪，子允绍、允缵，皆能画梅，被誉为“罗家梅派”。有《香叶草堂诗草》等行世。罗聘是“扬州八怪”最年轻的一位。少年苦读诗书，勤於习画，好学无倦，才艺出众，又拜金农为师，临摹宋人、元四家、石涛等先贤作品，不拘泥成法，自创风格而成为扬州八怪之一。罗聘工诗善画，笔情古逸，思致渊雅，深得金农神味，墨梅、兰、竹，均极超妙，古趣盎然。道释、人物、山水、花卉，无不臻妙，貌鬼独绝。",[23,25,45,67,544,69,7,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed30d125486b48ea1ded0b4bee3fd526.jpg","57×39 公分",[],42,{"id":1041,"slug":1042,"title":1043,"dynasty":173,"author":1044,"museum":106,"description":1045,"tags":1046,"thumbUrl":1052,"material":932,"size":1053,"collection":150,"collections":1054,"showCount":1039,"zanCount":11,"manualWeight":11,"mainColor":36},223078,"hong-lou-meng-64-sun-wen-223078","红楼梦64","孙温","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[88,1047,44,45,67,162,164,111,69,7,1048,1049,1050,1051,255],"清代","门窗","屋顶","花草","假山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f6af9ab7a5efed7373e5af0719d36f.jpg","纵43.3厘米、横76.5厘米",[],{"id":1056,"slug":1057,"title":1058,"dynasty":83,"author":1059,"museum":20,"description":1060,"tags":1061,"thumbUrl":1062,"material":26,"size":1063,"collection":74,"collections":1064,"showCount":1039,"zanCount":11,"manualWeight":11,"mainColor":36},221789,"shan-shui-zhou-cao-zhi-bai-221789","山水轴","曹知白","曹知白（1272～1355），元代画家，字又玄，号云西，人称贞素先生。华亭（今上海市松江县）人 。曹知白善画山水，师法李成、郭熙，从中演变成一种清疏简淡的风格。作品多以柔细之笔勾皴山石，极少渲染。早年笔墨较秀润，晚年变为 苍秀简逸。",[88,23,24,25,26,65,66,242,7,69,111,199,319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf838ea1e6905938ba9311926e6629d5.jpg","该幅 80x27.8公分、全幅 52.2公分",[74,99],{"id":1066,"slug":1067,"title":1068,"dynasty":83,"author":994,"museum":995,"description":996,"tags":1069,"thumbUrl":1071,"material":52,"size":1072,"collection":74,"collections":1073,"showCount":1039,"zanCount":11,"manualWeight":11,"mainColor":78},219783,"shan-zhong-guan-shu-tu-yi-sheng-mao-219783","山中观书图(一)",[88,23,89,45,44,65,66,67,68,7,217,69,94,111,1070],"草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bca7bc079a6d5dcc5b4be19f4c16a7a.jpg","纵97.3横29.2",[74],{"id":1075,"slug":1076,"title":1077,"dynasty":377,"author":1078,"museum":1079,"description":1080,"tags":1081,"thumbUrl":1082,"material":150,"size":150,"collection":150,"collections":1083,"showCount":1084,"zanCount":11,"manualWeight":11,"mainColor":36},220533,"ni-feng-xu-bei-hong-220533","逆风","徐悲鸿","中央美术学院美术馆","以大写意泼墨绘苇丛，浓墨重笔横扫出苇叶翻卷倾伏之态，墨色干湿浓淡铺陈出疾风裹挟的动感，将无形逆风化作可见的磅礴力道。几只小雀顶风振翅，灵动鲜活的身姿与苇丛的飘摇形成鲜明对照，刚柔相济间尽显生命的不屈生机。\n\n笔墨兼具写意的恣肆与写实的精准，寥寥数笔便将风穿苇荡的野趣与雀鸟逆风而上的韧劲融为一体，画面张力十足，仿佛可闻风啸雀鸣，把疾风旷野里的蓬勃生命力晕染于纸间，于极简笔墨中传递出撼动人心的精神力量。",[23,26,46,232,7,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6b70e12028b2a0054a92fdaeeb0ac96.jpg",[],41,{"id":1086,"slug":1087,"title":1088,"dynasty":173,"author":1089,"museum":20,"description":1090,"tags":1091,"thumbUrl":1093,"material":52,"size":1094,"collection":32,"collections":1095,"showCount":1096,"zanCount":11,"manualWeight":11,"mainColor":78},216212,"suan-ni-zhou-liu-jiu-de-216212","狻猊轴","刘九德","刘九德（Liu Jiude）是一位清朝的画家，他的狻猊图是他最著名的作品之一。狻猊图是一幅大型油画，描绘了一只狮子在草原上的场景。这幅画以其精细的细节、生动的色彩和传神的描绘而闻名。刘九德在创作狻猊图时，深受中国传统山水画的启发，并结合自己的独特艺术风格。狻猊图被认为是中国清朝时期最优秀的艺术作品之一，并被广泛收藏。",[23,24,25,45,44,316,1092,68,69,7],"狮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce7c5161fa971df7d7b5ae04c0307600.jpg","176.8x238.5cm",[32],40,{"id":1098,"slug":1099,"title":1100,"dynasty":173,"author":312,"museum":85,"description":1101,"tags":1102,"thumbUrl":1105,"material":1106,"size":1107,"collection":32,"collections":1108,"showCount":1109,"zanCount":11,"manualWeight":11,"mainColor":78},223167,"feng-hou-tu-shen-quan-223167","蜂猴图","该作品描述了一只猴子在树上捅马蜂窝，两只猴子在树下注视，情节紧张而有趣的画面。\n这种具有吉祥寓意和祝福的绘画是沈铨特别喜爱的题材。 猴子的画法精工，形态生动，自识中提到是仿宋代画猿猴大师易元吉的笔法。背景山石画得较放，点苔先用墨点再用石绿，树叶多用夹叶法，再涂以白色或浅绛色。整幅画工笔与写意结合，色彩与水墨搭配，具有沈铨绘画的独特风格\n沈铨的绘画主要继承黄筌画派精工富丽的画法，并把多种绘画技法相融合，形成了自己的绘画面貌。他的花鸟走兽画对后世影响显著，尤其对日本绘画有着深远的影响。此幅绘画作于1742年，沈铨六十一岁，是其画风成熟时的杰作。",[88,23,24,25,44,45,66,608,316,1103,318,94,319,111,7,1104],"蜂","藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff480761bd1622c88e4092910b66e54fa.jpg","绢本，立轴，设色","184cm 96.6cm",[32,118],39,{"id":1111,"slug":1112,"title":1113,"dynasty":189,"author":500,"museum":20,"description":1114,"tags":1115,"thumbUrl":1118,"material":52,"size":1119,"collection":207,"collections":1120,"showCount":1109,"zanCount":11,"manualWeight":11,"mainColor":78},220385,"wu-kuan-xing-lin-xi-chi-tu-yi-ming-220385","无款杏林鸂鶒图","上方行书“乐意”圆融雍容，点破画中真趣。下方小景绘江岸荒寒，枯木虬曲倚傍顽石，疏枝如篆，幽篁错落，晕染出冬日萧索野致。滩涂浅水间，一对鸂鶒相偎理羽，亲昵悠然，为清寂画面晕开温柔暖意。\n\n整幅以淡墨轻色铺陈，极简构图却藏天人妙趣，将林泉幽寂与禽鸟温情相融，用荒寒之境托举欣然乐意，尽显宋画以小景见天地的雅致审美，于冷澹笔墨里，晕染出宋人藏于山水间的幽微意趣，冷寂中暗淌脉脉生机。",[88,23,24,45,44,28,27,46,1116,1117,50,794,7],"杏树","水鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd38691268d61502131b8aa44711cc88f.jpg","37.3x49.8",[207],{"id":1122,"slug":1123,"title":1124,"dynasty":173,"author":1125,"museum":85,"description":1126,"tags":1127,"thumbUrl":1129,"material":150,"size":150,"collection":74,"collections":1130,"showCount":1131,"zanCount":11,"manualWeight":11,"mainColor":36},236459,"fang-ke-jiu-si-xiao-jing-zhou-wang-hui-236459","仿柯九思小景轴","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。",[23,25,26,65,1128,66,68,7,69,94,232,112,113,464],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91841eaba7f22bffc8d14d98e83c8bd9.jpg",[74,99,770],38,{"id":1133,"slug":1134,"title":1135,"dynasty":1136,"author":1137,"museum":214,"description":1138,"tags":1139,"thumbUrl":1140,"material":150,"size":150,"collection":150,"collections":1141,"showCount":1131,"zanCount":77,"manualWeight":11,"mainColor":36},227045,"zhong-qiu-tie-wang-xian-zhi-227045","中秋帖","晋","王献之","《中秋帖》，传为晋王献之书，纸本，手卷，纵27厘米，横11.9厘米。\n《中秋帖》是著名的古代书法作品，曾被清高宗弘历（乾隆皇帝）誉为“三希”之一，意即希世珍宝。\n行草书3行，共22字，释文：\n“中秋不復不得相還爲即甚省如何然勝人何慶等大軍。”\n无署款。\n《中秋帖》是《宝晋斋法帖》所刻的王献之《十二月割帖》的不完全临本，原帖在“中秋”之前还有“十二月割至不”六字。帖用竹料纸书写，这种纸东晋时尚制造不出，约到北宋时方出现。从行笔中可知，所用毛笔是柔软的无心笔，而晋朝使用的是有心硬笔，吸水性较差，笔的提、按、转折往往不能灵活自如，常出贼毫，如此帖那种丰润圆熟、线条连贯、行气贯通、潇洒飘逸的效果是写不出来的。清吴升《大观录》云：“此迹书法古厚，墨采气韵鲜润，但大似肥婢，虽非钩填，恐是宋人临仿。”据当代书画鉴定家研究，大多认为是宋米芾所临，故同样宝贵。\n卷前引首清高宗弘历行书题“至寶”两字。\n前隔水乾隆御题一段。\n帖正文右上乾隆御题签“晉王獻之中秋帖”一行。\n卷后有明董其昌、项元汴，清乾隆帝题跋，并附乾隆帝、丁观鹏绘画各一段。\n卷前后及隔水钤有宋北京“宣和”内府、南宋内府，明项元汴、吴廷，清内府等鑑藏印。\n此帖曾经宋代宣和、绍兴内府，明项元汴，清内府收藏。民国时由敬懿皇贵妃携出宫外，流散民间，由郭葆昌拥有，再转予其子郭昭俊。后与王珣《伯远帖》一起被典当于香港一家外国银行。1951年底，典当期将满时，国外有人意图购获，周恩来总理闻讯，当即指示有关部门购回，入藏故宫博物院。\n宋内府《宣和书谱》、明张丑《清河书画舫》、《清河见闻表》、《清河秘箧表》、汪砢玉《珊瑚网书跋》，清顾復《平生壮观》、卞永誉《式古堂书画汇考》、吴升《大观录》、内府《石渠宝笈·初编》等书著录。",[88,28,91,109,24,27,45,67,111,7,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa82a2dbb0797a6f684a6a878caebc856.jpg",[],{"id":1143,"slug":1144,"title":1145,"dynasty":173,"author":1044,"museum":106,"description":1045,"tags":1146,"thumbUrl":1148,"material":932,"size":1053,"collection":150,"collections":1149,"showCount":1131,"zanCount":11,"manualWeight":11,"mainColor":78},223074,"hong-lou-meng-60-sun-wen-223074","红楼梦60",[88,23,128,44,45,67,1147,162,112,66,7,113,255],"仕女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc778f30d6320cf2226001639f7dbc7e6.jpg",[],{"id":1151,"slug":1152,"title":1153,"dynasty":18,"author":824,"museum":85,"description":1154,"tags":1155,"thumbUrl":1158,"material":1159,"size":1160,"collection":32,"collections":1161,"showCount":1162,"zanCount":11,"manualWeight":11,"mainColor":78},238080,"kong-que-tu-zhou-lin-liang-238080","孔雀图轴","图绘雌雄孔雀一双，立于石上，旁有修竹数竿。\n孔雀是自然界鸟类中羽毛色彩最为绚丽的一种，是生活在南方的禽鸟，古代在北方除去皇宫御苑几乎无人能够豢养，寻常百姓更是无缘得见，因此这一题材本身即透露出宫廷气息。\n与众多以工笔重彩表现孔雀的作品相比，林良此作纯用水墨，用笔粗简，仅在孔雀的头颈和尾羽处作精致的勾勒，充分发挥了“墨分五色”的丰富变化，使黑白的水墨也产生出缤纷绚丽的夺目效果。伴以竹石为背景，愈增添了清雅野逸的意趣。",[23,25,1156,178,45,46,1157,7,319],"明代","孔雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe590349717b59f807870a3352f8323cd.jpg","绢本，墨笔","纵155.3厘米，横78厘米",[32,118],37,{"id":1164,"slug":1165,"title":1166,"dynasty":18,"author":1167,"museum":20,"description":1168,"tags":1169,"thumbUrl":1170,"material":30,"size":1171,"collection":99,"collections":1172,"showCount":1162,"zanCount":11,"manualWeight":11,"mainColor":36},221877,"yun-lin-shu-shi-zhou-gu-zheng-yi-221877","云林树石轴","顾正谊","顾正谊 ， 明代画家、诗人。字仲方，号亭林。华亭（今上海松江）人。父中立，官至参知政事。正谊以父荫，于万历时由太学生官中书舍人。晚年筑小亭园于江畔以终老，故号亭林。工画，早年即以诗画驰名江南，后游长安，名声大噪。董其昌曾记云：“吾郡画家，顾仲方中舍最著。其游长安，四方士大夫求者填委，几欲作铁门限以却之，得者如获拱璧。”",[88,23,26,25,65,92,7,113,28,27,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca8b4dda7acc4293094d57d245fb08e.jpg","92.6 x 38.8 厘米",[99,613],{"id":1174,"slug":1175,"title":1176,"dynasty":173,"author":500,"museum":214,"description":1177,"tags":1178,"thumbUrl":1181,"material":52,"size":1182,"collection":166,"collections":1183,"showCount":1162,"zanCount":11,"manualWeight":11,"mainColor":78},218289,"xuan-zong-lin-jing-tu-yi-ming-218289","玄宗临镜图","绢色泛黄如浸旧时光，朱红栏杆圈定宫室一角，竹影斜映窗棂，案上瓶花静立。玄宗红衣临镜，眉宇间似凝沉思，侍从持物侍立，姿态恭谨；侧室仕女闲坐，衣袂轻扬，添几分柔婉。旁题“韩休为相”语，暗牵盛唐典故——玄宗因韩休直言自省，临镜之态恰与纳谏之心呼应。\n\n画作以细腻笔触摹写人物神态，场景疏密得宜，于日常起居间藏史事隐意。既见宫廷生活的雍容，亦含对为政自省的隐括，方寸绢素间，绘就一段被时光凝定的盛唐记忆，笔端流转的不仅是形色，更是史韵与哲思的交融。",[23,24,44,45,143,67,162,7,1179,1180],"衣帽","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70abb2788b3569eccbc73c8780a21f36.jpg","30x31",[166],{"id":1185,"slug":1186,"title":1187,"dynasty":18,"author":1188,"museum":20,"description":1189,"tags":1190,"thumbUrl":1191,"material":52,"size":1192,"collection":74,"collections":1193,"showCount":1194,"zanCount":11,"manualWeight":11,"mainColor":78},219514,"bi-wu-jiang-shu-tu-song-mao-jin-219514","碧梧降暑图","宋懋晋","此作用高远兼平远之法铺陈景致，上部山峦以轻淡墨色晕染，肌理温润朦胧，似有夏山蒸腾的暑气轻笼。画面下畔的庭院为眼目所在，两株青梧亭亭如盖，将浓荫覆入院中，屋中幽人闲坐，静纳竹风凉意。溪上木桥轻架，垂柳拂过水面，坡岸细草茸茸，处处漫着夏日慵闲松弛的意趣。\n\n全画笔秀色雅，浅淡设色衬出清和氛围，将文人幽居消暑、耽于林泉的隐逸襟怀，融于山川院宇之间，淡而有神，静中生韵，尽显山居消暑的雅逸情致。",[23,24,25,45,66,65,112,94,111,110,69,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83e2ed619f72ec4ecb79001d077b24f1.jpg","124x38.4厘米",[74],36,{"id":1196,"slug":1197,"title":1198,"dynasty":173,"author":940,"museum":214,"description":1199,"tags":1200,"thumbUrl":1202,"material":150,"size":1203,"collection":150,"collections":1204,"showCount":1205,"zanCount":11,"manualWeight":11,"mainColor":36},238032,"hong-ren-shan-shui-tu-ce-hong-ren-238032","弘仁山水图册","弘 仁（1610-1664），清画家。俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪立瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等。",[23,26,65,195,66,68,69,1201,7,94,113,27],"峭壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ebf488d534c551f08afd778cd7b6d19.jpg","50×36",[],35,{"id":1207,"slug":1208,"title":1209,"dynasty":83,"author":1210,"museum":214,"description":1211,"tags":1212,"thumbUrl":1213,"material":96,"size":1214,"collection":150,"collections":1215,"showCount":1205,"zanCount":11,"manualWeight":11,"mainColor":78},232903,"shi-lei-wen-dao-tu-juan-qian-xuan-232903","石勒问道图卷","钱选","钱选（1239—1299），宋末元初著名画家，与赵孟頫等合称为“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。\n南宋景定三年乡贡进士，入元不仕。工诗，善书画。画学极杂：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。人品及画品皆称誉当时。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。他提倡绘画中的“士气”，在画上题写诗文或跋语，萌芽了诗、书、画紧密结合的文人画的鲜明特色。",[88,23,24,109,45,44,67,111,7,69,27,544],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07e96d6b7370b4a6dd7401122337fd33.jpg","28.6x138.5厘米",[],{"id":1217,"slug":1218,"title":1219,"dynasty":173,"author":427,"museum":214,"description":1220,"tags":1221,"thumbUrl":1222,"material":150,"size":150,"collection":150,"collections":1223,"showCount":1224,"zanCount":11,"manualWeight":11,"mainColor":36},235683,"ceng-luan-you-xi-zhou-yun-shou-ping-235683","层峦幽溪轴","此作用笔松灵秀逸，以浅绛淡彩晕染山峦林泉，笔墨清简却意致悠长。层峦以淡墨轻勾慢皴，敷色明净素雅，衬出山石温润质感。幽溪蜿蜒穿谷而过，渔舟静泊水面，林麓崖畔错落隐着村舍山居，枝叶扶疏间尽显林下清寂。\n题跋与画作相生相融，以书入画更添文人气韵，将江南山野的幽闲之境铺陈开来，观之如踏入世外幽居，沉浸式感受林泉间安谧隐逸的雅趣，尽显文人山水以意驭笔的空灵格调。",[23,24,25,26,65,66,94,639,93,92,7,69,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe54ca2ae0ddaf9169d825040fa333bfa.jpg",[],34,{"id":1226,"slug":1227,"title":224,"dynasty":189,"author":225,"museum":214,"description":1228,"tags":1229,"thumbUrl":1233,"material":562,"size":563,"collection":150,"collections":1234,"showCount":1235,"zanCount":11,"manualWeight":11,"mainColor":36},289725,"liu-ya-lu-yan-tu-zhao-ji-289725","此图共分为二段，前段画柳鸦，后段画芦雁。鸦的头顶和腹部施以白粉，鸦身敷浓墨，黝黑如漆。柳树的斑驳老干，富有质感。柳鸦的墨彩很酣，笔势很壮，显示出赵佶用墨的特色。后段四只芦雁在芦草蓼花边栖息，以浅赭设色，增强了秋天萧疏的气氛。",[88,128,23,109,1230,26,45,44,217,230,7,231,852,1231,27,28,1232],"花鸟画","怪石","寒江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaa7fe1a9da342eabc769e9f1cdda3f4.jpg",[],33,{"id":1237,"slug":1238,"title":1239,"dynasty":173,"author":1125,"museum":214,"description":1240,"tags":1241,"thumbUrl":1243,"material":150,"size":150,"collection":150,"collections":1244,"showCount":1235,"zanCount":11,"manualWeight":11,"mainColor":36},237589,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237589","王翚仿古山水册","王翚（1632-1717），字石谷，臞樵，号乌目山人，耕烟散人，又号耕烟外史，剑门樵客，清晖老人，室名清晖阁，江苏常熟人。王翚祖上几代均染指丹青。四世祖王伯臣擅长花鸟，师崔白画风，祖父王载仕山水花鸟皆擅，父亲王云客专攻山水，画风秀雅。王翚幼喜丹青，十六岁时拜同乡张珂为师，后入王鉴、王时敏之门，遍临他们所藏宋、元名迹，在承袭传统的基础上，又外师造化，逐渐形成了华滋清逸的画风，当时的名公巨卿、文人学士争相交之。六十岁时以布衣征召供奉内廷，主持绘制康熙《南巡图》，被赐“山水清晖”，为清初“虞山派”领袖。著有《清晖画跋》，辑有《清晖赠言》、《清晖赠贻尺牍》，与恽寿平合著《画筌评》。",[23,24,128,26,65,1242,66,111,110,112,94,113,7,68,280],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1e7fc3f6bc11163dc26121234f9369f.jpg",[],{"id":1246,"slug":1247,"title":1248,"dynasty":189,"author":500,"museum":85,"description":1249,"tags":1250,"thumbUrl":1253,"material":1254,"size":1255,"collection":150,"collections":1256,"showCount":1235,"zanCount":11,"manualWeight":11,"mainColor":36},223524,"huai-yin-xiao-xia-tu-yi-ming-223524","槐荫消夏图","图绘炎炎夏日里，一处槐荫下，一高士平卧榻上，上衣半解，袒胸露乳，闭目酣睡；榻边一条案上摆着香炉、蜡台、书卷等物品，可能高士睡醒后在此读书赏画。",[88,128,23,44,45,67,1251,111,1252,1180,7,463],"卧榻","小桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8d0ea42b1fa58b518f644456b170622.jpg","绢本，设色","25*28.4cm",[],{"id":1258,"slug":1259,"title":1260,"dynasty":173,"author":1044,"museum":106,"description":1045,"tags":1261,"thumbUrl":1263,"material":932,"size":1053,"collection":150,"collections":1264,"showCount":1235,"zanCount":11,"manualWeight":11,"mainColor":36},223072,"hong-lou-meng-58-sun-wen-223072","红楼梦58",[88,23,44,45,67,162,164,7,111,66,281,255,1262],"场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb184dc5ce3cbcae551dd90810e0a89.jpg",[],{"id":1266,"slug":1267,"title":1268,"dynasty":189,"author":1269,"museum":85,"description":1270,"tags":1271,"thumbUrl":1275,"material":1276,"size":1277,"collection":150,"collections":1278,"showCount":1235,"zanCount":11,"manualWeight":11,"mainColor":78},221571,"wu-zhu-xi-tang-tu-ye-xia-gui-221571","梧竹溪堂图页","夏圭","《梧竹溪堂图》为一山水小品。此图画山间一茅舍，旁有梧桐、修竹环绕，远处则是青山隐隐。画面景物平常、简约，却蕴含着清旷、幽深、静谧的意趣。\n此画设色画修竹、梧桐、茅屋、远山。这是一幅近似正方构图的小品山水画面。画中主要突出近景，近景描绘细致而写真，远景则粗淡而画虚，又是一幅虚实结合的山水风景画。近景是高大而扭曲的夹叶梧桐树，及挺立而柔姿的翠竹，在微风中摆动，互相交映，茅屋及草堂在树荫下显露。在这幽静的环境里，一位隐士在草堂中，面对高山溪水观景赋诗，敞开胸怀，歌颂大自然的美景。在茅屋与草堂前有护栏同着的院庭，主人在庭院里闲散时，可以听到溪水潺潺声，树叶的沙沙声，以及远处山风的呼啸声，同时可以怀诗朗颂；远景朦胧中有山峰映显，是山溪水的升腾，使山峰尤如在云雾中飘移。这水声、风声及诗人在山水问的朗渎声，可以组成人间大自然美好交响乐章，这就是夏圭山水中的具笔墨淋漓、云烟变态，饶有士大夫风骨的画面。\n此画设色画梧桐、修竹、茅屋、远山。构图上采用“一角”画法。画竹、树疏朗简洁，布局巧妙。全画笔法苍老劲健，下笔疾速果断。画中茅屋随手勾出，显得严谨而活泼。整幅画面层次鲜明，用浓墨写近景，再用淡墨画栏杆，远山则用花青略加渲染，使画面产生了强烈的空间感。\n构图上采用所谓“一角”、“半边”之法，主要景色都集中在画面下部，左侧取其大自然中真实一角，与右旁渺无人烟的画面，只有山影在茫茫的雾气中浮动，构成了意境深远的山水画。所画竹、树疏朗简洁，布局巧妙，作者以粗笔浓墨勾出梧桐树干及叶丛，用中锋画竹竿，以楷书写竹叶，堂宇、栏杆画得破有成规，近处山石棱焦清晰，并有青苔点簇，树林中蕴现的秀石以浅墨勾出，又以淡水墨染之，与装饰性的梧竹，形成色差的对比。画中茅屋，不用界尺，随手勾出，显得严谨而活泼。远远的山形与天色几乎相混，只见有一笔勾之，远山用花青略加渲染，造成的深远景色，只能让观者在意境中识别，这是夏画中的意取胜的展现。在此幅画中，见到了作者较富装饰性的山水画。以自识“夏圭”款二字于左方树干上。\n《梧竹溪堂图》画面简明地分成虚实两块，正是典型的“夏半边”构图。画中树木干枝曲折多弯，亦与马远树法相同。惟其用笔苍润含蓄，不似马远瘦硬刚劲，这大概与夏圭好用秃笔有关。建筑物也是用毛笔信手勾勒出来的，透视、比例都很合理，虽不及马远的界画法工细，却也别有韵味。若再细看，不难看到房柱、栏杆之类建筑构件是以较严谨、沉稳的线条组成，画屋顶茅草的线条则显得疏松、随意，这一细节透露出画家信手勾勒时仍很有分寸。由于画小景物不多，夏圭善用墨色的特点在《梧竹溪堂图》中表现得不是非常充分，然其墨色浓淡相济，足以将画面空间交待得层次分明，使景物密集处也有了几分空灵感。",[88,128,23,24,195,1272,26,65,66,164,1273,7,129,69,94,253,111,255,1274],"宋代","梧树","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ebac27779930c3568caeff06fba9120.jpg","绢本墨笔","纵23厘米，横26厘米",[],{"id":1280,"slug":1281,"title":1282,"dynasty":18,"author":824,"museum":214,"description":1283,"tags":1284,"thumbUrl":1288,"material":150,"size":150,"collection":150,"collections":1289,"showCount":1290,"zanCount":11,"manualWeight":11,"mainColor":78},228486,"shuang-ying-tu-lin-liang-228486","双鹰图","《双鹰图》是清代画家朱耷创作的纸本水墨画，现藏于 。\n款识：八大山人写。\n钤印：八大山人（白）、何园（朱）、孝慈洪养百福（朱）、士元（朱）。\n藏印：程桢义联珠珍藏印（朱）签条：清高僧朱耷双鹰图真迹 。\n钤印：秋君（朱）、李秋印（白）。\n《双鹰图》画面以简洁的构图，别开生面，意境幽邃，寥寥数笔将冬季时节的气息表现得淋漓尽致。\n画中岩石一侧横斜出枯枝苍干，坡石边附有丛竹，双鹰一踞岩石上俯视，一栖树干上转头回望，呈呼应之势。\n二石二鹰一树描绘都是对大自然的精心观察后，通过变形取貌得其盎然生意，整个画面笔调圆润凝重，皆以圆弧线组成，富有流动感，浓淡干湿墨色相破相融，双鹰的画法虽可看到林良的影子，而意趣已有很大的不同。\n画面的构图不留地面和天空，仅有的右侧空白被作者自题识和款署给填补。\n此图无论是双鹰、山石、枯树都笔墨简括，意态尽出，显出了 以简取胜，以少胜多的独特写意艺术才能。\n219年9月2日，该作品在故宫博物院和 共同主办的《回望传承——八大山人纪念馆建馆6周年故宫典藏特展》中展出。\n朱耷（1626－176）。\n谱名统，有雪个、个山、人屋、道朗、八大山人等别号。\n南昌人。\n明末清初越的大画家。\n他是明太祖朱元璋第十六子朱权的九世孙。\n八岁能作诗，十一岁能画青绿山水，少时能悬腕写米家小楷。\n弱冠为诸生。\n明亡以后，他抱着对清王朝不满的态度，在奉新县耕香庵落发为僧，时年二十三岁。\n后隐居进贤县介冈及永丰县睦冈等地。\n顺治末年，当他三十六岁时潜回南昌，创建青云圃道院，花了六、七年时间，才使这坐道院初具规模，并在这里过着“一衲无余”与“吾侣徙耕田凿井”的劳动生活。\n因为常有清朝权贵来此骚扰，他常浪迹他方。\n康熙十七年他五十三岁时，临川县令胡亦堂闻其名，便延请他随其僧长饶宇朴等到临川官舍作客年余。\n这使他十分苦恼郁愤，遂佯为疯癫，撕裂僧服，独自走回南昌。\n一年多后，他又回到青云谱，并在这里度过“花甲华诞”。\n当他六十二岁时，不再做住持，便把道院交给他的道徒涂若愚主持。\n后又隐避在南昌附近的北兰寺、开元观等处。\n该画取法明代大画家 ，枯枝危石之上两苍鹰相互顾盼，俯仰之间，英武之姿一览无余。\n以“双鹰”题材为例，列在八大名下目前存世画作有三幅：美国大都会博物馆藏《双鹰图》（系 旧藏）;上海博物馆藏《双鹰图》;江西 藏《双鹰图》。\n三幅画作之中，“大都会本”依画面题记确定为八大山人172年所作;“上博本”为1699年所作;“南昌本”无年款。",[88,23,24,25,1156,26,178,46,1285,1286,1287,7,180,1104,319],"院体","鹰","猛禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb96e154c48c16ef3deed3628318f6135.jpg",[],32,{"id":1292,"slug":1293,"title":1294,"dynasty":377,"author":1078,"museum":1079,"description":1295,"tags":1296,"thumbUrl":1298,"material":150,"size":150,"collection":150,"collections":1299,"showCount":1290,"zanCount":11,"manualWeight":11,"mainColor":36},220553,"ba-ren-ji-shui-xu-bei-hong-220553","巴人汲水","这幅长卷以竖幅铺展取水全程，自河畔到山梯，串联起众生剪影。下方赤膊老者躬身探入河水提桶，肌肉紧绷满是劳作的沧桑；妇人俯身舀水，壮年佝偻腰背负重登梯，青年挑着水桶稳步上行，山巅挑夫将艰辛藏入沉稳脚步。\n线条劲挺勾勒出劳动者贲张的筋肉与粗粝山石，淡墨晕染开朦胧水汽，侧畔竹花轻绽反衬生计之苦。题诗诉尽汲水人的血汗辛劳，将日常生计绘就为对底层坚韧的深情礼赞，写实笔墨里满溢共情与悲悯。",[88,23,26,45,441,25,67,505,7,94,1297],"水桶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15e184e8f377e2844f6c9d4d7879a5ec.jpg",[],{"id":1301,"slug":1302,"title":1303,"dynasty":173,"author":1304,"museum":20,"description":1305,"tags":1306,"thumbUrl":1308,"material":30,"size":1309,"collection":166,"collections":1310,"showCount":1290,"zanCount":120,"manualWeight":11,"mainColor":36},219442,"ling-xian-zhu-shou-tu-zhou-qian-zai-219442","灵仙祝寿图轴","钱载","虬松盘空，松针攒簇如墨星缀枝，枝干皴擦见苍劲老骨；旁逸修竹数竿，叶影疏斜带清韵。坡间灵菌隐现，伴以细草繁花，笔墨细劲却含生机，淡墨晕染衬出野趣。全图以水墨写就，浓淡干湿相生，于清雅笔墨间藏祝寿吉意。既有文人画的疏朗气韵，又含对福寿康宁的温婉期许，帧中留白更显意境悠远。观之如沐林下清风，心随画境渐宁，仿佛能闻松涛竹语，见灵秀之气漫溢纸间，笔墨里的雅致与吉庆悄然相融，尽显传统文人画的韵致与温度。\u003C\u002Fthink_never_used_51bce0c785ca2f68081bfa7d91973934>",[23,24,128,25,26,44,68,7,1307,354,69],"灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e85c969be4769322ad7f0290fce1fef.jpg","185.3x79.3",[166],{"id":1312,"slug":1313,"title":1314,"dynasty":173,"author":570,"museum":20,"description":1315,"tags":1316,"thumbUrl":1319,"material":96,"size":150,"collection":74,"collections":1320,"showCount":1321,"zanCount":77,"manualWeight":11,"mainColor":36},237076,"xia-shan-tu-zhou-wang-jian-237076","夏山图轴","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。\n王鉴出生于书香门第，为明代著名文人王世贞曾孙，家藏古今名迹甚富，丰富的家藏，为王鉴学习临摹历代名画真迹提供了良好的条件。摹古工力很深，笔法非凡，擅长山水。与王时敏、王翚、王原祁、恽寿平、吴历齐名，并称四王吴恽或清初六家，成为画坛正宗。为“清初六家”之一。\n与明末北方著名书画收藏家睢阳袁枢（袁可立子）交从甚密，袁以收藏董源、巨然作品为最，王鉴从中受益者颇多，书画往来相互题赠。王鉴《仿巨然真迹图》：“董宗伯所藏巨然真迹，今归袁环中（袁枢）使君，昨在其署中出此相示。”\n王鉴和王时敏、袁枢一样，早年曾经得到过董其昌的亲自传授，他一生的画业就是沿着董其昌注重摹古的方向发展，继续揣摩董源、巨然、吴镇、黄公望等诸多前辈大家的笔意，仿古吸收并转化古人的笔墨结构，形成了自己丰富的山水画语言。\n王鉴画的坡石取法黄公望，点苔学吴镇，用墨学倪瓒。尤其是他的青绿设色山水画，缜密秀润，妩媚明朗，综合了沈周、文征明清润明洁的画风，清雅的书卷气跃然纸上，历来为后人所称道。擅长山水，远法董（源）、巨（然），近宗王蒙、黄公望。运笔出锋，用墨浓润，树木丛郁，后壑深邃，皴法爽朗空灵，匠心渲染，有沉雄古逸之长。间作青绿重色，亦能妍丽融洽。信云林山水意极绵密。仿山樵山水，仿赵大年《春景》没骨山水、仿洪谷子设色山水，疏密奇正，纯以篆法写轮廓。仿子久《秋木山色图》《仿黄公望烟浮远岫图》、摹沈石田山水、仿董源《秋山图》仿范华设色山水、仿巨然山水，骨重气轻。其作品大多摹古，信效名家，缺乏独创，并具有浓厚的复古思想和形式主义画风。",[23,24,128,25,45,65,66,1317,70,111,68,7,319,1318],"山峦","水岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71226ba5bbfe4157e33f7a5a4fc9a2aa.jpg",[74],31,{"id":1323,"slug":1324,"title":1325,"dynasty":173,"author":1326,"museum":214,"description":1327,"tags":1328,"thumbUrl":1331,"material":150,"size":150,"collection":150,"collections":1332,"showCount":1321,"zanCount":11,"manualWeight":11,"mainColor":36},224157,"hua-gao-zong-yu-bi-qiu-hua-shi-zhou-zhang-ruo-ai-224157","画高宗御笔秋花诗轴","张若霭","将对自然的喜爱带入生活，呈现在庭园中，成为小中现大的世界，正是本幅主体。\n作于乾隆十一年（1746）秋七月，画内廷台阁花园景致。\n台阁以界画绘制，具透视感。\n但与花卉相较却偏小，并不合真实比例，应是为强调群芳争妍的盛况而做此安排。\n园中鸡冠、秋葵、雁来红、菊、红蓼、凤仙等怒放，一片缤纷灿烂，展现明媚秋色。\n【名称】清 张若霭 画高宗御笔秋花诗 【年代】清代 【简介】台北故宫博物院。\n张若霭（171-1746），字晴岚，号景采，又号炼雪道人、晴岚居士，蕴真阁，梅花纳，炼雪道人，藕得书屋，佳梦轩等。\n安徽桐城人。\n张若霭有家学，祖父张英、父亲张廷玉均为雍正、乾隆朝大学士。\n雍正十一 年（172年）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房。\n官至礼部尚书。\n曾参与《石渠宝笈》的编辑工作，乾隆十一年（1746年）随帝西巡，因病回京，不久卒。\n谥文僖。\n有《岁寒三友图》、《仿王元章疏影寒香图》传世。\n张若霭善书，工画花竹、禽虫，深得王糓祥、周之冕笔意。",[88,23,45,44,143,162,94,1329,7,50,1330,111],"秋花","瓦顶建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63628092ed57c5738e2fb917c30694a2.jpg",[],{"id":1334,"slug":1335,"title":1336,"dynasty":173,"author":1337,"museum":214,"description":1338,"tags":1339,"thumbUrl":1343,"material":562,"size":563,"collection":150,"collections":1344,"showCount":1321,"zanCount":11,"manualWeight":11,"mainColor":36},224150,"wan-nian-zhi-shang-ri-chu-chang-shi-yi-zhou-yu-shi-224150","万年枝上日初长诗意轴","于氏","孔宪培之妻,孔宪培(1756-1793)：原名允宪，字养元，号笃斋，清朝曲阜(今属山东省)人。乾隆年间，袭封衍圣公；夫人于氏，被册封为一品夫人。",[88,23,24,25,45,44,159,143,66,162,93,111,69,94,7,1340,1341,164,1342],"云纹","太阳","石桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f460da26208a42a6f0f8d44c32e407a.jpg",[],{"id":1346,"slug":1347,"title":1348,"dynasty":18,"author":1349,"museum":20,"description":1350,"tags":1351,"thumbUrl":1353,"material":30,"size":1354,"collection":32,"collections":1355,"showCount":1321,"zanCount":11,"manualWeight":11,"mainColor":36},222396,"han-xue-shan-ji-tu-zhou-lv-ji-222396","寒雪山鸡图轴","吕纪","画家以运笔迅速的墨线、墨块为主，以干、湿笔交互运作，用飞白的线条，疾速完成枯树枝桠、山石流泉，造成黑白对比",[88,23,25,46,44,26,45,1352,489,242,7,69,27,974],"山鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F096ba06be874b0a719bffcf11369d20a.jpg","纵135.3厘米，横47.2厘米",[32,118],{"id":1357,"slug":1358,"title":1359,"dynasty":173,"author":1360,"museum":20,"description":1361,"tags":1362,"thumbUrl":1363,"material":1364,"size":1365,"collection":74,"collections":1366,"showCount":1367,"zanCount":11,"manualWeight":11,"mainColor":36},222821,"chi-song-huang-shi-er-xian-tu-zhou-xu-yang-222821","赤松黄石二仙图轴","徐扬","绘赤松一板凳，粗壮笔真，松枝弯曲自然，松针繁多清晰；黄石耸立，形状奇异；地面翠竹、杂草生机勃勃。",[88,23,25,45,44,68,7,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F053720c8ce76759a8f675e7ff855123d.jpg","设色 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，墨笔","纵61.9cm，横35.3cm",[],26,{"id":1501,"slug":1502,"title":1503,"dynasty":189,"author":1504,"museum":214,"description":1505,"tags":1506,"thumbUrl":1507,"material":150,"size":150,"collection":150,"collections":1508,"showCount":1499,"zanCount":11,"manualWeight":11,"mainColor":78},230950,"mu-xue-han-qin-tu-ma-lin-230950","暮雪寒禽图","马麟","《暮雪寒禽图》是宋代画家 所创作的一幅画，现藏于 。\n此图为马麟所作，以清丽的笔法，绘出冰天雪地之中，山竹覆雪，两只寒禽躲在山石之下的杏枝上过夜的景象。\n以淡墨渲染全景，烘托出雪意，双钩写竹，用笔劲力。\n整幅画面萧瑟冷峭，意境幽远。\n这幅画卷描绘暮冬之际，岩壁下白雪覆盖著荆棘与翠竹，一对黄尾鸲相依避寒。\n通幅色泽沈厚，笔墨苍润稳健，为其粗笔风格的作品，和院藏其〈芳春雨霁〉册的画风极为相近；另一幅〈 〉册虽属细笔，然其中梅干的细枝则和本幅上荆棘细枝的笔法相类。\n此作在笔墨之外，画家还充分地掌握住一份寒冷中详和宁静的气氛，再配上诗句，更表现出了诗文因画而生，画因诗文而意足的旨趣。\n画幅右侧绘斜倾岩石，石旁有荆棘、老竹、积雪，山鸟瑟缩，栖于棘枝之上。\n左上方空白处有宁宗题“疏枝潜缀纷，并翅不禁寒”十个字。\n图中岩石直壁斜倾而上，在石这边数枝折枝棘枝，向左下方凌空伸张扩展，其中有一二枝权又折起指向左上方，与在悬崖的那边塌腰老竹低垂的枯枝交错。\n棘、竹枝上的积雪可见；还有那纷披的翠竹叶在岩石上负雪摇曳，在棘枝上残留着几处红叶。\n就在这岩石后背风的棘枝上，栖息着山鸟两只，一只是白羽，另一只是黑白两色，它们披着厚厚松软的冬装。\n白者缩颈回首，两爪紧抓枝上，长尾下垂，依偎在另一只身旁，黑白分明的这一只，抬首守之。\n两只山鸟安祥地相向，紧紧靠在一起，毫无飞欲之意。\n因为灰暗的暮色雪景笼罩着，造成了阴冷、萧疏、幽邃的气氛。\n所以飞鸟只有并翅不禁寒，才能渡过寒夜。\n只有盼到天明日出时，驱去寒意后，才会使寒禽离枝飞去。\n马麟这幅《暮雪寒禽图》的构意及内容，很像李迪的《雪树寒禽图》。\n但从图中直观马麟的《暮雪寒禽图》要比李迪之画苍劲洒脱。\n枯瘦的棘枝，用笔坚硬，画法苍劲有力；负雪的竹子，有的是冬篁的秃权枝，有的是重笔墨色直接画成的竹叶，也具有苍老浑厚的感觉。\n图中的这些景物，由于在暮雪中出现，所以作者没有显示它们本身固有的不同颜色，而将他们用灰暗的色调统一，即使有几处残留的红枫作点缀，也是具有同样的格调，呈暗红色。\n所以，此图在用色上成功地表现出雪天傍晚时分特有的自然景观。\n马麟（生卒年不详），南宋画家。\n原籍河中（治今山西永济西南），南渡后三代居钱塘。\n世荣孙，远子。\n父为光宗、宁宗两朝画院待诏，独步一时。\n麟传家学，工人物、山水、花鸟。\n宁宗嘉泰年间授画院祗候，颇得赵扩、恭圣杨后及杨妹子称赏，每于父子画上题句。\n或以“麟不逮父，而远爱之，多以己画得意者题作马麟”。\n但麟的笔法圆劲，比其父秀润。\n传世作品有《层叠冰绡图》，上有杨后题诗。",[128,23,24,44,45,26,46,1471,464,7,232,113,268],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7975c59fcea175fabe615575bac84e3c.jpg",[],{"id":1510,"slug":1511,"title":1512,"dynasty":18,"author":1372,"museum":226,"description":1513,"tags":1514,"thumbUrl":1515,"material":294,"size":1516,"collection":150,"collections":1517,"showCount":1499,"zanCount":77,"manualWeight":11,"mainColor":36},214666,"san-jue-tu-6-yao-shou-214666","三绝图-6","姚绶（1536年－1627年）是中国明朝时期著名的画家、书法家和诗人。他在明朝末年和清朝初年期间活跃，是中国古代四大书法家之一。姚绶的“三绝图册”是他的代表作之一，是他在晚年创作的一组绘画作品集。\n\n“三绝图册”共有三册，分别为“绝境图册”、“绝岭图册”和“绝川图册”。这三册作品均采用水墨画的方式，描绘了天山、岭川、峡谷等山水风光。姚绶的绘画风格具有浓郁的民族特色，笔墨简洁而凌厉，构图巧妙，色彩明快。这三册作品被认为是中国古代山水画的精品，被广泛收藏和展览。",[23,24,66,45,280,112,94,111,110,199,639,7,281,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78e731b862b74bacfca285005df0c0ca.jpg","纵31.2 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tions":1714,"showCount":1663,"zanCount":11,"manualWeight":11,"mainColor":78},222176,"han-jiang-diao-ting-zhou-lu-zhi-222176","寒江钓艇轴","陆治","陆治（1496－1576），字叔平，明代画家。吴县（今江苏苏州）人，因居包山，自号包山。倜傥嗜义，以孝友称。\n陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[88,128,23,24,25,45,44,1232,639,1710,242,7,489,67,1711],"蓑笠","钓线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe21dd60fea833be1aafb87910d35216.jpg","65.7x36.6厘米",[],{"id":1716,"slug":1717,"title":1718,"dynasty":18,"author":1719,"museum":214,"description":1720,"tags":1721,"thumbUrl":1723,"material":562,"size":563,"collection":150,"collections":1724,"showCount":1725,"zanCount":11,"manualWeight":11,"mainColor":36},239465,"ming-qing-zhu-jia-ji-jin-ce-jiao-shi-ce-ye-sun-ke-hong-239465","明清诸家集锦册-蕉石册页","孙克弘","明书画家、藏书家。一作克宏，字允执，号雪居，松江（今属上海市）人。礼部尚书孙承恩子。以荫授应天治中，官至汉阳知府。生性巧慧，声音洪亮，状貌疏野。所居四壁皆画苍松老柏，崩浪流泉，有一种澄泓萧瑟之意萦绕其间。他喜交友，陈继儒谓其“好客之癖，闻于江东，履綦如云，谈笑生风，坐上酒尊，老而不空”。卒年八十（一作七十九）。",[23,24,280,26,113,1722,7],"蕉叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F490055b3a06b0ca31166c19f3072a27e.jpg",[],20,{"id":1727,"slug":1728,"title":1729,"dynasty":173,"author":1730,"museum":214,"description":1731,"tags":1732,"thumbUrl":1733,"material":150,"size":150,"collection":150,"collections":1734,"showCount":1725,"zanCount":11,"manualWeight":11,"mainColor":36},224259,"qing-shan-bian-ju-zhou-cha-shi-biao-224259","青山卞居轴","查士标","此作用笔简淡松灵，枯笔皴擦绘就远山，留白晕染出烟水空濛。近岸茅亭孑然独立，疏柳杂木错落萧疏，淡墨轻写出浅滩陂陀，处处漫溢着清寂冷逸。\n\n整幅师法云林笔意，删去俗冗细节，以极简线条勾勒物象，铺陈出江南水村的静穆清旷。无浓墨重彩，只以干笔淡墨写尽荒寒淡远，隔绝尘嚣的幽居之景跃然纸上，寄寓着幽隐世外的襟怀，尽显简淡清逸的文人风神，将空寂淡远融于尺幅之间，观之如临无人之境，心绪随烟水一同沉静。",[88,23,25,26,65,545,66,93,242,7,69,94,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F006ae7f50b438d9d6964e4b663017571.jpg",[],{"id":1736,"slug":1737,"title":1738,"dynasty":173,"author":1044,"museum":106,"description":1045,"tags":1739,"thumbUrl":1742,"material":932,"size":1053,"collection":150,"collections":1743,"showCount":1725,"zanCount":11,"manualWeight":11,"mainColor":36},223002,"hong-lou-meng-127-sun-wen-223002","红楼梦127",[88,128,23,24,44,45,67,162,7,69,111,475,164,1740,1741,1435],"古装","绿植","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65073529e1df02d44b96a2c97cf655a5.jpg",[],{"id":1745,"slug":1746,"title":1747,"dynasty":18,"author":1748,"museum":214,"description":1749,"tags":1750,"thumbUrl":1753,"material":150,"size":150,"collection":150,"collections":1754,"showCount":1755,"zanCount":77,"manualWeight":11,"mainColor":36},228888,"lan-ting-tu-bing-shu-xu-juan-xu-guang-zuo-228888","兰亭图并书序卷","许光祚","《兰亭图并书序》为中国明代 创作的绫本书画作品，现藏于 。\n卷后有 书《兰亭序》，落款曰：“辛亥暮春摹于长水之玉瑛堂。\n关西许光祚。\n”下钤“灵长氏”朱文印。\n辛亥为1611年（明万历三十九年）。\n画心无款，有“永安沈氏藏书画印”朱文鉴藏印一方。\n许光祚，活跃于明代万历年间，字灵长，陕西人。\n与汤焕同郡，得其书法，时人号曰汤许。\n举于乡，知太平县，著有《许灵长集》。\n有书法作品传世，但文献没有记载他能绘画。\n此卷以山水为背景，表现兰亭修禊故事。\n卷首山脚下二文士携三童子而来，往前溪水边有一亭，亭中间置一桌，一文士在桌上挥毫，一文士坐于侧，另有一文士坐长凳上倚栏观鹅。\n溪流两岸边绘众文士及童子，文士们分组而坐，或凝思或交谈，或观摩或挥毫，其中有一人袒胸盘坐，双手上举似为养气，另有两文士在喝交杯酒，形态生动。\n溪流间有荷叶托着酒杯顺流而下。\n该图虽然大体继承了宋元以来兰亭雅集图亭中观鹅、岸边赋诗的构图方式，但从图中人物的服饰、动态及人数等来看，画家表现的更像是明代文人模仿王羲之等兰亭雅集时的情形，而不是真实地再现当时的原貌。\n人物线条简洁严谨，设色淡雅，山石轮廓以侧笔皴擦，工整柔和。",[88,23,24,109,45,44,67,66,112,94,93,68,7,281,532,1751,1752,91],"赋诗","聚会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140767863d6e7de949761cc86cc06bd4.jpg",[],19,{"id":1757,"slug":1758,"title":1759,"dynasty":18,"author":1522,"museum":214,"description":1760,"tags":1761,"thumbUrl":1762,"material":150,"size":150,"collection":74,"collections":1763,"showCount":1764,"zanCount":11,"manualWeight":11,"mainColor":78},237695,"yun-shan-fang-guang-zhou-xiang-yuan-bian-237695","云山放光轴","项墨林（1525—1590），原名项元汴，字子京，号墨林，别号墨林山人、墨林居士、香严居士、退密庵主人、退密斋主人、惠泉山樵、墨林嫩叟、鸳鸯湖长、漆园傲吏等，浙江嘉兴人。明国子生，为项忠后裔，为明代著名收藏家、鉴赏家。\n少即英敏，博雅好古，绝意仕进。当时风雅之士来嘉兴必访项元汴，名画家文彭、文嘉等与项元汴交往尤密。明万历年间神宗朱翊钧闻其名，特赐玺书征他出来做官，不赴。\n项元汴所藏书法、名画以及鼎彝玉石，甲于海内。项元汴精于鉴赏，辨别真赝，析及毫发，当时无人可比。与项同时代的人记载：“项氏所藏如顾恺之《女史箴图》等，不知其数，观者累月不能尽也。其他墨迹及古彝器尤多。 其家累世富厚，不惜重赀以购，故江南故家宝藏皆入其手。”他遴选能工巧匠制作的各种器具，凡几榻架柜奁盒等，镌以铭识，都极精巧，如同秦汉之物。清顺治二年（1645）闰六月，清兵攻破嘉兴府城，其藏品被千夫长汪六水所劫掠，散失殆尽，存世的藏品多归于皇宫，现仍藏于故宫博物院和其他博物馆。\n项元汴曾获一古琴，上刻“天籁”两字，故将其储藏之所取名“天籁阁”，并镌有天籁阁、项墨林等印，凡藏品都钤有印记，往往满纸满幅。项氏以天籁阁名传后世，阁早已毁，今城内建设街道天籁里即以天籁阁命名。\n项元汴工绘画兼擅书法。山水学元代黄公望、倪瓒，笔致疏秀，神合处辄臻胜境，书法出入唐智永、元赵孟頫。刊有《天籁阁帖》，著有《墨林山人诗集》等。",[23,24,25,26,65,778,519,1689,232,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8320ab5ca362924ab59d1050aabcc8c.jpg",[74],18,{"id":1766,"slug":1767,"title":1768,"dynasty":18,"author":1769,"museum":85,"description":1770,"tags":1771,"thumbUrl":1772,"material":96,"size":150,"collection":150,"collections":1773,"showCount":1764,"zanCount":77,"manualWeight":11,"mainColor":36},234122,"lan-shi-tu-juan-ma-shou-zhen-234122","兰石图卷","马守真","中国古代女性画家的作品，虽然其艺术语言尚未超越男性画家，却始终是美术史中的一个重要组成部分。尤其明清两代女性绘画的空前发展，使她们在各自的才艺表述中，散发着独特魅力。其中明代马守真便是最为卓越而富有才情的女画家之一。\n马守真（1548-1604），小字玄儿、又字月娇，自号“湘兰”，因家中排行第四，人称“四娘”。幼年时沦落风尘的马湘兰，天资聪慧，多才多艺，且能诗善画，一生以兰花、竹、石、灵芝、水仙等为题创作了许多作品。在她以兰花为主题的传世作品中，有真亦有伪，且早期与晚期的画风也不尽相同，水平自然亦有高低。其间，马守真在1598年五十岁时所作的《兰石图》（图一）（现藏中国国家博物馆），堪称她绘画成熟期的经典之作。是图描绘了草坡之上的一丛野生兰，只见兰叶随意舒展、花儿含羞怒放、身后有修竹为伴，亦随风轻轻舞动。兰花伴以湖石、润笔勾出，与信手点染的苔草相映成趣。画家以没骨之法、细线勾勒出的兰叶，行笔劲挺流畅、张显了兰花恣意生长、野趣盎然。图中左上有画家款识：“戊戍仲冬日写”、“湘兰马守真”，钤印“湘兰”、“守真玄玄子”二方。图中右下有“曾藏锡芝兰堂”等收藏印二方。\n从湘兰所画兰花的笔法来看，她更多承袭了南宋赵孟坚（1199—1264） 的水墨兰花风格。曹寅评其画云：“兰法子固，竹法仲姬，俱能袭其韵。”赵孟坚，字子固、南宋宗室。他工诗善画，是兼具贵族、士夫与文人身份的画家。他首创的墨兰，“清而不凡、秀而雅淡”,深得后世文人推崇（图二）。万历三十二年（1604），湘兰在她五十七岁临终那一年画的《兰花图》卷（上海博物馆藏）（图三） 款题中写道：“甲辰夏日，在松院仿赵子固画兰赠彦可兄，湘兰马守真。”足见对赵孟坚画兰之风的追随。此画卷分为两段：前段双勾、后段水墨写意，浓淡变化，颇多意趣。画卷开首有杨法所题变体篆书云：“咀嚼兰蕙”。如果说赵孟坚笔下的兰花盛开，犹如翩翩起舞的彩蝶、春风得意，那么湘兰笔下的兰花则更像是娴静的少女，多了几分柔媚与清幽。\n湘兰一生画了很多兰花，水墨居多，而少颜色，如《兰花图》扇面（图四）、《兰石图》卷（故宫博物院藏）、《兰竹石图》轴等传世佳作。后人评：“其墨兰一派，潇洒恬雅，极有风韵”。图中兰花的左右，往往伴有湖石、墨竹、水仙、灵芝等清雅之物。湖石或润笔或皴擦、简淡天成，瘦竹则疏朗有致，与幽兰相应成趣。画风给人的感觉更像是一个文人士大夫的作品，而难想像乃出自金陵花街柳巷的一风尘女子之手。\n湘兰专注于兰，为此还特意在秦淮河畔边盖了一座小楼，栽满兰花，名为“幽兰馆”。她所喜好的兰花，也正是历代文人画家所热衷的“君子”题材。宋末元初的诗人画家郑思肖（1241-1318） 专绘“露根兰”，谓之“纯是君子，绝无小人”，以寄托亡国之恨。兰花由此被赋予了极强的人格意义，成为品德高洁的君子象征。明代苏州吴门大家文征明尤爱画兰，留有许多兰花竹石逸品，如《兰竹图》（台北故宫博物院藏）（图五）。陈元素周天球等江南文人亦以描绘清幽而芬芳的兰花为乐事（图六）。作为“秦淮八艳”之一的名妓，湘兰“性情轻侠”，为人豪爽，慕名求访者甚多，这其中自然不乏江浙地区的文人雅士、风流才子。而画兰之风在晚明江南一带的日渐昌盛，不能不说对马守真产生了重要影响。\n湘兰“姿首如常人”、相貌并不出众，但是她胜在才情，“神情开涤，濯濯如春柳早莺，吐辞流盼、巧伺人意”。她不仅善于绘事而且工于诗文，常常在兰绘图中自题诗句，留下“一叶幽兰一箭花，孤单谁惜在天涯”、“何处风来气似兰，帘前小立耐春寒”等诸多佳句。与文人士夫借物抒情，集文学、书法、绘画的艺术表达为一体的情趣相契合，湘兰画的兰花，也是“画中有诗”、“诗中有画”，充满了书卷气。\n文人画的产生与兴盛，在相当程度上是出于厌世的隐遁心理，寄情笔墨以寻求内心平衡。晚明时局动荡，又多了这样前途渺茫的文人画家。江南文人更以描写“梅兰竹菊”等水墨写意自娱，籍以淡薄名利甚至逃避险恶仕途。尽管湘兰的兰花与文人笔下的兰花有诸多相似之处，但是对于一个烟花女子来说，她画兰，显然与文人画兰潜藏着仕途失意与不满的政治诉求没有太多关系。除了自身的喜爱，更多的应该是对当时文人圈时尚的某种迎合以及自我人格的标榜。\n正如湘兰的诗句：“空谷幽兰独自香，任凭蝶妒与蜂狂”、“绝壁悬崖喷异香”，借兰花标榜自己的孤芳傲世而别于欢场中人。不仅如此，湘兰还独创有一叶兰，仅一抹斜叶，托着一朵兰花，以体现兰花清幽空灵，仿佛又带有一丝哀怨与孤寂，来倾诉自己的无依之情。清香的幽兰，暗自吐芳，也是画家一生的写照：湘兰在二十四岁时相识长洲（今苏州） 才子王穉登，并为他痴守一生、孤单终老。二人经常以兰花为题，诗文书画互动，出现在湘兰的作品中。王穉登曾以“一枝写出湘皋影，仿佛凌波解佩人”，将湘兰画中兰花比作她本人，赞其超凡脱俗与清高品质。就在抱病赶往姑苏为穉登置办七十寿筵返回金陵之后，湘兰一病不起，于是燃灯拜佛、沐浴更衣、端坐而逝。王穉登悲痛之余写下挽诗：“歌舞当年第一流，姓名赢得满青楼，多情未了身先死，化作芙蓉也并头。”可以说，湘兰如此执着于兰花的写照，与落魄文人王穉登的情感纠葛不无关系。值得一提的是，同时代的另一位女画家薛素素也是画兰高手，也曾与王穉登有过交集。\n湘兰的绘画，有着浓浓的文人情怀。比起文人画兰张显的自我意识与个性，她的兰花则多了几分女性的温婉与秀雅，也多了几分哀怨与孤寂。湘兰的传世作品数量极多，民间多于官方，虽然真伪混杂，却足见世人对她的喜爱。作为身份卑微的青楼女子，湘兰的兰花风格占据不了画坛主导，却也独具幽芳，惹人怜爱，同时成为一个特定时代与文化的折射，并对后世的墨兰创作带来了深远影响。",[23,24,109,26,545,1613,1689,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffab683345673a977ba6b3af4ea9c4edd.jpg",[],{"id":1775,"slug":1776,"title":1548,"dynasty":173,"author":1777,"museum":214,"description":1778,"tags":1779,"thumbUrl":1780,"material":1781,"size":150,"collection":118,"collections":1782,"showCount":1764,"zanCount":11,"manualWeight":11,"mainColor":36},224381,"shan-shui-tu-wang-guang-qi-224381","王光圻","此作用高远章法铺陈，以枯淡墨线勾出峭拔崖壁，焦墨点苔醒出山峦苍劲肌理，留白衬出险峰空寂高远的气势，壁立千仞的意境呼之欲出。\n\n近景林木错落，老松虬曲、杂木扶疏，以浓淡墨色区分枝叶层次，衬出林麓间茅舍的幽隐。清溪绕岸，浅墨晕染出水泽空濛之气。全幅笔法简率松灵，脱略繁缛细节，以意写形，尽显文人山水的萧散淡远之致，墨色干湿浓淡相济，于极简中勾勒出山林幽深清寂之境，笔底自带荒寒简古的林下风致，尽显文人写意山水的雅致风貌。",[88,23,26,25,66,111,93,69,110,7,68,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f7c446c0bf8824d74b46dced3c2cfe1.jpg","水墨纸本",[118],{"id":1784,"slug":1785,"title":1786,"dynasty":18,"author":1787,"museum":85,"description":1788,"tags":1789,"thumbUrl":1792,"material":452,"size":1793,"collection":150,"collections":1794,"showCount":1764,"zanCount":11,"manualWeight":11,"mainColor":78},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。",[88,23,109,45,44,24,91,1790,27,162,111,475,112,94,110,164,7,1791,851,254,255,1274],"楷书","松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66742fa1af93fb6e7fea758c370c8f5a.jpg","纵29.8厘米，横190.2厘米",[],{"id":1796,"slug":1797,"title":765,"dynasty":173,"author":500,"museum":214,"description":1798,"tags":1799,"thumbUrl":1801,"material":150,"size":150,"collection":150,"collections":1802,"showCount":1803,"zanCount":11,"manualWeight":11,"mainColor":36},235156,"hong-ren-shan-shui-ce-yi-ming-235156","这帧册页诗画合璧，题字清隽舒展，笔墨雅致，诗境画境相融相生。\n\n下方小品以淡墨写就林石秋景，枯木疏朗错落，姿态古拙清逸，枝桠虬曲暗含生机。坡石简淡勾勒，略施皴擦便见嶙峋质感，留白悠远空灵，烘托出江南秋后的清寥意韵。整体画风萧散简远，冷寂出尘，以极简笔墨营造幽远超脱的意境，尽显静穆淡远的文人雅韵，观之如临秋水林泉，涤荡俗尘。",[23,24,280,26,65,545,66,242,69,7,1800],"岩壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4b760ce36c1d513723846efb9e15a72.jpg",[],17,{"id":1805,"slug":1806,"title":1807,"dynasty":18,"author":61,"museum":226,"description":1808,"tags":1809,"thumbUrl":1812,"material":96,"size":1813,"collection":150,"collections":1814,"showCount":1803,"zanCount":11,"manualWeight":11,"mainColor":36},231594,"song-xing-tu-shen-zhou-231594","送行图","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。",[88,23,24,109,26,45,65,91,1810,28,27,66,111,67,1811,806,69,68,7,93,639],"篆书","舟船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e41518bb5ef131e0f1424e3a5b315e2.jpg","纵30.0厘米，横125.5厘米",[],{"id":1816,"slug":1817,"title":1818,"dynasty":173,"author":1819,"museum":214,"description":1820,"tags":1821,"thumbUrl":1823,"material":150,"size":150,"collection":150,"collections":1824,"showCount":1803,"zanCount":11,"manualWeight":11,"mainColor":36},224491,"xi-yang-qiu-ying-tu-wu-li-224491","夕阳秋影图","吴历","《清吴历夕阳秋影图》是清代画家吴历创作的一幅中国画。\n此图画山峦起伏，高树成林，草亭傍水，江天夕阳相映成趣。\n上有行书诗题及名款。\n吴历与王翚、恽寿平同学于王时敏门下，专意绘事，日夜临摹宋元真迹，渲染皴擦，风格高峻，得其神髓。\n其山水宗黄公望，得力于王蒙，兼有吴镇之长。\n此图虽仿倪瓒，然笔墨纯熟沉稳，颇见功底，诗画相融，其韵致超绝，具有自己的笔法,江亭遥岭,碎石丛树,萧瑟简淡,不失为吴氏晚年佳作。\n吴历（162—1718年），字渔山，号墨井道人、桃溪居士等，江苏常熟（今属江苏省）人。\n少年时遭遇明亡，信奉佛教，后转为信奉基督教。\n曾赴澳门，并受洗礼，教名西满·沙勿略（Simon ·Xareris），并学习西文。\n原计划去欧洲，因故未果，后回内地，在上海、嘉定、苏州一带传教，卒后葬于上海南门外耶稣会墓地。\n早年学画于王鉴、王时敏，后接触西方文化，这对其山水画风的形成有潜在影响。\n喜用干笔焦墨，笔墨细腻，注重画面的纵深感，并略微注意到透视法的运用。\n吴历以其独到的艺术风貌与“四王”、恽寿平并称“ ”。\n据《竹人续录》等史料载，吴氏兼擅刻竹，风格缜密，深受嘉定派影响。",[88,128,23,26,65,25,66,68,7,242,129,1822,69,1419],"夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e569ba87e496e5333ec92596bbaa07.jpg",[],{"id":1826,"slug":1827,"title":1828,"dynasty":173,"author":1829,"museum":214,"description":1830,"tags":1831,"thumbUrl":1832,"material":150,"size":150,"collection":74,"collections":1833,"showCount":1803,"zanCount":11,"manualWeight":11,"mainColor":36},223249,"shan-shui-2-pu-hua-223249","山水2","蒲华","蒲华（1832—1911）字作英，亦作竹英、竹云，浙江嘉兴人。号胥山野史、胥山外史、种竹道人，斋名九琴十砚斋、九琴十研楼、芙蓉庵，夫蓉盦、剑胆琴心室等。晚清著名书画家，与虚谷、吴昌硕、任伯年合称“海派四杰”。\n早年科举，仅得秀才，遂绝念仕途，潜心书画，携笔砚出游四方，后寓居上海，卖画为生。善花卉、山水，尤擅画竹，有“蒲竹”之誉。书法淳厚多姿；其画燥润兼施，苍劲妩媚，风韵清健。\n晚清民国时期著名画家，与任伯年、吴昌硕、虚谷合称“海派四杰”。\n与海上名家广有交往， 同吴昌硕尤为密切。蒲华长吴昌硕十二岁，昌硕幼时便闻蒲华画名，关系在师友之间，互取所长，风貌因之相近。\n善用湿笔，水墨淋漓，光彩照人。善花卉、山水，尤擅画竹，有“蒲竹”之誉。\n吴昌硕作十二友诗，记蒲华曰：“蒲作英善草书、画竹，自云学天台傅啸生，仓莽驰骤、脱尽畦畛。家贫，鬻画自给，时或升斗不继，陶然自得。余赠诗云：蒲老竹叶大于掌，画壁古寺苍涯琏。墨汁翻衣吟犹着，天涯作客才可怜。朔风鲁酒助野哭，拔剑斫地歌当筵。柴门日午叩不响，鸡犬一屋同高眠”。\n吴昌硕为蒲华所作《芙蓉庵燹馀草》作序言：“作英蒲君为余五十年前之老友也，晨夕过从，风趣可挹。尝于夏月间，衣粗葛，橐笔两三枝，诣缶庐，汗背如雨，喘息未定，即搦管写竹，墨沈淋漓。竹叶如掌，萧萧飒飒，如疾风振林，听之有声，思之成咏。其襟怀磊落，逾恒人也如斯。”\n谢稚柳论言：“蒲华的画竹与李复堂、李方膺是同声相应的，吴昌硕的墨竹，其体制正是从蒲华而来”。\n蒲华中年尤勤书学，寝馈旭、素，斗墨千纸，数日而尽。至于元明各家书帖，也常把玩临摹。以书入画，酣畅恣肆。\n蒲华晚年，笔老墨精。其书法，淳厚多姿；其绘画，燥润兼施，苍劲妩媚。尤喜画大幅巨幛，莽莽苍苍，蔚为大观。所作山水大轴或册页，虽多为山居、读书等传统题材，但布局新颖，风韵清隽。\n蒲吴两家粗豪奔放的画风，使因袭纤巧之时风大为逊色，一新画派崛起于沪上画坛。\n癖好古琴，遇即购藏，视为心爱之物，名其居屋为“九琴十砚楼”。",[88,23,24,25,26,45,65,66,1791,93,69,94,129,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa36173f62b89aaa10373bf91171f17.jpg",[74,99],{"id":1835,"slug":1836,"title":1837,"dynasty":173,"author":1044,"museum":106,"description":1045,"tags":1838,"thumbUrl":1846,"material":932,"size":1053,"collection":150,"collections":1847,"showCount":1803,"zanCount":11,"manualWeight":11,"mainColor":36},222919,"hong-lou-meng-44-sun-wen-222919","红楼梦44",[88,44,45,143,67,164,162,111,292,7,1051,1839,1050,1615,840,253,146,1840,505,1841,1842,1383,1700,1843,1844,1741,1845,1147,463],"盆栽","圆形门洞","石墩","古典建筑","宴饮","赏花","石景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49e9dd68d51b05a8326c6123fca2f6e4.jpg",[],{"id":1849,"slug":1850,"title":1851,"dynasty":173,"author":500,"museum":214,"description":1852,"tags":1853,"thumbUrl":1856,"material":562,"size":563,"collection":150,"collections":1857,"showCount":1858,"zanCount":11,"manualWeight":11,"mainColor":36},258388,"yong-zheng-kuan-qing-hua-dan-miao-zhu-zi-tu-xiao-wan-yi-ming-258388","雍正款青花淡描竹子图小碗","雍正一朝虽然只有13年，但他的制瓷业成就却达到了清代官窑的历史高峰，其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[1047,1854,1855,7],"陶瓷","青花淡描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd60ab89aa01a0a8272cbb490db1588e3.jpg",[],16,{"id":1860,"slug":1861,"title":1862,"dynasty":173,"author":1125,"museum":85,"description":1126,"tags":1863,"thumbUrl":1864,"material":1865,"size":1866,"collection":74,"collections":1867,"showCount":1858,"zanCount":11,"manualWeight":11,"mainColor":36},236392,"shuang-ke-yuan-xiu-zhou-wang-hui-236392","霜柯远岫轴",[23,25,26,65,66,68,7,319,199,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dfe4fa93bccb217c8fe4cc2f1d15155.jpg","纸本墨笔","纵74.3cm，横30.6cm",[74,99],{"id":1869,"slug":1870,"title":1871,"dynasty":173,"author":302,"museum":214,"description":1872,"tags":1873,"thumbUrl":1874,"material":150,"size":150,"collection":150,"collections":1875,"showCount":1858,"zanCount":77,"manualWeight":11,"mainColor":78},235523,"yuan-ji-shan-shui-tu-ce-shi-tao-235523","原济山水图册","此作用枯淡笔墨写就秋林逸景，坡岸错落在浅滩之侧，奇崛山石以披麻皴写就，苍劲松竹错落林间，茅庐隐于林麓深处。水畔留白见空茫，寥寥几笔便将秋水清寂铺陈开来。左侧题字笔意纵逸，与画境相生相融。\n全画简淡萧疏，枯润笔墨相映，留白处尽得山水悠远之致，将秋郊水畔冷寂澹然与幽居文人的散淡意趣相融，尽显文心画骨，把寄情林泉的幽怀藏在笔底。",[23,24,26,65,280,66,7,69,94,27,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c0f27c31545873ecbd11eb7ab97c011.jpg",[],{"id":1877,"slug":1878,"title":1879,"dynasty":1880,"author":500,"museum":214,"description":1881,"tags":1882,"thumbUrl":1884,"material":562,"size":563,"collection":150,"collections":1885,"showCount":1858,"zanCount":11,"manualWeight":11,"mainColor":78},230543,"shi-ting-shi-dai-ri-yue-shan-shui-tu-ping-feng-yue-ping-yi-ming-230543","室町时代 日月山水图屏风-月屏","不详","浅金晕染出朦胧夜气，以青绿为主调铺展山野幽境。挺秀松林错落坡巅，笔墨清简勾勒出苍古意态。浅滩茅庐半隐于草色间，坡岸随色块开合错落，墨笔轻绘竹叶、草叶，疏朗雅致。\n\n整体以平远构图铺陈，删繁就简，用色块晕染出月夜山野的清寂淡远，将东方禅意融于侘寂风物中，于简淡空灵里，尽显静穆古雅的山水幽趣，藏着独属于山野夜色的宁谧安然。",[88,45,159,66,1700,68,778,420,1883,129,7],"月亮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4805b1904a7c472e2a9775631e4451df.jpg",[],{"id":1887,"slug":1888,"title":1889,"dynasty":189,"author":500,"museum":20,"description":1890,"tags":1891,"thumbUrl":1895,"material":1896,"size":1897,"collection":150,"collections":1898,"showCount":1858,"zanCount":11,"manualWeight":11,"mainColor":78},223439,"song-ke-si-wen-zhi-zhou-yi-ming-223439","宋缂丝文雉轴","整作雅致清隽，以缂丝之技复刻院体花鸟意趣。文雉傲然独立于奇石之上，翎羽以细缂勾勒，素洁莹润，顶间绒羽灵动，目光悠然似望林泉。幽竹斜探出石畔，兰叶舒展柔婉，灵芝倚石而生，晕染出林下清寂绝尘的闲趣。\n\n石身以深浅蓝褐织就层叠肌理，禽鸟草木设色柔雅沉静，将丝织的温婉与工笔的精细相融。静穆之中暗生机趣，尽显宋人雅致含蓄的审美意趣，把林泉幽致的东方意境凝于尺幅绢面之上。",[88,128,23,24,25,45,46,1892,1893,7,113,1894,1272],"缂丝","雉鸟","兰草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F712ba41c929197839da6fa18ad2039c4.jpg","緙絲","71.8厘米",[],{"id":1900,"slug":1901,"title":1902,"dynasty":173,"author":1903,"museum":85,"description":1904,"tags":1905,"thumbUrl":1911,"material":1254,"size":1912,"collection":150,"collections":1913,"showCount":1914,"zanCount":11,"manualWeight":11,"mainColor":411},236134,"li-chao-xian-hou-gu-shi-tu-jiao-bing-zhen-236134","历朝贤后故事图","焦秉贞","历史故事是清代宫廷绘画中的重要题材之一。此套图册题材取自历代有良好德行的皇后、太后的故事，人物包括西周文王之母太任、西周武王之母太姒、东汉明帝明德马皇后、东汉和帝和熹邓皇后、北宋仁宗慈圣曹皇后、北宋英宗宣仁高皇后、明仁宗诚孝张皇后。她们在身为皇后或太后期间，有的勤俭仁厚、贤淑孝顺，有的不问政事、不佞外戚。画家绘此画册就是借她们的懿德来宣传封建的伦理纲常，给宫廷里的妃嫔们树立行为楷模。在12开的册页中，所绘仕女形象柔弱，设色浓艳，富有装饰性。图上建筑物的绘制采用欧洲焦点透视的方法，有别于中国的传统界画。每开对题是由梁诗正书写的弘历在皇子时期所作的诗句，记录了这些皇后、太后的事迹和对她们的评价。",[23,45,44,280,67,144,316,68,1051,505,7,164,146,1906,1907,111,1908,1909,1910,69,1741],"衣饰","路径","旗帜","古代服饰","庭院景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20536eaae71a5f285010637b4ffe3142.jpg","纵30.8厘米，横37.4厘米",[],15,{"id":1916,"slug":1917,"title":1918,"dynasty":1880,"author":500,"museum":214,"description":1919,"tags":1920,"thumbUrl":1923,"material":562,"size":563,"collection":150,"collections":1924,"showCount":1914,"zanCount":11,"manualWeight":11,"mainColor":372},225313,"fu-shi-hui-48-yi-ming-225313","浮世绘48","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。",[1921,1922,45,44,67,144,162,93,7,111,69,255,531],"浮世绘","漆器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac7ff525e9b9ad13515af96fc67cf3c4.jpg",[],{"id":1926,"slug":1927,"title":1928,"dynasty":18,"author":1004,"museum":175,"description":1929,"tags":1930,"thumbUrl":1931,"material":52,"size":1932,"collection":150,"collections":1933,"showCount":1914,"zanCount":11,"manualWeight":11,"mainColor":36},220221,"hua-niao-cao-chong-xie-sheng-ce-qing-fang-jie-zhu-chen-hong-shou-220221","花鸟草虫写生册-清芳结竹","陈洪绶的绘画，尤其是他以之驰誉艺坛的双勾设色花鸟画，其特点有三，一是造型的古拙，二是色彩的古艳，三是线条的寓迟涩于劲挺，既厚重且圆润。",[88,23,45,44,280,27,49,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dca212e0ed76b4f905925e1f541a884.jpg","21.5×16cm",[],{"id":1935,"slug":1936,"title":1937,"dynasty":173,"author":1819,"museum":85,"description":1938,"tags":1939,"thumbUrl":1940,"material":150,"size":150,"collection":150,"collections":1941,"showCount":1942,"zanCount":11,"manualWeight":11,"mainColor":36},234820,"qing-chu-liu-da-jia-ji-ce-shan-shui-ce-ye-wu-li-234820","清初六大家集册-山水册页","吴历（1632年—1718年），清代著名画家。本名启历，号渔山、桃溪居士。因所居有言子墨井，又号墨井道人。江苏常熟人。为“清初六家”之一。幼学画，稍长学琴。早年多与西人牧师、神父往来。1681年，吴历决意随柏应理神父赴罗马觐见教皇，原欲经澳门乘荷兰船赴欧洲，已至澳门，却未能成行，遂留居澳门约5个多月。1682年在澳门加入耶稣会，受洗名为西满·沙勿略，并遵习俗取葡式名雅古纳。常居圣保禄教堂，吟诗作画，有《渔山袖珍册》《白传湓江图卷》《秋山红叶图》等作品面世。此时他的绘画，明显有吸收西方绘画艺术之处。同时还著有《三巴集》，“三巴”即以其居地澳门圣保禄教堂之译音为名，其《澳门杂咏》30首，均与澳门有关，实为早期澳门重要的文学史料。1682年离澳，在江浙一带传教。卒于上海。",[23,26,65,280,66,639,232,7,69,1419,475],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F372024be031a85f24ba524143d396600.jpg",[],14,{"id":1944,"slug":1945,"title":1946,"dynasty":173,"author":1730,"museum":214,"description":1947,"tags":1948,"thumbUrl":1950,"material":150,"size":150,"collection":150,"collections":1951,"showCount":1942,"zanCount":11,"manualWeight":11,"mainColor":36},234547,"fang-ni-yuan-zhen-shi-yi-tu-zhou-cha-shi-biao-234547","仿倪元镇诗意图轴","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。\n查士标专事书画，家藏甚富，鼎彝及宋、元真迹皆有，遂精鉴赏。\n他的山水画，笔墨疏简，风神嫩散，气韵荒寒，晚年画风突变，直窥元人之奥。\n有《云山图》、《空山结屋图》、《秋林远岫图》、《云山烟树图》等传世。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。 著有《种书堂遗稿》等。",[23,24,25,26,65,66,92,7,69,476,199,1949,242],"近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02a9a3da242b3c3d9e8b2c2e4295b165.jpg",[],{"id":1953,"slug":1954,"title":1955,"dynasty":173,"author":302,"museum":214,"description":1956,"tags":1957,"thumbUrl":1958,"material":1959,"size":1960,"collection":150,"collections":1961,"showCount":1942,"zanCount":11,"manualWeight":11,"mainColor":36},233688,"yuan-ji-lan-zhu-ce-xue-zhong-mei-zhu-shi-tao-233688","原济兰竹册－雪中梅竹","石涛的花鸟、兰竹，不拘成法，自抒胸臆，笔墨爽利峻迈，淋漓清润，极富个性。石涛还讲求气势。他笔情恣肆，淋漓洒脱，不拘小处瑕疵，作品具有一种豪放郁勃的气势，以奔放之势见胜。郑板桥在《板桥题画》中云：“石涛善画，盖有万种，兰竹其余事也。”可见他对石涛的兰竹之作评级最高。此石涛《兰竹册》为故宫馆藏精品，计十八开，以兰为主，配以竹、石、梅等。",[23,24,280,26,178,268,1026,7,1894],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13d98440534b36c7c573bc21674f6b05.jpg","纸本，墨笔","纵43.2cm，横30.2cm",[],{"id":1963,"slug":1964,"title":1965,"dynasty":1880,"author":1966,"museum":214,"description":1967,"tags":1968,"thumbUrl":1973,"material":562,"size":563,"collection":150,"collections":1974,"showCount":1942,"zanCount":11,"manualWeight":11,"mainColor":36},231807,"ming-qing-ri-ben-gu-hua-fen-ben-zhuo-yao-juan-he-guo-xiao-zhai-231807","明清日本古画粉本-捉妖卷","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」。",[88,1969,45,109,67,7,420,1970,1971,1972],"古画","民居","猫","粉本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b5900c3a3fda86d8ad4b7a8c7ca938.jpg",[],{"id":1976,"slug":1977,"title":1978,"dynasty":189,"author":500,"museum":214,"description":1979,"tags":1980,"thumbUrl":1982,"material":150,"size":150,"collection":150,"collections":1983,"showCount":1942,"zanCount":11,"manualWeight":11,"mainColor":36},223618,"hong-mei-kong-que-tu-yi-ming-223618","红梅孔雀图","《宋人画红梅孔雀图》是宋代佚名画家创作的花鸟绘画。\n中国古代以 为题材的绘画不多见。\n此图绘溪边春色，以近远景搭配，表现出自然界的勃勃生机。\n正中一树梅花盛开，两侧辅以山茶、古柏、翠竹、迎春。\n孔雀一对，雄者栖于树干，回首梳翎；雌者倘佯岸边，低头觅食。\n其毛羽斑斓，与花树汇成一片绚烂春光。\n此图难能之处在于布局繁密但杂而不乱；设色富丽但艳而不俗。\n梅、柏枝干用焦墨勾皴，苍劲古朴，与周围花卉禽鸟的纤细娇美恰成互补。\n作者当是擅长状写升平景象的画院高手。\n本幅无款识。\n钤鉴藏印“真赏”、“都尉耿信公书画之章”、“公”、“信公珍赏”、“丹诚”、“宜尔子孙”、“珍秘”、“会侯珍藏”、“庞莱臣珍藏宋元真迹”。\n裱边钤鉴藏印“信公监定珍藏”。\n本幅右侧题“ ”细款，但细察周围有挖痕，应系从别处移来。\n对幅有耿昭忠题记：“此图花木禽鸟极其精工。\n《画髓》评云：‘远欲其子得誉，多于己画题作马麟。\n’夫岂其然？千山信公。\n”钤“虚斋珍赏”及耿氏藏印5方。\n存《名笔集胜》册中。\n《虚斋名画录》著录。",[88,23,128,44,45,1981,1157,68,7,232,69,1419,1050],"红梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5efe163d7bf4a53fe85c48eba2f57af.jpg",[],{"id":1985,"slug":1986,"title":1987,"dynasty":173,"author":1446,"museum":85,"description":1988,"tags":1989,"thumbUrl":1990,"material":452,"size":1991,"collection":150,"collections":1992,"showCount":1942,"zanCount":11,"manualWeight":11,"mainColor":36},223228,"yue-ye-shan-ji-tu-ren-yi-223228","月夜山鸡图","本幅款识：“墨君仁兄有道之属伯年写于鸿城庽斋。”钤“颐印”白方印。收藏印钤“虞山张青莲博士鉴藏”。\n任颐的花鸟画多有兼工带写、明丽活泼的特点。画中巨石用淡墨勾写，以赭色随意勾描石上的丛草，竹子采用工写结合的方法，山鸡则以短粗的线条细细地绘出其皮毛的质感，又以浓淡设彩的变化呈现其体积感，使山鸡神情毕肖。全图用笔奔放灵活，设色淡雅清新，构图平中求奇，静中寓动。\n1998年，由北京大学张青莲教授转让，故宫博物院购藏。",[88,23,24,25,45,46,1352,7,113,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08f8caca1ede984a66f9290ea96cb503.jpg","纵111.2cm，横55.4cm",[],{"id":1994,"slug":1995,"title":1996,"dynasty":173,"author":1044,"museum":106,"description":1045,"tags":1997,"thumbUrl":2000,"material":932,"size":1053,"collection":150,"collections":2001,"showCount":1942,"zanCount":11,"manualWeight":11,"mainColor":78},222977,"hong-lou-meng-102-sun-wen-222977","红楼梦102",[88,44,45,143,67,162,164,292,7,111,144,1998,1147,1999,255,1741],"古典园林","室内场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f29d4f96bae2ac203a1e271aaabb89e.jpg",[],{"id":2003,"slug":2004,"title":2005,"dynasty":173,"author":2006,"museum":226,"description":2007,"tags":2008,"thumbUrl":2010,"material":150,"size":150,"collection":32,"collections":2011,"showCount":1942,"zanCount":11,"manualWeight":11,"mainColor":2012},202154,"ying-wu-tu-zhou-hua-nie-202154","鹦鹉图轴","华喦","画面中，鹦鹉翠羽红喙，栖息于虬枝之上，姿态悠然。枝干以淡墨勾勒，辅以浓淡晕染，尽显苍劲之态；旁侧竹影疏斜，石色淡蓝与墨痕交融，添得几分清逸。花鸟相映，笔墨灵动间，既见工笔之细腻，又含写意之洒脱，生机盎然中透着雅致。整体画风清新自然，形神兼备，将禽鸟之态与草木之韵巧妙融合，尽显文人画之韵味。",[23,46,45,44,178,7,2009,113,25,88],"鹦鹉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb329055352f47748cacf865a8e7e3dad.jpg",[32],"bfa884",{"id":2014,"slug":2015,"title":2016,"dynasty":173,"author":2017,"museum":85,"description":2018,"tags":2019,"thumbUrl":2020,"material":96,"size":2021,"collection":118,"collections":2022,"showCount":2023,"zanCount":77,"manualWeight":11,"mainColor":36},238976,"shan-shui-ce-ming-xie-ci-ce-wang-chen-238976","山水册－命写此册","王宸","在册的画幅都比较小，从作者题语也可知道，很大程度上不是为明确目标而作，只是闲暇时自己借之寓意寄兴，因此画面气氛淡雅怡然。",[23,24,280,26,66,242,7,113,91,27,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac40e1e9fa3bbd3ca158697b4f33e39a.jpg","纵21厘米，横28.2厘米",[118],13,{"id":2025,"slug":2026,"title":2027,"dynasty":173,"author":1125,"museum":214,"description":2028,"tags":2029,"thumbUrl":2031,"material":150,"size":150,"collection":150,"collections":2032,"showCount":2023,"zanCount":11,"manualWeight":11,"mainColor":36},230851,"lu-cun-gao-yi-tu-wang-hui-230851","麓村高逸图","画面以平远之法铺展幽居盛景，近处方林下，高士安坐，侍童静立旁侧，溪桥丹顶鹤独立顾盼。芭蕉修竹环合掩映，屋舍隐于烟林，远景以淡墨晕染，水雾空濛，将江南丘壑的温润清寂尽数铺陈。\n画作兼工带写，设色浅雅柔润，笔致秀逸灵和，把林下高逸散淡的襟怀融在咫尺山水间，环周题跋与画意呼应，书画合璧，尽显文人雅流出世的襟抱，悠悠林下风致扑面而来。",[88,23,45,66,67,7,292,2030,111,94,69,173,109,44,26,46],"鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfb7e72fa79915f2446b59af3c56c8c6.jpg",[],{"id":2034,"slug":2035,"title":2036,"dynasty":173,"author":338,"museum":214,"description":2037,"tags":2038,"thumbUrl":2040,"material":150,"size":150,"collection":150,"collections":2041,"showCount":2023,"zanCount":11,"manualWeight":11,"mainColor":36},224192,"ge-shui-yin-chuang-tu-zhou-hua-yan-224192","隔水吟窗图轴","《馆藏精品选（上海博物馆4共张）\u002F东方画谱》是218年文物出版社出版的图书，作者是（元）张中，[清] 高岑，华喦。\n本书共收录了部画作，包括：《隔水吟窗图轴》《芙蓉鸳鸯图》《江山无尽图》。\n《隔水吟窗图轴》采用平远构图法，画法运用没骨法，描绘了秀美的江南山水景色。\n远山用云海烘托，宽广的江面用留白法来衬托。\n近景树木高挺，枝繁叶茂。\n江岸上有茅屋几间，隐逸者于舍内休憩，观赏院中的丹顶鹤，此情此景，给人心旷神怡如入仙境之美感。\n《芙蓉鸳鸯图》描绘了鸳鸯戏水的情景。\n画中溪水缓缓而流，一对鸳鸯在清波中嬉游。\n雄鸟低头弄波，雌鸟仰头鸣叫。\n岸边野花丛生，与水草交错其间，石旁长着一棵枝繁叶茂、花开争艳的芙蓉树，整幅画面显得唯美秀雅。\n张中用笔细致圆柔，以淡墨勾出芙蓉花瓣，再稍作晕染，用笔简括，显得活灵活现，生动清艳。\n再用浓墨描绘芙蓉叶之向背，有没骨之韵，叶脉清晰可见。\n山石略以苔点修饰，具有唐代画风。\n《江山无尽图》兼用多种构图法绘制而成，有马远“一角式”构图法和郭熙的“三远法”构图法。\n描绘了江南山清水秀、风和日丽的美景。\n画面群山连绵，树木繁茂，百草复苏，一派春意盎然之景象。\n高山流水、水村人家、茅屋楼阁、渔舟泛江，所有景致，无不生动。\n设色淡雅，用笔圆润，无尽之江山景色，尽收眼底。\n《隔水吟窗图轴》 《芙蓉鸳鸯图》 《江山无尽图》 华喦（1682—1756），一作华岩，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、白沙道人、离垢居士等。",[88,23,24,25,45,44,66,111,110,112,94,639,674,2039,68,7],"山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F249d982ffce7384142d527b785ca8c69.jpg",[],{"id":2043,"slug":2044,"title":2045,"dynasty":18,"author":2046,"museum":214,"description":2047,"tags":2048,"thumbUrl":2050,"material":150,"size":150,"collection":150,"collections":2051,"showCount":2052,"zanCount":11,"manualWeight":11,"mainColor":36},234493,"qiu-lin-ya-zhen-shan-ye-wei-xue-lian-234493","秋林鸦阵扇页","魏学濂","魏学濂（1608年—1644年），明代官员。字子一，号内斋，一作容斋，浙江嘉善人，魏大中次子，崇祯十六年（1643年）进士，擢庶吉士，明亡后先降李自成，不久又羞愧自缢。平生擅画山水，兼工花鸟。",[23,805,26,65,111,232,69,199,7,2049],"秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe92dd15adde64d03325d8a441afab8aa.jpg",[],12,{"id":2054,"slug":2055,"title":2056,"dynasty":18,"author":2057,"museum":85,"description":2058,"tags":2059,"thumbUrl":2062,"material":1617,"size":150,"collection":150,"collections":2063,"showCount":2052,"zanCount":11,"manualWeight":11,"mainColor":36},234240,"ting-qiu-tu-juan-zhou-chen-234240","听秋图卷","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。\n中国明代中期的著名职业画家。他生活在成化至嘉靖年间。字舜卿，号东村，吴（今江苏苏州）人，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。他有两个学生特别著名，一个唐寅，另一个仇英。唐寅、仇英青出于蓝，风格上极为接近，但当时名气已超过老师。\n周臣山水师承陈暹。曾刻苦临摹李成、郭熙、李唐、马远等作品，其主要取法于李唐派系。画山石坚凝，章法严谨，用笔纯熟。曾与戴进并驱，则互有所长。人物画也非常出色，古貌奇姿，绵密萧散，各极意态。南京博物院收藏的周臣代表作《柴门送别图》 ，描绘一文人携琴访友后，主客分别时依依不舍的情景，明月早已挂在高空，船工也已在船头熟睡，直至客人快要上船了，他还未酲来，说明主客送别时间之长，友谊之深，这其中也融含周臣画体的“院体画”与“文人画”的相融之处。周臣被人们称为非院派的“院派”画家。\n周臣是个丰产画家，流传下来的作品也不少，仅上海博物馆收藏《春山游踪图》 等大幅作品7幅，小扇页14幅，故宫博物院收藏《春山游骑图》《春泉山隐图》等 ，济南博物馆收有《访友图》 ，及台湾、国外大博物馆内也收藏一些作品。周臣这些流存至今的作品件件结构精整，幅幅见功力，下笔不苟。",[88,23,24,109,26,91,2060,67,92,7,232,66,1419,2061],"草书","题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc39bceafc9a156609910412949d149.jpg",[],{"id":2065,"slug":2066,"title":2067,"dynasty":18,"author":140,"museum":85,"description":2068,"tags":2069,"thumbUrl":2073,"material":1254,"size":2074,"collection":150,"collections":2075,"showCount":2052,"zanCount":11,"manualWeight":11,"mainColor":36},233759,"ren-wu-gu-shi-ce-6-chou-ying-233759","人物故事册6","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。",[128,23,44,45,2070,67,1147,463,419,7,164,1180,2071,1752,1615,533,2072],"细描","生活场景","嬉戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8d3c7587792f36078e504187ea5124e.jpg","纵41.4厘米，横33.8厘米",[],{"id":2077,"slug":2078,"title":2079,"dynasty":18,"author":1658,"museum":214,"description":2080,"tags":2081,"thumbUrl":2083,"material":562,"size":563,"collection":150,"collections":2084,"showCount":2052,"zanCount":11,"manualWeight":11,"mainColor":36},228870,"shu-hua-he-bi-gui-qu-lai-ci-wen-zheng-ming-228870","书画合壁归去来辞","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[88,23,24,109,91,26,68,2082,7,69,828,111],"菊花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F951ce94121c71e1716a09cb31ca991f2.jpg",[],{"id":2086,"slug":2087,"title":2088,"dynasty":83,"author":500,"museum":20,"description":2089,"tags":2090,"thumbUrl":2092,"material":150,"size":2093,"collection":150,"collections":2094,"showCount":2052,"zanCount":11,"manualWeight":11,"mainColor":78},223587,"hua-si-xiao-tu-juan-yi-ming-223587","画四孝图卷","「四孝图」描绘故事四则，以图文相间的方式表达。第一则述王武子之妻割股作羹汤，治癒婆母寒疾；第二则述三国陆绩因其母好食橘，乃於进謁袁术席间，怀橘以奉母；第三则述晋王祥為母病中思食鲤鱼於冬月，而至江上卧冰求鲤；第四则述后汉曹娥之父溺毙江中不得尸灵，至娥投江，三日后方抱父尸出。是皆孝心感人之事蹟，卷末并附李居敬四孝图序，论孝之精义。通幅人物，以匀称之线条為主，细挺而有力。",[88,23,24,109,45,44,67,164,111,7,1180,1700,419,2091,1384,1839],"成人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49ea7682e123d88c66ded0f834267302.jpg","38.9x502.7",[],{"id":2096,"slug":2097,"title":2098,"dynasty":173,"author":1391,"museum":226,"description":2099,"tags":2100,"thumbUrl":2101,"material":294,"size":2102,"collection":150,"collections":2103,"showCount":2052,"zanCount":11,"manualWeight":11,"mainColor":36},214699,"shan-shui-ce-9-gao-xiang-214699","山水册-9","高翔（1688-1753年），字凤冈，号西唐，甘泉（今江苏扬州）人。擅画山水，师法弘仁、石涛，尤工画梅，笔意疏秀，为“扬州八怪”之一。",[23,24,280,26,66,69,111,7,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7f9b0f937bbabc1b507a243f8e7ec20.jpg","纵23.9 厘米，横55.4 厘米",[],{"id":2105,"slug":2106,"title":790,"dynasty":173,"author":2107,"museum":85,"description":2108,"tags":2109,"thumbUrl":2110,"material":452,"size":150,"collection":150,"collections":2111,"showCount":2112,"zanCount":11,"manualWeight":11,"mainColor":36},237186,"shan-shui-ce-sun-yi-237186","孙逸","孙逸(1604—约1658) ，字无逸，号疎林，亦号石禅，明朝末清朝初海阳（今安徽休宁）人，与萧云从齐名，合称孙萧，与弘仁、汪之瑞、查士标为新安派四大家；字仲举。",[23,24,280,26,545,65,66,68,69,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89052916a5a90b6716adab48eace64cd.jpg",[],11,{"id":2114,"slug":2115,"title":2116,"dynasty":18,"author":1658,"museum":85,"description":2117,"tags":2118,"thumbUrl":2119,"material":96,"size":2120,"collection":150,"collections":2121,"showCount":2112,"zanCount":11,"manualWeight":11,"mainColor":36},232960,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232960","文徵明山水册","根据图册末页张风翼等人的跋得知，此图册是文徴明为教授徒弟朱朗而绘制的山水画作，其中有他摹学五代董源、巨然的笔法，亦有他师法元四家黄公望、王蒙、倪瓒等人的笔墨。",[23,24,280,91,27,545,26,66,464,7,69,94,93],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee28d2c156fc7135d314b5111aca8d44.jpg","28.5×15.8厘米",[],{"id":2123,"slug":2124,"title":2125,"dynasty":1880,"author":2126,"museum":214,"description":2127,"tags":2128,"thumbUrl":2130,"material":562,"size":563,"collection":150,"collections":2131,"showCount":2112,"zanCount":11,"manualWeight":11,"mainColor":78},231586,"shi-ting-shi-dai-han-jiang-du-diao-shan-shui-tu-shou-ye-zheng-xin-231586","室町时代 寒江独钓山水图","狩野正信","狩野正信（1434～1530）是足利幕府御用画家，狩野派的始祖。这一派的“大和化”中国画风曾统治日本画坛三百余年。他曾受画僧天章、周文（日本水墨画画风的代表）的影响，但其水墨山水不是以笔墨表现禅意，而是轮廓清晰，这正是发挥了日本艺术固有的纤细风格。",[88,23,45,66,639,1710,2129,25,65,7],"渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac31b21b8cc2a0b86321841e63b6c93.jpg",[],{"id":2133,"slug":2134,"title":2135,"dynasty":18,"author":2136,"museum":214,"description":2137,"tags":2138,"thumbUrl":2140,"material":150,"size":150,"collection":150,"collections":2141,"showCount":2112,"zanCount":11,"manualWeight":11,"mainColor":78},230937,"tai-ping-chun-se-tu-qian-gong-230937","太平春色图","钱贡","整作以全景铺展春日闲趣，内室围炉宴坐，亲友言笑晏晏，暖炉烘出一室融融温情。墙外稚童嬉闹，野趣横生，下方溪桥之上，白衣文士凭栏观水，童子侍立，尽得林泉悠然。\n\n画家以淡墨写出寒枝虬曲，暗透春芽将萌的生机，设色浅雅柔润，将家宅的俗世温情与郊野的清逸春景相融，笔意秀润温婉，把太平年岁里的日常烟火晕染成诗意图景，将春日里松弛安宁的人间盛景娓娓铺陈，尽显安宁祥和的春日意趣。",[23,24,25,44,45,67,162,112,464,69,419,164,2139,685,66,7],"墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F728d5ea1461c81e8a8a5e563662d2e9a.jpg",[],{"id":2143,"slug":2144,"title":2145,"dynasty":18,"author":837,"museum":2146,"description":2147,"tags":2148,"thumbUrl":2152,"material":96,"size":2153,"collection":74,"collections":2154,"showCount":2112,"zanCount":11,"manualWeight":11,"mainColor":78},222382,"yi-shou-zun-zhe-xiang-ding-yun-peng-222382","益寿尊者像","天津博物馆","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。”",[88,23,24,128,25,545,44,26,67,544,68,7,50,1274,462,2149,2150,2151],"尊者","念珠","长袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae92872a9b1d7917f96a1cd18188de0.jpg","52.8x117.8",[74,99],{"id":2156,"slug":2157,"title":2158,"dynasty":173,"author":2159,"museum":175,"description":2160,"tags":2161,"thumbUrl":2162,"material":2163,"size":150,"collection":150,"collections":2164,"showCount":2112,"zanCount":77,"manualWeight":11,"mainColor":36},214516,"shui-mo-tu-ce-2-zheng-min-214516","水墨图册-2","郑旼","郑旼是清代著名的画家，他的水墨图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了郑旼对自然的热爱和对传统文化的尊重。他运用了水墨画的特点，使得整件作品显得舒缓而优美。\n\n郑旼是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在水墨图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，郑旼的水墨图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了郑旼对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到郑旼的画风魅力，还能了解中国传统的山水风情。",[23,89,91,28,280,545,66,7,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda00fb8a2e81121bc53bec8dd40609c3.jpg","水墨,纸本",[],{"id":2166,"slug":2167,"title":2168,"dynasty":173,"author":2169,"museum":85,"description":2170,"tags":2171,"thumbUrl":2172,"material":150,"size":150,"collection":150,"collections":2173,"showCount":2174,"zanCount":11,"manualWeight":11,"mainColor":78},239151,"ku-mu-shuang-ma-zhou-zhang-mu-239151","枯木双马轴","张穆","此作用笔苍劲老辣，古木虬曲皲裂，枯桠斜出，尽现岁月摧折的荒寒之态。下方双马相映成趣，卧马抬首亲昵蹭触，立马垂首呼应，神态温驯灵动。以水墨晕染出骏马皮毛蓬松的质感，将其膘肥体健描摹入微，写实功力尽显。\n\n画面搭配残墙疏竹与坡石点缀，烘托出萧寂清冷的幽澹意境，将鞍马写生的传神意趣与枯木山水的荒疏雅致相融，尽显静谧空寂的氛围感，是兼具笔墨意趣与写生功力的精妙之作。",[128,23,24,25,26,65,391,609,316,7,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49598c324ef7b67fd933a8197f8fbf65.jpg",[],10,{"id":2176,"slug":2177,"title":2178,"dynasty":173,"author":1360,"museum":214,"description":2179,"tags":2180,"thumbUrl":2182,"material":150,"size":150,"collection":150,"collections":2183,"showCount":2174,"zanCount":11,"manualWeight":11,"mainColor":78},238214,"duan-yang-gu-shi-ce-zhi-guo-jiao-shu-xu-yang-238214","端阳故事册之裹角黍","此作工致清雅，将端午日常晕染在庭院一隅。翠木荫蔽着素朴屋舍，案边女子巧手翻飞，捋叶填米缠缚成粽；阶旁妇孺相顾指点，柔婉情态漫着天伦暖意。石畔两人正将艾草浸在水盆中，清浅水汽晕开端午的宁和意趣。\n\n全画笔致细腻敷色温润，未作浓艳铺陈，只以浅淡色调勾勒出江南宅院里的端阳烟火，将岁时节庆的融融意趣，藏在仕女孩童的娴静情态中，把寻常家宅里的端午闲常，定格成隽永清雅的诗意图景。",[128,23,24,280,45,44,67,164,110,111,7,198,2181],"篮子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8e7642d113ba861090065d47eafea3a.jpg",[],{"id":2185,"slug":2186,"title":2187,"dynasty":18,"author":2188,"museum":214,"description":2189,"tags":2190,"thumbUrl":2193,"material":150,"size":150,"collection":150,"collections":2194,"showCount":2174,"zanCount":11,"manualWeight":11,"mainColor":36},235556,"xian-ren-cun-wu-tu-zhou-yang-wen-cong-235556","仙人村坞图轴","杨文骢","《杨文骢仙人村坞图轴》是明代的图轴。\n图绘深山幽居之景，危峰断崖，坡岸嘉木，江边亭轩，水泊空旷，远渚几处，高士面江而坐，若有所思。\n此作主要用干笔淡墨，山石轮廓以清劲之笔勾轮廓，树石主体以干笔多次皴擦，奠定了全幅清逸幽远的基调。\n右上的题诗与本幅的“L”形构图呼应，秀逸的书法与画作巧妙地融为一体。\n此作意境超尘绝俗，笔墨隽秀高雅，无怪乎董其昌评其山水曰：“有宋人之骨力去其结，有元人之风雅去其佻。\n” 作者自识：“仙人村坞锦为屏，鸡犬云中户自扃。\n烟火红尘俱不恙，长斋绣佛礼黄庭。\n壬午春仲画于瓯江之轻顺阁中。\n杨文骢。\n”钤“杨文骢印”朱文印、“龙友”朱文印。\n另有“希逸”白文等鉴藏印4方。",[23,24,25,26,65,66,111,319,2191,584,199,2192,7,1907],"洞穴","近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cdf7dbe1e608a56e3d63f8d477849a.jpg",[],{"id":2196,"slug":2197,"title":2198,"dynasty":18,"author":2046,"museum":214,"description":2047,"tags":2199,"thumbUrl":2200,"material":150,"size":150,"collection":150,"collections":2201,"showCount":2174,"zanCount":11,"manualWeight":11,"mainColor":36},234492,"hua-niao-shan-ye-wei-xue-lian-234492","花鸟扇页",[1156,805,23,24,45,44,46,47,7,873,1640],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c6bd18f9544bbe768327b77926cd6db.jpg",[],{"id":2203,"slug":2204,"title":2205,"dynasty":173,"author":416,"museum":85,"description":2206,"tags":2207,"thumbUrl":2209,"material":452,"size":2210,"collection":150,"collections":2211,"showCount":2174,"zanCount":11,"manualWeight":11,"mainColor":36},233444,"ren-wu-shan-shui-ce-luo-pin-233444","人物山水册","中国清代画家罗聘传世代表作。罗聘(1733～1799)，字遯夫，号两峰，又号花之寺僧，安徽歙县人。善画人物、佛像、花卉、山水。此图纸本，设色，纵24.2厘米，横30.7厘米。计12开：\n春柳行舟。一人站立船头。自书七言诗，并题:“冬心先生句并摹其用笔”。钤“两”“峰”印。\n春景山水。桃花盛开，一人站立桥头。自书七言诗，钤“罗聘私印”印。\n夜景山水。一人曳杖于池上行走。自书七言诗。钤“两”“峰”印。\n绿柳红桥。一人策杖立于树下。自书七言诗，钤“两”“峰”印。\n月波吹笛。自书冬心先生自度曲意。钤“遯夫”印。\n芦萍画舫。自题七言诗。印“罗两峰”印。土台流泉。二人松窗弈棋。自书七言诗。钤“遯夫”印。\n婡洎竹頭樤林僧人领鹤。自书七言诗。钤“遯夫”印。\n荷塘柳亭。自书冬心先生自度曲。钤“罗聘私印”。\n秋风落叶。一人独立空亭。自书七言诗。钤“罗聘私印”。\n晚风归舟。墨笔画。自书七言诗，钤“罗聘私印”。\n闭门赏梅。自书七言诗。款“广陵罗聘”,钤“两”“峰”印。\n无年款，似罗聘中年用心之作。\n后幅勒方锜题记。现藏故宫博物院。",[23,26,280,66,67,92,129,2208,7],"篱笆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F309f20246632383db65250f12e281fba.jpg","纵24.2厘米，横30.7厘米",[],{"id":2213,"slug":2214,"title":2215,"dynasty":18,"author":61,"museum":85,"description":2216,"tags":2217,"thumbUrl":2220,"material":1408,"size":2221,"collection":150,"collections":2222,"showCount":2174,"zanCount":11,"manualWeight":11,"mainColor":36},233136,"ming-ren-xi-shan-sheng-jing-he-bi-ce-cha-mo-yu-tu-ye-shen-zhou-233136","明人西山胜景合壁册-茶磨屿图页","此册又名《明人西山胜景书画合璧册》（见《故宫博物馆藏文物珍品大系：吴门绘画》），著录于《墨缘汇观》，合题跋共计十四页，依次为：刘钰《踞湖山图》、沈周《茶磨屿图》、《新郭图》（对页陈淳题诗一首）、唐寅《越来溪图》、《行春桥图》、《饶稼桥图》（对页自题诗一首）、文徵明《横塘图》、《石湖图》（对页自题诗一首）和陈淳《桃花坞图》、《紫薇村图》，后页徐朗白题。\n颇为吊诡的是这套册页似乎从未完整发表过，就目前所见，《中国古代书画目录》是分开著录，其中刘钰一页、唐寅《饶稼桥图》以及四页题诗都未著录，而《中国古代书画图目》则只选印了沈周和陈淳的四页。《文徵明精品集》发表了两画及一页题诗，《唐寅绘画集》也只发表了《越来溪图》、《行春桥图》两页，《故宫博物馆藏文物珍品大系：吴门绘画》刊印了沈周、文徵明、唐寅各两页，陈淳《桃花坞图》一页，略去了四页题跋。刘钰《踞湖山图》、唐寅《饶稼桥图》及另外三页题跋始终未见，其中或有伪作吧（文徵明的两页画曾于去年苏博特展展出，未见图录，不知是否有完整发表）。但学术乃天下之公器，国内许多博物馆的出版态度素来可恶，很多作品在各类出版物中情况不一，往往“有头无尾”，以致研究一件作品需“东拼西凑”。\n吴门诸家歌咏、描绘吴中名胜之风颇盛，与平日游踪所及和地域意识渐起有关，留存于世的风景名胜图极多，甚至祝寿、官员离任，也以吴中风景图册为赠。值得注意的是，此册中沈周、文徵明、唐寅、陈淳的作品都是早年笔，集三代才人妙墨，想来这套作品的收藏者花了不少心思。末页崇祯五年徐朗白题云：“我朝画法变宋化元，正嘉间吴中诸先进一时杰出、擅采争奇，直使静庵而下皆瞠乎其后矣，此十册俱西山胜景，首为完庵次石田次六如衡山白阳，景虽未尽，人已才难，不特片羽之吉光抑且狐裘之集腋也。什袭见珍，援毫见重。”并题一歌，语涉浮夸无足取。",[23,24,280,26,45,66,65,111,69,2218,2219,68,7],"湖泊","河岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed5e89c71c28c71d0d4496c16cab2c35.jpg","纵22.8cm，横33.2cm",[],{"id":2224,"slug":2225,"title":2226,"dynasty":173,"author":2227,"museum":214,"description":2228,"tags":2229,"thumbUrl":2232,"material":150,"size":150,"collection":150,"collections":2233,"showCount":2174,"zanCount":11,"manualWeight":11,"mainColor":36},230149,"jiu-ri-xing-an-wen-yan-tu-ye-fang-lin-230149","九日行庵文宴图","叶芳林","这幅雅集图里，茂林修竹、丹木青柯错落铺展，园林雅致悠然。文士或围坐展卷品评，或挥毫泼墨，松下石边二三知己清谈对坐，侍童随侧研墨奉茶，众人情态各别、意态从容。\n\n设色清润秀雅，淡晕花青赭石晕染花木，衣纹线条简净流畅，将文人士大夫秋日宴聚、诗酒流连的闲逸高情细腻铺陈，把文宴间的闲散风雅尽数描摹，尽显旧时文人雅集的悠然意趣。",[88,23,24,128,109,45,44,67,111,7,1689,2230,2231,840,463],"桌","椅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0249e53ec64a91f819c2127887290d53.jpg",[],{"id":2235,"slug":2236,"title":2237,"dynasty":173,"author":1125,"museum":214,"description":2238,"tags":2239,"thumbUrl":2241,"material":150,"size":150,"collection":150,"collections":2242,"showCount":2174,"zanCount":11,"manualWeight":11,"mainColor":36},224473,"qing-wang-yun-wang-hui-he-bi-zhou-wang-hui-224473","清王云王翚合璧轴","此作用笔兼工带写，老桃枯干苍劲古拙，枝头桃花轻红柔丽，灼灼盛放，与叶芽新绿相映，晕染出春日融融生机。下方水畔鸳鸯伫立，翎毛晕染细腻，羽色明丽温润，情态安闲静雅。\n书画合璧，题字清隽秀雅，诗画呼应，将春日的恬和野趣晕透纸面，设色妍而不艳，既有院体花鸟的精工雅致，又饱含文人画的澹泊意趣，静穆中藏着蓬勃春机，尽显清和雅致的林下春光。",[88,23,24,25,45,44,46,281,7,2240,113,27],"鸳鸯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c4efb57d002aeb7ed5287d3e5fa93fa.jpg",[],{"id":2244,"slug":2245,"title":2246,"dynasty":189,"author":500,"museum":214,"description":2247,"tags":2248,"thumbUrl":2250,"material":150,"size":150,"collection":150,"collections":2251,"showCount":2174,"zanCount":11,"manualWeight":11,"mainColor":411},223633,"lian-she-tu-shou-juan-quan-juan-yi-ming-223633","莲社图手卷全卷","此作以淡墨白描铺展雅集盛景，开篇台阁之上，高士凭栏凝睇林泉，随后次第铺陈林下雅聚：沙门与文人或围坐清谈，或横琴拨弦，或展卷品题，动静相生。茂林修竹、幽泉奇石错落点缀，线条圆劲秀逸，设色浅淡古雅，尽显宋画谨严清雅的笔意风神。\n\n留白疏密得宜，将林下高致晕染开来，长卷题跋与画作相映成趣，诗画合璧，把魏晋文人的超迈风雅具象呈现，古意盎然，尽显对前代名流雅事的精妙追摹。",[88,23,24,109,545,26,65,544,67,66,7,68,319,318,2249,112,94,609,232,27,28],"亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eca59a9af4ab78ae9bd2f9989a1e28c.jpg",[],{"id":2253,"slug":2254,"title":2255,"dynasty":173,"author":500,"museum":20,"description":2256,"tags":2257,"thumbUrl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x35厘米",[],{"id":2263,"slug":2264,"title":2265,"dynasty":18,"author":1540,"museum":20,"description":2266,"tags":2267,"thumbUrl":2268,"material":150,"size":2269,"collection":150,"collections":2270,"showCount":2174,"zanCount":11,"manualWeight":11,"mainColor":36},222219,"dou-ji-zhu-lang-222219","斗鸡","朱朗[明]字子朗，号青（一作清）溪，苏州（今江苏苏州）人。\n师文征明称入室。今文笔毕肖，凡有所作多托征明名，故世知之者少。有客遣童子将币于朗求征明赝本，童子误送文宅，致主人意。征明笑而受之，曰：“我画真征仲卿当假子朗可乎？”一时传以为笑。朗多作青绿山水，峰岫皴法不清，树无摇动之势，板刻之病恐不免耳。《画史会要》、《苏州府志》、《吴县志》、《无声诗史》、《明画录》、《珊瑚网》",[88,23,24,805,26,46,718,7,50,27,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bbb2831a3ef1bdfad4dd42c78422ec8.jpg","33x56.7厘米",[],{"id":2272,"slug":2273,"title":2274,"dynasty":189,"author":500,"museum":214,"description":2275,"tags":2276,"thumbUrl":2281,"material":562,"size":563,"collection":2282,"collections":2283,"showCount":2284,"zanCount":11,"manualWeight":11,"mainColor":78},256699,"ci-zhou-yao-bai-di-hei-hua-ren-wu-wen-zhen-yi-ming-256699","磁州窑白地黑花人物纹枕","磁州窑是中国传统制瓷工艺的珍品，中国古代北方最大的民窑体系，也是著名的民间瓷窑，有“南有景德，北有彭城”之说。磁州窑创烧于北宋中期，并达到鼎盛，南宋、元明清仍有延续。窑址在今河北省邯郸市峰峰矿区的彭城镇和磁县的观台镇一带，磁县宋代叫磁州，故名。\n磁州窑的匠师们吸收了传统的水墨画和书法艺术的技法，创造了具有水墨画风的白底黑绘装饰艺术，开启了中国瓷器彩绘装饰的先河。\n磁州窑品种诸多，以白地黑花（铁锈花）、刻划花、窑变黑釉最为著名。它的装饰技法突破了当时流行的五大名（官）窑（汝、官、钧、哥、定）的单色釉局限，运用了数十种丰富多彩的装饰技法。1998年3月，元代的磁州窑黑釉剔花玉壶春瓶从英国追回。",[2277,2278,1854,2279,2280,67,7,232],"磁州窑","白地黑花","民间工艺","黑彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F718db865aa4f1a60650713315c309fa8.jpg","瓷器精选",[2282],9,{"id":2286,"slug":2287,"title":1871,"dynasty":173,"author":302,"museum":214,"description":2288,"tags":2289,"thumbUrl":2290,"material":562,"size":563,"collection":150,"collections":2291,"showCount":2284,"zanCount":11,"manualWeight":11,"mainColor":36},235518,"yuan-ji-shan-shui-tu-ce-shi-tao-235518","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[23,24,26,280,65,66,7,232,93,94,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f0cd6d5b1ed5c33a810caed58cc099c.jpg",[],{"id":2293,"slug":2294,"title":2295,"dynasty":173,"author":2296,"museum":214,"description":2297,"tags":2298,"thumbUrl":2300,"material":150,"size":150,"collection":150,"collections":2301,"showCount":2284,"zanCount":11,"manualWeight":11,"mainColor":78},231045,"shen-zhu-you-ju-tu-cheng-sui-231045","深竹幽居图","程邃","以渴笔焦墨写就全篇，山峦以短皴密点层叠铺展，带着金石篆刻般的苍茫朴拙质感，苍郁厚重间尽显山野沉浑气象。\n\n溪湾错落，板桥连通山居，幽篁掩映着矮屋茅舍，暗涌村居烟火暖意。水面扁舟随波轻漾，滩头幽人独立凭眺，将林泉高致与乡野闲趣揉为一体。\n\n全作未施丹青，仅以枯涩墨色分出远近层次，简淡萧疏间烘托出荒寒静谧的幽居氛围，把文人遁世丘园的雅逸襟怀，藏在每一处皴擦点染之中。",[88,23,26,65,25,66,7,110,112,94,639,69,111,71,2299],"渴墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04295a7113b02787af3ec000e8944c9e.jpg",[],{"id":2303,"slug":2304,"title":2305,"dynasty":18,"author":2306,"museum":226,"description":2307,"tags":2308,"thumbUrl":2312,"material":96,"size":2313,"collection":150,"collections":2314,"showCount":2284,"zanCount":11,"manualWeight":11,"mainColor":36},221929,"za-hua-ce-guo-xu-221929","杂画册","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。\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。",[88,128,23,24,280,26,545,178,67,7,113,2309,2181,2310,2311,1179,463,27],"椅子","笔","砚台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7423d7c114d37fd72b377fa1ddb06057.jpg","纵28.5 厘米横46.5 厘米",[],{"id":2316,"slug":2317,"title":2318,"dynasty":18,"author":140,"museum":226,"description":2319,"tags":2320,"thumbUrl":2321,"material":52,"size":2322,"collection":150,"collections":2323,"showCount":2284,"zanCount":11,"manualWeight":11,"mainColor":78},219768,"lin-song-ren-hua-ce-11-chou-ying-219768","临宋人画册-11","《临宋人画册》凡十五开，题材涉及了山水画、花鸟画、仕女图、文人画、界画、鞍马等，乃为仇英临摹宋人的集成之作，画风皆为典型的南宋院体风格，而其中数开现在尚可找到宋画原作，两相对照，确实可见仇英落笔乱真的妙技；又如其中《滕王阁》之类的扎实界画工夫，在文人画逸笔草草的时代，早已难得一见。",[23,24,805,1128,45,44,67,93,111,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc468dfb839584e25cdb34a8e1326213a.jpg","27.2x25.5厘米",[],{"id":2325,"slug":2326,"title":2327,"dynasty":173,"author":2328,"museum":214,"description":2329,"tags":2330,"thumbUrl":2331,"material":562,"size":563,"collection":150,"collections":2332,"showCount":2333,"zanCount":11,"manualWeight":11,"mainColor":36},239032,"fang-cha-shi-biao-shan-shui-zhou-qin-bing-wen-239032","仿查士标山水轴","秦炳文","秦炳文（一八O三至一八七三），字砚云，号谊亭，江苏无锡人。道光二十年（1840）举人，官户部主事。三上春闱，留京八载，尝一返里，挈子俱北。寄情诗酒，广交游，精鉴赏，所藏皆精品。画擅山水，初师王鉴，后宗黄公望、吴镇，臻其胜境。",[23,24,25,1128,26,65,66,113,111,319,1317,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc349e0153148851c98716702002c3df.jpg",[],8,{"id":2335,"slug":2336,"title":2337,"dynasty":173,"author":2338,"museum":214,"description":2339,"tags":2340,"thumbUrl":2342,"material":562,"size":563,"collection":150,"collections":2343,"showCount":2333,"zanCount":11,"manualWeight":11,"mainColor":36},236371,"mei-hua-shu-wu-tu-shan-ye-zhu-ben-236371","梅花书屋图扇页","朱本","[清]（1761—1819）字素人，号溉夫，自署竹西，江苏扬州人。",[23,24,805,26,66,68,7,1026,2341,255,111,69,164],"书屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1ef5ba0670559ca3dc050096d8dcb3e.jpg",[],{"id":2345,"slug":2346,"title":2347,"dynasty":173,"author":1125,"museum":214,"description":2348,"tags":2349,"thumbUrl":2350,"material":1617,"size":2351,"collection":150,"collections":2352,"showCount":2333,"zanCount":11,"manualWeight":11,"mainColor":36},234714,"fang-gu-shan-shui-ce-wang-hui-234714","仿古山水册","《仿古山水册》共计十二页，其中设色二页，水墨十页。仿董源、巨然、米芾、赵大年、赵孟頫、吴镇、倪瓒、王蒙、黄公望、管道升、曹知白、陈汝言等而作。每幅均自题七律一首，末开款署“壬寅六月王翚”，册尾有顾复初题跋。前选一图，系仿曹云西山水，写柳汀板桥、芦荻孤舟，晓风残月，雁影徘徊。笔墨疏秀，意境苍莽迷蒙。\n王翚得名家传授，又博览古人佳作和游历真山实水，画艺日臻成熟，40岁时即名闻海内。王翚出生于绘画世家，他的曾祖王伯臣、祖父王载仕、父亲王云客都是画家，幼时即得到家学熏陶，初学画于同乡画家张珂。顺治年间王鉴游虞山时，见王翚画扇，极为赏识，赞其天资超人，收为弟子。后转师王时敏，得以临摹许多历代名家真迹，镕铸造南北画派于一炉，技艺大进。尝与王时敏遍游大江南北，广识著名收藏家，观摹宋、元真迹。其摹古功力极得王时敏赞赏：“（石谷）凡唐宋诸名家无不摹仿逼肖，偶一点染展卷即古色苍然，毋论位置溪径，宛然古人，而笔墨神韵一一夺真，且仿某家，则全是某家，不杂一他笔，使非题款，虽善鉴者，不能辨。”于是他在摹古仿古的基础上，综合诸家之长，晚年画风简练苍浑，有独到的艺术风格，在“四王”中，王翚的艺术成就最为显著，门生弟子很多，以杨晋较为著名，其山水画的影响极为深广。",[23,26,65,1242,280,66,318,111,7,584,199,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49868da8cf21daec366c99bda4056446.jpg","25.6厘米，横：20.5厘米",[],{"id":2354,"slug":2355,"title":2356,"dynasty":18,"author":1372,"museum":85,"description":2357,"tags":2358,"thumbUrl":2359,"material":96,"size":150,"collection":150,"collections":2360,"showCount":2333,"zanCount":11,"manualWeight":11,"mainColor":36},234125,"gu-mu-ming-jiu-tu-juan-yao-shou-234125","古木鸣鸠图卷","姚绶（1422—1495），字公绶，号谷庵、仙痴、云东逸史，人称丹丘先生，浙江嘉兴府嘉善县大云寺人。明代官员、书画家。\n少有才名，专攻古文辞，诗赋茂畅。明天顺年间进士，官监察御史，奉命巡盐两淮，铲除积弊。因得罪权贵，谪永宁知府。以母老辞归，居大云，筑室名丹丘。又作沧江虹月舟，泛游吴越间。\n姚绶工行草书，初学宋克，后法魏晋，风格近张雨。擅画山水，宗吴镇，也取法赵孟頫、王蒙，好作沙坳水曲景色，墨色苍润；间写竹石，潇洒可爱，笔墨酷似吴镇。传世名作有《秋江渔隐图》轴（北京故宫博物院藏）、《山水图》册页（上海博物馆藏）、《竹石图》轴（辽宁省博物馆藏）。著有《谷庵集》《云东集》《天人合旨》《姚御史诗文》。",[88,23,24,109,26,91,28,27,46,895,232,7,464],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93404907185c0eca0bfabab4c0d12d59.jpg",[],{"id":2362,"slug":2363,"title":2364,"dynasty":1880,"author":500,"museum":214,"description":1919,"tags":2365,"thumbUrl":2366,"material":562,"size":563,"collection":150,"collections":2367,"showCount":2333,"zanCount":11,"manualWeight":11,"mainColor":372},225316,"fu-shi-hui-54-yi-ming-225316","浮世绘54",[1922,45,143,44,162,67,112,232,111,7,164,146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48f704c4610ac01c97ba3aeeea431aac.jpg",[],{"id":2369,"slug":2370,"title":66,"dynasty":173,"author":2371,"museum":214,"description":2372,"tags":2373,"thumbUrl":2374,"material":150,"size":150,"collection":150,"collections":2375,"showCount":2333,"zanCount":11,"manualWeight":11,"mainColor":36},224406,"shan-shui-wang-xue-hao-224406","王学浩","此作用笔萧散松秀，以淡墨晕染山峦，留白衬出春日山林的氤氲空濛。近景苍木挺拔，焦墨点簇枝叶，朴拙苍润。水岸茅舍错落隐于林麓，溪岸逶迤，浅滩汀渚以简笔勾勒，野趣盎然。\n\n师法董思翁平淡天真之趣，以干淡之笔写山川形胜，墨色清润层次分明，将江南春日的温润静穆尽显笔下。画面空灵疏朗，无繁复刻画，却尽显山水间幽寂闲适，文人画的清雅逸趣跃然纸上，简淡中藏深醇意蕴。",[88,23,24,26,65,91,25,66,69,111,7,232,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7358dbdc29f9f727bbef4ce953c11b1.jpg",[],{"id":2377,"slug":2378,"title":2379,"dynasty":173,"author":2159,"museum":175,"description":2160,"tags":2380,"thumbUrl":2382,"material":30,"size":150,"collection":150,"collections":2383,"showCount":2333,"zanCount":11,"manualWeight":11,"mainColor":36},214494,"shui-mo-tu-ce-9-zheng-min-214494","水墨图册-9",[88,23,24,280,26,66,7,111,199,2381,28,91,27],"平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95a3682411b8116be39a6cc0139523ee.jpg",[],{"id":2385,"slug":2386,"title":2387,"dynasty":17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、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[23,24,2390,1892,67,2391,45,68,7,2392],"挂屏","福禄寿三星","吉祥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F925df77c0f293d6616856a4781bfa2ca.jpg",[],7,{"id":2397,"slug":2398,"title":2399,"dynasty":173,"author":2400,"museum":214,"description":2401,"tags":2402,"thumbUrl":2403,"material":150,"size":150,"collection":150,"collections":2404,"showCount":2395,"zanCount":11,"manualWeight":11,"mainColor":36},238709,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238709","画弘历和江文通诗意图册","董邦达","此作用虚实相生之构，左侧层岩叠嶂、古木蓊郁，白衣策杖士人循山径徐行，林岫深邃尽显幽寂山居之致。右侧留白绘汀洲水榭，烟波澹澹，以虚衬实，极大拓宽了山水意境。\n笔墨苍秀雅正，以干笔皴擦勾勒山石肌理，墨色浓淡层叠晕染，将山林的浑厚华滋尽现笔底。题诗与画作相映，诗画交融，把古人耽爱丘壑、寄情林泉的隐逸雅趣，尽显无余。",[23,26,65,280,91,28,66,67,111,69,162,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2843021b7f9f4857ab24c33b0ecc002d.jpg",[],{"id":2406,"slug":2407,"title":2408,"dynasty":18,"author":500,"museum":214,"description":2409,"tags":2410,"thumbUrl":2411,"material":562,"size":563,"collection":150,"collections":2412,"showCount":2395,"zanCount":11,"manualWeight":11,"mainColor":36},235812,"qian-gu-bai-shi-tu-shan-ye-yi-ming-235812","钱穀柏石图扇页","此作用笔苍老朴拙，虬曲古柏盘桓于顽石之侧，皴擦间尽显柏皮嶙峋、主干遒劲的古茂之态，旁生幽竹萧疏挺秀，枝叶攒簇暗含生意。水墨晕染清润雅致，金笺底调更添沉静古雅氛围。左侧题诗与绘境相映，诗画谐和，暗合文人托物言志的意趣，以松柏之坚贞、修竹之清逸，寄寓林下幽居的澹泊襟怀，笔简意足，尽显逸笔草草、以意胜形的审美意韵，于尺幅间铺展出清寂淡远的林下雅风。",[23,24,805,26,65,68,7,113,464],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e935ca8d567bed18f9d280b9b661f4b.jpg",[],{"id":2414,"slug":2415,"title":2416,"dynasty":18,"author":670,"museum":85,"description":2417,"tags":2418,"thumbUrl":2419,"material":2420,"size":2421,"collection":150,"collections":2422,"showCount":2395,"zanCount":11,"manualWeight":11,"mainColor":36},233708,"yi-an-tu-juan-tang-yin-233708","毅庵图卷","此以别号图为题材。图中描绘了松竹清幽、蕉石雅洁的庭院，茅屋中，一高士欹坐执麈，作遐观之状。笔墨苍润挺秀，设色清雅明丽。此高士乃文徵明三十年前砚友朱秉忠，别号毅庵，秉志高洁，为人清简，是一位优游林泉、笃爱诗书的隐士。",[23,24,109,26,45,91,28,65,66,67,111,7,110,50,463],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7603e5376692e6fa453279e5f734de65.jpg","纸本 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横112.8厘米",[],{"id":2424,"slug":2425,"title":2426,"dynasty":1880,"author":500,"museum":214,"description":2427,"tags":2428,"thumbUrl":2429,"material":562,"size":563,"collection":150,"collections":2430,"showCount":2395,"zanCount":11,"manualWeight":11,"mainColor":36},230549,"ming-qing-gu-hua-dong-wu-shan-shui-fen-ben-tu-juan-1-yi-ming-230549","明清古画动物山水粉本图卷-1","此作以淡设色写就，竹枝蜿蜒横斜，两只绶带鸟栖于枝头，翎羽晕染细腻，尾羽舒展飘逸，姿态悠然自得。左侧浅绿晕染牡丹与湖石，花叶柔润秀雅，清润雅致。\n全作用笔清劲秀逸，线条勾勒简练精准，设色浅淡明净，无浓艳堆砌之意，尽显平和娴静的文人意趣。简淡笔墨间晕染出花木禽鸟的灵动生机，带着写生的鲜活意致，尽显传统花鸟的幽隽雅致之美。",[88,23,45,44,109,46,7,353,47,873,354,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e497c2669ce7f84f921f5e8bdcf52d4.jpg",[],{"id":2432,"slug":2433,"title":2434,"dynasty":189,"author":500,"museum":214,"description":2435,"tags":2436,"thumbUrl":2438,"material":150,"size":150,"collection":150,"collections":2439,"showCount":2395,"zanCount":11,"manualWeight":11,"mainColor":372},227349,"xuan-he-dian-shuang-an-tu-yi-ming-227349","宣和殿双安图","北宋皇宫建筑之一，前后经历始建重建，后称保和殿，用以藏书藏画，北宋皇室三大藏书处所之一。著名的《宣和书谱》、《宣和画谱》都与此殿关系密切。",[88,128,23,24,45,44,46,2437,2082,7,1272],"鹌鹑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0812227ecaac5bde35609c91e6acc901.jpg",[],{"id":2441,"slug":2442,"title":2443,"dynasty":173,"author":1125,"museum":214,"description":2444,"tags":2445,"thumbUrl":2448,"material":150,"size":150,"collection":150,"collections":2449,"showCount":2395,"zanCount":11,"manualWeight":11,"mainColor":78},224452,"xia-jing-shan-kou-dai-du-tu-wang-hui-224452","夏景山口待渡图","此作为平远构图，铺展江南夏日常卷。烟波浩渺的水网间洲渚连绵，山峦以披麻皴绘就，浑厚华滋，漫山林木蓊郁苍润，尽显盛夏蓬勃生机。水面渔舟泛波，洲头村舍错落，行人三两往来，将水乡悠然野趣融于淡远空濛的烟岚之中。\n画作师法董源笔意，以水墨晕染出氤氲水汽，山色与水色交融晕化，尽显北苑山水的平淡天真，又自具清润秀雅的格调，将江南夏日的湿润静美凝于长卷，把平阔辽远的江湖盛景和隐逸安然的村居日常揉合，尽显水墨山水的诗性韵味。",[88,23,109,45,66,65,44,2218,111,1690,129,2446,7,230,2447,232],"岛屿","渔船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3779511fff95c1183fe30a2ba31e63f2.jpg",[],{"id":2451,"slug":2452,"title":2453,"dynasty":173,"author":2454,"museum":214,"description":2455,"tags":2456,"thumbUrl":2457,"material":150,"size":150,"collection":150,"collections":2458,"showCount":2395,"zanCount":11,"manualWeight":11,"mainColor":78},224412,"shu-hua-shi-liu-kai-13-wang-shi-min-224412","书画十六开-13","王时敏","此作以平远之法铺陈山水，近岸怪石古拙，杂木错落间茅舍隐于林麓，野意悠然。中景湖波澹澹，洲渚横斜，远景山峦层叠，以淡墨晕染出空濛烟岚，将天地开合尽纳尺幅。\n\n笔墨温润苍秀，干笔皴擦间带着醇厚的仿古意趣，淡赭设色晕染绢素，衬出草木清润。右上角题款清雅融于景致，整体气息静穆萧散，将江南山水的温婉沉静铺展开来，尽显文人幽居林泉的雅怀，于仿古之中自出机杼，尽显简淡冲和的文人画意趣。",[88,23,45,65,280,66,112,94,464,69,110,7,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F528be01158804a7b2b58896cf758f1ed.jpg",[],{"id":2460,"slug":2461,"title":2462,"dynasty":173,"author":1401,"museum":2463,"description":2464,"tags":2465,"thumbUrl":2468,"material":452,"size":2469,"collection":150,"collections":2470,"showCount":2395,"zanCount":11,"manualWeight":11,"mainColor":36},223314,"fa-jie-yuan-liu-tu-juan-8-ding-guan-peng-223314","法界源流图卷-8","吉林省博物院","该作品的艺术价值堪与北宋名画《清明上河图》媲美，被誉为世界“佛文化、绘画”艺术颠峰之作，世界无价之宝。\n丁观鹏摹张胜温法界源流图卷，是中国艺术史上的一件瑰宝，规模宏伟，人物众多，用笔十分精细认真，如此长卷在世界的佛教绘画中是罕见的。面对这一人物众多，内容复杂，描绘精良的宏篇巨制，不能不令人信服地赞叹中国传统绘画刚健的生命力。由此引起世界上学术界和观赏者的深切关注，也就是非常自然的事情了。\n该卷中所描绘的形象非常繁多，既有佛界诸宗派的人物形象，也有各种动植物和各种佛具法器，均描绘精细，不仅比例准确，而且神态生动。这些形象的汇集与成功的描绘，不由地使人对该画的作者产生由衷敬佩。虽然他的生平事迹不见任何记载，他这件辉煌作品就足以使他在美术史乃至佛教史上永远放射着巨大的光芒。\n该作品用笔细致非凡，设色浓丽，端庄典雅，是清代画家丁观鹏精心创作杰作之一。",[88,23,24,109,544,44,45,67,68,7,69,111,2466,2467,1180],"祥云","兽类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79abe8c8eb4e0f02acfd507fe752e49e.jpg","纵33厘米、横1635厘米",[],{"id":2472,"slug":2473,"title":2474,"dynasty":18,"author":2475,"museum":995,"description":2476,"tags":2477,"thumbUrl":2478,"material":294,"size":2479,"collection":150,"collections":2480,"showCount":2395,"zanCount":11,"manualWeight":11,"mainColor":36},217872,"zhou-li-yuan-shang-kuan-shen-ce-liu-hu-yu-kun-217872","周栎园上款什册(六)","胡玉昆","右侧疏竹数竿，枝叶错落间墨色有层次，尽显清劲之姿；旁立嶙峋山石，皴法简括，纹理苍古，似载岁月痕迹。左侧书法行草相间，笔力遒劲，墨韵流转，与画作相映成趣。整体画风简淡空灵，竹石相依处文气氤氲。于极简景致中藏幽深意趣，仿佛竹间风过有声，石上苔痕隐现，尽显文人画逸致——以朴素之笔写胸中丘壑，静谧里透着生机，朴素中见出真味，文墨与丹青共生的雅韵，似能漫出纸面，引观者入那清寂又生动的文人世界。",[23,24,280,26,7,50,28,91,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc56c4ff5950321ec98c5429ef0a507e7.jpg","24.7x32.3cm",[],{"id":2482,"slug":2483,"title":2484,"dynasty":173,"author":2485,"museum":214,"description":2486,"tags":2487,"thumbUrl":2489,"material":294,"size":150,"collection":150,"collections":2490,"showCount":2395,"zanCount":11,"manualWeight":11,"mainColor":36},217195,"fa-jie-yuan-liu-tu-juan-11-li-ming-217195","法界源流图卷-11","黎明","法界源流图卷是清朝时期的一部著名的佛教经典，由清朝时期的著名佛教学者黎明编写。这部经典记录了佛教从其诞生以来，到清朝时期的发展史。\n\n法界源流图卷描述了佛教从其诞生的印度，到传播到中国、日本、朝鲜等国家的过程。它还记录了佛教在不同国家和地区发展的特点，以及佛教对当地文化和宗教的影响。\n\n此外，法界源流图卷还对佛教历史上的著名佛教徒、佛教寺庙和佛教经典进行了介绍，为读者提\n供了全面的佛教史信息。\n\n黎明是清朝时期的著名佛教学者，他编写的法界源流图卷被认为是清朝时期佛教史的权威著作，对于了解佛教历史和文化具有重要的参考价值。",[88,128,23,24,109,45,44,544,67,1628,2488,68,7,69,232,1180,111,66],"菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb6073281448e6ff260ca26818e92f58.jpg",[],{"id":2492,"slug":2493,"title":790,"dynasty":173,"author":2400,"museum":214,"description":2494,"tags":2495,"thumbUrl":2496,"material":1781,"size":150,"collection":74,"collections":2497,"showCount":2498,"zanCount":11,"manualWeight":11,"mainColor":36},238301,"shan-shui-ce-dong-bang-da-238301","董邦达（1696－1769），清代官员、书画家。字孚存、争存，号东山、非闻，浙江富阳人。雍正十一年进士，乾隆二年授编修，官终礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虞山派之间。与董源、董其昌并称“三董”。",[128,23,24,26,65,66,111,7,319,806,674],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05b6973b20a4bceb9c2b98bf95c3010c.jpg",[74,118],6,{"id":2500,"slug":2501,"title":790,"dynasty":173,"author":2502,"museum":214,"description":2503,"tags":2504,"thumbUrl":2505,"material":562,"size":563,"collection":150,"collections":2506,"showCount":2498,"zanCount":11,"manualWeight":11,"mainColor":36},236046,"shan-shui-ce-wang-yuan-qi-236046","王原祁","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」",[23,280,26,45,66,69,111,7,110,94,71],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3e0082a6a6d52c9ed83adac98bc3098.jpg",[],{"id":2508,"slug":2509,"title":2510,"dynasty":173,"author":500,"museum":214,"description":2511,"tags":2512,"thumbUrl":2513,"material":562,"size":563,"collection":150,"collections":2514,"showCount":2498,"zanCount":11,"manualWeight":11,"mainColor":36},235790,"wu-li-lin-tang-shi-si-tu-shan-ye-yi-ming-235790","吴历林塘诗思图扇页","此作用淡墨写就林塘秋景，取景清寂萧疏。近岸渔舟独棹，蓑翁垂纶，坡岸间疏林错落，茅庐隐于修竹茂树之下，远汀横斜，归雁掠过长天，淡墨晕开暮霭轻云，将秋日郊野的静谧寥廓尽数铺陈。\n笔墨松秀简淡，以干笔皴擦勾勒山石林木，墨色清润柔和，层次井然。题诗与画面相映成趣，将幽居闲眺、寄情林泉的隐逸诗意收束在尺幅之间，尽显萧散淡远的文人画意趣，静穆悠远，引人沉入秋日闲居的清宁遐思里。",[23,24,805,26,65,91,27,66,92,7,112,94,232,93,639,67,464,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c905d93c173e008f79cf2e820329ff4.jpg",[],{"id":2516,"slug":2517,"title":790,"dynasty":18,"author":2518,"museum":214,"description":2519,"tags":2520,"thumbUrl":2523,"material":150,"size":150,"collection":150,"collections":2524,"showCount":2498,"zanCount":11,"manualWeight":11,"mainColor":78},235153,"shan-shui-ce-li-liu-fang-235153","李流芳","此作用笔简淡清逸，以水墨晕染出山水襟怀。近坡淡墨轻铺，竹枝萧疏摇曳，笔致清瘦隽雅。中处长松亭亭如盖，浓墨点染松针，枯淡勾勒树干，高低错落间见出苍劲古拙。远山以淡墨轻扫而过，留白衬出烟岚空濛。\n\n通篇墨色层次分明，浓淡相依，糅合出萧散出尘的幽远意境，暗含文人澹泊襟怀。题款与画面浑然相融，笔墨间不见烟火尘嚣，只余林泉高致，将山居幽寂的清冷意趣尽数铺陈。",[23,128,24,26,2521,65,195,178,66,111,7,69,2522,674],"淡墨渲染","坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffda4d66caabfd57aa2897466192206d8.jpg",[],{"id":2526,"slug":2527,"title":790,"dynasty":18,"author":2518,"museum":214,"description":2528,"tags":2529,"thumbUrl":2530,"material":150,"size":150,"collection":150,"collections":2531,"showCount":2498,"zanCount":11,"manualWeight":11,"mainColor":78},235152,"shan-shui-ce-li-liu-fang-235152","此作用笔苍润秀雅，以水墨晕染仿拟前贤笔意。山峦以披麻皴淡写，墨色虚实相生，似笼着轻烟薄雾，将丘壑的苍浑藏在柔婉层次中。清劲的棕榈成林，衬出茅舍的幽寂，溪岸缓坡以淡墨扫就，不着一笔多余刻画，尽显萧散疏朗。整幅以简驭繁，无刻意修饰，复刻元人闲淡野逸的林下意趣，又融入自身疏朗笔致，将江南山居的清寂安谧藏在笔墨间，观之恍若身临幽林，暂忘尘嚣，尽显寄情林泉的文人风雅。",[26,65,280,178,66,7,129,69,111,71],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11f35c1896ed7d0cb7e275c6c8dc3dc9.jpg",[],{"id":2533,"slug":2534,"title":2535,"dynasty":173,"author":2502,"museum":2536,"description":2537,"tags":2538,"thumbUrl":2540,"material":96,"size":2541,"collection":150,"collections":2542,"showCount":2498,"zanCount":11,"manualWeight":11,"mainColor":36},232676,"shan-shui-tu-lan-yan-shu-se-wang-yuan-qi-232676","山水图(岚烟树色)","美国克利夫兰艺术博物馆","丁巳为康熙十六年（1677年），王原祁时年三十六岁。册前王时敏款署西庐八十七老人题，应为康熙十七年（1678年）所题，即王原祁创作该册后的次年所书。以丁巳下推至庚午，不足十五年，而自跋中今阅十五年，当是王原祁笔误。\n画前副页有王时敏隶书灵心自悟四大字。画册后跋纸为王原祁自题：此余丁巳春间往云间笔也。先奉常见之谓余为'可教'，题识四字。个阅十五年矣，于古人笔墨终未梦见，殊愧先大父指授，为之泫然。康熙庚午长夏观于毘陵舟次谨题，原祁。钤原祁之印（白文）、麓台（朱文）、兴与烟霞会（白文），画册首副页，尾纸只有庞元济藏印11方。\n该册仿古山水，是王原祁早期绘画的代表作品。所仿元六家山水各具形貌，笔墨或设色又颇具苍润、恬淡、秀丽等不同特点，所以王时敏以灵心自悟夸赞其孙王原祁在仿古的同时，边学习古人的画法，同时又寻求开创个人独特艺术特点的创作方向。该册是研究工原祁早期绘画的宝贵材料。\n王原祁为王派山水的小字辈，后来居上。他得益于乃祖王时敏的亲授从而间接吸收营养于董其昌的艺术和思想，无疑具有功力派和灵性派两类画人的资质。在此图册的第4开上，王原祁钤盖“西庐后人”白文印，以表明自己的身份。\n王原祁在吸收南宗诸大师的画艺，特别是黄公望的长处上更见功力。其画以笔墨论，处处见笔、处处有形、处处得意、处处显情，而又浑然一片，气脉贯连。他在淡墨积笔上有独到的把握，淡墨入画虽易见活气但极难苍厚，层层覆笔又易失之于浊，王原祁以淡墨作山石，或勾线以立形，或横笔以辅面，干笔皴擦，湿笔堆点，层层见笔，层层浑合，苍古厚润兼之以“毛”、“涩”，相交生发而神采愈显。此图册的第10开王原祁钤盖“苍润”朱文葫芦印，显示了自己的审美趣味。实际上，王原祁的这枚“苍润”闲章，刻了多方，不同的型制，于30余岁就已使用，沿用一生，充分体现出王原祁的绘画美学趣味，而其绘画本色也与“苍润”之实质十分符合。",[128,23,24,25,26,65,91,28,27,66,2039,111,68,7,69,674,2539],"岚烟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b3ca722659548bd5b92cc3b10a0df4c.jpg","80.4x43.5cm",[],{"id":2544,"slug":2545,"title":2546,"dynasty":173,"author":2547,"museum":214,"description":2548,"tags":2549,"thumbUrl":2550,"material":150,"size":150,"collection":150,"collections":2551,"showCount":2498,"zanCount":11,"manualWeight":11,"mainColor":36},230917,"shan-shui-tu-ce-he-yi-230917","山水图册","赫奕","此作用笔简净萧散，以干淡笔墨铺陈丘林野趣。近岸巨石皴擦苍劲，双木虬曲错落，枝叶点染疏朗，暗含生趣。水畔茅庐隐于浅坡，野意自生。远景山峦以淡墨晕染留白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(明)字世臣，号曲泉。山阴(今属绍兴)人。\n善画山水、花卉，得疏野之趣。",[23,24,280,26,7,113,354,28,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4650bca68e2a6517f0f353b1beec2035.jpg",[],{"id":2597,"slug":2598,"title":2546,"dynasty":173,"author":338,"museum":214,"description":2599,"tags":2600,"thumbUrl":2601,"material":150,"size":150,"collection":150,"collections":2602,"showCount":56,"zanCount":11,"manualWeight":11,"mainColor":36},235076,"shan-shui-tu-ce-hua-yan-235076","此作用淡墨晕染出幽寂林泉，松秀笔触勾勒交错竹影，茅石隐于青竹间，平滩处幽人凭岸闲坐，留白铺就空濛悠远之意。诗画合璧，题诗呼应画中林下幽居之境。\n\n整体笔致灵松动宕，简淡的水墨晕染出山光清寂，将文人林下遐思的雅逸襟怀融于咫尺尺幅间，静穆萧散中尽显悠然旷达的林下意趣，笔简意丰，淡岚轻墨里晕开寄情山水的文人雅致。",[23,24,280,26,66,7,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feee2904067eed19e574426633f82e048.jpg",[],{"id":2604,"slug":2605,"title":2606,"dynasty":189,"author":500,"museum":85,"description":2607,"tags":2608,"thumbUrl":2609,"material":1254,"size":2610,"collection":150,"collections":2611,"showCount":56,"zanCount":77,"manualWeight":11,"mainColor":78},233001,"shuang-ke-zhu-jian-tu-ye-yi-ming-233001","霜柯竹涧图页","图绘山间冬季景色，天阴欲雪，霜柯临水，柯下溪涧奔流，水花飞溅，远处竹林葱茏。两只山鸟栖于枝头，眺望远方，将观赏者的目光引向画外，从而收到画尽而意无穷的艺术效果。图中老柯、丛竹用笔刚劲，水花、鸟羽笔触轻柔，流水奔腾不息，山石巍峨不动，使画面形成刚柔相济、动静对比的艺术效果。",[23,44,45,280,242,7,94,232,69,46,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a204c09fc7f7300ed08a4ffe8d3dc23.jpg","纵27.5厘米，横26.8厘米",[],{"id":2613,"slug":2614,"title":2615,"dynasty":173,"author":2616,"museum":214,"description":2617,"tags":2618,"thumbUrl":2619,"material":150,"size":150,"collection":150,"collections":2620,"showCount":56,"zanCount":11,"manualWeight":11,"mainColor":36},230256,"hua-chun-tai-tong-le-ce-huang-yue-230256","画春台同乐册","黄钺","此作以淡墨轻晕铺就月夜园林景致，题诗衬景，将清宵幽寂意趣娓娓道来。月上宵空，清光晕染水岸屋舍，错落庭园隐于林木间，竹树疏密相宜，水岸亭台凌波而立，垂柳轻拂水面，石岸错落点缀浅滩，铺展出江南私园的雅致闲静。\n\n笔致秀润简淡，留白尽显月色空濛，将文人耽于静夜闲读的隐逸心境融于笔墨。淡着色晕染出草木清润，屋舍朴雅简净，整体萧疏淡远，尽显文人山水小品悠然闲淡的意韵，把夜色里园林的静谧雅韵全然铺陈开来。",[23,24,280,26,93,162,111,7,94,69,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf5f5de249117605e5d665e899be726f.jpg",[],{"id":2622,"slug":2623,"title":2624,"dynasty":173,"author":2625,"museum":214,"description":2626,"tags":2627,"thumbUrl":2628,"material":562,"size":563,"collection":150,"collections":2629,"showCount":56,"zanCount":11,"manualWeight":11,"mainColor":36},229051,"qing-ke-si-yu-zhi-san-xing-tu-song-bing-gong-hui-tu-zhou-qing-ren-229051","清缂丝御制三星图颂并恭绘图轴","清人","此作以缂丝技法织就，福禄寿三星齐聚庭间，福星朱袍持如意，雍容端方，禄星抱婴含笑，满含温情，寿星银须捧桃，矍铄古朴。数位稚童环绕身侧，嬉戏随侍，融融暖意扑面而来。\n\n衬以玉树虬松、玲珑湖石与缤纷花草，云烟轻笼庭间，铺就悠然吉庆的雅致氛围。通幅走线匀整细腻，配色明丽沉稳，袍服织金纹饰、松石肌理皆还原精妙，上部御题诗文隽秀规整，与下方图景呼应成趣，将世俗祈愿与宫廷缂丝工艺完美融合，尽显华贵祥和的祥瑞气韵。",[128,23,24,25,1892,45,44,2392,67,462,92,69,2466,354,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1baaeba49be9b03774cc9e5217bff1a3.jpg",[],{"id":2631,"slug":2632,"title":2633,"dynasty":173,"author":500,"museum":214,"description":2634,"tags":2635,"thumbUrl":2640,"material":562,"size":563,"collection":150,"collections":2641,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":78},245373,"jin-chang-fang-pen-mu-shu-pen-jing-yi-ming-245373","金长方盆木树盆景","苍劲木干虬曲舒展，粉晶梅花攒簇枝头，柔润胭色将春日凝缩在枝桠间。翠羽小鸟停驻其上，为静景添上灵动生气。盆中玛瑙灵芝艳若丹霞，青玉细竹修长清雅，各色珍石相映成趣，暗合岁寒三友的风雅意涵。\n\n鎏金长盆錾刻蝠纹环绕团寿，华贵工致。这方案头盆景将文人情趣与宫廷工巧相融，把融融春意封存在案几之上，未触便觉暗香浮动，尽显旧时造物的绝妙匠心。",[1047,2636,2637,1026,47,7,69,2638,560,2639,45],"金器","木质","盆景","镶嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68a6f0eaeabe22c7f5cb9203109a566b.jpg",[],{"id":2643,"slug":2644,"title":790,"dynasty":173,"author":2645,"museum":214,"description":2646,"tags":2647,"thumbUrl":2648,"material":562,"size":563,"collection":150,"collections":2649,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":36},239366,"shan-shui-ce-wang-san-xi-239366","王三锡","王三锡(1716—？) 太仓人。字怀邦，自号竹岭，清代画家。王昱从子，承家学，善山水，得其祖笔法，丘壑位置，不作寻常蹊径，运笔别致雅逸。",[128,23,24,280,26,65,66,162,92,649,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F210a43366824ee0218286cb020d6ec8a.jpg",[],{"id":2651,"slug":2652,"title":2653,"dynasty":18,"author":2654,"museum":214,"description":2655,"tags":2656,"thumbUrl":2657,"material":562,"size":563,"collection":150,"collections":2658,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":36},239259,"shu-hua-tu-ce-cheng-min-239259","书画图册","程敏","此作用水墨写意写就，枯木枝桠如铁戟硬张，笔法老辣苍劲，嶙峋躯干尽显岁月剥蚀下的古拙不屈。拳石以淡墨晕染勾勒，简括写意，衬出枯木孤高之态。边角新竹清瘦劲拔，寥寥数笔便见清逸生机，与枯木沧桑自成冷暖对照。\n画面留白空灵疏朗，以极简笔墨传递出古淡荒寒的文人意趣，枯荣相生间暗合禅思，于简淡苍秀的笔触里，藏着静穆悠远的中式风神，是托物言志的文人小品典范。",[23,24,280,26,464,1471,113,7,232,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3712d8cf7920f1ca728ea1b1f4abda73.jpg",[],{"id":2660,"slug":2661,"title":790,"dynasty":173,"author":1730,"museum":214,"description":2662,"tags":2663,"thumbUrl":2664,"material":150,"size":150,"collection":150,"collections":2665,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":36},236593,"shan-shui-ce-cha-shi-biao-236593","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。",[23,24,280,26,66,242,7,113,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96a355018b93df16e25234ef184f9854.jpg",[],{"id":2667,"slug":2668,"title":2669,"dynasty":18,"author":2670,"museum":214,"description":2671,"tags":2672,"thumbUrl":2677,"material":562,"size":563,"collection":150,"collections":2678,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":78},236370,"shan-shui-ren-wu-shan-yuan-li-ming-236370","山水人物扇","袁丽明","此作为泥金扇面，构图兼取高远与平远之妙。左侧山峦以淡墨晕染，空濛淡逸，衬出幽寂山境；右侧松石苍劲清隽，古木虬曲盘绕，枝桠间叶簇蓊郁生机尽显。\n\n松下二人策杖徐行，衣袂轻扬，似正驻足观泉赏山，将林下雅集的闲趣藏于丘壑之间。设色浅淡清润，山石以淡赭晕染，石青点苔提色，草木敷色雅致，与泥金底色相映更显古雅沉静。\n\n笔墨兼具元人山水萧散意韵，又带明人小品精致格调，将山居雅趣融于尺幅之间，寥寥数笔便勾勒出林泉高致，尽显文人画的林下风流。",[1156,23,805,45,66,67,111,69,65,7,71,2673,828,2674,2675,2676],"丘壑","点染","勾勒","传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff88f4cf17957088cd4401e30e0be66eb.jpg",[],{"id":2680,"slug":2681,"title":2682,"dynasty":1880,"author":2683,"museum":214,"description":2684,"tags":2685,"thumbUrl":2689,"material":562,"size":563,"collection":150,"collections":2690,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":36},231717,"shi-ting-shi-dai-xing-guang-si-yuan-qi-hua-juan-shang-xia-juan-xia-tu-zuo-guang-xin-231717","室町时代 星光寺缘起画卷上下卷(下)","土佐光信","室町时代（1338~1573）的著名大和绘（注1）画师土佐光信（1434~1525）向来被尊为妖怪画的开山宗师。室町时代，虽然中国宋元时期的宫廷水墨画（区别于“唐绘”，被称之为“汉画”）受到幕府的推崇，但以土佐光信为代表的正统大和绘画师也借鉴中国画的技巧，为势渐衰退的大和绘注入了新的活力。室町时代的大和绘取材已具有明显的世俗化特征，也更加注重装饰效果（这在一定程度上成为其后“浮世绘”诞生的先导），土佐光信的《百鬼夜行绘卷》正是充分体现了这两个特点的作品。",[88,45,44,143,109,24,67,162,66,111,255,164,806,1317,2686,544,2637,7,420,1999,2687,2688],"佛像","室外场景","文字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c4e8c658f98ed5e6da2b6f79695a224.jpg",[],{"id":2692,"slug":2693,"title":2694,"dynasty":18,"author":2695,"museum":226,"description":2696,"tags":2697,"thumbUrl":2699,"material":150,"size":150,"collection":150,"collections":2700,"showCount":101,"zanCount":11,"manualWeight":11,"mainColor":2701},201437,"yue-xia-gui-zhou-tu-zhou-chen-chun-201437","月下归舟图轴","陈淳","淡墨轻染出朦胧月色，峰峦在云雾中若隐若现，如披薄纱。山间竹木扶疏，笔触简括却见生趣，枝叶摇曳间透着清寂。溪流潺潺，一叶孤舟静泊岸边，舟中影绰，似有归人欲返。近景丛竹以细劲线条勾写，与远山的淡皴晕染相映，虚实交错间尽显章法。整幅画水墨淋漓，写意之韵与山水之幽相融，漾出文人画特有的空灵悠远，引人入胜。",[23,26,66,639,7,65,178,25,674,2698],"流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1883c4d975b248c5322c7dd431839d2b.jpg",[],"b6aa99",{"id":2703,"slug":2704,"title":2653,"dynasty":18,"author":2654,"museum":214,"description":2705,"tags":2706,"thumbUrl":2707,"material":562,"size":563,"collection":150,"collections":2708,"showCount":135,"zanCount":11,"manualWeight":11,"mainColor":36},239261,"shu-hua-tu-ce-cheng-min-239261","此作以水墨写意枯木竹石，枯木虬曲苍劲，用笔老辣爽利，嶙峋枝干带着锐刺，尽显古拙孤傲的萧瑟意态。下方墨竹叶脉分明，中锋挥写的叶片错落舒展，劲挺清逸，与枯木的苍涩刚硬形成刚柔呼应，淡墨晕染的坡石极简勾勒，托衬出画面清寂氛围。\n整幅小品逸笔草草，以简驭繁，将物象风骨尽数展现，以画寄情，暗含着文人淡泊清峻的襟怀，尽显水墨小品以意取胜的雅致格调。",[23,24,280,26,242,7,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb70843173388f7acd3b50f4ee03a450d.jpg",[],{"id":2710,"slug":2711,"title":2347,"dynasty":173,"author":2712,"museum":85,"description":2713,"tags":2714,"thumbUrl":2715,"material":452,"size":150,"collection":150,"collections":2716,"showCount":135,"zanCount":11,"manualWeight":11,"mainColor":78},236826,"fang-gu-shan-shui-ce-zhao-cheng-236826","赵澄","[明]（一五八一至？）晚年得铜汉章改名澄，字雪江，一字湛之，颍州（今安徽阜阳）布衣。山水泼墨、细谨两擅其长。学宗董源、范宽、李唐诸家。又善临摹，见大内所藏皆缩为小幅，无一笔不肖。又仿古二十幅极精，为琉球国王所得，永为海外珍宝。并工写照，得意之作皆用铜章。以博学能诗称。顺治十一年（一六五四）仿各家山水册时年七十四。《国[清]朝画徵录、读画录、图绘宝鉴续纂、桐阴论画》",[23,24,280,45,26,65,91,66,112,639,1710,111,7,69,199,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5208ae73805442288960f9f3ad6580a4.jpg",[],{"id":2718,"slug":2719,"title":790,"dynasty":173,"author":2720,"museum":214,"description":2721,"tags":2722,"thumbUrl":2723,"material":932,"size":150,"collection":150,"collections":2724,"showCount":135,"zanCount":11,"manualWeight":11,"mainColor":36},236497,"shan-shui-ce-cheng-ming-236497","程鸣","程鸣（1676-1745），字友声，号松门，安徽歙县人，占籍江苏仪征。黄宾虹在《黄山画苑论略》中云其为雍正年间诸生。山水学於石涛（道济）参以程邃，每以秃毫渴墨，运以中锋，纯以书法成之，不加渲染，自然沈郁苍浑。诗出王士祯之门，尝为士祯作古夫于亭图，与陈撰、方士庶、厉鹗为诗画友。",[23,24,280,26,65,66,92,7,584,50,199,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f0cde32f3e3859acb9d1fdfe58774a7.jpg",[],{"id":2726,"slug":2727,"title":790,"dynasty":18,"author":2728,"museum":214,"description":2729,"tags":2730,"thumbUrl":2732,"material":150,"size":150,"collection":150,"collections":2733,"showCount":135,"zanCount":11,"manualWeight":11,"mainColor":78},234626,"shan-shui-ce-zhu-yan-234626","朱炎","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。",[23,24,280,26,66,111,7,2249,69,476,65,2731,28],"笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0844d648afe20e899955a0f940ff495.jpg",[],{"id":2735,"slug":2736,"title":2737,"dynasty":1880,"author":500,"museum":214,"description":1919,"tags":2738,"thumbUrl":2740,"material":562,"size":563,"collection":150,"collections":2741,"showCount":135,"zanCount":11,"manualWeight":11,"mainColor":36},225473,"fu-shi-hui-231-yi-ming-225473","浮世绘231",[1921,45,2739,144,7,92,50,67,1384,1274],"木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce57dc0d1736a8f9c9826d76917de86f.jpg",[],{"id":2743,"slug":2744,"title":2745,"dynasty":173,"author":1903,"museum":85,"description":2746,"tags":2747,"thumbUrl":2749,"material":150,"size":2750,"collection":150,"collections":2751,"showCount":135,"zanCount":11,"manualWeight":11,"mainColor":78},223194,"geng-zhi-tu-ce-jiao-bing-zhen-223194","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。",[128,23,24,44,45,195,67,110,164,111,7,1971,2748,28],"风俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd03a3ae47e2a145c7aa503c8fb5d073e.jpg","34.7cm×27.7cm",[],{"id":2753,"slug":2754,"title":2755,"dynasty":18,"author":2756,"museum":20,"description":2757,"tags":2758,"thumbUrl":2760,"material":52,"size":2761,"collection":150,"collections":2762,"showCount":135,"zanCount":11,"manualWeight":11,"mainColor":36},216763,"jiu-lao-tu-4-huang-biao-216763","九老图-4","黄彪","这是黄震泉仿宋刘松年九老图而成的，要有相似的造型和人物，虽然排列的树石略显单薄轻巧，傅彩清新飘逸之外，也不失为仿制的传世佳品。",[23,128,44,45,67,2759,112,68,7,354,531,1180,69,1179],"老者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11dfd356931d7c386cbe98730bd03dd3.jpg","27.2x193",[],{"id":2764,"slug":2765,"title":790,"dynasty":173,"author":1730,"museum":214,"description":2766,"tags":2767,"thumbUrl":2768,"material":562,"size":563,"collection":150,"collections":2769,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":36},239329,"shan-shui-ce-cha-shi-biao-239329","查士标，查士标（1615-1698） ，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。安徽休宁人。\n查士标（1615-1698）与弘仁、孙逸、汪之瑞称“新安四大家”。在新安四家中，是位高产书画家，就技法而言，以他为最高，作品也最多。后流寓扬州、镇江、南京。善书画、工诗文、精鉴赏。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。\n山水师法黄公望、吴镇、倪瓒、董其昌，笔墨疏简，格调秀远，书法受董其昌影响。在新安四家中，是位高产书画家，他学倪黄，但能广泛吸收前人各家各派画法。就技法而言，以他为最高，作品也最多。\n其作品高达百万，甚至数百万。\n最早提出“新安画派”名称的是清朝康熙所间的艺术理论家张庚，张庚之后，人多沿用，“新安画派”遂成定称。新安画派成员众多，力量雄厚。画艺可观者近80人，其中卓然自成一家者约有20人，分为四个层面：先驱程嘉燧、李永昌、李流芳；画派领袖僧渐江；鼎盛期主要成员方式玉、王瘭素、吴山涛、程邃、汪家珍、戴本孝、吴龙、顺田生、程正揆、郑旼、汪之瑞、孙逸、查士标、汪洪度、雪庄；现代后继者黄宾虹。",[23,24,280,26,91,27,65,66,92,1689,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a9b7532bf38467f3202f625fd982d01.jpg",[],{"id":2771,"slug":2772,"title":2773,"dynasty":173,"author":2774,"museum":214,"description":2775,"tags":2776,"thumbUrl":2777,"material":150,"size":150,"collection":150,"collections":2778,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":36},239162,"shan-shui-hua-hui-ce-chen-heng-ke-239162","山水花卉册","陈衡恪","此作用笔极简枯淡，以渴墨勾勒古木老干，皴擦寥寥便写出枝干虬曲苍劲的姿态，枯涩的线条尽显岁月洗练之感。侧旁以细笔淡墨绘出新篁，柔润清浅的竹叶为画面添上生机，枯荣相映间，萧疏清冷的幽寂之境油然而生。\n\n搭配题诗朱印，书画印三者相衬，将笔墨意趣与文人情思相融，于尺幅间尽显文人画的空灵雅致，淡远清幽的意境扑面而来，尽显水墨写意的极简之美，藏着中式审美的留白哲思。",[23,26,280,27,242,7,464],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1473a2f35b6349dfb8da90e8750a86e5.jpg",[],{"id":2780,"slug":2781,"title":790,"dynasty":173,"author":2782,"museum":214,"description":2783,"tags":2784,"thumbUrl":2785,"material":2786,"size":2787,"collection":150,"collections":2788,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":36},239035,"shan-shui-ce-wu-lin-239035","吴麐","（一六九一―一七七二）字栗园，一作栗原，一字荛圃，安徽歙县籍，家江西景德镇。二、[清]字仁趾，天都（今安徽歙县）右姓，隶籍广陵（今江苏扬州）。",[23,26,65,280,66,7,113,111,199,2192],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7f352ac31678676f1f347f32b5939c9.jpg","设色纸本","20 x 11.5 cm",[],{"id":2790,"slug":2791,"title":790,"dynasty":173,"author":2400,"museum":214,"description":2494,"tags":2792,"thumbUrl":2793,"material":150,"size":150,"collection":150,"collections":2794,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":36},238308,"shan-shui-ce-dong-bang-da-238308",[128,23,24,26,65,280,66,111,110,69,70,199,71,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f3cdb46a06a0617199397d486153f8c.jpg",[],{"id":2796,"slug":2797,"title":2798,"dynasty":173,"author":2799,"museum":214,"description":2800,"tags":2801,"thumbUrl":2803,"material":150,"size":150,"collection":150,"collections":2804,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":36},238100,"hong-wu-shan-shui-ce-hong-wu-238100","弘旿山水册","弘旿","爱新觉罗·弘旿（1743-1811），清朝宗室、画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。康熙帝爱新觉罗·玄烨孙，爱新觉罗·胤秘第二子。封固山贝子，两次缘事革退，复赏封奉恩将军。能诗，工书、画，以三绝称。弘旿工画，师董邦达，自署瑶华道人，名与紫琼道人胤禧并。论者称其“山水得董、黄之妙谛。”永珠既夺爵 [1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。\n观其传世作品，似受董邦达影响为多。此卷笔墨秀润，细皴密擦，林麓滃郁华滋，功力不浅。卷末落“臣”字款，又自称“恭绘”，可见是进御之作。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆对这位同宗兄弟笔墨的赞许。但从流传的弘旿作品看，此卷却是其中极为精彩的一幅，且保存完好，值得珍视。",[23,24,280,26,45,65,27,91,66,639,111,7,69,1419,2802],"题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ae106783de638295d0620605d596ec4.jpg",[],{"id":2806,"slug":2807,"title":2808,"dynasty":1880,"author":500,"museum":214,"description":2809,"tags":2810,"thumbUrl":2813,"material":150,"size":150,"collection":150,"collections":2814,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":36},225381,"fu-shi-hui-138-yi-ming-225381","浮世绘138","这幅作品以柔婉的线条勾勒出闺中闲趣的片刻，暖调套色雅致柔和，橘红与棕褐交织出沉静又鲜活的氛围感。蹲坐仕女垂眸专注逗弄笼中小雀，指尖轻探的模样满是松弛的兴致，伫立的少女抬手半掩面颊，含羞偷望的神态尽显娇怯温柔。\n\n和服纹样刻画精巧细腻，团花暗纹晕着雅致古韵，角落浅绘的草木衬出庭院的悠然底色。留白舒展松弛，将江户时代女子的日常闲情缓缓铺陈，把闺中赏玩的慵懒恬淡晕染开来，将俗世日常揉进温柔的画意里，尽显浮世绘独有的市井诗意。",[1921,2739,45,67,144,47,2811,7,2812],"鸟笼","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c6e146bbaaa3d772633c6b8fc93d8d9.jpg",[],{"id":2816,"slug":2817,"title":2818,"dynasty":173,"author":2819,"museum":2820,"description":2821,"tags":2822,"thumbUrl":2823,"material":2824,"size":2825,"collection":150,"collections":2826,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":150},220682,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220682","凤阿山房图册","吴历,朱彝尊,陆遵等","香港中文大学文物馆","吴历 ，字渔仙，号桃溪居士，后号墨井道人，江苏常熟人。曾笃信天主教，并往澳门逗留。工诗、善画山水，师事王时敏 (1592-1680)与王鉴 (1598-1677) ，连同王翚 (1632-1717)、王原祁 (1642-1715)和恽寿平 (1633-1690) 合称「四王吴恽」或称「清初六家」，为清代正统派绘画代表。\n\n该画为吴历应友人侯大年（约1641-约1710）之命所作，并以友人之号「凤阿」命名，绘于康熙十六年（1677）之后，为吴氏中晚年之作。画面山峦起伏，高树竹丛、屋舍数间，屋前小桥流水，一人策杖过桥。整幅作品尺幅虽不大，却构图繁密，墨色苍润，流露对笔墨的追求与讲究，是吴历的精品。事实上，吴历与侯大年交谊深厚，曾应命绘制多幅《凤阿山房图》，以表达侯氏「述祖德，守先业」并归隐的志向，然而凤阿山房终未建成。据记载，侯大年在吴历绘制完立轴后，另请他绘制小册并请诸友题咏，正是此册。全册共分上、下两册，引首朱彝尊　(1629-1709) 书「凤阿山房」，后有吴历、朱彝尊、姜宸英、梁佩兰、宋骏业、王撰、陆遵、梅庚、钱大昕等六十六家诗题，其中陆遵、梅庚补图并题诗。吴历此作无疑是全册点睛之笔，见证了他与侯大年的交谊。",[88,23,24,280,26,65,66,92,69,7,110,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc7fb8a923ddd44cc33a6ffd0cf90834.jpg","水墨,设色,纸本,册页","18×34.5厘米",[],{"id":2828,"slug":2829,"title":790,"dynasty":173,"author":2830,"museum":214,"description":2831,"tags":2832,"thumbUrl":2833,"material":150,"size":150,"collection":150,"collections":2834,"showCount":77,"zanCount":11,"manualWeight":11,"mainColor":36},239346,"shan-shui-ce-lin-fu-chang-239346","林福昌","此作用笔清简淡远，以枯墨写出虬屈枯木，枝桠苍劲萧瑟，自带荒寒秋意。旁生疏竹错落参差，柔叶劲竿，与枯木相映成趣，添了几分清逸生气。坡石以枯笔浅皴，淡墨晕染，质感自现。远山以淡墨轻笼，朦胧悠远，拉展出空阔景深。\n\n角落题字衬出文人气韵，整幅小品以极简笔墨营造出幽寂萧疏的林下之境，将寄情林泉的隐逸雅趣融于尺幅之间，尽显文人山水写意的留白妙处，淡而有味，简中见情。",[23,26,280,65,66,242,7,113,199,420],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cf300e8148b2938bc1202831e8b506c.jpg",[],{"id":2836,"slug":2837,"title":2838,"dynasty":173,"author":2839,"museum":214,"description":2840,"tags":2841,"thumbUrl":2847,"material":562,"size":563,"collection":150,"collections":2848,"showCount":77,"zanCount":11,"manualWeight":11,"mainColor":36},238457,"mian-yi-mian-hua-tu-ce-mian-yi-238457","绵亿棉花图册","绵亿","绵亿（1764年9月10日－1815年4月14日），直隶省顺天府大兴县（今北京市）人，清高宗弘历之孙，荣纯亲王永琪第五子，母侧福晋索绰罗氏，左都御使观保之女。",[23,24,280,45,44,67,110,2842,164,112,94,93,7,2843,2844,2845,2846],"围栏","农具","田园","劳作场景","织物加工","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9039c794c6789c404ba79bc666ba360a.jpg",[],{"id":2850,"slug":2851,"title":2852,"dynasty":1880,"author":500,"museum":214,"description":1919,"tags":2853,"thumbUrl":2855,"material":562,"size":563,"collection":150,"collections":2856,"showCount":77,"zanCount":11,"manualWeight":11,"mainColor":36},225517,"fu-shi-hui-275-yi-ming-225517","浮世绘275",[1921,2739,45,67,113,7,2854],"雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a1421bb850f09393523dea84cd541e.jpg",[],{"id":2858,"slug":2859,"title":2860,"dynasty":189,"author":2861,"museum":62,"description":2862,"tags":2863,"thumbUrl":2864,"material":30,"size":2865,"collection":150,"collections":2866,"showCount":77,"zanCount":11,"manualWeight":11,"mainColor":36},217969,"shi-liu-ying-zhen-tu-18-fan-long-217969","十六应真图-18","梵隆","本卷采用李公麟的白描风格，描写了16罗汉的境界，每一种境界都通过他所达到的三昧而表现出不同的奇异境界。",[88,128,23,24,545,26,544,67,7,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09d1d948511d2fdf6b5e74586baff2ff.jpg","30.5x1062.5",[],{"id":2868,"slug":2869,"title":2870,"dynasty":189,"author":2861,"museum":62,"description":2862,"tags":2871,"thumbUrl":2872,"material":30,"size":2865,"collection":150,"collections":2873,"showCount":77,"zanCount":11,"manualWeight":11,"mainColor":36},217943,"shi-liu-ying-zhen-tu-quan-juan-zuo-fan-long-217943","十六应真图全卷-左",[88,128,23,24,109,544,545,26,67,66,111,319,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd06e1f15cc2bd6ee095f4fe64f4c263d.jpg",[],{"id":2875,"slug":2876,"title":2877,"dynasty":18,"author":2878,"museum":214,"description":2879,"tags":2880,"thumbUrl":2881,"material":96,"size":150,"collection":150,"collections":2882,"showCount":77,"zanCount":11,"manualWeight":11,"mainColor":372},217127,"shui-hu-quan-tu-68-du-jin-217127","水浒全图-68","杜堇","杜堇的人物画宗法李公麟，笔法精劲流畅，别具秀逸之态，因此他被推为当时画坛的白描高手。其人物画大都表现古代传说故事或逸闻趣事，并以山水及园林景致为衬景，有的还题诗作赋，显示着一派文入画的格调。",[23,24,128,280,545,67,7,94,69],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F422b665beec57aa47303c6341327c39d.jpg",[],{"id":2884,"slug":2885,"title":2886,"dynasty":173,"author":338,"museum":226,"description":2887,"tags":2888,"thumbUrl":2891,"material":150,"size":150,"collection":150,"collections":2892,"showCount":77,"zanCount":11,"manualWeight":11,"mainColor":2893},202668,"dong-shan-xie-ji-tu-zhou-hua-yan-202668","东山携妓图轴","画面以清雅水墨设色铺陈，垂丝柳树与疏朗竹枝相映，孤石点缀其间，营造出悠然山林氛围。四位人物姿态鲜活：身着宽袍者神情闲适，似是谢安；三位女子衣袂轻扬，或回首低语或抬手指点，动态毕现。画家以流畅线条勾勒人物形神，兼用工写之法——树石以写意笔触挥洒，墨色浓淡相生；人物细节则细腻传神，尽显雅致意趣。整幅作品将谢安东山隐居的风流韵致与文人闲适情怀融于笔端，意境悠远绵长。",[26,45,67,217,113,7,2889,392,2890,88],"兼工带写","山水人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb56a78ec92adec4be766f2e8e39a8aa0.jpg",[],"f7f8f4",{"id":2895,"slug":2896,"title":2897,"dynasty":173,"author":500,"museum":214,"description":2898,"tags":2899,"thumbUrl":2901,"material":562,"size":563,"collection":150,"collections":2902,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},258961,"kang-xi-kuan-qing-hua-wei-jiao-fang-hua-pen-yi-ming-258961","康熙款青花委角方花盆","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。",[1854,2900,44,65,66,112,94,93,111,69,7,685],"青花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb88f62575bbb8248aca256c431d32129.jpg",[],{"id":2904,"slug":2905,"title":2906,"dynasty":18,"author":500,"museum":214,"description":2898,"tags":2907,"thumbUrl":2908,"material":562,"size":563,"collection":150,"collections":2909,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},257683,"cheng-hua-kuan-qing-hua-hua-niao-tu-wan-yi-ming-257683","成化款青花花鸟图碗",[18,1854,2900,46,7,232,44,45],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb92e08fe74d26fcbab935c53e8a70cbd.jpg",[],{"id":2911,"slug":2912,"title":2913,"dynasty":173,"author":500,"museum":214,"description":2914,"tags":2915,"thumbUrl":2917,"material":562,"size":563,"collection":150,"collections":2918,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},248868,"ti-hong-shan-shui-ren-wu-tu-mei-hua-shi-he-yi-ming-248868","剔红山水人物图梅花式盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[1047,1922,2916,560,45,66,67,7,68,112,69],"剔红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6b3b67cb9d4ab403d4d8148a7fbaf4b.jpg",[],{"id":2920,"slug":2921,"title":2922,"dynasty":173,"author":500,"museum":214,"description":2914,"tags":2923,"thumbUrl":2926,"material":562,"size":563,"collection":150,"collections":2927,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},246491,"ti-hong-ren-wu-gu-shi-tu-hai-tang-shi-he-yi-ming-246491","剔红人物故事图海棠式盒",[1922,2916,560,2924,67,2925,317,93,7,354,1640],"海棠式","故事图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27626697bf9773bf748e2b7235a83ad2.jpg",[],{"id":2929,"slug":2930,"title":2347,"dynasty":173,"author":2782,"museum":214,"description":2931,"tags":2932,"thumbUrl":2933,"material":150,"size":150,"collection":150,"collections":2934,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},239308,"fang-gu-shan-shui-ce-wu-lin-239308","吴麐（1691～1772），字粟园，一作粟原，一字尧圃，安徽歙县籍，家江西景德镇。其家有景德镇古窑，与唐熊年三窑并称吴窑。山水学黄公望，以疏散简淡为主，用墨干湿相参不见痕迹，长于小幅，若大幅则病其翠弱，亦不多见。生平有古君子风，老客扬州汪贻士家。",[23,26,66,280,1128,65,7,50,199,476],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b44bcdd4eb33694b74916d3877560c2.jpg",[],{"id":2936,"slug":2937,"title":2347,"dynasty":173,"author":2782,"museum":214,"description":2931,"tags":2938,"thumbUrl":2939,"material":150,"size":150,"collection":150,"collections":2940,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":36},239297,"fang-gu-shan-shui-ce-wu-lin-239297",[23,26,65,280,66,111,69,584,7,94,45],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24d360c913b9776c53f4ba54343c43c5.jpg",[],{"id":2942,"slug":2943,"title":2944,"dynasty":18,"author":500,"museum":214,"description":2945,"tags":2946,"thumbUrl":2951,"material":562,"size":563,"collection":150,"collections":2952,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":78},228670,"diao-zhu-shi-nv-ting-yuan-bi-tong-yi-ming-228670","雕竹仕女庭园笔筒","笔筒： 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