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、海棠、碧海珊瑚、牡丹、枇杷、卷丹、洛阳花、凤仙花、菊花、梅花。除了梅花一开，作者写明是学杨补之的水墨画法之外，其余各开全用没骨法，完全不用墨线勾勒，直接用颜色点厾出花朵、叶片、果实，只以色线勾勒叶茎。落色点花的没骨花，既不同于细线勾勒再层层渲染的工笔花卉，也不同于水墨淋漓的大写意花卉，它介于两者之间，也被称作“小写意”花卉。工笔求逼真，写意求意趣，恽氏没骨花所求正在“似与不似之间”。着色花卉自然比纯粹的水墨更逼真，但直接点染的“落色花”比起层层渲染的工笔花卉又有更大的随意性，不必被物象的细枝末节所羁绊，可以放手表现花的风骨。就气质而言，没骨花介于工笔与大写意之间，既不刻画，也不放逸，清新洒脱。",[25,26,83,29,84,53,7,35,85],"册","没骨","花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed8966ba999269ca801a2d4a56096289.jpg","纸本,设色","",[71],2727,12,"BDBDBD",{"id":94,"slug":95,"title":96,"dynasty":97,"author":98,"museum":99,"description":100,"tags":101,"thumbUrl":103,"material":104,"size":105,"collection":106,"collections":107,"showCount":108,"zanCount":109,"manualWeight":42,"mainColor":43},220341,"mo-zhu-tu-su-shi-220341","墨竹图","宋","苏轼","美国大都会艺术博物馆","自苏轼而至元四家，墨竹之风大兴，竹常被文人高士用以表现清高拔俗的情趣，有正直的气节、虚心的品质和纯洁的思想感情，因此墨竹成了书、画、道的综合体，成了人格、人品的写照，寓意兴寄愈益丰厚。此作笔法谨严有致，具潇洒神态。",[23,25,53,7,57,102],"印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06c9dbb225579521686a0829aa7646b7.jpg","纸本","54.3x33厘米","宋画精选",[106],1694,16,{"id":111,"slug":112,"title":113,"dynasty":97,"author":114,"museum":115,"description":116,"tags":117,"thumbUrl":120,"material":37,"size":121,"collection":71,"collections":122,"showCount":124,"zanCount":125,"manualWeight":42,"mainColor":43},219012,"bai-he-tu-yi-mi-fei-219012","白鹤图(一)","米芾","大英博物馆","画中仙鹤身姿卓然，长颈引向云端，喙尖轻启似欲鸣。白羽如霜，纹理细若鳞次；黑尾如墨，羽梢微扬带风致。修长鹤腿立于浅草间，与几丛翠竹叶相映成趣。右上角圆月朦胧，棕褐绢底衬得画面清寂雅致。笔墨间藏着文人的疏淡意趣，每一处细节都透着对自然生灵的细腻体察，仿佛能闻见竹林间的清风，看见月光下仙鹤独立的悠然之态，尽显古典绘画的空灵韵致。",[23,24,25,26,27,28,29,85,118,7,119],"鹤","月亮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75d2711fede74296897913b73c08612b.jpg","132.5x61.5cm",[71,123],"设色画精选",1575,17,{"id":127,"slug":128,"title":129,"dynasty":18,"author":130,"museum":131,"description":132,"tags":133,"thumbUrl":134,"material":87,"size":88,"collection":71,"collections":135,"showCount":136,"zanCount":137,"manualWeight":42,"mainColor":92},218130,"shui-xian-zhu-zhi-tu-shi-tao-218130","水仙竹枝图","石涛","美国弗利尔美术馆","石涛，法名原济，靖江王朱守谦十世孙，工书法，能诗文。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。",[23,25,53,29,54,7,64,35,102,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F112234b8c56ae7eab1e3115341e7947f.jpg",[71],1313,3,{"id":139,"slug":140,"title":141,"dynasty":48,"author":142,"museum":143,"description":144,"tags":145,"thumbUrl":148,"material":37,"size":149,"collection":39,"collections":150,"showCount":151,"zanCount":152,"manualWeight":42,"mainColor":43},216996,"sui-chao-tu-tang-yin-216996","岁朝图","唐寅","台北故宫博物院","这幅画描绘的是元旦期间隐居在梅州山村，在节日前放松的情景。",[25,26,27,29,28,59,30,146,7,147],"山石","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fde0a52080c0f595740ed450c1c4367.jpg","125x49.7",[39,123],1119,6,{"id":154,"slug":155,"title":156,"dynasty":97,"author":98,"museum":143,"description":157,"tags":158,"thumbUrl":159,"material":160,"size":88,"collection":106,"collections":161,"showCount":162,"zanCount":91,"manualWeight":42,"mainColor":43},218786,"yu-zhu-tu-su-shi-218786","雨竹图","展卷即见墨竹数竿，竹叶层叠如聚雨，浓淡相宜间，笔意随兴流转。竹枝以中锋行笔，挺而不僵，叶尖带露似垂非坠，尽得雨中之姿。墨色干湿互见，枯笔处显苍劲，湿笔处含润泽，如书家走笔般一气呵成。旁有题跋，字迹与竹枝笔意相通，墨痕交融，印鉴朱红点缀，更添古雅。整幅画无布景却意境丰满，竹之清劲与文人风骨相融，观之如闻雨声淅沥，见竹影婆娑，尽显文人画“以形写神”之妙，是笔墨与心性共生的典范，藏着宋元文人对自然与自我的深情观照。",[23,25,26,53,7,57,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb33b2f2b006aa2ac63f2963676954dbf.jpg","绢本",[106],1106,{"id":164,"slug":165,"title":166,"dynasty":167,"author":168,"museum":50,"description":169,"tags":170,"thumbUrl":171,"material":172,"size":173,"collection":71,"collections":174,"showCount":175,"zanCount":176,"manualWeight":42,"mainColor":43},214260,"zhu-shi-tu-yi-ming-214260","竹石图","元","佚名","竹石图是一幅作者不详的元代画作。这幅画作描绘了竹林和石山的景象。\n\n在这幅画作中，画家巧妙地捕捉了竹林和石山的自然韵味。他用浓墨重彩的画法，勾勒出了竹林和石山的景象。他还用细腻的线条勾勒出了竹林和石山的细节，让人感受到了竹林和石山的自然韵味。\n\n此外，画家在这幅画作中还描绘了竹林和石山周围的景色。他用色彩丰富的画法，描绘了竹林和石山周围的山川和河流。这些景色与竹林和石山的自然韵味形成了鲜明的对比，让人感受到了自然与人类活动的和谐共存。",[23,25,24,26,27,53,7,35,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08730665024372a850d7031f0ea9663b.jpg","绢本,水墨","138x79",[71],1055,2,{"id":178,"slug":179,"title":180,"dynasty":18,"author":181,"museum":182,"description":183,"tags":184,"thumbUrl":186,"material":87,"size":187,"collection":71,"collections":188,"showCount":189,"zanCount":190,"manualWeight":42,"mainColor":92},218895,"jin-ji-zhu-ju-tu-zhou-hua-yan-218895","锦鸡竹菊图轴","华嵒","上海博物馆","华嵒的《锦鸡竹菊图》轴既融合了没骨写生，又揉和了水墨泼染之长，形成了兼工带写、灵巧松秀的小写意风格，栩栩如生，姿态万千，艺术手法非常高超。",[25,29,85,28,27,185,7,67,35],"锦鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56e481200e5ac0e9cc66a96220c80926.jpg","纵106.8厘米，横47.2厘米",[71],1037,4,{"id":192,"slug":193,"title":194,"dynasty":195,"author":196,"museum":50,"description":197,"tags":198,"thumbUrl":201,"material":202,"size":203,"collection":39,"collections":204,"showCount":205,"zanCount":206,"manualWeight":42,"mainColor":43},221042,"nv-shi-zhen-tu-quan-juan-gu-kai-zhi-221042","女史箴图全卷","晋","顾恺之","《女史箴》是西晋广武侯张华所写，文字内容是关于女子的德行操守，以教化训诫为目的。顾恺之将文中故事以图画的形式加以描绘，使之通俗易懂。现存《女史箴图》最早的画本是唐代摹本，原为清宫旧藏，现藏于大英博物馆。此卷为宋人摹本，全图有画11段，分别为“樊姬感庄”、“卫女矫桓”、“冯婕妤挡熊”、“班婕妤辞辇”、“防微虑远”、“知饰其性”、“出其言善”、“灵监无象”、“欢不可以渎”、“静恭自思”、“女史司箴”。本卷为白描人物，笔法流利，线条细劲连绵，比高古游丝描又多了几份挺健，更接近李公麟一派。人物形象有古意，此卷宋摹本较唐摹本画面内容多两段，对了解《女史箴图》母本及其流传，以及早期人物画法的演变具有重要的参考价值。",[23,25,56,199,29,28,30,31,34,57,102,7,200],"白描","山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28e16c9ec9cf1b988dbcda811f3ae11a.jpg","纸本，墨笔","横601厘米，纵27.9厘米",[39,123],944,15,{"id":208,"slug":209,"title":210,"dynasty":18,"author":211,"museum":182,"description":212,"tags":213,"thumbUrl":215,"material":69,"size":216,"collection":71,"collections":217,"showCount":218,"zanCount":152,"manualWeight":42,"mainColor":92},214687,"mei-hua-zhu-shi-tu-ce-wang-shi-shen-214687","梅花竹石图册","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。",[25,26,83,53,199,59,7,214,102],"石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F775e1c19a55ed4a95fa31138be1fa875.jpg","纵25 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厘米",[71],901,{"id":220,"slug":221,"title":222,"dynasty":97,"author":223,"museum":224,"description":225,"tags":226,"thumbUrl":227,"material":160,"size":228,"collection":106,"collections":229,"showCount":230,"zanCount":231,"manualWeight":42,"mainColor":43},221182,"mei-zhu-tu-ye-ma-lin-221182","梅竹图页","马麟","藏地不详","绿竹丛中逶迤伸出白梅两枝，清丽冷艳",[23,24,25,26,83,28,29,85,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d26a148f7c6e0c7598c67b7543456d8.jpg","纵26厘米，横26.5厘米",[106,71,123],851,9,{"id":233,"slug":234,"title":235,"dynasty":18,"author":130,"museum":224,"description":236,"tags":237,"thumbUrl":240,"material":241,"size":242,"collection":243,"collections":244,"showCount":245,"zanCount":137,"manualWeight":42,"mainColor":92},224526,"ku-mu-zhu-shi-tu-juan-shi-tao-224526","枯木竹石图卷","石涛（1642一约1707），清代画家、中国画一代宗师。法名原济，一作元济。本姓朱，名若极。字石涛，又号苦瓜和尚、大涤子、清湘陈人等。广西全州人，晚年定居扬州。明靖江王后裔，幼年遭变后出家为僧，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《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。",[23,25,26,56,53,238,239,7,214,200,60,57,58,102],"皴法","枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e40f18081971367110555976691d9e.jpg","纸本墨笔","纵23.5厘米，横213.5厘米","水墨画精选",[243],845,{"id":247,"slug":248,"title":249,"dynasty":18,"author":250,"museum":251,"description":252,"tags":253,"thumbUrl":254,"material":69,"size":88,"collection":71,"collections":255,"showCount":256,"zanCount":257,"manualWeight":42,"mainColor":92},216366,"jing-ji-cong-lan-tu-zheng-ban-qiao-216366","荆棘从兰图","郑板桥","私人收藏","郑板桥是一位著名的清朝画家，他创作的《荆棘丛兰图》是一幅工笔画作品，以荆棘丛生的兰花为主题。这幅画用精细的笔法勾勒出了兰花的各个细节，如花瓣、花茎、花药和荆棘。整幅画给人以自然美的感受，同时也体现出了郑板桥在工笔画技法上的精湛技艺。",[23,25,26,56,53,54,57,58,102,66,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd1b681b72b4ba6f2e49e8cac42d39fb.jpg",[71],816,7,{"id":259,"slug":260,"title":261,"dynasty":167,"author":262,"museum":50,"description":263,"tags":264,"thumbUrl":265,"material":266,"size":267,"collection":243,"collections":268,"showCount":270,"zanCount":271,"manualWeight":42,"mainColor":272},220780,"mo-zhu-po-shi-tu-wu-zhen-220780","墨竹坡石图","吴镇","此图绘平坡拳石，竹枝斜垂。图中平坡直以淡墨晕染，拳石则重墨勾画轮廓，复以浓淡相间的墨色加以皴染，笔墨浑厚苍润。画面上方几茎竹枝斜斜垂入画面，不仅得“意在画外”之趣，且其插入的角度与取倾侧之势的坡石相呼应，使画面趋于平衡。整体画面欹中寓平，稳中求变，表现出作者控制全局的高超技巧。\n全图取景简洁，意境清幽，正如时人孙大雅《墨竹记》中所云：“……其趣适常在山岩林薄之下，故其笔类有幽远闲放之情，殊乏贵游子弟之气……”正道出了此图意趣之所在。",[23,25,26,27,53,7,35,102,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F162c658d1d21976ed1ec52ed3d2446e9.jpg","纸本 墨笔","90cmx24cm",[243,269],"竹石精选",747,5,"F48FB1",{"id":274,"slug":275,"title":276,"dynasty":48,"author":277,"museum":182,"description":278,"tags":279,"thumbUrl":282,"material":37,"size":88,"collection":71,"collections":283,"showCount":284,"zanCount":285,"manualWeight":42,"mainColor":43},219749,"chun-feng-jia-die-tu-chen-hong-shou-219749","春风蛱蝶图","陈洪绶","陈洪绶（1598-1652年），字章侯，号老莲，别号老迟、悔迟，浙江诸暨人。此图作于顺治八年（1651)，画赠老友戴茂齐。所绘山雀、竹枝、海棠、水仙、蛱蝶、怪石、梨花，设色妍丽，富有装饰意味。卷末有作者自题，据此可知：是年秋天，画家曾以一金购得文徵明画一幅，戴茂齐喜之，遂赠之。后数日，友人丁秋平之子病重，陈氏借戴一金，赠以资汤药。孟冬，画家又作《博古叶子》一本赠戴，时家中乏米，借戴一金，故作此卷酬之。",[25,26,56,29,28,199,102,57,85,59,66,7,64,280,281,35],"蝴蝶","鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f9e4cf48118d09a7f3ae27d2908752.jpg",[71],712,10,{"id":287,"slug":288,"title":289,"dynasty":48,"author":290,"museum":291,"description":292,"tags":293,"thumbUrl":298,"material":172,"size":299,"collection":300,"collections":301,"showCount":302,"zanCount":190,"manualWeight":42,"mainColor":43},219903,"shan-ju-du-shu-tu-shen-zhou-219903","山居读书图","沈周","南京博物院","沈周（1427—1509），字启南，号石田，自称白石翁，江苏苏州人。山水少承家法，凡宋元名手，皆能变化出入，而独于董源、巨然、李成尤得心印。中年以黄公望为宗，晚乃醉心吴镇、倪瓒。四十以前画盈尺小景，四十后始拓为大幅。其画以水墨山水为艺林绝品，浅绛者次之，其大设色者尤妙，但存世稀少。人物、花鸟，无一不入神品。本幅即为仿倪之作，笔法遒劲，风格萧疏。",[25,26,27,53,238,57,102,200,294,7,146,295,296,297],"树","房屋","流水","枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad65f1285b34c33d679d0516bef2374a.jpg","纵116.6厘米 横28.8厘米","山水画精选",[300],708,{"id":304,"slug":305,"title":306,"dynasty":97,"author":307,"museum":50,"description":308,"tags":309,"thumbUrl":311,"material":312,"size":313,"collection":106,"collections":314,"showCount":315,"zanCount":176,"manualWeight":42,"mainColor":272},221329,"ting-qin-tu-zhou-zhao-ji-221329","听琴图轴","赵佶","此幅作品描绘官僚贵族雅集听琴的场景。作者以琴声为主题，巧妙地用笔墨刻画出“此时无声胜有声”的音乐的意境。画面背景简洁，如盖的青松和摇曳的绿竹衬托出庭园高雅脱俗的环境，而几案上香烟袅袅的熏炉与玲珑石上栽植着异卉的古鼎与优雅琴声一道，营造出一种清幽的氛围。\n画面上方有宰相蔡京手书七言绝句一首，右上有宋徽宗赵佶瘦金书题“听琴图”三字。作品构图简净，人物举止形貌刻画生动传神，衣纹线描劲挺略带战笔，树石器具描写工致而毫无呆板，着色浑厚而不失清丽，是宋代宫廷人物画的代表作品。由于作品本幅有徽宗题名与画押，一度被认为是赵佶所画，后经学者考证，此幅为宣和画院画家描绘徽宗赵佶宫中行乐的作品，而图中抚琴者， 正是赵佶本人。",[23,25,24,26,27,28,29,30,60,7,310,57,102],"乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e608fe314a1f03d1034a41f0882fbf.jpg","绢本，设色","纵147.2 厘米，横51.3 厘米",[106,71,123],656,{"id":317,"slug":318,"title":319,"dynasty":97,"author":320,"museum":143,"description":321,"tags":322,"thumbUrl":327,"material":37,"size":328,"collection":71,"collections":329,"showCount":330,"zanCount":152,"manualWeight":42,"mainColor":43},216777,"xue-zhu-wen-qin-tu-huang-quan-216777","雪竹文禽图","黄筌","在这幅「雪竹文禽」图中，画家将树石等主要实景置于幅左，而将江河与水鸭置于幅右。这种虚实对映的布局，不仅显示出南宋独特的审美趣味，也展现了自然生态活泼灵动的特质。画家绘以梅、竹，以及成对成双的游禽与飞鸟，不但点出了早春时序，更具有吉祥的祝幅之意。\n黄筌是五代后蜀的宫廷名画家，北宋时随着蜀主归宋后，便与其子黄居寀同入画院供职，对北宋初期花鸟画影响深远。黄筌喜用勾勒填彩，设色上也较为浓艳。本幅「雪竹文禽」的画风野逸简淡，以画风来看，可能不是黄筌真迹，而是南宋画院画家的作品。",[23,24,25,26,28,53,29,7,323,324,297,325,35,326],"禽鸟","石头","雪","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5f9706b1a724681c40f304326ac14e5.jpg","26.3 x 45.7厘米",[71,106],641,{"id":332,"slug":333,"title":334,"dynasty":18,"author":335,"museum":50,"description":336,"tags":337,"thumbUrl":339,"material":340,"size":341,"collection":71,"collections":342,"showCount":343,"zanCount":344,"manualWeight":42,"mainColor":92},223161,"song-mei-shuang-he-tu-shen-quan-223161","松梅双鹤图","沈铨","此画为作者晚年之作，笔触细致工整，造型生动准确，技法出自明代而又极具个人风格，笔墨工致，敷色浓艳，注重渲染，形象逼真，富有立体感。劲健、流畅的线条，细密的局部勾画，完美的画面构图，令人难以看出此乃年已古稀之人的手笔。\n将工笔、写意、兼工带写、重彩、淡彩、没骨、水墨、白描、勾勒填彩、钩花点叶等绘画技法在写生中灵活运用并加以发展，既重形似，又重神似。",[23,25,26,28,29,85,60,59,118,7,146,338],"红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc931c0442a93ab3c28aef5baea6bb17.jpg","绢本设色","191cm×98.cm",[71],633,11,{"id":346,"slug":347,"title":348,"dynasty":97,"author":349,"museum":143,"description":350,"tags":351,"thumbUrl":352,"material":69,"size":353,"collection":71,"collections":354,"showCount":355,"zanCount":344,"manualWeight":42,"mainColor":92},215109,"sui-han-san-you-tu-zhao-meng-jian-215109","岁寒三友图","赵孟坚","莹净的纸面上，画家以墨笔画上一株饱结花朵、苞蕾的梅枝，继而交错、绕夹著如星芒般的松针与墨影般的竹叶，将它们横斜置於画面中央。这三株折枝植物的组合，不但是一件写生佳作，同时画中岁寒三友－松、竹、梅的组合，又代表当时文人认为应该具备的节操与美德。",[23,25,26,53,199,59,7,60,102,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb649cf50efa4be46ecb8b6ea14056db.jpg","32.2×53.4cm",[71],572,{"id":357,"slug":358,"title":359,"dynasty":360,"author":361,"museum":362,"description":363,"tags":364,"thumbUrl":368,"material":369,"size":88,"collection":88,"collections":370,"showCount":371,"zanCount":176,"manualWeight":42,"mainColor":92},220590,"zhu-zi-he-kun-chong-qi-bai-shi-220590","竹子和昆虫","民国","齐白石","Oscar Niemeyer Museum","这幅画作以工写结合尽显意趣。焦墨挥就柳干，苍劲老拙，淡绿晕染柳叶，条缕垂坠如沐晚风，尽显柔曼舒展之态。枝头鸣蝉与藏于叶间的蚱蜢，用工笔细勾，翅脉纤毫毕现，身形灵动鲜活，仿佛能闻声感其振翅之姿。大写意的疏朗野逸，搭配工笔草虫的精致入微，将乡野秋日常见小景，化为充满生机的雅致画面，藏着画家对乡野闲趣的细腻体察，笔简而意足，平淡中尽显鲜活秋意。",[25,53,29,28,54,7,365,366,367],"蝉","螳螂","蟋蟀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfeb1ed36cc88bbc8986e7ccf8468de5.jpg","Watercolor on paper",[],566,{"id":373,"slug":374,"title":375,"dynasty":167,"author":376,"museum":50,"description":377,"tags":378,"thumbUrl":379,"material":69,"size":380,"collection":71,"collections":381,"showCount":371,"zanCount":137,"manualWeight":42,"mainColor":92},219899,"zhao-shi-yi-men-san-zhu-tu-zhao-meng-fu-219899","赵氏一门三竹图","赵孟頫","此图卷可分三段，分别为赵孟頫之妻管道昇、赵孟頫、次子赵雍所画竹三支。第三段赵孟頫所画之竹，自画卷后方斜出，并一直向前伸展，竹梢低头向下，整体成一弓形，其上细枝左右仲出，竹叶茂密。此竹主要以淡墨画出，浓墨加点，笔法温雅厚重，墨色变化细腻丰富。",[23,25,26,56,53,58,102,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11b327490001f9742b145ab2ea2c238a.jpg","纵34厘米 横108厘米",[71],{"id":383,"slug":384,"title":166,"dynasty":167,"author":385,"museum":143,"description":386,"tags":387,"thumbUrl":388,"material":172,"size":88,"collection":243,"collections":389,"showCount":390,"zanCount":271,"manualWeight":42,"mainColor":92},218759,"zhu-shi-tu-ni-zan-218759","倪瓒","简淡笔墨勾勒出一方清寂天地。嶙峋顽石以折带皴写就，骨力暗藏；几竿瘦竹用中锋挥毫，风神毕现。坡岸以淡墨扫出，不着繁饰却有山野之旷；竹叶疏密交织，寥寥数笔便见雅趣之浓。留白处似含虚寂之气，引观者神思悠远；笔墨间尽是淡远之怀，映画家澄净本心。无喧嚣之扰，无艳色之惑，简而不薄，疏而有致，于极简中藏深致，于清寂中见真趣。尽显文人画的空灵韵致，亦为超脱尘俗的精神气象凝于纸上。",[23,25,24,26,27,53,199,35,7,297,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87a185b2b68c761e19a18f984e0eb2ee.jpg",[243],561,{"id":392,"slug":393,"title":394,"dynasty":18,"author":250,"museum":20,"description":395,"tags":396,"thumbUrl":397,"material":398,"size":88,"collection":71,"collections":399,"showCount":400,"zanCount":176,"manualWeight":42,"mainColor":92},223294,"lan-zhu-tu-zheng-ban-qiao-223294","兰竹图","郑板桥（1693年－1766年），原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。清代书画家、文学家。\n康熙秀才，雍正十年举人，乾隆元年（1736年）进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为“扬州八怪”重要代表人物。\n郑板桥一生只画兰、竹、石，自称“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”。其诗书画，世称“三绝”，是清代比较有代表性的文人画家。代表作品有《修竹新篁图》《清光留照图》《兰竹芳馨图》《甘谷菊泉图》《丛兰荆棘图》等，著有《郑板桥集》。\n郑板桥书法，用隶体掺入行楷，自称“六分半书”，人称“板桥体”。其画，多以兰草竹石为主，兰竹几成其心灵的郑板桥的书法艺术，在中国书法史上是独树一帜的。\n由他23岁写的《小楷欧阳修《秋声赋》和30岁写的《小楷范质诗》推知，板桥早年学书从欧阳询人手。其字体工整秀劲，但略显拘谨：这与当时书坛盛行匀整秀媚的馆阁体，并以此作为科举取士的标准字体有关。对此，郑板桥曾说：“蝇头小楷太匀停，长恐工书损性灵。”在他40岁中进士以后就很少再写了。郑板桥书法最被称道的是“六分半书”，即以“汉八分”（隶书的一种）杂人楷、行、草而独创一格的“板桥体”。\n“六分半”书，是郑板桥对自己独创性书法的一种谐谑称谓。隶书中有一种笔画多波磔的“八分书”，所谓“六分半”，其意大体是隶书，但掺杂了楷，行、篆、草等别的书体。《行书曹操诗》轴（如同，现藏扬州博物馆）可视为“六分半”体的代表作。此件写曹操《观沧海》诗，幅面很大，平均每宇有10平方厘米以上，字体隶意颇浓，兼有篆和楷；形体扁长相间，宅势以方正为主而略有摆宕。拙朴扩悍，恰与曹诗雄伟阔大的风格相似。郑板桥曾在《赠潘桐冈》诗中称道自己的书法：“吾曹笔阵凌云烟，扫空氛翳铺青天。一行两行书数字，南箕北斗排星躔。”\n郑板桥书法作品的章法也很有特色，他能将大小、长短、方圆、肥瘦、疏密错落穿插，如“乱石铺街”，纵放中含着规矩。看似随笔挥洒，整体观之却产生跳跃灵动的节奏感。如作于乾隆二十七年的《行书论书》横幅，时已七十高龄，乃晚年佳作。大意是说苏东坡喜用宣城诸葛氏齐锋笔，写起来十分如意，后来改用别的笔，就手心不相应。板桥自己喜用泰州邓氏羊毫笔，写起来婉转飞动，无不如意。于是把泰州邓氏羊毫比作宣城诸葛齐锋，最后说：“予何敢妄拟东坡?而用笔作书皆爱肥不爱瘦，亦坡之意也。”整幅作品结字大大小小，笔划粗粗细细，态势欹欹斜斜，点画、提按、使转如乐行于耳，鸟飞于空，鱼游于水，在一种态情任意的节律中显露着骨力和神采：清人何绍基说他的字“间以兰竹意致，尤为别]趣”。从这件作晶的章法、结体和笔画，不准看出他“波磔奇古形翩翩”的兰竹娄神。\n郑板桥出身于书香门第，康熙末年中秀才，雍正十年中举人，乾隆元年中进士，五十岁起先后任山东范县、潍县知县计十二年。“得志加泽于民”的思想，使得他在仕途对连年灾荒的平民百姓采取了“开仓赈贷”“捐廉代输”等举措，这引起了贪官污吏、恶豪劣绅的不满，被贬官。之后，他靠卖画维持生活。郑板桥的一生，经历了坎坷，饱尝了酸甜苦辣，看透了世态炎凉，他敢于把这一切都糅进他的作品中。郑板桥的题画诗已摆脱传统单纯的以诗就画或以画就诗的窠臼，他每画必题以诗，有题必佳，达到“画状画之像”“诗发难画之意”，诗画映照，无限拓展画面的广度，郑板桥的题画诗是关注现实生活的，有着深刻的思想内容，他以如枪似剑的文字，针砭时弊，正如他在《兰竹石图》中云：“要有掀天揭地之文，震电惊雷之字，呵神骂鬼之谈，无古无今之画，固不在寻常蹊径中也。\n①瘦劲竹子画：郑板桥画竹，“神似坡公，多不乱，少不疏，脱尽时习，秀劲绝伦”。《清代学者像传》说他一生的三分之二岁月都在为竹传神写影，自己曾有诗写道：“四十年来画竹枝，日间挥写夜间思，冗繁削尽留清瘦，画到生时是熟时”。后来他说：“凡吾画竹，无所师承，多得于纸窗粉壁日光月影中耳”。他通过观察和艺术创作的实践，提炼出“眼中之竹”、“胸中之竹”、“手中之竹”的理论。“眼中之竹”是自然实景，是对自然的观察和从中体验画意；“胸中之竹”是艺术创作时的构思；“手中之竹”是艺术创作的实现。他把主观与客观、现象与想象、真实与艺术有机地融为一体，创造了师承自然，而又高于自然的境界。\n自然之竹是客观存在的，画家看到眼里的竹已经和自然之竹有所区别了，然后要进行加工、主观处理，形成胸中之竹，这就是所说的意在笔先，等落到纸上，转化为手中之竹，“手中之竹”说的是画家所创出的一个“第二自然”，胸中之竹和手中之竹都是眼中之竹的升华，概括说就是画家把眼睛看到的客观形象，经过大脑的意象处理，最终经过技术加工物化为典型的艺术形象，是艺术创作的过程。\n当郑板桥任山东潍县知县，曾作过一幅画《潍县署中画竹呈年伯包大中丞括》，画中的竹子不再是自然竹子的“再现”，这诗题，不再是无感而发的诗题，透过画和诗，使人们联想到了板桥的人品，他身为知县，从衙斋萧萧的竹声，联想到百姓困苦疾声，说明他心中装着百姓，情感链系在百姓身上。这时画中的竹叶有了形象的扩展，郑板桥开仓赈贷，救济灾民的场景一幕幕地浮现在人们脑海里，“凝固的瞬间”在观众的脑海里变成了无限延续的故事，好似极富感染力的小说、影片那样，扣人心弦，发人深思。寥寥几笔竹叶，简练几句诗题，让人倍感作品中蕴藏着的深刻的思想、浓浓的情意。再有几幅是郑板桥被贬官后离开潍县，三头毛驴一车书，两袖清风而去，临行前后作的画，其一画竹图题云：“乌纱掷去不为官，囊囊萧萧两袖寒，写取一枝清瘦竹，秋风江上竹渔竿”，借竹抒发了他弃官为民、淡泊名利、享受人生的平静心态，其二《竹石图》画幅上三两枝瘦劲的竹子，从石缝中挺然后立，坚韧不拔，遇风不倒，郑板桥借竹抒发了自己洒脱、豁达的胸臆，表达了勇敢面对现实，绝不屈服于挫折的人品，竹子被人格化了，此时，“诗是无形画，画是有形诗”。类似的还有《墨竹图》《竹图》，这几幅墨竹图，都是借竹子抒发他遭贬官后，越发洒脱。郑板桥所画竹子和题画诗，大多是借竹缘情，托物言志，抒发了“衙斋卧听萧萧竹，疑是民间疾苦声”的情怀，表现出“立根原在乱岩中，任尔东西南北风”的坚劲，表达出“写取一枝清瘦竹，乌纱掷去不为官”的气节和气概，凡竹子的高风亮节，坚贞正直，高雅豪迈等气韵，都被他表现得淋漓尽致。这正是郑板桥作品不同于传统花鸟画之处，不同于前人之处。传统的兰竹大多数表现为欣赏性的、娱乐性的主题，画面主要追求自然形象的真与美、绘画技能的高与低、笔墨运用的娴熟与雅俗，而到了郑板桥的笔下，除了达到这些技能技巧外，题画诗还赋予这题材新的思想内容和深邃意境，使花鸟画亦能产生思想性、抒情性，给人以深刻的感受。\n郑板桥画竹独特，画石亦如此。自然界再无情的石头在他笔下也活了，如《柱石图》中的石头，这也是前人画中常用题材，但很少把它作为主体形象来表现的。而郑板桥在画幅中央别具一格地画了一块孤立的峰石，却有直冲云霄的气概，四周皆空没有背景。画上四句七言诗：“谁与荒斋伴寂寥，一枝柱石上云霄，挺然直是陶元亮，五斗何能折我腰。”诗点破了画题，一下子将石头与人品结合到一块儿，可谓“画不足而题足之，画无声而诗声之。诗画互相为用，开后人无数法门。”板桥借挺然坚劲的石头，赞美陶渊明。板桥赞美他刚直不阿、品格高尚的人格，同时似乎也有吐露他自己同样遭遇及气度的意思。画中的石头代表了人物形象，蕴藏着刚直不阿、气宇轩昂的品质，使人感到，此处画石头比画人更有意味，更能揭示深刻含义。\n③兰花图：郑板桥还有很多以兰花为主题的画，也表现了一些新的内容，借题画诗发挥，寓意对各种各样事物的看法。如：有的借兰花特征，透溢出做人胜不骄、败不馁，持平常心态的胸臆，题画诗云：“兰花与竹本相关，总在青山绿水间，霜雪不凋春不艳，笑人红紫作客顽。”由兰花让人产生联想，做人要像兰花一样幽静、持久、清香，不浮不躁，不争艳。咫尺画幅，拓展无限之大，意境深邃。又如：有的借一丛丛兰花，夹着一些荆棘的自然现象，抒君子能宽容小人之大度的气质。《荆棘丛兰石图》题画诗云：“不容荆棘不成兰，外道天魔冷眼看，看到鱼龙都混杂，方知佛法浩漫漫。”另一幅《荆棘丛兰石图》题云：“满幅皆君子，其后以荆棘终之何也？盖君子能容纳小人，无小人亦不能成君子，故棘中之兰，其花更硕茂矣。”板桥匠心独运，兰花中穿插几枝荆棘，画兰花与荆棘共存，表达了遇有小人，虚怀若谷、和睦共处，“历经磨练，方成英雄”的宽宏大量之胸怀，读画者亦受益匪浅。越读越感简单的植物具有高深的意境，乐趣无穷。纵观郑板桥笔下所画的兰竹石，细品题画诗，我们不难看出，他喜画兰竹石的缘由，正如他所云：“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”，而“为四美也”。“有兰有竹有石，有节有香有骨”。在他眼中，兰竹石，能代表人坚贞不屈，正直无私，坚韧不拔，心地光明，品格高洁等品格，因而其题画诗的字字句句，托物言志，意境深远。\n④题画诗：题画诗在他笔下，除了在内容上有思想性，抒情性以外，在形式上还更具有艺术性、趣味性。题画诗能充分体现“书画同源”“用笔同法”的艺术趣味，而传统画家的题款跋文，大多题于画的空白处，与画面起平衡作用，但“扬州八怪”的题款已脱传统国画以及“文人画”题款、题诗的窠臼，特别是郑板桥将书法与画糅合在一起，还成了共同表现形象的特殊手法，彼此关系不分割。如《兰石图》，郑板桥别具匠心地将诗句用书法的形式，真草隶篆融为一体，大大小小，东倒西歪，犹如“乱石铺街”地题于石壁上，代替了画石所需的皴法，产生了节奏美、韵律美，又恰到好外地表现了石头的立体感、肌理美，比单纯用皴法表现立体感更具有意趣。这倒成了不可或缺的表现方法，既深刻揭示兰花特征，寓意高尚人品的意境美，又有书法艺术替代皴法的艺术美。让人在观画时既享受到画境、诗境的意境美，又能享受到书法艺术的形式美，沉浸在诗情画意中。另在许多兰竹石的画幅上，他题诗的形式变化多端，不守成规，不拘一格，自然成趣，达到书佳、行款得体，画亦随之增色。所谓行款得体，即是视画面的实际，进行构思，讲究构图的形式美，因而他将题画诗或长题于侧，或短题于上下，或纵题、或横题、或斜题、或贯穿于兰竹之间、藤叶之间，断断续续地题，观其形态，参差错落，疏密有致。是书也是题，是画也是诗，是诗也是画，欣赏每幅画中题画诗，既是绝妙的书法再现，也是将书画相映成趣的综合艺术，书题与画面有机地交融在一起，构成了统一的诗情画意，给人以综合的完美的艺术享受。\n郑板桥情系百姓，与民同忧。乾隆六年（1741年）春，因科举及第考中进士的郑板桥被派往山东范县任县令，开始了他长达12年的官宦生涯。他为官力求简肃，视排衙喝道之类的礼仪为桎梏。为察看民情、访问疾苦，他常不坐轿子，不许鸣锣开道，不许打“回避”“肃静”的牌子，身着便服，脚穿草鞋到乡下察访。即便夜间去查巡，也仅差一人提着写有“板桥”二字的灯笼引路。因为他常常微服“陇上闲眠看耦耕”，以致“几回大府来相问”，竟找不到他的人影子。\n对于百姓的疾苦，他时时刻刻都挂在心上。他一生善于画竹，尤其善于据竹写诗。在潍县任县令时，他的顶头上司、山东巡抚包括向他索求书画，他画了拿手的竹子，并在上面题诗一首：“衙斋卧听萧萧竹，疑是民间疾苦声。些小吾曹州县吏，一枝一叶总关情。”\n乾隆十一年（1746年），郑板桥调署潍县，在潍县任上七年，竟有五年发生旱蝗水灾，生民涂炭，哀鸿遍野。他一面向朝廷据实禀报灾情，请求赈济；一面以工代赈，兴修城池道路，招收远近饥民赴工就食，并责令邑中大户轮流在道边开厂煮粥，供妇孺耄耋充饥。同时，责令囤积居奇者迅速将积粟按通常价格卖给饥民。他自己也节衣缩食，为饥民捐出官俸。在最危急之时，他毅然决定打开官仓放粮。乾隆十七年（1752年），他愤然辞官，回到故乡江苏兴化定居",[25,26,27,53,66,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F681d28d4f5f08cb75a05b07ab8eceef3.jpg","水墨纸本",[71,243],547,{"id":402,"slug":403,"title":166,"dynasty":18,"author":250,"museum":224,"description":404,"tags":405,"thumbUrl":406,"material":104,"size":88,"collection":71,"collections":407,"showCount":408,"zanCount":137,"manualWeight":42,"mainColor":92},220050,"zhu-shi-tu-zheng-ban-qiao-220050","郑板桥(1693-1765)，原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。康熙秀才，雍正十年举人，乾隆元年(1736年)进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为扬州八怪重要代表人物。郑板桥一生只画兰、竹、石，自称四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人。其诗书画，世称三绝，是清代比较有代表性的文人画家。",[23,25,26,27,53,54,58,102,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb724f394a4ef707b4419ea206b3dbdac.jpg",[71],528,{"id":410,"slug":411,"title":412,"dynasty":97,"author":413,"museum":143,"description":414,"tags":415,"thumbUrl":418,"material":87,"size":88,"collection":39,"collections":419,"showCount":420,"zanCount":271,"manualWeight":42,"mainColor":43},216963,"guan-fu-xi-ying-tu-su-han-chen-216963","灌佛戏婴图","苏汉臣","婴戏图即描绘儿童游戏时的画作，又称“戏婴图”，是中国人物画的一种。因为以小孩为主要绘画对象，以表现童真为主要目的，所以画面丰富，形态有趣。中国很早已有绘画婴孩的传统，到了唐宋时期技巧渐趋成熟，宋代更是婴戏图的黄金时期，使之成为中国绘画中极受欢迎的画类。\n\n宋代是婴戏图发展的全盛时期，不但取材多样化，而且描绘技巧高超。有的采用鲜艳颜色以衬托婴孩游玩时的愉快心情，营造热闹快乐的气氛；有的利用简洁的线描，刻划平民的市井风情。市井之民虽生于低下阶层，物质生活不甚丰富，但小孩的天真、贪吃贪玩的性情仍溢于纸上。在婴孩的形体构图方面，孩子面貌及身形比例准确，不再是“身小而貌壮”或“妇人之貌”。而且画家每每绘画小孩穿上轻纱薄衣，使观者能通过薄衣透视小孩丰满圆润的身段。婴孩面部表情亦十分丰富，喜怒哀乐活灵活现。宋代婴戏图的兴盛和成功，奠定了婴戏图的基础，亦创新了不少题材，使后世仿效之作甚多。",[25,24,26,28,29,30,61,7,294,416,417],"假山","栏杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc85835c28e628810548dd2c93dbfbd.jpg",[39],525,{"id":422,"slug":423,"title":424,"dynasty":18,"author":79,"museum":425,"description":426,"tags":427,"thumbUrl":430,"material":431,"size":432,"collection":123,"collections":433,"showCount":434,"zanCount":137,"manualWeight":42,"mainColor":92},220997,"hua-hui-tu-ce-zhu-shi-tu-yun-shou-ping-220997","花卉图册·竹石图","美国纳尔逊阿特金斯艺术博物馆","《花卉图册》绘有荷花、梨花、水仙、桃花、山矾、罂粟、茶蘼、金萱石榴、牵牛、双凤、桂枝及雁来红等十二种花。画用新没骨法，不用墨线钩勒，而直接着色点染而成。点色的用笔很洒脱、飘逸。十二种花，各具姿色。色彩艳而不俗，色调的表情是清丽和冷艳，在秀雅之中含有一种凛然难犯的韵味。画册中，作者或题名或赋诗，那秀劲古逸、和婉密丽的书体，与这种艳雅的画风相结合，相得益彰，更具魅力。该图册是恽寿平绘画中的精品。\n恽寿平（1633—1690），初名格，字寿平，号南田，武进（江苏常州）人。其诗格超逸，书法遒劲，擅长山水画，尤精没骨花卉画，画笔生动。",[23,25,26,29,83,84,7,35,428,429,85],"草","果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ddb009d00a9d8acb3b4ebc9060d819d.jpg","纸本 设色","24.5×29.3cm",[123,269],511,{"id":436,"slug":437,"title":438,"dynasty":18,"author":250,"museum":224,"description":395,"tags":439,"thumbUrl":440,"material":441,"size":442,"collection":71,"collections":443,"showCount":444,"zanCount":91,"manualWeight":42,"mainColor":92},223295,"mo-zhu-zheng-ban-qiao-223295","墨竹",[23,25,27,53,57,58,7,102,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b02064efe84ab0f7521ea162036d0de.jpg","白纸本","38*138CM",[71,243],509,{"id":446,"slug":447,"title":448,"dynasty":48,"author":449,"museum":20,"description":450,"tags":451,"thumbUrl":458,"material":37,"size":459,"collection":39,"collections":460,"showCount":461,"zanCount":11,"manualWeight":42,"mainColor":92},214881,"du-le-yuan-tu-chou-ying-214881","独乐园图","仇英","北宋时期，司马光写了《独乐园记》，其中描述了他自己在洛阳的住所和花园。该卷按从右到左的顺序展示了司马光《独乐园记》中的主要园林场景。然而，司马光在现场反复出现，体现出他的“独乐”之趣。",[23,25,56,26,28,29,452,200,30,453,454,455,296,7,456,146,457,85],"界画","楼阁","亭","小桥","树木","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabdf15eedcbab4e8bd1fe941d9144d1d.jpg","28x519.8",[39],497,{"id":463,"slug":464,"title":465,"dynasty":167,"author":262,"museum":143,"description":466,"tags":467,"thumbUrl":468,"material":69,"size":88,"collection":71,"collections":469,"showCount":470,"zanCount":190,"manualWeight":42,"mainColor":92},216597,"mo-zhu-pu-ce-ye-wu-zhen-216597","墨竹谱册页","吴镇墨竹谱册简称《墨竹谱》，共二十二页，每页纵40.3厘米，横52厘米，纸本，墨笔，现藏台北故宫博物院。前两页书苏轼撰文同偃竹记，后二十幅画各种姿态的墨竹，每幅都有图有文。作于1350年（元至正十年），时吴镇71岁，是画给儿子佛奴的。全册画竹诸态悉备，可谓得竹之真性情。册首隶书“万玉藂”三字，王一鹏所书，王为明弘治间贡生。\n\n二十幅图，分别画新篁、嫩枝、老干、垂叶、雨竹、风竹、雪竹、坡地竹林、崖壁垂竹，或粗竿挺拔，竹叶清劲，或细枝临风，摇曳生姿。每幅画的构图都有很大的区别，以画谱而言，称得上变化多端，诸法悉备，成为后之学者极好的借鉴。\n\n这套竹谱的图文组合最值得称道，画面上书与画的“经营位置”的创意：承前而启后。在宋以前，图上都不落文字，连作者的名款都没有。北宋开始，画上渐有作者姓名和时间的落款，开始时写得极小，或隐在画中，生怕影响了画面。至元代赵孟頫出，强调以书入画，不但注重用书法的笔法作画，而且其画上所题的诗、文也渐多，有时为记事甚至出现长题。吴镇此《墨竹谱》册，在其丰富多变的构图中可以清晰地感觉到作者在画之前已为题文预留位置。书与画开始在画面上平分秋色，相得益彰，形成了中国画不同于其他艺术的最具文化意义的特色之一。\n\n吴镇墨竹谱册从附图观之，图绘笋、粗竿、新篁、折枝共七八竿，错落有致。虽说吴镇墨竹宗文同，但他的画法与文同相比较，已经有了很大的改变：文同画竹，竹竿纡曲，竹叶密集，而以墨之浓、淡示叶面之正、反。吴镇画竹，却以墨色的浓、淡示竹竿之前、后，新篁以淡墨画枝，而以浓墨画叶。叶之长、短，似随意生发，但疏落简率，苍劲挺拔。短枝疏叶，笔不连而意贯，一似其题款草书，纵横跌宕，一气呵成。笔锋略秃，中锋撇去，凝厉而厚重。竹根植于土中，根畔短草丛生，前浓而远淡，增强了画面透视的纵深感。",[23,25,26,24,83,53,102,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb4166808e7bc40a42f776572d6d7608.jpg",[71],489,{"id":472,"slug":473,"title":166,"dynasty":167,"author":474,"museum":50,"description":475,"tags":476,"thumbUrl":477,"material":87,"size":478,"collection":71,"collections":479,"showCount":480,"zanCount":176,"manualWeight":42,"mainColor":43},214307,"zhu-shi-tu-li-kan-214307","李衎","这幅画中的竹子被整齐而优雅地画上了双色的轮廓，显示了大自然在春天的重生，老竹子旁边有两棵新竹子，让人想起雨后发芽的春笋。山坡上的悬崖被涂成漂亮的厚重的黑色，以突出形成的角落，岩石后面的小竹子和野树增加了多样性。",[23,24,25,26,27,53,238,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe05faafdaaa730a5ac24d211025a2689.jpg","185.5x153.7",[71],456,{"id":482,"slug":483,"title":484,"dynasty":48,"author":49,"museum":291,"description":485,"tags":486,"thumbUrl":495,"material":104,"size":496,"collection":300,"collections":497,"showCount":498,"zanCount":42,"manualWeight":42,"mainColor":43},222233,"za-hua-tu-xu-wei-222233","杂花图","《杂花图》是明代画家徐渭所创作的一幅泼墨画，纸本作品，是南京博物院18件镇馆之宝中唯一一件书画作品。画中分别将牡丹、石榴、荷花，梧桐、菊花、北瓜、扁豆、紫薇、紫藤、芭蕉、梅、兰、竹共计十三种花卉绘于一卷。\n《杂花图卷》是徐渭传世的佳作，在这卷十余米的长卷中，徐渭以酣畅淋漓的“胶墨”分别绘制了牡丹、石榴、梧桐、菊花、南瓜、扁豆、紫薇、紫藤、芭蕉、梅兰竹等13种花卉蔬果。徐渭以其疾飞狂扫的豪放气势，纵横挥洒，信笔涂抹：画中牡丹含羞沾露，占尽风流；硕荷、梅兰、修竹、榴枝，笔触歪斜正侧，跌来倒去，随意点染，自如流畅。作紫藤逸笔草草、洋洋洒洒。忽而，又如狂风乍起，点线飞舞，纵横密集，线条速急癫狂。顷刻，笔住墨涸，嘎然而止，墨彩纷呈，留下满纸斑斓。体现了他用笔峭拔劲挺多变与用墨洒脱自如的艺术风格。画中尽显着交响乐一般波澜起伏的宏大乐章。时隔4个世纪，画中依然显出墨迹淫淫的湿润感。\n《杂花图》卷，全图以牡丹起首，按牡丹象征富贵，这与徐青藤的身世相左，故而他一变旧法而改以泼墨写牡丹“虽有生意，终不是此花真面目”，在这枝墨牡丹上我们确实很难寻找富贵的痕迹了。紧接着石榴一枝，充分体现了他用笔的灵动，而墨荷：则重在展示墨彩的缤纷 。梧桐以其肥硕的枝干稳住了这二小段的重心，这是全图的第一个高潮。以下菊花、扁豆、紫薇等只是逸笔草草，随意点染。就章法而言，疏密是相对而存在的，这一小段貌似不经意之笔，在全图的节奏处理上却起着关键的作用。紫藤如蛇的老干泼辣粗放，“一扫槎枒三丈绢”的气势，形成了全图的最高潮。紫藤的花叶更是水墨淋漓，走笔如飞而不乱，意犹跃出纸外。芭蕉是滋润而含蓄的，它与紫藤形成了动与静的强烈对比，貌与质的相依共存。接下来梅枝横斜傲骨铮铮，幽兰、纤竹寥寥数笔，是为尾声。艺术是相通的，我们从这卷《杂花图》中可以领略到诗的起、承、转、合，也像欣赏一部交响曲，从引子到尾声，节奏和韵味正是它们共同的内涵。我们更能通过此图触摸到青藤老人胸中激情的横流。",[23,25,26,56,53,55,57,61,487,488,489,490,491,492,493,494,7],"石榴","荷花","梧桐","菊花","南瓜","扁豆","紫薇","葡萄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2ccaec0a74bfab54d306d36724d1bcb.jpg","1053.5X30厘米",[300,243],448,{"id":500,"slug":501,"title":502,"dynasty":97,"author":503,"museum":224,"description":504,"tags":505,"thumbUrl":506,"material":88,"size":88,"collection":88,"collections":507,"showCount":508,"zanCount":11,"manualWeight":42,"mainColor":43},231852,"song-hui-zong-ti-hua-niao-tu-zhao-chang-231852","宋徽宗题花鸟图","赵昌","赵昌，生于970-1040年，字昌之，北宋画家，广汉剑南（今四川剑阁之南）人。工书法、绘画，擅画花果，多作折枝花，兼工草虫。初师滕昌祐，后来发展出自身画风，没骨花鸟自成一派，有徐熙、黄荃遗风。在北宋时期与宋徽宗赵佶齐名，是宋代花鸟画坛的杰出画家。\n赵昌，字昌之，北宋时期（公元11世纪)，广汉剑南（今四川剑阁之南）人，生卒年不详。性情爽直高傲，刚正不阿。时州伯邵牧争求笔迹，不肯轻与。\n工书，擅画花果，多作折枝花，兼工草虫。初师滕昌祐，后过其艺，亦效徐崇嗣“没骨法”，常于清晨朝露未干，围绕花圃观察花木神态，调色描绘，自号“写生赵昌”。当时盛行厚彩重色，而赵昌所作一片平滑，明润匀薄，活色生香。真宗大中祥符（1008-1016）间，声誉益隆。丁朱崖奉白金五百为寿，昌感其意，亲往谢之。此时，朱崖邀其至东阁，求画生菜数窠及烂瓜生果等，昌挥笔遽成而去。晚年其自矜所作，往往深藏不市，若见自家画作流落市井，则复自购以归之，故世罕传。",[23,25,26,27,28,29,85,59,7,281,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4595cc6a353626e75beccdda5e1c00e.jpg",[],447,{"id":510,"slug":511,"title":512,"dynasty":18,"author":130,"museum":131,"description":132,"tags":513,"thumbUrl":514,"material":87,"size":88,"collection":71,"collections":515,"showCount":516,"zanCount":271,"manualWeight":42,"mainColor":92},218131,"tao-hua-zhu-zhi-tu-shi-tao-218131","桃花竹枝图",[23,25,26,85,53,29,63,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82ae9fc9a5c2869c1270ee768459d876.jpg",[71],446,{"id":518,"slug":519,"title":520,"dynasty":521,"author":522,"museum":182,"description":523,"tags":524,"thumbUrl":526,"material":172,"size":527,"collection":71,"collections":528,"showCount":529,"zanCount":137,"manualWeight":42,"mainColor":530},220365,"xue-zhu-tu-xu-xi-220365","雪竹图","五代十国","徐熙","描绘江南雪后严寒中的枯木竹石。石后三竿粗竹挺拔苍劲，其旁有弯曲和折断了的竹竿，又有一些细嫩丛杂的小竹参差其间，更觉情趣盎然、生机勃勃。此图无款识。画中大石右侧的竹竿上，有篆书体倒写“此竹价重黄金百两”八字。此画以线条墨色为主，工整精微而写实，构图新颖，层次丰富，为五代的佳作。",[23,521,25,24,26,525,28,53,7,214,294,325],"落墨法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff22b918bbfe1d12ce62c14f33a7c8f3a.jpg","纵151.1厘米，横99.2厘米",[71],436,"37474F",{"id":532,"slug":533,"title":96,"dynasty":97,"author":534,"museum":143,"description":535,"tags":536,"thumbUrl":538,"material":160,"size":539,"collection":106,"collections":540,"showCount":541,"zanCount":176,"manualWeight":42,"mainColor":43},220354,"mo-zhu-tu-wen-tong-220354","文同","此图以倒垂竹枝为主体，竹叶和竹枝从左上方垂下，出枝微曲取横空之势，着叶不多，但疏密有致，其茎多新枝，竿、节、枝、叶均以水墨单色一笔画出，生趣蓬勃。在宋代文人眼中，竹可以言志，更可以寄情，由此可见文同创作这幅画的目的是宣泄情感和抒发胸怀。",[23,25,53,7,85,537,54],"文人画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ff20000777b3dddfef00a4dd1a06f37.jpg","纵131.6厘米，横105.4厘米",[106,71],430,{"id":543,"slug":544,"title":545,"dynasty":360,"author":546,"museum":547,"description":548,"tags":549,"thumbUrl":552,"material":88,"size":88,"collection":88,"collections":553,"showCount":554,"zanCount":176,"manualWeight":42,"mainColor":92},220453,"hua-niao-ce-ye-pan-tian-shou-220453","花鸟册页","潘天寿","中国美术学院美术馆","这套册页诗书画印浑然天成，十余开铺陈开山野清趣。以浓墨大写鸲鹆，骨力雄健朴拙，墨色厚重凝练尽显沉郁气度；转而写幽花野卉，荷瓣清逸、牵牛含露，水墨晕染虚实相生，将草木舒展之态藏于简括笔意中。\n题跋笔势跌宕，篆隶金石气融于画中，以书入画，线条刚柔相济。每开或绘禽鸟踞枝，或写丛篁蔬果，删繁就简留白疏密得宜，把林泉间的清寂生机缓缓铺展，文人雅致与写意野趣交融无间，笔底带着山野间的灵动意趣，尽显大写意花鸟的诗画交融之妙。",[23,25,26,83,53,29,58,54,102,85,59,66,7,67,64,550,429,35,551],"乌鸦","荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1977491dcb09096c6f919e88e1d5b78a.jpg",[],429,{"id":556,"slug":557,"title":558,"dynasty":97,"author":223,"museum":224,"description":559,"tags":560,"thumbUrl":561,"material":340,"size":562,"collection":106,"collections":563,"showCount":564,"zanCount":11,"manualWeight":42,"mainColor":43},221183,"mei-zhu-tu-ye-2-ma-lin-221183","梅竹图页2","画幅构图空灵简逸，笔墨勾勒韵染逼真，敷彩凸凹清丽雅洁。深绿沉厚的双钩竹叶润染，更凸显出雪白洁净的梅花。寒梅数枝，绿竹穿行，劲挺横斜，偃仰扶疏，笔墨虚实，极具工致灵动之妙。",[23,24,25,26,83,28,29,85,59,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f445c4f5d50251bdb395a7dcb9cb889.jpg","26.5×26厘米",[106,71,123],421,{"id":566,"slug":567,"title":568,"dynasty":48,"author":569,"museum":50,"description":570,"tags":571,"thumbUrl":572,"material":69,"size":573,"collection":71,"collections":574,"showCount":575,"zanCount":257,"manualWeight":42,"mainColor":92},216204,"zhu-qin-tu-lv-ji-216204","竹禽图","吕纪","此幅景物简洁，一竿修竹自左下斜出，呈对角线贯穿画面。主干秀挺，侧枝细劲，叶片疏密有致，是宋元文人画竹之法。两只喜鹊在枝头鸣叫，带有吉祥平安的寓意。作品构图明朗，风格清秀，用小写意笔法，设色清新淡雅，与吕纪其他作品富贵面貌有所不同。",[25,26,27,28,29,85,7,323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b9dc4cfeb5b56018cf4b7bdb04e8a8c.jpg","纵148.5厘米，横467.7厘米",[71],397,{"id":577,"slug":578,"title":579,"dynasty":167,"author":474,"museum":50,"description":580,"tags":581,"thumbUrl":582,"material":69,"size":583,"collection":71,"collections":584,"showCount":585,"zanCount":176,"manualWeight":42,"mainColor":92},214583,"si-qing-tu-li-kan-214583","四清图","它原本是一个长卷，但在明朝中期被分成了两卷。此副是故宫博物院的部分，即后卷。兰、竹、石、梧被称为四清，比喻君子的高贵品格。虽然枝叶茂密，但笔触优雅简洁，墨色自然多变。",[23,24,25,26,56,53,58,102,28,238,7,214,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb3499d343c9e9aef13f39fb8034bcc7.jpg","35.6x359.8",[71],394,{"id":587,"slug":588,"title":589,"dynasty":18,"author":335,"museum":251,"description":590,"tags":591,"thumbUrl":593,"material":87,"size":594,"collection":71,"collections":595,"showCount":596,"zanCount":257,"manualWeight":42,"mainColor":43},219131,"xi-que-shuang-xi-tu-shen-quan-219131","喜鹊双喜图","虬枝盘曲间，梅蕊初绽如雪，几点淡红晕染枝头，似早春私语。一只喜鹊翘尾立于枝上，羽色浓淡相宜，墨羽如缎，白腹似雪，喙尖微抬，似欲鸣春；另一只栖于老干，回眸相顾，长尾垂落如墨线，与枝干的苍劲相映成趣。旁侧新竹数竿，青影摇曳，添几分生机。工笔细描见匠心，枝干皴擦显古拙，花瓣晕染含雅致，禽鸟神态毕肖。动静之间，春意流转，喜意暗生。整幅画韵致清和，既有自然野趣，又藏吉祥寓意，尽显传统花鸟之雅韵，观之令人心生愉悦。",[23,24,25,26,27,28,29,85,59,7,592,323],"飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe247e4c33f78d42b4640f989a2d41eb8.jpg","131x53.5cm",[71],391,{"id":598,"slug":599,"title":600,"dynasty":48,"author":601,"museum":251,"description":602,"tags":603,"thumbUrl":604,"material":87,"size":605,"collection":71,"collections":606,"showCount":607,"zanCount":176,"manualWeight":42,"mainColor":608},216264,"ming-za-hua-ce-wang-zhong-216264","明杂画册","汪中","汪中指的是汪建中（1501-1593年），他是明朝时期的一位著名画家。明杂画册是指他绘制的一组绘画作品集，通常指其中一部名为《汪中杂画册》的作品。《汪中杂画册》是一部非常著名的画册，由汪建中在明朝末期绘制而成。它共有24册，收录了许多他的绘画作品，包括花卉、山水、虫鸟、人物等。这些作品都非常精美，被认为是中国画史上的杰作。《汪中杂画册》目前被认为是中国明朝时期最重要的画册之一，并被认为是中国画史上的经典之作。",[25,26,83,28,29,85,7,33,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F334fee082046ab9e1386c51d5de90a35.jpg","30x27cm",[71],375,"FDD835",{"id":610,"slug":611,"title":612,"dynasty":167,"author":613,"museum":115,"description":614,"tags":615,"thumbUrl":620,"material":340,"size":621,"collection":71,"collections":622,"showCount":623,"zanCount":271,"manualWeight":42,"mainColor":92},221855,"qian-kun-sheng-yi-tu-juan-xie-chu-fang-221855","乾坤生意图卷","谢楚芳","此《乾坤生意图》卷由元代谢楚芳绘。画卷内容主题为动物和昆虫捕食：画面中各类花草盛开，一只蟾蜍埋伏等待着正在肢解蝴蝶的蚂蚁，一只蜻蜓袭击蜥蜴捕获的一只小昆虫，以及螳螂捕蝉等六部分，每组画面看似生机勃勃，实则是动物为生存而绞杀捕猎场景。此卷现藏于大英博物馆。\n这幅精致而珍贵的工笔画是大英博物馆于 1998 年在国家艺术收藏品基金会和布鲁克史威尔永久基金的赞助下花巨资收购的，在丝质封套内有一枚英国人威廉巴特勒 ( Williambutler) 的入藏章，章上的日期标明为 1797 年，是目前所知英国人最早收藏的中国画，曾被大英博物馆列为 “最珍贵的十种馆藏中国文物之一，在英国的中国文物收藏史上占有特殊的地位。",[23,25,26,56,29,28,85,7,280,616,65,617,618,57,58,619],"蜻蜓","草虫","植物","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e1c56124fe25c7b1d901efbb1fb8345.jpg","27.8x352.9cm",[71,123],368,{"id":625,"slug":626,"title":627,"dynasty":18,"author":79,"museum":80,"description":81,"tags":628,"thumbUrl":631,"material":87,"size":632,"collection":88,"collections":633,"showCount":634,"zanCount":176,"manualWeight":42,"mainColor":92},216590,"ou-xiang-guan-xie-sheng-ce-4-yun-shou-ping-216590","瓯香馆写生册-4",[25,53,29,83,629,7,35,630],"写生","柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde774fc752ce497843034312933d9b4f.jpg","26x36cm",[],367,{"id":636,"slug":637,"title":638,"dynasty":18,"author":168,"museum":224,"description":639,"tags":640,"thumbUrl":643,"material":88,"size":88,"collection":88,"collections":644,"showCount":645,"zanCount":137,"manualWeight":42,"mainColor":43},230349,"yong-zheng-shi-er-mei-ren-tu-yin-zhen-mei-ren-tu-yi-ming-230349","雍正十二美人图(胤禛美人图)","仕女侧身凭门，眉眼含柔静赏修竹，暗纹黄衫绣饰精巧，鬓边珠翠轻缀，温婉娴静的闺阁气韵尽显。庭院中奇石错落，盆梅初绽、兰草幽柔，案头盆花清雅动人。画作以框景巧构，将室内外景致相融，淡雅设色晕染出悠然氛围，笔触写实细腻，衣料柔润质感、竹影婆娑意态皆被精妙还原，将深闺女子的闲情意趣与中式园林的雅致意境融为一体，尽显东方古典美学含蓄温婉之韵。",[23,28,29,31,7,146,641,65,417,457,642,27],"盆栽","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a850643fba7892c7c56dbf39750b66e.jpg",[],362,{"id":647,"slug":648,"title":96,"dynasty":48,"author":649,"museum":50,"description":650,"tags":651,"thumbUrl":652,"material":202,"size":653,"collection":243,"collections":654,"showCount":655,"zanCount":137,"manualWeight":42,"mainColor":92},221978,"mo-zhu-tu-wen-zheng-ming-221978","文徴明","本幅绘坡石兰竹、荆棘溪流，无作者款识，钤“悟言室印”、“徵仲”、“徵仲父”、“惟庚寅吾以降”。接纸文徵明自题一段，款署：“徵明題於玉磬山房”。钤“文徵明印”、“衡山”及引首章“停云”。\n图中兰叶、兰花以淡墨描绘，墨色温润，行笔轻盈流利，行转有致。竹子则以浓墨出之，劲健潇洒。对衬景的描写，作者亦颇具匠心，如坡角土石皆以干笔勾画、皴擦，再以荆棘穿插其间，卷尾一段溪流淙淙，都显示出环境的荒率冷寂，从而愈发衬托出兰、竹高雅清芬、不从流俗的品格，突出了传统文人赋予兰竹的人格精神。作者在自题中言道:此图意在师法宋元时期善画兰竹的诸位文人画大师们的画法。观此图，作者直以行草书、“飞白”笔法入画，正是深得赵孟頫“石如飞白木如籀，写竹还于八法通”的艺术理论及创作实践的神髓。在如此鸿篇巨制中，作者尽情浑洒，充分表现出了笔墨的逸趣，是一幅典型的文人画佳作。\n清顾文彬《过云楼书画记》著录。",[23,25,26,27,53,7,57,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec347ecd188da74ed1c680f3cb0f115.jpg","纵26.8厘米，横730厘米",[243,269],352,{"id":657,"slug":658,"title":659,"dynasty":97,"author":660,"museum":143,"description":661,"tags":662,"thumbUrl":668,"material":37,"size":669,"collection":71,"collections":670,"showCount":671,"zanCount":137,"manualWeight":42,"mainColor":43},219395,"hua-niao-zhou-xiao-rong-219395","花鸟轴","萧瀜","旧传为十一世纪辽画家萧瀜所作，但构图与北京故宫所藏吕纪〈桂菊山禽〉类似。加之在右幅石块上发现一「四明吕廷振印」之残印，推论此幅作品可能实为吕纪作品。图中描绘三只山鹧鸟俯盼于激流旁的岩石。上方舞动的竹叶的竹干，与下方的流水、及石上与空中鹊鸟的动向相互应和，形成一种吕纪花鸟特有的优雅却又互动频繁的构图。其中山鹧俗称拖尾练，常被误认为绶带鸟，而其中「绶」与「寿」谐音，而「竹」与「祝」谐音，用以表现祝寿之吉祥意。",[23,24,25,85,27,29,7,296,663,592,664,665,65,666,667],"岩石","山鹧","鹊鸟","祝寿","吉祥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f2fe32238fe90f0171dc8b50979108.jpg","145x83",[71],350,{"id":673,"slug":674,"title":675,"dynasty":97,"author":98,"museum":131,"description":676,"tags":677,"thumbUrl":678,"material":53,"size":88,"collection":679,"collections":680,"showCount":681,"zanCount":137,"manualWeight":42,"mainColor":43},218610,"mo-zhu-tu-juan-mi-fei-ti-ba-su-shi-218610","墨竹图卷-米芾题跋","墨痕游走间，米芾“刷字”之韵跃然纸上。笔锋如剑戟横空，又似流云舒卷，欹侧相生的结体里，藏着跌宕起伏的节奏。浓墨沉雄如坠石，枯笔筋骨毕露若老树，干湿浓淡交织成流动的韵律。每一字皆为跃动的精灵，或大或小，或疏或密，章法气脉连贯如一气呵成。题跋中既有对苏轼墨竹的叹赏，更融入米芾自身的文人风骨——狂放不失雅致，洒脱暗藏匠心。观之如临溪听涛，酣畅淋漓，尽显宋人文艺的灵动与深邃，堪称书坛不朽之佳作。",[23,24,25,26,56,53,7,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F751deaf605e5b1cdc4090029dc752a6a.jpg","书法精选",[679],348,{"id":683,"slug":684,"title":685,"dynasty":18,"author":250,"museum":182,"description":395,"tags":686,"thumbUrl":687,"material":441,"size":688,"collection":71,"collections":689,"showCount":690,"zanCount":176,"manualWeight":42,"mainColor":92},223298,"zhu-shi-tu-2-zheng-ban-qiao-223298","竹石图2",[23,25,26,27,53,7,35,58,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e983ebb0ad92b6de26b6800638f4370.jpg","纵217.4厘米，横120.6厘米",[71,243],346,{"id":692,"slug":693,"title":694,"dynasty":521,"author":695,"museum":143,"description":696,"tags":697,"thumbUrl":698,"material":37,"size":699,"collection":71,"collections":700,"showCount":701,"zanCount":137,"manualWeight":42,"mainColor":43},216758,"zhu-shi-jin-jiu-tu-huang-ju-cai-216758","竹石锦鸠图","黄居寀","古木巨石旁，荆竹丛生，一弯溪水潺湲流过。一群斑鸠悠闲地在此休憩：有的展翅翱翔，有的在树枝上梳理羽毛作日光浴，有的低首翘尾地站在溪旁饮水，有的站在巨石上，摆出鞠躬、鼓颈的姿势，向下方的斑鸠“咕－咕－咕－”地鸣唱示好。\n斑鸠俗称“粉鸟”，因为颈部羽色黑底白点有若珍珠，因此也名为“珠颈斑鸠”或“锦鸠”。斑鸠们平常多栖息在空旷的平野或树林，但因生性机敏，接近相当不易。在这幅作品里，画家以精妙的画笔捕捉这一幕斑鸠群集的画面，至为难得。此外，纵横乖张的古树枝丫、浓淡对比强烈的斑驳巨石、虚渺无际的溪畔，更为这幕自然增添不少奇幻诡谲的气氛。",[23,25,26,85,28,29,7,214,592,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb10bc776e6b793817d89e43e76fbdf3.jpg","23.6 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45.7公分",[71],343,{"id":703,"slug":704,"title":705,"dynasty":48,"author":290,"museum":224,"description":706,"tags":707,"thumbUrl":709,"material":710,"size":88,"collection":88,"collections":711,"showCount":712,"zanCount":176,"manualWeight":42,"mainColor":92},234135,"ting-quan-tu-juan-shen-zhou-234135","听泉图卷","明代中期，在苏州地区活跃着一批画家，他们在“浙派”风靡一时之后，继承元末江南地区文人画的传统，创立具有时代气息的文人画新潮流，后世称之为“吴门画派”，沈周是这一画派的创始人。\n\n沈周，长洲(今江苏苏州)相城(近阳澄湖)人。出身于文人世家，祖父澄、伯父贞吉、父恒吉，都未应科举，依靠开垦和租赁田地为生。沈周生活的时代，明王朝的政权已得到巩固，社会趋于稳定，经济处于上升阶段，沈周对于汉族统治的朱明王朝是采取拥护态度的。他一生不应科举，隐身乡里，其实是惮于明初治吏的峻刻和畏惧官场争斗的险恶，所采取的一种韬晦保身的处世方式。沈周以儒家道德规范律己，对父母兄弟尽孝悌之道，为人诚挚宽厚，乐于济人之难，善于奖掖后进，他结交的朋友不少是著名的诗人、书画家，又和一些朝廷显宦保持着亲密的友谊。沈周高洁的人品、恬淡温和的性格以及诗文书画的广博才能，深受社会各阶层人士的尊敬，誉重吴中，流播四方，自然地成为吴门艺苑的宗师",[23,24,25,26,56,53,29,200,296,454,30,708,146,238,7,456],"孤舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12fadc37a4d3a1f7171bd687b0589c04.jpg","纸本设色",[],341,{"id":714,"slug":715,"title":716,"dynasty":97,"author":717,"museum":425,"description":718,"tags":719,"thumbUrl":723,"material":104,"size":724,"collection":106,"collections":725,"showCount":726,"zanCount":137,"manualWeight":42,"mainColor":43},221536,"xi-yuan-ya-ji-tu-ma-yuan-221536","西园雅集图","马远","宋代有很多绘画世家，其中最为出名的恐怕要属山西的马家。自北宋后期的马贲开始，马家先后有五代人在皇家画院供职。马氏家族形成了一个庞大的画室或作坊，在这个作坊内雇佣了助手、管理者或代理人，或许还有绘画材料的生产者及裱画匠。1086年（元佑元年），苏轼兄弟、黄庭坚、李公麟、米芾、蔡肇等十六位名士，于驸马王诜宅邸西园集会。马远据此所绘，长卷共分四段。此为其中一段，写米芾挥毫作书，诸文友或立或坐，凝神围观",[23,25,26,53,29,56,238,200,30,708,7,720,296,721,663,456,722],"马","河岸","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61d61573298da75c39200eaa4a2d4892.jpg","29.5×302.3厘米",[106,300,123],334,{"id":728,"slug":729,"title":730,"dynasty":18,"author":79,"museum":425,"description":426,"tags":731,"thumbUrl":732,"material":431,"size":432,"collection":71,"collections":733,"showCount":734,"zanCount":271,"manualWeight":42,"mainColor":92},220999,"hua-hui-tu-ce-sui-han-san-you-tu-yun-shou-ping-220999","花卉图册·岁寒三友图",[23,25,24,26,83,84,29,85,60,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb29a40cff960843c68f7263ecdb0bd8e.jpg",[71,123],326,{"id":736,"slug":737,"title":738,"dynasty":167,"author":376,"museum":50,"description":739,"tags":740,"thumbUrl":742,"material":104,"size":743,"collection":243,"collections":744,"showCount":745,"zanCount":257,"manualWeight":42,"mainColor":272},220865,"xiu-shi-shu-lin-tu-zhao-meng-fu-220865","秀石疏林图","赵孟頫绘竹石，强调“以书法入画”，此幅绘古木新篁生于平坡秀石之间，以飞白法画石，以篆书法绘树，纯用水墨表现，是其“书画同源”之理论在绘画实践中的具体体现，也是元代文人画最有代表性的作品之一。\n尾纸自题七言绝句：“石如飞白木如籀，写竹还于八法通。若也有人能会此，方知书画本来同。” 这是赵孟頫关于绘画与书法笔墨相通之理论的名句，对后世文人画的影响至深。",[23,25,26,53,35,741,7,238,102],"老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80a72737a59228d852dc208411a0e28d.jpg","纵27.5cm，横62.8cm",[243,269],322,{"id":747,"slug":748,"title":749,"dynasty":167,"author":750,"museum":251,"description":751,"tags":752,"thumbUrl":756,"material":172,"size":757,"collection":300,"collections":758,"showCount":759,"zanCount":176,"manualWeight":42,"mainColor":43},214732,"zhu-lin-mao-she-tu-guan-dao-sheng-214732","竹林茅舍图","管道升","管道升（公元665-744）是中国元代著名画家，代表作品有《竹林茅舍图》。《竹林茅舍图》是管道升的杰作之一，也是他最著名的作品之一。该画作描绘了一幅荒凉的竹林山水画，画中的茅舍与周围的竹林形成了鲜明的对比。画面中的茅舍虽然很小，但却被描绘得格外细腻，使得整幅画充满了生动的气息。管道升的《竹林茅舍图》被誉为元代山水画的巅峰之作，具有极高的艺术价值。",[23,25,26,53,753,200,7,754,455,238,146,755],"元代","茅屋","路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4b847c8b0c63e3561ed3911f46fadb1.jpg","26x44cm",[300],315,{"id":761,"slug":762,"title":763,"dynasty":97,"author":717,"museum":143,"description":764,"tags":765,"thumbUrl":768,"material":37,"size":769,"collection":300,"collections":770,"showCount":771,"zanCount":137,"manualWeight":42,"mainColor":43},218286,"yue-ye-bo-ruan-tu-ma-yuan-218286","月夜拨阮图","淡墨晕染的远山如黛，似笼着一层薄纱，与昏黄天色相融成朦胧梦境。左侧山石嶙峋，几竿修竹斜逸而出，枝叶疏朗，墨线劲挺如剑。竹下茅舍半隐，一人凭栏拨阮，指尖流转间，琴声似随晚风漫过江面，与竹影婆娑和鸣。画面构图简括，以边角之景见天地辽阔，留白处尽是月夜空寂与悠远。山石用斧劈皴勾勒，笔触刚健；竹子笔法灵动，尽显生机；人物神态闲适，藏着文人清雅况味。整幅画于简约中蕴无限情韵，将月夜静谧与文人诗意诠释得淋漓尽致，是南宋山水小品的妙笔，尽显水墨写意的空灵之美。",[23,25,24,26,27,53,29,200,7,146,766,592,767,310,102],"远山","明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe316cc25382668a97677ff3d3ec2d844.jpg","111.5x53.1cm",[300],308,{"id":773,"slug":774,"title":775,"dynasty":97,"author":776,"museum":143,"description":777,"tags":778,"thumbUrl":785,"material":69,"size":786,"collection":71,"collections":787,"showCount":788,"zanCount":152,"manualWeight":42,"mainColor":92},218756,"xie-sheng-hua-niao-tu-mu-xi-218756","写生花鸟图","牧溪","这是一幅水墨画，画的是各种花卉、果蔬、飞禽走兽，并绘有草、坡、竹、石。用墨精到，造型准确。与北京故宫收藏的宋代百花长卷相比，水墨画更显从容，为元代王瑞雪和明代林良的水墨画打开了大门。",[23,25,26,56,53,629,54,85,65,779,7,32,61,780,281,781,782,491,783,784,62,63,64],"蔬果","鱼","白菜","萝卜","莲蓬","葱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F319f1d586ad6d8f701799388a3a2ded1.jpg","44.5x1017.1cm",[71],302,{"id":790,"slug":791,"title":792,"dynasty":360,"author":793,"museum":794,"description":795,"tags":796,"thumbUrl":798,"material":88,"size":88,"collection":88,"collections":799,"showCount":800,"zanCount":11,"manualWeight":42,"mainColor":92},220522,"xu-bei-hong-xiong-ji-tu-zhou-xu-bei-hong-220522","徐悲鸿雄鸡图轴","徐悲鸿","四川博物院","此作以大写意落笔，雄鸡身姿轩昂抖擞，红冠如灼灼丹火，浓墨泼就的翎羽苍劲如铁，留白晕出颈腹白羽，浓淡相生尽显神采。利爪紧扣崖岩，似将引吭长鸣，尽显昂扬不屈的气魄。\n\n崖石以淡赭泼染，枯笔勾皴出嶙峋质感，间杂数丛浅绿新篁，柔枝衬出顽石刚劲，刚柔相济。整幅画作笔力爽利简练，形神兼备，将雄鸡的英武风骨跃然纸上，寄寓着浩然正气，寥寥数笔便勾勒出禽石相融的生机，尽显写意花鸟的精妙意趣。",[23,25,26,27,53,29,85,797,7,102],"雄鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe115ec61c0c6ef5f425bf65a2f50841a.jpg",[],298,{"id":802,"slug":803,"title":804,"dynasty":48,"author":805,"museum":50,"description":806,"tags":807,"thumbUrl":808,"material":312,"size":809,"collection":71,"collections":810,"showCount":811,"zanCount":152,"manualWeight":42,"mainColor":43},221941,"zhu-he-tu-zhou-bian-wen-jin-221941","竹鹤图轴","边文进","图中一对仙鹤姿态优雅，轩昂高洁，在翠竹间怡然自得。画家以工细的笔法描绘仙鹤的形象，高超的技法使笔触融汇于物象之中，仙鹤洁白轻盈的羽毛片片分明，好似浮在画面之上，令观者屏息凝神。仙鹤的头颈与尾羽处则用重墨，再加上鹤顶的一点丹红，格外醒目。画竹以墨笔双勾再施色彩。全幅设色对比鲜明，整体画风是边景昭的典型风格，承继了五代黄筌以及宋代画院花鸟画的富贵品貌，带有浓郁的宫廷气息。",[23,24,25,26,27,28,29,85,7,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed729de72a5a8f756cc02b29a5044bdd.jpg","纵180.4厘米，横118厘米",[71,123],294,{"id":813,"slug":814,"title":815,"dynasty":167,"author":385,"museum":143,"description":816,"tags":817,"thumbUrl":818,"material":69,"size":819,"collection":71,"collections":820,"showCount":821,"zanCount":176,"manualWeight":42,"mainColor":92},218666,"zhu-zhi-ni-zan-218666","竹枝","竹枝以中锋铁线勾勒，瘦劲如屈铁，竹叶疏疏落落，墨色清润中见骨力。枝干挺拔却不僵滞，叶片似含风微动，寥寥数笔便逸气横生。右侧题跋与竹影相映，书法萧散古雅，笔墨与文字浑然一体，尽显文人画“书画同源”之妙。画面留白空灵，古纸的淡褐底色衬得竹影愈发清寂，仿佛风过竹梢的轻响穿透纸面，窥见画家淡泊孤高的心境——不逐繁艳，独守疏朗，以极简之笔写尽竹之神韵与文人风骨。",[23,25,26,83,53,199,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ec0cb571fce64d130bde86f086a5564.jpg","55.1x31.8cm",[71],293,{"id":823,"slug":824,"title":825,"dynasty":167,"author":385,"museum":50,"description":826,"tags":827,"thumbUrl":828,"material":202,"size":829,"collection":243,"collections":830,"showCount":831,"zanCount":11,"manualWeight":42,"mainColor":92},220804,"zhu-zhi-tu-juan-ni-zan-220804","竹枝图卷","倪瓒的《清閟阁全集》卷九中有一段著名的《跋画竹》：“……余之竹聊以写胸中逸气耳，岂复较其似与非，叶之繁与疏，枝之斜与直哉！或涂抹久之，它人视以为麻为芦，仆亦不能强辩为竹，真没耐览者何……”。观此图，竹干与枝节形态宛然，竹叶偃仰疏密布置得当，生意十足，可知作者并非真的不求形似，而是在形似的基础上进一步强调神似，追求笔墨的逸趣，并借以抒发自己的心性。正如倪瓒自己所说：“下笔能形萧散趣，要须胸次有筼筜！”图中用笔峭劲灵动，似懒实苍，实已得墨竹画萧散清逸的旨趣。只有真正做到“胸中有成竹”并辅以高超的笔墨技巧，才能创作出如此优秀的艺术作品。",[23,24,25,26,56,53,7,102,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41d030d476c04d5be58a178a4a413fb1.jpg","纵34厘米，横76.4厘米。",[243,269],291,{"id":833,"slug":834,"title":835,"dynasty":18,"author":250,"museum":224,"description":836,"tags":837,"thumbUrl":838,"material":88,"size":88,"collection":71,"collections":839,"showCount":840,"zanCount":190,"manualWeight":42,"mainColor":92},237929,"zheng-xie-lan-zhu-ju-tu-zhou-zheng-ban-qiao-237929","郑燮兰竹菊图轴","清代官吏、书画家、文学家。名燮，字克柔，江苏兴化人。康熙秀才、雍正举人、乾隆元年进士。“扬州八怪”之一。历官山东范县、潍县知县，有惠政。以请臻饥民忤大吏，乞疾归。诗书画均旷世独立，人称三绝。有《板桥全集》。",[25,53,54,58,27,66,7,67,33,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23c9ee82db8bf4c30827b6a0b1e18900.jpg",[71,243],289,{"id":842,"slug":843,"title":844,"dynasty":18,"author":845,"museum":50,"description":846,"tags":847,"thumbUrl":848,"material":312,"size":849,"collection":39,"collections":850,"showCount":851,"zanCount":11,"manualWeight":42,"mainColor":852},222771,"ping-an-chun-xin-tu-li-zhou-lang-shi-ning-222771","平安春信图立轴","郎世宁","图绘在青竹、寒梅以及湖石点缀的田园环境中，两位身着汉装的男子正在以梅枝相递送，其典雅高贵的举止与优雅的环境相得益彰，情景交融之中加深了画意。\n《平安春信图》寓意吉祥，父子二人品竹赏梅，充满了浓郁的生活气息，画家以写实的手法表现了年少皇子睿智的目光，以及他与父皇融融的亲情。让人体会到严肃的宫廷生活中也有寻常百姓家的天伦之乐。\n这幅肖像，是作者参酌中法的新式肖像画，作者巧妙地将中西画融合在一起，产生出中西合璧的佳作。对人物的刻画细致入微，尤其两人面部表情的刻画，即将一老一少的不同面容能准确真实地表现出来，说明画家具有细致的观察能力和写实的功力。\n翠竹及人物面部以西画笔法，刻画入微，作品用色泽的深浅浓淡来表现人物的五官，立体感十足。而衣纹却用中国传统的笔墨勾线，加以晕染，亦显质感。",[23,25,24,26,27,29,28,30,7,35,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d5a33b3478bd6f01524150db632d534.jpg","纵68.8厘米，横40.8厘米",[39,123],283,"2A56C6",{"id":854,"slug":855,"title":856,"dynasty":97,"author":307,"museum":50,"description":857,"tags":858,"thumbUrl":859,"material":160,"size":860,"collection":106,"collections":861,"showCount":851,"zanCount":137,"manualWeight":42,"mainColor":43},221341,"xiang-long-shi-tu-juan-zhao-ji-221341","祥龙石图卷","卷首画有一块立状太湖石，石顶端生有异草几株。太湖石宛如一条上下翻滚的蛟龙，其形貌占据了奇石必备的五个审美条件：瘦、漏、皱、透、丑。细看石上，有楷书“祥龙”二字。宋徽宗将此类奇石异草的出现，视为大宋国运之祥兆，赞之“挺然为瑞”，竭尽全力绘之。图左有宋徽宗为祥龙石而作的瘦金体题诗：“祥龙石者，立于环碧池之南，芳洲桥之西，相对则胜瀛也。其势胜湧，若虬龙出为瑞应之状，奇容巧态，莫能具绝妙而言之也。廼亲绘缣素，聊以四韵纪之。彼美蜿蜒势若龙，挺然为瑞独称雄。云凝好色来相借，水润清辉更不同。常带瞑烟疑振鬣，每乘宵雨恐凌空。故凭彩笔亲模写，融结功深未易穷。”署款“御制御画并书”，押署“天下一人”，钤朱文印“御书”、“宣和殿宝”，徐邦达先生认为此印“不佳，真伪待考”（徐邦达《古书画伪讹考辨》），但《祥龙石图》卷被公认为是宋徽宗的真迹。鉴定徽宗真迹的标尺除了瘦金体“御制御画并书”、“天下一人”画押及朱印“御书”和双龙御玺外，书画风格也是一项重要依据，即结合赵宋家族的书画历史特别是徽宗本人的美学思想及北宋绘画的历史发展状况，寻找其中存在的风格上的逻辑关系，再结合当时及晚一辈名人的题识，综合多种因素来判断。\n当时的徽宗特别迷恋太湖石，为了加大采运力度，特设苏杭应奉局专门在太湖周围开挖湖石。石工们因长期泡在水里挖石，导致肢体皮肤溃烂。运送巨石时，甚至不惜拆桥过船，靡费国资不计其数。徽宗根据一些湖石的形状封其为“盘固侯”、“蹲螭坐狮”、“金鳌玉龟”等吉祥名号，画中的“祥龙石”可能就是其中的一块。宋徽宗处心积虑地寻找花石纲和各种祥瑞之物，欲借此稳定朝廷、安抚民心，同时也为他提供了艺术创作的素材。在充满了道教神仙思想的宋徽宗看来，描绘祥瑞之物的绘画活动不仅仅是单纯的艺术创作，而且也是祈祷国家和民族福祉的独特形式和粉饰太平的最好的政治工具，《祥龙石图》卷正是这种思想的反映。\n有史以来，宋徽宗第一个在艺术创作上实现了诗书画印的完整统一。在《祥龙石图》卷中，徽宗的题画诗不在卷尾，而是作为画面构成的一个部分，这必定是作者将构思和构图同时经营的结果，这在中国绘画史上有着划时代的重要意义。该卷构图极简，用色颇精，格调雅致，具有典型的北宋院体绘画的艺术风格。画家以墨笔层层渲染出太湖石的坑眼，结构分明，笔墨细腻入微，极其工整精雅，极可能是写生之作。该卷钤有元内府“天历之宝”等印玺，拖尾有清代陈仁涛、吴荣光的题跋，《辛丑消夏记》著录。",[23,25,26,56,28,53,35,7,102,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d21118b231b6391de049a9701658812.jpg","纵53.8厘米，横127.5厘米",[106,243,269],{"id":863,"slug":864,"title":865,"dynasty":167,"author":866,"museum":251,"description":867,"tags":868,"thumbUrl":869,"material":69,"size":88,"collection":88,"collections":870,"showCount":851,"zanCount":42,"manualWeight":42,"mainColor":92},214571,"shan-shui-ce-6-wang-meng-214571","山水册-6","王蒙","王蒙是一位中国元朝时期的著名文人、画家、书法家。他最著名的作品之一是《山水册》。\n\n《山水册》是一本包含王蒙的山水画作品的册子。这本册子包含了王蒙的许多杰出的山水画作品，其中包括他的著名作品《黄山图》。王蒙的山水画作品以其精细的线条、细腻的填充和浓郁的气氛而闻名。他的画作展现出自然界的美丽和神奇，表达了他对自然的敬畏和尊重。\n\n王蒙的《山水册》是中国山水画史上的一个重要里程碑，对后世的山水画家产生了深远的影响。这本册子被誉为“中国山水画的经典之作”，至今仍广为流传。",[25,26,83,53,238,200,741,7,35,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9a5c5bcdebd737e04aa98f91fe3ade1.jpg",[],{"id":872,"slug":873,"title":874,"dynasty":48,"author":449,"museum":875,"description":876,"tags":877,"thumbUrl":879,"material":340,"size":880,"collection":300,"collections":881,"showCount":882,"zanCount":257,"manualWeight":42,"mainColor":43},222218,"wang-chuan-shi-jing-tu-chou-ying-222218","辋川十景图","辽宁省博物馆","《辋川十景图》是中国明代画家仇英的国画作品。该画为长卷。《仇英辋川十景图卷》名为写唐代王维隐居蓝田别墅的诗意，实际上正是明代的园林生活为粉本。屋舍界画的工整，花木杂树的精微，青绿设色的细丽，真称得上穷工极艳。\n《辋川十景图》十景各自独立成章，但又联贯为统一的大画面，随着画卷的展开，移步易景，引人入胜，山穷水尽，柳暗花明，令人目不暇接。对于中国画的创新，具有不容低估的积极意义。",[23,25,26,24,56,878,29,28,200,455,296,453,454,7,456,708],"青绿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5418cf86d3682d5764ef7dcd67e08986.jpg","纵30.5厘米 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岁时所画，构图别致，山石用笔较繁。\n自跋：天妃庙里曾游处，怪石丛篁漫雨苔。今日江湖重回首，卜居南岭白云隈。 岁庚子（1360 年）十一月廿日，解后云冈道师 而纸笔皆不佳，漫尔作此，愧不能工。道师悯世忧国，以道术（德）为己任，汩汩城邑之中 不以为苦，不肯自逸（超）于风埃之表也，故 岁时，应云冈道师之请，赋诗并作画。",[25,53,200,27,238,934,7,935,454,456,146],"怪石","瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d2a6fe7d61176933aaf86ed35700e3.jpg","94.2×26.8",[300],254,{"id":941,"slug":942,"title":943,"dynasty":48,"author":49,"museum":50,"description":944,"tags":945,"thumbUrl":949,"material":202,"size":950,"collection":300,"collections":951,"showCount":952,"zanCount":137,"manualWeight":42,"mainColor":92},222231,"mo-hua-jiu-duan-tu-juan-xu-wei-222231","墨花九段图卷","此图绘水墨写意四季花卉。每段均有自题七绝一首。画面上，画家充分发挥了水墨的表现力，以狂放的笔触，淋漓的水墨，变化多端的笔锋，泼墨、焦墨、破墨、双勾并用，寥寥数笔即勾画出了各种花卉的特征，简约却颇具神采。从徐渭自书诗并题记，知此画是作者在浓郁的创作激情中以酣畅的笔墨挥洒而就。此图堪称徐渭水墨写意花卉的佳作。",[23,25,26,56,53,55,946,57,85,59,66,7,67,32,35,65,947,948,146],"题跋","竹叶","藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e0e76186d34ba6f0466cc88cfd916f.jpg","纵46.6厘米，横625厘米",[300,243],253,{"id":954,"slug":955,"title":956,"dynasty":97,"author":98,"museum":224,"description":957,"tags":958,"thumbUrl":959,"material":960,"size":961,"collection":88,"collections":962,"showCount":963,"zanCount":42,"manualWeight":42,"mainColor":43},288989,"xiao-xiang-zhu-shi-tu-su-shi-288989","潇湘竹石图","潇湘竹石图采用长卷式构图，展现湖南省零陵县西潇、湘二水合流处，遥接洞庭巨浸的苍茫景色。整幅画作以潇湘二水的交汇点为中心，远山烟水，风雨瘦竹，近水与云水、蹲石与远山、筱竹与烟树产生强烈对比，让人在窄窄画幅内如阅千里江山。",[24,25,26,53,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14407e88ebd5d78263a6e38373b327a6.jpg","未知","Xcm*Xcm",[],248,{"id":965,"slug":966,"title":967,"dynasty":360,"author":968,"museum":969,"description":970,"tags":971,"thumbUrl":972,"material":88,"size":88,"collection":88,"collections":973,"showCount":974,"zanCount":176,"manualWeight":42,"mainColor":92},220502,"xiu-zhu-shi-nv-zhang-da-qian-220502","修竹仕女","张大千","龙美术馆西岸馆","画面里仕女黛眉轻蹙，腮凝新荔，手托香腮作沉思状，发髻簪花，温婉娴静的闺怨之态呼之欲出。衣纹勾勒秀劲舒展，青蓝衣袍配朱红卷草纹饰，浓丽雅致，尽显东方女性柔婉仪态。\n\n左侧修竹以淡墨写意挥就，笔致清劲挺秀，竹影扶疏间衬出仕女的幽寂怅惘，柔媚人物与清逸修竹相映成趣，将传统工笔的细腻与写意的简淡融为一体，晕染出清远雅致的古典意境，把闺中女子的缱绻情思藏进幽篁清影之中。",[25,29,28,30,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F548ed3ebfb17697cfd9745a87b1dadc6.jpg",[],247,{"id":976,"slug":977,"title":978,"dynasty":167,"author":262,"museum":182,"description":979,"tags":980,"thumbUrl":981,"material":53,"size":88,"collection":243,"collections":982,"showCount":983,"zanCount":137,"manualWeight":42,"mainColor":43},219738,"zhu-pu-tu-wu-zhen-219738","竹谱图","此作用淡墨铺就底色，开篇幽草伴湖石，渐入修竹成林。竹竿劲挺如君子立世，以浓墨撇写竹叶，错落生姿，或迎风欹斜，或垂梢含露，墨色干湿浓淡交织，层次分明。后半段湖石渐耸，竹影疏密掩映，尽显野逸之趣。\n\n左侧题笔与画境相融，以书入画，笔墨老辣苍润，将隐逸林下的清寂意韵藏于一笔一划中，简淡之间尽是萧散出尘的林下风神，把竹之孤高与文人风骨晕染在卷幅里。",[23,25,53,56,7,214,238,57,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda3c704a7c558d314bd1858ec21db613.jpg",[243],246,{"id":985,"slug":986,"title":987,"dynasty":97,"author":988,"museum":143,"description":989,"tags":990,"thumbUrl":993,"material":37,"size":994,"collection":106,"collections":995,"showCount":996,"zanCount":176,"manualWeight":42,"mainColor":43},219216,"zhu-ou-tu-cui-bai-219216","竹鸥图","崔白","本幅画翠竹、芦草随风摇曳，水波也起伏荡漾，白鹭一只立于水中，则是放低了姿势，采逆向迎风、涉水而行的姿态，动静之间，形成均衡画幅的力量。幅上虽有崔白二字款，若和院藏崔白的「双喜图」相比较，在刻划花鸟的情态、掌握自然环境中一刹那生动的情景，两者的风味相类；但在用笔方面，崔白的笔墨线条，无论粗细柔劲、浓淡干湿、起伏顿挫，都为表现物象的质感、动态，随物变化。而在「竹鸥图」中，画白鸥的线条细挺，画竹子、芦草和坡石则是时有断续、富有弹性的线条，与院藏宋人「翠竹翎毛」中那种起伏变化明显，偏向于南宋风格的线条较为接近，因此本幅虽非崔白所作，但属宋代受崔白影响的作品之一。崔白（活动于11世纪后半），字子西，濠梁（今安徽凤阳）人。宋仁宗时（1022-1062）画院学艺。举凡道释、人物、禽兽、花卉无不精绝，尤擅长于花竹、山兔、枯荷、水凫、野雁之类。",[23,25,85,29,28,7,991,663,992],"白鹭","水草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6de49481fe805ec1b96d44ffd87decef.jpg","101.3x49.9cm",[106,71,123],242,{"id":998,"slug":999,"title":1000,"dynasty":18,"author":250,"museum":224,"description":395,"tags":1001,"thumbUrl":1002,"material":441,"size":88,"collection":71,"collections":1003,"showCount":1004,"zanCount":190,"manualWeight":42,"mainColor":92},223300,"zhu-shi-tu-zhou-1-zheng-ban-qiao-223300","竹石图轴1",[23,25,26,27,53,7,214,66,57,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a5e3849c804728833e287d5719d8957.jpg",[71,243],236,{"id":1006,"slug":1007,"title":1008,"dynasty":167,"author":385,"museum":143,"description":1009,"tags":1010,"thumbUrl":1011,"material":69,"size":1012,"collection":300,"collections":1013,"showCount":1004,"zanCount":176,"manualWeight":42,"mainColor":92},220787,"jiang-ting-shan-se-zhou-ni-zan-220787","江亭山色轴","倪云林 《江亭山色》于2012年核定为重要古物，所绘的内容有山峦、陂陀、树木、茅亭，其结构萧散，是倪云林特意为外游时相识的一位友人焕伯高士留别而绘。\n款识：焕伯高士嗜古尚义於友道於医学尤精隐居养亲不求知於也余过娄江踰月与仆甚相好戏写江亭山色并作长歌以留别二月廿五日瓒。\n题签：倪云林山水真迹。玉带砚斋藏。\n释文：娄江之东天宇宽。左瞰青海阴漫漫，樱桃花落杂飞霰。桃李欲动春风寒，我去松陵自子月。忽惊归雁鸣江干，风吹归心如乱丝。不能奋飞身羽翰。身羽翰，度春水。胡蝶忽然梦千里，剥剥啄啄闻叩门。推枕倒裳为君起，持杯劝我径饮之。有酒如渑胡不喜，看朱成碧纷醉眼。碧草春波暎疏绮，醉吐胸中之磊块。一笑濡豪烂盈纸，白鸥明处白云生。历历青山镜光里，翡翠鵁鶄满兰芷。壬子。\n倪瓒的书法也是极具传统功力与个人特色的。他的书法受褚遂良影响较大，有些点画如“戈”法明显是褚体之法，写的十分妩媚。其书法还掺杂了隶书与六朝写经的风格，这可能与他信奉道教熟悉经体有关，从而使他的书法具有一种仙风道骨的古意与洒脱。他题画有时飘逸草率，多有连笔，如北京故宫藏《竹枝图》。有些写的则工工整整，一笔不苟，如《江亭山色图》、《容膝斋图》，书体为小楷，楷中含隶，毫无泄怠，极见功力。字数如此多的小楷题画，在其画作中极少见。\n倪云林的画乍一看为其荒疏感到意外，多看了则觉单调，几乎千篇一律，皆是疏林坡岸，浅水遥岭，但是自然的反应了他的内心，也反应了他的修养。倪云林《江亭山色》典型的“云林皴法”，且款题甚长，书法精妙，堪称倪云林一生山水画的代表作。",[25,26,27,53,200,454,294,7,214,238,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb42f2a048eafcf667755bea02ad618.jpg","94.7x43.7",[300,243],{"id":1015,"slug":1016,"title":1017,"dynasty":18,"author":130,"museum":50,"description":1018,"tags":1019,"thumbUrl":1020,"material":104,"size":1021,"collection":71,"collections":1022,"showCount":1023,"zanCount":11,"manualWeight":42,"mainColor":92},220392,"mei-zhu-tu-juan-shi-tao-220392","梅竹图卷","诗文与画作的有机结合不仅增添了文人画的书卷气息，同时也展示了作者于画艺之外的诗文功底和精湛的书法造诣。图中所绘梅竹或细笔勾勒，或阔笔勾斫，线条于方圆结合中秀拙相生。其多样的笔法与酣畅淋漓的施墨在半生半熟的纸质上达到了湿润而不漫漶的笔墨效果，堪称石涛晚年的写意画佳作。",[23,25,26,56,53,238,57,102,59,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F440c586308456b8200d8bd68ac0e8093.jpg","纵34.2厘米，横194.4厘米",[71],232,{"id":1025,"slug":1026,"title":1027,"dynasty":18,"author":1028,"museum":224,"description":1029,"tags":1030,"thumbUrl":1032,"material":960,"size":961,"collection":88,"collections":1033,"showCount":1034,"zanCount":42,"manualWeight":42,"mainColor":92},290079,"fang-gu-zhu-zi-tu-wei-gen-lao-ren-290079","仿古竹子图","味根老人","此幅墨竹取斜出之势排布，数竿修竹错落揖让，气韵连贯。老干以重墨挥写，圆劲苍厚，尽显风霜沉凝的古意；新篁以淡墨勾皴，清润秀挺，带着稚拙生机。竹叶以大写意撇捺而就，聚散疏密暗藏章法，浓淡墨色铺陈出前后层次，虚实相映间，将劲节疏朗的君子风姿尽皆展现。画面留白宽绰，右侧题字与竹影相映成趣，笔致简淡却意韵悠长，尽显文人寄情于物的清雅襟怀，是颇见功底的水墨写意佳品。",[23,25,26,27,53,7,1031],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98c6c0d8c8cc882f3d24cc4d9f64fbba.jpg",[],231,{"id":1036,"slug":1037,"title":166,"dynasty":18,"author":250,"museum":50,"description":1038,"tags":1039,"thumbUrl":1040,"material":202,"size":1041,"collection":88,"collections":1042,"showCount":1043,"zanCount":42,"manualWeight":42,"mainColor":92},234675,"zhu-shi-tu-zheng-ban-qiao-234675","郑燮所画之竹，形象千姿百态，笔墨变化多端。同样是数竿竹枝，却有新竹、驼竹、凤竹、晴竹、盆景之竹、庭院之竹、山野之竹、水乡之竹的区别，并呈现各自不同的情态，给人以美的感受。画面上翠竹两竿，瘦劲挺拔，枝叶偃仰，萧疏清逸。竹枝下有山石及竹笋数支，恰当衬托出春竹之勃发郁茂，颇富自然之趣。其言将竹笋与鲥鱼相佐，又创美食之竹，新颖别致，独具匠心。",[25,53,54,238,58,102,27,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7c732c7221c80d6d805a69736b50619.jpg","纵120厘米，横59.7厘米",[],228,{"id":1045,"slug":1046,"title":96,"dynasty":97,"author":98,"museum":143,"description":1047,"tags":1048,"thumbUrl":1049,"material":69,"size":1050,"collection":106,"collections":1051,"showCount":1052,"zanCount":11,"manualWeight":42,"mainColor":92},218785,"mo-zhu-tu-su-shi-218785","画面以竹枝为墨，笔法浑厚，墨分五色；苏轼自称向文同学习画竹，而此图没有宋代的墨竹气息，想必是后期的成名之作。",[23,25,26,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8f9b6809e9c8b462cdfb261eee443c8.jpg","31.5x27",[106],226,{"id":1054,"slug":1055,"title":1056,"dynasty":167,"author":376,"museum":143,"description":1057,"tags":1058,"thumbUrl":1059,"material":172,"size":1060,"collection":123,"collections":1061,"showCount":1062,"zanCount":176,"manualWeight":42,"mainColor":43},219414,"ke-mu-zhu-shi-zhou-zhao-meng-fu-219414","窠木竹石轴","枯木枝干如篆籀盘曲，老而弥坚；新竹嫩梢似行草舒展，清劲秀逸。墨叶撇捺带笔意，坡石皴染见骨力，淡墨晕染出朴拙纹理，与劲竹枯树相映成趣。全图不施华彩，仅以水墨浓淡干湿，写尽草木石的情态。赵孟頫以书入画，将文人笔墨修养融入物象，简率构图里藏着对生命枯荣的静观，清寂中透出坚守——竹之劲节、石之沉稳、木之苍劲，皆是文人品格的投射，于宋元画坛间，绽放出文人画的清雅风骨。",[25,26,24,27,53,297,7,214,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F355b183f4da0c687b3cba7d72789da7c.jpg","纵99.4厘米，横48.2厘米",[123],221,{"id":1064,"slug":1065,"title":1066,"dynasty":167,"author":168,"museum":99,"description":1067,"tags":1068,"thumbUrl":1069,"material":37,"size":1070,"collection":71,"collections":1071,"showCount":1062,"zanCount":42,"manualWeight":42,"mainColor":43},218992,"zhu-he-shuang-qing-tu-yi-ming-218992","竹鹤双清图","孤鹤独立，长颈微垂似引幽思，红顶一点如丹砂缀雪。白羽凝霜般细腻，墨尾泼黛般沉劲，单足踏虚，恍若与天地静默对语。侧畔墨竹横斜，枝桠苍劲带古意，叶影疏疏拂过褐调绢本，斑驳处似藏元时的风。背景沉雅如陈酿，旧痕里漫出清寂气息。鹤之仙骨、竹之劲节相映，尽得“双清”之韵——清在羽片的莹白，清在竹枝的挺秀，更清在那份遗世独立的静穆。整幅画如一卷被时光浸润的诗，将高逸之气凝于笔端，任观者在古雅的色调里，触摸那份跨越千年的清雅风骨。",[25,26,27,29,85,118,7,35,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3c8b105b375a4049c70ca392d54fc4a.jpg","纵165.9横100.8厘米",[71],{"id":1073,"slug":1074,"title":261,"dynasty":167,"author":1075,"museum":50,"description":1076,"tags":1077,"thumbUrl":1078,"material":1079,"size":1080,"collection":243,"collections":1081,"showCount":1082,"zanCount":137,"manualWeight":42,"mainColor":43},221692,"mo-zhu-po-shi-tu-gao-ke-gong-221692","高克恭","这是一幅典型的文人墨竹画，是元代画家高克恭的代表作。图绘秀石一块，竹二株生于石后，一浓一淡，笔法沉厚挺劲，墨气清润，结构谨严。竹叶自然下垂，生动地写出了竹子在烟雨中挺秀潇洒的姿态。\n本幅左下方高氏自识：“克恭为子敬作。”钤“彦敬”印。右侧钤“清父之印”、“顾氏珍玩”、“吴景旭印”、“仁山鉴定”等鉴藏印6方。\n“子敬”为元初著名学者、书法家龚璛。画面右侧中部有赵孟頫题诗一则：“高侯落笔有生意，玉立两竿烟雨中。天下几人能解此，萧萧寒碧起秋风。子昂题。”下钤“赵子昂氏”印。从题诗中可看出赵氏对高克恭的墨竹极为推崇，而高氏对自己的墨竹也自视颇高，尝自谓：“子昂写竹，神而不似；仲宾（李衎）写竹，似而不神，其神而似者，吾之两此君也。",[23,25,24,26,27,53,7,35,102,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce981bedac3fc255cca37a531f85e131.jpg","纸本，水墨","纵121.6厘米，横42.1厘米",[243,269],219,{"id":1084,"slug":1085,"title":1086,"dynasty":97,"author":1087,"museum":251,"description":1088,"tags":1089,"thumbUrl":1091,"material":37,"size":88,"collection":300,"collections":1092,"showCount":1093,"zanCount":11,"manualWeight":42,"mainColor":43},218580,"he-ting-xiao-xia-tu-liu-song-nian-218580","荷亭消夏图","刘松年","竹影筛风，亭榭浮凉。几竿修竹环绕临水敞亭，亭中素衣人或凭栏观荷，或闲坐展卷，墨香混着竹韵漫开。下方溪流清浅，碎石错落，一士人曳杖徐行，童子负物紧随，身影在树荫与水光间轻晃。山石以细皴晕染，纹理温润如触；竹叶用劲挺笔触勾勒，层次疏密有致。\n\n风过竹梢的沙沙声，溪水叮咚的回响，与亭中人的静默相映，滤去夏日燥热，只留清幽雅致。笔墨细腻却不繁缛，每处细节都藏着宋时文人的闲适——仿佛能隔着千年，触到竹间那缕凉意，窥见他们把暑气酿成诗意的模样。整幅画如同一盏冰茶，入口清润，余味悠长。",[25,24,26,27,28,238,200,30,454,7,296,146,456,1090,663],"溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f5d87850a086dc74d33f9a716e43966.jpg",[300],217,{"id":1095,"slug":1096,"title":1097,"dynasty":48,"author":1098,"museum":224,"description":1099,"tags":1100,"thumbUrl":1102,"material":960,"size":961,"collection":88,"collections":1103,"showCount":1104,"zanCount":231,"manualWeight":42,"mainColor":43},287613,"si-shi-hua-niao-tu-zhou-zhi-mian-287613","四时花鸟图","周之冕","周之冕（1521—？）明代杰出画家，字服卿，号少谷，长洲（今江苏苏州）人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。善用勾勒法画花，以水墨点染叶子，画法兼工带写，人称勾花点叶法。所作花鸟，形象真实，意态生动，颇有影响。写意花鸟，最有神韵。设色亦鲜雅，家畜各种禽鸟，详其饮啄飞止，故动笔具有生意 。特以嗜酒落魄，不甚为世重耳。又善古隶。",[23,25,56,29,28,85,59,7,61,62,63,592,323,65,1101],"柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784a8955d2b4f0279d0683708db84ee1.jpg",[],216,{"id":1106,"slug":1107,"title":1108,"dynasty":97,"author":717,"museum":143,"description":1109,"tags":1110,"thumbUrl":1111,"material":37,"size":1112,"collection":300,"collections":1113,"showCount":1104,"zanCount":42,"manualWeight":42,"mainColor":43},219598,"zhu-he-tu-ma-yuan-219598","竹鹤图","若无若有望中迷。独立黄冠仙客携。识赏分明印坤卦。何云为寿赐都提。甲辰（西元一七八四年）仲冬中浣再题。\n不祷自安缘寿骨。人间难得是清名。浅斟仙酒红生颊。永保长生道自成。赐王都提举为寿。\n布景期神弗期格。分明马远署臣名。胎仙近远相鸣和。绘也羲经与注成。甲辰（西元一七八四年）孟冬上浣御题。",[23,25,26,27,53,29,238,7,30,200,102,296,146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F905155f3f4ed0840a0e14b1248544c85.jpg","124.3x56.6公分",[300,39],{"id":1115,"slug":1116,"title":96,"dynasty":167,"author":262,"museum":1117,"description":1118,"tags":1119,"thumbUrl":1121,"material":172,"size":1122,"collection":71,"collections":1123,"showCount":1124,"zanCount":190,"manualWeight":42,"mainColor":92},216101,"mo-zhu-tu-wu-zhen-216101","耶鲁大学艺术博物馆","这件作品是一幅描绘竹叶的图画，以其精细的绘画技巧和精美的艺术品质而闻名。墨竹图的名字来源于其使用的墨色，以及它描绘的竹子。墨竹图被认为是中国古代绘画艺术中最优秀的作品之一，并被许多人所珍视。",[23,25,26,1120,53,7,57,102],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8b830328da9d88aa4e298e550fe00be.jpg","23.2x22.9cm",[71],213,{"id":1126,"slug":1127,"title":96,"dynasty":18,"author":250,"museum":224,"description":1128,"tags":1129,"thumbUrl":1130,"material":88,"size":88,"collection":88,"collections":1131,"showCount":1132,"zanCount":11,"manualWeight":42,"mainColor":272},230140,"mo-zhu-tu-zheng-ban-qiao-230140","修竹挺拔舒展，以浓淡墨色铺陈枝叶，虚实错落间尽显萧疏清劲，仿佛携着晚来林风，簌簌有声。画竹以书入笔，笔意兼具行书灵动与隶书沉厚，竹叶如“个”似“介”，爽利遒劲，将竹的孤傲磊落全然铺展。左侧题诗与墨竹相映成趣，诗画交融，以竹为寄，把超脱世俗的清介襟怀藏进笔墨。寥寥数笔便写尽竹之神韵，将文人逸致与君子品性合而为一，尽显文人画托物言志、诗画同源的绝妙意境。",[23,25,26,27,53,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5f843406125e3d7d75445cdef2772a3.jpg",[],212,{"id":1134,"slug":1135,"title":1136,"dynasty":48,"author":449,"museum":131,"description":1137,"tags":1138,"thumbUrl":1139,"material":37,"size":1140,"collection":88,"collections":1141,"showCount":1132,"zanCount":42,"manualWeight":42,"mainColor":43},216357,"xi-xiang-ji-tu-ye-7-chou-ying-216357","西厢记图页-7","清人绘，款仇英",[24,25,26,29,28,30,453,296,31,7,457,456,310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c2092ecff88dc4c51551d1cdeaf7c87.jpg","18.5*38",[],{"id":1143,"slug":1144,"title":394,"dynasty":18,"author":130,"museum":224,"description":1145,"tags":1146,"thumbUrl":1147,"material":960,"size":961,"collection":88,"collections":1148,"showCount":1149,"zanCount":176,"manualWeight":42,"mainColor":92},287444,"lan-zhu-tu-shi-tao-287444","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。",[24,25,26,27,53,7,66,35,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78897544684d19c2db3989df6b58bf38.jpg",[],211,{"id":1151,"slug":1152,"title":1153,"dynasty":97,"author":1154,"museum":182,"description":1155,"tags":1156,"thumbUrl":1158,"material":37,"size":1159,"collection":71,"collections":1160,"showCount":1149,"zanCount":137,"manualWeight":42,"mainColor":43},219174,"zhu-que-tu-wu-bing-219174","竹雀图","吴炳","此图写棘竹丛生，枝桠横出，枝头有一雀鸟正在悠闲地啄理羽毛。整幅场景景物聚于下侧，可见南宋构图新风的影响。图中竹枝用双钩技法，雀鸟在用颜色没骨画出后，重点部位再用墨线描出。这是吴炳传世佳作中的代表作。",[24,25,26,28,29,85,7,1157,592,102],"雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd20dd6d46a7daa28f75681df47a33321.jpg","纵25厘米，横25厘米",[71],{"id":1162,"slug":1163,"title":1164,"dynasty":48,"author":449,"museum":131,"description":1137,"tags":1165,"thumbUrl":1167,"material":37,"size":1140,"collection":88,"collections":1168,"showCount":1149,"zanCount":42,"manualWeight":42,"mainColor":43},216359,"xi-xiang-ji-tu-ye-6-chou-ying-216359","西厢记图页-6",[28,29,83,30,31,453,296,488,7,454,417,1166],"池塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F770eb7aaf55cdeaa8253a4ef63c814ab.jpg",[],{"id":1170,"slug":1171,"title":1172,"dynasty":48,"author":290,"museum":224,"description":1173,"tags":1174,"thumbUrl":1176,"material":960,"size":961,"collection":88,"collections":1177,"showCount":1178,"zanCount":137,"manualWeight":42,"mainColor":272},287521,"lin-mao-wu-tu-juan-shen-zhou-287521","林茅屋图卷","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,24,25,26,56,53,29,200,754,7,456,146,455,454,58,102,1175],"清逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd357ed146fa7ee50540d33597d420cd.jpg",[],205,{"id":1180,"slug":1181,"title":1182,"dynasty":167,"author":376,"museum":50,"description":1183,"tags":1184,"thumbUrl":1185,"material":1186,"size":1187,"collection":243,"collections":1188,"showCount":1178,"zanCount":176,"manualWeight":42,"mainColor":43},220869,"zhu-shi-tu-zhou-zhao-meng-fu-220869","竹石图轴","枯木竹石图是历代文人善画的题材,约始于唐代，至北宋文同、苏轼有较大的发展，南宋、金元间继有作者，至赵孟頫加以强调，形成一时风尚，终元一代盛行不衰。\n赵孟頫画枯木竹石，在继承文、苏的基础上，将书法的用笔融于绘画之中，他主张“书画同源”，即以书入画，其驰名古今画坛的名诗句“石如飞白木如籀，写竹还于八法通。”对后世画坛影响巨大，此图即体现了这一理论，用书法的“飞白”写出石及枯树干，章法简洁，笔法苍健洒脱，透出力度。竹以流畅的笔调，以“个”字或“介”字，一笔一笔撇捺，既有力又含蓄，富笔墨情趣，体现了文人画家的风雅韵致。\n从此图署款和绘画风格推断，当是赵孟頫晚年之作。",[23,25,26,27,53,238,7,35,428],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46e366d2b4e02d71e45a12788491653e.jpg","绢本，墨笔","纵108.2厘米，横48.8厘米",[243,269],{"id":1190,"slug":1191,"title":1192,"dynasty":97,"author":98,"museum":224,"description":1193,"tags":1194,"thumbUrl":1195,"material":88,"size":88,"collection":88,"collections":1196,"showCount":1197,"zanCount":11,"manualWeight":42,"mainColor":43},227548,"su-mi-he-bi-juan-su-shi-227548","苏米合壁卷","宋四家是中国北宋时期四位书法家苏轼、黄庭坚、米芾和蔡襄的合称。这四个人大致可以代表宋代的书法风格，而且成就最高，故称“宋四家”。\n\n明清以来，有一些人认为宋四家中的“蔡”原本应该是蔡京，后人不齿其为人，所以把蔡京换为蔡襄，并认为蔡襄的艺术成就在蔡京之上。",[23,24,25,26,56,58,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29cc290566e8c44a8299b10e7320bf6.jpg",[],204,{"id":1199,"slug":1200,"title":1201,"dynasty":18,"author":168,"museum":251,"description":1202,"tags":1203,"thumbUrl":1206,"material":37,"size":1207,"collection":71,"collections":1208,"showCount":1197,"zanCount":11,"manualWeight":42,"mainColor":43},218956,"gui-he-yan-nian-tu-yi-ming-218956","龟鹤延年图","丹顶朱冠，白羽墨翅，仙鹤或昂首引颈似欲唳天，或曲颈垂首若啄苔矶，姿态灵动。修竹挺翠，叶影婆娑，掩映其间；侧畔飞瀑流泉，漱石鸣玉，云雾氤氲如缕，漫笼山隰。笔墨古雅，设色沉朴，仙鹤的灵秀与竹石的清逸相映成趣，流露出祥瑞康宁的意蕴。画面古朴静谧，仿佛将自然生机凝于绢素之上，尽显岁月沉淀下的雅致与吉祥。",[25,28,29,7,118,1204,296,146,85,1205],"龟","长寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cfda5f494d8b62a606671a72d79ae1.jpg","111x54cm",[71],{"id":1210,"slug":1211,"title":1212,"dynasty":18,"author":250,"museum":875,"description":1213,"tags":1214,"thumbUrl":1215,"material":1216,"size":1217,"collection":71,"collections":1218,"showCount":1219,"zanCount":42,"manualWeight":42,"mainColor":92},223297,"you-lan-tu-zheng-ban-qiao-223297","幽兰图","土坡相连，缝坎丛生绺绺兰草，几叶新竹点缀其间，纷披穿插，姿态如生。笔法灵活，挺秀劲丽，纵横涂抹，酣畅淋漓。画心作者行书七言律诗一首：“转过青山又一山，幽兰藏躲路回环。众香国里谁能到，容我书呆屋半间。 郑汴，字克柔，号板桥，江苏兴化人。以诗书画“三绝”著称于世，尤善兰竹，题竹诗多达一百余首。所作每画必题，常以诗跋补其意，款式光怪陆离，别具风致，画史少见。为扬州画派领袖。徐悲鸿先生评价其为“中国近三百年来最卓绝人物之一”。\n郑板桥（1693～1765）中国清代画家，书法家，文学家。字克柔，号板桥，江苏兴化人，生于1693年，卒于1765年，康熙秀才、雍正举人、乾隆进士。客居扬州，以卖画为生。为“扬州八怪”之一，其诗、书、画世称“三绝”，画擅兰竹。其一生经历丰富，风雨坎坷，关于其的许多故事被保存下来流传于世，至今为人们所津津乐道。其一直所坚持的民本刚直的思想也影响着后来者。",[23,25,53,54,58,66,7,35,102,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac1a241fb86617dacfcaeedfab80d448.jpg","纸本·墨色","纵91.3cm横51cm",[71,243,679],203,{"id":1221,"slug":1222,"title":1223,"dynasty":18,"author":130,"museum":224,"description":1224,"tags":1225,"thumbUrl":1226,"material":88,"size":88,"collection":88,"collections":1227,"showCount":1228,"zanCount":176,"manualWeight":42,"mainColor":92},234169,"yuan-ji-song-zhu-shi-tu-juan-shi-tao-234169","原济松竹石图卷","原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[23,25,53,56,238,60,7,214,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7a026c786782c5ee0e249a5786dafbd.jpg",[],199,{"id":1230,"slug":1231,"title":1232,"dynasty":18,"author":1233,"museum":20,"description":1234,"tags":1235,"thumbUrl":1236,"material":88,"size":88,"collection":88,"collections":1237,"showCount":1238,"zanCount":42,"manualWeight":42,"mainColor":92},230286,"yu-shi-tu-juan-zhu-da-230286","鱼石图卷","朱耷","此作用极简水墨写就，大片留白晕出空寂玄远的意境。怪石以枯淡焦墨挥扫，嶙峋奇崛，笔势纵逸老辣，似藏丘壑风骨。游鱼寥寥数笔便形神具足，悠游于虚空之间，不见水波而满幅皆含水意，将闲逸之趣藏于无中生有的灵趣之中。\n\n题跋与画面相映成趣，书法朴拙疏朗，和水墨笔意浑然相融。整卷以虚代实，以少胜多，脱尽尘俗烟火气，将冷逸禅意藏于笔墨留白之间，寥寥数笔便勾勒出物我两忘的天地，尽显极简至极的东方写意美学。",[23,25,53,56,54,35,780,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F780cb8efb806c53984af9356a5a498f8.jpg",[],198,{"id":1240,"slug":1241,"title":1242,"dynasty":18,"author":1243,"museum":224,"description":1244,"tags":1245,"thumbUrl":1246,"material":88,"size":88,"collection":88,"collections":1247,"showCount":1248,"zanCount":137,"manualWeight":42,"mainColor":92},230215,"hua-niao-tu-ce-yu-zhi-230215","花鸟图册","余穉","此作工致秀雅，以桃花翠竹绘就春日小景。枝头桃花柔媚绽放，粉白花瓣晕染匀净，尽显娇妍之态，间杂翠绿竹叶，挺括舒展，鲜润清雅。\n\n三只春燕情态各异，两只红襟燕栖于花枝，羽翼丝缕毕现，绒羽蓬松柔软，神色悠然；一只白燕翩跹掠飞，灵动轻盈，动静相映成趣。整体设色明丽柔和，笔触细腻入微，将春日融融的生机与雅致融为一体，兼具写实之真与古典雅致之美，尽显清逸温婉的花鸟意趣。",[25,28,29,85,63,7,592,102,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95f1730fb5283ee2b7dc13a5bfb558b7.jpg",[],196,{"id":1250,"slug":1251,"title":1252,"dynasty":18,"author":250,"museum":182,"description":1253,"tags":1254,"thumbUrl":1255,"material":1079,"size":1256,"collection":71,"collections":1257,"showCount":1258,"zanCount":42,"manualWeight":42,"mainColor":92},223290,"san-qing-tu-li-zhou-zheng-ban-qiao-223290","三清图立轴","绘竹、兰、菊三君子，在画家眼里这三种更为清丽，全图皆水墨，竹的笔直修长，兰的清新幽香，菊的严霜开放，尽显君子谦谦之态。画作左侧有画家自题诗一首：兰梅竹菊四名家，但少春风第一花，寄于东君诸子弟，好将文事夺天葩。板桥郑燮。",[23,25,26,27,53,85,7,67,33,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe2339494716d7ccd299644411857aea.jpg","152×39cm",[71,243],193,{"id":1260,"slug":1261,"title":1262,"dynasty":97,"author":307,"museum":425,"description":1263,"tags":1264,"thumbUrl":1265,"material":37,"size":88,"collection":106,"collections":1266,"showCount":1267,"zanCount":176,"manualWeight":42,"mainColor":92},219112,"si-qin-tu-zhao-ji-219112","四禽图","枝桠横斜间，禽鸟各呈姿态：或敛翅静栖于梅梢，羽翎纹理纤毫毕现；或侧首凝睇，眼神藏着未语的灵秀；或振翅欲飞，翅尖似带起微风轻响。淡墨勾枝，浅彩点花，笔意清逸如春风拂过，花枝摇曳间，暗香仿佛浮动。\n\n行间题字与朱印错落，墨迹温润与朱砂明艳交织，似时光屐痕，与花鸟相映成趣，更添古雅之韵。每一笔透着对自然的敬畏，每处细节藏着文人闲情——不刻意雕琢，却于平淡中见真味，将生机与静谧凝于尺幅。\n\n整卷如流动的诗画，春日灵趣与岁月沉淀融于一体，读来心远尘嚣，仿佛置身鸟语花香的清境，忘却俗事纷扰。",[25,56,28,199,85,281,59,7,102,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c879664cc93247940a1bf71e75def95.jpg",[106,71],192,{"id":1269,"slug":1270,"title":1271,"dynasty":521,"author":1272,"museum":1273,"description":1274,"tags":1275,"thumbUrl":1277,"material":37,"size":88,"collection":39,"collections":1278,"showCount":1279,"zanCount":190,"manualWeight":42,"mainColor":43},219590,"xiu-zhu-mei-ren-tu-zhou-wen-ju-219590","修竹美人图","周文矩","圣路易斯艺术博物馆","幽庭春深，修竹亭亭映着绽蕊花枝。仕女发髻高绾，衣袂轻垂，静立凝望稚童，眉梢眼底浸着世家深宅的温婉闲静。红衣稚童攀折花枝，鲜活灵动的身影，恰好衬出仕女的娴柔静穆。\n\n笔墨苍润清逸，淡墨晕染竹木，细劲线条勾勒人物体态，设色古雅柔和，将深闺春日里闲散静好的日常晕染开来，把缱绻柔婉的东方诗意藏在花木竹石间，尽现古典雅致的闺中幽情。",[23,25,26,27,28,29,30,31,1276,7,59],"孩童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3506e1a0eb430a5f568336d083e69bc2.jpg",[39],188,{"id":1281,"slug":1282,"title":1283,"dynasty":48,"author":290,"museum":224,"description":1284,"tags":1285,"thumbUrl":1286,"material":88,"size":88,"collection":88,"collections":1287,"showCount":1288,"zanCount":11,"manualWeight":42,"mainColor":92},228913,"zhu-lin-tu-shen-zhou-228913","竹林图","此作以清和笔调铺展水村居境，汀洲之上屋舍错落，竹树环合，幽人静居于内，远山叠石皴法苍润，林木点染清逸。水墨晕染间，江南水滨的空寂雅趣漫溢而出。\n\n左侧题诗与画境相生相契，诗书画印浑融一体，将林下忘机的隐逸襟怀寄于湖山烟霭中。笔致温厚平宁，无一丝奇峭锋芒，恰如诗文所书的清修之态，把文人优游泉石、守拙安闲的意趣缓缓铺陈，淡朴的底色里藏着沉静自足的文人心境，尽显文人画以画载情、诗画共生的意韵。",[23,48,25,26,56,29,53,238,200,7,295,456,146,455,296,57,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb9ece674ed91c675c84612a3765b50.jpg",[],180,{"id":1290,"slug":1291,"title":1292,"dynasty":18,"author":1293,"museum":182,"description":1294,"tags":1295,"thumbUrl":1296,"material":37,"size":88,"collection":88,"collections":1297,"showCount":1288,"zanCount":42,"manualWeight":42,"mainColor":92},214610,"hong-lou-meng-ren-wu-ce-ye-2-yu-lan-214610","红楼梦人物册页-2","喻兰","喻兰(1742—1809)，字韵斋，号少兰，桐庐人。清代女画家。嘉庆三年(1798)，朝廷以命题考选画师，喻兰匠心独具，布景设色无不恰合题意，以第二名录取。不久，选入内廷，任画苑供奉职。喻兰擅画人物、仕女，用笔浓重，虽不脱画院派习气，却无纤弱之嫌。画楼台殿阁，往往参照西洋手法，信手画来，无不神韵毕致，惟妙惟肖。\n此册页所画为古典四大名著《红楼梦》第二十七回“埋香冢飞燕泣残红”中黛玉葬花的场景。",[25,29,28,83,58,57,452,454,7,30,31,296,146,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f5029b6dd2fd7aaf133fd9faf6ce40.jpg",[],{"id":1299,"slug":1300,"title":1301,"dynasty":97,"author":717,"museum":143,"description":1302,"tags":1303,"thumbUrl":1306,"material":37,"size":1307,"collection":71,"collections":1308,"showCount":1309,"zanCount":42,"manualWeight":42,"mainColor":92},219203,"mei-zhu-shan-zhi-tu-ma-yuan-219203","梅竹山雉图","此图突出一个“简”，着墨甚少，然而笔精墨妙。图中梅树一棵，翠竹一枝，孤石一块，以简练的笔法画之，虽梅枝不多，怒张而有放射之态；翠竹柔姿与梅媲美；作者以浓墨大斧劈及丁头鼠尾画法相结合，石块质坚、方硬。只有图中的山雉，作者用笔精练，神彩俱牛，雄雉身上的背羽部分黑斑点，在银光闪烁的白羽上更黑更突出红脸上的黑眼，显得很有神态，黑颈白肚中夹着红色的胸羽，是画面中最能令人注目的视点。一只小小雌雉依偎在旁，更显雄者的威武，虽只有这一对雉，却使画面点缀得有声有色。",[23,25,24,26,1120,29,28,53,238,7,59,1304,35,1305,85],"山雉","枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eef8b55514c8cfe1d3ed17f0508b497.jpg","纵24.1厘米，横25.2厘米",[71,106],179,{"id":1311,"slug":1312,"title":1313,"dynasty":167,"author":1314,"museum":50,"description":1315,"tags":1316,"thumbUrl":1317,"material":202,"size":1318,"collection":243,"collections":1319,"showCount":1320,"zanCount":11,"manualWeight":42,"mainColor":92},221834,"qing-bi-ge-mo-zhu-tu-zhou-ke-jiu-si-221834","清閟阁墨竹图轴","柯九思","本幅自识：“至元後戊寅十二月十三日，留清閟閣，因作此卷。丹丘生題。”钤“柯氏敬仲”。\n竹，由于被传统文人赋予了“虚心异众草，节劲逾凡木”的人格象征，因此，自宋代文同等人倡导始，到元代已成为极受欢迎的绘画题材。从技法上看，有勾勒填色的“画竹”与墨笔写意的“写竹”之分。此图即属于“写竹”一路画法。柯九思曾主张：“画竹写干用篆法，枝用草书法，写叶用八分或用鲁公撇笔法。”（《珊瑚网·画跋·卷八》）观此图画法，拳石皴法浑厚，实源于董巨一派，而墨竹则全法文同。作者以淡墨写干，用笔挺拔圆浑，宛如篆书，竹节两端再复垂墨，不勾节却连属自然。竹叶行笔沉着稳健，一如后人形容他的墨竹 “大叶长梢动冕旒”，以深墨为面，淡墨为背，正是源自文同。（米芾曾言：“……（画竹）以深墨为面，淡墨为背，自文同始。”）再加上劲健的小枝穿插其间，使丛竹于庄重、淳厚之中显示出活脱的生韵。",[23,25,26,53,27,7,35,102,57,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82d0dc87b7672540a9fb1c0aaa1a8915.jpg","纵132.8cm，横58.5cm",[243,269],177,{"id":1322,"slug":1323,"title":1324,"dynasty":167,"author":385,"museum":143,"description":1325,"tags":1326,"thumbUrl":1328,"material":441,"size":1329,"collection":300,"collections":1330,"showCount":1320,"zanCount":42,"manualWeight":42,"mainColor":92},220790,"zi-zhi-shan-fang-tu-zhou-ni-zan-220790","紫芝山房图轴","《元倪瓒紫芝山房图轴》是元末明初画家倪瓒所创作，水墨画河岸、疏树、竹林和小亭，对岸山峦起伏，构图简洁，具清逸萧疏之趣。此幅墨色淡雅，现藏于台北故宫博物院。\n《元倪瓒紫芝山房图轴》侧笔写山石轮廓，苍劲沉着，画竹之笔尤为遒劲有力，是云林精品。",[25,26,27,53,1327,238,35,454,7,294,766,102],"山水画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eb4dbc8f6b09feeea9d0d31f7abefaf.jpg","80.5x34.8",[300,243],{"id":1332,"slug":1333,"title":1334,"dynasty":18,"author":1335,"museum":80,"description":1336,"tags":1337,"thumbUrl":1341,"material":160,"size":1342,"collection":88,"collections":1343,"showCount":1344,"zanCount":42,"manualWeight":42,"mainColor":92},230111,"hong-lou-meng-1-20-sun-wen-230111","红楼梦（1-20）","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",[25,26,28,29,452,30,453,455,7,456,457,417,1338,1339,1340],"门窗","古装","衣饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a76bf1b00182a9d964a3d3a1dfb55de.jpg","纵43.3厘米、横76.5厘米",[],172,{"id":1346,"slug":1347,"title":1348,"dynasty":97,"author":1349,"museum":131,"description":1350,"tags":1351,"thumbUrl":1352,"material":37,"size":1353,"collection":39,"collections":1354,"showCount":1344,"zanCount":176,"manualWeight":42,"mainColor":92},216922,"xiang-shan-jiu-lao-tu-ma-xing-zu-216922","香山九老图","马兴祖","画的是唐贞观五年，白居易率领九位老者在河南洛阳的斗姆山聚会和宴请的故事。马兴祖是南宋画家，是马远的祖父，他的作品有花鸟、人物、山水和各种画作，特别擅长做精细的艺术家。此卷是由后来的艺术家复制的，与马兴祖没有关系。",[23,24,25,56,28,29,30,7,146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F695cadd81d87bdb7478f46096b1241a9.jpg","27.1x217.2",[39],{"id":1356,"slug":1357,"title":1182,"dynasty":18,"author":250,"museum":224,"description":395,"tags":1358,"thumbUrl":1359,"material":441,"size":88,"collection":71,"collections":1360,"showCount":1361,"zanCount":11,"manualWeight":42,"mainColor":92},223302,"zhu-shi-tu-zhou-zheng-ban-qiao-223302",[23,25,26,27,53,7,35,57,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f06ed11a80f23832798fc994366a211.jpg",[71,243],171,{"id":1363,"slug":1364,"title":1365,"dynasty":167,"author":262,"museum":143,"description":1366,"tags":1367,"thumbUrl":1368,"material":104,"size":1369,"collection":243,"collections":1370,"showCount":1371,"zanCount":11,"manualWeight":42,"mainColor":92},220770,"mo-zhu-ce-wu-zhen-220770","墨竹册","《元吴镇墨竹册》是吴镇创作的水墨画，作品创作于元代，作品所画的是墨竹。页高403厘米，宽52厘米。现藏于台北故宫博物院。\n吴镇曾说的墨竹之法：“疏不至冷，繁不至乱，翻向正背，转侧低昂，雨打风翻，各有法度”。 吴镇的墨竹把文学意蕴融入到艺术表现手法中，开创了文人画重意蕴之风，使中国文人画得到了关键性的发展，加深了文人画的思想内涵和潜在表现力，起到了承前启后的重要作用。之后的姚绶、文征明、唐寅等名家均不同程度受到了他的影响。特别是清代后期的蒲华，在继承了吴镇墨竹飘逸高傲之气的同时，又在“形”、“韵”两方面下功夫，使以竹为题材的艺术创作和审美情趣在清末达到了又一个高峰。明代文学大家陈继儒在《梅花庵记》中写道：“先生书仿杨凝式，画出入荆关董巨，初虽无意于啖名，而品格既真，则身价自不能压之使下，画苑推元四大家必屈指先生”，充分说明了吴镇在画坛上的公认地位。\n吴镇生于南宋灭亡次年，当时抗元气氛仍很浓厚，再加上元朝知识分子地位的骤降，使得他只能通过艺术作品来抒发心中的强烈感触与不平。墨竹是文人画中的常见题材，吴镇的墨竹则是中国画史上的极品，其成就甚至超过他的山水画，为后人留下了诸多传世佳作以及丰富的理论论述。\n吴镇的墨竹理论大约可分为三个部分：一是对竹子人格化的认识，这是他创作的原动力；二是画竹者的心境；三是具体的技法。他认为，画竹不仅要展现竹子的外在形态，更要显现其内在风骨和精神，反映更高的旨趣。他将竹子作为自身人格的真实写照，赋予其虚心劲节、直竿凌云、高风亮节的深刻寓意；在用笔时不求工细，只讲究写意神似，重在抒发自己的主观情趣：譬如生长于绝处的竹子，彰显的是处劣境不改其节，居陋地不扰平淡之心的君子风范；空山野地之竹则如隐士巢父、许由般高洁脱俗，远离浊世。吴镇正是将这种种体会与感受，自然而又随意地融入到自己的作品中，展现出多姿多彩的墨竹神韵。\n吴镇笔下的诸般墨竹姿意潇洒，可谓极尽竹之生态与情意：春夏秋冬、晴雨风雪、俯仰横斜皆各不相同。他运用墨的浓淡粗细，将竹的干、节、枝、叶描绘得繁而不乱、疏密有致；特别是采用浓、淡、破、焦、湿等方法把墨分为七色，将竹子的萧瑟灵性、远近枯荣表现得淋漓尽致、层次无穷。除了强调总体法度之外，吴镇还对细微处的技巧颇有研究。他认为画墨竹要分为干、节、枝、叶四个方面：“而叠叶至难，于此不工则不得为佳画矣”；画竹时须“下笔要劲，节实按虚起，一抹便过，少迟留则必钝厚不銛利矣”，画叶时应竭力避免“精似桃叶，细如柳叶，孤生并立，如又如井，太长太短，蛇形鱼腹，手指蜻蜓”等“疏密偏轻，使人厌观”之病。",[24,25,26,53,83,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ed6606134c966f2275eb0bcfe36c8f6.jpg","纵40.3厘米，横52厘米",[243,269],170,{"id":1373,"slug":1374,"title":1375,"dynasty":167,"author":1376,"museum":1377,"description":1378,"tags":1379,"thumbUrl":1382,"material":37,"size":1383,"collection":71,"collections":1384,"showCount":1385,"zanCount":42,"manualWeight":42,"mainColor":43},219260,"tao-zhu-jin-ji-tu-wang-yuan-219260","桃竹锦鸡图","王渊","山西省博物馆","画面以水墨晕染出清雅意境，锦鸡昂首伫立石间，墨笔勾勒的羽翼间，浓淡层次晕染出如锦似绣的质感，尾羽拖曳如墨色流苏。桃枝蜿蜒斜逸，嫩芽初绽；竹叶疏朗挺劲，与奇崛山石构成疏密有致的布局。几只小鸟或栖于枝头，或振翅欲飞，为静谧添上灵动一笔。\n\n笔墨融工致与写意于一体：山石以斧劈皴显苍劲厚重，花鸟以细劲线条勾形见精致。无艳丽设色，却以墨之五色绘尽自然生机——浓墨点染的枝干、淡墨晕开的花叶、干笔皴擦的岩石，干湿浓淡间尽显文人画的雅致韵致。静穆中藏着蓬勃生气，清雅里透着逸趣，似在诉说元代文人对自然的细腻观照与笔墨风骨。",[25,24,26,85,53,28,29,1380,7,281,35,1381],"桃","禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fade754c62acc1771f2885153f324fff0.jpg","纵162.5横133厘米",[71],169,{"id":1387,"slug":1388,"title":1389,"dynasty":97,"author":168,"museum":50,"description":1390,"tags":1391,"thumbUrl":1392,"material":340,"size":1393,"collection":106,"collections":1394,"showCount":1395,"zanCount":176,"manualWeight":42,"mainColor":43},223519,"mei-zhu-shuang-que-tu-yi-ming-223519","梅竹双雀图","绿竹丛中逶迤伸出白梅两枝，清丽冷艳。两只鸲鹆栖于枝头，翘首顾盼。鸟羽用细笔勾描，然后以墨或淡彩晕染，近似“没骨”法。梅花用白粉和淡黄色勾填，层次丰富。竹叶用双勾法勾勒轮廓，再染以花青、汁绿、赭石等色。",[23,25,26,85,28,29,59,7,1157,592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F478d67e9c8453c0f58a076b0bb58b8c1.jpg","26x26.5厘米",[106,71,123],168,{"id":1397,"slug":1398,"title":1153,"dynasty":97,"author":168,"museum":1399,"description":1400,"tags":1401,"thumbUrl":1402,"material":37,"size":1403,"collection":71,"collections":1404,"showCount":1405,"zanCount":11,"manualWeight":42,"mainColor":43},216724,"zhu-que-tu-yi-ming-216724","德国国立民族博物馆","竹雀图是一幅中国宋朝时期的山水画。它的作者不详，因此被称作佚名。这幅画展现了一只竹雀坐在枯竹上，它仰望天空，看起来沉思，非常感人。背景是一片山林，山上有云雾，枯竹上有苔藓。这幅画浓烈的山水意境和出色的线条勾勒，使得它成为了一幅经典的中国画作品。",[23,24,25,26,1120,28,29,85,7,1157,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a620d767f5903f90715fcce25b8448e.jpg","24.1x23.4cm",[71],164,{"id":1407,"slug":1408,"title":1409,"dynasty":48,"author":49,"museum":224,"description":1410,"tags":1411,"thumbUrl":1412,"material":960,"size":961,"collection":88,"collections":1413,"showCount":1414,"zanCount":42,"manualWeight":42,"mainColor":43},289875,"xue-zhu-xu-wei-289875","雪竹","徐渭（1521年3月12日－1593年），汉族，绍兴府山阴（今浙江绍兴）人。初字文清，后改字文长，号青藤老人、青藤道士、天池生、天池山人、天池渔隐、金垒、 金回山人、山阴布衣、白鹇山人、鹅鼻山侬、田丹水、田水月（一作水田月 ）。明代中期文学家、书画家、戏曲家、军事家。\n徐渭曾担任胡宗宪幕僚，助其擒徐海、诱汪直。胡宗宪被下狱后，徐渭在忧惧发狂之下自杀九次却不死。后因杀继妻被下狱论死，被囚七年后，得张元忭等好友救免。此后南游金陵，北走上谷，纵观边塞阨塞，常慷慨悲歌。晚年贫病交加，藏书数千卷也被变卖殆尽，他自称“南腔北调人”，于万历二十一年（1593年）去世，年七十三\n徐渭多才多艺，在诗文、戏剧、书画等各方面都独树一帜，与解缙、杨慎并称“明代三才子”。他是中国“泼墨大写意画派”创始人、“青藤画派”之鼻祖，其画能吸取前人精华而脱胎换骨，不求形似求神似，山水、人物、花鸟、竹石无所不工，以花卉最为出色，开创了一代画风，对后世画坛（如八大山人、石涛、扬州八怪等）影响极大；书善行草，写过大量诗文，被誉为“有明一代才人”；能操琴，谙音律；爱戏曲，所著《南词叙录》为中国第一部关于南戏的理论专著。另有杂剧《四声猿》《歌代啸》及文集传世。",[25,53,7,325,35,57,102,27,54,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda0c10587d925716d52958d37b02e71d.jpg",[],161,{"id":1416,"slug":1417,"title":1418,"dynasty":97,"author":1419,"museum":143,"description":1420,"tags":1421,"thumbUrl":1422,"material":441,"size":1423,"collection":106,"collections":1424,"showCount":1414,"zanCount":42,"manualWeight":42,"mainColor":92},221496,"zhu-ge-yan-bin-tu-li-tang-221496","竹阁延宾图","李唐","此图应为元代画家所绘，大青绿绘远处山峦起伏，陡峭险峻；中部湖面广阔，水面如静；近处树木蓊郁，岸上一处亭台建筑考究，两排并列，回廊延伸，亭内两人倚栏而坐，聊天赏景，不亦乐乎。",[23,25,1120,29,200,238,454,456,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac77efdcd38cd2854c5b2b506f96be70.jpg","23.7×20cm",[106,300,123],{"id":1426,"slug":1427,"title":1428,"dynasty":18,"author":79,"museum":1429,"description":1430,"tags":1431,"thumbUrl":1433,"material":37,"size":1434,"collection":88,"collections":1435,"showCount":1414,"zanCount":176,"manualWeight":42,"mainColor":43},216109,"yun-shou-ping-hua-guo-shu-cai-ce-ye-2-yun-shou-ping-216109","恽寿平花果蔬菜册页-2","天津博物馆","恽寿平花果蔬菜册页一共六开，绢本设色，以没骨写意画法依次描写了丝瓜、竹笋、竹子、葡萄、茄子、扁豆、白菜、芋头等日常蔬果，笔致灵动、色调雅致清新，描写入微，蔬果的叶尖、芽尖也刻画细致生动，尽显淡然天真之气，是恽寿平晚年描绘蔬果的没骨精品。 此册页每一页所绘蔬果都有刘墉相应赋诗一首，书法浑厚大气，古朴自然，自成一派，看似松散，实则丰貌骨劲。刘墉所描写蔬果诗文生动质朴，贴近生活，与恽寿平描绘的蔬果相应成趣，极大增加了观赏趣味。",[24,25,26,83,29,28,7,1432,428,102],"竹笋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29bf8f805f27469ebc51bee115db2b4.jpg","26.1x19.9cm",[],{"id":1437,"slug":1438,"title":1439,"dynasty":18,"author":1233,"museum":224,"description":1440,"tags":1441,"thumbUrl":1443,"material":960,"size":961,"collection":88,"collections":1444,"showCount":1445,"zanCount":42,"manualWeight":42,"mainColor":92},288299,"ba-jiao-zhu-shi-tu-zhu-da-288299","芭蕉竹石图","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[23,24,25,26,27,53,85,1442,7,35],"芭蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e433e949bf49ac3086bddbbf9d0c776.jpg",[],160,{"id":1447,"slug":1448,"title":1153,"dynasty":167,"author":1376,"museum":1449,"description":1450,"tags":1451,"thumbUrl":1452,"material":37,"size":1453,"collection":71,"collections":1454,"showCount":1445,"zanCount":11,"manualWeight":42,"mainColor":43},219077,"zhu-que-tu-wang-yuan-219077","费城艺术博物馆","三月，万物复苏，荆棘的枯叶和果实尚未脱落，杂草和绿竹已逐渐变绿，四只羽毛蓬松、身体圆润的鹌鹑在一起玩耍、进食。",[25,26,24,753,27,28,29,85,7,281,324,618],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc32bae4473f9f585646637c2c7a6b60d.jpg","53x38cm",[71],{"id":1456,"slug":1457,"title":1458,"dynasty":1459,"author":1460,"museum":1117,"description":1461,"tags":1462,"thumbUrl":1465,"material":37,"size":1466,"collection":39,"collections":1467,"showCount":1468,"zanCount":11,"manualWeight":42,"mainColor":43},218385,"mu-niu-tu-han-huang-218385","牧牛图","唐","韩滉","平坡旷野间，双牛安卧，墨色晕染出厚重肌理，犄角宛转，似带泥土气息。牧童蜷身酣眠，草帽斜倚，竹杖横陈，尽是天真慵懒。旁侧老枝虬劲，竹影疏疏，墨痕浓淡交织出野趣。整幅画无喧嚣，唯留田园静穆。笔墨简括却神形毕肖，牛的憨态、牧童的自在，皆藏于线条间。盛唐乡野的悠然时光，仿佛凝在绢上，望之忘俗，心生惬意。",[24,25,26,29,28,30,1463,7,35,102,1464],"牛","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30f0dc982c6116348e28f459cb13d33.jpg","27.9x31.4",[39],159,{"id":1470,"slug":1471,"title":1472,"dynasty":48,"author":290,"museum":224,"description":1473,"tags":1474,"thumbUrl":1475,"material":104,"size":1476,"collection":300,"collections":1477,"showCount":1478,"zanCount":176,"manualWeight":42,"mainColor":92},222121,"shi-zhu-tu-shen-zhou-222121","石竹图","石竹图，设色淡雅清幽，线条笔墨饱满有力，将竹的青翠挺拔，山石的坚硬如数展现，为其传世不多的佳品。画面中的竹、石、树体现了生物的灵气，体现了作者心灵与天地共呼吸，随悠云自来往的悠然心境。虽然整幅画面仅有很少的景物，但是作者的心境已经很自然的流露出来。 沈周在画中题识：“石丈有芳姿，此君无俗气。其中佳趣多，容我自来去。”",[23,24,25,26,53,238,35,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36554dbfb6c71407859f93a0a9573279.jpg","60×48cm",[300,243],158,{"id":1480,"slug":1481,"title":1482,"dynasty":97,"author":534,"museum":143,"description":1483,"tags":1484,"thumbUrl":1485,"material":37,"size":88,"collection":106,"collections":1486,"showCount":1487,"zanCount":42,"manualWeight":42,"mainColor":92},218747,"zhu-tu-wen-tong-218747","竹图","墨竹挺秀于素绢之上，枝干如铁线盘旋，墨色浓淡交织出老嫩层次。竹叶以“个”“人”形错落铺陈，笔意洒脱却不失矩度，似有风过叶舞之灵韵。文同“胸有成竹”的妙谛在此尽显：每枝每叶皆从心臆而出，无半分迟疑滞涩。老干苍劲如古松，新枝清逸若嫩柳，墨色干湿变化间藏盎然生机。留白处意蕴悠远，仿佛能闻竹间飒飒风声，见月下疏影横斜，将宋时文人画的意境与笔墨之美融于一纸。竹之坚贞与君子风骨相契，画者胸臆借竹抒发，尽展文人画的雅致气韵与精神内核。",[23,24,25,26,53,83,102,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e6f635d98c2a3862422c3f72b140031.jpg",[106],157,{"id":1489,"slug":1490,"title":1491,"dynasty":167,"author":1492,"museum":99,"description":1493,"tags":1494,"thumbUrl":1495,"material":1496,"size":1497,"collection":300,"collections":1498,"showCount":1499,"zanCount":11,"manualWeight":42,"mainColor":92},221735,"shan-shui-zhu-shi-tu-quan-juan-zhao-yuan-221735","山水竹石图全卷","赵原","赵原（约1325—1374），元末明初画家。生卒年不详。本名元，入明后因避朱元璋讳而改作原，字善长，号丹林。莒城（今山东莒县人，一作东平(今属山东)人，寓居苏州(今江苏苏州)。善诗文书画，擅山水。明太祖洪武（1368-1398）间征至中书令。洪武五年（1372）在昆陵作听松图，此顷被征至京图往贤着功名者像，应对忤旨，被杀。明洪武初奉诏入宫，因所画不称旨而被杀。\n关于赵原的师承说法不一，最经常的说法是王维和董源。也有说他师法董源、王蒙或米芾、高克恭。善用枯笔浓墨，作品多作浅绛山水，笔墨圆劲秀逸。亦长于画竹，画法多变，有龙角、凤尾、金错刀之称。兼能竹石，当时在平江一带负盛誉。有《合溪草堂图》、《晴川送客图》、《溪亭送客图》、《陆羽烹茶图》等传世。",[23,25,26,56,53,238,200,7,214,57,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70809230f2fb9e519270ac51b851cbf5.jpg","纸本水墨","纵25.7厘米，横380厘米",[300,243],156,{"id":1501,"slug":1502,"title":1503,"dynasty":167,"author":262,"museum":1504,"description":1505,"tags":1506,"thumbUrl":1507,"material":104,"size":1508,"collection":243,"collections":1509,"showCount":1499,"zanCount":11,"manualWeight":42,"mainColor":43},220777,"ku-mu-zhu-shi-tu-wu-zhen-220777","枯木竹石图","浙江省博物馆","元吴镇所绘的《枯木竹石图》画的山中古木竹石， 藏巧于拙。近处古木枝桠遒劲，非常古雅清逸；石头尖峭如削。在构图上的确鬼斧神工,技高一筹。另外,此图在设色用笔上也足能代表吴镇的风格。枯木竹石图在好几个朝代都有画家的画作，也是中国山水画的常用名词。是作者以枯木（以物）抒情的一种表现手法，图中画的是扭曲干枯的枯树，挣扎着向外伸展，表现了作者坚硬顽强的性格，怪石与枯木皆用清淡、空灵、松散的笔墨似勾似擦，虽笔墨不多，却与其傲岸豪放的性格相一致，抒写了作者胸中的磊落不平。\n吴镇十八九岁开始学画，年轻时游历杭州，吴兴，饱览太湖风光。开眼界，长见识，大自然的真山真水，启迪了他创作灵感。其工诗文书法，绘画题材多为渔父、古木、竹石之类，善画山水、梅花。草书学巩光，山水师法董源、巨然而又独出机杼，以雄强笔法辅以丰富墨法，自有一种苍茫沉郁、古厚纯朴之气。精写竹，师李衎，晚年则专写墨竹。墨竹宗文同，为文同后又一大家。善于用墨，淋漓雄厚，为元人之冠。兼工墨花，亦能写真。同以竹掩其画，镇以画掩其竹。其画虽势不能夺，唯以佳纸笔投之，欣然就几，随所欲为，乃可得也。诗词风格简劲奇拔，感情真挚，常以比兴自吐胸臆，接近陶潜诗风，外示平淡而内实郁愤。书法能结合王羲之和怀素之长而自具面目。每作画往往题诗文于其上，或行或草，墨沈淋漓，诗、书、画相映成趣，时人号为“三绝”。其画风对明清山水画的发展，有较大影响。他与王蒙、黄公望、倪瓒齐名，并称为元四家。\n吴镇画山水喜用湿墨，其实吴镇未尝不善用干墨，在吴镇传世几十余幅墨竹中，几乎全是用干墨画的，均取得了良好的效果。之所以吴镇在山水画中多用湿墨，这与吴镇欲借山水画表达的境界有极大的关系。北宋山水画追求一种可游、可居之景，用笔用墨都服从于山水真实体感的表达；而元人则以山水为媒，追求一种有我之景，笔墨除用表现形体外，更是充作了情感流露的媒介。在元四家中吴、倪均以画水著称，倪喜用干墨，吴则喜用湿墨。倪用干墨草草点染，创造一种荒芜、澹泊之境；吴则用湿墨，渲染出一种凄清、静穆之境。细观吴镇每一幅山水画，都给人以“水墨淋漓幛犹湿”的感觉。无论是山、树、水，还是船、渔父、房屋，无论是近景，还是远景，均如淋浴在水中，从而更使远方景物有千里之遥，营造了一种凄清、幽旷、寂寥的艺术氛围。",[23,24,25,53,238,54,239,7,214,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5797621a7b1b78697492ac6ae81f2540.jpg","纵103.3厘米 横33.3厘米",[243,269],{"id":1511,"slug":1512,"title":1513,"dynasty":97,"author":1154,"museum":143,"description":1514,"tags":1515,"thumbUrl":1516,"material":37,"size":1517,"collection":106,"collections":1518,"showCount":1499,"zanCount":42,"manualWeight":42,"mainColor":92},219144,"zhu-cong-bai-tou-weng-tu-wu-bing-219144","竹丛白头翁图","画面中白头翁栖于竹枝，翎羽纤毫毕现，墨色晕染间绒羽柔润若触，喙爪劲挺见骨。竹丛枝叶交叠，线条清劲似铁线勾勒，翠色浅淡却透着生机，新篁嫩芽更显稚拙可爱。鸟的姿态灵动，似欲引吭或侧耳倾听，打破竹林静谧却又与清雅环境相融。画作以细腻写实之笔，精准捕捉禽鸟与植物形神，色彩淡雅温润，构图疏密有致，尽显宋代工笔花鸟的雅致韵致。方寸间藏自然生机与文人意趣，观之如置身幽篁深处，闻得禽鸣竹语，心随景静。",[23,24,25,26,1120,28,29,85,7,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35a323ffe8ba1cd4340700718353b5a8.jpg","26.1x27.5cm",[106,71],{"id":1520,"slug":1521,"title":1522,"dynasty":18,"author":250,"museum":224,"description":1523,"tags":1524,"thumbUrl":1525,"material":441,"size":1526,"collection":71,"collections":1527,"showCount":1528,"zanCount":42,"manualWeight":42,"mainColor":92},223299,"zhu-shi-tu-5-zheng-ban-qiao-223299","竹石图5","这幅《竹石图》，郑板桥将竹子画得艰瘦挺拔，节节屹立而上，直冲云天，每一片叶子都有着不同的表情，墨色水灵，逼真地表现竹的质感，而且竹的纤细清飒之美更衬托了石的另一番风情。在构图上又将竹与石的位置关系和题诗文字处理得十分协调，而且他的书法是越到晚年越是风神独具、挥洒自如、翰墨苍劲。“扬州八怪”之首的金农曾感叹：相较两人的画品，自己画的竹子终不如板桥有林下风度啊。\n郑板桥被后人誉为“诗、书、画”三绝的全才画家，且在三绝之中又有三真，特别强调要表现真性情、真意气、真趣味。\n郑板桥的绘画成就极高，尤擅画竹石，细枝粗叶，瘦劲孤高，格调超人。他画竹有“胸无成竹”的理论，并无师承，多得于纸窗粉壁日光月影，直接取法自然。他自称：“凡吾画竹，无所师承，多得于纸窗粉壁日光月影中耳。”针对苏东坡“胸有成竹”的说法，郑板桥强调的是胸中“莫知其然而然”的竹，要“胸中无竹”。这两个理论看似矛盾，实质却相通，同时强调构思与熟练技巧的高度结合，其创作体会鲜明地表露于一则题画中：“江馆清秋，晨起看竹，烟光、日影、露气皆浮动于浮枝密叶之间，胸中勃勃，遂有画意。其实胸中之竹，并不是眼中之竹也。因而磨墨展纸，落笔倏作变相，手中之竹，又不是胸中之竹也。”他笔下的竹注重“瘦与节”的结合，往往就是自己思想和人品的化身。据说，曾经有一大户大家请郑板桥画竹，酒过之后他便向这家墙壁上大盆洒墨，扔笔不画，晚上风雨大作把墙壁上的墨迹冲刷一遍，第二天一大早竟是一幅淋漓尽致的墨竹，还有几只麻雀以为来到了竹林撞昏在壁下。传说自然不可全信，但却可想见郑板桥作画的创造性。",[23,24,25,26,27,53,58,102,238,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6751617696efb541b17a01c9ddade642.jpg","179.5×101cm",[71,243],153,{"id":1530,"slug":1531,"title":1532,"dynasty":18,"author":1233,"museum":224,"description":1533,"tags":1534,"thumbUrl":1536,"material":88,"size":88,"collection":88,"collections":1537,"showCount":1538,"zanCount":42,"manualWeight":42,"mainColor":43},231001,"song-lu-tu-zhu-da-231001","松鹿图","《松鹿图》纵28厘米，横75厘米，纸本，作者朱耷。\n左上方落款“八大山人”，下钤有朱色阴文印”八大山人”，阳文印“各园”各一枚。\n图中画一老松，根浅干高，上粗下细，枝枯叶疏，似病5人躯干，显示出生命的衰弱和意志的消沉。\n树后画一头重脚轻、摇摇欲坠的怪石，石旁画一只形体扭曲、双目圆瞪的鹿，地上是稀少短小的枯草。\n画面布局得当，笔法苍劲，流畅生动，寓意极深。\n《松鹿图》笔墨极简，然简中有味，能在寥寥几笔中传达出许多“余味”，需要极高深的功力和极高尚的笔墨趣味。\n松树取折枝意境，几根墨线，萧条淡泊，闲和严静，画面的萧索反映出他精神世界里的孤寂，完全从八大山人的精神状态中走出，既有文人的雅致，又含着僧人的禅意，还透着些道家的出世散淡，还带着些许皇家的富贵气息。\n此画最大的佳处就在于气息湮润，格调高雅，平淡天真，不着人间烟火气。\n梅花鹿是高雅富贵之物，被视为君子，与八大山人看空世事的情怀有不谋而合之处。\n此外“松鹿题材”也是传统的吉祥题材，“鹿”与“禄”同音，松树象征着高寿，《松鹿图》寄托着福禄长寿的美好寓意。\n八大山人的造诣不仅体现在书画创作和艺术成就上，就连他的精神境界，也是拈花微笑、艺术到家的，这从《松鹿图》的气韵上可见一斑。\n朱耷（1624—175年），明宗室宁献王朱权后裔，封藩南昌，遂为江西南昌人，谱名统『17』，小名耷。\n清顺治五年（1648年）落发为僧，法名传棨。\n一生字、号、别号甚多，有个山、驴屋驴、人屋等。\n康熙二十三年（1684年）始号八大山人。\n坎坷的命运影响着他的人生观及艺术创作思想，其绘画作品中多寄托着对清王朝的痛恨，对明王朝的眷恋之情。\n山水画在宗法元黄公望平淡天真和明董其昌润泽秀逸的基础上形成了自己古拙奇特、劲拔荒率的艺术风格。\n花鸟画在参照明代沈周、徐渭等文人画法的同时，又融入自己强烈的主观意识，注重鱼、虫、禽等物象的人格化表现，以象征手法表达隐晦的寓意。\n晚年署款将自己的号“八大山人”四个字以草书体连缀写，似“哭之”、“笑之”，借此暗寓他面对富于戏剧性变幻的人生，哭笑不得，百般无奈的感慨之情。\n他与同为明遗民画家的石涛、弘仁、髡残合称“清初四僧”。\n书法宗王献之、颜真卿，淳朴圆润，自成一格。\n朱耷中晚年，在书画作品款署中多使用“八大山人”。",[23,25,53,199,27,60,1535,7,1464],"鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd179297b507ca3cef1bcc70058d3b3d.jpg",[],152,{"id":1540,"slug":1541,"title":1542,"dynasty":48,"author":449,"museum":50,"description":1543,"tags":1544,"thumbUrl":1548,"material":312,"size":1549,"collection":88,"collections":1550,"showCount":1538,"zanCount":11,"manualWeight":42,"mainColor":92},222193,"ren-wu-gu-shi-tu-zhu-yuan-pin-gu-chou-ying-222193","人物故事图-竹院品古","全册共十开，内容取材于历史故事、寓言传说、文人轶事和诗文寓意，具体为子路问津、明妃出塞、贵妃晓妆、南华秋水、吹箫引凤、高山流水、竹院品古、松林六逸、浔阳琵琶、捉柳花图等。这些题材历史上常被画家描绘，但仇英在作品立意、形象塑造和笔墨表现等方面，都注入了自己的才思和技巧，显示出鲜明的个性风格。\n作品主题明确，构思巧妙，不仅人物活动的细节刻画具体明晓，而且注意环境气氛的烘托，使每幅画页都有很强的观赏性。如“贵妃晓妆”页，以杨贵妃清晨在华清宫端正楼对镜理髻为中心，将宫女奏乐、采花和携琵琶等情节同现于一个画面，集中表现了贵妃爱牡丹、喜簪花、善声乐、好打扮的习性，也概括反映了贵妃奢华纵乐的生活内容。又如“高山流水”页，取材于伯牙鼓琴的故事，在描绘俞伯牙草亭弹琴，钟子期拾阶而上，知音相遇的具体情节同时，布置了高山飞瀑、松林流水的静谧清幽环境，形象地表达了高山流水的音乐内容，也衬托出人物的高雅情操，以象征性手法营造出了一个情景交融的臻境。\n此图册运用工笔重彩法。人物情态描绘得细腻精微，文人举止高雅潇洒，仕女容貌端庄娟美。建筑器皿工整精细，山石树木形态各具。笔致工细而不板滞，流畅自然，刚柔相济。敷色艳丽，又多和色，整体色调和谐、清雅。作品具有雅俗共赏的艺术效果，是仇英对唐宋工笔重彩法的创新和发展。",[23,25,26,28,29,30,7,33,1276,1545,457,1546,1547],"侍女","古物","品古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f688d90551ee6db64df0e5d88db472f.jpg","每开纵41.4厘米，横33.8厘米",[],{"id":1552,"slug":1553,"title":1554,"dynasty":97,"author":1555,"museum":1556,"description":1557,"tags":1558,"thumbUrl":1561,"material":340,"size":769,"collection":106,"collections":1562,"showCount":1538,"zanCount":176,"manualWeight":42,"mainColor":43},221658,"wu-bai-luo-han-tu-zhi-ying-shen-guan-yin-zhou-ji-chang-221658","《五百罗汉图》之《应身观音》","周季常","波士顿美术馆","画五百罗汉故事，包含佛教诸多教义僧人生活情境。有罗汉结集论事故事，有佛道斗法情境，有僧人日常生活状貌，也有长途跋涉稍作休憩游行僧形象。",[23,25,26,24,28,29,1559,30,7,1560,34],"宗教","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57048aa20a5009792aff06e951ee2386.jpg",[106,39,123],{"id":1564,"slug":1565,"title":1566,"dynasty":1567,"author":168,"museum":224,"description":1568,"tags":1569,"thumbUrl":1575,"material":960,"size":961,"collection":8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这幅画是根据宋徽宗爱画白鹰奇石的传说.",[23,25,24,26,27,28,29,592,1381,7,35,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9f082a50222716196107d33d5784d0f.jpg","141.7x59.5厘米",[71,123],{"id":1599,"slug":1600,"title":1601,"dynasty":18,"author":79,"museum":224,"description":1602,"tags":1603,"thumbUrl":1605,"material":960,"size":961,"collection":88,"collections":1606,"showCount":1607,"zanCount":11,"manualWeight":42,"mainColor":92},239439,"hua-niao-ce-yun-shou-ping-239439","花鸟册","恽南田（1633年—1690年），即恽寿平，原名格，字寿平，后以字行，改字正叔，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史，明末清初著名书画家，常州画派的开山祖师，后来成为清六家之一。",[25,24,83,84,29,85,32,7,1604],"水禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec7e30a442cbdb53613fd8222a1bae4f.jpg",[],145,{"id":1609,"slug":1610,"title":1611,"dynasty":18,"author":1233,"museum":224,"description":1612,"tags":1613,"thumbUrl":1620,"material":88,"size":88,"collection":88,"collections":1621,"showCount":1607,"zanCount":42,"manualWeight":42,"mainColor":272},230268,"lin-lan-ting-ji-xu-zhu-da-230268","临兰亭集序","这幅临作跳脱原作的飘逸妍美，以极简淡的行笔，将永和雅集的放达意趣揉入枯寂清冷的笔意间。线条清瘦内敛，牵丝映带简省却意韵悠长，墨色枯润交叠，淡晕似寒山孤月，藏着沉郁孤傲的心境。\n\n章法排布疏朗错落，字距宽绰留白如空山积雪，不见羲之流媚，只剩孤绝文人风骨。将曲水流觞的群贤盛景，幻化为一人独对的清冷，以己意重塑经典，让旧文生出新的寂寥魂魄，是借古抒怀的绝妙手笔。",[23,25,26,57,1614,58,53,102,1615,1616,7,296,1617,1618,1619],"临摹","山","林","天","风","鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe962dda24755f0275826a71c100f9871.jpg",[],{"id":1623,"slug":1624,"title":1625,"dynasty":48,"author":1098,"museum":143,"description":1626,"tags":1627,"thumbUrl":1629,"material":37,"size":1630,"collection":71,"collections":1631,"showCount":1632,"zanCount":176,"manualWeight":42,"mainColor":43},218792,"hua-zhu-an-chun-tu-zhou-zhi-mian-218792","花竹鹌鹑图","瘦长的画幅，主景放置在幅右，秋日,石上几株绿竹，间杂著娇媚的蜀葵、牵牛花。石下一对鹌鹑，临风处有一只大凤蝶飞来。整幅画充满著婀娜明艳的光辉。题句多，亦足以让人诗画共赏。",[25,29,28,7,62,1628,280,146,85,948],"鹌鹑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a00ce3772da92e745cee036acd9c15.jpg","111.7x29.7cm",[71],144,{"id":1634,"slug":1635,"title":1636,"dynasty":18,"author":250,"museum":50,"description":1637,"tags":1638,"thumbUrl":1639,"material":441,"size":442,"collection":71,"collections":1640,"showCount":1641,"zanCount":11,"manualWeight":42,"mainColor":92},223296,"mo-bi-zhu-shi-tu-zhou-zheng-ban-qiao-223296","墨笔竹石图轴","郑板桥画墨竹，多为写意之作。一气呵成．生活气息十分浓厚，一枝一叶．不论枯竹新篁，丛竹单枝，还是风中之竹。雨中之竹．都极富变化之妙．如竹之高低错落，浓淡枯荣．点染挥毫，无不精妙。画风清劲秀美，超尘脱俗，给人一种与众不同之感。他说：“文与可画竹，胸有成竹；郑板桥画竹，胸无成竹。与可之有成竹．所谓渭川千亩在胸中也；板桥之无成竹，如雷霆霹雳，草木怒生，有莫如其然而然者，盖大化之流行．其道如是，与可之有，板桥之无，是一是二解人会之。”实际上，板桥“胸无成竹”与文与可“胸有成竹”在根本上是不矛盾的，郑板桥注意的是在创作之前，构思要与熟练的技巧相结合，但这种写意画与文与可高度写实墨竹画在技法上又是有区别的，即有写意与写实、抽象与具象、神似与形似的不同。特别引人注目的是郑板桥画竹还讲究书与画的有机结合，“以草书之中竖长撇法运之”，他说：“书法有行款，竹更要有行款，书法有浓淡，竹更要有浓淡，书，去有疏密，竹更要有疏密。”为此，人们都能从他的字画中体味到。",[23,25,53,27,7,35,102,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00450bf3ebc8d27f10d2ec819e60152f.jpg",[71,243],143,{"id":1643,"slug":1644,"title":1645,"dynasty":167,"author":1376,"museum":143,"description":1646,"tags":1647,"thumbUrl":1651,"material":441,"size":1652,"collection":71,"collections":1653,"showCount":1641,"zanCount":11,"manualWeight":42,"mainColor":92},221838,"tao-zhu-jin-ji-tu-zhou-wang-yuan-221838","桃竹锦鸡图轴","该图上有王渊款：“至正已醜(1349年)王若水爲惠明作桃竹錦雞圖。”钤私印两方。是图将工整双勾的线条和细腻的水墨渲染合为一体，形成兼工带写的绘画技巧，以墨代色，脱胎于五代黄筌“黄家富贵”的工笔设色画风，反映了文人画重墨轻色的审美观。画家以水墨皴擦、晕染、粗细笔并用，行笔稳健而不乏洒脱，水墨层次变化丰富，颇有透明感，全图不着一色已俱见典雅端丽，画意蕴藉清润、幽静深秀。",[23,25,1648,28,85,27,1380,7,185,663,1649,1650],"水墨画","水墨设色","花鸟题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe14268d3dd72321107b543bb80edf552.jpg","纵102.3cm，横55.4cm",[71,243],{"id":1655,"slug":1656,"title":1657,"dynasty":18,"author":1233,"museum":224,"description":1658,"tags":1659,"thumbUrl":1660,"material":104,"size":88,"collection":71,"collections":1661,"showCount":1662,"zanCount":42,"manualWeight":42,"mainColor":92},237626,"za-hua-ce-zhu-da-237626","杂画册","八大山人的花鸟画深受林良、陈淳、徐谓等大家的影响，他的作品特别强调缘物寄情，因而个性极为鲜明。这种种孤僻、冷漠、悲愤、反常、怪异的特征，当然是他奇特艺术风格的具体化。而这种表象下折射出来的，正是画家一种有别于常人的人格心理。",[25,26,53,54,83,779,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04f6f00ac3e82f228b59b368b2013046.jpg",[71,243],141,{"id":1664,"slug":1665,"title":1666,"dynasty":97,"author":1667,"museum":1449,"description":1668,"tags":1669,"thumbUrl":1670,"material":37,"size":1671,"collection":300,"collections":1672,"showCount":1662,"zanCount":11,"manualWeight":42,"mainColor":92},218636,"shan-shui-tu-xia-gui-218636","山水图","夏圭","嶙峋山石倚着清竹，茅舍半藏于岩间，窗内人影依稀，似在静赏山光。淡墨远山如黛，隐入烟霭，留白处漾着空濛的诗意。斧劈皴笔力劲健，刻画出山石坚硬肌理；竹叶以简括笔触点染，疏朗间见生机。构图截取一角景致，以少胜多，将南宋山水的空灵雅致凝于尺幅。墨色浓淡交错，层次叠生，竹影婆娑、山石苍劲、远山悠远，共同织就清寂悠然的林泉图景，尽显隐者恬淡心境与画者笔墨才情。题跋与画面相映，文气画意交融，更添古朴雅致之韵。",[25,26,200,53,238,7,146,454,766],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6fbe552f0bbce9c2e6f3428b0b59de0.jpg","32.7x20",[300],{"id":1674,"slug":1675,"title":1676,"dynasty":18,"author":130,"museum":224,"description":1677,"tags":1678,"thumbUrl":1679,"material":88,"size":88,"collection":88,"collections":1680,"showCount":1681,"zanCount":11,"manualWeight":42,"mainColor":92},228994,"zhu-shi-zhen-ji-tu-shi-tao-228994","竹石真迹图","此作用水墨写意绘就幽境。以淋漓淡墨勾皴巨石轮廓，留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37.8厘米",[243,269],{"id":1749,"slug":1750,"title":1751,"dynasty":48,"author":168,"museum":224,"description":1752,"tags":1753,"thumbUrl":1755,"material":29,"size":88,"collection":123,"collections":1756,"showCount":1737,"zanCount":11,"manualWeight":42,"mainColor":43},219904,"cha-mei-san-qin-tu-yi-ming-219904","茶梅三禽图","画面章法错落，斜出的花枝贯穿画面，山茶如烈焰点染绢素，梅花似堆雪缀于枝桠，红白相映，撞色鲜活亮眼。\n\n枝上双禽依偎理羽，姿态闲静安适；石畔绶带鸟垂首啄饮，灵动生趣。湖石、幽竹与冰姿玉骨的水仙铺陈下景，衬出花木禽鸟的清隽雅致。\n\n设色妍丽不失清雅，工笔勾勒禽鸟羽毛、花瓣脉络，晕染柔和自然，写意绘就湖竹野趣，将隆冬时节的盎然生机定格，尽显院体花鸟雅致隽永的东方意趣，藏着岁末清和的鲜活生机。",[23,25,24,28,29,85,59,281,7,214,428,1754],"水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bbd5614909282f3d3a425af305ca027.jpg",[123],{"id":1758,"slug":1759,"title":1153,"dynasty":167,"author":1376,"museum":1760,"description":1761,"tags":1762,"thumbUrl":1764,"material":69,"size":1765,"collection":71,"collections":1766,"showCount":1737,"zanCount":137,"manualWeight":42,"mainColor":92},219062,"zhu-que-tu-wang-yuan-219062","日本大阪市立美术馆","画家在这幅画中使用了水墨，做了黑白的勾勒，描绘了竹叶的起伏、花朵和湖中不平整的石头。\n这幅画在构图和技法上与印第安纳波利斯艺术博物馆收藏的王原的《花竹山禽图》相似，但《花竹山禽图》的笔触更显年轻，可能是后来的摹本。这幅画上还刻有 摹黄筌竹雀图 的字样，构图与台北故宫的黄居寀画的鹧鸪和麻雀相似，仍保留了唐代画树下花鸟的传统，所以这幅画也许确实是仿黄筌的原作。",[24,25,1648,28,199,85,7,281,280,146,1763,592],"花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eec035eb38ac09eb11650ff2dee6cbc.jpg","139.3x49.9cm",[71],{"id":1768,"slug":1769,"title":1770,"dynasty":167,"author":262,"museum":224,"description":1771,"tags":1772,"thumbUrl":1773,"material":88,"size":88,"collection":88,"collections":1774,"showCount":1775,"zanCount":271,"manualWeight":42,"mainColor":92},228177,"fang-dong-po-feng-zhu-tu-wu-zhen-228177","仿东坡风竹图","此作用草书笔意写风竹，右侧竹竿劲挺带折，暗合疾风之势。浓墨挥写竹叶，聚散错落，叶梢尽含动感，似有穿林风鸣萦于耳侧。左侧题书与画作浑然一体，诗画合璧文气满溢。\n\n墨色干湿浓淡层次分明，以淡素纸色为底，虚实相生，将观竹怀人的幽思寄于毫端。把风竹萧然清骨，与林下襟怀相融，尽显以竹明志的元人画趣，是水墨写竹以意驭笔的绝佳典范。",[23,25,26,53,58,27,7,1614,102,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23576077b3964e67aff08149c65dfeae.jpg",[],133,{"id":1777,"slug":1778,"title":1779,"dynasty":18,"author":250,"museum":224,"description":1780,"tags":1781,"thumbUrl":1782,"material":960,"size":961,"collection":88,"collections":1783,"showCount":1784,"zanCount":176,"manualWeight":42,"mainColor":272},288210,"feng-zhu-shi-tu-zheng-ban-qiao-288210","风竹石图","郑板桥（1693年－1766年），原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。清代书画家、文学家。\n康熙秀才，雍正十年举人，乾隆元年（1736年）进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为“扬州八怪”重要代表人物。\n郑板桥一生只画兰、竹、石，自称“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”。其诗书画，世称“三绝”，是清代比较有代表性的文人画家。代表作品有《修竹新篁图》《清光留照图》《兰竹芳馨图》《甘谷菊泉图》《丛兰荆棘图》等，著有《郑板桥集》。",[23,24,25,26,27,53,7,57,58,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b7bb909262c02f666ff04467c2a9a96.jpg",[],131,{"id":1786,"slug":1787,"title":1788,"dynasty":18,"author":130,"museum":224,"description":1789,"tags":1790,"thumbUrl":1791,"material":88,"size":88,"collection":88,"collections":1792,"showCount":1784,"zanCount":42,"manualWeight":42,"mainColor":92},228999,"zeng-liu-shi-tou-shan-shui-ce-shi-tao-228999","赠刘石头山水册","石涛（1642-177），明靖江王朱赞仪十世孙，朱亨嘉子。\n全州（今广西全县）人。\n原姓朱，名若极，小字阿长，明亡后出家为僧，自称苦瓜和尚，别号有大涤子、清湘遗人、清湘陈人、靖江后人、清湘老人，晚号瞎尊者、零丁老人等。\n顺治十三年（1656），石涛由江西庐山转赴安徽黄山，并在那里住了二十三年。\n期间他又先后游历扬州、杭州、宣城、贵池、泾县等处，后由黄山转赴南京、北京等地。\n【规格】册页，纸本，设色，纵57.79cm，横5.56cm 【馆藏】（美）纳尔逊-艾特金斯艺术馆馆 书画名传品类高，先生高出众皮毛。\n老夫也在皮毛类，一笑题成迅彩毫。\n大涤子呈石头先生传教。\n康熙三十二年（169）至扬州，直到雍正二年（1724）去世。\n石涛在山水、花鸟画上均取得很大成就，能熔铸千古，独出手眼，构图奇妙，笔墨神化。\n画山水一欲夺其造化，则莫神于好，莫精于勤，莫大于饱游天看，历历罗列于胸中，故勤于貌写名山大川，所谓搜尽奇峰打草稿，充分把握住自然的神韵，终成一代大师。",[24,25,26,83,53,238,200,35,741,454,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F549054364d68f4bbcf0732c4d69324e7.jpg",[],{"id":1794,"slug":1795,"title":1796,"dynasty":97,"author":1797,"museum":143,"description":1798,"tags":1799,"thumbUrl":1801,"material":37,"size":1802,"collection":106,"collections":1803,"showCount":1784,"zanCount":11,"manualWeight":42,"mainColor":43},219278,"chun-shao-ming-xi-tu-lu-zong-gui-219278","春韶鸣喜图","鲁宗贵","此幅画春日山涧情景，石壁间激泉如响，巉巖上翠竹流青，梅竞妍，山雀鸣唱，野雉偎嬉，构思造境，描染俱佳，乃岁朝张挂之图画。本幅画石，皴法用笔直泻而不含蓄，且水墨淋漓，显非南宋人画法，而是明人学宋代之浙派风格。树干皴纹，也如同边文进、吕纪一系之用笔，花鸟施朱用粉，更近于吕纪风格，该院另藏有宋人”岁朝图“，构图同出一稿，树石画法更近于明人风格。",[23,25,24,26,27,28,29,85,59,1800,281,146,7],"山茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa28e1b378998f3d4ce72f6c73aec9810.jpg","164x77.9公分",[106,71,123],{"id":1805,"slug":1806,"title":1807,"dynasty":18,"author":250,"museum":224,"description":1780,"tags":1808,"thumbUrl":1809,"material":960,"size":961,"collection":88,"collections":1810,"showCount":1811,"zanCount":137,"manualWeight":42,"mainColor":43},288175,"zhu-tu-li-zhou-zheng-ban-qiao-288175","竹图立轴",[23,25,27,53,7,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07fca82057ff711fbc4369fe72f5320b.jpg",[],130,{"id":1813,"slug":1814,"title":1815,"dynasty":97,"author":168,"museum":1449,"description":1816,"tags":1817,"thumbUrl":1818,"material":37,"size":88,"collection":39,"collections":1819,"showCount":1811,"zanCount":11,"manualWeight":42,"mainColor":43},219575,"zhu-lin-shi-nv-tu-yi-ming-219575","竹林仕女图","画面晕染出幽谧清寂的林下氛围，修竹扶苏、虬枝横斜，苍苔覆着湖石，漫溢出山野闲静之气。白衣仕女款步而立，素裙曳地，怀拥器物，眉目温婉沉静，似在静听林风穿叶，将闺中闲思融于林泉烟霭之中。\n\n用笔细劲清润，设色浅淡古雅，虚实相生间将留白藏进幽独娴静的意韵里，不见丝毫喧嚣。把仕女的温婉闲情与林泉野趣糅合一处，尽显雅致内敛的东方意趣，寥寥尺幅间，澹澹诗意漫溢开来。",[24,25,26,28,29,30,31,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11033c937ae94ae2e0cc9b0a16169bd3.jpg",[39],{"id":1821,"slug":1822,"title":1823,"dynasty":18,"author":1233,"museum":224,"description":1824,"tags":1825,"thumbUrl":1827,"material":88,"size":1828,"collection":71,"collections":1829,"showCount":1830,"zanCount":42,"manualWeight":42,"mainColor":92},236310,"zhu-jiao-tu-zhou-zhu-da-236310","竹蕉图轴","朱耷（1626－1706），族名朱统筌，有雪个、个山、人屋、道朗、八大山人等别号。 “八大”二字，据人解释有“哭之”、“笑之”，哭笑不得的意思。南昌人。明末清初卓越的大画家。他是明太祖朱元璋第十六子朱权的九世孙。朱权封宁王于南昌，繁衍八支，朱耷属弋阳王支，袭封辅国中尉。他的父祖都善书画，因此朱耷从小就受到艺术陶冶。八岁能作诗，十一岁能画青绿山水，少时能悬腕写米家小楷。弱冠为诸生。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。后隐居进贤县介冈及永丰县睦冈等地。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。他想把这里造成一块世外桃源，以求达到他向来“欲觅一个自在场头”的愿望。但这个“自在场头”毕竟是建立在清王朝统治之下，“门外不必来车马”是不可能的。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。这使他十分苦恼郁愤，遂佯为疯癫，撕裂僧服，独自走回南昌。一年多后，他又回到青云谱，并在这里度过“花甲华诞”。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。后又隐避在南昌附近的北兰寺、开元观等处。并常卖画度日。后来自筑陋室，名“寤歌草”堂。叶丹居章江有《过八大山人》一诗云：“一室寤歌处，萧萧满席尘蓬蒿藏户暗，诗画入禅真。遗世逃名老，残山剩水身。青门旧业在，零落种瓜人”。他是孤寂贫寒地在这个环堵萧然的草堂中度过了他的晚年。\n八大山人一生以主要的精力从事绘画，他襟怀浩落，慷慨啸歌。由于时代特点和身世遭遇，他抱着对清王朝誓不妥协的态度，把满腔悲愤发泄于书画之中。所以画中出现是鼓腹的鸟，瞪眼的鱼，甚至禽鸟一足着地，以示与清廷势不两立，眼珠向上，以状白眼向青天。他常常把“八大山人”四个字联缀起来草写，形似“哭之”、“笑之”字样。他还有很多隐晦艰涩的诗句跋语，表示对清廷极端的仇恨和蔑视。\n他的作品，表现了鲜明的爱和憎。如脍灸人口的《孔雀图》及其题诗：“孔雀名花雨竹屏，竹梢强半墨生成；如何了得论三耳，恰是逢春坐二更。”辛辣地讽刺了那班头戴三眼花翎乌纱帽的汉族大地主屈膝求荣、投降新主子的奴才丑态。有一幅山水册页题云：“郭家皴法云头小，董老麻皮树上多；想见时人解图画，一峰还写宋山河。”他称慕五代北宁间画家董源、郭熙，以其独特笔墨描绘没有受外族侵凌的宋朝江山，而激发起热爱故国的思想感情。《鹊石图轴》（现藏画家八大山人纪念馆），画中描绘着两只喜鹊立于大石之上，究其画意，具有鹊巢鸠占，翔集浣磐的含义。《诗.召南.鹊巢》云：“维鹊有巢，维鸠居之。”传云：“尸鸠不自为巢，居鹊之成巢。”八大山人作此喻以讽刺清贵不善自谋而强占别人地主。并着意表现双鹊集栖于磐石之上，这不是尸鸠可以占据和动摇得了的。他常画的莲荷松石、梅兰竹菊、芦雁凫鹤、鱼鸭鹰鹿等等，大都象征他性格的倔强与高风亮节。他一生坚不为清廷权贵画一花一大石，而一般农民、贫士、山僧、小儿却很容易得到他的作品，这种不屈于权势的精神，历来为人们赞赏与称颂。\n八大山人在艺术上有杰出的成就。他以绘画为中心，对于书法、诗跋、篆刻也都有很高的造诣。在绘画上他以大笔水墨写意画著称，并善于泼墨，尤以花鸟画称美于世。在创作上他取法自然，笔墨简炼，大气磅礴，独具新意，创造了高旷纵横的风格。三百年来，凡大笔写意画派都或多或少受了他的影响。清代张庚评他的画达到了“拙规矩于方圆，鄙精研于彩绘”的境界。他作画主张“省”，有时满幅大纸只画一鸟或一石，寥寥数笔，神情毕具。他的书法具有劲健秀畅的气格。篆刻形体古朴，独成格局。\n朱耷在形成自己风格的发展过程中，继承了前代的优良传统，又自辟蹊径。他的花鸟画，远宗五代徐熙的野逸画风和宋文人画家的兰竹墨梅，也受明林良、吕纪、陆治的技法影响，尤致意青藤白阳的粗放画风。他的山水画，远尚南朝宗炳，又师法董、巨、米芾、倪、黄以至董其昌等人的江南山水。在书法方面，他精研石鼓文，刻意临写汉、魏、晋、唐以来的诸家法帖，尤以王羲之的为多。\n朱耷绘画艺术的特点大致说来是以形写情，变形取神；着墨简淡，运笔奔放；布局疏朗，意境空旷；精力充沛，气势雄壮。他的形式和技法是他的真情实感的最好的一种表现。\n朱耷对艺术修养与功力铸锻，正如他自己所说的：“读书至万卷，此心乃无惑；如行路万里，转见大手笔。”他认为画事有如登高，“必频登而后可以无惧”，说明他对艺术不断磨炼的精神。清初画坛在革新与保守的对峙中，八大山人是革新派“四大画僧”中起了突出作用的一人。为了纪念这位大画家，解放后已在南昌市青云谱建立了“画家八大山人纪馆”。朱耷的艺术已经在东方尤其在日本以至世界画坛引起了很大的反映。八大山人的书画有少作品，已不复得见。如：《荷塘戏禽图卷》、《河上花并题图卷》、《鱼鸭图卷》、《鱼乐图卷》、《杂花图卷》以及《杨柳浴禽图轴》、《芙蓉芦雁图轴》、《大石游鱼图轴》、《双鹰图轴》、《古梅图轴》、《墨松图轴》、《秋荷图轴》、《芭蕉竹石图轴》、《椿鹿图轴》、《快雪时晴图轴》、《幽溪泛舟图轴》、《四帧绢本浅绛山水大屏》，以及许多条幅，册页中的花鸟鱼鸭，山水树石等。书法方面有《临兰亭序轴》、《临“临河叙”四屏》，以及各大家法帖和行草诗书轴册等，都在国内外的博物馆、院中珍藏。",[25,27,53,7,1826,102],"蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd62eeee4764011b2c51b52909de9dad7.jpg","纵220.5厘米 横88厘米",[71,243],129,{"id":1832,"slug":1833,"title":1834,"dynasty":18,"author":79,"museum":50,"description":1835,"tags":1836,"thumbUrl":1837,"material":1838,"size":1839,"collection":243,"collections":1840,"showCount":1841,"zanCount":11,"manualWeight":42,"mainColor":92},220981,"song-zhu-tu-yun-shou-ping-220981","松竹图","《松竹图》轴，本幅右上自题五绝一首并款署：“徒倚白云外，盘桓陶径深。\n相看惟石友，同有岁寒心。\n瓯香馆制，白云溪外史寿平。\n此图所绘松、竹、石是文人画家惯写的题材。\n因恽氏晚年自号“白云溪外史”，题画诗中首句“徒倚白云外”当为实写。\n“盘桓陶径深”出自陶渊明《归去来辞》，表达了作者拟学陶渊明而归隐白云溪之意。\n所绘松竹苍劲秀丽，画面所呈现出的明洁秀逸正是画家晚居时悠然淡逸心境的写照。",[23,25,26,27,53,29,60,7,934,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac69767522d422b20ffb0fe1c00fbcf.jpg","纸本，设色","纵135.8cm，横61.3cm",[243,269],128,{"id":1843,"slug":1844,"title":1845,"dynasty":360,"author":968,"museum":1846,"description":1847,"tags":1848,"thumbUrl":1849,"material":1850,"size":88,"collection":88,"collections":1851,"showCount":1852,"zanCount":42,"manualWeight":42,"mainColor":92},220489,"zhu-mei-zhang-da-qian-220489","竹梅","The Chinese University of Hong Kong Library","此作以跨页小品写就，水墨清简疏淡。左侧修竹瘦劲挺拔，寥寥数笔写出竹叶翩然之姿，清峻孤高自带霜节。右侧梅枝横斜而出，淡墨圈花，花苞轻绽，冷香暗浮于留白之中。\n\n画面以少胜多，将竹之劲节与梅之清癯相融，寥寥逸笔尽显岁寒二友的君子风骨。题款墨色苍劲古雅，朱印点染提亮，文人情趣浑然天成。整幅淡墨浅痕却余韵悠长，把东方水墨的留白意趣藏在疏枝瘦叶之间，清冷雅致，尽显写意之妙。",[23,25,26,83,53,59,7,102,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9928a3a570439bf1c01d26bb75a5c21e.jpg","Ink and colour on paper",[],126,{"id":1854,"slug":1855,"title":141,"dynasty":97,"author":168,"museum":143,"description":1856,"tags":1857,"thumbUrl":1859,"material":37,"size":1860,"collection":71,"collections":1861,"showCount":1852,"zanCount":11,"manualWeight":42,"mainColor":43},219277,"sui-chao-tu-yi-ming-219277","岁朝，指一岁之始，历代画家作该图，含有元旦开笔，预祝一年万事吉利之意。本幅绘拳石临流，雉鸡一对，麻雀数只，山茶旁生于老梅干后，绿竹新生于回流之上。水仙、红茶、白梅等花上下分别盛开，色调朱白相映，通幅设色浓而不艳，一派和熙春色。旧传为宋人之作，然笔触色调皆不类，疑是明人学吕纪画风。",[23,24,25,26,27,28,29,85,59,7,281,1858,146,65],"雉鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24ebc914f3148654b0f6a2722ee6abfa.jpg","164.2x80.3",[71],{"id":1863,"slug":1864,"title":716,"dynasty":97,"author":1865,"museum":224,"description":1866,"tags":1867,"thumbUrl":1869,"material":960,"size":961,"collection":88,"collections":1870,"showCount":1871,"zanCount":176,"manualWeight":42,"mainColor":92},289751,"xi-yuan-ya-ji-tu-li-gong-lin-289751","李公麟","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,24,25,56,199,53,30,7,1442,146,1868,57,102],"文人雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbed8d9f7cb34c0f070daee4971c5f00e.jpg",[],124,{"id":1873,"slug":1874,"title":1875,"dynasty":18,"author":79,"museum":224,"description":1876,"tags":1877,"thumbUrl":1883,"material":88,"size":88,"collection":88,"collections":1884,"showCount":1871,"zanCount":11,"manualWeight":42,"mainColor":92},233905,"hua-hui-shan-shui-ce-yun-shou-ping-233905","花卉山水册","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。",[25,84,29,53,238,7,214,65,1878,102,1879,1880,1881,947,1432,1882,1763],"兰草","苔草","红色花卉","黄色花卉","石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4377c657f826c18b3596050a5963db15.jpg",[],{"id":1886,"slug":1887,"title":1182,"dynasty":18,"author":1233,"museum":224,"description":1888,"tags":1889,"thumbUrl":1890,"material":88,"size":88,"collection":71,"collections":1891,"showCount":1892,"zanCount":11,"manualWeight":42,"mainColor":92},236461,"zhu-shi-tu-zhou-zhu-da-236461","朱耷（1626—1705年），明宗室宁献王朱权后裔，封藩南昌，遂为江西南昌人，谱名统『0137』，小名耷。清顺治五年（1648年）落发为僧，法名传綮。一生字、号、别号甚多，有个山、驴屋驴、人屋等。康熙二十三年（1684年）始号八大山人。坎坷的命运影响着他的人生观及艺术思想，其绘画作品多寄托着对清王朝的痛恨，及对明王朝的眷恋之情。他的山水画在宗法元黄公望平淡天真和明董其昌润泽秀逸的基础上形成了自己古拙奇特、劲拔荒率的艺术风格。其花鸟画在参照明代沈周、徐渭等文人画法的同时，又融入自己强烈的主观意识，注重鱼、虫、禽等物象的人格化表现，以象征手法表达隐晦的寓意。借此表达自己作为明皇族后裔，百般无奈的感慨之情。他与同为明遗民画家的石涛、弘仁、髡残合称“清初四僧”。书法宗王献之、颜真卿，淳朴圆润，自成一格。朱耷中晚年，在书画作品款署中多使用“八大山人”。",[25,26,27,53,54,7,214,102,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8f836ef9cd8492d7bd9c07df16cc664.jpg",[71,243],123,{"id":1894,"slug":1895,"title":659,"dynasty":48,"author":805,"museum":143,"description":1896,"tags":1897,"thumbUrl":1898,"material":37,"size":1899,"collection":123,"collections":1900,"showCount":1892,"zanCount":42,"manualWeight":42,"mainColor":43},219418,"hua-niao-zhou-bian-wen-jin-219418","此图绘竹、梅、雀，经营位置错落有致，鸟之姿态生动富情趣；用笔学宋朝院体勾勒填彩，设色妍丽生动。以梅竹、百雀为主题，象征吉祥瑞应。",[25,26,27,28,29,85,7,592,741,663,326],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4928cc9b3bf2e52344cbbd9dc5bf5f65.jpg","160.1x74.2公分",[123],{"id":1902,"slug":1903,"title":1904,"dynasty":18,"author":1905,"museum":143,"description":1906,"tags":1907,"thumbUrl":1908,"material":1909,"size":1910,"collection":71,"collections":1911,"showCount":1912,"zanCount":42,"manualWeight":42,"mainColor":92},222807,"zhu-xia-hong-mei-wang-wu-222807","竹下红梅","王武","王武，1632年生，1690年逝世，吳縣（今江蘇蘇州）人。字勤中，晚號忘庵，又號雪顛道人。明代畫家王鏊六世孫，精鑑賞，富收藏，擅畫花鳥，風格工整秀麗，正如王時敏所云：“神韻生動，應在妙品中。”為清初院畫的名家。亦擅詩文。傳世作品有《水仙柏石圖》、《紅杏白鴿圖》、《鴛鴦白鷺圖》等。",[23,25,26,83,29,28,85,7,59,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe28b7f42c49990357f197784cca3d392.jpg","紙","27.9×36.3",[71,123],121,{"id":1914,"slug":1915,"title":1916,"dynasty":48,"author":805,"museum":143,"description":1917,"tags":1918,"thumbUrl":1919,"material":37,"size":1920,"collection":71,"collections":1921,"showCount":1912,"zanCount":176,"manualWeight":42,"mainColor":43},221937,"san-you-bai-qin-tu-bian-wen-jin-221937","三友百禽图","《三友百禽图》描绘了初冬时节，百禽嬉戏于松竹梅之间的场景，画中禽鸟或飞翔，或栖息，或嬉戏，或高瞻远瞩，或转首探望，或自理羽毛，无一重复，整个画面气氛热闹欢快，一派生机勃勃。\n此图中各个禽鸟的动姿刻画得生动活泼，诸鸟细致入微的描绘，使大多鸟类品种可辨，布满全幅的构图，呈现“茂密”的特点，画风工细精微又富装饰性，堪称边景昭最具宫廷花鸟特色的佳作。\n《三友百禽图》中以松、竹、梅和坡石为主要架构，其间穿插近百只禽鸟于枝头、坡上、空中等处。画面下部绘有数块峻峭的山石，在坡石缝隙之间，只见一截老松弯卧，树干表面显得沧桑嶙峋；在老松一侧两株粗壮的翠竹凛然耸起，直入画外，上不见其端顶，下不着其根部，在两棵竹子之间，一枝幼竹迎而立，竹叶繁密；在画面左上角，古老的梅干斜逸而出，茁壮的梅枝低垂，白色梅花凌寒怒放；梅竹之后，又有苍翠的松枝隐现其间。",[23,25,28,29,27,85,60,7,59,281,592,35,326,663],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cb578f9fef886db366ada747d3fe3e2.jpg","纵152.2厘米，横78.1厘米",[71,123],{"id":1923,"slug":1924,"title":1925,"dynasty":97,"author":1926,"museum":143,"description":1927,"tags":1928,"thumbUrl":1930,"material":37,"size":1931,"collection":71,"collections":1932,"showCount":1912,"zanCount":176,"manualWeight":42,"mainColor":43},219228,"ye-ju-qiu-chun-tu-li-an-zhong-219228","野菊秋鹑图","李安忠","画幅中心位置上画两只鹑鸟，全身几乎长满了近似粉白色的翎毛，只有少量的黑褐色斑毛，将头部与背勾画得更加显明突出。一只鹑鸟抬头远望，一只鹑鸟低头啄食，它们伫立在倾斜的土坡上、土坡的上方，白色的野菊花穿插在带棘的灌木中，还有竹竿枝权探头画面上、土坡的下方有蒲公英等野草花点缀着，一仰一俯的两只鹑鸟，互相依偎，自由地在大自然的环境中生活，其神态逼真，栩栩如生。该图设色淡雅，配色和谐。",[23,25,24,28,29,85,1628,1929,7],"野菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F763aa29896547493e563c587705ce6b7.jpg","纵24.1cm，横40.5cm",[71,123,106],{"id":1934,"slug":1935,"title":1936,"dynasty":167,"author":385,"museum":182,"description":1937,"tags":1938,"thumbUrl":1939,"material":69,"size":88,"collection":300,"collections":1940,"showCount":1912,"zanCount":176,"manualWeight":42,"mainColor":43},217218,"gu-mu-cong-huang-tu-ni-zan-217218","古木丛篁图","倪瓒是一位非常有才华的画家，他在元朝时期担任过官员，同时也是一位著名的画家。他的古木丛篁图是他的代表作之一，被广泛认为是元朝画坛上的杰出作品。这幅图画的是一片树木茂密的森林，画面上的树木都长得非常壮观，给人以深深的感觉。倪瓒在画这幅图的时候，非常注重细节，每一棵树都绘制得非常精细。在这幅图中，倪瓒还表现出了树木之间的相互依存关系，这使得这幅图显得更加生动。",[23,25,53,26,27,199,57,238,741,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9485a61ec295472a35cd5b4873278e45.jpg",[300],{"id":1942,"slug":1943,"title":1944,"dynasty":97,"author":1945,"museum":251,"description":1946,"tags":1947,"thumbUrl":1949,"material":69,"size":1950,"collection":71,"collections":1951,"showCount":1912,"zanCount":11,"manualWeight":42,"mainColor":43},216207,"qi-xiao-tu-liang-kai-216207","栖鸮图","梁楷","栖鸮图是中国宋朝画家、书法家梁楷的名作。这幅画描绘了一只美丽的栖鸮鸟停在树枝上，身躯优美，栩栩如生。\n\n梁楷是宋朝最伟大的画家之一，他在画鸟时细致入微，把鸟的形态、羽毛和神情都写得栩栩如生。他的作品常常被视为中国画的精品，在世界艺术史上享有极高的地位。",[25,53,54,102,592,7,1948],"树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c4639fd1e32157af0aa83de738b753.jpg","78x29cm",[71],{"id":1953,"slug":1954,"title":1955,"dynasty":18,"author":130,"museum":224,"description":1956,"tags":1957,"thumbUrl":1958,"material":88,"size":88,"collection":88,"collections":1959,"showCount":1960,"zanCount":11,"manualWeight":42,"mainColor":92},228995,"hua-hui-ce-shi-zhen-shi-tao-228995","花卉册十帧","此作以桃花配墨竹，刚柔互衬。粉桃花朵晕染柔润，娇妍含露，枯笔写枝拙朴苍劲，尽显花柔枝老的生趣。右下角墨竹以浓墨挥写，叶片挺拔清瘦，与柔媚桃花相映，愈见雅致。\n\n行书题款舒朗流畅，诗文借春日江南景致抒放逸闲情，诗书画意相融无间。整幅以淡墨轻色写意，随性疏朗，以简淡笔墨托出春日清妍，将文人心底的闲情雅趣寄于花枝竹影间，淡而有味，简而有神，尽显文人画的写意真趣。",[24,25,26,83,53,29,85,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fade10183679772013e35beae8b8ea357.jpg",[],120,{"id":1962,"slug":1963,"title":1964,"dynasty":167,"author":1376,"museum":50,"description":1965,"tags":1966,"thumbUrl":1967,"material":312,"size":1968,"collection":71,"collections":1969,"showCount":1960,"zanCount":11,"manualWeight":42,"mainColor":43},221839,"hua-zhu-jin-ji-tu-zhou-wang-yuan-221839","花竹锦鸡图轴","元代的花鸟画不及宋代昌盛，但却有新的面貌。一部分画家继承了北宋院画刻画严谨的传统并加以变化，发展了勾勒、点染相结合的写生技法，画风朴实拙茂又不失精微细密；另一部分画家则彻底摆脱院体工整妍巧的写生风格，以萧散简逸为宗，充分体现了赵孟頫以书法入画的艺术主张。但总体来看，元代花鸟画的气格是宁静、沉着和庄严的，既不变形又不放纵，体现了“法不逾矩”的特点。活跃于元代中后期的王渊是继承北宋院画的代表画家。",[23,167,25,26,27,28,29,85,896,7,35,592,1763,663,456],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7466780a1e6d1a39bd28e7e52a2208b0.jpg","纵175.7cm，横110.1cm",[71,123],{"id":1971,"slug":1972,"title":1973,"dynasty":18,"author":1974,"museum":1975,"description":1976,"tags":1977,"thumbUrl":1978,"material":1979,"size":1980,"collection":300,"collections":1981,"showCount":1982,"zanCount":42,"manualWeight":42,"mainColor":88},220687,"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220687","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。",[23,25,26,53,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa503e8eac49b263916b21cd994b16e19.jpg","水墨,设色,纸本,册页","18×34.5厘米",[300,679],119,{"id":1984,"slug":1985,"title":166,"dynasty":167,"author":750,"museum":143,"description":1986,"tags":1987,"thumbUrl":1988,"material":69,"size":1989,"collection":71,"collections":1990,"showCount":1982,"zanCount":42,"manualWeight":42,"mainColor":92},219386,"zhu-shi-tu-guan-dao-sheng-219386","土坡上立一奇石，左边是一高一低，一浓一淡两竿修竹，右下是一丛竹叶。竹叶上挺，谓之“晴竹”，画时下笔须略带逆势藏锋，然后以中锋重按掠去，至叶尖处疾挑而出。梢头结顶，挑出时尤须注意左右顾盼，姿态生动。",[25,24,26,27,53,7,35,58,57,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97662080d58fa53960826604bfe1a32f.jpg","纵87.1厘米，横28.7厘米",[71],{"id":1992,"slug":1993,"title":1994,"dynasty":48,"author":569,"museum":115,"description":1995,"tags":1996,"thumbUrl":1998,"material":37,"size":88,"collection":71,"collections":1999,"showCount":1982,"zanCount":137,"manualWeight":42,"mainColor":43},219005,"shou-zhu-heng-chun-tu-lv-ji-219005","寿祝恒春图","该场景描绘了一对公鸡和母鸡在一个有花有竹的郁郁葱葱的院子里。这幅画被认为是吕纪的作品，但除了鸡群与蓝山鹊很像吕纪的笔触外，湖石和花竹都与吕纪无关，印记也不是真的。然而，画家的作品是如此深刻，以至于可以作为边景昭画派的作品来欣赏。",[23,25,26,85,28,29,27,7,896,1997,1763,146],"雏鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa63c8c7a0ec2a692f833b7185730dd23.jpg",[71,123],{"id":2001,"slug":2002,"title":2003,"dynasty":18,"author":79,"museum":143,"description":1602,"tags":2004,"thumbUrl":2005,"material":87,"size":2006,"collection":88,"collections":2007,"showCount":2008,"zanCount":176,"manualWeight":42,"mainColor":92},287445,"qiao-ke-xiu-zhu-tu-yun-shou-ping-287445","乔柯修竹图",[24,25,26,27,53,29,741,7,35,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d2a4a5bac926514b0d81e6b64ae1eed.jpg","101.6x47.8",[],118,{"id":2010,"slug":2011,"title":2012,"dynasty":97,"author":1945,"museum":224,"description":2013,"tags":2014,"thumbUrl":2017,"material":160,"size":2018,"collection":88,"collections":2019,"showCount":2008,"zanCount":137,"manualWeight":42,"mainColor":43},232879,"li-nu-xian-qu-tu-juan-liang-kai-232879","狸奴闲趣图卷","宋代画坛，因为有皇家画院的支持和倡导，各类题材的国画大多崇尚描摹精微、细致逼真的画风。这种风格将我国古代工笔画推向了顶峰，也长久以来占据主流地位。但物极必反，严整的工笔画到达极致，必定会走向散乱的写意。这一方面，梁楷可谓是我国古代写意画的开山祖师。\n梁楷是南宋著名画家，师从贾师古。贾师古以师法吴道子的写实工笔著称，而梁楷能在其基础上更胜一筹，青出于蓝。梁楷曾在宁宗朝的画院供职，他继承吴道子写实技法的画风，无疑是非常受皇帝青睐的。他常常奉皇帝诏令，画了许多细腻严整的工笔画。\n这一时期的梁楷已经享有盛名，人们见到他精妙的画作，“无不敬服”。比如《狸奴闲趣图卷》里面的猫，形态各异细腻活泼，通体的毛都纤毫毕现。更不必说周围逼真的山石、花草、蝴蝶，刻画之精细，给人如在目前之感。",[23,25,24,56,29,28,2015,7,897,2016,214,428,1464],"猫","蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F980cc771075692f3c9ed45d7b13dcd33.jpg","33.2x185.4厘米",[],{"id":2021,"slug":2022,"title":2023,"dynasty":167,"author":385,"museum":143,"description":2024,"tags":2025,"thumbUrl":2026,"material":104,"size":2027,"collection":243,"collections":2028,"showCount":2008,"zanCount":42,"manualWeight":42,"mainColor":43},220792,"gu-mu-zhu-shi-tu-zhou-ni-zan-220792","古木竹石图轴","《古木竹石图轴》绘坡石间疏竹数丛，枯树两株，笔墨浓淡相间，富有层次感，境界清旷，意境简远，呈现出一片清静幽远的气象。画轴上方有元明余诠、唐肃、高巽志、于思缉、张简、吴卢充、王璲等七处题诗。",[23,25,26,27,53,238,35,7,741,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F575c01e50d18d2d517bef35aebf5ff48.jpg","47x27.4",[243,269],{"id":2030,"slug":2031,"title":2032,"dynasty":18,"author":181,"museum":143,"description":2033,"tags":2034,"thumbUrl":2036,"material":87,"size":88,"collection":88,"collections":2037,"showCount":2038,"zanCount":42,"manualWeight":42,"mainColor":92},214855,"xie-sheng-ce-9-hua-yan-214855","写生册-9","华嵒是一位清代著名画家和艺术家。他的写生册是一本记录他写生草稿的册子，通常包含他对自然和人物的写生绘画。写生册是画家们练习和提高技巧的重要工具，因为它们能够帮助画家观察、捕捉和描绘细节。华嵒的写生册中可能包含了他对山水、花鸟、人物等的写生画作。",[25,26,83,29,85,281,7,2035],"兼工带写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F368bbeff93155c53a4c9aede55749065.jpg",[],117,{"id":2040,"slug":2041,"title":2042,"dynasty":97,"author":1926,"museum":224,"description":2043,"tags":2044,"thumbUrl":2045,"material":960,"size":961,"collection":88,"collections":2046,"showCount":2047,"zanCount":42,"manualWeight":42,"mainColor":92},289110,"zhu-jiu-tu-li-an-zhong-289110","竹鸠图","李安忠，南宋画家。钱塘（今浙江杭州）人，生卒年不详。宋徽宗宣和（1119-1125）时为画院祗候，历官成忠郎。南渡后绍兴（1131-1162）间复职画院，赐金带。",[24,25,1120,85,28,29,592,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbf7aff72457c41858438cb9ffdc6b09.jpg",[],115,{"id":2049,"slug":2050,"title":2051,"dynasty":97,"author":168,"museum":50,"description":2052,"tags":2053,"thumbUrl":2054,"material":312,"size":2055,"collection":88,"collections":2056,"showCount":2047,"zanCount":11,"manualWeight":42,"mainColor":43},233199,"bai-tou-cong-zhu-tu-ye-yi-ming-233199","白头丛竹图页","图绘小竹数竿，清翠嫩绿，两只白头鹎栖于枝头，一只低头梳理羽毛，一只遥视前方。竹用双钩填彩画法，笔墨缜密严谨，色调沉着。山雀用淡彩层层晕染，再以尖毫细笔绘出绒羽，刻画准确，富有毛绒的质感。",[25,24,26,1120,28,29,85,7,592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e20b9236c841784d4114a5d6f05f27.jpg","纵25.4厘米，横28.9厘米",[],{"id":2058,"slug":2059,"title":2060,"dynasty":167,"author":1314,"museum":182,"description":2061,"tags":2062,"thumbUrl":2063,"material":202,"size":2064,"collection":243,"collections":2065,"showCount":2047,"zanCount":176,"manualWeight":42,"mainColor":92},221832,"mo-zhu-tu-juan-ke-jiu-si-221832","墨竹图卷","元代伯颜不花题记：予旧藏东坡枯木丛竹一小卷，每闲暇，于明窗净几间，时复展玩，不觉尘虑顿消，颇得佳趣耳。 一日，友人赠我文湖州墨竹一枝，与坡仙画枯木图高下一般，不差分毫， 喜曰：此天成配偶也！如张华之雄剑遇雷焕之雌剑， 遂合于延平之津，神物有对，终必合也，此卷亦然。遂粘为一卷， 名曰：二妙事岂偶然哉？至正十五年岁在乙未十月上浣，高昌伯颜不花苍岩谨识。济南邢侗子愿鉴定。",[23,25,26,56,53,7,57,58,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc715dfe5b99d815d10e9ee48591023.jpg","纵23.4厘米，横87厘米",[243,269],{"id":2067,"slug":2068,"title":1153,"dynasty":18,"author":168,"museum":251,"description":2069,"tags":2070,"thumbUrl":2071,"material":37,"size":2072,"collection":71,"collections":2073,"showCount":2047,"zanCount":42,"manualWeight":42,"mainColor":43},216675,"zhu-que-tu-yi-ming-216675","竹雀图是一幅出自清朝佚名画家之手的名画。这幅画描绘了一只竹雀和一些竹子的景象。竹雀图以其细腻的线条和精确的造型而闻名，代表了清朝时期中国画的高超技艺。此外，竹雀图还被认为是一幅充满寓意的画作，象征着含蓄、谦虚和高尚的品质。",[25,26,27,29,28,85,7,281,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5af219407ce773a050075d6ae42b557d.jpg","128x29cm",[71],{"id":2075,"slug":2076,"title":2077,"dynasty":48,"author":49,"museum":224,"description":2078,"tags":2079,"thumbUrl":2081,"material":88,"size":88,"collection":88,"collections":2082,"showCount":2083,"zanCount":11,"manualWeight":42,"mainColor":92},228760,"shi-er-mo-hua-shi-hua-tu-juan-xu-wei-228760","十二墨花诗画图卷","此作用淋漓水墨写尽草木风神，以书入画，笔锋纵恣老辣。长卷铺展，一花一诗相生相融，浓墨泼洒见花枝繁盛，淡墨勾勒显枝叶清灵，干湿浓淡间，四时花木的野逸之态跃然纸上。\n逸笔草草不拘形似，却将花木的疏狂生机、清寂之姿尽数展露，以极简笔墨传递蓬勃意趣，将文人疏放心境寄情于一花一叶，笔墨间满是狂放不羁的风骨，尽显大写意水墨的写意真髓。",[23,25,26,56,53,54,102,58,59,66,7,67,32,61,64,62,2080,35,85],"月季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80ebde713ecf78a9dd05b8f4040f76c2.jpg",[],114,{"id":2085,"slug":2086,"title":2087,"dynasty":97,"author":717,"museum":2088,"description":2089,"tags":2090,"thumbUrl":2091,"material":340,"size":2092,"collection":106,"collections":2093,"showCount":2083,"zanCount":42,"manualWeight":42,"mainColor":43},221528,"lin-he-jing-mei-hua-tu-ma-yuan-221528","林和靖梅花图","日本京都国立博物馆","孤山已无吟诗处，\n西湖仍有处处枝。\n疏影高士横卧看，\n红日半斜香风迟。",[23,25,26,53,29,28,238,30,200,59,767,214,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcda8f28fa7dbe93178e2179ff242a9b.jpg","24.5×38.6cm",[106,71,243],{"id":2095,"slug":2096,"title":2097,"dynasty":18,"author":211,"museum":182,"description":212,"tags":2098,"thumbUrl":2099,"material":69,"size":216,"collection":88,"collections":2100,"showCount":2083,"zanCount":11,"manualWeight":42,"mainColor":92},214688,"mei-hua-zhu-shi-tu-ce-1-wang-shi-shen-214688","梅花竹石图册-1",[25,26,83,53,58,102,59,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b9c33e7f7afa822865810bf8fc4aaad.jpg",[],{"id":2102,"slug":2103,"title":166,"dynasty":18,"author":2104,"museum":224,"description":2105,"tags":2106,"thumbUrl":2107,"material":104,"size":2108,"collection":71,"collections":2109,"showCount":2110,"zanCount":42,"manualWeight":42,"mainColor":92},224228,"zhu-shi-tu-wu-chang-shuo-224228","吴昌硕","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。”吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。\n清道光二十四年（1844年）8月1日，生于浙江省孝丰县鄣吴村（今湖州市安吉县）一个读书人家。幼时随父读书，后就学于邻村私塾。10余岁时喜刻印章，其父加以指点，初入门径。\n咸丰十年（1860年）太平军与清军战于浙西，全家避乱于荒山野谷中，弟妹先后死于饥馑。后又与家人失散，替人做短工、打杂度日，先后在湖北、安徽等地流亡数年。\n同治四年（1865年），中秀才。是年，海上先辈名家任薰与周闲合作，为吴昌硕绘画像。\n同治八年（1869年），赴杭州，就学于诂经精舍，从名儒俞樾习小学及辞章。编成《朴巢印存》。\n同治十一年（1872年），赴上海，得以认识高邕之。\n光绪六年（1880年），寓吴云（平斋）两礨轩，以《篆云楼印存》请教，吴云为之删削，更名为《削觚庐印存》。识吴秋农、金心兰、顾茶村、胡三桥、方子昕等。与杨岘（见山）结为朋友。\n光绪八年（1882年），居苏州。友人荐作小吏以维持生计。与虞山沈石友结为朋友。\n光绪九年（1883年），在沪识任伯年。任伯年为作《芜菁亭长小像》。\n光绪十三年（1887年），至沪，任伯年为作《棕荫纳凉图》。\n光绪十五年（1889年），在苏州。时伯年来访，为之作《酸寒尉像》，自题诗。施旭臣、谭复堂为《缶庐诗》作序。\n光绪十六年（1890年），居上海。识吴大澄。\n光绪十八年（1892年），任伯年又为作《蕉荫纳凉图》。\n光绪十九年（1893年），在上海编选壬辰年以前所作诗三卷刊行，题名《缶庐诗》。\n光绪二十（1894年），在北京以诗及印谱赠翁同龢。中日战争爆发，参佐吴大澄戎幕，北上抗日，兵败继续为吴大澄戎幕。\n光绪二十一年（1895年），任伯年为作《棕荫忆旧图》、《山海关从军图》。十一月，任伯年病殁沪上，作诗哭之并撰联。\n光绪二十五年（1899年）十一月，得丁葆元保举，任安东县令，一月即辞去。\n致力书画\n光绪二十六年（1900年），日本河井仙郎投之于门下。\n光绪二十九年（1903年），自订润格。编选壬寅以前所作诗为《缶庐诗》第四卷，连同前刊三卷，又《别存》一卷合为一册。\n光绪三十年（1904年），移居桂和坊19号，名其斋曰“癖斯堂”。赵子云（赵云壑）投门下。\n光绪三十五年（1909年），在沪加入上海豫园书画善会。\n民国元年（1912年），至杭州与西泠诸友宴集。始以字行。\n民国二年（1913年），西泠印社成立，任社长。秋，梅兰芳来会。与王一亭结为至交。王一亭在上海商界、金融界推介吴昌硕的书画金石艺术，使其名声大振。\n民国三年（1914年），王一亭为吴昌硕在六三园举办生平第一次个展，使吴派艺术开始为日本艺界所了解和推崇。上海书画协会成立，任会长。\n民国四年（1915年），上海“题襟馆书画会”推先生为名誉会长。\n民国六年（1917年），吴昌硕继配施氏夫人在上海去世。\n民国九年（1920年），日本长崎首次展出其书画，东京文求堂继刊《吴昌硕画谱》，长崎双树园刊行《吴昌硕画帖》。诸乐三列为门弟子。\n民国十年（1921年），赴杭西泠印社宴集。《汉三老碑》被日商购去，与西泠同仁奔走呼吁，作画义卖，终募款八千大洋将碑赎回。日本朝仓文夫为范铜像。\n民国十二年（1923年），潘天寿由诸闻韵引见来谒，撰联以赠。门弟子陈师曾去世。\n民国十四年（1925年），沙孟海由王贤引列为门弟子。为已逝师友周闲遗作《花卉长卷》作引首并题。\n民国十六年（1927年）十一月二十九日，逝于上海寓所。\n民国二十二年（1933年）十一月，迁葬于浙江余杭县塘栖附近超山报慈寺西侧山麓宋梅亭畔。\n\n篆刻:\n少年时他因受其父熏陶，即喜作书，印刻。楷书始学颜鲁公，继学钟元常；隶书学汉石刻；篆学石鼓文，用笔之法初受邓石如，赵之谦等人影响，以后在临写《石鼓》中融汇变通。行书得黄庭坚、王铎笔势之欹侧，黄道周之章法，个中又受北碑书风及篆籀用笔之影响，大起大落，遒润峻险。\n吴昌硕篆刻从“浙派”入手，后专攻汉印，也受邓石如、吴让之、赵之谦等人影响，善于留白，或对角欹斜，气象峥嵘，构图块面体积感极强。刀融于笔，篆刻雄而媚、拙而朴、丑而美、古而今、变而正。上取鼎彝，下挹秦汉，以“出锋钝角”的刻刀，将钱松、吴攘之切、冲两种刀法相结合治印。\n吴昌硕在继承前人冲刀法和切刀法优秀成果的基础上，融诸家之长，在大量的篆刻创作实践中，不断探索，将冲刀和切刀两种刀法融合在一起，形成了自己的冲切结合的刀法。这种刀法灵活多变，或冲中带切，或切中带冲，甚至切中带削……这种多变的刀法，把冲刀的猛利、挺劲、爽快与切刀的含蓄、浑朴融为一体，将书意和刀意表现得淋漓尽致，使他的篆刻刀法雄浑朴茂中寓秀逸的个性化特点凸现了出来。他与厉良玉、赵之谦并称“新浙派”的三位代表人物。\n残缺刀法是吴昌硕篆刻创作中的一种常用手法。我们知道，秦汉古印大多因年深日久，水土的浸蚀，自然的风化，印面及文字线条失去了原先的平整和光洁，变得残缺不全。恰恰是这些残缺给我们以古朴、含蓄、浑厚、苍拙等特殊的审美效果，这是自然的造化使然。吴昌硕善于巧夺天工，在传统的冲、切刀法的基础上，辅之以敲、击、凿、磨或借用砂石、鞋底、钉头等，极大地丰富了篆刻艺术的表现手法，并创造性地将篆刻艺术中刀石效果产生的金石味，上升到残缺美的审美新境界。\n主要篆刻作品：《寿山老坑巧色雕狮钮》《作了天下事》《读遍千古书》《好学为福》《黑青田》《一月安东令》《湖州安吉县》《泰山残石楼》《园丁生于梅洞长于竹洞》《暴书》《千寻竹斋》《千寻竹斋》3刻《吴俊卿信印日利长寿》《安吉吴俊章》《雷浚》《鲜鲜霜中菊》《归仁里民》。\n\n绘画:\n绘画的题材以花卉为主，亦偶作山水。前期得到任颐指点，后又参用赵之谦画法，并博采徐渭、八大、石涛和扬州八怪诸家之长，兼用篆、隶、狂草笔意入画，色酣墨饱，雄健古拙，亦创新貌。其作品重整体，尚气势，认为“奔放处不离法度，精微处照顾气魄”，富有金石气。讲求用笔、施墨、敷彩、题款、钤印等的疏密轻重，配合得宜。 吴昌硕自言：“我平生得力之处在于能以作书之法作画。”\n他以篆笔写梅兰，狂草作葡萄。所作花卉木石，笔力老辣，气势雄强，布局新颖，构图也近书印的章法布白，喜取“之”字和“女”字格局，或作对角斜势。用色上似赵之谦，喜用浓丽对比的颜色，尤善用西洋红，色泽浓艳。\n吴昌硕因以“草篆书”入画，状物不求写实，形成了影响近现代中国画坛的直抒胸襟，酣畅淋漓的“大写意”笔墨形式。\n他酷爱梅花，以写大篆和草书笔法为之，墨梅、红梅兼有，画红梅水分及色彩调和恰到好处，红紫相间，笔墨酣畅。又喜作兰花，喜以或浓或淡的墨色和用篆书笔法画成，刚劲有力。画竹竿以淡墨轻抹，叶以浓墨点出，疏密相间，富有变化，或伴以松、梅、石等，成为“双清”或“三友”。菊花也是他经常入画的题材，伴以岩石，或插以高而瘦的古瓶，与菊花情状相映成趣。菊花多作黄色，亦或作墨菊和红菊。墨菊以焦墨画出，菊叶以大笔泼洒，浓淡相间。\n晚年较多画牡丹，以鲜艳的胭脂红设色，含有较多水分，再以茂密的枝叶相衬，生气蓬勃。荷花、水仙、松柏也是经常入画的题材。\n菜蔬果品如竹笋、青菜、葫芦、南瓜、桃子、枇杷、石榴等也一一入画，极富生活气息。推崇周闲果蔬风格，作品色墨并用，浑厚苍劲，对于近世花鸟画影响深远。\n主要绘画作品：《天竹花卉》《紫藤图》《墨荷图》《五月枇杷图》《杏花图》《花卉十二屏风》《梅花》《花卉四屏》《牡丹》《兰石图》《松石图》《花卉》2幅《紫藤图》《杂画册（之—、二）》《依样》《天香露图》《杞菊延年》《泥盆菊草图》《牡丹图》《牡丹水仙图》《大富贵》《佛像图》《富贵神仙图》《红梅图》2幅《蔷薇芦桔图》《秋艳图》《三千年结实》《人物》《三千年结实之桃》《神仙福寿》《石梅》《石竹图》《松梅图》《岁寒交图》《桃实图》《瓜果》《灯下观书》《姑苏丝画图》等。\n①金石气息：吴昌硕绘画艺术的第一大特色是有金石气息。所谓金石气息，指的就是钟鼎上所铸的金文与刻在石碑上的文字所具有的味道。人们常说谁谁的画作有金石气息，其实这种评论标准都是从吴昌硕的绘画风格出现以后才有的。比如，人们在谈到徐青藤、八大山人时，就从来没有听说过评价他们的画作有金石气息。\n②笔力雄浑：吴昌硕绘画艺术的第二大特色是笔力雄浑。所谓笔力雄浑，指的就是其画作中的笔触朴拙、苍茫、老辣，极具浑圆、雄强的力量感。人们常说吴昌硕绘画的气息很厚、很重，按照书画圈儿里人的说法就是“笔头子”很大。所谓“笔头子”很大，并不是说他用的毛笔很大，而指他笔下的气息非常浑厚，一笔下去，浑金璞玉，力透纸背，又意蕴丰富、气象万千。\n③设色浓丽：吴昌硕绘画艺术的第三大特色是设色浓丽。过去人们总是说中国画不能搞那么多颜色，用太多颜色容易俗气。不过，张俊东却指出，吴昌硕绘画的用墨就特别浓，设色也特别大胆，特别鲜艳和浓丽。比如，吴昌硕画过很多牡丹，很多都是大红大紫的，但是却不会让人觉得俗气，而且非常有文人的那种风骨。所以张俊东认为，中国画设色的关键不在多少，而在谁来用以及怎么去用。\n④富于变化:吴昌硕绘画艺术的第四大特色是笔法和墨法富于变化。这里边又体现在几个方面。张俊东举例介绍说，比如吴昌硕在画菊花时，可以将一朵菊花无论是正面的，侧面的，静态的，动态的，都能画得非常丰富。\n\n书法:\n吴昌硕的楷书，始学颜鲁公，隶习汉代石刻，篆学石鼓文。行书学黄庭坚、王铎。\n吴昌硕书法作品，以篆书、行草为主，晚年所书隶书，结体变长，取纵势，用笔雄浑、饱满，具有篆书痕迹，将篆、隶溶为一体，形成独特面貌。\n吴昌硕的隶书遍临《汉祀三公山碑》《张迁碑》《嵩山石刻》《石门颂》等汉碑。中年以后，博览众多金石原件及拓本，选择石鼓文为主要临摹对象。数十年间，反复钻研，故所作石鼓文凝练遒劲，风格独特。60岁后所书尤精，圆熟精悍。喜将石鼓文字集语书写对联。晚年以篆隶笔法作草书，笔势奔腾，苍劲雄浑，不拘成法。\n\n诗文:\n吴昌硕善作诗文，苦吟数十年，未尝间断。其诗文，奇崛古朴，用典较多，不甚通俗。但有些绝句纯用白描手法，活泼自然，接近口语，具有明丽俊逸的特点，风格上与民歌很相近。有些绝句则活泼自然，接近口语，时含有讽刺意味，抒发生活实感。所作题画诗寄托深远，颇有浪漫主义气息；评论前人书画，尤多独到见地。早年所作五古，有一部分含有讽刺意味，揭露了当时黑暗社会某些不平现象。他的散文作品写得不多，大都是序跋、考证和题画小品之类，写的都很朴质淳厚，平易近人。题画小品中尤多精心之作。发抒生活实感，鞭挞丑恶现象，颇能以少胜多；读时依稀与作者一灯相对，娓娓而谈，意味非常深长。",[23,25,26,27,53,7,214,57,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28ace95061fde7ae66bb96ebc63b2458.jpg","34.5x138.3cm",[71,123],113,{"id":2112,"slug":2113,"title":2114,"dynasty":97,"author":503,"museum":2088,"description":2115,"tags":2116,"thumbUrl":2119,"material":2120,"size":2121,"collection":106,"collections":2122,"showCount":2110,"zanCount":137,"manualWeight":42,"mainColor":43},221298,"zhu-chong-tu-zhou-zhao-chang-221298","竹虫图轴","此图画幽篁疏影，双钩填彩，以色之而飞，又绘天牛、螽蜥，无不刻画入微，瓜赞，相阿弥题签，天室和尚题跋。浓淡来显叶之向背、竿之盘曲。枝叶饱满， 叶果实又仿效徐崇嗣的“没骨”画法。设姿态多样。另有花卉野瓜、蝴蝶蜻蜓萦绕 色浓丽而又不隐墨骨。",[23,24,25,26,27,28,29,85,7,280,2117,897,2118],"虫","叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3caf6fb1a56d046b3a504e74b2fa9ef8.jpg","轴，绢本设色","纵99 4厘米，横54 2厘米",[106,123,269],{"id":2124,"slug":2125,"title":1666,"dynasty":18,"author":2104,"museum":2126,"description":2127,"tags":2128,"thumbUrl":2129,"material":53,"size":88,"collection":243,"collections":2130,"showCount":2110,"zanCount":42,"manualWeight":42,"mainColor":92},219104,"shan-shui-tu-wu-chang-shuo-219104","昆仑堂美术馆","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”",[23,25,53,238,200,146,456,7,455],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0488d490bb0bcbb1636d1d5c2802d4f.jpg",[243],{"id":2132,"slug":2133,"title":2134,"dynasty":48,"author":2135,"museum":143,"description":2136,"tags":2137,"thumbUrl":2140,"material":37,"size":2141,"collection":123,"collections":2142,"showCount":2143,"zanCount":42,"manualWeight":42,"mainColor":92},219463,"zhu-bao-ping-an-tu-lu-zhi-219463","竹报平安图","陆治","湖石朴拙矗立，青竹斜曳，叶叶清劲如裁，凌霄花攀缠绽蓝，晕染出柔润鲜活。三只鹌鹑姿态各异，或低首啄食细草，或两两偎依小憩，羽色晕染细腻，绒毛细密宛然。另有枯残秋叶秋意澹澹，衬出庭中一隅的幽寂生机。\n\n此作工写相融，设色雅致恬淡，淡赭底晕开古雅氛围。以幽竹暗合平安意涵，将清秋闲景揉入温润期许，笔致秀逸静美，尽显写生的雅致风神。",[24,25,26,27,29,28,7,214,281,948,2138,2139,102],"枯叶","杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F776f1def841c12e7af55aa92f83b859e.jpg","117.9x43.1",[123],112,{"id":2145,"slug":2146,"title":2147,"dynasty":97,"author":2148,"museum":50,"description":2149,"tags":2150,"thumbUrl":2158,"material":104,"size":2159,"collection":88,"collections":2160,"showCount":2161,"zanCount":176,"manualWeight":42,"mainColor":92},231422,"xie-sheng-tu-fa-chang-231422","写生图","法常","法常的绘画，有不少取材于平时人们司空见惯的日常生活，但独能于平淡天真之中揭示生命意识的真谛。此卷所绘折枝花果、禽鸟、鱼虾及蔬果，笔墨简淡，平平常常，在画幅上随随便便地摆放在一起，看来就是最为常见的与我们现实生活息息相关的景象，但是卷中墨色的氤氲、排列的错综、变化的神奇，却又分明深蕴着禅机。\n这些平常物象的背后是不着笔墨的大片空白，这种“知白守黑”、“计白当黑”的处理，使得画面中本不相关联的事物各自相对独立又可合而为一，画意更为完整而富于张力，给观者以想象的空间，正所谓“于无画处皆成妙境”。整幅作品充满着一种宁静、自省、淡泊的内在精神，使观者有“万物静观皆自得”的会心感受，耐人寻味。牧溪的绘画，写生功底极深，此幅亦是“肖似形类，并得其意”（项元汴语）的形神兼备之作。",[23,25,26,56,53,629,54,85,323,2151,2152,780,2153,2154,487,65,61,488,490,7,2155,428,2156,784,2157,551,783,146],"野鸡","麻雀","水果","桃子","芦苇","蔬菜","藕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c560c5bf16abfce7333669f1d842b1.jpg","纵47.3厘米，横814．1厘米",[],110,{"id":2163,"slug":2164,"title":2165,"dynasty":97,"author":2166,"museum":182,"description":2167,"tags":2168,"thumbUrl":2169,"material":37,"size":2170,"collection":71,"collections":2171,"showCount":2161,"zanCount":42,"manualWeight":42,"mainColor":43},219281,"mei-zhu-han-qin-tu-lin-chun-219281","梅竹寒禽图","林椿","《梅竹寒禽图》在不满方尺的画面上截取梅竹支干的局部，表现了梅树的老硬和竹簧丛生的气势。画中有一寒莺栖立梅梢，处于此画的显著地位，禽鸟的刻划柔和。在技法上梅枝用笔苍劲，竹枝叶勾撇笔力坚挺，从而使整体画法显得刚柔相济。画上有楷书林椿题款，是为难得的宋代有款之迹。",[24,25,26,1120,85,28,29,59,7,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdab319fa906b174b4282f08d0d10130a.jpg","纵24.8厘米，横26.9厘米",[71],{"id":2173,"slug":2174,"title":2175,"dynasty":18,"author":181,"museum":2176,"description":2177,"tags":2178,"thumbUrl":2179,"material":87,"size":2180,"collection":71,"collections":2181,"showCount":2161,"zanCount":176,"manualWeight":42,"mainColor":43},218733,"mei-zhu-chun-yin-tu-hua-yan-218733","梅竹春音图","安徽省博物馆","这幅画描绘了一块形状奇特的湖石，靠着湖石生长的翠竹棚，枝条修长，叶子翠绿繁茂，枝头上有两只鸟儿相望；一枝梅花从上往下画，枝头上的花朵灿烂开放，枝头上的鸟儿张着嘴叫，尾巴上的羽毛色彩斑斓，十分可爱。",[23,25,26,27,29,28,54,59,7,281,85,35,102,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b3608b75058516a170e9b3e032d2de3.jpg","132.5×45.5cm",[71],{"id":2183,"slug":2184,"title":1601,"dynasty":18,"author":79,"museum":224,"description":1602,"tags":2185,"thumbUrl":2186,"material":960,"size":961,"collection":88,"collections":2187,"showCount":2188,"zanCount":42,"manualWeight":42,"mainColor":92},239438,"hua-niao-ce-yun-shou-ping-239438",[24,25,26,83,29,28,1464,7,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5928017d394035d684d3b9f304d433a.jpg",[],108,{"id":2190,"slug":2191,"title":2060,"dynasty":48,"author":142,"museum":99,"description":2192,"tags":2193,"thumbUrl":2194,"material":398,"size":2195,"collection":88,"collections":2196,"showCount":2188,"zanCount":176,"manualWeight":42,"mainColor":92},222336,"mo-zhu-tu-juan-tang-yin-222336","唐寅（1470年－1524年）明代著名画家、文学家。字伯虎，又字子畏，以字行，号六如居士、桃花庵主、逃禅仙吏等，南直隶苏州吴县人。吴中四才子之一。在画史上又与沈周、文征明、仇英合称“明四家”或“吴门四家”。\n据称唐寅作画时间甚早，而且无师自通。吴一鹏在《贞寿图卷》上提款：“岁丙午，子畏年止十七，而山石树枝如篆籀，人物衣褶如铁丝。少诣如是，岂非天授！”早年唐寅可能也跟文征明一样，向沈周学画。如王稚登在《吴郡丹青志》中的《沈周先生传》里写：“一时名士，如唐寅文壁（征明）之流，咸出龙门，往往致于风云之表。”但如今所看到唐寅的 中，有沈周影响的风格很少，可能早年作品亦多不存，所以难以知道。\n唐寅较为人所理解的，是拜画家周臣为师。研究认为他也许是在泄题案之后，才开始向周臣请益。由于周臣的画风远摹南宋画家李唐、刘松年，所以唐寅的作品也多被人认为有李刘风格。美术史对唐寅山水画的讨论中有周臣代笔的问题，目前仍没有比较清晰的理解。唐寅的作品以山水画、人物画出名，亦有花鸟竹石的作品存世。一般而言，都将唐寅的绘画风格分做三期，但由于许多有纪年的作品多集中在唐寅的晚年，早年的风格分期便有许多争议。唐寅 亦好，早年的书风比较靠近颜真卿，后来比较接近李邕、赵孟睢\n自明末以来，在讨论唐寅作品，均把他分到吴派，并与沈周、文征明、仇英等画家并称“吴门四家”，或称“明四大家”。但唐寅的画风与沈周、文征明并不相同，而严格来说，也不能将唐寅的风格迳归为吴派。因为相较于一般吴派多追随元四大家的画风，唐寅作品里元四家的影响相当的少，反而有比较多南宋院画家的影子。但多数的人，都称唐寅是揉合“南”、“北”的重要画家。",[23,25,26,56,53,7,102,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F109eda6bf170676477b998002e80e269.jpg","29.1x150.2cm",[],{"id":2198,"slug":2199,"title":96,"dynasty":167,"author":2200,"museum":99,"description":2201,"tags":2202,"thumbUrl":2203,"material":29,"size":2204,"collection":243,"collections":2205,"showCount":2188,"zanCount":42,"manualWeight":42,"mainColor":92},221863,"mo-zhu-tu-zhao-yong-221863","赵雍","赵雍（1289-1369），字仲穆，湖州人。赵孟頫之子，官至同知湖州路总管府事。书画继承家学，擅山水，尤精人物鞍马，亦作界画。书善正、行、草，亦长篆书。精鉴赏。",[23,25,24,26,53,57,58,102,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22c49ae27cf37c90ce47878755601d49.jpg","26.7×172.7cm",[243,269],{"id":2207,"slug":2208,"title":1182,"dynasty":167,"author":2209,"museum":50,"description":2210,"tags":2211,"thumbUrl":2212,"material":160,"size":2213,"collection":243,"collections":2214,"showCount":2215,"zanCount":11,"manualWeight":42,"mainColor":43},221699,"zhu-shi-tu-zhou-gu-an-221699","顾安","该图里画的是在顾安作品里较少见的晴竹。只见几竿瘦竹挺立于石边，前后分布，迎让相宜，并以淡墨绘出。前边两竿的枝叶呈生长旺势，以重墨写就的竹叶参差错落，且线条锋锐有力；劲健的笔法，表现出爽利的韵味。竹节是用一小扁圆圈表示的，这种画法习惯上称“圈节法”，与后世画家常用的“乙字勾节法”不同。画竹笋叶尖的笔墨非常精巧，顿挫扭转，生意盎然。后面的竹竿上，依稀可辨的嫩叶又显现出新竹的娇影，使读者可感画家对生活细腻的观察，和对竹韵的精微刻画。\n左上方有顾安自题年款，款下有三印：“顾安”与“顾定之”和“山月吟窗”，顾安的“山月吟窗”是一方富有诗意的闲章。\n顾安，字定之，号迂讷老人。平江（今江苏苏州）人。祖籍淮东（今江苏），故自称淮东人。曾任泉州同安县尉。擅画竹，常写风竹新篁。\n图中绘墨竹三竿，瘦劲挺拔，风梢云干，萧疏清逸。枝下窠石圆润互叠，缀以新篁，更添野趣。以干笔淡墨画竹竿，以书法捺笔写出竹叶，行笔遒劲自如。用浓、淡墨烘染，似烟云浮动，烘托出竹子的清幽秀骨。",[23,25,24,27,53,7,35,57,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ff805e3a06970a6ba0a00217aa34855.jpg","170.7x99.7",[243,269],107,{"id":2217,"slug":2218,"title":2219,"dynasty":97,"author":307,"museum":99,"description":2220,"tags":2221,"thumbUrl":2222,"material":340,"size":2223,"collection":106,"collections":2224,"showCount":2215,"zanCount":42,"manualWeight":42,"mainColor":92},221343,"zhu-qin-tu-quan-juan-zhao-ji-221343","竹禽图全卷","这幅《竹禽图》横55.4厘米，纵33.8厘米。宋人花鸟画都是以小品画见长，又以精细而见功。此画也不例外。在粗略的崖石间伸出两枝翠竹，一上一下形成一个侧着的“V”字。竹枝和竹叶都没有勾勒，此画法与赵佶的《芙蓉锦鸡图》等以往的画作有所不同。翠竹下面的还有一丛荆棘。一上一下的竹枝上停着两只小鸟。下面的那只鸟侧对着人们，它仰着头在看上面的那只鸟。上面的那只鸟腹部正对着人们，头向右侧着，它回望着下面的那只鸟。两小鸟目光相对，互相顾盼，仿佛就差嘴巴一张一合鸣叫的瞬间了。这两只小鸟是画面的主角。看着它们就使人想起杜甫的那句“两个黄鹂鸣翠柳”。不妨换一下，“两只小鸟鸣翠竹”。\n全画竹草崖石用写意画的方法处理，两小鸟用工笔画的方法绘制。粗细方法互助也显示了徽宗的绘画技艺的高妙。画卷后面有皇室后裔赵孟頫的题跋：“道君聪明，天纵其于绘事，尤极神妙。动植物无不曲尽其性，殆若天地生成，非人力所能及。此卷不用描墨，粉彩自然，宜为世宝。然丛尔小禽蒙圣人所录，抑何幸耶。”",[23,25,26,56,28,29,57,102,85,7,35,323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F942d16befcc838e9850d9ab89e536a94.jpg","画心纵33.8厘米，横55.5厘米",[106,269],{"id":2226,"slug":2227,"title":2147,"dynasty":48,"author":2228,"museum":143,"description":2229,"tags":2230,"thumbUrl":2232,"material":37,"size":2233,"collection":71,"collections":2234,"showCount":2215,"zanCount":42,"manualWeight":42,"mainColor":43},216213,"xie-sheng-tu-shang-xi-216213","商喜","商喜是明朝时期的一位著名画家。他的写生图是指他在观察实物的基础上进行的写生画。这些画作经常描绘自然风景、动物、人物等，体现出商喜对于自然现象的敏锐观察力和细腻的描绘能力。商喜的写生图具有浓郁的生活气息和生动的感染力，为后世留下了宝贵的艺术瑰宝。\n\n商喜的写生图作品较多，涵盖了多种题材。其中，他的花鸟画尤其出色，作品中常常出现各种花卉和鸟类，每一幅画作都能够流露出自然的美丽与生机。此外，商喜还绘制了许多人物画，其中有写实的肖像画，也有富有想象力的设计人物。他的人物画作品体现了商喜对人物形态和神态的细致捕捉，能够生动地展现人物的个性和心理。商喜的写生图作品为后世留下了深刻的印象，为中国画的发展做出了重要贡献。",[25,26,28,29,85,1464,2015,2231,592,7,897,33],"狗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae66413060d9efa0846a06cffbc58a1.jpg","84.6x61.8cm",[71],{"id":2236,"slug":2237,"title":2238,"dynasty":18,"author":79,"museum":224,"description":1602,"tags":2239,"thumbUrl":2241,"material":960,"size":961,"collection":88,"collections":2242,"showCount":2243,"zanCount":11,"manualWeight":42,"mainColor":43},290529,"zhu-bai-chang-chun-zhou-yun-shou-ping-290529","竹柏长春轴",[24,25,26,27,29,85,7,2240,35,65,28],"柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb714bb59defcdde65007397212cbb037.jpg",[],106,{"id":2245,"slug":2246,"title":1182,"dynasty":18,"author":79,"museum":143,"description":2247,"tags":2248,"thumbUrl":2249,"material":441,"size":2250,"collection":243,"collections":2251,"showCount":2243,"zanCount":42,"manualWeight":42,"mainColor":272},220994,"zhu-shi-tu-zhou-yun-shou-ping-220994","图绘湖石一块，呈山字型耸立，边缘以浓墨点缀，棱角坚锐；后侧的一丛竹子杆直修长，以没骨法淡墨绘竹叶微微右倾，似敷上一层薄薄的寒霜；地面杂草数丛，霜后渐以枯败。虽为深秋初冬之时，但画面错落有致，清新自然。",[23,25,27,53,7,214,428,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a1acd4f20c3b94cb797c72d0233bd11.jpg","141x74cm",[243,269],{"id":2253,"slug":2254,"title":166,"dynasty":167,"author":262,"museum":251,"description":2255,"tags":2256,"thumbUrl":2258,"material":37,"size":2259,"collection":71,"collections":2260,"showCount":2243,"zanCount":42,"manualWeight":42,"mainColor":92},218492,"zhu-shi-tu-wu-zhen-218492","墨竹以中锋运笔，瘦劲中含柔韧，竹叶如剑戟横斜，又似疾风翻卷，墨色浓淡相间，层次分明；石体则以淡墨晕染，辅以干笔皴擦，朴拙厚重中透出清逸之态。竹石相依，动静相生，既见自然野趣，又藏文人风骨——笔端流淌的不仅是水墨的韵律，更是君子坚韧高洁的精神写照。整幅画作简而不薄，意境悠远，尽显元人画中“以书入画”的雅致与隐逸情怀，笔墨间的生机与心性，似可穿越时空，与观者对话。",[23,24,25,26,53,54,7,35,58,102,2257],"元画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F461c4598d701937861a6c59fad8d3c4f.jpg","37.5x94.5cm",[71],{"id":2262,"slug":2263,"title":2264,"dynasty":48,"author":49,"museum":224,"description":1410,"tags":2265,"thumbUrl":2266,"material":960,"size":961,"collection":88,"collections":2267,"showCount":2268,"zanCount":176,"manualWeight":42,"mainColor":92},290557,"mu-dan-zhou-xu-wei-290557","牡丹轴",[25,27,53,26,85,61,7,35,57,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9487283bab61d433f887641040f025a9.jpg",[],105,{"id":2270,"slug":2271,"title":2272,"dynasty":167,"author":262,"museum":143,"description":2273,"tags":2274,"thumbUrl":2275,"material":104,"size":2276,"collection":88,"collections":2277,"showCount":2268,"zanCount":11,"manualWeight":42,"mainColor":92},231500,"mo-zhu-pu-ce-ye-gao-qing-si-fu-wu-zhen-231500","墨竹谱册页（高清四幅）","吴镇曾说的墨竹之法：“疏不至冷，繁不至乱，翻向正背，转侧低昂，雨打风翻，各有法度”。吴镇的墨竹把文学意蕴融入到艺术表现手法中，开创了文人画重意蕴之风，使中国文人画得到了关键性的发展，加深了文人画的思想内涵和潜在表现力，起到了承前启后的重要作用。之后的姚绶、文征明、唐寅等名家均不同程度受到了他的影响。特别是清代后期的蒲华，在继承了吴镇墨竹飘逸高傲之气的同时，又在“形”、“韵”两方面下功夫，使以竹为题材的艺术创作和审美情趣在清末达到了又一个高峰。明代文学大家陈继儒在《梅花庵记》中写道：“先生书仿杨凝式，画出入荆关董巨，初虽无意于啖名，而品格既真，则身价自不能压之使下，画苑推元四大家必屈指先生”，充分说明了吴镇在画坛上的公认地位。\n吴镇生于南宋灭亡次年，当时抗元气氛仍很浓厚，再加上元朝知识分子地位的骤降，使得他只能通过艺术作品来抒发心中的强烈感触与不平。墨竹是文人画中的常见题材，吴镇的墨竹则是中国画史上的极品，其成就甚至超过他的山水画，为后人留下了诸多传世佳作以及丰富的理论论述。\n吴镇的墨竹理论大约可分为三个部分：一是对竹子人格化的认识，这是他创作的原动力；二是画竹者的心境；三是具体的技法。他认为，画竹不仅要展现竹子的外在形态，更要显现其内在风骨和精神，反映更高的旨趣。他将竹子作为自身人格的真实写照，赋予其虚心劲节、直竿凌云、高风亮节的深刻寓意；在用笔时不求工细，只讲究写意神似，重在抒发自己的主观情趣：譬如生长于绝处的竹子，彰显的是处劣境不改其节，居陋地不扰平淡之心的君子风范；空山野地之竹则如隐士巢父、许由般高洁脱俗，远离浊世。吴镇正是将这种种体会与感受，自然而又随意地融入到自己的作品中，展现出多姿多彩的墨竹神韵。\n吴镇笔下的诸般墨竹姿意潇洒，可谓极尽竹之生态与情意：春夏秋冬、晴雨风雪、俯仰横斜皆各不相同。他运用墨的浓淡粗细，将竹的干、节、枝、叶描绘得繁而不乱、疏密有致；特别是采用浓、淡、破、焦、湿等方法把墨分为七色，将竹子的萧瑟灵性、远近枯荣表现得淋漓尽致、层次无穷。除了强调总体法度之外，吴镇还对细微处的技巧颇有研究。他认为画墨竹要分为干、节、枝、叶四个方面：“而叠叶至难，于此不工则不得为佳画矣”；画竹时须“下笔要劲，节实按虚起，一抹便过，少迟留则必钝厚不銛利矣”，画叶时应竭力避免“精似桃叶，细如柳叶，孤生并立，如又如井，太长太短，蛇形鱼腹，手指蜻蜓”等“疏密偏轻，使人厌观”之病",[23,25,24,26,83,53,57,102,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a763ebdaf12beb20835513dca92c2a2.jpg","高403厘米，宽52厘米",[],{"id":2279,"slug":2280,"title":2281,"dynasty":18,"author":250,"museum":224,"description":395,"tags":2282,"thumbUrl":2283,"material":441,"size":88,"collection":71,"collections":2284,"showCount":2268,"zanCount":11,"manualWeight":42,"mainColor":92},223301,"zhu-shi-tu-zhou-3-zheng-ban-qiao-223301","竹石图轴3",[23,25,26,27,53,58,102,57,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05f693b107ed41d72c1e72ff211b8570.jpg",[71,243],{"id":2286,"slug":2287,"title":2288,"dynasty":167,"author":376,"museum":143,"description":739,"tags":2289,"thumbUrl":2290,"material":441,"size":2291,"collection":243,"collections":2292,"showCount":2268,"zanCount":137,"manualWeight":42,"mainColor":43},220863,"shu-lin-xiu-shi-tu-zhao-meng-fu-220863","疏林秀石图",[23,25,26,27,53,238,58,102,741,35,7,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c43af0a92bd0ec53908bd0fc414eb3.jpg","纵27.5厘米，横62.8厘米",[243,269],{"id":2294,"slug":2295,"title":2296,"dynasty":97,"author":168,"museum":143,"description":2297,"tags":2298,"thumbUrl":2300,"material":37,"size":88,"collection":300,"collections":2301,"showCount":2268,"zanCount":190,"manualWeight":42,"mainColor":43},218798,"gu-mu-zhu-shi-tu-yi-ming-218798","古木竹石图","这幅画显示了一块巨大的岩石，上面有两棵枯树和海滩上的两片新竹林。岩石用飞白画法，树木用篆书画法，以李国的蟹爪为树枝。树木和石头的笔触是动态的，与竹叶的笔触相映成趣，就像教堂字体的四肢，使这幅画成为书法的趣味。这是 历代绘画作品集 中的一幅画。",[23,24,25,26,53,238,2299,741,7,35,102],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F965e42937020f7b42fb8c718a993ded4.jpg",[300],{"id":2303,"slug":2304,"title":2305,"dynasty":167,"author":2209,"museum":2306,"description":2307,"tags":2308,"thumbUrl":2309,"material":69,"size":2310,"collection":71,"collections":2311,"showCount":2312,"zanCount":42,"manualWeight":42,"mainColor":92},220322,"wan-jie-tu-gu-an-220322","晚节图","辛辛那提艺术博物馆","此作以墨写竹，竿干劲挺修长，节痕匀整，藏坚韧不屈之态。竹叶以浓淡墨笔撇捺挥写，错落层叠、顾盼生姿，尽显萧疏散朗之致，将竹的清灵秀逸全然托出。\n\n画作以竹明志，借凌霜不凋的修竹暗合持守晚节的君子襟怀，把文人画托物言志的意趣融于笔墨间。笔致洗练老辣，墨色层次分明，简淡素净的纸色衬出墨竹清韵，通篇空灵雅致，满卷皆溢清刚雅正的高古之气，是墨竹画中形神兼备的佳构。",[23,25,26,53,27,7,102,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cc1bd0ec0a82b701fca3fa1e53d0bce.jpg","113.7x33.2厘米",[71],104,{"id":2314,"slug":2315,"title":2316,"dynasty":48,"author":290,"museum":1695,"description":1696,"tags":2317,"thumbUrl":2318,"material":104,"size":1700,"collection":88,"collections":2319,"showCount":2320,"zanCount":11,"manualWeight":42,"mainColor":92},220062,"hu-qiu-shi-er-jing-tu-ce-5-shen-zhou-220062","虎丘十二景图册-5",[23,25,26,83,53,200,30,454,7,453,755,456,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12b98caed8ba3c7e8188c4fa105bf846.jpg",[],103,{"id":2322,"slug":2323,"title":2324,"dynasty":167,"author":1376,"museum":182,"description":2325,"tags":2326,"thumbUrl":2327,"material":69,"size":2328,"collection":71,"collections":2329,"showCount":2320,"zanCount":42,"manualWeight":42,"mainColor":92},218762,"zhu-shi-ji-qin-tu-wang-yuan-218762","竹石集禽图","王渊（生卒年不详），字若水，号澹轩，钱塘（今浙江杭州）人。元代后期职业画家，擅画水墨花鸟、竹石、山水等。\n此图又名《花竹禽雀图》，以墨笔描绘园中禽雀栖息翱翔的场景。画面以一雄一雌的两禽为主体，雄禽立于湖石之上，炯炯有神，展现出胸部美丽斑斓的羽毛；辞禽于湖石下仰头回眸。在石后杜鹃盛开、竹枝生长，竹稍鸟群或栖息欲飞、或翻飞腾跃。\n技法上，王渊充分发挥墨彩的效果，通过运用浓淡枯湿的不同墨色，将水墨皴染和细笔勾勒等多种手法相结合，生动写实地表现出湖石、花朵、竹枝、禽鸟的不同质感，呈现出禽鸟的丰富神态，绘画细腻写实，是元代水墨画中的典型作品。",[23,25,24,26,27,53,28,102,7,214,592,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5497a6ceb9b1d521898be3b33cd857fc.jpg","纵137.5 厘米，横59.4 厘米",[71],{"id":2331,"slug":2332,"title":2333,"dynasty":18,"author":250,"museum":50,"description":2334,"tags":2335,"thumbUrl":2336,"material":202,"size":2337,"collection":88,"collections":2338,"showCount":2339,"zanCount":42,"manualWeight":42,"mainColor":92},233963,"mei-zhu-tu-zhou-zheng-ban-qiao-233963","梅竹图轴","竹是郑燮最擅长表现的题材，他能出神入化地准确捕捉住竹枝、竹叶在风中摇曳的动态和神韵，并形象生动地表现出来。同时竹之高洁素雅、坚韧不屈的物性亦最能体现郑燮刚直不阿的人品。郑燮画梅的作品仅此一幅，但因他具有深厚的艺术功底，故在梅的表现上亦能挥洒自如，花瓣为中锋运笔，其形状虽方圆不一，但自然的行笔，流畅的圈线，勾勒出了花儿旺盛的生命力。梅与用润墨表现的青竹在相互映衬中体现了它们不同的美。",[25,53,27,54,57,58,102,59,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8813cf214f626348dc52b8170329ca3b.jpg","纵127.8厘米，横31.3厘米",[],102,{"id":2341,"slug":2342,"title":2343,"dynasty":18,"author":181,"museum":224,"description":2344,"tags":2345,"thumbUrl":2346,"material":88,"size":88,"collection":88,"collections":2347,"showCount":2339,"zanCount":11,"manualWeight":42,"mainColor":92},224178,"mu-dan-zhu-shi-tu-hua-yan-224178","牡丹竹石图","此作淡素底色铺陈，花卉、湖石与秀竹错落排布，虚实相生。冰蓝牡丹以没骨晕染而成，摒弃浓艳富丽，清冷幽洁自带孤高韵致，一扫牡丹流俗的富贵之气。\n淡墨湖石以写意皴染绘就，朴雅苍润，苔点隐约，与柔媚花影形成刚柔对照。旁生秀竹浅赭敷色，清瘦挺拔，枝叶舒展柔和，衬得花容愈发幽绝尘寰。左上行题诗呼应画意，将牡丹幽芳风骨引向诗文意境，工写兼备间，尽抒文人清雅出尘的审美意趣。",[23,25,26,27,29,28,53,61,7,35,85,102,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa7ce165a5673fa2c97572f9249cf42a.jpg",[],{"id":2349,"slug":2350,"title":2351,"dynasty":167,"author":262,"museum":143,"description":2352,"tags":2353,"thumbUrl":2354,"material":441,"size":2355,"collection":243,"collections":2356,"showCount":2339,"zanCount":42,"manualWeight":42,"mainColor":43},220781,"zhu-shi-tu-ye-wu-zhen-220781","竹石图页","吴镇师承方面，于董源、巨然所得最多。其实董源、巨然并不是文人画家，但由于他们生活在江南，表现江南山川，创造了平淡天真、苍茫浑厚的山水画风，恰到好处地表现了山川之气韵，这种气韵正是宋代以后文人画家所梦寐以求的。从米芾开始，董巨画风开始受到青睐，延及赵孟頫、元四家，董巨画风大受推崇，整个元代山水画坛大多以董巨为依归，力求韵外之致。吴镇对董巨是下过很深的功夫的，他自己说：“董源画《寒林重汀图》，笔法苍劲，世所罕见，因观其真迹，摹其万一。”",[23,24,25,53,238,83,7,214,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefe30f4d3ae723c1fb823e512d8473ef.jpg","本幅 90.6x42.5公分、全幅 61.3公分",[243,269],{"id":2358,"slug":2359,"title":2360,"dynasty":48,"author":2361,"museum":2362,"description":2363,"tags":2364,"thumbUrl":2365,"material":1079,"size":2366,"collection":71,"collections":2367,"showCount":2368,"zanCount":11,"manualWeight":42,"mainColor":92},237544,"mo-zhu-tu-ce-feng-qi-zhen-237544","墨竹图册","冯起震","山东省博物馆","这幅《墨竹图》，所绘为风中之竹。画中有老竹二竿，小竹三竿，另有新篁三株。作者以淡墨绘老竹的竿与叶。竹竿亭亭竖劲，枝繁叶盛。一棵小竹依傍其左，另两竿小竹立其右。小竹枝、竿、叶均以浓墨写出，将青春勃发的幼竹秀颀、挺拔之态淋漓洒脱地表现出来。作者在写竹叶时，无论老竹幼竹，都用墨的浓淡的层次不同，来分出其阴阳向背以及叶梢的枯萎卷折，自然逼真，有形有神。\n竹下，有新笋拔地而起。其中一株已抽出肥嫩的竹节，大有冲天而发之势。另外两株小笋则跃跃欲试，似在蓄积力量，等待着雨后的拔节。笋皆以浓墨写出，清新可人。\n画中之竹，因经受着风的吹打，均倾向右侧。竹，非草非木，虽中心虚空，却能任风卷残云，我自岿然。这种宁折不弯的品性，正是画家通过他的《墨竹图》要传达给世人的。竹不是孤根而生，一枝独秀。在广袤的田园，抑或是在贫瘠的山间，竹必定是以群体的形式迎击着时时掠过的东西南北风。冯起震的《墨竹图》，着力渲染了竹的这种相依而生的特性。画中所绘竹丛，密处不繁，疏处不陋，有长幼之序，有父子之亲，老幼相傍，高下互让，拳拳之情，俨然如人间的手足相携，父子顾盼。\n以竹入画，始自唐代。初系著色，五代时用墨染，北宋开始流行墨竹。宋·李昉在《文苑英华》中说竹“劲本竖节不受霜，刚也；绿叶凄凄翠荫浮浮，柔也；虚心而直无所隐蔽，忠也；不孤根以挺拔，必相依以擢秀，义也”。这“刚、柔、忠、义”四种品德，正是历代中国文人所看重的修养与情操，甚至将其中的“忠”与“义”看得比生命还要重要。所以，谦谦君子，案头必定有竹相伴。以墨写竹，摒去了其他色彩，铅华洗尽，纯以黑白示人，更是清雅飘逸。北宋之后，墨竹在画坛上大行其道。到了明代，随着文人画日见称盛，墨竹作者更是名家辈出，冯起震便是其中自具特色的一位。\n《墨竹图》布局尤其独特。画中别无他物，只置绿竹一丛，顶天立地，上下均不留空间，只在左右两侧留白。画家只截取了竹的生长状态中的一部分予以表现，而不是写其全貌。至于竹究竟有多高，叶究竟有多茂，只有观者自己去想象了。由此，也可见出作者不为成法所拘，在画幅上自由驰骋的一面。\n如此大的篇幅，应当是作者张纸于壁上，一挥而就。所以，才使得这幅画淋漓利落，满纸清风。",[25,26,83,53,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ce3c0964d656b67a08c1ef1ccd0e3f4.jpg","纵178厘米，横88厘米",[71],101,{"id":2370,"slug":2371,"title":1482,"dynasty":48,"author":2372,"museum":143,"description":2373,"tags":2374,"thumbUrl":2375,"material":53,"size":2376,"collection":71,"collections":2377,"showCount":2368,"zanCount":11,"manualWeight":42,"mainColor":92},219513,"zhu-tu-yao-shou-219513","姚绶","此作用笔爽劲老辣，以浓墨挥写新篁，竹叶错落有致，俯仰向背各具姿态，尽显青竹挺拔清健的君子之姿。淡墨晕染湖石，笔墨简淡虚灵，朦胧柔润的石身与劲挺修竹虚实相生，刚柔相济。\n\n右上角题字与墨竹呼应，诗画相融，文气尽显，将文人爱竹的寄情托意暗藏其间，整幅画面简逸清疏，寥寥数笔便把竹的高洁傲然尽数烘托，尽显水墨写意的空灵雅致，暗含传统文人的淡泊风骨。",[25,26,53,27,7,35,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6f9e6dee2120847cc30bfa1ba267311.jpg","83.9x35.1",[71],{"id":2379,"slug":2380,"title":2381,"dynasty":18,"author":181,"museum":224,"description":2382,"tags":2383,"thumbUrl":2385,"material":87,"size":2386,"collection":39,"collections":2387,"showCount":2388,"zanCount":42,"manualWeight":42,"mainColor":43},216779,"zhu-xi-liu-yi-tu-hua-yan-216779","竹溪六逸图","这幅画描绘了李白、孔巢父、韩愈、裴矩、张叔明和陶沔六位大学者在山东泰安聚会，喝茶唱歌，在竹林中隐居。\n这部杰作不仅基于黄大年的遥远山景，还基于逼真的竹子梦、陈老莲的笔触和更微妙的人物形态。景观和人物的布局和风格一致，场景既真实又优美，充分再现了故事的场景，气势恢宏，引人入胜。",[25,26,24,29,28,200,7,30,296,2384],"雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a44828b298078d33d88230dc1a1aca6.jpg","183x100",[39],99,{"id":2390,"slug":2391,"title":2392,"dynasty":18,"author":211,"museum":182,"description":212,"tags":2393,"thumbUrl":2394,"material":69,"size":216,"collection":88,"collections":2395,"showCount":2396,"zanCount":176,"manualWeight":42,"mainColor":92},214686,"mei-hua-zhu-shi-tu-ce-3-wang-shi-shen-214686","梅花竹石图册-3",[25,26,83,53,59,7,35,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F789cbb5f9f7a7413c78364ba6bcf38e4.jpg",[],98,{"id":2398,"slug":2399,"title":2400,"dynasty":48,"author":2401,"museum":224,"description":2402,"tags":2403,"thumbUrl":2406,"material":960,"size":961,"collection":88,"collections":2407,"showCount":2408,"zanCount":11,"manualWeight":42,"mainColor":43},288002,"tang-yuan-xi-chun-tu-juan-zhu-zhan-ji-288002","唐苑嬉春图卷","朱瞻基","画面上画了五只猫，其动作神情都不一样。颜色趋于白花的猫。这种动物类的绘画里，无非就是两种要注意的。\n其一是造型。照猫画虎也行，照虎画猫也行，一定要把它的型抓住，神另说。这五只猫，每一只猫的形态还是很生动的。这只叼着鸟的猫，其回身的动作和眼神，都是一致的。",[23,25,24,56,28,29,2015,7,65,2404,2405],"走兽","嬉春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e0eac807c246b76d65c027745f5ba9a.jpg",[],96,{"id":2410,"slug":2411,"title":2412,"dynasty":97,"author":413,"museum":224,"description":2413,"tags":2414,"thumbUrl":2417,"material":960,"size":961,"collection":88,"collections":2418,"showCount":2408,"zanCount":42,"manualWeight":42,"mainColor":43},287575,"dong-ri-xi-ying-tu-su-han-chen-287575","冬日戏婴图","图中画二童婴在庭园嬉戏。男孩左手拿着一根美丽的孔雀毛，女孩右手持一面绣花的小锦旗来回摇摆，逗着跟随着他们来回跑的小猫。画中描绘的虽然是冬景，但是花园中翠竹青青，茶花、梅花竞相开放。儿童形象富而不骄，华而不贵，充满宋代城市中的世俗生活情趣。整幅画面作者用笔工整细致，设色艳丽。技法纯熟，形神兼备。",[24,25,27,29,28,30,1276,59,7,1800,2015,2415,2416],"冬日","戏婴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56f4da80266afbaa0934659384b709df.jpg",[],{"id":2420,"slug":2421,"title":2422,"dynasty":48,"author":168,"museum":20,"description":2423,"tags":2424,"thumbUrl":2425,"material":88,"size":88,"collection":88,"collections":2426,"showCount":2408,"zanCount":176,"manualWeight":42,"mainColor":43},232911,"fang-qian-xuan-hua-niao-tu-yi-ming-232911","仿钱选花鸟图","钱选以花鸟画成就最高。他的成熟花鸟画，在院画基础上吸取 扬无咎 一派水墨花卉的技法，创造了新的体格。\n后人很多仿画。",[23,25,26,56,28,29,1614,85,7,62,897,281,280,618],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e0b54ca3ef8f0e19e5c3536b8481fe.jpg",[],{"id":2428,"slug":2429,"title":2430,"dynasty":18,"author":79,"museum":224,"description":426,"tags":2431,"thumbUrl":2432,"material":2433,"size":2434,"collection":71,"collections":2435,"showCount":2408,"zanCount":42,"manualWeight":42,"mainColor":272},221001,"hua-hui-li-zhou-yun-shou-ping-221001","花卉立轴",[23,25,27,84,29,85,61,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb72df777f65aff6071f8368bf22ed0ab.jpg","纸","48.5×118.5",[71,123],{"id":2437,"slug":2438,"title":2439,"dynasty":167,"author":385,"museum":50,"description":2440,"tags":2441,"thumbUrl":2442,"material":202,"size":2443,"collection":243,"collections":2444,"showCount":2408,"zanCount":42,"manualWeight":42,"mainColor":43},220798,"wu-zhu-xiu-shi-tu-ni-zan-220798","梧竹秀石图","《梧竹秀石图》绘湖石挺立，高梧疏竹映带左右。树干和秀石行笔匆匆急就，以阔笔湿墨描绘梧叶，虽是“逸笔草草，不求形似”之作，却颇得苍润淋漓之墨趣，别开生面。\n图中画梧桐一株，疏竹数竿，湖石平坡，间以涓涓细流。与以往画家惯用干淡松秀笔墨表现不同的是，全画用大胆的墨笔写成，颇具苍润淋漓之妙。梧叶用阔笔、湿墨侧抹而出，莽苍超忽，而清阴如覆；树干、秀石的表现亦以侧笔写成，湖石用浓墨皴出，其浑厚有北苑之意。这幅画为倪瓒画风成熟期少见的变体之作。画家通过对墨色浓淡、干湿的运用，使画面极富层次感。梧桐、竹石的表现与宋院体画讲究写真、追求形似相比已颇有变化，更突出了笔墨对自我性灵的抒发。正合《艺苑卮言》中云：“山水以气韵为主，形模寓乎其中。”草草点染而又不改物形的矛盾，倪瓒在此图中将其处理得恰到好处。",[23,24,25,53,27,7,489,35,58,102,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed2c141173efcc16d73f1e7f7f7cf9c1.jpg","纵96cm，横36.5cm",[243,269],{"id":2446,"slug":2447,"title":166,"dynasty":18,"author":250,"museum":50,"description":1038,"tags":2448,"thumbUrl":2449,"material":202,"size":1041,"collection":88,"collections":2450,"showCount":2451,"zanCount":42,"manualWeight":42,"mainColor":92},234676,"zhu-shi-tu-zheng-ban-qiao-234676",[25,53,27,7,35,54,26,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4678f3aee954a45f278520cc553534f1.jpg",[],95,{"id":2453,"slug":2454,"title":2455,"dynasty":48,"author":2456,"museum":224,"description":2457,"tags":2458,"thumbUrl":2459,"material":88,"size":88,"collection":88,"collections":2460,"showCount":2451,"zanCount":11,"manualWeight":42,"mainColor":92},234215,"chen-qin-zhu-lan-ju-shi-juan-chen-qin-234215","陈芹竹兰菊石卷","陈芹","陈芹，生于1515年，卒年不详。字子野，号横崖，上元（南京）人，为安南国（越南）王后代，永乐年间来中国避战乱。擅长绘画，山水花卉竹枝均能，传世作品有《为佩庭作竹石图》（现藏故宫博物院）、《修篁文石图》（现藏南京博物馆）等。工书法，师钟繇，二王，尤善章草。《自书诗》行书册古雅畅达，妍媚洒脱，含章草意态。",[23,24,25,26,56,53,58,57,7,66,67,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb05f0ec9be94c42d09d7d995a4450e60.jpg",[],{"id":2462,"slug":2463,"title":2464,"dynasty":167,"author":2465,"museum":143,"description":2466,"tags":2467,"thumbUrl":2468,"material":2469,"size":2470,"collection":123,"collections":2471,"showCount":2451,"zanCount":11,"manualWeight":42,"mainColor":43},221848,"zhu-lin-xian-zi-zhou-liu-guan-dao-221848","竹林仙子轴","刘贯道","刘贯道，字仲贤，生卒年不详，约为元世祖之人。善画佛道人物，又能做山水、花竹、鸟兽等。他在世的作品极少，画中人物多接近北宋传统技法，有古典风味，与南宋有明显的分别。或许是因为他出生在北方，较承袭了北宋的画法。",[23,25,26,24,27,28,29,30,31,7,35,897,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae7dcfcc265fc0481ad92b6f1e12076.jpg","绢","该幅70x31.4公分；全幅 57.5公分",[123,269],{"id":2473,"slug":2474,"title":2475,"dynasty":167,"author":262,"museum":224,"description":2476,"tags":2477,"thumbUrl":2478,"material":960,"size":961,"collection":88,"collections":2479,"showCount":2480,"zanCount":176,"manualWeight":42,"mainColor":92},291024,"yun-dang-qing-ying-tu-zhou-wu-zhen-291024","筼筜清影图轴","吴镇（1280年—1354年），字仲圭，号梅花道人，浙江嘉兴人。元代画家、书法家、诗人。\n吴镇擅画山水、梅花、竹石，与黄公望、倪瓒、王蒙合称“元四家”。\n由于吴镇以董巨起家，其画中山、石、树、水、房屋、小桥都显得格外宁静、平和，但吴镇有时也着意打破这种气氛，使宁静中增几分动荡，那就是近景大树和山石的表现，特别是三两棵树的表现尤其明显。如果说吴画山、石、水、小桥、屋舍、群树的表现乃至整体气息是以董巨面目出现的话，那么其局部的大树则主要是以马夏的面目出现的。结构布局上立于近景，形象表现上夸张变形，树种的选择上以松柏寓人格。这种形象的树出现在平和、宁静的境界里显得格外突出。它们或直立挺拔、俯势向上；或倚斜偃蹇、欲倒还立；或技条倒挂、曲折盘桓。而且吴镇对大树的形象也是情有独钟的，几乎每幅山水画均有此类形象。这一个个形象频繁出现于其笔下，有何深刻含义？如果联系一下元代的民族岐视政策，联系一下同样比邻而居，盛氏求画者门限为穿，自家之门阒然的事实，或许透露出个中消息。在大树的塑造上，如果把吴镇放在“元四家”其他三家中做一比较，吴镇的独特个性尤能充分展现。黄公望、王蒙为了表现高士的居住环境，用平和、冷静的笔触画群山诸峰，力量均匀，气势平缓，树木郁郁葱葱，均为山的点缀，很少突出某一大树。倪瓒、吴镇在景物取舍上有极强的一致性，均喜画几棵树。倪瓒的树是纤细、弱小的，树干上长出几条树枝，枝上顶着几片叶子，立在空旷的荒野里显得孤独而又凄凉。而且倪瓒的树往往是叫不出名字的，并无具体所指；吴镇在树的种类上往往是有选择的，他最喜欢选取被赋予隐逸人格象征的古松来充实画面。在近景中吴镇很少画杂树而是喜爱强调几棵大树，个个粗壮而枝叶茂密，富有顽强的生命力。",[24,25,26,27,53,7,57,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b3b2615b892119aa8db2b0673c921dd.jpg",[],94,{"id":2482,"slug":2483,"title":2484,"dynasty":18,"author":1233,"museum":2485,"description":2486,"tags":2487,"thumbUrl":2488,"material":104,"size":2489,"collection":88,"collections":2490,"showCount":2480,"zanCount":42,"manualWeight":42,"mainColor":92},231387,"shan-shui-ce-zhu-da-231387","山水册","故宫出版社","朱耷，明太祖朱元璋第十七子朱权九世孙，本名朱统托，字雪箇，号八大山人、箇山 、人屋、道朗等，江西南昌人。其他别号，尚有箇山驴、驴屋、驴汉、人屋、刃庵、拾得、何园、洛园、黄竹园、书年、书疾、八还等，不一而足。其祖父朱多炡、父朱谋觐、叔父朱谋垔均能诗善画。\n朱耷八岁即能诗，十一岁能画山水，悬腕写米家小楷。明亡朱耷为僧为道，所作写意花鸟，形象夸张，笔墨凝練，风格雄奇；山水笔致简洁，静穆疏旷。 花甲始用八大山人署名，常四字连缀，仿佛哭之笑之，为清初四僧之一。",[25,26,83,53,200,35,7,294,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c452f4285c6312c00652736062c93d6.jpg","纵二六厘米，横四一厘米",[],{"id":2492,"slug":2493,"title":2494,"dynasty":97,"author":2495,"museum":2496,"description":2497,"tags":2498,"thumbUrl":2499,"material":104,"size":2500,"collection":679,"collections":2501,"showCount":2480,"zanCount":11,"manualWeight":42,"mainColor":43},221263,"liu-ming-zhong-mo-zhu-fu-huang-ting-jian-221263","刘明仲墨竹赋","黄庭坚","湖北襄阳图书馆","黄庭坚在书学上追求一种自然之美，忘我的境界，无法之法。他自称“老夫之书本无法也。但观世间万缘，如蚊蚋聚散，未尝一事横于胸中。遇纸则书，纸尽则已，亦不计较工拙与人之品藻讥弹，譬如木人舞中节拍，人叹其工，舞罢则又萧然矣。”他认为“心不知手，手不知心”是书法创作的最高境界。\n黄庭坚《刘明仲墨竹赋》元佑三年作于京师开封府，此帖拓本来源于清朝黄湄《黄文节公法书石刻》，作品横32厘米，纵30.5厘米，共25页",[23,24,25,26,56,58,57,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf3d7079ee1b5e8a0bf2ec9b0a24e24a.jpg","横32厘米，纵30.5厘米",[679],{"id":2503,"slug":2504,"title":2505,"dynasty":97,"author":2506,"museum":1273,"description":2507,"tags":2508,"thumbUrl":2509,"material":37,"size":2510,"collection":106,"collections":2511,"showCount":2480,"zanCount":42,"manualWeight":42,"mainColor":43},219105,"cang-ying-bu-zhi-tu-huang-ju-shi-219105","苍鹰捕雉图","黄居宩","画在山坡上，青竹高大，桃枝顶绿叶萌芽，桃花盛开； 下方，一只老鹰将野鸡按在脚下，野鸡五颜六色的羽毛在被捕获后瞬间炸开。 ，张开的喙似乎受到惊吓并尖叫着求救。",[23,24,25,26,27,28,29,85,59,7,35,592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a9d6f070400e1b1a33505d902eaa96.jpg","纵142.2横78.7厘米",[106,71],{"id":2513,"slug":2514,"title":2515,"dynasty":167,"author":1376,"museum":224,"description":2516,"tags":2517,"thumbUrl":2518,"material":88,"size":2519,"collection":88,"collections":2520,"showCount":2521,"zanCount":176,"manualWeight":42,"mainColor":43},231513,"hua-niao-tu-juan-wang-yuan-231513","花鸟图卷","王渊是元代著名花鸟画家，字若水，号澹轩，浙江杭州人。生卒年不祥，据陶宗仪《辍耕录》卷七记载，他“幼时获侍赵魏公（赵子昂）故多得指教，所以傅色特妙。天历中（1328—1330年），画集庆龙翔寺两庑壁”。其年龄要比赵子昂小，赵子昂生于南宋理宗宝佑二年（1254年），应活跃在1254年以后，从他的传世作品所签年款来看，多在元朝惠宗至正三年到九年，即1343—1349年，元朝灭亡于至正二十八年（1368年），也有文献记载，在至正二十六年（1366年）曾作《萱花白头图》。可见他从事艺术活动在元代中后期，他的卒年可能在元朝灭亡之前，或在明朝初年。\n王渊的花鸟、古木竹石、梅兰等题材绘画，在继承五代、两宋传统花鸟画的基础上，又有了新的发展和明显的变化，取得显著的成就，在中国美术史上占有重要的地位。他的表现手法属“黄家富贵”体。唯舍色彩而取水墨，通过勾勒和水墨晕染区别浓淡向背，造型极精严，神态亦颇生动，作到“墨具五色”的艺术效果。同钱选一样，王渊在花鸟画创作上起到了承前启后的作用。\n王渊的花鸟画给人以接近气势磅礴的感觉。我们不得不感叹这位画家令人惊羡的艺术造诣，同时又被其画中别样的意境所打动。",[23,25,24,56,28,29,57,102,85,59,61,7,35,63,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f04e0e5eaa4a4d2e89e6b687fe212f7.jpg","95.9×50.6 厘米",[],93,{"id":2523,"slug":2524,"title":2525,"dynasty":48,"author":569,"museum":2088,"description":2526,"tags":2527,"thumbUrl":2528,"material":340,"size":2529,"collection":88,"collections":2530,"showCount":2521,"zanCount":176,"manualWeight":42,"mainColor":43},222395,"si-ji-hua-niao-tu-dong-lv-ji-222395","四季花鸟图-冬","吕纪（1429～1505），字廷振，号乐愚，鄞（今浙江宁波）人。明代画家。\n其花鸟初师边景昭，又学林良，并广泛师法唐宋诸家，所作有工笔重彩和水墨写意两种画法，前者描绘精工，色彩富丽，法度谨严；后者粗笔挥洒，随意点染，简练奔放，富有气势和动感。其山水宗法马远、夏圭，以大斧劈皴画山石，苍劲有力。人物亦法南宋院体，衣纹线条简练顿挫。初学边景昭工笔法，亦受林良水墨法影响，后临仿唐宋诸家名迹，遂自成一体，独步当代。其花鸟画风呈两种面貌，一作工笔重彩，精工富丽，多绘凤鹤、孔雀、鸳鸯之类，辅以树木坡石、滩渚流泉背景，既具法度，又富生气。另一类为水墨写意画，粗笔挥洒，简练奔放，接近林良的风格。他亦兼善人物、山水，宗法南宋马远、夏圭画法。他的花鸟画风在当时宫廷内外影响甚大，继承者不乏其人。\n明弘治年间，入值仁智殿，官至锦卫指挥使，是明代与边景昭、林良齐名的院体花鸟画代表画家。其绘画风格可分为两大类，一类是以水墨为主略淡彩，用笔较为豪纵，另一类则是设色浓丽，用和工致，具有富丽的宫廷装饰趣味。吕纪由水墨淡色画转为工笔重设色画，更直接的原因是为了适应不同皇帝的不同口味，具体说来就是弘治皇帝朱祐樘的欣赏口味不同于他的父辈成化皇帝朱见深，从而造成了吕纪多画凤凰、雉鸡、仙鹤、孔雀、鸳鸯之类，杂以花木草石，具有生气。工笔着色与水墨写意能，并善于将两体结合。吕纪初学唐宋各家和同时代的边景昭，后形成自己的风格。他的花鸟设色鲜艳，生气奕奕，被称为明代花鸟画第一家。据说吕纪在画作上常用寓意手法对皇帝劝谏，皇帝知其用心，曾说：“工执艺事以，谏吕纪有之。”其代表作品有《新春双雉图》《桂花山禽图》《残荷鹰鹭图》《秋鹭芙蓉图》《五德大吉图》 《狮头鹅图》等。\n吕纪，1477年生，鄞州（今浙江宁波）人。字廷振，号乐愚，弘治间（1488-1505）供事仁智殿，弘治间征入宫廷，为宫廷作画，供奉仁智殿，官锦衣卫指挥。擅画临古花鸟，初学边景昭，后研习唐宋诸家名作，继承两宋“院体”，以工笔重彩，又在水墨写意方面受林良影响。\n远宗南宋院体格，廷续了黄筌工整细致的画风及钩勒笔法，并予以发扬，多以凤凰、仙鹤、孔雀、鸳鸯之类鸣禽为题材，杂以浓郁花树，画面绚丽。亦作粗笔水墨写意者，笔势劲健奔放，与林良相近，与边景昭同为明代院体花鸟画中的临古派代表。传世作品有《桂菊山禽图》《榴花双莺图》《雪景翎毛图》《浴凫图》等。除画花鸟外，偶尔也画人物山水。他主要是以工整精丽的院体传统作画，造型准确，设色鲜艳。但也能画活泼生动兼工带写的花鸟画。他的画生动，笔墨清新，是当时与边景昭、林良齐名的花鸟名家。他作画时，常以寓意手法规谏皇帝，故明孝宗曾说：“工执艺事从谏，吕纪有之”。他是与边景昭、林良齐名的院体花鸟画代表作家。《狮头鹅图》，绢本，设色。纵191厘米，横104厘米。工笔画狮头鹅，侧身曲颈回顾古梅，鹅身洁白如玉，眼睛刻划有神，形象生动。古梅干枝苍劲，生机勃勃。树下衬以太湖石、月季花，石后有双勾竹隐露，色彩艳丽，衬托出狮头鹅之白身红冠。是明代院体花鸟画的杰作。款署“吕纪”。现藏辽宁省博物馆。\n《榴花双莺图》写石榴一枝，蘩花盛开，一对黄鹂栖于枝头，一上一下，鸣啼相应，神态活泼。工笔重彩，钩勒填色，绚丽多彩为明代中期院体画的典型风格。\n相比画家，吕纪的另一个身份更令人吃惊——历经明代成化、弘治、正德三代，官至锦衣卫指挥使(秘密警察头目)。吕纪的花鸟绘画，水墨淋漓，气势宏大，甚至是日本屏风画的来源之一。《柳荫双鸭图》和《幽涧双鹭图》曾在日本出版的《听松清鉴》中著录，郑振铎在上世纪四十年代遍访流传在海外的中国名画，并在其所编的《域外所藏中国名画》中收录。吕纪的两幅作品不仅是明代全景花鸟画的杰作，也是中国绘画影响日本绘画的证据代表作。",[23,25,24,27,28,29,85,59,7,663,297,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf95f29adc2d1bbf6024f906d309a0a3.jpg","176.0×100.8",[],{"id":2532,"slug":2533,"title":2534,"dynasty":48,"author":601,"museum":224,"description":2535,"tags":2536,"thumbUrl":2537,"material":28,"size":2538,"collection":71,"collections":2539,"showCount":2521,"zanCount":11,"manualWeight":42,"mainColor":608},222042,"de-qu-zai-ren-ce-13-kai-wang-zhong-222042","得趣在人册13开","汪中，明代画家，以翎毛、山水、人物精擅一时。汪中应人之邀作《得趣在人》册页，共十二开，工笔绘芭蕉、哺雀、舞剑等，此册技法上笔墨雅韵，意境深邃。",[23,24,25,26,83,29,28,85,7,281,897,33,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f74d819ae04a78f0a4642cdafcc5cd.jpg","30×27厘米",[71,123],{"id":2541,"slug":2542,"title":2543,"dynasty":97,"author":503,"museum":115,"description":2544,"tags":2545,"thumbUrl":2547,"material":2548,"size":2549,"collection":106,"collections":2550,"showCount":2521,"zanCount":11,"manualWeight":42,"mainColor":43},221301,"xiao-niao-tu-zhao-chang-221301","小鸟图","趙昌，生於970-1040年，字昌之，北宋畫家，廣漢劍南（今四川劍閣之南）人。工書法、繪畫，擅畫花果，多作折枝花，兼工草蟲。初師滕昌祐，後來發展出自身畫風，沒骨花鳥自成一派，有徐熙、黃荃遺風。在北宋時期與宋徽宗趙佶齊名，是宋代花鳥畫壇的傑出畫家。",[23,25,26,28,29,85,2546,7,35,2139],"小鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7eb5c32590fc804144ae8ebd0bd02d8d.jpg","绢本淡设色","纵23厘米，横30厘米",[106,71,123],{"id":2552,"slug":2553,"title":1503,"dynasty":97,"author":168,"museum":143,"description":2554,"tags":2555,"thumbUrl":2556,"material":172,"size":2557,"collection":71,"collections":2558,"showCount":2521,"zanCount":176,"manualWeight":42,"mainColor":43},218910,"ku-mu-zhu-shi-tu-yi-ming-218910","在这幅画中，用飞白的方法在画面上画了一个石块，墨色淡而笔力强。三两根竹子站在岩石的背面，叶子用优雅而厚实的笔画着，仿佛是春山上的云朵。在一棵寒冷的树枝上，栖息着一种山鸟，它的羽毛非常精致。仔细观察笔触和墨迹，艺术家已经开始形成与赵孟𫖯的相似性。",[23,25,26,24,53,238,85,239,7,35,592,428],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dae588fde6c3ba57b3dc0a96ffdc698.jpg","107.9x51.1厘米",[71],{"id":2560,"slug":2561,"title":2562,"dynasty":97,"author":2563,"museum":182,"description":2564,"tags":2565,"thumbUrl":2566,"material":172,"size":2567,"collection":300,"collections":2568,"showCount":2569,"zanCount":190,"manualWeight":42,"mainColor":43},218400,"du-fu-shi-yi-tu-zhao-kui-218400","杜甫诗意图","赵葵","此图为唐代诗人杜甫“竹深留客处，荷净纳凉时”佳句为题，描绘的是一片竹林景色。图中丛草茂密，绿竹幽深，连绵万顷，层层叠翠，尤以竹林深处，一条蜿蜒小路上，有二人策驴缓行，显然是欲溯溪而上，至一塘绿水处，荷叶飘香，临流水阁数间，令人畅想，不免有流连忘返之意，若能高卧闲居，听竹闻香，自然就可以荣辱皆忘，陶然忘机。所谓一心，就是这个状态，无关乎身家性命，但求此心真诚无二，为将者保家卫国，为画者怡情自乐，君子无为而无不为，皆能不出其位，用现在的话说，就是干一行，爱一行，少些杂念，自然可以有所成就。岳飞曾说，文官不爱钱，武官不惜命。其实也是这个道理。故人若能一心不乱，大可以报效国家于危难之际，小可以洁身自好于巷陌之间。",[23,25,56,53,238,7,455,296,454,146,456,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96951e7904dac4cc20ea034fe6300033.jpg","纵74.7厘米，横 212.2厘米",[300],92,{"id":2571,"slug":2572,"title":2573,"dynasty":48,"author":142,"museum":224,"description":2574,"tags":2575,"thumbUrl":2576,"material":87,"size":2577,"collection":39,"collections":2578,"showCount":2569,"zanCount":11,"manualWeight":42,"mainColor":92},215040,"shi-cai-zi-tu-tang-yin-215040","十才子图","此卷是唐伯虎的虚构作品，后记说是宋徽宗赵佶临摹的，并说赵佶与吴宽一起南下。 吴宽死于1504年，而正德十年是1515年，吴宽已死了十一年，所以此画只能是赝品，但画技中上，可以作为参考。",[23,25,26,56,28,29,30,454,200,456,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b7c8a37613f6aa905d740483ae67edd.jpg","31.5x123.5",[39],{"id":2580,"slug":2581,"title":2582,"dynasty":48,"author":49,"museum":50,"description":2583,"tags":2584,"thumbUrl":2586,"material":104,"size":2587,"collection":88,"collections":2588,"showCount":2589,"zanCount":11,"manualWeight":42,"mainColor":92},233727,"mo-hua-juan-xu-wei-233727","墨花卷","本幅水墨花卉十六段，其顺序是：牡丹、梅花、竹石、玉簪、绣球、萱草、荷花、石榴、芙蓉、秋海棠、菊花、秋葵、双勾竹、水仙、茶花、梅花每段自题七绝一首。末端自题诗。款：“万历五年重九为从子十郎君戏作于木瓜桥之花园馆，金晶山人”印“文长”“两溟渔鸣”白方。引首自书“识得东风”后幅吴俊卿题记。",[25,26,56,53,54,57,58,102,59,66,7,67,32,65,2585],"枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3841d2a97c07af3531a1bd134c1503b.jpg","纵30cm横54.7cm",[],91,{"id":2591,"slug":2592,"title":2593,"dynasty":18,"author":79,"museum":143,"description":2594,"tags":2595,"thumbUrl":2596,"material":104,"size":2597,"collection":300,"collections":2598,"showCount":2599,"zanCount":11,"manualWeight":42,"mainColor":92},220971,"fang-ni-zan-gu-mu-cong-huang-tu-yun-shou-ping-220971","仿倪瓒古木丛篁图","《仿倪瓒古木丛篁图》仿倪瓒遗意，画古木平泉，丛篁积翠。技法上，画树以鹿角法，画石以折带皴，二者皆用淡墨干笔，画竹叶亦以轻盈简率的介字点法。构图简洁，画面丰富，为倪瓒作画特色。",[23,25,26,27,53,238,1614,741,7,35,2299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c40f667736f6fd2b6ac59e572161654.jpg","纵81cm，横32.7cm",[300,243],90,{"id":2601,"slug":2602,"title":2603,"dynasty":167,"author":474,"museum":50,"description":2604,"tags":2605,"thumbUrl":2606,"material":37,"size":2607,"collection":71,"collections":2608,"showCount":2599,"zanCount":11,"manualWeight":42,"mainColor":43},220342,"mu-yu-zhu-tu-li-kan-220342","沐雨竹图","自宋以来，梅、兰、竹、菊被士大夫称为“四君子”，象征“清高”“幽洁”“虚心”“隐逸”“气节”等精神品格。当社会危机、民族危机严重时，一些知识分子无力抗争，在孤愤与绝望中把情感寄托于笔墨，通过高度净化了的形式，表现这几种植物的品性，以喻君子的傲骨和高风。入元以后，“四君子”画不但更为兴盛，而且在思想情感的表现上更加丰富和深刻，笔墨情趣也更加讲究。特别是墨竹，用笔单纯简洁、挥洒自由，具有书法的意态，引起了士大夫的强烈兴趣。",[25,26,27,53,28,7,214,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcead2e46dbd68e83194ae99afee9827.jpg","纵111.5厘米，横55 厘米",[71],{"id":2610,"slug":2611,"title":2612,"dynasty":48,"author":290,"museum":224,"description":2613,"tags":2614,"thumbUrl":2615,"material":960,"size":961,"collection":88,"collections":2616,"showCount":2617,"zanCount":11,"manualWeight":42,"mainColor":92},228828,"wo-you-tu-ce-shen-zhou-228828","卧游图册","此套图册分别绘仿倪山水、杏花、秋葵、秋柳鸣蝉、平坡散牧、栀子花、秋景山水、芙蓉、枇杷、秋山读书、石榴、雏鸡、秋江钓艇、菜花、江山坐话、仿米山水、雪江渔夫等山水、花鸟小景。\n根据末开画家自题，可知该册页的“卧游”之名源自南朝宋宗炳在居室四壁挂山水以当卧游的典故。然而不同于挂轴的是，该图册还可于卧床时仰面翻阅。 由此可见画家的绘制初衷和生活情趣。",[23,25,26,83,53,29,200,85,7,214,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6888d1d28a0071d48ff437e6713a55.jpg",[],89,{"id":2619,"slug":2620,"title":2621,"dynasty":167,"author":2209,"museum":143,"description":2622,"tags":2623,"thumbUrl":2624,"material":441,"size":2625,"collection":243,"collections":2626,"showCount":2617,"zanCount":11,"manualWeight":42,"mainColor":43},221762,"quan-shi-xin-huang-tu-gu-an-221762","拳石新篁图","《拳石新篁图》写新篁数竿，瘦削挺拔，立于石旁，竹叶参差错落，以浓淡显出不同层次，线条锋锐有力，笔墨细腻，生意盎然。",[23,25,1648,27,57,58,102,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1abfe83cffc1cff26cbc173920a8abd.jpg","纵76厘米，横40厘米",[243,269],{"id":2628,"slug":2629,"title":716,"dynasty":48,"author":449,"museum":224,"description":2630,"tags":2631,"thumbUrl":2638,"material":88,"size":88,"collection":88,"collections":2639,"showCount":2640,"zanCount":11,"manualWeight":42,"mainColor":43},228431,"xi-yuan-ya-ji-tu-chou-ying-228431","林壑幽深处，文士凭崖观眺、揖谈畅叙，松竹环合，尽显林下清旷风流。下方庭院里，宾主列坐，或展卷挥毫，或品鉴器物，侍从随侍左右，朱门红栏衬出雅集端雅规整。\n\n整作工细秀雅，设色古澹清润，以全景式构图铺展雅聚盛景，将文人酬唱往还的意趣融于山园之中，山野清旷与庭院娴雅相融，把历代文人心向往之的林下雅兴具象呈现，复刻出一段隽永的名士雅境。",[23,25,24,26,29,28,30,200,60,7,457,2632,2633,2634,2635,2636,2637],"朱门","器物","文士雅集","挥毫","清旷","娴雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f8f1f98099d9cdf33ce0c57c0cde632.jpg",[],88,{"id":2642,"slug":2643,"title":2644,"dynasty":360,"author":793,"museum":2645,"description":2646,"tags":2647,"thumbUrl":2648,"material":88,"size":88,"collection":88,"collections":2649,"showCount":2640,"zanCount":42,"manualWeight":42,"mainColor":92},220574,"feng-yu-ji-ming-xu-bei-hong-220574","风雨鸡鸣","中央美术学院美术馆","滂沱风雨被晕染在冷灰底色中，危岩之上雄鸡振羽昂首，丹红鸡冠如炬，刺破漫天雨幕。它利爪紧扣嶙峋石峰，尾羽怒张，长啼似欲穿破阴霾，将不屈意气倾泻而出。\n\n左侧墨竹在狂风里倾伏翻卷，枝叶乱颤，更衬出雄鸡卓然独立的身姿。整幅画以水墨干湿浓淡铺就氛围，将乱世之中的沉郁压抑与志士觉醒的炽热力量相融，以禽竹山石托物言志，把不屈的民族气节藏在笔锋之下，满纸皆是冲破黑暗的激昂心气。",[23,25,53,29,27,54,85,896,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd30e5ae80b9dd47726b0e88ad80cc9dd.jpg",[],{"id":2651,"slug":2652,"title":2653,"dynasty":167,"author":2654,"museum":251,"description":2655,"tags":2656,"thumbUrl":2658,"material":87,"size":88,"collection":300,"collections":2659,"showCount":2640,"zanCount":137,"manualWeight":42,"mainColor":43},216997,"zhu-chuang-qing-yin-tu-lu-guang-216997","竹窗清隐图","陆广","陆广的《竹窗清隐图》是一幅山水画作品，出现在元朝时期（1271-1368年）。这幅画作以竹窗为主题，描绘了一个人坐在竹窗前欣赏山水的场景。竹窗是中国传统建筑中常用的装饰元素，象征着隐逸和闲适的生活方式。在这幅画作中，陆广展现了他对自然和人文之美的敏锐观察力和深刻理解。这幅画作被认为是元朝山水画的杰作之一，具有很高的艺术价值。",[25,53,238,57,102,58,200,7,1615,935,2657,296,663],"小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33e4531cd7fb8bc86a40100d4d0d3034.jpg",[300],{"id":2661,"slug":2662,"title":1066,"dynasty":48,"author":805,"museum":50,"description":2663,"tags":2664,"thumbUrl":2665,"material":37,"size":2666,"collection":71,"collections":2667,"showCount":2668,"zanCount":42,"manualWeight":42,"mainColor":43},218768,"zhu-he-shuang-qing-tu-bian-wen-jin-218768","画面描绘两只仙鹤悠然漫步于竹林之中。此图为边景昭与王绂二人合作，边景昭画鹤，王绂画竹。边景昭是明代宫廷花鸟画家的代表人物，其画风继承了宋代“院体”工整富丽的风格，并在一定程度上吸收了文人画的特点。王绂是明代前期的画竹名家，他的墨竹延续了北宋文同等人的传统，在竹画的历史上有着承前启后的重要作用。本幅作品中边景昭所画的仙鹤造型优美，气度娴雅，笔墨简放，工细而不拘谨，着色淡雅，与王绂清润秀挺的墨竹格调统一，作品给人以清新出尘之感，是职业画家与文人画家配合默契的成功之作。",[23,24,25,26,27,28,53,29,7,118,324,85,57,58,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19caa71e4d00fa1e7d41bf8d984b1d86.jpg","纵109厘米，横44.6厘米",[71],87,{"id":2670,"slug":2671,"title":2672,"dynasty":18,"author":2673,"museum":143,"description":2674,"tags":2675,"thumbUrl":2676,"material":104,"size":88,"collection":300,"collections":2677,"showCount":2678,"zanCount":42,"manualWeight":42,"mainColor":92},237200,"shan-shui-zhu-shi-ce-wang-hui-237200","山水竹石册","王翚","王翚（1632-1717），子石谷，号耕烟散人，清晖主人等，江苏常熟人。幼即嗜画，年二十师事王鉴，复经王鉴引荐，师王时敏。王时敏尽出家藏，与之临摹，相与参究，他的摹古能力在清六家中首屈一指。除擅长山水之外，偶亦画花鸟竹石。王翚在艺术实践中能排除门户之见，综合南北之长，汲取诸家技法，冶为一炉，形成自家风格。他的作品章法变化多，墨笔和青绿皆精，山石树法清润秀雅，风格清逸秀丽。王翚60岁时奉康熙帝诏赴京师，任绘制《康熙南巡图》主笔。历经六年，完成了12卷总长达半华里的历史巨作。康熙帝赐“山水清晖”四字。遂自号“清晖主人”。从此“声名震海内”，追随者甚众，为“虞山派”之开山祖，有“画圣”之誉。",[25,26,83,53,238,200,7,214,296,456,935],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62b1714e7de95ce32a4f24548178bde6.jpg",[300,243],86,{"id":2680,"slug":2681,"title":2682,"dynasty":48,"author":2683,"museum":143,"description":2684,"tags":2685,"thumbUrl":2686,"material":1496,"size":2687,"collection":300,"collections":2688,"showCount":2678,"zanCount":42,"manualWeight":42,"mainColor":92},222166,"ban-chuang-qing-cui-tu-zhou-xia-chang-222166","半窗晴翠图轴","夏昶","夏昶（1388—1470），字仲昭，號自在居士，江蘇崑山人。永樂十三年（1415）進士，官至太常寺卿。精於楷書，曾為永樂皇帝書榜。師法王紱（1362－1416），繪竹觀察入微，名聲遠播域外。 墨竹取其一竿，由底部凌空而起，枝幹堅立。巧妙運用濃淡墨色變化，表現竹葉正反向背，畫面大量留白，營造層次空間感。竹爲文人士大夫節操象徵，夏氏為官處事清廉，墨竹瘦勁孤高，為其人格寫照。",[23,25,26,27,53,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83d9c2987b664b21c5009d24314eaec2.jpg","139.2x45.3厘米",[300,243],{"id":2690,"slug":2691,"title":1482,"dynasty":1459,"author":2692,"museum":2088,"description":2693,"tags":2694,"thumbUrl":2695,"material":2696,"size":2697,"collection":243,"collections":2698,"showCount":2678,"zanCount":11,"manualWeight":42,"mainColor":92},221093,"zhu-tu-rong-yang-221093","荣阳","晚唐时期的绘画，最可注意的就是花鸟画的兴起，中国绘画史上以题材而论，人物画发展最早，其次是山水，花鸟画居第三。花鸟图形用来作丝帛上的花纹和壁画上的装饰，自战国到汉唐都很普遍。但成为绘画的独立题材，是始于中唐而盛于晚唐。边鸾的“折枝”花卉，只画一枝花，无根无干，风格新颖，很受当时人的欢迎。他兼精翎毛，于是奠定了花鸟画的地位。刁光胤更将花鸟画发展到了完善的地步。",[23,25,53,7,35,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0a425482415215a9b6abe08555c3dcd.jpg","绢本，水墨","27.2*23.0cm",[243,269],{"id":2700,"slug":2701,"title":2702,"dynasty":97,"author":413,"museum":143,"description":2703,"tags":2704,"thumbUrl":2705,"material":37,"size":2706,"collection":39,"collections":2707,"showCount":2678,"zanCount":11,"manualWeight":42,"mainColor":43},219402,"wu-rui-tu-zhou-su-han-chen-219402","五瑞图轴","本幅描绘五个孩童带着各式的面具，模仿大人们跳起「大傩舞」，傩是一种驱鬼避邪的仪式﹐主要是以扮演各种鬼怪所害怕的人物﹐以达驱鬼除邪的目的。本幅不但设色鲜艳丰富，画家更精心描绘衣服上的各种质材与花纹。画中场景设在一个置有湖石的花园，湖石以细笔皴擦质地，并以留白显示突起的棱线，地面则以排点与平行短线表现树叶与杂草，这些特点显示与弘治宫廷画家吕文英作品有相同的描绘格套，应为明代宫廷风格。",[24,25,26,27,28,29,30,1276,61,7,146,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff9ef843f31da8da3bf30cd9d26b5ab.jpg","165.5x102.5",[39],{"id":2709,"slug":2710,"title":2711,"dynasty":167,"author":1376,"museum":224,"description":2712,"tags":2713,"thumbUrl":2714,"material":37,"size":2715,"collection":71,"collections":2716,"showCount":2678,"zanCount":11,"manualWeight":42,"mainColor":92},219123,"hua-hui-ce-ju-wang-yuan-219123","花卉册-菊","赭黄绢底晕开浅淡秋光，几簇白菊簇生枝侧。花瓣以细劲游丝勾勒，层叠如缕，留白处恍若凝着晨露；旁逸竹枝挺秀，竹叶撇捺间见笔力，墨色深浅映出劲节。右下角粉蝶轻振翅翼，翅脉以淡墨晕染，姿态翩跹欲落未落，为静谧花竹注入灵动生气。\n\n笔法兼工带写，柔媚菊瓣与刚劲竹枝相衬，无浓艳设色却清雅入骨。画面凝萃着文人对秋菊傲霜的喟叹，亦藏着对自然生机的细腻捕捉。笔墨间流转元代文人画的内敛韵致——于素淡中见丰腴，于细微处显匠心，每一笔都似在诉说秋日常景里的清雅情味，让观者沉湎于这份不事张扬的诗意中。",[23,25,26,24,83,29,28,85,67,7,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b9037637de8126cac747bb8560b156.jpg","25.9x23.6cm",[71],{"id":2718,"slug":2719,"title":2720,"dynasty":97,"author":307,"museum":224,"description":2721,"tags":2722,"thumbUrl":2723,"material":960,"size":961,"collection":88,"collections":2724,"showCount":2725,"zanCount":176,"manualWeight":42,"mainColor":92},287888,"xie-sheng-zhen-qin-tu-zhao-ji-287888","写生珍禽图","宋徽宗赵佶（1082年11月2日-1135年6月4日）[6]，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”，并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[23,24,25,26,56,28,53,85,592,7,323,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e591cd8344c801084f6bb88a9f76701.jpg",[],85,{"id":2727,"slug":2728,"title":2729,"dynasty":18,"author":2730,"museum":224,"description":2731,"tags":2732,"thumbUrl":2735,"material":88,"size":88,"collection":88,"collections":2736,"showCount":2725,"zanCount":11,"manualWeight":42,"mainColor":92},224378,"hua-hui-qi-shi-ce-shi-er-kai-8-ju-lian-224378","花卉奇石册-十二开-8","居廉","此作用笔秀润工致，湖石嶙峋朴拙，留白孔洞衬出通透雅姿，旁侧幽竹叶叶分明，清隽舒展。石畔野花柔婉娇妍，细草萦地，将小景衬得生机悠然。\n\n附石螳螂昂首凝神，振翅小虫翩跹于空，草虫刻画毫厘毕现，将灵动野趣藏于静雅景致中。设色轻浅柔和，晕染细腻自然，工笔精致却不板滞，将幽寂庭隅的清趣鲜活定格，于尺幅绢素间，糅合草木的静雅与草虫的生机，尽显闲淡悠然的逸致，勾勒出夏日庭间的鲜活幽谧。",[23,25,26,83,29,28,85,7,2733,65,2734,102],"奇石","昆虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa288770c4e7a26717f5dbb64eb7856ee.jpg",[],{"id":2738,"slug":2739,"title":2740,"dynasty":48,"author":2741,"museum":50,"description":2742,"tags":2743,"thumbUrl":2746,"material":312,"size":2747,"collection":39,"collections":2748,"showCount":2725,"zanCount":42,"manualWeight":42,"mainColor":43},222404,"shu-xia-du-shu-tu-zhou-hui-wu-wei-222404","树下读书图轴绘","吴伟","画面内容表现的是传统的隐逸耕读题材，一位中年文士耕牧之余在树下休憩，展卷读书，自得其乐。明中期以后政治日益腐败，科举仕途之路充满了不确定性，因此不少文人产生了遁世思想，选择远离官场的闲适生活。吴伟一生两度出入宫廷，对官场和民间都有着深刻的体会，此类题材多次出现在他的笔下。此作用笔潇洒劲健，多以侧锋运笔，锋芒毕露。",[25,24,26,27,53,29,30,200,294,214,592,2744,2745,238,7],"水面","读书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55d957810554b12e18958dc85525c172.jpg","纵168厘米，横105厘米",[39,243],{"id":2750,"slug":2751,"title":2752,"dynasty":18,"author":2753,"museum":224,"description":2754,"tags":2755,"thumbUrl":2757,"material":88,"size":88,"collection":88,"collections":2758,"showCount":2759,"zanCount":42,"manualWeight":42,"mainColor":43},230220,"zhu-lin-qi-xian-tu-yu-ling-230220","竹林七贤图","俞龄","茂林修竹围出一方幽隐天地，清溪穿林而过，山石错落间，贤士们各寻幽趣：或凭栏低语，或临流浣漱，或围坐弈棋，或卧于松石间静听竹涛。淡墨写竹虚实相生，将林下清寂晕染开来，人物衣袂飘然，神态闲散疏朗，尽显放旷超脱的魏晋风神。\n\n整幅画面疏密相宜，把林泉高致与雅集之乐相融，笔墨简淡却意韵悠长，将先贤寄身丘壑、不逐尘俗的襟怀凝于绢素，让千年前的林下风流历历在目。",[23,25,26,29,28,30,200,7,214,2756],"饮酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00aacaf067d0373a0657f73de52f1401.jpg",[],84,{"id":2761,"slug":2762,"title":2763,"dynasty":48,"author":2683,"museum":224,"description":2764,"tags":2765,"thumbUrl":2767,"material":960,"size":961,"collection":88,"collections":2768,"showCount":2769,"zanCount":42,"manualWeight":42,"mainColor":92},287357,"xiao-xiang-guo-yu-tu-chang-juan-xia-chang-287357","潇湘过雨图长卷","夏昶（1388—1470），字仲昭，号自在居士、玉峰，昆山人，后人誉其画竹高手。他初姓朱，名昶，后复姓夏，太祖为之更名昶，字仲昭。号自在居士，又号玉峯，江苏昆山人，夏昺弟。正统中官至太常寺卿直内阁。画墨竹师王绂，能得其妙，时推第一，名驰绝域，争以金购之。",[23,24,25,26,56,53,7,2766,57,438],"雨景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77c0fd5961a81d394a14a9f0c62e6bd1.jpg",[],83,{"id":2771,"slug":2772,"title":2773,"dynasty":167,"author":262,"museum":251,"description":2774,"tags":2775,"thumbUrl":2776,"material":69,"size":2777,"collection":300,"collections":2778,"showCount":2779,"zanCount":176,"manualWeight":42,"mainColor":92},220090,"shan-chuang-ting-yu-tu-wu-zhen-220090","山窗听雨图","《山窗听雨图》卷末有吴镇年款和一首题诗，是其作于元顺帝至元四年(1338年)的夏天，当时吴镇59岁，根据存世作品，已知也是作于这一年五月的还有南京博物院收藏的《松泉图》以及美国大都会博物馆收藏的《高节凌云》。在吴镇的存世作品中，《山窗听雨图》应属于隐逸一类的题材。\n2016年12月6日晚上20：30，北京匡时秋拍“澄道——中国古代书画夜场”在北京国际饭店会议中心举槌，共推出29件拍品。其中，吴镇《山窗听雨图》以估价待询的形式上拍，起拍价为6000万元，最终以1.5亿元落槌，1.725亿元成交，同时刷新了吴镇作品的拍卖纪录。",[23,25,26,56,53,200,238,57,58,102,1615,1754,294,455,708,7,2155,766,1560,2657],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc61a830e17247e97273543be5760f0e3.jpg","28x203厘米",[300],82,{"id":2781,"slug":2782,"title":2783,"dynasty":48,"author":49,"museum":131,"description":2784,"tags":2785,"thumbUrl":2786,"material":69,"size":2787,"collection":88,"collections":2788,"showCount":2789,"zanCount":42,"manualWeight":42,"mainColor":92},220100,"shi-er-mo-hua-tu-juan-3-xu-wei-220100","十二墨花图卷-3","此卷徐渭充分发挥了其高超的水墨表现力，以狂放的笔触，淋漓的水墨，变化多端的笔锋，泼墨、焦墨、破墨、双勾并用，寥寥数笔即勾画出了各种花卉的特征，简约却颇具神采。",[23,24,25,26,56,53,85,7,32,428,57,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e70c5fdddd68d2662d99287215d9176.jpg","全卷32.8cm×544cm",[],81,{"id":2791,"slug":2792,"title":2793,"dynasty":48,"author":449,"museum":182,"description":2794,"tags":2795,"thumbUrl":2797,"material":104,"size":2798,"collection":300,"collections":2799,"showCount":2800,"zanCount":11,"manualWeight":42,"mainColor":92},222210,"wu-zhu-shu-tang-tu-chou-ying-222210","梧竹书堂图","该图画一精舍，宽敞的书桌置于窗前，上置文具书籍，一士人半作半卧于躺椅上，神态安详。房舍四周修竹、梧桐摇曳生姿。坡石勾皴用拖泥带水法间乾笔皴擦，再以水墨淡淡晕染，颇见浑厚。上缀以萱花、丛菊，显示出隐居的悠雅情调。",[23,24,25,26,27,29,28,2796,7,454,30,200,296,146,456,592,708],"梧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77d7f6ee52d40f0e62de09e6cdce8cbc.jpg","纵148.8厘米，横57.2厘米",[300,123],80,{"id":2802,"slug":2803,"title":2804,"dynasty":167,"author":385,"museum":143,"description":2805,"tags":2806,"thumbUrl":2807,"material":2469,"size":2808,"collection":300,"collections":2809,"showCount":2800,"zanCount":42,"manualWeight":42,"mainColor":92},220786,"song-lin-ting-zi-zhou-ni-zan-220786","松林亭子轴","《松林亭子图》为倪瓒54岁时所作，画上落款时间为至正十四年（1354）初冬。在1354年前后，倪瓒的生活因元末社会动荡而发生一系列变化。“至正八年（1348）台州黄岩方国珍起义，至正十一年红巾军起义，十三年张士诚起兵泰州⋯⋯至正十二年，元军与红巾军在太湖流域大战，无锡、苏州等地处于战火硝烟之中，倪瓒避兵于甫里南渚陆玄素家。”元政府的苛捐杂税没有因为战争而消减，反而有愈演愈烈之势。朱德润在《平江路问弭盗策》中叙述了当时赋税的繁重：“科征之际，枷系满屋，鞭挞盈道，直至生民困苦，饥寒迫身。至于酒课、盐课、税课，比之国之初增至十倍。”倪瓒本人也于至正六年（1346）在《馀不溪咏并续》中叹道：“余既为农畎亩，身依稼穑。复而政繁，奔走州里。”倪瓒在兄长去世后，田亩赋税的豁免权随之消失，加之对生活品质的追求，用度豪奢，重赋剥削，也逐渐品尝到生活的重压。于是，在战火与课税中，倪瓒选择变卖田产，弃家逃避兵火之灾。\n《松林亭子图》，现藏于台北故宫博物院，绢本墨画，纵83.4厘米，横52.9厘米，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。”倪瓒的跋文交代了创作的时间，受画者，以及创作的主题。",[23,25,26,27,53,238,200,454,60,294,214,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F154da39d40c4ed54cede808d8b666499.jpg","276x74.5cm",[300,243],{"id":2811,"slug":2812,"title":2813,"dynasty":97,"author":503,"museum":224,"description":2814,"tags":2815,"thumbUrl":2820,"material":340,"size":2821,"collection":106,"collections":2822,"showCount":2823,"zanCount":11,"manualWeight":42,"mainColor":43},221372,"xie-sheng-an-chun-tu-juan-zhao-chang-221372","写生鹌鹑图卷","这是一幅描写夏天野外风景和动植物的写生画，图绘数隻鹌鹑游息于河畔翠竹丛中，或鸣叫、或张望、或憩息、或觅食，神态各异，生动多姿。河边还有三隻野鸭，树上有两隻小鸟。所绘花鸟形象逼真，画面雅致，饶有野趣。画家还特意在鹌鹑旁边画了菊花和落叶",[23,25,24,56,28,29,85,1628,7,32,281,1090,1763,948,2816,2817,2818,2819],"坡地","浆果","野花","禽类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d0965f0ce9d418c9ffe6493a6f69f39.jpg","横301.5cm纵32.5cm",[106,71,123],79,{"id":2825,"slug":2826,"title":2827,"dynasty":18,"author":168,"museum":143,"description":2828,"tags":2829,"thumbUrl":2830,"material":37,"size":2831,"collection":71,"collections":2832,"showCount":2823,"zanCount":11,"manualWeight":42,"mainColor":43},219761,"lin-wang-yuan-hua-niao-tu-yi-ming-219761","临王渊花鸟图","王渊的花鸟、古木竹石、梅兰等题材绘画，在继承五代、两宋传统花鸟画的基础上，又有了新的发展和明显的变化，取得显著的成就，在中国美术史上占有重要的地位。他的表现手法属“黄家富贵”体。唯舍色彩而取水墨，通过勾勒和水墨晕染区别浓淡向背，造型极精严，神态亦颇生动，作到“墨具五色”的艺术效果。同钱选一样，王渊在花鸟画创作上起到了承前启后的作用。\n王渊的花鸟画给人以接近气势磅礴的感觉。我们不得不感叹这位画家令人惊羡的艺术造诣，同时又被其画中别样的意境所打动。",[25,26,27,28,29,1614,7,85,592,65,296,324,1724,323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c78500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从他现存作品中即可见风格和用笔，既能放得开，又能收得住。在绘画史上，陈淳与徐渭并称为“白阳、青藤”， 陈淳的绘画当属文人隽雅一路的，即“白阳”一派画家。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。\n陈淳中年以后间作山水，技法学米友仁、高克恭，多以江南风景为题材，手法简练，极具文人生活情趣，文徵明曾微笑着说：“吾道复举业师耳，渠书、画自有门径，非吾徒也。”存世作品有《红梨诗画图》《山茶水仙图》《葵石图》《罨画图》等。其子陈括继承父风、擅花卉。\n陈淳绘山水，效法米友仁、高克恭，水墨淋漓，颇得氤氲之气。他的泼墨之功，往往见于画烟云之中。在写意花卉方面，陈淳独得玄门，笔法挥洒自如，富有疏朗轻健的风姿，用墨设色，则如徐沁所谓“浅色淡墨之痕俱化矣！”王世贞在《州续稿》中说：“胜国（元朝）以来，写花卉者无如吾吴郡，而吴郡自沈启南（周）后，无如陈道确，陆叔平（治）”。近代画家如蒲华、吴昌硕、齐白石等，在诗文题书画中，都对陈淳做出了极高的评价。明万历年间即有人曾评价过陈淳在花卉方面的造诣和声誉都超过了文征明，成为继沈周之后的吴门大家。明清以来画家，尤其在花鸟画方面，受他的影响很深。他与徐渭齐名，人称“青藤白阳”。现存的陈淳作品大部分均在博物馆收藏，民间甚少得见。",[23,25,24,26,27,29,54,85,65,7,35,2585],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b64f49771959cb9dc4b2d40a00c7aad.jpg","59cmx113.4cm",[71,123],78,{"id":2853,"slug":2854,"title":2855,"dynasty":97,"author":168,"museum":143,"description":2856,"tags":2857,"thumbUrl":2859,"material":37,"size":2860,"collection":106,"collections":2861,"showCount":2851,"zanCount":11,"manualWeight":42,"mainColor":43},220217,"zhu-shi-shuang-lu-tu-yi-ming-220217","竹石双鹭图","整幅画面以留白营造幽远意境，右下拳石嶙峋，丛竹攒簇，墨色苍润，枝叶带风自含山野清趣。两只白鹭一动一静，一者振翅掠空，翎羽舒展灵动，一者徐行浅滩，身姿安然闲适，动静相映，愈发衬出水面空寂无波。\n\n淡墨轻勾汀渚细草，浅染出水泽清浅之态，赭色绢底晕开初夏郊塘的温润氛围。笔致秀雅清润，不施浓艳，以极简物象铺陈出悠远禅意，将塘间幽寂之美收揽尺幅，观之如临静塘，暑意尽散，尽显雅致空灵的宋人意趣。",[23,25,24,26,28,29,85,7,214,2858,592,102],"鹭鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bf49cc778c3c4eb41b7d150d5f1c280.jpg","31.4x28.1",[106],{"id":2863,"slug":2864,"title":568,"dynasty":167,"author":2865,"museum":2866,"description":2867,"tags":2868,"thumbUrl":2869,"material":37,"size":2870,"collection":71,"collections":2871,"showCount":2851,"zanCount":11,"manualWeight":42,"mainColor":43},219274,"zhu-qin-tu-ren-ren-fa-219274","任仁发","云南省博物馆","此图为工笔写生小品，颇具宋代院体风格，线条细劲匀称，色彩典雅，动静结合，生趣盎然。画面上，一只鸟栖于竹梢上，昂首作鸣叫状，瞬间的动态表现得极为成功，姿态逼真，灵气飞扬，似闻之有声。画家画竹用双钩笔法完成，笔画坚实细劲。被风吹乱的竹叶之阴阳向背表现得自然准确，虽为静止的瞬间，却有动的意味。此画尺幅虽小，然气韵飞扬，灵动自然。任仁发此幅画作继承了宋代院体画传统，笔势稳健，双钩之线均匀细劲，并填以典雅、和谐、轻艳的色彩，使得画面严谨而婉丽、和谐而富有生机。从收藏印鉴看，该作曾经明代大收藏家王士祯及清代王允祥珍藏。由此可知，此画为传世佳作。",[25,24,26,28,29,7,323,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3c7c64af9c22bf6f547706221e866df.jpg","纵25.8厘米，横22.9厘米",[71],{"id":2873,"slug":2874,"title":2875,"dynasty":48,"author":2876,"museum":143,"description":2877,"tags":2878,"thumbUrl":2879,"material":69,"size":2880,"collection":300,"collections":2881,"showCount":2851,"zanCount":42,"manualWeight":42,"mainColor":92},215044,"shan-shui-ji-jing-wang-fu-215044","山水集景","王绂","王绂（1567-1630）是明朝时期的文学家，他的山水集景是一部著名的诗集。该诗集收录了王绂写的许多关于山水风景的诗歌，这些诗歌描写了自然风光、山川景色、湖泊和其他自然景观。王绂的诗歌以其精美的描写、优美的语言和深刻的思想而闻名，被认为是中国古典诗歌中的杰出作品。",[23,25,53,200,238,7,454,146,456,455,296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fcd65f978a54b6280267aea6cc2cd8f.jpg","68.8x37cm",[300],{"id":2883,"slug":2884,"title":1242,"dynasty":18,"author":181,"museum":224,"description":2885,"tags":2886,"thumbUrl":2887,"material":960,"size":961,"collection":71,"collections":2888,"showCount":2889,"zanCount":42,"manualWeight":42,"mainColor":92},235381,"hua-niao-tu-ce-hua-yan-235381","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、离垢居士等，老年自喻“飘篷者”，福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年（1703）华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上“高山云鹤”、“水国浮牛”、“青松悬崖”和“倚马题诗”四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，“得交当路巨公，名闻于上”，但并不得意，据戴熙《习苦斋画絮》载：“华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。”他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鱓、郑板桥及盐商巨子马曰琯、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。",[25,83,29,85,7,281,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01e4d0cc55e7ee07e955ecc27f59a38e.jpg",[71],77,{"id":2891,"slug":2892,"title":2893,"dynasty":167,"author":2894,"museum":143,"description":2895,"tags":2896,"thumbUrl":2897,"material":37,"size":2898,"collection":39,"collections":2899,"showCount":2889,"zanCount":42,"manualWeight":42,"mainColor":43},216971,"da-shi-xiang-zhou-zhao-yi-216971","大士像轴","赵奕","观音大士像轴是赵奕在元朝时期创作的一幅绘画，描绘了观音大士的形象。观音是佛教中的一位菩萨，被认为是慈悲和智慧的化身。在这幅画中，观音大士身着传统的中国服装，手持佛珠，脸上带着慈祥的微笑。观音大士像轴通常用来装饰寺庙或供奉在佛教场所。",[25,26,27,29,28,1559,30,7,35,592,1754,34,102,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca16ca2a1f4f371f973d05319d870cd9.jpg","108x54.8",[39],{"id":2901,"slug":2902,"title":2903,"dynasty":167,"author":168,"museum":143,"description":2904,"tags":2905,"thumbUrl":2906,"material":37,"size":2907,"collection":71,"collections":2908,"showCount":2889,"zanCount":42,"manualWeight":42,"mainColor":43},216210,"san-yang-kai-tai-tu-yi-ming-216210","三阳开泰图","三阳开泰图 中有三只羊的图像。这三只羊代表着三阳的出现，是象征和平、繁荣的象征。根据传统，三只羊通常被描绘成站立在一起、头朝上的形态，表示他们正在向天空中的女娲献上膜拜。\n\n这三只羊可能会有不同的造型，但通常都是描绘成充满活力、生机勃勃的样子。他们的毛发通常是乌黑色或棕色，身体健硕，眼神炯炯有神。在三阳开泰图 中，这三只羊是象征着繁荣的重要元素，也是艺术家用来传达历史意义和文化价值的重要工具。",[25,24,753,28,29,1723,59,7,214,1464],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102a2a7077a6eff7a42cc886854ac759.jpg","163.5x100cm",[71],{"id":2910,"slug":2911,"title":2912,"dynasty":48,"author":2683,"museum":50,"description":2913,"tags":2914,"thumbUrl":2915,"material":202,"size":2916,"collection":243,"collections":2917,"showCount":2918,"zanCount":42,"manualWeight":42,"mainColor":43},222168,"xiang-jiang-feng-yu-tu-juan-xia-chang-222168","湘江风雨图卷","画幅右上方自题图名《湘江风雨》，款“東吳夏昶仲昭筆”，钤“東吳夏昶仲昭書畫印”、“燕寢凝香”印二方。\n夏昶画竹，以其精深的功力和独树一帜的艺术风格名重一时。他一改前人画竹独幅数竿的表现形式，而用巨幅长卷描绘竹树的千竿万梢，同时还“延之以洲渚，加之以风雨”，更显浩浩荡荡，气势恢宏。他笔下的墨竹已不仅仅是简单的文人式的寄兴抒怀，，而且还于其自然的生长环境，在画中融入山水画的笔墨意境。此卷竹林随湘江两岸景致的变化而隐现，起自淡阔的沙洲，之后是平缓的坡陀，继而是坚硬的岩石，又入清冷的江水，再后是壁立的山崖，最后经急湍飞瀑、汩汩溪流而入山，竹树或整或零，或疏或密，老干新枝，各尽其态。画家充分利用了长卷的广度精心描绘出一种起伏张弛的流动性和情节性，实际上是传统墨竹与水墨长卷的结合。夏昶画竹，强调气韵，主张“一气呵成”，“画巨幅尤须如此”，此卷竹叶落墨即是，不见复笔，山石以斧劈皴法大笔侧锋挥扫而成，从首至尾，气脉通连飞动。\n卷后自跋中云此图作于“正統己巳（1449年）秋九月”，正值夏氏62岁出知瑞州之时，是其晚年墨竹长卷的代表作。",[23,25,26,56,53,238,200,7,146,296,935,24],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8755393eede68b1ee573bab7500c298.jpg","纵35厘米，横1206厘米",[243,269],76,{"id":2920,"slug":2921,"title":1625,"dynasty":97,"author":168,"museum":251,"description":2922,"tags":2923,"thumbUrl":2924,"material":37,"size":2925,"collection":71,"collections":2926,"showCount":2918,"zanCount":11,"manualWeight":42,"mainColor":43},218949,"hua-zhu-an-chun-tu-yi-ming-218949","绢本之上，墨彩交织出温润古意。数只鹌鹑或低头啄食，或侧耳呼应，羽毛纹理细腻如绒，神态憨态可掬；竹枝挺拔，叶片婆娑，藤蔓缠绕间缀着娇艳花朵，石畔幽草含露，一派生机盎然。画家以精湛写生功底，捕捉自然瞬间的灵动：鹌鹑的互动、花叶的摇曳，皆形神毕肖。整体氛围静谧雅致，似能闻见草木清香，窥见田园一隅的闲适安然，尽显宋画“格物致知”的审美意趣——于细微处见天地，于平淡中藏深情，将寻常景致绘就成耐人寻味的诗意画卷。",[25,26,56,28,29,7,1628,897,281,948,324,1763],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72f14da85deeb768a04b8571e1787dcc.jpg","33x179cm",[71],{"id":2928,"slug":2929,"title":2930,"dynasty":167,"author":376,"museum":143,"description":2931,"tags":2932,"thumbUrl":2933,"material":160,"size":2934,"collection":88,"collections":2935,"showCount":2936,"zanCount":11,"manualWeight":42,"mainColor":92},231340,"zhu-shi-tu-yuan-dai-ji-jin-zhi-yi-zhao-meng-fu-231340","竹石图－元代集锦之一","此幅赵孟頫《枯木竹石》画中书法的笔法，比之于其它常见的名件，本件在画石的“飞白法”，由于画石是都用中锋的圆笔，犹如“玉箸篆”的笔画，行笔安稳，并无强烈的快速感，显不出“飞白法”。这也兼见于画枯木条的笔法。画竹为新篁，出锋锐利如新硎发刃，从“结叶”的方法如“燕尾”、如“个”，及棘条圆体感，比之于其它备件，如同为台北故宫藏大德三年（1299己亥，为杨安甫作）的《疏林秀石》最为接近。本件《枯木竹石》款：“子昂为成之作”，书风与印记：“赵子昂印”，也是相同。真品应无疑义。因此，本件可定为1299年作。就元代论，画竹尚是注重生态，若比之于同时期的李衍（1244年-1320年），赵孟頫如“燕尾”、如“个”的竹叶结组，重视笔趣远高于自然生态。更由于纸张稍熟，吸墨性不强，对岩石的渲染加强了块面感与浑厚的端重。吴升《大观录》记此画：“竹则掩翠稍寒，柯则若虬蟠形古，气韵奕奕。”安仪周：“水墨作怪石平坡，细竹棘革，笔墨气韵兼美。”是对整体画作气息的描述。\n存世的赵孟頫“古木竹石”这一类题材尚多。横向发展的兰竹画，存世的几件作品，都是“中央为准”，两旁再布置。这一当门的大石，也正是“石如飞白”的标志。大有一石当关，昂扬于天地之间。这从前举台北故宫藏《疏林秀石》（《宋元集绘册》第四开）；《无款竹木》（《宋元集绘册》第十一开）；北京故宫藏《秀石疏林》；克利夫兰馆的《竹石幽兰》（为善夫），再加以本件《枯木竹石》均是如出一辙的布局。即使换成是轴装直件，以北京故宫藏《古林竹石》，中央立石最为标准。至若台北故宫《窠木竹石》；王己干旧藏《枯树竹石》，画中立石都可做如此观。这种同样的布局，一再出现，意味着什么呢？或许这是庭园、郊野一角的即景？\n就竹的题材，从赵孟頫的题款常写道“为口口作”，表示元代以来，画家常用之以为投赠。这因笔砚间，画竹画兰便利。对于“竹”的意识，赵孟頫在他的《松雪斋集》《修竹赋》：“虚其心实其节，贯四时而不改柯易叶。则吾以是观君子之德。”表意是相当传统。画竹配上的“石”，赵孟頫的诗文里，未见有所指示。再以虞集咏《子昂竹石》：“数尺琅开近玉阶，连昌宫苑少人来。庚庚苍石如人立，恐有题名上紫苔。”的“庚庚苍石如人立”，“庚庚”是坚强，也将石拟人化，还是与“观君子之德”相同了。",[25,26,53,238,7,214,35,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb050c2489317ffbfaa32479f5913e8.jpg","纵99．4厘米，横48．2厘米",[],75,{"id":2938,"slug":2939,"title":2940,"dynasty":48,"author":168,"museum":115,"description":2941,"tags":2942,"thumbUrl":2945,"material":37,"size":88,"collection":71,"collections":2946,"showCount":2936,"zanCount":42,"manualWeight":42,"mainColor":43},219015,"ping-an-tu-yi-ming-219015","平安图","坡岸之上，竹丛疏密有致，枝叶间光影流转。数只禽鸟散落其间，或低头啄食草籽，或侧身梳理羽翎，姿态各异却皆显安然。白菊清雅，红果艳艳，点缀在苍褐的底色上，如散落在时光里的星子。溪流蜿蜒而过，山石静默伫立，整个画面似被一层温润的古意包裹。每一处细节都藏着对自然生机的细腻捕捉，笔墨间流淌着恬淡的野趣，更将“平安”的美好期许悄然融入这一方天地，让观者于静谧中感受那份岁月沉淀的祥和与安然。",[25,56,28,29,85,1628,7,67,2943,338,146,1090,2546,2944],"白花","草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8578e8b33b1c86d88f4b80524cd58b57.jpg",[71],{"id":2948,"slug":2949,"title":2950,"dynasty":97,"author":98,"museum":224,"description":957,"tags":2951,"thumbUrl":2952,"material":960,"size":961,"collection":88,"collections":2953,"showCount":2954,"zanCount":42,"manualWeight":42,"mainColor":92},288998,"xiao-xiang-zhu-shi-tu-chang-juan-su-shi-288998","潇湘竹石图（长卷）",[23,24,25,26,56,53,200,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F929d6054d285cd272a95cd49b582caaf.jpg",[],74,{"id":2956,"slug":2957,"title":2958,"dynasty":48,"author":2959,"museum":224,"description":2960,"tags":2961,"thumbUrl":2962,"material":960,"size":961,"collection":88,"collections":2963,"showCount":2954,"zanCount":42,"manualWeight":42,"mainColor":43},234705,"lan-ying-sun-di-he-hua-zhu-shi-shan-ye-lan-ying-234705","蓝瑛、孙杕合画竹石扇页","蓝瑛","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。",[25,26,1120,53,238,7,214,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F119a1b06275fa3ac945a043c4ba8219d.jpg",[],{"id":2965,"slug":2966,"title":96,"dynasty":48,"author":2967,"museum":224,"description":2968,"tags":2969,"thumbUrl":2970,"material":88,"size":88,"collection":88,"collections":2971,"showCount":2954,"zanCount":11,"manualWeight":42,"mainColor":92},228343,"mo-zhu-tu-wang-you-228343","王右","此作用笔老辣爽利，以浓墨挥写竹竿，劲挺舒展如君子立世；竹叶欹正交错，墨色干湿浓淡相映，错落间尽显偃仰生姿的清灵意态，留白空灵疏朗，衬出幽篁萧散之致。\n\n左侧行书题跋笔势跌宕奇逸，与竹的清刚风神相得益彰，诗书画印浑融一体，将竹的坚贞品格寄寓笔墨。整幅以意写形，脱去匠气，尽显文人写意画以物明志的幽远意趣，清逸苍劲，足见绘者不凡的笔墨功底与文人襟怀。",[23,25,56,53,7,57,102,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F891bce774dc22c38310f619a62d3623a.jpg",[],{"id":2973,"slug":2974,"title":2975,"dynasty":48,"author":2976,"museum":50,"description":2977,"tags":2978,"thumbUrl":2980,"material":1186,"size":2981,"collection":71,"collections":2982,"showCount":2954,"zanCount":42,"manualWeight":42,"mainColor":272},222444,"kong-que-tu-zhou-lin-liang-222444","孔雀图轴","林良","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。",[23,25,26,27,53,54,85,2979,7,214],"孔雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec841a14c5d417972a86639dc89581e2.jpg","纵155.3厘米，横78厘米",[71,243],{"id":2984,"slug":2985,"title":2986,"dynasty":48,"author":2987,"museum":143,"description":2988,"tags":2989,"thumbUrl":2990,"material":87,"size":2991,"collection":71,"collections":2992,"showCount":2954,"zanCount":176,"manualWeight":42,"mainColor":92},219450,"xian-sui-xiang-ying-zhou-chen-gua-219450","献岁祥霙轴","陈栝","此幅绘水仙、腊梅、茶花、竹枝、文禽，山石雪景。用笔灵动，设色清雅。",[25,26,27,28,29,85,59,281,7,146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccf87f356fe872769882685c6c3b9a98.jpg","161.6x43.1厘米",[71],{"id":2994,"slug":2995,"title":2996,"dynasty":48,"author":2997,"museum":224,"description":2998,"tags":2999,"thumbUrl":3003,"material":960,"size":961,"collection":88,"collections":3004,"showCount":3005,"zanCount":42,"manualWeight":42,"mainColor":92},235582,"yu-chuan-zhu-cha-tu-zhou-ding-yun-peng-235582","玉川煮茶图轴","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",[24,25,26,27,29,28,30,7,3000,934,296,65,3001,3002,457],"蕉叶","茶具","长袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe1a43a9c64722e33546b4e6cdbb8bfa.jpg",[],73,{"id":3007,"slug":3008,"title":3009,"dynasty":97,"author":168,"museum":224,"description":3010,"tags":3011,"thumbUrl":3013,"material":88,"size":88,"collection":88,"collections":3014,"showCount":3005,"zanCount":42,"manualWeight":42,"mainColor":43},223614,"zhu-que-shuang-tu-tu-yi-ming-223614","竹雀双兔图","《竹雀双兔图》是辽代佚名画家创作的绢本设色画，现藏于辽宁省博物馆。\n图绘双钩墨竹一丛，其中有长竹三竿，耸立其间，又有三只麻雀，分踞竹上：有的寻觅食物，有的静立下观，有的自理羽毛，神态各殊；丛竹之下生长的三株野花，左为蒲公英，中为地黄，右为白头翁，显得鲜艳肥大，引人注意；花前的两只灰兔为此图的主题：一只在吃草，一只在探望，神态逼真、活泼清新。\n图上画三竿翠竹，竹上落有三雀，一雀静立枝头，一雀用喙整理毛羽，另一雀侧身瞰视，神情各异。\n丛竹下画有蒲公英、地黄和白头翁三株野花及许多野花小草。\n两只苍兔蹲踞地上，一只在吃草，一只敛耳抬头张望。\n契丹族，是中国北方一支古老的民族，契丹人逐水草而居，以狩猎游牧为生。\n契丹神册元年（916年），耶律阿保机统一了契丹各部，建立了强大的辽王朝，先后与五代和北宋并立。\n其绘画作品，继承唐及五代传统，却又独具特色。\n花卉鸟兽是辽画中常见的题材。\n1974年5月，在辽宁省法库县叶茂台发掘了一座辽代萧氏贵族砖墓，规模较大，出土遗物较多，《竹雀双兔图》就在其中出土。\n关于《竹雀双兔图》的年代，因画上既无作者名款，也没有题识和收藏印记，只能从绢画本身加以分析研究，以确定流派与时间。\n由于画幅出土于辽墓之中，从墓室结构和数百件随葬品综合来考察，可以断定是辽代早期的墓葬，且不晚于辽景宗耶律贤时期，即北宋太宗赵炅的太平兴国年间（976—98年）。\n也就是说，画的制作年代不晚于这个下限。\n至于它的上限早到何时、关于画的作者族属问题， 做过考证，对此图的看法是“侧重出自契丹族画家之手”，这是有道理的。\n由于辽代绘画受到唐、五代画风的深刻影响，与宋文化有着密切的关系，北宋初期的作品，一般都不署名。\n但从作品本身观察，其技法虽带装饰意味，却很难说是出自一般民间画师之笔。\n整幅画作设色清秀，意境明快，静中有动，生机勃勃。\n从中不难看出，画面的装饰气味比较浓厚，生活气息也相当强烈，从中可窥见花鸟画刚刚摆脱从属地位，开始形成独立画种的特点；同时，也不难了解到辽代的绘画艺术与中原的密切联系，又别具一格，值得珍视。\n这幅作品在构图上很讲究均衡对称，如竹与竹、雀与雀、兔与兔之间的位置距离，都保持一定的平行对称的关系，共至连竹叶的对生，花草的奇偶相对，都是经过作者审慎安排的。\n但它不是搞绝对平均的对称，而是在对称中又有一定的变化，并不使你感到单调死板，而是更富有民间艺术均衡饱满的装饰性风味，体现了当时人民群众对艺术的爱好和审美习惯。\n图中虽无作者款印，但因出土的墓葬为辽代早期，即北宋太宗时期，画作的时代下限可靠，为研究五代、北宋早期、辽代的山水画、花鸟画及中原绘画的发展与影响提供了极为可信的第一手资料。\n1974年5月在辽宁省法库县叶茂台辽代7号墓，出土了《竹雀双兔图》。\n该图现藏于辽宁省博物馆。\n218年8月14日，辽宁省博物馆举办“中国古代绘画展”，《竹雀双兔图》在其中展出。",[23,25,24,26,27,28,29,7,1157,3012,32,85,1464,428,897],"兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b9287a3d30581cccc1ff161cbfb278.jpg",[],{"id":3016,"slug":3017,"title":3018,"dynasty":97,"author":1865,"museum":251,"description":3019,"tags":3020,"thumbUrl":3021,"material":69,"size":3022,"collection":71,"collections":3023,"showCount":3005,"zanCount":42,"manualWeight":42,"mainColor":272},218998,"xuan-ya-le-ma-tu-li-gong-lin-218998","悬崖勒马图","墨线如铁线缠枝，于素绢上勾勒出悬崖边的瞬间张力。骏马昂首奋蹄，鬃毛飞扬间似有嘶鸣溢出，前蹄悬于虚空的刹那，被笔锋精准定格。牵马者衣袂飘举，身姿微倾间与马同承风势，腕间缰绳若有若无，却牵住满幅屏息时刻。悬崖皴擦淡远，衬得人马动态愈显鲜明。宋画雅致不止静穆，更在这动中藏定的禅意——勒马非止控身，更是收心。素绢留白恰是心绪回旋余地，墨色浓淡间，见画者以线塑魂的功力，亦见宋代文人对“止”与“悟”的哲思，笔端藏锋，意韵悠长。",[24,25,26,27,199,53,720,30,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff787966bf24640bcbb1304f1af0dc9ca.jpg","纵44.7横24.8cm",[71],{"id":3025,"slug":3026,"title":3027,"dynasty":167,"author":168,"museum":224,"description":3028,"tags":3029,"thumbUrl":3032,"material":960,"size":961,"collection":88,"collections":3033,"showCount":3034,"zanCount":42,"manualWeight":42,"mainColor":43},290742,"guan-yin-da-shi-xiang-zhou-yi-ming-290742","观音大士像轴","此作观音面容圆和悲悯，身披华饰璎珞，衣纹舒展流动，配色沉穆古雅，带着岁月晕开的温润质感。座下青狮龇牙威勐，却被观音掌心轻按敛了戾气，尽显柔能制刚的禅意。右下角善财童子合十礼拜，神态稚拙恭谨。\n\n远景以淡彩晕染山林云海，修竹挺翠，彩云舒卷，飞鸟穿空，将佛国清寂祥瑞融于山水间。笔墨工细兼具写意，线条婉转凝练，既恪守佛教造像的庄肃仪轨，又以灵动景致烘托出出尘禅韵，尽显古佛画沉静厚重的审美意趣。",[25,27,1559,29,30,28,3030,1464,3031,7,592],"观音","童子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12afaa29032eb7937f747f363c8b7f45.jpg",[],72,{"id":3036,"slug":3037,"title":3038,"dynasty":18,"author":3039,"museum":50,"description":3040,"tags":3041,"thumbUrl":3042,"material":312,"size":3043,"collection":71,"collections":3044,"showCount":3034,"zanCount":176,"manualWeight":42,"mainColor":92},236353,"hong-ren-jie-shou-tu-zhou-hong-ren-236353","弘仁节寿图轴","弘仁","弘仁的《节寿图轴》山水画，是一幅画在绢上的比较早的作品。画家51岁的时候画的，风格面貌已经成熟，松树干上有皴擦，石头做了渲染，画得很生动。特别是水，画得有一层一层流动的感觉。当代的一些山水画，常常画山就有水，但是不能明确“水”在画面中所起到的作用。所以水容易画得很概念，留空白就代表水，如果瀑布就从源头一直画到下端，好像瀑布很短、很矮，一眼能够全部看到，这都是不妥当的。其实对于自然山水中的溪流、瀑布来说，一般只能看到一个部分，其他会被山石、树木等遮挡，不可能全部看到。弘仁的这幅作品中，对于水流的处理是一个很好的参考。画中的瀑布溪流，平面过来一层，又有一个平面，又是一层，流过来再有一个下降的过程，就有了节奏和变化，而且符合大自然的规律。要画好水，就要去观察研究水的实际动态，研究古人画的水，研究自然中的水。",[18,53,200,27,238,60,7,146,1090,663],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa70ff3779eca9bcdcd2e3e605f6901b2.jpg","102.2×51.5cm",[71,123],{"id":3046,"slug":3047,"title":3048,"dynasty":18,"author":1233,"museum":224,"description":3049,"tags":3050,"thumbUrl":3052,"material":1079,"size":88,"collection":88,"collections":3053,"showCount":3034,"zanCount":42,"manualWeight":42,"mainColor":92},234129,"hua-hui-tu-juan-zhu-da-234129","花卉图卷","清代初期的中国画坛活跃着弘仁、髡残、朱耷、石涛四位僧人画家，画史上合称“四僧”。他们的绘画在继承传统的基础上，大胆创新，主张师法自然造化，与当时画坛正统风格相距甚远，具有鲜明的艺术风格。在这四人当中尤以朱耷的人生与艺术最具传奇色彩。\n朱耷（1626—1705），江西南昌人，为明江西宁献王朱权的九世孙。明亡后出家为僧，法名传綮，曾经使用的号有很多，最为著名的则是在他弃僧还俗后使用的“八大山人”。\n朱耷的绘画以水墨为多，用笔恣意纵横，浑厚酣畅，花鸟画成就突出。他在学习陈淳、徐渭等前代写意大家的同时，在绘画实践中逐渐突出用笔奇峭，构图险怪，造型夸张的特点，形成了强烈的个人风格，对后世的写意花鸟画发展产生了深远的影响。在他的花鸟画作品中，现收藏于天津博物馆的《河上花图》可谓精品中的精品。",[23,25,53,56,54,7,66,214,897,429,428,3051],"蜂巢","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F488c99931bac41583c1af07fdb126a07.jpg",[],{"id":3055,"slug":3056,"title":166,"dynasty":18,"author":250,"museum":224,"description":3057,"tags":3058,"thumbUrl":3059,"material":88,"size":88,"collection":88,"collections":3060,"showCount":3034,"zanCount":42,"manualWeight":42,"mainColor":92},230887,"zhu-shi-tu-zheng-ban-qiao-230887","瘦石嶙峋，以枯淡笔墨勾勒皴擦，孤挺而立，自带清刚硬骨。丛竹依石滋长，老竿挺劲苍润，新篁秀拔轻盈。竹叶以浓墨挥扫，疏密错落，俯仰生姿，笔下竹影似有清风吹过，摇曳有声。\n题画小诗与笔墨相映成趣，诗书印融为一体，将竹石经风历雪不改其节的品格，暗合自身刚直襟怀。以物言志，寥寥笔墨间形神兼备，把君子风骨寄寓尺幅之中，尽显文人写意画的意趣风神。",[25,53,54,27,7,35,57,58,102,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeeec0ce1c915aea89507bc1e9c4f47c.jpg",[],{"id":3062,"slug":3063,"title":3064,"dynasty":48,"author":649,"museum":224,"description":3065,"tags":3066,"thumbUrl":3067,"material":88,"size":88,"collection":88,"collections":3068,"showCount":3034,"zanCount":11,"manualWeight":42,"mainColor":92},228872,"lan-zhu-tu-juan-wen-zheng-ming-228872","兰竹图卷","此卷以水墨写就兰竹，通幅铺陈疏密有致。墨竹或劲挺纵逸，或垂叶萧萧，以浓淡墨色区分前后层次，尽显风过篁林的灵动之态。兰草随势穿插于竹石间，笔致柔婉舒展，暗香幽然自生。\n\n卷尾行书题跋笔意秀雅流畅，与画境相得益彰，书画合璧尽显文人雅致。全作用笔清劲秀逸，以极简水墨托出兰竹君子清介之姿，将画者冲淡平和的襟怀寄于毫端，萧散清逸的幽致扑面而来，尽显文人写意的风雅意趣。",[23,24,25,26,56,53,57,66,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd83d42f07b1f36ad1f0ed4b8c48e3d8b.jpg",[],{"id":3070,"slug":3071,"title":3072,"dynasty":167,"author":474,"museum":143,"description":3073,"tags":3074,"thumbUrl":3075,"material":160,"size":88,"collection":71,"collections":3076,"showCount":3034,"zanCount":42,"manualWeight":42,"mainColor":92},219639,"zhu-zhi-tu-li-kan-219639","竹枝图","此幅小品取“出墙”之境，一枝竹斜逸于圆幅之中。淡绢为底，虚实相生，留白衬出竹之疏朗意韵。墨色层次分明，竹叶以中锋运笔，正反向背各具姿态，笔力劲挺清刚，尽显君子拔俗之姿，枝桠转折苍劲利落，暗摹风动之态。\n\n题字“出墙”点出意境，带着些许野趣俏皮，打破幽寂，让尺幅间生出鲜活生机。整幅简淡清逸，以极简笔墨写尽竹之风神，将文人寄情于物的意趣藏于毫端，淡墨疏枝之间，清高雅韵悠长。",[23,25,26,53,7,102,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78ceb9ff1310f445e5e46a19e09ff932.jpg",[71],{"id":3078,"slug":3079,"title":3080,"dynasty":48,"author":569,"museum":1273,"description":3081,"tags":3082,"thumbUrl":3086,"material":37,"size":3087,"collection":71,"collections":3088,"showCount":3034,"zanCount":11,"manualWeight":42,"mainColor":43},219091,"mei-zhu-zhi-ji-tu-lv-ji-219091","梅竹雉鸡图","画面中，雉鸡翎羽斑斓，纤毫毕现，顾盼间神采奕奕，似欲振翅。旁侧梅枝遒劲，蕊瓣凝霜带露，红白相映，清雅动人；竹篁翠影婆娑，叶片舒展如剑，与梅枝交错成趣。背景淡墨晕染，山石轮廓隐约，既衬出前景花鸟的工致，又添悠远意境。工笔与写意相融，浓淡相宜，细节处见精巧，整体中显生机，仿佛能闻梅香浮动，听竹风轻吟，观雉鸡闲步，一派自然生趣跃然绢素，尽显明代院体画的雅致与活力。",[23,25,24,26,3083,28,54,29,59,7,1858,146,3084,3085],"花鸟画","雅致","生机","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe89d86fad1a49b299371ea8c1d3f18c7.jpg","纵151.1横100.3厘米",[71],{"id":3090,"slug":3091,"title":3092,"dynasty":167,"author":3093,"museum":1975,"description":3094,"tags":3095,"thumbUrl":3096,"material":69,"size":3097,"collection":300,"collections":3098,"showCount":3034,"zanCount":176,"manualWeight":42,"mainColor":92},217990,"lin-ting-yuan-xiu-tu-tao-xuan-217990","林亭远岫图","陶铉","“林亭远岫图”是陶铉的代表作之一，是一幅山水画。这幅画以其精美的线条、细腻的笔触和丰富的层次感而闻名。画中，陶铉用浓密的线条勾勒出了山峰、悬崖、峡谷和溪流等山水景观。通过对色彩的运用，他将画面分成了几个不同的层次，使得画面看起来格外丰富。\n\n陶铉的“林亭远岫图”是元朝山水画的杰作，具有极高的艺术价值。它不仅是陶铉本人的代表作，也是元朝画坛的瑰宝。至今，“林亭远岫图”仍是中国绘画史上最著名的山水画之一，并被许多人所熟知和欣赏。",[25,26,53,27,200,238,454,766,294,7,146,296,754],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb9601a60ed15025f72dd5d7116adea.jpg","58x31.7cm",[300,243],{"id":3100,"slug":3101,"title":3102,"dynasty":18,"author":211,"museum":182,"description":212,"tags":3103,"thumbUrl":3104,"material":69,"size":216,"collection":88,"collections":3105,"showCount":3034,"zanCount":11,"manualWeight":42,"mainColor":92},214675,"mei-hua-zhu-shi-tu-ce-12-wang-shi-shen-214675","梅花竹石图册-12",[25,26,83,53,54,59,214,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93ec7eecf547d551a2e8aa111aaf5500.jpg",[],{"id":3107,"slug":3108,"title":3109,"dynasty":18,"author":79,"museum":224,"description":1602,"tags":3110,"thumbUrl":3111,"material":960,"size":961,"collection":88,"collections":3112,"showCount":3113,"zanCount":11,"manualWeight":42,"mainColor":3114},287731,"shan-mian-shan-shui-hua-hui-ce-yun-shou-ping-287731","扇面山水花卉册",[1120,25,26,83,53,29,7,35,58,57,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58a68bc6121d0e0d9f243c202d21e65c.jpg",[],71,"FFFFFF",{"id":3116,"slug":3117,"title":3118,"dynasty":167,"author":385,"museum":224,"description":3119,"tags":3120,"thumbUrl":3121,"material":960,"size":961,"collection":88,"collections":3122,"showCount":3123,"zanCount":42,"manualWeight":42,"mainColor":92},289441,"nan-an-shuang-shu-tu-ni-zan-289441","南岸双树图","倪瓒(1301～1374)元代画家、诗人。一说初名珽。字泰宇，后字元镇，号云林，又署云林子，或云林散人，别号荆蛮民、净名居士、朱阳馆主、莆闲仙卿、幻霞子、东海农、无住庵主、绝听子、曲全叟、沧海漫士、懒瓒、东海瓒、奚元朗。无锡（今属江苏）人。世居无锡祗陀里，多乔木，建堂名云林，因以云林自号。他一生不做官，其家是吴中有名的富户；但倪瓒不愿管理生产，自称懒瓒，亦号倪迂。性好洁,服巾日洗数次，屋前后树木也常洗拭。家中藏书数千卷，亲手勘定。擅山水、竹石、枯木等，其山水师法董源、荆浩、关仝、创“折带皴”写山石，画树木则兼师法李成，加以发展 ， 画法疏简 ，格调天真幽淡。作品多画太湖一带山水，构图平远，景物极简，多作疏林坡岸，浅水遥岑。用笔变中锋为侧锋，折带皴画山石，枯笔干墨，淡雅松秀，意境荒寒空寂，风格萧散超逸。墨竹萧爽清丽。论画主张抒发主观感情，认为绘画应表现作者“胸中逸气”，不求形似，说“仆之所谓画者，不过逸笔草草，不求形似，聊以自娱耳”。其绘画实践和理论观点，对明清文人画家有很大影响，享誉极高，画史将他与黄公望、吴镇、王蒙并称元四家",[24,25,26,27,53,297,7,35,102,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1d55eecf41bf1bce479bcfa86bdf890.jpg",[],70,{"id":3125,"slug":3126,"title":3127,"dynasty":97,"author":98,"museum":224,"description":100,"tags":3128,"thumbUrl":3129,"material":960,"size":961,"collection":88,"collections":3130,"showCount":3131,"zanCount":42,"manualWeight":42,"mainColor":43},288536,"mo-zhu-tu-hua-xin-su-shi-288536","墨竹图画心",[24,25,26,53,7,57,102,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca2ecffd32f6d067c527578a9476c753.jpg",[],69,{"id":3133,"slug":3134,"title":3135,"dynasty":97,"author":168,"museum":182,"description":3136,"tags":3137,"thumbUrl":3141,"material":340,"size":3142,"collection":88,"collections":3143,"showCount":3131,"zanCount":176,"manualWeight":42,"mainColor":43},223525,"ge-le-tu-yi-ming-223525","歌乐图","《歌乐图卷》描绘了南宋宫廷歌乐女伎演奏、排练的场景。画面中九位女伎、一位老乐官和二位女童于庭院中一字排开，手持笛、鼓、排箫、琵琶等多种乐器。画中人物均穿着南宋时期的典型服饰：九位女伎身材修长，穿着红色窄袖背子，高髻上饰以角状配饰；男性乐官佩戴朝天幞头，女童则戴簪花幞头。此卷所绘的人物及场景是南宋社会文化生活的生动写照。\n在技法上，《歌乐图》设色细腻鲜艳，用笔精细而能够随物应形，通过不同的笔法表现不同物象的特定质感，如衣纹流畅、竹叶劲挺、树石沉雄，写实且富于意趣。画面构图疏朗简洁，节奏感强，整体上呈现出相当高的艺术水平。而以歌乐女伎为表现题材的作品在南宋人物画中极为少见，具有相当高的历史、艺术价值。\n画面右侧为一棵棕榈树，树干以淡墨晕染，树叶双钩，并填以石绿色，上层的树叶以树身为轴呈对称状；地面上点缀了几丛花草，草叶以没骨写意法画出，地面上白色的小花以浑点点出；地面局部晕染石青，并勾勒有平行的水平线表现地面质理。画面左侧的配景，靠右边为太湖石和竹丛的组合，地面点缀花草，花草的描绘方式与右侧配景中的花草一致。太湖石的轮廓线比较粗犷、写意，石面以石青晕染，局部施以皴擦表现质理。太湖石后的竹子，竹竿和竹叶双钩，中间几株竹竿以石青晕染。太湖石和后面的竹丛也呈中轴对称状。左边有一段栏杆，栏杆后绘有一棵盛开着白色花朵的树，似为梨树，树干双钩，树身晕染，树叶为瓜子形点叶，白色的花瓣以椭圆形的点进行表现，画面美感十足。\n画中所绘九女子，皆披褙子外衣，此服饰出现于北宋年间，流行于南宋时代。在河南禹县白沙一号北宋墓壁画《伎乐图》，和传世的南宋《瑶台步月图》页中都可见到。此外，女子梳高髻并簪有三朵花状饰物的发式与南宋《瑶台步月图》页和《荷亭儿戏图》页中的女子发式相近。图中另二个女孩装扮官员样，所戴直脚幞头也是宋时官帽样式。另一位手抱琵琶的男艺人，穿圆领窄袖袍衫，戴曲脚幞头，与河北宣化辽墓壁画《散乐图》中的吹乐艺人相同。从此图人物的服饰和幞头考察，有宋制和辽制混合的形迹。",[23,25,26,56,29,28,30,31,1276,310,7,294,214,417,457,642,3138,3139,3140],"发饰","桌子","棕榈树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88da24574fef71de8346deb557e6bfd1.jpg","25.5x158.7厘米",[],{"id":3145,"slug":3146,"title":3147,"dynasty":167,"author":385,"museum":3148,"description":3149,"tags":3150,"thumbUrl":3153,"material":87,"size":3154,"collection":243,"collections":3155,"showCount":3131,"zanCount":42,"manualWeight":42,"mainColor":92},220800,"shui-zhu-ju-tu-ni-zan-220800","水竹居图","中国国家博物馆","此图以青绿设色绘江南初秋景色。\n山势低平，山前溪水渚坡坡上杂树五株，树后茅屋丛篁。\n画中笔墨沉实，赋形具体，山色苍翠，画法谨严运笔圆滑苍劲，略有董、巨遗法。\n此图写一仙居景致，其中静水潺潺，间以坡石、水渚、小桥相错；近岸处坡石层累，其上疏木参差偃仰，虬枝繁叶；近岸平地，一茅舍院落掩映树间，若隐若现；栅外修竹环绕，浴风飒飒；远处群峦竞秀，青翠欲滴；山下岸处坡石簇簇，林木深深。\n图右上倪瓒自题：“至正三年，癸未岁八月望日，进道过余林下，为言僦居苏州城东有水竹之胜。",[23,25,53,1327,238,58,57,102,3151,54,1754,7,294,146,766,3152],"干笔","河流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7872a100371101d8e6bbd7f53608e4.jpg","80 X 53 CM",[243,269],{"id":3157,"slug":3158,"title":3159,"dynasty":48,"author":290,"museum":291,"description":3160,"tags":3161,"thumbUrl":3162,"material":87,"size":3163,"collection":88,"collections":3164,"showCount":3131,"zanCount":11,"manualWeight":42,"mainColor":92},220019,"dong-zhuang-tu-ce-zhi-zhe-gui-qiao-shen-zhou-220019","东庄图册之折桂桥","东庄是沈周的好友吴宽的庄园。原作有24幅，明末后只存21幅。",[23,25,53,29,83,200,455,296,7,741,147,30,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0e6c408cd67552c039d8fa8da7af631.jpg","纵28.6厘米，横33厘米",[],{"id":3166,"slug":3167,"title":3168,"dynasty":97,"author":534,"museum":143,"description":3169,"tags":3170,"thumbUrl":3171,"material":37,"size":3172,"collection":106,"collections":3173,"showCount":3131,"zanCount":11,"manualWeight":42,"mainColor":92},218746,"lang-gan-ting-xiu-tu-wen-tong-218746","琅玕挺秀图","画的是两根竹子的墨迹，竹叶在风中摇曳。与文同的水墨游戏标准 墨竹 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[1] 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雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这十二幅行乐图展现了其在圆明园生活的各个场景，也表现了十二个月的不同节令风俗。",[25,28,29,452,238,200,453,30,7,146,296,592,457,147,456,3518,3519,3520,417,295,3521],"回廊","石桥","人物活动","竹丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47c3e8128a600870ae2951e88c5416b8.jpg","纵188.2厘米，横102.2厘米",[],{"id":3526,"slug":3527,"title":3528,"dynasty":18,"author":130,"museum":50,"description":3529,"tags":3530,"thumbUrl":3531,"material":104,"size":3532,"collection":88,"collections":3533,"showCount":3511,"zanCount":42,"manualWeight":42,"mainColor":92},234082,"yuan-ji-zhu-ju-xiu-shi-tu-zhou-shi-tao-234082","原济竹菊秀石图轴","此画集中体现了石涛所谓“化”、“略无纪律而纪律自在其中”的艺术特点。画面左下侧湖石挺拔而起，矗立至画幅左中部。湖石脚下画有数茎兰花，花朵吐出清幽的芳香，散发在湿润的空气中。山石腰部和顶端长了花草。湖石后面，耸立着两竿新竹，竹叶直伸展画面顶端，竹叶交迭穿插，有的仰俯，有的平展，有的下垂。湖石后面又一株菊花，依石与新竹穿插生长，花朵盛开，枝叶茂盛。\n此画构图紧凑，画面虽竖长条，上不留天，下不留地，在画的右侧下，有作者自题识。此画的竹、菊全以浓墨写出，仅以淡墨点几点苔点及花萼、花蕊。画成以后，即以淡墨水全幅遍染，仅仅留出菊花的花瓣的白底子，在灰色的背景下，显得格外清亮。在背景的淡墨水将干未干之际，用较深的墨作草书题款。由于对水分的掌握恰到好处。字迹与画的底色渗化融合，浑然一体。总之，此画中的菊、竹、湖石画得淋漓挥洒，纵横豪宕绝无霸悍之气，似乎信手拈来，一挥而就，且无一笔不合画理和法度，达到了天才和功力的完美统一，是一幅笔墨意境均出神入化的佳作。",[25,53,27,54,7,67,35,428,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89d6e081a28cf954997b56c68ef141d0.jpg","51.16*129.02厘米",[],{"id":3535,"slug":3536,"title":166,"dynasty":167,"author":3537,"museum":875,"description":3538,"tags":3539,"thumbUrl":3540,"material":160,"size":3541,"collection":243,"collections":3542,"showCount":3511,"zanCount":11,"manualWeight":42,"mainColor":43},221805,"zhu-shi-tu-li-shi-xing-221805","李士行","水墨画坡石重叠，三竿晴竹顶天立地，旁傍拳石，丛篁荆棘掩映衬托。竹叶疏密偃仰有致，显出微风乍起有向上飘举之势。石皴圆润，存董、巨遗法。余图浓淡虚实，笔笔相应，同笔自然灵活稳健，墨色偏淡层次分明。画心左侧行书署：“蓟丘李士行遵道作”款。左下角钤梁清标、临圣斋收藏印证。李士行(1282—1328)，字遵道，号黄岩，河北蓟丘人是名画家李衔的长子。诗歌、书画除力承家学之外，又得赵孟頫和鲜于枢之指授，善画山水，以所画大明宫图入晃仁宗嘉奖其能。画竹石枝叶挺秀，得写生妙趣。此图墨竹画法纯出李衔，披石大披麻皴，有别于乃父之渴笔渲染。现藏辽宁省博物馆。",[23,25,53,27,7,214,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2ecc7ea8f565c5eebab3e747c307003.jpg","画心纵170、横92.3厘米",[243,269],{"id":3544,"slug":3545,"title":3546,"dynasty":167,"author":376,"museum":50,"description":3547,"tags":3548,"thumbUrl":3549,"material":3550,"size":3551,"collection":106,"collections":3552,"showCount":3511,"zanCount":42,"manualWeight":42,"mainColor":43},220842,"you-huang-dai-sheng-tu-juan-zhao-meng-fu-220842","幽篁戴胜图卷","该图画幽篁细枝，停着一只戴胜鸟，正在返首回望。\n该图笔法工整细致，既有南宋院体画意又自设细染，使画面清雅和谐，构图简洁明快。\n此图画了一只戴胜停伫在一新篁枝上，正返首回望。",[23,25,26,56,29,85,7,592,57,102,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F706af52cdeacaaa277655150f946ab40.jpg","纸本 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cm",[106,39,243],{"id":3637,"slug":3638,"title":3639,"dynasty":18,"author":79,"museum":143,"description":3640,"tags":3641,"thumbUrl":3642,"material":441,"size":3643,"collection":71,"collections":3644,"showCount":3593,"zanCount":11,"manualWeight":42,"mainColor":272},220982,"wu-qing-tu-zhou-yun-shou-ping-220982","五清图轴","恽寿平为人敦厚，个性孤介洒脱，不愿应试科举，以卖画为生，过着与世无争的日子，气节和人品相当受人敬重，而他的画也如他的人品一样，具有高洁不流俗的风格。五清指的是松、竹、梅及水、月。松柏经霜雪而不凋谢，竹子以其有节空心，代表君子的节操与虚心；梅花不畏风霜，愈冷愈开花，是品格坚贞的写照；而水与明月更是清澈透明、洁白无瑕的象征，所以合称「五清」，自古以来就常被用来比喻君子的德行。君子才德兼备，有高风亮节的情操，和「贫贱不能移，富贵不能屈」的志节，是社会上值得尊敬的人。这幅画，恽寿平以五清来代表君子，构图简单，分为三段，上段画老松由右横斜至左，明月高挂当空，中段则有梅花盛开，伴着青翠绿竹；下段流水潺潺。款识「辛酉初秋南田寿平制」，是恽寿平四十九岁的作品。笔墨多变，有的墨色饱含水份，有的枯干焦浓。有的先湿后枯，先浓后淡，墨趣丰饶。用笔温文柔和，呈现一种平和宁静的气氛，就像他所敬重的谦谦君子一般",[23,25,27,29,60,59,7,214,767,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F870f71bba414a2c44d511dc3af19b001.jpg","86.1x38.4",[71,123],{"id":3646,"slug":3647,"title":3648,"dynasty":167,"author":385,"museum":20,"description":3649,"tags":3650,"thumbUrl":3651,"material":104,"size":3652,"collection":243,"collections":3653,"showCount":3593,"zanCount":42,"manualWeight":42,"mainColor":92},220805,"yun-shi-qiao-ke-tu-zhou-ni-zan-220805","筠石乔柯图轴","此画用笔变中锋为侧锋，折带皴画山石，枯笔干墨，淡雅松秀，意境荒寒空寂，风格萧散超逸，简中寓繁，小中见大，外落寞而内蕴激情。树杆上挂满了细繁的藤蔓垂条，图中的篁竹属于倪瓒墨竹中叶尖向上的新篁画法，颇见功力。画面一如倪瓒一贯呈现的风格：构图简洁，干笔皴檫，意境清远萧疏。",[23,25,27,53,238,7,214,294,2299,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e4ba73df5db160da5171569d0a459b0.jpg","横67.3厘米，横36.8厘米",[243,269],{"id":3655,"slug":3656,"title":3657,"dynasty":48,"author":168,"museum":1117,"description":3658,"tags":3659,"thumbUrl":3660,"material":37,"size":3661,"collection":71,"collections":3662,"showCount":3593,"zanCount":42,"manualWeight":42,"mainColor":43},220340,"chun-jing-hua-niao-tu-yi-ming-220340","春景花鸟图","画面以早春雪景铺陈意境，老梅虬枝盘曲，枝头凝雪，冰萼缀枝。群雀栖于梅梢，灵动啾鸣，破了雪天的清寂。下方奇石覆雪，锦雉静静伫立，翎羽斑斓细腻，身旁细竹轻沾雪色，更衬出禽鸟的安然。角落里山茶吐艳，朱砂色的花萼点亮冷调的底色。\n\n工笔设色晕染柔和精微，禽鸟绒毛的蓬松、古木皲裂的苍劲都刻画入微，清冷雪景与暖调花色禽羽相映，将冬寒未褪、春意初萌的幽澹野趣尽藏其中，尽显雅致静穆又生意暗涌的格调。",[23,25,24,26,28,29,59,7,146,281,1858,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1068b2760f18f253d69357fe4d36b4c1.jpg","155.2 × 93.3",[71,123],{"id":3664,"slug":3665,"title":3666,"dynasty":97,"author":1555,"museum":1556,"description":3667,"tags":3668,"thumbUrl":3669,"material":37,"size":3670,"collection":88,"collections":3671,"showCount":3593,"zanCount":11,"manualWeight":42,"mainColor":530},218604,"wu-bai-luo-han-zhi-zhu-lin-zhi-chen-tu-zhou-ji-chang-218604","五百罗汉之竹林致琛图","这幅画描绘了三个罗汉坐在云雾和绿竹之间，两个罗汉侧身站立，俯视着他们，一个罗汉手里拿着珊瑚，等待着接待他们。",[23,24,25,26,29,28,1559,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3adb680b35d1ebd1ff03c465bd75e3c1.jpg","113.0x51.5",[],{"id":3673,"slug":3674,"title":166,"dynasty":48,"author":3675,"museum":3676,"description":3677,"tags":3678,"thumbUrl":3679,"material":69,"size":3680,"collection":300,"collections":3681,"showCount":3593,"zanCount":42,"manualWeight":42,"mainColor":92},218002,"zhu-shi-tu-chen-jia-yan-218002","陈嘉言","金贝尔艺术博物馆","竹石图是中国明朝时期陈嘉言所作的一幅图画，它是一种颇具特色的中国山水画，具有很高的艺术价值和历史意义。\n\n陈嘉言是明朝时期著名的画家，他的作品中有许多著名的山水画，其中竹石图是他最著名的作品之一。这幅画以竹子和石头为主要元素，描绘了一片幽静的山水风景。\n\n竹石图被认为是中国传统山水画的杰作，因为它能够准确地再现了山水之间的关系，同时还能够表现出山水的美好之美。在这幅画中，陈嘉言用竹子和石头来表现山水之间的关系，同时还用色彩的变化来表现山水的深浅和质感。\n\n竹石图是陈嘉言在明朝时期的代表作之一，它不仅体现了陈嘉言艺术上的成就，同时也是中国山水画发展史上的一个重要里程碑。如今，竹石图已经成为了中国艺术史上最著名的山水画之一，并被广泛欣赏和珍藏。",[23,25,26,27,53,238,7,35,57,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa388b5265f5b7302a3252f8f6876b7c.jpg","80x43.5cm",[300,71],{"id":3683,"slug":3684,"title":3685,"dynasty":18,"author":130,"museum":224,"description":1145,"tags":3686,"thumbUrl":3687,"material":960,"size":961,"collection":88,"collections":3688,"showCount":3689,"zanCount":42,"manualWeight":42,"mainColor":92},239482,"yuan-ji-mo-zhu-tu-zhou-shi-tao-239482","原济墨竹图轴",[25,26,27,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ab0ea574ed0f16f3b678d121a5225fa.jpg",[],58,{"id":3691,"slug":3692,"title":2484,"dynasty":18,"author":181,"museum":3628,"description":3693,"tags":3694,"thumbUrl":3695,"material":88,"size":88,"collection":300,"collections":3696,"showCount":3689,"zanCount":42,"manualWeight":42,"mainColor":92},236728,"shan-shui-ce-hua-yan-236728","华嵒（1682～1756），福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。华嵒是清康雍乾年间的著名画家，他笔下的鸟堪称一绝，最负盛名。\n华喦就是我们所熟知的新罗山人，但我相信这一套山水画册，大部分人都不是熟悉，这山水画册页并没有藏在国内，而是藏在美国的弗利尔美术馆，其可称为华喦非常精致的一套山水册页。",[25,29,83,53,238,1615,1754,454,7,455,592,35,456],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa832e728718e0546bb3aa1e9daaea510.jpg",[300,123],{"id":3698,"slug":3699,"title":3700,"dynasty":97,"author":114,"museum":224,"description":3701,"tags":3702,"thumbUrl":3703,"material":88,"size":88,"collection":88,"collections":3704,"showCount":3689,"zanCount":11,"manualWeight":42,"mainColor":43},227514,"ting-pu-tu-mi-fei-227514","听瀑图","北宋·米芾《听瀑图》(传)，纸本，42x35厘米，美国弗利尔美术馆藏。世已无米芾画迹传世，应该是明、清好事者按记载中的米芾画法为蓝本而进行的臆造之迹。\n\n元代以后，由苏轼（1037-1101）、米芾等人倡导的“文人画”审美趣味大为发展，并逐渐成为画坛主流，苏轼、米芾等人因首倡之功而备受推崇。一些“文人画”家和持“文人画”观点的理论家更是将米芾提升到画圣的高度。\n\n晚明大书画家、理论家董其昌（1555-1636）便极力推崇米芾，他说：“诗至少陵，书至鲁公，画至二米，古今之变，天下之能事毕矣。”在董其昌看来，米芾不仅是严格意义上的画家，而且还是一代宗师，画史地位是非常高的。\n\n董其昌在整个明清画坛的影响是毋庸置疑的，米芾因董其昌的极力推崇，在明清画坛上牢牢占据着重要地位。清书画鉴赏家卞永誉（1645-1712）评米芾画：“岂知南宫迥不群，一扫千古丹青尘。”显然，卞永誉也将米芾作为开宗立派的大家看待",[23,24,25,26,53,199,200,30,935,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b61a781aa7191005d890d7f6abbfaf4.jpg",[],{"id":3706,"slug":3707,"title":3708,"dynasty":97,"author":307,"museum":224,"description":3709,"tags":3710,"thumbUrl":3711,"material":88,"size":88,"collection":88,"collections":3712,"showCount":3689,"zanCount":11,"manualWeight":42,"mainColor":43},227486,"zhu-ji-tu-li-zhou-zhao-ji-227486","竹鸡图立轴","赵佶（宋徽宗，1082年6月7日-1135年6月4日），出生于汴京（今河南开封），宋神宗第十一子，北宋第八位皇帝。\n\n赵佶在位期间追求奢靡、政治腐败、外交不力，以致民怨四起并埋下北宋靖康年间亡国的祸根。但赵佶在书法绘画等艺术领域天赋非凡，独创“瘦金体”书法，《芙蓉锦鸡图》《池塘秋晚图》等都是传世名作。靖康之变后赵佶被俘北上，1135年死于五国城，庙号徽宗。",[23,25,26,27,28,29,85,7,896],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F879cf431b3c0d996cb701c6e9c6a171b.jpg",[],{"id":3714,"slug":3715,"title":3716,"dynasty":48,"author":449,"museum":2088,"description":3717,"tags":3718,"thumbUrl":3719,"material":340,"size":3720,"collection":88,"collections":3721,"showCount":3689,"zanCount":11,"manualWeight":42,"mainColor":92},222213,"chuan-ren-xing-tu-chou-ying-222213","船人形图","笔耕园收录作品60幅，其主题、画法和样式各异，并据此在各图上加有不同画家的名字，其中不乏南宋名家的佳作，还有些其他朝代品质极高的优秀作品。",[23,25,26,1120,28,29,30,31,708,294,7,2744],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9007b806bd999f26739186ddee7c280.jpg","纵23.1厘米，横23.1厘米",[],{"id":3723,"slug":3724,"title":3725,"dynasty":48,"author":449,"museum":143,"description":3726,"tags":3727,"thumbUrl":3728,"material":160,"size":88,"collection":88,"collections":3729,"showCount":3689,"zanCount":42,"manualWeight":42,"mainColor":92},222202,"hua-zhu-shen-he-jing-ce-ye-chou-ying-222202","画竹深荷静册页","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。\n综述:\n仇英的山水画多学赵伯驹、刘松年，发展南宋李唐、刘松年、马远、夏圭的“院体画”传统，综合融会前代各家之长，即保持工整精艳的古典传统，又融入了文雅清新的趣味，形成工而不板、研而不甜的新典范，还有一种水墨画，从李唐风格变化而来，作界画楼阁，尤为细密。\n仇英擅人物画，尤工仕女，重视对历史题材的刻画和描绘，吸收南宋马和之及元人技法，笔力刚健，特擅临摹，粉图黄纸，落笔乱真。尤善于用粗细不同的笔法表现不同的对象，或圆转流畅，或顿挫劲利，既长设色，又善白描。人物造型准确，概括力强，形象秀美，线条流畅，有别于时流的板刻习气，直趋宋人室，对后来的尤求、禹之鼎以及清宫仕女画都有很大影响，成为时代仕女美的典范，后人评其工笔仕女，刻画细腻，神采飞动，精丽艳逸，为明代之杰出者\n纵观仇英的山水画，大致具有如下几个鲜明的特点：\n首先，在境界上不一味追求富丽堂皇或空漠冷寂的气氛，而在“秀雅纤丽”中有一种飘逸优雅的气息。所作山水多为表现士大夫林泉诗酒生活和清新旷远之自然景色。由于仇英出身贫寒、读书不多，其画作中也少有诗文题跋，一般仅于画幅边角落款，未有诗画结合之面貌。但是所画丘壑泉石、烟云竹树、亭台楼阁、人物景色皆精描细染而又不失清秀雅逸的气韵。特别是他描写文人高士隐遁生活的作品，如《桃源高隐图》《蕉荫结夏图》《月下吹笛图》《园居图》《春夜宴桃李园图》等，无时不流露其隽秀飘逸的情怀，画卷气溢于笔墨之中。\n其次，仇英的山水画虽隽逸优雅，“士气”十足，却少有一般文人画家笔下那种冷寂空疏的情调，而总是流溢出清新明丽的气氛，有的作品还充满蓬勃欢乐的意趣。如《莲溪渔隐图》中平远山水、溪岸水畔、房屋堂轩、茅舍鱼罟、田亩葱郁、小桥相通、行人往来，画面布局清旷，一片江南夏日情景，极富生活气息，给人以可游可居之感。再看描绘四川剑门关景色的《剑阁图》，画面峰峦重迭，远处是皑皑的雪崖雪峰，近处是重彩辉映的山峦，陡峭的绝壁上树木茂密，残雪覆盖，在崎岖的栈道上，人马众多，或隐或现迎面而来。人马动态各异，行人身着各式冬装，无不具体生动。此画画风工整，色彩浓艳，丰满壮观，可谓仇英青绿画法的代表作。仇英作品中这种浓艳而清新、壮阔而平朴的审美意趣与明中期整个美学思想的世俗化倾向相一致。\n第三，仇英的山水画风格虽源于传统青绿和“院体”画法，但并不拘于一家一派的面貌。就其整个山水画而言，在技法上可分为三类：一是较为纯正的大青绿山水，山石勾勒后不用细皴，山脚以赭石分，以青绿重色染石面，然后每一块面再加染石绿，或分以石青，使各山色协调而有分别，树木云岫勾勒精细。其《九成宫图》《桃源仙境图》等属此类典型之作。二是青绿画法与水墨画法相融合的一类。通常近处山石用小斧劈细细皴成，用青绿法以绿与石青相间染出，色不凝笔。远峰不作皴笔，以花青或石青、石绿和墨渍染而成，似有董源或沈、文画法之精神。《秋江待渡图》《莲溪渔隐图》《仙山楼阁图》等为此类代表作。三是以水墨皴染为主的画法，此类画法得到刘松年、李唐院体家法，山石用细笔小斧劈法，分面细，然于阴暗处和墨淋之，立即又以清水接染，绢地不吸水，故能产生含混融和的意趣，略见吴派绘画之影响。树法中增强转折趣味，衬以夹叶，叶叶分明，一枝一叶无不与实景契合。《松亭试泉图》《松溪论画图》等均属此类画法。",[23,25,26,1120,28,29,200,7,32,456,754,146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F878a5dc84b1d01f557f1f963ad693448.jpg",[],{"id":3731,"slug":3732,"title":3733,"dynasty":167,"author":2209,"museum":50,"description":3734,"tags":3735,"thumbUrl":3736,"material":1186,"size":3737,"collection":243,"collections":3738,"showCount":3689,"zanCount":42,"manualWeight":42,"mainColor":43},221697,"you-huang-xiu-shi-tu-zhou-gu-an-221697","幽篁秀石图轴","署款“东淮安定之”。下钤“顾定之印”等印3方。画幅左侧有明代张绅题记。\n此图绘数竿青竹在清风晨露中绰约多姿的体态。顾安在创作上力求表现竹子“清且真”的物态风神。“清”是指竹子不卑不亢、清高脱俗的内在品性，它是元代文人画家所追求向往的君子品德；“真”是指竹子清瘦隽逸、披霜戴雪的外在形貌，强调竹画艺术的写实精神。图中所绘之竹以淡墨写竿，浓墨画叶，深浅墨色虚实互衬，加强了画面层次感，扩展了空间。竹叶的画法遵循赵孟頫所倡导的“写竹还须八法通”的原则，熟练地以书法的“捺”法起笔收笔，叶根及叶尖皆见笔锋，写出其错落参差、披离偃仰之态。图中的湖石以墨、色点染，具有玲珑剔透之美，也映衬出竹之秀润娴静。全图以简洁的笔墨营造出“无穷出清新”的清逸意境。\n此卷原藏清宫内府，宣统年流入民间，为徐石雪所收藏，解放后捐献给国家文物局。文物局于1957年4月27日将它拨交故宫博物院。",[23,25,27,53,28,238,7,214,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1e2953593c979f764e7fe4b77b7f4bc.jpg","纵184cm，横12cm",[243,269],{"id":3740,"slug":3741,"title":3742,"dynasty":48,"author":2876,"museum":50,"description":3743,"tags":3744,"thumbUrl":3745,"material":87,"size":3746,"collection":71,"collections":3747,"showCount":3689,"zanCount":42,"manualWeight":42,"mainColor":92},216096,"yun-gen-cong-xiao-tu-ye-wang-fu-216096","云根丛篠图页","本幅墨笔画坡石丛竹，左边款：”王绂“。印”孟端“朱方，乾隆对题一页。有安岐、项子京藏印三方。",[23,25,53,58,102,57,83,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f6f8338035b5d4699fea149d00afb4.jpg","纵26.2cm，横29.5cm",[71],{"id":3749,"slug":3750,"title":3751,"dynasty":18,"author":168,"museum":224,"description":3752,"tags":3753,"thumbUrl":3759,"material":960,"size":961,"collection":88,"collections":3760,"showCount":3761,"zanCount":11,"manualWeight":42,"mainColor":92},270176,"sha-tie-juan-tao-shu-xian-he-tu-mian-wu-mu-diao-hua-bing-tuan-shan-yi-ming-270176","纱贴绢桃树仙鹤图面乌木雕花柄团扇","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[1120,3754,28,29,85,3755,3756,7,2733,3757,3758],"团扇","桃树","仙鹤","木质","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facead754c75987afe21c13f4dbff64eb.jpg",[],57,{"id":3763,"slug":3764,"title":3765,"dynasty":18,"author":3766,"museum":224,"description":3767,"tags":3768,"thumbUrl":3769,"material":88,"size":88,"collection":88,"collections":3770,"showCount":3761,"zanCount":42,"manualWeight":42,"mainColor":92},224238,"zhu-ju-quan-shi-yang-da-zhang-224238","竹菊泉石","杨大章","此作用笔清隽雅致，构图疏密相宜。嶙峋湖石居于画面中心，皴擦简约却尽显峭拔质感，撑起画面骨架。左侧淡墨写竹，枝叶轻曳似携秋风，留白处恍有清光流转，空灵秀逸。右下菊丛灼灼，黄紫双色错落层叠，瓣叶柔润鲜活，晕染出满幅秋意。细泉蜿蜒穿石而过，为冷寂添了几分灵动生机。\n\n设色浅淡柔和，以素净底色衬出花木之妍、湖石之朴，将秋日林泉的幽寂闲适铺陈开来，尽显雅致出尘的隐逸意趣。",[23,25,26,83,28,29,7,67,35,296,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17a0e88bdb88ecce18fd83ad4aa28c84.jpg",[],{"id":3772,"slug":3773,"title":3774,"dynasty":167,"author":1376,"museum":143,"description":3775,"tags":3776,"thumbUrl":3777,"material":104,"size":3778,"collection":71,"collections":3779,"show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明初大画家，擅长山水，尤精枯木竹石，画竹兼收北宋以来各名家之长，具有挥洒自如、纵横飘逸、清翠挺劲的独特风格，人称他的墨竹是“明朝第一”。永乐元年(1403年)开始参与编纂《永乐大典》。",[23,25,56,53,7,3786,26],"秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfd617ad53eaf3d96657bf7bcae45ca5.jpg","26.1 x 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叶果实又仿效徐崇嗣的没骨画法。设姿态多样。另有花卉野瓜、蝴蝶蜻蜓萦绕 色浓丽而又不隐墨骨。",[23,24,25,26,1120,28,29,85,7,2117,3838],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01191a7671ec45bee311028ed57ed69c.jpg",[],{"id":3842,"slug":3843,"title":3844,"dynasty":18,"author":3845,"museum":2645,"description":3846,"tags":3847,"thumbUrl":3848,"material":3849,"size":3850,"collection":71,"collections":3851,"showCount":3790,"zanCount":42,"manualWeight":42,"mainColor":92},223252,"zhu-ju-hua-tu-zhou-pu-hua-223252","竹菊花图轴","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”。",[23,25,29,53,27,85,7,67,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f837281a5a3ede855624505ab9f5514.jpg","纸本，册页，设色","纵27厘米、横34厘米",[71,123],{"id":3853,"slug":3854,"title":3855,"dynasty":48,"author":3856,"museum":143,"description":3857,"tags":3858,"thumbUrl":3859,"material":87,"size":3860,"collection":243,"collections":3861,"showCount":3790,"zanCount":11,"manualWeight":42,"mainColor":92},222227,"song-gang-zhu-wu-tu-zhou-wen-bo-ren-222227","松冈竹坞图轴","文伯仁","文伯仁松的《冈竹坞图》画中前景有戴笠僧人拄杖前行，将进入林间寺院；中景有一渡桥文士，或许即为“放浪溪山已有年”的文伯仁；远景宛若随著云雾浮现，凛立天际的秀峻山头，应是令作者追求神往的盛景。文伯仁是习仿文征明风格的后辈与学生中，自成面目，卓然出众者。他将文征明结构繁复的图式，朝更精致严密的方向发展，以工细的用笔与敷色，别出心裁的构图，表现郁茂清幽的山林胜景，散发出文派作品特有的雅澹气质。",[23,25,26,27,53,29,238,102,200,60,7,454,455,296,146,456,592,741,3632],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2a43776896fe834580cb168f04bc481.jpg","132.6x30.7cm",[243,123],{"id":3863,"slug":3864,"title":3865,"dynasty":1459,"author":3866,"museum":143,"description":3867,"tags":3868,"thumbUrl":3869,"material":960,"size":961,"collection":88,"collections":3870,"showCount":3871,"zanCount":11,"manualWeight":42,"mainColor":92},289889,"zhu-lin-wu-jun-tu-yan-li-ben-289889","竹林五君图","阎立本","阎立本（601年—673年），雍州万年（今陕西省西安市临潼区）人。唐朝时期宰相、画家，隋朝殿内少监阎毗之子。\n隋朝时，阎立本门荫入仕，累迁朝散大夫、将作少监。唐武德年间，担任秦王（李世民）府库直。贞观年间，历任主爵郎中、刑部郎中，迁将作少监。绘制“昭陵六骏”和“凌烟阁”功臣图，监修翠微宫。显庆元年（656年），出任将作大匠，迁工部尚书。总章元年（668年），检校右丞相，册封博陵县男。当时姜恪凭借战功擢任左丞相，时人有“左相宣威沙漠，右相驰誉丹青”之说。举荐名臣狄仁杰，累迁中书令。咸亨四年（673年11月14日），去世，追赠司空。\n阎立本擅长工艺，富于巧思，工篆隶书，对绘画、建筑都很擅长。兄长阎立德擅长书画、工艺及建筑工程。阎毗、阎立德、阎立本父子三人并以工艺、绘画闻名于世。代表作品《步辇图》《历代帝王像》等。",[23,25,24,27,29,30,7,57,102,1868],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F189baa2b3db03fad97d5e31e862a3468.jpg",[],55,{"id":3873,"slug":3874,"title":3875,"dynasty":48,"author":3876,"museum":224,"description":3877,"tags":3878,"thumbUrl":3879,"material":104,"size":3880,"collection":71,"collections":3881,"showCount":3871,"zanCount":42,"manualWeight":42,"mainColor":92},237677,"hua-hui-ce-sun-ke-hong-237677","花卉册","孙克弘","孙克弘（1532—1611） ，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）。",[25,26,83,58,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf2f9a7ff11a15dc084e1a4d50397792.jpg","66.8x60.8",[71,679],{"id":3883,"slug":3884,"title":3885,"dynasty":18,"author":3886,"museum":50,"description":3887,"tags":3888,"thumbUrl":3889,"material":1838,"size":88,"collection":679,"collections":3890,"showCount":3871,"zanCount":42,"manualWeight":42,"mainColor":92},237160,"zhu-xuan-shi-tu-zhou-jin-nong-dan-237160","竹玄石图轴","金农丹","竹之为物，其性不同于众木，不因寒暑而荣谢，不以四时而变化，风雨不惧，飒飒幽幽，劲不输于青松，曲可比于细柳，故寓君子于竹。\n国人与竹的心灵交契，可上溯《诗》《礼》。自东晋王徽之说“何可一日无此君”后，“君”便成了竹的别称。后世百代，竹都以君子的形象存寓在人们的心中。古代文士爱竹、咏竹、写竹，将一切美好的品德与理想的人格都赋予竹。自唐人“君子比德于竹”，到宋人“其身与竹化”，视竹为与自身心灵相通的君子，人与竹的精神联系已达到“物我无间”的境地。\n墨竹，又称“墨君”，起于唐而源流未审。北宋文同（字与可）、苏轼开文人写意墨竹之先河，其写竹不止于状貌，非图其外美，而以纯素之心体竹高洁之性。\n后世画家，凡写墨竹，无不受到文同与苏轼的影响，无不对其推崇备至。金代王庭筠，元代李衎、高克恭、赵孟頫、吴镇、顾安、柯九思、倪瓒、王蒙等，明初王绂、夏昶，他们写竹，备竹子之法度神采，又饱含君子之气度品格，直承文苏之正脉。之后，陈芹、姚绶、文征明、陈淳、徐渭、朱耷、石涛、金农、郑燮等秉承文苏之风骨，融自己之心意，不同与可，却能“高呼与可”，为文人墨竹注入了新鲜的血液。“墨君”也因此承载了更多的意象和更高的情志。传承是艺术得以延续的根本，但是它更感人的一面乃是其绝世而独立的精神，是其郁郁勃发、生生不息的生命状态。",[25,26,27,53,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76c12294b2fcf4f48504901088786c74.jpg",[679],{"id":3892,"slug":3893,"title":3894,"dynasty":48,"author":3895,"museum":224,"description":3896,"tags":3897,"thumbUrl":3898,"material":88,"size":88,"collection":88,"collections":3899,"showCount":3871,"zanCount":11,"manualWeight":42,"mainColor":92},234176,"hua-hui-juan-lu-zhi-234176","花卉卷","鲁治","鲁治，号岐云，东吴人。善画花卉、翎毛。设色妍丽，得宋人之法。广东省博物馆藏《百花图卷》。",[23,25,26,56,28,29,85,59,66,7,67,61,62,63,64,2080,488],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3035c745deb8cf52d925ad006c15ad2b.jpg",[],{"id":3901,"slug":3902,"title":3903,"dynasty":18,"author":3904,"museum":182,"description":3905,"tags":3906,"thumbUrl":3907,"material":104,"size":3908,"collection":88,"collections":3909,"showCount":3871,"zanCount":42,"manualWeight":42,"mainColor":92},231561,"lan-zhu-tu-ce-li-shan-231561","兰竹图册","李鱓","李鱓 （1686-1762），清代书画家。曾为宫廷作画，后任滕县知县，为政清简，以忤大吏罢归。在扬州卖画。为扬州八怪之一。擅画花卉虫鸟，初师蒋廷锡，画法工致；又师高其佩，进而趋向粗笔写意，并取法林良、徐谓、朱耷，落笔劲健，纵横驰骋，不拘绳墨而有气势，有时使用重色或彩墨结合，颇得天趣。因在扬州见石涛作品，遂用破笔泼墨作画，风格一变。传世作品有《五松图》《芭蕉萱石图》和《墨荷图》等。\n李鱓工诗文书画。曾随蒋廷锡、高其佩学画。后又受石涛影响，擅花卉、竹石、松柏，早年画风工细严谨，颇有法度。中年始转入粗笔写意，大胆泼辣，挥洒自如，感情充沛，富有气势。他大大拓展了写意花鸟画的表现领域，大自然中的花草树木，人们日常生活的各种用具，乃至向来不登大雅之堂的农家食用之物如桑、蚕、破芭蕉扇之类，也一一摄入画中，其题材之广泛多样远远超过了前人。\n其写意花鸟画，努力学习石涛破笔泼墨的画法，酣畅淋漓，笔墨奔放，富有动感，充分表达了作者的创作激情。同时，他又吸取了没骨花卉的表现方法，工细严谨，色墨淡雅，变化丰富，形体富于立体感，在作画时，他经常能做到二者并用，自然浑融，灵活多变，具有较强的艺术表现力。\n在扬州八怪中，李鱓是受到清末批评家猛烈批评的一位，主要指责他脱离传统，笔墨缺乏蕴藉含蓄，有“霸悍之气”、“失之于犷”等。纵观李鱓一生创作，他是一位富有独创才能的画家。",[25,26,83,53,54,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9b1e16345a5ca07089cab1d16f3637f.jpg","纵189．7厘米，横63．4厘米",[],{"id":3911,"slug":3912,"title":3913,"dynasty":97,"author":1555,"museum":224,"description":3914,"tags":3915,"thumbUrl":3918,"material":88,"size":88,"collection":88,"collections":3919,"showCount":3871,"zanCount":176,"manualWeight":42,"mainColor":43},227952,"wu-bai-luo-han-tu-zhi-ying-shen-guan-yin-zhou-ji-chang-227952","五百罗汉图之应身观音","画面主次分明，应身观音安坐于视觉中心，圆光晕染间神态慈悲自在，衣袂舒展流转。身旁僧众或合十谛听，或垂目静思，清癯面容尽显禅门肃穆沉静。\n\n下方文人执卷商榷，童子随侍侧旁，雅意融融。整作设色调和古雅，衣纹以铁线描勾勒，劲挺流畅的线条尽显衣物褶皱的层叠质感，各个人物面相各有风骨，细节鲜活灵动。\n\n布景以祥云朱柱晕染出缥缈佛境，竹石点衬增添清幽禅意，将佛界的静穆与俗世雅意相融，尽显工笔人物画的精湛造诣，晕散开冲淡安和的禅意底蕴。",[23,25,26,1559,28,29,30,7,1560,3916,3917],"宋画","传统","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a0a4e63aacdd50a770d92a6826a7327.jpg",[],{"id":3921,"slug":3922,"title":3923,"dynasty":18,"author":3924,"museum":224,"description":3925,"tags":3926,"thumbUrl":3928,"material":960,"size":961,"collection":88,"collections":3929,"showCount":3930,"zanCount":11,"manualWeight":42,"mainColor":92},288234,"duo-zi-tu-li-zhou-qu-zhao-lin-288234","多子图立轴","屈兆麟","屈兆麟，字仁甫，北京人，1884年18岁时，进清宫造办处如意馆听差，擅长工笔花鸟，后升至如意馆“司匠长”。在清宫如意馆做过最后一任“司匠长”的画师（1866-1937），正好赶上中国历史上由王朝到共和的翻天覆地之变。民国十三年（1924）11月，民国政府摄政内阁黄郛、冯玉祥下令，由北京警卫司令鹿钟麟、警察总监张璧、北京大学教授李煜瀛出面执行，请逊帝溥仪出宫。从此，屈兆麟结束了长达四十年的宫廷画工生涯，流入社会，靠卖画为生，成为职业画家。",[23,25,27,28,29,85,592,487,7,35,3927],"多子多福","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84673a9abd63bfd4f7c5dbd2d3b0bdb3.jpg",[],54,{"id":3932,"slug":3933,"title":3934,"dynasty":48,"author":3935,"museum":875,"description":3936,"tags":3937,"thumbUrl":3940,"material":104,"size":3941,"collection":300,"collections":3942,"showCount":3930,"zanCount":11,"manualWeight":42,"mainColor":92},222578,"zhu-lu-shan-fang-zhou-shen-zhen-222578","竹炉山房轴","沈贞","该图画山峦耸立、老树槎桠，叶竹围绕山房，生意昂然。此图时代风格极为鲜明，与刘珏、杜琼诸家接近，从而得以探明沈周画风的出处，了解承前启后的脉络。",[23,25,26,27,29,238,28,200,7,294,295,296,30,663,3938,3939,3798],"茅舍","小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04ce7c6cd7d2c7863041083e3b58f8f4.jpg","纵115.5厘米，横35厘米",[300,123],{"id":3944,"slug":3945,"title":3946,"dynasty":48,"author":3856,"museum":3947,"description":3948,"tags":3949,"thumbUrl":3955,"material":241,"size":3956,"collection":300,"collections":3957,"showCount":3930,"zanCount":11,"manualWeight":42,"mainColor":92},222225,"si-wan-shan-shui-tu-wan-gan-yan-yu-wen-bo-ren-222225","四万山水图-万竿烟雨","京都国立博物馆","明代中期吴派风格自形成以来盛极一时，他们的画法，上探北宋董巨，近追元代四家，与以往明代绘画所不同的是，吴派山水属于文人画体系，被称为“利家”画并为发展文人画做出了重大贡献，同时他们的画风为后世文人所推重直至今日。文伯仁，字德承，号五峰，作为吴派山水画家和文氏家族中重要的一员，“笔力清劲，布景奇兀，时以巧思发之能传家学，颇负出蓝之誉”，并善于学习古人，画功精湛，在他存世并不众多的作品中不难发觉元代王蒙与叔父文徵明的影子，而与此二人作品相较，比王蒙的山水少了高不可攀的险峻，比文徵明的山水多了鲜明的个人情趣。徐沁在名画录赞叹文伯仁的山水“横披大幅，层峦郁茂不在衡山之下。”\n《四万山水图》指的是四幅分别以“万壑松风”、“万竿烟雨”、“万顷晴波”、“万山飞雪”为题的画作的总称，是明代画家文伯仁为友人顾从义而画，作于文伯仁50岁时。各图上有明末艺苑的代表文人董其昌所题的画赞。文伯仁是明代苏州（江苏省吴县）文人画即吴派的中心人物文征明的外甥，据说其在文氏一门之中画技最为出色。文征明及其一门的画家喜爱描绘山泉林间闲游的文人，但文伯仁的山水画以清静、浅显、清楚的白描风格或淡彩为基调，以充满色彩感的画风为特色，为文人画开辟了新的境界。本图是嘉靖年间（1522～66年）吴派的代表作品之一。《四万山水图》描绘了文人的闲适，作品中大量使用了清劲的白描笔法，表现密度极高。",[23,25,53,27,200,7,3950,296,1882,2944,238,48,3917,3951,618,3952,54,3953,3954],"烟雨","水墨山水","自然景观","笔墨","渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2827fdbc7f7dd9a85fe05f339586423b.jpg","48X123cm",[300,243],{"id":3959,"slug":3960,"title":3961,"dynasty":167,"author":3795,"museum":99,"description":3962,"tags":3963,"thumbUrl":3964,"material":104,"size":3965,"collection":88,"collections":3966,"showCount":3930,"zanCount":42,"manualWeight":42,"mainColor":92},221713,"wang-xi-zhi-guan-e-tu-quan-juan-qian-xuan-221713","王羲之观鹅图全卷","《王羲之观鹅图》是描写东晋书圣王羲之观白鹅的情景。此图画法，笔画简约，千墨燥锋，似是枯瘦格调，而其皴山石、立屋宇，却是较为精密且有顿挫有致的用笔技巧。山石皴笔时见飞动与疏密有致，笔划松动而老辣，空灵而沉着。\n此画为长卷，画面开阔。远景为平远山水景色，中景为一片宽阔河水，水面开阔平如镜，有几只白鹅正在河面上戏水，使谧静的河上略见生气：近处为村落，下面为坡石，坡石间和平地上，丛生松林杂树，树的后边为一座较大的屋宇水榭，水榭中站着两人，高者为此画主人公王羲之，正在凝视前方河面上戏水的鹅群，神情专一，仔细观看鹅群戏水的多姿多态。王羲之的身后为幼童，似乎也随着主人正在观看一群白鹅。\n在画面左侧，作者有一首七言题诗： “修竹林间爽致多，闲庭坦腹意如何。为书道德遗方士，留得风流一爱鹅。”\n画卷隐居题签为乾隆御笔：“钱选《观鹅图》真迹，内府御玩。”下钤“神品”、“御赏”二玺。在画卷引首部分书有“山阴逸兴”四字，上钤“乾隆御笔”玺。画心左上方有乾隆丙寅御笔诗：“墓高风有足多，独推书圣却云何。行云流水参神韵，笔阵传来只白鹅。”画心上部钤“稽古右文之玺”，上有“苍”字，与之配套的有内府五玺：“三希堂精鉴玺”， “宜了孙”、 “乾隆鉴赏”、 “乾隆御览之宝”与“石渠宝笈”玺",[23,25,26,56,29,28,58,102,200,30,454,7,456,1619],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31301d79c761a30f82e35acb1616dd0c.jpg","23.2X92.7厘米",[],{"id":3968,"slug":3969,"title":3970,"dynasty":48,"author":290,"museum":291,"description":3160,"tags":3971,"thumbUrl":3972,"material":87,"size":3163,"collection":88,"collections":3973,"showCount":3930,"zanCount":42,"manualWeight":42,"mainColor":43},220012,"dong-zhuang-tu-ce-zhi-xi-xi-shen-zhou-220012","东庄图册之西溪",[23,25,200,53,238,83,7,296,454,146,456,754],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffae0634223bab0bddda020aa4d2825f9.jpg",[],{"id":3975,"slug":3976,"title":3977,"dynasty":167,"author":1376,"museum":143,"description":3978,"tags":3979,"thumbUrl":3980,"material":69,"size":3981,"collection":71,"collections":3982,"showCount":3930,"zanCount":42,"manualWeight":42,"mainColor":43},219241,"tao-zhu-chun-qin-tu-wang-yuan-219241","桃竹春禽图","此幅画坡石桃竹，两双锦鸡楼于坡石之间。桃枝上的一双小鸟作欲飞状。枝上桃花或盛开，或含苞欲放。图中花和叶都用水墨点画而成，不用线勾。作者以深浅不同的色调，表现出阴阳向背和不同的颜色。鸟身的羽毛举涂染皴划粗细笔兼用，不作精雕细琢。全画笔墨稳练、文雅，气韵苍古，是花鸟画在元代由设色向墨笔过渡的代表性作品。",[23,25,24,27,53,28,85,1380,7,281,592,35,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c252bcf6ed4c5540285f24044384b10.jpg","117.6x55公分；全幅72.5公分",[71],{"id":3984,"slug":3985,"title":3986,"dynasty":18,"author":3987,"museum":143,"description":3988,"tags":3989,"thumbUrl":3990,"material":69,"size":3991,"collection":300,"collections":3992,"showCount":3930,"zanCount":42,"manualWeight":42,"mainColor":92},216780,"si-mei-ju-he-fu-tu-dong-bang-da-216780","四美具合幅图","董邦达","明末，顾从义收藏有顾恺之的《女史箴图》、李公麟的《湘妃卧榻图》、《蜀江图》和《九歌图》。这四卷书后来遗失了，在乾隆十一年，它们被逐渐转移到皇室。梁实秋、王玉盾和张若昀的画跋中提到，乾隆十年，他把这幅画和《雪》、《秋》、《博远图》一起保存在三希堂，这四位美女 其实是相互映衬的。此图为董其昌《四美图》两卷中的右幅。",[25,26,24,27,53,238,200,455,296,454,30,1463,294,7,295,766,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54f2473dd5a6c940a97462bec011f41a.jpg","171.7x111.8",[300],{"id":3994,"slug":3995,"title":3996,"dynasty":521,"author":320,"museum":143,"description":3997,"tags":3998,"thumbUrl":4000,"material":960,"size":961,"collection":88,"collections":4001,"showCount":4002,"zanCount":42,"manualWeight":42,"mainColor":43},290376,"zhu-mei-han-que-tu-zhou-huang-quan-290376","竹梅寒雀图轴","雪寒中，朱连雀、桑鳲、八哥、麻雀栖于梅竹枝蔓中，此项题材、布景，可见于《边文进三友百禽》。从画幅横大于纵，与一般立轴纵大于横，有所不同，或许原本为一大画幅，因残破割裂而成者。画中绿竹竿，每节以重笔勾勒，连节处虚空，这种画法，亦见于边氏作风。八哥羽毛，其墨黑如碳，一般是以灯炱加胶所成，枝干留有残雪，用破笔沾白粉戳出，其法亦见于吕纪诸画中。就风格论，该画出于明人，为边文进、吕纪一系画家所作。",[25,24,3083,27,28,29,59,7,592,3999],"寒雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5b9b276031df00cd0af945364161f1b.jpg",[],53,{"id":4004,"slug":4005,"title":4006,"dynasty":48,"author":3675,"museum":50,"description":4007,"tags":4008,"thumbUrl":4009,"material":1079,"size":88,"collection":88,"collections":4010,"showCount":4002,"zanCount":42,"manualWeight":42,"mainColor":92},234167,"song-zhu-mei-juan-chen-jia-yan-234167","松竹梅卷","纵毫挥染，笔致松秀，设色清丽，韵格兼胜。",[23,24,25,26,56,53,619,102,57,60,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb706e263f815b90ab97a1bb3c330a393.jpg",[],{"id":4012,"slug":4013,"title":4014,"dynasty":48,"author":142,"museum":143,"description":4015,"tags":4016,"thumbUrl":4017,"material":441,"size":4018,"collection":300,"collections":4019,"showCount":4002,"zanCount":42,"manualWeight":42,"mainColor":92},222364,"zhen-ze-yan-shu-tu-tang-yin-222364","震泽烟树图","诗塘 御题行书(乾隆甲辰御题。诗文不录)。\n鉴藏宝玺 乾隆御览之宝。古稀天子。五福五代堂古稀天子宝。八徵耄念之宝。避暑山庄。钤於诗塘。文津阁宝。钤於左边幅。太上皇帝之宝。钤於右边幅。五玺全。嘉庆鉴赏。三希堂精鉴玺宜子孙。三印钤於右边幅。宝笈三编。",[23,25,53,200,708,7,294,146,2744,102,238,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f664c5ad22e60535497a22874ce361.jpg","纵47厘米，横37.8厘米",[300,243],{"id":4021,"slug":4022,"title":4023,"dynasty":167,"author":3537,"museum":182,"description":4024,"tags":4025,"thumbUrl":4026,"material":2696,"size":4027,"collection":243,"collections":4028,"showCount":4002,"zanCount":42,"manualWeight":42,"mainColor":43},221804,"ku-mu-zhu-shi-tu-zhou-li-shi-xing-221804","枯木竹石图轴","绘枯木一棵，两枝树杆粗壮，枝杈繁多，恣意生长；树旁巨石耸立，棱角圆润；右侧淡墨绘一棚细竹，竹叶修长秀美，生机勃勃。李士行，字遵道，元代画家，善山水，尤工竹石更妙。绢本。墨笔。 此图绘古木两棵，形态苍古。树石的用笔遒劲深厚，皴染稠密。细枝勾勒形似蟹爪。笔墨苍劲磊落。",[23,25,26,24,27,53,239,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa68d8fcc18ebecda8e22a95bd2ea3474.jpg","170x52cm",[243,269],{"id":4030,"slug":4031,"title":4032,"dynasty":97,"author":4033,"museum":143,"description":4034,"tags":4035,"thumbUrl":4036,"material":340,"size":4037,"collection":106,"collections":4038,"showCount":4002,"zanCount":42,"manualWeight":42,"mainColor":43},221296,"jin-men-ying-zhao-zhou-guo-zhong-shu-221296","金门应诏轴","郭忠恕","郭忠恕(？-977)五代末期至宋代初期的画家，〔北宋〕字恕先，又字国宝，洛阳(今属河南)人 。\n兼精文字学、文学，善写篆、隶书和“八分体”，以楷书最为著名。 尤其“界画”为世人推重。“界画”是随着山水画发展而派生的一科，主要是画与山水画中有关的亭台楼阁、舟船车舆。《圣朝名画评》中评他的界画，为“一时之绝”，列为“神品” 。\n工书，诸体皆能。曾有人得鸟迹篆，忠恕一见辄诵如宿习。清刘熙载《艺概.书概》称：“忠恕以篆古之笔溢为分隶，独成高致。”传有《三体阴符经》、《汗简》、《佩觽》等书。其画风画技在当时和后世有较大影响。",[23,25,26,452,27,29,28,30,453,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e85929dfecd1409924803dab3ee25f0.jpg","30x28",[106,39,123],{"id":4040,"slug":4041,"title":4042,"dynasty":18,"author":211,"museum":182,"description":212,"tags":4043,"thumbUrl":4044,"material":69,"size":216,"collection":88,"collections":4045,"showCount":4002,"zanCount":42,"manualWeight":42,"mainColor":92},214676,"mei-hua-zhu-shi-tu-ce-11-wang-shi-shen-214676","梅花竹石图册-11",[25,26,83,53,54,85,59,7,35,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a2dccd336217afc6590120e3bc47b60.jpg",[],{"id":4047,"slug":4048,"title":4049,"dynasty":167,"author":385,"museum":143,"description":4050,"tags":4051,"thumbUrl":4052,"material":69,"size":4053,"collection":88,"collections":4054,"showCount":4055,"zanCount":11,"manualWeight":42,"mainColor":92},291019,"yun-shi-gu-cha-tu-ni-zan-291019","筠石古槎图","枯树一株，寥寥数笔，下笔含蓄而有力。坡石皆用淡墨，而以焦墨写竹，极雅淡且极萧散。款下有云林子一印，旧说云林画中惟有荆蛮民一印，亦未可执一而论。",[24,25,26,27,53,297,7,35,102,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bd707629052de9cb100aa4bd7ee76e9.jpg","44.5x32",[],52,{"id":4057,"slug":4058,"title":4059,"dynasty":48,"author":4060,"museum":224,"description":4061,"tags":4062,"thumbUrl":4063,"material":960,"size":961,"collection":88,"collections":4064,"showCount":4055,"zanCount":42,"manualWeight":42,"mainColor":43},289888,"wang-fu-zhu-he-shuang-qing-tu-zhou-bian-jing-zhao-289888","王绂竹鹤双清图轴","边景昭","边景昭，字文进，明代画家。陇西（今甘肃陇西）人，生卒年不详。边景昭的花鸟画以工笔重彩法见长，传统渊源无疑来自宋代“院体”，如清方薰《山静居画论》评：“边鸾（应作边景昭）、吕纪、林良、戴进，纯以宋院题为法，精工毫素、魄力甚伟，黄（笙）、赵（昌）、崔（白）、徐（熙）之作，犹可想见。”明李开先《中麓画品》更具体的指出：“边景昭其源出于李安忠。”清顾复《平生壮观》记边氏《聚禽图》时也指出：“得黄要叔父子遗意。”黄要叔父子即北宋初黄筌及其子黄居采，所创工笔重彩花鸟画风，成为宋初“院体”标准体制.\n李安忠是宣和朝画院画家，花鸟亦善然而出，边氏出生地的福建，又沿续着南宋院画风格和元代边武、张舜咨传至闽地的文人水墨花鸟画风，趋于粗简劲健，故边氏也受到一定影响。其成熟的花鸟画法即粗细相兼，妍雅并重。花鸟主体勾勒设色，工细妍丽，树石北京水墨皴染，简劲清雅，在工致华美中透出雍容浑朴气象，遂自成一格，开创了明代“院体”花鸟新风。",[25,27,85,53,7,118,57,102,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e16c83ba939e92b50a0d66ced3a9ca.jpg",[],{"id":4066,"slug":4067,"title":4068,"dynasty":18,"author":168,"museum":224,"description":4069,"tags":4070,"thumbUrl":4075,"material":960,"size":961,"collection":88,"collections":4076,"showCount":4055,"zanCount":137,"manualWeight":42,"mainColor":43},273097,"ke-si-ling-xian-zhu-shou-ping-hua-gua-ping-yi-ming-273097","缂丝灵仙祝寿瓶花挂屏","缂（kè，同：刻）丝（英文：K’o-ssu 、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”。",[4071,4072,29,85,4073,65,7,57,666,4074],"缂丝","挂屏","花瓶","灵仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F914dba3a90c62a132e69cfde5c941fc3.jpg",[],{"id":4078,"slug":4079,"title":4080,"dynasty":48,"author":2876,"museum":875,"description":4081,"tags":4082,"thumbUrl":4084,"material":104,"size":4085,"collection":679,"collections":4086,"showCount":4055,"zanCount":176,"manualWeight":42,"mainColor":92},222527,"hua-guan-yin-shu-jin-gang-jing-he-bi-quan-juan-wang-fu-222527","画观音书金刚经合璧全卷","画卷右侧绘观音画像，观音打坐念经，一旁的童子双手合十；长卷左侧以行楷书写《金钢金》全篇，字体工整温润，雅致平和。王绂，一作芾，又作黻，号九龙山人，明代画家。",[23,24,25,26,56,1559,4083,53,3631,30,7,200,102],"写经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F493d6433218fdef685f94add11b08e75.jpg","24.6x78",[679],{"id":4088,"slug":4089,"title":2023,"dynasty":167,"author":376,"museum":50,"description":1183,"tags":4090,"thumbUrl":4091,"material":1186,"size":4092,"collection":243,"collections":4093,"showCount":4094,"zanCount":42,"manualWeight":42,"mainColor":43},220839,"gu-mu-zhu-shi-tu-zhou-zhao-meng-fu-220839",[23,25,26,24,27,53,199,741,7,35,428,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7888eb16c9309e34f9ae3a0c0744039a.jpg","纵108.2cm，横48.8cm",[243,269],51,{"id":4096,"slug":4097,"title":4098,"dynasty":48,"author":2683,"museum":1975,"description":4099,"tags":4100,"thumbUrl":4101,"material":4102,"size":4103,"collection":88,"collections":4104,"showCount":4094,"zanCount":42,"manualWeight":42,"mainColor":88},220727,"qi-shi-qing-feng-tu-xia-chang-220727","奇石清风图","夏昶，字仲昭，号自在居士，江苏昆山人，以其墨竹闻名。自北宋文同以来，士大夫因竹具有劲节、虚心、傲霜等特性，常画写墨竹以寄兴。夏昶画竹主要学自王绂，亦多留有以王绂「墨竹山水」构图画成的作品。然夏昶笔墨的浓淡对比较王绂更为强烈，且所绘物象更重视几何造型趣味，其近乎平面的山石形态尤为明显。虽然明人曾评夏昶的竹石亚于其师王绂，但夏昶竹的画名仍远播朝鲜、日本。当时甚至流传有「夏卿一个竹，西凉十锭金」的说法，其竹画广受欢迎的程度，可见一斑。\n\n此画绘奇石从坡岸斜出，后有竹子数株。奇石形状方整，石面遍施墨染，轮廓以较深墨笔勾出，间以侧笔劈坎出岩面质理。画中的倒「丌」字型竹节与呈「个」字「人」字层层交叠的竹叶画法，亦常见于王绂与夏昶的其他作品中。至于远近的竹叶，则分别以浓淡不同之墨色画出。前景竹干随风向右侧倾斜，加上竹梢叶片的转折与叶片的燕尾，更加强了风势的效果。如此充满韵律与生趣的笔墨构图，正是夏昶晚期作品的特征。据画中所钤「太常少卿之章」印推测，作品应绘成于夏昶领有太常少卿衔之时，即1452年至1457年间。",[23,25,26,27,53,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3ceaf4691d89c984035a74bab12310a.jpg","水墨,绢本,立轴","画心：172.5 × 86.2厘米装裱：269.3 × 103.3厘米",[],{"id":4106,"slug":4107,"title":4108,"dynasty":48,"author":290,"museum":291,"description":3160,"tags":4109,"thumbUrl":4113,"material":87,"size":3163,"collection":88,"collections":4114,"showCount":4094,"zanCount":42,"manualWeight":42,"mainColor":92},220018,"dong-zhuang-tu-ce-zhi-zhu-tian-shen-zhou-220018","东庄图册之竹田",[23,25,53,200,7,83,238,4110,295,3939,766,4111,4112],"田地","近水","农舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8e87a0381a50c5450296ebf70e92533.jpg",[],{"id":4116,"slug":4117,"title":4118,"dynasty":167,"author":1314,"museum":143,"description":4119,"tags":4120,"thumbUrl":4121,"material":69,"size":4122,"collection":71,"collections":4123,"showCount":4094,"zanCount":42,"manualWeight":42,"mainColor":43},219360,"wan-xiang-gao-jie-tu-ke-jiu-si-219360","晚香高节图","此图描述了“石如飞白木如籀，写竹应须八法通”，是元代画家赵孟頫为柯九思《墨竹图》题写的诗句的情景。画面的主要表现是精竹秀石，还有野菊花作点缀。 此图以菊花“晚香”之意，竹子节高，故有晚香高节之画意。",[24,25,53,54,238,7,214,67,428,946,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff64ea458d2092b5764321504018ff651.jpg","126.5厘米，横75.2厘米",[71],{"id":4125,"slug":4126,"title":1375,"dynasty":97,"author":4127,"museum":251,"description":4128,"tags":4129,"thumbUrl":4130,"material":37,"size":4131,"collection":71,"collections":4132,"showCount":4094,"zanCount":11,"manualWeight":42,"mainColor":43},218882,"tao-zhu-jin-ji-tu-ma-ben-218882","马贲","马氏家族绘画代代相传，必然有一些绘画技法是代代相传的。从这个角度，我们可以看到，《桃竹锦鸡图》右边的桃树枝干部分，与马远《西园雅集图》等作品中的树干画法，非常接近，都是直来直去的描绘方式；《桃竹锦鸡图》中非常显眼的燕子，与收藏在日本大和文华馆的马远《竹燕图》，存在非常明确的一致性。竹子的画法与传世马远多件绘画中的竹子，更是接近。通过这些细节的全面比较，可以判断：《桃竹锦鸡图》是马氏家族的作品。\n《桃竹锦鸡图》从时间坐标上看，是宣和时代；从绘画特征来看，是马氏家族；那么，按照逻辑，《桃竹锦鸡图》的作者就是马贲。马贲的生活时代跨北宋神宗、哲宗、徽宗，比崔白、吴元瑜等画家的活动时间略晚10-20年。他是南宋大画家马远的曾祖父，马氏五代绘画家族的第一代人物。他的晚期作品，受宣和时代影响，应该具有典型的宣和画家绘画意识。",[25,24,26,28,29,85,1380,7,185,35,592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1576814ae297b450aa13cc8ea4cb67.jpg","21x22cm",[71],{"id":4134,"slug":4135,"title":4136,"dynasty":167,"author":3795,"museum":224,"description":4137,"tags":4138,"thumbUrl":4139,"material":960,"size":961,"collection":88,"collections":4140,"showCount":4141,"zanCount":176,"manualWeight":42,"mainColor":92},290959,"lan-ting-guan-e-tu-qian-xuan-290959","兰亭观鹅图","宋钱选兰亭观鹅图卷：传说东晋大书法家王羲之生性喜鹅，曾见一道士有白鹅甚可爱，因书《黄庭经》以换之。此图即钱选据传说附会而成。近景树木蓊郁，竹林茂密，亭台掩映，白鹅戏水，王羲之凭栏观望。远山苍翠，村庄隐现于雾霭山林间。境界秀雅明润，风格古拙高逸。青绿设色，画法直追唐人。钱选（公元1239─1301年），浙江吴兴人。字舜举，宋景定间乡贡进士。为“吴兴八俊”之一。入元不仕，流连诗画以终其身。山水、人物、花鸟无不擅长。",[24,25,26,56,878,29,200,454,453,30,7,456,1619,296,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e36723340126cf3064bb0ea8d3c7df5.jpg",[],50,{"id":4143,"slug":4144,"title":4145,"dynasty":97,"author":717,"museum":224,"description":4146,"tags":4147,"thumbUrl":4151,"material":960,"size":961,"collection":88,"collections":4152,"showCount":4141,"zanCount":11,"manualWeight":42,"mainColor":43},287755,"yue-xia-ba-bei-tu-ma-yuan-287755","月下把杯图","这幅马远传世精品《月下把杯图》，虽只一开册页，然画面“小中见大”，笔墨颇见生动精逸之境。此构图看似平夷，实则“平中生险”，尽显山涧深峻幽险之气。此图所绘的是十五中秋美景之夜，一轮圆月高挂空中，照的天地是那么的明亮。在这“每逢佳节倍思亲”的美景月下，恰逢远方多年不见的好友佳节来访，这让刚刚还在睹物思友的主人家中，立即增添了极大的精神欢乐。有诗句曰：“得好友来如对月，有奇书读胜观花”，似乎正是这个意境。\n画面上的主人，体态轻盈，举止文雅，面如春风，手中把杯迎友，显得是那么的亲密愉快。旁有四童仆，一侍立待呼，一侍果备用，另一侍酒小童，正在回望另一侍琴上台阶的半隐文童。整幅画面虽只写主仆六人，然内含笔墨神态各异，颇具生动真趣。月下空旷的山林是那么的幽雅静谧，然而月色中，依旧挡不住这欢愉间的良辰和美酒。",[24,25,26,29,30,767,7,4148,4149,57,102,4150],"饮酒器","聚饮","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5828b63db994147999e5823f6ea3bf59.jpg",[],{"id":4154,"slug":4155,"title":4156,"dynasty":18,"author":168,"museum":224,"description":4157,"tags":4158,"thumbUrl":4159,"material":88,"size":88,"collection":243,"collections":4160,"showCount":4141,"zanCount":11,"manualWeight":42,"mainColor":92},236420,"yuan-ji-zhu-lan-tu-zhou-yi-ming-236420","原济竹兰图轴","石涛（1642年－1708年），清初画家，原姓朱，名若极，广西桂林人，祖籍安徽凤阳，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。南明元宗朱亨嘉之子，与弘仁、髡残、朱耷合称“清初四僧”。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。",[25,27,53,7,66,102,1720],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffbbf2516dddb2cd2d26eee2b4d6cb66.jpg",[243,269],{"id":4162,"slug":4163,"title":4164,"dynasty":167,"author":750,"museum":224,"description":4165,"tags":4166,"thumbUrl":4167,"material":88,"size":88,"collection":88,"collections":4168,"showCount":4141,"zanCount":11,"manualWeight":42,"mainColor":43},228035,"shan-shui-hua-ce-12-ye-guan-dao-sheng-228035","山水画册12页","此作以水墨晕染铺就烟岚浮动的幽寂之境，山峦隐现于流云薄雾之间，虚实相生，似有若无，将江南山水的氤氲柔婉尽数铺陈。坡岸修竹清挺秀逸，枝叶以细劲墨线勾勒，在朦胧烟霭中愈见清雅灵秀，与淡墨晕开的云山相映成趣。\n\n全画舍去繁复皴法，以淡墨烘染出云雾流荡之态，留白与晕染交织，令观者仿若身临幽寂空茫的山林，听溪声、沐烟霞，尽显元画尚意的审美意趣，于尺幅间藏万千丘壑，将文人画简淡空灵的意境抒发得淋漓尽致。",[25,26,83,53,238,200,7,146,296,1560,456],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42fa9d27742c0b2b8d4e4c85f9f39255.jpg",[],{"id":4170,"slug":4171,"title":4172,"dynasty":18,"author":1905,"museum":50,"description":4173,"tags":4174,"thumbUrl":4175,"material":160,"size":4176,"collection":88,"collections":4177,"showCount":4141,"zanCount":11,"manualWeight":42,"mainColor":92},222809,"hua-zhu-qi-qin-tu-wang-wu-222809","花竹栖禽图","《花竹栖禽图》底部一奇古巨石，一朵盛开的牡丹从石左侧斜出，枝头一雀鸟面向花朵，鸟目圆睁，似在欣赏花的美丽，又像陶醉在花香中。\n花鸟的颜色艳而不俗，用笔工而不板，明快醒目。\n巨石以浓墨绘出，见有皴染。\n石隙空洞处可见枝叶，错落雅致。\n墨竹疏落有致，用墨浅淡，与底部的花、鸟、石形成色彩上的鲜明对比。\n整幅画面虚实相间，构图奇巧，设色浓淡适宜，笔墨兼工带写，形成了赏心悦目的视觉效果。\n可见，作者跋中所言“学古而步泥其迹”不虚。\n此画右侧下端，置一太湖巨石，两头小中间大，造型奇特，玲珑别透，中间以矾头突出，湖石几乎占有画面的二分之一。\n石旁有翠竹数株，拔地而起，竹竿挺拔，有二大株翠竹冲出画面，一株矮竹附在湖石旁。\n湖石左脚下有数株茶花，茶花有的绽开，有的含苞，在绿叶村托下显得艳丽清雅。\n画幅左侧有作者自题识，丁已年为康熙十六年（1677），王武时年45岁，为王武中年佳作。\n此画的景物基本集中于画幅右侧，但由于画家精心安置，使整幅画位置安稳、平而不板，赋色明丽、艳而不俗，这是此画的最大的特色，也是此画最成功之处。\n在表现技法上，画家以水墨勾勒，皴染作山石，在点苔之后复以石青点之，湖石显得坚实、凝重。\n竹叶和茶花用绿色和红色直涂法，花蕊以黄色点染，花瓣虽都是红色，但亦有深浅区别变化，花叶上又用中锋细笔加画叶脉。\n一只小鸟以积墨法画之，墨色变化丰富，表现出羽毛的质感。\n此画采用没骨与匀勒法相结合的手法，显得自然协调，敷色雅丽明快，令观赏者心旷神怡，颇有忘忧之感。",[23,25,24,26,27,29,28,7,897,281,35,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8017c120ae98e5925dad71a77ec4ec.jpg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，长见识，大自然的真山真水，启迪了他创作灵感。\n其工诗文书法，绘画题材多为渔父、古木、竹石之类，善画山水、梅花。草书学巩光，山水师法董源、巨然而又独出机杼，以雄强笔法辅以丰富墨法，自有一种苍茫沉郁、古厚纯朴之气。精写竹，师李衎，晚年则专写墨竹。墨竹宗文同，为文同后又一大家。善于用墨，淋漓雄厚，为元人之冠。兼工墨花，亦能写真。同以竹掩其画，镇以画掩其竹。其画虽势不能夺，唯以佳纸笔投之，欣然就几，随所欲为，乃可得也。诗词风格简劲奇拔，感情真挚，常以比兴自吐胸臆，接近陶潜诗风，外示平淡而内实郁愤。书法能结合王羲之和怀素之长而自具面目。每作画往往题诗文于其上，或行或草，墨沈淋漓，诗、书、画相映成趣，时人号为“三绝”。其画风对明清山水画的发展，有较大影响。他与王蒙、黄公望、倪瓒齐名，并称为元四家。\n相传吴镇本与盛懋比门而居，四方以金帛求盛画者甚众，而吴之门阒然。妻子颇笑之。曰：“二十年后不复尔。”后果如其言。\n吴镇事迹收录于《画史会要》、《清河书画舫》、《六研斋笔记》、《容台集》、《仓螺集》。墨迹今存世的有《双桧平远图》轴(台湾故宫博物院藏)、《渔父图》轴（北京故宫博物院藏）、《渔父图》卷（美国佛利尔美术馆藏）、《长松图》轴（南京博物院藏）、《草书心经》卷（北京故宫博物院藏）等。其风竹刻石，陈列在嘉兴南湖烟雨楼，其八竹碑及草书《心经》碑陈列于嘉善梅花庵。又有《梅道人遗墨》2卷，系后人辑录的其诗和题跋。\n吴镇非常爱梅，家室四周遍植梅树，取斋名“梅花庵”。因居处有橡林，故书斋又名“橡室”。\n吴镇墓现存于梅花庵内，梅花庵是纪念吴镇的附属性建筑，在墓的东侧，明万历间为守墓而建。位于魏塘镇花园弄路西侧。明泰昌元年（1620年）邑令吴旭和邑绅钱士升筹集款修理墓道、添建祠堂三楹、亭三楹、僧舍五楹。华亭陈继儒作《修梅花庵记》，并有董其昌书“梅花庵”匾额。后邑人曾几次筹资重修。新中国成立后，吴镇墓与梅花庵，曾多次作过修缮。由浙江省人民政府公布为省重点文物保护单位。\n吴镇画山水喜用湿墨，其实吴镇未尝不善用干墨，在吴镇传世几十余幅墨竹中，几乎全是用干墨画的，均取得了良好的效果。之所以吴镇在山水画中多用湿墨，这与吴镇欲借山水画表达的境界有极大的关系。北宋山水画追求一种可游、可居之景，用笔用墨都服从于山水真实体感的表达；而元人则以山水为媒，追求一种有我之景，笔墨除用表现形体外，更是充作了情感流露的媒介。在元四家中吴、倪均以画水著称，倪喜用干墨，吴则喜用湿墨。倪用干墨草草点染，创造一种荒芜、澹泊之境；吴则用湿墨，渲染出一种凄清、静穆之境。细观吴镇每一幅山水画，都给人以“水墨淋漓幛犹湿”的感觉。无论是山、树、水，还是船、渔父、房屋，无论是近景，还是远景，均如淋浴在水中，从而更使远方景物有千里之遥，营造了一种凄清、幽旷、寂寥的艺术氛围。\n吴镇画中的水墨效果是与他多种笔法、墨法的灵活运用密切相关的，湿墨决不是简单化的水量的增加。吴历云：“江山无尽、万里长江两卷，……浑然天成，五墨齐备，盖仲圭擅长，非后学者所能措手。”“五墨齐备”是吴镇用墨的高超之处，为更好地发挥墨效，吴镇在选择作画材料上很有讲究，画梅竹喜用纸，画山水则喜用绢。画山水何以选绢，因为绢有厚度，纤维富韧性，多次渲染而不皱折。吴镇非常熟悉笔、墨、绢的特点，作画中的五墨并施而不腻，反复皴擦而不胀，产生了浓而润、湿而厚、涩而不干、枯而不燥的艺术效果。吴镇清淡似水，出现了浓而透的效果。今天看吴镇作品，仍能透过作品清楚的辨别它们的组织关系。清王原祁曰：“梅道人泼墨，学者甚多，皆粗服乱头，挥洒以自鸣得意，于节节肯綮处，全无梦见。无怪乎有墨猪之诮也。”王原祁的这一评论反映了吴镇的用墨技术是非常人所能学到的。吴氏的墨法，倾倒了元以后的历代大家，沈周、文徵明、恽南田、四王、吴历、八大山人等均对吴镇墨法大加推崇。",[24,25,53,27,239,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63832bc58031f20afa8f53f097b5ded3.jpg","纸本 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横69.8CM",[],{"id":4361,"slug":4362,"title":1482,"dynasty":48,"author":4363,"museum":143,"description":4364,"tags":4365,"thumbUrl":4366,"material":172,"size":4367,"collection":71,"collections":4368,"showCount":4331,"zanCount":42,"manualWeight":42,"mainColor":43},219508,"zhu-tu-lv-duan-jun-219508","吕端浚","此作用水墨写就，运笔爽利遒劲，丛竹叶叶交叠，以浓淡墨色区分层次，俯仰向背各具意态，繁密却不失条理，尽显修竹清刚挺拔之姿，仿佛有穿林风声拂过纸面。\n\n下方奇石以淡墨晕染轮廓，焦墨点苔，朴拙古雅，稳稳承托劲竹，与秀逸修竹形成刚柔相济的意趣，地面细草寥寥几笔，野趣自生。\n\n题款与画面相映成趣，整幅以极简水墨承载文人意趣，将竹的君子风骨融于尺素，笔情墨韵间满是萧散出尘的雅致。",[25,27,53,7,35,428,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F944e6c300e61ee66ba74b2b616fa2a07.jpg","169.1x87.6",[71],{"id":4370,"slug":4371,"title":4372,"dynasty":48,"author":168,"museum":115,"description":4373,"tags":4374,"thumbUrl":4375,"material":37,"size":4376,"collection":39,"collections":4377,"showCount":4331,"zanCount":11,"manualWeight":42,"mainColor":43},218368,"luo-han-tu-yi-ming-218368","罗汉图","这幅画与林廷珪、周继昌的《五百罗汉受虎贲图》是同一题材，其笔触和色彩也与宋代的画作相近。大英博物馆将这幅画归于明代，但如果我们参照台北故宫收藏的《十六罗汉双肩图》来看，我们可以认为它是在元代绘制的。",[25,29,28,1559,30,7,1572,146,456],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01738ac3829421493eb90de1e7375c9f.jpg","170.5x88",[39],{"id":4379,"slug":4380,"title":520,"dynasty":167,"author":4381,"museum":224,"description":4382,"tags":4383,"thumbUrl":4384,"material":960,"size":961,"collection":88,"collections":4385,"showCount":4386,"zanCount":42,"manualWeight":42,"mainColor":43},290138,"xue-zhu-tu-tan-zhi-rui-290138","檀芝瑞","檀芝瑞，明代画家，生卒年不详。只见于《中国美术人名大辞典》，寥寥数语。介绍为元代人，擅长梅兰墨竹。",[23,24,25,26,53,7,35,325,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19287786270e4376bfc16080de26ef0.jpg",[],46,{"id":4388,"slug":4389,"title":4390,"dynasty":18,"author":3039,"museum":224,"description":4391,"tags":4392,"thumbUrl":4395,"material":960,"size":961,"collection":88,"collections":4396,"showCount":4386,"zanCount":11,"manualWeight":42,"mainColor":92},290003,"mei-hua-shu-wu-tu-zhou-hong-ren-290003","梅花书屋图轴","该图画一座房屋，一棵梅树，景物简洁。该图干墨皴擦，但在亭子上用淡墨渲染，形成大对比。用笔很少，但意趣很丰富。",[25,53,27,4393,297,7,57,102,4394,200],"书屋","雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F157a432cd94e76aaf0d5824a4e063eb9.jpg",[],{"id":4398,"slug":4399,"title":4400,"dynasty":48,"author":2372,"museum":224,"description":4401,"tags":4402,"thumbUrl":4403,"material":960,"size":961,"collection":88,"collections":4404,"showCount":4386,"zanCount":11,"manualWeight":42,"mainColor":92},289885,"san-jue-tu-ce-yao-shou-289885","三绝图册","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》。",[25,83,200,53,29,7,63,455,592,454,708,295,456,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6e5ac77e4f56aa826bc7cfe0db28f63.jpg",[],{"id":4406,"slug":4407,"title":4408,"dynasty":18,"author":4409,"museum":224,"description":4410,"tags":4411,"thumbUrl":4412,"material":88,"size":88,"collection":88,"collections":4413,"showCount":4386,"zanCount":42,"manualWeight":42,"mainColor":92},239087,"si-ji-hua-hui-ping-zhang-xiong-239087","四季花卉屏","张熊","张熊(1803—1886)，又名张熊祥，字寿甫，亦作寿父，号子祥，晚号祥翁，别号鸳湖外史，鸳湖老人，鸳湖老者，鸳鸯湖外史，西厢客。别署清河伯子，髯参军。室名银藤花馆。秀水（今浙江嘉兴）人，张熊年青时代就移居上海，参加各种美术活动",[25,26,27,29,85,59,7,64,281,35,18],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ce344acb81c42a71b0d0c6bdde720fd.jpg",[],{"id":4415,"slug":4416,"title":4417,"dynasty":48,"author":2683,"museum":224,"description":4418,"tags":4419,"thumbUrl":4420,"material":88,"size":88,"collection":71,"collections":4421,"showCount":4386,"zanCount":42,"manualWeight":42,"mainColor":43},237861,"yi-chuang-chun-yu-zhou-xia-chang-237861","一窗春雨轴","夏昶（1388—1470），字仲昭，号自在居士、玉峰，昆山人，后人誉其画竹高手。他初姓朱，名昶，后复姓夏，太宗为之更名昶，字仲昭。号自在居士，又号玉峯，江苏昆山人，夏昺弟。正统中官至太常寺卿直内阁。画墨竹师王绂，能得其妙，时推第一，名驰绝域，争以金购之。\n永乐十三年(公元1415年)中进士，为翰林院庶吉士。文皇十分赏识他的楷书，被推荐供事内省，授中书舍人。永乐命书宫殿榜。尝待从皇帝出巡于南、北二京。\n宣德(公元1426一1435年)中，转考工主事，仍供内直。正统(公元1436—1449年)中升太常卿。他为人坦率乐易，不拘小节，时常出入礼法间，人们也不怎么去责怪他。晚年回到故乡居住，以诗画宴乐自娱。\n夏昶以楷书笔法画竹，所作竹枝烟姿雨色，偃直浓巯，各循矩度而气韵生动。当时学他画竹的人很多，画史记载的如同里(昆山)的屈礿(字处诚)、海虞(常熟)的张绪(字廷瑞)、钱塘(杭州)的詹和（字仲和)。而以屈礿为突出。明吴宽《匏庵集》说：“今人家多得，往往出其手，真伪固自能辨。”徐沁《明画录》说夏昶“写竹时称第一，名驰绝域，争以兼金购求，故有‘夏昶一箇竹，西凉十锭金’之谣”。所作竹枝烟姿雨色，偃值浓疎，动和榘度，盖行家也。昆山之人师之者更数辈，独屈约颇类之，而人所得，往往出其手。尤精楷法，永乐命书宫殿榜。卒年八十三。",[25,26,27,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97ffe0f0713ce4807c396998164f7582.jpg",[71],{"id":4423,"slug":4424,"title":4425,"dynasty":48,"author":2845,"museum":224,"description":4426,"tags":4427,"thumbUrl":4428,"material":960,"size":961,"collection":88,"collections":4429,"showCount":4386,"zanCount":42,"manualWeight":42,"mainColor":92},235797,"zhu-shi-shui-xian-tu-shan-chen-chun-235797","竹石水仙图扇","陈淳（1483年—1544年），字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲（今江苏苏州）人，明代绘画大师。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。",[25,26,1120,53,85,7,214,64,102,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16dff079fbf4e388d791315f264fcf06.jpg",[],{"id":4431,"slug":4432,"title":4433,"dynasty":18,"author":168,"museum":224,"description":4434,"tags":4435,"thumbUrl":4436,"material":88,"size":88,"collection":88,"collections":4437,"showCount":4386,"zanCount":11,"manualWeight":42,"mainColor":92},234225,"lan-zhu-juan-yi-ming-234225","兰竹卷","此作用水墨写意挥洒兰竹，尽显草木清魂。中锋走笔写竹干，枯湿浓淡区分老干新篁，笔力沉厚见挺劲；焦墨撇写竹叶，聚散疏密如惊风穿林，欹斜之中自带着清刚傲骨。兰叶以淡墨舒卷，笔致柔婉修长，与劲竹刚柔相映，芝石以破墨晕染，静立草木之侧，更衬幽逸。\n\n长卷铺陈间虚实相生，留白空灵如江上烟岚，兰竹俯仰顾盼，似有风过林动，清韵暗生。笔墨简淡而意态丰盈，将林下幽人的疏旷襟怀藏于毫锋，尽显文人画重韵尚简的雅趣风骨。",[23,25,26,56,53,66,7,35,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9161ab891439c39cd6b1c0c97e0f882.jpg",[],{"id":4439,"slug":4440,"title":4441,"dynasty":167,"author":385,"museum":50,"description":4442,"tags":4443,"thumbUrl":4444,"material":4445,"size":4446,"collection":88,"collections":4447,"showCount":4386,"zanCount":11,"manualWeight":42,"mainColor":92},233883,"ku-mu-you-huang-tu-zhou-ni-zan-233883","枯木幽篁图轴","该图画一平坡之上立一巨石，石边一寒树独立，树旁又有双竹挺立，并分向左右弯曲生长，其周围亦有细篁数丛。\n该图中上方有作者自题诗一道：“古木幽篁寂寞滨，斑斑鲜石翠含春。自知不入时人眼，画与皎溪古遗民，云林生。”画幅上还有马治，松泉隐者诗题。\n画中笔法疏率，画树以鹿角法，画石以折带皴，二者皆用淡墨干笔，画竹叶亦以轻盈简率的介字点法。\n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。\n构景简洁是倪云林画的突出特色，该图亦通过一石、一树、数竹这极简之景构成一个荒寒萧疏的意境。",[25,26,27,53,239,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd35cbb863ee23b56d80a3506b492b05d.jpg","纸本、墨笔","纵88.6厘米，横30厘米",[],{"id":4449,"slug":4450,"title":4451,"dynasty":18,"author":130,"museum":50,"description":4452,"tags":4453,"thumbUrl":4454,"material":4455,"size":4456,"collection":88,"collections":4457,"showCount":4386,"zanCount":42,"manualWeight":42,"mainColor":92},233404,"yuan-ji-jiao-ju-zhou-shi-tao-233404","原济蕉菊轴","本幅水墨，自题五言诗一首，款：“蕉诗偶书其意，石涛济”。钤“搜尽奇锋打草稿。”朱方。下钤：“问亭鉴赏图书”等收藏印。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[25,53,27,85,1442,67,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59523118ad25166a662d1dd8cd731f9.jpg","纸本 ，水墨","纵91.8cm，横49.5cm",[],{"id":4459,"slug":4460,"title":4461,"dynasty":48,"author":168,"museum":224,"description":4462,"tags":4463,"thumbUrl":4464,"material":160,"size":4465,"collection":88,"collections":4466,"showCount":4386,"zanCount":190,"manualWeight":42,"mainColor":43},232605,"zhu-zhi-tang-lang-tu-ye-yi-ming-232605","竹枝螳螂图页","古人认为，螳螂是饮风食露的草虫，于深秋产卵，在芒种初候阴气产生时破壳生长。",[25,29,28,7,366,35,102,85,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc943d63001ea01c7ad8a4d2c85125971.jpg","23×239cm",[],{"id":4468,"slug":4469,"title":96,"dynasty":167,"author":385,"museum":3628,"description":4470,"tags":4471,"thumbUrl":4472,"material":104,"size":4473,"collection":88,"collections":4474,"showCount":4386,"zanCount":42,"manualWeight":42,"mainColor":92},231478,"mo-zhu-tu-ni-zan-231478","倪瓒善画水墨山水画，元朝， 创造“折带皴”，是平远画法的典型，取材于太湖一带平原风景，其画萧瑟幽寂，寒林浅水，不见人踪，画出他伤时感事的心情。倪瓒以这种空旷而辽远的太湖意境征服了画坛，以致后世常有“太湖属于倪云林”之说。\n倪瓒的画“似嫩而苍”，简中寓繁，小中见大，外落寞而内蕴激情。他也善画墨竹，风格“遒逸”，瘦劲开张。画中题咏很多。他的画由于简练，多年来伪作甚多，但不容易仿出他的萧条淡泊的气质。\n倪瓒的绘画属于宋代兴起的“文人画”——通过主观的描绘表达更多的作者自身情怀，进入“有我之境”（李泽厚语）。他将自己的画法风格和追求总结成“逸气”一语， 可以说是中国画“笔墨”一说的最好代表。",[24,25,26,53,7,102,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1cb10c76f5727e7efa78d2e5d9ea2c9.jpg","高29.2厘米，宽28.7厘米",[],{"id":4476,"slug":4477,"title":1283,"dynasty":48,"author":4478,"museum":224,"description":4479,"tags":4480,"thumbUrl":4481,"material":88,"size":88,"collection":88,"collections":4482,"showCount":4386,"zanCount":42,"manualWeight":42,"mainColor":92},228349,"zhu-lin-tu-tao-hong-228349","陶红","以水墨晕写坡岸幽篁，修竹错落层叠，运笔秀劲灵动，竹叶以个字、介字点簇，笔断意连，尽显竹之清逸风骨。浅墨轻笼烟岚远山，淡赭晕染坡脚水岸，虚实相生间铺展出空濛雅致的林麓之景。\n\n山石以淡墨勾勒皴擦，简淡不饰雕琢，留白拓出水天相融的空阔意境，将文人画尚简重意的意趣融于尺幅间。观之如临幽林，似聆林风穿叶，清寂淡远的林下雅韵扑面而来，尽显静穆淡远的林下幽居之趣。",[25,26,53,7,200,35,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27b74b593200ac6a53a7c1f309a38c8b.jpg",[],{"id":4484,"slug":4485,"title":4486,"dynasty":167,"author":376,"museum":50,"description":4487,"tags":4488,"thumbUrl":4489,"material":4490,"size":4491,"collection":39,"collections":4492,"showCount":4386,"zanCount":137,"manualWeight":42,"mainColor":92},220874,"zi-hua-xiang-tu-ye-zhao-meng-fu-220874","自画像图页","《自画像》，绢本，设色画。款识：“大德己亥子昂自写小像。”对幅有明宋濂小楷书《赵文敏公小像赞》，北京故宫博物院藏。《故宫博物院藏文物珍品全集·元代绘画》《归去来兮——赵孟頫书画珍品回家展特集》中影印出版。",[23,25,26,83,29,28,30,7,324,3939,296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b94c7ac9ae3d7d98482b82096ffae03.jpg","绢本，设色画","纵24cm，横23cm",[39,123],{"id":4494,"slug":4495,"title":4496,"dynasty":97,"author":168,"museum":143,"description":4497,"tags":4498,"thumbUrl":4499,"material":160,"size":4500,"collection":106,"collections":4501,"showCount":4386,"zanCount":42,"manualWeight":42,"mainColor":43},220235,"bian-zhuang-zi-ci-hu-2-yi-ming-220235","卞庄子刺虎2","宋人画卞庄子刺虎图，是从宋代遗存下来的古画，由于作品未留署名，尚不能确定作者是谁，有人推测是出自宋代李公麟之手！这幅画是一副寓意图，描绘的是两只老虎想吃一头牛，而卞庄又想猎杀两只老虎的场景，通过这些场景和最后结果的描绘想劝告人们做事不要只凭勇气，而没有智慧；另一方面的，也阐释出自己人“两只老虎”相争，最后却被别人得到利益。",[24,25,26,28,29,30,1572,1463,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0de4be4d0d370b1a0cbb18f0c2f5cb7e.jpg","39×169.1公分",[106],{"id":4503,"slug":4504,"title":4505,"dynasty":48,"author":168,"museum":131,"description":4506,"tags":4507,"thumbUrl":4510,"material":37,"size":88,"collection":39,"collections":4511,"showCount":4386,"zanCount":11,"manualWeight":42,"mainColor":43},218357,"duan-ben-cheng-yuan-tu-yi-ming-218357","端本澄源图","卧榻上人影斜倚，指尖轻拈小物，眉目间漫着慵懒与自在。身侧侍女垂立，衣袂微动，似欲以团扇拂去浮尘，静候吩咐。案上瓶炉雅致，蕉叶舒展、竹影婆娑，衬得室内清幽如许。笔墨间藏着文人闲居的逸趣——不刻意张扬，却在器物的精巧、环境的恬淡里，流露出对澄明心境的追寻。每一处线条都似在低语，将日常的悠然与内心的宁静交织，如一杯淡茶，慢慢浸润出岁月的温润与雅致，让人见之便觉心安神宁。",[25,29,28,30,7,1442,33,4508,4509],"床榻","桌案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedbbdbe5eda59a11094ffc7bebbd6578.jpg",[39],{"id":4513,"slug":4514,"title":4515,"dynasty":18,"author":4516,"museum":224,"description":4517,"tags":4518,"thumbUrl":4521,"material":960,"size":961,"collection":88,"collections":4522,"showCount":4523,"zanCount":42,"manualWeight":42,"mainColor":92},290491,"qi-yan-lian-wu-hu-fan-290491","七言联","吴湖帆","吴湖帆，江苏苏州人，为吴大澄嗣孙(1894年农历七月初二—1968年8月11日)。初名翼燕，字遹骏，后更名万，字东庄，又名倩，别署丑簃，号倩庵，书画署名湖帆。",[23,25,26,4519,57,58,29,7,4520,65,2633,102],"对联","佛手","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff61d5b426294b7d95db061d5a5f81f.jpg",[],45,{"id":4525,"slug":4526,"title":4527,"dynasty":48,"author":2361,"museum":224,"description":3284,"tags":4528,"thumbUrl":4529,"material":88,"size":88,"collection":88,"collections":4530,"showCount":4523,"zanCount":42,"manualWeight":42,"mainColor":92},234219,"mo-zhu-juan-feng-qi-zhen-234219","墨竹卷",[23,25,26,56,53,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff60450002a1adc819ad44c3454e667ea.jpg",[],{"id":4532,"slug":4533,"title":4534,"dynasty":97,"author":413,"museum":224,"description":4535,"tags":4536,"thumbUrl":4538,"material":88,"size":88,"collection":88,"collections":4539,"showCount":4523,"zanCount":42,"manualWeight":42,"mainColor":43},227511,"qiu-ting-ying-xi-tu-jing-xin-su-han-chen-227511","秋庭婴戏图镜心","以前每逛国内一些博物馆，古玩店铺，诸多载体如绢纸本的画、玉器、瓷器上，你总能看到许多幼童、小少年在室内或庭院或郊外耍闹、游戏。而一番梳理下来，你能发现，历史上宋、明、清朝代，婴戏图尤其多。宋代多显现在存世的画幅、瓷器、玉器上。北宋五大名窑及更多地方窑口，均单色釉，少图案。南宋龙泉窑碗内偶见婴戏图形，北方磁州窑的罐、枕上，多有或钓鱼或卧躺的婴儿图。明代的绘画尤其是明中期宣德特别是正德、嘉靖时期的瓷器上，婴戏图逐渐风行，小孩子蹴鞠图十分常见。客观原因是因为无论是明朝繁盛的青花，还是后来发明的五彩，对“婴戏图”再现更容易。清代的图画、瓷器的青花粉彩、玉器上，或“百子图”或“三娘教子图”或“庭院婴戏图”等，更已普遍化。传统文化伦理中，福禄寿三星，“福”即是寄望多子，“多子多福”，故历朝历代也将这种寄望显现在不同的艺术载体上。宋、明、清“婴戏图”相对更多，与这几个时代的商品经济、俗世文化的发达及瓷器玉器家具等工艺技术的升级换代有关。窃以为，还有一个隐藏原因：与其时帝王子嗣的夭折过多、稀薄有关。",[24,25,26,4537,28,29,30,7,214,33,3231],"镜心","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1313ad7296d75c27256b6ac0d233eba1.jpg",[],{"id":4541,"slug":4542,"title":4543,"dynasty":48,"author":168,"museum":50,"description":4544,"tags":4545,"thumbUrl":4546,"material":160,"size":4547,"collection":88,"collections":4548,"showCount":4523,"zanCount":11,"manualWeight":42,"mainColor":43},223384,"shuang-tu-tu-ye-yi-ming-223384","双兔图页","《双兔图页》是明代佚名创作的绢本设色画。",[23,25,26,1120,28,29,1464,3012,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd702801541ffb43e86522d41bd3b9e52.jpg","纵114.3厘米 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山鹊，透过野兔的眼神，我们看到了它驻足回首时的惊异神情。有些诧异，却没有恐惧，因为它知道山鹊对自己没有威胁。它与山鹊之间的动作呼应、位置关联，一定是平日写生的结果，准确而生动。",[24,25,26,27,4071,29,85,59,7,592,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ae80a1900ff73c3d2c2cb550f664ca.jpg",[],41,{"id":4773,"slug":4774,"title":3556,"dynasty":18,"author":79,"museum":224,"description":1602,"tags":4775,"thumbUrl":4776,"material":960,"size":961,"collection":88,"collections":4777,"showCount":4771,"zanCount":42,"manualWeight":42,"mainColor":92},239426,"shan-shui-hua-hui-ce-yun-shou-ping-239426",[25,26,83,53,199,35,297,7,102,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46879573d1358b6fa55ffe759b2f7a28.jpg",[],{"id":4779,"slug":4780,"title":4781,"dynasty":18,"author":4782,"museum":224,"description":4783,"tags":4784,"thumbUrl":4785,"material":88,"size":88,"collection":88,"collections":4786,"showCount":4771,"zanCount":42,"manualWeight":42,"mainColor":92},238135,"fang-ni-zan-shi-zi-lin-tu-juan-fang-cong-238135","仿倪瓒狮子林图卷","方琮","此作用淡墨铺展园居全景，开篇修竹扶苏，清韵悠悠，茅舍草堂错落其间，屋中有人凭案闲坐，庭前老木虬枝疏朗，衬出院落萧散简远。\n\n整卷笔墨极简，以干笔淡皴写就山石林木，线条清劲秀逸，全无繁冗之笔，承袭古淡空灵的笔意。留白疏阔，氤氲出静穆冷寂的古雅意境，将观者带入无人尘扰的幽居，坐看竹影摇窗、苔痕覆阶，尽显文人画的隐逸高致，笔底藏着天真古淡的林下之风，写尽园居清趣与幽人逸怀。",[23,25,26,56,53,199,1614,453,454,7,294,146,457,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37103644d51d567e8b77eae43a2e67bb.jpg",[],{"id":4788,"slug":4789,"title":4790,"dynasty":18,"author":2673,"museum":224,"description":4791,"tags":4792,"thumbUrl":4794,"material":88,"size":88,"collection":243,"collections":4795,"showCount":4771,"zanCount":42,"manualWeight":42,"mainColor":92},237493,"san-jia-he-zuo-wu-qing-zhou-wang-hui-237493","三家合作五清轴","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》。",[24,25,26,27,53,29,60,7,59,767,57,102,28,238,4793],"水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3351e99781cdb65f9a423bfdf5e44492.jpg",[243,679],{"id":4797,"slug":4798,"title":1601,"dynasty":18,"author":4799,"museum":224,"description":4800,"tags":4801,"thumbUrl":4803,"material":104,"size":88,"collection":71,"collections":4804,"showCount":4771,"zanCount":42,"manualWeight":42,"mainColor":43},237349,"hua-niao-ce-wang-gang-237349","王冈","王冈，清代粜臫人頭，字南樤石，号旅云山人，上海人，工花卉、人物，并善写真，后出己意，写生入妙，亦善山水，尝游京师为董邦远客，凡画苑供奉之作，半出其手。\n（一六七七至一七七o）一作（一六九七至一七七o）字南石，号旅云山人，上海人。黄本复弟子。工花卉、人物，并善写真，后出己意，写生入妙。水族草虫，尤觉生动。亦善山水，尝游京师为董邦远客，凡画苑供奉之作，半出其手。其得意处，近似倪瓒。卒年九十四，一作七十四。",[25,26,83,29,85,4802,7,592,102],"紫藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3aa7f6b70cd20a98fe57417a482275a.jpg",[71,123],{"id":4806,"slug":4807,"title":4808,"dynasty":48,"author":2976,"museum":224,"description":4809,"tags":4810,"thumbUrl":4811,"material":88,"size":88,"collection":88,"collections":4812,"showCount":4771,"zanCount":176,"manualWeight":42,"mainColor":43},228487,"kong-que-shuang-qi-tu-lin-liang-228487","孔雀双栖图","以水墨晕染禽鸟神姿，雄雀身姿舒展，尾羽以浓淡墨色递变，将翎羽华美的肌理尽皆铺展，纤毫毕现又不失写意疏朗。雌雀静立石台，憨态温婉，一动一静，恰似郊林里的闲趣日常。\n\n背景竹枝以阔笔挥就，竹叶苍劲有锋芒，枯石野草信笔点染，野逸之态尽显。整幅以墨代彩，摒弃敷色浓艳，依托干湿浓淡的层次变化，将院体花鸟的精致法度与文人写意的随性相融，勾勒出清寂悠然的林间一隅，尽显水墨花鸟的雅致意趣。",[23,25,53,54,27,85,2979,7,324,428],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e88008dd1be325e91ec4e4e03a5df8e.jpg",[],{"id":4814,"slug":4815,"title":4816,"dynasty":18,"author":181,"museum":224,"description":4817,"tags":4818,"thumbUrl":4819,"material":88,"size":88,"collection":88,"collections":4820,"showCount":4771,"zanCount":11,"manualWeight":42,"mainColor":92},224181,"hua-niao-li-zhou-hua-yan-224181","花鸟立轴","梅枝虬曲绽花，主鸟独立高枝，振羽引吭，翎毛以淡墨晕染，尽显蓬松柔润。下方竹枝斜出，两只小雀依偎私语，憨态可掬。顽石以枯淡笔墨勾勒，墨色浓淡相破，野意盎然。\n全作用兼工带写之法，将禽鸟灵动与花木清逸相融，题款错落排布，书画相映，晕染出幽寂早春的澹远意趣，笔意秀逸脱俗，把春日禽鸟迎春的生机悄然铺展，清隽雅致，饶有闲情。",[23,25,27,29,53,85,59,7,35,281,102,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa32f2c98cbf9f8e2905ef51e67f151d1.jpg",[],{"id":4822,"slug":4823,"title":1182,"dynasty":167,"author":4824,"museum":50,"description":4825,"tags":4826,"thumbUrl":4827,"material":4828,"size":4829,"collection":243,"collections":4830,"showCount":4771,"zanCount":42,"manualWeight":42,"mainColor":43},221870,"zhu-shi-tu-zhou-xie-ting-zhi-221870","谢庭芝","图中绘坡草湖石，石后挺立疏竹数竿，枝叶下垂，似洒雨露。坡上小竹兰草丛生，三株新笋，两株高窜，一株破土而出，春意盎然。湖石连勾带皴，并以淡墨渲染，玲珑剔透，形态奇异。竹叶以率笔挥洒，浓淡相参，水墨淋漓，清新秀雅。此图为谢庭芝墨竹传世孤本。\n画面以淡墨勾勒画湖石，以砍剁皴和钉头皴相结合画出明暗再以淡墨渲染，使湖石具有质感，达到皱、漏、透、瘦之效果，玲珑剔透，造型奇特。\n湖石后疏竹玉立，竹叶下垂，浓淡相间，参差错落，疏密有致，颇显情趣，画左款暑：至元五年冬十月，仲和。",[23,25,53,27,7,214,35,428,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e0acf41e6dc1be49409c9c5df041b0e.jpg","绢本墨笔.","173.2cmx105.1cm",[243,269],{"id":4832,"slug":4833,"title":4834,"dynasty":167,"author":1314,"museum":143,"description":4835,"tags":4836,"thumbUrl":4837,"material":69,"size":4122,"collection":243,"collections":4838,"showCount":4771,"zanCount":42,"manualWeight":42,"mainColor":92},221831,"wan-xiang-gao-jie-zhou-ke-jiu-si-221831","晚香高节轴","此图描述了“石如飞白木如籀，写竹应须八法通”，是元代画家赵孟頫为柯九思《墨竹图》题写的诗句的情景。画面的主要表现是精竹秀石，还有野菊花作点缀。 此图以菊花“晚香”之意，竹子节高，故有晚香高节之画意。\n此景物主要集中于下端：画幅下部画湖石，中间高出，两侧低矮，形成“山”字型。湖石为杂草点缀，右侧的杂草向右倾斜，左侧杂草向左倾斜。湖间有几簇修竹倚石生长，其中一株翠竹拔地而起，枝竿挺拔，竹节较长，枝叶茂密，顶天立地。另有野菊花倚石而长，花朵盛开于茎端。\n款识：五云阁吏为正臣作。\n虞集题：敬仲此幅，清楚出尘，真平日合作也。奎章阁侍书学士虞集题。\n弘历题：绿筠挺出苏卿节，黄菊喷来陶令香。何必其间论世代，忘年交合石渠藏。庚寅秋日御题。",[23,25,53,27,7,214,67,428,54,238,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8549ad8c921d08b75438863fa146dd22.jpg",[243,269],{"id":4840,"slug":4841,"title":166,"dynasty":18,"author":4842,"museum":1975,"description":4843,"tags":4844,"thumbUrl":4845,"material":4846,"size":4847,"collection":88,"collections":4848,"showCount":4771,"zanCount":42,"manualWeight":42,"mainColor":88},220758,"zhu-shi-tu-zheng-xie-220758","郑燮","以水墨写就竹石之姿，老石皴擦写意，嶙峋古拙，尽显苍劲风骨。竹叶以“介”“个”笔法挥染，浓淡相宜，枝叶错落交叠，或繁密遒劲，或疏朗清隽，仿佛满纸飒飒生风，将劲竹迎风傲立的清刚之态跃然纸上。\n\n右侧题字笔锋爽利舒展，笔墨与画意相融相合，文画映带间，寄寓着清介拔俗的君子襟怀，把借物言志的文人意趣淋漓尽致铺陈而出。全幅疏密错落，以极简笔墨托物象风神，写意抒情浑然一体，尽显水墨写意通透灵秀的文人雅韵。",[25,26,27,53,54,7,214,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b5d7c1e057dd1b985e2e35c1f1e3fd6.jpg","水墨纸本立轴","189.5 ×104厘米",[],{"id":4850,"slug":4851,"title":4852,"dynasty":97,"author":168,"museum":143,"description":4853,"tags":4854,"thumbUrl":4856,"material":37,"size":4857,"collection":106,"collections":4858,"showCount":4771,"zanCount":42,"manualWeight":42,"mainColor":92},218844,"zong-yin-xi-jing-tu-yi-ming-218844","棕荫习静图","这幅画描绘了一个高丘在棕榈树荫下的石凳上睡觉，旁边有蝴蝶在飞舞。这幅画中的人物是用减笔描写的，棕榈树和石凳也是用笔描写的，石夔和梁楷应该是学过的，但笔画太逼真，太露骨。这幅画的标题可以是：庄周梦蝶。",[23,25,53,83,30,456,7,54,4855],"淡墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98ad217fdf5f3633a9235875c1c6e2cb.jpg","21x21.1",[106],{"id":4860,"slug":4861,"title":4862,"dynasty":97,"author":168,"museum":425,"description":4863,"tags":4864,"thumbUrl":4865,"material":69,"size":4866,"collection":39,"collections":4867,"showCount":4771,"zanCount":42,"manualWeight":42,"mainColor":43},218602,"shi-liu-luo-han-tu-yi-ming-218602","十六罗汉图","墨线勾勒间，十六罗汉神态各异：或静立松下凝思，或拄杖徐行于林麓，或与猿猴嬉戏、鹤鹿为邻。松竹掩映，怪石嶙峋，山野之趣与禅意相融。人物衣袂飘举，线条简练却见风骨，寥寥数笔便传神情——有的须眉微蹙似在参禅，有的笑靥舒展如悟真机，有的俯身逗猴尽显自在。画面清寂中藏生机，简淡里见深致，以自然景致衬罗汉超脱之态，笔墨洗练却形神兼备，尽显古代绘者对禅林世界的诗意描摹，亦让观者于尺幅间感受那份远离尘嚣的宁静与旷达。",[23,25,26,56,199,53,1559,30,1572,3322,1535,1464,60,7,294,214,102,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf090e8c5463c31d1dff3f90f8004b00.jpg","32.7x848.4",[39],{"id":4869,"slug":4870,"title":4871,"dynasty":18,"author":168,"museum":224,"description":4872,"tags":4873,"thumbUrl":4874,"material":37,"size":88,"collection":88,"collections":4875,"showCount":4771,"zanCount":42,"manualWeight":42,"mainColor":43},216714,"hong-lou-meng-fu-tu-ce-8-yi-ming-216714","红楼梦赋图册-8","山石错落间，粉艳花簇点缀，绿意轻缠石畔。一女子彩衣立石侧，凝睇花影；另一人红衣闲坐石前，姿态悠然。远处屋宇半隐，草木葱茏，水光依稀，晕开清宁之境。画面设色柔婉，线条细腻，将红楼场景的雅致闲情藏于笔底。人物神情含蓄，景物相映成趣，尽显古典园林的清幽意韵与闺阁间的温婉情致，似截取书中一段静谧时光，让观者在柔美的画面里，触到那份属于红楼的细腻与诗意。",[23,25,29,28,30,31,35,61,7,453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c11c867ee2dca3bab7da81bc83a524a.jpg",[],{"id":4877,"slug":4878,"title":4879,"dynasty":167,"author":262,"museum":143,"description":466,"tags":4880,"thumbUrl":4881,"material":69,"size":88,"collection":88,"collections":4882,"showCount":4771,"zanCount":42,"manualWeight":42,"mainColor":92},216383,"mo-zhu-pu-ce-6-wu-zhen-216383","墨竹谱册-6",[25,26,83,53,58,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe89212c009f37154e122f2c251742aa.jpg",[],{"id":4884,"slug":4885,"title":4886,"dynasty":167,"author":262,"museum":143,"description":466,"tags":4887,"thumbUrl":4888,"material":69,"size":88,"collection":88,"collections":4889,"showCount":4771,"zanCount":42,"manualWeight":42,"mainColor":92},216378,"mo-zhu-pu-ce-11-wu-zhen-216378","墨竹谱册-11",[25,26,83,53,7,57,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F837739d68f888888bc6b721b559d57e1.jpg",[],{"id":4891,"slug":4892,"title":3338,"dynasty":18,"author":4893,"museum":224,"description":4894,"tags":4895,"thumbUrl":4896,"material":960,"size":961,"collection":88,"collections":4897,"showCount":4898,"zanCount":42,"manualWeight":42,"mainColor":92},290000,"zhu-shi-tu-li-zhou-li-fang-ying-290000","李方膺","李方膺（1695年—1755年），字虬仲，号晴江，别号秋池，抑园，白衣山人等，江南通州（今江苏南通）人。寓居金陵借园，自号借园主人。中国清代诗画家、官员，能诗，擅画松竹兰菊，尤长写梅。用笔倔强放纵，不拘成法，苍劲有致，为“扬州八怪”之一。为官刚正不阿，廉洁爱民。出身官宦之家，曾任乐安县令、兰山县令、潜山县令、代理滁州知州等职，为官时有惠政，人德之，后因遭诬告被罢官，去官后寓南京借园，自号借园主人，常往来扬州卖画。与李鱓、金农、郑燮等往来，工诗文书画，擅梅、兰、竹、菊、松、鱼等，注重师法传统和师法造化，能自成一格，其画笔法苍劲老厚，剪裁简洁，不拘形似，活泼生动。被列为扬州八怪之一。有《风竹图》《游鱼图》《墨梅图》等传世。著《梅花楼诗钞》。善画松、竹、兰、菊、梅、杂花及虫 鱼，也能人物、山水，尤精画梅。作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼诗草》，仅二十六首，多数散见于画上。",[23,24,25,26,27,53,7,35,57,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51cc84485d0a2bea0a112203a6013e0.jpg",[],40,{"id":4900,"slug":4901,"title":4902,"dynasty":48,"author":168,"museum":224,"description":4903,"tags":4904,"thumbUrl":4905,"material":960,"size":961,"collection":88,"collections":4906,"showCount":4898,"zanCount":42,"manualWeight":42,"mainColor":43},288159,"ku-teng-lao-shu-tu-li-zhou-yi-ming-288159","枯藤老树图立轴","此作用笔苍劲老辣，以枯墨皴擦出古松嶙峋老干，虬曲枝桠如铁戟森然，松针攒簇细密，尽显饱经风霜的古拙意气。冷月高悬，淡墨晕染出空濛清辉，将夜色的荒寒铺陈开来。坡石旁丛竹挺秀疏朗，瘦劲枝叶与苍松相映，刚柔互济。全画以水墨写就，浓淡相宜，淡墨晕染出空寂夜色，浓墨勾勒筋骨，萧疏静谧间，尽显林下幽居的孤高意趣，暗合寄情林泉、不与俗伍的文人心境。",[23,25,27,53,2299,741,7,35,767],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d07026ed6aab10adbe73f7f746e3383.jpg",[],{"id":4908,"slug":4909,"title":4910,"dynasty":521,"author":4911,"museum":224,"description":4912,"tags":4913,"thumbUrl":4915,"material":960,"size":961,"collection":88,"collections":4916,"showCount":4898,"zanCount":176,"manualWeight":42,"mainColor":43},287375,"ye-hua-cao-chong-tu-qiu-yu-qing-287375","野花草虫图","丘余庆","丘余庆，五代后蜀人，丘文播子，居成都。",[24,25,26,85,28,29,2818,7,617,280,4914],"蚂蚱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ffa37c7c203d2d3737bf30decc157ec.jpg",[],{"id":4918,"slug":4919,"title":2333,"dynasty":18,"author":2104,"museum":224,"description":4920,"tags":4921,"thumbUrl":4922,"material":88,"size":88,"collection":71,"collections":4923,"showCount":4898,"zanCount":42,"manualWeight":42,"mainColor":92},239219,"mei-zhu-tu-zhou-wu-chang-shuo-239219","吴昌硕（1844—1927）原名俊，又名俊卿，中年以后更字昌硕，亦署仓硕、仓石、苍石、昌石，69岁后以字行，别号缶庐、苦铁、大聋等，浙江安吉人吴昌硕是近代中国最杰出的艺坛巨匠之一，他以诗、书、画、印四绝享誉海内外，对于近百年来中国传统书画篆刻艺术的走向影响深远。本次展览共汇聚了吴昌硕先生书法、绘画、篆刻、诗文信札等代表性作品170件，尤其是浙江省博物馆馆藏的吴昌硕书画精品，可谓“倾巢而出”，是近年来国内吴昌硕艺术作品一次较大规模的集中展示。",[25,26,27,53,29,85,59,7,58,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09c3d44613f7fe705c6f0e261e00a6fe.jpg",[71],{"id":4925,"slug":4926,"title":4927,"dynasty":48,"author":4928,"museum":50,"description":4929,"tags":4930,"thumbUrl":4931,"material":104,"size":88,"collection":71,"collections":4932,"showCount":4898,"zanCount":42,"manualWeight":42,"mainColor":92},236980,"mo-zhu-tu-zhou-wang-duo-236980","墨竹图轴","王铎","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人。明末清初大臣、书画家，王本仁的儿子。正如李志敏所评价：“王铎的草书纵逸，放而不流，纵横郁勃，骨气深厚”。\n明朝万历二十年（1592年），生于河南孟津县。天启二年（1622年），考中进士，入选庶吉士，历任太子左谕德、太子右庶子、太子詹事、南京礼部尚书。弘光政权建立，出任东阁大学士。顺治元年（1644年），跟随钱谦益投降清朝，授礼部尚书、弘文院学士、太子少保。顺治九年（1652年），病逝，享年六十一岁，安葬于河南巩义县洛河边，谥号文安。\n善于书法，与董其昌齐名，有“南董北王”之称。书法作品有《拟山园帖》和《琅华馆帖》等。绘画作品有《雪景竹石图》等。",[25,53,27,7,102,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51936768834ede011f6ae5fbcc3fc68b.jpg",[71,243],{"id":4934,"slug":4935,"title":4936,"dynasty":48,"author":4937,"museum":50,"description":4938,"tags":4939,"thumbUrl":4940,"material":202,"size":4941,"collection":88,"collections":4942,"showCount":4898,"zanCount":42,"manualWeight":42,"mainColor":92},234851,"lan-zhu-shui-xian-tu-ma-shou-zhen-234851","兰竹水仙图","马守真","作者以娴熟的笔墨勾画出清风吹拂下兰、竹摇曳的形貌。兰、竹是妓女画家们最热衷描绘的题材。其因：第一，兰、竹与松、梅被历代文人赞美为画中的“四君子”，通过表现有君子风范的兰、竹 可以标示出画家自身的高洁情怀；第二，兰的清幽、竹的虚静均能映衬出妓女们的某种特殊心态；第三，也是最为关键的一点，即绘画为文人雅士与青楼女子交流的一项文化内容，兰、竹形象简单，创作时所需的时间较短，纵情涂抹三二枝便可形完气足，以助一时之兴。因此，在明代涌现出众多以擅绘兰、竹闻名的妓女画家，马守真是其中的佼佼者。马守真以画兰之精、之专而扬名江南，因此自号“湘兰”。\n马守真在兰、竹创作上不重视对兰、竹外在形态的细致刻画，而重在写出兰、竹的内涵精神，聊以抒发心中之逸气。因此，她从用笔、施墨到构图都极其随意，但内藏机巧，不失韵味。她笔下的具飘逸野趣的兰、竹不同于文俶等闺秀画家精工细描的庭院中的闲花静草，而与男性文人画家、尤其是“吴门画派”中文徵明等人的花卉艺术有更多相近之处，反映了妓女对男性文人画家的迎合及师承关系。",[25,26,53,54,66,7,64,35,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa023505e604a1f2ec2adedadc3d6df7b.jpg","纵83.5厘米，横47.2厘米",[],{"id":4944,"slug":4945,"title":1657,"dynasty":18,"author":181,"museum":224,"description":4946,"tags":4947,"thumbUrl":4948,"material":88,"size":88,"collection":71,"collections":4949,"showCount":4898,"zanCount":42,"manualWeight":42,"mainColor":92},234298,"za-hua-ce-hua-yan-234298","华嵒的山水画转益多师，石涛的沉浑恣肆、恽寿平的松秀隽逸、北宗的峭利缜密、元人的深邃郁茂，都被他吸收融合。他没有泥古不化，在游览山河的过程中，不断的“师造化”，形成了晚年疏放、简率、冷峭、蕴藉的主流风格。华喦的山水画设色，多用浅绛或小青绿设色，承诸黄公望、王蒙和董其昌的传统，于统一中求对比，色调明洁淡雅。新罗山人在山水画设色上的创新是发展了青绿没骨山水。这种没骨山水是综合唐宋人、董玄宰和恽格没骨山水并参用清初四王笔法而形成的一种格制。华嵒的山水画从总体来看善于用色彩表达个人的情绪，用笔墨描绘悠远的意境，创造了独特的笔墨语言和表现技法，充分表达了其“刷尘”，“离垢”的理想。",[25,83,29,85,7,281,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18261950f2c430698f9dc86a6d3b1d6c.jpg",[71,300],{"id":4951,"slug":4952,"title":4953,"dynasty":48,"author":649,"museum":50,"description":4954,"tags":4955,"thumbUrl":4956,"material":1585,"size":4957,"collection":88,"collections":4958,"showCount":4898,"zanCount":42,"manualWeight":42,"mainColor":43},234133,"wen-zheng-ming-lin-song-xue-lan-shi-juan-wen-zheng-ming-234133","文徵明临松雪兰石卷","画幽兰一丛,小竹一枝,生于坡石之间,点缀以荆棘杂草",[23,25,26,56,53,58,1614,102,66,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56557e2a2e1aa0a998c2c9f99a8dcc16.jpg","纵28厘米,横62.5厘米",[],{"id":4960,"slug":4961,"title":4962,"dynasty":167,"author":474,"museum":143,"description":4963,"tags":4964,"thumbUrl":4965,"material":172,"size":4966,"collection":243,"collections":4967,"showCount":4898,"zanCount":42,"manualWeight":42,"mainColor":43},221813,"si-ji-ping-an-tu-zhou-li-kan-221813","四季平安图轴","《四季平安图》此幅水墨绘修竹四竿，三浓一淡，两前两后，布置得宜，风姿卓然。李仲宾此幅全学文湖州，而加浓密之致，体现了其本人的艺术审美。 李衎（1245-1320年），字仲宾，号息斋道人，晚年号醉车先生，元朝蓟丘（今北京市）人。元仁宗皇庆元年（1312年）任吏部尚书，拜集贤殿大学士、荣禄大夫。李衎尤善画枯木竹石，善画墨竹，双钩竹尤佳，和赵孟頫、高克恭并称为元初画竹三大家，著有《竹谱详录》。",[23,24,25,26,27,53,199,28,7,214,35,238,753],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f9156289c567b360733a596791d013b.jpg","131.4 x 51.1cm",[243,269],{"id":4969,"slug":4970,"title":4971,"dynasty":167,"author":376,"museum":20,"description":4972,"tags":4973,"thumbUrl":4975,"material":104,"size":88,"collection":243,"collections":4976,"showCount":4898,"zanCount":42,"manualWeight":42,"mainColor":92},220870,"zhu-shi-you-lan-tu-juan-zhao-meng-fu-220870","竹石幽兰图卷","首先，观察此幅赵孟頫《竹石幽兰图》卷，给人的感觉是绘画飘逸如风，笔墨挥洒自如，构图结构恰当。款识与落款，看似与赵孟頫书风大相径庭，疑似后添所为。经认真详查，款识与落款确为后添，墨气与绘画迥异，墨色也游离于绘画之外。其次，观察绘画作品，十足的赵孟頫笔触所为，用飞白勾画窠石轮廓，用撇捺笔划书写竹叶，用中锋逆笔迅疾书写兰花。正如赵孟頫所言：石如飞白木如籀，写竹还需八法通。若也有人能会此，方知书画本来同。　　 由于此幅作品断开，似有拼接痕迹，款识后添当为后人重新题写。“孟頫为善夫写”，推论是为顾善夫而画。展览方图录结论：据清代程祖庆《吴郡金石目》记载此幅作品赵孟頫题字：顾善夫以公至都，将南迁，用此纸求画，乃为作此图，子昂。新的研究结果已证实此卷并非《吴郡金石目》所著录的赵孟頫为顾信所画的那幅，两个题字亦不同。\n展览方认为，这幅赵孟頫《竹石幽兰图》卷，上面虞集题诗，与《道园学古录》卷二十九中虞集题赵孟頫《兰石图》四首之一，还原了此幅作品的原貌。\n笔者查阅几位老先生的访美读画笔记，结论如下：纸本水墨。左右各拚一条，下部再拚一窄长条，由四纸拚成，在名家作品中为仅见。老笔纵横，至精之品。后有韩性、西夏昂吉、赵奕、仇远、虞集、陈基、姚广孝等题。又张渥题，字学赵，与上博访戴图上款字少异。此必真。\n从绘画方面看，此幅《竹石幽兰图》卷，应属真迹无疑。但是，还要从文献上找到证据，展览方只从元末明初《道园学古录》虞集的诗集证实是赵孟頫《兰石图》。\n为进一步找到贴近赵孟頫的时代，要从韩性、仇远、张渥等元代名人查找。经查仇远在自己《山村遗集》明确记载题赵松雪《竹石幽兰图》，仇远与赵孟頫同属一个时代，当然是最可信的著录。元代名士顾瑛的《草堂雅集》卷十一记载于立题诗，《题子昂兰石》虽然名不相同，诗文完全一致，题兰石也就是竹石幽兰。在元代顾瑛《草堂雅集》卷七，记载张渥《题赵翰林墨兰》，诗文也是完全一致，此幅绘画是描绘竹石幽兰，题墨兰字义上也可以相通。　　 至此，将赵孟頫《竹石幽兰图》卷出处，历代著录记载情况基本搞清楚了，还原一幅赵孟頫精彩作品的真相。在判断一幅古人的作品时，不能为某些瑕疵蒙蔽，而是找出事实真相。此幅作品明显有被割断痕迹，上面题识、落款又是明显后添，那就要去伪存真找出真相，不能湮灭一件优秀的作品。",[23,24,25,26,56,53,58,238,7,214,4974,35,102],"幽兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe687eff90f3c2bf5fb4687e73675735c.jpg",[243,269],{"id":4978,"slug":4979,"title":2562,"dynasty":18,"author":4980,"museum":50,"description":2564,"tags":4981,"thumbUrl":2566,"material":37,"size":4982,"collection":300,"collections":4983,"showCount":4898,"zanCount":11,"manualWeight":42,"mainColor":43},219747,"du-fu-shi-yi-tu-wang-shi-min-219747","王时敏",[23,25,26,56,1327,53,29,7,456,146,1090,455,454,296,35],"纵39厘米，横25.5厘米",[300],{"id":4985,"slug":4986,"title":4987,"dynasty":18,"author":168,"museum":251,"description":4988,"tags":4989,"thumbUrl":4990,"material":37,"size":4991,"collection":300,"collections":4992,"showCount":4898,"zanCount":42,"manualWeight":42,"mainColor":92},218093,"huang-cun-du-shu-yi-ming-218093","荒村独尌","这幅画主要描写了荒凉的村庄和孤独的农夫生活。表达了农民面对贫穷和困难时的悲惨心情。该画中使用了许多自然形象，如荒芜的田野、萧条的树木、寂寞的河流等，来描绘出农民贫困的生活环境。",[23,25,27,53,29,200,741,7,295,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2c2315df54f03804acdb72342539551.jpg","94x44.6cm",[300],{"id":4994,"slug":4995,"title":4996,"dynasty":167,"author":262,"museum":143,"description":466,"tags":4997,"thumbUrl":4998,"material":69,"size":88,"collection":88,"collections":4999,"showCount":4898,"zanCount":42,"manualWeight":42,"mainColor":92},216388,"mo-zhu-pu-ce-2-wu-zhen-216388","墨竹谱册-2",[24,25,26,53,83,58,102,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c3c05bce231b2c30f11f1daf051aca3.jpg",[],{"id":5001,"slug":5002,"title":5003,"dynasty":48,"author":168,"museum":224,"description":5004,"tags":5005,"thumbUrl":5008,"material":960,"size":961,"collection":88,"collections":5009,"showCount":5010,"zanCount":42,"manualWeight":42,"mainColor":43},287607,"shi-ba-xue-shi-tu-zhi-yi-yi-ming-287607","十八学士图之一","松竹掩映的庭院雅集间，文士或展卷品题，或执枝赏鉴，仆从侍立童仆随侍，处处透着悠然雅致。设色调和古沉，衣纹勾勒凝练舒展，将文人的沉静姿容尽数描摹。案头的笔墨清供、架上的博古玩物刻画精工，暗合文人心底的审美意趣，把林下雅集的闲逸氛围铺陈开来，将盛世文人群聚论道的从容风雅，永远定格在绢素之上，尽显传统文会雅集里寄情林泉的隽永意涵。",[25,5006,29,28,1868,457,7,60,5007,3031],"人物画","文房用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cad6f0bdb169a31665da09d9d9e46b4.jpg",[],39,{"id":5012,"slug":5013,"title":5014,"dynasty":18,"author":79,"museum":224,"description":5015,"tags":5016,"thumbUrl":5018,"material":88,"size":88,"collection":88,"collections":5019,"showCount":5010,"zanCount":42,"manualWeight":42,"mainColor":92},235913,"xiao-shan-zhu-shu-ye-yun-shou-ping-235913","小山竹树页","此作以修竹为画面核心，几竿新篁挺拔清劲，竹叶以浓淡墨色点染，攒聚错落间尽显阴阳开合，笔力爽利，将竹的清健风骨跃然纸上。\n远景山峦以淡墨晕染勾勒，留白为水，不着一笔却见湖光悠悠，湖畔茅亭极简勾勒，野逸闲淡之趣自生。\n全作用笔简净空灵，以少胜多，舍弃繁复皴擦，借浅淡水墨写尽丘林幽致。右上角题识与朱印呼应，书画相融，为画面添了雅致文气，将江南小景的清寂空阔藏在尺幅之中，尽显萧散淡远的文人意韵，借花木山水寄寓了幽远襟怀。",[25,53,200,7,294,454,35,238,5017],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4220102cf9fcc83ce62cc8c4a1a42f1e.jpg",[],{"id":5021,"slug":5022,"title":5023,"dynasty":48,"author":4060,"museum":143,"description":5024,"tags":5025,"thumbUrl":5026,"material":5027,"size":5028,"collection":88,"collections":5029,"showCount":5010,"zanCount":42,"manualWeight":42,"mainColor":43},231381,"chun-hua-san-xi-tu-bian-jing-zhao-231381","春花三喜图","此图无款。此图用：正笔重色描绘了竹林中的二只山喜鹊，其背景有怪石及象征春天的大小鲜花，有的正在盛开，有的含苞待放，还有已是枝茂叶繁的新竹及节高挺直指天的竹笋，翠竹鞭笋，间以杜鹃筷廾，红绿相映，这足以表明已是春色的大地，画家把喜鹊置于特定的自然环境中，目看那翠竹上的一红嘴、黑顶、长尾、带白色斑点的灰喜鹊，张口呜叫俯视下面，在坡石上又一对同样漂亮的喜鹊，张开翅膀，相搏于坡石间，翎羽飞动，互以爪握其喙，互相拍打的戏嬉场面，这三喜鸟给画面带来了春天里动、植物生息繁衍的景象：画家向人们展示了自然界中极自然生动的瞬间形象，真实而富有情趣。\n宋代院画往往被后人批评为专求形似，不重神韵。其实，并不是每一个院画都是这样，何况绝大多数的院画是以刻划精确、立意高简为目的的。边文进便是吸取了这些院画中的养分，开创了自己的花鸟画面目。《春花三喜图》就是边景昭花鸟画之一\n此画笔法工细，竹子以工细的墨色勾勒，再以填色表现。雀鸟的羽毛画法更是精细入微，着色艳丽而雅致，特别是长尾部的斑驳翎毛，还有闪闪生辉之态，其二喜鸟之神态栩栩如生。\u2028 图中湖石沉雄，秀竹劲挺而葱郁．鲜花丛簇而生，夺人二目，二喜鹊于平坡之上嬉戏，一仰翻在地，一上前戏啄，上面竹间一喜鹊俯视二鹊．见此情景高声鸣，似在斥责，形神兼备，令人钦佩作者妙笔，而鹊之顽皮则令人莞尔。本画笔触细腻，叶以双勾填色法，山石皴染及花乌风格皆可见宋代院体风韵，设色艳丽清新，令人有如沐春风之感。",[24,25,26,28,29,85,7,35,592,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ea9b5dca7488b3da49917c162f50947.jpg","设色画","纵165．2厘米，横98．3厘米",[],{"id":5031,"slug":5032,"title":5033,"dynasty":18,"author":5034,"museum":224,"description":5035,"tags":5036,"thumbUrl":5038,"material":88,"size":88,"collection":88,"collections":5039,"showCount":5010,"zanCount":42,"manualWeight":42,"mainColor":92},230199,"chun-qi-ji-jin-juan-wang-cheng-pei-230199","春祺集锦卷","汪承霈","此作以工笔淡彩绘就春日草木，设色调和柔雅，兼具写实意趣与雅致格调。\n\n攒簇的朱红浆果鲜亮饱满，与嫩绿叶色相映，鲜活夺目；宽叶草木的脉络勾染细腻，晕染出叶片舒展的自然肌理，古雅灵芝旁逸，添上清寂意趣。右侧浅黄、素白的小花袅袅舒展，细竹清瘦挺秀，花叶俯仰生姿，排布疏密得当。\n\n整体笔法秀润工致，将春日花木的幽妍生机尽数铺陈，没有浓烈着色却满是融融春息，静雅清和，把草木舒展的瞬间定格，尽显柔婉雅致的花鸟意韵。",[24,25,26,56,29,28,85,7,897,428,429,5037],"灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F452999763f15c2cc0fd5efdbcdbbc608.jpg",[],{"id":5041,"slug":5042,"title":5043,"dynasty":18,"author":250,"museum":224,"description":395,"tags":5044,"thumbUrl":5045,"material":441,"size":88,"collection":679,"collections":5046,"showCount":5010,"zanCount":42,"manualWeight":42,"mainColor":92},223303,"zhu-shi-tu-zhou-5-zheng-ban-qiao-223303","竹石图轴5",[23,25,26,27,53,7,35,58,102,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9af9eb8cd727abdde614938ed2da94da.jpg",[679],{"id":5048,"slug":5049,"title":5050,"dynasty":18,"author":5051,"museum":425,"description":5052,"tags":5053,"thumbUrl":5055,"material":1745,"size":5056,"collection":300,"collections":5057,"showCount":5010,"zanCount":42,"manualWeight":42,"mainColor":92},222646,"zhi-hua-xi-lie-zhi-hua-xin-zhu-gao-qi-pei-222646","指画系列-指画·新竹","高其佩","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[23,25,26,5054,53,7,102],"指画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb762941767222f61c46e64997c0aa546.jpg","35.88x57.31cm",[300,71],{"id":5059,"slug":5060,"title":5061,"dynasty":167,"author":474,"museum":50,"description":5062,"tags":5063,"thumbUrl":5064,"material":340,"size":5065,"collection":243,"collections":5066,"showCount":5010,"zanCount":42,"manualWeight":42,"mainColor":43},221816,"mu-yu-tu-zhou-li-kan-221816","沐雨图轴","《沐雨图轴》是元代李衎所画的中国古画。\n此图描绘雨中竹子的形态，手法极其写实，强调雨中之竹的清姿，其画法与双勾竹图基本相同，竹叶因雨水而显得沉重，叶尖自然下垂，在表现雨中竹叶下垂之姿上，李衎用笔显得娴熟自如。\n《沐雨竹图》将主要景物集中于画幅左侧。\n在画幅左下端力坡石，坡上倚附山石长有四竿翠竹，中间两株高大，且相互交错，竹竿交错后向左右伸展，枝叶茂密，竹叶纷披。\n左侧一株掩映于二株高大的翠竹荫下，略向左弯斜；右侧一株小竹向右弯斜，叶子呈下垂状。\n这一株翠竹虽不怎么起眼，但却是妙笔，起到了填补画幅右下部分的空白，对整个画面起到了充实和平衡作用：除竹石外，在坡石间还有数株兰草，点缀其间。\n自宋以来，“梅，兰、竹、菊”被士大夫称为“四君子”，象征“清高”、“幽洁”、“虚心”、“隐逸”、“气节”等精神品格。\n当社会危机、民族危机之时，一些知识分子无力抗争，在孤十贲与失望之中，“适性寄意”于笔墨：人元后“四君子”画不但更为兴盛，而且在思想感情的表现上更加丰富和深刻。\n特别是墨竹，单纯简易、挥洒便利又最具书法性格，所以最能引起士大夫的兴趣。\n可是李衍身为大官，他与赵孟頫是元代汉族文人画家中官职最显著者， 他喜欢画松、竹，这说明“松”、“竹”并非都是文人用来自诩“名节”之物。\n他为了画竹，“行役万余里”，深入南方竹乡，对竹的“形色情状，牛聚枯荣”做了深入研究，成为享有盛名的写生墨竹专家。\n此《沐雨竹图》轴是他画墨竹的代表作之一，其作品中之“竹”并不带有什么政治色彩，仅作为绘画的一个题材而已。\n此画虽将景物集中于画幅左侧，但经画家的确当布局，使整幅画的构图 较工稳；造型准确，设色匀净，枝叶繁复而不乱，层次分明。\n作者由于有过对竹子的认真观察和研究，并掌握了画竹的造型规律。\n故他画出的竹竿、们‘枝的线条挺坚，用笔实在有力，竹竿、竹枝、竹叶均用双勾画出，即用线条描绘竹叶的轮廓，再用汁绿烘染，叶尖微染赭黄，且其阴阳向背等细节都刻画得十分准确、细腻。\n其背景石都用双勾，然后用粗笔水墨皴染，分出阴阳面。\n坡石间的几丛兰和小草的安排，更使画面充满勃勃生机。\n此画的主题沐雨，作者强调了雨中之竹。\n故在作者笔下将沾满了雨水的竹子，竹叶个个呈下垂的自然神态，突出了“沐雨”这一主题，使画幅具有很强的写实性。\n此画给人以充实秀美的感觉，实属精品。\n这幅作品中只有四竿修竹和一些小枝是用汁绿晕染，竹干的晕染基本是平涂，只在竹节两端略有晕染。\n竹叶的敷色较为精工，不但叶根部和叶尖部的色调有所变化，而且叶面和叶背也不相同，繁多的叶片中没有一片是染出边缘轮廓之外．也可见作者的细致程度。\n在水墨环境的映衬下．《沐雨竹图》中的修竹亭亭玉立，青翠悦目。\n即使秋风萧瑟，也是竹叶摩娑，别具一番“如鸣环翠”的风韵。\n在翠竹右侧一竿高耸直指，左侧一竿向左上伸展，最前的一竿指向右方，右侧竹叶相对密集，造成左高右低的形势。\n竹干、竹枝的线条挺坚，竹叶的线条则圆润；竹干、竹枝的用笔比较实在有力，而竹叶的用笔就显得轻细活泼。\n李衎（1244—12年），字仲宾，号息斋道人，元大都（今北京）人，仕至集贤殿学士。\n他平生擅长画竹，继承了金文同、王庭筠等画竹名家的成就，又曾深入江南竹乡深入观察，还出使过交趾（今越南），到各处观察竹子的生长情况和特点，深得竹之“理”，是一位既有深厚传统绘画功力，又师法自然的画家。\n他的画风严谨，传世作品有双勾着色的《双勾竹图》、《沐雨图》等，并著有《息斋竹谱》7卷，对竹的结构品类、生长规律及画法详加剖析，既重写意又重法度。",[23,25,26,27,28,53,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6db8d493b70c64e938a16711c94486e2.jpg","纵111.5cm，横55cm",[243,269],{"id":5068,"slug":5069,"title":5070,"dynasty":97,"author":5071,"museum":224,"description":5072,"tags":5073,"thumbUrl":5075,"material":960,"size":961,"collection":88,"collections":5076,"showCount":5,"zanCount":176,"manualWeight":42,"mainColor":43},288323,"xue-shu-han-qin-tu-li-di-288323","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。",[23,24,25,27,28,29,85,592,297,7,4394,5074],"寒枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4da25639e6a0aec09bce05ff5476054f.jpg",[],{"id":5078,"slug":5079,"title":5080,"dynasty":18,"author":5081,"museum":50,"description":5082,"tags":5083,"thumbUrl":5086,"material":1838,"size":5087,"collection":71,"collections":5088,"showCount":5,"zanCount":42,"manualWeight":42,"mainColor":92},238121,"yue-ye-shan-ji-tu-zhou-ren-yi-238121","月夜山鸡图轴","任颐","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。",[25,27,29,53,54,85,5084,35,7,5085],"山鸡","月夜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F059fae90ced9eeb925fdc440f4355ca3.jpg","纵111.2厘米，横55.4厘米",[71],{"id":5090,"slug":5091,"title":5092,"dynasty":18,"author":3039,"museum":224,"description":3219,"tags":5093,"thumbUrl":5094,"material":960,"size":961,"collection":88,"collections":5095,"showCount":5,"zanCount":42,"manualWeight":42,"mainColor":92},237366,"hong-ren-shan-shui-tu-zhou-hong-ren-237366","弘仁山水图轴",[25,26,27,53,238,200,7,454,35,455,296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e2198db8b7023d2d9d377941e9c3aa1.jpg",[],{"id":5097,"slug":5098,"title":4527,"dynasty":48,"author":3876,"museum":224,"description":5099,"tags":5100,"thumbUrl":5101,"material":88,"size":88,"collection":88,"collections":5102,"showCount":5,"zanCount":11,"manualWeight":42,"mainColor":92},234204,"mo-zhu-juan-sun-ke-hong-234204","中国成语中有“胸有成竹”之说，原意是指画竹之前心里已经有了竹子的形象，后来比喻在做事之前已经有了全面的设想和安排。“胸有成竹”出自宋代苏轼的《文与可画筼筜谷偃竹记》——“故画竹，必先得成竹于胸中”。苏轼的这篇文章写的是文同画竹。宋代文同开创了“墨竹”一派，在中国绘画史上有着重要的地位，而他笔下的竹也被赋予了一种百折不挠的奋斗精神。例如在他的作品《墨竹》中，竹子在岩石的压迫下，先俯以应时，再延伸而上仰，展现出旺盛的生命意志。历代画竹者数不胜数，很多人能够面对“墨竹”这一题目画一辈子。除文同之外，历史上亦有赵孟頫、管道昇、夏昶、李衎、吴镇等人笔下的竹堪称经典。历朝历代也不乏优秀的画家以竹作为描绘对象抒写胸中逸气，明代孙克弘便是其中之一。\n现藏于苏州博物馆的孙克弘《墨竹图》（见下图）纵113厘米、横31.8厘米。画家在画面左下角题识：“湘皋春雨楚烟霏，绿玉参差路欲迷。流水接天人不见，满林花落鹧鸪啼。雪居。”画面右下角生出三枝竹子，其中一枝成为此画的主角。竹子从右下方生长至左上角，显得生机盎然。竹叶施以浓墨，墨笔犀利，竹干和竹枝则用淡墨描绘。画家将两者的前后关系清楚地展现在观者面前，同时又突显了全画的主角，从中可以看出他的良苦用心。另外两枝竹子则沿画面右侧而上，均以淡墨着色，再次衬托出画面中心的主角。\n孙克弘（1533—1611），字允执，号雪居，上海松江人。他善楷、隶、篆等书体，取法宋克，上追秦汉，自成风格。在绘画方面，他早期长于写生花鸟，师法徐熙、赵昌、沈周、陆治。他的绘画作品或工笔，画法工整，色彩明丽；或写意，笔墨放逸，造型工致。他画墨竹仿文同。此幅《墨竹图》笔法谨严有致，又不失潇洒之态，深得文同墨竹的精髓。墨竹不仅如同文人画的一种标本和尺度，同时也反映了中国画笔墨的基本。此画中，竹干劲挺。画面正中的一枝呈“S”形构图，竹枝虬曲，变化中不失弹性，具有一定的节奏感。竹子枝头向上挑起，密叶以向上的趋势奔放扩张、凌空倚势，显示了无穷的生命力度。竹节与竹节之间虽断离而又有牵连之意。画面下方的小枝行笔疾速，婉顺而柔和。三枝主枝横斜曲直、顾盼有情。再看整幅画面的竹叶，看似笔笔随意却又不失生意，显得疏密有致、聚散兼顾。\n孙克弘的《墨竹图》画面整体层次分明，墨色的运用和处理较为丰富。竹干墨色偏淡，不同枝干上的竹叶颜色有深有浅。画家以浓墨描绘竹叶正面，以淡墨表现竹叶背面；老枝以浓墨绘成，嫩叶新枝又以淡墨表现。画面的前后关系随着一虚一实、一明一暗的节奏来表达。同时，画面中留有大量空白，带给人无限的遐想。从画面中，还可以看到无处不在的书法用笔。撇叶锋长却不露毫芒，叶尾转折处提笔露白，以示向背之势，这足以显示出孙克弘深厚的书法功底。\n古人喜画墨竹。从这些墨竹中，后人可体会到观万物之生意的意境，并对这种绵延不息的生意肃然起敬。古人云：“天地之大德曰‘生’。”“生”便是一切万物之源，而墨竹恰恰就体现了这种倔强的生机。画家通过对竹的不同形式的表达，所要传递的便是“生生之谓易”（《周易》）的道理。这也是中国文化中十分珍贵的精义。",[23,25,53,56,7,58,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1ab4f26dfa87319af0ed8c422a44a60.jpg",[],{"id":5104,"slug":5105,"title":5106,"dynasty":48,"author":5107,"museum":3628,"description":5108,"tags":5109,"thumbUrl":5110,"material":710,"size":5111,"collection":88,"collections":5112,"showCount":5,"zanCount":42,"manualWeight":42,"mainColor":92},231568,"zhu-lin-mao-wu-tu-song-ke-231568","竹林茅屋图","宋克","作者通过画面，将文人隐逸山林，抒发情思的自娱、适意、消遣的感情表达了出来。画家用笔畅健雄放，笔锋洒脱，多法李成；破笔焦墨点苔，则从董、巨而来。",[23,25,26,56,53,200,7,754,456,146,57,102,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cb4e1d6245dcb71a7735c7e31eea1c0.jpg","25.5×110cm",[],{"id":5114,"slug":5115,"title":5116,"dynasty":97,"author":168,"museum":224,"description":5117,"tags":5118,"thumbUrl":5119,"material":88,"size":88,"collection":88,"collections":5120,"sho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　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[25,26,27,29,53,199,30,7,1619,5160,618,1720,3917,5161],"动物","工写结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04fa5201165d8c09e15839d296e87072.jpg",[],{"id":5165,"slug":5166,"title":5167,"dynasty":48,"author":277,"museum":5168,"description":5169,"tags":5170,"thumbUrl":5171,"material":69,"size":88,"collection":88,"collections":5172,"showCount":5153,"zanCount":42,"manualWeight":42,"mainColor":92},228296,"lao-zi-qi-niu-chen-hong-shou-228296","老子骑牛","1","画面以清简之笔勾勒出超脱意趣，老子清癯古雅，神色淡然恬和，衣褶线条凝练劲挺，带着金石质感，古拙高逸。水牛憨拙沉稳，缓步渡溪，笔墨朴拙间尽显生动意态。布景疏朗，几竿修竹斜逸出尘，淡赭坡岸搭配墨色流云，留白铺就出空寂悠远的道家天地。设色雅致柔和，浅绛基调晕染出古淡空灵的氛围，将清逸超脱的意境尽数铺展，把天人合一的玄妙意趣藏于笔底，尽显古雅奇崛的画风特质，沉静里裹挟着出尘的悠远韵味。",[23,25,29,28,30,1463,7,35,296,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0ce83cdace5474ad255b551c4c99211.jpg",[],{"id":5174,"slug":5175,"title":5176,"dynasty":48,"author":5177,"museum":50,"description":5178,"tags":5179,"thumbUrl":5180,"material":441,"size":5181,"collection":679,"collections":5182,"showCount":5153,"zanCount":42,"manualWeight":42,"mainColor":92},220963,"qi-lv-shi-dong-qi-chang-220963","七律诗","董其昌","82岁自书诗帖卷行楷七律，崇祯九年丙子(1636)夏，朝鲜笺本尺寸：30X251cm，故宫博物院藏。",[23,24,25,26,56,58,57,102,29,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff585a41d024b15fd0fb7f7b54fdad52b.jpg","30X251cm",[679],{"id":5184,"slug":5185,"title":5186,"dynasty":48,"author":5187,"museum":1760,"description":5188,"tags":5189,"thumbUrl":5190,"material":37,"size":88,"collection":300,"collections":5191,"showCount":5153,"zanCount":11,"manualWeight":42,"mainColor":92},219704,"zhu-yuan-feng-seng-tu-zhao-zuo-219704","竹院逢僧图","赵左","赵左（1573-1644）的风格兼容苏州与松江两地画学传承。画中小茅屋里面对僧人而坐的文士，吻合右上方所书的唐人诗句「因过竹院逢僧话，又得浮生半日闲」。此画题颇受欢迎，而赵左的诠释方式，除了利用竹林、巨石、水面与大片云雾，将竹院独立出来，更有趣的是利用树干与围幕，将文士框限于一小方空间，促迫地享受仅存的闲逸。",[23,24,25,26,53,1327,238,294,146,2657,296,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2de72b6897a34154bfb9dd405d03101.jpg",[300],{"id":5193,"slug":5194,"title":5195,"dynasty":167,"author":262,"museum":143,"description":5196,"tags":5197,"thumbUrl":5199,"material":172,"size":88,"collection":71,"collections":5200,"showCount":5153,"zanCount":42,"manualWeight":42,"mainColor":92},218664,"zhu-quan-xiao-ting-wu-zhen-218664","竹泉小艇","墨韵淋漓间，翠竹苍劲挺拔，枝叶以劲挺之笔写出，墨色浓淡交错，似有清风穿叶而过。泉流隐于山石缝隙，虽未见全貌，却借留白与苔点暗喻潺潺之态。近处小艇泊于岸侧，舟中无人，留白生趣，引人遐想隐士或倚竹听泉，或泛艇寻幽。远处山峦以淡墨皴染，云雾轻笼，尽显江南山水的悠远空寂。整幅画以水墨为骨，诗意入魂，将文人隐逸情怀融于尺幅间，笔意简远却意蕴深长，仿佛能闻竹声泉响，触到那份远离尘嚣的淡然心境，尽显元人山水的空灵与闲适。",[23,25,24,26,57,53,238,200,7,5198,708],"泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13688cdad196b0705ce407027cb5e838.jpg",[71],{"id":5202,"slug":5203,"title":5204,"dynasty":167,"author":262,"museum":143,"description":466,"tags":5205,"thumbUrl":5206,"material":69,"size":88,"collection":88,"collections":5207,"showCount":5153,"zanCount":11,"manualWeight":42,"mainColor":92},216594,"mo-zhu-pu-ce-ye-4-wu-zhen-216594","墨竹谱册页-4",[23,24,25,26,83,53,58,102,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7c8a9a08d09a4c179fee51c2b578937.jpg",[],{"id":5209,"slug":5210,"title":5211,"dynasty":167,"author":385,"museum":5212,"description":5213,"tags":5214,"thumbUrl":5215,"material":69,"size":5216,"collection":88,"collections":5217,"showCount":5218,"zanCount":11,"manualWeight":42,"mainColor":92},290841,"zhu-zhou-ni-zan-290841","竹轴","台北姑姑博物院","倪瓒（1301年－1374年），初名倪珽，字泰宇，别字元镇，号云林子、荆蛮民、幻霞子，江苏无锡人，元末明初画家、诗人。\n倪瓒擅画山水和墨竹，师法董源，受赵孟頫影响。早年画风清润，晚年变法，平淡天真。疏林坡岸，幽秀旷逸，笔简意远，惜墨如金。以侧锋干笔作皴，名为“折带皴”。墨竹偃仰有姿，寥寥数笔，逸气横生。书法从隶书入，有晋人风度，亦擅诗文。洪武七年卒，时年七十四岁。\n倪瓒与黄公望、王蒙、吴镇合称“元四家”。倪瓒家中富有，博学好古，四方名士常至其门。元顺帝至正初年，散尽家财，浪迹太湖。存世作品有《渔庄秋霁图》《六君子图》《容膝斋图》《清閟阁集》。",[25,26,27,53,7,57,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140e073a93b5bbafd69cbc35fbfacc63.jpg","67.1x32.9",[],36,{"id":5220,"slug":5221,"title":5222,"dynasty":18,"author":1335,"museum":224,"description":5223,"tags":5224,"thumbUrl":5228,"material":960,"size":961,"collection":88,"collections":5229,"showCount":5218,"zanCount":11,"manualWeight":42,"mainColor":43},288399,"lin-dai-yu-chong-jian-tao-hua-she-sun-wen-288399","林黛玉重建桃花社","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。",[23,25,26,28,29,30,31,453,455,296,592,7,5225,5226,5227],"风筝","桃花社","聚会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82aa2bbeb52a082378df0a61e396e32c.jpg",[],{"id":5231,"slug":5232,"title":5233,"dynasty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人，后人誉其画竹高手。\n他初姓朱，名昶，后复姓夏，太祖为之更名昶，字仲昭。\n号自在居士，又号玉峯，江苏昆山人， 弟。\n正统中官至 直内阁。\n画墨竹师 ，能得其妙，时推第一，名驰绝域，争以金购之。\n永乐十三年(公元1415年)中进士，为 。\n文皇十分赏识他的楷书，被推荐 内省，授 。\n永乐命书宫殿榜。\n尝侍从皇帝出巡于南、北二京。\n(公元1426一145年)中，转考工主事，仍供内直。\n正统(公元146—1449年)中升太常卿。\n他为人坦率乐易，不拘小节，时常出入礼法间，人们也不怎么去责怪他。\n晚年回到故乡居住，以诗画宴乐自娱。\n夏昶，画竹学 兼学 ，有自己的面目，声誉大大超过了他的老师。\n其兄 ，字孟旸，亦以书法 称旨，命与昶同拜中书舍人，时称“大小中书”。\n画山水师元画家 ；又善竹石，萧萧有林壑之气，但平生不多作，故世人一般只知道夏昶墨竹，而不知其兄昺。\n其孙女为 祖母，另一孙女则在其过世后嫁予 为妻。\n夏昶以 笔法画竹，所作竹枝烟姿雨色，偃直浓巯，各循矩度而 。\n当时学他画竹的人很多，画史记载的如同里(昆山)的屈礿(字处诚)、海虞( )的 (字廷瑞)、钱塘(杭州)的詹和（字仲和)。\n而以屈礿为突出。\n明 《匏庵集》说：“今人家多得，往往出其手，真伪固自能辨。\n”徐沁 说夏昶“写竹时称第一，名驰绝域，争以兼金购求，故有‘夏昶一箇竹，西凉十锭金’之谣”。\n所作竹枝烟姿雨色，偃值浓疎，动和 ，盖行家也。\n昆山之人师之者更数辈，独屈约颇类之，而人所得，往往出其手。\n尤精楷法，永乐命书宫殿榜。\n卒年八十三。\n传世作品有《湘江风雨图卷》（ 藏）、《满林春雨图轴》（ 藏）、《 》（ 藏）等。",[23,25,26,56,53,200,7,214,238,296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ce25658d7757cb59f52d9d91b347bb7.jpg",[],{"id":5267,"slug":5268,"title":5269,"dynasty":167,"author":385,"museum":143,"description":5270,"tags":5271,"thumbUrl":5274,"material":104,"size":5275,"collection":243,"collections":5276,"showCount":5218,"zanCount":42,"manualWeight":42,"mainColor":92},220788,"hua-pu-ce-xin-zhi-ku-gan-yu-zhu-ni-zan-220788","画谱册·新枝枯干雨竹","该册共十帧，每页依次绘竹林山石，并细叙画法。画法中语虽不求深致，而多发人所未发，甚为可贵。",[25,26,83,53,199,57,7,5272,5273],"枯干","新枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa51185112762ece3701184f5e766e2de.jpg","幅一 23.6x14.2公分，幅二 23.6x14.2公分",[243,269],{"id":5278,"slug":5279,"title":5280,"dynasty":167,"author":262,"museum":143,"description":466,"tags":5281,"thumbUrl":5282,"material":69,"size":88,"collection":88,"collections":5283,"showCount":5218,"zanCount":11,"manualWeight":42,"mainColor":92},216382,"mo-zhu-pu-ce-7-wu-zhen-216382","墨竹谱册-7",[25,26,83,53,7,102,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6728098eeee9dc357748de79d615f7b3.jpg",[],{"id":5285,"slug":5286,"title":5287,"dynasty":167,"author":385,"museum":224,"description":5213,"tags":5288,"thumbUrl":5289,"material":960,"size":961,"collection":88,"collections":5290,"showCount":5291,"zanCount":11,"manualWeight":42,"mainColor":92},287598,"gu-mu-zhu-shi-ni-zan-287598","古木竹石",[25,53,741,7,35,57,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F703c19b30314285dda62309469a0f7db.jpg",[],35,{"id":5293,"slug":5294,"title":4248,"dynasty":167,"author":2209,"museum":143,"description":5295,"tags":5296,"thumbUrl":5297,"material":172,"size":2213,"collection":88,"collections":5298,"showCount":5291,"zanCount":42,"manualWeight":42,"mainColor":43},287531,"zhu-shi-zhou-gu-an-287531","顾安（1289－1365后） 元画家。字定之，号迂讷居士，淮东人，家昆山（今属江苏）。官泉州路行枢密院判官。擅画墨竹，喜作风竹新篁，运笔遒劲挺秀。用墨润泽焕烂，于李衎、柯九思外，自成一家。亦工行、楷书。存世作品有《拳石新篁》、《平安磐石》、《幽篁秀石图》、《竹石图》、《墨竹图》等。",[25,53,27,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5986ce135d71930321fd9631e1fa25b.jpg",[],{"id":5300,"slug":5301,"title":5302,"dynasty":18,"author":168,"museum":224,"description":5303,"tags":5304,"thumbUrl":5307,"material":960,"size":961,"collection":88,"collections":5308,"showCount":5291,"zanCount":11,"manualWeight":42,"mainColor":43},273086,"mu-bian-xiu-mei-hua-tu-ping-yi-ming-273086","木边绣梅花图屏","这对挂屏以刺绣摹绘花鸟意趣，左侧虬梅斜出，蓓蕾轻绽，竹影清疏间青鸟振翅穿飞，生机跃然绣面；右侧折枝错落，菊瓣舒展柔婉，幽禽静栖枝头，尽显娴静秋意。\n\n绣线晕染自然细腻，配色清雅柔和，针脚匀净细密，将花木柔态、禽鸟灵动一一摹尽，兼具文人水墨的淡远意趣与闺阁绣艺的精巧工致。红木装框配织锦镶边，古雅沉静，将四时清景凝于尺幅之上，静动相映，尽显雅致韵味，是民间刺绣中的精巧之作。",[5305,5306,4072,85,592,59,7,67,29,3758],"刺绣","绣品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8df9601fe3b0934c9c34174ffa6f899a.jpg",[],{"id":5310,"slug":5311,"title":5312,"dynasty":18,"author":168,"museum":224,"description":5313,"tags":5314,"thumbUrl":5317,"material":960,"size":961,"collection":88,"collections":5318,"showCount":5291,"zanCount":11,"manualWeight":42,"mainColor":5319},267782,"ou-he-se-mei-zhu-hai-tang-wen-er-se-duan-yi-ming-267782","藕荷色梅竹海棠纹二色缎","藕荷底色晕开沉静柔雅，浅调花饰似月色落于其上。梅朵清雅凝绽、修竹疏朗横斜、海棠柔枝缀花，三类花木错落铺陈，将傲岸、清逸与娇柔融于一方织物之上。\n暗纹竖棱隐于缎面，让整体更添肌理层次，二色织绣让花叶明暗柔和过渡，针脚细密不见匠气，将文人钟情的花木意趣藏入经纬之间，把中式含蓄雅致的审美融于日用织锦，尽显旧时织造工艺的细腻工巧。",[3758,5315,59,7,5316],"缎","海棠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cb7f65419f7f557bc78251b15d4df25.jpg",[],"9C27B0",{"id":5321,"slug":5322,"title":5323,"dynasty":18,"author":845,"museum":5324,"description":5325,"tags":5326,"thumbUrl":5328,"material":312,"size":5329,"collection":71,"collections":5330,"showCount":5291,"zanCount":42,"manualWeight":42,"mainColor":92},238081,"zhu-yin-xi-ling-tu-zhou-lang-shi-ning-238081","竹荫西狑图轴","沈阳故宫博物院","郎世宁，西名加斯提里阿纳Giuseppe，意大利美朗诺市人。于康熙五十四年(1715)来华传教，时年27岁，召入内廷为画院供奉，历仕三朝。画法参酌中西，善写生，人物、花鸟，奕奕有神，尤工画马，如百骏图、名马图、武功图至今有声世界。郎氏初本欲将西法输入中国，因不为清帝所喜，遂创折衷画法。一时从之学者甚众，流风至今未绝。卒年七十八。《故宫郎世宁画集》。郎世宁的主要活动在乾隆时，除了画弘历的肖像外，为清宫画了不少战功图，也画马、画花卉。郎世宁参酌中西画法，设色艳丽，精工细致。",[24,25,26,27,29,28,7,65,5327,1464],"犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62af978560aaab5bcd5e5a1dd51cf3f2.jpg","246×133厘米",[71,123],{"id":5332,"slug":5333,"title":3685,"dynasty":18,"author":130,"museum":224,"description":1145,"tags":5334,"thumbUrl":5335,"material":88,"size":88,"collection":243,"collections":5336,"showCount":5291,"zanCount":42,"manualWeight":42,"mainColor":92},237930,"yuan-ji-mo-zhu-tu-zhou-shi-tao-237930",[25,26,27,53,7,57,102,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe56ab48f8433faa0c3d1fc3aa96ea0d3.jpg",[243,679],{"id":5338,"slug":5339,"title":2051,"dynasty":97,"author":168,"museum":224,"description":5340,"tags":5341,"thumbUrl":5342,"material":88,"size":88,"collection":71,"collections":5343,"showCount":5291,"zanCount":42,"manualWeight":42,"mainColor":43},227901,"bai-tou-cong-zhu-tu-ye-yi-ming-227901","《白头丛竹图》是南宋佚名创作的绢本设色画，现藏于 。\n图中绘小竹数竿，清翠欲滴，两只山雀栖于枝头，一只低头俯视，一只眺望前方。\n竹用双钩填彩，笔墨缜密严谨，色调沉着。\n山雀用淡彩层层晕染，再以尖毫细笔绘出绒羽，刻画准确，富有质感。\n图绘白头翁鸟两只，栖于丛竹之中。\n图中的丛竹，自竹篁中长出的几枝落叶的老枝，画幅左上方伸展，这就打破了左面景物过于稀疏的格局。\n左侧的老枝，竹叶开始枯黄，在几处竹叶根部略见积雪，分明是初冬时节。\n两只鸟伫立于一根枝权上，上者低头梳理羽毛，长尾下垂；下者凝视前方，姿态逼肖。\n本幅无款。\n钤鉴藏印“佟氏家藏”。\n此图过去一直被认为代表了唐代李思训画派的风格，后经傅熹年考证，认为其时代上限不超越南宋中期，而且很可能出自既不了解唐代宫苑之制、也未亲见宋代宫苑贵邸的临安以外地区的民间画家之手。\n此图画竹先以浓墨细笔勾出枝叶，再以淡色渍染，染色时从尖到根逐渐加深，叶根部留白作雪。\n笔墨严谨，色调沉着。\n设色除了竹叶较重的青绿，其他部分用色都很清淡，做到工而不板，丽而不俗。\n两只白头翁先用笔层层晕染，然后用尖毫细笔画出它们身上的绒羽，这样刻画出丰满可爱的白头翁形象，与竹枝、竹叶的劲利画法不同，而柔软蓬松的翎羽与刚直劲挺的竹枝、竹叶，形成艺术效果的对比。\n足见作者在此图上施以多种手法而得到的艺术效果甚佳。\n这是作者对自然界的花鸟进行认真观察、勇于摸索、不断实践创作的结果。\n画面上，两只白头翁立在竹枝之间．一只平视前方，另一只低着头，用喙梳理羽毛，动作显得十分传神。\n竹子采用双钩填彩画法，尤是竹叶似剑锋不锐利。\n在着布局上，色调构图缜密。\n《白头丛竹图》在用线上，竹的线条勾勒坚挺劲利，用笔顿挫提按有力，叶的勾勒显出飘逸、灵动，枝的用线则稳健，叶与枝在统一中求变化。\n白头翁身上的绒羽则用尖毫细笔勾出，与竹一柔一刚形成强烈的张力，既表明了两者形态、质感上的不同，也强化了内在的冲突：环境严寒、凛冽而白头翁的温柔可爱。\n凌寒不屈的寓意需要相应的笔法和设色与之相称。\n白头翁作为主体以黑、白、灰为主，既朴素大方，又对比强烈地镇住画面。\n在中国传统色彩学中，黑与白是所有色彩中的极色，它们在这幅画中被赋予特殊的关注。\n衬景的竹子先染墨后施色，显出了色调的沉着，竹叶稳沉的绿与古铜色绢底既有反差，又有参差的层次，构成和谐的统一。\n叶尖、叶背以及次要的竹枝淡淡施以摊墨，进一步融合了绢与竹在色彩与空间上的联系。\n通幅调子淡雅、朴素、沉着，既是客观的写照而又融人主观的情趣，体现了工笔花鸟画形式所特有的设色的法度：主辅必明，傅染必渐，洪托必匀，雅俗必分，层层值染，使得墨与色和谐相融。\n这一切不仅增加了色彩的厚度，而且也使画面显得细腻而丰富。\n这种微妙屯自然、柔和的变化及空间控制之精妙，是意笔花鸟画难以企及的。\n在构图上，静态的白头翁栖于主位，理羽的白头翁处于辅位，一静一动主次的安排，既莫定画面“静”的基调又使画面有“动”的生气。\n衬景中最醒目的竹干从画面中下部向左中下方斜长出画外，白头翁站立的竹枝伸向右中上方，与右斜带叶小枝形成右上方与中下部的连势，加之竹叶横生长势，与白头翁站立的竹枝同长于一个竹节点，但长势相反且与止于画面的辅枝一起，形成多层次的、非十字形的交叉，既丰富又统一，与冲出画外的竹干长势一同把人的联想引到画外无限的空间。\n会员李敬仕：画家以不同的手法，表现了不同对象的质感和精神气质，使白头翁与劲利的竹枝、叶片形成刚柔对比的艺术效果。",[23,24,25,26,1120,83,28,29,85,7,592,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31eabac537775fc8e4c72a25d5260302.jpg",[71],{"id":5345,"slug":5346,"title":5347,"dynasty":18,"author":845,"museum":143,"description":3292,"tags":5348,"thumbUrl":5349,"material":29,"size":3296,"collection":88,"collections":5350,"showCount":5291,"zanCount":42,"manualWeight":42,"mainColor":92},222733,"xian-e-chang-chun-tu-cui-zhu-qian-niu-lang-shi-ning-222733","仙萼长春图翠竹牵牛",[23,24,25,26,83,28,29,85,7,3294,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e67283e0ab5abccdabbdf139080e20c.jpg",[],{"id":5352,"slug":5353,"title":5354,"dynasty":48,"author":4562,"museum":50,"description":5355,"tags":5356,"thumbUrl":5359,"material":312,"size":5360,"collection":300,"collections":5361,"showCount":5291,"zanCount":42,"manualWeight":42,"mainColor":92},222027,"san-gu-cao-lu-tu-dai-jin-222027","三顾草庐图","画面描绘的是家喻户晓的刘备“三顾茅庐”拜访诸葛亮的故事。人物的描绘生动而细致，例如刘备恭敬的神态、张飞的深色面庞及武夫样的站姿都描绘得十分传神。人物的动态掌握得非常准确。画山石用大斧劈皴法，松枝颀长，明显继承了南宋马远的画风，用笔简劲。整体画面墨色清雅。\n在明代宫廷画中以“招贤纳士”为题材的历史故事画为数不少，反映了当政皇帝求贤的迫切心情。",[23,25,1327,238,29,30,60,5357,7,454,146,935,294,5358,755],"草庐","山坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6f5519f01f671699f57d3b1bc3dfe2e.jpg","纵172.2cm，横107cm",[300,243],{"id":5363,"slug":5364,"title":5365,"dynasty":48,"author":649,"museum":50,"description":5366,"tags":5367,"thumbUrl":5368,"material":202,"size":5369,"collection":71,"collections":5370,"showCount":5291,"zanCount":42,"manualWeight":42,"mainColor":43},221993,"ku-mu-shu-huang-tu-zhou-wen-zheng-ming-221993","枯木疏篁图轴","此图绘古松如龙，虬干曲枝，老气横秋；疏竹翠色盎然，丛簇纷披。画家运用自己在书法尤其是行草书方面的高深造诣和雄放的笔力，以湿润淋漓的墨色自由挥写，既表现了雨后竹树苍润欲滴、秋意渐浓的状态和美感，也反映出作者安逸闲适的放松心态，是文徵明盛年粗笔绘画中具有较强笔墨个性和诗化意境的作品之一。",[23,85,7,53,54,27,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F772a95dcda3e0ac56d1e3817034c10bf.jpg","纵88.2厘米，横47.8厘米",[71,123],{"id":5372,"slug":5373,"title":5374,"dynasty":18,"author":5375,"museum":143,"description":5376,"tags":5377,"thumbUrl":5378,"material":69,"size":5379,"collection":300,"collections":5380,"showCount":5291,"zanCount":42,"manualWeight":42,"mainColor":92},219892,"fang-ni-huang-he-bi-tu-wang-yuan-qi-219892","仿倪黄合笔图","王原祁","图绘湖山阔远,水榭静美.取倪云林之图式,运黄子久之笔墨,王麓台笔力能扛鼎,诚非虚誉.",[25,53,200,1614,238,1615,1754,294,7,454,663,297,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb79ceab6892c3b9c5f6fc7105fc63ef6.jpg","111.5x48.1",[300],{"id":5382,"slug":5383,"title":5384,"dynasty":167,"author":262,"museum":143,"description":466,"tags":5385,"thumbUrl":5386,"material":69,"size":88,"collection":88,"collections":5387,"showCount":5291,"zanCount":42,"manualWeight":42,"mainColor":92},216375,"mo-zhu-pu-ce-14-wu-zhen-216375","墨竹谱册-14",[25,53,83,7,57,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22a65b027dbcb7514817d63da9b2f3f4.jpg",[],{"id":5389,"slug":5390,"title":5391,"dynasty":97,"author":168,"museum":182,"description":5392,"tags":5393,"thumbUrl":5394,"material":88,"size":88,"collection":106,"collections":5395,"showCount":5291,"zanCount":190,"manualWeight":42,"mainColor":5396},201548,"ge-le-tu-juan-yi-ming-201548","歌乐图卷","画卷铺陈宋代闲适宴乐之景，庭院间虬枝缀花之木与青竹、怪石相映，景致清雅。男子持乐器奏乐，红衣女子或凝神倾听、或轻执器物互动，孩童稚态可掬，众人神情姿态生动传神。画作以工笔见长，线条细腻流畅，衣纹勾勒精准，设色典雅沉稳，将宴乐场景的悠然氛围尽显无遗，体现宋代绘画的精致匠心与艺术韵味。",[28,29,30,310,457,7,35,31,1276,59,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10f7c94786ca092c3352478aabf9437e.jpg",[106],"745f47",{"id":5398,"slug":5399,"title":5400,"dynasty":521,"author":320,"museum":143,"description":5401,"tags":5402,"thumbUrl":5403,"material":960,"size":961,"co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收藏。\n此图以简练的笔法，画一枝偃仰姿纵的“野梅”和翠竹。\n作者用笔疾速，枝干着墨比较粗放，有些地方留有“飞白”，即不经意地在绢上造成的空白效果，非常巧妙地表现出树皮斑驳的质感；花朵用笔圆润细巧，花蕊娇嫩；竹叶下垂，只在叶子的下部用浓墨勾出一半轮廓。\n为了更好地衬托积雪的效果，画家用淡淡的墨色将绢地满涂，仅仅只留出积雪的部位，阴霾逼人的寒气便得到了很充分的渲染。\n此图为长卷，描绘雪天绽廾的梅花：墨笔画一枝凌空偃仰恣纵的野梅，图巾仪截取梅花树的一部分，重写枝十，淡点梅花-枝干有取有舍，疏密得官，苍劲挺拔，穿插有致-夹杂着儿簇竹口十，雪竹从画幅的左上角向右下方斜伸、疏竹枝叶及梅枝花办』：半爪残雪，借天色烘出一片清光傲寒之气洋溢画外。\n本幅钤“草玄之裔”、“补之”“逃禅”朱文印三方。\n本幅南宋曾觌题诗： 笔端造化出天巧，写出江南雪压枝。\n谁道春归无觅处．横斜全似越溪时。\n题记“扬补之得墨梅三昧，山谷道人叹日：‘如嫩寒清晓行孤山篱落间，但欠香耳。\n’则笔端春色之妙，此言尽矣。\n海野老农”。\n钤“子子孙孙其永宝用”朱文。\n鉴藏印有：“崇信军节度使之印”朱文。\n吴廷二方，高士奇五方，清乾隆、嘉庆、宣统内府藏印十方。\n引首有清乾隆御书“孤山香雪”行书4字，又在前隔水题诗一首。\n后隔水有清高士奇跋、印。\n纸尾有元止止道人、顾德璋、唐幼明、李升，明吴勤、李澄之、吴宽跋，清高士奇十跋。\n诸家印鉴及吴延鉴藏印共三十九方。\n扬无咎擅画梅、竹、松、石等，也能画人物，师李公麟。\n但他目前只有墨梅作品传世，“四梅花图”与“雪梅图”均藏故宫博物院。\n扬无咎为画梅，曾在庭院中植梅树，“大如数间屋，苍皮藓斑，繁花如簇”，他时时观察、写照，并得出“交枝而花繁累累，分梢而萼蕊疏疏”的理论。\n他画梅花，用细笔墨线圈出花瓣，更见梅花“疏影横斜”的风致。\n据传宋徽宗看到他画的梅花，曾笑道扬无咎画的是乡村中的梅花，扬无咎便自署画梅为“奉敕村梅”。\n除擅画外，扬无咎亦工书，学欧阳询，很有心得。\n工诗词，著有《逃禅词》。\n此图全幅以淡墨烘小，浓墨写枝，细笔勾花，用以表现“万花敢向雪中廾’’的意境-全图川笔劲逸，画法与《四梅花卷》用笔稍有不同，布景舒朗清新-背景从上至下，从左到右，均以淡墨铺染，与枝干重下孑一侧的画法相结合，从而烘托出枝卜L的积雪，同时也映衬小朵朵梅花鲜明灿烂，一雪茫茫，花枝俏丽，呈现十无尽的叫：意．山于作者非常讲究人格修养及笔墨素养，所以，他画的梅花高标清韵，正是他高沾情操的写照：此卷墨色野梅，能作成疏影横斜之态，义间以竹口卜披拂，义皆宁以形状，不施一粉而雪景澹然。\n画面』二展示的不仪是梅花姿态，而是一种“嫩寒清晓，行孤山篱落间”的梅花境界。\n从此画可窥见作者对雪中梅花“高洁”品格的喜爱和作这幅画寸的内心情感。\n全图用笔简逸，与《四梅花图》卷的用笔又有变化，布景舒朗清新，很富有杭州孤山篱落间那种“疏影横斜”，“暗香浮动”的诗意。\n梁济海 经《中国古代书画图目》十九、《 》上册、《中国美术全集·绘画编》4、《宋扬无咎雪梅图》、《艺苑掇英》1979年第1期、《故宫博物院藏文物珍品全集·晋唐两宋绘画·花鸟走兽卷》、《故宫博物院藏品大系·绘画编》2等影印；《石渠宝笈·初编》、《 》卷十四、《江村销夏录》卷三、《江村书画目》、《故宫已陕书画目》、《国宝沉浮录》、《中国古代书画目录》第二册著录。\n扬无咎(197～1169年)，字补之，号逃禅老人、清夷长者，清江(今属江西)人，寓居南昌。\n自称为东汉文学家扬雄之后，故其姓氏从“手”而不从“木”。\n南宋高宗时因不满秦桧专权，累征不起，一生没有做官，是一位藐视权贵的画家。\n他工诗词，擅书画。\n其书学欧阳询，画师华光仲仁。\n伸仁偶于月夜见窗间梅影，创为墨梅。\n扬无咎继承其法，所作梅花多取材于山间水滨、疏枝冷蕊、清寒野逸，一反院画之“宫梅”格调，故被戏称为“村梅”，开创了墨梅新派，对当时和后世均有较大影响。\n著有《逃禅词》一卷。",[23,24,25,26,56,53,58,59,325,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3988218e54f77fb99d01fef5567a2244.jpg","27x64.",[106,71],{"id":5497,"slug":5498,"title":1482,"dynasty":97,"author":168,"museum":20,"description":5499,"tags":5500,"thumbUrl":5501,"material":172,"size":5502,"collection":300,"collections":5503,"showCount":5405,"zanCount":137,"manualWeight":42,"mainColor":43},218599,"zhu-tu-yi-ming-218599","墨竹倚石而生，枝干挺劲如剑，竹叶纷披若云。中锋运笔勾勒竹干，线条圆劲中带弹性；侧锋扫出叶影，浓淡枯湿交错，似有风穿叶隙，簌簌有声。石体朴拙厚重，皴擦间显苍劲肌理，与秀逸之竹相映成趣，刚柔相济。留白处似含空濛之气，延展了清寂之境。整幅笔墨简括却意韵悠长，竹之疏朗、石之沉凝，暗蕴君子不阿风骨，尽显宋画简远雅致的文人格调——于无声处，见笔墨精神与自然生机的交融。",[23,24,25,26,27,53,54,7,214,592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1607f568c2c28a4be41fe93f5462041d.jpg","27x47.5cm",[300],{"id":5505,"slug":5506,"title":5507,"dynasty":18,"author":3987,"museum":143,"description":5508,"tags":5509,"thumbUrl":5510,"material":69,"size":5511,"collection":39,"collections":5512,"showCount":5405,"zanCount":42,"manualWeight":42,"mainColor":92},216962,"da-shi-xiang-dong-bang-da-216962","大士像","这幅画描绘了白衣大士趺坐巨石之上，眼睛弯弯地沉思着，一脸慈祥。整个作品的笔触是松散而优雅的。",[53,28,57,102,1559,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F961969e1bd458d855abc1f4e1b812a54.jpg","69.4x38.7",[39],{"id":5514,"slug":5515,"title":5516,"dynasty":167,"author":262,"museum":143,"description":466,"tags":5517,"thumbUrl":5518,"material":69,"size":88,"collection":88,"collections":5519,"showCount":5405,"zanCount":42,"manualWeight":42,"mainColor":92},216384,"mo-zhu-pu-ce-5-wu-zhen-216384","墨竹谱册-5",[24,25,26,83,53,7,58,57,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F586b1cd6d74f25311f2e2eae3adb5abc.jpg",[],{"id":5521,"slug":5522,"title":5523,"dynasty":97,"author":413,"museum":224,"description":5524,"tags":5525,"thumbUrl":5526,"material":960,"size":961,"collection":88,"collections":5527,"showCount":5528,"zanCount":42,"manualWeight":42,"mainColor":43},290301,"guan-fu-xi-ying-zhou-su-han-chen-290301","灌佛戏婴轴","此图画中的孩子们在玩“过家家”：一个孩子跪下模仿大人礼佛，一个孩子手抬佛像，还有一个孩子手持水瓶灌佛，另一孩童手捧花篮，装扮成佛教信徒模样，模仿浴佛仪式。",[24,25,26,27,28,29,30,3231,1698,7,61,417,1559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02cabf428605fa1ae6a542421c58c633.jpg",[],33,{"id":5530,"slug":5531,"title":5532,"dynasty":521,"author":5533,"museum":224,"description":5534,"tags":5535,"thumbUrl":5536,"material":960,"size":961,"collection":88,"collections":5537,"showCount":5528,"zanCount":42,"manualWeight":42,"mainColor":43},287366,"xie-sheng-an-chun-shui-jiu-tu-juan-huang-quan-287366","写生鹌鹑水鸠图卷","黄荃","黄筌（约903年—965年），字要叔，成都（今四川成都）人。曾随唐末入蜀的著名画家刁光胤学画，又吸收山水画家李昇，人物龙水画家孙位之长，结果“全该六法，远过三师”他擅长花竹翎毛，也能画佛道，人物，山水，是一位技艺全面的画家。\n早以工画得名，擅花鸟，师刁光胤、膝昌苑，兼工人物、山水、墨竹。山水松石学李升，人物龙水学孙位，鹤师薛稷，撷诸家之萃，脱去格律而自成一派。所画禽鸟造型正确，骨肉兼备，形象丰满，赋色浓丽，勾勒精细，几乎不见笔迹，似轻色染成，谓之“写生”。与江南徐熙并称“黄徐”，形成五代、宋初花鸟画两大主要流派。",[23,24,25,26,56,28,29,85,1628,1604,592,7,65,663,992,57,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4b6e0e83d5ceda284e56fba76b021e1.jpg",[],{"id":5539,"slug":5540,"title":5541,"dynasty":18,"author":5542,"museum":224,"description":5543,"tags":5544,"thumbUrl":5545,"material":960,"size":961,"collection":71,"collections":5546,"showCount":5528,"zanCount":42,"manualWeight":42,"mainColor":92},238335,"hua-hong-li-qing-kuang-lou-yong-zhu-shi-yi-ce-dong-gao-238335","画弘历清圹楼咏竹诗意册","董诰","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），首席军机大臣，上书房总师傅，钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，赠太傅，赐谥号文恭，入祀贤良祠。嘉庆亲写哀诗“只有文章传子侄，绝无货币置田庄”，并亲自拨款建立“董公祠”。",[25,26,83,53,29,7,35,2139],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a26b9903dbf7a5197e9f55ddfbe00e6.jpg",[71,123],{"id":5548,"slug":5549,"title":1657,"dynasty":18,"author":5550,"museum":224,"description":5551,"tags":5552,"thumbUrl":5554,"material":960,"size":961,"collection":71,"collections":5555,"showCount":5528,"zanCount":42,"manualWeight":42,"mainColor":92},237986,"za-hua-ce-xue-huai-237986","薛怀","薛怀（1717—1804），清代著名书画家。字小凤，号竹君，晚号竹居老人。桃源（今江苏泗阳县）监生，居山阳（今淮安市淮安区）。 边寿民甥。工书、画，花卉小品，清远绝俗。画用钩勒再以枯笔渍染，阴阳向背，极为明豁。写芦雁酷似其舅，又善画宜兴茶器。卒年八十七。《艺林月刊、墨林今话、墨香居画识、梧门诗话、宋元明清书画家年表附录》。",[25,53,83,102,5553,7],"蟹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5c02b9ac6b226b056d529a5e4f8b6e1.jpg",[71],{"id":5557,"slug":5558,"title":306,"dynasty":97,"author":307,"museum":50,"description":5559,"tags":5560,"thumbUrl":5563,"material":312,"size":5564,"collection":88,"collections":5565,"showCount":5528,"zanCount":42,"manualWeight":42,"mainColor":43},232935,"ting-qin-tu-zhou-zhao-ji-232935","此幅描绘官僚贵族雅集听琴的场景。主人公道冠玄袍，居中端坐，凝神抚琴，前面坐墩上两位纱帽官服的朝士对坐聆听，左面绿袍者笼袖仰面，右面红袍者持扇低首，二人悠然入定，仿佛正被这鼓动的琴弦撩动着神思，完全陶醉在琴声之中。叉手侍立的蓝衫童子则瞪大眼睛，注视着拨弄琴弦的主人公。作者以琴声为主题，巧妙地用笔墨刻画出“此时无声胜有声”的音乐的意境。画面背景简洁，如盖的青松和摇曳的绿竹衬托出庭园高雅脱俗的环境，而几案上香烟袅袅的薰炉与玲珑石上栽植着异卉的古鼎与优雅琴声一道，营造出一种清幽的氛围。\n画面上方有宰相蔡京手书七言绝句一首，右上有宋徽宗赵佶瘦金书题“听琴图”三字。\n作品构图简净，人物举止形貌刻画生动传神，衣纹线描劲挺略带战笔，树石器具描写工致而毫无呆板，着色浑厚而不失清丽，是宋代宫廷人物画的代表作品。\n由于作品本幅有徽宗题名与画押，作品一度被认为是赵佶所画，后经学者考证，此幅为宣和画院画家描绘徽宗赵佶宫中行乐的作品，而图中抚琴者，正是赵佶本人。",[24,25,26,27,28,29,30,1698,7,3257,102,3435,310,5561,5562,618],"桌","凳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a06d38e220a4cfb38a1f63704749fe0.jpg","纵147.2厘米，横51.3厘米",[],{"id":5567,"slug":5568,"title":5569,"dynasty":167,"author":750,"museum":143,"description":5570,"tags":5571,"thumbUrl":5572,"material":104,"size":5573,"collection":88,"collections":5574,"showCount":5528,"zanCount":42,"manualWeight":42,"mainColor":92},231337,"guan-dao-sheng-yan-yu-cong-zhu-yuan-dai-ji-jin-zhi-er-guan-dao-sheng-231337","管道昇烟雨丛竹－元代集锦之二","管道升善画竹，就存世画件，则有北京故宫藏《赵氏一门三竹图卷》中的第二件《墨竹》。此卷本安歧旧藏。安氏评以：“密叶劲节，不似闺秀之辈。”安歧旧藏又有赵孟頫、管道升《蕙竹合作卷》，安氏记以：“墨竹一枝，竹叶萧疏，枝节秀劲。”从这些描述来看《烟雨丛竹》，都不贴切。\n这幅《烟雨丛竹》不是习说的“墨竹”，而是当作于山水画的竹林图。从古老的诗经“瞻彼淇奥，绿竹猗猗”到“渭川千亩”，再到杜甫移种万竿于浣花草堂：“我有阴江竹，能令朱夏寒，阴通积水内，高映浮云端。”这种意念，移之于画作。明张丑记东坡居士《断山丛筱真迹》：“又见东坡《万竿烟雨》小帧。绢本精细，歇云眉山苏轼。下有飞白坡石，兼远景烟霭，极精。上方文征仲诗跋，称许娓娓可诵也。”“飞白坡石，兼远景烟霭。”移之于这幅《烟雨丛竹》，也是合宜的。又画史上倪瓒创出的《十万图》《万竿烟雨》即为第一题目。安歧记此画：“作淡墨细竹，沙渚遥浦，其间烟雾横迷，万玉幽深，茫茫有渭川千亩之势，坡陀皴法大类松雪，布景一派平远天真，秀妙绝伦，实为佳品。”也从此立意。\n《烟雨丛竹》画竹不分节，一笔不断由下方到顶端完成。竹叶形状细劲，结组繁而不乱。墨色用前浓后淡来区分出远近；画山坡是一般的山水皴法，沙渚丛竹，掩映于烟云中。新篁成丛与赵孟頫《自写小像》（1299作）的竹林画法是接近的。两件画竹叶，都是向上仰，做“燕尾”式的交合，且是前浓后淡的竹叶丛。竹竿《自写小像》并不一直顺畅到顶，略有些小转变。《自写小像》是青绿重彩，竹注重“墨骨”来衬托出色彩。《烟雨丛竹》是水墨层层迭迭渲染，烟云变灭，做得极为细致。技法上容有相通，情怀却不一。画平坡石块，《自写小像》画得古拙，而《烟雨丛竹》反而是老练成熟。",[25,26,56,53,199,7,3950,296,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bdc9f3061b89318e38a118057564b00.jpg","縱23.1厘米，橫113.7厘",[],{"id":5576,"slug":5577,"title":5578,"dynasty":97,"author":1087,"museum":50,"description":5579,"tags":5580,"thumbUrl":5581,"material":340,"size":5582,"collection":88,"collections":5583,"showCount":5528,"zanCount":42,"manualWeight":42,"mainColor":92},221547,"shan-guan-du-shu-tu-liu-song-nian-221547","山馆读书图","《山馆读书图》描绘的是文人雅士所向往的闲适生活。长松掩映之下，长案临窗，清风徐来，窗外传来书童打扫落叶的声音，间或闻得几声鸟鸣，宁静悠闲，倚案展卷，何等惬意。",[23,25,26,28,29,452,200,453,1698,30,457,456,7,57,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F234be9e86cbf67a38bc347e7b4419eed.jpg","24.3×24cm",[],{"id":5585,"slug":5586,"title":5587,"dynasty":18,"author":5081,"museum":99,"description":5588,"tags":5589,"thumbUrl":5591,"material":1496,"size":88,"collection":88,"collections":5592,"showCount":5528,"zanCount":42,"manualWeight":42,"mainColor":92},220473,"zhong-kui-xiang-ren-yi-220473","钟馗像","一改往日钟馗凶煞镇邪的刚猛，此作将他绘成簪花醉坐的士大夫模样，斜倚竹榻，醺然松弛，红簪点醒了满脸虬髯下暗藏的温柔意趣。\n\n衣纹以顿挫写意的长线挥就，笔势灵动洒脱，赭色衣袍晕染温润，衬出人物难掩的威仪。髯须以泼墨扫出，粗粝苍劲，与衣纹的秀逸形成反差，刚柔并济间，判官的威严与松弛尽显。\n\n案上清供瓶花、卷册鲜果，将神祗拉入日常烟火，消解戾气，添上文人雅韵，以世俗化笔触重构民间神明，尽显雅俗共赏的笔墨意趣。",[25,26,29,28,30,1559,34,33,5590,7],"典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc67bf33de0a3afd0468c8bac53207d69.jpg",[],{"id":5594,"slug":5595,"title":5596,"dynasty":167,"author":262,"museum":143,"description":466,"tags":5597,"thumbUrl":5598,"material":69,"size":88,"collection":88,"collections":5599,"showCount":5528,"zanCount":42,"manualWeight":42,"mainColor":92},216381,"mo-zhu-pu-ce-8-wu-zhen-216381","墨竹谱册-8",[25,26,83,53,7,102,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173eab88d81fef18e3753034dd77f964.jpg",[],{"id":5601,"slug":5602,"title":5603,"dynasty":97,"author":503,"museum":224,"description":5604,"tags":5605,"thumbUrl":5606,"material":960,"size":961,"collection":106,"collections":5607,"showCount":5608,"zanCount":176,"manualWeight":42,"mainColor":43},288288,"niao-tu-zhao-chang-288288","鸟图","赵昌，生于970-1040年，字昌之，北宋画家，广汉剑南（今四川剑阁之南）人。工书法、绘画，擅画花果，多作折枝花，兼工草虫。初师滕昌祐，后来发展出自身画风，没骨花鸟自成一派，有徐熙、黄荃遗风。在北宋时期与宋徽宗赵佶齐名，是宋代花鸟画坛的杰出画家。",[25,28,29,85,7,592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc98ef3fc15f317b0f1cc98d344e19622.jpg",[106,71,123],32,{"id":5610,"slug":5611,"title":5612,"dynasty":18,"author":5613,"museum":224,"description":5614,"tags":5615,"thumbUrl":5616,"material":960,"size":961,"collection":88,"collections":5617,"showCount":5608,"zanCount":42,"manualWeight":42,"mainColor":92},288140,"guan-yin-li-zhou-hu-zhang-288140","观音立轴","胡璋","胡璋(1848－1899)，字铁梅，号雨舲、尧城子，斋号古香室。安徽桐城人。工山水、人物、花卉名。与王冶梅并以画梅得名，铁梅能腴，冶梅能瘦，并为巢林遗派。卒年五十二。",[23,25,27,53,30,1559,3030,7,146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabc8535bb4152fd465a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。该图里画的是在顾安作品里较少见的晴竹。只见几竿瘦竹挺立于石边，前后分布，迎让相宜，并以淡墨绘出。前边两竿的枝叶呈生长旺势，以重墨写就的竹叶参差错落，且线条锋锐有力；劲健的笔法，表现出爽利的韵味。竹节是用一小扁圆圈表示的，这种画法习惯上称“圈节法”，与后世画家常用的“乙字勾节法”不同。画竹笋叶尖的笔墨非常精巧，顿挫扭转，生意盎然。后面的竹竿上，依稀可辨的嫩叶又显现出新竹的娇影，使读者可感画家对生活细腻的观察，和对竹韵的精微刻画。\n左上方有顾安自题年款，款下有三印：“顾安”与“顾定之”和“山月吟窗”，顾安的“山月吟窗”是一方富有诗意的闲章。\n顾安，字定之，号迂讷老人。平江（今江苏苏州）人。祖籍淮东（今江苏），故自称淮东人。曾任泉州同安县尉。擅画竹，常写风竹新篁。\n图中绘墨竹三竿，瘦劲挺拔，风梢云干，萧疏清逸。枝下窠石圆润互叠，缀以新篁，更添野趣。以干笔淡墨画竹竿，以书法捺笔写出竹叶，行笔遒劲自如。用浓、淡墨烘染，似烟云浮动，烘托出竹子的清幽秀骨。",[25,26,27,53,7,35,102,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c2a0b28fc7cfc65ebf4a460dda8477a.jpg","170.7x99.7cm",[],{"id":5642,"slug":5643,"title":5644,"dynasty":97,"author":717,"museum":224,"description":5645,"tags":5646,"thumbUrl":5653,"material":88,"size":88,"collection":88,"collections":5654,"showCount":5608,"zanCount":42,"manualWeight":42,"mainColor":43},227780,"yuan-yang-tu-ye-ma-yuan-227780","鸳鸯图页","这幅画作以边角取景，尽显空灵雅致。石壁以斧劈皴挥写，苍劲利落，棱线分明尽显峭拔质感。水流以细劲回旋的线条勾勒，似能闻声潺潺，蜿蜒间衬出水畔清寂。幽竹清劲挺拔，枝叶俯仰生姿，墨色浓淡层叠，晕染出萧疏逸韵。溪石之上鸳鸯依偎，姿态悠然缱绻，为冷清空灵添了融融暖意。全作用色淡雅，以水墨为骨，留白造势，将江南水景的静谧雅致与小景温情相融，晕散出清旷禅意，简淡之间意蕴悠长，尽显雅致的文人审美意趣。",[23,24,25,26,85,53,238,5647,5648,7,296,5649,5650,5651,3084,5652],"斧劈皴","留白","溪石","鸳鸯","静谧","禅意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb58c9c91f65b2fe6136eac6b0eff5de4.jpg",[],{"id":5656,"slug":5657,"title":348,"dynasty":97,"author":349,"museum":224,"description":5658,"tags":5659,"thumbUrl":5660,"material":88,"size":88,"collection":88,"collections":5661,"showCount":5608,"zanCount":42,"manualWeight":42,"mainColor":92},227698,"sui-han-san-you-tu-zhao-meng-jian-227698","洁净的扇面上，作者绘松、竹、梅折枝，以墨笔画上一株饱结花朵、苞蕾的梅枝，继而交错、绕夹着如星芒般的松针与墨影般的竹叶，将它们横斜置于画面中央，以松针的灰和墨竹的黑来衬托出梅花的白。松叶如钢针，竹叶如刀剑，更表现出梅花的傲骨冰心。整个画面笔墨秀丽，清绝幽雅，意趣横生。这幅《岁寒三友图》通过对画面的安排，明确表达出作者刚正、坚贞的气节。画扇的右上方钤“子固”白文印。\n\n用笔上，画中的梅花以淡墨衬染着用细笔，浓墨所圈钩的花瓣、松针用笔尖挺劲拔，墨竹以中锋运使，挺劲有力。松、竹、梅画法各异，充满韵致，是幅极具精神的南宋小品。赵孟坚的作品一笔一画都注意书法与画法的结合，可以代表宋末文人画的艺术特色。",[23,25,26,1120,199,53,60,7,59,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F999c0b646b9a079331a43aabd414c35c.jpg",[],{"id":5663,"slug":5664,"title":5665,"dynasty":18,"author":3845,"museum":224,"description":5666,"tags":5667,"thumbUrl":5669,"material":1079,"size":5670,"collection":71,"collections":5671,"showCount":5608,"zanCount":42,"manualWeight":42,"mainColor":92},223251,"xiao-xiang-yu-xue-pu-hua-223251","潇湘雨雪","水墨绘雨雪之下，翠竹依然傲立的身姿，毫不畏缩，竹枝修长坚韧，竹叶翠绿繁茂\b。",[23,25,26,27,53,54,7,35,5668],"雨雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F038ff4e425bdfc1d6ae7b7e36b4b5e42.jpg","117X48cm",[71,243],{"id":5673,"slug":5674,"title":5675,"dynasty":48,"author":2401,"museum":143,"description":5676,"tags":5677,"thumbUrl":5678,"material":202,"size":5679,"collection":88,"collections":5680,"showCount":5608,"zanCount":42,"manualWeight":42,"mainColor":92},222424,"hua-zhu-shu-shuang-que-zhu-zhan-ji-222424","画竹树双鹊","明宣宗朱瞻基（1399年3月16日 －1435年1月31日），号长春真人 ，明成祖朱棣之孙，明仁宗朱高炽长子，明朝第五位皇帝（1425年5月29日-1435年1月31日在位）、书画家，年号“宣德”。\n明宣宗朱瞻基生于北平燕王府 。幼年聪颖，深得祖父朱棣喜爱。永乐九年（1411年），册立为皇太孙，多次跟随明成祖朱棣征讨蒙古。 洪熙元年（1425年）即位。宣德元年（1426年），平定汉王朱高煦叛乱。在政治上，重视整顿吏治和财政，提升内阁地位，任用“三杨”、蹇义、夏原吉等；教导宦官读书参政。经济上，实行休养生息，缓和社会矛盾的措施。对外关系上，进行第七次郑和下西洋；停止用兵交趾；于宣德三年（1428年）出塞，并修建永宁、隆庆诸城。明宣宗的一系列措施使得社会经济空前的发展，与其父明仁宗统治时期合称“仁宣之治”。同时明宣宗在书画方面极有造诣，翰墨图书，极为精致。“点墨写生，遂与宣和（宋徽宗）争胜”， 书法能于圆熟之外见遒劲。工于绘事，山水、人物、走兽、花鸟、草虫均佳，曾钤“广运之宝“、”武英殿宝”及“雍熙世人”等印章。\n宣德十年（1435年），明宣宗去世，终年三十六岁 ，庙号宣宗，谥号宪天崇道英明神圣钦文昭武宽仁纯孝章皇帝，葬于景陵。著《明宣宗御制乐府》一卷，至今已佚，存词二首。传位长子朱祁镇。",[23,25,26,83,53,28,7,294,281,4261],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F580b1d5613a0bce82743a005bf875250.jpg","37x46.6厘米",[],{"id":5682,"slug":5683,"title":5684,"dynasty":48,"author":290,"museum":251,"description":5685,"tags":5686,"thumbUrl":5687,"material":69,"size":5688,"collection":300,"collections":5689,"showCount":5608,"zanCount":42,"manualWeight":42,"mainColor":92},220083,"yi-zhu-tu-shen-zhou-220083","移竹图","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代画家，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文，青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。 其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格， 在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,25,26,56,53,238,58,102,537,7,146,456,295,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b023fa09cc7e63d573812ca97d8e8bb.jpg","24.5 x 98cm",[300],{"id":5691,"slug":5692,"title":5693,"dynasty":48,"author":168,"museum":115,"description":5694,"tags":5695,"thumbUrl":5696,"material":37,"size":5697,"collection":39,"collections":5698,"showCount":5608,"zanCount":42,"manualWeight":42,"mainColor":530},218323,"tie-guai-xian-ren-tu-yi-ming-218323","铁拐仙人图","这幅画与元代颜辉的风格相似，但笔法过于工整，切石过于急促，应是明代浙派画家所为。",[23,25,24,26,29,53,199,30,1559,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff17cc1e06718b81b52b719798dc68eab.jpg","77.6x56.1",[39],{"id":5700,"slug":5701,"title":5702,"dynasty":48,"author":569,"museum":50,"description":5703,"tags":5704,"thumbUrl":5705,"material":37,"size":5706,"collection":39,"collections":5707,"showCount":5608,"zanCount":42,"manualWeight":42,"mainColor":43},216778,"lv-ji-lv-wen-ying-zhu-yuan-shou-ji-tu-lv-ji-216778","吕纪吕文英竹园寿集图","这幅画是吕纪和吕文英在1499年画的，根据序言和题诗，吏部尚书屠滽、户部尚书周敬、御史郑捷三人同时过60岁生日，众官员在周敬的府上饮酒庆贺。\n这三位养老金领取者是主要人物，周围有客人、仆人和孩子。画中所有的人（除了孩子）都有名字，有的在院子里看仙鹤跳舞，有的在竹林里用笔墨写字，还有的在石桌上写诗。画卷最后的两个人，看着画卷，是画家陆机和陆文英，分别身着绿色和绿色的官服。\n吕纪和吕文英同时在朝廷任职，被称为 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常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[23,25,1327,27,53,238,7,630,455,296,766,30,5942,5943],"访友","雾霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F777befa1eac54675a38881e0f1287846.jpg",[],29,{"id":5948,"slug":5949,"title":1741,"dynasty":521,"author":5950,"museum":143,"description":5951,"tags":5952,"thumbUrl":5953,"material":172,"size":5954,"collection":88,"collections":5955,"showCount":5946,"zanCount":42,"manualWeight":42,"mainColor":43},289122,"feng-zhu-tu-li-po-289122","李坡","李坡，五代南唐画家。坡，一作便，或作波，南昌（今属江西）人。善画竹，不以纤巧琐细见长，多放情任性，随意落笔，便有生意。画迹有《折竹》、《风竹》、《冒雪疏篁》等图，与刘彦济、施璘、丁谦以墨竹而驰于五代。传世作品仅有《风竹图》。",[25,26,53,7,1618],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c8fcc42d47bc4ad7a70d10723fa9f4.jpg","131.2x91.5",[],{"id":5957,"slug":5958,"title":5959,"dynasty":18,"author":1335,"museum":224,"description":5223,"tags":5960,"thumbUrl":5963,"material":960,"size":961,"collection":88,"collections":5964,"showCount":5946,"zanCount":42,"manualWeight":42,"mainColor":92},288413,"ku-jiang-zhu-hun-gui-li-hen-tian-sun-wen-288413","苦绛珠魂归离恨天",[25,28,29,30,31,7,453,3590,5961,5962],"悲情","红楼梦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2a994a7271acf4c863f79f520cba24a.jpg",[],{"id":5966,"slug":5967,"title":5968,"dynasty":18,"author":5969,"museum":224,"description":5970,"tags":5971,"thumbUrl":5972,"material":88,"size":88,"collection":88,"collections":5973,"showCount":5946,"zanCount":42,"manualWeight":42,"mainColor":92},239053,"shan-shui-hua-niao-ce-yang-jin-239053","山水花鸟册","杨晋","杨晋 ，字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。",[25,26,83,53,200,7,294,35,3938,766,238,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e340cdb6f9a982c4336e6e154f1d51a.jpg",[],{"id":5975,"slug":5976,"title":5977,"dynasty":18,"author":168,"museum":224,"description":5978,"tags":5979,"thumbUrl":5980,"material":88,"size":88,"collection":88,"collections":5981,"showCount":5946,"zanCount":42,"manualWeight":42,"mainColor":92},238663,"hong-wu-ning-shou-gong-ming-bing-sui-chao-tu-ce-yi-ming-238663","弘旿宁寿宫铭并岁朝图册","此作绘就岁寒三友，苍松虬枝盘曲，鳞皴老干古意盎然，攒簇松针如青锋聚簇，自带凌霜气度。梅枝柔婉舒展，冰洁花瓣轻绽，嫩蕊含香，暗合报春之意。新竹清劲挺拔，翠叶疏朗错落，清逸雅致。\n整幅设色淡净明润，工写兼具，以浅淡底色托出三友清隽风骨，将文人君子凌寒不屈、清雅自持的襟怀寄寓其间，冷寂冬日里尽显盎然生机，是借物抒怀的雅致佳构。",[25,26,83,29,28,60,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0fdff51fb680225db2add3680dd568a.jpg",[],{"id":5983,"slug":5984,"title":5985,"dynasty":48,"author":2845,"museum":224,"description":4426,"tags":5986,"thumbUrl":5987,"material":960,"size":961,"collection":88,"collections":5988,"showCount":5946,"zanCount":42,"manualWeight":42,"mainColor":92},235798,"zhu-ju-shan-chen-chun-235798","竹菊扇",[25,26,1120,53,85,7,67,58,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff13ad5e4256b3c5c649deb37133f7c7.jpg",[],{"id":5990,"slug":5991,"title":5992,"dynasty":48,"author":569,"museum":50,"description":5993,"tags":5994,"thumbUrl":5996,"material":340,"size":5997,"collection":88,"collections":5998,"showCount":5946,"zanCount":42,"manualWeight":42,"mainColor":43},233849,"nan-ji-lao-ren-xiang-lv-ji-233849","南极老人像","该图绘我国古代神话故事中的南极老人，又称寿星，长头短身、白须寿眉，立于夜雾迷濛、明月高挂、翠竹纷披、红杏盛开、山泉奔流不息的原野中，一只梅花鹿立于身旁，由于“鹿”与“禄”同音，寓意多“禄”多“寿”。画面中人物用粗细不一的线条勾描，然后染色。树石、流水用笔劲利，山石用斧劈皴，略加淡墨晕染。",[25,27,28,29,30,1535,7,146,296,5995,592,1464],"夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facebab1181af51829e0be60e88caeab6.jpg","纵217厘米，横114.2厘米",[],{"id":6000,"slug":6001,"title":6002,"dynasty":18,"author":168,"museum":224,"description":6003,"tags":6004,"thumbUrl":6006,"material":960,"size":961,"collection":88,"collections":6007,"showCount":5946,"zanCount":42,"manualWeight":42,"mainColor":92},230346,"jin-ping-mei-cha-tu-ce-ye-6-kai-yi-ming-230346","金瓶梅插图册页6开","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[23,25,26,83,29,28,30,31,453,417,6005,59,7,33,34],"鸟笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5a5e05634aa376be46434f42b70072b.jpg",[],{"id":6009,"slug":6010,"title":6011,"dynasty":48,"author":649,"museum":224,"description":6012,"tags":6013,"thumbUrl":6014,"material":88,"size":88,"collection":88,"collections":6015,"showCount":5946,"zanCount":42,"manualWeight":42,"mainColor":92},228881,"cui-zhu-tu-wen-zheng-ming-228881","翠竹图","此作为诗画合璧的文人佳构，下方墨竹以淡墨写竿，笔致劲挺通脱，浓墨挥写竹叶，俯仰向背错落有致，疏密间尽显萧散清逸，将翠竹挺拔君子之姿淋漓尽显，满幅皆含清和雅正之气。\n上方题诗行书秀雅舒展，笔意温润隽秀，诗与画两相呼应，寄寓着幽居伴竹、静赏林泉的文人雅趣。书画一体，尽显吴门画派的雅致风神，暗合作者淡远冲和的品格心性，整体意境清润隽永，是文人画诗书画交融的精妙之作。",[25,26,27,53,57,58,102,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F937c38e3fa101fbcb4b94656e5b43285.jpg",[],{"id":6017,"slug":6018,"title":6019,"dynasty":48,"author":6020,"museum":224,"description":6021,"tags":6022,"thumbUrl":6023,"material":88,"size":88,"collection":88,"collections":6024,"showCount":5946,"zanCount":42,"manualWeight":42,"mainColor":43},228494,"ti-zhu-tu-du-jin-228494","题竹图","杜堇","《题竹图》是明代画家 创作的一幅绢本设色画，现藏于北京故宫博物院。\n图绘一老者持笔对竹题诗，左侧一小童捧砚待候，右侧一老一少旁观。\n背后巨石衬托，石栏弯曲，竹林苍翠，枝叶繁茂。\n观其情节，应是“东坡题竹”的故事，人物刻划细腻，设色淡雅。\n东坡宽袍大袖，峨冠长髯，风度洒逸。\n衣较多用“钉头鼠尾描”，劲健有力。\n墨竹主干细加晕染，逐节分明，笔墨亦显细秀特色。\n该图描绘的是“东坡题竹”的故事。\n画面上右侧峭陡的立石拔地而起，且向左倾斜，山巅高耸，冲向云霄，山势险峻。\n画幅左侧与中间画有数株墨竹，相互交错，竹竿细高挺拔，枝叶疏密有致。\n在竹荫山石下画有四人，中间一位为苏东坡，正在持笔对竹题诗，前面一童子捧砚，身后一老幼正在围观。\n背后巨山衬托，石栏弯曲，竹林苍翠，树叶繁茂。\n该图画面右上方画家自题曰：“竹色经秋似水清，小阑凉气午来生。\n新诗题上三千首，散作铿金戞玉声。\n柽居杜堇。\n”下钤印两方，一白文印文字不辨，另一为朱文“青天白日”印。\n明代画坛，在南京出现了一些能诗会文能书擅画，且性格开朗，豪放不羁的独具风格的文人画家，杜堇就是其中一位。\n他的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，显示出一派文人画的格调。\n《题竹图》就是他这方面的代表作。\n《题竹图》以“东坡题竹”为题材，东坡即宋代文豪苏轼，非常喜欢竹，既爱赏竹，又爱画竹、咏竹，其咏竹之诗也常被他题于竹上。\n该图构图呈长方形，上留天，下不留地，在画幅上面空旷处，有作者自题七绝诗且款“村居杜堇”，起到补白的作用。\n画面左上方空白，有一枝墨竹梢穿天向上，且枝头向右伸展，起到了补空及平衡作用，使画面构图充实饱满。\n画面中部又有构筑的月台近景。\n该图画法上，山石采用皴法干擦，接近 、 画派。\n墨竹从生以浓墨画叶、竿，以淡墨为枝。\n竹竿浓淡远近分明、枝叶向背扶疏，笔法秀逸。\n枝叶纷披，偃卧、挺立、悬挂，娇健多姿，从竹迎风摇曳。\n人物结构准确，东坡宽袍大袖，峨冠长髯，风度洒逸。\n面部略施铅粉。\n用笔简练劲挺，人物形象细腻传神，衣褶工整流畅，着色雅淡，为明代人物画的一种风格。\n北京故宫博物院研究员王中旭：图中人物衣纹简洁，多方折用笔，或起笔略顿收笔渐轻，或起笔较轻收笔略顿，转折处多略顿，是在浙派戴进所创 描的基础上演变而成，但相对戴进之苍劲雄放而言显得较为文雅内敛。\n图中翠竹挺拔，山石耸峙，其中前景山石用侧笔皴擦点染，笔墨酣畅，动感较强，后景山石用淡墨挥染，沉着淋漓，主要师法的是南宋院体和浙派笔法。\n杜堇，生卒年不详，原姓陆，字惧男，一作南，号柽居、古狂、青霞亭长，丹键（今属江苏）人，居燕京（今北京）。\n宪宗成化年间（1465年—1487年）试进士不第，于是绝意进取。\n工诗文，通六书，善绘事，取法南宋院画体格，最工人物，笔法细劲畅利，当时推为白描高手，又能作飞白体。\n亦善山水、花、鸟兽，界画楼台，格局严整，为论者所重。",[23,25,29,28,30,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ab7d37fb2da1c17cd7b315268f3492e.jpg",[],{"id":6026,"slug":6027,"title":6028,"dynasty":48,"author":3587,"museum":224,"description":6029,"tags":6030,"thumbUrl":6032,"material":88,"size":88,"collection":88,"collections":6033,"showCount":5946,"zanCount":42,"manualWeight":42,"mainColor":92},228321,"shu-guo-xie-sheng-tu-tao-cheng-228321","蔬果写生图","此作用水墨写意绘蔬果蔬叶，以浓淡墨色晕染出鲜活生姿，脱略形似，尽显野逸生机，寥寥数笔便将寻常菜蔬勾勒出超脱意趣。\n长卷后一众明清文人题咏相伴，行草书法笔致纵逸跌宕，诗画合璧，尽显雅集风流。诗书画印融为一体，以极简笔墨托物言志，将日常田家风物，晕染出林下清逸的文人情致，是文人写意花鸟的上乘佳制，空灵雅致，余韵悠长。",[23,24,25,26,56,53,29,629,58,6031,102,779,781,428,67,7,146],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0591c51b34bf7336630bd522fa6a437d.jpg",[],{"id":6035,"slug":6036,"title":6037,"dynasty":167,"author":474,"museum":224,"description":6038,"tags":6039,"thumbUrl":6040,"material":88,"size":88,"collection":88,"collections":6041,"showCount":5946,"zanCount":42,"manualWeight":42,"mainColor":43},228266,"zhu-que-tu-li-zhou-li-kan-228266","竹雀图立轴","此作用双勾法写竹，笔致工稳匀净，竹挺拔劲秀，叶片俯仰向背层次分明，尽显君子清刚之姿。淡施赭色晕染竹节，衬于古旧绢底，愈见沉雅古拙。\n几只山雀或栖于梢头理羽，或穿林跃动，翎毛晕染细腻灵动，为幽寂竹林添了鲜活生气。动静相映之间，将写实工细与文人意趣相融，既有院体花鸟的精工写实，又饱含萧散淡远的林下之风，把劲竹的清操与野雀的生趣合为一卷，尽显雅致隽永的笔墨意韵。",[23,753,25,26,27,28,53,85,7,281,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac188acdce48fe49bfc54eafa6996beb.jpg",[],{"id":6043,"slug":6044,"title":1741,"dynasty":167,"author":6045,"museum":224,"description":6046,"tags":6047,"thumbUrl":6048,"material":960,"size":961,"collection":88,"collections":6049,"showCount":5946,"zanCount":42,"manualWeight":42,"mainColor":43},228070,"feng-zhu-tu-xue-chuang-228070","雪窗","僧普明，字雪窗。元代著名画家，在苏州为僧。1338年在虎丘云岩寺当住持，1344年改承天能仁寺住持，其后一度因老病引退，1348年复出，为能仁寺住持。\n雪窗以画兰花著称，与他同时的画家柏子庭写苏州风俗说：家家恕斋字，户户雪窗兰。春来行乐处，只说虎丘山。今传世作品十余件，多藏于日本，美国。",[23,25,26,27,53,7,214,428],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eb8ad77edfd7868a2b0caa6e47ad30f.jpg",[],{"id":6051,"slug":6052,"title":6053,"dynasty":18,"author":6054,"museum":143,"description":6055,"tags":6056,"thumbUrl":6059,"material":69,"size":6060,"collection":300,"collections":6061,"showCount":5946,"zanCount":11,"manualWeight":42,"mainColor":92},219448,"kan-yun-dui-pu-tu-chen-shu-219448","看云对瀑图","陈书","瀑流自崖巅飞泻而下，如素练垂空，溅起的水雾与卷舒的云气交融漫过山腰，晕染出朦胧虚灵之境。近岸松枝苍劲，竹影婆娑，几竿修竹亭亭玉立，与古松相映成趣。林间隐见小亭一角，有人凭栏静坐，似在聆听瀑声、静观云态，物我两忘。笔墨以水墨为主，线条清劲中含柔婉，山石皴擦见质感，云雾用淡墨晕染，层次分明。整幅画将山水之幽、林泉之趣凝于尺幅，尽显文人雅士寄情自然的悠然心境，静穆中藏生机，恬淡里透禅意。",[25,1327,53,238,27,6057,1573,935,60,7,454,200,663,1090,3939,6058],"传统书画","自然景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99274f7e4932bc229e46873d4ab1708e.jpg","79.7x51.8",[300],{"id":6063,"slug":6064,"title":6065,"dynasty":167,"author":262,"museum":143,"description":466,"tags":6066,"thumbUrl":6067,"material":69,"size":88,"collection":88,"collections":6068,"showCount":5946,"zanCount":42,"manualWeight":42,"mainColor":92},216387,"mo-zhu-pu-ce-3-wu-zhen-216387","墨竹谱册-3",[24,25,26,83,53,7,57,102,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b5d935d0f7c698447c6c743080d955a.jpg",[],{"id":6070,"slug":6071,"title":6072,"dynasty":167,"author":262,"museum":143,"description":466,"tags":6073,"thumbUrl":6074,"material":69,"size":88,"collection":88,"collections":6075,"showCount":5946,"zanCount":11,"manualWeight":42,"mainColor":92},216371,"mo-zhu-pu-ce-17-wu-zhen-216371","墨竹谱册-17",[24,25,26,83,53,7,102,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd144c0dfb78e31c18b0424eb85f4a041.jpg",[],{"id":6077,"slug":6078,"title":6079,"dynasty":167,"author":262,"museum":143,"description":466,"tags":6080,"thumbUrl":6081,"material":69,"size":88,"collection":88,"collections":6082,"showCount":5946,"zanCount":42,"manualWeight":42,"mainColor":92},216369,"mo-zhu-pu-ce-19-wu-zhen-216369","墨竹谱册-19",[25,26,83,53,7,102,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F647a03d4eb51f10004ee79e346cc7188.jpg",[],{"id":6084,"slug":6085,"title":6086,"dynasty":18,"author":6087,"museum":251,"description":6088,"tags":6089,"thumbUrl":6090,"material":172,"size":6091,"collection":88,"collections":6092,"showCount":5946,"zanCount":11,"manualWeight":42,"mainColor":92},216329,"jin-nong-ba-kai-hua-niao-tu-5-jin-nong-216329","金农八开花鸟图-5","金农","八开花鸟图是清朝时期金农所绘的著名图画作品之一。金农是清朝时期著名的画家，他的八开花鸟图是他最著名的作品之一。\n\n这幅画中，金农绘制了许多花和鸟的形象，这些花和鸟形象都非常生动，充满了生机和活力。画中的花和鸟共同组成了一个浓郁的自然风景，让人们感受到花园中的清新与自然。\n\n金农的八开花鸟图被认为是中国画史上的杰作，在当时也广受欢迎，被认为是一幅非常优秀的作品。",[25,26,83,53,85,897,428,7,281,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3624b134698d73acc1f2146b4414230f.jpg","30.5x40.9cm",[],{"id":6094,"slug":6095,"title":6096,"dynasty":6097,"author":6098,"museum":182,"description":6099,"tags":6100,"thumbUrl":6102,"material":88,"size":88,"collection":71,"collections":6103,"showCount":5946,"zanCount":42,"manualWeight":42,"mainColor":6104},203391,"bai-qin-tu-juan-jiang-han-ting-203391","百禽图卷","近代","江寒汀","这幅长卷铺展百禽之态，或栖枝啁啾，或振翅掠空，或啄食嬉戏，神情毕肖。笔墨兼工带写，禽鸟羽毛勾勒精细，纹理毕现；花木枝干墨色灵动，设色清雅中见艳丽。梅、竹、牡丹等景致错落，与禽鸟相映成趣，画面疏密有致，动静相宜，满溢自然生机，尽显笔墨功底与对生命的细腻体察，堪称花鸟佳作。",[25,56,85,28,29,59,7,61,592,323,2035,6101,5768,3085,23],"羽毛纹理","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b255eb679be70f777ef7738be689750.jpg",[71],"000000",{"id":6106,"slug":6107,"title":6108,"dynasty":97,"author":6109,"museum":224,"description":6110,"tags":6111,"thumbUrl":6112,"material":960,"size":961,"collection":88,"collections":6113,"showCount":6114,"zanCount":42,"manualWeight":42,"mainColor":43},290614,"ku-mu-zhu-shi-zhou-song-ren-290614","枯木竹石轴","宋人","此轴以飞白笔法画石块，墨淡而笔劲。墨笔画成的丛竹、枯木出于石块后方，石块前侧又有兰草丛生，而枯枝之上栖停着一只鸟禽。构图虽略显中轴对称，但画中飞白石、古木、兰竹等物象，并未依循实际生态，而倾向于笔墨效果的展现，属元代枯木竹石画风。画中枯木与院藏赵孟俯《竹石古木》表现类似，此画上虽无款印，但可推测为此一画风的元代例证，学者推测或许正与赵孟俯关系密切。",[25,24,26,27,53,85,239,7,35,592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc68e00661dc7552efca8be1f446a08a.jpg",[],28,{"id":6116,"slug":6117,"title":6118,"dynasty":18,"author":79,"museum":143,"description":1602,"tags":6119,"thumbUrl":6120,"material":87,"size":6121,"collection":88,"collections":6122,"showCount":6114,"zanCount":42,"manualWeight":42,"mainColor":92},290528,"zhu-shi-ku-cha-tu-zhou-yun-shou-ping-290528","竹石枯槎图轴",[25,27,53,7,297,146,57,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b53a062749880b1168b4136a30d6c4.jpg","95.1x46.8",[],{"id":6124,"slug":6125,"title":1807,"dynasty":18,"author":2104,"museum":224,"description":6126,"tags":6127,"thumbUrl":6128,"material":960,"size":961,"collection":88,"collections":6129,"showCount":6114,"zanCount":42,"manualWeight":42,"mainColor":92},290182,"zhu-tu-li-zhou-wu-chang-shuo-290182","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[23,25,27,53,7,57,102,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63d7eb58b8faf622716972b5c27606cf.jpg",[],{"id":6131,"slug":6132,"title":6133,"dynasty":48,"author":2976,"museum":224,"description":6134,"tags":6135,"thumbUrl":6136,"material":960,"size":961,"collection":88,"collections":6137,"showCount":6114,"zanCount":42,"manualWeight":42,"mainColor":43},289796,"zhi-ji-tu-lin-liang-289796","雉鸡图","画中主体为一对雉鸡，另有麻雀上下翻飞，布谷、斑鸠等在枝叶间栖息；坚实的山岩，风中飘摇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，他用粗犷的笔墨使品相富贵的禽鸟表现出野逸自然的状态，将水墨写生的灵动与宫廷画追求的写实严谨相统一，创造出新的审美情趣，在明代宫廷画中有很大的影响。",[23,25,85,1858,592,7,35,53,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb463900224452e711819b66528c1989.jpg",[],{"id":6139,"slug":6140,"title":6141,"dynasty":48,"author":569,"museum":224,"description":6142,"tags":6143,"thumbUrl":6147,"material":960,"size":961,"collection":88,"collections":6148,"showCount":6114,"zanCount":42,"manualWeight":42,"mainColor":43},289794,"liu-kui-shou-ji-tu-lv-ji-289794","榴葵绶鸡图","深秋时分，石榴树上硕果累累，引得各色禽鸟双双对对地聚于其前。绶带鸟停落在树枝上欢快地鸣叫。树下，丛生的秋葵与菊花五彩杂陈，雄鸡昂首前视，雌鸡匍匐于花间。\n整幅画表现出“院体”画工整富丽的特点，又稍加写意画的随意洒脱。鸡采用钩写结合的画法，先以极淡的墨线勾勒外部轮廓，再用各种淡色平涂晕染，雄鸡的尾羽以含水饱满的墨笔加淡汁绿写出，极具质感，爪子则用蛤白勾点，细致入微，甚为写实。画面构图繁复而不拥塞，在着色上尤为讲究，湖石、花叶上的淡绿与雄鸡身上的暗赭红色隐约可见，互为衬托，使得全画的色彩不仅丰富而且和谐统一。整体风格兼工带写，设色艳丽而不媚俗，既保持了华贵的皇家风范，亦兼具了纵逸的笔墨意趣。\n绶带鸟与公鸡相结合的题材，又赋予了此画吉祥富贵的涵义，是对位授三公、加官进爵的美好祝福。",[25,24,28,29,85,6144,592,7,67,6145,6146,741],"公鸡","榴花","葵花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5401404af7f723495f6895547298d6cc.jpg",[],{"id":6150,"slug":6151,"title":319,"dynasty":521,"author":5533,"museum":224,"description":6152,"tags":6153,"thumbUrl":6154,"material":960,"size":961,"collection":88,"collections":6155,"showCount":6114,"zanCount":42,"manualWeight":42,"mainColor":43},289768,"xue-zhu-wen-qin-tu-huang-quan-289768","寒冬的江河畔，两株荒枯的杨柳伫立在突起的白色巨石上。犹如垂钓老叟的柳树，将它细长的枝枒抛向灰蒙的江面。江河上一对水鸭夫妇，远游而至；柳稍枝头上的四只八哥、柳石间几株丛生于的寒梅雪竹，也同为这冬河之畔增添不少的生意。",[25,24,3083,28,4394,7,297,592,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4d156b3308c499a2296a5d39222e2ff.jpg",[],{"id":6157,"slug":6158,"title":6159,"dynasty":1459,"author":6160,"museum":224,"description":6161,"tags":6162,"thumbUrl":6163,"material":960,"size":961,"collection":88,"collections":6164,"showCount":6114,"zanCount":42,"manualWeight":42,"mainColor":530},289728,"yuan-ma-tu-han-gan-289728","猿马图","韩干","此幅绘竹石树林，三猿戏於枝间石上，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。",[23,25,24,27,29,720,3322,1464,294,934,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb614ad486de6c7330220220d7021323.jpg",[],{"id":6166,"slug":6167,"title":3865,"dynasty":1459,"author":3866,"museum":143,"description":3867,"tags":6168,"thumbUrl":6169,"material":960,"size":961,"collection":88,"collections":6170,"showCount":6114,"zanCount":42,"manualWeight":42,"mainColor":43},287658,"zhu-lin-wu-jun-tu-yan-li-ben-287658",[23,25,24,27,29,30,7,57,102,1868],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9aaa33dbb16828ea05d45ecdb7db1f03.jpg",[],{"id":6172,"slug":6173,"title":6174,"dynasty":48,"author":6175,"museum":224,"description":6176,"tags":6177,"thumbUrl":6178,"material":960,"size":961,"collection":88,"collections":6179,"showCount":6114,"zanCount":42,"manualWeight":42,"mainColor":43},236477,"zhu-lin-qi-xian-shan-ye-li-shi-guang-236477","竹林七贤扇页","李世光","此作用笔清隽秀雅，以金笺为底，淡晕轻染。画面分两处铺陈雅集，右侧竹林下，名士或围坐清谈、或醉卧观云、或凝神听琴，情态自在疏放；左侧松下，二三逸人凭石对语，林泉幽寂淡然。通幅线条简净温婉，皴擦浅淡写意，将魏晋林下风流的散淡雅致尽显。右上角题字与绘事相映成趣，书画合璧，把千古流传的竹林雅集的清旷高致，凝缩在咫尺扇面，尽显追慕六朝隐逸雅韵的文人情思。",[25,26,1120,199,53,30,7,294,146,296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe126baa65852155b36ec08a45ae37ce1.jpg",[],{"id":6181,"slug":6182,"title":6183,"dynasty":48,"author":6184,"museum":224,"description":6185,"tags":6186,"thumbUrl":6187,"material":104,"size":6188,"collection":88,"collections":6189,"showCount":6114,"zanCount":42,"manualWeight":42,"mainColor":43},234163,"zhou-tian-qiu-cong-lan-zhu-shi-juan-zhou-tian-qiu-234163","周天球丛兰竹石卷","周天球","周天球,字公瑕，号幼海，又号六止居士，江苏太仓人。善画写意兰草，在文徵明门下学习书法，文徵明赞其：“他日得吾笔者，周生也。”晚年独创书风，当时丰碑大碣皆出自他手。于《心经》气脉贯通，工稳有致，峻厚妍秀，温润苍劲。是谓经典。",[23,24,25,26,56,53,58,102,57,66,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa44acfd326529873a27f79f238cb93b7.jpg","纵28.3cm，横56.8cm",[],{"id":6191,"slug":6192,"title":6193,"dynasty":48,"author":2683,"museum":1429,"description":6194,"tags":6195,"thumbUrl":6196,"material":1079,"size":6197,"collection":88,"collections":6198,"showCount":6114,"zanCount":42,"manualWeight":42,"mainColor":92},233768,"qi-ao-tu-juan-xia-chang-233768","淇澳图卷","此图画江南丘陵中的幽谷溪涧，山石溪流、翠竹苇草连绵不断，一泉清溪沿着山间峭壁飞流而下，缘溪两岸崖壁陡峭，垒石交加，苇草杂生；山石坡渚，起伏跌宕，坡渚上，碎石间翠竹丛生，傲然挺拔，清风雅韵，好似“竹下香泉洒瑶席”（唐·刘禹锡《送僧仲东游兼寄呈灵沏上人》）；坡渚尽头是一片辽阔水面，山风拂动，溅起阵阵涟漪，薄雾清纱，浩渺无垠，清气回荡，有道是：“野竹攒石生，含烟映江岛。”（唐·李白《慈老竹》）",[24,25,26,56,53,7,146,54,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc973e161bd63f1f009769473377cba2e.jpg","纵122.3厘米，横471厘米",[],{"id":6200,"slug":6201,"title":6202,"dynasty":48,"auth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《竹林仙子》，作品并不大，但如今被收藏在台北博物馆之中。\n为什么说这一张作品比较奇怪，因为画中仅仅只出现了一个古代仕女，但专家却称这一个仕女有区别当时的画中人物，准确的讲作者想要画的是自己想象中的仙女。\n700年前的一个仙女掉落竹林，古画中的她想飞却又被困住了！\n既然是仙女，为何画中的人物会被困在画里的竹林之中无法飞出去呢？这背后究竟是为什么？我们带着疑问先来看看作品的细节，一起来欣赏一下距今700多年的作品背后究竟作者想要表达什么！\n刘贯道是元代一个著名的绘画大师，而且他的绘画作品尤其是擅长于画佛道人物，所以为什么画中人物被称为仙女，这与作者的用意有直接的关系。\n当然他也能画山水、花竹、鸟兽等等。他的作品之中绘画的手法与宋朝文人雅士一样，但其画功非又比一般的画家复杂得多，而且他的存世作品非常少。\n仔细看这一张作品，其实大家可以感受到绘画作者非常的细致，每一处的景色显得非常的精妙，尤其是他笔下有着一种传统的绘画技法，透露着一种浓浓的古典风味。\n整个作品十分的雅，而且清秀的笔锋与颜料的使用都是非常特别。仔细看那一个仙女的衣服，飘逸的感觉真的很到位，就如天宫之中的仙女一模一样。但为什么这一个仙女会落到凡间的竹之中呢？\n首先有网友给出一种解释，那就是不是这一个仙女落到了凡间，而是她亲自下凡后却被凡间的某一些东西给吸引住了。作者在绘画的时候让仙女的眼神落在了地上的鲜花上面，可能是凡间的花朵吸引住了她，也可能这一些鲜花在天宫之中就没有，美女爱花这一个观点就融入到作品之中。\n仙女被仙花吸引住了，所以她独自下凡就是为了多看几眼鲜花。仙女的姿势是有向后飞的意思，衣服的飘带也是呈现一种动起来的姿态，而仙凡看着花果，估计也就是被鲜花给吸引住了。\n不得不说古人绘画的作品真的够细致，山间有竹林，而竹林之中又有少许的鲜花。一个仙女落入在凡间的树林之中，在鲜花的山间还有一些流水，这样一种诗情画意的画面真妙。\n难怪仙女不愿意离开，估计换成别人落入到如此美景之中也不会想着离开吧",[25,26,24,28,29,30,31,7,146,1763],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b43f6849455cf8800987ffcf55ba5cf.jpg","70×31.4cm",[],{"id":6518,"slug":6519,"title":6520,"dynasty":18,"author":6521,"museum":224,"description":6522,"tags":6523,"thumbUrl":6524,"material":88,"size":88,"collection":88,"collections":6525,"showCount":6447,"zanCount":42,"manualWeight":42,"mainColor":92},224168,"zhu-ju-tu-zhou-xi-gang-224168","竹菊图轴","奚冈","画面以山水衬花木，竹枝挺秀于右上角，涧水蜿蜒穿石而过，丛菊沿溪盛放，白花墨叶相互映衬。山石以淡墨皴擦留白作泉流，笔致松秀灵动，菊花以细笔勾勒花瓣，淡墨晕染花叶，清妍雅致。\n\n行书长题与画作相映，寄寓爱菊慕寿的文人雅趣。整体意境清寂高旷，将花木清隽与山水静逸融为一体，淡墨浅彩间尽显幽淡冲和的林下之风，是文人花鸟画中诗画合璧的逸品。",[23,25,26,27,29,238,7,67,296,146,897,618],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefc656bde3d4ac43914a891d3b7e6eef.jpg",[],{"id":6527,"slug":6528,"title":6529,"dynasty":48,"author":3675,"museum":50,"description":6530,"tags":6531,"thumbUrl":6532,"material":6533,"size":6534,"collection":71,"collections":6535,"showCount":6447,"zanCount":42,"manualWeight":42,"mainColor":92},221919,"ji-ming-tu-shan-ye-chen-jia-yan-221919","鸡鸣图扇页","本幅自识：“癸酉八月之望写鸡鸣图。陈嘉言。”按“癸酉”为明万历元年（1573年），时年作者34岁，“八月之望”为八月十五。后钤“嘉言”白方印、“孔彰”朱方印各一方。\n破晓时分，太阳在薄云间隐现，曙色微露。庭院中竹翠欲滴，秋菊清丽，一只雄鸡在草坡上引吭高歌。图中雄鸡用小写意笔法，不以笔锋勾勒形体而以细笔直接写出，笔致细劲松秀，雄鸡的头和背以设色表现，而胸腹和尾部则以墨色的浓淡过渡，写实而又传神。\n雄鸡高歌，唤醒万物，新的一天即将到来。此画的创作时间恰在万历元年，应有恭贺新帝登基改元之意。",[23,25,26,24,1120,29,28,896,7,214,428],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75a560a78ebd0e570cabb52ad92244d6.jpg","金笺本，设色","纵17厘米，横52.4厘米",[71,123],{"id":6537,"slug":6538,"title":6539,"dynasty":18,"author":6540,"museum":80,"description":6541,"tags":6542,"thumbUrl":6543,"material":69,"size":6544,"collection":300,"collections":6545,"showCount":6447,"zanCount":42,"manualWeight":42,"mainColor":43},220233,"qing-bai-zhu-shi-tu-gao-feng-han-220233","清白柱石图","高凤翰","高凤翰善山水，纵逸不拘于法，纯以气胜，兼北宋之雄浑，元人之静逸。他的山水画往往写亲身所历，多师法宋元明清初诸家。高凤翰的山水画的风格在由右手转为左手作画前后有很大不同，早年山水未脱传统正宗画格，被誉为“画中十哲”“五君子”之一，以工细求真。晚年改左手作书画后，机趣古拙天然，渐染徐渭、朱耷、元济画风，多作写意，阔略纵逸，老辣而归于雄浑，全在法度之外求气韵。",[23,25,27,53,238,146,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdac59af7ff3485d2b425120787ed3036.jpg","131x42cm",[300],{"id":6547,"slug":6548,"title":6549,"dynasty":97,"author":1865,"museum":251,"description":6550,"tags":6551,"thumbUrl":6552,"material":160,"size":88,"collection":88,"collections":6553,"showCount":6447,"zanCount":42,"manualWeight":42,"mainColor":43},218084,"luo-han-tu-ce-4-li-gong-lin-218084","罗汉图册-4","宋朝是中国历史上的一个朝代，公元960年至1279年。李公麟是宋朝时期的一位著名的画家，他的代表作品是《罗汉图册》。\n\n《罗汉图册》是一本由李公麟所绘制的图册。这本图册描绘了罗汉，这是佛教中的超凡脱俗的灵性修行者的形象。每幅图画都非常精细，李公麟用自己独特的画风把罗汉的形象塑造得生动逼真。\n\n《罗汉图册》的创作背景是宋朝的文化复兴运动，这本图册是李公麟为了推广佛教文化而创作的。当时，佛教在中国盛行，李公麟希望通过这本图册向更多的人介绍佛教文化。\n\n《罗汉图册》被广泛认为是李公麟最杰出的作品，它被誉为宋朝佛教画的代表作之一。如今，《罗汉图册》还是非常受欢迎的，它被视为中国传统艺术的瑰宝。",[23,24,25,26,83,199,53,1559,30,741,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51a267a2508ebb826f60078b3c5f38d7.jpg",[],{"id":6555,"slug":6556,"title":6557,"dynasty":18,"author":2673,"museum":115,"description":6558,"tags":6559,"thumbUrl":6560,"material":87,"size":6561,"collection":88,"collections":6562,"showCount":6447,"zanCount":42,"manualWeight":42,"mainColor":92},217216,"fang-gu-shan-shui-shi-er-kai-er-wang-hui-217216","仿古山水十二开(二)","此册王翚仿古十二开",[25,53,238,1031,454,7,294,146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a0ce9ae8b63ec98491ecccf10cc4ad2.jpg","25x35.4cm",[],{"id":6564,"slug":6565,"title":6566,"dynasty":167,"author":262,"museum":143,"description":466,"tags":6567,"thumbUrl":6568,"material":69,"size":88,"collection":88,"collections":6569,"showCount":6447,"zanCount":42,"manualWeight":42,"mainColor":92},216380,"mo-zhu-pu-ce-9-wu-zhen-216380","墨竹谱册-9",[25,26,53,7,58,102,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f4201dcffb4f071f1f1f28b4e3c8bef.jpg",[],{"id":6571,"slug":6572,"title":6573,"dynasty":97,"author":223,"museum":224,"description":5419,"tags":6574,"thumbUrl":6575,"material":960,"size":961,"collection":88,"collections":6576,"showCount":6577,"zanCount":42,"manualWeight":42,"mainColor":92},291005,"li-chao-hua-fu-ji-ce-an-xiang-shu-ying-ma-lin-291005","历朝画幅集册 暗香疏影",[25,24,26,83,85,29,28,59,7,57,58,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cb5ae081224664af82be1fe572774f7.jpg",[],24,{"id":6579,"slug":6580,"title":6581,"dynasty":48,"author":805,"museum":143,"description":6582,"tags":6583,"thumbUrl":6584,"material":37,"size":961,"collection":88,"collections":6585,"showCount":6577,"zanCount":42,"manualWeight":42,"mainColor":43},290360,"san-you-bai-qin-tu-zhou-bian-wen-jin-290360","三友百禽图轴","《三友百禽图》是明代画家边景昭创作的一幅设色花鸟画作品，现收藏于台北故宫博物院。\n《三友百禽图》描绘了初冬时节，百禽嬉戏于松竹梅之间的场景，画中禽鸟或飞翔，或栖息，或嬉戏，或高瞻远瞩，或转首探望，或自理羽毛，无一重复，整个画面气氛热闹欢快，一派生机勃勃。\n此图中各个禽鸟的动姿刻画得生动活泼，诸鸟细致入微的描绘，使大多鸟类品种可辨，布满全幅的构图，呈现“茂密”的特点，画风工细精微又富装饰性，堪称边景昭最具宫廷花鸟特色的佳作。",[25,27,29,28,85,592,60,59,7,323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff93f2842ccd0754407ff8c677f48a1d6.jpg",[],{"id":6587,"slug":6588,"title":6589,"dynasty":521,"author":168,"museum":224,"description":6590,"tags":6591,"thumbUrl":6593,"material":960,"size":961,"collection":88,"collections":6594,"showCount":6577,"zanCount":42,"manualWeight":42,"mainColor":43},289761,"fu-hu-luo-han-tu-yi-ming-289761","伏虎罗汉图","此作以沉浑绢本水墨铺陈，绘就禅林幽境。罗汉面容苍古清癯，筋骨棱然尽显苦修之态，衣纹游走似铁线萦身，兼具遒劲与柔婉，将僧衣厚重质感晕染尽致。他垂眸轻抚虎首，原本烈性的猛虎乖顺蜷伏，舌舔罗汉衣袖，人虎相谐，把禅宗降伏妄心的意涵悄然藏入图景。\n\n背景双竹挺秀，竹叶以浓淡墨色点染，虚实相生烘托出静谧萧散的禅意氛围，右上题字朴拙古雅，与画面笔意浑然相融。整幅笔法苍劲内敛，将静定慈悲与温驯之态刻画入微，尽显释道人物画的传神功力。",[25,24,1559,6592,30,1572,7,1464,29,102,57],"佛教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F518fbae255096f711f187e3a0ab902ff.jpg",[],{"id":6596,"slug":6597,"title":6598,"dynasty":97,"author":5071,"museum":224,"description":6599,"tags":6600,"thumbUrl":6602,"material":960,"size":961,"collection":88,"collections":6603,"showCount":6577,"zanCount":42,"manualWeight":42,"mainColor":92},288489,"ling-mao-hua-hui-tu-li-di-288489","翎毛花卉图","李迪，生卒年不详。南宋画家，河阳（今河南省孟州市）人，北宋宣和时为画院成忠郎，南宋绍兴时复职为画院副使，历事宋孝宗、宋光宗、宋宁宗三朝（1162年—1224年），活跃于宫廷画院几十年，画多艺精，颇负盛名。工花鸟竹石、鹰鹘犬猫、耕牛山鸡，长于写生，间作山水小景。构思精妙，功力深湛，雄伟处动人心魄。所作《枫鹰雉鸡图》温柔娇嫩可爱，《鸡雏图》形象生动超拔，刻画细致入微，各具神态。山水师李唐法，亦多佳作。论者谓其画鸠“作寒冷状，精俊如生”；画鹡鸰“翘翘欲起”。",[23,24,25,26,27,28,29,85,59,7,65,592,6601,102,57],"鸽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdedef2dd2821d1b3e770ade0f680d7c1.jpg",[],{"id":6605,"slug":6606,"title":6607,"dynasty":521,"author":5533,"museum":224,"description":5534,"tags":6608,"thumbUrl":6609,"material":960,"size":961,"collection":88,"collections":6610,"showCount":6577,"zanCount":42,"manualWeight":42,"mainColor":43},287393,"xie-sheng-yuan-yang-tu-ye-huang-quan-287393","写生鸳鸯图页",[23,1120,25,24,28,29,85,5650,297,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25a845abda755731af042149ceeda528.jpg",[],{"id":6612,"slug":6613,"title":6614,"dynasty":18,"author":181,"museum":224,"description":2885,"tags":6615,"thumbUrl":6616,"material":960,"size":961,"collection":88,"collections":6617,"showCount":6577,"zanCount":42,"manualWeight":42,"mainColor":43},287352,"hua-niao-cao-chong-tu-ba-hua-yan-287352","花鸟草虫图八",[25,29,83,2015,5327,7,35,3798,85,1464,57,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb07d23dd712768dd98861d24740bc2b9.jpg",[],{"id":6619,"slug":6620,"title":6621,"dynasty":521,"author":5533,"museum":224,"description":5534,"tags":6622,"thumbUrl":6623,"material":960,"size":961,"collection":88,"collections":6624,"showCount":6577,"zanCount":42,"manualWeight":42,"mainColor":92},287307,"cui-zhu-cao-chong-tu-juan-huang-quan-287307","翠竹草虫图卷",[23,24,25,26,56,85,28,7,617,57,58,3631,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8d53909ea73552937b92b2443bc246.jpg",[],{"id":6626,"slug":6627,"title":6628,"dynasty":48,"author":5177,"museum":224,"description":6629,"tags":6630,"thumbUrl":6631,"material":960,"size":961,"collection":88,"collections":6632,"showCount":6577,"zanCount":42,"manualWeight":42,"mainColor":92},283760,"fang-gu-shan-shui-tu-ce-ba-kai-dong-qi-chang-283760","仿古山水图册（八开）","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[24,25,83,53,200,57,58,102,7,456,455,454,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71681cfc3387857306541d8538446578.jpg",[],{"id":6634,"slug":6635,"title":6636,"dynasty":48,"author":6637,"museum":224,"description":6638,"tags":6639,"thumbUrl":6640,"material":88,"size":88,"collection":88,"collections":6641,"showCount":6577,"zanCount":42,"manualWeight":42,"mainColor":92},239519,"wei-jing-ting-zuo-shang-ju-tu-zhou-hou-mao-gong-239519","为敬亭作赏菊图轴","侯懋功","此作用笔秀雅简淡，设色清和柔润。画面截取庭院一隅，嶙峋湖石旁修竹猗猗，枯木与青松错立，衬出秋日萧疏意韵。敞轩之内宾主对坐晤谈，侍童静立随侧，案上盆菊绽蕊，将文人雅集赏菊的悠然兴味尽数铺展。画面留白得当，以淡赭晕染地面屋舍，墨色勾勒林木湖石，清逸之中尽显文人酬酢的雅致氛围，将秋日闲居雅聚的诗意缓缓晕开。",[3380,25,26,27,29,28,30,67,294,214,147,641,102,7]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。",[25,26,1120,29,85,65,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa358ac9a104d3e850308a86b6a320292.jpg",[],{"id":6668,"slug":6669,"title":6670,"dynasty":18,"author":6671,"museum":224,"description":6672,"tags":6673,"thumbUrl":6674,"material":88,"size":88,"collection":88,"collections":6675,"showCount":6577,"zanCount":42,"manualWeight":42,"mainColor":92},234521,"zhu-lan-tu-shan-liao-yun-jin-234521","竹兰图扇","廖云锦","廖云锦，其句“伤心春雨香泥尽，羡尔先归到故乡”，广为吟咏。\n廖云锦，生卒年不详，约活动于清道光年间（1821－1850年）。字蕊珠，号织云、锦香居士，华亭（今属上海）人，袁枚女弟子。自幼从父廖古檀吟诗作画同，后归泗泾马氏。早寡，遂以诗画消磨时光。名所居为“读画楼”。她工绘花鸟，宗法恽寿平，不以笔墨勾勒轮廓线，直接上色点染，所画物象自然生动。善诗，著有《织云楼诗稿》，中有《咏秋燕诗》，其句“伤心春雨香泥尽，羡尔先归到故乡”，广为吟咏。",[25,26,1120,53,7,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd3b7e803b78b25f2b01ba20021d51ad.jpg",[],{"id":6677,"slug":6678,"title":6679,"dynasty":167,"author":474,"museum":143,"description":6680,"tags":6681,"thumbUrl":6682,"material":172,"size":4966,"collection":88,"collections":6683,"showCount":6577,"zanCount":42,"manualWeight":42,"mainColor":43},231405,"si-ji-ping-an-tu-li-kan-231405","四季平安图","李衎性情温和淳厚，人不见其喜愠之色，潜心于画，其画风亦较为平淡恬静。他的绘画得到帝王的赏识，曾奉诏图写嘉熙殿壁，并以著色竹画殿堂御屏。\n李衎以画竹著名，他初学王庭筠，后上追文同，又深入南方竹乡进行观察，特别是借出使安南（今越南）之机，详细辨认各种竹子的生性姿态，从中获益甚多。他能画双勾著色竹，又善墨竹，笔法精谨，意态生动，所作竹好取整枝全景，且以风霜雨露等自然气候烘托竹子挺拔刚劲的个性。\n李衎毕生致力于画竹，并著有《竹谱》，分画竹谱、墨竹谱、竹态谱等节，对竹之结构品类、生长规律及画竹源流技法详加探讨，记录其心得，深感想要画艺精湛十分不易。\n李衎强调画竹需深入观察，初学必守法度，久之可达于规矩绳墨之外，切忌信笔涂抹。\n他还分析竹之品类及生长规律，深入浅出地论述画竹方法，如他在“画竹谱”中论及画竹位置上的五忌为“冲天撞地、偏重偏轻、对节排竿、鼓架胜眼、前枝后叶”，“冲天撞地者，谓梢至绢头，根至绢末，陋塞填满者。偏轻偏重者，谓左右枝叶，一边偏多，一边偏少，不停趁者，对节者，谓各竿节节相对。排竿者，谓各竿匀排如窗棂。鼓架者，谓中一竿直，左右两竿交叉如鼓架者。胜眼者，谓四竿左右相差匀停，中间如方胜眼者。前枝后叶者，谓枝在前、叶却在后，或枝叶俱生在前，俱生在后者”。",[24,25,26,27,53,438,7,214,1432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa487b54a498557293ce2008ea956aa1e.jpg",[],{"id":6685,"slug":6686,"title":6687,"dynasty":167,"author":1376,"museum":224,"description":6688,"tags":6689,"thumbUrl":6690,"material":88,"size":88,"collection":88,"collections":6691,"showCount":6577,"zanCount":42,"manualWeight":42,"mainColor":92},228161,"qiu-jing-chun-que-tu-wang-yuan-228161","秋景鹑雀图","此作为水墨花鸟精品，以全景式铺陈秋日小景。枝桠虬劲舒展，数只雀鸟或振翅翻飞、或栖枝理羽，灵动鲜活，将秋空的清寂晕开几分生机。坡石苍朴古拙，枯笔写意勾勒尽显嶙峋质感，旁侧竹篁挺秀、野菊含芳，笔墨秀雅细腻，晕染间尽显草木清疏之态。\n\n坡下鹌鹑伏于浅草间，羽色纹理描摹入微，憨态尽显。整作纯以水墨绘就，摒去设色浮华，以浓淡干湿变化表现物象肌理，工写相融，既有禽鸟刻画的精工雅致，又有花木坡石的写意苍润，将秋日郊野的清旷意趣与灵动生机揉合一处，尽显清淡古雅的文人意韵。",[23,25,26,27,53,28,85,7,67,35,592,1157,102,428,1464],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5177d8103b4a3a8119cd7797cf489d1.jpg",[],{"id":6693,"slug":6694,"title":6695,"dynasty":97,"author":6396,"museum":224,"description":6397,"tags":6696,"thumbUrl":6697,"material":88,"size":88,"collection":88,"collections":6698,"showCount":6577,"zanCount":42,"manualWeight":42,"mainColor":43},227741,"huo-lang-tu-li-song-227741","货郎图",[23,24,25,26,1120,28,29,30,33,294,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ad1a42842dd503cd32e68b5bd50644a.jpg",[],{"id":6700,"slug":6701,"title":6702,"dynasty":18,"author":5081,"museum":99,"description":6703,"tags":6704,"thumbUrl":6706,"material":1496,"size":88,"collection":88,"collections":6707,"showCount":6577,"zanCount":42,"manualWeight":42,"mainColor":92},220465,"tong-zi-shui-niu-ren-yi-220465","童子水牛","此作用笔简淡写意，芦汀浅水间，两童子踞石垂竿，神态松弛憨稚，不见垂钓的焦灼，只余嬉游闲趣。水牛浮于清波，随水悠悠。浅蓝晕染芦苇，清润朦胧，衬出水乡初夏的凉意。淡墨点苔写岸石，留白铺就水天，将郊野的清寂松弛晕满扇面。简笔勾勒人物形神兼具，以轻描淡写铺就江南野逸日常，把闲散田家意趣藏在水墨间，淡远清宁，尽显悠然诗意。",[25,26,1120,24,53,29,30,3031,6705,7,1754,214,592],"水牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83ad1853876e08b4ff2603682f045162.jpg",[],{"id":6709,"slug":6710,"title":4136,"dynasty":167,"author":3795,"museum":224,"description":4137,"tags":6711,"thumbUrl":6712,"material":960,"size":961,"collection":88,"collections":6713,"showCount":6714,"zanCount":42,"manualWeight":42,"mainColor":92},290934,"lan-ting-guan-e-tu-qian-xuan-290934",[23,24,25,56,878,29,28,200,454,456,7,1619,30,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8744c94812f8aa13025d9c4a895ac31.jpg",[],23,{"id":6716,"slug":6717,"title":6718,"dynasty":48,"author":168,"museum":224,"description":6719,"tags":6720,"thumbUrl":6722,"material":960,"size":961,"collection":88,"collections":6723,"showCount":6714,"zanCount":42,"manualWeight":42,"mainColor":43},290807,"xi-yuan-ya-ji-zhou-yi-ming-290807","西园雅集轴","此作以全景铺展雅集盛景，远景层峦用淡墨晕染，山势逶迤清旷，衬出郊野幽远底色。庭园内回廊错落，松石茂林点缀其间，芭蕉苍松分置各处，晕染出雅致的林泉氛围。\n画中人物各得其所：亭下围坐清谈，池畔展卷品赏，林间挥毫题咏，衣袂舒展，神态悠然生动，尽得文人士子从容风流。设色调和古雅，绢本沉郁底色托出工细笔致，将雅集的闲情逸致融于山水亭台之间，笔致工丽却不失灵韵，复刻出千古流传的林下雅会，尽显文心雅致与古典意趣。",[24,25,27,29,28,452,30,453,200,7,454,6721,1868,102],"园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0294fa54610df6db4182742c6ecb128a.jpg",[],{"id":6725,"slug":6726,"title":5644,"dynasty":97,"author":717,"museum":224,"description":6727,"tags":6728,"thumbUrl":6729,"material":960,"size":961,"collection":88,"collections":6730,"showCount":6714,"zanCount":42,"manualWeight":42,"mainColor":43},289797,"yuan-yang-tu-ye-ma-yuan-289797","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[23,25,85,7,296,663,5650,53,29,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F082b48348fe18d95b38f3aac9561cb8d.jpg",[],{"id":6732,"slug":6733,"title":6734,"dynasty":18,"author":168,"museum":224,"description":6735,"tags":6736,"thumbUrl":6738,"material":960,"size":961,"collection":88,"collections":6739,"showCount":6714,"zanCount":42,"manualWeight":42,"mainColor":92},287995,"sheng-ping-le-shi-tu-ce-kui-xing-yi-ming-287995","升平乐事图册-魁星","庭院竹林掩映，仕女垂目笑看稚童嬉游。有小童扮作魁星，持朱笔、捧斗具，步态憨拙。其余孩童或效仿礼拜，或围拢嬉闹，鲜活灵动。\n\n整幅设色明柔雅致，线条匀细秀逸，写实还原深闺闲院的日常景致。将魁星点斗的祈福意趣，融于孩童嬉耍之中，把吉庆民俗化入家常游乐，既有清代工笔画的精细妍丽，又晕染着松弛温情的烟火气，尽显太平年月里的悠然意趣。",[25,83,29,28,30,7,1276,6737,457],"魁星","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8da5fc3f530a75f39e0196bab0a0d8d.jpg",[],{"id":6741,"slug":6742,"title":6743,"dynasty":18,"author":3039,"museum":224,"description":3219,"tags":6744,"thumbUrl":6745,"material":960,"size":961,"collection":88,"collections":6746,"showCount":6714,"zanCount":42,"manualWeight":42,"mainColor":92},237794,"hong-ren-song-zhu-you-ting-tu-shan-ye-hong-ren-237794","弘仁松竹幽亭图扇页",[25,26,1120,53,238,60,7,454,35,200,30,57,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa10aaadad94df684872c4363df1411bc.jpg",[],{"id":6748,"slug":6749,"title":6750,"dynasty":48,"author":5835,"museum":50,"description":6751,"tags":6752,"thumbUrl":6753,"material":88,"size":88,"collection":300,"collections":6754,"showCount":6714,"zanCount":42,"manualWeight":42,"mainColor":92},236569,"song-zhu-shuang-qing-ce-xiang-sheng-mo-236569","松竹双清册","项圣谟，字逸，后字孔彰，浙江嘉兴人。为明末著名书画收藏家和画家。",[25,26,83,53,60,7,57,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27527a98f63b9465054da19b06c8e512.jpg",[300,679],{"id":6756,"slug":6757,"title":6758,"dynasty":18,"author":6759,"museum":50,"description":6760,"tags":6761,"thumbUrl":6762,"material":88,"size":88,"collection":71,"collections":6763,"showCount":6714,"zanCount":42,"manualWeight":42,"mainColor":92},236197,"hua-mei-shou-wan-nian-yin-zhen-shu-shi-cheng-shan-jiang-ting-xi-236197","画眉寿万年胤禛书诗成扇","蒋廷锡","蒋廷锡（1669—1732），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，是清朝康熙、雍正时期官员、画家。",[1120,29,28,85,7,61,280,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2d589b7d3952d3019df6eeb035cec4a.jpg",[71,123],{"id":6765,"slug":6766,"title":6767,"dynasty":18,"author":130,"museum":224,"description":1145,"tags":6768,"thumbUrl":6769,"material":960,"size":961,"collection":88,"collections":6770,"showCount":6714,"zanCount":11,"manualWeight":42,"mainColor":92},235806,"yuan-ji-mei-zhu-shuang-qing-tu-shan-ye-shi-tao-235806","原济梅竹双清图扇页",[1120,25,26,53,59,7,57,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbaa40b42a07dc9925f78ca1a903edc5.jpg",[],{"id":6772,"slug":6773,"title":6774,"dynasty":48,"author":6775,"museum":224,"description":6776,"tags":6777,"thumbUrl":6778,"material":88,"size":88,"collection":88,"collections":6779,"showCount":6714,"zanCount":42,"manualWeight":42,"mainColor":92},235560,"jin-jie-han-xiang-zhu-shi-zhou-gui-chang-shi-235560","劲节含香竹石轴","归昌世","水墨写就修竹拳石，几竿青竹错落挺劲，枝叶俯仰舒展，笔法清隽秀朗，墨色浓淡相宜，将竹之疏朗风神尽显。顽石以淡墨勾皴，拙朴厚重，与灵秀修竹相映成趣，坡岸寥寥草叶，野意自生。\n\n右上角题诗与绘作相融，诗书印合一，氤氲出悠然文气。整幅简淡清逸，以少胜多，将君子劲节寄于笔墨，画者淡泊自持的襟怀藏于水墨之间，观之如临清风，尽显文人写意的雅逸品格，把竹之贞洁孤傲的君子风骨晕染在方寸画卷中。",[25,26,27,53,54,537,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd47591c44802776c61c8c203b414456e.jpg",[],{"id":6781,"slug":6782,"title":6783,"dynasty":18,"author":6784,"museum":224,"description":6785,"tags":6786,"thumbUrl":6787,"material":88,"size":88,"collection":88,"collections":6788,"showCount":6714,"zanCount":42,"manualWeight":42,"mainColor":92},234704,"zhu-qin-tu-xu-gu-234704","竹禽圖","虚谷","虚谷（1823-1896），安徽新安（今歙县）人。清代画家。僧人。俗姓朱，名怀仁，移居江苏广陵（今扬州）。初任清军参将，后出家，名虚白字虚谷，号倦鹤、紫阳山民。以字竹，室名觉非庵、古柏草堂、三十七峰草堂。不茹素，不礼佛，也“从不卓锡僧寺”，往来于上海、苏州、扬州一带，卖画为业，是“海上画派”杰出代表人物。他携笔墨、着僧装，“闲中写出三千幅,行乞人间作饭钱”，云游四海，清贫于世却笔墨人间，他行程之广、画作之多，己为当时罕见。他承古创新，另辟捷径，广集素材，勤奋垦作，终成一代巨擘。早年学界画，后以擅画花果、禽鱼、山水著名。风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。亦能诗，有《虚谷和尚诗录》。传世作品有《梅花金鱼图》、《松菊图》、《葫芦图》、《蕙兰灵芝图》、《枇耙图》等。",[25,29,53,85,7,323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed176de37b5724ce2d14520d7c94932d.jpg",[],{"id":6790,"slug":6791,"title":6792,"dynasty":18,"author":4345,"museum":50,"description":6793,"tags":6794,"thumbUrl":6795,"material":1838,"size":88,"collection":88,"collections":6796,"showCount":6714,"zanCount":11,"manualWeight":42,"mainColor":92},234331,"zhao-pen-ying-xi-tu-zhou-ding-guan-peng-234331","照盆婴戏图轴","丁观鹏(1736-1795),顺天(今北京市)人,精绘画,擅画释道、人物、山水,画风工细三传神。雍正四年(1726年)以画艺精湛入宫供奉,备受雍正、乾隆皇帝的赏识,作晶为清宫著录者达83件之多。",[25,27,28,29,30,3231,7,33,3757,3758,102,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39d63170dd62ddc7588f241ea4ab57f3.jpg",[],{"id":6798,"slug":6799,"title":6800,"dynasty":18,"author":6801,"museum":224,"description":6802,"tags":6803,"thumbUrl":6809,"material":88,"size":88,"collection":88,"collections":6810,"showCount":6714,"zanCount":42,"manualWeight":42,"mainColor":272},224357,"xiu-zhu-you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－1424）、宣德（1426－1435）时期。博学能诗，善绘花果翎毛，延续五代黄筌（约903－965）画风并融入宋代院体传统，为后辈所师法，是明代重要宫廷花鸟画家。本幅设色画公鸡啄蝶并为雏子分食。若与边文进〈三友百禽图〉相较，本幅技法则略显生硬，或系托名之作。",[23,24,25,26,27,28,29,85,896,6824,7,897],"小鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c3c15c54cb8caa9e8e73fe6b34e431.jpg","63.7x43.9",[71,123],{"id":6829,"slug":6830,"title":6831,"dynasty":167,"author":6832,"museum":143,"description":6833,"tags":6834,"thumbUrl":6835,"material":69,"size":6836,"collection":300,"collections":6837,"showCount":6714,"zanCount":42,"manualWeight":42,"mainColor":92},218769,"xu-ting-zhu-qu-tu-cao-zhi-bai-218769","虛亭竹趣图","曹知白","这幅画描绘了秋天小河岸边的一个空亭子，旁边有一群竹子。篆书非真迹，画风更类似于清代的倪瓒。",[23,25,26,53,238,200,454,7,294,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F529ca6f843e4147fa9a2dc02717fed44.jpg","25.2x28.7",[300],{"id":6839,"slug":6840,"title":6841,"dynasty":97,"author":1865,"museum":251,"description":6550,"tags":6842,"thumbUrl":6843,"material":160,"size":88,"collection":88,"collections":6844,"showCount":6714,"zanCount":42,"manualWeight":42,"mainColor":43},218086,"luo-han-tu-ce-2-li-gong-lin-218086","罗汉图册-2",[23,25,26,83,199,53,1559,30,741,35,7,2299],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef32533e0a8e2c73a9ac98b88eaed196.jpg",[],{"id":6846,"slug":6847,"title":6848,"dynasty":18,"author":1233,"museum":251,"description":6849,"tags":6850,"thumbUrl":6851,"material":69,"size":88,"collection":88,"collections":6852,"showCount":6714,"zanCount":42,"manualWeight":42,"mainColor":92},214386,"shan-shui-tu-ce-10-zhu-da-214386","山水图册-10","画面以水墨写意出山水之姿，简劲墨线勾勒山石轮廓，嶙峋之态跃然纸上。枯木虬枝疏斜而立，疏叶点点似含清愁，与山石相映成趣。大片留白化作云雾，虚虚实实间，山之深远、境之空蒙尽出。笔墨极简却意蕴无穷，冷逸中藏着孤傲风骨，仿佛将天地间的孤寂与清旷凝于尺幅。每一笔都似随心而至，却暗合自然之理，于简淡中见深邃，于静默中传幽情，尽显写意山水的空灵之美与文人画的超然气度。",[23,25,53,83,238,200,1615,294,7,35,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc383ea57664533dbea7a24ba4a9d67c6.jpg",[],{"id":6854,"slug":6855,"title":6856,"dynasty":48,"author":449,"museum":182,"description":6857,"tags":6858,"thumbUrl":6859,"material":88,"size":88,"collection":39,"collections":6860,"showCount":6714,"zanCount":11,"manualWeight":42,"mainColor":6861},202197,"xiu-zhu-shi-nv-tu-zhou-chou-ying-202197","修竹仕女图轴","修竹葱茏间，两位仕女立于坡石之侧，衣袂飘飘，神情温婉娴静。主者身姿优雅，手持纨扇轻掩，似在凝思或赏景；侍女紧随其后，仪态恭谨。画面笔墨细腻，人物衣纹勾勒流畅婉转，设色淡雅温润，尽显工笔之精。背景修竹以墨笔细致晕染，竹叶层次分明，山石轮廓简洁却见质感，整体构图疏密有致，营造出清幽雅致的古典意境，尽显明代仕女画的典雅韵致与精湛绘画技艺。",[28,29,30,7,146,31,5765,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febbc9b2fd1a32df677cf86b3e5d76bad.jpg",[39],"988861",{"id":6863,"slug":6864,"title":6865,"dynasty":48,"author":49,"museum":182,"description":6866,"tags":6867,"thumbUrl":6868,"material":88,"size":88,"collection":71,"collections":6869,"showCount":6714,"zanCount":42,"manualWeight":42,"mainColor":6870},201810,"mo-hua-tu-juan-xu-wei-201810","墨花图卷","这幅长卷以水墨为魂，诗书画印浑然一体。笔墨如狂涛倾泻，肆意挥洒间，梅枝虬曲似铁，墨花冷艳含傲骨；兰叶飘逸若带，寥寥数笔尽得清逸；竹影横斜，笔力劲健欲生风；菊瓣泼墨而成，浓淡交织藏秋意；荷叶片片如盖，墨色淋漓见清雅；牡丹雍容却脱媚俗，狂放中显生机。每一处笔触皆随性生发，无拘无束，将花卉神韵与画家孤愤心性相融，墨气蒸腾处，尽显生命的郁勃与孤傲。诗题与朱印错落其间，更添古朴雅韵，是文人写意画的经典之作。",[25,56,53,85,59,66,7,67,32,61,57,58,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce09cb9b2025503b1df0db08b59dd0d4.jpg",[71],"c8bcb0",{"id":6872,"slug":6873,"title":6874,"dynasty":18,"author":79,"museum":143,"description":1602,"tags":6875,"thumbUrl":6876,"material":87,"size":2006,"collection":88,"collections":6877,"showCount":6878,"zanCount":42,"manualWeight":42,"mainColor":92},290545,"qiao-ke-xiu-zhu-zhou-yun-shou-ping-290545","乔柯修竹轴",[24,25,26,27,53,29,741,7,35,102,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c98cb37de6ee0d2bd65b6fb413d94f1.jpg",[],22,{"id":6880,"slug":6881,"title":1657,"dynasty":18,"author":1233,"museum":224,"description":1658,"tags":6882,"thumbUrl":6883,"material":104,"size":88,"collection":88,"collections":6884,"showCount":6878,"zanCount":42,"manualWeight":42,"mainColor":92},237622,"za-hua-ce-zhu-da-237622",[25,53,54,7,102,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F004be5584d96305f0b0875fcc904b8d3.jpg",[],{"id":6886,"slug":6887,"title":6888,"dynasty":48,"author":168,"museum":224,"description":6889,"tags":6890,"thumbUrl":6891,"material":88,"size":88,"collection":88,"collections":6892,"showCount":6878,"zanCount":11,"manualWeight":42,"mainColor":43},235681,"tao-cheng-chan-gong-yu-tu-tu-zhou-yi-ming-235681","陶成蟾宫玉兔图轴","此作图绘仙乡秘境，一轮素月悬于空濛天际，清辉铺洒四野。玉兔静伏于青竹之侧，茸毛细密柔润，红眸澄澈灵动，憨态可掬，为清冷画面晕开一抹柔温。\n\n青绿山石晕染雅致，水流蜿蜒有声，远山瀑布垂挂如练，浅绛淡青交织出幽谧空寂的氛围感。数竿修竹挺秀清疏，枯木虬枝添了几分古意，与题诗相映成趣，诗画相融，晕染出出尘的仙家意韵。\n\n笔墨兼工带写，设色古雅沉静，将缥缈蟾宫的清寂与鲜活生机揉和一处，尽显古典雅致的仙境意趣。",[25,27,29,28,200,7,3012,767,296,146,935,1464],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F199c4e3ce8b760deb87b3e87847a32a2.jpg",[],{"id":6894,"slug":6895,"title":6896,"dynasty":48,"author":6775,"museum":224,"description":6897,"tags":6898,"thumbUrl":6899,"material":88,"size":88,"collection":88,"collections":6900,"showCount":6878,"zanCount":42,"manualWeight":42,"mainColor":92},234773,"zhu-shi-shan-mian-gui-chang-shi-234773","竹石扇面","归昌世（1573－1644）字文休，号假庵，昆山人，移居常熟。明末诗人、书画家、篆刻家，散文大家归有光嫡孙，归庄之父。明诸生，早慧过人，十岁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兼工篆刻。诗文得家法与王志坚、李流芳时称三才子。与潘澄、龚贤等十三位昆山画家组织画社，史称“玉山高隐十三家”，崇祯末以待诏徵不应，有《假庵诗草》。",[48,1120,53,7,214,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97e8addfbf2359216f59047a00a54fb2.jpg",[],{"id":6902,"slug":6903,"title":6904,"dynasty":18,"author":6905,"museum":224,"description":6906,"tags":6907,"thumbUrl":6908,"material":88,"size":88,"collection":88,"collections":6909,"showCount":6878,"zanCount":42,"manualWeight":42,"mainColor":92},234621,"jian-fu-qin-wan-shan-li-yu-zhu-234621","涧抚琴纨扇","李育竹","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。",[25,26,1120,29,28,7,30,35,296,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe6778a14dde5179000d3d8eb76e5893.jpg",[],{"id":6911,"slug":6912,"title":6913,"dynasty":18,"author":6914,"museum":224,"description":6915,"tags":6916,"thumbUrl":6917,"material":88,"size":88,"collection":88,"collections":6918,"showCount":6878,"zanCount":42,"manualWeight":42,"mainColor":92},234597,"wu-zhao-zhu-shi-wan-shan-wu-zhao-234597","吴照竹石纨扇","吴照","吴照（1755—1811），字照南，号白庵，江西南城人。乾隆五十四年（1789）拔贡，官至大庾教谕，后弃官卖画自给。通六书，画竹得金错刀法，兼善山水、人物，亦能画兰。意气豪宕，嗜饮，罗聘尝为绘石湖课耕图，并联吟、饭牛诸图。有说文字原考略、听雨楼集。卒年五十七。事具《墨香居画识》、《墨林今话》、《怀旧集》、《清画家诗史》。",[25,26,1120,53,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2485fda3f670a81bbcb0572bcc5842ff.jpg",[],{"id":6920,"slug":6921,"title":3048,"dynasty":48,"author":2987,"museum":224,"description":6922,"tags":6923,"thumbUrl":6924,"material":1079,"size":88,"collection":88,"collections":6925,"showCount":6878,"zanCount":42,"manualWeight":42,"mainColor":92},234246,"hua-hui-tu-juan-chen-gua-234246","陈栝（生卒年未详），约活动于公元16世纪，字子正，号沱江，江苏苏州人。陈栝是 陈淳的儿子。善画花卉，笔似其父。嗜酒放浪。画擅花鸟，继其有法，而又出己意，笔致放浪而有生趣，亦能诗。先其父而亡。自元代文人画创立以写法入画以来，明代徐渭、陈道复更在花鸟中将笔迹放纵的写意画法又向前推进一步，而道复之子陈栝则更在其父基础上，将这种不拘于象的写法又发挥至极致，其勾点皴擦，随心所欲， 绝出尘象之外。",[23,25,26,56,53,199,85,59,66,7,67,61,64,62,63,35,102,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F824a49108093b390bf2a18fe74a97e32.jpg",[],{"id":6927,"slug":6928,"title":6929,"dynasty":48,"author":6930,"museum":50,"description":6931,"tags":6932,"thumbUrl":6933,"material":1079,"size":88,"collection":88,"collections":6934,"showCount":6878,"zanCount":42,"manualWeight":42,"mainColor":92},234154,"wen-jia-bao-zhu-tu-juan-wen-jia-234154","文嘉保竹图卷","文嘉","文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[23,25,26,56,53,58,102,57,7,200,35,456,30,455,296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3523bbb22b15f36522d988a8763fc7f1.jpg",[],{"id":6936,"slug":6937,"title":6938,"dynasty":48,"author":649,"museum":224,"description":6939,"tags":6940,"thumbUrl":6941,"material":6942,"size":6943,"collection":88,"collections":6944,"showCount":6878,"zanCount":176,"manualWeight":42,"mainColor":92},233675,"wen-zheng-ming-feng-zhu-shan-mian-wen-zheng-ming-233675","文徵明风竹扇面","释文：风揽青桐叶半摧，时飘一片点苍苔。山僮不识林亭趣，却併松枝尽扫开。",[25,26,1120,53,7,57,58,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25766ea4c8354139c698f5eeaf00d99d.jpg","泥金纸本","17×52cm",[],{"id":6946,"slug":6947,"title":6948,"dynasty":167,"author":168,"museum":224,"description":6949,"tags":6950,"thumbUrl":6951,"material":88,"size":88,"collection":88,"collections":6952,"showCount":6878,"zanCount":42,"manualWeight":42,"mainColor":43},231914,"luo-han-tu-di-shi-wu-zun-zhe-ming-a-shi-duo-yi-ming-231914","罗汉图（ 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画中各物在作者的笔下蠢蠢欲动，大得自然野趣。",[23,25,26,24,27,28,29,85,59,7,592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cce390d80d63a2be5939789f644197c.jpg","78x40.4",[],{"id":7174,"slug":7175,"title":7176,"dynasty":18,"author":5905,"museum":182,"description":7177,"tags":7178,"thumbUrl":7180,"material":88,"size":88,"collection":88,"collections":7181,"showCount":7039,"zanCount":11,"manualWeight":42,"mainColor":7182},201855,"ba-ge-xue-zhu-tu-zhou-luo-mu-201855","八哥雪竹图轴","寒雪覆竹，枝桠交错间，数只八哥情态各异：或聚于高枝相顾，羽色浓淡层叠；或独立低梢翘首，喙爪点染鲜活。竹叶以浓墨撇写，苍劲中含秀逸；雪色借淡墨晕染留白，清寒之气扑面而来。旁侧孤石皴擦简练，与竹、鸟相映成趣。笔墨简淡却意韵悠长，于冬日冷寂中透出灵动生机，尽显文人画的雅致清逸，观之如沐寒林，感幽趣自生。",[25,53,85,7,592,35,27,102,7179],"皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe83f887d8b080072491c10e9e2acd0cc.jpg",[],"a29076",{"id":7184,"slug":7185,"title":7186,"dynasty":18,"author":2104,"museum":182,"description":7187,"tags":7188,"thumbUrl":7189,"material":88,"size":88,"collection":71,"collections":7190,"showCount":7039,"zanCount":42,"manualWeight":42,"mainColor":7191},201817,"song-zhu-mei-tu-zhou-wu-chang-shuo-201817","松竹梅图轴","画面松针苍劲如戟，竹叶以篆籀笔意挥洒，劲挺有姿；梅枝盘曲虬劲，嫣红花瓣点缀其间，妍而不妖。嶙峋山石淡墨皴擦，与松竹梅相映成趣。笔墨老辣雄浑，融书法篆刻意趣，线条刚柔相济，墨色层次分明。题跋行书笔力沉厚，与画面浑然一体，尽显文人画雅致风骨，传递岁寒三友傲霜斗雪的气节。",[25,27,59,60,7,85,53,29,238,102,58,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9ce31cd460fde9b26cd27f9882b9f5.jpg",[71],"cac0b1",{"id":7193,"slug":7194,"title":7195,"dynasty":18,"author":2104,"museum":224,"description":6126,"tags":7196,"thumbUrl":7197,"material":960,"size":961,"collection":88,"collections":7198,"showCount":7199,"zanCount":42,"manualWeight":42,"mainColor":92},289980,"feng-zhu-pian-pian-yi-han-bi-tu-wu-chang-shuo-289980","风竹翩翩倚寒碧图",[23,25,26,27,53,7,35,57,102,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F686092ba2c20ab6b597bd0f407528314.jpg",[],20,{"id":7201,"slug":7202,"title":7203,"dynasty":18,"author":3924,"museum":224,"description":3925,"tags":7204,"thumbUrl":7205,"material":960,"size":961,"collection":88,"collections":7206,"showCount":7199,"zanCount":11,"manualWeight":42,"mainColor":92},289917,"luo-fu-qing-meng-qu-zhao-lin-289917","罗浮情梦",[23,25,24,27,85,28,29,59,7,592,296,146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77179de6e62fc77d07380b922dd90cc1.jpg",[],{"id":7208,"slug":7209,"title":7210,"dynasty":48,"author":168,"museum":224,"description":7211,"tags":7212,"thumbUrl":7213,"material":960,"size":961,"collection":88,"collections":7214,"showCount":7199,"zanCount":42,"manualWeight":42,"mainColor":43},288384,"shi-ba-xue-shi-tu-qi-yi-yi-ming-288384","十八学士图其一","明人十八学士图，现藏台湾故宫博物院。为唐太宗时期十八学士故事类题材的衍变图式。此组《明人十八学士图》四幅连作，画中人燕居寄兴于琴棋书画，展现出文士“四艺合一”的艺术修养与高雅志趣。画家为雅集盛事，铺陈苑囿景致。挺拔高大的松、柳、梧、槐掩映，汉白石、斑竹栏杆曲护；文士悠闲从事着燃香、棋奕、展书、观画等赏玩活动。全画工笔重彩，人物面貌端严，姿态各具，尊卑主次分明，衣纹采用细劲流畅的“钉头鼠尾”描。庭园内湖石盆景纵横错陈，几榻、桌案、墩椅、画屏、雕漆、瓷铜、文房等日常用物摆设，皆以工整写实技法绘出，显现典型明代宫廷画风格。从画中器具样式，推断其创作年代应在明代中、晚期。",[25,29,28,30,60,7,457,4509,2633,1868],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e4292f7172fb5804c657511e2070e24.jpg",[],{"id":7216,"slug":7217,"title":7218,"dynasty":18,"author":168,"museum":224,"description":7219,"tags":7220,"thumbUrl":7221,"material":960,"size":961,"collection":88,"collections":7222,"showCount":7199,"zanCount":42,"manualWeight":42,"mainColor":92},288195,"su-shi-kuan-mo-zhu-tu-yi-ming-288195","苏轼款墨竹图","此作用焦墨挥写新篁，竹叶纵横交叠，笔力苍劲老辣，虚实相生，尽显劲节疏朗的萧散野逸之气。长卷以书画合璧，配搭多体书法题跋，狂草笔势跌宕，行书朴拙舒展，笔墨意趣与墨竹的写意精神呼应相融，暗合尚意风雅。整作层层题跋环绕，摹古宋人写意风神，将君子之竹的清刚品格与书法的抒情性融为一体，雄健中带着文人气韵，尽显文人画诗书画合一的意趣。",[23,24,25,26,56,53,6031,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72aebd6ae8bd2874ca675986d007059a.jpg",[],{"id":7224,"slug":7225,"title":7226,"dynasty":48,"author":3876,"museum":224,"description":7227,"tags":7228,"thumbUrl":7229,"material":960,"size":961,"collection":88,"collections":7230,"showCount":7199,"zanCount":42,"manualWeight":42,"mainColor":92},287762,"mei-zhu-shan-mian-sun-ke-hong-287762","梅竹扇面","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）。",[25,26,1120,29,85,59,7,35,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9928d2267bb7931c1d4ed6db2fab43f7.jpg",[],{"id":7232,"slug":7233,"title":7234,"dynasty":48,"author":449,"museum":224,"description":7235,"tags":7236,"thumbUrl":7237,"material":960,"size":961,"collection":88,"collections":7238,"showCount":7199,"zanCount":42,"manualWeight":42,"mainColor":92},287435,"zhu-lin-ju-shi-chou-ying-287435","竹林居士","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[25,26,1120,29,28,30,7,200,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48e1029930cd466abff7fd39a4252439.jpg",[],{"id":7240,"slug":7241,"title":7242,"dynasty":18,"author":7243,"museum":50,"description":7244,"tags":7245,"thumbUrl":7248,"material":6245,"size":7249,"collection":679,"collections":7250,"showCount":7199,"zanCount":42,"manualWeight":42,"mainColor":92},240043,"xing-shu-yuan-ren-shi-zhou-liang-shi-zheng-240043","行书元人诗轴","梁诗正","释文：\n每忆城西路，曾来好画亭。兰花经雨白，野竹入云青。\n波影浮春砌，山光扑昼扃。褰衣对萝薜，凉月照人醒。\n元人一律。梁师正。\n款署 “梁诗正”，钤“梁诗正”白文印、“薌林”朱文印。引首钤“十二楼前侍从印”朱文椭圆形印。\n此幅书元王士熙《题玩芳亭五首》之一。梁诗正书法初学柳公权，后参以赵孟頫、文徵明，晚年师法颜真卿、李邕。此作笔画伸展，结字严紧，骨力矫健，集众家之长，得雍容俊拔之态。",[27,58,57,454,66,7,767,7246,1573,7247,897,4756],"山光","波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3553d66abb03032c0de31ff38bc875ed.jpg","纵129厘米，横56.8厘米",[679],{"id":7252,"slug":7253,"title":7254,"dynasty":48,"author":7255,"museum":224,"description":7256,"tags":7257,"thumbUrl":7258,"material":960,"size":961,"collection":71,"collections":7259,"showCount":7199,"zanCount":11,"manualWeight":42,"mainColor":92},239254,"shu-hua-tu-ce-cheng-min-239254","书画图册","程敏","此作以湖石为骨，双竹环衬成景。湖石以淡墨勾廓皴擦，寥寥数笔便尽显瘦透空灵之态，藏着文人赏石的雅趣。两侧墨竹笔法分野鲜明，一侧重墨点染叶片，笔力苍劲厚重，尽显疾风劲节；另一侧以淡墨轻描，竹叶疏朗清隽，自带幽柔之姿。\n虚实相映间，留白铺就幽寂氛围，将君子以竹石明志的寄寓藏于尺幅之中，简淡笔墨写尽文人写意的疏朗风神，于小幅册页晕开悠长意趣。",[25,53,35,7,102,83,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40387eeee6771c441a9a036b6d6d64bf.jpg",[71,243],{"id":7261,"slug":7262,"title":7263,"dynasty":48,"author":7264,"museum":224,"description":7265,"tags":7266,"thumbUrl":7267,"material":960,"size":961,"collection":88,"collections":7268,"showCount":7199,"zanCount":42,"manualWeight":42,"mainColor":92},237836,"zhu-lan-shi-shan-xiang-yuan-bian-237836","竹兰石扇","项元汴","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。",[25,26,1120,53,7,66,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9a954d83db86fd34091f955857d0069.jpg",[],{"id":7270,"slug":7271,"title":7272,"dynasty":18,"author":3039,"museum":224,"description":3219,"tags":7273,"thumbUrl":7274,"material":960,"size":961,"collection":88,"collections":7275,"showCount":7199,"zanCount":42,"manualWeight":42,"mainColor":92},237795,"hong-ren-shan-shui-shan-hong-ren-237795","弘仁山水扇",[25,26,24,1120,200,7,146,294,295,53,29,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffee2deb1860be3554b6c635c695732f0.jpg",[],{"id":7277,"slug":7278,"title":7279,"dynasty":48,"author":168,"museum":224,"description":7280,"tags":7281,"thumbUrl":7283,"material":88,"size":88,"collection":88,"collections":7284,"showCount":7199,"zanCount":42,"manualWeight":42,"mainColor":92},237612,"you-qiu-pin-gu-tu-zhou-yi-ming-237612","尤求品古图轴","此作用淡墨铺就庭院雅集，右侧古木盘根虬曲，苍皮皴裂间枝繁叶茂，湖石芭蕉相衬，晕出院内清幽静雅。堂中文士围案环坐，展玩古物，或蹙眉细观，或颔首低语，神态灵动鲜活；僮仆随侍左右，奉茶侍立，动静之间尽显闲雅松弛。\n\n笔线细劲秀逸，淡墨晕染出清雅氛围，将文人耽于博古清赏的雅趣，娓娓铺陈在画面之中，处处浸透闲适古雅的文人情致。",[25,26,27,53,28,199,30,3435,1276,294,60,7,1442,214,4509,7282,102],"古器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c72ed92b7852720229e817e865720c.jpg",[],{"id":7286,"slug":7287,"title":7288,"dynasty":48,"author":5835,"museum":224,"description":5836,"tags":7289,"thumbUrl":7290,"material":960,"size":961,"collection":88,"collections":7291,"showCount":7199,"zanCount":42,"manualWeight":42,"mainColor":43},236814,"song-zhu-shi-shan-xiang-sheng-mo-236814","松竹石扇",[1120,53,238,60,7,214,66,57,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8cd6951a13d0417c0924d7867b83608.jpg",[],{"id":7293,"slug":7294,"title":7295,"dynasty":18,"author":7296,"museum":143,"description":7297,"tags":7298,"thumbUrl":7299,"material":1079,"size":88,"collection":243,"collections":7300,"showCount":7199,"zanCount":42,"manualWeight":42,"mainColor":92},236113,"song-zhu-ming-qin-zhou-zhang-ruo-ai-236113","松竹鸣禽轴","张若霭","张若霭[清]（1713—1746）字晴岚（读画辑略作字景采，号晴岚），室名藕香书屋，安徽桐城人。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。雍正十一年（1733）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，官至礼部尚书，袭伯爵。\n以书、画供奉内廷，一日太后出方寸之玉佩，命书心经一篇。竟日而就，因赐上方珍玩无算。善画山水、花鸟，得王糓祥、周之冕遗意。乾隆十一年（1746）随帝西巡，因病回京，不久卒，谥文僖。有《岁寒三友图》、《仿王元章疏影寒香图》传世。卒年三十四（按清代画史、清画家诗史均作三十二岁，中国画家人名大辞典作三十六岁）。著《晴岚诗存》。",[25,27,53,28,60,7,592,35,102,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3d9922684aec53b3958be0fa2735536.jpg",[243,269],{"id":7302,"slug":7303,"title":7304,"dynasty":97,"author":1667,"museum":50,"description":7305,"tags":7306,"thumbUrl":7308,"material":160,"size":7309,"collection":88,"collections":7310,"showCount":7199,"zanCount":42,"manualWeight":42,"mainColor":43},234035,"wu-zhu-xi-tang-tu-ye-xia-gui-234035","梧竹溪堂图页","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。",[25,24,83,58,53,29,238,200,7,2796,7307,455,296,294,214,417,147,57],"堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0eaba403757890198eedd65e6a3143f.jpg","纵23厘米，横26厘米",[],{"id":7312,"slug":7313,"title":7314,"dynasty":48,"author":7264,"museum":50,"description":7315,"tags":7316,"thumbUrl":7318,"material":3222,"size":7319,"collection":88,"collections":7320,"showCount":7199,"zanCount":42,"manualWeight":42,"mainColor":92},233913,"gui-zi-xiang-yuan-tu-zhou-xiang-yuan-bian-233913","桂子香园图轴","本幅墨笔，上方自题：”园同三五夜，香并一枝芬。项元汴戏为客写桂枝香园图，并题二美交胜，两间造化生物之妙有如此者吾不得而知亦无得而言。请客手眼无隐乎尔。“钦”墨林山人“”檇李“等印。\n项元汴（1524—1590年），明嘉兴（今浙江省嘉兴）人，字子京，号墨林山人，别号香岩居士、鸳鸯湖长、退密斋主人，收藏家、画家。富藏书画等古名物，在明代私家收藏中堪称巨擘。精鉴赏。常见主要印记有“项元汴印”、“子京”、“檇李项氏世家珍玩”、“神品”等。",[25,26,27,53,58,57,102,7317,7,324,428],"桂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d180f3eaa8b34b9f6e6327b9d5e9f1a.jpg","纵104.5cm，横34.8cm",[],{"id":7322,"slug":7323,"title":96,"dynasty":167,"author":3200,"museum":224,"description":7324,"tags":7325,"thumbUrl":7326,"material":88,"size":88,"collection":88,"collections":7327,"showCount":7199,"zanCount":11,"manualWeight":42,"mainColor":43},228258,"mo-zhu-tu-zhang-yu-228258","此作用淡墨挥写新竹，枝茎瘦劲清健，自斜角逸出，竹叶疏密有致、俯仰生姿，寥寥数笔便将竹的疏朗孤傲尽显。不着浓艳，仅以水墨晕染出君子清拔之态，尽显文人写意画的极简意趣。\n画面搭配题咏诗书，印信点缀其间，诗书画印相融，将竹的霜节高格与作者幽淡襟怀合而为一，以竹喻人、托物言志。浅淡墨痕里藏着林下高致，萧散笔墨间尽是淡泊脱俗的心境，虽是水墨小品，却将文人画借物抒怀的意韵表达尽致，尽显水墨写心的清雅魅力。",[23,24,25,26,53,58,102,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55750a6d6d41cc71996763bb18ed76ba.jpg",[],{"id":7329,"slug":7330,"title":7331,"dynasty":18,"author":1335,"museum":80,"description":1336,"tags":7332,"thumbUrl":7333,"material":160,"size":1342,"collection":88,"collections":7334,"showCount":7199,"zanCount":42,"manualWeight":42,"mainColor":92},222879,"hong-lou-meng-4-sun-wen-222879","红楼梦4",[23,25,56,28,29,452,30,31,453,7,1442,457,417,5770],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23d3644a7946bcb8b3f0601a6fb519e3.jpg",[],{"id":7336,"slug":7337,"title":7338,"dynasty":167,"author":7339,"museum":875,"description":7340,"tags":7341,"thumbUrl":7343,"material":241,"size":7344,"collection":88,"collections":7345,"showCount":7199,"zanCount":42,"manualWeight":42,"mainColor":92},221750,"zhu-xi-cao-tang-tu-zhang-wo-221750","竹西草堂图","张渥","图绘竹林葱郁，远山盘亘，江水如镜。依山傍水处有一草堂，苍松杂树环绕，环境清幽。一人独坐堂内，两臂依榻上，目视前方。",[23,24,25,26,56,53,199,238,57,58,102,200,7,456,7342,455,296,30,35],"草堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa64d49c24695ec3831a892132d8a8eae.jpg","纵27.4、横81.2厘米",[],{"id":7347,"slug":7348,"title":7349,"dynasty":167,"author":262,"museum":143,"description":466,"tags":7350,"thumbUrl":7351,"material":69,"size":88,"collection":88,"collections":7352,"showCount":7199,"zanCount":42,"manualWeight":42,"mainColor":92},216389,"mo-zhu-pu-ce-1-wu-zhen-216389","墨竹谱册-1",[24,25,26,83,53,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea1b4401766733639a76db7f5aa82302.jpg",[],{"id":7354,"slug":7355,"title":7356,"dynasty":167,"author":262,"museum":143,"description":466,"tags":7357,"thumbUrl":7358,"material":69,"size":88,"collection":88,"collections":7359,"showCount":7199,"zanCount":42,"manualWeight":42,"mainColor":92},216379,"mo-zhu-pu-ce-10-wu-zhen-216379","墨竹谱册-10",[24,25,53,83,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F828ab415a5fcbf37e444c37b26240b6f.jpg",[],{"id":7361,"slug":7362,"title":7363,"dynasty":18,"author":168,"museum":143,"description":7364,"tags":7365,"thumbUrl":7366,"material":37,"size":88,"collection":88,"collections":7367,"showCount":7199,"zanCount":42,"manualWeight":42,"mainColor":92},215193,"sheng-ping-le-shi-tu-ce-11-yi-ming-215193","升平乐事图册-11","升平乐事图册是一部描绘升平乐事的图册，它是一部描述清朝时期升平乐事的图册。升平乐事是一种演出形式，通常在清朝皇帝登基或加冕时举行。这部图册记录了当时的升平乐事，包括演出的服装、舞蹈、音乐和道具等细节。",[25,26,83,28,29,30,7,200,455,592,3012],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b9185545ed6de6741f178d4aa2444ec.jpg",[],{"id":7369,"slug":7370,"title":7371,"dynasty":18,"author":2104,"museum":224,"description":6126,"tags":7372,"thumbUrl":7373,"material":960,"size":961,"collection":88,"collections":7374,"showCount":7375,"zanCount":42,"manualWeight":42,"mainColor":43},290004,"ban-qiao-shi-yi-tu-wu-chang-shuo-290004","板桥诗意图",[23,25,26,53,7,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0747dbe3ef850a10106938717ded8b00.jpg",[],19,{"id":7377,"slug":7378,"title":7379,"dynasty":97,"author":1667,"museum":224,"description":7380,"tags":7381,"thumbUrl":7382,"material":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，元代著名的女书法家、画家、诗词创作家。\n南宋景定三年生。幼习书画，笃信佛法。曾手书《金刚经》数十卷，赠名山寺。嫁元代吴兴书画名家赵孟頫为妻，封吴兴郡夫人，世称管夫人，延祐四年（1317年），封魏国夫人。\n管道昇所写行楷与赵孟頫颇相似，所书《璇玑图诗》笔法工绝。精于诗。尤擅画墨竹梅兰。晴竹新篁，为其首创。延佑六年（1319年）病逝。存世的《水竹图》等卷，现藏北京故宫博物院，《竹石图》1帧，藏台湾故宫博物院。",[24,25,53,27,7,35,57,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f7878310a226e545764562d59ddf2c7.jpg","87.1x28.7",[],{"id":7427,"slug":7428,"title":7429,"dynasty":97,"author":4660,"museum":224,"description":7430,"tags":7431,"thumbUrl":7432,"material":960,"size":961,"collection":88,"collections":7433,"showCount":7375,"zanCount":42,"manualWeight":42,"mainColor":43},283631,"ling-mao-tu-zhu-ke-rou-283631","翎毛图","朱克柔 ，生卒年不详。幼习绘画与缂丝(也称刻丝)，积累配色和运线经验。她与定州的沈子藩等同为宋代缂丝名家。宋徽宗至高宗时期以织造缂丝著称于世，亦善画。",[24,25,26,27,29,85,6959,7,592,35,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F750f0f6937d978894ba7511138e12445.jpg",[],{"id":7435,"slug":7436,"title":7437,"dynasty":18,"author":5542,"museum":224,"description":7438,"tags":7439,"thumbUrl":7440,"material":88,"size":88,"collection":88,"collections":7441,"showCount":7375,"zanCount":42,"manualWeight":42,"mainColor":92},238367,"dong-gao-yan-chun-hui-cai-tu-ce-dong-gao-238367","董诰延春荟彩图册","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[25,26,83,29,28,85,7,2080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24e38502041e9c981caa7c68c6e298eb.jpg",[],{"id":7443,"slug":7444,"title":1657,"dynasty":18,"author":1233,"museum":224,"description":1658,"tags":7445,"thumbUrl":7446,"material":104,"size":88,"collection":88,"collections":7447,"showCount":7375,"zanCount":11,"manualWeight":42,"mainColor":92},237625,"za-hua-ce-zhu-da-237625",[24,25,26,83,53,85,54,323,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad98ec6e6b8b7c0be7b6819a1a0fdf4c.jpg",[],{"id":7449,"slug":7450,"title":7451,"dynasty":48,"author":7452,"museum":224,"description":7453,"tags":7454,"thumbUrl":7455,"material":960,"size":961,"collection":88,"collections":7456,"showCount":7375,"zanCount":42,"manualWeight":42,"mainColor":92},237455,"hua-zhu-shan-mian-ni-yuan-lu-237455","画竹扇面","倪元璐","倪元璐（1594年1月7日－1644年4月25日），字汝玉，一作玉汝，号鸿宝，浙江绍兴府上虞（今绍兴市上虞区）人。明末官员、书法家。\n天启二年（1622年），倪元璐中进士，以庶吉士授编修，后出主江西乡试。崇祯八年（1635年）任国子祭酒，因被控“妾冒妻封”而落职。南归后居绍兴城中。崇祯十五年（1642年）起用为兵部右侍郎兼侍讲学士，次年拜户部尚书兼翰林院学士，不久又兼摄吏部。崇祯十七年（1644年）初，大顺军逼近北京，倪元璐请修南京宫殿，以备不测，但未被采纳。三月，北京失陷，倪元璐自缢以殉节。南明弘光元年（1645年），追赠少保、吏部尚书，谥号“文正”。后清廷赐谥“文贞”。\n倪元璐书法灵秀神妙，行草尤极超逸，最得王右军、颜鲁公和苏东坡三人翰墨之助， 用笔锋棱四露中见苍浑，并时杂有渴笔与浓墨相映成趣，结字奇侧多变，书风奇伟，后人对他有“笔奇、字奇、格奇”之“三奇”，“势足、意足、韵足”之“三足”的称誉。他突破了明末柔媚的书风，创造了具有强烈个性的书法，与黄道周、王铎鼎足而立，并称“明末书坛三株树”，又与王铎、傅山、黄道周、张瑞图并称“晚明五大家”，成为明末书风的代表。代表作有《行草诗翰》轴。亦能诗文，著有《倪文贞集》。",[25,26,1120,53,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dd517f81d0d7c20154e029aba7a5a37.jpg",[],{"id":7458,"slug":7459,"title":7460,"dynasty":18,"author":7461,"museum":224,"description":7462,"tags":7463,"thumbUrl":7464,"material":88,"size":88,"collection":88,"collections":7465,"showCount":7375,"zanCount":42,"manualWeight":42,"mainColor":92},237445,"xue-jing-mei-zhu-shu-wu-shan-mian-wu-gu-xiang-237445","雪景梅竹书屋扇面","吴穀祥","以淡墨晕染积雪，留白铺就天地清寒底色。虬曲梅枝破雪而出，细小红萼点点，暗透生机；修竹亭亭立雪，墨色浓淡层叠，苍劲枝叶凝着雪意，更显挺秀疏朗。覆雪湖石隐现棱骨，留白处尽是薄雪覆地，极简便烘托出冬日清寂。右侧题字清雅疏朗，书画相映成趣。\n\n整体笔意秀润温婉，无萧索苦寒，反倒带着幽淡文人气韵，将岁寒梅竹的清逸风骨收于扇面尺幅间，静谧雅致，尽显文人幽怀雅趣。",[25,26,1120,53,4394,59,7,4393,35,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf01914bbf0494ae177982be3e9f7bab.jpg",[],{"id":7467,"slug":7468,"title":7469,"dynasty":18,"author":6784,"museum":224,"description":7470,"tags":7471,"thumbUrl":7472,"material":960,"size":961,"collection":88,"collections":7473,"showCount":7375,"zanCount":42,"manualWeight":42,"mainColor":92},237354,"mei-zhu-shan-ye-xu-gu-237354","梅竹扇页","虚谷（1823～1896），清代著名画家，海上四大家之一，有“晚清画苑第一家”之誉。俗姓朱，名怀仁，僧名虚白，字虚谷，别号紫阳山民、倦鹤，室名觉非庵、古柏草堂、三十七峰草堂。籍新安（今安徽歙县），居广陵（今江苏扬州）。初任清军参将与太平军作战，意有感触，后出家为僧。工山水、花卉、动物、禽鸟，尤长于画松鼠及金鱼。亦擅写真，工隶书。作画有苍秀之趣，敷色清新，造型生动，落笔冷消，别具风格。性情孤僻，非相处情深者不能得其片纸。早年学界画，后以擅画花果、禽鱼、山水著名。风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。亦能诗，有《虚谷和尚诗录》。传世作品有《梅花金鱼图》《松菊图》《葫芦图》《蕙兰灵芝图》《枇耙图》等。",[25,26,1120,29,85,59,7,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9142378bc6645716ae50ea0e5e864d.jpg",[],{"id":7475,"slug":7476,"title":7477,"dynasty":48,"author":3876,"museum":224,"description":7227,"tags":7478,"thumbUrl":7479,"material":960,"size":961,"collection":88,"collections":7480,"showCount":7375,"zanCount":42,"manualWeight":42,"mainColor":92},236813,"mo-zhu-shan-ye-sun-ke-hong-236813","墨竹扇页",[25,1120,53,7,57,58,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F631b59634d6881d5c6668c1f12868788.jpg",[],{"id":7482,"slug":7483,"title":7484,"dynasty":48,"author":7264,"museum":224,"description":7265,"tags":7485,"thumbUrl":7486,"material":960,"size":961,"collection":88,"collections":7487,"showCount":7375,"zanCount":42,"manualWeight":42,"mainColor":92},236368,"lan-zhu-shan-xiang-yuan-bian-236368","兰竹扇",[24,25,26,1120,53,66,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F617b711c1e97eefe1c21c4248da33717.jpg",[],{"id":7489,"slug":7490,"title":7491,"dynasty":18,"author":7492,"museum":224,"description":7493,"tags":7494,"thumbUrl":7495,"material":88,"size":88,"collection":88,"collections":7496,"showCount":7375,"zanCount":42,"manualWeight":42,"mainColor":92},235649,"lin-ting-shan-se-zhou-cha-shi-biao-235649","林亭山色轴","查士标","《林亭山色图》是典型的学习元人的作品。\n查士标的山水以松秀生辣为自己的风格，是新安画派的大家。\n此为清查士标的《林亭山色图》。\n南京博物院藏。\n他的用笔吸取了倪云林和董其昌的风格，在生峭和如锥画沙中找到了一种平衡。\n看他的画你会发现他的心态是平和安详的，每一笔和一点都徐徐落下，有条不紊。\n他的画面总是带着灰色调，如同是有点雾气在其间往来。\n这好像是新安画派画家的共同特点，而他的作品中间反映得更加充分些。\n查士标（1615-1698年）字二瞻，号梅壑散人，安徽休宁人，明诸生，明亡之后则弃举业专事书画。\n家中多藏鼎彝及宋元人的作品，精于鉴别。\n书法学习米芾、董其昌，画学倪瓒。\n晚年的绘画技法高超，直入元人的堂奥。",[25,26,24,27,53,200,454,7,35,294,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff352ce355a4c9c2cf81b84fb1dc3c7c0.jpg",[],{"id":7498,"slug":7499,"title":7500,"dynasty":48,"author":649,"museum":224,"description":7501,"tags":7502,"thumbUrl":7503,"material":960,"size":961,"collection":88,"collections":7504,"showCount":7375,"zanCount":42,"manualWeight":42,"mainColor":92},235269,"wen-zheng-ming-zhu-shi-shan-ye-wen-zheng-ming-235269","文徵明竹石扇页","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”。",[25,26,1120,53,7,214,66,102,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6186efbb9a6f3d103b50c388b1fb58e8.jpg",[],{"id":7506,"slug":7507,"title":7508,"dynasty":48,"author":277,"museum":224,"description":5736,"tags":7509,"thumbUrl":7510,"material":960,"size":961,"collection":88,"collections":7511,"showCount":7375,"zanCount":42,"manualWeight":42,"mainColor":92},235202,"shui-xian-zhu-shi-tu-shan-ye-chen-hong-shou-235202","水仙竹石图扇页",[25,1120,53,7,214,64,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c4f41d3672c78ad2544b49a1265624d.jpg",[],{"id":7513,"slug":7514,"title":913,"dynasty":167,"author":1075,"museum":50,"description":7515,"tags":7516,"thumbUrl":7517,"material":1079,"size":1080,"collection":88,"collections":7518,"showCount":7375,"zanCount":42,"manualWeight":42,"mainColor":43},233786,"mo-zhu-po-shi-tu-zhou-gao-ke-gong-233786","这是一幅典型的文人墨竹画，是元代画家高克恭的代表作。图绘秀石一块，竹二株生于石后，一浓一淡，笔法沉厚挺劲，墨气清润，结构谨严。竹叶自然下垂，生动地写出了竹子在烟雨中挺秀潇洒的姿态。\n“子敬”为元初著名学者、书法家龚璛。画面右侧中部有赵孟頫题诗一则：“高侯落笔有生意，玉立两竿烟雨中。天下几人能解此，萧萧寒碧起秋风。子昂题。”下钤“赵子昂氏”印。从题诗中可看出赵氏对高克恭的墨竹极为推崇，而高氏对自己的墨竹也自视颇高，尝自谓：“子昂写竹，神而不似；仲宾（李衎）写竹，似而不神，其神而似者，吾之两此君也。”",[25,53,27,7,35,102,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7d7df8f8687f077f813223a903ed0ac.jpg",[],{"id":7520,"slug":7521,"title":7522,"dynasty":18,"author":130,"museum":224,"description":7523,"tags":7524,"thumbUrl":7527,"material":202,"size":7528,"collection":88,"collections":7529,"showCount":7375,"zanCount":42,"manualWeight":42,"mainColor":92},233695,"yuan-ji-lan-zhu-ce-shao-yao-lan-hua-shi-tao-233695","原济兰竹册－芍药兰花","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。",[25,26,83,53,58,102,7525,7526,7,85],"芍药","兰花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12f18ac7f2acb5a537d77e712c542ae8.jpg","纵43.2cm，横30.2cm",[],{"id":7531,"slug":7532,"title":7533,"dynasty":18,"author":7534,"museum":182,"description":7535,"tags":7536,"thumbUrl":7537,"material":104,"size":88,"collection":88,"collections":7538,"showCount":7375,"zanCount":42,"manualWeight":42,"mainColor":92},233192,"hua-hui-ce-mei-hua-zhu-ye-zhao-zhi-qian-233192","花卉册-梅花竹页","赵之谦","赵之谦（1829-1884），字益甫、孺卿，又号瀚寮，初字冷君，中年更号悲盦，晚号无闷，浙江会稽（今绍兴）人。早年曾游按察使缪梓幕，咸丰九年（1859）举人，同治元年（1862）入京，四年（1866）会试，之后历官鄱阳、奉新、南城知县。家藏秘册甚富，以篆刻名世，为晚清印坛代表人物。同时擅书、工花卉。此册画十二开，各绘牡丹、萱草、芙蓉、桃花、梅竹、杂卉等，造型新颖，设色鲜亮。",[25,26,83,53,29,85,59,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68a3f56778ab52cafa54736f7f44df9a.jpg",[],{"id":7540,"slug":7541,"title":7542,"dynasty":48,"author":5107,"museum":224,"description":7543,"tags":7544,"thumbUrl":7545,"material":88,"size":88,"collection":88,"collections":7546,"showCount":7375,"zanCount":42,"manualWeight":42,"mainColor":92},228356,"wan-zhu-tu-juan-song-ke-228356","万竹图卷","此作用淡墨白描绘就溪岸幽篁，坡石以简淡皴擦带出肌理，丛竹错落生于岩畔，疏密有致，满卷清寂萧散。以草书法度入画，笔致瘦硬爽利，竹叶萧洒灵动，将行草的跌宕意趣融于竹间，笔墨苍秀，兼具法度与文人雅韵。\n整卷画书合璧，晴川修竹间尽显江南林下清旷之致，暗合文人寄情林泉、澄怀观道的襟怀，是笔墨意趣与林下雅志完美相融的佳构。",[23,25,26,56,53,200,7,456,296,102,58,6031,238,199],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fc7f485e2b2663e38e2c02ace4472a1.jpg",[],{"id":7548,"slug":7549,"title":1458,"dynasty":97,"author":5071,"museum":224,"description":7550,"tags":7551,"thumbUrl":7552,"material":88,"size":88,"collection":88,"collections":7553,"showCount":7375,"zanCount":42,"manualWeight":42,"mainColor":92},227950,"mu-niu-tu-li-di-227950","淡墨晕开暮色山岗，枯木寒槎的枝桠如铁线劲挺，萧疏间漫着郊野冬日的荒寒意趣。坡岸间老牛缓步垂首，憨拙身形似正衔着衰草慢行，幼犊轻捷随行左右，一大一小的动静反差，晕开牧归时分的松弛温情。\n\n画作以淡赭晕染坡石，水墨铺陈烟霭，不着过多繁复刻画，以极简笔墨铺展出山野清寂氛围，于淡远荒寒中藏着质朴的田园意趣，寥寥数笔便融物态与意境为一体，尽现独有的雅致淡远诗意。",[23,24,25,26,1120,29,28,200,7,294,1463,1464],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f28a98374dd8c8b309719c6f9a66639.jpg",[],{"id":7555,"slug":7556,"title":5644,"dynasty":97,"author":717,"museum":224,"description":7557,"tags":7558,"thumbUrl":7559,"material":88,"size":88,"collection":88,"collections":7560,"showCount":7375,"zanCount":42,"manualWeight":42,"mainColor":43},227830,"yuan-yang-tu-ye-ma-yuan-227830","此作用边角取景，以对角构图拉开悠远意境。劲挺的墨笔写竹枝，竹叶攒聚有致，清健爽利尽显竹之风骨。溪岸山石以大斧劈皴挥扫，棱角方硬苍劲，带着冷峭的质感。\n婉转的细线勾出溪间波涡，将水流的迂回急缓藏于笔底，澄澈空明的水色晕染出幽寂氛围。石上鸳鸯恬然依偎，柔婉的情态和冷硬的景致刚柔相济，以小见大，在尺幅之间铺展出水乡清寂的诗意，将精工写实与空灵禅意相融，尽显幽隽雅致的山水情致。",[23,25,26,83,29,28,7,296,5650,35,85,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97ebd908d08df5f45d3c4cabb273658b.jpg",[],{"id":7562,"slug":7563,"title":7564,"dynasty":18,"author":6759,"museum":224,"description":7565,"tags":7566,"thumbUrl":7569,"material":88,"size":88,"collection":88,"collections":7570,"showCount":7375,"zanCount":42,"manualWeight":42,"mainColor":92},224579,"hua-xing-hua-song-zhu-zhou-jiang-ting-xi-224579","画杏花松竹轴","水墨晕染，苍松躯干古拙嶙峋，疤结凝着岁月风霜，松针攒簇如戟，虬枝斜曳尽显清刚之姿。柔婉杏枝侧生，蓓蕾轻绽，冷艳雅致中和了古松的苍劲。坡石之间新竹疏朗挺秀，与松、杏相映成趣。浅滩细流隐现于草叶间，衬出幽寂清远的林下意境。\n\n笔致兼用工写，浓淡墨色铺陈层次，刚柔相济，将花木姿致与林泉野趣相融，淡痕轻晕里藏着文人清雅风骨，把岁寒同侪的逸韵收于卷中，晕染出悠长清寂的林下幽怀。",[23,25,27,53,60,7,7567,146,200,85,238,7568,54],"杏花","淡设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3ddfdd9f3d46ccff5e6af49dd78bebf.jpg",[],{"id":7572,"slug":7573,"title":7574,"dynasty":18,"author":7575,"museum":224,"description":7576,"tags":7577,"thumbUrl":7579,"material":88,"size":88,"collection":88,"collections":7580,"showCount":7375,"zanCount":11,"manualWeight":42,"mainColor":92},224167,"ting-ruan-tu-liu-yan-chong-224167","听阮图","刘彦冲","《 》是清代画家刘彦冲创作的一幅设色画。\n图中文人身着高冕宽服，抱膝而坐，正听一位歌女弹奏阮琴。\n阮音清扬，四处芳草如茵，梧桐枝叶繁茂，又配以湖石、芭蕉、翠竹，清幽异常。\n《听阮图》图中款识可知此画是刘彦冲以其八兄为描绘对象绘出的。\n图中人物用线细劲圆润，颇有古意，设色妍 丽明快。\n草地以大面积花青渲染，以重色细笔根根绘出，间以浓淡的变化，形成雾动云涌之感。\n梧桐近乎淡墨白描，更有幽深清丽之意。\n整个背景有一种缥缈空灵的虚幻意味，衬托出人物笔墨的写实生动；画中人物的表情动态，又反衬阮音的悠扬动听。\n虚实相辅，以有写无，形成脱俗越尘的艺术效果。\n刘彦冲(187—1847)，初名荣，字咏之，四川铜梁人。\n擅山水、人物、花卉，工诗文。\n从师朱生昂学山水，常随师出游，尽得其法。\n兼采众家之长。\n泼墨作小米云山，亦蓊郁可观。\n人物花卉，笔法娴熟，活泼多变。\n传世作品有《柳燕图》、《松荫高士图》、《群峰秋翠图》等。",[23,28,29,30,310,456,7,1442,934,3435,1545,1276,146,3257,7578,102,642],"书箱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d001b9b4db0438891675b109cf69c51.jpg",[],{"id":7582,"slug":7583,"title":7584,"dynasty":97,"author":168,"museum":224,"description":7585,"tags":7586,"thumbUrl":7587,"material":88,"size":88,"collection":88,"collections":7588,"showCount":7375,"zanCount":42,"manualWeight":42,"mainColor":43},223611,"zhu-ting-yuan-yang-tu-yi-ming-223611","竹汀鸳鸯图","画面截取江南水隅一角，修竹偃仰扶苏，以劲健墨笔勾写枝叶，浓淡晕染间，尽显层叠错落的清生意趣。汀洲之上，一对鸳鸯恬然依偎，翎毛细笔丝染，绒羽蓬松柔润，将亲昵温婉的情态描摹入微。\n\n水面留白晕开薄雾空蒙，三两水鸟掠波振翅，于静景中添灵动生机。全作用浅褐绢底烘托苍雅墨色，工写相融，既以精微笔触写实花鸟形质，又晕染出暮色江汀的清寂空濛，将江南水畔的闲澹之景，揉入宋人内敛含蓄的雅致意趣，尽显古典院体花鸟画的妍丽与空灵。",[23,24,25,26,28,29,85,7,5650,592,1754],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd38af8970d0e9b3d6c4052a52cdd7776.jpg",[],{"id":7590,"slug":7591,"title":7592,"dynasty":18,"author":5081,"museum":969,"description":7593,"tags":7594,"thumbUrl":7595,"material":88,"size":88,"collection":88,"collections":7596,"showCount":7375,"zanCount":42,"manualWeight":42,"mainColor":92},220468,"jin-gu-yuan-tu-zhou-ren-yi-220468","金谷园图轴","此作以金谷旧事为引，嶙峋湖石拔地而起，墨色皴擦间尽显苍古雄浑，旁侧翠竹苍劲、朱枝艳发，冷暖色调撞破幽寂。石畔文士抱膝沉坐，眉眼间漫着悼古的落寞，两位乐女持弦静待，身姿温婉静穆，将旧时金谷宴散的萧索怅惘晕开。\n\n笔墨兼具写意纵逸与工致细腻，湖石泼墨写意，笔力雄健，人物衣纹清劲凝练，神情刻画入微。布景错落疏密得宜，将盛衰之叹寄于咫尺尺幅，借景抒情暗合心境，尽显笔意高妙、意境悠远的特质。",[25,26,27,29,30,31,35,7,310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c8e71afd068129aef24338a9e0feb65.jpg",[],{"id":7598,"slug":7599,"title":7600,"dynasty":97,"author":168,"museum":182,"description":7601,"tags":7602,"thumbUrl":7604,"material":37,"size":88,"collection":71,"collections":7605,"showCount":7375,"zanCount":42,"manualWeight":42,"mainColor":43},219262,"xie-sheng-si-duan-tu-yi-ming-219262","写生四段图","四段景致各蕴生机。首段猫卧石边，茸毛细腻如绒，石肌理古拙苍然，静中藏韵；中段数兽嬉游郊野，或低啮青草，或昂首顾盼，姿态鲜活，野趣盎然；末段枯槎疏竹旁，禽鸟栖止，枝干虬曲见骨，笔墨简淡却传物之神；最末猫踞笼畔，犬趋前欲动，笼栅细劲入微，猫狗情态宛然，尽得生活意趣。全卷以写生之笔摹万物，线条精准，墨色层次有致，于细节处显匠心，足见写实功力之深。",[23,25,24,26,28,29,629,1463,720,2015,1464,35,294,7,7603],"围栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901bd7646e4d18c3736a30353ef0db54.jpg",[71],{"id":7607,"slug":7608,"title":7609,"dynasty":97,"author":1349,"museum":131,"description":1350,"tags":7610,"thumbUrl":7611,"material":37,"size":1353,"collection":88,"collections":7612,"showCount":7375,"zanCount":11,"manualWeight":42,"mainColor":92},216915,"xiang-shan-jiu-lao-tu-7-ma-xing-zu-216915","香山九老图-7",[23,25,26,28,29,30,200,7,741,296,663,454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F996c941b8274f0bb1a5f2f589e1f3156.jpg",[],{"id":7614,"slug":7615,"title":7616,"dynasty":167,"author":262,"museum":143,"description":466,"tags":7617,"thumbUrl":7618,"material":69,"size":88,"collection":88,"collections":7619,"showCount":7375,"zanCount":42,"manualWeight":42,"mainColor":92},216374,"mo-zhu-pu-ce-15-wu-zhen-216374","墨竹谱册-15",[25,26,83,53,7,57,58,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4db1dad1e02d4bd4f9e4002f3a1ba303.jpg",[],{"id":7621,"slug":7622,"title":7623,"dynasty":48,"author":449,"museum":224,"description":7624,"tags":7625,"thumbUrl":7626,"material":37,"size":88,"collection":88,"collections":7627,"showCount":7375,"zanCount":42,"manualWeight":42,"mainColor":43},216280,"er-shi-si-xiao-tu-11-chou-ying-216280","二十四孝图-11","二十四孝图是明朝时期著名的书画作品，由仇英创作。它描绘了中国传统文化中的二十四种孝道场景。二十四孝图的内容涵盖了人生各个阶段的孝道行为，从小学阶段的“孝悌忠信”到晚年的“慈孝双全”。这幅作品在明朝时期广受欢迎，并被视为一部重要的文化遗产。",[25,24,26,28,29,30,7,146,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8202bf92c8e9aca6e34c1b55906c1d2.jpg",[],{"id":7629,"slug":7630,"title":4927,"dynasty":18,"author":7631,"museum":182,"description":7632,"tags":7633,"thumbUrl":7634,"material":88,"size":88,"collection":88,"collections":7635,"showCount":7375,"zanCount":42,"manualWeight":42,"mainColor":7636},201814,"mo-zhu-tu-zhou-hong-fan-201814","洪范","墨竹数竿，挺拔间见姿态。竹叶以浓淡干湿之墨写就，或聚成簇，或散如星，笔意洒脱似清风拂过，摇曳生姿。竹竿线条劲健，节节分明，墨色层次丰富，尽显竹之坚韧风骨。右侧题款笔墨清逸，与竹影相映成趣，朱红印章点缀，更添雅致。整幅画作简而不空，意韵悠长，将文人对竹的偏爱与高洁之志融于笔墨，尽显传统水墨之神韵与文人雅趣。",[25,53,7,27,102,5728],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F434d3b1dd6239e3ba0ae00c5adf0fb8f.jpg",[],"ab9c89",{"id":7638,"slug":7639,"title":7640,"dynasty":167,"author":168,"museum":143,"description":7641,"tags":7642,"thumbUrl":7644,"material":37,"size":7645,"collection":88,"collections":7646,"showCount":74,"zanCount":42,"manualWeight":42,"mainColor":43},290957,"rui-xue-xian-qin-tu-yi-ming-290957","瑞雪仙禽图","水滨雪霁，三只鹭鸶停宿在坡石上，山鹧、桑鳲栖息於老梅技干之间，呈现出祥和安宁之气氛。梅花傲雪而盛开，又有绿竹为衬托，于冰雪中，透露出生意盎然与春至之讯息。",[24,25,27,29,28,3083,7643,59,7,592,991],"瑞雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19e0201b5673a509515f852bda2bd053.jpg","181.1x94.5",[],{"id":7648,"slug":7649,"title":7650,"dynasty":18,"author":79,"museum":143,"description":1602,"tags":7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（1682—1760），字衡之，号南苹，其画远师黄筌画派，近承明代吕纪，工写花卉翎毛、走兽，以精密妍丽见长，也擅长画仕女。设色妍丽，工致精丽、赋色浓艳，极尽构梁之巧。画人物得不传之秘。注重写实，画风谨严工细，造型准确生动。尝写《花蕊夫人宫词》为图，笔意殊极巧妙。\n雍正九年（1731）沈铨应日本天皇之聘，偕弟子郑培、高钧等东渡日本，历时3年，形成“南苹派”写生画，深受日人推崇，被称为“舶来画家第一”，从习画者颇多，日本江户时代长崎画派即在其影响下形成，尤以圆山应举最为著名。归得金帛散给友朋，橐仍萧然。\n沈铨归国后声誉大震，传至京城，朝廷便下旨命沈铨作画上贡，乾隆7年作《花蕊夫人宫词意》受到好评，除此，沈铨还陆续为宫廷作吉祥寓意之画，由此沈铨及弟子童衡在中国画史上被称为宫廷画家，沈铨晚年寄居于苏州，孜孜不倦地致力于书画艺术之研究，在乾隆27年81岁的沈铨还能作《花鸟图》。1762年沈铨逝世后，从子沈天骧进新市南频府，守孝三年，继承画业，唯一入室弟子童衡离开沈宅到新市明因寺为僧，闲余作画终身。沈铨把一生献给了绘画事业，在继承院体派传统的基础上，独创了强大的南苹画派，在当时的江南独树一帜，有诗予以很高的评价“江南高手谁第一，吴兴沈生世无匹”。",[25,26,83,29,28,85,67,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cfcc85635fe77436808fdc85a313b5c.jpg",[],{"id":7707,"slug":7708,"title":7709,"dynasty":18,"author":7710,"museum":50,"description":7711,"tags":7712,"thumbUrl":7713,"material":104,"size":88,"collection":300,"collections":7714,"showCount":74,"zanCount":42,"manualWeight":42,"mainColor":92},236986,"hua-wang-zi-you-xue-ye-fang-dai-zhou-fei-dan-xu-236986","画王子猷雪夜访戴轴","费丹旭","费丹旭（1802年1月29日—1850年12月4日），清代画家。字子苕，号晓楼，别号环溪生、环渚生、三碑乡人、长房后裔，晚号偶翁，乌程（今浙江省湖州市吴兴区）人。\n费丹旭以画仕女闻名，与改琦并称“改费”。他笔下的仕女形象秀美，用线松秀，设色轻淡，别有一种风貌。代表作为藏于故宫博物院的《十二金钗图》册，亦长于肖像画，画《红楼梦》十二金钗肖像。后期所作《果园感旧图》卷，藏于浙江省博物馆，技巧更趋成熟。也能山水，取法王翚和恽寿平。他的画风对近代仕女画和民间年画都产生了很大的影响。",[25,26,27,29,28,30,708,7,200,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F951170865af0aa8752ff873c504a89af.jpg",[300,123],{"id":7716,"slug":7717,"title":7718,"dynasty":48,"author":290,"museum":224,"description":7719,"tags":7720,"thumbUrl":7721,"material":88,"size":88,"collection":88,"collections":7722,"showCount":74,"zanCount":42,"manualWeight":42,"mainColor":92},236000,"jia-can-tu-zhou-shen-zhou-236000","加餐图轴","此作为诗书画合璧佳构，行书笔力苍润沉厚，结体舒展温雅，题诗寄寓江南蚕乡烟火温情，带着吴中日常的鲜活意趣。\n\n下方折枝花卉以水墨淡彩绘就，叶片晕染细腻，叶脉勾勒精微，笔墨清润秀雅，淡色点染间尽显生机。诗画相映，将劝加餐的寻常温情，化作清雅文人意趣，尽显吴门画派平淡天真的美学特质，融乡土日常与文人情思于一体，雅俗共赏，文气悠然。",[25,26,27,53,58,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cdc264d6c89af361d94c989052c6829.jpg",[],{"id":7724,"slug":7725,"title":4023,"dynasty":167,"author":3537,"museum":182,"description":4024,"tags":7726,"thumbUrl":7727,"material":7728,"size":7729,"collection":88,"collections":7730,"showCount":74,"zanCount":42,"manualWeight":42,"mainColor":43},233845,"ku-mu-zhu-shi-tu-zhou-li-shi-xing-233845",[24,25,26,27,53,239,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F298fb7986c06f60a77682264460b6e97.jpg","绢本。墨笔","170x52厘米",[],{"id":7732,"slug":7733,"title":7734,"dynasty":18,"author":7115,"museum":224,"description":7735,"tags":7736,"thumbUrl":7738,"material":88,"size":88,"collection":88,"collections":7739,"showCount":74,"zanCount":42,"manualWeight":42,"mainColor":92},231365,"xue-ji-tu-fan-qi-231365","雪霁图","樊圻（公元1616—1694尚在），字会公，更字洽公，江宁（今江苏南京人）。清代画家，\n江苏南京人，他与其兄樊沂均以画出名。与龚贤、高岑、吴宏、叶欣、胡慥、谢荪、邹喆等人并称为“金陵八家”。山水师赵令穰，刘松年、赵孟孚等而能自成风貌，王铎尝题其小景云：“洽公吾不知为谁，此幅全摹赵松雪、赵大年，穆然恬静，若厚德醇儒，敦庞湛凝，无忒无（兆） 。灯下睇观，觉小雷、大雷、紫溪、白岳一段，忽移于尺幅间矣。”又云：“是古人笔，不是时派。时派即钟谭诗也。”小印模糊，误视会公为洽公，圻后即以洽公行，咸知己也。 他的仕女画幽闲静逸，神韵俱佳，特别是[清]顺治八年，即公元1651年与吴宏合作的《寇湄像》，堪称佳作。",[23,24,25,26,29,28,325,60,7,281,7737,146,85,102],"冰挂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4acd3e8fb8205ab2533358e709fef854.jpg",[],{"id":7741,"slug":7742,"title":7743,"dynasty":48,"author":2683,"museum":224,"description":2764,"tags":7744,"thumbUrl":7745,"material":960,"size":961,"collection":88,"collections":7746,"showCount":74,"zanCount":42,"manualWeight":42,"mainColor":43},228360,"xiao-xiang-guo-yu-tu-quan-juan-xia-chang-228360","潇湘过雨图全卷",[23,24,25,26,56,53,200,7,2766,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d64a4192e950156f996dee8003aabb4.jpg",[],{"id":7748,"slug":7749,"title":7750,"dynasty":18,"author":1335,"museum":80,"description":1336,"tags":7751,"thumbUrl":7752,"material":160,"size":1342,"collection":88,"collections":7753,"showCount":74,"zanCount":42,"manualWeight":42,"mainColor":43},222891,"hong-lou-meng-16-sun-wen-222891","红楼梦16",[23,25,28,29,30,453,200,7,294,457,455,146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62e0bcdc03ad6933ac92ed47d7a71e18.jpg",[],{"id":7755,"slug":7756,"title":7757,"dynasty":48,"author":7758,"museum":182,"description":7759,"tags":7760,"thumbUrl":7761,"material":88,"size":88,"collection":88,"collections":7762,"showCount":74,"zanCount":11,"manualWeight":42,"mainColor":92},222509,"shen-xian-tu-ce-15-zhang-lu-222509","神仙图册15","张路","张路（1464—1538 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。亦工鸟兽、花卉。\n早年画学戴进，临摹能肖其神，画法工细。至南京后，又宗法吴伟，变为粗笔写意。他善画人物，多绘神仙、士子、渔夫，形象质朴，神态清朗，具高昂向上的气质。景致简略，笔墨遒劲，风格豪放，然少秀逸和蕴藉之致；为浙派健将，亦开后来学者粗率之风。他具有典型风貌的水墨写意作品较多，人物多用顿折的重墨线条勾勒，山石以粗犷的笔触作大斧劈皴，运笔迅捷，水墨淋漓，具有豪放动荡的气势。亦能画写意花鸟。",[23,24,25,26,83,53,30,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F005e7d8deaa7551ce8082e0538cb946d.jpg",[],{"id":7764,"slug":7765,"title":7766,"dynasty":97,"author":7767,"museum":50,"description":7768,"tags":7769,"thumbUrl":7773,"material":104,"size":7774,"collection":679,"collections":7775,"showCount":74,"zanCount":42,"manualWeight":42,"mainColor":92},221561,"cheng-nan-chang-he-shi-juan-quan-juan-di-yi-duan-zhu-xi-221561","城南唱和诗卷全卷第一段","朱熹","《城南唱和诗卷》，对章草笔意的运用达到了随心所欲、挥洒自如的境界。杨维桢把晋唐楷法和汉隶、章草、今草笔法融合在一起，故独有奇拙、古朴的趣味。所谓“矫杰横发”（李东阳）“狂怪不经”（徐有贞）“大将班师，三军奏凯。破斧缺斨，例载而归”（吴宽）就是指杨维桢书风中豪迈雄强、形态怪异、用笔粗放的特点。而这种激越奔放的气势，刀斫斧劈的雄强，正是筑基于章草笔法的渗入。\n此诗卷是朱熹为和张栻城南诗20首所作。张栻，字敬夫，号轩，张浚之子、宋代著名学者。居谭州（今长沙）。构城南书院，城南有风景20处、故题诗20首。朱孝宗乾道三年（公元1167年）八月，朱熹与张南轩游城市诸胜景，和南轩二十咏。时年朱熹38岁，此诗卷书写年代则较晚。此卷书法笔墨精妙，萧散简远，笔意从容，灵活自然，为朱熹传世佳作。明陆简《朱熹城甫唱和诗帖跋》云：“紫阳夫子平生讲道之功日不暇给，而于辞翰游戏之事亦往柱精诣绝人。评书家谓其书郁有道义之气、固耳。”",[23,58,57,56,7770,102,1615,1754,1573,325,4749,454,214,1616,67,66,7317,7771,6242,6243,62,4753,60,1618,7772,4752,7,59],"墨迹","江","海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcb576060bbf9033850da273c683961f.jpg","纵31.5厘米横275.5厘米",[679],{"id":7777,"slug":7778,"title":7779,"dynasty":18,"author":7780,"museum":182,"description":7781,"tags":7782,"thumbUrl":7783,"material":88,"size":88,"collection":300,"collections":7784,"showCount":74,"zanCount":42,"manualWeight":42,"mainColor":7785},202089,"shan-shui-tu-zhou-zhang-dong-202089","山水图轴","张栋","画面近景，枯树枝干虬曲，与劲挺竹林相伴，石间溪流缓淌；水榭半隐于草木间，添得几分幽居之趣。中景湖面开阔，远山层叠，笔墨疏淡却见丘壑。整幅以水墨写就，线条灵动，皴法简练，意境清寂悠远，尽显文人山水的空灵雅致，似可闻林间风、涧中水，让人心生静谧之感。",[25,53,200,2299,741,7,454,296,238,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe417d2bf247c5daeef5479ea731490f6.jpg",[300],"c7bda1",{"id":7787,"slug":7788,"title":7789,"dynasty":18,"author":130,"museum":182,"description":7790,"tags":7791,"thumbUrl":7792,"material":88,"size":88,"collection":300,"collections":7793,"showCount":74,"zanCount":42,"manualWeight":42,"mainColor":7794},202070,"shi-bi-ming-qin-tu-zhou-shi-tao-202070","石壁鸣琴图轴","石壁嶙峋，流泉漱石，松枝盘曲横斜，竹影疏密交错。近岸二人，一坐一立，坐者凝眸听泉，似悟水声如琴韵；立者侧侍，神态闲淡。笔墨纵逸，皴染互济，山石以浓淡墨线勾皴肌理，草木用简劲笔触点染，尽显清幽雅致的文人意趣与自然生机。",[25,53,200,238,30,7,296,27,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeab9824aa4b59b6678548a5564ac158.jpg",[300],"90897f",{"id":7796,"slug":7797,"title":7798,"dynasty":48,"author":7060,"museum":224,"description":7061,"tags":7799,"thumbUrl":7800,"material":960,"size":961,"collection":88,"collections":7801,"showCount":125,"zanCount":42,"manualWeight":42,"mainColor":92},290926,"ni-gu-cheng-jia-sui-290926","拟古",[25,53,83,200,59,7,30,3632,238,102,1614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2488fcb3ac81c9496e8feaa3301bfe5.jpg",[],{"id":7803,"slug":7804,"title":7805,"dynasty":167,"author":262,"museum":224,"description":2476,"tags":7806,"thumbUrl":7807,"material":960,"size":961,"collection":88,"collections":7808,"showCount":125,"zanCount":11,"manualWeight":42,"mainColor":92},290823,"ni-yu-ke-bi-yi-wu-zhen-290823","儗与可笔意",[24,25,26,83,53,7,57,58,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb02b7eb7945415cc1c307827b8ff6f8.jpg",[],{"id":7810,"slug":7811,"title":4962,"dynasty":167,"author":474,"museum":143,"description":7812,"tags":7813,"thumbUrl":7814,"material":172,"size":4966,"collection":88,"collections":7815,"showCount":125,"zanCount":42,"manualWeight":42,"mainColor":43},290730,"si-ji-ping-an-tu-zhou-li-kan-290730","李衎(1244—1320年)，字仲宾，号息斋道人，元大都(今北京)人，仕至集贤殿学士。他平生擅长画竹，继承了金文同、王庭筠等画竹名家的成就，又曾深入江南竹乡深入观察，还出使过交趾(今越南)，到各处观察竹子的生长情况和特点，深得竹之“理”，是一位既有深厚传统绘画功力，又师法自然的画家。他的画风严谨，传世作品有双勾着色的《双勾竹图》、《沐雨图》等，并著有《息斋竹谱》7卷，对竹的结构品类、生长规律及画法详加剖析，既重写意又重法度。",[25,24,26,27,53,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe32617d34cb9bfa61b991229a690a9e0.jpg",[],{"id":7817,"slug":7818,"title":7819,"dynasty":97,"author":2166,"museum":143,"description":7820,"tags":7821,"thumbUrl":7823,"material":37,"size":7824,"collection":88,"collections":7825,"showCount":125,"zanCount":42,"manualWeight":42,"mainColor":43},290324,"shi-quan-bao-xi-zhou-lin-chun-290324","十全报喜轴","林椿，南宋钱塘（今浙江杭州）人，生卒年不详，南宋孝宗淳熙（1174—1189）间画院待诏，赐金带。 林椿为南宋时期画家，孝宗淳熙年间曾为画院待诏。生卒年不详，浙江钱塘（今浙江杭州）人，南宋时期画家。孝宗淳熙年间曾为画院待诏。绘画师法赵昌，工画花鸟、草虫、果品，设色轻淡，笔法精工，设色妍美，善于体现自然的形态，所绘小品为多，当时赞为“极写生之妙，莺飞欲起，宛然欲活”。传世作品有：《梅竹寒禽图》册页，藏于上海博物馆。《果熟来禽图》《葡萄草虫》《枇杷山鸟图》，藏于北京故宫博物院。",[25,24,27,85,28,29,592,60,7,663,1763,7822],"报喜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4e4eb9e64c0112fda03b22f51f0d9e8.jpg","173.2x97.6",[],{"id":7827,"slug":7828,"title":5968,"dynasty":18,"author":7829,"museum":224,"description":7830,"tags":7831,"thumbUrl":7832,"material":960,"size":961,"collection":88,"collections":7833,"showCount":125,"zanCount":42,"manualWeight":42,"mainColor":92},289914,"shan-shui-hua-niao-ce-zhang-zong-cang-289914","张宗苍","张宗苍（1686-1756），字默存，江苏苏州人，画家。\n师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。",[25,26,83,53,7,35,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d83bd4bde16aa2ba2cea07f83121c7f.jpg",[],{"id":7835,"slug":7836,"title":7837,"dynasty":18,"author":7838,"museum":224,"description":7839,"tags":7840,"thumbUrl":7841,"material":960,"size":961,"collection":88,"collections":7842,"showCount":125,"zanCount":42,"manualWeight":42,"mainColor":92},289905,"cui-niao-hong-ye-cheng-shan-yu-fei-an-289905","翠鸟红叶成扇","于非闇","于非闇（1889年3月22日—1959年7月3日），原名于魁照，后改名于照，字仰枢，别署非闇，又号闲人、闻人、老非，近现代中国画家。原籍山东蓬莱，出生于北京，自幼得书画家传。1912年入师范学校学习，后任教于私立师范校、私立华北大学美术系。兼任古物陈列所附设国画研究馆导师。1935年起专攻工笔花鸟画。1949年后历任中央美术学院民族美术研究所研究员、北京中国画研究会副会长、北京画院副院长。作品有《玉兰黄鹂》、《丹柿图》、《牡丹鸽子》等。著有《非闇漫墨》、《艺兰记》、《中国画颜料研究》、《我怎样画花鸟画》。",[25,1120,85,7,592,29,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f139abf1c18966e381f8f6c34c725bf.jpg",[],{"id":7844,"slug":7845,"title":7846,"dynasty":97,"author":223,"museum":224,"description":7847,"tags":7848,"thumbUrl":7849,"material":960,"size":961,"collection":88,"collections":7850,"showCount":125,"zanCount":42,"manualWeight":42,"mainColor":43},288727,"mei-zhu-tu-ma-lin-288727","梅竹图","《梅竹图》就是一幅意境幽远的佳作。图为已故名画家、书画鉴藏家唐云所藏，画寒梅数枝，横斜劲挺，其间绿竹穿差，偃仰扶疏，顾盼生情。造型精准，设色明丽，笔法秀朗，虽然画面简单，但因为在疏密、错落、主宾诸方面经过十分经意的安排，故在在恰到好处，着墨不多而生机满幅。",[25,26,85,59,7,28,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d7bd86d486392084ee4bd0e99ebc9f6.jpg",[],{"id":7852,"slug":7853,"title":96,"dynasty":97,"author":98,"museum":224,"description":100,"tags":7854,"thumbUrl":7855,"material":960,"size":961,"collection":88,"collections":7856,"showCount":125,"zanCount":42,"manualWeight":42,"mainColor":92},288530,"mo-zhu-tu-su-shi-288530",[23,25,56,53,7,57,58,102,26,438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56b07f275996a5650bad6188ccc4af4d.jpg",[],{"id":7858,"slug":7859,"title":7860,"dynasty":97,"author":168,"museum":224,"description":7861,"tags":7862,"thumbUrl":7863,"material":960,"size":961,"collection":88,"collections":7864,"showCount":125,"zanCount":42,"manualWeight":42,"mainColor":92},269046,"shen-zi-fan-ke-si-mei-que-tu-zhou-yi-ming-269046","沈子蕃缂丝梅鹊图轴","此作用缂丝之法摹写冬景，老梅枝干虬曲苍劲，苔痕斑驳间尽显凌寒风骨，新枝缀满素白梅朵，绽苞次第交错，暗透冷香。\n两只禽鸟依偎枝头，翎毛纤毫毕现，蓝羽如凝深海幽光，白羽胜似初雪莹润，悠然恬适的神态晕开融融暖意。左下角幽篁数茎，翠色清润，与梅之素雅相映成趣。\n整幅疏密得宜，缂丝走线匀净细腻，以丝缕代笔墨，将冬日清景的生机温情定格，兼具院体花鸟的精工雅致，借梅鹊暗合喜上眉梢的吉意，尽显宋人审美意趣与工艺匠心。",[25,26,27,4071,85,28,29,59,4261,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fe0154bac108befb5ac78fe7852a95b.jpg",[],{"id":7866,"slug":7867,"title":7868,"dynasty":48,"author":649,"museum":224,"description":7869,"tags":7870,"thumbUrl":7872,"material":88,"size":88,"collection":88,"collections":7873,"showCount":125,"zanCount":42,"manualWeight":42,"mainColor":92},239518,"wen-zheng-ming-luo-mu-kong-jiang-zhou-wen-zheng-ming-239518","文徵明落木空江轴","此作淡墨轻岚，清寂出尘。枯木虬枝错落江渚，疏朗劲健，寥寥几笔便写尽秋林残意。远景山峦以淡墨晕染，隐于烟霭，不作繁复皴擦，只凭墨色深浅晕出山形悠远空濛，留白代江，愈发衬出天地寥廓的清寒萧索。\n\n题诗与绘景浑然相合，诗画映带间铺展出深秋空江的落寞意趣，带着独有的文雅书卷气。以极简笔墨写尽清秋况味，淡而不寡，清而愈幽，尽显文人画以意驭笔的雅致格调，将秋日江天的寂寥空阔藏于浅淡笔墨之中。",[25,26,27,53,200,297,7,7871,146,102,238],"空江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e9d3f069edebe6cf45c6c0dd769af5d.jpg",[],{"id":7875,"slug":7876,"title":6645,"dynasty":18,"author":2673,"museum":224,"description":4791,"tags":7877,"thumbUrl":7880,"material":88,"size":88,"collection":88,"collections":7881,"showCount":125,"zanCount":42,"manualWeight":42,"mainColor":92},237586,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237586",[25,53,238,1614,83,200,1615,1754,294,7,766,7878,7879,102],"近树","平野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45599eac91929665304e792add47aaa3.jpg",[],{"id":7883,"slug":7884,"title":7885,"dynasty":18,"author":2673,"museum":143,"description":7886,"tags":7887,"thumbUrl":7888,"material":104,"size":7889,"collection":300,"collections":7890,"showCount":125,"zanCount":42,"manualWeight":42,"mainColor":92},237348,"shan-tang-xiao-chou-zhou-wang-hui-237348","山塘校讐轴","王翚出身于绘画世家。祖上五代擅画，曾祖王伯臣善画花鸟，祖父王载仕擅长山水、人物、花卉；生父王云客善画山水。少时先拜同里张珂为师，专摹元代黄公望的山水画。21岁时以小景扇面见赏于王鉴，被收为弟子，后又师事王时敏，得以饱览其家传真迹，对传统古画的鉴赏、临摹，功力极深，宋以来许多失传的古画，借王翚的临摹得以传世。笔参古今，貌含南北，时人吴梅村称为“画圣”，画技之精熟为清代第一。清代张庚的《国朝画征录》 评其为“画有南北宗，至石谷而合焉”。康熙三十年（1691年）由宋骏业之荐，上京主持《康熙南巡图》的一系列制作。南巡图绘毕，曾获当时皇太子胤礽接见，赐座、赐食，并赐“山水清晖”四字。归里之后，求画者甚众。所作多为仿古，功力较深，但有时过于圆熟或伤于刻露，而丘壑尤少变化，晚年于简练中求苍浑，为论者所重；偶写花卉，秀隽有致。平生艺论，多在《清晖赠言》。\n王翚从学弟子甚多，是“虞山派”的创始人。王翚与王时敏、王鉴、王原祁合称“四王”，又与吴历，恽寿平合称“四王吴恽”或“清六家”。",[25,26,27,53,238,200,7,741,324,295,755],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690627240bef20eafb2805e2c71c81c4.jpg","128.4x55.4公分",[300],{"id":7892,"slug":7893,"title":2672,"dynasty":18,"author":2673,"museum":143,"description":2674,"tags":7894,"thumbUrl":7895,"material":104,"size":88,"collection":88,"collections":7896,"showCount":125,"zanCount":42,"manualWeight":42,"mainColor":92},237203,"shan-shui-zhu-shi-ce-wang-hui-237203",[25,53,238,83,200,7,214,296,935,146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae4a19ad7439222ace0df97572693cdb.jpg",[],{"id":7898,"slug":7899,"title":7900,"dynasty":48,"author":7901,"museum":224,"description":7902,"tags":7903,"thumbUrl":7904,"material":960,"size":961,"collection":243,"collections":7905,"showCount":125,"zanCount":42,"manualWeight":42,"mainColor":92},237017,"mo-mei-ce-shen-hao-237017","墨梅册","沈颢","补博士弟子员。性豪放好奇。工诗文。书法真、草、隶、篆，无所不能。山水近沈周，晚年笔意挺秀，点色清妍，深于画理，“似而不似，不似而似”是他的创见。著有《画尘》及《枕瓢》、《焚砚诸集》。",[25,26,83,53,58,102,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a0ca65ea98fd5f3298cad75afd81b2a.jpg",[243,71],{"id":7907,"slug":7908,"title":4248,"dynasty":48,"author":7909,"museum":50,"description":7910,"tags":7911,"thumbUrl":7917,"material":160,"size":7918,"collection":88,"collections":7919,"showCount":125,"zanCount":11,"manualWeight":42,"mainColor":43},235011,"zhu-shi-zhou-zhu-duan-235011","朱端","画坡石荆棘，丛竹掩映。无他人题跋。\n朱端（生卒年不详），字克正，钦赐“一樵”印，遂自号一樵，有印章“辛酉征士”。正德年间值仁智殿，官锦衣卫指挥。画艺广博，山水、人物、花鸟兼能。",[25,26,27,3380,53,7,214,238,54,1650,7912,7913,7914,7915,7916],"传统绘画","水墨写意","竹石题材","山石皴染","竹子勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F222b4450a6f7e9156420c4b3f79c6377.jpg","纵167.4cm 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左侧像桃花。 一个和尚和一个男人隐约出现； 一个和尚和一个男人在客厅里说话，画着一个拿着棍子听着的男孩，他身后是树。",[23,25,29,53,238,83,200,30,297,7,146,102,7960],"论道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93e2d076740b9bf0b6ffda59a11b9da0.jpg","20X20",[],{"id":7965,"slug":7966,"title":7967,"dynasty":167,"author":1376,"museum":143,"description":7968,"tags":7969,"thumbUrl":7971,"material":37,"size":2715,"collection":88,"collections":7972,"showCount":125,"zanCount":42,"manualWeight":42,"mainColor":43},219128,"hua-hui-ce-ju-zhu-shi-wang-yuan-219128","花卉册-菊竹石","竹影疏斜，菊瓣凝香，草虫轻跃于枝叶间。绢本之上，墨线勾勒精准，淡彩晕染温润，不取浓艳却得自然清趣。蟋蟀振翅欲鸣，小飞虫翩然若舞，动静相衬，生机暗藏。笔法工细而不刻板，兼融院体之精与文人之逸，笔墨间流露元人清逸之致。于细微处见匠心，静中藏动，尽显草木虫豸之灵秀。其将自然生灵摹写得栩栩如生，又以淡雅之韵传递文人雅趣，是元代花鸟精品中颇具代表性的一页，意境悠远，笔墨精湛，尽显传统花鸟之美。",[23,25,26,83,29,28,85,67,7,35,616,65,7970],"草叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a6e0671fc4d12e1f018cb98a9a82661.jpg",[],{"id":7974,"slug":7975,"title":7976,"dynasty":18,"author":168,"museum":143,"description":7364,"tags":7977,"thumbUrl":7978,"material":37,"size":88,"collection":88,"collections":7979,"showCount":125,"zanCount":42,"manualWeight":42,"mainColor":92},215203,"sheng-ping-le-shi-tu-ce-1-yi-ming-215203","升平乐事图册-1",[25,24,29,28,83,30,7,454,33,324],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F884a1788ca020f7ea6d8cca8ffaf7686.jpg",[],{"id":7981,"slug":7982,"title":4927,"dynasty":18,"author":7983,"museum":182,"description":7984,"tags":7985,"thumbUrl":7986,"material":88,"size":88,"collection":243,"collections":7987,"showCount":125,"zanCount":176,"manualWeight":42,"mainColor":7988},201854,"mo-zhu-tu-zhou-fang-yuan-lu-201854","方元鹿","墨竹身姿挺秀，枝干以淡墨挥写，挺拔中藏柔韧之致；竹叶用浓墨撇捺，错落间呈舞风之姿。墨色干湿浓淡互见，笔法潇洒灵动，“个”“人”字叶态生动，竿节留白透气，尽显竹之清劲气节。留白处空灵悠远，似闻竹籁轻吟，文人逸趣盎然纸上，观之顿生清雅静穆之感。",[25,26,27,53,7,24,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F582f50284584dcde9a8ae72a7c2aa5a1.jpg",[243],"bda993",{"id":7990,"slug":7991,"title":6263,"dynasty":167,"author":4381,"museum":224,"description":4382,"tags":7992,"thumbUrl":7993,"material":960,"size":961,"collection":88,"collections":7994,"showCount":109,"zanCount":42,"manualWeight":42,"mainColor":272},290169,"xiu-huang-shu-wu-tu-tan-zhi-rui-290169",[25,26,53,200,7,4393,30,146,708,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ee366b6c5842f7eb17aa6b5cc7c9e35.jpg",[],{"id":7996,"slug":7997,"title":7998,"dynasty":97,"author":413,"museum":224,"description":7999,"tags":8000,"thumbUrl":8001,"material":960,"size":961,"collection":88,"collections":8002,"showCount":109,"zanCount":42,"manualWeight":42,"mainColor":43},290070,"wu-rui-tu-su-han-chen-290070","五瑞图","苏汉臣（1094年―1172年），汴京（今河南开封）人，北宋画家。北宋徽宗宣和年间（1119~1125）任画院待诏，南宋高宗绍兴年间（1131~1162）复职，南宋孝宗隆兴初年（1163）任承信郎。\n苏汉臣曾为北宋宣和画院待诏，南渡后又复职，隆兴初画佛像称旨，任承信郎。师刘宗古，工画道释、人物臻妙，尤善婴孩，所画货郎图，描画精细，货物繁颐，更为特出。\n苏汉臣师从画院待诏刘宗古，所绘人物、士女及佛道宗教画，用笔工整细劲，着色鲜润。尤擅描绘婴儿嬉戏之景和货郎担，情态生动。传世作品有《秋庭戏婴图》《五瑞图》《击乐图》《婴戏图》等。",[25,30,28,29,7,61,1276],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3820eaf50dc4a9aad76b5267007325f1.jpg",[],{"id":8004,"slug":8005,"title":166,"dynasty":167,"author":8006,"museum":224,"description":8007,"tags":8008,"thumbUrl":8009,"material":960,"size":961,"collection":88,"collections":8010,"showCount":109,"zanCount":42,"manualWeight":42,"mainColor":43},288355,"zhu-shi-tu-deng-yu-288355","邓宇","邓宇，字子方，号五云，是元末明初画家、道士，",[25,26,27,53,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d25db2e100974dd0888fb243ef43c43.jpg",[],{"id":8012,"slug":8013,"title":8014,"dynasty":18,"author":168,"museum":224,"description":8015,"tags":8016,"thumbUrl":8017,"material":88,"size":88,"collection":88,"collections":8018,"showCount":109,"zanCount":176,"manualWeight":42,"mainColor":92},238187,"wang-cheng-pei-ji-hui-ming-he-juan-yi-ming-238187","汪承霈集卉鸣和卷","此卷开篇绘幽竹亭亭，鸣虫静栖竹间，溪畔蓝花簇生，野趣盎然。清溪蜿蜒穿流过浅渚，渐入群芳盛放之景：粉菊、蓝花、红卉与素白琼英交织错落，枝叶柔曼舒展。蜻蜓振翅掠水，蛱蝶穿花翩跹，蜂虫流连芳丛，诸般小生灵衬得满卷生机浮动。全作用笔纤柔细腻，工笔淡彩晕染雅致明秀，将郊野春景的清灵意趣缓缓铺展，把花间小景的娴静生机描摹尽致，宛如将融融春日的一隅闲趣，凝于素绢之上。",[23,25,26,56,28,29,85,7,897,280,616,365,296,146,428,2734,32,61,62,2080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946dcdc9d843fe6490645d4ecbbb0d23.jpg",[],{"id":8020,"slug":8021,"title":8022,"dynasty":48,"author":168,"museum":224,"description":8023,"tags":8024,"thumbUrl":8026,"material":960,"size":961,"collection":88,"collections":8027,"showCount":109,"zanCount":42,"manualWeight":42,"mainColor":43},238062,"ming-ren-zhu-shi-liu-quan-tu-ye-yi-ming-238062","明人竹石流泉图页","近坡修竹错落劲挺，枝叶萧疏幽寂自生。曲折溪泉层层跌落，数重流瀑打破林间岑寂，暗出水石相击的泠泠意趣。远景以淡墨晕作空蒙烟霭，将山林深幽肆意延展。\n\n全作用水墨写意而出，以干湿浓淡的墨色铺陈空间层次，淡墨轻皴山石，晕染云烟。简淡笔触写尽林泉高致，将山野林下的静穆生机缓缓铺陈，仿佛能闻声泉响，轻嗅竹间清润，尽显萧散淡远的文人意趣，把幽居林泉的闲雅意境融于尺幅之间。",[25,26,83,53,200,7,214,8025,238],"流泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7146d77b47a30d94781b03f80b751327.jpg",[],{"id":8029,"slug":8030,"title":8031,"dynasty":48,"author":2987,"museum":224,"description":8032,"tags":8033,"thumbUrl":8034,"material":88,"size":88,"collection":300,"collections":8035,"showCount":109,"zanCount":42,"manualWeight":42,"mainColor":92},237694,"mo-bi-zhu-shi-zhou-chen-gua-237694","墨笔竹石轴","陈栝（生卒年不详），字子正，号沱江，苏州府长洲（今江苏苏州）人，明代画家陈淳之子，明代中期著名的绘画大师。\n陈栝自幼随父亲陈淳修习绘画，饮酒纵诞。陈栝善画花鸟山水，尤精绘画花鸟，笔似其父，将其父陈淳的笔迹放纵，不拘于象的写意画法发挥至极致。明朝嘉靖年间，尚属英年的陈栝先于其父病逝，时人多因他早逝而深感惋惜，尊称他为沱江子。\n陈栝是明代中期的杰出画家，他行笔放浪而有生趣，将诗意融汇进绘画中，进一步促进了我国古代绘画史写意画法的发展，有五代徐熙、黄筌遗意。",[25,26,27,53,7,214,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5e4485998ba7cfc245a08a6961acd7c.jpg",[300],{"id":8037,"slug":8038,"title":2672,"dynasty":18,"author":2673,"museum":143,"description":2674,"tags":8039,"thumbUrl":8040,"material":104,"size":88,"collection":88,"collections":8041,"showCount":109,"zanCount":42,"manualWeight":42,"mainColor":92},237201,"shan-shui-zhu-shi-ce-wang-hui-237201",[25,26,83,53,238,200,7,214,294,296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4e18c4384ce7dc06637f45510a5985b.jpg",[],{"id":8043,"slug":8044,"title":8045,"dynasty":48,"author":168,"museum":224,"description":8046,"tags":8047,"thumbUrl":8048,"material":160,"size":88,"collection":88,"collections":8049,"showCount":109,"zanCount":42,"manualWeight":42,"mainColor":43},236289,"wang-zi-yuan-hua-niao-ce-yi-ming-236289","王子元花鸟册","寒梅虬枝斜出，苍劲古雅，淡墨轻晕的花瓣清润莹洁，将冬花的幽清淡雅尽显笔端。两只小雀依偎而立，翎羽细笔勾描，墨色晕染层次分明，软萌亲昵的神态宛然如生，把冬日禽鸟相依的温软意态描摹尽致。下方新篁清健斜出，与老梅相映，晕开几分冬末春萌的清隽生机。\n画面题字与绘景相融，整体设色淡雅清和，笔触兼具写生的细腻与文人写意的雅致，寥寥方寸间藏着精妙笔墨意趣，尽显传统花鸟写生的动人韵致。",[25,26,83,29,85,59,7,592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc05f85f3c7964c81c27e058605e6144.jpg",[],{"id":8051,"slug":8052,"title":1601,"dynasty":48,"author":8053,"museum":224,"description":8054,"tags":8055,"thumbUrl":8056,"material":960,"size":961,"collection":88,"collections":8057,"showCount":109,"zanCount":42,"manualWeight":42,"mainColor":92},235728,"hua-niao-ce-tan-zhi-yi-235728","谈志伊","谈志伊，字公望，号学山，一字思重，无锡人，明代画家。",[48,53,54,83,7,281,85,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe295693c368afce72067e0a0bc3da49f.jpg",[],{"id":8059,"slug":8060,"title":8061,"dynasty":18,"author":5081,"museum":224,"description":8062,"tags":8063,"thumbUrl":8064,"material":312,"size":8065,"collection":88,"collections":8066,"showCount":109,"zanCount":42,"manualWeight":42,"mainColor":92},234991,"hua-hui-ling-mao-ping-9-ren-yi-234991","花卉翎毛屏9","任颐(1839-1896)，初名润，字伯年，一字次远，号小楼(亦作晓楼)，萧山城厢镇人。其父善画肖像，任颐自幼随之习画。人物、山水、花卉、翎毛等均有扎实功底，尤以人物画见长，他在十余岁时即能勾勒出来访者容貌，使人见其画如见其人。\n咸丰十一年(1861)，太平军占领杭州、绍兴，任颐即投笔从戎，参加太平军，掌军旗，为前驱。同治二年(1863)，太平军撤离浙江，任留居家乡；次年，移居宁波，得到任熊、任薰悉心指导。同治七年(1868)春，随任薰去苏州，是年冬，转至上海定居。从此，任颐步入新兴的上海画派之列。\n任颐画路宽拓，所画人物具有独特的风韵，更以描写风俗人情、民间传说和神话故事中人物见长，如《女娲》、《钟 馗》、《八仙》、《群仙祝寿》等作品，将艺术与现实巧妙地容贯于画面。其人物肖像画既有深厚的传统基础，又注重写生，每次外出，备有速写本，随时勾录。寓居上海后，以卖画为生，创作甚富。《钟馗》、《关河一望萧索》、《苏武牧羊》、《野塘雨后》和《三友图》等为其代表作。且其参用画意的书法亦奇惊不凡，光绪二十二年(1896)逝世。\n任伯年因是浙江山阴人，故画面署款多写山阴任颐。儿时随父学画，十四岁到上海，在扇庄当学徒，后以卖画为生。所画题材，极为广泛，人物、花鸟、山水、走兽无不精妙。他的画用笔用墨，丰富多变，构图新巧，创造了一种清新流畅的独特风格，在正统派外别树一帜。\n任颐是近代杰出画家。字伯年，号小楼，浙江山阴人，因此他的画署款多写山阴任颐。任伯年的绘画题材广泛，人物、肖像、山水、花卉、禽鸟无不擅长。用笔用墨，丰富多变，构图新巧，主题突出，疏中有密，虚实相间，浓淡相生，富有诗情画意，清新流畅是他的独特风格。任伯年的主要成就是在于人物画和花鸟画方面，往往寥寥数笔，便能把人物整个神态表现出来，着墨不多而意境深远。其线条简练沉着，有力潇洒。他常画钟馗，他笔下的钟馗心胸磊落、不怕鬼，不信邪。他的花鸟画，总是把花与鸟连在一起，禽鸟显得很突出，花卉有时只作背景，整个画面充满了诗的意境。",[25,24,29,85,27,7,281,324,65,2035],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e398d440e6634b38d0ec5b78aced894.jpg","149 x 61 cm",[],{"id":8068,"slug":8069,"title":5985,"dynasty":48,"author":5835,"museum":224,"description":5836,"tags":8070,"thumbUrl":8071,"material":960,"size":961,"collection":88,"collections":8072,"showCount":109,"zanCount":11,"manualWeight":42,"mainColor":92},234829,"zhu-ju-shan-xiang-sheng-mo-234829",[1120,53,7,67,85,102,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31652eb5aff878bf1eb816c29e9f89b6.jpg",[],{"id":8074,"slug":8075,"title":8076,"dynasty":48,"author":649,"museum":50,"description":8077,"tags":8078,"thumbUrl":8079,"material":266,"size":8080,"collection":88,"collections":8081,"showCount":109,"zanCount":42,"manualWeight":42,"mainColor":92},234130,"wen-zheng-ming-za-hua-si-duan-juan-wen-zheng-ming-234130","文徵明杂画四段卷","一、兰花小鸟。款识：[征明]钤印：[文征明印]白方、[征仲]朱方\n二、花鸟 款识：[落叶萧萧苦竹深，茆檐斜日唤双禽。棘丛岂是棲身地，三月春风满上林。征明。]钤印：[文征明印]白鞍钢、[征仲]朱方\n三、观瀑 款识[征明]钤印：[文征明印]白方、[征仲]朱方\n四、柏石 自题：[古石棱竞玄玉，乔柯偃蹇苍虬。着个修篁带雨，分明铁网琳球。征明。]钤印：[文征明印]白方、[征仲]朱谠",[23,25,26,56,53,199,58,102,200,85,30,60,7,214,428,281,59,66,296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf293294d9a450f075036e4b99807eab.jpg","每段 纵32.6厘米 横50.8厘米",[],{"id":8083,"slug":8084,"title":8085,"dynasty":97,"author":168,"museum":224,"description":8086,"tags":8087,"thumbUrl":8088,"material":88,"size":88,"collection":88,"collections":8089,"showCount":109,"zanCount":42,"manualWeight":42,"mainColor":43},227393,"gao-shi-guan-pu-tu-yi-ming-227393","高士观瀑图","此画为宋离、唐所画，无据可查，但整体画面陡峭优美。 在这幅画中，由远及近的山峦和竹林，都以恰如其分的虚实笔触描绘。 图中的瀑布悬垂至谷底，水雾缭绕。 溪流的一角，两位高手俯视着飞泉，神采飞扬，神情陶醉。",[23,24,25,26,29,238,200,30,7,935,146,456],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa9400dc5e0fc602c5191a698fc5fa38.jpg",[],{"id":8091,"slug":8092,"title":8093,"dynasty":18,"author":181,"museum":224,"description":8094,"tags":8095,"thumbUrl":8096,"material":88,"size":88,"collection":88,"collections":8097,"showCount":109,"zanCount":42,"manualWeight":42,"mainColor":43},224179,"shu-shu-gui-qin-tu-hua-yan-224179","疏树归禽图","此作以灵动笔墨绘就暮秋小景，枯干疏枝间，两只禽鸟相偎理羽，亲昵悠然，下方赤羽朱雀振翅穿掠，生机暗涌。竹叶清劲舒展，丹红叶蕊点染秋色，水墨晕染的苔石衬出清冷秋韵。\n\n笔意兼工带写，禽鸟羽色晕染细腻柔润，枝叶则以写意之笔率性挥洒，设色妍雅柔和，冷暖色调相映成趣。留白疏朗悠然，将暮色归禽的安闲意趣缓缓铺展，兼具文人画的秀逸格调与写生鲜活之态，晕染出深秋暮色里的淡然诗意。",[23,25,26,29,85,294,281,7,338,146,592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6562933f06d277d64e828ddb05214ca5.jpg",[],{"id":8099,"slug":8100,"title":8101,"dynasty":97,"author":8102,"museum":8103,"description":8104,"tags":8105,"thumbUrl":8109,"material":37,"size":8110,"collection":88,"collections":8111,"showCount":109,"zanCount":11,"manualWeight":42,"mainColor":43},220111,"shi-liu-luo-han-tu-di-shi-yi-zun-zhe-jin-da-shou-220111","十六罗汉图-第十一尊者","金大受","日本东京国立博物馆","金大受是南宋时代浙江宁波具有代表性的佛画师。本图各幅有落款“大宋明州车桥西、金大受笔”，绘于庆元元年（1195）之前，当时的宁波被称为“明州”，作为现存浙江佛画中时代最早的作品而闻名。金大受所绘的罗汉笔锋收敛，形态把握准确，其赋彩也是巧用中间色，采用协调的自然表现手法，在宁波所绘制的罗汉图中也属于佳作。作为摄州多田院的镇院之宝而传来。曾为原邦造旧蔵。16幅作品中，现已确认有东京国立博物馆馆藏的10幅，以及群马县立近代美术馆馆藏的1幅，其他5幅估计流失海外，所在不明。\n金大受所画十六罗汉计十六幅，分藏三个处所，除了东京国立博物馆藏了十幅之外，其余分别由二个私人收藏家所收藏。十六幅中，每幅均有「大宋明州车桥西金大受笔」的落款，因此一直被误认为作者是西金居士。后来才被判定为南宋宁波车桥之西的画家金大受。\n十六幅中，现藏于群马县立近代美术馆的一幅，长一一七．四公分，宽五Ｏ．四公分。尊者着偏袒右肩式僧服，外罩水田衣，微侧脸注视手中的持花，其蹙眉掀鼻，张口露齿的表情，很是特出。画中除尊者之外，另有侍者一人，以及伏在矮几的小童一人，尊者头上的圆光，以青绿色为之，背后花树盛开，树枝上倒挂一朵莲花，色彩精致，笔触细腻，采用了较幽沉的色调，却烘托出尊者和圆光的明亮。",[23,25,29,28,1559,30,7,642,8106,8107,8108],"法器","坐姿","光环","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b85be8b0df8ea97afd06b5b10bd719e.jpg","118.8×51.7cm",[],{"id":8113,"slug":8114,"title":8115,"dynasty":18,"author":8116,"museum":251,"description":8117,"tags":8118,"thumbUrl":8119,"material":37,"size":8120,"collection":71,"collections":8121,"showCount":109,"zanCount":42,"manualWeight":42,"mainColor":92},218977,"qun-yan-tu-chen-bi-218977","群雁图","陈璧","秋水澹澹，苇丛轻曳于汀洲岸际。群雁数只振翅掠空，姿态翩跹；或有三两栖落浅滩，或卧或立，野趣盎然。淡墨晕染远山，层峦隐现于薄雾间，添几分悠远；细笔勾勒苇叶，疏朗有致，与沙洲相映成趣。水面波光粼粼，似泛清浅凉意。整幅画面清寂中透着灵动，仿佛能闻雁鸣划破长空，观秋水悠悠流淌，尽显自然之恬淡生机，笔墨间藏着对野逸之境的脉脉向往。",[23,25,26,27,53,28,200,592,7,2155,3152,766],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2514624d49b9f3a956ef4f223e883ba.jpg","71.7x33cm",[71],{"id":8123,"slug":8124,"title":8125,"dynasty":167,"author":262,"museum":143,"description":466,"tags":8126,"thumbUrl":8127,"material":69,"size":88,"collection":88,"collections":8128,"showCount":109,"zanCount":42,"manualWeight":42,"mainColor":92},216386,"mo-zhu-pu-ce-4-wu-zhen-216386","墨竹谱册-4",[25,26,83,53,7,102,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F062dc704c2fddc8981083d9fa8aea4a9.jpg",[],{"id":8130,"slug":8131,"title":8132,"dynasty":18,"author":4210,"museum":182,"description":8133,"tags":8134,"thumbUrl":8135,"material":69,"size":88,"collection":88,"collections":8136,"showCount":109,"zanCount":42,"manualWeight":42,"mainColor":92},214690,"hua-hui-ce-3-luo-pin-214690","花卉册-3","罗聘（1733年－1799年）是一位清代的画家，他的花卉册是一本记录花卉的画册，其中包含了许多精美的花卉画作。这本画册是由罗聘亲手绘制并装帧而成，并由他的学生赠送给他。罗聘是一位非常有才华的画家，他的花卉册中的画作非常生动，能够很好地展现出花卉的美丽和优美。\n\n这本画册是一件非常珍贵的艺术品，对于研究罗聘的艺术风格和清代花卉画艺术有着重要的意义。",[25,26,83,53,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4766a474453bebf184ae2844817619e3.jpg",[],{"id":8138,"slug":8139,"title":8140,"dynasty":48,"author":4562,"museum":224,"description":8141,"tags":8142,"thumbUrl":8145,"material":960,"size":4566,"collection":88,"collections":8146,"showCount":206,"zanCount":42,"manualWeight":42,"mainColor":43},290974,"luo-han-zhou-dai-jin-290974","罗汉轴","戴进（1388—1462），字文进，号静庵、玉泉山人。钱塘（今浙江杭州）人，明代画家。早年为金银首饰工匠，后改工书画。宣德间（1426—1435）以画供奉内廷，官直仁殿待诏。后因遭谗言被放归，浪迹江湖。\n他擅画山水、人物、花鸟、虫草。山水师法马远、夏圭，中年犹守陈法，晚年纵逸出蹊径，卓然一家。所作雄俊高爽，苍郁浑厚，用笔劲挺方硬，画人物笔法娴熟，顿挫间风度益著；所作花鸟、虫草亦饶有生意。为“浙派绘画”开山鼻祖。作品有《春山积翠图》《风雨归舟图》 《三顾茅庐图》《达摩至惠能六代像》等。",[24,25,26,27,1559,53,30,8143,1572,8144,7,146],"罗汉","古树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8803ccea802c306ac1ab099a6a43826.jpg",[],{"id":8148,"slug":8149,"title":8150,"dynasty":97,"author":1865,"museum":224,"description":1866,"tags":8151,"thumbUrl":8152,"material":960,"size":961,"collection":88,"collections":8153,"showCount":206,"zanCount":42,"manualWeight":42,"mainColor":92},289785,"wei-lin-tu-li-gong-lin-289785","为霖图",[23,25,24,27,29,30,1571,1572,7,3590,57,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cc01ffe90059e930920b1b9f4c50149.jpg",[],{"id":8155,"slug":8156,"title":8157,"dynasty":18,"author":4210,"museum":224,"description":8158,"tags":8159,"thumbUrl":8161,"material":960,"size":961,"collection":88,"collections":8162,"showCount":206,"zanCount":42,"manualWeight":42,"mainColor":92},288497,"gu-mu-shuang-yun-tu-li-zhou-luo-pin-288497","古木霜筠图立轴","罗聘（1733-1799），清代画家，“扬州八怪”之一。字遯夫，号两峰，又号衣云、花之寺僧、金牛山人、师莲老人等。祖籍安徽歙县，其先辈迁居扬州。为金农入室弟子，布衣，好游历。\n人物、佛像、山水、花果、梅、兰、竹等，无所不工，笔调奇创，超逸不群，别具一格。善画《鬼趣图》，画鬼态无不极尽其妙，借以讽世。亦善刻印。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。其妻方婉仪，字白莲，亦擅画梅兰竹石，并工于诗。子允绍、允缵，均善画梅，人称“罗家梅派”。\n《清史稿》称罗聘“画无不工”。",[23,25,27,53,8160,7,2733,438],"古木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc00bc26a94365cbfda370a4bf0b7af.jpg",[],{"id":8164,"slug":8165,"title":8166,"dynasty":97,"author":168,"museum":224,"description":8167,"tags":8168,"thumbUrl":8170,"material":960,"size":961,"collection":88,"collections":8171,"showCount":206,"zanCount":42,"manualWeight":42,"mainColor":43},287316,"shang-shan-si-hao-hui-chang-jiu-lao-tu-juan-se-qian-yi-ming-287316","商山四皓会昌九老图卷（色浅）","此作用淡墨白描写就园林雅集之景，亭台水榭错落于茂林修竹间，层岩清波衬出幽旷意境。卷中文人或围坐清谈、展卷观画，或凭栏听琴、临水闲步，笔致细劲秀雅，将士林林下风流尽数铺陈。\n\n画面简澹空灵，以极简笔墨晕染出古雅沉静的氛围，尽显以琴棋书画为伴的雅致日常。拖尾题跋虽有墨损，却更添岁月摩挲的沧桑古意，整卷文气四溢，将宋人的清逸意趣凝于尺幅，自带沉静拙朴的书卷余韵。",[23,24,25,26,56,53,199,30,453,60,7,6721,7153,57,102,2384,8169],"历史人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b3d3921be16f9a6d9a093994019d1f5.jpg",[],{"id":8173,"slug":8174,"title":5985,"dynasty":48,"author":5835,"museum":224,"description":5836,"tags":8175,"thumbUrl":8176,"material":960,"size":961,"collection":88,"collections":8177,"showCount":206,"zanCount":42,"manualWeight":42,"mainColor":92},237838,"zhu-ju-shan-xiang-sheng-mo-237838",[25,26,1120,53,85,7,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b0c762c8dcedce1ced61e1b9206d4e5.jpg",[],{"id":8179,"slug":8180,"title":8181,"dynasty":18,"author":8182,"museum":224,"description":8183,"tags":8184,"thumbUrl":8185,"material":960,"size":961,"collection":88,"collections":8186,"showCount":206,"zanCount":42,"manualWeight":42,"mainColor":92},237803,"lan-hua-zhu-shi-shan-ye-qi-zhi-jia-237803","兰花竹石扇页","祁豸佳","字止祥，号雪瓢，山阴（今浙江绍兴）人。彪佳（1602至1645）弟。天启七年（1627年）举人，仕吏部司务。明亡后，当局礼聘，却之，与董瑒、王雨谦、陈洪绶、罗坤等结“云门十子”社，日与老衲蒲团相对，谈世外烟霞。甲申（1644）后，隐梅市卖画代耕。字学董其昌，而乏其秀韵。山水仿沈周，气势淋漓，笔力挺拔，自有一种不可羁勒之概。间作花卉，亦多逸致，诗文词皆有致，至於歌、弈、图章，百戏俱善。康熙八年（1669）作山水图。",[25,26,1120,53,66,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc762726d089f8f622ddf88813fc4776c.jpg",[],{"id":8188,"slug":8189,"title":8190,"dynasty":18,"author":8191,"museum":224,"description":8192,"tags":8193,"thumbUrl":8194,"material":340,"size":88,"collection":300,"collections":8195,"showCount":206,"zanCount":42,"manualWeight":42,"mainColor":92},237688,"shan-shui-zhou-sun-yi-237688","山水轴","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。\n山水得黄公望法，人以为文徵明后身。淡而神旺，简而意足。尝画歙山二十四图。亦工花卉。传世作品有崇祯十二年（1639）与李永昌、汪度、弘仁、刘上延为李生白联作《冈陵图》合卷，每人画一段依次相接，孙逸所画第四段，墨色变化层次分明，质朴洁静，萧疏清逸，现藏上海博物馆；十六年（1643）作《茅屋长松图》轴藏故宫博物院；《仿云林山水图》扇页，自题：“云林不是人间笔，胸次无尘腕下仙，摹得东冈草堂法，两三株树小亭边。旋吉词兄属涂并题，正。孙逸。”藏安徽省博物馆；顺治十一年（1654）作《秋山图》轴、十四年作《仿黄公望山水图》扇页、康熙十九年（1680）作《山水》册页著录于《中国书画家印鉴款识》。从艺活动约于康熙前期。",[25,26,27,53,238,200,294,7,60,295,146,455,296,766],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08dd0626551da2c6ee84d50acbd958e6.jpg",[300],{"id":8197,"slug":8198,"title":8199,"dynasty":48,"author":168,"museum":224,"description":8200,"tags":8201,"thumbUrl":8202,"material":960,"size":961,"collection":88,"collections":8203,"showCount":206,"zanCount":42,"manualWeight":42,"mainColor":43},237495,"zhu-lu-mo-zhu-shan-mian-yi-ming-237495","朱鹭墨竹扇面","此作为金笺扇面，截取折枝幽竹入画，虚实错落尽显章法。左处墨叶繁茂，以焦枯浓墨挥写，笔锋爽利劲挺，将竹叶向背疏密之态描摹尽致。右侧枝桠清瘦，淡墨勾绘衬以影影绰绰的竹叶虚景，似有穿林风过，悄然漾开空寂灵动的幽趣。\n\n墨色层次分明，浓淡间将竹的君子风姿尽显，寥寥笔墨便勾勒出竹之挺拔清隽。题款与印章排布得当，融书画印为一，尽显萧疏散淡意趣，极简笔墨中漾出隽永风神，堪称小品中的逸雅之作。",[25,53,1120,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3186290e9e8af0e3aa7dcd00272d4e29.jpg",[],{"id":8205,"slug":8206,"title":8207,"dynasty":18,"author":6759,"museum":50,"description":8208,"tags":8209,"thumbUrl":8210,"material":88,"size":8211,"collection":300,"collections":8212,"showCount":206,"zanCount":42,"manualWeight":42,"mainColor":92},236195,"hui-mei-zhu-tu-kang-xi-di-lin-mi-fei-shu-zhe-shan-jiang-ting-xi-236195","绘梅竹图康熙帝临米芾书折扇","此扇一面为蒋廷锡绘梅竹图，蒋氏的作品大多呈两种面貌，一为墨笔、淡设色的小写意花鸟，一为工笔浓彩的细谨风格。此图即为后者，笔致精细，敷色冶艳，极富皇家华贵典雅的气韵。另一面为康熙帝临米芾书，所书内容出自李衢《都堂试贡士日庆春雪》，释文为：“锡瑞来丰岁，旌贤入贡辰。摇轻梅共笑，飞弱柳和春。绕砌封琼屑，依阶喷玉尘。蜉蝣吟更切，科斗映还新。鹤毳迷难辨，冰壶鉴易真。因歌大君德，率舞咏陶钧。临米芾元章。”",[25,26,1120,53,1614,58,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4db7d8989ef35548b0c37927bc3b15ab.jpg","纵34厘米，横56厘米",[300,123],{"id":8214,"slug":8215,"title":8216,"dynasty":48,"author":6930,"museum":224,"description":8217,"tags":8218,"thumbUrl":8219,"material":88,"size":88,"collection":88,"collections":8220,"showCount":206,"zanCount":42,"manualWeight":42,"mainColor":92},235593,"hua-wang-bai-gu-ban-ji-an-tu-zhou-wen-jia-235593","画王百穀半偈庵图轴","《王百谷半偈庵图》是明代画家 创作的纸本设色画，现藏于 。\n该图绘明代王百谷所居地半偈庵景色，院落中有湖石、青竹、松木等，石旁立有小石碑，晥门外有2人相立而谈。\n此图笔秀润简淡，构图巧妙别致。\n此画的构图和景物比较简洁，画有工日谷寓所——半偈庵，庭院中立有一湖，造型奇特，玲珑剔透。\n又有数棵树木，枝叶疏散，后有屋舍二间，陈设简陋，前后排列，前房供佛，后房中一榻一几，有一位上人独坐于床榻上，双日凝视，若有所思，屋子左侧有一束修竹，枝叶茂盛，近景有一道围墙，山间有一门楼，围墙两侧的右侧一树，左侧为一棕树。\n墙外有二人对话，一位作拱手状，一位持有策杖，姿态悠闲自在。\n此情此景，足以反映当时文人墨客优雅的生活环境及他们的志趣，王百谷半偈庵就是文人士大夫们所追求的优雅生活的写照。\n全图其画景物和作者自题识及王穉登等诗几乎各占一半，上诗、下图，相配十分得体。\n此画是文嘉7岁的作品，描绘当时文人王穉登所居半偈庵景色。\n王穉登（155—1612），字伯谷，也作百谷，长洲人，少时即以善作诗文著称，长而骏发，名满吴会，善书法，诸体兼备，文徵明没后，风雅归之穉登。\n全图用笔相当简练，湖石和竹树基本上继承了家学的传统，画法近学文徵明，远受元朝画家的影响，疏淡中蕴含秀润，树木用干笔勾皴后，用细墨点叶。\n用笔颇为老峭，加上构图过分简洁，使画面的意境稍嫌疏落之感。\n但由于画幅上面有文嘉的长段题识，起到了弥补此画构图的疏落之嫌…上诗塘又有王穉登录顾孟先、沈少卿宿半偈庵诗、这些自题识和王穉登题诗，为此画增色颇多，成为此画重要的组成部分。\n文嘉（151—158），明代画家，字休承，号义水，长洲（今江苏苏州）人，文徵明次子。\n官和州学正，继承家学，工小楷，擅画山水，笔法清脱，颇近倪瓒，着色山水，具幽澹之致，间仿卫蒙皴染，亦颇秀润，兼作花卉。\n精于鉴别古书画。\n传世作品有《赤壁夜游图》、《秋塘红藕图》、《沧山渔笛图》、《临董源溪山行旅图》轴，并著有《钤山堂书画记》。",[25,26,27,53,58,57,453,7,294,35,457,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44b4680056f3221272054815ba8098c4.jpg",[],{"id":8222,"slug":8223,"title":8224,"dynasty":18,"author":168,"museum":224,"description":8225,"tags":8226,"thumbUrl":8227,"material":88,"size":88,"collection":88,"collections":8228,"showCount":206,"zanCount":42,"manualWeight":42,"mainColor":92},234402,"xiao-shen-cheng-huang-hou-bian-fu-guan-zhu-xiang-zhou-yi-ming-234402","孝慎成皇后便服观竹像轴","她身着宝蓝团花常服，鬓边红白簪花点缀，安坐湖石之上，抬眼望向身旁青竹。笔底工细写实，衣袍纹样纤毫毕现，将皇后端凝温婉的仪态尽数铺陈。\n\n布景清雅悠然，青竹劲拔婆娑，水畔蔷薇烂漫，奇石与卉草错落点缀，晕染出皇家苑囿的闲静诗意。整作兼具工笔的精致与写意的清逸，将深宫中观竹的片刻悠然藏于柔润设色中，尽显中式庭院雅致意境与清宫女性的温婉风华。",[25,27,29,28,30,31,7,65,417,200,35,642,1720],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06d30ee953a67fd3d64733afe86aaadb.jpg",[],{"id":8230,"slug":8231,"title":8232,"dynasty":48,"author":8233,"museum":224,"description":8234,"tags":8235,"thumbUrl":8236,"material":88,"size":88,"collection":88,"collections":8237,"showCount":206,"zanCount":42,"manualWeight":42,"mainColor":92},234214,"zhang-yan-mo-hua-juan-zhang-yan-234214","张彦墨花卷","张彦","张彦（？－？），字伯美，号无诤道人，嘉定（今属上海市）人，一作江苏苏州人，明朝画家。\n万历四十一年（1631年）作《山水图》，著录于《退庵题跋》\n崇祯二年（1629年）作《寒林钟馗图》，著录于《爱日吟庐书画录》\n传世作品有《山径携琴图》轴，现藏南京博物院\n崇祯十年作《松溪放舟图》轴图录于《中国名画宝鉴》\n崇祯十二年（1639）作《设色山水图》卷著录于《中国书画家印鉴款识》；同年作《雪景梅花图》轴，纸本，设色，现藏苏州市博物馆",[23,25,26,56,53,199,85,59,66,7,67,32,61,62,2080,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff41ab333b99a0d13328d654b652e75f6.jpg",[],{"id":8239,"slug":8240,"title":8241,"dynasty":18,"author":8242,"museum":224,"description":8243,"tags":8244,"thumbUrl":8247,"material":88,"size":88,"collection":88,"collections":8248,"showCount":206,"zanCount":42,"manualWeight":42,"mainColor":92},234117,"hua-guo-juan-yuan-jiang-234117","花果卷","袁江","清代康熙至乾隆时期，我国东南的扬州地区，由于商品经济的发展，涌现出了一批追求个性解放，锐意创新的画家群体，这就是画史上称之“扬州画派”，或曰“扬州八怪”。在这个画派中，除了拥有人数众多名震画坛的山水、花鸟和人物画家之外，还出现了一批界画作家，如李寅，颇峰、袁江、袁帽，颇岳等，而袁江、袁耀则是这批楼阁界画的佼佼者，他们成就最大，名望最高，把我国传统的界画技法发展到了一个新的高度，并对后世产生了深远的影响。\n关于袁江的生卒，由于画史无记载，我们只能在袁氏的作品中寻找。据笔者所知，袁江现存最早有纪年的作品是画于康熙三十二年(公元1693年)，最晚的作品画于乾隆八年(公元1743年)，学者以此推测他大约生于康熙十年(公元1671年)前后，卒于乾隆八年，或稍后一、二年之内。他早年生活在“千家养女先教曲，十里栽花算种田”，“夜桥灯火连星汉，水郭帆樯近斗牛”的繁华城市扬州，以后他又到过江宁(今江苏南京)、会稽(今浙江绍兴)。又根据袁江《花鸟图》二幅(藏故宫博物院)的署款“癸卯二月古榕袁江画”，他可能还到过福州，因为“榕”是福州市的别称。又据袁江传世真迹《瞻园图》判断，袁江可能还在南京生活过一段时间，\n因为瞻园是明太祖朱元璋的大将徐达的府第，(位于南京市)。雍正二年(公元1724年)，他北上抵京师(北京)作画，郭味蕖记载他在画中的自题：“在燕台作此图”就是佐证。大至到了晚年，袁江又回到家乡扬州，从他署有年款的“邗上袁江”的大量作品看就能证明这一点，因“邗”即今名的扬州市，(见《左传·哀》九年：“秋，吴城邗，沟通江淮”)。谈到袁江山水楼阁画的师承，文献记载极少，李斗《扬州画舫录》说他“初学仇十洲”，面仇英之画，近师周臣，远“摹唐来人之画，皆能夺真”，由此推之，袁江的画上溯可至唐代的李思训、李昭道父子以及赵伯驹和赵伯骑兄弟。袁江工整细致，设色浓丽的楼阁界画风格，确有仇英的遗韵。又据《画人补遗》记载：“中年得无名氏所临古人画稿”，这“无名氏”又是谁?学术界说法不一，而据有的学者推测，它应该是来人名迹，因为从袁江的山水画中，可以看出有北宋范宽，郭熙，李成、阎次平以及南宋的马远、夏圭等人的画法和遗风。在经营位置上，他又吸收了元明以来山水画的长处，予以融合变化，形成自己的特色。他学“院体”，但又脱去院画中纤弱之笔和艳俗之弊，变为凝炼厚重、工致妍美、艳而不俗的风格。袁江的楼阁界画，更是继承了唐李思训父子，宋赵伯驹兄弟和郭熙以来界画的传统以及元代王振鹏等楼阁画用笔严谨．精雕细刻的画风，并加以发扬光大。",[25,26,24,56,29,53,28,85,2154,8245,488,61,2080,62,64,8246,59,66,7,67,429,65,2585,102],"西瓜","百合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18aa0380b6630459be1fef1dc09c8650.jpg",[],{"id":8250,"slug":8251,"title":8252,"dynasty":18,"author":130,"museum":224,"description":7523,"tags":8253,"thumbUrl":8254,"material":202,"size":7528,"collection":88,"collections":8255,"showCount":206,"zanCount":42,"manualWeight":42,"mainColor":92},233693,"yuan-ji-lan-zhu-ce-mei-zhu-shi-shi-tao-233693","原济兰竹册－梅竹石",[25,26,53,83,59,7,35,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe61a39c4a7e08e81fbed3a68467d98df.jpg",[],{"id":8257,"slug":8258,"title":8259,"dynasty":48,"author":168,"museum":224,"description":8260,"tags":8261,"thumbUrl":8262,"material":88,"size":88,"collection":88,"collections":8263,"showCount":206,"zanCount":11,"manualWeight":42,"mainColor":608},228790,"yan-he-qing-hui-ce-yi-ming-228790","岩壑清晖册","此作用笔秀润淡逸，以柔缓皴染晕出山峦烟岚，将远山融在朦胧霭气之中，虚实相生，铺展出幽远空寂的天地。近景苍树虬劲蓊郁，旁侧修竹亭亭，与山居茅檐相映成趣。\n\n廊下士人斜卧凭栏，似在静听竹风，阶侧童子敛声侍立，寥寥数笔便勾勒出林下幽居的松弛意态。淡赭绢底晕出古雅暖意，整幅画将林泉高致的文人心境藏在笔墨之间，以清简构图传递出萧散闲雅的山居意趣，尽显幽栖丘壑、寄情烟霞的林下风流。",[25,24,26,83,29,28,238,200,454,7,294,453,30,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d18bef70057de2123fbe18762c9072.jpg",[],{"id":8265,"slug":8266,"title":8267,"dynasty":48,"author":6020,"museum":224,"description":8268,"tags":8269,"thumbUrl":8270,"material":88,"size":88,"collection":88,"collections":8271,"showCount":206,"zanCount":42,"manualWeight":42,"mainColor":92},228491,"you-he-tu-du-jin-228491","友鹤图","此作绘水畔幽居，茅舍内隐士凭榻静思，竹松奇石环伺左右，远汀烟水空濛澹荡，晕染出清寂出尘的江乡暮色。笔墨秀润简淡，以轻岚淡墨铺就旷远意境，咫尺之间尽显林泉幽致。\n后接长篇题咏，诗书合璧，以鹤喻同心知己，寄寓了文人幽栖林下、澹泊自适，以鹤为友、物我两忘的隐逸襟怀，尽显明代文人画尚意抒情的特质，将林下高致的清雅意趣藏于尺幅之间，是兼具笔墨意趣与文人精神的上乘佳构。",[23,25,26,56,53,58,102,57,200,30,60,7,35,454,118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5fd2a2f16484e93696f6852f61d4223.jpg",[],{"id":8273,"slug":8274,"title":8275,"dynasty":97,"author":98,"museum":224,"description":8276,"tags":8277,"thumbUrl":8278,"material":88,"size":88,"collection":88,"collections":8279,"showCount":206,"zanCount":42,"manualWeight":42,"mainColor":92},227501,"wen-zhu-tu-shou-juan-su-shi-227501","文竹图手卷","这是一首关于笋焖猪肉的打油诗，据说，苏轼在一个派对上品尝这道食物时，就作了这首诗。\n\n你可能还听过他的另一首诗，“宁可食无肉，不可居无竹。无肉令人瘦，无竹令人俗。人瘦尚可肥，士俗不可医。旁人笑此言，似高还似痴。”\n\n由此可见，苏轼对竹子的爱甚至已经超过了肉，宁可食无肉，也要“居有竹”。可能有人会想，瘦一瘦更健康，拿它跟“居无竹”相比，是不是太夸张了？",[23,25,26,56,53,7,58,102,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92d5e41d22c6c061286d0a76a7284bc9.jpg",[],{"id":8281,"slug":8282,"title":1031,"dynasty":18,"author":1028,"museum":224,"description":8283,"tags":8284,"thumbUrl":8285,"material":88,"size":88,"collection":88,"collections":8286,"showCount":206,"zanCount":11,"manualWeight":42,"mainColor":92},224532,"fang-gu-wei-gen-lao-ren-224532","此作为写意墨竹，数竿修竹错落斜出，构图疏密得宜，虚实相生。以浓淡墨色区分层次，浓墨挥写竹叶，笔势迅疾如劲风穿林，聚散合度，尽显劲挺错落之态；淡墨勾勒皴染竹干，笔力圆劲沉稳，竹节顿挫有力，将竹的清拔苍劲展露无遗。\n\n画面留白疏朗，以素净底色衬出修竹逸韵，尽显文人画尚简重意的意趣。落笔简练却神完气足，把竹之清高隽秀的品性描摹尽致，藏着画者寄情于竹的文心风骨。",[23,25,26,27,53,1614,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea2fdbaeba4523a2230d84515b05d154.jpg",[],{"id":8288,"slug":8289,"title":1182,"dynasty":167,"author":168,"museum":224,"description":8290,"tags":8291,"thumbUrl":8292,"material":88,"size":88,"collection":88,"collections":8293,"showCount":206,"zanCount":42,"manualWeight":42,"mainColor":43},223613,"zhu-shi-tu-zhou-yi-ming-223613","此作用笔清劲秀逸，丛竹挺立于湖石旁，辅以枯木，构图疏朗有致，尽显萧散之致。以双钩法写竹，笔线匀挺利落，竹叶交叠错落，层次分明，将修竹清峻挺拔的姿态尽数铺展，暗合君子劲节之心志。湖石以淡墨勾勒皴擦，造型朴拙古雅，寥寥笔墨便带出苍润质感。枯木枝桠简括，细叶点缀其间，枯而不槁，与丛竹相映，衬出画面幽寂出尘的林下意境。整幅简淡空灵，以简驭繁，尽显画中重意趣、尚风骨的文人特质，把寄情于物的雅志融于笔墨间。",[23,25,24,27,53,199,7,214,741],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f6691779204c2a0ed3400253a2cae24.jpg",[],{"id":8295,"slug":8296,"title":200,"dynasty":18,"author":181,"museum":875,"description":8297,"tags":8298,"thumbUrl":8299,"material":88,"size":88,"collection":88,"collections":8300,"showCount":206,"zanCount":42,"manualWeight":42,"mainColor":92},223243,"shan-shui-hua-yan-223243","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、离垢居士等，老年自喻“飘篷者”，福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年（1703）华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上“高山云鹤”、“水国浮牛”、“青松悬崖”和“倚马题诗”四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，“得交当路巨公，名闻于上”，但并不得意，据戴熙《习苦斋画絮》载：“华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。”他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鱓、郑板桥及盐商巨子马曰琯、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。\n华岩一生贫困，金农在《画竹题记》提到：“汀洲华岩秋岳，……尝画兰草纸卷，卷有五丈者，一炊饭顷便能了事，清而不媚，恍闻幽香散空谷之中，…… 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。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[24,25,26,27,3083,29,896,490,7,280,146,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedb864d815658b9038e4cbbc6da8f12b.jpg",[],14,{"id":8397,"slug":8398,"title":8399,"dynasty":167,"author":168,"museum":143,"description":8400,"tags":8401,"thumbUrl":8404,"material":87,"size":8405,"collection":71,"collections":8406,"showCount":8395,"zanCount":11,"manualWeight":42,"mainColor":43},290741,"jiu-que-xian-chun-tu-zhou-yi-ming-290741","鸠雀先春图轴","水傍石上，水鸟两只，一微露背，一见全体，足趾间有蹼相系，当系野鸭之属。其上重叠作茶花、竹、石、梅、雀、花卉俱用双钩，虽粗细不同，而笔力一皆挺秀，用色傅粉，亦极沉着。",[24,25,26,27,28,29,85,59,1800,7,934,592,8402,1157,8403],"鸠","春意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbea2b2e763b0ca5b7e1db8a44f60e5d.jpg","150.9x31.3",[71],{"id":8408,"slug":8409,"title":3617,"dynasty":48,"author":805,"museum":224,"description":7658,"tags":8410,"thumbUrl":8411,"material":960,"size":961,"collection":88,"collections":8412,"showCount":8395,"zanCount":42,"manualWeight":42,"mainColor":43},290363,"chun-hua-san-xi-zhou-bian-wen-jin-290363",[25,27,85,28,29,7,65,592,934],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a9d58ed3b1b546865062b1b7eae98d5.jpg",[],{"id":8414,"slug":8415,"title":8416,"dynasty":97,"author":168,"museum":224,"description":8417,"tags":8418,"thumbUrl":8420,"material":960,"size":961,"collection":88,"collections":8421,"showCount":8395,"zanCount":42,"manualWeight":42,"mainColor":43},288971,"zhu-shu-xun-que-tu-yi-ming-288971","竹树驯雀图","此作以圆面取景，枯枝新竹错落交织，晕开清寂冬意。三只麻雀是画面灵动的核心，竹梢亲鸟噙虫悬停，目光柔落向下。枯枝上两只幼雏，一只昂首啾啾索食，喙角轻张满是稚态，一只振翅翘首，雀跃不已。\n\n画师用笔精微，禽鸟羽色以细墨线勾出轮廓，淡墨晕染铺就绒羽蓬松质感，羽翼层叠鲜活逼真。竹枝劲挺舒展，竹叶带着迎风轻颤之姿，枯枝皴擦简练，衬出疏淡萧索又藏着暖意的氛围。\n尺幅之间将亲鸟育雏的脉脉温情，融于冬日小景，以小见大，把自然里的细碎温情凝在绢素之上，雅致动人。",[1120,25,24,28,29,85,7,592,8419],"温情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5be9369472d793fb1dc270c4bcff83d7.jpg",[],{"id":8423,"slug":8424,"title":8425,"dynasty":97,"author":717,"museum":224,"description":6727,"tags":8426,"thumbUrl":8428,"material":960,"size":961,"collection":88,"collections":8429,"showCount":8395,"zanCount":42,"manualWeight":42,"mainColor":43},288417,"yue-xia-hua-qian-tu-ma-yuan-288417","月下花前图",[23,25,24,5017,26,29,58,57,30,7,767,200,4148,8427,102],"宴赏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0e0e5c000968db8ef0dc27931ee8a28.jpg",[],{"id":8431,"slug":8432,"title":8433,"dynasty":18,"author":5375,"museum":224,"description":8434,"tags":8435,"thumbUrl":8436,"material":960,"size":961,"collection":88,"collections":8437,"showCount":8395,"zanCount":42,"manualWeight":42,"mainColor":92},288283,"shan-shui-tu-fang-ni-zan-bi-yi-wang-yuan-qi-288283","山水图(仿倪瓒笔意)","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」",[25,53,200,1614,27,146,7,456,102,238,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68c7428b57b6b68307db8e6de3dc0fc4.jpg",[],{"id":8439,"slug":8440,"title":8441,"dynasty":48,"author":168,"museum":224,"description":8442,"tags":8443,"thumbUrl":8444,"material":960,"size":961,"collection":88,"collections":8445,"showCount":8395,"zanCount":42,"manualWeight":42,"mainColor":92},288057,"zhu-zhi-tu-tuan-shan-yi-ming-288057","竹枝图团扇","此作以团扇圆境框取景致，疏密排布极具巧思。淡赭写竹竿，清绿点染竹叶，笔致秀挺灵动，叶片错落偃仰，似有疏风拂过，摇曳生姿。\n当中湖石以枯墨皴擦晕染，苍涩古拙，和秀逸青竹形成刚柔相映的意趣。整幅设色清雅素净，无冗余修饰，以极简笔墨托出竹的清介高洁，暗藏文人爱竹慕贤的风骨。寥寥数笔间，便将林下淡然雅致的文人情韵铺陈开来，意境悠长隽永。",[23,25,26,1120,29,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07cbe8b1c7be47dc1008f4dae359086f.jpg",[],{"id":8447,"slug":8448,"title":8449,"dynasty":167,"author":385,"museum":143,"description":8450,"tags":8451,"thumbUrl":8453,"material":69,"size":8454,"collection":88,"collections":8455,"showCount":8395,"zanCount":42,"manualWeight":42,"mainColor":43},287669,"chun-yu-xin-huang-zhou-ni-zan-287669","春雨新篁轴","画中一竿新篁，在迷蒙春雨的滋润下倔曲茁长。",[24,25,26,27,53,7,57,102,8452],"春雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F419f7da372cf86460b8e8e3fd00c1dd1.jpg","70.7x38.6",[],{"id":8457,"slug":8458,"title":8459,"dynasty":167,"author":2209,"museum":143,"description":8460,"tags":8461,"thumbUrl":8462,"material":172,"size":8463,"collection":88,"collections":8464,"showCount":8395,"zanCount":42,"manualWeight":42,"mainColor":43},287535,"ping-an-pan-shi-zhou-gu-an-287535","平安磐石轴","此图墨笔画湖石，湖石向右侧倾斜，顶部似蘑菇状，上面生长着疏密有致的小草，在微风中摇曳。湖石用浓淡墨写出，连勾带染，略施皴擦，染以淡墨，富有立体感，富有装饰美。在湖石右侧的岸坡上有二株翠竹，左边一株新篁高大粗壮，竹竿挺拔，竹叶茂密，几乎布满了上半个画面，竹叶在风的吹动下向左边摇曳；右边一株新篁斜逸旁出，枝梢稚嫩，依倚在左边高节劲挺的竹旁。竹叶的浓淡疏密，前后左右，绰约多姿。竹下有几束幽草，坡草如茵，沿着堤岸而长，葳蕤有生意，用笔滋润淡雅；其间若有轻风细吹，所有的竹叶和草木皆作仰势，枝叶摇动，似乎发出瑟瑟之声。左侧有自题识：“至正庚寅囗秋顾定之作。”后钤有“顾定之印”白文印。\n此画构图稳定，意境深邃，虚处空旷无际，实处繁茂郁盛。整个画面使人感受到有一种恬淡、清雅的诗意，是顾氏墨竹画的代表作。",[25,26,27,53,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F402119f720a698fd1faf97b7b2a3c2ab.jpg","186.8x103.8",[],{"id":8466,"slug":8467,"title":8468,"dynasty":18,"author":8469,"museum":224,"description":8470,"tags":8471,"thumbUrl":8472,"material":960,"size":961,"collection":71,"collections":8473,"showCount":8395,"zanCount":42,"manualWeight":42,"mainColor":92},236853,"zhu-shi-ce-wang-e-236853","竹石册","王崿","字山眉，一作小眉，亦作山麋，山陰（今浙江紹興）人。諸生。工書，善山水、蘭、竹，人物師陳洪綬。",[25,26,83,53,58,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb33a1fb1c79291813e157dca628d7b03.jpg",[71],{"id":8475,"slug":8476,"title":7114,"dynasty":18,"author":2673,"museum":224,"description":8477,"tags":8478,"thumbUrl":8479,"material":960,"size":961,"collection":88,"collections":8480,"showCount":8395,"zanCount":42,"manualWeight":42,"mainColor":92},236013,"sui-han-san-you-tu-zhou-wang-hui-236013","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[25,26,1720,27,53,54,238,60,7,59,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffac38c6f80e4e9a7a350830e3894455.jpg",[],{"id":8482,"slug":8483,"title":3875,"dynasty":18,"author":8484,"museum":224,"description":8485,"tags":8486,"thumbUrl":8487,"material":960,"size":961,"collection":88,"collections":8488,"showCount":8395,"zanCount":42,"manualWeight":42,"mainColor":92},235714,"hua-hui-ce-zou-xian-ji-235714","邹显吉","字黎眉，号思静，一号华斋，自称湖北居人，晚号城南老圃，江苏无锡诸生。尝学诗于吴伟业，画摹宋、元，山水、人物均得古法。写生有邹菊之目。著北游集、湖北草堂诗。一门风雅，妻能画梅，兄、弟、子、侄，皆工画，新处各画小品一二种成卷，为时所艳称。康熙三十九年（一七oo）作罗浮佳处卷，时年六十五。",[25,26,83,29,28,85,7,35,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ec7bb907e4f2fccef7a81db0e8113d0.jpg",[],{"id":8490,"slug":8491,"title":8492,"dynasty":48,"author":6930,"museum":50,"description":8493,"tags":8494,"thumbUrl":8495,"material":1838,"size":8496,"collection":88,"collections":8497,"showCount":8395,"zanCount":42,"manualWeight":42,"mainColor":92},234812,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-wen-jia-xiu-zhu-wu-tu-ye-wen-jia-234812","吴门诸家寿袁方斋三绝册-文嘉修竹坞图页","此册页是吴门画家文嘉、文伯仁、陆治、陈道复为姓袁者六十大寿而绘的吴门一带的盛景，每位画家绘制五开，共20开，妹夫对开均有提拔。",[25,26,83,29,200,238,7,146,456,57,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6272ba27d4700665a7cf4f2657f469af.jpg","22.2*26.7cm",[],{"id":8499,"slug":8500,"title":7469,"dynasty":18,"author":8501,"museum":224,"description":8502,"tags":8503,"thumbUrl":8504,"material":88,"size":88,"collection":88,"collections":8505,"showCount":8395,"zanCount":42,"manualWeight":42,"mainColor":92},234668,"mei-zhu-shan-ye-xu-qi-234668","徐琪","徐琪（1849～1918），字玉可、花农，号俞楼，室名玉可盦、九芝仙馆、香海盦、青琅玕馆等，浙江杭州人。光绪六年进士，授编修，历官山西乡试副考官，广东学政、官至兵部侍郎。俞樾弟子。工诗词、书画，善花卉，神似恽南田，著述甚丰。",[25,26,1120,29,28,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1be9d9bfb423e714147a62ce9fa58179.jpg",[],{"id":8507,"slug":8508,"title":8509,"dynasty":48,"author":168,"museum":50,"description":8510,"tags":8511,"thumbUrl":8512,"material":88,"size":88,"collection":88,"collections":8513,"showCount":8395,"zanCount":42,"manualWeight":42,"mainColor":92},234213,"dong-zhu-weng-zhu-lan-juan-yi-ming-234213","东渚翁竹兰卷","释文：归君体之示余，大司□东渚公所作兰竹，行笔秀润，意匠闲雅，真合作也。公在本兵，机务藂挫，而能游心翰墨如此，岂真所谓游刃有余地者哉？徵明题。",[23,25,1648,56,57,58,7,66,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18269934aac3e0b357318f647a70291e.jpg",[],{"id":8515,"slug":8516,"title":8517,"dynasty":167,"author":8518,"museum":50,"description":8519,"tags":8520,"thumbUrl":8522,"material":104,"size":8523,"collection":88,"collections":8524,"showCount":8395,"zanCount":42,"manualWeight":42,"mainColor":43},233785,"gou-lei-zhu-juan-zhang-xun-233785","钩勒竹卷","张逊","张逊 (约13世纪末～14世纪中)字仲敏,号溪云，吴(今江苏苏州)人。此图纸本，水墨，纵 43.4 厘米，横 686厘米。画坡陀间双钩竹数丛，枝干劲挺，竹叶扶疏，间作老松披佛偃仰。石用中锋圆笔钩皴，有董源、巨然遗意。本幅后楷书自题记上款“伯时”，下署“至正九年四月卅日，吴郡张逊题于吴氏舍馆”。钤“张逊私印”。作于1349年，是张逊晚年用心之作。\n后纸有察伋、倪瓒、张绅、梁用行、王汝玉、张间、钱溥、刘钮、陈鉴、严树、陆广、谢希曾、徐渭仁、黄芳、宝熙等人题以及谢希曾等鉴藏印 150余方。《朱氏铁网珊瑚》、《佩文斋书画谱》、《式古堂书画汇考》等书著录。现藏故宫博物院。",[24,25,26,56,199,8521,7,30,720,294,102],"钩勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2630f34cd123917126bd47636aae1dec.jpg","纵 43.4 厘米，横 686厘米",[],{"id":8526,"slug":8527,"title":8528,"dynasty":18,"author":130,"museum":224,"description":7523,"tags":8529,"thumbUrl":8530,"material":202,"size":7528,"collection":88,"collections":8531,"showCount":8395,"zanCount":42,"manualWeight":42,"mainColor":92},233685,"yuan-ji-lan-zhu-ce-zhu-lan-shi-tao-233685","原济兰竹册－竹兰",[24,25,26,83,53,66,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682ad7be838217a702824a55aa1508fe.jpg",[],{"id":8533,"slug":8534,"title":8535,"dynasty":18,"author":6087,"museum":50,"description":8536,"tags":8537,"thumbUrl":8539,"material":8540,"size":8541,"collection":88,"collections":8542,"showCount":8395,"zanCount":42,"manualWeight":42,"mainColor":92},233399,"shan-shui-ren-wu-ce-jin-nong-233399","山水人物册","册共十二开，分别绘佛像、山水、人物故事等。\u2028　　第一开：墨笔白描佛像、菩提树，画左自题两行，款“己卯八月”。钤“金吉金印”。\n第二开：画礼佛图，右方自题六行，款“心出家盫僧画记”。钤“金吉金印”。\n第三开：画秋林共话，左方自题八行，款“稽留山民记”。钤“莲峰居士”等二印。\n第四开：画湖山采菱，右下自题七言诗一首，下题记六行，款“冬心先生笔记”。钤“冬心先生印”。\n第五开：画青山薄汀，上方自题词一首，款“乾隆二十四年八月十一日七十三翁金农画记”。钤“金氏寿门”印。\n第六开：水墨画鬼趣图，左上自题七行，款“龙梭仙客记”。钤“金农”、“莲峰居士”二印。\n第七开：画玉川煮茶图，自题两行，款“昔耶居士”。钤“寿”一印。\n第八开：画板桥流水，桃林策杖。左方自题七绝一首，款“金二十六郎画诗书”。\n第九开：画柳塘间舟，右上自题七言诗一首，款“曲江外史画诗书”。钤“冬心先生”印。\n第十开：画花塘长亭，上方自书词曲，款“金牛湖山诗老小笔并自度一曲”。钤“寿”、“朋”二印。\n第十一开：画抱膝长思，右上自题“昔年曾见，金老丁晚年自号也”。钤“金老丁”印。\n第十二开：画山僧叩门图，左下自题七言诗，款“昔耶居士并题”。钤“国泉”一印。裱边、附页有健庵、吴湖帆题记。\n此图用笔灵活古拙，山石用意笔写之，淡墨轻染，岸柳、杂树、芭蕉用勾点夹叶法，钱荷用臥笔横点，佛像、人物、山鬼用笔滞涩朴拙，富有韵味。全画笔法生拙奇奥，设色清秀淡雅，意境幽深，为金农山水人物画代表作品。\u2028　　鉴藏印：“曾藏潘健盦处”、“铭心绝品”、“贞甫审定”等六十二方。\u2028　　庞莱臣《虚斋名画录》著录。",[25,26,83,29,53,199,30,456,8538,102,295,7],"书案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68bc67c8dd3b874a3a1dc6ad26e5dff2.jpg","纸本，墨笔或设色","纵24.3厘米，横31.2厘米",[],{"id":8544,"slug":8545,"title":7939,"dynasty":48,"author":649,"museum":50,"description":7940,"tags":8546,"thumbUrl":8547,"material":104,"size":7943,"collection":88,"collections":8548,"showCount":8395,"zanCount":42,"manualWeight":42,"mainColor":92},232965,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232965",[25,26,83,53,29,200,7,296,708,57,102,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35734c7c6d672b6f5eefefc86eaa12a5.jpg",[],{"id":8550,"slug":8551,"title":8552,"dynasty":48,"author":142,"museum":224,"description":8553,"tags":8554,"thumbUrl":8556,"material":960,"size":961,"collection":88,"collections":8557,"showCount":8395,"zanCount":42,"manualWeight":42,"mainColor":43},228479,"cao-wu-pu-tuan-tang-yin-228479","草屋蒲团","《草屋蒲团图》又名《虚亭听竹图》，是唐伯虎  中晚期创作最为丰富和成熟时期的作品，图绘江南初秋士人蒲团之上晨读之情景。画面环境幽雅清静，给人以深厚、凝重之感，呈现出大自然的生动景象。属于唐氏作品中少见的浑厚、凝重的作品。",[23,25,26,27,53,238,58,57,30,200,7,8555],"草屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3366fd1cdf4d4aac38338b2afddae630.jpg",[],{"id":8559,"slug":8560,"title":8561,"dynasty":18,"author":8562,"museum":224,"description":8563,"tags":8564,"thumbUrl":8565,"material":88,"size":88,"collection":88,"collections":8566,"showCount":8395,"zanCount":42,"manualWeight":42,"mainColor":92},224574,"mo-zhu-cheng-shan-qing-ren-224574","墨竹成扇","清人","《百年启功:书画逸兴》包括：北京师范大学校训、启功先生小学时期作品、山水四条屏、曲水群贤等。\n其实，先生的作品不在巨大认真，而在趣味逸兴，一片纸、或数笔，“千里面目”，谴兴而已，有些甚至是无意流传的。\n集中注意选集先生一些不经意、随手间的手泽，没有大义，只是把玩。\n我们这么选辑，希望读者更能了解启功先生，希望读者更加喜爱中国笔墨文化。\n《百年启功:书画逸兴》选择启功先生书画手泽若干件，是简单印刷、平实装帧的书画作品集。\n校训 北京师范大学校训（简体） 启功先生小学时期作品 山水四条屏 曲水群贤 补桐养疴图 甲申年花笺手稿 石榴图 绿竹图 江山雪霁图 荷花图 菊扇 花笺手稿沁园春 临新妇帖 一九四六年作山水 四联扇面 烟江晓泊 秋松 山雨欲来风满楼 四连屏 赠伯简先生 少文款手迹 墨竹 兰竹成扇 付文物局收条之一 付文物局收条之二 书鲁迅诗扇面 积石干寻长松万仞 手抄本题签之一 手抄本题签之二 手抄本题签之三 手抄本题签之四 论书旧作花笺 平复帖临释 临兰亭 启功遗墨册页 痛心篇一 痛心篇二 痛心篇三 南乡子手稿 书赠毛泽东词 画菊成扇 年论书绝句手稿 双蛙图及题跋（局部） 书赠重晤老友 喜竹 竹石 诗画一开 南乡子题汉吉语方砖（附拓片） 东洲草堂句 兰飘竹撇写离骚 何可一日无此君 《共勉》 李白诗书赠 赠友人竹石 购书与慎言 芳草西池路 书太白句赠友人 墨竹成扇 书自作诗 赠向彤同志竹石 教师节书颂 双松堂堂 夏老爱猫 鹅群 静观 清华 和风细雨 瘦影参差水墨松 书文心雕龙原道 八尺对联 高山流水听琴音 甲子岁朝 乐天者寿 自题小照 静心 书为第一届教师节之一 书为第一届教师节之二 墨竹 红竹 看竹者多画竹者少 晴窗漫书 玛瑙寺前过 献给教师节 美意延年迈劲松 业广维勤 百福骈臻 失眠口占 化雨春风 正大光明 佳句四屏 细 秋分菊本自锄山 硬笔和毛笔 同学存念 霜叶红于二月花 书遂堂老人诗 龙 飞腾 寥斋 联姻 卓锥有地自逍遥 红竹 南无阿弥陀佛 松风水月 亲手树人真事业 少陵惊人佳句 信封上画菊 信封上画兰 尺椟书疏千里面目 快雪时晴佳想安善 我醉欲眠枕其股 传芭 腊笺书杜律 行百里者半九十里 澄泥砚赞 竹深留客处 承露 画筵赠静翁先生 枯笔书 过岭外忆前贤别都门之作而书之 枯藤缀紫霞 奇峰高节 协力 东望望长安 少陵佳句 龙年写龙 云合山留一发青 吉祥如意 竹淡兰馨 大哉孔子 索句深霄 竹报平安 写竹寿庆 春水船如天上坐 铁网珊瑚 题诗最高处 朱竹 比寿同清 小品之一 小品之二 小品之三 小品之四 师颂 福寿康宁 福禄寿喜 金玉满堂 河清人寿 风调雨顺 职为人师 淡墨兰石 仁者寿 赠毕业同学 静观 光阴可贵 乐观 莫名其妙从前事 学记之训 学高人之师 赠董桥联 寒山寺对联 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苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[1120,25,24,53,7,454,30,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d5bdbb29c66f8463b99d923ac8bee3.jpg",[],13,{"id":8651,"slug":8652,"title":8653,"dynasty":167,"author":385,"museum":143,"description":5213,"tags":8654,"thumbUrl":8655,"material":69,"size":8656,"collection":88,"collections":8657,"showCount":8649,"zanCount":42,"manualWeight":42,"mainColor":92},290832,"xiu-zhu-tu-zhou-ni-zan-290832","修竹图轴",[25,26,27,53,7,57,58,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F822aa93986d1b9a95aca39bfa639557a.jpg","51x34.5",[],{"id":8659,"slug":8660,"title":8416,"dynasty":97,"author":168,"museum":224,"description":8661,"tags":8662,"thumbUrl":8663,"material":960,"size":961,"collection":88,"collections":8664,"showCount":8649,"zanCount":42,"manualWeight":42,"mainColor":92},288955,"zhu-shu-xun-que-tu-yi-ming-288955","这幅小品以枯棘新竹铺陈画面，三只麻雀错落栖于枝桠之上。翎毛发纤毫毕现，写实工细，三只雀鸟神态各异：一雀垂首啄探，另两只相向对觑，似在软语，将林间闲趣定格于团扇方寸。\n设色浅淡柔和，笔墨清隽，枯棘萧疏与新竹清翠相映，把林野间驯雀安然自在的日常定格。整体意境静谧闲雅，尽显工笔花鸟的精妙造诣，于尺幅之间勾勒出悠然平和的生机，藏着雅致的审美意趣。",[24,25,1120,28,85,7,1157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fc7f97806316334d459f0956cbb90e5.jpg",[],{"id":8666,"slug":8667,"title":8668,"dynasty":97,"author":168,"museum":224,"description":8669,"tags":8670,"thumbUrl":8671,"material":960,"size":961,"collection":88,"collections":8672,"showCount":8649,"zanCount":42,"manualWeight":42,"mainColor":92},288728,"hong-mei-kong-que-tu-yi-ming-288728","红梅孔雀图","水岸一隅，苍松虬曲古雅，红梅初绽带霜，竹影清疏横斜。两只孔雀动静相宜，一栖于松干缓理彩羽，翎毛细纹纤毫毕现；一信步汀洲，姿态闲雅悠然。\n\n全作用色沉稳清雅，花木禽鸟皆以精工写就，晕染细腻写实，又兼具文人写意的幽远意境。画面疏密得当，枯润有致，将院体工笔的精致与林下野趣相融。静穆景致藏着盎然生机，于尺幅之间铺展出雅致隽永的审美意趣，尽显花鸟写生的精妙造诣。",[23,25,24,26,85,28,29,59,60,7,2979,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a71b37b702414802eb33400b6285b76.jpg",[],{"id":8674,"slug":8675,"title":8676,"dynasty":18,"author":168,"museum":224,"description":8677,"tags":8678,"thumbUrl":8683,"material":960,"size":961,"collection":88,"collections":8684,"showCount":8649,"zanCount":42,"manualWeight":42,"mainColor":92},273631,"zi-tan-mu-bian-zuo-dian-cui-song-zhu-tu-cha-ping-yi-ming-273631","紫檀木边座点翠松竹图插屏","屏心以点翠技法晕染苍松，躯干虬劲古拙，松针似凝寒带露，深色底衬将翠色衬得清莹雅致，暗合君子凌霜风骨。紫檀边框透雕缠枝瑞纹，刀工圆融细腻，将木料纹理与镂刻章法相融，古雅厚重。基座嵌饰珐琅锦地纹样，宝蓝柔彩呼应点翠松影，添就华贵雍容。\n\n整器融雕刻、点翠、珐琅数种工艺于一体，将文人意趣与宫廷匠心相合，沉稳大气间尽显清代工艺审美之精妙，当属陈设雅器中的上乘之作。",[8679,3757,8680,60,7,8681,8682],"插屏","点翠","珐琅器","工艺品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4420039651c331e451c2e3b425117220.jpg",[],{"id":8686,"slug":8687,"title":8688,"dynasty":18,"author":168,"museum":224,"description":8689,"tags":8690,"thumbUrl":8694,"material":960,"size":961,"collection":88,"collections":8695,"showCount":8649,"zanCount":42,"manualWeight":42,"mainColor":43},261242,"qing-hua-li-bai-shi-ju-wen-gao-zu-wan-yi-ming-261242","青花李白诗句纹高足碗","青花瓷（blue and white porcelain），又称白地青花瓷，常简称青花，是中国瓷器的主流品种之一，属釉下彩瓷。青花瓷是用含氧化钴的钴矿为原料，在陶瓷坯体上描绘纹饰，再罩上一层透明釉，经高温还原焰一次烧成。钴料烧成后呈蓝色，具有着色力强、发色鲜艳、烧成率高、呈色稳定的特点。原始青花瓷于唐宋已见端倪，成熟的青花瓷则出现在元代景德镇的湖田窑。明代青花成为瓷器的主流。明宣德时发展到了顶峰。明清时期，还创烧了青花五彩、孔雀绿釉青花、豆青釉青花、青花红彩、黄地青花、哥釉青花等衍生品种。",[8691,8692,30,4148,7,3435,8693],"陶瓷","青花","李白","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f7cb156dea334d5ba0480be899a077f.jpg",[],{"id":8697,"slug":8698,"title":3481,"dynasty":18,"author":6759,"museum":224,"description":8699,"tags":8700,"thumbUrl":8701,"material":960,"size":961,"collection":88,"collections":8702,"showCount":8649,"zanCount":42,"manualWeight":42,"mainColor":92},238473,"hua-hui-tu-ce-jiang-ting-xi-238473","蒋廷锡（1669年－1732年），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，清朝康熙、雍正时期官员、画家、文献学家、藏书家。\n蒋廷锡为康熙四十二年（1703年）进士，授翰林编修。雍正帝即位后历任礼部侍郎、户部尚书等职。雍正六年（1728年）拜文华殿大学士，仍兼理户部事，并任《明史》总裁。次年（1729年）加太子太傅。累封一等阿达哈哈番。雍正十年（1732年）卒于任内，谥号“文肃”。\n蒋廷锡在官秉公抚政、剔除积弊，声誉甚著。为人博学精敏，尤善诗画。擅长花鸟，以逸笔写生，奇正率工，敷色晕墨，兼有一幅，能自然洽和，风神生动，得恽寿平韵味。点缀坡石，偶作兰竹，亦具雅致。曾画塞外花卉70种，被视为珍宝收藏于宫廷。今有《牡丹扇面》《岁岁久安图》《桃花鹦鹉图》《竹石图》轴及《花卉图》等传世。",[25,26,83,29,28,85,7,63,65,281,280,57,102,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38836dc76ab513b9c10859da15da0005.jpg",[],{"id":8704,"slug":8705,"title":8706,"dynasty":18,"author":7296,"museum":224,"description":8707,"tags":8708,"thumbUrl":8709,"material":88,"size":88,"collection":88,"collections":8710,"showCount":8649,"zanCount":42,"manualWeight":42,"mainColor":92},238255,"zhu-an-tu-juan-zhang-ruo-ai-238255","竹鹌图卷","此作为水墨淡绘手卷，以坡岸幽竹铺陈清寂林皋之景。数只鹌鹑错落其间，或伫立坡头侧目远眺，或俯身啄饮，或于竹下理羽小憩，姿态灵动各异，野趣横生。\n作者以细劲清润的线条勾勒竹枝，竿挺叶疏，笔墨秀雅，淡墨晕染坡石草卉，层次柔和自然，将林泉间安闲静谧的氛围烘托尽致。整卷写实不失空灵，以极简的水墨语言勾勒出林下小景的幽谧生机，尽显文人画雅致平和的意趣，将郊野一隅的闲静氛围娓娓铺展开来。",[23,25,26,56,53,28,85,7,1628,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf659e2e91b3e9ae74f2197bf60b2bc0.jpg",[],{"id":8712,"slug":8713,"title":8714,"dynasty":18,"author":8715,"museum":224,"description":8716,"tags":8717,"thumbUrl":8718,"material":88,"size":88,"collection":300,"collections":8719,"showCount":8649,"zanCount":42,"manualWeight":42,"mainColor":92},237563,"jun-zi-ting-tu-zhou-wang-jiu-237563","君子亭图轴","王玖","王翚一派，学者每失之甜，玖善用枯笔，故无此病。又尝作修篁拳石小品，深得恽寿平疏峭之致。偶仿沈周古桧。笔力圆健可与竹岭（王三锡）之松称双绝。与王昱、王宸、王愫合称“小四王”。传世作品有乾隆三十二年(1767年)作《仿元人山水册》、四十九年(1784年)作《红树秋山图》扇页、四十二年(1777年)作《纫香环翠图》卷（现藏故宫博物院）；《苍石蒲草图》轴（现藏沈阳故宫博物院）。",[25,26,27,53,238,200,7,454,146,296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f805e8367c8aed07d52484440dace8a.jpg",[300,679],{"id":8721,"slug":8722,"title":8723,"dynasty":18,"author":8724,"museum":224,"description":8725,"tags":8726,"thumbUrl":8727,"material":960,"size":961,"collection":88,"collections":8728,"showCount":8649,"zanCount":42,"manualWeight":42,"mainColor":92},236472,"mei-zhu-you-qin-shan-ren-xun-236472","梅竹幽禽扇","任薰","任薰（1835年—1893年），字舜琴，又字阜长，其父任椿，兄任熊都是画家。少丧父，从兄学画，青年时在宁波卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、任预均从其习画。人物与其兄同师陈洪绶，常用高古游丝、铁线、行云流水、兰叶几种描法。任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与顾文彬子顾承相友善，曾为设计怡园。1888年54岁时双目失明，后病卒于苏州。与任熊、任颐时称“三任”，合任预为“四任”，并为海上画派代表画家之一。",[25,26,1120,29,85,59,7,281,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F096af5dea5bdf2d74d283294105510ea.jpg",[],{"id":8730,"slug":8731,"title":3481,"dynasty":18,"author":181,"museum":224,"description":8732,"tags":8733,"thumbUrl":8734,"material":88,"size":88,"collection":88,"collections":8735,"showCount":8649,"zanCount":42,"manualWeight":42,"mainColor":92},236009,"hua-hui-tu-ce-hua-yan-236009","此作绘水滨水仙与墨竹，花瓣以淡白晕染，勾勒出清润娇柔之态，修长青叶以中锋写出，挺秀舒展，间伴数枝墨竹，枝叶萧疏清劲。水墨点染坡岸苔石，淡赭晕出水滩，虚实相生，衬出水畔清寂幽洁之境。右侧题字配朱印，融诗书画印为一体。\n\n笔法秀逸灵动，设色淡雅明净，尽显水仙与竹的君子姿容，简淡中透着生机，将双清相伴的幽逸意境淋漓展现，尽显文人画独有的清雅风骨，是写意花鸟的雅致佳作。",[25,26,83,29,53,85,64,7,35,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff181efb7f1cd28fdf14b74d85a75f345.jpg",[],{"id":8737,"slug":8738,"title":8739,"dynasty":48,"author":8740,"museum":224,"description":8741,"tags":8742,"thumbUrl":8743,"material":88,"size":88,"collection":88,"collections":8744,"showCount":8649,"zanCount":42,"manualWeight":42,"mainColor":92},235995,"shui-xian-zhu-shi-tu-zhou-wang-gu-xiang-235995","水仙竹石图轴","王穀祥","此作用笔清隽秀雅，淡墨晕染湖石，嶙峋苍古自带枯寂沉静之态。白描勾勒水仙，叶片舒展清劲，花姿娟秀恍若月下凌波，自带出尘之姿。萧疏细竹点缀石畔，更添幽清淡雅之意。\n\n右上角题诗托物寄兴，将水仙拟作不染俗尘的江上月中佳人，书画合璧尽显文人画的抒情写意之趣。全幅墨色柔润层次分明，无浓丽之色，以极简笔墨营造出幽绝尘寰的林下清境，尽显文人士大夫追慕清雅的精神风骨。",[25,26,27,53,29,64,7,214,35,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffad6b9f1288957748a2246dcc63d1667.jpg",[],{"id":8746,"slug":8747,"title":3481,"dynasty":18,"author":6387,"museum":224,"description":8748,"tags":8749,"thumbUrl":8750,"material":960,"size":961,"collection":88,"collections":8751,"showCount":8649,"zanCount":42,"manualWeight":42,"mainColor":92},235699,"hua-hui-tu-ce-zou-yi-gui-235699","邹一桂（1688年－1772年）清代官员，画家。字原褒，号小山，又号让卿，晚号二知老人，江苏无锡人。雍正五年二甲第一名进士，授翰林院编修。历官云南道监察御史、贵州学政、太常寺少卿、大理寺卿、礼部侍郎，官至内阁学士。擅画花卉，学恽寿平画法，风格清秀。曾作《百花卷》，每种赋诗，一经进呈，皇上亦赐题绝句百篇，一桂复写一卷，恭录御制于每种之前，而书己作于后，藏于家。著有《小山画谱》、《大雅续稿》。",[25,26,83,29,28,7,35,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c38da395f27004b545fccb25128d3be.jpg",[],{"id":8753,"slug":8754,"title":8755,"dynasty":48,"author":8756,"museum":224,"description":8757,"tags":8758,"thumbUrl":8760,"material":88,"size":88,"collection":88,"collections":8761,"showCount":8649,"zanCount":42,"manualWeight":42,"mainColor":43},235695,"qiu-shu-shuang-ying-tu-zhou-yang-da-lin-235695","秋树双鹰图轴","杨大临","画面中虬曲苍劲的枯梅老干盘绕，枝头缀着细碎寒花，双鹰静卧崖木之上，翎毛刻画精微细腻，神态冷峻孤傲，尽显猛禽沉凝雄姿。下方崖壁间幽竹舒展、细草依附，飞瀑隐于山石间，一只小雀振翅穿掠，于静谧中添灵动生机。\n\n整体以水墨为骨，淡色轻染晕出萧索秋意，树石皴擦老辣苍劲，禽鸟写实兼具写意，将雄鹰的孤傲威猛与荒寒秋景相融，烘托出沉穆清旷的幽远意境，尽显花鸟画工写结合的别致意趣。",[25,26,27,53,29,28,8759,741,7,146,592,85,1464],"鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89756251ff5da4b2dd8e9ec09061b2f2.jpg",[],{"id":8763,"slug":8764,"title":8765,"dynasty":48,"author":168,"museum":224,"description":8766,"tags":8767,"thumbUrl":8768,"material":960,"size":961,"collection":88,"collections":8769,"showCount":8649,"zanCount":42,"manualWeight":42,"mainColor":92},235206,"wang-gu-xiang-zhu-lan-tu-shan-ye-yi-ming-235206","王穀祥竹兰图扇页","泥金笺底古雅沉静，以铁线白描写幽兰与棘枝。幽兰叶条舒展清劲，花瓣柔婉含露，寥寥笔意尽显空谷芝兰的疏澹气韵。棘枝瘦硬嶙峋，枯涩的线条与兰花柔润形成刚柔对照，暗合君子风霜里自持清雅的意趣。\n\n题款小字清雅隽秀，朱印点染泥金底色，古意愈浓。整幅笔致简净，不施丹青，纯以线条出神韵，将文人托物言志的意涵藏于极简笔墨间，淡而有味，简而意足，尽显文人小品画的清雅格调。",[24,25,26,1120,199,53,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba4d419803bceabe6b26f2daceee8814.jpg",[],{"id":8771,"slug":8772,"title":8773,"dynasty":18,"author":2673,"museum":224,"description":8774,"tags":8775,"thumbUrl":8777,"material":1079,"size":8778,"collection":88,"collections":8779,"showCount":8649,"zanCount":42,"manualWeight":42,"mainColor":92},234717,"fang-gu-shan-shui-ce-wang-hui-234717","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。",[25,26,83,53,238,1614,200,741,454,7,766,1305,146,2744,8776,102],"题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91ed578ee3d10a4c1ccad6c5f78d6b63.jpg","25.6厘米，横：20.5厘米",[],{"id":8781,"slug":8782,"title":8783,"dynasty":48,"author":2372,"museum":50,"description":8784,"tags":8785,"thumbUrl":8786,"material":1079,"size":88,"collection":88,"collections":8787,"showCount":8649,"zanCount":42,"manualWeight":42,"mainColor":92},234241,"ku-mu-zhu-shi-juan-yao-shou-234241","枯木竹石卷","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》。\n姚绶擅长画竹石，这是他的经典代表作品之一。他画竹以学吴镇为主，一般以书入画，在竹子的处理上“叶叶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，金陵人，山水画法学自五代北宋间的李成。\n\n此幅为元代流行的平远构图，乃来自李成作品中常见的低平荒野样式。近景有树竹数株，挺然直立；河岸低平曲折，将观者视线引向层层后退的中远景。陶铉以精简的枯笔干墨，擦出山石的结体轮廓，兼以苔点、墨染增加山头与石脚层次感的画法，让人联想到元四家之一的倪瓒。上海博物馆所藏倪瓒《六君子图》与此幅同样绘于至正五年，亦是以秀润的隔江山色替换李成的萧瑟荒原，但倪瓒的作品仍保留运用前人笔法（如董源披麻皴）的痕迹，而陶铉的作品则未见借用特定前人的笔法。\n\n此画上方另有清人高士奇对陶铉与受画者王迪简的简评。王迪简，字庭吉，号蕺隐，为元初的南宋遗民。元代戴表元曾于《蕺隐记》中记述王迪简隐居于蕺山南侧，其居所人迹罕至，半里之内为空阔的郊原，故视野辽阔，周边景致可一览无遗。虽然在现存文献中未见有陶铉与王迪简交往的具体资料，但《幽亭远岫图》的画面，却与《蕺隐记》中描绘的王迪简隐居环境相吻合。\n\n元朝以异族入主中国，士人纷纷因不愿仕进或不得荐举，而选择避世隐居，从而出现许多以隐居为题的文学与绘画作品。 《幽亭远岫图》无疑亦可视为此类与隐逸题材相关的作品。",[23,25,24,27,53,238,200,454,294,7,324,1754,766],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaa811f1b0d64254a434b2a8336e41e4.jpg","水墨,纸本,立轴","画心：58×31.7厘米 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朦胧空濛间尽显水天荒寒，枯墨写就的芦荻萧疏苍劲，笔致老辣苍拙。\n整幅以精细写实勾勒禽鸟情态，又以写意晕染烘托秋渚清寂氛围，将鸿雁的生机动静与江滩的幽寂融为一体，在方寸间晕染出深秋荒寒的幽远诗意，尽显写生花鸟的雅致意趣。",[25,26,83,29,28,53,592,7,85,35,1724],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4b64e9e0eda11266daa257b7e6202a3.jpg",[],{"id":9005,"slug":9006,"title":5880,"dynasty":18,"author":130,"museum":224,"description":1145,"tags":9007,"thumbUrl":9008,"material":960,"size":961,"collection":88,"collections":9009,"showCount":91,"zanCount":42,"manualWeight":42,"mainColor":43},235519,"yuan-ji-shan-shui-tu-ce-shi-tao-235519",[25,26,83,53,29,200,297,146,453,767,7,238,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa2a78c5b32a9df0169ae4148b73f13e.jpg",[],{"id":9011,"slug":9012,"title":1242,"dynasty":18,"author":181,"museum":224,"description":2885,"tags":9013,"thumbUrl":9014,"material":960,"size":961,"collection":88,"collections":9015,"showCount":91,"zanCount":42,"manualWeight":42,"mainColor":92},235391,"hua-niao-tu-ce-hua-yan-235391",[24,25,26,83,53,29,85,7,281,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1603d4c51d08283b14184d44dc30f58b.jpg",[],{"id":9017,"slug":9018,"title":2484,"dynasty":48,"author":9019,"museum":224,"description":9020,"tags":9021,"thumbUrl":9022,"material":960,"size":961,"collection":88,"collections":9023,"showCount":91,"zanCount":42,"manualWeight":42,"mainColor":92},235354,"shan-shui-ce-zhang-fu-yang-235354","张复阳","张复阳(约1403—1490)， 明代画家。名复， 以字行，号南山，浙江平湖人(一作秀水人)，道士，居浙江洞霄宫一枝堂。工书法，善画山水，师法吴镇，画风多作写意，水墨淋漓。",[25,26,83,53,200,6031,102,238,454,7,146,754,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F881b45a415a6b7ceebf1003120b8678b.jpg",[],{"id":9025,"slug":9026,"title":3875,"dynasty":18,"author":9027,"museum":224,"description":9028,"tags":9029,"thumbUrl":9030,"material":960,"size":961,"collection":88,"collections":9031,"showCount":91,"zanCount":42,"manualWeight":42,"mainColor":92},234775,"hua-hui-ce-wang-lu-234775","王露","王昙（1760～1817）诗人清代。又名良士，字仲瞿。秀水（今浙江嘉兴）人。当地有瓶山，因以瓶山自号。乾隆五十九年举人。会试不第，白衣终身，著有《烟霞万古楼文集》等。时人将他与常州诗人黄仲则诗合刻，题曰“乾隆二仲”。王昙与孙原湘、舒位并称“后三家”或“江左三君”。",[25,26,83,53,7,102,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4db02d91249313f8a3cea4d912a5d7d.jpg",[],{"id":9033,"slug":9034,"title":9035,"dynasty":18,"author":79,"museum":50,"description":9036,"tags":9037,"thumbUrl":9038,"material":1079,"size":88,"collection":88,"collections":9039,"showCount":91,"zanCount":42,"manualWeight":42,"mainColor":92},234248,"yi-zhu-zhai-juan-yun-shou-ping-234248","一竹斋卷","《一竹斋图》卷上的落款是“甲子春正月”，即为康熙二十三年二月（1684年），是恽寿平51岁时，于他人生中最后的一个十午岁月初始时，为他的好友一竹斋主人唐若营所画的命题创作。此图是一幅短小而精悍的横幅山水画作，画面中有作者的一段自题以及杨（雪臣）、蔡元宸和济永三家的题诗。画迹本身的尺寸并不长，不过画前引首处裱有一条和画幅几乎等大的暗黄色绢面的题额，",[23,25,26,56,53,199,58,3631,102,7,200,294,454,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb79c676d0d4d8a8903713389711c9e2d.jpg",[],{"id":9041,"slug":9042,"title":9043,"dynasty":18,"author":130,"museum":224,"description":7523,"tags":9044,"thumbUrl":9045,"material":202,"size":7528,"collection":88,"collections":9046,"showCount":91,"zanCount":42,"manualWeight":42,"mainColor":92},233692,"yuan-ji-lan-zhu-ce-zhu-lan-shi-po-shi-tao-233692","原济兰竹册－竹兰石坡",[25,26,83,53,66,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c88861d0864e685181fe2408ea90707.jpg",[],{"id":9048,"slug":9049,"title":7939,"dynasty":48,"author":649,"museum":50,"description":7940,"tags":9050,"thumbUrl":9051,"material":104,"size":7943,"collection":88,"collections":9052,"showCount":91,"zanCount":42,"manualWeight":42,"mainColor":92},232964,"wen-zheng-ming-shan-shui-ce-wen-zheng-ming-232964",[25,26,83,53,238,57,102,200,7,294,146,766],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe151099e591c78c5ae8b3d97b15ade62.jpg",[],{"id":9054,"slug":9055,"title":9056,"dynasty":18,"author":4893,"museum":291,"description":9057,"tags":9058,"thumbUrl":9059,"material":202,"size":9060,"collection":88,"collections":9061,"showCount":91,"zanCount":42,"manualWeight":42,"mainColor":3114},232901,"feng-zhu-tu-li-zhou-li-fang-ying-232901","风竹图立轴","李方膺，字虬仲，号晴江，又号秋池，抑园，白衣山人。江苏通州(南通)诸生。先后任山东兰山、安徽潜山、合肥知县，有善政、人德之。以不善逢迎，获罪罢官。寓居金陵借园，自号借园主人。常往来扬州卖画以资衣食，为扬州八怪之一。\n《潇湘风竹图》作于合肥五柳轩，时为乾隆十六年(公元1751年)，作品以秃笔湿墨逆笔取势画风中之竹，通过竹叶的独特造型，表现出狂风大作的动态。画的左下仅晒云:画史从来不画风，我于难处夺天工;请看尺幅潇湘竹，满耳丁东万玉空。\n李方膺常喜欢描绘以风雨为背景的竹石。风是抽象的东西，没有具体的形象，颇难以表现出来的。此画中画家大胆创造，写竹子数根，依于石旁，挺拔修直。\n此画中有粗竹两枝，嫩竹两枝，在狂风中摇曳生姿。主竹挺拔有力，不弯不揖，有参天凌云之气概。整个画面的气势表现在用浓墨、枯墨铺写的枝叶上，所画竹叶不讲成法，秃笔直扫，竹叶画呈扁方状倾斜方向，无叶尖，潇洒随意，尽管风势极强，但枝叶顺风飞扬而不折，透出一种镇静与傲慢。画面中，石与草都是参照物，点染出艰难、恶劣的自然环境。在疾风的鼓荡下，几叶小草已偃伏在地，坚强的石头也似乎极力抗拒，只有劲竹傲立苍穹，岿然不动，片片枝叶都呈现出百折不挠的力量。\n风是抽象的东西，没有具体的形象。画家秃笔直扫，画竹叶扁方状成倾斜方向，有力地表现了疾风的狂肆，作者不但在描绘技法上显得“因难见巧”，而且显示出竹子不畏强风的精神，笔笔枝叶呈现出坚贞不屈的力量。画家通过描绘竹叶的动态变化，有力地表现出疾风的狂吹，使不可见的风有了可视的形象，而且从竹枝飞舞、竹叶相互碰撞中，似乎还可以听到碎琼乱玉的丁东之声，其下笔如风驰雨骤，正像是抒发画家胸中的怒气，正是一种人格的写照。\n板桥之竹如清癯的老者，清淡修整，有超然之态。李方膺则不然，他由于仕途生活中得罪权贵，先后下狱罢官，但从不屈服苟且，这幅画可说是他心境的折射。他的竹宛如在战斗中的猛士，顶天立地，傲岸不屈。他借竹子来抒发情怀，借竹子不怕狂风暴雨、坚韧不拔的品格来自喻。",[23,25,26,53,27,54,7,214,428,57,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9395c78f0d21c4a0ec265201cad2b525.jpg","纵168.3厘米 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左侧形似桃花，隐隐现出屋脊； 一个僧人和一个人坐在石头上，坐着说话，画的右边，一个男孩站着，拿着棍子听着，身后岩石上的树枝细细弯曲。 这幅画的风格与夏圭相似。",[25,26,83,53,29,30,200,7,741,102,238,7960],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f4197b57f0834d525f742c53aa0b38e.jpg","20X20cm",[],{"id":9238,"slug":9239,"title":9240,"dynasty":167,"author":385,"museum":50,"description":9241,"tags":9242,"thumbUrl":9243,"material":202,"size":9244,"collection":88,"collections":9245,"showCount":344,"zanCount":42,"manualWeight":42,"mainColor":43},233885,"wu-zhu-xiu-shi-tu-zhou-ni-zan-233885","梧竹秀石图轴","图中绘湖石挺立，高梧疏竹映带左右。树干和秀石行笔匆匆急就，以阔笔湿墨描绘梧叶，虽是“逸笔草草，不求形似”之作，却颇得苍润淋漓之墨趣，别开生面。",[25,26,27,53,7,489,35,102,58,57,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe669021468b32b5f44f9d6226b16a7dc.jpg","纵96厘米，横36.5厘米",[],{"id":9247,"slug":9248,"title":1182,"dynasty":167,"author":4824,"museum":50,"description":4825,"tags":9249,"thumbUrl":9250,"material":9251,"size":4829,"collection":88,"collections":9252,"showCount":344,"zanCount":42,"manualWeight":42,"mainColor":43},233806,"zhu-shi-tu-zhou-xie-ting-zhi-233806",[25,26,27,53,29,7,214,428,54,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a7694fa9087718da61fb9135feb879d.jpg","绢本 墨笔",[],{"id":9254,"slug":9255,"title":9256,"dynasty":18,"author":4210,"museum":50,"description":9257,"tags":9258,"thumbUrl":9259,"material":1838,"size":9260,"collection":88,"collections":9261,"showCount":344,"zanCount":42,"manualWeight":42,"mainColor":92},233452,"ren-wu-shan-shui-ce-luo-pin-233452","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。",[25,29,53,83,30,7,118,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72ea9bf26a6d208d3f2bff266e605ad3.jpg","纵24.2厘米，横30.7厘米",[],{"id":9263,"slug":9264,"title":4486,"dynasty":167,"author":376,"museum":50,"description":9265,"tags":9266,"thumbUrl":9267,"material":3580,"size":4491,"collection":88,"collections":9268,"showCount":344,"zanCount":42,"manualWeight":42,"mainColor":92},233142,"zi-hua-xiang-tu-ye-zhao-meng-fu-233142","赵孟頫（音fǔ）（1254—1322年），元代画家、书法家，字子昂，号松雪、水精宫道人，吴兴（今浙江省湖州市）人。宋宗室，14岁时以父荫补真州司户参军，入元出仕，曾任翰林侍读学士、荣禄大夫等职，卒赠魏国公，谥文敏。他对诗文音律无所不通，书画造诣极为精深，乃元代的画坛领袖。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。他倡导复古，强调“书画同源”，主张师法自然。书法钟繇、二王、李邕、宋高宗赵构以及历代诸家，篆、隶、真、草各臻神妙。其绘画、书风和书学主张对当代及后世影响巨大而深远。",[25,26,83,29,30,7,35,296,58,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd69b3b32deea9e4c5f3a8c69a1af184d.jpg",[],{"id":9270,"slug":9271,"title":9272,"dynasty":167,"author":376,"museum":143,"description":9273,"tags":9274,"thumbUrl":9275,"material":441,"size":9276,"collection":88,"collections":9277,"showCount":344,"zanCount":42,"manualWeight":42,"mainColor":43},232798,"ji-jin-juan-quan-juan-zhao-meng-fu-232798","集锦卷全卷","至梁清标时复得管道升《烟雨丛竹》。全卷8幅均有梁清标收藏印，则知此卷“集锦合璧”成于梁清标之手，后再转安仪周。又管道升一幅，有：“张镠”“达卿”两印。据吴其真《书画记》记：“赵松雪《写生水草鸳鸯图》，此图观于扬州张黄美（镠）裱室。黄美善于裱褙，幼为王公通判装潢，目力日隆。近日游艺都门，得遇大司农梁公（清标）见爱，便为佳士。时戊申季冬六日。”也不禁让人想起，这位梁清标聘请的扬州名裱画师，又精于鉴定宋画的古董商，将此《元人集锦卷》（至少是《烟雨丛竹》）售与梁清标，且理所当然地将赵孟頫夫妇作品连接，并将书画合成一卷的操刀者。从装裱史而言，此卷之装潢，理应出于“张镠”之手。",[23,25,26,56,53,238,58,57,102,200,708,455,296,454,592,741,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab287c56b7a933856bb134a7928bbf1a.jpg","30x650厘米",[],{"id":9279,"slug":9280,"title":9281,"dynasty":1567,"author":9282,"museum":224,"description":9283,"tags":9284,"thumbUrl":9285,"material":88,"size":88,"collection":88,"collections":9286,"showCount":344,"zanCount":42,"manualWeight":42,"mainColor":43},230487,"tai-gong-wang-wen-wang-tu-shou-ye-yuan-xin-230487","太公望文王图","狩野元信","此作用大片留白铺展空茫水色，寥寥柳丝牵起河畔清寂早春意趣。枯木旁细竹点景，极简笔触勾勒老叟踞石垂纶，身形松弛淡然，将静候的怅惘化入澹泊闲情。\n\n水墨晕染浅淡写意，舍去繁丽描摹，只以劲简线条刻绘人物风神，把隐逸襟怀与入世期许藏在空茫留白间，以东方水墨独有的留白哲思，将悠长等待的时光，铺陈在这无言空阔的画幅之中，尽显淡远幽寂的禅味。",[23,25,26,27,29,238,30,35,7,741,722,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2576cf375d2475dcb407cb2fc50632af.jpg",[],{"id":9288,"slug":9289,"title":9290,"dynasty":18,"author":9291,"museum":224,"description":9292,"tags":9293,"thumbUrl":9294,"material":88,"size":88,"collection":88,"collections":9295,"showCount":344,"zanCount":42,"manualWeight":42,"mainColor":92},228969,"shi-jun-quan-tu-ce-shi-kai-ai-qi-meng-228969","十骏犬图册十开","艾启蒙","《十骏犬图》是清代画家 创作的纸本设色画册，共1开，现藏于 。\n册页左边为以诗经体和辞赋体所作的题赞，其中六则出自梁诗正，四则出自汪由敦；右边一律先画犬，再加配河景山水。\n每开背景中虽皆可见遒劲的林木（松木、墨竹、柳树、梅花和灌木等）、怪石、溪涧或幽静的水岸，但形态皆不相同。\n所绘之犬姿态迥然，或低头饮水、或伫立沉思、或回首遥望。\n该册共十对开，顺序依次为：第一睒星狼、第二霜花鹞、第三墨玉螭、第四蓦空鹊、第五苍水虬、第六斑锦彪、第七雪爪卢、第八金翅猃、第九漆点狻、第十茹黄豹。\n款署：“臣艾启蒙恭绘。\n”钤“臣艾启蒙”白文印、“恭画”朱文印。\n每图对开页有嵇璜书写的乾隆朝大学士汪由敦和梁诗正撰写的题赞。\n图上钤有“乾隆鉴赏”、“三希堂精鉴玺”、“石渠宝笈”等印。\n据文献记载，当初朝廷为了供皇帝行猎围场之需要，宫廷特设“鹰狗处”。\n《啸亭续录》云：“鹰狗处，向在东华门内长街，设总统二人，以侍卫兼之，蒙饲御前鹰狗以备搜弥之用，其牧人皆以世家子弟充之，许其蟒袍纬帽，为执事人中之品最高者。\n壬戌今上以其非急务，命迁于东安广内长房。\n”从这段记载中可知，艾启蒙笔下所画的猎犬，多是“鹰狗处”豢养的猎犬，可谓是皇帝的宠物。\n艾启蒙仅仅是画有猎犬，而这些猎犬所处的环境，这些背景并非出自艾启蒙之手，而是为中国宫廷画家所作。\n这套画册虽只署艾启蒙一人，实际上是有中国画家的参与其事的。\n作者以西方的素描技法，运用解剖学，以短细的笔触一丝不苟地刻画出猎犬健美的体态和皮毛的质感，具有很强的写实性。\n如犬的身体，用多次烘染，分出受光和背光面：尤其注重皮毛质感的表现，注意猎犬的解剖结构，更突出了犬的真实感。\n这些都显示了欧洲绘画的特点，但从每幅画面上看，背景中所绘树石、坡陀等，从造型到技法，仍是典型的中国画。\n画家经多年来的观察和周密的研究，根据每一名犬的不同特性，将十条名犬分别安排于不同季节的自然环境中，十名犬的神情不一，曲尽其态、有正面、有侧面、有站立的、有卧伏的、有散步的、有蹲着的、有抬脚搔首的，也有跃跃欲扑的等。\n在毛皮色彩和斑纹上也各不相同，有红色的、白色的、黑色的、黄色的、棕色的，还有杂色的。\n正是这些不同的姿态和诸多的色彩，给绘画带来了活跃的气氛，引人注目。\n但总体来说所有的猎犬其共同之处都是腿长身细，腹部收缩，劲瘦有力，劲健灵动，擅长奔跑，肌肉肋骨，描绘逼真。\n每幅图的对开上均标明犬名，对宫廷御用犬的研究具有很高的史料价值。\n此图旧藏紫禁城内的乐寿堂。\n《石渠宝笈》著录。\n现藏于北京故宫博物院。\n艾启蒙（178—178年），字醒庵，原名Igntius 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横52.7厘米",[679],{"id":9428,"slug":9429,"title":8975,"dynasty":18,"author":8976,"museum":224,"description":8977,"tags":9430,"thumbUrl":9431,"material":88,"size":88,"collection":88,"collections":9432,"showCount":285,"zanCount":42,"manualWeight":42,"mainColor":92},238235,"shan-jing-ri-zhang-tu-ce-zhang-yu-sen-238235",[25,29,238,83,200,454,7,296,30,294,935,663,1560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb87917cc8e4bd3c1e2cc295c8f548a.jpg",[],{"id":9434,"slug":9435,"title":9436,"dynasty":18,"author":7492,"museum":224,"description":9437,"tags":9438,"thumbUrl":9439,"material":960,"size":961,"collection":71,"collections":9440,"showCount":285,"zanCount":11,"manualWeight":42,"mainColor":92},237651,"ku-mu-zhu-shi-ce-cha-shi-biao-237651","枯木竹石册","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。",[25,26,83,53,239,7,214,58,102,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc50ab9dbf9106f927ff8c2fe9707414.jpg",[71],{"id":9442,"slug":9443,"title":8199,"dynasty":48,"author":168,"museum":224,"description":9444,"tags":9445,"thumbUrl":9446,"material":960,"size":961,"collection":88,"collections":9447,"showCount":285,"zanCount":42,"manualWeight":42,"mainColor":43},237496,"zhu-lu-mo-zhu-shan-mian-yi-ming-237496","此作用金笺为底，以浓淡墨色铺陈绘竹。左侧重墨挥写，下笔爽利遒劲，竹叶向背错落，枝杆暗含劲节，将竹的挺拔孤傲尽显笔端。右侧以淡墨轻染，竹叶朦胧如烟似雾，虚实相映，将竹在烟霭间的清逸灵动晕散开来。\n题款小字轻栖右侧淡竹之间，与画面浑然相融。朱红印信错落点缀，沉郁墨色与鲜亮朱色相映，为古雅的扇面添了一抹灵动。整幅构图疏密得宜，以简驭繁，尽显文人画尚韵重意的意趣，寥寥数笔便勾勒出君子风骨，是小品见真章的佳制。",[24,25,26,1120,53,7,102,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e16f58f23e7a5177115c790a5cf5d81.jpg",[],{"id":9449,"slug":9450,"title":9451,"dynasty":18,"author":9452,"museum":50,"description":9453,"tags":9454,"thumbUrl":9455,"material":88,"size":88,"collection":300,"collections":9456,"showCount":285,"zanCount":42,"manualWeight":42,"mainColor":92},237127,"shan-shui-tu-ce-yao-song-237127","山水图册","姚宋","姚宋（1648—1721），字雨金，一作雨京，号野梅。安徽新安（今安徽歙县）人。清代画家。",[25,26,83,199,200,454,7,35,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c1ac569b12d1c32641d41a12f73d233.jpg",[300,123],{"id":9458,"slug":9459,"title":9460,"dynasty":48,"author":9461,"museum":224,"description":9462,"tags":9463,"thumbUrl":9464,"material":960,"size":961,"collection":88,"collections":9465,"showCount":285,"zanCount":42,"manualWeight":42,"mainColor":43},236680,"mo-zhu-shan-bao-zhuang-xing-236680","墨竹扇","包壮行","包壮行，字穉修，扬州（今江苏扬州）人。崇祯十六年癸未杨廷鉴榜二甲24名进士，官工部主事。\n工书、画，钩勒梅花，水墨竹石，尝作松柏祝寿图，今藏南京博物院。尤喜累石为山。工制灯，能裁纨绮作奇石列树，及车马、宫室、人物其上，以象唐宋画家。纳火于中，夜视之、宛若黄鹤（王蒙）、辋川（王维）之遗墨也。至今传为“包灯”云。",[25,26,1120,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180d5a7d5a6c84d4645b5cf6cbd89a13.jpg",[],{"id":9467,"slug":9468,"title":8535,"dynasty":48,"author":9469,"museum":50,"description":9470,"tags":9471,"thumbUrl":9472,"material":104,"size":9473,"collection":88,"collections":9474,"showCount":285,"zanCount":42,"manualWeight":42,"mainColor":92},236481,"shan-shui-ren-wu-ce-guo-fen-ya-236481","郭汾涯","郭汾涯（约公元15世纪），明初时人，生卒年不详。能诗，善画山水、人物，宗唐、宋人画法，取马远、夏圭笔意。关于其生平，画史记载甚少，现只能从仅有的几幅传世作品，以及明初时的画风嬗变，来了解这位画家。\n此套《山水人物册》，每页自题七言诗一首，落款“汾涯”。册页中人物形神刻画生动，线条挺劲酣畅；山水以斧劈皴随意勾写，笔力遒劲；画树出枝峭拔、点叶爽辣，得南宋山水画遗风。\n明代初期画院复兴，提倡以古硬、雄厚、峻峭的风格来振作笔墨精神。在元朝被压制了多年的李、刘、马、夏画风，此时又开始活跃起来。宫廷内外，宗法者甚多。画风变南宋苍劲荒率为浑壮雄厚。画家们将贵族艺术引入民间，注重功力又不死守法度，变精严为放逸，顺应通俗艺术发展的时代潮流。这股势力影响范围广大，成为明代初期画坛实力最雄厚的画派——浙派。\n从这套册页中看，郭汾涯也是身处这股巨浪之中，但从画面中依然能体会到画家自觉与主动的一面，笔墨并非一味地追求粗放与草率，而是劲拔精简，笔下流露出画家掩饰不住的率真天性。画面还成功地将自然环境和人物活动富有情趣地结合在一起，给观者以强烈的艺术感染力。",[25,26,83,53,238,30,200,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7889f62e66395d3fd435d616098bca8f.jpg","纵38.8厘米，横60.4厘米",[],{"id":9476,"slug":9477,"title":9478,"dynasty":48,"author":6930,"museum":224,"description":9479,"tags":9480,"thumbUrl":9481,"material":88,"size":88,"collection":88,"collections":9482,"showCount":285,"zanCount":42,"manualWeight":42,"mainColor":92},236405,"xiao-xiang-ba-jing-ce-wen-jia-236405","潇湘八景册","其潇湘八景初未尝命名，后人乃以平沙落雁、远浦帆归、山市晴岚、江天暮雪、洞庭秋月、潇湘夜雨、烟寺晚钟、鱼邨落照等目之。对古代山水画家而言，潇湘八景除了作为风景画本身的审美价值外，还另有两重价值，一是隐，二是谏。隐乃穷则独善其身，有忿怨之情；谏乃达则兼善天下，含劝喻之功。北宋范仲淹因庆历新政被贬，作《岳阳楼记》述怀，泄露了潇湘八景的玄机：貌似写景抒情，实为牢骚议政，有如屈原作《离骚》。范仲淹的览物之情、去国怀乡之思，无论居庙堂之高，还是处江湖之远，都涉及“吾谁与归”的人生终极问题。当然，后来的画家，不管文人也好，禅僧也罢，虽难达“先天下之忧而忧，后天下之乐而乐”的境界，但也能各出机枢，纳洞庭潇湘之八百里山水于胸臆，并诉诸尺素笔墨。\n文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[25,26,83,53,238,200,35,741,592,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c3dfffd2ca4075882ee15afe72d4bc6.jpg",[],{"id":9484,"slug":9485,"title":9486,"dynasty":48,"author":6378,"museum":224,"description":9487,"tags":9488,"thumbUrl":9489,"material":88,"size":88,"collection":88,"collections":9490,"showCount":285,"zanCount":42,"manualWeight":42,"mainColor":92},235696,"gu-mu-xiu-huang-tu-zhou-yang-ming-shi-235696","古木修篁图轴","此作用笔清逸简淡，枯笔写出古木躯干，皴擦结合尽显虬曲苍劲，浓墨点苔更添岁月沧桑，缠绕藤蔓令幽寂野趣顿生。旁侧修篁挺秀，中锋挥写竹叶错落有致，与古木刚柔相济。湖石以淡墨勾勒皴擦，线条简括却见嶙峋质感，和木竹相映成趣。\n\n右上角题字清雅隽秀，书画相融无间，整体萧散空灵，尽显文人画悠然出尘的意境，寄寓着文人幽栖林泉、静悟禅机的襟怀。",[25,53,54,238,8160,7,324,428,27,537],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda6985e6ff713d0856313e172b7d0d7a.jpg",[],{"id":9492,"slug":9493,"title":9494,"dynasty":48,"author":6930,"museum":224,"description":6931,"tags":9495,"thumbUrl":9496,"material":1838,"size":88,"collection":88,"collections":9497,"showCount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嬉闹，憨态尽显。虎身斑纹晕染匀净，鬃毛细笔轻勾，蓬松柔润感呼之欲出，全然不见山君凶猛戾气，唯有稚拙亲昵的鲜活意态。浅草以淡墨轻勾，疏密错落间衬出幼虎娇憨身形，将林间顽童般的嬉闹瞬间凝于绢素之上，以温柔笔触消解了虎的威肃，把宋人的雅致意趣揉入这方小景，平淡里漫溢出鲜活生机，旧时光的温润意蕴随绢色缓缓晕开。",[25,29,28,1572,1464,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5b3dea2b70d90c1b3344cbb5f13a467.jpg",[],{"id":9544,"slug":9545,"title":6219,"dynasty":97,"author":1087,"museum":224,"description":6220,"tags":9546,"thumbUrl":9547,"material":88,"size":88,"collection":88,"collections":9548,"showCount":285,"zanCount":42,"manualWeight":42,"mainColor":43},227777,"xie-ke-fang-you-tu-ye-liu-song-nian-227777",[23,25,24,28,29,5017,30,454,7,456,146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2feaea833fd999eef73aef07b04fbe0.jpg",[],{"id":9550,"slug":9551,"title":9552,"dynasty":167,"author":168,"museum":224,"description":9553,"tags":9554,"thumbUrl":9556,"material":88,"size":88,"collection":88,"collections":9557,"showCount":285,"zanCount":42,"manualWeight":42,"mainColor":43},223610,"zhu-ta-qi-shui-tu-ce-ye-yi-ming-223610","竹榻憩睡图册页","此作笔墨简净雅致，将文人闲憩小景写尽意趣。老者宽袍素衣，斜卧竹榻，兽皮为垫，袒须露额，神态松弛恬然，正酣眠小憩，尽显松弛自在。屋墙以细笔勾绘水波纹理，衬出室内幽寂安闲。榻下双履静静摆放，写实入微，暗合主人暂歇未远之态。\n画作工写相融，设色清淡，以极简的构图传递出文人幽居林下、安闲自适的隐逸情怀，于日常小景间，藏着古人安放身心的雅逸意趣。",[23,25,26,83,53,29,28,30,7,33,9555],"书卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd7627f2437ba2105a35af0ea077527f.jpg",[],{"id":9559,"slug":9560,"title":9561,"dynasty":18,"author":9562,"museum":20,"description":9563,"tags":9564,"thumbUrl":9567,"material":312,"size":9568,"collection":88,"collections":9569,"showCount":285,"zanCount":11,"manualWeight":42,"mainColor":92},223278,"jiu-ri-xing-an-wen-yan-tu-ye-fang-lin-223278","九日行庵文燕图","叶芳林","图绘马氏兄弟在行庵会友雅集的情景。行庵在扬州天宁寺西隅，由马曰琯、马曰璐兄弟出资购买，画中的马氏兄弟及其他众人肖像神态各具，生动传神。字震初，工写照，清代画家。",[23,25,29,28,56,30,456,7,214,5561,9565,147,2633,9566],"椅","文人聚会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39d6478ad0ffff033a22b32c4f9f801c.jpg","31.7＊201cm",[],{"id":9571,"slug":9572,"title":9573,"dynasty":167,"author":9574,"museum":224,"description":9575,"tags":9576,"thumbUrl":9577,"material":9578,"size":9579,"collection":88,"collections":9580,"showCount":285,"zanCount":42,"manualWeight":42,"mainColor":43},221718,"shi-liu-luo-han-tu-juan-yan-hui-221718","十六罗汉图卷","颜辉","在画法上，能作细致的工笔描绘，但大多喜作水墨粗笔，用笔劲健豪放。笔法粗犷，有梁楷遗法，以水墨画居多。颜辉的作品流传日本较多，对日本室町时代的绘画有较大影响。亦工山水，得北宋李成、郭熙法。所作人物，造型奇特，性格突出。笔法粗厚，钩勒粗细咸宜，起伏有致，渲染精到，以水墨烘晕，使画面衬托出阴暗凹凸，富立体感，有“笔法奇绝，八面生意”之称，这是一种前无古人之创新画法，柳贯赞之为“收揽奇怪一笔摸”，与梁楷、法常一脉相承。所画铁拐李目光咄咄逼人，形貌粗陋却一身正气，反映出仇视当权者之强烈情绪。亦善画猿，曾作《百猿图》，时人戴良释解其画意为褒扬“猿之仁也”。",[23,24,25,26,56,1559,29,30,7,294,33,1572,1464,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddac756f2f89593d787704e92b86bde9.jpg","绢本 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manualWeight":42,"mainColor":43},289125,"mei-zhu-xi-qin-tu-yi-ming-289125","梅竹戏禽图","画面取冬日一隅，梅枝虬曲横斜，冰萼柔润绽放，嫩竹疏影穿插，生机暗涌。三只山雀各有意态，或俯身理羽，或侧目远眺，或静立枝梢，翎毛细劲写实，将小雀灵动憨稚的神态尽显。\n\n笔墨兼具工致与雅致，梅花晕染柔和，竹枝挺劲爽利，淡墨轻敷出古雅底色，尽得院体花鸟的精妙格调。尺幅之间，把寒冬小景的清逸生趣铺陈开来，暗合内敛含蓄的审美意趣，将幽居闲赏的雅致心境藏于毫端，尽显小品画的隽永韵味。",[24,25,1120,28,29,85,59,7,592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaa0554b50b9e6d508caefe55bbab9b0.jpg",[],{"id":9650,"slug":9651,"title":9652,"dynasty":18,"author":168,"museum":224,"description":9653,"tags":9654,"thumbUrl":9657,"material":960,"size":961,"collection":88,"collections":9658,"showCount":231,"zanCount":11,"manualWeight":42,"mainColor":92},273095,"xiu-hua-gua-ping-yi-ming-273095","绣花挂屏","此作以针代笔，将文人画意融于绣艺之中。浅褐绢底晕开时光的痕迹，青蓝绒线绣出修竹数竿，挺秀疏朗，尽显君子清逸之姿，枝干晕染出深浅层次，仿若水墨淡扫。旁侧折枝野卉枯劲生姿，绒线堆叠出苍润质感，柔蕊缀于枝头，野趣横生。题识小字与朱印错落排布，书画绣三者浑然相融，既有闺阁绣工的细腻妥帖，又带着文人林下的清雅意致，绒线起落间藏着旧日手作的沉静匠心，将花木风神定格于方寸之间。",[9655,4072,5305,7,85,102,57,29,3758,9656],"绣花","工艺画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48e64eb196bb248ab22a048637acb06b.jpg",[],{"id":9660,"slug":9661,"title":9662,"dynasty":18,"author":168,"museum":224,"description":9663,"tags":9664,"thumbUrl":9667,"material":960,"size":961,"collection":88,"collections":9668,"showCount":231,"zanCount":11,"manualWeight":42,"mainColor":43},272896,"zi-tan-mu-bian-qian-yu-shi-hua-hui-tu-gua-ping-yi-ming-272896","紫檀木边嵌玉石花卉图挂屏","此作清雅脱俗，以玉石镶嵌营造出一方清幽小景。挺秀修竹拔地而起，枝叶舒展劲挺，尽显君子风骨。两只绶带鸟翩跹于竹枝间，身姿灵动鲜活，暗合福寿绵长的美好寓意。\n\n下方石畔月季、幽兰错落而生，玉石俏色雕琢出花叶柔婉之态，生机暗藏。温润木底衬得玉色愈发莹润，紫檀古框将景致妥帖框束，更显沉静雅致。\n\n整作工艺精巧，将玉石色泽巧加排布，融竹之清隽、花之柔媚、鸟之灵动于一体，把文人寄情山水花木的意趣，凝于匠心镶嵌之中，静赏间满是古典雅致的中式审美意韵。",[4072,3757,9665,9382,9666,7,592,65,85],"玉石","镶嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33cc1ac4e1d0fa3de459418c009a2b1f.jpg",[],{"id":9670,"slug":9671,"title":9672,"dynasty":18,"author":168,"museum":224,"description":9673,"tags":9674,"thumbUrl":9679,"material":960,"size":961,"collection":88,"collections":9680,"showCount":231,"zanCount":42,"manualWeight":42,"mainColor":530},270494,"bo-li-sang-shen-jing-qia-si-fa-lang-qian-yu-bi-ping-yi-ming-270494","玻璃桑葚景掐丝珐琅嵌玉壁瓶","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[9383,9665,9675,9676,7,9677,9678],"壁瓶","桑葚","掐丝珐琅","仿生盆景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0414106b206eeb0934d4fc502a2b3e93.jpg",[],{"id":9682,"slug":9683,"title":9684,"dynasty":18,"author":168,"museum":224,"description":4069,"tags":9685,"thumbUrl":9688,"material":960,"size":961,"collection":88,"collections":9689,"showCount":231,"zanCount":42,"manualWeight":42,"mainColor":92},264484,"pin-yue-se-ke-si-jin-xian-zhu-zi-wen-pao-liao-yi-ming-264484","品月色缂丝金线竹子纹袍料",[34,3758,4071,9686,7,9687],"金线","袍料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4a9c25eaaf7a3c3a0a85b5d9f78c20b.jpg",[],{"id":9691,"slug":9692,"title":9693,"dynasty":18,"author":168,"museum":224,"description":9694,"tags":9695,"thumbUrl":9696,"material":960,"size":961,"collection":88,"collections":9697,"showCount":231,"zanCount":42,"manualWeight":42,"mainColor":530},250244,"bi-yu-zhu-lin-qi-xian-tu-bi-tong-yi-ming-250244","碧玉竹林七贤图笔筒","笔筒： 用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[18,9665,9382,7,30,878,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b7e6667f562df36951f9537164fd268.jpg",[],{"id":9699,"slug":9700,"title":9701,"dynasty":18,"author":9702,"museum":224,"description":9703,"tags":9704,"thumbUrl":9705,"material":88,"size":88,"collection":679,"collections":9706,"showCount":231,"zanCount":42,"manualWeight":42,"mainColor":92},240312,"jie-lin-dong-qi-chang-lan-ting-xu-ye-li-shang-lin-240312","节临董其昌兰亭序页","李上林","李上林，江南如皋（今江蘇省如皋市）人。監生，明萬曆年間（1573年～1620年）以德州同知委署新泰。\n愛民如子，當時正值歲歉，請求賑濟，先向鄰縣借來粟米，新泰縣民賴以保全性命。不久對本縣進行改革：“除無名之費，定徵輸之條，嚴治左右，寬恤裏甲，修築石城，杜絕開採。”又置公學田地三頃八十二畝。李在任五年間，“桑麻遍野，邑無逃亡。”本縣士民為之立生祠祀之。祀《名宦》。李工詩，其步高如山韻所作《秋日登新甫山有感》詩刻於蓮花山雲孤寺正殿西溪摩崖之上，至今清晰可見",[57,58,1614,102,1615,1616,7,1754,214,454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3069cf3c2e28e5b843e3ea77d2e4b3a7.jpg",[679],{"id":9708,"slug":9709,"title":1242,"dynasty":18,"author":9710,"museum":224,"description":9711,"tags":9712,"thumbUrl":9713,"material":960,"size":961,"collection":88,"collections":9714,"showCount":231,"zanCount":42,"manualWeight":42,"mainColor":92},239400,"hua-niao-tu-ce-ma-yuan-yu-239400","马元驭","马元驭（1669—1722）清代画家。字扶羲，号栖霞，又号天虞山人，江苏常熟人。\n画传家法，而气韵超逸突过乃父。赋性落拓，纵酒逞笔，乃益豪放。写生得恽寿平亲传，又与蒋廷锡讨论六法，故没骨画益工，神韵飞动，不拘陈迹。元驭自以为得沈周、陆治遗意，其超纵处诚有陆氏风规，而老健远逊石田，盖能品也。兴至之作，逸笔尤佳，多用水墨。书亦隽雅。卒年五十四。",[25,26,83,53,29,58,102,85,59,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68cd13a04a415d57e7f54657a76843ec.jpg",[],{"id":9716,"slug":9717,"title":2484,"dynasty":18,"author":9718,"museum":224,"description":9719,"tags":9720,"thumbUrl":9721,"material":960,"size":961,"collection":88,"collections":9722,"showCount":231,"zanCount":42,"manualWeight":42,"mainColor":92},239368,"shan-shui-ce-wang-san-xi-239368","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。",[25,26,83,53,29,200,35,592,741,7,767,102,57,58,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa865d6cefc0c198737a49c1a24313f98.jpg",[],{"id":9724,"slug":9725,"title":9726,"dynasty":18,"author":3987,"museum":224,"description":9727,"tags":9728,"thumbUrl":9729,"material":88,"size":88,"collection":88,"collections":9730,"showCount":231,"zanCount":42,"manualWeight":42,"mainColor":92},238732,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238732","画弘历和江文通诗意图册","以淡墨写就清润雅致的幽居之景，堂内文士凭窗静思，案头琴樽宛然，暗合诗中闲寂文心。坡岸怪石嶙峋，修竹婆娑弄影，古木交柯成荫，淡墨晕染出草木苍润之态，留白铺陈出空阔悠然的意境。\n题画诗与景致呼应交融，以极简笔墨勾勒出林泉雅舍的沉静氛围，将文人幽居悟怀的林下风致藏于笔底。笔意简淡松灵，诗画合一，尽显古典文人心底的静雅意趣，余韵悠长。",[25,26,83,53,28,238,30,454,294,214,7,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd301652b0efeb1460046b050b55b468a.jpg",[],{"id":9732,"slug":9733,"title":5977,"dynasty":18,"author":9734,"museum":224,"description":9735,"tags":9736,"thumbUrl":9737,"material":960,"size":961,"collection":88,"collections":9738,"showCount":231,"zanCount":42,"manualWeight":42,"mainColor":43},238658,"hong-wu-ning-shou-gong-ming-bing-sui-chao-tu-ce-hong-wu-238658","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 ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。",[26,83,57,3631,619,29,28,3757,9665,9382,102,59,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4beb343cccdd58284e92fce8fc7cbc9d.jpg",[],{"id":9740,"slug":9741,"title":9742,"dynasty":18,"author":5969,"museum":224,"description":9743,"tags":9744,"thumbUrl":9745,"material":88,"size":88,"collection":88,"collections":9746,"showCount":231,"zanCount":42,"manualWeight":42,"mainColor":92},237880,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237880","杨晋仿古山水册","杨晋 （1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。\n杨晋是清代宫廷画家，以画界画见长，他能恰到好处地发挥传统工笔界画的特长，把人工建筑的楼阁台榭及人物举止和天然山水景色紧密结合起来，在结构上作了极好的剪裁，满而不闷，画风细致明秀、娟丽清新，层次过渡非常自然。《石谷骑牛图》绘石谷悠然骑于牛背之上，神态安详平和，状写简逸传神。石谷即清代大画家王翚，也是杨晋的老师。",[25,26,83,53,29,200,7,294,35,58,102,1614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61175dbfe080a1ad3dc87a345d7c1ae4.jpg",[],{"id":9748,"slug":9749,"title":3875,"dynasty":48,"author":3876,"museum":224,"description":7227,"tags":9750,"thumbUrl":9751,"material":960,"size":961,"collection":88,"collections":9752,"showCount":231,"zanCount":42,"manualWeight":42,"mainColor":92},237680,"hua-hui-ce-sun-ke-hong-237680",[25,26,83,199,53,58,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5673ffbc6986d0243ec075669ec75059.jpg",[],{"id":9754,"slug":9755,"title":2484,"dynasty":18,"author":5375,"museum":224,"description":9756,"tags":9757,"thumbUrl":9758,"material":88,"size":88,"collection":88,"collections":9759,"showCount":231,"zanCount":42,"manualWeight":42,"mainColor":92},236866,"shan-shui-ce-wang-yuan-qi-236866","此帧以淡墨起笔，层层积染皴擦。近渚佳木疏朗挺秀，坡石间细流萦回；中峦云气轻笼，林麓错落藏幽；远峰浑厚朴拙，隐现烟岚之中。以干笔积墨追摹巨然笔意，苔点错落缀于峰峦林梢，墨色由浅及深，反复皴擦间尽显苍润沉雄。既复刻出江南山水的平淡天真，又以自家沉郁的笔墨个性，晕染出静穆悠深的文人逸韵，将古雅的南宗山水意趣，藏进层叠丘壑之间，尽显师法古人而自出机杼的笔墨功力。",[25,26,83,53,200,146,456,7,238,1614,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed35309f91b562ef90167795d98467a8.jpg",[],{"id":9761,"slug":9762,"title":9763,"dynasty":48,"author":9764,"museum":224,"description":9765,"tags":9766,"thumbUrl":9767,"material":960,"size":961,"collection":88,"collections":9768,"showCount":231,"zanCount":42,"manualWeight":42,"mainColor":92},236807,"shan-shui-shan-wang-sheng-236807","山水扇","王声","此作用金笺铺底，细笔皴写江岸坡石，修竹杂木错落布陈，枝叶扶疏间漾出清润生机。水面汀渚星罗，茅亭临水而建，亭中文士凭栏晤谈，将江南水畔的幽居雅趣，收于咫尺扇面。\n\n笔墨秀雅温润，设色浅淡明净，带着清雅淡远的画中意趣，简淡构图里藏着萧散闲逸的文人韵致，把林下清谈的悠然之态晕染开来，于尺幅间尽显山水雅集的淡远意境，是小品山水里的精妙佳构。",[1120,25,200,29,238,7,35,455,296,454,294],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F380490f5ce5ab387cf014456c62944a1.jpg",[],{"id":9770,"slug":9771,"title":9772,"dynasty":48,"author":9773,"museum":224,"description":9774,"tags":9775,"thumbUrl":9776,"material":960,"size":961,"collection":88,"collections":9777,"showCount":231,"zanCount":42,"manualWeight":42,"mainColor":92},236297,"hua-shi-shan-ye-zhang-cheng-long-236297","花石扇页","张成龙","张成龙[明]，字白云，大梁（今河南开封）人。善山水，临摹名画，久而弥化。",[25,26,1120,53,897,214,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56aa4632af193b0bebc4f9489c73871c.jpg",[],{"id":9779,"slug":9780,"title":2484,"dynasty":18,"author":9781,"museum":224,"description":9782,"tags":9783,"thumbUrl":9784,"material":88,"size":88,"collection":88,"collections":9785,"showCount":231,"zanCount":42,"manualWeight":42,"mainColor":92},236082,"shan-shui-ce-shen-zong-jing-236082","沈宗敬","这幅册页以水墨铺就林泉幽境。近岸坡石以披麻皴写就，苍润厚重，成列长松拔地而起，干挺叶繁，带着萧森清旷之气。中景溪桥横卧，浅滩萦回，留白晕出空濛水色，将尺幅拉伸出悠远纵深感。远山含黛，淡墨轻扫，晕染出烟岚浮动的空寂。\n\n整幅笔力苍秀兼具，墨色干湿浓淡相宜，既有元人山水的淡远萧疏，又带着沉稳规整的笔墨法度，将山林幽寂、水村闲淡的意趣缓缓铺陈，观之如临深谷，似可听松涛漱石，静享林泉丘壑间的幽居雅韵。",[24,25,26,53,83,238,102,200,7,455,296,146,456],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc69b3afb5f266263aa27eedc10309db.jpg",[],{"id":9787,"slug":9788,"title":9789,"dynasty":48,"author":5436,"museum":224,"description":9790,"tags":9791,"thumbUrl":9792,"material":88,"size":88,"collection":88,"collections":9793,"showCount":231,"zanCount":42,"manualWeight":42,"mainColor":92},236024,"ren-wu-tu-ce-mo-shi-he-zhou-fa-wen-nan-shou-mao-weng-236024","人物图册－摹失和州法","此作以淡墨轻色铺陈园林幽境，陂岸蜿蜒，修竹掩映水榭，塘间清寂空阔。持杖老者缓行于岸侧，衣袂飘然，似乘闲寻幽，将林泉漫步的安闲意趣晕染开来。\n\n画面留白疏朗，笔致松秀简淡，以极简笔墨勾勒出清旷雅致的隐逸氛围。搭配左侧行书题诗，诗书合璧，尽显文雅。整体淡远冲和，将文人寄情山水、耽于丘园的雅怀融于尺幅间，意韵悠长，尽显文人画抒情寄兴的悠然风貌。",[25,26,83,29,53,1614,58,30,7,147,3939,456],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa74c819dd7ff3bc5f315bc7c0fcf5cac.jpg",[],{"id":9795,"slug":9796,"title":9763,"dynasty":48,"author":6930,"museum":224,"description":8645,"tags":9797,"thumbUrl":9798,"material":960,"size":961,"collection":88,"collections":9799,"showCount":231,"zanCount":11,"manualWeight":42,"mainColor":92},235786,"shan-shui-shan-wen-jia-235786",[25,26,1120,53,238,200,455,296,60,7,456,102,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ea2a9b91cd5486fbf9e952241e2334b.jpg",[],{"id":9801,"slug":9802,"title":9803,"dynasty":18,"author":5051,"museum":224,"description":9804,"tags":9805,"thumbUrl":9806,"material":960,"size":961,"collection":88,"collections":9807,"showCount":231,"zanCount":42,"manualWeight":42,"mainColor":92},235652,"zhu-qin-tu-zhou-gao-qi-pei-235652","竹禽图轴","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。\n康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。",[25,26,27,53,85,7,323,102,5054],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F522ed81173ccb5d46bb52e9450a4a88b.jpg",[],{"id":9809,"slug":9810,"title":9451,"dynasty":18,"author":181,"museum":224,"description":9811,"tags":9812,"thumbUrl":9813,"material":88,"size":88,"collection":88,"collections":9814,"showCount":231,"zanCount":42,"manualWeight":42,"mainColor":92},235071,"shan-shui-tu-ce-hua-yan-235071","此作用淡墨晕染出江南水乡之景，近岸芦苇轻曳，矮树傍临村居屋舍，江波留白隐现水色空濛，远山层叠以淡墨晕开，氤氲间尽显清寂淡逸。画作线条秀雅灵动，摒弃繁复皴擦，以简淡笔墨勾勒出幽远澹泊的林下栖居之境，将山水野居相融，寄寓林泉高致。左侧题诗与画面相生相合，诗境衬映画中澹然意趣，诗画合璧尽显文人雅致审美，整体意境清和疏旷，尽显传统文人山水画的悠然意韵。",[25,26,83,53,238,200,294,7,295,766,146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8c2278aaa9259d175772ba1ab608e8c.jpg",[],{"id":9816,"slug":9817,"title":9818,"dynasty":18,"author":168,"museum":224,"description":9819,"tags":9820,"thumbUrl":9821,"material":960,"size":961,"collection":88,"collections":9822,"showCount":231,"zanCount":42,"manualWeight":42,"mainColor":92},234706,"gu-yun-wu-zhu-gao-shi-shan-mian-yi-ming-234706","顾沄梧竹高士扇面","此作以扇面为卷，绘就林泉幽居之景。浅淡笔墨晕染出水色空濛，茅亭临波，高士凭栏闲坐，似在静赏烟水林峦。梧竹葱茏伴山石朴拙，墨色清润秀雅，将山林的幽寂之气铺陈开来。\n题识小字错落排布，诗画相映，把文人寄情丘山、静享闲逸的心境尽数藏于尺幅之间。构图疏密相宜，亭台人物虽小巧却情态悠然，衬以苍茂竹木与朦胧水色，将江南林泉的清寂雅致融于咫尺扇面，尽显萧散出尘的文人意趣，以简淡笔墨勾勒出隐逸林下的悠然意境，尽显画中寄情林泉的悠远韵致。",[1120,53,29,54,30,489,7,454,35,200,57,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb882582c71de5a9c47181782de4dcba1.jpg",[],{"id":9824,"slug":9825,"title":9826,"dynasty":18,"author":9827,"museum":224,"description":9828,"tags":9829,"thumbUrl":9830,"material":88,"size":88,"collection":88,"collections":9831,"showCount":231,"zanCount":42,"manualWeight":42,"mainColor":92},234613,"shan-shui-wan-shan-zhang-zhi-wan-234613","山水纨扇","张之万","张之万，字子青，直隶南皮人（今河北省南皮县人）。道光二十七年（１８４７）以一甲一名中进士，授翰林院修撰，咸丰二年（１８５２）出督河南学政，累迁内阁学士，擢礼部侍郎，兼署工部。尝与太常寺卿许彭寿等总结历代帝王及垂帘事迹，汇辑成《治平宝鉴》，以备帝王借鉴自省。同治元年（１８６２），署理河南巡抚，时捻军起义，张之万在河南汝洲、开封等地多次围剿捻军，捷报频传，赏头品顶戴、赐花翎。之后调任江苏巡抚、迁浙闽总督。光绪八年（１８８２）起兵部尚书，调刑部。光绪十年（１８８４）入军机，兼署吏部，光绪十五年（１８８９），授体仁阁大学士，转东阁，赐双眼花翎，并赐用紫缰（清代对于皇室近支和有功勋的官员，特许骑马用紫缰）。光绪丁酉年（１８９７）卒，年８７，赠太傅，谥文达。\n张之万生平襟怀旷远，不见欣戚之色；其在师中，临危制变，不动声色；善于择将，拔张曜、宋庆等于稠人之中，这些将领均以战功显明于世；居政府１３年，让功推能，人尤称其相度。\n世人或知张之万政绩卓著，战功显赫，然其生性儒雅，工书善画能诗也许少为人知。石家庄市博物馆收藏有张之万书画作品数幅，现择取有代表性的两幅与诸君共赏。",[25,26,24,1120,53,238,200,455,296,935,456,663,7,454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4a8ec8604d5c6b10775e960b4391e4e.jpg",[],{"id":9833,"slug":9834,"title":9835,"dynasty":18,"author":2673,"museum":50,"description":9836,"tags":9837,"thumbUrl":9838,"material":3222,"size":9839,"collection":88,"collections":9840,"showCount":231,"zanCount":42,"manualWeight":42,"mainColor":92},234497,"xiu-zhu-you-ting-zhou-wang-hui-234497","修竹幽亭轴","王翚（1632—1717），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江苏常熟人。清代著名画家，著有《清晖画跋》。其画法精能、风格多样，在清代极负盛名。尝于康熙三十年（1691）奉诏入京主持《康熙南巡图》的绘制，功成后受到皇太子胤礽召见。胤礽绘扇书以“山水清 晖”四字作为褒奖。时人目为画之正宗，尊称“画圣”。他与王时敏、王鉴、王原祁合称“四王”，又与吴历、恽寿平并称“清初六家”或“四王吴恽”。王翚追随者甚众，因常熟有虞山，故后人将他及其弟子一派称为“虞山画派”。\n王翚自幼嗜画，继承家学，很早便表现出非凡的绘画才能，师从王时敏、王鉴后，境界大进。一生画腊极长，精力旺盛，创作巨富。他笔墨功底深厚，长于摹古，几可乱真，又能不囿成法、师法自然。王翚虽然是职业画家，但与文人政要广泛交往，深受“文人画”精神影响，其山水力作往往构图多变、皴擦得法、格调明快，富有写生意趣及抒情性。王翚创作广采博览，集唐宋以来诸家之大成，于临仿中不断取舍，终能熔“南宗”“北宗”画法于一炉。在全面整理山水画传统技法的基础上，形成了具有个人风格的笔墨特点和概括性的构图法则，并提出“以元人笔墨，运宋人丘壑，而泽以唐人气韵”的论画主张，影响深远。但其晚年的程式化风格也颇为后人诟病，并为“虞山画派”后来的发展埋下了隐患。",[25,26,24,27,53,238,200,7,454,708,146,296,456],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc40584b392379435fae2f0f0f1741e.jpg","纵129.5cm，横43.3cm",[],{"id":9842,"slug":9843,"title":9844,"dynasty":18,"author":1707,"museum":50,"description":9845,"tags":9846,"thumbUrl":9847,"material":88,"size":88,"collection":88,"collections":9848,"showCount":231,"zanCount":42,"manualWeight":42,"mainColor":92},234464,"zhu-shi-qiu-mu-tie-luo-shen-zhen-lin-234464","竹石秋木贴落","沈振[清]字凤池，一作凤墀，吴县（今江苏苏州）人。工写照，兼善写生，及山水、人物，各臻其妙。供奉内廷。\n慈禧太后赐御笔“传神妙手”区额。尝奉勅画马便面二叶，各有宣宗御题三字一曰“飞霞骢”，一曰“翔玉骢”，钤有道光御用方玺。又百鸽图每页书签各名，尽绘物之妙。《寒松阁谈艺琐录、瓯钵罗室书画过目考》",[25,26,53,199,238,7,214,741,35,200,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a82ab16ca030e25d29957577dca4f05.jpg",[],{"id":9850,"slug":9851,"title":9852,"dynasty":18,"author":4210,"museum":224,"description":9853,"tags":9854,"thumbUrl":9855,"material":1838,"size":88,"collection":88,"collections":9856,"showCount":231,"zanCount":42,"manualWeight":42,"mainColor":92},234191,"xiang-mu-zhi-bu-jing-xiong-di-zhu-lin-xiang-juan-luo-pin-234191","项穆之补景兄弟竹林像卷","罗聘(1733—1799年)，字遯夫，号两峰，又号花之寺僧等。原籍安徽歙县，其先辈已迁居扬州。博闻好学，20余岁随金农学画，常为之代笔。曾三赴京师，因画《鬼趣图》轰动当时文坛，其才华横溢。人物、花鸟、山水兼善，画法受金农、石涛、华岩等人的影响，笔力雄厚，以清奇、拙奥、生冷见长。他所画人物造型准确，尤精于画鬼，借以揭露世态。花鸟尤以梅花突出，其妻方婉仪及子均工画梅，被称为罗家梅派。",[23,25,26,56,53,199,30,7,294,102,58,6031],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47abff1d1b94387afac381e7af98b587.jpg",[],{"id":9858,"slug":9859,"title":9860,"dynasty":18,"author":7492,"museum":50,"description":9861,"tags":9862,"thumbUrl":9863,"material":202,"size":9864,"collection":88,"collections":9865,"showCount":231,"zanCount":42,"manualWeight":42,"mainColor":92},233873,"xi-bei-shi-yi-tu-ce-cha-shi-biao-233873","西陂诗意图册","查士标（1615—1698年），字二瞻，号梅壑、懒老，安徽休宁人。擅山水，宗法元人倪瓒、吴镇。用笔疏简超逸，意境荒寒清旷。他与渐江、孙逸、汪之瑞并称“新安四大家”（又名“海阳四家”）。著有《种书堂遗稿》。",[25,53,83,238,741,35,7,454,30,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f67dc7e616a181631a9047abcec4ab2.jpg","纵32.8cm，横52.8cm",[],{"id":9867,"slug":9868,"title":9869,"dynasty":18,"author":130,"museum":224,"description":7523,"tags":9870,"thumbUrl":9871,"material":202,"size":7528,"collection":88,"collections":9872,"showCount":231,"zanCount":42,"manualWeight":42,"mainColor":92},233683,"yuan-ji-lan-zhu-ce-lan-zhu-shi-shi-tao-233683","原济兰竹册－兰竹石",[25,26,83,53,58,102,238,66,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F635dcd1c255c153d2eb6030b17e88b3e.jpg",[],{"id":9874,"slug":9875,"title":9876,"dynasty":18,"author":9877,"museum":50,"description":9878,"tags":9879,"thumbUrl":9880,"material":88,"size":88,"collection":88,"collections":9881,"showCount":231,"zanCount":42,"manualWeight":42,"mainColor":92},233229,"bao-shan-shi-jing-ce-wu-hong-233229","包山十景册","吴宏","张宏(1577-1668年后)，字君度，号鹤涧。吴郡（今江苏苏州）人。工画山水，善用短促笔法和湿润墨色画山石树木，风格独特，构图常具新意。\n山周回绕，重冈复岭，茂林平野，钟梵相闻，谓为别境。苏州文人蔡羽曾隐于此，号林屋山人；王宠亦曾师事蔡羽，读书于包山精舍。\n为富含自然风光与人文意涵之胜境。 「林屋洞」、「消夏湾」、「柳毅井」三开。",[25,26,83,53,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62af1756d9dc8632822fc96b005a2036.jpg",[],{"id":9883,"slug":9884,"title":9885,"dynasty":1567,"author":168,"museum":224,"description":9886,"tags":9887,"thumbUrl":9889,"material":960,"size":961,"collection":88,"collections":9890,"showCount":231,"zanCount":42,"manualWeight":42,"mainColor":92},230550,"ming-qing-gu-hua-dong-wu-shan-shui-fen-ben-tu-juan-2-yi-ming-230550","明清古画动物山水粉本图卷-2","以淡设色铺陈林泉雅境，枯梅虬枝缀着寒花，古拙清癯。坡石间流泉蜿蜒，晕染出空山幽寂的氛围。两位高士策杖缓行，衣袂轻扬，神态悠然，似正寻幽揽胜。\n笔墨清劲秀逸，山石以淡墨皴擦，晕出空濛温润的山林气韵，草木敷色清雅，粉白梅花点活了冬末春初的清灵意趣。将林下高致融于山水小景，淡而有味，简中见雅，尽显文人寄情林泉、避世寻幽的隐逸意趣。",[23,25,56,29,53,28,238,200,30,9888,146,456,7,1090],"梅花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51c4df883e88673fe6cdff89b7a09a8c.jpg",[],{"id":9892,"slug":9893,"title":9894,"dynasty":48,"author":168,"museum":224,"description":9895,"tags":9896,"thumbUrl":9898,"material":88,"size":88,"collection":88,"collections":9899,"showCount":231,"zanCount":42,"manualWeight":42,"mainColor":43},223609,"zhu-lin-bu-chu-tu-ce-yi-ming-223609","竹林哺雏图册","此作用笔细腻工致，苍劲竹枝缀着翠色，竹叶舒展尽显清灵生机。雀巢静栖竹间，数只幼雏探首啾啾，振翅归旋的亲鸟神情急切，将归哺的温情凝于绢面之间。\n\n设色古雅沉静，晕染柔和自然，写实笔意带着院体花鸟的温婉余韵，将林间育雏的日常小景勾勒得脉脉动人。古旧绢色晕开岁月质感，把幽竹清寂与生命温情相融，尽现小品花鸟的雅致意趣，平淡间藏着触动人心的自然诗意。",[23,25,26,83,29,28,85,7,592,5482,9897],"鸟巢","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc731490b38e5c321d0a8e1945ea3b64b.jpg",[],{"id":9901,"slug":9902,"title":9903,"dynasty":18,"author":9904,"museum":224,"description":9905,"tags":9906,"thumbUrl":9907,"material":88,"size":88,"collection":88,"collections":9908,"showCount":231,"zanCount":42,"manualWeight":42,"mainColor":92},222827,"san-xing-tu-xu-gang-222827","三星图","徐冈","徐冈，生卒年不详，字九成，号缾山（瓶山），浙江杭州人。家贫以鬻画养母，至老不娶。山水、花鸟、人物，无所不工。一以华岩为师，而尤擅花鸟。",[23,24,25,26,27,29,28,30,60,7,297,146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53588f1a09245fd285ade392b1603262.jpg",[],{"id":9910,"slug":9911,"title":9912,"dynasty":18,"author":6540,"museum":1760,"description":9913,"tags":9914,"thumbUrl":9915,"material":87,"size":88,"collection":88,"collections":9916,"showCount":231,"zanCount":42,"manualWeight":42,"mainColor":92},214814,"shan-shui-hua-hui-tu-ce-5-gao-feng-han-214814","山水花卉图册-5","高凤翰（1762-1843）是一位著名的清代画家，他的主要作品是山水花卉图册。高凤翰生于江苏省的吴县，他曾在杭州学习画画，后来进入了江南画派。他的画风独特，被称为“高氏画法”，以其精细、细腻的线条和浓郁的色彩闻名。\n\n高凤翰的山水花卉图册是他的代表作之一，包括了许多精美的山水画作品。这些作品描绘了自然风光，包括山峦、河流、湖泊、树木、花草等。高凤翰的山水画作品经常带有浓厚的写意气息，表现出自然之美。他的画作还常常加入人物、建筑、动物等元素，使得作品更加丰富多彩。\n\n高凤翰的山水花卉图册在当时颇受欢迎，并且被视为江南画派的杰出代表作。他的作品被认为是清代山水画发展的重要贡献，对后世的山水画家也产生了很大的影响。",[23,24,25,26,83,53,29,85,200,490,7,214,294],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42135630300e081d337a6c8d935607bf.jpg",[],{"id":9918,"slug":9919,"title":9920,"dynasty":18,"author":6387,"museum":182,"description":9921,"tags":9922,"thumbUrl":9923,"material":88,"size":88,"collection":71,"collections":9924,"showCount":231,"zanCount":42,"manualWeight":42,"mainColor":9925},201938,"zi-teng-song-zhu-tu-zhou-zou-yi-gui-201938","紫藤松竹图轴","古松虬干苍劲，皮纹细腻如刻，紫藤柔蔓缠绕其上，紫花垂垂若流苏，淡雅中见生机。竹枝劲挺，叶片清润，孤石嶙峋，纹理古朴。笔墨兼具工细与意趣，设色雅致，紫藤之紫与松竹之绿相映成趣，构图疏密有致，于静谧中透出自然生机，尽显文人画的清雅韵致。",[28,29,85,60,7,4802,35,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24acb3bb3032406bbf5c21932bf4362f.jpg",[71],"a88457",{"id":9927,"slug":9928,"title":9929,"dynasty":18,"author":181,"museum":182,"description":9930,"tags":9931,"thumbUrl":9932,"material":88,"size":88,"collection":71,"collections":9933,"showCount":231,"zanCount":42,"manualWeight":42,"mainColor":9934},201608,"liu-yu-tu-zhou-hua-yan-201608","六鹆图轴","画面中六只八哥情态各异，或栖于枝头顾盼，或振翅俯冲而下，或相互亲昵嬉戏，动态鲜活传神。竹枝以淡墨勾勒，线条流畅挺秀，竹叶婆娑有致，尽显清雅之姿。枝干的皴擦与八哥的细腻刻画相映成趣，兼工带写的笔法融写意洒脱与工笔精致于一体。设色淡雅，墨色层次丰富，整体氛围静谧中蕴含生机，流露画家对自然生灵的入微体察与灵动笔墨意趣。",[25,85,29,7,592,27,28,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60f6b0391d2d2b009dbbf80c881db3d0.jpg",[71],"e1d8d2",{"id":9936,"slug":9937,"title":9092,"dynasty":97,"author":168,"museum":224,"description":9502,"tags":9938,"thumbUrl":9939,"material":960,"size":961,"collection":88,"collections":9940,"showCount":9941,"zanCount":42,"manualWeight":42,"mainColor":43},289938,"zhu-jian-yuan-yang-tu-yi-ming-289938",[23,1120,25,24,53,28,85,7,5650,592,200,296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45d2bb334d503fba43fc8dc9e1df148d.jpg",[],8,{"id":9943,"slug":9944,"title":6956,"dynasty":97,"author":168,"museum":143,"description":6957,"tags":9945,"thumbUrl":9946,"material":37,"size":6961,"collection":88,"collections":9947,"showCount":9941,"zanCount":42,"manualWeight":42,"mainColor":43},288987,"cui-zhu-ling-mao-tu-yi-ming-288987",[25,24,3083,28,29,7,592,1858,4394,146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12b2ada934ff4d39b15a491d40254da7.jpg",[],{"id":9949,"slug":9950,"title":9951,"dynasty":48,"author":7452,"museum":224,"description":7453,"tags":9952,"thumbUrl":9955,"material":960,"size":961,"collection":88,"collections":9956,"showCount":9941,"zanCount":42,"manualWeight":42,"mainColor":92},287411,"mo-hua-tu-ni-yuan-lu-287411","墨花图"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，字曾三，号鲁亭，江苏常熟人，余珣之子，清代著名画家。曾受业于蒋廷锡。乾隆（1736—1795）时与唐岱、周鲲同祗候内廷，善花鸟、虫鱼、翎毛，间亦参用西法，赋色妍丽，尤善画蝶，工兰竹水仙，所作叠邀高宗睿题，藏于石渠宝笈。",[25,26,83,28,29,102,85,7,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17d26e2e48831a50449c020fa312c0c4.jpg",[],{"id":10033,"slug":10034,"title":3481,"dynasty":18,"author":10035,"museum":224,"description":10036,"tags":10037,"thumbUrl":10038,"material":960,"size":961,"collection":88,"collections":10039,"showCount":9941,"zanCount":42,"manualWeight":42,"mainColor":43},238498,"hua-hui-tu-ce-jiang-pu-238498","蒋溥","蒋溥（1708—1761年），大学士蒋廷锡长子，字质甫，号恒轩，江苏常熟人，清朝大臣，画家，善画花卉，深得家传。雍正八年二甲第一名进士，官至东阁大学士兼户部尚书。性情宽厚而警敏，任职后，精心奉职，勤于政事，是乾隆时期的重臣，亦是蒋派花鸟画艺术的重要代表。\n乾隆二十六年（1761）四月，病逝于任上。乾隆皇帝亲临祭奠，加赠太子太保，谥曰文恪，入祀贤良祠。",[25,26,83,29,85,7,897,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49df98823dc69dc2e0f54aebda44c6ab.jpg",[],{"id":10041,"slug":10042,"title":10043,"dynasty":18,"author":10044,"museum":224,"description":10045,"tags":10046,"thumbUrl":10047,"material":960,"size":961,"collection":88,"collections":10048,"showCount":9941,"zanCount":42,"manualWeight":42,"mainColor":92},238095,"hua-niao-shan-wang-jie-238095","花鸟扇","王杰","王杰（1725年－1805年2月9日 ），字伟人，号惺国，陕西韩城人。清朝状元、名臣，有清一代陕西第一名臣。初在南书房当值，后经多次升迁，官至内阁学士。乾隆三十九年（1774）任刑部侍郎后又转调吏部，擢升右都御史，乾隆五十一年（1786）出任军机大臣，上书房总师傅，第二年又出任东阁大学士，总理礼部。嘉庆帝即位，仍为首辅。\n王杰在朝四十余年，忠清劲直，老成端谨，不结党营私，不趋炎附势。嘉庆十年（1805年），王杰去世，享年八十一岁，追赠为太子太师，谥号文端，祀于北京贤良祠。",[1720,25,26,1120,28,29,85,9888,7,281,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4d42141a5b528539861dcd38dc4c9d3.jpg",[],{"id":10050,"slug":10051,"title":10052,"dynasty":48,"author":168,"museum":224,"description":10053,"tags":10054,"thumbUrl":10055,"material":960,"size":961,"collection":88,"collections":10056,"showCount":9941,"zanCount":42,"manualWeight":42,"mainColor":43},237810,"gao-yang-hua-hui-zhu-shi-shan-ye-yi-ming-237810","高阳花卉竹石扇页","金笺之上，水墨设色铺就幽然小景。顽石错落，勾勒简劲苍厚，皴擦间尽显嶙峋古拙。修竹劲挺清逸，枝叶舒展灵动，墨色浓淡层叠，区分阴阳向背，尽显君子之姿。柔蔓花枝穿插掩映，淡晕粉白点染花萼，轻敷浅绿晕染叶片，和挺竹顽石刚柔相济。\n\n落款题字笔意潇洒写意，与绘事相映成趣。整幅疏密有致、虚实相生，将林下幽趣收揽在尺幅扇面之间，笔底带着悠然闲适的雅致意趣，尽显传统小品画的隽秀生机。",[1120,29,53,7,214,65,3380,54,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c3b6ea6dacc07c9cd180087a3d2e780.jpg",[],{"id":10058,"slug":10059,"title":10060,"dynasty":48,"author":10061,"museum":224,"description":10062,"tags":10063,"thumbUrl":10064,"material":960,"size":961,"collection":88,"collections":10065,"showCount":9941,"zanCount":42,"manualWeight":42,"mainColor":92},237074,"mo-bi-zhu-lan-shan-xiang-de-xin-237074","墨笔竹兰扇","项德新","项德新（约1563—？）明代画家。字复初、又新，浙江嘉兴人，项元汴的三儿子，工山水，得荆关法，尤其擅长写生。 作品流传极少，有人得其片纸，珍如拱璧。",[25,26,1120,53,7,66,57,102,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20f6b181f99b7774ac392a39807b244b.jpg",[],{"id":10067,"slug":10068,"title":2484,"dynasty":18,"author":5375,"museum":224,"description":10069,"tags":10070,"thumbUrl":10071,"material":88,"size":88,"collection":88,"collections":10072,"showCount":9941,"zanCount":42,"manualWeight":42,"mainColor":92},236870,"shan-shui-ce-wang-yuan-qi-236870","此帧取平远章法，近岸陂陀之上杂木扶苏，茅舍隐于树荫间，漾出幽寂村居之致。水面开阔空明，留白尽现湖光清旷。远山以干笔淡墨皴擦，山峦平缓舒展，苔点疏简萧散。\n\n画作师法元人萧散意趣，以渴笔淡墨层层积染，笔墨苍润松秀，在清空格调中融入浑朴醇厚的质感。题字朱印点缀提亮画面，整幅气息静穆淡远，于简淡中见苍劲，枯涩中含温润，观之如临林泉，尘俗尽涤，尽显文人画以意驭笔的雅致格调。",[25,26,83,53,238,200,7,294,2657,766,4111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f3c9c6dc81a288f4e46e612797932fe.jpg",[],{"id":10074,"slug":10075,"title":10076,"dynasty":48,"author":277,"museum":224,"description":5736,"tags":10077,"thumbUrl":10078,"material":960,"size":961,"collection":88,"collections":10079,"showCount":9941,"zanCount":42,"manualWeight":42,"mainColor":92},236190,"hua-zhu-mei-hong-li-shu-shi-cheng-shan-chen-hong-shou-236190","画竹梅弘历书诗成扇",[25,26,1120,7,59,57,53,29,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21843d8b6020ed0e211a8a2725c828be.jpg",[],{"id":10081,"slug":10082,"title":10083,"dynasty":18,"author":2673,"museum":224,"description":10084,"tags":10085,"thumbUrl":10086,"material":88,"size":88,"collection":88,"collections":10087,"showCount":9941,"zanCount":42,"manualWeight":42,"mainColor":92},235607,"yu-feng-kan-yue-tu-zhou-wang-hui-235607","玉峰看月图轴","干淡墨色晕染出萧疏冬景，修竹劲挺伴寒林，浅溪潺湲漫过板桥，林间隐着茅舍，远山轻笼在朦胧烟霭里，似与天相接。\n笔墨松秀简淡，以留白衬出月夜空寂清旷，将文人看月雅集的诗意融在山水间。画中人物凭桥而立，似在静候月色浸漫林野，处处尽显闲淡幽远的林下意趣，把江南冬日的清寂和文人心底的旷达雅致揉作一处，尽显水墨山水的含蓄余韵。",[25,26,27,53,238,200,7,741,455,296,454,767,102,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fe8fb01f05805753af11d11ec086684.jpg",[],{"id":10089,"slug":10090,"title":1242,"dynasty":18,"author":181,"museum":224,"description":2885,"tags":10091,"thumbUrl":10092,"material":960,"size":961,"collection":88,"collections":10093,"showCount":9941,"zanCount":42,"manualWeight":42,"mainColor":92},235390,"hua-niao-tu-ce-hua-yan-235390",[25,24,26,29,83,53,85,7,592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a124d5e80a9d03b2c9ee5f238bfd706.jpg",[],{"id":10095,"slug":10096,"title":4248,"dynasty":48,"author":2456,"museum":50,"description":10097,"tags":10098,"thumbUrl":10099,"material":104,"size":10100,"collection":88,"collections":10101,"showCount":9941,"zanCount":42,"manualWeight":42,"mainColor":92},234951,"zhu-shi-zhou-chen-qin-234951","竹子所做器物深受大众喜爱，即可落地入百姓家，亦能登高庙堂，被他人仰望。“竹子茂而不骄，瘁而不辱，投荒濒危亦自适其适，其情其性，风概如此。”故知名学者范景中在著作《中华竹韵》中如此评竹，此语虽简，却道破国人爱竹之端倪。\n竹，其性不同众木，群居不倚，独立不惧，劲不输青松，曲可比细柳，独然物外，暗合文人志趣，而竹林，携裹宗教、伦理寓意和美学代言，亦成为人们摆脱日常俗物、沉思哲理之地。\n提及竹，必关联文同，此人堪称我国竹林家园的早期建立者，其表弟苏东坡与他性情相契，开文人写意墨竹之先河。后世画家，凡写墨竹者都无不受其影响：王庭筠、李衎、高克恭、赵孟頫、吴镇、顾安、柯九思、倪瓒、王蒙、王绂、夏昶、陈芹、姚绶、文征明、陈淳、徐渭、朱耷、石涛、金农、郑燮等无不希望“高呼与可”，在注入新鲜血液的同时更将传承与创新同步。传承是艺术得以延续的根本，但是它更感人的一面乃是其绝世而独立的精神，是其郁郁勃发、生生不息的生命状态。",[25,26,27,53,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe241b8b142d4b7eb38e487e861e0ecc0.jpg","55.92*134.81厘米",[],{"id":10103,"slug":10104,"title":10105,"dynasty":48,"author":10106,"museum":224,"description":10107,"tags":10108,"thumbUrl":10109,"material":88,"size":88,"collection":88,"collections":10110,"showCount":9941,"zanCount":42,"manualWeight":42,"mainColor":92},234510,"gu-mu-you-huang-shan-wei-zhi-ke-234510","古木幽篁扇","魏之克","此图以枯木竹石为题材。画面近处枯树两三株高低偃仰，其旁幽篁散生，溪流宛转，远山隐隐起伏。树法用笔严谨，立干苍迈，出枝繁密，有李、郭遗意，丛竹以墨色分出远近。近处坡石多以方笔线皴，远山参用斧劈皴。画面墨色清逸，气息幽深，颇得萧疏苍茫之趣。",[25,26,1120,53,2299,741,7,35,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd633618a97d955bc1ac3a76a3633e224.jpg",[],{"id":10112,"slug":10113,"title":10114,"dynasty":48,"author":649,"museum":50,"description":10115,"tags":10116,"thumbUrl":10117,"material":1838,"size":10118,"collection":88,"collections":10119,"showCount":9941,"zanCount":42,"manualWeight":42,"mainColor":92},234156,"san-you-tu-wen-zheng-ming-234156","三友图","此手卷画兰、菊、竹三段，各有文氏亲笔题咏。用笔写意，简率之中见生动秀逸之致，墨色清润淡雅，显示了诗、书、画结合的笔墨境界。中国传统文化以拟人化的手法，通过褒扬兰、菊、竹的自然属性而歌颂或表彰文人的道德品质，体现了中国花卉画的特殊功能。\n壬寅为明嘉靖二十一年（1542年），文徵明时年73岁。",[23,25,26,56,53,58,57,537,54,7,66,67,324,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe51a77fcfc66d27d311c294bfae0f646.jpg","纵26.1厘米，横475.5厘米",[],{"id":10121,"slug":10122,"title":10123,"dynasty":18,"author":181,"museum":224,"description":10124,"tags":10125,"thumbUrl":10126,"material":104,"size":10127,"collection":88,"collections":10128,"showCount":9941,"zanCount":42,"manualWeight":42,"mainColor":92},231937,"xie-jin-ren-shi-yi-hua-ce-14-zhen-hua-yan-231937","写晋人诗意画册14帧","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、离垢居士等，老年自喻“飘篷者”，福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。",[23,25,26,83,29,53,30,35,7,294,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30afb35e63e0280c3daa8a0cb5eff010.jpg","43x52cm",[],{"id":10130,"slug":10131,"title":166,"dynasty":48,"author":10132,"mu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[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。",[25,1120,53,7,66,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6234814c99876de84d31582731ba04a7.jpg",[],{"id":10392,"slug":10393,"title":1601,"dynasty":48,"author":10394,"museum":224,"description":10395,"tags":10396,"thumbUrl":10397,"material":88,"size":88,"collection":88,"collections":10398,"showCount":257,"zanCount":42,"manualWeight":42,"mainColor":92},236540,"hua-niao-ce-tang-zhi-yin-236540","唐志尹","唐志尹[清]字相五，江苏扬州人，住姜堰。一作字聘三，海陵（今泰州）人。志契弟。花鸟得吕纪、王偕之传。所居万竹园，冒襄、蓝瑛辈尝过访之。康熙（一六六二至一七二二）初年八十余。与侄日昌，兄志契时称三唐。《泰州志、无声诗史、图绘宝鉴续纂、画史会要》",[24,25,26,83,29,28,85,59,281,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0cd4d57f0fd30796bc70b95b4118b9c.jpg",[],{"id":10400,"slug":10401,"title":10402,"dynasty":18,"author":168,"museum":224,"description":10403,"tags":10404,"thumbUrl":10405,"material":88,"size":88,"collection":88,"collections":10406,"showCount":257,"zanCount":42,"manualWeight":42,"mainColor":92},235297,"chen-fu-mo-zhu-zhou-yi-ming-235297","陈馥墨竹轴","以狂放迅疾的笔墨绘就风竹，竹叶如被飓风席卷，倾侧飞舞，灵动不羁。墨色浓淡枯湿富于层次，浓墨点簇老叶厚重苍劲，淡晕新篁清润秀雅，虚实相生间尽显疾风穿林之势。\n右侧题诗与画境呼应，将竹枝乱而不散、逆势挺立的姿态刻画尽致，笔力雄健老辣，尽显狂放疏朗的文人意气。借竹言志，把疾风里劲竹的萧索傲骨，化作君子不屈的襟怀，将水墨写意的淋漓意趣与文人情志完美相融。",[25,26,27,53,7,57,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bff2365e40a277b86ec8b1973cef30a.jpg",[],{"id":10408,"slug":10409,"title":2484,"dynasty":18,"author":10410,"museum":50,"description":10411,"tags":10412,"thumbUrl":10413,"material":202,"size":10414,"collection":88,"collections":10415,"showCount":257,"zanCount":42,"manualWeight":42,"mainColor":92},235021,"shan-shui-ce-wu-li-235021","吴历","此图册布局饱满，笔墨苍拙，文人画气息浓郁，具有作者所追求的“神逸”韵味。无年款，从书画笔法来看，应为吴氏晚年画作精品。\n第一开：自识：“月中疏处最秋多，叶叶斜斜映浅波。曾折长条赠行客，只今黄落未归何。予秋柳诗也，并书。墨井道人。”钤“延陵”、“墨井” 朱文印二方。\n第二开：自识：“远岫接烟光，斜阳在钓航。众渔归已尽，独自过横塘。东楼暑薄写此。墨井。”钤“渔山”朱文印二方。\n第三开：自识：“林鸠唤雨不成雨，山鹊呼晴亦未晴。尽日声声是何意，欲催泼墨米图成。梅雨乍霁。延陵历。”钤“吴历”朱文印、“吴历之印”白文印。\n第四开：自识：“春事已云莫，落花门外无。何为井上树，四月尚如枯。渔山子。”钤“渔山”、“墨井”朱文印二方。\n第五开：自识：“墨井道人雨窗拟古，竹醉日。”钤“延陵”、“墨井” 朱文印二方。\n第六开：自识：“萧萧踈踈，木落草枯。空山无人，夜吼於菟。墨井道人。”钤“吴历之印”白文印、“延陵”朱文印。\n第七开：自识：“写元人画，大抵要简澹趣多，曲折有韵。五月小尽日，墨井历。”钤“吴历”、“渔山” 朱文印二方。\n第八开：自识：“石激水流处，天寒松色间。墨井道人。”钤“渔山”、“墨井” 朱文印二方。\n第九开：自识：“前人草草涂抹，自然天真绚烂。小重阳后一日，渔山子。”钤“延陵”朱文印、“吴历之印”白文印。\n第十开：自识：“不是看山定画山，的应娱老不知还。商量水阔云多处，随意茆茨着两间。墨井道人从上洋归，写于东楼。”钤“吴历之印”白文印、“延陵”朱文印、“墨井”朱文印。\n鉴藏印有“虚斋审定”、“莱臣心赏”等17方。",[25,26,83,53,200,294,7,146,2744,592,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab1dee56f3a544603f9d6636ee69a7ce.jpg","23.2厘米，横28厘米",[],{"id":10417,"slug":10418,"title":10419,"dynasty":18,"author":168,"museum":50,"description":10420,"tags":10421,"thumbUrl":10422,"material":340,"size":10423,"collection":88,"collections":10424,"showCount":257,"zanCount":42,"manualWeight":42,"mainColor":43},234906,"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234906","唐岱小园闲咏图册","唐岱（1673—1752后），字毓东，号静岩，又号默庄，满洲正蓝旗人。康熙中以荫官参领。从王原祁学画，丘壑似王原祁，远宗宋人，“泼墨淋漓，气韵生动”。康熙后期常将其召入宫中作画，品题其画为当时第一手，赐称“画状元”。\n第一开：曲径通幽。对开题：“为隔尘氛远，应怜曲径长。迂回山势抱，逦迤竹垣藏。鹤歩苔痕合，春归花气香。板桥流水外，别有读书堂。”\n第二开：芳屿围棋。对开题：“乘兴步芳屿，逍遥任所之。已看苔作席，最爱柳成帷。漫煮蒙溪茗，闲抛赌墅棋。东山称盛事，吟望寄遐思。”\n第三开：桃溪步履。对开题：“山桃开也未，杖策试探寻。好景春来遍，芳溪曲处深。明霞千树叠，傍水一枝临。何必武陵路，随缘物外心。”\n第四开：竹坞春深。对开题：“闲过山坞里，粉脱见新篁。劲节当春绿，踈竿泛籁长。萧骚寒雨夜，彷佛辋川庄。不肯裁为管，无劳引凤凰。”\n第五开：芳港闻莺。对开题：“春色堂堂去，莺声恰恰来。缗蛮听处涩，风景暗中催。长日慵摊饭，新缸喜拨醅。笙簧随分有，何必舞三台。”\n第六开：春湖涵碧。对开题：“碧水漾平湖，空明一镜铺。须眉应可鉴，尘壤杳然无。点点浮青荇，双双下白鳬。春风浴沂水，视此意何殊。”\n第七开：石坂烹云。对开题：“敲火乌卿炽，烹云玉液清。龙团曾未点，鱼目已旋生。漫说肠堪润，应知眼倍眀。披襟成小啜，孤鹤一声鸣。”\n第八开：广厦冰壶。对开题：“天伏三庚永，堂开六月凉。深深屏隔暑，叠叠簟含霜。底事挥纨扇，无劳问蔗浆。冰壶供坐卧，乐意自相忘。”\n第九开：镜水荷香。对开题：“半夜芙蓉雨，三间水月楼。清香随处度，风景一时收。干密妨鱼跃，花深隐鹭游。诗情频入座，不必问渔舟。”\n第十开：月楼夕幌。对开题：“雨洗尘氛静，天空花鸟闲。月楼开一面，夕幌卷千山。牧笛耳边过，征鸿眼里还。桂香依旧发，付与阿谁攀。”\n第十一开：兰桡独钓。对开题：“秋湖鱼怯饵，把钓事如何。绿水一竿竹，清风几领簑。蒹葭尘外老，星月个中多。夜静独归去，清光挂女萝。”\n第十二开：竹篱鹤歩。对开题：“结社松为宅，看家鹤守门。偏知人客至，不负稻粱恩。宿月精神古，梳风毛羽繁。由来好僮仆，不必贵乘轩。”\n第十三开：芦岸秋晴。对开题：“秋色知多少，芦花尽白头。战风摇夕浦，饮露亚寒洲。生意知将谢，随时未肯休。苍茫烟水里，好去弄扁舟。”\n第十四开：板桥霜迹。对开题：“隔溪亭子迥，为架板桥通。秋老碧天白，寒流枫叶红。卷帘吟夜月，着屐歩霜风。爱此双双迹，扶笻过水东。”\n第十五开：雪径梅姿。画心左下款署“唐岱恭画”。对开题：“四时花木足，最喜是园梅。傲雪三冬里，因风几朵开。清香流玉骨，冷润滴氷腮。独有幽人赏，巡檐杖策来。右《小园闲咏》十五首，雍正乙卯夏五月，宝亲王长春居士著”。梁诗正谨书。",[25,26,83,29,200,7,214,1090,456,57,58,102,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7b8a8499067624af6ef4001e403dd02.jpg","25.7×33厘米",[],{"id":10426,"slug":10427,"title":10428,"dynasty":48,"author":10429,"museum":224,"description":10430,"tags":10431,"thumbUrl":10432,"material":88,"size":88,"collection":88,"collections":10433,"showCount":257,"zanCount":42,"manualWeight":42,"mainColor":92},234818,"zhu-jia-shan-shui-ce-shu-jun-su-234818","诸家山水册","殳君素","殳君素 [明]字质夫，吴（今江苏苏州）人。师文嘉（一五0一―一五八三）钱谷\n为入室弟子，有出蓝之美。候懋功、朱朗之流亚。按画体元诠有金陵殳质，字质甫，工山水。是否一人，待考。《无声诗史、弇州续稿》",[25,26,83,53,238,200,741,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ef0813ead55ecab512339201cb44a55.jpg",[],{"id":10435,"slug":10436,"title":10437,"dynasty":48,"author":168,"museum":50,"description":10438,"tags":10439,"thumbUrl":10441,"material":10442,"size":10443,"collection":88,"collections":10444,"showCount":257,"zanCount":42,"manualWeight":42,"mainColor":43},234772,"ming-ren-mu-niu-dan-ye-yi-ming-234772","明人牧牛单页","绘初春时节，一边无叶的树枝上红花灼灼，空中一只燕子拍翅而来；树下一头体格强壮肥牛爆了脾气，似不愿听从牧童引导，故而孩童骑在牛角上，似与壮牛一比高低，童趣十足。",[25,26,53,83,1463,1464,30,7,200,35,294,10440],"牧乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F853a9009361ea4d001207b2469b897ea.jpg","绢本 ，墨笔","纵23cm，横24cm",[],{"id":10446,"slug":10447,"title":8773,"dynasty":18,"author":2673,"museum":224,"description":8774,"tags":10448,"thumbUrl":10449,"material":1079,"size":8778,"collection":88,"collections":10450,"showCount":257,"zanCount":42,"manualWeight":42,"mainColor":92},234716,"fang-gu-shan-shui-ce-wang-hui-234716",[25,26,83,53,200,60,7,146,296,454,294,238,102,1614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c4ad8c583772a1f582c6129c6abb9f6.jpg",[],{"id":10452,"slug":10453,"title":10454,"dynasty":18,"author":10455,"museum":224,"description":10456,"tags":10457,"thumbUrl":10458,"material":88,"size":88,"collection":88,"collections":10459,"showCount":257,"zanCount":42,"manualWeight":42,"mainColor":92},234602,"shuang-gou-zhu-wan-shan-li-yu-234602","双钩竹纨扇","李育","李育 [清]（1843―？）字梅生，甘泉（今江苏扬州）人。尝师事朱本，与李绂尘称“南北李”。\n尝师事朱本，与李绂尘称“南北李”。工人物、花鸟、杂品，其写意花卉木石，能综各家所长，脱略高浑，下笔甚捷，有心手相和色墨并施之妙。惟山水过于求脱，又不耐皴染，是以不逮古人。而小帧扇头间一为之，又复巧于布置。尝为黄小园作花鸟虫介画册二百页，换羽移宫，层出不尽，诚杰作也。未几患臂，尚闭门临管希贤画册不止。光绪三十年（1904）尝作修竹远山图，时年六十二。亦工行、草，善八分。",[25,26,1120,3400,53,7,102,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F344f8fe491415a39707dc4487a1ef2e8.jpg",[],{"id":10461,"slug":10462,"title":3875,"dynasty":48,"author":10463,"museum":224,"description":10464,"tags":10465,"thumbUrl":10466,"material":88,"size":88,"collection":88,"collections":10467,"showCount":257,"zanCount":42,"manualWeight":42,"mainColor":92},234268,"hua-hui-ce-qi-xun-234268","戚勋","戚勋字伯屏，号羽明。明末江阴人。\n早年为诸生，崇祯十六年秋八月，授文华殿中书舍人。弘光帝即位，奉诏督饷福建，不久南京陷落。与陈明遇迎故典史阎应元为帅。城破，戚勋在壁上书写“大明文华殿中书戚勋死节之地”，自焚死。著有《留丹集》、《佩朱随笔》。",[23,25,26,83,53,58,102,65,66,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0033685bba334666ca8ac9ae54eca497.jpg",[],{"id":10469,"slug":10470,"title":10471,"dynasty":48,"author":10472,"museum":50,"description":10473,"tags":10474,"thumbUrl":10475,"material":104,"size":88,"collection":88,"collections":10476,"showCount":257,"zanCount":42,"manualWeight":42,"mainColor":92},234127,"feng-shan-tang-ji-yong-juan-chen-yi-234127","封山堂集咏卷","陈沂","陈沂（一四六九-一五三八）[明]，字号：宗鲁、鲁南、石亭、小坡 浙江鄞县(今浙江宁波)人，擅长书法及山水，以医籍居南京。初学宗鲁﹝应系初字宗鲁之讹﹞，后改鲁南，号石亭。少年时慕苏轼学行，因号小坡。正德十二年进士，官编修，嘉靖中以行太仆卿致仕。工诗文书画，与顾璘、王韦称“金陵三俊”。相传他在六七岁时就能模仿前人画迹。年长，好画山水，在翰林院时与名画家文徵明为同僚友好，经常切磋研讨，对于技法有进一步的提高。他在做官的历程中，对于所经历的名山大川，都留心观察，临写成为画卷。",[23,25,26,56,58,29,28,53,200,453,455,296,454,7,294,295,57,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d473dace969ff798d1dc4cd5242fb1.jpg",[],{"id":10478,"slug":10479,"title":10480,"dynasty":97,"author":168,"museum":50,"description":10481,"tags":10482,"thumbUrl":10483,"material":1186,"size":10443,"collection":88,"collections":10484,"showCount":257,"zanCount":42,"manualWeight":42,"mainColor":92},234079,"mu-niu-tu-ye-yi-ming-234079","牧牛图页","此作以极简构图层叠出清寂悠远的乡野意趣，大片留白晕染出郊野冬日的空濛淡远。坡岸之上老牛蜷卧垂首，以淡墨轻施晕染，将其温驯慵懒的休憩之态尽显，似在静享午后闲光。侧旁牧童俯身专注于手边嬉玩，寥寥数笔便勾勒出孩童烂漫天真的神态。几丛细竹疏落布于画面边角，淡墨写就枝叶清萧，愈发衬出天地的空阔安闲。\n\n整幅画作以虚衬实，以简驭繁，将乡野日常的松弛闲趣藏于留白之中，把宋人尚意的美学融在浅淡笔墨里，悠悠闲静之意漫溢绢素。",[25,29,28,83,1463,30,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F841eaa37b6840ef0d12d643444882ba7.jpg",[],{"id":10486,"slug":10487,"title":10488,"dynasty":18,"author":10489,"museum":3628,"description":10490,"tags":10491,"thumbUrl":10494,"material":104,"size":10495,"collection":88,"collections":10496,"showCount":257,"zanCount":42,"manualWeight":42,"mainColor":92},231589,"yang-niao-you-ju-tu-chen-zhen-yue-231589","阳鸟攸居图","陈震岳","此卷用水墨画各姿态鸿雁近百只，笔墨娴熟，造型生动，媲美边颐公。阳鸟即“随阳之鸟,即鸿雁之属”。\n陈震岳，字峻生，又字静斋，福建晋江人。善诗文、书画，所画芦雁尤佳。常于江天暮景，观雁之飞鸣起伏，而得其神妙。",[23,25,26,56,53,28,592,7,2155,10492,10493,456,2744,24],"湿地","群鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1686057e9b26e44ff14f72b02d489fbf.jpg","26x498厘米",[],{"id":10498,"slug":10499,"title":1120,"dynasty":18,"author":10500,"museum":224,"description":10501,"tags":10502,"thumbUrl":10504,"material":88,"size":88,"collection":88,"collections":10505,"showCount":257,"zanCount":42,"manualWeight":42,"mainColor":92},230165,"shan-mian-lin-xing-230165","林行","此作用淡赭晕染山峦，以短披麻皴勾勒山石肌理，厚重朴拙间见温润质感。留白作溪云环萦，虚实相映，让山水生出空濛灵秀之态。\n左侧板桥之上，三两策杖行人徐行，为幽寂山水添上鲜活烟火气；右侧竹篁深秀间茅舍隐现，暗合山居幽栖之趣。\n笔墨舒缓柔和，不见剑拔弩张的锋芒，将江南林麓的清寂安闲铺展开来，动静相融间，把文人心中林下幽居的悠然诗意，藏在淡墨轻岚之中。",[25,26,1120,53,238,200,1615,214,294,7,455,296,10503],"屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e978dfc087b2b735d0da2f091cf4fad.jpg",[],{"id":10507,"slug":10508,"title":10509,"dynasty":48,"author":10510,"museum":224,"description":10511,"tags":10512,"thumbUrl":10522,"material":960,"size":961,"collection":88,"collections":10523,"showCount":257,"zanCount":42,"manualWeight":42,"mainColor":43},228347,"huang-zhou-zhu-lou-ji-shen-zao-228347","黄州竹楼记","沈藻","沈藻，字凝清，一字仲藻，华亭（今松江属上海市）人，明代书法家沈度之子。",[57,58,102,10513,1615,4749,7247,1573,7,3257,10514,10515,4753,294,118,10516,10517,10518,10519,10520,10521],"竹楼","酒","茶","雁","屋","城","滩濑","素月","清风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f132ee553de624622d081448aee353c.jpg",[],{"id":10525,"slug":10526,"title":10527,"dynasty":167,"author":168,"museum":224,"description":10528,"tags":10529,"thumbUrl":10530,"material":88,"size":88,"collection":88,"collections":10531,"showCount":257,"zanCount":42,"manualWeight":42,"mainColor":43},228222,"qiu-lin-shan-zhuang-tu-ye-er-yi-ming-228222","秋林山庄图页二","此画以淡墨写就秋山幽居之景。萧疏枯木虬曲伸展，枝桠棱棱尽染清秋寥落之意，旁生细竹添得几分柔雅生机。山石以简笔勾勒，皴擦浅淡风骨清癯，崖畔栈道蜿蜒，板桥通连幽处茅舍，藏着山居闲逸。远景江天空阔，远山一抹轻晕，留白尽衬荒寒淡远。\n\n笔墨松秀简净，无过多繁饰，以简淡之形托出幽寂清远的林下意趣，将幽居山野的恬然与秋林清寂相融，尽显寄情林泉的文人雅怀，淡而韵长，简中见味。",[23,25,53,200,83,199,238,2299,741,7,35,455,454,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c54853a4977f83f600f2b3a3909c5df.jpg",[],{"id":10533,"slug":10534,"title":10535,"dynasty":18,"author":3904,"museum":224,"description":10536,"tags":10537,"thumbUrl":10538,"material":88,"size":88,"collection":88,"collections":10539,"showCount":257,"zanCount":42,"manualWeight":42,"mainColor":92},224325,"hua-niao-shi-er-kai-3-li-shan-224325","花鸟十二开3","此作以淡墨晕染雀鸟翎羽，绒毛细密质感尽显，小雀侧首凝神，灵动野趣跃然纸上。竹枝以浓淡墨色挥写，叶片俯仰错落，笔致纵逸萧散，尽显清劲风骨。诗书与绘事相融，题字欹斜错落，文气萦绕画面。整作笔简意赅，将花鸟生趣与文人幽思揉合，以意写形不拘成法，墨色干湿互衬，寥寥数笔便勾勒出江乡小景的幽寂意韵，尽显随性疏朗的文人画风骨。",[23,25,26,83,53,29,85,7,281,57,58,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F476aad52c5f6bd95cc590c2a2bb64743.jpg",[],{"id":10541,"slug":10542,"title":10543,"dynasty":1567,"author":168,"museum":224,"description":6003,"tags":10544,"thumbUrl":10546,"material":960,"size":961,"collection":88,"collections":10547,"showCount":257,"zanCount":42,"manualWeight":42,"mainColor":92},223918,"wu-cai-hua-kou-wan-yi-ming-223918","五彩花口碗",[8691,10545,29,59,7,1571,33],"五彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa1e8039ca14caf18a9f60ca12521d91.jpg",[],{"id":10549,"slug":10550,"title":10551,"dynasty":97,"author":168,"museum":224,"description":10552,"tags":10553,"thumbUrl":10554,"material":88,"size":88,"collection":88,"collections":10555,"showCount":257,"zanCount":42,"manualWeight":42,"mainColor":43},223675,"shuang-you-han-chu-tu-yi-ming-223675","霜莜寒雏图","《宋人画霜篠寒雏图》是宋代佚名创作的绢本设色画。\n5只 集于枯棘上，姿势各异，神态如生。\n枯棘下的竹枝色黄叶疏，点明了瑟瑟秋意。\n画家将聚集4只文鸟的重心着落于画面中心偏左的位置，而将另一文鸟绘于右侧高处的棘枝上以分散重心，但它回眸向下的眼神与另外4只相呼应，如此布局使画面既错落有致而重心突出。\n文鸟的描绘先勾出轮廓，再用细劲的笔锋绘出羽毛，并施以淡墨、赭石等色，渲染出毛绒的质感；竹叶使用双钩笔法，然后渲染；竹竿采用白描法；荆棘则一笔画出，显得苍劲老到。\n此图原载《宋人集绘册》。\n图绘家雀五只栖止于枯棘上，右下侧衬以双钩翠竹。\n五只 的神态，刻画极为精工。\n麻雀窃窃私语的神情，欲飞未飞的动态，以及它们茸茸的羽毛，圆而有神的眼睛，描绘得栩栩如生，使人感到如闻其声，如入其境。\n图中竹页用双钩，然后用花青、汁绿渲染，竹竿用白描，荆棘以一笔出之。\n小鸟勾出轮廓后用细笔丝出羽毛，具有毛茸茸的质感。\n此图无作者宽印，钤「宋荦审定」一印。\n本幅无款。\n鉴藏印钤“宋荦审定”。\n裱边题签：“宋人画霜篠寒雏”。\n经清代收藏家宋荦鉴藏，见《石渠宝笈三编》著录。",[23,24,25,28,29,85,281,7,1305],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa796d5d8ac8e342dc30faa9a1bfe80fb.jpg",[],{"id":10557,"slug":10558,"title":10559,"dynasty":18,"author":5051,"museum":425,"description":5052,"tags":10560,"thumbUrl":10561,"material":1745,"size":5056,"collection":88,"collections":10562,"showCount":257,"zanCount":42,"manualWeight":42,"mainColor":92},222652,"zhi-hua-xi-lie-zhi-hua-zhu-xi-gao-qi-pei-222652","指画系列-指画·竹溪",[23,5054,53,7,1090,456,2816],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde50c2552559fadc928067e60eecddd0.jpg",[],{"id":10564,"slug":10565,"title":3030,"dynasty":48,"author":10566,"museum":143,"description":10567,"tags":10568,"thumbUrl":10569,"material":710,"size":10570,"collection":88,"collections":10571,"showCount":257,"zanCount":42,"manualWeight":42,"mainColor":92},222070,"guan-yin-wu-bin-222070","吴彬","吴彬（1550—1643），字文中，又字文仲，明代绘画大师，别字质先，别称文中父、文中子，自号壶谷山樵、遵道生、织履生、一枝栖、枝隐生、枝隐居士、朱湖太生洞天居士、枝隐庵主、枝庵发僧、枝隐头陀、枝隐庵头陀和“金粟如来”等，兴化府（今福建省莆田市）黄石人。流寓金陵（今江苏省南京市）。万历年间，明神宗朱翊钧召见吴彬，试殿中第一，授中书舍人，历工部主事。供职于宫廷画院。工山水，布置绝不摹古，佛像人物，形状奇怪，迥别前人，自立门户。中国国画大师，明代宫廷大画家，晚明人物“变形主义画风”和“复兴北宋经典山水画风”的主要倡导者和领导者之一，享有“画仙”之誉。1988年11月，其名作《文杏双禽图》被收入《中国历代绘画》，列为中国上下五千年的28幅绘画杰作之一。2009年，北京保利秋拍吴彬名作《十八应真图卷》最终以1.6912亿元高价成交，创下当时中国画拍卖价格新的世界纪录。",[23,25,26,48,1559,29,30,7,35,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F113196b48661d21fd07d43fc338d39c0.jpg","62.3x35.3",[],{"id":10573,"slug":10574,"title":10575,"dynasty":18,"author":8571,"museum":182,"description":10576,"tags":10577,"thumbUrl":10578,"material":104,"size":10579,"collection":88,"collections":10580,"showCount":257,"zanCount":42,"manualWeight":42,"mainColor":92},219831,"ren-wu-ce-ye-4-ren-xiong-219831","人物册页-4","任熊善山水、人物、花卉、翎毛、虫鱼、走兽，笔力雄厚，气味静穆，深得宋人神髓。尤擅长人物，绘画师法陈洪绶，人物形象多高古、奇倔、夸张、得陈洪绶神韵而能别出心裁，其自画像神态刻画细致入微，十分写实。任熊对衣纹的勾画向来十分精彩，铁画银钩，很见功力。所题款字也是十分有力，与画法同出一辙。\n此开册页共十二页，内容丰富，题材广博，有人物、仕女、神仙、花鸟、鞍马、博古、山水等等。工笔写意，错杂出之，光怪陆离，不可方物。",[25,26,83,29,28,30,7,294,146,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa782cfb9c2d55dcd6bf8ebdd0505ab1f.jpg","27.2x34.3厘米",[],{"id":10582,"slug":10583,"title":10584,"dynasty":167,"author":168,"museum":143,"description":10585,"tags":10586,"thumbUrl":10587,"material":37,"size":88,"collection":88,"collections":10588,"showCount":257,"zanCount":42,"manualWeight":42,"mainColor":43},218187,"ying-zhen-xiang-zhou-3-yi-ming-218187","应真像轴-3","画面中罗汉趺坐于石上，身着条纹袈裟，衣袂线条流转自然，质感厚重却不失灵动。他手持香炉，指尖轻拈香具，青烟袅袅而上，眉眼间透着静定安然，似在体味香韵中的禅意。上方棕榈叶舒展，墨色深浅交错，与背景淡远的山水相映，更显清幽静谧。整幅画作笔墨雅致，人物神态生动，将罗汉的超然心境与周遭空灵意境融为一体，尽显古朴禅韵。",[25,29,28,1559,30,33,102,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6af86e547907bd3c422896b4422b28f.jpg",[],{"id":10590,"slug":10591,"title":10592,"dynasty":48,"author":10566,"museum":143,"description":10593,"tags":10594,"thumbUrl":10595,"material":87,"size":88,"collection":88,"collections":10596,"showCount":257,"zanCount":42,"manualWeight":42,"mainColor":92},218047,"leng-yan-nian-wu-yuan-tong-fo-xiang-ce-5-wu-bin-218047","楞严廿五圆通佛像册-5","吴彬是明朝的一位著名的文人，他是一位著名的佛学家，在佛教史上有很大的贡献。\n\n楞严廿五圆通佛像册是吴彬所著的一部著名的佛教著作，也是中国佛教史上最著名的像册之一。该像册收录了25尊佛像的图像，其中包括释迦牟尼佛、阿弥陀佛和观世音菩萨等著名的佛像。\n\n像册的图像都是用黑白线条绘制的，但是非常精细，每个细节都清晰可见。这本像册不仅是一部艺术杰作，而且也是一部佛教经典，对于学习佛教的人来说非常有价值。",[25,26,83,29,28,1559,30,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0035f5b77bce14418a8c1ac95c95ca6c.jpg",[],{"id":10598,"slug":10599,"title":10600,"dynasty":48,"author":3462,"museum":143,"description":10182,"tags":10601,"thumbUrl":10602,"material":37,"size":10186,"collection":88,"collections":10603,"showCount":257,"zanCount":42,"manualWeight":42,"mainColor":92},216769,"jiu-lao-tu-1-huang-biao-216769","九老图-1",[24,25,29,28,56,60,7,63,35,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F481ec5024ae8a82f5b150af6a8c88cda.jpg",[],{"id":10605,"slug":10606,"title":10607,"dynasty":48,"author":9282,"museum":8103,"description":10608,"tags":10609,"thumbUrl":10610,"material":104,"size":10611,"collection":88,"collections":10612,"showCount":257,"zanCount":42,"manualWeight":42,"mainColor":43},216744,"ri-ben-zu-shi-tu-3-shou-ye-yuan-xin-216744","日本· 祖师图-3","室町后期画家，称大炊助。受父亲正信水墨画风的影响，加入浓彩的技巧，从而集狩野派新风格之大成。后世称其为古法眼。",[23,25,53,27,200,7,1573,1754,146,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e7e8520e45263184f03388e846b4a9d.jpg","176.0x91.8",[],{"id":10614,"slug":10615,"title":10616,"dynasty":48,"author":4221,"museum":50,"description":10617,"tags":10618,"thumbUrl":10619,"material":69,"size":10620,"collection":88,"collections":10621,"showCount":257,"zanCount":42,"manualWeight":42,"mainColor":92},214877,"shan-shui-ce-4-wen-zheng-ming-214877","山水册-4","文徵明（1313年－1370年）是明朝开国皇帝朱元璋的兄弟，在位时间为1341年-1368年。他是中国历史上著名的文人，被称为“文王”。他创作了许多著名的诗词、书法作品，其中包括《山水册》。\n\n《山水册》是文徵明的著名书法作品之一，共包含了十一幅图画。每幅图画都描绘了不同的山水风光，并配以文徵明的诗词。文徵明的书法风格具有流畅、柔和的特点，《山水册》的笔墨非常优美，被视为中国书法史上的经典之作。",[23,25,26,83,53,58,200,7,35,456,296,238,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd585d623484e8146c50015142b7397e9.jpg","28.5x15.7cm",[],{"id":10623,"slug":10624,"title":10625,"dynasty":48,"author":4221,"museum":50,"description":10617,"tags":10626,"thumbUrl":10627,"material":69,"size":10620,"collection":88,"collections":10628,"showCount":257,"zanCount":42,"manualWeight":42,"mainColor":92},214873,"shan-shui-ce-7-wen-zheng-ming-214873","山水册-7",[23,25,26,83,53,58,57,102,238,200,7,296,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd000820bf6c97737796e1fc843fd8252.jpg",[],{"id":10630,"slug":10631,"title":10632,"dynasty":48,"author":4221,"museum":50,"description":10617,"tags":10633,"thumbUrl":10634,"material":69,"size":10620,"collection":88,"collections":10635,"showCount":257,"zanCount":42,"manualWeight":42,"mainColor":92},214872,"shan-shui-ce-8-wen-zheng-ming-214872","山水册-8",[23,24,25,26,83,53,58,57,102,238,200,7,294,146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F120c57f46773c43b8491cc29949c272c.jpg",[],{"id":10637,"slug":10638,"title":10639,"dynasty":48,"author":5177,"museum":182,"description":10640,"tags":10641,"thumbUrl":10643,"material":88,"size":88,"collection":88,"collections":10644,"showCount":257,"zanCount":42,"manualWeight":42,"mainColor":10645},203254,"ding-mao-xiao-jing-tu-ce-dong-qi-chang-203254","丁卯小景图册","笔墨清润疏朗，山峦以淡墨皴染，得空灵之致；修竹劲挺，孤石朴拙，意态萧散。左侧行书题跋与朱印相映，书画印浑然一体，尽显文人雅趣。画面虽小，却含丘壑万千，淡远意境中藏着禅意与哲思，是文人画“以书入画”“以意取胜”的典型范本，读之如沐清风，心归宁静。",[25,26,83,53,200,7,35,238,102,10642],"行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60cd0bb3d3541735a96190de8726cb1d.jpg",[],"9c9475",{"id":10647,"slug":10648,"title":1182,"dynasty":18,"author":4842,"museum":182,"description":10649,"tags":10650,"thumbUrl":10651,"material":88,"size":88,"collection":88,"collections":10652,"showCount":257,"zanCount":42,"manualWeight":42,"mainColor":10653},202656,"zhu-shi-tu-zhou-zheng-xie-202656","画面中，几竿墨竹自孤石旁拔地而起，竹叶以浓淡干湿的水墨晕染，或聚或散，如挥毫时的笔意流转，撇捺间藏行书风骨。竹竿中锋勾勒，骨节分明，刚劲中带着柔韧，似有凌云之势。旁侧孤石以简淡皴法写就，纹理苍劲，与竹的清劲相映成趣，尽显文人画的雅致与风骨。墨色层次丰富，浓墨点叶显精神，淡墨勾竿见空灵，干湿变化间，竹的生机与石的沉稳交织，传递出不屈的气节与淡然的心境，是文人画中竹石题材的经典之作。",[53,7,35,58,238,27,25,26,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F617b32b2361817b4b82b293939460373.jpg",[],"a79883",{"id":10655,"slug":10656,"title":10657,"dynasty":167,"author":376,"museum":182,"description":10658,"tags":10659,"thumbUrl":10660,"material":88,"size":88,"collection":243,"collections":10661,"showCount":257,"zanCount":42,"manualWeight":42,"mainColor":10662},202030,"lan-zhu-tu-he-zhuang-juan-zhao-meng-fu-202030","兰竹图合装卷","画面以水墨写意绘兰、竹与拳石，兰叶舒卷如流云，墨色层次细腻，或浓墨起笔，或淡墨收尾，柔婉中藏劲健；竹枝挺拔，竹叶寥寥数笔却见风骨，与兰草的清逸相映成趣；拳石以皴擦勾勒，纹理古拙苍劲，石隙间细草点缀，更添生机。整体构图疏朗，笔墨简淡却意韵悠长，尽显元代文人画的雅致情趣，将兰竹的君子气节与石的坚韧品格融于一纸，观之令人心生静穆，仿佛能嗅到兰草的幽芳。",[25,53,66,7,35,238,26,56,102,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffecf13c89a8c4d346ac45f908a4110d3.jpg",[243],"9f9691",{"id":10664,"slug":10665,"title":2333,"dynasty":18,"author":10666,"museum":182,"description":10667,"tags":10668,"thumbUrl":10669,"material":88,"size":88,"collection":71,"collections":10670,"showCount":257,"zanCount":42,"manualWeight":42,"mainColor":10671},201920,"mei-zhu-tu-zhou-hou-li-201920","后礼","墨梅枝干虬曲盘折，焦墨写骨尽显苍劲老辣，疏花点点以简括笔法点染，意趣天成。旁侧青竹数枝，竹叶如戟，墨色清润灵动，与梅枝古拙形成刚柔相衬之韵。整幅以水墨为媒，删繁就简，留白处见空灵，将梅之傲骨、竹之劲节融于方寸。行书题字笔墨流畅，朱红印章点缀，更添文人雅趣。画作于简洁中藏深致，寄托高洁品格，尽显水墨花鸟的清雅韵致。",[25,53,27,59,7,85,58,102,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F231eeae639eaa1f2baa3d09c9cd7c767.jpg",[71],"b4a591",{"id":10673,"slug":10674,"title":10675,"dynasty":167,"author":385,"museum":182,"description":10676,"tags":10677,"thumbUrl":10680,"material":88,"size":88,"collection":243,"collections":10681,"showCount":257,"zanCount":42,"manualWeight":42,"mainColor":10682},201732,"qiu-kong-luo-ye-tu-zhou-ni-zan-201732","秋空落叶图轴","画面以疏简之笔铺陈，枯树虬枝倚孤石而立，旁伴修竹数竿，笔墨清劲萧散。枯树枝干以中锋勾勒，线条如铁线坚韧；孤石用折带皴法，简约间见古拙质感；细竹丛生，笔意灵动，与枯树孤石相映成趣。整幅以干笔淡墨为基调，不施浓彩，传递出空寂淡远的意境，尽显文人画“逸笔草草”的精髓。题跋与书画交融，笔墨间流淌着超脱尘俗的淡泊心境，于极简中藏无穷意蕴，仿佛引观者步入一片清寂的精神桃源。",[25,53,297,35,7,238,3151,4855,946,10678,10679,537,23],"萧散","空寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d5d2095a7384dd19afad4a082832798.jpg",[243],"8f827b",{"id":10684,"slug":10685,"title":10686,"dynasty":48,"author":3876,"museum":182,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“负薪”、 “有客”、“坐石”、“步月”、“枕流”、“径行”（高景逸有《和西筑咏》八首，七题与同，无“径行”，而别有“卧雪”一题），迥然森秀，眼为一洗。\n《引泉》，高诗曰：“次第竹根来，相将得到家。鸟啼春雨后，流出满山华。”\n《负薪》，高诗曰：“采薪松岩下，日暮负盈肩。还思天际鹤，或恐避荼烟。”\n《径行》，高诗无之，另《卧雪》曰：“山上雪连屋，山僧拥褐眠。下方来往绝，身在几禅天。”\n《步月》，高诗曰：“独坐松堂下，参差静影来。西湖歌吹歇，推却小窗开。”\n《种竹》，高诗曰：“自将山竹种，岂望便成林。一竿明月里，聊尔步清阴。”\n《有客》，高诗曰：“偶随白云出，不掩白云扉。有客坐来久，山僧归未归。”\n《坐石》，高诗曰：“裴回涧边石，小憩一悠然。不知山月吐，已满竹窗前。”\n《枕流》，高诗曰：“春涧鸣幽鸟，春华欲满山。不知人世事，一枕石泉闲。”\n瑛姓名见汪玉水《珊瑚网》，玉水开檇李崇祯画社，戊辰（1628）广征诸家作《摩诘句图》，得百余帧，存录者廿七人，其三“清夜何悠悠，扣舷明月中。”署款“啸海朱瑛”，啸海其号也（《西筑》册钤印“山公”，当亦别号）。",[25,26,83,53,200,7,294,455,296,454],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a1b34f36d3d366d7b85519eef1bbba0.jpg",[],{"id":10858,"slug":10859,"title":1601,"dynasty":48,"author":10394,"museum":224,"description":10395,"tags":10860,"thumbUrl":10861,"material":88,"size":88,"collection":88,"collections":10862,"showCount":152,"zanCount":42,"manualWeight":42,"mainColor":92},236547,"hua-niao-ce-tang-zhi-yin-236547",[25,26,83,53,29,54,85,281,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ba2fc4bd453ceb292c4bd0063597ba9.jpg",[],{"id":10864,"slug":10865,"title":8535,"dynasty":48,"author":9469,"museum":50,"description":9470,"tags":10866,"thumbUrl":10867,"material":104,"size":9473,"collection":88,"collections":10868,"showCount":152,"zanCount":42,"manualWeight":42,"mainColor":92},236485,"shan-shui-ren-wu-ce-guo-fen-ya-236485",[25,26,83,53,238,30,200,456,7,146,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24a7bf75a9a3bbbb112432df5fb2459f.jpg",[],{"id":10870,"slug":10871,"title":2484,"dynasty":18,"author":5375,"museum":224,"description":10872,"tags":10873,"thumbUrl":10874,"material":88,"size":88,"collection":88,"collections":10875,"showCount":152,"zanCount":42,"manualWeight":42,"mainColor":92},236045,"shan-shui-ce-wang-yuan-qi-236045","此作用淡墨渴笔绘就，近处危石嶙峋，修竹劲挺清疏，古木倚石而立，林梢后隐见草庐，漾出幽居世外的闲寂。平湖横陈中景，远山以干笔皴擦，淡墨晕染，山峦错落朦胧，似笼着轻烟，晕出空寂萧疏的氛围感。\n笔墨简淡松秀，以留白造境，凭虚实相生勾勒山川丘壑的静穆悠远，不着浓艳敷色，全以笔墨意趣铺就清旷淡远的禅意，观之如临幽寂林泉，心下悠然沉静。",[25,26,83,53,238,200,454,294,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F730960dc4a489440549caf97a31a5c00.jpg",[],{"id":10877,"slug":10878,"title":4248,"dynasty":48,"author":10061,"museum":224,"description":10879,"tags":10880,"thumbUrl":10881,"material":88,"size":88,"collection":88,"collections":10882,"showCount":152,"zanCount":42,"manualWeight":42,"mainColor":92},236001,"zhu-shi-zhou-xiang-de-xin-236001","此画以水墨写意幽寂小景，枯树挺立于中，笔法简练老辣，将老树经霜的苍劲之态尽显，虬枝间淡墨点染木叶，疏朗雅致。奇崛湖石皴染结合，兼具厚重沉稳之质与通透空灵之姿。旁侧修竹清瘦秀逸，竹叶俯仰有姿，和老树顽石相映成趣，衬出画面萧疏淡远的意韵。\n笔墨松秀灵动，墨色层次清和淡润，以极简构图诠释文人画尚简重意的旨趣，将林下澹然雅趣融于方寸，尽显古淡空灵的文人意境。",[25,27,53,7,214,294,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F213b420bb2e5f92a41046051b19c364e.jpg",[],{"id":10884,"slug":10885,"title":2484,"dynasty":48,"author":6294,"museum":224,"description":10886,"tags":10887,"thumbUrl":10888,"material":88,"size":88,"collection":88,"collections":10889,"showCount":152,"zanCount":42,"manualWeight":42,"mainColor":43},235154,"shan-shui-ce-li-liu-fang-235154","此作用笔简淡松灵，淡墨晕染出虚渺远山，如笼轻烟，留白铺就清寂天地。右侧枯木虬曲苍劲，丛树错落交叠，笔墨勾勒尽显草木枯荣之态，飞瀑自丘峦间垂落，掩映茅舍二三，暗合幽寂氛围。\n\n题字与画面浑然相融，笔意萧散简远，以水墨写尽文人心底的淡远幽情，未以繁复设色，仅以干湿浓淡的墨色层次，铺展出冷寂清和的山居意趣，尽显萧散简远的林下之风，将寒夜灯下的幽闲淡远意蕴藏于尺幅之间。",[24,25,26,83,53,238,200,935,454,294,7,146,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a98e86ecf81b6a859d443cfea31890.jpg",[],{"id":10891,"slug":10892,"title":10893,"dynasty":18,"author":2673,"museum":224,"description":10894,"tags":10895,"thumbUrl":10896,"material":88,"size":88,"collection":88,"collections":10897,"showCount":152,"zanCount":42,"manualWeight":42,"mainColor":92},235103,"huai-yin-tu-ce-wang-hui-235103","槐隐图册","此帧以淡墨写就林泉幽隐之境，柔垂柳丝牵起清寂氛围，崖畔幽草簌簌，右侧老槐伴修竹错落而立。笔墨苍秀松灵，山石以淡墨轻皴，不重具象形貌，只取丘壑简淡之致。留白铺陈出空阔疏朗的林下天地，将文人耽幽守寂的襟怀藏在浅淡墨色间。\n\n题款墨痕雅致，与画面浑然相融，笔致松脱空灵，全是随心挥洒的闲适意态，无刻意刻画，仅以逸笔勾勒出山野幽居的清寒澹泊，尽显静穆萧散的林下风流，把寄情林泉的雅趣尽数铺陈开来，是文人写意山水以意驭笔的佳制。",[25,26,83,53,238,7,630,35,428,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49f4d949a1291f30492ce464c1c9df96.jpg",[],{"id":10899,"slug":10900,"title":10901,"dynasty":18,"author":5375,"museum":224,"description":10902,"tags":10903,"thumbUrl":10904,"material":104,"size":10905,"collection":88,"collections":10906,"showCount":152,"zanCount":42,"manualWeight":42,"mainColor":92},234878,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234878","王原祁仿古山水册","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。",[25,26,83,29,200,741,7,146,296,30,102,238,1614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e99ca213e67f55f00ee8f1f4daa0e5.jpg","纵21厘米，横27厘米",[],{"id":10908,"slug":10909,"title":2484,"dynasty":18,"author":3987,"museum":50,"description":10910,"tags":10911,"thumbUrl":10912,"material":88,"size":88,"collection":88,"collections":10913,"showCount":152,"zanCount":42,"manualWeight":42,"mainColor":92},234794,"shan-shui-ce-dong-bang-da-234794","董邦达生于康熙三十八年(1699年)，字孚存，号东山，又号非闻，浙江富阳人。他幼年家贫，致力于学，于雍正元年(1723年)被选拔为贡生。后赴京应试，屡试不第，落魄在京，期间得刑部尚书励廷仪赏识。几经周折，他终于雍正十一年中进士，被授庶吉士。“文臣画家”是董邦达的重要身份。\n乾隆二年(1737年)，董邦达被授编修一职，先后参与编修《石渠宝笈》《秘殿珠林》二书初编以及《西清古鉴》《明史纲目》《皇清文颖》《盘山新志》《热河志》诸书。乾隆三年，任陕西乡试考官，上疏官卷量少，建议用民卷补充，以便朝廷招贤纳才。不久，升任右中允，再迁侍读学士。乾隆十二年，受命入直南书房，擢升为内阁学士。乾隆十五年，迁任侍郎，历任职于户、工、吏诸部，官至礼部尚书。乾隆三十四年(1769年)卒，谥文恪。\n董邦达长于诗，且书画俱精，尤善山水。其画用笔深得古人之法，山水上窥五代董源、巨然及元黄公望，近学明人董其昌，论者称之“古今三董相承”。邱雯对三董相承有过深入阐述：董源山水写南京一带的浑厚华滋，董其昌山水写松江一带的清润宁和，董邦达山水写富春、杭州一带的秀远疏放。董邦达继承董其昌的高雅审美意识，追求山水的自然、自由、可观、可赏、可游、可居，以寄托文人的自由理想，在作品中体现为书卷气以及“和平中正”的审美取向，儒家一贯追求的清、真、雅成为其绘画的重要特征。\n董邦达广习历代名家技艺，除吸收董巨皴法及黄公望浅绛画法，还受“清初四王”影响颇深。但与“四王”不同的是，他更加重视绘画的生气，作品既能迎合皇帝喜爱的盛世升平气象，又有文人画家所追求的幽远意境。其画作中年秀润，晚年苍浑，用笔在不生不熟之间，绝无狂废之态。尤其晚年之作沉雄朴茂，极具生拙野逸之趣，所呈现的文人意趣，继承南宗笔墨的野逸疏放，与董源、董其昌异曲同工。他将文人逸气带入宫廷，与清代宫廷职业画家的工丽装饰明显不同，成为当时宫廷中雅文化的代表。\n董邦达为官35年，深得乾隆皇帝厚爱。他70岁时得乾隆钦赐“紫禁城骑马”。他以年老多病请辞引归，乾隆说：“礼部事不繁，给假安心调治，不必解任。”他不久病逝，乾隆赐其祭葬，并亲自撰写碑文，在文中悲叹：“呜呼！眷文学侍从之劳，松楸影；著老成典型之望，琬琰流辉。裕及后昆，承兹休命。”\n乾隆帝对董邦达的山水画推崇有加。董邦达作品大幅寻丈、小幅寸许，不下数百，许多都“上邀宸眷”，蒙赐御题。乾隆曾赞扬其山水画激发了自己的诗兴，感叹道：“为他山水幽佳处，往往寻题趣有余。”乾隆在评价画坛时弊以及董氏艺术时称：“吾于达也无间然，丰不觉繁俭不欠。前称北苑后香光，艺林都被卿家占。”将董邦达看作画理上的无间知己，谓其山水繁简皆佳、运转自如，认为其笔墨独到，可与画史上最具权威的“南宗”大师北苑(董源)、香光(董其昌)齐驱，可见其山水画在宫廷中地位之高。",[25,53,29,83,200,294,7,146,454,102,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F875ca397370e0f4af62fcea9fca3f34f.jpg",[],{"id":10915,"slug":10916,"title":10917,"dynasty":18,"author":4715,"museum":50,"description":10918,"tags":10919,"thumbUrl":10920,"material":1838,"size":10921,"collection":88,"collections":10922,"showCount":152,"zanCount":42,"manualWeight":42,"mainColor":92},233432,"huang-shan-tu-ce-mei-qing-233432","黄山图册","黄山位于安徽省南部，歙县西北，山脉绵延三百余里，拥有72峰，以奇松、怪石、云海、温泉“四绝”名闻于世。清初安徽地区的著名画家弘仁、梅清、石涛等多以黄山奇景入画，形成了“黄山画派”。其中，梅清笔下的黄山以气势取胜，不同凡响。\n这套《黄山图》册是梅清晚年的精心之作。全册共八开，分别绘天都峰、莲花峰等黄山８景，或孤峰千仞，或云海茫茫，或苍松蔽日，或雄关峻岭，景色各异，气象万千。梅清画黄山之法有三，一以线条勾勒为主，二以墨色渲染为重，三是融勾勒与渲染为一炉。此图册便是采用第三种方法绘制而成。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。他的创作最重师法自然，他曾在燕、吴、齐、楚之地游历名山大川，终日面对青山描摹写生。黄山和家乡宣城是梅清绘画中最着力表现的题材。在《赠慕潭黄山十六景》册上，他自题“余游黄山，凡有笔墨，大半皆黄山矣。”可见他对黄山景色用功之勤。梅清图写黄山自写生入手，又加入自己的主观感受，再以豪放、泼辣的用笔，突出黄山奇、峻、险、秀的意境，独树一帜，别开生面。",[25,53,238,83,102,200,9078,35,454,592,3632,7,294,1560],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d3248ca9a22b55ef40d212ff75967d3.jpg","纵26厘米，横33厘米",[],{"id":10924,"slug":10925,"title":9520,"dynasty":48,"author":9521,"museum":224,"description":9522,"tags":10926,"thumbUrl":10927,"material":88,"size":88,"collection":88,"collections":10928,"showCount":152,"zanCount":42,"manualWeight":42,"mainColor":92},233364,"shi-zhu-zhai-pu-ce-hu-ri-cong-233364",[25,26,83,53,29,7,35,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fe2ea7355e35027e3c415f8d313c469.jpg",[],{"id":10930,"slug":10931,"title":10932,"dynasty":97,"author":168,"museum":50,"description":10933,"tags":10934,"thumbUrl":10935,"material":312,"size":10936,"collection":88,"collections":10937,"showCount":152,"zanCount":42,"manualWeight":42,"mainColor":92},232996,"zhu-lin-bo-ruan-tu-ye-yi-ming-232996","竹林拨阮图页","此图绘溪边竹林下，三位文士，身着长袍，对坐于兽皮垫上。姿态各异，或拨阮，或凝听。\n旁有一童子侍候，一童子跪伏溪边汲水。\n图中人物生动传神，衣纹细劲流畅。衬景丛竹老树，疏密、远近、浓淡相间，错落有致。\n作者佚名。签题李唐作。\n按此图状人物甚工，但非李唐的作风。我们观李唐的《伯夷、叔齐采薇图》是那样的形象深刻，便显得此幅的纤弱了。故改题为无名氏作。",[25,26,83,29,58,28,7,30,310,456,146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1202ac649e222e9dd12763a3f720d050.jpg","纵22.7厘米，横24.5厘米",[],{"id":10939,"slug":10940,"title":10941,"dynasty":97,"author":168,"museum":143,"description":10942,"tags":10943,"thumbUrl":10944,"material":160,"size":10945,"collection":88,"collections":10946,"showCount":152,"zanCount":42,"manualWeight":42,"mainColor":43},232784,"li-dai-hua-fu-ji-ce-di-yi-fu-zhu-se-ren-wu-yi-ming-232784","历代画幅集册(第一幅 著色人物)","本幅画士人坐于榻上，驻目凝思，执笔似欲书写。身旁陈设琴、棋、书、画四事，以及饮食之物，童子在旁斟酒。榻后有座屏风，其上悬挂着士人之写真画轴。画中主人公集文人之雅玩趣事于身边，表现出闲适雅逸之生活。关于画中之人物，可能是追想王羲之，事实上是反映宋文人的生活。南宋流行之“烧香、点茶、褂画、插花”等情趣，在北宋末已酝酿发展中，本幅可见其端倪。一般「画中画」的屏风，多填饰以山水，本幅则以花鸟为饰，相当难得。不但反映出北宋末汀渚水鸟的风格，也反映出徽宗朝花鸟画特别兴盛的时代性。\n本幅画曾经宋徽宗、高宗、清高宗等帝王收藏。清高宗对画中人物甚感兴趣，曾命姚文瀚也画张相似构图之作，画中人物则代之以穿着士服的乾隆皇帝，流露出皇帝也向往雅逸文人生活的心意。",[25,29,28,30,33,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd592d8dc8ca0cfee648f3aaedf109b3.jpg","29x27.8厘米",[],{"id":10948,"slug":10949,"title":10950,"dynasty":1567,"author":168,"museum":224,"description":10951,"tags":10952,"thumbUrl":10953,"material":960,"size":961,"collection":88,"collections":10954,"showCount":152,"zanCount":42,"manualWeight":42,"mainColor":530},230554,"song-xia-da-mo-tu-yi-ming-230554","松下达摩图","此作以淡墨白描写达摩禅定之姿，衣纹圆转简练，宽袍裹挟身形，神情沉凝肃穆，尽显面壁九年的静定禅心。背景松枝以焦墨点染，古拙苍劲，淡墨晕染流云氤氲缥缈，烘出幽寂空灵的禅境，下方山石以干笔皴擦，朴拙厚重，与达摩沉静之气融为一体。\n\n右上角题字笔意纵逸萧散，与画面简淡禅意相得益彰。全作以极简水墨语言，摒弃繁复修饰，在虚实相生间将达摩苦修定力与山林清寂相融，把禅宗空灵内敛的意趣诠释得淋漓尽致，尽显禅画写意的悠远妙味。",[23,25,26,27,1559,199,30,60,214,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f3f2a0c1e592ea964d7d13e6df54c70.jpg",[],{"id":10956,"slug":10957,"title":10958,"dynasty":18,"author":168,"museum":224,"description":10959,"tags":10960,"thumbUrl":10962,"material":960,"size":961,"collection":88,"collections":10963,"showCount":152,"zanCount":42,"manualWeight":42,"mainColor":43},229474,"yong-zheng-fa-lang-cai-ci-huang-di-mei-zhu-xian-chun-pan-yi-ming-229474","雍正 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静穆里晕开含蓄生机，尽显旧时织造工艺的隽秀格调，暗涌着旧时光里的温柔匠心，让雅致风骨随丝缕悠悠流转，晕染出内敛悠然的东方氛围感。",[3758,11253,59,66,7,67,11254],"绸","葱绿色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3508aa2e1379151dee35968c15ec83e.jpg",[],{"id":11258,"slug":11259,"title":11260,"dynasty":18,"author":168,"museum":224,"description":6003,"tags":11261,"thumbUrl":11262,"material":960,"size":961,"collection":88,"collections":11263,"showCount":271,"zanCount":42,"manualWeight":42,"mainColor":92},258964,"fen-cai-mu-dan-wen-xiang-er-da-ping-yi-ming-258964","粉彩牡丹纹象耳大瓶",[8691,9989,29,61,7,592,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46ca00da5dd29d9fc2a88a82a591c471.jpg",[],{"id":11265,"slug":11266,"title":11267,"dynasty":48,"author":168,"museum":224,"description":8689,"tags":11268,"thumbUrl":11270,"material":960,"size":961,"collection":88,"collections":11271,"showCount":271,"zanCount":42,"manualWeight":42,"mainColor":530},257173,"qing-hua-song-zhu-mei-tu-gao-zu-wan-yi-ming-257173","青花松竹梅图高足碗",[48,8691,8692,60,7,59,11269],"高足碗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb7e4d405d1598e98e37ffc6c4bdb502.jpg",[],{"id":11273,"slug":11274,"title":11275,"dynasty":18,"author":168,"museum":224,"description":11276,"tags":11277,"thumbUrl":11278,"material":960,"size":961,"collection":10339,"collections":11279,"showCount":271,"zanCount":42,"manualWeight":42,"mainColor":92},256982,"fen-cai-yu-yao-chang-tu-da-ping-yi-ming-256982","粉彩御窑厂图大瓶","宋代是传统制瓷工艺发展史上一个非常繁荣昌盛的时期。现时已发现的古代陶瓷遗址分布于全国170个县。其中有宋代窑址的就有130个县，占总数的75%。\n陶瓷史家通常将宋代陶瓷窑大致概括为6个瓷窑系，它们分别是：北方地区的定窑系、耀州窑系、钧窑系和磁州窑系；南方地区的龙泉青瓷系和景德镇的青白瓷系。这些窑系一方面具有因受其所在地区使用原材料的影响而具有的特殊性，另一方面又有受帝国时代的政治理念、文化习俗、工艺水平制约而具有的共同性。\n从造型的角度分析，宋瓷的器形较之前代更为丰富多彩，几乎包括了人民日常生活用器的大部分：碗、盘、壶、罐、盒、炉、枕、砚与水注等，其中最为多见的是玉壶春瓶。总的说来，民间用瓷的造型大部分是大方朴实、经济耐用；而宫廷用瓷则端庄典雅、雍容华贵。最能反映皇家气派的是哥、官、钧、汝与定窑口烧制的贡瓷，最能体现百姓喜乐的是磁州、耀州窑口烧制的民间瓷品。\n从纹饰上讲，宋瓷的纹饰题材表现手法都极为丰富独特。一般情况下，龙、凤、鹿、鹤、游鱼、花鸟、婴戏、山水景色等常作为主体纹饰而突现在各类器形的显著部位，而回纹、卷枝卷叶纹、云头纹、钱纹、莲瓣纹等多用作边饰间饰，用以辅助主题纹饰。工匠们用刻、划、剔、画和雕塑等不同技法，在器物上把纹样的神情意态与胎体的方圆长短巧妙结合起来，形成审美与实用的统一整体，令人爱不释手。如婴戏纹，或于碗心、或于瓶腹，将肌肤稚嫩，情态活泼的童子置于花丛之中，或一或二，或三五成群，攀树折花，追逐嬉戏，真切动人，生活气息甚为浓厚。",[1720,9989,29,8691,30,453,200,7,1571,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4230cf6cc4fa3db5b3424ba16ea94a14.jpg",[10339],{"id":11281,"slug":11282,"title":11283,"dynasty":48,"author":168,"museum":224,"description":11284,"tags":11285,"thumbUrl":11287,"material":960,"size":961,"collection":10339,"collections":11288,"showCount":271,"zanCount":42,"manualWeight":42,"mainColor":43},255757,"peng-cheng-yao-mu-tong-qi-niu-yi-ming-255757","彭城窑牧童骑牛","彭城窑，古代北方民窑，磁州窑的中心窑场之一。彭城窑创始于宋，经过金元的发展，在元末明初达到顶峰，并且一直延续到民国时期。\n窑地位于河北省邯郸市峰峰矿区彭城镇，有盐店和大庙坡两处遗址。该窑产品十分丰富，尤其在元明时期，造型有碗、盘、瓶、罐、坛、盆、炉、枕、瓷俑及陶瓷玩具等，装饰技法有白地黑花、白地赭花、灰地白彩、刻划花、绿釉、五彩、翠蓝釉及黑釉、天目釉等。",[8691,33,1463,30,11286,29,7],"牧童","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee2015cdbccf28ca98e231fc96efe676.jpg",[10339],{"id":11290,"slug":11291,"title":11292,"dynasty":18,"author":168,"museum":224,"description":11293,"tags":11294,"thumbUrl":11296,"material":960,"size":961,"collection":88,"collections":11297,"showCount":271,"zanCount":42,"manualWeight":42,"mainColor":530},249188,"qian-long-kuan-hua-fa-lang-zhu-tao-wen-bei-yi-ming-249188","乾隆款画珐琅竹桃纹杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[11295,8681,29,7,1380,33],"画珐琅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c3fb865c9f89dc91e9a0f3eeb5e8109.jpg",[],{"id":11299,"slug":11300,"title":11301,"dynasty":18,"author":9452,"museum":224,"description":10357,"tags":11302,"thumbUrl":11304,"material":960,"size":961,"collection":88,"collections":11305,"showCount":271,"zanCount":42,"manualWeight":42,"mainColor":43},241470,"xing-kai-jin-zhu-fang-cong-yi-duan-juan-yao-song-241470","行楷晋麈芳丛一段卷",[57,56,11303,3631,61,5316,487,62,60,7,59,67,63,66,455,296,708,592,767,200,65],"行楷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01aec93a00f535293be71bc9dc187444.jpg",[],{"id":11307,"slug":11308,"title":11309,"dynasty":18,"author":11310,"museum":224,"description":11311,"tags":11312,"thumbUrl":11316,"material":104,"size":88,"collection":679,"collections":11317,"showCount":271,"zanCount":42,"manualWeight":42,"mainColor":92},241019,"wu-gu-zhou-cao-ting-dong-241019","五古轴","曹廷栋","生于清圣祖康熙三十八年，卒于高宗乾隆五十年，年八十七岁。诸生。少嗜学工诗，中年后，绝意进取。于所居累土为山，环植花木，以奉母，名之日慈山，因自号慈山居士。时或弹琴赋诗写兰石摹篆隶以抒其闲寂。后益耽著述，不下楼者三十年，所坐木榻穿而复补。性旷达，晚自营生圹，手植梅花成林。廷栋生平最爱贺铸诗，故所为大似北宋人。尝以《宋诗钞》漏略尚多，因搜采遗佚，为《宋百家诗存》二十八卷；他着有《产鹤亭诗集》七卷，《老老恒言》五卷，《易准》四卷，《昏礼通考》二十四卷，《孝经通释》十卷，《逸语》十卷，及《琴学内篇》一卷，《外篇》一卷，均《清史列传》并传于世。",[57,27,58,102,720,31,11313,11314,11315,767,5995,7],"渭水","秋水","孤帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f5376f4e87589ee425ab452052d0c32.jpg",[679],{"id":11319,"slug":11320,"title":11321,"dynasty":18,"author":11322,"museum":224,"description":11323,"tags":11324,"thumbUrl":11326,"material":960,"size":961,"collection":88,"collections":11327,"showCount":271,"zanCount":42,"manualWeight":42,"mainColor":43},240150,"shi-juan-yong-rong-240150","诗卷","永瑢","爱新觉罗·永瑢（1744年1月28日—1790年6月13日），号九思主人，又号西园主人。少时居圆明园碧桐书院，亦称碧桐书院阿哥。清朝宗室，乾隆帝第六子，皇三子永璋同母弟，母为纯惠皇贵妃苏氏。\n乾隆二十四年十二月，出继慎靖郡王允禧，封贝勒，管理内务府、充《四库全书》玉牒馆总裁、监管钦天监事务。三十七年（1772）年，晋质郡王。五十四年（1789），晋封质亲王。\n乾隆五十五年（1790年），去世，时年四十八岁，谥号为庄。工诗擅画，主要作品有《岁朝图》《枫溪垂钓图轴》。",[23,25,26,56,58,57,102,53,29,28,238,1615,1754,4749,5995,35,454,592,2299,741,85,67,59,7,66,32,61,63,62,64,2015,780,296,11325,897,428,294],"镜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51bef9db8d13140b80a43b3a09f5f780.jpg",[],{"id":11329,"slug":11330,"title":2484,"dynasty":18,"author":9718,"museum":224,"description":11331,"tags":11332,"thumbUrl":11333,"material":88,"size":88,"collection":88,"collections":11334,"showCount":271,"zanCount":42,"manualWeight":42,"mainColor":92},239364,"shan-shui-ce-wang-san-xi-239364","此帧以淡墨晕染远山，将谷中氤氲雾气铺陈开来，左上飞瀑垂落，碎玉落入寒潭，随波漾开清浅留白，摹写出平湖空寂。近景虬曲矮树斜生石畔，墨色点染的花叶与身旁幽竹交映，石隙细流潺潺汇入清溪。\n\n配题诗以笔补画境，将林樾阴浓、山光浸溪的幽寂尽数托出，整体笔墨秀润清雅，于尺幅间铺展出世外林泉的静穆禅意，观之如临其境，似能呼吸到谷中清润山风，将山水间的闲澹空明悄然藏于笔墨方寸中。",[25,26,83,53,29,200,7,296,35,741],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5af868a5a5bb3d88f883d36b6aacae40.jpg",[],{"id":11336,"slug":11337,"title":11338,"dynasty":18,"author":168,"museum":224,"description":11339,"tags":11340,"thumbUrl":11341,"material":88,"size":88,"collection":88,"collections":11342,"showCount":271,"zanCount":42,"manualWeight":42,"mainColor":92},239273,"hou-qi-zhi-hua-hua-niao-ce-yi-ming-239273","后祺指画花鸟册","此作用指为笔，水墨晕染芭蕉阔叶，浓淡干湿间尽显蕉叶向背层次，墨色苍润兼具，带着生拙朴厚的天然意趣，毫无毛笔雕琢的刻意感。旁侧新竹清瘦挺拔，枝叶舒展灵动，与芭蕉形成疏密开合的视觉对照。画面留白疏朗空灵，衬出幽寂闲适的林下意境。\n题诗呼应画境，将酒醒听蕉雨、伴鹤沐清风的隐逸闲思融于笔墨间，把夏日蕉竹的清雅禅意写尽，尽显文人水墨小品的雅致情致。",[25,26,83,5054,53,85,7,1442,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d4b97e92557060500da92c8ac74527.jpg",[],{"id":11344,"slug":11345,"title":7254,"dynasty":48,"author":7255,"museum":224,"description":11346,"tags":11347,"thumbUrl":11348,"material":960,"size":961,"collection":88,"collections":11349,"showCount":271,"zanCount":42,"manualWeight":42,"mainColor":92},239260,"shu-hua-tu-ce-cheng-min-239260","此作以水墨写意绘就，构图疏朗空灵。斜出的松枝虬曲苍劲，松针细劲绵密，带着岁月浸淫的古拙意趣。两丛墨竹错落排布，浓墨挥写竹叶，笔锋爽利洒脱，尽显竹之清劲挺拔、疏朗萧然。淡墨勾染的石块造型简括，与苍松劲竹相映，留白衬出画面通透空寂之感。全幅不施丹青，仅以浓淡水墨区分物象层次，将松之坚贞、竹之清刚、石之沉静相融，以物寄怀，寥寥数笔便勾勒出君子风骨，尽显文人画萧散雅致的林下意韵，笔墨简淡却风神自足。",[25,26,53,83,7,214,428],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2ef6c68906bcfa72d7ffff02823586c.jpg",[],{"id":11351,"slug":11352,"title":7254,"dynasty":48,"author":7255,"museum":224,"description":11353,"tags":11354,"thumbUrl":11355,"material":960,"size":961,"collection":88,"collections":11356,"showCount":271,"zanCount":11,"manualWeight":42,"mainColor":92},239256,"shu-hua-tu-ce-cheng-min-239256","此作用笔爽利老辣，以浓墨挥写竹叶，聚散错落有致，枝桠遒劲舒展，尽显修竹清瘦挺拔的君子风骨。画面留白疏朗空灵，虚实相生之间，衬出竹影摇曳的悠然意态。墨色浓淡自然晕化，笔触带着清劲之气，寥寥数笔便将竹的迎风之姿勾勒传神。极简构图却意韵悠长，将画者寄情于竹、追慕高洁澹泊的心境融于笔端，淡远清幽，尽显文人写意画的雅致意趣，于尺幅之间藏着悠悠林下之风。",[25,26,83,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc060c7414c6a9b76d08bbdb25e9f1bc0.jpg",[],{"id":11358,"slug":11359,"title":3556,"dynasty":18,"author":11360,"museum":224,"description":11361,"tags":11362,"thumbUrl":11363,"material":88,"size":88,"collection":88,"collections":11364,"showCount":271,"zanCount":11,"manualWeight":42,"mainColor":92},239156,"shan-shui-hua-hui-ce-chen-heng-ke-239156","陈衡恪","陈衡恪(1876-1923) 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，刻画细腻。\n衣纹以线条为骨，古拙而流畅。\n图中坚硬的山石以湿墨皴擦出形，秀挺的青竹以浓淡墨相衬晕染，朦胧有致。\n石与竹烘托出像主的中心位置，同时，以物托志，标示出像主高致朗逸的内在情怀。\n款署 ：“癸巳冬十一月，云柯先生属写。\n晓楼费丹旭。\n”钤“子苕”朱文印。\n鉴藏印有 “ 印”、“石雪斋秘笈印”等共4方。\n“癸巳”是道光十三年(18年)，作者时年岁。",[24,25,26,27,199,53,29,30,7,146,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ae970ae071e04f94b8ee705744f033d.jpg",[],{"id":11470,"slug":11471,"title":11472,"dynasty":18,"author":11473,"museum":50,"description":11474,"tags":11475,"thumbUrl":11476,"material":88,"size":88,"collection":88,"collections":11477,"showCount":271,"zanCount":42,"manualWeight":42,"mainColor":92},234625,"ting-bei-dai-yue-tu-wan-shan-sha-fu-234625","停杯待月图纨扇","沙馥","沙馥（1831年—1906年），字山春，号粟庵，别署香泾外史，江苏苏州人，晚清画家。出身绘画世家，马仙根弟子，工人物、仕女、花鸟，笔意纵意饶富韵致。\n沙馥善画人物、仕女、花卉，以此为业，为苏州阊门外山塘年画铺中最著名画家。初慕陈老莲；咸丰间任熊至吴门，曾问业于任熊；任熊去世后，又与任薰关系甚密。后因自愧画学不如任薰雄伟恣肆，遂弃老莲法，转学改琦、费丹旭，并专攻仕女、花卉，遂自成一家，卒年七十六。",[25,26,1120,29,28,30,294,7,767,2756,3435],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ee5f9716eafa22ef7e9a25ec8ef9557.jpg",[],{"id":11479,"slug":11480,"title":11481,"dynasty":1567,"author":11482,"museum":224,"description":11483,"tags":11484,"thumbUrl":11485,"material":960,"size":961,"collection":88,"collections":11486,"showCount":271,"zanCount":42,"manualWeight":42,"mainColor":92},231606,"ju-zhen-hua-pu-shang-zhong-xia-ce-xia-shou-ye-tan-you-231606","聚珍画谱.上中下册（下）","狩野探幽","狩野探幽（1602～1674），京都人，原名守信，狩野永德之孙，孝信长子，狩野派代表画家。",[25,26,83,53,29,199,200,85,30,453,455,296,59,66,7,67,35,454,592,1614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d3f0f3f9d209b31058c7b680bf600a6.jpg",[],{"id":11488,"slug":11489,"title":11490,"dynasty":1567,"author":11491,"museum":224,"description":11492,"tags":11493,"thumbUrl":11496,"material":960,"size":961,"collection":88,"collections":11497,"showCount":271,"zanCount":42,"manualWeight":42,"mainColor":92},230580,"ming-qing-fang-gu-fen-ben-hua-niao-juan-1-tu-zuo-bing-guang-lin-feng-230580","明清仿古粉本花鸟卷1","土佐并光琳风","此作合装成卷，兼纳诸类绘事。起首工笔禽鸟，雄雉敷色秾丽，翎毛晕染细致，华彩毕现，雌雉朴雅写实，体态宛然，形神兼备。转而为扇面界画小品，屋宇勾描工致，人物市井排布错落，尽揽俗世烟火意趣。没骨花卉晕染柔和，枝头小雀灵动生姿。写意渡头行舟、寒林归鸦则笔墨简淡，晕开萧疏禅意。仕女图线条秀逸温婉，人物神态含蓄端丽，尽显古典闺秀韵致。卷尾花鸟与书法题跋相映成趣，整卷融工笔、写意、界画技法于一炉，兼取院体工致与文人写意意趣，尽显东方古典绘事雅致抒情的笔墨意韵。",[23,25,26,56,29,28,199,1614,102,85,30,708,592,62,61,454,453,296,1120,2979,1858,11494,60,7,146,455,31,780,11495,1763,456,281,58,619],"燕子","船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7baf0b9e253928a2066f618834c6172f.jpg",[],{"id":11499,"slug":11500,"title":11501,"dynasty":18,"author":168,"museum":224,"description":10959,"tags":11502,"thumbUrl":11504,"material":960,"size":961,"collection":88,"collections":11505,"showCount":271,"zanCount":42,"manualWeight":42,"mainColor":43},229126,"fa-lang-cai-ci-zhe-mo-zhu-shi-tu-wan-yi-ming-229126","珐瑯彩瓷赭墨竹石图碗",[8691,10961,11503,7,214],"赭墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3eebe41247912c353f803dd03a49a26.jpg",[],{"id":11507,"slug":11508,"title":11509,"dynasty":1567,"author":168,"museum":224,"description":11510,"tags":11511,"thumbUrl":11517,"material":960,"size":961,"collection":88,"collections":11518,"showCount":271,"zanCount":42,"manualWeight":42,"mainColor":92},225475,"fu-shi-hui-233-yi-ming-225475","浮世绘233","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。",[11512,11513,29,30,31,7,33,8328,642,11514,11515,11516,1570],"浮世绘","木刻","垫子","小桌","瓶罐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8df95966597f1edd0f21f060475f25ca.jpg",[],{"id":11520,"slug":11521,"title":11522,"dynasty":167,"author":11523,"museum":143,"description":11524,"tags":11525,"thumbUrl":11526,"material":104,"size":11527,"collection":88,"collections":11528,"showCount":271,"zanCount":42,"manualWeight":42,"mainColor":92},221761,"qi-yan-lv-shi-liang-qi-221761","七言律诗","良琦","释良琦，字元璞，苏州人。住天平山之龙门寺。与顾阿瑛、陶宗仪、张渥等交游甚密。元末随顾瑛移居嘉兴,住城东兴圣寺。既究禅理，兼通儒学，亦能诗文。",[23,24,26,57,58,53,102,4756,296,767,7,454,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4867de88d29dfd67b134418ad75ba572.jpg","50.8x73.9厘米",[],{"id":11530,"slug":11531,"title":11532,"dynasty":48,"author":277,"museum":224,"description":11533,"tags":11534,"thumbUrl":11535,"material":69,"size":88,"collection":88,"collections":11536,"showCount":271,"zanCount":42,"manualWeight":42,"mainColor":43},216309,"xi-xiang-ji-zhen-ben-tu-ce-14-chen-hong-shou-216309","西厢记真本图册-14","墨竹疏枝横斜，笔力古拙凝练，竹叶带风而舞，似揉进西厢记的幽庭私语。老干苍劲如铁，新梢轻扬含柔，线条挺括却藏婉转意，恰如剧中人礼法束缚下的炽热情愫。竹影摇曳间，不见人物却满是情境——或许是隔墙听语的刹那，或许是月下赴约的前奏。水墨浓淡相宜，晕染出园林清寂，更衬情愫暗流涌动。陈洪绶以简驭繁，借一丛风竹便勾勒出西厢记的幽婉韵致，让观者于竹影风声里，触摸到古典爱情的隐秘温度。",[25,26,83,53,7],"https:\u002F\u002Foss.chuangqi.stor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[2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[8957,11203,1380,11829,65,59,66,7,67,33],"蝠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3303cabda72145422e13399597aa615b.jpg",[],{"id":11833,"slug":11834,"title":11835,"dynasty":18,"author":168,"museum":224,"description":11836,"tags":11837,"thumbUrl":11844,"material":960,"size":961,"collection":88,"collections":11845,"showCount":190,"zanCount":42,"manualWeight":42,"mainColor":43},245343,"yin-mei-zhu-ren-wu-tu-long-bing-dai-gai-zhi-hu-yi-ming-245343","银梅竹人物图龙柄带盖执壶","此执壶造型华贵精巧，龙形执柄矫健灵动，龙头探向壶口，似欲衔取壶中琼浆；盖顶瑞狮盘踞，鬃毛毕现威严雄健。鎏金壶嘴提亮器物色调，冷银暖金相映，撞出雅致的视觉层次。\n\n瓜棱形壶身錾刻梅竹人物图景，梅枝清逸、竹影萧萧，其间人物鲜活传神，将文人雅会的闲逸意趣融于银器之上。錾刻工艺细腻入微，衬得画面层次分明，把方寸间的小景勾勒得生动饱满。四足稳稳承托壶身，让整体形制庄重不失灵韵，尽显清代银作工艺的精湛水准，将瑞兽吉意与文人雅景巧妙融合，是一件匠心独具的银作珍品。",[10305,11838,4148,1571,11839,59,7,30,11840,11841,11842,11843],"执壶","瑞狮","錾刻","鎏金","瓜棱形","文人雅会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3066668cd747814fe15f921a93728b94.jpg",[],{"id":11847,"slug":11848,"title":11849,"dynasty":18,"author":168,"museum":224,"description":11850,"tags":11851,"thumbUrl":11859,"material":960,"size":961,"collection":88,"collections":11860,"showCount":190,"zanCount":11,"manualWeight":42,"mainColor":530},241972,"yin-du-jin-qian-zhu-mei-die-zhu-ye-wen-qian-zi-yi-ming-241972","银镀金嵌珠梅蝶竹叶纹钳子","银镀金为骨，点翠晕开幽蓝梅瓣蝶翼，莹白珍珠凝作花心，朱红珊瑚点缀花苞，将岁寒清趣藏于耳畔。垂悬的竹叶点翠流苏随步履轻摇，似把竹间清风系在鬓边。冷调翠色衬得金底愈显暖润，柔润珠玉提亮雅致气色，花丝细作与点翠工艺相融，将闺阁温婉揉进方寸首饰里，尽是东方雅致意韵。",[1720,10305,11852,11853,59,2016,7,9165,11854,9666,11855,11856,11857,11858],"金器","嵌珠","银镀金","梅蝶纹","竹叶纹","珠饰","钳子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c934593b9ee179bcd731c96fcf35c64.jpg",[],{"id":11862,"slug":11863,"title":11864,"dynasty":18,"author":11865,"museum":224,"description":11866,"tags":11867,"thumbUrl":11868,"material":960,"size":961,"collection":88,"collections":11869,"showCount":190,"zanCount":42,"manualWeight":42,"mainColor":92},239541,"shi-cui-zhu-shan-jiang-que-lan-239541","石翠竹扇","蒋確兰","此帧以湖石为骨，左植翠竹，右纫幽兰，疏密排布贴合扇面形制，雅致妥帖。湖石以泼墨写意，皴擦间墨色浓淡层次分明，尽显朴拙苍劲的嶙峋之态。翠竹以淡墨写竿，浓墨点染竹叶，清挺有节，自带疏朗清气。兰叶以细劲墨线挥写，穿插舒展若临风摇曳，花朵轻勾淡晕，幽柔清雅。右上角题款笔意萧散，与画面气息浑然相融。全作用水墨为主，淡彩轻施，将兰之幽、竹之劲、石之朴揉合一处，暗合君子比德的文人心趣，寥寥笔墨尽抒林下清逸襟怀。",[1720,24,25,26,1120,53,199,35,7,66],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fceb190df75efaba0195a1f0598d696.jpg",[],{"id":11871,"slug":11872,"title":11873,"dynasty":18,"author":11322,"museum":224,"description":11874,"tags":11875,"thumbUrl":11876,"material":88,"size":88,"collection":88,"collections":11877,"showCount":190,"zanCount":42,"manualWeight":42,"mainColor":92},239376,"hua-zai-yue-shi-yong-shi-yi-ce-yong-rong-239376","画载月十咏诗意册","淡墨晕开空濛天色，细碎飞白点染出暮霭流萤般的朦胧清寂。院舍楼阁错落铺开，翘角飞檐雅致温婉，院墙随坡迤逦，竹树扶疏间藏着幽居沉静。远山以淡赭轻勾，简淡空阔，衬出近景宅院悠然安适。\n\n题诗与落款笔墨瘦劲清雅，诗画交融，将载月闲居的清隽逸趣藏在轻岚淡墨中，把文人寄情林泉的雅怀诉诸笔端，尽显清逸静穆的文人画审美意趣，淡远恬然的幽居意境呼之欲出。",[25,83,452,29,200,453,7,456,146,147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2581eaab605fb9766793fb10f76ed717.jpg",[],{"id":11879,"slug":11880,"title":11338,"dynasty":18,"author":168,"museum":224,"description":11881,"tags":11882,"thumbUrl":11883,"material":88,"size":88,"collection":88,"collections":11884,"showCount":190,"zanCount":42,"manualWeight":42,"mainColor":92},239283,"hou-qi-zhi-hua-hua-niao-ce-yi-ming-239283","以指代笔，墨色清逸疏淡。梅枝虬曲苍劲，苔点晕染老干风霜，枝头繁花轻绽，淡墨圈瓣留白，尽显冰洁孤高之姿。旁侧新竹劲挺，寥寥数笔勾勒枝叶，清瘦舒展自带君子风骨。\n\n行书题跋率意朴拙，笔势与画意浑然相融，诗画合璧，将冬梅凌雪、新竹清雅的意趣尽铺纸面。全幅未施浓色，仅以墨色浓淡分出层次，以简驭形，把文人画以情抒怀的特质淋漓展现，尽显清冷疏朗的文人雅韵。",[25,26,83,5054,53,85,59,7,102,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fc146a9f0e95bd8233ee88dcbe04d91.jpg",[],{"id":11886,"slug":11887,"title":7254,"dynasty":48,"author":7255,"museum":224,"description":11888,"tags":11889,"thumbUrl":11890,"material":960,"size":961,"collection":88,"collections":11891,"showCount":190,"zanCount":42,"manualWeight":42,"mainColor":92},239270,"shu-hua-tu-ce-cheng-min-239270","此作用淡墨勾勒皴擦湖石，线条苍劲古拙，将湖石瘦硬通透、空灵奇崛之态尽显，笔意间饱含文人赏石的清雅意趣。旁侧墨竹以浓墨挥写，竹叶聚散俯仰各具姿态，枝干劲挺清逸，尽显君子之姿。\n\n竹石相伴，浓淡墨色相互映衬，层次分明。画面留白恰到好处，以简驭繁，寥寥数笔便将幽寂清远的林下之风铺陈开来，借竹石寄寓高洁品格，笔墨简括却意韵悠长，尽显以笔抒怀的雅致意境。",[25,53,83,35,7,238,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa673ad7e41ab6f3eda59624cc978d827.jpg",[],{"id":11893,"slug":11894,"title":7254,"dynasty":48,"author":7255,"museum":224,"description":11895,"tags":11896,"thumbUrl":11897,"material":960,"size":961,"collection":88,"collections":11898,"showCount":190,"zanCount":42,"manualWeight":42,"mainColor":92},239255,"shu-hua-tu-ce-cheng-min-239255","此幅墨竹以水墨写意写就，运笔爽利劲挺。中锋绘竹竿，节断意连，涩拙间尽显挺拔清健，暗含君子傲然风骨。侧锋挥写竹叶，聚散合宜，俯仰向背错落有致，墨色浓淡自然过渡，寥寥数笔便将叶片舒展之姿全然带出，灵动鲜活。\n\n画面留白恰到好处，以空衬实，愈发衬出竹之疏朗雅致。一方朱印轻缀角落，既平衡构图，又添古雅意趣。整体简淡空灵，借竹抒怀，将竹之高洁澹泊的君子品格尽显纸面，尽显文人写意画以物明志的隽永意韵。",[25,26,83,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7e42ae5a94aa3aa0a71b19942d42c6c.jpg",[],{"id":11900,"slug":11901,"title":7254,"dynasty":48,"author":7255,"museum":224,"description":11902,"tags":11903,"thumbUrl":11904,"material":960,"size":961,"collection":88,"collections":11905,"showCount":190,"zanCount":42,"manualWeight":42,"mainColor":92},239253,"shu-hua-tu-ce-cheng-min-239253","此作用笔老辣苍劲，中锋写竹竿，挺拔劲健，暗含节节向上的傲然风骨。侧锋挥写竹叶，或聚或散，如含疾风穿林之势，墨色浓淡错落，苍润相济。\n\n以极简的笔墨勾勒出竹的清疏之姿，留白得当尽显空灵雅致。虽只水墨一色，却将竹的潇洒灵动与君子的清刚气节融为一体，笔简意赅，意韵悠长，尽显以物抒怀的文人意趣，寥寥数笔便写尽竹之疏朗逸态。",[25,26,83,53,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d9f8759dbd5e7fde5e264ef339ced16.jpg",[],{"id":11907,"slug":11908,"title":11909,"dynasty":18,"author":7829,"museum":224,"description":7830,"tags":11910,"thumbUrl":11911,"material":960,"size":961,"collection":88,"collections":11912,"showCount":190,"zanCount":42,"manualWeight":42,"mainColor":92},239129,"shan-shui-he-hui-ce-zhang-zong-cang-239129","山水合绘册",[25,53,83,200,7,454,35,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe70698e4f1bcb7e38491e55857ed5ea5.jpg",[],{"id":11914,"slug":11915,"title":11909,"dynasty":18,"author":7829,"museum":224,"description":7830,"tags":11916,"thumbUrl":11917,"material":960,"size":961,"collection":88,"collections":11918,"showCount":190,"zanCount":42,"manualWeight":42,"mainColor":92},239127,"shan-shui-he-hui-ce-zhang-zong-cang-239127",[25,83,53,238,200,294,7,454,766,5447,3600,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d2093dac5beacc3643d478b8d5b2aca.jpg",[],{"id":11920,"slug":11921,"title":11922,"dynasty":18,"author":11923,"museum":224,"description":11924,"tags":11925,"thumbUrl":11926,"material":960,"size":961,"collection":88,"collections":11927,"showCount":190,"zanCount":42,"manualWeight":42,"mainColor":92},238943,"qing-xiang-si-shi-le-tu-xiang-ce-hu-jun-sheng-238943","庆祥四时乐图像册","胡骏声","字芑香，江苏常熟人。为缓溪翁族孙。翁擅添毫之技，晚岁目力稍衰，思得弟子相佐。骏声方弱冠，从毕琛学画臻众美。翁于是挈之共游凡数载，艺益进，遂为吴中之冠。陈芝楣抚苏时延至幕中，后丧妻，奉母居郡城，颜其斋曰“望禺”，饶幽居之趣。道光十年（1830）曾作仕女图。",[25,29,28,83,30,454,7,488,1754],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92fe832f418592eedce9c88a854118bb.jpg",[],{"id":11929,"slug":11930,"title":9726,"dynasty":18,"author":3987,"museum":224,"description":11931,"tags":11932,"thumbUrl":11933,"material":88,"size":88,"collection":88,"collections":11934,"showCount":190,"zanCount":42,"manualWeight":42,"mainColor":92},238724,"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238724","此作用淡墨晕染出空濛水岸，远山以留白晕开，愈显清旷悠远。左侧坡岸竹树苍润，两位文士相对晤谈，神态悠然尽显林下雅意，隔水洲渚垂柳依依，掩映屋舍，幽寂雅致。右上角题诗呼应画意，诗画相融。笔触清隽秀雅，以简淡笔墨铺陈林泉之致，将诗中寄怀烟水、相逢林下的闲逸情愫，尽数融于尺幅之中，意境简澹幽远，尽显文人高致雅怀。",[25,53,238,83,30,7,294,295,200,57,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53573bcded433e098bb06431006acdb3.jpg",[],{"id":11936,"slug":11937,"title":3481,"dynasty":18,"author":10035,"museum":224,"description":10036,"tags":11938,"thumbUrl":11940,"material":960,"size":961,"collection":88,"collections":11941,"showCount":190,"zanCount":11,"manualWeight":42,"mainColor":92},238490,"hua-hui-tu-ce-jiang-pu-238490",[25,26,83,28,29,85,65,7,11939],"牵牛花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F492c4e28c2f5ed16196ab57b10e80ec1.jpg",[],{"id":11943,"slug":11944,"title":2484,"dynasty":18,"author":11945,"museum":224,"description":11946,"tags":11947,"thumbUrl":11948,"material":88,"size":88,"collection":88,"collections":11949,"showCount":190,"zanCount":42,"manualWeight":42,"mainColor":92},238016,"shan-shui-ce-lu-zun-shu-238016","陆遵书","陆遵书是清代画家、诗人。字扶远、芙苑、即仙，号得岑，又号碧阴居士、紫碧山史。嘉定人，清乾隆二十四年（1759年）举人。嘉定人。二十七年，迎銮献诗画，称旨，供奉内廷。兼得董邦达指授，画学益进。后曾主持东昌书院。五十二年，选广东会同知县，未赴任。卒年六十七。诗极潇洒。画山水烟云深秀，丘壑不穷，晚年喜作远岫平林，亦得真趣。著有《燕台稿》《豫游稿》《停云稿》《练川竹枝词》《七十二峰考》《得岑馆画跋》等。\n乾隆三十三年（1768）中举人，晚年授会同（今湖南怀化）知县，未及赴任而卒。陆遵书山水师承王鉴、王原祁，烟云深秀，丘壑茂密，而另一种写意荒率之笔，系仿项圣谟。晚年声望既重，多作远岫平林。能写诗，意境清丽。乾隆四十八年（1783）曾作《寒林夕照图》。学生金梦惠、顾祝能继承其画学。",[25,26,83,53,238,200,7,294,295,455,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64c9ec43783404bf2adb345b2f388fbc.jpg",[],{"id":11951,"slug":11952,"title":2484,"dynasty":18,"author":11945,"museum":224,"description":11946,"tags":11953,"thumbUrl":11956,"material":88,"size":88,"collection":88,"collections":11957,"showCount":190,"zanCount":42,"manualWeight":42,"mainColor":92},238012,"shan-shui-ce-lu-zun-shu-238012",[25,53,83,200,238,453,60,7,11954,11955,146,456],"寺庙","佛像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f6a46a231d21a0406ca7e4961734907.jpg",[],{"id":11959,"slug":11960,"title":11961,"dynasty":48,"author":11962,"museum":224,"description":11963,"tags":11964,"thumbUrl":11965,"material":960,"size":961,"collection":88,"collections":11966,"showCount":190,"zanCount":42,"manualWeight":42,"mainColor":92},237806,"hua-zhu-shan-jin-sheng-yuan-237806","画竹扇","金声远","此作为金笺墨竹，以浓淡墨色晕染出竹叶俯仰欹侧之姿，笔致爽利苍劲，尽显竹之风骨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乾隆初年，历任湖广、直隶总督。乾隆九年（1744年），授文渊阁大学士兼吏部尚书。乾隆二十五年（1755年），他为次子史奕昂担任甘肃布政司写信给巡抚鄂昌，被告发而削职。乾隆二十七年（1757年），入朝拜相。乾隆二十八年（1758年），去世，追赠太保，谥号“文靖”，入祀贤良祠。",[26,27,58,57,32,7,2633,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42d2bc0f7f5852f8e8fb0b22c26bbddd.jpg",[679],{"id":12653,"slug":12654,"title":11321,"dynasty":18,"author":12655,"museum":224,"description":12656,"tags":12657,"thumbUrl":12658,"material":104,"size":88,"collection":679,"collections":12659,"showCount":137,"zanCount":42,"manualWeight":42,"mainColor":92},240707,"shi-juan-zhou-shao-xing-240707","周绍行","此作用狂草挥就，笔墨跌宕恣肆，线条枯湿浓淡变幻万千，提按顿挫间尽展随性意气。字形大小错落、欹正相生，字势连绵缠绕如惊蛇走虺，满纸氤氲着淋漓云烟。\n\n行气舒张贯通毫无滞碍，将胸中豪情尽数倾泻笔端，纵逸挥洒处带着不羁文人气韵。枯笔苍茫与浓墨厚重相映，时而奔放驰骋时而萦回转合，字字连绵却不失章法，视觉张力强烈，将草书抒情写意的特质发挥到极致，尽显书写时的酣畅快意，是极具个性的抒情书法佳构。",[23,57,56,58,6031,102,7771,4749,1618,6242,6239,489,7,60,897,10514,4753,1615,1754,1573,4756,325,59,66,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e5d7c59fb8156f7154249e96fd8df63.jpg",[679],{"id":12661,"slug":12662,"title":7254,"dynasty":48,"author":7255,"museum":224,"description":12663,"tags":12664,"thumbUrl":12665,"material":960,"size":961,"collection":88,"collections":12666,"showCount":137,"zanCount":42,"manualWeight":42,"mainColor":92},239258,"shu-hua-tu-ce-cheng-min-239258","此作以奇石为骨，丛竹环生依附，尽显文人水墨小品意趣。奇石以淡墨勾廓，略施皴擦，留白衬出嶙峋朴拙的质感，空灵通透间见出山石之态。\n\n墨竹叶以浓墨点染，攒三聚五，笔力劲挺爽利，枝叶错落交叠，虚实相生，将竹的清劲疏朗描摹尽致。竹石相映，以竹之贞直配石之沉稳，暗合君子风骨寄兴，整体简淡清逸，墨色浓淡层次分明，笔简意足，清雅脱俗，尽现传统文人画托物言志的幽远意韵。",[25,26,83,53,7,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc8b34f1bb4ee3f77267f432252292a2.jpg",[],{"id":12668,"slug":12669,"title":7254,"dynasty":48,"author":7255,"museum":224,"description":12670,"tags":12671,"thumbUrl":12672,"material":960,"size":961,"collection":88,"collections":12673,"showCount":137,"zanCount":42,"manualWeight":42,"mainColor":92},239257,"shu-hua-tu-ce-cheng-min-239257","此帧以水墨写意绘竹，老干斜出，渴笔淡墨尽显苍劲挺括，留白疏朗透气。新篁枝叶交叠聚散，浓墨挥写叶片，以墨色浓淡区分阴阳向背，笔势迅疾洒脱，寥寥数笔间便将清竹的灵秀风骨尽显。整体构图虚实相生，删繁就简，以极简笔墨勾勒竹之萧疏意趣，寄寓君子清峻高洁的品格，尽显文人写意画以物言志的风雅神韵。",[25,26,83,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99426c4f8fcb081c6b05d69c3a40a3f4.jpg",[],{"id":12675,"slug":12676,"title":11909,"dynasty":18,"author":7829,"museum":224,"description":12677,"tags":12678,"thumbUrl":12679,"material":88,"size":88,"collection":88,"collections":12680,"showCount":137,"zanCount":42,"manualWeight":42,"mainColor":92},239128,"shan-shui-he-hui-ce-zhang-zong-cang-239128","张宗苍（1686-1756），字默存，江苏苏州人，画家。 师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。",[25,26,83,53,238,200,454,7,297,296,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51769c9ca6acc7b93c0cf228380035a0.jpg",[],{"id":12682,"slug":12683,"title":12684,"dynasty":18,"author":12685,"museum":224,"description":12686,"tags":12687,"thumbUrl":12688,"material":960,"size":961,"collection":88,"collections":12689,"showCount":137,"zanCount":42,"manualWeight":42,"mainColor":43},239068,"shou-zhu-bi-ling-wan-shan-wang-cheng-feng-239068","寿祝避龄纨扇","王承枫","王承枫，字陛臣，号丹麓。咸丰、同治时官河南内黄知县。善分隶，工山水。同治元年（一八六二）有临各家设色山水册。 《清画家诗史》、《清朝书画家笔录》、《瓯钵罗室书画过目考》、《墨林今话》",[25,26,1120,29,28,7,35,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77c14bda65bcdbc5ce398a97ad4514c9.jpg",[],{"id":12691,"slug":12692,"title":2484,"dynasty":18,"author":5969,"museum":224,"description":9743,"tags":12693,"thumbUrl":12694,"material":88,"size":88,"collection":88,"collections":12695,"showCount":137,"zanCount":42,"manualWeight":42,"mainColor":92},238986,"shan-shui-ce-yang-jin-238986",[25,26,83,53,238,200,7,35,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f7fb8af76716c23aa175da6b00b49b.jpg",[],{"id":12697,"slug":12698,"title":12699,"dynasty":18,"author":12700,"museum":224,"description":12701,"tags":12702,"thumbUrl":12703,"material":88,"size":88,"collection":88,"collections":12704,"showCount":137,"zanCount":42,"manualWeight":42,"mainColor":92},238532,"shan-shui-xiao-ce-qian-wei-cheng-238532","山水小册","钱维城","此作以淡墨晕开冬日荒寒之境。坡岸巨石敦厚朴拙，干笔皴擦勾勒肌理，尽显嶙峋苍劲。几株枯木虬曲错立，枝桠疏朗舒展，留白处晕开清寂萧寒。侧畔细竹伶仃探立，一点生机揉碎冷意。远景平岗淡染如烟，以留白代浩渺水色，铺展出空蒙江天。\n\n笔墨简淡清隽，以虚写实，寥寥数笔便将江野疏旷冷逸尽显。笔意松秀沉静，萧索之中藏着澹泊文心，以简驭繁，把幽寂淡远的林下之思融在尺幅之间，尽显文人山水小品的雅致空灵。",[25,26,83,53,200,35,297,7,102,238],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bfea9c680036f8238928879145b5857.jpg",[],{"id":12706,"slug":12707,"title":12699,"dynasty":18,"author":12700,"museum":224,"description":12708,"tags":12709,"thumbUrl":12710,"material":88,"size":88,"collection":88,"collections":12711,"showCount":137,"zanCount":42,"manualWeight":42,"mainColor":92},238520,"shan-shui-xiao-ce-qian-wei-cheng-238520","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。\n钱维城自幼甚喜绘画，开始从族祖母陈书学习画写意折枝花果，勾描渲染，随类赋形，气联意合，整体协调。后来得到了画家董邦达指导，学画山水。所画山水，山势逶迤，流泉飞泻，烟霭飘浮，水光荡漾。构图井然，意境清幽。山石多用皴笔。他的绘画远学元代四家即黄公望、倪瓒、吴镇、王蒙，近学清初四王即王时敏、王鉴、王徽、王原祁。。《桐阴论画》说他的山水画“笔意亦临摹仿麓台，邱壑幽深，树石灵秀，颇臻妙境。”钱维城投身科举时，很少有人知道他擅长书画，直到状元及第后，在随乾隆的一次狩猎中，乾隆射中一只老虎，于是钱维城受命创作“射虎图”，作品完成后乾隆连连称赞，并下令将此画刻在木兰围场的石头上，从此钱维城在画坛上名声大振。在钱维城的绘画中，带棱角的石形、双勾少皴的树干，以及中锋含蓄的细笔、淡墨勾皴的线条，都存有董邦达的笔意，但他更擅长缜密的用笔和青绿、赭石相间的设色，其中也显示出清初“四王”的流派风格，他的作品经常呈现出来的是一派宫廷富贵的气息。在乾隆的收藏目录《石渠宝芨》中，收录的钱维城作品有160多幅，由此可见乾隆皇帝对钱维城作品的赏识程度。著名的有《九秋图卷》。\n钱维城擅长书法，工整精细，“宗磐工书，书法东坡。”他师法宋朝书法四大家之一的苏东坡。落笔苍润，秀骨天成。也能吟诗，以杜少陵为宗。人称“钱文敏尚书，诗宗少陵，书规苏文忠。”可谓诗、书、画一体。",[25,26,83,53,238,102,200,2299,741,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83a3df877634e15ec7163e5760b9aa6e.jpg",[],{"id":12713,"slug":12714,"title":9451,"dynasty":18,"author":12715,"museum":224,"description":12716,"tags":12717,"thumbUrl":12718,"material":88,"size":88,"collection":88,"collections":12719,"showCount":137,"zanCount":42,"manualWeight":42,"mainColor":92},237862,"shan-shui-tu-ce-jin-xue-jian-237862","金学坚","字成峰，秀水（今浙江嘉兴）人。王翚弟子，山水初宗元人，从参宋法，笔意古健，布局极为绵密。贫而能守，不为豪势所屈。《国[清]朝画征录》",[25,29,53,83,200,7,454,708,32,5995,295,456,296,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26f8667c5452f1f7ff629c5c42a8fa76.jpg",[],{"id":12721,"slug":12722,"title":2484,"dynasty":48,"author":7901,"museum":224,"description":7902,"tags":12723,"thumbUrl":12724,"material":960,"size":961,"collection":88,"collections":12725,"showCount":137,"zanCount":42,"manualWeight":42,"mainColor":92},237635,"shan-shui-ce-shen-hao-237635",[25,53,83,102,200,741,7,30,766],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ae76ed86859ba977d0c165b2093897c.jpg",[],{"id":12727,"slug":12728,"title":3556,"dynasty":48,"author":12729,"museum":224,"description":12730,"tags":12731,"thumbUrl":12732,"material":960,"size":961,"collection":88,"collections":12733,"showCount":137,"zanCount":42,"manualWeight":42,"mainColor":92},237508,"shan-shui-hua-hui-ce-jiang-shou-cheng-237508","蒋守成","蒋守成明代画家。字继之,号晓山。丹阳人。善画山水,师法宋元画家赵千里,赵子昂、吴仲圭。亦作花鸟、竹石,都很出色,可惜中年患有眼疾,传世作品甚少。",[25,26,83,53,29,58,57,67,7,35,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae4dbe46d53d181c81ca244fb5ea08b9.jpg",[],{"id":12735,"slug":12736,"title":3556,"dynasty":48,"author":12060,"museum":224,"description":12737,"tags":12738,"thumbUrl":12739,"material":88,"size":88,"collection":88,"collections":12740,"showCount":137,"zanCount":42,"manualWeight":42,"mainColor":92},236900,"shan-shui-hua-hui-ce-shao-mi-236900","邵弥（约1592-1642），明末清初书画家。字僧弥，后以字为名，号瓜畴、芬陀居士。长洲（今江苏苏州）人。性迂僻不谐俗，工诗文，善书法，尤长于绘画。擅画山水，亦能画水仙兰竹，其山水以元人为师承对象，略参以宋人笔意，笔墨疏简秀逸。名重一时，与董其昌、王时敏、王鉴、李流芳、杨文聪、张学曾、程嘉燧、卞文瑜合称画中九友。有《划开众皴图》、《贻鹤寄书图》等传出。草书受米芾、米友仁影响，楷书得锺繇法。",[25,26,83,53,59,7,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9acf17d331a4cc090a10c50e489d10f1.jpg",[],{"id":12742,"slug":12743,"title":8468,"dynasty":18,"author":8469,"museum":224,"description":8470,"tags":12744,"thumbUrl":12745,"material":960,"size":961,"collection":88,"collections":12746,"showCount":137,"zanCount":42,"manualWeight":42,"mainColor":92},236855,"zhu-shi-ce-wang-e-236855",[25,26,83,53,7,214,58,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e7b8c771d3b1599fbbe4100d03f14b5.jpg",[],{"id":12748,"slug":12749,"title":12750,"dynasty":18,"author":168,"museum":224,"description":12751,"tags"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纹亦较多，饰在碗、盘、瓶等器物上。\n屈斗宫元代办烧青白瓷，从南宋至元代。明代盛烧白瓷观音、达摩等塑像，胎釉浑然一体，如同白玉，被赞为"象牙白"、"奶白"或 "天鹅绒白。清代除烧白瓷外，盛烧青花与彩绘瓷器。元代以来，德化窑瓷器输出海外，菲律宾、马来西亚出土有元代德化窑青白瓷，泰国及东非坦桑尼亚等国家也出土有清代德化窑青花瓷器。\n这种瓷器的制作工艺程序如下：他们从地下挖取一种泥土，将它垒成一个大堆，任凭风吹、雨打、日晒，从不翻动，历时三、四十年。泥土经过这种处理，质地变得更加纯化精炼，适合制造上述各种器皿，然后抹上认为颜色合宜的釉，再将瓷器放入窑内或炉里烧制而成。因此，人们挖泥堆土，目的是替自已的儿孙贮备制造瓷器的材料而已，大量的瓷器是在城中出售， 一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[8691,9382,12810,60,7,59,9990,5007,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F792e5b9bcb4248aac253a098067080e2.jpg",[10339],{"id":18403,"slug":18404,"title":18405,"dynasty":167,"author":168,"museum":224,"description":18406,"tags":18407,"thumbUrl":18408,"material":960,"size":961,"collection":10339,"collections":18409,"showCount":42,"zanCount":42,"manualWeight":42,"mainColor":43},261861,"long-quan-yao-qing-you-ke-zhu-wen-lou-kong-xiang-dun-yi-ming-261861","龙泉窑青釉刻竹纹镂空香墩","龙泉窑是中国历史上的一个名窑，宋代六大窑系。汉族传统制瓷工艺的珍品。因其主要产区在浙江省龙泉市而得名。它开创于三国两晋，结束于清代，生产瓷器的历史长达1600多年，是中国制瓷历史上最长的一个瓷窑系，它的产品畅销于亚洲、非洲、欧洲的许多国家和地区，影响十分深远。龙泉窑以烧制青瓷而闻名，在北宋早期以前的产品风格受越窑、瓯窑、婺州窑的影响，特征与三窑的产品相似。胎质较粗，胎体较厚，釉色淡青，釉层稍簿。\n1998年3月，宋代的龙泉窑青釉莲瓣纹瓶从英国追回。\n龙泉窑因在今浙江龙泉县，故名，属我国南方青瓷系统。创造于北宋早期，南宋中晚期进入鼎盛时期，至明代中叶以后渐趋衰落，传世的龙泉青瓷下限至清康熙年间，烧造历史达七、八百年之久。北宋时期的龙泉青瓷，胎骨较厚，胎土淡灰，底足露胎处见赭褐色窑红，胎微出烧，釉的玻化程度好，釉层透明，釉表光泽很强。装饰花纹较简练，常见纹样有鱼纹、蕉叶、金枝、荷花等。装饰风格趋于奔放。处于南宋鼎盛时期的龙泉青瓷，形成了自已独有的艺术风格，显示了独特的魅力。\n南宋龙泉青瓷的造型亦形成自已的风格，稳重大方，浑厚淳朴而又不失秀媚，器型丰富多样，装饰普遍采用刻花和堆塑法，颇具艺术匠心。\n元代龙泉青瓷烧造量大，风格与南宋迥异：器型高大、胎体厚重；胎色为白中带灰或淡黄；釉色为粉青带黄绿，光泽较强，釉层半透明；装饰手法多种多样，有刻、划、印、贴、塑等，以划花为主，花纹粗略，线条奔放，纹饰以云龙、飞凰、双鱼、八仙、八卦、牡丹、荷叶等为多见。此外，还大量出现汉文和八思巴文字款铭。\n明代龙泉青瓷走向衰弱，器物胎体厚重，制作粗糙，胎色为灰黄，釉层厚，透明度高，釉表光泽强，釉色有青灰、茶叶末、灰黄等几种，装饰以釉下刻花为主，亦有模印人物故事的装饰方法。\n宋代龙泉青瓷是青瓷工艺的历史高峰。其青瓷的釉色与质地之美，亦如巧夺天工的人造美玉，全世人为之倾倒。\n那么，在漫长的历史长河中，龙泉窑又经历了怎样的发展轨迹呢?朱伯谦先生在《龙泉窑青瓷》一书中曾将龙泉窑的发展归纳为开创、发展、鼎盛和衰落四个阶段：魏晋和五代十国是开创时期，瓷窑少，生产时断时续，处于就地销售断断续续的生产阶段；北宋至南宋前期是发展期，瓷窑发展快，逐渐形成一个较大的瓷窑体系；南宋后期至元代是鼎盛期，瓷窑迅速发展，青瓷质量大大提高，产品畅销国内外广大市场；明清是衰落期，尤其是明代中期以后龙泉窑处境艰难，瓷窑不断地倒闭减少，至清代晚期结束。如果说这四个阶段勾勒出了龙泉窑发展历史的整个脉络，那么，龙泉窑发展史上的三次辉煌期则是连贯发展脉络的重点和要点。",[8691,33,7,12810,14932,9382],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2b4d8fcf70508592fc67f64ab38fc51.jpg",[10339],{"id":18411,"slug":18412,"title":18413,"dynasty":18,"author":168,"museum":224,"description":6003,"tags":18414,"thumbUrl":18415,"material":960,"size":961,"collection":88,"collections":18416,"showCount":42,"zanCount":42,"manualWeight":42,"mainColor":43},261788,"wu-cai-ren-wu-tu-ping-yi-ming-261788","五彩人物图瓶",[8691,10545,30,33,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9422e1460e797f8958985d3ec8f8f66e.jpg",[],{"id":18418,"slug":18419,"title":18420,"dynasty":18,"author":168,"museum":224,"description":9401,"tags":18421,"thumbUrl":18423,"material":960,"size":961,"collection":88,"collections":18424,"showCount":42,"zanCount":42,"manualWeight":42,"mainColor":43},261702,"yong-zheng-kuan-qing-hua-shan-shui-tu-pan-yi-ming-261702","雍正款青花山水图盘",[8691,8692,7,18422,10309],"盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F359c5ce97dba6975761aa26da12a40f8.jpg",[],{"id":18426,"slug":18427,"title":18428,"dynasty":18,"author":168,"museum":224,"description":8689,"tags":18429,"thumbUrl":18430,"material":960,"size":961,"collection":88,"collections":18431,"showCount":42,"zanCount":42,"manualWeight":42,"mainColor":43},261591,"ge-you-qing-hua-song-zhu-mei-wen-pan-yi-ming-261591","哥釉青花松竹梅纹盘",[8691,8692,14879,14880,60,7,59,18422,10309,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa0db9c40af1568e2ea3d2f64b25ebbf.jpg",[],{"id":18433,"slug":18434,"title":18435,"dynasty":18,"author":168,"museum":224,"description":11276,"tags":18436,"thumbUrl":18437,"material":960,"size":961,"collection":88,"collections":18438,"showCount":42,"zanCount":42,"manualWeight":42,"mainColor":43},261500,"ji-hong-you-fen-cai-mei-zhu-tu-ping-yi-ming-261500","祭红釉粉彩梅竹图瓶",[8691,9989,59,7,13476],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84410d855317e75da507de9635977e98.jpg",[],{"id":18440,"slug":18441,"title":18442,"dynasty":18,"author":168,"museum":224,"description":11827,"tags":18443,"thumbUrl":18446,"material":960,"size":961,"collection":88,"collections":18447,"showCount":42,"zanCount":42,"manualWeight":42,"mainColor":530},261471,"su-san-cai-lin-wen-zan-pan-yi-ming-261471","素三彩麟纹攒盘",[8691,14922,18444,18445,200,7,10309,12826],"攒盘","麟纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76adb6f8a644eec8052287aaf09fa128.jpg",[],{"id":18449,"slug":18450,"title":18451,"dynasty":97,"author":168,"museum":224,"description":18452,"tags":18453,"thumbUrl":18456,"material":960,"size":961,"collection":88,"collections":18457,"showCount":42,"zanCount":42,"manualWeight":42,"mainColor":43},261433,"san-cai-ke-hua-zhen-yi-ming-261433","三彩刻花枕","这款腰圆瓷枕造型温婉敦实，枕面开窗作景，黄彩荷花娇妍舒展，绿彩修竹清劲疏朗，水波轻漾衬出雅静水景，色彩明快雅致。枕身暗刻卷草纹隐于翠绿釉色之下，刻绘相融，釉面莹润鲜亮。\n\n它将消暑之用以清趣之景相融，把夏日池畔的悠然意趣凝于一方枕上，纳凉时亦可目赏幽景，尽显雅致审美，是兼具实用与美学价值的精巧之作。",[8691,18454,18455,488,7,10309,33],"刻花","三彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae7e6e912cc93faa8d321fd5a7a75cf0.jpg",[],{"id":18459,"slug":18460,"title":14988,"dynasty":18,"author":168,"museum":224,"description":11276,"tags":18461,"thumbUrl":18462,"material":960,"size":961,"collection":88,"collections":18463,"showCount":42,"zanCount":42,"manualWeight":42,"mainColor":530},261151,"qian-long-kuan-shan-hu-hong-you-bai-zhu-wen-wan-yi-ming-261151",[8691,10309,10774,7,14990],"https:\u002F\u002Foss.chuangqi.store\u002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2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[24,25,199,1559,30,7,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe40bc4c4f6815092fc06b80ac79bf9d4.jpg",[],{"id":19459,"slug":19460,"title":19461,"dynasty":48,"author":168,"museum":224,"description":8689,"tags":19462,"thumbUrl":19463,"material":960,"size":961,"collection":88,"collections":19464,"showCount":42,"zanCount":42,"manualWeight":42,"mainColor":43},223950,"qing-hua-si-ji-hua-hui-wen-gai-guan-yi-ming-223950","青花四季花卉纹盖罐",[8691,8692,19384,59,66,7,67,33,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dfc14a228effbe736ce0c1703b98418.jpg",[],{"id":19466,"slug":19467,"title":19468,"dynasty":48,"author":168,"museum":224,"description":8689,"tags":19469,"thumbUrl":19470,"material":960,"size":961,"collection":88,"collections":19471,"showCount":42,"zanCount":42,"manualWeight":42,"mainColor":43},223936,"qing-hua-zhu-shi-tu-wan-yi-ming-223936","青花竹石图碗",[3380,8692,8691,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceeae5a482fd958e3848814192c028bf.jpg",[],{"id":19473,"slug":19474,"title":19475,"dynasty":48,"author":168,"museum":224,"description":8689,"tags":19476,"thumbUrl":19477,"material":960,"size":961,"collection":88,"collections":19478,"showCount":42,"zanCount":42,"manualWeight":42,"mainColor":43},223929,"qing-hua-sui-han-san-you-tu-wan-yi-ming-223929","青花岁寒三友图碗",[8692,60,7,59,8691,10774],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a318d7ddb514bdf1e79fee8e0a8f95e.jpg",[],{"id":19480,"slug":19481,"title":19482,"dynasty":48,"author":168,"museum":224,"description":8689,"tags":19483,"thumbUrl":19484,"material":960,"size":961,"collection":88,"collections":19485,"showCount":42,"zanCount":42,"manualWeight":42,"mainColor":43},223927,"qing-hua-si-ji-hua-hui-wen-dun-zi-wan-yi-ming-223927","青花四季花卉纹墩子碗",[8691,8692,10773,28,65,59,66,7,67,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F538d7cabc7121af4704d046ba60928fe.jpg",[],{"id":19487,"slug":19488,"title":19489,"dynasty":18,"author":168,"museum":224,"description":19490,"tags":19491,"thumbUrl":19492,"material":87,"size":88,"collection":88,"collections":19493,"showCount":42,"zanCount":42,"manualWeight":42,"mainColor":43},215128,"er-shi-si-xiao-tu-ce-12-yi-ming-215128","二十四孝图册-12","二十四孝图册 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