[{"data":1,"prerenderedAt":2220},["ShallowReactive",2],{"artist-shen-zhou-323":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},323,"shen-zhou-323","沈周","明","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。","","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a2b67b5b31a4fb17975c34793c69e7.jpg",[],135,"S",307,[18,51,67,83,100,114,130,147,161,174,188,200,215,226,239,249,263,276,287,297,309,322,334,345,360,375,385,393,406,416,428,443,453,464,478,488,495,504,513,526,537,547,560,569,577,588,596,606,616,624,637,647,657,669,679,687,697,707,716,726,739,753,762,773,785,795,806,816,823,831,845,857,869,879,887,895,904,912,919,928,938,947,957,968,978,986,994,1005,1015,1021,1029,1040,1052,1060,1072,1082,1089,1098,1107,1114,1123,1134,1147,1155,1165,1171,1182,1195,1206,1214,1221,1230,1237,1244,1253,1263,1274,1285,1292,1301,1311,1321,1328,1335,1343,1350,1357,1366,1374,1381,1389,1399,1405,1411,1418,1427,1437,1444,1450,1457,1465,1474,1483,1494,1505,1512,1520,1527,1536,1544,1553,1559,1567,1575,1583,1590,1598,1607,1616,1623,1632,1641,1650,1661,1671,1680,1691,1698,1704,1712,1722,1731,1739,1749,1761,1769,1779,1788,1794,1803,1812,1820,1828,1840,1850,1861,1869,1877,1886,1897,1908,1918,1927,1939,1946,1953,1960,1967,1975,1983,1996,2007,2018,2025,2035,2046,2055,2062,2070,2079,2088,2096,2105,2114,2123,2132,2141,2150,2163,2172,2183,2193,2202,2211],{"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":47,"zanCount":48,"manualWeight":49,"mainColor":50},214638,"wu-zhong-shan-shui-juan-shen-zhou-214638","吴中山水卷","上海博物馆","画家画的是他家乡苏州的山水景象，山水构图平远，波光粼粼，山峦郁郁葱葱，被行人的小船打断了。图像没有任何标记，背面纸上有沈周写的长诗。",[25,26,27,28,29,30,31,32,33,34,35,36,37,38,39,40,41],"高清","国画","书画","长卷","水墨","设色","山水","小桥","流水","孤舟","亭","树木","山石","房屋","皴法","书法","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1fc32edd6049d9d044095077d4fe271.jpg","纸本,设色","31.6x348","山水画精选",[45],7463,45,0,"BDBDBD",{"id":52,"slug":53,"title":54,"dynasty":8,"author":7,"museum":55,"description":56,"tags":57,"thumbUrl":62,"material":43,"size":63,"collection":45,"collections":64,"showCount":65,"zanCount":66,"manualWeight":49,"mainColor":50},214743,"ye-zuo-tu-shen-zhou-214743","夜坐图","台北故宫博物院","这幅夜行女子的画是沈周的生活自画像。在画的上部有一段文字，记录了他的生活，讲述了他如何在半夜突然醒来，当时雨后初晴，月亮倒映在他的窗口。风声、狗声、鼓声渐渐传来，钟声也从黎明传来。沈周经常在晚上看书，但他总是要到第二晚才休息，思绪都在文字里，所以听不到也看不到什么，但这次他感到了冥想的力量。图意即绘夜坐之事，时年六十六岁。",[26,27,58,29,31,41,40,59,39,60,37,61,32],"立轴","印章","老树","屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff82bcb280b365901496be3ff0f122b.jpg","84.8x21.8",[45],3007,20,{"id":68,"slug":69,"title":70,"dynasty":8,"author":7,"museum":71,"description":72,"tags":73,"thumbUrl":78,"material":43,"size":79,"collection":45,"collections":80,"showCount":81,"zanCount":82,"manualWeight":49,"mainColor":50},219219,"fang-huang-gong-wang-fu-chun-shan-ju-tu-juan-shen-zhou-219219","仿黄公望富春山居图卷","北京故宫博物院","此图为沈周背临黄公望《富春山居图》之作。图中坡岗起伏，景物幽美，布局开合有度，用笔方圆兼备，刚柔并济，结合了披麻皴法与矾头皴法，对原作的临摹达到了形神兼似的境界，而笔力间又体现出沈周自己个人的特色。黄公望《富春山居图》后被焚毁作两段，分别辗转流传，今前一段藏于浙江省博物馆，后一段藏于台北故宫博物院。沈周此幅临作基本上保留了原作被毁以前的面貌，故这幅作品除具备本身的艺术价值之外，还带有重现黄氏原作的重要意义。尾纸有姚绶、董其昌、吴宽、文彭、周天球、谢凇洲诸家题跋。",[25,26,27,28,29,39,74,40,41,59,31,75,36,33,76,77,34],"临摹","孤石","山峦","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1efe58b722df64f77e022a8a8fc2de6.jpg","纵36.8厘米，横855厘米",[45],1987,11,{"id":84,"slug":85,"title":86,"dynasty":8,"author":7,"museum":55,"description":87,"tags":88,"thumbUrl":92,"material":93,"size":94,"collection":45,"collections":95,"showCount":97,"zanCount":98,"manualWeight":49,"mainColor":99},222104,"lu-shan-gao-tu-shen-zhou-222104","庐山高图","此图描绘的是庐山的景象，画中有白云、杂树、石阶、小路以及人物等。这幅图在技法上借鉴元代画家王蒙的笔意，笔法稳健，气势雄沉，具有强烈的节奏感和力量感。山峰多用解索皴，皴染厚重灵动；中段山峦则用折带皴，皴笔精细，墨色较淡，表现出崖壁的险峻。左边崖壁先匀后皴，墨色较重，并以焦墨密点，显得苍郁幽深。",[25,26,31,29,39,58,89,90,33,91,75],"山","瀑布","树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd61796c0c6453be4cd711d8316964db5.jpg","白纸本","纵193.8 公分，横98.1 公分",[45,96],"水墨画精选",1546,18,"795548",{"id":101,"slug":102,"title":103,"dynasty":8,"author":7,"museum":104,"description":105,"tags":106,"thumbUrl":110,"material":11,"size":11,"collection":45,"collections":111,"showCount":112,"zanCount":113,"manualWeight":49,"mainColor":50},237922,"shen-zhou-shan-shui-zhou-shen-zhou-237922","沈周山水轴","藏地不详","疏树数株，笔法中锋劲挺。后两峰并列，中有一坞系黏，左侧後方又延一峰，不施皴擦只以墨染，远峰亦以墨略勾勒淡烘染。通幅皴山画树，用笔疏朗，与黄公望名迹「富春山居」图卷有若干契合处；而大片水墨烘染山石则似又自米芾（1501-1107）出。自题云“米不米，黄不黄，淋漓水墨馀清苍。”落笔布墨间，盖心有所寄故能从腕底陶融调匀，蜕化而成。 年齿大沈周十馀岁的刘珏（1410-1472）极爱周之画，每与珏晤面，不问“寒暑风雨日夜冗暇醒醉”，皆强之作画。据沈周於画上自题云，知此幅乃作于酒后，笔墨清朗率略，与细致疏秀的“崇山修竹”有同工之趣，二幅成画时间当甚接近，约于1470（成化庚寅）之际，时沈周四十四岁。 沈周不善饮，自谓平生于酒至痛饮处仅升许，而於六十五岁（弘治辛亥，1491）作〈老杯酒轩诗引〉中尝言之所以不戒酒者，“以其有醉之乡，处之可以佚吾老也。”三两小杯醺醺然为乐，益可增添画趣，周之不欲绝者当非无因。 此画亦为刘珏作，画成于醉后。据沈周自跋，刘珏极爱沈周之画，每一晤面，輙求周作，不间醒醉冗暇寒暑，甚致夜亦张灯，强之作画云。",[26,29,58,31,39,34,107,36,76,33,108,109],"蓑笠","岩石","垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82bbfa00972ccac2b880ca0da9cc7539.jpg",[45,96],1229,4,{"id":115,"slug":116,"title":117,"dynasty":8,"author":7,"museum":118,"description":119,"tags":120,"thumbUrl":125,"material":126,"size":11,"collection":45,"collections":127,"showCount":128,"zanCount":129,"manualWeight":49,"mainColor":99},219733,"qing-jiang-you-ju-tu-shen-zhou-219733","清江幽居图","大英博物馆","此作用笔苍润秀雅，取景疏密得宜。近岸老松盘曲，浓荫覆着茅堂，幽人居于其中，静听山籁。江岸迂回，板桥跨溪，远山以淡墨晕染，烟岚轻笼，殿宇藏于翠微间。\n\n通幅干湿笔墨相生，墨色层次分明，将夜雨初歇的空濛山色晕染得淋漓尽致，江天寥廓间尽见清寂雅致的山居意趣，尽显寄情林泉、幽栖忘俗的隐逸情怀。",[25,26,29,30,39,58,31,32,33,35,121,37,122,123,124],"松","楼阁","幽居","岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdbf8df9dd29c2dd40331e20cfa7ac27.jpg","绢本,设色",[45],1176,12,{"id":131,"slug":132,"title":133,"dynasty":8,"author":7,"museum":134,"description":135,"tags":136,"thumbUrl":141,"material":142,"size":143,"collection":45,"collections":144,"showCount":145,"zanCount":146,"manualWeight":49,"mainColor":50},220067,"hu-qiu-shi-er-jing-tu-ce-shen-zhou-220067","虎丘十二景图册","美国克利夫兰美术馆","图册画吴中地区之虎丘山、玄墓山、虎山桥、南峰、横塘、光福山、天池山、贺九岭、上方山、觉海寺、姑苏台、莲花峰等十二处胜景。",[25,26,29,30,137,138,31,122,139,32,33,34,140,36,35],"界画","册","塔","人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84c6ccf4bdda3ae45520cc37a3415a38.jpg","纸本","31.1×40.2cmx12",[45],1160,9,{"id":148,"slug":149,"title":150,"dynasty":8,"author":7,"museum":71,"description":151,"tags":152,"thumbUrl":153,"material":154,"size":155,"collection":45,"collections":156,"showCount":159,"zanCount":160,"manualWeight":49,"mainColor":50},233832,"wo-you-tu-ce-qiu-shan-du-shu-shen-zhou-233832","卧游图册－秋山读书","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。\n引首自书“卧游”，钤“沈氏启南”朱文印。鉴藏印：“士元珍藏”朱文印，“朱卧庵收藏印”朱文印，“查映山氏收藏图书”朱文印。\n仿倪山水，自题：“苦忆云林子，风流不可追。时时一把笔，草树各天涯。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印，“士元”朱文印，“昆山王成宪画印”朱文印，“映山珍藏”朱文印。\n杏花。自题：“老眼于今已敛华，风流全与少年差。看书一向糢糊去，岂有心情及杏花。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n秋葵。自题：“秋色韫仙骨，淡姿风露中。衣裳不胜薄，倚向石阑东。沈周。” 钤“启南”朱文印。鉴藏印：“士元”朱文印，“卧庵所藏”朱文印，“昆山王成宪画印”朱文印。\n秋柳鸣蝉。自题：“秋已及一月，残声绕细枝。因声追尔质，郑重未忘诗。沈周。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“䒶机流动”朱文印。“卧庵所藏”朱文印。\n平坡散牧。自题：“春草平坡雨迹深，徐行斜日入桃林。童儿放手无拘束，调牧于今已得心。沈周。”钤“启南”朱文印两方。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“之”“赤”朱文联珠印。\n栀子花。自题：“花尽春归厌日迟。玉葩撩兴有新栀。淡香流韵与风宜。帘触处、人在酒醒时。 生怕隔墙知。白头痴老子，折斜枝。还愁零落不堪持。招魂去、一曲（按：此字点去）阙小山词。右词寄小玉山，沈周。”钤“启南”朱文印，“吴言”朱文印。“石田翁”白文印。鉴藏印：“之”“赤”朱文联珠印，“朱卧庵收藏印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n秋景山水。自题：“淡墨疏烟处，微踪仿佛谁。梅花庵里客，端的是吾师。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印。\n芙蓉。自题：“芙蓉清骨出仙胎，赭玉玲珑轧露开。天亦要妆秋富贵，锦江翻作楚江来。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“卧庵所藏”朱文印、“昆山王成宪画印”朱文印、“竹南藏玩”白文印。\n枇杷。自题：“弹质圆充饤，蜜津凉沁唇，黄金作服食，天亦寿吴人。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印,“卧庵所藏”朱文印、“昆山王成宪画印” 朱文印。\n秋山读书。自题：“高木西风落叶时，一襟萧爽坐遥遥。闲披秋水未终卷，心与天游谁得知。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“卧庵所藏”朱文印。\n石榴。自题：“石榴谁擘破，群琲露人看。不是无藏韫，平生想怕瞒。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n雏鸡。自题：“茸茸毛色半含黄，何独啾啾去母傍。白日千年万年事，待渠催晓日应长，沈周。”钤“启南”朱文印，“白石翁”白文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印、“朱卧庵收藏印”朱文印。\n秋江钓艇。自题：“满池纶竿处处缘，百人同业不同船。江风江水无凭准，相并相开总偶然。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“卧庵所藏”朱文印。\n菜花。自题：“南畦多雨露，绿甲已抽新。切玉烂蒸去，自然便老人。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印，“昆山王成宪画印”朱文印。\n江山坐话。自题：“江山作话柄，相对坐清秋。如此澄怀地，西湖忆旧游。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印、“昆山王成宪画印”朱文印。\n仿米山水。自题“云来山失色，云去山依然。野老忘得丧，悠悠柱杖前。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n雪江渔夫。自题：“千山一白照人头，簑笠生涯此钓舟。不识江湖风雪里，可能干得庙堂忧。沈周。”钤“白石翁”白文印。鉴藏印：“昆山王成宪画印”朱文印、“卧庵所藏”朱文印。\n题跋。自题：“宗少父四壁揭山水图，自谓卧游其间。此册方可尺许，可以仰眠匡床，一手执之，一手徐徐翻阅，殊得少文之趣。倦则掩之，不亦便乎？于揭亦为劳矣。真愚闻其言，大发笑。沈周跋。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印，“芃园曹氏平生真赏”朱文印，“麓云楼书画记”朱文印，“康饴”朱文印，“只可自怡悦”白文印，“朱卧庵收藏印”朱文印，“依竹居士鉴赏书画印”朱文印。",[26,27,138,29,31,140,60,37,33,40],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59290bda967d3ca108bc1fdca4fbebb.jpg","纸本，设色","纵27.8厘米，横37.3厘米",[45,157,158],"花鸟画精选","设色画精选",1120,5,{"id":162,"slug":163,"title":164,"dynasty":8,"author":7,"museum":55,"description":165,"tags":166,"thumbUrl":170,"material":43,"size":171,"collection":157,"collections":172,"showCount":173,"zanCount":113,"manualWeight":49,"mainColor":50},214361,"ping-zhong-la-mei-tu-shen-zhou-214361","瓶中蜡梅图","沈周是一个慷慨大方的人。他能写诗和书法，也善于绘画，山水、花果、鸟、鱼、动物、人物，他都了如指掌，他的作品有一种稚拙的形态，笔触钝而有力，墨色浓重，给人一种厚重感和力量感，有古人的趣味。在这幅《瓶中蜡梅》中，梅花的茎部被用笔触画出，就像山水中的一棵树，显示出它冷峻的姿态。",[25,26,27,58,30,167,168,169,59,41],"花鸟","梅","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf9e9b4c56979665467b25f96882b252.jpg","140.6x31.6",[157],1021,{"id":175,"slug":176,"title":177,"dynasty":8,"author":7,"museum":178,"description":179,"tags":180,"thumbUrl":184,"material":142,"size":185,"collection":45,"collections":186,"showCount":187,"zanCount":160,"manualWeight":49,"mainColor":50},220034,"dong-zhuang-tu-ce-zhi-bei-gang-shen-zhou-220034","东庄图册之北港","南京博物院","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。",[25,181,26,27,138,29,39,31,91,182,33,183],"名画","荷","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15ce1469f2e7f5176c41428873c3177e.jpg","纵28.6厘米，横33厘米",[45,158],904,{"id":189,"slug":190,"title":191,"dynasty":8,"author":7,"museum":71,"description":192,"tags":193,"thumbUrl":194,"material":126,"size":195,"collection":196,"collections":197,"showCount":198,"zanCount":199,"manualWeight":49,"mainColor":50},218406,"cang-zhou-qu-tu-shen-zhou-218406","沧洲趣图","此图所绘沧州为明代属直隶河间府的沧州，地处北方，沈周未曾到过，他只是表现山川之性和趣，故图名“沧洲趣”。画面作平远布局，主要撷取江南水乡的景致，山丘逶迤，水面浩渺，坡岸伸展，杂树成林，一派南方山川秀丽风光。同时又融入了北方山峦雄阔之势，积叠的山石多尖峻的棱角，显得坚硬凝重，坡岸、平台亦转折尖直，棱角分明，其质地多呈北方石山的特征，无疑增添了山川的雄健宏阔气势。画法亦源自董巨，运用善于表现江南山水的披麻皴、点苔、圆润中锋和水墨渲染等技法，然运笔于中锋中时见外笔、侧锋，转折粗重，平台轮廓多整饬线条，细劲有力；披麻皴也变为研拂式的短笔皴，率意凝重；点苔亦墨深笔厚，圆横交错。总体笔墨形式刚柔相济，苍中带秀，既具董巨的秀润之韵，又呈较强的硬度和力感，恰当地表现了沈周心目中的沧州之趣。\n后纸自题是对本图艺术表现的很好的注脚。意即作为文人画家所崇尚的前贤董源、巨然，描绘自然山水犹如名医仓扁用药，是先了解本性，后求其形状，于是无往而不易，必深得山水之真性情。倘一味摹仿董巨的笔墨形式，则仅得董巨之外表形貌，自然山水的真性情却丧失了，所谓“求董巨而遗山水”。沈周创作此画，即从表现自身所熟悉的自然山水出发，并着重揭示其本性和真趣，在此前提下才灵活运用董巨的笔墨，故虽自谓“予此卷又非敢梦董巨者也”，实则却深悟了董巨山水之妙并得其遗意。可见沈周对“师法古人”和“师法自然”两者的认识是相当辩证的，也是他卓然有成的原因之一。",[25,26,27,28,29,39,31,75,32,33,34,60,35,40,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3340e8d4cf315e123b32737734c3c569.jpg","纵30.1厘米，横400.2厘米","人物画精选",[196,45,158],877,7,{"id":201,"slug":202,"title":203,"dynasty":8,"author":7,"museum":204,"description":205,"tags":206,"thumbUrl":209,"material":210,"size":211,"collection":45,"collections":212,"showCount":213,"zanCount":214,"manualWeight":49,"mainColor":50},222423,"su-shi-yan-jiang-die-zhang-tu-shen-zhou-222423","苏轼烟江叠嶂图","辽宁省博物馆","此幅图是根据赵孟頫的行书《苏轼题王诜烟江叠嶂诗》的诗意而作。图上山峦起伏，水天相连，云雾迷漫；近处山石屹立，树木成林，墨色浓重；人物三位，江中小舟一翁坐于舟尾垂钓，怡然自得。整幅图画笔老劲，构图简约，描绘了从远处观看山水美景的宏伟景象！",[25,26,29,28,39,31,34,36,77,37,90,207,208,140],"远山","近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb51c2b1ac770a01bb35e9d219451d74e.jpg","纸本，水墨","50*1165cm",[45,96],871,3,{"id":216,"slug":217,"title":218,"dynasty":8,"author":7,"museum":204,"description":219,"tags":220,"thumbUrl":221,"material":222,"size":223,"collection":45,"collections":224,"showCount":225,"zanCount":214,"manualWeight":49,"mainColor":50},222103,"shan-shui-zhou-wei-yuan-ya-ji-shen-zhou-222103","山水轴魏园雅集","沈周在此画中营造了一种山水亭榭，林泉雅集的氛围。远处峰峦陡起，轻披薄雾。近处山顶与中部山腰，露出多处缓缓向上的台地，泉水从山涧飞流直下,汇成棕棕小溪。溪水旁有一小桥，茅亭内四人席地而坐，书童侧立一旁正听候主人吩咐，一老者拽杖而来。山上山下，草木葱，叶红似火的枫叶点缀其间，更添几分胜地雅集美景。\n《魏园雅集图》上端题有沈周、祝颢、刘珏、陈述等人的诗文。祝颢的题诗“城市多喧隘，幽人自结庐。行藏循四勿，事业藉三余。留客尝新酿，呼孙倍旧书。悠悠清世里，何必上公车”正是画家借描绘自然景色来传达自己想隐逸山林、过一种悠闲的田园生活的写照。\n在《魏园雅集图》中，沈周采取了不同于同类题材的处理手法。画中，会晤场景占很小一部分，人物多为点景式。画家主要借寓意性的自然景色来抒发友情。这幅画以山水为主：远处峰峦陡起，轻披薄雾；近处山顶与中部山腰，泉水飞流直下，汇成淙淙小溪；溪水旁有一小桥，岸畔置一茅亭。茅亭内，四人席地而坐，书童抱琴侍立一侧。山径上，一老者执杖而来。山上山下，草木葱茏，叶红似火的枫树点缀其间，为魏园增添了几分秀色。\n《魏园雅集图》主要沿袭董源、巨然的画风，辅以黄公望式的平台构图，布局实中有虚，有疏朗之感。从画中可以明显地看出画家对块面因素的苦心经营：山石施以披麻皴，显得粗犷有力；皴笔的疏密变化，加强了画面的黑白对比。尤其是画面中间那块留白较多、向右上方层层叠加的石坡将四周较暗的部分撑开，形成一种张力。在描绘山体的局部层次上，沈周采用视点移动的方法。这是他惯用的手法。他中年创作的《庐山高图》就采取了这种方法。《魏园雅集图》中，他取法王蒙，以浓墨点苔，用墨浓淡相间。沈周的山水画在表现形式上呈现早年细、晚年粗的特点。《魏园雅集图》的画风正处于由细变粗的时期，是他画风转变期的作品。\n该作品中营造了一种山水亭榭，林泉雅集的氛围。远处峰峦陡起，轻披薄雾。画家皴染兼施，构筑的画面气魄雄浑沉静，实为诗书画熔为一炉的山水佳作。",[25,26,27,58,29,39,40,41,59,31,35,140,60,89,91],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06bd050b49302cf802dccc628eaaae1e.jpg","纸本、设色。","纵145.5厘米，横47.5厘米。",[45],763,{"id":227,"slug":228,"title":229,"dynasty":8,"author":7,"museum":178,"description":230,"tags":231,"thumbUrl":234,"material":235,"size":236,"collection":45,"collections":237,"showCount":238,"zanCount":113,"manualWeight":49,"mainColor":99},219903,"shan-ju-du-shu-tu-shen-zhou-219903","山居读书图","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。",[26,27,58,29,39,40,59,31,91,232,37,38,33,233],"竹","枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad65f1285b34c33d679d0516bef2374a.jpg","绢本,水墨","纵116.6厘米 横28.8厘米",[45],708,{"id":240,"slug":241,"title":242,"dynasty":8,"author":7,"museum":55,"description":243,"tags":244,"thumbUrl":245,"material":43,"size":246,"collection":45,"collections":247,"showCount":248,"zanCount":214,"manualWeight":49,"mainColor":50},214745,"shan-shui-tu-shen-zhou-214745","山水图","这幅山水画，笔触逐渐圆润成熟，与山竹和醉酒后的风景并无二致。画中，云层破碎，森林苍茫湿润，是雨后的场景。一座小桥上面走着一个拄着拐杖的人，这可能是 雨后振孤策 这首诗的意思。作画时，他已经50岁了。",[26,27,58,29,39,59,40,41,31,60,32,33,61,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb112e375f985a0401a16509e37dd9e82.jpg","56.1x31.7",[45],653,{"id":250,"slug":251,"title":252,"dynasty":8,"author":7,"museum":71,"description":253,"tags":254,"thumbUrl":257,"material":258,"size":259,"collection":196,"collections":260,"showCount":262,"zanCount":160,"manualWeight":49,"mainColor":50},236332,"shen-zhou-liu-yin-zuo-diao-tu-zhou-shen-zhou-236332","沈周柳荫坐钓图轴","本幅自题五绝诗：“树根容我坐，八座未云安。芸屦春泥湿，荷衣晓露干。沈周。”钤“寄傲”印、“启南”印。图中画岩崖危耸，春湖柳溪，湖边老翁垂纶，神态安逸。作品布景自然，用笔苍润，设色以浅绛、花青为主，清淡秀冶，兼得天趣与人意之美。此作表现了沈周晚年的典型面貌，根据本幅所钤“墨林山人”、“项叔子”、“项元汴印”等鉴藏印，可知作品曾经明末收藏家项元汴收藏。",[26,58,29,39,31,255,140,256,37,33],"柳树","坐钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc26e450d5af93a3a1c5b03a1c08feb02.jpg","绫本，设色","纵136.3厘米，横23.6厘米",[196,96,261],"书法精选",649,{"id":264,"slug":265,"title":266,"dynasty":8,"author":7,"museum":55,"description":267,"tags":268,"thumbUrl":270,"material":271,"size":272,"collection":45,"collections":273,"showCount":274,"zanCount":275,"manualWeight":49,"mainColor":99},222101,"shan-shui-ce-shen-zhou-222101","山水册","沈周（1427-1509）明代杰出画家。字启南，号石田，又号白石翁、玉田生、有居竹居主人等。长洲（今江苏苏州）人。性情敦厚、博学多才，长于文学，亦工诗画，善画山水、花卉、鸟兽、虫鱼，皆极神妙。常草草点缀，即得意趣。亦常题诗词于画上，当时人称他为“二绝先生”。画宗黄大疾、吴镇，自成一家笔法。亦工墨笔花鸟，和他的学生文征明并称为“吴派”两大家。又与文征明、唐寅、仇英称“明四家”。他每画一画，落笔点苔，绝不苟且。他能从多方面摹习古人，又加自己的创造，更参以二米的笔趣，善用粗笔，圆润挺劲，厚重凝炼。出入于宋元名家，创作态度极为慎重。",[25,26,181,27,138,29,39,31,60,33,107,269,75],"渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ea739b96b4accbcb710a3fa945b91db.jpg","纸本设色","37.4x58.8",[45,96],623,1,{"id":277,"slug":278,"title":279,"dynasty":8,"author":7,"museum":280,"description":281,"tags":282,"thumbUrl":283,"material":126,"size":284,"collection":45,"collections":285,"showCount":286,"zanCount":113,"manualWeight":49,"mainColor":99},217060,"lin-wu-zhen-xia-shan-yu-yu-tu-shen-zhou-217060","临吴镇夏山欲雨图","私人收藏","这是沈周的一幅山水画，用的是淡淡的紫红色的笔。笔法大胆简练，气势如虹。构图简单自然，气氛轻松悠远。屋前有几棵稀疏的树，中间的笔触很强。后峰叠云，如蟠龙出没，后延一峰，略加皴擦，水墨淋漓，远处的山峰也略加勾勒，水墨轻盈。本卷中的笔墨运用随心所欲，无拘无束，墨色清晰明快。",[181,26,27,58,29,39,74,31,37,36,38,32,33,90,207],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07d620b34209a6fc4cb19849a546e3d9.jpg","182x69.5cm",[45],606,{"id":288,"slug":289,"title":290,"dynasty":8,"author":7,"museum":204,"description":291,"tags":292,"thumbUrl":293,"material":142,"size":294,"collection":11,"collections":295,"showCount":296,"zanCount":214,"manualWeight":49,"mainColor":50},222135,"wei-yuan-ya-ji-tu-shen-zhou-222135","魏园雅集图","沈周在此画中营造了一种山水亭榭，林泉雅集的氛围。\n远处峰峦陡起，轻披薄雾；近处山顶与中部山腰，露出多处缓缓向上的台地，泉水从山涧飞流直下，汇成棕棕小溪。\n溪水旁有一小桥，茅亭内四人席地而坐，书童侧立一旁正听候主人吩咐，一老者拽杖而来。山上山下，草木葱茏，叶红似火的枫叶点缀其间，更添几分胜地雅集美景。画家皴染兼施，构筑的画面气魄雄浑沉静，画心连画家共 六人题咏，实为诗书画熔为一炉的山水佳作。\n本幅作品取材于五人山亭雅集之事，故这一场景被安置于图中极为醒目之处。",[25,26,27,29,39,41,40,59,31,35,140,36,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea5f7a0e13b04d0d1a1bef16fd387091.jpg","纵145.5厘米，横47.5厘米",[],503,{"id":298,"slug":299,"title":300,"dynasty":8,"author":7,"museum":71,"description":301,"tags":302,"thumbUrl":304,"material":271,"size":305,"collection":45,"collections":306,"showCount":307,"zanCount":308,"manualWeight":49,"mainColor":50},222112,"chun-yun-die-zhang-li-zhou-shen-zhou-222112","春云叠嶂立轴","此作曾在康熙年间被高士奇收藏，并著录于其《江村消夏录》。该作描绘万物竞发、重峦叠嶂、云蒸霞蔚、春水泛漾的春天景象。画面清新雅致，刻画细腻，具有元人画的风格。\n但此作历来有真伪之辩。《春云叠嶂图》的整体风格，似有些米家元素，虽同样横点干皴，但山峦单一，林木呆板，与沈周其他仿米真迹如《西山雨观图》相去甚远，完全不符沈周任何时期的书风。但究其题识，又非一般人所能书之。",[25,26,29,58,31,303,37,36,33,39,59],"云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F911a706d3e48a8c708d471d8a1448b00.jpg","纵152.2厘米，横43.2厘米",[45,96],463,6,{"id":310,"slug":311,"title":312,"dynasty":8,"author":7,"museum":313,"description":314,"tags":315,"thumbUrl":318,"material":43,"size":319,"collection":45,"collections":320,"showCount":321,"zanCount":160,"manualWeight":49,"mainColor":50},219871,"zi-sang-zhao-yin-tu-shen-zhou-219871","紫桑招隐图","印第安纳波利斯艺术博物馆","首先这是一幅长卷，长卷的意思就是从右往左，一部分一部分的展开来看，首先我们看到的是山石和树木，一派江南景色扑面而来。\n沈周的画法是吴门画派的重要代表画家，吴门画派的风格传承自元代文人画，也就是元四家、赵孟頫等人，从这幅画里我们可以明显的看到山石、水面和远景的画法有元代文人画的痕迹地面的一些处理方法又让人想到赵孟頫的秋郊饮马图。\n继续往左边展览，有人物、屋舍、舟船，最后视线进入隔岸的平远之中。明代的文人画讲究逸气，就是恬淡自然的审美情趣。整个画面简约而不简单，树木、人物、山石等元素处理妥当，构思完整而成熟，笔墨潇洒，寥寥数笔一切就跃然纸上，富有生气的同时又辽远淡泊。\n这一点和宋代严整的画院风格是不同的，文人画到了沈周这个时期，算是正式成为中国绘画的主流审美。沈周下启文征明、董其昌，董其昌又下启王时敏等明清中国正统文人山水画，无疑对后世整个中国画的面貌和发展有深远的影响。",[25,26,27,28,30,39,31,34,140,316,317,36,33,37,269],"茅屋","篱笆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0bd9c4c0f112994180bc96e1aa3296d.jpg","17.4x76cm",[45,158],460,{"id":323,"slug":324,"title":325,"dynasty":8,"author":7,"museum":71,"description":326,"tags":327,"thumbUrl":330,"material":154,"size":331,"collection":45,"collections":332,"showCount":333,"zanCount":113,"manualWeight":49,"mainColor":50},222098,"jing-jiang-song-bie-tu-shen-zhou-222098","京江送别图","此图引首为王时敏题隶书“名迹貽徽”。本幅款署“沈周”。钤“启南”。后幅有沈周自题跋文，述作此图原由。另有明代文林书“送吳敘州之任序”、祝允明书“敘州府太守吳公詩序”及多家跋文。\n据《吴梅村先生集》考，此图成于明弘治四年(1491年)辛亥三月，沈周时年65岁。图中描绘的是沈周等人在京江送别叙州太守吴愈赴任的情景。吴愈是沈周的朋友，文徵明的岳丈，任所叙州，地处今四川宜宾。画面中主人乘舟远去，众人在岸边长揖作别。此时江南正是杨柳葱郁、山桃烂漫、风光无限之时。作者借描绘江南秀色流露出依依惜别之情，寄情于景，情景交融。远山以粗笔披麻皴法出之，墨色浓重滋润，线条苍秀，反映了沈周成熟的画风。",[25,26,328,39,28,31,34,140,36,32,33,329],"水墨画","柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97856aac11363d716cd5b6de3f3eb0bf.jpg","纵28厘米，横159厘米",[45,158],411,{"id":335,"slug":336,"title":337,"dynasty":8,"author":7,"museum":55,"description":338,"tags":339,"thumbUrl":340,"material":341,"size":342,"collection":45,"collections":343,"showCount":344,"zanCount":308,"manualWeight":49,"mainColor":50},219522,"ce-zhang-tu-shen-zhou-219522","策杖图","本幅采三段式构图，以河水来分隔画面，前景的树石与远景的山丘相照应，构图简约，显然脱胎于倪瓒之作。",[26,27,58,29,39,31,140,89,91,33,32,75,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaa190a0de0a4b64ed7875a8e251871f.jpg","纸本,水墨","纵159.1公分、横72.2公分",[45],406,{"id":346,"slug":347,"title":348,"dynasty":8,"author":7,"museum":349,"description":350,"tags":351,"thumbUrl":356,"material":142,"size":357,"collection":45,"collections":358,"showCount":359,"zanCount":275,"manualWeight":49,"mainColor":50},222114,"zhang-li-yuan-tiao-tu-shen-zhou-222114","杖藜远眺图","美国纳尔逊阿特金斯艺术博物馆","为一幅充满诗意的小景之作。左下方的白云草草勾出，稍加淡墨渲染，便有徐缓飘荡之态。山石皱纹和林木屋宇，点画随意，干湿浓淡，浑然一体。远山则用整块淡墨。这样，近景见笔而实，远山见墨而虚。虚实结合，有空灵深远之感。画中人物登高杖藜眺望，意境引入青山尽头，白云深处。题识：“白云如带束山腰 ，石磴飞空细路遥。独倚杖藜舒眺望，欲因鸣涧答吹箫。",[25,26,29,31,122,37,352,353,140,354,59,39,355],"林木","白云","杖藜","登高","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4649d1d0c9eba3d025f8a50b75209cec.jpg","纵38厘米，横59厘米",[45,96],383,{"id":361,"slug":362,"title":363,"dynasty":8,"author":7,"museum":364,"description":365,"tags":366,"thumbUrl":371,"material":126,"size":372,"collection":45,"collections":373,"showCount":374,"zanCount":275,"manualWeight":49,"mainColor":99},219436,"chun-xi-mi-ju-tu-shen-zhou-219436","春溪觅句图","美国弗利尔美术馆","画面中山峰巍峨，峭壁如削，墨色皴染间尽显苍劲之势。松枝虬劲，枝叶繁茂，与嶙峋山石相映成趣。近景处，文人拄杖而立，衣袂飘飘，似于春溪之畔凝思觅句。山间云雾轻笼，流水潺潺，松涛与泉声相和，营造出清幽雅致的意境。笔墨苍润浑厚，线条灵动，将自然之美与文人的诗意情怀融为一体，尽显吴门画派的雅致风骨，观者仿佛能随画中人步入山林，感受那份远离尘嚣的宁静与悠然。",[26,27,58,29,39,31,140,367,368,37,369,370],"松树","竹子","溪流","小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa57fb947c644f27d6774a57fced47050.jpg","横54.5纵162cm",[45],359,{"id":376,"slug":377,"title":378,"dynasty":8,"author":7,"museum":104,"description":379,"tags":380,"thumbUrl":381,"material":271,"size":11,"collection":11,"collections":382,"showCount":383,"zanCount":384,"manualWeight":49,"mainColor":50},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",[25,181,26,27,28,29,30,31,33,35,140,34,37,39,232,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12fadc37a4d3a1f7171bd687b0589c04.jpg",[],341,2,{"id":386,"slug":387,"title":388,"dynasty":8,"author":7,"museum":55,"description":267,"tags":389,"thumbUrl":390,"material":142,"size":391,"collection":157,"collections":392,"showCount":383,"zanCount":384,"manualWeight":49,"mainColor":50},222106,"yu-lan-shen-zhou-222106","玉兰",[25,181,26,27,138,29,30,388,60,59,40,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F968bf12a3ae80ff7ce65c5d988345a5e.jpg","34.8×56.5厘米",[157,158],{"id":394,"slug":395,"title":396,"dynasty":8,"author":7,"museum":104,"description":397,"tags":398,"thumbUrl":401,"material":402,"size":403,"collection":11,"collections":404,"showCount":405,"zanCount":384,"manualWeight":49,"mainColor":99},287403,"qing-lv-shan-shui-tu-zhou-shen-zhou-287403","青绿山水图轴","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。",[25,181,26,58,399,30,31,32,33,60,37,140,400,40,59],"青绿","古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff872528bc3534a2d31e5560b7703b289.jpg","未知","Xcm*Xcm",[],340,{"id":407,"slug":408,"title":409,"dynasty":8,"author":7,"museum":364,"description":410,"tags":411,"thumbUrl":412,"material":43,"size":413,"collection":45,"collections":414,"showCount":415,"zanCount":275,"manualWeight":49,"mainColor":99},219997,"fang-wang-meng-shan-shui-tu-shen-zhou-219997","仿王蒙山水图","沈周（1427～1509）明代杰出书画家。字启南，号石田、白石翁、玉田生、有居竹居主人等。汉族，长洲（今江苏苏州）人。生於明宣德二年，卒於明正德四年，享年八十三岁。不应科举，专事诗文、书画，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。传世作品有《庐山高图》、《秋林话旧图》、《沧州趣图》。著有《石田集》、《客座新闻》等。",[25,26,27,31,30,29,39,74,32,33,37,36,90,140,122,370,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ee133c9090a1b144a80565865755e15.jpg","121.2 × 60.2 cm",[45,158],309,{"id":417,"slug":418,"title":419,"dynasty":8,"author":7,"museum":420,"description":421,"tags":422,"thumbUrl":423,"material":424,"size":425,"collection":45,"collections":426,"showCount":427,"zanCount":384,"manualWeight":49,"mainColor":50},222133,"qing-yuan-tu-juan-shen-zhou-222133","青园图卷","旅顺博物馆","《明沈周青园图》现藏于旅顺博物馆，此图绘湖山秋色，为沈周传世珍品。该图结构严整均衡，局部富于穿插变化，使画面景物参差有致，一派清幽逸趣。在用笔上，该图多用秃笔中锋，将勾、皴、擦、点有机配合，实中求虚。",[25,26,27,28,29,39,40,59,31,38,368,36,32,33,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F923acb9824eda51981b302865ea46a85.jpg","纸本水墨淡着色","画心纵29.1、横188.7厘米",[45,158],293,{"id":429,"slug":430,"title":431,"dynasty":8,"author":7,"museum":432,"description":433,"tags":434,"thumbUrl":438,"material":439,"size":440,"collection":45,"collections":441,"showCount":442,"zanCount":113,"manualWeight":49,"mainColor":50},222100,"si-song-tu-ce-ye-shen-zhou-222100","四松图册页","美国大都会艺术博物馆","四松图册页》画的是山野小景，虽然画面的中央是四棵形态各异的松树，但仔细观察会发现画的左下角杂树掩映之下，有小径通向人家。也正是这幽径人家，给充塞画面的寂静山野增添了活力。整幅作品分三个层次，前景是松树和人家，中景是以墨笔勾皴的浅绛山石，远景是以没骨法描绘的远山。从山石的画法看，既不属于前期的“细沈”，亦不属于晚年的简约“粗沈”，风格介乎二者之间。皴法以短披麻皴为主，有王蒙牛毛皴的影子。墨笔为主的整体基调，间以淡赭和花青点染，营造出视觉上很舒服的隽雅格调。",[25,181,26,27,435,436,29,39,31,367,37,352,76,437],"册页","文人画","写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8a9aeacd8f3be7883b8b8e7a825467d.jpg","纸本水墨","纵154厘米，横60.39厘米",[45,158],290,{"id":444,"slug":445,"title":446,"dynasty":8,"author":7,"museum":71,"description":447,"tags":448,"thumbUrl":449,"material":142,"size":450,"collection":45,"collections":451,"showCount":452,"zanCount":214,"manualWeight":49,"mainColor":50},234083,"wu-zhong-shan-shui-ce-shen-zhou-234083","吴中山水册","明代中期以来，吴门艺术力追此类典雅的意趣。作为吴门艺术的领袖，沈周的绘画最得其中精神。如今藏于故宫博物院的《吴中山水册》十六开，是沈周的得意之作，记录的是诗人生活中的所见所感，乃沈周极擅长的粗笔水墨之作。\u2028 沈周（1427—1509），字启南，号石田、白石翁、玉田生、有竹居主人，明代绘画大师，吴门画派的创始人，明四家之一，长洲（今江苏苏州）人。生于明宣德二年，卒于明正德四年，享年八十二岁（虚八十三岁）。不应科举，专事诗文、书画，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。",[26,27,138,29,31,41,59,39,35,33,37,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91dd6160b5ad1b7617f948483aa1c7c5.jpg","28.5*25.5cm",[45],282,{"id":454,"slug":455,"title":456,"dynasty":8,"author":7,"museum":313,"description":457,"tags":458,"thumbUrl":461,"material":341,"size":11,"collection":157,"collections":462,"showCount":463,"zanCount":275,"manualWeight":49,"mainColor":50},214925,"mo-hua-ce-shen-zhou-214925","墨花册","沈周是一位著名的明朝画家，他的作品《墨花册》是一本插图本，其中包含了许多令人惊叹的墨花图案。《墨花册》是沈周的代表作之一，因其精美的图案和精湛的插画技巧而广受赞誉。在《墨花册》中，沈周用黑墨和水彩画描绘了许多精美的墨花图案，包括花卉、鸟类、动物和人物等。沈周的作品充满了生机和活力，他的绘画技巧非常出色，深受人们的喜爱。",[25,181,26,29,138,167,459,460],"花卉","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f196629d6204bca22e9e6f450463f95.jpg",[157],276,{"id":465,"slug":466,"title":467,"dynasty":8,"author":7,"museum":468,"description":469,"tags":470,"thumbUrl":474,"material":271,"size":475,"collection":157,"collections":476,"showCount":477,"zanCount":384,"manualWeight":49,"mainColor":50},222118,"ping-he-tu-shen-zhou-222118","瓶荷图","天津博物馆","此画是沈周作品中比较少见的工笔花鸟画，画上绘一铜壶，内植荷花荷叶各三株，交错而生。荷叶向背以深浅不同绿色区分，多取其背，使画面变浓艳为淡雅，凸现清高风格。作品形象写实，用笔简括，色泽温润，格调质朴。插花所用的铜壶以墨笔勾轮廓，没骨法渲染明暗，立体感很强。",[25,26,27,58,30,471,472,169,473,59],"荷花","荷叶","工笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F551d511ecb28a9a711639a1773ee49c3.jpg","60x143cm",[157,158],267,{"id":479,"slug":480,"title":481,"dynasty":8,"author":7,"museum":71,"description":482,"tags":483,"thumbUrl":484,"material":154,"size":485,"collection":11,"collections":486,"showCount":487,"zanCount":214,"manualWeight":49,"mainColor":50},234233,"lu-mu-tu-shen-zhou-234233","庐墓图","故宫博物院收藏有一卷沈周《庐墓图》，画分四段，从不同角度描绘了山中墓地景色。因墓地题材并非古代山水画的主流，故而学者关注不多。尽管实物遗存有限，然从文献记载来看，描绘先人茔域的山水画，自元末以来直至沈周生活的明代中期应当颇为流行。本文试从沈周《庐墓图》出发，讨论这类茔域山水画的形成与使用及其流行背后的文化观\n构成《庐墓图》的四幅画面，皆纵37.5厘米，横65厘米，推测其原本的形式应为册页。根据卷前题跋，其被合装成手卷的时间约在咸丰初年[1]。第一、二、四开，画面左侧有沈周落款及印鉴；唯第三开未见沈周署款，画面右上方空白处钤有“锦衣徐将军画”朱文印一枚，清末的观者杨棨和李誉据此推测这一幅的作者为徐将军[2]。然而，此幅无论是尺幅、用纸，还是构建画面时选取的元素及其造型特点，都与其他三幅无异。从笔墨及其风格来看，当与其他三幅出自同一作者手笔，故而现代学界认为此幅作者亦是沈周。从印章本身提供的信息来看，如果印章主人确为画家，“锦衣”二字显示了其身份与宫廷的关联。然而，尽管不乏有明代宫廷画家被授予“锦衣指挥”“锦衣千户”等武职[3]，却未见有自称“锦衣将军”的例子。综上，不应将此枚印记理解为作者署款。\n乍一看来，此幅与常见于沈周笔下的山水并无二致：以墨笔写出层峦山脉，山前一湾清泉，坡岸上杂树丛生，山石罩染着一层淡淡的赭色，树木则以淡花青色渲染，营造出幽寂的氛围。这样的环境，不但是文人理想的隐居之所，也是反复出现在以沈周为代表的吴地画家笔下的山居景色。然而，画面中并未出现供文士居住和活动的房舍，取而代之的是一个圆形的土丘，丘前立有一块方碑，其隐现于山脚下茂密的柏林之中。尽管画家并未描绘更多的细节，但这足以说明，画家所要描绘的，乃是山中的墓地。或许因为此幅直接表现了故去之人的坟墓，为表敬重，故而沈周未加署款。其余三开，尽管未出现墓体与墓碑，但皆出现了相对而立的望柱，暗示了画面空间并非是单纯的山景，而是墓园。\n杨棨在题跋中说此图“首尾不完”。从四幅画面来看，每幅独立成景，然彼此之间又有联系，无法确知是否还有其他画幅与之一同被绘制，却在流传过程中如杨棨所言散佚了；亦没有同时代的题跋，提供可信的诸如绘制年代、受画人等信息。因此，若要讨论沈周为何制作这样一套描绘墓园的册页及其背后的文化观念，需将其置入描绘墓地的绘画传统中，才有可能得到比较清晰的答案。",[25,26,27,28,29,30,39,31,76,36,121,33,37,35,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa085321cfa540a2ba8b92e25281a0a0c.jpg","37.5×65cm×4",[],266,{"id":489,"slug":490,"title":491,"dynasty":8,"author":7,"museum":71,"description":192,"tags":492,"thumbUrl":194,"material":142,"size":271,"collection":45,"collections":493,"showCount":494,"zanCount":275,"manualWeight":49,"mainColor":50},220367,"cang-zhou-qu-tu-shen-zhou-220367","沧州趣图",[25,26,27,28,31,436,29,30,39,41,40,37,36,33,32,34,35],[45],248,{"id":496,"slug":497,"title":498,"dynasty":8,"author":7,"museum":104,"description":499,"tags":500,"thumbUrl":501,"material":11,"size":11,"collection":11,"collections":502,"showCount":503,"zanCount":384,"manualWeight":49,"mainColor":50},228834,"qing-yuan-tu-shen-zhou-228834","清园图","此图绘湖山秋色。\n该图结构严整均衡，局部富于穿插变化，使画面景物参差有致，一派清幽逸趣。\n在用笔上，该图多用秃笔中锋，将勾、皴、擦、点有机配合，实中求虚。\n【名称】《 青园图 》 【年代】明代 【作者】沈周 【简介】长卷，纸本，设色，纵19.1厘米，横188.7厘米。\n旅顺博物馆藏。\n沈周（1427年—159年）明代杰出画家。\n字启南、号石田、白石翁、玉田生、有居竹居主人等，是明中叶画坛上四大艺术家（另三人为文徵明、唐寅、仇英）之一，人称江南“吴门画派”的班首，在画史上影响深远。\n沈家世代隐居吴门，居苏州相城,故里和墓在今相城区阳澄湖镇。\n沈周的曾祖父是王蒙的好友，父亲恒吉，又是杜琼的学生，书画乃家学渊源。\n父亲、伯父都以诗文书画闻名乡里。\n沈周一生家居读书，吟诗作画，优游林泉，追求精神上的自由，蔑视恶浊的政治现实，一生未应科举，始终从事书画创作。\n他学识渊博，富于收藏。\n交游甚广，极受众望，平时平和近人，要书求画者“屦满户外”，“贩夫牧竖”向他求画，从不拒绝。\n甚至有人作他的赝品，求为题款，他也欣然应允。\n有曹太守其人，新屋落成欲图其楹庑，搜罗画家，沈周亦在其中，隶往摄之，沈周曰：“毋惊老母，旦夕往画不敢后”客人颇不平曰：“太守不知先生，何贱先生于此？渴贵游可勿往。\n”沈周答曰：“往役义也，岂有贱哉？谒而求免，乃贱耳。\n”沈周的书画流传很广，真伪混杂，较难分辨。\n文征明因此称他为飘然世外的“神仙中人”。\n沈周在元明以来文人画领域有承前启后的作用。\n他书法师黄庭坚，绘画造诣尤深，兼工山水、花鸟，也能画人物，以山水和花鸟成就突出。\n所作山水画，有的是描写高山大川，表现传统山水画的三远之景。\n而大多数作品则是描写南方山水及园林景物，表现了当时文人生活的幽闲意趣。\n在绘画方法上，沈周早年承受家学，兼师杜琼。\n后来博取众长，出入于宋元各家，主要继承董源、巨然以及元四家黄公望、王蒙，吴镇的水墨浅绛体系。\n又参以南宋李、刘、马、夏劲健的笔墨，融会贯通，刚柔并用，形成粗笔水墨的新风格，自成一家。\n沈周早年多作小幅，4岁以后始拓大幅，中年画法严谨细秀，用笔沉着劲练，以骨力胜，晚岁笔墨粗简豪放，气势雄强。\n沈周的绘画，技艺全面，功力浑朴，在师法宋元的基础上有自己的创造，发展了文人水墨写意山水、花鸟画的表现技法，成为吴门画派的领袖。",[25,26,27,28,29,30,31,35,368,91,33,59,40,41,38,37,255],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee310328773a26ff40d5f949cac4d0f3.jpg",[],219,{"id":505,"slug":506,"title":507,"dynasty":8,"author":7,"museum":104,"description":508,"tags":509,"thumbUrl":510,"material":402,"size":403,"collection":11,"collections":511,"showCount":512,"zanCount":275,"manualWeight":49,"mainColor":50},228836,"qiu-jiang-xian-diao-tu-shen-zhou-228836","秋江闲钓图","文征明曾分析沈周画风的演变：“自其少时，作画已脱去家习，上师古人，有所模临，辄乱真迹，然所为率盈尺小景。至四十外始拓为大幅，粗枝大叶，草草而成，虽天真烂发，而规度点染，不若向时精工矣。”论其传统的渊源，主要受老师杜琼、刘珏、赵同鲁和父祖辈的影响，以董源、巨然、元四家为宗，于黄公望、王蒙、吴镇用功尤深，所得也最多。沈周学倪瓒往往用笔过于强劲，落墨亦过于浓重，所追求的并不是倪瓒那种若淡若疏的境界。此作无论从用笔还是构图，都有明显的模仿倪瓒的痕迹。",[25,26,29,39,58,40,59,31,34,233,75,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb61a9be30d5f9b913daebe5f42a2dddf.jpg",[],218,{"id":514,"slug":515,"title":516,"dynasty":8,"author":7,"museum":104,"description":397,"tags":517,"thumbUrl":523,"material":402,"size":403,"collection":11,"collections":524,"showCount":525,"zanCount":275,"manualWeight":49,"mainColor":99},287522,"shu-shan-qin-shu-tu-juan-shen-zhou-287522","蜀山秦树图卷",[25,181,26,28,27,518,29,30,39,76,352,519,520,32,33,521,522,41,40,59],"山水画","竹林","山居","亭舍","行人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092ad35e202a88d58b87a0f168f8fe23.jpg",[],211,{"id":527,"slug":528,"title":529,"dynasty":8,"author":7,"museum":432,"description":530,"tags":531,"thumbUrl":533,"material":43,"size":534,"collection":45,"collections":535,"showCount":525,"zanCount":384,"manualWeight":49,"mainColor":536},219718,"qiu-lin-xian-diao-tu-shen-zhou-219718","秋林闲钓图","《秋林闲钓图》以士人悠游林下的生活场景为主线，画一老者，端坐于河边树下坡地，全神执竿垂钓。画树错落有致，姿态优美，笔力古健。此图于成化十一年乙未（1475年）所作，作者沈周时年四十九岁。图上有沈周的题款：“繫舟烟浪夕，笑语溢柴闗。淡墨灯前画，故情江上山。相交父子者，岂在酒杯间。与君将白发，共对钓丝閒。予谬交志刚彭君父子间几三十年，志刚有古道，通予有无，非市郭拍肩执袂者比也。乙未长至后一日志刚擕酌至有竹居，秉烛写此图并题其上，聊寓感感而已，诗画云乎哉。沈周。",[26,29,39,58,31,140,60,75,269,532,34],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8c59ec7decf5cf8b949fc64e7998369.jpg","纵152.4厘米，横62.9厘",[45],"37474F",{"id":538,"slug":539,"title":540,"dynasty":8,"author":7,"museum":104,"description":397,"tags":541,"thumbUrl":543,"material":402,"size":403,"collection":11,"collections":544,"showCount":545,"zanCount":214,"manualWeight":49,"mainColor":546},287521,"lin-mao-wu-tu-juan-shen-zhou-287521","林茅屋图卷",[25,181,26,27,28,29,30,31,316,232,36,37,32,35,41,59,542],"清逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd357ed146fa7ee50540d33597d420cd.jpg",[],205,"F48FB1",{"id":548,"slug":549,"title":550,"dynasty":8,"author":7,"museum":468,"description":551,"tags":552,"thumbUrl":555,"material":556,"size":557,"collection":45,"collections":558,"showCount":559,"zanCount":214,"manualWeight":49,"mainColor":99},222134,"qing-shan-hong-shu-tu-shen-zhou-222134","青山红树图","图绘秋天山林间红绿相映的醉人美景，用笔细致，多淡墨勾勒，赋色明艳。远山、坡石用披麻皴表现山峦的青翠秀逸，近景是被秋风染红的树木，摇曳生姿；一长者持杖伫立在溪岸旁饱览山色。题识：“千树秋风万叶飞，林蹊苔径步斜晖。履声历落啄歌去，犹有余红点着衣。沈周。”",[25,26,27,58,30,39,31,140,91,553,554,32,33,108],"青山","红树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc471de5e3d6ba0b185a8a4cb7513ddee.jpg","绢本","65x147.2cm",[45,158],200,{"id":561,"slug":562,"title":563,"dynasty":8,"author":7,"museum":104,"description":564,"tags":565,"thumbUrl":566,"material":11,"size":11,"collection":11,"collections":567,"showCount":568,"zanCount":275,"manualWeight":49,"mainColor":50},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。",[25,8,26,27,28,30,29,39,31,232,38,36,37,32,33,40,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb9ece674ed91c675c84612a3765b50.jpg",[],180,{"id":570,"slug":571,"title":572,"dynasty":8,"author":7,"museum":134,"description":135,"tags":573,"thumbUrl":574,"material":142,"size":143,"collection":11,"collections":575,"showCount":576,"zanCount":49,"manualWeight":49,"mainColor":50},220065,"hu-qiu-shi-er-jing-tu-ce-2-shen-zhou-220065","虎丘十二景图册-2",[25,26,29,39,138,137,31,122,35,140,36,367],"https:\u002F\u002Foss.chuangqi.store\u002Fthu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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。”",[25,181,26,27,29,39,75,232,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36554dbfb6c71407859f93a0a9573279.jpg","60×48cm",[45,96],158,{"id":617,"slug":618,"title":619,"dynasty":8,"author":7,"museum":134,"description":135,"tags":620,"thumbUrl":621,"material":142,"size":143,"collection":11,"collections":622,"showCount":623,"zanCount":49,"manualWeight":49,"mainColor":546},220054,"hu-qiu-shi-er-jing-tu-ce-12-shen-zhou-220054","虎丘十二景图册-12",[25,26,27,138,29,39,31,140,35,60,108,32,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa383fa869df823cb3cac0c8fd9a89814.jpg",[],157,{"id":625,"slug":626,"title":627,"dynasty":8,"author":7,"museum":71,"description":628,"tags":629,"thumbUrl":633,"material":43,"size":634,"collection":45,"collections":635,"showCount":636,"zanCount":49,"manualWeight":49,"mainColor":546},219865,"yun-shan-tu-shen-zhou-219865","云山图","沈周（1427—1509年），字启南，号石田，晚号白石翁，长洲（今江苏苏州）人。世代隐居吴门，父亲恒古、伯父贞吉均善画。他早年承受家学，兼师杜琼，后博学宋元诸家，自成一格。一生布衣，优游林下，为人敦厚，笃于友谊，性情随和，胸襟磊落，是吴中众望所归的贤达长者。 绘画上擅长山水、花鸟，尤以山水著称，有粗、细两种面貌。早年主宗王蒙，上追董、巨，以细笔为主；40岁以后博取诸家，着意于黄公望，风格逐渐变粗，形成粗笔风貌；60岁后汲取吴镇画法，笔墨疏简苍劲，格调雄健宏阔。其成熟时期的山水，笔墨上既吸收了宋院体和明浙派的硬度和力感，又保留了元人的含蓄笔致，于苍中带秀，刚中见柔。构图造境方面，无论繁复或简略，都强调山川宏阔之“势”，一改元人空寂之境，又着意于朴实的“质”，于拙中藏巧。他开创了“吴派”画风，与文徵明、唐寅、仇英并称“吴门四家”。",[25,26,29,31,39,58,36,77,37,630,35,207,631,632],"河流","近树","小舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897b1218fae6500d911cbd7f3c4140b9.jpg","纵155.2cm，横73cm",[45],154,{"id":638,"slug":639,"title":640,"dynasty":8,"author":7,"museum":55,"description":641,"tags":642,"thumbUrl":643,"material":43,"size":644,"collection":11,"collections":645,"showCount":646,"zanCount":275,"manualWeight":49,"mainColor":99},231379,"chun-hua-zhou-jin-tu-shen-zhou-231379","春华昼锦图","春日山林中，两位文士饮罢酒宴，骑马而归，侍童挑著书担尾随於後。全作的人物、山石、林木和屋舍，用笔疏放。在山巅处且以浓密的苔点增缀，表现春天草木滋发的意象。该作虽有沈周的款题，然笔法略显板滞柔弱，疑为后人伪托之作。",[26,27,58,29,30,31,39,140,602,32,33,35,36,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F032de34690657eb2bd83434bdd68f1a0.jpg","纵91.8厘米，横35厘米",[],153,{"id":648,"slug":649,"title":650,"dynasty":8,"author":7,"museum":55,"description":641,"tags":651,"thumbUrl":653,"material":43,"size":654,"collection":45,"collections":655,"showCount":656,"zanCount":275,"manualWeight":49,"mainColor":99},222110,"chun-hua-zhou-jin-zhou-shen-zhou-222110","春华昼锦轴",[25,26,58,29,39,31,140,602,35,32,33,36,652],"建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F405bbf6040c503cd558417b6c40a9a0b.jpg","278.6x95.7公分、全幅 122公分",[45,96],148,{"id":658,"slug":659,"title":660,"dynasty":8,"author":7,"museum":55,"description":661,"tags":662,"thumbUrl":664,"material":665,"size":666,"collection":45,"collections":667,"showCount":668,"zanCount":384,"manualWeight":49,"mainColor":99},222102,"chun-yun-die-zhang-tu-shen-zhou-222102","春云叠嶂图","春云叠嶂图，绢本墨笔，故宫博物院藏。其款题：十日消闲障子成，看君堂上白云生。 有人若问谁持赠，万叠千重是我情。文美赵君，知余老，报拙静远，以汉鼎为赠，用助萧斋日长，焚沉悦性，其惠多矣，文美读书好古，于书画尤萃意焉。因作春云叠嶂报之，愧莫敌施也。弘治新元七夕日，沈周。 此作在康熙年间，被高士奇收藏，并著录于其《江村消夏录》。其题画诗见于《四库全书*列朝诗集》明代五十六丙集第八。",[25,26,27,518,29,39,89,303,91,33,37,35,532,60,369,663],"植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb54811e543fce13bf211196f60045fc.jpg","绢本墨笔","152 2x43 2cm",[45,96],147,{"id":670,"slug":671,"title":672,"dynasty":8,"author":7,"museum":22,"description":673,"tags":674,"thumbUrl":675,"material":126,"size":676,"collection":45,"collections":677,"showCount":678,"zanCount":160,"manualWeight":49,"mainColor":99},218247,"lin-dai-wen-jin-xie-an-dong-shan-tu-shen-zhou-218247","临戴文进谢安东山图","沈周（1427-1509年），字启南，号石田、白石翁，苏州人，不应科举，以诗文书画为事，山水师黄公望、吴镇，书法法黄庭坚，名重一时，吴中名家如文徵明、唐寅等都出其门下。与文徵明、唐寅、仇英合称“明四家”。\n本图是沈周五十四岁时所作，临摹的是比他略早的浙派著名画家戴进的《谢安东山图》，描绘东晋著名宰相谢安隐居东山时，携妓出游，纵情山水的情景。\n沈周的山水画，师法元代黄公望与吴镇，远溯五代董源、巨然，而戴进宗法的是南宋马远、夏圭，以风格而论，一为南方山水与水墨画的传统，一为北方山水与宫廷著色画的传统。沈周画多仿元人，此画风格在他的作品中既是一件孤品，也是一件奇品，堪称绝无仅有。\n此图高头大轴，青绿设色，山石轮廓明朗，皴笔似马牙、卷云而不若其蜷曲，似斧劈而不若其方硬，似披麻而不若其疏放绵长，这种皴法与戴进常用的源自马、夏的长斧劈皴不同，融合了南、北方山水的皴法特点。图画设色明朗鲜润，一部分山石近乎空勾，是宋代以来大青绿的设色方法。沈周一生所作山水，多为水墨，亦有浅绛，如此大轴青绿，实属平生仅见。其中人物亦造型端庄，服饰俨然，线条健爽，是明人追绍宋代院体画的风格。\n沈周此图或属偶一为之，却显示出画家不拘于一格的绘画能力以及兼收并蓄，广采博纳的眼界与胸襟。\n根据翁同龢1902年的日记，此画是翁氏因戊戌之变被黜归里后，其旧仆李元为其在北京购得的。",[25,26,27,181,58,30,31,140,122,367,37,90,36,76,74,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4136bf4cc51a9c489487d6a27dbe7d3a.jpg","纵170.0厘米，横89.0厘米",[45],139,{"id":680,"slug":681,"title":682,"dynasty":8,"author":7,"museum":134,"description":135,"tags":683,"thumbUrl":684,"material":142,"size":143,"collection":11,"collections":685,"showCount":686,"zanCount":275,"manualWeight":49,"mainColor":50},220064,"hu-qiu-shi-er-jing-tu-ce-3-shen-zhou-220064","虎丘十二景图册-3",[25,181,26,27,138,29,39,31,122,232,367,32,207],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F111612596e2e7ea00726bc18bd6e599c.jpg",[],138,{"id":688,"slug":689,"title":690,"dynasty":8,"author":7,"museum":55,"description":691,"tags":692,"thumbUrl":694,"material":43,"size":695,"collection":157,"collections":696,"showCount":686,"zanCount":275,"manualWeight":49,"mainColor":50},219361,"jiu-sheng-huan-yu-tu-shen-zhou-219361","鸠声唤雨图","述了行走在街头和庭园，常掠过一种和鸽子类似的鸟类，它的造型和色彩朴素，就连那咕咕的叫声，也是浑厚的，这便是斑颈鸠了。它的这份质朴，正是文人画家偏爱的感觉。斑颈鸠，体态雍容华丽，颈部斑点有如珍珠瑰丽，也是乡土鸟类中广为熟悉的鸟。沈周的一幅「鸠声唤雨」画出一只瞪著大眼、嘟著嘴，有著圆胖身体的斑颈鸠，孤孤单单栖踞枝头，看起来特别古朴与淡雅。",[26,181,27,58,30,437,693,532,60,167,59],"飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da560143d64c8be1ba2d59b856a3b22.jpg","51.1x 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绘画上擅长山水、花鸟，尤以山水著称，有粗、细两种面貌。早年主宗王蒙，上追董、巨，以细笔为主；40岁以后博取诸家，着意于黄公望，风格逐渐变粗，形成粗笔风貌；60岁后汲取吴镇画法，笔墨疏简苍劲，格调雄健宏阔。其成熟时期的山水，笔墨上既吸收了宋院体和明浙派的硬度和力感，又保留了元人的含蓄笔致，于苍中带秀，刚中见柔。构图造境方面，无论繁复或简略，都强调山川宏阔之“势”，一改元人空寂之境，又着意于朴实的“质”，于拙中藏巧。他开创了“吴派”画风，与文徵明、唐寅、仇英并称“吴门四家”。",[26,27,58,29,437,167,732,733,40,41,59],"荔枝","柿子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86746693b29e5f3412b23d5ba1e633a9.jpg","纸本 ，墨笔","纵128cm，横38.4cm",[],132,{"id":740,"slug":741,"title":742,"dynasty":8,"author":7,"museum":743,"description":744,"tags":745,"thumbUrl":749,"material":142,"size":750,"collection":11,"collections":751,"showCount":752,"zanCount":275,"manualWeight":49,"mainColor":50},231544,"huang-ju-dan-gui-tu-shen-zhou-231544","黄菊丹桂图","美国克利夫兰艺术博物馆","沈周（1427—1509），字启南，号石田、白石翁、玉田生、有竹居主人，明代绘画大师，吴门画派的创始人，明四家之一，长洲（今江苏苏州）人。生于明宣德二年，卒于明正德四年，享年八十二岁（虚八十三岁）。\n沈周一生家居读书，吟诗作画，优游林泉，追求精神上的自由，蔑视恶浊的政治现实，一生未应科举，始终从事书画创作，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。\n王渊（公元13世纪-14世纪中叶），元代画家。字若水，号澹轩，一号虎林逸士，钱塘（今浙江杭州）人。工于花鸟、人物、山水。天历年间曾与唐棣在南京龙翔寺曾画过壁画，尤精于花鸟，堪称元代花鸟画巨擘。\n《黄菊丹桂图》明沈周仿自元画家王若水之作，图绘菊花，桂树，芙蓉，翠竹。并一双飞鸟巨石，画面静雅，傅色清新，所绘繁多而布置深稳，是石田习古佳作。",[25,26,30,58,473,39,91,746,747,75,459,693,748],"菊","鸟","丹桂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe69bac105908ae029d92cf2cc1b6e776.jpg","288.5X106.3\u002F397.1x127.4厘米",[],129,{"id":754,"slug":755,"title":756,"dynasty":8,"author":7,"museum":134,"description":135,"tags":757,"thumbUrl":759,"material":142,"size":143,"collection":11,"collections":760,"showCount":761,"zanCount":49,"manualWeight":49,"mainColor":50},220059,"hu-qiu-shi-er-jing-tu-ce-8-shen-zhou-220059","虎丘十二景图册-8",[25,26,29,31,138,39,122,139,91,33,758,140,37],"船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0478c2e27a123b03cd04587242f18298.jpg",[],127,{"id":763,"slug":764,"title":765,"dynasty":8,"author":7,"museum":104,"description":766,"tags":767,"thumbUrl":770,"material":402,"size":403,"collection":11,"collections":771,"showCount":772,"zanCount":384,"manualWeight":49,"mainColor":50},228835,"xi-shan-qiu-se-tu-juan-shen-zhou-228835","溪山秋色图卷","此图右起大片水域，远山蒙蒙，云气蒸腾。中部山石突起，溪水潺潺蜿蜒从山间流过，坡石上零星分布着树木。整幅画水墨饱满，用淡墨淡彩渲染出一派澄明清润的南国初秋景象，气韵生动。笔法简清爽利，色彩浓淡相宜，具透明感。",[25,181,26,328,28,31,436,39,40,41,59,37,36,38,33,34,35,207,768,769,693,32,532,60],"近水","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13a660bbee2437d662bcad8b1a397e57.jpg",[],124,{"id":774,"slug":775,"title":776,"dynasty":8,"author":7,"museum":71,"description":777,"tags":778,"thumbUrl":780,"material":781,"size":782,"collection":45,"collections":783,"showCount":784,"zanCount":275,"manualWeight":49,"mainColor":50},222128,"xi-shan-yu-guan-tu-juan-shen-zhou-222128","西山雨观图卷","画心无款识，钤“沈”（朱方）、“石田”（朱方）、“启南”（朱方）印。引首文徵明书“西山雨观”隶书四字。后有陈沂、顾璘、文徵明、汤珍、蔡羽、徐充、文彭、盛时泰、文嘉九家题跋。鉴藏印钤“乾隆御览之宝”、“乾隆鉴赏”、“三希堂精鉴玺”、“宜子孙”、“子孙永保其用”、“修竹馆”、“石渠宝笈”、“石渠宝鉴”、“宝笈重编”、“乐寿堂鉴藏宝”、“宁寿宫续人后渠宝笈”、“嘉庆御览之宝”、“无逸斋精鉴玺”、“宣统鉴赏”、“盛仲交”、“商丘宋犖审定真迹”等。\n画面描绘苏州西山烟云变化、雨霁烟消的景色。沈周仿南宋书画家米友仁的笔法，描绘峰峦连绵起伏，山间云雾出没，林木层叠，村庄、湖泊、小桥被笼罩在烟霭之中。山石和草木均用水墨点成，浑然一体，不见线条及皴擦的痕迹，显示出画家高超的绘画水平和独到的审美韵味。卷后题跋者都是苏州地区的文人墨客，他们常互邀相聚，饮酒赋诗，切磋画艺，探究学问，他们在诗跋中表达了对《西山雨观图》的赞美，可见该图在明代中后期文人中产生了颇为重要的艺术影响和审美共鸣。",[25,26,27,28,29,31,39,40,59,77,36,207,631,779],"平野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc79ab75a5ee8c8a6a86fe7bdb89e6409.jpg","纸本，墨笔","纵25.2厘米，横105.8厘米",[45,96],121,{"id":786,"slug":787,"title":788,"dynasty":8,"author":7,"museum":104,"description":789,"tags":790,"thumbUrl":792,"material":11,"size":11,"collection":11,"collections":793,"showCount":794,"zanCount":214,"manualWeight":49,"mainColor":50},228833,"jiang-cun-yu-le-tu-shen-zhou-228833","江村渔乐图","此作用平远之景铺展江南水乡，水墨晕染出烟波澹荡的汀渚沙洲，村舍依山临溪错落排布，渔舟泛于江面，往来悠然。林木苍润华滋，点染出清秋深秀的意态，笔墨朴厚雅致，带着吴门画派典型的文人意趣。\n卷后长题与画作相映成趣，行书笔力苍劲朴拙，诗画合璧，将江村渔隐的日常闲趣，化作寄情林泉的诗意栖居图景，淡远悠长的意境里，尽是文人心底向往的幽隐闲适。",[25,181,26,28,29,30,31,269,32,33,34,107,791,36,40,41,59],"村庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea1163c6c32f2922961a6b7c01e40462.jpg",[],120,{"id":796,"slug":797,"title":798,"dynasty":8,"author":7,"museum":22,"description":799,"tags":800,"thumbUrl":803,"material":341,"size":804,"collection":45,"collections":805,"showCount":794,"zanCount":275,"manualWeight":49,"mainColor":50},220053,"shui-cun-shan-wu-tu-shen-zhou-220053","水村山坞图","在其所绘《水村山坞图》的题跋中也曾言到：右画一卷水村山坞人家，竹木溪彴，林蹊萦纡映带，若桃源然，观之便有移家之想。似此，世未必无，岂在笔楮间所为幻迹，以娱人之目耶？尝读子厚柳先生愚溪之文，可见也。文与画无二致，得此卷者毋直以画视之。\n《水村山坞图》卷绘崇山峻岭，江天无际，渔父横舟，正所谓「竹木溪彴，林蹊萦纡映带」。",[25,26,27,28,29,39,31,801,802,37,36,35,33,34,38,233,32],"山坞","水村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb656df01da6d53e1cb274f4b3d4c4eca.jpg","30.5 ×770.8 厘米",[45],{"id":807,"slug":808,"title":809,"dynasty":8,"author":7,"museum":104,"description":810,"tags":811,"thumbUrl":813,"material":11,"size":11,"collection":11,"collections":814,"showCount":815,"zanCount":49,"manualWeight":49,"mainColor":50},228825,"dong-zhuang-tu-ce-shen-zhou-228825","东庄图册","《东庄图册》是212年出版的图书，作者是沈周。\n《范本传真·中国高等艺术院校教学范本:东庄图册》描绘其师吴宽家的庭园景色。\n吴宽官至礼部尚书，是沈周的老师和挚友，多有诗文唱和。\n东庄是吴宽的庄园，也是江南士大夫经常聚会、吟诗、品茗的地方。\n后人盛赞沈周的《东庄图册》，“观其出入宋元，如意自在，位置既奇绝，笔法复纵宕，虽李龙眠山庄图、鸿乙草堂图不多让也。\n” 这里所选的一幅是“北港”，图中画一荷塘，波光如镜，荷叶亭亭玉立，疏密有致，摇曳多姿，岸上树木点写自然，情态各具；坡岸皴染结合，浓重得宜。\n本书作者沈周（1427～159）明代杰出书画家。\n传世作品有《庐山高图》、《秋林话旧图》、《沧州趣图》。",[26,29,30,138,39,31,36,37,33,812],"路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff908fba6b302417e7c10f3ab17a103ba.jpg",[],119,{"id":817,"slug":818,"title":819,"dynasty":8,"author":7,"museum":134,"description":135,"tags":820,"thumbUrl":821,"material":142,"size":143,"collection":11,"collections":822,"showCount":815,"zanCount":49,"manualWeight":49,"mainColor":99},220058,"hu-qiu-shi-er-jing-tu-ce-9-shen-zhou-220058","虎丘十二景图册-9",[25,181,26,27,138,29,39,140,60,37,32,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3884057356be4c3470aff4ddb99ae920.jpg",[],{"id":824,"slug":825,"title":826,"dynasty":8,"author":7,"museum":71,"description":151,"tags":827,"thumbUrl":828,"material":154,"size":155,"collection":11,"collections":829,"showCount":830,"zanCount":214,"manualWeight":49,"mainColor":50},233834,"wo-you-tu-ce-qiu-bai-yun-shen-zhou-233834","卧游图册－秋白云",[26,29,31,138,39,89,303,91,583,37,59,27,41],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4868fee16962b07ce024455e75393200.jpg",[],118,{"id":832,"slug":833,"title":834,"dynasty":8,"author":7,"museum":71,"description":835,"tags":836,"thumbUrl":840,"material":841,"size":842,"collection":11,"collections":843,"showCount":844,"zanCount":275,"manualWeight":49,"mainColor":50},234896,"tong-yin-wan-he-tu-zhou-shen-zhou-234896","桐荫玩鹤图轴","北京故宫博物院建院90周年石渠宝笈特展（2015.9.8）首次释出，之前仅见于出版物。具体规格不详。网上找不到更多的资料。从画面上看，乾隆曾经两度题跋，可见对此画之钟爱。绘画风格属于沈周细笔青绿山水一路，表现的是文人雅士向往的闲适生活。\n沈周(1427-1509)，明代书画家。字启南，号石田、白石翁、玉田生、有竹居主人等。长洲(今江苏苏州)人。不应科举，专事诗文、书画，是明代中期文人画吴派的开创者，与文徵明、唐寅、仇英并称明四家。传世作品有《庐山高图》、《秋林话旧图》、《沧州趣图》。著有《石田集》、《客座新闻》等。\n沈周在元明以来文人画领域有承前启后的作用。他书法师黄庭坚，绘画造诣尤深，兼工山水、花鸟，也能画人物，以山水和花鸟成就突出。 在绘画方法上，沈周早年承受家学，兼师杜琼。后来博取众长，出入于宋元各家，主要继承董源、巨然以及元四家黄公望、王蒙，吴镇的水墨浅绛体系。又参以南宋李、刘、马、夏劲健的笔墨，融会贯通，刚柔并用，形成粗笔水墨的新风格，自成一家。沈周中年时成为画坛领袖，技法严谨秀丽，用笔沉着稳练，内藏筋骨。晚年时性情开朗，笔墨粗简豪放，气势雄浑。纵观沈周之绘画，技法全面，功力浑厚，在师宋元之法的基础上有自己的创造，进一步发展了文人水墨山水、花鸟画的表现技法，被誉为吴门画派之领袖。",[26,27,181,58,29,30,39,31,837,838,37,36,140,369,839],"桐树","鹤","悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff1190c5847d26b513d9f435eb7b973.jpg","绢本 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 由此可见画家的绘制初衷和生活情趣。",[25,26,27,138,29,30,31,167,232,953,41],"石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6888d1d28a0071d48ff437e6713a55.jpg",[],89,{"id":958,"slug":959,"title":960,"dynasty":8,"author":7,"museum":71,"description":961,"tags":962,"thumbUrl":965,"material":154,"size":966,"collection":45,"collections":967,"showCount":956,"zanCount":384,"manualWeight":49,"mainColor":50},222116,"tao-hua-shu-wu-shen-zhou-222116","桃花书屋","这幅《桃花书屋图》的用笔与晚年粗率的用笔截然不同，是为沈周中年“细文”之作。早年的沈周绘画深受元代云林和同时代有人刘珏的影响，故而在早期的作品中可以看到非常浓厚的两家影子。而山石的绘法则取法五代董源、居然和元代的大痴，这写在沈周的《策杖图》中皆有体现。而在这幅作品中，面貌已经不同于早期的风格。《桃花书屋图》的画面形式已经有所松动，不再是《策杖图》中所表现的那般的紧迫。但是有些基本的沈周的程式已经存在，这便是仿古的山石。",[25,26,29,39,30,31,36,368,963,964,33,108,140,40,59],"桃花","小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45ec07e216d6f6ba02a5d0deaeaae9e6.jpg","纵74cm，横31cm",[45,96],{"id":969,"slug":970,"title":971,"dynasty":8,"author":7,"museum":71,"description":972,"tags":973,"thumbUrl":974,"material":735,"size":975,"collection":11,"collections":976,"showCount":977,"zanCount":49,"manualWeight":49,"mainColor":99},233710,"song-shi-tu-zhou-shen-zhou-233710","松石图轴","《松石图轴》笔墨简逸而又沉着，物象写实而又生动，画法兼具写生、写意之妙，诚如王世贞所评：“石田氏乃能以浅色淡墨作之，而神采更自翩翩，所谓妙而真也。”本图小楷自题：“从来松老方生子 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钤印“启南”。",[25,181,26,27,1066,30,167,40,59,1755],"秋葵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07b2133c05bcc2d6a54e38c46654ab66.jpg","纸本，泥金，扇面，设色","纵18.0厘米， 横53.6厘米",[157,158],22,{"id":1762,"slug":1763,"title":1764,"dynasty":8,"author":7,"museum":104,"description":397,"tags":1765,"thumbUrl":1766,"material":402,"size":403,"collection":11,"collections":1767,"showCount":1768,"zanCount":49,"manualWeight":49,"mainColor":536},287392,"chun-xuan-tu-shen-se-shen-zhou-287392","椿萱图(深色)",[25,26,58,27,30,60,864,75,167,40],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2c774d998dbd25555dfc5ad373b9f0a.jpg",[],21,{"id":1770,"slug":1771,"title":1772,"dynasty":8,"author":7,"museum":71,"description":1773,"tags":1774,"thumbUrl":1776,"material":1434,"size":1777,"collection":11,"collections":1778,"showCount":1768,"zanCount":49,"manualWeight":49,"mainColor":50},232998,"si-chao-xuan-zao-zhen-ce-kong-lin-ji-yu-ye-shen-zhou-232998","四朝选藻贞册-空林积雨页","此图原载《四朝选藻册》，作者沈周用率笔随意点染丛林、云雨、平冈、小溪和房舍。用笔灵活潇洒，一气呵成，于简率之中见生动秀逸之致。画上左上方作诗二首，款：乙未九月积雨作《雨闷》二首，复作此景书之。是日忽晴，吾意彼苍，亦闻颠崖赤子私讽之语而见悯耶。念七日周。乙未为公元一四七五年，时沈周四十九岁。钤启南一印。右上方有吴宽题记一则，钤胸中天地一印。又钤安仪周家珍藏印。对开有清高宗弘历题诗，钤太上皇帝之宝等鉴藏印多方，曾经清安岐、清乾隆内府收藏。\n“久雨阴连结，晴天安在哉？”这件作品是画家在积雨郁闷之日所作。画中描绘一平坡后的雨中树林景色。画面构景简洁，坡石后的林中溪水，缓缓流淌。低屋掩映，云气弥漫，雨雾迷朦。画家以粗笔而写，墨色浑润，淡墨渲染，使画面显得湿气欲滴，阴雨连绵与画家郁闷难解的情绪跃然画上，与画家自题两首诗恰相对照。其一曰：“茅檐何日霁，溜响漫沉沉，气郁惟添睡，愁多亦怕吟。积润变鸣琴。安得东轩月，皓然当我襟。”\n沈周出身诗画世家，祖孟渊、父恒吉、伯贞吉，均以诗画名满吴中，祖上收藏甚丰，对古人诗画见多识广。沈周一生不仕，淡泊功名，博览勤学，仅“以丹青以自适”，专心从事丹青与诗文艺术，毕生勤於诗画创作，声誉卓著，德高望重。其艺术质朴而有情致，画风纯化，刻苦研究前人的优秀理论与技法，融会贯通，创立了自己的风格，成为我国十五世纪下半叶在戴进之後最有影响最具独创力的一位画家，在绘画、书法和文学艺术方面都取得了卓越的成就，其最杰出的当表现在绘画方面，嘉靖年间苏州名士王登在《吴郡丹青志》中称“先生石田绘事为当代第一”，绘画兼收并蓄，人物、山水、花鸟无不精通。\n沈周绘画以山水为主，宗法元四家，远取董（源）、巨（然），中年宗元四家笔墨，尤其推崇黄公望，晚年醉心吴镇，与自家学养融为独特风格，结构谨严，用笔苍劲沉着，墨色浓厚，气韵雄逸，在明中期画坛兴起画风剧变之潮。以他为发端，其门人文徵明继之，合唐寅、仇英为一局，树起吴门画派旗帜，广学“唐宋名流及胜国贤胜，上下千载，纵横百辈”皆“兼综条贯，莫不揽其精微”（明朱谋□《画史会要》），成就之巨，在中明画坛骤立巨峰，影响所及，数百年不变，其画艺彪炳画史，成就卓然。同时，沈周作为一代画坛宗匠，其於诗文、书法无一不能，无一不精，其诗意清新，“面试《凤凰台赋》，援笔而就，咸以为不减王子安”（清钱谦益《列朝诗集小传》）。其书法师黄山谷而不染他体，去山谷行书之捍，多灵便秀逸。时人以其诗、书、画为三绝。",[26,27,138,29,39,41,40,437,31,36,369,1775,108],"亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea074939e6dab7adace5c129ec5c8c97.jpg","纵21.7厘米 横29.2厘米",[],{"id":1780,"slug":1781,"title":1782,"dynasty":8,"author":7,"museum":55,"description":1783,"tags":1784,"thumbUrl":1785,"material":30,"size":1786,"collection":11,"collections":1787,"showCount":1768,"zanCount":49,"manualWeight":49,"mainColor":50},222115,"shu-yin-chui-diao-tu-shen-zhou-222115","树阴垂钓图","老树三株，点叶笔极老辣。平坡上坐一老者垂纶，笔细挺而有致。对山数石，横波数抹。",[25,26,1066,29,31,91,269,59,40,41,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e71db6d9e06df008768db3647fc1e04.jpg","纵18.5公分，横50公分",[],{"id":1789,"slug":1790,"title":1601,"dynasty":8,"author":7,"museum":22,"description":1602,"tags":1791,"thumbUrl":1792,"material":866,"size":1605,"collection":11,"collections":1793,"showCount":66,"zanCount":49,"manualWeight":49,"mainColor":50},222132,"yu-jiang-ming-sheng-tu-ce-shen-zhou-222132",[25,26,27,138,30,31,39,122,34,139,36,33,791,40],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb344ee3c9cde2e862603824960d7fefa.jpg",[],{"id":1795,"slug":1796,"title":1797,"dynasty":8,"author":7,"museum":22,"description":1798,"tags":1799,"thumbUrl":1800,"material":11,"size":11,"collection":45,"collections":1801,"showCount":66,"zanCount":49,"manualWeight":49,"mainColor":1802},203437,"lin-dai-wen-jin-xie-an-dong-shan-tu-zhou-shen-zhou-203437","临戴文进谢安东山图轴","这幅临作兼取戴文进的劲健笔意与沈周的苍润格调，淡赭设色的山峦层叠起伏，皴法勾勒出岩石肌理，山间楼阁隐于松荫，老树虬枝舒展。山麓处人物仪态悠然，衣袂翩然间与清旷山水相融，笔墨间既有原作风神，又含自身逸韵，尽显文人山水的雅致意境。",[25,26,27,58,74,30,31,140,122,367,37,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F679ae857da7ab90b960c9d62ba01bc4e.jpg",[45],"574526",{"id":1804,"slug":1805,"title":1806,"dynasty":8,"author":7,"museum":104,"description":1807,"tags":1808,"thumbUrl":1809,"material":402,"size":403,"collection":11,"collections":1810,"showCount":1811,"zanCount":49,"manualWeight":49,"mainColor":50},228832,"zhi-xing-yu-you-tu-juan-shen-zhou-228832","支硎遇友图卷","沈周（1427～1509）字启南，号石田、白石翁等，长洲（今江苏苏州）人。生於明宣德二年，卒於明正德四年，享年八十三岁。不应科举，专事诗文、书画，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。",[25,26,27,28,31,30,29,39,41,59,89,91,316,34,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aeef33843a62e33d32642d607f6d0b8.jpg",[],19,{"id":1813,"slug":1814,"title":1815,"dynasty":8,"author":7,"museum":104,"description":1816,"tags":1817,"thumbUrl":1818,"material":11,"size":11,"collection":11,"collections":1819,"showCount":98,"zanCount":49,"manualWeight":49,"mainColor":50},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。",[26,27,58,29,41,40,232],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cdc264d6c89af361d94c989052c6829.jpg",[],{"id":1821,"slug":1822,"title":1823,"dynasty":8,"author":7,"museum":104,"description":1824,"tags":1825,"thumbUrl":1826,"material":11,"size":11,"collection":11,"collections":1827,"showCount":98,"zanCount":49,"manualWeight":49,"mainColor":50},228827,"jing-jiang-song-bie-tu-juan-quan-juan-shen-zhou-228827","京江送别图卷全卷","《京江送别图》是明代画家 创作的纸本设色画，现收藏于北京故宫博物院。\n图卷绘沈周与友人长汀送别的情景，大刀夺阔，远山起伏，汀岸有板桥、杨柳、桃花，崖上草色青青，十人拜揖道别，一人立于船上还礼，依依不舍。\n该画笔法苍劲，墨色浑厚，远山川用粗笔披麻皴画成。\n该画描绘的是沈周等人在京江送别叙州太守吴愈赴任的情景。\n画面以横卷形式展开由右向左，依次是近景的丛树、板桥，坡岸，一片杨柳依依桃花烂漫的江南春色。\n及至中部也是作品的中心。\n众人在岸边长揖作别，江面上一叶小舟，主人正乘乘舟远去，水色苍茫。\n远景是逶迤连绵的群山。\n画首有清王时敏跋书“名迹贻薇”四字，后幅为明文林书“送吴叙州之任序”、祝允明书“叙州太守吴公诗序”，及沈周等人跋。\n钤“启南”朱方一印。\n引首清，王时敏隶书“名迹贻征”四字。\n后纸有明，文林“送吴叙州之任序州府太守伍公诗序”，沈周、陈琦、吴瑄、张习、都穆、朱存理、刘嘉囗题诗，以及清代顾开增、顾济乾、吴云题记。\n鉴藏印记有【吴云平生珍藏】等七十五方。\n明弘治时期，南京刑部郎中吴惟谦小任叙州（今属四川省）太守，顷途过家，亲朋好友闻之，欢喜若狂，多作诗歌赞颂：其婿请沈周作画，复请祝允明作序相送。\n此图画成于弘治四年（1491）三月，沈周时年六十五岁。\n京江，当是镇江口的长江段，叙州相当今之四川宜宾。\n吴是苏州府太仓州人。\n如果从家中赴任，在苏州稍事逗留，即可乘舟沿古运河到镇江，由此向西直溯蜀地。\n这里对岸即是瓜洲古渡，正如长安的灞桥一样，常为古人惜别之地。\n这是沈周中晚年的代表作。\n从这幅画中可见沈周既有传统笔法。\n充分体现书卷气，又根据自然风貌，设置一定情节引人入胜，展现自己的面目。\n《京江送别图》构图简洁，水天一色。\n因受南宋画家构图的影响，此幅显得具有分外寥廓、无垠之意，对面的远山用披麻皴画出，多矾头和黑色苔点。\n显然是受董源、吴镇等画法影响，表现了关山重重和征途悠远：近处的树丛杨柳依依、槐桧掩映，用笔在郭熙和黄子久间，树下的泥石用笔豪放，这样就将它向观者拉近了距离。\n此图画面布景得宜，疏密有致，近处长林巨嶂，远处青山叠翠，遥相呼应。\n近景桃花，杏花点缀，春意盎然。\n图的内容虽然描绘的是真人真事，但却没有刻板的描绘送别的场面，而以背景衬托，船舱内着官服的人，当为吴惟谦，寥寥数笔，形象逼真，生动传神，表示一副十分谦恭的神态，岸边四人拜揖告别，神情真切，双方的情感真切虔诚，这正是文人画的特点。\n此图画法有宋、元诸家笔意而有所创造。\n该画曾经陆恭、孙煜峰、翁嵩年、顾开增、张珩等收藏 ，现藏于北京故宫博物院。\n212年11月—21年1月，《京江送别图》在苏州博物馆举办的“石田大穰——吴门画派之沈周特展”展览中展出。\n沈周（1427年—159年），明代画家。\n字启南、号石田、白石翁、玉田生、有居竹居主人等，是明中叶画坛上四大艺术家（另三人为文徵明、唐寅、仇英）之一，人称江南“吴门画派”的班首，在画史上影响深远。\n沈家世代隐居吴门，居苏州相城，故里和墓在今相城区阳澄湖镇。\n沈周的曾祖父是王蒙的好友，父亲恒吉，又是杜琼的学生，书画乃家学渊源。\n父亲、伯父都以诗文书画闻名乡里。",[25,26,27,28,29,31,32,33,34,35,693,36,40,41,59,39],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3050617f0de18f29fed07db854e6eea5.jpg",[],{"id":1829,"slug":1830,"title":1831,"dynasty":8,"author":7,"museum":55,"description":1832,"tags":1833,"thumbUrl":1836,"material":1837,"size":1838,"collection":11,"collections":1839,"showCount":98,"zanCount":49,"manualWeight":49,"mainColor":50},222119,"shu-lin-ting-zi-tu-shen-zhou-222119","疎林亭子图","高树茅亭，桥间策杖。自题：湖上清湾是子家，绿杨岸下水红花。去年载酒会相覓，一路寻诗览物华。款：沈周为君泽题。钤印三：石田、煮石亭。著录：石渠宝笈续编、故宫书画录卷八。收传印记：石渠定鉴、宝笈重编、乾隆御览之宝、嘉庆御览之宝、石渠宝笈、乾清宫鉴藏宝。",[25,1066,29,39,40,59,1834,1835,36,316,31],"疏林","亭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dca097bc0d71acf5434ad657cde3e77.jpg","片金纸","21.5×57cm",[],{"id":1841,"slug":1842,"title":1843,"dynasty":8,"author":7,"museum":1844,"description":1845,"tags":1846,"thumbUrl":1847,"material":341,"size":1848,"collection":196,"collections":1849,"showCount":98,"zanCount":49,"manualWeight":49,"mainColor":50},219622,"gao-xian-jian-bie-tu-shen-zhou-219622","高贤饯别图","耶鲁大学艺术博物馆","此作为书画合卷，前段行书长札笔力苍劲老辣，笔墨朴拙醇厚，信中铺陈故旧饯别往还，文辞质朴真挚，将江南文人的温厚交谊娓娓道来。\n后段山水以淡墨写意，浅设色晕染出江南暮春风物，林亭错落，烟波澹荡，将临别缱绻心绪融于咫尺尺幅。整卷书卷气沛然，叙事抒情与笔墨意趣相融无间，尽显吴门文人间酬唱寄情的风雅日常，笔墨间漫溢出平和温厚的文人品格，是文心与画境相映的绝佳范本。",[26,27,28,29,30,140,41,40,36,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5aa41795e30a32b8269de302bb1eed6.jpg","纵26.5横162.7厘米",[196],{"id":1851,"slug":1852,"title":1853,"dynasty":8,"author":7,"museum":22,"description":1854,"tags":1855,"thumbUrl":1857,"material":142,"size":1858,"collection":11,"collections":1859,"showCount":1860,"zanCount":49,"manualWeight":49,"mainColor":50},231594,"song-xing-tu-shen-zhou-231594","送行图","在明代以前，作为一种表现送别主题的“江岸送别”图式在南宋时期就已经产生。学者石守谦认为，十二世纪晚期佚名画家的《送海东上人归国图》）是现存最早的江岸“送别图”。此幅作品采用南宋时期常用的半边式构图，画中景物都集中在右半边，右侧岸边上有两棵松树，松树下有一个小亭，旁边共有五人，站在亭子外面看着左边正要离去的船。其中有两人抱拳鞠躬在向船上的人临江告别。而在画面中央波涛汹涌的江面上，有一艘大船被巨浪包围着，船上的水手们或鼓帆拉弦，或奋力划船，气氛十分紧张，与岸上的依依送别之情形成鲜明的对比。纵观整幅作品，从浩瀚江面上扬帆起航的行舟，到送者与被送者隔岸拜别，再到岸边的饯别小亭，其所描绘的“送别”景象基本上构成了江岸送别图式的基本要素，标志着江岸送别图式的形成。这种图式中，岸边友人拱手送别、水中舟船待发等场景是必不可少的。",[25,26,27,28,29,30,39,41,1161,40,59,31,36,140,1856,630,37,367,368,35,34],"舟船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e41518bb5ef131e0f1424e3a5b315e2.jpg","纵30.0厘米，横125.5厘米",[],17,{"id":1862,"slug":1863,"title":1066,"dynasty":8,"author":7,"museum":104,"description":1864,"tags":1865,"thumbUrl":1867,"material":11,"size":11,"collection":11,"collections":1868,"showCount":1860,"zanCount":49,"manualWeight":49,"mainColor":50},228830,"shan-mian-shen-zhou-228830","此作用水墨晕染枝间禽鸟，双雀依偎栖于繁花折枝之上，翎毛以浓淡墨色细勾慢染，灵动鲜活似正低语休憩。老干苍劲朴拙，花瓣以淡墨点染，晕出柔润舒展之态，干湿墨色交织，苍润相生。尺幅虽狭，却藏无尽生趣，以极简笔墨勾勒出春日枝桠间的闲逸幽情，将文人画的简淡天真融于方寸之间，尽显写意花鸟的隽永意致，观之如沐春枝清寂雅趣。",[25,26,27,1066,29,167,747,1866,1718,59],"花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4404ed7004430e69ae3c02ca10aad4b.jpg",[],{"id":1870,"slug":1871,"title":266,"dynasty":8,"author":7,"museum":22,"description":1872,"tags":1873,"thumbUrl":1874,"material":11,"size":11,"collection":45,"collections":1875,"showCount":1860,"zanCount":275,"manualWeight":49,"mainColor":1876},203331,"shan-shui-ce-shen-zhou-203331","画面以青绿设色晕染峰峦，陡峭崖壁层叠耸峙，如剑戟刺破天际。山脚苍松虬劲，枝干盘曲，松针细密如簇，墨色浓淡交错显其苍古。几间屋舍隐于松石间，白墙黛瓦与青绿山水相映，添烟火气却不扰清寂。左侧题跋笔墨流畅，行书婉转见骨力，与画作相得益彰；旁钤朱印，朱红与青绿、墨色形成对比，更显雅致。整幅作品青绿明丽，又含文人清幽，山石皴染结合，树木勾勒精细，构图疏密有致，融山水之秀与居停之静于一册，尽显古雅意境。",[399,30,31,138,39,41,59,367,61,37,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a572b3372dba04ac295f815000697bd.jpg",[45],"d2bea3",{"id":1878,"slug":1879,"title":1880,"dynasty":8,"author":7,"museum":71,"description":1881,"tags":1882,"thumbUrl":1883,"material":11,"size":11,"collection":261,"collections":1884,"showCount":1885,"zanCount":49,"manualWeight":49,"mainColor":50},240027,"you-zhang-gong-dong-ji-shen-zhou-240027","游张公洞记","沈周（1427～1509）明代杰出书画家。沈周的书法学黄庭坚，书风“遒劲奇崛”。",[25,181,27,40,28,41,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6454502c97f02fbc6bb94cacdb339fab.jpg",[261],16,{"id":1887,"slug":1888,"title":1889,"dynasty":8,"author":7,"museum":22,"description":1890,"tags":1891,"thumbUrl":1894,"material":11,"size":11,"collection":45,"collections":1895,"showCount":1885,"zanCount":275,"manualWeight":49,"mainColor":1896},202177,"ce-zhang-xing-yin-tu-zhou-shen-zhou-202177","策杖行吟图轴","水墨晕染的山水间，近坡枯树疏枝虬劲，旁立小亭半隐，一士人策杖缓行，似在沉吟观物。中流浅滩碎石错落，远景峰岫层叠，笔墨苍润浑厚，皴擦兼具，尽显山川朴拙之态。清寂悠远的意境里，藏着文人雅士寄情林泉的悠然心境，笔意间满是吴门画派的雅致风骨。",[31,29,39,35,60,140,1892,1893,25],"文人山水","吴门画派","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f40c977d4b5396f4a3519ffe4b2ef81.jpg",[45],"b9b0ad",{"id":1898,"slug":1899,"title":1900,"dynasty":8,"author":7,"museum":71,"description":1901,"tags":1902,"thumbUrl":1904,"material":271,"size":1905,"collection":11,"collections":1906,"showCount":1907,"zanCount":49,"manualWeight":49,"mainColor":50},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沈周的书法起步于家传，初学赵孟頫；四十岁左右起，泛学诸家，而对宋四家用力最勤；至晚年更倾心学黄庭坚。喜用狼毫挥书，线条锋利铦锐，结构跌宕开阖，中宫收紧而四维开张，所谓“长撇大捺”，遒劲奇崛，也是明代的书法名家。",[25,41,40,28,29,59,1980,75,31,2002],"饮酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc35860016e1c8c78552c7fadc8481f4c.jpg","长卷，纸本，墨书","纵30.1厘米，横420厘米",[],{"id":2008,"slug":2009,"title":2010,"dynasty":8,"author":7,"museum":71,"description":2011,"tags":2012,"thumbUrl":2014,"material":2015,"size":2016,"collection":11,"collections":2017,"showCount":1995,"zanCount":49,"manualWeight":49,"mainColor":50},222127,"sheng-guang-tie-ye-shen-zhou-222127","声光帖页","释文：\n向自金仲寄至苏合丸，珍佩，珍佩！日来知德与位称，声光向隆，可见德门旧族风致自殊。卫中运士还，极言佩荷，足激乡里近时薄风，健羡，健羡！寒舍饥垫中，又以则户点解，村僮皆愚于料物托揽好耳。所司交纳利害，略不知头绪，尚有核桃一色，知待新方收，因不敢赍价去。缘僮俱非惜家者，凡百事为，恃在故旧之爱，希为指点，帲幪当铭刻不浅也。录尔尊先大夫心耕诗，请须裁教。外有小笔山水一帧，将意而已，未间伏惟为国，自玉不宣。\n署款：“婣生沈周再拜，全卿豸史亲家阁下。三月廿九日，锦帕二方伴缄。”款下钤印：“启南”。鉴藏印：“之赤”、“希曾”、“二谢”、“张珩审定真迹”、“周氏作民”。\n此帖是沈周写给亲家的一封书信，谈论一些日常生活中的琐事及对事物的看法。因是给关系比较密切的人写信，所以具有随意、自然的书写风格。此书师黄庭坚，兼及苏轼，笔力老练劲挺，结体紧凑不拘，笔画全以欹侧取势。",[25,40,41,2013,59,29],"字帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51f47456e0ce5dbeb104540984b501eb.jpg","纸本，行书","纵23厘米，横40.7厘米",[],{"id":2019,"slug":2020,"title":2021,"dynasty":8,"author":7,"museum":71,"description":1987,"tags":2022,"thumbUrl":2023,"material":1992,"size":1993,"collection":11,"collections":2024,"showCount":146,"zanCount":49,"manualWeight":49,"mainColor":50},233137,"ming-ren-xi-shan-sheng-jing-he-bi-ce-xin-guo-tu-ye-shen-zhou-233137","明人西山胜景合壁册-新郭图页",[26,27,138,29,31,32,33,38,36,41,40,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55f3bdabed4bfe76d9c471868a7a47b2.jpg",[],{"id":2026,"slug":2027,"title":2028,"dynasty":8,"author":7,"museum":22,"description":2029,"tags":2030,"thumbUrl":2032,"material":11,"size":11,"collection":45,"collections":2033,"showCount":146,"zanCount":49,"manualWeight":49,"mainColor":2034},201535,"fang-ni-shan-shui-zhou-shen-zhou-201535","仿倪山水轴","淡墨皴染的山石旁，几株树木疏朗错落，枯干携疏枝，繁叶间透出清浅意趣。一只飞鸟划破空濛，留白处晕开幽远静穆。笔墨简淡却藏韵致，构图疏旷得倪瓒遗风，空灵中凝着文人的旷达与清寂，似将山间清寂与悠远凝于方寸，引观者沉于这份远离尘嚣的疏淡之美。",[29,31,75,693,39,74,36,37,2031,436,25],"留白","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a558445e77925e3332c85f9ec4ede2.jpg",[45],"b3a38d",{"id":2036,"slug":2037,"title":2038,"dynasty":8,"author":7,"museum":22,"description":2039,"tags":2040,"thumbUrl":2043,"material":11,"size":11,"collection":157,"collections":2044,"showCount":199,"zanCount":275,"manualWeight":49,"mainColor":2045},201639,"xiong-ji-fu-rong-tu-zhou-shen-zhou-201639","雄鸡芙蓉图轴","雄鸡昂首伫立，羽翼纹理细腻，绒羽蓬松处见写意之趣，尾羽劲挺显工致之精。旁侧芙蓉花姿绰约，淡粉晕染衬柔婉韵致，叶片浅蓝勾勒，清新雅致。后方湖石造型古拙，皴擦间露苍劲质感，孔洞交错藏空灵之美。整体设色淡雅，笔墨兼具工写，雄鸡英气与花草湖石幽淡相融，营造静谧生机的文人意趣，尽显明代文人画雅致格调。",[26,167,473,437,30,39,2041,1141,2042,25],"雄鸡","湖石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f94086c34b9c642f1f2e06e6237b8a4.jpg",[157],"aea98c",{"id":2047,"slug":2048,"title":2049,"dynasty":8,"author":7,"museum":22,"description":2050,"tags":2051,"thumbUrl":2052,"material":11,"size":11,"collection":45,"collections":2053,"showCount":199,"zanCount":49,"manualWeight":49,"mainColor":2054},201414,"xi-shan-ji-you-tu-juan-shen-zhou-201414","西山纪游图卷","此卷以水墨绘就，山峦起伏层叠，笔墨苍劲浑厚，尽显吴门画派文人山水的雅致。峰峦用披麻皴皴染结合，山石纹理毕现；林木以浓淡墨点染，枝繁叶茂间生机流动。山间亭台隐约，小桥跨溪，流水蜿蜒，孤舟泊岸，景致清幽淡远，似将西山游历之趣凝于尺幅。笔墨随景变幻，重墨点苔增韵，轻笔写水传情，虚实相生中，寄寓画家寄情山水的闲适心境与对自然的深切眷恋。",[181,26,27,28,29,31,39,35,32,33,34,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc80221d1ed6e43fc1ca88026028b0e45.jpg",[45],"000000",{"id":2056,"slug":2057,"title":2058,"dynasty":8,"author":7,"museum":104,"description":397,"tags":2059,"thumbUrl":2060,"material":402,"size":403,"collection":11,"collections":2061,"showCount":308,"zanCount":49,"manualWeight":49,"mainColor":50},287680,"wei-han-wen-shi-shen-zhou-287680","为汉文诗",[181,26,27,1066,40,41,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff964fb31d0907c4ee7abef76e8b20046.jpg",[],{"id":2063,"slug":2064,"title":2065,"dynasty":8,"author":7,"museum":104,"description":2066,"tags":2067,"thumbUrl":2068,"material":402,"size":403,"collection":11,"collections":2069,"showCount":308,"zanCount":49,"manualWeight":49,"mainColor":50},228840,"chun-xue-ge-jing-xin-shen-zhou-228840","春雪歌镜心","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。",[25,1066,41,40,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18ed06e54c1727261421608c690df658.jpg",[],{"id":2071,"slug":2072,"title":2073,"dynasty":8,"author":7,"museum":22,"description":2074,"tags":2075,"thumbUrl":2076,"material":11,"size":11,"collection":45,"collections":2077,"showCount":308,"zanCount":49,"manualWeight":49,"mainColor":2078},201733,"tai-shi-tu-zhou-shen-zhou-201733","苔石图轴","画面笔墨苍润沉厚，嶙峋苔石以皴染相济之法写就，纹理间见朴拙意趣；旁侧亭榭简括雅致，疏枝欹斜映带，远山淡抹如黛，衬出空寂清旷之境。题跋行书流畅自然，与苍劲山石、淡远山水相映成趣，诗书画印浑然一体，尽显文人画的逸致与风骨。墨色层次丰富，干湿浓淡间传递出静谧悠然的气息，仿佛可闻林间风语，观石上苔痕，于简淡中藏深意。",[26,29,31,75,35,39,41,59,27,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7409f01d6de34898fd17e0a540333f0.jpg",[45],"c6bda9",{"id":2080,"slug":2081,"title":2082,"dynasty":8,"author":7,"museum":22,"description":2083,"tags":2084,"thumbUrl":2085,"material":11,"size":11,"collection":45,"collections":2086,"showCount":113,"zanCount":49,"manualWeight":49,"mainColor":2087},201739,"hua-shan-ji-shen-zhou-201739","画扇集","扇面间铺展清寂山水，水墨笔触简练却意韵丰沛。右侧坡岸几竿修竹挺立，枝叶以浓淡墨色勾点，姿态疏朗；岸边草木用淡墨晕染，层次浅深有致。江面一孤舟悠然漂过，舟中人物隐约，似在随波寻幽，尽显文人雅士的闲适意趣。左侧题跋笔墨苍劲，诗画相契，更添书卷气息。整作构图疏宕有致，留白得当，于方寸之间藏纳天地之宽，尽显明代文人画的清雅风骨与淡泊心境。",[1066,29,232,34,31,27,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06b3a3c30b9fdbffd35a3da6146857e4.jpg",[45],"c6b8ab",{"id":2089,"slug":2090,"title":2091,"dynasty":8,"author":7,"museum":22,"description":2092,"tags":2093,"thumbUrl":2094,"material":11,"size":11,"collection":45,"collections":2095,"showCount":113,"zanCount":49,"manualWeight":49,"mainColor":2054},201327,"wu-zhong-shan-shui-tu-juan-shen-zhou-201327","吴中山水图卷","这幅长卷以水墨设色铺陈吴中山川胜景，笔墨苍润沉厚，皴擦点染间尽显山峦肌理与林木意态。峰峦起伏错落，或陡峭雄浑或平缓悠然；溪流蜿蜒穿谷，小桥横跨碧波，舟楫泛于水面，渔樵隐于烟霞村落间。茅舍亭台依山傍水，点缀得宜，一派江南田园的悠然意趣。设色淡雅清逸，与水墨交融，既保留文人画空灵韵致，又不失自然生机。左侧题跋与山水相映成趣，文情画意浑然一体，传递出画家对吴中山水的眷恋与超脱尘俗的隐逸情怀。",[26,28,29,30,31,39,32,33,34,35,1307,1893,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F958ede41df15c4ecce92b2a356748659.jpg",[45],{"id":2097,"slug":2098,"title":2099,"dynasty":8,"author":7,"museum":22,"description":2100,"tags":2101,"thumbUrl":2102,"material":11,"size":11,"collection":157,"collections":2103,"showCount":214,"zanCount":49,"manualWeight":49,"mainColor":2104},201421,"shan-mian-ji-shen-zhou-201421","扇面集","扇面之上，花枝蜿蜒伸展，粉白花朵点缀其间，瓣色娇嫩如染晨露，叶片脉络分明，绿意清雅。枝头一鸟静立，羽色温润，神态闲适；另一鸟振翅欲落，羽翼纹路细腻毕现，动感十足。笔墨工致细腻，设色淡雅鲜活，将花鸟之态刻画得生动传神，尽显自然生机与文人雅致。留白与景物相映成趣，传递出静谧恬淡的意趣，令人赏心悦目。",[1066,473,167,30,59,693,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25b2cbb7b59a3f5bceee6cac9d225e71.jpg",[157],"d7c6aa",{"id":2106,"slug":2107,"title":2108,"dynasty":8,"author":7,"museum":22,"description":2109,"tags":2110,"thumbUrl":2111,"material":11,"size":11,"collection":45,"collections":2112,"showCount":214,"zanCount":49,"manualWeight":49,"mainColor":2113},201394,"yun-ji-ting-zhou-tu-zhou-shen-zhou-201394","云际停舟图轴","层岩叠嶂间云雾轻笼，林木葱茏处亭台隐现，山间溪流蜿蜒穿石，近岸古松虬枝横斜，苍劲中透着秀逸。一叶扁舟静泊水畔，似载旅人凝思远眺，天地间满是幽寂清旷之韵。笔墨上以皴法写山石肌理，线条沉稳，设色淡雅温润，既摹自然野趣，又融文人幽居之思，于苍莽中见细腻，尽显明代文人山水的雅致情致。",[26,31,30,39,34,1200,1775,369,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ddc741d3164ef50fabc75bab817c2fa.jpg",[45],"7c6750",{"id":2115,"slug":2116,"title":2117,"dynasty":8,"author":7,"museum":22,"description":2118,"tags":2119,"thumbUrl":2120,"material":11,"size":11,"collection":158,"collections":2121,"showCount":214,"zanCount":49,"manualWeight":49,"mainColor":2122},201347,"hua-shan-shen-zhou-201347","画扇","扇面左畔绘幽兰数枝，叶态翩跹，墨笔勾筋，淡蓝晕染花瓣，清雅脱俗，尽显“空谷幽兰”之韵。右侧行书题跋笔势流畅沉厚，与兰草构图呼应，疏密得宜。浅褐洒金笺底色古朴，衬得笔墨更显雅致，书画印三者浑然一体，流露文人画特有的逸趣与风骨，于方寸扇面间藏万千意韵。",[1066,27,850,41,29,30,59,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c0353fb2259a23bfb037181da2af70.jpg",[158],"dfd2c3",{"id":2124,"slug":2125,"title":2126,"dynasty":8,"author":7,"museum":22,"description":2127,"tags":2128,"thumbUrl":2129,"material":11,"size":11,"collection":11,"collections":2130,"showCount":384,"zanCount":49,"manualWeight":49,"mainColor":2131},202491,"yang-hua-tu-juan-shen-zhou-202491","杨花图卷","淡墨勾染垂柳柔枝，袅袅垂落如丝，杨花轻飏若浮，不着艳色却见春机。卷上题跋笔墨流转，行书意趣与画面相映成趣，诗书画印交融，尽显文人雅致韵致。笔法写意洒脱，墨色层次淡远，将春日杨花的朦胧与柳丝的柔婉，融于简淡画面中，藏着对时光的细腻感知与闲逸情怀。整卷意境空灵，韵致悠然，是文人画中诗画合一的典范。",[26,28,29,40,41,59,167,109,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ab9b09e4f0cb1783b2b764f5d601ac5.jpg",[],"c6bcb3",{"id":2133,"slug":2134,"title":2135,"dynasty":8,"author":7,"museum":22,"description":2136,"tags":2137,"thumbUrl":2138,"material":11,"size":11,"collection":11,"collections":2139,"showCount":384,"zanCount":49,"manualWeight":49,"mainColor":2140},202256,"tao-hua-tu-zhou-shen-zhou-202256","桃花图轴","疏枝横斜，淡粉点染，桃花清妍之态跃然纸上。枝干以枯笔皴擦，兼施淡墨，苍劲中见灵秀；花瓣轻敷淡彩，雅而不艳。旁题行书数语，笔墨流畅，诗画相契，尽显文人逸趣。整幅作品以写意笔法写就，不刻意求工，而神韵自生，将自然之美与文人情怀融于一体，尽显沈周文人花鸟的雅致。",[436,29,30,41,963,58,167,437,27,26,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76dd6baba48f720bc27563eb8ffb1e79.jpg",[],"b2a38a",{"id":2142,"slug":2143,"title":2144,"dynasty":8,"author":7,"museum":22,"description"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