[{"data":1,"prerenderedAt":825},["ShallowReactive",2],{"artist-li-tang-162":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},162,"li-tang-162","李唐","宋","1066—1150","南宋画家。字晞古，河阳三城（今河南孟州）人。初以卖画为生， 宋徽宗赵佶时入画院。南渡后以成忠郎衔任画院待诏。擅长山水、人物。变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。并以画牛著称。与刘松年、马远、夏圭并称“南宋四大家”。存世作品有《万壑松风图》《清溪渔隐图》《烟寺松风》《采薇图》等。","","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac77efdcd38cd2854c5b2b506f96be70.jpg",[],42,"L",530,[18,52,74,88,103,121,136,149,164,177,190,199,214,225,236,248,258,271,282,297,306,318,328,337,347,359,374,384,396,406,415,426,436,447,458,466,477,487,496,506,517,529,542,551,558,568,576,589,597,606,615,622,632,639,649,656,665,676,686,695,705,712,721,729,737,744,751,763,770,779,787,794,801,808,817],{"id":19,"slug":20,"title":21,"dynasty":8,"author":7,"museum":22,"description":23,"tags":24,"thumbUrl":43,"material":44,"size":45,"collection":46,"collections":47,"showCount":48,"zanCount":49,"manualWeight":50,"mainColor":51},214927,"gui-qu-lai-xi-tu-li-tang-214927","归去来兮图","美国克利夫兰艺术博物馆","这幅长卷以陶渊明《归去来兮辞》的诗意风格绘制。它的开头是诗人放弃了他的官职，用一头驴子去了他的家，与他的家人团聚，云彩离开了山，抚摸着一棵孤独的松树，飘飘然。这首诗写在一条清澈的小河边，描述了诗人在隐居中的轻松生活。这是现存的几幅描绘陶渊明归隐的画卷之一，署名为 李唐，有北宋官印，说明是李唐在南下之前所做。",[25,26,27,28,29,30,31,32,33,34,35,36,37,38,39,40,41,42],"高清","名画","国画","书画","长卷","水墨","设色","皴法","山水","人物","楼阁","小桥","流水","树木","亭","田园","房屋","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93bcea718693308f58c3eb85b4177b61.jpg","绢本,水墨","34.6x566.4","人物画精选",[46],1013,9,0,"795548",{"id":53,"slug":54,"title":55,"dynasty":8,"author":7,"museum":56,"description":57,"tags":58,"thumbUrl":65,"material":66,"size":67,"collection":68,"collections":69,"showCount":72,"zanCount":73,"manualWeight":50,"mainColor":51},221574,"wan-he-song-feng-tu-li-tang-221574","万壑松风图","台北故宫博物院","这幅画采取近观的“高远”表现法。近景为苍松石岸；中景为岗峦郁盘，穿插流泉悬瀑；远景的主峰突兀高耸，峰顶丛树密集，这三段景沿着画面的中轴线，由下往上堆栈，形成“高远”。画家藉由扩大前景，使画中的景物逼近观者，再将远景的主峰满塞画面，如一堵巨大的屏障，形成封闭的空间，让观者面对深幽的山谷，如临真景。",[26,27,28,59,32,30,31,33,60,61,62,38,63,64],"立轴","松树","山石","瀑布","岩石","溪流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F048d34f5c9c56804fbd20be818ef50e4.jpg","绢本","188.7×139.8公分","宋画精选",[68,70,71],"山水画精选","水墨画精选",912,10,{"id":75,"slug":76,"title":77,"dynasty":8,"author":7,"museum":78,"description":79,"tags":80,"thumbUrl":82,"material":83,"size":84,"collection":70,"collections":85,"showCount":86,"zanCount":87,"manualWeight":50,"mainColor":51},218443,"qiu-lin-guan-quan-tu-li-tang-218443","秋林观泉图","北京故宫博物院","这幅画描绘了峡谷口水流湍急，两岸岩石嶙峋，两个高士坐在水边的斜岩上，静静地看着山泉流淌。倾斜的岩石都用强烈的笔触凿出，体现出岩石坚硬的质地；森林茂密，不留缝隙，显示出浓郁的树荫。画家用画笔画出了树叶，强调了色彩。坡上和水中的落叶点缀了秋景。",[25,27,28,29,30,31,33,81,37,61,34,32],"秋树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ccc94015347c81f6c539b56469c6225.jpg","绢本,设色","24.7x112.3cm",[70],445,5,{"id":89,"slug":90,"title":55,"dynasty":8,"author":7,"museum":91,"description":92,"tags":93,"thumbUrl":96,"material":97,"size":98,"collection":11,"collections":99,"showCount":100,"zanCount":101,"manualWeight":50,"mainColor":102},287739,"wan-he-song-feng-tu-li-tang-287739","藏地不详","《万壑松风图》画面山峰高峙，山石巉岩，峭壁悬崖间有飞瀑鸣泉，山腰间白云缭绕清岚浮动。深山中幽僻的崖谷间，奔跃的泉水和郁茂的松林，衬托山峰高峙，山石危岩。其在构图上，大胆裁剪、提炼，整体看来空间立体感强，层次分明。双峰交错，堂堂正正，厚重而拙实，给人以浑厚大气之感，表现为“万壑松风”之境。\n《万壑松风图》为简括画的表现开了先河，对南宋初期的山水画具有开派作用。 其与郭熙《早春图》、范宽《溪山行旅图》，合称为“宋画之三大精品”",[26,27,94,30,32,61,60,37,95,62],"山水画","山谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a14a762dc0039a1efab5f1ab4cdccfa.jpg","未知","Xcm*Xcm",[],285,2,"37474F",{"id":104,"slug":105,"title":106,"dynasty":8,"author":7,"museum":56,"description":107,"tags":108,"thumbUrl":116,"material":44,"size":117,"collection":68,"collections":118,"showCount":119,"zanCount":120,"manualWeight":50,"mainColor":51},220387,"qing-xi-yu-yin-tu-li-tang-220387","清溪渔隐图","画面上表现的是夏雨初收后的渔村小景。近景为山坡堤岸，坡石横卧，林木苍郁，几棵大树倚石而立。树干粗壮，根部露出地面，枝叶茂盛，山溪蜿蜒而下，溪水由山间急流而出，水磨坊临溪而立，板桥横架溪上，将两岸连接。绕过山坡，地势平缓，河水清幽，远处沙岸迷茫，汀渚伸至河间，河岸和河边芦苇，草木丛生。有一老人坐于船头，横竿垂钓，显得悠然自得，渔舟在芦苇丛中隐现。画幅右端，浅滩上有数块小石，半露在水面，透过水面可以见秀石全形，显示出溪水的清洌。",[25,27,26,29,30,32,109,110,33,36,37,111,112,113,114,115,61,64],"书法","印章","孤舟","蓑笠","老树","渔乐","茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4693ec96f6507ba02ebd0808a650e03c.jpg","纵25.2厘米，横144.7厘米",[68],237,4,{"id":122,"slug":123,"title":124,"dynasty":8,"author":7,"museum":56,"description":125,"tags":126,"thumbUrl":132,"material":66,"size":133,"collection":68,"collections":134,"showCount":135,"zanCount":101,"manualWeight":50,"mainColor":51},221577,"jiang-shan-xiao-jing-tu-li-tang-221577","江山小景图","此图描绘的是沿江的山水景观，可以分成上下两部分，画面上部，江水粼粼，空阔旷远，风帆出没其间。画面下部，横列一排山峰，高低参次，连绵不断。山峰上丛林密布，宫观楼阁，半隐半现。此图采用了上留天，下不留地的构图方式，风格既继承北宋传统，又暗示南宋特色。\n此图表现的是江岸边山水小景，画面右起是宽阔的水面，几只帆船鼓帆前行，江岸平缓地向后延伸，渐次高起，山石渐多，林木葱郁，小径幽幽隐现于山间，山坡平缓处有房舍屋宇隐现于林木间；左行山势愈加高峻峭拔，最终停留在画面边缘。高山之间，栈道依山而筑，山庄别墅，僧舍道观隐现于山腰间；山间飞流泉，下聚成潭，小舟泛于水上。画面右上是远山野渡，山水清旷，环境安详静谧，构成了一幅清幽自然的田园风景画卷。\n此幅无名款，有乾隆皇帝御笔题签：“宋李唐江山小景神品”，引首有其书：“神韵天成豪发无憾”，钤“乾隆宸翰”、“古希天子”、“犹日孜孜”钤玺。画上又有乾隆丁丑、庚辰二题，拖尾有董其昌、程正揆跋。\n主题:此图是一幅山水画作，描绘的是雄壮瑰丽又雅秀清逸的山水风貌，表现出作者对祖国壮美山河的由衷赞颂，也表现出作者对祖国山河的深深依恋与怀念\n构图:该图以近景石峰丛林为主体，山峰的起伏变化、岩石的折落有致、楼观屋宇的有机穿插以及墨色的黑白变化使主体有一股雄沉壮拔之气。近处横卧的巨石和稍远石峰的峭立形成对比，延伸了空间。自山脚而起的石径沿山石逶迤而上，将卧石与石峰联系起来。山间小道、屋宇、行人，线索分明， 时隐时现，活跃了山林的气氛。远景的渔村、云山，布置深远，和近景遥相呼应。整个画面意境深辽开阔，气魄宏伟。\n技法:《江山小景图》在技法上延续了李唐在宣和画院时期的青绿山水画风，但略有改变，此卷中山石以浓重劲健的细线勾勒，以小斧劈皴之，但小斧劈皴用的相当随意放松，简练概括，画家没有将山石的体积感与重量感放在表现的首位，而是注重画面的整体性与抒情性；此卷的树以轻松、快速的横笔写出，溪口水的画法也轻松自由得多，根据水势用简练的几笔勾勒而成，江水虽然还是以鱼鳞纹为之，但用笔灵活随意，毫无紧张感与拘谨感。\n此图近景巨石与石峰的用笔方硬坚重，峰顶与岩石的设墨浓重，树木多用横笔点叶，偶有细笔夹叶，色调较浅。运墨大胆，多为浓厚墨色，如树干劲拔，有笔有墨，骨肉匀称，若隐若现于树叶的浓荫之中，增添了幽深之感。船、帆和船夫的用笔十分洗练，坚挺朴实。远景几抹淡墨，用笔超脱豪放，使云山淡隐，更具一种灵妙别致的风韵。",[25,27,26,29,33,32,31,61,38,127,37,62,128,129,130,131],"渔船","舟楫","远山","近岸","植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2428cca3b084dd38d455514e3b16a629.jpg","纵49.7厘米，横186.7厘米",[68,70,71],232,{"id":137,"slug":138,"title":139,"dynasty":8,"author":7,"museum":56,"description":140,"tags":141,"thumbUrl":144,"material":145,"size":146,"collection":70,"collections":147,"showCount":148,"zanCount":101,"manualWeight":50,"mainColor":51},218180,"qiu-jiang-dai-du-tu-li-tang-218180","秋江待渡图","宋朝时期，李唐是一位著名的画家。他的作品《秋江待渡图》是一幅非常出色的水墨画，被认为是宋朝画风的代表作之一。\n\n这幅画描绘的是一个夜晚的景象，展现了秋天的气息。画面中的主人公是一个渔夫，他正站在船尾，眺望远方。他身后是一条江河，江水平静，荡漾着微微波光。空气中弥漫着淡淡的月色和落叶的气息。渔夫似乎在等待什么，也许是夜幕降临后的渔猎，也许是渡江的船只。\n\n这幅画展现了李唐独特的画风，他善于运用水墨画的浓淡变化，描绘出江水平静而又柔和的氛围。画中的色彩也十分丰富，月色柔和，落叶自然，渔夫身上的衣服呈现出深深的紫色。整幅画浓郁的秋意和深沉的气氛使人感到沉静和温馨。",[27,28,59,33,30,32,31,142,111,143,129,34,110,115],"江水","枯藤老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F832191f2125231cc863d337a44ca0a33.jpg","纸本,设色","118.6x48.6cm",[70],223,{"id":150,"slug":151,"title":152,"dynasty":8,"author":7,"museum":153,"description":154,"tags":155,"thumbUrl":158,"material":159,"size":160,"collection":68,"collections":161,"showCount":163,"zanCount":101,"manualWeight":50,"mainColor":51},221576,"jin-wen-gong-fu-guo-tu-li-tang-221576","晋文公复国图","美国大都会艺术博物馆","此图绘于北宋末年，描述了晋文公（重耳）被他父亲放逐在外19年后即位复国的故事。全图共分六段，采用连环绘图的形式进行描绘，晋文公的形象多次出现，可每段都有树石、车马、房屋作配景。所绘人物形象各具神态，文公的雍容庄重，侍臣的恭敬、武士的威严、仕女的秀雅以及仆役的畏怯等，都刻画得细致入微、准确生动、栩栩如生。整个横幅图式处理得疏密有致，线条的粗细、曲直、虚实、轻重，富于变化，恰到好处。图中人物的服饰尽可能还原春秋时的模样。北宋末年，康王赵构的经历和艰难与重耳类似，所以图中以宋高宗赵构手书的《左传》作暗景，目的是激发南宋君臣，不怕困难，不畏艰险，忍辱负重，为复国雪耻而努力。这种隐喻可谓饱含深情、用心良苦，可惜的是赵构不是重耳，他不听劝阻，也没有复国的决心与愿望，甚至为了贪图个人享乐和一己之私，甘愿偏安一隅，不惜谋害忠良，重用奸佞之臣等。",[25,27,28,29,31,156,110,34,157,113,39],"工笔","马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe47339394ffdf5384ea908fa5ebe6c90.jpg","绢本 设色 手卷","纵29.4厘米 横827厘米",[68,46,162],"设色画精选",190,{"id":165,"slug":166,"title":167,"dynasty":8,"author":7,"museum":56,"description":168,"tags":169,"thumbUrl":172,"material":44,"size":173,"collection":68,"collections":174,"showCount":175,"zanCount":176,"manualWeight":50,"mainColor":51},220237,"zuo-shi-kan-yun-tu-li-tang-220237","坐石看云图","画中物象安排较多，与一般南宋山水画半边留白模式略有差异。但仔细观察画面，不难注意其中仍具有一巧妙的斜向构图手法。依此斜向虚线，左上与右下半两部呈现出有趣的虚实对照关系。右下两位人物着宽袍濯足，望向左上侧景致。这一佳景林木繁盛，嶙峋山岩以青绿添墨染成，又间以赭石增添色彩变化。于李唐〈万壑松风图〉的逼真山石质感，揉入赵令穰小景的细腻情调，距北宋山水特色不远。",[25,27,28,26,33,34,170,171,113,32,30,31],"孤石","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6df661a9b20032e251b879ebfce45eb8.jpg","27.7x30",[68],171,1,{"id":178,"slug":179,"title":180,"dynasty":8,"author":7,"museum":56,"description":181,"tags":182,"thumbUrl":12,"material":185,"size":186,"collection":68,"collections":187,"showCount":188,"zanCount":50,"manualWeight":50,"mainColor":189},221496,"zhu-ge-yan-bin-tu-li-tang-221496","竹阁延宾图","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。",[25,27,183,31,33,32,39,38,34,184],"扇面","竹","白纸本","23.7×20cm",[68,70,162],161,"BDBDBD",{"id":191,"slug":192,"title":193,"dynasty":8,"author":7,"museum":91,"description":194,"tags":195,"thumbUrl":196,"material":11,"size":11,"collection":11,"collections":197,"showCount":198,"zanCount":176,"manualWeight":50,"mainColor":189},228898,"cai-wei-tu-li-tang-228898","采薇图","《采薇图》是宋代画家 创作的绢本水墨淡设色画，此画现藏于北京故宫博物院。\n此卷画商末 、 不食周粟，在首阳山饿死的故事。\n图绘半山之腰，苍藤、古松之荫，伯夷与叔齐采摘薇蕨之余，正在休息对话的情景。\n画中正坐一人即为伯夷，他面带忧愤，目光炯炯，注视着叔齐。\n叔齐一手按地似在说着什么。\n图中人物刻画生动传神，衣纹简劲爽利，衬托出人物刚直不阿的性格。\n树石笔法粗简，墨色湿润。\n该图以山石为背景，绘二人在树下席地而坐，进行交谈。\n二人均束发系巾，长须，着宽袖粗服，穿草履，正面者领口略袒，着力突出了他们高士的形象。\n二人身侧还置有装薇的篮子和锄头，表示二人采薇而食，采薇是他们身份的象征。\n图中石壁上有题款两行：“河阳李唐画伯夷、叔齐”。\n引首有明代李擢公书“首阳高隐”，拖尾有元宋杞、明俞允文、清永瑆、翁方纲、蔡之定、阮元、林则徐、吴荣光、潘霄汉等题记。\n本幅钤项元汴、吴荣光等鉴藏印十六方，半印九方，拖尾有诸家藏印五十四方、半印三方。\n《采薇图》是一幅历史题材的绘画作品，以殷末伯夷、叔齐“不食周粟”的故事为题。\n伯夷和叔齐是殷的诸侯孤竹君的两个儿子，兄弟二人出走后先后投奔了西伯姬昌。\n姬昌死后，其子姬发要兴兵讨伐纣王。\n伯夷、叔齐叩马谏阻，认为臣子造反、讨伐君王是大逆不道的行为。\n姬发不听，灭殷后建立了周朝。\n伯夷和叔齐决心不吃从周朝土地上长出来的粮食，于是隐居首阳山（今山西永济县境），以采食野菜充饥度日，最后双双饿死在山里，临死前还作了一首《采薇歌》以表示坚决不屈的志向。\n李唐初以卖画为生，宋徽宗赵佶朝补入画院，深得赵佶赏识。\n1127年金兵攻陷汴京，高宗南渡，李唐亦颠沛流离，逃往临安（今杭州），以卖画度日。\n南宋恢复画院后，李唐经人举荐，进入画院，以成忠郎衔任画院待诏，时年近八十。\n偏安一隅之耻，家国离乱之悲，让画家感慨万端，他赞扬那些保持气节的人，谴责南宋统治者投降变节的行为。\n正是在这种心绪下，他创作了《采薇图》。\n这幅画的主题思想，据跋尾宋杞说：“……且意在箴规，表夷齐不臣于周者，为南渡降臣而发也。\n”表明作者的创作意图是借着伯夷叔齐不食周粟的故事，用来讽刺宋高宗南渡后，留在汴京投降金人的降臣而画的。\n它的含义，用当时历史背景衡量，是有它的特殊意义的。\n李唐的《采薇图》给了一个伯夷、叔齐两人的近镜头描写，浓重的背景环境衬托出两个淡设色的人物。\n悬崖峭壁间一块坡石，两人相对而坐，周围只有古树山石，远处河流平原离得很遥远，很简洁便将两人隐居的生活环境交代得恰如其分。\n背向观画者的是叔齐，一手撑地，一手笔划，在很投入地向伯夷说着什么。\n李唐对伯夷这个人物的刻画非常成功，画中的伯夷面容清瘦，双手抱膝，倚树而坐，胡子已经很长时间没有打理，双眉微颦，眼神并没有落在某个实处，似乎在听着叔齐说话，又似乎没有在听，不过目光中的坚定却是不容怀疑的，也许有些无奈，可毫无悔意，整个人物给人一种很平静安然的感觉，他只是在默默地坐着，不露一点声色，不为物喜，不为己悲，前面采野菜的小锄和篮筐还摆在一边，生活的困苦可想而知，可是这位伯夷只是如过去坐在厅堂中一般倚树席地而坐，尊贵依然，坚定依然。\n作品用笔精练而又富于变化，简劲锐利，线条挺拔，轻重顿挫似有节奏，墨法枯润适中，突出表现了衣服的麻布质感。\n肌肉部分的用线较为柔和，须眉用笔精细且多变化，显得蓬松软和。\n背景部分画家用笔较为豪放粗简，老松主干两边用浓墨侧峰，用浓墨细笔勾出松鳞，充分表现出了老松厚重的量感和体积；柏叶点染细密，浓淡变化细微。\n图中山石用极豪迈的大斧劈皴，以各种不同深浅、枯润的墨色有力涂抹，表现了山石奇峭的风骨和坚硬的质感。\n画家对树丛中远去的河流轻毫淡墨，近处的山石焦墨浓厚，丰富了画面的空间感。\n清代画家 《浦山论画》： “二子席地对坐相话言，其殷殷凄凄之状，若有声出绢素。\n” 中国当代画家 《采薇图画册》：“至人物神情之华贵、高妙，是与米兰藏达·芬奇之耶稣与门必藏三勒之使徒同为绘画的极峰。\n” 中国当代画家 《画史上的名作 中国卷》：整幅画大刀阔斧，坚实有力，刚直不阿，气象森然，使人想到李唐作画时激荡的心情。\n由于他的节操受人尊敬，此画历来颇受珍视。\n《采薇图》在《清河书画舫》，《汪氏珊瑚纲》，《佩文齐书画谱》，《式古堂书画汇考》等书著录。\n《采薇图》历经明代项元汴、清代吴荣光收藏，晚清入宫，现收藏于北京故宫博物院。\n215年4月日—6月29日，《采薇图》在北京故宫武英殿举办的215春季书画特展中展出。\n（166～115），宋代画家。\n字唏古，河阳三城（今河南孟县）人。\n初以卖画为生，宋徽宗赵佶时入画院。\n南渡后以成忠郎衔任画院待诏。\n擅长山水、人物。\n变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。\n晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。\n兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。\n并以画牛著称。\n与刘松年、马远、夏圭并称“南宋四大家”。",[25,27,26,29,28,31,32,34,33,60,61,38,64,110,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16c214e4ea812a28066aaad9585915a2.jpg",[],158,{"id":200,"slug":201,"title":202,"dynasty":8,"author":7,"museum":56,"description":203,"tags":204,"thumbUrl":210,"material":83,"size":211,"collection":46,"collections":212,"showCount":213,"zanCount":176,"manualWeight":50,"mainColor":51},218162,"wen-ji-gui-han-tu-ce-li-tang-218162","文姬归汉图册","这本画册由18张图片组成，以上下系列的形式。每张图片大小不一，是独立的画作，与其他画作一起构成一个完整的故事。",[27,28,205,31,156,34,206,207,208,209],"册","帐篷","车马","胡地","毡房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb66d2ebe72e8271220a920899a0213a3.jpg","50.7x39.7",[46],113,{"id":215,"slug":216,"title":217,"dynasty":8,"author":7,"museum":218,"description":219,"tags":220,"thumbUrl":222,"material":83,"size":11,"collection":70,"collections":223,"showCount":224,"zanCount":176,"manualWeight":50,"mainColor":51},219476,"lin-quan-gao-yi-tu-li-tang-219476","林泉高逸图","私人收藏","此作以苍古之笔写林泉幽居，虬松蟠曲如铁，山石以斧劈皴挥就，棱角硬朗，带着雄浑峭拔的山野之气。林间水雾暗生，衬出空山清寂。静坐松下的高士，衣纹简括悠然，侍立童子低眉敛目，一动一静，将林下雅逸的襟怀铺陈开来。\n笔墨老辣洗练，以浓淡墨色晕染出山林层次，把文人寄情丘壑、放意林泉的隐逸高致，融在萧寒清旷的景致之中，尽显静谧淡远的林下风流。",[27,28,26,33,34,113,221,37,170,32,30,31],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7964575762451efa5aa4d3c00822997d.jpg",[70],110,{"id":226,"slug":227,"title":228,"dynasty":8,"author":7,"museum":229,"description":230,"tags":231,"thumbUrl":232,"material":66,"size":233,"collection":68,"collections":234,"showCount":235,"zanCount":176,"manualWeight":50,"mainColor":51},221578,"hao-liang-qiu-shui-tu-li-tang-221578","濠梁秋水图","天津博物馆","《濠梁秋水图》是宋代画家李唐创作的一幅中国画，描绘的是安徽凤阳县濠水、濮水一带的风光。数株茂密的大树占据了主要画面。树用夹叶法，淡赭设色，透露出浓浓秋意。大石用斧劈皴，勾勒劲健，结构谨严，苍劲凌厉，颇见质感，以青绿罩染。画面左侧飞泉直泻，落叶点点。李唐对秋水的刻画尤见功力，并使山石的刚硬和水波的柔和形成鲜明对比。整个画面显示出一副浓郁的深秋景象。在这样一个环境里面，庄子和惠子坐于岸边。二人衣着古朴，衣纹简练，却颇见精神。一人面对观者，一人侧面作交谈状，与《采薇图》中伯夷和叔齐的表现方式有异曲同工之妙。\n《濠梁秋水图》的创作，似乎正处于其风格转变过程中的后期，是南宋新风格的开始，构图局部取景的方式已有所体现；而《采薇图》只不过是把要表现的物象更加拉近了而已。皴法上，此图出现了大量的侧锋用笔，洗练、刚劲，但笔触略小，石质坚实，这是大斧劈皴的雏形。到了《采薇图》，则变为阔笔挥洒，更加简略，充满速度和力感，转变体现得更加明显了。还有《采薇图》的远景部分，仿佛弥漫着一层雾气，树石的画法也是水气淋漓，这可能与李唐已久居江南有关。《濠梁秋水图》则显得稍有不同，透露出一种浑厚深沉的山水景象。\n从用笔、风格、水准等方面来看，《濠梁秋水图》当属李唐从《万壑松风图》到《采薇图》之间的过渡作品，仿佛是他在为北宋风格向南宋风格的转变做精巧的注释一般，因而显示出此作珍贵的历史价值和学术价值。",[25,27,28,29,33,30,32,34,38,63,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5606bd8755e55a8ff1f77d67242cb344.jpg","纵24厘米，横114.5厘米",[68,70,162],93,{"id":237,"slug":238,"title":239,"dynasty":8,"author":7,"museum":56,"description":240,"tags":241,"thumbUrl":244,"material":66,"size":245,"collection":68,"collections":246,"showCount":247,"zanCount":120,"manualWeight":50,"mainColor":51},221579,"zhi-ai-tu-li-tang-221579","炙艾图","《炙艾图》，又叫做《村医图》，是南宋著名画家李唐的传世作品;收藏于台北故宫博物院。《村医图》为一幅风俗人物画，描述走方郎中为村民治病的情形。作品通过对灸艾治疗这一紧张情节的朴实无华的具体描绘，反映了当时农民的困苦生活，有小中见大的寓意。\n《炙艾图》除了真实的记录一名中国古代村医用中医灸法为病人治病的情景 ，同时也充分体现了当时人民生活的现状。画中表现了一位医生正在给病人针灸，画面上的人物表情各异，栩栩如生，表现出画家对生活的细致观察和体验，也体现了画家的一种人文主义关怀，表达了作者对当时下层劳动人民的同情。这幅《炙艾图》既是一幅古代绘画珍品，也是传统艾灸治病的真实写照，为我们了解宋代中医灸法治病提供了宝贵而形象的资料。",[25,26,27,28,156,31,34,242,243],"枯树","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bb7dc93dedae7fb05e015e0366dc9fc.jpg","纵68．8厘米，横58．7厘米",[68,46,162],91,{"id":249,"slug":250,"title":251,"dynasty":8,"author":7,"museum":56,"description":252,"tags":253,"thumbUrl":254,"material":83,"size":255,"collection":162,"collections":256,"showCount":257,"zanCount":50,"manualWeight":50,"mainColor":51},219046,"wen-ji-gui-han-tu-li-tang-219046","文姬归汉图","内容叙述了中国东汉才女蔡文姬在董卓作乱时，被胡人俘虏，并且嫁给南匈奴的左贤王。直到十二年后，才由曹操派遣使臣，将她赎回汉地。每段画面，对于故事情节和人物、车马、配景，都有非常细腻的描绘。",[25,26,27,28,59,32,30,31,33,34,35,38,61,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd98081f5e1c3a4f47f750a16639f8f66.jpg","50.7公分*39.7公分",[162],83,{"id":259,"slug":260,"title":261,"dynasty":8,"author":7,"museum":78,"description":262,"tags":263,"thumbUrl":267,"material":66,"size":268,"collection":68,"collections":269,"showCount":270,"zanCount":50,"manualWeight":50,"mainColor":51},221580,"mu-niu-tu-ye-li-tang-221580","牧牛图页","宋代所谓“花鸟画”的范围比较狭窄，仅限于花和鸟。畜兽、竹石、鱼虫皆另立科目(山水中，树石、木屋也是各自立科的)。在当代，我们把中国画分为山水、人物、花鸟三大科，则树石、村落、楼观等多半归于山水。兽畜、竹石、蝶虫之类多归于花鸟。花鸟画实则是动、植物画，以花代表植物，以鸟代表动物。\n李唐的花鸟画在当时尤为突出。吴其贞《书画记》中记有李唐《梅竹禽雀图》，并云“甚剥落”，然“精彩尚在”。《严氏书画记》中还记有李唐的《古木寒鸦图》，他自己也说：“早知不入时人眼，多买胭脂画牡丹。”这一类作品虽很精彩，可惜，今天已不可见，记载亦不详。据历来的叙说，李唐“尤工画牛”(《图绘宝鉴》)，“善作山水人物，最工画牛”(《画继补遗》)。他当时的花鸟画成就可能大于山水和人物。本来，北宋画院的花鸟画成就是高于山水画的\n在记载中，李唐的画牛之作也确实多，如《桃林纵牧图》、《放牧图》、《春牧图》、《秋牧图》、《烟林春牧》、《风雨归牛图》、《三生图》等等。《清河书画舫》所记李唐的《桃林纵牧图》：“不知者谓为戴嵩。”戴嵩乃唐代画牛名家，当时及后代，皆称“韩马戴牛”，即韩干的马、戴嵩的牛。李唐的牛被人误认为是戴嵩所画，可见其精彩之至。还记“李唐尤工画牛，得戴嵩遗法”。",[25,26,27,28,205,183,31,264,242,265,110,266],"牛","飞鸟","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa528be30dbb6d13761b480f04ecd894e.jpg","61X63cm",[68,46,162],81,{"id":272,"slug":273,"title":274,"dynasty":8,"author":7,"museum":56,"description":275,"tags":276,"thumbUrl":279,"material":83,"size":280,"collection":68,"collections":281,"showCount":270,"zanCount":50,"manualWeight":50,"mainColor":51},218981,"xian-yan-cai-yao-tu-li-tang-218981","仙岩采药图","这幅画来自《名画集》的第七板块，描绘了一个男人肩上扛着一个葫芦，沿着一条蜿蜒的小路走到森林里去采药。艺术家以森林中交错的树枝和茂密的树叶为 实，以溪流和小路为 虚，并采用了对应于实和虚的对角线布局，暗示了南宋边缘构图的思想。石头和树木的轮廓是用浓墨勾勒出来的，树叶是用双钩画出来的，然后用绿色覆盖，使森林看起来更加茂盛。画笔很灵活，用尖锐的细笔画出水面，用更简单的笔触在岩石和树木上创造纹理。没有作者的标记，但树木和石头的画法以及配色都与李唐的相似。也许这就是为什么老签名表明这幅画是李唐的作品。",[25,26,27,28,30,32,34,113,277,33,278],"山岩","采药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1fb1d36a81146ad83b80ed92d8cd863.jpg","22.4x23.8",[68],{"id":283,"slug":284,"title":285,"dynasty":8,"author":7,"museum":56,"description":286,"tags":287,"thumbUrl":293,"material":83,"size":294,"collection":70,"collections":295,"showCount":296,"zanCount":50,"manualWeight":50,"mainColor":51},218820,"dong-jing-shan-shui-li-tang-218820","冬景山水","这幅画描绘了一个雪白的函谷关，有一条浅浅的小溪，两队牛车跋涉过关，来到一个温暖的休息场所，在那里他们可以温酒纳凉。它的署名是：晞古李唐。",[25,27,28,30,32,31,33,242,288,115,111,289,290,291,61,292],"积雪","小径","寒林","冬景","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14280f0a855ef351b9fed104cff2b2b6.jpg","28.4x25.9",[70],79,{"id":298,"slug":299,"title":300,"dynasty":8,"author":7,"museum":91,"description":301,"tags":302,"thumbUrl":303,"material":97,"size":98,"collection":11,"collections":304,"showCount":305,"zanCount":50,"manualWeight":50,"mainColor":51},290086,"yu-fu-tu-li-tang-290086","渔父图","李唐（1066—1150），南宋画家。字晞古，河阳三城（今河南孟州）人。初以卖画为生， 宋徽宗赵佶时入画院。南渡后以成忠郎衔任画院待诏。擅长山水、人物。变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。并以画牛著称。与刘松年、马远、夏圭并称“南宋四大家”。存世作品有《万壑松风图》《清溪渔隐图》《烟寺松风》《采薇图》等。",[25,26,27,30,33,59,32,111,112,37,113,170,114,109,110],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a96877d6e1cc04537d7e2dc4236b975.jpg",[],78,{"id":307,"slug":308,"title":309,"dynasty":8,"author":7,"museum":218,"description":310,"tags":311,"thumbUrl":313,"material":83,"size":314,"collection":315,"collections":316,"showCount":317,"zanCount":176,"manualWeight":50,"mainColor":51},218970,"yu-yu-fang-mu-tu-li-tang-218970","雨余放牧图","雨后的山野浸着清润气息，山峦如黛，轻烟似纱晕染其间，远近层次在水墨中渐次铺展。老松虬枝盘结，苍劲枝干斜倚崖边，松针上似还挂着未干的雨珠。坡地间，牛群散卧或缓行，有的低头啃食带露青草，有的两两相依，蹄印浅浅印在湿润泥土上。远处山影朦胧，几只飞鸟掠过天际，更衬出天地静谧。整幅画将田园悠然与自然清旷融于一体，每一笔都带着岁月温润，仿佛能嗅到雨后泥土芬芳，听见风过松林轻响，让人沉醉在这份与世无争的安然里。",[27,28,33,32,30,31,264,60,265,61,38,113,129,312],"草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b23892c23ea69db3c885cc88ea4dc2d.jpg","纵204横96厘米","花鸟画精选",[315],68,{"id":319,"slug":320,"title":321,"dynasty":8,"author":7,"museum":91,"description":301,"tags":322,"thumbUrl":325,"material":97,"size":98,"collection":11,"collections":326,"showCount":327,"zanCount":50,"manualWeight":50,"mainColor":51},288223,"qiu-dong-shan-shui-tu-li-tang-288223","秋冬山水图",[27,94,30,32,242,60,62,61,323,324],"秋冬","寒寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec7f5b52580af7e7f6660f1752608c3.jpg",[],59,{"id":329,"slug":330,"title":331,"dynasty":8,"author":7,"museum":56,"description":332,"tags":333,"thumbUrl":334,"material":83,"size":335,"collection":68,"collections":336,"showCount":327,"zanCount":50,"manualWeight":50,"mainColor":189},218968,"da-jiang-fu-yu-tu-li-tang-218968","大江浮玉图","图片显示的是一条大河，波涛汹涌，两艘河船一起停泊在附近的码头上。有一些岛屿升入河中，几块巨石与主山遥相呼应，而森林树木、寺庙和漂浮的人物被描绘得非常详细。其笔法与郭熙的《早春》相似，结构与徽宗的《溪山秋色》相似。它可能是郭熙在宣和、绍兴年间（1119-1162）制作的。",[25,27,28,30,33,32,61,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54993d0fc188603ac72284d8609e6fb4.jpg","20.8x22.2",[68,70],{"id":338,"slug":339,"title":124,"dynasty":8,"author":7,"museum":91,"description":340,"tags":341,"thumbUrl":344,"material":97,"size":98,"collection":11,"collections":345,"showCount":346,"zanCount":50,"manualWeight":50,"mainColor":51},288259,"jiang-shan-xiao-jing-tu-li-tang-288259","《江山小景图》描绘的是沿江的山水景观，可以分成上下两部分，画面上部，江水粼粼，空阔旷远，风帆出没其间。画面下部，横列一排山峰，高低参次，连绵不断。山峰上丛林密布，宫观楼阁，半隐半现。此图采用了上留天，下不留地的构图方式，风格既继承北宋传统，又暗示南宋特色。",[25,26,27,28,29,30,31,32,33,111,39,342,62,343,63,35],"林木","江河","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ed7674380b1a209bd4836ce4ffa81e0.jpg",[],55,{"id":348,"slug":349,"title":350,"dynasty":8,"author":7,"museum":78,"description":351,"tags":352,"thumbUrl":354,"material":355,"size":356,"collection":11,"collections":357,"showCount":358,"zanCount":50,"manualWeight":50,"mainColor":189},221581,"cai-wei-tu-juan-quan-juan-li-tang-221581","采薇图卷全卷","这是一幅历史题材的绘画作品，是以殷末伯夷、叔齐“不食周粟”的故事为题而画的。司马迁所著之《史记》中即有“伯夷列传”，伯夷和叔齐是殷的诸侯孤竹君（国在今河北卢龙南）的两个儿子，孤竹君立其三子叔齐为继承人。孤竹君死后，叔齐要把继承权让给哥哥伯夷，伯夷不肯接受，说这是父命，不可违背，最后逃跑了。叔齐见状也离家出走。兄弟二人出走后先后投奔了西伯姬昌（即周文王），不久姬昌死，儿子姬发（即周武王）要出兵讨伐纣王。伯夷、叔齐拦住姬发的马头谏阻，认为臣子造反讨伐君王是大逆不道的。武王伐纣取得胜利后，伯夷、叔齐深以为耻，表示决心不吃从周朝土地上长出来的粮食，于是逃隐至首阳山（在山西永济县境），采食野菜充饥度日，最后双双饿死在山里，临死前还作了一首采薇歌：“登彼西山兮，采其薇矣！以暴易暴兮，不知其非矣！神农虞夏忽焉没兮，我安适归矣？于嗟徂兮，命之衰矣！”表示了坚决不屈服的志向。\n李唐所画的《采薇图》，即着力刻划了这两个古代宁死不愿意失去气节的人物。图中描绘伯夷、叔齐对坐在悬崖峭壁间的一块坡地上，伯夷双手抱膝，目光炯然，显得坚定沉着；叔齐则上身前倾，表示愿意相随。伯夷、叔齐均面容清癯，身体瘦弱，肉体上由于生活在野外和以野菜充饥而受到极大的折磨，但是在精神上却丝毫没有被困苦压倒。作者着墨不多，就把伯夷、叔齐在特定环境下的神态描绘得淋漓尽致，达到了很高的水平。\n李唐采用这个历史故事来表彰保持气节的人，谴责投降变节的行为，在当时南宋与金国对峙的时候，可谓是“借古讽今”，用心良苦。",[25,27,29,30,31,34,33,38,63,32,353],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8f5d231ca2edb3f9d85a65a937277ec.jpg","绢本，水墨淡设色","纵27.2厘米，横90.5厘米",[],53,{"id":360,"slug":361,"title":362,"dynasty":8,"author":7,"museum":363,"description":364,"tags":365,"thumbUrl":369,"material":370,"size":371,"collection":11,"collections":372,"showCount":373,"zanCount":176,"manualWeight":50,"mainColor":51},232776,"si-ji-shan-shui-tu-juan-li-tang-232776","四季山水图卷","日本京都高桐院","作品以开阔的画面展示了从卷头的春景开始到卷末的冬景结束，连续画出了四季山水的变迁。仔细观摩之，这一春夏秋冬的四季也分别画成孟、仲、季三景，并且通过巧妙的布置而连成一景。一卷四季变化实属罕见。",[25,26,27,28,29,31,33,32,156,366,367,111,368,39,265,36,37,114,34,170,113],"山","水","树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc6192ff70fbb361ec6c27ae7f9dd2de.jpg","纸本","纵32厘米，横515.5厘米",[],52,{"id":375,"slug":376,"title":377,"dynasty":8,"author":7,"museum":91,"description":378,"tags":379,"thumbUrl":382,"material":11,"size":11,"collection":11,"collections":383,"showCount":373,"zanCount":176,"manualWeight":50,"mainColor":189},227969,"guan-mei-du-shu-tu-li-tang-227969","观梅读书图","虬曲老梅横斜而出，枝桠如屈铁般苍劲疏朗，残蕾轻缀梢头，古藤垂曳更添荒寒之致。右下角淡墨晕染出远山坡岸，幽林掩映间，坡下士人凭坐观梅静读，全然融入冷寂清旷的氛围中。\n\n笔法简劲老辣，以干湿浓淡的墨色晕染出空濛早春的清冷氛围感，留白铺陈出幽远意境。将文人耽于林泉、寄情梅下的雅趣藏于萧寒景致里，把观梅闲读的幽居况味和清雅荒寒的意境融为一体，尽显小品极简含蓄的意趣，是文人心中理想栖居图景的缩影。",[25,27,26,183,156,30,32,33,380,113,221,170,34,381],"梅","读书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b8f248e33ae44c43fac3cc6f2f01bc7.jpg",[],{"id":385,"slug":386,"title":387,"dyna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61X63cm ，北京故宫博物院藏。鉴藏印：奉使之印、项元汴印、退密、仙客、子京所藏、项墨林父秘籍之印、蔗田珍玩、项叔子、叶蔗田珍赏章、蔗田曾藏识者宝之、平生珍赏、畊霞溪馆、虚斋审定书画名迹 钤印：苏氏文印、西磵云樵、昌龄、苏。",[25,26,27,28,33,34,264,113,31,30,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cc523ca70a1e521c7a8b3535a78de55.jpg",[],{"id":467,"slug":468,"title":469,"dynasty":8,"author":7,"museum":91,"description":470,"tags":471,"thumbUrl":474,"material":11,"size":11,"collection":11,"collections":475,"showCount":476,"zanCount":50,"manualWeight":50,"mainColor":51},227767,"gong-dian-hua-yuan-tu-ye-li-tang-227767","宫殿花园图页","李唐（1066年－1150年），字晞古，亦作希古，宋朝著名画家，河阳三城（今河南孟县）人。\n\n李唐原供奉北宋徽宗的画院，1127年金兵攻陷汴京，李唐颠沛流离，逃往临安（今杭州），以卖画度日。南宋恢复画院后，李唐经人举荐，进入画院，授成忠郎职务。\n\n李唐精于山水画，变荆浩、范宽之法，山水画最初用峭劲的笔墨，写出北方山河雄峻气势；晚年去繁就简，创大斧劈皴；画水打破鱼鳞纹程式，而得盘涡动荡之状；兼工人物画，初似李公麟，后衣褶变为方折劲硬；并以画牛著称。\n\n描绘青绿山水，如《万壑松风图》、《长夏江寺图》等，是北派山水的著名代表人之一，其后用笔及取景变的简括凝炼、构图精练、意境优美，开辟南宋的新画风，并创作人物画《胡笳十八拍》、《采薇图》等，借历史抒发怀念故国，希图中兴的感情。\n\n李唐的画风对后世有很大影响，他也培养了一些杰出弟子如萧照，其后马远、夏圭继承和发展了他的画风，和他一起，并称为“南宋四家”（李唐、刘松年、马远、夏圭）。",[25,26,27,31,472,34,35,38,61,42,473],"界画","宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa52bbd47fa75dd0f52917c93d10f58b.jpg",[],37,{"id":478,"slug":479,"title":228,"dynasty":8,"author":7,"museum":91,"description":480,"tags":481,"thumbUrl":484,"material":97,"size":98,"collection":11,"collections":485,"showCount":486,"zanCount":50,"manualWeight":50,"mainColor":51},289593,"hao-liang-qiu-shui-tu-li-tang-289593","描绘的是安徽凤阳县濠水、濮水一带的风光。数株茂密的大树占据了主要画面。树用夹叶法，淡赭设色，透露出浓浓秋意。大石用斧劈皴，勾勒劲健，结构谨严，苍劲凌厉，颇见质感，以青绿罩染。画面左侧飞泉直泻，落叶点点。李唐对秋水的刻画尤见功力，并使山石的刚硬和水波的柔和形成鲜明对比。整个画面显示出一副浓郁的深秋景象。在这样一个环境里面，庄子和惠子坐于岸边。二人衣着古朴，衣纹简练，却颇见精神。一人面对观者，一人侧面作交谈状，与《采薇图》中伯夷和叔齐的表现方式有异曲同工之妙。",[25,27,26,29,30,94,32,37,61,482,34,483],"古树","观水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff100ffd5335783d2d72685d2283a1273.jpg",[],35,{"id":488,"slug":489,"title":490,"dynasty":8,"author":7,"museum":91,"description":491,"tags":492,"thumbUrl":493,"material":11,"size":11,"collection":11,"collections":494,"showCount":495,"zanCount":50,"manualWeight":50,"mainColor":51},227775,"chi-bi-sheng-you-tu-ye-li-tang-227775","赤壁胜游图页","赤壁之战是中国历史上极为著名的战争；它是用灵活战术发挥以寡击众的成功战例。战争从双方集结到交战，前后历时几个月，但却传颂了一千多年，至今不歇。后世以诗词歌赋、艺术书法，戏剧歌曲，各种方式称颂这场战争及参与这场历史盛会的英雄。\n\n赤壁之战除了战争前魏、蜀、吴三方阵营斗智、权谋攻防的尔虞我诈，战争过程中极富戏剧性的发展脍炙人口外，战后的影响也是令后世热衷讨论、研究的焦点。一般说来，魏、吴、蜀三分天下的契机奠定于这场战争。然而，三国鼎立的局面虽然出现了，但最后统一的局面，并非由参与这场战争的任何一方完成。历史的发展，曲折迂迴似乎没有必然的逻辑。\n\n赤壁之战引起后世无尽的兴味，还有一项重要的原因，即为参与这场战争的「与会者」，都成为后世讨论的对象。在中国历史上，很少有一个时代突然出现那麽多人才。就人才分佈而言，各方阵营济济多士、猛将如云。长久以来，后世习惯立场的选择，加上《三国演义》小说、戏剧的推波助澜；因此，读史时便无意中流露出对历史人物的偏爱了。\n\n后世歌咏赤壁的艺术绘画、书法作品众多，我们选辑一批，不用亲临，在纸上感受千年以来赤壁的风云际会。",[25,26,27,28,205,30,31,33,111,60,63,37,34,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe85967083dcbba194a327a2d2f6d7070.jpg",[],34,{"id":497,"slug":498,"title":499,"dynasty":8,"author":7,"museum":56,"description":500,"tags":501,"thumbUrl":503,"material":66,"size":504,"collection":162,"collections":505,"showCount":495,"zanCount":50,"manualWeight":50,"mainColor":51},219923,"ru-niu-tu-zhou-li-tang-219923","乳牛图轴","一位牧童趴伏于母牛背上，小牛跟随在后，引颈低呼，老牛摇尾相应，母子亲情，描写欲活。本幅并无作者款印，裱绫有清代鉴赏家梁清标所书之题签，云：「李晞古乳牛图」。不过本幅牛体、皴石之用笔皆与李唐（西元1049－1130年）画风有别，或属明代早期之作。李唐，字晞古。河南孟县人。擅山水、人物，也长于画牛。徽宗朝进入画院，高宗建炎年间，授成忠郎衔任画院待诏。",[25,27,26,28,59,156,31,264,266,502,63],"草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c355d617f6a550dbb9e6d783bb802e6.jpg","46.4x62.5",[162],{"id":507,"slug":508,"title":509,"dynasty":8,"author":7,"museum":91,"description":470,"tags":510,"thumbUrl":514,"material":11,"size":11,"collection":11,"collections":515,"showCount":516,"zanCount":50,"manualWeight":50,"mainColor":51},227766,"ting-pu-tu-ye-li-tang-227766","听瀑图页",[25,27,30,31,32,511,33,62,61,38,39,512,129,130,513],"册页","河流","小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F300f3d307bc7e7517c87dc0b837e932e.jpg",[],33,{"id":518,"slug":519,"title":520,"dynasty":8,"author":7,"museum":91,"description":470,"tags":521,"thumbUrl":526,"material":11,"size":11,"collection":11,"collections":527,"showCount":528,"zanCount":50,"manualWeight":50,"mainColor":51},227770,"dai-du-tu-ye-li-tang-227770","待渡图页",[25,27,26,31,32,33,111,34,113,61,522,523,38,524,525],"渡头","岸坡","远岫","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8f2618414ab002b13ecc03ab10213de.jpg",[],29,{"id":530,"slug":531,"title":532,"dynasty":8,"author":7,"museum":91,"description":470,"tags":533,"thumbUrl":540,"material":11,"size":11,"collection":11,"collections":541,"showCount":528,"zanCount":176,"manualWeight":50,"mainColor":51},227768,"shan-shui-ye-li-tang-227768","山水页",[25,27,28,26,30,32,511,33,35,111,38,61,534,535,536,129,537,538,242,539],"水域","船只","建筑","近景","远景","峭壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45201661780ca97b7873407544fff787.jpg",[],{"id":543,"slug":544,"title":545,"dynasty":8,"author":7,"museum":91,"description":301,"tags":546,"thumbUrl":548,"material":11,"size":11,"collection":11,"collections":549,"showCount":550,"zanCount":50,"manualWeight":50,"mainColor":51},227773,"song-yin-xiu-qi-tu-ye-li-tang-227773","松荫休憩图页",[25,26,27,28,205,31,33,34,547,37,170,32],"松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ae2c81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