[{"data":1,"prerenderedAt":614},["ShallowReactive",2],{"artist-guo-xi-110":3},{"artist":4,"artworks":17},{"id":5,"slug":6,"name":7,"dynasty":8,"birthAndDeath":9,"shortDesc":10,"longDesc":11,"coverUrl":12,"tags":13,"workNumber":14,"initial":15,"showCount":16},110,"guo-xi-110","郭熙","宋","约1000～约1090年","北宋杰出画家、绘画理论家。字淳夫，河阳府温县（今属河南）人。他出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。","","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6faff8738a460b1db8a8cacb906b08c5.jpg",[],35,"G",171,[18,53,72,87,109,127,141,150,163,176,189,201,212,228,245,254,270,283,293,304,314,325,334,344,359,373,382,397,412,428,436,448,458,468,477,485,495,505,514,522,533,541,551,559,568,574,581,588,598,606],{"id":19,"slug":20,"title":21,"dynasty":8,"author":7,"museum":22,"description":23,"tags":24,"thumbUrl":42,"material":43,"size":44,"collection":45,"collections":46,"showCount":49,"zanCount":50,"manualWeight":51,"mainColor":52},221288,"zao-chun-tu-guo-xi-221288","早春图","台北故宫博物院","《早春图》采全景式构图，上下留有天地，远、中、近景则巧妙地布置于“十字形”架构内。\n主山画于中轴上方，山石先以圆笔勾勒轮廓，中锋、侧锋并用，再于阴暗面以湿笔皴擦，层层淡墨反复地渲染，强化量体感，这种技法俗称“云头皴”、“卷云皴”、“乱云皴”或“鬼面皴”，能真实反映沉积岩地貌，也可使画面产生如云雾般变幻的效果，很适合描写初春乍暖还寒，淡冶如笑的山野景象。山腰部分则隐于烟岚中，如临深山幽壑，更显主峰雄伟气势，是为“高远”。\n树丛委以虚、实来营造前后距离，腰间右侧的亭台楼阁，此时环伺于水墨山水中，其下山涧瀑布流泉，与左侧缓坡谷地融雪化成的涓涓源水，蜿蜒地流向前方的江湾，显示水流绵长及山坳纵深。而中景左方是一片旷野河谷，虚渺的远山咫尺千里，是为“平远”，其间一行旅人正从曲涧栈道一端越过小桥，欲达彼岸。而观画者正是透过“S 形”山势引导，将视线从后方的主峰、山岚，中景的楼阁、流泉、行旅等，顺势牵引至近景，空间铺陈手法，是为“深远”。\n干长挺拔的大松伫立岩盘上，佐以蟹爪为树枝、梢末，而浑厚的“鬼面皴”大石雄踞中轴下方，有助于画面重心的稳固。而时值日暮，右方的渔樵收拾起渔网、泊舟登岸，左岸手抱婴孩的妇女及随侧稚童，也笑迎肩挑两担鱼篓的渔夫归来，邻近搭建的房舍，则是一家人准备共进晚餐，享天伦乐的居所。\n综观全幅，赋予观赏者北方大山大水的真实感受，从而能引发可行、可望、可游、可居共鸣的乐趣。",[25,26,27,28,29,30,31,32,33,34,35,36,37,38,39,40,41],"高清","国画","书画","水墨","皴法","三远法","山水","山石","树木","流水","瀑布","云雾","山峦","岩石","苔点","溪流","峰峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b56c53237741c6f94685ae05f95e012.jpg","绢","纵158.3公分，横108.1公分","宋画精选",[45,47,48],"山水画精选","水墨画精选",2376,17,0,"795548",{"id":54,"slug":55,"title":56,"dynasty":8,"author":7,"museum":57,"description":58,"tags":59,"thumbUrl":67,"material":68,"size":11,"collection":47,"collections":69,"showCount":70,"zanCount":71,"manualWeight":51,"mainColor":52},218625,"xi-shan-xing-lv-tu-guo-xi-218625","溪山行旅图","私人收藏","画面层峦叠嶂，主峰巍峨耸立，次峰拱卫环绕，尽显山川雄浑气势。山石以卷云皴法勾勒，纹理如波似浪，赋予山体灵动质感，仿佛云气在岩间流转。山间路径蜿蜒，行旅队伍缓缓前行，或挑担或驱马，于溪畔林间留下鲜活身影。溪流潺潺，树木葱茏，屋舍点缀其间，既有自然野趣，又含人文暖意。笔墨刚劲中见细腻，墨色层次丰富，高远、深远、平远三远之法交织，使画面空间错落有致。观者仿佛可登山远眺层林尽染，可沿溪漫步听水声潺潺，于山水间体悟静谧与生机的交融，感受那份穿越时光的艺术魅力。",[60,26,27,61,62,29,28,31,32,33,34,63,64,65,66],"名画","长卷","设色","孤舟","人物","古道","楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9968fd31d72f248e2d7e1d780f9d2aa4.jpg","绢本,设色",[47],1280,7,{"id":73,"slug":74,"title":75,"dynasty":8,"author":7,"museum":76,"description":77,"tags":78,"thumbUrl":81,"material":82,"size":83,"collection":45,"collections":84,"showCount":85,"zanCount":86,"manualWeight":51,"mainColor":52},221294,"ke-shi-ping-yuan-tu-juan-guo-xi-221294","窠石平远图卷","北京故宫博物院","郭熙(11世纪)，字淳夫，温县(今属河南)人，其艺术活动约在北宋熙宁、元丰(168～185)间。\n擅长画山水。\n画巨石平坡，大小石块间杂生古树灌木，或枝叶繁茂，或枯枝败叶，平坡上有弯曲泉水流过。\n画右边一抹平沙，远处隐约有高山屏立。\n所作石块及平坡以卷云皴为之，树木多作蟹爪状，均为郭熙用笔造型的特点。\n全图以水墨为主，略施淡赭色烘染，描绘了秋日平远空旷的景色。\n画幅左侧作者自署“窠石平远”4字图名及“元丰戊午年郭熙画”款识，可知此图作于北宋神宗元丰元年(178)，为郭熙晚年作品。",[25,26,60,27,61,28,29,31,79,80,32],"孤石","枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0556ced627d4bf0bc2eadd501a1dda33.jpg","绢本，墨笔","纵120.8厘米，横167.7厘米。",[45,47,48],555,5,{"id":88,"slug":89,"title":90,"dynasty":8,"author":7,"museum":22,"description":91,"tags":92,"thumbUrl":103,"material":104,"size":105,"collection":45,"collections":106,"showCount":107,"zanCount":108,"manualWeight":51,"mainColor":52},219426,"xue-jing-tu-guo-xi-219426","雪景图","画中主景偏右半边，雪锋层叠，陡壑悬瀑，作高远景致，其间布列茅舍、溪桥、楼阁、瀑泉、林木等。左半边则绘溪涧蜿蜒，沙渚渔舟，遥山旷渺，作平远景色。本幅无作者款印，旧以画中状似卷云皴蟹爪枝法而传为郭熙所作",[26,93,94,95,96,66,97,98,99,100,101,102,29],"山水画","雪景","茅舍","溪桥","瀑泉","林木","溪涧","渔舟","远山","沙渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64544cce922b7a6232231fd541b948a5.jpg","设色,绢本","194.3x111.1",[45],484,2,{"id":110,"slug":111,"title":112,"dynasty":8,"author":7,"museum":22,"description":113,"tags":114,"thumbUrl":122,"material":43,"size":123,"collection":45,"collections":124,"showCount":125,"zanCount":126,"manualWeight":51,"mainColor":52},221293,"qiu-shan-xing-lv-tu-guo-xi-221293","秋山行旅图","《秋山行旅图》轴峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[25,60,26,27,115,28,31,66,116,117,118,119,120,121,29],"立轴","小桥","村居","行旅","丛树","印章","临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9265b0c3fd5f1ec85ce0abb8c558d348.jpg","纵141.6厘米，横97厘米",[45,47,48],472,3,{"id":128,"slug":129,"title":130,"dynasty":8,"author":7,"museum":131,"description":132,"tags":133,"thumbUrl":135,"material":136,"size":137,"collection":45,"collections":138,"showCount":139,"zanCount":140,"manualWeight":51,"mainColor":52},221289,"shu-se-ping-yuan-tu-guo-xi-221289","树色平远图","美国大都会艺术博物馆","此画描绘了河流两岸树色平远的景色。画中点缀有拄杖的老人，携琴捧盒的仆夫，水面的小舟和飞翔的野凫，都渲染了浓郁的诗意。\n描绘的是一河流两岸树色平远的景色。 画中之景以河为界可分作前后两部分。前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n此图无款，卷后有元明诸家诗文题跋。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。\n《树色平远图》描绘的画面以平远布局，构景简洁，开阔而均衡，墨色浓淡变化丰富而微妙，所造之境具体真实。",[25,26,28,61,31,134,80,79,63,64,120,29],"亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cb64fc6272e7ddc0705cc497dea3417.jpg","绢本墨笔","纵32.4厘米，横104.8厘米",[45,47,48],387,6,{"id":142,"slug":143,"title":21,"dynasty":8,"author":7,"museum":22,"description":23,"tags":144,"thumbUrl":145,"material":146,"size":44,"collection":11,"collections":147,"showCount":148,"zanCount":149,"manualWeight":51,"mainColor":52},231408,"zao-chun-tu-guo-xi-231408",[25,26,60,27,115,28,62,29,31,37,38,33,34,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3107c7f430c4249bafcf20275e778fe2.jpg","绢本水墨",[],338,1,{"id":151,"slug":152,"title":153,"dynasty":8,"author":7,"museum":154,"description":155,"tags":156,"thumbUrl":158,"material":159,"size":160,"collection":47,"collections":161,"showCount":162,"zanCount":108,"manualWeight":51,"mainColor":52},220326,"you-gu-tu-guo-xi-220326","幽谷图","上海博物馆","该图具有典型的中国西北部山川风貌，雪后的山间幽谷，高寒惨淡，山岩峻险。山下一股清泉从参差崚嶒的巉岩中喷涌而出，波撞崖壁，浪激石尖，腾起一片迷茫之气。临潭而立一块巨石，石缝中三五棵老树，枯枝上不着一叶，唯见其盘根错节，虬曲舒伸。随着山势蜿蜒而上，也使坦荡如砥的峰峤渐入眼帘，然而峰峦之间则是一道盘旋曲折的幽壑，崖边林梢丛丛，谷底寒气森森。远处的主峰如虎踞龙盘，巍然而立，下临千丈绝涧，浩渺之气，直与天接。",[25,60,26,27,115,28,29,31,38,33,101,157],"幽谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0fb115b51026981c5179c63b5367e73.jpg","绢本,水墨","纵167.7cm， 横53.6cm",[47,45],243,{"id":164,"slug":165,"title":166,"dynasty":8,"author":7,"museum":167,"description":168,"tags":169,"thumbUrl":172,"material":68,"size":173,"collection":47,"collections":174,"showCount":175,"zanCount":149,"manualWeight":51,"mainColor":52},219184,"shan-cun-tu-guo-xi-219184","山村图","南京大学","描绘了巍峨巨峰下的峡谷中人们的隐居生活。整幅作品山势险峻，气势恢宏，细节之处描写入微，村落、人物生动传神。",[25,26,27,31,28,29,115,32,33,170,34,101,171],"房屋","近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30bef5f72b428fd151f38b62ec7c4b5e.jpg","横54.2cm，纵109.8cm",[47],234,{"id":177,"slug":178,"title":179,"dynasty":8,"author":7,"museum":22,"description":180,"tags":181,"thumbUrl":185,"material":68,"size":186,"collection":45,"collections":187,"showCount":188,"zanCount":149,"manualWeight":51,"mainColor":52},220227,"guan-shan-chun-xue-tu-guo-xi-220227","关山春雪图","画中描绘峻峭奇险的深山大壑，覆盖着皑皑白雪：远处峭壁险崖，有的山势陡峭，有的高远突兀，远处左侧一山峰似一把利剑，直插云霄，气势雄奇，山巅处炯云缭绕，迷雾茫茫。岭头和山谷处，杂木丛生，山石表面处积着厚雪，闪着亮光：中部山石嶙峋，高山环抱着山间的平地，在山腰间平地上，座落着屋宁、古寺、楼阁，掩映在山谷和丛林之中，隐现可见。古寺幽然独处，给人们一种寂然寞然的境界之感。近处为巨岩纵横其间，古木、杂树由山缝处挣扎生长，稍往上为山腰，险崖向左倾斜，旱险势状。",[25,26,93,29,28,182,183,33,184,35,38],"山","雪","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c61b8007643b9b3921aa749500eaf33.jpg","纵197.1厘米，横51.2厘米",[45,47],198,{"id":190,"slug":191,"title":192,"dynasty":8,"author":7,"museum":22,"description":193,"tags":194,"thumbUrl":197,"material":68,"size":198,"collection":45,"collections":199,"showCount":200,"zanCount":108,"manualWeight":51,"mainColor":52},219430,"shan-zhuang-gao-yi-zhou-guo-xi-219430","山庄高逸轴","此图绘重峦峻岭，林木枯树，交错布列，楼阁村肆，环山抱水，景致宜人。构图以中央主峰为中心，画山石以宗北宋郭熙之云头皴为主，辅以董巨之短披麻，林木则呈蟹爪树法，画法可谓纯熟老练。貌虽似郭熙，然景物过于繁复琐碎，缺乏宋人撷取自然景物之写实精神与画法。",[26,60,115,31,28,29,32,80,66,116,34,63,35,195,196],"村舍","塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bde623440bfbc5ce33c5d2934788c7b.jpg","188.8x109.1",[45],187,{"id":202,"slug":203,"title":130,"dynasty":8,"author":7,"museum":131,"description":204,"tags":205,"thumbUrl":209,"material":136,"size":137,"collection":45,"collections":210,"showCount":211,"zanCount":108,"manualWeight":51,"mainColor":52},221291,"shu-se-ping-yuan-tu-guo-xi-221291","《树色平远图》是由北宋时期画家 所作的一副绢本墨笔画，现收藏于美国大都会美术馆。\n《树色平远图》描绘了河流两岸树色平远的景色。\n画中点缀有拄杖的老人，携琴捧盒的仆夫，水面的小舟和飞翔的野凫，都渲染了浓郁的诗意。\n描绘的是一河流两岸树色平远的景色。\n画中之景以河为界可分作前后两部分。\n前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。\n开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n此图无款，卷后有元明诸家诗文题跋。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。\n整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。\n《树色平远图》描绘的画面以平远布局，构景简洁，开阔而均衡，墨色浓淡变化丰富而微妙，所造之境具体真实。\n郭熙（约1—约18），北宋画家、绘画理论家。\n字淳夫，河阳温县人。\n因传李成之法而与之并称为“李郭”。\n其画风早年工巧，晚年雄壮，常于巨幛高壁作长松乔木，曲溪断崖，峰峦秀拔，境界雄阔而又灵动飘渺。\n存世作品有《 》、《 》、《 》、《 》、《古木遥山图》、《 》、《树石平远图》等。",[25,26,27,61,28,29,206,31,134,207,208,79,34,63,120],"平远","枯藤","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a17b78710e3a953f6c2076e25d8f7b1.jpg",[45,47,48],144,{"id":213,"slug":214,"title":215,"dynasty":8,"author":7,"museum":22,"description":216,"tags":217,"thumbUrl":224,"material":159,"size":225,"collection":47,"collections":226,"showCount":227,"zanCount":108,"manualWeight":51,"mainColor":52},218953,"guan-bei-tu-guo-xi-218953","观碑图","寒冷的森林平坦而遥远，松树的枝干已经枯萎。这两个人靠在石碑上，而四个人站在他们前面的右边，带着马鞍和马在伞下，他们的表情非常有表情。这幅画描绘了汉朝时曹操和杨修一起看《曹娥碑》的情景。这幅画没有记号，传统上认为是郭熙所作。然而，这幅画的风格，倾斜的石头和松散的树枝，以及参差不齐的夸张树干，并没有给人以郭熙的建议的感觉。其他现存的涉及看纪念碑的画作包括大阪市立美术馆收藏的《读碑石》，这幅画主要描绘的是残存纪念碑的寒冷森林场景，以此来让观者思考过去。",[25,60,26,27,115,218,29,93,64,219,220,221,32,222,223,33],"水墨画","马","碑","古树","小径","枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F680d1f7d1ced6d46fbc9bb38d75e4147.jpg","164.4x119",[47],141,{"id":229,"slug":230,"title":231,"dynasty":8,"author":7,"museum":154,"description":232,"tags":233,"thumbUrl":240,"material":159,"size":241,"collection":47,"collections":242,"showCount":243,"zanCount":244,"manualWeight":51,"mainColor":52},218586,"gu-mu-yao-shan-tu-zhou-guo-xi-218586","古木遥山图轴","全图画秋景山水，画文人士夫出行的情形，系平 远式构图。近景以水墨画坡石，上有古木数株，中 景绘两间敞轩和一座木构平房，内有主人，外有过 客，隔江远景坡地朦胧，其下有牛群散牧、孤舟帆饱。 该图是一幅相当写实的山水画，画家客观、概括地描 绘了所见的景物。因此，笔者认为，可借鉴动物考古 学和建筑学等学科的成果来分析、研究是图的绘制地 域，以便于确定其创作时代。",[60,26,27,115,28,31,234,235,236,237,238,63,239,64],"秋景","古木","坡石","敞轩","平房","牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9b7f96f5bbf3b0e2a5e0fc103c93fe7.jpg","纵 185.2、横 107.5 厘米",[47],136,4,{"id":246,"slug":247,"title":248,"dynasty":8,"author":7,"museum":22,"description":180,"tags":249,"thumbUrl":250,"material":43,"size":251,"collection":45,"collections":252,"showCount":253,"zanCount":51,"manualWeight":51,"mainColor":52},221292,"hua-xue-jing-zhou-guo-xi-221292","画雪景轴",[25,26,93,115,29,28,31,183,63,116,80,170,32,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13099bc99f6d0fba5d72371002c0734c.jpg","194.3×111.1",[45,47,48],135,{"id":255,"slug":256,"title":257,"dynasty":8,"author":7,"museum":258,"description":259,"tags":260,"thumbUrl":266,"material":68,"size":267,"collection":47,"collections":268,"showCount":269,"zanCount":51,"manualWeight":51,"mainColor":52},220123,"han-shan-xue-ji-tu-guo-xi-220123","寒山雪霁图","圣路易斯艺术博物馆","郭熙(1023年--约1085年)，字淳夫、河阳(今河南温县)人，北宋绘画大师。宋神宗熙宁元年(1068年)奉诏入图画院，初为“艺学”，后任翰林待诏直长。宋神宗赵顼深爱其画，曾“一殿专皆熙作”。王安石变法时新立中书、门下两省和枢密院、玉堂等墙上壁画。皆为其所作。郭熙擅画山水，无师承，早年风格较工巧，后取法李成，画艺大进，到晚年落笔益壮，能自放胸臆 ，炉火纯青。其画论有《林泉高致》，提出高远、深远、平远“三远法”。画山石多用“卷云”或“鬼脸”皴；画树枝如蟹爪下垂，笔势雄健，水墨明洁。传世作品有《早春图》(台北故宫博物院藏)、 《窠石平远图》 (北京故宫博物院藏)，以及《树色干远图》《早春图》《关山春雪图》《山林图》《秋山行旅图》《幽谷图》等。",[25,26,60,115,29,28,62,31,182,183,80,261,63,64,219,262,263,264,35,265],"小屋","石","树","船","石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c60aecd1eeb13e336efcac40bcc130b.jpg","147.6x78.1",[47],121,{"id":271,"slug":272,"title":273,"dynasty":8,"author":7,"museum":274,"description":275,"tags":276,"thumbUrl":279,"material":280,"size":11,"collection":47,"collections":281,"showCount":282,"zanCount":149,"manualWeight":51,"mainColor":52},219946,"xi-shan-qiu-shuang-tu-guo-xi-219946","溪山秋爽图","美国弗利尔美术馆","此作画境清旷萧疏，以高远、深远之法排布山水。左畔层岩叠起，卷云皴写出山石嶙峋肌理，苍松杂木间植崖谷，枝叶枯荣尽染秋意。右侧留白铺陈溪岸远山，淡墨晕染出空濛秋气，虚实相映，将秋日山林的辽远静穆铺展尽致。\n\n干湿笔墨相济，勾勒皴擦尽显丘壑灵秀，点染林木兼具法度。将秋山的松风漱石、溪岸的澄澈清寂融于一卷，藏着林泉高致的文人意趣，仿佛踏入画中，便可揽尽秋日山岚的高爽清逸。",[26,31,115,277,28,29,278,37,38,33,40,234],"绢本","浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73a1d6d39da56cd4d6711f5f61995abd.jpg","纸本,水墨",[47],117,{"id":284,"slug":285,"title":286,"dynasty":8,"author":7,"museum":287,"description":288,"tags":289,"thumbUrl":290,"material":11,"size":11,"collection":11,"collections":291,"showCount":292,"zanCount":149,"manualWeight":51,"mainColor":52},227600,"xi-shan-qiu-ji-tu-ju-bu-yi-guo-xi-227600","溪山秋霁图（局部一）","藏地不详","许道宁，中国北宋画家。生卒年不详，活跃于北宋中期。长安（今陕西西安）人，一说河北河间人。擅画山水，师法李成而能自成一家之体。\n\n早年在汴京（今河南开封）以卖药为生，以画吸引顾客，随药送画，逐渐得名，公卿士大夫争相延请。许氏长于画林木、平远、野水三种景色，晚年笔法简快，所画峰峦树木，峭拔劲硬。\n\n被认为是继李成、范宽之后山水画第一人。米芾和黄庭坚等大家都对其画作极为赞赏。许道宁性格豪放，嗜酒如命，人号“醉许”，黄庭坚更是曾在《答王道济寺丞观许道宁山水图》诗中描绘了许道宁醉中作画的神情举止",[25,60,26,61,28,29,31,33,36,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3d640d86977ce4b9c75fce90e0ebd9d.jpg",[],115,{"id":294,"slug":295,"title":296,"dynasty":8,"author":7,"museum":22,"description":297,"tags":298,"thumbUrl":300,"material":159,"size":301,"collection":45,"collections":302,"showCount":303,"zanCount":51,"manualWeight":51,"mainColor":52},288542,"xue-jing-shan-shui-tu-guo-xi-288542","雪景山水图","郭熙（约1000～约1090年），北宋杰出画家、绘画理论家。字淳夫，河阳府温县（今属河南）人。他出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。",[25,60,26,31,28,94,116,34,63,66,80,32,299,29],"山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0f20379281940bfa667cffd341b05cc.jpg","87.7x150.9",[45],108,{"id":305,"slug":306,"title":307,"dynasty":8,"author":7,"museum":22,"description":308,"tags":309,"thumbUrl":12,"material":277,"size":311,"collection":45,"collections":312,"showCount":313,"zanCount":149,"manualWeight":51,"mainColor":52},221285,"xing-lv-tu-quan-juan-guo-xi-221285","行旅图全卷","轴峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[25,26,27,61,31,29,28,37,33,80,116,34,63,118,310,101,171,170],"道路","48.3x290厘米",[45,47,48],107,{"id":315,"slug":316,"title":112,"dynasty":8,"author":7,"museum":287,"description":317,"tags":318,"thumbUrl":320,"material":321,"size":322,"collection":11,"collections":323,"showCount":324,"zanCount":51,"manualWeight":51,"mainColor":52},289008,"qiu-shan-xing-lv-tu-guo-xi-289008","峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[25,60,26,115,93,28,29,31,66,116,34,63,319,207,208,32,65],"飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed5d5cac4d9e5299c3b085ebe490c758.jpg","未知","Xcm*Xcm",[],99,{"id":326,"slug":327,"title":328,"dynasty":8,"author":7,"museum":287,"description":329,"tags":330,"thumbUrl":331,"material":11,"size":11,"collection":11,"collections":332,"showCount":333,"zanCount":149,"manualWeight":51,"mainColor":52},228262,"shu-shan-xing-lv-tu-guo-xi-228262","蜀山行旅图","此作铺展千里秋江蜀景，峰峦盘曲连绵，矾头苍润皴擦间尽显丘壑雄秀。林木染秋，红黄错落，点染出清寂萧疏的暮秋意韵。江畔村舍错落板桥通幽，山径旅人徐行，水面渔舟泛波，将山野居旅之趣融于烟水间。\n\n水墨设色晕染山峦，淡墨轻笼烟岚，晕开空蒙悠远的江上暮色，尽显山水可观可游可居的幽趣。题咏诗文与画面呼应，将秋日迟暮的怅然与林泉野趣相融，把蜀中山川的浑厚灵秀与文人幽怀合而为一，是山水诗意交织的秋日山居长卷。",[25,26,60,27,61,62,29,31,64,116,34,32,33,63,134,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76cd4d9080725c78fd57d390dac3500b.jpg",[],98,{"id":335,"slug":336,"title":337,"dynasty":8,"author":7,"museum":287,"description":338,"tags":339,"thumbUrl":341,"material":321,"size":322,"collection":11,"collections":342,"showCount":343,"zanCount":149,"manualWeight":51,"mainColor":52},287574,"qiao-song-ping-yuan-tu-guo-xi-287574","乔松平远图","此图绘近处陂陀之上苍松二株，主干遒劲，枝丫奇出。树下坡岩交叠．石间山泉流缓，似有潺潺而动的音韵之声，远山连绵起伏，幻于迷蒙之中。",[26,60,28,31,340,32,101,29],"松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c9775c3c716c1040beb11e08a7bdc34.jpg",[],91,{"id":345,"slug":346,"title":347,"dynasty":8,"author":7,"museum":22,"description":348,"tags":349,"thumbUrl":354,"material":68,"size":355,"collection":45,"collections":356,"showCount":357,"zanCount":51,"manualWeight":51,"mainColor":358},221286,"feng-nian-rui-xue-tu-zhou-guo-xi-221286","丰年瑞雪图轴","郭熙（十一世纪后叶），河南温县人，1068-1077年（神宗熙宁年间）任画院艺学。善山水，画法学自李成，而能树立一己的面貌。",[25,26,60,27,115,28,62,29,31,94,33,32,350,351,352,353],"桥梁","船只","亭台","流水 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人围坐清谈，桥畔侍者静立，野渡间帆樯隐隐，江渚上渔舟闲泊，处处尽显萧散雅致。\n\n山石以灵动的卷云皴绘就，苍劲秀润，林木点染疏密有致，干湿笔墨互用，将初秋江岸的清润空明晕染开来，把林泉山水之幽，与林下雅集的文人情思相融，藏着江南水景的温婉意韵，尽显林泉高致的诗意之美。",[25,60,26,27,61,31,29,62,116,34,63,134,33,32,64,101,464],"近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9233102db3fec7191e78655e4c1384a9.jpg",[],45,{"id":469,"slug":470,"title":471,"dynasty":8,"author":7,"museum":287,"description":297,"tags":472,"thumbUrl":474,"material":321,"size":322,"collection":11,"collections":475,"showCount":476,"zanCount":51,"manualWeight":51,"mainColor":52},289446,"xue-shan-xing-lv-tu-guo-xi-289446","雪山行旅图",[25,26,93,28,29,94,473,80,35,134,118],"雪山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a739ad33a1160112ff9c10479fca563.jpg",[],39,{"id":478,"slug":479,"title":480,"dynasty":8,"author":7,"museum":131,"description":204,"tags":481,"thumbUrl":483,"material":146,"size":137,"collection":45,"collections":484,"showCount":476,"zanCount":51,"manualWeight":51,"mainColor":427},221290,"shu-se-ping-yuan-tu-quan-juan-guo-xi-221290","树色平远图全卷",[25,26,27,61,93,28,62,29,388,408,482,120,31,263,63,116,34,134],"行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F133bd0410f393e8330e8a86e03d40536.jpg",[45,47,48],{"id":486,"slug":487,"title":488,"dynasty":8,"author":7,"museum":22,"description":297,"tags":489,"thumbUrl":492,"material":321,"size":301,"collection":11,"collections":493,"showCount":494,"zanCount":51,"manualWeight":51,"mainColor":52},290305,"xue-jing-shan-shui-zhou-guo-xi-290305","雪景山水轴",[26,60,93,28,29,94,473,490,116,491,63,34],"寒树","屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6724961771742b335499a8184771c46.jpg",[],38,{"id":496,"slug":497,"title":498,"dynasty":8,"author":7,"museum":287,"description":499,"tags":500,"thumbUrl":503,"material":11,"size":11,"collection":11,"collections":504,"showCount":494,"zanCount":51,"manualWeight":51,"mainColor":52},227413,"xue-shan-lan-re-tu-guo-xi-227413","雪山兰若图","郭熙（约1000-约1080），字淳夫，今河南孟县人，北宋画家、绘画理论家。郭熙出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。山水师法李成，山石创为状如卷云的皴笔，后人称为“卷云皴”。树枝如蟹爪下垂，笔势雄健，水墨明洁。早年风格较工巧，晚年转为雄壮，常于巨幛高壁作长松乔木，曲溪断崖，峰峦秀拔，境界雄阔而又灵动飘渺。\n\n郭熙在学画之初并无老师，后在临摹李成山水画中受到启发，笔法大进，亦能自放胸臆，笔势雄健，水墨明洁。画山石多用卷云或鬼脸皴，画树如蟹爪下垂。1068-1077年间为图画院艺学，后任翰林待诏直长，成为宫廷画院重要成员。于画论方面亦有建树，总结出对四季山水的审美感受及山水构图三远法等。创作活动旺盛的时代正是宋神宗在位的1068-1085年，深受神宗的恩宠，有“神宗好熙笔”，“评为天下第一”之说。",[26,93,60,28,29,501,473,94,32,490,66,40,502],"卷云皴","雄阔意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb64c6c4a6dae4f904ca25689a573a408.jpg",[],{"id":506,"slug":507,"title":508,"dynasty":8,"author":7,"museum":287,"description":297,"tags":509,"thumbUrl":511,"material":321,"size":322,"collection":11,"collections":512,"showCount":513,"zanCount":51,"manualWeight":51,"mainColor":52},290294,"san-song-tu-guo-xi-290294","三松图",[60,26,28,115,510,80,120,29,31],"古松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd67a22eb483af91386a29d1eed6d454.jpg",[],36,{"id":515,"slug":516,"title":517,"dynasty":8,"author":7,"museum":287,"description":297,"tags":518,"thumbUrl":519,"material":321,"size":322,"collection":11,"collections":520,"showCount":521,"zanCount":51,"manualWeight":51,"mainColor":52},291007,"gu-song-tu-guo-xi-291007","古松图",[26,60,115,28,29,510,208,223,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F762d8920ad7268cf0fee7850c0890f75.jpg",[],31,{"id":523,"slug":524,"title":525,"dynasty":8,"author":7,"museum":287,"description":526,"tags":527,"thumbUrl":530,"material":11,"size":11,"collection":11,"collections":531,"showCount":532,"zanCount":51,"manualWeight":51,"mainColor":52},227543,"guan-chao-tu-ye-guo-xi-227543","观潮图页","郭熙（约1000～约1090年），北宋杰出画家、绘画理论家。字淳夫，河阳府温县（今属河南）人。他出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。山水师法李成，山石创为状如卷云的皴笔，后人称为“卷云皴”。 他画山水注重深入体察生活，能真实、细致、微妙地表现出不同地区、季节、气候的特点，得“远近浅深，四时朝暮，风雨明晦之不同”，创造出极其丰富优美动人的意境，另外他还长于影塑，在墙壁上用泥堆塑浮雕式的山水，别具情趣。\n\n郭熙有《早春图》《关山春雪图》《窠石平远图》《幽谷图》《古木遥山图》等传世。其中《早春图》成功地表现出冬去春来、大地复苏、万物甦醒的细致季节变化。在绘画理论上郭熙亦有很高建树，其理论集中反映在他的《林泉高致》一书中。",[25,26,27,31,28,29,442,528,263,529],"山崖","潮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fd2704c889b3485019347aec338e950.jpg",[],26,{"id":534,"slug":535,"title":536,"dynasty":8,"author":7,"museum":287,"description":297,"tags":537,"thumbUrl":538,"material":321,"size":322,"collection":11,"collections":539,"showCount":540,"zanCount":51,"manualWeight":51,"mainColor":52},290168,"xue-shan-tu-guo-xi-290168","雪山图",[26,93,28,94,29,378,32,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee398fa2009e87df92e6aca7bb8a1f6f.jpg",[],25,{"id":542,"slug":543,"title":544,"dynasty":8,"author":7,"museum":22,"description":297,"tags":545,"thumbUrl":547,"material":159,"size":548,"collection":11,"collections":549,"showCount":550,"zanCount":51,"manualWeight":51,"mainColor":52},290989,"hua-shan-shui-zhou-guo-xi-290989","画山水轴",[60,26,115,28,31,29,79,66,34,63,546],"烟霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97d3d96348a81541ea51db24539a471c.jpg","188.8x95",[],23,{"id":552,"slug":553,"title":554,"dynasty":8,"author":7,"museum":287,"description":555,"tags":556,"thumbUrl":557,"material":11,"size":11,"collection":11,"collections":558,"showCount":550,"zanCount":51,"manualWeight":51,"mainColor":52},227544,"xue-ji-xiao-xing-tu-ye-guo-xi-227544","雪霁晓行图页","雪景，是宋代绘画的重要内容和题材之一。据不完全统计，现存宋代涉及雪景的传世画作至少有50余幅，既包括北宋时期李成的《群峰雪霁图》、巨然的《雪图》、郭忠恕的《雪霁江行图》、范宽的《雪景寒林图》《雪山萧寺图》、高克明的《溪山雪意图》、燕文贵的《江干积雪图》《雪山图》、许道宁的《关山密雪图》、郭熙的《关山春雪图》《雪景山水轴》、梁师闵的《芦汀密雪图》、王诜的《渔村小雪图》、翟院深的《雪山归猎图》、赵佶的《雪江归棹图》，也包括南宋时期李迪的《雪中归牧图》《雪树寒禽图》、刘松年的《雪山行旅图》《雪溪举网图》和《四景山水图·冬景》、马远的《晓雪山行图》《雪景图卷》和《雪滩双鹭图》、马麟的《暮雪寒禽图》和《雪梅图》、夏圭的《雪堂客话图》、扬无咎的《雪梅图》、朱锐的《雪笠图》、梁楷的《雪景山水页》《雪栈行骑图》、李东的《雪江卖鱼图》、林椿的《山茶霁雪图》等",[25,26,27,442,29,62,31,219,64,65,80,32,183],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a5300b265ca4b47a737545184c866f.jpg",[],{"id":560,"slug":561,"title":562,"dynasty":8,"author":7,"museum":287,"description":297,"tags":563,"thumbUrl":565,"material":321,"size":322,"collection":11,"collections":566,"showCount":567,"zanCount":51,"manualWeight":51,"mainColor":52},290304,"yun-yan-lan-sheng-zhou-guo-xi-290304","云烟揽胜轴",[26,115,93,28,29,31,36,80,32,34,63,510,564],"幽居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a8371c836a4c84acf0ffa9310d91859.jpg",[],22,{"id":569,"slug":570,"title":461,"dynasty":8,"author":7,"museum":287,"description":297,"tags":571,"thumbUrl":572,"material":321,"size":322,"collection":11,"collections":573,"showCount":567,"zanCount":51,"manualWeight":51,"mainColor":52},289729,"dai-du-tu-guo-xi-289729",[26,60,93,80,63,94,378,29,369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46443a087c5a90d3ffc116ed0cd1d89d.jpg",[],{"id":575,"slug":576,"title":112,"dynasty":8,"author":7,"museum":287,"description":317,"tags":577,"thumbUrl":579,"material":321,"size":322,"collection":11,"collections":580,"showCount":567,"zanCount":51,"manualWeight":51,"mainColor":358},288506,"qiu-shan-xing-lv-tu-guo-xi-288506",[25,26,60,93,28,29,578,32,98,34,63,299,118],"秋意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F288e7ca9f20e1578206e7ed6d99bcb96.jpg",[],{"id":582,"slug":583,"title":584,"dynasty":8,"author":7,"museum":22,"description":297,"tags":585,"thumbUrl":586,"material":321,"size":322,"collection":11,"collections":587,"showCount":567,"zanCount":51,"manualWeight":51,"mainColor":358},288271,"feng-nian-rui-xue-tu-guo-xi-288271","丰年瑞雪图",[26,115,31,28,29,94,32,33,134,116,63,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ed85e399afa0ec95a0db923ec9ae547.jpg",[],{"id":589,"slug":590,"title":591,"dynasty":8,"author":7,"museum":22,"description":592,"tags":593,"thumbUrl":595,"material":11,"size":11,"collection":11,"collections":596,"showCount":597,"zanCount":51,"manualWeight":51,"mainColor":52},230967,"shan-shui-tu-guo-xi-230967","山水图","此作以寒林雪霁铺陈意境，枯木老枝虬曲如铁，雪覆苍崖尽染萧寒之气。江间扁舟泊于寒波之上，舟中旅人围坐，将天地荒寒与人间暖意轻轻揉合。\n笔意苍润兼具，山石以卷云皴勾勒皴擦，留白尽显积雪厚重。枝桠以蟹爪笔法写就，枯涩清奇尽展冬日况味。半边取景铺陈开江天空寂辽远，于极简尺幅中藏着深挚诗意，将江湖旅人身处荒寒的幽微心绪淡淡晕开，静穆里揉着暖融烟火气，尽显寄情山水的雅致意趣。",[25,26,27,31,29,28,62,442,63,208,32,594,33],"河流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F685346f5eec9d79ffa2c528fdca60dc9.jpg",[],20,{"id":599,"slug":600,"title":601,"dynasty":8,"author":7,"museum":287,"description":526,"tags":602,"thumbUrl":604,"material":11,"size":11,"collection":11,"collections":605,"showCount":597,"zanCount":51,"manualWeight":51,"mainColor":52},227542,"qiu-shan-ce-zhang-tu-guo-xi-227542","秋山策杖图",[25,26,603,31,64,33,34,32,29,62],"扇面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F301e81485e068c4f080628a129182f75.jpg",[],{"id":607,"slug":608,"title":130,"dynasty":8,"author":7,"museum":22,"description":609,"tags":610,"thumbUrl":611,"material":11,"size":11,"collection":11,"collections":612,"showCount":613,"zanCount":51,"manualWeight":51,"mainColor":427},227292,"shu-se-ping-yuan-tu-guo-xi-227292","《树色平远图》，宋代，郭熙，绢本水墨，纵32.4厘米，横104.8厘米，美国纽约大都会博物馆藏\n\n《树色平远图》表现深秋郊外的优美景象。开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。画中点缀有拄杖的老人，携琴捧盒的仆夫，水面的小舟和飞翔的野凫，都渲染了浓郁的诗意。此图无款，卷后有元明诸家诗文题跋。\n\n此图与郭熙的另一副传世名画《窠石平远图》画风和构图极为相似，描绘一河流两岸树色平远的景色。画中之景以河为界可分作前后两部分。前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。整个景物清寒枯硬，其境界清旷平淡。画面以平远布局，构景简洁，开阔而均衡。其树似鹿角蟹爪，山石笔法灵活多变，墨色浓淡变化丰富而微妙，所造之境具体真实，从中可以看出李成画风的影响，同时又体现出郭熙山水画的典型风格。",[25,26,27,61,93,28,29,31,33,101,206,208,207,79],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18d05c0afd595c9457e8b1f3fe3e463b.jpg",[],19,1777535621341]