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":20,"slug":2645,"title":2646,"dynasty":2605,"author":2647,"museum":2563,"description":2648,"tags":2649,"thumbUrl":2655,"material":2656,"size":2657,"collection":2624,"collections":2658,"showCount":2659,"zanCount":2660,"manualWeight":2517,"mainColor":2559},"zao-chun-tu-guo-xi-221288","早春图","郭熙","《早春图》采全景式构图，上下留有天地，远、中、近景则巧妙地布置于“十字形”架构内。\n主山画于中轴上方，山石先以圆笔勾勒轮廓，中锋、侧锋并用，再于阴暗面以湿笔皴擦，层层淡墨反复地渲染，强化量体感，这种技法俗称“云头皴”、“卷云皴”、“乱云皴”或“鬼面皴”，能真实反映沉积岩地貌，也可使画面产生如云雾般变幻的效果，很适合描写初春乍暖还寒，淡冶如笑的山野景象。山腰部分则隐于烟岚中，如临深山幽壑，更显主峰雄伟气势，是为“高远”。\n树丛委以虚、实来营造前后距离，腰间右侧的亭台楼阁，此时环伺于水墨山水中，其下山涧瀑布流泉，与左侧缓坡谷地融雪化成的涓涓源水，蜿蜒地流向前方的江湾，显示水流绵长及山坳纵深。而中景左方是一片旷野河谷，虚渺的远山咫尺千里，是为“平远”，其间一行旅人正从曲涧栈道一端越过小桥，欲达彼岸。而观画者正是透过“S 形”山势引导，将视线从后方的主峰、山岚，中景的楼阁、流泉、行旅等，顺势牵引至近景，空间铺陈手法，是为“深远”。\n干长挺拔的大松伫立岩盘上，佐以蟹爪为树枝、梢末，而浑厚的“鬼面皴”大石雄踞中轴下方，有助于画面重心的稳固。而时值日暮，右方的渔樵收拾起渔网、泊舟登岸，左岸手抱婴孩的妇女及随侧稚童，也笑迎肩挑两担鱼篓的渔夫归来，邻近搭建的房舍，则是一家人准备共进晚餐，享天伦乐的居所。\n综观全幅，赋予观赏者北方大山大水的真实感受，从而能引发可行、可望、可游、可居共鸣的乐趣。",[2495,2496,2497,2499,2509,2650,2501,2507,2506,2503,2611,2614,2651,2652,2653,2613,2654],"三远法","山峦","岩石","苔点","峰峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b56c53237741c6f94685ae05f95e012.jpg","绢","纵158.3公分，横108.1公分",[2624,6,2626],2376,17,{"id":21,"slug":2662,"title":2663,"dynasty":2522,"author":2523,"museum":2563,"description":2525,"tags":2664,"thumbUrl":2665,"material":2531,"size":2666,"collection":6,"collections":2667,"showCount":2668,"zanCount":2669,"manualWeight":2517,"mainColor":2518},"fu-chun-shan-ju-tu-huang-gong-wang-220766","富春山居图",[2495,2496,2498,2497,2499,2509,2501,2503,2504,2506,2507,2510,2511,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa873bf9c7d320f1bd285caf802d29cd8.jpg","画卷已经被火烧成一大一小两段，原卷首小段经过修补后称为“剩山图”，横51.4公分，高31.8公分，占原画1\u002F14，后段画幅较长，称为“无用师卷”，横636.9公分，高33公分，占原画12\u002F14",[6,2626],2315,28,{"id":22,"slug":2671,"title":2672,"dynasty":2490,"author":2491,"museum":2673,"description":2674,"tags":2675,"thumbUrl":2678,"material":2512,"size":2679,"collection":6,"collections":2680,"showCount":2681,"zanCount":2682,"manualWeight":2517,"mainColor":2518},"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。",[2495,2496,2497,2498,2499,2509,2676,2510,2511,2547,2501,2677,2506,2503,2651,2614,2504],"临摹","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1efe58b722df64f77e022a8a8fc2de6.jpg","纵36.8厘米，横855厘米",[6],1987,11,{"id":23,"slug":2684,"title":2685,"dynasty":2605,"author":2686,"museum":2687,"description":2688,"tags":2689,"thumbUrl":2691,"material":2597,"size":2692,"collection":6,"collections":2693,"showCount":2694,"zanCount":2695,"manualWeight":2517,"mainColor":2518},"mo-tang-dai-lu-hong-cao-tang-shi-zhi-tu-li-gong-lin-214316","摹唐代卢鸿草堂十志图","李公麟","日本大阪市立美术馆","这两幅画在构图、风格和笔触上都有密切的联系，但人物的比例缩小了，放在更合理的自然空间里，而山水、树木和岩石的表现则更符合宋（或金）代的风格，在一定程度上反映了李公麟对卢鸿原作的临摹所产生的不同面貌。虽然这三幅画的具体临摹时间和具体制作时间还有待学者们进一步研究，但《草堂西施图》无疑在中国绘画史上占有很高的重要地位，因为它是中国文人隐居生活的经典形象，历来被人观赏、模仿和解读。大阪藏品的制作时间可能早于上述紫禁城画卷，晚于台北画卷，因为它与辽宁省博物馆收藏的北宋张继的《白莲社》画作比较接近。",[2495,2496,2498,2499,2676,2509,2510,2547,2501,2506,2507,2611,2613,2549,2690],"建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbccf5a7742967237a6a52cd2eb0fe914.jpg","30.3x867.2",[6],1944,14,{"id":24,"slug":2697,"title":2698,"dynasty":2605,"author":2699,"museum":2563,"description":2700,"tags":2701,"thumbUrl":2702,"material":2703,"size":2704,"collection":2624,"collections":2705,"showCount":2706,"zanCount":2707,"manualWeight":2517,"mainColor":2518},"xi-shan-qing-yuan-tu-xia-gui-221509","溪山清远图","夏圭","《溪山清远图》描绘了江南晴日的湖山景色，图中有群峰、山石、茂林、楼阁、长桥、村舍、茅亭、渔舟、远帆，勾笔虽简，但形象真实。且景物变化甚多，时而山峰突起，时而江流蜿蜒，不一而足，但各景物设置疏密得当，空灵毓秀，富有节奏感和韵律感，达到了所谓的“疏可驰马，密不通风”的境地",[2495,2544,2496,2497,2498,2499,2509,2501,2507,2506,2502,2503,2504,2552,2505,2614,2613,2652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca0db5d5e4bc1b3d562f46fcf75cc07.jpg","白纸本","纵46.5厘米，横889.1厘米",[2624,6,2626],1772,19,{"id":25,"slug":2709,"title":2710,"dynasty":2522,"author":2711,"museum":2673,"description":2712,"tags":2713,"thumbUrl":2719,"material":2720,"size":2721,"collection":6,"collections":2722,"showCount":2723,"zanCount":2724,"manualWeight":2517,"mainColor":2559},"chun-shan-tu-juan-shang-qi-221795","春山图卷","商琦","署款“曹南商琦德符”。鉴藏印钤清乾隆、嘉庆、宣统诸帝玺，共计8方。\n此图是商琦唯一存世的署款之作。远景峰峦叠翠，烟笼雾罩；近景丛林杂树，着春染绿；远景、近景之间衬以沙碛古桥，更添空阔苍茫之势。图中所绘物象众多，展现了作者较为全面的技法和营势造型的能力。近景山石刻画细致，先以浓墨勾轮廓，然后以汁绿晕染石面，既显示出岩石的纹理结构，更洋溢出山川间的一派春意。远景群峰则以浓淡墨或花青晕染为主，浑莽一片的山峦为全画烘托出雄伟壮阔的气势。点景树木皆苍郁深秀，但表现笔法富于变化，其近树以干、湿笔双勾树干和树叶，画法工整，近似于南宋院体绘画风格；远树或以侧锋横点，或以中锋竖点，只具树貌不具树形。近树、远树虽形态各异，但却共同装点出万物勃发、遍山染翠的春之景象。这是一幅形式美与意韵美高度统一的山水佳作。\n著录于清内府《石渠宝笈初编》。\n此卷原藏清宫内府，宣统年流入民间，解放后归国家文物局所有，后由文物局拨交故宫博物院。1958年，经由故宫博物院修复专家重新揭裱，令它恢复了旧貌。",[2495,2496,2544,2497,2498,2500,2509,2501,2714,2715,2506,2614,2652,2716,2717,2718],"山","水","远峰","近坡","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F548dc4fc12cf23b6dda3d1f9b39b1d44.jpg","绢本，设色","纵39.6厘米，横214.5厘米",[6,2534],1751,16,{"id":26,"slug":2726,"title":2727,"dynasty":2522,"author":2588,"museum":2492,"description":2728,"tags":2729,"thumbUrl":2731,"material":2732,"size":2733,"collection":6,"collections":2734,"showCount":2735,"zanCount":2724,"manualWeight":2517,"mainColor":2518},"qing-bian-yin-ju-tu-wang-meng-220824","青卞隐居图","《青卞隐居图》描绘画家故乡卞山苍茫景色，山上树木茂密苍郁，溪流回环，景色清幽，隐士行居其间。画法先以淡墨勾皴，而后施浓墨，再用焦墨皴擦，使得画面不迫不塞，元气淋漓，气势磅礴，创造了线繁点密、苍茫深厚的新风格。\n《青卞隐居图》主要描绘作者家乡吴兴的卞山景色。峰峦曲折盘桓，重叠峥嵘，气势雄奇秀拔。山间林木茂密，山径迂回，飞瀑高悬直注。山脚下有客曳杖而行，山坳深处茅庐数间，堂内一人抱膝倚床而坐。 有一老者策杖、踏着轻松缓慢的步伐，正在兴致勃勃地领略山林逸趣。密树深溪处一山麓水口，宽阔的河道上横卧山石和漫长的渚洲，在水中时隐时现。溪水潺潺，迂回流转。在崎岖不平的山地上，长有树木二十余株，浓荫密布。树木山势繁密充盈，气势雄伟。\n王蒙在创作《青卞隐居图》时的心境受到了社会环境、家庭环境的影响。《青卞隐居图》的创作年代正处于战乱的年代，人人处于恐慌，颠沛流离的状态。此画作于1366年，是王蒙成熟时期的作品。据画上收藏印推测，这幅画可能是作者赠给表弟赵麟的。\n《青卞隐居图》用笔以快、重、急、爽利为特点，锋毫微妙变化，都形成的曲直轻重、缓急等状态。线条质感的运用，在于透露画家情感的表达，或者老笔纷披，或润笔掩映，生命注于笔端，逸气也注于笔端。《青卞隐居图》的用笔还有一个显著特点就是曲律用笔，此笔法是披麻皴的变体在表达江南地貌的同时，也表达了画家焦虑的心情。《青卞隐居图》在用笔上王蒙继承了赵孟頫的“以书入画”用笔，树的轮廓线确定了这些形象的刚、柔、秀、雅。\n《青卞隐居图》以披麻皴、解索皴、牛毛皴为主，三者交替互用，画披麻皴时，运笔多带平行、快速爽利，行笔松动，给人略有飘浮的感觉。这一皴法大都用在画面顶部的山峰，由于笔法的轻盈，矾头的蠕动，因而给人一种气如云动，山岚飘浮的景象，同时不安定的感受也跃上纸面。\n画面中用笔有的像挺劲的行草笔线，虽然纤细，但却像有千斤之力，因其缠绕又能横冲直撞的形状而生动灵活，皴笔又能可以引领视线环游于画中形式，更添活泼的效果。山峦顶部则用渴墨苔点法。峦下山石树木给人以润湿之感，树干在勾勒上或笔直挺拔或倾折弯曲，而叶子的点染则是忽干忽湿、坡脚石头的皴擦也是忽浓忽淡。树木种类虽多却杂而不乱，树与树之间里让有度，用山之虚色来衬托树，以树的重墨来淡化山石，以小映大，以虚幻实，前呼后应，空间感极佳。石头与石头的交界施以皴擦或染又会构成另一个突起的石块，石石相连，绵延叠加。画山石树木的在技法上用的是浑点、破竹点、胡椒点、破墨点等。\n《青卞隐居图》整幅画面是“上留天，下留水”，采取高远构图法层层推远。作品用色细润典雅，山峦连绵不断，叠嶂起伏，气势雄伟秀拔，径路迂回蜿蜒。宛如一条游龙飞腾而上，山石刻画精细而奇特。林间树木茂密，山崖上高悬的飞瀑直注山谷。",[2495,2496,2497,2499,2509,2577,2501,2507,2611,2506,2730,2613,2614,2547,2510,2511],"茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff738956b75bf11ba249bc3609d336193.jpg","纸本","纵141厘米，横42.2厘米",[6,2626],1622,{"id":27,"slug":2737,"title":2738,"dynasty":2490,"author":2491,"museum":2563,"description":2739,"tags":2740,"thumbUrl":2741,"material":2703,"size":2742,"collection":6,"collections":2743,"showCount":2744,"zanCount":2745,"manualWeight":2517,"mainColor":2559},"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。",[2495,2496,2501,2499,2509,2577,2714,2611,2503,2593,2677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd61796c0c6453be4cd711d8316964db5.jpg","纵193.8 公分，横98.1 公分",[6,2626],1546,18,{"id":28,"slug":2747,"title":2748,"dynasty":2490,"author":2540,"museum":2749,"description":2750,"tags":2751,"thumbUrl":2754,"material":2755,"size":2756,"collection":6,"collections":2757,"showCount":2758,"zanCount":2628,"manualWeight":2517,"mainColor":2559},"tao-yuan-xian-jing-tu-zhou-chou-ying-222208","桃源仙境图轴","天津博物馆","此为明代“吴门四家”之一的仇英所作的青绿山水人物画\n仇英（1494—1561），字实父，号十洲，江苏太仓人，寓居苏州。漆工出身，后师周臣学画。善画人物、山水等，所绘山水以青绿重色为多，师法赵伯驹、刘松年。长于临摹，功力精湛，是明代中期画坛的巨擘。与沈周、文徵明、唐寅并称“明四家”。\n《桃源仙境图》的题材取自《桃花源记》。《桃花源记》是晋代脍炙人口的文学名篇。《桃源仙境图》即描绘了文人理想中的隐居之乐。画面远景峰峦耸峙，山间白云缭绕，殿宇楼台时隐时现，展现了恬静、远离世俗、虚幻缥缈的人间仙境。前景清泉沿石壁顺势而下，汇成宽阔的河面，曲折的古松、星星点点的桃花树，有三位白衣高士临流而坐抚琴清谈，两个书童随侍。全画作者用大青绿着色，山石以勾斫的笔法，较少皴染，色彩华丽而不艳俗，用笔工致而不呆板。\n此图画面右下角石上有行楷小字，款署“仇英实父为怀云先生制”，是仇英为其好友陈官（号怀云，江苏富豪）所作。据史料记载，仇英于四五十岁时受陈官延请至其家中驻馆作画。仇英为其所绘的作品中最著名的要数《桃源仙境图》轴和《职贡图》卷。仇英的传世作品较多，有关桃源题材的作品还有《桃花源图》《玉洞仙源图》《仙山楼阁图》《云溪仙馆图》等等。",[2495,2496,2497,2577,2545,2500,2546,2501,2549,2550,2502,2506,2507,2614,2690,2752,2651,2613,2753],"植被","仙境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14ade6201174dd570a6a6f1b1b739de8.jpg","绢本 设色","纵175厘米，横66.7厘米",[6,2534],1533,{"id":29,"slug":2760,"title":2761,"dynasty":2632,"author":2762,"museum":2763,"description":2764,"tags":2765,"thumbUrl":2768,"material":2512,"size":2769,"collection":6,"collections":2770,"showCount":2771,"zanCount":2772,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-ce-shi-tao-214892","山水图册","石涛","大英博物馆","大英博物馆在1965年7月购进的这套八开本《山水图》册是一件相当出色的石涛真迹精品。\n该图分别画夜泊采石太白楼下、游浦汀溪、登灵隐飞来峰、登雨花台、登岳阳楼、登幕山大观亭、登天印山、访东山等八景，涉及苏、浙、皖三地的名胜，亦可谓是“搜尽奇峰汇成册”，这个时期，他已从新安画派集中表现黄山险境的格局中脱离了出来，更加注重广取博揽天下有特性的景物。其画渐渐趋于老，行笔凝重沉静，用花青、赭石轻轻淡染，顿显生机；其构图巧用“Z”形和“S”形，十分灵活且紧凑，变化自然，动感鲜明，景象开阔深邃，令人遐想无限。",[2495,2496,2499,2509,2592,2501,2550,2506,2766,2767,2547],"远岫","船帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc4335799b8ab6338748c15eda11ad45.jpg","20.3x27.5cm",[6],1469,6,{"id":30,"slug":2774,"title":2775,"dynasty":2490,"author":2776,"museum":2687,"description":2777,"tags":2778,"thumbUrl":2780,"material":2597,"size":2781,"collection":6,"collections":2782,"showCount":2783,"zanCount":2784,"manualWeight":2517,"mainColor":2518},"song-yan-xiao-si-tu-dai-jin-214259","松岩萧寺图","戴进","松岩萧寺图是明代画家戴进的一幅代表作。这幅画作描绘了萧寺的生活场景。\n\n在这幅画作中，戴进巧妙地捕捉了萧寺的生活状态。他用浓墨重彩的画法，勾勒出了萧寺的宏伟建筑。他还用细腻的线条勾勒出了萧寺内僧人修行的场景，让人感受到了萧寺内的宁静和谐。\n\n此外，戴进在这幅画作中还描绘了萧寺周围的景色。他用色彩丰富的画法，描绘了萧寺周围的山川和河流。这些景色与萧寺的宏伟建筑形成了鲜明的对比，让人感受到了自然与人类活动的和谐共存。\n\n松岩萧寺图是一幅能够唤起人们对萧寺的崇敬之情的画作。它展示了戴进的艺术才华，也是一幅能够让人们感受到明朝文化魅力的画作。",[2495,2496,2499,2501,2509,2779,2507,2550,2502,2503,2552],"松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dadaa3dad497961e69e4dc516458e91.jpg","227x51.5",[6],1383,10,{"id":31,"slug":2786,"title":2787,"dynasty":2490,"author":2540,"museum":2563,"description":2788,"tags":2789,"thumbUrl":2792,"material":2567,"size":2793,"collection":6,"collections":2794,"showCount":2795,"zanCount":2682,"manualWeight":2517,"mainColor":2559},"shang-lin-tu-juan-chou-ying-216757","上林图卷","这卷书也在台北故宫，有一个类似的形象。它似乎比第一幅好，只是皴笔更简略一些",[2495,2496,2497,2498,2545,2500,2546,2790,2501,2549,2550,2506,2528,2791,2507,2752],"界画","宫殿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F166b13b5b6a049210ce9da368f29e43b.jpg","44.8x1208",[6],1347,{"id":32,"slug":2797,"title":2604,"dynasty":2605,"author":2647,"museum":2589,"description":2798,"tags":2799,"thumbUrl":2801,"material":2567,"size":2598,"collection":6,"collections":2802,"showCount":2803,"zanCount":2804,"manualWeight":2517,"mainColor":2559},"xi-shan-xing-lv-tu-guo-xi-218625","画面层峦叠嶂，主峰巍峨耸立，次峰拱卫环绕，尽显山川雄浑气势。山石以卷云皴法勾勒，纹理如波似浪，赋予山体灵动质感，仿佛云气在岩间流转。山间路径蜿蜒，行旅队伍缓缓前行，或挑担或驱马，于溪畔林间留下鲜活身影。溪流潺潺，树木葱茏，屋舍点缀其间，既有自然野趣，又含人文暖意。笔墨刚劲中见细腻，墨色层次丰富，高远、深远、平远三远之法交织，使画面空间错落有致。观者仿佛可登山远眺层林尽染，可沿溪漫步听水声潺潺，于山水间体悟静谧与生机的交融，感受那份穿越时光的艺术魅力。",[2544,2496,2497,2498,2500,2509,2499,2501,2507,2506,2503,2504,2549,2800,2550],"古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9968fd31d72f248e2d7e1d780f9d2aa4.jpg",[6],1280,7,{"id":33,"slug":2806,"title":2807,"dynasty":2490,"author":2540,"museum":2563,"description":2808,"tags":2809,"thumbUrl":2810,"material":2567,"size":2811,"collection":6,"collections":2812,"showCount":2813,"zanCount":2814,"manualWeight":2517,"mainColor":2559},"bao-hui-tang-chou-ying-214746","宝绘堂","这是王诜和苏轼欣赏书画的一个场景。画面以蓝色和绿色为基调，远处山峰高耸，山脚下桃花灼灼，不远处的房子里聚集着几个人，其中几个人正坐在桌前研究画卷。",[2496,2545,2500,2546,2501,2549,2550,2505,2506,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F691070a2939592e5e3866e2392e29bbe.jpg","188.8x99.3",[6],1260,9,{"id":34,"slug":2816,"title":2817,"dynasty":2490,"author":2491,"museum":2818,"description":2819,"tags":2820,"thumbUrl":2823,"material":2598,"size":2598,"collection":6,"collections":2824,"showCount":2825,"zanCount":2826,"manualWeight":2517,"mainColor":2518},"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。",[2496,2499,2577,2501,2509,2504,2821,2506,2651,2503,2652,2822],"蓑笠","垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82bbfa00972ccac2b880ca0da9cc7539.jpg",[6,2626],1229,4,{"id":35,"slug":2828,"title":2829,"dynasty":2632,"author":2830,"museum":2673,"description":2831,"tags":2832,"thumbUrl":2836,"material":2732,"size":2598,"collection":6,"collections":2837,"showCount":2838,"zanCount":2772,"manualWeight":2517,"mainColor":2518},"xian-shan-lou-ge-tu-wang-shi-min-214363","仙山楼阁图","王时敏","王时敏（1722-1798）是清代著名的画家，他的作品《仙山楼阁图》是其代表作之一。\n\n《仙山楼阁图》描绘了一座仙山上的楼阁，周围是美丽的山林。王时敏在画中运用了精细的笔墨和细腻的造型，勾勒出楼阁的立体感和山林的秀美。\n\n《仙山楼阁图》被认为是王时敏写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《仙山楼阁图》也是收藏家们青睐的经典之作。\n\n王时敏的《仙山楼阁图》是一幅描绘仙山楼阁的画作，它体现了中国传统文化中“仙山”的理念。在中国传统文化中，仙山象征着仙人悠闲的生活方式和高尚的品德，楼阁则是仙人的居所。王时敏的《仙山楼阁图》不仅是一幅精美的画作，更是一首关于仙人悠闲生活的诗篇。",[2495,2544,2496,2499,2833,2577,2834,2550,2835,2506,2613,2637],"山水画","仙山","山林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c70b5945091899c430b0a87afa1fa91.jpg",[6],1186,{"id":36,"slug":2840,"title":2841,"dynasty":2490,"author":2491,"museum":2763,"description":2842,"tags":2843,"thumbUrl":2846,"material":2567,"size":2598,"collection":6,"collections":2847,"showCount":2848,"zanCount":2849,"manualWeight":2517,"mainColor":2559},"qing-jiang-you-ju-tu-shen-zhou-219733","清江幽居图","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。",[2495,2496,2499,2500,2509,2577,2501,2502,2503,2505,2779,2507,2550,2844,2845],"幽居","岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdbf8df9dd29c2dd40331e20cfa7ac27.jpg",[6],1176,12,{"id":37,"slug":2851,"title":2852,"dynasty":2490,"author":2491,"museum":2853,"description":2854,"tags":2855,"thumbUrl":2857,"material":2732,"size":2858,"collection":6,"collections":2859,"showCount":2860,"zanCount":2814,"manualWeight":2517,"mainColor":2518},"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。",[2495,2496,2499,2500,2790,2592,2501,2550,2856,2502,2503,2504,2549,2506,2505],"塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84c6ccf4bdda3ae45520cc37a3415a38.jpg","31.1×40.2cmx12",[6],1160,{"id":38,"slug":2862,"title":2863,"dynasty":2490,"author":2491,"museum":2673,"description":2864,"tags":2865,"thumbUrl":2866,"material":2867,"size":2868,"collection":6,"collections":2869,"showCount":2871,"zanCount":2872,"manualWeight":2517,"mainColor":2518},"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。",[2496,2497,2592,2499,2501,2549,2578,2507,2503,2510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59290bda967d3ca108bc1fdca4fbebb.jpg","纸本，设色","纵27.8厘米，横37.3厘米",[6,2870,2534],"花鸟画精选",1120,5,{"id":39,"slug":2874,"title":2875,"dynasty":2632,"author":2876,"museum":2877,"description":2878,"tags":2879,"thumbUrl":2881,"material":2567,"size":2882,"collection":6,"collections":2883,"showCount":2884,"zanCount":2772,"manualWeight":2517,"mainColor":2559},"xiu-yuan-tu-wang-yun-214434","休园图","王云","旅顺博物馆","画面采用分段取景，局部特写的艺术手法，表现了明末清初位于扬州的私家园林—“休园”的四季景观。所画楼台殿阁、曲院长廊、碧水亭榭、假山怪石无一不玲珑透剔，各尽其致。末段画面署款“康熙乙未六月至庚子清和图成。",[2495,2496,2497,2498,2500,2546,2790,2501,2549,2550,2502,2506,2507,2880],"庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc53c816996f71e8cca2630cc96ce0c65.jpg","纵54厘米，横129.5厘米",[6],1111,{"id":40,"slug":2886,"title":2887,"dynasty":2522,"author":2888,"museum":2563,"description":2889,"tags":2890,"thumbUrl":2892,"material":2512,"size":2893,"collection":6,"collections":2894,"showCount":2895,"zanCount":2772,"manualWeight":2517,"mainColor":2518},"chun-tang-liu-se-zhou-zhu-shu-zhong-221745","春塘柳色轴","朱叔重","主题与关键字：春景、杨柳、江河、湖海、高士（士人、隐士）、寒林．枯树、竹、房舍、茅草屋、溪涧、湍泉、松、桥、篱笆、围墙。\n录入：石渠宝笈续编（宁寿宫），第五册，2765页 ；故宫书画录（卷五），第三册，192页；故宫书画图录，第五册，117-118页 【名称】元朱叔重春塘柳色轴 【规格】该幅 4155.公分；全幅 59.7公分 【收藏】 这幅画描写池畔的村屋景象，一名文人手持柺杖，沿著小径，在青葱的田野间漫步。\n全画的用笔极为柔和，著色也温润清雅，充分表现出春天里大地润泽，嫩绿遍野，万物滋长的盎然生意。\n朱叔重，十四世纪人，籍贯江蘇吴县。\n他虽然是一名书生，但在绘画方面，也有卓越的成就，不过流传下来的作品很少。",[2495,2496,2500,2501,2509,2577,2891,2502,2503,2730,2507,2506,2547],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73387748e6b65cff9714687e9f4798f2.jpg","41x55.3厘米",[6,2534],1069,{"id":41,"slug":2897,"title":2898,"dynasty":2490,"author":2899,"museum":2563,"description":2900,"tags":2901,"thumbUrl":2903,"material":2512,"size":2904,"collection":6,"collections":2905,"showCount":2906,"zanCount":2601,"manualWeight":2517,"mainColor":2518},"pin-cha-tu-wen-zheng-ming-218464","品茶图","文徵明","文徵明出身文人世家，一生大多优游山林，追求自然。作品中多为生活写照。一生嗜茶，曾自谓：「吾生不饮酒，亦自得茗醉。」他以茶入诗、入画、入书法，画中所表现的文人品茶，亦颇具代表性。　　此图绘与友人品啜雨前茶的场景。环境幽雅的草堂中，二人对坐品茗清谈，几上置茶壸、茶碗；堂外一人正过桥行来。茶寮内一童煽火煮泉，准备茶事，一场小型的文人茶会即将展开。",[2495,2496,2497,2577,2500,2546,2511,2501,2549,2902,2502,2503,2547,2507,2506],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cdac6d6888fc88e0be28c8cfb98e03d.jpg","88.3x25.2cm",[6],1044,{"id":42,"slug":2908,"title":2909,"dynasty":2605,"author":2910,"museum":2673,"description":2911,"tags":2912,"thumbUrl":2914,"material":2720,"size":2915,"collection":2624,"collections":2916,"showCount":2917,"zanCount":2918,"manualWeight":2517,"mainColor":2559},"ta-ge-tu-zhou-ma-yuan-221538","踏歌图轴","马远","“踏歌”是中国南方乡间一个非常古老的习俗，村民们辛苦耕耘一年，终于迎来了丰收，于是全村的男女老幼，踏着节拍，边歌边舞，欢庆收获并感谢大自然的恩赐，就好像过年过节一样快乐热闹。\n从表面上看，《踏歌图》像是一幅表现自然山川风貌的山水画，而实际是一幅描绘人间生活的风俗画。作者马远在图中安排了不多的几个点景人物，使画中的主题得到了充分的展示。画家并没有去描绘乡间踏歌盛况的全貌，而是选取了几个非常有代表性的乡民形象：一个中年村民，因为高兴多喝了几碗酒，步履蹒跚，摇摇晃晃，醉意十足，但是那个盛酒的葫芦却没有忘记，仍然好好地背在肩上；一个白胡子老汉，同样也喝了不少酒，一只手拄着拐杖，另一只手高高抬起，双脚离地，手舞足蹈，兴奋异常。他们的举止行为已与他们的年龄不相符合，所以显得特别滑稽可笑。作者马远描绘了这几个成年人之后，觉得还不足以表达欢快纵情的气氛，特地在画幅的左下角安排了男女两名幼童，他们回过身来，瞪着惊异的眼睛，看着自己的长辈，平时家长的恃重和威严怎么都没有了？年龄稍大的女孩，还用手捂住了嘴巴，偷偷在发笑。这两组点景人物相互呼应、相互衬托，把“踏歌”欢愉快乐的情绪推向了极致。可是细看图中，作者只不过画了六个人，却能将气氛渲染得如此充分。从这六个村民身上，完全可以感受到整个村庄中传出来的歌声、踏地的节拍声和欢快的笑声。画家马远“以一当十”、“以小见大”的艺术表现手法，实在是太高妙了。\n几个人物在图中所占的位置很小，但却最为引人注目。人物线条挺拔刚劲，人物动态活泼有趣，都显示了马远不凡的技艺。\n马远画山石的方法也极有特点。他运用毛笔的侧锋平扫，以表现陡峭的山势和坚硬石头的质感，山石犹如巨斧劈出一般，这种用笔的方法被人称之为“斧劈皴”，从《踏歌图》轴中亦可见一斑。在画幅的构图方面，马远也有创新。他喜欢将图中的山石集中于某一边角，形成虚实的对比，故此他有了“马一角”的称呼，当然在这件作品中这一特点不是十分明显。马远画树也有自己的习惯，他经常把树的枝条画得向下斜拖，所以有人将它归纳为四个字“拖枝马远”。\n在马远的这幅《踏歌图》的上方，题有五言绝句一首，这是南宋皇帝宁宗赵扩抄录北宋王安石的诗句。诗为：“宿雨清畿甸，朝陽麗帝城，豐年人樂業，壟上踏歌行。”这是南宋皇帝对太平盛世的企盼，供奉宫廷的画院画家马远即以此诗为题作画。",[2495,2496,2577,2499,2500,2509,2501,2549,2550,2507,2800,2505,2613,2913,2578,2506],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d16dfc2892d6fc95087572ed5b7c014.jpg","纵192.5厘米，横111厘米",[2624,6,2626],995,8,{"id":43,"slug":2920,"title":2921,"dynasty":2522,"author":2922,"museum":2563,"description":2923,"tags":2924,"thumbUrl":2925,"material":2597,"size":2926,"collection":6,"collections":2927,"showCount":2928,"zanCount":2826,"manualWeight":2517,"mainColor":2518},"ni-zan-wang-meng-he-zuo-shan-shui-ni-zan-220150","倪瓒王蒙合作山水","倪瓒","独坐古松下。萧条遗世音（音字点去）心。青山列屏幛。流水奏鸣琴。安得忘机士。与我息烦襟。幽情寄豪楮。跫然闻足音。岁辛丑（西元一三六一年）四月五日东海倪瓒画松石望山图。并赋五言。奉寄文伯友兄。且以督屡约屡失期云。",[2495,2496,2497,2499,2501,2509,2611,2503,2652,2902,2677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb857cc032888c84957bee595df2de89a.jpg","本幅 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山水画风格继承董源、巨然， 在技法上刘松年变李唐的“斧劈皴”为小笔触的“刮铁皴”，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[2495,2496,2498,2545,2500,2546,2509,2501,2502,2503,2505,2506,2651,2508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4cd819a0038f8aa8374cedcb53dd386.jpg","绢本设色","24cmx254cm",[2624,6,2534],840,{"id":56,"slug":3074,"title":3075,"dynasty":2605,"author":2606,"museum":2749,"description":3076,"tags":3077,"thumbUrl":3080,"material":2755,"size":3081,"collection":2624,"collections":3082,"showCount":3083,"zanCount":2804,"manualWeight":2517,"mainColor":2559},"xue-jing-han-lin-tu-fan-kuan-221395","雪景寒林图","《雪景寒林图》描写北方冬日山川雪后壮美景象。图中通过群峰屏立，山势高耸，深谷寒柯间，萧寺掩映；古木结林，板桥寒泉，流水从远方迂回而下，峰峦沟壑间云气万千，真实生动地表现了秦陇山川雪后的磅礴气象。全画布置严整有序，笔墨质朴厚重。画家用“抢笔”笔法，密点攒簇，并参以短条子的笔道，来刻画北方山石的质感，使画面浑厚滋润，沉着典雅。",[2495,2496,2497,2501,2509,2499,2577,3078,3079,2507,2506,2715,2505],"雪","寒林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc63124132a59c2b69ad427d2058e8b.jpg","纵193.5厘米 横160.3厘米",[2624,6,2626],800,{"id":57,"slug":3085,"title":3086,"dynasty":2605,"author":3087,"museum":3088,"description":3089,"tags":3090,"thumbUrl":3092,"material":2531,"size":3093,"collection":2624,"collections":3094,"showCount":3095,"zanCount":2814,"manualWeight":2517,"mainColor":2559},"qing-luan-xiao-si-tu-li-cheng-221412","晴峦萧寺图","李成","美国纳尔逊阿特金斯艺术博物馆","《晴峦萧寺图》是北宋画家 创作的一幅绢本淡设色画，现收藏于美国纳尔逊—阿特金斯美术馆。\n此画以直幅形式画冬日山谷景色，画中群峰兀立，瀑布飞泻而下，中景山丘上建有寺塔楼阁，山麓水滨筑以水榭、茅屋、板桥，间有行旅人物活动。\n画中山石雄伟而秀美，皴染用笔多有变化，兼具关仝之雄浑与李成之清润。\n《晴峦萧寺图》绘了一幅山寺同框的景象。\n画中上半部两座高峰重叠，左右山峰低小淡远，当中一座楼阁突出，萧寺下及寺右边三四座小山冈，皆有树生其上，画卷的最下处是从山中流出的泉水形成的溪水，一木桥架其上，山脚下有亭馆数间，人群来往。\n前景突兀巨石，一边平缓，一边峭拔。\n此图画面右上角有北宋末“尚书省印” （6.厘米正方，白文，北宋18~1126年间官印），印下部左右角均见残缺。\n画右下方有“朗庵心赏”、“棠邨审定”（白文），“铁沙沈树镛鉴藏印”、“树镛审定”（均朱文）等鉴赏收藏印六方。\n据史书上说，李成嗜酒，想得到李成画的人，都要为他准备上好的美酒。\n李成酒酣时便开始提笔作画，所画山水往往烟云万状，神妙得意处众多，非是笔墨所能够达到，而完全是美酒的功效所致。\n据说当时开封相国寺东有间药铺，老板姓宋，深知李成的爱好，常以美酒款待他。\n李成一到他那里，往往醉酒数日。\n当酒兴高涨之时就开始作画，他挥笔潇洒，不仅在素纸上挥洒，而且在门板上挥毫泼墨。\n《晴峦萧寺图》便是李成在此情景下创作出来的。\n此画在构图上是高山峻岭，深沟巨壑。\n前景突兀巨石，一边平缓，一边峭拔，陡峭面作细笔皴擦，产生一种体积感和重量感。\n中景山涧瀑布飞流直下前景深潭，与远景处一悬瀑形成互相呼应之势。\n纵观全图，笔法娴熟老健，用墨层次分明，浑厚苍劲。\n构图呈自然开合状，节奏明快，气势雄逸，使观者犹如身临其境。\n《晴峦萧寺图》中，中近景树丛多以曲姿造型，正是李成惯用的手法，特别是分枝姿态变化较多。\n在山水画中，皴法最能显示各家风格特点，树法相对不甚明显，故董其昌讲：“西中山水位置皴法，皆各有门庭，不可相通，惟树木则不然。\n”（《画禅室随笔》）此图树木的布置、造型结构是近曲远直，近处偃仰疏密，多曲而繁复，示蟠根老壮之意，有的“藤蔓依缠古木，窠丛簇扎山头”，有的“枝条疏密交叉，挺干枯茂盘曲”，大都以浓重墨色勾勒，与记载称李成“毫锋颖脱”似相一致。\n树木均以顿挫感很强的尖劲中锋墨线描绘，树身略见“勾斫”一类皴笔，锋芒内敛，树身“作节处不用墨圈，下一大点，以通身淡墨空过”（米芾《画史》）。\n小节疤均用墨点成，小枝条用笔流畅，劲利挺健，基本上都用湿笔，无明显的干湿浓淡变化。\n高居翰形容此图“山峦静穆，枯树兀立在稀岚里，黑树干清晰地矗立在前景，向后退去时，则渐淡成影而消失。\n曾为唐及唐前山水基本特质的温暖颜色和魅人的细节，在此都被牺牲，以便成就一种新的庄严气氛”（《中国绘画史》）。\n这种“渐淡成影而消失”的手法，是指层峦也是指树丛，以形成整体的艺术气氛。\n从此图峰峦、山石画法看，和范宽雨点、豆瓣一类皴笔的画法明显不同。\n范氏写真山骨，雄健坚实，勾轮廓基础上，内廓用繁复的皴笔，墨色也很重， 黯黑沉厚，而“李成惜墨，如梦雾中”（米芾）。\n相对讲，《 晴峦萧寺图》皴笔就显得疏朗而以柔润面貌出现，这就可视为“惜墨”的手法了。\n图中山石画法均以细劲的中锋线条框廓，然后内廓加皴，外廓线条和内廓皴笔较为协调，皴笔密在凹处，有线面交融之感，加深了清润秀逸的境象。\n中国书法家协会会员、江苏省美术家协会会员赵启斌《中国历代绘画鉴赏》：“此件作品描绘出了北方冬日深山之中寺院晴日下的壮丽景色，水石幽幽，树木萧疏，山川雄伟秀美，给人以萧条冷落而又充满生机之感。\n作者非常微妙地把握住了北方山川雄奇壮丽的动人景致，突出深山冬日山寺寂寥深邃的意境。\n” 李成的《晴峦萧寺图》最早见于《宣和画谱》的著录。\n此作至清初才到了收藏家梁清标手中，梁氏似乎并未将其归入李成名下。\n该画没有进过清宫，道光年间为上海收藏家徐渭仁所有，1841 年，他首先为其题签“北宋李成晴峦萧寺图”。\n1855 年。\n徐氏因被怀疑与小刀会“有染”，入狱而死，该画很可能与徐氏的其他收藏一同散佚，后经沈树铺、林熊光等人收藏，最后由居住日本的意大利籍人士所得，并于1947年售给美国纳尔逊—阿特金斯美术馆。\n李成（919~967年），字咸熙，祖先是唐代宗室，因避唐末五代战乱移家山东营丘。\n李成品格清高，富有文学修养，且胸怀抱负，但时逢乱世无从施展，遂纵情于诗酒书画。\n宋初他往陈州（ 今山东淮阳）投奔同乡知州卫融，宋太祖乾德五年（967年）醉死在当地。",[2495,2496,2544,2501,2499,2509,2577,2550,2502,2503,2611,3091,2507],"枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b577765ceab4bc36d1225e888c903d4.jpg","纵111.4厘米，横56厘米",[2624,6,2626],792,{"id":58,"slug":3097,"title":3098,"dynasty":2490,"author":2491,"museum":3039,"description":3099,"tags":3100,"thumbUrl":3101,"material":3102,"size":3103,"collection":6,"collections":3104,"showCount":3105,"zanCount":3048,"manualWeight":2517,"mainColor":2518},"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。",[2495,2496,2497,2577,2499,2509,2510,2511,2547,2501,2505,2549,2578,2714,2593],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06bd050b49302cf802dccc628eaaae1e.jpg","纸本、设色。","纵145.5厘米，横47.5厘米。",[6],763,{"id":59,"slug":3107,"title":3108,"dynasty":2956,"author":3109,"museum":2673,"description":3110,"tags":3111,"thumbUrl":3114,"material":2531,"size":3115,"collection":6,"collections":3116,"showCount":3105,"zanCount":2695,"manualWeight":2517,"mainColor":2559},"xiao-xiang-tu-dong-yuan-221154","潇湘图","董源","本幅无作者款印，明朝董其昌得此图后视为至宝，并根据《宣和画谱》中的记载，定名为董源《潇湘图》，后入清宫内府收藏。\n“潇湘”指湖南省境内的潇河与湘江，二水汇入洞庭湖，“潇湘”也泛指江南河湖密布的地区。图绘一片湖光山色，山势平缓连绵，大片的水面中沙洲苇渚映带无尽。画面中以水墨间杂淡色，山峦多运用点子皴法，几乎不见线条，以墨点表现远山的植被，塑造出模糊而富有质感的山型轮廓。墨点的疏密浓淡，表现了山石的起伏凹凸。画家在作水墨渲染时留出些许空白，营造云雾迷濛之感，山林深蔚，烟水微茫。山水之中又有人物渔舟点缀其间，赋色鲜明，刻画入微，为寂静幽深的山林增添了无限生机。五代至北宋初年是中国山水画的成熟阶段，形成了不同风格，后人概括为“北派”与“南派”两支。董源此图被画史视为“南派”山水的开山之作。",[2495,2496,2497,2498,2501,2499,2500,3112,2528,2506,3113,2504,2549,2614],"披麻皴","沙洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F308d33bc50ae0832cf73078880eca1a6.jpg","纵50厘米，横141.4厘米",[6,2626],{"id":60,"slug":3118,"title":3119,"dynasty":2490,"author":3120,"museum":3121,"description":3122,"tags":3123,"thumbUrl":3127,"material":2567,"size":2598,"collection":2870,"collections":3128,"showCount":3129,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"za-hua-ce-chen-hong-shou-218031","杂画册","陈洪绶","美国大都会艺术博物馆","陈洪绶是明朝时期著名的画家。他最著名的作品是他的杂画册，其中包含了许多精美的花鸟画和山水画。陈洪绶的杂画册是明朝时期最著名的画册之一，并被认为是中国画的杰出代表作之一。\n\n陈洪绶的杂画册中包含了多幅优美的花鸟画，其中包括了各种鸟类、花卉和动物。这些画作都是陈洪绶对自然界的精确再现，并且富有生命力。此外，陈洪绶还创作了许多优美的山水画，其中包含了各种山川、河流、湖泊和其他自然景观。这些画作也是陈洪绶对自然界的精确再现，并且富有感染力。\n\n总的来说，陈洪绶的杂画册是一部杰出的画册，其中包含了许多优美的花鸟画和山水画，是中国画的杰出代表作之一。陈洪绶的画风精细而细腻，他对自然界的描绘充满生命力和感染力，使他的作品在艺术史上占有重要地位。",[2496,2500,2546,2592,3010,3124,3125,3126],"昆虫","红叶","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7c5103e3f5c96e67bf35677653152a4.jpg",[2870,6,2968],758,2,{"id":61,"slug":3132,"title":3133,"dynasty":2490,"author":2776,"museum":2563,"description":3134,"tags":3135,"thumbUrl":3137,"material":2531,"size":3138,"collection":6,"collections":3139,"showCount":3140,"zanCount":2772,"manualWeight":2517,"mainColor":2559},"chun-you-wan-gui-tu-dai-jin-222031","春游晚归图","这幅画的笔墨多取法自南宋时代的马远、夏圭一派，构图上虽然仍然旧沿袭著南宋院画体系风格，保留了大部分空虚的地方，但是画面比较平板，近景和远山几乎是在同一平面上，比较缺乏景致空间的深度。这也是浙派绘画的共同特色之一。画上并没有作者的落款和印章，但是从画风，再比照其它画作来看，似可推断是戴进在北京时期的作品。\n综合其它传世作品来看，戴进除了兼法宋、元诸家以外，受到南宋马远、夏珪「院体」一派画风的影响比较深。但是他继承古人传统，而不为成法所拘，能够发展变化，自出新意。这件作品为戴进基於马远、夏圭风格，而更近一步，大胆强调丰富笔墨效果的杰作。绘画技法功力深厚，笔墨灵活而变化多端，奔放中不失法度，严谨中又富有潇洒俊逸的格调，是代表戴进风格的典型作品之一。",[2495,2496,2497,2577,2500,2501,2549,2550,2502,2503,2779,2507,2593,3136,2505],"路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f535fa828d9c60097457ceb913a5fff.jpg","167.9x83.1公分",[6,2626],752,{"id":62,"slug":3142,"title":3143,"dynasty":2490,"author":2540,"museum":2563,"description":3144,"tags":3145,"thumbUrl":3146,"material":2567,"size":3147,"collection":6,"collections":3148,"showCount":3149,"zanCount":2849,"manualWeight":2517,"mainColor":2559},"chun-shan-yin-shang-zhou-chou-ying-218389","春山吟赏轴","此图绘溪山胜景，高士游春。虽是青绿之作，不见富贵，唯有逸气绕耳目，学赵伯驹，仇英得其韵矣。",[2496,2577,2500,2546,2509,2501,2549,2505,2593,2611,2613,2507,2550,2891],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7562c788ce2b4470b544a9e0121bd8b5.jpg","157.5x63.2公分",[6],732,{"id":63,"slug":3151,"title":3152,"dynasty":2490,"author":2491,"museum":2973,"description":3153,"tags":3154,"thumbUrl":3156,"material":3157,"size":3158,"collection":6,"collections":3159,"showCount":3160,"zanCount":2826,"manualWeight":2517,"mainColor":2559},"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。",[2496,2497,2577,2499,2509,2510,2547,2501,2593,3155,2507,2508,2503,3091],"竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad65f1285b34c33d679d0516bef2374a.jpg","绢本,水墨","纵116.6厘米 横28.8厘米",[6],708,{"id":64,"slug":3162,"title":3163,"dynasty":2522,"author":2523,"museum":2673,"description":3164,"tags":3165,"thumbUrl":3167,"material":2512,"size":3168,"collection":6,"collections":3169,"showCount":3170,"zanCount":2826,"manualWeight":2517,"mainColor":2559},"kuai-xue-shi-qing-tu-huang-gong-wang-218531","快雪时晴图","《快雪时晴图》描绘了雪霁后的山中之景，其中除一轮寒冬红日外，全以墨色画成。高山上留有积雪，天边处有一轮红日，横带一抹红霞，生动表现出雪后初晴时明朗秀美的景象。该画用笔单纯而疏秀，洁净洗练。运用柔润的线条构建了宏大的山石结构，并且使之稳固清断。\n《快雪时晴图》画水墨雪景山水，层岩叠岭，奇峰寒林，白雪皑皑，寒气袭人。山下房舍数间，山间升起一轮红日。 画的中间是掩映在丛林中的几间茅屋，茅屋的两侧是绵延相连的断崖、山冈高低参差，错落有致，茅屋后而群峰耸立，挺拔秀美。山中的楼房里，有座香炉供奉着佛像。",[2495,2496,2497,2498,2499,2509,2501,2507,2506,3166,2511,2547],"雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78cb267ee7419e8115bf1c5d1d95984d.jpg","纵29.7厘米，横104.6厘米",[6,2534],675,{"id":65,"slug":3172,"title":3173,"dynasty":2605,"author":3174,"museum":2818,"description":3175,"tags":3176,"thumbUrl":3177,"material":2531,"size":3178,"collection":2624,"collections":3179,"showCount":3180,"zanCount":3048,"manualWeight":2517,"mainColor":2559},"qing-lv-shan-shui-ye-jing-hao-221435","青绿山水页","荆浩","荊浩（約850-911年），字浩然，號洪穀子，河內沁水(一説河南濟源人 ，一説山西沁水縣人， ）唐末五代時期著名畫家，北方山水畫派之祖。\n博通經史，博雅好古。乾符元年（874）前後，得到宰相裴休的關照，擔任小官。大中十年（856），罷官回鄉。躲避戰亂，常年隱居太行山 。善於山水畫，師從於張璪，吸取北方山水雄峻氣格，作畫“有筆有墨，水暈墨章”，勾皴之筆堅凝挺峭，表現出一種高深迴環、大山堂堂的氣勢，為北方山水畫派之祖 。\n\n著有《筆法記》山水畫理論的經典之作，提出氣、韻、景、思、筆、墨的繪景“六要”。作品《匡廬圖》《雪景山水圖》等",[2495,2544,2496,2497,2592,2545,2500,2509,2501,2502,2506,2507,2503,2690,2549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc5196ec6dccfebf217ece15bc124669.jpg","45x30厘米",[2624,6,2534],664,{"id":66,"slug":3182,"title":3183,"dynasty":2490,"author":2491,"museum":2563,"description":3184,"tags":3185,"thumbUrl":3186,"material":2512,"size":3187,"collection":6,"collections":3188,"showCount":3189,"zanCount":3048,"manualWeight":2517,"mainColor":2518},"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。",[2496,2497,2577,2499,2509,2547,2510,2511,2501,2578,2502,2503,2579,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb112e375f985a0401a16509e37dd9e82.jpg","56.1x31.7",[6],653,{"id":67,"slug":3191,"title":2587,"dynasty":2490,"author":2491,"museum":2563,"description":3192,"tags":3193,"thumbUrl":3194,"material":2639,"size":3195,"collection":6,"collections":3196,"showCount":3197,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"shan-shui-ce-shen-zhou-222101","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。",[2495,2496,2544,2497,2592,2499,2509,2501,2578,2503,2821,2987,2677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ea739b96b4accbcb710a3fa945b91db.jpg","37.4x58.8",[6,2626],623,1,{"id":68,"slug":3200,"title":3201,"dynasty":3202,"author":3203,"museum":3039,"description":3204,"tags":3205,"thumbUrl":3210,"material":2531,"size":3211,"collection":6,"collections":3212,"showCount":3213,"zanCount":2814,"manualWeight":2517,"mainColor":2559},"luo-shen-fu-chang-juan-gu-kai-zhi-221043","洛神赋长卷","晋","顾恺之","中国东晋绘画作品。\n作者顾恺之。\n原作已佚，今存有宋代摹本5卷，皆绢本设色，分别藏于中国大陆、台湾台北及美国。\n纵27.1厘米、横572.8厘米，藏故宫博物院；另一纵26厘米、横646厘米 。\n\n该图以三国魏文学家曹植的《洛神赋》为依据，描绘了作者对洛水之神宓妃的爱慕以及神人殊隔、不能交接的惆怅。\n\n作品将不同情节置于同一画卷，洛神和曹植在一个完整的画面的不同场景中反复出现，以山石、林木及河水等背景，将画面分隔成不同情节，使画面既分隔又相联接。",[2495,2496,2497,2498,2546,2500,2549,3206,3207,2501,2506,3208,2552,2505,2547,2510,2511,3209,2544],"美人","舟","云","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be74a2f3958ac41ec1cd6403d832e66.jpg","横572.8cm，纵27.1 cm",[6,2534],613,{"id":69,"slug":3215,"title":3216,"dynasty":2490,"author":2491,"museum":2589,"description":3217,"tags":3218,"thumbUrl":3219,"material":2567,"size":3220,"collection":6,"collections":3221,"showCount":3222,"zanCount":2826,"manualWeight":2517,"mainColor":2559},"lin-wu-zhen-xia-shan-yu-yu-tu-shen-zhou-217060","临吴镇夏山欲雨图","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。",[2544,2496,2497,2577,2499,2509,2676,2501,2507,2506,2508,2502,2503,2611,2595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07d620b34209a6fc4cb19849a546e3d9.jpg","182x69.5cm",[6],606,{"id":70,"slug":3224,"title":3183,"dynasty":2522,"author":3225,"museum":2563,"description":3226,"tags":3227,"thumbUrl":3228,"material":2597,"size":3229,"collection":6,"collections":3230,"showCount":3231,"zanCount":2872,"manualWeight":2517,"mainColor":2559},"shan-shui-tu-cao-zhi-bai-214249","曹知白","两棵松树相向而立，树枝向下延伸呈蟹爪状，是北宋时期李成和郭熙的典型画风。这幅画浓淡相间，尤其是在远处的山峰之间，淡墨层层渲染，云层模糊不清，似有似无。",[2495,2544,2496,2499,2509,2501,2578,2507,2594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff57a8f96ed896461c7ff36507601cb6a.jpg","68.1x34.3",[6],602,{"id":71,"slug":3233,"title":3183,"dynasty":2522,"author":2922,"museum":2563,"description":3234,"tags":3235,"thumbUrl":3237,"material":2597,"size":3238,"collection":6,"collections":3239,"showCount":3240,"zanCount":2872,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-ni-zan-218740","据王蒙在画上的题记，王蒙曾画过一幅倪瓒的《松石望山图》，倪瓒临摹了原作，交给了他的朋友文博，就是现在的这幅。后来，王蒙在他的朋友温家看到了这幅作品，并对其进行了补充，形成了这幅联合景观。",[2495,2544,2496,2497,2577,2499,2509,3236,2501,2507,2611,2503,2506,2504,2821],"文人画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e6ce25e904b4cba0d3febbec489966b.jpg","119.9x56.1",[6],579,{"id":72,"slug":3242,"title":3243,"dynasty":2605,"author":2647,"museum":2673,"description":3244,"tags":3245,"thumbUrl":3246,"material":3247,"size":3248,"collection":2624,"collections":3249,"showCount":3250,"zanCount":2872,"manualWeight":2517,"mainColor":2559},"ke-shi-ping-yuan-tu-juan-guo-xi-221294","窠石平远图卷","郭熙(11世纪)，字淳夫，温县(今属河南)人，其艺术活动约在北宋熙宁、元丰(168～185)间。\n擅长画山水。\n画巨石平坡，大小石块间杂生古树灌木，或枝叶繁茂，或枯枝败叶，平坡上有弯曲泉水流过。\n画右边一抹平沙，远处隐约有高山屏立。\n所作石块及平坡以卷云皴为之，树木多作蟹爪状，均为郭熙用笔造型的特点。\n全图以水墨为主，略施淡赭色烘染，描绘了秋日平远空旷的景色。\n画幅左侧作者自署“窠石平远”4字图名及“元丰戊午年郭熙画”款识，可知此图作于北宋神宗元丰元年(178)，为郭熙晚年作品。",[2495,2496,2544,2497,2498,2499,2509,2501,2677,3091,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0556ced627d4bf0bc2eadd501a1dda33.jpg","绢本，墨笔","纵120.8厘米，横167.7厘米。",[2624,6,2626],555,{"id":73,"slug":3252,"title":3253,"dynasty":2522,"author":2588,"museum":2673,"description":3254,"tags":3255,"thumbUrl":3256,"material":3257,"size":3258,"collection":6,"collections":3259,"showCount":3260,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"wang-meng-xia-ri-shan-ju-tu-zhou-wang-meng-220820","王蒙夏日山居图轴","此图绘长松高岭，山坞人家。半敞的房舍中一位怀抱婴儿的妇女似正在来回踱步，哄儿入睡，极富生活情趣。王蒙的作品虽多描写高士隐居生活，但其中往往蕴含俗世的生活情趣，这在某种程度上可以说是画家入世情结的一种流露。\n画中山体施以细密而短促的牛毛皴，凸处和边缘处笔少而墨淡，凹处及深暗处则笔多而墨浓，借以表现出山峦的层次和体积感。松树以淡墨勾形，偶尔施以重墨，树身以干笔圈皴，松针先以淡墨写出，复施以浓重的焦墨，使之层次分明，愈显清峭挺拔之势。山间丛树用焦墨侧锋点染而成，与山体皴染融为一体，相辅相成，更增夏日青山浑厚华滋的质感。",[2495,2496,2497,2577,2499,2509,2501,2506,2507,2503,2614,2508,2547,2511],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7df20d546f8bf06fcb8d01422c5ba829.jpg","纸本，墨笔","纵118.1厘米，横36.2厘米",[6,2626],552,{"id":74,"slug":3262,"title":3263,"dynasty":2490,"author":3264,"museum":2673,"description":3265,"tags":3266,"thumbUrl":3268,"material":3257,"size":3269,"collection":6,"collections":3270,"showCount":3271,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"fang-gu-shan-shui-tu-dong-qi-chang-220920","仿古山水图","董其昌","《董其昌仿巨然山水轴》是明代画家董其昌创作的一幅水墨画。\n本幅自题：“岚影川光翠荡磨，春风江上听渔歌。",[2495,2496,2497,2544,2577,2500,2501,2509,3267,2714,2715,2902,2502,2613,2652,2506,2595,2614],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31b52edc5116cc2683a64ad29378bccd.jpg","纵101.7厘米，横46.7厘米。",[6,2534],549,{"id":75,"slug":3273,"title":3183,"dynasty":2490,"author":2540,"museum":2763,"description":3274,"tags":3275,"thumbUrl":3276,"material":2567,"size":3277,"collection":6,"collections":3278,"showCount":3279,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"shan-shui-tu-chou-ying-218370","这幅画描绘了一座山和一个深谷，一个有学问的人看着泉水，正在乘凉，一个有学问的人抱着琵琶走在山路上，而羊群和牛郎在溪流对岸嬉戏。这是大英博物馆收藏的唯一一幅仇英的真迹，因为它在对树木、岩石和人物的描绘方面接近仇英的实际笔触。",[2495,2496,2544,2546,2500,2509,2501,2506,2652,2549,2503,3125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc24e2d4b1b7e561820f510b15f9bc13.jpg","138.8x72.5",[6,2968,2534],548,{"id":76,"slug":3281,"title":3282,"dynasty":3283,"author":3284,"museum":2818,"description":3285,"tags":3286,"thumbUrl":3288,"material":2567,"size":2598,"collection":6,"collections":3289,"showCount":3290,"zanCount":2918,"manualWeight":2517,"mainColor":2559},"chang-jiang-ji-xue-tu-wang-wei-218399","长江积雪图","唐","王维","素裹银妆的天地间，江波浩渺如镜，山峦起伏若眠。雪覆层岩似披素纱轻幔，枯藤老树凝霜，枝桠横斜间，几簇松针翠色凌寒而立，添了几分生机。江面上薄雾轻笼，一叶扁舟隐于烟波，恍若载着天地孤静。远处村落藏于雪麓，屋舍点点似有暖意暗涌。淡墨晕染雪意，线条疏朗含韵，静谧中透着禅韵，雪色洗尽尘嚣，尽显山水幽远。恰如诗中清寂，又藏着悠然，将冬日江雪的空灵深邃，凝于尺幅之间。",[2495,2544,2496,2498,2500,2501,3078,3091,2552,2504,2507,2528,2506,3166,3287],"小筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41bff8e8782f9331d1bdca574626f790.jpg",[6],519,{"id":77,"slug":3292,"title":3293,"dynasty":2522,"author":2922,"museum":2563,"description":3294,"tags":3295,"thumbUrl":3296,"material":2597,"size":3297,"collection":6,"collections":3298,"showCount":3299,"zanCount":3048,"manualWeight":2517,"mainColor":2518},"rong-xi-zhai-tu-zhou-ni-zan-220794","容膝斋图轴","倪瓒少小聪明，早年专意读书，家中清秘阁藏书数千卷，经史子集，佛道经典，他都专心阅读批校，所藏法书名画，亦悉心临学。其书法天然古淡，有魏晋人风格。倪瓒隐居于太湖四周的宜兴、常州、湖州、松江一带，常领略这里秀丽清幽的湖光山色，他的画也多取材于此。\n此幅成于洪武壬子（1372年），七十二岁所作。自署“壬子岁(1372)七月五日云林生写”。二年后再题谓：“赠寄仁仲医师。且锡山予之故乡也，容膝斋则仁仲燕居之所。”“他日将归故乡，登斯斋，持卮酒，展期图，为仁仲寿。”方知此图乃是寄放在医师仁仲之“容膝斋”，以备他日为仁仲祝寿之用。此帧先写赠其友檗轩，檗轩藏之三年，又寄赠医师仲仁，请云林补诗，容膝斋即仲仁居处，是先有画而后有题者也。此图写的是江南春景，平远山水。近处为山石陂陀，林木萧疏，作为近景与远景之间的过渡部分则多为大片空白，不着一墨, 是为湖水。图上侧远岫遥岑，横于波际。\n这种三段式的构图，是倪瓒山水的特征之一。其山水胎息于董源，矶头两点，石上横拖披麻，皴法清逸。其树法参差变，结体有骨力，而树头枝梢，每多生意。喜多作枯树，擦以枯笔，墨色浓淡错综而滋润浑厚。《容膝斋图》便是其晚年的精品，作于去世前两年，笔墨炉火纯青。典型的“三段式”构图：下方土坡上画杂树五棵，二棵点叶，二棵垂叶，一棵为枯槎无叶，树后是平坡茅亭；中间空白，茫茫湖水；上方画远山数叠。比之17年前画的《渔庄秋霁图》，虽章法相似，但用笔更刚劲洒脱，“折带皴”更显得老辣纯熟，风神飘逸。",[2495,2496,2497,2577,2499,2501,2509,2505,3091,2677,2503,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a1262bf8374934f412458d8adc28d76.jpg","74.7 x 35.5cm",[6,2626],518,{"id":78,"slug":3301,"title":3302,"dynasty":2632,"author":3303,"museum":2673,"description":3304,"tags":3305,"thumbUrl":3312,"material":2720,"size":3313,"collection":6,"collections":3314,"showCount":3315,"zanCount":2918,"manualWeight":2517,"mainColor":2559},"wu-rui-tu-lang-shi-ning-222770","午瑞图","郎世宁","这是一幅近似于欧洲静物画的作品，青瓷瓶内插着蒲草叶、石榴花和蜀葵花，托盘里盛有李子和樱桃，几个粽子散落一旁。图中的粽子、蒲草等物暗示此画是为中国的传统节日——端午节而绘制的。就构图而言，画中物品聚散有致，呈正三角形布局，给人的视觉以稳定感。而绘制方法则采用色彩深浅及光影明暗的变化展示花叶、水果和瓷瓶的立体感，尤其是瓷瓶肩部见于欧洲绘画而中国画绝无的“高光”手法，能令观者清晰地体会到西方油画的技巧。虽然画面没有落年款，但根据清内务府造办处的档案记载，此图应作于雍正十年（1732年），属郎世宁在中国的早期作品。\n作为异域来客，为了使基督教广布中国，明末清初抵华的众多传教士们采取了将东西方文化相融合，而后循序渐进地推行教义的传教策略，郎世宁无疑是一位彻底的实践者。尽管此图中他对静物的表现技法源自欧洲油画，然而其内容反映的却是蕴含华夏民族两千余年文化精髓的风俗。正是由于借助兼得中外、博取东西的折衷技巧与迎合中国皇帝趣味的题材择选，才使郎世宁成为深得雍正、乾隆两位帝王赏识、并且大加重用的西洋画家，他有为数不少的画作存世亦得益于此。",[2495,2496,2546,2500,3306,3307,3308,3012,3309,3310,2547,3311],"中西结合","清代","青瓷","果实","粽子","静物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9cf54c3f7bd81efc6632c675afac9c4.jpg","纵140厘米，横84厘米",[6,2534],514,{"id":79,"slug":3317,"title":3318,"dynasty":2522,"author":2588,"museum":2563,"description":3319,"tags":3320,"thumbUrl":3321,"material":2512,"size":3322,"collection":6,"collections":3323,"showCount":3324,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"jing-xi-shi-cui-tu-wang-meng-214820","荆溪湿翠图","这幅画描绘了水流湍急的泾河、声音激荡的瀑布、色彩斑斓的山峦和长满松树的松树。面板上有王蒙的长篇后记，据说是后来加的。这幅画的风格与杜琼的风格比较相似，从杜琼在 旌表贞节之门 下的印章可以看出。",[2496,2497,2577,2499,2500,2501,2503,2506,2507,2611,2549,2509,2510,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa69a4d460ff4b91c032f0a5094f977d7.jpg","142.6x42.9",[6],512,{"id":80,"slug":3326,"title":3327,"dynasty":2490,"author":2540,"museum":2563,"description":3328,"tags":3329,"thumbUrl":3330,"material":2512,"size":3331,"collection":6,"collections":3332,"showCount":3333,"zanCount":2872,"manualWeight":2517,"mainColor":2518},"zhang-xin-gong-ci-tu-chou-ying-218534","长信宫词图","以著名的隋唐宫殿连昌宫为主题的诗画轴，诗塘上都附有所谓文征明书写的宫词二十五首。此幅与院藏《画长信宫词图》的书法与画风相当近似，当属同一组四幅对。当时的作坊，喜欢绘制以仇英画、文征明题诗的合璧之作来吸引买者。重青绿描金的山水，配上楼阁人物，四幅齐挂妆点厅堂时，肯定是相当富丽华贵。此幅诗画轴可能是以仇英绘图、陆师道题诗的〈仙山楼阁〉为模仿对象，连左前方松林与其间宫殿都有相似处，只是少了原作的典雅含蓄，更强调色彩缤纷与繁复细节。活动其间的宫人，或舞蹈，或凭栏，或抚琴，或对坐闲谈，观之令人兴味盎然。",[2496,2546,2500,2545,2790,2501,2550,2507,2506,2690,3136,3057],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F018a7dba5ec368fecd8fd467a61193fc.jpg","纵 66.8 公分 横37.6 公分",[6],501,{"id":81,"slug":3335,"title":3336,"dynasty":2490,"author":2899,"museum":2563,"description":3337,"tags":3338,"thumbUrl":3339,"material":2512,"size":3340,"collection":6,"collections":3341,"showCount":3342,"zanCount":2772,"manualWeight":2517,"mainColor":2518},"pin-cha-tu-zhou-wen-zheng-ming-221977","品茶图轴","此作为文徵明自绘与友人陆子傅於林中茶舍品茗的场景。\n图中草堂环境幽雅，小桥流水，苍松高耸，堂舍轩敞，几榻明净。堂内二人对坐品茗清谈，从跋文可知正是作者和友人陆子傅。几上置书卷、笔砚、茶壶、茗盏等。茶寮内泥炉砂壶，炉火正炽，童子身后几案上摆有茶罐及茗盏。",[2495,2496,2497,2577,2500,2501,2549,2511,2547,2546,2509,2714,2902,2505,2503,2502,2593,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed1341fed0de54ecd60de1c41932b58e.jpg","142.31X40.89cm",[6,2626],498,{"id":82,"slug":3344,"title":3345,"dynasty":2956,"author":3109,"museum":2541,"description":3346,"tags":3347,"thumbUrl":3350,"material":2597,"size":3351,"collection":6,"collections":3352,"showCount":3342,"zanCount":2872,"manualWeight":2517,"mainColor":2559},"ping-lin-ji-se-tu-dong-yuan-220441","平林霁色图","此图绘山峦并峙，古寺深藏，山脚下有茅屋，行旅之人在平林小径间穿行。另一侧是开阔的水面，岸边有人等待泊舟。山石用短线皴，画法尚存北宋遗风，而与南宋画风无涉。董其昌将此图题为董源，实与董源的画法有较大的距离。近年有学者指出图中茅屋里的曲尺形炕是金元时典型的北方屋室特点，为推断此图系金代作品提借了有力的佐证。此图曾经清王时敏、张应甲、完颜景贤收藏。\n董源最擅长山水，其水墨及着色轻淡者，不为奇峭之笔，山石用麻皮皴，作峰峦出没，云雾显晦，溪桥渔浦，洲渚掩映的江南景色，评者以为平淡天真，唐无此品；其着色浓重者，山石皴纹甚少，景物富丽，宛然李思训风格。\n董源的水墨山水画，巨然加以发展，世称“董巨”，为五代北宋间南方山水画的主要流派，对元朝及其后画坛影响甚大，与李成和范宽并为“宋三家”。相传的作品有〈潇湘图〉、〈夏山图〉、〈夏景山口待渡〉、半幅〈溪山行旅〉和〈溪岸图〉等。",[2495,2544,2496,2497,2498,2499,2509,2501,3348,2506,2651,2614,2504,2503,3349,2505],"平林","岸渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2add91492c6c896c12d7f559661ce12b.jpg","37.5×150.8cm",[6,2626],{"id":83,"slug":3354,"title":3355,"dynasty":2605,"author":2910,"museum":3356,"description":3357,"tags":3358,"thumbUrl":3363,"material":3364,"size":3365,"collection":2624,"collections":3366,"showCount":3367,"zanCount":2772,"manualWeight":2517,"mainColor":2559},"han-jiang-du-diao-tu-ma-yuan-221665","寒江独钓图","日本京都国立博物馆","此画是宋代马远创作的一幅山水画。这幅画作者以严谨的铁线描，画一叶扁舟，上有一位老翁俯身垂钓，船旁以淡墨寥寥数笔勾出水纹，四周都是空白。画家画得很少，但画面并不空。反而令人觉得江水浩渺，寒气逼人。而且还觉得空白之处有一种语言难以表述的意趣，是空疏寂静，还是萧条淡泊，真令人思之不尽。这种诗—般耐人寻味的境界，是画家的心灵与自然结合的产物，在艺术上则是利用虚实结合而产生的结果。",[2495,2544,2496,2499,3359,3360,2549,2504,2821,3361,3362],"留白","一角构图","寒江","独钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4397a99a1aaf5d5a5c49c8a75c016bec.jpg","绢本，水墨淡彩","纵26.7厘米，横50.6厘米",[2624,6,2534],495,{"id":84,"slug":3369,"title":3370,"dynasty":2490,"author":3371,"museum":2589,"description":3372,"tags":3373,"thumbUrl":3374,"material":2597,"size":3375,"collection":6,"collections":3376,"showCount":3377,"zanCount":2826,"manualWeight":2517,"mainColor":2518},"you-jian-xing-shan-tu-yao-sui-217038","幽涧行山图","姚绥","幽涧行山图 是明朝画家姚绥的一幅杰作。这幅画描绘了一座山的全景，非常细腻地表现了山的各个部分，包括山顶、山谷、溪流、森林、花草、岩石等。画中还有许多人物，每个人物都有自己的故事和生活经历。\n\n姚绥是明朝时期的一位著名画家，他的画风非常独特，以精细、细腻而闻名。他的作品多描绘自然风景，充分展现了他对大自然的敬畏和喜爱。 幽涧行山图 是姚绥代表作之一，被认为是中国画史上的经典之作。",[2495,2496,2497,2501,2499,2509,2577,2714,2593,2549,2505,2503,2677,2552],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd99cb6e6d918b6eb7b845ae72dee47aa.jpg","101x53cm",[6],484,{"id":85,"slug":3379,"title":3380,"dynasty":2605,"author":2647,"museum":2563,"description":3381,"tags":3382,"thumbUrl":3385,"material":2656,"size":3386,"collection":2624,"collections":3387,"showCount":3388,"zanCount":3048,"manualWeight":2517,"mainColor":2559},"qiu-shan-xing-lv-tu-guo-xi-221293","秋山行旅图","《秋山行旅图》轴峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[2495,2544,2496,2497,2577,2499,2501,2550,2502,3383,2612,3384,2547,2676,2509],"村居","丛树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9265b0c3fd5f1ec85ce0abb8c558d348.jpg","纵141.6厘米，横97厘米",[2624,6,2626],472,{"id":86,"slug":3390,"title":3391,"dynasty":2632,"author":2762,"museum":2492,"description":3392,"tags":3393,"thumbUrl":3394,"material":2597,"size":3395,"collection":6,"collections":3396,"showCount":3397,"zanCount":3048,"manualWeight":2517,"mainColor":2559},"shan-shui-qing-yin-tu-shi-tao-220423","山水清音图","该画作未明是画何地方，但从画面上来看，描绘的地方明显是黄山景色。虽是黄山景色，但却不知是哪一个黄山景色。图中峭壁大岭，飞泉湍急，新松夭矫，丛篁滴翠。水阁凉亭间，两位高士正对坐桥亭，默参造化的神机。画面上重重叠叠的坡陀峰峦，或直耸、或斜出、或横卧，把境界推向深远，右侧则以峭壁贯通天地，构造新颖。",[2495,2496,2499,2509,2577,2501,2611,2902,2507,2508,2503,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F296cf8c8039f22c3cd7610cdf01cbd29.jpg","纵102.6厘米，横42.5厘米",[6,2626],469,{"id":87,"slug":3399,"title":3400,"dynasty":2490,"author":3401,"museum":2563,"description":3402,"tags":3403,"thumbUrl":3404,"material":2597,"size":3405,"collection":6,"collections":3406,"showCount":3407,"zanCount":2826,"manualWeight":2517,"mainColor":2518},"kan-shu-tu-wang-fu-214297","勘书图","王绂","王绂的画风继承了元代文人画的传统，强调笔墨的情感和趣味，是明代中期吴门画派的先驱。这是一幅画，画的是溪边的一座桥，三棵树挺立着，在树木和石头之间有一个栅栏和一个小屋，还有一个隐士坐在一个开放的亭子里看书。笔法优雅，墨色丰富，是即兴创作的杰作。",[2495,2496,2577,2501,2499,2509,2714,2715,2593,2652,2502,2508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf04dbe837615b77e0334d33331b76db.jpg","119.8x40.1",[6],468,{"id":88,"slug":3409,"title":3410,"dynasty":2490,"author":2491,"museum":2673,"description":3411,"tags":3412,"thumbUrl":3413,"material":2639,"size":3414,"collection":6,"collections":3415,"showCount":3416,"zanCount":2772,"manualWeight":2517,"mainColor":2518},"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。",[2495,2496,2499,2577,2501,3208,2507,2506,2503,2509,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F911a706d3e48a8c708d471d8a1448b00.jpg","纵152.2厘米，横43.2厘米",[6,2626],463,{"id":89,"slug":3418,"title":3419,"dynasty":2490,"author":2491,"museum":3420,"description":3421,"tags":3422,"thumbUrl":3424,"material":2512,"size":3425,"collection":6,"collections":3426,"showCount":3427,"zanCount":2872,"manualWeight":2517,"mainColor":2518},"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。",[2495,2496,2497,2498,2500,2509,2501,2504,2549,2730,3423,2506,2503,2507,2987],"篱笆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0bd9c4c0f112994180bc96e1aa3296d.jpg","17.4x76cm",[6,2534],460,{"id":90,"slug":3429,"title":3430,"dynasty":2605,"author":3431,"museum":2763,"description":3432,"tags":3433,"thumbUrl":3435,"material":2567,"size":3436,"collection":6,"collections":3437,"showCount":3438,"zanCount":2872,"manualWeight":2517,"mainColor":2559},"luo-shen-fu-tu-yi-ming-218620","洛神赋图","佚名","这幅卷轴是暗示顾恺之时代的众多卷轴之一，其中两幅在北京紫禁城和辽宁省博物馆。然而，大英博物馆有一幅与北京紫禁城流传下来的南宋亲笔画类似的画卷，这两幅画都是重新创作的版本，人物和风景之间的关系更加协调。故宫博物院研究员于辉认为，这卷书是抄自紫禁城内的南宋卷，可追溯到明朝初期。如果对两卷进行仔细比较，本卷明显优于南宋宫廷卷，应抄袭本卷，本卷应在南宋初年完成。不幸的是，这卷书损坏太严重，很少能买到。这个博物馆恰好有两卷高分辨率的图像，有识之士可以查看其装饰性，或者说剩下的字是不是假的。",[2495,2498,2546,2500,2549,2501,3434,3207,3208,2506,2507,3057],"龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8daa44aeeabdd0261586d0876b40f8f4.jpg","53.7x832.8",[6,2624],458,{"id":91,"slug":3440,"title":3441,"dynasty":2490,"author":2899,"museum":2492,"description":3442,"tags":3443,"thumbUrl":3444,"material":2567,"size":2598,"collection":2968,"collections":3445,"showCount":3446,"zanCount":2872,"manualWeight":2517,"mainColor":3447},"hui-shan-cha-hui-tu-wen-zheng-ming-219411","惠山茶会图","这幅画描绘了文徵明与朋友在无锡惠山茶会的情景。惠山泉水甘冽，号称“天下第二泉”，相传曾为陆羽亲品，历来是煮茶的佳选。文徵明等于正德十三年戊寅（1518）在此举行了一次茶会并绘此图，卷后由吴门书家蔡羽楷书惠山茶会序。",[2495,2496,2497,2498,2500,2501,2549,2506,2730,2902,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。梧桐以其肥硕的枝干稳住了这二小段的重心，这是全图的第一个高潮。以下菊花、扁豆、紫薇等只是逸笔草草，随意点染。就章法而言，疏密是相对而存在的，这一小段貌似不经意之笔，在全图的节奏处理上却起着关键的作用。紫藤如蛇的老干泼辣粗放，“一扫槎枒三丈绢”的气势，形成了全图的最高潮。紫藤的花叶更是水墨淋漓，走笔如飞而不乱，意犹跃出纸外。芭蕉是滋润而含蓄的，它与紫藤形成了动与静的强烈对比，貌与质的相依共存。接下来梅枝横斜傲骨铮铮，幽兰、纤竹寥寥数笔，是为尾声。艺术是相通的，我们从这卷《杂花图》中可以领略到诗的起、承、转、合，也像欣赏一部交响曲，从引子到尾声，节奏和韵味正是它们共同的内涵。我们更能通过此图触摸到青藤老人胸中激情的横流。",[2495,2496,2497,2498,2499,3454,2510,3455,3456,3457,3458,3459,3460,3461,3462,3463,3155],"大写意","牡丹","石榴","荷花","梧桐","菊花","南瓜","扁豆","紫薇","葡萄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2ccaec0a74bfab54d306d36724d1bcb.jpg","1053.5X30厘米",[6,2626],448,{"id":93,"slug":3469,"title":3470,"dynasty":2605,"author":2946,"museum":2673,"description":3471,"tags":3472,"thumbUrl":3474,"material":2567,"size":3475,"collection":6,"collections":3476,"showCount":3477,"zanCount":2872,"manualWeight":2517,"mainColor":2559},"qiu-lin-guan-quan-tu-li-tang-218443","秋林观泉图","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。",[2495,2496,2497,2498,2499,2500,2501,3473,2503,2507,2549,2509],"秋树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ccc94015347c81f6c539b56469c6225.jpg","24.7x112.3cm",[6],445,{"id":94,"slug":3479,"title":3480,"dynasty":2522,"author":2588,"museum":2589,"description":3481,"tags":3482,"thumbUrl":3484,"material":2597,"size":3485,"collection":6,"collections":3486,"showCount":3487,"zanCount":2826,"manualWeight":2517,"mainColor":2518},"qiu-lin-mu-ai-tu-wang-meng-217744","秋林暮霭图","远处的山峰高高耸立，山泉从远处汇聚到山脚下，山间的小路崎岖起伏，河滩上人影绰绰。这幅画仍然是王蒙一贯的风格，山水繁复，皴擦繁复，不乱，体现了山林的氤氲，苍茫的景观。",[2496,2544,2497,2833,2499,2509,2501,2506,3483,2505,2502,2503,2507,2614,3136,2752],"秋林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06704bae6c4c29291d15f3321cbbf1eb.jpg","85x35cm",[6],438,{"id":95,"slug":3489,"title":3490,"dynasty":2522,"author":2588,"museum":2563,"description":3491,"tags":3492,"thumbUrl":3493,"material":2732,"size":3494,"collection":6,"collections":3495,"showCount":3496,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"shan-shui-zhou-wang-meng-220815","山水轴","全画以高远法构图，崇山峻岭于雄奇中内具空灵之貌，山石与树木间开合有度，于多变的虚实呼应中构筑出丰厚华滋的气象",[2495,2496,2577,2499,2501,2509,2507,2506,2502,2503,2505,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad77a15bec8b64335a9ac63c01ea4f87.jpg","该幅 211.1x34.4公分、全幅 67.5公分",[6,2626],431,{"id":96,"slug":3498,"title":3499,"dynasty":2956,"author":3109,"museum":2563,"description":3500,"tags":3501,"thumbUrl":3506,"material":2656,"size":3507,"collection":6,"collections":3508,"showCount":3509,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"long-su-jiao-min-tu-dong-yuan-221156","龙宿郊民图","该图中以两重大山为主体，向画面的纵深走去。左边则是浩渺长江，也向画面的纵深流去，使画面很有深远感。该图在色彩的运用上也别具特色，作者将墨与青绿巧妙地合为一体，墨色和青绿色相得益彰却不相碍。作者用墨笔勾勒渲染后，在坡面峰峦等处略敷青绿，颇有郁郁葱葱，草木繁茂之意。",[2495,2496,2544,2497,2577,2501,2500,3112,2506,2507,2528,2529,2549,2651,2752,2613,3502,3503,3504,3069,3505,2509],"民居","自然景观","传统技法","南派山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F488a9480f5fb0b143be257ea8e941809.jpg","纵156厘米，横160厘米",[6,2626],422,{"id":97,"slug":3511,"title":3512,"dynasty":2522,"author":2523,"museum":2973,"description":3513,"tags":3514,"thumbUrl":3516,"material":2597,"size":3517,"collection":6,"collections":3518,"showCount":3519,"zanCount":2872,"manualWeight":2517,"mainColor":2518},"shui-ge-qing-you-tu-huang-gong-wang-218260","水阁清幽图","《水阁清幽图》画的是深山隐居之景。整幅画可分为远近两部分，景物以云气间隔。近景描绘一山间溪流从远处密林中涓涓而来，溪口有三座房子，房前有平台。溪流两岸，坡石层叠，树木成林，葱郁茂盛。山谷之间，云气弥漫，其后远景中一主峰耸立，形状如蹲似踞，两旁低峰回护，前伸山顶平台，使远近之景相互呼应。\n《水阁清幽图》画面右上角署款“大痴道人平阳黄公望画于云间客舍，时年八秩有一”，钤“黄氏子久”白文方印和“一峰道人”朱文方印。画面右侧另钤有梁清标“苍岩子”“蕉林居士”鉴藏印，右上有王时敏“西田”朱文印和王撰“颛菴”印及“董光裕印”白文方印各一枚。",[2496,2497,2499,2509,2577,2501,2714,2715,2506,3515,2508,2503],"水阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa25bba667d059525d84d5bfdaa9f9e2d.jpg","纵104.5厘米，横67.3厘米",[6],421,{"id":98,"slug":3521,"title":3522,"dynasty":2522,"author":2588,"museum":2563,"description":3523,"tags":3524,"thumbUrl":3525,"material":2703,"size":3526,"collection":6,"collections":3527,"showCount":3528,"zanCount":2826,"manualWeight":2517,"mainColor":2518},"qiu-shan-cao-tang-tu-zhou-wang-meng-220816","秋山草堂图轴","1308－1385元画家。字叔明，号香光居士，湖州（今浙江吴兴）人。外祖父赵孟頫、外祖母管道升、舅父赵雍、表弟赵彦徵都是元代著名画家。王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙能诗文，工书法。尤擅画山水，得外祖赵孟頫法，以董源、巨然为宗而自成面目。写景稠密，布局多重山复水，善用解索皴和渴墨苔点，表现林峦郁茂苍茫的气氛。山水之外，兼能人物。所作对明、清山水画影响甚大，仅次于黄公望，后人将其与黄公望、吴镇、倪瓒合称为“元四家”。\n“王叔明画，从赵文敏风韵中来。……泛滥唐宋诸名家，而从董源、王维为宗，故其纵逸多姿，往往出文敏规格之外”。王蒙的画法，善变而多巧妙，喜画重山复岭之繁景，常用解索皴和焦墨点苔。所写山林树木，苍郁茂密而具有浑远的空间感。《秋山草堂图》画高山崇岭，茂树清淡，山脚草堂临水，水际荻花萧瑟堂内隐者怡然自得。表现出江南自然山川的湿润，创造出蓊郁深秀、浑厚华兹的境界。",[2495,2496,2499,2500,2509,2577,2501,2593,2934,2503,2504,2502,3091,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67f99ee1ba33b0552bd4f03b90e05f53.jpg","123.3×54.8",[6,2626],412,{"id":99,"slug":3530,"title":3183,"dynasty":2605,"author":3531,"museum":2563,"description":3532,"tags":3533,"thumbUrl":3534,"material":2567,"size":3535,"collection":6,"collections":3536,"showCount":3528,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"shan-shui-tu-guo-zhong-shu-214668","郭忠恕","远处，两排大雁在天际尽头飞起；中间，两座山峰对峙，中间，一条河和一个湖缓缓浮现；附近，坡岸上有树木，河岸边隐约可见几座帐篷。湖面开阔而平静，一艘小独木舟，船头有一个渔夫在独自钓鱼，两只苍鹭，一只站在船边，另一只伸出翅膀盘旋，似乎在寻找水下的动静。",[2496,2544,2501,2552,2504,2987,3091,2578,2503,2651,2579,2500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e63ec359e565f04c7e56a4c5ceb37a.jpg","53x72.2",[6],{"id":100,"slug":3538,"title":3539,"dynasty":2490,"author":2491,"museum":2673,"description":3540,"tags":3541,"thumbUrl":3543,"material":2867,"size":3544,"collection":6,"collections":3545,"showCount":3546,"zanCount":2826,"manualWeight":2517,"mainColor":2518},"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。",[2495,2496,2609,2509,2498,2501,2504,2549,2506,2502,2503,3542],"柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97856aac11363d716cd5b6de3f3eb0bf.jpg","纵28厘米，横159厘米",[6,2534],411,{"id":101,"slug":3548,"title":3549,"dynasty":2605,"author":3065,"museum":2673,"description":3550,"tags":3551,"thumbUrl":3552,"material":2720,"size":3553,"collection":2624,"collections":3554,"showCount":3555,"zanCount":2918,"manualWeight":2517,"mainColor":2559},"si-jing-shan-shui-tu-quan-juan-liu-song-nian-221541","四景山水图全卷","此卷图画分为四段，分别绘春、夏、秋、冬四时景象。\n第一幅，踏青，春花烂漫，杨柳葱翠；\n第二幅，纳凉，夏木浓荫，碧荷点点；\n第三幅，观山，秋高气爽，霜叶尽染；\n第四幅，赏雪，山裹银装，万籁俱寂。\n画面以人物活动为中心，结合界画技法，精心构建庭院台榭等建筑，工整精巧，或富丽，或古朴。山石以小斧劈皴法出之，苍逸劲健，行笔设色严谨而注重法度，画中人物虽小而形神完备。整幅作品面貌古朴，笔法精严，极富南宋画院作品的特色。临安（今浙江杭州）作为南宋都城所在，高官显贵们的庭园别墅建造甚多，刘松年身为画院画家，长年生活其间，描绘起来自然得心应手。此图立意于表现士绅官僚优裕闲适的生活，画家的注意力从山川自然的野韵转移到人工营造修饰的景物，这种题材风格的转变，从侧面反映出南宋时期，一大批无心复国的官僚们，专注于享乐的生活态度。正如诗云：“暖风薰得游人醉，只把杭州作汴州”。",[2495,2496,2498,2546,2500,2501,2505,2550,2502,2503,2549,2507,2506,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaa115d24c28f3208afa166893f49c7a.jpg","纵40厘米，横69厘米",[2624,6,2626],409,{"id":102,"slug":3557,"title":3558,"dynasty":2490,"author":2491,"museum":2563,"description":3559,"tags":3560,"thumbUrl":3561,"material":2597,"size":3562,"collection":6,"collections":3563,"showCount":3564,"zanCount":2772,"manualWeight":2517,"mainColor":2518},"ce-zhang-tu-shen-zhou-21952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画中之景以河为界可分作前后两部分。前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n此图无款，卷后有元明诸家诗文题跋。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。\n《树色平远图》描绘的画面以平远布局，构景简洁，开阔而均衡，墨色浓淡变化丰富而微妙，所造之境具体真实。",[2495,2496,2499,2498,2501,2505,3091,2677,2504,2549,2547,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cb64fc6272e7ddc0705cc497dea3417.jpg","绢本墨笔","纵32.4厘米，横104.8厘米",[2624,6,2626],387,{"id":108,"slug":3613,"title":3614,"dynasty":2522,"author":2588,"museum":2673,"description":3615,"tags":3616,"thumbUrl":3618,"material":2867,"size":3619,"collection":6,"collections":3620,"showCount":3621,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"ge-zhi-chuan-yi-ju-tu-wang-meng-220822","葛稚川移居图","元代道教盛行，表现道教题材的绘画作品为数众多，此图描绘的是晋代著名道士葛洪携家移居罗浮山修道的故事，截取了葛洪在移居路上的一段情景。\n画面以山水为主体，重山复岭，丹柯碧树，飞瀑溪潭，茅亭草舍，一派深秋山林佳境。全画构图繁复，但层次井然，飞瀑、山径引导观者的视线层层深入，使画面气脉贯通，虽满而不迫塞。图中山石纯用水墨，皴擦点染兼参，干湿浓淡互用，勾画缜密，而树木、人物、屋宇则施以赭石、藤黄、花青，设色沉稳浑厚，极富古雅的韵致。整个画面谨严、深秀，创造出一幅理想的隐居环境。\n王蒙与葛洪虽然年代相隔久远且身份迥异，但在许多方面却有着相同之处：二人皆出自名门，都欲入世作官，却均遭世弃，最终都选择了避世隐居。此图是反映王蒙避世隐居思想的最具代表性的作品。",[2495,2544,2496,2497,2577,2500,2509,2501,2549,2960,3617,2502,2503,2902,2652,2615,2508,2547],"牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1720976154baf26a78451dd84987d4a2.jpg","纵139厘米，横58厘米",[6,2534],385,{"id":109,"slug":3623,"title":3624,"dynasty":2956,"author":3625,"museum":2563,"description":3626,"tags":3627,"thumbUrl":3628,"material":2567,"size":3629,"collection":6,"collections":3630,"showCount":3621,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"qiu-shan-wen-dao-tu-ju-ran-219910","秋山问道图","巨然","《秋山问道图》是一幅秋景山水画，以立幅构图画重重叠起的山峦，下部清澈的溪水，曲折的小路通向山中，山坳处茅舍数间，屋中有二人对坐，境界清幽。",[2495,2496,2544,2499,2509,2577,2501,2714,2593,2977,3136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4122bb46b9b23056909f68c43afe04b.jpg","横77.2厘米，纵165.2厘米",[6],{"id":110,"slug":3632,"title":3633,"dynasty":2490,"author":2491,"museum":3088,"description":3634,"tags":3635,"thumbUrl":3640,"material":2732,"size":3641,"collection":6,"collections":3642,"showCount":3643,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"zhang-li-yuan-tiao-tu-shen-zhou-222114","杖藜远眺图","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。",[2495,2496,2499,2501,2550,2507,3636,3637,2549,3638,2547,2509,3639],"林木","白云","杖藜","登高","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4649d1d0c9eba3d025f8a50b75209cec.jpg","纵38厘米，横59厘米",[6,2626],383,{"id":111,"slug":3645,"title":3646,"dynasty":2490,"author":3647,"museum":2818,"description":3648,"tags":3649,"thumbUrl":3652,"material":2598,"size":2598,"collection":6,"collections":3653,"showCount":3654,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-li-zhou-wen-zheng-ming-221983","山水图立轴","文徴明","文征明（文徵明）（1470-1559），初名壁，字征明（徵明），四十二岁起以字行，更字征仲，因先世衡山人，故号衡山居士，世称“文衡山”，停云生。长州（今江苏苏州吴县）人，曾官翰林待诏。生于明宣宗成化六年，卒于明世宗嘉靖三十八年，年九十岁。文受业于吴宽，学书于李应祯，学画于沈周。擅长诗文书画，为“吴中三家”之一。在书法上，早年受其父知友吴宽的影响写苏体，后受他岳父李应祯的影响，学宋元的笔法较多。小楷师法晋唐，力趋健劲。文征明功力深厚，楷书法度严谨，不仅深得《黄庭经》、《乐毅论》之诣，更多地则是采用欧阳询的笔意和体势，但在用笔上又更加削劲、挺健。明·谢在杭《五杂俎·卷七》称赞文征明小楷：“无真正楷书，即钟、王所传《荐季直表》、《乐毅论》皆带行笔。洎唐《九成宫》、《多宝塔》等碑，始字画谨严，而偏肥偏瘦之病，犹然不免。至本朝文征仲先生始极意结构，疏密匀称，位置适宜。如八面观音，色相具足。于书苑中亦盖代之一人也。”他的大字有黄庭坚笔意，苍秀摆宕，骨韵兼擅。与祝允明、王宠并重当时。",[2495,2496,2500,2550,2800,2501,2714,2715,2593,3650,3651,2499,2637,2577,2732],"房","桥梁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6bd88c485b1bbe4124fde6a8ae986b8.jpg",[6,2626],375,{"id":112,"slug":3656,"title":3657,"dynasty":2490,"author":3431,"museum":2763,"description":3658,"tags":3659,"thumbUrl":3660,"material":2512,"size":2598,"collection":6,"collections":3661,"showCount":3654,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"ming-ren-shan-shui-hua-ce-yi-ming-217954","明人山水画册","明朝是中国历史上一个重要的朝代，它的艺术创作也十分丰富多彩。其中，佚名的《明人山水画册》是一部非常著名的山水画集，被认为是明朝山水画发展的里程碑之一。\n\n《明人山水画册》收录了许多佚名画家的作品，这些画家均擅长运用山水画的技巧，描绘出了美丽的山水景观。这些画作以其精细的线条和细腻的色彩闻名，能够表现出山水的神韵和灵动。\n此外，《明人山水画册》还收录了一些诗文，这些诗文与画作形成了很好的呼应。这使得这部画册不仅是一部艺术作品，而且是一部文学作品。\n\n总的来说，《明人山水画册》是一部十分珍贵的艺术作品，它为我们展示了明朝山水画的高超技巧和精湛工艺，同时也为我们呈现了明朝文化的瑰丽风貌。",[2495,2496,2497,2499,2500,2592,2501,2504,2552,2578,2677,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0798af0135642660cfeaaa1dabecdcc.jpg",[6],{"id":113,"slug":3663,"title":3664,"dynasty":2632,"author":2762,"museum":2818,"description":3665,"tags":3666,"thumbUrl":3669,"material":2598,"size":2598,"collection":6,"collections":3670,"showCount":3671,"zanCount":3048,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-ce-8-kai-shi-tao-224509","山水图册8开","此作以淡墨晕染江波，留白铺就浩渺水色，似将朝雾笼于纸面。近岸以枯笔皴擦岩壁，赭石敷色晕出沙汀暖意，苔点错落点缀野趣。两间山居素净朴拙，静立崖边，与斜渡的赭帆渔舟相映成趣，暗合江天悠悠的闲逸氛围。\n\n笔致松秀灵动，虚实相生，将阔远山水缩于尺幅之间，题诗与画境相融，尽抒寄情丘壑的隐逸襟怀，淡远清和的意绪漫溢纸面。",[2495,2496,2497,2592,2499,2500,2509,2501,2504,3667,3668,2507,2506,2594,2547],"帆船","小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40fd268d38073e0d113ca5d35047fc17.jpg",[6,2534],374,{"id":114,"slug":3673,"title":3674,"dynasty":2605,"author":3675,"museum":3356,"description":3676,"tags":3677,"thumbUrl":3678,"material":2732,"size":3679,"collection":2624,"collections":3680,"showCount":3671,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"wu-long-tu-juan-chen-rong-221458","五龙图卷","陈容","理宗端平二年（1235）进士，知平阳县。时与名士论文讲艺，敷绎大义，士习以兴。曾为国子监主簿、福建莆田太守，官至朝散大夫。诗文豪壮，暇则游翰墨，善画龙，宝佑（1253-1258）间名重一时。画龙善用水墨，深得变化之意，泼墨成云，噀水成雾。特别是醉余大叫，脱巾濡墨信手涂抹，然后以笔成之，或全体，或一臂一首，隐约而不可名状者，皆得妙似。贾似道尝招致宾幕，醉辄狎侮之，贾不为忤。兼写松竹，学李煜“铁钩锁”法。晚年笔力简易精妙，绛色者可并董羽。偶亦画虎，勾染斑毛极工细。有赝本托以流传。现存美国波士顿博物馆之《九龙图》卷，恐是元人摹本。\n陈容于中国美术史上占有重要一席，“所翁龙”成为后人画龙的典范，倍受国人特别是明清以来画家们的追捧。甚至在日本，几百年来凡有龙图案的画亦绝大部分是仿效陈容。日本著名画家小泉淳作曾由衷地评价道：陈容的龙富有魅力，像真的一样活泼跳动，只有天才才会画出这样的画！\n顺便说一下，陈容不仅擅画龙，还擅长画松、竹、鹤，偶亦画虎，垂老笔力简易精妙，故世有‘所翁龙’、‘所翁鹤’和‘所翁竹’之称。在当时，达官显贵、文人骚客以能得到“所翁龙”而倍感荣幸。以玩弄权术、巧取豪夺而著称的奸臣宰相贾似道，一世搜刮金银珠宝、珍奇古玩无数，然他至死也未能讨到一幅“所翁龙”。",[2495,2544,2496,2497,2498,2499,2509,3434,2507,2611,2614,2715],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b9fcadd53a3ef596d12b6f0dd8824f3.jpg","45.2×299.5",[2624,6,2626],{"id":115,"slug":3682,"title":3683,"dynasty":2490,"author":2776,"museum":2524,"description":3684,"tags":3685,"thumbUrl":3687,"material":3069,"size":3688,"collection":6,"collections":3689,"showCount":3690,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"chun-geng-tu-zhou-dai-jin-222032","春耕图轴","这幅气度恢宏的作品取法两宋郭熙、李唐诸辈，笔法苍润，风格遒劲。形则春耕，实为寄寓淡淡哀愁与希望。其心志高远，胸怀宽壑，借春耕这一生活化的语言表达对社稷繁荣安定的渴望。画中一旁孤独思忖的老者，面对湍湍逝去的溪水，显出无奈寂寞的神情，俨然作者自身的写照。\n不知桥上玩耍的孩童，能否传承老者衣钵，以慰心志！ 此图由钱镜塘先生捐赠，该画上堂为沪上鉴定大家吴湖帆先生题鉴，下有钱镜塘先生亲笔跋文。",[2495,2496,2497,2577,2501,2549,3617,2502,2503,2593,2509,2500,3686],"春耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff80401d4a9b5750d8677ebf9efd74019.jpg","144.2×105.1cm",[6,2534],371,{"id":116,"slug":3692,"title":3693,"dynasty":2490,"author":3264,"museum":2673,"description":3694,"tags":3695,"thumbUrl":3697,"material":3698,"size":3699,"collection":6,"collections":3700,"showCount":3690,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-2-dong-qi-chang-220902","山水册2","此图册是董其昌于明天启元年（1621年）游武林（今杭州）时创作的，董氏时年67岁。图册分别仿杨升、卢鸿、惠崇、米友仁、李公麟、吴镇、倪瓒、王蒙等唐宋元诸家山水。画面集取古人不同的山水画景观，同时融入画家自己对于天地、山川的感受，“以意取之”，“各出意造”。在构图上虽与古人相似，但在审美情趣上董其昌追求的是一种平淡古雅的意境和逸趣。如仿唐杨昇山水，在画法上使用没骨设方法，摒弃了原作者金碧山水的华丽浓艳，继承了其中的古拙和典雅，寓丰富而鲜艳的色彩于平稳和谐的色调之中，笔法精妙秀雅，笔致轻松生动，从而使画面传达出一种平静而不淡泊、明媚而不躁动的美感，具有董氏自己的特点。又如米友仁芾画潇湘烟雨之景，以董、巨笔法皴染山石，用笔沉着稳重，通过墨色干湿浓淡的变化烘染出远山近水的空间感以及烟云雾气的变化。树木及房屋用笔多变化，墨色酣畅淋漓，层次丰富。这种董其昌笔下的米家山水，平淡之中更见秀雅。其他几开山水画同样反映了董其昌所追崇的文人画情趣，均以董源、巨然为归依。在仿古山水画中，他尝试运用各种不同的绘画形式诠释古法，同时表现出对于古法的继承和发展，从而阐述了自己的审美观，这是他创作众多仿古山水画最为重要的意义。此外，此件作品对开中董其昌的题记对于人们认识董其昌的艺术同样具有重要的史料价值。",[2495,2544,2496,2497,2833,2509,2500,2499,3236,2501,2902,2507,2528,3617,2506,2595,3055,2613,3696,2614,3125],"坡岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1d5fcdccb54e4ad4c6519be4ed88cbc.jpg","纸本，水墨和设色","每开纵26.3厘米，横25.5厘米。",[6,2534],{"id":117,"slug":3702,"title":3703,"dynasty":2632,"author":3704,"museum":2563,"description":3705,"tags":3706,"thumbUrl":3708,"material":2567,"size":3709,"collection":6,"collections":3710,"showCount":3690,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"fang-fan-kuan-shan-shui-tu-tang-dai-214285","仿范宽山水图","唐岱","唐岱（1779-1853）是清代著名的画家，他擅长仿范宽山水画，其作品被视为中国画史上的杰出代表作。\n\n唐岱的画风受到范宽的影响，他追求写实，注重山水造型的和谐美。他在画山水的同时，还注重人物的写实，将人物融入山水之中，使作品更加生动。\n\n唐岱的代表作有《山水图》、《松鹤楼图》、《赏鸟图》等。这些作品展现了他对山水的深刻理解和传统山水画的精湛技艺。他的作品常常被收藏家所喜爱，具有很高的收藏价值。",[2544,2496,2497,2577,2500,2501,2509,2676,2547,2527,2614,2506,2902,2652,3707,2651,2752],"亭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3962d8e255212dd550a88ad89458204f.jpg","287.2x155.2",[6],{"id":118,"slug":3712,"title":3713,"dynasty":2522,"author":3714,"museum":2673,"description":3715,"tags":3716,"thumbUrl":3717,"material":2867,"size":3718,"collection":6,"collections":3719,"showCount":3720,"zanCount":2918,"manualWeight":2517,"mainColor":2559},"shan-ju-tu-qian-xuan-221710","山居图","钱选","卷尾作者自题：“山居惟爱静，日午掩柴门。寡合人多忌，无求道自尊。鷃鹏俱有志，兰艾不同根。安得蒙庄叟，相逢与细论。吴兴钱选舜举画并题。”钤“舜举印章”、“舜举”、“钱选之印”三方。卷后隔水有明人俞贞木、刘敏、周传等题记。\n作者以自己的隐居生活为题材创作此图。细劲柔韧的笔致勾勒出山石林木的轮廓，施青绿重彩，并以金粉点缀，画面绚丽清雅，富装饰意味，于工致精巧中又不失古拙秀逸之气，是钱选继承唐宋“金碧山水”画法并用以体现文人意兴的代表作。\n《庚子销夏记》著录。",[2495,2544,2496,2497,2498,2545,2500,2546,2509,2510,2547,2501,2714,2715,2593,2902,2502,2503,2508,2504,2677,2578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb59edde58b928401f4e8dc20a01a633c.jpg","纵26.5厘米，横111.6厘米",[6,2534],368,{"id":119,"slug":3722,"title":3723,"dynasty":2956,"author":3109,"museum":3121,"description":3724,"tags":3725,"thumbUrl":3726,"material":2531,"size":3727,"collection":6,"collections":3728,"showCount":3729,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"xi-an-tu-dong-yuan-221159","溪岸图","《溪岸图》描绘江南溪岸景象，上半部左右相对两座山峰，两峰之中远山隐现，两山夹壑中一条山溪自远而近，至山前汇成大溪。溪岸左有楼台水榭，水榭中有幽人雅士正观望溪景。左面山中亦有泉瀑飞注入大溪，画的最下方溪岸坡冈上杂树耸立。中景、远景山峦上丛林茂密，草木葱茏。\n《溪岸图》构图雄伟，笔法严谨，兼具北方派的气度和南方派的温润，是董源从唐人山水过渡到南方水墨山水阶段的作品。",[2495,2496,2497,2501,2509,3112,2499,2500,2652,2506,2503,2611,2505,2595,3055,2613,2651,2752,2690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdee3a8ea2ec5b0766e929d242272f70a.jpg","纵220.3厘米，横109.2厘米",[6,2626],366,{"id":120,"slug":3731,"title":3732,"dynasty":2490,"author":2491,"museum":2997,"description":3733,"tags":3734,"thumbUrl":3737,"material":2567,"size":3738,"collection":6,"collections":3739,"showCount":3740,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"chun-xi-mi-ju-tu-shen-zhou-219436","春溪觅句图","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。",[2496,2497,2577,2499,2509,2501,2549,2902,3735,2507,2613,3736],"竹子","小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa57fb947c644f27d6774a57fced47050.jpg","横54.5纵162cm",[6],359,{"id":121,"slug":3742,"title":3743,"dynasty":2605,"author":3744,"museum":3745,"description":3746,"tags":3747,"thumbUrl":3748,"material":3749,"size":2598,"collection":6,"collections":3750,"showCount":3740,"zanCount":3048,"manualWeight":2517,"mainColor":2518},"xiao-xiang-ba-jing-yuan-pu-gui-fan-mu-xi-219195","潇湘八景-远浦归帆","牧溪","京都国立博物馆","淡墨晕染的烟水间，远岫如黛隐现于薄雾，帆影点点似随波轻漾，渐融于空濛天色。近岸老树虬枝舒展，苍劲中藏着几分悠然，与远处归帆遥遥相对。画面以极简之笔勾勒辽阔潇湘，虚实相生间，尽现“远浦归帆”的恬淡意境——归船缓缓，烟水茫茫，仿佛能闻风过水面的轻响，望旅人归心的悠然。禅意浸润在每一处留白里，让观者心随帆影，沉入这静谧辽远的天地间，恍若置身潇湘烟水，忘却尘嚣。",[2495,3589,2496,2544,2498,2499,2501,2504,2578,2552,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F188a3955e9fa72b921b2f108a9fd5c88.jpg","水墨,纸本",[6,2624],{"id":122,"slug":3752,"title":3753,"dynasty":2490,"author":2540,"museum":2563,"description":3754,"tags":37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长卷共分四段。此为其中一段，写米芾挥毫作书，诸文友或立或坐，凝神围观",[2495,2496,2497,2499,2500,2498,2509,2501,2549,2504,3155,2960,2503,3829,2652,2506,2987],"河岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61d61573298da75c39200eaa4a2d4892.jpg","29.5×302.3厘米",[2624,6,2534],334,{"id":130,"slug":3835,"title":3836,"dynasty":2490,"author":3264,"museum":2492,"description":3837,"tags":3838,"thumbUrl":3841,"material":2512,"size":2598,"collection":6,"collections":3842,"showCount":3843,"zanCount":2826,"manualWeight":2517,"mainColor":2518},"qiu-xing-ba-jing-tu-ce-dong-qi-chang-214656","秋兴八景图册","此册描绘苏州到镇江一带的山水景色，或仿古，或写景，笔法虽然以师古人为主，但具有不少个性色彩。采取以颜色直接勾勒、渲染、皴擦等“没骨法”，又连用水墨，干湿兼施，层次分明。落笔细润清雅，色彩明亮秀丽。画笔较为谨严，从中可以品味出他学巨然、赵令穰、赵孟頫、黄公望等人的痕迹，但从整体来看，还是他独特画风的不同表现。\n款署“庚申（1620年）九月重九前一日书，是月写设色小景八幅，可当秋兴八首，玄宰”，为其66岁时的精心之作。",[2496,2497,2592,2500,2509,2511,2510,2547,2501,2714,2715,2593,3839,2614,2595,3840,2506],"石","近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffefa769413df82271d17a82b2ee80653.jpg",[6],333,{"id":131,"slug":3845,"title":3846,"dynasty":2522,"author":3847,"museum":2673,"description":3848,"tags":3849,"thumbUrl":3850,"material":3069,"size":3851,"collection":6,"collections":3852,"showCount":3853,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"chun-shan-fan-zhou-tu-zhou-hu-ting-hui-221858","春山泛舟图轴","胡廷晖","整幅画面构图繁密，洋溢着一派春和景明的气象。图中布局兼具高远、深远、平远之法，描绘崇山峻岭，山势高耸入云，山间飞涧流泉，松木葱郁，屋宇台阁精工富丽，人物往来其间。山脚下，溪桥潭水，波光如鳞，三两人泛舟赏景。\n杨新撰文认为，胡廷晖是一个画工而非书画收藏家。画工的创作往往不署自己的名款，有的仅只钤盖个人印章，这是元至明初的习惯。吴升《大观录》著录的胡廷晖《月洞仕女图》也未署款，仅押“廷晖印”一方。这幅《春山泛舟图》也没有签署名款，所以“廷晖”残印不可能是收藏印，而只能是作者印。此图与台北故宫所藏《明皇幸蜀图》面貌相似，特别是勾勒下笔较重，悬崖的结构、松树的形态以及云彩的画法等均呈现出胡廷晖的个人风格。在色彩上两者都具有相似的绚丽色泽。此图保留唐代青绿山水的古法较多，与赵孟頫追求“古意”的画风不同，对于鉴别早期山水画有重要的价值。\n1998年，美籍华人、收藏家王季迁先生将此图捐赠故宫博物院。",[2495,2496,2497,2577,2546,2500,2509,2501,2504,2549,2550,2506,2507,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8db66954c76bddaccd24a02539e4bf8.jpg","纵143厘米，横55.5厘米",[6,2626],332,{"id":132,"slug":3855,"title":3856,"dynasty":2522,"author":2922,"museum":2673,"description":3857,"tags":3858,"thumbUrl":3859,"material":2732,"size":3860,"collection":6,"collections":3861,"showCount":3862,"zanCount":2826,"manualWeight":2517,"mainColor":2518},"qiu-ting-jia-shu-tu-ni-zan-220803","秋亭嘉树图","图中绘平坡远岫，草亭嘉树，广阔的江面上露出汀渚一角，反映了作者人画俱老，淡泊自守的情怀。画面取三段式构图，用笔尖峭秀逸，树干皆双勾，稍事皴染，树叶点法富于变化。墨色较为干淡，仅以浓墨点苔，提出精神，为沉寂的画面融入了些许生气。\n此画写的是江南山川景致一隅。平远山水，近处溪边、山石和坡岸：在崎岖不平的山石间长有二株树木，二株为点叶树，一株为长叶树，树干挺拔，枝叶直上，树叶萧疏、水边山坡的平地处筑有一草亭，草亭矮小，空无一人。草亭右侧有几株翠竹，枝叶茂密，将草亭右角遮掩。中间一宽水面，湖光波色，一片空旷；远处有浮现于湖面上的一片沙碛，伸向湖面；再远处为崇山，屹立于远处的湖面上，与近处的山石坡陀遥相呼应。\n该卷上诗塘有吴宽、朱果二家题记。\n画中自题“七月六日雨，宿云岫翁幽居，文伯贤良以此纸索画，因写秋亭嘉树图并诗以赠。风雨萧条晚作凉，两株嘉树近当窗。结庐人境无来辙，寓迹醉乡真乐邦。南渚残云宿虚牖，西山青影落秋江。临流染翰摹幽意，忽有冲烟白鹤双。瓒。”",[2495,2496,2609,2833,2577,2509,2511,2547,2510,2593,2505,3735,2507,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fd8caa50f033dc8d0a2ed6d6f039610.jpg","纵：114cm，横：34.3cm",[6,2626],329,{"id":133,"slug":3864,"title":3865,"dynasty":2490,"author":3866,"museum":2563,"description":3867,"tags":3868,"thumbUrl":3871,"material":2732,"size":3872,"collection":6,"collections":3873,"showCount":3874,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"tai-ping-chun-se-zhou-qian-gong-221921","太平春色轴","钱贡","本幅画农家丰年度岁之情景:厅堂盆火高烧,儿童围炉展纸,一人搦管欲书;屋外寒梅怒放,群儿欢聚嬉戏,一老叟策杖行于桥上。画面上一派生机盎然的景象。",[2495,2577,2546,2500,2549,2550,2502,2578,2880,2507,3869,3870,2506,2508],"孩童","炉火","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca3fd06b089f3ed8156b696b2d89afe7.jpg","122cm ×49.8cm",[6,2534],328,{"id":134,"slug":3876,"title":2761,"dynasty":2632,"author":3877,"museum":2589,"description":3878,"tags":3879,"thumbUrl":3881,"material":2512,"size":2598,"collection":6,"collections":3882,"showCount":3883,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-ce-zhu-da-214378","朱耷","淡墨晕染的峰峦轻笼烟岚，留白处叠嶂隐现，似有无尽山光水色在虚空中流淌。枯树虬枝以简笔皴擦，苍劲中藏着萧瑟，山间屋舍疏落，人迹杳然却余温尚存。平阔水面上，几叶扁舟静泊，墨色浓淡交织出天地的空寂。笔意简括却含沉郁，每一道线条都似历经沧桑后的沉吟，留白非空，是故国之思的寄寓，亦是灵魂超脱的栖所。简淡山水间，铺展着一段沉默却滚烫的孤怀，让观者于静谧中触碰到那份跨越时空的寂寥与旷达。",[2495,2496,2499,2592,2509,2547,2501,2507,3091,3880,2504,2508],"水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f92853a53a5d93e0de8367effdc8b91.jpg",[6],324,{"id":135,"slug":3885,"title":3886,"dynasty":2632,"author":3796,"museum":2673,"description":3887,"tags":3888,"thumbUrl":3889,"material":2567,"size":3890,"collection":6,"collections":3891,"showCount":3892,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"fang-ju-ran-shan-shui-wang-jian-214365","仿巨然山水","王鉴（1792-1867）是清代著名的画家，他的作品《仿巨然山水》是其代表作之一。\n\n《仿巨然山水》描绘了一幅山水画面，王鉴在画中运用了多种技法，如水墨浓淡、描边等，使作品充满了生动的质感。王鉴在《仿巨然山水》中仿照了巨然（元代画家）的山水画风，并加以提升，使作品更具艺术性。\n\n《仿巨然山水》被认为是王鉴写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《仿巨然山水》也是收藏家们青睐的经典之作。\n\n王鉴的《仿巨然山水》不仅是一幅精美的画作，更是一首关于自然之美的诗篇。在这幅画作中，王鉴巧妙地运用了水墨画的技法，勾勒出山水的层次感和自然的秀美。作品中的山川、树木、花卉都表现出了自然界的细腻与丰富，使观者感受到大自然的魅力。",[2495,2496,2577,2676,2509,2500,2501,2714,2715,2611,2506,2505,3736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde8dfd4e6285792e5a5e9c104ff6bf42.jpg","220.8x109",[6],319,{"id":136,"slug":3894,"title":3895,"dynasty":2605,"author":2686,"museum":2563,"description":3896,"tags":3897,"thumbUrl":3901,"material":2597,"size":3902,"collection":6,"collections":3903,"showCount":3904,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"long-mian-shan-zhuang-tu-tu-xin-li-gong-lin-214572","龙眠山庄图-图芯","这是一幅没有标记的水墨山水画。画中有法真口、香茂堂、罗烟岩、曲云室、秘泉庵、烟花洞、玉华岩、灵灵谷、玉龙峡、观音岩、翠云片、古柳其大十围、中建德堂南三百步、宝华岩等名称，涵盖了对泉、石、草、树等景物的逼真描述，与李公麟龙眠别墅长卷的各种景物相似。",[2495,2496,2544,2498,3898,2546,2499,2501,2507,2506,2611,2549,3899,2502,2503,3900,2613,2652],"白描","洞穴","竹林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ef311e449dfdca7422c6c471a74efec.jpg","28.9x364.6",[6],318,{"id":137,"slug":3906,"title":3183,"dynasty":2522,"author":3907,"museum":2563,"description":3908,"tags":3909,"thumbUrl":3910,"material":2597,"size":3911,"collection":6,"collections":3912,"showCount":3913,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"shan-shui-tu-sheng-mao-214248","盛懋","岸畔枯树疏柳，枝桠虬曲如篆，垂丝轻拂似诉。一舟横卧矶边，舱内人影半隐，或凭舷观水，或抱膝沉思，将天地的空阔收于方寸之间。笔墨兼工带写，山石皴染沉稳，草木勾勒灵动，枯润相生间晕开元人特有的清旷之气。无繁复景致，却以极简构图载起无尽悠远——是独处的安然，亦是与自然对谈的从容。整幅画如淡茶一盏，初看寻常，细品则唇齿留甘，心魂被那无声静谧轻轻包裹，顿觉尘嚣远遁，胸臆渐宽。山石的沉稳与草木的灵动交织，枯笔的苍劲与湿墨的柔润相映，每一处线条都藏着对天地的敬畏，每一抹晕染都浸着对心境的描摹，于简淡中见深致，于静默里藏深情。",[2495,2522,2496,2497,2577,2499,2509,2501,2504,2578,2507,2549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a77d5c354804d75fd535e1b40cf2362.jpg","67.1x33.5",[6],317,{"id":138,"slug":3915,"title":3916,"dynasty":2605,"author":2606,"museum":2763,"description":3917,"tags":3918,"thumbUrl":3919,"material":2567,"size":3920,"collection":2624,"collections":3921,"showCount":3922,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"xue-jing-shan-shui-tu-fan-kuan-220073","雪景山水图","范宽（约950—约1032），又名中正，字中立，陕西华原（今陕西铜川耀州区）人，宋代绘画大师。因为性情宽厚豁达，时人称之为“宽”，遂以范宽自名。范宽、董源、李成，并称“北宋三大家”。艺术成就使得范宽与李成齐名，并称“李范”，又与同为华原人的柳公权合称“柳范”。\n初学李成，后感悟“与其师于人者，未若师诸造化”，遂隐居终南、太华，对景造意，写山真骨，自成一家。其画峰峦浑厚端庄，气势壮阔伟岸，令人有雄奇险峻之感。用笔强健有力，皴多雨点、豆瓣、钉头，山顶好作密林，常于水边置大石巨岩，屋宇笼染黑色。作雪景亦妙。\n存世作品有《谿山行旅图》《雪山萧寺图》《雪景寒林图》等。\n2004年，美国《生活》杂志将范宽评为“上一千年对人类最有影响的百大人物”第59位。",[2495,2544,2496,2497,2498,2501,3166,2509,2499,2500,2714,3839,2593,3091,2902,3078,2651],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54eeadf145b59befb0339a43d1468bb6.jpg","31.6X422",[2624,6],315,{"id":139,"slug":3924,"title":3925,"dynasty":2522,"author":3926,"museum":2589,"description":3927,"tags":3928,"thumbUrl":3930,"material":3157,"size":3931,"collection":6,"collections":3932,"showCount":3922,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"zhu-lin-mao-she-tu-guan-dao-sheng-214732","竹林茅舍图","管道升","管道升（公元665-744）是中国元代著名画家，代表作品有《竹林茅舍图》。《竹林茅舍图》是管道升的杰作之一，也是他最著名的作品之一。该画作描绘了一幅荒凉的竹林山水画，画中的茅舍与周围的竹林形成了鲜明的对比。画面中的茅舍虽然很小，但却被描绘得格外细腻，使得整幅画充满了生动的气息。管道升的《竹林茅舍图》被誉为元代山水画的巅峰之作，具有极高的艺术价值。",[2495,2496,2497,2499,3929,2501,3155,2730,2502,2509,2507,3136],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4b847c8b0c63e3561ed3911f46fadb1.jpg","26x44cm",[6],{"id":140,"slug":3934,"title":3935,"dynasty":2490,"author":3264,"museum":2563,"description":3936,"tags":3937,"thumbUrl":3938,"material":2703,"size":3939,"collection":6,"collections":3940,"showCount":3941,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"lin-ni-zan-dong-gang-cao-tang-tu-zhou-dong-qi-chang-220923","临倪瓒东冈草堂图轴","注意画叶也要讲究笔法，不是胡乱的点画的，要“写”出来，画的叶子要有笔力。在开始画的时候，先浅墨而后蘸取浓墨在笔尖，由内到外，还需要有位置经营概念，去写画出来。",[2495,2496,2499,2676,2577,2501,2593,2507,2503,2549,2547,2509,3091,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93a0364821d55f9583be7c7bb15bf0fc.jpg","87.4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详的唐代画作。这幅画作描绘了唐朝皇宫的生活。\n\n在这幅画作中，画家巧妙地捕捉了唐朝皇宫的繁华景象。他用浓墨重彩的画法，勾勒出了皇宫的宏伟建筑。他还用细腻的线条勾勒出了皇宫中各种活动的场面，让人感受到了唐朝皇宫的繁荣景象。\n\n此外，画家在这幅画作中还描绘了皇宫周围的景色。他用色彩丰富的画法，描绘了皇宫周围的山川和河流。这些景色与皇宫的宏伟建筑形成了鲜明的对比，让人感受到了自然与人类活动的和谐共存。\n\n总之，宫苑图是一幅精美的画作，描绘了唐朝皇宫的生活。它让我们感受到了唐朝皇宫的繁荣景象，也让我们感受到了唐朝文化的魅力。",[2495,2544,2496,2497,2500,2790,2550,2501,4036,2549,4037],"宫苑","繁华","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62f47a53857a3fc4ab82d75a1dd20f08.jpg","162.5×83.7",[6],{"id":151,"slug":4042,"title":3263,"dynasty":2632,"author":4043,"museum":2877,"description":4044,"tags":4045,"thumbUrl":4046,"material":2597,"size":2598,"collection":6,"collections":4047,"showCount":4048,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"fang-gu-shan-shui-tu-cheng-ting-lu-214492","程庭鹭","清代画家程庭鹭的仿古山水图是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了程庭鹭对自然的热爱和对传统文化的尊重。他运用了仿古山水画的特点，使得整件作品显得舒缓而优美。\n\n程庭鹭是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在仿古山水图中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，程庭鹭的仿古山水图是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了程庭鹭对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到程庭鹭的画风魅力，还能了解中国传统的山水风情。",[2496,2499,2509,2676,2497,2547,2511,2501,2677,2503,2651,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0fa5973203512efafa690cc0c52a465.jpg",[6],285,{"id":152,"slug":4050,"title":4051,"dynasty":2490,"author":2491,"museum":2673,"description":4052,"tags":4053,"thumbUrl":4054,"material":2732,"size":4055,"collection":6,"collections":4056,"showCount":4057,"zanCount":3048,"manualWeight":2517,"mainColor":2518},"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”。",[2496,2497,2592,2499,2501,2511,2547,2509,2505,2503,2507,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91dd6160b5ad1b7617f948483aa1c7c5.jpg","28.5*25.5cm",[6],282,{"id":153,"slug":4059,"title":3713,"dynasty":2605,"author":4060,"museum":2563,"description":4061,"tags":4062,"thumbUrl":4064,"material":2567,"size":4065,"collection":2624,"collections":4066,"showCount":4057,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-ju-tu-yan-su-218931","燕肃","画中有一条小溪，周围是平坦的河岸，沿岸种植着松树、竹子、桃树和李子，竹林深处有三间矮小的房子，有两个人相对而坐的宣。房子左边的石墙从山的左边升起，在小路的尽头有几条远处的树。灌木丛和墨水给人一种平静和放松的感觉，让人欲罢不能。其笔触与李唐有些相似",[2495,2496,2497,2500,2509,2501,4063,2507,2506,2503,3736,2652,2579,2752],"山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8067a53ba755fa9d9ae85c24902de6ec.jpg","23.9x25.3",[2624,6],{"id":154,"slug":4068,"title":4069,"dynasty":2605,"author":2910,"museum":2563,"description":4070,"tags":4071,"thumbUrl":4072,"material":2512,"size":4073,"collection":6,"collections":4074,"showCount":4075,"zanCount":3048,"manualWeight":2517,"mainColor":2518},"xi-shan-wu-jin-tu-ma-yuan-220081","溪山无尽图","马远《溪山无尽图》卷以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。此卷画风当属南宋马远。构图布景与《溪山秋爽图》有异曲同工之妙。此卷绘于宋笺纸上，山石为马远典型的斧劈皴，乔松远树，皆用拖枝法，柳林含风，千笔万笔，笔笔不乱。画幅中间，数株红树，点缀溪山丛莽间，有画龙点睛之妙。而纸寿千年，其完好程度与绢本不可同日而语。此卷创作年代当稍晚于绢本，水法两卷亦有不同，此卷水的画法更接近马远《水图》。",[2495,2496,2544,2497,2498,2499,2500,2509,2501,2507,2506,2503,2504,2502,2505,2552,2800],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3068a8c76430171b9de9897301fc6bc0.jpg","纵33.8厘米，横469厘米",[6,2534],280,{"id":155,"slug":4077,"title":4078,"dynasty":2490,"author":2540,"museum":3039,"description":4079,"tags":4080,"thumbUrl":4081,"material":3069,"size":4082,"collection":6,"collections":4083,"showCount":4084,"zanCount":2804,"manualWeight":2517,"mainColor":2559},"wang-chuan-shi-jing-tu-chou-ying-222218","辋川十景图","《辋川十景图》是中国明代画家仇英的国画作品。该画为长卷。《仇英辋川十景图卷》名为写唐代王维隐居蓝田别墅的诗意，实际上正是明代的园林生活为粉本。屋舍界画的工整，花木杂树的精微，青绿设色的细丽，真称得上穷工极艳。\n《辋川十景图》十景各自独立成章，但又联贯为统一的大画面，随着画卷的展开，移步易景，引人入胜，山穷水尽，柳暗花明，令人目不暇接。对于中国画的创新，具有不容低估的积极意义。",[2495,2496,2497,2544,2498,2545,2500,2546,2501,2502,2503,2550,2505,3155,2506,2504],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5418cf86d3682d5764ef7dcd67e08986.jpg","纵30.5厘米 横987厘米",[6,2534],279,{"id":156,"slug":4086,"title":2761,"dynasty":2632,"author":4087,"museum":2563,"description":4088,"tags":4089,"thumbUrl":4090,"material":4091,"size":2598,"collection":6,"collections":4092,"showCount":4093,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-ce-dai-xi-220968","戴熙","戴熙山水木石，所作笔调清雅，墨色腴润，颇得江浙山川韵致。虽然也是从王翚一路入手，却能别出心裁。加上清末考据与金石学的兴盛，戴熙也融入了倡导碑学的潮流，在绘画中吸取了书法篆刻的长处，以金石入画，形成了一种极其微妙的、富有创造性的绘画风格。他的山水画用笔扎实，笔笔有入木三分之感，山岚河川也由于厚重的墨笔而罩上了老成的色调，形成了画面空旷的意境。",[2495,2496,2499,2509,2592,2497,2501,2714,2715,2506,2508,2652,2613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25f484b706b2fa645c1a92dd87054aad.jpg","水墨纸本",[6,2626],276,{"id":157,"slug":4095,"title":4096,"dynasty":2522,"author":2588,"museum":2563,"description":4097,"tags":4098,"thumbUrl":4099,"material":2703,"size":4100,"collection":6,"collections":4101,"showCount":4102,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"song-chuang-gao-shi-tu-zhou-wang-meng-220810","松窗高士图轴","元王蒙松窗高士图轴，属于中国古画，于1362年（元顺帝至正二十二年）王蒙制作，长宽107.4x32.6公分、全幅 59.5公分，收藏于台北故宫博物院。",[2495,2496,2497,2577,2499,2501,2779,2549,2503,2507,2730,2509,2547,2510,2511],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4fd7019bd476433d407aa9e87390ada.jpg","107.4x32.6",[6,2534],274,{"id":158,"slug":4104,"title":4105,"dynasty":2632,"author":2762,"museum":3039,"description":4106,"tags":4107,"thumbUrl":4109,"material":2597,"size":4110,"collection":6,"collections":4111,"showCount":4112,"zanCount":3048,"manualWeight":2517,"mainColor":2559},"gu-mu-chui-yin-tu-shi-tao-220256","古木垂阴图","近景层岩嶙峋，树木丰茂，山径曲折，楼阁深藏，远山挺拔峭立，云烟缭绕。用笔皴法多变，赋色雅淡。右上角有作者长题，石涛（公元1640~？），亦署大涤子、苦瓜和尚等，明宗室后裔，俗名朱若极，清亡后削发为僧。善画山水，为清初四画僧之一。",[2495,2496,2497,2577,2499,2509,2501,4108,2507,2503,2614,2505,2506,2677,2547],"古木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd206f53b4e26c9e4a001ab119062d2e.jpg","纵175,横50.7cm",[6],273,{"id":159,"slug":4114,"title":4115,"dynasty":2522,"author":2523,"museum":2563,"description":4116,"tags":4117,"thumbUrl":4118,"material":3157,"size":2598,"collection":6,"collections":4119,"showCount":4120,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"ji-gu-tu-hui-ce-shan-shui-tu-huang-gong-wang-219479","集古图绘册 山水图","此作用笔简淡松灵，以披麻皴慢写江南山峦，墨色干湿互济，晕染出峰峦浑厚苍润的质感。平缓坡峦间，杂木错落萧疏，枝桠以枯笔勾勒，尽显清秋疏朗之态。江畔茅舍临水而栖，静水无澜，铺陈出林泉幽寂的空阔意境。\n\n画面右上题跋与山水相映成趣，诗画交融，以笔墨寄寓林泉之志，褪去雕琢刻画之迹，直抒胸中丘壑，尽显文人山水简淡悠远的意韵，藏万千丘壑于浅淡之间，尽得元人山水萧散简远的风神。",[2496,2499,2592,2509,2501,2593,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F378b06d34e0b7e450bf7a6cb0c9d4047.jpg",[6],270,{"id":160,"slug":4122,"title":4123,"dynasty":2605,"author":4124,"museum":2818,"description":4125,"tags":4126,"thumbUrl":4127,"material":2567,"size":4128,"collection":6,"collections":4129,"showCount":4130,"zanCount":3048,"manualWeight":2517,"mainColor":2559},"qing-lv-shan-shui-tu-wang-shen-218542","青绿山水图","王诜","绢本之上，青绿设色古雅沉静。石青与石绿随山石肌理晕染，既有郭熙山水的雄健气势，又含文人画的清逸韵致。近处山石皴染结合，松枝苍劲挺拔；山间云雾淡墨轻扫，牵起远近峰峦呼应，营造深远空间感。林麓间隐现的小屋，与葱茏草木相映，藏着古人林泉高致的向往。古朴绢色衬出岁月沉淀的温润，自然山水的雄浑与文人情怀的雅致在此相融共生，尽显北宋青绿山水的独特韵味。",[2496,2497,2545,2500,2509,2501,2651,2506,2507,2613,2690,2902],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa963a4c7fe39c603be18f16b97851252.jpg","93x36",[6],268,{"id":161,"slug":4132,"title":4133,"dynasty":2490,"author":4134,"museum":2589,"description":4135,"tags":4136,"thumbUrl":4137,"material":2512,"size":4138,"collection":6,"collections":4139,"showCount":4130,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"bi-shan-qi-shu-tu-tang-yin-217036","碧山琪树图","唐寅","唐寅在画画方面有很高的造诣，他的作品涵盖了许多不同的题材，包括自然风景、人物、花鸟、山水、古典寓言故事等。\n\n碧山琪树图是唐寅的一幅著名作品。这幅画描绘了一片美丽的山林，山顶上有一棵琪树，下面是茂盛的松柏林。唐寅用笔轻柔地勾勒出了各种山石、枝叶、花草的线条，使画面看起来栩栩如生。",[2496,2577,2501,2500,2509,2714,2593,2505,2611,2503,2652,2902,2718,3736,2579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf99aba7e79792d4e1f74ad4b1015736.jpg","123x58cm",[6],{"id":162,"slug":4141,"title":4142,"dynasty":2490,"author":2540,"museum":4143,"description":4144,"tags":4145,"thumbUrl":4148,"material":2867,"size":4149,"collection":6,"collections":4150,"showCount":4151,"zanCount":3048,"manualWeight":2517,"mainColor":2518},"feng-xi-chui-diao-tu-zhou-chou-ying-222206","枫溪垂钓图轴","湖南省博物馆","此图画工细而见气势，反映了仇英的山水画的典型风格。\n画面展示了深秋辽阔的山川郊野的壮丽景色，远处楼阁隐现于山间的丛林和流动的云雾中；中景处层峦叠嶂；近景为红枫映掩的溪江上，身着素色朝服的士大夫在轻舟上静坐垂钓。\n画面高嶂巨壁，丘壑深远，笔墨健劲纯熟，设色古朴，采取传统的皴、擦、点、染相结合，使画幅气势雄阔，景致迷人，予人以心旷神怡之感。\n此图题跋印鉴较多。\n画首有清 的题诗：“枫落吴江候，烟蓬破冷浮；聊存竿线意，讵为釜鬲求。\n山色早辞夏，波光宜是秋；思莼风味在，静与日相谋。\n”落款为：“戌子秋月御题”（戌子系乾隆二十三年，即1768年）下钤有“乾隆宸翰”朱文小方印。\n图右上角钤有“乾隆御览之宝”圆形朱文印，与“淳化轩图书珍秘宝”白文方形印二方。\n图左上方钤有“淳化轩”朱文长方印“乾隆宸翰”白文大方印，“信天主人”朱文大方印，左上角钤“乾隆鉴赏”圆形白文印，下接“三希堂精鉴玺”长方形朱文印与“宜子孙”白文长方印。\n这些印都是乾隆帝钤盖在宫廷所藏的精品之上的常用印鉴。\n该图左下裱边刊有“同治三年二月江阴何栻廉眆以此桢见诒，十月初付沅甫弟珍藏。",[2495,2496,2546,2500,2509,2577,2501,4146,2528,2504,2549,2507,2987,2506,4147],"枫树","垂钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf664be593917b57e4ddec7d0838657.jpg","纵127厘米，横8.5厘米",[6,2534],267,{"id":163,"slug":4153,"title":3183,"dynasty":2522,"author":3907,"museum":2563,"description":4154,"tags":4155,"thumbUrl":4156,"material":4157,"size":4158,"collection":6,"collections":4159,"showCount":4160,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"shan-shui-tu-sheng-mao-221755","元代盛懋《山水图》，盛懋 ，元代画家，字子昭。嘉兴（今属浙江）武塘人。善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用披麻皴或解索皴，笔法精整，设色明丽。",[2495,2496,2497,2500,2509,2501,2578,2504,2715,2507,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8db6a22ddfe64262d4329b99efadcaf.jpg","纸本浅设色","120.5x40.6厘米",[6,2534],264,{"id":164,"slug":4162,"title":4163,"dynasty":2522,"author":2588,"museum":2563,"description":4164,"tags":4165,"thumbUrl":4167,"material":2567,"size":4168,"collection":6,"collections":4169,"showCount":4170,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"song-shan-shu-wu-tu-wang-meng-218657","松山书屋图","山峦重叠，以干笔牛毛皴皴擦，松林杂树，蓊蓊郁郁，几密不透风。高士一人，展卷于茅屋中。左上角以小篆题曰「松山书屋」，通幅画作与题识方式，均展现王蒙古拙圆浑的笔韵。此帧完成于至正九年，是王蒙四十二岁之作。",[2495,2496,2497,2577,2499,2509,2501,2714,2902,4166,2506,2507,2613],"书屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F688ec184ac7c5bc54e55285cace16b57.jpg","113x51.7cm",[6],262,{"id":165,"slug":4172,"title":3183,"dynasty":2490,"author":4173,"museum":2997,"description":4174,"tags":4175,"thumbUrl":4176,"material":2597,"size":4177,"collection":6,"collections":4178,"showCount":4170,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-liu-jue-214298","刘珏","此卷是刘珏为沈周的弟弟沈召所作的山水画册，并将其修改为手卷，笔墨淋漓，用笔极其自信，使画面在扫视之间活灵活现，成为一幅完美的杰作。",[2495,2496,2497,2498,2499,2509,2501,2506,2507,2614,2511,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7a458237bde639af130f94491f86651.jpg","33.6x57.8",[6],{"id":166,"slug":4180,"title":4181,"dynasty":2605,"author":2606,"museum":2563,"description":4182,"tags":4183,"thumbUrl":4184,"material":2531,"size":4185,"collection":2624,"collections":4186,"showCount":4187,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"xue-shan-xiao-si-tu-zhou-fan-kuan-221394","雪山萧寺图轴","画中描绘的是北方山岳雪景。山形陡峭，折落有势，峰峦岭岫一片银白。画中集中笔意书写了“萧寺”形象。山中一片苍茫荒凉之气，山下水路相伴，似与古寺相通，有游人、旅人、商者荷担瑟瑟而行。动静比照，静中见动，寂中显闹。 该图笔法雄劲嗣瘦，无款印。\n《雪山萧寺图》着意描写“雪意”。雪后的群山，到处是一片银白的世界，正面是雪岭高耸，崔嵬之山高旷雄原，山形陡峭，山脉盘折，峰峦岭岫一片银白。山坳深处深藏古寺楼台，隐现可见山下水边有路，可通向深山古寺。山下有古木、寒林、溪流。沟壑中有深深的积雪，近山远山树木叶落已尽，树杈上被积雪掩盖，山峦、楼顶、道路、坡石由大雪覆盖，周围阴沉沉的，只有一股潺潺流动的山泉，打破了这迷人的平静。近前可见两个旅人荷担踏雪而行，有的曳杖行进，他们顶着竹笠，缩头袖手。",[2495,2544,2496,2497,2577,2509,2499,2501,2714,3078,3091,2550,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7226c085125b91e1b8bb9e54576706dd.jpg","纵182.4cm，横108cm",[2624,6,2626],259,{"id":167,"slug":4189,"title":4190,"dynasty":2490,"author":2540,"museum":2563,"description":4191,"tags":4192,"thumbUrl":4193,"material":2512,"size":4194,"collection":6,"collections":4195,"showCount":4196,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"zhu-lou-tu-qing-gao-zong-yu-ti-chou-ying-218535","竹楼图清高宗御题","画中湖光山色，长松亭榭，文人观水赏竹，画风接近文征明，也可能是文、丘在山水画上互相借鉴。",[2544,2496,2497,2577,2546,2500,2790,2501,2550,2902,2502,2503,2549,2507,2506,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d460703bfb3096969313beb6e056693.jpg","115.3x33.3cm",[6],257,{"id":168,"slug":4198,"title":4199,"dynasty":2632,"author":4200,"museum":2818,"description":4201,"tags":4202,"thumbUrl":4203,"material":2639,"size":4204,"collection":6,"collections":4205,"showCount":4206,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"lin-shen-zhou-lu-shan-gao-tu-huang-ding-236335","临沈周庐山高图","黄鼎","黄鼎（1650—1730），字尊古，号旷亭，又号闲圃、独往客，晚号净垢老人，江苏常熟 人。善画山水，初学画于邱屿雪，既而师王原祁，尤以王蒙法见长。\n此图根据明代画家沈周《庐山高图》临摹。此摹本比例与原幅不同，但是画幅的基本造型形象，笔法特点和许多细节，又都是忠实于原作，沈周原作今藏“台北故宫博物院”。",[2544,2496,2497,2676,2500,2509,2501,2611,2902,2507,2613,2614,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F663115a6e324514c054ddfbcd72b999f.jpg","226×83.4厘米",[6,2626],255,{"id":169,"slug":4208,"title":4209,"dynasty":2605,"author":2606,"museum":4210,"description":3917,"tags":4211,"thumbUrl":4212,"material":2639,"size":4213,"collection":2624,"collections":4214,"showCount":4206,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"song-he-yan-nian-tu-zhou-fan-kuan-221415","松鹤延年图轴","苏州博物馆",[2495,2496,2497,2577,2500,2509,2501,2779,3011,2507,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f0d8728a8941335a80cd12781a857b.jpg","193.1x74.4 厘米",[2624,6,2534],{"id":170,"slug":4216,"title":4217,"dynasty":2522,"author":2922,"museum":2492,"description":4218,"tags":4219,"thumbUrl":4221,"material":2597,"size":4222,"collection":6,"collections":4223,"showCount":4224,"zanCount":3048,"manualWeight":2517,"mainColor":2518},"guai-shi-cong-huang-tu-ni-zan-220082","怪石丛篁图","怪石丛篁图轴，这一幅系倪瓒60 岁时所画，构图别致，山石用笔较繁。\n自跋：天妃庙里曾游处，怪石丛篁漫雨苔。今日江湖重回首，卜居南岭白云隈。 岁庚子（1360 年）十一月廿日，解后云冈道师 而纸笔皆不佳，漫尔作此，愧不能工。道师悯世忧国，以道术（德）为己任，汩汩城邑之中 不以为苦，不肯自逸（超）于风埃之表也，故 岁时，应云冈道师之请，赋诗并作画。",[2496,2499,2501,2577,2509,4220,3155,2611,2505,2506,2507],"怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d2a6fe7d61176933aaf86ed35700e3.jpg","94.2×26.8",[6],254,{"id":171,"slug":4226,"title":4227,"dynasty":2490,"author":4228,"museum":2492,"description":4229,"tags":4230,"thumbUrl":4232,"material":2512,"size":4233,"collection":6,"collections":4234,"showCount":4224,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"san-jue-tu-yao-shou-214674","三绝图","姚绶","姚绶（1536年－1627年）是中国明朝时期著名的画家、书法家和诗人。他在明朝末年和清朝初年期间活跃，是中国古代四大书法家之一。姚绶的“三绝图册”是他的代表作之一，是他在晚年创作的一组绘画作品集。\n\n“三绝图册”共有三册，分别为“绝境图册”、“绝岭图册”和“绝川图册”。这三册作品均采用水墨画的方式，描绘了天山、岭川、峡谷等山水风光。姚绶的绘画风格具有浓郁的民族特色，笔墨简洁而凌厉，构图巧妙，色彩明快。这三册作品被认为是中国古代山水画的精品，被广泛收藏和展览。",[2496,2497,2500,2499,2501,2549,2902,4231,2977,2987,2595,2594],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd490e9ed3930554b04863c0b5aa07e4.jpg","纵31.2 厘米 横48.3 厘米",[6],{"id":172,"slug":4236,"title":4237,"dynasty":2490,"author":3451,"museum":2673,"description":4238,"tags":4239,"thumbUrl":4246,"material":3257,"size":4247,"collection":6,"collections":4248,"showCount":4249,"zanCount":3048,"manualWeight":2517,"mainColor":2518},"mo-hua-jiu-duan-tu-juan-xu-wei-222231","墨花九段图卷","此图绘水墨写意四季花卉。每段均有自题七绝一首。画面上，画家充分发挥了水墨的表现力，以狂放的笔触，淋漓的水墨，变化多端的笔锋，泼墨、焦墨、破墨、双勾并用，寥寥数笔即勾画出了各种花卉的特征，简约却颇具神采。从徐渭自书诗并题记，知此画是作者在浓郁的创作激情中以酣畅的笔墨挥洒而就。此图堪称徐渭水墨写意花卉的佳作。",[2495,2496,2497,2498,2499,3454,4240,2510,3010,4241,4242,3155,4243,2976,2677,3012,4244,4245,2507],"题跋","梅","兰","菊","竹叶","藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e0e76186d34ba6f0466cc88cfd916f.jpg","纵46.6厘米，横625厘米",[6,2626],253,{"id":173,"slug":4251,"title":4252,"dynasty":2605,"author":4253,"museum":3121,"description":4254,"tags":4255,"thumbUrl":4257,"material":3069,"size":4258,"collection":2624,"collections":4259,"showCount":4260,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"zhang-song-shan-shui-tu-ma-lin-221189","长松山水图","马麟","《长松山水图》是马麟传世作品中的经典之作，也是南宋院体山水画的代表作之一。\n由山崖蜿蜒转入山寺的路上，一位流连与山水之间的高士，在一株爬满枯藤的古松之下徜徉，仿佛与起伏的远山融为一体，构成了一幅人与自然合而为一的完美景象。画面构图简洁而高旷，下半部分的实与上半部分的虚形成鲜明对比，进而产生高而深远的意境。二者之间以一棵长松相连，使画面自然而然成为一个整体。由实及虚的三段递进，将最写实的建筑、虚实相间的山崖坡石以及淡远的山峦，组成了位于高处的平远构图。山石采用小斧劈皴简略画出，画面的层次主要依赖点染进行刻画。画的中央，摇曳的藤蔓是全画的点睛之笔，山水之间，清风徐来，画面一下子动了起来，让人感受到一种清凉与惬意。",[2496,2544,2497,4256,2500,2509,2501,2902,2578,2505,2547],"宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d7532cb2d0174426dfa5dc1b1abb0a.jpg","25.1×26cm",[2624,6,2626],252,{"id":174,"slug":4262,"title":3163,"dynasty":2522,"author":2523,"museum":2673,"description":4263,"tags":4264,"thumbUrl":4266,"material":2732,"size":3168,"collection":6,"collections":4267,"showCount":4268,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"kuai-xue-shi-qing-tu-huang-gong-wang-220768","《快雪时睛图》是元代画家黄公望创作的一幅山水画作，现藏于北京故 宫博物院。\n《快雪时睛图》描绘了雪霁后的山中之景，其中除一轮寒冬红日外，全以墨色画成。高山上留有积雪，天边处有一轮红日，横带一抹红霞，生动表现出雪后初晴时明朗秀美的景象。该画用笔单纯而疏秀，洁净洗练。运用柔润的线条构建了宏大的山石结构，并且使之稳固清断。\n《快雪时晴图》中，赵孟頫书“快雪时晴”四大字，后黄公望作雪景山水合璧装成。\n《快雪时晴图》画水墨雪景山水，层岩叠岭，奇峰寒林，白雪皑皑，寒气袭人。山下房舍数间，山间升起一轮红日。画的中间是掩映在丛林中的几间茅屋，茅屋的两侧是绵延相连的断崖、山冈高低参差，错落有致，茅屋后而群峰耸立，挺拔秀美。 山中的楼房里，有座香炉供奉着佛像。\n《快雪时晴图》最早源自东晋书法家王羲之的书法作品《快雪时晴帖》，自元代画家黄公望根据书法意境创作出《快雪时晴图》以后，在此影响下，历代画家都喜欢将“快雪时晴”作为经典绘画的意境进行创作，明初画家徐贲、清初八大山人和髡残、清中期画家方士庶、近现代画家吴湖帆都画过《快雪时晴图》。",[2495,2496,2497,2498,2499,2501,2509,2510,2547,2714,3078,3091,2652,3668,3736,4265],"夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bdf735b0eb4445f09c1a335d5bd745e.jpg",[6,2626],250,{"id":175,"slug":4270,"title":4271,"dynasty":2605,"author":2910,"museum":2563,"description":4272,"tags":4273,"thumbUrl":4274,"material":2567,"size":4275,"collection":6,"collections":4276,"showCount":4268,"zanCount":2872,"manualWeight":2517,"mainColor":2559},"song-jian-yin-yue-tu-ma-yuan-218612","松间吟月图","本幅写松荫下，高士独坐对月。林间，曲水绕栏，薄雾掩映，一派宁谧之气，溢于画表。右下角石隙，虽署有「马远」款，但就画风论，应出自传承马夏流派的明人之手。",[2496,2497,2577,2499,2500,2509,2501,2902,2578,2549,2502,3964,2507,2614,3736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b110f511e2b2dadd28b074b660cdf18.jpg","144.6x76.3cm",[6],{"id":176,"slug":4278,"title":4279,"dynasty":2632,"author":3786,"museum":2818,"description":4280,"tags":4281,"thumbUrl":4282,"material":2598,"size":4283,"collection":6,"collections":4284,"showCount":4285,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"hong-ren-shan-shui-tu-ce-hong-ren-238025","弘仁山水图册","弘 仁（1610-1664），清画家。俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪立瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等。",[2496,2497,2592,2499,2509,2501,2677,2502,2508,2593,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9315c7f3e025c62edc1ed00bd692088d.jpg","50×36",[6,2534],249,{"id":177,"slug":4287,"title":4288,"dynasty":2522,"author":2922,"museum":3121,"description":4289,"tags":4290,"thumbUrl":4292,"material":2597,"size":4293,"collection":6,"collections":4294,"showCount":4285,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"qiu-lin-ye-xing-tu-ni-zan-220052","秋林野兴图","《秋林野兴图》写一仙居景致。平静的水面环绕着一段坡石，几株大树锁生其上，枝叶复苏。树间茅舍掩映，整个画面弥漫着肃静、清凉的气氛。 《秋林野兴图》笔法表现多见李成、郭熙、董源、巨然诸家之法，笔墨稳健清润，意境虚和冲融，气韵秀逸隽永。",[2495,2544,2496,2497,2577,2499,2509,3483,2506,2507,2505,3880,2677,4291],"疏林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F119a5ae094663913abafe92db0881216.jpg","纵九十七厘米，横六十八点五厘米",[6],{"id":178,"slug":4296,"title":4297,"dynasty":2490,"author":3264,"museum":2673,"description":4298,"tags":4299,"thumbUrl":4300,"material":3698,"size":4301,"collection":6,"collections":4302,"showCount":4303,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-3-dong-qi-chang-220909","山水册3","《仿古山水图》册，明，董其昌绘，8开。\n此册画于“戊午”（明万历四十六年，1618年），董其昌时年64岁。墨笔六开，构图缜密，笔笔精到；设色二开，格调高远，艳而不俗，皆极经意之品。从鉴藏印可知，此册为董氏传与其子董祖源珍藏，又经王时敏赏鉴，故应是真笔无疑，可作鉴定之样本。",[2495,2544,2496,2497,2592,2499,2509,2501,2714,2593,2614,2652,2935],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc3082909ebf023228c05c4c870b6fad.jpg","纵26.3厘米，横25.5厘米",[6,2626],248,{"id":179,"slug":4305,"title":4306,"dynasty":2490,"author":2491,"museum":2673,"description":3030,"tags":4307,"thumbUrl":3032,"material":2732,"size":2639,"collection":6,"collections":4308,"showCount":4303,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"cang-zhou-qu-tu-shen-zhou-220367","沧州趣图",[2495,2496,2497,2498,2501,3236,2499,2500,2509,2511,2510,2507,2506,2503,2502,2504,2505],[6],{"id":180,"slug":4310,"title":4311,"dynasty":2490,"author":3264,"museum":2763,"description":4312,"tags":4313,"thumbUrl":4315,"material":2597,"size":4316,"collection":6,"collections":4317,"showCount":4303,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"quan-shi-qing-song-tu-dong-qi-chang-219732","泉石青松图","以淡墨晕染层叠山峦，留白铺就出空寂清灵的幽远氛围。近景苍松虬曲古拙，扎根嶙峋怪石，枝干舒展自带灵动生机。中景幽谷藏村居，流泉蜿蜒穿林而过，山林郁秀空灵。\n\n以干笔皴擦勾勒山石肌理，淡墨晕出山岚氤氲，笔墨简淡却意蕴悠长，尽显文人画萧散简远之趣。题诗与画面浑然相融，诗画一体，寄寓着林泉高致的隐逸情怀，整体格调清润雅致，将笔墨意趣与山水意境相融，尽显通透疏朗的超然意态，是文人山水的绝佳范本。",[2495,2496,2497,2499,2509,2577,2501,2714,3839,2779,2593,4314],"泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed6f3dc782262e9a048daaa49bede99f.jpg","纵95.2横41.1厘米",[6,2626],{"id":181,"slug":4319,"title":4320,"dynasty":2490,"author":3264,"museum":2563,"description":4321,"tags":4322,"thumbUrl":4323,"material":4324,"size":4325,"collection":6,"collections":4326,"showCount":4327,"zanCount":3048,"manualWeight":2517,"mainColor":2518},"fang-ni-zan-shan-yin-qiu-he-tu-zhou-dong-qi-chang-220932","仿倪瓒山阴丘壑图轴","本幅题名倣倪瓒，原本欲倣陈永年所藏之倪瓒〈山阴丘壑〉，但因未留图稿，乃改学巨然〈关山雪霁〉作成此图，係透过回溯倪瓒风格，再辅以想像自运。\n此作大胆新颖且别出心裁地突破既往倣古作法，巧妙结合折带皴与披麻皴，结组出既具倪瓒式清亮、兼有黄公望式浑厚的山石，可谓熔倪瓒与黄公望风格一炉而冶的集大成之作。陈继儒于题跋中点出此图融合董源、巨然以及倪瓒风格，可谓知论。",[2495,2544,2496,2497,2577,2499,2509,2676,3236,2501,2506,2507,2508,2528,2595,3055,3091,2902,2529],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d99d6768867f84e687ae3dcbbc87ba9.jpg","纸本墨笔","96.3 x 44.8cm",[6,2626],246,{"id":182,"slug":4329,"title":4330,"dynasty":2490,"author":4331,"museum":2563,"description":4332,"tags":4333,"thumbUrl":4334,"material":2512,"size":4335,"collection":6,"collections":4336,"showCount":4327,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"xi-shan-xie-sheng-ce-yun-shan-xian-ge-bian-wen-yu-214588","溪山写胜册-云山仙阁","卞文瑜","卞文瑜是一位著名的明代画家，他的作品《溪山写胜册-云山仙阁》是一幅非常珍贵的古代中国山水画。\n\n这幅画的构图十分精巧，将整幅画分成上下两部分，上部为云山仙阁，下部为溪流和山峦。画中的云山仙阁高耸入云，状如玉龙，气势磅礴。下方的溪流清澈可见底，水流蜿蜒曲折，流动自然。山峦远近错落有致，山川相连，给人以深远的视觉冲击。\n\n卞文瑜在这幅画中运用了自然之美的理念，将自然与人文相结合，创造出了一幅充满生机和美感的画作。他运用了细腻的笔法和柔和的色彩，使得整幅画面看起来非常自然和舒适。\n总的来说，《溪山写胜册-云山仙阁》是一幅优秀的古代中国山水画，值得珍藏。",[2496,2497,2592,2500,2501,2790,2550,2502,3091,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c88df2db3b86f6fbad65788ffbd4776.jpg","24.8x41.3cm",[6],{"id":183,"slug":4338,"title":2787,"dynasty":2605,"author":3595,"museum":2563,"description":4339,"tags":4340,"thumbUrl":4341,"material":2567,"size":4342,"collection":6,"collections":4343,"showCount":4344,"zanCount":2872,"manualWeight":2517,"mainColor":2559},"shang-lin-tu-juan-zhao-bo-ju-218230","赵伯驹（生年不详，约卒于西元一一六二年），字千里，宋太祖七世孙，赵大年之子。仕至浙东兵马钤辖。善画山水、花果、翎毛及人物，楼阁界画尤妙。上林苑乃秦朝旧苑，汉武帝扩建。周围三百里，离宫七十所，规模宏伟。苑中饲养禽兽多种,，春秋二季皇帝时常至此围猎。本卷青绿设色，画上林苑帝王围猎情景。人物众多，车辇仪仗无一不备。",[2495,2496,2497,2498,2545,2500,2501,2549,2550,2506,2552,2507,2651,2752,2690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc4585d7f14f3b12fabf2d53658317cb.jpg","44x1169.4",[6],244,{"id":184,"slug":4346,"title":4347,"dynasty":2490,"author":2776,"museum":2673,"description":4348,"tags":4349,"thumbUrl":4350,"material":2567,"size":4351,"collection":6,"collections":4352,"showCount":4344,"zanCount":3048,"manualWeight":2517,"mainColor":2559},"san-gu-mao-lu-tu-dai-jin-216244","三顾茅庐图","这幅画描绘了刘备在 三顾茅庐 拜访诸葛亮的故事。人物的刻画生动而细致，如刘备的恭敬神态、张飞的黝黑面孔和他的武艺高强的姿态，都让人浮想联翩。人物的动态变化掌握得非常准确。岩石采用大斧劈法，松枝高长，明显继承了南宋马远的风格，用笔简洁有力。这幅画的整体色彩清晰而优雅。明代宫廷画中有很多以 招贤纳士 为主题的历史叙事画，反映出皇帝寻找贤人的心情是多么迫切。",[2495,2496,2544,2497,2577,2500,2509,2501,2549,2902,2507,2730,3735,2503,2505,2615,2546],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb04d74abf76131e7ffb35a7870d8a078.jpg","172.2x107",[6],{"id":185,"slug":4354,"title":4355,"dynasty":2605,"author":2647,"museum":2492,"description":4356,"tags":4357,"thumbUrl":4359,"material":3157,"size":4360,"collection":6,"collections":4361,"showCount":4362,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"you-gu-tu-guo-xi-220326","幽谷图","该图具有典型的中国西北部山川风貌，雪后的山间幽谷，高寒惨淡，山岩峻险。山下一股清泉从参差崚嶒的巉岩中喷涌而出，波撞崖壁，浪激石尖，腾起一片迷茫之气。临潭而立一块巨石，石缝中三五棵老树，枯枝上不着一叶，唯见其盘根错节，虬曲舒伸。随着山势蜿蜒而上，也使坦荡如砥的峰峤渐入眼帘，然而峰峦之间则是一道盘旋曲折的幽壑，崖边林梢丛丛，谷底寒气森森。远处的主峰如虎踞龙盘，巍然而立，下临千丈绝涧，浩渺之气，直与天接。",[2495,2544,2496,2497,2577,2499,2509,2501,2652,2506,2595,4358],"幽谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0fb115b51026981c5179c63b5367e73.jpg","纵167.7cm， 横53.6cm",[6,2624],243,{"id":186,"slug":4364,"title":4365,"dynasty":2490,"author":4134,"museum":4366,"description":4367,"tags":4368,"thumbUrl":4371,"material":3044,"size":4372,"collection":6,"collections":4373,"showCount":4374,"zanCount":3048,"manualWeight":2517,"mainColor":2559},"qiu-shan-gao-shi-tu-juan-tang-yin-222352","秋山高士图卷","美国克利夫兰艺术博物馆","绘童子拱手侍立，圆凳旁之地面，铺设有席，席上散置纸笔书砚等物。中部三人相对畅谈，背景画树石苔草，运笔条畅有力，浓淡交织，极为精采。幅末设石桌，上置瓶炉，另一卷垂挂在地。",[2495,2496,2498,2500,2501,2509,2546,4369,4370,2504,2503,2505,2506,2507,2508],"秋山","高士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc2acdbaf836a548b0d716e2dd10782a.jpg","23.7＊352cm",[6,2534],242,{"id":187,"slug":4376,"title":4377,"dynasty":2522,"author":2922,"museum":2563,"description":4378,"tags":4379,"thumbUrl":4380,"material":2499,"size":2598,"collection":6,"collections":4381,"showCount":4382,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"qiu-lin-yuan-shan-tu-ni-zan-218823","秋林远山图","疏木萧疏，枝桠挺劲如铁，带着秋的清寒。远山淡抹，似笼轻烟，与空阔的水面相映成趣。笔墨枯淡却含韵致，枯笔皴擦见骨力，淡墨晕染显空灵。留白处意蕴悠长，仿佛天地间只剩风声掠过林梢，尘俗尽散。画面极简却藏深致，将文人的孤高与对自然的静观融入丘壑，清冷中透着宁静，空寂里含着哲思，恰是元人山水那份超脱尘世的清逸之境。",[2495,2496,2497,2499,2509,2501,2578,2913,2595,2677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04f642f6154c24c8d6629652c8982480.jpg",[6],239,{"id":188,"slug":4384,"title":4385,"dynasty":2522,"author":2523,"museum":2673,"description":4386,"tags":4387,"thumbUrl":4389,"material":2531,"size":4390,"collection":6,"collections":4391,"showCount":4392,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"tian-chi-shi-bi-tu-huang-gong-wang-220764","天池石壁图","此图描绘的是苏州城西吴县境内天池山的景色。天池山与灵岩山、天平山一脉相连，峰巅矗立巨石，远望巧若莲花，人称“华山”。山一侧的半山坳中长年积有一泓碧水，名曰“天池”，故山之这一面亦被称为“天池山”。\n画面兼用高远和深远的构图方法。近景丘陵溪涧，长松茂树。山径迂曲，通向主峰。画面正中层峦叠嶂，天池居于右上，两侧石壁对峙，池中水阁数椽。主峰两侧烟云流润，使画面虚实相生。\n此幅构图繁复，高坡陡崖错落分布，雄秀多姿。画家状物之笔虽较简略，杂树多用横点，山石作披麻皴，但线条却显得自然流畅，起落有序；笔法朴厚苍润，变化多端。设色采用“浅绛法”，多用淡赭，并以墨青、墨绿合染，冷暖互补，极佳地表现出山色的青葱与阳光的和煦。正如清吴修所云：“赭色微黄画里春，墨青墨绿染精神。”\n黄公望擅长的“浅绛法”在中国古代山水画的发展中具有重要地位，此图即其典范作品。另，本幅柳贯长题中称黄公望为“吴兴室内大弟子”，说明黄公望曾就学于赵孟頫，这是画史研究中的重要资料。",[2495,2509,2499,2500,2501,2651,4388,3636,2613,2652,2593,2505],"石壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1df5e8d7eaf93e6a6599ee59965a71b.jpg","纵139.4厘米，横57.3厘米",[6,2626],237,{"id":189,"slug":4394,"title":4395,"dynasty":2632,"author":3796,"museum":2492,"description":4396,"tags":4397,"thumbUrl":4398,"material":2512,"size":4399,"collection":6,"collections":4400,"showCount":4392,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"fang-song-yuan-shan-shui-ce-wang-jian-216993","仿宋元山水册","王鉴（1598-1677），字玄照，后改字符照、圆照，号湘碧、染香庵主，江苏太仓人。王世贞曾孙。崇祯六年（1633）以荫授南京左府都事，约十一年（1638）至北京改任比部郎，十二年（1639）任廉州知府，仅两年即罢职归太仓，从此未入仕途。工画山水，得董其昌亲授，追踵董源、巨然，多拟仿宋元诸家。著有《染香庵跋画》。\n是册临宋元各家，淡墨层层积累、细腻丰富，水墨设色兼能、皴染兼长。在“四王”山水画中，王鉴的设色山水与其他三家有所差异。王鉴擅长青绿山水设色，用色只在青、绿、赭少数几种中选择，但色彩鲜明，特别是青绿两色的运用，清润高华。而仿陈惟允（陈汝言）一开可见其见识广博，陈汝言为元末明初人，后人临宋元山水鲜少涉及，这与他的个人收藏及交游圈不无关系。\n据其自跋：“予今岁偶来南翔（今属上海嘉定），谛交文庶社长，见其丰神超迈，雅善丹青，深得古人三昧，余因复临陈（陈廉）本赠之。”谓王时敏曾将所藏宋元各家真迹，嘱华亭陈明卿缩成一册，此册又临陈本。按，王时敏有缩临宋元各家山水册，董其昌为题“小中现大”者，为世所著称，此册除四页外，余俱与之相同，而所题各家名氏亦有异同。至所言王时敏一册出于陈明卿手，未见详细记述，或为另一册。\n陈廉（生卒年不详），字明卿，华亭（今上海松江）人。赵左弟子，年少时从赵左学习绘画，工巨幅山水，其笔墨清标，无烟火气，传世作品较少，上海博物馆藏《云间诸家书画散页》有其山水一开。王时敏《题陈明卿廉雪》卷云：“（陈廉）初以赵文度（赵左）为宗，既从余家纵观宋元真迹，多有悟入，所诣益深。为余摹诸名图，以寻丈巨轴，缩为方册，使能笔墨酷肖，毫发不遗，真画史之绝技。”又《题陈明卿仿黄子久》卷云：“明卿为赵文度高足弟子，初至娄时，尚守其师法，继为余临宋元诸名迹，缩小为本，因此大有悟入，画格遂为一变……”（《王奉常书画题跋》卷上）可与是册王鉴自跋相印证。",[2495,2496,2545,2500,2501,2509,2676,2592,2502,2503,2505,2593,2507,2550],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a18fc942c1098dabc52e73dc3535442.jpg","纵55.4厘米，横36.0厘米",[6],{"id":190,"slug":4402,"title":4403,"dynasty":2522,"author":2922,"museum":2563,"description":4404,"tags":4405,"thumbUrl":4406,"material":2597,"size":4407,"collection":6,"collections":4408,"showCount":4409,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"jiang-ting-shan-se-zhou-ni-zan-220787","江亭山色轴","倪云林 《江亭山色》于2012年核定为重要古物，所绘的内容有山峦、陂陀、树木、茅亭，其结构萧散，是倪云林特意为外游时相识的一位友人焕伯高士留别而绘。\n款识：焕伯高士嗜古尚义於友道於医学尤精隐居养亲不求知於也余过娄江踰月与仆甚相好戏写江亭山色并作长歌以留别二月廿五日瓒。\n题签：倪云林山水真迹。玉带砚斋藏。\n释文：娄江之东天宇宽。左瞰青海阴漫漫，樱桃花落杂飞霰。桃李欲动春风寒，我去松陵自子月。忽惊归雁鸣江干，风吹归心如乱丝。不能奋飞身羽翰。身羽翰，度春水。胡蝶忽然梦千里，剥剥啄啄闻叩门。推枕倒裳为君起，持杯劝我径饮之。有酒如渑胡不喜，看朱成碧纷醉眼。碧草春波暎疏绮，醉吐胸中之磊块。一笑濡豪烂盈纸，白鸥明处白云生。历历青山镜光里，翡翠鵁鶄满兰芷。壬子。\n倪瓒的书法也是极具传统功力与个人特色的。他的书法受褚遂良影响较大，有些点画如“戈”法明显是褚体之法，写的十分妩媚。其书法还掺杂了隶书与六朝写经的风格，这可能与他信奉道教熟悉经体有关，从而使他的书法具有一种仙风道骨的古意与洒脱。他题画有时飘逸草率，多有连笔，如北京故宫藏《竹枝图》。有些写的则工工整整，一笔不苟，如《江亭山色图》、《容膝斋图》，书体为小楷，楷中含隶，毫无泄怠，极见功力。字数如此多的小楷题画，在其画作中极少见。\n倪云林的画乍一看为其荒疏感到意外，多看了则觉单调，几乎千篇一律，皆是疏林坡岸，浅水遥岭，但是自然的反应了他的内心，也反应了他的修养。倪云林《江亭山色》典型的“云林皴法”，且款题甚长，书法精妙，堪称倪云林一生山水画的代表作。",[2496,2497,2577,2499,2501,2505,2593,3155,3839,2509,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb42f2a048eafcf667755bea02ad618.jpg","94.7x43.7",[6,2626],236,{"id":191,"slug":4411,"title":4412,"dynasty":2632,"author":2762,"museum":2673,"description":4413,"tags":4414,"thumbUrl":4415,"material":2732,"size":4416,"collection":6,"collections":4417,"showCount":4418,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"yuan-ji-shan-shui-ce-shi-tao-233123","原济山水册","本册共八开。设色画山水小景。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[2496,2637,2500,2499,2592,2509,2501,2902,2505,2549,2507,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F123c2863fe8464093b6bc302b984f3bf.jpg","纵33.2cm，横22.8cm",[6,2534],235,{"id":192,"slug":4420,"title":4421,"dynasty":2632,"author":2830,"museum":2749,"description":4422,"tags":4423,"thumbUrl":4424,"material":2512,"size":4425,"collection":6,"collections":4426,"showCount":4418,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"shan-shui-hua-chu-chun-wang-shi-min-219994","山水画-初春","王时敏出身于仕宦之家，祖父王锡爵是万历内阁首辅大臣。由于父亲王衡早逝，而他又是独子，自小就是和祖父生活在一起。《国朝画征录》记载，王锡爵极为喜爱这个孙子，专心培养他的“好古之心”。王时敏在董其昌和陈继儒等的辅导下，绘技大进。董其昌把他视为南宗画派的不二继承人，“可备传灯一宗，真源嫡派”。王时敏受祖荫出仕后担任尚宝丞和太常寺少卿等官，降清后作为明朝的遗民，退隐山野，专心绘事。他继承和扩大了南宗画派影响，发展了清代绘画的笔墨，创建了著名的娄东画派，成为当时艺术界不可撼动的泰斗，被视为清代正统画派的开山鼻祖。",[2496,2497,2499,2501,2509,2714,2715,2593,2502,2977,2690,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dae35075de48bf89446b66f24d13410.jpg","22.5x27.5",[6],{"id":193,"slug":4428,"title":4429,"dynasty":2605,"author":2647,"museum":4430,"description":4431,"tags":4432,"thumbUrl":4433,"material":2567,"size":4434,"collection":6,"collections":4435,"showCount":4436,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"shan-cun-tu-guo-xi-219184","山村图","南京大学","描绘了巍峨巨峰下的峡谷中人们的隐居生活。整幅作品山势险峻，气势恢宏，细节之处描写入微，村落、人物生动传神。",[2495,2496,2497,2501,2499,2509,2577,2507,2506,2508,2503,2595,3840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30bef5f72b428fd151f38b62ec7c4b5e.jpg","横54.2cm，纵109.8cm",[6],234,{"id":194,"slug":4438,"title":4439,"dynasty":2522,"author":2588,"museum":2563,"description":4440,"tags":4441,"thumbUrl":4443,"material":2512,"size":4444,"collection":6,"collections":4445,"showCount":4436,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"dong-shan-cao-tang-tu-wang-meng-218134","东山草堂图","此幅系王蒙三十六岁（1343年）作。隔水茅堂，背山重叠，磊石、布屋、开湖，形制皆偏向于方。通幅用笔，皆切实而稳厚。树干钩藤，山间苔点，极细微处，均无轻纵之笔，别有一种稳重苍郁意象。后人中如沈周，得力于此者甚多。",[2495,2496,2499,2501,2509,2507,2506,2934,2690,4442,2613],"山崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea8557e18d738285b863560f57991f9e.jpg","111.4x61cm",[6],{"id":195,"slug":4447,"title":4448,"dynasty":2605,"author":2946,"museum":2563,"description":4449,"tags":4450,"thumbUrl":4453,"material":2531,"size":4454,"collection":2624,"collections":4455,"showCount":4456,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"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。",[2495,2496,2544,2498,2501,2509,2500,2507,2506,4451,2503,2611,4452,2595,3042,2752],"渔船","舟楫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2428cca3b084dd38d455514e3b16a629.jpg","纵49.7厘米，横186.7厘米",[2624,6,2626],232,{"id":196,"slug":4458,"title":4459,"dynasty":2490,"author":3264,"museum":2563,"description":4460,"tags":4461,"thumbUrl":4464,"material":2597,"size":4465,"collection":6,"collections":4466,"showCount":4467,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"zhou-xing-shi-jing-jiang-an-wang-shan-dong-qi-chang-214589","舟行十景-江岸望山","董其昌是明代著名画家，他的《舟行十景》系列画作中的《江岸望山》是一幅以山水为主题的画作。这幅画中，董其昌绘制了一条河流，河流两岸绿树成荫，清新的水面上划着许多小船，画面中央是一座山峰，山峰高耸入云，周围是葱郁的森林。董其昌在画中运用了自然透视法，使得这幅画呈现出浓郁的立体感。同时，董其昌还细致地描绘了河流两岸的居民生活，使得这幅画不仅有美好的山水风光，还有丰富的人文内涵。",[2544,2496,2499,2501,2509,2592,2714,2593,4462,4463,2547],"江水","江岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff107ac474552fe8a646073313322cb10.jpg","28.8x17.7cm",[6],230,{"id":197,"slug":4469,"title":4470,"dynasty":2632,"author":3816,"museum":2818,"description":4471,"tags":4472,"thumbUrl":4473,"material":3257,"size":4474,"collection":6,"collections":4475,"showCount":4476,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-juan-1-gong-xian-222620","山水图卷-1","全图为长卷形式，重山复岫横向展开，绵延起伏，用平远构图。山石短笔皴擦，树木以横竖排点画出，整卷结构缜密，气韵苍莽，幻景与实境交融，可观、可游、可居，“引人着胜地”。后纸行书长题，论及学道、读书、性情、嗜好，表达了画家对待艺术和生活的态度，兹录如下：\n“画于众技中最末。及读杜老诗，有云：刘侯天机精，好画入骨髓。世固有好画而入骨髓者矣！余能画，似不好画，非不好画也，无可好之画也。曾见唐、宋、元、明初诸家真迹，亦何尝不坐卧其下，寝食其中乎？问之好画者，曰：士生天地间，学道为上，养气读书次之，即游名山川、出交贤豪长者皆不可少，余力则工词赋、书画、棋琴。夫天生万物，惟人独秀，人之所以异于草木瓦砾者，以有性情，有性情便有嗜好，一无嗜好，惟恣饮啖，何异马牛而襟裾也。不能追禽而之踪，便当居一小楼，如宗少文张图绘于四壁，抚弦动操则众山皆响。前贤之好画往往如是，乌能悉数！余此卷借从心中肇造，云雾、丘壑、屋宇、舟船、梯凳、溪径，要不背理，使后之玩者可登可涉、可止可安，虽曰幻境，然自道眼观之，同一实境也。引人著胜地，岂独酒哉！戊辰秋杪半亩龚贤画并题。”\n下钤“龚贤”朱文印、“钟山野老”白文印。鉴藏印有“虚斋秘玩”等七方。戊辰为康熙二十七年（1688年），龚贤71岁。",[2495,2544,2496,2497,2498,2499,2509,2501,2714,3839,2593,3208,2611,2613,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa47f0e3c3d0ffbbbc50ccb661ca0951c.jpg","纵28.8厘米，横404.1厘米",[6,2626],229,{"id":198,"slug":4478,"title":3916,"dynasty":2605,"author":3431,"museum":2589,"description":4479,"tags":4480,"thumbUrl":4481,"material":2512,"size":2598,"collection":6,"collections":4482,"showCount":4483,"zanCount":2826,"manualWeight":2517,"mainColor":2518},"xue-jing-shan-shui-tu-yi-ming-217118","宋朝是中国历史上的一个朝代，时间为960年至1279年。宋朝的艺术创作较为繁荣，其中的山水画尤为著名。关于宋朝的山水画，很多都是佚名的。\n\n佚名的雪景山水图是一幅典型的宋朝山水画作品，其中描绘了雪景的美丽景色。这幅画作品中，佚名使用了极为精细的笔法和巧妙的色彩搭配，成功地表现了雪景的冷冽和自然的美。在这幅画中，佚名运用了层次感、对比和拓扑结构等技巧，使得画面更加立体生动。\n\n整幅画作品中，佚名还融入了许多细节，比如深夜里的月色和落雪的景色，以及山谷中的松柏和溪流。这些细节使得画面更加丰富，也增加了画面的视觉冲击力。\n\n总的来说，佚名的雪景山水图是一幅极具艺术价值的作品，它能够令人感受到宋朝山水画的魅力，也是中国艺术史上的经典之作。",[2495,2496,2497,2544,3589,2499,2509,2501,3166,2902,2714,2715],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdec5092287a9b92f01696f225b920248.jpg",[6],228,{"id":199,"slug":4485,"title":4486,"dynasty":2605,"author":2699,"museum":2818,"description":4487,"tags":4488,"thumbUrl":4489,"material":2567,"size":4490,"collection":6,"collections":4491,"showCount":4492,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"yue-xia-song-ting-tu-xia-gui-218589","月下松亭图","月色如纱，淡墨晕开空濛的夜。虬松枝桠似铁，斜探天际，松针苍劲点染其间，笔意简练却见筋骨。坡岸一隅，草亭静立，檐角轻拂晚风；树下人影依稀，或凭栏凝睇，渺小身影藏着悠远哲思。留白处尽是宋人的雅致空灵，山水的静谧与人文的幽怀交织，如清辉漫过岁月，仍漾着沁人的诗意。画面虽简，却以少胜多，将自然之美与心境之远融于尺幅，似能听见松涛与月色的私语，触到千年之前那缕清寂的幽情。",[4256,2496,2497,2577,2499,2501,2779,2505,3964,2821,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a70b337ac97e73bbcb8ee83512b58b6.jpg","58x25",[6],227,{"id":200,"slug":4494,"title":4495,"dynasty":2632,"author":4496,"museum":2673,"description":4497,"tags":4498,"thumbUrl":4499,"material":2567,"size":4500,"collection":6,"collections":4501,"showCount":4502,"zanCount":3048,"manualWeight":2517,"mainColor":2559},"peng-lai-xian-jing-tu-yuan-yao-220075","蓬莱仙境图","袁耀","袁氏父子画蓬莱仙境的作品很多，以本幅袁耀所作最为壮观。图中山形脉络皆有动势，突兀怪异；以鬼面皴法画出的山石奇形怪状，层次丰富。华丽严整的宫殿与雄伟而富有动感的山水巧妙地融合，浑然一体，形成画面中动与静、整齐与活泼的鲜明对比，气势博大。\n由于职业画家的局限，袁江、袁耀的作品在表现题材上不可避免地有所雷同，表现手法也呈现一种程式化。有古建专家认为他们画的建筑“并非清代的建筑形象，而是杂采历代画中种种不同的建筑形象，加以组合…… 从总体布局到建筑形体大多不合建筑的规矩法度”，这和当时追求艺术视觉效果、忽视真实物理结构的审美要求有直接的关系，从中也可以看到市场机制对艺术创作的影响。",[2495,2496,2546,2500,2790,2501,2550,2507,2614,2506,2502,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F999a1e953e91f93828c36f2429f91187.jpg","纵266.2厘米，横163厘米",[6,2534],226,{"id":201,"slug":4504,"title":4505,"dynasty":2522,"author":2922,"museum":2563,"description":4506,"tags":4507,"thumbUrl":4509,"material":2732,"size":4510,"collection":6,"collections":4511,"showCount":4512,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"an-chu-zhai-tu-juan-ni-zan-220793","安处斋图卷","倪瓒以擅长水墨山水为傲，所作多取材于太湖周边的优美景致。画中笔法简洁，山水意境悠远，野岸沙渚，疏林茅茨，柳树萧萧，颇有世外山野高人的遁世脱俗之感。画的右下角有作者的自题诗：“湖上斋居处士家，淡烟疏柳望中赊。安时为善年年乐，处顺谋身事事佳。竹叶夜香缸面酒，菊苗春点磨头茶。幽栖不作红尘客，遮莫寒江卷浪花。”左上角是乾隆御览后的即兴题诗：“是谁肥遁隐君家，家对湖山引兴赊。名取仲舒真可法，图成懒瓒亦云嘉。高眠不入客星梦，消渴常分谷雨茶，致我闲情频展玩，围炉听雪剪灯花。”",[2495,2496,2497,2498,2499,2509,2501,2578,2677,2505,2503,4508,2547,2510],"平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f5b8544aa4c8572b05c11e13372fd2.jpg","33×89.4cm",[6,2626],225,{"id":202,"slug":4514,"title":4515,"dynasty":2605,"author":3087,"museum":2563,"description":4516,"tags":4517,"thumbUrl":4518,"material":2567,"size":4519,"collection":2624,"collections":4520,"showCount":4512,"zanCount":3048,"manualWeight":2517,"mainColor":2559},"han-jiang-diao-ting-tu-li-cheng-218132","寒江钓艇图","李成（西元九一六—九六七年），唐朝皇室后裔，五代山东人。五代北宋初为水墨山水画成熟时期，李成的松石平远，富呎尺千里气象。与北方荆浩、关同、范宽，南方董源、巨然发展成两大山水画系。\n画中高山飞瀑，岩上老松偃盖。前景巨松挺立，渔人寒江独钓。山石皴染如云状，受北宋郭熙山水画皴法影响。然用笔活泼快速，不完全拘泥于物象。由画风及题跋书风来看，应可接受为元人李郭画风作品。",[2495,2496,2497,2501,2509,2499,2504,2503,2507,2506,2821,2987,2913,2578,3361],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70ae768df4f3ab356a244f10d07cd042.jpg","170x101.9cm",[2624,6],{"id":203,"slug":4522,"title":4523,"dynasty":2605,"author":2606,"museum":2563,"description":4524,"tags":4525,"thumbUrl":4531,"material":2567,"size":4532,"collection":6,"collections":4533,"showCount":4534,"zanCount":2826,"manualWeight":2517,"mainColor":2559},"hai-shan-tu-fan-kuan-219169","海山图","画面中山势巍峨耸峙，峰峦如剑戟刺破云霭，笔墨雄健老硬，皴擦间尽显岩石坚实质感。云雾缭绕山腰，似将天地分割，虚实相生拓展空间纵深。山脚苍松虬劲，枝干盘曲如铁，与嶙峋怪石相映；仙鹤独立坡岸，姿态悠然，为雄浑山水添灵动生机。整幅作品兼具北方山川壮阔气势与文人画雅致意韵，笔墨凝聚对自然的敬畏深情，观之令人心驰神往，仿佛置身云雾缭绕的山海之间，感受那份天地浩渺与生命悠然的交融。",[2544,2496,2833,2577,2499,2509,2936,2614,4526,4220,4527,4528,4529,4530],"苍松","仙鹤","山海","雄浑","雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F632ded243378dc8575ef188c0e24c27e.jpg","110.8×41.5",[6],224,{"id":204,"slug":4536,"title":4537,"dynasty":2605,"author":2946,"museum":2563,"description":4538,"tags":4539,"thumbUrl":4541,"material":2512,"size":4542,"collection":6,"collections":4543,"showCount":4544,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"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。",[2496,2497,2577,2501,2499,2509,2500,4462,2504,4540,2595,2549,2547,2730],"枯藤老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F832191f2125231cc863d337a44ca0a33.jpg","118.6x48.6cm",[6],223,{"id":205,"slug":4546,"title":4547,"dynasty":2490,"author":2540,"museum":2563,"description":4548,"tags":4549,"thumbUrl":4552,"material":2567,"size":2598,"collection":2968,"collections":4553,"showCount":4554,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"yi-zhu-tu-chou-ying-219367","移竹图","竹影婆娑间，数人合力抬竹、培土，动作连贯如活；池畔亭榭半掩，莲叶浮波，士人或俯身打理，或凭栏远眺，笔墨细腻处见生活真趣。设色温润古雅，青绿点缀山石，赭黄晕染土地，墨色浓淡层叠出林木深幽。移竹之雅事，既显文人爱竹之癖，亦藏生活劳作之态，以工笔之精融自然与人文于一卷，动静相宜。画面层次分明，上段林泉移竹见生机，下段亭池闲居显雅致，细节中藏匠心，尽显明代文人生活的诗意与烟火气。",[2496,2546,2500,2545,2790,2549,3735,2506,4550,3457,2507,2550,4551,2880,2503],"荷塘","廊榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7039905c000f406bb6ce231d79361d8a.jpg",[2968,2534,6],222,{"id":206,"slug":4556,"title":4557,"dynasty":2522,"author":2588,"museum":2563,"description":4558,"tags":4559,"thumbUrl":4560,"material":2597,"size":4561,"collection":6,"collections":4562,"showCount":4563,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"hua-xi-yu-yin-tu-wang-meng-218912","花溪渔隐图","整幅画的笔触密集而精炼，所画的柳与赵孟𫖯在《鹊华秋色》卷中所画的柳相似。",[2495,2496,2497,2499,2509,2501,2714,2715,2593,2504,2505,2613,2652,2987,2508,3736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a92477288d4af6ca2566c9078e40883.jpg","129x58.3cm",[6],221,{"id":207,"slug":4565,"title":4566,"dynasty":2605,"author":2910,"museum":2563,"description":4567,"tags":4568,"thumbUrl":4576,"material":3069,"size":4577,"collection":2624,"collections":4578,"showCount":4579,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"yue-xia-ba-bei-tu-ma-yuan-221523","月下把杯图","月下把杯图》是一幅构图别致意境幽远的小品山水画佳作。作为纨扇扇面，其圆形构图对创作是一种限制。此画之妙在于，画家把重点描绘的山石、树木等景物安排在约占小半个画面的斜右下部，以浓墨钩勒树木、翠竹、篱笆、山石等，而与占大半个画面的远山、天空形成浓与淡、实与虚的对比，这即使圆形构图中的景物显得平稳安定，又富于变化。马远画山水以少见多，以偏概全，正是他艺术手法高明独到之处。图中山石画法用大斧劈皴，状其石质，画树“瘦硬如屈铁”，多折枝。远山则低，用淡墨勾染。苍茫外，露出月亮，表达作者当时思念之情。",[2495,2496,2497,2546,2499,4569,3975,2511,2547,4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（今甘肃省秦安县）人。唐朝宗室、画家，唐太祖李虎六世孙，彭国公李思训之子。\n门荫入仕，起家太原府仓曹，迁集贤院直学士，官至太子中舍人。乾元元年，去世，时年八十四岁。\n擅长青绿山水，世称小李将军。兼善鸟兽、楼台、人物，并创海景。画风巧赡精致，虽“豆人寸马”，也画得须眉毕现。由于画面繁复，线条纤细，论者亦有“笔力不及思训”之评。",[2544,2496,2497,2498,2545,2500,2546,2790,2501,2550,2549,2503,4702,2506,3057,3651,4703],"船只","花草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682e2f680d06328c7f09e4666d6122a5.jpg","171.2x111.3",[6],{"id":222,"slug":4708,"title":4709,"dynasty":2605,"author":2699,"museum":2563,"description":4710,"tags":4711,"thumbUrl":4712,"material":3157,"size":4713,"collection":2624,"collections":4714,"showCount":4715,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"xi-shan-gao-yi-tu-xia-gui-218864","溪山高逸图","山石以劲挺斧劈皴勾勒，棱角如剑刃划破烟岚，却含苍润之气。树木疏朗，枝干屈铁盘结，墨色浓淡相济，叶簇攒云般摇曳，似在风中低语清寂。构图于层峦间藏空灵：远山隐黛，近树扶疏，溪涧凉意从林木间隙渗出，未绘却已感知。\n\n整幅画以极简笔墨写尽“高逸”：无喧嚣，唯山风穿林轻响；无俗事，唯隐者静观天地。树后茅舍隐约，似有高士凭窗，将尘心托付烟霞，精神游弋林泉。苍劲中见温婉，疏淡里藏深情——恰如宋人对自然的敬畏，对自由的向往，尽在咫尺画卷间，让观者也随笔墨潜入山林，暂忘尘扰。",[2495,2496,2501,2509,2499,2577,2578,2507,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc83a500324062626de8322a3fc16b72d.jpg","45.5x36.5厘米",[2624,6],207,{"id":223,"slug":4717,"title":4718,"dynasty":2490,"author":2540,"museum":2673,"description":4719,"tags":4720,"thumbUrl":4723,"material":2567,"size":4724,"collection":6,"collections":4725,"showCount":4726,"zanCount":2872,"manualWeight":2517,"mainColor":2518},"zhi-gong-tu-juan-chou-ying-216385","职贡图卷","字实父，号十洲，江苏太仓人，寓居苏州。初为漆工，后改学绘画。移居苏州后得识文徵明，并拜周臣为师，主宗南宋“院体”，形成以严谨劲利为主调的艺术风格。中年时画名渐起，经常接受富商和收藏家邀请，至其家中作画。嘉靖十六年（1537年）应昆山鉴藏家周凤来延聘居其家六年。尔后又至嘉兴大收藏家项元汴家作画，长达十余年，其间广泛接触、观摩和临摹古代名迹，技艺大进，尤其在继承唐宋传统的工笔重彩人物和青绿山水方面取得了突出成就。晚年与文徵明父子及其门生交往密切，又吸取了“吴派”文人画之长，使作品增添了清雅的气息，其声誉与沈、文、唐相并埓，有“吴门四家”之称。",[2495,2496,2498,2497,2546,2545,2500,2549,2501,2506,4721,4722,2510,2511],"车马","职贡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F147faf5fa860f47d5379f373a9bfd3bd.jpg","29.5*580.3",[6,2968],205,{"id":224,"slug":4728,"title":4729,"dynasty":2605,"author":4730,"museum":2563,"description":4731,"tags":4732,"thumbUrl":4737,"material":2531,"size":4738,"collection":2624,"collections":4739,"showCount":4740,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"qian-li-jiang-shan-tu-juan-jiang-can-221618","千里江山图卷","江参","该图用水墨写江南景色，群峰杂沓，山势绵亘。江水浩瀚，溪壑空远。草木葱茏，远树朦朦。阡陌纵横，农舍相属，咫尺千里，境界开阔。长卷中从始至终有一曲折的蛇形小道贯穿其中，图中山、水、桥、亭、村落、栈道、人物皆围绕这条山道而布置。故虽景物众多，连绵无尽，然皆循循可寻。该图采用了平远构图，意境开阔",[2495,2544,2496,2498,2499,2501,4733,4462,4734,2718,4735,2621,2502,2505,2529,2549,4736],"群峰","溪壑","农舍","平远构图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20c90cb29912f2c2c4d8f3b0431c5727.jpg","纵46.3厘米，横546.5厘米",[2624,6,2534],204,{"id":225,"slug":4742,"title":3108,"dynasty":2956,"author":3109,"museum":2673,"description":3110,"tags":4743,"thumbUrl":4745,"material":2531,"size":3115,"collection":6,"collections":4746,"showCount":4740,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"xiao-xiang-tu-dong-yuan-221155",[2495,2496,2498,2497,2833,2499,2500,2509,2501,3113,4744,3764,2549,2614,3505],"苇渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70becfd35b6cdfbc2d291fa6d7b037e1.jpg",[6,2626],{"id":226,"slug":4748,"title":4749,"dynasty":2490,"author":4750,"museum":2589,"description":4751,"tags":4752,"thumbUrl":4753,"material":2512,"size":4754,"collection":6,"collections":4755,"showCount":4740,"zanCount":2826,"manualWeight":2517,"mainColor":2559},"feng-ye-chun-yu-tu-chen-huan-217879","枫野春雨图","陈焕","枫野春雨图是明朝画家陈焕的著名作品之一。这幅画描绘了一个清新的春天景象，画面中有花开的枫树和悠扬的柳树，还有漫天的淡蓝色的春雨。\n\n陈焕是明朝时期的一位著名画家，他的作品多以山水画见长，枫野春雨图也是其中的杰作。这幅画不仅描绘了自然的美景，还有足够的空间来表达艺术家的情感和思想。枫野春雨图中的春雨表现出了明朝时期人们对自然和谐的向往，而枫树和柳树的生机勃勃则象征着明朝的繁荣和繁茂。\n\n总的来说，枫野春雨图是一幅优美而富有感情的山水画，它不仅展示了陈焕的艺术才华，还反映了明朝时期人们对自然和谐的向往。",[2495,2496,2500,2501,2546,2509,2714,2715,2593,2505,2504,2821,2502,2503,2507,2614,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb9b68f66e9d9331884c00f7b78f3e3f.jpg","33.5x65.7cm",[6,2534],{"id":227,"slug":4757,"title":4758,"dynasty":2956,"author":3625,"museum":2563,"description":4759,"tags":4760,"thumbUrl":4761,"material":2499,"size":4762,"collection":6,"collections":4763,"showCount":4764,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"han-lin-wan-xiu-tu-ju-ran-218919","寒林晚岫图","这幅画，是朱兰的作品，不属于这个时代，紧邻的岩石有范宽后来的点画作品。",[2495,2496,2544,2577,2499,2509,2501,2506,3091,2652,2715],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86ba4e2edb0dc0091afcb4c19d82515c.jpg","139.7x55.8",[6],201,{"id":228,"slug":4766,"title":4767,"dynasty":2605,"author":2699,"museum":2818,"description":4768,"tags":4769,"thumbUrl":4770,"material":2567,"size":4771,"collection":6,"collections":4772,"showCount":4764,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"yu-fu-tu-xia-gui-218591","渔父图","苍劲古木虬枝横斜，墨色浓淡间晕染出岁月纹理。近岸水波轻漾，似有渔舟隐于荫下；远处山峦以淡墨点染，云雾缭绕中透着空濛。简括笔触删繁就简，将渔父隐逸之趣藏于边角留白——晚风拂过林梢，渔歌是否在烟霭里隐约？整幅画以“一角半边”之构，融自然清旷与文人幽思，水墨淋漓间尽是南宋山水的空灵悠远，引观者沉湎于那份与世无争的恬淡。",[2544,2496,2497,2577,2499,2500,2509,2501,2593,2504,2845,2595,2987],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff03e35c72c989c0d7a10d5ee03dfc9.jpg","74.5x46",[6],{"id":229,"slug":4774,"title":4775,"dynasty":2605,"author":3052,"museum":2997,"description":4776,"tags":4777,"thumbUrl":4778,"material":2597,"size":4779,"collection":6,"collections":4780,"showCount":4764,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"yun-shan-yan-shu-tu-mi-fei-218565","云山烟树图","画中的山峰高耸入云，层峦叠嶂，岸边停靠着一艘船，堤坡上生长着几棵树，墨色浓郁；左边可以看到两座小屋，可以看到一个学者在窗边认真读书或写字。这幅画是米氏山水画的特点，但应归于明代。",[2496,2497,2544,2577,2499,2501,2509,2714,3208,2593,2505,2504,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6782374152ab7d32375f6c3507c0a5f3.jpg","103.4x37.6cm",[6],{"id":230,"slug":4782,"title":4783,"dynasty":2490,"author":2491,"museum":2749,"description":4784,"tags":4785,"thumbUrl":4788,"material":2531,"size":4789,"collection":6,"collections":4790,"showCount":4791,"zanCount":3048,"manualWeight":2517,"mainColor":2559},"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。”",[2495,2496,2497,2577,2500,2509,2501,2549,2593,4786,4787,2502,2503,2652],"青山","红树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc471de5e3d6ba0b185a8a4cb7513ddee.jpg","65x147.2cm",[6,2534],200,{"id":231,"slug":4793,"title":4794,"dynasty":2490,"author":3264,"museum":4795,"description":4796,"tags":4797,"thumbUrl":4798,"material":2592,"size":4799,"collection":6,"collections":4800,"showCount":4801,"zanCount":2517,"manualWeight":2517,"mainColor":2598},"fang-ge-jia-shan-shui-tu-ce-dong-qi-chang-220755","仿各家山水图册","香港中文大学文物馆","此作用笔松秀虚灵，以淡墨勾勒山峦，披麻皴浅敷石面，远岫连绵错落，间以茂林点缀，烟气空濛间漾出幽远静谧。\n\n近岸古木虬曲，枝干舒展如篆籀笔法，木叶疏密得宜，衬出院舍茅庐隐于林间，板桥卧波轻接水岸，野趣悠然。全画以简驭繁，笔墨间带着萧散简远的韵致，淡墨轻岚间尽显平淡天真的文人意趣，简淡中藏雄浑气韵，尽显文人山水的清逸格调。",[2495,2496,2497,2592,2499,2509,2676,2501,2578,2502,2503,2507,2508,2506,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60ce2531c6f731b92b3d70dff3ad849.jpg","30.5 × 23.8厘米",[6],198,{"id":232,"slug":4803,"title":4804,"dynasty":2605,"author":2647,"museum":2563,"description":4805,"tags":4806,"thumbUrl":4807,"material":2567,"size":4808,"collection":2624,"collections":4809,"showCount":4801,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"guan-shan-chun-xue-tu-guo-xi-220227","关山春雪图","画中描绘峻峭奇险的深山大壑，覆盖着皑皑白雪：远处峭壁险崖，有的山势陡峭，有的高远突兀，远处左侧一山峰似一把利剑，直插云霄，气势雄奇，山巅处炯云缭绕，迷雾茫茫。岭头和山谷处，杂木丛生，山石表面处积着厚雪，闪着亮光：中部山石嶙峋，高山环抱着山间的平地，在山腰间平地上，座落着屋宁、古寺、楼阁，掩映在山谷和丛林之中，隐现可见。古寺幽然独处，给人们一种寂然寞然的境界之感。近处为巨岩纵横其间，古木、杂树由山缝处挣扎生长，稍往上为山腰，险崖向左倾斜，旱险势状。",[2495,2496,2833,2509,2499,2714,3078,2506,2690,2611,2652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c61b8007643b9b3921aa749500eaf33.jpg","纵197.1厘米，横51.2厘米",[2624,6],{"id":233,"slug":4811,"title":2604,"dynasty":2522,"author":3431,"museum":2673,"description":4812,"tags":4813,"thumbUrl":4814,"material":2567,"size":4815,"collection":6,"collections":4816,"showCount":4801,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"xi-shan-xing-lv-tu-yi-ming-218083","溪山行旅图是元朝时期的一幅名画，出自佚名画家之手。这幅画描绘了一位旅人在溪山间游玩的情景。\n\n在画面的左侧，可以看到一座小山丘，上面种满了树木。旅人正站在山丘的山顶上，俯视着前方的景色。他手持竹筒，似乎是在欣赏周围的美景。\n\n在画面的右侧，是一条清澈的小溪，溪水潺潺流过。旅人似乎正准备沿着小溪走去，去寻找下一个游玩的地方。\n\n整幅画的画风浑然天成，笔触轻柔，描绘了大自然的美丽景色。这幅画不仅是一幅艺术作品，也是对元朝时期生活的一个精彩纪录。",[2496,2499,2500,2509,2501,2504,2507,2578,2503,2651,2506,2612],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50f2b220aace68ac2f2e8d66ba147f2c.jpg","110.5x176.5cm",[6],{"id":234,"slug":4818,"title":4819,"dynasty":2522,"author":3847,"museum":2563,"description":4820,"tags":4821,"thumbUrl":4822,"material":2567,"size":4823,"collection":2968,"collections":4824,"showCount":4825,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"peng-lai-xian-hui-tu-hu-ting-hui-216989","蓬莱仙会图","本幅画描绘仙山之中，泉瀑奔泻其间。亭台楼阁沿着山势流泉而筑，有仙人道服持麈，端坐于榻上。石径上、殿阁中，另有仙人游荡徘徊。山石均先用粗笔钩绘轮廓，再以细笔作皴。晕染石青、石绿以外，更佐以泥金，赋彩金碧辉煌，益增仙境之佳妙。旧题订为元代胡廷晖（西元十三世纪后期），画幅右方虽有「胡廷晖制」款，但不真。整体风格，较近于明代中晚期，应系后世能手托名之作。",[2544,2496,2500,2790,2546,2509,2501,2550,2502,2549,2902,2614,2505,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02bf4df273b86d68444f76fb893c8d7d.jpg","201.5x121.8",[2968,6],197,{"id":235,"slug":4827,"title":4828,"dynasty":2632,"author":3020,"museum":2763,"description":4829,"tags":4830,"thumbUrl":4831,"material":2512,"size":4832,"collection":6,"collections":4833,"showCount":4834,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217882","仿黄公望山水图","王原祁是清朝时期的一位著名画家。他的著名作品之一是《仿黄公望山水图》。这幅画描绘了一片山水风光，栩栩如生，富有情感。\n\n画中还有许多树木，树冠翠绿，繁茂葱茏。这些树木为画面增添了一份自然之美。在远处，还有一座小山村，山村虽小，却热闹非凡。山村中的人们忙碌于农活，虽繁忙，但却感到无比的幸福。\n\n总的来说，《仿黄公望山水图》是一幅优美的山水画，王原祁用笔墨勾勒出了一片美丽的山水风光，让人感受到大自然的魅力。",[2495,2496,2497,2501,2499,2509,2676,2507,2506,2613,2505,2502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c4e2c03c42a5d5143baef473d62673f.jpg","132.6x51.2cm",[6],196,{"id":236,"slug":4836,"title":2587,"dynasty":2632,"author":2762,"museum":2818,"description":4837,"tags":4838,"thumbUrl":4839,"material":2598,"size":2598,"collection":6,"collections":4840,"showCount":4841,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-shi-tao-224497","此作以峡谷江流铺展画卷，春水澹澹载扁舟穿峡而过，舱中旅人静对山光。浅绛轻施晕染山石，清润柔和间见嶙峋风骨，枯笔皴擦点染枯枝，苍劲朴拙，与柔缓水色相映成趣。\n题诗伴画，将羁旅闲愁融进山岚烟波，画随诗添寂廖清旷之致。笔意灵动不拘一格，以淡墨轻岚晕开早春空蒙水雾，把文人隐逸襟怀寄寓在山水间，简淡画面中藏着悠长余韵，尽得山水写意之妙。",[2495,2496,2500,2499,2509,2592,2501,2504,2503,2507,2578,2987],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe13ec00a8f9b85ce3fb668f29eabc877.jpg",[6,2534],194,{"id":237,"slug":4843,"title":4844,"dynasty":2490,"author":2540,"museum":3088,"description":4845,"tags":4846,"thumbUrl":4847,"material":2531,"size":4848,"collection":6,"collections":4849,"showCount":4850,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"xun-yang-song-bie-tu-chou-ying-222211","浔阳送别图","该画画面主体部分描绘舟泊江畔的情景，面以青绿山水作为主调，工细的人物穿插其间。山石无皴法，仅以勾着色近用草绿，渐为石绿青，水均作白一鳞纹，虽山勒略为板重，却表现出精装饰之美。\n该画描绘白居易骑着白马到浔阳江边送客，忽闻琵声，主人下马，归舟不发面二舟并列，一舟华丽肃当为白居易送客之行舟一小舟隐约于山石树丛徽露船头，应是商人之妇船。远处是开阔的江面，投射在江心，一片静谧寂画面上群山及远处的村隐没在山岚夜雾间，林木由黄转朱，正是秋天景色。\n卷尾款“实父仇英制”。",[2495,2496,2497,2498,2545,2500,2546,2511,2510,2501,2504,2549,2505,2503,2502,2550,2506,2552],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F921ac539921535935fc5c4ffdadb5838.jpg","纵33.6厘米，横399.7厘米",[6,2534],193,{"id":238,"slug":4852,"title":4853,"dynasty":2522,"author":4854,"museum":2563,"description":4855,"tags":4856,"thumbUrl":4857,"material":2703,"size":4858,"collection":6,"collections":4859,"showCount":4850,"zanCount":2872,"manualWeight":2517,"mainColor":2559},"lu-yu-peng-cha-tu-zhao-yuan-221737","陆羽烹茶图","赵原","此画远山绵延起伏，近山巍峨，山水清幽，布局重山复水，水势承“之”字形环绕，营造出百转千回的气势。近处广水，有茅草屋临水而筑，四面草木繁盛，曲径通幽处一条小道延伸出画面，仿佛此处隐秘于山林间。阁内一人，扶膝踞坐于榻上，应为陆羽，一童子拥炉烹茶跽于一侧。作者自题“陆羽烹茶图”，并题诗一首：山中茅屋是谁家，兀坐闲吟到日斜。俗客不来山鸟散，呼童汲水煮新茶。",[2495,2496,2497,2498,2499,2509,2501,2505,2502,2503,2506,2549,2547,2510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b14feb1420536bbcb35a3eaba1a7c54.jpg","纵：27厘米，横：78厘米",[6,2626],{"id":239,"slug":4861,"title":4862,"dynasty":2605,"author":4863,"museum":2492,"description":4864,"tags":486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厘米",[2624,6,2626],{"id":240,"slug":4871,"title":4872,"dynasty":2490,"author":3120,"museum":2818,"description":4873,"tags":4874,"thumbUrl":4875,"material":2597,"size":2598,"collection":6,"collections":4876,"showCount":4850,"zanCount":3048,"manualWeight":2517,"mainColor":2559},"xi-xiang-ji-zhen-ben-tu-ce-chen-hong-shou-216322","西厢记真本图册","双石并置构出幽境，左石奇崛如骨，线条凝涩似铁，皴擦间露嶙峋之态；右石小巧玲珑，与左石相顾成趣。石畔淡扫苔痕，暗合《西厢》月下幽会的静谧氛围。题字笔墨古雅，与山石苍劲相融，整体气息静穆含情。画家以独特造型意趣，将文人画韵致注入画中，简淡处见深致，似在无声传递戏文里的婉转情愫，尽显古雅奇倔的艺术风格。每一笔墨皆藏匠心，于方寸间铺展戏文外的悠长余韵，让观者在石影苔痕里，触碰到那份含蓄的古典情致。",[2496,2592,3898,2499,2677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb35f624afc5dc33ed7f8dd1e142d2bf7.jpg",[6],{"id":241,"slug":4878,"title":3166,"dynasty":2605,"author":2910,"museum":2563,"description":4879,"tags":4880,"thumbUrl":4881,"material":2567,"size":4882,"collection":6,"collections":4883,"showCount":4884,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"xue-jing-ma-yuan-218867","枝条扭曲而低垂，叶子被剥落，枝条像弯曲的铁一样结实，有马远的 拖枝法 和角落构图的传承。山丘和石头是用淡墨画的，没有用粉笔，表面用白粉染色，使整幅画雪亮。建筑物的门窗用破碎的、颤动的线条代替尺子来画，从外面可以看到内部的情况。高石和仆人男孩弯着脖子坐在火上取暖，使室内外充满了寒冷。",[2495,2496,2497,2500,2546,2501,2550,2549,3091,3078,2509,3975,2578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68f0c0719bf8c7117400a007cafca3c6.jpg","26.7x27",[6],192,{"id":242,"slug":4886,"title":4887,"dynasty":2605,"author":2910,"museum":2673,"description":4888,"tags":4889,"thumbUrl":4891,"material":2720,"size":4892,"collection":2624,"collections":4893,"showCount":4894,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"bai-qiang-wei-tu-ye-ma-yuan-221534","白蔷薇图页","画中的白蔷薇花朵硕大，枝叶繁茂，光彩夺目。画家以细笔勾出花形，用白粉晕染花瓣，以深浅汁绿涂染枝叶，笔法严谨，一丝不苟，画风清丽活泼，颇具生气，代表了南宋画院花鸟画的典型风貌。\n宋代画院花鸟画继承了五代的传统，并在此基础上有所创新，黄荃“勾勒填彩、旨趣浓艳”的富贵风格统治着画坛近百年。其画法先以极工细的线条勾出轮廓，然后敷以重彩，层层晕染，往往掩盖住黑线，展现出一种极为工稳细腻和华贵富丽的风韵。",[2495,2544,2496,2497,2546,2500,3010,4890,2547],"蔷薇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd668d914b96b091a563b3ef5d0520878.jpg","纵26.2厘米，横25.8厘米",[2624,6,2534],191,{"id":243,"slug":4896,"title":4897,"dynasty":2605,"author":3065,"museum":3121,"description":4898,"tags":4899,"thumbUrl":4900,"material":3069,"size":4901,"collection":2624,"collections":4902,"showCount":4894,"zanCount":3048,"manualWeight":2517,"mainColor":2559},"xi-shan-xue-yi-tu-juan-quan-juan-liu-song-nian-221511","溪山雪意图卷全卷","《溪山雪意图卷》绘雪后溪水两岸的景色，平坡低冈、溪桥村舍，已是银装素裹；枯木、乔松、林竹错落，泉水湍急；有舟静泊岸边，冈坡上一人冲寒担物而行，全图将雪霁清冷寒寂的画意很好地表达了出来。画家于树石屋舍用笔一丝不苟，画风整饬、谨严。\n此图很久以来被视为北宋画家高克明的作品，实则依画卷采用近景构图、冈阜坡石用斧劈皴等特点来看，应为南宋前期的作品。",[2495,2496,2544,2497,2498,2546,2509,2499,2501,3078,3091,2507,2508,2528,2504,2821,2549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cd5c1bd9704942c7a6de2994068aba4.jpg","纵41厘米、横241.3厘米",[2624,6,2534],{"id":244,"slug":4904,"title":4905,"dynasty":2522,"author":2523,"museum":2673,"description":4906,"tags":4907,"thumbUrl":4908,"material":2867,"size":4909,"collection":6,"collections":4910,"showCount":4894,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"dan-ya-yu-shu-tu-zhou-huang-gong-wang-220762","丹崖玉树图轴","图中山峦重叠，高松杂树遍布窠石坡岸之上，梵寺仙观掩映于山石林木之中，溪流迴转，云烟缭绕，一派深远优美的意境。黄公望曾谓：“作山水者，必以董为师法，如吟诗之学杜也。”此图便是以董源、巨然创造的披麻皴手法写成，并以水墨浅绛设色。\n由于是在纸本上作画，作者较其《天池石壁图》、《九峰雪霁图》等绢本作品更充分地发挥了笔墨融合的韵味，用笔松秀，点染随意，潇洒自如，在不着笔处衬出迷蒙浮动的云烟雾气，虚实开合，愈增添了山水的灵秀，故虽崇山满纸而无迫塞之感。王原祁评黄氏画作曾云：“每见其布景用笔，于浑厚中仍饶逋峭，苍莽中转见娟妍，纤细而气益闳，填塞而境愈廓，意味无穷。”此作堪为代表。",[2496,2497,2577,2499,2501,2507,2506,2509,2510,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d47a387eca670a16b7feb78d3aa3088.jpg","纵101.3厘米，横43.8厘米",[6,2626],{"id":245,"slug":4912,"title":4913,"dynasty":2632,"author":3816,"museum":2492,"description":4914,"tags":4915,"thumbUrl":4916,"material":2732,"size":4917,"collection":6,"collections":4918,"showCount":4894,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"ba-jing-shan-shui-tu-gong-xian-219857","八景山水图","这一卷山水，全卷共分八段，绘江南湖光潋滟、烟雨朦胧之色。卷内，水墨，设色之景相互穿插，较为全面的展现出龚贤山水画的多种面貌。\n龚贤画山水，用墨以层层积墨见长，虽不用泼墨，效果却极强烈，具有浑厚、苍秀、沉郁的独特风格，成功地表现了江南山水茂密、滋润、幽深的特征。",[2496,2544,2497,2499,2509,2501,2502,2503,2505,2902,2730,2652,2611,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F755626b038e7687bb9727373859aa345.jpg","24.4x49.7厘米",[6],{"id":246,"slug":4920,"title":3108,"dynasty":2605,"author":4921,"museum":2492,"description":4922,"tags":4923,"thumbUrl":4924,"material":2597,"size":2598,"collection":6,"collections":4925,"showCount":4926,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"xiao-xiang-tu-mi-you-ren-218592","米友仁","图绘三湘、九嶷之际，山峦逶迤、江水迷茫、杂木疏落、白云浮动之雨后景色，于一派空濛中，流露出清润的气氛。全图大都用淡墨晕染和点染，于树干、山凹、屋脊等处以重墨勾染，显出空间层次。云气或线勾或墨晕，工整而不呆板。此图与他另一幅《潇湘奇观图》画法一致，同为水墨云山的典型之作。",[2496,2497,2498,2499,2509,2501,2614,2506,2547,2510,2511],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbab948642dad21d5beec814b81b41d5c.jpg",[6],188,{"id":247,"slug":4928,"title":4929,"dynasty":2522,"author":4583,"museum":2673,"description":4930,"tags":4931,"thumbUrl":4932,"material":2597,"size":4933,"collection":6,"collections":4934,"showCount":4926,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"shui-cun-tu-zhao-meng-fu-214659","水村图","这幅卷轴是大德六年（1302年）画的，当时赵孟頫49岁，这是他最后一件有可靠年代的作品。赵孟頫用水墨写江南水乡的平坦开阔，从笔墨到构图都受到董源的影响，但董源的画风已经完全融入了赵孟頫的个人风格，表现得毫不突兀。山是用披麻皴画的，风景以平远的形式展开。渴笔较多，笔触松散、细微，写 的感觉强烈，体现了书法的审美情趣。艺术家通过风景来表达他的感情，表达了一种平静的心境和对 平凡的纯真 的追求。这幅画的意义在于它对元代绘画独特风格的形成产生了较大的影响，表明赵孟頫在确立元、明、清三代文人画的潮流中发挥了重要作用。",[2495,2496,2498,2499,2501,2509,2510,2502,2503,2504,2578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fe155c8611d2660be5cb2e30167916f.jpg","24.9x120.5",[6],{"id":248,"slug":4936,"title":4937,"dynasty":2490,"author":3264,"museum":2563,"description":4938,"tags":4939,"thumbUrl":4940,"material":4941,"size":2598,"collection":6,"collections":4942,"showCount":4943,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-dong-yuan-shan-shui-dong-qi-chang-220936","仿董源山水","这套册页共二十二开，前副页两开，题「小中现大」四字，款：「董其昌题」。二十二开尺寸不一，本幅分别以绢本与纸本，临摹十一位宋元名家的作品，包括李成、董源、巨然、范宽、王诜、高克恭、赵孟頫、黄公望、吴镇、王蒙与倪瓒。",[2496,2497,2501,2676,2509,2499,2592,2507,2506,2613,2595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2b378d6bc49a8e287d430b3213f127b.jpg","绢本与纸本",[6,2626],187,{"id":249,"slug":4945,"title":3183,"dynasty":2522,"author":3225,"museum":2563,"description":4946,"tags":4947,"thumbUrl":4948,"material":3044,"size":4949,"collection":6,"collections":4950,"showCount":4951,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"shan-shui-tu-cao-zhi-bai-221788","《山水图》本幅画隔水江岸，主山峰峦水墨淋漓，前中景作双松耸立，笔墨造型皆从北宋李郭传统中汲取特色，再以焦浓黑墨提醒主题，营造出更有墨趣的元代李郭画风新意。",[2495,2544,2496,2499,2501,2902,2651,4463,2507,2547,2510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3665a4d5c8569bf27af312555ab7bab.jpg","纵86.1厘米横34.3厘米",[6,2626],184,{"id":250,"slug":4953,"title":4954,"dynasty":2605,"author":4955,"museum":2563,"description":4956,"tags":4957,"thumbUrl":4958,"material":2597,"size":4959,"collection":2624,"collections":4960,"showCount":4961,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"xi-shan-qiu-se-tu-zhou-zhao-ji-221338","溪山秋色图轴","赵佶","此画种在北宋末成为宫廷皇室所喜爱的一种风格。本图中实景多被安排在画面左半侧，占据不到二分之一的面积，其余以留白来表现云雾、烟霭和野水。此种设计与北宋初期，取中轴构图的巨轴山水画有所不同，可以见到山水画从雄伟风格转变为带有抒情气氛的趋势。细看《溪山秋色图》这幅画的点景人物，多半描绘渔夫在渔钓或捕鱼的情景，这代表著君子所向往与世无争、远离尘俗的生活典型。此类渔父的画题，在进入北宋之后逐渐流行，成为山水画不可或缺的重要题材。",[2495,2496,2497,2577,2499,2509,2501,2527,2506,2613,2504,2614,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F730927eed7d948f9cfd62cda6491af50.jpg","纵97cm,横53cm",[2624,6,2626],183,{"id":251,"slug":4963,"title":4964,"dynasty":2956,"author":4965,"museum":2563,"description":4966,"tags":4967,"thumbUrl":4968,"material":2512,"size":4969,"collection":6,"collections":4970,"showCount":4961,"zanCount":2826,"manualWeight":2517,"mainColor":2559},"shu-shan-zhan-dao-tu-guan-tong-219079","蜀山栈道图","关仝","峭壁摩天，层岩叠嶂间，栈道蜿蜒如丝，隐现于苍松古木与飞瀑流泉之中。山石以劲挺线条勾勒，皴法厚重，尽显蜀道之险；树木枝干虬曲，若蟹爪伸展，苍劲中透出野趣。云雾轻笼山腰，虚实相生，拓展了山川的深远之境。行人于栈道上渺小如蚁，步履蹒跚，更衬出自然的雄奇与旅途的艰辛。整幅画作笔墨沉雄，意境苍茫，既展现了蜀山的磅礴气势，又暗含着对行路者坚韧精神的咏叹，尽显北方山水画派的沉郁风骨与自然之趣。山石的坚凝质感与树木的丰茂生机相映，飞瀑的动态与栈道的静穆相衬，于险峻中藏幽致，于苍茫里见精微，是一幅兼具视觉冲击力与情感共鸣的山水佳作。",[2495,2496,2544,2501,2577,2509,2500,2652,2506,2528,2504,2621,2505,2578,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0408dd0331dcb9e6afcfd9169a592184.jpg","140.4x66.6",[6],{"id":252,"slug":4972,"title":4973,"dynasty":2522,"author":4974,"museum":2563,"description":4975,"tags":4976,"thumbUrl":4979,"material":2512,"size":4980,"collection":2870,"collections":4981,"showCount":4961,"zanCount":3048,"manualWeight":2517,"mainColor":2518},"xie-sheng-hua-niao-tu-zhang-zhong-218780","写生花鸟图","张中","此画绘于沙石之间，一只紫冠白鸡脚下行走的蜈蚣，看上去颇为生动，而配景及蜀葵、萱草、栀子花、石榴、百合、虞美人、石竹、菖蒲等各种夏花，几乎以勾花点叶的方法进入，设计典雅，却不似张仲的笔墨，为后世画家的作品正名。",[2496,2497,2577,2500,2546,3010,4977,3012,2677,4978],"禽","草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93c74ed813cbd2c92ee370d6aa6031b1.jpg","122.8x43.3cm",[2870,6],{"id":253,"slug":4983,"title":4984,"dynasty":2522,"author":2588,"museum":2563,"description":4985,"tags":4986,"thumbUrl":4988,"material":2512,"size":4989,"collection":6,"collections":4990,"showCount":4991,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"ju-qu-lin-wu-zhou-wang-meng-220808","具区林屋轴","此幅林画面的此署署名是王蒙以隶书题的「具具」四字，底下明为章画，具区的古时太湖的旧称，故图所表现的是太湖一代的景色。\n全图除了溪石之外，几乎被山石、树木、林间茅舍补充的没有轮廓，这种风格的构图方式在中国流淌的绘画作品中极为重要，开拓出国画构图之奇境。\n王大湖山中截面积，提炼加工，组织这幅极富生活情趣的画面：右富一坡角，数株大并列蒙其间，林下有高士临水而坐，犹如正摄着着橱窗的广告。\n水波荡漾，一人悠闲的划着小船；对岸山脚下，草亭临水而建，一人坐其间看书；山间小路迂回，曲径通幽，数栋屋宇内参差落于山谷，有妇女活动其间。\n内山石用「牛毛皴」与解索皴」干笔皴擦，多曲折旋转之笔，以突显出太湖中央山石的颜色；染则用墨与色直接染，丹崖碧树，一派秋日山水景象。",[2495,2496,2497,2577,2500,2501,2509,2507,2503,2506,2550,3125,2613,4987],"木屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc40016c952c57aef101aaa6107539940.jpg","该幅68.7x42.5公分，诗塘25.2x42.2公分，全幅74.3公分",[6,2534],180,{"id":254,"slug":4993,"title":4994,"dynasty":2632,"author":3816,"museum":2973,"description":4995,"tags":4996,"thumbUrl":4997,"material":2732,"size":4998,"collection":6,"collections":4999,"showCount":5000,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"qian-yan-wan-he-tu-gong-xian-222610","千岩万壑图","此图绘山岩丘壑连绵不断，繁复无尽，其间茂林嘉村云气烟，飞泉高，孤村落，江流小舟，景致表现得真实生动、完美自然，秀丽、壮伟兼具，引人入胜。\n此图前部分为作者投入精力最多的部分，以实境为主，大力渲染峰峦的伟岸、雨后景色变化的美丽。开篇对岸远山微抹，远方江水静静地流来，以江面的宁静把观者带入画面之中，使之心境舒缓，为高潮的出现作出铺垫，然后徐徐拉开全画的序幕。在这一部分中，最让观者意纵神耸的是作者有意刻画的万千峰峦、千岩万壑，让人惊心动魂。山峰峦头各具情态，或挺拔耸出，或欲语带笑，或蹲伏侧卧，或起立欲奔，或伸展顾盼。峰峦的辉光和明亮，如银辉一般与雾气的明亮互相掩映包容，形成一道道光带缓行屈伸于山峦树丛之中，若断若连，若生若灭。古木丛林此起彼伏，在峰峦间绵延不绝，凝聚着无以复加的郁郁之气。山间流泉则细细垂下，沿山谷汇成清澈的溪流。屋舍、寺塔点缀于山峰、谷坞间。山岚、烟蔼出没升腾，在旷野树丛山谷间徐徐飘出。雾气渐渐聚集，月光如梦境笼罩四野，一切部静悄无语。夏日午后的宁静、冬日温暖阳光照耀下的气象、雨后空气中的澄静凝练、明月照耀里的朦胧境象，也都被作者收拢笔下，幻化为大自然变幻不定的复合境象。此部分布景深远辽阔，静寂的氛围透出苍茫肃穆的深沉。\n后部分则以大江为描绘的主体。四面至此，汀面广阔，远帆从江面缓缓而求，近处江岸停泊营数点渔舟，掩映在树下爷从中，再向庄则是与右岸相对的山峰，然后夹江之外又有坡岸山峦笼束，以作终老，与千岩万壑相呼应。山于此部图像是虚境，同前一段的实境描绘相比，显得清明宁静，寂静优美的氛围终含有舒畅开阔的愉悦情怀。\n此画构图饱满充实，满而不塞，画中时露空白，形成黑白对比强烈。整个画面景象壮阔，景物繁多，但繁而不乱，在布局构图上达到了奇与安、实境与幻境的统一。此画给人们最为深刻印象，即也是此画的最大特点，即善于用墨，把墨色的运用达到淋漓尽致的地步，继承和发展了宋人的“积墨法”，“一遍点、二遍加、三遍皴，便歇了，待干又加浓点，又加淡点一道，连总数是为七遍”（《柴丈画说》），山石是先勾出轮廓，然后积染，皴擦，而且先干后湿，这样，轮廓线与皴染浑为一体，层次分明，显得十分浑厚。树木也是层层烘染的墨法，湿润、浓郁。在用墨时，还注意黑白、虚实对比，强调明暗分明，使山林景色富有深远、光照感。\n纵观全图，作者特别注意横向景物的展开，在构图上注意远境近境的联络映带，既有一放一收、 实境一虚境、 一开一合大聋法的纵横驰骋，也有在小范围上虚实开合的变化，因而整体构图显得密而不乱，疏丽不空。山川气脉隔而不断，既有空间的深远，又有视觉上的无穷变化。",[2495,2496,2544,2498,2499,2509,2501,2651,2652,2506,2611,2614,2504,3880,2508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ced805626c55f7b7026ef63267ca5df.jpg","纵27.8厘米，横980厘米",[6,2626],179,{"id":255,"slug":5002,"title":5003,"dynasty":2605,"author":3531,"museum":2563,"description":5004,"tags":5005,"thumbUrl":5006,"material":2703,"size":5007,"collection":2624,"collections":5008,"showCount":5000,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"lin-wang-wei-wang-chuan-tu-guo-zhong-shu-221295","临王维辋川图","郭忠恕(？-977)五代末期至宋代初期的画家，〔北宋〕字恕先，又字国宝，洛阳(今属河南)人 。\n兼精文字学、文学，善写篆、隶书和“八分体”，以楷书最为著名。 尤其“界画”为世人推重。“界画”是随着山水画发展而派生的一科，主要是画与山水画中有关的亭台楼阁、舟船车舆。《圣朝名画评》中评他的界画，为“一时之绝”，列为“神品” 。\n工书，诸体皆能。曾有人得鸟迹篆，忠恕一见辄诵如宿习。清刘熙载《艺概.书概》称：“忠恕以篆古之笔溢为分隶，独成高致。”传有《三体阴符经》、《汗简》、《佩觽》等书。其画风画技在当时和后世有较大影响。",[2495,2544,2496,2497,2498,2676,2790,2546,2500,2501,2550,2502,2503,2504,2505,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9412112e9f8005e3d515619ffe65d029.jpg","幅30.5x368.5公分，隔水一8.5公分，引首30.5x84公分，隔水二8公分，隔水三1.5公分，拖尾 30.5x279公分，隔水四1.7公分，隔水五8.9公分",[2624,6,2626],{"id":256,"slug":5010,"title":5011,"dynasty":2522,"author":2588,"museum":2589,"description":5012,"tags":5013,"thumbUrl":5014,"material":2512,"size":5015,"collection":6,"collections":5016,"showCount":5000,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"zhi-chuan-yi-ju-tu-wang-meng-218024","稚川移居图","《稚川移居图》为立轴，设色纸本。描绘了东晋葛洪携带家眷移居罗浮山，修道炼丹的故事。罗浮山位于今天广东省博罗县境内。葛洪，字稚川，号抱朴子，东晋道教学者、著名炼丹家。画中骑在牛背上的葛洪，身穿道袍，神情专注于手中的书卷，边走边看，全然不顾随他同行的家人。他身后，妻子和两个孩子同骑在牛背上，小的抱在怀里，大的坐在身后。随葛洪夫妇一起移居的，还有他的仆人们，他们或提着鸡笼，或牵着牛羊，或挑担负重，把生活必备之物搬运到山上。一路崇山峻岭，飞瀑流泉，几间茅草屋掩映在深山之中，屋前的庭院里，先行到达的仆人，在打扫庭院，迎候主人的到来。画面非常有感染力。",[2496,2497,2833,2577,2500,2509,2501,2549,2960,2506,2652,2508,2800,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1563a446791d46548d1f313e5337c941.jpg","120x54cm",[6],{"id":257,"slug":5018,"title":5019,"dynasty":2522,"author":2922,"museum":2563,"description":5020,"tags":5021,"thumbUrl":5022,"material":2703,"size":5023,"collection":6,"collections":5024,"showCount":5025,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"zi-zhi-shan-fang-tu-zhou-ni-zan-220790","紫芝山房图轴","《元倪瓒紫芝山房图轴》是元末明初画家倪瓒所创作，水墨画河岸、疏树、竹林和小亭，对岸山峦起伏，构图简洁，具清逸萧疏之趣。此幅墨色淡雅，现藏于台北故宫博物院。\n《元倪瓒紫芝山房图轴》侧笔写山石轮廓，苍劲沉着，画竹之笔尤为遒劲有力，是云林精品。",[2496,2497,2577,2499,2833,2509,2677,2505,3155,2593,2595,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eb4dbc8f6b09feeea9d0d31f7abefaf.jpg","80.5x34.8",[6,2626],177,{"id":258,"slug":5027,"title":5028,"dynasty":2490,"author":2899,"museum":2563,"description":5029,"tags":5030,"thumbUrl":5031,"material":2597,"size":5032,"collection":6,"collections":5033,"showCount":5034,"zanCount":2826,"manualWeight":2517,"mainColor":2518},"lan-ting-xiu-xie-tu-wen-zheng-ming-219517","兰亭修褉图","以淡墨白描晕染兰亭雅集，层峦叠嶂纵立画面，古松虬枝苍劲，环护着溪畔兰亭。曲水蜿蜒流淌，士人列坐其侧，或把盏沉吟，或挥毫题咏，将永和雅事鲜活铺展。\n\n笔墨清隽秀雅，山石勾勒细劲简洁，淡皴轻染晕出山林幽寂，尽显内敛雅致的吴门意趣。绢素之上凝住魏晋林下风流，以极简水墨铺陈出旷远清幽的雅集氛围，藏着对古贤风雅的追慕，笔端浸满书卷清韵，将千载前的林下雅兴，晕染成隽永的丹青意趣。",[2496,2497,2577,2499,2500,2501,2549,2505,2503,2506,2507,2547,2510,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37ad5f5c5fbcf8cbdb86cdfd03b879c3.jpg","140.3x73.2",[6],176,{"id":259,"slug":5036,"title":5037,"dynasty":2605,"author":5038,"museum":2997,"description":5039,"tags":5040,"thumbUrl":5041,"material":2567,"size":5042,"collection":6,"collections":5043,"showCount":5034,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"ba-qiao-feng-xue-tu-wu-jun-chen-214518","灞桥风雪图","吴俊臣","这幅画描绘了一位身穿朱衣的老人在风雪中骑着驴子的情景。画的右上角的沟壑似乎暗示了行人的方向。这幅画的主要部分是一个突兀的岩石坡，有一些水墨。岩石都是用小斧头凿出来的，笔触犀利清晰，类似于王履的《华山图册》。这幅画也很受宋朝人的欢迎，画中的山峦起伏，山峰高耸。虽然这幅画没有标记，但它是明代山水画的杰作。",[2496,2544,2577,2499,2509,2501,2502,2960,2549,3091,2902,2507,2800],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d557b70cd8249aa75223779299161f7.jpg","191x94.4",[6],{"id":260,"slug":5045,"title":5046,"dynasty":2632,"author":5047,"museum":3121,"description":5048,"tags":5049,"thumbUrl":5053,"material":2567,"size":5054,"collection":2968,"collections":5055,"showCount":5056,"zanCount":2826,"manualWeight":2517,"mainColor":2559},"kang-xi-nan-xun-tu-juan-san-zhi-ji-nan-zhi-tai-shan-wang-hui-219728","康熙南巡图卷三之济南至泰山","王翚","《康熙南巡图》第三卷描绘康熙南巡至山东境内的情景。画面开始为丘陵地带，一座城池出现在众山环抱之中，此即济南府，康熙在城墙上视阅，随从若干，城门大开，南巡的先行骑兵正从城里出发，行进于绵延的山丘之间，山势雄伟，草木葱茏。队伍翻山过、河，穿过村落，群山逐渐高耸、险峻，画面出现了泰安州和泰山，康熙率扈从诸臣到泰山致礼。过泰山后，山势略趋平缓，画面至蒙阴县止。",[2495,2496,2498,2546,2500,2509,2501,2549,2550,2502,2503,2505,2506,5050,5051,5052,2960,2528,2651,2614],"山脉","村庄","道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc011338cc729f142df0823217c6b83.jpg","纵67.8厘米，横1393厘米",[2968,6],175,{"id":261,"slug":5058,"title":5059,"dynasty":2522,"author":3907,"museum":2492,"description":5060,"tags":5061,"thumbUrl":5062,"material":2567,"size":5063,"collection":6,"collections":5064,"showCount":5056,"zanCount":3048,"manualWeight":2517,"mainColor":2559},"qiu-jiang-chui-diao-tu-sheng-mao-218240","秋江垂钓图","秋江如练，薄雾轻笼远岫，山峦以赭石与青绿晕染，层次叠嶂间透着古雅。苍树虬枝斜倚江畔，枝干间点点残叶暗合秋意，笔墨工致中见清逸，线条勾勒树石之态兼具刚柔。江畔隐者抱膝而坐，垂纶于澄江之上，身影与秋水长天相融，似已忘尘。右侧茅舍旁，一樵者负薪而过，添得江野生趣。整幅画静谧悠远，将元代文人的林泉之志凝于尺幅，笔墨间流淌着清寂与悠然，引人沉醉于这秋江垂钓的闲逸之境。",[2496,2497,2501,2500,2545,2509,2549,2503,2504,2821,2987,2578,2913,2499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60dc44d3fbd45554e56a94f4390b8090.jpg","21.6x22.6cm",[6],{"id":262,"slug":5066,"title":5067,"dynasty":2490,"author":3431,"museum":5068,"description":5069,"tags":5070,"thumbUrl":5072,"material":2512,"size":5073,"collection":6,"collections":5074,"showCount":5056,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"fang-ma-yuan-shan-shui-tu-yi-ming-217914","仿马远山水图","费城艺术博物馆","仿马远山水图是明朝时期的一种山水画风格，它是以著名画家马远的作品为蓝本进行模仿创作的。\n\n明朝时期，由于对绘画艺术的高度重视，山水画风格得到了很大的发展。马远是当时最著名的山水画家之一，他的作品以其精细的写实技巧和丰富的想象力而闻名。他创作的山水画给人以自然、宁静、雅致的感受，为后世的山水画家提供了很大的启发。\n\n仿马远山水图是在明朝时期由许多艺术家模仿马远的作品创作的山水画。这种山水画风格的特点是注重写实，力求将自然景观如实再现。在这种画风中，山水景观往往是主要的构图元素，山峰、河流、树木等都被描绘得栩栩如生。同时，仿马远山水图也注重用色，使用柔和的色彩来表现自然界的美。\n\n总的来说，仿马远山水图是明朝时期山水画艺术的一个重要流派，其精细的写实技巧和丰富的想象力为后世的山水画家所借鉴和启发。",[2544,2496,2497,2498,2501,2499,2509,2676,2902,2504,2595,5071,4657,2506,2988,3057,2614],"近水","https:\u002F\u002Foss.chu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60.70横34.50",[6],174,{"id":266,"slug":5103,"title":5104,"dynasty":3283,"author":3284,"museum":2563,"description":5105,"tags":5106,"thumbUrl":5107,"material":2531,"size":5108,"collection":6,"collections":5109,"showCount":5110,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"jiang-gan-xue-yi-tu-juan-wang-wei-219042","江干雪意图卷","这幅画描绘了冬天的河边村庄，雪覆盖了大地，树叶枯萎了，大雁飞过天空，给寂静的村庄带来了活力。卷轴上有四个题字，包括沈周、王鏊（1450-1524）、董其昌和顾从德的题字。王鏊是明代著名的大臣和文学家，他在朝廷任职三十年，为人正直，头脑清晰。后来他回到了苏州，成为一个博学多才的作家，写出了《震泽集》。沈周比王鏊大二十三岁，两人是难忘的朋友，在弘治九年（1496年）文林（文征明的父亲）的宴会上第一次见面，此后诗画成缘，歌声不断。沈周去世后，王鏊写了《石田先生墓志铭》。",[2495,2496,2497,2498,2499,2509,2510,2511,3078,2501,3091,2502,2503,2504,2821,2505,2552],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac7c35d3e1ee2820f169b402774623c.jpg","24.8x162.8",[6],172,{"id":267,"slug":5112,"title":5113,"dynasty":2605,"author":3431,"museum":2563,"description":5114,"tags":5115,"thumbUrl":5117,"material":2567,"size":2598,"collection":2624,"collections":5118,"showCount":5110,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"qiu-pu-ting-zhou-tu-yi-ming-218832","秋浦停舟图","这幅画描绘了秋天开阔的河面，青山绿水，两个渔民坐在岸边的一棵老树下，高兴地拿着一壶酒互相问候。这幅画的风格是两岸，笔法、墨法和青绿颜色都可以归入盛懋画派的范畴。",[2495,2496,2497,2544,2501,2500,2592,2504,2549,2506,2845,2715,5116,2677,3696],"秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2edb5d6704f3fcb03ac84af6ce8e6b23.jpg",[2624,6],{"id":268,"slug":5120,"title":5121,"dynasty":2522,"author":2523,"museum":5122,"description":5123,"tags":5124,"thumbUrl":5127,"material":2512,"size":5128,"collection":6,"collections":5129,"showCount":5130,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"shan-xi-fang-dai-tu-huang-gong-wang-218258","剡溪访戴图","云南省博物馆","《剡溪仿戴图轴》为黄公望晚年所作，描绘的是晋代著名书法家王羲之访问友人戴逵的故事。王羲之行船至剡溪，被途中雪景所吸引，一路慢行欣赏，在他将要到达目的地时，觉已尽兴，于是返回而未见友人。图中，蜿蜒溪水中有一叶小舟正使出村庄，小舟中坐有一人，拢袖御寒，船夫正用力划桨。\n整幅画面萧瑟寂冷，寒气逼人。画中山石、枯枝以“留白”的形式来表现被大雪覆盖，岩石上以浓墨点写枯树枝桠，更显萧瑟。山石堆叠，结构繁复，但用笔简洁，以淡墨为主，只在山石间的深凹处略加枯墨皴擦，空灵之感油然而生。山脚下庭院积雪，空无一人，更显寂寥。",[2496,2544,2497,2499,2509,2501,2507,2504,2506,2550,3091,3166,5125,2579,2613,3079,2595,5126],"崖壁","层岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F087820b95e4e9ded3f3d19b0cdb20388.jpg","76.6x55.3cm",[6],171,{"id":269,"slug":5132,"title":5133,"dynasty":2605,"author":4955,"museum":2563,"description":5134,"tags":5135,"thumbUrl":5138,"material":2531,"size":5139,"collection":2624,"collections":5140,"showCount":5141,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"wen-hui-tu-zhao-ji-221331","文会图","该画作描绘的是文人学者以文会友饮酒赋诗的场景。园林中绿草如茵，雕栏环绕，树木扶疏，九名文士围着坐在桌子的周围，树下立谈的二人，另外有童仆侍从者九人，人物姿态生动有致，呈现出文人学士饮酒赋诗畅谈之景。",[2495,2496,2544,2497,2546,2500,2549,2506,5136,5137,2880],"桌案","器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a52bb2f5e40f63f9d730b696f39f122.jpg","纵184.4厘米，横123.9厘米",[2624,6,2534],170,{"id":270,"slug":5143,"title":5144,"dynasty":2522,"author":4583,"museum":5145,"description":5146,"tags":5147,"thumbUrl":5149,"material":2567,"size":5150,"collection":6,"collections":5151,"showCount":5141,"zanCount":3048,"manualWeight":2517,"mainColor":2559},"song-shui-ou-meng-tu-zhao-meng-fu-218439","松水鸥盟图","沃雪斋","远处山峰高耸，云雾缭绕，近处河面宽阔，岸边三个高大粗壮的白衣古松文士坐在树荫下，悠闲地望着两只白鸥在芦苇和水面之间相互呼应。人物面容古雅，衣冠楚楚，笔墨沉雄。",[2495,2496,2497,3929,2500,2545,2501,2902,2503,5148,2549,2507,2718],"鸥鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54c8c63b2cb7b75579753f1fc9c80340.jpg","150x95cm",[6],{"id":271,"slug":5153,"title":3916,"dynasty":2956,"author":3174,"museum":3088,"description":5154,"tags":5155,"thumbUrl":5156,"material":2567,"size":5157,"collection":6,"collections":5158,"showCount":5159,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"xue-jing-shan-shui-tu-jing-hao-218624","荆浩专注于真山真水，善于画北方的雄伟山河，在艺术上有所创造和突破。他曾说：吴道子有笔无墨，向荣有墨无笔，我应取二子之长，成一家之体。同时，荆浩也很好地运用了章法，在为自己的画作营造意境方面有独特的天赋。这幅画是一个站立的山形构图，以游动的人物为点缀，山形弯曲，色彩浓重，画上刻有小字 红谷子。据传，这幅画是在一座古墓中出土的，西方一些艺术史学家认为这是荆浩的作品，而另一些人则认为这是一幅早期山水画的摹本。",[2496,2501,2509,2499,3166,2714,2652,3091,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F450b815bffc67a9837fae7bb49477ec6.jpg","纵138.3厘米,横75.5厘米",[6],169,{"id":272,"slug":5161,"title":5162,"dynasty":2956,"author":4965,"museum":2563,"description":5163,"tags":5164,"thumbUrl":5165,"material":2656,"size":5166,"collection":6,"collections":5167,"showCount":5168,"zanCount":3198,"manualWeight":2517,"mainColor":4670},"qiu-shan-wan-cui-tu-guan-tong-221158","秋山晚翠图","此画描绘的是中国北方景色，深谷云林，气壮意长，从中可以看出北方山村的生活气息。该图用笔简劲，线条粗细断续有别，落墨渍染生动，是中国古代山水画中上乘之作。",[2495,2496,2497,2577,2501,2509,2500,2506,2652,2611,4369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04a2dbf4ef7b6f0a300b3f97262a33e.jpg","横57.3厘米，纵140.5厘米",[6,2626],167,{"id":273,"slug":5170,"title":5171,"dynasty":2632,"author":5172,"museum":2563,"description":5173,"tags":5174,"thumbUrl":5175,"material":2512,"size":5176,"collection":6,"collections":5177,"showCount":5168,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"hui-yu-bi-zhong-qiu-tie-zi-shi-dong-bang-da-219533","绘御笔中秋帖子诗","董邦达","《中秋帖子词卷》是清代宫廷艺术的集大成之作，主要分为三部分：乾隆御笔题序、董邦达据乾隆词意绘画的山水画，以及内廷翰林据帖子词韵附和创作的诗文，并由大臣汪由敦抄写。卷中书画合壁，内容丰富，从这君臣和唱的山水诗画巨制中，可见乾隆皇在位初期锐意开创崭新气象的雄心壮志。",[2496,2500,2501,2549,2505,2550,2506,2507,2510,2547,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3831ec7dcdcdc2b2a1575be43d6b2da6.jpg","95.4x66.2厘米",[6],{"id":274,"slug":5179,"title":5180,"dynasty":3283,"author":5181,"museum":5182,"description":5183,"tags":5184,"thumbUrl":5185,"material":2567,"size":5186,"collection":6,"collections":5187,"showCount":5188,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"xi-shan-xue-ji-tu-yang-sheng-218238","溪山雪霁图","杨升","耶鲁大学艺术博物馆","画面铺展雪后初霁的溪山胜境。层叠山峦覆着薄雪，肌理温润如凝脂，淡褐底色晕染出残雪消融的清润。近景松枝苍劲，几抹丹枫似燃，为素净天地添暖意；山间小径隐现行人，桥上红袍骑手与白衣者对语，马蹄踏雪声仿佛可闻。中景茅舍掩映林间，窗内人影依稀，似在煮茶赏雪。远景峰峦隐入烟霭，留白处似有余雪未尽。整幅画以淡墨轻染山石，线条婉转勾勒树石轮廓，设色雅致却藏生机，动静相济间，尽显唐时文人对山水隐逸之趣的向往。",[2495,2496,2500,2501,3078,2507,2506,2502,2549,2960,2505,2508,2577],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6649b347adabe03cc40f45facab14c08.jpg","118.9x60.3cm",[6,2870],164,{"id":275,"slug":5190,"title":5191,"dynasty":2632,"author":2762,"museum":2818,"description":5192,"tags":5193,"thumbUrl":5194,"material":2598,"size":2598,"collection":2626,"collections":5195,"showCount":5196,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"yuan-ji-huang-shan-you-tu-ce-shi-tao-235889","原济黄山游图册","此作用笔疏密相宜，淡墨铺陈烟林远景，以浓墨点染近木。几株杂木高低错立，或繁枝遒劲，或疏桠寥落，极简笔触便写尽枯荣姿态。篱边茅斋素朴安然，黛瓦白墙隐于林间，将江南山居的清寂野趣娓娓铺展。\n\n右上角题诗与画作相映成趣，诗书画印融为一体，禅意漫溢其间。笔墨间藏着春日山居的悠然意趣，把胸中林泉化作纸上丘壑，淡远清和，朴拙天真，观之恍若踏入画中，静赏春景，沉潜于物我两忘的幽谧意境之中。",[2496,2497,2499,2592,2509,2501,2593,2730,3735,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04027f2c689ff46da102ff937cdb3245.jpg",[2626,6],163,{"id":276,"slug":5198,"title":5199,"dynasty":2632,"author":2762,"museum":2818,"description":5200,"tags":5201,"thumbUrl":5202,"material":2598,"size":2598,"collection":6,"collections":5203,"showCount":5204,"zanCount":2826,"manualWeight":2517,"mainColor":2518},"yuan-ji-shan-shui-tu-zhou-shi-tao-237928","原济山水图轴","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[2496,2499,2509,2577,2497,2510,2511,2547,2501,2502,2503,2506,2508,2549,2507,2611,2677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfa72c6c88f5d950dcb00da4e61fa4c0.jpg",[6,2626],162,{"id":277,"slug":5206,"title":5207,"dynasty":2522,"author":3847,"museum":2589,"description":5208,"tags":5209,"thumbUrl":5210,"material":2567,"size":2598,"collection":6,"collections":5211,"showCount":5204,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"mo-zhao-qian-li-qing-lv-shan-shui-hu-ting-hui-220127","摹赵千里青绿山水","以大青绿设色晕染山峦，石青石绿的厚重色调铺陈出苍古秀润的山川气象。主峰巍峨盘踞，山石勾勒填色间施皴擦，棱角分明又兼具温润质感，层叠峰峦拉开深远空间。\n山间隐现殿宇屋舍，林麓古木森郁，水岸板桥横陈，汀渚渔舟、江亭雅集错落点缀，将隐逸悠然的山居意趣融于山水烟岚之中。\n追摹北宋青绿山水的精工雅致，又裹挟元代山水画的萧散意韵，用色浓丽却不俗艳，勾勒细劲沉稳，章法严整兼具宏阔格局与细腻文心，尽显青绿山水的古典意涵与雅致格调。",[2495,2496,2545,2500,2676,2501,2507,2506,2528,2502,2504,2730,2550],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a4204ffb83c828eabda3ee5617bad2.jpg",[6],{"id":278,"slug":5213,"title":5214,"dynasty":2605,"author":3052,"museum":2997,"description":5215,"tags":5216,"thumbUrl":5217,"material":2597,"size":5218,"collection":6,"collections":5219,"showCount":5204,"zanCount":3048,"manualWeight":2517,"mainColor":3447},"yun-shan-tu-mi-fei-218566","云山图","这幅画画的是烟波浩渺的海岸上的渔船，雾锁山腰，笔墨淋漓。山峰都是用米氏的方法画的，用的是湿笔，虽然有后人伪造的痕迹，但仍然是难得的水墨游戏杰作。",[2496,2497,2577,2499,2509,2501,3208,2593,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa252b41bf8de2207a07dcd8bb3debcc4.jpg","55.2x27.7cm",[6],{"id":279,"slug":5221,"title":5222,"dynasty":2605,"author":2946,"museum":2563,"description":5223,"t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。",[2495,2496,2498,2499,2833,2509,2501,5236,2651,2614,2506,2504,3651,3349],"江河","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0eb0dc545b1ef144816ffc97adc20f8.jpg","纵45.1厘米，横992.5厘米",[2624,6,2626],{"id":281,"slug":5241,"title":5242,"dynasty":2605,"author":2699,"museum":2673,"description":5243,"tags":5244,"thumbUrl":5246,"material":2639,"size":5247,"collection":2624,"collections":5248,"showCount":5249,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"xue-tang-ke-hua-tu-xia-gui-221573","雪堂客话图","此图画江南寒江雪景。山村房舍为皑雪覆盖，寒气袭人。二人于室内对话。图中山峦用小斧劈皴和短线条秃笔，以表现山石方硬奇峭而又苍润浑融的质感。天空和水略染淡墨，以烘托大雪的洁白和寒气袭人的气氛。构图采用“边角式”局部取景法。全图笔法苍劲深厚、豪放典雅。",[2495,2496,2497,2499,2500,2509,2501,3078,5245,2504,3091,2507,2528,2506],"堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ddc3386f8dbe0c41f1f8a1fa90e3bf.jpg","纵28.2厘米，横29.5厘米",[2624,6,2626],160,{"id":282,"slug":5251,"title":5252,"dynasty":2490,"author":5253,"museum":2563,"description":5254,"tags":5255,"thumbUrl":5256,"material":2531,"size":5257,"collection":6,"collections":5258,"showCount":5259,"zanCount":2826,"manualWeight":2517,"mainColor":2559},"bai-yun-hong-shu-tu-zhou-lan-ying-222599","白云红树图轴","蓝瑛","此幅用没骨法以石青、石绿色画山石，用朱砂画小草，树叶也用浓艳的红、黄、青、绿没骨点出，云用白粉渲染。画面色彩浓重丰富，却又典雅清新。自识“张僧繇没骨法”，实为画家自己独创的画风，此幅为蓝瑛青绿重彩画的代表作。",[2495,2496,2577,2545,2500,2509,2501,3637,4787,2507,2503,2502,2549,2902,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56139497977653ee9c9be5bfb32552a0.jpg","纵189.4厘米，横48厘米",[6,2534],159,{"id":283,"slug":5261,"title":5262,"dynasty":2605,"author":2910,"museum":3121,"description":5263,"tags":5264,"thumbUrl":5265,"material":3157,"size":2598,"collection":6,"collections":5266,"showCount":5259,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"gui-zhuang-tu-ma-yuan-218590","归庄图","虬劲的松枝如墨线盘绕，斜覆在山间幽居之上，松针似点似染，苍润中藏着清劲。屋舍窗明几净，隐于松荫下，与远处淡墨晕染的峰峦、烟水相映。一人素衣独行，身影在空濛的天地间轻淡如尘。笔墨简括却意韵悠长，留白处尽是山水的空灵与归隐的恬淡，仿佛能听见松风掠过檐角，看见云气漫过山腰，将宋代文人心中的林泉之趣，凝在这一方绢素之中。",[2495,2496,2544,2577,2499,2509,2501,2505,2902,2549,2507,2508,2595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99b1435174880a33165f3ee3dd1c464e.jpg",[6],{"id":284,"slug":5268,"title":5269,"dynasty":2490,"author":2491,"museum":2818,"description":5270,"tags":5271,"thumbUrl":5272,"material":2732,"size":5273,"collection":6,"collections":5274,"showCount":5275,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"shi-zhu-tu-shen-zhou-222121","石竹图","石竹图，设色淡雅清幽，线条笔墨饱满有力，将竹的青翠挺拔，山石的坚硬如数展现，为其传世不多的佳品。画面中的竹、石、树体现了生物的灵气，体现了作者心灵与天地共呼吸，随悠云自来往的悠然心境。虽然整幅画面仅有很少的景物，但是作者的心境已经很自然的流露出来。 沈周在画中题识：“石丈有芳姿，此君无俗气。其中佳趣多，容我自来去。”",[2495,2544,2496,2497,2499,2509,2677,3155,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36554dbfb6c71407859f93a0a9573279.jpg","60×48cm",[6,2626],158,{"id":285,"slug":5277,"title":5278,"dynasty":2490,"author":3647,"museum":3039,"description":5279,"tags":5280,"thumbUrl":5282,"material":2639,"size":5283,"collection":6,"collections":5284,"showCount":5275,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"tao-yuan-wen-jin-tu-quan-juan-wen-zheng-ming-221994","桃源问津图全卷","全图画远山冈峦，叠翠连绵，溪水横流，树木葱郁，屋舍村字，掩映其间，有老者山道边策杖观瀑沉思，有妇人携幼拄杖于院篱门口问路，屋内四男子席地而坐，饮酒高谈。图中线条粗细旋转富于变化，墨色浓淡干湿，层次丰富。该图款识：“嘉靖甲寅二月既望。徵明识。时年八十有五。”嘉靖甲寅年为1556年。",[2495,2496,2501,2714,2715,2593,2500,2498,2637,2732,5281],"舟船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5be4d911f0f1c59073981b4c71b9d7db.jpg","纵23厘米，横578.3厘米",[6,2534],{"id":286,"slug":5286,"title":5287,"dynasty":2632,"author":3796,"museum":2589,"description":5288,"tags":5289,"thumbUrl":5290,"material":2512,"size":2598,"collection":6,"collections":5291,"showCount":5275,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"fang-gu-shan-shui-ce-wang-jian-215031","仿古山水册","王鉴（1669-1725）是清朝时期著名的画家，以其精湛的仿古山水画而闻名。王鉴出生于江苏省，自幼便对绘画有着浓厚的兴趣。他从小就开始学习绘画，后来在北京的私塾深造，并在考试中取得了优异的成绩。\n\n王鉴的仿古山水画以其精细的笔法和优美的构图而著称。他的画作经常使用细腻的线条和深浅不一的色彩来表现山水的美感。王鉴的作品常常充满了沉静、凝重的气氛，能够让人感受到中国古代山水画的韵味。\n\n王鉴的仿古山水画在当时广受欢迎，并且被广泛收藏和传承。他的画作经常被收录在仿古山水册中，并被视为中国古代山水画的经典之作。王鉴的画风对后代画家也产生了深远的影响，被认为是清朝时期仿古山水画的代表人物之一。",[2496,2499,3267,2509,2592,2501,2506,2507,2613,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f5870a1a3d56961655bf14bd82552d.jpg",[6],{"id":287,"slug":5293,"title":5294,"dynasty":2490,"author":3120,"museum":2673,"description":5295,"tags":5296,"thumbUrl":5302,"material":3069,"size":5303,"collection":6,"collections":5304,"showCount":5305,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"pin-cha-tu-li-zhou-chen-hong-shou-221880","品茶图立轴","画中两人相对而坐,似是一主一客。蕉叶铺地,主人坐于其上,旁置茶炉壶具，炉中炭火正炽。客人坐一怪石上，又以一方奇石为琴台，古琴已收入锦缎琴套中。此时，琴弦歇，茶正熟，两人手持茶盏，四目相视，正闻香品啜，耳边琴声犹在。此中乐趣,任凭读者遐思。读陈洪绶《品茶图》,至少能读出三点明代茶事信息来。",[2495,2544,2496,2497,2577,2500,2546,2549,5297,3457,5298,5299,5300,5301],"器","衣袍","石桌","花瓶","卷轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F561d2687f6bef527a3ee9c1f39e3b3a0.jpg","纵150厘米，横67.3厘米",[6],157,{"id":288,"slug":5307,"title":5308,"dynasty":2490,"author":2540,"museum":2673,"description":5309,"tags":5310,"thumbUrl":5313,"material":2720,"size":5314,"collection":6,"collections":5315,"showCount":5316,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"lian-xi-yu-yin-tu-zhou-chou-ying-222215","莲溪鱼隐图轴","此图写江南水乡景色，平远山水。画清溪水田，绿树成荫，岸边一院落，院外有高士携书童远眺，悠然自得，远处云山起伏，真实地再现了江南渔村恬静安乐的生活情景。布景清远疏旷，笔法工整而有潇洒之趣。图未署年款，从作品款识和绘画风格分析，应为画家晚年精品之作。曾为清代梁清标、安仪周、吴舜昇等人鉴藏。\n仇英的绘画以“秀雅纤丽”的院体风格著称，而在华贵富丽中又带有一种飘逸优雅的气息。仇英的这种画风是受沈周、文徵明等文人画家的影响再加上他自己深厚的临古功力而形成的，蕴含着浓重的文人情趣，与文人画家的书斋山水在情调上有相合之处。",[2495,2496,2497,2544,2577,2500,2546,2501,2506,2508,5311,2503,2504,2547,5312],"田野","渔隐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bde991eb8229865f5a2907eae42422a.jpg","纵126.5cm，横66.cm。",[6,2534],156,{"id":289,"slug":5318,"title":5319,"dynasty":2522,"author":4854,"museum":3121,"description":5320,"tags":5321,"thumbUrl":5322,"material":4016,"size":5323,"collection":6,"collections":5324,"showCount":5316,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"shan-shui-zhu-shi-tu-quan-juan-zhao-yuan-221735","山水竹石图全卷","赵原（约1325—1374），元末明初画家。生卒年不详。本名元，入明后因避朱元璋讳而改作原，字善长，号丹林。莒城（今山东莒县人，一作东平(今属山东)人，寓居苏州(今江苏苏州)。善诗文书画，擅山水。明太祖洪武（1368-1398）间征至中书令。洪武五年（1372）在昆陵作听松图，此顷被征至京图往贤着功名者像，应对忤旨，被杀。明洪武初奉诏入宫，因所画不称旨而被杀。\n关于赵原的师承说法不一，最经常的说法是王维和董源。也有说他师法董源、王蒙或米芾、高克恭。善用枯笔浓墨，作品多作浅绛山水，笔墨圆劲秀逸。亦长于画竹，画法多变，有龙角、凤尾、金错刀之称。兼能竹石，当时在平江一带负盛誉。有《合溪草堂图》、《晴川送客图》、《溪亭送客图》、《陆羽烹茶图》等传世。",[2495,2496,2497,2498,2499,2509,2501,3155,3839,2510,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70809230f2fb9e519270ac51b851cbf5.jpg","纵25.7厘米，横380厘米",[6,2626],{"id":290,"slug":5326,"title":5327,"dynasty":2632,"author":3786,"museum":2589,"description":5328,"tags":5329,"thumbUrl":5338,"material":2597,"size":5339,"collection":6,"collections":5340,"showCount":5316,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"hu-shan-qing-yi-tu-juan-shou-juan-hong-ren-220092","湖山清逸图卷手卷","根据《中国画史馨香录》书中所记，此题画诗原出自郑旼康熙戊申（1668年）录“渐公题诗二十三首”手钞本，1934年，许承尧录寄黄宾虹。渐江和尚画笔师法云林，又得徽州山水特别是黄山松壑云泉的蒙养，加之性格刚硬，所以其画并不为云林所囿。磊磊落落，逋峭冷隽，笔底山川，或幽深邃密，或峻拔嵯峨，气象高华而趣味淡宕，人品画品皆为时称道，是新安派中首屈一指的领军人物。观此卷气象，以平远式构图表现，岩壑奇秀，奇松点缀其中，沿江景物，用笔瘦硬，皴染枯淡而墨韵清润。以刚劲凝练的笔线勾勒，折带皴、披麻皴交互为用，山峰之间，礁石垒叠，疏疏密密、大大小小，形成参差错落的“矾块”，山峰中的涧溪，曲折逶迤而下，形如盘龙出水，跳荡击石，泠然有声。清人杨翰曾评论其突出的风格：“于极瘦削处见腴润，极细弱处见苍劲，虽淡无可淡，而饶有余韵。”当时本幅之写照。此卷诗题：“清秋凝目郁苍苍，百里嶙峋一草堂。世代频更人不到，未燔书尽此中藏。",[2496,2498,2499,2833,2509,5330,3112,5331,5332,5333,5334,2934,5335,5336,5337,2510,2511],"折带皴","岩壑","奇松","礁石","涧溪","清润","冷隽","清逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F689de6099893b4044c6746888a67279c.jpg","引首17.5×66.5cm；画心17.5×131cm；题跋17.5×83.5cm",[6,2626],{"id":291,"slug":5342,"title":5343,"dynasty":2605,"author":3431,"museum":2563,"description":5344,"tags":5345,"thumbUrl":5346,"material":3157,"size":5347,"collection":2624,"collections":5348,"showCount":5349,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"qiu-shan-yu-ji-tu-yi-ming-218670","秋山雨霁图","雨霁后的秋山，似被洗去尘嚣。云雾如轻纱漫笼峰峦，在谷间缓缓流转，若隐若现的山影透着清润的轮廓。近坡上树木疏朗，枝叶带着湿意舒展，浅滩溪流潺潺，石间水痕依稀，犹存雨落余韵。墨色淡雅却层次分明，干笔皴擦勾勒山石肌理，湿墨晕染晕开云雾空濛，将秋山初晴的静谧与生机凝于一纸。那朦胧间的悠远清寂，恰是宋人山水中独有的意境——不刻意雕琢，却于简淡中藏着天地的灵秀，引人沉浸于这刚醒的秋意里，忘乎尘嚣。",[2495,2496,2499,2509,2501,2714,3208,2506,2552,2652,2613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaad32c24dfc8fad734affdf00c5c629.jpg","28.9x50.4cm",[2624,6],155,{"id":292,"slug":5351,"title":5287,"dynasty":2632,"author":5047,"museum":2589,"description":5352,"tags":5353,"thumbUrl":5354,"material":2512,"size":2598,"collection":6,"collections":5355,"showCount":5349,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"fang-gu-shan-shui-ce-wang-hui-214603","王翚（1768年－1849年）是清代著名的画家，他出生于江苏省南京市，是清代名门望族，他的祖父王恭是清代名将王莽的儿子。王翚早年曾在父亲的教导下学习书法和绘画，后来又师从著名画家黄庭坚学习。\n\n王翚擅长画山水，他的作品《仿古山水册》是他的代表作之一。这本册子包含了王翚的许多优秀作品，其中包括了他的山水画、人物画、花鸟画等，作品风格秀丽自然，富有感染力。《仿古山水册》被誉为王翚代表作之一，在当时颇受欢迎。\n\n王翚的画风受到了清代著名画家黄庭坚的影响，但他也在此基础上创造出了自己独特的画风。他善于运用墨色，擅长表现山水的秀美和雄伟，并融入了自己的个人特色。王翚的画作经常带有浓郁的文化气息，富有哲理性和艺术性。\n\n总的来说，王翚的《仿古山水册》是一部优秀的山水画集，值得一看。",[2496,2499,2509,3267,2501,2714,2715,2593,3091,2613,2611,2652,2550,2592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd97c1595d846d11221e221903e359a62.jpg",[6],{"id":293,"slug":5357,"title":5214,"dynasty":2490,"author":2491,"museum":2673,"description":5358,"tags":5359,"thumbUrl":5360,"material":2512,"size":5361,"collection":6,"collections":5362,"showCount":5363,"zanCount":2517,"manualWeight":2517,"mainColor":3447},"yun-shan-tu-shen-zhou-219865","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”。",[2495,2496,2499,2501,2509,2577,2506,2614,2507,2528,2505,2595,3055,3056],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897b1218fae6500d911cbd7f3c4140b9.jpg","纵155.2cm，横73cm",[6],154,{"id":294,"slug":5365,"title":5366,"dynasty":2605,"author":2699,"museum":2818,"description":5367,"tags":5368,"thumbUrl":5371,"material":2567,"size":4490,"collection":6,"collections":5372,"showCount":5363,"zanCount":3048,"manualWeight":2517,"mainColor":2559},"feng-yu-gui-zhou-tu-xia-gui-218593","风雨归舟图","画面墨气淋漓，骤雨如丝斜织，远山隐入烟霭，近树被风揉得枝叶翻卷。蓑衣客躬身疾行，斗笠遮不住风雨，脚步却向着归途匆匆；江畔小舟半隐雾中，舟子撑篙破雨而来，船篷上似有雨珠滚落。墨色浓淡相济，湿笔晕染出天地苍茫，干笔勾勒出人物的急切与树石的坚韧。风雨的喧嚣仿佛透过绢素传来，归人的匆忙与自然的浩渺相映，既有生活的烟火气，又藏着山水间的悠远意境。寥寥几笔便将骤雨归舟的情景写尽，湿墨晕开的雨雾里，似能触到那份湿润的诗意，以及归心似箭的温暖底色。",[2496,2499,2501,2509,3207,2549,2506,2651,2552,5369,5370],"风雨","蓑衣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeefa85c6c7e634a1e82deccf9bee42a.jpg",[6],{"id":295,"slug":5374,"title":5375,"dynasty":2605,"author":2910,"museum":2492,"description":5376,"tags":5377,"thumbUrl":5381,"material":2567,"size":5382,"collection":6,"collections":5383,"showCount":5363,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"xue-ji-guan-mei-tu-ma-yuan-218237","雪屐观梅图","马远，号钦山。其祖父、伯父、父亲、兄弟均为南宋画院画家。他对花鸟、山水、人物都很擅长，尤以山水画的成就最为突出。在光宗、宁宗年间，他任画院待诏。学李唐，画山石用大斧劈皴，并创长斧劈皴，用笔凝重。构图上，一变五代、北宋以来的“全景式”，喜欢采用边角式的构图，或峭峰直上不见顶，或绝壁直下不显脚，人称“马一角”。《雪屐观梅图》画面的重心在左下角，水滩、苍松、老梅与人物集中与此。远处雪山只是以大斧劈皴刷扫，干净利落，与近处的巨石遥相呼应。",[2496,2544,2833,5378,3975,3166,4526,4241,2549,5379,5380],"大斧劈皴","巨石","水滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3179ad18bc15bc6742fc5df6ed494cdd.jpg","纵16.3 厘米，横100.9厘米",[6],{"id":296,"slug":5385,"title":5386,"dynasty":2490,"author":4134,"museum":3121,"description":5387,"tags":5388,"thumbUrl":5389,"material":2567,"size":5390,"collection":6,"collections":5391,"showCount":5392,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"xun-yang-ba-jing-tu-tang-yin-220417","浔阳八景图","画中的浔阳江为实景写生，浔阳江是九江的古称，位于现在的江西省九江市的北边。至今还可以通过这卷作品，找到与之相关的实景地。唐寅落魄之后曾经四处游走，一方面为了寻找人生方向，一方面为了增长见闻提升画技。古代画家都在书斋之中创作，但他们眼中的美景已经牢牢记忆在心中，哪怕没有对照摹写，也能出神入化。\n在唐寅的画卷中，浪井、琵琶亭、浔阳楼、天花宫等都有体现。其中知名度最高的就是浔阳楼，名著《水浒传》中有宋江在浔阳楼题写反诗的情节，才引出李逵闹江州。看着画卷中的浔阳楼，过往沧桑已成历史，只有文人赏景饮酒，这才是古今多少事都付笑谈中。",[2495,2496,2497,2498,2499,2500,2501,2546,2509,2511,2547,2502,2503,2505,2550,2504,2552,2549,2578,2987,2800,2677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4e7b7befcd16a579dde7285f16c9de.jpg","32.4×413.7厘米",[6,2534],153,{"id":297,"slug":5394,"title":3183,"dynasty":2490,"author":5395,"museum":2563,"description":5396,"tags":5397,"thumbUrl":5398,"material":2512,"size":5399,"collection":6,"collections":5400,"showCount":5392,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-zhao-zuo-214737","赵左","这幅画描绘了一座远山，远处有长长的松树，还有一条安静、荒芜的山路。此幅笔墨有王蒙遗法，用笔转为清雅",[2496,2497,2577,2499,2509,2547,2501,2652,2506,2503,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ffc14a94445ec38d2e703a1156fa299.jpg","122.5x34.7",[6],{"id":298,"slug":5402,"title":5403,"dynasty":2605,"author":5404,"museum":2563,"description":5405,"tags":5406,"thumbUrl":5407,"material":2703,"size":5408,"collection":2624,"collections":5409,"showCount":5410,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"xi-hu-shi-jing-hua-xin-ye-xiao-yan-221244","西湖十景画芯","叶肖严","该册以西湖十景为题，西湖在浙江省杭州市城西，亦名钱塘湖，苏轼诗有“欲把西湖比西子”之句，因又名西子湖，三面环山，有南北两高峰对峙；湖中有苏，白两堤，四时风物清佳，以十景驰名於世。山石以大斧劈法，着重烘染，用笔简洁有韵致，构景设色取意都见巧思\n叶肖岩作人物小景，颇类马远，然其迹世多不见也。 如“雷峰夕照”之远山后缘用淡朱稍加施染，霞光微露，已然夕阳西沉。余诸页亦如是，虽细微处，亦细洁圆润。描绘花港观鱼的景色。寺宇掩映于柳林之间，湖中一人泛舟，悠游自得。峭峰直下，不见其顶，构图方式与马远山水同出一辙。用笔洁简，著重烘染，清雅秀润。\n该册页采用诗画合一的形式，以杭州工笔技法专为该画册页创作的西湖十景，其风格似马远而略拘谨，山石多用湿笔轻染，石顶稍加小斧劈皴，与夏珪的大笔拖染、磅礴挥洒不同。西湖四时风物清佳，以及乾隆皇帝钦定的西湖十景诗作为册页的主要内容，辅以西湖十景图",[2495,2544,2496,2497,2592,2499,2500,2509,2501,2505,2506,2504,2527,2595,2594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326d0fb6069b73edd75991a2f5e6a450.jpg","对幅23.9x20.2公分",[2624,6],152,{"id":299,"slug":5412,"title":5413,"dynasty":2632,"author":2830,"museum":2763,"description":5414,"tags":5415,"thumbUrl":5416,"material":2597,"size":5417,"collection":6,"collections":5418,"showCount":5410,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"fang-huang-zi-jiu-shan-shui-tu-wang-shi-min-220080","仿黄子久山水图","王时敏（1592—1680），字逊之，号烟客、西庐老人。太仓（今属江苏）人。王时敏的祖父王锡爵、父亲王衡都是高官，他也荫仕太常寺少卿，故人称“王奉常”。王时敏家富收藏，每遇名迹，即不惜重金搜求，曾遍摩家藏的宋、元真迹。王翚、吴历及其孙王原祁均经他传授画艺。与王鉴并称“二王”、加上王翚、王原祁被称为“四王”。山水笔墨苍润秀疏，为四王之首。 作品介绍: 王时敏家藏历代名画甚丰，得以充分观摩研习，其绘画以山水见长，为正统山水画派的领袖人物。他的作品多摩古之作，颇具先人遗风。此画册摩写了宋元大家巨然、米友仁、黄公望、王蒙、倪瓒、吴镇等人的山水画作，画幅小而精致，清新悦目，各家风格迥异，绘制精微细腻，显示出王时敏深厚的功底和纯熟技法。",[2495,2496,2499,2577,2676,2509,2501,2502,2503,2506,2507,2611,2508,2527],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F327760a064cea89ccaf8862ca234e649.jpg","177.5x56.9",[6],{"id":300,"slug":5420,"title":5421,"dynasty":2632,"author":2830,"museum":2749,"description":4422,"tags":5422,"thumbUrl":5423,"material":2512,"size":4425,"collection":6,"collections":5424,"showCount":5425,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"shan-shui-hua-fang-huang-zi-jiu-wang-shi-min-220004","山水画-仿黄子久",[2495,2496,2500,2545,2501,2676,2509,2502,2503,2506,2651,2508,2507,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb68a290c2795698c616b7dc02b7d5c03.jpg",[6],151,{"id":301,"slug":5427,"title":4495,"dynasty":2632,"author":5428,"museum":2877,"description":5429,"tags":5430,"thumbUrl":5431,"material":2567,"size":5432,"collection":6,"collections":5433,"showCount":5434,"zanCount":3048,"manualWeight":2517,"mainColor":2559},"peng-lai-xian-jing-tu-xu-wen-218715","徐玟","这幅青绿山水边框画属于赵伯驹、赵孟頫、仇英一脉，山石皴擦少，傅色细雅，边框画精美。",[2495,2496,2500,2790,2546,2501,2550,2506,2614,2527],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d5656eb494ec10d4f4e9a3529db76a4.jpg","172x100cm",[6],150,{"id":302,"slug":5436,"title":5437,"dynasty":2605,"author":3087,"museum":2997,"description":5438,"tags":5439,"thumbUrl":5440,"material":2597,"size":5441,"collection":6,"collections":5442,"showCount":5434,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"shan-ju-xiao-si-tu-li-cheng-218609","山居萧寺图","积雪覆峦，寒林瘦劲，蟹爪枝如墨线垂曳，勾连起冬日山野的清寂。山间茅舍隐现，古寺檐角微露，溪流凝冰，石径蜿蜒，似藏着隐士的幽居岁月。笔墨苍劲中透着秀逸，卷云皴晕染出山峦肌理，留白处漾着雪意空濛。整体意境悠远淡远，尽显北宋山水的空灵与哲思，仿佛能听见林梢风过，窥见文人胸次里的丘壑万千。",[2496,2577,2501,2499,2509,2507,2506,2690,2508,2613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F532ad420f8495b67d554fa9e28bec96d.jpg","127.3x63.7cm",[6],{"id":303,"slug":5444,"title":5445,"dynasty":2490,"author":5446,"museum":2589,"description":5447,"tags":5448,"thumbUrl":5452,"material":2512,"size":2598,"collection":6,"collections":5453,"showCount":5434,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"han-xi-meng-xiu-song-yuan-ming-ji-ce-bian-dou-qing-ting-tu-han-xi-meng-216324","韩希孟绣宋元名迹册·扁豆蜻蜓图","韩希孟","针丝摹宋元清韵，绣线藏自然生机。藤蔓婉转牵绕，叶片青绿层次晕染，脉络清晰可触；淡蓝小花缀枝，豆荚饱满似含晨露，嫩黄浅绿间漾着鲜活。两只蜻蜓停落藤蔓，翅脉细如游丝，羽翼薄透若纱，身纹斑斓细腻，姿态轻盈灵动，仿佛振翅欲飞。绣艺疏密得宜，色彩雅淡天成，将夏日庭院的清寂与鲜活凝于方寸，经纬间藏纳草木情致，尽显闺阁绣工的精工巧思与诗意才情。",[5449,2592,2500,3010,3461,5450,3126,5451,2510],"刺绣","蜻蜓","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e24cbd413857474856d33165f232536.jpg",[6,2870],{"id":304,"slug":5455,"title":5456,"dynasty":2522,"author":4583,"museum":2673,"description":5457,"tags":5458,"thumbUrl":5460,"material":3044,"size":5461,"collection":6,"collections":5462,"showCount":5463,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"shui-cun-tu-juan-zhao-meng-fu-220852","水村图卷","此图卷作于元大德六年（1302年），赵孟頫时年49岁，这是他最后一幅可靠的纪年作品。赵孟頫以水墨写江南水乡平远开阔的景色，从用笔到构图都受到董源的影响，但董源的画法已完全融入赵孟頫的个人风格之中，于不经意间表现出来。山用披麻皴画出，景物以平远的形式展开。渴笔较多，用笔松秀含蓄，“写”的意味较浓，体现了书法的审美趣味。画家借景抒情，表现了一种静穆的心态和对“平淡天真”的追求。此图重要之处在于其对元画独特风格的形成产生了较大的影响，由此可见赵孟頫在开创元、明、清文人画潮流中所起的重要作用。",[2495,2496,2497,2498,2499,2501,2511,2547,2509,2714,2715,5051,2506,2528,5459,5311],"山丘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc7d0809cc7c3659449e357f2fbf9e09.jpg","纵24.9厘米，横120.5厘米。",[6,2626],149,{"id":305,"slug":5465,"title":5466,"dynasty":2490,"author":3401,"museum":2563,"description":5467,"tags":5468,"thumbUrl":5469,"material":2512,"size":5470,"collection":6,"collections":5471,"showCount":5463,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"song-ting-gao-shi-tu-wang-fu-214825","松亭高士图","这幅画展示了一群矗立在云端的山峰，山坡上的建筑结构，飞翔的喷泉和下面的小溪。附近岸边的松树林，水面上的小桥，以及两位高士摊开画卷的小亭子，都是面对面的。岩石是用湿的笔触和剥离相结合的方式绘制的。笔墨似乎与我们收藏的王绂的其他作品不同。",[2496,2497,2577,2499,2509,2501,2779,2505,2549,2502,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27e34794de7373f042b12a8297a0a70b.jpg","254.2x53.6",[6],{"id":306,"slug":5473,"title":5474,"dynasty":2522,"author":3431,"museum":2673,"description":5475,"tags":5476,"thumbUrl":5477,"material":2567,"size":5478,"collection":6,"collections":5479,"showCount":5463,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"dong-shan-si-zhu-tu-yi-ming-214314","东山丝竹图","此图画东晋谢安东山丝竹故事。\n图绘崇山峻岭，连绵不绝，云雾缭绕，溪流蜿蜒山间。下部绘庭院一座，华屋数楹，院中仕女多抱管弦乐器，院外主人正携仆恭迎远来的贵宾们。全图表现了谢安迎客于东山、丝竹管弦高奏的情节，动态鲜明，仿佛有丝丝乐声流溢而出。而山水佳景清逸幽雅，衬托出主人高逸的情怀。图中人物刻画细腻，画法近于元末盛懋一路，具体作者不得而知。",[2495,2496,2497,2500,2501,2509,2549,2550,2506,2503,2505,3965],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b23ad1f9ddfe456c8d38d90674e4715.jpg","纵188.5厘米，横103.3厘米",[6],{"id":307,"slug":5481,"title":5482,"dynasty":2490,"author":2491,"museum":2563,"description":5483,"tags":5484,"thumbUrl":5485,"material":2512,"size":5486,"collection":6,"collections":5487,"showCount":5488,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"chun-hua-zhou-jin-zhou-shen-zhou-222110","春华昼锦轴","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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厘米",[6],{"id":309,"slug":5499,"title":5500,"dynasty":2490,"author":2491,"museum":2563,"description":5501,"tags":5502,"thumbUrl":5503,"material":3608,"size":5504,"collection":6,"collections":5505,"showCount":5506,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"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。",[2495,2496,2497,2833,2499,2509,2714,3208,2593,2503,2507,2505,2913,2578,2613,2752],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb54811e543fce13bf211196f60045fc.jpg","152 2x43 2cm",[6,2626],147,{"id":310,"slug":5508,"title":5509,"dynasty":2605,"author":2699,"museum":2818,"description":5510,"tags":5511,"thumbUrl":5513,"material":2567,"size":5514,"collection":6,"collections":5515,"showCount":5506,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"ting-qin-kan-pu-tu-xia-gui-220045","听琴看瀑图","危崖飞瀑垂落千仞，斧劈皴勾勒山石棱骨，墨色苍劲凝练，将峭壁雄浑之势尽显。虬松盘曲展枝，松下平坡之上，抚琴者席地拨弦，知音侧耳凝听，童子垂手侍立，寥寥数笔便将人物悠然意态勾勒传神。\n\n画面以局部取景，大片留白晕染出空濛悠远，将林泉雅集的闲逸与山川清旷相融，虚实之间，把静赏飞瀑、闲听雅琴的幽趣铺陈开来，藏着寄情丘壑、静悟天机的风雅，笔简而意无穷，尽得空灵禅寂之美。",[2544,2496,2497,2577,2499,2509,2501,2611,2902,2549,5512,2652,2503],"琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23b1f6772d48a16ed101d54e26afa835.jpg","142.2 × 70 cm",[6],{"id":311,"slug":5517,"title":5518,"dynasty":2605,"author":3431,"museum":5519,"description":5520,"tags":5521,"thumbUrl":5523,"material":2567,"size":5524,"collection":6,"collections":5525,"showCount":5506,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"jiang-tian-lou-ge-tu-yi-ming-218232","江天楼阁图","南京博物馆","此图无款印，写江天坡石，远山楼阁，舟船人物，松枝虬劲。精致生动。可看出典型的“马夏”式构图，取一角之景，加以远山的绵延起伏，浩渺深远，意境深幽，为画面的水天一色注入了新的活力。",[2496,2497,2577,2790,2499,2500,2501,2550,2504,2578,2652,5522,2595],"船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5919d4dd7f42021aba4be1549a9e9aa1.jpg","纵97.4厘米，横54.6厘米",[6],{"id":312,"slug":5527,"title":5528,"dynasty":2605,"author":2699,"museum":3121,"description":5529,"tags":5530,"thumbUrl":5531,"material":3157,"size":5532,"collection":6,"collections":5533,"showCount":5534,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"bu-yu-tu-xia-gui-215111","捕鱼图","捕鱼图是宋朝时期著名画家夏圭的一幅名作。这幅画描绘了一个捕鱼的场景，画面中有许多渔民在用各种方法捕捉鱼类。夏圭是宋朝时期著名的“四大家”之一，他的捕鱼图以其精细的细节和逼真的人物造型而闻名。这幅画被认为是宋朝时期画家对自然主题的精湛描绘的典范，并被视为中国绘画史上的杰作。",[2495,2544,2496,2497,5225,2499,2509,2501,2504,2821,2987],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F816c22a3a1796408cdb7def0393b7cd2.jpg","23.2×24.1cm",[6],145,{"id":313,"slug":5536,"title":5537,"dynasty":2490,"author":3264,"museum":2563,"description":5538,"tags":5539,"thumbUrl":5540,"material":2597,"size":2598,"collection":6,"collections":5541,"showCount":5534,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"fang-huang-gong-wang-dou-he-mi-lin-dong-qi-chang-214616","仿黄公望陡壑密林","董其昌是一位著名的明代画家，他的作品《仿黄公望陡壑密林》是一幅杂乱的山林画，充分展现了董其昌对自然的描绘能力。\n\n在这幅画中，董其昌通过细致的笔触和细腻的色彩，精确地描绘出了山林中的每一个细节。他使用浓密的线条和暗色调描绘出了树木，使得整幅画呈现出一种茂密的森林氛围。同时，董其昌还使用了浅色调和柔和的线条描绘出了山谷的景色，使得画面显得更加生动。\n\n总的来说，《仿黄公望陡壑密林》是一幅令人印象深刻的山林画，展示了董其昌的画风独特，也诠释了他对自然的热爱和描绘能力。",[2496,2497,2499,2509,2676,2592,2501,2714,2506,2613,2977],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80c809d6e5fc35ec243b8d09d730397b.jpg",[6],{"id":314,"slug":5543,"title":5544,"dynasty":2605,"author":3087,"museum":3039,"description":5545,"tags":5546,"thumbUrl":5550,"material":5551,"size":5552,"collection":2624,"collections":5553,"showCount":5554,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"mao-lin-yuan-xiu-tu-li-cheng-221414","茂林远岫图","由于这幅《茂林远岫图卷》没有款识，后代的收藏者也都是根据画卷后部南宋向冰、元代倪瓒以及明初张天骏三人的题跋，而将其作者定为李成。明、清时期的张丑、吴升等曾认定题跋为后人补配，怀疑作品不是李成真迹。当代鉴定家对这件作品的作者归属问题也存在着诸多推论。其实，欣赏一件古代的书画作品，首先着重看的是它的艺术质量与笔墨精神，真伪问题应在其后。\n《茂林远岫图》经南宋贾似道、元代鲜于枢、明代项元汴、清代梁清标等名家收藏，后入清宫内府，上有百余方收藏印迹。作品后有南宋向冰、元人倪瓒、明人张天骏三人题跋。画上有乾隆的一首七言诗：“元气淋漓万木枝，荆关而外自成师。奁屏合付闺中秀，砚匣琉璃冥写时。”由于南宋向冰在卷后题跋中称此图为北宋李成所作，所以该作品多被看做是流传有绪、唯一可信的李成真迹。\n展阅北宋画家李成的《茂林远岫图》轴，它给人的第一印象就是场面开阔、气势恢弘。远处的山峰顶天立地，给人以庄严、豪迈之感。近景处，小桥流水、泊岸轻舟，以及来来往往的行人车马，给人一种轻柔舒缓的感觉。它们与雄浑、巍峨的远山搭配协调、刚柔相济。楼台寺塔、流泉飞瀑点缀于溪畔崖间；丛林苍翠，连绵不断，让人观后顿觉心情舒畅。\n《茂林远岫图》用笔劲健平和，线条纤细而不孱弱，骨力内蕴，如绵里裹针。岩石先用瘦劲的线条勾勒，再以清晰、细劲的小线条慢慢皴写，层层叠加。作品用墨谨慎小心。尤其淡墨，更是细腻持重、清逸传神。作品设色不多。即使设色的地方，也是清新、醇厚，有一种雍容典雅的韵味，没有丝毫的火气与造作。\n北宋画家王诜曾将李成的画与范宽的画做过比较，说李成的画“墨润而笔净，烟岚轻动，如对面千里，秀气可掬”。的确，与范宽的画相比，李成的画更为文气，这与李成具有广博、丰厚的学识大有关系。李成的画有较浓的书卷气，这一点在传为李成的《茂林远岫图》中也体现得很明显。\n以平远法构图来表现清旷、幽远的画境是李成山水画的一大特色。他之所以多用平远法构图，一是因为平远法适合表现山东平原的烟林远丘，容易营造一种一望无际、层层推进的视觉效果，让人感觉阔远（如果用高远法或深远法来表现，就会显得局促、窄小）；二是与李成的经历有关。虽然他在世时，李唐王朝已灭亡十几年了，但作为皇族后裔的他，并不甘心就此埋没，还想东山再起。可因家道中落、仕途不顺、兵灾人祸等种种原因，他走仕途的理想最终未能实现。在多次遭到挫折的情况下，他将自己的人生目标转移到绘画上，以求得内心的平静。这一追求体现在画面上，就是意境冲淡、平和，并带有萧疏之气。平远的构图，使画家能深入地描绘对象，思维不自觉地延伸，从而达到内心的宁静。宋代郭若虚《图画见闻志》评价李成的作品“气象萧疏，烟林清旷”，甚是贴切。",[2495,2496,2544,2497,2498,2501,2509,2500,5547,2595,2506,2507,2614,5548,2531,5549,2619,2613,3057],"茂林","淡墨","层峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ba9ba394d8f11186aaa0fc8c73d28ca.jpg","绢本，淡设色","纵45.4厘米，横141.8厘米",[2624,6,2626],144,{"id":315,"slug":5556,"title":3604,"dynasty":2605,"author":2647,"museum":3121,"description":5557,"tags":5558,"thumbUrl":5560,"material":3608,"size":3609,"collection":2624,"collections":5561,"showCount":5554,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"shu-se-ping-yuan-tu-guo-xi-221291","《树色平远图》是由北宋时期画家 所作的一副绢本墨笔画，现收藏于美国大都会美术馆。\n《树色平远图》描绘了河流两岸树色平远的景色。\n画中点缀有拄杖的老人，携琴捧盒的仆夫，水面的小舟和飞翔的野凫，都渲染了浓郁的诗意。\n描绘的是一河流两岸树色平远的景色。\n画中之景以河为界可分作前后两部分。\n前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。\n开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n此图无款，卷后有元明诸家诗文题跋。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。\n整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。\n《树色平远图》描绘的画面以平远布局，构景简洁，开阔而均衡，墨色浓淡变化丰富而微妙，所造之境具体真实。\n郭熙（约1—约18），北宋画家、绘画理论家。\n字淳夫，河阳温县人。\n因传李成之法而与之并称为“李郭”。\n其画风早年工巧，晚年雄壮，常于巨幛高壁作长松乔木，曲溪断崖，峰峦秀拔，境界雄阔而又灵动飘渺。\n存世作品有《 》、《 》、《 》、《 》、《古木遥山图》、《 》、《树石平远图》等。",[2495,2496,2497,2498,2499,2509,5559,2501,2505,2913,2578,2677,2503,2504,2547],"平远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a17b78710e3a953f6c2076e25d8f7b1.jpg",[2624,6,2626],{"id":316,"slug":5563,"title":5564,"dynasty":2522,"author":2922,"museum":2563,"description":5565,"tags":5566,"thumbUrl":5567,"material":2597,"size":5568,"collection":6,"collections":5569,"showCount":5554,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"shu-lin-yuan-xiu-tu-zhou-ni-zan-220789","疎林远岫图轴","水墨畫河岸、疏樹、竹林與房舍，對岸則山巒起伏。用筆多中鋒，山石皴法以披麻為主，略有折帶筆意。幅上有壬子（一三七二）年款，時七十二歲。然本幅題款，實摹自本院藏倪氏真本「容膝齊圖」。用筆亦無倪氏一代大家之健勁，顯係後代摹品。",[2496,2497,2577,2499,2509,2501,2506,2977,2715,2508,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08ea5b0016ae78ee46681955a92009ac.jpg","72.9x37.5",[6,2626],{"id":317,"slug":5571,"title":5572,"dynasty":2522,"author":2984,"museum":2673,"description":5573,"tags":5574,"thumbUrl":5576,"material":2531,"size":5577,"collection":6,"collections":5578,"showCount":5554,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"xi-shan-gao-yin-tu-wu-zhen-220779","溪山高隐图","《溪山高隐图》是元代画家吴镇创作的绢本墨笔画，现藏于北京故宫博物院。\n图绘高山巨石层峦重叠，远山云雾朦胧栈道顺山崖伸延，迂回盘绕，树林后溪水一湾，水榭半露，充满夏日中葱郁气氛，山石以水墨渲染，淡施披麻皴，圆点浓墨点苔。笔法稳健，墨气湿润。全画构图呈长方形，上不留天，下不留地，构图虽饱满，但密而不塞，疏密相间，故布局十分得宜。\n该图以深远式构图，远处高山叠嶂，群峰突起，高高耸起，山巅处云蒸霞蔚，山色柔和绵连。山坡和山坳处荆棘和杂木丛生。中间山腰处山石嶙峋突兀，山石或纵立，或横卧于山腰间，山径顺山脚伸延，蜿蜒迂回盘旋，成为上下山的一栈道、近景茂密的丛林后有溪水一湾，在山脚下临溪边有一间水榭，在山石和丛树的掩映下半露半隐，环境十分清静幽雅，充满夏日丰饶葱茏的气氛。\n吴镇的绘画题材大多为渔父、古木、竹石之类，均表现江南名山景色。《溪山高隐图》是他山水画中的代表作之一。《溪山高隐图》是其取法”巨然的一张典型作品。因为和巨然的作品《秋山问道图》比较，《溪山高隐图》似乎是临摹《秋山问道图》而比较萧散的作品。\n作者纯用水墨，利用其深浅浓淡，创造出一个静谧安详的环境，画幅较为孤寂、冷清的情凋也是画家处世态度的生动写照。山石以水墨渲染，淡披麻皴。这种皴法从巨然披麻皴出，把笔拉得垂直。他后来创造的“刮铁皴”，仿佛又硬又直，却硬中有婉，直中有收，笔头不枯硬，灵气从笔端间轻轻逸出，以圆点浓墨点苔，笔法稳健，墨气湿润，画法源于董源、巨然一路。近处坡石的用墨，以及秃笔随意点写树叶苔草的画法，是他的典型风格。\n《溪山高隐图》皴笔沉厚，坡角山边用笔大胆，横扫而出，用笔意味更似写意。主要山石皴笔提按变化明显，用笔奔放，是“写”出而非“皴”出。此图主峰最上部有一组巨石，用横侧笔势刷出，显然出自李唐马夏一系的斧劈皴。\n宋画研究学者寿勤泽：这幅画气势不凡，层峦叠岭，雄伟高峻，下方丛树溪水，临溪筑有草房两间，屋旁有小径通向山间。仅一片房屋处略施淡赭，通篇皆水墨。此图和常见的吴镇画有所区别，皴法以长披麻皴为主，法巨然画派画格，但线条较长，细长而且疏朗，似有不胜其力之感。",[2495,2496,2497,5575,2577,2499,2509,2501,2651,2507,2506,2902,2503],"古画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b125a83a0553db70e8f576523b37fb5.jpg","纵160.5厘米，横73.4厘米",[6,2626],{"id":318,"slug":5580,"title":5581,"dynasty":2632,"author":5047,"museum":2563,"description":5582,"tags":5583,"thumbUrl":5584,"material":2512,"size":5585,"collection":6,"collections":5586,"showCount":5554,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"xi-shan-hong-shu-tu-wang-hui-220374","溪山红树图","此图为王翚仿黄鹤山樵王蒙的一件极具特色的代表作，描绘的是遍生红树的一片秋日山林景色。画中以圆转重叠、突兀高耸的山峰为主体，山溪逶迤前行，涟漪阵起，秋波荡漾，两岸林木，红翠相间，整个画中意境深幽，秋气袭人。画家拟王蒙笔意与布局，构景繁密，山势云动，境界深奇。山石画法以墨笔牛毛皴和解索皴为主，干笔皴擦，浓墨点苔， 既显浓密厚重，又鲜艳夺目，光彩熠熠。 现收藏于台北故宫博物院的《溪山红树图》是其传世精品，他学元代王蒙的笔法，以类似牛毛皴松秀而流动的线条，构成活泼的画面，加上颜色较艳丽的红色和绿色，使整个画面有一种轻快愉悦的调子。",[2495,2496,2497,2577,2500,2501,4787,2507,2611,2503,2550,2506,2547,2510,2511,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F166e49671e5b9c54baee4cd182d5e0ab.jpg","纵112.4厘米，横39.5厘米",[6,2534],{"id":319,"slug":5588,"title":4123,"dynasty":2632,"author":5589,"museum":2673,"description":5590,"tags":5591,"thumbUrl":5592,"material":2567,"size":5593,"collection":6,"collections":5594,"showCount":5554,"zanCount":3130,"manualWeight":2517,"mainColor":4670},"qing-lv-shan-shui-tu-xie-sun-219222","谢荪","图绘近景溪水岸边房舍错落；远处高山耸立，林木繁茂。构图深远、高远兼备，富有空间层次变化。用笔工整细密，山石树木以石青石绿点染，画风清丽淡雅。此图与传统的青绿山水相比较，更多一分清新明快，是谢荪山水画的代表作",[2495,2496,2497,2545,2500,2501,2506,2507,2503,2550,2508,2502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89fcff4bf8950f827d1dc39bf1bc74fe.jpg","纵157.2厘米，横52.6厘米",[6],{"id":320,"slug":5596,"title":5597,"dynasty":2632,"author":3877,"museum":2673,"description":5598,"tags":5599,"thumbUrl":5601,"material":3257,"size":5602,"collection":6,"collections":5603,"showCount":5604,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"qiu-lin-du-diao-tu-zhou-zhu-da-236752","秋林独钓图轴","图绘凋零的树木被笼罩在深秋的寒意中，一湖静水之上只见高士孤身垂钓，空旷荒寂的意境中孕含着作者对明朝故土的无限怀念。此图无年款，根据署款“驴”字，推断此幅为朱耷57岁（1682年）左右的作品。这时期其山水画还深受元人倪瓒、黄公望，明人董其昌的影响而没有形成自己的笔墨特色。本幅构图取法倪瓒一河两岸式的布局，以简洁疏朗的物象表现出荒寒的萧条景致。山石画法取自黄公望，其轮廓以尖硬的线条勾勒，石面略作皴染，于散漫随意中不失古雅的情趣。整体画风则显现出董其昌明洁秀逸、华姿润泽的艺术风貌。",[2496,2577,2499,2637,2509,2501,3091,2528,2507,2504,5600,2595,2594],"钓者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa150978fbe46fb641f060aaadb56385.jpg","纵197.5厘米，横57.3厘米",[6],143,{"id":321,"slug":5606,"title":5607,"dynasty":2522,"author":2523,"museum":2673,"description":5608,"tags":5609,"thumbUrl":5610,"material":3257,"size":5611,"collection":6,"collections":5612,"showCount":5604,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"jiu-feng-xue-ji-tu-huang-gong-wang-220763","九峰雪霁图","是图作于元至正九年（1349年），为黄公望81高龄之作。作者以水墨写意的手法汇集画出了江南松江一带的九座道教名山，时称“九峰”，体现了作者对道教全真教的崇拜。该图系画赠江浙儒学提举班惟志，时值正月春雪，有感雪霁寒意，画意肃穆静谧。图中的中、近景以干笔勾廓叠石，坡边微染赭黄，远处九峰留白，以淡墨衬染出雪山，是黄公望简繁合一的精品作。",[2495,2496,2501,2499,2509,2577,2527,3078,2528,2652,3091,2579,3166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff21dcb6d646fd85003b240e46bb59dd9.jpg","纵117厘米，横55.5厘米",[6,2626],{"id":322,"slug":5614,"title":5615,"dynasty":2605,"author":2699,"museum":2589,"description":5616,"tags":5617,"thumbUrl":5620,"material":2567,"size":5621,"collection":6,"collections":5622,"showCount":5604,"zanCount":2826,"manualWeight":2517,"mainColor":2559},"xia-shan-bi-shu-tu-xia-gui-218571","夏山避暑图","云雾似轻纱漫笼峰峦，墨色浓淡晕染出层叠山影。近处山石以劲挺线条勾勒肌理，远处峰峦隐入烟霭，虚实相生间拓开深远意境。飞瀑如白练倾泻而下，水汽与云雾交融，添了几分灵动。崖畔小亭古朴雅致，亭内人影隐约，或凭栏观瀑，或对弈品茗，将“避暑”闲逸悄然藏于山水。苍松虬枝斜出，与嶙峋怪石相映，笔墨苍劲中透着秀逸。整幅画以水墨为韵，借云雾之虚衬山峦之实，动静相宜间铺展夏日山林的清幽闲适，让人仿若置身其中，忘却尘嚣。",[2496,2544,2497,2501,2499,2509,2505,2611,2614,2507,2506,2595,2613,4657,5618,5619],"古松","山涧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb50cf148ebc8bbac9a702b14d084294e.jpg","81x35cm",[6],{"id":323,"slug":5624,"title":5625,"dynasty":2605,"author":3087,"museum":5626,"description":5627,"tags":5628,"thumbUrl":5629,"material":2531,"size":5630,"collection":2624,"collections":5631,"showCount":5632,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"han-lin-gao-shi-tu-zhou-li-cheng-221440","寒林高士图轴","美国弗瑞尔美术馆","李成（公元 919年 -967年），字咸熙，北宋初年营丘（今山东淄博临淄）人，世称李营丘。擅画山水，师承荆浩、关仝，后师造化，自成一家。多画郊野平远旷阔之景。平远寒林，画法简练，气象萧疏，好用淡墨，有“惜墨如金”之称；画山石如卷动的云，后人称为“卷云皴”；画寒林创“蟹爪”法。为山水画大家,被誉为中国山水画之父。他不但开创了齐鲁画派，在宋初画坛独树一帜；而且由其独创的营丘山水画法成为后世山水画家的楷模。《圣朝名画评》把李成的画列为“神品”，并称其“思清格老，古无其人”。《宣和画谱》谓“凡称山水者，必以成为古今第一。”",[2495,2496,2499,2577,2501,3079,4370,2506,2507,2503,2595,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F425bbd40a0bd5977059e42cdf3fd2910.jpg","174 x 89.2 厘米",[2624,6,2626],142,{"id":324,"slug":5634,"title":5635,"dynasty":2522,"author":2984,"museum":2563,"description":5636,"tags":5637,"thumbUrl":5638,"material":2703,"size":5639,"collection":6,"collections":5640,"showCount":5632,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"zhong-shan-tu-juan-wu-zhen-220769","中山图卷","中山图卷，吴镇，元代，纸本，墨笔，纵26.4厘米，横90.7厘米，台北故宫博物院藏。高清作品全卷详见月雅书画高清数字博物馆。\n中山图，白纸本，高七寸九分，长二尺六寸六分，水墨。羣山叠嶂，杉木丛深，通幅无一杂树，全宗北苑，用粗麻披皴法，山头苔点，横竪相间，眾山之坳，突以浓墨晕二峰尖，低於四面，更為奇绝。\n图绘逶迤起伏的层峦迭嶂。画家以淡墨皴染群山，浓墨画丛树点苔，勾皴时见乾笔，笔墨雄浑厚重。自识「至元二年春二月，奉为可久戏作中山图，梅花道人书」。按至元二年即公元1336年，吴氏时年57岁。此图为元人集锦卷中之一段。",[2495,2496,2497,2498,2499,2509,2501,2527,2506,2651,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d37bf8402ad35b55e27d8d9eb9501b2.jpg","横90.7厘米，纵26.4厘米",[6,2626],{"id":325,"slug":5642,"title":5643,"dynasty":2632,"author":5644,"museum":2673,"description":5645,"tags":5646,"thumbUrl":5647,"material":5648,"size":5649,"collection":6,"collections":5650,"showCount":5651,"zanCount":2517,"manualWeight":2517,"mainColor":3447},"chui-gan-tu-zhou-kun-can-236271","垂竿图轴","髡残","髡残（1612—约1672年），俗姓刘，武陵（今湖南常德）人。幼年失怙（音hù，指父亲），青年出家为僧，法名髡残，字介丘，号石豀、白秃、石道人、残道者等。明亡后寓居南京，修禅弘佛之暇潜心于山水画的创作。他承袭元人王蒙，明人沈周、文徵明诸家笔法，结合自身的感悟，形成独特的山水画风。善用秃笔渴墨，以线造型，在深浅、断续、粗细线条的相互交叉、转换、顿挫中表现幽僻的景致，意境苍莽，画格高逸古拙。他与同时代的程青豀合称“二豀”，与原济（石涛）合称“二石”，与八大、弘仁、石涛并称“清初四僧”。",[2496,2497,2577,2499,2509,2501,2504,2503,2506,2507,2502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb8841336c541c74149b055689d57ca9.jpg","纸本 ，淡设色","纵290cm，横131.5cm",[6],141,{"id":326,"slug":5653,"title":5654,"dynasty":2605,"author":2647,"museum":2563,"description":5655,"tags":5656,"thumbUrl":5660,"material":3157,"size":5661,"collection":6,"collections":5662,"showCount":5651,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"guan-bei-tu-guo-xi-218953","观碑图","寒冷的森林平坦而遥远，松树的枝干已经枯萎。这两个人靠在石碑上，而四个人站在他们前面的右边，带着马鞍和马在伞下，他们的表情非常有表情。这幅画描绘了汉朝时曹操和杨修一起看《曹娥碑》的情景。这幅画没有记号，传统上认为是郭熙所作。然而，这幅画的风格，倾斜的石头和松散的树枝，以及参差不齐的夸张树干，并没有给人以郭熙的建议的感觉。其他现存的涉及看纪念碑的画作包括大阪市立美术馆收藏的《读碑石》，这幅画主要描绘的是残存纪念碑的寒冷森林场景，以此来让观者思考过去。",[2495,2544,2496,2497,2577,2609,2509,2833,2549,2960,5657,5658,2507,3736,5659,2506],"碑","古树","枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F680d1f7d1ced6d46fbc9bb38d75e4147.jpg","164.4x119",[6],{"id":327,"slug":5664,"title":3183,"dynasty":2605,"author":2699,"museum":5068,"description":5665,"tags":5666,"thumbUrl":5667,"material":2567,"size":5668,"collection":6,"collections":5669,"showCount":5651,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-xia-gui-218636","嶙峋山石倚着清竹，茅舍半藏于岩间，窗内人影依稀，似在静赏山光。淡墨远山如黛，隐入烟霭，留白处漾着空濛的诗意。斧劈皴笔力劲健，刻画出山石坚硬肌理；竹叶以简括笔触点染，疏朗间见生机。构图截取一角景致，以少胜多，将南宋山水的空灵雅致凝于尺幅。墨色浓淡交错，层次叠生，竹影婆娑、山石苍劲、远山悠远，共同织就清寂悠然的林泉图景，尽显隐者恬淡心境与画者笔墨才情。题跋与画面相映，文气画意交融，更添古朴雅致之韵。",[2496,2497,2501,2499,2509,3155,2507,2505,2595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6fbe552f0bbce9c2e6f3428b0b59de0.jpg","32.7x20",[6],{"id":328,"slug":5671,"title":5672,"dynasty":2632,"author":5673,"museum":2492,"description":5674,"tags":5675,"thumbUrl":5676,"material":2512,"size":5677,"collection":6,"collections":5678,"showCount":5679,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"hu-tian-chun-se-tu-wu-li-219922","湖天春色图","吴历","此图描绘江南湖畔堤边的初春风光。画面上，远山清淡，湖水平静，渺无人烟，春色宜人。湖岸处柳色新绿，带雨含烟，丰姿绝妙，燕雀跃于湖面柳枝之间，又有土堤斜引，其上绿草如茵。溪水潺潺，鸟声婉转音色清新，绿柳迎风，全画面春意盎然，和谐舒畅。其构图与表现风格在当时亦十分新颖和独特。此幅是画家山水画中的代表作品，体现了典型的吴历个人风格。画家早年曾师法古人，又曾吸取西画的表现手法，风格与清初“四王”相似又有所不同，他注重实景取材，构图严谨，所以具有独特的面貌。",[2496,2497,2544,2577,2500,2509,2501,2578,2503,2552,2800],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8370438109745994edfcc2de0eb2f4f9.jpg","纵123.5 厘米，横62.5 厘米",[6,2534],140,{"id":329,"slug":5681,"title":5682,"dynasty":2490,"author":3120,"museum":5683,"description":5684,"tags":5685,"thumbUrl":5687,"material":3069,"size":5688,"collection":6,"collections":5689,"showCount":5690,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"chu-chu-tu-juan-quan-juan-chen-hong-shou-221882","出处图卷全卷","张大千先生的旧藏","画卷前后隔水留下了他的墨宝。此卷是陈洪绶在去世前一年为周亮工所作，这一年陈洪绶相继为周亮工一共创作了42件作品，《出处图》则是其中的精品。展卷之后可见诸葛亮与陶渊明盘坐于树下正侃侃而谈，诸葛亮头戴“诸葛巾”，陶渊明则手抚无弦琴，形象格调高古，气韵不凡，人物衣袖由一根根行云流水般的线条绘就，每根线条都不另起笔，如若不加停顿似的一气呵成，而线条与线条的排列则构成了陈洪绶特有的韵味。",[2495,2496,2497,2498,2546,2500,2549,2501,2506,2503,2677,2510,2511,5686],"楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9517553124fbf7960f3c43dce25b9cc5.jpg","26×195cm",[6,2534],139,{"id":330,"slug":5692,"title":5693,"dynasty":2490,"author":2491,"museum":2492,"description":5694,"tags":5695,"thumbUrl":5696,"material":2567,"size":5697,"collection":6,"collections":5698,"showCount":5690,"zanCount":2872,"manualWeight":2517,"mainColor":2559},"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。",[2495,2496,2497,2544,2577,2500,2501,2549,2550,2902,2507,2611,2506,2651,2676,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4136bf4cc51a9c489487d6a27dbe7d3a.jpg","纵170.0厘米，横89.0厘米",[6],{"id":331,"slug":5700,"title":5701,"dynasty":2605,"author":4730,"museum":2563,"description":5702,"tags":5703,"thumbUrl":5704,"material":2531,"size":5705,"collection":2624,"collections":5706,"showCount":5707,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"mo-fan-kuan-lu-shan-tu-zhou-jiang-can-221619","摹范宽庐山图轴","本幅旧传为江参作，画采全景式构图，中央主峰巍峨耸立，峰顶遍布密林。山坳处，寺宇、亭台错落。\n杂树掩映间，可见泉瀑奔流，淙淙若闻其声。山道上，并绘有行旅策蹇，络绎于途。幅左下方题：「摹范华原庐山图」。《宣和画谱》虽未著录〈庐山图〉，然此作以短笔作皴，呈密集的雨点状，明显由〈溪山行旅图〉演化而来。",[2495,2496,2497,2577,2676,2509,2499,2501,2714,2652,2506,2611],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F826530b8c83c87209bddce538d219a64.jpg","347.4x131.8",[2624,6,2626],138,{"id":332,"slug":5709,"title":5710,"dynasty":2522,"author":2922,"museum":2673,"description":5711,"tags":5712,"thumbUrl":5713,"material":5714,"size":5715,"collection":6,"collections":5716,"showCount":5707,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"ku-mu-you-huang-tu-zhou-ni-zan-220797","枯木幽篁图轴","作品多画太湖一带山水，构图平远，景物极简，多作疏林坡岸，浅水遥岑。用笔变中锋为侧锋，折带皴画山石，枯笔干墨，淡雅松秀，意境荒寒空寂，风格萧散超逸，简中寓繁，小中见大，外落寞而内蕴激情。\n此图画一平坡之上立一巨石，石边一寒树独立，树旁又有双竹挺立，并分向左右弯曲生长，其周围亦有细篁数丛。构景简洁是倪云林画的突出特色，此图亦通过一石、一树、数竹这极简之景构成一个荒寒萧疏的意境。画中笔法疏率，画树以鹿角法，画石以折带皴，二者皆用淡墨干笔，画竹叶亦以轻盈简率的介字点法。此图中上方有作者自题诗一道：“古木幽篁寂寞滨，斑斑鲜石翠含春。自知不入时人眼，画与皎溪古遗民。” 平坡上大石一堵，枯树矗立，两旁幽篁细竹相衬。淡墨写枯树干挺枝疏，竹叶以湿笔点画，挺劲洒脱。石头用干笔则锋勾皴，浓墨点醒，层次向背分明。全画笔墨简淡，风格秀逸。图中自题[古木幽篁寂滨，班班藓石翠含春，自知不入时人眼，画与蛟溪古逸民，云林生]。画幅上还有马治，松泉隐者诗题。",[2495,2496,2497,2577,2499,5659,3735,2677,3236],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74dfc23fe071c9504a396c679d769fdc.jpg","纸本、墨笔","纵88.6厘米，横30厘米",[6,2626],{"id":333,"slug":5718,"title":5719,"dynasty":2605,"author":4124,"museum":2673,"description":5720,"tags":5721,"thumbUrl":5722,"material":2720,"size":5723,"collection":2624,"collections":5724,"showCount":5725,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"dong-po-chi-bi-tu-wang-shen-221420","东坡赤壁图","『烏林赤壁事已陳，黃州赤壁天下聞』。蘇軾的兩次赤壁漫遊，喚醒和重排了赤壁古戰場在文學史和藝術史中的地位，不但前後《赤壁賦》和《水調歌頭·赤壁懷古》成爲千古名篇，由此託生的赤壁圖也成爲畫史中重要的主題。作爲蘇軾文人集團的兩位重要人物：李公麟和王詵，他們都曾畫過赤壁圖，以圖畫的方式呼應着蘇軾的歷史書寫。他們的創作直接建立了畫史中的『赤壁圖式』，對後代產生深遠影響。惜乎二作失傳。我們只能憑藉一些歷史文獻，復原二圖的基本風格面貌，爲我們探討北宋末年以來『赤壁圖式』的發展提供一些線索。",[2495,2496,2499,5225,2501,2504,2507,2503,2549,3091,2500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93947956f8d0518422dab73c735749f6.jpg","24.8 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厘米",[6],{"id":337,"slug":5756,"title":5757,"dynasty":2632,"author":3020,"museum":2673,"description":5758,"tags":5759,"thumbUrl":5760,"material":2597,"size":5761,"collection":6,"collections":5762,"showCount":5743,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-wu-zhen-shan-shui-tu-wang-yuan-qi-218472","仿吴镇山水图","此图无年款。据王原祁自题“身伏噩庐，心违琐闼”之句，知是图当为他55岁左右为其父王揆守丧之日所作。\n图绘江南清幽小景。在构图上，王原祁通过对山石杂木由近至远、由低至高的层层展示，有秩地拓展了画境。在山石树木的表现上，王原祁掌握了吴镇擅于运用湿笔的特点，亦以包含水分的润墨表现山川林木郁茂之景。笔墨淋漓雄劲，得吴镇山水画“苍苍莽莽，有林下风”之趣。",[2495,2496,2499,2509,2676,2577,2501,2507,2506,2528,2508,3057,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda2da35a1678545e4fb7f9d72c52f6e7.jpg","纵141.7厘米，横51厘米",[6],{"id":338,"slug":5764,"title":5765,"dynasty":2632,"author":5644,"museum":2818,"description":5766,"tags":5767,"thumbUrl":5768,"material":2639,"size":5769,"collection":6,"collections":5770,"showCount":5771,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xi-shan-qiu-yu-tu-kun-can-222665","溪山秋雨图","描绘的是古木流泉，高人独坐，体现出一派野逸之趣。髡残之画卷苍老雄浑，深沉豪迈，以老辣见胜，但相对而言，此图当属相对文雅、宁静一路画风。\n通观全画，不禁让人想起王蒙的代表作《葛稚川移居图》，但髡残在构图和技法上均做了简化处理。整幅画采用是全景式繁密构图，前景处山石耸立，几株树木立于 其上，呈现出不同的生长态势。画面左下角一座小桥向后延伸，一位樵夫缓缓行走，引出画面的中景。远景一座大山巍峨挺立，一座茅屋筑于半山腰，为这幅画增添 了不少人气。\n髡残将王蒙画中那股山体蜿蜒向上的强烈夸张的扭势处理成了文雅、宁静的气象，笔法上对王蒙有所借鉴，山石多用披麻皴、解索皴，用赭石染山石，色泽浓厚，并且在山石轮廓上用焦墨钩提。\n髡残师古人乃食古而化，不过是以古人酒杯浇自家胸中块垒，所以体现出来的仍是自己的精神面貌，其画构图奇特、境界幽深，是其广师造化的结果。髡残之画在当时画坛独树一帜，后人把他和石涛并称“二石”，是明清两代中最有生气的画家。",[2495,2496,2499,2500,2509,2577,2501,2507,2506,2508,2502,2503,2611],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4c669070e4f6774a5897c1f4946ba35.jpg","纵113CM 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设色","26cmx111cm",[6,2534],{"id":347,"slug":5844,"title":5845,"dynasty":2522,"author":4583,"museum":2563,"description":5846,"tags":5847,"thumbUrl":5848,"material":2500,"size":5849,"collection":6,"collections":5850,"showCount":5821,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"hua-shan-shui-zhou-zhao-meng-fu-220862","画山水轴","赵孟頫（1254—1322），字子昂，号松雪，松雪道人，又号水精宫道人、鸥波，中年曾作孟俯，汉族，吴兴（今浙江湖州）人。元代著名画家，楷书四大家（欧阳询、颜真卿、柳公权、赵孟頫）之一。赵孟頫博学多才，能诗善文，懂经济，工书法，精绘艺，擅金石，通律吕，解鉴赏。特别是书法和绘画成就最高，开创元代新画风，被称为“元人冠冕”。他也善篆、隶、真、行、草书，尤以楷、行书著称于世。",[2495,2544,2496,2497,2577,2500,2509,2501,2902,2507,2503,2505,2549,2614,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11161ca0c1ec964671f7c7a6ecbebf4e.jpg","该幅 57x30.9公分、全幅 56公分",[6,2534],{"id":348,"slug":5852,"title":5853,"dynasty":2632,"author":3816,"museum":3121,"description":5854,"tags":5855,"thumbUrl":5857,"material":2597,"size":2598,"collection":6,"collections":5858,"showCount":5821,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"yun-shan-yin-ju-tu-gong-xian-219708","云山隐居图","龚贤（1618-1689），又名岂贤，字半千，又字野遗、岂贤，号半亩，又号柴丈人，江苏昆山人，流寓金陵清凉山。龚贤的艺术造诣居金陵八家之首，现代著名画家黄宾虹、李可染都从他的画法中得到了启迪。一般讲求墨韵者往往以湿墨涂抹，而龚贤明确指出：“墨言韵，明其非湿也，润墨鲜，湿墨死”，具体指出；“皴法先干后湿，故外润而有骨，若先湿后干，则死墨也。” 在他看来，“墨韵”当以“润”为准绳，其意为湿度适可，若太湿，则为“死墨”；且皴染时应先施以干笔，后湿笔晕染，反之则亦为“死墨”。此幅画即湿润得体，笔墨层次分明，以积墨法层层点染，无怪乎时人曰“半千之所以独有千古更在墨”。",[2496,2577,2499,2509,2501,5856,2730,2902,2507,2613,2510,2547],"云山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29001769a3aff696777c6883d1eedcd1.jpg",[6],{"id":349,"slug":5860,"title":5861,"dynasty":2632,"author":5673,"museum":3121,"description":5862,"tags":5863,"thumbUrl":5865,"material":2597,"size":5866,"collection":6,"collections":5867,"showCount":5821,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-wang-meng-xi-shan-xing-lv-tu-wu-li-218297","仿王蒙溪山行旅图","这幅画是对王蒙溪山行旅的临摹。",[2496,2499,2501,2577,2676,2509,2502,2503,5864,2506,2507,2504],"人家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33014df16be3309cc002f849849cc715.jpg","59.1x27cm",[6],{"id":350,"slug":5869,"title":2663,"dynasty":2632,"author":3796,"museum":2749,"description":5870,"tags":5871,"thumbUrl":5875,"material":2732,"size":5876,"collection":6,"collections":5877,"showCount":5878,"zanCount":2517,"manualWeight":2517,"mainColor":3447},"fu-chun-shan-ju-tu-wang-jian-224481","《富春山居图》轴仿作即深得黄公望用笔之妙，虚实、粗细、轻重、缓急富有变化，恰当地表现了前后景致的空间距离和起承转合；细润中锋含蓄流畅，山川景象清旷深秀。作品以笔墨形式为主体，创造出了优美动人的境界。该轴作于1658年，王鉴时年61岁，正是其绘画技法鼎盛时期。\n此幅富春山居图，而作立轴，并染以浅绛色。笔墨交融，敷色清雅，表达了王鉴对前辈大师经典的敬佩之情。",[2495,2544,2496,2497,2577,2499,2500,5872,2501,2503,2550,2507,2506,2509,2676,5873,5874],"浅绛","清旷深秀","敷色清雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbc6fe68c1be28db40b2fd2f41520f3d.jpg","117.5x50.5厘米",[6],133,{"id":351,"slug":5880,"title":5881,"dynasty":2522,"author":4583,"museum":2563,"description":5882,"tags":5883,"thumbUrl":5886,"material":2597,"size":5887,"collection":6,"collections":5888,"showCount":5878,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"zhong-jiang-die-zhang-tu-zhao-meng-fu-219902","重江叠嶂图","图绘江水辽阔绵延，群山重叠逶迤，舟楫往来江中，画境清旷。山石的形态、皴染的方法、乔松和虬曲的蟹爪形枯枝，一看即知画家采用的是李成、郭熙的山水画程式。但略带乾笔的勾皴，简逸的笔法又透着画家的新意，已不是对李成、郭熙画风的简单因袭和重复。",[2495,2496,2544,2497,2498,2499,2509,2511,2547,2501,5236,2504,2506,2651,5884,5885],"岛屿","远岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff21c533677896e4ab5303907c07fc418.jpg","纵28.4、横176.4厘米",[6],{"id":352,"slug":5890,"title":5891,"dynasty":2632,"author":5892,"museum":2877,"description":5893,"tags":5894,"thumbUrl":5895,"material":2512,"size":5896,"collection":6,"collections":5897,"showCount":5878,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"he-yi-shan-shui-tu-ce-he-yi-214486","赫奕山水图册","赫奕","清代画家赫奕的山水图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了赫奕对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n赫奕是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在山水图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，赫奕的山水图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了赫奕对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到赫奕的画风魅力，还能了解中国传统的山水风情。",[2495,2544,2496,2497,2592,2499,2509,2501,2506,2730,2507,2594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c971e483bde479efdfd6ef31b912533.jpg","34x25cm",[6],{"id":353,"slug":5899,"title":5900,"dynasty":2490,"author":3647,"museum":5519,"description":5901,"tags":5902,"thumbUrl":5903,"material":2639,"size":5904,"collection":6,"collections":5905,"showCount":5906,"zanCount":2826,"manualWeight":2517,"mainColor":2518},"wan-he-zheng-liu-tu-zhou-wen-zheng-ming-221947","万壑争流图轴","图绘峡峨山势，山泉争流而下，山下溪水淙淙，坡上林木葱郁。画山用湿润的披麻破，行笔细节秀润，满纸青绿，场面壮观。\n满纸青绿设色，其法是先将浅赭色普染山石，然后留下石根之赭色，再将石绿、石青，而至墨青(花青和墨)色，薄薄地按序自下而上，分层积染。但文徵明匠心独运：其一，青绿中调和淡墨，清润幽雅，已不似以往大青绿之奇艳夺目；其二，石色薄敷，不掩墨骨，故仍是元初赵孟頫青绿设色方法的演变，无愧为文徵明晚年细笔青绿山水中的精品。",[2495,2496,2497,2577,2500,2501,2509,2503,2506,2507,2549,2611,2902,2651],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23ec8b65dd08d53416021b6376bc9a1c.jpg","纵132.4cm，横35.2cm",[6,2534],132,{"id":354,"slug":5908,"title":5909,"dynasty":2522,"author":2984,"museum":2541,"description":5910,"tags":5911,"thumbUrl":5912,"material":4016,"size":5913,"collection":6,"collections":5914,"showCount":5906,"zanCount":3130,"manualWeight":2517,"mainColor":3447},"cao-ting-shi-yi-tu-juan-wu-zhen-220785","草亭诗意图卷","诗塘董其昌题：“梅花道人画巨轴绝少，此幅气韻生动，布置古雅，大类巨然，非王蒙所能梦见也。董其昌藏并鉴定”。",[2495,2496,2498,2499,2497,2509,2511,2547,2501,2505,2506,3735],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eae55d370e8592275f4c843d79308fa.jpg","纵23.8厘米，横277.8厘米",[6,2626],{"id":355,"slug":5916,"title":5917,"dynasty":2632,"author":3816,"museum":2589,"description":5918,"tags":5919,"thumbUrl":5920,"material":2499,"size":5921,"collection":6,"collections":5922,"showCount":5906,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"qun-feng-shi-tan-tu-gong-xian-220421","群峰石潭图","《群峰石潭图》，立轴 绫本 水墨 48X171厘米，是保利5周年春拍藏。此作是龚贤画于1686年的一件“黑龚”精品，龚贤时年68岁，其“黑龚”已超出传统山水画的笔墨形式和意境藩篱。",[2495,2496,2497,2577,2499,2509,2501,4733,2507,2506,2508,2614,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9487e8a4d8fa6b005da87bf28588f31.jpg","横：48厘米 纵：171厘米",[6,2626],{"id":356,"slug":5924,"title":5925,"dynasty":2490,"author":3264,"museum":3121,"description":5926,"tags":5927,"thumbUrl":5928,"material":2732,"size":5929,"collection":6,"collections":5930,"showCount":5906,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"fang-mi-fei-shan-shui-tu-tu-juan-dong-qi-chang-220347","仿米芾山水图-图卷","此帧《仿米家云山图》是难得一见的较大尺幅的山水作品，堪称是启功山水画的代表作之一。",[2496,2497,2498,2499,2509,2676,2501,2502,2503,2505,2506,2595,5071,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b251912199235f04fa6b092ccdf07c0.jpg","25.9 x 219.1厘米",[6],{"id":357,"slug":5932,"title":5933,"dynasty":2956,"author":3625,"museum":2563,"description":5934,"tags":5935,"thumbUrl":5936,"material":3157,"size":5937,"collection":6,"collections":5938,"showCount":5906,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"nang-qin-huai-he-tu-ju-ran-220142","囊琴怀鹤图","中国五代南唐、北宋画家，僧人。原姓名不详，生卒年不详，早年在江宁开元寺出家，南唐降宋后，随后主李煜来到开封，居开宝寺。擅山水，师法董源，专画江南山水，所画峰峦 ，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。有《万壑松风图》、《秋山问道图》、《山居图》等传世。",[2495,2496,2497,2577,2499,2509,2501,2506,2507,3736,2505,2613,2677,2718,4508,2579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba08cc0f485f9545bb007aff2e4e054.jpg","169.1x101",[6],{"id":358,"slug":5940,"title":5941,"dynasty":2632,"author":3786,"museum":2673,"description":5942,"tags":5943,"thumbUrl":5944,"material":2598,"size":2598,"collection":6,"collections":5945,"showCount":5946,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"hong-ren-shan-shui-zhou-hong-ren-236894","弘仁山水轴","弘仁俗姓江，名韬，字六奇，出家后名后人，号渐江学人，又号无智、梅花古衲，安徽歙县人。作品多师法自然，清新，能传达山川之美。此图意境伟峻秀逸，构图洗炼简逸，笔墨苍劲整洁。",[2544,2496,2497,2577,2499,2509,2501,2779,2505,2507,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f501a6cdbd204a645da4011e2ce7088.jpg",[6,2626],131,{"id":359,"slug":5948,"title":5949,"dynasty":2632,"author":3303,"museum":2673,"description":5950,"tags":5951,"thumbUrl":5953,"material":2720,"size":5954,"collection":6,"collections":5955,"showCount":5946,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"qian-long-huang-di-ci-hu-tu-lang-shi-ning-236176","乾隆皇帝刺虎图","本图绘30余岁的乾隆皇帝与侍卫手握长戟，跨步向前欲刺猛虎的场面。作者运用对比的艺术手法，通过表现猛虎在乾隆皇帝的威逼下，止步不前的受惊情景，衬托出乾隆皇帝临危不惧的帝王之气。在形象上，作者为了烘托乾隆皇帝的高大，将本是兽中之王的猛虎，画得既小又弱，全然一副虎落平阳被犬欺的可怜之相。全图笔法细腻，准确地描绘出不同身份的人物所具有的不同举止及表情。从笔法上分析，画面上虽然无作者款印，但乾隆皇帝画像当为擅长写真的郎世宁所绘，虎及树木、山石等出自中国宫廷画家之手。\n作为游牧民族出身的满族皇室，乾隆皇帝从12岁开始便随祖父康熙皇帝前往热河、南苑打猎。继帝位后，骑马射箭更是成为其宫廷生活中最重要的一部分，对此，乾隆皇帝谕令宫廷画家创作了大批表现其行猎瞬间的作品，以为纪念。通过这些作品可见飞禽走兽尽在其巡狩之列。",[3307,2496,2544,2497,2500,2546,2549,2501,2960,5952,3993,2902,3091,2652,2615],"虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f287578983583f550284907240b486.jpg","纵258.5厘米，横171.9厘米",[6,2534],{"id":360,"slug":5957,"title":2587,"dynasty":2490,"author":3264,"museum":2673,"description":5958,"tags":5959,"thumbUrl":5960,"material":3698,"size":4301,"collection":6,"collections":5961,"showCount":5946,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-dong-qi-chang-234054","第一开，右上角题：“仿唐杨昇。”钤“董其昌印”。鉴藏印钤“王掞”、“烟客真赏”、“虚斋精上品”、“壶中墨缘”。\n对开董其昌题：“唐杨昇峒关蒲雪图，见之明州朱定国少府，以张僧繇为师，只为没骨山，都不落墨。曾见日本画有无笔者，意亦唐法也。米元章谓王晋卿山水似补陀岩，以丹青染成。王洽正泼墨渖。多种法门皆李成、董源以前独善者。”钤印“董玄宰”。收藏印钤“庞来臣珍赏印”、“壶公”、“子清所见”、“王时敏印”、“颛庵”。\n设色青绿山水，画峰峦秋树。\n第二开，左上角题：“仿梅花道人。”钤“董其昌印”。收藏印钤“虚斋鉴赏”、“壶中墨缘”、“王时敏印”、“颛庵”。\n对开董其昌题：“今日遇武塘题吴仲圭故居，称梅花巷者。自号梅花和尚，实居士也。画学巨然，字学怀素，皆受和尚法，故云。仲圭与盛懋同巷对宇。人每指金帛诣盛求画，仲圭之家闻如也。家人以为谪，仲圭曰：‘待二十年后自有定论’。已而盛之身价果逊。至今三百年犹尔。辛酉三月廿三日识。”钤“董玄宰”印。收藏印钤“庞来臣珍藏印”、“壶公”、“王时敏印”。\n设色画水阁、青山、瀑布。\n第三开，左上题：“仿惠崇。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“壶中墨缘”、“虚斋鉴赏”。\n对开董其昌题：“惠崇宋诗僧，建阳人也。在巨然之前，画学王维，精工妍丽如诗家。温、李辈《香辽集》生于情者。东坡、山谷为题其小景。余所见有京口陈氏江南惠卷及鄞朱定国所赠巨轴《早春图》。”钤印“董玄宰”。收藏印钤“王时敏印”、“藻儒”、“壶公”、“庞来臣珍赏印”。\n设色画青溪两岸云树房屋。\n第四开，右上题：“仿卢鸿草堂笔。”钤印“其昌”。收藏印钤“壶中墨缘”、“子清所见”、“王时敏印”。\n对开董其昌题：“鸿乙草堂明皇尝令人就图之，鸿乙画入神品，与右丞伯仲。嵩山十志各有楚词。至宋时李伯时作图令诸名公书其诗，人各一景。秦少游、僧参寥、米元章皆与焉。余见之项氏者亦十体，不显名姓。谢时臣亦临一本，第得其位置耳。唐人用墨高简，意到而笔不到，所以妙绝。”钤印“董玄宰”。收藏印钤“逊之”、“王掞之印”、“庞来臣珍赏印”、“壶公”。\n墨笔画疏林坡石，高崖瀑布。\n第五开，左上方题：“仿倪元镇。”钤“其昌”。收藏印钤“烟客真赏”、“王掞之印”、“壶中墨缘”、“虚斋精上品”。\n对开董其昌题：“倪迂画学冯觐。觐，《宣和画谱》所载宋宦官也。觐画世无传本。倪迂自题谓得荆关遗意，岂讳言觐耶？张伯雨题云：‘能与米颠相伯仲，风流还只数倪迂。应将尔雅虫鱼笔，为写乔林恠石图。’最为迂叟吐气。大都倪高士之画学冯觐，如朱晦翁之书学曹孟德，皆不问其师承也。倪迂书学《黄庭内景经》，《内景经》倪氏之物也。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“庞来臣珍藏印”、“壶公”。\n设色画平远秋景山水。\n第六开，左上方题：“仿米元晖。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞”、“壶中墨缘”。\n对开董其昌题：“米元晖潇湘图余得之项玄度，有宋人题跋甚夥。朱晦翁亦一再见。后有王宗常叙诸跋卷人出处之概，书品亦佳，沈石田自题七十五岁方得一观，以快生平，为米卷第一。图不作点，只用墨破凹凸之形，树木屋宇皆精工，都画勾云亦变体也。元晖凡再题数百字。”钤印“其昌”。收藏印钤“逊之”、“王掞”、“庞来臣珍藏印”、“壶公”。\n墨笔画潇湘烟雨景。\n第七开，左上方题：“仿黄鹤山樵。”钤“董其昌印”。收藏印有“王时敏印”、“王掞之印”、“壶中墨缘”。\n对开董其昌题：“元季四大家惟王叔明仕于国初，为泰安州倅。何元郎记有雪图作于齐郡者是也。倪云林题有笔精墨妙语，又云澄怀观道是宗少文也。又临池学书出王右军、王虞，笔力能扛鼎，五百年来无此君，推挹至矣。于北宋诸家无所不摹，尤善右丞法。”钤印“董玄宰”。收藏印有“藻儒”、“逊之”、“壶公”、“庞来臣珍藏印”。\n墨笔画关山松涧。\n第八开，左上题：“仿李伯时山庄图。”钤“董其昌印”。收藏印有“王时敏印”、“颛庵”、“壶中墨缘”、“虚斋鉴藏”。\n对开董其昌题：“潇洒营丘水墨仙，浮空出没有无间。尔来一变风流尽，谁见将军设色山。\n无数青山落照边，遥知风雨不同川。此中有句无人认，道与襄阳孟浩然。\n二绝句皆东坡题画之什，深得画家三昧方能为，是语米老不如也。”钤印“董玄宰”。\n又题记：“辛酉三月游武林，归途闲暇作此八景。时画史杨彦冲同观。玄宰识。钤“虚斋审定”。\n此图册是董其昌于明天启元年（1621年）游武林（今杭州）时创作的，董氏时年67岁。图册分别仿杨升、卢鸿、惠崇、米友仁、李公麟、吴镇、倪瓒、王蒙等唐宋元诸家山水。画面集取古人不同的山水画景观，同时融入画家自己对于天地、山川的感受，“以意取之”，“各出意造”。在构图上虽与古人相似，但在审美情趣上董其昌追求的是一种平淡古雅的意境和逸趣。如仿唐杨昇山水，在画法上使用没骨设方法，摒弃了原作者金碧山水的华丽浓艳，继承了其中的古拙和典雅，寓丰富而鲜艳的色彩于平稳和谐的色调之中，笔法精妙秀雅，笔致轻松生动，从而使画面传达出一种平静而不淡泊、明媚而不躁动的美感，具有董氏自己的特点。又如米友仁芾画潇湘烟雨之景，以董、巨笔法皴染山石，用笔沉着稳重，通过墨色干湿浓淡的变化烘染出远山近水的空间感以及烟云雾气的变化。树木及房屋用笔多变化，墨色酣畅淋漓，层次丰富。这种董其昌笔下的米家山水，平淡之中更见秀雅。其他几开山水画同样反映了董其昌所追崇的文人画情趣，均以董源、巨然为归依。在仿古山水画中，他尝试运用各种不同的绘画形式诠释古法，同时表现出对于古法的继承和发展，从而阐述了自己的审美观，这是他创作众多仿古山水画最为重要的意义。此外，此件作品对开中董其昌的题记对于人们认识董其昌的艺术同样具有重要的史料价值。",[2496,2499,2509,2592,2501,2507,2506,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f794274dd866033cbee27bee1c45115.jpg",[6],{"id":361,"slug":5963,"title":5964,"dynasty":2632,"author":5047,"museum":3039,"description":5965,"tags":5966,"thumbUrl":5968,"material":2639,"size":5969,"collection":6,"collections":5970,"showCount":5946,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"fang-gu-si-ji-shan-shui-tu-fang-xia-yu-yu-yu-zhuang-wang-hui-222812","仿古四季山水图-仿夏禹玉渔庄","王翚 （1632─1717），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。王翚的山水画宗旨：唐人的气韵、宋人的丘壑、元人的笔墨，也是王时敏、王鉴的绘画审美理想。所以，王鉴一见王翚便如获至宝的情形，就不难理解了。这种审美理想是建立在崇古、知古、学古的基础上的运用和化解古意、古法。王时敏认为：“廉州(王鉴)刻意摹古，所作卷轴一树一石必与宋元诸名家血战，力厚功深，久而与之俱化，不但笔墨位置咄咄逼真，而取神去粗，秀逸高华，骎骎殆将过之。”青林红树荫渔庄, 樯集江边艇子忙. 稍等风吹烟雾散, 千帆竞发沐秋阳. 他的仿古功力更深厚，渐次从“血战”中进入“过之”的目的。王翚的挚友恽寿平说王翚临黄公望的《富春山居图卷》，“前十年曾为半园唐氏摹长卷，时犹为古人法度所束，未得游行自在。最后为笪江上借唐氏本再摹，遂为弹丸脱手之势。",[2495,2496,3267,2509,2500,2501,2506,2651,2528,3764,2508,2578,5967,2594],"坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d4ce2d809c541ba55a4b9f30395ec5f.jpg","82cm × 51 cm",[6,2534],{"id":362,"slug":5972,"title":5973,"dynasty":2632,"author":5644,"museum":2563,"description":5974,"tags":5975,"thumbUrl":5976,"material":2867,"size":5977,"collection":6,"collections":5978,"showCount":5946,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-juan-kun-can-222663","山水图卷","髡[kūn]残（1612～1692）明末清初画家。清初四僧之一。俗姓刘，武陵（今湖南省常德市）人，居南京。幼年丧母，遂出家为僧。法名髡残，字石溪，一字介丘，号白秃，一号残道者、电住道人、石道人。他削发后云游各地，43岁时定居南京大报恩寺，后迁居牛首山幽栖寺，度过后半生。性寡默，身染痼疾，潜心艺事，与程正揆（程正揆，号青溪道人）交善，时称二溪，艺术上与石涛并称二石,善画山水，亦工人物、花卉。山水画主要继承元四家传统，尤其得力于王蒙、黄公望。构图繁复重叠，境界幽深壮阔，笔墨沉酣苍劲，以及山石的披麻皴、解索皴等表现技法，多从王蒙变化而来；而荒率苍浑的山石结构，清淡沉着的浅绛设色，又近黄公望之法。他还远宗五代董源、巨然，近习明代董其昌、文徵明等，兼收并蓄，博采众长。在学习传统基础上，重视师法自然，自谓“论画精髓者，必多览书史。登山寡源，方能造意”。一生中大部分时间都在山水中度过，经常驻足于名山大川，流连往返。他“僻性耽丘壑”、“泉石在膏肓”，主观的情感、性灵与客观的景物、意境相感应、交融，使其山水画景真情切，状物与抒情成为一体。所作山水，在平淡中求奇险，重山复水，开合有序，繁密而不迫塞，结构严密，稳妥又富于变化，创造出一种奇辟幽深，引人入胜之境，生动地传达出江南山川空□茂密、浑厚华滋的情调。他喜用渴笔、秃毫，苍劲凝重，干而不枯，并以浓淡墨色渲染，使得笔墨交融，形成郁茂苍浑、酣畅淋漓的情趣，使画面产生雄浑壮阔、纵横蓬勃的气势。存世代表作有《报恩寺图》，绘南京聚宝门外报恩寺，通过概括提炼，表现了金陵名胜的磅礴、奇异气象。《云洞流泉图》、《层岩叠壑图》和《雨洗山根图》（均藏故宫博物院），以繁密的布局、苍劲的用笔、郁茂的景致、幽深的境界，显现出石溪鲜明的艺术特色。\n髡残扇面擅画人物、花卉，尤精山水。师法黄公望、王蒙，尤近于王蒙。其画章法严密，笔法苍劲，喜用秃笔渴墨，层层皴擦勾染，厚重而不板滞，郁茂而个迫塞，善写平凡景致，平淡中见幽深。与石涛、弘仁、朱耷并称“清四僧”。 工诗文、书画，擅山水、花卉。山水师法王蒙、黄公望，并汲取董源、巨然、董其昌、文徵明等人画法。博采众长，加以发展变化，又能师法自然，于游历中观赏体验名山大川的万千景象。所画山水，构图饱满，重山复水，繁密中见疏灵，善用秃锋渴笔画山石树木，以浓淡墨渲染，苍劲凝重中透出丰润秀逸之致，意境奇僻幽深，得江南山水空濛茂密、浑厚华滋之质。其绘画在当时名重一时，对后世亦有很大影响，后人将其与石涛并称二石，又与渐江、朱耷、石涛合称清初四僧。有《报恩寺图》、《云洞流泉图》、《层岩叠壑图》、《雨洗山根图》等传世。在绘画论画云：“董华亭(其昌)谓：‘画和禅理共旨，不然禅须悟，非工力使然，故元人论品格，宋人论气韵，品格可力学而至，气韵非妙悟则未能也。”在提倡勤学的同时，也主张作画须有“妙悟”，并非下死力就可得画之神韵。\n髡残性直硬，脾气倔强，寡交游，难于与人相合。这种强烈的个性表现在他的禅学上是“自证自悟，如狮子独行，不求伴侣”；表现在绘画上则为“一空依傍，独张赵帜，可谓六法中豪杰”。他自己也说：“拙画虽不及古人，亦不必古人可也。”他长期生活在山林泽薮之间，侣烟霞而友泉石，踯躅峰巅，留连崖畔，以自然净化无垢之美，对比人生坎坷、市俗机巧，从中感悟禅机画趣。髡残作品中的题跋诗歌多作佛家语，这不仅因其身为和尚，而且在他看来，禅机画趣同是一理，无处不通。如《禅机画趣图》轴、《三冬入华村图》轴，《物外田园图》册的诸多题跋，大都是借画谈禅，因禅说画。融禅机与画理于一炉，是髡残画作的主要特点之一。\n髡残在明末遗民中享有很高的声望，他的画也为世人所瞩目。当时著名的文人兼大鉴赏家周亮工就十分景仰、看重髡残的人品和画学，在《读画录》中为他写小传，谓：“人品笔墨俱高人一头地……绘事高明，然轻不为人作。”张怡在髡残的《仿米山水册》中是这样评价这位心灵相契的老友的：“举天下言诗，几人发自性灵?举天下言画，几人师诸天地?……此幅自云效颦米家父子，正恐米家父子有未到处，所谓不恨我不见 髡残古人，恨古人不见我耳。”他认为髡残的诗，是写出了自己的性灵；髡残的画是直师造化，甚至比宋代米芾父子还好；髡残的佛学是直指本心，而没有出家人开堂说法的那种俗套。张庚《国朝画征录·髡残传》云：“石□工山水，奥境奇辟，缅邈幽深，引人入胜。笔墨高古，设色精湛，诚元人之胜概也。此种笔法不见于世久矣!”这段话说明髡残的画深得元季四大家的精髓。总之，三百多年来，髡残一直以其人品与画品并重的高华之气，影响着画坛，成为画家心目中的丰碑。",[2495,2496,2498,2499,2500,2509,2501,2611,2779,2505,2502,2503,2595,2614,2506,2507,2510,2547,2511],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefdd6fed5c43711601b4533de6596a1c.jpg","23x309cm",[6,2534],{"id":363,"slug":5980,"title":3183,"dynasty":2632,"author":3786,"museum":3420,"description":5981,"tags":5982,"thumbUrl":5983,"material":2597,"size":2598,"collection":6,"collections":5984,"showCount":5946,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-hong-ren-219900","弘仁（1610—1663年），俗姓江，名韬，字六奇，出家后释名弘仁，号渐江学人，又号无智、梅花古衲，安徽歙县人。明亡后入武夷山为僧，云游各地后回歙县，住西郊太平兴国寺和五明寺，常往来于黄山、白岳之间。善画山水，早年从学于孙无修，中年师萧云从。其画取法元代倪瓒、黄公望，构图洗练简逸，笔墨苍劲整洁，善用折带皴和干笔渴墨。他重视师法自然，善画黄山、武夷山诸景，传达山川之美，意境伟峻秀逸，“得黄山之真性情”，与石涛、梅清同成为“黄山画派”的代表人物。在安徽与查士标、孙逸、汪之瑞并称“海阳四家”，形成“新安派”。同时，与石涛、八大、髡残合称“清初四僧”。",[2495,2496,2497,2577,2499,2509,2501,2505,2902,2507,2579,2506,2611],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F643c9cf138484b785236419257db6754.jpg",[6],{"id":364,"slug":5986,"title":5987,"dynasty":2632,"author":3303,"museum":2563,"description":5988,"tags":5989,"thumbUrl":5992,"material":3069,"size":5993,"collection":6,"collections":5994,"showCount":5995,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shi-er-yue-ling-tu-10-yue-lang-shi-ning-222758","十二月令图（10月）","清院本版的“赏花”图是清佚名版《行乐图》中没有的，显然是新增的时令图，替换清佚名版的《三月赏桃图》。笔者将其命名为“赏花”，是根据其主景（近景）确定的。其文字介绍也说：“画中描绘了树木渐茂，百花竞放，人们在连绵的细雨中执伞顶笠，赏花、消遣的景象。”如果将其命名为“赏桃”，显然名不符实。其余时令图与《雍正十二月行乐图》的十一种图基本相同。说“基本相同”是因为也有不同之处，下面分别说明。\n1、在《行乐图》之《正月观灯图》中，雍正站在廊式围墙的大门间。在《月令图》之《正月观灯图》中，雍正站在围墙大门右边的廊下。\n2、在《月令图》之《二月踏青图》中，雍正前后的栏杆、围墙与《行乐图》之《二月踏青图》的不同。\n3、在《月令图》之《三月流觞图》中，其溪流右边的楼阁与《行乐图》之《四月流觞图》的不同。\n4、在《月令图》之《五月竞舟图》中，主要是雍正位于的高台凉亭与《行乐图》之《五月竞舟图》的不同。\n5、在《月令图》之《六月纳凉图》中，主要是雍正位于的高台楼阁与《行乐图》之《六月纳凉图》的不同。\n6、在《月令图》之《七月乞巧图》中，主要是雍正所处的房屋后面的树木、雾霭与《行乐图》之《七月乞巧图》的不同。\n7、在《月令图》之《八月赏月图》中，主要是雍正位于的高台楼阁的四周树木、山石与《行乐图》之《八月赏月图》的不同。\n8、在《行乐图》之《九月赏菊图》中，雍正所处房屋的月亮门前是石墙填土的高台院子。在《月令图》的《九月赏菊图》中，雍正所处房屋的月亮门前不是高台，而是山石低岸。\n9、在《行乐图》之《十月画像图》中，雍正所处房屋与对面房屋的通道没有栏杆。在《月令图》的《十月画像图》中，则有红色栏杆。\n10、在《行乐图》之《十一月参禅图》中，雍正所处房屋中有一排字画，靠墙的花几上有一件插了花的青铜觚，门口有一只雌孔雀。这些内容在《月令图》的《十一月参禅图》中都没有。\n11、在《行乐图》之《腊月赏雪图》中，鹿场左侧有九曲桥与对面相通。在《月令图》的《腊月赏雪图》中则没有",[2495,2496,2546,2500,2501,2550,2503,2507,2506,3900,2549,2880,5990,5991],"行乐","聚会","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9ed4b72d321f7343f422af6480b67f2.jpg","188.2*102.2cm",[6,2534],130,{"id":365,"slug":5997,"title":5998,"dynasty":2605,"author":4253,"museum":3039,"description":5999,"tags":6000,"thumbUrl":6003,"material":3069,"size":6004,"collection":2624,"collections":6005,"showCount":5995,"zanCount":3048,"manualWeight":2517,"mainColor":2559},"he-xiang-qing-xia-quan-juan-ma-lin-221188","荷香清夏全卷","图中描绘了一平湖柳堤、荷香清夏的山水景物。\n画中以宽阔的湖面为主体，林中云雾萦绕，茅庵空落。\n左岸上乱石嶙峋，柳荫蔽日，树上群鸟翔集。\n在广阔的湖面上，微波轻荡，碧叶莲莲。\n湖的对岸，远山逶迤，柳林如烟，小桥曲折，云雾飘动如练。\n画中构景，平远开阔，布置简洁。\n画中笔法细秀，描物具体，尤其柳树变化多姿，树叶丝丝勾出，又如烟动。\n其用墨以淡为宗，又浓淡相间，着色亦淡雅，更加烘托出了其境界的祥和安静。",[2495,2544,2496,2497,2498,2500,2546,2509,2501,2891,2502,4702,2549,2528,6001,4452,6002,2506],"岸边","行人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F388ee26ac7add4d84507f634c3f23b85.jpg","纵41.7、横323厘米",[2624,6,2534],{"id":366,"slug":6007,"title":5815,"dynasty":2632,"author":2762,"museum":2818,"description":6008,"tags":6009,"thumbUrl":6010,"material":2598,"size":2598,"collection":6,"collections":6011,"showCount":6012,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"yuan-ji-shan-shui-tu-ce-shi-tao-235878","这一开诗画合璧，行书题诗笔力苍劲清隽，墨色朗润，将山居幽寂的诗意先行铺展。画面以淡墨晕染烟岚，山峦在雨意濛濛间晕化开朦胧轮廓，留白衬出空濛水汽。几椽山居隐在深林浅坳间，伴着茂树流泉，朴拙静雅。\n\n石涛以灵动写意的笔墨，把诗中霁后溪山的萧散意境全然绘出，简淡笔墨裹着秀润的江南意趣，诗画相映，恍若能听见古寺钟鸣随云霭漫过山峦，将文人画诗禅合一的意韵抒发尽致，带人踏入这世外幽居。",[2496,2497,2592,2499,2500,2509,2510,2547,2501,2506,2508,2507,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99ca5c119bb37305c4db3d52e47af545.jpg",[6],129,{"id":367,"slug":6014,"title":6015,"dynasty":2605,"author":2910,"museum":2563,"description":6016,"tags":6017,"thumbUrl":6022,"material":3069,"size":6023,"collection":2624,"collections":6024,"showCount":6012,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"shan-jing-chun-xing-tu-ma-yuan-221520","山径春行图","《山径春行图》描绘了一个怡然自得的文人，一手捋着胡须，一手移动衣袖，慢步进行在春天的山径上，面向远方。似乎在触景生情吟咏赞美春天的诗句。随风飘动的柳枝，雀跃嬉戏的小鸟，生机勃发的山径两旁的桃花，既是在描写春天的自然景色，也是在借景抒发文人此时此刻内心充满诗意的喜悦之情。鸟语花香春意盎然而又显得闲适恬静的画面气氛，是文人内在修养和心理活动的生动写照，是对春天来临所唤起的生命之美的赞叹。",[2495,2544,2496,2833,2499,2500,3975,6018,2509,2501,2549,2891,2552,3736,3808,2506,2613,2595,6019,6020,6021],"兼工带写","童子","文人","枝条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca18e870932ac305bd5552c91834635.jpg","纵27.4厘米，横43.1厘米",[2624,6,2968,2626],{"id":368,"slug":6026,"title":6027,"dynasty":2522,"author":4583,"museum":2563,"description":6028,"tags":6029,"thumbUrl":6030,"material":2732,"size":6031,"collection":6,"collections":6032,"showCount":6033,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"weng-you-tu-juan-zhao-meng-fu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横65cm",[6],{"id":375,"slug":6090,"title":4123,"dynasty":2490,"author":6091,"museum":6092,"description":6093,"tags":6094,"thumbUrl":6095,"material":2512,"size":2598,"collection":6,"collections":6096,"showCount":6097,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"qing-lv-shan-shui-tu-wen-jia-219921","文嘉","香港艺术馆","文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[2495,2496,2497,2577,2545,2500,2501,2509,2611,2506,2549,2507,2503,3668],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1820ac5ad6de7a128ff8fac67e031d3c.jpg",[6],125,{"id":376,"slug":6099,"title":6100,"dynasty":2522,"author":2523,"museum":2763,"description":6101,"tags":6102,"thumbUrl":6103,"material":3157,"size":2598,"collection":6,"collections":6104,"showCount":6097,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"qiu-luan-die-zhang-tu-huang-gong-wang-219736","秋峦叠嶂图","整作以高远构局铺展秋山胜景，主峰崔嵬雄浑，层岩叠岫渐次铺陈，山林间枯木寒柯与葱郁杂木错立，晕染出清寂萧疏的秋意。\n以披麻皴慢写山石肌理，干笔淡墨皴擦点染，笔意松秀温润，淡墨晕开烟岚清旷之气，将山峦的苍古质感晕染尽致。水畔村居错落隐于林麓，汀渚回环、秋水澄澈，尽现山居幽寂之态。\n右侧长题随行布白，书画相融，以画寄情，将简淡超逸的山水意趣抒发淋漓，尽显寄兴林泉、丘壑自存的隐逸襟怀。",[2495,2496,2497,2577,2499,2509,2501,2651,2506,3668,2613,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c617dbbef3609487c4db666c2cf5ed.jpg",[6],{"id":377,"slug":6106,"title":6107,"dynasty":2605,"author":6108,"museum":2563,"description":6109,"tags":6110,"thumbUrl":6111,"material":2567,"size":6112,"collection":6,"collections":6113,"showCount":6097,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"peng-chuang-shui-qi-tu-zhao-gou-218960","蓬窗睡起图","赵构","温暖的春风吹拂着湖面，拂动着岩石岸边的两棵柳树的叶子。在岩石岸边，一艘独木舟漂浮在波浪上，船上的渔夫睡得很好，春风挑逗着他，他满足地伸了个懒腰",[2495,2496,2497,2499,2501,2504,2578,2677,2547,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7141fb523a170d6777a1b10dd60a535.jpg","24.8x52.3",[6],{"id":378,"slug":6115,"title":6116,"dynasty":2605,"author":3431,"museum":2563,"description":6117,"tags":6118,"thumbUrl":6120,"material":2567,"size":6121,"collection":2624,"collections":6122,"showCount":6097,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"liu-tang-diao-yin-tu-yi-ming-218800","柳塘钓隐图","宋人非常重视在他们的绘画中创造情绪和气氛。这幅画以一座山和一个池塘为骨架，中间有房屋、柳树和各种森林。池塘里的荷花盛开，给人一种和平和宁静的感觉，但鸭子、海凫、泥鳅和苍鹭则增加了商业的感觉。芦苇丛中有老鹰归来，天花板上挂着文曲星，有学者靠着它，这就是莲花池。高居翰在他的中国古代绘画索引中认为这是南宋的一件非常好的作品。它高瞻远瞩，视野开阔，设计合理，景物逼真。笔法细腻逼真，如画中的箭，绿意盎然，笔墨严谨，造型非常逼真。赵令郎（1070-1100年）的《平林》和《亭子》中的水禽图案可能与赵士来（11世纪）的《西塘亭子》风格相似。这样的作品在北宋时期很流行，这幅作品虽然不是他们的作品，但也是对他们风格的良好临摹。",[2495,2496,2497,2501,2500,2499,2509,3542,6119,2502,2503,2504,2821,2987,2505],"池塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F206b6e83b326af49ba200e9953d38b66.jpg","23.6x24",[2624,6],{"id":379,"slug":6124,"title":6125,"dynasty":2522,"author":6126,"museum":4024,"description":6127,"tags":6128,"thumbUrl":6129,"material":2567,"size":2598,"collection":6,"collections":6130,"showCount":6097,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"teng-wang-ge-tu-wang-zhen-peng-218720","滕王阁图","王振鹏","笔尖游走绢素，界尺起落间，滕王阁飞檐翘角如振翅鹏鸟，跃然眼前。斗拱层叠似琴键排开，梁柱线条刚劲含韵，每处榫卯藏着匠人之谨与画师之巧。楼阁依山傍水，石阶蜿蜒入林，与葱郁草木相映成趣。远山如黛，烟波浩渺，一叶孤舟在水天之际轻漾，为宏伟建筑添了空灵悠远。整幅画将建筑理性之美与山水诗意之韵交织，既见界画精准工致，又含文人画雅致情怀，让千年名楼的巍峨气象与天地灵秀之气，在古卷中静静流淌，尽显元代画坛独特风貌。",[2495,2496,2497,2790,3898,2499,2501,2550,2504,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1e4ffe86b2585108496c06f20abcf64.jpg",[6],{"id":380,"slug":6132,"title":6133,"dynasty":2522,"author":3907,"museum":2563,"description":6134,"tags":6135,"thumbUrl":6136,"material":2567,"size":6137,"collection":6,"collections":6138,"showCount":6097,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"qiu-lin-gao-shi-tu-sheng-mao-218137","秋林高士图","这幅画上绘着一位身穿红衣的高士，坐于秋林坡地上，作侧身远眺之状。图分前、中、远三景，前景画杂树数株，高低参差、疏密有致，运笔极为老到；树下高士在画面上显得极为细小，反衬出青山丛林的崇峻，高士姿态生动自然，勾画简练闲放，颇具逸致。溪边苇荻数丛，布局、运笔富于变化，亦得风吹草动之态。隔溪中景秋林，不作勾勒，纯以浓淡墨积点为之，树梢浓浓淡淡，隐现于层云薄雾之中，着墨不多，笔简意足。远景层峦叠嶂，重重雾锁。两座主峰的画法，以披麻皴间以乱柴皴，结构转折处以浓墨打苔点树，雄峻逸秀，气格高朗，得秋天清旷情趣。",[2495,2496,2497,2501,2549,2499,2500,2506,2507,2614,2509,3483,4231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78bb700dfdd2f5ed8ea30c6490135420.jpg","纵135.3厘米、横59厘米",[6],{"id":381,"slug":6140,"title":3183,"dynasty":2632,"author":3816,"museum":2818,"description":6141,"tags":6142,"thumbUrl":6143,"material":4016,"size":6144,"collection":6,"collections":6145,"showCount":6146,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-gong-xian-222619","龚贤（1618—1689）明末清初著名画家，金陵八大家之一。又名岂贤，字半千、半亩，号野遗，又号柴丈人、钟山野老，江苏昆山人，流寓金陵（今南京市），早年曾参加复社活动，明末战乱时外出漂泊流离，入清隐居不出，居南京清凉山，买画课徒，生活清苦。性孤僻，与人落落寡合。工诗文，善行草，源自米芾，又不拘古法，自成一体。著有《香草堂集》他与同时活跃于金陵地区的画家樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪等并称“金陵八家”；与清初著名诗书画家吕潜（号半隐）并称“天下二半”。\n\n绘画:\n龚贤是位既注重传统笔墨又注重师法造化的山水画家。其创作以五代董源、巨然的画法为基础，以宋初北方画派的笔墨为主体，参以二米（米芾、米友仁父子）、吴镇及沈周等人的笔风墨韵，同时结合自己对自然山水的观察和感受，形成了浑朴中见秀逸的积墨法，不同于清初以王时敏为首的“四王”所倡导的笔笔有古意的创作格法。作品多写金陵山水，长于用墨。\n龚贤喜用老辣朴拙的笔触，沉着稳重，秃笔与尖笔兼用。秃笔，取之圆润苍劲，勾屋，皴擦，画树和点苔苍老有力。龚贤用笔在主张“欲秀而老”，秀而老就是准确、简练而流畅有变化。画家程正揆在赠龚贤的诗中道：“铁干银钩老笔翻，力能从简意能繁”，这很好地点出了龚贤在用笔上的特点和成就。他提出笔法、墨气、丘壑、气韵作为画家四要，主张作画要中锋用笔，并且要古、健、老、苍，才能避免刻、结、板之病，颇为精辟。龚贤用墨，以层层积墨见长，虽不用泼墨，实具有泼墨烟润淋漓的效果，颇有宋人的用墨特点。其画山石树木中锋用笔，苍劲古厚，并用积墨法作反复皴擦积染，多至十几层，墨色极为浓重，但仍有深浅、浓淡、明暗等细微变化，山石树木往往浑融一体，仅在阳面或轮廓边缘处留出些许高光和坚实的轮廓，效果强烈，具有浑厚、苍秀、沉郁的独特风格，成功地表现了江南山水茂密、滋润、幽深的特征。龚贤作画最善用墨，主张墨气要厚、润，他发展了积墨画法，龚贤精研此法是追求一种苍润的境界，他以干笔作墨骨，再以层层皴染包润之，令山林树木呈现出鲜润沉厚的墨韵，使画面湿润厚重之感，这种画法适于表现江南湿意浓重的山水景色，同时也使龚贤的绘画具有了一种深郁静穆的格调。龚贤的画法分两类，世称“墨龚”和“白龚”。他善用黑白对比的技法，前者浓密苍茫，后者简淡雅洁。他在《半千课徒画说》中称：“非黑，无以显其白；非白，无以利其黑。”又如《平远小景》图（册页，纸本水墨）中所画的房屋，简洁明丽，在周围笔墨的映衬下，洁白的屋墙似乎透出光亮。此处即用黑白对比的技法。\n龚贤的山水画非常重视构图。他的画视野开阔，气象万千。他的“三远”构图原则，发挥得淋漓尽致，出神入化。他往往提高视线的角度，“平远”构图，多采取俯视角度，这样，视野开阔，平淡中倍增飘渺的感觉。尺幅之中，山河无尽。作“高远”构图，也是如此，先俯视，尔后眼光往上作仰视，真有下揽深谷、上突危峰的气概。他十分注重上下的位置。他的山水画一般很“满”，但“满”而不塞，常常用云带、流水作为空白透气。从整个画面来说，很有气韵。这才是龚贤的笔、墨、丘壑浑然一体的韵，从而创造出有地方特色的山水画。他是当之无愧的“金陵画派”的首领。\n龚贤之子龚柱，字础安，山水面目极似其父，只是烘染略少而已。\n\n诗作:\n龚贤是先以诗歌闻名于世的。客居海安、扬州时期，龚贤创作了大量诗歌，居扬州期间，在六年内作诗二百多首，是他一生中写诗最多的时期，传于后世的《草香堂集》共收诗203首，其中题画诗仅8首。可见那时期他作画不多，诗却写了不少。《草香堂集》中的诗大部分反映了他在海安、扬州时的生活经历和思想状况。他的诗很有特色，其好友方文在《喜龚半千还金陵》诗中赞他“更妙是诗篇，浑朴复雄放”；龚贤自己曾在《生日作》中谦逊地说：“余生皆酒力，不幸以诗名。”郭沫若曾评龚诗曰：“半千的诗虽然不多，大率精炼，颇有晚唐人风味。”在扬州，喜爱晚唐诗的龚贤还着手进行中晚唐诗歌的汇集整理工作，这一艰巨工作持续了数十年，被好友周亮工赞为“中晚唐之功臣也”。\n龚贤之诗作，一经开篇，则清逸之气沁人心脾，极显清疏淡雅之姿，如云流水池，一气呵成。其律绝句中鲜见用典，惟其《赠罗使君》一篇七古二十四韵中竟用了三十二个典故。窥一斑而知全豹，诗人腹笥藏书之富，非同一般。通常避而不用者，意在畅情而已。虽其谴词造句似属平易，然再经咀嚼，则有一种清新爽口之感。关键在于诗人抓住了现实生活中最富有诗意的景象和最触动自己心灵的情节，以简洁的艺术语言淋漓酣畅地表达无遗。这既是诗，亦是文，流畅似水，通俗如话，无诘屈聱牙之句，无冷僻难解之点。这表明诗人极具质朴的创作精神，从不故作哗众取宠惊人之笔，这又恰恰与他的绘画的艺术追求殊途同归。\n龚贤懂诗、爱诗、惜诗。他曾花费数十年的时间，以极大的毅力进行中晚唐诗的搜集、选编工作。为此，他曾“大索天下”，觅得百余家“多人未见本”（即未曾被收编入书的）主要靠自己出资刻印了七十四家。",[2495,2496,2499,2509,2577,2501,2507,2506,3668,2615],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F805b3fa5f0a2b4668436631477516806.jpg","纵110厘米，横50厘米",[6,2626],124,{"id":382,"slug":6148,"title":6149,"dynasty":2490,"author":3401,"museum":2563,"description":6150,"tags":6151,"thumbUrl":6152,"material":2597,"size":6153,"collection":6,"collections":6154,"showCount":6146,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"feng-cheng-jian-yong-tu-wang-fu-214822","凤城饯咏图","这幅画的构图很简单，特写的是一条平缓的海岸线，三个官员聚集在树木和石头间的亭子里举行宴席，背景是两座高山。画的上边有十三首诗，都是关于表达离别之情的，大部分是与王绂一起在翰林院任职的官员。这些诗表明，王绂在秋天画了这幅半具象的山水画，当时他的一位同事即将回到松江的故乡，在乡间的陪伴下享受隐居的生活，他的每位同事都写了一首诗来纪念这一时刻。绘画的主体，或参与题词的人，都是有文学修养的文人，王绂的画表明了元代以来的文人画风，用简单的水墨画来表达绘画背后的深意。光滑的石堆，蜿蜒曲折、相互连接的纹理，给人一种宁静的感觉，并带有一丝惆怅和感伤。",[2496,2497,2499,2501,2509,2510,2547,2505,2504,2506,2652,2594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1567e357c9e61193092a8b8f23f2efaf.jpg","91.4x31",[6],{"id":383,"slug":6156,"title":6157,"dynasty":2605,"author":2699,"museum":2563,"description":6158,"tags":6159,"thumbUrl":6164,"material":2656,"size":6165,"collection":2624,"collections":6166,"showCount":6167,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"xi-hu-liu-ting-tu-zhou-xia-gui-221572","西湖柳艇图轴","西湖柳艇图画西湖中的柳树、长堤、水榭、湖舍、画舫和游客，风轻云淡，水墨氤氲，画面丰满，笔墨精谨，远处人物也不用其它山水画中点景人物那样简率的笔法，即所谓的“人物面目，点凿为之，衣褶柳梢，间有断缺”，而是刻画通真，极为精妙，笔调也是沉着含蓄，明媚秀润。",[2495,2544,2496,2499,2577,2501,2891,6160,6161,6162,6163,2549,2502,2503,2504,2546],"长堤","水榭","湖舍","画舫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8d0b03ccc5a62ec9034caad9749d55.jpg","纵107.2厘米，横59.3厘米",[2624,6,2626],123,{"id":384,"slug":6169,"title":6170,"dynasty":2605,"author":3087,"museum":2563,"description":6171,"tags":6172,"thumbUrl":6175,"material":2531,"size":6176,"collection":2624,"collections":6177,"showCount":6167,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"song-quan-pan-shi-zhou-li-cheng-221413","松泉磐石轴","本幅之题材与风格，属松石格之作品，描绘双松挺立于磐石上，两侧有枯木为伴，兼具寒林之景象。寒林之后隐约可见清涧折曲而来，至磐石处急泻而下，激起漩涡与浪花。 松石格是兴起于八世纪的绘画，或画松石、树石，含松柏及其他树木。它是山水画范围的一部分。\n飞泉激漱于涧石之间，下潴成窟，浪花腾溅。两松劲挺立於涧右，树身扭曲，多瘤杈枒。松针作圆形，先用浓墨画，再用淡墨罩一次，又用墨水烘渍，最后用小弹弓弹墨花于其上，如宋人弹雪法。涧左枯树两株，较两松更甚，画小枝用李郭蟹爪。树后层滩叠渚，愈远愈淡，上接烟霾天宇，一门浑囵。松身结体，颇似武元直赤壁图卷；烘染厚润，颇似李山风雪杉松图卷。",[2496,2497,2577,2499,2509,2501,2902,6173,6174,2502,2503,2507,2506],"泉水","磐石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab46279c4e10e9f75620f23fefae0de6.jpg","160.3x96.8cm",[2624,6,2626],{"id":385,"slug":6179,"title":6180,"dynasty":6181,"author":6182,"museum":2589,"description":6183,"tags":6184,"thumbUrl":6187,"material":2512,"size":6188,"collection":6,"collections":6189,"showCount":6167,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"ji-liu-xing-zhou-tu-zhang-da-qian-220411","急流行舟图","民国","张大千","此《急流行舟图》为1948年4月作，张大千50岁。其以古法入画已臻纯熟老辣之境，博采各家之长，具宋元风范又自出新意。此时其作品古人面貌最多，变化最多。《急流行舟图》的中远景，尽显淡墨轻岚一派风气。其笔法细秀温润，明润郁葱，画中经营的幽溪细路、山涧飞瀑、竹篱茅舍、断桥危栈，皆使人感悟“真若山间景趣也”。其画面设色清秀爽气，略施浅绛，主体以山石、树木、枝叶墨色浓淡的交错运用来表现层次关系，突出新安江一带特有的清润明秀、不装巧趣的韵致。然此画精彩之处不尽于此。但见飞瀑直下，形势急转，顿生高潮：激流暗涌、险滩巨礁、双舟争渡；江边草木、迎风而动、生意盎然。此处张大千一改中远景中平淡天真之法，石涛笔意曜然纸上。其山水画本效石涛起家，谓可乱真。自是笔法流畅，用墨相宜，或笔简墨淡、或浓重滋润，恣肆郁勃、淋漓洒脱。平淡中见奇绝，乃新安江山水之天然风貌。张大千这一静一动，构思新奇，更显急流行舟之灵动野趣。画中题款诗文中似流露出张大千对于隐居山野的倾慕，然其并未在“人在荒山顶上居”上多费笔墨，成为该画点睛之笔的正是“舟从乱石堆中过”。只见两叶轻舟似于浅滩中遇到险阻，船公们或奋力撑篙，或涉水排阻，人人齐心，共闯险滩。人物船只皆以白描意笔勾勒，浅绛施与船身与肤色，虽小至寸余，但形神毕肖，呼之欲出，在水墨淡色的山水中尤为醒目，点题立意。《急流行舟图》是张大千于国内面对真山实水所作的最后一批山水画之一，亦是其于盛期“师自然”的典型范例。",[2495,2544,2496,2497,2499,2500,2637,2509,2501,2503,2504,2502,2611,2506,2507,2614,2508,2800,6185,6186],"急流","行舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F090de17151e7cc3bb155db86e8b0dcaa.jpg","133x53cm",[6,2534],{"id":386,"slug":6191,"title":6192,"dynasty":2632,"author":2830,"museum":2749,"description":4422,"tags":6193,"thumbUrl":6194,"material":2512,"size":4425,"collection":6,"collections":6195,"showCount":6167,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-hua-mu-chun-wang-ri-xiao-qi-ou-zuo-wang-shi-min-219996","山水画-暮春望日小憩偶作",[2496,2544,2501,2499,2509,2714,2902,2506,2508,2652,2614,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ec524ddf8e33ee5c0b0f3dafea580e.jpg",[6],{"id":387,"slug":6197,"title":6198,"dynasty":2956,"author":6199,"museum":2763,"description":6200,"tags":6201,"thumbUrl":6208,"material":2567,"size":6209,"collection":2870,"collections":6210,"showCount":6167,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"ku-mu-shui-qin-tu-huang-quan-219002","枯木水禽图","黄筌","这幅画描绘了湖岸边的寒冷冬景，大雁、白天鹅、野鸡和各种水鸟在三棵巨树下觅食、嬉戏，空旷荒凉的场景也让人不禁想起过去的繁华。这幅画被认为是五代时期西蜀画家黄荃的作品，但实际上它接近于元代罗稚川的风格。",[2495,2496,2544,2497,2546,2500,2577,5659,6202,2552,6203,2594,6001,2578,6204,2507,6205,6206,6207,3079],"水禽","白鹅","枯枝","水泊","禽鸟","水畔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F928b9b088db206fb252396d6d64c69ee.jpg","纵148横107厘米",[2870,6],{"id":388,"slug":6212,"title":6213,"dynasty":2956,"author":4965,"museum":2563,"description":6214,"tags":6215,"thumbUrl":6216,"material":2567,"size":6217,"collection":6,"collections":6218,"showCount":6167,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"dai-du-tu-guan-tong-218927","待渡图","这幅画描绘了一个高高士在野外穿越时等待船只的情景，笔触和墨迹高度变化，并有一个边缘的场景。",[2495,2496,2497,2501,2509,2499,2507,2506,2528,6002,6001],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0234b4c0ad967411b9cb6bfbe40aadfa.jpg","21.9x24",[6],{"id":389,"slug":6220,"title":6221,"dynasty":2632,"author":5047,"museum":2763,"description":6222,"tags":6223,"thumbUrl":6224,"material":2512,"size":6225,"collection":6,"collections":6226,"showCount":6167,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-gu-shan-shui-shi-er-kai-wang-hui-217217","仿古山水十二开","此册王翚仿古十二开",[2496,2497,2592,2499,2509,3267,2501,2506,2507,2503,2595,2730,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5d8cb08718af9c20fbb39bcf2df2b19.jpg","25x35.4cm",[6],{"id":390,"slug":6228,"title":6229,"dynasty":2632,"author":6230,"museum":2818,"description":6231,"tags":6232,"thumbUrl":6233,"material":2598,"size":2598,"collection":2870,"collections":6234,"showCount":6235,"zanCount":3048,"manualWeight":2517,"mainColor":2518},"shi-er-jin-chai-tu-zhou-zhang-shan-ma-230217","十二金钗图轴","张善孖","此作跳脱了猛虎惯常的威肃凌厉之态，绘虎缓步于烟霭乱石间，笔力劲挺勾勒出雄健躯干，斑纹晕染苍劲写实，却敛去凶煞戾气，姿态带着幽婉柔媚的意趣。\n\n题诗呼应画意，以佳人风姿拟虎，将百兽之王与婉约情致相融，淡墨晕染的空濛云雾衬出悠远氛围感，工写兼具，既尽显虎的筋骨力道，又裹挟着文人画的雅致文心，是独出机杼的写虎佳制。",[2495,2496,2497,2577,2499,2500,5952,3993],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21b4ce6ce085278e695890e586d2946e.jpg",[2870,6],122,{"id":391,"slug":6237,"title":6238,"dynasty":2522,"author":2588,"museum":2563,"description":6239,"tags":6240,"thumbUrl":6243,"material":2512,"size":6244,"collection":6,"collections":6245,"showCount":6235,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"shen-lin-die-zhang-zhou-wang-meng-220812","深林叠嶂轴","本幅在《御制诗二集》题名作王蒙〈山水〉。为乾隆皇帝第一次南巡回程时于淮安一带所题。画上有王蒙（1308 —1385）名款，山石亦以蜷曲「牛毛皴」与黝黑苔点交错，组合出「王蒙式」云雾升腾般的动感山势，然此作效果较趋平面性，疑为明代画家追仿其风格的佳作。乾隆皇帝将深林叠嶂中的水榭、人物，比附为长寿仙人偓佺与王子乔修链的隐居处，或许他联想到的是南巡中短暂相见的沈德潜等老臣，期盼他们致仕乡居期间得保长寿康健。",[2495,2496,2497,2577,2499,2501,2509,6241,6242,2502,2503,2506,2507,2549,2508],"深林","叠嶂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04af7491da242fe3e6e5e4e5e92f4e9e.jpg","68.7x42.5",[6,2626],{"id":392,"slug":6247,"title":6248,"dynasty":2632,"author":6249,"museum":2634,"description":6250,"tags":6251,"thumbUrl":6252,"material":2500,"size":6253,"collection":6,"collections":6254,"showCount":6235,"zanCount":3198,"manualWeight":2517,"mainColor":6255},"xie-qin-you-ju-tu-tu-xiang-zeng-qiang-cha-shi-biao-214176","携琴幽居图(图像增强)","查士标","查士标（1691年-1765年），字叔标，号槃湖，清代著名山水画家。他是清代著名的四王之一，与石涛、郎世宁、唐伯虎合称“四王”。查士标擅长山水画，尤其以山水风景和人物画闻名。",[2496,2500,2509,2498,2501,2505,2502,2503,2506,2507,2549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d6e5f238a3606b6d1cab864e69f3c2f.jpg","135.8*25.5",[6],"aaa79f",{"id":393,"slug":6257,"title":5815,"dynasty":2632,"author":2762,"museum":2673,"description":6258,"tags":6259,"thumbUrl":6260,"material":2867,"size":4416,"collection":6,"collections":6261,"showCount":6262,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"yuan-ji-shan-shui-tu-ce-shi-tao-234296","原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[2544,2496,2497,2592,2500,2499,2509,2501,2593,2549,2508,2595,5071,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff66ce93c8dd6e2917b723381f2a32347.jpg",[6,2534],121,{"id":394,"slug":6264,"title":6265,"dynasty":2490,"author":2491,"museum":2673,"description":6266,"tags":6267,"thumbUrl":6268,"material":3257,"size":6269,"collection":6,"collections":6270,"showCount":6262,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"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。",[2495,2496,2497,2498,2499,2501,2509,2510,2547,2614,2506,2595,3055,3775],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc79ab75a5ee8c8a6a86fe7bdb89e6409.jpg","纵25.2厘米，横105.8厘米",[6,2626],{"id":395,"slug":6272,"title":6273,"dynasty":2490,"author":3264,"museum":2563,"description":6274,"tags":6275,"thumbUrl":6276,"material":2531,"size":2598,"collection":6,"collections":6277,"showCount":6262,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-li-zhou-dong-qi-chang-220919","山水立轴","董其昌虽以古人为师，不过反对单纯机械地模拟蹈袭。因为随着阅历的增加与思想的成熟，的临摹是有选择地取舍，融入自己的创意。董认为如果离开了自己的创意，古人的精神也难以表达，因此应以自己独创的形式再现古人的“风神”。董其昌的临古可谓开一代先河。影响了后来许多的画家",[2495,2496,2497,2577,2499,2509,2501,2714,2715,2593,2779,2652,2505,2845],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc897e2980b28ca1fb5a57c61fadbb250.jpg",[6,2626],{"id":396,"slug":6279,"title":6280,"dynasty":2605,"author":2647,"museum":6281,"description":6282,"tags":6283,"thumbUrl":6285,"material":2567,"size":6286,"collection":6,"collections":6287,"showCount":6262,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"han-shan-xue-ji-tu-guo-xi-220123","寒山雪霁图","圣路易斯艺术博物馆","郭熙(1023年--约1085年)，字淳夫、河阳(今河南温县)人，北宋绘画大师。宋神宗熙宁元年(1068年)奉诏入图画院，初为“艺学”，后任翰林待诏直长。宋神宗赵顼深爱其画，曾“一殿专皆熙作”。王安石变法时新立中书、门下两省和枢密院、玉堂等墙上壁画。皆为其所作。郭熙擅画山水，无师承，早年风格较工巧，后取法李成，画艺大进，到晚年落笔益壮，能自放胸臆 ，炉火纯青。其画论有《林泉高致》，提出高远、深远、平远“三远法”。画山石多用“卷云”或“鬼脸”皴；画树枝如蟹爪下垂，笔势雄健，水墨明洁。传世作品有《早春图》(台北故宫博物院藏)、 《窠石平远图》 (北京故宫博物院藏)，以及《树色干远图》《早春图》《关山春雪图》《山林图》《秋山行旅图》《幽谷图》等。",[2495,2496,2544,2577,2509,2499,2500,2501,2714,3078,3091,3668,2504,2549,2960,3839,2593,5522,2611,6284],"石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c60aecd1eeb13e336efcac40bcc130b.jpg","147.6x78.1",[6],{"id":397,"slug":6289,"title":6290,"dynasty":2632,"author":2830,"museum":2749,"description":4422,"tags":6291,"thumbUrl":6292,"material":2512,"size":4425,"collection":6,"collections":6293,"showCount":6262,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"shan-shui-hua-fang-mei-dao-ren-wang-shi-min-220005","山水画-仿梅道人",[2495,2496,2499,2501,2676,2509,2506,2503,2505,2507,2988],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6b0369175196e03b3707498e97829e3.jpg",[6],{"id":398,"slug":6295,"title":6296,"dynasty":2522,"author":2922,"museum":2492,"description":6297,"tags":6298,"thumbUrl":6299,"material":2597,"size":2598,"collection":6,"collections":6300,"showCount":6262,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"gu-mu-cong-huang-tu-ni-zan-217218","古木丛篁图","倪瓒是一位非常有才华的画家，他在元朝时期担任过官员，同时也是一位著名的画家。他的古木丛篁图是他的代表作之一，被广泛认为是元朝画坛上的杰出作品。这幅图画的是一片树木茂密的森林，画面上的树木都长得非常壮观，给人以深深的感觉。倪瓒在画这幅图的时候，非常注重细节，每一棵树都绘制得非常精细。在这幅图中，倪瓒还表现出了树木之间的相互依存关系，这使得这幅图显得更加生动。",[2495,2496,2499,2497,2577,3898,2510,2509,2578,3155,2677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9485a61ec295472a35cd5b4873278e45.jpg",[6],{"id":399,"slug":6302,"title":6303,"dynasty":2490,"author":5395,"museum":2563,"description":6304,"tags":6305,"thumbUrl":6306,"material":2567,"size":6307,"collection":6,"collections":6308,"showCount":6262,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"han-jiang-cao-ge-tu-zhao-zuo-214739","寒江草阁图","画江坞村居，从楼里可以看到远处的风景。长桥上锁，云雾缭绕，山峦起伏。森林湿润，层次分明。与烟雾和雾气混合在一起，感觉就像晴天开始时的一场突如其来的雨。烟雾在河边不时地出现和消失。这幅山水画非常特别，先用淡墨裂开，然后用焦墨破开，这样就可以看出笔墨的光彩，墨色也很浓。",[2496,2497,2577,2499,2509,2501,2505,2506,2502,2503,2652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde2932a52531fae657b3d89f6fb99b15.jpg","160x51.8",[6],{"id":400,"slug":6310,"title":6311,"dynasty":2490,"author":2776,"museum":2563,"description":6312,"tags":6313,"thumbUrl":6315,"material":3157,"size":6316,"collection":6,"collections":6317,"showCount":6262,"zanCount":2872,"manualWeight":2517,"mainColor":2559},"feng-yu-gui-zhou-zhou-dai-jin-214534","风雨归舟轴","这幅画是笔墨兼工带写，奔放豪纵而苍劲淋漓。这幅画很好地运用了「水晕墨章」的技法，用大笔和淡墨快速而斜地扫过风和雨的自然景观，竹子、树木、芦苇和稻草的雨衣，都迎着风和雨弯下腰。　虽然戴进的画风与南宋宫廷画家的体系相同，但他在画中加入了新的内容，如这幅画，并确立了浙派山水画的基本风格，成为后世效仿的典范。",[2496,2497,2577,2544,2499,2509,5369,6314,2504,2821,2502,2503,2506,2651,2614,4452,3126,2507],"归舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07168b75e7b49cbee77b8e01e67a53fa.jpg","143x81.8",[6],{"id":401,"slug":6319,"title":6320,"dynasty":2490,"author":2491,"museum":2492,"description":6321,"tags":6322,"thumbUrl":6325,"material":2597,"size":6326,"collection":6,"collections":6327,"showCount":6328,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"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」。",[2495,2496,2497,2498,2499,2509,2501,6323,6324,2507,2506,2505,2503,2504,2508,3091,2502],"山坞","水村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb656df01da6d53e1cb274f4b3d4c4eca.jpg","30.5 ×770.8 厘米",[6],120,{"id":402,"slug":6330,"title":6331,"dynasty":2605,"author":4730,"museum":6281,"description":6332,"tags":6333,"thumbUrl":6334,"material":2567,"size":6335,"collection":6,"collections":6336,"showCount":6328,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"shui-ge-ya-ji-tu-jiang-can-219898","水阁雅集图","江参,（公元12世纪）〔南宋〕字贯道，南徐（今江苏省镇江市辖丹徒）人，江大方之子。居霅川（今浙江湖州市南），形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，\n(公元12世纪)〔南宋〕字贯道，南徐(今江苏省镇江市辖丹徒)人，居霅川(今浙江湖州市南)，形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，曾居三衢(今浙江常山县)，治园筑馆，园馆取《楚辞》之言名曰“崇兰”，平日与陈与义(1090-1138)、程俱(1078-1144)等交往甚多，生卒年不详。长于山水，师董源、巨然、赵叔问，参以“范郭”画法，创“泥里拔钉皴”，自成一家。高宗赵构召见，委临安府治，不意竟得暴病而卒，人惋惜其“未尽其才”。",[2495,4256,2544,2496,2497,2498,2501,2499,2509,2500,2550,2502,2503,2507,2506,2549,2510,2511],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F598872c82e751688193dc1fe0421b50f.jpg","30.5x120厘米",[6],{"id":403,"slug":6338,"title":6339,"dynasty":2490,"author":2540,"museum":2492,"description":6340,"tags":6341,"thumbUrl":6342,"material":2567,"size":6343,"collection":6,"collections":6344,"showCount":6328,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"lin-song-ren-hua-ce-chou-ying-219780","临宋人画册","《临宋人画册》凡十五开，题材涉及了山水画、花鸟画、仕女图、文人画、界画、鞍马等，乃为仇英临摹宋人的集成之作，画风皆为典型的南宋院体风格，而其中数开现在尚可找到宋画原作，两相对照，确实可见仇英落笔乱真的妙技；又如其中《滕王阁》之类的扎实界画工夫，在文人画逸笔草草的时代，早已难得一见。",[2496,2544,2497,2592,2676,2546,2500,2501,2552,2677,2503,2578,2902,2652,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbed6bd597703f54b095befe2d3e1dd07.jpg","27.2x25.5厘米",[6,2968],{"id":404,"slug":6346,"title":6347,"dynasty":2490,"author":6091,"museum":6348,"description":6349,"tags":6350,"thumbUrl":6351,"material":2512,"size":6352,"collection":6,"collections":6353,"showCount":6328,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-dong-yuan-shan-shui-tu-wen-jia-218090","仿董源山水图","金贝尔艺术博物馆","明朝是中国历史上的一个朝代，它的统治时间是从1368年到1644年。在这期间，文嘉是一位著名的画家，他的作品中有一幅仿董源山水图。\n\n董源是中国历史上著名的画家，他的作品中有一幅著名的山水图，这幅图被称为“董源山水图”。文嘉的作品中的这幅仿董源山水图是文嘉对董源山水图的模仿，他在这幅图中运用了董源的画风，但也加入了自己的风格。\n\n山水画是中国传统画的一种，它的主题是山水风景。山水画中常常会描绘大自然的景象，如山峰、河流、湖泊、树木、花草等。这幅仿董源山水图中也展示了美丽的山水风景，画面上的山峰、树木、河流都描绘得栩栩如生，充满了生机与活力。\n\n文嘉的这幅仿董源山水图不仅展示了文嘉对董源画风的尊敬，同时也展示了文嘉自己的画风。这幅图融合了传统山水画的特点，同时也具有文嘉自己的个性。",[2495,2496,2497,2577,2499,2509,2676,2501,2502,2503,2507,2506,2611,5864,3136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdf2830085ebd93c1fe744e5ba0196bd.jpg","167x52cm",[6],{"id":405,"slug":6355,"title":6356,"dynasty":2632,"author":3020,"museum":2973,"description":6357,"tags":6358,"thumbUrl":6360,"material":2597,"size":6361,"collection":6,"collections":6362,"showCount":6328,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xi-shan-lin-wu-tu-wang-yuan-qi-217884","溪山林屋图","溪山林屋图是王原祁的代表作之一，它们描绘了中国山林中的小屋、溪流、山峰和树木。这些画作通常都有一种平静而自然的感觉，体现了王原祁对中国传统山水画的热爱和自然美的追求。\n\n王原祁的溪山林屋图通常都是以水墨画的形式呈现的，他善于运用水墨画的特点，比如渗透、流动、清晰度等，使得他的画作充满了韵味和生命力。\n\n总的来说，王原祁的溪山林屋图是中国清朝时期画家中的佼佼者，它们不仅是艺术作品，而且也是中国文化遗产的重要组成部分。",[2496,2497,2501,2499,2509,2506,2508,2503,2652,2613,2507,3636,2579,6359],"山间植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebe06c7f8fd41eded98cf111e60e234.jpg","82.8x45.3cm",[6],{"id":406,"slug":6364,"title":6365,"dynasty":2605,"author":2910,"museum":3039,"description":6366,"tags":6367,"thumbUrl":6368,"material":2500,"size":6369,"collection":2624,"collections":6370,"showCount":6371,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"song-shou-tu-ma-yuan-221525","松寿图","此图是马远典型的山水小景画布局风格，描绘山崖一角，苍松斜伸。一文人闲坐石台之上，仰目远眺，旁侧一童子持杖侍立。临溪疏竹丛生，远山寥寥而成。山石用斧劈皴，松树用笔奇崛。右下角行书“马远”单款，画幅上端有宋宁宗赵扩行书七言诗：“道成不怕丹梯峻，髓宝常欺石榻寒，不恋世间名与贵，长生自得一元丹。赐王都提举为寿”。",[2495,2496,2497,2577,2500,2501,2549,2509,2902,2507,6019,6020,3735,2578,2677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa6f346761d8847499876d6085320103.jpg","纵122厘米，横52.7厘米",[2624,6,2626],119,{"id":407,"slug":6373,"title":6374,"dynasty":2632,"author":6375,"museum":4795,"description":6376,"tags":6377,"thumbUrl":6378,"material":6379,"size":6380,"collection":6,"collections":6381,"showCount":6371,"zanCount":2517,"manualWeight":2517,"mainColor":2598},"feng-a-shan-fang-tu-ce-wu-li-zhu-yi-zun-lu-zun-deng-220687","凤阿山房图册","吴历,朱彝尊,陆遵等","吴历 ，字渔仙，号桃溪居士，后号墨井道人，江苏常熟人。曾笃信天主教，并往澳门逗留。工诗、善画山水，师事王时敏 (1592-1680)与王鉴 (1598-1677) ，连同王翚 (1632-1717)、王原祁 (1642-1715)和恽寿平 (1633-1690) 合称「四王吴恽」或称「清初六家」，为清代正统派绘画代表。\n\n该画为吴历应友人侯大年（约1641-约1710）之命所作，并以友人之号「凤阿」命名，绘于康熙十六年（1677）之后，为吴氏中晚年之作。画面山峦起伏，高树竹丛、屋舍数间，屋前小桥流水，一人策杖过桥。整幅作品尺幅虽不大，却构图繁密，墨色苍润，流露对笔墨的追求与讲究，是吴历的精品。事实上，吴历与侯大年交谊深厚，曾应命绘制多幅《凤阿山房图》，以表达侯氏「述祖德，守先业」并归隐的志向，然而凤阿山房终未建成。据记载，侯大年在吴历绘制完立轴后，另请他绘制小册并请诸友题咏，正是此册。全册共分上、下两册，引首朱彝尊　(1629-1709) 书「凤阿山房」，后有吴历、朱彝尊、姜宸英、梁佩兰、宋骏业、王撰、陆遵、梅庚、钱大昕等六十六家诗题，其中陆遵、梅庚补图并题诗。吴历此作无疑是全册点睛之笔，见证了他与侯大年的交谊。",[2495,2496,2497,2499,3155,2592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa503e8eac49b263916b21cd994b16e19.jpg","水墨,设色,纸本,册页","18×34.5厘米",[6,6382],"书法精选",{"id":408,"slug":6384,"title":6385,"dynasty":3283,"author":3431,"museum":2563,"description":6386,"tags":6387,"thumbUrl":6389,"material":2567,"size":6390,"collection":6,"collections":6391,"showCount":6371,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"tang-ren-hua-xue-jing-tu-yi-ming-220432","唐人画雪景图","这幅画，一座山一座山的描绘，大多形成三角形，有平正古拙的感觉。设色主要填染了石青、石绿，山石以金勾勒纹路表现，尚未有皴纹的使用，画法与李思训青绿山水一派相近。此幅现藏于台北故宫博物院，绢本青绿设色。",[2495,2496,2577,2500,2501,2509,3166,2714,3091,2508,2507,6388],"雪地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc57d5ca5811dfaa4e9fdb31720f68781.jpg","135.4x69.1",[6,2534],{"id":409,"slug":6393,"title":6394,"dynasty":2605,"author":4955,"museum":2687,"description":6395,"tags":6396,"thumbUrl":6398,"material":2597,"size":6399,"collection":6,"collections":6400,"showCount":6371,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"qing-lu-heng-yun-tu-zhao-ji-220353","晴麓横云图","此作景物结构近似宋徽宗 〈溪山秋色图〉，然画面集中下方，馀为空白。山形如云朵状，近似李郭风格，然用笔严谨，皴染亦细致，与李郭富强烈粗细变化的线条不同，有学者推测为金代继承李郭传统的作品。画右上方有瘦金书「晴麓橫雲」，书风略显柔弱，「御書之寳」亦存疑，推测为后人追摹。此幅现藏于大阪市立美术馆，纸本浅设色。",[2495,2496,2497,2577,2499,2509,2501,2507,2614,3091,2595,3079,2654,2617,5548,6397],"渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6d05721ef7b3d98f4735e9d3ddf3873.jpg","154.5x61.2",[6,2624],{"id":410,"slug":6402,"title":6403,"dynasty":2522,"author":2588,"museum":2492,"description":6404,"tags":6405,"thumbUrl":6406,"material":2512,"size":6407,"collection":6,"collections":6408,"showCount":6371,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"dan-shan-ying-hai-tu-wang-meng-219742","丹山瀛海图","此图描绘东海蓬瀛诸岛壮阔奇伟的景色。水面上洲岛参差涌列，岛上岗峦层叠重深，长松挺立，树木稠密。岛有木桥通向对岸，山隈深处楼屋掩映。海水浩淼无际，点点舟樯扬帆风行。笔墨师承董源，缜密的披麻皴屈曲律动，峰顶密赞苔点。树木交织使用各种夹叶、勾叶、点叶法，极得荣茂之意。是王蒙笔意繁缛灵活的别体之作。",[2496,2497,2498,2499,2509,2501,2527,2506,2502,2504,2614,2547,2507,3057],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb73e4abea682397150fdd3d71415104f.jpg","纵28.5厘米 横80厘米",[6],{"id":411,"slug":6410,"title":6411,"dynasty":2605,"author":2606,"museum":2589,"description":6412,"tags":6413,"thumbUrl":6414,"material":2567,"size":6415,"collection":6,"collections":6416,"showCount":6371,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"shu-zhan-xing-lv-tu-fan-kuan-218518","蜀栈行旅图","这幅画被认为是范宽的作品，但事实上，这幅画的风格应该是李寅、颜峄的风格一派作品",[2495,2496,2833,2577,2509,2500,2501,2507,2506,2612,2621,2550],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff29c07d65148db3c2cafe7e03228c14d.jpg","192.9x74.4cm",[6],{"id":412,"slug":6418,"title":6419,"dynasty":2632,"author":6420,"museum":2563,"description":6421,"tags":6422,"thumbUrl":6423,"material":2512,"size":6424,"collection":6,"collections":6425,"showCount":6371,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"fang-huang-gong-wang-qiu-shan-tu-qian-wei-cheng-214728","仿黄公望秋山图","钱维城","这幅浅绛色的溪山图是清代对黄公望笔法的典型再创作。",[2544,2496,2497,2500,2509,2676,2547,2501,2506,2503,2505,2507,2614,2508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48650c798602818f548f4a9796a6aefe.jpg","92.3x43.5",[6],{"id":413,"slug":6427,"title":6428,"dynasty":2632,"author":6429,"museum":2589,"description":6430,"tags":6431,"thumbUrl":6433,"material":2597,"size":2598,"collection":6,"collections":6434,"showCount":6371,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shui-mo-tu-ce-zheng-min-214517","水墨图册","郑旼","郑旼是清代著名的画家，他的水墨图册是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了郑旼对自然的热爱和对传统文化的尊重。他运用了水墨画的特点，使得整件作品显得舒缓而优美。\n\n郑旼是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在水墨图册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，郑旼的水墨图册是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了郑旼对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到郑旼的画风魅力，还能了解中国传统的山水风情。",[2592,2499,2511,2510,2501,3091,2507,6432,2547,2509],"枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35a214c726747716788dfbbb381e5298.jpg",[6,2626],{"id":414,"slug":6436,"title":2587,"dynasty":2632,"author":6437,"museum":2673,"description":6438,"tags":6439,"thumbUrl":6440,"material":2867,"size":2598,"collection":6,"collections":6441,"showCount":6442,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-sun-yi-237184","孙逸","孙逸(1604—约1658) ，字无逸，号疎林，亦号石禅，明朝末清朝初海阳（今安徽休宁）人，与萧云从齐名，合称孙萧，与弘仁、汪之瑞、查士标为新安派四大家；字仲举。",[2496,2500,2545,2509,2592,2501,2502,2503,2507,2506,2549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff34d67da6623fc74c8d4a14b73f0be1b.jpg",[6,2534],118,{"id":415,"slug":6444,"title":6445,"dynasty":2490,"author":4134,"museum":2673,"description":6446,"tags":6447,"thumbUrl":6448,"material":2531,"size":6449,"collection":6,"collections":6450,"showCount":6442,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"bu-xi-tu-tang-yin-222346","步溪图","一人徐步缓行，一人与之相对而立，神态怡然。衣纹洗练流畅，衣袖随风飘舞，生动刻画了悠闲自在的隐士形象。用笔苍秀，构图高远，画格既有南宋[院体]画遗风，又具有元代文人画秀雅的特色。右上自题诗云：[卜宅临溪上，开门近步头。渔樵通互市，耕钓是贻谋。山晓青排闼，波晴绿漾舟。主君朝学海，枕石漱清流。姑苏侍生唐寅作《步溪图》并题奉呈黎老大人先生。]下钤二印。",[2495,2496,2499,2509,2501,2577,2506,2507,2549,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff633694d671ff94560b7fe877887ca21.jpg","纵159厘米，横84.3l厘米",[6,2626],{"id":416,"slug":6452,"title":6453,"dynasty":2605,"author":2910,"museum":2563,"description":6454,"tags":6455,"thumbUrl":6457,"material":6458,"size":6459,"collection":2624,"collections":6460,"showCount":6442,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"xiao-xue-shan-xing-tu-ma-yuan-221522","晓雪山行图","此图描写大雪封山的清晨，一山民赶着两只身驮木炭的小毛驴在白雪皑皑的山间行走。山民衣着单薄，弓腰缩颈，使人感到雪天寒气逼人。毛驴、竹筐、木炭及人物衣纹均用干笔钩勒，并施以水墨渲染。\n作为环境的山石以带水墨笔作斧劈皴，方硬有棱角，远处山石用水墨大笔扫出。近处树枝以焦墨钩出，横斜曲折富有变化，远处用淡墨钩出。近与远的笔墨浓与淡效果，有着较强的画面空间感，画面用大斧劈侧锋直皴山石，下笔爽利果断， 画树简括，枝条劲健。作者以局部取景，来表现出当时人们生活。",[2495,2496,2544,2497,2499,2500,2509,2549,5827,6456,3091,2507,2615,3166],"雪山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5068fd109904211180892e4da691f20e.jpg","卷，绢本，水墨","纵：27.6厘米，横：42.9厘米",[2624,6,2626],{"id":417,"slug":6462,"title":6463,"dynasty":2522,"author":2922,"museum":2563,"description":6464,"tags":6465,"thumbUrl":6466,"material":3157,"size":6467,"collection":6,"collections":6468,"showCount":6442,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"song-lin-ting-zi-tu-ni-zan-220170","松林亭子图","此画写的是江南山庄的景色，平远为山水，较为隐约，近处为山坡，坡陀上山石横卧。中幅画有数棵穿天大树，大树下画有一亭子，座落在远山、近石之间。\n画面左上方有倪瓒于至正十四年（1354）的一段赠友人的题跋：“亭子长松下，幽人日暮归。清晨重来此，沐发向阳晞。至正十四年初冬，倪瓒为长卿茂异写松林亭子图，并诗其上。” 幅上有潘纯题。",[2495,2496,2497,2577,2499,2509,2501,2902,3707,3735,2595,3880,2977,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ebd82fa0184f444978c623ab494f284.jpg","纵83.4厘米，横52.9厘米",[6],{"id":418,"slug":6470,"title":6471,"dynasty":2605,"author":3431,"museum":3121,"description":6472,"tags":6473,"thumbUrl":6477,"material":2567,"size":2598,"collection":6,"collections":6478,"showCount":6442,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"si-ji-shan-shui-tu-yi-ming-219171","四季山水图","长卷铺展，四季流转于笔墨间。山石以斧劈皴勾勒，棱角分明如剑戟森立；树木或葱郁或萧疏，枯荣交替藏时序更迭。江波浩渺，帆影点点，山间屋舍隐现，行人穿梭林泉，尽显天人合一之趣。墨色浓淡相宜，虚实相生：远处山峦笼薄雾，近处景物纤毫毕现，层次深远如临其境。整幅画作兼具北派雄健风骨与南派秀逸雅致，于咫尺间纳千里江山，既见宋代山水画的精湛技法，更藏文人对自然时序的细腻感知与哲思。",[2495,2496,2498,2833,2499,6041,2507,2506,5236,3667,2579,6002,6474,6475,6476],"四季","天人合一","虚实相生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9610bad6f53abc741aa292bb661c52c4.jpg",[6],{"id":419,"slug":6480,"title":6481,"dynasty":2605,"author":3431,"museum":2563,"description":6482,"tags":6483,"thumbUrl":6484,"material":2567,"size":6485,"collection":6,"collections":6486,"showCount":6442,"zanCount":3130,"manualWeight":2517,"mainColor":4670},"chi-bi-tu-yi-ming-218651","赤壁图","此图边角式的构景，已演化为南宋画之面目，但笔墨的习惯与格式化，则透露出本幅的创作时间已晚至明朝了。本幅乃一叶扁舟为主景的局部山水。用锯齿描精绘漩流急浪，以回身仰望的苏东坡，来暗示出赤壁在画外的高耸。",[2495,2544,2496,2497,2501,2504,2549,2509,2499,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ee7fef708e8753e343d91346a2e744b.jpg","24x23.2cm",[6],{"id":420,"slug":6488,"title":6489,"dynasty":2632,"author":3816,"museum":2749,"description":6490,"tags":6491,"thumbUrl":6493,"material":2732,"size":6494,"collection":6,"collections":6495,"showCount":6496,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"gua-bi-fei-quan-tu-zhou-gong-xian-222626","挂壁飞泉图轴","此图描绘大山峻岭，云雾缥缈。山腰松林密布，草木葱茏，又有白瀑流涧，可闻水声。溪涧之上架廊桥一座，虽陂陀斜立，却有房合数间。近处古木并立，树荫浓郁，其间山庄院落隐于树林之中，山径通幽处，但闻鸟语声。作者用积墨法层层渲染山石，笔墨厚重，又“留白”以示云烟白瀑，黑白对比强烈。",[2495,2496,2499,2509,2577,2501,2507,2506,2611,6492,2505,2503,2502],"飞泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff27b66fa0f3b8cdccbe70dc2ab8e964d.jpg","纵273厘米，横99厘米",[6,2626],117,{"id":421,"slug":6498,"title":4355,"dynasty":2632,"author":5644,"museum":5182,"description":6499,"tags":6500,"thumbUrl":6502,"material":2512,"size":6503,"collection":6,"collections":6504,"showCount":6496,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"you-gu-tu-kun-can-220430","髡（kūn）残(1612-1692)，清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、残道者、电住道人。湖广武陵(今湖南常德)人。与石涛合称“二石”。髡残一生中大部分时间都在山水中度过，经常驻足于名山大川，在山林泽薮之间，侣烟霞而友泉石，踯躅峰巅，留连崖畔，以自然净化无垢之美，对比人生坎坷、市俗机巧，从中感悟禅机画趣。\n髡残在明末遗民中享有很高的声望，他的画也为世人所瞩目。当时著名的文人兼大鉴赏家周亮工就十分景仰、看重髡残的人品和画学，在《读画录》中为他写小传，谓：“人品笔墨俱高人一头地……绘事高明，然轻不为人作。”张怡在髡残的《仿米山水册》中是这样评价这位心灵相契的老友的：“举天下言诗，几人发自性灵?举天下言画，几人师诸天地?……此幅自云效颦米家父子，正恐米家父子有未到处，所谓不恨我不见 髡残古人，恨古人不见我耳。”他认为髡残的诗，是写出了自己的性灵；髡残的画是直师造化，甚至比宋代米芾父子还好；髡残的佛学是直指本心，而没有出家人开堂说法的那种俗套。张庚《国朝画征录·髡残传》云：“奥境奇辟，缅邈幽深，引人入胜。笔墨高古，设色精湛，诚元人之胜概也。此种笔法不见于世久矣!” [4] 这段话说明髡残的画深得元季四大家的精髓。总之，三百多年来，髡残一直以其人品与画品并重的高华之气，影响着画坛，成为画家心目中的丰碑",[2495,2496,2497,2577,2501,2500,2509,2550,2503,2507,2506,2614,2549,6501,2902,4657],"山谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784ed53c41b7939b3a557817b650a269.jpg","143.19 × 59.21",[6,2534],{"id":422,"slug":6506,"title":6507,"dynasty":2605,"author":2647,"museum":2997,"description":6508,"tags":6509,"thumbUrl":6510,"material":2597,"size":2598,"collection":6,"collections":6511,"showCount":6496,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"xi-shan-qiu-shuang-tu-guo-xi-219946","溪山秋爽图","此作画境清旷萧疏，以高远、深远之法排布山水。左畔层岩叠起，卷云皴写出山石嶙峋肌理，苍松杂木间植崖谷，枝叶枯荣尽染秋意。右侧留白铺陈溪岸远山，淡墨晕染出空濛秋气，虚实相映，将秋日山林的辽远静穆铺展尽致。\n\n干湿笔墨相济，勾勒皴擦尽显丘壑灵秀，点染林木兼具法度。将秋山的松风漱石、溪岸的澄澈清寂融于一卷，藏着林泉高致的文人意趣，仿佛踏入画中，便可揽尽秋日山岚的高爽清逸。",[2496,2501,2577,2531,2499,2509,5872,2651,2652,2506,2613,5116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73a1d6d39da56cd4d6711f5f61995abd.jpg",[6],{"id":423,"slug":6513,"title":6514,"dynasty":2632,"author":5047,"museum":2673,"description":6515,"tags":6516,"thumbUrl":6517,"material":2567,"size":6518,"collection":6,"collections":6519,"showCount":6496,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"lu-shan-bai-yun-tu-wang-hui-218366","庐山白云图","此图绘于清康熙三十六年（1697年），作者时年66岁，是其晚年诸多仿古作品中的代表性画作之一。据王翚自题，因30年前曾观北宋关仝《庐山白云图》，故今用其法绘制此图，以遵“古香主人”之嘱。王翚曾与其师王时敏遍游大江南北，尽得观摹收藏家之秘本，故其摹古功力极高。王时敏称赞他：“集古人之长，尽趋笔端，故能妙绝千古。前诸制作，固足乱真，此则更为脱化，每仿一家曲尽其致，而超逸之趣则又过之。”这幅作品恰恰印证了王时敏对王翚的评价。\u2028　　“古香主人”即爱新觉罗·岳乐，王翚为其创作极为精心。画面上峰峦起伏，云雾迷茫，其中间的瀑布、杂树、竹亭、山石以浓密的雨点皴出之，正是仿关仝一路北方山水画法。全图工整谨密，秀润苍浑，深得关仝“笔简景少，气壮意长”之旨。",[2495,2496,2497,2498,2499,2500,2501,3637,2527,2506,2611,2505,2614,2507,2508,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa38fdd2ef1404824446ef2999ef18a75.jpg","纵35厘米，横323.5厘米",[6],{"id":424,"slug":6521,"title":6522,"dynasty":2605,"author":6523,"museum":2997,"description":6524,"tags":6525,"thumbUrl":6526,"material":2567,"size":6527,"collection":6,"collections":6528,"showCount":6529,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"xue-shan-xing-lv-tu-liang-kai-218036","雪山行旅图","梁楷","宋朝时期的画家梁楷是一位杰出的画家，其中最著名的作品之一就是《雪山行旅图》。\n\n《雪山行旅图》是一幅山水画，描绘的是一群人在雪山中旅行的场景。图中的人物用简单的线条勾勒出来，而山川、林木则是用浓厚的墨色勾勒出来的，给人以山水画的秀美感受。\n\n在《雪山行旅图》中，梁楷用笔触简练，表现出了雪山的壮丽景色。图中的人物虽然简练，却也能够传达出自然与人斗争的感觉。整幅画给人以清新、舒适的感觉，让人仿佛置身于山间，感受到大自然的魅力。\n\n《雪山行旅图》在宋朝时期是一幅非常具有代表性的作品，因为它体现了宋朝时期山水画的特点。梁楷在这幅画中巧妙地融合了中国传统的山水画风格与西方的透视画法，使得这幅画在当时颇受欢迎。目前，《雪山行旅图》还是许多博物馆和美术馆的珍藏之作。",[2544,2496,2497,2499,2509,2500,2501,6456,2549,2960,3091,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10b55a72db1829645297c286ba7aa49e.jpg","24.3x25.7cm",[6],116,{"id":425,"slug":6531,"title":6532,"dynasty":2632,"author":3431,"museum":2563,"description":6533,"tags":6534,"thumbUrl":6536,"material":2567,"size":6537,"collection":6,"collections":6538,"showCount":6529,"zanCount":3048,"manualWeight":2517,"mainColor":2518},"qian-long-ke-si-shan-shui-gua-ping-si-zhou-1-yi-ming-214660","乾隆缂丝山水挂屏四轴-1","此四轴用挑经显纬的刻丝之法绘就仙山楼阁，有仙鹤和白云，象征着吉祥如意。在山体的岩石部分用蓝色和赭石绘制的织品，使其与丝绸和纸上的绘画完全相同，显示出乾隆时期丝绸织品的精致。",[2496,6535,2500,2501,2550,2506,2507,3208,3011],"缂丝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f9319e86c70e3c72abbd72d15b43374.jpg","93.8x25.6",[6],{"id":426,"slug":6540,"title":6541,"dynasty":2632,"author":6542,"museum":2818,"description":6543,"tags":6544,"thumbUrl":6545,"material":2531,"size":6546,"collection":6,"collections":6547,"showCount":6548,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"e-pang-gong-tu-ping-yuan-jiang-224596","阿房宫图屏","袁江","本幅无款，钤“袁江之印”、“文涛”印2方。有宋伯鲁录《阿房宫赋》全文并识。\n古代历史上著名的宫阙殿宇和民间传说中的阆苑琼楼都是袁江笔下反复描绘的题材内容，此幅即以秦始皇三十五年（公元前212年）兴建的阿房宫为题。画家凭借自己精深的古建知识和丰富的想象力使一组组已经逝去的带有神秘色彩的建筑得以再现。此图使用12条通景屏的表现手法，充分利用画面的宽度与广度，再现了阿房宫当年的恢弘气势，将华贵绮丽的画风发展到极致。",[2495,2544,2496,2497,2790,2546,2500,2501,2550,2507,2506,2614,2791,3880],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f7ea797c054eb61e8fe9d424db56755.jpg","纵194.5cm，横60.5cm",[6],115,{"id":427,"slug":6550,"title":3183,"dynasty":2605,"author":2699,"museum":3356,"description":6551,"tags":6552,"thumbUrl":6553,"material":6554,"size":6555,"collection":2624,"collections":6556,"showCount":6548,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-tu-xia-gui-221507","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等",[2495,2496,2499,2501,2509,2506,2507,2505,2594,2549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ab5472f3ba598d3a5927e16ecc79efb.jpg","绢本 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\n此画作于明景泰五年（1454年），杜琼时年59岁。图中山峰耸峙，层峦迭嶂，弯曲的河流将画面中下部的山峰隔为两段，画面右下山谷林木间有山庄草亭，一文士正在草亭中读书；桥上有一拄杖文士携童子向山庄走来。该幅构图饱满，山石用圆润细密的披麻皴，浓墨点苔，系画家仿元王蒙风格而出新意的代表作之一。杜琼学王蒙颇有心得，他在52岁时作的《萝萱堂水墨山水》中就自题云：“余学黄鹤（王蒙号）最精。”顾复评价他于正统年间所作的《对泉图》时也称他“学叔明（王蒙字）能脱塞实之习，自然高雅”。",[2495,2544,2496,2497,2577,2499,2500,2509,2501,2502,2503,2506,2507,2549,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15565c9a8c4a1de8ad94b72defc1db1d.jpg","纵122.4厘米，横38.9厘米",[6],113,{"id":436,"slug":6624,"title":6625,"dynasty":2490,"author":2540,"museum":2563,"description":6626,"tags":6627,"thumbUrl":6628,"material":2567,"size":6629,"collection":6,"collections":6630,"showCount":6631,"zanCount":3048,"manualWeight":2517,"mainColor":2559},"qiu-jiang-dai-du-zhou-chou-ying-222204","秋江待渡轴","此幅用笔极工，盖实父着意之作也。画未署款，惟石角水陬，分钤三印。竹树双钩，如唐人小楷，笔笔尽法。山石带皴带砍，要与斧劈为近，重而不滞，轻而不浮。点景人物，尤尽传神之妙。有项元汴，安岐藏印。",[2495,2544,2496,2497,2577,2500,2546,2509,2501,2549,4462,2504,3473,2507,2506,3125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d22204dd46057a8ac8e4dd002a40813.jpg","155.4x133.4公分",[6,2534],112,{"id":437,"slug":6633,"title":6634,"dynasty":2522,"author":6635,"museum":2673,"description":6636,"tags":6637,"thumbUrl":6640,"material":3257,"size":6641,"collection":6,"collections":6642,"showCount":6643,"zanCount":3048,"manualWeight":2517,"mainColor":2518},"wu-jia-he-hui-juan-zhao-yong-wang-mian-zhu-de-run-zhang-guan-fang-cong-yi-221721","五家合绘卷","赵雍 王冕 朱德润 张观 方从义","《元五家合绘》卷，元，赵雍、王冕、朱德润、张观、方从义作。\n此卷包括元代5位画家的5件绘画作品，作品尺幅相近，后人将其合裱为一卷。\n其一《松溪钓艇图》，元，赵雍作，纸本，墨笔，纵30厘米，横52.8厘米。\n款署：“至正二十年二月既望仲穆画。”钤“仲穆”、“魏国世家”。另有清乾隆皇帝御题诗及鉴藏印。至正二十年为1360年，赵雍时年72岁。图绘近岸坡石双松，孤舟钓叟，隔水平峦远岫，意境清幽，笔墨苍润。\n（二）《墨梅图》，元，王冕作，纸本，墨笔，纵31.9厘米，横50.9厘米。\n自题：“吾家洗研池头树，个个花开淡墨痕。不要人夸好颜色，只流清气满乾坤。王冕元章为良佐作。”钤“元章”、“文王子孙”。另有清乾隆皇帝御题诗及鉴藏印。画面中一枝梅花横出，枝干秀挺，花朵疏朗。以淡墨点染花瓣，再以浓墨勾点萼蕊，墨色清润，高情逸趣溢于笔端，表达了作者藉墨梅标榜清高孤洁的思想情感。\n曾经清人梁清标和清内府收藏，《石渠宝笈·续编》著录。\n（三）《松溪放艇图》，元，朱德润作，纸本，墨笔，纵31.5厘米，横52.6厘米。\n自题：“丑石半蹲山下虎，长松倒卧水中龙。试君眼力知多少，数到云峰第几重。朱泽民。”钤“朱泽民氏”。另有清乾隆皇帝御题诗及鉴藏印。\n图绘巨石怪松，孤舟徐行。画松枝用笔爽利迅捷，坡石皴法温润，人物用白描法，笔简意浓。\n曾经明沈周、清安岐收藏。\n（四）《疏林茅屋图》，元，张观作，纸本，墨笔，纵25.8厘米，横59.6厘米。\n款署：“至正戊戌八月，张观制。”另有清乾隆皇帝御题诗及安岐鉴藏印。至正戊戌为元至正十八年（1358年）。\n图画平坡老树，茅舍掩映，水阔山远，清雅控幽。树木勾点结合，错落有致，坡石用墨湿润，画风承北宋李成、郭熙一脉。\n（五）《山水图》，元，方从义作，纸本，墨笔，纵26.5厘米，横45.3厘米。\n款署：“方方壶作。” 另有清乾隆皇帝御题诗及明项元汴等多家鉴藏印。\n图画密林茅舍，小桥流水。画面景物丰满，墨色浓淡相间，笔法灵活潇洒。",[2495,2496,2497,2498,2499,2509,2547,2501,2593,2578,2504,4241,2507,2594,4451,2549,2766,2845,2730,6432,6638,2902,3091,3765,4702,6639,2718,3126],"花","山间","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ad6676a3f8f4d776bd2cf92396b87c9.jpg","纵30cm，横52.8cm",[6,2626],111,{"id":438,"slug":6645,"title":6646,"dynasty":2605,"author":4955,"museum":2563,"description":6647,"tags":6648,"thumbUrl":6650,"material":2720,"size":6651,"collection":2624,"collections":6652,"showCount":6643,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"xue-jiang-gui-zhao-tu-juan-zhao-ji-221349","雪江归棹图卷","画幅的右上角有宋徽宗赵佶瘦金书“雪江归棹（音照）图” 五字，左下角钤“宣和殿制”印并“天下一人”画押。\n这是一幅描绘冬日雪景的山水画。画面起首远山平缓，进入中段以后，山势渐渐高耸，转而趋于平缓，整幅画面富有高低错落的节奏感，使观者仿佛身临其境，坐于舟船中，沿江眺望窗外时时变换的景色，充分展示了长卷绘画的特点和魅力。全卷用笔细劲，笔法流畅，意境肃穆凝重，代表了宋徽宗时期画院的艺术水平。",[2495,2498,2546,2509,2499,2500,2511,5686,2547,2501,2504,6649,2506,2507,4452],"江景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1036396b87433672d8f6f1cab8e3a99f.jpg","纵30.3厘米，横190.8厘米",[2624,6,2626],{"id":439,"slug":6654,"title":6655,"dynasty":2490,"author":6656,"museum":2563,"description":6657,"tags":6658,"thumbUrl":6659,"material":2597,"size":6660,"collection":6,"collections":6661,"showCount":6643,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"shu-shan-tu-xu-ben-220364","蜀山图","徐贲","此图的蜀山非四川蜀山，而是指在江苏省宜兴东南的蜀山，苏轼爱其风景似蜀，故名。元末徐贲隐居于此。此图是徐贲居住山中时所作。画幅上方，徐贲以小楷长题，其中交代了作此画的原委：“吕山人自吴来访。余蜀山中登临燕赏，遂留数日。孤琴野艇，倏然告归。因画一纸以赠，并诗以道山居之乐，盖将以邀吾山人卜邻尔。噫!余今因画赋诗，君归而观此，必旋能因诗而念我山居也。栖霞憩月当翘首以待”。可见，此图的表现主题为山居归隐。在画面处理上，此图构图平稳，布局充实、满当而不拥堵；在表现技法上，山石作披麻皴，树木则勾点结合。全图用笔萧散、灵活自然，墨色干湿结合，雅淡透润，正好表现出蜀山灵秀之气。《蜀山图》是他的代表作。",[2495,2496,2497,2499,2509,2501,2507,2506,3736,2595,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a18ec46e445f532bd8e15851f452eb0.jpg","纵127．3厘米，横66．3厘米",[6,2626],{"id":440,"slug":6663,"title":5214,"dynasty":2605,"author":4921,"museum":5068,"description":6664,"tags":6665,"thumbUrl":6666,"material":2597,"size":6667,"collection":6,"collections":6668,"showCount":6643,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"yun-shan-tu-mi-you-ren-218637","画面上群山耸立，半山腰上云雾缭绕，山脚下隐约可见一排排房屋、一座座小桥和船只，泥泞的平原上有几棵水墨画般的树木，树干细长，枝叶茂密。",[2495,2496,2497,2499,2509,2511,2501,3208,2714,2593,2504],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F370b493c400d975bccc00e55e62a050b.jpg","27.8x23.5",[6],{"id":441,"slug":6670,"title":6671,"dynasty":2632,"author":3431,"museum":5068,"description":6672,"tags":6673,"thumbUrl":6674,"material":2567,"size":6675,"collection":6,"collections":6676,"showCount":6677,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"fang-jing-hao-kuang-lu-tu-yi-ming-219918","仿荆浩匡庐图","此作以全景铺陈层峦雄峰，取法北派山水沉郁雄浑的体格，硬朗苍劲的皴笔勾勒出山岩嶙峋质感，峰崖崔嵬直入云间，尽显巍峨磅礴之气。\n\n幽谷间虬木古拙苍劲，山居隐于林麓，飞瀑流泉循着山涧蜿蜒而下，为沉凝的山石注入灵动生机，高远与深远兼具，铺展出辽邈静谧的山林天地。古雅褐调晕染出幽寂的山野氛围，将大山大水的厚重气象，与林下幽居的隐逸意趣相融，摹古之间自有意趣生发，尽显传统山水的庙堂气度与林下风神。",[2496,2501,2499,2509,2676,2507,2506,2611,2502,2503,2508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eb56e540505fbe81a87741e447dcf3e.jpg","180.3x67厘米",[6],110,{"id":442,"slug":6679,"title":6680,"dynasty":2605,"author":2946,"museum":2589,"description":6681,"tags":6682,"thumbUrl":6683,"material":2567,"size":2598,"collection":6,"collections":6684,"showCount":6677,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"lin-quan-gao-yi-tu-li-tang-219476","林泉高逸图","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。",[2496,2497,2544,2501,2549,2578,2913,2503,2677,2509,2499,2500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7964575762451efa5aa4d3c00822997d.jpg",[6],{"id":443,"slug":6686,"title":6687,"dynasty":2605,"author":2910,"museum":2589,"description":6688,"tags":6689,"thumbUrl":6692,"material":2567,"size":6693,"collection":6,"collections":6694,"showCount":6677,"zanCount":3048,"manualWeight":2517,"mainColor":2559},"ye-chuan-dai-du-tu-ma-yuan-218579","野川待渡图","烟波浩渺的水面上，淡墨晕染的远山若隐若现，与空濛的天际相融，漾开无尽悠远。近岸林木苍劲，枝干盘曲如虬，浓墨点染的叶丛间透着生机。岸边人影错落，或伫立待渡，或舟中轻楫，动静相宜间，藏着几分江南水乡的日常意趣。画面以边角构图见阔远，留白处藏万千思绪，将清寂与悠远凝于绢素，尽显宋人山水的空灵之境，仿佛能闻得水面风吟，见得旅人归心。",[2544,2496,2497,2499,2500,2509,6690,2501,2528,2549,2504,2506,2595,2652,6691,6001],"边角山水","渡口","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa886c296b26cb11f3bfc2ae180ea3d33.jpg","27x94.5cm",[6],{"id":444,"slug":6696,"title":6697,"dynasty":2490,"author":3264,"museum":2673,"description":6698,"tags":6699,"thumbUrl":6700,"material":2597,"size":6701,"collection":6,"collections":6702,"showCount":6677,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-mi-fei-shu-hua-he-juan-dong-qi-chang-218348","仿米芾书画合卷","董其昌（1555—1636年），字玄宰，号思白，又号香光居士，华亭（今上海松江）人。明万历十六年（1588年）进士，官至礼部尚书，卒谥文敏。精于书画鉴赏，收藏很多名家作品，在书画理论方面论著颇多，其“南北宗”的画论对晚明以后的画坛影响深远。工书法，自谓于率易中得之，对后世书法影响很大。其书画创作讲求追摹古人，但并不泥古不化，在笔墨的运用上追求先熟后生的效果，拙中带秀，体现出文人创作中平淡天真的个性。加之他当时显赫的政治地位，其书画风格名重当世，并成为清代艺坛的主流。著有《画禅室随笔》、《容台集》、《画旨》等文集。",[2495,2496,2497,2498,2499,2676,2511,2510,2509,2547,2501,2651,2506,2614,2508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ff6dd2e58bbe82d29a2c53847ed8eb.jpg","23.7x75.4cm",[6,2626,6382],{"id":445,"slug":6704,"title":6705,"dynasty":2490,"author":3264,"museum":2818,"description":6706,"tags":6707,"thumbUrl":6708,"material":2598,"size":2598,"collection":6,"collections":6709,"showCount":6710,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"dong-qi-chang-shan-shui-ce-dong-qi-chang-234974","董其昌山水册","此册尺幅虽小，但笔墨极精。董其昌只书款而未钤印，是其当日自留收藏的得意之笔。册后有王时敏、笪重光二跋。从王时敏跋可知，此册为他的旧藏，后赠予王翚。佳作已在二跋文字中尽言，特录出跋文：\n“文敏于短笺小册作残山剩水，笔墨酣放，烟云灭没，俨然具万里势。真得简淡高人之致。余购藏之已二十余年。适石谷兄过小斋，见之叹赏不置，遂以诒之。非但高山流水得遇赏音，其气韵正相类也。戊申夏王时敏题。”\n“文敏每过京口，必馆于张氏园亭。所作小幅戏墨最多。余时从友人则之借观，爱其题跋，蝇头细书，未忍释手。即文敏当日亦殊自为珍重也。此册墨法天真幽淡，与张氏收藏极相类，烟客石谷两公之争赏，有以也夫。江上外史笪在辛漫识。”",[2496,2499,2501,2506,2614,2595,2509,2592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e702ea296c830fd9f358026fa00831e.jpg",[6],109,{"id":446,"slug":6712,"title":6713,"dynasty":2522,"author":3907,"museum":3088,"description":6714,"tags":6715,"thumbUrl":6716,"material":3069,"size":6717,"collection":6,"collections":6718,"showCount":6710,"zanCount":3048,"manualWeight":2517,"mainColor":2559},"shan-ju-na-liang-tu-zhou-sheng-mao-221754","山居纳凉图轴","《山居纳凉图》用笔工细严谨，如果没有印鉴放入一堆宋画中很难识别。盛懋的父亲就是职业画家，自小盛懋就受到严格的技法训练，尤其是董源和巨然二人的作品更是熟烂于胸。从这一点看，盛懋并不排斥文人画的风格。\n《山居纳凉图》采用传统的三段式构图，中景处添加了大量烟云，在肃穆中增添了活泼的感觉。作为一名职业画家，很重视作品中的通俗性，在创作中喜欢加入故事性元素拉近与欣赏者的距离。画中有一座水阁临泉而建，四面通风，浓荫遮日。尤其是水阁中的雅士身着薄纱，袒胸露腹，画出了世人对雅士的共同印象——洒脱不羁。在用色上，盛懋为了突出青绿山水的装饰性美感，山中密林也精细勾染一丝不苟，让整幅作品在雅致中带有一种富贵气息。这样的作品从技法层面实在挑不出一点毛病。\n欣赏盛懋的作品就可以感受到他是一个认真的人，如此大的一幅山水不露败笔，没有数十年的苦练是无法做到的。不过按照文人画的审美标准来看，这就是盛懋最大的问题。他的画缺少了写的成分，缺少了意趣流露，仅仅是忠于技法，不敢打破严谨的章法。有的时候太认真也成了毛病，这就是绘画最微妙的地方，多了溢出，少了不足，不多不少的时候还要来点儿天然意蕴。",[2495,2496,2497,2577,2500,2509,2501,2505,2504,2506,2507,2549,2503,3736,2752,2880],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ea5388f9614fe1ee0b4705a3c3810e.jpg","31.27×261.62厘米",[6,2534],{"id":447,"slug":6720,"title":6721,"dynasty":2632,"author":3796,"museum":2673,"description":6722,"tags":6723,"thumbUrl":6724,"material":2567,"size":6725,"collection":6,"collections":6726,"showCount":6710,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"qing-lv-shan-shui-juan-wang-jian-218435","青绿山水卷","图中青峰翠岭，连绵起伏，敷色浓艳，皴染分明。色彩富丽的画面散溢出清雅灵秀的气息，令人眼目一新。\n本幅卷尾处，王鉴自题：“余向在董思翁齋頭見趙文敏《鵲華秋色》卷及余家所藏子久《浮嵐遠岫圖》，皆設青綠色，無畫苑習氣。今二卷不知流落何處，時形之夢寐，閑窗息紛，追師兩家筆法而成此圖，雖不敢望古人萬一，庶免近時蹊逕耳。戊戌長夏王鑒。”王鉴曾观赏元代大画家赵孟頫和黄公望的作品，对图画的青绿设色醉心不已。此图卷便是王鉴在61岁时（清顺治十五年，1658年）以青绿设色法绘制而成。\n王鉴的艺术天赋很高，不只专擅水墨山水，对设色画亦驾轻就熟，其中又分青绿、浅绛两种风格。王鉴的青绿山水多题“仿赵令穰”、“仿赵伯驹”、“仿赵孟頫”，因为“三赵”的青绿设色法别有特色，他们在宫廷院体青绿画法中融入了文人画的书卷之气。董其昌对“三赵”的创作手法推崇备至，王鉴早年曾得到董氏亲自指点，耳濡目染，深受启发，后精心习练青绿山水，终有大成。王鉴所谓的“仿”并非简单地模仿笔墨技巧、构图布局，而是重在体味“三赵”去以往青绿山水之俗艳，使之另具雅淡气质的创作思想，然后施之于画幅上，令其画独存灵逸之趣。王时敏尝称他“以穠丽为宗，然高华秀逸兼而有之”，确是的论。",[2495,2496,2497,2498,2545,2500,2501,2509,2651,2506,2613,5051,2614,3057],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ef4b7b44ba02a41f2afeb11c6d116f.jpg","纵23厘米，横198.7厘米",[6],{"id":448,"slug":6728,"title":2587,"dynasty":2490,"author":3264,"museum":2673,"description":6729,"tags":6730,"thumbUrl":6731,"material":2732,"size":6732,"collection":6,"collections":6733,"showCount":6734,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-dong-qi-chang-220918","《仿古山水图》册，明，董其昌绘，8开，纸本，墨笔6开，设色2开，每开纵42cm，横29.6cm，北京故宫博物院藏。\n\n此册画于“戊午”（明万历四十六年，1618年），董其昌时年64岁。墨笔六开，构图缜密，笔笔精到；设色二开，格调高远，艳而不俗，皆极经意之品。从鉴藏印可知，此册为董氏传与其子董祖源珍藏，又经王时敏赏鉴，故应是真笔无疑，可作鉴定之样本。",[2495,2496,2499,2509,2592,2510,2511,2547,2501,2714,2715,2593,3839,2677,2508,3208,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3477349258756401379299bbf5a6cf8a.jpg","纵26.4cm，横16cm",[6,2626],108,{"id":449,"slug":6736,"title":6737,"dynasty":2632,"author":6738,"museum":6739,"description":6740,"tags":6741,"thumbUrl":6742,"material":2512,"size":6743,"collection":6,"collections":6744,"showCount":6734,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-wen-zheng-ming-shan-shui-tu-gu-yun-219932","仿文徵明山水图","顾澐","辛辛那提艺术博物馆","顾澐（1835-1896），字若波，号云壶、壶翁，以字行。吴县（今属江苏苏州）人。工山水，泽古功深，汇四王、吴、恽诸家之长。清丽疏古，气韵秀出，间作花卉、人物，近于新罗。光绪十四年（1888）游日本，遍览东京诸胜，所画一树一石皆备受赞赏。长期鬻画沪上。出版有《顾若波山水集册》。",[2495,2496,2497,2544,2577,2500,2545,2509,2501,2902,2502,2549,2508,2507,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6067fbcb05b4099e0dad02acc22a97e5.jpg","123.2x37.3厘米",[6],{"id":450,"slug":6746,"title":6747,"dynasty":2605,"author":2910,"museum":6748,"description":6749,"tags":6750,"thumbUrl":6751,"material":2567,"size":6752,"collection":2870,"collections":6753,"showCount":6734,"zanCount":3130,"manualWeight":2517,"mainColor":4670},"mei-shi-tu-ma-yuan-218913","梅石图","伯克利艺术博物馆","这幅画描绘了一棵老梅树从深谷野塘边的一块巨大岩石中探出头来，一只野凫藏在水草中。岩石的凿刻和梅树的拖曳枝条都是马远的绘画风格。",[2495,2544,2496,2497,2499,2500,2501,4241,2677,2913,2578,2546,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2985d0d4a51d33cf93ad74d8c4c3a87b.jpg","横46.99纵80.01cm",[2870,6],{"id":451,"slug":6755,"title":6756,"dynasty":2632,"author":6757,"museum":2563,"description":6758,"tags":6759,"thumbUrl":6760,"material":2512,"size":6761,"collection":6,"collections":6762,"showCount":6734,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"wu-she-jie-han-tu-yu-sheng-214537","无射戒寒图","余省","这幅画描绘的是九月初九在福海北岸的高阁上游乐的场景，其实高阁只有三四米高，远没有画面上的那么陡峭，所谓的 升天 只是象征性的。",[2496,2500,2546,2509,2501,2550,2505,2502,2503,2549,2506,2507,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b971ceb4fd2fd33ceb99ce9b77277c4.jpg","180x106.3",[6],{"id":452,"slug":6764,"title":3183,"dynasty":2605,"author":3087,"museum":2818,"description":5627,"tags":6765,"thumbUrl":6766,"material":2500,"size":2598,"collection":2624,"collections":6767,"showCount":6768,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-tu-li-cheng-221441",[2495,2496,2497,2544,2499,2509,2500,2501,2527,2502,2503,2504,2506,2652,2550],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff23e2e7aedc6bcb6c6eb704e9474b131.jpg",[2624,6,2626],107,{"id":453,"slug":6770,"title":6771,"dynasty":2605,"author":2647,"museum":2563,"description":6772,"tags":6773,"thumbUrl":6774,"material":2531,"size":6775,"collection":2624,"collections":6776,"showCount":6768,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"xing-lv-tu-quan-juan-guo-xi-221285","行旅图全卷","轴峰峦高耸，山间构楼阁，山脚下丛树掩映着村居。溪桥上、山径间有往来的行旅。是图采取北宋大山堂堂、位于中央的全景式构图，具高远、平远的效果。题材、构图、笔墨气韵都十分接近郭熙的画风。元代山水画家多有承袭郭熙风格者，若论笔墨最为接近者应属唐棣。画幅左上自识“吴兴唐棣子华作”，未署年款。此图摹仿的痕迹较浓，或为画家稍早时的作品。图中钤有明司马“司马兰亭家藏”印，清初耿昭忠“都尉耿信公书画之章”及清内府“宣统御览之宝”等鉴藏印。",[2495,2496,2497,2498,2501,2509,2499,2651,2506,3091,2502,2503,2504,2612,5052,2595,3840,2508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6faff8738a460b1db8a8cacb906b08c5.jpg","48.3x290厘米",[2624,6,2626],{"id":454,"slug":6778,"title":6779,"dynasty":2490,"author":3264,"museum":6780,"description":6781,"tags":6782,"thumbUrl":6783,"material":2597,"size":6784,"collection":6,"collections":6785,"showCount":6768,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xi-shan-xian-guan-tu-dong-qi-chang-220119","溪山仙馆图","日本东京国立博物馆","松江出身的董其昌以取代文徴明成为江南画坛主导者为自身抱负。状似舞蹈般的松树形态、如同金属的山石质感都是其画风特色。",[2496,2544,2499,2509,2501,2714,2503,2506,2507,2690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F530a93410dd73894a96859af7573f0a2.jpg","79.40×105.83cm",[6],{"id":455,"slug":6787,"title":6788,"dynasty":2490,"author":6789,"museum":6780,"description":6790,"tags":6791,"thumbUrl":6793,"material":2597,"size":6794,"collection":6,"collections":6795,"showCount":6768,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"pu-tao-tu-nao-an-215039","葡萄图","挠庵","挠庵是明朝时期的一位著名文人。他是著名的画家，以他的葡萄图而闻名。葡萄图是他的代表作之一，是他在明朝时期所创作的一幅葡萄图。这幅画展示了一个葡萄园的景象，画中的葡萄树和葡萄非常逼真，可以看出挠庵在绘画技巧方面颇有造诣。葡萄图被认为是明朝时期著名画家的杰作之一，被誉为“葡萄图之祖”，在中国画坛上享有盛誉。",[2495,2496,2497,2499,2637,3010,3463,4245,6792],"叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d8f035cf390a823093bc490ce8493db.jpg","27.5×29.3cm",[6],{"id":456,"slug":6797,"title":6522,"dynasty":2605,"author":3065,"museum":6798,"description":6799,"tags":6800,"thumbUrl":6801,"material":3069,"size":6802,"collection":2624,"collections":6803,"showCount":6804,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"xue-shan-xing-lv-tu-liu-song-nian-223667","四川省博物馆","《雪山行旅图》山势苍莽，白雪皑皑，映衬秋霜红叶丛树，分外妖娆。林中房舍隐现，桥横岸渚，山重水回，一舟泊于岸边。行旅者踏雪而行。全画用笔工细，人物面貌高古，神态刻画入微。房舍以界画笔法，工整严谨。作者巧妙地将山水和人物有机地融为一体。画面左侧下端右上署有“刘松年画”四字款。原为张大千收藏。刘松年传世作品极少，从该画可以窥见其善画山水人物的风貌。",[2495,2496,2544,2497,2577,2499,2500,2501,6456,2507,3091,2502,2503,2800,2509,2546,2549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F513fc8700efc5270d65c3050a193f2d5.jpg","纵160厘米，横99.5厘米",[2624,6],106,{"id":457,"slug":6806,"title":6807,"dynasty":2605,"author":3431,"museum":3121,"description":6808,"tags":6809,"thumbUrl":6811,"material":6812,"size":6813,"collection":2624,"collections":6814,"showCount":6804,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"guan-pu-tu-yi-ming-223647","观瀑图","图中危崖耸立，瀑布垂挂直落谷底，水雾弥漫。雅士于园林一角。凭栏观飞泉，神态怡然陶醉，超然清逸之趣溢于画外。 山石全以斧劈皴出之，描绘树木勾点并用。整幅图有峻峭秀逸之气。",[2495,2496,2497,2833,2500,2509,2507,2611,2505,2902,2503,6810,2578,2502],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2237080d6dc050c086dee19035000720.jpg","水墨，淡设色","纵178厘米，横104厘米",[2624,6],{"id":458,"slug":6816,"title":6817,"dynasty":2490,"author":2540,"museum":2673,"description":6818,"tags":6819,"thumbUrl":6820,"material":2720,"size":6821,"collection":6,"collections":6822,"showCount":6804,"zanCount":3048,"manualWeight":2517,"mainColor":2559},"lin-xi-shui-ge-tu-chou-ying-222185","临溪水阁图","仇英“初为漆工，兼为人彩绘栋宇，后徙而业画，工人物楼阁。”或许是出身的关系，其笔下的楼阁多用界笔，刻画精工，但与纯界画不同的是，仇英的绘画技艺同时受到职业画师和文人画家的双重影响。此幅亦是将文人山水与界笔水阁巧妙结合的作品，追求含蓄蕴藉的格调，着意塑造文人高士所欣赏的艺术形象。",[2495,2496,2500,2546,2501,2676,3515,2503,2902,2507,2611,2549,2651],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d90792ff94d1f0e49ced0c4da982ca0.jpg","纵41.1厘米，横33.8厘米",[6,2534],{"id":459,"slug":6824,"title":6825,"dynasty":2605,"author":2910,"museum":3356,"description":6826,"tags":6827,"thumbUrl":6829,"material":4693,"size":6830,"collection":2624,"collections":6831,"showCount":6804,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"dong-shan-du-shui-tu-ma-yuan-221667","洞山渡水图","为宋代画家马远绘制。描绘的是曹洞宗祖师洞山良价在云游途中，涉水之时见到自己水中之影而恍然大悟的一刹那，是为数不多的马远的真迹之一。原藏于圆明园，1860年火烧圆明园后被掠夺并流失海外，现收藏于日本东京国立博物馆。图上有南宋皇帝宋理宗的皇后杨妹子之题字。款识：携藤拔草胆风，未免登山涉水，不知触处皆渠，一见低头自喜。本与天龙寺所藏的云门大师图、清凉法眼禅师图同为描绘禅宗法师的画作之一。",[2495,2544,2496,2497,2577,2499,2500,2549,2501,2503,2677,6828,2509,2511,2547],"藤杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e95161b48bfccbab4bee9ff42ba247b.jpg","纵77.6厘米，横33厘米",[2624,6],{"id":460,"slug":6833,"title":5783,"dynasty":2605,"author":2910,"museum":2563,"description":6834,"tags":6835,"thumbUrl":6836,"material":2500,"size":6837,"collection":2624,"collections":6838,"showCount":6804,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"hua-xue-jing-zhou-ma-yuan-221533","由于崇庆皇太后年事已高，这是乾隆皇帝最后一次奉母南巡。题诗语及‘旅客’、‘渔翁’，显示乾隆皇帝除了豪华宅邸中赏梅的文士，也注意到披蓑负篓、赤足而行的渔夫，以及骑马朝青旗酒馆前去的旅人。画中撑伞的行者，暗示着山间仍垂降雨雪，故有‘六花飘未止’之句。乾隆皇帝对这幅雪景山水的评价甚高，认为是南宋马远（活动于1190 —1224）真迹，然由其笔墨、构图研判，更近于明中期浙派画家王谔。",[2495,2496,2497,2577,2546,2509,2500,2501,3166,2505,2779,2960,2549,2502,2611,2677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f2774f7c6b0224e9363e78bd08e4160.jpg","纵163.3cm，横82.4cm",[2624,6,2534],{"id":461,"slug":6840,"title":6841,"dynasty":2522,"author":2588,"museum":3121,"description":6842,"tags":6843,"thumbUrl":6844,"material":2512,"size":6845,"collection":6,"collections":6846,"showCount":6804,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"su-an-tu-wang-meng-220427","素庵图","作品布局层峦耸峙，岭头山体突兀而拙实，不为奇巧。近坡老松相映，林间草堂呈“四合院”状。全图气象峥嵘，突现山脚下的草堂。此图为精致优雅的浅绛山水画，明净苍秀，在王蒙轴幅作品中较少见。其妙处在两崖逼而为瀑，瀑泉由上而下，长短相间，气贯全幅。\n此图石法用云头皴，不同于《春山读书图》用单纯的解索皴法，也不同于《青卞隐居图》之融数家皴法于一体。黄宾虹评其“笔力劲利而无怒张之态，墨气酣厚而无痴肥之病”，幽深高淡之趣流露于画面之外。观此秋景，又使人联想到吴渔山所说的王蒙浅绛山水“霜红林密，笔笔生动”的特色。王蒙秋景画法较大痴浅绛用色偏重，其近景树干用朱砂点苔，为其他着色山水所未见，另有一番典雅清新别致的审美效果。图中人物及小鹿、仙鹤，造型虽小，皆笔简形具，耐人寻味。图上以小篆题“素庵图”三字，后两行署“黄鹤山樵王蒙为素庵高士画”，笔致雅拙，趣味高古，与画面形成相得益彰的艺术效果。",[2495,2496,2497,2544,2577,2499,2500,2501,2550,2503,2506,2507,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a2c770848d5adacc5affe77c66ce6a4.jpg","纵136cm，横45cm",[6,2534],{"id":462,"slug":6848,"title":6849,"dynasty":2490,"author":2899,"museum":3420,"description":6850,"tags":6851,"thumbUrl":6857,"material":2512,"size":6858,"collection":6,"collections":6859,"showCount":6804,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"han-lin-fei-xue-tu-wen-zheng-ming-220376","寒林飞雪图","此图是画唐代诗人许浑”舟横野渡寒风急，门掩深山夜雪深“的诗意，而用李营丘笔意，深得寒江寂寂，雪峰无言之境。",[2495,2496,2499,2833,3079,6852,6853,6854,6855,2504,3361,2550,3091,2505,6856],"飞雪","雪峰","深山","野渡","孤寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7247001349454a60fdcd1b8936e7b822.jpg","101.1x46.5厘米",[6,2626],{"id":463,"slug":6861,"title":3183,"dynasty":2522,"author":2984,"museum":2563,"description":6862,"tags":6863,"thumbUrl":6868,"material":3157,"size":2598,"collection":6,"collections":6869,"showCount":6804,"zanCount":3048,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-wu-zhen-218761","墨色晕染如轻烟绕峰，山石以披麻皴层层铺陈，湿墨点苔似苍苔缀石，尽显古拙厚重。林木萧疏错落，枝干虬劲中藏清逸，与淡墨晕开的云雾交织，拓出深远山水空间。留白处似有山风掠过，裹挟幽寂禅意，恰是元人山水的空灵之境。题跋与朱印相映，诗画相融间，藏着文人对自然的敬畏与心向林泉的淡泊。每一笔都晕染时光沉淀的静谧，观者仿佛步入清旷山水，暂忘尘嚣，只余眼前的淡远与安然。",[2495,2544,2496,2499,2501,3112,2507,3636,2614,2547,2510,6864,6865,6866,6867],"禅意","空灵","淡泊","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f1c86c535085fc058d17972928a0b55.jpg",[6],{"id":464,"slug":6871,"title":4591,"dynasty":2605,"author":3431,"museum":2589,"description":6872,"tags":6873,"thumbUrl":6874,"material":2567,"size":6875,"collection":6,"collections":6876,"showCount":6804,"zanCount":3048,"manualWeight":2517,"mainColor":2559},"chun-shan-xing-lv-tu-yi-ming-217066","春山行旅图是宋朝（960-1279年）佚名的一幅山水画作品。这幅画描绘了一位旅人在春天游览山水的景象。画面中的景色十分优美，充满了生机和活力。画中的山峰高耸，水流清澈，树木茂密，空气清新。整幅画浓烈的山水意境，清新自然的画风，使得这幅画在当时颇受欢迎，被认为是一幅杰出的艺术作品。",[2496,2497,2833,2509,2500,2714,2506,2502,2550,2507,2549,2503,2578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24ab87eb107c3ff0a2caa7861e5582bd.jpg","104x51cm",[6],{"id":465,"slug":6878,"title":6879,"dynasty":2956,"author":6880,"museum":2673,"description":6881,"tags":6882,"thumbUrl":6883,"material":5551,"size":6884,"collection":6,"collections":6885,"showCount":6886,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"gao-shi-tu-juan-wei-xian-221160","高士图卷","卫贤","本幅无款识，卷前有宋徽宗赵佶瘦金书标题“衛賢高士圖”，虽为立幅，但装裱成手卷形式，是北宋内府“宣和装”。\n描绘汉代隐士梁鸿与妻孟光“相敬如宾，举案齐眉”的故事。画家把梁鸿的居所安排在山环水绕的大自然中，全幅上半部为巨峰壁立，远山苍茫，下半部为竹树蓊郁，溪水潺潺。人物活动在画面中部，恰是观者的视觉中心：梁鸿端坐于榻，竹案上书卷横展，孟光双膝跪地，饮食盘盏高举齐眉。主人公神态坦然平和，虽房舍简陋、粗食布衣，但高人隐士志在山野的高洁志趣令人油然而生敬意。\n此图虽为主题人物画，实则集山水、人物、建筑画为一体。山石多用干笔皴擦，注意用墨色的深浅对比强调峰岫的凹凸和凝重的质感，石上干笔点苔的技法更是画家的独创。房屋和木栏栅篱用界笔描绘，结构交待严谨清楚，并能表现出一定的立体感和纵深关系，是今天我们能见到的传世卷轴画中年代最早的以界笔“植柱构梁”的建筑画迹之一。\n此图曾经宋周密《云烟过眼录》，明张丑《清河书画舫》、清孙承泽《庚子销夏记》、安岐《墨缘汇观》、《石渠宝笈·续编》、阮元《石渠随笔》等书著录，是一件递藏有绪、鉴定界公认的五代卫贤真迹。",[2495,2496,2546,2790,2500,2509,2501,2549,2550,2506,2652,2880,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd234cb19159b5ecad6fb82a14b63fd9.jpg","纵134.5厘米，横52.5厘米。",[6,2626],105,{"id":466,"slug":6888,"title":6889,"dynasty":3283,"author":5095,"museum":2589,"description":6890,"tags":6891,"thumbUrl":6892,"material":2531,"size":6893,"collection":6,"collections":6894,"showCount":6886,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"jing-ji-rui-xue-tu-li-si-xun-221101","京畿瑞雪图","本幅无款识，右裱边项子京题：“唐云麾将军李思训画京畿瑞雪图，宋宣和御府藏物也，定为神品第一。\n古胥山樵项圣谟获于梅花和尚塔前，得秘玩焉，百金亦勿与易。\n” 扇面绘雪景楼阁，山水重青绿敷色，画法古拙，明显带有所谓李思训父子“金碧山水”传派的特点，与故宫收藏的另外两件传为唐人的楼阁作品《宫苑图》卷、《九成避暑图》页画风相近，并都曾被题为李思训作。\n这三幅画在清代以前均未见著录，也缺乏早期的收藏印记和题跋作为断代的佐证，而且尚无公认的唐代同类作品可资比较，因此，我们不能仅仅以其勾勒填色为主的质朴画法和追求简古的生拙风格便简单地断定为唐人作品。\n正因为缺乏断代依据，这三件作品的时代归属在学术界一直有不同看法。\n在这种情况下，通过画面上大量古代建筑所反映出的宫室形制来判定作品的创作时代就成为较为科学和行之有效的方法。\n有学者将画面中建筑装饰的细部，如：琉璃瓦、格子门、木牌坊和斗拱的形制作为“详辨古今之物，商较土风之宜”的有力物证，认为这三幅画所表现的建筑群非唐非宋，进而得出结论，断定它们不是唐人的作品，而是南宋“临安以外地区或民间画家所绘的装饰画”。",[2495,2545,2500,2790,2501,2550,2506,2507,3166,2552,2549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf2334ec9cbe1a44a99cc3ae230e4e85.jpg","纵42.7cm，横45.2cm",[6,2534],{"id":467,"slug":6896,"title":6897,"dynasty":2632,"author":5834,"museum":3121,"description":6898,"tags":6899,"thumbUrl":6900,"material":6901,"size":6902,"collection":6,"collections":6903,"showCount":6886,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"lin-wen-zheng-ming-ce-yun-shou-ping-220969","临文徵明册","文征明的书画造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗白居易、苏轼，文受业于吴宽，学书于李应祯，学画于沈周。其与沈周共创“吴派”。在画史上与沈周、唐伯虎、仇英合称“明四家”（“吴门四家”）。在诗文上，与祝允明、唐寅、徐祯卿 并称“吴中四才子”。",[2495,2496,2544,2497,4014,2500,2511,2510,2676,2593,6792,3964,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1f9a9d7eae5ddf59a5433237393b6bf.jpg","纸本 册","20.6 x 30.5 cm",[6,2534],{"id":468,"slug":6905,"title":6906,"dynasty":2605,"author":3431,"museum":2563,"description":6907,"tags":6908,"thumbUrl":6909,"material":2567,"size":2598,"collection":6,"collections":6910,"showCount":6886,"zanCount":2826,"manualWeight":2517,"mainColor":2559},"gu-mu-zhu-shi-tu-yi-ming-218798","古木竹石图","这幅画显示了一块巨大的岩石，上面有两棵枯树和海滩上的两片新竹林。岩石用飞白画法，树木用篆书画法，以李国的蟹爪为树枝。树木和石头的笔触是动态的，与竹叶的笔触相映成趣，就像教堂字体的四肢，使这幅画成为书法的趣味。这是 历代绘画作品集 中的一幅画。",[2495,2544,2496,2497,2499,2509,2913,2578,3155,2677,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F965e42937020f7b42fb8c718a993ded4.jpg",[6],{"id":469,"slug":6912,"title":6913,"dynasty":2605,"author":2910,"museum":2589,"description":6914,"tags":6915,"thumbUrl":6916,"material":2567,"size":2598,"collection":6,"collections":6917,"showCount":6886,"zanCount":3198,"manualWeight":2517,"mainColor":4670},"tao-hua-chun-shui-tu-ma-yuan-218584","桃花春水图","春波漾开绢本的暖褐底色，山影如黛晕染天边。几树桃枝轻绽，粉蕊隐在苍松与杂树间，似有若无的艳色，恰衬出春水的清寂。近坡散卧的石群、浅滩上的细浪，与远景淡墨勾勒的峰峦虚实相映，留白处尽是烟波浩渺的余韵。笔墨简劲，山石斧劈皴显刚健，松枝如屈铁见骨力，却在水纹轻描中柔化棱角，刚柔相济。整幅画如清绝小令，不肆铺张，却将春日温润与山水悠远藏进每一处笔墨转折，读来心尖漫过淡淡春愁与旷远，余味绵长。",[2496,2544,2497,2501,2500,2509,2577,2714,2715,2593,2548,2503,3617,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3487685dfafca30f80a992cf8814f4dd.jpg",[6],{"id":470,"slug":6919,"title":6920,"dynasty":2632,"author":6921,"museum":2563,"description":6922,"tags":6923,"thumbUrl":6926,"material":2512,"size":6927,"collection":6,"collections":6928,"showCount":6886,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"fang-tang-ren-da-yu-zhi-shui-tu-xie-sui-214832","仿唐人大禹治水图","谢遂","谢遂（1743-1815年）是一位清代画家，他最著名的作品之一是《仿唐人大禹治水图》。这幅画描绘了传说中的大禹如何利用智慧和勇气治理水旱，保护人民免受灾害的故事。画中大禹站在江边，手持着伞，身旁是他的忠实追随者。大禹所在的位置是一座山峰，表示他的权威和力量。整幅画的画风浓重，线条流畅，色彩和谐。这幅画是谢遂在清代的代表作之一，在当时颇受欢迎，并被广泛流传。",[2544,2496,2500,2549,2501,2507,2611,6924,6925],"大禹治水","神话传说","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3af9e7e13ca4921759b92fd42dfeb838.jpg","160.7x89.8",[6,2968],{"id":471,"slug":6930,"title":6931,"dynasty":2605,"author":2910,"museum":2563,"description":6932,"tags":6933,"thumbUrl":6939,"material":6940,"size":6941,"collection":2624,"collections":6942,"showCount":6943,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"han-yan-ji-xue-tu-zhou-ma-yuan-221518","寒岩积雪图轴","季节的变化，为大自然改换面貌、增添新色，冬天时万物凋零，呈现一片幽寂的景象，最适宜入画。画中白雪覆盖了整个溪岸与山峰。长松挺立在庭园中央，屋宇周围处梅花绽开，在静谧的气氛中增添生气。屋内坐着两位秉烛谈心的文人，微弱的烛光，也为幽寂昏暗的景色带来丝丝地暖意。",[2495,2544,2496,2497,2577,2499,2500,2509,2501,3964,6934,6935,2902,3091,2549,6936,2652,6937,6938],"寒岩","积雪","轩","湖面","柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe690130e1e87bba26c0e4e9523fbab3e.jpg","绢本浅设色","纵：156.7厘米，横：82.4 厘米",[2624,6,2626],104,{"id":472,"slug":6945,"title":6946,"dynasty":2490,"author":3264,"museum":2673,"description":6947,"tags":6948,"thumbUrl":6949,"material":2531,"size":6950,"collection":6,"collections":6951,"showCount":6943,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"lin-he-jing-shi-yi-tu-dong-qi-chang-220952","林和靖诗意图","《林和靖诗意图》轴，明，董其昌绘，纸本，墨笔，纵88.7 厘米，横38.7厘米。\n\n本幅署题二 ，右上自题七言诗一首：“山水未深鱼鸟少，此生还拟重移居。只应三竺溪流上，独木为桥小结庐。写和靖诗意。玄宰，甲寅二月廿二日雨窗识”。下钤“董其昌印”白文印。左上又题云：“元时倪云林、王叔明皆补此诗意，惟黄子久未之见，余以黄法为此。玄宰重题，辛酉三月。”下钤“董其昌印”朱文印。此图作于明万历四十二年（1614年），时董氏60岁，明天启元年（1621年）三月67岁时重题。\n\n此图是根据北宋诗人林和靖诗意而创作。以深远法构图，峰峦起伏，林木葱郁，溪水相映，茅屋草舍点缀其间。用笔萧散，用墨秀润，得黄公望遗韵，有秀逸苍浑之气。\n\n鉴藏印左下角钤“高詹事”白文印、“竹窗”朱文印”、“偶为潘省安所有”朱文印、“嘉兴王逢辰藏”朱文印、“惕庵心赏”朱文印，右下角钤“华源草堂”白文印、“小琴鉴赏”白文印、“张照之印”白文印，右上方钤“曾在徐颂鱼处”朱文印、“阮氏琅嬛仙馆收藏印”朱文印。",[2495,2496,2497,2499,2509,2511,2547,2577,2501,2506,2502,2503,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10860b979500f162ed912af1de7ff67.jpg","纵：154.4厘米，横：64.2厘米",[6,2626],{"id":473,"slug":6953,"title":6954,"dynasty":2632,"author":2830,"museum":2563,"description":6955,"tags":6956,"thumbUrl":6957,"material":2567,"size":6958,"collection":6,"collections":6959,"showCount":6943,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"song-yan-jing-le-tu-wang-shi-min-219653","松岩静乐图","烟客画山水，宗法元四家，晚年尤倾力黄公望，逐入痴翁堂奥，巽笔湿笔，自具心裁。此为七十九岁老年之作，笔墨犹不脱秀润之色。",[2496,2500,2509,2501,2902,2507,2503,2506,2508,3736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe485b1637050632062640af0dec5e5eb.jpg","168x76.3",[6],{"id":474,"slug":6961,"title":6962,"dynasty":2605,"author":3595,"museum":2563,"description":6963,"tags":6964,"thumbUrl":6965,"material":2567,"size":6966,"collection":6,"collections":6967,"showCount":6943,"zanCount":2826,"manualWeight":2517,"mainColor":2559},"yu-wang-zhi-shui-tu-zhao-bo-ju-218527","禹王治水图","大禹治水（鲧禹治水）是中国上古时期大禹治理大洪水的传说。此《禹王治水图》卷传为南宋画家赵伯驹绘。画卷为青绿描金，其主题内容为大禹治水采用凿岭开山、决江济川，疏导方式治理水患的故事。卷末附元代文学家虞集书《禹贡》。此卷现藏于台北故宫博物院。",[2495,2544,2496,2497,2498,2545,2500,2549,2501,2546,2507,2528,2506,2960],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1730ee5c62d100c4fdf05af2481cfa4b.jpg","30.5x373cm",[6],{"id":475,"slug":6969,"title":6970,"dynasty":2522,"author":6971,"museum":2749,"description":6972,"tags":6973,"thumbUrl":6975,"material":2567,"size":6976,"collection":6,"collections":6977,"showCount":6943,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"qing-shan-hong-xing-tu-ma-wan-218229","青山红杏图","马琬","青山红杏图是中国元朝时期著名的画家马琬的杰作之一。这幅图像是一幅山水画，描绘了一片山峰环绕的山谷，谷底有一条清澈的小溪流过。山峰上绿油油的树木点缀着几朵红色的杏花，与苍翠的山峰形成鲜明的对比。整幅画非常细腻，笔触流畅，给人以清新自然的感觉。\n\n马琬是元朝时期著名的画家，他的画风独特，善于描绘自然风光。他的作品中常常出现山水、花鸟、山峰和小溪的景象，并融入了自己的想象力和创造力。青山红杏图就是马琬这种画风的经典代表之一。",[2496,2544,2497,2545,2500,2501,2509,2714,2593,6974,2507],"杏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F210df1734801534a679e4b785cd61260.jpg","24.2x22.7cm",[6],{"id":476,"slug":6979,"title":6980,"dynasty":2605,"author":2606,"museum":2563,"description":6981,"tags":6982,"thumbUrl":6983,"material":2531,"size":6984,"collection":2624,"collections":6985,"showCount":6986,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"qiu-lin-fei-pu-zhou-fan-kuan-221393","秋林飞瀑轴","图绘秋山栈道瀑布流泉，远处岩关列岫隐约可见，气势磅礴，景色宜人。",[2495,2544,2496,2497,2577,2509,2499,2501,3483,6039,2652,2613,2506,2835],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1ab091b4703f6d101e17af7a9a05d6d.jpg","纵：181厘米，横：99.5厘米",[2624,6,2626],103,{"id":477,"slug":6988,"title":6989,"dynasty":2522,"author":2922,"museum":3121,"description":6990,"tags":6991,"thumbUrl":6992,"material":2531,"size":6993,"collection":6,"collections":6994,"showCount":6986,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"jiang-zhu-feng-lin-tu-zhou-ni-zan-220801","江渚风林图轴","倪瓒，世皆称倪云林（1301-1374年），初名倪珽，字泰宇，别字元镇，号云林子、荆蛮民、幻霞子，江苏无锡人，与黄公望、王蒙、吴镇合称元四家。倪瓒山水画风疏朗峻逸、风轻云淡，这种惜墨如金的朴拙，别具一格，恰似世人心目中那种内心安宁的渴望。倪瓒出身大地主家庭，长兄为“真人”级的道教上层，在元代道教繁盛的背景下，青少年时代过得滋润无比，家中藏书名画甚众，朝夕把玩、洁身有闲，研摩书画可谓必然。\n长兄故后，倪瓒家道日渐衰落，多年不事生产且倪瓒的洁癖常为世人侧目、权贵厌弃（有传说最后得死法是被朱元璋故意扔进粪坑淹死），遂寄情山水，云游访道，漫游江林，不做官不供职，书法诗画天真无饰，毫无烟火气，人谓有魏晋风骨，后人称“倪高士”。董其昌评曰：“古淡天真，米痴(即米芾)后一人而已。”把倪瓒评为米芾之后第一人，可谓高山仰止。\n倪瓒对明清绘画影响巨大，有意无意，若淡若疏的画风为士大夫礼拜，后人仿之追之者极众，明四僧中石涛、大家董其昌、徐渭（被郑板桥、齐白石跪称：“愿为青藤门下走狗”那位）均追崇不已，至今仍被评为“中国古代十大画家”。同时代的黄公望（年长其32岁），花十年时间，替倪瓒画《江山胜揽图》卷，卷长二丈五尺余，可谓巨作，若不认可，必无此为。（顺便说下：黄公望也是全真教名人，元明画家或应考证下他们受宗教影响而形成的独特心理特征和文化背景，或可更好的理解其人创作心路。）\n《江渚风林图轴》从题诗看，应为同时代学者虞戡嘱作，诗曰：江渚暮潮初落，风林霜叶浑稀。倚仗柴门闲寂，怀人山色依微。 据说时年画家的妻子去世、小儿子亦不孝，倪瓒心中困苦寂寥而作，虽称戏写，璨若星辰矣。",[2495,2496,2497,2577,2499,2833,2509,3091,2578,2677,2501,2595,4462],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf5097983d71d8d65fc091e89e3fc840.jpg","259.7 x 56.5厘米",[6,2626],{"id":478,"slug":6996,"title":6997,"dynasty":2490,"author":3264,"museum":3121,"description":6998,"tags":6999,"thumbUrl":7000,"material":2732,"size":5929,"collection":6,"collections":7001,"showCount":6986,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-mi-fei-shan-shui-tu-juan-dong-qi-chang-220344","仿米芾山水图卷","“画家初以古人为师，后以造化为师”——先古人、后造化，作为学习中国画的基本程序，这并非董其昌的发明，而是由来已久的传统。这一程序的合理与否姑且不论，我们所要讨论的是，在古人与造化面前，董其昌是如何认识到并揭示出审美关系中“我”的主体性的。",[2544,2496,2497,2498,2499,2501,2509,2507,2506,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9110a3b8272916474ce78d43f4cf6a08.jpg",[6,6382],{"id":479,"slug":7003,"title":7004,"dynasty":2605,"author":7005,"museum":2563,"description":7006,"tags":7007,"thumbUrl":7009,"material":2567,"size":7010,"collection":2624,"collections":7011,"showCount":6986,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"jiang-xiang-nong-zuo-tu-zhao-shi-lei-220121","江乡农作图","赵士雷","赵士雷（公元11世纪）〔北宋〕字公震，承平王孙，生卒年不详，曾任襄州观察使等职。善画湖塘小景，驰誉于时，师法惠崇，作雁鹜鸥鹭、溪塘汀渚有诗人思致，至其绝胜佳处，往往形容之所不及。又作花竹，多在于风雪荒寒之中，洗尽绮纨之习，故幽情雅趣，落笔高超。李錞（希声）曾跋其《四季山水图》卷，春跋云：“九江应共五湖连，尺素能开万里天；山杏野桃零落处，分明寒食绕风前。”夏跋云：“繁阴杂树映汀沙，三伏江天自一家；欲唤扁舟渡云锦，平铺明锦是荷花。”秋跋云：“春鉏寂寞绕疏丛，霜后云生浦溆风；此处年年报秋色，只应衰柳与丹枫。”冬跋云：“剪水飞花细舞风，断芦洲外水连空；剡处几曲知名处，何似今朝眼界中。”《宣和画谱》著录御府所藏其作品有《春岸初花图》《桃溪鸥鹭图》等51件。",[2495,2544,2496,2497,2498,2500,2546,2501,2502,2503,3617,2506,4735,7008,2552,2505],"农田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cfa33b631688a5c074e9d9711c535cd.jpg","该幅30.4x316.9公分；隔水一13.1公分；隔水二13.1公分",[2624,6],{"id":480,"slug":7013,"title":6481,"dynasty":2605,"author":7014,"museum":7015,"description":7016,"tags":7017,"thumbUrl":7019,"material":2567,"size":7020,"collection":2624,"collections":7021,"showCount":6986,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"chi-bi-tu-yang-shi-xian-218561","杨士贤","波士顿美术馆","此卷一直被传为杨士贤的画笔，画史上认为杨士贤学郭熙用笔作小景，这种画法与郭熙相去甚远，不能确定是杨士贤所画，（《宋画全集》）为南宋初期无名画家。",[2495,2496,2497,2498,2499,2500,2509,2501,2504,3964,3763,7018,2506,2510,2511,2547],"风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe32e2e40b11422761cb7bd67762bcddd.jpg","30.9x128.8cm",[2624,6],{"id":481,"slug":7023,"title":5815,"dynasty":2632,"author":2762,"museum":2818,"description":5200,"tags":7024,"thumbUrl":7025,"material":2598,"size":2598,"collection":6,"collections":7026,"showCount":7027,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"yuan-ji-shan-shui-tu-ce-shi-tao-237762",[2496,2497,2592,2499,2509,2547,2501,2902,2611,2503,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2602ace4f9f01cb00770af8e9295051f.jpg",[6,2534],102,{"id":482,"slug":7029,"title":7030,"dynasty":2522,"author":2984,"museum":2563,"description":7031,"tags":7032,"thumbUrl":7033,"material":3157,"size":7034,"collection":6,"collections":7035,"showCount":7027,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xi-liu-gui-ting-tu-wu-zhen-218763","溪流归艇图","这幅画作于至正二年（公元1342年），当时他已经63岁了。溪流来回蜿蜒，森林茂密而阴凉。笔触强烈而浑厚，墨层清晰。纸张磨损严重",[2495,2496,2497,2499,2509,2501,2503,2504,2502,2507,2506,2578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc71089dbec8ab8f57de8f53bf2bd0a54.jpg","44x26.7",[6],{"id":483,"slug":7037,"title":7038,"dynasty":2522,"author":7039,"museum":2673,"description":7040,"tags":7041,"thumbUrl":7042,"material":2597,"size":7043,"collection":6,"collections":7044,"showCount":7027,"zanCount":3048,"manualWeight":2517,"mainColor":2518},"shu-lin-yuan-shan-tu-shen-xuan-218307","疏林远山图","沈铉","疏林错落，枝干虬劲如篆笔写就，墨色枯润相间，尽显古木苍然之态。林间茅舍隐现，似藏幽人逸趣，不施华彩却含生趣。中景水面空濛，留白处似有波光轻漾，与远山淡墨相融。层峦叠嶂以简笔晕染，云雾缭绕间显深远之致，无刻意雕琢却见丘壑万千。整幅画以极简之笔造极幽之境，元人淡泊宁静的心境跃然纸上，观之如入林泉深处，尘嚣尽散，只余清寂与悠远。笔墨间藏着自然的呼吸，每一处线条都似在诉说着对山水的深情，让人心生向往，沉醉于这份远离俗世的清雅之美。",[2496,2497,2499,2509,2501,2595,4291,2578,2507,2503,3736,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7d537a21bab97b3365385b72b0fd995.jpg","30x50.1cm",[6],{"id":484,"slug":7046,"title":7047,"dynasty":2522,"author":2922,"museum":2563,"description":7048,"tags":7049,"thumbUrl":7051,"material":2597,"size":7052,"collection":6,"collections":7053,"showCount":7054,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"feng-luo-wu-jiang-tu-ni-zan-288975","枫落吴江图","倪瓒山水画意境清远萧疏，自谓“逸笔草草，不求形似。”用笔轻而松，燥笔多，润笔少，墨色简淡，却厚重清温，无纤细浮薄之感，能以淡墨简笔，有神地笼罩住整个画面，识者谓其“天真幽淡，似嫩实苍。”得“简中寓繁”的风格.",[2544,2496,2497,2577,2499,2501,2578,2505,2502,2503,2547,2510,7050],"荒寒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac6fd826cd30a21b08434d4eaaef13d.jpg","94.3x48.8",[6],101,{"id":485,"slug":7056,"title":7057,"dynasty":2632,"author":3796,"museum":2563,"description":7058,"tags":7059,"thumbUrl":7060,"material":2567,"size":7061,"collection":6,"collections":7062,"showCount":7054,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"xi-shan-shen-xiu-zhou-wang-jian-224486","溪山深秀轴","汇集画家王鉴先生山水画数幅，淋漓尽致地表现出其雄奇、或秀美、或舒缓、或险峻。是伟岸的山，壮丽的山。主要有秋山图轴、溪山深秀图轴、山水册七开、九峰读书图轴、四家灵气图轴等",[2495,2496,2544,2497,2577,2500,2545,2501,2550,2502,2503,2611,2651,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe89fec13b5a42f7febcb1462f7f1ba47.jpg","161.7x62.5",[6],{"id":486,"slug":7064,"title":7065,"dynasty":2632,"author":3303,"museum":2563,"description":5988,"tags":7066,"thumbUrl":7068,"material":3069,"size":5993,"collection":6,"collections":7069,"showCount":7054,"zanCount":3198,"manualWeight":2517,"mainColor":3447},"shi-er-yue-ling-tu-5-yue-lang-shi-ning-222764","十二月令图（5月）",[2495,2496,2497,2577,2546,2500,2790,2549,2550,2501,5522,2506,2503,2502,3057,2507,4703,7067],"游赏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a452b4eda86eac0e610effee7ff9a62.jpg",[6,2534],{"id":487,"slug":7071,"title":7072,"dynasty":2522,"author":2922,"museum":2673,"description":7073,"tags":7074,"thumbUrl":7083,"material":3044,"size":7084,"collection":6,"collections":7085,"showCount":7054,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"you-jian-han-song-tu-zhou-ni-zan-220795","幽涧寒松图轴","《倪瓒幽涧寒松图轴》是元代画家倪瓒创作的一幅纸本水墨画。\n此幅是为友人周逊学所作，并题五言诗：“秋暑多病暍，征夫怨行路。瑟瑟幽涧松，清荫满庭户。寒泉溜崖石，白云集朝暮。怀哉如金玉，周子美无度。息景以桥对，笑言思与晤。”\n倪瓒清高持节，一生不仕，他“白眼视俗物，清言屈时英。富贵乌足道，所思垂今名。不仅自己抱守出世的生活态度，而且对朋友们的入世为官也坚决反对。此幅一为友人赠别，更是劝友人“罢”征路，“息”仕思，含有强烈的“招隐之意”。平远画溪涧幽谷，山石依次渐远，二株松树挺立于杳无人迹的涧底寒泉，意境荒寒，超然出尘，似乎暗寓着仕途的险恶和归隐的自得。构图不用常见的“一河两岸”两段式章法，但画幅上方和其大多数作品一样，留出大片空白，让观者分不清哪里是水，哪里是天。山石墨色清淡，笔法秀峭，渴笔侧锋作折带皴，干净利落而富于变化。松树取萧疏之态，笔力劲拔。倪瓒此幅，笔墨无多但意境深幽，“疏而不简”，“简而不少”。他的这种笔简形具，注重抒写性灵的画格被后人称之为“逸品”。到了明代，更是“江南人家以有无为清浊”，其清标高格，在历代文人士大夫心目中始终被尊为“高士中的高士”。\n此幅作品简淡超逸，虽未署年款，但从书法由竖长变为扁方以及名款和画风来看，当是晚年之作。",[2495,2496,2499,2501,2902,7075,4358,7076,2502,2507,2509,5330,7077,7078,7050,7079,7080,7081,7082,2510],"溪涧","寒泉","渴笔","逸品","超然出尘","简淡超逸","意境深幽","招隐之意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8c44e7f6172187fb1022fb560336ac0.jpg","纵59.7cm，横50.4cm",[6,2626],{"id":488,"slug":7087,"title":7088,"dynasty":2522,"author":7089,"museum":3121,"description":7090,"tags":7091,"thumbUrl":7093,"material":2567,"size":2598,"collection":6,"collections":7094,"showCount":7054,"zanCount":3048,"manualWeight":2517,"mainColor":2559},"gu-he-heng-jiang-tu-zhao-yong-214843","孤鹤横江图","赵雍",""孤鹤横江图" 是由赵雍创作的一幅绘画作品，属于中国元代时期的艺术作品。这幅画描绘了一只孤独的鹤立在江边，四周环境荒凉，鹤自身也显得孤单寂寞。赵雍被认为是中国元代时期的杰出画家，他的作品常常描绘出自然的美丽和人性的温柔。"孤鹤横江图" 是赵雍的经典作品之一，其中蕴含着许多哲理性的内涵。",[2495,2496,2497,2501,5225,2499,2500,2902,2507,4462,2504,2549,2651,3778,7092],"孤鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06b5ac680d970d8fc5d20adb7ce936dc.jpg",[6],{"id":489,"slug":7096,"title":7097,"dynasty":2490,"author":3647,"museum":2563,"description":7098,"tags":7099,"thumbUrl":7100,"material":2531,"size":7101,"collection":6,"collections":7102,"showCount":7103,"zanCount":2826,"manualWeight":2517,"mainColor":2559},"gu-mu-han-quan-tu-zhou-wen-zheng-ming-221974","古木寒泉图轴","一松一柏，相旁而生。柏树老干分披，杈枒四出；其后松树两干并伸，参云直上。背景石壁与松柏紧贴，塞地漫天，几无余地，忽于绝高处界出飞泉一道，数折而下，遂使通幅于紧迫繁复之中，遽尔空灵疏朗，确为神来之笔。",[2495,2496,2577,2499,2500,2509,2501,2578,2503,2507,2902],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd84d499504792f62282c466eaa4ed0af.jpg","194.1x59.3cm",[6,2534],100,{"id":490,"slug":7105,"title":7106,"dynasty":2605,"author":2699,"museum":3121,"description":7107,"tags":7108,"thumbUrl":7109,"material":7110,"size":7111,"collection":2624,"collections":7112,"showCount":7103,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"xi-kou-chui-diao-tu-xia-gui-221659","溪口垂钓图","夏圭，生卒年不详。南宋画家。字禹玉，临安（今浙江杭州）人。早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作拖泥带水皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[2495,2496,2497,2499,2501,2503,2504,2821,2987,2578,2677,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc204bad563233447cbe98cbbea3432e3.jpg","绢本水墨","23.2x23.8厘米",[2624,6,2534],{"id":491,"slug":7114,"title":6807,"dynasty":2605,"author":2910,"museum":3121,"description":7115,"tags":7116,"thumbUrl":7117,"material":3069,"size":7118,"collection":2624,"collections":7119,"showCount":7103,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"guan-pu-tu-ma-yuan-221537","在中国历代传统绘画作品中，有相当数量的佳作，在画面风格和审美意趣上都具有某种明确的思想倾向，而这种倾向又多集中体现在对儒、道、释文化的承载上，比如宋代山水画的绘画形式和意境传达，除了受宋代理学的影响外，又常和老庄思想及佛教文化中的出世情怀相关联，但与一般意义的宗教绘画教化功用又有所不同，该绘画作品往往会透露出作者内心的情感思绪，特别是对出世情怀的向往，从而使画面呈现出独特的风格特点和意境营造，这类作品在以后的历史阶段着实影响了不少画家，南宋的马远就是这样一个例子。",[2495,2496,2497,5225,2501,2499,2509,2611,2593,2507,2549,2503,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fef887806591c0a160593aa1c4c9e00.jpg","30×30cm",[2624,6,2534],{"id":492,"slug":7121,"title":6411,"dynasty":2632,"author":4496,"museum":4366,"description":7122,"tags":7123,"thumbUrl":7124,"material":2567,"size":7125,"collection":6,"collections":7126,"showCount":7103,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"shu-zhan-xing-lv-tu-yuan-yao-219094","层岩叠嶂间，栈道似银线盘绕绝壁，危石嶙峋欲倾，云雾如幔轻笼深谷。红叶点染崖侧，秋意暗生，却难消蜀道之险。行旅者负囊牵马，沿窄道缓行，身影虽微，步履之艰可见。袁耀以劲皴写山石肌理，界画栈道线条精准如铁，墨色浓淡相济，赭色晕染得宜。山川雄浑与行旅之微相融，既展自然伟力，又藏人间烟火。险峻中见生机，苍茫里显温情，尽现清代山水界画之精妙意趣。",[2495,2496,2497,2500,2501,2509,2790,2651,2621,2549,2960,2506,2614,2800,2612],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03b289cc09c905080f6e7bad369ba016.jpg","186.7x255.3",[6],{"id":493,"slug":7128,"title":7129,"dynasty":2605,"author":6560,"museum":2563,"description":7130,"tags":7131,"thumbUrl":7133,"material":2567,"size":7134,"collection":2624,"collections":7135,"showCount":7103,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"liu-ting-xing-lv-tu-zhao-ling-rang-218946","柳亭行旅图","虽然不像立轴和长卷那样令人印象深刻，但宋代的山水画往往相当宁静，充满异国情调，具有诗意。在当时的小景构图中，以平坦清晰的山水为多见，坡堤沙岛，遥对远山，烟波浩渺，仿佛自然界真有这样的风景，又仿佛处于一种诗意的境界，引人深思回味无穷。赵令郎是宋代宗室的儿子，在绘画史上以小品山水闻名。",[2495,2496,2497,5225,2499,2501,2546,7132,3542,2505,2988,2715,2595,2845,2593,2549],"淡设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5910d4105b18023ce4324b9aa16013c.jpg","23.2x24.2",[2624,6],{"id":494,"slug":7137,"title":7138,"dynasty":2605,"author":2910,"museum":2563,"description":7139,"tags":7140,"thumbUrl":7141,"material":2567,"size":7142,"collection":6,"collections":7143,"showCount":7103,"zanCount":3048,"manualWeight":2517,"mainColor":2559},"tan-mei-tu-ma-yuan-218689","探梅图","这幅大画来自张大千的旧藏，丝绸已经破损，但仔细观察笔触，它是由明代浙江画派的画家所作。",[2495,2496,2499,2509,2577,2501,4241,2549,3091,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cdfc40fea4f0be200f77555498f468f.jpg","192x99.6",[6],{"id":495,"slug":7145,"title":4994,"dynasty":2522,"author":3431,"museum":2749,"description":7146,"tags":7147,"thumbUrl":7148,"material":2597,"size":7149,"collection":6,"collections":7150,"showCount":7103,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"qian-yan-wan-he-tu-yi-ming-218185","此图绘山岩丘壑连绵不断，繁复无尽，其间茂林嘉村云气烟，飞泉高，孤村落，江流小舟，景致表现得真实生动、完美自然，秀丽、壮伟兼具，引人入胜。",[2496,2833,2499,2509,2577,2507,2651,2614,2611,2506,2550,2502,2503,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3efb5c974ab0404cb1856cfe625eb62.jpg","129.3x67.6cm",[6],{"id":496,"slug":7152,"title":7153,"dynasty":2490,"author":3264,"museum":2673,"description":7154,"tags":7155,"thumbUrl":7156,"material":3257,"size":7157,"collection":6,"collections":7158,"showCount":7159,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"mo-juan-chuan-yi-tu-dong-qi-chang-220908","《墨卷传衣图》","《董其昌墨卷传衣图轴》是明代画家董其昌创作的一幅水墨画。\n本幅自识：“己丑南宫墨卷五策，为好事者所藏，得岸上人袖以示予。\n风檐仓卒，书道殊劣，何烦碧纱笼袭之三十五年也。",[2495,2496,2499,2577,2509,2501,2593,2508,3839,2715],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a079cbefa1eeb6917c512cd94e24bd.jpg","纵101.5厘米，横46.3厘米",[6,2534],99,{"id":497,"slug":7161,"title":7162,"dynasty":2632,"author":2830,"museum":2749,"description":4422,"tags":7163,"thumbUrl":7164,"material":2512,"size":4425,"collection":6,"collections":7165,"showCount":7159,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-hua-bing-wu-chun-ri-hua-wang-shi-min-219995","山水画-丙午春日画",[2496,2497,2544,2499,2509,2501,2507,2651,2506,3091,6935,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb76b263723822de7104c5bf39a22e450.jpg",[6],{"id":498,"slug":7167,"title":3183,"dynasty":2522,"author":7168,"museum":7169,"description":7170,"tags":7171,"thumbUrl":7172,"material":2567,"size":7173,"collection":6,"collections":7174,"showCount":7159,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"shan-shui-tu-zhang-yu-218252","张雨","中央美术学院","层岩叠嶂如篆，皴笔勾出嶙峋骨，墨色晕染间丘壑自生。松风盘桓，虬枝探向云霭，林间小径隐现，似留隐者屐痕。涧水漱石，苔痕漫漶，草木葱茏处藏着清寂。笔墨苍润相济，干笔见劲，湿墨生烟，将林泉之趣凝于尺幅。意境悠远如太古，尘嚣尽散，只余一片澄明，引人沉潜于山水间，体悟那份超脱世俗的淡然与自在。",[2496,2500,2509,2501,2507,2506,2651,2614,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45777cf65d0ff7deccb539b3c7b08765.jpg","1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《新安逸韵图册》 是他的代表作之一，也是他的最后一部作品。这本书由三卷组成，收录了郑旼创作的大量诗歌、书法作品和图画。《新安逸韵图册》的内容丰富，涵盖了许多不同的题材，如自然风光、人物生活、历史故事等。\n\n郑旼在 《新安逸韵图册》 中结合了文字、图画和韵律，创造出了一种独特的艺术形式。他的诗歌融合了中国传统的五言绝句和七言律诗的形式，并加入了自己的创新和个人风格。郑旼的书法作品也颇具特色，他善于运用自然的笔法，使字体看起来更加流畅和优美。\n\n郑旼的 《新安逸韵图册》 被认为是一部杰出的艺术作品，对中国的文学、艺术和文化发展都产生了重要的影响。它不仅是郑旼的代表作，也是中国文学史上的一座里程",[2496,2497,2592,2499,2509,2501,2714,3839,2506,2595,2614,2677,2578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F026f3ed0fcf766add4fd6fec99669fa3.jpg","30.6x20.7cm",[6],{"id":500,"slug":7184,"title":3490,"dynasty":2490,"author":3264,"museum":2673,"description":7185,"tags":7186,"thumbUrl":7187,"material":2720,"size":7188,"collection":6,"collections":7189,"showCount":7190,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"shan-shui-zhou-dong-qi-chang-220942","本幅近景画丘坡茅亭、高树疏林，中部为碧波平湖，远处绘峰峦苍莽、草木华滋。用笔松秀灵活，用墨清妍润泽，意境萧散飘逸。\n画中自题仿巨然，但仔细观之，该画除立意、布景略有巨然遗风外，更多地显现的是董其昌晚年秀逸潇洒的风格。",[2495,2496,2499,2509,2577,2501,2505,3091,2611,2507,2613,2508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff039a744060007272b38d2af34273261.jpg","纵154.1cm，横64.3cm.",[6,2626],98,{"id":501,"slug":7192,"title":4557,"dynasty":2490,"author":4134,"museum":2563,"description":7193,"tags":7194,"thumbUrl":7195,"material":2531,"size":7196,"collection":6,"collections":7197,"showCount":7190,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"hua-xi-yu-yin-tu-tang-yin-219972","此作用淡墨晕染远空平林，湖山杳渺清旷，尽显江南水色的空濛柔婉。近景苍松虬曲倚立怪石，流泉绕石萦回，草木华滋鲜润。扁舟渔父悠然独坐于花溪之上，随波信游，静览周遭春景。\n\n画作将诗意与画境相融，以秀润灵逸的笔墨写尽渔隐江湖的自在。既有院体山水的精整工致，又带文人画的萧散简淡，把幽居林泉、超脱尘俗的文人理想寄寓在清寂山水之间，尽显江南隐逸的淡远雅趣，藏着一份避世忘机的闲适安然。",[2495,2496,2497,2499,2500,2509,2501,2902,2652,2503,2504,2549,2506,4245,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac1791960d880f80ab89155121d9e3fe.jpg","74.7x35.8",[6],{"id":502,"slug":7199,"title":7200,"dynasty":2956,"author":3625,"museum":2563,"description":7201,"tags":7202,"thumbUrl":7204,"material":2597,"size":7205,"collection":6,"collections":7206,"showCount":7190,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fu-chun-shan-tu-ju-ran-219962","富春山图","巨然，生卒年不详，江宁（江苏南京）人。五代画家，僧人。\n早年在南京开元寺出家，南唐降宋后到汴京（河南开封），居于开宝寺。\n擅画山水，师法董源，专画江南山水，所画峰峦 ，山顶多作矾头，林麓间多卵石，并掩映以疏筠蔓草，置之细径危桥茅屋，得野逸清静之趣，深受文人喜爱。以长披麻皴画山石，笔墨秀润，为董源画风之嫡传，并称董巨，对元明清以至近代的山水画发展有极大影响。",[2495,2496,2544,2497,2498,2499,2509,2511,2510,2547,2501,2507,2506,2611,7203,2504,2614,2651,3736],"小溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40355f5e09bc5ab99da7887c13d4b56d.jpg","81.1x27.9",[6],{"id":503,"slug":7208,"title":7209,"dynasty":2605,"author":2910,"museum":2563,"description":7210,"tags":7211,"thumbUrl":7213,"material":2567,"size":7214,"collection":6,"collections":7215,"showCount":7190,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-ren-wu-tu-ma-yuan-219001","山水人物图","在松树的阴影下，两个人面对悬崖的对面站着，各自做着倾斜和弯曲的动作，似乎在练习呼气的艺术。岩石用横笔侧画，松枝扭曲僵硬，布满雾气，用笔墨画出了南宋的风格。这幅画的年代大约是在元朝和明朝初期。最初它可能是一个屏幕，但现在它以卷轴的形式被框住了。",[2495,2544,2496,2497,2501,2549,2902,2507,2502,2499,2500,2509,7212,3975],"南宋风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2c415298a6ebf1893920cac4c8f6236.jpg","77.1x126.4",[6],{"id":504,"slug":7217,"title":7218,"dynasty":2490,"author":7219,"museum":2563,"description":7220,"tags":7221,"thumbUrl":7222,"material":2512,"size":7223,"collection":6,"collections":7224,"showCount":7190,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"wu-yue-jiang-shen-tu-wen-bo-ren-218371","五月江深图","文伯仁","画面以对角线构图，一边布置葱郁的山林，一边则为浩瀚的江天；山林中隐蔽数间屋舍，有一人独倚栏杆远眺江景，传达出僻地幽居的情景。",[2496,2577,2500,2509,2547,2501,2714,2715,2593,2652,2611,2550],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c0b946e829e4768e353c4fcb8e2f88a.jpg","110.3x45.3cm",[6],{"id":505,"slug":7226,"title":7227,"dynasty":2605,"author":4730,"museum":2589,"description":7228,"tags":7229,"thumbUrl":7230,"material":2567,"size":7231,"collection":6,"collections":7232,"showCount":7190,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"qiu-lin-die-zhang-tu-jiang-can-217869","秋林叠嶂图","秋林叠嶂图描绘的是一片秋天的山林，这片山林位于海拔较高的地方，因此能看到远处的秋天的山林。这幅画的画面非常宁静，令人感到非常舒适。画中有许多树木，其中有许多松树，还有一些枫树。这些树木都长得非常茂盛，充满了生机。画中还有许多山峰，山峰之间相互倚靠，形成了一道道叠嶂。画中还有几只鸟儿，它们在枫树的枝头上唱着歌。\n\n总的来说，这幅秋林叠嶂图是一幅非常优秀的山水画作品，江参的画风独特，山水画作品非常出名。这幅画的描绘的秋天的山林非常真实，令人感觉非常自然，是一幅非常美丽的画作。",[2496,2833,3483,6242,2902,4146,2552,2503,2550,2939],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1988e2d8ba1187067f488aa5793dcca.jpg","168.7x96.3cm",[6],{"id":506,"slug":7234,"title":7235,"dynasty":2632,"author":3303,"museum":2673,"description":7236,"tags":7237,"thumbUrl":7240,"material":2720,"size":7241,"collection":2870,"collections":7242,"showCount":7243,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"qian-long-huang-di-luo-yan-tu-lang-shi-ning-236270","乾隆皇帝落雁图","此图是乾隆皇帝谕令宫廷画家绘制的巡狩题材系列作品之一。图绘乾隆皇帝在悬崖石壁处，弯弓射雁的情景，表现了乾隆皇帝极强的反应能力和精准的骑射功力。\n根据图中所运用的绘画技法分析，此幅是件中西画家合璧之作。图中乾隆皇帝的肖像及坐骑白马、大雁由西洋画家郎世宁所绘，其笔法细腻，造型准确，尤其将大雁中箭后向下滑行时的动感，及乾隆皇帝箭发后，手由动到静的瞬间都表现得恰到好处，显示出作者具有较强的观察力和表现力。图中点景的山石、树木及溪流当出自中国画家之手，笔墨法度严谨，点染娴熟，得宋元人古意，高大的石壁与树木、曲水共同营造出一个清幽的狩猎环境，将本是伤残的行猎活动点缀得惬意而温馨。",[2496,2544,2497,2577,2546,2500,7238,2549,2960,2552,2501,3091,2652,2961,2528,7239],"中西合璧","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe798b081b98ec064f1de8deddba91ab5.jpg","纵259厘米，横171.6厘米",[2870,6,2968,2534],97,{"id":507,"slug":7245,"title":7246,"dynasty":2605,"author":3174,"museum":5626,"description":7247,"tags":7248,"thumbUrl":7249,"material":2531,"size":7250,"collection":2624,"collections":7251,"showCount":7243,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"zhong-li-fang-dao-tu-li-zhou-jing-hao-226547","钟离访道图立轴","荆浩（约850-？），字浩然，号洪谷子，山西沁水人，五代后梁画家，尊为北方山水画派之祖。因避战乱，常年隐居太行山 。\n擅画山水，师从张璪，吸取北方山水雄峻气格，作画“有笔有墨，水晕墨章”，勾皴之笔坚凝挺峭，表现出一种高深回环、大山堂堂的气势，为北方山水画派之祖。\n著有《笔法记》山水画理论的经典之作，提出气、韵、景、思、笔、墨的绘景“六要”。\n作品还有《匡庐图》《雪景山水图》等。",[2495,2496,2497,2577,2501,2499,2509,2651,2506,2611,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbfeda2c3d81e5d88a5c1c4a715b747f.jpg","147×74.8厘米",[2624,6,2626],{"id":508,"slug":7253,"title":7254,"dynasty":2522,"author":4583,"museum":2673,"description":7255,"tags":7256,"thumbUrl":7257,"material":7258,"size":7259,"collection":6,"collections":7260,"showCount":7243,"zanCount":2826,"manualWeight":2517,"mainColor":2559},"shu-dao-nan-zhao-meng-fu-220878","蜀道难","此图描写了大自然动人心魄的奇险与壮伟，给人以回肠荡气之感。诸多的画面此隐彼现，无论是山之高，水之急，河山之改观，林木之荒寂，连峰绝壁之险，皆有逼人之势，其气象之宏伟，其境界之阔大，确非他人可及。再从总体来看，其变化极速，愈变愈奇，又往往出人意料，使人目不暇接。正如清代诗评家沈德潜所盛称：“笔势纵横，如虬飞蠖动，起雷霆于指顾之间。”",[2495,2496,2500,2501,2549,2960,2593,2507,2614,2800,2690,3125,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54697ce08d4ec72533884797c61458dd.jpg","立轴，纸本设色","纵154.4厘米，纵56.6厘米",[6,2534],{"id":509,"slug":7262,"title":7263,"dynasty":2490,"author":2776,"museum":2997,"description":7264,"tags":7265,"thumbUrl":7267,"material":2512,"size":7268,"collection":6,"collections":7269,"showCount":7243,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"qiu-jiang-yu-ting-tu-dai-jin-220413","秋江渔艇图","《秋江渔艇》图卷是现存戴进面迹中最长的手卷，有名款及静庵”一印，论者大多将这幅画和吴镇 (1280一1354年）的《渔父图》及吴伟 （1459—1508年）的《渔乐图》相提并论。有关戴进的生平资料中，没有记载他管经接触那些过去的作品，但是在北京时，应该有机会见到宋元人作品，后来在浙江享有盛名，也使他有机会结识收藏家，接触到前人的名作，其中可能包括了出生于浙江的吴镇。\n《秋江渔艇》的简笔人物、人物的姿态，斜向的小舟，凸笔中锋的树石，和吴镇《渔父图》有许多相近之处，可以说明两者的关系。不过基本出发点并不相同，吴镇是以张志和《渔父词》为依据，面隐居的文人雅士，戴进关心的是在河川中以捕鱼为业的乡土人物，用笔也较为放纵．转折顿挫十分明显，即使径寸的人物，也表现出强劲有力的线条，和吴镇内敛含蓄的笔法有很大的差别。戴进在这面里发展出的笔墨形态，到了中叶的浙派画家吴伟的《渔乐图》时，运用得过度，尤其是水墨的渲染，已经纯然是笔墨的表演了。",[2495,2496,2497,2498,2499,2500,2501,2509,2987,2504,2552,2578,2503,2507,7266,2821,2505,2506],"江面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09db0f94b0f1be9504aad5e181144fe8.jpg","46 x 741.7",[6,2534],{"id":510,"slug":7271,"title":7272,"dynasty":2632,"author":6542,"museum":2492,"description":7273,"tags":7274,"thumbUrl":7275,"material":2567,"size":7276,"collection":6,"collections":7277,"showCount":7243,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"shui-dian-chun-shen-tu-yuan-jiang-218727","水殿春深图","袁江字文涛，号岫泉。清代宫廷画家，专工山水楼阁界画。\u2028 袁的画法继承宋代宫廷画的风格，结实、工细，体积感强。并能把雄伟壮阔的山色与富丽堂皇的楼阁很好地融为一体，既精细入微，又气势磅礴，有力地提高了“界画”的表现能力，被推为清代“界画”第一。",[2496,2497,2577,2790,2500,2546,2550,2791,2506,2507,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F541a38c45bc135a29e893993570190f9.jpg","纵104厘米，横49.5厘米",[6,2534],{"id":511,"slug":7279,"title":7280,"dynasty":2490,"author":3371,"museum":2589,"description":7281,"tags":7282,"thumbUrl":7283,"material":2597,"size":2598,"collection":6,"collections":7284,"showCount":7243,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"chun-shan-pian-zhou-tu-yao-sui-217058","春山扁舟图","姚绥是明朝的一位著名画家，他的作品《春山扁舟图》是一幅典型的山水画，描绘了一段美好的春天，山峦翠绿，水面波光粼粼，扁舟悠然自得地漂流在江中。图中的山水景色清新宜人，构图简洁大方，笔墨流畅自然，是姚绥非常优秀的代表作。",[2496,2499,2509,2501,2504,2503,2611,2506,2507,2549,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4d7c3ea94eed15c56d67aa937bbc39c.jpg",[6],{"id":512,"slug":7286,"title":7287,"dynasty":2522,"author":2984,"museum":3121,"description":7288,"tags":7289,"thumbUrl":7292,"material":2732,"size":7293,"collection":6,"collections":7294,"showCount":7295,"zanCount":3048,"manualWeight":2517,"mainColor":2518},"lu-tan-diao-ting-tu-wu-zhen-220782","芦滩钓艇图","《芦滩钓艇图卷》（现藏大都会）使吴镇享有萌画家的地位，此一点无论是国内抑或海外的艺术评论意见均颇统一。纠其原因，则是画中原本仅作为点缀的人物在画家的笔下呈现“卡通式”的形象，这一夺景的表现，并未使画作的立意失衡，而是呈现出别样的意趣来，无论是大都会所藏，还是弗利尔所藏的其他数幅吴镇所绘的“渔父图”皆是充满趣味性的形象。然我们知道其部分渔父形象的作品为仿荆浩，虽然很难再找见荆浩创作的渔父形象（可确证的）。但从台北故宫博物院所藏的北宋画家范宽之《溪山行旅图》进行观察（范早期习荆浩、李成，而该画作恰恰是习荆浩的），不难发现——吴镇画中之“渔父”形象与范宽画中的“渔父”形象，两者间颇有关联性（虽范宽的作品已较模糊，然从船体与人物构造观，尚可发现有其相通之处），故此种“卡通式”的“渔父”形象，许于唐未的荆浩画中，已形成其旨趣，只是后人不觉，皆将吴镇视为萌家。\n吴镇画山水喜用湿墨，其实吴镇未尝不善用干墨，在吴镇传世几十余幅墨竹中，几乎全是用干墨画的，均取得了良好的效果。之所以吴镇在山水画中多用湿墨，这与吴镇欲借山水画表达的境界有极大的关系。北宋山水画追求一种可游、可居之景，用笔用墨都服从于山水真实体感的表达；而元人则以山水为媒，追求一种有我之景，笔墨除用表现形体外，更是充作了情感流露的媒介。在元四家中吴、倪均以画水著称，倪喜用干墨，吴则喜用湿墨。倪用干墨草草点染，创造一种荒芜、澹泊之境；吴则用湿墨，渲染出一种凄清、静穆之境。细观吴镇每一幅山水画，都给人以“水墨淋漓幛犹湿”的感觉。无论是山、树、水，还是船、渔父、房屋，无论是近景，还是远景，均如淋浴在水中，从而更使远方景物有千里之遥，营造了一种凄清、幽旷、寂寥的艺术氛围。\n吴镇画中的水墨效果是与他多种笔法、墨法的灵活运用密切相关的，湿墨决不是简单化的水量的增加。吴历云：“江山无尽、万里长江两卷，……浑然天成，五墨齐备，盖仲圭擅长，非后学者所能措手。”“五墨齐备”是吴镇用墨的高超之处，为更好地发挥墨效，吴镇在选择作画材料上很有讲究，画梅竹喜用纸，画山水则喜用绢。画山水何以选绢，因为绢有厚度，纤维富韧性，多次渲染而不皱折。吴镇非常熟悉笔、墨、绢的特点，作画中的五墨并施而不腻，反复皴擦而不胀，产生了浓而润、湿而厚、涩而不干、枯而不燥的艺术效果。吴镇清淡似水，出现了浓而透的效果。今天看吴镇作品，仍能透过作品清楚的辨别它们的组织关系。清王原祁曰：“梅道人泼墨，学者甚多，皆粗服乱头，挥洒以自鸣得意，于节节肯綮处，全无梦见。无怪乎有墨猪之诮也。”王原祁的这一评论反映了吴镇的用墨技术是非常人所能学到的。吴氏的墨法，倾倒了元以后的历代大家，沈周、文徵明、恽南田、四王、吴历、八大山人等均对吴镇墨法大加推崇。",[2495,2496,2497,2499,2509,2637,2501,2504,2503,2506,3776,7290,2821,7291,2594],"渔翁","滩涂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa87a6f1b399c367170da229c11d740f5.jpg","39x65",[6,2626],96,{"id":513,"slug":7297,"title":7298,"dynasty":2605,"author":2910,"museum":2589,"description":7299,"tags":7300,"thumbUrl":7301,"material":2567,"size":2598,"collection":6,"collections":7302,"showCount":7295,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"xue-an-guan-tiao-tu-ma-yuan-217999","雪岸观眺图","马远是宋朝时期的一位著名画家，他的作品中有一幅名为“雪岸观眺图”的水墨画，被认为是宋朝画坛上的杰作之一。\n\n这幅画描绘了一段冬日的景象，画面中的山峦积雪，河水冰冻，极富冬日特色。在画中，可以看到许多游客在观眺这片壮丽的景色。画中还有许多树木，它们的枝条被白雪覆盖，显得格外的美丽。\n\n马远在这幅画中运用了许多水墨画的技巧，包括“写意”和“虚实”。“写意”指的是画家用自己的感受来描绘景象，而“虚实”则指画家在画面中运用虚实对比来表现深浅、空间感等效果。在“雪岸观眺图”中，马远巧妙地运用了这些技巧，使得画面充满了生动的气氛和浓郁的冬日气息。\n总的来说，“雪岸观眺图”是宋朝画坛上的一幅杰作，它不仅展现了宋朝时期画家对冬日景色的传统描绘方式，还体现了马远对水墨画艺术的精湛技艺",[2495,2544,2496,2497,2577,2500,2546,2509,2501,2505,2593,3078,2549,2652,2845],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86c2a7d7b855598a8f3c175345fe606f.jpg",[6],{"id":514,"slug":7304,"title":7305,"dynasty":2490,"author":2540,"museum":2563,"description":7306,"tags":7307,"thumbUrl":7310,"material":2567,"size":7311,"collection":6,"collections":7312,"showCount":7295,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"lin-song-yuan-liu-jing-ce-gao-feng-yuan-hu-chou-ying-214585","临宋元六景册-高峰远湖","明代画家仇英的临宋元六景册是一件著名的绘画作品，其中的高峰远湖图是一件精美的山水画作品。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了仇英对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n在这幅画中，仇英运用了清新的色彩和精细的线条来描绘山水风景。他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。画中的高峰远湖是一幅清新而美丽的山水画，它体现了仇英对自然的热爱和对传统文化的尊重。\n\n总的来说，仇英的临宋元六景册是一件精美的绘画作品，其中的高峰远湖图是一件优美的山水画作品，它描绘了中国传统的山水风景，也体现了仇英对自然的热爱和对传统文化的尊重。",[2496,2497,2592,2676,2500,2546,2501,7308,7309,2504,2552,2505],"高峰","远湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F665c93acfe478b7285b0a2f003b964b0.jpg","29.2x47.1cm",[6],{"id":515,"slug":7314,"title":7315,"dynasty":2490,"author":4134,"museum":2673,"description":7316,"tags":7317,"thumbUrl":7318,"material":7319,"size":7320,"collection":6,"collections":7321,"showCount":7322,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"guan-mei-tu-zhou-tang-yin-222359","观梅图轴","画作表现一位高士袖手立于溪桥之上，身后的山崖边两树梅花含苞待放，与作者所题诗意十分吻合。全幅构图汲取南宋院体风格，险中求胜，山石树木的勾勒粗细得当，晕染多于皴擦，清健爽利的笔致和幽静的背景营造突出了主体人物的高洁形象。人物的线描细劲流畅，造型清俊儒雅。从此作的创作风格上看，应是唐寅中年以后的作品。\n此图曾经清代毕沅等人鉴藏。",[2495,2496,2497,2577,2499,2509,2511,4241,2507,2549,3091,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F709e091fe9b41a1555692ca92f23e3f6.jpg","纸本，淡设色","纵108.6厘米，横34.5厘米。",[6,2626],95,{"id":516,"slug":7324,"title":7325,"dynasty":2605,"author":7326,"museum":3121,"description":7327,"tags":7328,"thumbUrl":7329,"material":2500,"size":7330,"collection":2624,"collections":7331,"showCount":7322,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"chu-shi-bei-jiang-tu-yang-bang-ji-221254","出使北疆图","杨邦基","杨邦基，生卒年不详。金画家。字德懋，号息轩，陕西华阴人。幼孤，好学。擅画山水、人物、鞍马。人物画有李公麟格调；山水学李成。潇洒脱俗，令人渺然有江湖尘外之思。存世作品有《聘金图》。\n《金史》称：杨邦基，字德懋，华阴人。父綯，宋末为易州州佐。宗望伐宋，蔡靖以燕山降，易州即日来附，綯被杀，邦基年十余岁，匿僧舍中，得免。既长，好学。天眷二年，登进士第，调滦州军事判官，迁太原交城令。太原尹徒单恭贪污不法，托名铸金佛，命属县输金，邦基独不与。徒单恭怒，召至府，将以手持铁拄杖撞邦基面，邦基不动。秉德廉察官吏，尹与九县令皆免去，邦基以廉为河东第一，召为礼部事。以兵部员外郎摄吏部差除，坐铨注李庆之、大奉国臣，与高衎等皆贬官，邦基降坊州宜君簿。转高密令。大定初，尚书省拟邦基刑部郎中，世宗曰：“县官即除郎中，如何？”太师张浩对曰：“邦基前为兵部员外郎矣，且其人材可用。”上许之。改太府少监，知登闻检院，为秘书少监，迁翰林直学士，再迁秘书监兼左谏议大夫，修起居注。中都警巡使张子衍与邦基姻家，子衍道中遇皇太子卫仗，立马市门不去伞，卫士诃之，子衍以鞭鞭卫士诃己者。御史台劾奏子衍，邦基见台官为子衍求解，及入见显宗，求脱子衍罪。诏削子衍官两阶。邦基坐削官一阶，出为同知西京留守事，徙山东东路转运使，永定军节度使，致仕。大定二十一年，卒。邦基能属文，善画山水人物，尤以画名当世云。",[2495,2496,2544,2498,2500,2509,2501,2902,2505,2960,2549,2595,2614,2611],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc8f70601233fd8feaa8e2ebbb9c268.jpg","26.7×142.2 cm",[2624,6,2626],{"id":517,"slug":7333,"title":7334,"dynasty":2522,"author":7335,"museum":2673,"description":7336,"tags":7337,"thumbUrl":7338,"material":2597,"size":7339,"collection":6,"collections":7340,"showCount":7322,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"ge-an-wang-shan-tu-zhao-zhong-218254","隔岸望山图","赵衷","此图为《张观等五家集绘卷》之一。近岸画坡石高树，参差错落，一人坐平坡上隔江遥望烟云笼罩的远山。坡前湖面宽阔浩渺，意境清幽。近树用笔精工细致，生动写实。对岸远山以简率的笔墨轻勾淡染，远树点笔为形，概括取象，给人以旷远迷离之感。人物形象虽小，造型却生动准确。全图用笔秀润，墨色淡雅。",[2496,2499,2501,2497,2714,2715,2593,2549,2652,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1885be14f4847ee54f72c9a387e606e3.jpg","纵30厘米，横50.1厘米",[6],{"id":518,"slug":7342,"title":7343,"dynasty":2490,"author":7344,"museum":2563,"description":7345,"tags":7346,"thumbUrl":7347,"material":2567,"size":7348,"collection":6,"collections":7349,"showCount":7322,"zanCount":3048,"manualWeight":2517,"mainColor":2559},"xun-mei-tu-zhu-duan-217059","寻梅图","朱端","朱端，字克正，海盐人，出身渔樵，弘治末入宫，正德时期（1506－1521）直仁智殿，官「锦衣指挥」，曾获赐「钦赐一樵图书」，遂更号「一樵」。\n\n朱端的山水画取法郭熙（约1020-约1100）、马远。全幅采取半边的构图型式，以左方占据画面约二分之一高的双松为骨干，框出策杖撑伞的老翁和两位童子，他们正准备渡江至对岸的赏梅。冬天踏雪寻梅，一直被视为文人雅趣，从弘治时期（1488－1505）开始，这一类诗意图像逐渐增加，题材的转变似乎也反映了宫廷皇帝品味的变化。",[2496,2497,2501,2577,2509,2499,2500,2549,2502,2503,2677,2552,2779,4241,2505,2714,2593],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674c65022384eae968e9c438b4fd0ecb.jpg","145x66cm",[6],{"id":519,"slug":7351,"title":7352,"dynasty":2632,"author":3704,"museum":2563,"description":7353,"tags":7354,"thumbUrl":7355,"material":2567,"size":7356,"collection":6,"collections":7357,"showCount":7322,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"qing-feng-tu-tang-dai-214810","庆丰图","这是一幅典型的清代风格的庭院画，描绘了新建的凤仪城，其大厅宏伟，市场井然有序，色彩美丽。",[2495,2496,2545,2500,2501,2550,2549,2506,2651,2546],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faae9375823b07d0753215b6cf25b5637.jpg","393.6x234",[6],{"id":520,"slug":7359,"title":7360,"dynasty":2632,"author":3786,"museum":2818,"description":7361,"tags":7362,"thumbUrl":7363,"material":2598,"size":2598,"collection":6,"collections":7364,"showCount":7365,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"hong-ren-shan-shui-ce-hong-ren-237614","弘仁山水册","弘仁（1610-1664），明代著名画家，俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后，于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒等，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪之瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等，著有《画偈》。",[2496,2497,2499,2509,2592,2511,2547,2501,2677,6810,2611,2714,2715,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcb1183d2ee5a491bd53c0b3d5ea7ad3.jpg",[6,2626],94,{"id":521,"slug":7367,"title":7368,"dynasty":2490,"author":3264,"museum":2673,"description":7369,"tags":7370,"thumbUrl":7371,"material":2867,"size":4301,"collection":6,"collections":7372,"showCount":7365,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-gu-shan-shui-ce-ye-dong-qi-chang-220903","仿古山水册页","明代画坛流派叠现，异彩纷呈。晚期更有华亭派、武林派等异军突起，影响远泽有清一代。其中，华亭派领袖人物董其昌推崇倡导的摹古风气对后世画坛的影响尤为深刻。对于学习绘画，董其昌认为应先以古人为师，对古人画迹悉心摹写，将其笔墨技法、布局构图于心中融汇贯通，从而得古人笔墨意趣，然后再师法自然，汲取创作灵感。他对自己的主张是身体力行的。\n这套《仿古山水》册共８开，皆为仿唐及宋元诸家如杨昇、惠崇、李公麟、倪瓒等的小幅册页，是董其昌仿古一类绘画中不可多得的妙品。董氏水墨山水名重于世，设色山水也别具一格。此册中“仿唐杨昇”一开青绿山水，以没骨法为之，丛树峰峦等都用石青、石绿、朱砂、赭石等色染出，鲜有勾皴，与李思训一派线条硬劲的青绿山水情趣各异。董其昌曾遍临名家画作，而用功最勤的则是元四家。册中有“仿倪元镇”一开山水，构图布局和树、石、山、亭的画法无不毕肖于倪瓒之作，可谓得其三昧，登堂入室。此套册页虽每开均以“仿”字冠名，其实画面却不尽然，因为每幅都有自出新意之处。再以“仿倪元镇”一开为例，与倪瓒之画呈现的寂寥疏淡的面目相比，此图使人感受到的是勃勃生机，这是董氏取诸家笔墨之长，再运用自身的学养识见加以变化而直抒胸臆、独树风标的不凡魅力，后世众多摹古画家始终无法企及。",[2495,2496,2497,2592,2499,2500,2501,2507,2506,2505,2528,2595,5837,2614,2511,2547,2509,2676],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b6dca8d58acbb22b6bed289e5f80247.jpg",[6,2534],{"id":522,"slug":7374,"title":4439,"dynasty":2522,"author":2588,"museum":2563,"description":7375,"tags":7376,"thumbUrl":7377,"material":2512,"size":7378,"collection":6,"collections":7379,"showCount":7365,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"dong-shan-cao-tang-tu-wang-meng-220806","《东山草堂图》是元四家之一的王蒙创作的一幅隐居题材的山水画。描绘了东山之中隔水相望的草堂，\n这幅画描绘了隔水草堂，画中巨石重叠，秋林疏爽，高士闲居。松树、柏树以及山石都刻画得极其密实、精细。 《东山草堂图》画于元顺帝至正三年，即王蒙四十岁以后所作。\n此时，王蒙已初具自家风貌，用笔切实稳厚、灵活松快，笔墨已有一种稳重苍郁的意象。画面上松树、柏树以及山石都刻画得极其密实、精细。全图以淡赭色罩染，“水晕墨章”的绘画方法丰富了中国绘画的表现技法。",[2495,2496,2499,2500,2509,2501,2506,2902,2507,2690,2613,2651,2508,5125,3636,3736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18bd6ec16eba615a58d99aa211fdc5e2.jpg","纵111.4cm，横86.1cm",[6,2626],{"id":523,"slug":7381,"title":7382,"dynasty":2632,"author":3796,"museum":3121,"description":7383,"tags":7384,"thumbUrl":7385,"material":2597,"size":2598,"collection":6,"collections":7386,"showCount":7365,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"fang-ju-ran-xi-shan-gao-shi-tu-wang-jian-219711","仿巨然溪山高士图","《仿巨然溪山高士图轴》是王鉴的一副临摹宋朝著名画僧巨然和尚的古山水画。王鉴擅长临摹古人之画，功底深厚，巨然是他非常推崇的北宋大家，他一生中摹仿巨然的作品非常多，巨然的画风淡墨轻岚，风韵秀润。此图上款识：“巨然《溪山高士图》来自内府，为大司空刘敬仲先生所藏。余在长安时曾见过，今不知流落谁手。雨窗闲坐，思其意为之，不求其形似也。王鑑。",[2495,2496,2499,2509,2676,2577,2501,2550,2677,2503,2578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F885430959c37cabba225c27dbb27cb24.jpg",[6],{"id":524,"slug":7388,"title":7389,"dynasty":2605,"author":3431,"museum":2818,"description":7390,"tags":7391,"thumbUrl":7392,"material":2597,"size":7393,"collection":6,"collections":7394,"showCount":7365,"zanCount":3130,"manualWeight":2517,"mainColor":4670},"chun-xi-ming-qin-tu-yi-ming-218618","春溪鸣禽图","画面上有古老的柏树，靠外的竹子，溪流中盛开的梅花，以及唱歌的鸟儿和仙女。浓烈的笔墨是宋代的风格，这也是自然小景的典范之作。\n这幅画采用了南宋的写实手法，画出了春日溪边宁静幽远而又生动的景象，造型准确，极为生动。",[2496,2497,5225,2546,2499,2500,2503,2552,2506,2677,3010,2501],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff10a47e4d9461a9b24ee60330ea5a6c1.jpg","31x31",[6,2624],{"id":525,"slug":7396,"title":7397,"dynasty":2632,"author":6542,"museum":2818,"description":7398,"tags":7399,"thumbUrl":7400,"material":5818,"size":5819,"collection":6,"collections":7401,"showCount":7402,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ping-yuan-jiang-235658","山水屏","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。",[2496,2497,2577,2790,2500,2546,2509,2501,2550,2508,2506,2507,2552,2503,3125,3617],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d1025c7cc3b3c23c5404aad98a7d7f.jpg",[6],93,{"id":526,"slug":7404,"title":7405,"dynasty":2605,"author":2946,"museum":2749,"description":7406,"tags":7407,"thumbUrl":7408,"material":2531,"size":7409,"collection":2624,"collections":7410,"showCount":7402,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"hao-liang-qiu-shui-tu-li-tang-221578","濠梁秋水图","《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。",[2495,2496,2497,2498,2501,2499,2509,2549,2506,2652,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5606bd8755e55a8ff1f77d67242cb344.jpg","纵24厘米，横114.5厘米",[2624,6,2534],{"id":527,"slug":7412,"title":7413,"dynasty":2522,"author":2588,"museum":2673,"description":7414,"tags":7415,"thumbUrl":7416,"material":3069,"size":7417,"collection":6,"collections":7418,"showCount":7402,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"guan-shan-xiao-si-tu-zhou-wang-meng-220818","关山箫寺图轴","王蒙创造的“水晕墨章”，丰富了民族绘画的表现技法。\n他的独特风格，表现在“元气磅礴”、用笔熟练、“纵横离奇，莫辨端倪”。\n《画史绘要》中说：“王蒙山水师巨然，甚得用墨法”。",[2495,2496,2497,2577,2501,2500,2509,2790,2651,2550,2503,2506,3125,2552,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1601b0cd43037b968c1bf32d6a8e7830.jpg","纵161.7cm，横56cm",[6,2534],{"id":528,"slug":7420,"title":7421,"dynasty":2490,"author":5395,"museum":2563,"description":7422,"tags":7423,"thumbUrl":7424,"material":2567,"size":7425,"collection":6,"collections":7426,"showCount":7402,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"qiu-lin-shu-wu-tu-zhao-zuo-214741","秋林书屋图","这幅画表现的是一个男人独自坐在森林下的书房里，云雾笼罩着远处的山。构图很简单，将河流和天空留白，加上一些水墨，这幅画的特点是柔和和优雅。",[2496,2833,2499,2509,2577,2547,3483,4166,2506,2507,2503,2595,2552],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83c65d9c974db8e736b5c1f04d0b6cde.jpg","103.1x51.4",[6],{"id":529,"slug":7428,"title":7429,"dynasty":2632,"author":3796,"museum":6780,"description":7430,"tags":7431,"thumbUrl":7432,"material":2597,"size":7433,"collection":6,"collections":7434,"showCount":7402,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"feng-lin-tu-wang-jian-214546","风林图","这幅画据说是沈周临摹的，是后世的典范，因为沈周为元四家建立了方法。用墨深入人心，笔触比沈周的更柔和，没有老辣。",[2496,2497,2577,2499,2509,2501,2506,2507,6204,3735],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbbfe89cadeb3bc96eed8e040b30a40c.jpg","88.2x51.3",[6],{"id":530,"slug":7436,"title":7437,"dynasty":2632,"author":3816,"museum":2492,"description":7438,"tags":7439,"thumbUrl":7440,"material":7441,"size":7442,"collection":6,"collections":7443,"showCount":7444,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"shan-shui-ba-jing-ce-gong-xian-222611","山水八景册","龚贤（1618-1689年），一名岂贤，字半千，号半山野人，江苏昆山人，寓居南京（今江苏南京）。擅画山水，用墨层层染渍，独创一格。为“金陵八家”之首。\n龚贤在明朝末年曾参与“复社”力图改变时弊，入清后不好仕进，以鬻画、课徒为生。康熙六年（1667年），龚贤在南京清凉山下隐居，筑半亩园，不履市井，潜心研习山水画创作，著有《香草堂集》、《画诀》、《龚半千授徒画稿》等著作。\n全卷共分八段，绘江南湖光潋滟、烟雨朦胧之色。卷内，水墨，设色之景相互穿插，较为全面的展现出龚贤山水画的多种面貌。龚贤的绘画技法远追五代董源、宋代米氏父子、元代吴镇的绘画风格而自成一家。从龚贤书于卷尾的落款看，他在创作此卷时借鉴了沈周、文徵明的笔墨意韵。是卷作于康熙廿三年（1684），作者时年67岁。",[2495,2496,2499,2509,2592,2501,3091,2730,2614,3423,2595,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F916def8a20ec4b554a2eb8de0cf5329f.jpg","纸","纵24.4 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元台州临海人，字敬仲，号丹丘生。\n依附怀王图帖睦尔(文宗)。\n文宗即位，授典瑞院都事，迁奎章阁鉴书博士。\n文宗死，流寓江南。\n博学能文，善楷书，工画墨竹，能以书法为之。\n又善鉴识鼎彝古器。",[2495,2496,2497,2592,2500,2546,2501,2550,2502,2593,3078,2549,2715],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82511192a16c3e0b49ca5d24aa8f0676.jpg","75x68cm",[6,2534],{"id":542,"slug":7536,"title":7537,"dynasty":2632,"author":2762,"museum":2818,"description":7538,"tags":7539,"thumbUrl":7540,"material":2512,"size":7541,"collection":6,"collections":7542,"showCount":7499,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"cai-shi-tu-zhou-shi-tao-220124","采石图轴","石涛(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[2495,2496,2497,2577,2499,2500,2501,2677,2902,6810,2614,2595,2505,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda809bfbd4f3ca60ab1f69468e34e8e1.jpg","纵46.5cm，横30.7cm",[6],{"id":543,"slug":7544,"title":7545,"dynasty":2490,"author":7546,"museum":2673,"description":7547,"tags":7548,"thumbUrl":7549,"material":2597,"size":7550,"collection":6,"collections":7551,"showCount":7499,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"mo-bi-shan-shui-tu-chen-chun-220110","墨笔山水图","陈淳","陈氏以写意花卉享誉画坛，与徐谓并称“青藤白阳”，传世山水作品并不多见，此作显示出他在山水画方面别有一番造诣。图中近景绘平坡古树，树下一人翘首远眺，远景高岩耸立，秀木成林，烟云缭绕，掩映着溪流的尽头。画家用笔写意韵味很浓，笔迹放纵老到，淋漓疏爽，细看似乎笔笔皆不经意，纵览全幅却是结构严密，墨色轻重有别，虚实得当。画面中清雅空幽、萧散闲逸的意境流露出来自文氏门下的师承传统。",[2495,2496,2497,2577,2499,2509,2501,2593,2902,2502,2503,2549,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae7c7f71b3d4294315661e3a9f670632.jpg","纵107.8厘米，横67.8厘米",[6,2626],{"id":544,"slug":7553,"title":7554,"dynasty":2605,"author":7555,"museum":2563,"description":7556,"tags":7557,"thumbUrl":7558,"material":2567,"size":7559,"collection":6,"collections":7560,"showCount":7499,"zanCount":3048,"manualWeight":2517,"mainColor":2559},"yan-shan-xu-bie-tu-zhao-zong-han-218533","雁山叙别图","赵宗汉","画楼台亭榭，二人设几拥书对坐，一人携杖，童子抱琴随行。此图嘉祐二年五月廿九日，宗汉奉使出镇广南，过浙中，其乡人旧友汪子卿少游浙中，登庆历进士，归从雁山，作此图为别。",[2496,2497,2577,2500,2509,2511,2510,2501,2550,2506,2507,2503,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ceca5bf5d4e52df96f93e938393a90e.jpg","纵156公分，横160公分",[6,2624],{"id":545,"slug":7562,"title":5214,"dynasty":2522,"author":7563,"museum":5068,"description":7564,"tags":7565,"thumbUrl":7566,"material":2597,"size":7567,"collection":6,"collections":7568,"showCount":7499,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"yun-shan-tu-gao-ke-gong-217908","高克恭","云山图是元朝时期画家高克恭的代表作之一。它是一幅山水画，以精细的笔墨和色彩表现出美丽的山水风光。画中的山川曲折，云雾缭绕，景色壮美。高克恭在画中运用了多种技法，包括透视法、深浅对比和色彩叠加，使得画面栩栩如生，充满了立体感。\n\n高克恭的云山图吸引了众多观众的目光，因为它不仅展现了美丽的山水风光，还展现了元朝时期画家对自然的深刻观察和对细节的精确捕捉。同时，云山图还蕴含着对中国传统文化的热爱和尊重。画中的山水景观被渲染得如此逼真，令人流连忘返。高克恭的云山图是中国传统山水画的精品，值得欣赏和珍藏。",[2496,2499,2509,2501,3208,2593,2527],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89c75652c5efc54f87590867c62f5b03.jpg","114x52cm",[6],{"id":546,"slug":7570,"title":7571,"dynasty":2522,"author":7572,"museum":2492,"description":7573,"tags":7574,"thumbUrl":7575,"material":3157,"size":7576,"collection":6,"collections":7577,"showCount":7499,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"teng-wang-ge-tu-san-ye-xia-yong-215037","滕王阁图散页","夏永","此图描绘了唐代洪州（今江西南昌）名胜滕王阁，此楼依山傍水，是登高远眺之佳处，与黄鹤楼、岳阳楼并称“江南三大名楼”，唐代诗人王勃曾作滕王阁序，留下“落霞与孤鹜齐飞，秋水共长天一色”的名句，使此楼垂名后世。",[2544,2496,2497,2790,2499,2550,2501,2504,2507,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3937fc23fb0df816f2e1017fd0ca690c.jpg","纵25.5厘米 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x 42.5cm",[6,2534],{"id":552,"slug":7624,"title":7625,"dynasty":2522,"author":2984,"museum":2673,"description":7626,"tags":7627,"thumbUrl":7629,"material":2531,"size":7630,"collection":6,"collections":7631,"showCount":7598,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"lu-hua-han-yan-tu-wu-zhen-220783","芦花寒雁图","《芦花寒雁图》是元代画家吴镇创作的一幅绢本墨笔画，现收藏于北京故宫博物院。\n《芦花寒雁图》以平远法绘秋日水滨景色，水面微波荡漾，蒹葭苍苍，一双芦雁振翅飞起，渔父于舟头仰首凝视。画面空灵寒寂，形成了平淡清远的境界。图中以平行置景的手法表现空阔无际的水泊，以浓淡变化的水墨表现远近层次，平中见奇。\n此图中心部分画了一个大的芦苇塘，时已深秋，两岸芦花在随风摆动。塘中画一正在行驶的小船，船头一艄公须髯飘拂，一边划桨，一边昂首望天，他显然听到了寒空雁叫，才把目光转向天空。上部空中，有两只孤雁，正背着小船的方向飞去。\n自屈原《渔父》及《庄子》中的渔父形象在文学作品中出现后，渔父成了清高孤洁、避世脱俗、浪迹江湖的隐士化身。渔父形象的大量出现并形成一种风气是在元代。由于元代在中国历史上是蒙古民族入主中原并统治全中国的朝代，其民族歧视政策使大量文人都采取古典绘画的人文意蕴了不与之合作的态度。在这种社会背景下，渔父清高、避世、逍遥的人生为许多隐退文人所仿效，这其中，吴镇对渔父最为情有独钟。\n吴镇在元至顺元年（公元1330年）所绘的《芦花寒雁图》是其一系列“渔隐”主题作品中的一幅，在画中适当变化了《寒林重汀图》中的构画元素。\n《芦花寒雁图》中双雁起飞，渔父仰首观望，通过细致描绘周边环境，巧妙地把渔父安排于水面一个较突出的位置。 此图画幅不大，却意境深远。画面采用三段式构图，平行的披麻皴。横向铺开，除了渔父和寒雁外，《芦花寒雁图》中的大多物象都能在《寒林重汀图》中找到，可见董源对吴镇的影响。\n此图技法上用柔润的线条勾写物象，笔法灵活，疏简秀逸，自然平淡，苍润华滋，具有文人的书卷气。图中山石、坡地直接用大笔，连扫带染，使得皴笔与渲染的墨色自然地交融在一起。再加以披麻皴，罩一层水墨，略分浓淡，以区分山石的凹凸向背。在水域的处理上，更是用湿笔淡墨层层铺陈。在用墨上，饱蘸水分，将江南湿润的空气流动在画中。",[2495,2496,2497,2577,2499,2509,2547,2504,2821,7628,2552,2501],"芦花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d33051a230060350c9af21019672658.jpg","纵83.3厘米，横27.8厘米",[6,2626],{"id":553,"slug":7633,"title":7634,"dynasty":2522,"author":2984,"museum":7635,"description":7636,"tags":7637,"thumbUrl":7638,"material":2597,"size":7639,"collection":6,"collections":7640,"showCount":7598,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"song-quan-tu-wu-zhen-219974","松泉图","南京市博物馆","此图用秃笔勾勒树石,干墨皴擦,描绘松针则用笔尖,可看出画家的特有风格。画上有画家的自题诗:“长松兮亭亭,流泉兮泠泠, 漱白石兮散晴雪,舞天风兮吟秋声。景幽佳兮足静赏,中有人兮眉青青。松兮泉兮何所拟,研池阴阴兮清澈底,挂高堂兮素壁间,夜半风雷兮忽飞起。”署款“至元四年夏至日,奉为子渊戏作松泉，梅花道人书。”钤有“嘉兴吴镇,仲圭书画记”。",[2495,2496,2497,2577,2499,2509,2501,2902,6173,2507,2510,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdefdfbd5e2d90e3f8ec272a86ef27862.jpg","105.3厘米 横31.7厘米",[6],{"id":554,"slug":7642,"title":7643,"dynasty":2605,"author":7644,"museum":2563,"description":7645,"tags":7646,"thumbUrl":7647,"material":2567,"size":2598,"collection":6,"collections":7648,"showCount":7598,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"xi-hu-shi-jing-tu-lei-feng-xi-zhao-ye-xiao-yan-218677","西湖十景图-雷峰夕照","叶肖岩","山峦晕染着暮色的暖调，古塔静立在层岩之上，夕照的金辉轻覆于林梢与塔檐，晕开朦胧的暖意。近处松枝虬劲，山石皴擦细腻；远处峰峦隐入淡墨，虚实间藏着江南的温婉。左侧墨笔题跋的线条与山水肌理相映，文辞与画意交织，将西湖黄昏的悠然意趣凝于尺幅。苍劲与柔婉并存，写实与写意相融，尽显雷峰夕照的静谧深远——仿佛晚风掠过塔铃轻响，时光沉淀的诗意在笔墨间缓缓流淌，让观者窥见千年西湖黄昏的温婉与悠长。",[2495,2496,2497,2592,2500,2501,4265,2550,2510,2677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e6bfc3fb9153780220775dfbeb9338f.jpg",[6],{"id":555,"slug":7650,"title":7651,"dynasty":2632,"author":5047,"museum":2673,"description":7652,"tags":7653,"thumbUrl":7654,"material":2597,"size":7655,"collection":6,"collections":7656,"showCount":7598,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"yan-qi-gao-shi-tu-wang-hui-218520","岩栖高士图","此图是王翚盛年山水画代表作。该图以高远式构图，画高岩幽壑，长松平湖，岩崖间古木盘虬，杂草丛生，山径盘陀，叠叠山泉涌出峡谷，流入湖中。峡谷间山馆水榭或半隐于崖畔，或横架于流泉之上。近岸平坡松荫下一人仰坐，似在欣赏幽雅的湖光山色。此画结构严谨，意境清幽。据记载明代唐寅曾有之，画家虽未言仿唐寅画法，然所画山石用元人干笔皴擦，参用宋人斧劈皴法，苍劲秀润，用墨干湿相济，变化多端，极富逸趣与韵味，似应是画家早期精研唐寅画法后的变化所得，体现了画家这一时期山水画的典型风貌。\n图中王翚自识虽未署年款，但笪重光题跋书于壬子年，即清康熙十一年（1672年），王石谷时年41岁，此图应作于当时或稍前。本幅上方王翚自题七言诗：“高士岩栖趣自幽，白云天半读书楼。银河落向千峰裹，长和松涛万壑秋。”又笪重光、恽寿平题和。从三人题诗中得知，此图作于毗陵（今江苏武进）舟次，时三人聚会于此，研讨绘画达40余日，以诗书画互赠，堪称“艺林盛事”。此图乃王翚画赠笪氏之作。",[2495,2496,2497,2577,2499,2509,2501,2549,2902,2611,2507,2690,2503,2578,4245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e2e386c670104c6002b4b8f716d6d0a.jpg","纵122.7厘米，横31.5厘米",[6],{"id":556,"slug":7658,"title":7659,"dynasty":2490,"author":2491,"museum":2673,"description":7660,"tags":7661,"thumbUrl":7662,"material":2867,"size":7663,"collection":6,"collections":7664,"showCount":7665,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"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。",[2495,2496,2499,2509,2500,2501,2506,3735,2548,3668,2503,2652,2549,2510,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45ec07e216d6f6ba02a5d0deaeaae9e6.jpg","纵74cm，横31cm",[6,2626],89,{"id":557,"slug":7667,"title":7668,"dynasty":2605,"author":2699,"museum":3121,"description":7669,"tags":7670,"thumbUrl":7671,"material":7672,"size":7673,"collection":2624,"collections":7674,"showCount":7665,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"qing-jiang-gui-zhao-tu-juan-xia-gui-221664","晴江归棹图卷","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[2495,2496,2497,2498,2499,2509,2501,2504,3763,2593,2527,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69a2f6dbc10edb0bfb220d50ae3f71d2.jpg","纸本 水墨","29.3x376",[2624,6,2626],{"id":558,"slug":7676,"title":7677,"dynasty":2490,"author":4134,"museum":2563,"description":7678,"tags":7679,"thumbUrl":7681,"material":2567,"size":7682,"collection":6,"collections":7683,"showCount":7665,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"han-guan-xue-ji-tu-tang-yin-219511","函关雪霁图","画面近处是三四辆牛车穿行在冬日的山道中，山石凹面泉瀑涌出，至右侧汇集成溪。远处是谷底的寺庙、村舍，均笼罩在皑皑白雪之中。更有高楼耸立于山峦顶处的密林里，自山脚处向上拔起的峻峰，笔淡而缩密，勾以数笔为远山，水天合一，均以淡墨烘染，达到了“雪不待粉而自白”的效果。",[2496,2497,2501,2499,2509,3078,2714,2506,3091,2508,7680,2960,2652,2547,2800,2528,2500],"车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd84e076a543804a08b825284cfb2e78e.jpg","纵69.9厘米，横37.3厘米",[6],{"id":559,"slug":7685,"title":7686,"dynasty":2632,"author":2762,"museum":2818,"description":5200,"tags":7687,"thumbUrl":7688,"material":2598,"size":2598,"collection":6,"collections":7689,"showCount":7690,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234647","原济金陵十景图册",[2496,2499,2511,2592,2501,2504,2552,2594,2651,2510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6020bc5a26b64366dfa9a8384032aebb.jpg",[6],88,{"id":560,"slug":7692,"title":7693,"dynasty":2632,"author":7694,"museum":2673,"description":7695,"tags":7696,"thumbUrl":7699,"material":2598,"size":7700,"collection":6,"collections":7701,"showCount":7690,"zanCount":2826,"manualWeight":2517,"mainColor":2518},"geng-zhi-tu-ce-jiao-bing-zhen-223170","耕织图册","焦秉贞","《胤禛耕织图册·收刈》是清代佚名创作的绢本设色画。\n此为耕织图册之一开。\n本幅描绘麦田中农夫装扮的胤禛（雍亲王）正带领众人收割。\n此图用笔精到，设色典雅，人物形象生动传神，将劳动者辛勤耕作的场景描绘得十分生动。\n耕织图起源于南宋时期，是我国古代为劝课农桑而详实地记录耕作与蚕织的系列图谱。\n由于其“图绘以尽其状，诗文以尽其情”，形象生动、细腻传神地描绘了劳动者耕作与蚕织的场景和详细的生产过程，从而起到了普及农业生产知识、推广耕作技术、促进社会生产力发展的巨大作用，而其本身也成为极其珍贵的艺术瑰宝。\n宋代的《耕织图》册由耕图21幅、织图24幅组成。\n清康熙二十八年（1689年），康熙皇帝南巡时观览到此图，感慨万端，遂命内廷供奉焦秉贞根据其原意重新绘制《耕织图》册，作耕图2幅，织图2幅。\n《雍正耕织图》册是雍正帝登基以前以康熙年间刻版印制的《耕织图》为蓝本，内容和规格仿照焦氏本，由清宫廷画师精心绘制而成。\n所不同的是胤禛耕织图中的主要人物如农夫、蚕妇等均为胤禛及其福晋等人的肖像，这在历代的耕织图中是仅见的。\n该图现存52页，其中6页为未定稿的衍页，其余46页中耕图、织图各2页，每幅画上都有胤禛的亲笔题诗，并钤有“雍亲王宝”和“破尘居士”两方印章。\n根据画法特点，此画册可能出自当时宫廷画家陈枚之手。\n（1678—175) 即爱新觉罗， 。\n清朝皇帝。\n满族。\n圣祖第四子。\n年号雍正。\n1722—175年在位。\n康熙三十五年（1696年），从帝征喝尔丹。\n三十七年，封贝勒。\n四十八年，进封雍亲王。\n康熙末参与部分政务。\n得隆科多、年羹尧之助夺得帝位后,即用高压手段对付参与争位的诸弟；胤德被长期幽禁；胤视、胤塘被削籍，不得其死。\n康察的亲信多遭贬斥。\n隆科多、年羹尧亦被借故禁铜并杀。\n对汉族知识分子，改变康照时以笼络为主的策略，屡兴文字狱。\n曾用藩邸亲信鄂尔泰、田文镜、李卫等为重要省区的总督。\n雍正七年（1729年），建立军机房（后改军机处），取代内阁和大臣会议，成为承旨经办军政事务的国家中枢机构；又取消诸王为下五旗（正红、镶红、镶白、正蓝、镶蓝）管主的制度，以加强君主集权。\n实行摊丁人亩，以保证赋税收人。\n在西南少数民族地区推行“改土归流”，废除土司制度，设立府、州、县。\n始设置驻藏大臣,加强对西藏的管辖。\n曾出兵平定 贵族的叛乱，并镇压准噶尔部贵族的骚扰。\n对外曾与沙俄订立《 》和《中俄恰克图界约》，划定中俄中段边界。\n精通满、汉文，娴熟书法，熟悉儒家经典。\n有《世宗完皇帝有制文集》等。",[2544,2496,2497,2592,2500,2546,3307,2549,3617,7008,2506,2503,7697,2551,7698],"农耕","传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ed5980469ac69b2e0f1c93414f87c1.jpg","34.7cm×27.7cm",[6,2968,2534],{"id":561,"slug":7703,"title":7704,"dynasty":2632,"author":3303,"museum":2563,"description":5988,"tags":7705,"thumbUrl":7707,"material":3069,"size":5993,"collection":6,"collections":7708,"showCount":7690,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"shi-er-yue-ling-tu-zheng-yue-lang-shi-ning-222769","十二月令图（正月）",[2495,2496,2500,2546,2790,2549,2550,2880,2507,2506,2690,7706],"活动场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7578701c0511c7e8d219ace0c798cee0.jpg",[6,2534],{"id":562,"slug":7710,"title":7711,"dynasty":3283,"author":4592,"museum":2563,"description":7712,"tags":7713,"thumbUrl":7714,"material":2531,"size":7715,"collection":6,"collections":7716,"showCount":7690,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"long-chi-jing-du-tu-li-zhao-dao-221095","龙池竞渡图","大致在宋、元时期，涌现出了一批以反映园林建筑为主要题材的绘画作品，这种充满人文景观的建筑绘画作品，除了表现技巧上的成熟外，也营造出一种全新的绘画艺术形式，形成以楼图为主体、以山水为背景、以人物舟车为点缀的界画艺术",[2495,2496,2497,5225,2545,2500,2790,2501,2550,2502,2504,2549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67dff8d35255766cbed16cb1427c7429.jpg","28.5x29.7cm",[6,2534],{"id":563,"slug":7718,"title":7719,"dynasty":2490,"author":3264,"museum":2673,"description":7720,"tags":7721,"thumbUrl":7722,"material":7723,"size":7724,"collection":6,"collections":7725,"showCount":7690,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"gao-yi-tu-zhou-dong-qi-chang-220967","高逸图轴","明万历四十四年(1616年)三月，董其昌正赋闲居家。由于其子与乡民发生冲突，导致其宅被焚，家资尽丧，此即著名的“民抄董宦”事件。董其昌被迫避祸他乡，惶惶往来于吴兴、镇江之间。虽然半年后事态逐渐平息，但董似乎心有余悸，仍旧频频四出游历、访友。此图即为第二年董氏去镇江、太湖间的练湖畔访其旧友蒋道枢，与蒋氏泛舟荆溪时的即兴之作，颇似当年倪瓒弃家隐居太湖时的心境。董其昌此图采用了倪氏典型的笔墨技法，湖滨两岸的浅坡及山丘皆以干笔淡墨施以折带皴，行笔以侧锋为主，笔墨苍逸，极好地表达出倪画中萧散简远的意境，同时也反映了作者晚年身历劫乱后的苍凉心绪。但作者又非简单地仿古，近岸数株盘屈虬结的古木就充分体现了作者独特的艺术创造。董氏画树有其独到的见解，他在《画禅室随笔》中写道：“画树之法，须专以转折为主……如写字之于转笔用力，更不可往而不收……但画一尺树，更不可令有半寸之直，须笔笔转去。此秘诀也。”树过于直，不免枯燥、呆板，有曲折才见变化、生意。观此图之树，确实起到了点醒画面的作用。近景之树，不仅是连接两岸的桥梁，填补了湖面的大片空白，同时也是作者刻意表现的另一主要物象，它们攲侧的走势以及相互之间纠结牵引的姿态，都使冷寂空阔的景色趋于活跃，表现了董其昌多方面的笔墨技巧。",[2495,2496,2497,2577,2499,2501,2506,2507,2509,2511,4240,2595,2717,3091,5749,2651,2510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c9da1c4b4b98526a13f16aa2f526b92.jpg","纸本,墨笔","纵89.5厘米，横51.6厘米",[6,2626],{"id":564,"slug":7727,"title":7728,"dynasty":2956,"author":3625,"museum":5068,"description":7201,"tags":7729,"thumbUrl":7730,"material":3157,"size":7731,"collection":6,"collections":7732,"showCount":7690,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"zhong-xi-yan-ai-tu-ju-ran-219877","重溪烟霭图",[2495,2544,2496,2497,2498,2499,2501,2614,2613,2506,2651,2504,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F002f9fd99a437be58311e2c0552f8180.jpg","29.9x418.5cm",[6],{"id":565,"slug":7734,"title":7735,"dynasty":2490,"author":2899,"museum":2673,"description":7736,"tags":7737,"thumbUrl":7738,"material":2512,"size":7739,"collection":6,"collections":7740,"showCount":7690,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"shen-cui-xuan-tu-wen-zheng-ming-219721","深翠轩图","文徵明（1470—1559年），原名壁，字徵明，后以字行，改字徵仲，长洲（今江苏省苏州）人。家世武弁，自祖父起始以文显，父文林曾任温州永嘉知县。他幼习经籍诗文，喜爱书画，文师吴宽，书法学李应祯，绘画宗沈周。少时即享才名，与祝允明、唐寅、徐祯卿并称“吴中四才子”。然在科举道路上却很坎坷，从弘治乙卯（1495年）26岁到嘉靖壬午（1522年）53岁，十次应举均落第，直至54岁才受荐以贡生进京，待诏翰林院。四年中目睹官场腐败，一再乞归，57岁回归故里，潜心诗文书画。他通晓各科绘画之艺，擅长各种细粗之法，其目力和控笔能力极佳，80多岁时还能十分流利地书写蝇头小楷竟日不倦。绘画上与沈周共创“吴派”，又与沈周、唐寅、仇英并称“吴门四家”。书法上与祝允明、王宠并誉为“吴中三家”。 文徵明的绘画兼善山水、兰竹、人物、花卉诸科，尤精山水。早年师事沈周，后致力于赵孟頫、王蒙、吴镇三家，自成一格。画风呈粗、细两种面貌。粗笔源自沈周、吴镇，兼取赵孟頫古木竹石法，笔墨苍劲淋漓，又带干笔皴擦和书法飞白，于粗简中见层次和韵味；细笔取法赵孟頫、王蒙，布景繁密，较少空间纵深，造型规整，时见棱角和变形，用笔细密，稍带生涩，于精熟中见稚拙。设色多青绿重彩，间施浅绛，于鲜丽中见清雅。这路细笔山水属本色画，具装饰性、抒情味、稚拙感、利家气诸特征，也奠定了“吴派”的基本特色。文徵明是继沈周之后的吴门画派的领袖，门人、弟子众多，形成当时吴门地区最大的绘画流派。",[2495,2496,2497,2498,2501,2505,2506,2507,2500,3236,2690,2718],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a42dbab646c091f1f3d17e995011702.jpg","纵23.8cm，横78.3cm",[6,6382],{"id":566,"slug":7742,"title":7743,"dynasty":2490,"author":2899,"museum":2673,"description":7744,"tags":7745,"thumbUrl":7746,"material":2567,"size":7747,"collection":6,"collections":7748,"showCount":7690,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"lan-ting-xiu-xi-tu-juan-wen-zheng-ming-219201","兰亭修禊图卷","《兰亭修禊图》为文徵明73岁时用青绿山水画法所绘。画面中山石树木先勾后染，工致严谨，笔笔精到。人物之衣纹、眉目简略，数根线条便展现出文人雅士潇洒的身姿。全图设色明丽丰富，画面以青绿为主，淡施赭色渲染山脚坡石，浓而不失优雅，艳而别具秀润。",[2495,2496,2497,2498,2500,2546,2501,2511,2549,2505,2503,2506,2502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a71fb8eb9d0e6a362f166a6ec72e88d.jpg","纵24.2厘米，横60.1厘米",[6],{"id":567,"slug":7750,"title":7751,"dynasty":2522,"author":7752,"museum":2492,"description":7753,"tags":7754,"thumbUrl":7755,"material":2567,"size":7756,"collection":6,"collections":7757,"showCount":7690,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"song-yin-ju-yin-tu-tang-di-218274","松阴聚饮图","唐棣","此图近景画河畔数棵长松高耸，树后露出数间茅屋。松荫下四位长者席地而坐，正举杯畅饮。旁有两人手捧壶盘侍候，一人抱矮案前来。对岸中景是古树茅舍。远景群山蜿蜒。图中描绘对饮者解衣盘腿，不拘礼仪，生动地表现出村民野老酒酣兴豪的生活乐趣。此图岗峦坡石笔墨圆润婉和，存有赵氏遗法。长松勾勒苍劲精巧，细枝似蟹爪，则从郭熙法中得之。",[2496,2499,2501,2549,2902,2577,2509,2714,2593,2508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4259c6c43bf240ae46222348c74993e.jpg","纵14.4厘米，横97.1厘米",[6],{"id":568,"slug":7759,"title":7760,"dynasty":2522,"author":7761,"museum":2589,"description":7762,"tags":7763,"thumbUrl":7764,"material":2512,"size":2598,"collection":6,"collections":7765,"showCount":7690,"zanCount":3048,"manualWeight":2517,"mainColor":2559},"zhu-chuang-qing-yin-tu-lu-guang-216997","竹窗清隐图","陆广","陆广的《竹窗清隐图》是一幅山水画作品，出现在元朝时期（1271-1368年）。这幅画作以竹窗为主题，描绘了一个人坐在竹窗前欣赏山水的场景。竹窗是中国传统建筑中常用的装饰元素，象征着隐逸和闲适的生活方式。在这幅画作中，陆广展现了他对自然和人文之美的敏锐观察力和深刻理解。这幅画作被认为是元朝山水画的杰作之一，具有很高的艺术价值。",[2496,2499,2509,2510,2547,2511,2501,3155,2714,2611,3668,2503,2652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33e4531cd7fb8bc86a40100d4d0d3034.jpg",[6],{"id":569,"slug":7767,"title":7768,"dynasty":2632,"author":2762,"museum":2673,"description":7769,"tags":7770,"thumbUrl":7773,"material":2867,"size":7774,"collection":2870,"collections":7775,"showCount":7776,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233771","原济陶渊明诗意册","本图册是作者根据东晋著名诗人陶渊明诗句而创作。陶渊明是中国田园诗的创始者，他的诗不仅反映出田园生活的美好与自然，更流露出他徘徊于出仕与归隐之间的矛盾。绘画者显然非常赞赏这种避身独处、与世无争、乐天安命的人生哲学，通过描绘回归自然、淡于荣禄、不与统治者合作的隐士陶渊明来表现自己美好的理想。\n这里择两开赏析。\n第二开《悠然见南山》：陶渊明的许多诗篇中都有关于菊花的诗句：“采菊东篱下，悠然见南山”、“秋菊有佳色，裛露掇其英”均写出了他远离世俗的心境和陶醉于自然的乐趣。他常以菊自喻，借菊花凌秋傲霜的品质表达自己清高的节操和情怀。石涛仰慕陶渊明的高尚情操，故此图借陶渊明爱菊寄寓了画家自己的思想感情。画中篱笆院中菊花盛开，一高士手持菊花观赏，悠然之态可见。此图结构精巧，人物用笔细密。远山以墨笔烘染，山腰云雾密布，不见山脚，以此表现烟云飘渺的动态和气势。这种中锋、细勾、渍染相结合的画法使画面有动有静，虚实结合，意趣无穷。\n第六开《遥遥望白云 怀古一何深》：描绘一位着布衣宽袍的老者临溪而立。老者远望青山，脚下溪水流淌。面对满目凄凉、空无一人的山水，主人公似思绪万千，发思古之幽情。画家借此图深刻而恰当地表达了自己零丁孤苦、怀才不遇之情。构图采用一水两岸的自然分疆法。画面上只见弥漫的云山、层山断处的房舍和半露的松林而不见山脚，山顶则似露非露地隐现。树木用水墨渍出，以衬托山腰白云的动感。",[2544,2496,2497,4014,3307,2499,2500,2501,2510,2511,2509,2902,2730,2651,7771,7772,2549,2507,2508,3736],"平原","烟树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa60253ab4b37909a1fca2e563c4ae780.jpg","纵27厘米，横21.3厘米",[2870,6,2534],87,{"id":570,"slug":7778,"title":7779,"dynasty":7780,"author":7781,"museum":2818,"description":7782,"tags":7783,"thumbUrl":7788,"material":5818,"size":5819,"collection":6,"collections":7789,"showCount":7776,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shi-ting-shi-dai-si-ji-hua-niao-tu-ping-feng-yi-ping-xue-zhou-230504","室町时代 四季花鸟图屏风-一屏","不详","雪舟","雪舟（1420～1506） Sesshū 日本画家。名等杨，又称雪舟等杨。生于备中赤浜（今冈山县总社市）。曾入相国寺为僧，可能随同寺的山水画家周文学过画。作品广泛吸收中国宋元及唐代绘画风范。后被维也纳世界和平大会通过决定公认他为世界文化名人。",[2495,7784,2497,7785,2499,3898,2637,3776,2552,7786,7787],"日本画","屏风","水草","湿地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77861560213211ee329ec40013d0180f.jpg",[6],{"id":571,"slug":7791,"title":7792,"dynasty":2605,"author":4921,"museum":2673,"description":7793,"tags":7794,"thumbUrl":7797,"material":3257,"size":7798,"collection":2624,"collections":7799,"showCount":7776,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"yun-shan-mo-xi-tu-juan-mi-you-ren-221485","云山墨戏图卷","本幅题识：“余墨戏气韵颇不凡，他日未易量也。元晖书。”又有清乾隆御题诗一首：“看山愁步山巑岏，看水爱听水潺湲。山水情似未浃洽，与浃洽之云漫漫。元气回合绝模拟，妙境恍惚思跻攀。真有子矣米海岳，那能混之高房山。乾隆御题。”钤“几暇怡情”白文方印，“乾隆宸翰”朱文方印。另钤有吴希元、朱辉、梁清标、安岐鉴藏印及清内府藏印计22方。尾纸有董其昌题跋：“米元晖山水卷皆为元高尚书所混。即余收《潇湘白云》长图，宋元名公题咏甚富，沈石田以晚年始觏为恨，余犹疑题咏虽真，似珠椟耳。神物或已飞去。不若此卷之元气淋漓，布境特妙也。丙子（崇祯九年，1636年）六月三日，其昌题。”之后有冯铨、龚心钊二跋。钤有吴国逊、刘珍、朱辉、冯铨、梁清标、安岐等鉴藏印15方。\n此图描绘沿江景色，近处岸边一条细径曲曲弯弯，间有板桥相连，远方峰峦起伏，云烟密布，溪流缓缓，林木森郁，屋舍隐现。此图采用“米家山水”的典型画法，山峦坡渚先用淡墨染就，继以大小各异的横向墨点反复在山头、山脊等部位再次图写，从而达到表现江南风光润泽华滋、雾气迷蒙的独特效果。明代董其昌曾携此图往游洞庭湖，惊叹米友仁的写生本领，云：“舟次斜阳，篷底一望空阔，长天云物，怪怪奇奇，一幅米家墨戏也。”\n本幅曾经卞永誉《式古堂书画汇考》画卷十三、《墨缘汇观》卷三《名画上》、《石渠宝笈续编》卷十七著录。\n《云山墨戏图》原题为米友仁所绘，但徐邦达先生根据其画法、题款的用笔及书写部位等因素认为并非米友仁原作。不过，此图画法全从“米家山水”而来，董其昌称其“元气淋漓，布境特妙”毫不夸张，对研究此派山水的重要价值显而易见。",[2495,2496,2497,2498,2499,2833,2509,7795,2511,2547,3208,2714,2506,2595,3055,7796],"米点皴","水体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea34772582302210ef47dd26bba6b9e.jpg","纵21.4厘米，横195.8厘米",[2624,6,2626],{"id":572,"slug":7801,"title":7802,"dynasty":2490,"author":7803,"museum":2673,"description":7804,"tags":7805,"thumbUrl":7806,"material":2597,"size":7807,"collection":6,"collections":7808,"showCount":7776,"zanCount":2517,"manualWeight":2517,"mainColor":3447},"song-shi-tu-li-yong-chang-220395","松石图","李永昌","李永昌(公元17世纪)，生卒年不详。字周生，安徽休宁人。善画，尤工山水，仿元人笔意，与董其昌齐名，为新安派先锋。此图坡石前一棵老松，左曲右折的松干顶端零星地伸出几个枝桠，疏落凋枯的针叶无言地表明它已进入了暮年。松旁不远，几株杂树簇聚一团，在寥阔的天地间，显得渺小、孱弱，无依无靠。画的右上角自题：“醉剧松可倚，诗成石可刊，何须慕岩穴，咫尺是林峦。甲戌初夏画并题，拟待先社兄览笑。",[2495,2496,2497,2577,2499,2509,2902,2507,2677,2578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2546621a64c9e5e0abeb01db4b8a812.jpg","纵111cm，横54.5cm",[6,2626],{"id":573,"slug":7810,"title":7811,"dynasty":2490,"author":2540,"museum":2997,"description":7812,"tags":7813,"thumbUrl":7814,"material":2567,"size":2598,"collection":6,"collections":7815,"showCount":7776,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"qian-tang-sheng-jing-tu-chou-ying-219714","钱塘胜景图","青绿晕染出崖岫苍润松荫，界画精工勾勒楼阁错落，文人凭栏闲坐，静览浩渺江天。江上帆影轻移，舟楫往来错落，晕开江畔的烟火生机。坡岸处牵马候人，暗合旅途意趣。\n\n整幅设色明丽妍雅，工细间晕开写意悠然，将江南山水的秀润与人文雅趣相融，繁简相宜，把钱塘清旷盛景凝于绢素。观之如临春日江岸，漫赏山光水色里藏着的悠然意韵，尽显雅致隽永的江南情致。",[2496,2497,2577,2546,2500,2501,2790,2549,2550,2960,2505,2506,2507,2503,4702],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c7b60edc4be7aa1336ee69855f36ec5.jpg",[6],{"id":574,"slug":7817,"title":7818,"dynasty":2605,"author":3065,"museum":2563,"description":7819,"tags":7820,"thumbUrl":7824,"material":2567,"size":7825,"collection":6,"collections":7826,"showCount":7776,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"ma-gu-cai-zhi-xian-tu-liu-song-nian-219388","麻姑采芝仙图","画中一众仙姑，结伴山间采药，正在林间休息。不知何故，仙姑们的发际线严重退后，仅剩一光溜的脸蛋，状貌甚异，身板瘦削，可能是日夜忙碌劳累所致。画中人物用线与山石、松树一般呆硬，人物形象、树、石套路严重，或为明末或清代早期的画作。",[2496,2500,2549,2501,2507,2506,3206,7821,7822,7823],"麻姑","采芝","神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faca18f2756764adf26aa0982d7262715.jpg","116.4x82.1厘米",[6,2968],{"id":575,"slug":7828,"title":7829,"dynasty":2522,"author":3907,"museum":2563,"description":7830,"tags":7831,"thumbUrl":7834,"material":2567,"size":7835,"collection":6,"collections":7836,"showCount":7776,"zanCount":3048,"manualWeight":2517,"mainColor":2518},"qiu-xi-chui-diao-tu-sheng-mao-218654","秋溪垂钓图","层岩叠嶂间，秋水如练，映着远岫淡影。近岸木叶疏落，老树枝桠横斜，似凝霜天清寂。溪畔茅舍隐于丛树，一人独倚矶石，丝纶轻垂，任流水悠悠。笔墨工细却灵动，山峦以秀润皴法写出，草木点染有致，秋意漫溢绢素。无喧嚣，唯溪声山风，垂钓者背影透着遗世悠然，将元代文人向往的隐逸之趣，凝作圆扇中静美天地。每一处笔触皆藏丘壑，淡墨晕染出空濛，浓墨点染显生机，于方寸间铺展山水之幽，尽显文人画的清逸风骨。",[2495,2496,2499,2501,2509,2503,2504,2821,2505,2578,2502,5116,7832,2595,7833,4147],"岸树","溪面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7b40c0295b55457d6444dccd16084d5.jpg","28.7x30cm",[6],{"id":576,"slug":7838,"title":7839,"dynasty":2490,"author":5791,"museum":5182,"description":7840,"tags":7841,"thumbUrl":7842,"material":2567,"size":7843,"collection":6,"collections":7844,"showCount":7776,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"song-xia-wen-yu-tu-wu-wei-218261","松下问渔图","虬松盘曲如铁，枝桠垂覆江畔。两位士人对坐石上促膝清谈，旁侧渔舟静泊，篙楫斜倚。远山含黛，烟霭轻笼，天地间漫着淡远暮色。笔墨苍劲洒脱，松干以浓墨皴擦显肌理，人物衣纹简括传神，寥寥数笔便现悠然神态。山水用淡墨晕染，虚实相生，烟波浩渺中藏无尽悠远。士人问渔，似叩问江湖意趣，亦或人生真味？画面动静相契，渔舟静谧与松风隐动、士人低语与山水无言交织，成一段清雅林下之思。笔墨纵逸却不失韵致，融山水之幽与人文之趣，尽显笔势见长的意趣盎然，引人沉潜其中。",[2495,2496,2499,2500,2509,2549,2902,2504,2507,2594,2595,2552],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf277986b88ae0aa20f1e4c29aa19150.jpg","218.2x148cm",[6],{"id":577,"slug":7846,"title":7847,"dynasty":2956,"author":3531,"museum":2589,"description":7848,"tags":7849,"thumbUrl":7850,"material":2567,"size":7851,"collection":6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任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。\n王鉴的祖父王世贞（1526年— 1590年）是晚明著名文人、鉴藏家和显宦，官至南京刑部尚书，精古诗文，与李攀龙等并称“后七子”，为文坛盟主；富收藏，尔雅楼中藏书万卷，书画文物无数；著有《弇州山人四部稿》、《艺苑后言》等。父王士骥，万历十七年（1589年）进士，官吏部员外郎。王鉴出身于这样一个文学世家和官宦门第，自幼即受到良好的文化教养和艺术熏陶，“缔岁即好点染”，他亦自述：“自幼习董熟耳。”表明他最早学画是从董源入手的。以后又追踪巨然和元四家，万历四十五年（1617年）时的《仿云林山水轴》和天启元年（1621年）拟巨然的《山水图》，可证其最早的画学渊薮。",[2544,2496,2497,2577,2499,2509,2676,2501,2651,2506,2902,2652,2508,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf306104ba0c6a8ac6ec5a3d3c69cc3.jpg",[6,2626],{"id":580,"slug":7869,"title":7870,"dynasty":2490,"author":7871,"museum":2563,"description":7872,"tags":7873,"thumbUrl":7874,"material":4016,"size":7875,"collection":6,"collections":7876,"showCount":7860,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"ban-chuang-qing-cui-tu-zhou-xia-chang-222166","半窗晴翠图轴","夏昶","夏昶（1388—1470），字仲昭，號自在居士，江蘇崑山人。永樂十三年（1415）進士，官至太常寺卿。精於楷書，曾為永樂皇帝書榜。師法王紱（1362－1416），繪竹觀察入微，名聲遠播域外。 墨竹取其一竿，由底部凌空而起，枝幹堅立。巧妙運用濃淡墨色變化，表現竹葉正反向背，畫面大量留白，營造層次空間感。竹爲文人士大夫節操象徵，夏氏為官處事清廉，墨竹瘦勁孤高，為其人格寫照。",[2495,2496,2497,2577,2499,3155,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83d9c2987b664b21c5009d24314eaec2.jpg","139.2x45.3厘米",[6,2626],{"id":581,"slug":7878,"title":7879,"dynasty":2490,"author":2776,"museum":2673,"description":7880,"tags":7881,"thumbUrl":7882,"material":2867,"size":7883,"collection":6,"collections":7884,"showCount":7860,"zanCount":3130,"manualWeight":2517,"mainColor":7885},"guan-shan-xing-lv-tu-dai-jin-222028","关山行旅图","作品所取题材和布局均源自北宋李成、郭熙派系。图绘高远、深远的全景山水，主山居中，巍然屹立，高峻雄伟，左右诸景相衬，呈金字塔形的稳定构图，气势宏阔。诸景系连紧密自然，高远和深远感主要依仗景色之间的内在联系加以体现，如中景布置村落，有坡堤、土路与前景的垒石、松树、河面、板桥相连，丛林、山道又与远景的峻岭、城阙相接，由此可由近及远，从下至上。布景已克服了画家中年时期欠成熟的痕迹，即藉不自然的树石堆砌或人为的烟云安插来制造高和远，表明戴进晚年已较好地领悟了北宋山水的优长，重视天然布势，力求真实自然。\n画面展现的生活场景真实生动，富有生机。近处板桥上三驴踯躅而行，两位行旅者挑担、背筐后随，显出长途跋涉后即将歇息的放松状态。中景村落中几间简陋茅屋，诸多人物活动其间，有卸担询问的行旅人，有招待客人的店家，有闲坐嬉玩的稚童，还有小狗守立村头，这些情节真实地传达出僻远山村简朴、平和的生活气氛。远景山道上又有拉驴上山者，躬腰挑担下山者，另显一番艰辛情状。环境可居可游，观者如身临其境，如北宋郭熙在《林泉高致》中所倡导的：“可行可望，不如可居可游之为得。”\n此图画法呈集大成面貌。山川体势取诸家之长，高峻主山近李唐，近处垒石如郭熙，劲直松干仿刘松年，繁密苔点和树丛又取自盛懋，而且结合得妥帖自然，少中年时的拼凑、失真痕迹，整体气势既雄伟又浑厚，既郁茂又清朗，体现出画家力图融南北山水特色于一体，集阳刚阴柔于一身的追求。笔墨方面亦不拘一格，根据物象灵活运用。勾皴点染结合，干湿浓淡交融，中锋侧笔并用，圆润劲健交替，皴法多样，有斧劈、披麻、点子诸皴，点叶丰富，有夹叶、点叶、攒针诸法，显示出富有变化又十分纯熟的技艺。此图堪称戴进晚年精品。",[2495,2496,2499,2509,2501,2502,2503,2593,2507,2508,3617,2960,2505,2612,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4453bdb6ba4bd1601619ad7aac4456a4.jpg","纵61.8厘米，横29.7厘米",[6,2626],"FFFFFF",{"id":582,"slug":7887,"title":7888,"dynasty":2522,"author":3907,"museum":2673,"description":7889,"tags":7890,"thumbUrl":7891,"material":3044,"size":7892,"collection":6,"collections":7893,"showCount":7860,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"song-shi-tu-zhou-sheng-mao-221756","松石图轴","本幅左上款署：“至正己亥仲秋廿二日武唐盛懋子昭作此图为祐祯寿。”下钤“子昭”、“盛懋”印。“至正己亥”为至正十九年（1353年），受画人“祐祯”不知为何许人。本幅左下钤鉴藏印“囗公读过”、“见阳图书”、“寒云珍藏元人名迹”、“子安珍藏记”。\n此图为元代晚期著名画家盛懋所作，是一幅为人祝寿的作品。图绘一株古松，几乎占据了整个画面，上端枝干下垂，松针细劲，树下绘山坡秀石，溪水流淌，衬以荆棘，无背景。画法工稳，笔墨苍劲浑厚，隐隐透露出刚猛之气魄，又不乏水墨滋润洒脱之风神。图中松树画法颇具特色，用淡墨皴染树干，浓墨点苔，从而增加了其厚重感与树皮的质感。松针则用细笔浓墨画出，笔法挺劲，笔势爽利尖峭，既有南宋院体风格的遗意，又有自己工写相兼的独特处理方法，别具一格。坡石以水墨晕染为主，浓墨点苔，皴擦并用，意态生动。",[2495,2544,2496,2497,2577,2499,2509,2902,2977,2677,2578,2501],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484705e5dcac0a31f081986fc89320e9.jpg","纵77.4厘米，横27.2厘米",[6,2626],{"id":583,"slug":7895,"title":7896,"dynasty":2605,"author":2910,"museum":2563,"description":7897,"tags":7898,"thumbUrl":7899,"material":2720,"size":7900,"collection":2624,"collections":7901,"showCount":7860,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"ban-qiao-ta-xue-tu-ma-yuan-221527","板桥踏雪图","为第六次南巡携行的作品，御题诗纪年“甲辰”，应作于闰三月间回銮途经的扬州一带。题诗末两句的“题者能画复能诗，蒙古岂无人中玉”，所指即为右方题诗者伯颜不花。他正是约十日前乾隆皇帝品题《古壑云松》一图的作者，故有“题者能画复能诗”之句。\n此画左下角“河中马远”出于后添，观察画中岩块造型、人物轮廓、衣褶勾勒习惯、树木出枝角度等部分，应出自明代马轼（活动于十五世纪前、中期）手笔。此作也确实表现出马远绘画的风格特色，难怪乾隆皇帝视之为马远佳作。",[2495,2496,2497,2833,2577,2499,2509,2500,2714,3839,2593,2502,2549,2960,2800,3078],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff64c80c128d68b8d7648d74f28226a8.jpg","纵99cm，横59.1cm",[2624,6,2626],{"id":584,"slug":7903,"title":7904,"dynasty":2605,"author":7014,"museum":2673,"description":7905,"tags":7906,"thumbUrl":7907,"material":2500,"size":7908,"collection":2624,"collections":7909,"showCount":7860,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"han-shan-fei-pu-yang-shi-xian-221439","寒山飞瀑","山水林木，劲挺可取。惟峰石水口，雄伟之笔则远不逮熙。",[2495,2496,2497,2544,2501,2509,2499,2500,2507,2611,2506,2508,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b0e832e12e265a435eb981c78c1e42.jpg","50X56",[2624,6,2626],{"id":585,"slug":7911,"title":7912,"dynasty":2490,"author":3264,"museum":2749,"description":7913,"tags":7914,"thumbUrl":7915,"material":7916,"size":7917,"collection":6,"collections":7918,"showCount":7860,"zanCount":3198,"manualWeight":2517,"mainColor":3447},"jiu-feng-han-cui-tu-dong-qi-chang-220896","九峰寒翠图","董其昌书法上有“邢张米董”之称，即把他与临邑邢侗、晋江张瑞图、须天米钟并列；绘画上有南董北米之说。莫是龙、陈继儒提倡“南北宗”之说，即把“院体”山水画与“文人画”分为南北两派。董其昌一生创作的书画作品不可胜数，临仿古人的绘画和诗帖是其中的一个重要部分。他在《画禅室随笔》中所说的“读万卷书”正是指一个人要想成为艺术家，必须学习传统，学习古人。他17岁开始学习书法时临写颜真卿的《多宝塔》，22岁学习绘画时师法黄公望，以后又遍学诸家，这种以古人为师的作法八十而不辍，伴其终生。他广泛吸取对唐宋元诸家优长，抉精探微，使其书画取得了超越古人的艺术成就。\n在研习经史之余，董其昌与同僚诸友切磋书画技艺，纵论古今，品评高下。又从韩世能那里借阅晋、唐、宋、元法帖宝绘，心摹手追，有时废寝忘餐，因而学问大进，开始在京中有些名气。在家乡，董其昌筑“来仲楼”、“宝鼎斋”、“戏鸿堂”、“画禅室”、“香光室”等，牙签玉轴，左图右史，置身其中，著书立说，探究古今书画艺术。他不遗余力地搜集王羲之、王献之、谢安、桓温、赵佶、米芾诸名家法书，于万历三十一年（1603年）刊刻《戏鸿堂法帖》行世。病休松江时期，他正值四十余岁的盛年，广闻博识，采集众长，悠居林泉，心闲手熟，创作了《葑泾访古图》《鹤林春社图》《浮岚暖翠图》《神楼图》《西湖八景图》《溪回路转图》等许多描绘江南风光的著名山水画。\n董其昌强调以古人为师，但反对单纯机械地模拟蹈袭。随着阅历的增加、思想的成熟，他在继承前人技法时不倚傍他人庑下“作重台”，而是有选择地取舍，融入自己的创意。他认为如果离开了自己的创意，古人的精神也难以表达，故应以自己独创的形式再现古人的“风神”。凭借自己对古人书画技法得失的深刻体会，他摄取众家之法，按己意运笔挥洒，融合变化，达到了自成家法的化境。\n董其昌的山水画大体有两种面貌，一种是水墨或兼用浅绛法，这种面貌的作品比较常见；另一种则是青绿设色，时有出以没骨，比较少见。他十分注重师法古人的传统技法，题材变化较少，但在笔和墨的运用上，有独特的造诣。他的绘画作品，经常是临仿宋元名家的画法，并在题识中加以标榜，虽然处处讲摹古，并不是泥古不化，而是能够脱窠臼，自成风格，其画法特点，在师承古代名家的基础上，以书法的笔墨修养，融会于绘画的皴、擦、点划之中，因而他所作山川树石、烟云流润，柔中有骨力，转折灵变，墨色层次分明，拙中带秀，清隽雅逸，他在天启二年，67岁时临摹北宋范宽的《溪山行旅图》采取青绿设色、水墨兼并浅绛的综合绘画技艺手法，充分表现出他的人物工笔精湛、山水风格独特画坛艺术自然传承的巨匠魅力。他的画风在当时声望显著，成为“华亭派”的首领。\n董其昌特别讲求用墨的技巧，水墨画兼擅泼墨、惜墨的手法，浓淡、干湿自然合拍，着墨不多，却意境深邃，韵味无穷；无须炫异矜奇，而真气横溢，充塞纸间。董其昌的设色山水，或用杨升没骨法，从彩笔代替墨笔，完成线条、轮廓、钩、勒、皴、擦，尽态极妍，不为刻画；或仿黄公望的浅绛法，参以赵大年、赵孟頫的青绿法，别树一格，层次分明，淡雅清新，生机盎然。\n董其昌作画强调写意，使绮丽多姿的山水显得有些捉襟见肘的色彩。但是他兼长书法、诗文，每每绘完山水，题以诗文，行楷簇簇如行蚕，闪闪如迅霆飞电，全图诗、书，画相映成趣，和谐一致，更富有抒情意境。董氏的创作，因而成为文人画追求意境的典范。",[2495,2544,2496,2497,2577,2499,2500,2509,2501,3091,2507,2595,2717,2506,6432,5967],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00897204c426cfaa8bef08fe4ba772cf.jpg","绢本 墨笔","123.7cmx46cm",[6,2626],{"id":586,"slug":7920,"title":7921,"dynasty":2490,"author":3264,"museum":2997,"description":7922,"tags":7923,"thumbUrl":7924,"material":2597,"size":7925,"collection":6,"collections":7926,"showCount":7860,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"pei-jin-gong-shi-yi-tu-dong-qi-chang-220002","裴晋公诗意图","此图是董其昌仿黄公望笔法画唐代裴度的诗意。题跋：门径俯清溪，茅檐古木齐。红尘飞不到，时有小禽啼。君山丈见访海上，写此为赠。补裴晋公（度）诗意图也。 丁已正元三日玄宰识。",[2495,2496,2497,2577,2499,2509,2501,2507,2506,2508,2549,2528],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4c018965263283f7d9de23c6134c8ab.jpg","130.5×39.2cm",[6],{"id":587,"slug":7928,"title":7929,"dynasty":2632,"author":5673,"museum":2673,"description":7930,"tags":7931,"thumbUrl":7932,"material":2567,"size":7933,"collection":6,"collections":7934,"showCount":7860,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-tu-zhou-wu-li-218495","山水图轴","吴历（1632—1718年），字渔山，号墨井道人、桃溪居士等，江苏常熟（今属江苏省）人。少年时遭遇明亡，信奉佛教，后转为信奉基督教。曾赴澳门，并受洗礼，教名西满·沙勿略（Simon ·Xareris），并学习西文。原计划去欧洲，因故未果，后回内地，在上海、嘉定、苏州一带传教，卒后葬于上海南门外耶稣会墓地。早年学画于王鉴、王时敏，后接触西方文化，这对其山水画风的形成有潜在影响。喜用干笔焦墨，笔墨细腻，注重画面的纵深感，并略微注意到透视法的运用。吴历以其独到的艺术风貌与“四王”、恽寿平并称“清初六大家”。据《竹人续录》等史料载，吴氏兼擅刻竹，风格缜密，深受嘉定派影响。",[2495,2496,2577,2499,2509,2501,2714,2715,2506,2508,2502,2652,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a6b4dd37202170810c221a4959124c1.jpg","64.9x32cm",[6],{"id":588,"slug":7936,"title":7937,"dynasty":2522,"author":3907,"museum":2589,"description":7938,"tags":7939,"thumbUrl":7942,"material":2567,"size":7943,"collection":6,"collections":7944,"showCount":7860,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"chun-shan-you-qi-tu-sheng-mao-217866","春山游骑图","画中青山起伏，岗岭逶迤，近处乔松茂树间花木正盛，有士人策骡过桥，后有童子肩桃花一枝随行。山路尽处，一庄园隐现于崇岩密林之间。岩下大江空阔，渔歌迭起。远处青山如眉，春色淡荡，令人心醉。画中林木深秀，姿态生动；石用细笔长披麻，勾皴缜密而轻松秀逸；淡青绿设色，明净淹润，了无俗韵；人物、界画都精严有法，点缀有度。",[2496,2501,2500,2509,2549,2960,2502,2550,2505,2506,2507,3136,2595,3055,2690,7940,7941,2613],"游骑","松枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb16d8ae293a59b3b2d5af0c4cf25d10a.jpg","155.5×88cm",[6],{"id":589,"slug":7946,"title":3953,"dynasty":2490,"author":7947,"museum":2973,"description":7948,"tags":7949,"thumbUrl":7950,"material":2639,"size":7951,"collection":6,"collections":7952,"showCount":7953,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-wang-meng-shan-shui-tu-xie-shi-chen-222076","谢时臣","此图为谢时臣的细笔山水佳作。写溪山胜境，山岚层叠，丘壑玲珑，栈道盘旋延伸，楼阁亭轩错落，士人童仆其中，还有雾气升腾，飞瀑直泻，湖光粼粼。画山石用解索皴，点苔用渴墨，皆为黄叔明笔法。此图布局稠密，笔势纵横，墨色淡雅，清丽潇洒。",[2495,2496,2833,2676,2509,2499,2507,2506,2550,2502,2503,2621,2505,2549,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7bcb0d43ecbe7f8e987e7ae1d117aaa.jpg","58.5X31.2cm",[6,2626],85,{"id":590,"slug":7955,"title":7956,"dynasty":2522,"author":7563,"museum":2563,"description":7957,"tags":7958,"thumbUrl":7960,"material":7961,"size":7962,"collection":6,"collections":7963,"showCount":7953,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"yun-heng-xiu-ling-zhou-gao-ke-gong-221689","云横秀岭轴","画面上高岭秀拔，烟树云横，清涧流泉，木桥孤亭。笔法厚重，设色浓郁，气韵流润。山顶部分树头作青绿横点，山下坡角多用“披麻”皴法间施赭色，吸收了董源、米芾二家法，别开生面，自成家数，是高氏山水画代表作。本幅无作者款印，上方元邓文原、李衎二题称此图为高氏所画，当可信。李衎题云：“予谓彦敬画山水，秀润有余而颇乏笔力，常欲以此告之，宦游南北不得会面者今十年矣。此图树老石苍，明丽洒落，古所谓有笔有墨者，使人心降气下，绝无可议者”。该题时在至大己酉(19)六月，是高氏去世前一年。高氏创作此图的时间应在此前不久。本幅尚有清乾隆皇帝弘历题诗一首，并钤乾隆诸玺。《石渠宝笈》等书著录。",[2495,2496,2833,2577,2499,2500,2509,3208,2714,7959,2506,2613,2507,2614,2619],"岭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57a3b151c29770cbb6ae78260a23de70.jpg","绢本，重设色","纵182.2厘米，横16.7厘米",[6,2626],{"id":591,"slug":7965,"title":7966,"dynasty":2605,"author":2910,"museum":2997,"description":7967,"tags":7968,"thumbUrl":7969,"material":2597,"size":7970,"collection":6,"collections":7971,"showCount":7953,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"ge-jiang-yu-di-tu-ma-yuan-220355","隔江渔笛图","虬曲古松斜探向江心，水榭之上，对坐雅士凝神侧耳。江渚渔舟隐约，悠悠笛声似随烟波漫过江心，牵住了右下角策杖白衣人的脚步，他正循声缓行。\n\n空濛烟霭晕染开远近山水，以虚实相生之笔，将无形笛音化为可见的诗意。取景删繁就简，把咫尺画幅铺展出阔远意境，淡墨轻岚间，揉合山水闲趣与知音灵犀，静里含声，淡中藏情，尽揽清雅韵致。",[2496,2497,2501,2577,2500,2509,2504,2505,2549,2503,2578,2987,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8d364841d70827b047f24fae7b80225.jpg","156.1 x 86.3 cm",[6],{"id":592,"slug":7973,"title":7974,"dynasty":2490,"author":4331,"museum":2563,"description":7975,"tags":7976,"thumbUrl":7977,"material":2597,"size":7978,"collection":6,"collections":7979,"showCount":7953,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"mo-gu-shan-shui-ce-fang-mei-hua-an-zhu-bi-yi-bian-wen-yu-214587","摹古山水册-仿梅花庵主笔意","明代画家卞文瑜的摹古山水册是一件著名的绘画作品，其中的仿梅花庵主笔意图是一件精美的山水画作品。\n\n卞文瑜是明代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在摹古山水册中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n仿梅花庵主笔意图是卞文瑜摹古山水册中的一幅精美的山水画作品。画中的山水风景清新自然，体现了卞文瑜对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n总的来说，卞文瑜的摹古山水册是一件精美的绘画作品，其中的仿梅花庵主笔意图是一件优美的山水画作品，它描绘了中国传统的山水风景，也体现了卞文瑜对自然的热爱和对传统文化的尊重。",[2544,2496,2497,2592,2499,2676,2509,2501,2502,2503,2506,2507,2508,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcdefabc9be72fadfaa55a3b8a6b54b6.jpg","30.7x21.8cm",[6],{"id":593,"slug":7981,"title":2587,"dynasty":2632,"author":3877,"museum":2818,"description":7982,"tags":7983,"thumbUrl":7984,"material":2598,"size":2598,"collection":6,"collections":7985,"showCount":7986,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-zhu-da-235165","此作用笔简淡疏朗，以极省减的墨色绘就山水丘林。远山以枯淡墨线勾出轮廓，淡墨晕染出覆雪清寒，林麓隐在氤氲雾气间。近岸枯木虬曲错落，间有矮松凝立，坡岸浅渚以淡墨轻扫，寥寥数笔便铺展出江天寥廓的空茫。\n\n大片留白铺陈出天地荒寒的禅意，题款与朱印点缀留白处，虚实相生。整体气韵冷逸孤高，淡墨里藏着疏淡超脱的襟怀，将萧寒天地与幽独心境相融，笔底皆是清冷出尘的林下意趣，淡而弥远，简却传神。",[2496,2497,2592,2499,2509,2501,3091,2677,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef34faa497c9e7d24e38b8640a268bb.jpg",[6,2626],84,{"id":594,"slug":7988,"title":7989,"dynasty":2490,"author":3401,"museum":2563,"description":7990,"tags":7991,"thumbUrl":7992,"material":2639,"size":7993,"collection":6,"collections":7994,"showCount":7986,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"shan-ting-wen-hui-tu-wang-fu-222525","山亭文会图","此图是王绂的代表作，写文人雅士于山亭聚会的情景。该图立意古逸，构图严谨。图中笔墨浑厚华滋，在继承元代文人画的基础上融合进了自己的笔意。山石先以枯淡墨皴写，按结构层层叠加，最后以浓重墨勾勒点苔，使整幅画面有苍润之感。\n此画立意古逸，构图严谨，山上小溪、泉水流淌有声，山下河中可泛舟，山林间亭台楼阁隐现，这是一处可游可居的幽雅胜境。近景古朴山亭中已有几个文人在那里论诗作画，山下还有文人或乘舟、或步行赶来应约赴会。此图山水胜境为文人雅集提供了优美环境，文人雅集又为山水胜境增添了诗情画意。\n此画笔墨深厚滋润，结构繁密，但密而不塞。画法上颇富于变化，是在王蒙的章法上加以变化而来。山石皴法点苔，似从王蒙法度中来，然后用笔粗犷，又有新意。有的山石以枯笔作解索皴，兼用乱柴皴、小斧劈皴，笔线富于动感。然后层层迭染，最后以浓墨勾皴打点，积墨层层，显得凝重厚实。树木和茅亭的画法在王蒙、倪瓒之间，笔力雄劲，墨气沉厚。即使山顶的小树，也一一画出树干，各具形态，而不是元画中常见的以点为树的处理。整个画面具有既苍茫湿润又清灵爽利的特殊效果。",[2496,2497,2577,2499,2509,2501,2505,2549,2506,2507,2503,2614,3736,2690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe15b31f796803782232999124a14bbe4.jpg","纵219厘米，横87.6厘米",[6,2626],{"id":595,"slug":7996,"title":7997,"dynasty":2490,"author":3647,"museum":2563,"description":7998,"tags":7999,"thumbUrl":8000,"material":2531,"size":8001,"collection":6,"collections":8002,"showCount":7986,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-wang-meng-shan-shui-zhou-wen-zheng-ming-221969","仿王蒙山水轴","该幅画叠峦飞瀑，山溪蜿蜒。全作景密而笔松，意精而迹放，清奇浑厚。此帧纸狭而长，构景重叠而繁复。徵明晚年好作此种，晚期吴派亦多受此影响。\n五月五日，仿王蒙山水轴。此幅构景重叠而繁复，略似沈周庐山高，而庐山高为宽纸短幅，其中时以云水隔断，此帧纸狭而长，峰峦晴爽，故更觉繁密重叠也。徵明晚年好作此种，晚期吴派亦多受此影响。结顶一山，石纹勾勒，甚为奇特，董其昌山水，常在群山中一两处作奇石，盖亦自此出。\n此帧董其昌旁题云：“文待诏仿黄鹤山樵，几欲乱眞”，是出自由衷之赞语。此帧景密而笔松，意精而迹放，清奇浑厚，兼而有之。是大家悉力之作。",[2495,2496,2577,2499,2509,2676,2501,2507,2506,2611,2505,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd029fea8a32761fc2fa01e64733e96fa.jpg","全幅 57.2公分",[6,2626],{"id":596,"slug":8004,"title":3183,"dynasty":2605,"author":8005,"museum":5626,"description":8006,"tags":8007,"thumbUrl":8008,"material":2499,"size":8009,"collection":2624,"collections":8010,"showCount":7986,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-tu-yan-ci-yu-221505","阎次于","阎次平，南宋画家。隆兴初（约1163年）任画院祗候，授将仕郎。父仲，曾任宣和及绍兴画院待诏。继承家学，而画艺超过其父。擅绘山水，法荆浩、关仝，风格接近王诜、李唐；亦善人物，尤工画牛。存世作品有《牧牛图》等。\n弟次于，南宋孝宗隆兴初被补为承务郎，后亦为画院祗候。次于亦传家学，画山水人物，工于画牛。然水平尚逊于次平。",[2495,2496,2544,2497,2500,2509,2501,2507,2506,2614,2652,2502,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F184450a2d438fd377bdc81ab7f969dee.jpg","24.6×26.0",[2624,6,2626],{"id":597,"slug":8012,"title":8013,"dynasty":3202,"author":8014,"museum":2563,"description":8015,"tags":8016,"thumbUrl":8017,"material":2732,"size":8018,"collection":6,"collections":8019,"showCount":7986,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shan-tu-juan-dai-kui-221014","剡山图卷","戴逵","戴逵（326－396年），字安道，谯郡铚县（今安徽省濉溪县临涣镇）人。东晋时期隐士、美术家、雕塑家，金城太守戴绥之子。\n\n早年师从名儒范宣，博学多才，善于鼓琴，工于绘画人物和山水。终身不仕，坚拒太宰武陵王（司马晞）召命和王徽之雪夜拜访。\n\n孝武帝司马曜即位，累次征辟，全部不就。太元二十一年，去世。著有《戴逵集》9卷，今已散佚。",[2495,2544,2496,2497,2498,2500,2509,2501,2651,2506,2507,2730,5967,2547,3736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b825446ccfc90b423b206be2232fcac.jpg","38.4x615",[6,2534],{"id":598,"slug":8021,"title":7478,"dynasty":2605,"author":8022,"museum":2563,"description":8023,"tags":8024,"thumbUrl":8025,"material":2567,"size":8026,"collection":2624,"collections":8027,"showCount":7986,"zanCount":2517,"manualWeight":2517,"mainColor":4670},"jiang-shan-xue-ji-tu-lou-guan-220218","楼观","楼观（公元13世纪）南宋钱塘（今浙江杭州）人，生卒年不详。\n南宋理宗赵昀朝（1225—1264）为画院祗候，《画史会要》谓其为度宗赵樭朝咸淳（1265—1274）时画院祗候，与马远齐名。\n工画花鸟、人物、山水，师马远，又得夏圭笔法，遂为马夏派。\n善画小品，咫尺千里意趣盎然，尝画《霁雪行旅图》，用小斧劈皴法画崖石，树枝草上俱用粉作雪。\n所作《映月梅花图》，方绢本，设色，梅花如雪，明月悬枝，清光一轮，恍如特照，该画款书臣楼观三字于右角梅枝隙处，上朋理宗赵昀对题：芳意饶呈瑞，寒光助照人。著录于《珊瑚网》。\n传世作品有《江头泊舟图》纨扇，录于《浙江古代画家作品集》《石勒问道图》轴今流入美国。",[2495,2544,2496,2833,3589,2500,2509,2714,3078,4462,2508,2506,3079,2507,2550,4452,3166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa81f7cf0473656e7949a9c3ffe65af.jpg","纵153.4公分，横91公分",[2624,6],{"id":599,"slug":8029,"title":8030,"dynasty":2522,"author":2588,"museum":2997,"description":8031,"tags":8032,"thumbUrl":8033,"material":2732,"size":8034,"collection":6,"collections":8035,"showCount":7986,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"yi-qin-tang-tu-wang-meng-219230","怡亲堂图","山林葱郁间，堂舍隐现，溪流绕阶而过，一派清幽雅致的园林景致跃然纸上。王蒙以繁密灵动的笔墨，用解索皴层层皴染山石，线条如行云流水，墨色浓淡相宜，尽显草木山川的生机与质感。堂前人物悠然自得，或坐或行，与自然景致相融，传递出文人雅士超然物外的心境。整幅画作技法精湛，意境深远，将江南园林的雅致与文人的精神追求完美契合，尽显元代山水画的独特韵味与艺术高度，是兼具观赏性与思想性的佳作。",[2495,2496,2497,2498,2499,2500,2501,2505,2550,2502,2503,2506,2578,2509,2511,3209,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc55e64ae5c00bb62b83a6c00152b33f4.jpg","24.5x97.2厘米",[6],{"id":600,"slug":8037,"title":8038,"dynasty":2490,"author":7344,"museum":2673,"description":8039,"tags":8040,"thumbUrl":8042,"material":2567,"size":8043,"collection":6,"collections":8044,"showCount":7986,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"yan-jiang-yuan-tiao-tu-zhu-duan-219127","烟江远眺图","此图作全景山水，取景开阔，山高水远。前景画坡岸高树，雅士临江远眺；中景巨峰突起，陡然屹立；远景舟船重峦置于迷蒙的烟霭之间，随山势渐远。作品承传李成、郭熙派系的意韵与气魄，笔法简劲，墨色秀润，树石勾染精细，设色淡雅。",[2495,2496,2499,2500,2577,2501,2509,2504,2506,2652,2595,4702,2549,8041,2547],"烟江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c1843cff6121583b9f2e9339e3c4eeb.jpg","纵168.2厘米，横107厘米",[6],{"id":601,"slug":8046,"title":8047,"dynasty":2522,"author":4854,"museum":2563,"description":8048,"tags":8049,"thumbUrl":8050,"material":2597,"size":8051,"collection":6,"collections":8052,"showCount":7986,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"xi-ting-qiu-se-tu-zhao-yuan-218168","溪亭秋色图","《溪亭秋色图》，以墨笔画苍崖古木，溪边水阁。图的左下有作者自署“赵原画”，右上方题有 “有山可樵有水可渔歌彼考槃吾将归欤”，似是点题，但无落款。\n此图笔墨圆润苍秀，变化多端，画风纯熟，应为画家晚年之作。山石勾皴简率，颇有写意之趣；笔锋略带侧锋，类似王蒙的解索皴，但偏于疏朗松秀。通幅墨色清润 恬淡，不重渲染，只在山体的结构折转处加苔点或勾以丛树、垂草，画面极为平淡宁静。这种境界，在方从义的《武夷放棹图》、陆广的《丹台春晓图》中也可感觉 到，这可以说是一种元代文人画的理想境界。但元代画家过于将绘画视作个人“自娱”的笔墨游戏，难以适应明代建国初期的政治文化环境，赵原也就难免悲剧的命运。",[2495,2496,2499,2577,2509,2510,2547,2501,2505,2506,2507,2503,2730],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f3876b8debab1f36f397d0417acb9bd.jpg","纵61.4厘米，横26厘米",[6],{"id":602,"slug":8054,"title":8055,"dynasty":2632,"author":8056,"museum":2673,"description":8057,"tags":8058,"thumbUrl":8061,"material":8062,"size":8063,"collection":6,"collections":8064,"showCount":8065,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"shan-shui-ren-wu-ce-jin-nong-233390","山水人物册","金农","册共十二开，分别绘佛像、山水、人物故事等。\u2028　　第一开：墨笔白描佛像、菩提树，画左自题两行，款“己卯八月”。钤“金吉金印”。\n第二开：画礼佛图，右方自题六行，款“心出家盫僧画记”。钤“金吉金印”。\n第三开：画秋林共话，左方自题八行，款“稽留山民记”。钤“莲峰居士”等二印。\n第四开：画湖山采菱，右下自题七言诗一首，下题记六行，款“冬心先生笔记”。钤“冬心先生印”。\n第五开：画青山薄汀，上方自题词一首，款“乾隆二十四年八月十一日七十三翁金农画记”。钤“金氏寿门”印。\n第六开：水墨画鬼趣图，左上自题七行，款“龙梭仙客记”。钤“金农”、“莲峰居士”二印。\n第七开：画玉川煮茶图，自题两行，款“昔耶居士”。钤“寿”一印。\n第八开：画板桥流水，桃林策杖。左方自题七绝一首，款“金二十六郎画诗书”。\n第九开：画柳塘间舟，右上自题七言诗一首，款“曲江外史画诗书”。钤“冬心先生”印。\n第十开：画花塘长亭，上方自书词曲，款“金牛湖山诗老小笔并自度一曲”。钤“寿”、“朋”二印。\n第十一开：画抱膝长思，右上自题“昔年曾见，金老丁晚年自号也”。钤“金老丁”印。\n第十二开：画山僧叩门图，左下自题七言诗，款“昔耶居士并题”。钤“国泉”一印。裱边、附页有健庵、吴湖帆题记。\n此图用笔灵活古拙，山石用意笔写之，淡墨轻染，岸柳、杂树、芭蕉用勾点夹叶法，钱荷用臥笔横点，佛像、人物、山鬼用笔滞涩朴拙，富有韵味。全画笔法生拙奇奥，设色清秀淡雅，意境幽深，为金农山水人物画代表作品。\u2028　　鉴藏印：“曾藏潘健盦处”、“铭心绝品”、“贞甫审定”等六十二方。\u2028　　庞莱臣《虚斋名画录》著录。",[2496,2497,2592,2500,3898,2499,2549,8059,2503,8060,5297,2547],"芭蕉","栏杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F196382a9fa13f1fdd21f5ad09cb12d1a.jpg","纸本，墨笔或设色","纵24.3厘米，横31.2厘米",[6,2968,2534],83,{"id":603,"slug":8067,"title":8068,"dynasty":2632,"author":8069,"museum":2818,"description":8070,"tags":8071,"thumbUrl":8072,"material":4016,"size":8073,"collection":6,"collections":8074,"showCount":8065,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"song-shu-tu-gua-zhou-li-fang-ying-224169","松树图挂轴","李方膺","李方膺（1695年—1755年），字虬仲，号晴江，别号秋池，抑园 ，白衣山人等，江南通州（今江苏南通）人。寓居金陵借园，自号借园主人。中国清代诗画家、官员，能诗，擅画松竹兰菊，尤长写梅。用笔倔强放纵，不拘成法，苍劲有致，为“扬州八怪”之一。为官刚正不阿，廉洁爱民。出身官宦之家，曾任乐安县令、兰山县令、潜山县令、代理滁州知州等职，为官时有惠政，人德之，后因遭诬告被罢官，去官后寓南京借园，自号借园主人，常往来扬州卖画。与李鱓、金农、郑燮等往来，工诗文书画，擅梅、兰、竹、菊、松、鱼等，注重师法传统和师法造化，能自成一格，其画笔法苍劲老厚，剪裁简洁，不拘形似，活泼生动。被列为扬州八怪之一。有《风竹图》《游鱼图》《墨梅图》等传世。著《梅花楼诗钞》。善画松、竹、兰、菊、梅、杂花及虫 鱼，也能人物、山水，尤精画梅。作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼诗草》，仅二十六首，多数散见于画上。",[2495,2496,2497,2577,2499,2509,2902,2677,2510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93021041cb164b00da3dbc86d0eb5b96.jpg","100x45",[6],{"id":604,"slug":8076,"title":8077,"dynasty":2605,"author":3431,"museum":2563,"description":8078,"tags":8079,"thumbUrl":8080,"material":2531,"size":8081,"collection":2624,"collections":8082,"showCount":8065,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"xi-shan-mu-xue-tu-zhou-yi-ming-223565","溪山暮雪图轴","从构景来看，此幅仍具“主山立于画面中央”的遗风，但已脱去山石充实的北宋风格，全幅虚空处几占有二分之一，显露出南宋山水的风味。在表现树石上，继承李唐之影响，但画树与斧劈皴的技法趋于精巧细致，与马远、夏圭 （活动于十二、三世纪之间 ）派倾向粗犷简逸相异其趣。此幅描绘景物，细致生动而且写实，若将之分割数个方块来看，正如南宋之山水册页。可惜无画家名款，目前尚难断定是那位画院名家之作。临溪两岸，竹树茏，於平坦处江村置焉。对岸林麓中烘染云烟如带，群鸦飞噪于其间，弥增雪意，其上则白山皑皑，冰壑峨峨。于林蒨密处，更著一区精舍。本幅造意之精，构景之妙，可称独至。而笔墨细腻，烘染妥帖，尤足以称其意云。",[2495,2496,2497,2577,2500,2501,2509,2714,3078,3976,2552,2506,2505,2508,2652,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00042d59364ebed0c21eb560489aef52.jpg","56x102",[2624,6,2626],{"id":605,"slug":8084,"title":8085,"dynasty":2605,"author":6523,"museum":3356,"description":8086,"tags":8087,"thumbUrl":8090,"material":3069,"size":8091,"collection":2624,"collections":8092,"showCount":8065,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"chu-shan-shi-jia-tu-zhou-liang-kai-221602","出山释迦图轴","释迦着单衣跣足站于枯树旁，手举胸前，双眸微微下视，面容清瘦，须发密长。尽管已值冬季，衣带在寒风中飘举，但释迦似乎并未感受到寒冷，丝毫没有瑟瑟呵冻之态，而是神情专注，愈显入山苦修悟道后，意志弥坚。画家以劲利的线条画排叠的衣纹，用笔谨严，于人物神情刻画尤见功力；苍幹枯枝，用笔劲硬，很好地烘托了环境。背景的坡石略加勾皴，树石的画法还可看出受到李唐的影响，此图与其传世减笔人物画相比，属较为工致的画作。画幅左侧的石壁上署有“御前图画梁楷”六字款。",[2495,2496,2497,2577,2500,8088,2549,2677,3091,8089],"宗教","减笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9823f2524319f6cbdc884ddb4cd9087a.jpg","纵119厘米，横52厘米",[2624,6],{"id":606,"slug":8094,"title":3380,"dynasty":2632,"author":5047,"museum":5182,"description":8095,"tags":8096,"thumbUrl":8097,"material":2567,"size":8098,"collection":6,"collections":8099,"showCount":8065,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"qiu-shan-xing-lv-tu-wang-hui-219911","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n王翚在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[2496,2497,2577,2545,2500,2501,2549,2960,2550,2593,2507,2509,2800,2502,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccd3324ba8d0e045e5d6ab0a5260113f.jpg","152.4x78.7",[6],{"id":607,"slug":8101,"title":8102,"dynasty":2605,"author":2910,"museum":2589,"description":8103,"tags":8104,"thumbUrl":8105,"material":3157,"size":2598,"collection":2870,"collections":8106,"showCount":8065,"zanCount":3198,"manualWeight":2517,"mainColor":4670},"song-xia-qun-lu-tu-ma-yuan-218909","松下群鹿图","松枝如铁线盘曲，苍劲中透着清逸，松针细密如织，筛下斑驳光影。鹿群或静立凝神，或缓步石间，与松涛山影相融成趣。远山以淡墨晕染，云雾似轻纱流转，留白处尽展天地空阔。笔墨简练却意境悠远，枯润相生的笔触里，藏着宋人对自然的敬畏与诗意栖居的向往。边角构图见乾坤，每一处细节都透着匠心，将山水的静谧与生灵的灵动悄然铺展，让观者在静谧中感受山林间的和谐共生，沉醉于宋画独有的雅致与哲思。",[2495,2496,2578,2501,2714,2715,2593,2499,2637,2577,2531],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6bebd7f7819200a7a40265b7a859bb3.jpg",[2870,6],{"id":608,"slug":8108,"title":8109,"dynasty":2490,"author":8110,"museum":2589,"description":8111,"tags":8112,"thumbUrl":8113,"material":2597,"size":8114,"collection":6,"collections":8115,"showCount":8065,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"wang-wei-shi-yi-tu-hu-yu-kun-217064","王维诗意图","胡玉昆","胡玉昆是明朝时期的一位著名画家，他以其独特的诗意图风格而闻名于世。王维是一位著名的唐代诗人，他的诗作风格浪漫清新，富有诗意。胡玉昆在创作中结合了王维的诗作精髓，创造出了一种具有浓厚诗意的画风。\n\n胡玉昆的王维诗意图以山水画为主，但其中蕴含着诗意的元素十分丰富。他在画作中结合了唐代诗人王维的诗作风格，营造出一种浪漫清新的氛围。他经常使用抽象的手法来表现山水的美，并使用富有节奏感的线条来描绘山峰、水流、树木等元素。他的画作常常充满了诗意的气息，让人感受到一种自然界的静谧与美好。\n\n胡玉昆的王维诗意图在当时颇受欢迎，并且至今仍然被广泛欣赏。他的画作不仅仅是单纯的山水画，更是一种充满诗意的艺术表现。他的画作能够带给人们一种沉浸在自然界中的感觉，让人感受到大自然的美丽与和谐。",[2496,2497,2499,2501,2509,2614,2550,2505,2504,2508,2506,2595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbacd99ab5da0f731ac9ab42818e4bb69.jpg","95x71cm",[6],{"id":609,"slug":8117,"title":8118,"dynasty":2605,"author":2910,"museum":2541,"description":8119,"tags":8120,"thumbUrl":8121,"material":3069,"size":8122,"collection":2624,"collections":8123,"showCount":8124,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"diao-tai-wang-yun-tu-ma-yuan-221668","雕台望云图","画面描绘一处山中宫殿建筑。近处山脚下树林茂密，树木郁郁葱葱，将建筑掩映其中，左侧一座高台拔地而起，同远处山峰遥遥相望。石台台基宽厚，周围和右侧台阶边缘有护栏环绕，护栏下方的台身上有精美石雕。石台整体分为上下两层，第一层宽阔，台面呈回字形，中间是第二层的台基，周围摆放着花盆，中间台阶通往第二层。第二层上有一凉亭，周围置有几案、屏风、圆凳等家具。一人站在高台上，凭栏眺望。此时似乎是在准备宴席，侍者端着各式物品忙碌着。\n石台前方，其它建筑拱卫，远处山峰笔直入云，天空中风吹云动，一轮弯月高挂，同石台上眺望之人相呼应。",[2495,2496,2497,2544,2500,2790,2501,2550,2505,3208,2506,2651,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73943a72afefd8298acebb643c82055c.jpg","纵25.4厘米，横24厘米",[2624,6],82,{"id":610,"slug":8126,"title":8127,"dynasty":3283,"author":3284,"museum":2818,"description":8128,"tags":8129,"thumbUrl":8130,"material":2639,"size":8131,"collection":6,"collections":8132,"showCount":8124,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"jiang-gao-hui-yu-tu-wang-wei-221145","江皋会遇图","王维（701年－761年，一说699年—761年），河东蒲州（今山西运城）人，祖籍山西祁县。唐朝著名诗人、画家，字摩诘，号摩诘居士。\n王维出身河东王氏，于开元十九年（731年）状元及第。历官右拾遗、监察御史、河西节度使判官。唐玄宗天宝年间，王维拜吏部郎中、给事中。安禄山攻陷长安时，王维被迫受伪职。长安收复后，被责授太子中允。唐肃宗乾元年间任尚书右丞，故世称“王右丞”。\n王维参禅悟理，学庄信道，精通诗、书、画、音乐等，以诗名盛于开元、天宝间，尤长五言，多咏山水田园，与孟浩然合称“王孟”，有“诗佛”之称。书画特臻其妙，后人推其为南宗山水画之祖。苏轼评价其：“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”存诗400余首，代表诗作有《相思》、《山居秋暝》等。著作有《王右丞集》、《画学秘诀》。\n此《著色山水》（江皋会遇图）据传为唐代著名诗人王维的山水作品。由于年代久远，已破损严重，泛黄变暗，依稀可见山水、树木与村落，卷首部分有北宋刘唐老的题跋。",[2495,2496,2497,2498,2499,2501,2506,2550,2511,2547,2509,3236],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc45181fa423d8069ce2d2a5500fa3692.jpg","29x128厘米",[6,2534],{"id":611,"slug":8134,"title":8135,"dynasty":2490,"author":3264,"museum":2563,"description":8136,"tags":8137,"thumbUrl":8138,"material":4016,"size":8139,"collection":6,"collections":8140,"showCount":8124,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"feng-jing-fang-gu-tu-zhou-dong-qi-chang-220945","葑泾访古图轴","署款“壬寅首春，董玄宰寫。”幅上有陳繼儒題識。此畫構圖，可分遠景、中景、近景二部分，遠景為重山峻嶺，山頂光禿，山頂煙霧繚繞，山腳下為亂石橫卧，亂石間有幾株雜樹，樹下坐落一間茅屋。右側兩岸間有一板橋高架。中景為一片闊廣的河水，江水如鏡。近景為此畫的主要部分。下邊山石疊砌，山石間長有一棵幹粗葉茂的大樹，大樹下有數間屋宇茅亭。\n從此畫的構圖來看，作者有意識地運用了“層疊”、“重複”、“照應”等手段，使遠近高下統一在浮雕似的筆墨構成的平面意味中。畫法，由於董氏墨法的精微就在於種種墨色的累積，以樹石為例，對此畫大樹下邊那堆山石，是以淡墨連勾帶皺地寫其相依互抱，大小攢聚，就這樣把石的輪廓確定下來：至於此圖的用墨處和空白或無墨處，董氏着意於此，亦即以白當黑。有的山石不作着筆，大石上部則沿邊皆空白，於是每個石塊以其黑、白、陰、陽，表現立體感，而且它們之間左右較實，中間較虛，使畫面虛實互用而十分靈活。此畫中可看出董氏把黑白對襯，虛實相須，運用得十分自然，有着落筆時心手相應的那番快感。\n在此畫面中，董其昌追求一種“禪”的意境，即一種寂寞空虛的境界。畫面的疏密、濃淡、虛實、開合，富有清潤温雅、平和怡然的趣味，拙稚、簡淡中帶有寧靜自然的文人之思。",[2495,2496,2497,2577,2499,2501,2509,2502,2503,2506,2507,2690,2547,2510,2511],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1f7db1e78a7c60c962c6091b474fc3a.jpg","纵80厘米,横29.8厘米",[6,2626],{"id":612,"slug":8142,"title":8143,"dynasty":2522,"author":4583,"museum":2563,"description":8144,"tags":8145,"thumbUrl":8146,"material":2531,"size":8147,"collection":6,"collections":8148,"showCount":8124,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"song-yin-wan-zhao-tu-zhou-zhao-meng-fu-220849","松阴晚棹图轴","为学日益，为道日损：翩然世间的道家风格\n祸兮福之所倚，福兮祸之所伏：老子的智慧\n鲲鹏展翅，水击三千里：敞开自我的庄子境界\n朝三暮四，名实未亏而喜怒为用：庄子的寓言\n朴素而天下莫能与之争美：自然与本真的守护",[2495,2496,2497,2577,2500,2501,2902,2504,2549,2507,2506,6937,2845,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde18f9b7e341d9b204fbc08d35aed1b4.jpg","152.6x79厘米",[6,2534],{"id":613,"slug":8150,"title":8151,"dynasty":2522,"author":4583,"museum":2492,"description":8152,"tags":8153,"thumbUrl":8154,"material":2531,"size":8155,"collection":6,"collections":8156,"showCount":8124,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"yan-jiang-die-zhang-tu-shi-juan-zhao-meng-fu-220846","烟江叠嶂图诗卷","《元赵孟頫题烟江叠嶂图》是元代时期赵孟頫创作的书法作品。\n赵孟頫实际书写的是北宋苏东坡题咏王诜《烟江叠嶂图》诗一首：江上愁心千叠峰，浮空积翠如云烟。\n山耶云耶远莫知，烟空云散山依然。\n赵孟頫墨迹传世虽多，惟大字却少见。\n从中不难看出其大字功夫之深。\n后文征明在赵孟頫书苏轼题王诜《烟江叠嶂图》诗后补水墨米家山水。",[2495,2496,2497,2498,2499,2511,2510,2501,2509,8041,6242,2527,2503,4595,2506,2504,2552,2528,4702],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc09865d188801b8adc163e953c06a614.jpg","49·8x413.9cm",[6,2626],{"id":614,"slug":8158,"title":8159,"dynasty":2522,"author":2984,"museum":2589,"description":8160,"tags":8161,"thumbUrl":8162,"material":2597,"size":8163,"collection":6,"collections":8164,"showCount":8124,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"shan-chuang-ting-yu-tu-wu-zhen-220090","山窗听雨图","《山窗听雨图》卷末有吴镇年款和一首题诗，是其作于元顺帝至元四年(1338年)的夏天，当时吴镇59岁，根据存世作品，已知也是作于这一年五月的还有南京博物院收藏的《松泉图》以及美国大都会博物馆收藏的《高节凌云》。在吴镇的存世作品中，《山窗听雨图》应属于隐逸一类的题材。\n2016年12月6日晚上20：30，北京匡时秋拍“澄道——中国古代书画夜场”在北京国际饭店会议中心举槌，共推出29件拍品。其中，吴镇《山窗听雨图》以估价待询的形式上拍，起拍价为6000万元，最终以1.5亿元落槌，1.725亿元成交，同时刷新了吴镇作品的拍卖纪录。",[2495,2496,2497,2498,2499,2501,2509,2510,2511,2547,2714,2715,2593,2502,2504,3155,3776,2595,2614,3668],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc61a830e17247e97273543be5760f0e3.jpg","28x203厘米",[6],{"id":615,"slug":8166,"title":8167,"dynasty":2490,"author":2899,"museum":6281,"description":8168,"tags":8169,"thumbUrl":8170,"material":2597,"size":8171,"collection":6,"collections":8172,"showCount":8124,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"kong-shan-ye-yu-tu-wen-zheng-ming-219866","空山夜雨图","古画中描绘山、水、雨、云乃至兰竹松梅时，若能兼具“画面写实”和“气韵灵动”两方特色，则该作可称佳品。如能在写实中抓住细节，落笔精致，则该作可成精品。若作者还能在此基础上别出心裁，融入巧妙出众的构思设计，则该作可为妙品。\n文徵明此作写景真实、韵致盎然，诚可谓“虚实相生”；在勾皴山石、铺排密林时用笔极细，落墨深浅错落，层次分明，林间篱笆、耕地农人的设计为画面增添生趣，亦反衬出山之“空”，与画作主题暗合；画面上方山峦滞重，山间雨雾轻灵，山下密林幽森，林间水溪温柔，排列有序，刚柔兼济。而此画最值称道者乃作者关于“雨意”的设计。画面中间部分以大块留白作山间云雾，将上方山峦与下部密林分割开来，山石、树林与云雾的衔接处以清淡水墨轻绘，呈现出类似“渐变”的神奇效果。濛雨淡云缭绕山间，尽书实景而灵韵生动，同时也使整幅画面不致因过满而有失轻盈。",[2495,2496,2497,2577,2499,2509,2501,2506,2913,2578,2503,2507,2614,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f5d4eb5740ddc8e075045e01785fe8f.jpg","纵71.6厘米，横32.4厘米",[6],{"id":616,"slug":8174,"title":8175,"dynasty":2632,"author":4496,"museum":2763,"description":8176,"tags":8177,"thumbUrl":8178,"material":2567,"size":8179,"collection":6,"collections":8180,"showCount":8124,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"ni-guo-xi-pan-che-tu-yuan-yao-219757","拟郭熙盘车图","袁耀（生卒年不详），清朝画家，字昭道，江都（今江苏扬州）人。袁江之侄。\n工画山水、楼阁、界画。画风工整、华丽，与袁江相似。其精品有胜于袁江者。偶作花鸟，亦甚佳。\n乾隆十一年作《骊山避夏十二景》，乾隆四十五年作《阿房宫图》，现藏南京博物院。约活动于乾隆中期。不仅青绿工整山水，楼阁作品有名，其所画花鸟，也甚佳。流传作品比袁江多。而且往往是大幅。所画《观瀑图》、《秋江楼观图》等，无论布局，渲染，以至点景人物，都很精致。留有《阿房宫图》及《骊山避暑十二景图》大幅精美作品。《骊山避暑十二景图》现藏于日本。",[2496,2497,2501,2790,2509,2676,2500,2549,2550,2800,2505,2960,7680,2507,2506,2578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2dbf03592ab1c501d619c8407e8f510.jpg","纵29横47.80厘米",[6],{"id":617,"slug":8182,"title":3183,"dynasty":2605,"author":2699,"museum":2818,"description":8183,"tags":8184,"thumbUrl":8185,"material":3157,"size":8186,"collection":6,"collections":8187,"showCount":8124,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"shan-shui-tu-xia-gui-218915","这幅画描绘了一个平静安详的山居，远处的山峰高耸入云，瀑布和泉水直泻而下，小屋散落一地，优雅的人和伐木工在其中徘徊。整幅画的笔触层次分明，森林和山上的明暗对比明显。这幅画上看不到艺术家的签名，但从原始签名来看，应该是夏圭。然而，山、林、坡、石的布局，以及滴水不漏的笔墨，都显示出明代浙江画派的风格，这肯定是错误地归于后来的艺术家。",[2495,2544,2496,2497,2499,2500,2509,2501,2677,2578,2652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa20501644fd7647ba471c42b77fc18e2.jpg","47.6x32.5",[6],{"id":618,"slug":8189,"title":8190,"dynasty":2632,"author":6249,"museum":2673,"description":8191,"tags":8192,"thumbUrl":8194,"material":2597,"size":8195,"collection":6,"collections":8196,"showCount":8124,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"he-lin-yan-yu-tu-cha-shi-biao-218482","鹤林烟雨图","查士标（1615-1698）字二瞻，号梅壑散人，懒老。安徽休宁人，后寓扬州。明末生员，家富收藏，故精鉴别，擅画山水，为“海阳四家”之一。清初著名画家，书法家和诗人。专事书画，家藏甚富，鼎彝及宋、元真迹皆有，遂精鉴赏，他的山水画，笔墨疏简，风神嫩散，气韵荒寒，晚年画风突变。是明末清初新安派“海阳四家”（江韬、查士标、孙逸、汪之瑞）之一。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。山水初学倪瓒，后参用吴镇、董其昌法，笔墨疏简，空旷荒寒。与弘仁、孙逸、汪之瑞并称“新安四大家”（即海阳四家）。著有《种书堂遗稿》等。",[2495,2496,2497,2577,2499,2509,2501,2614,2902,2527,2730,8193,2507,2506],"烟雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6f5fc63963b4d7a5fd292f187630f0.jpg","159.5x53.3cm",[6],{"id":619,"slug":8198,"title":2587,"dynasty":2490,"author":2899,"museum":2673,"description":8199,"tags":8200,"thumbUrl":8201,"material":2597,"size":8202,"collection":6,"collections":8203,"showCount":8124,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-wen-zheng-ming-218341","此图左开为作者图，右开有其弟子周天球、陆师道、王穉登的应景题诗。\n根据图册末页张风翼等人的跋得知，此图册是文徴明为教授徒弟朱朗而绘制的山水画作，其中有他摹学五代董源、巨然的笔法，亦有他师法元四家黄公望、王蒙、倪瓒等人的笔墨。",[2495,2496,2544,2592,2499,2501,2506,2508,2652,2503,2510,2511,2547,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe78e6d4341e71339b18dae6e2a968838.jpg","28.5×15.8cm",[6],{"id":620,"slug":8205,"title":8206,"dynasty":2632,"author":8207,"museum":2563,"description":8208,"tags":8209,"thumbUrl":8210,"material":2512,"size":8211,"collection":2968,"collections":8212,"showCount":8124,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"yi-tao-tu-jin-ting-biao-216978","移桃图","金廷标","这幅画展示了一个有绿色树木的村庄。一个男人和一个瘸子站在窗外，教一个孩子种桃花。惟不免作家气重些。",[2496,2497,2546,2500,2501,2549,2506,2507,2503,2548,2508,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7567eb36e902b6cd0d71a3b920a0b4d.jpg","187.3x63.2",[2968,6],{"id":621,"slug":8214,"title":8215,"dynasty":2632,"author":5047,"museum":2818,"description":8216,"tags":8217,"thumbUrl":8218,"material":2598,"size":2598,"collection":6,"collections":8219,"showCount":8220,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-tang-yin-chi-bi-zhou-wang-hui-238076","仿唐寅赤璧轴","王翚（1632-1717），字石谷，臞樵，号乌目山人，耕烟散人，又号耕烟外史，剑门樵客，清晖老人，室名清晖阁，江苏常熟人。王翚祖上几代均染指丹青。四世祖王伯臣擅长花鸟，师崔白画风，祖父王载仕山水花鸟皆擅，父亲王云客专攻山水，画风秀雅。王翚幼喜丹青，十六岁时拜同乡张珂为师，后入王鉴、王时敏之门，遍临他们所藏宋、元名迹，在承袭传统的基础上，又外师造化，逐渐形成了华滋清逸的画风，当时的名公巨卿、文人学士争相交之。六十岁时以布衣征召供奉内廷，主持绘制康熙《南巡图》，被赐“山水清晖”，为清初“虞山派”领袖。著有《清晖画跋》，辑有《清晖赠言》、《清晖赠贻尺牍》，与恽寿平合著《画筌评》。",[2496,2609,2577,2509,2676,2501,3964,2504,2552,2652,2506,2528,2549,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc312ca88e21a4c731326d3c55ba6c1f.jpg",[6],81,{"id":622,"slug":8222,"title":8223,"dynasty":2632,"author":6542,"museum":2763,"description":8224,"tags":8225,"thumbUrl":8226,"material":2567,"size":8227,"collection":6,"collections":8228,"showCount":8220,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"peng-lai-xian-jing-tu-yuan-jiang-220076","篷莱仙境图","图中所作楼阁大都建于高山之上，隐于丛林之中，古木、苍松、梅、杏等，或生于岩石之间、或生于夹缝之中，蓬勃繁茂，掩映成趣、生机盎然，洋溢着顽强的生命力。屈曲的枝干应当是受宋人影响，点叶之法比起其前期更为轻松自然、繁而不乱。图中人物，三五成群，神态自若，气质高雅，或论道、或茗茶、或泛舟湖上，本为点景之用，却起到了点睛之妙。衣冠、须发用笔劲细流畅。“雪压青松松更青，霜打红梅梅更红。”松柏、梅花在古代有寓意高洁之意，象征了文人士大夫的傲岸情操。",[2495,2496,2497,2544,2790,2500,2546,2550,2501,2502,2506,2507,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03f3523312862b3ddc21d4b421d43aaa.jpg","186.8x102.6",[6],{"id":623,"slug":8230,"title":8231,"dynasty":2632,"author":2830,"museum":2673,"description":8232,"tags":8233,"thumbUrl":8234,"material":2597,"size":8235,"collection":6,"collections":8236,"showCount":8220,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"yu-shan-xi-bie-tu-wang-shi-min-219106","虞山惜别图","此图取常熟城郊虞山之景，用笔苍劲老辣，颇具元代黄公望笔意，山石作披麻皴，苔点细密, 皴染细腻，一派山清水秀的江南景色。 此画位置的经营，采用了常见的高远法，由下到上，层次清晰，结构有序。从上到下，若将着笔造形处联成整体，避免了构图上板滞，而步入活泼变化的天地。",[2495,2544,2496,2497,2577,2499,2509,3236,2501,2714,2506,2508,2614,2503,3736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F613cc5452ca791917bd2ed2cadab7add.jpg","纵134cm，横60cm",[6],{"id":624,"slug":8238,"title":8239,"dynasty":2522,"author":8240,"museum":2563,"description":8241,"tags":8242,"thumbUrl":8244,"material":2512,"size":8245,"collection":6,"collections":8246,"showCount":8220,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"jiang-xiang-qiu-wan-tu-li-shi-xing-218433","江乡秋晚图","李士行","画上御制诗为乾隆二十七年四月第三次南巡时所作。由档案可知，此卷为史贻直（1682 —1763）于二月十二日在扬州贡进，他当时任文渊阁大学士兼吏部尚书，为可进献贡物的高级官员。从卷上「史铁珍藏书画」印亦可推知此画原为其藏品。李士行（1282 —1382）为元代画竹名家，此卷为其难得之山水画作。据笪重光（1623 —1692）题跋，此作在江南与〈鹊华秋色〉、〈师子林图〉等名迹并重。由于这两件名迹已经入藏宫中，因此当乾隆皇帝得到李士行此作时，才会欣喜地写下「鹊华师子仍同，足傲重光诩润州」。",[2495,2496,2498,2499,2509,2501,2595,6060,2506,2528,8243,3113,5051,2547],"湖泊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce5206a99d97c02c0778d6f18c6a6eb3.jpg","31x117.4cm",[6],{"id":625,"slug":8248,"title":8249,"dynasty":2632,"author":2830,"museum":2973,"description":8250,"tags":8251,"thumbUrl":8252,"material":2597,"size":8253,"collection":6,"collections":8254,"showCount":8220,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xia-shan-fei-pu-tu-wang-shi-min-217885","夏山飞瀑图","王时敏（1592年—1680年）明末清初画家。初名赞虞，字逊之，号烟客，自号偶谐道人，晚号西庐老人等，江苏太仓人，首辅王锡爵孙，翰林王衡独子。崇祯初以荫官太常寺卿，故被称为“王奉常”。擅山水，专师黄公望，笔墨含蓄，苍润松秀，浑厚清逸，然构图较少变化。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。王时敏开创了山水画的“娄东派”，与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。",[2496,2497,2577,2499,2509,2501,2714,2611,2613,2506,2579,2652,2502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca4aafdd248a746d5dca26f65ac644d6.jpg","106.2x48.2cm",[6],{"id":626,"slug":8256,"title":5262,"dynasty":2605,"author":8257,"museum":2589,"description":8258,"tags":8259,"thumbUrl":8260,"material":2567,"size":2598,"collection":6,"collections":8261,"showCount":8220,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"gui-zhuang-tu-li-xi-cheng-214826","李希成","李希成（约1086年—约1158年）是一位著名的宋代画家。他的代表作之一是《归庄图》，这幅画描绘了一位老人归还到他的庄园。老人骑着马，身后是一排竹林，前面是一座庄园。整幅画给人以温馨、宁静的感觉。《归庄图》是李希成的一个经典作品，代表了他扎实的技术和对自然的精准描绘。\n\n李希成还创作了许多其他优秀的作品，包括《山水图》、《虎图》和《鹿图》。他的作品常常被描绘成清新、宁静的景观，捕捉到了大自然的精髓。李希成是宋代“四大画家”之一，与黄庭坚、苏轼和韩愈并称。他对中国画的发展产生了深远的影响，是中国画史上不可磨灭的巨匠。",[2495,2496,2497,5225,2501,2500,2509,2714,2715,2549,2508,2593,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f6e45b2e30a82967b3ef0547a95e5ba.jpg",[6],{"id":627,"slug":8263,"title":2587,"dynasty":2490,"author":8264,"museum":2673,"description":8265,"tags":8266,"thumbUrl":8267,"material":8268,"size":8269,"collection":6,"collections":8270,"showCount":8271,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-ce-song-xu-234318","宋旭","宋旭（1525—1606年），字初阳，号石门山人，浙江湖洲人，后徙居上海松江。宋旭一生喜云游，多居于寺庙精舍，日就禅灯孤榻，时人即用“发僧”来称呼他，即带发的僧人之意。后来他真的出家当了和尚，法名祖玄，自号天池发僧、景西居士等，具体卒年不详，从他尚有1606年作品存世，知他此年还在世。\n宋旭的画法继承明代吴门绘画传统，主要师法明四家之一的沈周，最擅长画山水，兼善人物。山水画在沈周的基础上融其他名家画法于一炉，并加入自己的理解，形成了颇具特色的雄劲古拙的画风。宋旭精研古人之法，尤其对宋代李成、关仝、范宽三家推崇备至，曾说：“画山水惟李成、关仝、范宽智妙入神，才高出类，三家鼎峙，百代标程，前古莫能方驾，近代难继后尘。”（见《无声诗史》卷三）由于他能远师古人，近取成法，创出了有别于吴派绘画的风格而自成一格，并对明末松江地区的画家产生了长足的影响，世人遂称其为“苏松派”的开山之祖，明末赵左、沈士充等皆出其门下。",[2496,2499,2509,2592,2501,2503,2502,3091,2507,2549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29f139067519e7c0c0636a193cc49cf5.jpg","纸本 ，设色","纵31cm，横42cm",[6,2534],80,{"id":628,"slug":8273,"title":8274,"dynasty":2490,"author":4134,"museum":2492,"description":8275,"tags":8276,"thumbUrl":8277,"material":4324,"size":8278,"collection":6,"collections":8279,"showCount":8271,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"feng-tian-xing-du-tu-zhou-tang-yin-222357","葑田行犊图轴","此图取材于唐代李密的故事，史记李密骑牛住缑山拜访名士包恺，牛角挂一卷《汉书》，边走边读。本图并没有强调此一情节。而是突出了“行过松阴懒着鞭”的悠闲之意。图绘一老者手执长鞭骑牛前行，老者表情悠闲，一路观景，牛身形壮硕，四肢有力；上面松枝繁茂，郁郁葱葱。",[2495,2496,2497,2577,2499,2509,2510,2549,3617,2902,2507,2578,4245,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa190e60a0b5555ac9e73c97a4767161f.jpg","纵74.7，横42.7厘米",[6,2626],{"id":629,"slug":8281,"title":8282,"dynasty":2490,"author":2540,"museum":2492,"description":8283,"tags":8284,"thumbUrl":8286,"material":2732,"size":8287,"collection":6,"collections":8288,"showCount":8271,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"wu-zhu-shu-tang-tu-chou-ying-222210","梧竹书堂图","该图画一精舍，宽敞的书桌置于窗前，上置文具书籍，一士人半作半卧于躺椅上，神态安详。房舍四周修竹、梧桐摇曳生姿。坡石勾皴用拖泥带水法间乾笔皴擦，再以水墨淡淡晕染，颇见浑厚。上缀以萱花、丛菊，显示出隐居的悠雅情调。",[2495,2544,2496,2497,2577,2500,2546,8285,3155,2505,2549,2501,2503,2507,2506,2552,2504],"梧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77d7f6ee52d40f0e62de09e6cdce8cbc.jpg","纵148.8厘米，横57.2厘米",[6,2534],{"id":630,"slug":8290,"title":8291,"dynasty":2522,"author":2922,"museum":2563,"description":8292,"tags":8293,"thumbUrl":8294,"material":2656,"size":8295,"collection":6,"collections":8296,"showCount":8271,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"song-lin-ting-zi-zhou-ni-zan-220786","松林亭子轴","《松林亭子图》为倪瓒54岁时所作，画上落款时间为至正十四年（1354）初冬。在1354年前后，倪瓒的生活因元末社会动荡而发生一系列变化。“至正八年（1348）台州黄岩方国珍起义，至正十一年红巾军起义，十三年张士诚起兵泰州⋯⋯至正十二年，元军与红巾军在太湖流域大战，无锡、苏州等地处于战火硝烟之中，倪瓒避兵于甫里南渚陆玄素家。”元政府的苛捐杂税没有因为战争而消减，反而有愈演愈烈之势。朱德润在《平江路问弭盗策》中叙述了当时赋税的繁重：“科征之际，枷系满屋，鞭挞盈道，直至生民困苦，饥寒迫身。至于酒课、盐课、税课，比之国之初增至十倍。”倪瓒本人也于至正六年（1346）在《馀不溪咏并续》中叹道：“余既为农畎亩，身依稼穑。复而政繁，奔走州里。”倪瓒在兄长去世后，田亩赋税的豁免权随之消失，加之对生活品质的追求，用度豪奢，重赋剥削，也逐渐品尝到生活的重压。于是，在战火与课税中，倪瓒选择变卖田产，弃家逃避兵火之灾。\n《松林亭子图》，现藏于台北故宫博物院，绢本墨画，纵83.4厘米，横52.9厘米，画面左上方有倪瓒于至正十四年（1354）的一段赠友人的题跋：“亭子长松下，幽人日暮归。清晨重来此，沐发向阳晞。至正十四年初冬，倪瓒为长卿茂异写松林亭子图，并诗其上。”倪瓒的跋文交代了创作的时间，受画者，以及创作的主题。",[2495,2496,2497,2577,2499,2509,2501,2505,2779,2593,3839,3155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F154da39d40c4ed54cede808d8b666499.jpg","276x74.5cm",[6,2626],{"id":631,"slug":8298,"title":8299,"dynasty":2605,"author":8300,"museum":2563,"description":8301,"tags":8302,"thumbUrl":8303,"material":2567,"size":8304,"collection":2624,"collections":8305,"showCount":8271,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"du-zuo-tan-qin-tu-yang-wu-jiu-219965","独坐弹琴图","扬无咎","扬无咎（1097─1169年），字补之，号逃禅老人，又号清夷长者，清江（今属江西省）人，寓居南昌。自称为东汉著名文学家扬雄之后，故其姓氏从“手”而不从“木”。生平事迹不详。他为人正直耿介，绍兴（1131─1162年）年间，奸相当道，朝廷对外妥协苟安，无咎“不直秦桧，累征不起”，一生没有作官，是一位藐视权贵的画家。他为梅花传神写照，以“墨梅擅天下，身后寸纸千金”，成为中国梅画的初始者之一。事实上，“画如其人”，无咎笔底高标清韵的梅花，正是画家素洁坚贞的高尚操守的化身。",[2495,2496,2497,2577,2499,2509,2511,2510,2547,2549,3965,2501,2677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8dca1f72c4020db5b4154f5b7b91632.jpg","40x25.5",[2624,6],{"id":632,"slug":8307,"title":6575,"dynasty":2632,"author":3796,"museum":2763,"description":8308,"tags":8309,"thumbUrl":8310,"material":2597,"size":8311,"collection":6,"collections":8312,"showCount":8271,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-ju-ran-shan-shui-tu-wang-jian-219743","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[2496,2497,2501,2714,2715,2593,3650,2499,2637,2577,2732],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472899d1492e7cb68ad1e494ac1c01e3.jpg","纵130.3横49.7厘米",[6],{"id":633,"slug":8314,"title":8315,"dynasty":2522,"author":2523,"museum":2563,"description":8316,"tags":8317,"thumbUrl":8318,"material":2531,"size":8319,"collection":6,"collections":8320,"showCount":8271,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"tie-ya-tu-huang-gong-wang-219504","铁崖图","此作近景作小坡树石，右置小桥，左布人家；中远景左方峰峦平顶叠加相连，右方则云烟飘渺，仅露出局部山头、崖壁。画中物像钩定轮廓後，多以规整卧笔点叶、点苔，略显平板。",[2496,2497,2577,2499,2509,2501,2507,2506,2614,2613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb45b7cbc7b51e6e5ecc78a2cd2b60d17.jpg","157.5x64.9公分",[6],{"id":634,"slug":8322,"title":8323,"dynasty":2490,"author":8324,"museum":2563,"description":8325,"tags":8326,"thumbUrl":8327,"material":2512,"size":8328,"collection":6,"collections":8329,"showCount":8271,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"jiao-yuan-shi-er-jing-ce-xue-zhai-shen-shi-chong-218182","郊园十二景册-雪斋","沈士充","明朝时期，沈士充是一位著名的文学家、政治家和官员。他在明朝末年时创作了一本名为《郊园十二景册》的书，其中记录了他在北京城郊外的别墅中所看到的12种风景。这本书成为了明朝时期书写风格优美、内容丰富的作品之一。",[2496,2497,2592,2499,2501,2509,7132,3166,2505,2502,2506,2507,3136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff25b1501811aba8c4c17fb7b3d08bf64.jpg","30.1x47.5",[6],{"id":635,"slug":8331,"title":8332,"dynasty":2605,"author":3431,"museum":2563,"description":8333,"tags":8334,"thumbUrl":8336,"material":2567,"size":8337,"collection":6,"collections":8338,"showCount":8271,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"yuan-shui-yang-fan-tu-yi-ming-215137","远水扬帆图","这幅画描绘了远处漂浮的几座青山。烟雾弥漫的河面上一阵强风将河边岩石上枝繁叶茂的树木吹弯，并将三艘客船直推到河中央。河岸上一位白袍隐士，带着他的钢琴手，正准备漫步到岩石阴凉处的茅草亭。明亮的风景透露出几分悠然自得的动感。",[2495,2496,2497,2500,2501,2509,2506,2652,2549,2504,3667,8335,2505],"远水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7ba8f66e5fe5ffdbb57aa8db2c36a45.jpg","21.6x52.4cm",[6],{"id":636,"slug":8340,"title":8341,"dynasty":2522,"author":3431,"museum":2589,"description":8342,"tags":8343,"thumbUrl":8344,"material":2567,"size":8345,"collection":6,"collections":8346,"showCount":8271,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"jiang-zhong-chui-diao-tu-yi-ming-214828","江中垂钓图","江中垂钓图是一幅元代的山水画作品，作者是佚名。这幅画中描绘了一个人在江边垂钓的场景。画中展现了绚丽多彩的山水风光，以及人物自然舒展的姿态。整幅画的画风细腻，笔墨流畅，色彩鲜艳，构图巧妙，充分展示了元代山水画的魅力。\n\n元代是中国历史上一个重要的朝代，也是中国绘画史上的一个重要时期。元代绘画追求自然、真实，注重写意，在画面上展现自然界的种种变化。山水画是元代绘画中的一大特色，江中垂钓图就是其中的一例。这幅画描绘了一幅宁静而又热闹的山水风光，充分展现了元代绘画的自然精神。",[2496,2499,2500,2501,2503,2504,2821,2578,2677,2987,2547,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f084d61f9b4775b72a81ef13a90b677.jpg","22.5x25cm",[6],{"id":637,"slug":8348,"title":8349,"dynasty":2632,"author":8350,"museum":2877,"description":8351,"tags":8352,"thumbUrl":8353,"material":2597,"size":8354,"collection":6,"collections":8355,"showCount":8271,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"cheng-fang-fang-gu-shan-shui-tu-cheng-fang-214490","程淓仿古山水图","程淓","清代程淓的仿古山水图是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了程淓对自然的热爱和对传统文化的尊重。他运用了仿古山水画的特点，使得整件作品显得舒缓而优美。\n\n程淓是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在仿古山水图中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，程淓的仿古山水图是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了程淓对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到程淓的画风魅力，还能了解中国传统的山水风情。",[2495,2496,2499,3267,2509,2577,2501,2506,2508,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64344232495e911adda77560a5895256.jpg","28x17cm",[6],{"id":638,"slug":8357,"title":8358,"dynasty":2490,"author":8359,"museum":2563,"description":8360,"tags":8361,"thumbUrl":8362,"material":2639,"size":8363,"collection":6,"collections":8364,"showCount":8365,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"song-quan-shi-si-zhou-zhou-chen-222372","松泉诗思轴","周臣","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。\n中国明代中期的著名职业画家。他生活在成化至嘉靖年间。字舜卿，号东村，吴（今江苏苏州）人，生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。他有两个学生特别著名，一个唐寅，另一个仇英。唐寅、仇英青出于蓝，风格上极为接近，但当时名气已超过老师。\n周臣山水师承陈暹。曾刻苦临摹李成、郭熙、李唐、马远等作品，其主要取法于李唐派系。画山石坚凝，章法严谨，用笔纯熟。曾与戴进并驱，则互有所长。人物画也非常出色，古貌奇姿，绵密萧散，各极意态。南京博物院收藏的周臣代表作《柴门送别图》 ，描绘一文人携琴访友后，主客分别时依依不舍的情景，明月早已挂在高空，船工也已在船头熟睡，直至客人快要上船了，他还未酲来，说明主客送别时间之长，友谊之深，这其中也融含周臣画体的“院体画”与“文人画”的相融之处。周臣被人们称为非院派的“院派”画家。",[2495,2496,2497,2577,2499,2500,2501,2902,2507,6173,2549,2509,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9ced993c13860c65afb437b92e109b6.jpg","114.6x53.1",[6,2534],79,{"id":639,"slug":8367,"title":8368,"dynasty":2605,"author":2910,"museum":2997,"description":8369,"tags":8370,"thumbUrl":8371,"material":2567,"size":2598,"collection":6,"collections":8372,"showCount":8365,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"jiang-shan-lan-sheng-ma-yuan-219916","江山览胜","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。",[2495,2496,2497,2498,2499,2500,2509,2501,2714,2715,2506,2550,2505,2504,2552,2595,6060,2652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e464bf60c3447b88916e6b3e00a918.jpg",[6],{"id":640,"slug":8374,"title":7263,"dynasty":2605,"author":3431,"museum":2687,"description":8375,"tags":8376,"thumbUrl":8377,"material":2567,"size":8378,"collection":6,"collections":8379,"showCount":8365,"zanCount":3198,"manualWeight":2517,"mainColor":4670},"qiu-jiang-yu-ting-tu-yi-ming-219034","这幅作品的构图精致，特写停泊在河中的渔船和捕鱼的渔夫，宽阔的河面光滑如镜。在远处的场景中，山峰以细密的线条出现，用斧凿的方法画出岩石，更显其威严。少数小屋位于深谷中，山谷中长满了各种树木。溪流从山上蜿蜒流入河中，在山脚下，溪流上建有一座小木桥，特别迷人。整幅画具有鲜明的构图和深厚的气氛。这幅画属于李、郭画派，可能是南宋时期有人以李、郭为榜样而作。梁庆标、安琪收藏的印章",[2495,2496,2833,2577,2499,2509,2501,2504,2502,2503,2987,2506,2507,2528,2988],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac14ed21ddfc4f8c93ceb8d4df1ecf5b.jpg","133.4x56",[6],{"id":641,"slug":8381,"title":8382,"dynasty":2605,"author":2946,"museum":2563,"description":8383,"tags":8384,"thumbUrl":8386,"material":2567,"size":8387,"collection":6,"collections":8388,"showCount":8365,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"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。",[2495,2496,2497,2499,2509,2500,2501,3091,6935,2730,2504,3736,3079,8385,2507,2594],"冬景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14280f0a855ef351b9fed104cff2b2b6.jpg","28.4x25.9",[6],{"id":642,"slug":8390,"title":8391,"dynasty":2605,"author":3431,"museum":2563,"description":8392,"tags":8393,"thumbUrl":8396,"material":3157,"size":8397,"collection":6,"collections":8398,"showCount":8365,"zanCount":3048,"manualWeight":2517,"mainColor":2559},"qiu-shan-tu-yi-ming-218783","秋山图","这幅关于山脉的画作从画板底部向上延伸，将纸张堆叠起来，在复杂而庞大的岩石中，随着溪流的流动，创造出山峦和沟壑的变化，并在现实和想象中创造出一种兴趣。山石像范宽的彩虹，寒林和枯枝的画法像郭熙的蟹爪法，而整体画风与《荆浩的匡庐》非常相似。",[2495,2496,2544,2501,2499,2577,2509,8394,2651,8395,2507,3079,6204,2503,2579,5116],"蟹爪法","沟壑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcecae8ef9513b49779e89a829d40705.jpg","172.9x62.7",[6],{"id":643,"slug":8400,"title":8401,"dynasty":2632,"author":8402,"museum":3121,"description":8403,"tags":8404,"thumbUrl":8409,"material":2567,"size":8410,"collection":6,"collections":8411,"showCount":8365,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"qian-long-nan-xun-tu-yue-shi-huang-huai-he-gong-xu-yang-218708","乾隆南巡图-阅视黄淮河工","徐扬","本卷以“御制恭依皇祖揽黄淮诗韵”为文,描绘乾隆皇帝渡过黄河后,当日和次日视察黄河、淮河、运河和洪泽湖四大水系汇合处险要工程的场景.本幅开卷的宽阔江面,全以细笔勾勒水波,缜密而不失丰富层次,其中江水因含沙量不同,一清一浑、泾渭分明,足称奇观.堤坝之上,皇帝立于华盖之下,心系社稷黎民；\n沿途群臣下跪翘首,感激皇威浩荡.卷前有词臣于敏中题诗：御碑亭畔汇清黄，仰溯涂山疏瀹方。端拱九重遑自逸，酬咨万姓切如伤。惟斯继述诚应勖，亦曰流连慎戒荒，高堰重蒙皇考建，千秋淮郡倚金汤。御制恭依皇祖览淮黄诗韵。臣于敏中奉敕敬书。",[2495,2496,2497,2498,2546,2500,2790,2528,8405,2651,2594,2690,2549,4702,2506,3057,8406,8407,3765,8408],"堤坝","旗帜","人群","水利工程","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51bc9f5a94b12c79923f595bc701a8c2.jpg","68.8x1096.17cm",[6],{"id":644,"slug":8413,"title":8414,"dynasty":2632,"author":8415,"museum":2563,"description":8416,"tags":8417,"thumbUrl":8425,"material":2512,"size":8426,"collection":6,"collections":8427,"showCount":8365,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"huang-he-lou-tu-guan-huai-218165","黄鹤楼图","关槐","关槐（十八世纪）字晋卿，号云岩，晚号青城山人，仁和（今杭州）人。乾隆间供奉内廷，宠眷特懋。画山水入宋、元之室，品诣在奚冈、屠倬之间。虽得董诰指授，其画境之苍润恬静，实有过之。\n黄鹤楼位于湖北武昌县西，汉阳门内黄鹤山上，楼高踞山巅，东瞩蛇山，西瞰大江，极富江山之胜。此楼始建于孙吴，然代见整修增益。 「寰宇记」有云：「昔费文祎登仙，每乘黄鹤于此楼驾，故名。」关槐此幅绘城郭临岸，江帆交织，波光粼粼，诚武汉之写生景也。",[2495,2496,2544,2833,2500,8418,8419,8420,8421,2550,2501,8422,8423,8424],"黄鹤楼","城郭","江帆","大江","波光","恬静","写生","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff013021d891bfaafb4122f34dac1c641.jpg","162.5x70.1cm",[6],{"id":645,"slug":8429,"title":4828,"dynasty":2632,"author":3020,"museum":6092,"description":8430,"tags":8431,"thumbUrl":8433,"material":2512,"size":8434,"collection":6,"collections":8435,"showCount":8365,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217994","图绘高山屹立之下，杂木丛生、洲渚房屋掩映的山光水色之景。山石的顶端多留有空白，虚处笔迹似有似无，表现出岚光浮动的清幽意境。全图笔墨苍润老辣，于粗放中物象毕现，率意中气韵盎然。王氏自言此图仿元代画家黄公望（即作者所谓“大痴”）笔意，实际上又融入了王蒙、倪瓒等人的笔法，应是作者融元人画格的贯通之作。",[2495,2496,2497,2577,2499,2509,2501,2714,2593,2779,2502,2503,2508,2614,2507,4108,2529,2613,5126,2653,8432,5548],"干笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02895e2fbe75d1aecf4043f9b33a3de1.jpg","100.2x45.6cm",[6],{"id":646,"slug":8437,"title":8438,"dynasty":2605,"author":8439,"museum":2563,"description":8440,"tags":8441,"thumbUrl":8443,"material":2567,"size":8444,"collection":6,"collections":8445,"showCount":8365,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"qi-feng-wan-mu-tu-yan-wen-gui-215110","奇峰万木图","燕文贵","这幅作品中除了峭拔的奇峰外，并未见有燕文贵画风的特点。而由山石的造型、皴法、树法、点苔、设色等，也都比较接近南、北宋之交院画家李唐的「江山小景」卷来看，应当是一幅南宋习自李唐风格的作品。\n登临高山之顶，一幕奇峰汇聚、林木茂盛、云雾蒸腾的景致，正置于观者眼前。大自然的神奇与灵秀，使得这一座座高耸峭拔的奇峰与挺劲丛生的松杉，看来犹如刺天入云的绿色天柱，由近至远，幽缈地在天地之间起落、绵延。",[2495,2496,2544,2497,2592,2499,2500,2501,2506,8442,2509,2614],"奇峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90ce2e5b35c1ba22aa5ee4dea5f39ab1.jpg","24.5 x 26公分",[6],{"id":647,"slug":8447,"title":8448,"dynasty":2605,"author":8449,"museum":2818,"description":8450,"tags":8451,"thumbUrl":8452,"material":2567,"size":2598,"collection":6,"collections":8453,"showCount":8365,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"ri-ben-xin-gui-shan-yuan-qi-hui-juan-niao-yu-seng-zheng-jue-you-215042","日本· 信贵山缘起绘卷","鸟羽僧正觉猷","画面如流水般铺展，墨色与淡彩交织出古雅韵致。图文交织的叙事里，每一折都藏着鲜活的情节——山间云雾轻笼，亭台楼阁隐现于林麓间，人物衣袂流转，或行或坐，神态生动如在眼前。山水晕染细腻温润，山石纹理、草木姿态皆透着自然灵趣；建筑结构精巧，红柱朱门点缀其间，添了几分庄重。绘卷以细腻笔触勾勒信仰与日常的交融，从山林到殿宇，从人物互动到景物铺陈，处处流露平安时代的审美意趣。它似一部流动的史书，让观者窥见千年前的生活与精神世界，韵味悠长，耐人寻味。",[2495,5575,2497,2498,8088,2790,2500,2549,2501,2550,2502,2503,2960,3993,2552,2506,2614,2880],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa988a8055981fce0c5bed6ccb375ce89.jpg",[6],{"id":648,"slug":8455,"title":3490,"dynasty":2632,"author":3020,"museum":2818,"description":8456,"tags":8457,"thumbUrl":8458,"material":3257,"size":8459,"collection":6,"collections":8460,"showCount":8461,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-zhou-wang-yuan-qi-224390","王原祁，明崇禎十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，號麓台、石師道人，江南省蘇州府太倉人(今江蘇太倉)，王時敏孫。康熙九年（1670年）進士，觀政於吏部、任順天鄉試同考官，後任直隸順德府任縣（今河北省邢台市任縣）知縣，地當九河下流，滏漳諸水復久壅塞，腴田變為污渚，圪劉累泊等處，即古大陸澤為患，尤甚甲子乙丑秋雨連旬，水勢陡發，堤岸盡壊，田萊俱成巨浸。\n原祁請照淮揚例，永免水荒田賦三千餘金，民困以蘇其餘如，築堤以防水憲，建橋以通水道，斃盜賊以安民命，明僎介以昭典禮，發倉儲以救羸，着跡難以枚舉。丙寅，奉命行取擢諫垣，改翰林，累官少司農，卒於位，賜祭葬如例，康熙五十九年入祀名宦。\n以畫供奉內廷，康熙四十四年奉旨與孫嶽頒、宋駿業等編《佩文齋書畫譜》，五十六年主持繪《萬壽盛典圖》為康熙帝祝壽。擅畫山水，繼承家法，學元四家，以黃公望為宗，喜用幹筆焦墨，層層皴擦，用筆沉着，自稱筆端有金剛杵。與王時敏、王鑑、王翬並稱“四王”，形成婁東畫派，左右清代三百年畫壇，成為正統派中堅人物。享年七十四。\n其所著畫論有《雨窗漫筆》與《麓台題畫稿》。擅長做詩，有《罨畫樓集》3卷。\n晚清婁東畫派代表人物秦祖永論王原祁畫風：『中年秀潤，晚年蒼渾」；論其畫曰：『沈雄驗右，元氣淋漓，筆端金剛杵之語不虛也」",[2495,2496,2499,2577,2501,2509,2507,2506,2613,2652,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917ded737cee2cb67416324c0fd6c159.jpg","纵91厘米，横46厘米",[6],78,{"id":649,"slug":8463,"title":8464,"dynasty":2632,"author":4496,"museum":2673,"description":8465,"tags":8466,"thumbUrl":8467,"material":2720,"size":8468,"collection":6,"collections":8469,"showCount":8461,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-si-tiao-ping-yang-zhou-si-jing-wan-song-die-cui-yuan-yao-223285","山水四条屏-扬州四景-万松叠翠","四条屏分别自题：“春台明月”、“平流涌瀑”、“万松叠翠”、“平岗艳雪”，款署“戊戌仲夏邗上袁耀画。”钤“袁耀”、“昭道”印2方。\n这组画屏是袁耀晚年的作品，所绘为扬州北郊的四处名胜景点，均为写生之作。 “春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色淡雅。“平流涌瀑”画夏日高树浓荫，茂茂森森，以浓厚的墨色点染，华滋苍润。“万松叠翠”写秋时萧瑟之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的松树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以传统界画的精湛技法把扬州当时“两堤花柳全依水，一路楼台直到山”的繁荣景象真切形象地展现在观者面前。",[2495,2496,2500,2790,2546,2501,2902,2550,2505,4702,2507,2614,2594,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38be0bee0f8a26f4537528925c9e91e0.jpg","纵57cm，横66.1cm",[6,2534],{"id":650,"slug":8471,"title":8472,"dynasty":2632,"author":8473,"museum":2634,"description":8474,"tags":8475,"thumbUrl":8476,"material":8477,"size":8478,"collection":6,"collections":8479,"showCount":8461,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"bai-long-tan-li-zhou-dai-ben-xiao-223283","白龙潭立轴","戴本孝","回群山峰势险峻，几道飞泉从山腰倾泻而下，直接在山脚下的深潭中，被潭壁山岩环绕，画面茂密，有一种艺术感。 “花池深桃”的构想。",[2495,2496,2499,2577,2501,2509,2714,2611,2593,3208,2652,2779],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb78e056810e1f7dd2565d481fd90d58f.jpg","绢本，水墨","54x188.6cm",[6,2626],{"id":651,"slug":8481,"title":8482,"dynasty":2632,"author":8483,"museum":2877,"description":8484,"tags":8485,"thumbUrl":8486,"material":3069,"size":8487,"collection":6,"collections":8488,"showCount":8461,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"fang-tang-yin-qiu-lin-shu-wu-tu-gao-jian-222630","仿唐寅秋林书屋图","高简","此幅所绘的《仿唐寅秋林书屋图》绘山峰高耸，云蒸霞蔚；山脚下溪水潺潺，秋树苍茂，主人于书斋静读。\n高简擅长于模仿唐寅，几可乱真，清秀之气可比肩唐寅。左上自题：“仿唐解元秋林书屋图。癸未冬十月一云山人高简。”左上有作者后裔高侪鹤题识。癸未为康熙四十二年，公元1703年，作者时年70岁。\n高简(1634-1707)〔清〕字澹游、德园，号旅云、澹游子、一云山人、旅云山人、娱晖老人，江苏苏州人。能诗，工山水，画学元四家，喜倪云林(瓒)，有“小云林”印。精于尺幅小品，秀洁妍雅，颇有风趣。所作笔墨简淡清臞，布置深稳，脱尽纵横习气。善画梅，好画梅花书屋图，冷隽雅逸。传世作品有康熙六年(1667)作《寒林诗思图》轴，图录于《肥遁庐藏名人山水集》；九年(1670)作《仿曹知白山水图》轴、三十五年(1696)作《夕照落雁图》轴均藏故宫博物院；九年(1670)作《仿古山水册》十二帧、顺治十年(1653)作《仿宋元山水八帧》卷藏上海博物馆；康熙四十二年(1703)作《仿唐解元秋林书屋图》轴藏旅顺博物馆；《青山积翠图》轴藏南京博物院；《仿徐贲山水图》册页藏辽宁省博物馆。",[2495,2496,2497,2577,2499,2676,2509,2501,3091,2902,2507,4166,2503,2677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41c09d80ba903d033ff21d82621e036e.jpg","96cmx56cm",[6],{"id":652,"slug":8490,"title":8491,"dynasty":2490,"author":2491,"museum":2492,"description":8492,"tags":8493,"thumbUrl":8495,"material":3069,"size":8496,"collection":6,"collections":8497,"showCount":8461,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"liang-jiang-ming-sheng-tu-ce-shen-zhou-222092","两江名胜图册","此图册描绘长江、准河两岸的山水景致和名胜古迹，表现的是江南水乡那种湿润清丽，明媚幽雅的风光。该图墨色富有变化，集中体现了沈周山水画风格。\n构图:纵观画册，画面剪裁简明、选取富有鲜明特点的景物，可以这样概括为图写真景，赋诗纪游，这与他一生与山林为伍，即有着他自己的生活的基础，才能描写出这些耐人寻味的景致。同时，又必须指出，其中不少构图为使人产生更多的联想、增加一些画外的意境，以此作背景来更加鲜明地衬托出每一画幅中的主题，构成诗意盎然的境界。\n技法:笔法上，只要细察，不难发现，在这十幅作品中，有的工密，有的疏简，布置或繁密谨严，或平凡简洁。用笔力、韵兼胜、不刻露，显得厚重凝炼。山石的繁笔勾皴和屋宇台阁的简笔勾勒，形成疏密对比。人物比例虽小，但那安然自得神态，极为生动，与整个自然融为一体。至于各画的墨色深浅、浓淡、干湿、轻重富有变化，使画面产生强烈的装饰美感。",[2495,2544,2496,2497,2592,2833,2500,2499,2509,2790,2546,2637,2550,2506,2549,8494],"诗意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddae55cb9acf046e83c10499f6b45c6d.jpg","42.2×23.8厘米",[6],{"id":653,"slug":8499,"title":8500,"dynasty":2490,"author":8501,"museum":3121,"description":8502,"tags":8503,"thumbUrl":8504,"material":2639,"size":8505,"collection":6,"collections":8506,"showCount":8461,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"lan-ting-xiu-xi-tu-qian-gu-221922","兰亭修禊图","钱毂","《兰亭修禊图》卷为明代画家钱榖绘。画作题材取自东晋王羲之《兰亭序》，描绘东晋永和九年，王羲之、谢安等人在浙江山阴的兰亭溪上修禊，作曲水流觞之会的故事，卷前有王榖祥题「蘭亭修禊」，卷后有钱榖书《兰亭序》及集诗。",[2495,2496,2497,2498,2546,2500,2501,2549,2593,3735,2977,2503,2505,2510,2511,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db27d84328228253e4fe5c410dbf47f.jpg","24.1×435.6cm",[6,2534],{"id":654,"slug":8508,"title":8509,"dynasty":2522,"author":2922,"museum":2673,"description":8510,"tags":8511,"thumbUrl":8512,"material":8513,"size":8514,"collection":6,"collections":8515,"showCount":8461,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"lin-ting-yuan-xiu-tu-zhou-ni-zan-220796","林亭远岫图轴","《东方画谱·元代山水篇：林亭远岫图》采用三段式构图法，观此图与倪瓒的《松亭山色图》、《容膝斋图》颇有相似处。近景有两株并排生长的高树，线条劲健，笔力十足，可见多用中锋较少侧笔，故显得结实挺拔。画山石使用大量折带皴，看似草草村擦，实则苍老劲健，笔法精湛，炉火纯青。所画江面平静无风，没有舟舸，整幅画亦不见人烟，而见孤亭独立，呈现出了恬静幽远的意境。",[2495,2496,2499,2501,3091,2505,2595,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a8750e9292710e5790e47df600dda4c.jpg","纸本，立轴","纵87.3厘米，横31.4厘米",[6,2626],{"id":655,"slug":8517,"title":8518,"dynasty":2490,"author":8359,"museum":3088,"description":8519,"tags":8520,"thumbUrl":8521,"material":2567,"size":8522,"collection":6,"collections":8523,"showCount":8461,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"bei-ming-tu-zhou-chen-219935","北溟图","此图描绘了古代北海的波澜壮阔。《庄子》开篇《逍遥游》载：“北冥有鱼，其名为鲲，鲲之大，不知几千里也”。渤海古代称北海，亦即北冥，北冥亦作北溟。",[2495,2496,2498,2501,2546,2509,2550,2506,2614,4442,2611],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F177597f502a07f40362a79fb62f4475a.jpg","135.9x28.3厘米",[6],{"id":656,"slug":8525,"title":8526,"dynasty":2490,"author":4134,"museum":3121,"description":8527,"tags":8528,"thumbUrl":8529,"material":2567,"size":2598,"collection":6,"collections":8530,"showCount":8461,"zanCount":3048,"manualWeight":2517,"mainColor":2559},"you-diao-tu-tang-yin-219717","游钓图","烟岚轻笼远峰，墨色晕开江天暮色，空濛间漾着清寂悠然。中流扁舟一叶，渔者卧于舟头，随波浮沉，将江海寄怀揉入闲淡烟波。近岸危崖之上，虬松盘曲斜伸，丹枫点染出秋意暖色，幽轩依崖而筑，侍童静立阶侧，似在等候凭栏观江的主人。\n\n画作以斧劈皴勾勒山石棱角，刚劲中晕以淡墨烟霭，刚柔相济。题诗与画面相映，将仕路失意后的林泉之乐铺陈开来，把文人放旷自适的隐逸之思藏在笔底烟霞，萧散简远，尽显诗意与画意交融的吴门雅韵。",[2496,2577,2500,2509,2501,2504,2506,2652,2549,2503,2987],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5ac5f73b824988b7d0c801d54a6c2e4.jpg",[6],{"id":657,"slug":8532,"title":8533,"dynasty":2490,"author":5253,"museum":2563,"description":8534,"tags":8535,"thumbUrl":8536,"material":2567,"size":8537,"collection":6,"collections":8538,"showCount":8461,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"qiu-ting-shi-si-tu-lan-ying-219401","秋亭诗思图","画中以简洁三笔交代的下泻溪流，以及避开树干歪斜的茅草亭盖等画法，皆显得自信而可爱，洵为佳作。",[2496,2497,2577,2499,2500,2501,2505,2578,2509],"https:\u002F\u002Foss.chuangqi.store\u002F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,[2495,2496,2497,2500,2509,2501,2505,2507,2614,2506,2690,8598],"山间路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55e15a2b69c75609ee0d8554e5cc662c.jpg","321x92cm",[6],{"id":666,"slug":8603,"title":8604,"dynasty":2605,"author":2910,"museum":2563,"description":8605,"tags":8606,"thumbUrl":8609,"material":2567,"size":8610,"collection":6,"collections":8611,"showCount":8570,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"xue-tan-shuang-lu-tu-ma-yuan-218163","雪滩双鹭图","画面以雪景为背景，从左侧伸出的带有积雪的树枝，向下弯曲后转向右上伸长，横斜曲折极富变化。左侧及下部的山石，以带水的墨笔作大斧劈皴画出方硬有棱角的“一角”。值得注意的是，整个画面表现出大雪天的寒气逼人、一片宁静，而枝头上两只跳动鸣叫的小鸟，则使之显得静中有动，增添了生机。前景的树枝、山石均以焦墨勾勒，山石后露出的竹叶施以浅色，其余均施以淡淡的水墨，笔墨技法的运用与描写对象的特征及作品意境相适应。",[2495,2544,2496,2497,2577,2499,2500,2501,3091,2507,3078,8607,8608,2677],"滩","鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa70fa992caf6ec5e7624ac5e868a7e17.jpg","纵60厘米，横38厘米",[6],{"id":667,"slug":8613,"title":8614,"dynasty":2490,"author":3264,"museum":2563,"description":8615,"tags":8616,"thumbUrl":8617,"material":2597,"size":2598,"collection":6,"collections":8618,"showCount":8570,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-song-yuan-ren-suo-ben-hua-ji-ba-ce-fang-gao-ke-gong-shan-shui-dong-qi-chang-214614","仿宋元人缩本画及跋册-仿高克恭山水","董其昌是中国明清时期的画家、书法家，出生于浙江省杭州市。他的作品有许多著名的山水画，其中包括《虞山图》。此外，董其昌还有许多仿宋元人缩本画和跋册，其中包括《仿高克恭山水》。\n\n《仿高克恭山水》是董其昌的一幅仿宋元人缩本画，其中描绘了秀美的山水风光。在这幅画中，董其昌运用了仿宋元人风格的画法，使得画面充满了古朴的气氛。他通过笔触的流畅和墨色的变化，表现出了山水的秀美和自然的灵动。整幅画浑然一体，充满了生机和活力。\n\n《仿高克恭山水》是董其昌的杰作之一，它被广泛收藏和展览，并被认为是中国仿宋元人风格山水画的代表作之一。董其昌的作品对中国书画史上的发展起到了重要的作用，并且被认为是中国书画史上的经典之作。",[2496,2497,2592,2499,2500,2501,2527,2506,2614,2507,2613,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1523aa0b726e258ba37810ef1a4d3eeb.jpg",[6],{"id":668,"slug":8620,"title":8621,"dynasty":2490,"author":3120,"museum":2673,"description":8622,"tags":8623,"thumbUrl":8624,"material":8625,"size":8626,"collection":6,"collections":8627,"showCount":8628,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"za-hua-tu-ce-fang-li-tang-bi-yi-chen-hong-shou-221886","杂画图册-仿李唐笔意","本册共八开，每开均有作者题跋及款印。所画题材有山水、人物、花鸟，全以工笔写之。山岩之结构，花蝶之动态，人物形象之奇特，均已加入了画家个人之造型意念，精彩绝伦。其中一册，以变形夸张的手法表现古拙奇崛的特征，描写佛教传说中的罗汉拄杖坐于大石上，对面跪拜一人，衣饰长摆，异国情调，突出了装饰性趣味，图页上自题名为“無法可說”，颇具禅机。另一册《玉兰柱石图》，图右侧一太湖石竖立，玲珑剔透，紧靠石下伸出一支玉兰花，石另一侧后面也露出一支海棠花，花上一只彩蝶。画家把握住不同的物象特征进行描绘，湖石的稳重坚硬，衬托出花朵的轻盈柔美，浓重的色调托出了玉兰的洁白。画面层次清晰，设色明丽温和，在线条的表现形式上，均用细劲的墨线勾勒，刚柔相济，巧拙互用，于对比中求统一。\n从署款和绘画风格看，此图是陈洪绶中前期作品，为其代表作之一。",[2495,2544,2496,2497,2592,2500,2509,2676,2501,2507,2503,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9093bddfe13cc837d377af14452eaabd.jpg","绢本、设色","纵30.2＊横25.1CM",[6,2968,2534],76,{"id":669,"slug":8630,"title":8631,"dynasty":2522,"author":3714,"museum":2673,"description":8632,"tags":8633,"thumbUrl":8634,"material":2867,"size":8635,"collection":6,"collections":8636,"showCount":8628,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"you-ju-tu-juan-qian-xuan-221711","幽居图卷","此图是钱选所绘的青绿山水画作之一。图中湖光山色静谧幽淡，展卷之始见三五秀石零落坡边岸角，青松虬曲其上，村居掩映树石之间，一叶小艇驶向水平如镜的湖中，对岸碧峰起伏，参差错落，楼阁为茂林所环抱，茅舍隐现丛树兀石之后，幽居之景、之境、之情、之趣毕现于纸上。其画山石树木皆用方折的线条勾出轮廓，不作皴法，敷以青、绿、赭等色，山脚处略施金粉，于严整工致中见古拙秀逸之气。图的右上方自题“幽居图”三字，其中“幽”字残缺严重，形近“山”字，故亦被称作“山居图”。本幅及前后隔水有“怡亲王宝”等印共29方，尾纸上有纪仪、纪堂、高士奇、邵松年等人的题跋。\n钱选的山水画以青绿设色为主，近师南宋赵伯驹，远溯杨隋展子虔、李昭道，运笔有生拙之趣，设色明快不失艳丽，布局张弛得度，疏密有致，自成风貌。我院另藏《山居图》一卷，虽与《幽居图》构图相异，但笔法、设色同出一源，两者堪为“双璧”。《浮玉山居图》卷（藏上海博物馆）则是钱选以水墨为主的代表作，卷中山石的阴阳向背用墨笔勾皴来表现，花青淡施丛树小草之上，清逸秀润之气溢出卷外，别具一格，与其青绿山水有异曲同工之妙。\n论成就，钱选跳出两宋院体的窠臼，追求晋唐作风，在元初画坛独树一帜，对开创一代画风起了积极的作用。然而，由于赵孟頫与“元四家”的山水画更符合文人重笔墨、尚意趣的审美观念，和他们相比，钱选对后世的影响便略逊一筹了。",[2495,2544,2496,2497,2498,2500,2546,2510,2547,2501,2506,2508,2988,2507,2902,2595,5071,2730],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8cf429f09a10060fba89347fd3819ea.jpg","纵27厘米, 横115.9厘米",[6,2534],{"id":670,"slug":8638,"title":8639,"dynasty":2605,"author":6523,"museum":2673,"description":8640,"tags":8641,"thumbUrl":8642,"material":8477,"size":8643,"collection":2624,"collections":8644,"showCount":8628,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"xue-zhan-xing-qi-tu-ye-liang-kai-221617","雪栈行骑图页","画中表现了深冬山中，白雪覆盖了山林，两位行人骑着牲口匆匆赶路的情景。技法上基本是以没骨方式染出雪山，以少许淡墨略皴，用生动的笔划画出人物与丛树。整幅画用笔很少，反映了梁楷的“画法简逸”、“惜墨如金”的风格。",[2495,2496,2499,2592,2509,2544,2501,3078,3091,2960,2549,2621],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbecd869a79db686331de7ca8c64673f.jpg","纵23.5、横24.2厘米",[2624,6,2534],{"id":671,"slug":8646,"title":8647,"dynasty":2522,"author":8648,"museum":2563,"description":8649,"tags":8650,"thumbUrl":8651,"material":2597,"size":8652,"collection":6,"collections":8653,"showCount":8628,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"shan-yin-yun-xue-tu-fang-cong-yi-218911","山阴云雪图","方从义","这幅画的构图相当简单，只是在山顶和树上有一股烟和雾。水墨的使用非常丰富，给树木、岩石、云朵和山峰带来不同的表情和质感。画笔充满了水分，云朵和烟雾似乎随着水分漂浮和移动。虽然这幅画很小，但它显示了一种令人兴奋的水墨节奏。",[2495,2496,2497,2577,2499,2509,2547,2510,2511,2501,2714,3208,3078,2593,2611,2507,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6ec60bc5870f2b71d67a4af41f89a6c.jpg","62.6x25.5厘米",[6],{"id":672,"slug":8655,"title":8656,"dynasty":2605,"author":3431,"museum":2563,"description":8657,"tags":8658,"thumbUrl":8659,"material":2567,"size":8660,"collection":6,"collections":8661,"showCount":8628,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"song-ren-ji-hui-han-shan-xing-lv-yi-ming-218806","宋人集绘-寒山行旅","本页绘一轮明月高悬天际，其下寒江平展，枯树横生蟹爪，景色萧疏空阔。近处坡丘二起，左丘上，古松成双，参差挺峙。松下亭中，有旅人坐憩。两丘间，土桥横江相连，沿著右丘，小径一路蜿蜒东去，丘势亦转成峰，环抱于江渚之后。行旅三两或骑或行，殆欲踏寒归去。山石形若卷云，皴法笔势劲捷，遥山远树则用染与前景分虚实，空间的气氛感颇为独到。",[2495,2496,2544,2497,2592,2509,2499,2501,2714,2578,2800,2549,2677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8b5a6304e7640a65792a19ed547c98.jpg","25.2x26.3",[6],{"id":673,"slug":8663,"title":8664,"dynasty":2522,"author":3431,"museum":8665,"description":8666,"tags":8667,"thumbUrl":8668,"material":2567,"size":8669,"collection":6,"collections":8670,"showCount":8628,"zanCount":2826,"manualWeight":2517,"mainColor":2559},"qing-shan-hua-ge-tu-yi-ming-218225","青山画阁图","朵云轩","此图绘重峦之中的楼阁，游人漫步其中，凭栏远眺，两 只小舟荡于溪水之上。山石的画法受郭熙影响，界画楼阁手法工谨，当属职业画家所创作的山水楼阁画。",[2496,2497,2833,2500,2545,2509,4786,2550,2502,2503,2506,2507,3207],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F460d65a40c463c3ffa5784432d4acd69.jpg","170x103cm",[6],{"id":674,"slug":8672,"title":8673,"dynasty":2490,"author":3431,"museum":5068,"description":8674,"tags":8675,"thumbUrl":8676,"material":2567,"size":8677,"collection":6,"collections":8678,"showCount":8628,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-zhuang-guan-he-tu-yi-ming-217911","山庄观鹤图","山庄观鹤图是明朝时期的一幅名画，作者是佚名画家。这幅画描绘了一座山庄，山庄周围群山环抱，绿树成荫，空气清新。在山庄的前院，有一只鹤正在观赏花草，显得十分和善。这幅画浓烈的山水意境，深刻地表现出了古人对自然界的敬畏和虔诚，同时也展现了明朝画家独特的画风和技巧。",[2496,2577,2500,2501,2509,2549,2505,2502,2503,2550,2506,2507,3011],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2fad8a02e60f7dc3edd0d39a2250f75.jpg","195.5x99cm",[6],{"id":675,"slug":8680,"title":8681,"dynasty":2632,"author":8682,"museum":2634,"description":8683,"tags":8684,"thumbUrl":8686,"material":2732,"size":8687,"collection":6,"collections":8688,"showCount":8689,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fu-gui-qing-gao-tu-gao-feng-han-222634","富贵清高图","高凤翰","高凤翰 （1683—1748）清朝，原名翰，字西园，号南村，别号因地、因时、因病等40多个，晚署南阜左手等，山东胶州人。一说“扬州八怪”之一。自幼能诗画，诗宗陆游，画先从父，后从胶州李世锡、淄州靳秋水、安邱张氏父子等，早年即已成名〔清雍正六年（1728）以前的画，现各地珍藏多幅〕。19岁时，中秀才，后应乡试不第。雍正五年，应“贤良方正”特试，名列第一。赴任前，漫游山东、河南、江西等地，广交名人，并有诗集《击林集》、《湖海集》。金石书画造诣很高，治砚更有独到研究。\n工书、画，善山水，纵逸不拘于法，纯以气胜，兼北宋之雄浑，元人之静逸。花卉亦妙是天趣。老年患风 ，右臂不仁，用左手作画，笔益苍辣，故号尚左生，归云老人，博学精艺，尤豪于诗，早为王士祯所赏识。性嗜砚，所藏至千余，大半手琢，自为铭词。因刻“丁巳残人”“尚左生”二印，官徽州绩溪县令，有政声，康熙五十九年（1720）客安邱张卯居家，张为作《南村草堂图》，西园为作《杞城别墅图》以报之，乾隆十二年（1747）为其孙攀鳞作《寒香图》卷，有《砚史》、《南阜诗抄》。卒年六十六岁。（按高凤翰生卒年，王伯敏《中国绘画史》作（16338-1719），享年八十二岁；秦岭云《杨州八家丛话》作（1863-1749）六十七岁。其说不一，待考。\n雍正十一年官泰州巡盐分司。去职后流寓扬州。工于山水，花卉，山水师法宋人，近赵令穰、郭熙一路，中年以后，到了江南，与扬州画派画家如金农、郑燮、高翔、李方膺、边寿民等相往还，画风相互影响，多作花卉树石，笔法奔放，纵逸不拘成法。亦能画人物，造型准确，神态潇洒秀逸。晚年则趋于奔放纵逸。乾隆二年丁巳右臂病发，坚持用左臂，自号后尚左先、丁巳残人，艰苦力学，书、画为之一变，生拗苍劲，更富奇趣，为时所称。传世画迹有南京博物院藏《层雪炉香图》轴、中央美术学院藏《秋山读书图》轴等。\n工书法，善篆刻，喜收藏，精鉴赏，曾收藏秦汉印章及明清名家制印至万余方，各制有谱录，又收藏砚石至千百方，并制有铭词，手书后大半自行刻凿，著有《砚史》等行世。\n亦被列为扬州八怪之一。有《南阜山人全集》等著作传于世。",[2495,2544,2496,2497,2498,2500,2499,3010,2511,8685,2547,2976,3455],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2e34057c86c9d6e4d85db7601af0f57.jpg","567.8x21.1",[6,2626],75,{"id":676,"slug":8691,"title":8692,"dynasty":2490,"author":3264,"museum":2563,"description":8693,"tags":8694,"thumbUrl":8695,"material":4016,"size":8696,"collection":6,"collections":8697,"showCount":8689,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shi-deng-fei-liu-zhou-dong-qi-chang-220944","石磴飞流轴","石磴飞流图是董其昌72岁时游昆山玉峰山途中在船上所画，此时他刚辞去南京礼部尚书回乡。这幅作品为董氏艺术成熟期的作品，虽不是他一生众多画作中最重要之作，但却是“以笔墨精妙论山水不及画”的笔墨论实践之作。\n董其昌自22岁学画，到中年时期与陈继儒联手反对“吴门”末学之俗，开创并打造儒雅的松江画派，“与古人血战”，临仿了大量古画后，在晚年更加注重笔墨表现，注重内心表达。他用极高的书法造诣，以“南宗”自诩，追求“一超直入如来地”之境，把绘画视为笔墨游戏。",[2495,2496,2497,2577,2499,2509,2510,2511,2501,3839,2503,2902,2506,2677,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fda8d74c54c52559b8ba3589a42552e.jpg","147.1×55.8cm",[6,2626],{"id":677,"slug":8699,"title":8700,"dynasty":2490,"author":3264,"museum":2563,"description":8701,"tags":8702,"thumbUrl":8703,"material":2732,"size":8704,"collection":6,"collections":8705,"showCount":8689,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"qi-feng-bai-yun-tu-zhou-dong-qi-chang-220939","奇峰白云图轴","董其昌《奇峰白云图轴》，纵273厘米，横58.9厘米，中国台北故宫博物馆藏。董其昌，字玄宰，号思白，华亭（今上海）人。万历十六年进士，官至礼部尚书。精鉴藏，工书善画。山水宗董巨，集宋元诸家之长。倡南北宗论，以南宗为正统，对清代画坛影响甚巨。\n\n此轴董氏描绘山村小景，境本寻常。奇峰矗立于天外，云影项洞于林表，遂觉景况清爽，分外宜人。画山画树皆用淡墨起手，逐层加浓。树中如有烟气，山色明净而郁厚，盖皆用墨之功也。\n\n由于勤奋和高寿，董其昌一生创作了许多山水画，“早年英锐，中年苍润，晚年纯以骨力胜”。据著录所载，董氏作品之多，在明代画家中仅有文征明可与之相比。这些山水画的题材比较丰富，大致可分为两类：一类是仿古名家的作品，如仿王维《寒林远岫图》、仿董源《夏口待渡图》、仿巨然《出云降雨图》、仿米芾《潇湘白云图》、仿王诜《烟江叠嶂图》、仿赵伯驹《春山读书图》、仿米友仁《楚山清晓图》、仿赵令穰《江乡清夏图》、仿高克恭《夏山烟雨图》、仿黄公望《富春山居图》、仿王蒙《云山小隐图》、仿倪瓒《横云秋霁图》、仿沈周《岚容川色图》等。这类作品虽称仿作，但不是模拟蹈袭，而是在学习前人技法的同时，融以自己的风格，含有继承传统、进而创新的成分。\n\n另一类是独自的创作，如《升山图》（现藏南京博物院）、《遥峰泼翠图》、《山川出云图》、《赠逊之山水图册》、《秋兴八景图册》（现藏上海博物馆）、《岩居图》、《潇湘奇观图》（现藏故宫博物院）、《霜林秋思图》、《婉娈草堂图》（现藏台北士林故宫博物院）、《山水八景图》（现藏美国普林斯顿大学美术馆）、《江山秋霁图》（现藏美国克里夫兰美术馆）等。",[2495,2496,2497,2577,2499,2509,2510,2547,2501,8442,3637,2506,2508,2507,2528,2614,2595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e37fd90d7727b977ad5b9503509c64c.jpg","纵273厘米,横58.9厘米",[6,2626],{"id":678,"slug":8707,"title":8708,"dynasty":2490,"author":3264,"museum":2563,"description":4938,"tags":8709,"thumbUrl":8710,"material":4941,"size":2598,"collection":6,"collections":8711,"showCount":8689,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"fang-fan-kuan-xi-shan-xing-lv-tu-dong-qi-chang-220935","仿范宽谿山行旅图",[2496,2497,2501,2676,2509,2499,2500,2507,2651,2506,2800,2652,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6af289c5e3cc8977a1679c323cf75a.jpg",[6,2626],{"id":679,"slug":8713,"title":8714,"dynasty":2490,"author":8715,"museum":2673,"description":8716,"tags":8717,"thumbUrl":8718,"material":2567,"size":8719,"collection":6,"collections":8720,"showCount":8689,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"yan-dang-shan-tu-ye-cheng-220077","雁荡山图","叶澄","此图描绘的是位于浙江省境内号称东南第一山的北雁荡山。画卷徐徐展开，一处处风景逐渐展现，按作者以小字标出的各处风景的名称，计有石门潭、章毅楼、石佛岩、石樑洞、灵风洞、罗汉洞、净明寺、蓼花峰、响岩等。作者对景写生，笔底风景各具奇姿，虽仅是雁荡山的一部分，却已展现出它的奇秀特色和壮阔气势。\n图中作者行笔尖峭细劲，山间林木、点景人物乃至溪边乱石均刻画细致。山岩的外轮廓线方折挺劲，山体内部则将一种尖峭而锐利的短皴线与短促劲健的小斧劈皴相结合，同时以墨加色淡施晕染。繁密细劲的用笔与丰富的用色使画面气氛趋于活跃，极好地表现出雁荡山奇异、秀美的景色特征。远山空勾轮廓，染以花青，山间云气迷濛，更加强了画面的层次感。\n叶澄传世作品极少，而此图艺术水平之高堪称杰作。正如清初著名收藏家梁清标对此图的评价：“堪称希世宝。……不啻超出乎唐、宋、元各大家名迹矣。”",[2495,2496,2497,2498,2499,2500,2501,2509,2714,2652,2506,2614,2503,3136,8442],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6534892800d8681db97877a358ee5574.jpg","纵35厘米，横290.3厘米",[6,2534],{"id":680,"slug":8722,"title":8723,"dynasty":2632,"author":5644,"museum":2763,"description":6084,"tags":8724,"thumbUrl":8725,"material":2512,"size":6087,"collection":6,"collections":8726,"showCount":8689,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-si-jing-zhi-dong-kun-can-219758","山水四景之冬",[2495,2496,2497,2499,2501,2913,2578,2504,2503,2507,2509,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e12908bdfbb0b49c1ea3f005a312023.jpg",[6],{"id":681,"slug":8728,"title":3183,"dynasty":2632,"author":3877,"museum":2763,"description":8729,"tags":8730,"thumbUrl":8731,"material":2512,"size":2598,"collection":6,"collections":8732,"showCount":8689,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-zhu-da-219756","以枯淡笔墨绘就天地疏景，线条老辣苍劲，不作浓艳晕染，大片留白代水映天，尽显空寂辽远。远山浅勾轻皴，淡宕朦胧如幻，近木虬曲怪诞，寥寥枝桠撑住清寒风骨。屋舍隐于林间坡岸，愈发衬出天地阒寂。\n\n整幅画将孤高沉郁藏在极简构图里，冷逸萧索的意境下，是遗世的喟叹，简淡笔触中尽是疏离孤傲的心境，于空荒冷寂间，晕开独有的禅意与沉郁诗意。",[2495,2496,2497,2499,2637,2509,2501,3091,2507,2594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fb58644b54bbcc9aee7fe0bc1916a47.jpg",[6],{"id":682,"slug":8734,"title":3916,"dynasty":7780,"author":8735,"museum":4366,"description":8736,"tags":8737,"thumbUrl":8738,"material":2567,"size":8739,"collection":6,"collections":8740,"showCount":8689,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"xue-jing-shan-shui-tu-chao-xian-yi-ming-219240","朝鲜·佚名","寒峰如簇，积雪裹岩，皴笔勾勒出山峦苍劲骨相，淡墨晕染雪层蓬松柔意。谷底溪流缓淌，孤舟横卧，几椽屋舍隐于松雪间，似有暖意从窗棂溢出。素褐底色上，雪色留白相映，静谧中透着清寂，萧瑟里藏着生机。笔墨简练却意趣丰盈，将冬日山水的空濛悠远凝于尺幅，仿佛能听见落雪簌簌、流水潺潺，尽显东方水墨的含蓄之美与自然哲思。",[2495,2496,2577,2499,2509,2501,3078,2714,2715,2506,2508,2504,2977,2613,2502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F895d5a2e9d62434a58f25d76c0290f0a.jpg","92.4x52.7厘米",[6],{"id":683,"slug":8742,"title":8743,"dynasty":2522,"author":7089,"museum":2563,"description":8744,"tags":8745,"thumbUrl":8746,"material":2512,"size":8747,"collection":6,"collections":8748,"showCount":8689,"zanCount":2872,"manualWeight":2517,"mainColor":2518},"cai-ling-tu-zhao-yong-219010","采菱图","树木的笔触是受李成和郭熙的笔触启发。船只沿着溪流漂浮，叶子上满是水葫芦，没有留下任何空隙。然而，在上图中，天空是半圆的，给人一种河流和天空的开放感。这幅画完成于1342年（至正二年十月），时年54岁。",[2495,2496,2499,2500,2509,2510,2547,2501,2902,2507,2508,2506,2594,4702],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41588ce7a9410018582e96d9a4f91e8e.jpg","107.6x35.1",[6],{"id":684,"slug":8750,"title":8751,"dynasty":2522,"author":3907,"museum":2973,"description":8752,"tags":8753,"thumbUrl":8754,"material":2567,"size":8755,"collection":2870,"collections":8756,"showCount":8689,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"cang-jiang-heng-di-tu-sheng-mao-218239","沧江横笛图","此图所描绘的是一幅江畔秋景。画面远处烟波浩渺，青山伏卧，一派江南平淡幽远的山水景色。近处岸边斜伸出几棵大树，阵风吹过，落叶萧然，惊起的三、五只雀鸟，或飞或栖，自在悠然。树下渔人临风横笛，神情专注。",[2496,2577,2500,2501,2549,2593,2552,3965,4462,2595,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f90e787aa60094f0aca0e0ed0c9958b.jpg","纵84.8厘米，横47.1厘米",[2870,6],{"id":685,"slug":8758,"title":8759,"dynasty":2632,"author":8760,"museum":2818,"description":8761,"tags":8762,"thumbUrl":8763,"material":2598,"size":2598,"collection":6,"collections":8764,"showCount":8765,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"yang-jin-fang-gu-shan-shui-ce-yang-jin-237876","杨晋仿古山水册","杨晋","杨晋 （1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。\n杨晋是清代宫廷画家，以画界画见长，他能恰到好处地发挥传统工笔界画的特长，把人工建筑的楼阁台榭及人物举止和天然山水景色紧密结合起来，在结构上作了极好的剪裁，满而不闷，画风细致明秀、娟丽清新，层次过渡非常自然。《石谷骑牛图》绘石谷悠然骑于牛背之上，神态安详平和，状写简逸传神。石谷即清代大画家王翚，也是杨晋的老师。",[2496,2497,2592,2500,2501,2509,2676,2502,2503,2578,2714,2552,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e76ccbd855cb58e9845ece47e79c5f.jpg",[6,2534],74,{"id":686,"slug":8767,"title":8768,"dynasty":2605,"author":8769,"museum":5626,"description":8770,"tags":8771,"thumbUrl":8772,"material":2720,"size":8773,"collection":2624,"collections":8774,"showCount":8765,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"song-shan-xing-lv-tu-li-shan-221680","松杉行旅图","李山","图中一排劲松顶天立地，犹如一天然屏嶂，背景雪山寒雾之中，隐现雪竹、庭院、溪流，立意别出心裁，技法有北宋李成画风的迹象。",[2495,2544,2496,2497,2577,2499,2509,2501,2779,3839,2549,2502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93a9d7a7b39ad254c492ab8c13f18c80.jpg","163.6*107.2CM",[2624,6,2626],{"id":687,"slug":8776,"title":8777,"dynasty":2490,"author":3264,"museum":3039,"description":8778,"tags":8779,"thumbUrl":8780,"material":8781,"size":8782,"collection":6,"collections":8783,"showCount":8765,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xiao-xiang-bai-yun-tu-dong-qi-chang-220955","潇湘白云图","董其昌，字玄宰，号思白，华亭（今上海）人。万历十六年进士，官至礼部尚书。精鉴藏，工书善画。山水宗董巨，集宋元诸家之长。倡南北宗论，以南宗为正统，对清代画坛影响甚巨。\n此轴董氏描绘山村小景，境本寻常。奇峰矗立于天外，云影项洞于林表，遂觉景况清爽，分外宜人。画山画树皆用淡墨起手，逐层加浓。树中如有烟气，山色明净而郁厚，盖皆用墨之功也。\n由于勤奋和高寿，董其昌一生创作了许多山水画，“早年英锐，中年苍润，晚年纯以骨力胜”。据著录所载，董氏作品之多，在明代画家中仅有文征明可与之相比。这些山水画的题材比较丰富，大致可分为两类：一类是仿古名家的作品，如仿王维《寒林远岫图》、仿董源《夏口待渡图》、仿巨然《出云降雨图》、仿米芾《潇湘白云图》、仿王诜《烟江叠嶂图》、仿赵伯驹《春山读书图》、仿米友仁《楚山清晓图》、仿赵令穰《江乡清夏图》、仿高克恭《夏山烟雨图》、仿黄公望《富春山居图》、仿王蒙《云山小隐图》、仿倪瓒《横云秋霁图》、仿沈周《岚容川色图》等。这类作品虽称仿作，但不是摸拟蹈袭，而是在学习前人技法的同时，融以自己的风格，含有继承传统、进而创新的成分。\n另一类是独自的创作，如《升山图》（现藏南京博物院）、《遥峰泼翠图》、《山川出云图》、《赠逊之山水图册》、《秋兴八景图册》（现藏上海博物馆）、《岩居图》、《潇湘奇观图》（现藏故宫博物院）、《霜林秋思图》、《婉娈草堂图》（现藏台北士林故宫博物院）、《山水八景图》（现藏美国普林斯顿大学美术馆）、《江山秋霁图》（现藏美国克里夫兰美术馆）等。",[2495,2496,2497,2498,2499,2511,2509,2714,3208,2506,2508,2529,2613,2595,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3151f35931331bfc154487fa44cd8cf8.jpg","长卷，纸本水墨","纵29.3厘米，横340.8厘米",[6,2626],{"id":688,"slug":8785,"title":8786,"dynasty":2522,"author":2588,"museum":2673,"description":8787,"tags":8788,"thumbUrl":8789,"material":2732,"size":8790,"collection":6,"collections":8791,"showCount":8765,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xi-jiao-cao-tang-tu-zhou-wang-meng-220823","西郊草堂图轴","图中绘秋天平远景色。近岸草堂、竹篱掩映于树丛之中，岸边系舟，主人与妻子在屋中各行其是。院后湖面空阔，水波不兴，仅露一段岸角丛树，远山一带，渐远渐淡，没入天际。构图、用笔均较简洁，表现出了江南水乡秋季明净寥落的景色特征。\n深秋茂密的林阴下有茅舍数座，一老翁坐室内案旁读书，旁屋内二仕女侍读。门前清溪潺潺，小船停泊。屋后平湖汀渚，一叶轻舟载客行于湖心，打破了画面的沉寂。远方群山烟林，意境清幽。全图笔墨工细秀逸，构图新颖，为王蒙山水画优秀之作。",[2496,2499,2500,2509,2501,2578,2549,2504,2552,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedd459330bfb44d64cef6e2da24450ad.jpg","纵97cm ，横27.2cm",[6,2626],{"id":689,"slug":8793,"title":8794,"dynasty":2522,"author":2588,"museum":2563,"description":8795,"tags":8796,"thumbUrl":8797,"material":2732,"size":8798,"collection":6,"collections":8799,"showCount":8765,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"shan-zhong-gui-yin-tu-wang-meng-220814","山中归隐图","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[2495,2496,2544,2501,2499,2577,2509,2714,2715,2506,2611,2730,2652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379454c3f48628ae11d76f352c7e53a4.jpg","该幅 140.7x53.4公分；全幅 78公分",[6,2626],{"id":690,"slug":8801,"title":8802,"dynasty":2522,"author":7572,"museum":3121,"description":8803,"tags":8804,"thumbUrl":8805,"material":3157,"size":8806,"collection":6,"collections":8807,"showCount":8765,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"huang-lou-fu-tu-xia-yong-218718","黄楼赋图","这幅画宽度仅有二十多厘米，却无比精细的描画了整个黄楼，窗边饮酒赋诗的文人。用蝇头小楷写了苏辙的千字文“黄楼赋”。还有驾鹤西游的神仙。",[2495,2496,2497,2790,3898,2499,2550,2501,2552,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6345fb2b38d0c73179bba1049f675384.jpg","20.6x26.7cm",[6,2626],{"id":691,"slug":8809,"title":8810,"dynasty":2632,"author":6249,"museum":2673,"description":8811,"tags":8812,"thumbUrl":8813,"material":2512,"size":8814,"collection":6,"collections":8815,"showCount":8765,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"ming-shan-fang-sheng-tu-cha-shi-biao-218467","名山访胜图","层峦叠嶂间，小径蜿蜒探入深林，溪流穿石而过，泠泠水声漫过石桥。苍松翠竹错落，墨色浓淡相宜——淡染的远山隐在云气中，含烟带雾；近坡的茅屋隐约，似有隐士栖居，添几分幽寂。笔触疏朗灵动，皴擦见山石肌理，水墨晕染出空濛之境，尽显山林清旷之趣。整幅画如淡远的诗，将寻访名山的雅致与自然静谧融于尺幅，引人入胜，心向往之。",[2495,2496,2499,2509,2501,2505,2502,2503,2506,2800,2677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F768529aa0c136cf7b2f2fb8485abd65f.jpg","150×58cm",[6],{"id":692,"slug":8817,"title":8818,"dynasty":2632,"author":8819,"museum":2673,"description":8820,"tags":8821,"thumbUrl":8822,"material":2867,"size":8823,"collection":2870,"collections":8824,"showCount":8825,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"ren-wu-shan-shui-ce-luo-pin-233442","人物山水册","罗聘","中国清代画家罗聘传世代表作。罗聘(1733～1799)，字遯夫，号两峰，又号花之寺僧，安徽歙县人。善画人物、佛像、花卉、山水。此图纸本，设色，纵24.2厘米，横30.7厘米。计12开：\n春柳行舟。一人站立船头。自书七言诗，并题:“冬心先生句并摹其用笔”。钤“两”“峰”印。\n春景山水。桃花盛开，一人站立桥头。自书七言诗，钤“罗聘私印”印。\n夜景山水。一人曳杖于池上行走。自书七言诗。钤“两”“峰”印。\n绿柳红桥。一人策杖立于树下。自书七言诗，钤“两”“峰”印。\n月波吹笛。自书冬心先生自度曲意。钤“遯夫”印。\n芦萍画舫。自题七言诗。印“罗两峰”印。土台流泉。二人松窗弈棋。自书七言诗。钤“遯夫”印。\n婡洎竹頭樤林僧人领鹤。自书七言诗。钤“遯夫”印。\n荷塘柳亭。自书冬心先生自度曲。钤“罗聘私印”。\n秋风落叶。一人独立空亭。自书七言诗。钤“罗聘私印”。\n晚风归舟。墨笔画。自书七言诗，钤“罗聘私印”。\n闭门赏梅。自书七言诗。款“广陵罗聘”,钤“两”“峰”印。\n无年款，似罗聘中年用心之作。\n后幅勒方锜题记。现藏故宫博物院。",[2496,2499,2500,2592,2549,2501,2504,2503,2578,4231,2891,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1a819271c2f702af1a4af64f0b7b134.jpg","纵24.2厘米，横30.7厘米",[2870,6,2534],73,{"id":693,"slug":8827,"title":8828,"dynasty":2605,"author":3431,"museum":2673,"description":8829,"tags":8830,"thumbUrl":8831,"material":8832,"size":8833,"collection":2624,"collections":8834,"showCount":8825,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"xi-shan-chun-xiao-tu-yi-ming-223563","溪山春晓图","旧传僧人惠崇所作。惠崇「工画鹅雁鹭鸶，尤工小景，善为寒汀远渚、潇洒虚旷之象，人所难到也」（北宋郭若虚语）。",[2495,2544,2496,2497,2498,2500,2501,2506,2502,2503,2504,2508,2509,2546,2548],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9802966519f6b19d2e432610d96478.jpg","絹本設色","纵24.5厘米，横185.5厘米",[2624,6,2626],{"id":694,"slug":8836,"title":8837,"dynasty":2490,"author":7219,"museum":2673,"description":8838,"tags":8839,"thumbUrl":8841,"material":2867,"size":8842,"collection":6,"collections":8843,"showCount":8825,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"nan-xi-cao-tang-tu-juan-wen-bo-ren-222223","南溪草堂图卷","在明代吴门地区的绘画中，以名人的室名、别号为题材或描绘文人、官宦所居庄园、别墅景观的作品为数众多，此图即属于后一种。根据卷后王穉登所撰《重建南溪草堂记》可知，此图描绘的是江南望族顾氏的庄园“南溪草堂”重修后的景致。\n图中水道蜿蜒纵横，竹林丛树、渔舟小桥、草堂庙宇等散布杂错，建筑与自然景物融为一体，自然和谐。虽有农田、药圃，但无农人艰辛劳作之状，表现的是江南文人泛舟读书的优雅闲适的生活。图中庄园较之一般江南园林的文雅精致，另有一种田园野趣，别具特色。\n全画构图密而不乱，平坡土石以干笔勾勒、皴染，树冠枝叶多以极富变化的墨点画成，点染兼用，间或出以双勾，皆富于层次感。全图笔墨清劲简洁，风格柔和明秀，代表了文伯仁晚年的典型艺术风貌。\n近人汪士元《麓云楼书画论略》著录。",[2495,2496,2498,2500,2509,2501,2502,2503,2505,2506,2730,2504,2549,8840,2507,3136],"田亩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F318c928a273f8a65e6b7ff89c010e31d.jpg","纵34.8厘米，横713.5厘米",[6,2534],{"id":695,"slug":8845,"title":8846,"dynasty":2490,"author":8847,"museum":2818,"description":8848,"tags":8849,"thumbUrl":8850,"material":2867,"size":8851,"collection":6,"collections":8852,"showCount":8825,"zanCount":3048,"manualWeight":2517,"mainColor":2518},"xue-jing-tu-zhang-peng-222050","雪景图","张鹏","图上山顶白雪霭霭，近处树木枝叉覆盖着薄雪，一老翁身着蓑衣，头戴小帽，坐于船头，悠闲的垂钓；此时水面的平静，树木、群山笼罩在白雪中，似乎一切都是静止的。技法上，雪山以粗细条勾勒，淡色晕染山体。张鹏，字应秋，号云程，明代画家，",[2495,2496,2499,2509,2501,2577,3166,2507,3091,2504,2821,2550,3880],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc970e3e8eb98d514e0fe6f4f1bfacc34.jpg","97X53cm",[6,2626],{"id":696,"slug":8854,"title":3183,"dynasty":2605,"author":2699,"museum":2563,"description":8855,"tags":8856,"thumbUrl":8857,"material":2500,"size":8858,"collection":6,"collections":8859,"showCount":8825,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-tu-xia-gui-221226","夏圭 (公元12世纪末-13世纪初) 亦称夏珪,字禹玉,钱塘(今浙江杭州)人,生卒不详,宁宗赵扩 (1195-1224)朝时画院待诏,赐金带。以擅绘山水而与同代的李唐、刘松年、马远一起被并称为“南宋四家”。在四家之中,夏圭以善于剪裁与美化自然景物的“边角景”构图,与同僚马远齐名,号称“马夏”。《山水家法》论他“气韵尤高,宜为一代名士”;《图绘宝鉴》评他:“院人中画山水,自李唐以下无出其右者也”,以此可见其在画史之中的地位。夏圭在画史之中的地位虽然显赫,但存留作品不多,且历来学术界对他的作品存在很大争议,直至目前尚很少有作品被一致公认是他的真迹。",[2495,2544,2496,2497,2501,2499,2509,2504,2578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95425229909f712a7e6095adf133d631.jpg","245x59.2",[6,2626],{"id":697,"slug":8861,"title":8862,"dynasty":2490,"author":7947,"museum":2589,"description":8863,"tags":8864,"thumbUrl":8865,"material":2567,"size":8866,"collection":6,"collections":8867,"showCount":8825,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"han-lin-xing-lv-tu-xie-shi-chen-220068","寒林行旅图","画面以高远、平远之境铺陈，危崖层叠向上，虬松枯木扎根岩隙，枝桠劲挺尽显冬日元气。中层江天寥廓，远帆点点，衬出寒山空寂萧疏。近处以栈道行旅、山居茅舍破了荒寒，添上烟火暖意。\n\n笔墨兼融雄健与雅致，斧劈皴勾勒山石嶙峋质感，枯笔写木，笔力苍劲老辣，既绘出冬日山林的清寂荒寒，又暗藏旅人赶路的生趣，将山野冷意与人情暖意相融，大气苍莽又不失细腻意韵。",[2496,2499,2509,2577,2501,3079,2612,2507,2611,2549,2960,2504,2506,2800,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa68c24099e5a53a7f113148c70a7c46.jpg","151.5x74",[6],{"id":698,"slug":8869,"title":8870,"dynasty":2490,"author":7947,"museum":3121,"description":8871,"tags":8872,"thumbUrl":8873,"material":2567,"size":8874,"collection":6,"collections":8875,"showCount":8825,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"song-xi-qin-ke-tu-xie-shi-chen-219716","松溪琴客图","危峰层叠巍峨，苍松盘桓于崖壁间，飞瀑隐入烟岚。中部水面空濛留白，汀渚间楼宇半掩，将山野空寂的悠远铺展开来。近岸老松郁茂，清溪蜿蜒穿林，松下雅士围坐，琴韵似随溪水潺潺漫溢山林。\n\n笔墨兼取刚劲与秀润，皴擦点染勾勒出山石肌理的苍劲，淡墨晕染烟霭，虚实相生间，将雄阔山水之壮与林泉雅集之逸相融，把文人寄情丘壑、静享幽居的意趣藏进每一处留白，绘就出一卷兼具大气与闲雅的山居清景。",[2496,2497,2544,2577,2499,2500,2509,2501,2902,2503,2611,2549,2507,2506,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa866c2cd2f276fdb3cca85d0d64f70.jpg","141x71.1厘米",[6],{"id":699,"slug":8877,"title":8878,"dynasty":2490,"author":8879,"museum":2563,"description":8880,"tags":8881,"thumbUrl":8884,"material":2500,"size":8885,"collection":6,"collections":8886,"showCount":8825,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"chun-shan-xi-ge-tu-lu-zhi-219458","春山溪阁图","陆治","弘治九年（1496年）生。世代耕读，其父与文徵明有交谊，遂从学于文徵明门下。早年为诸生，屡试不中，转为书画，善画山水、花鸟。隐居支硎山。",[2496,2500,2501,2509,8882,8883,2502,2503,2506,2507,2550],"春山","溪阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd616fa2129ced1c381c18d595332f452.jpg","118.5x66.1",[6],{"id":700,"slug":8888,"title":8889,"dynasty":2632,"author":8890,"museum":2673,"description":8891,"tags":8892,"thumbUrl":8894,"material":2512,"size":8895,"collection":6,"collections":8896,"showCount":8825,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"tao-yuan-tu-wu-wei-ye-218377","桃源图","吴伟业","此画近景一片崎岖不平的丘陵地带，山势平缓，山头林立，如鱼鳞状似的。山间松柏竞相生长，间以杂木和草木遍布山间和山脚下，远见为山重水复，一片又一片宽阔平坦的田野，沃土月巴田，田畴连遍，犹如龟背纹一般。阡陌间和丛树下村舍遍布。在平坦的平野上有宽阔的湖泊，如镶嵌着一面面平镜，闪烁发光。湖面两岸桃林遍野，鲜花盛开，在湖间渔舟忙碌地来回如穿梭似的。山中疏树流泉，白云缭绕。后纸有近代颜乙题记四段，曾经近代任振廷收藏。",[2495,2496,2497,2498,2500,2546,2509,2510,2511,2547,2501,2548,2651,2528,5051,2506,2502,2503,5864,2614,2730,8893,2613],"梯田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa11e4a5643cc8a463685f001fe4aa2ef.jpg","纵29.4厘米，横375.1厘米",[6],{"id":701,"slug":8898,"title":8899,"dynasty":2490,"author":8900,"museum":6780,"description":8901,"tags":8902,"thumbUrl":8903,"material":2732,"size":8904,"collection":6,"collections":8905,"showCount":8825,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"ri-ben-zu-shi-tu-shou-ye-yuan-xin-216742","日本· 祖师图","狩野元信","室町后期画家，称大炊助。受父亲正信水墨画风的影响，加入浓彩的技巧，从而集狩野派新风格之大成。后世称其为古法眼。",[2495,7784,2577,8088,2500,2546,2509,2501,2549,2611,2578,2507,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6889f3bb0ca60e1076055189342bb67.jpg","176.0x91.8",[6],{"id":702,"slug":8907,"title":8908,"dynasty":2490,"author":6057,"museum":2673,"description":8909,"tags":8910,"thumbUrl":8911,"material":5648,"size":8912,"collection":6,"collections":8913,"showCount":8914,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"xie-qin-fang-you-tu-zhou-sun-zhi-236306","携琴访友图轴","在历代抱琴与携琴图中，多是主人负手举步，缓缓前行，身后跟着抱琴童子。琴多在琴囊之中或被书童抱在怀里，线条干净简单。“我醉欲眠君且去，明朝有意抱琴来”，携琴访友的题材，历代均有描绘，如宋代范宽，明代文徵明、戴进、孙枝，清代陈卓、王翚、黄慎等都有名为《携琴访友图》的作品。代表了一种处于进行时的文士风雅，雅集即将开幕，雅乐即将奏响，一切处于将发而未发之状态，与含蓄蕴藉的古琴精神相合，甚至比对面抚琴更让人有所期待",[2496,2499,2509,2577,2501,2502,2503,2549,2505,2506,2507,2611,2552,5512],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa969847ed7cf030565acd834b399bb46.jpg","纵121.3cm，横31.5cm",[6,2626],72,{"id":703,"slug":8916,"title":8917,"dynasty":2632,"author":6420,"museum":8918,"description":8919,"tags":8920,"thumbUrl":8921,"material":2867,"size":8922,"collection":6,"collections":8923,"showCount":8914,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"shi-zi-lin-tu-juan-qian-wei-cheng-222698","狮子林图卷","加拿大阿尔伯特博物馆","画家以平铺式绘狮子林全景，园林内山石耸立，古木参天，道路蜿蜒崎岖，房屋掩映山石之中，廊亭依水而建，九曲婉转；远处云雾升腾，一片苍茫，如临仙境。",[2495,2496,2497,2498,2500,2501,2509,2546,2510,2511,2547,2507,2550,2502,2503,2505,2506,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c6fe4918e5ed6590b2c6de0b736a8fd.jpg","187.3＊38.1cm",[6,2534],{"id":704,"slug":8925,"title":8926,"dynasty":2632,"author":2633,"museum":2634,"description":2635,"tags":8927,"thumbUrl":8928,"material":2639,"size":2640,"collection":6,"collections":8929,"showCount":8914,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"tao-hua-yuan-tu-juan-huang-shen-222672","桃花源图卷",[2495,2496,2498,2500,2509,2548,2550,2503,2504,2549,2501],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2af1485e8add576fe39965e2d112d3a5.jpg",[6,2534],{"id":705,"slug":8931,"title":8932,"dynasty":2490,"author":4134,"museum":3039,"description":8933,"tags":8934,"thumbUrl":8936,"material":2639,"size":8937,"collection":6,"collections":8938,"showCount":8914,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"cao-wu-pu-tuan-tu-tang-yin-222356","草屋蒲团图","绘江南初秋之景色。前景画茅屋于山麓，屋内一文士抱膝坐于蒲团晨读。人物刻划生动，双目炯炯有神，衣纹线描流畅有力。茅屋左面巨石竖立，五株墨竹拔地参天，笔墨苍劲，虚实得当，时隐时现，给人以动感。背景用水墨烘染群山，山腰间云雾飘动，富于变化;山谷间飞泉直泄，形成清溪，环绕草屋湍流而过。整个画面环境幽雅、清静，给人以浑厚、凝重之感。唐寅，字伯虎，又字子畏，号六如居士，桃花庵主，生于明成化六年(1470)，卒于嘉靖二年(1523)。他是位很有才华的画家，初师沈周，后学周臣，远宗李唐、刘松年，近攻元四家，山水、花鸟、人物、仕女无所不精，在技法上虽取法前人，但不落尘俗，自出新意。从唐氏传世作品看，多见雅淡、秀润、细腻，而此作却多雄浑、凝重，这在唐氏作品中还是极为少见的。此图右上端作者自题：“虚亭林木里，傍水着栏干，试展团蒲坐，叶声生早寒”。五言诗一首。下钤“吴趋”、“唐居士”、“南京解元”印三方。此作品的创作时间，应在唐寅四十岁左右。",[2495,2544,2496,2497,2577,2499,2500,2509,2501,2549,8935,3735,2507,2506,2614,2502],"草屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26f4e471afd9024c518a44d2335c9ae3.jpg","84x52",[6,2626],{"id":706,"slug":8940,"title":8941,"dynasty":2605,"author":8942,"museum":2818,"description":8943,"tags":8944,"thumbUrl":8945,"material":3608,"size":8946,"collection":2624,"collections":8947,"showCount":8914,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"yan-jiang-yu-yu-tu-ye-pu-an-221224","烟江欲雨图页","朴庵","整幅画笔墨奔放，气势磅礴，水墨迈阿密的效果淋漓尽致。是南宋马夏一派",[2495,2544,2496,2497,2592,2499,2509,2501,2506,7266,2595,5802,2504],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9da05bc26f2c363a81a72b51990a6dbb.jpg","纵24.9厘米、横26.3厘米",[2624,6,2626],{"id":707,"slug":8949,"title":2761,"dynasty":2632,"author":5589,"museum":2492,"description":8950,"tags":8951,"thumbUrl":8952,"material":2567,"size":8953,"collection":6,"collections":8954,"showCount":8914,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-ce-xie-sun-219846","本册图绘乡间野外平常小景,笔墨秀雅,造境清幽.谢荪(生卒年未详),清代画家.字缃酉,又字天令,常住南京.擅长画山水、花卉,与龚贤、樊圻齐名,为“金陵八家”之一.写心。",[2496,2497,2592,2500,2499,2509,2501,2508,2506,2507,2503,3765],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79324e826001e1ae611d0f3618e1a31f.jpg","14.2x19.2",[6],{"id":708,"slug":8956,"title":8957,"dynasty":2632,"author":3796,"museum":2492,"description":8958,"tags":8959,"thumbUrl":8960,"material":2567,"size":2598,"collection":6,"collections":8961,"showCount":8914,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"guan-shan-qiu-ji-tu-zhou-wang-jian-218266","关山秋霁图轴","布局紧凑，丘壑较琐碎，皴笔尖峭，转折方峻。但笔力不够浑厚，时有抖擞之笔，墨色也偏于枯索，画面气势不及盛年时雄伟华滋。",[2496,2497,2577,2500,2509,2510,2547,2501,2714,2715,2506,2652,2613,3736,5116,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8b6b7652eda8f2b82c3adc186ddd27f.jpg",[6],{"id":709,"slug":8963,"title":8964,"dynasty":2522,"author":8965,"museum":4795,"description":8966,"tags":8967,"thumbUrl":8968,"material":2597,"size":8969,"collection":6,"collections":8970,"showCount":8914,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"lin-ting-yuan-xiu-tu-tao-xuan-217990","林亭远岫图","陶铉","“林亭远岫图”是陶铉的代表作之一，是一幅山水画。这幅画以其精美的线条、细腻的笔触和丰富的层次感而闻名。画中，陶铉用浓密的线条勾勒出了山峰、悬崖、峡谷和溪流等山水景观。通过对色彩的运用，他将画面分成了几个不同的层次，使得画面看起来格外丰富。\n\n陶铉的“林亭远岫图”是元朝山水画的杰作，具有极高的艺术价值。它不仅是陶铉本人的代表作，也是元朝画坛的瑰宝。至今，“林亭远岫图”仍是中国绘画史上最著名的山水画之一，并被许多人所熟知和欣赏。",[2496,2497,2499,2577,2501,2509,2505,2595,2593,3155,2507,2503,2730],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb9601a60ed15025f72dd5d7116adea.jpg","58x31.7cm",[6,2626],{"id":710,"slug":8972,"title":8973,"dynasty":2632,"author":5047,"museum":2818,"description":8974,"tags":8975,"thumbUrl":8976,"material":5818,"size":5819,"collection":6,"collections":8977,"showCount":8978,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"wang-hui-fang-gu-shan-shui-ce-wang-hui-234956","王翚仿古山水册","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[2496,2497,2592,2500,2509,2676,2501,2578,2507,2614,2595,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9365e63d8219fdbc7a9693bddcec7a.jpg",[6,2534],71,{"id":711,"slug":8980,"title":8981,"dynasty":2605,"author":8982,"museum":5626,"description":8983,"tags":8984,"thumbUrl":8985,"material":2531,"size":8986,"collection":2624,"collections":8987,"showCount":8978,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"shan-zhuang-tu-ye-yi-yuan-ji-221302","山庄图页","易元吉","易元吉（生卒年不詳，公元11世紀左右），字慶之，湖南長沙人。北宋時期著名畫家。天資穎異，靈機深敏，尤善畫猿猴，並因此而聞名天下。古代繪畫評論家把獐猿畫看成是易元吉的專工獨詣，認為是“世俗之所不得窺其藩”的絕技。",[2495,2496,2497,2544,2500,2509,2501,2502,2503,2507,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f88332f8b93c6ca6e62d137e999a3fc.jpg","31×30",[2624,6,2534],{"id":712,"slug":8989,"title":8990,"dynasty":2522,"author":8991,"museum":8992,"description":8993,"tags":8994,"thumbUrl":8999,"material":2567,"size":9000,"collection":6,"collections":9001,"showCount":8978,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"xi-ge-liu-quan-tu-yao-ting-mei-218249","溪阁流泉图","姚廷美","湖北省博物馆","画面氤氲着清寂悠远的气息。远山如黛，云雾若带，将层峦叠嶂晕染得朦胧辽远。飞泉如练自崖壁倾泻，溅起细碎水花，似有泠泠声入耳。溪畔楼阁隐于苍松翠柏间，窗棂半启，仿佛正待幽人凭栏，静听泉石之语。笔墨苍劲中见秀润，干笔皴擦勾勒山石肌理，树木萧疏却含生机，枝桠交错间透出空灵感。水面波光粼粼，几只水鸟悠然游弋，更添野趣。整幅画以山水为载体，寄寓文人淡泊尘俗、寄情林泉的心境，素净色调里藏着深远意境，干笔皴擦与秀润笔墨交织，引人步入那片远离喧嚣的桃源之境，于无声处感受自然与心灵的共鸣。",[2544,2496,2833,2499,2509,2550,2502,2503,2507,2614,8995,8996,8997,8998],"水鸟","松柏","野趣","林泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b966a8551327c4586de5c5c557bf3d2.jpg","26.7x25.2cm",[6],{"id":713,"slug":9003,"title":9004,"dynasty":2632,"author":9005,"museum":2563,"description":9006,"tags":9007,"thumbUrl":9009,"material":2512,"size":9010,"collection":6,"collections":9011,"showCount":8978,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"jiang-chao-tu-zhang-zong-cang-214812","江潮图","张宗苍","画面描绘了河流的壮丽潮汐和远岸的山脉。海浪是如此强大，当它们遇到岩石时，就会形成银色的怒涛。山脉、悬崖和树木的笔触与王原祁的松树和苍劲的山水有着同样的兴趣。",[2495,2496,2497,2501,2509,2500,2547,2507,9008,2505,2614],"海浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9c2de55def97e2d554b4acbf37b8d33.jpg","166.7x69.5",[6],{"id":714,"slug":9013,"title":9014,"dynasty":2490,"author":3647,"museum":2563,"description":9015,"tags":9016,"thumbUrl":9017,"material":2703,"size":2598,"collection":6,"collections":9018,"showCount":9019,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-li-cheng-xi-shan-shen-xue-zhou-wen-zheng-ming-221968","仿李成溪山深雪轴","绘山石耸立，悬崖绝壁，白雪霭霭，山涧中一股瀑布倾泻而下，在山脚下汇入河流，河岸边树木修长，树叶凋零，一桥横跨两岸。题识：正德十年乙亥仿李营丘溪山深雪图 徵明。",[2495,2496,2497,2577,2499,2509,2676,2501,3166,2507,2506,2611,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff12e302f69f4a2f9424953933b64b61c.jpg",[6,2534],70,{"id":715,"slug":9021,"title":9022,"dynasty":2522,"author":2588,"museum":2563,"description":9023,"tags":9024,"thumbUrl":9025,"material":9026,"size":9027,"collection":6,"collections":9028,"showCount":9019,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"lin-quan-qing-qu-zhou-wang-meng-220811","林泉清趣轴","画山林密布，画瀑布从山涧飞下，击打岩石，云雾缭绕，从山下望去，是建在山上的房子，房子里的人都在山影里，都在院子里；书生走进亭子，身后跟着一个手拿着雨伞的少年，一个人站在书生身边，十分抢眼。",[2495,2496,2497,2577,2499,2509,2501,2505,2506,2507,2503,2508,2611,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180bf7a4cf1422c1d432b865bbfa11f2.jpg","纸、水墨","26.4x39.8公分、全幅 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"id":730,"slug":9160,"title":9161,"dynasty":2605,"author":4060,"museum":2673,"description":9162,"tags":9163,"thumbUrl":9164,"material":2531,"size":9165,"collection":2624,"collections":9166,"showCount":9150,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"guan-shan-ji-xue-tu-yan-su-221426","关山积雪图","燕肃(991-1040)字穆之，一字仲穆，一署上谷，青州益都(今山东益都)人。文学治行，缙绅推之，胸次潇洒，巧思过人。真宗大中祥符间进士，官至龙图阁直学士，以礼部尚书致仕，人称“燕龙图”。工诗善画，以诗入画，意境高超，浑然天成，为文人画之先驱。善画山水寒林，与王维相上下。亦擅人物、牛马、松竹、翎毛，在京师太常寺、翰林学士院作屏风画，景宁坊寓所及睢、颍、洛等佛寺中都有其巨幅壁画(今皆湮没无存)。《宣和画谱》著录御府所藏其作品有《春岫渔歌图》《夏溪图》《春山图》《冬晴钓艇图》等37件。",[2495,2496,2497,2501,2509,2500,6935,2714,2593,2502,2503,2505,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff61c590823c9480548dd523165486396.jpg","40×30cm",[2624,6,2626],{"id":731,"slug":9168,"title":9169,"dynasty":2632,"author":5047,"museum":2673,"description":9170,"tags":9171,"thumbUrl":9172,"material":2597,"size":9173,"collection":2626,"collections":9174,"showCount":9150,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"fang-ju-ran-yan-fu-yuan-xiu-tu-wang-hui-220379","仿巨然烟浮远岫图","此幅以纵向构图取势，山头处作小块状的矾头，为雄伟的山峦增添了灵巧的韵动感。山谷间绘茂密的丛林，使苍茫的山峦增添了生命的气息。图中山石以大披麻皴皴擦，其明净淡雅的线条营造了画面云烟飘渺的意境。\n此图是王翚晚年仿宋巨然《烟浮远岫图》的代表作之一。据王翚仿巨然的同名画扇（现藏北京故宫博物院）款题而知，王翚首次见到巨然的《烟浮远岫图》是在“毗陵庄太史家”，当时他42岁（癸丑，1673年），款题：“巨然《烟浮远岫图》今在毗陵庄太史家，真海内第一墨宝。余尝借观，背临大概。寄呈闻川尊先生。”又题长句，落款“癸丑上巳日，石谷重识。”王翚自此不断地仿巨然《烟浮远岫图》，或自娱，或送友人留念。他送笪重光的仿品目前藏于美国普林斯敦大学美术馆。根据图上所钤“王藻儒考藏图书”印可知本幅是他送友人王藻儒之作。\n《王奉常书画题跋》、《吴越所见书画录》著录。",[2495,2496,2497,2577,2501,2500,2509,2651,2506,2614,2613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17d1a5c1fb9dc7984b460e2cfeed8b21.jpg","纵187厘米，横67.2厘米",[2626,6],{"id":732,"slug":9176,"title":9177,"dynasty":2490,"author":4134,"museum":2818,"description":9178,"tags":9179,"thumbUrl":9180,"material":2597,"size":9181,"collection":6,"collections":9182,"showCount":9150,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"gao-yan-shang-mei-tu-tang-yin-220070","高岩赏梅图","此作用笔灵秀兼具劲健，卷云皴勾勒出高岩奇崛之态，层叠飞泉沿壁下注，木桥架于清溪之上，野意盎然。右侧缓坡疏林茅舍错落，隐士凭栏远眺，远景江天寥廓，落日晕染平川，清寂空濛。\n\n笔墨间糅合宋画的挺括与元人松秀，枯木枝桠简劲，点叶清润雅致。题诗与山水相生，将幽居高卧、寄情林泉的出世襟怀融于尺幅，以淡远之境写澹泊之心，尽显文人山水画的清逸韵致，是诗意与画境完美合璧的佳作。",[2496,2499,2509,2577,2501,4241,2505,2502,2503,2507,2506,2611,2549,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf0187c50b0efe3c29ab5d2d6bc7fb4d.jpg","71.5 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厘米",[6],{"id":733,"slug":9184,"title":9185,"dynasty":2522,"author":3431,"museum":2563,"description":9186,"tags":9187,"thumbUrl":9188,"material":9189,"size":2598,"collection":6,"collections":9190,"showCount":9150,"zanCount":2517,"manualWeight":2517,"mainColor":4670},"fang-song-ren-xue-jing-tu-yi-ming-219179","仿宋人雪景图","雪覆层岩，天地浸于清寂。山峦巍峨，积雪厚积处晕染得韵，山石轮廓以墨线勾勒，皴擦见骨，显峻峭之势。寒林枝桠虬曲如铁，向空伸展，似欲刺破冬云。涧水凝碧，蜿蜒穿石而过，清冽之态可感。山隅茅舍隐现，添几分人间气息，却未破山林幽寂。笔墨兼融宋工与元逸，于寒寂中藏生机，尽展冬日山林的幽远之趣，观之如临其境，心亦随之沉静。",[2495,2496,2833,2676,2509,2500,3166,2507,3091,2503,2508,2595,3055,2902,2613,3079],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0292fcbd3b7c8dbf3f1351f9a5a7dc06.jpg","设色,绢本",[6],{"id":734,"slug":9192,"title":6779,"dynasty":2605,"author":3431,"museum":2563,"description":9193,"tags":9194,"thumbUrl":9195,"material":2597,"size":9196,"collection":6,"collections":9197,"showCount":9150,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"xi-shan-xian-guan-tu-yi-ming-218802","这幅画描绘了一座山，上面有一条高高的、遥远的溪流。山的四角有水榭和亭子，渔民在溪水中垂钓，对世界的年龄漠不关心。这幅画是南宋时期的作品，但当你仔细观察其笔触时，它更像是吴镇的作品，或者是他的画派的画家。",[2495,2496,2544,2499,2509,2501,2550,2503,2504,2506,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67b516d907046bcbf6ec55b7114bf4e5.jpg","32.4x24.8",[6],{"id":735,"slug":9199,"title":9200,"dynasty":2490,"author":2899,"museum":2589,"description":9201,"tags":9202,"thumbUrl":9203,"material":2567,"size":9204,"collection":6,"collections":9205,"showCount":9150,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"bi-yin-zuo-diao-tu-wen-zheng-ming-218417","碧荫坐钓图","前景中的松树高大而紧密，松针参差不齐，一个男孩的仆人提着锅回村，一只白鹤望着敞开的大门，坡脚的岩石与水面之间。",[2496,2497,2577,2500,2501,2902,2504,2821,2507,2503,3668,2987,2509,2546,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa42da8f8261a31fc6bd4174fd7e6ed3a.jpg","163x61cm",[6],{"id":736,"slug":9207,"title":5518,"dynasty":2522,"author":3431,"museum":2563,"description":9208,"tags":9209,"thumbUrl":9210,"material":2597,"size":9211,"collection":6,"collections":9212,"showCount":9150,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"jiang-tian-lou-ge-tu-yi-ming-218283","层楼倚崖耸峙，飞檐翘角若振翅欲飞，木构窗棂皆细致勾勒，尽显楼阁之巍峨精巧。江面浩渺无垠，数叶轻舟泛于云水之间，似有渔歌隐约。远山如黛，在云雾氤氲中层层晕染，渐次隐入天际，天地间尽是清旷之气。笔墨简淡却意韵悠长，将建筑的工致与江天的空阔相融，清风仿佛穿堂而过，涛声似在耳畔轻吟。画面静谧空灵，尽显元人山水之悠远意境，观之令人心随舟行，神驰于江天之间，顿生旷达之感。",[2496,2790,3898,2501,2550,2504,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32b9cd06ac1c83e4a168b35b2a899c84.jpg","83.7x40cm",[6],{"id":737,"slug":9214,"title":9215,"dynasty":2522,"author":3431,"museum":2673,"description":9216,"tags":9217,"thumbUrl":9218,"material":2567,"size":9219,"collection":6,"collections":9220,"showCount":9150,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"han-jiang-xing-lv-tu-yi-ming-218190","寒江行旅图","寒江行旅图是元朝时期的一幅佚名画作，其中描绘了一位旅人在寒冷的江边漫步的场景。这幅画作的背景是一片茫茫的冰雪世界，其中的旅人身着厚重的衣服，手持一根长枪，似乎在寻找前进的方向。\n\n整幅画作浓郁的寒冷气氛使人仿佛能感受到严寒的冬风吹过，而旅人身上所持的长枪也让人想起这个时代中漫长而艰苦的旅途。在这幅画作中，旅人的身影是如此的孤独，仿佛在寂寞的冰雪世界中寻找着希望。\n\n尽管这幅画作的作者并不为人所知，但它仍然是元朝时期艺术史上重要的作品之一。它不仅展示了当时艺术家对冬季景观的精细描绘，还揭示了当时旅行者在艰苦和寂寞中寻找希望的主题。无论是从艺术角度还是历史角度，这幅画作都是值得珍藏的杰作。",[2496,2499,2501,2549,5827,3091,2507,4462,2821,2509,2612,2800,2578,3361],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818bd7647803bb273020f96437bd8ac8.jpg","24.4x24.7cm",[6],{"id":738,"slug":9222,"title":9223,"dynasty":2632,"author":6249,"museum":2634,"description":6250,"tags":9224,"thumbUrl":9225,"material":2500,"size":6253,"collection":6,"collections":9226,"showCount":9150,"zanCount":2517,"manualWeight":2517,"mainColor":6255},"xie-qin-you-ju-tu-cha-shi-biao-214194","携琴幽居图",[2496,2497,2498,2499,2500,2501,2509,2502,2503,2505,2507,2506,2549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c24a38eb02628f19b29d63163ea0de4.jpg",[6],{"id":739,"slug":9228,"title":9229,"dynasty":2632,"author":9005,"museum":2673,"description":9230,"tags":9231,"thumbUrl":9232,"material":9233,"size":9234,"collection":6,"collections":9235,"showCount":9236,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"qiu-lan-fei-pu-tu-zhou-zhang-zong-cang-236108","秋岚飞瀑图轴","张宗苍（1686—1756年），字默存，一字墨岑，号篁村、蔗翁、太湖渔人，晚称瘦竹，吴县（今江苏苏州）人。师承清代娄东画派的传人黄鼎，擅画山水。初以主簿理河工事。清乾隆十六年 （1751年）高宗南巡，以绘《吴中十六景》画册敬献，称旨，命入都祗候内廷。十九年（1754年）授户部主事。其山水画用笔沉着，山石多加积染，表现出深远的意境，具有苍劲秀雅之风，深得高宗皇帝赏识，成为乾隆朝宫廷的重要画家。《石渠宝笈》著录画作116件。71岁时卒于故里。",[2544,2496,2497,2577,2833,2499,2500,2509,2507,6039,2614,2550,2506,2503,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa28583d2a38165b70ad546df9ff0faae.jpg","绢本 ，设色","纵184cm，横117.7cm",[6,2626],67,{"id":740,"slug":9238,"title":9239,"dynasty":2956,"author":3625,"museum":2563,"description":9240,"tags":9241,"thumbUrl":9242,"material":2656,"size":9243,"collection":6,"collections":9244,"showCount":9236,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"qiu-shan-tu-zhou-ju-ran-226700","秋山图轴","是文人雅士卧游的理想之地。构图极富变化，笔墨精妙，设色点缀恰到好处",[2496,2833,2577,2499,2500,2509,5116,2507,2506,2613,3057,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e3ae1d313c4e7dd19956e57f3ea4884.jpg","156.2x77.2公分、全幅 78.3公分",[6],{"id":741,"slug":9246,"title":9247,"dynasty":2490,"author":9248,"museum":2563,"description":9249,"tags":9250,"thumbUrl":9254,"material":2703,"size":9255,"collection":6,"collections":9256,"showCount":9236,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"hua-zhu-an-chun-zhou-zhou-zhi-mian-222414","花竹鹌鹑轴","周之冕","绘雨后竹子越发翠绿，紫色的喇叭花缠绕其上，湖石下一对鹌鹑正观景觅食。画顶端有范允临题：雨过竹色明，风恬鸟声乐。睡起北窗凉，斜阳在高阁。周之冕，字服卿，明代画家，擅花鸟，所绘鸟禽栩栩如生。",[2495,2496,2497,2577,3010,2500,2546,3155,9251,9252,9253,2977,3012],"鹌鹑","芙蓉","蝴蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F877ec000da3e80bb4d127ada41a2f4e7.jpg","111.7x29.7",[6,2626],{"id":742,"slug":9258,"title":9259,"dynasty":2490,"author":2776,"museum":2563,"description":9260,"tags":9261,"thumbUrl":9262,"material":2720,"size":9263,"collection":6,"collections":9264,"showCount":9236,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"zhang-song-wu-lu-zhou-dai-jin-222038","长松五鹿轴","这幅画的主题是长松和鹿，长松代表长寿，鹿因与「禄」谐音，带有「福禄」或「俸禄」的意思，所以这张画具有祝寿或是祈福的功能。本画的构图与戴进一般作品不同，垂直的松林、形状像石笋的山峰和围绕的祥云几乎塞满画面全部的空间，让整幅画充满平面装饰的趣味。",[2495,2496,2577,2500,2501,2902,3994,3993,2509,2507,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb8af83ff4d6f77521d790ed2136c0af.jpg","纵：142.5厘米 横：72.4厘米",[6,2534],{"id":743,"slug":9266,"title":9267,"dynasty":2490,"author":9268,"museum":2563,"description":9269,"tags":9270,"thumbUrl":9271,"material":4157,"size":9272,"collection":6,"collections":9273,"showCount":9236,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"xi-yan-tu-zhou-chen-luo-221935","洗砚图轴","陈裸","陈祼（公元1563~约1639年），初名瓒，字叔祼，后去掉“叔”字，号道樗、白室，江苏吴县（今江苏苏州）人。\n善画山水，远宗赵伯驹、赵孟俯﹝赵孟頫﹞诸家，近师文征明。摹古人笔法逼真，能工书。晚年居虎丘，以吟咏自娱。作品有《石梁飞瀑图轴》，《秋山高隐图轴》。\n所图必深林叠嶂，曲径回塘，以扇面为多。能诗工书，善行楷，晚年居虎丘，以吟咏自娱。传世作品有崇祯九年(1636)作《竹溪花坞图》轴，图录于《故宫书画集》；崇祯十一年(1638)作《山水扇面》，图录于《明代名人画扇集》。崇祯二年(1629)作《雪山行旅图册页》，表现雪山的手法学夏珪，画石用小斧劈皴，画树枝笔触多带有钉头，颇具匠心。曾由吴平斋收藏，后为南京十竹斋藏品。著有《妪解集》。",[2495,2496,2497,2577,2500,2509,2501,2902,2508,2611,2507,3736,2549,2503,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe91618ed8c738d3b3545416a0e57f159.jpg","122.4x51.5厘米",[6,2626],{"id":744,"slug":9275,"title":9276,"dynasty":2522,"author":3907,"museum":2673,"description":9277,"tags":9278,"thumbUrl":9279,"material":2720,"size":9280,"collection":6,"collections":9281,"showCount":9236,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"zuo-kan-yun-qi-tu-sheng-mao-221753","坐看云起图","图绘古木平岗，林木错落有致，一士人手执如意，席地而坐，岗下山石嶙峋，水中苇草丛生；远处双雁振翅，云雾迷蒙，山峰隐现于云海之中。本幅图体现了雅士宁静的生活情趣。",[2495,2496,2497,5225,2499,2500,2509,2501,2549,2552,2578,2913,2507,3208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dc41d70c8a6c3e79ab91e8b28705867.jpg","27*28cm",[6,2534],{"id":745,"slug":9283,"title":9284,"dynasty":2632,"author":5047,"museum":3121,"description":9285,"tags":9286,"thumbUrl":9287,"material":2512,"size":9288,"collection":6,"collections":9289,"showCount":9236,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"tai-hang-shan-se-tu-wang-hui-219901","太行山色图","此为王翚仿关仝笔意作太行山图,其于画幅中央作突兀怪石、山泉溪谷,以细密雨点皴作出,颇有范宽枪笔俱均之势",[2495,2496,2497,2498,2501,2500,2509,2651,2614,2506,2766,2528,2507,3057,7771,5872],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1cb4b3c91f64f54888179c45394bbda.jpg","25.3x209.4",[6],{"id":746,"slug":9291,"title":3183,"dynasty":2490,"author":2776,"museum":2563,"description":9292,"tags":9293,"thumbUrl":9294,"material":3157,"size":9295,"collection":6,"collections":9296,"showCount":9236,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-tu-dai-jin-219837","戴进以浙江地方传统水墨技法作为基，加上南宋院体画，又吸收元代李、郭派的精华。　幅中近景水亭两侧大石以斧劈皴法写之，主峰山势圆浑，造型由郭熙风格蜕化而出，然运笔则用小斧劈皴，余以淡墨大块烘染，浓墨点苔，森森密密，似马夏布墨之法，李郭、马夏风格两相融合，发展形成明初浙派风潮。画面左上有「钱塘戴文进写」六字，并钤「静庵」印记一方。",[2496,2497,2544,2509,2499,2500,2501,2502,2503,2504,2505,2506,2611,2549,2507,2577,2613,2651,4657,4452,2579],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5184f9099fce9f5215427da498fc29cc.jpg","本幅 184.5x109.4公分",[6],{"id":747,"slug":9298,"title":7829,"dynasty":2522,"author":3431,"museum":2673,"description":9299,"tags":9300,"thumbUrl":9301,"material":2567,"size":9302,"collection":6,"collections":9303,"showCount":9236,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"qiu-xi-chui-diao-tu-yi-ming-218217","画中的渔夫端坐在边石上，手持鱼竿，凝视着水面，似乎随时都可能有鱼上钩。身后是一片葱郁的树林，秋天的色彩浓郁而温暖。水面上漂浮着几片落叶，显示出季节的变迁。\n\n整幅画流露出一种平和而悠闲的气氛，令人感到身心放松。这也是秋溪垂钓图的独特魅力所在。",[2496,2499,2500,2501,2578,2913,2677,2503,2549,2821,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d078f22a1ebaa637bd9d0770e6f670d.jpg","26x23.7cm",[6],{"id":748,"slug":9305,"title":3183,"dynasty":2522,"author":9306,"museum":2563,"description":9307,"tags":9308,"thumbUrl":9309,"material":2597,"size":9310,"collection":6,"collections":9311,"showCount":9236,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"shan-shui-tu-yu-wen-gong-liang-218166","宇文公谅","宇文公谅，是元朝时期著名的画家，他的山水图作品以其精湛的写意风格和生动的自然描绘而闻名。宇文公谅的山水图作品多以自然风光为题材，用简单的笔触勾勒出了山川、河流、树木和花草的形态，并融入了自己的感悟和情感。他的山水图作品给人以舒适、自然的感觉，是元朝山水画的代表作之一。",[2495,2496,2497,2577,2499,2509,2501,2507,2506,2503,2502,2508,2611,2595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9cd57f449a3caa29359ac4b9c9a3970.jpg","116.6x41cm",[6],{"id":749,"slug":9313,"title":9314,"dynasty":2490,"author":3264,"museum":2563,"description":9315,"tags":9316,"thumbUrl":9317,"material":2512,"size":9318,"collection":6,"collections":9319,"showCount":9236,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"ji-you-hua-ce-jiao-shan-yan-yu-chang-shan-dong-qi-chang-214590","纪游画册-焦山烟雨常山","董其昌是明代著名的画家，他的作品《焦山烟雨常山》是一本纪游画册，记录了他对焦山和常山的游览所作的绘画。这本画册中包含了许多令人惊叹的景观画作，描绘了焦山和常山的自然景观，包括山峦、河流、树木和山水。\n\n董其昌的画风具有浓厚的写实主义倾向，他擅长运用细腻的笔触和精确的色彩渲染，使得他的作品生动形象，充满了真实感。他善于捕捉山水景观的细微变化，表现出了对自然的敬畏之情。\n\n在《焦山烟雨常山》中，董其昌运用了各种不同的画法和技巧，将焦山和常山的自然景观表现得栩栩如生。他擅长运用水墨画的质朴和透明感，使得山水画作充满了韵味。此外，他还注重色彩的运用，运用暖色和冷色的对比，使得画面更加丰富多彩。\n\n总的来说，董其昌的《焦山烟雨常山》是一本绝妙的纪游画册，值得收藏和品味。它不仅体现了董其昌的出色的绘画技巧，而且也展现了他对自然的敏锐观察力和对传统山水画的热爱。董其昌的作品中蕴含着深厚的文化内涵，是中国传统艺术的瑰宝。",[2496,2497,2592,2499,2509,2501,8193,2714,2593,2614,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb86795e50c1a5356ae611c865f7019e.jpg","31.9x17.5cm",[6],{"id":750,"slug":9321,"title":9322,"dynasty":2632,"author":9323,"museum":2818,"description":9324,"tags":9325,"thumbUrl":9326,"material":2598,"size":2598,"collection":6,"collections":9327,"showCount":9328,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"he-lu-tong-chun-tu-juan-gao-qi-pei-238196","鹤鹿同春图卷","高其佩","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。\n康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[2495,2496,2498,2500,2501,2509,2552,2502,2503,2504,2505,2507,2611,2506,3011,3994,2690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bd6322b4c7fb2b01aa3471df812ebcc.jpg",[6,2534],66,{"id":751,"slug":9330,"title":9331,"dynasty":2632,"author":5673,"museum":2563,"description":9332,"tags":9333,"thumbUrl":9334,"material":2703,"size":9335,"collection":6,"collections":9336,"showCount":9328,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"yun-bai-shan-qing-tu-juan-wu-li-224488","云白山青图卷","此幅山水画作於1668年（三十七岁），临摹古画功力极深，於青绿著色者尤有独到之处，气息颇近似宋元人作品，通卷皆用青绿红白重色，而能不觉躁浊，於清虚灵动中妙造自然。",[2495,2496,2498,2545,2500,2501,2714,3208,2593,2552,2690,3736,2611,2507,6284,2508,2752,2617,2613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86f1f40e927b107f59c209c6dfc46117.jpg","该幅25.9x117.2公分；隔水一14.6公分；隔水二 14.6公分",[6],{"id":752,"slug":9338,"title":9339,"dynasty":2490,"author":3647,"museum":2563,"description":9340,"tags":9341,"thumbUrl":9342,"material":2531,"size":9343,"collection":6,"collections":9344,"showCount":9328,"zanCount":3048,"manualWeight":2517,"mainColor":2518},"hu-xi-cao-tang-hua-xin-wen-zheng-ming-221996","浒溪草堂画芯","作品是作者六十六岁时所作。描绘的是吴邑沉天民的浒溪草堂，既反映了草堂主人淡泊明志，不追逐名利的品格，又对映了主人热情好客的秉性，同时也折射出了作者本人的好恶。\n《浒溪草堂图》原藏沉天民家中，明末遗失。沉天民曾孙沈培风少时曾在朋友姚子文家见到此画，想要购回，却终究没好意思开口，一直是心头的一块心病，念念不忘。二十年后的一天，得知姚子文已于一年前的冬天患病不治而逝的讯息后，沈培风立即前往浙江的姚宅，欲觅得此画，可惜宅内已空无一物。有道是功夫不负有心人，不久有人将画送上门来。经过二十年世事沧桑，百变流转，培风又遇此画，便下定决心说什么也不能让机会从自己身边再次溜走。于是，几乎倾其所有，重金购得，并请工匠重新装裱后珍藏起来。此举显示出培风与其曾祖一样不忘本，具有难得的孝心。当年天民虽生活在城市，但仍不忘先祖的桑梓生活而在城市中修建草堂，取名为浒溪，才得以有画作《浒溪草堂图》留传至今，让后人一睹名家画作的风采。\n此画画法秀润，意境清幽，构图严谨，笔法细腻，设色明快。画面上描绘的是高木浓荫，掩映草堂，群山环抱，清波蜒曲，帆樯林立，榭阁屋宇错落。近处草堂敞轩，二高士案前对坐，正在高谈阔论；远山以石青晕染，近山则石青加赭石微抹，树干纯以赭石钩染，枝叶以石绿加石青点染，背光处加渴墨，显得更加郁郁葱葱。在艺术表现手法上，用笔细腻严谨，山石仅用渴笔微抹，以点苔显出明暗，经营位置，得写生之助化出清幽境界。",[2495,2496,2501,2714,2715,2593,3650,3651,5281,2500,5872,2637,2498,2732],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feeb9da20bb028a48cc761920595df3e9.jpg","166 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31.5cm",[6,2534],{"id":753,"slug":9346,"title":9347,"dynasty":2522,"author":3907,"museum":3121,"description":9348,"tags":9349,"thumbUrl":9350,"material":7110,"size":9351,"collection":6,"collections":9352,"showCount":9328,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"jiang-xiang-yu-yin-sheng-mao-221757","江乡渔隐","画中群山连绵，一片苍茫。近处山水相连，绿树仓翠，岸边草房几间，人影绰绰。盛懋，字子昭，元代画家，善画人物、山水、花鸟等，其画山石多用批麻皴或解索皴，笔法精整，设色明丽。",[2495,2496,2544,2498,2499,2509,2501,2502,2503,2504,2506,2690,2987,2552,5522],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa1aeb0c302856d82e072cfb3e1d3015.jpg","30.8x475.3cm",[6,2626],{"id":754,"slug":9354,"title":9355,"dynasty":2522,"author":2984,"museum":2563,"description":9356,"tags":9357,"thumbUrl":9358,"material":2703,"size":9359,"collection":6,"collections":9360,"showCount":9328,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"jia-he-ba-jing-tu-wu-zhen-220772","嘉禾八景图","嘉禾八景图卷：纸本墨笔，现藏台北故宫博物院，65岁时作。嘉禾八景图是吴镇一幅非常有名的作品，它既是中国画横幅的范作，又是真实地点的写照，画了从嘉兴到魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛、武水幽澜，其中一些景点至今尚存。此幅原为美国私人收藏，后捐献台北故宫博物院。\n元代是绘画发展的一个重要阶段，是中国绘画艺术的转折点，明清绘画主要就是继承和发展了元画的传统，而吴镇的绘画在元画史上有着重要意义。一方面，他拓宽了题材的形式，另一方面，以黄公望、吴镇、王蒙、倪瓒为代表的元四大家，将文人画推向了成熟期。\n《嘉禾八景图》是吴镇一幅有名的作品，现藏台北故宫博物院。因为嘉善地方比较小，在元代的时候并没有嘉善这个地方，嘉善和嘉兴统称为嘉兴府，又因嘉兴的简称为禾，故在这幅作品中，吴镇画的应是当时从嘉兴到嘉善魏塘的八个风景点：空翠风烟、龙潭暮云、鸳湖春晓、春波烟雨、月波秋霁、三闸奔湍、胥山松涛和武水幽澜。\n这幅画最大的特点就是一段文字一段图画，画中各地名又一一标出，吴镇除了对这八个景点作了总括之外， 还对每一个景点的地理位置和概况都作了说明和介绍。\n随着历史的发展和变迁，嘉善在明宣德五年（1430）春建县，嘉禾八景中各景点的地理位置归属也发生了一定的变化。在这八景中，前七个景点都位于嘉兴（由于年代久远和经济建设的大力发展，这些古迹大多数都已经不复存在），只有最后一个景点——武水幽澜，画的才是嘉善魏塘镇上的风景。在作品中，我们很容易地可以发现一个高高矗立的宝塔——泗洲塔，据说泗洲塔原本先被烧毁了一部分，后来在“文革”时期就被全部拆毁了。但图中的幽澜井泉至今尚存，像前几年我们当地喝的地下水就出自于幽澜井泉。关于《嘉禾八景图》中的幽澜井泉：据有关档案史料记载，原来幽澜泉古已有之。文字记载如下：“幽澜泉，在县治东二里景德寺内，旧名景德泉。品居惠山之次。泉有三异：大旱不涸，煮茶无滓，盛暑经宿而味不变。故老相传：昔有僧夜坐，忽一女子过之，容色甚丽，僧叱曰：窗外谁家女？女应声曰：堂中何处僧？僧起逐之，女投入地，掘之得清泉一泓，湛然可爱，有石刻幽澜二字，遂以名泉，岁岁沉埋，何玉史清，补刻“幽澜”二字。僧复作亭于泉上，名幽澜泉。如今的幽澜井泉位于嘉善魏塘镇小寺弄29-30号，泉深约15米，井圈为椭圆形，花岗石，内径分别为0.67米、0.52米，井壁用青石砌筑成六角形。清光绪《嘉善县志》记载：幽澜泉在景德寺内，清咸丰十年（1860）景德寺遭兵燹，但泉独存。2004年1月已被列为县级文物保护单位。\n《嘉禾八景图卷》虽然画于一长卷上，但景与景之间却各个分离。同时，在这幅作品中吴镇相当注重远近距离的表达，或由位置，或由墨色，或由线条的粗细、造型的变化来显示景物间的距离、物体的厚度。其中的景物非不多，但景物虽丰，安排自各成大段落，井然有序中又不致零乱涣散，塑造的是烟波浩淼，峰峦隐现，清旷野逸之景趣。作品中吴镇的线条沉郁稳健，在笔中表现丰富的墨韵，颇见其个性。与此同时，吴镇在画中还融入了书法的笔意，追求诗的意境，并且把这一切都发挥得淋漓尽致。《嘉禾八景图》既是中国画的横幅范作，又是对真实地点的写照，表明了作者的地理知识和对环境的熟识，这在七百多年前是很一件很不简单的事情。\n吴镇既重视传统，又重视创新，不仅在艺术上刻苦钻研，以独具特色的绘画风格，丰富和发展了水墨山水画的艺术表现经验与技法。同时，吴镇还具备文学、地理、历史等方面的知识和修养，因而他创作的诗、书、画三绝的作品就能达到如此高度的艺术成就，并以独特的艺术形式对后世产生了巨大的影响，这决不是得之于偶然的。\n突破逆境的困顿，远离尘俗的竞逐，潜心书画五十年，成就一代名家，这就是吴镇给予我们的启示。\n明代李日华评论说：“仲圭此制，全学 范宽长江万里图，以点簇作小树，借树作围绕其间，断续远近，层数稠密，一以树为眉目。而城堞 楼台，特标帜之。生发秀润，真有百里见纤毫之意。”此图把当时的嘉兴名胜古迹尽收一幅，也是宋元嘉兴风光现存的唯一写照。",[2495,2496,2497,2498,2499,2501,2509,2511,3209,2547,2550,2502,2503,2505,2856,2506,2508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5a7e7c58bfe64e3888842700e85dc37.jpg","本幅 37.5x566公分、引首 30.9x97.5公分、拖尾一 36.6x78公分、拖尾二 37.8x112公分",[6,2626],{"id":755,"slug":9362,"title":9363,"dynasty":2490,"author":3264,"museum":2589,"description":9364,"tags":9365,"thumbUrl":9367,"material":2512,"size":9368,"collection":6,"collections":9369,"showCount":9328,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"gang-lan-song-shan-tu-dong-qi-chang-220069","冈岚松杉图","此图写茂林烟树，平坡浅屿之间，有村舍水榭隐现于崖边江尾。村后危峰矗起，高耸入云。山谷中飞泉奔突，大江远处，烟云弥漫，青山如黛，若在有无之间。画用巨然长披麻湿笔晕染。林际崖上，一片郁葱，仿佛被宿雨洗净，朝霞染过。崇祯元年戊辰，董其昌闲居江南，悠游湖山，耽于书画，正是艺术大成之时。此图画得轻松恬静，浑沦一体，右上所题自作诗，亦写出他功成名就乐于安闲自适的心态。读之令人入静。",[2495,2496,2499,2509,2577,3236,2501,2779,9366,2502,2503,2652,2506,6639,2579],"杉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920bbb078aefd69fbac671fd7cb3446f.jpg","122×57",[6],{"id":756,"slug":9371,"title":9372,"dynasty":2632,"author":2633,"museum":2763,"description":9373,"tags":9374,"thumbUrl":9375,"material":2597,"size":9376,"collection":6,"collections":9377,"showCount":9328,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"jiu-long-tan-jia-chao-tu-huang-shen-219762","九龙滩驾潮图","一位纤夫露出正脸，虽然他的眉眼五官刻画十分简单，却依然可以感受到他使出浑身力气，坚定不移的神情和姿态，似乎在这险滩之上，能清楚听到他一边喊着船工号子，一边吆喝着同行的伙计，凭借多年经验征服这险境，自信满满。\n都说眼睛是心灵的窗口，古人写意传神，正是这眼眸眉目最为关键画龙点睛的道理妇孺皆知，古画中每个人物的一个眼神，一颦一笑，都饱含着他们最为真实的情愫",[2495,2496,2499,2509,2501,2504,2503,2506,2652,2502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad659f0445c5015ff40352ba6ebce03a.jpg","纵90横119.8",[6],{"id":757,"slug":9379,"title":9380,"dynasty":2522,"author":7563,"museum":2563,"description":9381,"tags":9382,"thumbUrl":9384,"material":2499,"size":2598,"collection":6,"collections":9385,"showCount":9328,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"xi-shan-yan-yu-tu-gao-ke-gong-219004","溪山烟雨图","烟岚轻笼层岫，云气漫洇溪谷，远山如黛隐现于濛濛雾色，近树似簇点染于湿润墨痕。淡墨晕染出空濛之境，浓墨点苔显苍劲之姿，米家云山的氤氲与董巨山水的浑厚相融，笔意松秀却不失沉雄。山水间无喧嚣，唯有烟霭流动的静谧，仿佛能闻涧水潺潺，听松风低语，尽显元人寄情林泉的隐逸之思。墨色的浓淡干湿交织出自然生机，虚实之间见真意，将烟雨溪山的空灵悠远凝于尺幅，耐人细细品咂。",[2495,2496,2497,2499,2509,2501,2506,2614,8193,2503,2507,2752,9383],"朦胧意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa16e73635975b8a8581b616cd3fd5575.jpg",[6],{"id":758,"slug":9387,"title":9388,"dynasty":2605,"author":3431,"museum":2492,"description":9389,"tags":9390,"thumbUrl":9391,"material":2567,"size":9392,"collection":6,"collections":9393,"showCount":9328,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"hua-wu-zui-gui-tu-yi-ming-217074","花坞醉归图","这幅画描绘了一座远山，山上各处的桃花盛开，一头驴子在山脚下的木桥上驼着醉酒的主人，向前方的小屋方向走去，后面跟着一个挑着担子的随从。",[2495,2496,2497,5225,2500,2501,2549,2502,2960,2507,2593,6638,2547,2552,2800],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ef29ccb362d192e6510a542bc5044d0.jpg","23.8x25.3cm",[6],{"id":759,"slug":9395,"title":9396,"dynasty":2490,"author":9397,"museum":2673,"description":9398,"tags":9399,"thumbUrl":9400,"material":2867,"size":9401,"collection":6,"collections":9402,"showCount":9403,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"song-shi-zhou-cheng-jia-sui-237760","松石轴","程嘉燧","图绘高士依孤松远眺、小童携琴相随以及青山与江水相隔之景，颇有晋人陶渊明《归去来辞》中“策扶老以流憩，时矫首而遐观。云无心以出岫，鸟倦飞而知还。景翳翳以将入，抚孤松而盘桓”之诗意。本幅款署：“崇祯四\n年秋九月，孟阳画于虞山耦耕堂。”钤“程嘉燧印”白文印。崇祯四年即1631年，作者时年67岁。\n此幅构图取法倪瓒“一江两岸”式，重点突出孤松与高士，点明了高逸的主题。山体采用疏散的披麻皴，有元人笔意。人物神情凝重，刻画入微，笔法细腻舒朗。设色清雅，以花青入色，山色青翠，古松秀郁，整体画面呈现出儒雅清丽的韵致。",[2496,2497,2544,2577,2499,2509,3898,2902,2677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d79694e9f66eba28b952c2654a5b11e.jpg","纵130.2厘米，横31.2厘米",[6],65,{"id":760,"slug":9405,"title":8973,"dynasty":2632,"author":5047,"museum":2818,"description":8216,"tags":9406,"thumbUrl":9407,"material":2598,"size":2598,"collection":6,"collections":9408,"showCount":9403,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"wang-hui-fang-gu-shan-shui-ce-wang-hui-237581",[2496,2497,2544,2499,3267,2509,2501,2651,2613,2504,2506,2502,7290,2652,2614,2718,3057],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d7aa76d129529fa40fc7aa1a4898dc.jpg",[6,2626],{"id":761,"slug":9410,"title":2587,"dynasty":2632,"author":3816,"museum":2673,"description":9411,"tags":9412,"thumbUrl":9414,"material":3257,"size":9415,"collection":6,"collections":9416,"showCount":9403,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"shan-shui-ce-gong-xian-233970","此册作于乙卯年（清熙十四年，1675年）。现藏故宫博物院。本图册中第一四、八、十一、十三、十四开属于“白龚”，图中的山石、树木均以古、健、老、活的中锋勾勒轮廓线，物象具有方而不板，结而不滑的特点。本图册中第二、五、七、九、十二、十七、十九开属于“黑龚”。作者以灰墨勾出大体轮廓和经络，然后层层皴染和点染。其皴染取自宋人范觅的雨点皴而稍有变化，为头实尾虚的短笔皴。",[2496,2499,2501,2509,2592,2714,2593,2508,2614,2578,9413],"积墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45fe2dfc70ed8a77ffac3d0fb8c75a90.jpg","纵22.2厘米，横33.2厘米",[6],{"id":762,"slug":9418,"title":9419,"dynasty":2632,"author":5644,"museum":2673,"description":9420,"tags":9421,"thumbUrl":9422,"material":3257,"size":9423,"collection":6,"collections":9424,"showCount":9403,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"yu-xi-shan-gen-tu-zhou-kun-can-222666","雨洗山根图轴","此幅作于清康熙二年（1663年），时画家52岁。画家以爽快的笔法画出雨后山川清新怡人的景色。画中突出表现林叶低垂、瀑布奔流、溪水浸润及云雾流动这些和雨水密切相关的景象。构图繁密严谨，用笔娴熟苍健，意境悠远深邃。",[2495,2496,2497,2577,2499,2509,2501,2506,2508,2504,2503,2507,3736,2578,2547],"https:\u002F\u002Foss.chuangqi.store\u002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其精整工细的线描正可谓“细若蚊睫，侔于鬼工”。这种纯以墨笔白描界画建筑的手法到元代以后已成绝响，以至于清人李佐贤误以为此图是宋人所为。",[2495,2496,2790,5225,3898,2500,2550,2501,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38a4943b845226bb520d7033519a172d.jpg","纵24.4厘米，横26.2厘米",[6,2626],{"id":765,"slug":9442,"title":9443,"dynasty":2522,"author":7563,"museum":2563,"description":9444,"tags":9445,"thumbUrl":9446,"material":6940,"size":9447,"collection":6,"collections":9448,"showCount":9403,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"hua-chun-shan-qing-yu-zhou-gao-ke-gong-221690","画春山晴雨轴","高克恭（1248－1310），号房山。其先回鹘人，占籍大同，后居武林。字彦敬，号房山老人，仕至刑部尚书。画山水，学米氏父子，造诣精绝。后学董源、李成、巨然笔法，专取写意气韵，亦擅长墨竹。高克恭画盛名盖世，而流传作品不多。此幅画溪边小景，云影满山，用笔含蓄凝练，用墨温婉蕴藉，突出宁静的氛围。",[2495,2496,2577,2499,2500,2509,2501,2714,3208,2593,2902,2503,2652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcbf1df459b73c36527176870aa88973.jpg","125.1 x 99.7cm.",[6,2626],{"id":766,"slug":9450,"title":9451,"dynasty":2605,"author":9452,"museum":2673,"description":9453,"tags":9454,"thumbUrl":9455,"material":5551,"size":9456,"collection":2624,"collections":9457,"showCount":9403,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"hou-chi-bi-fu-tu-juan-ma-he-zhi-221621","后赤壁赋图卷","马和之","马和之，生于北宋，生卒年代均未见记载，钱塘（今浙江杭州）人。主要活动于北宋末至南宋初期。南宋高宗绍兴年间（1131—1162年）中进士第，官至工部侍郎。工画山水、人物、佛像，风格独特，笔法飘逸高古，迥异于南宋院体画法，时人目为“小吴生”。在表现山水、人物时，他更多地融入了一些书法的笔趣，古朴自然，务去华藻。 有一种说法认为马和之是南宋画院画家，然而，根据目前所知资料，两宋画院画家自有其品秩，而无进士及第任官后尚充任画院画家者。此外，马和之的画风与院画的总体面貌也有相当大的差距。马和之宗法北宋李公麟而有所变化，表现人物所用线条较为短促，运笔迅疾，兰叶描已变为后世所称之“蚂蝗描”。因此，马和之不是南宋画院的宫廷画家，他以“艺精一世，命之总摄画院事”是有一定可能性的，但却并非服务于宫廷的职业画家，而应与李公麟等文人画家并列。",[2495,2544,2496,2497,2498,3898,2499,2500,2501,2549,2504,2578,3964,2503,2552,2677,2511,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2801bdf3627f78244e282c2b010bc00.jpg","25.9*143cm",[2624,6,2534],{"id":767,"slug":9459,"title":9460,"dynasty":2605,"author":2910,"museum":2818,"description":9461,"tags":9462,"thumbUrl":9463,"material":2732,"size":9464,"collection":2624,"collections":9465,"showCount":9403,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"gao-shi-guan-tiao-tu-ma-yuan-221540","高士観眺图","本作是马远“边角山水”之代表作，他以简练的笔法和精致的诗画意境成功表现了山间景色，笔法劲爽，意境深邃。作品构图精巧，位置经营独到而臻极致。树木、远山集中绘于画幅左侧，以淡墨皴染的山径渐次虚淡。近处的高士持杖远眺，人物衣纹或是兰叶描、或是钉头鼠尾描，线条劲直，或如刀砍竹，或行笔略有颤掣，人物本身怡然惬意的神情已经跃然纸上。画幅右侧大量留白，虚渺空灵。另有一只白鹤转头回望，与高士相响应，款款深情，意蕴无穷，给观者以无穷遐想",[2495,2496,2497,2501,2505,2549,2499,2500,2509,2677,2578,6690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4306c43ca294d4cdac872ca054890ff8.jpg","82x67",[2624,6,2626],{"id":768,"slug":9467,"title":9468,"dynasty":2490,"author":5395,"museum":9469,"description":9470,"tags":9471,"thumbUrl":9472,"material":2567,"size":9473,"collection":6,"collections":9474,"showCount":9403,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"qiu-shan-du-shu-tu-zhao-zuo-219979","秋山读书图","武汉博物馆","此作用高远、平远构图铺展秋山胜景，山峦层叠浑厚，以淡墨皴擦间杂赭石晕染，晕开秋山苍润暖意。近林木虬枝疏朗，丹黄点染秋叶，萧疏秋意扑面而来。水岸蜿蜒错落，村居隐于林泉之间，淡笔轻勾出幽居闲致。\n\n笔墨秀雅温润，以淡远之韵绘就山居清寂，将文人寄情林泉、幽居耕读的雅逸心境融于尺幅之间。淡墨轻岚间藏着静穆萧散的诗意，观之便如踏入秋山，似能聆山涧潺湲、沐林间清风，尽显文人山水抒情之妙。",[2495,2496,2577,2501,2500,2509,2506,2507,2579,5116,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d715d2c069e6ab53794d5fc6647f892.jpg","49x97cm",[6],{"id":769,"slug":9476,"title":9477,"dynasty":2632,"author":9478,"museum":2563,"description":9479,"tags":9480,"thumbUrl":9481,"material":2512,"size":9482,"collection":6,"collections":9483,"showCount":9403,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"fang-yuan-ren-xi-ting-dui-ju-tu-wang-wu-219377","仿元人溪亭对菊图","王武","峭壁如削，云雾似练缠绕层岩，恍若仙境浮于九霄。飞瀑垂练漱石，清音暗渡幽谷。松下红叶灼灼如霞，映得山亭一角温馨。亭中之人凭栏而坐，与秋菊相对，静听松涛闲观云起。笔墨苍润，山石皴染有致，树木姿态各异，色彩淡雅却秋意盎然。整幅画融雄奇山水与文人雅趣于一体，意境清幽引人遐思，尽显传统山水画之神韵——将自然之奇、林下之逸凝于尺幅，如一首无声的秋山雅韵，叩击观者心弦。",[2496,2500,2501,2509,2505,2503,2779,3125,2549,3208,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89601cd5bad2948de86aff9379129c86.jpg","167.8x45.2",[6],{"id":770,"slug":9485,"title":9486,"dynasty":2605,"author":2910,"museum":5182,"description":9487,"tags":9488,"thumbUrl":9489,"material":2567,"size":9490,"collection":6,"collections":9491,"showCount":9403,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-cun-ce-zhang-tu-ma-yuan-219016","山村策杖图","画的是远处隆起的山峰，靠近水草丰茂的河岸，左边是一个拄着拐杖的有学问的人走向一座桥，后面是一个孩子；右边是几间用栅栏围起来的茅草屋，后面是树木和竹子。",[2495,2496,2497,2544,5225,2499,2500,2509,2501,2502,2549,2578,2507,2800],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66170685f831ddb885e4d7d75d53efbb.jpg","22.5x22.5",[6],{"id":771,"slug":9493,"title":9494,"dynasty":2522,"author":2588,"museum":2673,"description":9495,"tags":9496,"thumbUrl":9497,"material":2567,"size":7417,"collection":6,"collections":9498,"showCount":9403,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"guan-shan-xiao-si-tu-wang-meng-218423","关山箫寺图","本幅设色，钤乾隆玉玺“大源藻”、“颛蓭”、“南韵斋印”、“荣王之印”，不见著录。",[2495,2496,2497,2577,2500,2501,2550,2506,2611,2552,2507,2613,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F153baf897e72c84a87e44ac2e43245d8.jpg",[6],{"id":772,"slug":9500,"title":9501,"dynasty":2632,"author":4496,"museum":2673,"description":9502,"tags":9503,"thumbUrl":9504,"material":2567,"size":9505,"collection":6,"collections":9506,"showCount":9403,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"han-jiang-sheng-lan-tu-yuan-yao-218383","邗江胜览图","这是一幅纪实性的作品，属袁耀早期作品。在清代中期，扬州作为江南地区的交通枢纽和商业重镇，其繁华发达称冠一时，同时也是当时的文化艺术中心之一。画家采用俯视的角度，将古扬州城北郊的景物尽收眼底。画面中扬州城为群山河流环绕，近景、中景、远景层层展现，气势宏大。袁耀素以描绘富丽堂皇的宫室楼阁著称，在这幅纪实作品中，却表现出了一种朴素的风貌。但用笔技巧绝无松懈，每一处细节都刻画入微，房屋、树木、舟船、桥梁、人物、车马等具体逼真，情趣生动。",[2495,2496,2497,2790,2500,2546,2501,2550,2506,2528,2690,4702,2551],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a1efb12e3fe0448aa90a94d80be4ee.jpg","纵165.2厘米，横262.8厘米",[6],{"id":773,"slug":9508,"title":9509,"dynasty":2522,"author":9510,"museum":2749,"description":9511,"tags":9512,"thumbUrl":9513,"material":2597,"size":9514,"collection":6,"collections":9515,"showCount":9403,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"yan-a-qi-shu-tu-chen-xuan-218328","岩阿琪树图","陈选","图绘翠峰叠嶂，古寺高居于丛林掩映中。山间飞泉直泻，山下溪流婉转，板桥横跨于前，近处杂树参差错落，生动有致。山石以披麻皴、点子皴两种笔法相参并用。树叶则点勾结合，表现出树木葱茏、烟云变幻、一派江南山川苍郁浑厚景象，给人以山高气爽、幽深静谧之感。",[2495,2496,2833,2499,2509,2577,2510,2547,2501,2507,2506,2613,2595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9252782007aff5c85e16028cb6ed04f.jpg","纵66.6厘米，横27.5厘米",[6],{"id":774,"slug":9517,"title":9518,"dynasty":2522,"author":7039,"museum":2673,"description":9519,"tags":9520,"thumbUrl":9521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- 1849）所著《楹联丛话全编》，黄均于嘉庆间供奉内廷有年。\n蒋宝龄（1781 - 1840)父子著《墨林今话》记：黄均以议叙官汉阳主簿，施南同知。画山水、花卉、梅竹，入手即通其妙，而於山水尤尽能事。初师黄鼎，继法娄东，堪与王撰并驾，用笔用墨苍楚有致。诗宗晚唐，书学赵孟頫，卖画食贫，怡然自得。尝自言二十馀年以吏为隐。卒年七十六。著《墨华庵吟稿》。\n《清史稿》称：“画晚而益工，于吴中称后劲”。\n黄宾虹议黄榖原“以功力胜，不在纤秀”。",[2495,2496,2498,2500,2509,2501,2507,2506,2528,2611,3057,4702,2502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F164d44c5894dd5dcbd4a28934931eb84.jpg",[6,2534],63,{"id":781,"slug":9575,"title":9576,"dynasty":2632,"author":3303,"museum":2563,"description":5988,"tags":9577,"thumbUrl":9578,"material":3069,"size":5993,"collection":6,"collections":9579,"showCount":9573,"zanCount":2517,"manualWeight":2517,"mainColor":3447},"shi-er-yue-ling-tu-2-yue-lang-shi-ning-222761","十二月令图（2月）",[2495,2544,2496,2546,2500,2790,2501,2550,2549,2880,2507,2506,4241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa9bcf35cca2199d5fa9312b5a8a3e68.jpg",[6,2534],{"id":782,"slug":9581,"title":9582,"dynasty":2490,"author":5253,"museum":2563,"description":9583,"tags":9584,"thumbUrl":9585,"material":9586,"size":9587,"collection":6,"collections":9588,"showCount":9573,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"xue-xi-tu-lan-ying-222605","雪溪图","蓝瑛擅长山水、花卉、兰石，师法宋元名家，早年主要得力于黄公望，作品清 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栏杆，一位长者端坐在楼阁内，正在观赏美丽的山水景致。\n款署，“景泰壬申春三月钱塘戴文进写。”",[2495,2496,2577,2501,2500,2509,2505,2503,2504,2549,2506,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d4043ef01c707ccd4702333f8460033.jpg","纵139．0厘米，横79．8厘米",[6,2626],{"id":786,"slug":9613,"title":9614,"dynasty":2605,"author":2647,"museum":2563,"description":9615,"tags":9616,"thumbUrl":9618,"material":2567,"size":9619,"collection":2624,"collections":9620,"showCount":9573,"zanCount":2517,"manualWeight":2517,"mainColor":4670},"feng-nian-rui-xue-tu-zhou-guo-xi-221286","丰年瑞雪图轴","郭熙（十一世纪后叶），河南温县人，1068-1077年（神宗熙宁年间）任画院艺学。善山水，画法学自李成，而能树立一己的面貌。",[2495,2496,2544,2497,2577,2499,2500,2509,2501,3166,2506,2507,3651,4702,3057,9617],"流水 ```","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567a440bad362794ef3a58bd9280e8cc.jpg","120.4x74.7厘米",[2624,6,2626],{"id":787,"slug":9622,"title":9623,"dynasty":2490,"author":3264,"museum":2749,"description":9624,"tags":9625,"thumbUrl":9626,"material":2639,"size":2598,"collection":6,"collections":9627,"showCount":9573,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-shu-yao-feng-tu-dong-qi-chang-220960","芳树遥峰图","绘河两岸景色，远处山峰高耸，最高峰中部留白，山顶半悬，实乃绝妙之笔；近处河岸上树木林立，叶已枯槁，杆直修长，与河对岸的山峰遥遥相望。画项端题诗一首：桂树及冬荣，瑶草待春发。惟闻鸾鹤声，寥寥上烟月。",[2495,2496,2497,2577,2499,2509,2501,2527,2652,2528,3091],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25884801024ed867821988d30206d287.jpg",[6,2626],{"id":788,"slug":9629,"title":9630,"dynasty":2632,"author":5673,"museum":2673,"description":9631,"tags":9632,"thumbUrl":9633,"material":2597,"size":9634,"collection":6,"collections":9635,"showCount":9573,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"liu-cun-qiu-si-tu-wu-li-220115","柳村秋思图","此图是吴历晚年的代表作之一，为其好友民誉（姓金，名造士）所藏。图中重点描绘了近景的柳树。其柳叶以中锋落笔点染，表现出秋风中柳叶含烟带露的柔美，又通过水墨的浓淡层次变化显现出柳叶交叠错落的自然风貌，体现了吴历工细写实的画风特点。",[2495,2496,2499,2501,2577,2509,3542,2593,2552,2549,2960,5052,2714,2715],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb12ddaee3bf0639e8563322f28ebc8fb.jpg","纵67.7厘米，横26.5厘米",[6,2626],{"id":789,"slug":9637,"title":9638,"dynasty":2632,"author":4496,"museum":2673,"description":9639,"tags":9640,"thumbUrl":9641,"material":2567,"size":9642,"collection":6,"collections":9643,"showCount":9573,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"shan-zhuang-qiu-ren-tu-yuan-yao-219092","山庄秋稔图","此图描绘山庄秋天的景色。村舍环绕于绿色山树中，茅庐内村人闲适，近处一牧童放牛于缓坡之上；远山高耸，突兀奇绝，烟云缭绕。设色青绿，构思精巧，结构准确，层次分明，显现出作者精于刻画的写实功力。",[2496,2500,2790,2546,2509,2501,2550,2507,2506,2549,2502,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8916945174cef62eec1b5b888a7cedde.jpg","纵182.5厘米，横96.8厘米",[6],{"id":790,"slug":9645,"title":4828,"dynasty":2632,"author":3020,"museum":3745,"description":8430,"tags":9646,"thumbUrl":9647,"material":2512,"size":2598,"collection":6,"collections":9648,"showCount":9573,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217987",[2496,2497,2577,2501,2509,2500,2676,2507,2506,2503,2502,2614,2508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a6ccd6d0fbd19162156288da30812a8.jpg",[6],{"id":791,"slug":9650,"title":9651,"dynasty":2522,"author":3225,"museum":2492,"description":9652,"tags":9653,"thumbUrl":9654,"material":3157,"size":9655,"collection":6,"collections":9656,"showCount":9573,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"qing-liang-wan-cui-tu-cao-zhi-bai-214730","清凉晚翠图","曹知白（1272-1355），字又玄，号云西，今上海松江人。与黄公望、倪瓒交往最密，常以书画相酬唱。山水继承李郭画派，风格清疏简淡、秀润飘逸。他对松江地方贡献很大。1294年，朝廷诏令中书左丞开凿吴淞江，曹知白以策从行，功绩居多。1298年，他又提出置阏成堤之法，取得良好效果。后被荐为昆山教谕，不久辞去。卒后葬于松江修竹乡干山之原。",[2496,2499,2501,2509,2510,2547,2578,2913,2504,2503,2677,2595,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ba94454b3af5651c31aa4a282fe07e1.jpg","纵21.1厘米，横21.2厘米",[6],{"id":792,"slug":9658,"title":3490,"dynasty":2632,"author":2830,"museum":2673,"description":9659,"tags":9660,"thumbUrl":9662,"material":3257,"size":9663,"collection":6,"collections":9664,"showCount":9665,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-zhou-wang-shi-min-237575","本幅款署：“己酉初夏为公超词兄画。王时敏。” 钤“王时敏印”、“西庐老人”、“真寄”朱文印。\n“己酉”为清康熙八年（1669年），王时敏时年78岁。\n此幅构图为王时敏所作之常见格局，峰峦叠嶂，林木丛生，溪流小桥，屋舍隐现，一派江南的山水景象。用笔古秀，布局深远，以披麻皴写山石，浓墨点苔，意境近黄公望，为王氏代表作。",[2544,2496,2497,2577,2499,2501,2654,3636,2613,2502,2579,3112,9661],"点苔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a92818843ca4d2b1ca7bd64f115128.jpg","纵135厘米，横63厘米",[6,2626],62,{"id":793,"slug":9667,"title":9668,"dynasty":2632,"author":5644,"museum":2673,"description":5645,"tags":9669,"thumbUrl":9672,"material":5840,"size":2598,"collection":6,"collections":9673,"showCount":9665,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"qiu-shan-you-jing-tu-zhou-kun-can-236272","秋山幽静图轴",[2496,2833,2577,2499,4369,2503,2504,2502,2550,5658,2611,9670,9671],"幽境","苍莽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca894ea502bfc800f010545c07b430e.jpg",[6,2626],{"id":794,"slug":9675,"title":9676,"dynasty":2632,"author":5644,"museum":2673,"description":5645,"tags":9677,"thumbUrl":9678,"material":9679,"size":9680,"collection":6,"collections":9681,"showCount":9665,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"wu-wai-tian-yuan-tu-ce-kun-can-234264","物外田园图册",[2495,2496,2499,2592,2509,2510,2501,2578,2677,2506,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8651a5a2e1ca54204c673178db5637fc.jpg","纸本 ，墨笔","纵21.5cm，横16.9cm",[6],{"id":795,"slug":9683,"title":9684,"dynasty":2490,"author":5253,"museum":2877,"description":9685,"tags":9686,"thumbUrl":9687,"material":4016,"size":9688,"collection":6,"collections":9689,"showCount":9665,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"qiu-shan-you-ju-tu-juan-lan-ying-222600","秋山幽居图卷","这幅画特点较明显的是用笔有顿挫，以疏秀苍劲取胜。善写秋景。在作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”、“用云法”等，实则所画都是他自己的面目。他的画法有两种，一种作钩勒浅绛法。另一种作没骨法，设色鲜艳突目，所画红树、青山、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水作品。",[2495,2496,2498,2499,2509,2501,4369,2579,2506,2503,2504,2552,2507,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e087d6380ef6f745979fe23ff227fcc.jpg","26.3x246.5",[6,2626],{"id":796,"slug":9691,"title":9692,"dynasty":2522,"author":6126,"museum":2563,"description":9693,"tags":9694,"thumbUrl":9696,"material":2531,"size":9697,"collection":6,"collections":9698,"showCount":9665,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"long-chi-jing-du-tu-juan-wang-zhen-peng-221853","龙池竞渡图卷","此长卷画将楼阁建筑分为两大段，每段画有宫苑重楼、水阁，千回百折，尽在水中。 该图气势恢宏，构图巧妙。",[2495,2544,2496,2497,2498,2790,3898,2500,2549,2550,3434,5522,2715,2506,9695,2547],"竞渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3870d12d0c453d52304f7bf589acbc8d.jpg","纵30.2厘米，横243.8厘米",[6,2626],{"id":797,"slug":9700,"title":9701,"dynasty":2490,"author":3264,"museum":2673,"description":9702,"tags":9703,"thumbUrl":9704,"material":9705,"size":9706,"collection":6,"collections":9707,"showCount":9665,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-gu-shan-shui-dong-qi-chang-220940","仿古山水","明代画坛流派叠现，异彩纷呈。晚期更有华亭派、武林派等异军突起，影响远泽有清一代。其中，华亭派领袖人物董其昌推崇倡导的摹古风气对后世画坛的影响尤为深刻。对于学习绘画，董其昌认为应先以古人为师，对古人画迹悉心摹写，将其笔墨技法、布局构图于心中融汇贯通，从而得古人笔墨意趣，然后再师法自然，汲取创作灵感。他对自己的主张是身体力行的。\n这套《仿古山水》册共８开，皆为仿唐及宋元诸家如杨昇、惠崇、李公麟、倪瓒等的小幅册页，是董其昌仿古一类绘画中不可多得的妙品。董氏水墨山水名重于世，设色山水也别具一格。此册中“仿唐杨昇”一开青绿山水，以没骨法为之，丛树峰峦等都用石青、石绿、朱砂、赭石等色染出，鲜有勾皴，与李思训一派线条硬劲的青绿山水情趣各异。董其昌曾遍临名家画作，而用功最勤的则是元四家。册中有“仿倪元镇”一开山水，构图布局和树、石、山、亭的画法无不毕肖于倪瓒之作，可谓得其三昧，登堂入室。此套册页虽每开均以“仿”字冠名，其实画面却不尽然，因为每幅都有自出新意之处。再以“仿倪元镇”一开为例，与倪瓒之画呈现的寂寥疏淡的面目相比，此图使人感受到的是勃勃生机，这是董氏取诸家笔墨之长，再运用自身的学养识见加以变化而直抒胸臆、独树风标的不凡魅力，后世众多摹古画家始终无法企及。\n此图册作于明天启元年（1621年），董其昌时年67岁。",[2496,2497,2592,2499,2501,3091,2507,2503,2676,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61ec528469518e200ec75e5ee4b32691.jpg","纸本,水墨和设色","每开纵26.3厘米,横25.5厘米",[6,2626],{"id":798,"slug":9709,"title":9710,"dynasty":2605,"author":3431,"museum":2563,"description":9711,"tags":9712,"thumbUrl":9714,"material":2567,"size":2598,"collection":6,"collections":9715,"showCount":9665,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"qiu-zhu-wen-qin-tu-yi-ming-218724","秋渚文禽图","这是一幅秋日的水岛画，画中有飞鸟和参天古树，意境凄凉。该书被故宫博物院和大英博物馆收藏，学者们普遍认为是元代的作品。",[2495,2496,2544,2546,2499,2500,2578,2913,2677,6206,9713,2715,5116],"渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F419d1c3920e5f599788e02111ab56aa9.jpg",[6],{"id":799,"slug":9717,"title":9718,"dynasty":2605,"author":9719,"museum":2818,"description":9720,"tags":9721,"thumbUrl":9722,"material":2567,"size":2598,"collection":6,"collections":9723,"showCount":9665,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"han-lin-ce-zhang-tu-hu-yan-long-218611","寒林策杖图","胡彦龙","寒林枝干虬曲如铁，墨色浓淡交织出萧瑟之态。右侧山石以沉凝皴笔勾勒，纹理苍劲，与疏林相映成趣。坡岸之上，策杖者孑然独立，衣袂轻扬似携山风，身影虽小却意态悠然。古雅的棕褐底色衬出笔墨清劲，虚实间藏着宋人的隐逸情怀——林泉之致，不在喧嚣，而在山、树、人的静默相对里。笔墨简淡却韵味悠长，冬日清寒与心境澄明揉进每一笔，观者仿佛能听见林间风声，触到山石凉，读懂那份寄情山水的淡然。",[2496,2497,2501,2549,2578,2507,2509,2500,2800],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60709ae11956c61255df326d8727958c.jpg",[6],{"id":800,"slug":9725,"title":9726,"dynasty":2632,"author":5673,"museum":2673,"description":9727,"tags":9728,"thumbUrl":9729,"material":2597,"size":9730,"collection":6,"collections":9731,"showCount":9665,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-mei-dao-ren-xia-shan-yu-ji-tu-wu-li-218497","仿梅道人夏山雨霁图","画中远处山峦起伏，层层叠叠，由近及远，矾头突兀，山顶冲入云端，似与天际相连，深山溪水，泉涌不息。中景为广阔的湖面和平坦的沙滩，溪水潺潺；近景为岩石坡，树木茂密，树荫下有几座木屋和草亭，或隐或现，山间有蜿蜒的小路，坡的两边有木板路。",[2495,2496,2497,2577,2499,2509,2676,2501,2502,2503,2506,2651,2730,2613,2652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff3af964d48c19eeba1aedf541e32e4c.jpg","94.5x35cm",[6],{"id":801,"slug":9733,"title":9734,"dynasty":2522,"author":3431,"museum":2973,"description":9735,"tags":9736,"thumbUrl":9737,"material":2567,"size":9738,"collection":6,"collections":9739,"showCount":9665,"zanCount":3048,"manualWeight":2517,"mainColor":2559},"song-zhai-jing-zuo-tu-yi-ming-218207","松斋静坐图","松斋静坐图是中国元朝时期的一幅著名绘画，作者是佚名。\n\n这幅画的主要内容是一位老僧人在森林中静坐，周围的景色非常宁静。老僧人的脸上没有表情，但整个画面都透露出一种深沉的内省与冥想的气息。\n\n这幅画的风格融合了中国传统的山水画和人物画的元素，画面精致细腻，色彩和谐。松斋静坐图是元朝时期佛教文化的经典代表之一，也是中国绘画史上的珍贵艺术品。",[2496,2833,2509,2500,2779,2578,2507,2505,2611,2549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d571379b374461e93289d1506ce0bf6.jpg","170x106.7cm",[6],{"id":802,"slug":9741,"title":3916,"dynasty":2632,"author":9742,"museum":2589,"description":9743,"tags":9744,"thumbUrl":9745,"material":2567,"size":9746,"collection":6,"collections":9747,"showCount":9665,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"xue-jing-shan-shui-tu-li-yin-217880","李寅","李寅是清朝时期的一位著名画家，他以其精美的山水画而闻名于世。其中，李寅的雪景山水图尤为出名。\n\n李寅的雪景山水图通常描绘了冬季的山水景观，其中包括了苍翠的山峦、白雪皑皑的林地以及湖泊冰封的景象。他的作品中通常还会出现一些小景物，如枝叶凋零的树木、出没于雪地中的动物或是隐藏在雪后的小村庄。\n\n李寅的雪景山水图的特点是对细节的精确描绘，他能够捕捉到雪地上的每一片花纹，树枝上的每一朵雪花。同时，他还能够准确地再现出冬日天空中的云彩和阳光，使得作品充满了生机和活力。\n\n总的来说，李寅的雪景山水图是一种传统的中国画风，但其精细的描绘和生动的再现使其成为了一道亮丽的风景画卷，为我们带来了冬日的温馨和恬静。",[2496,2497,2501,2500,2509,3166,2714,3078,2502,3091,4866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20922a690b3a66dc5412ba0ade0554d6.jpg","138x80cm",[6],{"id":803,"slug":9749,"title":9750,"dynasty":2490,"author":3264,"museum":2563,"description":9751,"tags":9752,"thumbUrl":9753,"material":2597,"size":2598,"collection":6,"collections":9754,"showCount":9665,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"shu-hua-ce-yu-shan-dong-qi-chang-214613","书画册-虞山","董其昌（1794年－1856年）是中国明清时期的画家、书法家。他出生于浙江省杭州市，是中国书画史上著名的画僧之一。董其昌在书法和画画方面都有很高的造诣，尤其擅长山水画，其中以写意山水画最为出名。他的著名作品有《虞山图》，这幅画描绘了浙江省虞山的秀美景色。\n\n《虞山图》是董其昌的代表作之一，它展现了他对自然风光的独特描绘方式。在这幅画中，董其昌运用了大量的写意手法，使得画面充满了浓郁的气氛。他通过笔触的流畅和墨色的变化，表现出了山水的秀美和自然的灵动。整幅画浑然一体，充满了生机和活力。\n\n董其昌的《虞山图》不仅是他自己的杰作，也是中国书画史上的经典之作。它被广泛收藏和展览，并被认为是中国山水画的代表作之一。",[2496,2497,2592,2499,2509,2510,2501,2527,2506,2508,2652,3736,2651,2752],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff04f9ae98aa539c6d04e4ab22c644a70.jpg",[6],{"id":804,"slug":9756,"title":9757,"dynasty":2632,"author":2762,"museum":2818,"description":5200,"tags":9758,"thumbUrl":9759,"material":2598,"size":2598,"collection":6,"collections":9760,"showCount":9761,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"yuan-ji-tao-shi-cai-ju-tu-zhou-shi-tao-237470","原济陶诗采菊图轴",[2496,2499,2577,2501,2509,2714,2902,3091,2652,2730,2653],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3235b3438219ed07d2bd0482e005116.jpg",[6,2626],61,{"id":805,"slug":9763,"title":9764,"dynasty":2632,"author":6249,"museum":2673,"description":9765,"tags":9766,"thumbUrl":9767,"material":3257,"size":9768,"collection":6,"collections":9769,"showCount":9761,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xi-bei-shi-yi-tu-ce-cha-shi-biao-233870","西陂诗意图册","查士标（1615—1698年），字二瞻，号梅壑、懒老，安徽休宁人。擅山水，宗法元人倪瓒、吴镇。用笔疏简超逸，意境荒寒清旷。他与渐江、孙逸、汪之瑞并称“新安四大家”（又名“海阳四家”）。著有《种书堂遗稿》。",[2496,2499,2501,2509,2592,2593,2508,2595,3840],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a2da2721f9dffe79fcc1e72526d712f.jpg","纵32.8cm，横52.8cm",[6,2626],{"id":806,"slug":9771,"title":9772,"dynasty":2490,"author":2540,"museum":2673,"description":9773,"tags":9774,"thumbUrl":9781,"material":2720,"size":9782,"collection":6,"collections":9783,"showCount":9761,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"ren-wu-gu-shi-ce-chou-ying-233754","人物故事册","全册共十开，内容取材于历史故事、寓言传说、文人轶事和诗文寓意，具体为子路问津、明妃出塞、贵妃晓妆、南华秋水、吹箫引凤、高山流水、竹院品古、松林六逸、浔阳琵琶、捉柳花图等。这些题材历史上常被画家描绘，但仇英在作品立意、形象塑造和笔墨表现等方面，都注入了自己的才思和技巧，显示出鲜明的个性风格。\n作品主题明确，构思巧妙，不仅人物活动的细节刻画具体明晓，而且注意环境气氛的烘托，使每幅画页都有很强的观赏性。如“贵妃晓妆”页，以杨贵妃清晨在华清宫端正楼对镜理髻为中心，将宫女奏乐、采花和携琵琶等情节同现于一个画面，集中表现了贵妃爱牡丹、喜簪花、善声乐、好打扮的习性，也概括反映了贵妃奢华纵乐的生活内容。又如“高山流水”页，取材于伯牙鼓琴的故事，在描绘俞伯牙草亭弹琴，钟子期拾阶而上，知音相遇的具体情节同时，布置了高山飞瀑、松林流水的静谧清幽环境，形象地表达了高山流水的音乐内容，也衬托出人物的高雅情操，以象征性手法营造出了一个情景交融的臻境。\n此图册运用工笔重彩法。人物情态描绘得细腻精微，文人举止高雅潇洒，仕女容貌端庄娟美。建筑器皿工整精细，山石树木形态各具。笔致工细而不板滞，流畅自然，刚柔相济。敷色艳丽，又多和色，整体色调和谐、清雅。作品具有雅俗共赏的艺术效果，是仇英对唐宋工笔重彩法的创新和发展。",[2496,2497,2592,2546,2500,9775,2549,2501,2550,9776,6020,9777,3965,3010,9778,3057,2935,2503,9779,9780],"重彩","仕女","知音","历史故事","寓言传说","文人轶事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63efd47f6120fe57c20a6fdbb2673a14.jpg","纵41.4厘米，横33.8厘米",[6,2968,2534],{"id":807,"slug":9785,"title":3785,"dynasty":2632,"author":9786,"museum":2673,"description":9787,"tags":9788,"thumbUrl":9789,"material":2867,"size":9790,"collection":2968,"collections":9791,"showCount":9761,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"huang-shan-tu-ce-mei-qing-233152","梅清","黄山位于安徽省南部，歙县西北，山脉绵延三百余里，拥有72峰，以奇松、怪石、云海、温泉“四绝”名闻于世。清初安徽地区的著名画家弘仁、梅清、石涛等多以黄山奇景入画，形成了“黄山画派”。其中，梅清笔下的黄山以气势取胜，不同凡响。\n这套《黄山图》册是梅清晚年的精心之作。全册共八开，分别绘天都峰、莲花峰等黄山８景，或孤峰千仞，或云海茫茫，或苍松蔽日，或雄关峻岭，景色各异，气象万千。梅清画黄山之法有三，一以线条勾勒为主，二以墨色渲染为重，三是融勾勒与渲染为一炉。此图册便是采用第三种方法绘制而成。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。他的创作最重师法自然，他曾在燕、吴、齐、楚之地游历名山大川，终日面对青山描摹写生。黄山和家乡宣城是梅清绘画中最着力表现的题材。在《赠慕潭黄山十六景》册上，他自题“余游黄山，凡有笔墨，大半皆黄山矣。”可见他对黄山景色用功之勤。梅清图写黄山自写生入手，又加入自己的主观感受，再以豪放、泼辣的用笔，突出黄山奇、峻、险、秀的意境，独树一帜，别开生面。",[2496,2499,2509,2592,2501,2593,2505,2502,2549,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0239d3facce2a658eb2b134f4725799.jpg","纵26厘米，横33厘米",[2968,6],{"id":808,"slug":9793,"title":9794,"dynasty":2632,"author":3303,"museum":2563,"description":5988,"tags":9795,"thumbUrl":9798,"material":3069,"size":5993,"collection":6,"collections":9799,"showCount":9761,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shi-er-yue-ling-tu-12-yue-lang-shi-ning-222760","十二月令图（12月）",[2495,2544,2496,2546,2500,2790,7238,2549,2550,2501,6388,2506,2880,2508,9796,8060,2507,9797,2690,7585],"台阶","冬季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59e46a0d4516642432e21125cc72aab.jpg",[6,2534],{"id":809,"slug":9801,"title":9802,"dynasty":2632,"author":9803,"museum":2492,"description":9804,"tags":9805,"thumbUrl":9806,"material":9807,"size":9808,"collection":6,"collections":9809,"showCount":9761,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"jiang-shan-wu-jin-tu-juan-gao-cen-222632","江山无尽图卷","高岑","创作年代不详，据此图之笔意推断，应是高岑年轻时期、即崇德顺治年间的作品。张跋诩之“云林之淡远，山樵之缜密”，并以“黄子久之山水烟云生动林壑虚闲”以为比拟，认定《江山无尽图》“堪为书画舫中第一珍玩”。\n高岑的山水画从宋元入手,并承明代吴门诸家之法,形成两种面貌:一种承继所谓“北宗”传统,从宋范宽到明唐寅;另一路山水,则远绍元代的黄公望、王蒙，近法明代沈周，文徵明。《千里江山图》就是高岑吸取了黄公望空灵简洁的勾线法和王蒙圆润细密的皴染法。",[2495,2496,2497,2498,2499,2500,2509,2501,2714,2715,2506,2507,2508,2504,2503,2578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe635978855f747c8aa390e5a7b497820.jpg","设色纸本","26×455",[6,2626],{"id":810,"slug":9811,"title":9812,"dynasty":2490,"author":9813,"museum":2563,"description":9814,"tags":9815,"thumbUrl":9819,"material":7110,"size":9820,"collection":6,"collections":9821,"showCount":9761,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"shan-zhuang-gao-yi-tu-li-zai-222158","山庄高逸图","李在","这幅画的右下角有「河阳郭熙写」的签款，因此长期被古人误认为北宋郭熙的画作。但是经过研究，发现此签款为后人伪造，从风格、技法来比对，本幅画应该是明初宫廷画家李在的真迹。\n李在是宣德时期（1426－1435）画院最杰出的画家之一，与戴进、石锐三人鼎足而立，闻名于当时画坛。李在受到北宋郭熙画风之影响极深，无论题材、构图或技法，都可以见到郭熙的影子。本幅画结合了行旅、客舍与田园村居生活在一幅画，构图采用以中央主峰主轴，堆栈出带有「S」形动态的走势，山头布满浓密的苔点，山石的质理用层层迭迭的「云头皴」来描绘，在树木与枝叶部分，则以特殊造型的「蟹爪枝」表现。李在的笔墨相较于郭熙，更为自由放逸，这是明初或浙派学习郭熙风格的特征之一。",[2495,2496,2544,2833,2499,9816,9817,2651,2611,2502,2504,9818,3383,2612,2550,2506,2653],"云头皴","蟹爪枝","客舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faea88dacaadab09ee87b38f46a96bc0e.jpg","109.1×188.8cm",[6,2626],{"id":811,"slug":9823,"title":3982,"dynasty":2522,"author":3225,"museum":2673,"description":9824,"tags":9825,"thumbUrl":9826,"material":3157,"size":9827,"collection":6,"collections":9828,"showCount":9761,"zanCount":2517,"manualWeight":2517,"mainColor":3447},"han-lin-tu-cao-zhi-bai-221790","曹知白(1272—1355), 字又元, 号云西, 又字贞素, 人称贞素先生, 华亭(今上海松江县) 人。至元中任昆山教谕, 曾北上大都(今北京), 不久辞归, 隐居不仕, 饱览经书和研究道家之说。自写书斋匾额曰：“常清净”, 以示求闲适恬静意趣。《寒林图》画枯林一行于坡石之间, 树干劲挺, 疏落有致, 笔墨带有秀润气, 属中年之作。",[2495,2496,2497,2501,2499,2509,2913,2578,2677,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d273f7f19185342efa1150df078a26.jpg","纵27.3厘米横26.2厘米",[6,2626],{"id":812,"slug":9830,"title":9831,"dynasty":2522,"author":4583,"museum":2818,"description":9832,"tags":9833,"thumbUrl":9834,"material":2732,"size":9835,"collection":6,"collections":9836,"showCount":9761,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"lou-ge-ting-tai-tu-zhao-meng-fu-220850","楼阁亭台图","赵孟頫绘画，山水取法董源、李成；人物、鞍马师法李公麟和唐人；工墨竹、花鸟，皆以笔墨圆润苍秀见长，以飞白法画石，以书法用笔写竹。力主变革南宋院体格调，自谓“作画贵有古意，若无古意，虽工无益”，遥追五代、北宋法度，论者谓：“有唐人之致去其纤；有北宋人之雄去其犷。”开创了元代新画风。 交友甚广，与高克恭、钱选、王芝、李衎、郭祐之等相互切磋；直接受其指点的有陈琳、唐棣、朱德润、柯九思、黄公望、王蒙等。能诗文，风格和婉。兼工篆刻，以“圆朱文”著称。",[2495,2496,2497,2790,2546,2499,2550,3057,2902],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96226abc23ad0fb3649a6ae892730ae5.jpg","纵40.5cm、横37.3cm",[6,2626],{"id":813,"slug":9838,"title":9839,"dynasty":2522,"author":2588,"museum":2563,"description":9840,"tags":9841,"thumbUrl":9842,"material":2531,"size":9843,"collection":6,"collections":9844,"showCount":9761,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"xi-shan-gao-yi-zhou-wang-meng-220817","溪山高逸轴","密林深处，茅屋三椽，屋中士人抚琴案上，旁童子待，屋前平坡白鹤展翅，另一人正欲渡桥而来，溪旁屋后四松挺翠。全幅皴山画树，层层点染，浓荫繁盛。此图的构图意境在显示所欲写“菊琴友”草堂抚琴之主题。",[2495,2544,2496,2497,2577,2499,2500,2509,2501,2506,2503,2502,2505,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F067de7b72861ee94fa127638ad6c1f4c.jpg","该幅113.7x65.3公分；诗塘26.5x65公分；全幅93公分",[6,2534],{"id":814,"slug":9846,"title":9847,"dynasty":2632,"author":2830,"museum":2749,"description":4422,"tags":9848,"thumbUrl":9849,"material":2512,"size":4425,"collection":6,"collections":9850,"showCount":9761,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-hua-fang-mi-you-ren-wang-shi-min-220001","山水画-仿米友仁",[2496,2497,2499,2676,2501,2714,2715,2506,2614,2690,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6726d39f7aa7017108d87a88825bc186.jpg",[6],{"id":815,"slug":9852,"title":9853,"dynasty":2605,"author":8542,"museum":9854,"description":9855,"tags":9856,"thumbUrl":9857,"material":3157,"size":2598,"collection":6,"collections":9858,"showCount":9761,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"dong-ting-qiu-yue-tu-yu-jian-219920","洞庭秋月图","日本文化厅","南宋玉涧的《洞庭秋月图》描绘了楼阁、圆月和树枝等，栩栩如生在大片的留白处题诗一首：“四面平湖月满出，一阿螺髻镜中看，岳阳楼上听长笛，诉尽崎岖行路难。洞庭秋月。”月光如泻，笛声悠扬，画中有声，诗画辉映，足见玉涧是一位集诗、书、画三绝为一身的僧人。",[2495,2544,2496,2497,2498,2499,2510,2547,2501,3964,2505,2593],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e259371a089172ab221af814ccd9dc.jpg",[6],{"id":816,"slug":9860,"title":9861,"dynasty":2605,"author":3431,"museum":2492,"description":9862,"tags":9863,"thumbUrl":9864,"material":2567,"size":9865,"collection":6,"collections":9866,"showCount":9761,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"song-feng-lou-guan-tu-yi-ming-218662","松风楼观图","山顶上的松树被涂上了颜色，天空中出现了奇特的山峰，山坡上的森林中矗立着建筑和房屋。悬崖边上有围栏和行人。艺术家用长线和水流来画山和石头，用各种点和线来画森林。近处的山是沉重的，远处的山是缥缈的，近处的树是苍白的，远处的树是缥缈的，显示出由于空气的阻隔，近处和远处的景物在视觉上的差异。",[2495,2496,2497,2544,5225,2509,2500,2501,2779,2550,2503,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05aa16083afb2ee32eae9a2801aa5c94.jpg","25.6x27.1",[6],{"id":817,"slug":9868,"title":9869,"dynasty":2605,"author":3431,"museum":2492,"description":9870,"tags":9871,"thumbUrl":9872,"material":2567,"size":9873,"collection":6,"collections":9874,"showCount":9761,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"xue-jiang-gui-zhao-tu-yi-ming-218587","雪江归棹图","寒江雪霁，远山如卧，素白积雪覆在黛色峰峦上，似披一层清薄的纱。岸边茅舍隐于疏林后，枯枝横斜间，隐约见炊烟轻袅，恍若有人家正温酒候归。江面上归棹缓移，帆影淡远，桨声似被雪色浸软，只剩水波微漾的静穆。\n\n笔墨简淡却意韵悠长：山峦以淡墨晕染，积雪肌理用细笔勾出，枯树枝桠如铁线遒劲，尽显冬日清寂之美。整幅画虚实相生，留白处含清寒之气，归舟的动与雪景的静相映成趣，藏着宋人对自然的敬畏与隐逸生活的向往——于静谧中见生机，于简淡中蕴深情，每一处细节都在诉说冬日江上的淡然心境。",[2495,2496,2497,2499,2501,2504,2651,2506,2508,3166,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbeef43a75f0757cbfd80d5f97f0987c.jpg","26.4x26.5",[6],{"id":818,"slug":9876,"title":9877,"dynasty":2490,"author":2899,"museum":2673,"description":9878,"tags":9879,"thumbUrl":9880,"material":2512,"size":9881,"collection":6382,"collections":9882,"showCount":9761,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"luo-yuan-cao-tang-tu-wen-zheng-ming-218499","洛原草堂图","本幅设色，后幅许宗鲁、刘储秀、李濂、康海、王九思、杨慎、白悦、清长照等十三家题记。钤乾隆、嘉庆、梁清标等藏印。",[2495,2496,2497,2498,3236,2499,2500,2546,2501,2550,2502,2503,2505,2506,2507,2510,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29260d365a157def23b5c4e428155c4e.jpg","纵28.8cm，横94cm",[6382,6],{"id":819,"slug":9884,"title":3183,"dynasty":2490,"author":7803,"museum":2673,"description":9885,"tags":9886,"thumbUrl":9887,"material":2512,"size":9888,"collection":6,"collections":9889,"showCount":9761,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-li-yong-chang-218374","层岩叠嶂间，笔墨勾勒出山川苍劲骨力。主峰巍峨，披麻皴皴染结合显浑厚质感；侧峰错落，林木点缀其间，松针挺劲，杂树枯枝带萧散之态。山间屋舍隐于林麓，或傍崖或临溪，似有幽人栖居之意。\n\n线条简劲，墨色层次分明，干笔皴擦见苍率，湿墨点染显润泽。近景树木扶疏，中景峰峦起伏，远景云雾含藏，虚实相生间得山水深远之致。整幅画存宋元遗韵，又具新安画派初兴的清逸之气，简淡中见古雅，丘壑间寄幽情，仿佛可闻林泉响，可感山居静。",[2495,2496,2499,2509,2577,2547,2501,2507,2506,3091,2902,2508,4063],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547c8176db772742ccf265437f537614.jpg","纵125.7cm，横58.8cm",[6],{"id":820,"slug":9891,"title":9892,"dynasty":2605,"author":3431,"museum":2673,"description":9893,"tags":9894,"thumbUrl":9902,"material":2597,"size":2598,"collection":6,"collections":9903,"showCount":9761,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"lu-hong-cao-tang-shi-zhi-tu-yi-ming-218320","卢鸿草堂十志图","长卷徐徐展开，十帧隐逸图景次第铺呈。峰岫含烟，林麓交映，古树盘曲如铁，流泉飞泻似练。其间草堂错落，或临溪筑榭，或依山构宇，隐者或凭轩观瀑，或策杖行吟，或围坐论道，意态悠然。墨色浓淡相宜，皴擦点染间见丘壑之妙；题辞穿插其间，笔意与画意相生，文气氤氲。整幅作品古雅沉静，尽得林泉高致之趣，仿佛能闻松风竹韵，听山涧清音，令人心向往之，沉醉于那片远离尘嚣的幽居天地。",[2495,2544,2496,2498,2499,2501,2934,5658,6492,9895,9896,9897,2509,9898,9899,9900,9901],"峰岫","林麓","隐者","题字","隐逸","古雅","林泉高致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96939053844aa2166756d34301b6320a.jpg",[6],{"id":821,"slug":9905,"title":9906,"dynasty":2632,"author":3020,"museum":2818,"description":9907,"tags":9908,"thumbUrl":9909,"material":2732,"size":9910,"collection":6,"collections":9911,"showCount":9912,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234876","王原祁仿古山水册","丁巳为康熙十六年（1677年），王原祁时年三十六岁。册前王时敏款署西庐八十七老人题，应为康熙十七年（1678年）所题，即王原祁创作该册后的次年所书。以丁巳下推至庚午，不足十五年，而自跋中今阅十五年，当是王原祁笔误。\n画前副页有王时敏隶书灵心自悟四大字。画册后跋纸为王原祁自题：此余丁巳春间往云间笔也。先奉常见之谓余为'可教'，题识四字。个阅十五年矣，于古人笔墨终未梦见，殊愧先大父指授，为之泫然。康熙庚午长夏观于毘陵舟次谨题，原祁。钤原祁之印（白文）、麓台（朱文）、兴与烟霞会（白文），画册首副页，尾纸只有庞元济藏印11方。\n该册仿古山水，是王原祁早期绘画的代表作品。所仿元六家山水各具形貌，笔墨或设色又颇具苍润、恬淡、秀丽等不同特点，所以王时敏以灵心自悟夸赞其孙王原祁在仿古的同时，边学习古人的画法，同时又寻求开创个人独特艺术特点的创作方向。该册是研究工原祁早期绘画的宝贵材料。",[2496,2497,2592,2500,2501,2509,2676,2547,2507,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb3906ab5fe733b92e1b4dac6a6a17ae.jpg","纵21厘米，横27厘米",[6,2534],60,{"id":822,"slug":9914,"title":2587,"dynasty":2490,"author":3264,"museum":2673,"description":7369,"tags":9915,"thumbUrl":9916,"material":2867,"size":4301,"collection":6,"collections":9917,"showCount":9912,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-dong-qi-chang-233800",[2496,2497,2592,2499,2500,2501,2509,2714,2715,2506,3735,2507,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034929475ad5bc8450af2c928ccea8b8.jpg",[6],{"id":823,"slug":9919,"title":9920,"dynasty":2605,"author":3431,"museum":2563,"description":9921,"tags":9922,"thumbUrl":9924,"material":2500,"size":9925,"collection":2624,"collections":9926,"showCount":9912,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"xi-shan-mu-xue-zhou-yi-ming-223566","溪山暮雪轴","此画描绘的是白雪覆盖溪岸与山峰，群鸦翔集欲归巢，江天一片寒冬之意。溪山之间，仍见绿树丛丛寒林不多，应是江南冬日之景象。描绘景物，细致生动而且写实，若将之分割数个方块来看，正如南宋之山水册页。可惜无画家名款，目前尚难断定是那位画院名家之作。本幅造意之精，构景之妙，可称独至。而笔墨细腻，烘染妥帖，尤足以称其意云。",[2495,2496,2544,2577,2501,2509,2499,2714,3078,2506,2613,9923,2504,3668],"暮景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f6027549ff3ba9471ae648d9c8b2de.jpg","纵102.1厘米，横55.9厘米",[2624,6,2626],{"id":824,"slug":9928,"title":5973,"dynasty":2632,"author":9929,"museum":3121,"description":9930,"tags":9931,"thumbUrl":9932,"material":9933,"size":9934,"collection":6,"collections":9935,"showCount":9912,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-tu-juan-zhang-ci-ning-222849","张赐宁","群山环抱，两棵树耸立，水面平静，叶小舟去作画。和其他水墨画一样，这幅画用墨较多，有层次感。",[2495,2496,2497,2498,2499,2500,2501,2509,2714,2715,2528,2504,2902,2508,2652,2595,3042],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F245cd1b249d8216f4f7f6e4b49950088.jpg","纸本 水墨 设色","41.3 x274.0厘米",[6,2626],{"id":825,"slug":9937,"title":9938,"dynasty":2490,"author":9094,"museum":2673,"description":9939,"tags":9940,"thumbUrl":9941,"material":3257,"size":9942,"collection":6,"collections":9943,"showCount":9912,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"ting-song-tu-zhou-xiang-sheng-mo-222674","听松图轴","本幅自题：“偶寻鹿迹来游此，坐听松风亦爽然。庚寅登高日寓江城西郊，喜此二言，骤笔补图。项圣谟。”钤“胥山樵项伯子”等印3方。“庚寅”乃清顺治七年（1650年），项氏54岁。“登高”为重阳节之古俗。据题可知此图系项氏于顺治七年重阳节与友人登高时为吟得佳句而绘。\n作品画云崖雾涌，长松虬枝，高士临流吟赏。树石用笔浑厚沉着，人物线条圆秀朴拙，意境清旷高古，具项圣谟山水人物画的典型风貌。",[2495,2496,2499,2577,2501,2902,2549,2652,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb76a9e06e51c1074aa07a48f7d377c6c.jpg","纵138.5厘米，横60厘米",[6,2626],{"id":826,"slug":9945,"title":9946,"dynasty":2490,"author":9947,"museum":2563,"description":9948,"tags":9949,"thumbUrl":9952,"material":2703,"size":9953,"collection":6,"collections":9954,"showCount":9912,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shui-mian-wen-xiang-zhou-wen-cong-jian-222411","水面闻香轴","文从简","图绘荷塘一隅，圆盘状荷叶遮住水面，墨色浓郁，四周水草繁茂，三支荷花突颖而出，二支绽放，一支含苞待放，高处荷杆上一只翠鸟探头向水中望去，翠鸟红喙细长尖锐，全身毛发柔软整齐，神情活泼。",[2495,2496,2577,2500,2546,3457,9950,9951,7786,2594],"荷叶","鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e54eae5e00cccc24c1fccf44406de6.jpg","106.8x43.8厘米",[6,2626],{"id":827,"slug":9956,"title":9957,"dynasty":2490,"author":3647,"museum":2749,"description":3648,"tags":9958,"thumbUrl":9959,"material":3069,"size":9960,"collection":6,"collections":9961,"showCount":9912,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"wu-zhong-sheng-gai-tu-quan-juan-wen-zheng-ming-221975","吴中胜概图全卷",[2495,2496,2497,2498,2500,2501,2511,2510,2509,2546,2651,2528,2550,2502,2503,2504,2505,2552,2506,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbea8d9ae2d8130ad7485b843268d551.jpg","纵31.5厘米，横453厘米",[6,2534],{"id":828,"slug":9963,"title":9964,"dynasty":2605,"author":3431,"museum":3088,"description":9965,"tags":9966,"thumbUrl":9967,"material":2732,"size":9968,"collection":2624,"collections":9969,"showCount":9912,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"jiang-shan-xing-lv-tu-yi-ming-221677","江山行旅图","《江山行旅图》画艺精湛，保存完好，并且流传有绪，实为金代山水画的珍品。依据款署「太古遗民」推断，此图作者应赏析为一位北宋遗民画家，他为躲避金廷的追查和征用，隐名埋姓，深居简出，不忘先祖，不愿成为女真人的臣民而甘当遗民。另根据「东皋」钤印判断，这位画家有可能籍贯为东皋(今山西河津)，而从画面描绘的北方山川风物景色来看也与此地域相近，也可能借此怀念前朝往事。\n《江山行旅图》用笔劲健刚硬，皴法质朴，略施渲淡， 综合了「钉头皴」，「雨点皴」等皴法描绘出北方石质坚凝的山体，表现出一种雄伟峻厚，风骨峭拔的气象，确有综合「三家山水」之感：关同的：「峭拔」，李成的「旷远」，范宽的「雄强」， 而这些特点令人想到了「三家山水」的渊源，即中国画史上遗民画家的先驱--荆浩。他是唐末后梁儒士出身的山水画家，字浩然，沁水（今属山西）人，一作河内（今河南沁阳）人。唐末战乱迭起，荆浩隐于太行山区的洪谷，取号洪谷子，以唐人自居，无视后梁统治。其山水画强调师法造化，搜妙创真，注重对真山真水的深切感受，开创了全景式的大山大水构图，奠定了北方山水画图式特征，影响了北宋山水画的整体面貌。",[2495,2496,2497,2498,2499,2509,2501,2506,2652,2614,2612,2714,2715,2677,2800,2505,2552,2913,2578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb29e33ccd969cc6a691bf6ba1cee17d.jpg","38.42x417.83",[2624,6,2626],{"id":829,"slug":9971,"title":9972,"dynasty":2605,"author":9452,"museum":2673,"description":9973,"tags":9974,"thumbUrl":9975,"material":2720,"size":9976,"collection":2624,"collections":9977,"showCount":9912,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"shi-jing-xiao-ya-lu-ming-zhi-shen-tu-ma-he-zhi-221628","诗经小雅鹿鸣之什图","此卷是南宋著名画家马和之创作的《诗经》系列画作品中的一卷。全卷书、画共10段，每段前小楷书《诗经》原文，文后为图。首段开头书“鹿鸣之什”四字，末段书三首诗名及小序，末又书“鹿鸣之什十篇”。\n第一段：鹿鸣　　画面上一所豪华的宫殿中华灯盛宴，一王者相貌之人踞坐殿中，嘉宾与臣下列坐两侧，以突出王者宴嘉宾臣下之意。殿外丹墀之下内侍环立，乐工鼓琴奏乐，以乐君臣。右侧是高大的树木与叠起的云霭，仿佛形成一道屏风，将画面自然隔开，表现群鹿于山谷之中，或鸣，或奔，或低首觅食，各具姿态。全图紧扣宴乐嘉宾之中心，表现得浅显而明了，使人易于理解其深刻的含意。\n第二段：四牡　　《四牡》一章是在慰劳外国使臣时演唱的。此段描绘外国使臣来朝路上的情节。画面上一辆四驾马车左行，一人手持节旄端坐车中，四名仆从于车前挽辔而行，车后一人跟随。衬景仅绘一丛树木，表现出路途的荒凉与使臣远行的艰辛。图中主要人物面部表情并不欢愉，而是略带一丝忧愁，这正与诗中“周道倭迟，岂不怀归”的人物心情之刻画相契合，但“王事靡艰，我心伤悲”，主人公又表现出一种为了国家、王事而心忧的复杂情愫。\n第三段：皇皇者华　　此段绘山间路上一辆四匹马驾的车正逶迤行进，与前段人物的运行方向相反，为自左向右行。诗序云：“皇皇者华，君遣使臣也，送之以礼乐，言远而有光华也。”一人手挽缰绳坐于车中，车旁一随从手擎使臣所用之节旄，仆从各携不同物品跟随于马车前后。此段表现使臣奉王命出行的场面。四周草木丛杂，山谷幽深，山间小溪流淌，通过环境的描绘表现出使臣为国事奔走的艰辛劳瘁之状。\n第四段：常棣　　此段绘坡岸上三人立于水畔，形貌几乎相同，似表现兄弟三人正在观看水中的植物。水中植物亦为三株，错落生长，或即为常棣之木。封建社会讲究孝悌，悌指兄弟和睦，此诗此图意皆在此。《常棣》诗云：“兄弟既翕，和乐且湛，宜尔家室，乐尔妻帑。……”古人谓“齐家治国”，兄弟和睦方能齐家，故此乃治国的前提条件。\n第五段：伐木　　此段绘山高草深，林木茂盛，山谷间二人手执利斧，在一株较矮小的树下作砍伐状。二人视线均集于树上的一只栖鸟身上，以扣紧“出自幽谷，迁于乔木”之主题。此段画面较为平直，而诗中的引申之意则未加表现。\n第六段：天保　　此段画面绘高山峻岭，乔松挺秀，碧海翻波，祥云瑞霭，红日初升于水上，皎月掩映于峰峦之间，光华耀人。诗中末段云：“群黎百姓，编为尔德，如月之恒，如日之升，如南山之寿，不蹇不崩，如松柏之茂，无不尔或承。”此诗意在表示王权天授，江山如松柏之不凋，如南山之不崩，如日月之永恒，以祈江山永固。此段所录诗中“恒”字缺最后二横笔，避宋真宗赵恒讳。\n第七段：采薇　　此段图绘山林间一队车马右向奔驰，驾车之马皆着甲胄。旌旗冽冽随风飘舞，马蹄声声踏破了山间的宁静。画面上只画出7人8马，但山坡顶部扬起的数杆旗帜却令人有千军万马随之而来的感觉。诗中一再强调戍边将士远离家园、忍饥挨冻都是边患未靖之故，鼓励将士为国出力，抵御外侮，勤劳王事。这一点在南宋初年亦是极具现实意义的。\n第八段：出车 此段描绘王者乘车出郊慰劳戍边而还的将士之场面。诗云：“我出我车，于彼牧矣，自天子所，谓我来矣。”画面上五乘车马左行，甲胄整齐，兵刃森森，军旗飘扬。此图以人物车马为主，衬景仅是边角上点缀几丛杂树，远处山丘隐现。\n第九段：杕杜　　图绘山林间茅屋隐现，小路上一妇人提篮远眺，在祈盼逾期未归的丈夫。远处山顶旗帜隐现，寓征夫将还之意。\n第十段：鱼丽　　此段绘池塘中二人划一小舟，肩扛捕获的鱼向岸边而来，岸上二人正在指点谈论。此段意在表现政权安定后物阜民丰，然“始于忧勤，终于逸乐”，故需取之有时的为政思想，对统治者施政有一定的劝戒寓意。\n马和之抓住原诗中的某一个细节，发挥自己的主观想象，以浅显易懂的绘画语言绘制出号称三百篇的《诗经》插图，在绘画创作上堪称浩大的工程。\n马和之创作《诗经图》历经高宗、孝宗二朝。据《绘事备考》载：“高宗尝以毛诗三百篇诏和之图写，未及竣事而卒。”后由孝宗继其事，仍令和之补图。《鹿鸣之什》卷见于《绘事备考》记载，可知创作于高宗朝。然马和之《诗经图》问世不久即出现摹本、临本，存世至今约16卷，风格、水平不一，显然有真迹、摹本、仿作之分。今观是卷，绘画简逸流动，属马和之典型的“蚂蝗描”，书法端庄萧洒，为高水平的高宗书体，书画均属真迹，是极难得的存世赵书马画合璧真迹。",[2495,2496,2497,2498,3898,2500,2511,2510,2549,2550,2506,4721,2501,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e854a26934fa436dd74c1f474bc2b0.jpg","纵28厘米，横864厘米",[2624,6,2534],{"id":830,"slug":9979,"title":9980,"dynasty":2490,"author":3264,"museum":2563,"description":9981,"tags":9982,"thumbUrl":9983,"material":2703,"size":9984,"collection":6,"collections":9985,"showCount":9912,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"feng-jing-fang-gu-tu-dong-qi-chang-220962","葑泾仿古图","此图古意森然而秀润，正体现了画家的艺术特点，用笔柔中带刚，中锋直皴。 董其昌的山水画，大体有两种面貌，一种是水墨或兼用浅绛法，此画便属于这一种。另一种则是青绿设色，有时出以没骨，比较少见。在这幅作品中，既有董源、巨然、米芾、赵孟頫、黄公望、倪云林乃至李唐的遗风余韵，又有他自己的动人华彩。",[2495,2496,2497,2499,2501,2509,2676,2510,2511,2547,2502,2503,2506,2507,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a40e34b394a4d345fd98856c1f31ff1.jpg","纵79.72cm 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滩岸布置崖冈枯木，通幅用淡墨图写，景物出没于空旷有无之间，明润秀雅，较李郭山水更为虚灵简远。此图是李公年传世的唯一的画迹。",[2496,2499,2509,2577,2501,2651,2913,2578,2677,2505,2528],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F885b7547f08c8a2d5e1e3041dfe3ad24.jpg","纵130厘米，横48.4厘米",[6],{"id":834,"slug":10012,"title":3183,"dynasty":2522,"author":10013,"museum":10014,"description":10015,"tags":10016,"thumbUrl":10017,"material":2567,"size":10018,"collection":6,"collections":10019,"showCount":9912,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"shan-shui-tu-yan-hui-218242","颜辉","开封市博物馆","层岩叠壑间云雾氤氲，似将山峦晕染成流动的诗行。枯木虬枝如墨笔狂舞，皴擦点染间尽显苍劲力道，却又于虬曲中藏着生机。山间屋舍隐于林麓，半露半藏，似有逸士凭窗观云，将尘嚣隔绝在外。水墨淋漓处，浓淡干湿交织，远山如黛，近石如铁，树木扶疏间，光影流转成幽寂之境。\n\n这幅山水将自然丘壑化为心象，笔墨既见法度又含写意，于沉郁中透出空灵。它以苍劲的笔触勾勒天地骨架，用氤氲的墨气晕开文人幽怀，仿佛能让人听见山风穿林、涧水潺潺，在静默中与天地精神往来，尽显元人寄情山水、以笔抒怀的意趣。",[2496,2499,2500,2509,2501,2507,2506,2505,2508,2578,3136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8acb54e2e79d4575f1c162e13375372.jpg","136x127cm",[6],{"id":835,"slug":10021,"title":10022,"dynasty":2632,"author":5673,"museum":2589,"description":10023,"tags":10024,"thumbUrl":10025,"material":2597,"size":2598,"collection":6,"collections":10026,"showCount":9912,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-bei-yuan-qiu-shan-ting-zi-tu-wu-li-217980","仿北苑秋山亭子图","吴历的画风清新自然，笔法简洁流畅。在这幅画中，他巧妙地运用了构图、色彩和线条的对比，使得整幅画面显得格外生动。他还细心地捕捉了自然界的细节，比如山亭的屋顶上长满青苔，树叶上的露珠闪闪发光。\n\n这幅画被认为是吴历的杰作之一，其独特的画风和精细的绘画技巧得到了广泛赞誉。它不仅是一幅美丽的画作，也是对中国古代山水画的精湛再现。",[2496,2497,2499,2501,2505,2593,2507,2509,2676,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bd29e36c3ff5f94f648797f2e11c33d.jpg",[6],{"id":836,"slug":10028,"title":10029,"dynasty":2522,"author":3431,"museum":2673,"description":10030,"tags":10031,"thumbUrl":10032,"material":3257,"size":10033,"collection":6,"collections":10034,"showCount":10035,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"ni-zan-qiu-ting-jia-shu-tu-zhou-yi-ming-239526","倪瓒秋亭嘉树图轴","图中绘平坡远岫，草亭嘉树，广阔的江面上露出汀渚一角，幽静雅洁，仿佛笼罩在一片月色之中。画面取三段式构图，用笔尖峭秀逸，树干皆双勾，稍事皴染，树叶点法富于变化。墨色较为干淡，仅以浓墨点苔，提出精神，为沉寂的画面融入了些许生气。\n本幅自题：“七月六日雨，宿云岫翁幽居，文伯贤良以此纸索画，因写秋亭嘉树图并诗以赠。风雨萧条晚作凉，两株嘉树近当窗。结庐人境无来辙，寓迹醉乡真乐邦。南渚残云宿虚牖，西山青影落秋江。临流染翰摹幽意，忽有冲烟白鹤双。瓒。”\n本卷上诗塘有吴宽、朱果二家题记。曾经清内府收藏。",[2496,2499,2577,2510,2547,2509,2501,2593,2505,3155,2595,3880],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08768391940841042688571157736a1b.jpg","纵114cm，横34.3cm",[6,6382],59,{"id":837,"slug":10037,"title":5199,"dynasty":2632,"author":2762,"museum":2673,"description":5200,"tags":10038,"thumbUrl":10039,"material":2732,"size":2598,"collection":6,"collections":10040,"showCount":10035,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"yuan-ji-shan-shui-tu-zhou-shi-tao-237235",[2496,2499,2577,2497,2544,2501,6810,2506,2611,2652,3668,2503,2547,2510,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5e43feaef33afb1b1431c649b984048.jpg",[6],{"id":838,"slug":10042,"title":7360,"dynasty":2632,"author":3786,"museum":2818,"description":5981,"tags":10043,"thumbUrl":10044,"material":5818,"size":5819,"collection":6,"collections":10045,"showCount":10035,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"hong-ren-shan-shui-ce-hong-ren-235611",[2496,2497,2499,2501,2550,2902,6810,2507,4657,4014,2509,2511,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff9adc4adea84818538ce7cff5131eed.jpg",[6],{"id":839,"slug":10047,"title":10048,"dynasty":2632,"author":2830,"museum":2563,"description":10049,"tags":10050,"thumbUrl":10051,"material":2703,"size":10052,"collection":6,"collections":10053,"showCount":10035,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"fang-wang-wei-jiang-shan-xue-ji-zhou-wang-shi-min-224433","倣王维江山雪霁轴","王时敏师承董其昌，师法黄公望，少时就极为聪颖，祖父王锡爵嘱托董其昌对其进行指导，创作了绘画人门的画稿即《课徒稿》。受董其昌的影响，王时敏少年便从摹古开始，因家里名画收藏丰富，方便王时敏深入钻研宋、元传统的笔墨画法。王时敏对黄公望顶礼膜拜，对其作品中干枯的笔墨和浑厚潇洒的画，风学习最下功夫。到了晚年时期，王时敏画风日益成熟，他追求用笔本身的变化，形成了用笔求“毛”的独特风格，要求有枯有润，有苍有秀，淡墨干笔皴擦，浓墨加湿渲染，老辣苍茫，墨法淳厚，从而形成了苍茫浑厚的山水画风",[2496,2500,2501,2676,2509,2577,2547,2714,3078,2593,2502,2503,2508,2652,2614,2611],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818fb305d0e6313b1d20a32166c9149c.jpg","133.7x60",[6],{"id":840,"slug":10055,"title":10056,"dynasty":2632,"author":5172,"museum":2563,"description":10057,"tags":10058,"thumbUrl":10059,"material":2703,"size":10060,"collection":6,"collections":10061,"showCount":10035,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xi-hu-shi-jing-juan-dong-bang-da-223121","西湖十景卷","《西湖十景图卷》由清代书画家董邦达绘。虽名为「十景」，画上却以隶书标注了西湖五十四处景点：断桥残雪、平湖秋月、曲院风荷、三潭印月、苏堤春晓、柳浪闻莺、双峰插云、花港观鱼、雷峰西照、南屏晓钟等等。\n乾隆皇帝在南巡前从未亲访江南。他对江南的所有印象与知识，皆构筑在相关图籍或他人的描述上。这件〈西湖十景〉卷，为南巡出发前夕，臣工提供给他各式江南旅游资讯的例子。此画为董邦达（1699-1769）所绘製，虽名为「十景」，画上却标出五十四个景点，将西湖可游处扩增五倍以上，实为「招游」之作。乾隆皇帝在南巡前一年（1750）的题跋，显示此图的确挑起游兴，让他打算于明春南巡时亲自感受久闻的西湖之美，印证实境与画境。诗句中流露出他对游览西湖的期待之情。\n康乾二帝每次南巡前后，都会有官绘本西湖图问世，或是为皇帝南巡作详导，或是总结皇帝南巡圣迹。故而，传世“西湖十景”图以清宫旧藏为主体。在这些清宫旧藏的“西湖十景”图中，董邦达为数最巨，有5件之多。",[2495,2496,2497,2498,2500,2501,2509,2790,2547,2550,2502,2503,2506,2507,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd37682559659c3eec6e7025d6f306b2a.jpg","41.6×361.8",[6],{"id":841,"slug":10063,"title":10064,"dynasty":2632,"author":3816,"museum":3039,"description":10065,"tags":10066,"thumbUrl":10067,"material":10068,"size":10069,"collection":6,"collections":10070,"showCount":10035,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"yi-dao-fei-quan-gong-xian-222609","一道飞泉","画面描绘了近景崇山，山上有丛林、枝繁叶茂，几间茅庵掩映于树丛之中，使得寂静的山林更增添了几分幽邃之感，清清的泉水顺山而下，明快、幽雅、整幅画面笔酣墨润、气韵即足，给人一种清新自然之感。作者运用了“披麻皴”“雨点皴”等画法，虽不用泼墨，湿墨，但有泼墨之淋漓，浓郁苍润的效果。代表了作者山水画之独特风格。\n画的右上角有作者自题七言律诗： “静壁春泉一道飞，白龙藏影见斜辉，谁家草阁遥无际，半醉之窗向翠微。”署 “甲子上元(1684年1月15日)半亩龚贤书并题”款。下钤“龚贤印”白文方印，“半千”朱文方印。画上钤有“绶福堂藏画印”等鉴藏印。此画系作者晚年作品，现藏辽宁省博物馆。龚贤，字半千，又字野遗，号半亩，又号柴丈人。江苏昆山人，流寓江陵(今南京)清凉山。工诗文，行草，尤工山水，有《草香堂集》、《画诀》、《柴丈人画诀》、《课徒画稿》等著作行世，是金陵画派中最有成就的画家，并居金陵画派之首。\n在这幅画中，作者以石象征“长寿”，与牡丹相配合，寓意“富贵长寿”，是民间喜庆节日广为引用的吉祥图案。此画构图虽满，却巧妙地利用了绘画中的透视法则，以静映动，以深托远，尽显距离的美感，使有限的空间，充满无限的张力。\n繁茂的枝叶表现的甚为精彩，细如游丝的叶筋，其走向笔笔皆有交代，棱角分明，线条柔而刚劲，出神入化，使得薄如蝉翼的墨色叶片，正侧向背，顾盼顾仰，鲜活灵动。\n该画中所画之石，粗砺凝重，具有坚贞的傲骨和顽强的生命力，是其自身性格绝好的写照。从其改用左手绘画，到创作此幅画作止，历时九年，九年里从不习惯到习惯，从不熟练到熟练再到精益求精，其为之所付出的艰辛和努力，可想而知。幅首其左手题字也为整幅画面增色不少，其左冲右突，飘飘忽忽的结体，在这里好似垂挂的珠帘一般，随风摆动，与图画有机地结合在一起，别具韵致，给人雾里看花，隔帘观美之感。",[2495,2544,2496,2497,2577,2499,9413,2501,2503,2506,2507,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24def22080b1526b2fb90ee14de849af.jpg","纸本水墨画","画心纵79、横38.2厘米",[6,2626],{"id":842,"slug":10072,"title":10073,"dynasty":2490,"author":2540,"museum":2673,"description":10074,"tags":10075,"thumbUrl":10076,"material":2720,"size":10077,"collection":6,"collections":10078,"showCount":10035,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"nv-le-tu-zhou-chou-ying-222221","女乐图轴","此图是一幅工笔重彩仕女画，表现的是贵族女子各执乐器，在殿宇前的地毯上配乐演奏的情景。周围站立三位女子，或侧耳倾听，或低声言谈，巧妙地营造出“听”的动感氛围。通过此图可见贵族女性在演奏时愉悦的心境，以及她们闲适高雅的游乐生活状态。",[2495,2544,2496,2497,2577,2546,2500,2790,2549,3206,9776,2550,2880,3965,2593,3839],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ed4eecc82d33b7ef91154d2d5b82d1.jpg","纵145.5厘米，横85.5厘米",[6,2534],{"id":843,"slug":10080,"title":5783,"dynasty":2522,"author":3907,"museum":2563,"description":10081,"tags":10082,"thumbUrl":10084,"material":2703,"size":10085,"collection":6,"collections":10086,"showCount":10035,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"hua-xue-jing-zhou-sheng-mao-221752","盛懋：元临安（今杭州）人。住嘉兴魏塘镇。与吴镇居比邻。洪子。善画山水、人物、花鸟，始学陈仲美（琳），略变其法，精致有馀，特过于巧。皇庆二年（1313）有仿张僧繇山水图，台北故宫周刊载有其1362年（至正二十二年）所作夏山行旅图。",[2495,2544,2496,2497,2577,2499,2500,2509,2501,3166,3079,2506,2508,10083,2528,3736,2507,6388,3696],"茅舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f80914710acf1baa725ccfa5af835f.jpg","151x27.3公分",[6,2626],{"id":844,"slug":10088,"title":10089,"dynasty":2605,"author":10090,"museum":5626,"description":10091,"tags":10092,"thumbUrl":10095,"material":2732,"size":10096,"collection":2624,"collections":10097,"showCount":10035,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"zhong-shan-chu-you-tu-juan-gong-kai-221449","中山出游图卷","龚开","《中山出游图》绘钟馗及小妹乘舆出游的情景，鬼卒们形状诡异，修短不齐，趋前走后，或抬轿肩壶，或挑行李、持包裹。钟馗环目虬须，回首视妹，目光中流露出无限爱怜之态。小妹端坐舆中，与使女皆以墨代脂粉涂于脸颈，奇趣横生，令人哑然失笑。\n《中山出游图》用笔粗放，不绘背景，不敷色彩，只以水墨勾染，风格浑朴，别开生面",[2495,2496,2498,3898,2499,2549,10093,2960,10094,7239],"鬼怪","兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8280b5c0f8df796c30604681cc79ff9.jpg","纵32.8厘米，横169.5厘米",[2624,6,2534],{"id":845,"slug":10099,"title":10100,"dynasty":2605,"author":2946,"museum":2563,"description":10101,"tags":10102,"thumbUrl":10103,"material":2567,"size":10104,"collection":2624,"collections":10105,"showCount":10035,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"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。",[2495,2496,2497,2499,2501,2509,2507,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54993d0fc188603ac72284d8609e6fb4.jpg","20.8x22.2",[2624,6],{"id":846,"slug":10107,"title":10108,"dynasty":2522,"author":7479,"museum":2673,"description":10109,"tags":10110,"thumbUrl":10111,"material":2597,"size":10112,"collection":6,"collections":10113,"showCount":10035,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"lin-tang-xiao-se-tu-wu-jin-218302","林塘晓色图","淡墨晕开晓雾，塘面似蒙轻纱，水汽氤氲间，近岸松石苍劲。松针以中锋勾勒，如笔如毫，透着坚韧；山石干笔皴擦，纹理古拙，与湿墨晕染的水面相映，干湿相济，漫出清晨的湿润。远岫隐于薄雾，墨色渐浅，层次叠生，平远之境悠然展开。林木错落，枝干虬曲，似沐晨风，摇曳生姿。无浓艳设色，仅以水墨浓淡虚实，织就林塘晓色的静谧清幽。元代文人画“以意为先”的韵致在此尽显——观者仿佛立于塘边，闻晨露滴叶，见天光初透，心随画面沉入那份天地初醒的恬淡与悠远。",[2496,2497,2833,2499,2509,2637,2547,2510,2506,2507,2503,3696,2613,3091,2779,2595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F248c446d889f8b9b86494e01e5e523fe.jpg","30x54cm",[6],{"id":847,"slug":10115,"title":10116,"dynasty":2490,"author":10117,"museum":6348,"description":10118,"tags":10119,"thumbUrl":10120,"material":2597,"size":10121,"collection":6,"collections":10122,"showCount":10035,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"zhu-shi-tu-chen-jia-yan-218002","竹石图","陈嘉言","竹石图是中国明朝时期陈嘉言所作的一幅图画，它是一种颇具特色的中国山水画，具有很高的艺术价值和历史意义。\n\n陈嘉言是明朝时期著名的画家，他的作品中有许多著名的山水画，其中竹石图是他最著名的作品之一。这幅画以竹子和石头为主要元素，描绘了一片幽静的山水风景。\n\n竹石图被认为是中国传统山水画的杰作，因为它能够准确地再现了山水之间的关系，同时还能够表现出山水的美好之美。在这幅画中，陈嘉言用竹子和石头来表现山水之间的关系，同时还用色彩的变化来表现山水的深浅和质感。\n\n竹石图是陈嘉言在明朝时期的代表作之一，它不仅体现了陈嘉言艺术上的成就，同时也是中国山水画发展史上的一个重要里程碑。如今，竹石图已经成为了中国艺术史上最著名的山水画之一，并被广泛欣赏和珍藏。",[2495,2496,2497,2577,2499,2509,3155,2677,2510,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa388b5265f5b7302a3252f8f6876b7c.jpg","80x43.5cm",[6,2870],{"id":848,"slug":10124,"title":10125,"dynasty":2632,"author":10126,"museum":2818,"description":10127,"tags":10128,"thumbUrl":10129,"material":2598,"size":2598,"collection":6,"collections":10130,"showCount":10131,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-wang-hui-shan-shui-juan-qin-bing-wen-239411","仿王翬山水卷","秦炳文","秦炳文（一八O三至一八七三），字砚云，号谊亭，江苏无锡人。道光二十年（1840）举人，官户部主事。三上春闱，留京八载，尝一返里，挈子俱北。寄情诗酒，广交游，精鉴赏，所藏皆精品。画擅山水，初师王鉴，后宗黄公望、吴镇，臻其胜境。\n为晚清“娄东画派”主要画家之一，其画作列入国家文物局《精品和各时期代表作品不准出境者》名单。",[2496,2497,2498,2499,2676,2509,2501,2502,2503,2504,2505,2578,2507,2549,2902,2891,2508,2988,2595,3055],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8187a166c877f30e4c6d5a06b1680c9.jpg",[6],58,{"id":849,"slug":10133,"title":10134,"dynasty":2490,"author":8264,"museum":2818,"description":10135,"tags":10136,"thumbUrl":10137,"material":2598,"size":2598,"collection":6,"collections":10138,"showCount":10131,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-chuan-ming-sheng-ce-song-xu-239193","山川名胜册","宋旭（1525―1606年后），字初穤，号石门、石门山人，（明画录作字初旸，式古堂书画汇考作字初旸，号石门）。后为僧，法名祖玄，又号天池发僧、景西居士。湖州（今浙江省湖州市）人，为“苏松派”的先声，为吴门派支流。博宗内外典，通禅理。善山水，兼长人物。万历间名重海内。",[2496,2500,2501,2509,2592,2714,2715,2593,3736,2549,2613,2654],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F518b2ae9119abeee9db28c3ed23d5e41.jpg",[6,2534],{"id":850,"slug":10140,"title":7929,"dynasty":2632,"author":5644,"museum":2818,"description":8566,"tags":10141,"thumbUrl":10142,"material":2598,"size":2598,"collection":6,"collections":10143,"showCount":10131,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-zhou-kun-can-237873",[2496,2499,2509,2577,2497,2511,2547,2501,2651,2506,2611,3057,2613,2652,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517a9cc096f9e8a965e8e054e4adea5b.jpg",[6,6382],{"id":851,"slug":10145,"title":2587,"dynasty":2632,"author":2996,"museum":5626,"description":10146,"tags":10147,"thumbUrl":10148,"material":2598,"size":2598,"collection":6,"collections":10149,"showCount":10131,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-hua-yan-236728","华嵒（1682～1756），福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。华嵒是清康雍乾年间的著名画家，他笔下的鸟堪称一绝，最负盛名。\n华喦就是我们所熟知的新罗山人，但我相信这一套山水画册，大部分人都不是熟悉，这山水画册页并没有藏在国内，而是藏在美国的弗利尔美术馆，其可称为华喦非常精致的一套山水册页。",[2496,2500,2592,2499,2509,2714,2715,2505,3155,2502,2552,2677,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa832e728718e0546bb3aa1e9daaea510.jpg",[6,2534],{"id":852,"slug":10151,"title":10152,"dynasty":2632,"author":10153,"museum":2673,"description":10154,"tags":10155,"thumbUrl":10156,"material":10157,"size":10158,"collection":6,"collections":10159,"showCount":10131,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shi-wan-tu-ce-ren-xiong-223136","十万图册","任熊","《十万图》册是任熊晚年创作的10幅山水精品，因题目均以“万”字起首而得名，即“万卷诗楼”、“万点青莲”、“万峰飞雪”、“万笏朝天”、“万竿烟雨”、“万松叠翠”、“万林秋色”、“万壑争流”、“万丈空流”、“万横香雪”，以寓至多尽善、完满俱足之意。该图册多取材于苏州太湖一带的山水而内容又有所扩大，如“万笏朝天”、“万横香雪”即以苏州天平山和香雪海为素材，“万点青莲”描绘的应是杭州西湖的景色，而“万丈空流”、“万竿烟雨”则是想象中的海岛和潇湘奇景。总之，画家是以“十”、“万”来概括天下美景与赏心乐事。作品笔法细腻，构思精微，意境深邃，并富有装饰趣味，于写实中充满浪漫情调。尤其是作者充分运用金笺纸的底色作用，使青绿设色逾显得绚丽多彩，浓艳华贵而不失雅逸的艺术效果。",[2495,2496,2497,2592,2500,2545,2501,2509,2507,2506,2613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F665e6202ad6aba5ebcf701093a7cb813.jpg","泥金笺，设色","纵26.3厘米，横20.5厘米",[6],{"id":853,"slug":10161,"title":10162,"dynasty":2632,"author":3303,"museum":2563,"description":5988,"tags":10163,"thumbUrl":10166,"material":3069,"size":5993,"collection":6,"collections":10167,"showCount":10131,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shi-er-yue-ling-tu-11-yue-lang-shi-ning-222759","十二月令图（11月）",[2495,2496,2546,2500,2549,2550,2506,2507,2880,10164,10165],"参禅","古建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6ec9adc0590d630722ea9245c07bfe.jpg",[6,2534],{"id":854,"slug":10169,"title":10170,"dynasty":2490,"author":2776,"museum":3039,"description":10171,"tags":10172,"thumbUrl":10173,"material":2720,"size":10174,"collection":6,"collections":10175,"showCount":10131,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"xi-tang-shi-yi-tu-zhou-dai-jin-222035","溪堂诗意图轴","图绘群山环绕中，泉水汇于山涧，桥上一童子置琴而过，对面草堂内一老者坐于凳上手执诗文认真观看；远处山峰险峻，树木葱郁，几座亭台隐约显现。本幅图采用典型的对角线构图，以斧劈皴勾画石头的轮廓，以焦墨中锋画出树木虬劲枝干，层次感突出。",[2495,2544,2496,2497,2577,2499,2500,2509,2501,2505,2502,2503,2506,2611,2549,2507,2614,2690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f8e0f302f05704359484a669d345933.jpg","194x104cm",[6,2626],{"id":855,"slug":10177,"title":3119,"dynasty":2490,"author":10178,"museum":2492,"description":10179,"tags":10180,"thumbUrl":10181,"material":2732,"size":10182,"collection":6,"collections":10183,"showCount":10131,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"za-hua-ce-guo-xu-221933","郭诩","郭诩（1456—1532），字仁弘，号清狂道人，江西泰和人。工书画，善山水，尝遍历名山，曰“岂必谱也，画在是矣。”同时江夏吴伟、北海杜堇、姑苏沈周俱以画名，莫不延颈原交，天下竟传清狂画，风之百金。有贵人欲多得诩画，诩瞠目数屋梁不对。固索，辄跮跖狂趋，叫奡跳号去。弘治（一四八八至一五零五）中徵天中善画者，应诏京师。宸濠召与语，辄辞谢之。往依王守仁献画题诗所见志。又善杂画，信手作人物，辄有奇趣。七十三岁尚作磨镜图。他的作品传世不多，八开《杂画册》现藏上海博物馆，《琵琶行》图轴藏北京故宫博物院。\n山水、人物，风格豪放，笔法师略，清细柔和，墨气轠然，尤是绘古人清士。题署简逸，缙绅无不重之。与吴伟齐名，为吴伟、沈周、杜堇所推重。 花鸟杂画，信手拈来，颇有奇趣。草虫书法工写兼备，其画风在明中期 别成一格。",[2495,2496,2497,2499,3898,2592,2549,3091,8060,2547,4231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0573efbe7b213e884e25992b2193b58.jpg","纵28.5 厘米横46.5 厘米",[6,2968],{"id":856,"slug":10185,"title":10186,"dynasty":2490,"author":10187,"museum":3121,"description":10188,"tags":10189,"thumbUrl":10190,"material":2867,"size":10191,"collection":6,"collections":10192,"showCount":10131,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"jin-ling-si-ji-tu-shou-juan-wei-ke-221875","金陵四季图手卷","魏克","图绘旧时金陵（今南京）四季景色。描绘一年四季中山峦、湖泊、城外景色，春之雾气，夏之浪涛、秋之碧波、冬之冰雪。魏之克，后名克，明朝画家，善画山水兼工花卉，传世画作《松崖待渡》扇面，《水仙梅图》等。",[2495,2496,2497,2498,2500,2501,2546,2509,2499,6474,2550,2502,2503,2505,2552,2507,2506,2614,2549,5281,2800],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd979470a53b8a003d3e9e4fae584c457.jpg","31.3 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鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[2544,2496,2497,2577,2499,2509,2501,2505,2503,2506,2507,2730,2611],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc7418118584b0267cf220052b12893a.jpg",[6,2626],57,{"id":868,"slug":10288,"title":10289,"dynasty":2490,"author":9094,"museum":2818,"description":10290,"tags":10291,"thumbUrl":10293,"material":2598,"size":2598,"collection":2870,"collections":10294,"showCount":10286,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-hua-guo-ce-xiang-sheng-mo-237698","山水花果册","项圣谟，生于明代万历二十五年（1597年），卒于清代顺治十五年（1658年），初字逸，后字孔彰，号易庵，别号甚多，已知者有子璋、子毗、胥山樵、胥樵、古胥山樵人、兔鸣叟、莲塘居士、松涛散仙、大酉山人、存存居士、烟波钓徒、狂吟客、鸳湖钓叟、逸叟、不夜楼中士、醉疯人、烟雨楼边钓鼇客等，浙江嘉兴人。祖父项元汴，为明末著名书画收藏家和画家。伯父项德新也善画。项圣谟自幼受家庭熏陶，精研古代书画名作，虽然曾由秀才举荐为国子监太学生，但不求仕进，而把兴趣投入到书画中，从而在绘画创作上，他很早就显现出了多方面的才能，山水、人物、花鸟无一不精，曾得到明末两位最为著名的鉴赏家，董其昌和李日华的高度评价。董其昌在他的画册上题跋，称“古人论画，以取物无疑为一合，非十三科全备，未能至此。范宽山水神品，犹借名手为人物，故知兼长之难。项孔彰此册，乃众美毕臻，树石屋宇，皆与宋人血战，就中山水，又兼元人气韵，虽其天骨自合，要亦工力至深，所谓士气、作家俱备。项子京有此文孙，不负好古鉴赏百年食报之胜事矣”，李日华称赞他的画风“英思神悟，超然独得”，是“崛起之豪”。\n项圣谟的作品，以山水为多，也是他成就的主要方面。他早年从学习文徵明入手，但很快就跳出了文徵明画法画风的局限，而直接向古人学习。这主要是受益於其家族富甲天下的历代名画收藏，从而可以使他很快改学宋人用笔的周密严谨、兼取了元人的韵致。除了宗乳於祖辈的丰富家藏，亦得力其自身的观察自然、远游写生的经验，使其画面布局大开大合，意境明净清雅，结构严谨而富于变化，笔法简洁秀逸，气韵高雅，极富书卷气，具有很高的品格和思想内涵。\n他的画有两点最值得称道，也是当时其他画家所不及的。其一是强烈的政治色彩，他用画反映民间疾苦，寄托对人民的同情和对明王朝的忠贞。在先后经历了“甲申”和“乙酉”之变，满清入主中原后，项圣谟在画上就不再题写朝代的纪年，仅用干支，并钤盖“江南在野臣”、“大宋南渡以来辽西郡人”、“皇明世胄之中嘉禾处士”等印，以彰其志节。此段时间的作品，大多借用绘画抒写胸中郁愤，表现强烈的遗民感情，由徐树铭题项圣谟清顺治三年（1646）所作《山水诗画册》：“六月雪篇有时变之感，望扶桑篇有故国之思，诗史之董狐也。”于画作中寓写深意，反应时代，以画为史。李铸晋认为其在亡国后的作品，蕴含著效忠前朝，表达亡国之痛的图画象徵，如：红色，以“朱”为明朝；枝干壮硕却无叶的树木，喻为国家，虽历风雨，枝干仍傲然挺立，有著不可折屈的精神；在暮色中栖息的飞鸟是无处可归，何处为家之意等。现藏北京故宫之《大树风号图》的题跋“风号大树中天立，日落西山四海孤。短策且随时旦莫，不堪回首望菰蒲”可作其心境写照。\n其二是极其严谨的画风和写实态度。项圣谟善于从生活中摄取素材，他的画贴近现实，造型准确，严肃不苟，一反当时潦草粗疏，追求“逸笔草草”的画风。吴山涛在题项圣谟《秋声图轴》曾说到：“孔彰先生为予老友，作画必凝神定志，一笔不苟，予常嗤其太劳。君曰：我辈笔墨，欲流传千百世，岂可草草乎？旨哉其言也。”可见项圣谟这种严肃认真的好的作风，直接影响到他的画风，使他的绘画在当时的画坛上别树一帜，而赢得了“士气作家俱备”的称誉。\n项圣谟喜画高大的乔木，尤喜画松树，树木勾，擦，染精细，树干之嶙峋，历历几可扪捉，有强烈的凹凸感，而留出的受光部分则颇具体积感，与一般文人画示意性的画法迥然有别，故明时有“项松之名满东南”之誉。他画的大树，树干挺直，刚强伟岸，拟人化的画面形象鲜明强烈，具有强大的人格力量。\n在花鸟画的创作上项圣谟同样具有自己鲜明的特色，尤其讲究造型，经意构图，善于表现花叶和花瓣的层次，向背以及受光点的明暗，从而有别于当时其他花鸟画家的画风。项圣谟很认真地吸收了黄筌画派精谨慎严的审物造物精神，但在画法上，受写意画影响，形成一种工写结合的形式，酲酿了黄筌画派工笔花鸟画新的发展趋势。在技法上，大都以水墨或略施淡彩，有时也纯用色彩作没骨法，色彩淡而不薄。在用笔上，十分凝重秀逸，故而虽有姣妍之色相，却寓嶙峋之风骨，整个调子和气氛，非常飘洒雅致，不同凡俗，好似有一股冷艳暗香浮动其间。他的这种风格在之后的恽寿平、蒋廷锡等人的作品中都有所体现。\n除绘画外，项圣谟亦精书法，善赋诗。其书法端庄严谨，峻拔出脱中不失书卷气。其诗多为题画诗，除了描绘山光水色、自然美景的山水诗外，还有许多是表达其对人民疾苦的同情和对故国的怀念，文辞警策凝重，格调悲壮慨然，反映出他的个性为人。因国破家亡，其晚年家贫，却志存高洁，不结交权贵，靠卖画自给。著有《朗云堂集》、《清河草堂集》、《历代画家姓氏考》、《墨君题语》。",[2496,2544,2500,2546,10292,3456,3126,2547],"花果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf6cca07ebe77c836898663ca11c9d3b.jpg",[2870,6],{"id":869,"slug":10296,"title":10297,"dynasty":2632,"author":4496,"museum":2673,"description":10298,"tags":10299,"thumbUrl":10300,"material":2720,"size":10301,"collection":6,"collections":10302,"showCount":10286,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-lou-ge-zhou-yuan-yao-236719","山水楼阁轴","此图是袁耀中年时期创作的大幅画作。绘高山峻岭，山石陡峭，树木葱郁，楼阁华丽壮观，境界幽美。图中用笔严谨精到，山水以工笔画出，墨色富于浓淡变化，明净雅致，意境恬淡，别有一番韵致。",[2496,2790,2500,2546,2509,2501,2550,2507,2506,2528,2504,2690,4702],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd2cab51c3f5a3bcd636d980beb75aed.jpg","纵202.3厘米，横118.5厘米",[6,2534],{"id":870,"slug":10304,"title":10305,"dynasty":2522,"author":2984,"museum":2563,"description":10306,"tags":10307,"thumbUrl":10319,"material":10320,"size":10321,"collection":6,"collections":10322,"showCount":10286,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"qing-jiang-chun-xiao-tu-wu-zhen-231383","清江春晓图","图画清江两岸的美丽风光。江之左岸，高山耸立．巍峨壮观，笔直的山峰直插云天。远山采用水墨渲染，用淡墨勾勒出山之轮廓，隐约可见连绵起伏之势。主景画平缓的山坡，坡上的苍松翠梧只是用笔尖画出一些小点点，但山泉和因落差形成的瀑布倒挂于两山之间，却清晰可见。主景的高山，巨峰陡然耸立，占据了画面的二分之一强。山峰采用渴笔擦皴法，山峰壁削，山坡平缓都画得非常形象逼真。山巅之上，花草树木也是采用写意的画法，用笔尖墨点来表现。只有山角下、河岸边的松林方可见其真面目，树干、树叶等，一一画出。幽寂的山谷间，有亭台楼阁，有的画其全貌，有的只画楼之一角。山脚坳中有平房数间，掩映在松树林中。从左至右，平房所处的山石之间，有三座木桥相连。清江右岸江心岛上，也有平房数间，由坡岸到江心岛，由两座木桥相连。可谓小桥流水人家，一派世外桃源的平和景象。江中心一叶扁舟，顺流而下。船上四人，或高谈阔论，或尽情欣赏清江两岸的大好风光。这些舟桥，既以其小巧与大山相映成趣；又起到了将画面各处景物连贯为一个有机整体的作用，在构图上很见匠心。 ‘\n此图描绘清江两岸的美丽风光。此画可以分为远景、中景、近景三段式。远景即江之左岸，山峦叠嶂，山峰林立，山巅主峰耸立，直插云天，整体山势巍峨壮观，山坡左侧的山泉和落差形成的瀑布倒挂于两山之间，奔腾直泻，如一匹银白帛布在风中吹拂似的。山坳或山坡平坦处筑有庙宇亭台楼阁，有的仅露出一角，有的半露半隐，屋宇楼阁，用笔工整细致，近似界画。山脚下河岸旁，树木成林，排列齐整，在丛林荫下座落几间房舍，溪水两岸有一座板桥相连接。中景为宽阔的河水，河面平静如镜，无一丝波纹，唯有小扁舟在河面中心荡漾，小舟上坐有四五人，十分悠闲自然，或论经说道，或尽情地观赏清江两岸的山山水水。人物用笔极简练，寥寥数笔一挥而就，但各人的神情、姿态各异，生动逼真，可见作者有着极强的写实能力。近处即为此画的主景，在崎岖不平的丘陵上，山势较为平缓，平坡上长有苍松翠柏，江心岛上也有房舍数间，各江心岛皆架有木桥，用来接连坡岸。可谓小桥流水人家，一派世外桃源的平和景象。这些舟桥，虽比例较小，不曾起眼，但它们却以其小巧与大山相映成趣，又将整个画面各处景物连贯在一起，有机地组成一个和谐的整体，在构图上别具匠心。此画远山采用水墨渲染，用淡墨勾勒出山之轮廓，然后加以皴擦，坡上的苍松翠柏只是用笔尖勾画出一些小点点，以介字点树叶，山峰采用渴笔皴法，山巅上的花草树木采用写意的画法，用笔尖墨点来表现。",[2496,2833,2499,10308,2637,2790,2509,10309,2595,2611,10310,10311,10312,10313,10314,10315,2902,2619,6501,10316,2549,10317,10318],"渴笔皴法","高山","山泉","亭台楼阁","房舍","木桥","清江","扁舟","江心岛","世外桃源","平和","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78c6ab37569f3f8b0024781bd1f59370.jpg","墨笔画","纵114．7厘米，横100．6厘米",[6],{"id":871,"slug":10324,"title":3183,"dynasty":2605,"author":2910,"museum":10325,"description":10326,"tags":10327,"thumbUrl":10328,"material":10329,"size":10330,"collection":2624,"collections":10331,"showCount":10286,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-ma-yuan-221666","维多利亚和阿尔伯特博物馆","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[2495,2544,2496,2499,5225,2509,6041,2501,3091,2507,2595,5071,2549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe25749570680d4776f70b7c2eecee4f5.jpg","绢本 淡设色","25.5X25.7",[2624,6,2626],{"id":872,"slug":10333,"title":10334,"dynasty":2605,"author":4253,"museum":2563,"description":10335,"tags":10336,"thumbUrl":10337,"material":2531,"size":10338,"collection":6,"collections":10339,"showCount":10286,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"bing-zhu-ye-you-tu-ma-lin-221187","秉烛夜游图","朦胧的幽雾，伴随着鹅黄的月光，轻轻地降临人间。黝黑的短亭、长廊前，一朵朵犹如淡抹著胭脂、醉卧在绿沙中的海棠花们，深深地吸引着屋内主人的目光。他唤来了仆人，点起了蜡烛；在烛光映衬下，他满足地倚坐于亭内，望著这万重绰约如仙的红颜，看得都痴了。\n宋人爱花成痴的傻劲儿，是令人称奇，也令人称羡的。其中，又以素有「花中神仙」之称的海棠，最令宋人钟情、痴狂。海棠激发了宋人赏花的热情，不仅不分晴雨，也不分昼夜。古人燃烛夜赏芳华，或为牡丹，或为梅花；但能令宋人「只恐夜深花睡去，高烧银烛照红妆」的，却独独只有海棠。",[2496,2544,2546,2500,2790,2550,2549,2506,3964,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F578e2ffd01bb31fc19a9ed719b2041d1.jpg","24.8 x 25.2公分",[6,2626],{"id":873,"slug":10341,"title":8777,"dynasty":2490,"author":3264,"museum":3039,"description":8778,"tags":10342,"thumbUrl":10343,"material":4016,"size":10344,"collection":6,"collections":10345,"showCount":10286,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xiao-xiang-bai-yun-tu-dong-qi-chang-220954",[2495,2496,2497,2498,2499,2509,2511,2510,2547,2501,3208,2506,2508,2595,6060,2613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21fdc195369ed63e4dec9e5360e472cd.jpg","卷纵29.3厘米横340.8厘米",[6,2626],{"id":874,"slug":10347,"title":10348,"dynasty":2522,"author":10349,"museum":6348,"description":10350,"tags":10351,"thumbUrl":10352,"material":2597,"size":10353,"collection":6,"collections":10354,"showCount":10286,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"tan-you-gui-lai-tu-zhu-de-run-219934","探友归来图","朱德润","朱德润字泽民，号睢阳山人，又号旹杰，其擅山水，初学许道宁，后法郭熙，所画多作溪山清远、峰岳耸秀、林木挺健，山石用卷云皴，树作蟹爪枝，颇具真实感。",[2495,2496,2497,2498,2499,2509,2501,2502,2503,2504,2593,2507,2614,2549,2730,2547,2510,2511],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff72957dd60af3e3d5c952f9e954c2d1e.jpg","28.2x119.3",[6],{"id":875,"slug":10356,"title":4591,"dynasty":2605,"author":3431,"museum":2818,"description":10357,"tags":10358,"thumbUrl":10359,"material":2567,"size":10360,"collection":6,"collections":10361,"showCount":10286,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"chun-shan-xing-lv-tu-yi-ming-218653","春山如黛，溪水流淙。石桥横卧波上，行旅往来其间，驮队缓行溪边，似闻蹄声轻响。山舍临流而筑，柳丝轻拂檐角，远山层叠含烟，近石嶙峋映水。笔墨细腻处，见树影婆娑、屋宇错落；意境淡远间，融自然生机与人文意趣。宋代山水之韵在此尽显——不刻意雕琢，却于寻常景致中藏着春日的温婉与行旅的从容，仿佛能让人随画中人行过溪桥，步入那烟霞缭绕的春山深处，感受时光慢淌的诗意。",[2496,2497,2501,2500,2546,2509,2502,2503,2505,2578,2550,2507,2506,2549,2612],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7600d5fe1024075bc6fd2e533eb62609.jpg","191x111",[6],{"id":876,"slug":10363,"title":10364,"dynasty":2522,"author":4854,"museum":2492,"description":10365,"tags":10366,"thumbUrl":10367,"material":2512,"size":10368,"collection":6,"collections":10369,"showCount":10286,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"he-xi-cao-tang-tu-zhao-yuan-218271","合溪草堂图","此图采用对角线构图，右下绘有一洲为嘉兴澄性海，洲上筑有人交谈。对岸林木扶疏，湖中渔舟忙碌。笔墨疏淡，设色简雅，风格近似王蒙。自识[莒城赵元为玉山主人作合溪草堂图]。按玉山主人即顾阿英，旁又见顾阿瑛的题记，可知此图描绘了顾阿瑛私宅嘉兴合溪草堂的景色。顾氏款至正癸卯即公元一三六三年。",[2496,2497,2499,2509,2501,2578,2505,2552,2503,2677,2504],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b39b7cd5b2e234b501aa3000492f233.jpg","84.3厘米，横：40.8厘米",[6],{"id":877,"slug":10371,"title":10372,"dynasty":2522,"author":3431,"museum":2973,"description":10373,"tags":10374,"thumbUrl":10375,"material":2597,"size":10376,"collection":6,"collections":10377,"showCount":10286,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"xi-shan-gui-zhou-tu-yi-ming-218215","溪山归舟图","溪山归舟图被认为是元朝时期图画艺术的代表作之一，其中蕴含着浓厚的儒家思想。儒家认为，人生最大的幸福就是能够返璞归真，回归自然界的本真状态。这幅图画描绘的少年漂流在溪水中，似乎也在暗示人应该摆脱尘世的束缚，回归自然界的真理。\n\n溪山归舟图的风格独特，它采用了轻巧的线条和柔和的色彩，呈现出一种清新、自然的感觉。这种艺术风格与元朝时期的文人墨客们崇尚的“写意”艺术风格相似，都强调自然、随意、自由。\n\n总的来说，溪山归舟图是元朝时期著名的图画作品，其中蕴含着浓厚的儒家思想，艺术风格独特，值得我们细细品味。",[2496,2499,2509,2501,2504,2593,2652,2595,3880,3042],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3c9c60f7dd5a55cb83dd74a5fbeefb3.jpg","168x103cm",[6],{"id":878,"slug":10379,"title":10380,"dynasty":2632,"author":3786,"museum":2818,"description":7361,"tags":10381,"thumbUrl":10382,"material":2598,"size":2598,"collection":6,"collections":10383,"showCount":10384,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"hong-ren-mei-hua-zhou-hong-ren-237613","弘仁梅花轴",[2496,2497,2577,3898,2499,4241,2547,2510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa05d4f75e8c0b7583181dee88bfbac1e.jpg",[6,2626],56,{"id":879,"slug":10386,"title":10387,"dynasty":2490,"author":5775,"museum":2673,"description":10388,"tags":10389,"thumbUrl":10390,"material":10391,"size":10392,"collection":6,"collections":10393,"showCount":10384,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"qian-yan-wan-he-tu-zhou-wu-bin-236933","千岩万壑图轴","图绘千岩万壑，层林飞泉，楼阁幻隐，景致幽僻，雄奇险峻，超情入神，骇目洞心。构图繁缛而不迫塞，笔法严整清峭，山石皆以缜密细笔勾皴并以淡墨晕染，突出了山体的阴阳向背和突兀嶙峋。画面的云气弥散在前后重叠的奇峰之间，并以墨色的浓淡分出山间树木枝叶的前后层次，从而使整幅具有丰厚的立体感。\n《画史会要》称吴彬：“善山水，布置绝不摹古，皆对真景描写。”实际上，吴彬画中的山水仍受古画的影响，但其境界主要来自其云游各地之奇景，加之想象而得。作者的绘画能从古人窠臼中脱迈而出，又深受自然界山水之熏陶，因而在明末的山水画坛迥异时流，独树一帜。",[2496,2577,2499,2509,2501,2527,2652,2506,3057,2611,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e68b23f635d47b17a1c9a8d30178a5e.jpg","绫本，设色","纵170.5厘米，横46.7厘米",[6,2626],{"id":880,"slug":10395,"title":10396,"dynasty":2490,"author":3431,"museum":2818,"description":10397,"tags":10398,"thumbUrl":10399,"material":3069,"size":10400,"collection":6,"collections":10401,"showCount":10384,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-lou-ge-tu-ye-yi-ming-223460","山水楼阁图页","图中绘高山峻岭，山石陡峭，树木葱郁，群山中有一楼阁，作为画中心，色彩不同于高山树木的墨绿，采用偏黄绘画，具有中国建筑特色，极为突出",[2495,2496,2497,2592,2790,2499,2500,2501,2550,2506,2507,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58ae4ea4a3f42436225874305e3ba8ce.jpg","40X43",[6,2626],{"id":881,"slug":10403,"title":10404,"dynasty":2632,"author":3303,"museum":2563,"description":5988,"tags":10405,"thumbUrl":10407,"material":3069,"size":5993,"collection":6,"collections":10408,"showCount":10384,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"shi-er-yue-ling-tu-8-yue-lang-shi-ning-222767","十二月令图（8月）",[2495,2496,2497,2546,2500,2790,2549,2550,2506,2507,2880,2505,3012,8060,6284,10406,7515],"围墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd9d2819dab19c67c4bf7cfb5fc58f1a.jpg",[6,2534],{"id":882,"slug":10410,"title":10411,"dynasty":2490,"author":5395,"museum":2563,"description":10412,"tags":10413,"thumbUrl":10415,"material":2499,"size":10416,"collection":6,"collections":10417,"showCount":10384,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"han-shan-shi-liu-tu-zhou-zhao-zuo-222184","寒山石溜图轴","赵左（1573—1644）左一作佐，字文度。活跃于明代后期。万历、崇祯时华亭（今上海松江）人。\n赵左，为诸生时，诗文即出众，曾赴北京，以一首秋草诗一鸣惊人，人呼为“赵秋草”。后得顾正谊赏识，让他与宋懋晋向好友宋旭学画，此后画名渐显。山水师法董源，兼学黄公望、倪瓒。画云山以己意出之，有似米（芾）非米之妙。善用干笔焦墨而又长于烘染，后受董其昌的画风影响，形成笔墨灵秀、设色雅致的风格。他与弟子沈士充、朱轩、叶有年、陈廉、李肇亨等构成的艺术群体，被人们称为“苏松派”。论画主张要得所画物象之势，应取势布景交错而不繁乱。因一生穷困，曾为董其昌代笔。所著《大愚庵遗集》已失传，散落的诗文由其子搜辑成一集存世。传世作品有万历三十九年（1611）作《秋山幽居图》扇面（藏上海博物馆）、万历四十年（1612）作《溪山无尽图》卷）收录于《中国绘画史图录》下册）、万历四十四年（1616）的《长江叠翠图》卷（藏中国美术馆）等。另有藏于故宫博物院的《富春大岭图》卷，台北故宫博物院藏《寒江草阁图》轴及上海博物馆藏《仿大痴秋山无尽图》卷、《山水卷》等。\n绘画特色:\n一、师从宋旭。宋旭（1525-？年），字初旸，号石门，浙江湖州人，后徙居上海松江，以画山水最为擅长，主要师法“明四家”之一的沈周，风格雄劲古拙，为“松江派”之祖。赵左的山水画是以宋旭为基础，上溯源流，追摹董源、倪瓒笔意，兼采米氏云山与黄子久浅绛法，善用干笔焦墨，长于烘染，水墨湿润，极富神韵。清王原祁《佩文斋书画谱》中即有云：“（赵左）学于宋旭……其画宗董源，兼有黄公望、倪瓒之意。\n二、受董其昌山水画影响。董其昌是明代后期书画大家，其山水画理论与实践影响了明末乃至清代山水画的发展，加之董氏社会地位显赫，官至南京礼部尚书，以太子太保致仕，结交了大量的仕宦、文人和书画家，因此名重一时，影从者甚众。由于董其昌是松江人氏，因此当时松江地区的许多画派都以追随董氏，强调摹古，重视笔墨为潮流，而赵左身处其间，在绘画创作上受乡贤之影响也是必然的。\n赵左与董氏是翰墨挚友，并有着长期的书画交往，是董氏绘画最重要的代笔人之一。对此，清朱彝尊（1629-1709年）在《论画绝句十二首》中指出“隐君赵左僧珂雪，每替香光应接忙。泾渭淄渑终有别，漫因题字概收藏。”又朱氏自注云：“董文敏疲于应酬，每倩赵文度及雪公代笔，亲为书款。” 同时，清姜绍书（生卒年不详）在《无声诗史》中亦有云：“与董思白为翰墨友，流传董迹，颇有出文度手者。”可见，赵左为董氏代笔在当时已是公开的秘密，这也从一个侧面反映了赵左在绘画上的功力确是不凡。\n赵左绘画作品《山水册》，现由金陵天渡楼收藏。\n当然，赵左为董其昌代笔与董氏原作是有本质区别的。赵氏长于烘染，在树木等的刻画上立体感强，层次繁复，风格细润，于绘画技巧上更为精能，但笔墨功力与董其昌相比则略显单薄，这主要是由于董氏所具有的超凡书法功底是赵左力所不逮的。赵左作为“松江派”山水的领袖，自具有其独到之处。《无声诗史》记其论画一则，阐述了他对山水画创作的艺术见解。他主张画山水，须得山川林木、楼观舟车、人物屋宇之势，做到取势布景，交错而不繁乱；景物布置,须一一自然合理；景色先以朽笔勾出，然后落墨,使景致、笔墨交融，成画后才富有意味。\n他创作的山水画，亦力求体现这些思想。景物大多较为繁复，有时画烟岚云雾流动于层峦叠嶂、坡谷幽溪涧；并以斜径、溪桥、房屋、树木,掩映穿插。笔墨方面,或用浓、湿、浅、淡的墨色染出山峦向背，同时渍出浮动的白云；或作浅绛设色，与笔墨的运用相融。还经常参用米氏父子、黄公望、倪瓒等画家的不同画法\n他的山水画秀劲飘逸的韵致也吸引了一大批松江画家追随其左右，如赵泂、叶有年、吴振、释常莹等，都从学于赵左绘画，使得明末清初的松江画坛呈现出一派生机盎然的景象。而赵左的许多作品也为时人和后世视为世袭之珍。",[2495,2544,2496,2497,2577,2499,2509,2507,3091,2614,2611,10414,3079,2501],"小亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdc4008b1851240fd1b92482966a63c8.jpg","52.7x36.9厘米",[6,2534],{"id":883,"slug":10419,"title":10420,"dynasty":2605,"author":9452,"museum":2541,"description":10421,"tags":10422,"thumbUrl":10423,"material":2531,"size":10424,"collection":2624,"collections":10425,"showCount":10384,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"xiao-ya-nan-you-jia-yu-pian-ma-he-zhi-221451","小雅·南有嘉鱼篇","马和之（生卒不详）：中国南宋画家。活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。高宗绍兴(1131-1162)中登第，一说官至工部或兵部侍郎。画院待诏（画家），为南宋宫廷画院中官品最高的画师，居御前画院十人之首。周密曾谓“御前画院仅十人，和之居其首焉”。擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描(一作马蝗描)，用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[2495,2544,2496,2497,2498,3898,2500,2511,2547,2510,2549,2550,2503,2502,2505,2578,2552],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95614c3f4e3eb9f4c63c1368cfcfd9c2.jpg","27×383厘米",[2624,6,2534],{"id":884,"slug":10427,"title":10428,"dynasty":2605,"author":8439,"museum":2818,"description":10429,"tags":10430,"thumbUrl":10431,"material":2500,"size":10432,"collection":2624,"collections":10433,"showCount":10384,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-tu-ye-yan-wen-gui-221424","山水图页","燕文贵（967—1044），北宋画家。文贵一作贵，又名燕文季，吴兴（今浙江湖州）人。擅画山水、屋木、人物。宋太宗时至汴梁于街头卖画，被画院待诏高益发现并加以举荐，后进入翰林图画院，甚得太宗赏识。\n\n作画常自出机杼，落笔命意不袭古人，所画景物清润秀雅，又善于把山水与界画相结合，将巍峨壮丽的楼观阁榭穿插于溪山之间，点缀以人物活动。刻画精微，笔法峭丽，境界雄浑，人称“燕家景致”。\n存世作品有《江山楼观图》《溪山楼观图》等。",[2495,2544,2496,2497,2592,2500,2509,2501,2506,2690,4702,2595,3042,2652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f2cb4e910bceafecf67da9700705515.jpg","55×25",[2624,6,2626],{"id":885,"slug":10435,"title":10436,"dynasty":2632,"author":3796,"museum":2673,"description":10437,"tags":10438,"thumbUrl":10439,"material":2567,"size":10440,"collection":6,"collections":10441,"showCount":10384,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"fang-da-chi-shan-shui-tu-wang-jian-219220","仿大痴山水图","此图沿“S”形的水路，绘一河两岸的景色，笔墨技法精湛，设色清丽脱俗，表现了江南山水沉郁深秀的自然气象。图中山石、树木勾染以仿大痴，即黄公望的画面为主，同时参法董源及唐初巨然的笔力，显现出王鉴晚年对古人笔墨融会贯通的掌控能力。",[2495,2544,2496,2497,2577,2500,2501,2503,2507,2506,2676,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7b4bb0de74fcee4bbd39f292a92cc45.jpg","纵122.5厘米，横61.5厘米",[6],{"id":886,"slug":10443,"title":10444,"dynasty":2632,"author":3796,"museum":2673,"description":10445,"tags":10446,"thumbUrl":10447,"material":2597,"size":10448,"collection":6,"collections":10449,"showCount":10384,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-ni-yun-lin-xi-ting-shan-se-tu-wang-jian-218390","仿倪云林溪亭山色图","图绘秋湖静水、疏林远岫的江南风景。王鉴一生推崇元人倪瓒自然淳雅的画面，乐此不疲地到处找寻其画作并且加以临摹，仅仿倪氏的《溪亭山色图》就有数件之多，此图是其中最有代表性的一幅。从一河两岸式的构图到山石树枝的方折用笔，再到以淡墨层层擦染的施墨法，均可见作者晚年对倪氏画风的摹仿已达到炉火纯青的窘境。",[2495,2496,2499,2501,2509,2676,2714,2715,2505,2593,2677,2503,3091,3839],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe03d588fe722f33791954b625b63098.jpg","纵81.3厘米，横51.2厘米",[6],{"id":887,"slug":10451,"title":10452,"dynasty":2632,"author":5172,"museum":2563,"description":10453,"tags":10454,"thumbUrl":10455,"material":2597,"size":10456,"collection":6,"collections":10457,"showCount":10384,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-wang-meng-wan-die-fu-rong-tu-dong-bang-da-218319","仿王蒙万叠芙蓉图","董邦达为清代画家，在山水题材上造诣颇深。他具有双重身份，不仅为朝廷命官，而且是一位颇有才气的画家。作为官员的董邦达，一生可谓仕途通达，早年高中进士，身为朝廷命官，平日忙于公务，作画只是董邦达的业余爱好。然而，董邦达具有绘画的天赋，尤其擅长山水画，名噪一时。",[2496,2499,2833,2509,2676,2507,2506,2508,2528,2595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1794d4956e0a07d2cd810a08d5a76fc0.jpg","纵133cm，横63.3cm",[6],{"id":888,"slug":10459,"title":10460,"dynasty":2522,"author":4583,"museum":3121,"description":10461,"tags":10462,"thumbUrl":10464,"material":3069,"size":10465,"collection":6,"collections":10466,"showCount":10467,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"hua-xi-yu-ma-tu-zhao-meng-fu-232902","花溪浴马图","此画展现了一个充满生活趣味的浴马场景：在碧波清流之上，一大群马匹随着马倌入水、洗浴、出水。骏马温顺而矫健。\n《花溪浴马图》虽不知其创作时间，但从内容与风格上看，此图与北京故宫博物院所藏的《浴马图》应是同一时期作品。\n《花溪浴马图》布局开阔：岸边梧桐垂柳，绿荫成趣；溪水涓涓而流，清澈透明；骏马七匹，马倌八人，有序地安排在长长的画幅之中。在一片清幽、充满村野之趣的自然景象中，人与马悠然平和，各得其乐。画中马的姿态各异，神态生动，有的立于水中，有的饮水吃草，有的昂首嘶鸣。马倌们各自分工不同，或冲洗马身，或牵马上岸，或岸边小憩。赵孟頫以文人意笔勾线，行笔偏工，设色法唐人的青绿和重彩，人与马勾勒精细，设色雅致，并且色不掩笔。此图是一幅形神兼备、妙逸并具、风格高雅的鞍马画精品。\n赵孟頫(1254-1322)是元代文人画家中罕见的全能“选手”，山水、人物、鞍马、花鸟、竹石，无一不能，无一不精。再加上诗词、书法的成就，以及对篆刻的深刻理解，可以说，他基本界定了后世文人画家诗书画印全能的标准。",[2495,2544,2496,2497,2498,3929,2500,2546,2549,2960,2503,2506,2961,2507,10463,2613],"树荫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b00a4e6db6c090c8f49c50804767e58.jpg","横28.1厘米，纵155.5厘米",[6],55,{"id":889,"slug":10469,"title":10470,"dynasty":2632,"author":5047,"museum":2563,"description":10471,"tags":10472,"thumbUrl":10473,"material":2531,"size":10474,"collection":6,"collections":10475,"showCount":10467,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"lin-fan-kuan-xue-shan-tu-zhou-wang-hui-224464","临范宽雪山图轴","山体线条勾勒笔墨纤细秀丽。皴法虽用点皴， 但点子纤细呈短条状。树木出现直且呈排列状的姿态。",[2495,2496,2833,2676,2509,2499,2500,6456,2507,3091,2579,2577,3166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18f304fcaa92d84ebd0825d65cc92b1c.jpg","本幅 187.7x115.5公分、全幅 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chì）（有学者考证为赤麻鸭）在沙洲上相互依偎，一对鸳鸯于寒波中游水嬉戏，此情此景与漫天密雪的荒寒景色形成对比，充满诗意，是一幅山水与花鸟融汇的湖天小景佳作。正如卷后元赵巖所题诗：“江天雪意暮萧萧，望外寒沙半落潮。鸂鶒双眠看画里，潇湘极目梦魂遥。”画幅中乾隆帝御题的“鸳鸯两两相随逐，不为严寒异故心”的诗句则直接点出此画寄兴游心的主题。\n整幅用笔细润，皴法简括，水墨为主，略施赭色，大片空白的运用正体现了中国传统绘画“于无画处皆成妙境”的特质，恰到好处地表现出江南的湖山雪景。",[2495,2496,2497,2498,2546,2500,3776,3078,2504,2552,10517,9047,2501,2547,2511,2510],"寒沙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a58a63dfbbd8dca1f12f17d87a436e6.jpg","纵26.5厘米，横145.6厘米",[2624,6,2626],{"id":895,"slug":10522,"title":10523,"dynasty":3283,"author":5095,"museum":2673,"description":6890,"tags":10524,"thumbUrl":10525,"material":2531,"size":10526,"collection":6,"collections":10527,"showCount":10467,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"jiu-cheng-bi-shu-tu-ye-li-si-xun-221100","九成避暑图页",[2495,2496,2545,2500,2501,2790,2550,2651,2506,2690,2791],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2acc632af78cc169721bcff835e47cd6.jpg","纵28.5厘米，横31.6厘米",[6,2534],{"id":896,"slug":10529,"title":10530,"dynasty":2490,"author":2776,"museum":2589,"description":10531,"tags":10532,"thumbUrl":10533,"material":2597,"size":10534,"collection":6,"collections":10535,"showCount":10467,"zanCount":2517,"manualWeight":2517,"mainColor":3447},"yan-he-gu-zhou-tu-dai-jin-219993","岩壑孤舟图","戴进精于山水，兼于人物，在笔墨的运用上，善以斧劈描绘山石，皴染兼施。《岩壑孤舟图》的构图并不繁琐，石头嶙峋奇状，蓄意营建，斧劈顺着轮廓线短砍，更助长质感。凡斧劈之处，皆能体现山石的多面之感。近景有细微的墨色变化，增加立体感与厚实感。马、夏的构图方式，有“马一角”、“夏半边”之称，戴进在自己的作品中，也继承了这种特征，并颇能吸收马夏斜向布置景物的特质。而且近景所占画面的比例以及人物动向皆可看出他对近景的强调，这一点和马夏也是相合的。\n戴进笔下的人物，线条一向简单有力，却能注意到人体身态的描写及社会身分的表达。《岩壑孤舟图》中的渔夫，其刻画人物佝偻的形象，既是完成衣纹，也是完成身型的简单有力的线条，还能表达出渔夫的年迈。",[2495,2496,2499,2577,2509,2501,2504,2821,2549,2902,6810,2503,2595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb07f653fe9da537ea27bcd571089a78a.jpg","纵91.2厘米，横35厘米",[6],{"id":897,"slug":10537,"title":10538,"dynasty":2632,"author":6249,"museum":3121,"description":10539,"tags":10540,"thumbUrl":10541,"material":2597,"size":2598,"collection":6,"collections":10542,"showCount":10467,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fan-zhao-tu-cha-shi-biao-219709","泛棹图","近岸苍松枯柳错落，枝桠虬曲疏朗，将江渚萧疏尽数铺展。扁舟之上幽人独坐，静看烟水微茫，远山以淡墨轻扫晕染，清润空濛，似笼着秋日薄雾。\n\n作画笔触简淡松秀，以干笔皴擦山石，墨色干湿浓淡相生，脱前人之形而得清逸神韵。通篇清远冷寂，将幽人寄情山水、物我两忘的心境融于空茫江色之间，淡墨晕染里藏着林下闲静之风，寥寥数笔便勾勒出超脱尘俗的空濛雅境，尽显文人画疏淡孤高的逸趣。",[2496,2499,2501,2504,2821,2593,2595,2594,2845,2637,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6896344e0526eaae4fe9dad4d459f05c.jpg",[6],{"id":898,"slug":10544,"title":10545,"dynasty":2490,"author":3431,"museum":2763,"description":10546,"tags":10547,"thumbUrl":10548,"material":2567,"size":10549,"collection":2968,"collections":10550,"showCount":10467,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"qi-lv-ren-wu-shan-shui-tu-yi-ming-219545","骑驴人物山水图","此作以水墨写意秋寒山行之景，高崖斜出，枯木虬枝缀着残叶，淡墨晕染远山烟岚，虚实相生间漾出清远萧疏之境。前景行旅意趣盎然，骑驴策缓者衣衫宽博，似在缓赏山光，仆役负囊随行，将羁旅况味藏于画面细节。笔墨简括苍劲，以留白衬出山野空寂，尽显文人山水重意境、简笔墨的写意风神，铺陈出寒秋远行的清寂悠然。",[2495,2496,2499,2509,2549,2501,5827,3091,2507,2800,3898],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19352433e6cbac8b95bb8f0f5f3d2250.jpg","92x46.5厘米",[2968,6],{"id":899,"slug":10552,"title":4828,"dynasty":2632,"author":2830,"museum":2563,"description":10553,"tags":10554,"thumbUrl":10555,"material":2597,"size":2598,"collection":6,"collections":10556,"showCount":10467,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"fang-huang-gong-wang-shan-shui-tu-wang-shi-min-219375","王时敏（1592年－1680年），本名王赞虞，字逊之，号烟客，又号偶谐道人，晚号西庐老人，南直隶苏州府太仓人，明末清初画家，大学士王锡爵之孙，翰林编修王衡之子，是清初画坛“四王”之首，年少时就开始从摹古入手，尤其对董其昌推崇备至的“吾家北苑”与黄公望山水，一直心摹手追。",[2496,2500,2509,2501,2506,2507,2613,2800],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1ea8c386ca0491e6a6611eba2c86d73.jpg",[6],{"id":900,"slug":10558,"title":10559,"dynasty":2605,"author":3431,"museum":2563,"description":10560,"tags":10561,"thumbUrl":10562,"material":2567,"size":10563,"collection":2624,"collections":10564,"showCount":10467,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xi-yang-gui-du-tu-yi-ming-218837","夕阳归犊图","这幅画描绘了两头大牛在夕阳下涉水过河的情景，还有一头小牛在恐惧和害怕中伸出前蹄。笔触简单，牛和人物都没有形态，不像是专业画家的作品，也不像是普通文人的俏皮笔触。",[2495,2496,5225,2500,2501,2546,4265,3617,2593,2595,5967,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21a03dda9ca27d426983bebcf6e6d089.jpg","22.4x22.4",[2624,6],{"id":901,"slug":10566,"title":10567,"dynasty":2605,"author":10568,"museum":2563,"description":10569,"tags":10570,"thumbUrl":10572,"material":2567,"size":2598,"collection":6,"collections":10573,"showCount":10467,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"xing-hua-chun-niao-tu-lin-chun-218680","杏花春鸟图","林椿","本幅选自宋人《合璧画册》，枝干笔法接近林椿“山（木茶）霁雪”，惟转折提顿较明显，技法上更显纯熟。用色层层填染，具“山（木茶）霁雪”韵味。花朵白粉分染处理，与推断为马麟（约1180—1256后）所作之宋人“桃花”相类，然“桃花”枝干更见自然感。林椿、马麟的活动时期在先后间，“杏花春鸟”则或是略晚于马麟之典型精致南宋院画作品。",[2495,2544,2496,2497,2546,2500,3010,10571,9951],"杏花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97fa3fb771034ae4db090c526bdd41b5.jpg",[6],{"id":902,"slug":10575,"title":10576,"dynasty":2490,"author":3431,"museum":2589,"description":10577,"tags":10578,"thumbUrl":10579,"material":25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11.3公分；引首 28.4x123.3公分；隔水二 10.1公分；隔水三 10.1公分；拖尾 28.4x474公分",[6,2626],{"id":913,"slug":10667,"title":3490,"dynasty":2522,"author":2588,"museum":2563,"description":10668,"tags":10669,"thumbUrl":10670,"material":2732,"size":3494,"collection":6,"collections":10671,"showCount":10605,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"shan-shui-zhou-wang-meng-220809","王蒙（1308-1385），元代著名画家，字叔明（一作叔铭），晚年居黄鹤山，号黄鹤山樵。又自称香光居士。王蒙是元初著名书画家赵孟頫的外甥，出身书画世家，曾一度任官。绘画主要师法董、巨，与倪瓒、黄公望、吴镇齐名并有交往，后人称“元四家”。",[2495,2496,2497,2577,2499,2509,2501,2507,2506,2503,2502,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a6dcb4762f048b8615a5bade13370e9.jpg",[6,2626],{"id":914,"slug":10673,"title":10674,"dynasty":2522,"author":6971,"museum":2563,"description":10675,"tags":10676,"thumbUrl":10677,"material":2567,"size":10678,"collection":6,"collections":10679,"showCount":10605,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"song-he-guan-quan-tu-ma-wan-220239","松壑观泉图","马琬，生卒年不详，元末画家。宇文璧，号鲁钝生，灌园人，秦淮（今江苏南京）人，元末客居松江（今属上海市）。少时就学于杨维祯。1370年（明太祖洪武三）官抚州知府。擅画山水，远法董源、巨然和米芾，近师黄公望，笔墨清润，构图密茂。颇负时誉。",[2495,2496,2497,2577,2499,2509,2501,2902,4314,2507,2505,2506,2613,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39cd60e15a5e9385b875c42233475d64.jpg","60.8x29.3公分",[6],{"id":915,"slug":10681,"title":10682,"dynasty":2605,"author":4060,"museum":2563,"description":10683,"tags":10684,"thumbUrl":10685,"material":2597,"size":10686,"collection":6,"collections":10687,"showCount":10605,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"han-yan-ji-xue-tu-yan-su-219183","寒岩积雪图","此画面上重岩积雪，亭戴雪帽，老树寒疏，山村洁白，溪水冰结，孤舟停泊，却在旁边水岸两旁架有一座木桥，桥上有策杖、挑担二人，给雪景去掉几分寒意，而带来了几分情趣，虽是一派万丈雪崖、冰冻二尺的寒冷景象，但也是着浓厚的生活情调。鉴藏玺印有：“乾隆御览之宝”、“乾隆鉴赏”、五玺全、“宝笈三编”、“宣统鉴赏”、“宣统御览之宝”、“无逸斋精鉴玺”。收传印记有：“天籁阁”、“退密”、“项墨林鉴赏章”、“项墨林父秘笈之印”、“项子京家收藏”、“六艺之圃”、“净因庵主”、“太符真赏”、“李继泉真赏章”、“长水李氏珍藏”。",[2495,2544,2496,2497,2501,2499,2509,2714,6935,2502,2503,2505,3091,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10bdf1b23bd716de35f8b6425cecd63c.jpg","136.3x64",[6],{"id":916,"slug":10689,"title":10690,"dynasty":2490,"author":7344,"museum":2673,"description":10691,"tags":10692,"thumbUrl":10693,"material":2567,"size":10694,"collection":6,"collections":10695,"showCount":10605,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"hong-nong-du-hu-tu-zhu-duan-218760","弘农渡虎图","此画构图奇突，场面壮观，景物与人物活动相辅相成，充满生趣。画法上看，其人物、马匹的线条简练，姿态土动。人物多承马远，用线顿挫。画树木，笔法曲折多顿挫变化，枝如鹰爪；画山石顿笔勾描，略施皴染，间用马、夏的斧劈皴和水墨渍染。天与水皆用淡墨晕染，烘托出了雪景。从此图的内容到形式来看，都体现了明代院体画的特色。",[2495,2496,2497,2577,2500,2546,2509,2549,2960,5952,2501,2507,2506,2800,3091],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886a91eebdb1ac1117494daf67ec29d6.jpg","纵174厘米，横113.6厘米",[6,2968],{"id":917,"slug":10697,"title":5214,"dynasty":2605,"author":4921,"museum":5182,"description":10698,"tags":10699,"thumbUrl":10700,"material":2597,"size":10701,"collection":6,"collections":10702,"showCount":10605,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"yun-shan-tu-mi-you-ren-218638","画面以淡墨晕染出空濛烟霭，山峦在云雾间若隐若现，如幻如真。米点皴错落铺陈，墨色浓淡相间，既显山石肌理，又衬云气轻盈流动。近景树木简笔勾勒，与远处朦胧峰峦形成虚实对比，平远构图延展空间悠远感。水面留白与墨色交融，似有波光粼粼，更添清寂之韵。整幅画不重细节描摹，而以气韵生动取胜，将江南山水的湿润灵秀与文人闲适心境融为一体，尽显“米家山水”空灵淡远之美。",[2496,2497,2499,2501,2509,2614,2527,2506,2595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea101c3fbc9a743e0b8c3bb0bdac1ade.jpg","18.3x72.1",[6],{"id":918,"slug":10704,"title":10705,"dynasty":2605,"author":8769,"museum":5182,"description":10706,"tags":10707,"thumbUrl":10708,"material":2567,"size":10709,"collection":6,"collections":10710,"showCount":10605,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"feng-yu-shan-shui-tu-li-shan-218280","风雨山水图","三条瀑布从画面右侧倾泻而下，与下方的岩石撞击出波浪，而左岸的松树形状奇特，树枝拍打着，似乎在跟随风向向右倾斜。一座桥横跨两岸，两个人和一头驴子在桥上逆风而行。",[2495,2496,2497,2501,2913,2578,2509,2500,5369,2507,2506,2614,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75f605ea64091fed8c0af258bb334556.jpg","24.1x24.8cm",[6],{"id":919,"slug":10712,"title":10713,"dynasty":2522,"author":7761,"museum":2589,"description":10714,"tags":10715,"thumbUrl":10716,"material":2597,"size":10717,"collection":6,"collections":10718,"showCount":10605,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"xi-ting-shan-se-tu-lu-guang-218256","溪亭山色图","峰峦层叠如黛，飞瀑如练悬垂崖间，水汽似漫过纸面。坡岸旁枯木疏枝意态萧散，秋意清寂尽现。临流筑榭，隐者凭栏或对谈，时光缓缓流淌。笔墨苍润兼具，皴擦间见山石肌理，线条灵动藏古雅韵致。整幅画清幽淡远，文人丘壑化为纸上烟霞，尽显元人山水空灵超脱。观之如入静谧之境，尘心渐息，仿佛能闻瀑声松涛，触到溪畔清风。",[2496,2577,2499,2509,2501,2505,2593,2611,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F143810d1b0b02dc21227e0b62f9768c8.jpg","89.1x25.4cm",[6],{"id":920,"slug":10720,"title":3183,"dynasty":2490,"author":9813,"museum":2589,"description":10721,"tags":10722,"thumbUrl":10723,"material":2567,"size":10724,"collection":6,"collections":10725,"showCount":10605,"zanCount":2517,"manualWeight":2517,"mainColor":4670},"shan-shui-tu-li-zai-218098","明朝时期的画家李在是一位著名的山水画家。他的作品以其精细的写实技巧、恢弘的气势和自然的造型而闻名。\n\n李在的山水图以其鲜明的色彩和细腻的线条而著称。他善于运用笔墨勾勒出高山峻岭、秀美的林木、碧波荡漾的江河、以及蒙蒙细雨的天气。他的画作还经常加入人物、建筑和动物的元素，使得作品更具生动感。\n\n李在的山水画不仅具有艺术价值，而且在当时也被视为象征君权的艺术品。他的作品深受当时的皇帝和贵族的青睐，并在历史上留下了深远的影响。\n\n总之，李在是一位杰出的山水画家，他的作品以其精细的写实技巧和自然的造型而闻名，并在历史上留下了深远的影响。",[2496,2497,2544,2577,2499,2500,2509,2501,2527,2506,2502,2503,2614,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76f77a8ae01189e0f35aebdf3f3f1bb.jpg","138.8x83.2cm",[6],{"id":921,"slug":10727,"title":10728,"dynasty":2522,"author":7563,"museum":5182,"description":10729,"tags":10730,"thumbUrl":10731,"material":2567,"size":10732,"collection":6,"collections":10733,"showCount":10605,"zanCount":2517,"manualWeight":2517,"mainColor":4670},"gao-shi-tu-gao-ke-gong-217926","高士图","高士图是中国元朝时期的著名画家高克恭的代表作之一。这幅画描绘了一位儒家士人的形象，体现了高克恭对传统文化的尊敬。\n\n高士图的画风典雅、精致，采用了传统的山水画的手法，但又有别于传统的山水画，展现出高克恭独特的艺术风格。在这幅画中，高士端坐在池塘边，手托着下巴，神态沉静、自若，表现出了儒家士人的谦逊、淡泊的态度。\n\n高士图被认为是高克恭的代表作之一，因为它体现了高克恭对中国传统文化的尊敬，以及他对儒家哲学的理解。这幅画也被认为是元朝时期艺术发展的里程碑，因为它展现了艺术家对传统文化的传承与创新的完美结合。",[2496,2497,2501,2499,2500,2578,2913,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f7a2c46e365347d66d4983ee269969.jpg","179.7x101.6cm",[6],{"id":922,"slug":10735,"title":10736,"dynasty":2632,"author":5172,"museum":2563,"description":10737,"tags":10738,"thumbUrl":10739,"material":2597,"size":10740,"collection":6,"collections":10741,"showCount":10605,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"si-mei-ju-he-fu-tu-dong-bang-da-216780","四美具合幅图","明末，顾从义收藏有顾恺之的《女史箴图》、李公麟的《湘妃卧榻图》、《蜀江图》和《九歌图》。这四卷书后来遗失了，在乾隆十一年，它们被逐渐转移到皇室。梁实秋、王玉盾和张若昀的画跋中提到，乾隆十年，他把这幅画和《雪》、《秋》、《博远图》一起保存在三希堂，这四位美女 其实是相互映衬的。此图为董其昌《四美图》两卷中的右幅。",[2496,2497,2544,2577,2499,2509,2501,2502,2503,2505,2549,3617,2593,3155,2508,2595,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54f2473dd5a6c940a97462bec011f41a.jpg","171.7x111.8",[6],{"id":923,"slug":10743,"title":10744,"dynasty":2522,"author":8648,"museum":2997,"description":10745,"tags":10746,"thumbUrl":10747,"material":2512,"size":10748,"collection":6,"collections":10749,"showCount":10605,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"yu-le-tu-fang-cong-yi-214383","鱼乐图","画面中，一个樵夫与渔民在岸边上喝酒，反映了工人的简单情感和生活细节。一棵垂柳树耸立在画中，映衬着翠绿的山丘和海滩。这幅画是素描，笔触强烈而尖锐，色彩明亮而优雅。虽然这幅画是由方从义题写的，但其风格更接近明代的戴进和吴伟的风格。",[2495,2496,2497,2577,2499,2509,2501,2593,2528,2549,4231,2677,2987],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00272ba6a9af3a5abb90b8e961a2292f.jpg","143.8x43.2",[6],{"id":924,"slug":10751,"title":10752,"dynasty":2490,"author":2540,"museum":2563,"description":10753,"tags":10754,"thumbUrl":10755,"material":2567,"size":10756,"collection":6,"collections":10757,"showCount":10758,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"song-ting-shi-quan-tu-zhou-chou-ying-290878","松亭试泉图轴","画中峰峦峥嵘，在云雾间半藏半露，近处陡峭的山岩间，一挂飞瀑跌成数叠，曲折流至松林溪间，临溪一歇山重檐松亭，亭中隐士品茶赏景，童子蹲着煮茶，亭外溪边一童子正持瓶汲泉。作者画出了一片娱性怡情的天地。",[2544,2496,2577,2500,2546,2501,2505,2902,2549,2503,2652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16d3e2d68807da9d43ef17fbb8fb40a7.jpg","128.1x61",[6],53,{"id":925,"slug":10760,"title":10761,"dynasty":2632,"author":10762,"museum":2818,"description":10763,"tags":10764,"thumbUrl":10765,"material":2598,"size":2598,"collection":6,"collections":10766,"showCount":10758,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-wang-hui-shan-shui-ce-cao-kui-yin-238212","仿王翬山水册","曹夔音","曹夔音，清代乾隆年间的山水画家，字莪塍，号红椒道人，江苏江宁（南京）人，其生卒年月不详。据资料，知其曾在乾隆初年以御用画师身份供奉朝廷。期间，曹氏遵御旨摹仿了一批传统经典作品，最具水准也最受称道的，是仿赵黻《长江万里图》长卷。因其笔墨逼真，又弥补了原作残旧之憾，故甚为乾隆皇帝喜爱，成为“御览之宝”。此外，曹夔音还奉旨与金昆、张镐复制了王维《辋川图》，又与周鲲、姚文瀚等人临摹了丁云鹏罗汉手卷数卷。而曹氏所作《寒谷鸣泉》扇面画与背面乾隆御临王羲之法帖的成扇。",[2544,2496,2497,2592,2499,2509,2501,2550,2502,2503,2506,2507,3057],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae9b3150b1bdefaa340be12a343409a0.jpg",[6,2534],{"id":926,"slug":10768,"title":10769,"dynasty":2956,"author":3109,"museum":2563,"description":10770,"tags":10771,"thumbUrl":10773,"material":3157,"size":10774,"collection":6,"collections":10775,"showCount":10758,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"dong-tian-shan-tang-tu-dong-yuan-231050","洞天山堂图","《周凯画集》是 1998年出版的图书，作者是周凯。\n《周凯画集》为周凯画集，内容分为重彩丹青、浅绛水墨、书法三大部分。\n重彩丹青 1 秋瘤湖边 2 翠谷鸣泉 寺后小国 4 香港，永受嘉福 5 香港青马大橘 6 香港山顶缆车 7 山城 8 门神 9 喜盈盈 1 仰卧的女人体 11 卖水果人家 12 天下共此时一一深圳“世界之窗” 1 14 化生童子 15 五层塔 16 菩萨与罗汉 17 阁楼中的女孩 18 水乡市井 19 飞天 2 有井的圆楼 21 明王 22 围城 2 菩萨与伎乐 24 秋帆南下 25 树阴下的女人体 26 门外秋山 27 双龙与鳖 28 带水塔的山村 29 苍崖 幽谷轻绡 1 置庭园 2 蓝色的夜曲 丙寅二月 4 玄牝之灵 5 帝裔之乡 6 青绿山水 7 红色山水 8 深山萧寺 9 离堆 4 根 41 崖 浅绦水墨 42 屑屑山水秀 4 寒峰插天 44 峰峭余翠 45 明，陆治诗意 46 幽壑叠泉 47 魏·曹植游仙诗诗意长卷 48 清人诗意 49 扶桑轫暾 5 洞天神工 51 陶冶性灵 52 帖石防殴岸 5 蕉下读书图 54 束晋·庾阐观石鼓诗诗意手卷 55 云散峭峰 56 水村山郭（四季条幅之春） 57 前峰一夜两（四季条幅之夏） 58 秋来风雨知多少（四季条幅之秋） 59 暮景千山雪（四季条幅之冬） 6 君子之求 61 唐·柳宗元诗意 62 鹞 6 元·钱舜举诗意 64 林泉高致闽 65 烟岚圆 66 鶸冠花 67 临王蒙春山读书图 68 仿山水图 69 唐·刘长卿诗意 7 双矶圆 71 临董源洞天山堂图 72 水墨山水 7 临李唐万壑松风图 书法 74 唐·杜甫论诗七绝三首 75 唐·李白梦游天姥吟留别诗 76 画禅室随笔一则 77 南田论画一则 78 世说新语二则",[2496,2497,2501,2577,2499,2500,2509,2714,3208,10772,2779,2506,2505,3839,2502,2503],"洞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4a4de7bd1f0b9c7318084670f1579b8.jpg","183.2x121.2",[6],{"id":927,"slug":10777,"title":10778,"dynasty":2956,"author":3625,"museum":2563,"description":10779,"tags":10780,"thumbUrl":10781,"material":3157,"size":10782,"collection":6,"collections":10783,"showCount":10758,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"xi-shan-lin-sou-tu-zhou-ju-ran-226699","溪山林薮图轴","本幅画群山溪壑，林树弥望，山石皴纹多以湿笔染破，明晦隐现，轮廓模糊，特饶山野烟霭之致。本幅无作者款印，依据旧签，定为巨然之作，然笔墨则与江参（活动于西元十二世纪初）较为近似。巨然（十世纪），南唐钟陵人，为开元寺僧。南唐亡（九七五年），随李后主煜降宋，至汴梁。工画山水，师事董源。善状烟岚景象，臻于妙境，与师齐名，并称董巨",[2496,2497,2577,2499,2509,2501,2506,2507,2613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaea97df204f97573ac4f38769fcb90c.jpg","221.3x119.7",[6],{"id":928,"slug":10785,"title":10786,"dynasty":2632,"author":5673,"museum":10787,"description":10788,"tags":10789,"thumbUrl":10790,"material":2639,"size":10791,"collection":6,"collections":10792,"showCount":10758,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"tao-fu-song-ju-tu-wu-li-224495","陶甫松菊图","中国国家博物馆","绘群山连绵，山峰高耸入云，山上松树成林，高大茂盛；山脚下房屋隐现，人影绰绰，泉水潺潺，秋景宜人。技法上，皴染浑穆，层峦叠障，气韵深沉。用笔纯用中锋，谨严厚朴，气魄雄厚。此图笔墨幽微，拟元代大画家王蒙的风格，有一种空幻的感觉，令人有悠然远隔尘嚣之想，巧妙地体现了陶圃主人陆廷灿的思想境界：在出世与入世之间。",[2495,2496,2500,2509,2577,2501,2507,2503,2504,2902,3459,2505,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d825f00689d43da1412df9f4ac0c81e.jpg","纵178.68CM 横75.01CM",[6,2626],{"id":929,"slug":10794,"title":10795,"dynasty":2490,"author":5253,"museum":2634,"description":10796,"tags":10797,"thumbUrl":10798,"material":3069,"size":10799,"collection":6,"collections":10800,"showCount":10758,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"yun-he-gao-yi-tu-lan-ying-222582","云壑高逸图","图绘高山大岭，如坠欲倾。山间飞云腾雾，峡谷流泉落瀑，绿松、红枫相映。\n林下一隅一高士结庐独坐，屋外板桥横担，有朋自远方来。\n全图构象饱满，层次分明，笔力苍劲雄厚。既有山林泉壑的自然景观，又有人事活动的细节描绘，加之浓郁的诗意气氛，视野开阔，古韵动人，把读者带到这一“风景这边独好”的境地，尽情地享受着眼观耳听的乐趣。图左上自题“云壑高逸画于西溪梅花香雪阁，甲午春三月七十山公蓝瑛”。钤“蓝瑛之印”、“田叔父”印。",[2495,2496,2544,2577,2501,2500,2509,2505,2502,2503,2902,2507,2611,2549,3091,3208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44481e7379a6f6ddec878c0676e82e74.jpg","172.7x67厘米",[6,2626],{"id":930,"slug":10802,"title":10803,"dynasty":2490,"author":4134,"museum":2563,"description":10804,"tags":10805,"thumbUrl":10806,"material":2703,"size":10807,"collection":6,"collections":10808,"showCount":10758,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"zhen-ze-yan-shu-tu-tang-yin-222364","震泽烟树图","诗塘 御题行书(乾隆甲辰御题。诗文不录)。\n鉴藏宝玺 乾隆御览之宝。古稀天子。五福五代堂古稀天子宝。八徵耄念之宝。避暑山庄。钤於诗塘。文津阁宝。钤於左边幅。太上皇帝之宝。钤於右边幅。五玺全。嘉庆鉴赏。三希堂精鉴玺宜子孙。三印钤於右边幅。宝笈三编。",[2495,2496,2499,2501,2504,3155,2593,2507,2594,2547,2509,2510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f664c5ad22e60535497a22874ce361.jpg","纵47厘米，横37.8厘米",[6,2626],{"id":931,"slug":10810,"title":5973,"dynasty":2490,"author":10811,"museum":2877,"description":10812,"tags":10813,"thumbUrl":10814,"material":2531,"size":10815,"collection":6,"collections":10816,"showCount":10758,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"shan-shui-tu-juan-ling-bi-zheng-222172","凌必正","凌必正，明朝时期人物，字贞卿，一字蒙求，号约庵，太仓（今江苏太仓）人。",[2495,2496,2498,2500,2509,2546,2501,2505,2502,2503,2550,2506,2507,2508,4452,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d833055d321b7858277278949b9816d.jpg","32X159厘米",[6,2626],{"id":932,"slug":10818,"title":10819,"dynasty":2522,"author":10349,"museum":2563,"description":10820,"tags":10821,"thumbUrl":10822,"material":3069,"size":10823,"collection":6,"collections":10824,"showCount":10758,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"lin-xia-ming-qin-zhou-zhu-de-run-221823","林下鸣琴轴","画面为江边数棵参天古松，松下围坐三位逸士。一人抚琴，二人静听。江中渔夫垂钓，似为琴声吸引。江面辽阔，空中一行芦雁。对岸峰峦迭翠，亭台楼宇掩映其间。山峦皴笔有如卷云，古松秃枝形似鹰爪。画法取乎郭熙而又自立新意。",[2495,2496,2499,2509,2577,2501,2902,2504,2549,2503,2578,2913,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff739ee5a552d9953abf1bb9e06365a6a.jpg","239X62.5",[6,2626],{"id":933,"slug":10826,"title":10827,"dynasty":2490,"author":3264,"museum":2563,"description":4938,"tags":10828,"thumbUrl":10829,"material":4941,"size":2598,"collection":6,"collections":10830,"showCount":10758,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-wang-meng-fang-dong-yuan-qiu-shan-xing-lv-tu-dong-qi-chang-220934","仿王蒙仿董源秋山行旅图",[2496,2497,2501,2499,2509,2676,2500,2507,2506,2550,2502,2503,2800,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c15c82af0fc77e48f2b48d1c1ee14c.jpg",[6,2626],{"id":934,"slug":10832,"title":10833,"dynasty":2490,"author":3264,"museum":4366,"description":10834,"tags":10835,"thumbUrl":10836,"material":3044,"size":10837,"collection":6,"collections":10838,"showCount":10758,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"fang-huang-zi-jiu-jiang-shan-qiu-ji-tu-juan-dong-qi-chang-220904","仿黄子久江山秋霁图卷","在研习经史之余，董其昌与同僚诸友切磋书画技艺，纵论古今，品评高下。又从韩世能那里借阅晋、唐、宋、元法帖宝绘，心摹手追，有时废寝忘餐，因而学问大进，开始在京中有些名气。在家乡，董其昌筑“来仲楼”、“宝鼎斋”、“戏鸿堂”、“画禅室”、“香光室”等，牙签玉轴，左图右史，置身其中，著书立说，探究古今书画艺术。他不遗余力地搜集王羲之、王献之、谢安、桓温、赵估、米芾诸名家法书，于万历三十一年刊刻《戏鸿堂法帖》行世。病休松江时期，他正值四十余岁的盛年，广闻博识，采集众长，悠居林泉，心闲手熟，创作了《葑泾访古图》《鹤林春社图》《浮岚暖翠图》《神楼图》《西湖八景图》《溪回路转图》等许多描绘江南风光的著名山水画。",[2495,2544,2496,2497,2498,2499,2509,2501,2714,2715,2506,2547,2510,2511,2676],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d1f5b42426e5016ad5e6067a25246c5.jpg","28.3*206cm",[6,2534],{"id":935,"slug":10840,"title":10841,"dynasty":2632,"author":10842,"museum":10843,"description":10844,"tags":10845,"thumbUrl":10846,"material":2597,"size":10847,"collection":2626,"collections":10848,"showCount":10758,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-yao-shou-shan-shui-tu-xi-gang-220418","仿姚绶山水图","奚冈","昆仑堂美术馆","此幅是奚铁生仿姚公绶所做山水图，布置可以看出是倪云林的一河两岸式构图，盖因录姚绶是学倪瓒，故铁生学姚氏，亦是学云林。",[2495,2496,2499,2509,2497,2501,2505,2506,2902,2507,2595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0d17a8733a36b0f1f967ce40e437690.jpg","横36，纵124",[2626,6],{"id":936,"slug":10850,"title":10851,"dynasty":2490,"author":5253,"museum":2763,"description":10852,"tags":10853,"thumbUrl":10854,"material":2567,"size":10855,"collection":6,"collections":10856,"showCount":10758,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"xue-xi-zai-he-tu-lan-ying-219739","雪溪载鹤图","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多",[2495,2496,2497,2501,2500,2509,3078,2613,2504,3011,2506,2507,2730,3166,2651],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c18c1ed7f1b694637bbfe4ff1320c4.jpg","纵75.6横36.5厘米",[6],{"id":937,"slug":10858,"title":10859,"dynasty":2490,"author":10860,"museum":2763,"description":10861,"tags":10862,"thumbUrl":10863,"material":3157,"size":10864,"collection":6,"collections":10865,"showCount":10758,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"xie-qin-fang-you-tu-jiang-song-219734","携琴访友图","蒋嵩","此作用高远之法构景，主峰拔地参天，以水墨晕染出漫山烟霭，远景山峦隐没在空蒙雾气里，晕染出萧疏冷寂的天地氛围。\n\n近岸枯木虬曲苍劲，枯枝硬挺如戟，笔力老辣苍拙，尽显荒寒之态。下方旅人策杖徐行，仆从携琴缓步郊野，渺小身影衬出山川寥廓，暗合寻幽访友的雅意。\n\n全幅以浓淡水墨铺陈，简淡间尽显沉郁苍茫，将林泉寄怀的隐逸之思藏在烟岚丘壑中，纵放笔意里裹挟含蓄悠邈的林下闲情，尽显淡远疏离的山水意境。",[2495,2496,2497,2577,2499,2509,2501,2549,2578,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6537ec875cb6c627561f0a23bede3fac.jpg","纵148.6横89.4厘米",[6],{"id":938,"slug":10867,"title":10868,"dynasty":2522,"author":10349,"museum":2563,"description":10869,"tags":10870,"thumbUrl":10871,"material":2567,"size":2598,"collection":6,"collections":10872,"showCount":10758,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"song-jian-heng-qin-tu-zhu-de-run-219617","松涧横琴图","画面中下部，是一条左低右高的石磵，且清且浅的河水自远及近蜿蜒跳跃而下，俞远愈淡。近岸左右有两松矗立，一直一曲，一高一低。左边的松树高而直，以一浓一淡两棵杂树副之。右边的松树似虬龙一样盘曲左伸，松下则是磵边开阔微斜的石头滩地，三位老者盘腿对坐在蒲团之上，中间有一盘食物，置三酒杯。一人双手放在琴上，眼睛左看，似正在弹琴并与左边的朋友目光交流，右边的老者则闭目笼袖，似乎听得很是入神。画面的右上角，署名“朱泽民”并有题句：峰阳之桐，声越冰泉；天然宫商，松风画弦。\n该画的人物、场景及构图，非常类似其立轴大画《林下鸣琴图》，似是一图多本。不过可能因画幅太小尚不盈尺，故而画得更为简洁，无法画出对岸的坡陀岗峦。就画中人物而言，这种扮相与组合曾出现在其他画中，显然就不仅仅是文人雅士简单的时尚风雅，而有着特定的时代的情感映射。或许，这既是“七匠八娼九儒十丐”历史境遇中被侮辱被边缘化的元代知识分子的实际生存状态，也是其理想化的精神家园。",[2495,2496,2497,5225,2499,2509,2501,2902,2503,2549,3965,2507,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03fe743673cf85aafc314641bd35833e.jpg",[6],{"id":939,"slug":10874,"title":3490,"dynasty":2632,"author":4200,"museum":2563,"description":10875,"tags":10876,"thumbUrl":10877,"material":2597,"size":10878,"collection":6,"collections":10879,"showCount":10758,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"shan-shui-zhou-huang-ding-219481","这幅画中，江亭空旷，江山深邃，秀美。",[2496,2499,2577,2509,2547,2501,2593,2507,2502,2730,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff353d9af0a3e032c79871c2d0edac77a.jpg","78x39.3",[6],{"id":940,"slug":10881,"title":10882,"dynasty":2490,"author":5253,"museum":2563,"description":10883,"tags":10884,"thumbUrl":10885,"material":2567,"size":10886,"collection":6,"collections":10887,"showCount":10758,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-tu-yi-hai-qiu-zhong-lan-ying-219397","山水图-已亥秋仲","画面层峦叠嶂隐于烟霭，远山如黛，近岫含翠。苍松劲柏立岸而生，枝干虬劲，墨色浓淡相宜；水面波光粼粼，一叶扁舟悠然泛波，岸边茅屋隐于林间，野趣横生。中段亭榭临溪，飞檐翘角与周遭林木相映成趣。山石皴法刚健，兼具浙派风骨与文人雅致，墨色晕染自然，设色淡雅温润。秋仲清寂悠远尽显笔端，仿佛可闻林间风声、水面桨声，引人步入静谧山水之境，体味超然物外的闲适安宁。",[2496,2497,2577,2500,2501,2505,2503,2504,2593,2507,2730,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc24749ccb3e2b4cacaa976f90dcd98.jpg","145.8x71.6",[6],{"id":941,"slug":10889,"title":10890,"dynasty":2605,"author":8439,"museum":2563,"description":10891,"tags":10892,"thumbUrl":10893,"material":2567,"size":10894,"collection":6,"collections":10895,"showCount":10758,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xue-xi-cheng-xing-tu-yan-wen-gui-218936","雪溪乘兴图","这幅画采用了团扇的形式，描绘了一位优雅的男子在寒林和水榭的山谷中乘船拜访朋友。颜文贵（967-1066）是浙江吴兴人。以前隶属于军队，在太宗时期退役，在京城（河南开封）跟随郝惠学习书法。他擅长画山水、人物和船只，尤其擅长画四季，画风清雅秀丽，被誉为 燕家景。",[2495,2544,2496,2497,5225,2499,2500,2509,2501,2503,2504,6935,2506,3166,2613,3079,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b8d2f37f64bed82c6552fdc2774171c.jpg","22.3x23.8",[6,2624],{"id":942,"slug":10897,"title":3183,"dynasty":2605,"author":2910,"museum":6780,"description":10898,"tags":10899,"thumbUrl":10900,"material":2567,"size":10901,"collection":6,"collections":10902,"showCount":10758,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-tu-ma-yuan-218665","画面截取山水一角，以简练刚劲的斧劈皴勾勒山石轮廓，墨色层次分明，尽显山川肌理。远处亭台掩映于林木间，几人对坐似在品茗论道；中景水面开阔，波光隐现；近岸桥梁横跨，行人缓步，岸边石上二人闲坐，姿态悠然。人物虽小却形神兼备，与山水景致相融，传递出闲适雅致的文人意趣。马远以“边角”之景营造深远空间，笔墨简括却意境悠长，将自然静谧与人文悠然巧妙结合，尽显南宋山水画的抒情特质与艺术匠心。",[2495,2496,2497,2577,2500,2509,2501,2550,2502,2549,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c82aa8fa0505c1342ef40c1af44517.jpg","36.4x19.2厘米",[6],{"id":943,"slug":10904,"title":10905,"dynasty":2490,"author":9094,"museum":2673,"description":10906,"tags":10907,"thumbUrl":10908,"material":2567,"size":10909,"collection":6,"collections":10910,"showCount":10758,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"fang-he-zhou-tu-xiang-sheng-mo-218362","放鹤洲图","此图是项圣谟为友人朱葵石所画的一件作品。放鹤洲在嘉兴鸳鸯湖畔，唐代著名宰相裴休曾在此建造别墅，但久已荒废。朱葵石在其遗址上疏浚河道，广植树木，重新再造。清顺治十年（1653年），朱葵石请项圣谟来别墅作客，他们泛舟湖上，饮酒赋诗，尽情享受林泉之乐，作品正是为纪念他们这一次相会而创作的。\u2028　　画面上，纵横交错的河道将田畴、村庄分割，农民往来耕作于其间，反映了长江下游低湿地带的风貌。画面左中部树木葱茏茂密，其间设置桥梁、屋宇、亭子、假山石和备用的画舫等，正是别墅所在地。画面左下端有寺庙宝塔，上端城墙蜿蜒，则是嘉兴城。别墅与周围的环境融为一体，布置讲究，而建筑并不炫耀豪华。项圣谟的这件作品不但写实，而且表现出中国文人崇尚自然，即“仁者乐山，智者乐水”的思想。",[2495,2496,2501,2500,2499,2509,2506,2552,2504,2502,2503,2505,2800],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce80d46161a9b0729030988c27b5e0af.jpg","纵65.5厘米，横53.7厘米",[6],{"id":944,"slug":10912,"title":10913,"dynasty":2522,"author":2588,"museum":2589,"description":10914,"tags":10915,"thumbUrl":10916,"material":2567,"size":10917,"collection":6,"collections":10918,"showCount":10758,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"nan-cun-cao-tang-tu-wang-meng-217743","南村草堂图","南村草堂图是一幅画作，它描绘了王蒙在南村的草堂中写诗的场景。在这幅画中，王蒙坐在一张桌子前，手拿笔，正在写诗。画中还有许多自然元素，如树、花和鸟。这幅画反映了王蒙对自然的喜爱，也表现了他作为一位文人的生活方式。\n\n南村草堂图是王蒙的一部重要作品，它体现了他对自然、人生和社会的独特观点。通过这幅画，我们可以了解到王蒙的性格和想法，以及他对人生的看法。",[2495,2496,2497,2498,2499,2500,2509,2511,2547,2510,2501,2550,2502,2503,2578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f321da5e3294ddbe21991bf518c888b.jpg","27.2x88.8cm",[6],{"id":945,"slug":10920,"title":10921,"dynasty":2522,"author":3431,"museum":10922,"description":10923,"tags":10924,"thumbUrl":10925,"material":2567,"size":10926,"collection":6,"collections":10927,"showCount":10758,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"xi-shan-lou-ge-tu-yi-ming-215145","溪山楼阁图","重庆市博物馆","溪山楼阁图是一幅中国古代山水画，作者佚名，来自元朝（1271-1368年）。这幅画以其精美的画风和丰富的山水景观而闻名，是一件珍贵的艺术瑰宝。\n\n在这幅画中，作者以逼真的笔触和精细的构图技巧，勾勒出了一座位于山谷中的楼阁。楼阁的四周环绕着秀美的山水景观，山峦起伏，溪流潺潺，树木葱茏，给人以清新的视觉享受。\n\n在这幅画中，作者还融入了许多寓意深刻的元素，如山间的松柏、荷花池塘、仙人掌等都被视为吉祥物，象征着幸福、长寿、繁荣等。\n\n总的来说，溪山楼阁图是一幅精美的山水画作品，充分展现了中国古代画家对自然美景的热爱和描绘技巧。",[2544,2496,2500,2790,2545,2501,2550,2506,2503,2507,2614,2549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86fc87bbefb1be97892e5282dfcc31c1.jpg","27.5x26.4cm",[6],{"id":946,"slug":10929,"title":10930,"dynasty":2605,"author":3431,"museum":2997,"description":10931,"tags":10932,"thumbUrl":10933,"material":2567,"size":10934,"collection":6,"collections":10935,"showCount":10758,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"fang-zhong-li-fang-dao-tu-yi-ming-214830","仿钟离访道图","《仿钟离访道图》是一幅中国古代绘画作品，出自宋代佚名画家之手。这幅画以钟离故事为题材，描绘了钟离访道的场景。\n\n钟离故事是中国古代传说中关于钟离与访道的传说。钟离是唐朝时期的一位大臣，他曾游历过中国各地，在旅途中遇到了访道，两人相识并成为了朋友。后来，钟离回到了唐朝的长安城，而访道则留在了西域。\n\n《仿钟离访道图》中，画家用笔墨细腻地描绘了钟离与访道之间的友谊，表现出了两人间的亲密关系。画面中的人物造型生动，情感真挚，是一幅优秀的古代绘画作品。",[2495,2496,2497,2577,2499,2509,2501,2651,2506,2611,2652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a819300efae18f7e468980bfeb46582.jpg","147x74.8",[6],{"id":947,"slug":10937,"title":10938,"dynasty":2490,"author":10939,"museum":2997,"description":10940,"tags":10941,"thumbUrl":10942,"material":2512,"size":10943,"collection":6,"collections":10944,"showCount":10758,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"jiang-feng-juan-diao-tu-wang-qi-214379","江风卷钓图","王綦","明代王綦的江风卷钓图是一幅令人钦佩的作品，它描绘了一个渔夫在江边钓鱼的生动场景。\n\n这幅画的色彩鲜艳，笔触细腻，构图巧妙。画中的渔夫坐在船上，手持鱼竿，朝着江边抛出鱼饵。鱼儿们在水面上游动，形成一道道弧线，展现了渔夫抓鱼的技巧和耐心。背景是江边的树木和山峦，体现了王綦对自然的描绘。\n\n王綦是明代著名画家，他的作品擅长运用自然色彩，表现出自然界的美感。在《江风卷钓图》中，他运用了浅蓝色和淡黄色来描绘水面和天空，使整幅画显得清新自然。同时，他还运用了细腻的笔触来描绘渔夫和鱼儿的细节，使得这幅画充满生命力和真实感。\n\n总的来说，明代王綦的江风卷钓图是一幅精美的艺术品，它描绘了明代渔民的生活，也体现了王綦对自然的描绘。通过这幅画，我们不仅能感受到王綦的艺术才华，还能了解明代渔民的生活和文化。",[2495,2496,2497,2577,2499,2509,2501,2578,2913,2502,2503,2960,2549,2507,2506,2547,3166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa90fc46736ca32af793a380d64ede047.jpg","130.2x32.2",[6],{"id":948,"slug":10946,"title":10947,"dynasty":2632,"author":2830,"museum":2673,"description":10948,"tags":10949,"thumbUrl":10950,"material":3257,"size":10951,"collection":6,"collections":10952,"showCount":10953,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"song-he-gao-shi-tu-zhou-wang-shi-min-237574","松壑高士图轴","本幅款署：“松壑高士图。辛丑秋日为耿庵社长先生六十初度寿，弟王时敏。”钤“王时敏印”白文印，“西庐老人”、“西田”朱文印二方。鉴藏印有：“荫北鉴藏”、“壶中墨缘”、“莱臣心赏”、“虚斋审定”共四方。\n“辛丑”是清顺治十八年（1661年），王时敏时年70岁。\n据款题而知，此图是作者为祝好友金俊明（耿庵）60寿辰所作。因此，图中特别突出地表现了具有长寿寓意的峰峦和松柏，以此寄托其祝福友人“寿比南山”的美好意愿。图中山石、树木以娴熟的笔墨皴擦点染，于苍润浑厚中不失清幽秀雅，颇得董源、黄公望“平淡天真”的神韵，是王时敏晚年山水画的典型之作。",[2496,2499,2577,2501,2509,2902,2527,2611,2503,2579,2506,2502,2507,2614,4370],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5d169b622a802e787ceb891fe543c00.jpg","纵79厘米，横47.8厘米",[6,2626],52,{"id":949,"slug":10955,"title":10956,"dynasty":2632,"author":6249,"museum":2673,"description":10957,"tags":10958,"thumbUrl":10959,"material":2732,"size":10960,"collection":6,"collections":10961,"showCount":10953,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"nan-cun-cao-tang-tu-zhou-cha-shi-biao-236457","南村草堂图轴","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。",[2496,2497,2577,2499,2509,2501,2502,2503,2506,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e38e76e472e20cbb1711c4106bd889c.jpg","49cm×122.5cm",[6,2626],{"id":950,"slug":10963,"title":10964,"dynasty":2490,"author":10965,"museum":2818,"description":10966,"tags":10967,"thumbUrl":10968,"material":2598,"size":2598,"collection":6,"collections":10969,"showCount":10953,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"shu-hua-ce-ye-xiao-yun-cong-wang-shi-zhen-224548","书画册页","萧云从 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秋山如洗，清风如妆。近处的岩石很像李唐和刘松年的作品，而远处的山峰的笔法和环境则很像惠崇的作品。",[2495,2496,2497,2499,2500,2501,2504,2503,2987,2578,2509,2845,2595,2821],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3efef7fae05066bc6df419889f6c421.jpg","23.4x23.8",[2624,6],{"id":958,"slug":11032,"title":8846,"dynasty":2605,"author":3431,"museum":2563,"description":11033,"tags":11034,"thumbUrl":11035,"material":2567,"size":11036,"collection":6,"collections":11037,"showCount":10953,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xue-jing-tu-yi-ming-218807","这幅画完全以郭熙为原型，是一幅平坦而高大的雪山图。笔法高超，渲染细腻，与唐棣、朱德润不同，与同集的《岷山晴雪》的笔法或晋代的笔法相似。",[2495,2496,2497,2501,2499,2500,2509,3091,2507,3166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44eed831c8d808e79d6530358092763e.jpg","25.7x26.8",[6],{"id":959,"slug":11039,"title":11040,"dynasty":2605,"author":2699,"museum":2563,"description":11041,"tags":11042,"thumbUrl":11043,"material":2567,"size":11044,"collection":6,"collections":11045,"showCount":10953,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"han-xi-chui-diao-tu-xia-gui-218682","寒溪垂钓图","这幅画描绘的是月光下的寒流，隐者披头散发，环境非同一般，笔触特别冰冷，署名夏圭。",[2495,2496,2497,5225,2499,2509,2501,2504,2503,2902,2821,2677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb060226a5cefc9cdcb37f39b8b4c4a.jpg","24.5x25.7cm",[6],{"id":960,"slug":11047,"title":11048,"dynasty":2522,"author":11049,"museum":2563,"description":11050,"tags":11051,"thumbUrl":11052,"material":2512,"size":11053,"collection":6,"collections":11054,"showCount":10953,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"xi-shan-yan-ai-tu-cui-yan-fu-214721","溪山烟霭图","崔彦辅","这幅画描绘了一座山和一条山脉，烟雾和雾气围绕着溪流。崔彦辅传世画迹罕见，此幅或学荆关，颇有新意。",[2496,2497,2501,2499,2509,2510,2547,2511,2507,2506,2613,5802,2677,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c68b55b40754b6527e503dbf1a05080.jpg","71x39.2",[6],{"id":961,"slug":11056,"title":11057,"dynasty":2632,"author":11058,"museum":2492,"description":11059,"tags":11060,"thumbUrl":11061,"material":2598,"size":2598,"collection":6,"collections":11062,"showCount":10953,"zanCount":2517,"manualWeight":2517,"mainColor":11063},"fang-da-chi-shan-shui-tu-zhou-yuan-pei-202124","仿大痴山水图轴","袁沛","水墨晕染间，山峦以皴法勾勒出苍劲肌理，云雾似轻纱漫过峰谷，将远近景致晕成淡远之调。近岸枯树疏枝交错，几间屋舍倚岩而筑，小桥横卧溪上，流水绕石潺潺。中远景峰峦叠嶂，林木错落，留白处云雾氤氲，虚实相生间尽显山水悠远之趣。笔墨追摹古法，却藏着对自然的细腻体悟，清寂雅致的意境在尺幅间缓缓铺展。",[2499,2509,2676,2501,2502,2503,2578,2677,2579,2495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06764f51623175d13cae3e16bffd6a7b.jpg",[6],"b3a088",{"id":962,"slug":11065,"title":11066,"dynasty":2490,"author":8879,"museum":2563,"description":11067,"tags":11068,"thumbUrl":11069,"material":2639,"size":11070,"collection":6,"collections":11071,"showCount":11072,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"tian-chi-shi-bi-zhou-lu-zhi-222175","天池石壁轴","陆治（1496－1576），字叔平，明代画家。吴县（今江苏苏州）人，因居包山，自号包山。倜傥嗜义，以孝友称。\n陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[2495,2496,2577,2833,2500,2509,4388,2527,2506,2902,3057,5236,2507,2614,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd07d9dc6fb51d4ebd3729366331c84f8.jpg","本幅 70.6x30.3公分、全幅 44.5公分",[6,2626],51,{"id":963,"slug":11074,"title":11075,"dynasty":2490,"author":11076,"museum":3121,"description":11077,"tags":11078,"thumbUrl":11079,"material":11080,"size":11081,"collection":6,"collections":11082,"showCount":11072,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"hou-chi-bi-tu-juan-zhang-rui-tu-222053","后赤壁图卷","张瑞图","张瑞图（1570-1644），明代官员、书画家。字长公、无画，号二水、果亭山人、芥子、白毫庵主、白毫庵主道人等。他以擅书名世，书法奇逸，峻峭劲利，笔势生动，奇姿横生，钟繇、王羲之之外另辟蹊径，为明代四大书法家之一，与董其昌、邢侗、米万钟齐名，有“南张北董”之号；又擅山水画，效法元代黄公望，苍劲有劲，作品传世极希。",[2495,2496,2497,2498,2499,2509,2510,2511,2501,2578,3091,2507,2677,2505,2549,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92f9fcd5c11225b554a4e27bb19095e1.jpg","绫本水墨","27.9×320厘米",[6,2626],{"id":964,"slug":11084,"title":11085,"dynasty":2605,"author":11086,"museum":2563,"description":11087,"tags":11088,"thumbUrl":11090,"material":2703,"size":11091,"collection":2624,"collections":11092,"showCount":11072,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"yue-ye-kan-chao-tu-li-song-221489","月夜看潮图","李嵩","这幅「月夜看潮」图，所画即南宋时临安(今浙江杭州)中秋夜观海潮的情形。高悬的明月下，浪潮卷涌成一直线地奔驰而来;江畔华美的平台阁楼上，隐约可见有人穿梭、呼指着。整个画面没有拥塞的车水马龙、也没有激情喧闹的人海，取而代之的是远山江帆、月影银涛，一幕祥和而又没有纷扰的景致。",[2495,2496,2500,2790,2501,2550,2504,3964,2506,11089,2547],"潮水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe131ee4ef3a1bf68a965799b0b4a1826.jpg","纵22.3厘米，横22厘米",[2624,6,2534],{"id":965,"slug":11094,"title":7929,"dynasty":2632,"author":2830,"museum":2673,"description":11095,"tags":11096,"thumbUrl":11097,"material":2732,"size":11098,"collection":6,"collections":11099,"showCount":11072,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-zhou-wang-shi-min-220349","此幅构图为王时敏所作之常见格局，峰峦叠嶂，林木丛生，溪流小桥，屋舍隐现，一派江南的山水景象。用笔古秀，布局深远，以披麻皴写山石，浓墨点苔，意境近黄公望，为王氏代表作。",[2496,2497,2577,2499,2509,2501,2714,2715,2506,2508,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71a2667da6534125cad061d2aa34ff5d.jpg","纵135厘米,横63厘米",[6],{"id":966,"slug":11101,"title":11102,"dynasty":2490,"author":11103,"museum":2563,"description":11104,"tags":11105,"thumbUrl":11106,"material":2512,"size":11107,"collection":6,"collections":11108,"showCount":11072,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"han-shan-gao-yi-tu-zhang-hong-220139","寒山高逸图","张宏","张宏（1577-1652后）字君度，号鹤涧，明代绘画大师，南直隶苏州府吴县（今江苏省苏州）人。善画山水，重视写生，笔力峭拔、墨色湿润、层峦叠嶂、秋壑深邃、有元人古意；他画石面皴染结合作为其特色。所作写意人物，形神俱佳，散聚得宜，是明末吴门画坛中的中坚人物，吴中学者尊崇之。",[2496,2497,2577,2499,2500,2501,2507,3091,2549,2508,2615,2652,2613,2509,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55adcf750f0530ec73bbae83ff894f8e.jpg","184.3x59厘米",[6,2534],{"id":967,"slug":11110,"title":11111,"dynasty":2632,"author":11112,"museum":2877,"description":11113,"tags":11114,"thumbUrl":11115,"material":3157,"size":11116,"collection":6,"collections":11117,"showCount":11072,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"jiang-lou-fang-you-tu-wu-hong-220032","江楼访友图","吴宏","此幅吴远度云是仿北宋初李成画法，实则借名而已，皴法已带唐伯虎乱柴皴法度，构图渲染全是金陵画派作风，然江天开阔，渔隐互答，远度此幅尤允佳品。",[2495,2496,2497,2833,2577,2500,2509,2550,2502,2503,2504,2506,2507,2508,4702,3136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aaaf4122119ceb7d3d07d79758a578d.jpg","78.63*160.6cm",[6],{"id":968,"slug":11119,"title":11120,"dynasty":2632,"author":3431,"museum":2589,"description":11121,"tags":11122,"thumbUrl":11124,"material":2567,"size":11125,"collection":2968,"collections":11126,"showCount":11072,"zanCount":3048,"manualWeight":2517,"mainColor":2559},"yuan-ren-qiu-lie-tu-yi-ming-219453","元人秋猎图","描绘了北方少数民族在高山密林间行军、围猎、休憩、露营的情形。\n画卷以人物活动为主线，山水树石作为场景铺垫，既是人物活动展开的背景，又形成各段情节之间的自然间隔和过渡。十二米的长卷中场面宏大，情景众多，共画有七百余人，人物身份不一，有的衣饰华贵，气宇轩昂，被众人簇拥，俨然王族之相。多数是兵将勇士之属，其中甚至还有女兵的身影。\n此卷布局繁密有序，山峦错落，画面是静止和片段性的，而人物活动则有一定的时间性和延续性，如何将二者结合就很考验画家的创作能力了。表现带有情节性和故事性的山水人物，中国传统绘画的惯用手段就是利用长卷的形式，画卷的展开赋予画面一种流动性，画中人物的活动随观赏者的目光而移动，时间的维度就在不知不觉中展开了。",[2495,2496,2498,2500,2546,2549,2960,2501,2506,5082,11123,5116,3993],"狩猎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9edf607c039286a054fe9cb75697a771.jpg","纵59厘米，横1240厘米",[2968,6],{"id":969,"slug":11128,"title":11129,"dynasty":7780,"author":8735,"museum":4366,"description":11130,"tags":11131,"thumbUrl":11132,"material":2531,"size":2598,"collection":6,"collections":11133,"showCount":11072,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shi-qing-lan-tu-chao-xian-yi-ming-219238","山市晴岚图","晴岚如纱轻覆烟水，远山黛影隐入云间。近岸巉岩错落，古木虬枝斜出，屋宇依林泉而建，似有清寂烟火漫出枝叶。水面波光微漾，几叶扁舟缓行，桨声随雾霭飘散。笔墨细腻处，山石肌理分明；淡染之间，云雾流动如活。山水的旷远与人间的宁和交织，空灵中透着温润，读之如临幽境，心随画中烟水沉静下来。",[2495,2496,2833,2509,2500,2501,2550,2502,2503,2504,2507,2506,2505,2595,2614,4702],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f9e5d65eb51248a44011e70f9c087ce.jpg",[6],{"id":970,"slug":11135,"title":11136,"dynasty":2605,"author":8439,"museum":2563,"description":11137,"tags":11138,"thumbUrl":11139,"material":2567,"size":11140,"collection":6,"collections":11141,"showCount":11072,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"fang-dai-tu-yan-wen-gui-218880","访戴图","在这幅画中，雪白的溪水无声无息，戴逵的另一处房屋隐藏在溪水边的树林中。",[2495,2544,2496,2499,2500,2509,28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，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。安徽休宁人。\n查士标（1615-1698）与弘仁、孙逸、汪之瑞称“新安四大家”。在新安四家中，是位高产书画家，就技法而言，以他为最高，作品也最多。后流寓扬州、镇江、南京。善书画、工诗文、精鉴赏。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。\n山水师法黄公望、吴镇、倪瓒、董其昌，笔墨疏简，格调秀远，书法受董其昌影响。在新安四家中，是位高产书画家，他学倪黄，但能广泛吸收前人各家各派画法。就技法而言，以他为最高，作品也最多。\n其作品高达百万，甚至数百万。\n最早提出“新安画派”名称的是清朝康熙所间的艺术理论家张庚，张庚之后，人多沿用，“新安画派”遂成定称。新安画派成员众多，力量雄厚。画艺可观者近80人，其中卓然自成一家者约有20人，分为四个层面：先驱程嘉燧、李永昌、李流芳；画派领袖僧渐江；鼎盛期主要成员方式玉、王瘭素、吴山涛、程邃、汪家珍、戴本孝、吴龙、顺田生、程正揆、郑旼、汪之瑞、孙逸、查士标、汪洪度、雪庄；现代后继者黄宾虹。",[2496,2497,2592,2499,2501,2714,3208,2593,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a4280bacbc5da11ddb8e014095b837d.jpg",[6],50,{"id":974,"slug":11167,"title":11168,"dynasty":2522,"author":11169,"museum":2673,"description":11170,"tags":11171,"thumbUrl":11172,"material":2867,"size":11173,"collection":6,"collections":11174,"showCount":11165,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"shan-lin-qing-qu-tu-zhang-guan-221807","山林清趣图","张观","描绘江岸老树坡石之中，一老者独坐，一童子抱琴，渺茫江面一帆归来之景，右下款署“至正戊戌八月，张观制”，现藏故宫博物院；另有《月下人物图》册页，相传为其所作，藏美国纽约大都会博物馆。",[2495,2496,2499,2509,2501,2578,2549,2507,2506,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8247aabb43e9b76e19440df1094c1f30.jpg","纵30厘米，横54．7厘米",[6,2534],{"id":975,"slug":11176,"title":11177,"dynasty":2605,"author":2686,"museum":2563,"description":11178,"tags":11179,"thumbUrl":11180,"material":4016,"size":11181,"collection":2624,"collections":11182,"showCount":11165,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"long-mian-shan-tu-li-gong-lin-221408","龙眠山图","《龙眠山庄图》亦称《山庄图》，是宋代杰出画家李公麟的白描山水画。画面表现的是由建德馆至垂云片的龙眠山庄图景。自西而东凡数里，岩谔隐见，泉源相属，山行者路穷于此。《宣和画谱》称《山庄图》，可以配王维《辋川图》；《佩文斋书画谱》亦说《山庄图》用王维《辋川图》的画法：“而行笔细润，乃有超越之意”。苏轼为之记，苏辙为之赋诗，凡二十首。《山庄图》既出，便为世人所珍爱。《山庄图》不仅是一幅远离尘嚣的山村风俗画卷，更体现了山庄主人思想倾向和生活情致。苏轼在《题李伯时〈山庄图〉后》说，李公麟在龙眠山，并非留意一草一木，然而《山庄图》“其神与万物交，其智与百工通。”所以他称李公麟为“有道有艺”的画家。",[2495,2544,2496,2497,3898,2509,2501,2611,2506,2549,2960],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb03915a38cf74d256514b6749816117.jpg","纵28.9厘米，横364.6厘米",[2624,6,2626],{"id":976,"slug":11184,"title":11185,"dynasty":2632,"author":5834,"museum":2634,"description":11186,"tags":11187,"thumbUrl":11188,"material":11189,"size":11190,"collection":6,"collections":11191,"showCount":11165,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shuang-song-liu-quan-tu-yun-shou-ping-220972","双松流泉图","双松流泉图描绘巍峨高耸的远山被浮云游雾隔于天外，远处的瀑布从山崖之间逶迤婉转地涌出，因矶石抵柱而迥旋激荡，如同泉流。近景堤岸沙坡之上灵石伫立，苔草凝碧；临水的山角处双松并峙，针茂如冠，楮竹相生，杂然成林。一溪春水波光粼粼，仿佛正有和煦春风从水面掠过。画上虽然杳无人迹尘嚣，但并不荒疏冷寂。回荡壑谷的风声，击石鸣涧的水声，松涛如潮的树声，或许还有空山飞鸟的啼声，都为这本来幽静的画面平添了许多的幽趣，共同唱响一曲自然生趣的清歌，大有声情并茂的韵味。上端有画家自题语和款署：“双松流泉图，为六朋词兄六十寿。”落款：“毗陵恽寿平。”",[2495,2496,2497,2577,2499,2501,2902,2503,2507,2509,3735,2552],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2b3e81025a8acac7cd4862aa16daff2.jpg","轴，卷本设色","纵172厘米，横67厘米",[6,2626],{"id":977,"slug":11193,"title":11194,"dynasty":2522,"author":3907,"museum":4366,"description":11195,"tags":11196,"thumbUrl":11197,"material":2567,"size":11198,"collection":2968,"collections":11199,"showCount":11165,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shui-bian-gao-shi-tu-sheng-mao-220410","水边高士图","盛懋（生卒年不详）字子昭，嘉兴（今属浙江）武塘人，与吴镇同时代，且为乡邻，“比门而居”，主要活动于元至正年间。其父盛洪，是民间画工。盛懋承家学，人物、山水、花鸟，无所不工，尤善山水。其山水画多作丛山密林，表现四时朝暮的江山胜景，结构严整，笔墨清润。早年得到陈琳(赵孟頫的学生)的指点，画山石多用披麻皴或解索皴，笔法工整，设色明丽。所以他早期的画“精致有余”，而意趣不足，被时人称作“画工”之作。但他后来逐渐接受元代文人画家的影响，吸收文人画的意趣，一定程度上摆脱了“匠气”，故其作品越来越合士大夫阶层的审美情趣，元至正年间享有盛名。盛懋的画当时也很受老百姓的欢迎，“四方以金帛求子昭画者甚众”。他的传世作品较多，如《秋林高士图》《秋江待渡图》《坐看云起图》《秋溪放艇图》《山居纳凉图》等。",[2495,2496,2499,2500,2509,2549,2501,2578,2503,2677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901490fb625dc8dea15a65bdd9778bf9.jpg","23.4×25.3",[2968,6,2534],{"id":978,"slug":11201,"title":11202,"dynasty":2490,"author":7219,"museum":4366,"description":11203,"tags":11204,"thumbUrl":11205,"material":2512,"size":11206,"collection":6,"collections":11207,"showCount":11165,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"zhen-yi-qian-ren-gang-tu-wen-bo-ren-219977","振衣千仞岗图","此作用高远、平远之法铺陈山水，下半幅巉岩叠错，幽溪宛转，苍松虬枝斜曳，丹枫点破秋光，山居藏于松荫深处，野意萧散。远景烟峦浮空，汀渚村舍隐在淡墨轻岚之中，虚实相生，晕染出空濛清旷的秋霁氛围。\n\n笔墨兼工带写，山石以披麻皴间杂小斧劈，细劲松秀，淡墨轻扫出流云远山，将高蹈隐逸的林下之思藏在清寂丘壑间，把文人林泉高致的意趣，铺展于绢素之上，清灵淡远，尽显秀雅温润的吴门意韵。",[2495,2496,2497,2501,2500,2509,2503,2507,2578,3736,2651,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ff079bfcc13d6102a4df986fa0f2775.jpg","67x31cm",[6],{"id":979,"slug":11209,"title":11210,"dynasty":2632,"author":3796,"museum":2973,"description":8308,"tags":11211,"thumbUrl":11212,"material":2597,"size":2598,"collection":6,"collections":11213,"showCount":11165,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"cai-zhao-shi-yi-tu-wang-jian-219914","蔡肇诗意图",[2496,2497,2544,2499,2509,2577,2833,2501,2506,2503,2504,2507,3829,2614,3091,2652,2752],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bb7e789e1591565f7fc6f26d2254029.jpg",[6],{"id":980,"slug":11215,"title":11216,"dynasty":2632,"author":9323,"museum":2687,"description":11217,"tags":11218,"thumbUrl":11219,"material":2512,"size":2598,"collection":6,"collections":11220,"showCount":11165,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"song-yin-mu-ma-tu-gao-qi-pei-219488","松荫牧马图","虬干古松下，巨石错落横陈。苍松枝桠奇崛舒展，枯笔皴擦出斑驳肌理，尽现岁月经年的苍劲风骨。\n林下白衣高士凭石闲坐，神色悠然，童子恭立身侧，一旁骏马垂首缓行，静中藏动。淡墨点染疏草矮木，晕开山野清寂逸趣。\n整幅以指墨写意，笔意简括洗练，寥寥数笔便将人物情态尽展，寄情林泉的超然雅趣藏于淡墨轻岚之间，尽显幽远出尘的林下之风。",[2496,2497,2577,2499,2500,2902,2507,2549,2960,2501],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8484813b251832063d3488c3306199e.jpg",[6,2968,2534],{"id":981,"slug":11222,"title":11223,"dynasty":2632,"author":3704,"museum":2563,"description":11224,"tags":11225,"thumbUrl":11226,"material":2512,"size":11227,"collection":6,"collections":11228,"showCount":11165,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"gui-yin-tu-tang-dai-219332","归隐图","画山水师法王原祁，官内务府总管，以画只候内廷，康熙赐「画状元」。本幅画幽岩架屋，秋色满林，石磴盘空，泉流萦抱。用笔细致，山石多用干笔，带皴带擦，特重山势向背。",[2496,2497,2501,2500,2509,2507,2506,2651,2505,2613,2902],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1876c740f1a043e94f3409e2f9793278.jpg","86.2x48.4",[6],{"id":982,"slug":11230,"title":11231,"dynasty":2490,"author":11232,"museum":2749,"description":11233,"tags":11234,"thumbUrl":11235,"material":2512,"size":11236,"collection":6,"collections":11237,"showCount":11165,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xiao-xiang-ba-jing-ce-zhang-fu-219072","潇湘八景册","张复","字复阳，以字行（佩文斋书画谱、复阳重截）号南山，浙江平湖人。",[2495,2496,2497,2592,2499,2500,2509,2501,2502,2503,2578,2822,2595,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a5cb54be34956331e4afd296566fa1.jpg","30x33厘米",[6],{"id":983,"slug":11239,"title":11240,"dynasty":2605,"author":11241,"museum":2563,"description":11242,"tags":11243,"thumbUrl":11246,"material":2567,"size":2598,"collection":6,"collections":11247,"showCount":11165,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"chun-hu-fang-ya-tu-hui-chong-218699","春湖放鸭图","惠崇","粼粼春波轻漾，岸畔丛树新绿初绽，枝桠间似有柔风拂过。群鸭悠游于浅滩，或潜或浮，打破湖面静谧却更衬出天地清旷。画面以淡墨晕染水色，赭石轻点岸坡，色调温润如春日暖阳。构图虽简，却于留白处藏无限悠远——似可闻水声潺潺，嗅草木清香。那份恬淡自在，恰是小景山水的妙处：不追磅礴气势，只撷自然一角生机与意趣，让观者心随水禽，飘向春日烟水深处。笔墨细腻处见雅致，清寂中藏灵动，尽展宋人对自然的细腻感知与诗意情怀。",[2495,2496,2497,2592,2499,2500,2501,2506,11244,11245,3829,2510],"湖水","鸭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F611f2359fee40bf129bb4fc8e4c89e36.jpg",[6],{"id":984,"slug":11249,"title":11250,"dynasty":2605,"author":4253,"museum":2492,"description":11251,"tags":11252,"thumbUrl":11253,"material":2567,"size":11254,"collection":6,"collections":11255,"showCount":11165,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"jiao-yuan-ye-zhang-tu-ma-lin-218553","郊原曳杖图","亭子和阳台的一角被画上了。柳树高大而美丽，月亮在天空中，岩石微微露出，从上面可以看到长廊，亭子完全可以看到。\n悬崖用凿子画，亭子用稳健的笔触画，树叶也得到充分的装饰，远处的山峰被烤得绿油油的，并被渲染成彩色，天空中的月亮，以及柳树林中隐约可见的亭子和台阶。",[2495,2496,2497,5225,2499,2500,2501,2549,2651,2506,3736,2547,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef491921f92892f4f8b6bec2dc1e90cc.jpg","23.3x23.6",[6],{"id":985,"slug":11257,"title":11258,"dynasty":2490,"author":3264,"museum":2673,"description":11259,"tags":11260,"thumbUrl":11261,"material":2597,"size":11262,"collection":6,"collections":11263,"showCount":11165,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-ni-shan-shui-tu-dong-qi-chang-218345","仿倪山水图","此作从构图到用笔均仿自倪瓒。构图取倪氏标准的“一河两岸三段”模式，平波无浪的辽阔水域将近景的树木与远景的山峦分列两岸，令画面空间层次鲜明，又得平远之势。山石行笔仿倪氏折带皴法，线条勾勒以侧锋为主，笔墨整体苍逸，表现出疏朗清雅而又超逸萧疏的意境。这种“简淡中自有一种风致”的意境正是董其昌对倪氏画作最为欣赏之处，认为它“非若画史纵横习气也”。此图当是董其昌仿倪的代表作之一。",[2495,5225,2499,2501,2677,2578,2676,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd588df824569eeead48bf69a9e5ed670.jpg","纵17厘米，横50.5厘米",[6],{"id":986,"slug":11265,"title":11266,"dynasty":2632,"author":9323,"museum":2563,"description":11267,"tags":11268,"thumbUrl":11269,"material":2567,"size":11270,"collection":6,"collections":11271,"showCount":11165,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"jiang-shan-chun-ai-tu-gao-qi-pei-218290","江山春霭图","高其佩（西元一六七二－一七三四年），字 韦之，号且园，又号南村。辽宁人。凡花木、鸟 兽、鱼龙、人物，无不精妙，尤以山水人物为胜 。其山水沉着，人物生动，深得明吴伟之神趣。另以指头作画著称，奇情异趣，信手而成。本幅画层峦叠翠，山城寺阁错落，溪上泊棹 连樯，岸畔田畴村居。稻田?农人耕作，山径有 行旅载途。溪水溶溶，远山春霭，春意什浓。全 图笔触苍劲，墨色敷彩浓淡有致，层次分明。",[2496,2500,2501,2509,2577,2507,2506,2503,2504,2550,2651,3136,2508,2545],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6464c85911fb2dd25ec5ae4d6085248b.jpg","241.8x128.1cm",[6],{"id":987,"slug":11273,"title":11274,"dynasty":2522,"author":3431,"museum":2589,"description":11275,"tags":11276,"thumbUrl":11277,"material":2567,"size":2598,"collection":6,"collections":11278,"showCount":11165,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"zhong-ling-chun-se-tu-yi-ming-217985","重岭春色图","重岭春色图这幅画以其精美的绘画技巧和优美的风景吸引了许多人的目光。画中的景观描绘了一座重岭，周围是翠绿的树林，清新的空气中弥漫着春天的气息。轻轻飘荡的云彩似乎都在为这片美景增添一份神秘感。\n\n尽管这幅画作的作者是佚名，但它仍然是元朝时期艺术史上的一个重要作品。它的出现说明了元朝时期艺术家们对自然风光的描绘的技巧和热爱。如今，这幅画作仍然是许多人喜爱的艺术品，它代表了中国古代艺术的精华。",[2496,2497,2501,2499,2509,2714,2593,2913,2578,2677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13ad62fdde2984f5c83ea59ddf31b1f0.jpg",[6],{"id":988,"slug":11280,"title":11281,"dynasty":2490,"author":8359,"museum":10325,"description":11282,"tags":11283,"thumbUrl":11284,"material":2512,"size":11285,"collection":6,"collections":11286,"showCount":11165,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-jing-xing-lv-tu-zhou-chen-217921","山径行旅图","画面中可以看到蜿蜒的山径，周臣巧妙地运用了线条和色彩来表现山径的弯曲起伏。顶部的云朵和树林以及画面下方的山峰和溪流，使得整幅画充满了生机和动感。\n\n此外，周臣还细致地描绘了山径两侧的植物和动物，包括花草、山石、鸟类、鹿等。这些细节使得画面更加丰富多彩，也展示了周臣对生物的热爱和观察力。\n\n总的来说，《山径行旅图》是周臣的杰作，它展现了他对自然的热爱和描绘能力，也是中国画史上的一颗明珠。",[2496,5225,2501,11003,2612,2549,2960,2506,2507,2499,2500,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2a6eebb70a11f31cd71bd92a3caf50.jpg","33.5x61cm",[6],{"id":989,"slug":11288,"title":11289,"dynasty":2632,"author":6420,"museum":11290,"description":11291,"tags":11292,"thumbUrl":11293,"material":2567,"size":2598,"collection":6,"collections":11294,"showCount":11165,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"qian-long-nan-xun-zhu-bi-tu-ye-ce-qian-wei-cheng-216904","乾隆南巡驻跸图页册","大英图书馆","二十三帧中的每一帧都有一个标题，有些板块还有文字描述南行的时间、景观和内容。该作品的构图融合了传统的风景画，花、树和花园清新柔和，远处和近处的山形以皲裂的风格描绘，建筑物则以三维俯视的方式绘制。",[2495,2496,2497,2592,2790,2500,2546,2550,2501,2506,2505,2880],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdded9f524bd90de54bf710ce3491c184.jpg",[6],{"id":990,"slug":11296,"title":11297,"dynasty":2632,"author":11298,"museum":2673,"description":11299,"tags":11300,"thumbUrl":11301,"material":2598,"size":2598,"collection":6,"collections":11302,"showCount":11303,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"cha-shi-biao-shu-fa-ti-wang-zhi-rui-shan-shui-ce-wang-zhi-rui-236645","查士标书法题汪之瑞山水册","汪之瑞","汪之瑞，字无瑞，号乘槎，清朝安徽休宁人，清初画家。为明末新安画家李永昌高足。“新安四家”之一。\n查士标（1615-1698），字二瞻，号梅壑散人，懒老。新安（今安徽休宁）人，流寓江苏扬州。明末秀才，入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。他的闲散情怀决定了他的绘画气质亦是风神懒散、气韵高逸。",[2496,2497,2592,2499,2509,2511,2547,2501,2677,2578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbecd6fb60f813cf83d989c822dd4c04b.jpg",[6,6382],49,{"id":991,"slug":11305,"title":11306,"dynasty":2632,"author":3303,"museum":2563,"description":5988,"tags":11307,"thumbUrl":11311,"material":3069,"size":5993,"collection":6,"collections":11312,"showCount":11303,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shi-er-yue-ling-tu-4-yue-lang-shi-ning-222763","十二月令图（4月）",[2495,2496,2500,2546,2549,2550,2502,2503,2505,2507,3012,11308,11309,11310],"细雨","赏花","消遣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cd2462abe95344680ac6dca3956b1cd.jpg",[6,2534],{"id":992,"slug":11314,"title":11315,"dynasty":2490,"author":11316,"museum":2818,"description":11317,"tags":11318,"thumbUrl":11319,"material":11320,"size":11321,"collection":6,"collections":11322,"showCount":11303,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-shou-juan-li-liu-fang-222139","山水手卷","李流芳","李流芳（1575～1629年），字长蘅，一字茂宰，号檀园、香海、古怀堂、沧庵，晚号慎娱居士、六浮道人，南直隶徽州歙县（今安徽歙县）人，侨居嘉定（今上海嘉定），明代诗人、书画家。\n三十二岁中举人，后绝意仕途。诗文多写景酬赠之作，风格清新自然。与唐时升、娄坚、程嘉燧合称“嘉定四先生”。擅画山水，学吴镇、黄公望，峻爽流畅，为“画中九友”之一，亦工书法。崇祯二年，卒于檀园，享年五十五岁。\n万历三年（1575）李流芳出生于嘉定南翔一户官宦人家。原籍南直隶徽州府歙县（今安徽歙县南丰），祖父李文邦为迁翔始祖，任成山卫指挥使，封赠公爵。父亲李汝筠系县学生。伯父李汝节是嘉靖进士，官至安吉知州。堂兄李先芳，万历进士，四川参议。李流芳兄弟四人：长兄李元芳，诸生，诗人；仲兄李名芳万历进士，翰林院庶吉士；弟李三芳，定海县丞。李流芳排行第三，人称李三长蘅。\n李流芳青少年时，潜身东林庵中，认真读书，企求科举入仕。万历三十四年(1606)，32岁中举，后又两度赴京参加殿试皆不第。时朝廷为太监魏忠贤及其党羽把持，仕途凶吉难料。他感到气馁，回到家乡，自建“檀园”，绝意仕途。他经常游览杭州西湖，一边游湖一边作画，并提笔写下一系列题跋，一派高人逸士之风度。为人耿直，诗风清新自然，文品为士林翘楚。魏忠贤建生祠不往拜，与人云：“拜，一时事，不拜，千古事。”\n李流芳和程嘉燧，诗文书画齐名，曾对好友钱谦益说：“精舍轻舟，晴窗明己，看孟阳（程嘉燧）吟诗作画乃是生平第一快事。”钱谦益曰：“吾却有二快，兼看兄与孟阳耳。”崇祯元年（1628），钱谦益被放，坐帐论牍，病中的李流芳闻讯，扶枕浩叹：“不可为矣！”\n崇祯二年 (1629)闰四月三日李流芳卒于檀园，享年五十五岁。钱谦益作《李长蘅墓志铭》，程嘉燧书丹，宋珏篆盖，侯峒曾作《祭李长蘅先生文》。清嘉定诗人林大中有诗夸其“忆当晚明时，官途亦多术。高士多鄙之，坚卧独不出。诗笔能清真，画品亦超轶。不拜千古事，名言殊简质。孝廉忧国家，呕血遂以卒。”大书画家董其昌曰：“其人千古其艺千古！”",[2495,2496,2497,2498,2499,2509,2501,2714,2715,2506,2508,2529,5052,2595,5837,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6f69a3a1328ce4101011410906b76df.jpg","水墨绫本","347.4x29.2",[6,2626],{"id":993,"slug":11324,"title":11325,"dynasty":2605,"author":4921,"museum":2818,"description":11326,"tags":11327,"thumbUrl":11328,"material":2500,"size":11329,"collection":2624,"collections":11330,"showCount":11303,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"hao-shan-wu-shu-tu-juan-mi-you-ren-221486","好山无数图卷","全景以留白的云霭，穿梭于峰峦叠翠间，重山翠岭连绵不绝，自左而右、渐行空远。技法上以“米点”墨色铺陈山峦及树石，另以较为浅淡的墨色晕染沙渚岸边；工笔浓墨装点枝干、独桥及扁舟。画家铺陈山景的风格及技法，与其父米芾颇有相通之处，故《画继》中称其所作山水“点滴烟云，草草而成，而不失天真，其风气肖乃翁(芾)也”，故画史上有“大米”及“小米”之称。此幅充满诗意、适时应景的画题，可溯自其父米芾，甚而宋迪“萧湘八景”图。它旨在将游历山景的心境投射于画境中，透过米点皴染表现出来，诗画合一。",[2495,2544,2496,2497,2498,2499,2509,2510,2547,2501,2714,3208,2715,2504,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29e394bfd90e74778f0999e18a35a29a.jpg","34x195.",[2624,6,2626],{"id":994,"slug":11332,"title":11333,"dynasty":2605,"author":11334,"museum":2818,"description":11335,"tags":11336,"thumbUrl":11337,"material":2531,"size":11338,"collection":2624,"collections":11339,"showCount":11303,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"qiu-lin-tu-ye-xu-dao-ning-221417","秋林图页","许道宁","此卷作平遠的構圖，山巒重疊向兩面展開，叢林間隱藏寺院和佛塔。近景作河流、坡岸，幾棵大樹，挺拔疏朗，有小道、橋樑通往遠處；二局士遠眺，有騎士與隨從似正遊覽歸來。表現了華北黃土地清曠的晚秋景色。其構圖與美圍納爾遜·艾京斯美術館藏《秋江漁艇圖》屬同一類型。樹法作“蟹爪法”，鹿角、坡石皴法亦屬李成一派。本圖無款，傳為許道寧作。\n圖中描寫的是華北平原秋天時的蕭寒荒涼景色，與平原中活動的人物。最令人深感趣味的是從圖卷末開始，山坡上植滿大片樹叢，樹葉開始凋零，景色由此向右上方延伸，到中景則出現小片樹叢，並隱約可見在林間的寺院和閣樓。這就點出了此畫的主題，在樹叢下有幾名清雅高士正朝着丘陵的方向欣賞大自然美景。秋高氣爽，一陣陣秋風從秋林中沙沙吹響，好一個平原秋色的蕭寒荒涼，這使高士們如此喜悦，領略大自然恩賜的詩一般的愜意。\n此畫構圖的軸線是順着道路漫延到卷末。作者重點佈置秋色的蕭條，四周同將枯竭的泉水，及背後莊嚴的山脈，使人感受到強烈的蕭條之氣。可是在樹叢下有幾名清雅高士採風賞景、談笑風生，頓使畫面意趣盎然、生氣充盈。圖中人物雖小，但能神形逼肖。此圖乍看似乎是李成寒林平原山水的模式。從此圖中不僅能看到許道寧擅長的林木，平野山水，及斜面構圖模仿寒林龍形山脈等，更可以看出白唐、五代以來長安繪畫保守的傳統風格",[2495,2496,2544,2497,2592,2499,2509,2501,2578,2913,3483],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265c7ee4e15765a1f3229516a46ee0b3.jpg","36× 30",[2624,6,2626],{"id":995,"slug":11341,"title":11342,"dynasty":2490,"author":3264,"museum":2563,"description":11343,"tags":11344,"thumbUrl":11345,"material":2597,"size":11346,"collection":6,"collections":11347,"showCount":11303,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xia-mu-chui-yin-tu-zhou-dong-qi-chang-220938","夏木垂阴图轴","此图截取山坡一角，其上有柳树、松柏，共三株。树木主干苍劲高耸，枝叶繁茂蓊郁。构图简洁饱满，用笔老辣迅疾，墨色浓淡得宜，生动地表现出林木枝叶纷披的景象。又以长披麻皴皴染山石，皴与染相结合，加上浓重的苔点，使得长满青苔的山石因而具有湿润的质感。在墨色的运用上，整幅画面主要以浓墨与留白相对比，黑、白、灰关系明确，营造出清爽明丽之氛围，使观者似乎感受到夏日树荫之中的凉爽清幽。\n董其昌的山水画大体有两种面貌，一种是水墨或兼用浅绛法，这种面貌的作品比较常见；另一种则是青绿设色，时有出以没骨，比较少见。他十分注重师法古人的传统技法，题材变化较少，但在笔和墨的运用上，有独特的造诣。",[2495,2496,2544,2497,2577,2499,2509,2501,2506,2507,2613,2595,3055,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82925c244a2cd56242a7317cc1c18543.jpg","纵91.3cm，横44cm",[6,2626],{"id":996,"slug":11349,"title":11350,"dynasty":2522,"author":11351,"museum":3121,"description":11352,"tags":11353,"thumbUrl":11354,"material":3157,"size":11355,"collection":6,"collections":11356,"showCount":11303,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shi-shang-song-hua-tu-zhang-xun-220425","石上松花图","张逊","元代张逊书画世所罕见，故宫博物院藏有其白描双勾竹一卷，足见风采。此山水一幅是王季迁旧物，1997年捐给大都会艺术博物馆。用笔学董、巨，山中静日长，只见松花开又落。落款自题：“石上松花落又开，山樗无用亦成材，蒲轮不到樵人径，白发徒过五十来。张逊。”另有倪瓒、李瓒题诗。",[2495,2496,2833,2577,2499,2500,2507,2506,2715,2595,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff011efff5735f2afb6e05f576839c3ab.jpg","90.8cm×42.5cm",[6,2626],{"id":997,"slug":11358,"title":11359,"dynasty":2490,"author":5791,"museum":2673,"description":11360,"tags":11361,"thumbUrl":11363,"material":3157,"size":11364,"collection":6,"collections":11365,"showCount":11303,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"song-xi-yu-chui-tu-wu-wei-220048","松溪渔炊图","作者曾浪迹江湖为职业画家，“独乐与山人野夫厚”，熟悉下层人民的生活。所绘渔乐、栖憩、耕读等内容亦多取自现实生活，人物形象质朴，环境真实，境界自然，极少文人隐逸画中的理想化色彩，此图即为一例。图绘远山如屏，水烟渺茫，近景山崖峭壁，老松虬曲，溪岸泊船，一翁低头吹管助燃炉火，具有浓郁的世俗生活气息。此图画法主要从南宋马远、夏圭而来，取一角之景，大斧劈皴山石，大片水墨渲染水面，人物衣纹方劲简练，笔锋迅疾外露。而笔墨和线条独具的粗劲力度、纵放气息，整幅画作表现的野逸之趣、透露出的反雅谐俗之气，则是吴伟的自家特点。",[2495,2496,2497,2577,2609,2637,2509,2501,2779,3976,2504,11362,2503,2714,3839,2987,2506],"渔者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca684d170fa22ada9ad227d0c7d3f78f.jpg","纵122.8厘米，横75厘米",[6,2968],{"id":998,"slug":11367,"title":11368,"dynasty":2632,"author":2762,"museum":6092,"description":11369,"tags":11370,"thumbUrl":11371,"material":2512,"size":11372,"collection":6,"collections":11373,"showCount":11303,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"liu-xi-diao-ting-tu-shi-tao-219930","柳溪钓艇图","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，僧名元济，一作原济，别号很多，大滌子、钝根、石道人、苦瓜和尚、瞎尊者、清湘陈人、清湘老人、清湘遗人、零丁老人。 明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。",[2495,2496,2499,2509,2577,2501,3542,2504,2503,2977,2506,2549,2550,2987],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff3288481cb043a71d1eaf11cecb7e0.jpg","127.4x54",[6],{"id":999,"slug":11375,"title":11376,"dynasty":2490,"author":2899,"museum":6092,"description":11377,"tags":11378,"thumbUrl":11379,"material":2597,"size":11380,"collection":6,"collections":11381,"showCount":11303,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"zhu-ju-tu-wen-zheng-ming-219925","竹居图","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。",[2496,2497,2499,2500,2509,2501,3155,2505,2593,2677,2549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F292ecae83b68849fed901d8ead40a667.jpg","71.5x41cm",[6],{"id":1000,"slug":11383,"title":11384,"dynasty":2490,"author":7546,"museum":2763,"description":11385,"tags":11386,"thumbUrl":11387,"material":3157,"size":2598,"collection":6,"collections":11388,"showCount":11303,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"zhou-jin-tang-ji-chen-chun-219893","昼锦堂记","陈淳(1483-1544)，字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲(今江苏苏州)人，明代绘画大师。",[2495,2496,2497,2498,2511,8685,3209,2499,2500,2549,2550,2502,2503,2504,2505,2593,2507,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba68ea872e59a506e45fdc29a7bc85d6.jpg",[6,6382],{"id":1001,"slug":11390,"title":3183,"dynasty":2490,"author":8879,"museum":6348,"description":11391,"tags":11392,"thumbUrl":11393,"material":2512,"size":11394,"collection":6,"collections":11395,"showCount":11303,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-lu-zhi-218089","陆治的山水图以其细腻的线条、精细的绘制技巧和浓郁的气韵而闻名。他对自然的描绘十分精确，能够将山川、河流、草木、云彩和其他自然元素都表现得十分逼真。他的作品中常常会出现山峰突出的场景，比如《凌云图》中的高峰，以及《雁荡图》中的荡秋千的山峰。\n\n陆治还善于表现水的流动，他的作品中常常会出现河流奔流的场景。他还会把水和山结合起来，比如在《凌云图》中就有悬崖峭壁上流出的小溪，以及《雁荡图》中的湖泊和山峰的结合。\n\n总的来说，陆治的山水图以其精细的绘制技巧和浓郁的气韵而闻名，是明朝山水画的巅峰之作。",[2495,2496,2833,2509,2499,2507,2506,3057,2690,2611,2613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb76928577a7dc880899d9fd527dc9dd1.jpg","139x69.9cm",[6],{"id":1002,"slug":11397,"title":11398,"dynasty":2632,"author":11399,"museum":2818,"description":11400,"tags":11401,"thumbUrl":11402,"material":2598,"size":2598,"collection":6,"collections":11403,"showCount":11404,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238823","董诰墨庄览胜图册","董诰","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[2496,2497,2592,2500,2501,2509,2507,2506,2902,2508,2502,2503,2614,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa443f86659d1246ce2824ef78b06a3ac.jpg",[6,2534],48,{"id":1003,"slug":11406,"title":11407,"dynasty":2632,"author":11408,"museum":2673,"description":11409,"tags":11410,"thumbUrl":11411,"material":2598,"size":2598,"collection":6,"collections":11412,"showCount":11404,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"nan-tian-men-guan-yin-si-tu-zhou-li-zong-wan-238539","南天门观音寺图轴","励宗万","励宗万（1705年—1759年），字滋大，号衣园，又号竹溪，直隶静海（今天津市静海县）人，励廷仪子，清代藏书家、书画家。\n康熙六十年（1721年）进士，入翰林，年才十七。历官刑部侍郎。以画供奉内廷，兼工山水、花鸟，笔意恬雅，设色古淡。书法褚、颜、苏、米，圆劲秀拔，与张照齐名，称“南张北励”。卒年五十五。《清画家诗史》、《归石轩画谈》、《熙朝名画录》、《桐阴论画》、《香树斋文集》、《读画辑略》。乾隆二十四年（1759年）卒，葬于北五里庄。",[2496,2497,2577,2499,2509,2501,2550,8088,2547,2800,2506,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c63efd8e91a869a77380de50cf1ac31.jpg",[6,2626,6382],{"id":1004,"slug":11414,"title":11415,"dynasty":2490,"author":11416,"museum":3356,"description":11417,"tags":11418,"thumbUrl":11419,"material":2598,"size":2598,"collection":6,"collections":11420,"showCount":11404,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"qiu-shan-xing-lv-tu-juan-xiao-yun-cong-222837","秋山行旅图卷","萧云从","为了超脱世俗，为了与现实人生拉开距离，画家才在表现语言中摒弃浓艳、烦琐、世故与逢迎，而刻意与平淡、自然、疏冷和简散，表现出一种自吟自叹、清高不群的品质；也正是表现与世人的不同，他们将自然景物在画面中概括为流动的线，意味的点，以率性之笔将画中山水凝练为澹泊、简古、平和之境，远远不同于人们心目中的客观自然；萧云从在作品中所表现的超脱世俗的人生态度，实际上包含了他对历史、人生的深切感悟，是通过笔墨画境而表现显露其审美意象的深刻意蕴。",[2495,2496,2498,2500,2501,2509,4369,2612,2651,2506,2502,2503,2504,2550,2505,5864,2779,2652,3136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22dff54a4034023fe32d33dccfab6a4d.jpg",[6,2534],{"id":1005,"slug":11422,"title":11423,"dynasty":2632,"author":3303,"museum":2563,"description":5988,"tags":11424,"thumbUrl":11427,"material":3069,"size":5993,"collection":6,"collections":11428,"showCount":11404,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shi-er-yue-ling-tu-6-yue-lang-shi-ning-222765","十二月令图（6月）",[2495,2496,2546,2500,2550,2594,3457,2504,2506,2549,11425,11426,5990],"纳凉","消夏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6718ccffcb0e01f60920e1c7a8481499.jpg",[6,2534],{"id":1006,"slug":11430,"title":11431,"dynasty":2632,"author":9803,"museum":3121,"description":11432,"tags":11433,"thumbUrl":11434,"material":11435,"size":11436,"collection":6,"collections":11437,"showCount":11404,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-ce-ye-gao-cen-222631","山水册页","高岑（1621-1691），字善長，又字蔚生，杭州人，居金陵（今南京）。高阜弟，為“金陵八家”之一 。\n为人清高，相貌俊美，淡于功名，性好佛门始从法门道昕卧伏腊寺，居茹蔬淡……。善山水及水墨花卉，写意入神。\n“ 八家有 八位画家虽被纳入一个流派，各自的 他们的共同之处，是淡泊功名，为人清高，只与诗酒结缘、书画为伴，视 八家偶有",[2495,2496,2497,2592,2499,2509,2501,2502,2503,2779,2508,2595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F467d01d7652fdadb7ced0902e0c7e630.jpg","绢本水墨设色","20.5 X21.3厘米",[6,2626],{"id":1007,"slug":11439,"title":11440,"dynasty":2490,"author":11441,"museum":2563,"description":11442,"tags":11443,"thumbUrl":11452,"material":2656,"size":11453,"collection":6,"collections":11454,"showCount":11404,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"yu-le-tu-ding-yu-chuan-222241","渔乐图","丁玉川","这张画是一件无款作品，在过去的著录中，一直被当成宋人画。不过，很幸运地，在画幅的右上角，发现一颗“玉川”的印章，经过风格及印章的比对，证实画家的身份为明代中期浙派的丁玉川。\n这幅画采用元代典型的“一河两岸”横图，空阔的河面将画面切割成上下两段，前景是长满芦苇的坡岸，远景则为弥漫云雾的低矮山峦。岸边停泊一艘渔船，有文人在船上饮酒，一副悠闲自乐的模样。这幅画的横图和题材都令人想起吴镇《渔父图轴》（国立故宫博物院藏），由此可以看到他的绘画受到元人的影响。除此之外，本幅画也运用了“斧劈皴”的笔法来描绘山石，及藉助大量的水墨烘染云雾，这些技法则是延续南宋院体的风格。丁玉川的绘画吸收浙江画派在宋、元时代的源流，而他的题材也偏向抒情山水或文人田园生活，这些都让他的艺术拥有一种古典的美感。",[2495,2496,2500,2501,2546,2504,2987,3155,11444,2595,2614,2503,2845,2593,4231,3776,2988,11445,3091,11446,11447,4452,5838,11448,11449,3042,2766,11450,3880,3696,2718,5281,4147,11451],"渔夫","岸石","汀渚","渔人","浅滩","丛竹","霭气","渔家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3943b3f13349188ff3f7f565630f3e55.jpg","纵270厘米、横174.4厘米",[6,2626],{"id":1008,"slug":11456,"title":11457,"dynasty":2490,"author":2776,"museum":2563,"description":11458,"tags":11459,"thumbUrl":11460,"material":2567,"size":11461,"collection":6,"collections":11462,"showCount":11404,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"wei-bin-chui-diao-tu-dai-jin-222034","渭滨垂钓图","这幅画主题「渭滨垂钓」，描绘的是周文王拜访在渭水边隐居垂钓的姜太公，邀请他入朝辅政的故事。画面上，高耸如屏的山峦、随风飘荡的柳树，和环绕河堤周围的岩石，建构了人物活动的舞台，在群树、河堤和山峦之间弥漫云雾。地上的豹皮、钓具点出主人翁姜太公渔隐的生活，他与周文王两人拱手交谈，站立于画面中央，成为目光的焦点。周文王的侍骑五人，则隐蔽在树丛右侧，耐心地等待着这历史性时刻的来临。",[2495,2496,2497,2544,2500,2509,2501,2549,2503,2578,2677,2595,6001,2506,4147,2821],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda462a6bcb6ec1bdeb443947c26b1f4e.jpg","高139.6厘米，横75.4厘米",[6,2534],{"id":1009,"slug":11464,"title":11465,"dynasty":2632,"author":3816,"museum":4366,"description":11466,"tags":11467,"thumbUrl":11468,"material":2597,"size":2598,"collection":6,"collections":11469,"showCount":11404,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"fang-dong-ju-shan-shui-tu-gong-xian-220283","仿董巨山水图","龚贤（1618—1689），又名岂贤，字半千，号野遗、柴丈人、半亩等。昆山人，居金陵。性格孤癖，与人落落难合。既对明末宦官专权腐朽黑暗不满，又对清政府采取不合作态度，是一位刚直不阿有骨气的文人，能诗，懂书，善画。其书画另辟蹊径独出幽异，超然脱俗，对其画作有此评价：“画有繁简（减），乃论笔墨，非论境界也。北宋人千丘万壑，无一笔不减。元人枯枝瘦石、无一笔不繁。通此解者，其半千乎？”从其作品中看，龚贤继承传统有着一条鲜明的轨道可概略为，董巨、二米，倪黄、沈周及董其昌。他的作品面目清晰鲜明，并有各时期的特点。如白龚、灰龚、黑龚之说。尽管如此，他还是坚持不泥古人古法而师法自然师法造化。他说：“古人之书画，与造化同根、阴阳同候，非若今人泥粉，本无先天，奉师说为上智也。”龚贤的作品，最大的特点就是善于用墨。继承和发展了“积墨法”，形成了浓重浑厚，朴实滋润的特点。其作《溪山无尽图》巨制长卷，表现江南重山复水，连绵起伏，丛林房舍，飞瀑流泉，小榭栈道，亭台楼阁，烟云萦绕等自然万物应有齐全，浑厚苍润、丰茂明丽，是积墨法之精品。此图可局部临习；也可通幅临习，用墨应由淡人深，层层叠加，点染数遍。使山石之轮廓和结构与多次皴擦之干湿用笔浑然一体。也可以把龚贤的创作过程理解为由实至虚达厚现润生韵的过程。关于这一点需要我们认真体会。",[2495,2496,2497,2577,2501,9413,2509,2527,2614,2506,2613,2611,2507,4063],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59a83655a20a43f31c61d9dc139d6bb.jpg",[6],{"id":1010,"slug":11471,"title":11472,"dynasty":2632,"author":11473,"museum":2563,"description":11474,"tags":11475,"thumbUrl":11477,"material":2512,"size":11478,"collection":6,"collections":11479,"showCount":11404,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"yan-bo-diao-ting-tu-qian-long-220112","烟波钓艇图","乾隆","清高宗爱新觉罗·弘历（1711年9月25日—1799年2月7日），清朝第六位皇帝，定都北京之后的第四位皇帝。年号“乾隆”，寓意“天道昌隆”。在位六十年，禅位后又继续训政，实际行使最高权力长达六十三年零四个月，是中国历史上实际执掌国家最高权力时间最长的皇帝，也是最长寿的皇帝。",[2495,2496,2497,2499,2577,2501,2504,2821,2891,3776,11476,2547],"水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a0610d85cb942d3d36056cbf98c91f3.jpg","58.8x30.7",[6],{"id":1011,"slug":11481,"title":11482,"dynasty":2522,"author":9560,"museum":11483,"description":11484,"tags":11485,"thumbUrl":11486,"material":2567,"size":11487,"collection":6,"collections":11488,"showCount":11404,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"lou-ge-shan-shui-tu-sun-jun-ze-220084","楼阁山水图","日本静嘉堂文库","孙君泽（生卒年不详），元代画家，生活在14世纪，杭州人。工山水人物，宗法马远、夏圭，画风工致谨细，对明代以后浙派绘画的发展有直接的影响。他的作品广见于日本旧藏中。孙君泽的山水是在继承和吸收了马、夏的画法的基础上加以发展和创造，进而形成自己风格的。",[2495,2496,2497,2501,2790,2500,2509,2549,2550,2902,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa91562f156e7a92824fb05acd2a8fa7a.jpg","135×76.5",[6],{"id":1012,"slug":11490,"title":11491,"dynasty":2522,"author":11492,"museum":2492,"description":11493,"tags":11494,"thumbUrl":11495,"material":3749,"size":11496,"collection":6,"collections":11497,"showCount":11404,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"dian-shan-song-bie-tu-li-sheng-219740","澱山送别图","李升","李升（生卒年不详），元代画家。字子云，号紫筼生。濠梁(今安徽凤阳)人。晚年居青浦(今属上海)淀山湖畔，筑草堂，人称“谪仙”。擅墨竹，喜作窠石平远山水，颇有清趣。",[2496,2498,2499,2509,2501,2593,3839,3208,2715,2504,2508,2510,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d099573b441bf66cceba505e064a29f.jpg","23×68.4cm",[6],{"id":1013,"slug":11499,"title":11500,"dynasty":2605,"author":3431,"museum":2492,"description":11501,"tags":11502,"thumbUrl":11504,"material":2567,"size":11505,"collection":6,"collections":11506,"showCount":11404,"zanCount":3198,"manualWeight":2517,"mainColor":4670},"qiu-shan-xiao-si-tu-yi-ming-219185","秋山萧寺图","本图开卷处图绘远山溪岸，继而群峰叠起大壑飞瀑，颇为壮观，再次又转入平川冈阜秋树远山，渐成清远之境，布局变化错落有致，诗意盎人。",[2495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“春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色典雅。“平流涌瀑”画夏日高树掩映，茂茂森森，以独特的落墨点染，华滋苍润。“万松叠翠”写秋时寂寥之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的柳树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以特色界画的娴熟技法把扬州曾经“两堤花柳全依水，一路楼台直到山”的繁盛景象真切形象地展现在观者面前。",[2496,2500,2790,2546,2501,2714,2902,2550,2594,2988,2614,2506,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a93c9e40d1b6c3cd9ff1febf520eea.jpg","纵57厘米，横66.1厘米",[6],{"id":1015,"slug":11516,"title":11517,"dynasty":2605,"author":3431,"museum":2818,"description":11518,"tags":11519,"thumbUrl":11520,"material":2597,"size":2598,"collection":6,"collections":11521,"showCount":11404,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"guan-he-tu-yi-ming-218598","观河图","岸畔古木扶疏，浓荫覆石，二人伫立凝眸，似为河上烟光所引。左侧层岩叠翠间，楼阁隐现，塔影凌霄，与远岫的淡墨烟岚相映成趣。河面平波如镜，映带天光，留白处尽蓄悠远之思。笔墨简淡却意韵丰饶，山石用皴笔勾勒出肌理，树木以点染晕出葱茏，人物虽小却神形毕肖。咫尺画幅间含纳天地浩渺，观之如临烟水之湄，心随景远，恍若闻得松风与流水和鸣。宋人的山水意趣，尽在这淡墨轻岚里，于无声处诉说着自然与人文的交融，让观者沉湎于烟霞流转的静谧之境。",[2495,2496,2497,2544,2501,2499,2500,2509,2506,2549,2550,2502,2503,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76711a84df84311c78bb431889086739.jpg",[6],{"id":1016,"slug":11523,"title":3183,"dynasty":2632,"author":3796,"museum":2673,"description":11524,"tags":11525,"thumbUrl":11526,"material":2597,"size":11527,"collection":6,"collections":11528,"showCount":11404,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-wang-jian-218511","此幅是祝寿题材画，作者在构图上巧意安排：近景绘常青不衰有贺寿寓意的苍松以突出主题；远景绘起伏叠嶂的山峦，寓寿比南山、生命连绵持续之意。中景是清波碧水，其曲折的水面不仅为画面增添了诗意，而且将远、近景有机地相连成一体，令全图的空间层次分明，同时不失画面的完整性。",[2495,2496,2497,2501,2499,2509,2577,2902,2507,2528,2502,2508,2506,2595,5071],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c28b0ebb2012e66eb252820326bc507.jpg","纵155.3厘米，横86.9厘米",[6],{"id":1017,"slug":11530,"title":11531,"dynasty":2522,"author":3431,"museum":2973,"description":11532,"tags":11533,"thumbUrl":11535,"material":2567,"size":11536,"collection":6,"collections":11537,"showCount":11404,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"xue-xi-wan-du-tu-yi-ming-218223","雪溪晚渡图","此幅作品描绘了冬日雪景，高峰竖立，萧然平静。峡谷瀑布，层层寒流。柴门屋舍，截然生机。一位渔翁打着小舟，悄然归来，是为屋内两位高士送酒来了。画家的用墨富有变化，笔力老练，对自然理解渗透，作品意境之浓，感触深刻。",[2496,2544,2833,2499,3166,7308,2611,2503,2579,2504,7290,4370,11534,2939],"饮酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365e719109c9e31dc9233143ca682fb9.jpg","105x60.3cm",[6],{"id":1018,"slug":11539,"title":11540,"dynasty":2632,"author":3431,"museum":11541,"description":11542,"tags":11543,"thumbUrl":11545,"material":2567,"size":2598,"collection":6,"collections":11546,"showCount":11404,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"di-jian-tu-shuo-cai-hui-ben-yi-ming-216004","帝鉴图说彩绘本","法国国家图书馆","轩敞的亭榭下，石阶层层延伸。上层人物或踞坐或侍立，衣饰色彩浓淡相宜；下层侍从手捧托盘拾级而上，步履从容。阶前执械的卫士身姿挺拔，添了几分庄重。画面左角树木葱郁，那株被红栏围绕的乔木尤为醒目；右侧松枝虬劲，石畔草木葳蕤。整幅画色调明润，线条细腻：飞檐的弧度、栏杆的纹理、人物的衣袂褶皱，皆刻画入微。既见建筑的精巧布局，又显人物的鲜活情态，仿佛将一段旧时的仪典场景凝于尺幅之间，静述着时光里的从容与雅致。",[2496,2500,2546,2790,2549,2550,2505,2593,8060,9796,11544,2880],"侍从","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6afe85a418ab9a1753597cb0514a6e23.jpg",[6],{"id":1019,"slug":11548,"title":11549,"dynasty":2632,"author":3431,"museum":2818,"description":11550,"tags":11551,"thumbUrl":11557,"material":2512,"size":2598,"collection":6,"collections":11558,"showCount":11404,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xi-yang-jian-wen-tu-hui-shan-shui-juan-yi-ming-215861","西洋见闻图绘-山水卷","长卷铺展，海天一色间山峦错落，岛屿星罗。水墨晕染的峰峦间，藏着红瓦聚落、挺拔灯塔，中西帆船往来于碧波之上，帆影点点。传统散点透视下，异域风光与东方笔墨相融——苍劲的树木、层叠的山石是中式山水的韵致，而港口的布局、船只的形制又带着西洋印记。淡蓝的水色衬着赭黄的山岗，清润雅致中，流动着海上贸易的鲜活气息。这幅作品以东方视角记录异域见闻，既是笔墨的诗意表达，亦是中西文化碰撞的视觉见证，于舒展的画卷里，藏着时代的风物与交流的温度。",[2495,2496,2498,2500,2546,2501,5884,4702,2690,2506,11552,11553,3667,11554,11555,2651,2752,2508,11556,8406],"灯塔","港口","城镇","海面","海岸线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83ed23f974fe4e3f09f3a7e2f129b61d.jpg",[6],{"id":1020,"slug":11560,"title":11561,"dynasty":2632,"author":11562,"museum":2673,"description":11563,"tags":11564,"thumbUrl":11565,"material":2720,"size":11566,"collection":6,"collections":11567,"showCount":11568,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-lou-ge-tu-zhou-shen-yuan-238666","山水楼阁图轴","沈源","受“海西法”影响的新型建筑画在清代宫廷内曾经十分盛行，当时称为“线法画”，即采用西洋绘画中的焦点透视法，以扩大建筑物在画面中的空间感和纵深感，力求达到“于阴阳远近，不差锱黍。…… 布影由阔而狭，以三角量之。画宫室与墙壁，令人几欲走进”的立体效果。从此幅沈源的作品中可以看到“线法画”的痕迹，虽然由于受到中国审美传统的限制，画面中西洋绘画的一些效果在一定程度上有所淡化，但是与传统的建筑画相比，此时的画家表现三维景物的能力确实有了相当大的提高。",[2496,2497,2577,2790,2500,2501,2550,2505,2506,2549,2546,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d809bb2714a20a923bebe202091254.jpg","纵135厘米，横74.8厘米",[6],47,{"id":1021,"slug":11570,"title":11571,"dynasty":2490,"author":6091,"museum":2673,"description":11572,"tags":11573,"thumbUrl":11574,"material":2867,"size":11575,"collection":6,"collections":11576,"showCount":11568,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-qian-ren-zuo-tu-ye-wen-jia-234806","吴门诸家寿袁方斋三绝册-千人座图页","此册页是吴门画家文嘉、文伯仁、陆治、陈道复为姓袁者六十大寿而绘的吴门一带的盛景，每位画家绘制五开，共20开，妹夫对开均有提拔。",[2496,2497,2592,2500,2501,2509,2549,2505,2507,2506,2510,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0427d2997d7f999e233f980c215411ae.jpg","22.2*26.7cm",[6],{"id":1022,"slug":11578,"title":11579,"dynasty":2632,"author":9005,"museum":2673,"description":11580,"tags":11581,"thumbUrl":11582,"material":2531,"size":2598,"collection":2870,"collections":11583,"showCount":11568,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"hua-hong-li-du-jiang-shi-yi-juan-zhang-zong-cang-234108","画弘历渡江诗意卷","张宗苍（1686-1756），字默存，江苏苏州人，画家。师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。\n公元1751年，乾隆皇帝南巡，张宗苍进献了画册《吴中十六景》，深得乾隆皇帝的欣赏，后来进入清宫廷画院供奉，为宫廷作画，是乾隆时期一位重要的宫廷画家。清代宫廷绘画在清代绘画史上有着重要的地位，特别是乾隆时期，设立了如意馆广收人才，创作了很多纪实、历史故事、宗教及装饰题材的作品，具有特殊的历史与艺术价值，在乾隆一朝的宫廷画家中，张宗苍是很重要的一位。张宗苍的山水画，画风苍劲，用笔沉着。山石皴法多以干笔积累，林木之间使用淡墨，干笔和皴擦的手法相结合，表现出了深远的意境和深厚的气韵，一洗宫廷画院惯有的甜熟柔媚的习气，特别被乾隆皇帝所喜爱\u2028 《石渠宝笈》收录了他的116幅作品，很多作品上都有乾隆皇帝的题诗。 初以主簿理河工事。善画，山水出黄鼎之门，用笔沈著，山石皴法多以乾笔积累，林木间亦用淡墨，乾擦凑合，神气颇觉葱蔚可观。乾隆十六年（一七五一）高宗南巡，以吴中十六景画册进呈，称旨。命入都祗候内廷。十九年（一七五四）授户部主事。年七十一卒於家。",[2496,2497,2498,2500,2501,2528,4702,5884,2856,2506,2507,2547,2511,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa140c914ee1ce52abac214f62a6488a8.jpg",[2870,6,2534],{"id":1023,"slug":11585,"title":11586,"dynasty":2490,"author":4134,"museum":2563,"description":11587,"tags":11588,"thumbUrl":11589,"material":2597,"size":11590,"collection":6,"collections":11591,"showCount":11568,"zanCount":2517,"manualWeight":2517,"mainColor":3447},"guan-pu-tu-zhou-tang-yin-228481","观瀑图轴","画面上方描绘瀑布倾泻而下，正是李白《望庐山瀑布水（二首）》其二中的名句“飞流直下三千尺，疑是银河落九天”的意境。近景浓荫之下，巨石突兀，一文士仰卧其上，满目青翠欲滴的树色，远望则千岩万壑。想必那水声、树声交织出的华美乐章令画中人沉醉。此图构图雄奇，笔法狂放，或横，或竖，或卷，不拘一格，任意挥洒，看似草草，实则内蕴雄浑沉厚的张力。",[2496,2497,2577,2499,2501,2611,2506,2507,2549,2503,2614,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2d863025c22e5c994d3525d679e99f5.jpg","103.6x30.3",[6],{"id":1024,"slug":11593,"title":11594,"dynasty":2632,"author":5047,"museum":2749,"description":11595,"tags":11596,"thumbUrl":11597,"material":11598,"size":11599,"collection":6,"collections":11600,"showCount":11568,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shui-ge-you-shan-tu-wang-hui-224463","水阁幽山图","作者称此图仿云西老人（曹知白）画法。曹知白工画山水，兼师宋李成、郭熙、董源、巨然诸古代大家。然此图并非具体临摹曹氏作品，乃是融合宋、元绘画的不同画法的创作。王翚曾言，以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成。该图正是典型作品之一",[2495,2496,2501,2509,2499,2500,3515,2714,2593,2503,2611,2652,2902,3736,2613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70e27b235c5ee9ec6af8ea24552f3e55.jpg","纸本、设色","纵25cm，横236cm",[6,2626],{"id":1025,"slug":11602,"title":11603,"dynasty":2632,"author":2830,"museum":2818,"description":11604,"tags":11605,"thumbUrl":11606,"material":11607,"size":11608,"collection":6,"collections":11609,"showCount":11568,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shu-hua-shi-liu-kai-1-wang-shi-min-224408","书画十六开-1","王时敏（1592—1680），明末清初画家。江苏太仓人。王时敏一生寄情诗文书画，家藏历代法书名画甚多。他擅山水，主张艺术应施法古人，专师黄公望。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。开创了山水画的“娄东派”，艺术史上位居清初画家“四王”之首。",[2495,2496,2497,2592,2500,2509,2501,2527,2611,2613,2506,2508,4702,2652,2718],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4285d78bec5736d0c6c8df96ff8a6e9a.jpg","墨色绢本","48x32",[6,6382,2534],{"id":1026,"slug":11611,"title":11612,"dynasty":2632,"author":5172,"museum":2563,"description":11613,"tags":11614,"thumbUrl":11616,"material":2732,"size":11617,"collection":6,"collections":11618,"showCount":11568,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"qiu-shan-xiao-si-zhou-dong-bang-da-223118","秋山萧寺轴","董邦达（1699－1769或1774）清代官员、书画家。字孚闻、非闻，号东山，浙江富阳人。雍正十一年进士，乾隆二年授编修，官礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虔山派之间。与董源、董其昌并列。",[2495,2496,2501,2499,2577,2509,2507,2506,2503,11615,2508,2502],"寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ffd24cfe5738efc1434df698a67139a.jpg","159.3x83.9",[6,2626],{"id":1027,"slug":11620,"title":11621,"dynasty":2490,"author":11622,"museum":2492,"description":11623,"tags":11624,"thumbUrl":11626,"material":2732,"size":11627,"collection":6,"collections":11628,"showCount":11568,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shang-bo-hua-ji-xuan-36-1-zhang-lu-222484","上博画集选36-1","张路","张路（1464—1538 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此作山石樹法與北京故宮所藏趙左萬曆四十一年繪製的山水冊近似，疑為趙左代筆、董其昌題款的作品。",[2495,2496,2497,2577,2499,2500,2509,2501,2506,2507,2528,2508,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cc7b8372b4b3ac2ca482b3a013bba9b.jpg","12×48.7厘米",[6,2534],{"id":1032,"slug":11660,"title":11661,"dynasty":2490,"author":3264,"museum":2563,"description":4938,"tags":11662,"thumbUrl":11663,"material":4941,"size":2598,"collection":6,"collections":11664,"showCount":11568,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-song-yuan-ren-suo-ben-hua-ji-ba-ce-dong-qi-chang-220933","仿宋元人缩本画及跋册",[2544,2496,2497,2592,2676,2501,3166,2677,2499,2509,2547,2511,2531,2732],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F795fd891f5b93b5371f8d9eee15c8941.jpg",[6,2626],{"id":1033,"slug":11666,"title":11667,"dynasty":2522,"author":6971,"museum":6739,"description":11668,"tags":11669,"thumbUrl":11670,"material":2597,"size":11671,"collection":6,"collections":11672,"showCount":11568,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"cheng-xi-jing-yue-tu-ma-wan-219943","澄溪静樾图","马琬（？—1378？）元末明初画家。字文璧，号鲁钝生、灌园人、西处士。江苏南京人，长期寓居松江府（今上海金山吕巷）。有志节，工诗善画，诗工古歌行，画长山水，官至抚州郡守。善画山水人物，工诗能书。诗书画时号“三绝”。",[2495,2544,2496,2497,2577,2499,2509,2501,2502,2503,2507,2506,2547,2510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5f75498f05d30a6b58ef024fbc5bd1b.jpg","58.5x31.0厘米",[6],{"id":1034,"slug":11674,"title":11675,"dynasty":2490,"author":4134,"museum":2763,"description":11676,"tags":11677,"thumbUrl":11678,"material":2597,"size":11679,"collection":6,"collections":11680,"showCount":11568,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xi-shan-cao-tang-tu-tang-yin-219799","西山草堂图","这幅手卷名为《西山草堂》。它描绘了暮色朦胧中的山水风光。河岸青山连绵起伏。在画面前方，一位学者坐在他的乡村小屋里，享受着乡村隐居生活。打开手卷，可以看到更多的山水景色。将手卷展开，从左方一弯水路映入眼帘。这幅画有唐寅的亲笔题词。乾隆皇帝曾经也拥有过这幅画，画上有乾隆皇帝在公元1751年的题词。在山水画的下方有后来的收藏者和鉴赏家留下的11段文字，他们对画作或画家进行了评论。",[2496,2498,2499,2500,2501,2934,2506,2508,2988,2595,2509,2511,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F412ecac14e5fb577bdedc689f4edd938.jpg","32x876.8cm",[6],{"id":1035,"slug":11682,"title":3982,"dynasty":2490,"author":2899,"museum":2763,"description":11683,"tags":11684,"thumbUrl":11685,"material":2597,"size":11686,"collection":6,"collections":11687,"showCount":11568,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"han-lin-tu-wen-zheng-ming-219772","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[2495,2496,2499,2577,2509,2501,3091,2578,2507,2503,3079,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff2886a246a12879ab8f83cd5651ca80.jpg","纵90.5横31",[6],{"id":1036,"slug":11689,"title":11690,"dynasty":2956,"author":3625,"museum":2563,"description":11691,"tags":11692,"thumbUrl":11693,"material":3157,"size":11694,"collection":6,"collections":11695,"showCount":11568,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-ting-wen-dao-tu-ju-ran-218706","山亭问道图","这幅画描绘了一座问路的山，有巨大的岩石和树木，在小溪边有一个小茅草亭，虽然简陋，但里面一定有一个修道的师傅。",[2495,2496,2497,2499,2500,2501,2505,2714,2506,2652,2614,2509,3112],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa35c73daf4c527b29a12c205fd5defa.jpg","18.6x24cm",[6],{"id":1037,"slug":11697,"title":11698,"dynasty":2605,"author":2647,"museum":2563,"description":11699,"tags":11700,"thumbUrl":11702,"material":2567,"size":11703,"collection":6,"collections":11704,"showCount":11568,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"yan-yu-jiang-fan-tu-guo-xi-218686","烟雨江帆图","这幅画描绘了秋雨中从泉水中升起的瀑布，一个撑着伞的行人，以及远处的河帆。这是郭熙图的一个更正式的版本，应该是明清两代的模仿对象。",[2496,2497,2499,2500,2509,2501,8193,8420,2504,2507,2506,2614,4462,2595,3055,11701],"帆影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4f60d63f6a7a645911e3539d415c2f.jpg","28.1x27.7cm",[6],{"id":1038,"slug":11706,"title":3183,"dynasty":2522,"author":7752,"museum":2563,"description":11707,"tags":11708,"thumbUrl":11709,"material":2567,"size":11710,"collection":6,"collections":11711,"showCount":11568,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"shan-shui-tu-tang-di-218462","岩石被涂成了小绿，而特写中通往房子的楼梯被涂上了边框，这是一种干净整洁的技术。桌椅的轮子上涂有红色的朱砂，与石头的绿色相映成趣，给人一种古老而优雅的感觉。",[2495,2496,2544,2501,2545,2500,2549,2550,2578,2790],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cb9e8dcf01ecc2b0641455fe02e2a43.jpg","114x57.5",[6],{"id":1039,"slug":11713,"title":11714,"dynasty":2632,"author":5047,"museum":2673,"description":11715,"tags":11716,"thumbUrl":11717,"material":2512,"size":11718,"collection":6,"collections":11719,"showCount":11568,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"dou-he-ben-quan-tu-wang-hui-218369","陡壑奔泉图","此图为王翚于康熙十五年（1676年），时年四十五岁时所作，仿王蒙画法，皴法细腻，墨色干湿相间，层次分明，气韵秀润。该图为清宫旧藏。",[2495,2496,2497,2577,2499,2509,2501,2506,2902,2507,2503,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumb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残（1612-1692），清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、石溪道人，残道者、电住道人。湖广武陵（今湖南常德）人。与石涛合称“二石”，又与八大山人，弘仁，石涛合称为“清初四画僧”。好游名山大川，后寓南京牛首山幽栖寺，与程正揆交往密切。擅画山水，师法王蒙，喜用干笔皴擦，淡墨渲染，间以淡赭作底，布置繁复，苍浑茂密，意境幽深。善书法，能诗。存世作品有《层岩叠壑图》《卧游图》《苍翠凌天图》《清髠残江上垂钓图》等。\n髡 残,善画山水，亦工人物、花卉。山水画主要继承元四家传统，尤其得力于王蒙、黄公望。构图繁复重叠，境界幽深壮阔，笔墨沉酣苍劲，以及山石的披麻皴、解索皴等表现技法，多从王蒙变化而来；而荒率苍浑的山石结构，清淡沉着的浅绛设色，又近黄公望之法。他还远宗五代董源、巨然，近习明代董其昌、文徵明等，兼收并蓄，博采众长。在学习传统基础上，重视师法自然，自谓“论画精髓者，必多览书史。登山寡源，方能造意”。一生中大部分时间都在山水中度过，经常驻足于名山大川，流连往返。他“僻性耽丘壑”、“泉石在膏肓”，主观的情感、性灵与客观的景物、意境相感应、交融，使其山水画景真情切，状物与抒情成为一体。所作山水，在平淡中求奇险，重山复水，开合有序，繁密而不迫塞，结构严密，稳妥又富于变化，创造出一种奇辟幽深，引人入胜之境，生动地传达出江南山川空口茂密、浑厚华滋的情调。他喜用渴笔、秃毫，苍劲凝重，干而不枯，并以浓淡墨色渲染，使得笔墨交融，形成郁茂苍浑、酣畅淋漓的情趣，使画面产生雄浑壮阔、纵横蓬勃的气势。存世代表作有《报恩寺图》，绘南京聚宝门外报恩寺，通过概括提炼，表现了金陵名胜的磅礴、奇异气象。《云洞流泉图》、《层岩叠壑图》和《雨洗山根图》（均藏故宫博物院），以繁密的布局、苍劲的用笔、郁茂的景致、幽深的境界，显现出石溪鲜明的艺术特色。",[2496,2499,2509,2577,2501,2578,2913,2549,2800,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56594c944a308240a31198566a2cbc4f.jpg",[6],{"id":1047,"slug":11780,"title":11781,"dynasty":2632,"author":5673,"museum":2492,"description":11782,"tags":11783,"thumbUrl":11784,"material":2732,"size":11785,"collection":6,"collections":11786,"showCount":11765,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"huai-rong-tang-tu-wu-li-224493","槐荣堂图","此画设色清丽，右侧题“夫山高阳氏槐荣堂图”， 左下角书“虞山吴历画”，没有年代落款，卷首处有王时敏所题“公槐瑞应”，卷后有尤侗《槐荣堂记》与李楷《槐荣堂赋》，以及宋实颖、陆贻典、王奕鸿、吴伟业题跋。\n画面近景处 树石围绕，是为槐荣堂，槐荣堂背后峰峦数重，烟云缥缈，两峰之间一条小径隐于林间。\n槐荣堂右下方的近景处，有田野树林，左侧隐约可见远处的村舍。槐荣堂正中有一棵高大挺拔的槐 树，拾阶而上，屋内共有三人，红袍青冠者为许之渐之父，毕恭毕敬，端坐者为许之渐的祖母，其身后有一侍从。",[2495,2496,2497,2500,2501,2509,2714,2715,2593,2550,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f7ef221145f30db6d05c465cc6f85fd.jpg","40×70厘米",[6,2534],{"id":1048,"slug":11788,"title":11789,"dynasty":2632,"author":5047,"museum":4366,"description":11790,"tags":11791,"thumbUrl":11792,"material":7319,"size":11599,"collection":6,"collections":11793,"showCount":11765,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"song-qiao-tang-tu-juan-wang-hui-224461","松乔堂图卷","图绘远处山峦连绵，树木苍翠；近处右侧河面一片平静，中部数座楼阁、回廊依山而建，院落外翠竹环绕，院内树木高大，白鹤踱步，屋内人们或谈天，或端坐，或忙碌，大隐于此，岂不快哉！",[2495,2496,2497,2498,2499,2500,2501,2509,2510,2511,2547,2714,2715,2902,2550,2506,2677,3736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c51ae3cb96668d6ecb508f9cd46a47.jpg",[6,2626],{"id":1049,"slug":11795,"title":11796,"dynasty":2956,"author":3431,"museum":2563,"description":11797,"tags":11798,"thumbUrl":11799,"material":2656,"size":11800,"collection":6,"collections":11801,"showCount":11765,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"wu-dai-ren-qiu-lin-qun-lu-zhou-yi-ming-223343","五代人秋林群鹿轴","在尽情展露盛夏的绿意之后，秋天这个令人舒爽怡然的季节跟著悄然到来，所有的树叶在此时染上了缤纷的色彩，深红、淡橘、浅黄、碧蓝……似乎要赶在严冬来临之前，释放所有的美丽。鹿群抵不住诱人的秋色，踩著轻快脚步进入这片色彩斑斓的秋林，瞧鹿儿所呈现的各种姿态，彷若与眼前丰美的景色唱和起舞。\n《秋林群鹿》主要在描写鹿群于秋林中活动的各式神情，作画的人已经佚失，只知道曾经是属于元代皇帝的收藏。从作品的形式风格而言，充满装饰趣味的空间陈置，以及如此丰富的色彩勾填，都不常见于人们所熟知的中国绘画作品中，有学者推测，这件作品与邻近国家如辽国，甚至更远的中亚之间，存有十分密切的关系",[2495,2496,2577,2500,3483,3994,2593,3993],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66f45cd68073dee3a98e941f2ee82b50.jpg","118.4x63.8公分",[6,2534],{"id":1050,"slug":11803,"title":11804,"dynasty":2490,"author":11416,"museum":3039,"description":11805,"tags":11806,"thumbUrl":11807,"material":2639,"size":11808,"collection":6,"collections":11809,"showCount":11765,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"she-se-shan-shui-tu-juan-xiao-yun-cong-222839","设色山水图卷","画面山川连绵起伏，溪流环绕其间。平逸、深远之法交替运用。山石披麻、小斧劈皴并用，树叶勾点结合，用石青、石绿加以点染，成功地描绘了秀美的江南景色。",[2496,2497,2498,2500,2501,2509,2499,2651,2652,2506,2613,2614,2502,2529,2677,2552],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb49ee13a0d730dc85d4192c86da6fcf8.jpg","29.2×593cm",[6,2534],{"id":1051,"slug":11811,"title":11812,"dynasty":2490,"author":11416,"museum":2749,"description":11813,"tags":11814,"thumbUrl":11819,"material":5840,"size":11820,"collection":6,"collections":11821,"showCount":11765,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"yan-huan-qiu-se-tu-xiao-yun-cong-222836","烟鬟秋色图","作品以平远式绘山水之景，远处云蒸霞蔚，画卷右侧山峦连绵，山涧中泉水流淌，汇合成溪，松柏苍翠，枫叶红遍山中；左侧地势平缓，河流平静，绿树成荫。",[2495,2496,2498,2500,2509,2501,2507,2506,2550,2505,2502,2503,2614,2595,5837,3636,11815,3136,2579,2613,2654,2653,11816,11817,11818],"丘壑","墨色","线条","意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b949075d1afc6f7f966f92e1cc53931.jpg","30cmx590cm",[6,2534],{"id":1052,"slug":11823,"title":11824,"dynasty":2490,"author":11825,"museum":3039,"description":11826,"tags":11827,"thumbUrl":11828,"material":2531,"size":11829,"collection":6,"collections":11830,"showCount":11765,"zanCount":2517,"manualWeight":2517,"mainColor":3447},"ma-shi-yan-yu-tu-sheng-ying-222549","马嗜烟雨图","盛颖","此图绘寺庙景色。寺院墙外树木、楼阁处于云烟细雨中，有一种缥缈梦幻之意境；院内庙宇数座，可见正前方大雄宝殿中立一大鼎，房前树木粗壮苍翠。全图以俯视视角绘出，房屋建造遵循南北趋势，院中有院，整个建筑宏大考究。",[2495,2496,2497,2500,2790,2547,2550,2506,2614,2502,2880],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6424afaa9502d7f9fa2aca839f973ae5.jpg","28.3×56.84cm",[6,2534],{"id":1053,"slug":11832,"title":11833,"dynasty":2490,"author":10860,"museum":2673,"description":11834,"tags":11835,"thumbUrl":11836,"material":11837,"size":11838,"collection":6,"collections":11839,"showCount":11765,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"yu-zhou-du-shu-tu-zhou-jiang-song-222418","渔舟读书图轴","画家用简练概括的手法，表现群山绕湖、轻舟横渡的清旷之景。湖面上一条篷船荡漾，船尾一人静坐读书，船头渔夫用力撑篙，钓竿斜插于船上，表现了文人士大夫闲适安逸的生活情趣。在画法风格上，山石虽有斧劈皴的痕迹，但不像马远、夏圭那样坚硬外露，而是落笔草草，水墨晕染浓淡相宜，此为蒋嵩粗笔水墨山水画的典型之作。",[2495,2496,2497,2577,2499,2500,2501,2504,2549,2506,2652,2503,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a10da506d8018ca9417d66edb6c543f.jpg","绢本设色粗笔墨","纵171厘米，横107.5厘米",[6,2626],{"id":1054,"slug":11841,"title":11842,"dynasty":2605,"author":2647,"museum":5626,"description":9615,"tags":11843,"thumbUrl":11844,"material":11845,"size":11846,"collection":2624,"collections":11847,"showCount":11765,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"dai-du-tu-ye-guo-xi-221287","待渡图页",[2495,2496,2497,2592,2499,2500,2501,3091,2504,2507,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946bc8b1acd959ef038570ca597f5d99.jpg","册页绢本设色","26.1x30.4厘米",[2624,6,2626],{"id":1055,"slug":11849,"title":11850,"dynasty":3283,"author":11851,"museum":2563,"description":11852,"tags":11853,"thumbUrl":11855,"material":2703,"size":11856,"collection":6,"collections":11857,"showCount":11765,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"yuan-ma-zhou-han-gan-221073","猿马轴","韩干","该幅无款，旧题唐代韩干作。韩干，大梁人（河南开封），亦有作长安或蓝田人。公元742－755年（天宝）召入宫中为供奉。曾师曹霸，以画马而得名，唐张彦远极为推崇之。此幅绘竹石树林，三猿戏於枝间石上，其下绘黑白双骏。画上宋徽宗题字和“御书”一玺，及理宗“缉熙殿宝”玺皆伪，当为后加。然画中不论猿、马、树石、枝叶，皆描绘细腻，或为南宋作品。",[2495,2496,2577,2546,2500,3993,11854,2960,2593,2507,2547],"猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf7b8bdb4c78758314a20784df579585.jpg","48.58X136.8",[6,2626],{"id":1056,"slug":11859,"title":11860,"dynasty":2632,"author":5047,"museum":3121,"description":11861,"tags":11862,"thumbUrl":11863,"material":2597,"size":11864,"collection":6,"collections":11865,"showCount":11765,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"qiu-jing-shan-shui-tu-wang-hui-220415","秋景山水图","王翚（1632—1717年），字石谷，号耕烟散人，又号剑门樵客、乌目山人、清晖老人，江苏常熟人，清初画家。祖上五世均善画，曾祖王伯臣，善画花鸟，祖父王载仕，擅长山水、人物、花卉；父亲王云客也善画山水，画风秀雅。\n王翚自幼受家庭影响，喜爱绘画，先拜同里张珂为师，专摹元代黄公望的山水画。后得到王鉴、王时敏的提携和悉心栽培，王翚的画艺骤进，声名鹊起。在游学于王时敏时，王翚摹仿李成、董源、巨然、赵令祉、米友仁、黄公望、吴镇、倪瓒、王蒙、曹知白、陈汝言等宋元名家的典范图式，笔墨纯正，色彩清新，熠熠生辉，号称“集宋元之大成”。\n王翚的山水画既师法古人，又师法自然，融会南北诸家之长，创立了所谓南宗笔墨、北宗丘壑的新面貌，故王时敏称“画有南北宗，至石谷而合为一”。在王翚35岁到60岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 不及以前的作品生动清新。",[2495,2496,2499,2500,2509,2501,2507,2506,2503,2505,5116,2651,2652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3155ce21c8b276af793c7fd0c681c43.jpg","57.2x40.6厘米",[6],{"id":1057,"slug":11867,"title":11868,"dynasty":2632,"author":5673,"museum":2673,"description":11869,"tags":11870,"thumbUrl":11871,"material":2512,"size":11872,"collection":6,"collections":11873,"showCount":11765,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"heng-shan-jing-ai-tu-wu-li-220403","横山睛霭图","起首上角有作者书：“横山晴霭。”钤“墨井”印，幅下右角钤“延陵”。卷尾作者自题：“笔正写山横，烟云乱石生。破窗蕉雨过，添却砚池平。十日画成，海天雨霁，红日窗明，展卷题之。康熙丙戌年秋仲，墨井道人。”钤“墨井”印。\n“丙戌”是清康熙四十五年（1706年），吴历时年75岁。\n尾纸处吴历自跋：“余近年作画，似勤似懒，有时不辞呵冻，忘暑忘餐，挥毫疾就；有时春暖晴窗，楮墨精良，对之瞌睡。吾不知此病之所来，或谓老之故也。然少年辈往往亦有如此。予数日前颇觉腕力笔健，漫学山樵而成小卷，虽未得其超逸，观之亦可消长夏。五月墨道人又跋。”下钤 “吴历之印”、“墨井道人”，迎首钤“延陵”。\n本幅及自跋纸上鉴藏印有“陆廷燦印”、“平原陆幔亭鉴藏印”等。后幅有戴兆芬、公望、顾文彬三家题记。\n作者在尾纸中说此图系学元代王蒙之笔，确有苍茫超逸之意。全图多用干笔勾廓，粗笔皴擦，浑朴厚实，脉络分明。由于画家早年曾寓居澳门，接触过一些西洋绘画，画中的群山呈显出阴阳向背，似有晴日当空之感，群峰层层推向远方，颇有些空间意识。吴历是中国山水画史上最早融合西洋绘画的画家，该图十分自然妥贴地吸收了西洋绘画重明暗、讲透视的造型技巧，是为一绝。",[2495,2544,2496,2497,2498,2499,2509,2501,2506,2614,2528,2504,2595,6060,2752,2613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0012b5f25c464e3c315914ea34a89b42.jpg","纵22.8厘米，横157.3厘米",[6,2534],{"id":1058,"slug":11875,"title":7038,"dynasty":2522,"author":2984,"museum":2563,"description":11876,"tags":11877,"thumbUrl":11878,"material":2597,"size":11879,"collection":6,"collections":11880,"showCount":11765,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"shu-lin-yuan-shan-tu-wu-zhen-219964","图绘秋林疏树，三五成丛，一派萧瑟，远山漠漠，淡逸出群。此幅笔精墨妙，是吴镇小品真迹。",[2495,2496,2544,2497,2501,2499,2509,2595,4291,2578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fa4038fe6ccb0cc00828917283a8009.jpg","39.7x50.2",[6],{"id":1059,"slug":11882,"title":11883,"dynasty":2490,"author":7947,"museum":2563,"description":11884,"tags":11885,"thumbUrl":11886,"material":2567,"size":2598,"collection":6,"collections":11887,"showCount":11765,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"si-hao-tu-xie-shi-chen-219472","四皓图","幅中所绘，是秦汉间隐居于商山的四位老人悠闲的生活。他们或下棋，或闲步。四围则是云雾蒸腾，溪泉潺潺，松树盘踞，驯鹿嬉游，山石险阻，与外隔绝，似是为高人隐士所设的福地洞天。用笔苍劲有力，墨色变化丰富，气势雄浑。以画水闻名的谢时臣，尤其长于表现云烟之变幻多端。",[2496,2800,2501,2714,2715,3650,2593,3208,2637,2577,2531,2500,2545],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe185e2259777abdcf74ad407a3280f3b.jpg",[6],{"id":1060,"slug":11889,"title":3183,"dynasty":2490,"author":11103,"museum":10843,"description":11890,"tags":11891,"thumbUrl":11892,"material":11893,"size":2598,"collection":6,"collections":11894,"showCount":11765,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-zhang-hong-219099","峰峦层叠如聚，皴笔勾勒出山石苍劲肌理，淡墨晕染间藏起峰巅的朦胧。云雾似轻纱漫卷，将远近景致晕染得虚实相生，添了几分空灵缥缈。坡岸处几株古松挺立，枝干虬劲如盘龙，松针细密如簇，尽显岁月雕琢的苍劲之姿。掩映在松影间的村落，屋舍错落，隐于山环水抱之中，烟火气与清寂山水相融，更显雅致。\n\n笔墨兼具刚柔：山石勾勒用劲挺之笔，皴擦见厚重；松枝线条灵动，松针点染细密；云雾留白与淡墨交织，显轻盈。远近层次分明，虚实相映，既有山川雄浑壮阔，又含林泉清幽雅致，仿佛步入一处可居可游的山水胜境，心随景动，沉醉其间。",[2495,2544,2496,2497,2577,2499,2509,2501,2714,2715,2506,2508,2614,2652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbb429ba82adfba156dc14ca93b3ed4.jpg","绢本,纸本",[6],{"id":1061,"slug":11896,"title":3183,"dynasty":2522,"author":8648,"museum":2563,"description":11897,"tags":11898,"thumbUrl":11899,"material":2597,"size":11900,"collection":6,"collections":11901,"showCount":11765,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-tu-fang-cong-yi-218826","这幅画显示了云层耸立在山峰之上，笔触犀利而清晰。人们怀疑这幅画被后来的人裁剪过，而且画的下部有很大一部分缺失，其含义也不完整。张大千捐赠",[2495,2496,2497,2499,2509,2501,2507,2506,2913,2578,2937],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f63cfb3ccca5dd4dea47902f8e2a9b7.jpg","30.7x46.6厘米",[6],{"id":1062,"slug":11903,"title":7879,"dynasty":2605,"author":2946,"museum":2563,"description":11904,"tags":11905,"thumbUrl":11906,"material":2567,"size":11907,"collection":6,"collections":11908,"showCount":11765,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"guan-shan-xing-lv-tu-li-tang-218822","这幅画展示了河流景观的美丽景色，一座古寺隐藏在山中，一群旅行者在河边的水池边跌跌撞撞。这幅画的旧题是《李唐游山图》，仔细观察这幅画的岩石景观和松树的拖曳枝条，可以看出这幅画是由明代艺术家按照马远的风格所画。",[2495,2544,2496,2497,2592,2501,2503,2504,2550,2652,2902,2511,2510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a9c9b894cd1cf749503a5a856729ab8.jpg","32x33",[6],{"id":1063,"slug":11910,"title":11911,"dynasty":2490,"author":3431,"museum":2589,"description":11912,"tags":11913,"thumbUrl":11914,"material":2567,"size":11915,"collection":6,"collections":11916,"showCount":11765,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"han-shan-tu-yi-ming-217194","寒山图","寒山图是一幅来自明朝的中国山水画，作者不详。这幅画描绘了寒山寺的景象。寒山寺是位于浙江省杭州市的一座古刹，据说是由印度佛教徒达摩在公元7世纪传入中国时建立的。\n\n寒山图呈现了寒山寺庙宇及其周围的山林风光。画中可以看到寺庙的精巧建筑，以及周围的峰峦叠嶂、清澈的溪流和葱郁的树木。寒山图还描绘了几个小人物，可以想象出当时僧人在寺庙里修行的情景。\n\n寒山图的画风典雅，线条流畅，色彩和谐。整幅画充满了宁静、平和的氛围，令人心旷神怡。这幅画反映了明朝时期对佛教文化和自然风光的热爱，是一件具有深刻文化意义的艺术珍品。",[2496,2497,2499,2501,2509,2714,3091,2550,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1d10bba28441129d6c7c5a8126dd416.jpg","33.5x23cm",[6],{"id":1064,"slug":11918,"title":11482,"dynasty":2522,"author":3907,"museum":2589,"description":11919,"tags":11920,"thumbUrl":11921,"material":2531,"size":11922,"collection":6,"collections":11923,"showCount":11765,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"lou-ge-shan-shui-tu-sheng-mao-214913","楼阁山水图是一幅由盛懋绘制的山水画作，出现在元朝时期。这幅画作以楼阁为主要构图元素，描绘了山水景观。楼阁山水图被认为是盛懋最著名的作品之一，在当时非常受欢迎。由于盛懋是一位著名的山水画家，他的作品经常描绘自然风光，并使用了细腻的笔触和鲜明的色彩来表现景色的美丽。楼阁山水图也是如此，它展示了盛懋对山水景观的精确捕捉和传达。\n\n盛懋是元朝时期著名的山水画家，他的作品风格独特，很受欢迎。楼阁山水图是他的代表作之一。在这幅画作中，盛懋使用了自然的色彩来描绘山水景观，并使用精细的笔触来表现每个细节。画面中的楼阁是一个重要的构图元素，它位于画面的中央，呈现出一种高耸入云的感觉。周围的山水景观也十分优美，有群山环绕，河流缠绕，树木茂盛。整幅画作散发出一种平静而舒适的氛围，使人们感觉得到了身心的放松。",[2496,2497,5225,2790,2499,2500,2501,2550],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c7ab334398f7bdeec85c5eabe7afbc9.jpg","25x27cm",[6],{"id":1065,"slug":11925,"title":11926,"dynasty":26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天水圖書”二印。元至正七年为1347年。画幅上方有元人迺贤题诗数行。\n古今以游骑射猎为题材的图画不可胜数，但大多是对射猎场面的描绘，如此图般绘写游猎之人闲适地搜寻猎物的作品则寥若晨星，别具巧思，耐人寻味。赵雍独具一格、匠心独运的绘画风格于此可见一斑。\n此图经清内府收藏，有嘉庆、宣统诸印。《石渠宝笈·三编》著录。",[2495,2496,2497,2577,2500,2546,2549,2960,2593,2677,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c7470f8757d79778b720a9254a3ab74.jpg","纵109厘米，横46.3厘米",[6,2534],{"id":1069,"slug":11953,"title":11954,"dynasty":2522,"author":8648,"museum":2673,"description":11955,"tags":11956,"thumbUrl":11957,"material":3044,"size":11958,"collection":6,"collections":11959,"showCount":2516,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"wu-yi-fang-zhao-tu-zhou-fang-cong-yi-221727","武夷放棹图轴","此图画武夷山景。武夷山在今福建省崇安县西南，绵亘百余里，有36峰、37岩，水流其间，分为九曲，为我国南方风景名胜之地。古代，道家将它称为第十六洞天，是道教活动较为集中的地区。此图是方从义为同道周敬堇而作。画面右侧一峰高耸，峰下水中一叶小舟徐徐划行，岸上怪石嶙峋，林木丛生其间。笔墨浓润，酣畅淋漓，山体用纵向长线条皴染，以增其峭砺高耸之感。布局奇特，笔法多变，融古法为己用，表现出独具特色的艺术格调。",[2495,2496,2499,2509,2577,2547,2510,2511,2501,2504,2503,2506,2652,2614,2595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5af5cec7247fdbac2e6efeac445c24b.jpg","纵74.4厘米，横27.8厘米",[6,2626],{"id":1070,"slug":11961,"title":5774,"dynasty":3283,"author":4592,"museum":2563,"description":11962,"tags":11963,"thumbUrl":11965,"material":2703,"size":11966,"collection":6,"collections":11967,"showCount":2516,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"ming-huang-xing-shu-tu-li-zhao-dao-221094","作品描绘人马行走于崇山峻岭间。画上有乾隆三十九年（1774）的御题诗：青绿关山迥，崎岖道路长。客人各结束，行李自周详。总为名和利，那辞劳与忙。年陈失姓氏，北宋近乎惠”。《明皇幸蜀图》体现了二李画派的典型风格，时代特征明显，是反映唐代山水画面貌的重要传世作品。",[2495,2496,2501,2714,2715,2593,3208,2500,2546,11964,2531],"横披","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8a04cfa4068831cfeaed0b412c23431.jpg","纵55.9厘米，横81厘米",[6,2534],{"id":1071,"slug":11969,"title":11970,"dynasty":3202,"author":11971,"museum":2563,"description":11972,"tags":11973,"thumbUrl":11974,"material":2500,"size":11975,"collection":6,"collections":11976,"showCount":2516,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"yun-tai-shan-tu-xun-xu-221013","云台山图","旬勗","荀勖（xù）（？～289年），字公曾。颍川颍阴（今河南省许昌市）人。三国至西晋时音律学家、文学家、藏书家，西晋开国功臣。为东汉司空荀爽曾孙。\n荀勖少年时聪慧好学。初仕于魏，为大将军曹爽掾属，后迁中书通事郎。曹爽被诛后，历任安阳令、骠骑从事中郎、廷尉正等职。又任大将军司马昭记室，屡进策谋，深见信任，与裴秀、羊祜共掌机密。西晋建立后，封济北郡侯。后拜中书监兼侍中，领著作。累官至光禄大夫、仪同三司、守尚书令。在尚书台时，核罢省中不称职之人。\n太康十年（289年），荀勖去世。获赠司徒，谥号为成。\n荀勖善于逢迎，被时人比作倾覆国家、搅乱时局的贰臣。但他为人谨慎，每有参预的国家大政，都闭口不言，不愿让别人知道他参与其中。荀勖博学多才，曾与贾充一起修订法令；掌管乐事时，又修正律吕；领秘书监时，曾与张华一同按刘向《别录》整理典籍。有文集三卷，今已佚。",[2495,2496,2497,2501,2500,2509,2503,2550,2578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feda584db27dc18d7eff1e357a5a49a9e.jpg","73.4x98.6厘米",[6,2534],{"id":1072,"slug":11978,"title":11979,"dynasty":2490,"author":3264,"museum":2673,"description":11980,"tags":11981,"thumbUrl":11982,"material":2720,"size":11983,"collection":6,"collections":11984,"showCount":2516,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"yan-ling-cun-tu-dong-qi-chang-220921","延陵村图","《董其昌延陵村图轴》是明代画家 创作的一幅绢本设色画。\n本幅自题：“延陵村在茅山之东，有张从申碑。\n从申，唐大历时司直。\n赵子固称其书品在李北海之右。\n玄靖天师碑与延陵季子此碑皆在华阳，笔法类徐浩三藏法师碑。\n延陵碑萧定作也。\n略曰‘听乐辩刊国之兴亡，审贤知世数之存没，挂剑示不言之信，避国保无欲之贞，玄风可想，至德如存云’。\n旁有四贤，以祀董永、韦昭、王素与季子而四。\n癸亥二月，画于丹阳舟中，因命之延陵村图并书此。\n董玄宰。\n“癸亥”为明天启三年（162年），董其昌时年69岁。\n清青浮山人编《董华亭书画录一卷》著录。",[2495,2496,2497,2577,2499,2500,2509,2511,2547,2501,2507,2506,2508,2595,3055,2652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da1148d2290dcb3cc11ce0563bf06a8.jpg","纵78.5厘米，横30.2厘米",[6,2626],{"id":1073,"slug":11986,"title":11987,"dynasty":2490,"author":6616,"museum":2492,"description":11988,"tags":11989,"thumbUrl":11990,"material":2597,"size":11991,"collection":6,"collections":11992,"showCount":2516,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-he-juan-du-qiong-220351","山水合卷","此卷原是摺册，佚存五开，入清连跋裱成一卷。其中第一幅杜琼，第三、四幅刘珏，均是晚年笔。第二幅沈周尚是早年之作。第五幅无款印，风格与刘珏相同。",[2495,2496,2497,2498,2499,2509,2501,2714,2715,2593,2505,2502,2503,2614,2652,6284,2549,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1629f0915cbca22a90245242ec026360.jpg","纵29.2厘米，横44.2厘米",[6],{"id":1074,"slug":11994,"title":11995,"dynasty":2632,"author":4087,"museum":4366,"description":11996,"tags":11997,"thumbUrl":11999,"material":2597,"size":12000,"collection":6,"collections":12001,"showCount":2516,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shi-liang-yu-lai-ting-tu-dai-xi-220006","石梁雨来亭图","南宋贾似道在石梁创昙花亭。清道光戊戌，即1838年，亭被毁。适舍人潘功甫（名曾沂）过石梁，议集资兴修。寺僧请求改昙华亭为雨来亭，因天台山田多旱，改名以志喜。潘功甫为此作诗一首，诗云：“平章事业江河大，有漏涓涓自不知。七十二蓬参遍了，昙华亭上雨来时。”\n图绘天台山石梁飞瀑，天生桥东西方向，连接着对峙的两座山崖，溪水三折，冲出桥洞，形成了如虹一般的飞瀑，起舞婆娑，坠入脚下的惠泽潭。雨来亭坐落在飞瀑之畔，方广寺如在天外，唯见其塔。全图有一种上下贯通的浩然之气与空灵之韵。",[2495,2496,2497,2498,2499,2509,11998,2547,2501,2505,2502,2503,2552,2506,2507,2611],"隶书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aaf57368d5249cfd0b4a4f0247cc250.jpg","纵35cm，横316cm",[6],{"id":1075,"slug":12003,"title":12004,"dynasty":2490,"author":5253,"museum":12005,"description":12006,"tags":12007,"thumbUrl":12008,"material":2500,"size":2598,"collection":6,"collections":12009,"showCount":2516,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-fang-huang-gong-wang-lan-ying-219985","山水图-仿黄公望","芝加哥大学艺术博物馆","画法是作钩勒浅绛法。",[2495,2496,2497,2498,2676,2509,2501,2714,3839,2593,2510,2547,2500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F937195e9a071267f38f8616689e68d3a.jpg",[6],{"id":1076,"slug":12011,"title":12012,"dynasty":2632,"author":3786,"museum":2634,"description":12013,"tags":12014,"thumbUrl":12015,"material":2512,"size":12016,"collection":6,"collections":12017,"showCount":2516,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xiao-jiang-feng-bian-tu-hong-ren-219953","晓江风便图","图绘自新安至扬州，由浦口练江入新安江壹线实景。前段写练江沿岸将军山诸山嵌岩峭峙，林木萧瑟之景。后段写新安江对岸晓雾迷蒙烟峦重叠，轻舟挂帆乘风的情景。笔墨线条遒缓，意境荒僻，不染尘垢。\n图尾自题“辛丑十壹月，伯炎居士将广陵之装，学人写晓江风便图以送，揆有数月之间，蹊桃初绽，瞻望旋旌。弘仁”。钤“弘仁”、“渐江”印。\n图后附吴羲行书、程守行书、许楚草书、石涛楷书跋各壹段。辛丑为清顺治十八年，公元1661年，作者时年52岁。款署“辛丑十一月”，另纸有渐江的好友吴羲、程宁、许楚跋语。吴、许二跋署年癸卯(康熙二年，公元1663年)，皆在渐江卒前数月。还有石涛丙子年(1696年)题跋，皆为研究渐江生平及其艺术的重要资料。",[2495,2496,2498,2499,2501,2509,2504,2505,3091,2593,2503,3763,2595,6060],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f6a2a3eed5925dfa7655939a663e8c.jpg","纵28.5横43厘米",[6],{"id":1077,"slug":12019,"title":12020,"dynasty":2632,"author":5047,"museum":2673,"description":11861,"tags":12021,"thumbUrl":12022,"material":2512,"size":12023,"collection":6,"collections":12024,"showCount":2516,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"teng-bi-qiao-song-tu-wang-hui-218367","藤薜乔松图",[2495,2496,2577,2500,2501,2902,2652,2547,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4939b85389cc00563a2e6e13f75696e.jpg","45.4x20.5cm",[6],{"id":1078,"slug":12026,"title":12027,"dynasty":2522,"author":3431,"museum":2563,"description":12028,"tags":12029,"thumbUrl":12030,"material":2567,"size":12031,"collection":6,"collections":12032,"showCount":2516,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"lin-ting-qiu-se-tu-yi-ming-218164","林亭秋色图","沿江罔陵起伏，霜气已深，岁将暮矣。满山寒林卓力，寒松翠柏而外，偶有红叶点缀。山道中，行人负戴，河岸上，旅人步骑趱行。远方水上，渔艇鼓枻收纲，朝起江村，各有所事。本幅树木造形，干细长，分枝如蟹爪，为典型元朝承续宋代李成、郭熙一派寒林画法。画上烟水空濶，气象萧疏，使人凛然而有寒意。无款印。",[2495,2496,2609,2498,2509,2500,2501,2913,2578,2505,2595,2503,5116,3696,2504,2506,2652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e709e86501c656c68df5e59cba6c64f.jpg","纵27.3,横50.4公分",[6],{"id":1079,"slug":12034,"title":3713,"dynasty":2522,"author":3431,"museum":2563,"description":12035,"tags":12036,"thumbUrl":12037,"material":2567,"size":12038,"collection":6,"collections":12039,"showCount":2516,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-ju-tu-yi-ming-218118","山居图是指以山水为主题的图画。在中国画中，山水画是一种著名的画类型，表现的是山水景色以及人与自然的关系。山居图的画法细腻，注重细节，能够生动地表现出山水的美景。\n\n山居图的风格独特，画面精细，笔墨浓转淡，构图巧妙，能够生动地再现出山林间的幽静之美。这些画作通常描绘的是山林间的景色，或者是隐居僻静的山林小屋。其中，常常融入了自然和人文的元素，如树木、山峰、溪流、房屋、建筑等。",[2495,2496,2544,2497,2501,2499,2500,2509,2714,2506,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf4b59ffae7cdffb934293652f9b0153.jpg","34.8x58.9cm",[6],{"id":1080,"slug":12041,"title":12042,"dynasty":2632,"author":12043,"museum":2563,"description":12044,"tags":12045,"thumbUrl":12046,"material":2512,"size":12047,"collection":6,"collections":12048,"showCount":2516,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"chun-jiang-xing-zhou-yong-rong-214720","春江行舟","永瑢","《春江行舟图》是一幅画作，出自清代画家永瑢的手笔。这幅画描绘了一个人坐在小舟里悠然自得地漫游在春天的江水中。画中的人物身着传统的汉服，头戴轻便的草帽，手拿长矛，似乎是在寻找渔获。周围的景色十分优美，江水波光粼粼，岸边的树木和花草都迎来了春天的到来，鸟儿翩翩起舞，整个画面充满了春天的气息。\n\n永瑢（1678-1735）是清代著名的画家，他的画风清新自然，擅长写意画，作品风格独特，深受人们的喜爱。他的作品《春江行舟图》被誉为其代表作之一，在当时颇受推崇，至今仍为艺术爱好者所珍视。",[2496,2497,2592,2500,2501,2502,2503,2504,2506,2508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4455e3dd567e1a378f0c19d2d4d2cdf6.jpg","12.2×13.9cm",[6],{"id":1081,"slug":12050,"title":12051,"dynasty":2632,"author":12052,"museum":2673,"description":12053,"tags":12054,"thumbUrl":12055,"material":2867,"size":12056,"collection":6,"collections":12057,"showCount":12058,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"ren-yi-yun-shan-ce-ma-tu-zhou-ren-yi-239548","任颐云山策马图轴","任颐","本幅自题：“山从人面起，云傍马头生。光绪丙戌长夏，山阴任颐伯年甫作图于海上寓次。”钤二白文印：“任伯年”、“任颐印”。\n又题：“霭庭仁兄先生见而谬赏即赠之就正。任颐。”钤二白文印：“任颐印”、“任伯年”。\n“丙戌”是清光绪十二年（1886年），任颐时年47岁。\n此图据李白《送友人入蜀》诗句：“山从人面起，云傍马头生”（见《全唐诗》卷一七七）拟意而作。通过描绘迎面而起的山峦，马头处浮动的白云，生动地图解了诗意，山形地势的险峻和行旅者不畏艰险的探索精神了然于目。此图在创作上摒弃了传统山水画高远、平远、深远的构图方式，以“S”形山脊为主线，突出了人、马的形象，同时也延伸了山峦的纵向走势，使画作的空间层次得以扩展，是任颐艺术成熟期的人物山水画精品之作。",[2496,2497,2577,2500,2499,2549,2501,2960,2507,2614,2509,2800],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddee5e93c323d07fb938845edf71c073.jpg","纵135.5厘米，横65厘米",[6,2968,2534],44,{"id":1082,"slug":12060,"title":12061,"dynasty":2632,"author":12062,"museum":2818,"description":12063,"tags":12064,"thumbUrl":12066,"material":2598,"size":2598,"collection":6,"collections":12067,"showCount":12058,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"xi-yuan-ya-ji-tu-zhou-zhang-ling-237464","西园雅集图轴","张翎","这幅全景式园林雅集图，以山石林木划分出数处雅聚小境。苍松虬劲、蕉竹扶苏，池苑溪桥蜿蜒其中。文人们三两成群，或围案观摩友人挥毫落墨，或凭栏远眺私语清谈，或坐卧林泉观鱼赏景，动静之间尽显林下风流。淡墨勾勒山石肌理，晕染出温润质感，枝叶点染细致秀逸，淡设色衬出雅致恬淡的氛围，将文人雅聚的闲散意趣与从容气度尽皆铺展于绢素之上，尽显古典文人群聚的清隽韵味。",[2496,2499,2500,2546,2509,2549,2501,2502,2902,3735,2507,12065,2506,2652,2880,5136],"文人雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1abbe124c0e31104ad7c8467b2cb3887.jpg",[6,2968],{"id":1083,"slug":12069,"title":12070,"dynasty":2632,"author":4496,"museum":2673,"description":12071,"tags":12072,"thumbUrl":12073,"material":2720,"size":12074,"collection":6,"collections":12075,"showCount":12058,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"jiu-cheng-gong-tu-zhou-yuan-yao-223284","九成宫图轴","此幅以对角构图为主，建筑在画面中所占比重不大，但作者有意将建筑物安排在观者的视觉中心，使其在山重水复的背景中颇为醒目。著名诗人杜甫曾有咏《九成宫》诗，袁耀即根据诗意想象而画成此图。袁氏父子所画的历代宫阙虽然各有典故，但样式大多雷同，富有装饰趣味而无明显的时代特征，画中人物的服饰也是如此，虽为古装却非唐非宋。",[2495,2496,2497,2577,2790,2500,2546,2509,2501,2550,2502,2507,2506,2614,2549,3136,2690,2752,2651,3057],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf33833e35f6f766d8a1a4d386a24eec.jpg","纵189.7厘米，横230.7厘米",[6,2534],{"id":1084,"slug":12077,"title":12078,"dynasty":2490,"author":8359,"museum":3088,"description":12079,"tags":12080,"thumbUrl":12082,"material":7319,"size":12083,"collection":6,"collections":12084,"showCount":12058,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"bai-tan-tu-zhou-chen-222376","白谭图","绘四周环山水潭边，一道者盘坐席上，手执拂尘掸，静心修行，一边的童子正给炉子扇风烧火，近处树木遒劲苍翠。技法上，绘山石坚凝，线条坚挺，棱角锋利，用笔纯熟，取法于李唐派系。",[2495,2544,2496,2501,2549,2500,2509,2507,12081,2506,8088,6019],"潭水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a1c655c7e01bcf836590ca261bff341.jpg","38x73cm",[6,2626],{"id":1085,"slug":12086,"title":12087,"dynasty":2490,"author":3120,"museum":2818,"description":12088,"tags":12089,"thumbUrl":12090,"material":12091,"size":12092,"collection":6,"collections":12093,"showCount":12058,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"you-ting-ting-quan-tu-chen-hong-shou-221883","幽亭听泉图","此图近取元人曹云西，远承宋郭熙，而皴染趋于尖瘦淡婉，自与郭、曹异趣。造境则为江浙一带水乡风光，与轻清的笔墨同一情调。",[2495,2496,2577,2499,2500,2509,2501,2505,2593,3091,2902,2652,2503,2595,2677,3736,2508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8a3a0f57a4a8b67a66a4490e0f32ca7.jpg","设色绢本","64.5×26.3cm",[6,2534],{"id":1086,"slug":12095,"title":11586,"dynasty":2605,"author":6523,"museum":2563,"description":12096,"tags":12097,"thumbUrl":12098,"material":2703,"size":12099,"collection":2624,"collections":12100,"showCount":12058,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"guan-pu-tu-zhou-liang-kai-221613","图绘飞瀑从山涧中直泻而下，与山脚乱石激起层层浪花，瀑前枯树对立，竹石苔茵，瀑下平坦处一人捻髭立眺，三童子洗砚抱琴烹茶。",[2495,2544,2496,2497,2577,2499,2509,2549,2913,2578,2611,2507,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c9939980581eebaa2e7edecbbd4fd44.jpg","135.9x64.1厘米",[2624,6,2534],{"id":1087,"slug":12102,"title":10833,"dynasty":2490,"author":3264,"museum":4366,"description":10834,"tags":12103,"thumbUrl":12104,"material":3044,"size":10837,"collection":6,"collections":12105,"showCount":12058,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-huang-zi-jiu-jiang-shan-qiu-ji-tu-juan-dong-qi-chang-220905",[2495,2496,2497,2498,2499,2676,2509,2510,2547,2501,2527,2506,2503,2677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31afc9e40856158c191fd7216f9770fa.jpg",[6,2534],{"id":1088,"slug":12107,"title":12108,"dynasty":2632,"author":5673,"museum":2673,"description":12109,"tags":12110,"thumbUrl":12111,"material":2512,"size":12112,"collection":6,"collections":12113,"showCount":12058,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"wu-li-chun-zao-qing-xue-tu-zhou-wu-li-220125","吴历春早晴雪图轴","吴历（1632年—1718年）清初书画家，天主教传教士。字渔山，号墨井道人、桃溪居士，江南常熟（今属江苏）人 。 [3] 少时学诗于钱谦益，学画于王鉴、王时敏。康熙二十一年入天主教，继至澳门进耶稣会，前后在嘉定、上海等处传教三十年。著有《墨井诗钞》《三巴集》《桃溪集》《墨井画跋》。",[2495,2496,2497,2501,3166,3091,2508,2615,2503,2595,2505,2499,2500,2509,2577,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85907768a5ded9464952c88429d0ded3.jpg","纵168cm，横41cm",[6],{"id":1089,"slug":12115,"title":12116,"dynasty":2632,"author":6542,"museum":5068,"description":12117,"tags":12118,"thumbUrl":12119,"material":2567,"size":12120,"collection":6,"collections":12121,"showCount":12058,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"xue-shan-tu-yuan-jiang-219907","雪山图","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。\n袁江，是中国绘画史上有影响画家，宫廷画家，专攻山水楼阁界画。雍正时，召入宫廷为祗侯。在清康熙、雍正、乾隆时期，楼阁工整山水当以袁江最有名。当时还有他的侄子袁耀同齐名。他们两人曾受扬州的山西盐商的聘请，到山西作画，作品在北方流传较多。他擅画山水、楼台、师法宋人。山水画主要学宋代闫次平，画石多鬼皴，楼阁主要学郭忠恕，工整严密。他的绘画素材多为古代宫苑，尤长于界画。界画是我国民族绘画中很有特色的一门画科，它在东晋时代已同人物、山水画并存了，发展到宋、元时期就已达到高峰，但一直受到文人画的排挤。画艺从师仇英，山探郭忠恕笔法及赵伯驹、刘松年等青绿山水一脉，同时传工界画，成为有清一代推为第一的界画家。",[2496,2833,2500,2509,6456,2506,2508,3136,2549,2960],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4541743a212af25140e45045a3164c74.jpg","78.3x46.7",[6],{"id":1090,"slug":12123,"title":12124,"dynasty":2522,"author":3907,"museum":2763,"description":12125,"tags":12126,"thumbUrl":12127,"material":2567,"size":2598,"collection":6,"collections":12128,"showCount":12058,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-zhong-guan-shu-tu-er-sheng-mao-219779","山中观书图(二)","盛懋（生卒年未详），字子昭。父洪，临安（今杭州）人，寓魏塘，业画。懋承家学，善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用批麻皴或解索皴，笔法精整，设色明丽。主要代表作有《秋林高士图》轴（台湾故宫博物院藏）、《秋江待渡图》轴（北京故宫博物院藏）、《沧江横笛图》轴（南京博物院藏）、《溪山清夏图》轴（台湾故宫博物院藏）和《松石图》轴（北京故宫博物院藏）等。",[2495,2496,2497,2577,2500,2501,2549,2593,3735,2977],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ec8a9ca384d405f22ee92e8e1f18d52.jpg",[6],{"id":1091,"slug":12130,"title":12131,"dynasty":2605,"author":12132,"museum":2563,"description":12133,"tags":12134,"thumbUrl":12135,"material":2597,"size":12136,"collection":6,"collections":12137,"showCount":12058,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"yan-yu-tu-huang-qi-218644","烟雨图","黄齐","这幅画是一个小溪和山的场景，安静而遥远，全部来自写生。黄齐不知道是哪一代人或哪一个地方的人，但这幅画中的笔法几乎是元代的山水风格。",[2495,2496,2497,2499,2509,2501,2506,2614,2507,2503,8193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeda478f2951b201e64af557bf02a0f7.jpg","28.9x52cm",[6],{"id":1092,"slug":12139,"title":12140,"dynasty":2522,"author":8648,"museum":2589,"description":12141,"tags":12142,"thumbUrl":12143,"material":2597,"size":12144,"collection":6,"collections":12145,"showCount":12058,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"yun-lin-zhong-xiu-tu-fang-cong-yi-218097","云林钟秀图","这幅画描绘了一片苍茫的云海和山脉，山峰高耸，山腰上漂浮着一条厚厚的云带，朦朦胧胧，山下的两岸长满了树木，树木的影子在白云带中时隐时现，突出了苍茫云海的运动。画中一高一低的山峰耸立在白云之上，山峰的顶端用墨水着色，下面是深谷和溪流。在画的右端是几棵古松，用浓墨点出了浓密的树枝和树干。在画面的最后，密林中出现的房屋像是道教寺庙的集中地，有门、有墙、有宫殿，应该是龙虎山上清宫的主殿，而其他寺庙则散落在各处。这幅画的用墨很随意，不拘一格。云山上的大笔水墨，苍茫润泽，富于变化。",[2495,2544,2496,2497,2498,2499,2501,2509,2547,2511,2651,2614,2506,3057,2613,2595,5071,4657,2752,2508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876493dc3425bb5b3eb370d2bc11a31c.jpg","24x105cm",[6],{"id":1093,"slug":12147,"title":12148,"dynasty":2632,"author":12149,"museum":2589,"description":12150,"tags":12151,"thumbUrl":12152,"material":2512,"size":12153,"collection":6,"collections":12154,"showCount":12058,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"han-shan-xiao-zhong-tu-zhang-zong-chang-218094","寒山晓钟图","张宗昌","张宗昌是中国清朝时期的著名画家，他的作品《寒山晓钟图》是他最著名的代表作之一。\n\n《寒山晓钟图》描绘了寒山寺的晓钟，这座寺庙位于江苏省的寒山山脉上。图中的晓钟散发出的光芒照耀在周围的山峦和林木之间，使得整幅画面显得格外美丽。张宗昌在画中运用了精细的线条和富有层次感的透视技巧，使得图中的山水景观栩栩如生，充满了生机和活力。\n\n《寒山晓钟图》被广泛认为是张宗昌最杰出的作品之一，它展示了他对中国传统山水画的精湛技艺和深刻理解。张宗昌是清朝时期最著名的山水画家之一，他的作品对中国绘画艺术产生了深远的影响。",[2495,2496,2497,2577,2499,2509,2501,2714,2505,2502,2503,2504,2506,2508,2614,2550],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4221b65c1a4cb46cc255586c5d3a1e.jpg","144x61.6cm",[6],{"id":1094,"slug":12156,"title":12157,"dynasty":2632,"author":12158,"museum":5068,"description":12159,"tags":12160,"thumbUrl":12161,"material":2567,"size":12162,"collection":6,"collections":12163,"showCount":12058,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-jing-tu-liu-du-217924","山景图","刘度","刘度的山景图画风细腻，笔墨流畅，富有张力，写意洒脱。他善于描绘山川的峰峦、水流的曲折、云雾的缭绕，营造出一种幽静的气氛。刘度的山水画作品常以山水中的人物为主，人物造型优美，神态自然，与山水相互映衬，互相辉映，给人以感性的享受。\n\n刘度的山景图在清朝时期颇受欢迎，被誉为“山水画圣”。他的著名作品有《山城图》、《江南图》、《渔隐图》等。这些作品不仅展现了刘度独特的艺术风格，而且也揭示了他对中国传统文化的热爱和对自然界的敬畏。\n\n在刘度的山景图中，我们不仅能感受到他对山水的热爱和描绘的精细，还能感受到他对自然的尊敬和对传统文化的执着。这些作品不仅是一种艺术的瑰宝",[2496,2499,2509,2501,2502,2550,2578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9ca116a0bcaa406e268e8884a1a2c78.jpg","32.1x36.2cm",[6],{"id":1095,"slug":12165,"title":12166,"dynasty":2490,"author":3431,"museum":5182,"description":12167,"tags":12168,"thumbUrl":12169,"material":2567,"size":12170,"collection":6,"collections":12171,"showCount":12058,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-li-di-shan-shui-tu-yi-ming-217883","仿李迪山水图","李迪是明朝时期著名的画家，他的作品以精细的写实和优美的构图著称。作者的仿李迪山水图也是以精细的写实和优美的构图为特点，但是与李迪不同的是，作者在作品中运用了更加丰富的色彩，使得作品更加生动。\n\n作者的仿李迪山水图展现了中国传统山水画的高超技巧，他的作品中经常出现山峦、溪流、森林、村庄等元素。他擅长运用描绘山水的技法，使作品看起来栩栩如生。此外，作者还注重作品的构图，他善于运用构图中的线条、弧线、曲线等元素，使作品看起来更加流畅。\n\n如果你是艺术爱好者，不妨去看看佚名的仿李迪山水图，感受一下中国传统山水画的魅力。",[2496,2497,2501,2676,2509,2500,2507,2506,2505,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35d43d203f636dbbfcb84fda42745f1c.jpg","36.8x33cm",[6],{"id":1096,"slug":12173,"title":12174,"dynasty":2522,"author":2588,"museum":2563,"description":12175,"tags":12176,"thumbUrl":12177,"material":2512,"size":12178,"collection":6,"collections":12179,"showCount":12180,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"qiu-lin-wan-he-tu-wang-meng-287545","秋林万壑图","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[2496,2499,2501,2509,2502,2503,2579,2507,2506,3483,2547,2510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb15ff69f252c13c648f2d4d7c70f811a.jpg","68.3x45.6",[6],43,{"id":1097,"slug":12182,"title":12183,"dynasty":2632,"author":3796,"museum":2673,"description":12184,"tags":12185,"thumbUrl":12186,"material":3044,"size":12187,"collection":6,"collections":12188,"showCount":12180,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"dou-he-mi-lin-zhou-wang-jian-236458","陡壑密林轴","故宫博物院藏有康熙壬寅年（1662）年王鉴五十四岁作《陡壑密林图》轴，作品为纸本墨笔，纵56厘米，横35厘米。王鉴在画中自题：“黄子久有《陡壑密林图》为董思翁所藏，后归奉常烟翁，余时得纵观。雨窗岑寂，戏弄笔砚，漫师其法，不求形似也。壬寅小春望日写于染香庵中。王鉴。”下钤“王鉴之印”白文正方，起首钤“染香庵”朱文长方。画轴外题签：“廉州太守仿子久陡壑密林图山水真迹。辛丑三月重装。镂香阁惕庵珍秘。”为嘉兴王祖锡（1858－1908）旧物，画幅右下亦钤其鉴藏印：“惕安藏廉州画。”王祖锡藏有王鉴作品多件，如王鉴《溪山渔隐图》等。",[2496,2497,2499,2509,2501,2714,3839,2593,2508,2613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38a7957963c9eb5d48d2effbd1e72a07.jpg","纵56厘米，横35厘米",[6,2626,6382],{"id":1098,"slug":12190,"title":12191,"dynasty":2632,"author":2633,"museum":2818,"description":12192,"tags":12193,"thumbUrl":12194,"material":5818,"size":5819,"collection":2968,"collections":12195,"showCount":12180,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ren-wu-tu-ce-huang-shen-235355","山水人物图册","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。",[2496,2497,2499,3898,2549,2592,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d3311b8c74a0e1e53cd7d87fe52db69.jpg",[2968,6],{"id":1099,"slug":12197,"title":12198,"dynasty":2632,"author":8682,"museum":10787,"description":12199,"tags":12200,"thumbUrl":12201,"material":8477,"size":12202,"collection":6,"collections":12203,"showCount":12180,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"tian-tai-bai-song-tu-gao-feng-han-222633","天台白松图","绘松树两棵，松杆粗壮，松针茂密；灵芝依树而生，形状如耳。此幅图亦是一幅祝寿图，松树寓长寿，灵芝是长生，瑞草有“松树延年 灵芝祥瑞”的寓意。图上自题：“天台白松 高凤翰左手 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，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。\n云从国画，师法古人而创新，师造化而独特。山水画，融宋元诸家笔墨、丘壑于一体，“以黄公望的瘦树、山石为之纵横，润以马远泼墨之法”，而能随意成卷丈余。其间丘壑布置，千变万化，层出不穷，使人观之不厌；岩石林木的表现，深厚坚实，穿插有致；不论水墨着色，皴擦喧染，都苍劲秀润，呈现出空间深度；点景人物，自然生动，屋宇、舟车、驮马安排得体。",[2495,2496,2497,2498,2499,2509,2501,2507,2506,2508,4702,2595,5071,2902,11815,2614,3765,2690,2549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef9382c6c6129fee9bfc87b3661bc7a8.jpg","23.81x429.9",[6],{"id":1105,"slug":12245,"title":12246,"dynasty":2490,"author":12247,"museum":2877,"description":12248,"tags":12249,"thumbUrl":12252,"material":2567,"size":12253,"collection":6,"collections":12254,"showCount":12180,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"xi-shan-mu-yun-tu-zhang-lun-220036","溪山暮云图","张伦","左上自题王维《过香积寺》诗：“不知香积寺，数里入云峰。古木无人径，深山何处钟？泉声咽危石，日色冷青松。薄暮空潭曲，安禅制毒龙。”款署：“摹元人笔法，时甲辰秋前二日，画于披月草堂，瘦生张伦。”图录于《艺苑掇英》第三十五期。艺术活动约在嘉靖、万历间。",[2495,2496,2544,2499,2501,2577,2502,2503,4108,2507,2508,6854,2510,12250,2509,8088,12251],"摹古","薄暮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0da047626d853db8b7883f88e25a34c.jpg","纵174.5厘米，横78.8厘米",[6],{"id":1106,"slug":12256,"title":12257,"dynasty":2490,"author":12214,"museum":2763,"description":12258,"tags":12259,"thumbUrl":12260,"material":2512,"size":12261,"collection":6,"collections":12262,"showCount":12180,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"liu-ruan-tian-tai-tu-ding-yun-peng-219750","刘阮天台图","石缘林漱玉凉，远上紫逻更苍苍。溪边列树云和静，洞口落寞水亦香。作记未应拟彭泽，成诗早见有曹唐。浙东仙境依然在，可复双鬟待二郎。乾隆戊寅春御题",[2495,2496,2544,2577,2546,2500,2547,2501,2549,2506,2507,2614,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F151f3ed0233acb65b06439368bfeb4ac.jpg","纵136.7横33.5厘米",[6],{"id":1107,"slug":12264,"title":3183,"dynasty":2522,"author":8648,"museum":2997,"description":12265,"tags":12266,"thumbUrl":12267,"material":2597,"size":12268,"collection":6,"collections":12269,"showCount":12180,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-tu-fang-cong-yi-219729","右侧危崖壁立，飞泉隐于崖间垂落，左侧峰峦逶迤向远，留白晕染出浩渺烟波，虚实之间拉开山水纵深。以干笔皴擦勾勒山石肌理，苍劲老辣，林木仅以简笔点染，便生幽荒野趣。山脚村居错落藏于林泉，淡墨晕开水色，将山野幽寂缓缓铺陈。\n\n题跋朱印错落排布，诗书画印浑然一体，将元人隐逸的林下意趣藏于笔墨。整幅简淡萧疏，以笔意写尽胸中丘壑，把林泉高致的雅逸缓缓吐露，尽显超脱世外的静穆淡远。",[2495,2496,2497,2577,2499,2509,2501,2714,3839,2506,2613,2508,2595,2614,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c821d8821366e88035d7a9739c0afbb.jpg","73x59.6",[6],{"id":1108,"slug":12271,"title":12272,"dynasty":2632,"author":8473,"museum":3121,"description":12273,"tags":12274,"thumbUrl":12275,"material":2597,"size":12276,"collection":6,"collections":12277,"showCount":12180,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"tian-tai-yi-song-tu-dai-ben-xiao-219710","天台异松图","《天台异松图》清 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用笔不多，却风神飘散，气韵荒寒，为不可多得的佳品！",[2496,2497,2592,2499,2511,2547,2509,2501,2902,2549,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97aaddabf21fec2cdc2cda2b7408da7e.jpg",[6,6382],{"id":1133,"slug":12496,"title":12497,"dynasty":2632,"author":9005,"museum":2673,"description":12498,"tags":12499,"thumbUrl":12500,"material":4324,"size":12501,"collection":6,"collections":12502,"showCount":12487,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"pan-shan-bie-shu-zhou-zhang-zong-cang-236111","盘山别墅轴","位于盘山的静寄山庄，是乾隆朝“法皇祖避暑山庄之例”而修建的。乾隆皇帝学仿康熙皇帝，仿照避暑山庄，在现在的天津蓟县盘山南麓营建了属于自己的皇家园林，位于京城以东80余公里之外，是乾隆帝朝谒东陵的必经之地。静寄山庄也叫盘山行宫，于乾隆九年（1744）开始兴建，至乾隆十九年（1754）竣工，是清代鼎盛期著名的皇家园林之一，也是在京城以外仅次于避暑山庄的第二大皇家行宫园林。乾隆朝多位宫廷画家、词臣画家甚至乾隆皇帝本人，都描绘过这里。",[2544,2496,2497,2577,2499,2509,2501,2503,2507,2506,2690,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4cfa4cf9fbe519c088dfe3a6254fc08.jpg","162×93.5厘米",[6,2626],{"id":1134,"slug":12504,"title":12505,"dynasty":2632,"author":3796,"museum":2818,"description":12506,"tags":12507,"thumbUrl":12508,"material":2598,"size":2598,"collection":6,"collections":12509,"showCount":12487,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-gu-shu-hua-ce-wang-jian-235336","仿古书画册","此作绘冬日山居雪景，峰峦素雪覆顶，苍松虬劲错落，枝桠缀雪愈见清寒古雅。山坳村居隐于林间，溪涧凝冰，冷寂空蒙。以淡墨晕染山峦肌理，留白铺陈出漫林雪意，萧疏静谧间尽显古山水的苍浑意趣。\n\n对开行书笔意疏朗清逸，诗句呼应画中深巷积素、残晖映雪之境，书画相映，将冬日山居的幽寂淡远凝于尺幅，于简淡笔墨间尽显隽永雅致，藏着沉厚的仿古功力。",[2496,2497,2592,2499,2500,2501,2676,2511,2547,2714,2593,2502,2503,2508,2902,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1df774cba5454f3e332ba7b07901837.jpg",[6,2534],{"id":1135,"slug":12511,"title":12512,"dynasty":2632,"author":12513,"museum":2818,"description":12514,"tags":12515,"thumbUrl":12516,"material":2732,"size":2598,"collection":6,"collections":12517,"showCount":12487,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"qi-dao-zi-shan-shui-ren-wu-hua-ce-18-zhen-ceng-yan-dong-231951","七道子山水人物画册18帧","曾衍东","曾衍东生于清乾隆十五年（1750年），字青瞻，一字七如，号七如居士、七道士，祖籍山东嘉祥，为曾子第67代孙。清乾隆壬子（1792年）举人，清乾隆至道光年间画家、小说家、杂剧家。\n据嘉祥《曾氏祖谱》记载，其祖上在明代嘉靖十八年（1539年）被封为翰林院五经博士，并从此世袭爵位。曾衍东的父亲名尚渭，是个恩贡生，游宦江南，曾官居广东博罗县令。曾衍东自幼随父游走南北，童年的经历奠定了其开阔的胸襟，同时也开启了他坎坷飘荡的一生。\n他仕途坎坷，直至50岁迟暮之年由人举荐，才得任湖北江夏县令，后调任巴东县令。曾衍东个性清高、倔强。他曾在《日长随笔》里写道：“人所不能做的，我偏要做去，人所不能减的，我偏要减去。”依这种性格，他在中国官场的遭遇可想而知。63岁那年，因断案而触怒巡抚，而他坚持“此官可去案不移”，终被降罪罢官，流放温州。\n曾衍东携家小流放温州后，先住在同姓旧宦曾儒璋后人曾立亭的家中。曾立亭居温州郡西，其宅名“依绿园”。他念同姓之谊，款接曾衍东居园之“入画楼”。第二年曾衍东在园边宝庵桥附近一大榕树下自建房屋。这里面向九山湖，湖光山色正好，于是他把自己的居所命名“小西湖”。并在门上写了一副对联：“挂冠自昔曾骑虎，闭户于今好画龙。”\n嘉庆二十五年（1820），道光帝即位，曾衍东遇赦，但已贫老不得归乡，约十年后，客死于温州。\n曾衍东生性落拓不羁，工诗及书画，尤善画人物，市井风情、生活百态皆入其构中，举重若轻。在技巧上以笔墨狂放的写意风格取胜。镌图章，摩古出奇，得之者无不视为拱璧，然清贫自守。在近代画坛特别在人物画领域受曾衍东影响的画家有很多，比如王震和丰子恺。但是对他在画坛上地位的认识有所不足，因此当代著名画家程十发先生颇为其抱不平。他在曾衍东的一本人物册中写到：“七道士乃青藤（徐渭）后身，诗文词曲皆胜场，且从书画中与世俗相左而现风骚之气。余曰：近人不重曾衍东是一大遗憾也。”可以说推崇备至。",[2495,2496,2497,2592,2499,2549,2960,2547,2511,2510,2821],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e31d6bfb1d8831f9c256406aa1f6a9e.jpg",[6,2968],{"id":1136,"slug":12519,"title":12520,"dynasty":2632,"author":3796,"museum":10982,"description":12521,"tags":12522,"thumbUrl":12523,"material":2531,"size":12524,"collection":6,"collections":12525,"showCount":12487,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"guan-shan-qiu-ji-tu-wang-jian-224480","关山秋霁图","此是王鉴摹吴镇的一幅名画，相同的画董其昌在其《小中见大》册中也临摹有一幅，构图相同，说明两人都是忠实于原作的临摹。此幅水墨淋漓，与吴镇用笔用墨十分相似，可见王圆照摹古功力之深。",[2495,2496,2497,2577,2500,2509,2501,5050,2506,2550,2502,2503,2505,2507,5116,2613,2579,3636,2654,2621,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312f5a5f9f6caa2841fbb84103d97470.jpg","177x95厘米",[6,2626],{"id":1137,"slug":12527,"title":12528,"dynasty":2632,"author":12529,"museum":2563,"description":12530,"tags":12531,"thumbUrl":12532,"material":4569,"size":12533,"collection":6,"collections":12534,"showCount":12487,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"song-ting-wang-yuan-wang-quan-223240","松亭望远","王铨","明天启二年（1623）进士，入清官至大学士，谥文安。高爽博学，好古，工诗古文。行草宗二王，正书出钟繇，亦能自出胸臆，有山园法帖，名重当代，与董其昌并称。画山水宗刑、关，丘壑峻伟，皴擦不多，以晕染作气，传以淡色，意趣自别。山水花木竹石皆用书中关钮。尝与戴明说书云：画寂寂无余情，如倪云林（瓒）一流，虽略有淡致，不免枯干，尪羸病夫，奄奄气息，即谓之轻秀，薄弱甚矣。大家弗然。间作兰竹梅石，洒然有象外意。卒年六十一。《图绘宝鉴续纂》、《国（清）朝画徵录》、《桐阴论画》、《无声诗史》",[2495,2496,2497,2501,2592,2499,2509,2714,2779,2505,3839,2593,2611,2508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bed544a1c100f42958631d8249c351.jpg","34.7x29厘米",[6,2626],{"id":1138,"slug":12536,"title":5180,"dynasty":2490,"author":5253,"museum":2563,"description":12537,"tags":12538,"thumbUrl":12539,"material":2531,"size":12540,"collection":6,"collections":12541,"showCount":12487,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"xi-shan-xue-ji-tu-lan-ying-222596","画面上远处层峦迭嶂，悬崖峭壁，山顶披上雪装，白雪皑皑，山顶部衰草疏落。中景为乱石连绵，山坡间杂树丛生，树木枝干挺拔，似乎在傲视寒雪，绝无凄凉之感。近景坡石堤岸下为宽阔的溪流，河中杂有碎石。近景最下部有几棵穿天的松柏，松树阑珊，枝叶茂密。树下坐有一位身穿红袍的长者，独自在观赏溪山的雪景，显得悠闲自得。",[2495,2496,2500,2509,2501,3166,2504,2821,3091,2902,2507,2613,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cec5c7e6892c4274ddda8daa901a500.jpg","纵82.3厘米，横28.9厘米",[6,2534],{"id":1139,"slug":12543,"title":12544,"dynasty":2490,"author":5253,"museum":2749,"description":12545,"tags":12546,"thumbUrl":12550,"material":3044,"size":12551,"collection":6,"collections":12552,"showCount":12487,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"fang-yi-feng-shan-shui-lan-ying-222583","仿一峰山水","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。\n蓝瑛 （1585-1664），一作（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂”，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n蓝瑛一生以绘画为职业，曾漫游南北，饱览名胜，眼界开阔，因而不断丰富了创作内容。他的传派，直接继承衣钵的有蓝氏一家子孙，如蓝孟、蓝深、蓝涛等，弟子刘度、王奂等都各有成就。明末同时和稍后的如陈洪绶以及金陵八家等著名画家，也都受他的影响。\n蓝瑛绘画对明末清初影响很大，被后人称为“武林派”。画史上称之为“后浙派”，将其与戴进、吴伟合称“浙派三大家”。 [2] 但实际上他的画风与戴进等不同，不能完全附属于“浙派”之后。蓝瑛字田叔，号蜨叟，晚号石头陀，又号东郭老农，所居榜额曰“城曲茅堂”。\n蓝瑛是我国明末清初的画家，曾有美术史家把他列为“浙派”，对此，有专家学者提出异议认为：蓝瑛与戴进之间既无师承关系，在绘画面貌、艺术风格上也大相径庭，故不应因二人同处浙江杭州而列为同一画派“浙派”。\n清代沈宗骞在《芥舟学画编》中提出“蓝瑛倡为武林派”，蓝瑛和他的追随者们应称为“武林派”。我们知道，画史上有一些画家因种种原因没有留下更多的生平资料，使后人很难从他们一生的行踪、生活背景、个性脾气、思维方式中去了解他们所形成的艺术风格、审美理念，只能从他们留存于世的绘画作品中去洞察其艺术之轨迹，蓝瑛就是这众多画家中的一位。长期以来，学术界对文人画家及其作品比较重视，由于蓝瑛是一位职业画家，又没有诗文和著作留存于世，因此在画史上很少有关于他的记载和涉及。本文试通过对蓝瑛绘画作品的具体分析，来阐述蓝瑛山水绘画的艺术特色和所取得的成就。\n画家的创作理念和他个人所生活的时代、环境、文化素养、审美标准是分不开的。蓝瑛作为明末清初的画家，他的绘画风格同样也脱离不开他所生活的时代。因此，在探讨蓝瑛山水绘画的艺术特色之前，我们首先要对蓝瑛的生平及师承有所了解。\n蓝瑛，生于公元1585年，卒年不详，1664年尚在，字田叔，号蜨叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号西湖外民、西湖外史、东郭老农、吴山农等，所居榜额曰“城曲茅堂”。生长于“浙派”发源地钱塘(今浙江杭州)，二十三岁寓居松江，后来长期活动于杭州、嘉兴、南京、扬州、绍兴等地，卖画授徒，影响深远，追随者主要集中于杭州一带，被称为“武林派”(武林为今杭州别称)，在明末万历到清初康熙年间足以与“松江派”抗衡。其画风融合南北两宗，自成一家，属于一位文人画的职业画家。清代以来不少学者把蓝瑛称为“浙派”的“后劲”或“殿军”。\n他工书善画，长于山水、竹石、梅兰、人物、花鸟等，技法全面，尤以山水画著名，是明末清初颇具影响力的山水画家。他的绘画特点比较明显的是用笔有顿挫，以疏秀苍劲取胜，善写秋景。在其作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”等，实则所画均为他自己的面目。他的山水绘画画法有两种：一种作钩勒浅绛法，另一种作没骨法，设色鲜艳夺目，所画青山、红树、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水绘画作品。蓝瑛享年八十有余，一生以绘画为职业，笔耕不辍，传世的绘画作品面貌多样，数量众多。\n从蓝瑛传世的作品看，他的山水画创作大致可分为早、中、晚三个时期。早期为其五十岁以前。从现存蓝瑛早期的绘画作品中可以看出，他在临习古人绘画作品的过程中，打下了扎实的笔墨功底。在艺术成就的取得上，他主要得益于黄公望、王蒙、倪瓒、吴镇的助力。元四家的笔墨虽不尽相同，但蓝瑛在学习他们的绘画技法时却能择良而取，并注意吸取对自己有用的东西，藉以丰富个人的表现能力。博采众长，应该是一个艺术家取得成就的途径之一，这也是我国艺术史上久经证明的成功经验。此时蓝瑛作品呈现出的面貌基本是以中锋运笔，皴法以长披麻皴、解索皴、荷叶皴为主。山石的画法润泽浑圆，没有过多的棱角，苔点圆润。树木的画法则是多种多样，体现了他绘画技法的娴熟。在构图上，近景的树木与远景的山峦之间具有明显的空间感。设色平淡和润，风格秀润清和，疏松简略。\n《溪山秋色图》为癸丑新秋(1613年)，画家29岁时创作的一件传世绘画佳作。画卷右起为辽阔的水域，远山朦胧，云气蒸腾。中部山石突起，溪水潺潺，蜿蜒的水流从山石间缓缓淌过，坡石上零星地分布着杂草树木。整幅画作淡泊宁静，用笔柔和，山石少皴，偶有淡淡的荷叶皴，构图松秀，设色清和，墨色滋润，从中可看出蓝瑛此时的绘画受“松江派”绘画风格影响之痕迹。\n《仿李唐山水图》是蓝瑛早年创作的一件绘画作品。图中景物茂密，近景岩石累累，形成坡坨，处于曲流之畔。坡石上树木茂蔚，造型古朴，刻画细致，疏密枯润，各显生态。树林间有一茅亭临于溪边，亭内二隐士对坐畅聊。隔溪远景是巨石高峰，岩石突兀奇特，下有瀑布，泻入清溪。整个画面山石崚嶒，古树结节，山石的皴法，以小斧劈皴、刮铁皴相济并用，稍以色彩点簇，水墨晕染，刚中见柔。布局稳当，气氛清谧。远山近树，继承了李唐院体画派的风范而自有发挥，作品较多地留有宋代遗风。\n中期为五十至六十五岁之间。这时他不但取法郭熙、李唐及马远、夏圭，而且对二米、云山也精心研究，对黄公望的画更是悉心尤力。时人吴门画派沈周、文徵明的笔法他也热心师效。加之他漫游南北涉猎广泛，眼界宽广，兼融南北，形成了苍劲雄强、骨力刚硬的个人风格，此时的蓝瑛已经达到能“分别宋元家数，某人皴梁法脉，某人蹊径勾点，毫不差谬”的水平。他以自己对各家绘画特色的见解，以中锋、侧锋交替运笔，用各种皴法、点苔法熟练地画出各种形态的山石、树木。以各家的典型构图，或高远或平远，或简或繁，显现出一种笔墨苍劲、气势雄浑的境界，反映出他在三十余年仿古绘画的实践中渐渐脱开单纯的临与仿，开始形成了自己独立的绘画风格。\n《仿古山水册》作于乙亥春仲(1635年)，画家时年51岁。此山水画册的风格以临黄子久为主，笔触粗短，用笔方折，山石少皴，偶用折带、荷叶皴，略加修饰，山石敷以淡青绿和浅绛，加浓墨苔点醒神，用笔简练，设色淡雅。全册共计十二幅，每幅均可见蓝瑛中年绘画之风格。首幅水墨画枯树数株，槎枒矗立，画上题云：“云林之法，妙在简远。瑛法之，未必耳。笑笑。”第二幅浅设色画，一红衣士人立于松下，隔岸观瀑，画上题云：“偶法郭河阳画。西湖外史蓝瑛。”第三幅设色画临水岩上，桃红满树，舟人浮江而行，款“蓝瑛画”。第四幅设色画村舍数间，丛树环绕，小桥流水，画上自题：“赵令穰画法，蓝瑛。”第五幅设色画层峦飞瀑，草阁间士人独坐，画上自题“蓝瑛法大痴画”；第六幅水墨画水畔虚亭，自题：“梅华道人画法，画于富春之吉祥山房。蓝瑛。”第七幅设色画青山红树，画上题云：“元之高彦敬尚书画法米南宫，有白云红树画。蓝瑛仿之。”第八幅设色画层峦蓊郁，群树繁茂，士人独坐水岸，观泉听瀑，自题“王黄鹤听泉图。蓝瑛法。”第九幅设色画苍松红树，孤舟临岸，画上题云：“赵仲穆画似其翁，一段秀古，自成别门。蓝瑛法。”第十幅设色画秋林丹翠，篷舟沿溪，自题：“乙亥春仲法李唐画。西湖外史蓝瑛。”第十一幅设色画秋林丛聚，清雾弥漫，士人独行，自题：“法松雪斋秋林觅句。蓝瑛。”第十二幅设色画，白雪覆树，水岸亭间，士人观景，自题：“乙亥春仲法右丞画。蓝瑛田叔。”\n《乔岳松年图》是蓝瑛55岁时为宁庵祝寿时所绘。画上的景物，笔墨苍劲，山石突兀嶙峋，白云在山间缭绕，远处的楼阁隐现于流动的烟雾之中，时隐时现，增加了画面的动感。画之近处有九株苍干虬枝的古松，繁密的松针，碧绿青翠，使得画面苍浑郁茂，平添了清新的气氛。在松树的掩映下有一茅亭，亭内一老者正在观赏那飞流而下的瀑布。整个画面笔墨精到，用色灵巧，再加上山石间有规律的点以苔藓，使得画中的景物更加雄奇壮观。\n晚年为六十五岁以后，这是蓝瑛一生中最精彩的时期。此时他在融会贯通前人技法的基础上，自立门户，形成了自己的绘画风貌。有人评其晚年画风“绝似仲圭，复似启南”，一语道出蓝瑛画风在渊源上与文人画的关系和晚年苍劲雄浑的画风。从此时期的作品来看，笔法苍劲疏宕，伟峻老练，画风呈多种面貌，有些作品笔墨含蓄隽雅，有些作品青绿重设色，画法工细，色调浓丽，愈老而愈工。这一时期他主要以敏捷快速的粗笔山水为主，山石的轮廓线短小、破碎、躁动，以破笔点苔，以侧锋皴擦；树木的画法更加曲屈苍老和类型化。构图上也基本形成了一种统一的样式：巍峨雄伟的山体以棱角分明的几何体组成并繁复堆积，占据画面的大部分且多偏向一侧，而于另一侧留出一定的空间，山顶突出。山间有飞瀑丛树，山脚以渔樵隐士、老树茅屋点缀。同时出现了山体的立轴画中纵向拉长，在手卷中则横向延伸的变形现象。晚年的作品中没有了早期所保留的一定的空间感，代之以一种逼人的气势，无论是仿荆浩、董源还是仿黄公望，在风格和笔墨上已经没有了差别，它们都已化为蓝瑛的典型山水样式。蓝瑛晚年的作品，笔益精良，构图高嶂巨壁，丘壑深远，重山叠翠，更加苍浑古朴。\n《华岳高秋图》作于1652年，画家时年68岁。画中远景，高山耸立，山顶作平台状，山隈深处，楼阁崔嵬，流泉飞溅，山石勾勒线条硬折，运用荷叶皴、折带皴和牛毛皴，树草稀少，显得崚嶒。中景，群山环绕之中，筑有楼榭，溪流淙淙而下，老树粗壮，用短笔勾成，树叶采用双勾夹叶填色，松针用传统笔法，排列有序，挺拔有力，不失古气。水口用笔转折生硬，受南宋影响，类似浙派。近景，山径迂回，满山红树，二高士漫步小道，观瀑笑语。构图气势雄伟，笔势刚健豪迈。山石用荷叶皴，参以折带皴加水墨渲染，罩花青赭色，树木苍劲，枫叶明丽，描绘出华岳的深秋景色。\n《秋壑飞泉图》为蓝瑛74岁时所作的传世佳作。该画尺幅巨大，气势磅礴，画心高近四米，颇见蓝氏构图设景之能力所在，作品凝聚了画家毕生的技艺与功力。画面层峦耸翠，幽谷深邃，轻岚浮动，红树青山。山谷间的飞瀑和桥上的高士顾盼有情，高远及深远相结合，是典型的蓝氏山水画之模式。画中的高山巨峰，上部的山石重叠峻峋，瀑布悬崖，飞泉溅落。中部巨石杂树间有一茅亭，一人于内赏景，稍下建筑数座，红叶映天，浮桥卧地，小桥上二叟持杖交谈，颇有生活意趣。从这幅绘画的技法上，可以看出他在融汇前人技法方面的成就，也能看出他在创新方面的景物。作者采用“荷叶皴”，在形式与内容方面得到了和谐的结合，取得了较好的效果。那独具特点的置苔，尤显得画面苍润而厚重。有些树叶以赭色画出，突出了节令气氛，使画面秋意盎然。该画构图雄伟，气势阔大，足见蓝瑛博大精深的笔墨造诣。\n纵观蓝瑛早、中、晚三个时期的绘画作品，大体可以得到这样一些认识：早年的作品，是学宋代诸大家的笔法，尤其是学元四家的作品。此时笔法较细润，明显地呈现出某派的笔法痕迹。中年，在学习前人技法的基础上开始变法，也就是向开创独特风格的途程上逐步迈进。晚年则开创了一种雄伟浑穆的独特面貌，画不离苔以及多画秋景，善施赭色，巧用荷叶皴等等，也都是蓝瑛作品的特点。\n蓝瑛的山水画艺术成就，得益于他“性耽山水”。虽然他下苦功夫临习了晋唐宋元诸家，并达到了精妙乱真的程度，但他不以摹仿为能事。他不仅擅于师古人之意进行变革创新，而且还注重生活，注重行万里路，饱游饫看，“游闽粤荆襄，历燕秦晋落，涉猎既多，眼界弘远”。因为他胸中有真丘壑的观察积累，眼界开阔，所以能落笔纵横，水墨淋漓，独创一格一派—武林派。蓝瑛的绘画，影响广泛，师法他的人可分成三类：一类是蓝瑛的嫡传弟子，如早期的刘度、蓝孟等人；第二类是出自蓝瑛的嫡传弟子门下或模仿蓝瑛画风的职业画家，如蓝涛等；第三类是早年曾经出自蓝氏门下，后来自立门户创立了独立画风的陈洪绶、禹之鼎等。千百年来，为祖国锦绣山河传神写貌的画家，能够开宗立派的屈指可数。蓝瑛的绘画崛起于江南，熔铸古今，独开门庭，这是难能可贵的。",[2495,2496,2500,2509,2501,2506,2507,2505,2508,2503,2690,2613,2779,2654,11815,3636,4063,3736,2653,12547,12548,12549],"淡赭","山石皴染","树木勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2731e556314b70131bad67ebbce5091.jpg","74.1×161.7cm",[6,2626],{"id":1140,"slug":12554,"title":12555,"dynasty":2490,"author":12556,"museum":3039,"description":12557,"tags":12558,"thumbUrl":12559,"material":2732,"size":12560,"collection":6,"collections":12561,"showCount":12487,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"wan-he-qiu-tao-tu-he-hao-222572","万壑秋涛图","何浩","此幅作品就画的是松树。据此笔者认为这个名叫何浩的画家，是一位明代中期与画家林良同时或略晚于林良的供职宫廷的职业画家。那么，现在又可以多出一名明朝的宫廷画家了，又可以增加一幅明朝的宫廷绘画作品了。",[2495,2496,2497,2498,2499,2501,2509,2506,2507,2503,2614,2547,12292,5116,6501,2752],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c2dc1674f138f535644c5f04d9896db.jpg","纵27厘米、横448厘米",[6,2626],{"id":1141,"slug":12563,"title":12564,"dynasty":2490,"author":12214,"museum":2563,"description":12565,"tags":12566,"thumbUrl":12567,"material":2639,"size":12568,"collection":6,"collections":12569,"showCount":12487,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"lu-shan-gao-zhou-ding-yun-peng-222381","庐山高轴","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”",[2496,2497,2577,2499,2500,2501,2611,2503,2506,2507,2614,2509,2549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c977c8e01db35618436bdcc1f93e189.jpg","280x85.5",[6,2534],{"id":1142,"slug":12571,"title":12572,"dynasty":2490,"author":3647,"museum":2563,"description":12573,"tags":12574,"thumbUrl":12575,"material":3069,"size":12576,"collection":6,"collections":12577,"showCount":12487,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"qian-yan-jing-xiu-wen-zheng-ming-221973","千岩竞秀","画面底部，两位高士对坐于参天巨木之下，临飞瀑溪泉而谈。巨木引看画者的视线上升，进入由丘陵、碎石、坡壁、悬崖交织结合的复杂山体。\n繁密的山体多采用吴中文人画家较为推崇的短披麻皴表现，但又将披麻皴的柔润转变为尖锐。飞泉上部耸立突出的山崖高踞在厚重的基座之上，而基座山体又不断曲折延伸，形成了一条极为深远的脉络。这条脉络以“S”形向上延展，串联起无数细碎的山体和林木苔点，形成兼具向上生长又左冲右突、相互挤压的骚动之势。\n如此狭长的画幅，往往与其他画作构成条屏。文徵明也确实创作了与《千岩竞秀图》配成一对的《万壑争流图》。按照当时的风气，一旦作配对之画，则这种创作会立即显得专注于装饰、商业、礼仪，具有了某种功利性。然而，文徵明却在《万壑争流图》上明言“余性雅不喜作配幅，然于默川不能终却，漫尔涂抹，所谓一解不如一解也”，以此强调自己创作的非功利性。\n在经营位置方面，《千岩竞秀图》略微体现了郭熙所言的“自山下而仰山巅”的高远，更颇为夸张地突出了“自山前而窥山后”的深远，唯独忽略了“自近山而望远山”的平远。不仅如此，《千岩竞秀图》在用墨上完全没有使用近浓远淡的手法制造透视的效果，墨色笔触鲜有变化，在浅绛设色上也基本用平涂法，使得画上群山好像都生长在另一些山峰之上，而不是向远方延伸。\n此外，文徵明在画中还特别强调了山水平面的不可进入性——画中的高士走不出画纸，也并不生活在画中，而观画者更无法有“可行、可望、可游、可居”之感。画面与现实的凛然隔绝，其实也暗含着画家内心和现实之间的隔绝，并以此将精神寄寓在平淡无聊、郁郁无为的现实生活之外。",[2495,2496,2500,2509,2577,2501,2507,2506,2902,2503,2549,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76a88c6378825cac7e0dc34f649fe26e.jpg","画长142.6厘米，宽仅34厘米",[6,2534],{"id":1143,"slug":12579,"title":12580,"dynasty":2522,"author":12581,"museum":2563,"description":12582,"tags":12583,"thumbUrl":12585,"material":2703,"size":12586,"collection":6,"collections":12587,"showCount":12487,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"han-jiang-lu-yan-zhou-wang-yuan-221836","寒江芦雁轴","王渊","此帧绘水滨双雁，一延颈啄啮芦根，一半合其目而休憩。毛羽丰润，神态生动。芦苇三两茎衬托其后，复有残荷几叶，益增萧瑟意境。",[2495,2496,2497,2577,2546,2500,2499,12584,3776,3763,2977,6206,2552],"芦雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcea1feefdf4bd8b3e2a362c9f20c1525.jpg","149.7x62.7公分、全幅 90公分",[6,2626],{"id":1144,"slug":12589,"title":12590,"dynasty":2490,"author":12591,"museum":2763,"description":12592,"tags":12593,"thumbUrl":12596,"material":2567,"size":12597,"collection":2968,"collections":12598,"showCount":12487,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"xi-gu-yu-fu-tu-zhu-bang-220444","溪谷渔父图","朱邦","此作描绘溪谷渔父的工作景象，是浙派流行的画题之一。其笔墨淋漓酣畅，造型生动活泼，充分表现民间市井的口常作息。值得注意的是，由于现今存留于世的浙派作品，多数画家款识不是被割裂删除，就是被改名换姓，而造成原创作者的真实身份扑朔迷离，难辨真假。但是近年来通过各方学者的努力，多位浙派画家的身影已逐渐现形。这次馆方也展出了几件无款浙派作品，希望藉此次展览广邀各界来找寻作者真相。",[2496,2497,2499,2509,2500,2501,2503,2504,12594,2549,2578,2987,2988,2913,12595,11445,2506,4452,11447,5872],"渔父","溪谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60d0d08df49234fa618b3fb40d90c219.jpg","159.5X100.5cm",[2968,6],{"id":1145,"slug":12600,"title":12601,"dynasty":2632,"author":5673,"museum":2673,"description":12602,"tags":12603,"thumbUrl":12605,"material":12606,"size":12607,"collection":6,"collections":12608,"showCount":12487,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"song-he-ming-qin-tu-wu-li-220372","松壑鸣琴图","本图为吴历中年之作，自识：“忆予与天球学琴於山民陈先生，不觉二十馀年矣。予欲写松壑呜琴图以寄意，常苦少暇。今从客归，久雨初晴，仅得古人形似并题七言：'琴声忆学鸟声圆，辛苦同君二十年。今日听松与涧瀑，高山流水不须弦。甲寅年小春廿日延陵渔山子吴历’。”下钤“吴历”、“家在桃溪深处”二印。",[2495,2496,2497,2577,2499,2509,2501,2779,2507,2690,10259,6501,2506,2549,2613,2651,2614,2880,6284,2653,12604,11816],"笔法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43f1ae5df2a2b2579a5aa0ea6073745c.jpg","设色,水墨","纵103cm，横50.5cm",[6],{"id":1146,"slug":12610,"title":12611,"dynasty":2632,"author":6249,"museum":10843,"description":12612,"tags":12613,"thumbUrl":12614,"material":2732,"size":12615,"collection":6,"collections":12616,"showCount":12487,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"nan-xu-shan-shui-tu-cha-shi-biao-220238","南徐山水图","查士标（1615-1698），字二瞻，号梅壑散人，安徽休宁人，后寓扬州。出身望族，博雅好古。富收藏，家藏古铜器和宋、元人书画真迹甚多，因此精于鉴赏。他早年作画师从倪云林，以后参用吴镇、董其昌笔法，用笔简练，惜墨如金，皴染不重，风神懒散，气韵荒寒，被推为“逸品”，画史把他和弘仁、汪云瑞、孙逸合称为“新安四家”。",[2495,2496,2497,2577,2499,2509,2501,2593,3839,2505,2549,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b746ab0c70caf76479ceb2c83727f26.jpg","138×52厘米",[6],{"id":1147,"slug":12618,"title":12619,"dynasty":2632,"author":5834,"museum":2673,"description":12620,"tags":12621,"thumbUrl":12622,"material":2597,"size":12623,"collection":6,"collections":12624,"showCount":12487,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"mao-lin-shi-bi-zhou-yun-shou-ping-220105","茂林石壁轴","恽寿平（公元1633—1690年），清代书画家。初名格，字寿平，后以字行，改字正叔，号南田、白云外史等，江苏武进人。他一生坎坷，以卖画为生。其山水宗宋、元诸家，尤得益于黄公望。后改习花鸟，其没骨花卉创一代新风，为“清初六大家”之一。 亦工诗、朽，著有《瓯香馆集》、《南田诗抄》。传世作品有《落花游鱼图》轴、《锦石秋花图》轴等。",[2495,2496,2577,2499,2501,2509,2507,4388,3636,2902],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5da1eec41de8c823ec9d4768363849cc.jpg","纵118厘米，横57厘米",[6,2626],{"id":1148,"slug":12626,"title":12627,"dynasty":2632,"author":12628,"museum":2763,"description":12629,"tags":12630,"thumbUrl":12631,"material":2512,"size":12632,"collection":6,"collections":12633,"showCount":12487,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"feng-dong-tu-ye-xin-220078","风洞图","叶欣","叶欣（生卒年未详，公元17—18世纪)，字荣木，华亭(今上海市松江)人，流寓江苏金陵(今南京)，书画家。善山水，学宋赵令穰法，复师明姚允在之意，能独抒性灵。山水画素以“工细幽淡”著称。\n叶欣的山水画素以“工细幽淡”著称，所作野岭荒烟，孤城古渡，大有令人动秦月汉关之思。此画描绘春游之景，在桃花三月，荡舟于青湖绿山之中，徜徉于烟雾弥漫的秀丽中，陶陶然如醉如痴。此画用笔轻灵，墨色清淡，景致悠远，意境秀雅，真所谓“淡远又淡远，淡远以至于无”的情趣。",[2495,2496,2833,2499,2509,2507,2506,2549,4442,3136,2510,2547,2511],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51675d8aeea351bbbd90ae98e8b724b.jpg","88.2X52.3",[6],{"id":1149,"slug":12635,"title":12636,"dynasty":2632,"author":8473,"museum":2634,"description":12637,"tags":12638,"thumbUrl":12639,"material":2732,"size":12640,"collection":6,"collections":12641,"showCount":12487,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-jing-po-zhou-tu-dai-ben-xiao-219991","山径泊舟图","戴本孝（1621年－1691年），和州（今安徽省和县）人。字务旃，号前休子，终生不仕，以布衣隐居鹰阿山，故号鹰阿山樵，别号黄水湖渔父、太华石屋叟等，清代新安派画家之一。",[2495,2496,2499,2509,2577,2501,2677,2902,2550,2504,11003],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04e7c0febcd0f56ffa4fd38b837a6abc.jpg","132cm×60cm",[6],{"id":1150,"slug":12643,"title":12644,"dynasty":2490,"author":8264,"museum":5182,"description":12645,"tags":12646,"thumbUrl":12647,"material":2597,"size":12648,"collection":6,"collections":12649,"showCount":12487,"zanCount":3198,"manualWeight":2517,"mainColor":4670},"qian-shan-xue-ji-tu-song-xu-219869","千山雪霁图","宋旭（1525―1606年后），字初穤，号石门、石门山人，（明画录作字初旸，式古堂书画汇考作字初旸，号石门）。后为僧，法名祖玄，又号天池发僧、景西居士。湖州（今浙江省湖州市）人，为“苏松画派”的先声，为吴门派支流。博宗内外典，通禅理。善山水，兼长人物。万历间名重海内。师沈周，学有师承，故出笔逈不犹人。其山头树木，苍劲古拙，巨幅大幛，颇有气势。与云间莫廷韩，入芟山社绘白雀寺壁，时称妙绝。赵左、沈士充、宋懋晋等都出于他的门下。其识款喜用八分书。万历三十三年（一六o五）作罗汉图、平沙落雁图，时年八十一。《嘉兴府志》、《明画录》、《无声诗史》、《图绘宝鉴续纂》、《读画辑略》、《珊瑚网》。传世作品有藏于故宫博物院的《五岳图》卷及上海博物馆藏《天香书屋图》轴等。",[2496,2499,2509,2577,2501,3078,2714,2593,3091,2502,2503,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c9e6bf704b2ff11a1d07aa4c3c75b19.jpg","151.8x79cm",[6],{"id":1151,"slug":12651,"title":12652,"dynasty":2605,"author":12653,"museum":2818,"description":12654,"tags":12655,"thumbUrl":12656,"material":2567,"size":2598,"collection":6,"collections":12657,"showCount":12487,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"gui-zhou-tu-yang-an-dao-218596","归舟图","杨安道","绢素底色晕开时光的温厚，近岸层岩以皴笔刻出苍劲肌理，岸边茅亭隐于林麓，似含待归之意。中流归舟破水而行，船篷织纹细密如织，舟子俯身撑篙，浪涛翻涌处，笔触如丝缕缠连，尽现江水柔劲与动荡。远处峰峦淡染烟霭，山影浮沉于水色之间，天地悠远尽纳圆幅。细劲线条勾摹山水清旷，墨色层次含蓄蕴藉，既见自然之浩渺，又藏归舟之温情——烟波里每道波纹，皆似诉说归途远近，观者于静谧中触到羁旅者的心跳，于方寸间感怀天地与人心的交融。",[2495,2496,2544,5225,2500,2501,2504,11445,2651,2503,2547,2505,2987],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe97e0d78ead1baca9afea6b99613fa71.jpg",[6],{"id":1152,"slug":12659,"title":12660,"dynasty":2522,"author":3431,"museum":2492,"description":12661,"tags":12662,"thumbUrl":12663,"material":2567,"size":12664,"collection":6,"collections":12665,"showCount":12487,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"guang-han-gong-tu-yi-ming-218205","广寒宫图","广寒宫图是一幅来自中国元朝时期的著名绘画作品，作者佚名。它描绘了广寒宫的景象，广寒宫是中国古代皇宫的一部分，位于北京的城内，是皇帝和皇后居住的地方。\n\n这幅画的风格具有浓厚的中国传统特色，使用了鲜艳的色彩和精细的线条来描绘出广寒宫的建筑物和景观。画中的建筑物包括皇宫的宫殿、庙宇和院落，景观包括花园、池塘和树木。\n\n广寒宫图还描绘了当时皇帝和皇后的生活，展示了他们的日常活动，如游览、观赏歌舞表演等。这幅画作出现在中国元朝时期，当时的皇帝是元世祖，他在位期间推行了著名的文化复兴运动，使得艺术、文学和学术得到了极大的发展。广寒宫图也反映了这一时期的艺术特点，是中国元朝时期艺术发展的重要见证。",[2496,2544,2497,2577,2790,2500,2550,3964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95f95b3c5c0f8d9489dcbed3fb582630.jpg","75.6x62.1cm",[6],{"id":1153,"slug":12667,"title":12668,"dynasty":2522,"author":3431,"museum":5068,"description":12669,"tags":12670,"thumbUrl":12671,"material":2567,"size":12672,"collection":6,"collections":12673,"showCount":12487,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"xue-jian-shan-xing-tu-yi-ming-217913","雪涧山行图","整幅画浓烈的冬日氛围使人感到温馨舒适。画家巧妙地运用色彩与线条，使得画面生动而富有层次感。这幅画不仅展示了元朝人民的传统冬季活动，更展示了画家对冬季自然美景的热爱与描绘能力。",[2496,2544,2497,2501,2500,2509,3166,2503,2714,2800,2578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ddf65cbaf189045f36b411463d3189b.jpg","22.5x24.7cm",[6],{"id":1154,"slug":12675,"title":5214,"dynasty":2522,"author":8648,"museum":5182,"description":12676,"tags":12677,"thumbUrl":12678,"material":2512,"size":12679,"collection":6,"collections":12680,"showCount":12487,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"yun-shan-tu-fang-cong-yi-217890","这幅图画描绘了云山之间的壮丽景色。方从义精细地捕捉了云山间的层次感，并使用清晰的线条勾勒出了山体的轮廓。同时，他还运用了多种不同的颜色来表现云山的美丽，让图画整体看起来十分生动。\n\n除了描绘自然景色，云山图中还有许多人物和动物的身影。这些人物和动物与山体相互呼应，使图画看起来更加真实。\n\n总的来说，云山图是一幅令人惊叹的艺术杰作，值得一看。",[2496,2497,5225,2499,2509,2501,3208,2714,2593,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F027831a0ebcaf82168a5a483608c7ea1.jpg","22.9x25.1cm",[6],{"id":1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此图即为姚廷美结合李、郭与董、巨两派画法而又具备自家风貌的代表作。图中画大树枝叶茂盛，后有草堂，前有乱石，一高士正临流独坐。画面右部浅滩与对岸远山遥相呼应，使空间更加开阔深远。因为是综合两派画法而又寻求自家风格，所以笔墨生拙质朴，脱略前人蹊径。",[2495,2496,2833,2509,2500,6456,2507,3091,2690,2502,2612,2506,5052,2508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecff78b31d250b799136e520b6ccc06c.jpg","98.1× 54cm",[6,2534],{"id":1169,"slug":12789,"title":12790,"dynasty":2605,"author":4060,"museum":2673,"description":12791,"tags":12792,"thumbUrl":12793,"material":4324,"size":12794,"collection":2624,"collections":12795,"showCount":12689,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"chun-shan-tu-quan-juan-yan-su-221428","春山图(全卷)","燕肃(公元991—1040年)字穆之。祖籍青州益都(今山东青州)，后迁居于阳翟(今河南禹县)。真宗朝进士，官至龙阁直学士，礼部尚书，颇有政绩。巧思过人，有不少发明创造，是一位很有成就的科学家。工诗，善作水墨山水，亦能作壁画。作竹有超然之气，能脱离画工尺度，使之有诗人清丽的神韵。此图描绘了一幅春山水乡的风光。图中群峰耸立，飞瀑长流，一条山道穿谷而过，远山形貌隐约，山下林木苍翠，清溪迂缓，水泽开阔，木桥横卧而联属，水滨点辍着茅舍草屋、水亭渔舟。图中几人或在亭内吟诗，或在水边捕鱼，有的赶马，有的送客，一派生机盎然的景象。此图用笔简练，墨色凝重，风格质朴自然。无作者款印，卷后有36家题跋，分别出自元明时期文人名流，如虞集、刘基、唐肃、徐贲等，从跋文中可以推断此图为燕肃所作。图上钤有、、、诸印及清内府收藏印。《石渠宝笈初编》著录。",[2495,2496,2497,2498,2499,2500,2501,2502,2503,2677,2578,2505,2552,2509,2510,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88542d532ea368288a52e16a96eaf191.jpg","纵47.3厘米，横115.6厘米",[2624,6,2626],{"id":1170,"slug":12797,"title":12798,"dynasty":2605,"author":3431,"museum":2563,"description":12799,"tags":12800,"thumbUrl":12803,"material":2567,"size":12804,"collection":2624,"collections":12805,"showCount":12689,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"tong-shi-xiu-ling-zhou-yi-ming-221236","桐实修翎轴","画面留白空灵悠远，尽显极简造境之妙。禽鸟停驻桐枝，翎毛刻画细致入微，茸绒毕现，抬首凝伫间神态机警灵动，将野雀鲜活生姿定格绢素。\n\n桐叶与桐实以水墨晕染，墨色苍润层次分明，枯枝虬曲苍劲，古朴野逸。全画笔法兼具工细与写意，写实中饱含清雅诗意，将林下一隅的幽寂生趣尽致展现，尽显格物致知的审美意趣，淡墨轻岚间晕开沉静古雅的宋韵风神。",[2495,2496,2544,2577,3010,2546,2500,9951,12801,12802,2547],"树枝","桐实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb521334d6a0b978dd8fa170f2109cdc2.jpg","纵103.4cm，横33cm",[2624,6,2626],{"id":1171,"slug":12807,"title":12808,"dynasty":2490,"author":8359,"museum":2673,"description":12809,"tags":12810,"thumbUrl":12811,"material":2567,"size":12812,"collection":6,"collections":12813,"showCount":12689,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"xia-qi-shi-ze-ye-zhou-chen-220104","夏畦时泽页","周臣（生卒年不祥），字舜卿，号东村，吴县（今江苏苏州）人，活动于15世纪末至16世纪初。擅画山水、人物、花鸟，画法主宗南宋李唐、马远等院体画风，并受文人画的一定影响，功力深厚。周臣是一位富有创新精神的职业画师，为了适应人们的欣赏趣味，他一方面突破职业画家的局限，创作了大量以文人生活为题材的作品，一方面尝试在技法上学习文人画的笔墨情趣，使其作品具有周密雄劲而又清旷秀美的格调，在画坛上独树一帜。唐寅、仇英为其门下高足。",[2496,2497,2544,2546,2500,2509,2501,2502,2503,2506,2507,2549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff81796ca826f29f94a83e6abdbb346ff.jpg","纵31.3cm，横26.4cm",[6],{"id":1172,"slug":12815,"title":12816,"dynasty":2632,"author":12817,"museum":4366,"description":12818,"tags":12819,"thumbUrl":12820,"material":2597,"size":12821,"collection":6,"collections":12822,"showCount":12689,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"meng-you-tian-tai-tu-qian-du-219981","梦游天台图","钱杜","此卷作于嘉庆十九年甲戌（1814 年）三月，钱杜时年50岁。上款“云伯”即清代诗人陈文述。陈文述（1771～1843）初名文杰，字谱香，又字隽甫、云伯，英白，后改名文述，别号元龙、退庵、云伯，又号碧城外史、颐道居士、莲可居士等，钱塘（今浙江杭州）人。嘉庆时举人，官昭文、全椒等知县。诗学吴梅村、钱牧斋，博雅绮丽，在京师与杨芳灿齐名，时称“杨陈”，著有《碧城诗馆诗钞》、《颐道堂集》等。据《陈鸿寿年表》，这一年画家当与陈文述同在溧阳。按画卷上的题跋，钱杜是在春天画成此画，到七月秋天的时候，钱杜到吴中桂叶书堂，展玩已经装裱成卷的《梦游天台图卷》，即兴在卷后补题诗一首。",[2495,2496,2499,2498,2510,2547,2509,2501,2507,2506,2611,3057,2595,2614,2613,2578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1613412aaaf28443ed367cc74a41e904.jpg","29.8X131厘米",[6],{"id":1173,"slug":12824,"title":3355,"dynasty":2490,"author":7344,"museum":6780,"description":12825,"tags":12826,"thumbUrl":12827,"material":2567,"size":12828,"collection":6,"collections":12829,"showCount":12689,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"han-jiang-du-diao-tu-zhu-duan-219941","朱端，是以粗放笔墨为特色的浙派后期代表性画家之一，其山水师法戴进等浙派早期名家，后溯源两宋，尤其马夏画法为重，本图是以雪景山水作品，水墨绢本，略带淡彩，有明显梁楷、牧溪笔意，构图空旷，笔意悠远，体现作者内心渴望的一种寂静与禅意。此作曾为曼殊院旧蔵品，现存于东京国立博物馆。",[2495,2496,2544,2497,2577,2499,2509,2501,2504,2821,3091,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46e54c1695abeb8054da50fc4026f2a3.jpg","171.9×109.0cm",[6],{"id":1174,"slug":12831,"title":12832,"dynasty":2632,"author":5047,"museum":2973,"description":12833,"tags":12834,"thumbUrl":12835,"material":2512,"size":12836,"collection":6,"collections":12837,"showCount":12689,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"ceng-luan-qiu-ji-tu-wang-hui-219912","层峦秋霁图","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。",[2496,2833,2500,2509,5549,2527,2506,2613,2507,5116,2614,2690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F088fa3e078227eb0f8335ab5623452f8.jpg","142x66.1cm",[6],{"id":1175,"slug":12839,"title":7469,"dynasty":2632,"author":2830,"museum":2673,"description":7471,"tags":12840,"thumbUrl":7473,"material":2567,"size":12841,"collection":6,"collections":12842,"showCount":12689,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"du-fu-shi-yi-tu-wang-shi-min-219747",[2495,2496,2497,2498,2833,2499,2500,3155,2506,2507,2613,2502,2505,2503,2677],"纵39厘米，横25.5厘米",[6],{"id":1176,"slug":12844,"title":12845,"dynasty":2490,"author":12214,"museum":3121,"description":12846,"tags":12847,"thumbUrl":12848,"material":2512,"size":2598,"collection":6,"collections":12849,"showCount":12689,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"xun-yang-song-ke-tu-ding-yun-peng-219715","浔阳送客图","此作以平远之法铺陈秋江暮色，设色清隽雅致。远景山峦以淡墨轻晕，烟岚空蒙，晕染出江天寥廓的空寂。江岸枯木萧疏，苍松虬然挺立于岩岫之间，为凄清秋意晕开一抹苍劲生机。\n\n画中江畔舟中对坐执盏，将临别之际的缱绻不舍凝于咫尺。线条清劲柔婉，山石林木以赭石花青轻染，带着吴门画派的温润秀雅，以简淡意境烘托出离别的黯然销魂，将诗文里的浔阳别绪藏进苍茫江色，淡而韵长，尽写古人送别的缱绻情深。",[2496,2500,2546,2501,2549,2504,2506,2507,2528,2509,2577,2510,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4df47f62d0026f7a3a39ac0a0b6aecb.jpg",[6],{"id":1177,"slug":12851,"title":5287,"dynasty":2490,"author":12852,"museum":2997,"description":12853,"tags":12854,"thumbUrl":12855,"material":2512,"size":12856,"collection":6,"collections":12857,"showCount":12689,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"fang-gu-shan-shui-ce-yun-xiang-219677","恽向","恽向（1586--1655）明代画家。原名本初，字道生、曙臣，号香山，武进（今属江苏）人。崇祯末举贤良方正，授内阁中书舍人。擅诗文工山水，早年学董源，巨然，以悬肘中锋作画，骨力圆劲，浓墨润湿，纵横淋漓，自成一派，晚年敛笔于倪瓒、黄公望的风格，惜墨如金，挥洒自如，妙合自然。由于他常往来于齐鲁之间，并登临泰山，故笔下山水自然雄浑之气。他曾为周亮公画山水，自题云：“逸品之画，笔似近而远愈甚，似元而有愈甚；其嫩处如金，秀处如铁，所以可贵，未易为俗人道也。”",[2592,2500,2511,2547,2509,2501,2714,2578,2504,2503,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a9216d1ebee0a965f0c8cc37df5f44c.jpg","26x15.2",[6],{"id":1178,"slug":12859,"title":12860,"dynasty":2490,"author":6616,"museum":2673,"description":12861,"tags":12862,"thumbUrl":12863,"material":2499,"size":12864,"collection":6,"collections":12865,"showCount":12689,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"wei-wu-kuan-zuo-shan-shui-tu-du-qiong-219206","为吴宽作山水图","此图绘深山幽谷，溪桥流水，林木草屋，极为森藐悠远。构图饱满繁密，用笔秀润苍健，画风慎密清逸，格调高远古朴，意境深邃澹然。",[2495,2496,2499,2509,2577,2501,2506,2507,2503,2504,2502,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde3d1b0e984c125a383b3b438fdff855.jpg","纵108.2cm，横38.2cm",[6],{"id":1179,"slug":12867,"title":12868,"dynasty":2632,"author":3431,"museum":2589,"description":12869,"tags":12870,"thumbUrl":12871,"material":2567,"size":12872,"collection":6,"collections":12873,"showCount":12689,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"huang-cun-du-shu-yi-ming-218093","荒村独尌","这幅画主要描写了荒凉的村庄和孤独的农夫生活。表达了农民面对贫穷和困难时的悲惨心情。该画中使用了许多自然形象，如荒芜的田野、萧条的树木、寂寞的河流等，来描绘出农民贫困的生活环境。",[2495,2496,2577,2499,2500,2501,2578,3155,2508,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2c2315df54f03804acdb72342539551.jpg","94x44.6cm",[6],{"id":1180,"slug":12875,"title":3183,"dynasty":2490,"author":12876,"museum":2589,"description":12877,"tags":12878,"thumbUrl":12880,"material":2512,"size":12881,"collection":6,"collections":12882,"showCount":12689,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"shan-shui-tu-huang-qin-218091","黄溱","黄溱是明朝时期的一位著名山水画家。他的山水画风格独特，笔力清晰而富有张力，善于表现大自然的神韵和精神内涵。\n\n黄溱的山水图常常被视为“水墨山水画的巅峰之作”。他善于运用水墨画的特色，在画面中运用点、线、面三种基本元素，给人以一种清新自然、平和祥和的感觉。在他的山水图中，山峰挺拔，水流潺潺，构图精妙，富有层次感。同时，他还注重细节的表现，如树木的枝叶、山峰的峰顶、云的形态等都是细致而生动的。\n\n黄溱的山水图不仅对后世的山水画家产生了巨大的影响，也为我们展现了明朝时期浓郁的文化气息和自然风光。",[2495,2496,2499,2501,2544,2577,2502,2503,2527,2506,12879,3502,2510,2547,2509],"亭舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea7f968486d57ed34a990414f516411c.jpg","89.4x47.6cm",[6],{"id":1181,"slug":12884,"title":5214,"dynasty":2490,"author":12885,"museum":5182,"description":12886,"tags":12887,"thumbUrl":12888,"material":2567,"size":12889,"collection":6,"collections":12890,"showCount":12689,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"yun-shan-tu-he-cheng-217944","何澄","《云山图》是一幅山水画，描绘的是山峦起伏的山岭，被浓密的云雾笼罩。何澄在画中运用了笔触细腻的技巧，将云山的起伏变化和神秘感表现得淋漓尽致。画中还有几只飞鸟，增添了画面的生动感。\n\n《云山图》被认为是何澄的代表作，也是明朝山水画的经典之作。它不仅体现了何澄的艺术才华，也展示了明朝时期对自然、山水的描绘方式。",[2496,2497,2577,2499,2501,3208,2714,2715,2506,2677,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F668c05cfb3d1386b314e770bdd9f091c.jpg","94.6x39.1cm",[6],{"id":1182,"slug":12892,"title":12893,"dynasty":2605,"author":3431,"museum":2492,"description":12894,"tags":12895,"thumbUrl":12896,"material":2567,"size":12897,"collection":6,"collections":12898,"showCount":12689,"zanCount":3198,"manualWeight":2517,"mainColor":4670},"xi-qiao-gui-qi-tu-yi-ming-217068","溪桥归骑图","《溪桥归骑图》是一幅综合了山水、人物和动物的图画。画中，山水景色非常美丽，清澈的小溪流过葱郁的山谷，山峰高耸入云，森林茂密，景色宜人。在溪边，一名骑马而归的男子和他的马从远处走来，似乎是从旅行中归来。画中还有许多生动的动物，如嬉戏的鹿、石鸡等。",[2496,5225,2501,2960,2549,2502,2509,2500,2544],"https:\u002F\u002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山西太原人。明清时期道家思想家、书法家、医学家。\n傅山自称为老庄之徒，他自己也在很多场合与作品中反复强调、自陈：“老夫学老庄者也”、“我本徒蒙庄”、“吾师庄先生”、“吾漆园家学”。自觉继承道家学派的思想文化。他对老庄的“道法自然”、“无为而治”、“泰初有无”、“隐而不隐”等命题，都作了认真的研究与阐发，对道家传统思想作了发展 ,常以老庄之徒自居。\n傅山于学无所不通，经史之外，兼通先秦诸子，又长于书画医学。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态”。 [3] 著有《霜红龛集》等。一些武侠小说里，傅山被描写为武侠高手。他是著名的道家学者，哲学、医学、内丹、儒学、佛学、诗歌、书法、绘画、金石、武术、考据等无所不通。他被认为是明末清初保持民族气节的典范人物。\n傅青主与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”。著有《傅青主女科》《傅青主男科》等传世之作，在当时有“医圣”之名。《清史稿》卷五百一有传。",[2544,2496,2497,2577,2499,2509,2501,6492,2506,2507,2549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa85371dd8be5ee5e07f223747997c78c.jpg",[6,2626],39,{"id":1185,"slug":12921,"title":3490,"dynasty":2632,"author":5644,"museum":2818,"description":11775,"tags":12922,"thumbUrl":12923,"material":2598,"size":2598,"collection":6,"collections":12924,"showCount":12919,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-zhou-kun-can-236915",[2496,2499,2509,2577,2510,2547,2501,2550,2507,2506,3736,2730,2595,2614,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfe511ee2e75e086c05f0dfcddd70af4.jpg",[6,2626,6382],{"id":1186,"slug":12926,"title":12927,"dynasty":2632,"author":3431,"museum":2673,"description":12928,"tags":12929,"thumbUrl":12931,"material":2720,"size":2598,"collection":2870,"collections":12932,"showCount":12919,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"hong-li-gu-zhuang-tong-jing-ping-yi-ming-236178","弘历古装通景屏","此作以高远法铺展冬日盛景，层叠群山覆着素雪，枯木寒林错落山间，淡墨晕染留白尽显积雪清寒之气，绘出北地冬日的萧寒辽远。\n\n下方宅邸界画工整流利，屋舍俨然。庭院之内人物往来鲜活灵动，或伫立寒暄，或穿梭备事，衣饰鲜亮，为清冷天地晕开融融暖意。画面以萧寒雪景衬宅邸温煦日常，一动一静相映成趣。笔触兼具北宗山水的苍劲雄浑与院体精工之致，将幽居雅集的闲逸意趣，融在素裹天地之中，清冷意境与人间暖意交织，尽显古典园居的雅致韵味。",[2496,2497,12930,2500,2546,2790,2501,2550,2549,2506,3166,2880],"屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fded276fb2933bdf92b40267c15571dff.jpg",[2870,6,2968,2534],{"id":1187,"slug":12934,"title":12935,"dynasty":2632,"author":10600,"museum":2673,"description":12936,"tags":12937,"thumbUrl":12938,"material":2531,"size":12939,"collection":6,"collections":12940,"showCount":12919,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"qiu-lin-ye-zhang-tu-zhou-zhang-yu-sen-236112","秋林曳杖图轴","该图构图险中求隐，用笔多变灵活，细皴密点，石作卷云，水作横波，松枝虬曲披靡，既得茂蔚之姿，又获空灵之气，设色优美，不落俗套。\n张雨森，生卒年不详，初名雨，字作霖，一字紫琅，号苍野，安徽当涂人，经子，工山水，得文家风韵。善泼墨，惜用墨皆渗以胶。亦善画花鸟。乾隆时曾供奉内廷。",[2496,2544,2577,2501,2500,2509,2502,2503,2507,3483,7941,2505,2611],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff7483aa2c190af398b7e81ccbdcca24.jpg","纵157厘米，横100厘米",[6,2534],{"id":1188,"slug":12942,"title":2587,"dynasty":2490,"author":11316,"museum":2818,"description":12943,"tags":12944,"thumbUrl":12946,"material":2598,"size":2598,"collection":6,"collections":12947,"showCount":12919,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-li-liu-fang-235817","此作以平远视角绘就郊野秋光，浅滩秋水澄澈空蒙，远岸林影澹澹如幻。近岸杂木荣枯相间，掩映村居茅舍，草垛朴拙错落，尽是乡野闲趣。\n\n笔墨简淡苍润，以淡赭晕染出温柔秋意，勾勒皴擦松灵随性，无浓艳铺陈，却将江南秋日的清寂闲适尽数铺展。搭配题诗相映成趣，师法吴门风神，把文人幽居的澹然襟怀融于浅淡笔墨间，萧散天真，尽显晚明文人画雅逸空远的意趣，于平淡间见风神。",[2496,2497,2592,2499,2500,2509,2501,2506,2507,2508,2528,5559,12945,3636,3696,3502,2594],"淡彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9287426ebcc1b5a52c748d89a972a0b.jpg",[6,2870],{"id":1189,"slug":12949,"title":2761,"dynasty":2632,"author":5673,"museum":2818,"description":12950,"tags":12951,"thumbUrl":12952,"material":2598,"size":2598,"collection":6,"collections":12953,"showCount":12919,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-ce-wu-li-235638","此作用笔苍秀，干笔皴擦间墨色清润澹远。近岸枯木虬曲，石径隐于荒草间，寒林错落自具苍劲姿态。水畔茅亭孑立，空无一人，愈发衬出周遭岑寂。远景汀渚层叠，烟波留白晕出水天浩渺，将江南水滨冬日的荒寒淡远尽数铺陈。\n\n画面萧疏冷寂，题句呼应着幽栖独处的意趣，以简淡笔墨写尽林泉幽致，尽显文人画的雅致襟怀，把避俗幽居的澹泊心境融于山水间，空濛冷逸，意境萧散清远。",[2496,2499,2501,2592,2509,2505,2578,2503,2677,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd513fedc147c373822b59addc09428d0.jpg",[6],{"id":1190,"slug":12955,"title":12956,"dynasty":2490,"author":7219,"museum":2563,"description":12957,"tags":12958,"thumbUrl":12960,"material":2512,"size":12961,"collection":6,"collections":12962,"showCount":12919,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"ming-wen-bo-ren-fang-hu-tu-wen-bo-ren-231418","明文伯仁方壶图","《明文伯仁方壶图》描绘的是碧波万顷、祥云缭绕中，有仙岛浮现，道观数处隐于其间。依道教传说：仙山有五，方壶山即其一。即言：“渤海之东，不知几亿万里，有大壑焉。其中有五山焉:一曰岱舆，二曰员蟜，三曰方壶，四曰瀛洲，五曰蓬莱。”此画既取材于道教，所以在上方题名及下方款识处，也仿照了早期释道画加框榜题的习惯。此图无论在翻卷的波涛、飘动的云海或是尖拔的山峰、茂密的叶木，皆处处著笔繁谨，设彩明丽，呈现出家学的细笔画风。",[2495,2496,2500,2546,2547,2501,3208,2714,2715,2690,2506,5884,12959],"桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25cb1e79d895645a041522290ad040b2.jpg","纵120.6公分、横31.8公分",[6],{"id":1191,"slug":12964,"title":12965,"dynasty":2632,"author":4496,"museum":2673,"description":12966,"tags":12967,"thumbUrl":12968,"material":2720,"size":12969,"collection":6,"collections":12970,"showCount":12919,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-yu-yu-lai-tu-zhou-yuan-yao-223289","山雨欲来图轴","本幅自题：“山雨欲来风满楼，袁耀拟意。”钤“袁耀之印”、“昭道氏”印2方。\n此幅取唐代诗人许浑《咸阳城东楼》诗意，原诗为“一上高城万里愁，蒹葭杨柳似汀洲。溪云初起日沉阁，山雨欲来风满楼。鸟下绿芜秦苑夕，蝉鸣黄叶汉宫秋。行人莫问当年事，故国东来渭水流。”画面描绘暴雨来临前乌云狂风之下的建筑。黑沉沉的浓云正滚滚而来，弓曲的树木、低伏的庄稼、飘摇的小舟、逆风而行的农夫以及状貌扭曲、高耸危人的山岩都为画面增添了戏剧性的紧张情节和内在张力。风本无形，但画家创造性地用富于动感的笔调将闲雅剔透的静态楼阁穿插在充满动感的山水中，构成画面的诸多元素对比呼应而又谐调冲和，在动静之间达到平衡。",[2495,2496,2577,2790,2501,2550,2507,2506,2614,2504,2500,2509,2549,2821,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e7ab7029b365df7bfd3780da6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譬若古贞士，终身伴菜根。”",[2495,2496,2497,2577,2499,2509,2677,13000],"丛卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8502ef94696876ba6fce97d697a6ca9.jpg","52.60x28.60cm",[6,2626],{"id":1196,"slug":13005,"title":13006,"dynasty":2490,"author":8324,"museum":2563,"description":13007,"tags":13008,"thumbUrl":13009,"material":2598,"size":13010,"collection":6,"collections":13011,"showCount":12919,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"hua-jiao-yuan-shi-er-jing-ce-liang-xin-tang-shen-shi-chong-222329","画郊园十二景册－凉心堂","沈士充，明代画家，生卒年不详。字子居，华亭（今松江属上海市）人。出宋懋晋之门，兼师赵左。郡人能画者多师之\n他擅长画山水画，笔法松秀，墨色华淳，皴染淹润，画山很少有突兀之势，清蔚苍古.所作山水，丘壑蓓葱，皴染淹润，为云间正传。松江画派的正宗人。他常为董其昌代笔.陈继儒（一五五八-一六三九）札云：“子居老兄：送去白纸一幅，润笔三星，烦画山水大堂。明日即要，不必落款，要董思老出名也。”今赝董画充塞天下，若沈士充、赵文度（左）作，已为上驷矣。万历四十六年（一六一八）作山水扇，见风雨楼扇粹，崇祯六年（一六三三）作寒林浮霭图、四时山水卷。《明画录、无声诗史、图绘宝鉴续纂、桐阴论画、松江志》\n沈士充是明末“松江派”的画家，陈继儒写给他求为董其昌代笔作画的一封信，已成了后世美术史家研究董其昌与松江绘画的重要史料。其实他的画笔，与董其昌判然有别。沈氏长于构图，皴染周至，是技巧纯熟的作家画；董氏用笔生秀，不拘形模，是但称己意的士夫画。有：《仿古山水图》卷及《天香书屋图》轴，现藏故宫博物院；《山楼观稼图》 轴、《寒塘渔艇图》轴 、《寒林浮霭图》轴 [3] 现藏故宫博物院；《秋林水阁图》轴，藏南京博物院；《仿黄公望天池石壁图》卷，辑入《沈子居陈眉公书画合壁》单印本。",[2495,2496,2497,2592,2500,2499,2501,2509,2502,2503,3091,2902,3900,2507,2690,3736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdffa2c0791df43a9dd53e4e0c8c7774a.jpg","69.4x52.5厘米",[6,2534],{"id":1197,"slug":13013,"title":13014,"dynasty":2490,"author":10590,"museum":2563,"description":13015,"tags":13016,"thumbUrl":13018,"material":2512,"size":13019,"collection":6,"collections":13020,"showCount":12919,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xi-tong-tu-zhou-qian-gu-222087","洗桐图轴","此图以人物为主，其背景作为陪衬，在画幅左下角画有连绵不断的山石，山石向竹草从杂\n此图绘一高士，坐在圏手椅上，头戴浩然巾，面日清瘦，身着宽服长袍，宽袖，双脚露出，双手扶在手椅上。圏手椅形制如栲佬式，传说唐代诗人孟浩然始用，明清时为流行，常用于文人逸士。这位高士仰首观望二童子洗园中一棵桐树，桐树下一童予抬水桶，往上使劲，又有一童子蹬坐在树楼上，左手扶着桐树枝，右手正用力吊起水桶为洗桐之用，另一童穿着开襟宽袖长服，持有鹅毛扇伫立于高土左侧，亦在目不转珠地望着两个孩童洗桐的情景。",[2495,2496,2497,2577,2500,2546,2549,2593,2507,13017,5137,2547],"家具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5caf239e655e2b04c3f4276936b930.jpg","纵129.8厘米，横445厘米",[6,2534],{"id":1198,"slug":13022,"title":13023,"dynasty":2522,"author":12281,"museum":2563,"description":13024,"tags":13025,"thumbUrl":13026,"material":3044,"size":13027,"collection":6,"collections":13028,"showCount":12919,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"bai-zhang-quan-zhou-chen-ru-yan-221915","百丈泉轴","陈汝言（生卒年不详），元末明初画家、诗人。字惟允，号秋水，临江清江（今江西樟树市）人，后随其父移居吴中（今江苏苏州）。能诗，擅山水，兼工人物。与兄陈汝秩（字惟寅）齐名，时人呼为大髯小髯。\n陈汝言画山水远师董源、巨然，近宗赵孟頫、王蒙，行笔清润，构图严谨，意境幽深。与王蒙契厚，传说王蒙在泰安时，曾面泰山作画，随兴所至，不时加笔，一幅图画了三年。陈汝言正巧来访，时遇大雪，他便用小弓挟粉笔弹在画上，将图改作雪景。王蒙叫绝，以为神奇，遂改题为《岱宗密雪图》。",[2495,2496,2497,2577,2499,2509,2501,2611,2506,2690,2652,2614,2510,2613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd19fd1420cadccb20dbba9c3b3e304ca.jpg","115.2＊46.7cm",[6,2626],{"id":1199,"slug":13030,"title":13031,"dynasty":2605,"author":2647,"museum":3121,"description":5557,"tags":13032,"thumbUrl":13033,"material":7110,"size":3609,"collection":2624,"collections":13034,"showCount":12919,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shu-se-ping-yuan-tu-quan-juan-guo-xi-221290","树色平远图全卷",[2495,2496,2497,2498,2833,2499,2500,2509,2546,2510,2511,2547,2501,2593,2504,2502,2503,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F133bd0410f393e8330e8a86e03d40536.jpg",[2624,6,2626],{"id":1200,"slug":13036,"title":13037,"dynasty":2632,"author":5834,"museum":2818,"description":13038,"tags":13039,"thumbUrl":13040,"material":2732,"size":2598,"collection":6,"collections":13041,"showCount":12919,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"du-shu-le-zhi-tu-yun-shou-ping-221004","读书乐志图","自从恽南田以高逸的山书画和寓意的没骨花卉写生画问世后，追随者众多。常州画派就是在这种审美风尚的趋引下，自然形成的的。",[2495,5225,2499,2509,2501,2913,2578,2690,2677,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbbc2d65fab42a70cd08850963b499af.jpg",[6,2626],{"id":1201,"slug":13043,"title":13044,"dynasty":2522,"author":3907,"museum":2492,"description":13045,"tags":13046,"thumbUrl":13050,"material":2567,"size":13051,"collection":6,"collections":13052,"showCount":12919,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"qiu-ge-qing-xiao-tu-sheng-mao-220406","秋舸清啸图","《秋舸清啸图》描绘的是在近岸陂陀上树木繁茂，一艘篷舟缓缓经过，船头有一位逸士正在仰天长啸，他身前置放酒皿瓷碗，身后古玩横陈，船尾是一个正在摇橹的一童 子摇橹。从这个逸士的形象看，可能是魏晋时“嗜酒能啸”并善鼓琴的“竹林七贤”之一阮籍的写照。远景山峦平缓。图中树石、远岸画法学董源、巨然，人物设色 取唐人法，描线细劲。画风与盛氏至正辛卯(1351年)所作的《沧江横琴图》近似。",[2495,2496,2544,2500,2549,2501,2504,2506,2651,11534,13047,13048,13049,6019,2509],"长啸","阮籍","竹林七贤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b4c131ade18640c2b048464aebfc709.jpg","纵167.5厘米，横102.4厘米",[6,2534],{"id":1202,"slug":13054,"title":13055,"dynasty":2490,"author":4134,"museum":2589,"description":13056,"tags":13057,"thumbUrl":13058,"material":3157,"size":13059,"collection":6,"collections":13060,"showCount":12919,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"jiang-shen-cao-ge-tu-tang-yin-219982","江深草阁图","此幅作品以焦墨作江千石壁,二松虬结其间,松下一座茅亭,亭中幽人清坐,山拗间流泉飞落,山间小路曲折隐现,左中部有画家自题:'五月江深草阁寒苏门唐寅写增次明吴君．'下铃朱文印'唐子畏图书'、'某景书屋'．画心及诗堂有沈周、吕秉之、叶恭绰、吴湖帆等人题跋,整幅作品皴笔清劲、缜密,于风骨奇峭中透出明洁秀爽的雅逸之气。\n此幅作品虽无年月可考,但从风格上看,确为少年真迹．按吴湖帆的考证,沈周题诗书迹为60 余岁时作,沈又长子畏43 岁．沈周与吕秉之的题均为前辈勉励后生之语．按唐寅中弘治戊午解元时年29 岁,以吕秉之所题'子且不试艺'句,此幅作于29 岁之前无疑。",[2495,2544,2496,2497,2577,2499,2509,2501,2550,2507,2503,2506,2549,2611,6284],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece99a18e25e8053cb0da8812a3492fb.jpg","纵84 厘米,横36.7 厘米",[6],{"id":1203,"slug":13062,"title":13063,"dynasty":2605,"author":7005,"museum":2563,"description":13064,"tags":13065,"thumbUrl":13066,"material":2500,"size":2598,"collection":6,"collections":13067,"showCount":12919,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"he-ting-xiao-shu-tu-zhao-shi-lei-219950","荷亭消暑图","水岸铺陈开清寂夏景，临水亭台错落相衔，飞檐回廊隐在垂柳荫翳间，柔条拂过静波，将暑意揉碎在漾漾水色中。远景轻笼烟霭，把天地晕成淡润的墨色，消解了溽热烦躁。\n亭畔静立侍者，等候凭栏观水的主人，晕染出幽居消暑的松弛意趣。全图笔法秀润温婉，布景虚实相映，古雅绢色衬出一片临水纳凉的闲雅天地，将耽于林泉、静享幽夏的隐逸襟怀晕染尽致。",[2495,2544,2496,2497,2592,2546,2500,2790,2505,2976,2506,2507,2549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa754d1f34c6e3092b4d0c8dc675fbfe9.jpg",[6],{"id":1204,"slug":13069,"title":13070,"dynasty":2605,"author":3431,"museum":2492,"description":13071,"tags":13072,"thumbUrl":13074,"material":2531,"size":13075,"collection":2624,"collections":13076,"showCount":12919,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"he-tang-an-le-tu-yi-ming-219731","荷塘按乐图","此图用近景鸟瞰的手法描绘皇亲贵戚在临湖台榭中饮宴奏乐的情景。殿阁仅画高柳环拥中的背面，殿前临水的月台上有两队吹笛的乐工，前面是开阔的湖面和点点钱荷。此图不作正面写景，而以描绘两队乐工的演奏使人联想在湖面上飘动的清越笛声和殿中人豪侈的饮宴，把南宋朝廷歌舞河山、穷奢极欲的生活含蓄地表达出来。图中楼阁台榭以界画笔法绘出，准确精细，颇合法度。湖边几株垂柳，更增添了几分幽静气氛。画面虽只绘一角景色，却能给人一种遐想无限的意境。",[2496,2544,2790,2500,2549,2550,3457,3542,6937,3965,11534,13073],"台榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10479730a19e6b1aa7242930025e39b2.jpg","25.8x22.3cm",[2624,6],{"id":1205,"slug":13078,"title":13079,"dynasty":2632,"author":9803,"museum":2492,"description":13080,"tags":13081,"thumbUrl":13082,"material":2567,"size":13083,"collection":2968,"collections":13084,"showCount":12919,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"gu-kou-you-ju-tu-gao-cen-219428","谷口幽居图","高岑，字蔚生，号榕园。浙江钱塘（今杭州）人。明崇祯至清康熙间画家。居金陵（今南京），高阜弟，为“金陵八家”之一。初师同里朱睿营，晚乃以己意行之。擅山水及水墨花卉，写意入神。",[2496,2833,2577,2499,2500,2509,2507,2611,2503,2504,2508,2902,3091,2613,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fee21b39327abc0b64688cf74652603.jpg","纵332厘米，横80 厘米",[2968,6],{"id":1206,"slug":13086,"title":13087,"dynasty":2632,"author":5047,"museum":2589,"description":13088,"tags":13089,"thumbUrl":13091,"material":2597,"size":13092,"collection":6,"collections":13093,"showCount":12919,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"han-tang-xi-chi-tu-wang-hui-219355","寒塘鸂鶒图","《寒塘鸂鶒图》描绘的是江南随处可见的池塘一角，有稀疏的草木、零散的荷叶苇草，以及在当中玩耍的水鸟。近景向中远景延伸，墨色渐渐转淡，隐隐约约可以看见一些景物，相当朦胧虚幻，彷彿隔着一片薄雾，富有诗意。",[2495,2496,2497,2499,2509,13090,2976,8995,2578,2677,7786],"塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf4dce38db866812034183e07f13c1b6.jpg","73 x 41.6 公分",[6,2870],{"id":1207,"slug":13095,"title":13096,"dynasty":2605,"author":3431,"museum":2563,"description":13097,"tags":13098,"thumbUrl":13099,"material":2567,"size":13100,"collection":6,"collections":13101,"showCount":12919,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"wu-kuan-shan-shui-yi-ming-218799","无款山水","本幅绘高士乘舟赴幽谷观瀑，清谈，山远地偏，谷深树茂，正是避世绝佳处。此幅树法笔墨近于李唐，而山石又掺以郭熙卷云皴，成画年代可上溯到南宋。",[2495,2496,2544,2501,2499,2504,4370,4358,2506,2507,2611,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dddbf70d238823f6026d2c535d95f7e.jpg","28.9x54",[6],{"id":1208,"slug":13103,"title":13104,"dynasty":2522,"author":7168,"museum":2563,"description":13105,"tags":13106,"thumbUrl":13107,"material":3157,"size":2598,"collection":6,"collections":13108,"showCount":12919,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"xi-shan-xue-yi-tu-zhang-yu-218741","溪山雪意图","雪裹溪山，素净如笺。寒林疏枝横斜，似在静默中与天地对语。山间茅舍隐于皑雪，不见人踪，却藏着一份遗世的安然。笔墨简淡而意韵深幽，枯笔勾勒的山石与留白的雪色交织，将冬日的空濛与文人的孤高心境凝于画间。每一处留白都是雪的呼吸，每一笔线条都是心的独白，似能透过画面触到那份远离尘嚣的清寂，感受元代文人笔下山水的空灵与禅意。寒枝、皑峰、幽舍，共同织就一幅冷寂却温情的冬日图景，尽显文人画的雅致与哲思。",[2495,2496,2497,2499,2500,2509,2501,3166,3091,2507,2730,3079,2613,2677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d448db60ab16f22dad017cba7f8823.jpg",[6],{"id":1209,"slug":13110,"title":13111,"dynasty":2522,"author":13112,"museum":2589,"description":13113,"tags":13114,"thumbUrl":13115,"material":2597,"size":13116,"collection":6,"collections":13117,"showCount":12919,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"qiu-shan-xu-ting-tu-gu-ying-217867","秋山虚亭图","顾瑛","顾瑛，字晓元，号秋山虚亭，是中国元朝时期的一位著名画家。他的《秋山虚亭图》是他的代表作之一，在中国历史上享有盛誉。\n\n《秋山虚亭图》是一幅山水画，描绘了秋山虚亭所在的景观。虚亭本身便是一座建于山上的小亭子，顾瑛在画中给人以一种轻松、自然的感觉。画中的山峦、岭壑、林木、岚烟都十分逼真，令人观赏时感到沉醉。顾瑛运用了自然界中各种色彩，如绿、黄、棕、蓝等，使画面更加丰富多彩。\n\n顾瑛的《秋山虚亭图》不仅因其逼真的描绘技巧而闻名，同时也因其艺术风格的独特性而受到赞誉。他的画风清新自然，没有过多的装饰和修饰，从而让观者感受到一种轻松、恬静的心情。\n\n总的来说，顾瑛的《秋山虚亭图》是一幅精美的山水画作，值得一看。",[2496,2497,2577,2499,2509,2511,2547,2501,4369,2505,2506,2507,2508,2613,4240],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ae3bdef31feed66d361d23d9d2fdb34.jpg","69.5x39.4cm",[6],{"id":1210,"slug":13119,"title":11431,"dynasty":2632,"author":13120,"museum":2563,"description":13121,"tags":13122,"thumbUrl":13123,"material":2512,"size":2598,"collection":6,"collections":13124,"showCount":12919,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-ye-hu-gui-214725","胡桂","小册页，前后以木质装帧，木质封面刻「胡桂画山水」五隶字。卷内所绘淡青绿山水，大抵以水岸河景为主，随着视点的拉近或放远，绘写远山、楼阁、帆船点点与渔子靠岸歇息等，卷末则以群山覆雪之景作结。本卷与其他两件玉器同储于长方木盒中。",[2496,2501,2500,2592,2714,2506,2508,4702,2552,2594,2845],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F804056f2501ac14a099ce287ab11f0cf.jpg",[6],{"id":1211,"slug":13126,"title":7929,"dynasty":13127,"author":13128,"museum":2492,"description":13129,"tags":13130,"thumbUrl":13131,"material":2598,"size":2598,"collection":6,"collections":13132,"showCount":12919,"zanCount":2517,"manualWeight":2517,"mainColor":13133},"shan-shui-tu-zhou-huang-bin-hong-202796","近代","黄宾虹","此作笔墨苍劲浑厚，山石以浓淡干湿的墨色层层积染，皴擦交错间尽显山峦嶙峋质感。山间云雾以留白与淡墨晕染相济，虚实相生，营造出深远空间层次。近景松枝挺劲，枯荣树木旁小桥横跨溪涧，几间屋舍隐于林麓，添生活意趣。整体构图疏密有致，墨色浓淡相宜，既见传统山水笔墨功底，又透自然野逸生机，尽显对山水意境的深刻体悟。",[2496,2497,2577,2499,2509,2501,2902,2502,2507,2614,2579,2495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25aacda9025fc8a3234c1b0924a10e3a.jpg",[6],"e1d9cb",{"id":1212,"slug":13135,"title":13136,"dynasty":2490,"author":9094,"museum":2673,"description":13137,"tags":13138,"thumbUrl":13139,"material":3257,"size":13140,"collection":6,"collections":13141,"showCount":13142,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-huang-gong-wang-shan-shui-zhou-xiang-sheng-mo-237697","仿黄公望山水轴","此画为仿古山水画，有黄公望遗风。本幅上自题：“曾见痴翁半张纸，不多数笔山与水。自然苍润有云烟，聊复从翁画如此。此为会嘉兄临黄子久半张纸，是画即藏李氏秘笈中。崇祯壬申二月晦日题于鹤梦轩，项圣谟。”钤印“项圣谟诗画”、“拙胜”等。",[2496,2497,2577,2676,2509,2499,2511,2501,2714,2593,2677,2508,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f7793cd0d1b4e78c00e3fefb6342305.jpg","43.7厘米，横：31厘米",[6,6382],38,{"id":1213,"slug":13144,"title":13145,"dynasty":2490,"author":13146,"museum":2818,"description":13147,"tags":13148,"thumbUrl":13149,"material":2598,"size":13150,"collection":6,"collections":13151,"showCount":13142,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-juan-li-shi-da-237638","山水卷","李士达","李士达（1550-1620），字通甫，号仰槐，江苏苏州人。万历二年（1574）进士，工画人物、山水。曾经论述画有五美：“苍、逸、奇、远、韵。”又有五恶：“嫩、板、刻、生、痴。”传世作品有《浔阳琵琶图》、《三驼图》、《西园雅集图》等。",[2496,2499,2498,2501,2509,2502,2503,2504,2505,2506,2652,2595,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3f86bcf79245dd5c2e1d77c9916a7ed.jpg","纵16厘米，横48．3厘米",[6,2626],{"id":1214,"slug":13153,"title":13154,"dynasty":2632,"author":5047,"museum":2673,"description":11861,"tags":13155,"thumbUrl":13156,"material":2598,"size":2598,"collection":6,"collections":13157,"showCount":13142,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-ke-jiu-si-xiao-jing-zhou-wang-hui-236459","仿柯九思小景轴",[2496,2577,2499,2509,2676,2501,2902,3735,2507,2503,2552,2502,2677,2578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9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“主题是艺术家用精湛的手工技艺和浪漫诗意的艺术创作观者，并附上了细致而巧妙的《秋山之旅》。",[2495,2496,2497,2499,2500,2509,2501,2651,2507,2506,3091,2504,5116,3136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1647631e1d4bc460e54daf2facef359.jpg","161*112厘米",[2624,6,2626],{"id":1220,"slug":13194,"title":13195,"dynasty":2632,"author":2996,"museum":2563,"description":13196,"tags":13197,"thumbUrl":13198,"material":2703,"size":13199,"collection":6,"collections":13200,"showCount":13142,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"zi-hua-xiang-hua-yan-223130","自画像","本幅自题：“新罗山人小景。嗤余好事徒，性耽山野僻。每入深谷中，贪玩泉与石。或遇奇邱壑，双飞折齿屐。翩翩排烟云，如翅生两腋。此兴四十年，追思殊可惜。迩来筋骨老，迥不及畴昔。聊以孤松唫，闭之蒿间宅。洞然窥小牖，寥萧浮虚白。炎风扇大火，高天苦燔炙。倦卧竹筐床，清汗湿枕席。耶得踏层冰，散发倾崖侧。其坐捉笔砚，写我躯七尺。嬴形侣鹤臒，峭兀比霜柏。俯仰绝尘境，晨昏不相迫。草色荣空春，苔纹华石壁。古藤结游青，寒水浸僵碧。悠悠小乾坤，福地无灾厄。雍正丁未长夏新罗山人坐讲声书舍戏墨。”钤“秋岳”、“华岩”。引首钤“小园”，右下钤“离垢”。“雍正丁未”为1727年，华岩时年46岁。\n华岩是一位来自民间的画家，曾流寓杭州，结识了浙东学者历鄂、吴石仑等人，这些友人多是不慕荣利、安贫乐道的文人，在他们的影响下，华岩潜心诗文书画，获得了“诗书画三绝”的美誉。为了谋生，他曾经历仕途，但目睹官场的种种不平，终于放弃仕宦，往来于杭州与扬州之间，以卖画为生，并结识了“扬州八怪”等画家。75岁病逝。华岩一生贫苦，他在画中以“笔端刷却世间尘”，全心表现对大自然的美好感受。他游历甚多，眼界开阔，为许多画家所不及。此图为一件即兴之作，描绘了暑夏之时，华岩身着夏衫，半敞衣襟，优游林泉的欣悦之情。他倚石盘膝，临泉而坐，左手拈须，右手抚石，意态闲暇。身后山石高耸，深青色的古藤缠绕着峰峦，远处瀑布羸垂岩而下，汇流成河。读其诗，更使人感受到作者热爱自然、超然离垢的情怀。图中的人物肖像写实而又带有写意的意味，造型略有夸张，与作者其他的人物画有相似之处，如《天山积雪图》(北京故宫博物院藏)等。此图线条简练，随意潇洒，笔调疏简，追求一种文人意趣，具有雅俗共赏的独特风格。",[2495,2496,2497,2577,2499,2637,2549,2501,2652,2611,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F618e9659c8ac72917cca6831b14c9888.jpg","纵130.5厘米，横50.7厘米",[6,2626],{"id":1221,"slug":13202,"title":13203,"dynasty":2632,"author":5172,"museum":2673,"description":13204,"tags":13205,"thumbUrl":13206,"material":2703,"size":13207,"collection":6,"collections":13208,"showCount":13142,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"san-xi-tang-ji-yi-tu-dong-bang-da-223103","三希堂记意图","图为人物故事题材，以山水、楼阁作为环境衬托。画以水墨为主，略作淡设色，笔墨清朗，儒雅涵蓄，富文人画韵致。史上关于王氏父子的故事有很多，此图即表现其中一则。据传，王献之自幼学书甚勤，全神贯注。王羲之趁其不备从身后欲拔其手中之笔，却未提起，于是称赞他握笔有力。图中，献之神态端凝，伏案作书，羲之正欲提笔，人物生动，画面情节性很强",[2495,2496,2497,2501,2499,2509,2507,2506,2611,2505,2690,2547,2510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01542a4359a4273ef1ba982d468592bb.jpg","纵201.5cm，横154cm",[6,2626],{"id":1222,"slug":13210,"title":13211,"dynasty":2632,"author":13212,"museum":4366,"description":13213,"tags":13214,"thumbUrl":13216,"material":5840,"size":13217,"collection":6,"collections":13218,"showCount":13142,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xiang-jiao-qiu-wu-tu-juan-zou-zhe-222798","乡郊秋雾图卷","邹喆","乡郊秋雾图是一幅立体展示江南景色的长卷。画家以全景的视角，细腻的笔触，刻画薄雾之下的山光水色，画面大开大合，云、水、山、树布置得宜，阡陌河湖穿插有致，全画给人一气呵成之感。",[2495,2496,2498,2499,2509,2833,13215,2506,2507,2528,2508,3736,2549,2614,2595,3055,3696],"秋雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde1ab990d4547dd9e592713d2d3329f5.jpg","29.5x280cm",[6,2626],{"id":1223,"slug":13220,"title":13221,"dynasty":2490,"author":13222,"museum":3039,"description":13223,"tags":13224,"thumbUrl":13225,"material":2639,"size":13226,"collection":6,"collections":13227,"showCount":13142,"zanCount":3198,"manualWeight":2517,"mainColor":3447},"han-shan-shi-de-tu-you-qiu-222084","寒山拾得图","尤求","寒山、拾得是唐代富有传奇色彩的人物。此图画唐贞观年间高僧寒山与拾得二人。寒山亦称寒山子，居天台始丰县寒岩，好吟词偈，状似疯癫。拾得是孤儿，寺僧拾而养之，故名拾得，在寺执炊涤器，与寒山友善。\n《寒山拾得图》是人物画中的佳作, “奇而不诡于正，真高流逸墨”。用笔大胆粗犷,线条流畅爽利。图中寒山右手指天,谈笔风生；拾得袒胸露腹,欢愉静听。两人披头散发,憨态可掬。从画面上，我们能够感觉到他是受了李唐画风的影响，两个人物安排在近处，给人一种很强烈的视觉印象，而远景的虚化处理，更强化了人物的形象。背景部分用笔较为豪放粗简，向外探出的树干向背分明，树枝行笔错落而不失坚挺，表现藤蔓的线条潇洒飘逸。",[2495,2496,2499,3898,2577,2549,2506,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e9b4eeb60e8f3530895eeb0a7701d9c.jpg","纵121厘米，横30 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550.4厘米",[6],{"id":1226,"slug":13249,"title":13250,"dynasty":2490,"author":7781,"museum":4366,"description":7782,"tags":13251,"thumbUrl":13252,"material":2512,"size":13253,"collection":6,"collections":13254,"showCount":13142,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"fang-li-tang-shan-shui-tu-xue-zhou-220046","仿李唐山水图",[2495,2496,2497,2501,2676,2577,2509,2504,2507,2506,2500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb82609ea78fd36a8daf7f3337485640e.jpg","143.7x72.5",[6],{"id":1227,"slug":13256,"title":3713,"dynasty":2632,"author":3431,"museum":5068,"description":13257,"tags":13258,"thumbUrl":13259,"material":2567,"size":2598,"collection":6,"collections":13260,"showCount":13142,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-ju-tu-yi-ming-219905","淡墨晕开空濛烟岚，奇崛峰石隐现于流云薄雾，恍如世外仙乡。山麓楼阁层叠，飞檐翘角掩映苍林，板桥通幽，行人徐行，漫溢出山居的悠然意趣。近岸垂柳依依，渔舟泛于微波之上，渔翁垂纶闲坐，汀渚浅滩缀着顽石，野趣横生。\n\n此作用水墨淡设色晕染，烘托出氤氲空寂氛围，将高远、平远之境相融，铺陈开山野幽居的静谧雅致，似能触到山涧湿润清风，窥见古人幽栖林泉的隐逸清梦，尽显传统山水含蓄悠然的意境之美。",[2496,2500,2501,2509,2550,2502,2503,2504,2506,2651,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dd3090754485169aca224d8eaa9304c.jpg",[6],{"id":1228,"slug":13262,"title":13263,"dynasty":2632,"author":6420,"museum":2563,"description":13264,"tags":13265,"thumbUrl":13266,"material":2732,"size":13267,"collection":6,"collections":13268,"showCount":13142,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"xue-pu-gui-fan-tu-zhou-qian-wei-cheng-219441","雪浦归帆图轴","积雪覆岩如素缣裹玉，远峰巍峨耸峙，寒气沁入笔墨肌理。中浦波静似镜，一叶轻舟破寒烟而来，帆影斜掠水面，漾开细碎的清寂。近岸石皴木瘦，寒林疏枝以焦墨勾勒，松针如簇仍带苍劲，间杂几间茅舍隐于崖侧，柴门半掩似待归人。山石用干笔皴擦显其骨，积雪以留白衬其洁，墨色层次淡远如雾笼寒川。天地间尽是清旷气，归帆的暖意却悄悄融于冷寂——笔墨间藏着冬日山水的幽寂与生机，将文人对自然的体察、对烟火的温柔打量，都凝在这素净疏旷的帧幅里。",[2496,2497,2544,2577,2499,2546,2509,2501,3078,2504,2506,2502,2503,2507,2505,3091,2902],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaf3f03012d111bbabd7ea73ecb7622c.jpg","114.9x64.4",[6],{"id":1229,"slug":13270,"title":13271,"dynasty":2490,"author":5253,"museum":2673,"description":13272,"tags":13273,"thumbUrl":13274,"material":2567,"size":13275,"collection":6,"collections":13276,"showCount":13142,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"xue-jing-zhou-lan-ying-219304","雪景轴","蓝瑛（西元一五八五－一六六四年以后）字田叔，号蝶叟，杭州钱塘人。善山水，初学元黄公望，并遍临唐宋元各家，构图精整，傅色明艳，晚年作品笔墨苍劲老辣，傅色趋于雅淡。他也擅长花竹、人物画，是浙派后期的重要画家。此幅画溪山积雪，其间点缀楼宇、蓬舟、危桥、栈道和行人。山石纯用短斫，兼以烘染。用笔率直老健，作于一六五九年，是七十五岁的力作。",[2496,2497,2577,2500,2501,2502,2503,2504,2549,2779,2507,2509,2578,2505,6935],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9284fc8674ac05bd3e157f3659003486.jpg","268x68.8",[6],{"id":1230,"slug":13278,"title":13279,"dynasty":2632,"author":5834,"museum":2673,"description":13280,"tags":13281,"thumbUrl":13282,"material":3749,"size":13283,"collection":6,"collections":13284,"showCount":13142,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"ling-yan-shan-tu-juan-yun-shou-ping-219266","灵岩山图卷","此画为对景写生之作，所绘为苏州灵岩山，笔法秀骨清妙，仿黄公望《富春山居图》而自具清雅秀逸的风格，以真山水为依据而不为其所囿。",[2495,2496,2497,2498,2501,2499,2511,2547,2506,2505,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3750b9bea6138fe0780354eef9faa786.jpg","纵20.7cm，横107.2cm",[6],{"id":1231,"slug":13286,"title":13287,"dynasty":2605,"author":3595,"museum":2563,"description":13288,"tags":13289,"thumbUrl":13290,"material":2567,"size":13291,"collection":6,"collections":13292,"showCount":13142,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"qiong-lou-xuan-pu-tu-zhao-bo-ju-218679","琼楼悬瀑图","画面上，玉宇琼楼，青山绿水，高松翠柏，飞瀑虹桥，春风化雨，游人如织，千里之外。这幅画的风格是原名为赵伯驹的大青衣小将，没有证据支持。",[2495,4256,2496,2497,2544,2545,2500,2790,2501,2550,2611,2502,2503,2549,2506,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feddc740c243ac58e3d28be080e2fc61e.jpg","27.9x29.9",[6],{"id":1232,"slug":13294,"title":13295,"dynasty":2605,"author":13296,"museum":2818,"description":13297,"tags":13298,"thumbUrl":13299,"material":2499,"size":2598,"collection":6,"collections":13300,"showCount":13142,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"han-lin-po-zhou-tu-huang-geng-218547","寒林泊舟图","黄庚","虬枝如铁，皴染出雪后寒林的苍劲。石矶覆素，茅舍隐于烟霭间，孤舟横卧岸侧，似待归人。云雾轻笼远岫，留白处漾开清寂。笔致简淡却含韵致，枯笔勾勒的枝桠带着凛冽的诗意。天地间素墨交融，静穆中藏着一丝暖意——或许是窗内的灯影，或许是舟畔的微雪。山风掠过枝梢，与寒林私语，时光在此放缓。素白的雪，墨色的树，朦胧的雾，交织成一幅冬日的静美画卷，让人心生安宁，仿佛能听见舟中茶烟袅袅，与天地同呼吸。",[2496,2609,2577,2509,2501,3079,3091,2504,2505,3166,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d9b66ef1b1a00835ad849fb37b80a87.jpg",[6],{"id":1233,"slug":13302,"title":13303,"dynasty":2605,"author":3431,"museum":13304,"description":13305,"tags":13306,"thumbUrl":13307,"material":2567,"size":13308,"collection":6,"collections":13309,"showCount":13142,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"dong-shan-tu-yi-ming-218028","东山图","纽约亚洲协会","东山图是宋朝时期的一幅著名图画，作者不详。\n\n这幅图画描绘了东山的景色，其中包括了群山、河流、村庄以及各种植物。图中的人物也描绘得非常生动，展现了宋朝时期民间生活的细节。\n\n东山图被认为是宋朝时期艺术发展的里程碑之一，因为它展示了当时艺术家们对自然和人物的再现能力的提高。此外，这幅图画还被认为是中国古代图画艺术中的杰作，因为它将自然与人文相结合，展现了宋朝时期的文化和历史。",[2495,2496,2577,2546,2500,2509,2501,2549,2578,2913,2652,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87cef9696f4bfa990213eda1583a2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，明末清初画家。字昭法，号俟斋、秦余山人，吴县（今江苏苏州）人，殉节官员徐汧之子。崇祯十五年举人。入清，遵父遗命不仕异族，隐居于天平山麓“涧上草堂”，自称孤哀子。书擅行草，长于山水画，取法董源、巨然、荆浩，关仝，亦宗倪瓒、黄公望，与杨无咎、朱用纯并称“吴中三高士”。终身不入城市，卖画自食，例不书款，与宣城沈寿民、嘉兴巢鸣盛称“海内三遗民”。",[2496,2497,2577,2499,2509,2676,2501,2502,2503,2504,2505,3091,2508,2507,2506,4702,2549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22cf86f12a79e42e072f9f756f4288f6.jpg",[6],{"id":1237,"slug":13336,"title":3490,"dynasty":2632,"author":3877,"museum":2818,"description":13337,"tags":13338,"thumbUrl":13339,"material":2598,"size":2598,"collection":6,"collections":13340,"showCount":2558,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-zhou-zhu-da-237906","八大山人的花鸟画深受林良、陈淳、徐谓等大家的影响，他的作品特别强调缘物寄情，因而个性极为鲜明。这种种孤僻、冷漠、悲愤、反常、怪异的特征，当然是他奇特艺术风格的具体化。而这种表象下折射出来的，正是画家一种有别于常人的人格心理。",[2496,2499,2577,2509,2501,2506,2507,2578,2677,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaeb96d04f2547d63809c206cc57897c.jpg",[6],{"id":1238,"slug":13342,"title":13343,"dynasty":2632,"author":3796,"museum":2673,"description":13344,"tags":13345,"thumbUrl":13346,"material":3257,"size":5761,"collection":6,"collections":13347,"showCount":2558,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-wu-zhen-shan-shui-zhou-wang-jian-237611","仿吴镇山水轴","本幅上部自识长题，款署：“王原祁画并题。”钤“王原祁印”白文印，“茂京文”白朱文印，“扫华庵”朱文印。右下角钤“西庐后人”朱文印。\n此图无年款。据王原祁自题“身伏噩庐，心违琐闼”之句，知是图当为他55岁左右为其父王揆守丧之日所作。\n图绘江南清幽小景。在构图上，王原祁通过对山石杂木由近至远、由低至高的层层展示，有秩地拓展了画境。在山石树木的表现上，王原祁掌握了吴镇擅于运用湿笔的特点，亦以包含水分的润墨表现山川林木郁茂之景。笔墨淋漓雄劲，得吴镇山水画“苍苍莽莽，有林下风”之趣。",[2496,2499,2577,2509,2676,2547,2501,2611,2506,2508,2507,2613,3736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde793e600e15d4b6130ffe9d41788be4.jpg",[6,2626],{"id":1239,"slug":13349,"title":13350,"dynasty":2632,"author":2762,"museum":2673,"description":13351,"tags":13352,"thumbUrl":13353,"material":2732,"size":2598,"collection":6,"collections":13354,"showCount":2558,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"yuan-ji-tai-bai-shi-yi-shan-shui-tu-zhou-shi-tao-237409","原济太白诗意山水图轴","清初的画坛上，和尚画家之多，在中国绘画史上是极其罕见的。更为人所熟知的，便是弘仁、髡残、八大山人、石涛这四位活跃于明末清初的僧人画家，他们与清初“四王”分庭抗礼，在画史上合称“四僧”。为了让读者更加了解他们的生平及书画创作风格，文藏特将此作为系列文章形式展现给大家。\n石涛是中国艺术史上一位颇具研究话题的人物，他的身世经历、佛老信仰，交游关系，书画理论、诗文解读、作品辨伪，无不令后世的书画爱好者、鉴藏者和研究者们着迷。然而他的这些话题之所以会引起后世如此巨大的关注度，正是源自他的书画艺术，在历经三百多年的沉淀之后，依旧散发着无穷的魅力，给人以新鲜之感。这种魅力便是其每幅作品中无不体现着的诗境、书境和画境的完美结合。\n石涛原名朱若极，广西桂林人，是明宗室后裔，明靖江王朱亨嘉的长子，他晚年常自署款「阿长」、「极」，并有「赞之十世孙阿长」等印，以表明自己的身世。石涛出生仅两年明王朝就灭亡了，随后，他的父亲朱亨嘉又在南明朝廷内部的权力斗争中失败被杀。此时，年仅四岁的石涛，不得不由家中仆臣护送逃至全州躲藏，后在当地湘山寺出家为僧，法名原济，字石涛；他的仆臣也一同在此出家，法名原亮，字喝涛。从此二人以佛门师兄弟相称。在明末清初政权更迭的时候，很多不愿降清的明室宗亲和文人旧臣除了以死殉国，就只能选择隐藏身份出家为僧这一条路了，而石涛更要躲避来自清王朝和南明政权的双重追杀。\n隐居期间，石涛读书临帖，研习书画，同时跟随师兄喝涛旅居武昌，游历两湖地区，后又从武昌顺江而下，经庐山、南京、松江至杭州，再由越中到宣城。石涛居宣城十四年，在此结识了施闰章、吴肃公、梅清、梅庚等当地遗民诗人画家，经常与他们结伴游览黄山、敬亭山。他们一起不仅以诗文相唱和，绘画创作亦相互影响，于笔墨和构图上探索求新。这期间，石涛与喝涛还曾同拜旅庵本月为师，正式确立了在禅林中的地位。然而，佛门身份和朋友交游，并没有抹去石涛在自己身份上的孤寂感与逃避感，他在作品中，常借山水、人物等题材来表达其孤、隐之意。他这一时期所创作的《山水人物图》卷、《山水图》册、《陶诗采菊图》轴等书画，都有这种心境的流露。\n石涛在第二次接驾康熙时得识博尔都，则让他看到希望。作为清室皇族，博尔都是一位颇具慧眼的书画鉴赏家，石涛从他的赏识中找到了艺术认同感，故接受了博尔都北游的邀请。在北京期间，石涛为博尔都创作了大量书画，博尔都也利用各种机会向京城名流推介石涛的作品。但这些努力并没有让石涛被主流画坛所接受，遂于一六九二年秋离京南返，再次回归他徜徉于江南山水间的闲逸生活。然而内心的孤独与苦闷依旧。石涛在五十八岁时画《太白诗意山水图》轴自题云：「李白将进酒。此诗何可画？虽似任达放浪，然太白素抱用世之才而不遇合，亦自慰解之词耳。吾亦借此诗，写此画，消吾之岁月云。」这些都是石涛晚年回到扬州后，孤独失落心境的真实写照。",[2496,2497,2577,2637,2499,2509,2501,2508,2506,2902,2507,2503,2549,2510,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0671f77e48690f57096fdd8ba83ed84c.jpg",[6,6382],{"id":1240,"slug":13356,"title":13357,"dynasty":2490,"author":13358,"museum":2492,"description":13359,"tags":13360,"thumbUrl":13361,"material":2639,"size":13362,"collection":6,"collections":13363,"showCount":2558,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shen-hao-shan-shui-tu-ce-shen-hao-237262","沈灏山水图册","沈颢","沈颢（1586—1680后），一作沈灏，字朗倩，号石天、朗道人，吴（今江苏苏州）人。沈颢风仪轩举，博雅多闻。能诗歌，精古文辞及书法真行篆籀，更精绘事，深究画理，其论画源流与董其昌相同，著有名著《画尘》，与董其昌之“画眼”堪称伯仲，难分轩轾。作画主张师自然而法古人，提倡临摹古人不在形似而在神会，“似而不似，不似而似”是其创见。善写山水，笔墨秀润雅逸，立壑奇突，秀骨天发，高格清标。小景淡远清旷，画风近沈周，每自题句，多作韵语。晚年笔意挺秀，点染清妍。",[2496,2497,2592,2499,2509,2501,2714,2593,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85f016770f2129dbf2cceca137a9791c.jpg","15.2x23.6厘米",[6,2626],{"id":1241,"slug":13365,"title":13366,"dynasty":2490,"author":8879,"museum":2673,"description":13367,"tags":13368,"thumbUrl":13369,"material":2732,"size":2598,"collection":6,"collections":13370,"showCount":2558,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"hua-hui-ye-lu-zhi-236987","花卉页","陆治（1496－1576），字叔平，明代画家。吴县（今江苏苏州）人，因居包山，自号包山。倜傥嗜义，以孝友称。",[2496,2497,2592,2500,2546,3010,3012,4241,2548,3126,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbb017c605de4f65bc281040c9883b33.jpg",[6,2534],{"id":1242,"slug":13372,"title":13373,"dynasty":2632,"author":3431,"museum":2673,"description":13374,"tags":13375,"thumbUrl":13377,"material":2720,"size":2598,"collection":6,"collections":13378,"showCount":2558,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"hong-li-sai-yan-si-shi-heng-zhou-guan-jiao-yi-ming-236180","弘历塞宴四事横轴(贯跤)","以青绿山水铺就雄浑底色，层峦茂林间铺展塞宴盛景。校场之上跤手相搏，周遭武士肃立分列，官员侍从神态各异，或凝神观赛，或静候待命。远景帐幄连绵、驼队逶迤，将秋狝行猎的塞外氛围烘托尽致。\n画作工笔细腻，设色妍丽雅致，兼具院体画的规整纪实与风物绘的生动鲜活，将塞上习武宴游的盛大场景定格，既彰显出康乾盛世的恢宏气象，也尽显游牧围猎的独特塞外风情，是纪实性与艺术性相融的佳作。",[2496,2544,2498,2500,2546,2501,2549,2960,13376,5082,2506,2961,2651],"骆驼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe0d7a3293f2e36650fa58befd46b885.jpg",[6,2968,2534],{"id":1243,"slug":13380,"title":13381,"dynasty":2632,"author":3431,"museum":2673,"description":13382,"tags":13383,"thumbUrl":13386,"material":2732,"size":13387,"collection":6,"collections":13388,"showCount":2558,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233082","平定苗疆战图册","清朝宫廷内绘制的大量画幅，在清王朝覆灭之前，大部分均藏储于宫中及皇家园林行宫内。其中一部分于咸丰十年（1860）和光绪二十六年（1900），英法联军及八国联军侵华时遭到劫掠，或被毁坏，或流失海外，清亡后亦有少量散佚，而主要部分后来都成为在明、清皇宫基础上建立起来的北京故宫博物院的藏品。现在，清代的宫廷绘画，除了少量分藏于境内外其他一些博物馆外，比较集中地收藏于北京故宫博物院和台北故宫博物院。",[2496,2497,2592,2500,2546,2790,2549,2501,2960,2502,2550,2507,2506,8406,13384,13385,12376],"军队","战阵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb44c58ab354d81ed622cd3e2e54cb07.jpg","纵55.4cm，横90.8cm",[6,2968,2534],{"id":1244,"slug":13390,"title":4828,"dynasty":2632,"author":3020,"museum":2673,"description":13391,"tags":13392,"thumbUrl":13393,"material":3257,"size":8459,"collection":6,"collections":13394,"showCount":2558,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-224389","其实王原祁和他的祖父都特别喜欢黄公望的作品，这也是他临摹黄公望作品的原因。 王原祁代笔之作很多，由于他受皇帝赏识，学他风格者上千，成为“娄东派”，此派左右清代三百年画坛，正为正统派，对后世影响极大。清代山水画一蹶不振，这也是一大原因。",[2495,2544,2496,2833,2676,2509,2499,2500,2577,2714,2715,2506,2502,2508,2613,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e310151c7d582dfc8711bd2fb5cf10.jpg",[6],{"id":1245,"slug":13396,"title":13397,"dynasty":2605,"author":3431,"museum":2673,"description":13398,"tags":13399,"thumbUrl":13400,"material":3069,"size":13401,"collection":2624,"collections":13402,"showCount":2558,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shui-ge-feng-liang-tu-yi-ming-223532","水阁风凉图","绘古木掩映下一茅亭临江而建，远处山色空蒙，中为平川水田。宁外巨石错落，泉水奔流，亭内置一方桌，一折衣长者袖手停立桌前，仆人执扇侍立一侧。",[2495,2496,2497,2501,2500,2509,2550,2593,2507,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37929b949c027168c6a1aef447280eae.jpg","22.5x21.1厘米",[2624,6,2626],{"id":1246,"slug":13404,"title":13405,"dynasty":2632,"author":8682,"museum":3121,"description":8683,"tags":13406,"thumbUrl":13407,"material":7586,"size":13408,"collection":6382,"collections":13409,"showCount":2558,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-shu-fa-ce-liu-kai-gao-feng-han-222635","山水书法册六开",[2495,2496,2497,2592,2499,2500,2501,2511,2509,2503,2651,2506,2856,2508,4595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d6d5643030c40635094436e09839791.jpg","31.8x24.8cm",[6382,6],{"id":1247,"slug":13411,"title":13145,"dynasty":2490,"author":3647,"museum":2818,"description":13412,"tags":13413,"thumbUrl":13414,"material":13415,"size":13416,"collection":6,"collections":13417,"showCount":2558,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-juan-wen-zheng-ming-221982","此时文征明的山水画有两种比较典型的风格：“粗文”和“细文”。他的粗笔山水主要取法沈周和吴镇，在粗简中表现出层次和韵味；细笔山水则取法于赵孟頫、王蒙，用笔细密，布景繁密。设色多以青绿重彩或间施浅绛绘之，清雅宁静，具有很强的装饰意味。文征明性情温和儒雅，尤推崇秀润、细丽、含蓄的画风，作品以细笔山水为主。这与沈周的雄强刚健、粗犷张扬的画风明显不同。收藏界历来有“粗文细沈”之说，他的粗笔山水因数量较少而更受藏家钟爱。",[2495,2496,2501,2714,2715,2593,3650,2499,2637,2498,2732],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52df3fbb11765a08980333fe573ddc8e.jpg","纸本，手卷，设色","纵25厘米、横333厘米",[6,2626],{"id":1248,"slug":13419,"title":12116,"dynasty":2522,"author":3225,"museum":2673,"description":13420,"tags":13421,"thumbUrl":13423,"material":3608,"size":13424,"collection":6,"collections":13425,"showCount":2558,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"xue-shan-tu-cao-zhi-bai-221792","《雪山图》卷描绘寒冬江岸景色，是沈周山水墨画的代表作。\n曲折的寒江两岸，岩崖逶迤，山峦延绵，老树槎砑，苍松傲然。\n江岸树石间点缀着紧闭门窗的房舍，静守孤舟的渔翁和身着寒装的行人，给画面增添了寒荒萧瑟的氛围。\n山石以老硬简率的笔法勾皴，以秃笔浓墨点苔，形成浓淡交错、疏密有致的韵律。\n这幅画构图宏阔，笔致挺劲凝炼，墨彩豪放雄逸，形成浑厚之势。",[2495,2496,2499,2501,2577,2509,6456,2651,3091,3079,2507,6935,13422],"孤亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff27e97755cc21cee6f7621a139816eab.jpg","纵97.1厘米，横55.3厘米",[6,2626],{"id":1249,"slug":13427,"title":13428,"dynasty":2522,"author":3225,"museum":2563,"description":13429,"tags":13430,"thumbUrl":13432,"material":2703,"size":13433,"collection":6,"collections":13434,"showCount":2558,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shu-song-you-xiu-tu-zhou-cao-zhi-bai-221791","疏松幽岫图轴","描绘平溪远岫，疏林飞瀑，山谷间房舍隐现。近处高松老树疏简错落，枝干虬曲，形态优美。",[2495,2496,2497,2577,2499,2509,2501,13431,2578,2507,2506,2547],"疏松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78ce6cb5c7be500033f0c32f59285ed1.jpg","纵74.5厘米，横27.8厘米",[6,2626],{"id":1250,"slug":13436,"title":13437,"dynasty":2522,"author":3225,"museum":2563,"description":13438,"tags":13439,"thumbUrl":13440,"material":3157,"size":13441,"collection":6,"collections":13442,"showCount":2558,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shuang-song-tu-zhou-cao-zhi-bai-221787","双松图轴","滨水石坡上两棵虬松，拔地而起，势如参天，背衬以杂树，掩映在烟霭中，渐远渐晦。并立双松，干顶枝条向周围虬蟠伸长，旁配以远水，成无尽景，画成于1329（天历二年），时年曹知白五十八。以松树成为山水画中描摹的一重点，概与元朝整个大环境有关，画家藉事物明志，而松之坚拔，使双松正可作为友情坚贞之象徵\n在元画中这类作品甚夥，如朱德润、唐棣等大家之作。审视诸家之双松，皆可找出从李衎以来，所持有李郭派描写树石的严谨传统。但和诸家笔下略带书法性夸张的松树相较，先生在树形及用笔上，展现了平实的个人风貌。\n画家以直线皴配合鳞皴表现松干皮，并在树身上加上齐列的横点苔，显得工整规律，但伸展曲折诡谲的松枝经营，枝梢回转上仰之姿，和向四面散射细疏的松针，打破了松身的平整。杂树枯枝则取蟹爪笔法，和其晚年七九岁所作《群峰雪霁图》前景三松简淡笔墨对照，此幅用笔显得严整而厚实。",[2495,2496,2497,2577,2499,2509,2501,2902,2507,2506,6432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e1cce535f431daf2980dd1b72ee3a27.jpg","132.1x57.4公分",[6,2626],{"id":1251,"slug":13444,"title":13445,"dynasty":2522,"author":4854,"museum":2673,"description":13446,"tags":13447,"thumbUrl":13448,"material":2720,"size":13449,"collection":6,"collections":13450,"showCount":2558,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shu-shi-tu-wan-shan-zhao-yuan-221736","树石图纨扇","图绘疏树坡石，远岫平溪，水天一色。山势平缓，形如窠石。山峦用侧锋勾出轮廓和脉络，再以淡墨加彩皴染，类似层云。树干随写随皴，并用浓墨点疤节，树枝似龙角或凤尾，错落有致。笔法圆秀。构图平远。",[2495,2496,2497,5225,2499,2509,2593,3839,3091,2501],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d958098ca36462d23e5bfbb73f9ed9.jpg","纵25厘米，横19．7厘米",[6,2626],{"id":1252,"slug":13452,"title":13453,"dynasty":2632,"author":5673,"museum":2673,"description":13454,"tags":13455,"thumbUrl":13456,"material":2597,"size":13457,"collection":6,"collections":13458,"showCount":2558,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"quan-sheng-song-se-tu-wu-li-220138","泉声松色图","整幅构图分远、中、近铺设，层次分明。山峦层层叠嶂;溪水，曲行贯穿;树木，更加苍劲。整个画面，以凝练的笔法，展现出山水间、自然界的浑重拙朴、深醇沉郁的气韵。皴法繁密，明暗分明。较之前面两幅，笔力显得更加雄浑，墨色更加酣畅，色彩对比更加强烈。整个画面，上上下下，有众多房屋，而不见人影;有桥梁，却无人来渡;除水声外，不见人声，不闻鸟鸣，一切处在自然界的凝静之中;远山近壑之上，铺设着一层雪的白色，虽有苍劲的“松色”似有增色，但同时告知我们，此时节尚处在寒冷之中。",[2495,2496,2499,2509,2501,2503,2902,2714,2502,2652,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfdf71ac6b48f01aaabe84b1e9f192c8.jpg","纵64.8厘米 横38厘米",[6],{"id":1253,"slug":13460,"title":13461,"dynasty":2490,"author":5395,"museum":2687,"description":13462,"tags":13463,"thumbUrl":13464,"material":2567,"size":2598,"collection":6,"collections":13465,"showCount":2558,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"zhu-yuan-feng-seng-tu-zhao-zuo-219704","竹院逢僧图","赵左（1573-1644）的风格兼容苏州与松江两地画学传承。画中小茅屋里面对僧人而坐的文士，吻合右上方所书的唐人诗句「因过竹院逢僧话，又得浮生半日闲」。此画题颇受欢迎，而赵左的诠释方式，除了利用竹林、巨石、水面与大片云雾，将竹院独立出来，更有趣的是利用树干与围幕，将文士框限于一小方空间，促迫地享受仅存的闲逸。",[2495,2544,2496,2497,2499,2833,2509,2593,2507,3668,2503,2549,3155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2de72b6897a34154bfb9dd405d03101.jpg",[6],{"id":1254,"slug":13467,"title":13468,"dynasty":2522,"author":7752,"museum":2563,"description":13469,"tags":13470,"thumbUrl":13471,"material":2567,"size":13472,"collection":6,"collections":13473,"showCount":2558,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"yun-pu-na-zhou-tu-tang-di-219087","云浦拏舟图","唐棣（1296-1364)，字子华，号遁斋,祖籍钱塘(今浙江杭州)，因先世在吴兴做官，迁徙归安(今浙江湖州)。",[2495,2496,2497,2501,2499,2500,2509,2504,2550,2506,2595,2594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbe43ec4ea318794216335f5e30a3218.jpg","25.6x31.4",[6],{"id":1255,"slug":13475,"title":13476,"dynasty":2632,"author":3020,"museum":2673,"description":13477,"tags":13478,"thumbUrl":13479,"material":2567,"size":13480,"collection":6,"collections":13481,"showCount":2558,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"qing-shan-die-cui-zhou-wang-yuan-qi-218508","晴山叠翠轴","山峦层叠如浪，墨色皴擦间见苍劲骨力，干笔积染出岩壑的厚重肌理。云雾轻笼谷口，牵起远近峰峦的呼吸，让重山不显壅塞，反生空濛之趣。\n\n溪流蜿蜒穿林，石岸错落间，几座亭台隐于松荫下，似有琴音随波漫散。松枝如铁，竹叶含翠，笔墨间藏着岁月的温润——既见北地山水的雄浑骨架，又融江南草木的秀逸情致。\n\n整幅画如一卷徐徐展开的清梦，每一笔皴擦都浸着文人的静穆心思，将自然丘壑凝练成纸上的悠远意境，让人观之忘俗，仿佛能踏入那片松风竹影里，听山涧流水，享片刻清宁。",[2495,2496,2497,2577,2501,2509,2500,2714,2593,2503,2502,2508,2507,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65267561fee9a2d6709bd2cb30d8768c.jpg","139.5x61cm",[6],{"id":1256,"slug":13483,"title":13484,"dynasty":2632,"author":3020,"museum":2673,"description":13485,"tags":13486,"thumbUrl":13487,"material":2567,"size":13488,"collection":6,"collections":13489,"showCount":2558,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-shan-qiao-shan-shui-zhou-wang-yuan-qi-218507","仿山樵山水轴","干笔皴擦的峰峦如黛，层层积墨间藏着云气轻烟。近处松枝横斜，溪畔孤舟静泊，山间隐约露人家檐角。笔墨苍劲却不失秀润，构图繁复仍显空灵，将山樵淡远意境与自家沉雄笔力相融。尺幅间铺展静谧悠远的山水天地，峰峦跌宕里见林木繁密，溪涧蜿蜒处映云雾缭绕，尽显文人画的气韵生动与笔墨精神，仿佛能听见山风掠过松涛、溪水潺潺流过石滩的轻响，把传统山水的沉雄气象凝于一纸之上。",[2495,2496,2577,2499,2509,2501,2527,2507,2506,2902,2503,2504,3057,3736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c6d1ab3c13a67e13f50739433bb5efa.jpg","纵95.5cm，横51.5cm",[6],{"id":1257,"slug":13491,"title":13492,"dynasty":2522,"author":3431,"museum":3039,"description":13493,"tags":13494,"thumbUrl":13495,"material":2567,"size":13496,"collection":6,"collections":13497,"showCount":2558,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"song-quan-gao-shi-tu-yi-ming-218209","松泉高士图","图画的背景是一片茂密的森林，松树和松针在风中摇曳。整幅图画给人以庄严肃穆的感觉，表达了对松泉高士伟大品格的敬意。",[2496,2544,5225,2500,2501,2549,2779,4314,2503,2507,2506,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4041017ea2d172063a033356abfa97ad.jpg","24x27.3cm",[6],{"id":1258,"slug":13499,"title":13500,"dynasty":2632,"author":13501,"museum":4795,"description":7178,"tags":13502,"thumbUrl":13503,"material":2512,"size":7181,"collection":6,"collections":13504,"showCount":2558,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xin-an-yi-yun-ce-huang-lv-shan-shui-huang-lv-218104","新安逸韵册(黄吕山水)","黄吕",[2496,2497,2592,2499,2500,2501,2677,2506,2511,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F060f844f0dcf3a72f0a2f72a480158fe.jpg",[6],{"id":1259,"slug":13506,"title":13507,"dynasty":2522,"author":2588,"museum":2563,"description":12175,"tags":13508,"thumbUrl":13509,"material":2512,"size":13510,"collection":6,"collections":13511,"showCount":13512,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"you-lin-qing-yi-zhou-wang-meng-290836","幽林清逸轴",[2544,2496,2577,2499,2833,2501,2578,2503,2504,2677,2505,2547,2510,2509,5337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cbc40c15389daa95dc02c8e039dba05.jpg","133.4x47.4",[6],36,{"id":1260,"slug":13514,"title":13515,"dynasty":2632,"author":9005,"museum":2818,"description":13516,"tags":13517,"thumbUrl":13518,"material":2598,"size":2598,"collection":6,"collections":13519,"showCount":13512,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"wu-zhong-shan-shui-tu-juan-zhang-zong-cang-238234","吴中山水图卷","公元1751年，乾隆皇帝南巡，张宗苍进献了画册《吴中十六景》，深得乾隆皇帝的欣赏，后来进入清宫廷画院供奉，为宫廷作画，是乾隆时期一位重要的宫廷画家。清代宫廷绘画在清代绘画史上有着重要的地位，特别是乾隆时期，设立了如意馆广收人才，创作了很多纪实、历史故事、宗教及装饰题材的作品，具有特殊的历史与艺术价值，在乾隆一朝的宫廷画家中，张宗苍是很重要的一位。张宗苍的山水画，画风苍劲，用笔沉着。山石皴法多以干笔积累，林木之间使用淡墨，干笔和皴擦的手法相结合，表现出了深远的意境和深厚的气韵，一洗宫廷画院惯有的甜熟柔媚的习气，特别被乾隆皇帝所喜爱。",[2496,2498,2833,2499,2509,8432,2501,2550,2502,2505,2507,3636,2503,2508,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7deab10c68df88dc06873ce369f679d.jpg",[6,2534],{"id":1261,"slug":13521,"title":13522,"dynasty":2632,"author":135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160.6x104.9公分；诗塘 17.3x104.6公分；全幅 107公分",[6,2626],{"id":1268,"slug":13576,"title":13577,"dynasty":2522,"author":2922,"museum":13578,"description":13579,"tags":13580,"thumbUrl":13581,"material":2732,"size":13582,"collection":6,"collections":13583,"showCount":13512,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shu-lin-tu-zhou-ni-zan-220802","疏林图轴","日本民间","书生的告老还乡之路，和出门赶考一样的漫长。似乎，人的出门远走，就是为了白发还乡，叶落归根。",[2495,2496,2497,2577,2499,2509,2501,2578,2677,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3069f922f766f4292a865aab0bf382ef.jpg","68x57cm",[6,2626],{"id":1269,"slug":13585,"title":13586,"dynasty":2490,"author":9813,"museum":4795,"description":13587,"tags":13588,"thumbUrl":13589,"material":2567,"size":13590,"collection":6,"collections":13591,"showCount":13512,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-ting-tu-li-zai-220146","山亭图","李在，明代宫廷画师，字以政，福建莆田人，迁居云南，后召入京。宣德时与戴进、谢环、石锐、周文靖同待诏入直仁智殿。自戴进以下一人而已。其山水细润处近郭熙，豪放处宗马、夏，多摹仿古人，笔气生动。《闽画史稿》谓其：“其人物笔致苍古，八面生动，开闽派之先。”日本画僧雪舟，曾与之切磋画艺。传世作品有《琴高乘鲁图》《阔渚晴峰图》《归去来兮图》《山亭图》等。",[2495,2496,2497,2501,2577,2499,2509,2505,2502,2507,2508,2578,3136,2506,2549,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35489b0dded68401fc6628330b040d8f.jpg","124.9cm×59.4cm",[6],{"id":1270,"slug":13593,"title":13594,"dynasty":2522,"author":2588,"museum":2589,"description":13595,"tags":13596,"thumbUrl":13598,"material":2512,"size":13599,"collection":6,"collections":13600,"showCount":13512,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"zhi-lan-shi-tu-wang-meng-220091","芝兰室图","王蒙《芝兰室图》是为杭州净慈寺古林昌公所作。卷首绘秃山怪石，重岩飞瀑。山石不着树木，仅有数丛荒草于风中摇曳。过瀑布，有茅屋数椽，为古林和尚之芝兰室。芝兰室庭院临水，岸边遍植兰与芝;庭院前厅供奉佛像，左右置椅，内置芝兰数盆;厅外长松入云，枝苍叶翠。松荫之下，僧儒席地而坐，听泉论道。小童手捧芝草侍立身后。图左绘山崖壁立，各色杂树遮天蔽日，曲折的小径掩映其间。卷尾绘岩穴临径，岩穴中三僧一儒相谈甚欢，石径之上，侍者穿梭。\n《芝兰室图》卷首篆题有“宝石泉壑，芝兰室图”八字，卷中所绘飞瀑流泉、松风万壑。宝石山位于西湖北里湖之北岸，山体属火成岩中的流岩和凝灰岩，含氧化铁而呈赭红色。在日光的映照下，满山流霞缤纷，熠熠闪光如宝石一般。王蒙绘制此卷亦以写生法为之，山石略施淡赭石红以应，正所谓“随类赋彩”。",[2495,2544,2496,2497,2498,2499,2500,2509,2501,2550,2677,2505,2578,13597,2611,2507,2506,2547,2510,2511,3209],"古林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b969ba820d4e2d7d9f47016d1cf0529.jpg","画心：25×103 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cm.",[6],{"id":1271,"slug":13602,"title":13603,"dynasty":2632,"author":5047,"museum":5068,"description":13604,"tags":13605,"thumbUrl":13606,"material":2567,"size":13607,"collection":6,"collections":13608,"showCount":13512,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"guan-e-tu-wang-hui-219847","观鹅图","此作用笔秀润，以高远山居搭配平远水色，远山巍峨苍浑，飞泉隐于云壑林麓间，清寂辽远。临水楼阁中，文士凭栏远眺，溪上白鹅悠游浮掠，浅滩处侍童持物静立。\n\n皴擦松柔，晕染淡净，林木苍古秀雅，亭台简雅空灵，取景错落舒展，将林泉幽居的闲逸雅致铺陈开来，尽显观鹅寄怀的隐逸雅兴，淡墨轻岚间浸透着静穆萧散的文人意趣，简淡中见隽永悠远的林下之风。",[2496,2577,2499,2509,2500,2501,2549,2505,2552,2506,2507,2594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d4100c5e85a00f55e5bd56e3b266434.jpg","130.5x39.4cm",[6],{"id":1272,"slug":13610,"title":13611,"dynasty":2632,"author":13612,"museum":2763,"description":13613,"tags":13614,"thumbUrl":13616,"material":2567,"size":2598,"collection":6,"collections":13617,"showCount":13512,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"ping-sha-luo-yan-yun-qiao-zhu-ren-219809","平沙落雁","云樵主人","此作用淡墨晕染出平远空阔的秋江暮色，远岸沙洲隐现于昏黄霭气之中，雁群点点掠过长空，次第栖落平沙，将秋日暮景的清寂铺展开来。近景枯木萧疏，残叶缀于寒枝，幽人策蹇徐行于林畔，更添幽闲野趣。\n\n笔墨简淡清逸，以浅赭铺就暮色底色，淡墨勾绘水岸枯槎，不着浓艳色彩，却将平沙落雁的清远意境渲染尽致。题诗与画面相映，把霜天暮景的荒寒淡远，和林泉高致的澹泊闲静相融，观之如闻晚雁轻鸣，似觉江风掠沙，尽显文人寄情林泉的幽寂意趣。",[2496,2500,2501,2552,2578,3091,13615,2547,2511,2506],"沙地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a02bdb4ff53f238c50f9692217fd07f.jpg",[6],{"id":1273,"slug":13619,"title":13620,"dynasty":2490,"author":13621,"museum":2563,"description":13622,"tags":13623,"thumbUrl":13624,"material":2567,"size":13625,"collection":6,"collections":13626,"showCount":13512,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"bi-wu-jiang-shu-tu-song-mao-jin-219514","碧梧降暑图","宋懋晋","此作用高远兼平远之法铺陈景致，上部山峦以轻淡墨色晕染，肌理温润朦胧，似有夏山蒸腾的暑气轻笼。画面下畔的庭院为眼目所在，两株青梧亭亭如盖，将浓荫覆入院中，屋中幽人闲坐，静纳竹风凉意。溪上木桥轻架，垂柳拂过水面，坡岸细草茸茸，处处漫着夏日慵闲松弛的意趣。\n\n全画笔秀色雅，浅淡设色衬出清和氛围，将文人幽居消暑、耽于林泉的隐逸襟怀，融于山川院宇之间，淡而有神，静中生韵，尽显山居消暑的雅逸情致。",[2496,2497,2577,2500,2501,2509,2502,2503,2506,2508,2507,3735],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83e2ed619f72ec4ecb79001d077b24f1.jpg","124x38.4厘米",[6],{"id":1274,"slug":13628,"title":13629,"dynasty":2490,"author":7947,"museum":2563,"description":13630,"tags":13631,"thumbUrl":13632,"material":2567,"size":13633,"collection":6,"collections":13634,"showCount":13512,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"bin-feng-tu-xie-shi-chen-219475","豳风图","豳，一作邠，国名。在岐山之北，原隰之野，周先世公刘立国于此。成王立，周公摄政。作豳风七月之诗一篇，述后稷公刘政教之始。述其政教之中，则为豳雅。述其政教之成，则为豳颂，以戒成王。",[2496,2497,2577,2499,2509,2547,2501,2549,2550,2502,2506,2503,2505,2578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F476c65952113e072f06deae20e1e7a3a.jpg","196.6x109厘米",[6],{"id":1275,"slug":13636,"title":13637,"dynasty":2632,"author":13638,"museum":2563,"description":13639,"tags":13640,"thumbUrl":13641,"material":2567,"size":13642,"collection":6,"collections":13643,"showCount":13512,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"fang-zhao-qian-li-jiu-cheng-gong-tu-sun-hu-218723","仿赵千里九成宫图","孙祜","这幅画描绘的是一座高大的宫殿，人物众多，尺寸不大，是清朝宫廷画家孙祜和丁观的作品，赵伯驹的原作还在，相比之下，孙祜的画一定是再创作，精度极高。",[2496,2497,2544,2577,7504,2790,2546,2500,2501,2550,2791,2507,2506,2549,2880,3136,2690,2510,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cdff0e72c31b9ba871ad9ac21069156.jpg","43.4×42.3cm",[6],{"id":1276,"slug":13645,"title":13646,"dynasty":2605,"author":3431,"museum":2818,"description":13647,"tags":13648,"thumbUrl":13649,"material":2567,"size":13650,"collection":6,"collections":13651,"showCount":13512,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"qiu-jiang-fan-zhou-tu-yi-ming-218650","秋江泛舟图","绢本纹理间晕开宋时秋意。江畔疏林枯槎，枝干如铁线勾勒萧瑟之态，墨色浓淡藏叶落余韵。江面澄明似镜，一叶扁舟轻泛，舟子隐于烟波，与秋水山色相融。远山层叠，烟霭朦胧，淡墨晕染出悠远天际，将视线引向空濛深处。\n\n整幅画以简洁笔触铺陈清寂秋江，无繁复色彩，却在水墨虚实间传递宋人对自然的敬畏与隐逸情怀。每处留白皆诉时光静美，心境淡然，似能听见江风掠过枯枝的轻响，看见舟楫划过水面的微澜，于无声处藏着宋画独有的淡远与深邃。",[2544,2496,2497,2499,2509,2501,2504,3091,4462,2595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6afe52302eecccd7943c473db2995800.jpg","25.5x25.5",[6],{"id":1277,"slug":13653,"title":13654,"dynasty":2490,"author":3431,"museum":5068,"description":13655,"tags":13656,"thumbUrl":13657,"material":2567,"size":13658,"collection":6,"collections":13659,"showCount":13512,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"xue-yu-tu-yi-ming-217945","雪渔图","雪渔图是明朝时期的一幅著名图画，作者佚名。这幅图画描绘的是冬天的江南景色，画面中的渔夫正在雪中捕鱼。图中的景色十分冷清，可以感受到寒冬的气息。不过，画中的渔夫似乎并没有被寒冷所影响，他们依然在坚守着自己的岗位，展现出人类顽强的生存欲望。\n\n雪渔图的艺术价值颇高，它描绘的冬季景色给人们带来了视觉冲击，同时，图中的人物形象也非常生动，给人们留下了深刻的印象。此外，雪渔图的画风也非常优秀，采用了许多细腻的线条和柔和的色彩，使得整幅画面显得十分精致。\n\n雪渔图是明朝时期的杰作，它的出现标志着中国画的又一次发展。作为一幅优秀的艺术品，雪渔图不仅为当时的观众带来了视觉享受，同时也为后人留下了宝贵的文化遗产。",[2496,2833,2577,2499,2500,2509,3078,2507,3091,2504,2503,2987],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b782eb11fe10146b4d0bac0e946b2f9.jpg","185x73.4cm",[6],{"id":1278,"slug":13661,"title":13662,"dynasty":2490,"author":6656,"museum":2563,"description":13663,"tags":13664,"thumbUrl":13666,"material":5818,"size":13667,"collection":6,"collections":13668,"showCount":13669,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"lu-shan-du-shu-tu-zhou-xu-ben-290552","庐山读书图轴","篆书自题‘‘庐山读书”，署款“洪武丁丑春日徐贲写：”钤印二“徐贲之印”、“幼文”。另有乾隆御题五绝诗：此图画庐山一带景色，这里山青水秀，风景幽美。画面上重峦叠嶂，幽亭秀木，溪流茅屋，岚色郁苍，树木丛生，枝干劲挺，远山深秀，树木葱茏。草舍隐于溪边树丛巾，在舍外有两位高士，相面席地而坐，似正在边渎边交流：左侧有一板桥窄架溪岸，一位僮子携琴走来。通过画家徐贲的笔下，描绘出观画读书的情景，颇能领略远离闹市的山居之乐，道出了画家深埋心中的孤寂之感、尽管庐山未必真有此景，但画家毕竟是基于写生，平所熟悉的环境加以提炼概括，在此图中倾注了画家真挚感情。",[2496,2497,2577,2499,2501,2509,2550,2502,2506,2507,2547,13665],"读书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89929cd534577a024cd492255244a800.jpg","63.1x26.3",[6],35,{"id":1279,"slug":13671,"title":3490,"dynasty":2632,"author":13672,"museum":2818,"description":13673,"tags":13674,"thumbUrl":13675,"material":2598,"size":2598,"collection":6,"collections":13676,"showCount":13669,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"shan-shui-zhou-wang-xue-hao-239027","王学浩","王学浩（1754—1832）字孟养，号椒畦，江苏昆山人。乾隆五十一年（1786）举人。为人恬澹旷适，绝意干禄。遍历燕、秦、楚、粤。山水得原祁正传，结体精微，笔力苍古。著有《山南论画》，立论精当。于书无不工，篆、隶古劲，直接秦、汉而不自谓能。真书从欧入褚，晚探二王秘。行书更得瘗鹤铭笔意，坚苍浑厚，自成一家。工诗，卒年七十九。",[2496,2497,2577,2500,2509,2501,2508,2506,2507,2503,3736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03ac2666c3007bbc5a92459091d826e3.jpg",[6,2534],{"id":1280,"slug":13678,"title":13679,"dynasty":2632,"author":5172,"museum":2818,"description":13680,"tags":13681,"thumbUrl":13682,"material":2598,"size":2598,"collection":6,"collections":13683,"showCount":13669,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"hua-hong-li-he-jiang-wen-tong-shi-yi-tu-ce-dong-bang-da-238708","画弘历和江文通诗意图册","此作用淡墨绘就幽居小景，敞轩之内，文士展卷校读，神态悠然专注。周遭古木虬枝舒展，湖石玲珑错落，浅溪萦回其间，清寂雅致。\n\n笔墨秀润清简，以淡墨皴擦晕染山石肌理，细笔点染出林叶苍然之态，构图疏密得宜，将林下闲居的静穆氛围铺陈开来。画作呼应诗意，把耽于文墨、寄兴丘山的隐逸襟怀融于景致之中，尽显冲淡萧散的文人雅趣，将文人心底幽远的林下之思藏在清和水墨间，尽显风雅静谧的文人画意趣。",[2496,2497,2592,2499,2509,2549,2505,2506,2507,2510,2511,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa84e46151266133c953b99627ae19f1f.jpg",[6,2968,2626],{"id":1281,"slug":13685,"title":13686,"dynasty":2632,"author":5172,"museum":2673,"description":13687,"tags":13688,"thumbUrl":13689,"material":3044,"size":13690,"collection":6,"collections":13691,"showCount":13669,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"qian-long-huang-di-song-yin-xiao-xia-tu-zhou-dong-bang-da-238302","乾隆皇帝松荫消夏图轴","图绘崇山峻岭、溪水潺潺的郊外，乾隆皇帝身着汉装坐于石案旁，目视着童子烹茶的情景。石案上除有茶杯外，还有弦琴及书本，显现出他于茶道之外的文化修养。此图构思巧妙，作者并没有将贵为天子的乾隆皇帝画得身高体大，而是将他融入于自然山水之中，然后又通过山环水抱、苍松围绕的构图方式，将其自然地归笼到了画幅的中心部位，从而突显了其个人形象及至尊无上的皇权地位。图中的山石结构繁复而错落，笔法尖峭，皴法松秀，既有元人遗韵，又得宋人笔墨之工，因而成功地渲染出世外桃源的清幽雅境。实际画中的乾隆皇帝肖像，当出自郎世宁之手。\n此画轴包首处贴有黄签，题“澄观斋殿内东阁东墙面西挂”，点明了此图作为室内装饰画，曾被挂于避暑山庄的澄观斋殿内。",[2496,2499,2500,2509,2501,2779,2714,3839,2505,2506,2549,2690,3736,2652,10463],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2744412dddd49ddd4fa1d30f51c8f81f.jpg","纵193.5厘米，横158厘米",[6,2534],{"id":1282,"slug":13693,"title":11231,"dynasty":2490,"author":6091,"museum":2818,"description":13694,"tags":13695,"thumbUrl":13696,"material":2598,"size":2598,"collection":6,"collections":13697,"showCount":13669,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xiao-xiang-ba-jing-ce-wen-jia-236404","其潇湘八景初未尝命名，后人乃以平沙落雁、远浦帆归、山市晴岚、江天暮雪、洞庭秋月、潇湘夜雨、烟寺晚钟、鱼邨落照等目之。对古代山水画家而言，潇湘八景除了作为风景画本身的审美价值外，还另有两重价值，一是隐，二是谏。隐乃穷则独善其身，有忿怨之情；谏乃达则兼善天下，含劝喻之功。北宋范仲淹因庆历新政被贬，作《岳阳楼记》述怀，泄露了潇湘八景的玄机：貌似写景抒情，实为牢骚议政，有如屈原作《离骚》。范仲淹的览物之情、去国怀乡之思，无论居庙堂之高，还是处江湖之远，都涉及“吾谁与归”的人生终极问题。当然，后来的画家，不管文人也好，禅僧也罢，虽难达“先天下之忧而忧，后天下之乐而乐”的境界，但也能各出机枢，纳洞庭潇湘之八百里山水于胸臆，并诉诸尺素笔墨。\n文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[2496,2499,2592,2501,2504,2505,2578,2547,3898],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50d1f1866b63e635521521dd0043dc9a.jpg",[6,2534],{"id":1283,"slug":13699,"title":13700,"dynasty":2605,"author":9452,"museum":2673,"description":13701,"tags":13702,"thumbUrl":13703,"material":3069,"size":13704,"collection":2968,"collections":13705,"showCount":13669,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233988","画赵构书唐风册","马和之，中国南宋画家 。生卒年不详，活跃于高宗时期（公元12世纪）。钱塘 （今浙江杭州）人。宋高宗绍兴（1131-1162）中登第，一说官至工部或兵部侍郎。画院待诏，为南宋宫廷画院中官品最高的画师，居御前画院十人之首（周密：“御前画院仅十人，和之居其首焉”）。擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描（一作马蝗描），用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[2496,2544,2497,2592,3898,2499,2549,2578,2651,2677,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F489ad7188d3047e278afe3c2a391dfdb.jpg","60.33x41.04厘米",[2968,6],{"id":1284,"slug":13707,"title":13708,"dynasty":2632,"author":3020,"museum":2673,"description":13709,"tags":13710,"thumbUrl":13711,"material":8062,"size":13712,"collection":6,"collections":13713,"showCount":13669,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233160","草堂十志图册","此册山水是王原祁据唐代卢鸿《草堂十志图》图意，分别仿宋、元诸家笔意，重新加以艺术创作而成。卢鸿原作早已失传，今尚存宋人的临仿本，与此册相较甚殊，是画家师其意而不师其迹之作。该册无纪年，以画笔之苍劲，当是画家晚年之作。10页画，有6开设色，并兼用墨笔，色、墨兼施，浑然一体，清丽中有苍厚之致，为画家毕生努力所形成的特色。其晚年曾请告老还乡，屡为康熙帝所挽留，难免有“身在魏阙，心存江湖”之想，此图册似即追慕前贤草堂之隐的无奈心境的写照，为其晚年代表作。",[2496,2497,2592,2500,2501,2509,2714,2715,2593,2690,2547,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16167bc107fdf43a3be3d557727deba3.jpg","纵29厘米，横29.5厘米",[6,2534],{"id":1285,"slug":13715,"title":13716,"dynasty":2632,"author":11473,"museum":2563,"description":13717,"tags":13718,"thumbUrl":13719,"material":2598,"size":2598,"collection":6,"collections":13720,"showCount":13669,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"yu-bi-shi-jing-quan-tu-shu-hua-he-bi-tu-ce-qian-long-232797","御笔诗经全图书画合璧图册","乾隆四年暮春至十年季夏，乾隆皇帝与词臣陆续书写《诗经》三百零五篇，并补「笙诗」六篇，凡三百一十一篇，同时敕画院诸臣规抚宋人马和毛诗图笔意，完成前所未有的《御笔诗经泉图书画合璧》三十册，此书画册今藏台北故宫博物院图书文献处善本书库。\n乾隆此举当然具有政教宣示作用，但与宋高宗的立场绝不相同，因为国势盛衰相去甚远，故乾隆不免要嘲讽宋高宗「徒以西湖为销金窠」，根本不懂什麼叫做「诗」。不过，马和之高妙的笔意，不也是驱使盛清气势下的乾隆想完成此一巨擘的动力？因此，他御令画院诸臣，将旧有的临摹，已缺的补绘，完成《御笔诗经全图书画合璧》三十大册。此从文献资料的角度来看，确实提供了马和之图绘《毛诗》的一个轮廓，让我们得以配合当年同一时间内所编纂的《石渠宝笈》，去思索当时的内府究竟存有多少马和之所绘的《毛诗图》？而与今日所存的作品之间又有何种差异？同时，从诗经图的发展驶来看，乾隆朝的《御笔诗经图》虽然创意不很高，倒是以一个完整的姿态，为诗经图的历史画下一个美好的句点。\n故本论文主要论述有两方面：一是考察整个诗经图的发展历史，而马和之可说是其中最重要的一位。在他之前，只有文献上的记载；在他之後，又以临摹为多。虽然如此，随著时代的演变，许多以《诗经》为题材的画作，已渐与诗义脱离，而彰显著不同时代的文化情境，直到乾隆，其雄心壮志，反而使诗经图回归到诗义的本身，虽然所掌握的诗义和马和之有所不同，到底还是以马画为依归。其次，《御笔诗经图》既从现存的马画和文献资料中获得一些讯息，从而想像那些已不知所踪的画作是何等面貌。",[2495,2496,2497,2592,3898,2499,5686,2510,2501,2549,2505,2506,2677,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ec80eb8579f58c3fe32a317b0d4e306.jpg",[6],{"id":1286,"slug":13722,"title":13723,"dynasty":2632,"author":12914,"museum":2818,"description":13724,"tags":13725,"thumbUrl":13726,"material":2598,"size":2598,"collection":6,"collections":13727,"showCount":13669,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-hua-hui-ce-fu-shan-224270","山水花卉冊","此作用笔纵逸随性，以淡墨写垂柳长条，笔致轻柔连贯，如见春风拂柳之姿。芙蓉花以浓淡墨色晕染点簇，淡墨勾描花瓣轮廓，浓墨点苔铺叶，干湿互衬，尽显花之娇柔蓬松。\n\n画面留白疏朗，右上角题字与绘景相映成趣，诗画交融间尽显文人画萧散简淡的意韵。整幅水墨写意不重形似而尚神趣，带着林下幽人的闲适疏放，将花木清灵与文人澹泊襟怀相融，寥寥笔墨间晕染出清逸脱俗的雅致氛围。",[2495,2496,2497,2592,2499,3010,6938,3455,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57b0015526d185a3e1348fa9df2adfd1.jpg",[6,2870],{"id":1287,"slug":13729,"title":13730,"dynasty":2632,"author":9323,"museum":2563,"description":12981,"tags":13731,"thumbUrl":13732,"material":3069,"size":13733,"collection":6,"collections":13734,"showCount":13669,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"jiang-shan-chun-ai-zhou-gao-qi-pei-222659","江山春霭轴",[2495,2496,2497,2577,2500,2501,2651,2614,2506,2652,2528,2504,2550,2502,2503,5051,2509,2800,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb406e40bfb6d589e4d342608c31e30b5.jpg","241.8x128.1厘米",[6,2534],{"id":1288,"slug":13736,"title":13737,"dynasty":2490,"author":12214,"museum":2749,"description":12215,"tags":13738,"thumbUrl":13739,"material":2867,"size":12218,"collection":6,"collections":13740,"showCount":13669,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shi-ga-mou-ni-tu-ding-yun-peng-222385","释伽牟尼图",[2495,2544,2496,2497,2577,8088,2546,2500,2549,2501,2902,2652,2961,2613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f70fcd46abbbbd0f95a6777026a70c0.jpg",[6,2534],{"id":1289,"slug":13742,"title":13743,"dynasty":2490,"author":2776,"museum":2673,"description":13744,"tags":13745,"thumbUrl":13747,"material":2720,"size":13748,"collection":6,"collections":13749,"showCount":13669,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"san-gu-cao-lu-tu-dai-jin-222027","三顾草庐图","画面描绘的是家喻户晓的刘备“三顾茅庐”拜访诸葛亮的故事。人物的描绘生动而细致，例如刘备恭敬的神态、张飞的深色面庞及武夫样的站姿都描绘得十分传神。人物的动态掌握得非常准确。画山石用大斧劈皴法，松枝颀长，明显继承了南宋马远的画风，用笔简劲。整体画面墨色清雅。\n在明代宫廷画中以“招贤纳士”为题材的历史故事画为数不少，反映了当政皇帝求贤的迫切心情。",[2495,2496,2833,2509,2500,2549,2779,13746,3155,2505,2507,2611,2593,5494,3136],"草庐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6f5519f01f671699f57d3b1bc3dfe2e.jpg","纵172.2cm，横107cm",[6,2626],{"id":1290,"slug":13751,"title":13752,"dynasty":2605,"author":13753,"museum":2563,"description":13754,"tags":13755,"thumbUrl":13760,"material":2531,"size":13761,"collection":2624,"collections":13762,"showCount":13669,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-yao-lou-guan-tu-zhou-xiao-zhao-221661","山腰楼观图轴","萧照","此图右侧，仅画江水、浅滩、远渚、烟树，山间一条小路迂回盘旋，经前峰山腰渡口直抵后峰山巅，临近山巅处有一片楼台亭阁，一登山行人已走近。右下临水山岩上两人指看远方美景；左侧最高峰画得半壁实半壁虚，虚处乃为江上水气所迷，上升成岚，后面还添上几座淡淡峭峰，启人高远不可测的“仰止”之叹。山际径路盘曲，有两人策杖而上，而楼观却深深埋藏在山坳幽谷中。该图近山浓重，远山清淡，又形成虚实对比。",[2495,2496,2544,2577,2501,2500,2550,2504,2503,11448,13756,13757,4657,6002,13758,13759,2509],"远渚","山岩","烟岚","径路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea4c55e52a1cb2248ca13b56096d3fa.jpg","纵179.3cm，横112.7cm",[2624,6,2534],{"id":1291,"slug":13764,"title":13765,"dynasty":2522,"author":4583,"museum":2563,"description":13766,"tags":13767,"thumbUrl":13769,"material":2703,"size":13770,"collection":6,"collections":13771,"showCount":13669,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"que-hua-qiu-se-quan-juan-zhao-meng-fu-220894","鹊华秋色全卷","鹊华秋色图，元代画家赵孟頫于元贞元年（1295）回到故乡浙江为好友周密所作的纸本水墨设色山水画，现藏于台北故宫博物院。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带秋景，画境清旷恬淡，表现出恬静而悠闲的田园风味。采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。\n《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。画题就是由这两座山而起的。鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。水边轻舟数叶，舟中渔叟正安静地工作。其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者虽然受召于元朝，遭到众多宋氏遗臣的诟病，却终其一生都对隐而不仕的南宋遗臣表达出相当程度的理解和尊重。从这个意义上说，《鹊华秋色图》也是在向那些对南宋一朝忠心耿耿而隐居不仕的士人传达作者自己的真实意图。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。在刚柔对比中，更显得华不注山的险峻奇突。图中中景、近景表现出一片辽阔苍茫的景象。平川洲渚，红树芦荻，房舍隐现。图中林木种类颇多，红绿相间，枯润相杂。树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。用笔似乎旋转，线条往复重叠，增添了树干的质感。画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。鹊山用披麻，皴法较密。华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。\n明·陈继《泥古录》：山头皆着青绿，全学王右丞与董源。\n在《鹊华秋色图》中，作者以深湛的笔墨功力诠释了即达放逸的山水意境，不仅丰富了文人山水画的表现手段和内涵，更初步确立了元代山水画坛清远自然的整体风格和蕴藉典雅的审美格调，为后世的中国山水画奠定了基础。",[2495,2496,2497,2498,2499,2500,2546,2509,2510,2511,2547,2501,3777,7771,2528,2506,2508,2529,2766,5071,3775,13768,3042],"远树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc6e45f6523596086c4e10a81385abb5.jpg","纵：28.4厘米，横：90.2厘米",[6,2534],{"id":1292,"slug":13773,"title":13774,"dynasty":2632,"author":12817,"museum":2818,"description":13775,"tags":13776,"thumbUrl":13777,"material":2567,"size":2598,"collection":6,"collections":13778,"showCount":13669,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"tian-chi-xiu-xie-tu-juan-qian-du-220258","天池修褉图卷","钱杜画法文徵明细笔一路，文雅秀润。以恬静的书卷之气擅名一时。此卷写湖水初涨，夹岸杨柳绽绿，桃杏吐芳，碧草满坡，一派风暖日丽的早春气象。水边林下，有人结伴寻胜；草亭之中，有人闲话清吟；高阁之上，则有高士倚栏远眺。读钱氏自题诗，知是写朋友清明修禊故事。其典雅清丽的笔墨，与文人雅集的闲适情怀正合。是他即景生情，悠然命笔的精心之作。",[2495,2500,2546,2509,2501,2506,2507,2502,2503,2505,2552,2549,2960,2730,3136,3091,2902,4452,2766],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f81ae9bb1ca4b38dd9cd77551e6d9ed.jpg",[6],{"id":1293,"slug":13780,"title":13781,"dynasty":2522,"author":3225,"museum":2997,"description":13782,"tags":13783,"thumbUrl":13784,"material":2597,"size":2598,"collection":6,"collections":13785,"showCount":13669,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-xian-ju-tu-cao-zhi-bai-219967","山水闲居图","此作用平远之法铺展江南水色，烟波浩渺的湖面横贯画幅，汀渚错落间晕开清寂悠远的意韵。近岸林木萧疏苍劲，茅亭临水待客，村舍隐于林间，野意悠然。\n\n以干笔皴擦勾勒山石林木，笔法松秀简淡，墨色清润虚实相生，带着元代文人画特有的萧散简远。将幽居林下、寄情烟水的雅逸心境藏进留白与笔锋里，尽显天真幽淡的林下风致，把江南水乡的闲淡隐逸之趣铺陈得恰到好处。",[2495,2496,2497,2498,2499,2501,2509,2506,2505,2528,2595,2508,2547,2510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca037a1b408a2cad9f2a4430094ab374.jpg",[6],{"id":1294,"slug":13787,"title":13788,"dynasty":2632,"author":3020,"museum":2563,"description":13789,"tags":13790,"thumbUrl":13791,"material":2597,"size":13792,"collection":6,"collections":13793,"showCount":13669,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-ni-huang-he-bi-tu-wang-yuan-qi-219892","仿倪黄合笔图","图绘湖山阔远,水榭静美.取倪云林之图式,运黄子久之笔墨,王麓台笔力能扛鼎,诚非虚誉.",[2496,2499,2501,2676,2509,2714,2715,2593,3155,2505,2652,3091,2677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb79ceab6892c3b9c5f6fc7105fc63ef6.jpg","111.5x48.1",[6],{"id":1295,"slug":13795,"title":3183,"dynasty":2632,"author":10153,"museum":2818,"description":13796,"tags":13797,"thumbUrl":13798,"material":2500,"size":2598,"collection":6,"collections":13799,"showCount":13669,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"shan-shui-tu-ren-xiong-219836","此作以明黄为底，石青石绿晕染峰峦，跳脱传统山水的柔和基调，浓烈撞色醒目张扬。群山如利刃攒聚拔地而起，线条苍劲硬朗，勾勒出奇崛陡峭的山石肌理，带着金石般古朴质感。\n\n层叠峰峦错落排布，水色留白穿插山林间，虚实相映，令逼仄山景生出灵动空阔之意。点缀的林木或敷红或点白，为冷硬山石晕开鲜活暖意，让瑰奇山景兼具富丽堂皇与悠远意境，以极具装饰性的手法，演绎出独树一帜的工笔山水新韵。",[2495,2496,2500,2545,2509,2501,2527,2506,2613,2652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b13f78b1724169dff99021f61857a8a.jpg",[6],{"id":129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朱文印二方。\n第二开：自识：“远岫接烟光，斜阳在钓航。众渔归已尽，独自过横塘。东楼暑薄写此。墨井。”钤“渔山”朱文印二方。\n第三开：自识：“林鸠唤雨不成雨，山鹊呼晴亦未晴。尽日声声是何意，欲催泼墨米图成。梅雨乍霁。延陵历。”钤“吴历”朱文印、“吴历之印”白文印。\n第四开：自识：“春事已云莫，落花门外无。何为井上树，四月尚如枯。渔山子。”钤“渔山”、“墨井”朱文印二方。\n第五开：自识：“墨井道人雨窗拟古，竹醉日。”钤“延陵”、“墨井” 朱文印二方。\n第六开：自识：“萧萧踈踈，木落草枯。空山无人，夜吼於菟。墨井道人。”钤“吴历之印”白文印、“延陵”朱文印。\n第七开：自识：“写元人画，大抵要简澹趣多，曲折有韵。五月小尽日，墨井历。”钤“吴历”、“渔山” 朱文印二方。\n第八开：自识：“石激水流处，天寒松色间。墨井道人。”钤“渔山”、“墨井” 朱文印二方。\n第九开：自识：“前人草草涂抹，自然天真绚烂。小重阳后一日，渔山子。”钤“延陵”朱文印、“吴历之印”白文印。\n第十开：自识：“不是看山定画山，的应娱老不知还。商量水阔云多处，随意茆茨着两间。墨井道人从上洋归，写于东楼。”钤“吴历之印”白文印、“延陵”朱文印、“墨井”朱文印。\n鉴藏印有“虚斋审定”、“莱臣心赏”等17方。",[2496,2497,2592,2499,2500,2501,2502,2505,3091,2507,3166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdea3efc5d206a3c127338aa7c9ce390b.jpg","23.2厘米，横28厘米",[6,2626],{"id":1308,"slug":13901,"title":2587,"dynasty":2632,"author":13902,"museum":13903,"description":13904,"tags":13905,"thumbUrl":13906,"material":2598,"size":2598,"collection":6,"collections":13907,"showCount":13876,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-wang-gai-234102","王概","荣宝斋","王概，又作王槩。字东郭，又字安节，后改今名，秀水（今浙江嘉兴）人，久居江苏金陵（今南京）。其兄王耆，其弟王臬皆擅画。王概的山水师法龚贤，黑色疏淡浓墨相间，皴点粗放，苍劲深厚。尤善画大幅山水及松石，《中国美术家人名辞典》称其作品：\n“雄快以取势，苍健或过之，而冲和不足。人物、花卉、翎毛之类，都有味外之味。”\n王概擅治印、刻竹，并善诗文，著有《澄心堂纸赋》。王概在中国绘画史上留名，主要是三十五岁时曾应沈因伯之请，携兄弟，以明李流芳课徒画稿为基础，为《芥子园画传》编绘山水集，率先编绘了中国画技法图谱——《芥子园画谱》。",[2496,2500,2499,2592,2501,2578,2505,2677,2509,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa1c5d69c9f1d0968dfce493fa609542.jpg",[6],{"id":1309,"slug":13909,"title":13910,"dynasty":2632,"author":3796,"museum":3039,"description":13911,"tags":13912,"thumbUrl":13913,"material":13914,"size":13915,"collection":6,"collections":13916,"showCount":13876,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"yuan-shan-gang-luan-tu-wang-jian-224487","远山岗峦图","构图繁而不乱，山石错落有致，而且笔法华润圆细，秀逸中不失严谨，纤细而不流于柔弱，刚柔并济，浓淡兼施，皴染同举，别有风采。\n这幅作品虽然是仿古，但是作者也是在临摹古画的基础上又融入了自己的思想而创作的，有他自己的特色。纵观全图，坡岸上石矶堆砌、层叠向上，远处山体高耸，峭壁悬崖，气势壮观。山上林木葱茏、青翠、茂盛，清气袭人。远处山涧，瀑布飞流直下，泻入溪中。岸边、山腰上建有水榭亭台、屋宇楼阁，或隐或现。一高士神态安详，端坐于水榭中，环视着四周淡远的景色。他那悠然自得、轻松惬意的神情深深地感染着观者。\n此画为竖构图，景物布置得繁而不塞、杂而不乱，可谓层次分明、经营有序。画家用浅赭色染树干、坡脚及屋墙，树叶和崖顶的平台用石绿色染出。由于山石多次以淡墨皴染，又用焦墨反复 积加，所以画面显得浑厚壮观。不过，山石用笔含蓄内敛，丝毫没有外露的痕迹，皴法细密、刻画准确、墨色浓润，所以又为画面增添了灵秀之气。再加之少量的赭色晕染，使画面达到了刚劲与柔美、雄浑与雅秀的统一。更值得一提的是，画家在设色上并非勾勒填彩，而是将石绿、淡赭、水墨自然地融合在一起，故此画没有以往青绿山水画的俗艳之气，而是别有一种雅淡之韵、灵逸之趣。王鉴在青绿设色上是少有的高手，据说清代三百年间的山水画家中很少有人能超过他。这一点，由此图可窥见一斑。\n此图款署“庚戌九秋，仿黄子久笔意，王鉴”，下钤“王鉴之印”。王鉴的画大多题“仿”古人，如“仿北苑”、“仿令穰”、“仿雪松”、“仿江贯道”、“仿董源”、“仿巨然”等。但他的“仿”并不是简单地模仿古人的笔墨技巧、构图布局，而是重在体味、吸收、融汇前人的笔墨结构，以形成自己的山水画语言。此图便是画家以模仿黄公望的笔意为主，又融合董源、巨然两家之萧散、平淡的风格绘成的。画家用墨色由淡及浓地层层晕染，使作品虚实有致、层次丰富。此画较黄公望的画更加清润、明洁，有一股清雅的书卷气。王时敏称王鉴的画“以秾丽为宗，然高华、秀逸兼而有之”。",[2495,2496,2500,2509,2501,2651,2506,2902,2730,2613,2652,2595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b666d72fb7f59c63cabf0b46996ab26.jpg","绢本设色.","151cmx66cm",[6],{"id":1310,"slug":13918,"title":13919,"dynasty":2605,"author":3431,"museum":2818,"description":13920,"tags":13921,"thumbUrl":13922,"material":2720,"size":13923,"collection":2624,"collections":13924,"showCount":13876,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"song-yan-xian-guan-yi-ming-223503","松严仙馆","图绘崇山中的多处建筑群，自上而下分部。画面顶端在绿树的围绕中，多座房顶露出，房屋建造宏伟，青瓦飞檐，四方端正，应为图名“仙馆”了；画中部所绘山石断面很有特色，细线勾勒整齐而光滑；近处流水涓涓，两边绿树苍翠，实为世外桃源之美景。",[2495,2496,2497,2833,2500,2546,2509,2779,2550,2507,2506,2503,2595,2614,2690,4657,3636],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc06f5b71e8e16df60afd252093360347.jpg","60x89.15cm",[2624,6,2626],{"id":1311,"slug":13926,"title":7929,"dynasty":2490,"author":11416,"museum":3121,"description":13927,"tags":13928,"thumbUrl":13929,"material":13930,"size":13931,"collection":6,"collections":13932,"showCount":13876,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-zhou-xiao-yun-cong-222835","萧云从(1596～1673) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初芜湖著名画家，姑孰画派创始人。其父萧慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。",[2495,2496,2499,2509,2577,2501,2507,2506,2503,2505,2595,3900],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9506285d1f977096cfef7d4935bf92db.jpg","轴","67×52cm",[6,2534],{"id":1312,"slug":13934,"title":13935,"dynasty":2632,"author":6429,"museum":2818,"description":13936,"tags":13937,"thumbUrl":13938,"material":3044,"size":2598,"collection":6,"collections":13939,"showCount":13876,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"mo-bi-shan-shui-zhong-tang-zheng-min-222711","墨笔山水中堂","水墨绘远处山石连绵，中部河道宽广，河面一条船只行驶；近处岸边树木葱郁。技法上，山石以细墨勾皴，再以墨点绘树木绿植，画上有画家自题诗一首。郑旼，字慕倩，号遗娃，善画山水，工诗文，尤工篆刻，新安派画家之一。",[2495,2496,2497,2501,2577,2499,2509,2714,2593,2677,2503,2504],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d7d2495e8028e35e34df00482f874b8.jpg",[6,2626],{"id":1313,"slug":13941,"title":13942,"dynasty":2490,"author":13943,"museum":2818,"description":13944,"tags":13945,"thumbUrl":13946,"material":2720,"size":13947,"collection":6,"collections":13948,"showCount":13876,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"qi-ma-you-shan-tu-liu-yan-222163","骑马游山图","刘琰","图绘崇山峻岭中一座高楼映入眼帘，飞檐立柱，高大宏伟；屋前树木葱郁，繁花开放，一位红衣男子骑马停步赏景！此幅图的山脉绿树画法很具特色，与同时代画家蓝瑛有相似之处。",[2495,2496,2500,2546,2790,2501,2549,2960,2550,2506,2507,3125,2800],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e0f2a66c07d9c664105cdc11e6d8c1b.jpg","纵49cm，横67cm",[6,2626],{"id":1314,"slug":13950,"title":13951,"dynasty":2605,"author":13952,"museum":2673,"description":13953,"tags":13954,"thumbUrl":13955,"material":3069,"size":13956,"collection":6,"collections":13957,"showCount":13876,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"song-he-ceng-lou-tu-ye-zhang-dun-li-221216","松壑层楼图页","张敦礼","張敦禮 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画面左上方巨岩的主峰直冲云霄，有立壁之势。",[2496,2497,2577,12983,2500,2501,2549,2507,2506,3736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff10c5c3af2a80ea2558949079d71c527.jpg",[6],{"id":1321,"slug":14013,"title":14014,"dynasty":7780,"author":3431,"museum":2563,"description":14015,"tags":14016,"thumbUrl":14018,"material":2531,"size":14019,"collection":6,"collections":14020,"showCount":13876,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"wu-kuan-shan-shui-zhou-yi-ming-219369","无款山水轴","这幅山水轴以细腻笔触勾勒出静谧悠远的自然之境。前景林木扶疏，枝干交错间掩映着几椽茅舍，似有幽人闲坐，静听溪涧潺潺。中景溪流蜿蜒，石矶错落，墨色层次分明，尽显生机。远山层叠，云雾轻笼，墨色由浓转淡，渐次隐入天际，拓展出深远的空间感。山石皴染结合，苍劲中见温婉；树木点染有致，姿态自然生动。整体色调古雅沉静，笔墨意趣盎然，将自然之美与文人隐逸情怀融于一体，引人沉浸其中，体味那份远离尘嚣的恬淡与自在。",[2544,2496,2833,2577,2499,2509,2500,3636,10083,2613,2507,2614,9899,14017],"恬淡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7339aa747e902c48320949a28e177acb.jpg","84.5x65.6",[6],{"id":1322,"slug":14022,"title":14023,"dynasty":2605,"author":2686,"museum":2563,"description":14024,"tags":14025,"thumbUrl":14026,"material":2499,"size":14027,"collection":6,"collections":14028,"showCount":13876,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"xi-qiao-san-bu-zhou-li-gong-lin-219357","溪桥散步轴","云雾轻笼远山，层峦叠嶂间隐现沙洲，溪水流淌过平野，小桥横卧其上。近岸枯木疏枝错落，几椽茅舍掩映于林麓，有人影缓步溪畔，似与自然低语。山石以细腻线条勾勒，墨色浓淡相宜，皴擦间显苍劲质感；水面留白处见清浅波纹，愈显空濛。整幅画面虚实相生，远近层次分明，笔墨雅致温润，将文人隐逸的闲适心境与山水之清幽完美契合，尽显自然之趣与人文之韵，宛如一曲无声的田园牧歌，引人沉醉于这份宁静悠远之中。",[2496,2544,2497,2577,2499,2509,2501,2502,2503,2506,2507,2508,3091],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83fc4e06587a7f9fc815ef7ad4a35387.jpg","50.4x25.3",[6],{"id":1323,"slug":14030,"title":14031,"dynasty":2522,"author":6126,"museum":2563,"description":14032,"tags":14033,"thumbUrl":14035,"material":3157,"size":14036,"collection":6,"collections":14037,"showCount":13876,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"bao-jin-jing-du-tu-wang-zhen-peng-218725","宝津竞渡图","界笔如丝，勾勒出楼阁层叠错落，飞檐翘角似振翅欲飞，梁柱间精巧纹饰尽显匠心底蕴。水面上龙舟竞渡，旌旗猎猎，舟中人群攒动——或击鼓助威，或挥桨逐浪，浪花翻涌间满是喧腾热闹。整幅画以细腻线条铺陈，将宋代汴京宝津楼前的端午盛景凝于绢素，既有界画的严谨工整，又不失动态的鲜活灵动，仿佛鼓点与欢呼交织耳畔，昔日都城的繁华气象跃然眼前。",[2496,2497,2498,2790,3898,2549,2550,2502,2503,14034,2506,2690,2500],"龙舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda29ce46bd5c86dc803d1bc684f736b8.jpg","36.6x183.4cm",[6],{"id":1324,"slug":14039,"title":14040,"dynasty":2605,"author":3431,"museum":4366,"description":14041,"tags":14042,"thumbUrl":14043,"material":3157,"size":14044,"collection":6,"collections":14045,"showCount":13876,"zanCount":3048,"manualWeight":2517,"mainColor":2559},"zhu-tu-yi-ming-218599","竹图","墨竹倚石而生，枝干挺劲如剑，竹叶纷披若云。中锋运笔勾勒竹干，线条圆劲中带弹性；侧锋扫出叶影，浓淡枯湿交错，似有风穿叶隙，簌簌有声。石体朴拙厚重，皴擦间显苍劲肌理，与秀逸之竹相映成趣，刚柔相济。留白处似含空濛之气，延展了清寂之境。整幅笔墨简括却意韵悠长，竹之疏朗、石之沉凝，暗蕴君子不阿风骨，尽显宋画简远雅致的文人格调——于无声处，见笔墨精神与自然生机的交融。",[2495,2544,2496,2497,2577,2499,2637,3155,3839,2552],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1607f568c2c28a4be41fe93f5462041d.jpg","27x47.5cm",[6],{"id":1325,"slug":14047,"title":14048,"dynasty":2522,"author":3431,"museum":3039,"description":14049,"tags":14050,"thumbUrl":14051,"material":2567,"size":14052,"collection":6,"collections":14053,"showCount":13876,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"lou-ge-tu-yi-ming-218210","楼阁图","楼阁图是元朝时期的一种著名绘画风格。它以其栩栩如生的再现自然风光和精细的内部装饰而闻名。\n\n元朝，又被称作“大元”，是中国历史上继北宋之后的第一个多民族、多语言的王朝。它的建立标志着中国进入了封建制的最后一个阶段。元朝的建立者是蒙古族公主忽必烈，忽必烈是在其父亲蒙哥汗的帮助下统一了全国，并于1271年建立了元朝。\n\n楼阁图是元朝时期的一种流行的绘画风格。这种绘画风格的特点是对山水风光的再现以及对宫殿、院落、楼阁等建筑物的精细描绘。楼阁图通常是以山水为背景，描绘出宏伟的宫殿、庄严的寺庙、雄伟的城池等景象。它的画风细腻、精巧，注重细节，给人以视觉上的享受。",[2496,2544,2500,2790,2550,2501,2506,2549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029c4d5225d5f29d73cf189d792af37d.jpg","25.3x21.7cm",[6],{"id":1326,"slug":14055,"title":14056,"dynasty":2632,"author":6429,"museum":4795,"description":7178,"tags":14057,"thumbUrl":14058,"material":2597,"size":7181,"collection":6,"collections":14059,"showCount":13876,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xin-an-yi-yun-ce-zheng-min-shan-shui-zheng-min-218099","新安逸韵册(郑旼山水)",[2495,2496,2497,2592,2499,2511,2547,2501,2714,2593,2509,2510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59e97b172d0eb3c9c22236592b7cdd2a.jpg",[6],{"id":1327,"slug":14061,"title":14062,"dynasty":2522,"author":3431,"museum":2492,"description":14063,"tags":14064,"thumbUrl":14065,"material":2567,"size":14066,"collection":6,"collections":14067,"showCount":13876,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"xuan-pu-chun-shen-tu-yi-ming-215144","悬圃春深图","悬圃春深图是一幅元朝（1271-1368）时期的图画，作者佚名。这幅图展示了一个人站在悬圃之上，俯视着春天的景色。悬圃是一种古老的中国园林建筑，通常是一个圆形的小建筑，用来观赏周围的景色。在这幅图中，悬圃上的人可以看到树木芽生，花儿开放，鸟儿欢快地唱歌。这幅图捕捉了春天带来的生机勃勃的气息，是一幅生动而优美的作品。",[2496,2790,2500,2545,5225,2550,2501,2506,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d3510d20cfcdbf5cc710910d3669f7d.jpg","26x27.8cm",[6],{"id":1328,"slug":14069,"title":14070,"dynasty":2632,"author":14071,"museum":2492,"description":14072,"tags":14073,"thumbUrl":14074,"material":2598,"size":2598,"collection":6,"collections":14075,"showCount":13876,"zanCount":2517,"manualWeight":2517,"mai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36444","徐枋：(1622—1694)字昭法，号俟斋、涧叟、秦馀山人、雪床庵主人，江苏吴县(今苏州)人。崇祯15年举人，工诗文，书善行草，宗孙过庭及王羲之。山水师董源、巨然、荆浩、关仝，亦宗倪瓒、黄公望，用笔工整，墨气明净，不设色。诗文出入韩、柳间。传世作品有康熙4年《山水》册页，录于《中国绘画史图录》下册；9年作《山水》扇面现藏故宫博物院；24年作《仿关仝山水图》轴，录于《晋唐五代宋元明清名家书画集》。著有《居易堂集》、《俟斋集》等。",[2496,2499,2577,2509,2501,2502,2503,2578,2677,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6512dc7e0e5403960b7c77a4799e4bf.jpg",[6,2534],{"id":1336,"slug":14127,"title":14128,"dynasty":2632,"author":5047,"museum":2673,"description":11861,"tags":14129,"thumbUrl":14130,"material":8268,"size":14131,"collection":6,"collections":14132,"showCount":14084,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xia-shan-gao-yin-zhou-wang-hui-236331","夏山高隐轴",[2496,2577,2499,2509,2501,2714,2611,2506,2508,2613,2652,2752,3057],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd81825753d68bef2ca34b30bd5f712c.jpg","纵184.8cm，横79.4cm",[6,2626],{"id":1337,"slug":14134,"title":14135,"dynasty":2632,"author":13902,"museum":2673,"description":14136,"tags":14137,"thumbUrl":14138,"material":2598,"size":2598,"collection":6,"collections":14139,"showCount":14084,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"jin-ling-zhu-jia-shan-shui-hua-hui-ce-shan-shui-ye-wang-gai-233222","金陵诸家山水花卉册-山水页","自17世纪初到18世纪上半叶，以南京为中心的江南地区，产生了比历史上任何时代和地区都要多的画派和画家。《明画录》记载的画家有800多人，其中江苏约有370人，浙江占了200多人，两地画家占总数的75%。尤其是执书画坛牛耳者几乎均为江南人。特别是在明清之际，画坛显得异常活跃，在提倡师古的正统派和注重文学意味的文人画这两种绘画思想影响下，文人画家一方面追求自己的个性，同时，师承相同、风格相近者也在各地活动，或聚合一处，倡导变革风气，形成了许多画派，如以松江人董其昌为首的“松江派”，以常熟画家王石谷为代表的“虞山派”，以明末画坛泰斗王时敏之孙王原祁为首的“娄东派”，以梅清为首的“黄山派”等。南京作为江南首府，明代南都的风姿、历史的悠久、山川的秀丽，赢得了诗人画家不绝的歌咏描绘。其文化的昌盛，经济的繁荣，生活时尚的风流，与书画有关的各行业的便利，皇亲国戚、富商大贾和书画收藏家的存在，使其具有磁铁般的大都会的吸引力，孕育出一批本地画家，也将来自四面八方的艺术家凝聚一起，各派画家聚合会晤，或过往相从，使南京自然成了这种时代潮流的汇合处，产生了为史所称的以“金陵八家”为首的一批画家，以其令人瞩目的创作纵横画坛一个世纪之久。\n\n一、金陵艺术家和金陵八家\n金陵的画坛，自14世纪明初建都至16世纪中期，在明代皇室的偏爱下，先由浙派画家领风气之先，承继北宋以来范宽式的布置茂密、山势伟岸巨嶂山水的整体构图，运用大斧劈皴和墨汁淋漓、快速运笔而形成强劲粗放笔墨效果的所谓浙派绘画，得到明皇室贵族的青睐。自永乐初浙派第一代实力人物戴进到达南京，随后有第二代浙派画家吴伟于1475年挟画技到南京，17岁的小伙子很快便以其笔墨酣畅、雄气横发、纵笔挥洒的绘画风格，受到了金陵贵族的喜爱。吴伟曾与诸王孙交游甚欢，年年踏春杏花村，而吴伟所喜爱的狂欢剧饮、挟妓喧闹以刺激绘画创作的方式，也在著名的秦淮河上得到了实现。继吴伟之后，第三代的浙派画家活跃于金陵的有蒋嵩、张路、汪肇等。\n自16世纪始，由于南京文化界中文人士大夫升为主流，其品味的改变，逐渐导致对绘画品味的改变，意趣深秀、若有所寄的以沈周和文徵明为首的吴派文人山水画影响渐大。随着金陵当地文人的兴起，至嘉靖中期，开始了“金陵初盛之时”，许多来自苏州、华亭的文人和因宫廷政治斗争中被贬谪的保守派成员离开北京至南京，形成一些凝聚力极强的文士集团，互相唱和。这批自居清流的士大夫对艺术的见解，也因政治、历史的原因，而产生一种不愿妥协现实，而以私人化“遣兴”于书画的形式作为一种对自尊的维护和对现实的抗议，故以吴派为代表的文人山水画得以兴盛，而浙派在其大本营的金陵，终因文人文化势力的高涨，而终于完全失去了势力，由此开始了中国文人画的高峰。\n16世纪，南京云集了本地和来自各地的画家，1669年，龚贤曾在周亮工所集《名人画册》上题曰：“今日画家以江南为盛，江南十四郡以首郡（南京）为盛，郡中著名者且数十辈，但能吮毫者奚啻千人”，享有画名的许多画家如文徵明、徐渭、董其昌、石谿、石涛、程正揆等，或造访、或游历、或寓居，都与南京有关。史称的金陵八家，亦有大半为外地来南京寓居者，因此使画家们相互间的学习、切磋和激励也有了许多机会。例如，龚贤自少年时便师董其昌，与石谿、石涛和程正揆等画家都有交往，也与金陵画家共同作画。据记载，1679年，龚贤便与邹喆、吴宏、樊圻、高岑、高遇、王概、柳堉、谢荪一起为伴翁作《山水花卉册》（故宫博物院藏）。画家程邃也在一个手卷的题跋中记述其与吴宏、戴本孝、龚贤、柳堉等常常饮酒论画的友情。\n南京得以凝聚画家的原因，首先与南京作为东南大都会所具有的吸引力和悠久的文化传统有关，并且在明亡后，南京又作为明代故都和故国之象征，从心理上和精神上凝聚了一代遗民艺术家；其次，从艺术的发展来看，因其为大都会，得以广纳百川、融会诸家，较少门户之见，虽然也许不易产生如小城镇所易形成的因血缘和师徒关系为主的派别，但却利于艺术家自由追求和发展其个性和风格；此外，南京为贵戚、富商、高官汇聚之地，有相当的收藏书画的潜力，例如当时著名的官僚、文人和收藏家周亮工，身为朝廷命官，但心喜书画，他不遗余力地收藏品评作品，奖掖提拔画家，也像一块重要的磁铁，将画家们纷纷吸引前来。龚贤在1669年为周亮工题其所集《名人画册》中曾有记述：“诗人周栎园先生有画癖，来官兹土（指南京）结读画楼。楼头万轴千箱，集古勿论，凡寓内以画鸣者，闻先生之风，星流电激，唯恐后至。而况先生以书召，以币迎乎？”周与许多书画家来往密切，他在南京秦淮河畔的居处便成为众好友的活动中心。为史所称的“金陵八家”都与周亮工有密切的联系，龚贤便为其府上的常客，周氏汗牛充栋的藏书藏画使他大饱眼福。龚贤与周亮工有将近20年的友谊，诗画唱酬，造访论道，不绝于时。1672年，周亮工卒，龚贤悲痛地作有《哭栎下先生》七律四首，有句云“哭公独我头全白，在世人谁眼更青”。其他如樊圻在丁酉年（1657）为周亮工而作《江浦风帆图卷》（辽宁省博物馆藏），叶欣在丁亥年（1647）为周亮工而作《山水册》（故宫博物院藏），高岑作《金陵四十景图》，由周亮工题跋，邹喆亦与周亮工诗画 往来。\n凭着对南京画家的了解，周亮工对南京画风的演变和发展曾提出一些观点：“秣陵画，先知惟魏考叔兄弟，翰之出，而秣陵之画一变，士夫衲子无不宗之。”继被视为金陵画派先驱人物的魏之璜（字考叔）、魏之克兄弟和朱翰之后，又由周亮工率先提出“金陵八家”一说，他所列名的八位画家为：陈卓、吴宏、樊圻、邹喆、高岑、武丹、蔡泽、李又李。然而认同者仅有乾隆年间成书的《上元县志》，稍后活动于雍乾时期的张庚，在《国朝画徵录》中合称龚贤、樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪为“金陵八家”，得到较多人的认可。清末秦祖永的《桐荫论画》、李浚之的《清画家诗史》等均主其说，虽然这八家并不一定代表当时知名度最高的画家，且因其师承不同，风格迥异，也难以简单地以“画派”一词来归纳，但这一个松散的画家群体，都有着相近的生活经历和思想感情，在动荡的明清之际，有亡国之痛，有忠君之义，不事新朝，遁迹山林，以诗画寄兴，虽然个性各异，但都安贫乐道，洁身自好，在当地享有“高士”之名，彼此间亦有诗文书画往来，并有共同的朋友圈子相交往。他们之间也有较多共同的创作思想，如借绘画抒写真情，不拘于派系之争，不论浙派吴派，善法必学，故能自辟蹊径，标树己风。在笔墨技法上也有相似之处，如常用硬直之笔，作整饬的线条，画面结构清晰，注重笔墨的整体感，讲究墨色的对比和映衬等，在作画题材上多以南京近郊山水为粉本，均表现出一种简朴平实的绘画风格，由此形成17世纪金陵山水画的独特 面貌。\n\n二、17世纪金陵山水画的文化特征\n金陵画家所创的山水画，具有比较鲜明的地方特色。首先是表现了南京及附近的山水特点。南京虽然为青山环绕，但基本上是以小山头为主的丘陵地带，钟山最高峰也不过海拔442米，然而山色秀美苍润。时人顾起元曾赞叹道：“金陵之山，形家言为南龙尽处，精华之气发露无馀，故其山多妍媚，而郁纡烟容岚气，遝翠霏青，望之如古佛顶上之螺，美人眉间之黛，而特未有奇峰削壁拔地刺天，如瑶篸玉剑突起于云霄之上者。江水一泻千里，沙腾浪涌，天日为昏，最为怪伟。至静夜无风，江声隐起，余尝夜卧洪济燕矶听之，汹汹如欲崩四壁也。后湖泓渟坦沲，堤杨洲菼，绰约媚人，山色四围，如靓妆窥镜。湖山之美，何减虎林。所少者独瀑布与寒泉耳。”金陵画家创作的山水便多以此山景水色为蓝本，起伏的丘陵，苍秀的林木，而北方的那种雄浑伟岸的大山大势则比较少见。第二是南京连接江南水乡，河湖港汊较多，行船泊舟，最是司空见惯，故画家笔下江汀舟楫之景多见，岸矶草亭也成了常见的景色。第三，江南的空气湿润，云雾时起于山林，烟霭常生于河湖，尤其南京冬天昼夜温差有异，水面易生烟气，夏天炎热闷湿，暑气常多漫漫，又似薄雾轻烟，与天相接。在诗人画家的笔下，这氤氲的云烟是别饶情趣的。唐代诗人杜牧在《夜泊秦淮》中歌咏道“烟笼寒水月笼沙”，罗隐在《金陵夜泊》中歌咏“冷烟轻淡傍衰丛”，明代诗人顾梦游则有诗句道“落日淡生烟”，龚贤有诗道“老柳迷夕阳，烟波涨南浦”。画家笔下的金陵山水因此亦多云烟缭绕之状，几乎每个画家都有描绘，其表现或柔和或飘逸或湿润或轻扬，因景因情，因画家的感受不同而富于变化。第四，金陵山水中表现当地特色的景物较多见，例如：钟山的松树。据记载，钟山自东晋时便人工植松，宋代也曾种植，明代在钟山建造明代开国皇帝太祖朱元璋的孝陵，更是植松十万株。钟山青松便成为此一时期常见的山水画题材。第五，金陵山水画中有许多表现了当时文人生活时尚和爱好的内容，如山居、书屋、旅行、品茗、赏妓等，因南京为一著名的山林城市，这些反映时尚的画面也大多安置在秀丽的自然景观中。\n金陵山水画中也映现出浓重的怀旧情结。南京以名胜古迹、文化遗风和风流时尚著称，其处处可成为触景生情的诗、落笔成文的画。在诗人墨客的笔下，金陵怀古是一个永恒的题材，尤其是六朝的名胜典故，更是一个千古难解的情结，令一代又一代的文人陶醉。自唐代以来，诗人李白、杜甫、李商隐、刘禹锡都有著名的诗句传世，此后历代的诗人都不乏佳句。明末清初的文人诗作中或金陵山水画中若题有诗歌的，常常都会流露出这种对以往历史的追怀，六朝的名胜典故总像幽灵一样地在文人的诗画中徘徊。龚贤曾作《金陵怀古》二诗道：“短笛唤愁生，江船夜复清。月明争战地，潮打受降城。残柳欲无影，哀鸿只一声。石矶飞不去，凄绝古今情。”以西晋克吴、孙皓受降的六朝典故，抒发自己亡国的哀痛情怀。又有诗道：“江南六代风流地，白下多年翰墨场。古物已无王逸少，名人独剩顾长康。量宽嗜酒难逢醉，才大论诗莫禁枉。急办青钱买山隐，坐听深树候莺簧。”诗中综述六朝的文化和影响，表现出对王羲之、顾恺之等名人和六朝饮酒论诗等风流时尚的倾慕追往。\n即使那些暂居或游访过南京的画家，对南京也是难以忘怀。17世纪的著名画家石涛曾有册页名《秦淮忆旧》，为应友人之邀而作，回忆昔日与友人同在南京秦淮赏梅聚会的往事，亦引用六朝典故，其中一幅题画诗道：“沿溪四十九回折，搜尽秦淮六代奇。雪霁东山谁著屐，风高西壑自成诗。应怜孤瑟长年伴，具剩槎矛只几枝。满地落花春未了，酸心如豆耐人思。”六朝的文化，就像是一种范式，在明末清初的文人心中反复地出现和被吟咏，足见这种历史怀旧情结的坚韧。\n其三，金陵山水画反映出强烈的热爱故乡的情怀。17世纪，以地方景色为题的山水画比较流行，例如南京博物院收藏有明代宋懋晋的《江南十八景图册》、吴县一带的画家以虎丘山为题的绘画等，是文人画走向社会的表现，也是市民文化发达的结果，而以金陵风景名胜为题的山水画尤其突出。南京人爱恋故乡的强烈和真挚的程度是其他古都历史上所少见的。早在六朝之初的孙吴时期（甘露元年，265年），当吴末帝孙皓由建邺（今南京）迁都湖北武昌，百姓便有童谣道：“宁饮建邺水，不食武昌鱼。宁还建邺死，不止武昌居。”这种不计生死的眷恋，只得让吴帝于次年还都建邺，这在中国历史上恐怕也是绝无仅有的。另一个著名的例子是南唐后主李煜在被宋人俘获北上后，所作诗词中透露对故国山河的深深怀念，令人愁绝痛绝，“恰似一江春水向东流”，是超越时空界限的永远的伤怀。明清之际，金陵八家中，除樊圻和胡慥为本地人外，其余都为外地或郊县寓居南京的画家，但都表现出对南京的情有独钟，书画署名喜用“石城”“金陵”等南京的古称，将自己称作南京人。金陵八家之首的龚贤虽然自昆山移居南京，但对南京的感情很深，视南京为家，在外的奔波使他愁苦伤怀，“身老愁为客，迢迢返旧京”，亟盼着早些回到南京，并把南京选作自己最终的生活地点。明亡后，当他与友人费密同游金陵胜景，登上石头城，遥望长江，触景生情，激起了满腔难平的民族意识，遂发出“橐驼尔何物，驱入汉家营”的悲愤呼号。这种热爱故乡，热爱南京的情感，在艺术家们的笔下便诞生了金陵山水的另一种表现形式—“金陵四十八景”，将金陵的历史典故，风景名胜以山水画的形式和诗歌的吟诵来表现，并借着雕版印刷的简便，而得到雅俗的共赏。\n《金陵四十八景》的形成约在清代初年，其他则先后有零星的以金陵景色为题的书画，较为人知者如《金陵八景》《金陵十景》《金陵十八景》《金陵二十四景》《金陵四十景》等。《金陵八景》据画末题跋可知，作于万历庚子年（1600）春月，为江宁人郭存仁所绘，“八景”为“钟阜祥云、石城瑞雪、凤台秋月、龙江夜雨、白鹭晴波、乌衣晚照、秦淮渔唱、天印樵歌”，一图一咏，多基于六朝以来的历史典故和著名诗作。《金陵十景》，据《石渠宝笈续编》记载，是吴派画家之首的文徵明，在游览了金陵山水名胜后所作。《金陵十八景》为文徵明的侄子文伯仁（1502-1575）所绘，他号称摄山老农（摄山即今栖霞山），曾居住在南京，为金陵美丽的风光所感动而绘此图册。《金陵二十四景》，据1956年在湖南省长沙市发现的文物，是由文学家吴敬梓（1701-1754）所写《金陵景物图咏》，每篇诗末都注明所仿的碑帖，诗句工整，对南京的历史了如指掌。《金陵四十景》为太史朱之蕃所作。朱之蕃，江宁人，字元竹，号兰嵎，万历二十三年（1595）进士第一，工山水画，注意收集家乡江宁的山水名胜资料，“共得四十景，属陆生寿柏策蹇浮舫，躬历其境，图写逼真，撮举其概，各为小引，系以俚句”。图咏成后，朱之蕃命名为《金陵四十景图考诗咏》，并与当时的另一位太史杜士全常在金陵雅游，相互凭图咏唱。清初，金陵八家之一的高岑，字蔚生，虽老家在杭州，客居南京，但也倾心相爱这个城市，常署名“石城高岑”，平时也注意收集南京的历史资料，遍游南京的风景名胜，并在前人研究金陵胜景的基础上，精心绘制了《金陵四十景图》。清户部右侍郎、著名文人周亮工（1612-1672）为该图册写了题跋，这些图以后被刊入康熙年间的《江宁府志》。清代初年，又发展成为“金陵四十八景”。\n金陵画家包括八家的山水画中，亦有许多以金陵胜景为题的作品，甚至几代画家都钟情于此，父子者如邹典、邹喆，便都介入这一题材的创作。美国学者高居翰的景元斋收藏的《晚明人山水册》，共有10页，为不同的画家所绘，但都以南京的景色为题，如魏节“燕子矶”、黄益“献花岩”、龚达“龙江关”、谢成“幕府台”、龚贤“清凉台”、黄益“鸡笼山”、盛于斯“天阙山”、陆瑞征“玄武湖”、邹典“灵谷”、张翀“报恩塔”。又如，龚贤有《摄山栖霞图》《清凉环翠图》（故宫博物院藏），其他的金陵画家：樊圻有《江浦风帆图》、高岑有《天印樵歌图》（天津艺术博物馆藏），描绘南京附近天印山的景观，邹喆有《石城霁雪图》（上海博物馆藏），描绘南京的雪景，叶欣作《锺山图》（故宫博物院藏），描绘南京这一名山的景色。樊圻的《金陵寻胜图》，按照画后的题跋来看，应当还有吴宏的“燕矶”“莫愁”，龚贤的“清凉”“摄山”，陈卓的“天坛”“冶城”，柳堉的“天印”等画，皆是依金陵名胜的各景点而作的命题画。\n更难能可贵的是，柳堉在樊圻所绘的《金陵寻胜图卷》的题跋中还记载了当时南京人收藏金陵山水画，并以邀得名家作此命题画为荣的风尚，被视为金陵胜事，并引用一句“唯有家山不厌看”的古诗来解释这种特殊的现象。虽然这些地方山水画的繁荣或许与商业有一定的关系，但这种来自社会的热情要求和支持，足见南京人对自己故乡的热爱，这确实也是促使17世纪金陵山水画发达的原因之一。\n总之，以金陵八家为首的金陵画家，虽然各有师承，面目不一，但都能深入生活，以金陵近郊的山山水水为其粉本，融六法之精髓，入天然之丘壑，将热爱故国故乡的一腔真情和满腹怀恋都倾注于山岚变幻、草木蔚然的山水画中，故使金陵山水画独树一帜，在17世纪的画史上留下了辉煌的一页。古人道：诗为心声，画为心印，书为心画。明末清初的17世纪，金陵画家们所具有的独特艺术面貌，正是由特定的历史文化环境所造成的，从画家们无限的伤心和满怀勃郁的精神气质升华而来。那种强烈的民族意识和爱国情结，正是金陵画派山水作品内涵的共鸣、精神的统一和灵魂的所在。一位西方学者曾指出，南京是中国古都中最引人注目的城市，因为她曾经是并将永远是中国最令人怀旧和动情的城市。确实，那千古的金陵历史，千古的诗泉画源，千古的文人之魂，正是17世纪南京文化艺术繁荣的历史基因，也正是她的永恒魅力所在。",[2496,2497,2592,2499,2509,2501,2913,2578,2502,2503,2549,2677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff0b9d658a27fac0225545bf52f27ce.jpg",[6],{"id":1338,"slug":14141,"title":14142,"dynasty":2632,"author":14143,"museum":2563,"description":14144,"tags":14145,"thumbUrl":14146,"material":14147,"size":14148,"collection":6,"collections":14149,"showCount":14084,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"hua-wan-he-xiang-yun-zhou-hong-wu-222843","画万壑祥云轴","弘旿","弘旿（1743-1811），为康熙帝玄烨孙，字恕斋，又字醉迂，号一如居士、瑶华道人，官封固山贝子。兼工诗、书、画，有三绝之誉。画初学董邦达（1699-1769），又上追宋、元，笔墨秀润，山水特为蓊郁华滋。本幅为全景式布局，画松壑重重高起，山中并见烟云缭绕，景境幽深。居中的主峰，峰顶矾头错落，并用短笔点簇密林，饶有浑厚峻拔的气势。右下方自题「恭仿范宽笔意」，惟皴山多用长笔披麻，已去范宽（约950-1031间）风格甚远。",[2495,2496,2577,2501,2499,2500,2509,2714,3208,2902,2502,2503,2508,2507,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb6dc0050c390fb85ef72eff1bad4a7b.jpg","立轴，纸本，设色","112.2×53cm",[6,2534],{"id":1339,"slug":14151,"title":14152,"dynasty":2490,"author":11103,"museum":2563,"description":14153,"tags":14154,"thumbUrl":14155,"material":2512,"size":14156,"collection":6,"collections":14157,"showCount":14084,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"qi-xia-shan-tu-zhou-zhang-hong-222408","栖霞山图轴","此画以浓密如屏的树丛遮掩了其下山腰的轮廓，在这里，观画者必须先穿过树丛方能找到通往寺庙之路。张宏所要呈现的并非等览庙宇的经验，而是从雨中远眺的感受。他在题款中写道：“甲戌初冬，明止挈游栖霞，冒雨登眺，情况颇饶，归而图此。”由画幅下半部的细节，我们更可见出张宏的手法。张宏只画了庙门，这扇门也只画了局部，并且明显地按照远近比例法缩小。对岩壁间石刻壁龛的描写生动简洁，与石壁和树荫融合为一个视觉整体。画家秉承了传统的笔法，忠实地再现视觉经验。一张摄于1930年的千佛岩照片，肯定了张宏画中形象的忠实性：佛龛位于岩壁间，有一部分为树木所掩盖，从我们这个距离看去，仅能依稀辨认。张宏将此景压缩为因应挂轴裱式的垂直画面，布局也较乍看之时来得更具巧思；虽则如此，十一英尺有余的画幅本身，亦强化了如大银幕电影或电视超大画面般的临场感，宰制了我们大部分的视野。画面的主体千佛岩，在林木的掩映下显得古朴典雅。一望无际的森林覆盖着栖霞山，似有微风吹过，树影婆娑中透出清凉之气，引观者共鸣，一同去体会那清爽的栖霞山风光。",[2495,2496,2497,2577,2500,2509,2501,2505,2902,2507,2506,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81fe3ad4eebcd3b96e914c3432a49117.jpg","341.9x101.8",[6,2534],{"id":1340,"slug":14159,"title":14160,"dynasty":2522,"author":12281,"museum":4366,"description":14161,"tags":14162,"thumbUrl":14163,"material":2531,"size":14164,"collection":6,"collections":14165,"showCount":14084,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"luo-fu-shan-qiao-tu-juan-chen-ru-yan-221916","罗浮山樵图绢","此图所绘罗浮 山，位于广东增城县 东，为东晋葛洪得道 之处。作者在幅上自 识：“至正二十六年 （1366） 正月望后庐 山汝言为思齐断事 写罗浮山樵图。”图 绘群山层叠，一峰高 耸，两山接合处有山 泉流泻而下；坡岸上 树木林立，枝叶茂 密，有茅屋、楼阁错 落其间；山谷中村落 隐现；远处对岸，峰 峦犹见。图中山势圆 匀，作长披麻皴，再 以淡墨渲染，此为 董、巨法。但线条时 断时续，却有些王蒙 的解索皴的意味。山 头碎石堆叠，形似 “矾头”。近树枝干挺 直，粗笔点叶。这些 都是依循董源《夏景 山口待渡图》及巨然 《层岩丛树图》而来。 此 图虽在技 法 上学了董、巨，但呈 现的效果，却逊色许 多。这是由于陈汝言 用笔偏于繁细劲利， 笔力偏硬，缺少圆 浑、厚实之感。并且 在营造山水意境方 面，也缺少整体感。 山头大多各自独立， 只交代了山脉走向， 而缺乏山川气象。 其时已是元末， 山水画总的在趋向 简率、写意。如陆广、 赵原等画家，无论构 图、笔墨，都呈现简 单化的现象。陈汝言 用笔虽见粗阔，但由 于其好友王蒙对他 的影响，使其勾、皴 依然缜密、清润。 陈 汝言等一 批 元末“吴门”画家，承 续宋元文人画传统， 虽未取得重大突破， 却为“吴派”的诞生 起了先导作用。",[2495,2496,2497,2499,2509,2577,2714,2611,2613,2652,2506,2503,2507,2651,2752],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F736082c81e3db2b9eeab62f1bc5401da.jpg","70x53.5",[6,2626],{"id":1341,"slug":14167,"title":14168,"dynasty":2605,"author":4124,"museum":2673,"description":14169,"tags":14170,"thumbUrl":14171,"material":3069,"size":14172,"collection":6,"collections":14173,"showCount":14084,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fei-ge-yan-feng-tu-ye-wang-shen-221215","飞阁延风图页","此图原载《四朝选藻册》。图绘二位仕女，佇立楼台远眺，一位站立桌旁泛览古玩，其态悠闲自在。楼前古松葱茏，亭楼隐隐可见。作者用严谨、缜密的界画作楼台，细笔勾松针，笔法娴熟劲健，设色鲜艳和谐。裱边旧题签「王詵飞阁延风」。但从画风对比分析，与王詵风格不同，故改为无名氏作。画中无款，钤二印(一半印)不可辨。对开有清高宗弘历题诗，钤「八征耄念之宝」、「太上皇帝之宝」、「自强不息」等印。曾经清内府收藏，不见著录。",[2495,2496,2497,2592,2790,2500,2550,2506,2549,2511,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddda2be2d8bd08b99a15bda9153a6936.jpg","纵26、横23.5厘米",[6,2534],{"id":1342,"slug":14175,"title":14176,"dynasty":2490,"author":5395,"museum":2563,"description":14177,"tags":14178,"thumbUrl":14179,"material":2567,"size":14180,"collection":6,"collections":14181,"showCount":14084,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"qiu-shan-hong-shu-tu-zhao-zuo-220102","秋山红树图","赵左（约西元十六世纪）字文度，江苏松江人。善画山水，是苏松画派的首创人。　画中赵左自题「仿唐人杨升画」。按杨升（升）画山水得到张僧繇没骨法的妙处，有雪霁图、峒关蒲雪图传于世。这幅画多用青绿设色，山石不用皴纹，而用没骨法渍染，树叶也多用双钩，颇有唐画山水的遗风。但赵左受吴派绘画影响极深，故不像唐画华丽富贵，而饶有温润文雅的趣味。",[2496,2577,2500,2501,2507,2506,4787,2505,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05043e0f78a9ef545d2fe53f138f9a40.jpg","本幅 150x53.7公分、全幅 56公分",[6],{"id":1343,"slug":14183,"title":14184,"dynasty":2632,"author":14185,"museum":2973,"description":14186,"tags":14187,"thumbUrl":14190,"material":2512,"size":14191,"collection":6,"collections":14192,"showCount":14084,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xia-shan-lin-guan-tu-wang-yu-219915","夏山林馆图","王昱","王昱（1714——1748），清代文人画家，字日初，号东庄老人，又号云槎山人、丹林，江苏太仓人。与清代画家王玖、王宸、王愫合称“小四王”。东庄老人师承娄东“四王”一脉，喜山水，其画淡而不薄，疏而有致，笔意在倪瓒、方从义之间。",[2544,2496,2497,2577,2499,2501,2509,2507,2506,2503,14188,2835,14189],"馆舍","亭屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c382ccf195e33d1e5689e31fa5aaf5.jpg","105.1x49.8",[6],{"id":1344,"slug":14194,"title":14195,"dynasty":2522,"author":7089,"museum":2563,"description":14196,"tags":14197,"thumbUrl":14198,"material":2567,"size":14199,"collection":2968,"collections":14200,"showCount":14084,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"chun-jiao-you-qi-tu-zhao-yong-219615","春郊游骑图","该幅画树下单骑一人，手中拿著弓，正转头回顾。人物形态生动自然，马匹肥大雄壮，都以中锋金绿勾画，线条谨密流畅。背景极为简单，仅是两株相抱的树木，树叶以近似图案的形式描绘，有古拙之意。作者似乎在追求著高古简逸的趣味。人物生动自然，马匹肥硕雄壮，都以中峰钩画，线条谨密流畅，背景极为简单，仅是两株相抱的树木，树石亦用近似图案的形式描绘，有高古简逸的意趣。",[2495,2496,2577,2500,2546,2549,2960,2593,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d75c27cf3a76a0e8374ea43a8b221a6.jpg","88×51.1公分",[2968,6,2534],{"id":1345,"slug":14202,"title":14203,"dynasty":2632,"author":4200,"museum":2563,"description":14204,"tags":14205,"thumbUrl":14206,"material":2597,"size":14207,"collection":6,"collections":14208,"showCount":14084,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xi-qiao-lin-ying-tu-zhou-huang-ding-219482","溪桥林影图轴","这幅画描绘了一座横跨小溪的险桥，杂树相互依偎，远处山峰突出。 在笔墨的浩瀚中，呈现出一种宁静。 黄鼎虽然向二王学习，但也能找到自己的路。 所到之处，山水之形",[2496,2577,2499,2501,2502,2507,2613,2506,3091,2509,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc11da83fc8e3ec6b101ff501d2461042.jpg","118.5x38.9",[6],{"id":1346,"slug":14210,"title":14211,"dynasty":2490,"author":12421,"museum":2563,"description":14212,"tags":14213,"thumbUrl":14214,"material":2567,"size":14215,"collection":6,"collections":14216,"showCount":14084,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"rui-xue-ning-dong-tu-wang-e-219255","瑞雪凝冬图","高山巨石以及山下的庭院和山上的寺庙都由硬笔画出，冷峭逼人。山下远水高阔，船帆点点，落墨不多衬托了整幅绘画的冷寒的意境。",[2495,2496,2833,2500,2546,2790,2714,3078,2506,2550,2528,2549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dea2d2d24f34262242f7d5fcc48b26e.jpg","139.6厘米* 91.5厘米",[6],{"id":1347,"slug":14218,"title":14219,"dynasty":2490,"author":3431,"museum":4795,"description":14220,"tags":14221,"thumbUrl":14222,"material":2567,"size":2598,"collection":2870,"collections":14223,"showCount":14084,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"bai-niu-tu-yi-ming-219119","百牛图","百牛散于郊野，姿态万千：或缓步啮草，或扬蹄奔跃，或抵角相戏，或卧地休憩。稚童身影错落其间，或骑牛背悠然吹笛，或牵绳引犊徐行，或蹲踞石畔观牛群嬉戏。林木疏朗，溪流缓绕，草地茵茵，一派生机盎然的田园牧歌景象。整幅画作笔墨细腻，牛的憨态与童的天真相映成趣，尽显自然之趣与生活之美，令人仿佛置身于宁静悠远的郊野之中，心随牛群漫步，意伴稚童欢嬉，沉醉于这份恬淡自在的烟火气里。",[2495,2496,2498,2500,2546,3617,2549,2593,2961,2528,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F930c8aa569d3e32ea734c96bb3a9529f.jpg",[2870,6],{"id":1348,"slug":14225,"title":14226,"dynasty":2605,"author":3431,"museum":2563,"description":14227,"tags":14228,"thumbUrl":14229,"material":2567,"size":14230,"collection":6,"collections":14231,"showCount":14084,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"he-ting-xiao-xia-tu-yi-ming-218990","荷亭销夏图","画面描绘了岩石岬角上的一组树木，两棵松树站在树根上，其技术叶子在树荫下。在阴凉处，靠悬崖建了一个亭子，并通过走廊与水亭相连。亭子外面，波光粼粼，水面被荷叶包围。在湖中央的长堤上，孩子们的仆人带着他们的扇子和乐器走动。在岩石坡上摇曳的箭与湖光山色形成鲜明对比，使这幅画充满了迷人的夏日气氛 这是《名画珍品》画册的第五幅，没有作者的标记。笔法是李唐派的，近景的石坡、山石、树木，中景的山峰，都有李郭派的影子。这位艺术家可能是歌曲中间的一位画家。",[2495,2496,2497,2501,2500,2790,2509,2505,2506,2550,2507,2594,3736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9d1d0e4dbebe940bae02aa72bb50e4c.jpg","24.5x25.4",[6],{"id":1349,"slug":14233,"title":7879,"dynasty":2605,"author":3431,"museum":2563,"description":14234,"tags":14235,"thumbUrl":14236,"material":2567,"size":14237,"collection":6,"collections":14238,"showCount":14084,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"guan-shan-xing-lv-tu-yi-ming-218813","画的是关山高远的山峰和秋天的悲凉森林，一个骑着毛驴的学子正在过一座小桥。这幅画没有标记，有两个虞姬的符号，考虑到其解体时使用的笔法，可能是元代的作品。",[2495,2496,2497,2499,2500,2501,2509,2800,2549,2506,2507,2503,2502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b596fb7fe0dbb2cec842c835d50fd6a.jpg","26.7x27.8",[6],{"id":1350,"slug":14240,"title":14241,"dynasty":2522,"author":7752,"museum":2563,"description":14242,"tags":14243,"thumbUrl":14244,"material":2531,"size":2598,"collection":6,"collections":14245,"showCount":14084,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xue-shan-ce-jian-tu-tang-di-218767","雪山策蹇图","寒林雪景徐徐铺展，积雪如凝玉覆于峰峦石矶，枯树虬枝盘曲，骨力尽显。山石以斧劈皴与披麻皴交错，淡墨晕染间，雪的厚重与石的坚劲相融。策蹇人衣袂轻扬，缓行于冰冽天地，渺小身影衬出旷远意境。笔墨细腻处藏文人雅致，简淡中见苍劲力道，寒寂氛围里暗蕴生机。整幅画将雪的清寂、树的孤挺、人的从容凝成一瞬，尽显元人山水空灵意韵。观者仿佛闻风雪低语，触冬日清寒，感旅人独行的淡远心境，于静谧中品得那份超脱尘嚣的悠然。",[2495,2544,2496,2497,2499,2500,2509,2501,6456,3091,2507,2549,2960],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6cb3342fada7f0c20d0e996bc177960.jpg",[6],{"id":1351,"slug":14247,"title":14248,"dynasty":2490,"author":2899,"museum":2563,"description":14249,"tags":14250,"thumbUrl":14251,"material":3157,"size":14252,"collection":6,"collections":14253,"showCount":14084,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"jiang-fan-gui-zhao-wen-zheng-ming-216103","江帆归棹","淡墨晕染间，江南水乡的氤氲之态尽显。远山隐于薄雾，轮廓柔和如黛；近岸林木疏朗，墨色层次清雅。江帆数点，似叶浮于粼粼波光；归棹轻摆，携着晚归的悠然意韵。文徵明以细劲中锋勾勒山石，披麻皴缓铺肌理，线条温润却藏筋骨。画面简而不空，每一处笔触皆含文人情致——对自然的亲近，对归居的向往，尽融于烟水帆影之中。吴门画派的秀逸典雅，在此化作含蓄诗意，引人沉湎于那份宁静致远的心境，仿佛能闻流水轻响，见晚风拂过帆樯。",[2496,2497,2592,2499,2500,2501,2509,2504,2503,2552,2505,11701,2502,2578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0d75f0a81c2bd9003aebb84de1cdf41.jpg","36x55cm",[6],{"id":1352,"slug":14255,"title":14256,"dynasty":2632,"author":3431,"museum":2563,"description":14257,"tags":14258,"thumbUrl":14262,"material":2567,"size":2598,"collection":6,"collections":14263,"showCount":14084,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"yu-ti-mian-hua-tu-ce-dan-hua-yi-ming-214618","御题棉花图册-弹花","御题棉花图册是一本清代的册页艺术作品，其中包含了一系列用棉花制作的图案。这本册子是在皇帝的指示下制作的，因此被称为“御题”，意思是“皇帝指示”。\n\n这本册子是在清代早期制作的，具体时间不详。它由多位艺术家共同创作，但是由于当时记录不够完整，我们无法确定具体的作者名字。\n\n这本册子的图案涵盖了许多不同的主题，包括自然景观、动物、人物以及传统的中国图案。所有的图案都是用棉花制作的，并且由多种颜色组成。这种艺术技巧叫做“棉花画”，是一种古老而传统的中国艺术形式。\n\n御题棉花图册是一件非常珍贵的艺术品，因为它是清代皇帝的御制作品，并且因为棉花画技巧的稀罕性而具有极高的收藏价值。如果你有机会看到这本册子，一定要好好欣赏它的精美图案和精湛的艺术技巧。",[2496,2500,2546,2592,2510,2511,2549,2508,2506,14259,14260,14261],"田地","工具","弹花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33edd5a769c0f5c1f335b8b6bcdd6019.jpg",[6],{"id":1353,"slug":14265,"title":14266,"dynasty":2632,"author":14267,"museum":2563,"description":14268,"tags":14269,"thumbUrl":14270,"material":2598,"size":2598,"collection":6,"collections":14271,"showCount":14272,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"wu-da-fu-song-tu-juan-zhang-ruo-ai-238256","五大夫松图卷","张若霭","张若霭[清]（1713—1746）字晴岚（读画辑略作字景采，号晴岚），室名藕香书屋，安徽桐城人。张若霭有家学，祖父张英，父亲张廷玉为雍正、乾隆朝大学士。 雍正十一年（1733）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房，官至礼部尚书，袭伯爵。",[2496,2497,2498,2499,2509,2779,2578,2677,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b2767d1893093d6fd6a0d715c493fd.jpg",[6],32,{"id":1354,"slug":14274,"title":14275,"dynasty":2632,"author":5047,"museum":2818,"description":8216,"tags":14276,"thumbUrl":14277,"material":2598,"size":2598,"collection":6,"collections":14278,"showCount":14272,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xia-shan-ji-yu-zhou-wang-hui-237885","夏山积雨轴",[2496,2499,2509,2577,2501,2507,2506,2503,2502,2508,2611,2497,2544],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2045788a394058a03f535c7e71d29f.jpg",[6],{"id":1355,"slug":14280,"title":14281,"dynasty":2490,"author":6091,"museum":2673,"description":14282,"tags":14283,"thumbUrl":14284,"material":2732,"size":14285,"collection":6,"collections":14286,"showCount":14272,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"bi-shu-qing-bo-zhou-wen-jia-237436","碧树晴波轴","文嘉（1501年～1583），字休承，號文水，南直隸蘇州府長洲（今江蘇蘇州）人。大書畫家文徵明次子。\n吳門派代表畫家。初為烏程訓導，後為和州學正。\n能詩，工書，小楷清勁，亦善行書。精於鑑別古書畫，工石刻，為明一代之冠。畫得徵明一體，善畫山水，筆法清脆，頗近倪瓚，着色山水具幽澹之致，間仿王蒙皴染，亦頗秀潤，兼作花卉。明人王世貞評：“其書不能如兄，而畫得待詔（文徵明）一體。”詹景鳳亦云：“嘉小楷輕清勁爽，宛如瘦鶴，稍大便疏散不結束，徑寸行書亦然，皆不逮父。”",[2496,2497,2577,2499,2509,3236,2501,2506,2505,11476,2507,3091,2595,3055,9155,2902,2613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9d9fc885c6617d281bea024eab1ab57.jpg","长88cm 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cm",[6],{"id":1356,"slug":14288,"title":14289,"dynasty":2632,"author":14290,"museum":2818,"description":14291,"tags":14292,"thumbUrl":14293,"material":2598,"size":2598,"collection":6,"collections":14294,"showCount":14272,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"tang-ren-shi-yi-shan-shui-ce-xiang-mu-zhi-237161","唐人诗意山水册","项穆之","项穆之［清·乾隆］，生卒年不详，字莘甫，南京人。适庵孙。善画山水，能继祖业。高宗南巡，诸大府延入画局，一切名胜图绘，皆其主裁。",[2496,2497,2592,2545,2500,2501,2506,2611,2507,2614,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4603652ccdb32e3cecd134127efbb3b3.jpg",[6,2534],{"id":1357,"slug":14296,"title":7863,"dynasty":2632,"author":3020,"museum":2818,"description":14297,"tags":14298,"thumbUrl":14299,"material":2598,"size":2598,"collection":6,"collections":14300,"showCount":14272,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-dong-qi-chang-shan-shui-zhou-wang-yuan-qi-236389","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」\n见《清史稿》、秦祖永《桐荫论画》。",[2496,2497,2577,2499,2509,2676,2547,2501,2507,2506,2508,2502,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28132a1aa86a2afd0d9dbcc643e59524.jpg",[6,2626],{"id":1358,"slug":14302,"title":14303,"dynasty":2632,"author":9786,"museum":2673,"description":14304,"tags":14305,"thumbUrl":14306,"material":10391,"size":14307,"collection":6,"collections":14308,"showCount":14272,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"huang-shan-tu-zhou-mei-qing-236384","黄山图轴","此图绘黄山的莲花峰。作者以超绝的想象力，运用夸张的手法将莲花峰描绘成秀出天半的青莲，它巍峨不失俏丽，高贵而典雅。山岩的石面以浓淡墨交织的线条混皴，纹理繁密，气象峥嵘，与石上灵动的苔点相交融，显示了作者对黄山景物善于摹写、精于刻画的深厚功力。",[2544,2496,2497,2577,2499,2509,2501,2714,3839,2593,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3d0b5065c8022b488432001bfb86239.jpg","纵186.8厘米，横57厘米",[6],{"id":1359,"slug":14310,"title":14311,"dynasty":2632,"author":3431,"museum":2673,"description":14312,"tags":14313,"thumbUrl":14314,"material":2720,"size":14315,"collection":6,"collections":14316,"showCount":14272,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"hong-li-she-tu-tu-zhou-yi-ming-236177","弘历射兔图轴","乾隆作为以畜牧、游猎为主 的满族人后裔，严格遵守满清骑 射尚武典制。他通过带游乐性质 的狩猎活动，将满人弯弓射箭的 传统习俗发扬光大。为了弘扬这 种尚武精神，乾隆谕令宫廷西洋 画师郎世宁以及中国宫廷画家 创作了数十幅专门表现他行围 狩猎的画作，真实记录了乾隆在 不同历史时期的狩猎情景。此图 便是表现他射兔的作品。",[2496,2546,2500,2501,2549,2960,2507,2506,2611,2509,3307],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa64335c000347f96a1ea2e26f054d053.jpg","纵 258 厘米，横 172 厘",[6,2534],{"id":1360,"slug":14318,"title":14319,"dynasty":2490,"author":3647,"museum":2673,"description":14320,"tags":14321,"thumbUrl":14322,"material":8268,"size":14323,"collection":6,"collections":14324,"showCount":14272,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"ming-ren-xi-shan-sheng-jing-he-bi-ce-wen-zheng-ming-shi-hu-tu-ye-wen-zheng-ming-233133","明人西山胜景合壁册-文徵明石湖图页","此册又名《明人西山胜景书画合璧册》（见《故宫博物馆藏文物珍品大系：吴门绘画》），著录于《墨缘汇观》，合题跋共计十四页，依次为：刘钰《踞湖山图》、沈周《茶磨屿图》、《新郭图》（对页陈淳题诗一首）、唐寅《越来溪图》、《行春桥图》、《饶稼桥图》（对页自题诗一首）、文徵明《横塘图》、《石湖图》（对页自题诗一首）和陈淳《桃花坞图》、《紫薇村图》，后页徐朗白题。\n颇为吊诡的是这套册页似乎从未完整发表过，就目前所见，《中国古代书画目录》是分开著录，其中刘钰一页、唐寅《饶稼桥图》以及四页题诗都未著录，而《中国古代书画图目》则只选印了沈周和陈淳的四页。《文徵明精品集》发表了两画及一页题诗，《唐寅绘画集》也只发表了《越来溪图》、《行春桥图》两页，《故宫博物馆藏文物珍品大系：吴门绘画》刊印了沈周、文徵明、唐寅各两页，陈淳《桃花坞图》一页，略去了四页题跋。刘钰《踞湖山图》、唐寅《饶稼桥图》及另外三页题跋始终未见，其中或有伪作吧（文徵明的两页画曾于去年苏博特展展出，未见图录，不知是否有完整发表）。但学术乃天下之公器，国内许多博物馆的出版态度素来可恶，很多作品在各类出版物中情况不一，往往“有头无尾”，以致研究一件作品需“东拼西凑”。\n吴门诸家歌咏、描绘吴中名胜之风颇盛，与平日游踪所及和地域意识渐起有关，留存于世的风景名胜图极多，甚至祝寿、官员离任，也以吴中风景图册为赠。值得注意的是，此册中沈周、文徵明、唐寅、陈淳的作品都是早年笔，集三代才人妙墨，想来这套作品的收藏者花了不少心思。末页崇祯五年徐朗白题云：“我朝画法变宋化元，正嘉间吴中诸先进一时杰出、擅采争奇，直使静庵而下皆瞠乎其后矣，此十册俱西山胜景，首为完庵次石田次六如衡山白阳，景虽未尽，人已才难，不特片羽之吉光抑且狐裘之集腋也。什袭见珍，援毫见重。”并题一歌，语涉浮夸无足取。",[2496,2497,2592,2499,2501,2507,2506,2504,6937,2511,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7401370fa8da2f24b34abe414e0b35f.jpg","纵22.8cm，横33.2cm",[6,2534],{"id":1361,"slug":14326,"title":14327,"dynasty":2632,"author":8760,"museum":3039,"description":14328,"tags":14329,"thumbUrl":14330,"material":2531,"size":14331,"collection":6,"collections":14332,"showCount":14272,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"tang-jie-yuan-shi-yi-tu-yang-jin-224334","唐解元诗意图","本幅平远构图，描绘了一幅江南山水的诗意画。画中农村景物写意，人物写真，花鸟草虫，夕阳芳草意境深远，远山起伏，湖光粼粼；山坡下竹篱茅舍；柳岸边微风摇曳，小舟上渔民捕鱼，乐而忘返；用笔以淡笔渴墨勾轮廓，稍作皴染；树叶以夹叶法绘制，虚实相间，自然天成。\n纵观全画是一幅恬静雅致、祥和安乐的江南水乡生活的再现，此为其难得佳作。",[2495,2496,2498,2500,2546,2509,2501,2528,2988,2506,2508,2502,2595,2614,2549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb384a17571125cd89af94faa6e32aa5.jpg","35X195厘米",[6,2534],{"id":1362,"slug":14334,"title":14335,"dynasty":2632,"author":11473,"museum":2563,"description":14336,"tags":14337,"thumbUrl":14339,"material":2732,"size":14340,"collection":6,"collections":14341,"showCount":14272,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"qing-gao-zong-yu-bi-kai-tai-shuo-bing-fang-ming-xuan-zong-kai-tai-tu-zhou-qian-long-224122","清高宗御笔开泰说并仿明宣宗开泰图轴","该幅据其自题，谓壬辰（1772）新春，自制开泰说一篇，又仿明宣宗作开泰图。三羊造型，实仿朗世宁开泰图。花石则系邹一桂奉诏补景之作。\n“三阳开泰”词意源出于《易经》：“正月为泰卦，三阳生于下”，取其冬去春来，阴消阳长，表示佳运即将开始，是新年吉祥的贺词。“三阳”取其谐音写生绵羊三只，母羊与小羊表情动人；配景的花石，用笔自由写意，乃出自于乾隆朝翰林词臣画家邹一桂（1686－1772）之手。邹一桂生于江苏无锡，雍正五年（1727）进士，官至礼部侍郎。",[2495,2496,2577,2500,2546,3993,14338,2677,4703,2547,2510],"羊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f4c9e77f35eea21414f4325ecb0cef4.jpg","127.7×63厘米",[6,2626],{"id":1363,"slug":14343,"title":14344,"dynasty":2522,"author":3431,"museum":2673,"description":14345,"tags":14346,"thumbUrl":14347,"material":3247,"size":14348,"collection":2624,"collections":14349,"showCount":14272,"zanCount":2517,"manualWeight":2517,"mainColor":4670},"jiang-shan-lou-ge-tu-zhou-yi-ming-223534","江山楼阁图轴","元代建筑画在继承两宋院体已臻成熟的工整精细的造型手段之基础上，借助元代所盛行的水墨画技法及北宋李公麟一路的白描技法，把建筑画逐步推向纯界画的境界。此幅虽仍将殿宇楼阁融入山重水复的自然景致中，但作者着力刻画的是建筑本体，山水配景已不复重要，楼宇的描绘细入微芒，建筑画状物精微的写实性达到了极致。",[2495,2496,2497,2544,2577,2790,2509,2500,2501,2550,2507,2506,2594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdadd7deefa1971227219d82aff1e53a.jpg","纵162厘米，横92.5厘米",[2624,6,2626],{"id":1364,"slug":14351,"title":14352,"dynasty":2632,"author":6420,"museum":2563,"description":14353,"tags":14354,"thumbUrl":14355,"material":2732,"size":14356,"collection":6,"collections":14357,"showCount":14272,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"han-lin-yu-xue-zhou-qian-wei-cheng-222692","寒林欲雪轴","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。\n钱维城自幼甚喜绘画，开始从族祖母陈书学习画写意折枝花果，勾描渲染，随类赋形，气联意合，整体协调。后来得到了画家董邦达指导，学画山水。所画山水，山势逶迤，流泉飞泻，烟霭飘浮，水光荡漾。构图井然，意境清幽。山石多用皴笔。他的绘画远学元代四家即黄公望、倪瓒、吴镇、王蒙，近学清初四王即王时敏、王鉴、王徽、王原祁。。《桐阴论画》说他的山水画“笔意亦临摹仿麓台，邱壑幽深，树石灵秀，颇臻妙境。”钱维城投身科举时，很少有人知道他擅长书画，直到状元及第后，在随乾隆的一次狩猎中，乾隆射中一只老虎，于是钱维城受命创作“射虎图”，作品完成后乾隆连连称赞，并下令将此画刻在木兰围场的石头上，从此钱维城在画坛上名声大振。在钱维城的绘画中，带棱角的石形、双勾少皴的树干，以及中锋含蓄的细笔、淡墨勾皴的线条，都存有董邦达的笔意，但他更擅长缜密的用笔和青绿、赭石相间的设色，其中也显示出清初“四王”的流派风格，他的作品经常呈现出来的是一派宫廷富贵的气息。在乾隆的收藏目录《石渠宝芨》中，收录的钱维城作品有160多幅，由此可见乾隆皇帝对钱维城作品的赏识程度。著名的有《九秋图卷》。\n钱维城擅长书法，工整精细，“宗磐工书，书法东坡。”他师法宋朝书法四大家之一的苏东坡。落笔苍润，秀骨天成。也能吟诗，以杜少陵为宗。人称“钱文敏尚书，诗宗少陵，书规苏文忠。”可谓诗、书、画一体。",[2495,2496,2497,2577,2499,2501,2509,2714,3078,3091,2502,2503,2552,2508,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F953c5244342d2500e4e5d93df3d1491f.jpg","80*180cm",[6,2626],{"id":1365,"slug":14359,"title":14360,"dynasty":2490,"author":10590,"museum":2563,"description":14361,"tags":14362,"thumbUrl":14363,"material":14364,"size":14365,"collection":6,"collections":14366,"showCount":14272,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"hui-shan-zhu-quan-tu-zhou-qian-gu-222086","惠山煮泉图轴","钱谷此图绘与友人四人品茶赏景谈天，三童一汲方池惠泉，另二于松下煽火备茶。图中树木多以乾笔皴擦、人物偶现几处浓墨点缀，浓淡表现恰到好处，笔法灵巧，呈现了晚明文人潇洒怡然的生活情景。",[2495,2496,2497,2577,2499,2500,2509,2549,2506,2507,2547,2501],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc265a3d40fc91feae57afc4851a3c8e.jpg","轴、纸本、浅设色","265x57.2",[6,2534],{"id":1366,"slug":14368,"title":14369,"dynasty":2522,"author":7563,"museum":2673,"description":14370,"tags":14371,"thumbUrl":14372,"material":2639,"size":14373,"collection":2624,"collections":14374,"showCount":14272,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"chun-yun-xiao-ai-tu-zhou-gao-ke-gong-221694","春云晓霭图轴","用花青与墨渲染，用色较重，而矾头多露白，对比强烈，使人有雨后晴山的感觉。曾著录于《大观录》、《江村销夏录》。此图正是运用了米点皴法，但在学米的同时又参用董源的画法，故山水画的浑厚、重大，而烟云环抱山峦，一线瀑布飞下，又使群山飘渺起来，气象万千。石涛《画语录》“境界章”中提到山水画的“分疆”，认为画面可作“三叠两段”的处理，三叠是指“一层地，二层树，三层山”，所谓“两段”是指“景在下，山在上，云在中”，将画隔做两段。古代作品中不发此类画例，如明人王孟端的《溪山深秀图》、文嘉的《天地山月图》等。该件高克恭的“春云晓霭图”也大致属此。当然，“三叠两段”是一种山水画中曾出现过的章法，而不是法则，我们不可刻舟求剑。",[2495,2496,2833,2577,2509,2500,2714,3208,2593,2579,2502,2503,2552,2856],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eafa9868d9774cd0d4a19bc06632019.jpg","纵138.1厘米，横58.5厘米",[2624,6,2534],{"id":1367,"slug":14376,"title":14377,"dynasty":2605,"author":9452,"museum":2673,"description":14378,"tags":14379,"thumbUrl":14380,"material":2720,"size":14381,"collection":2624,"collections":14382,"showCount":14272,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"bin-feng-tu-juan-quan-juan-ma-he-zhi-221453","豳风图卷全卷","作者根据《诗经·国风》之《豳风》诗意而作。全卷共分七段，依次为《七月》、《鸱号》、《东山》、《破斧》、《伐柯》、《九罭》、《狼跋》，每段画前书《豳风》原文。图中人物形象生动，衣纹用兰叶描，笔法流畅潇洒，设色清丽古雅，在诸本毛诗图中，亦属精作。此卷无款印，旧传为马和之画，宋高宗赵构书。但在《伐柯》篇内“構”字因避高宗讳而缺一笔，如“”，说明该书不是赵构所写，而是画院高手代笔。此图大约在元代初年被分割为两卷，仅《破斧》篇为赵孟頫收藏，明末董其昌误认为是赵孟頫补图。清乾隆年间两卷入内府，合璧装成一卷，并将董其昌、高士奇跋移往后幅。卷首有清高宗弘历御书“苇龠余风”四字，尾纸除董其昌、项元汴等三则题记外，尚有乾隆御题一则，钤明项元汴、清高士奇、梁清标及乾隆、嘉庆、宣统内府藏印多方。\n张丑《清河书画舫》、卞永誉《式古堂书画汇考》、吴升《大观录》、《石渠宝笈·续编》、《石渠随笔》等书著录。",[2495,2496,2497,2498,3898,2500,2549,2501,2578,2547,2511],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56e13d25db108e203ad6d928b942d2a2.jpg","纵25.7厘米，横55.7厘米",[2624,6,2626],{"id":1368,"slug":14384,"title":14385,"dynasty":2605,"author":14386,"museum":2563,"description":14387,"tags":14388,"thumbUrl":14389,"material":2732,"size":14390,"collection":2624,"collections":14391,"showCount":14272,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"bao-shan-shi-jing-ce-gao-ke-ming-221284","包山十景册","高克明","高克明，生卒年不洋，宋化絳州（今山西新絳） 人，主要活動時期在太宗，仁宗二朝，為當時著名的山水畫家。 高克明的山水畫創作，大多是從實地觀察獲得素材，復經自己深思熟慮、苦心經營中得來，並不專師於一家，卻能注意採擷諸家之美，參成一藝之精，自為體格，頗有創新的味道。",[2544,2496,2497,2592,2500,2509,2511,2501,2891,3880,6001,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e07ca6685ec8381313e4987a95af081.jpg","30.2x31.8厘米",[2624,6,2626],{"id":1369,"slug":14393,"title":4547,"dynasty":2490,"author":2491,"museum":2589,"description":14394,"tags":14395,"thumbUrl":14396,"material":2597,"size":14397,"collection":6,"collections":14398,"showCount":14272,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"yi-zhu-tu-shen-zhou-220083","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代画家，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文，青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。 其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格， 在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[2495,2496,2497,2498,2499,2509,2511,2547,3236,3155,2507,2506,2508,2510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b023fa09cc7e63d573812ca97d8e8bb.jpg","24.5 x 98cm",[6],{"id":1370,"slug":14400,"title":14401,"dynasty":2490,"author":2776,"museum":2563,"description":14402,"tags":14403,"thumbUrl":14404,"material":2531,"size":14405,"collection":6,"collections":14406,"showCount":14272,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"liu-tang-tu-dai-jin-219976","柳塘图","此作用淡晕轻染铺就烟雨空蒙的暮色，垂杨柔条披拂，烟霭萦于枝叶间，将江南水畔的朦胧诗意揉入画面。凭栏白衣士人静默远眺，与水榭板桥、浅黛远山遥遥相映。\n\n画家以清润笔触勾勒亭台轮廓，以淡墨晕出山形水色，大片留白衬出空寂悠远的氛围，褪去刻画的繁复，尽显萧散闲雅的幽居意趣。暮色四合里，晚风拂柳、静水无波，将春日水居的松弛隐逸之美，晕染得含蓄悠长。",[2495,2496,2500,2501,2546,2891,2502,2503,2550,2505,2549,2595,2614,11445],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff502ed56fd18bef75ebe0e94650d7d5a.jpg","110.5*54.8",[6],{"id":1371,"slug":14408,"title":14409,"dynasty":2632,"author":14410,"museum":2563,"description":14411,"tags":14412,"thumbUrl":14413,"material":2567,"size":14414,"collection":6,"collections":14415,"showCount":14272,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"feng-nian-rui-xue-tu-xiao-chen-219538","丰年瑞雪图","萧晨","画面冰天雪地，天寒地冻，一片雪花映照好年景。 河岸有竹屋，雪重柳。 木桥过河，两人缓步走来，一个打着伞，一个戴着帽子，戴着兜帽。",[2496,2497,2577,2500,2546,2501,3166,2550,2502,2503,2549,2822,2902,2507,2508,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F938f0ddeacfed55963e5531bd7262d12.jpg","109.8x56.1厘米",[6],{"id":1372,"slug":14417,"title":14418,"dynasty":2632,"author":14419,"museum":2563,"description":14420,"tags":14421,"thumbUrl":14422,"material":2732,"size":14423,"collection":6,"collections":14424,"showCount":14272,"zanCount":2804,"manualWeight":2517,"mainColor":2559},"qun-feng-xue-ji-zhou-huang-ding-219484","群峰雪霁轴","黃鼎","全景铺展雪后盛景，陡峭峰岩如刀削斧凿，银雪覆顶似玉砌琼妆。山坳寒云蒸腾晕染，将层叠群峰切得分明，尽衬冬日清寂萧寒。\n近岸寒水如镜，枯木虬枝偃仰错落，脱尽繁叶，满是荒冬况味。滩渚间村居隐于林间，在素裹千山晕出一丝人间烟火，于冷寂中揉进暖意。\n笔墨苍劲老辣，皴擦尽显山石筋骨，淡墨烘出雪意空濛，将隆冬山野的清旷萧寒刻画尽致，于雄奇山水间铺陈出冬日独有的静穆辽远，绘尽雪霁群峰的孤高冷逸。",[2544,2496,2497,2577,2499,2509,2501,4733,3166,2613,2652,3091,2614,6388],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F230cc88d522e413964f2c40b468c24a2.jpg","260.3x168.8",[6],{"id":1373,"slug":14426,"title":14427,"dynasty":2490,"author":9094,"museum":2563,"description":14428,"tags":14429,"thumbUrl":14430,"material":2567,"size":14431,"collection":6,"collections":14432,"showCount":14272,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"gu-shan-fang-he-tu-xiang-sheng-mo-219465","孤山放鹤图","项圣谟（1597-1658），字孔彰，浙江嘉兴人，著名收藏家项元汴之孙，其画精赡，不同时俗。孤山在浙江杭州西湖，宋代高士林逋（968-1028）隐居于此，种梅养鹤，不仕不娶，人谓「梅妻鹤子」。相传其泛舟湖中时，如友朋来访，家童即纵鹤飞报，遂归。然本幅却将孤山场景，融入苏轼名篇〈放鹤亭记〉（亭在江苏徐州云龙山）的内容，故绘鹤归来兮，山人相迎。而长堤迤逦，分明是西湖；数点梅花，又扣回林逋故事。实景、掌故与文章，在画家的想像里交织。画采俯瞰视角，以长堤环抱，横切狭长画幅，独具一格。画家二度题识，其一自署「再生丁酉人」，盖项氏生于万历丁酉年，至此又一甲子，故此作极有可能为其暮年所为。",[2496,2497,2577,2499,2509,2501,2505,2856,2593,2508,2547,2510,2511,2552,3777],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4d720118a917ab54392b2fa1433c93.jpg","94.8x32.7",[6],{"id":1374,"slug":14434,"title":14435,"dynasty":2605,"author":3431,"museum":2492,"description":14436,"tags":14437,"thumbUrl":14438,"material":2567,"size":14439,"collection":6,"collections":14440,"showCount":14272,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"shui-ge-na-liang-tu-yi-ming-218545","水阁纳凉图","这幅画描绘了一个池塘的一角，池塘表面有荷叶，池塘上方坐着一个亭子，一侧有柳树遮挡，亭子里的人在风中吹气，以保持凉爽。在通往亭子的栏杆上，可以看到两个孩子，一个站在凳子上采摘水果，另一个站在一边观看。",[2495,2496,2497,2790,2499,2501,2550,2503,2506,2960,2549,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F168e0fb0842b2e8361dde396b28c2a8f.jpg","24.4x24.9cm",[6],{"id":1375,"slug":14442,"title":14443,"dynasty":2632,"author":14444,"museum":4795,"description":7178,"tags":14445,"thumbUrl":14446,"material":2512,"size":7181,"collection":6,"collections":14447,"showCount":14272,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xin-an-yi-yun-ce-han-zhu-shan-shui-han-zhu-218102","新安逸韵册(韩铸山水)","韩铸",[2496,2497,2592,2500,2509,2501,2507,2506,2527,4657],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b8e42768e6ff7fa17a5e7182b49522e.jpg",[6],{"id":1376,"slug":14449,"title":3183,"dynasty":2632,"author":14450,"museum":14451,"description":14452,"tags":14453,"thumbUrl":14454,"material":2597,"size":14455,"collection":6,"collections":14456,"showCount":14272,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-zha-shi-biao-217992","査士标","斯德哥尔摩东方博物馆","査士标的山水画以其自然的风格、细腻的笔触和精确的构图著称。他的画作常常描绘山林、溪流、岸边和村庄，画面中有时会出现人物，但他更喜欢以自然元素为主。他的画作充满了对大自然的热爱和敬畏，表现了他对生活的真挚感受。\n\n査士标的山水画也因其独特的技巧而闻名。他喜欢使用轻轻松松的笔触，表现出自然界的和谐与平静。他的画作也常常充满了隐喻和寓言，使得作品具有深刻的哲理意义。\n\n总的来说，査士标的山水画是中国传统画风的杰出代表作，值得我们深入研究和鉴赏。",[2496,2497,2577,2499,2501,2502,2503,2578,2549,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e9dde10358f2db567a9adf307310184.jpg","109x57cm",[6],{"id":1377,"slug":14458,"title":14459,"dynasty":2522,"author":3431,"museum":3121,"description":14460,"tags":14461,"thumbUrl":14462,"material":2567,"size":2598,"collection":6,"collections":14463,"showCount":14272,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shui-ge-tu-ye-yi-ming-214607","水阁图页","水阁图是一幅中国古代的山水画，作者不详，来自元代（1271-1368年）。这幅画以水为主题，描绘了一个江南风光的景象，展现了山水之间的和谐关系。\n\n画面中的水流清澈，河岸上有树木葱茏，草木茂盛。在画面的左侧，可以看到一座小山丘，山上有一座小楼，楼上挂着红绸帘，风景优美。在楼下的河中，有几艘游船在水上悠悠游动，人们在船上欢声笑语。在画面的右侧，有一片清幽的山林，山间有一条小溪流过，水声清脆。\n\n整幅画面气氛轻松惬意，色彩明快，构图巧妙，画风浑然天成，是一幅典型的山水画作品。",[2495,2496,2500,2546,2790,2501,2550,2506,3839,2715],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d33733160c5b165a06b7d1234eae23f.jpg",[6],{"id":1378,"slug":14465,"title":14466,"dynasty":2632,"author":14467,"museum":2818,"description":14468,"tags":14469,"thumbUrl":14470,"material":2598,"size":2598,"collection":6,"collections":14471,"showCount":14472,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-gu-shan-shui-ping-qin-zu-yong-239415","仿古山水屏","秦祖永","此作为浅绛山水，取高远、深远构图，层峦叠嶂渐次推展。山石以干笔皴擦，兼施淡赭花青晕染，松苍枫艳，满溢秋意。林麓间山居隐现，山道上行旅往来，山口茅亭有人闲坐，处处缀出悠然的山居烟火气。\n画作师法前贤，笔致松秀温润，设色清雅柔和，题诗呼应画意，将宋元山水的苍浑气象，揉入文人画的秀逸雅致中，尽显静穆淡远的林下雅趣，是晚清仿古山水中极具意韵的佳构。",[2496,2500,2501,2509,3267,2714,2593,2505,2549,3136,2507,2902,4146,2547,2502,2800,2508,6002,5116,10631,2545,2499,2577],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa922d4fea8744735b2bda1b5ca2a1160.jpg",[6,2534],31,{"id":1379,"slug":14474,"title":14475,"dynasty":2632,"author":14476,"museum":2673,"description":14477,"tags":14478,"thumbUrl":14479,"material":2598,"size":2598,"collection":6,"collections":14480,"showCount":14472,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"guan-shan-xing-lv-zhou-zhou-hao-239229","关山行旅轴","周颢","周颢，同名人物有两位。分别是清代书画家、竹刻家。字晋瞻，号芷嵒（一作巖、岩）、芷道人、芷叟、雪樵，因蓄美须长髯，自号髯痴，人呼周髯；湖北美术学院教师。\n工书画，尤精竹刻。行书师法苏轼，跌宕奇伟，自成风格。山水画早年学王翚，笔墨秀润。又善临摹，仿王蒙最工，人物画也很精妙。擅长画竹，兴酣落笔，风枝或雨叶栩栩如生。尤其以画法施之刻竹，合南北宗为一体。技艺闻名乡里，所刻山水、人物、丛竹，用刀如用笔，不必假借他人稿本。除了擅长以阴刻搭配浅浮雕技法来雕刻纹饰，尤擅长采用阴刻技法雕得相当深陷，再在深陷部位依据纹饰的需要浅雕局部纹饰，名为“陷地深刻”。这种深刻技艺，始于朱松邻，至周颢集大成。传世作品以笔筒和臂搁为主。其竹刻以阴刻技法展现绘画中的“南宗山水”最具特色，与“三朱”的刻竹面目大不相同。金元钰称誉周颢在竹人中，好像杜甫在盛唐诗人中的地位一样，首屈一指。",[2496,2497,2577,2499,2509,2501,2507,2506,2549,2690,2615,2612,5659,3668,6810,3136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe459ba58587eb0fbdcff3afdad0c85b6.jpg",[6,2626],{"id":1380,"slug":14482,"title":14483,"dynasty":2490,"author":14484,"museum":2818,"description":14485,"tags":14486,"thumbUrl":14487,"material":2598,"size":2598,"collection":6,"collections":14488,"showCount":14472,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-ren-wu-zhou-peng-shun-qing-237905","山水人物轴","彭舜卿","乾隆庚戌年间画家",[2544,2496,2497,2577,2499,2500,2501,2549,2504,2902,2507,2594,2509,2987],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b7e18d3fc7112b55080a3774d15b883.jpg",[6],{"id":1381,"slug":14490,"title":14491,"dynasty":2490,"author":14492,"museum":2818,"description":14493,"tags":14494,"thumbUrl":14495,"material":2598,"size":2598,"collection":6,"collections":14496,"showCount":14472,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"zhu-jia-shan-shui-ce-shan-shui-ce-ye-wang-yun-ling-237783","诸家山水册-山水册页","王允龄","字延卿，江宁（今南京）人。善花卉，笔致秀雅，摹仿各家，皆有生气。字延卿，江宁（今南京）人。善花卉，笔致秀雅，摹仿各家，皆有生气。",[2496,2499,2509,2592,2501,2578,3091,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17385c48ba87b031b3a6ce97cde0021f.jpg",[6],{"id":1382,"slug":14498,"title":3490,"dynasty":2632,"author":3796,"museum":2673,"description":11524,"tags":14499,"thumbUrl":14500,"material":3257,"size":11527,"collection":6,"collections":14501,"showCount":14472,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-zhou-wang-jian-237610",[2496,2499,2509,2577,2501,2507,2506,2502,2503,2508,2527],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc811fcb2decec93770fba981f9fb35b6.jpg",[6,2626],{"id":1383,"slug":14503,"title":8973,"dynasty":2632,"author":5047,"museum":2818,"description":8216,"tags":14504,"thumbUrl":14505,"material":2598,"size":2598,"collection":6,"collections":14506,"showCount":14472,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"wang-hui-fang-gu-shan-shui-ce-wang-hui-237602",[2496,2497,2592,2499,2509,2676,2511,2547,2501,2507,2611,2506,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901d55e3abf423efff694b4d83b35d25.jpg",[6,6382],{"id":1384,"slug":14508,"title":14509,"dynasty":2632,"author":5047,"museum":2563,"description":14510,"tags":14511,"thumbUrl":14512,"material":2732,"size":2598,"collection":6,"collections":14513,"showCount":14472,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-shen-cang-xiao-shan-tu-ye-wang-hui-237384","山水册-沈苍晓山图页","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王”，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n王翚自幼嗜画，继承家学，又随学黄公望画法的同乡张珂学画，很早便表现出非凡的绘画才能。王翚师从王时敏、王鉴。但他所画山水不拘于一家，广采博揽，集唐宋以来诸家之大成，熔南北画派为一炉。王翚在王时敏、王鉴发展南宗画派的基础上，借鉴北宗的某些技法，比较全面地对山水画传统进行整理，形成具有综合概括性质的法则。王翚将黄公望、王蒙的书法性用笔与巨然、范宽的构图完美地结合起来，创造出一种华滋浑厚、气势勃发的山水画风格。因而他所画的江南小景往往生趣盎然，清幽灵动。王翚作画喜好干笔、湿笔并用，而且多以细笔皴擦，画面效果比较繁密。曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。他早期画风清丽工秀，晚期则倾向苍茫浑厚。章法富于变化，水墨与浅绛渲染得法。也有评者指出王翚用笔过于圆熟，某些画则显得刻露，墨法少有变化，构图略感壅塞。",[2496,2497,2544,4014,2499,2509,2501,2549,5658,2507,3057,3736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd532bf4da8d2cb00da43608a79fe3d0.jpg",[6],{"id":1385,"slug":14515,"title":14516,"dynasty":2632,"author":3796,"museum":2563,"description":14517,"tags":14518,"thumbUrl":14519,"material":2732,"size":2598,"collection":6,"collections":14520,"showCount":14472,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"xia-shan-tu-zhou-wang-jian-237076","夏山图轴","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。\n王鉴出生于书香门第，为明代著名文人王世贞曾孙，家藏古今名迹甚富，丰富的家藏，为王鉴学习临摹历代名画真迹提供了良好的条件。摹古工力很深，笔法非凡，擅长山水。与王时敏、王翚、王原祁、恽寿平、吴历齐名，并称四王吴恽或清初六家，成为画坛正宗。为“清初六家”之一。\n与明末北方著名书画收藏家睢阳袁枢（袁可立子）交从甚密，袁以收藏董源、巨然作品为最，王鉴从中受益者颇多，书画往来相互题赠。王鉴《仿巨然真迹图》：“董宗伯所藏巨然真迹，今归袁环中（袁枢）使君，昨在其署中出此相示。”\n王鉴和王时敏、袁枢一样，早年曾经得到过董其昌的亲自传授，他一生的画业就是沿着董其昌注重摹古的方向发展，继续揣摩董源、巨然、吴镇、黄公望等诸多前辈大家的笔意，仿古吸收并转化古人的笔墨结构，形成了自己丰富的山水画语言。\n王鉴画的坡石取法黄公望，点苔学吴镇，用墨学倪瓒。尤其是他的青绿设色山水画，缜密秀润，妩媚明朗，综合了沈周、文征明清润明洁的画风，清雅的书卷气跃然纸上，历来为后人所称道。擅长山水，远法董（源）、巨（然），近宗王蒙、黄公望。运笔出锋，用墨浓润，树木丛郁，后壑深邃，皴法爽朗空灵，匠心渲染，有沉雄古逸之长。间作青绿重色，亦能妍丽融洽。信云林山水意极绵密。仿山樵山水，仿赵大年《春景》没骨山水、仿洪谷子设色山水，疏密奇正，纯以篆法写轮廓。仿子久《秋木山色图》《仿黄公望烟浮远岫图》、摹沈石田山水、仿董源《秋山图》仿范华设色山水、仿巨然山水，骨重气轻。其作品大多摹古，信效名家，缺乏独创，并具有浓厚的复古思想和形式主义画风。",[2496,2497,2544,2577,2500,2509,2501,2651,2613,2506,2902,3735,2652,12411],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71226ba5bbfe4157e33f7a5a4fc9a2aa.jpg",[6],{"id":1386,"slug":14522,"title":2587,"dynasty":2490,"author":8264,"museum":2673,"description":8265,"tags":14523,"thumbUrl":14524,"material":8268,"size":8269,"collection":6,"collections":14525,"showCount":14472,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-song-xu-236904",[2496,2497,2592,2500,2501,2507,2506,2502,2503,2611,2621,2509,2499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe65f83e09dd31bd45db9e0f19e3d8ad6.jpg",[6],{"id":1387,"slug":14527,"title":14528,"dynasty":2632,"author":6429,"museum":2818,"description":14529,"tags":14530,"thumbUrl":14531,"material":2598,"size":2598,"collection":6,"collections":14532,"showCount":14472,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"zheng-min-fang-huang-gong-wang-shan-shui-zhou-zheng-min-236455","郑旼仿黄公望山水轴","郑旼（1632—1683）， 字号：慕倩、穆倩、慕道人、神经证史、雪痕后人，安徽歙县郑村贞白里人，擅长山水。传世作品有康熙二十一年作《雨气真寂图》及《林泉小亭图》二轴，现藏安徽省博物馆；《溪山泛舟图》轴藏浙江省博物馆；康熙十三年作《香烟诗意图》轴藏香港刘均量虚白斋；十二年作《九龙潭图》轴藏故宫博物院；同年作《山水图》轴藏上海博物馆。",[2496,2497,2577,2499,2509,2501,2714,2593,2504,2715,2652,3091,2716,2594,2845,5522],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff8571e4fc1fdafcef4bca07b79e41e.jpg",[6,2626],{"id":1388,"slug":14534,"title":14535,"dynasty":2632,"author":11399,"museum":2673,"description":14536,"tags":14537,"thumbUrl":14538,"material":2598,"size":2598,"collection":6,"collections":14539,"showCount":14472,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-shan-mian-dong-gao-236184","山水扇面","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[2496,5225,2501,2500,2509,2499,2714,2715,2506,2652,2595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff182c5839f1f93fccca4fda27fff9d5.jpg",[6],{"id":1389,"slug":14541,"title":2587,"dynasty":2490,"author":14542,"museum":2818,"description":14543,"tags":14544,"thumbUrl":14545,"material":5818,"size":5819,"collection":6,"collections":14546,"showCount":14472,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-zhang-fu-yang-235347","张复阳","张复阳(约1403—1490)， 明代画家。名复， 以字行，号南山，浙江平湖人(一作秀水人)，道士，居浙江洞霄宫一枝堂。工书法，善画山水，师法吴镇，画风多作写意，水墨淋漓。",[2496,2497,2592,2499,2509,2510,8685,2501,2677,11476],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe93b9bfdb52ce42eb9ad887270ca2432.jpg",[6],{"id":1390,"slug":14548,"title":2587,"dynasty":2490,"author":13358,"museum":2818,"description":14549,"tags":14550,"thumbUrl":14553,"material":5818,"size":5819,"collection":6,"collections":14554,"showCount":14472,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-shen-hao-235285","补博士弟子员。性豪放好奇。工诗文。书法真、草、隶、篆，无所不能。山水近沈周，晚年笔意挺秀，点色清妍，深于画理，“似而不似，不似而似”是他的创见。著有《画尘》及《枕瓢》、《焚砚诸集》。",[2496,2497,2592,2500,2501,2578,2550,2595,2547,14551,14552,3136,2506,2651,7586],"淡彩山水","古建","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9bb44391cc599f7dca8959c352ba7c.jpg",[6,2870],{"id":1391,"slug":14556,"title":14557,"dynasty":2632,"author":2830,"museum":2673,"description":11095,"tags":14558,"thumbUrl":14559,"material":3257,"size":9663,"collection":6,"collections":14560,"showCount":14472,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-zhou-1-wang-shi-min-224430","山水图轴1",[2495,2496,2497,2577,2499,2509,2501,2714,2715,2506,2652,2502,2503,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91509f5ac8b38273762ab9dd2033f8fd.jpg",[6],{"id":1392,"slug":14562,"title":14563,"dynasty":2490,"author":5253,"museum":2563,"description":12545,"tags":14564,"thumbUrl":14565,"material":2598,"size":14566,"collection":6,"collections":14567,"showCount":14472,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"fang-zhao-ling-rang-he-xiang-qing-xia-lan-ying-222585","仿赵令穰荷乡清夏",[2495,2496,2497,2592,2500,2501,2676,2509,2714,2593,2715,2976,3457],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c941eb7e0ba93f6e83eaf6dcf7cf0a3.jpg","72.6x60.8厘米",[6,2626],{"id":1393,"slug":14569,"title":14570,"dynasty":2490,"author":4331,"museum":3121,"description":14571,"tags":14572,"thumbUrl":14573,"material":2732,"size":14574,"collection":6,"collections":14575,"showCount":14472,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"qiu-chuang-du-yi-tu-bian-wen-yu-222378","秋窗读易图","卞文瑜（约1576年—1655年），明代江苏苏州人，字润甫，号浮白、萝庵。书画家。艺芳书画录云：“本姓徐，非姓卞，盖因有避而托者。”善山水、树石勾剔，甚有笔意。尝从董其昌讲求笔法，故笔墨亦相近，但落墨太松，失之弱耳。万历三十九年(1611)作荷亭销夏扇，康熙十年(1671)作湖庄清夏扇，均藏故宫博物院。主要作品有《图绘宝鉴续纂》《明画录》《桐阴论画》《江南通志》《艺芳书画录》《画史会要》。\n卞文瑜以擅画山水著称于世，其绘画风格大致可分为两个阶段：早年和中年的山水画受赵左影响较深，承袭吴门遗风；同时又从董其昌讲求笔法，将董以笔墨气势取胜的特点与吴门强调诗意的结构布局相结合，形成了其特有的绘画风格。因此后世多用“布局结构殊有思致，树石钩剔颇具笔意”评价他这一时期的作品特点，但过于强调笔墨风趣与形象脱略，故未免缺乏自然山川之真实感，因此对其画又有“落墨太松，失之弱耳”、“山水多滑，少苍老”的批评。\n卞文瑜晚年的山水画风格变化较大，开始摆脱赵左的影响，而上追宋元诸家。这一变革主要是受王时敏、王鉴的影响，据王鉴跋卞文瑜《仿古山水册》云：“先生（卞文瑜）学画凡五十载，惟知赵文度（赵左）一派。晚年始与余交，及遇娄东奉尝烟翁（王时敏），乃见画中董、巨及元季四家真迹。每至娄中观古人画，则伏卧其下，不忍释手。”由于结识王时敏、王鉴等人，使得卞文瑜在其晚年得以看到董源、巨然及黄公望、王蒙、吴镇、倪瓒等大家的真迹名品，并且潜心临习，因此王鉴评价他晚年的作品：“笔法遒美，元气灵通，与生平画迥不相类。”从卞文瑜传世的作品看，他晚年的画作多题临仿古人之名，且多是小景山水，如故宫博物院藏《仿古山水册》，上海博物馆藏《仿宋元山水图册》，天津艺术博物馆藏《山水扇面》等，笔墨苍润，意境深远，较其早年、中年学赵左的作品要成熟得多。正如吴梅村在《画中九友歌》中评价卞文瑜时说：“画龛巨幅千峰稠，小景点出林塘幽。晚年笔力真沧州，幅中鹤绿轻王侯。”这是对他晚年绘画风格和艺术特色的准确概括。",[2495,2496,2497,2498,2499,2509,2501,2714,2715,2506,2508,2510,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5425a26530b9662c58fbbc9ca2f31ae1.jpg","26×108",[6,2626],{"id":1394,"slug":14577,"title":14578,"dynasty":2490,"author":2776,"museum":2563,"description":14579,"tags":14580,"thumbUrl":14581,"material":3157,"size":14582,"collection":6,"collections":14583,"showCount":14472,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"xi-qiao-ce-jian-tu-zhou-dai-jin-222030","溪桥策蹇图轴","此幅画半壁悬崖，草木郁郁，乱流奔湍；行人赶路，形色惶急。右半边江面辽阔宁静，远山帆影，渔人神态甚为悠闲。对角线的构图方式，源自南宋院体，近景坡石用斧劈皴法，辅以墨染，营造出石之质感与立体感。",[2495,2496,2577,2501,2509,2500,2502,2503,2504,2507,2506,2549,2960,2578,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db05b40e690af672c8b38a93cb5face.jpg","137.5x63.1公分、全幅 90.2公分",[6,2626],{"id":1395,"slug":14585,"title":14586,"dynasty":2490,"author":3647,"museum":3121,"description":3648,"tags":14587,"thumbUrl":14588,"material":7586,"size":14589,"collection":6,"collections":14590,"showCount":14472,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"ju-gui-zhai-tu-shou-juan-wen-zheng-ming-222007","聚桂斋图手卷",[2495,2496,2550,2510,2501,3839,2593,3650,2500,2637,2498,2732],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6bcbef7bb3e97e60135879e28a13a3a.jpg","31.6x56.2厘米",[6,2534],{"id":1396,"slug":14592,"title":14593,"dynasty":2522,"author":7563,"museum":2563,"description":14594,"tags":14595,"thumbUrl":14596,"material":14597,"size":14598,"collection":6,"collections":14599,"showCount":14472,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"qing-shan-bai-yun-zhou-gao-ke-gong-221691","青山白云轴","在中国绘画史上，名垂青史的少数民族国画家少之又少，宋末元初的新疆人高克恭即为其一。时人以诗称赞曰：「近代丹青谁自豪，南有赵魏北有高」，他与赵孟南北相对，为一代画坛领袖。时与赵孟、商琦、李衎并称「元四家」。\n高克恭（1248-1310年)，字彦敬，号房山，先祖西域（新疆）人。依元制划民四等，高克恭属色目人，但他的祖父辈即与汉人通婚，占籍山西大同。高克恭自幼学习汉族文化，27岁开始当官，官至刑部尚书。画以山水、墨竹著称，兼及兰惠梅菊。高克恭的绘画，特别是他的山水画，在元代具有一定的影响，初学二米，后学董源、李成笔法，时人赞之「世之图青山白云者，率尚高房山」。明清两代如王原祁、董其昌等，都十分崇拜他。",[2495,2544,2496,2497,2577,2499,2509,2501,4786,3637,2506,2502,2503,2595,3055,2614,2507,4508,2613,2718,11815,4595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff694344bfc27738a0a8d0c9d7b8d746c.jpg","轴绢本浅设色","188.3x110.5厘米",[6,2626],{"id":1397,"slug":14601,"title":14602,"dynasty":2522,"author":3431,"museum":4366,"description":14603,"tags":14604,"thumbUrl":14605,"material":3157,"size":14606,"collection":6,"collections":14607,"showCount":14472,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"yue-xia-xing-lv-tu-yi-ming-220108","月下行旅图","以极简水墨写意铺展夜色行旅，冷月孤悬于淡墨晕染的空濛山巅，崖上古木萧疏，枝桠如铁，漫出深秋荒寒。陂陀小径之上，商旅结队徐行，简笔勾勒的人影意态宛然，将天涯羁旅的寂寥藏在冷寂夜色中。\n\n题诗与山水相映，诗画交融，把行客的孤愁寄寓在清寒月色间。以留白营造空茫虚境，淡墨轻皴晕开夜色，寥寥数笔便将羁旅况味铺陈尽致，尽显简淡悠远的写意之妙，把漂泊天涯的乡愁融在萧疏冷寂的水墨意境中，淡远里藏着绵长情致。",[2495,2496,2497,2577,2499,2500,2501,2549,3964,2800,2506,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc25fc9283dc8d52cfec6c9fd342bab4.jpg","36x54.3",[6],{"id":1398,"slug":14609,"title":14610,"dynasty":2490,"author":2491,"museum":2589,"description":14611,"tags":14612,"thumbUrl":14613,"material":2597,"size":14614,"collection":6,"collections":14615,"showCount":14472,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"qiu-shan-ce-zhang-tu-shen-zhou-220088","秋山策杖图","沈周，吴门画派之开启者，“明四家”之首，以其艺事之高，硕德之重，为明早中期江南人望。擅山水，出宋入元，雄健渊穆，自成大家。亦擅花卉，妍雅朴厚，对后世写意画家影响至深。此卷为其最晚年作，笔意简朴，墨法清润，已入铅华洗净、不求好而自好之境。款亦由熟返生，稚拙之趣可掬，老境可尚如此。\n卷后有一代鉴界巨擘张葱玉、谢稚柳长题。皆断其为石田晚年的笔，亦为此卷增色。石田翁名倾朝野，人又宽厚，其在世时已赝作泛滥，故此卷弥足珍贵。",[2495,2496,2499,2501,2509,2511,2510,2547,2549,2506,2507,3736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53ac56827735c8101dc33f1513a4a0d7.jpg","26 × 134 cm",[6],{"id":1399,"slug":14617,"title":14618,"dynasty":2632,"author":3704,"museum":2563,"description":14619,"tags":14620,"thumbUrl":14621,"material":2597,"size":14622,"collection":6,"collections":14623,"showCount":14472,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-wu-zhen-shan-shui-tang-dai-219933","仿吴镇山水","唐岱（1673年—1752年之后），字毓东，号静岩，又号知生、爱庐、默庄，满洲正蓝旗人，清代著名画家。承祖爵，任骁骑参领，官内务府总管，以画祗候内廷。山水画初从焦秉贞学，后与王敬铭、张宗苍同为王原祁弟子，名动京师。康熙帝甚赏其画，常召作画，赐称“画状元”。",[2544,2496,2497,2577,2499,2509,2501,2714,3839,2506,2502,2613,2508,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f5f9e8cffd9a888365e8183c5e4e72d.jpg","93.6x53.5厘米",[6],{"id":1400,"slug":14625,"title":8391,"dynasty":2632,"author":11416,"museum":2763,"description":14626,"tags":14627,"thumbUrl":14628,"material":2512,"size":14629,"collection":6,"collections":14630,"showCount":14472,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"qiu-shan-tu-xiao-yun-cong-219855","萧云从(1596年-1673年) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。",[2495,2496,2497,2498,2500,2501,2509,2510,2511,2547,2549,2550,2506,2507,2503,2505,2902,3091,3125,2502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac94aed01aba754dc8c5c87a314abc26.jpg","27.5x224cm",[6],{"id":1401,"slug":14632,"title":14633,"dynasty":2490,"author":8879,"museum":2763,"description":14634,"tags":14635,"thumbUrl":14636,"material":2597,"size":14637,"collection":6,"collections":14638,"showCount":14472,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-ni-yun-lin-shan-shui-tu-lu-zhi-219741","仿倪云林山水图","陆治（1496年－1576年），字叔平，明代画家。吴县（今江苏苏州）人，因居包山，自号包山。倜傥嗜义，以孝友称。",[2495,2496,2499,2509,2676,2577,2501,2527,2507,2506,2505,2503,2677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cbdb0c6553b0cd9204aeeef9b88a4a8.jpg","纵136.7横32.1厘米",[6],{"id":1402,"slug":14640,"title":14641,"dynasty":2632,"author":14642,"museum":2877,"description":14643,"tags":14644,"thumbUrl":14645,"material":2500,"size":2598,"collection":6,"collections":14646,"showCount":14472,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-shan-yue-ming-qiu-si-shang-rui-219058","山水图扇-月明秋思","上睿","扇面之上，月色如纱轻覆山林。疏林间几树浅黄晕开秋意，墨色浓淡交织出枝叶层叠的生趣，或深或浅的笔触里藏着自然的韵律。小径上三五身影闲步，衣袂飘飘似在共赏明月、低语秋思。右侧茅舍隐于树后，檐角与草木相映，静谧中透着烟火气。\n\n笔墨清润灵动，水墨晕染出空濛月色，秋意与清辉交融成悠然雅致的氛围。仿佛能触到秋夜微凉，望见月光流转的温柔，文人的闲情与秋日的清寂，凝于这一方扇面，满纸皆是诗意的秋思。",[2495,2496,5225,2500,2501,3964,2593,2505,2549,3208,2507,5116,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11813952ce248c3a101af6a0ec5aea6f.jpg",[6],{"id":1403,"slug":14648,"title":14649,"dynasty":2605,"author":4124,"museum":2563,"description":14650,"tags":14651,"thumbUrl":14652,"material":2567,"size":14653,"collection":6,"collections":14654,"showCount":14472,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"ying-shan-tu-wang-shen-218688","瀛山图","本幅画峻岭回溪，山村茅茨，远水平沙，数艇隐隐。图后一远峰山壁题识云：「保宁赐第王晋卿瀛山既觉，因图梦中所见。甲辰春四月，梦游者。」细审图中绝壑层峦，俱以青绿著色，用笔工细，气韵古雅，良为一梦中山水矣。全画山石以一简单的轮廓线勾勒，再敷以颜色，有古拙之感，近似元代画家钱选的青绿山水，与王诜（约1048—1122）现存的其他作品不类。",[2495,2496,2497,2498,2545,2500,2501,2550,2502,2503,2505,2552,2506,2509,2546],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa78aaab8984587d91e9f82641be9870c.jpg","24.5x145.1cm",[6],{"id":1404,"slug":14656,"title":14657,"dynasty":2605,"author":3431,"museum":2589,"description":14658,"tags":14659,"thumbUrl":14660,"material":3157,"size":2598,"collection":6,"collections":14661,"showCount":14472,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"qing-hua-tu-yi-ming-218601","清话图","沉墨绘就的林麓间，古树虬枝盘结于岩畔，繁叶如盖，墨色浓淡交织出层次。远处峰峦隐在淡霭里，留白处烟岚轻绕，拓出悠远天地。山石勾勒简练，皴擦见骨，尽显宋画山水的写实韵致。虽无人物，却似有清雅气息漫溢：松风穿叶的簌簌声，石畔流水的泠泠音，隐者清谈的低语仿佛在林间流转。笔墨苍劲中藏细腻，构图疏密得宜，将自然静谧与文人雅趣揉合，尽展宋代山水的空灵意境与人文深味。",[2496,2833,2499,2509,2501,2506,2507,2595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe51ba424b20e90531e1d091751b278de.jpg",[6],{"id":1405,"slug":14663,"title":14664,"dynasty":2632,"author":5172,"museum":2563,"description":14665,"tags":14666,"thumbUrl":14667,"material":2512,"size":14668,"collection":6,"collections":14669,"showCount":14472,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"liu-lang-wen-ying-yu-ti-zhou-dong-bang-da-218430","柳浪闻莺御题轴","院藏董邦达（1699 —1769）绘制的「西湖十景」轴共两套，分别作于第一次南巡与第二次南巡之后。两套尺寸不同，但图像相仿，皆出自董邦达于第一次南巡前进献的〈西湖四十景〉册中对十景的描绘。本次展出的两件「柳浪闻莺」，描绘的是西湖「柳浪桥」景。该桥位于南宋御园内，堤岸植柳，迎风摇扬若浪，因而得名。",[2496,2577,2499,2500,2501,2505,2502,2506,2690,2509,2547,2510,2511,3209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e8329ccaab65d8759d05b7f651894a0.jpg","126.9x66.8cm",[6],{"id":1406,"slug":14671,"title":14672,"dynasty":2490,"author":4134,"museum":2673,"description":14673,"tags":14674,"thumbUrl":14675,"material":2512,"size":14676,"collection":6,"collections":14677,"showCount":14472,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"tong-shan-tu-tang-yin-218333","桐山图","图绘峭壁间长出桐树数株，其中一株横垂探水；石罅间有泉水汩汩流出，汇入平湖。湖面演漾，浩淼无边；远山逶迤而去。构图有南宋院体影响，皴染则化刚为柔，苍润而醇厚。\n自题：“吾闻淮水出桐山，古来贤哲产其间。君今自称亦私淑，渔钩须当借一湾。吴门唐寅作桐山图。”钤：“吴趋”朱文印、“唐伯虎”朱文印、“南京解元”朱文印。引首王鏊题“清樾吟窝”，拖尾有文徵明、袁袠、蔡羽、王宠、王穉登等十四家题跋。",[2495,2496,2497,2498,2499,2509,2511,2501,2652,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ee14b34e9f652e8869f5cb917cf77c.jpg","纵31.2厘米 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。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[2496,2499,2577,2833,14695,2507,5658,2503,2614,14696,6020,14697,2509,2510,2547],"观瀑","崖岸","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73a99f08040b3c5a6341b58459d3069.jpg",[6],{"id":1410,"slug":14701,"title":11586,"dynasty":2490,"author":14702,"museum":4024,"description":14703,"tags":14704,"thumbUrl":14705,"material":14706,"size":14707,"collection":6,"collections":14708,"showCount":14690,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"guan-pu-tu-zhou-wang-zhao-239169","汪肇","《观瀑图轴》阔笔斧劈，成跌宕巨石；劲毫顿挫，作屈铁古木。树石黝暗，以淡墨渝润；白云飞瀑，以留白而成。黑白相映，尽显山谷清幽之气。树旁二高士，抡扇举首，遥观飞瀑，神情悠然。衣纹以折芦描出之，与景物峭硬感觉相谐合，属典型浙派风格。",[2496,2497,2577,2499,2500,2509,2501,2549,2611,2779,3155,2652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cedf300b863068cb436244bbdb027fc.jpg","立轴，绢本，水墨，淡设色","纵长110厘米，横长81．5厘米",[6,2534],{"id":1411,"slug":14710,"title":14711,"dynasty":2490,"author":14712,"museum":2818,"description":14713,"tags":14714,"thumbUrl":14715,"material":2598,"size":2598,"collection":6,"collections":14716,"showCount":14690,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"yu-le-tu-zhou-zhang-ling-238275","渔乐图轴","张灵","张灵，生卒年不详。生于成化，约卒于正德初，年四十左右。字梦晋，吴郡（今江苏苏州）人，家贫，与唐寅为邻，两人志趣相投，茂才相埒。同为府学生员，故交谊最深。画作受唐寅影响极大。工诗文，祝允明弟子。\n少与祝允明、唐寅、文徵明齐名，并称“吴中四子”，性落拓嗜酒，好交游，醉即使酒作狂。所画人物冠服玄古，形色清真，无卑庸之气。间作山水，笔生墨劲，斩然绝尘。并善竹石、花鸟，清新可喜，书法亦佳。",[2496,2497,2577,2499,2509,2549,2504,2503,2891,2507,2987,2501,2506,4702,11534],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd92163a7d1c8e15870bdf0cbe3eb3953.jpg",[6,2626],{"id":1412,"slug":14718,"title":14719,"dynasty":2632,"author":14720,"museum":2818,"description":14721,"tags":14722,"thumbUrl":14723,"material":2598,"size":2598,"collection":6,"collections":14724,"showCount":14690,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"wu-sheng-shi-yi-tu-ce-huang-yi-237734","无声诗意图册","黄易","黄易（1744 年11月22日—1802年3月26日），字大易，号小松、秋盦，又号秋影庵主、散花滩人。浙江钱塘人，钱塘黄氏八世。兼擅篆刻，与丁敬并称丁黄，为“西泠八家”之一。",[2496,2497,2592,2499,2500,2509,2508,2506,2507,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83da3788d7a2cc1ffec29df6911883a8.jpg",[6,2534],{"id":1413,"slug":14726,"title":14727,"dynasty":2490,"author":9094,"museum":2673,"description":14728,"tags":14729,"thumbUrl":14730,"material":3257,"size":14731,"collection":6,"collections":14732,"showCount":14690,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"yu-man-shan-zhai-tu-zhou-xiang-sheng-mo-237696","雨满山斋图轴","图绘高山深壑，飞瀑清流，寺庙掩映在繁密的林木和耸峻的峰峦间，高士执杖步桥寻幽。山石取法元代黄公望，勾皴用笔浑厚质朴。树木的画法结合宋人笔意，枝干及叶片、苔点皆中锋运笔，苍秀沉着。画面意境深邃出尘。作者通过描写自己在暮秋的山林优游吟赏的活动体现了明末文人士大夫厌倦仕途隐居避世的心境。",[2496,2497,2577,2499,2509,2501,2714,2593,2578,2611,2503,2502,2507,2505,2549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff50a5814b2e1a349f1fca44e2d702518.jpg","纵121.4厘米，横32.4厘米",[6],{"id":1414,"slug":14734,"title":14735,"dynasty":2632,"author":5047,"museum":2492,"description":14736,"tags":14737,"thumbUrl":14738,"material":14739,"size":14740,"collection":6,"collections":14741,"showCount":14690,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"guan-shan-qiu-ji-zhou-wang-hui-237152","关山秋霁轴","清朝初年，占据画坛时间最长的是“四王”一派 ，即王时敏、 王鉴、 王原祁、 王翚四位王姓山水画代表画家。“四王”视宋元名家的笔法为最高标准，致力于临摹古画或在摹古中追求变化。他们看重笔墨，大多以古人丘壑搬前挪后，构成一种古人已经达到过的理想境界，表现平静安闲的情感状态，体现所谓“士气”与“书卷气”，却较少观察自然，描写具体感受。因为受到统治者的重视和提倡，被尊为正宗，确立了正统地位。他们分为两代人，第一代的王时敏与王鉴是大书画家董其昌的朋友；第二代的王原祁是王时敏之孙，王翚是王鉴的学生。\n《关山秋霁图》正是“四王”之一、王鉴的作品。王鉴，字玄照，号湘碧，自称染香庵主，苏州太仓人，出身于书香门第，是明代文史大家王世贞的曾孙。王鉴擅长画山水，早年曾经得到董其昌的亲自传授，画风向上追溯至五代南唐画家董源、 巨然，多拟仿宋元诸家。他擅长画青绿山水，着色妍丽，又兼长皴染画法。\n什么叫皴染呢？皴（cun村）染是中国画的一种画法。皴，是画中用来表现山石、峰峦和树身表皮的脉络纹理的画法，作画时先勾出轮廓，再用淡干墨侧笔而画；染，是用墨水或淡彩润刷画面，不露或少露笔痕，用来分辨阴阳向背，加强物象的立体感。王鉴的画作风格华润，纤细且不失雅致。他从临摹入手，但并不忽视对丘壑的形象塑造，作品比较平实。\n《关山秋霁图》是王鉴晚年效仿北宋画家范宽的山水画风格所作。此轴为吴大澂、吴湖帆递藏之物，也就是祖孙二人次第传承收藏。吴大澂在裱边处题跋“湘碧老人早年多泼墨淋漓之笔，其精细之作皆在六七十岁……其用意之缜密虽极小处无一懈笔”，写出了王鉴晚年在用笔敷色方面，绘画风格与早年不同之处。值得一提的是，吴湖帆也临摹过一幅《关山秋霁图》，为友人祝寿而作。",[2496,2577,2499,2509,2501,2502,2503,2505,2611,2506,2527,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aedd467187047bf2529e2a163cf58ec.jpg","绢本 ，墨笔","纵215.9cm，横113.8cm",[6,2626],{"id":1415,"slug":14743,"title":14744,"dynasty":2632,"author":13212,"museum":2673,"description":14745,"tags":14746,"thumbUrl":14747,"material":2598,"size":2598,"collection":6,"collections":14748,"showCount":14690,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-zhuang-zhou-zou-zhe-236883","山水册装轴","邹喆，生卒年不详，清代画家。字方鲁，江苏吴县人。自幼随父亲客游金陵。他的画宗其父，山水工稳而有古气，富简淡清逸的情趣。兼长水墨花卉，勾勒敷彩渲染有元人王渊的体格。“金陵八家”之一",[2496,2497,2592,2499,2509,2501,2902,2507,2614,2550,3736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9508b3d511d77b3b1bf9fcd09d4a6ac.jpg",[6,2626],{"id":1416,"slug":14750,"title":14751,"dynasty":2632,"author":13864,"museum":2673,"description":14752,"tags":14753,"thumbUrl":14755,"material":2598,"size":2598,"collection":6,"collections":14756,"showCount":14690,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"hua-wang-shi-lu-xiang-zhou-zhang-zhu-236747","画王士禄像轴","张翥字运南，号北林，江苏常熟人，生卒年不详。善画山水、人物、肖像，山水师同乡吴山（南阳），沉郁苍老，馓有气韵。人物写真师法曾鲸，形象逼肖，用笔流畅，秀媚古雅。雍正十年（1732）郡守周某欲绘《贫民图》入告。传世作品有康熙二年癸卯（1663）作《王士禄像》轴，画左上角有冒襄题像赞，现藏故宫博物院。能诗，著有《北林小集》。",[2496,2497,2577,2500,2546,2549,2506,2690,3839,14754,5297],"桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9354997c8a95fe93096ae2a9e2a5a2be.jpg",[6,2534,6382],{"id":1417,"slug":14758,"title":14759,"dynasty":2632,"author":14760,"museum":2673,"description":14761,"tags":14762,"thumbUrl":14763,"material":2720,"size":2598,"collection":6,"collections":14764,"showCount":14690,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"huang-yue-shan-xi-fang-zhao-tu-zhou-huang-yue-236130","黄钺山溪放棹图轴","黄钺","黄钺（1750--1841），字左田，又名左君，号壹斋、左庶子。先祖七世自当涂迁居芜湖，乾隆十五年八月初五未时（即公元1750年9月5日13时至15时），生于芜湖西门外升平桥旧第，幼丧父母，由外祖父母抚养，及长，敏而好学。清乾隆年间，“以廪贡挑录议叙吏目”。乾隆三十三年（1768）四月，黄钺与安徽巡道李世杰在芜湖赭山滴翠轩创建中江书院，招员授业。乾隆五十五年庚戌恩科(1790年)，殿试中二甲第六名进士，授户部主事，因与和珅意左，告假回芜，“掌教皖南北书院十载”",[2496,2500,2501,2509,2577,2714,3976,3207,2593,2505,2652,2503,2508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2c0e84037a99a0fea090328209329ab.jpg",[6,2534],{"id":1418,"slug":14766,"title":14767,"dynasty":2632,"author":13638,"museum":2673,"description":14768,"tags":14769,"thumbUrl":14770,"material":2867,"size":2598,"collection":6,"collections":14771,"showCount":14690,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xue-jing-gu-shi-ce-sun-hu-234290","雪景故事册","孙祜生卒年不详，江苏人。工人物、山水，宗法王原祁。乾隆（1736-1795）时供奉内廷，为宫廷画家。",[2496,2497,2592,2500,2546,2511,2547,2501,3166,2507,3091,2549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29476d87f834ed55ad1ade830e240ad6.jpg",[6,2534],{"id":1419,"slug":14773,"title":14774,"dynasty":2632,"author":14143,"museum":2563,"description":14775,"tags":14776,"thumbUrl":14777,"material":2656,"size":14778,"collection":6,"collections":14779,"showCount":14690,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"hua-lin-lu-qiu-qing-zhou-hong-wu-222846","画林麓秋晴轴","弘旿（1743年－1811年），爱新觉罗氏，是清朝康熙帝二十四子允秘的次子，画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。生母为允秘的侧福晋殷氏，殷大成之女。他在乾隆八年癸亥九月三十日寅时生，乾隆二十八年（公元1763年）封二等镇国将军，乾隆三十九年（公元1774年）晋贝子，乾隆四十三年（公元1778年）因事革退，乾隆五十九年（公元1794年）封奉恩将军，嘉庆四年（公元1799年）又革退，嘉庆十四年（公元1809年）复封奉恩将军。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆帝对他笔墨的赞许。其《自题山水画册》诗，有疏朗、清越之韵律。工于书画，书兼四体，其山水画作得董邦达之妙谛，花木具有古朴陈香；治石印有元、明篆刻的风格。有《听泉图》、《板桥僧舍图》、《江山拱翠图》、《仿唐寅山水图》、《素濑松吟》等。乾隆五十七年（1792）和阮元、铁保等人游万寿寺，写《七松图扇》等。家富于藏书，藏书楼名“静寄轩”，嘉庆十六年（公元1811年）薨，享年68岁，有子7人。由第五子永松袭封奉恩将军。",[2495,2496,2497,2577,2545,2500,2509,2501,2506,2613,3668,3125,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3f990fb452e81332c9093c68f4898e5.jpg","120x22",[6,2534],{"id":1420,"slug":14781,"title":14782,"dynasty":2632,"author":8402,"museum":2563,"description":14783,"tags":14784,"thumbUrl":14785,"material":14786,"size":14787,"collection":6,"collections":14788,"showCount":14690,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"chi-song-huang-shi-er-xian-tu-zhou-xu-yang-222821","赤松黄石二仙图轴","绘赤松一板凳，粗壮笔真，松枝弯曲自然，松针繁多清晰；黄石耸立，形状奇异；地面翠竹、杂草生机勃勃。",[2495,2496,2577,2500,2546,2902,3735,2977],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F053720c8ce76759a8f675e7ff855123d.jpg","设色 纸本","172.1x71厘米",[6],{"id":1421,"slug":14790,"title":14791,"dynasty":2490,"author":14792,"museum":2563,"description":14793,"tags":14794,"thumbUrl":14795,"material":6940,"size":14796,"collection":6,"collections":14797,"showCount":14690,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"fu-kan-ji-liu-tu-zhou-wang-shi-chang-222462","俯瞰激流图轴","王世昌","王世昌（约1462－1531以后），明代画家，为山东人。我们无法确知他是否担任过宫廷画家。他擅长于大幅的山水人物画，风格温润典雅，颇具诗意。传世有〈大幅山水〉、〈俯瞰激流〉等作。俯瞰激流图 主题描绘春季来临时的山谷中，文人与农夫活动的状况。画中央平坦的坡陀上，是一位俯观涓涓流水、若有所思的文士。他身后的策杖文士，则与随侍携琴童仆，同时回望着登向高岗的荷担农夫，传达着他们与农夫交谈后，目送农人前往工作地点的情形，似与〈归去来辞〉的内容若合符节，由此可知，此画与文学的密切关系。画中前后景交接处，以留白作为云气，使画面显得迷离不定；而山石部分则以浓墨与淡色烘染，营造物体朦胧、置身云雾间的视觉效果，刻意增加空间的层次，这是让画中充满诗意气氛，经常运用的方法之一。",[2495,2496,2500,2509,2501,2549,2913,2578,2652,2503,2690,12292,2577],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b92e5bce953bcc5c616e2f21d9d65af.jpg","33x53",[6,2534],{"id":1422,"slug":14799,"title":14800,"dynasty":2490,"author":11076,"museum":2673,"description":14801,"tags":14802,"thumbUrl":14803,"material":4324,"size":14804,"collection":6,"collections":14805,"showCount":14690,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"qing-xue-zhang-song-tu-zhou-zhang-rui-tu-222055","晴雪长松图轴","张瑞图书法、绘画兼精。书法得张旭、怀素神韵，与董其昌等并称“明末四大书家”，但其书法风格则迥异他人，风貌奇倔狂逸，后世称“瑞图书法奇逸，钟、王之外，另辟蹊径。”绘画则学黄公望，风格苍劲，点染清逸。他的画作大多是偶然兴至所作，故而传世作品甚少，其大幅画作特点是笔墨粗放，构景空疏。此图墨笔绘清泉细石，苍松之上落满积雪，全图面貌苍润，用笔皴染结合、勾点交错，笔力浑厚，足见张氏笔墨功力精到。\n本幅自题：“冻泉依细石，晴雪落长松。庚午春仲果亭图写”，钤“瑞图”朱文方印，“张长公”朱文方印。题字结体狂怪，笔画劲健纵逸，气韵外露，颇富“奇异”之态。据此，可知此图作于崇祯三年（1630），张瑞图时年60岁，正是他罢官遣归之年。图中题句出自杜甫诗《谒真谛寺禅师》。",[2495,2496,2497,2577,2499,2501,2779,2507,2509,3078],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F240a83fcfac08777dd0d323f10bb0e0e.jpg","纵136.3厘米，横43.3厘米",[6,2626],{"id":1423,"slug":14807,"title":10256,"dynasty":2522,"author":8648,"museum":2563,"description":14808,"tags":14809,"thumbUrl":14810,"material":2703,"size":14811,"collection":6,"collections":14812,"showCount":14690,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"gao-ting-tu-fang-cong-yi-221729","山峰突耸于云海之中，近景的峰顶设孤亭，一人沿山径向峰顶走去。画家画山水直接用破墨法晕染远处山石，再加以浓墨点缀，用简笔勾出山中云烟并留白，近处栈道山崖崖壁用浓墨湿笔施以大斧劈，再轻轻罩染。用笔草草，破墨山水墨气淋漓。从此图中可窥见董巨、米氏山水之风，兼有梁楷简笔、吴镇湿墨、马夏斧劈之韵。从其自识“纵笔写之”可看出其用书法笔意画写意山水的逸趣，这正贴合了元初赵孟頫倡导的“书画同源”的志趣。而这些正构成了方从义“纵逸”山水的风格。\n方从义曾在1343年到北方游历，不只结交许多高官文士，在其间获得名声，更饱览各地名山胜景，使他胸襟开阔，落笔不凡。同时代人对其画技，皆以潇散非世人所能及，明代画评家王世贞论其画与高克恭、倪瓒等人同列为“品之逸者也” 。如此幅钩云点苔，随意不羁，风格简逸，而山川精气更在水墨精微中见出，体现元代道士藉山水追求清静自然，心灵解脱之哲学，用笔草草，意境无穷。",[2495,2496,2544,2497,2577,2499,2509,2501,2505,2506,2547,2677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F693e4c4c741ebf8c7d852d6aa0cb4a93.jpg","纵62.1cm，横27.9cm",[6,2626],{"id":1424,"slug":14814,"title":14815,"dynasty":2605,"author":13753,"museum":2818,"description":14816,"tags":14817,"thumbUrl":14818,"material":2500,"size":14819,"collection":2624,"collections":14820,"showCount":14690,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"dan-lin-shi-yi-tu-xiao-zhao-221660","丹林诗意图","萧照（公元1131-公元1162），濩泽（今山西阳城）人。南宋画家，补入南宋画院为待诏，又补迪功郎，赐金带，作品有《山腰楼观图》、《秋山红树图》、《岳祠汉柏图》、《光武渡河图》、《竹林七贤图》等，杭州显庄观、西太已宫等处有他的壁画。夏文彦《图绘宝鉴》：“画山水人物，异松怪石，苍凉古野，惜用墨太多”，有记载说：“萧照尤喜为奇峰怪石，望之有波涛汹涌，云屯风卷之势”。",[2495,2544,2496,2497,3589,2833,2500,2509,2501,2506,3125,2549,2613,2652,2595,10593],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F748026f20ec78e9dc7af37233ab41e7e.jpg","28x52",[2624,6,2534],{"id":1425,"slug":14822,"title":3183,"dynasty":2605,"author":14823,"museum":4366,"description":14824,"tags":14825,"thumbUrl":14827,"material":7110,"size":14828,"collection":2624,"collections":14829,"showCount":14690,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-li-an-zhong-221584","李安忠","李安忠，南宋画家。钱塘(今浙江杭州)人，生卒年不详。宋徽宗宣和(1119-1125)时为画院祗候，历官成忠郎。南渡后绍兴(1131-1162)间复职画院，赐金带。子公茂，世其家学，然不逮父。\n工画花鸟、走兽，尤长于“捉勒”(鹰鹘之类)，《画继补遗》谓其“工画捉勒，得其 鸷攫及畏避之状”。亦间作山水。马臻题其《雪岸寒鸦图》诗云：“北风万里吹石裂，古树槎桠摧朽铁，群乌哑哑如苦饥，倦飞还向空林歇。孤村荒寒得食远，日暮沙边啄残雪，回情诉意各有态，羡杀画师心更切。我尝记得天随诗，至今读之心激越，妇女衣襟便佞态，始得金笼日提挈。老乌，老乌，尔身毛羽黑离离，况复人间厌尔啼，何不飞鸣丈人屋，丈人屋头春柳绿。”",[2495,2496,2544,2497,2501,2499,2509,2578,2913,2506,14826,3880],"孤树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F324e78d2ab5af18f329bc9f582365afc.jpg","33x34",[2624,6,2626],{"id":1426,"slug":14831,"title":14832,"dynasty":2522,"author":12281,"museum":2563,"description":14833,"tags":14834,"thumbUrl":14835,"material":2512,"size":14836,"collection":6,"collections":14837,"showCount":14690,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"qiao-mu-shan-zhuang-tu-chen-ru-yan-219926","乔木山庄图","陈汝言（1331-1371年），元末明初画家、诗人。字惟允，号秋水，先世系本蜀阆州（今四川阆中市）人，后居江西南康，父陈征流寓吴中，遂为吴县人。 能诗，擅山水，兼工人物。与兄陈汝秩（字惟寅）齐名，时人呼为大髯小髯。\n陈汝言画山水远师董源、巨然，近宗赵孟頫、王蒙，行笔清润，构图严谨，意境幽深。与王蒙契厚，传说王蒙在泰安时，曾面泰山作画，随兴所至，不时加笔，一幅图画了三年。陈汝言正巧来访，时遇大雪，他便用小弓挟粉笔弹在画上，将图改作雪景。王蒙叫绝，以为神奇，遂改题为《岱宗密雪图》。",[2496,2497,2498,2499,2509,2501,2714,2614,2506,2508,2547,2752,2503,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7c27c974c825234b28d9272c4efdeff.jpg","本幅 24.3×65.4",[6],{"id":1427,"slug":14839,"title":9239,"dynasty":2522,"author":3431,"museum":2563,"description":14840,"tags":14841,"thumbUrl":14842,"material":2531,"size":14843,"collection":6,"collections":14844,"showCount":14690,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"qiu-shan-tu-zhou-yi-ming-219492","危崖层叠高耸，以干笔皴擦勾绘山石肌理，浓墨点苔醒出苍劲质感，留白铺陈云雾，将上下景境轻隔，铺就空濛辽远的秋山底色。山涧飞泉垂落，撞碎岑寂。近岸处苍松交柯、红叶点染，秋意漫溢林泉。水畔茅亭临波，白衣二人策杖晤谈，林下闲逸尽落画卷。\n笔墨糅合干皴湿染，既刻画出丘壑静穆之态，又晕开秋日山岚的氤氲柔韵，将山川灵秀与文人寄情林泉的雅怀相融，尽显简淡萧散的林下意趣。",[2496,2497,2577,2499,2509,2501,2506,2611,2614,2505,2549,2507,2902,5116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37dad853c0db062ff1df66acbf38cd7f.jpg","115.3x36.9公分，全幅58公分",[6],{"id":1428,"slug":14846,"title":14847,"dynasty":2605,"author":3431,"museum":5068,"description":14848,"tags":14849,"thumbUrl":14850,"material":2567,"size":14851,"collection":6,"collections":14852,"showCount":14690,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"zhang-song-lou-tai-tu-yi-ming-218634","长松楼台图","长松倚崖而立，虬干如铁，松针密簇，苍劲中藏秀逸之态。山间楼阁隐于林麓，飞檐翘角，廊柱分明，尽显匠作之精。远山层叠，云雾轻萦，墨色由近及远渐淡，留白处意蕴悠长。近景山石皴法细腻，纹理毕现；远景写意晕染，天地清旷。笔墨刚柔相济：树石之劲健与云雾之轻柔相映，楼台之工整与山水之雄浑相衬。画面静谧悠远，似有松涛穿林，山风拂檐，将宋时文人对自然的眷恋凝于尺幅。虽为小品却含大气象，尽显“天人合一”的审美意趣，笔墨间藏着宋画独有的清旷与雅致，观之如临幽境，忘尘俗之扰。",[2495,2496,2497,5225,2500,2790,2501,2902,2550,2507,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24d5aa0817149a9d7ed920480d9f97cf.jpg","24.8x23.5",[6],{"id":1429,"slug":14854,"title":14855,"dynasty":2605,"author":3431,"museum":2589,"description":14856,"tags":14857,"thumbUrl":14858,"material":2567,"size":2598,"collection":6,"collections":14859,"showCount":14690,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"ye-zhou-heng-du-tu-yi-ming-218595","野舟横渡图","河道上长满了树木和茅草屋，河中停泊着两艘中型单桅帆船，下层是客舱，上层是货物，这是从南宋到元朝初期江南地区普遍使用的。",[2544,2496,2497,5225,2500,2509,2501,2504,2503,2578,2507,2987],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec54b00cf7d69cffe6cbb08e458f926.jpg",[6],{"id":1430,"slug":14861,"title":14862,"dynasty":2490,"author":14863,"museum":2763,"description":14864,"tags":14865,"thumbUrl":14866,"material":2567,"size":14867,"collection":6,"collections":14868,"showCount":14690,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-tu-zhan-dao-heng-lv-wang-duan-218505","山水图（栈道行旅）","王端","这幅画描绘了危桥险路，商人行色匆匆，山高水险，蜀道难，难于上青天。树干上刻有 王端造字样，其笔法以郭熙的笔法为基础，并参考了王蒙的方法。",[2495,2496,2497,2577,2499,2509,2501,2621,2612,2507,2506,3091,2611,2502,2503,3057,2508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F809626f0514a46b69b38d7c1727dc236.jpg","178.4x48cm",[6],{"id":1431,"slug":14870,"title":14871,"dynasty":2522,"author":3431,"museum":2673,"description":14872,"tags":14873,"thumbUrl":14874,"material":2567,"size":14875,"collection":6,"collections":14876,"showCount":14690,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shui-ge-dui-hua-tu-yi-ming-218213","水阁对话图","水阁对话图是一种流行于元朝时期的文学体裁，通常用来记录人们在水上建筑物（如水上别墅、水上庭院或水上茶室）中的对话。这种体裁的名字来源于“水阁”这个词，指的是在水上建造的别墅或其他建筑物。\n\n元朝时期，由于水上建筑物在当时是很流行的，因此水阁对话图也非常受欢迎。这种体裁通常记录了人们在水上建筑物中的日常对话，以及他们对当时社会、政治、文化等诸多话题的看法。",[2496,5225,2499,2501,2549,2550,2578,2913,2595,2677,2503,2509,2500],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c5b832746b1a1e3f0abb4065f54693.jpg","25.8x23.7cm",[6],{"id":1432,"slug":14878,"title":3183,"dynasty":2632,"author":14879,"museum":2763,"description":14880,"tags":14881,"thumbUrl":14882,"material":2567,"size":14883,"collection":6,"collections":14884,"showCount":14690,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-tu-dai-zi-lai-217263","戴子来","戴子来是中国清朝时期著名的画家、诗人，他的山水图在中国绘画史上具有重要地位。\n\n戴子来的山水图与其他画家的作品有很大的不同，他的作品常常给人以深刻的感受和富有韵味的艺术氛围。他的山水图常常描绘出细腻的山水景观，并结合自然与人文景观。他运用了浓重的色彩和抽象的线条，使作品充满了动感和生机。\n\n戴子来的山水图代表了他对自然界的深刻理解和敬畏之心。他的作品常常描绘出大自然的壮丽景观，如山峰、河流、湖泊等，表现出自然界的种种美好。此外，他还善于运用抽象的笔触勾勒出自然界的神秘感，使作品充满了趣味性。\n\n总的来说，戴子来的山水图在中国绘画史上具有重要地位，他的作品常常给人以深刻的感受和富有韵味的艺术氛围，值得我们去欣赏和品味。",[2495,2496,2500,2509,2577,2501,2550,2502,2506,2507,2611,2508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ae51318f27e987f219edd71114d8c63.jpg","121.9x53.5cm",[6],{"id":1433,"slug":14886,"title":7929,"dynasty":13127,"author":14887,"museum":2492,"description":14888,"tags":14889,"thumbUrl":14890,"material":2598,"size":2598,"collection":6,"collections":14891,"showCount":14690,"zanCount":2517,"manualWeight":2517,"mainColor":14892},"shan-shui-tu-zhou-wu-qin-mu-202994","吴琴木","层峦叠嶂间，墨色浓淡交织出山林幽深之趣。山石以苍劲皴笔勾勒纹理，显浑厚质感；林木错落，墨点簇叶生机盎然；山间飞瀑流泉映带左右，添动势于静谧；山麓几椽茅舍隐于松荫，似有幽人寄情林泉。整幅作品笔墨雅致，兼具传统山水古雅韵致与近代灵动气息，将自然之趣与人文情怀融于尺幅。",[2501,2499,2509,2577,2503,2505,2495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa98797b625000c03669d8fda6f105311.jpg",[6],"b9afa5",{"id":1434,"slug":14894,"title":14895,"dynasty":13127,"author":14896,"museum":2492,"description":14897,"tags":14898,"thumbUrl":14899,"material":2598,"size":2598,"collection":6,"collections":14900,"showCount":14690,"zanCount":2517,"manualWeight":2517,"mainColor":14901},"she-se-shan-shui-tu-zhou-pu-jin-202821","设色山水图轴","溥伒","画面以淡墨设色晕染山水，皴擦结合勾勒嶙峋山石肌理，苍劲松枝斜倚崖边，添几分清逸。山间隐现亭台藏幽居之趣，山下流水潺潺，一叶孤舟泛江，舟中人物闲适尽显渔乐之境。远景云雾轻笼，山峦层叠渐淡，营造悠远空濛意境。笔墨兼具传统文人画雅致与自然生机，淡彩晕染柔和，山石厚重与流水灵动形成对比，整体格调清旷淡远，引人入胜。",[2496,2500,2501,2504,2509,2987,2505,2902,2503,2507,2495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7e6cdc3de82c80ac891e36313045737.jpg",[6],"c1bfb3",{"id":1435,"slug":14903,"title":14904,"dynasty":2490,"author":3120,"museum":2818,"description":14905,"tags":14906,"thumbUrl":14907,"material":5818,"size":5819,"collection":6,"collections":14908,"showCount":14909,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"mo-gu-ce-ye-chen-hong-shou-287451","摹古册页","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[2496,4014,2499,2501,2902,3777,5659,2547,2510,2676,2509,6856],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64eebb7edbcb8537c7f5ef1326afd6bb.jpg",[6],29,{"id":1436,"slug":14911,"title":14912,"dynasty":2632,"author":14913,"museum":2673,"description":14914,"tags":14915,"thumbUrl":14916,"material":2598,"size":2598,"collection":6,"collections":14917,"showCount":14909,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"tang-ying-shan-shui-zhou-tang-ying-239054","唐英山水轴","唐英","此作用淡墨晕染出江南山居的悠然意趣，全景构图层层铺展，意境清寂淡远。远景山峦轻笼烟霭，平湖开阔澄澈，三两渔舟泛于波上，漾开闲静况味。中景坡岸虬松葱郁，村居错落相依，板桥横溪接引往来，揉入日常烟火暖意。近景庭院深隐林间，田亩溪涧环合相拥，将林下栖居的隐逸之趣藏入笔墨中。\n\n全画笔墨松秀柔和，以淡皴轻擦区分丘壑层次，弃绝浓丽设色，凭墨色干湿浓淡铺陈层次，尽显文人山水特有的简淡萧散，把江南乡野的静雅诗意晕染开来，藏着冲淡平和的文人心绪。",[2496,2499,2577,2501,2502,2503,2505,2552,2506,2507,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d73145b572ef6ffbad105060f81b9cb.jpg",[6],{"id":1437,"slug":14919,"title":14920,"dynasty":2632,"author":14921,"museum":2673,"description":14922,"tags":14923,"thumbUrl":14924,"material":2867,"size":14925,"collection":6,"collections":14926,"showCount":14909,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"qiu-shan-xing-lv-tu-zhou-fang-cong-238133","秋山行旅图轴","方琮","此图是方琮的代表作品之一。图中峰峦叠幛，林木入秋，溪流小桥，行旅者行进其间。整幅画面布局巧妙，结构严谨，房舍及行旅商贾无不似从元人笔下而来，属雅俗共赏之作。",[2496,2497,2544,2577,2500,2509,2501,4369,2507,2506,2503,2611,2508,2502,3125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d7f98f4a5433087a38e8a85bd4c7fcf.jpg","纵186.6厘米，横153.3厘米",[6,2534],{"id":1438,"slug":14928,"title":3490,"dynasty":2632,"author":14929,"museum":2818,"description":14930,"tags":14931,"thumbUrl":14932,"material":2598,"size":2598,"collection":6,"collections":14933,"showCount":14909,"zanCount":2517,"manualW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期。姜筠作画以古法入，在借鉴古人笔意上又力图摆脱古人，从而寻找自己的绘画道路。图中的山石树木借鉴古法，重视造化，而点缀其中的 房屋、渔舟、云气正是表现了人的伟大和大自然的永恒",[2496,2577,2501,2499,2509,2505,2611,2507,2506,6002,2497,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379f525512d15f8340c282baf34191bd.jpg",[6,2626],{"id":1439,"slug":14935,"title":14936,"dynasty":2632,"author":5047,"museum":2673,"description":11861,"tags":14937,"thumbUrl":14938,"material":2732,"size":2598,"collection":6,"collections":14939,"showCount":14909,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"wang-hui-kong-shan-fang-wu-zhou-wang-hui-236985","王翚空山方屋轴",[2496,2497,2577,2499,2509,2501,2730,3091,2552,2507,6388,2595,3055,3736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ff3172206d083c2c3a1a837744abfa4.jpg",[6,2626],{"id":1440,"slug":14941,"title":14942,"dynasty":2490,"author":14943,"museum":2673,"description":14944,"tags":14945,"thumbUrl":14946,"material":2720,"size":14947,"collection":6,"collections":14948,"showCount":14909,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"xiang-shan-jiu-lao-tu-zhou-peng-shun-xiang-236837","香山九老图轴","彭舜乡","唐中期，古都洛阳闻名九州的“香山九老会”，被人称颂至今百世永流芳。“香山九老”指的是：洛中遗老李元爽136岁；禅僧如满95岁；胡臬89岁；吉皎88岁；刘真87岁；郑据85岁；卢真83岁；张浑77岁；白居易74岁。九位老人在洛阳龙门的香山结成“九老会”。周臣《香山九老图》就是以绘画述此盛事。",[2496,2497,2577,2500,2499,2501,2549,2902,2611,2507,2578,5991],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc18d69c3d3633e4ee928dc95b38525.jpg","纵一九八厘米 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x 62 cm",[6,2534],{"id":1444,"slug":14977,"title":2587,"dynasty":2632,"author":3020,"museum":2818,"description":14978,"tags":14979,"thumbUrl":14980,"material":2598,"size":2598,"collection":6,"collections":14981,"showCount":14909,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-wang-yuan-qi-236044","笔底云峰浮于烟岚，以干笔积墨皴擦山峦，苍浑厚重间带着元人披麻皴的秀润遗意。近景溪湾宛转，村居隐于茂林错落间，屋舍疏朗恬淡，林木俯仰有姿。留白晕染出云气流荡，将远峰、中林、近岸自然衔连，疏密松紧相映。层层积墨却清雅松秀，不露堆砌之态，既得山川浑厚之致，又藏静穆萧散的文心。丘壑间浸着江南山水温润的灵韵，把幽居林下的闲澹意趣融于笔墨法度，尽显沉静悠然的文人山水意境。",[2496,2499,2501,2509,2714,2715,2506,2508,3736,2614,2592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ace5a04ef1b790993d87a46972baec6.jpg",[6],{"id":1445,"slug":14983,"title":3785,"dynasty":2632,"author":14984,"museum":2673,"description":14985,"tags":14986,"thumbUrl":14987,"material":2867,"size":2598,"collection":6,"collections":14988,"showCount":14909,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"huang-shan-tu-ce-jiang-zhu-234719","江注","江注（1626～1685），字允凝，号若米舫。一些美术画论和辞典称其又字允冰，徽州歙县桃源坞人，僧渐江之侄，能诗善画，著有《允凝诗草》，幼从渐江学画，意境幽僻，用笔清劲，笔墨苍古，清远冷峻，常年隐于黄山，曾陪伴弘仁在黄山纪游写生，搜胜穷幽，颇得渐江真传，与姚宋、祝昌、吴定并称为“渐江四弟子”。\n江注《黄山图册》册页五十帧，现收藏于故宫博物院。由于渐江亲授，在绘画思想和风格上“酷肖弘仁”。他常和渐江结伴出游，一样痴迷黄山，有“渐公坐文殊台上吹笛，江允凝倚歌和之，发音嘹亮，上彻云表”之故事。",[2496,2497,2499,2509,2510,2511,2592,2501,2507,2503,2614,2527],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faac352676967682ac8c718cbf1f9170a.jpg",[6],{"id":1446,"slug":14990,"title":5287,"dynasty":2632,"author":5047,"museum":2818,"description":14991,"tags":14992,"thumbUrl":14993,"material":3044,"size":14994,"collection":6,"collections":14995,"showCount":14909,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-gu-shan-shui-ce-wang-hui-234713","《仿古山水册》共计十二页，其中设色二页，水墨十页。仿董源、巨然、米芾、赵大年、赵孟頫、吴镇、倪瓒、王蒙、黄公望、管道升、曹知白、陈汝言等而作。每幅均自题七律一首，末开款署“壬寅六月王翚”，册尾有顾复初题跋。前选一图，系仿曹云西山水，写柳汀板桥、芦荻孤舟，晓风残月，雁影徘徊。笔墨疏秀，意境苍莽迷蒙。\n王翚得名家传授，又博览古人佳作和游历真山实水，画艺日臻成熟，40岁时即名闻海内。王翚出生于绘画世家，他的曾祖王伯臣、祖父王载仕、父亲王云客都是画家，幼时即得到家学熏陶，初学画于同乡画家张珂。顺治年间王鉴游虞山时，见王翚画扇，极为赏识，赞其天资超人，收为弟子。后转师王时敏，得以临摹许多历代名家真迹，镕铸造南北画派于一炉，技艺大进。尝与王时敏遍游大江南北，广识著名收藏家，观摹宋、元真迹。其摹古功力极得王时敏赞赏：“（石谷）凡唐宋诸名家无不摹仿逼肖，偶一点染展卷即古色苍然，毋论位置溪径，宛然古人，而笔墨神韵一一夺真，且仿某家，则全是某家，不杂一他笔，使非题款，虽善鉴者，不能辨。”于是他在摹古仿古的基础上，综合诸家之长，晚年画风简练苍浑，有独到的艺术风格，在“四王”中，王翚的艺术成就最为显著，门生弟子很多，以杨晋较为著名，其山水画的影响极为深广。",[2496,2497,2544,2592,2499,2509,2501,2779,2502,2503,2579,2549,2507,2845],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb3597742ef1ee1687c0ec1892b236e.jpg","25.6厘米，横：20.5厘米",[6],{"id":1447,"slug":14997,"title":12965,"dynasty":2490,"author":11622,"museum":2563,"description":14998,"tags":14999,"thumbUrl":15000,"material":2656,"size":15001,"collection":6,"collections":15002,"showCount":14909,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"shan-yu-yu-lai-tu-zhou-zhang-lu-222502","此图为张路水墨山水画代表作之一，写山雨欲来前狂风大作，乌云满天的情景。此图在笔墨形成上亦有独到之处，充分运用绢不易晕化的特性，多用湿笔和浓墨，恰到好处。山石画法近似马、夏及戴进的带水斧劈法，但又有所不同。画树则多以短笔横向画出，自然生动。全幅笔墨健拔淋漓，气势壮阔。",[2495,2496,2499,2577,2509,2501,2507,2506,2614,3736,2549,2503,2677,7132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dda3aeabd6bd882d906bf05d7ad4cc6.jpg","纵147厘米，横105厘米",[6,2626],{"id":1448,"slug":15004,"title":15005,"dynasty":2605,"author":9452,"museum":2673,"description":15006,"tags":15007,"thumbUrl":15008,"material":2720,"size":15009,"collection":2624,"collections":15010,"showCount":14909,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shi-jing-xiao-ya-jie-nan-shan-zhi-shen-tu-juan-quan-juan-ma-he-zhi-221627","诗经·小雅·节南山之什图卷全卷","马和之是一位山水、人物、花鸟全能的画家，人物画的线条吸收了唐吴道子用笔飞动流畅的特点，下笔重而出笔轻，是典型的兰叶描法，线条组织松散，给人以清俊闲雅之感。\n《诗经》作为儒家经典，一直备受封建统治者的推崇，此卷以图画形式使诗歌的内容形象化，藉此宣传儒家礼教",[2496,2497,2498,3898,2500,2501,2549,2506,2505,2510,2511,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc555b229615a13e54be0497c1481073c.jpg","纵26.2厘米，横857.6厘米",[2624,6,2534],{"id":1449,"slug":15012,"title":11860,"dynasty":2490,"author":6057,"museum":2997,"description":15013,"tags":15014,"thumbUrl":15016,"material":2512,"size":15017,"collection":6,"collections":15018,"showCount":14909,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"qiu-jing-shan-shui-tu-sun-zhi-220416","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。",[2495,2496,2498,2499,2500,2501,3091,2552,2730,2595,3736,2677,2546,2509,2506,15015],"平地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbd0e13ab93b8454684db3a24e5563cd.jpg","28.2×120.9厘米",[6],{"id":1450,"slug":15020,"title":15021,"dynasty":2490,"author":3264,"museum":2563,"description":15022,"tags":15023,"thumbUrl":15024,"material":3157,"size":15025,"collection":6,"collections":15026,"showCount":14909,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"fang-mi-xiao-xiang-bai-yun-tu-dong-qi-chang-220371","仿米潇湘白云图","本图仿米芾笔意，以墨韵幽雅，意境深邃取胜。用略为夸张的笔法去捕捉流动的大气，描绘多变莫测的云烟雨，使得绮丽多姿的山水更富有直观表现的色彩。",[2495,2496,2499,2833,2577,2509,7795,2714,2715,2506,2614,2595,3055,4508,2552],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F662a33e92c15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1632-1683年 传世作品有康熙二十一年作《雨气真寂图》及《林泉小亭图》二轴，现藏安徽省博物馆；《溪山泛舟图》轴藏浙江省博物馆；康熙十三年（1674）作《香烟诗意图》轴藏香港刘均量虚白斋；十二年（1673）作《九龙潭图》轴藏故宫博物院；同年作《山水图》轴藏上海博物馆。著有《拜经斋集》《致道堂集》《正己居集》等。",[2495,2496,2497,2592,2499,2501,2677,2509,2510,2547,2506,2595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d82fb54fc6a1eb3e1a5c47fd4a31691.jpg",[6,6382],{"id":1462,"slug":15109,"title":15110,"dynasty":2490,"author":2540,"museum":2563,"description":15111,"tags":15112,"thumbUrl":15123,"material":2512,"size":15124,"collection":6,"collections":15125,"showCount":2669,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"jiao-yin-jie-xia-zhou-chou-ying-222205","蕉阴结夏轴","图中山石林立，蕉丰硕。秀竹劲，丛草稀。两位高士对坐相。一抚琴，一聆听。作品追宋法，人物造型准确。神情刻画栩栩如生，加之情景交融，画面文人同生活气息流。村庄突现萧疏简返之气，亦现作者师元人画风而别开生面之趣",[2495,2496,2497,2577,2546,2500,2549,8059,3735,2507,3965,2880,15113,15114,12065,15115,15116,15117,15118,15119,15120,15121,15122],"夏日场景","弹拨乐器","山石皴法","植物写生","人物互动","设色淡雅","工笔人物","传统山水元素","草木景观","器物陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62b091a6fd7758ede327c5d564e95b22.jpg","纵279.1厘米，横99厘米",[6,2534],{"id":1463,"slug":15127,"title":15128,"dynasty":2490,"author":4173,"museum":2563,"description":15129,"tags":15130,"thumbUrl":15131,"material":2597,"size":15132,"collection":6,"collections":15133,"showCount":2669,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"qing-bai-xuan-tu-zhou-liu-jue-222182","清白轩图轴","刘珏（1410—1472）字廷美，号完庵，南直隶苏州府长洲（今江苏苏州）人。宣德中，苏州知府况钟举为吏，不就，得补生员，正统三年（1438）中举人，授刑部主事，迁山西按察司佥事，年五十弃官归。卒年六十三。\n老而嗜学不衰，为诗清丽可咏，景泰、天顺间，为吴中诗人之最，京师号为刘八句。书正、行出赵孟頫，山水出王蒙，行草学李邕，各极其妙。写山水林谷泉深，石乱木秀，云生绵密，幽媚风流，蔼然高者，攀鳞巨老，庶乎升堂，特未入室耳。天顺（1457—1464）间与杜琼、徐有贞、马愈、沈贞吉、恒吉并能，写山水，近世莫及。\n刘珏[jué]为官清正，浙江甫田县丞督赋侵吞渔税，被告以“黄金二百两”委托亲戚向他行贿，他正愁缺少证据，便以此为突破口，查明了赋税被侵吞的真相。无锡有个贪官因受贿事发，托人送来500两银子，求他去向办案人说情。刘珏严拒，并对来人说：“不亟去，当讯之于官！”\n刘廷美为刑部主事居京师，与徐武功、刘原博诸公为诗友，每相过，必谈论达旦。尝岁除，原博邀之守岁，廷美因挟所藏钟馗画像求题，原博遂援笔大书一诗于上。明旦持归，县之中堂。京师每正旦，主人皆出贺，惟置白纸簿并笔研于几，贺客至，书其名，无迎送也。是日朝罢，刘定之、黄廷臣两学士首至，见此诗，各摘簿一叶录之去。朝士继至者，皆摘录之。顷间，簿已尽矣。廷美晚回，索簿阅贺客以图往报，家人告其故。明日，复置一簿，亦如之。中书舍人金本清戏谓廷美曰：“此钟馗乃耗纸鬼也。”一时京师传为奇事。原博诗曰：“长空糊云夜风起，不忿成群跳狂鬼。倒提三尺黄河水，血洒莲花舞秋水。飞萤负火明月羞，栎窠影黑啼鸺枭。绿袍乌帽逞行事，磔脑刳肠天亦愁。中有巨妖诛未得，盍驾飙轮驱霹雳。如何袖手便忘机，回首东方又生白。”\n刘完庵薄于仕宦，年五十遂解组，时有宪臣索题《牧牛图》，为赋诗曰：“牧子驱牛去若飞，免教风雨湿蓑衣。回头笑指桃林外，多少牧牛人未归。”宪臣亦感泣挂冠去。\n成化初，琼台邢公宥为苏守，以梅华求题，廷美赋绝句云：“岁寒相见在天涯，玉色珠光带露华。笑杀玄都狂道士，种桃何不种梅华？”邢公得诗甚喜。后邢公以郡中久荒，陂荡起税，民心颇怨，有投诗刺之者曰：“量尽山田与水田，只留沧海与青天。渔舟若过间洲渚，为报沙鸥莫浪眠。”邢公闻之，以为廷美所作，衔之。或劝往白，廷美曰：“彼奈我何？”后廷美卒，邢公吊祭皆不往，人多非之。",[2495,2496,2577,2499,2509,2501,2505,2502,2503,2506,2507,2690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F931c328fef461048547689cfaea32c14.jpg","纵92.7厘米横35.4厘米",[6],{"id":1464,"slug":15135,"title":15136,"dynasty":2490,"author":5775,"museum":2673,"description":15137,"tags":15138,"thumbUrl":15139,"material":2639,"size":15140,"collection":6,"collections":15141,"showCount":2669,"zanCount":3198,"manualWeight":2517,"mainColor":3447},"da-mo-tu-zhou-wu-bin-222074","达摩图轴","图绘中国禅宗初祖达摩面壁参禅的故事。图中达摩须发茂密，头顶有肉髻，耳垂较长，具梵僧的面相特征，但眉目、鼻梁又非西域人的深目高鼻，而是融合了汉人的特点。达摩身着红衣袈裟，袒右胸，结跏趺坐于蒲团上。达摩的面目刻画细致，袈裟衣纹用笔朴拙粗重，融入了战笔和钉头鼠尾描的笔意。布景简洁，达摩身后斜立一巨石，山石轮廓用淡墨轻勾，注重以水墨晕染表现山石的质感，墨色深重沉寂，与达摩面壁参禅的意境相融。\n本幅右下画家自题：“枝隐头陀吴彬斋心拜写。”下钤“吴彬之印”朱文、“吴文中氏”白文二印。左下角有“谢”朱文、“阿閦鞞室供养”朱文收藏印。\n唐代禅宗兴盛以来，禅宗六祖成为文人、职业画家中流行的题材，其中尤以表现达摩面壁、渡江的题材最为流行。从该图右下“枝隐头陀吴彬斋心拜写”的款识和左下角“阿閦鞞室供养”的收藏印来看，这应该是一幅有着实际宗教功能的作品。辽宁省博物馆所藏戴进《达摩六祖图》后有清初曹溶题跋，他从禅宗重视心传出发劝程君吉修禅不要受图画的影响，认为“于无画处参，乃高人一等”，曹溶的跋亦从反面说明了当时存在的“以画参禅”的事实。",[2495,2496,2577,8088,2500,2549,2677,2499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b8aa2bc689c8b52664da36963765e99.jpg","62.3x35.3",[6,2626],{"id":1465,"slug":15143,"title":15144,"dynasty":2522,"author":15145,"museum":2563,"description":15146,"tags":15147,"thumbUrl":15149,"material":2500,"size":15150,"collection":6,"collections":15151,"showCount":2669,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"ji-xue-tu-zhou-liu-guan-dao-221847","积雪图轴","刘贯道","画江山积雪，山影崷崒，其上干霄。江畔一舟，冲寒远至。全图构局雄伟，用笔泼辣而迅疾，画枯木寒枝，采取郭熙蟹爪枝的表现技法，笔力雄健。此幅旧传为刘贯道作，然画风已入明际。",[2495,2496,2833,2577,2499,2509,6935,2507,3091,2550,2527,2508,15148,2504,2594],"寒树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb4fbd93c8effabe9b96d446d99996c5.jpg","该幅139.8x76.2公分&全幅 97公分",[6,2626],{"id":1466,"slug":15153,"title":15154,"dynasty":2522,"author":3431,"museum":2563,"description":15155,"tags":15156,"thumbUrl":15157,"material":2597,"size":15158,"collection":6,"collections":15159,"showCount":2669,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"bai-yun-shan-fang-tu-zhou-yi-ming-221700","白云山房图轴","此画是陈贞为大空道者写白云山房。画面上远山叠嶂，山头似乎被云雾笼罩，只露出平坦的山顶和山段，再近些一座山峰在充溢着水气的墨色中浅淡生幽。右上侧较为空旷，只有时隐时现的小山头。画中部为崎岖不平的山石、树木和杂草丛生，山坡的左侧几间屋宇、茅亭座落山坡一侧，用简笔描绘出几间房屋楼阁。近景有较为宽阔的河道，河道的右侧为一座小山岗，上面长有几株树木；河道的左侧为山坡湖石，点缀着数株乔木。此幅图中树木堪称一绝，姿态不一，品种各异，有的枝叶稀疏，有的枝叶低垂，有的高大繁茂葱郁，还有的枝干虬然。此图的画法，图中巨冈坡石和主峰，运用凝重柔和的披麻皴层层皴擦，表现出浑厚伟峻的形势。远山和树丛的表现，充分吸收了米氏云山技徠法垍頭，或用條水墨轻染淡抹，或用浓淡墨色纵横点染。此图在水墨皴染的基调上，还巧妙地敷施色彩。如山峦坡陀罩染一层淡淡青绿，山巅向阳面敷薄薄的赭石，树叶点染花青。画家善于把山峦、溪水、草木、烟云有机地组成一体，使画面气脉流通，神彩焕发，塑造出白云山房奇丽意境。款识“至正辛卯秋九月既望。陈贞履元为大空道者写白云山房。",[2495,2496,2497,2577,2499,2509,2501,3208,2593,3839,2503,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d2bce35e6488169e35f98daeffd676d.jpg","103.8x35.4厘米",[6,2626],{"id":1467,"slug":15161,"title":15162,"dynasty":2490,"author":4134,"museum":3121,"description":15163,"tags":15164,"thumbUrl":15165,"material":2597,"size":15166,"collection":6,"collections":15167,"showCount":2669,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"chui-hong-bie-yi-tu-tang-yin-220055","垂虹别意图","《垂虹别意图卷》由唐伯虎作画，祝枝山题“垂虹别意”引首，戴冠做序。戴冠在《诸名贤垂虹别意诗序》中解释道：“垂虹者，吴地石杠之名也”，“虹”为“桥”的别称，说白了，“垂虹”所指即。题诗则以为首，祝、文、唐等三十余人皆列其后。当时，众吴门才子送别戴昭时共作三十六首诗。而现存顾洛阜家藏的手卷裱件中，仅存十九首，其中包括祝枝山书《赠戴昭诗》，均裱在唐寅画后，裱在前面的祝枝山题“垂虹别意”引首亦幸存。",[2495,2496,2497,2498,2499,2511,2510,2547,2509,2501,2506,2503,2504,2502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff23e189bda4fe92d69e4e85706aca033.jpg","纵29.7厘米，横107.6厘米",[6],{"id":1468,"slug":15169,"title":15170,"dynasty":2490,"author":8324,"museum":2877,"description":15171,"tags":15172,"thumbUrl":15173,"material":2597,"size":15174,"collection":6,"collections":15175,"showCount":2669,"zanCount":2517,"manualWeight":2517,"mainColor":3447},"fang-huang-zi-jiu-tian-chi-shi-bi-tu-shen-shi-chong-220030","仿黄子久天池石壁图","图中以淡设色绘江南山水。卷首题签『沈陈诗画合璧，项氏崇洁庐藏』。引首有清人王澍题『沈陈合璧』四个楷书大字，沉雄有力。拖尾分别有陈继儒、翁长芬各题诗数行，另有徐谦跋语两行。\n沈士充近师赵左、宋懋晋，上承宋旭、沈周，远溯『元四家』，并逐渐形成自己的绘画风格。清初以来，民间有『云间正派』之目。由于明末董其昌的巨大影响力，沈画常常模拟董氏画风。董其昌为了应酬社会上的书画需求，亦常用沈代笔。由于董其昌署名作品中多为闺阁手笔，沈氏代笔在当时已被视为董氏代笔中的上乘之作。辽宁旅顺博物馆藏沈氏《石壁图》，作于明崇祯六年(一六三三)，其时董氏尚健在。此作水墨淋漓、烟岚生动、直署己名，并配有陈继儒题诗，堪为沈氏的精心之作。一九八八年九月五日，沈氏《石壁图》被国家文物鉴定委员会谢稚柳、刘九庵、杨仁凯等鉴定为国家二级文物(收入《中国古代书画目录》，文物出版社，一九九三年版)，对研究沈氏画风具有重要的参考价值。",[2495,2496,2833,2676,2499,2509,2507,2506,3057,2508,2614,2504,2503,2595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920a47775b2a1c5f7ca34eef13fdbb71.jpg","253cm×27.7cm",[6],{"id":1469,"slug":15177,"title":15178,"dynasty":2490,"author":13969,"museum":2877,"description":15179,"tags":15180,"thumbUrl":15182,"material":2597,"size":15183,"collection":6,"collections":15184,"showCount":2669,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"ce-zhang-kan-shan-tu-wei-zhi-ke-220026","策杖看山图","此作用淡墨晕染山峦，以虚实相生之法铺展烟岚幽谷，栈道隐没在空濛雾气间，恍若通连世外秘境。近景枯木虬曲苍劲，皴笔勾勒出嶙峋老干，尽显岁月沉凝。幽篁小径蜿蜒，策杖老者缓步山隅，简淡衣纹间漾出林下悠然。\n画作以清瘦秀逸的线条、浅淡设色营造萧散简远的意境，将文人寄情林泉的隐逸襟怀融在山野景致中，观之如随画中人静听松风山岚，暂忘尘嚣，尽显文人画尚意抒情的特质。",[2495,2496,2499,2577,2501,2509,2578,2502,2507,3735,15181],"策杖人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe08037b225d61dec338ea640adbb3e0.jpg","132x32厘米",[6],{"id":1470,"slug":15186,"title":15187,"dynasty":2605,"author":3431,"museum":15188,"description":15189,"tags":15190,"thumbUrl":3288,"material":2567,"size":15191,"collection":6,"collections":15192,"showCount":2669,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"song-ren-fang-chang-jiang-ji-xue-tu-yi-ming-219867","宋人仿长江积雪图","火奴鲁鲁艺术博物馆","此作为平远雪景长卷，以淡墨晕染出空濛寒雪，山峦覆雪如凝脂玉砌，留白尽显素净冷寂。江岸枯木虬曲，偶缀浅蓝霜色的苍松，于冰寒中透出些许生机；汀渚错落铺陈，江波敛息如镜，将雪色天光尽数揽入。\n\n用笔清简秀润，以留白代积雪，淡墨轻勾慢皴山体肌理，冷色调晕开冬日萧寒，铺陈开千里江天雪境，将冬日江野的空阔清寒融于尺幅，尽显静穆辽远的荒寒之美，带着雅致空灵的宋韵，把雪锁江山的清冷孤寂与天地一色的澹然意境刻画入微，观之如临朔雪江天。",[2495,2496,2498,2500,2833,2509,6935,2714,2715,3091,2902,2552,2504,2652,2508,2547],"纵28.8厘米，横449.3厘米",[6],{"id":1471,"slug":15194,"title":15195,"dynasty":2490,"author":11153,"museum":2763,"description":15196,"tags":15197,"thumbUrl":15199,"material":2567,"size":15200,"collection":6,"collections":15201,"showCount":2669,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shi-hu-mu-se-tu-sheng-mao-ye-219735","石湖暮色图","此作用淡墨晕染铺展暮色氛围感，远山轻笼烟岚，山巅浮屠隐现濛濛霭气间，将黄昏的朦胧柔焦晕染尽致。近岸林木错落，屋舍藏于深翠之中，湖畔浅滩温润柔和，空茫湖面漾着晚色静波。\n\n笔墨松秀简淡，以干湿层次区分远近虚实，把江南水畔黄昏的清寂淡远尽数铺陈。整体意境萧疏沉静，将暮色四合时的松弛空茫藏在水墨晕染里，尽显晚山归暮的温柔意韵，让观者仿若置身于这沉静的暮色湖山之间，沉醉在江南水泽的黄昏意趣中。",[2495,2496,2500,2501,2509,2577,2714,2856,2506,2594,2614,15198],"暮色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7485dfc0e033834ef6aef1379c333e4e.jpg","纵113.5横48厘米",[6],{"id":1472,"slug":15203,"title":15204,"dynasty":2490,"author":3431,"museum":2997,"description":15205,"tags":15206,"thumbUrl":15207,"material":3157,"size":2598,"collection":6,"collections":15208,"showCount":2669,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"song-yin-guan-quan-tu-yi-ming-219713","松阴观泉图","此作用虚实相生的水墨铺陈幽境，左上危岩虬松如铁，浓墨晕出山石峭拔之势，留白晕开水色山岚，将清远秋意漫开。\n\n崖畔高士凭石凝睇，白衣飘然似与林泉相融，童子垂立水滨，一静一动衬出空山寂廖。笔墨简淡苍劲，寥寥数笔勾出人物悠然神态，淡墨扫就远岫烟波，将文人林下幽居的雅趣藏进山水褶皱里。似可耳闻松涛漱石，静览间涤净尘俗，尽显尚简重意的文人画风骨。",[2496,2833,2577,2499,2500,2779,2507,4314,2503,2549,2509,2714],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F105a2d6cc74d001858f9036141b65313.jpg",[6],{"id":1473,"slug":15210,"title":15211,"dynasty":2605,"author":2910,"museum":2563,"description":15212,"tags":15213,"thumbUrl":15214,"material":2567,"size":15215,"collection":6,"collections":15216,"showCount":2669,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"han-xiang-shi-si-tu-ma-yuan-218978","寒香诗思图","图中是两株老梅在寒冷的山沟里的栅栏外散发出香味。寒冷的月亮照耀着远处的雪山，鸟儿们迅速回到了自己的家。这幅画上有马远的签名，他不一定是他真正的笔者，但他也是马、夏画派的学生，有自己的风格和规则。",[2495,2496,2499,2500,2509,3975,2501,2552,3091,2677,2595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b1a5aed98f76264eff7c54b963801ba.jpg","25.6x25.8",[6],{"id":1474,"slug":15218,"title":15219,"dynasty":2605,"author":15220,"museum":2563,"description":15221,"tags":15222,"thumbUrl":15223,"material":2567,"size":15224,"collection":6,"collections":15225,"showCount":2669,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"liu-feng-shui-ge-tu-zhu-guang-pu-218865","柳风水阁图","朱光普","朱光普擅长画农业场景，但这幅富贵人家的亭台楼阁画却有着不同的风格。",[2495,2496,2497,5225,2500,2790,2550,2891,2501,2651,2506,2594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41187d0e63f2f801bb2dcdc087263985.jpg","23.1x24.5",[6],{"id":1475,"slug":15227,"title":15228,"dynasty":2522,"author":3431,"museum":15229,"description":15230,"tags":15231,"thumbUrl":15232,"material":2567,"size":2598,"collection":6,"collections":15233,"showCount":2669,"zanCount":2517,"manualWeight":2517,"mainColor":4670},"shan-shui-tu-dui-zhou-yi-ming-218194","山水图对轴","九州国立博物馆","这幅画作品出现在元朝时期，其作者不详。《山水图》以其精细的绘画技巧和丰富的内容而闻名，是元朝时期山水画艺术的杰出代表作。\n\n这幅画作品中，画家运用了各种不同的技巧，如水墨画技法、点染技法等，使得这幅画作充满了丰富的色彩和变化。",[2496,2609,2509,2577,2501,3091,2502,2503,2507,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bce89525f0d80cab8c2a4f7f1de6153.jpg",[6],{"id":1476,"slug":15235,"title":15236,"dynasty":2490,"author":8324,"museum":2563,"description":15237,"tags":15238,"thumbUrl":15239,"material":2567,"size":2598,"collection":6,"collections":15240,"showCount":2669,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"han-lin-gao-yi-tu-shen-shi-chong-215034","寒林高逸图","寒林高逸图是明朝沈士充所绘的一幅著名图画。它描绘了一片寒冷的林中，一群动物在寻找温暖。图中，可以看到一头鹿、一只老鹰、一只海狮和一只熊，他们都非常冷，因此他们决定联合起来，燃烧起火来取暖。最后，大家一起坐在火边取暖，显得非常愉快。\n\n寒林高逸图被认为是沈士充最著名的作品之一，它描绘了动物之间的友好相处和合作的主题。这幅图画同时也被认为是对人类社会的一种警示，提醒人们应该像这些动物一样，在困难时期相互合作，共同度过难关。",[2496,2497,2544,5225,2501,2549,2913,2578,2677,2509,2500,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2bb9e640476fbb36251ae27f22cda34.jpg",[6],{"id":1477,"slug":15242,"title":15243,"dynasty":2490,"author":15244,"museum":2492,"description":15245,"tags":15246,"thumbUrl":15247,"material":2598,"size":2598,"collection":6,"collections":15248,"showCount":2669,"zanCount":2517,"manualWeight":2517,"mainColor":15249},"hua-shan-tu-ce-wang-lv-203333","华山图册","王履","此图写华山险峻之态，峰峦层叠似剑戟，墨线硬朗，皴法劲健，尽现山石嶙峋质感。苍松盘崖，虬枝若铁；山间楼阁藏于林麓，小径通幽，两三人影穿行，为雄奇之景添些许烟火气。画家以“目师华山”之旨，将实景写生与笔墨意趣相熔，既得自然之真，又抒胸臆之雅，堪称明初山水佳作。",[2496,2501,2509,2499,2592,2550,2549,4540,2495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22d7ad5de4716197068cea69540e7e35.jpg",[6],"aeac9d",{"id":1478,"slug":15251,"title":3490,"dynasty":2632,"author":15252,"museum":2492,"description":15253,"tags":15254,"thumbUrl":15255,"material":2598,"size":2598,"collection":6,"collections":15256,"showCount":2669,"zanCount":2517,"manualWeight":2517,"mainColor":15257},"shan-shui-zhou-lu-zun-shu-201859","陆遵书","笔墨淡逸清润，以皴法写山峦肌理，线条勾勒林木屋舍，意境空灵悠远。近处溪流潺湲，岸边林木错落，茅舍隐于树荫下，似闻烟火气；远处峰岫层叠，云雾轻绕，尽显丘壑深幽。布局疏密得宜，虚实相映，于简淡中见生机，传递出文人寄情山水的闲适心境，观之如入林泉，尘烦尽涤。",[2496,2501,2499,2509,3636,2613,10083,2651,2495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4038281679da690fabf70b4d852a753b.jpg",[6],"b69d81",{"id":1479,"slug":15259,"title":15260,"dynasty":2490,"author":2540,"museum":2563,"description":15261,"tags":15262,"thumbUrl":15263,"material":5818,"size":5819,"collection":6,"collections":15264,"showCount":15265,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"hu-qiu-tu-zhou-chou-ying-290876","虎邱图轴","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[2496,2544,2577,2546,2545,2500,2501,2550,2503,3207,2506,2549,2856],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4945df6fe95424b961db92304beafb91.jpg",[6],27,{"id":1480,"slug":15267,"title":7929,"dynasty":2632,"author":5047,"museum":2818,"description":15268,"tags":15269,"thumbUrl":15270,"material":2598,"size":2598,"collection":6,"collections":15271,"showCount":15265,"zanCount":2517,"manualWeight":2517,"mainColor":3447},"shan-shui-tu-zhou-wang-hui-239461","杨晋（1644-1728）字子和，一字子鹤，号西亭，又号谷林樵客、野鹤、鹤道人、水村、志学老人、雪阁移梅人、虞山野老、虞山樵子，江苏常熟人。清代画家。山水为王翚入室弟子，尝与绘《圣祖南巡图》颇精。晚年每多率笔，然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。",[2496,2497,2577,2499,2500,2509,2501,6456,3166,3091,2504,2549,2528,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c6230cfa27d9d301082f367ba228509.jpg",[6],{"id":1481,"slug":15273,"title":15274,"dynasty":2490,"author":8501,"museum":2818,"description":15275,"tags":15276,"thumbUrl":15279,"material":2598,"size":2598,"collection":6,"collections":15280,"showCount":15265,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"qian-gu-jiu-long-shan-tu-zhou-qian-gu-239459","钱穀九龙山图轴","此作以全景式铺陈山川灵秀，主峰巍峨雄峙，层岩峻壑以细密披麻皴写就，笔致苍润松灵，尽现山石肌理的沉厚质感。近景松林蓊郁，古木虬枝俯仰生姿，掩映间梵宇茅舍错落，行旅缓行其间，为清寂山林晕染烟火意趣。\n\n远景烟波空蒙，屿渚如螺点染水天，留白铺就悠远虚灵的诗性意境。笔墨兼取元人山水的空灵雅致与北宋山水的苍浑丘壑，将林泉幽致与隐逸禅思融于一卷，既绘就九龙山的磅礴生机，又暗合文人寄情烟霞的林下襟怀，是气韵悠长的山水佳构。",[2496,2497,2577,2499,2500,2509,2501,2714,2593,2779,2505,2552,2503,2507,15277,15278],"林间建筑","山间小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f77f7d990ba45fa42fb050c3a5d5b05.jpg",[6],{"id":1482,"slug":15282,"title":15283,"dynasty":2490,"author":11622,"museum":2818,"description":15284,"tags":15285,"thumbUrl":15287,"material":2598,"size":2598,"collection":6,"collections":15288,"showCount":15265,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"gui-nong-zhou-zhang-lu-239419","归农轴","张路（1464—1538 ，一作1464—1537）明代画家。字天驰，号平山，汴梁（今河南省开封）人，明代画家。绘人物，师法吴伟，山水学戴进“狂态”，用笔豪放纵逸，水墨酣畅淋漓，与朱端、蒋嵩、汪肇等同为“浙派”名家 。亦工鸟兽、花卉。\n早年画学戴进，临摹能肖其神，画法工细。至南京后，又宗法吴伟，变为粗笔写意。他善画人物，多绘神仙、士子、渔夫，形象质朴，神态清朗，具高昂向上的气质。景致简略，笔墨遒劲，风格豪放，然少秀逸和蕴藉之致；为浙派健将，亦开后来学者粗率之风。他具有典型风貌的水墨写意作品较多，人物多用顿折的重墨线条勾勒，山石以粗犷的笔触作大斧劈皴，运笔迅捷，水墨淋漓，具有豪放动荡的气势。亦能画写意花鸟。\n此图为张路水墨山水画代表作之一，写山雨欲来前狂风大作，乌云满天的情景。此图在笔墨形成上亦有独到之处，充分运用绢不易晕化的特性，多用湿笔和浓墨，恰到好处。山石画法近似马、夏及戴进的带水斧劈法，但又有所不同。画树则多以短笔横向画出，自然生动。全幅笔墨健拔淋漓，气势壮阔。",[2496,2544,2577,2499,2509,2549,2501,2578,2507,15286],"农具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fa15f5abc30d1fdeadcb813b27c6ca6.jpg",[6],{"id":1483,"slug":15290,"title":15291,"dynasty":2632,"author":6420,"museum":2818,"description":14353,"tags":15292,"thumbUrl":15293,"material":2598,"size":2598,"collection":6,"collections":15294,"showCount":15265,"zanCount":2517,"manualWeight":2517,"mainColor":3447},"qi-xia-shan-quan-tu-juan-qian-wei-cheng-238935","棲霞山全图卷",[2496,2498,2499,2501,2509,2504,2547,2506,2507,2614,2528,2550,5051,2902],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e39f32ceb97c4b748313f235bf3e3ee.jpg",[6,2626],{"id":1484,"slug":15296,"title":15297,"dynasty":2632,"author":15298,"museum":2818,"description":15299,"tags":15300,"thumbUrl":15301,"material":2598,"size":2598,"collection":6,"collections":15302,"showCount":15265,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"yan-shan-ba-jing-tu-ce-zhang-ruo-cheng-238246","燕山八景图册","张若澄","《燕山八景图》册（8开），清，张若澄绘，绢本，设色，纵4.7cm，横4.cm。\n燕山八景图册 自题：“臣张若澄敬写。\n”下钤“臣若澄”、“笔露思雨”二方印。\n对幅均有清乾隆帝题诗。\n钤清乾隆内府诸收藏印。\n此册以北京城著名的“燕京八景”为题而画。\n燕京八景一说始自金《明昌遗事》，当时金章宗完颜璟将燕京的八处风光名胜选定为燕京八景，即“居庸叠翠”、“玉泉垂虹”、“太液秋风”、“琼岛春荫”、“蓟门飞雨”、“西山积雪”、“卢沟晓月”和“金台夕照”。\n“燕京八景”历金、元、明、清四代，又有称 “燕台八景”、“燕山八景”、“京师八景”、“京畿八景”者，虽景点相同，八 景的名称在不同时期则有所变化。\n乾隆十六年（1751年），乾隆曾御制《燕山八景诗》，将八景定名为“琼岛春荫”、“太液秋风”、“玉泉趵突”、“西山晴雪”、“蓟门烟树”、“卢沟晓月”、“金台夕照”、“居庸叠翠”，沿用至今。\n该画册中建筑的刻画不用界尺，但是对建筑的特征却描绘得生动准确，表现手法活泼而不失稳重，是画家对景写实的佳作。",[2496,2497,2592,2500,2790,2501,2550,2506,2504,3651,2547,2511,2510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c0adf7b2fcbdf57fa597e8cf40b281f.jpg",[6,2534],{"id":1485,"slug":15304,"title":15305,"dynasty":2632,"author":15252,"museum":2673,"description":15306,"tags":15307,"thumbUrl":15309,"material":2867,"size":15310,"collection":6,"collections":15311,"showCount":15265,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"song-xi-shui-ge-tu-zhou-lu-zun-shu-236126","松溪水阁图轴","陆授诗、陆遵书兄弟是清朝宫廷内的兄弟画家，下面介绍一下。陆授诗、陆遵书这两位宫廷兄弟画家的姓名，都见于胡敬所著的《国朝院画录》。\n陆氏兄弟的作品流布并不很广，《石渠宝笈》一书中陆授诗的作品只有一件册页被收入，陆遵书的作品也只有三件册页收录在其中，二人都属于作品进入《石渠宝笈》数量很少很少的宫廷画家，尤其是哥哥陆授诗。",[2496,2497,2577,2499,2509,2501,2779,15308,2593,2507,2508,2528],"溪水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c11ac229528d618fc9599ceaa6d6a55.jpg","纵173.2厘米 横51厘米",[6,2626],{"id":1486,"slug":15313,"title":2587,"dynasty":2490,"author":11316,"museum":2818,"description":15314,"tags":15315,"thumbUrl":15316,"material":2598,"size":2598,"collection":6,"collections":15317,"showCount":15265,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-ce-li-liu-fang-235147","此作用笔枯淡萧疏，绘就秋林幽境。虬曲古木枝干遒劲，细条错落延展，自带霜后清刚之态。石畔竹丛清润挺秀，与枯木相生，冷暖意趣交织。山石以淡墨勾勒皴擦，留白衬出山涧空寂，寥寥数笔便将深秋的疏冷氛围晕染开来。\n笔意简淡却意韵悠长，把文人寄情丘壑、静守枯淡的林下襟怀藏于尺幅间，古雅清旷，耐人寻味。",[2496,2497,2592,2499,2509,2501,2578,2677,3155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e2987a8c2e2ecebb95cc45b5b456c27.jpg",[6,2626],{"id":1487,"slug":15319,"title":15320,"dynasty":2632,"author":5172,"museum":2563,"description":11613,"tags":15321,"thumbUrl":15322,"material":2500,"size":15323,"collection":6,"collections":15324,"showCount":15265,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"hua-du-fu-shi-yi-gao-zong-yu-ti-zhou-dong-bang-da-223116","画杜甫诗意高宗御题轴",[2495,2496,2497,2577,2499,2509,2501,2714,3839,3208,2505,2506,2613,2510,2547,2654,3636,2614,4240],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde04473deae771195c36214c7564a0f8.jpg","18.5x148.5cm",[6,2626],{"id":1488,"slug":15326,"title":5783,"dynasty":2490,"author":5253,"museum":2563,"description":12545,"tags":15327,"thumbUrl":15328,"material":2531,"size":2598,"collection":6,"collections":15329,"showCount":15265,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"hua-xue-jing-zhou-lan-ying-222592",[2495,2496,2577,2500,2501,2509,3166,2502,2503,2504,2505,3091,2507,2508,2549,2779],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d87a46b2ed28161debf873089c66eac.jpg",[6,2626],{"id":1489,"slug":15331,"title":15332,"dynasty":2490,"author":5253,"museum":2563,"description":15333,"tags":15334,"thumbUrl":15336,"material":2531,"size":12540,"collection":6,"collections":15337,"showCount":15265,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"xi-shan-xue-ji-zhou-lan-ying-222591","溪山雪霁轴","面上远处层峦迭嶂，悬崖峭壁，山顶披上雪装，白雪皑皑，山顶部衰草疏落。中景为乱石连绵，山坡间杂树丛生，树木枝干挺拔，似乎在傲视寒雪，绝无凄凉之感。近景坡石堤岸下为宽阔的溪流，河中杂有碎石。近景最下部有几棵穿天的松柏，松树阑珊，枝叶茂密。树下坐有一位身穿红袍的长者，独自在观赏溪山的雪景，显得悠闲自得。",[2495,2496,2500,2509,2577,2501,3078,2506,2613,2611,2652,3668,2549,3091,2902,2507,3166,6161,3079,12455,15335],"工笔兼写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F175e6c5d512e356a22e68bb4c89a57b4.jpg",[6,2534],{"id":1490,"slug":15339,"title":15340,"dynasty":2490,"author":11316,"museum":2818,"description":15341,"tags":15342,"thumbUrl":15343,"material":2499,"size":15344,"collection":6,"collections":15345,"showCount":15265,"zanCount":2517,"manualWeight":2517,"mainColor":3447},"yu-zhong-shan-se-tu-li-liu-fang-222140","雨中山色图","李流芳的《雨中山色图》手卷，可见画面全貌近似宋人笔意与董华亭画法而稍露方折，整体图画层次明晰又显出笔墨清润，构图完满又富有变化。顺形追踪，开卷就顿见留有“米家云山”之痕迹，持续读去又感山石含有董源披麻皴遗法，全图结尾处似乎蕴有沈周秀润散淹墨法。若拈笔墨技法论，画家大胆以泼墨、积墨、渗墨、破墨为主，间以少许勾勒皴染。名士奚冈曾跋李流芳山水册时赞云：“流芳以笔墨诗酒自娱，……擅长山水，尤好吴仲圭，布白奇古，笔笔有意，墨痕浑化，神味盎然，亦善写生，出入宋元，逸气飞动，水墨浅深，韵味深永。”此手卷从一定层面反映出李流芳的笔墨修炼已达纯青火候，心胸境界已臻上乘。\n李流芳（1575～1629年），字长蘅，一字茂宰，号檀园、香海、古怀堂、沧庵，晚号慎娱居士、六浮道人，南直隶徽州歙县（今安徽歙县）人，侨居嘉定（今上海嘉定），明代诗人、书画家。\n三十二岁中举人，后绝意仕途。诗文多写景酬赠之作，风格清新自然。与唐时升、娄坚、程嘉燧合称“嘉定四先生”。擅画山水，学吴镇、黄公望，峻爽流畅，为“画中九友”之一，亦工书法。崇祯二年，卒于檀园，享年五十五岁。",[2495,2496,2498,2499,2509,2501,2714,2593,2508,2614,2529,2716,5311],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79c2fd96e90502f2d98d5cc83b16fe4c.jpg","27x278",[6,2626],{"id":1491,"slug":15347,"title":15348,"dynasty":2632,"author":5834,"museum":3039,"description":15349,"tags":15350,"thumbUrl":15351,"material":15352,"size":15353,"collection":6,"collections":15354,"showCount":15265,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"qing-chuan-lan-sheng-tu-yun-shou-ping-220980","晴川揽胜图","此图中所绘楼阁、山峦、丛林、江舟，乃武汉江岸黄鹤楼一带的胜景。\n画面构成右边以直线为主，林木直干密植，山峰耸立突兀，形成密不透风的格局，左边以横线描绘沙渚平波，空阔无际，左右对比大疏大密，别具新格。\n其运笔灵活洒脱，用墨浓淡相宜，层次分明。\n此图远处崇山之巅陡峰高耸入云，险峻奇峭；山腰间巉岩如屏，叠叠重重，山腰的平坡处隐现耸立的楼阁，丛树杂木掩映半边。\n近景山脚下为坡石冈埠，间植杂树林木，形成一片绿荫，画面左侧中景为水上民居，座落着村落和数间屋宁、曲折的河岸处，停泊为数众多的渔船，船上桅杆林立，也有几艘小舟横卧河心，不见人影，说明狂风暴雨接将来临，渔民暂避家憩息。",[2495,2496,2497,2577,2500,2509,2790,2501,2550,2506,3091,2507,2503,2595,4702],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56b2663bec907781942b77938278c47c.jpg","绫本设色","纵112厘米，横39.1厘米",[6,2534],{"id":1492,"slug":15356,"title":15357,"dynasty":2490,"author":11622,"museum":6739,"description":15358,"tags":15359,"thumbUrl":15360,"material":2567,"size":15361,"collection":6,"collections":15362,"showCount":15265,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"han-lin-tiao-shu-tu-zhang-lu-219939","寒林挑书图","张路（1464-1538），字天驰，号平山，仅以字行于世，祥符（今河南开封）人。擅山水、人物，行笔劲峻顿挫，力可扛鼎。少年聪慧，见吴道子、戴进所画人物，临摹肖其神，以画成名。",[2495,2496,2499,2500,2509,2637,2549,3091,3079,2501],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F421caf7257300c2841033656677c2b35.jpg","132.4x71.4",[6],{"id":1493,"slug":15364,"title":15365,"dynasty":2632,"author":5047,"museum":2973,"description":12833,"tags":15366,"thumbUrl":15369,"material":2597,"size":15370,"collection":6,"collections":15371,"showCount":15265,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"su-yu-xiao-yan-tu-wang-hui-219913","宿雨晓烟图",[2496,2497,2499,2501,2509,2593,2614,2507,5802,15367,15368,15034,2651,3636,2617],"传统山水画技法","水墨写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff62056f5499481d2ef5d82d187387f38.jpg","48.8x33.5cm",[6],{"id":1494,"slug":15373,"title":15374,"dynasty":2605,"author":3431,"museum":2563,"description":15375,"tags":15376,"thumbUrl":15377,"material":2567,"size":15378,"collection":6,"collections":15379,"showCount":15265,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"liu-an-he-tang-tu-yi-ming-218815","柳岸荷塘图","这幅画描绘了一个芦苇茂盛的荷塘，荷叶田田，五支老箭极为茂盛，说明这里是陶渊明的隐居之地，过了小桥就能看到南山。",[2495,2544,2496,2500,2501,5225,2509,3542,2976,3457,2593,2714,2715,2845],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15878898e2639dfb24e355516ff4dd5f.jpg","25.4x26.4",[6],{"id":1495,"slug":15381,"title":15382,"dynasty":2522,"author":3714,"museum":2563,"description":15383,"tags":15384,"thumbUrl":15385,"material":2567,"size":2598,"collection":6,"collections":15386,"showCount":15265,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"tao-sheng-song-yun-tu-qian-xuan-218781","涛声松韵图","松枝盘曲如篆，墨色苍润间见清劲；流泉漱石，涛声似可闻于纸上。山石以细劲线条勾廓，皴染相济显丘壑层次；松针挺劲如钉，笔笔含力，透出苍然生机。浅赭设色温润，衬得山林幽寂。天际孤鸟轻掠，为静景添丝灵动，更衬天地空阔。整幅画不重繁复布景，却以简淡之笔营造“天人合一”的清旷意境，藏着文人对自然的深情与尘外之境的向往。笔墨间漾着宋元之际文人的散淡襟怀，不追形似而重神韵，观之如置身林泉，心随松涛泉响，渐入澄明之境。",[2495,2496,5225,2500,2509,2501,2902,2503,2552,2507,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2f58b1ae6d25b570dc4eefb629ed142.jpg",[6],{"id":1496,"slug":15388,"title":15389,"dynasty":2522,"author":3431,"museum":2492,"description":15390,"tags":15391,"thumbUrl":15392,"material":2567,"size":15393,"collection":6,"collections":15394,"showCount":15265,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"bi-wu-ting-xie-tu-yi-ming-218216","碧梧亭榭图","这幅画描绘的是一座美丽的亭子和榭廊，位于一片茂密的森林之中。亭子呈方形，由木构建筑搭建而成，四周环绕着一圈小山丘。亭子上方是一座榭廊，榭廊的栏杆由许多小木棍组成，看上去十分精致。\n\n在亭子的中心有一个圆形的池塘，池塘周围种满了许多花草，荷花、菊花、牡丹等各种鲜艳的花朵相互辉映，颜色鲜艳夺目。在池塘中央有一只小鸟儿正在游泳，一群小鸭子在岸边嬉戏。\n\n整幅画非常美丽，构图巧妙，色彩鲜艳，是一幅非常优秀的画作。它所描绘的这座亭子和榭廊，是人们在繁忙的城市生活中的一片净土，是人们放松身心的好去处。它也是一幅富有意境的画作，让人感受到自然的和谐与宁静。",[2544,2496,2790,2500,2505,2550,6119,2506,2547,2939],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b4393613c35a03edb85252ef3c1dbd1.jpg","26x22cm",[6],{"id":1497,"slug":15396,"title":15397,"dynasty":2490,"author":15398,"museum":2563,"description":15399,"tags":15400,"thumbUrl":15402,"material":3157,"size":15403,"collection":6,"collections":15404,"showCount":15265,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"gu-yu-fei-tao-tu-sun-ke-hong-218141","孤屿飞涛图","孙克弘","孤屿飞涛图是明朝画家孙克弘的一幅著名的写意山水画作品。这幅画描绘了一个孤岛上的悬崖峭壁和奔腾的海浪。画中的孤岛位于茫茫大海之中，周围没有其他的岛屿或陆地。这使得孤岛显得格外的孤独，令人想象。\n\n孤屿飞涛图画风精细，笔画流畅，色彩鲜明。画中的海浪十分壮观，充满了生命力和动感。孤岛上的山峰高耸，悬崖峭壁俯瞰着海面，使得整幅画充满了险峻的气氛。\n\n孙克弘是明朝时期的一位著名画家，他的作品中经常出现山水、花鸟、人物等题材。孙克弘善于运用自然的色彩和线条来描绘自然美景，使他的作品充满了生机和活力。孤屿飞涛图就是他的一幅杰作，充分展现了他的画风和技巧。\n\n总的来说，孤屿飞涛图是一幅优秀的写意山水画作品，值得一看。",[2495,2496,2497,2592,2499,2500,2501,2677,15401,2715],"波涛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f979371de8839632bf5dcdf028a48c6.jpg","22.7x26.6cm",[6],{"id":1498,"slug":15406,"title":15407,"dynasty":2490,"author":3431,"museum":5182,"description":15408,"tags":15409,"thumbUrl":15410,"material":2567,"size":15411,"collection":6,"collections":15412,"showCount":15265,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"liu-an-xue-yu-tu-yi-ming-217918","柳岸雪渔图","柳岸雪渔图是明朝时期的一幅绘画作品，作者不详。这幅画描绘了一个冬天的景象，一位渔夫正在雪地里钓鱼。画面中的柳树上积了厚厚的一层雪，而渔夫则穿着厚厚的衣服，站在寒冷的柳岸边。他手里拿着鱼竿，似乎正在等待鱼儿上钩。\n\n这幅画被认为是明朝时期绘画艺术的代表作之一，因为它体现了当时绘画艺术的特点：细致、精细、写实。画面中的每一个细节都被精心描绘，比如渔夫的衣服、柳树的枝叶、雪地的花纹。\n同时，这幅画还体现了明朝时期艺术家对自然界的热爱。画中的冬天景象并不寒冷而残酷，相反，它给人以温馨、宁静的感觉。渔夫手边的鱼缸里放着一条活鱼，这也许意味着他已经成功地钓到了鱼，并且生活充满希望。\n\n总的来说，柳岸雪渔图是一幅描绘冬天景象的优秀绘画作品，它展现了明朝时期艺术家的精湛画技和对自然界的热爱。",[2496,2499,2500,5225,2501,2891,2845,3078,2987,2821],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62f30799baed7df89bbb654c278069a2.jpg","26.5x30.5cm",[6],{"id":1499,"slug":15414,"title":15415,"dynasty":2632,"author":3431,"museum":2589,"description":15416,"tags":15417,"thumbUrl":15418,"material":3157,"size":15419,"collection":6,"collections":15420,"showCount":15265,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"wan-ya-gui-chao-tu-yi-ming-217868","万鸦归巢图","万鸦归巢图被认为是一件杰出的艺术品，它的画面表现力极强，能够很好地展现出乌鸦的自然姿态和生动的情感。画中的乌鸦们振翅高飞，翅膀展开，看起来十分活泼，而背景中的巢穴更是精致入微，画家用极为细腻的笔法勾勒出了巢穴的细节，使得画面更加逼真。\n\n此外，画家还运用了鲜艳的颜色，使得整幅画面更加生动。画中的乌鸦们以黑色为主色调，但是画家运用了不同的色彩，让乌鸦看起来更加丰富。而背景中的巢穴则用了深蓝色来表现，与乌鸦的黑色形成鲜明的对比。\n\n总的来说，万鸦归巢图是一幅充满生机和艺术气息的画作，画家通过精湛的绘画技巧和运用色彩的巧妙，将乌鸦的自然姿态和生动的情感展现得淋漓尽致。",[2496,2500,2577,2546,2552,2578,2507,2503,6204,2501,3010,2499],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae1b19db856e2814e964798fc097cea7.jpg","156.7x67.3cm",[6],{"id":1500,"slug":15422,"title":15423,"dynasty":2522,"author":7563,"museum":2563,"description":15424,"tags":15425,"thumbUrl":15426,"material":2512,"size":15427,"collection":6,"collections":15428,"showCount":2643,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"lin-luan-yan-yu-tu-gao-ke-gong-287533","林峦烟雨图","此幅画溪边小景，云气濛濛，舟子身著蓑衣正欲撑舟泊岸，溯溪而上，有茅屋三椽，远山罩于雨雾中。整幅用笔布墨甚为含蓄蕴藉，画风近于明。",[2496,2544,2497,2577,2501,2499,2509,8193,2651,2506,2508,2503,2502,2504,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae8049e60ff73a9aa2f45d978e424016.jpg","123.5x61.2",[6],{"id":1501,"slug":15430,"title":15431,"dynasty":2490,"author":5395,"museum":2673,"description":15432,"tags":15433,"thumbUrl":15434,"material":2867,"size":15435,"collection":6,"collections":15436,"showCount":2643,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-zhou-qiu-lin-tu-zhao-zuo-239088","山水图轴（秋林图）","此图表现晚秋湖山景色，故又名《秋林图》。画远岫如带，平湖无波，曲水孤舟，瑟瑟丛林映照在落日余晖中，茅舍和渔舟中高士静坐。构图以平远为主，山石多用披麻皴，笔力劲秀，设色浅淡。是赵左晚年山水画佳作。\n撰稿人：杨丹霞",[2496,2497,2577,2499,2500,2509,2501,2578,2504,2503,2677,2505,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f4485f30120b1bf0257ea35e273536.jpg","纵67.5厘米，横32.2厘米",[6],{"id":1502,"slug":15438,"title":15439,"dynasty":2632,"author":15440,"museum":2818,"description":15441,"tags":15442,"thumbUrl":15443,"material":2598,"size":2598,"collection":6,"collections":15444,"showCount":2643,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"wan-nian-zeng-mao-tu-zhou-wang-cheng-pei-238188","万年增茂图轴","汪承霈","汪承霈（？－1805），清朝大臣。字受时，一字春农，号时斋，别号蕉雪，汪由敦之子，浙江钱塘人，原籍安徽休宁。由敦既卒，丧终，承霈以赐祭葬入谢。傅恒为言承霈书类由敦，授兵部主事，充军机处章京。累迁郎中，除福建邵武知府。时母年八十，请军机大臣为陈情，留京供职，复补户部郎中。三十六年，师讨小金川，上命户部侍郎桂林出督饷，以承霈从。三十七年，阿尔泰、宋元俊劾桂林以金与土酋赎所掠军士，辞连承霈，命逮治。俄，事白，仍以郎中充军机处章京。累迁工部右侍郎。甘肃冒赈事发，部议凡在甘肃纳捐监生，应禁革毋许应试，及自别途出身。承霈奏人数甚多，乞开自新之路，令纳金如例，许考试及自别途出身，得旨俞允。四十年，上校射，承霈连发中的，赏花翎。调户部右侍郎。五十四年，坐监临顺天乡试失察，左迁通政使。累迁复至侍郎。",[2496,2497,2577,2500,2546,2501,2549,2902,2502,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3625bf23b098742f89243db0ca847449.jpg",[6,2534],{"id":1503,"slug":15446,"title":12759,"dynasty":2632,"author":15447,"museum":2673,"description":15448,"tags":15449,"thumbUrl":15450,"material":2598,"size":2598,"collection":6,"collections":15451,"showCount":2643,"zanCount":2517,"manualWeight":2517,"mainColor":3447},"xi-qiao-ce-zhang-tu-zhou-wang-bing-238132","王炳","王炳 (1880—1950) 字谢陈，山东滨州市沾化区王见南村人。1902年（光绪二十八年）考入山东大学堂，以后加入同盟会。1906年（光绪三十二年）冬，创立棣州公学，首任公学监督（后改称校长）。",[2496,2497,2577,2500,2501,2509,2502,2503,2506,2507,2549,2508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb780e944bf063bdc83fbd0b5d1c21d83.jpg",[6,2534],{"id":1504,"slug":15453,"title":9093,"dynasty":2490,"author":15454,"museum":2818,"description":15455,"tags":15456,"thumbUrl":15457,"material":5818,"size":5819,"collection":2870,"collections":15458,"showCount":2643,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-hua-hui-ce-jiang-shou-cheng-237499","蒋守成","蒋守成明代画家。字继之,号晓山。丹阳人。善画山水,师法宋元画家赵千里,赵子昂、吴仲圭。亦作花鸟、竹石,都很出色,可惜中年患有眼疾,传世作品甚少。",[2496,2497,2592,2511,2500,2499,2677,12482,2547,2510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc2c3b2d058865e91051a0184ddf0335.jpg",[2870,6],{"id":1505,"slug":15460,"title":15461,"dynasty":2632,"author":5047,"museum":3039,"description":15462,"tags":15463,"thumbUrl":15464,"material":4016,"size":15465,"collection":6,"collections":15466,"showCount":2643,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-gao-ke-gong-yun-shan-zhou-wang-hui-237388","仿高克恭云山轴","此图学元代高克恭画风，画幅左上角作者署款：「庚辰清和广陵舟次，仿高房山笔。麓台祁。」款前印：「古期斋」（朱长方），款后印：「原祁茂京」（白朱方）。另有收藏印章六方。",[2496,2499,2509,2676,2577,2547,2501,5856,2507,2506,2502,2503,2504,2505,2614,2611],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F356e1b3850289f759a8da25a23f6e2cc.jpg","99×47.2cm",[6],{"id":1506,"slug":15468,"title":15469,"dynasty":2632,"author":13902,"museum":2673,"description":15470,"tags":15471,"thumbUrl":15472,"material":2867,"size":15473,"collection":6,"collections":15474,"showCount":2643,"zanCount":2517,"manualWeight":2517,"mainColor":3447},"yun-shan-qing-zhi-tu-zhou-wang-gai-237239","云山清峙图轴","此图轴是石涛晚年之作，此时他的山水画构图新颖大胆，出奇制胜，极尽含蓄隐约之妙。图中打破一层地、二层树、三层山的“三叠式”和北宋式的上留天、下留地、中间设景的构图程式，而是用“截取法”直接截取景致中最优美、最有代表性的一段。作者描绘半露的山体，树木间以水墨渍出云态，天空用淡墨渲染，以显现出云的白净和飘浮的动感。",[2496,2497,2577,2499,2500,2501,2902,3091,2505,2503,2507,2614,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4163719da424fc23033d449dcac4cfde.jpg","纵45.1厘米，横30.8厘米",[6],{"id":1507,"slug":15476,"title":7315,"dynasty":2490,"author":12214,"museum":2673,"description":15477,"tags":15478,"thumbUrl":15479,"material":2598,"size":2598,"collection":6,"collections":15480,"showCount":2643,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"guan-mei-tu-zhou-ding-yun-peng-236913","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。",[2496,2497,2577,2499,2546,2509,2501,4241,2549,2578,2913,2507,2506,2613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef431a10e57a656e762c4ca85d7e8da6.jpg",[6,2626],{"id":1508,"slug":15482,"title":5845,"dynasty":2632,"author":9005,"museum":2563,"description":15483,"tags":15484,"thumbUrl":15485,"material":2732,"size":15486,"collection":6,"collections":15487,"showCount":2643,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"hua-shan-shui-zhou-zhang-zong-cang-224265","《石渠宝笈》所录画作数量，张宗苍名列第一，其上多有乾隆皇帝题诗。此作原本贴于品茗茶舍「试泉悦性山房」壁上。乾隆皇帝认为其画风清峻，可与元代倪瓒和黄公望的作品相匹敌，幅上多则乾隆皇帝御题，其中更提到过去观看张宗苍作画的回忆，并在拳石留白处书一「神」字，显示对此作的高度评价。",[2496,2497,2577,2499,2509,2510,2547,2501,2507,2506,2613,2690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0364f6d1ae9eda5d1b76368b4cb7d3ba.jpg","138.1x64.3",[6],{"id":1509,"slug":15489,"title":15490,"dynasty":2605,"author":3431,"museum":2563,"description":15491,"tags":15492,"thumbUrl":15493,"material":2656,"size":15494,"collection":6,"collections":15495,"showCount":2643,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"han-lin-lou-guan-yi-ming-223446","寒林楼观","表现冬日雪后树木萧瑟的景致，整幅作品设色淡雅，意境深幽，颇传宋人神韵。",[2495,2496,2790,2500,2546,2501,2550,2578,2913,2507,2552],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce11376d9ed52e44ecd59d7ed80b572b.jpg","纵145cm，横88cm",[6,2626],{"id":1510,"slug":15497,"title":15498,"dynasty":2632,"author":5172,"museum":2563,"description":11613,"tags":15499,"thumbUrl":15500,"material":5840,"size":15501,"collection":6,"collections":15502,"showCount":2643,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shuang-lin-xiao-si-tu-zhou-dong-bang-da-223122","霜林萧寺图轴",[2495,2496,2577,2500,2509,2501,2507,2506,11503,2502,2503,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02e95f112757ec9a532d663ea2c1066f.jpg","79.1x36.8",[6,2626],{"id":1511,"slug":15504,"title":15505,"dynasty":2632,"author":5172,"museum":2563,"description":11613,"tags":15506,"thumbUrl":15507,"material":15508,"size":15509,"collection":6,"collections":15510,"showCount":2643,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"hua-fan-zhao-gui-yun-tu-zhou-dong-bang-da-223117","画返照归云图轴",[2495,2496,2497,2544,2577,2833,2509,2500,2714,2715,3208,4265,2506,2652,2528],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e89609eb1517d1843f2e8924eba4cf4.jpg","淺設色","251.1x158.6",[6,2626],{"id":1512,"slug":15512,"title":15513,"dynasty":2632,"author":5172,"museum":2563,"description":15514,"tags":15515,"thumbUrl":15516,"material":2703,"size":15517,"collection":6,"collections":15518,"showCount":2643,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"ceng-luan-song-cui-zhou-dong-bang-da-223110","层峦耸翠轴","绘层峦叠嶂，延绵不绝，山涧中云雾缭绕，微风吹过，松涛阵阵；山脚下流水潺潺，两间小屋依山傍水，清雅安静",[2495,2496,2497,2577,2499,2509,2501,2651,2902,2611,2505,2508,2613,2652,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e367094ca3e4f79f2de8319b6088256.jpg","88.1x30.9厘米",[6,2626],{"id":1513,"slug":15520,"title":15521,"dynasty":2632,"author":5172,"museum":2563,"description":11613,"tags":15522,"thumbUrl":15525,"material":2703,"size":15526,"collection":6,"collections":15527,"showCount":2643,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"yun-shan-tu-zhou-dong-bang-da-223106","云山图轴",[2495,2496,2501,2499,2500,2509,2577,2651,2506,2611,2505,2613,2614,2508,2652,2619,15523,3736,2653,2595,5837,3359,2637,15524],"谷地","工笔结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1f80ea2a2132aff84f3f8c4cb7be04c.jpg","180.2x71.9厘米",[6,2626],{"id":1514,"slug":15529,"title":11500,"dynasty":2605,"author":8439,"museum":3121,"description":15530,"tags":15531,"thumbUrl":15532,"material":2531,"size":15533,"collection":2624,"collections":15534,"showCount":2643,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"qiu-shan-xiao-si-tu-yan-wen-gui-221425","作品开卷处图绘远山溪岸，继而群峰叠起大壑飞瀑，颇为壮观，再次又转入平川冈阜秋树远山，渐成清远之境，布局变化错落有致。\n全卷以水墨为主，间以简淡之赋色，山石皴纹笔墨苍劲，林木结构系出于 传派，与传世 作品之风格有出入，似应为南宋画家的手笔。\n卷上有燕文贵小字款，乃后人所加。",[2495,2544,2496,2497,2498,2499,2500,2509,2501,4369,11503,2506,2507,2614,2651,2913,2578,3736,2503,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb3bb3f7fd9c75615971c67aad3349df.jpg","32.5x321",[2624,6,2626],{"id":1515,"slug":15536,"title":15537,"dynasty":2522,"author":3431,"museum":2997,"description":15538,"tags":15539,"thumbUrl":15540,"material":2567,"size":15541,"collection":6,"collections":15542,"showCount":2643,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"xue-shan-yun-lv-tu-yi-ming-220049","雪山运驴图","此作用淡墨晕染出冰封寒江与覆雪山峦，满目萧寒清寂。虬曲枯木扎根石隙，枝桠尽是冬日的荒疏萧索。空阔雪野间，一行驴队徐行缓进，为沉寂山野添上些许烟火暖意，动静相映，更衬出冬日林峦的清旷孤寒。\n\n画作以细劲线条勾勒山石林木轮廓，淡墨皴擦铺陈积雪，留白晕染巧构雪色，将北国冬雪的荒寒空灵尽数铺展，于极简取景间尽显淡远意趣，把冬日行旅的孤清况味藏入尺幅之间，引人身临其境，浸沉在这片凛凛寒意与静谧萧疏之中。",[2495,2544,2496,2497,2833,2500,2509,6456,5827,3091,2507,2549,3166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a3496e60237064d400653f83c3b0f63.jpg","25.1 x 25.9 cm",[6],{"id":1516,"slug":15544,"title":15545,"dynasty":2490,"author":15546,"museum":2877,"description":15547,"tags":15548,"thumbUrl":15549,"material":2567,"size":15550,"collection":6,"collections":15551,"showCount":2643,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"xi-shan-fei-pu-tu-zhu-shou-fu-220040","溪山飞瀑图","朱受甫","此作用蜿蜒灵动的披麻皴绘就群峰，山石似随波流转，奇崛又带着秀润意趣。画面以平远铺陈左岸烟波，远山澹澹如墨痕晕染，空濛悠远；右岸峰峦错落层叠，巉岩间点缀村居林木，隐逸烟火气融在山水间。\n\n淡墨晕开薄雾，衬出山峦的通透层次，草木萧疏却意态清雅，将江南溪山的灵秀幽寂晕染开来。简淡笔墨里藏着悠游林泉的雅致心境，尽显山水间空寂淡远的文人意趣。",[2495,2544,2496,2497,2498,2499,2501,2509,2714,2611,3976,2506,2690,2614,2652,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac40c200bd39a1f83f4cc800733c7076.jpg","23x147厘米",[6],{"id":1517,"slug":15553,"title":3183,"dynasty":2490,"author":15554,"museum":2563,"description":15555,"tags":15556,"thumbUrl":15557,"material":2512,"size":15558,"collection":6,"collections":15559,"showCount":2643,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-gu-ning-yuan-219470","顾凝远","此作用淡墨晕染层叠远山，云雾漫过峰巅，虚实相生间晕开空濛悠远的秋意。近岸杂木错落，浅红与苍青点染枝叶，悄然晕出时节变迁。临水篱舍掩映林间，朴雅安闲，宛然可居可游。\n\n画作以干淡细笔勾勒物象，敷色清浅柔和，全凭水墨层次营造萧散简远的氛围，将江南水畔幽居之趣藏于尺幅间，尽显文人画独有的静穆闲雅，引观者沉湎于这一片安谧丘壑，暂忘尘嚣烦扰。",[2496,2497,2577,2499,2500,2509,2547,2511,2501,2595,2614,2506,3091,2508,7203,3696,2961],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F343ffa34c58013098889b77b7d2fe5d6.jpg","82.3x41.2",[6],{"id":1518,"slug":15561,"title":15562,"dynasty":7780,"author":3431,"museum":2563,"description":15563,"tags":15564,"thumbUrl":15565,"material":2531,"size":15566,"collection":6,"collections":15567,"showCount":2643,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"wu-kuan-xi-shan-shu-wu-zhou-yi-ming-219368","无款溪山书屋轴","绢色沉古，墨痕淡远。近岸老木扶疏，枝干如铁，叶影婆娑间漏下天光；溪石横卧，水纹隐现，似有泠泠声在耳。中麓书屋半掩，窗内人影悄坐，或展卷，或凝思，与林泉为邻，得山水之趣。远岫层叠，云气轻飘，将天地拉得悠远。笔致工细却含野逸，皴擦点染皆见匠心，无一处不藏着对自然的敬畏与对闲居的向往。置身画前，仿佛能踏过溪石，走近书屋，与画中人共沐山风，静听溪语，忘了尘嚣。",[2496,2497,2544,2577,2501,2499,2509,2593,2507,2503,2579,2549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36f9e3df3cb8b48d6cea0818948aa5a4.jpg","148.6x74.5",[6],{"id":1519,"slug":15569,"title":6807,"dynasty":2605,"author":3431,"museum":2687,"description":15570,"tags":15571,"thumbUrl":15572,"material":2567,"size":15573,"collection":6,"collections":15574,"showCount":2643,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"guan-pu-tu-yi-ming-219030","一条瀑布从山涧中流下，远处的山峰在云雾中清晰可见；在岩石高原的左侧，一个有学问的人拿着杖，仰望着眼前的雄伟山峰。他听着瀑布撞击岩石的声音，看到水蔓延上升，后面跟着一个抱着琵琶的孩子。这幅画是马夏的风格，用大斧头砍的石头，笔力强劲，笔触宽阔，盖子坚硬，使石头的质地很牢固。",[2496,2497,5225,2499,2500,2501,2509,2611,2549,2506,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2c9cc6d2677a6abf31cfae2e0748f4c.jpg","23.2x23.4",[6],{"id":1520,"slug":15576,"title":15577,"dynasty":2605,"author":3431,"museum":2563,"description":15578,"tags":15579,"thumbUrl":15580,"material":2567,"size":15581,"collection":6,"collections":15582,"showCount":2643,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"pin-quan-tu-yi-ming-218988","品泉图","这幅画描绘了一个在峡谷中的有学问的人和一个提供茶水的童仆，而他摇着扇子喝茶。这幅画没有标记，以前被认为是宋代的作品，但宋代没有这种画风，动荡的笔法更接近明代的山水画风格。",[2495,2496,2544,2500,2509,2501,2506,2652,2503,2549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04bddcec30d211866d234b9bd05fadd1.jpg","27.5x57.4",[6],{"id":1521,"slug":15584,"title":15585,"dynasty":2522,"author":3431,"museum":2563,"description":15586,"tags":15587,"thumbUrl":15588,"material":2567,"size":2598,"collection":6,"collections":15589,"showCount":2643,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xi-shan-ji-yu-yi-ming-218656","溪山积玉","雪覆层峦如积玉，淡墨晕染出远山的温软轮廓，却藏着冬日清寂。坡岸老柳垂丝，枝条似淡烟轻笼，笔意疏朗间见自然生趣。林间茅舍隐现，仿佛有暖意暗涌，与天地素净相映成趣。\n\n画面无喧嚣，只余山水静穆与生机暗涌——雪的冷、树的疏、屋的暖，在对比里藏着文人对山水的眷恋、对闲居的向往。笔墨不刻意求工，简淡中见深致，恰是元人山水意韵：以心观物，以笔写情，每一寸雪色都浸着悠然禅意，让观者于静谧中触到自然与人心的共鸣。",[2495,2496,2497,2592,2499,2500,2501,2593,2505,2503,2509,2578,5659,2595,2579,5872],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ae9bfc8cfcf642803d8d009b93b445d.jpg",[6],{"id":1522,"slug":15591,"title":15592,"dynasty":2632,"author":15593,"museum":5182,"description":15594,"tags":15595,"thumbUrl":15596,"material":3157,"size":15597,"collection":6,"collections":15598,"showCount":2643,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-ting-dui-zuo-tu-jin-kan-218268","山亭对坐图","金侃","寒雪裹峰峦，雾霭轻缠远岫，如淡墨晕开的笺纸。岩畔山亭内，二人对坐，或谈诗或品茗？桥下冰溪暗淌，枯树老枝覆银，疏密间藏着冬日的疏朗。近坡屋舍隐于林麓，似在静待归人。笔墨清润，皴擦间见山石肌理，留白处显天地空寂。整幅画浸着清冷，却又透着文人的雅趣——于皑皑雪景里，觅得一份心之恬淡，让观者也随这山水，沉进那份寂静的安然中。",[2495,2496,2833,2499,2509,2714,2505,2502,2503,2506,2508,2549,2507,3307,10630,2577],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f4a4c77db794fd25064cded2ea813b8.jpg","189.9x85.7cm",[6],{"id":1523,"slug":15600,"title":15601,"dynasty":2605,"author":3431,"museum":2492,"description":15602,"tags":15603,"thumbUrl":15604,"material":2567,"size":15605,"collection":6,"collections":15606,"showCount":2643,"zanCount":3130,"manualWeight":2517,"mainColor":2559},"wan-jing-tu-yi-ming-218231","晚景图","《晚景图》画夜色朦胧中的远山近丘，近景丘岭连绵，大石横卧；溪水环抱，山石以浓墨勾骨，密布山头的树叶分别以焦墨和浓墨密匝点簇。远景山头用淡墨短笔勾勒，背景全用淡墨烘染，以突出晚景主题。从此图的构图布局和笔法用墨看，是一幅综合北南宋山水画体制的佳构。",[2496,2497,2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[清]一作颐(？-1744年)，字澹士，号南谷，别号碧岩箫史，一作碧箫外史，姓赫舍里氏，满州正黄旗人。清朝大臣、文人。内弘文院大学士希福之孙，工部尚书帅颜保之子，辅政大臣公索尼堂侄。\n侍卫入仕，后任总管内务府大臣。康熙五十二年十二月己卯，接替满笃，担任工部尚书。\n性澹泊，琴书之外专事于画。初学黄鼎，继为王原祁弟子。山水宗法元人，而独开生面，迥异时流。时有南王北赫之称。康熙五十五年（一七一六）作辋川诗意图。参见《国[清]朝画徵录、桐阴论画、读画辑略、宋元明清书画家年表》 等书。\n赫奕著有诗集《青霭山房诗集》。\n赫奕出身名门望族，是赫舍里氏家族的第六代子孙，亲族中的不乏名臣，赫奕作为内弘文院大学士希福之孙，礼部尚书帅颜保之子，在康熙年间任内务府主管，并兼任工部尚书，核定全国屯田、水利、工程、交通事项，以刚正闻名朝野。\n赫奕的绘画作为南宗正脉，在清代画坛地位崇高。但翻看有关这幅画作的“履历”足以发现它的命运多舛。在收录清朝内府藏画的《石渠宝笈》初篇中，《烟树山亭》被记录在案，画上钤盖着乾隆、嘉庆、宣统三位皇帝的“御览之宝”印章，足以说明它被几位皇帝珍视。赫奕所画的这幅《烟树山亭》以2530万元的天价拿下匡时秋拍古画专场的第一名，这含金量与康熙帝的御题字不无关系。赫奕所作《烟树山亭》上手书：“士人作画，当以草隶奇字之法为之。树如屈铁，山如画沙，脱去甜俗蹊径，乃为士气。不尔，纵俨然入格，已落画师魔界，不复可救药矣。若能解脱绳束，便是透网鳞也。”这是康熙帝亲笔御题的《临董其昌论画》。康熙帝将这段话题在赫奕的画上，正是他对这幅画的肯定与褒奖，康熙非常崇尚明代书画大家董其昌的画风，在赏过这幅《烟树山亭》，便题字称赞赫奕的这幅画颇有董其昌画作遗风。更为难得的是，和乾隆帝比，康熙从不轻易在别人的画作上留下痕迹，也就是说，能得到康熙墨宝的“他人画作”简直是凤毛麟角。据记载，虽然康熙御题字的画作不多，但赫奕一人独得数件。",[2496,2497,2592,2676,2501,2509,2499,2593,2503,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38fc6046312eb9e183e0137504ff4f40.jpg",[6,2626],{"id":1532,"slug":15666,"title":15667,"dynasty":2632,"author":15252,"museum":2673,"description":15306,"tags":15668,"thumbUrl":15669,"material":2867,"size":15310,"collection":6,"collections":15670,"showCount":15636,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"song-xi-shu-wu-tu-zhou-lu-zun-shu-236127","松溪书屋图轴",[2496,2497,2577,2499,2501,2509,2779,2503,4166,2507,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa366e0c0db1f68c15306c566b60c3904.jpg",[6,2626],{"id":1533,"slug":15672,"title":15673,"dynasty":2632,"author":9005,"museum":2673,"description":15674,"tags":15675,"thumbUrl":15676,"material":2867,"size":15677,"collection":6,"collections":15678,"showCount":15636,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"zhang-zong-cang-shan-shui-zhou-zhang-zong-cang-236110","张宗苍山水轴","此图是张宗苍担任宫廷画师期间精心创作的山水画。图中山石反复以线条皴染，再以焦墨点苔，多遍始成，令繁复的林壑不失明爽之致，笔情墨韵间不失苍郁秀雅之气，反映了画家成熟期的典型风格。乾隆皇帝对此图赞赏有加，将它收贮于塞外最重要的行宫避暑山庄，并且在画上题诗三首，以示恩宠。",[2496,2499,2509,2501,2503,2578,2677,2595,2614,2506,2652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946aacb8352879e4db037849980e60c1.jpg","纵143厘米，横75.6厘米",[6,2626],{"id":1534,"slug":15680,"title":2587,"dynasty":2632,"author":15681,"museum":2818,"description":15682,"tags":15683,"thumbUrl":15684,"material":2598,"size":2598,"collection":2870,"collections":15685,"showCount":15636,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-wen-dian-235323","文点","此作用笔清劲简淡，近景双松虬枝舒展，扎根嶙峋石畔，旁生细草杂木，野趣悠然。白衣高士静踞溪岸，凭虚远眺，将幽居林泉的澹泊心境寄于山水间。\n画面以留白代秋水，远山以浅墨轻晕，烟岚弥漫，虚实相生间，萧疏淡远的氛围油然而生。题识小诗与景致相融，愈发衬出画面简净空灵的意趣，尽显文人画澄怀观道的雅逸格调，将观者带入这无尘烟嚣的静穆天地，共赴林泉高致之约。",[2496,2497,2592,2499,2509,2501,2593,2507,2549,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b31c251154b62abd3e860a5dabf4c58.jpg",[2870,6],{"id":1535,"slug":15687,"title":15688,"dynasty":2605,"author":3431,"museum":2673,"description":15689,"tags":15690,"thumbUrl":15692,"material":2720,"size":15693,"collection":2624,"collections":15694,"showCount":15636,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"qiu-lin-fang-du-tu-zhou-yi-ming-223605","秋林放犊图轴","画面描绘了一个男孩在岸边与平坡之间的秋林中给牛溪喂食的场景。 牛肥壮，孩子调皮。",[2495,2544,2496,2577,2500,2546,3483,2506,15691,5967,2547],"牛犊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27c9fbfac81e21e219709419b2fe821c.jpg","96.3＊53.2cm",[2624,6,2626],{"id":1536,"slug":15696,"title":15697,"dynasty":2632,"author":15698,"museum":2589,"description":15699,"tags":15700,"thumbUrl":15701,"material":2499,"size":15702,"collection":6,"collections":15703,"showCount":15636,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"ku-mu-han-ya-pu-hua-223250","枯木寒鸦","蒲华","款识：枯木寒鸦。曾见李莹邱有此本，偶一效之，大略如是，作英蒲华。",[2495,2496,2499,2637,2509,5659,2552,2501,2677,2730],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ac8fd8af8dbebd94497968fae5fd6bb.jpg","33×127cm",[6,2626],{"id":1537,"slug":15705,"title":6680,"dynasty":2490,"author":9094,"museum":2563,"description":15706,"tags":15707,"thumbUrl":15708,"material":3044,"size":15709,"collection":6,"collections":15710,"showCount":15636,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"lin-quan-gao-yi-tu-xiang-sheng-mo-222675","水墨绘山水一隅，山石围水而立，山坡平缓起伏，水面宽阔平静，一派安详静谧之气氛。项圣谟，初字逸，号易庵，明末清初画家，善画山水、人物、花卉，擅绘松树，有“项松之名满东南”之誉",[2495,2496,2499,2498,2501,2507,2506,8243,2595,2509,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90f17316dac0c91e0c3ee608508eb723.jpg","33x126cm",[6,2626],{"id":1538,"slug":15712,"title":3490,"dynasty":2490,"author":14097,"museum":3121,"description":15713,"tags":15714,"thumbUrl":15715,"material":2703,"size":15716,"collection":6,"collections":15717,"showCount":15636,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-zhou-wang-duo-222533","王铎认为“创奇景先行”，又回到北宋的山水题材，表达对董其昌（1555-1636）信条的不满：“考虑笔墨之妙，风景无法与绘画竞争。” 这幅画在王去世前一年完成，雄辩地表明了他对绘画内容的喜爱。与绘画相比，他的书法更出名，王将 10 世纪和 11 世纪风景的丰富细节简化为简单的图形惯例。轮廓分明的树木，许多没有叶子，粗短的树枝；山峰顶上的示意图；轮廓鲜明的岩层，无不让人想起十世纪的范宽大师。突出人物、建筑、",[2495,2496,2497,2577,2499,2501,2578,2508,2507,2506,2528,2637,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4efcbdf874c85333870a65dcf74128b.jpg","117.2 x 54.9 厘米",[6,2626],{"id":1539,"slug":15719,"title":15720,"dynasty":2490,"author":15721,"museum":2563,"description":15722,"tags":15723,"thumbUrl":15724,"material":2639,"size":15725,"collection":6,"collections":15726,"showCount":15636,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"chun-qi-tu-zhou-gu-yi-de-222153","春绮图轴","顾懿德","顾懿德（?～1633后） 明末松江派画家。字原之。华亭（今上海松江）人。明万历时中书舍人顾正谊之子（或说为侄）。家资丰厚，以父遗产银三万两，在青浦营造役田万亩，以成父志，被任为光禄寺署正。\n善画山水，画承顾正谊家传而受董其昌影响，仿王蒙，行笔秀洁，也画大士像。董及陈继儒颇赏之。",[2495,2544,2496,2497,2577,2545,2500,2501,2507,2506,2502,2503,2550,2547,2510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bdbc69544851c619a4c424a6721ef6b.jpg","51.7x32.4厘米",[6,2534],{"id":1540,"slug":15728,"title":15729,"dynasty":2490,"author":3647,"museum":2563,"description":15730,"tags":15731,"thumbUrl":15732,"material":2703,"size":15733,"collection":6,"collections":15734,"showCount":15636,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"lv-yin-cao-tang-wen-zheng-ming-222006","绿荫草堂","《绿荫草堂图》绘山中村落之景，于崇山环抱中见开阔。一瀑飞泻，汇成清清池塘。村居数间皆掩映于绿荫之下。山中闲居，有客拄杖来访。其意态优容，尽显隐士风流。画上除作者自书两题外，尚有蔡羽、王宠、陆师道诸家题记。",[2495,2496,2550,2503,2501,2714,2715,2593,3650,3208,2500,2637,2577,2732],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4007e2b20e82443bd2644ea7ebe072f.jpg","纵80.5厘米，横29厘米",[6,2534],{"id":1541,"slug":15736,"title":15737,"dynasty":2490,"author":15738,"museum":2673,"description":15739,"tags":15740,"thumbUrl":15741,"material":2597,"size":15742,"collection":6,"collections":15743,"showCount":15636,"zanCount":3130,"manualWeight":2517,"mainColor":2518},"chen-zong-yuan-hong-ya-shan-fang-tu-juan-chen-zong-yuan-220397","陈宗渊洪崖山房图卷","陈宗渊","《洪崖山房图》是陈宗渊唯一的传世作品，为其受友人胡俨之请按实景创作的。胡俨怀着还乡归隐之情，在家乡筑室名“洪崖山房”，以慰归思。他曾请王绂为其作图，但王绂当时因病重便作诗推辞，胡俨遂转请其弟子陈宗渊创作了此图。胡俨十分珍爱此作，多次在图后题识。图中抒写了胡俨身居庙堂、心怀归思的志向和情怀，同时也反映了在明初严酷的政治环境中，文人士大夫思隐的心态。\u2028　　画面上山峦起伏，江面开阔，景色壮观，反映出江西一带的风貌特征。所画人物占画幅比例很小，虽只寥寥数笔，须眉皆无，但姿态休闲生动，或展卷堂上，或携琴访友，巧妙地突出了人物在画中的地位，增添了恬静安逸的情致，表现出文人优雅的生活环境和超凡出尘的意趣。画中的山石用荷叶皴与披麻皴表现，线条多用中锋，自上而下拖长，错落纷披，转折灵动。陈宗渊的画法继承元代绘画风格，近似王绂，意境清远，笔墨苍秀，其作品对了解吴门前期绘画的传承关系具有重要的作用。",[2495,2496,2497,2498,2499,2500,2501,2546,2509,2511,2510,2547,2651,2528,2508,2506,2502,2552],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f656c3500b27f604686ec7a544e47c9.jpg","纵27.1厘米，横106.2厘米",[6,2626],{"id":1542,"slug":15745,"title":15746,"dynasty":2632,"author":8682,"museum":2877,"description":15747,"tags":15748,"thumbUrl":15749,"material":2597,"size":15750,"collection":6,"collections":15751,"showCount":15636,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"qing-bai-zhu-shi-tu-gao-feng-han-220233","清白柱石图","高凤翰善山水，纵逸不拘于法，纯以气胜，兼北宋之雄浑，元人之静逸。他的山水画往往写亲身所历，多师法宋元明清初诸家。高凤翰的山水画的风格在由右手转为左手作画前后有很大不同，早年山水未脱传统正宗画格，被誉为“画中十哲”“五君子”之一，以工细求真。晚年改左手作书画后，机趣古拙天然，渐染徐渭、朱耷、元济画风，多作写意，阔略纵逸，老辣而归于雄浑，全在法度之外求气韵。",[2495,2496,2577,2499,2509,2507,3155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdac59af7ff3485d2b425120787ed3036.jpg","131x42cm",[6],{"id":1543,"slug":15753,"title":15754,"dynasty":2490,"author":14792,"museum":2563,"description":15755,"tags":15756,"thumbUrl":15759,"material":2499,"size":2598,"collection":6,"collections":15760,"showCount":15636,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"zhi-zi-hou-men-tu-wang-shi-chang-219252","稚子候门图","山峦层叠间云雾轻飏，似给远峰披上薄纱，愈显深幽。近景古木虬枝盘曲，墨色浓淡交错，勾勒出苍劲风骨；岩石以简括皴法写就，纹理毕现。蜿蜒小径上，稚子数人或立或趋，眉眼间满是天真，翘首之态似在盼归人，那份纯粹的期盼，在清寂山水中晕开暖意。画作以水墨衬淡彩，山水的空灵与人间温情相映，既承继明代山水的雅致气韵，又以人物点染出生活鲜活，于无声处传递亲情的柔软，观之如临其境，心生动容。",[2495,2496,2499,2500,2501,2549,4108,2652,3736,2651,2614,15757,15758,2509],"盼归","亲情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92016fc192d1615fd58bffc960f15b69.jpg",[6],{"id":1544,"slug":15762,"title":15763,"dynasty":2522,"author":3431,"museum":2563,"description":15764,"tags":15765,"thumbUrl":15766,"material":2567,"size":15767,"collection":6,"collections":15768,"showCount":15636,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"yan-shui-gu-zhou-yi-ming-219055","烟水孤舟","淡墨晕染的烟水间，一叶孤舟轻漾，似与天地相融。岸边老树枝干虬曲，松针疏朗，墨色浓淡间见苍劲之姿；远处峰峦隐于烟霭，虚实相生，恰是元人山水的空灵之境。水色空濛，舟影孑然，没有喧嚣，只有天地间的静默与清寂——仿佛能听见水波轻拍船舷的微响，或是林间风过的疏声。线条简淡却含力道，墨色层次丰富，从近树的浓墨到远山的淡染，过渡自然，将烟水的缥缈与孤舟的寂寥刻画得入木三分。这般景致，是文人心中的避世之境，也是自然与心境的交融，寥寥数笔，道尽元人山水的含蓄与深远。",[2495,2496,5225,2499,2509,2501,2504,2578,2595,2594,5802],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd088de0b4b41a57a3d089f8b935ea627.jpg","23.4x24.7",[6],{"id":1545,"slug":15770,"title":15771,"dynasty":2605,"author":15772,"museum":2563,"description":15773,"tags":15774,"thumbUrl":15775,"material":2567,"size":15776,"collection":6,"collections":15777,"showCount":15636,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xi-shan-ping-yuan-tu-song-di-218869","溪山平远图","宋迪","这是一幅山水画，草木茂盛，一派湖光山色的景象。",[2495,2544,2496,2497,2501,2500,3636,2503,2510,2511,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42addfe814270b42354058fea9c7ac91.jpg","25x26.4",[6],{"id":1546,"slug":15779,"title":15780,"dynasty":2605,"author":3431,"museum":2589,"description":15781,"tags":15782,"thumbUrl":15783,"material":2567,"size":2598,"collection":6,"collections":15784,"showCount":15636,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"jiang-shang-guan-chao-tu-yi-ming-218577","江上观潮图","远处的山峰被画在了一起，连绵不断地蜿蜒着。在画面中间，潮水上涨，白色的波浪呈直线运行。在近景中，画了一个宫廷船的桅杆，船上有一群人。宫室半隐在蜿蜒的岩石中，周围是树木。",[2495,2496,5225,2500,2501,2504,2506,2505,2595,11089,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7805309f6a61fe6741cdc38d4d0a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北上会试，不第告终。与石涛交往友善，相互切磋画艺。石涛与梅清，皆有“黄山派”巨子的誉称。后遭家落，屏迹稼园，郁郁无所处，寄情诗画自娱。屡登黄山，观烟云变幻，银涛起伏，印心手随，景象奇伟。笔法松秀，墨色苍浑；后人称 梅清、梅庚、石涛，戴本孝等为黄山派。传世作品有《山村清景图》、《黄山图》、《黄山十九景图》、《黄山炼丹台图》等。",[2496,2577,2499,2501,2549,2902,2677,2509,2547,2510,2511],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4980073cdbde0a994569769bb864028f.jpg",[6],{"id":1555,"slug":15849,"title":15850,"dynasty":2490,"author":15851,"museum":2673,"description":15852,"tags":15853,"thumbUrl":15854,"material":2720,"size":15855,"collection":6,"collections":15856,"showCount":15840,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"liu-yin-shuang-jun-zhou-hu-cong-237650","柳荫双骏轴","胡聪","描绘柳荫下两匹骏马之态，形象生动，神态逼肖；二柳树旁还斜探出一枝桃花，使湖石花竹相互掩映，一派湖光春色。整幅画面刻画细腻，用笔工整，功力深厚，继承南宋院体画风格。右上款署：“直武英殿东皋胡聪写。”",[2544,2496,2497,2577,2546,2500,3542,2960,4241,2677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8671533baa0d9af224242aa2575cf21.jpg","纵101.2cm，横50.5cm",[6,2534],{"id":1556,"slug":15858,"title":15859,"dynasty":2632,"author":15860,"museum":2563,"description":15861,"tags":15862,"thumbUrl":15863,"material":2732,"size":15864,"collection":6,"collections":15865,"showCount":15840,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"bai-lu-quan-tu-zhou-fang-shi-shu-237237","白鹿泉图轴","方士庶","方士庶（1692—1751）字循远，一作洵远，号环山，又号小狮道人，一作小师道人，新安（今安徽歙县）籍，家维扬（今江苏扬州）。清代画家。\n能诗善画，书法严密端秀，绘画笔墨敏洁灵秀，气势跌宕飞动，谓之为王原祁后山水第一。受学于黄鼎，山水用笔灵敏，气晕骀宕，早有出蓝之目，时称妙品。兼善花卉写生。其得意之作，皆钤“偶然拾得”小墨印。复以书法名芜城。行楷结构严密，纯学董其昌。惜中寿而殁。亦工诗，有《环山诗钞》。是“娄东派”卓有成就的名家。",[2496,2497,2577,2499,2509,2501,2550,2506,2507,3136,2880,2595,5837,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd777ea183e5a3b1907c7c59e0962cf28.jpg","369x102",[6],{"id":1557,"slug":15867,"title":3490,"dynasty":2632,"author":15868,"museum":2673,"description":15869,"tags":15870,"thumbUrl":15871,"material":3257,"size":15872,"collection":6,"collections":15873,"showCount":15840,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-zhou-cheng-sui-237121","程邃","全图以枯笔焦墨表现丘峦林壑，带有程邃典型的笔墨特征。其渴笔干墨的行笔线条刚劲有力，具有以书入画的金石味，将山石树木荒拙苍老的筋骨之美表现得别有情致，从而成功地勾画出作者理想中那种摆脱尘嚣缰锁、陶然世外的高人雅境。",[2496,2497,2501,2499,2509,2577,2714,2506,2508,2613,2652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8aea53b6cd918a5d89fec19f2000ba36.jpg","纵64.6厘米，横29.4厘米",[6],{"id":1558,"slug":15875,"title":15876,"dynasty":2632,"author":3020,"museum":2673,"description":15877,"tags":15878,"thumbUrl":15879,"material":2867,"size":15880,"collection":6,"collections":15881,"showCount":15840,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-li-cheng-yan-jing-zhou-wang-yuan-qi-236412","仿李成烟景轴","王原祁（1642—1715年），字茂京，号麓台、石狮道人，江苏太仓人，王时敏之孙。清康熙九年（1670年）进士。因画艺，被召供奉内廷，深受皇室青睐，地位显赫，任书画总裁和《万寿盛典》总裁，官至户部侍郎，故称“王司农”。他擅画山水，其绘画艺术承绪家学，自幼得到祖父王时敏的刻意指导，一生倾注于笔墨施运的营求中，自称笔端有“金刚杵”, 画风中年秀润，晚年苍浑。与王时敏、王鉴、王翬合称“清初四王”。王原祁做为“四王”中最年轻的一位画家，秉承家学，追摹古法，在不懈创作的同时，以同样方法再授弟子，对山水画的发展及“娄东派”的形成起到重要作用。其对绘画的影响一直延续到清中、后期“小四王”（王昱、王愫、王宸、王玫）、“后四王”（王三锡、王廷之、王廷国、王鸣韶）。“四王”的绘画创作继承明末董其昌的绘画理论和实践，力图集古人之大成，被确立为正统画派。追随王原祁的画家众多，形成“娄东派”，几乎独占了当时的画坛。著有《雨窗漫笔》、《扫花庵题跋》等。",[2496,2497,2577,2499,2509,2676,2501,2507,2506,2508,2503,2614,3166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13acb79db4605b2491661e613a2d3b51.jpg","纵47cm，横30cm",[6,2534,6382],{"id":1559,"slug":15883,"title":15884,"dynasty":2632,"author":5047,"museum":2673,"description":15885,"tags":15886,"thumbUrl":15888,"material":4324,"size":15889,"collection":6,"collections":15890,"showCount":15840,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"zhong-lin-die-zhang-zhou-wang-hui-236391","重林叠嶂轴","“虞山画派”大家王翚(1632－1717)一生的画腊极长，创作精力旺盛，各阶段绘画风格的变化亦较为明显。对此，近代鉴藏大家吴湖帆(1894－1968)题本展王石谷《仿巨然夏山烟雨图卷》中，曾有极为精辟的剖析：“王石谷子(王翚)年四十左右，在娄东王奉常(王时敏)家临摹宋元名迹，艺乃大成，间为太常代笔，亲受指点，益臻神化，故石谷画当以四十至五十为极诣，五十至六十自具面目，六十至七十渐落俗套、每失韵致，七十至八十有衰颓气，八十以外又复变化入神，用笔如万岁枯藤，苍辣兼具，有空前绝后之妙。后人之诋諆石谷者，盖多见其六十以后八十以前作也。”梅景书屋主人之评，的为灼见，其对石谷画风的如数家珍，实得益于其本人鉴藏之丰厚。\n众所周知，近现代的江南地区，无疑是“四王”书画流散与聚集的重镇。不仅吴氏如此，他如庞莱臣、顾文彬、钱镜塘等近现代大藏家亦然，购藏“四王”精品之机会甚多。而他们的旧藏，之后成为了上海博物馆馆藏“四王”的主要来源。以王翚为例，不仅数量逾百，且自成体系，如自王氏四十岁至八十六岁的四十七年中，除四十三、五十六、五十七、五十八、六十及七十六岁这六年无藏品外，其余则可按系年排列。而传世本就不多的王翚四十岁前早期作品，上海博物馆亦拥有重要画作若干。其二，上海博物馆所藏王翚各时期作品，皆有诸多精品与代表作，如四十岁前《早年山水图轴》、《十里溪塘图轴》，四十至五十岁间的《仿曹知白西林禅室图卷》、《元人高韵图轴》、《小中现大图册》、《黄鹤传灯图卷》、《仿关仝溪山晴霭图卷》、《仿黄公望富春山居图卷》，五十至六十岁间的《溪阁晤对图轴》、《重江叠嶂图卷》，六十至七十岁的《泰岳松风图轴》、《西斋图卷》、《寒林雅趣图卷》，七十至八十岁的《六境图卷》、《嵩山草堂图轴》，八十以后如《唐人诗意图轴》、《仿大痴山水图轴》等。其系统性与代表性，对全面把握与理解王翚一生的绘画风格演变，提供了良好的实物基础，这也是本展得以举办的主要缘由。\n另一方面，察考上博王翚作品中所涉及的相关人物，可以发现，这些或受赠者，或鉴题者，在王氏的艺术生涯以及人生轨迹的转变中扮演了重要的角色。同时，亦可注意到，伴随着王翚交游圈的不断拓展，其从艺心态随之产生了微妙的变化。而这种转变，与上述吴湖帆所析其各阶段画风特点，亦有某种程度上的关联，也折射出王翚与同时代如王原祁、八大山人、恽寿平等艺术家在个性、气质方面的些许差异。",[2496,2497,2577,2499,2509,2501,2507,2506,2505,15887,6242],"重林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53a0a8445ee5579556a829c666e132ec.jpg","纵129.7cm，横44.1cm",[6,2626],{"id":1560,"slug":15892,"title":15893,"dynasty":2632,"author":12158,"museum":3039,"description":15894,"tags":15895,"thumbUrl":15896,"material":2732,"size":15897,"collection":6,"collections":15898,"showCount":15840,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"shan-shui-lou-ge-tu-liu-du-224164","山水楼阁图","该作品写冈峦叠起、山石林立、峭崖绝壁、云雾蒸腾。画作正中，主峰高耸、陡峭的崖壁处有瀑布飞流直下，在迷雾笼罩的山腰间汇成湍湍溪水。溪水沿着凹凸不平的石道蜿蜒而下，泻入碧水涟漪、明净清澈的湖中。画中主峰峥嵘突兀，烟霭弥漫，山间楼宇若隐若现，画面虚实相生、宁静空灵。山石轮廓线刻画曲折有力，皴法用笔细密工致，极为精严。山下水榭、楼阁依水而建，亭内和湖中舟上点缀以人物。近处古树高耸，黄叶灿然。看此幽山、绿崖、白云、古树，如同进入清新怡人的脱俗之境。\n《山水楼阁图》画法工细，色调明快，具有较强的装饰美。山间的白云不是用勾的方法表现，而是运用了晕染和留白的方法，墨色浓淡变化丰富，颇有韵味。古树苍茂，树叶或填以黄色、或点以绿色、或红绿相杂，树干双勾后均用淡墨兼赭色填涂。掩映于山间的楼阁亭台与水边的回廊水榭安排得错落有致，勾描工细而不僵滞。它们在山水的环抱中显得格外幽雅、别致。画中人物造型准确，临水亭台中的坐观者神态怡然，舟中收网的渔人也忙而不乱、轻松自在。此画无半点甜俗之气，让人有一种远离尘嚣的脱俗感。\n能在如此小的册页上绘出这般大的气象，可见刘度绘画水平的高超。",[2495,2496,2544,2497,2500,2790,2509,2501,2550,2503,2504,2507,2611,2506,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafa71146b215b69f0608d84fc286be05.jpg","纵28.8厘米，横15.2厘米",[6],{"id":1561,"slug":15900,"title":15901,"dynasty":2490,"author":15902,"museum":2563,"description":15903,"tags":15904,"thumbUrl":15905,"material":2703,"size":15906,"collection":6,"collections":15907,"showCount":15840,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"xue-ye-fang-dai-zhou-zhou-wen-jing-222065","雪夜访戴轴","周文靖","此图描写东晋名士王徽之夜里梦醒，见月色皎洁兴致突生，遂趋船造访好友戴逵。然抵达之后，又打消念头而折回，或曰：「乘兴而来，尽兴而返。」为明代历史人物故事画之佳例。此幅构图继承南宋马、夏特色，却较之概括简约，而其潇洒放逸之笔法，则近似元人风格。",[2495,2496,2499,2500,2509,2577,2501,2504,2549,3166,2506,4572,3091,5522],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c217c7206bd4b15f36643d89ad02332.jpg","320X120.2",[6,2626],{"id":1562,"slug":15909,"title":15910,"dynasty":2490,"author":3264,"museum":2563,"description":15911,"tags":15912,"thumbUrl":15913,"material":4016,"size":15914,"collection":6,"collections":15915,"showCount":15840,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"qiu-shan-lin-ting-dong-qi-chang-220958","秋山林亭","董其昌《秋山林亭》扇面",[2495,2496,2497,5225,2499,2509,2501,2505,2506,2507,7132],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9df9fd07e012519044242350341ba5b9.jpg","35x60.4",[6,2626],{"id":1563,"slug":15917,"title":15918,"dynasty":2522,"author":3907,"museum":2563,"description":15919,"tags":15920,"thumbUrl":15921,"material":2499,"size":2598,"collection":6,"collections":15922,"showCount":15840,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"ye-qiao-ce-jian-tu-sheng-mao-219958","野桥策蹇图","此作以水墨晕染出山林幽寂之境，圆形取景似截取一段秋日山隅暮色。远山以淡墨轻勾浅染，峰峦在烟霭中隐现，漾着空濛悠远的氛围感。近岸林木攒簇，细劲笔意勾勒枝干，介字、个字点叶错杂层叠，尽显苍茂生机，坡岸以干笔短皴写出，朴拙苍厚间带着山野的荒疏意趣。\n\n野桥匿于林麓，策蹇之人悄然隐于林下，身形虽简却暗合幽行雅吟之题。全作用墨浓淡铺陈远近层次，简淡中见苍茫萧散，将寄情林泉的野逸之思，融于尺幅小景之中，清寂雅致，尽显文人山水的闲淡意趣。",[2495,2496,2499,2500,2509,2592,2501,2549,2502,2506,2507,5827],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c4ed64b4c78e7fd07febf0ed221608f.jpg",[6],{"id":1564,"slug":15924,"title":15925,"dynasty":2522,"author":6971,"museum":2563,"description":15926,"tags":15927,"thumbUrl":15929,"material":2567,"size":15930,"collection":6,"collections":15931,"showCount":15840,"zanCount":2517,"ma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间作花卉，亦多逸致，康熙八年（1669）作山水图。",[2496,2497,2499,2509,2501,2714,2715,2593,2508,2507,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3b7a30ec1fa285757ae00f8f0aa4f15.jpg",[6],23,{"id":1573,"slug":16004,"title":2587,"dynasty":2632,"author":8760,"museum":2818,"description":8761,"tags":16005,"thumbUrl":16006,"material":2598,"size":2598,"collection":6,"collections":16007,"showCount":16002,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-yang-jin-238987",[2496,2497,2592,2500,2501,2509,2506,3668,2504,2503,2595,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66b2b48963874015c5128a1c9ccdd5a4.jpg",[6,2534],{"id":1574,"slug":16009,"title":16010,"dynasty":2632,"author":15298,"museum":2818,"description":16011,"tags":16012,"thumbUrl":16013,"material":2598,"size":2598,"collection":6,"collections":16014,"showCount":16002,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"sai-shan-er-shi-si-jing-ce-zhang-ruo-cheng-238243","塞山二十四景册","以淡墨勾勒皴擦，写尽峰峦层叠之态，危岩高耸，林木依石而生，留白处似云气萦回山谷，将幽寂的山巅清景铺展开来。笔致苍秀细腻，山石纹理尽显嶙峋质感，枯松错落萧疏，带着塞地萧寒之气，仿佛可闻山风穿林而过。\n\n右侧大片留白与左侧繁密山景形成强烈虚实对照，朱红鉴藏印点缀素纸，墨色丹印相映成趣，既有荒寒山境的冷逸清寂，又添古雅金石意趣，将塞上山川的静穆荒寒凝于尺幅，悠悠古意扑面而来。",[2496,2497,2499,2546,2509,2592,2501,2714,2902,2507,4657,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3004413fb4a3a4c945a56f3045298730.jpg",[6],{"id":1575,"slug":16016,"title":16017,"dynasty":2632,"author":3796,"museum":2818,"description":8308,"tags":16018,"thumbUrl":16019,"material":2598,"size":2598,"collection":6,"collections":16020,"showCount":16002,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"zi-jiu-shan-shui-zhou-wang-jian-238120","子久山水轴",[2496,2577,2499,2501,2509,2651,2506,2508,2502,2503,2676],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fec101e743627000ca6e774bee120ef.jpg",[6,2626],{"id":1576,"slug":16022,"title":16023,"dynasty":2632,"author":16024,"museum":2818,"description":16025,"tags":16026,"thumbUrl":16027,"material":2598,"size":2598,"collection":6,"collections":16028,"showCount":16002,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"hua-fen-yong-xiao-shi-shi-ce-wang-fu-237564","画分咏小石诗册","王凫","此作以开合之景铺展山居雅趣，高岭卧石隐于浅草疏林，溪谷蜿蜒穿林而过，将画面裁为丘山与雅居两处景致。坡岸林间，士人围坐清谈，草亭之内宾主对坐酬唱，右侧层叠楼阁依岩而建，有人凭栏远眺。设色淡雅清和，赭石晕染山峦，花青点染林木，笔致秀润细腻，将文人士子幽居雅集的闲逸尽数铺陈。整体氛围安恬静穆，林下风流与山居幽趣相融，将江南山居的清旷雅致凝于尺幅之间，藏着文人栖居林泉的浮生雅事，尽显丘林雅韵。",[2496,2497,2592,2500,2790,2546,2501,2505,2550,2502,2503,2549,2506,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3599c8cb93fc6d7c7fb6bd6e4a8dcf3c.jpg",[6,2534,6382],{"id":1577,"slug":16030,"title":16031,"dynasty":2632,"author":6249,"museum":2673,"description":16032,"tags":16033,"thumbUrl":16034,"material":2732,"size":2598,"collection":6,"collections":16035,"showCount":16002,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shu-hua-he-bi-ce-cha-shi-biao-237208","书画合壁册","查士标（1615-1698），字二瞻，一号梅壑散人，懒老。安徽休宁人。他是明诸生，入清后不应举，工研书画。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。他的绘画亦是气韵高逸，查士标常常在画上自题拟云林笔意、仿倪云林法等，而懒标之号亦从倪云林懒瓒之称而来，可谓是风神遥接。晚年画益超迈，直窥元人之奥。凡应酬临池挥洒，必於深夜，不以为苦。八十馀尚童颜。卒年八十四，著有《种书堂遗稿》等。",[2496,2497,2592,2499,2501,2511,2509,2506,2508,2652,2547,2510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e055ebce03d4fbdd5de2d3bc3d6a0db.jpg",[6,2534],{"id":1578,"slug":16037,"title":16038,"dynasty":2490,"author":9094,"museum":2673,"description":16039,"tags":16040,"thumbUrl":16041,"material":2598,"size":2598,"collection":6,"collections":16042,"showCount":16002,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"song-zhu-shuang-qing-ce-xiang-sheng-mo-236569","松竹双清册","项圣谟，字逸，后字孔彰，浙江嘉兴人。为明末著名书画收藏家和画家。",[2496,2497,2592,2499,2779,3155,2510,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27527a98f63b9465054da19b06c8e512.jpg",[6,6382],{"id":1579,"slug":16044,"title":16045,"dynasty":2632,"author":16046,"museum":2818,"description":16047,"tags":16048,"thumbUrl":16049,"material":2598,"size":2598,"collection":6,"collections":16050,"showCount":16002,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"hu-shan-fan-cha-tu-ce-pan-gong-shou-235923","湖山梵刹图册","潘恭寿","这幅山水以淡墨轻晕远山，层峦在烟霭中虚实错落，似被晨雾揽入怀抱，晕开悠远空寂的意境。近岸林木以水墨点染，苍润的枝叶错落生姿，烟波水泽之上孤舟独行，更衬出湖面的浩渺清寂。林间隐露梵刹一角，将禅意悄藏在湖山深处，与清远景致相融无间。\n\n画面题诗与笔墨呼应，诗画相生，以浅绛淡墨绘就江南湖山的空濛灵秀，将禅寂澹泊揉入山水烟岚，观之如身临幽寂水畔，可感风烟俱净的安宁，尽抒寄情丘壑的文人襟怀。",[2496,2499,2501,11615,2504,2506,2614,2509,2592],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcedbd2ce17f3643e153453e3dffb7440.jpg",[6,2534],{"id":1580,"slug":16052,"title":2587,"dynasty":2632,"author":6249,"museum":2818,"description":16053,"tags":16054,"thumbUrl":16055,"material":2598,"size":2598,"collection":6,"collections":16056,"showCount":16002,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-cha-shi-biao-234638","查士标（1615-1698），字二瞻，号梅壑散人，懒老。新安（今安徽休宁）人，流寓江苏扬州。明末秀才，入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。他的闲散情怀决定了他的绘画气质亦是风神懒散、气韵高逸。",[2496,2497,2544,2592,2499,2500,2501,2593,3839,2715,2511,2510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22d726fef1640e5e482b9d8d3b16c206.jpg",[6],{"id":1581,"slug":16058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〈草堂十志〉 词，与十景相间。所绘皆为自然园林景致，其配置乃注重与周围自然环境相结合，树石造型古拙，用笔方硬，水墨渲染颇工。此作无名款，旧传为卢鸿之作。学界对此幅的断代，虽无定论，然时代应非为唐。虽非唐代画作，然有研究者订为五代十世纪，可能是与唐代卢鸿原本最为接近之摹本，为早期文人隐居山水的重要祖型，对中国历代隐居山水的图像表现，影响深远。",[2495,2496,2497,2498,2676,2499,2509,2501,2593,2611,2652,2505,2503,2549,2677,2502,3091,2800],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ea4dd01e44e803413f2814c10d58aa2.jpg","纵25.6cm，横711.6cm",[6,2626],{"id":1584,"slug":16087,"title":5845,"dynasty":2632,"author":12736,"museum":2563,"description":12737,"tags":16088,"thumbUrl":16089,"material":2598,"size":16090,"collection":6,"collections":16091,"showCount":16002,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"hua-shan-shui-zhou-ai-xin-jue-luo-yong-rong-222850",[2495,2496,2497,2577,2499,2500,2509,2501,2503,2506,2505,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8920c3dc2166da7d6d9ab54681a80f5.jpg","12.2x13.9 公分",[6,2534],{"id":1585,"slug":16093,"title":16094,"dynasty":2632,"author":3816,"museum":2818,"description":4471,"tags":16095,"thumbUrl":16096,"material":3257,"size":4474,"collection":6,"collections":16097,"showCount":16002,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-juan-2-gong-xian-222621","山水图卷-2",[2495,2544,2496,2497,2498,9413,2509,2499,2501,2506,2507,2614,2510,2511],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d02b1120bb03db2426b4f600768a89d.jpg",[6,2626,6382],{"id":1586,"slug":16099,"title":16100,"dynasty":2490,"author":4750,"museum":2973,"description":16101,"tags":16102,"thumbUrl":16103,"material":2732,"size":2598,"collection":6,"collections":16104,"showCount":16002,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"qiu-shan-qing-xing-tu-chen-huan-220149","秋山清兴图","陈焕是明代吴门画派画家，他是苏州人，生活在明代中后期。陈焕的传世作品不多，画史中关于他的记载仅有三两句，其中最关键的一句说他私淑侯懋功。私淑是文化人的说法，指不能拜入师门但心存向往，一心临习。侯懋功是文徵明一脉的后辈弟子，画风雅致，在江南一带名气很大。从私淑二字就可以看出来，陈焕的学画之路并不顺畅，不过再多的坎坷也阻挡不住他对艺术的向往。",[2495,2496,2499,2577,2501,2507,2506,2902,2502,2505,2509,5116],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45500562d0218a2947f633f2ac87f1e3.jpg",[6],{"id":1587,"slug":16106,"title":16107,"dynasty":2522,"author":6126,"museum":2589,"description":16108,"tags":16109,"thumbUrl":16110,"material":3157,"size":2598,"collection":6,"collections":16111,"showCount":16002,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"jin-biao-tu-wang-zhen-peng-220094","锦标图","该画作描绘了北宋宫廷金明池的龙舟竞渡活动，一方面显示夺标争锦之意，另一方面又有君民同乐的太平盛世意涵。",[2495,2544,2496,2497,2498,2790,2500,2549,2550,2502,2503,3207,3434,2552],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a6c7809bff9a5428579d2095a8cda8f.jpg",[6],{"id":1588,"slug":16113,"title":16114,"dynasty":2632,"author":3431,"museum":2997,"description":16115,"tags":16116,"thumbUrl":16117,"material":2597,"size":16118,"collection":6,"collections":16119,"showCount":16002,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"luan-shan-za-wu-tu-yi-ming-219980","乱山杂雾图","以水墨晕染层叠峰峦，远山隐在淡墨烟岚间，朦胧空灵似被晨雾轻裹。近崖怪石虬松错落，山坳殿宇半藏，清溪蜿蜒漱石有声，水畔幽人凭石观流。\n\n笔墨干湿互用，勾勒皴擦兼具，写意间不失精微，将朝雾初散的林泉清寂铺陈开来。呼应题画诗意，空山晓境里，仿佛能听见啄木轻响混着梵音溪声，禅意漫溢，尽揽山林静穆之美。",[2495,2496,2499,2501,2577,2509,2511,2547,2527,2614,2550,2506,2652,15308,2549,11503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F560f7ee714f936fe6b5bf9c7c3125307.jpg","107.9 × 38.5 cm",[6],{"id":1589,"slug":16121,"title":16122,"dynasty":2605,"author":3431,"museum":4795,"description":16123,"tags":16124,"thumbUrl":16125,"material":2567,"size":2598,"collection":6,"collections":16126,"showCount":16002,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"xue-yuan-tu-yi-ming-219919","雪园图","以俯瞰视角铺展冬园景致，枯木寒竹环伺素瓦厅堂，朱红廊桥蜿蜒于池畔，暖艳色调破开绢底沉郁的萧寒。远山以淡墨晕染，空濛悠远，不着一笔画雪，却借萧索枝桠、冷寂苔阶衬出隆冬清寒。\n\n屋宇勾勒工整流丽，与山水的写意晕染相融，将园林的规整雅致与冬景的荒淡清寂揉合一处，藏着宋人冬日静居园中的闲淡心境，把隆冬里的幽居意趣晕染在方寸纨扇之上。",[2495,2496,2497,5225,2790,2500,2550,2502,3091,2501],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa442b5ebc3c18eafd18163b69ed18bd3.jpg",[6],{"id":1590,"slug":16128,"title":16129,"dynasty":2632,"author":3431,"museum":2563,"description":16130,"tags":16131,"thumbUrl":16132,"material":2732,"size":2598,"collection":6,"collections":16133,"showCount":16002,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"gao-zong-yu-ti-shan-si-chao-lan-tu-zhou-yi-ming-219366","高宗御题山寺朝岚图轴","层岩叠嶂拔地而起，皴笔勾勒出山峦苍劲肌理，峰顶与烟岚相融，似隐似现间透着空濛。山腰古木森然，松针攒簇如盖，林间云雾流转，切割出深浅层次，平添幽远之趣。山坳梵宇错落，飞檐翘角隐于林麓，似有晨钟梵音裹挟岚气漫溢。近景蹊径蜿蜒，二叟策杖徐行，衣袂飘飘，与静谧山林相映成趣，尽显文人寄情山水的闲适。淡墨晕染烟岚，浓墨点染树石，虚实相生间，朝曦初露、岚气未散的胜境呼之欲出。清幽藏生机，静谧含悠远，引人步入那尘外之境，沉醉于自然与人文交织的雅韵中。",[2496,2497,2577,2501,2509,2499,2500,2507,2506,2614,2550,3736,2549,11503,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcec09cda273d9e86e7d09e154e60eccb.jpg",[6],{"id":1591,"slug":16135,"title":16136,"dynasty":2522,"author":3225,"museum":2563,"description":16137,"tags":16138,"thumbUrl":16139,"material":2597,"size":16140,"collection":6,"collections":16141,"showCount":16002,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xu-ting-zhu-qu-tu-cao-zhi-bai-218769","虛亭竹趣图","这幅画描绘了秋天小河岸边的一个空亭子，旁边有一群竹子。篆书非真迹，画风更类似于清代的倪瓒。",[2495,2496,2497,2499,2509,2501,2505,3155,2593,2677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F529ca6f843e4147fa9a2dc02717fed44.jpg","25.2x28.7",[6],{"id":1592,"slug":16143,"title":16144,"dynasty":2605,"author":6560,"museum":2563,"description":16145,"tags":16146,"thumbUrl":16147,"material":2567,"size":16148,"collection":6,"collections":16149,"showCount":16002,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"yun-shan-chun-ai-tu-zhao-ling-rang-218684","云山春霭图","轻烟淡霭缠绕层峦，山峦在云气中时隐时现，虚实交织间藏着悠远韵致。山间疏林错落，新绿初萌，透着春的温润。溪流蜿蜒穿梭雾霭，似有若无，添几分灵动。笔墨细腻清雅，山石勾勒柔婉，云雾以淡墨晕染，层次朦胧却不失清逸。整体意境宁静悠远，如春日拂晓的郊野，湿润气息裹挟草木轻香，引人遐想。画面取小景却含蕴生机与诗意，尽显文人山水雅致情韵，仿佛能让人暂避尘扰，沉醉在云山春霭的静谧里，感受自然与心灵的契合。",[2495,2496,2497,2499,2500,2501,2614,2651,2506,2617,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b9f12b887b14d2f8022acc378c6591e.jpg","26x23cm",[6],{"id":1593,"slug":16151,"title":16152,"dynasty":2490,"author":3431,"museum":16153,"description":16154,"tags":16155,"thumbUrl":16156,"material":2567,"size":2598,"collection":6,"collections":16157,"showCount":16002,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"lin-liu-guan-qiu-tu-yi-ming-217983","临流观秋图","布里斯托尔博物馆","临流观秋图是明朝时期佚名所作的一幅著名图画。这幅图画描绘了一个秋天的景象，主要内容是一条清澈见底的河流，周围是绿树成荫的山坡。在河对岸，可以看到一座小山丘，上面建有一座庙宇。\n\n在河流中，可以看到许多游鱼，它们在水面上跃起，似乎在欢迎秋天的到来。此外，还可以看到许多水鸟在河上飞翔，整幅画面非常宁静而美丽。\n\n临流观秋图被认为是明朝时期中国绘画史上的杰作之一，其中融合了自然风景和人文景观，使得画面更加丰富多彩。该图画被认为是明朝绘画的一个典型代表，其中体现了明朝时期中国文人画的特点。",[2496,2499,2500,2501,2503,2505,3091,2677,2552,2509,5116,2595,5548,2637,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff11e058cdac214e74ff20a01c13c4c98.jpg",[6],{"id":1594,"slug":16159,"title":16160,"dynasty":2490,"author":3264,"museum":2492,"description":16161,"tags":16162,"thumbUrl":16163,"material":2598,"size":2598,"collection":6,"collections":16164,"showCount":16002,"zanCount":2517,"manualWeight":2517,"mainColor":16165},"shu-hua-ce-dong-qi-chang-203014","书画册","笔墨疏朗清逸，以书入画的笔意贯穿其间。山石用淡墨皴擦，林木以简笔勾勒，屋舍隐于丘壑间，尽显文人画的雅致禅意。右侧山水云雾氤氲，层峦叠嶂间透着空濛之趣；左侧丘林静谧，草木扶疏中藏着幽居之思。题跋行书流畅，与画作相映成趣，融诗书画于一册，尽显晚明文人的审美意趣。",[2497,2592,2499,2501,2509,2507,3636,2614,2511,2579,11815,2495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19cd3e7e67f2166a0c7ee53857daa63e.jpg",[6],"d7ccc2",{"id":1595,"slug":16167,"title":16168,"dynasty":2490,"author":3264,"museum":2492,"description":16169,"tags":16170,"thumbUrl":16171,"material":2598,"size":2598,"collection":6,"collections":16172,"showCount":16002,"zanCount":2517,"manualWeight":2517,"mainColor":16173},"yan-wu-ba-jing-tu-ce-dong-qi-chang-203011","燕吴八景图册","画面取山水之精粹，左幅以淡彩晕染山峦，峰顶赭石点染与深绿山体形成层次，云雾借留白与淡墨晕化，松枝挺劲，岸畔茅舍隐现，尽显江南山水的温润悠远；右幅以水墨写雪景，山石皴法刚健，线条勾勒积雪厚重与岩石肌理，枯树疏枝傲立，寒江静谧，传递冬日山川的清寂萧疏。笔墨间可见董其昌对意境的追求，不重写实而重神韵，以简洁构图营造空灵淡远的文人气息，尽显“以画为寄”的艺术主张。",[5225,2499,2500,2509,2501,2779,10083,2507,2614,3166,3091,3361,2495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc25ef6d679fbc825f90db5e577bda970.jpg",[6],"beae99",{"id":1596,"slug":16175,"title":2761,"dynasty":2632,"author":5589,"museum":2492,"description":16176,"tags":16177,"thumbUrl":16178,"material":2598,"size":2598,"collection":6,"collections":16179,"showCount":16002,"zanCount":2517,"manualWeight":2517,"mainColor":16180},"shan-shui-tu-ce-xie-sun-202979","画面以淡墨轻彩铺陈，农舍隐于疏林石垣间，屋宇线条简洁却见结构，瓦顶墨色晕染层次分明。近树虬枝点叶，笔意灵动；远山以淡赭轻扫，云雾朦胧间显丘壑之远。水汽氤氲的平畴与错落的村舍相映，尽得江南田园的静谧清旷。笔法兼用工细与写意，设色淡雅温润，于简淡中藏生机，尽显山水之空灵与生活之朴拙。",[2496,2497,2592,2500,2501,2509,2506,2495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd6d1f41eaa104a374a625ee8e6c343f.jpg",[6],"b39c78",{"id":1597,"slug":16182,"title":7929,"dynasty":2632,"author":16183,"museum":2492,"description":16184,"tags":16185,"thumbUrl":16186,"material":2598,"size":2598,"collection":6,"collections":16187,"showCount":16002,"zanCount":2517,"manualWeight":2517,"mainColor":16188},"shan-shui-tu-zhou-qian-shu-201863","钱恕","画面层峦叠嶂，山石皴染结合，纹理细腻尽显雄浑质感；枯树虬枝苍劲，与葱郁林木相映，生机与古意交织。山间村落隐于云雾间，若隐若现，静谧中含烟火气。云雾缭绕峰谷，虚实相生，拓展深远意境。笔墨雅致，意境清幽，融自然之美与文人淡泊襟怀于尺幅，尽显山水之韵。",[2496,2577,2501,2509,2499,2506,2529,2614,2502,2495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F257d2cf2d9c40dd7451a3851643ec048.jpg",[6],"a38f76",{"id":1598,"slug":16190,"title":8908,"dynasty":2632,"author":14476,"museum":2492,"description":16191,"tags":16192,"thumbUrl":16193,"material":2598,"size":2598,"collection":6,"collections":16194,"showCount":16002,"zanCount":3198,"manualWeight":2517,"mainColor":16195},"xie-qin-fang-you-tu-zhou-zhou-hao-201789","这幅画作以细腻皴笔勾勒山峦肌理，石纹苍劲分明，云雾轻笼间瀑布飞泻，添得几分空濛灵动。山麓处林木葱郁，小径蜿蜒过石桥，几处屋舍隐于绿荫，似有雅士携琴来访，清幽氛围中蕴藉文人雅兴。笔墨苍润，构图疏密有致，山水之秀与人文之趣相映，尽显传统山水画的意境悠远。",[2501,2509,2502,2503,2550,3636,2495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F799b088374a09b1f5621d68a71992870.jpg",[6],"ae9d88",{"id":1599,"slug":16197,"title":16198,"dynasty":2632,"author":6420,"museum":2818,"description":16199,"tags":16200,"thumbUrl":16201,"material":2598,"size":2598,"collection":6,"collections":16202,"showCount":2536,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-xiao-ce-qian-wei-cheng-238514","山水小册","此作用平远之法铺展秋郊山居：前景田亩纵横，村舍错落，农人俯身耕织，晕开融融烟火意趣。中层峰峦叠翠，林木蓊郁苍润，山石以细密皴法勾勒晕染，干湿浓淡间尽显丘壑层次。远景山峦清寂空灵，淡赭轻敷点染秋光。\n\n题诗与画作相映成趣，笔致工稳秀润，既有严整的山水法度，又揉入江南田园的悠然野趣，将秋日郊野的静穆生机诉诸笔端。文人雅致与村居烟火相融，把山居秋日的澹然闲逸刻画得淋漓尽致，尽显传统山水的抒情意韵。",[2496,2497,2592,2500,2509,2501,2714,2593,2529,5311,2503,2507,2718,2508,8893],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44002ec93ae585ef891e8d628bc9422f.jpg",[6,2534],{"id":1600,"slug":16204,"title":16205,"dynasty":2490,"author":8501,"museum":2563,"description":16206,"tags":16207,"thumbUrl":16208,"material":2598,"size":2598,"collection":6,"collections":16209,"showCount":2536,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"qiu-shan-xian-tiao-tu-zhou-qian-gu-237460","秋山闲眺图轴","钱榖〔清〕字子璧，号内史，晚号东海逸民，华亭（今上海市松江）诸生。诗、画俱工绝。清朝以来，松江以书名者，则有钱谷、曹思邈、沈楫。钱、曹皆名宿，而结构精劲当推钱第一。晚年名益重，求书者户尝满。《三冈识略》、《江苏诗徵》、《画家知希录》",[2496,2577,2500,2501,5116,2506,2611,2549,2507,2547,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F904104c77a5562b5226fd2d200081be0.jpg",[6],{"id":1601,"slug":16211,"title":5287,"dynasty":2632,"author":16212,"museum":2673,"description":16213,"tags":16214,"thumbUrl":16216,"material":2867,"size":2598,"collection":6,"collections":16217,"showCount":2536,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-gu-shan-shui-ce-zhao-cheng-236819","赵澄","[明]（一五八一至？）晚年得铜汉章改名澄，字雪江，一字湛之，颍州（今安徽阜阳）布衣。山水泼墨、细谨两擅其长。学宗董源、范宽、李唐诸家。又善临摹，见大内所藏皆缩为小幅，无一笔不肖。又仿古二十幅极精，为琉球国王所得，永为海外珍宝。并工写照，得意之作皆用铜章。以博学能诗称。顺治十一年（一六五四）仿各家山水册时年七十四。《国[清]朝画徵录、读画录、图绘宝鉴续纂、桐阴论画》",[2496,2497,2592,2500,2501,3267,2506,2508,2595,2549,3736,4787,16215,2507],"绿树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ebc5ce7d4cd925819659780280bf13.jpg",[6,2534],{"id":1602,"slug":16219,"title":2761,"dynasty":2632,"author":16220,"museum":2818,"description":16221,"tags":16222,"thumbUrl":16223,"material":5818,"size":5819,"collection":6,"collections":16224,"showCount":2536,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-ce-mei-chong-235916","梅翀","梅翀，明末清初画家，字培翌、培翼，号鹿墅，安徽宣城人，生卒年不详，艺术家，代表作《幽林探胜图》等。",[2496,2497,2592,2499,2500,2509,2501,2714,2593,2552,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d9e4c67409d1d348e7ede1eed98b32c.jpg",[6],{"id":1603,"slug":16226,"title":16227,"dynasty":2490,"author":7546,"museum":2818,"description":16228,"tags":16229,"thumbUrl":16230,"material":5818,"size":5819,"collection":6,"collections":16231,"showCount":2536,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-dou-ya-tu-ye-chen-chun-235764","吴门诸家寿袁方斋三绝册-斗鸭图页","陈淳（1483年—1544年），字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲（今江苏苏州）人，明代绘画大师。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。",[2496,2497,2592,2499,2501,2504,2503,2505,2677,2578,2552],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc65850c37b4775f5d75358b0352c4b4.jpg",[6],{"id":1604,"slug":16233,"title":2587,"dynasty":2632,"author":16234,"museum":2818,"description":16235,"tags":16236,"thumbUrl":16237,"material":5818,"size":5819,"collection":6,"collections":16238,"showCount":2536,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-zhu-chang-235546","祝昌","祝昌[清]字山嘲，安徽广德人（一作安徽舒城人），居新安（今安徽歙县），又客汉上。顺治六年（一六四九）进士（清朝书画家笔录误入道光朝）。山水学渐江，后学元季诸家，画多逸致。性孤介，遇不以礼，虽饼金不售。《国[清]朝画徵录、图绘宝鉴续纂》",[2496,2497,2592,2499,2509,2501,2502,2503,2504,2507,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2ad5b2fa16ff516a5cdea7f7f52a564.jpg",[6],{"id":1605,"slug":16240,"title":16241,"dynasty":2632,"author":6429,"museum":2818,"description":15104,"tags":16242,"thumbUrl":16243,"material":5818,"size":5819,"collection":6,"collections":16244,"showCount":2536,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"zheng-min-shan-shui-ce-zheng-min-235092","郑旼山水册",[2496,2497,2592,2499,2509,2511,2501,2714,2593,2652,3736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb34c32d893f22e763f30d2b17213649.jpg",[6,2626],{"id":1606,"slug":16246,"title":2761,"dynasty":2632,"author":2996,"museum":2818,"description":16247,"tags":16248,"thumbUrl":16249,"material":2598,"size":2598,"collection":6,"collections":16250,"showCount":2536,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-ce-hua-yan-235070","此作笔墨清隽秀逸，江畔枯枝干瘦虬曲，皴擦间尽显苍劲古拙之态，怪石错落暗藏嶙峋野趣。淡墨晕染远山，将江天寥廓的空寂意境铺陈开来，简淡中藏着幽远意趣。\n\n左侧行书题诗笔势舒展俊朗，诗画相映，将幽居江渚、寄情山水的文人襟怀融于尺幅。整幅以极简笔墨勾勒萧散淡远的林下之风，未作繁复铺陈，却把江渚间清冷澹泊的意蕴娓娓道来，尽显文人画简净空灵的审美意趣。",[2496,2497,2592,2499,2501,3091,2677,2715,2510,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff58096078f671bcc61fca71c47b69df0.jpg",[6,2626],{"id":1607,"slug":16252,"title":11431,"dynasty":2490,"author":3431,"museum":3121,"description":16253,"tags":16254,"thumbUrl":16255,"material":2531,"size":16256,"collection":6,"collections":16257,"showCount":2536,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-ce-ye-yi-ming-223457","魏晋南北朝时期，山水画逐步摆脱了作为人物画背景的角色，并发展成为一门独立的画种。此时的山水画技法与人物画大体相似，所运用的都是勾线填彩法，即以线描勾勒出山石树木的轮廓，再用颜色渲染出其形体。从现存的宋人摹顾恺之《洛神赋图》中可以看出当时的大致风貌。山水画发展到唐代，呈现出一片繁荣的景象，画家们已不满足于只用人物画的勾线填色法来表现自然山水，新的画法竞相出现。以李思训、李昭道父子为代表的青绿山水画派，其画法是在继承了魏晋以来的山水画勾线填色法的基础上，着重以青、绿二色为主的一种风格。此画法在唐代影响较大，从学者众多，被后世认为是最能体现唐代山水画风貌的流派。南宋的赵伯驹、赵伯骕便是此画派集大成者。如《龙舟竞渡图》《仙山楼阁图》都属于继承此种风格的作品。此外李思训、李昭道亦长于楼阁界画，后世从学者众多，在宋代小品画中也有体现，如《蓬莱仙馆图》《高阁凌空图》《层楼春眺图》等。",[2495,2496,2497,2592,2499,2500,2509,2501,2527,2614,2507,2508,3736],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfa61be3e6ce1f76dc236feac0ec9224.jpg","38.1×40",[6,2626],{"id":1608,"slug":16259,"title":16260,"dynasty":2490,"author":3431,"museum":16261,"description":16262,"tags":16263,"thumbUrl":16264,"material":3608,"size":16265,"collection":6,"collections":16266,"showCount":2536,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"si-ji-tu-juan-yi-ming-223400","四季图卷","日本京都高桐院","该作品，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。托名李唐之作，当是明人仿古之作。",[2495,2498,2496,2544,2497,2501,6474,2509,2500,2550,2502,2503,2505,2579,5281,2651,2506,3267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90cf2282e5eee3e7a82bdfb99910e204.jpg","35.1X661.9",[6,2626],{"id":1609,"slug":16268,"title":16269,"dynasty":2632,"author":5172,"museum":2563,"description":11613,"tags":16270,"thumbUrl":16272,"material":2732,"size":16273,"collection":6,"collections":16274,"showCount":2536,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"qiu-shu-yun-fan-zhou-dong-bang-da-223119","秋树云帆轴",[2495,2496,2497,2577,2499,2509,2547,2501,3473,16271,2502,2503,2504,2505,2549,2507,2506],"云帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4681dcd6e0cf39452c603f9d6d6ece6e.jpg","121x59.8",[6,2626],{"id":1610,"slug":16276,"title":16277,"dynasty":2490,"author":5253,"museum":2563,"description":16278,"tags":16279,"thumbUrl":16280,"material":2567,"size":16281,"collection":6,"collections":16282,"showCount":2536,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"xi-ge-qing-yan-tu-lan-ying-222597","溪阁清言图","此图的灵感来源是元代画家赵雍。画山石的时候，先用“披麻皴”来描绘质理，然后上面再轻轻罩染一层石青、石绿的颜料。山峰上的苔点和攀附松身的女萝，也是用冷色调的石青敷填，显得十分醒目。蓝瑛灵活地运用元代绘画的模式，将它转化成新的绘画语汇，再融入自己的创作之中。",[2495,2496,2497,2577,2500,2509,2501,2902,2550,2507,2613,2508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5032344b2a24faa1cebce70996974eca.jpg","纵167.5cm，横48.3cm",[6,2534],{"id":1611,"slug":16284,"title":16285,"dynasty":2490,"author":5253,"museum":16286,"description":12545,"tags":16287,"thumbUrl":16288,"material":2639,"size":16289,"collection":6,"collections":16290,"showCount":2536,"zanCount":2517,"manualWeight":2517,"mainColor":3447},"lin-da-chi-shan-shui-tu-juan-lan-ying-222581","临大痴山水图卷","美国芝加哥艺术学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(《无声诗史》)。这样看来，如果说画面的前半部分是类文徵明的细劲、秀丽，那么远景山水的画法可不可以说是居节“尚气节”的“清高”和“骨气”的表现呢?我以为，也正是这种略显枯硬的画法，让他的山水画在吴派绘画基本风格的基础上又具有了宋人雄浑、劲健、简率的作风。\n从这幅作品中，我们看到了居节的文雅与气节两个方面的表现，可称为他的代表作。另外，从居节传世作品《潮满春江图》(镇江博物馆藏)、《万松小筑图》(上海博物馆藏)都可以看出居节在这两方面所做的努力。",[2496,2497,2577,2499,2509,2510,2547,2501,2505,2506,2507,2549,3136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae00f4c63d3c5de5bd06031dced56aac.jpg",[6,2626,6382],{"id":1632,"slug":16447,"title":16448,"dynasty":2632,"author":16449,"museum":2818,"description":16450,"tags":16451,"thumbUrl":16452,"material":2598,"size":2598,"collection":6,"collections":16453,"showCount":2571,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-peng-xin-xie-wang-chen-238980","山水册－蓬心写","王宸","此作用笔苍秀松脱，以干笔皴擦追摹披麻古意，墨色干湿层叠，淡赭与花青轻施晕染，色调清和雅致。近景草堂依水，古松亭亭如盖，木桥架于浅溪，坡岸草木葱茏，山居意趣悠然尽显。中景峰峦环合，林木蓊郁掩映，水泽迂回流连，藏露得宜。远景平峦以淡墨虚写，空蒙渺远，铺展出悠远空间层次。\n\n整幅以简淡之笔绘就江南丘壑，将山川温润秀逸之态，与文人寄情林泉的幽寂襟怀相融，观之如身临幽居，俗虑尽消，尽显静穆淡远的文人山水意韵。",[2496,2497,2592,2499,2500,2501,2509,2502,2503,2593,2507,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fdce2d56454e2dcb3893504b67bb526.jpg",[6,2968,2534],{"id":1633,"slug":16455,"title":16456,"dynasty":2632,"author":11399,"museum":2818,"description":11400,"tags":16457,"thumbUrl":16458,"material":2598,"size":2598,"collection":6,"collections":16459,"showCount":2571,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"si-jing-shan-shui-xiao-ce-dong-gao-238339","四景山水小册",[2496,2497,2592,2499,2500,2509,2501,2714,2593,2508,2614,3880],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54a1147384ebec720ae9dfe5d6b1add9.jpg",[6,2534],{"id":1634,"slug":16461,"title":2587,"dynasty":2632,"author":15681,"museum":2673,"description":16462,"tags":16463,"thumbUrl":16464,"material":2598,"size":2598,"collection":6,"collections":16465,"showCount":2571,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-wen-dian-237551","文点（一六三三―一七o四），字与也，号南云山樵，长洲（今江苏苏州）人。 明代著名画家文徵明之子文彭的玄孙。清初著名书画家。\n文点\n工诗文，善书、画。山水能传徵明家法，用笔细秀，染晕迷离，盖以墨者胜也。兼善人物，尤长松竹小品，笔墨及其文雅，松身好点苔，时人戏曰：“文点松，文也文，点也点。”清介不求闻誉。之京师，人欲以国子博士荐之不就。父殁，依墓田以居，弃举子业，以书、画自娱给衣食。卒年七十二。著南云集。《吴县志、长洲县志、文氏族谱续集、国[清]朝画徵续录、曝书亭集、桐阴论画、画传编韵》",[2496,2497,2592,2499,2509,2501,2902,2507,2502,2549,2960],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9ad5700825cb73019c96712ef15dc32.jpg",[6,2626],{"id":1635,"slug":16467,"title":2761,"dynasty":2632,"author":16468,"museum":2818,"description":16469,"tags":16470,"thumbUrl":16471,"material":5818,"size":5819,"collection":6,"collections":16472,"showCount":2571,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-ce-yao-song-237479","姚宋","姚宋（1648—1721），字雨金，一作雨京，号野梅。安徽新安（今安徽歙县）人。清代画家。\n姚宋寓居芜湖。擅长山水画，其初学弘仁，后期广学诸家，成为新安派画家之一。姚宋所画人物、花鸟、鱼虫、兰竹、无不工致。",[2496,2497,2592,2499,2501,2509,2511,2547,2714,2715,2593,2502,2508,2505,2977],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F386dd09a026bd7288f1b27e4adf58aca.jpg",[6],{"id":1636,"slug":16474,"title":7929,"dynasty":2632,"author":16475,"museum":2818,"description":16476,"tags":16477,"thumbUrl":16478,"material":2598,"size":2598,"collection":6,"collections":16479,"showCount":2571,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-zhou-zhou-tang-237468","周棠","周棠（1806 ～ 1876），字召伯，一字少白，号兰西，山阴（今浙江绍兴）人。官光禄寺署正。写意花卉酷似徐渭、陈淳。山水则师石涛。晚年专画石，张之万称为清代画石第一。朝鲜使者每乞其画归。能诗，兼工篆、隶，善刻印章。",[2496,2497,2577,2499,2637,2501,2730,2506,2549,4231,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d739fa2aaf5310e49b14142a60cf5b.jpg",[6,2626],{"id":1637,"slug":16481,"title":14800,"dynasty":2490,"author":11076,"museum":2673,"description":14801,"tags":16482,"thumbUrl":16484,"material":2732,"size":2598,"collection":6,"collections":16485,"showCount":2571,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"qing-xue-zhang-song-tu-zhou-zhang-rui-tu-237452",[2496,2497,2577,2499,2501,2902,2507,3166,2509,2506,6432,16483],"墨笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0c986419dee5327b255f01afe2fab23.jpg",[6,2626],{"id":1638,"slug":16487,"title":16488,"dynasty":2632,"author":3431,"museum":2673,"description":16489,"tags":16490,"thumbUrl":16491,"material":16492,"size":16493,"collection":6,"collections":16494,"showCount":2571,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"zheng-min-qiu-lin-du-shu-tu-zhou-yi-ming-237151","郑旼秋林读书图轴","此作用笔萧散简淡，远山奇崛冷峻，枯松虬木姿态苍劲古拙，水畔文士持杖独立，似在凝眺幽林远岫，静享林泉清寂。左侧题诗与画作相融，以水墨淡皴晕染山石，浓墨点苔醒出苍润质感，枯荣林木错落相衬，满卷秋意萧寒空灵。借林下幽境，寄寓避俗忘机的文人襟怀，将山水之幽与隐逸之思交织，笔意藏着清疏雅逸的出世意趣，尽显传统文人画以画明心的雅致风骨。",[2496,2497,2577,2499,2509,2501,2549,2506,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11420027d975e42468ac799413d85192.jpg","纸本淡设色","纵135cm，横112.5cm",[6,2626,6382],{"id":1639,"slug":16496,"title":2587,"dynasty":2632,"author":6249,"museum":2818,"description":10957,"tags":16497,"thumbUrl":16498,"material":2598,"size":2598,"collection":6,"collections":16499,"showCount":2571,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-cha-shi-biao-237099",[2496,2497,2592,2499,2509,2501,2714,2715,2593,2505,2677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F168aeb0486c41328f6e24fb32764dd3a.jpg",[6],{"id":1640,"slug":16501,"title":3490,"dynasty":2490,"author":16502,"museum":2818,"description":16503,"tags":16504,"thumbUrl":16505,"material":2598,"size":2598,"collection":6,"collections":16506,"showCount":2571,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-zhou-xu-hong-ze-237095","徐弘泽","徐弘泽，字润卿，号春门，自号所浪老人，浙江嘉兴人，明嘉靖间书画名家，书法从赴孟俯取途，晚爱张伯雨，遂与姚绶颉颃，画出入元，明诸大家，与李晔，陈继儒相埒。",[2496,2577,2500,2501,2578,2977,2505,2549,2790],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb88b84f122c9d61a2d5bc9fc317e6025.jpg",[6],{"id":1641,"slug":16508,"title":2587,"dynasty":2490,"author":16509,"museum":2818,"description":16510,"tags":16511,"thumbUrl":16512,"material":2732,"size":2598,"collection":6,"collections":16513,"showCount":2571,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-zhang-yan-237027","张彦","张彦（？－？），字伯美，号无诤道人，嘉定（今属上海市）人，一作江苏苏州人，明朝画家。\n与董其昌同时，善于画山水、人物、花卉，与苏州张宏齐名。",[2496,2497,2592,2499,2509,2501,2507,2506,4657,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f632a06e9383dc4a5468b0b3c0a111b.jpg",[6,2534],{"id":1642,"slug":16515,"title":16440,"dynasty":2490,"author":16441,"museum":2818,"description":16442,"tags":16516,"thumbUrl":16517,"material":2598,"size":2598,"collection":6,"collections":16518,"showCount":2571,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"ju-jie-shan-shui-zhou-ju-jie-236923",[2496,2497,2577,2499,2509,2501,2593,2611,2507,2613,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fe76918b84b330009e95a81e2db08f7.jpg",[6,2626],{"id":1643,"slug":16520,"title":16521,"dynasty":2632,"author":3431,"museum":2673,"description":16522,"tags":16523,"thumbUrl":16524,"material":3069,"size":16525,"collection":6,"collections":16526,"showCount":2571,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"tang-dai-xiao-yuan-xian-yong-tu-ce-yi-ming-234898","唐岱小园闲咏图册","唐岱（1673—1752后），字毓东，号静岩，又号默庄，满洲正蓝旗人。康熙中以荫官参领。从王原祁学画，丘壑似王原祁，远宗宋人，“泼墨淋漓，气韵生动”。康熙后期常将其召入宫中作画，品题其画为当时第一手，赐称“画状元”。\n第一开：曲径通幽。对开题：“为隔尘氛远，应怜曲径长。迂回山势抱，逦迤竹垣藏。鹤歩苔痕合，春归花气香。板桥流水外，别有读书堂。”\n第二开：芳屿围棋。对开题：“乘兴步芳屿，逍遥任所之。已看苔作席，最爱柳成帷。漫煮蒙溪茗，闲抛赌墅棋。东山称盛事，吟望寄遐思。”\n第三开：桃溪步履。对开题：“山桃开也未，杖策试探寻。好景春来遍，芳溪曲处深。明霞千树叠，傍水一枝临。何必武陵路，随缘物外心。”\n第四开：竹坞春深。对开题：“闲过山坞里，粉脱见新篁。劲节当春绿，踈竿泛籁长。萧骚寒雨夜，彷佛辋川庄。不肯裁为管，无劳引凤凰。”\n第五开：芳港闻莺。对开题：“春色堂堂去，莺声恰恰来。缗蛮听处涩，风景暗中催。长日慵摊饭，新缸喜拨醅。笙簧随分有，何必舞三台。”\n第六开：春湖涵碧。对开题：“碧水漾平湖，空明一镜铺。须眉应可鉴，尘壤杳然无。点点浮青荇，双双下白鳬。春风浴沂水，视此意何殊。”\n第七开：石坂烹云。对开题：“敲火乌卿炽，烹云玉液清。龙团曾未点，鱼目已旋生。漫说肠堪润，应知眼倍眀。披襟成小啜，孤鹤一声鸣。”\n第八开：广厦冰壶。对开题：“天伏三庚永，堂开六月凉。深深屏隔暑，叠叠簟含霜。底事挥纨扇，无劳问蔗浆。冰壶供坐卧，乐意自相忘。”\n第九开：镜水荷香。对开题：“半夜芙蓉雨，三间水月楼。清香随处度，风景一时收。干密妨鱼跃，花深隐鹭游。诗情频入座，不必问渔舟。”\n第十开：月楼夕幌。对开题：“雨洗尘氛静，天空花鸟闲。月楼开一面，夕幌卷千山。牧笛耳边过，征鸿眼里还。桂香依旧发，付与阿谁攀。”\n第十一开：兰桡独钓。对开题：“秋湖鱼怯饵，把钓事如何。绿水一竿竹，清风几领簑。蒹葭尘外老，星月个中多。夜静独归去，清光挂女萝。”\n第十二开：竹篱鹤歩。对开题：“结社松为宅，看家鹤守门。偏知人客至，不负稻粱恩。宿月精神古，梳风毛羽繁。由来好僮仆，不必贵乘轩。”\n第十三开：芦岸秋晴。对开题：“秋色知多少，芦花尽白头。战风摇夕浦，饮露亚寒洲。生意知将谢，随时未肯休。苍茫烟水里，好去弄扁舟。”\n第十四开：板桥霜迹。对开题：“隔溪亭子迥，为架板桥通。秋老碧天白，寒流枫叶红。卷帘吟夜月，着屐歩霜风。爱此双双迹，扶笻过水东。”\n第十五开：雪径梅姿。画心左下款署“唐岱恭画”。对开题：“四时花木足，最喜是园梅。傲雪三冬里，因风几朵开。清香流玉骨，冷润滴氷腮。独有幽人赏，巡檐杖策来。右《小园闲咏》十五首，雍正乙卯夏五月，宝亲王长春居士著”。梁诗正谨书。",[2496,2497,2592,2500,2511,2510,2547,2501,2550,2507,2506,2552,3964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd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—1772）于第二次南巡时陪同南下，不但于苏州绘「借山斋」一景，稍早经过家乡常州时，亦为乾隆皇帝绘制当地名胜苏轼「舣舟亭」，颇似御用的随行写生画家。此作描绘苏州虎邱一带的景致，承续「四王」山水风格，并揉合地貌与建筑，呈现出清代宫廷正统派山水画的风貌。乾隆皇帝于虎邱所题诗句「林泉印证真亲切，秀丽从来说虎邱」，显示出他以艺术品「即景印证」的习惯，并不囿于古代名迹，当朝词臣的画作亦可添助游兴。",[2495,2496,2497,2577,2501,2509,2500,2714,2715,2506,2508,2613,2595,2547,2507,5052],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8d4bfa5c29a8ba7cf79a8b52cded174.jpg","63.7x31.8",[6,2534],{"id":1647,"slug":16549,"title":9380,"dynasty":2632,"author":16550,"museum":2818,"description":16551,"tags":16552,"thumbUrl":16553,"material":2732,"size":16554,"collection":6,"collections":16555,"showCount":2571,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xi-shan-yan-yu-tu-hu-gong-shou-220251","胡公寿","胡公寿（1823年—1886年），初名远，号瘦鹤、小樵，别号横云山民，华亭（今上海松江）人，清末书画家。其书法出入于平原、北海间，独具体势。诗宗少陵，清健遵练。为海上画派代表画家之一。传世作品有《桂树图》、《香满蒲塘图》等",[2495,2496,2499,2577,2501,2611,2506,2507,8193,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ee7a7a41050c79328c18df5f5c33a46.jpg","49.54*180",[6],{"id":1648,"slug":16557,"title":16558,"dynasty":2490,"author":11169,"museum":2997,"description":16559,"tags":16560,"thumbUrl":16561,"material":2567,"size":2598,"collection":6,"collections":16562,"showCount":2571,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"liu-ting-tu-zhang-guan-219924","柳艇图","生卒年不详，字可观，松江枫泾（今上海金山）人。元代迁居嘉兴（今属浙江），明洪武中寓长洲（今江苏苏州市）。生长于木匠家庭，从小爱游览山水，喜欢作山水画。师法马远、夏圭，亦参学李、郭熙，后与吴镇、盛懋、丁野夫相交，笔墨大进，所作雍容苍秀，格韵悉佳，古劲清润，秀雅胜俗。",[2496,2499,2501,3542,2504,2549,2507,2715,2987,2577,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92728b3c452c53bcaa2010c0930b8fc4.jpg",[6],{"id":1649,"slug":16564,"title":16565,"dynasty":2490,"author":3431,"museum":5068,"description":16566,"tags":16567,"thumbUrl":16568,"material":3157,"size":2598,"collection":6,"collections":16569,"showCount":2571,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"jun-ling-tu-yi-ming-219897","峻岭图","危峰拔地直插烟岚，苔痕皴染崖壁，凭添苍古荒寒之意。山巅与幽谷间云气漫漶，虚实相生衬出峰峦巍峨雄浑。下方虬松横斜出枝，蟠曲如游龙，苍劲松针攒簇，尽现山野老松的疏狂之姿。\n\n山麓茅亭敞轩，高士偃卧假寐，篱舍隐于浅渚林泉间，枯木荒坡错落排布，淡墨晕染出空寂萧散的汀岸野趣。全作用笔兼具勾勒皴擦，水墨干湿浓淡层叠铺陈，将山水的宏阔与林下幽居的静穆相融，尽显林泉高致的隐逸意趣，于尺幅间铺展出文人心底旷远高逸的林下襟怀。",[2496,2497,2577,2499,2501,2902,2507,2506,2690,2549,2505,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaeb6304a00605300597860cc5dd69c6.jpg",[6],{"id":1650,"slug":16571,"title":16572,"dynasty":2632,"author":16573,"museum":2687,"description":16574,"tags":16575,"thumbUrl":16576,"material":2597,"size":16577,"collection":6,"collections":16578,"showCount":2571,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"yun-ling-shui-sheng-tu-wang-jian-zhang-219720","云岭水声图","王建章","《云岭水声图》画层峦叠嶂，瀑布挂落，溪流绕岸，小径蜿蜒，云雾弥漫，数间房舍掩映于葱郁的树林间，境界超逸。山石以披麻皴描绘，树木以湿润浓墨点染，画面苍郁沉厚。图右题唐诗：“横云岭外千里树，流水声中三五家。”诗情画意交融。",[2495,2496,2544,2499,2509,2577,2501,3208,2611,2503,2506,2508,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18c7c418b4dff5a1a53023aff36e0194.jpg","纵95厘米,横48．1厘米",[6],{"id":1651,"slug":16580,"title":16581,"dynasty":2490,"author":16582,"museum":2563,"description":16583,"tags":16584,"thumbUrl":16585,"material":2732,"size":16586,"collection":6,"collections":16587,"showCount":2571,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-cai-ding-li-tu-xiang-yuan-bian-219466","善才顶礼图","项元汴","项元汴（西元一五二五－一五九0年）字子京，别字墨林居士，为江南的大收藏家，家藏既多，薰习之久，亦能自运。其山水学元黄公望、倪瓒，尤醉心于倪，得其胜趣。此幅画松石崖瀑，用笔秀劲流畅，构景命意皆静穆之甚。善才童子向空顶礼，取势生动，似见仇英风范。虽云画佛，仍是山水画格局。右下有其孙项圣谟之题识「天童弟子通变天籁阁孙男圣谟。壬辰（一六五二）中秋日拜题」。",[2496,2497,2577,2499,2501,2549,2507,2506,2528,2902,2614,2509,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fadde91c721a075251422a51b21041e.jpg","130x30.5",[6],{"id":1652,"slug":16589,"title":16590,"dynasty":2632,"author":10762,"museum":2563,"description":16591,"tags":16592,"thumbUrl":16593,"material":2512,"size":16594,"collection":6,"collections":16595,"showCount":2571,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"fan-cheng-da-mai-chi-dai-ci-tu-cao-kui-yin-219431","范成大卖痴呆词图","这幅画是范成达农历十二月村田乐府诗中关于卖痴呆症的诗。 苏州风俗，孩子怕自己痴呆，所以想卖“痴呆”。 于是跨年夜过后，孩子们在街上游行，大喊大叫卖痴呆症。",[2496,2497,2577,2500,2501,2549,2550,3091,2508,2507,2505,2547,2546,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe24ffa84bd65559c421b643f58bad25.jpg","纵113横28.7厘米",[6,2968],{"id":1653,"slug":16597,"title":16598,"dynasty":2490,"author":3225,"museum":2563,"description":16599,"tags":16600,"thumbUrl":16601,"material":2499,"size":3229,"collection":6,"collections":16602,"showCount":2571,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-ji-jing-ce-yuan-shan-shui-cao-zhi-bai-219293","山水集景册-元山水","曹知白（西元一二七二—一三五五年），华亭（今江苏上海）人。字又玄，号云西。至元（一三三五—一三四○年）间，为昆山教谕。善画山水，师法郭熙。水墨画虬松双株并立于前，树枝往下伸张如蟹爪状，是典型李郭派画法。茅屋层基而起，流水下泻于旁，淙淙有声，窗间有人仰谛，鹤步松阴，一派闲散之意。全图之山石树木，用墨浓淡相间，饰以苔点，疏林深秀，天真平淡。",[2496,2497,2499,2592,2509,2501,2507,2506,2578,2503,2913],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86004cc62cb48c9f04a95ff719be5e31.jpg",[6],{"id":1654,"slug":16604,"title":16605,"dynasty":2522,"author":6126,"museum":2563,"description":16606,"tags":16607,"thumbUrl":16608,"material":2531,"size":2598,"collection":6,"collections":16609,"showCount":2571,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"qing-xi-tai-xie-tu-wang-zhen-peng-218771","清溪台榭图","楼阁依山傍水而立，飞檐翘角似振翅的禽鸟，斗拱层叠如织就的锦纹，线条精准若刀刻般利落，尽显界画之工细。清溪如练，波光隐约映出台榭一角，添几分清寂。远山以淡墨晕染，云雾缭绕间露嶙峋轮廓，与近景建筑的规整形成虚实相生之韵。整幅画于严谨技法中透出空灵意境，建筑的精巧与山水的悠远相互映衬，似一处远离尘嚣的栖居，引人沉醉于这份宁静雅致的元人笔墨之美。",[2495,2496,2790,2546,2500,2550,2503,2501,13073],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69d849b6217ab9ba987457aabcd016dc.jpg",[6],{"id":1655,"slug":16611,"title":16612,"dynasty":2605,"author":3431,"museum":2563,"description":16613,"tags":16614,"thumbUrl":16615,"material":2567,"size":16616,"collection":6,"collections":16617,"showCount":2571,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xue-xi-gu-si-tu-yi-ming-218705","雪溪古寺图","这幅画描绘了一个山村和一座耸立在深雪中的山谷中的古寺，一个骑驴的和尚与一个拿着雨伞的仆人一起走在雪地里。这幅画的尺寸很小，是郭熙风格的典范，画中的小屋和小刺沏是程式化的，可能是元明时期的作品。",[2495,2496,2497,2499,2509,2501,3078,12400,2507,2506,2613,2690,3166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4b70cfa37a2e0c165015de0b7e5d2a2.jpg","24.5x25",[6],{"id":1656,"slug":16619,"title":16620,"dynasty":13127,"author":16621,"museum":2492,"description":16622,"tags":16623,"thumbUrl":16626,"material":2598,"size":2598,"collection":6,"collections":16627,"showCount":2571,"zanCount":2517,"manualWeight":2517,"mainColor":16628},"kang-you-wei-fu-ren-xiang-xu-bei-hong-203078","康有为夫人像","徐悲鸿","女子身着素白长袍，衣缘以靛蓝勾勒，线条雅致，尽显温婉端庄。她立于庭院一角，身旁石桌叠放典籍，指尖轻触书页，似含沉静书卷气。背景绿植、花钵与远山淡影相映，中西绘画技法交融，既保留传统人物画神韵，又以写实笔触刻画细节，衣褶质感与面部神情细腻生动，传递出人物内敛气质与时代文化印记。",[16624,2549,2500,16625,2501,2495],"油画","典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb8b94007c4787acd9155bef28ac8931.jpg",[6],"d1c3a4",{"id":1657,"slug":16630,"title":3490,"dynasty":13127,"author":13128,"museum":2492,"description":16631,"tags":16632,"thumbUrl":16634,"material":2598,"size":2598,"collection":6,"collections":16635,"showCount":2571,"zanCount":2517,"manualWeight":2517,"mainColor":16636},"shan-shui-zhou-huang-bin-hong-202825","这幅山水轴笔墨苍劲浑厚，意境幽远深沉。上部山峦层叠，以浓淡干湿的墨色皴擦点染，山体纹理交错，尽显雄奇厚重之态；山脚下溪流蜿蜒，屋舍隐于苍松翠柏间，岸边亭台小巧，林木错落有致，一派静谧的山居气象。画家运用积墨与破墨技法，墨色层次丰富，线条刚柔相济，既承传统山水的笔墨精髓，又融入个人对自然的深刻体悟，画面气韵生动，于苍莽中见清幽，引人步入林泉之境，心生向往。",[2496,2501,2509,2499,2505,2579,2506,2651,2613,9413,16633,2495],"破墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4686603adc4b2ff54977912a749d19c.jpg",[6],"c2beb2",{"id":1658,"slug":16638,"title":16639,"dynasty":2632,"author":11399,"museum":2818,"description":11400,"tags":16640,"thumbUrl":16641,"material":2598,"size":2598,"collection":6,"collections":16642,"showCount":2584,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"hua-shan-shui-bing-shu-shi-xiao-ce-dong-gao-238783","画山水并书诗小册",[2496,2497,2592,2500,2790,2501,2550,2502,2503,3207,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd94eaa83bc9e80ed77f6908fc42b916.jpg",[6,2534],{"id":1659,"slug":16644,"title":2587,"dynasty":2632,"author":3704,"museum":2818,"description":16645,"tags":16646,"thumbUrl":16647,"material":2598,"size":2598,"collection":6,"collections":16648,"showCount":2584,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-tang-dai-238195","此作设色明雅清润，山峦以石青、石绿轻晕，间以赭石点染秋容，苍木栖于岩岫，村居隐于林麓，清溪萦回映带远峰淡岚，咫尺铺展千里丘壑之致。\n\n题诗与绘境相映，写尽秋山疏净之姿，飞木凝霜、红瀑分青峰，笔底兼得元人笔墨秀润与宋人丘壑整饬。朱印错落排布，与书画交相辉映，静雅悠然，将林泉高致藏于尺幅，尽显秋日山居的萧逸澄明，是融诗意与笔情的精妙佳构。",[2496,2500,2501,2506,2652,2547,2592,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98f1995860dbc30df65bb885416d4376.jpg",[6,2534],{"id":1660,"slug":16650,"title":16651,"dynasty":2632,"author":14143,"museum":2818,"description":16652,"tags":16653,"thumbUrl":16654,"material":2598,"size":2598,"collection":6,"collections":16655,"showCount":2584,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"hong-wu-shan-shui-ce-hong-wu-238097","弘旿山水册","爱新觉罗·弘旿（1743-1811），清朝宗室、画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。康熙帝爱新觉罗·玄烨孙，爱新觉罗·胤秘第二子。封固山贝子，两次缘事革退，复赏封奉恩将军。能诗，工书、画，以三绝称。弘旿工画，师董邦达，自署瑶华道人，名与紫琼道人胤禧并。论者称其“山水得董、黄之妙谛。”永珠既夺爵 [1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。\n观其传世作品，似受董邦达影响为多。此卷笔墨秀润，细皴密擦，林麓滃郁华滋，功力不浅。卷末落“臣”字款，又自称“恭绘”，可见是进御之作。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆对这位同宗兄弟笔墨的赞许。但从流传的弘旿作品看，此卷却是其中极为精彩的一幅，且保存完好，值得珍视。",[2496,2497,2592,2499,2509,2501,2578,2504,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc717244aa971e7b3f826512d59005905.jpg",[6,2534],{"id":1661,"slug":16657,"title":16658,"dynasty":2632,"author":2633,"museum":2673,"description":16659,"tags":16660,"thumbUrl":16661,"material":2867,"size":16662,"collection":6,"collections":16663,"showCount":2584,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shang-shan-si-hao-tu-huang-shen-237735","商山四皓图","此图描绘的是秦末东园公、绮里季、夏黄公、甪里隐于商山（今陕西省商县东南）的故事。四人皆80高龄，为避秦暴政而隐居商山，时人称之为“商山四皓”。西汉初，高祖屡召之而不得。后，高祖欲废太子刘盈，改立戚夫人子赵王如意，群臣谏而不听。吕后用张良计，礼遇四皓。高祖以为太子既得此四皓，羽翼已成，只得打消了废太子之念。图中峰峦高耸，飞瀑流泉，意境幽雅。人物的分布错落有致，形貌神态生动自然，笔墨放纵而又不失法度，为黄慎晚年之佳作。",[2496,2499,2500,2501,2549,2902,2507,6810,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc43829eb0e770be99167513bd0f2bbea.jpg","纵120.2厘米，横68.3厘米",[6,2626],{"id":1662,"slug":16665,"title":3490,"dynasty":2490,"author":16666,"museum":2818,"description":16667,"tags":16668,"thumbUrl":16669,"material":2732,"size":2598,"collection":6,"collections":16670,"showCount":2584,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-zhou-wang-wen-237576","王问","王问（1497～1576）明代官员。字子裕，号仲山，江苏无锡人。嘉靖十一年进士，历官车驾郎中，擢广东按察佥事，因思念老父，未赴任，即弃官归家。书法类米芾，又似黄庭坚，点染山水、花鸟皆精。诗作萧闲疏放，冲然自得，有《仲山诗选》、《崇文馆稿》等。",[2496,2497,2577,2499,2509,2501,2502,2503,2506,2507,2611,3668,2549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cefbf455b6e8d825dad7eb7a7b291de.jpg",[6,2626],{"id":1663,"slug":16672,"title":2587,"dynasty":2632,"author":2996,"museum":5626,"description":10146,"tags":16673,"thumbUrl":16674,"material":2598,"size":2598,"collection":6,"collections":16675,"showCount":2584,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-hua-yan-236731",[2496,2499,2592,2510,2547,2501,2504,2677,2503,3384,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc43d5f7e219be9710dcb9f942f6ea8a7.jpg",[6,2534],{"id":1664,"slug":16677,"title":16678,"dynasty":2632,"author":11298,"museum":2524,"description":16679,"tags":16680,"thumbUrl":16683,"material":3044,"size":16684,"collection":6,"collections":16685,"showCount":2584,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"wang-zhi-rui-shan-shui-zhou-wang-zhi-rui-236655","汪之瑞山水轴","汪之瑞此画笔墨简淡，苍秀卓立，轮廓中锋勾勒，山作背面少皴。画坡树萧疏，水中野亭，高峰见顶。画家的作品最鲜明的特点就是“简”，主要以线表现，有时简练到一根线条表现一个境地，又决不因为线少而致景陋。其论画有云：“能疏能密，有奇有正，方为好手。”在明末清初的画家中，汪之瑞具有十分雄厚的艺术功力，可惜流传的作品太少。本幅上有戴洪魁的题语：“此前辈汪之瑞真迹，其势高洁，其笔简老，亦一时名手也。”\n此图作者用渴笔、焦墨，画远山疏林、小桥流水，山石有皴无染， 画风近 黄公望。 自题“已丑(1 649)夏五月， 画似跨千老盟兄， 时余游豫，不觉笔下有离别之气，瑞识。” 汪之瑞，生卒年不详，清初画家。字无瑞，休宁(今属安徽)人。初从同邑李永昌学画。工书，擅山水。悬肘中锋，运用渴笔焦墨，多作披麻、荷叶皴，盖为其家乡黄山山石之皴斫也。爱作背面山，兴至落笔，如风雨骤至，顷刻数纸。与弘仁、孙逸、查士标，为新安派四大家(即海阳四家)。传世作品有《为跨千写山水图》、《虚亭诗意图》、《溪亭纳秋图》。",[2496,2501,2499,2509,2577,2502,2507,2578,2506,4442,2614,2613,2653,16681,2547,16682,2637],"书法题跋","枯笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a96e75f994f79e3ac05eab026f1d56b.jpg","纵：136厘米，横：56.7厘米",[6,2626],{"id":1665,"slug":16687,"title":16688,"dynasty":2632,"author":9005,"museum":2818,"description":9230,"tags":16689,"thumbUrl":16690,"material":2598,"size":2598,"collection":6,"collections":16691,"showCount":2584,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"lin-xia-xie-qiong-zhou-zhang-zong-cang-236109","林下携笻轴",[2496,2500,2509,2577,2501,2506,2652,2611,2508,3136,2549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10702bba88bf4e3f313034683d3f21bd.jpg",[6,2626],{"id":1666,"slug":16693,"title":2587,"dynasty":2632,"author":16694,"museum":2818,"description":16695,"tags":16696,"thumbUrl":16697,"material":2598,"size":2598,"collection":6,"collections":16698,"showCount":2584,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-shen-zong-jing-236076","沈宗敬","此作用笔苍秀，以干笔皴擦勾勒近侧危崖，嶙峋石体质感尽显，崖顶古松挺劲，枝桠舒展带风霜之态。崖畔孤亭兀立石台，凭虚临空，暗合幽人隐逸之思。\n烟波浩渺的江面之上，扁舟随波缓行，远景山峦澹晕隐现，晕染出空濛悠远的水天色。整幅水墨写意，糅合北派山水的雄健质感与南宗山水的淡远意境，萧散简淡的笔意间铺展出林泉高致的幽旷之境，将山居江湖的清寂冷逸尽数彰显，把文人寄情山水的隐逸襟怀藏于尺幅之中。",[2496,2499,2592,2509,2501,2507,2902,2505,2504],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba4bd7b1242ed0c8d84ab4be3bba94b9.jpg",[6],{"id":1667,"slug":16700,"title":16701,"dynasty":2632,"author":14720,"museum":2673,"description":16702,"tags":16703,"thumbUrl":16704,"material":2867,"size":16705,"collection":6,"collections":16706,"showCount":2584,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"dai-lu-fang-bei-tu-ce-huang-yi-233918","岱麓访碑图册","图名里的“岱”即指位于山东省中部的泰山。《岱麓访碑图》册共24开，以左文右图的形式描绘黄易在清嘉庆二年（1797年）由济宁到泰山访碑的种种情形。据作者本人题跋可知，其中一部分册页记录泰山的碑刻情况，如“岱顶”、“开元磨崖碑”、“石经谷”、“王母池”等，另一部分则是记录作者在往返途中所见的碑刻情况，如“大明湖”、“孟子庙”、“孔林”、“孔子庙”、“大汶口”等。除此之外，作者还在题跋中介绍了碑刻的具体状况，为后人研究提供了资料。\n黄易一生致力于金石碑版的研究，曾经四处寻访存世的残碣断碑，并较为系统地加以整理与著录，对我国传统金石学的发展起到了积极的作用。与众不同的是，他亲自用画笔将每次寻访古碑的过程都完整地记录下来，绘制成许多作品，被当时的艺术家们广为称颂。《岱麓访碑图》册便是其中的一套作品。\n纵观整套册页，作者采用了水墨与浅绛两种中国画表现技法，但呈现出的艺术风格却是统一的。具体而言，他注重线条的断续与转折，多用粗笔短线描写碑刻所在地周围的景色，使得画面景致简明，意境幽僻清寂，有平淡天真的艺术趣味。",[2496,2499,2509,2592,2501,2505,2506,2652,2549,2547,2510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365d96a04c3dfd290a7d014ab25a0f80.jpg","纵17.4厘米，横50.8厘米",[6,2870],{"id":1668,"slug":16708,"title":16709,"dynasty":2490,"author":3431,"museum":3121,"description":16710,"tags":16711,"thumbUrl":16712,"material":2531,"size":16713,"collection":6,"collections":16714,"showCount":2584,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"yang-bian-cui-ma-song-liang-mang-tu-quan-juan-yi-ming-222463","扬鞭催马送粮忙图全卷","燕文贵（967年—1044年），北宋画家。文贵一作贵，又名燕文季，吴兴（今浙江湖州）人。出身微贱，曾隶籍军中。宋太宗时至汴梁于街头卖画，被画院待诏高益发现并加以举荐，后进入翰林图画院，甚得太宗赏识。擅画山水、屋木、人物。作画常自出机杼，落笔命意不袭古人，所画景物清润秀雅，又善于把山水与界画相结合，将巍峨壮丽的楼观阁榭穿插于溪山之间，点缀以人物活动。刻画精微，笔法峭丽，境界雄浑，人称“燕家景致”。燕文贵本隶军籍，曾任县主簿，掌管出纳官物、销注簿书，阶从九品。太宗（976－997）时游汴京（今河南开封），于天门道上卖画，为待诏高益所见，荐画相国寺壁，遂入图画院（一说大中祥符（1008－1016）初补图画院祗侯）。\n所作山水，不专师法，极富变化，独立一家规范。其画多为北方大川，破笔皴点，干擦淡染，细碎清雅，苍润秀媚，岸边水渚多画台榭相接，景致优美，富有变化，人称“燕家景致”。所作景物丰富多变，布局精巧谨严，山水树石、亭台楼阁各得其所，互臻其妙，令人目不暇接，如临其境。画风介于南北山水之间，清雅秀媚，温润可爱。尝画《七夕夜市图》，写七夕之夜京师民俗事象及夜市交易，“状其浩穰之所，至为精备”。《舶船渡海图》反映当时海上贸易之发达，画虽不盈尺，但人舟密聚，樯帆指呼奋跃，尽得情状。画面风波浩荡，岛屿相望，蛟蜃杂出，有咫尺千里之势，极为精妙。惜皆佚。存世作品有《江山楼观图》、《溪山楼阁图》、《秋山琳宇图》、《烟岚水殿图》等。\n画卷以平铺式绘山峦连绵，峰回路转，山间处云雾缥缈，高塔、庙宇、楼阁隐现，瀑布、泉水汇于山脚，水面宽阔，有船只往来、另数只依岸停泊。河岸边、小桥上、崎岖山道上，运粮的驴队浩浩荡荡，络绎不绝。画面中部绘有一座客栈，茅屋里数位客人吃饭歇脚，另有数人坐于高台上凭栏观景。此图非燕文贵所绘，更似明人风格。",[2495,2496,2497,2498,2499,2501,2549,2960,2509,2800],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0120c1f854c45c250d407c1fb8a69f0e.jpg","30x498",[6,2626],{"id":1669,"slug":16716,"title":16717,"dynasty":2522,"author":8648,"museum":2563,"description":16718,"tags":16719,"thumbUrl":16722,"material":2732,"size":16723,"collection":6,"collections":16724,"showCount":2584,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"shi-jing-you-tan-fang-cong-yi-221728","石径幽探","方从义善画，又兼工诗文、书法。其画初师 他的画风格潇洒，笔致跌岩，意境苍茫，无尘俗之气，以幽为其画特色。他善画云山墨戏，笔下的景色多是冷寞，幽闭，尘俗绝少的地方：高山奇峰，深谷幽涧，古树老屋，野水孤舟，给人以深沉、奇特和悲壮之感。他早年的画严谨，晚年不拘于形，用笔奔放，满含激情。传世不多，人以礼求之，始为出其一二。尝言：“太行、居庸天下之岩险，其雄杰奇丽，皆古之名画，余所顾见者今皆见之，而有以慊吾志，充吾操，吾非若世俗者区区而至也。”盖学仙之颖然者，由无形而有形，虽有形终归无形，画能如是，其至矣乎？",[2495,2496,2497,2499,2509,2501,2651,2506,16720,2614,4508,16721,11816,2637],"石径","树林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92196c9b18f889805fafd87dc1ac75a2.jpg","91.3x63.5厘米",[6,2626],{"id":1670,"slug":16726,"title":16727,"dynasty":2522,"author":3431,"museum":6739,"description":16728,"tags":16729,"thumbUrl":16730,"material":2567,"size":2598,"collection":6,"collections":16731,"showCount":2584,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"sheng-you-tu-yi-ming-219938","胜游图","此作用高远构景，层叠主峰如蟠踞巨兽，以利落斧劈皴勾勒山石肌理，浓墨晕染出苍莽厚重的质感。飞瀑自崖间垂落，破开山的沉郁静默。虬曲林木错落山间，苍松劲挺，点染出萧疏古雅的秋意。崖畔水滨各筑幽居，隐于林泉烟霭之间，暗合林泉高致的隐逸雅趣。通篇水墨简淡，空濛悠远的意境里，揉合了山川雄奇与林下闲逸，尽显文人避世寄情山水的幽怀。",[2495,2496,2497,2577,2501,2499,2509,2500,2507,2506,2611,2505,2550,2508,2502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35a97e286122166a0963868c260fb265.jpg",[6],{"id":1671,"slug":16733,"title":3490,"dynasty":2490,"author":16734,"museum":2563,"description":16735,"tags":16736,"thumbUrl":16737,"material":2567,"size":16738,"collection":6,"collections":16739,"showCount":2584,"zanCount":3198,"manualWeight":2517,"mainColor":2559},"shan-shui-zhou-zhao-xun-219415","赵洵","这幅山水轴铺展江南景致，笔墨温润雅致。远处山峦以淡墨皴染，层叠间透出苍莽的韵致；江面烟波浩渺，行舟点点如萍，或扬帆或泊岸，尽得水天之趣。近景林麓葱郁，村舍错落隐于浓荫，亭台与民居相映，几处人物或漫步小径、或聚于檐下，情态悠然。笔墨兼工带写，树木枝干苍劲，叶色层次丰富；山石用细皴勾勒，晕染出温润质感。画面左上方题字与钤印相映，添文人雅趣。整体意境平和悠远，如诗中田园，将自然之美与人间烟火融于一卷，尽显江南水乡的温婉与生机。",[2496,2500,2509,2577,2501,2506,4702,2549,2690,2595,5071,2508,2594],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf1a28851fde1e54756a28f63c3e8510.jpg","156.4x44.9厘米",[6],{"id":1672,"slug":16741,"title":16742,"dynasty":2605,"author":3431,"museum":2563,"description":16743,"tags":16744,"thumbUrl":16745,"material":2567,"size":16746,"collection":6,"collections":16747,"showCount":2584,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"yun-pu-song-tao-tu-yi-ming-218735","云瀑松涛图","这幅画的题款是 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清朝，安徽宣城人。梅清从孙。康熙二十年（一六八一）举人，官泰顺知县。善篆、隶，画山水、花卉，脱略凡格，不宗一家，偶尔落笔，韵致翩然。兼工白描人物。康熙三十六年（一六九七）尝作山水扇，今藏故宫博物院。工诗，著《吴市吟》《山阳笛漫兴集》《玉笥游草》，临卒作诗，署曰《推枕吟》。",[2496,2497,2577,2499,2509,2501,2527,2611,2506,2508,2505,2652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8715f76cda3e05968cada9cadfa0b11.jpg",[6,2626],{"id":1687,"slug":16852,"title":2587,"dynasty":2632,"author":12628,"museum":2818,"description":16853,"tags":16854,"thumbUrl":16855,"material":2598,"size":2598,"collection":6,"collections":16856,"showCount":2707,"zanCount":2517,"manualWeight":2517,"mainColor":3447},"shan-shui-ce-ye-xin-235174","此作用笔秀雅淡逸，以平远之法铺展景致。近岸老梅虬曲苍劲，枝桠缀着新芽，三两行人策蹇徐行，野意悠然自生。中洲淡渚萦回错落，林木参差间，茅舍隐于浅滩，尽显江乡闲寂之态。远景主山以干笔皴擦，墨色清润苍厚，云气吞吐于崖岫，虚灵空濛。\n全幅简淡萧疏，以水墨晕染出江南春日清和之态，未作繁复刻画，却将平林远岫的空阔淡荡铺陈尽致，将文人寄情丘壑的幽怀融于尺幅，淡而弥远，清而有味，尽显静穆淡远的山水逸趣。",[2496,2499,2509,2592,2501,2507,2506,2502,2503,2549,2578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6c5744de3032ee5211824bd4b4ccd05.jpg",[6],{"id":1688,"slug":16858,"title":16859,"dynasty":2632,"author":16860,"museum":2818,"description":16861,"tags":16862,"thumbUrl":16863,"material":2598,"size":2598,"collection":6,"collections":16864,"showCount":2707,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"ba-jia-shan-shui-ce-duan-qiao-wo-liu-tu-ce-ye-jin-shu-ming-234684","八家山水册-断桥卧柳图册页","金庶明","图绘远山,小舟,一游人在江上垂钓",[2496,2497,2592,2500,2545,2509,2501,2502,2503,2504,2891,2507,2552],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5e7d8e39abe98d0e19856b22fc56f18.jpg",[6,2534],{"id":1689,"slug":16866,"title":16867,"dynasty":2632,"author":5892,"museum":2563,"description":16868,"tags":16869,"thumbUrl":16870,"material":2755,"size":16871,"collection":6,"collections":16872,"showCount":2707,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"qiu-shan-ping-yuan-zhou-he-yi-222805","秋山平原轴","赫奕，赫舍里氏，字澹士，号南谷，别号碧岩箫史，一作碧箫外史，满洲正黄旗人，开国名臣希福之孙，工部尚书帅颜保之子。清朝政治人物、清朝工部尚书。\n以侍卫入仕，任内务府总管。康熙五十二年十二月己卯，接替满笃，担任清朝工部尚书，后革。由孙渣济接任。雍正十三年再任总管内务府大臣。乾隆八年，尚书衔总管内务府大臣赫奕病故。\n性澹泊，琴书之外专事于画。初学黄鼎，继为王原祁弟子。山水宗法元人，而独开生面，迥异时流。时有南王北赫之称。",[2495,2496,2497,2577,2500,2501,2509,2511,2547,4369,7771,2506,2504,2505,2507,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d919660f9b59c4912c5a9f1ee3b3bc8.jpg","99.4x48.3cm",[6,2534],{"id":1690,"slug":16874,"title":16875,"dynasty":2632,"author":16876,"museum":4795,"description":16877,"tags":16878,"thumbUrl":16879,"material":16880,"size":16881,"collection":6,"collections":16882,"showCount":2707,"zanCount":2517,"manualWeight":2517,"mainColor":2598},"shan-shui-ji-wang-shi-min-weng-ling-wu-hong-deng-220746","山水集","王時敏,翁陵,吳宏等","此作以淡墨写秋山幽居，高远山势裹挟平远溪村，虚实相生间铺展萧疏秋意。干笔皴擦勾勒崖石肌理，墨色枯润相间，山石苍朴古拙，间植的虬松杂木以浓墨点染，于淡逸底色中醒出清刚生气。山脚茅舍隐于坡麓林樾，似有幽人栖居，愈显空山岑寂。\n左侧题识朱印与画面相映成趣，文气融于山水间，将笔墨意趣与林下襟怀相融，尽显简淡天真的文人逸韵，引人神游林泉，坐忘尘嚣。",[2496,2499,2509,2577,2501,2507,2506,2549,3736,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69bcfdca7a043dfd340cb6eb43397849.jpg","水墨,紙本,冊","各約22 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其家累世富厚，不惜重赀以购，故江南故家宝藏皆入其手。”他遴选能工巧匠制作的各种器具，凡几榻架柜奁盒等，镌以铭识，都极精巧，如同秦汉之物。清顺治二年（1645）闰六月，清兵攻破嘉兴府城，其藏品被千夫长汪六水所劫掠，散失殆尽，存世的藏品多归于皇宫，现仍藏于故宫博物院和其他博物馆。\n项元汴曾获一古琴，上刻“天籁”两字，故将其储藏之所取名“天籁阁”，并镌有天籁阁、项墨林等印，凡藏品都钤有印记，往往满纸满幅。项氏以天籁阁名传后世，阁早已毁，今城内建设街道天籁里即以天籁阁命名。\n项元汴工绘画兼擅书法。山水学元代黄公望、倪瓒，笔致疏秀，神合处辄臻胜境，书法出入唐智永、元赵孟頫。刊有《天籁阁帖》，著有《墨林山人诗集》等。",[2496,2497,2577,2499,2509,2714,3208,3839,2552,3735],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8320ab5ca362924ab59d1050aabcc8c.jpg",[6],{"id":1705,"slug":17001,"title":17002,"dynasty":2490,"author":3120,"museum":2563,"description":17003,"tags":17004,"thumbUrl":17005,"material":2732,"size":17006,"collection":6,"collections":17007,"showCount":2745,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"ku-mu-zhu-shi-zhou-chen-hong-shou-237387","枯木竹石轴","陈洪绶(1597—1652年)，字章侯，号老莲、悔迟，诸暨（今属浙江省）人。明代画家。早年受业于著名学者刘宗周、黄道周门下，1642年曾到北京为国子监生，授中书舍人，供奉内廷，不久即离京南归。明朝灭亡后，为躲避清兵，一度在绍兴云门寺出家为僧，自号悔迟，亦号老迟。后在杭州以卖画为生。工诗，擅画，山水、人物、花鸟无一不精。其画初受蓝瑛影响，后广泛临学古人，并大胆突破创新，所作人物、花鸟形象古拙，擅用夸张变形手法，独树一帜，为晚明变形主义绘画大师。与崔子忠齐名于南北，世称“南陈北崔”。其画风对后世有巨大影响。著《宝纶堂集》。",[2496,2497,2577,2499,3898,2509,5659,3155,3839,2677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e90407ec747da8abbe02b723eb29e68.jpg","107.9x51.1",[6],{"id":1706,"slug":17009,"title":3490,"dynasty":2490,"author":9094,"museum":2818,"description":17010,"tags":17011,"thumbUrl":17012,"material":2598,"size":2598,"collection":6,"collections":17013,"showCount":2745,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-zhou-xiang-sheng-mo-237146","项圣谟，生于明代万历二十五年（1597年），卒于清代顺治十五年（1658年），初字逸，后字孔彰，号易庵，别号甚多，已知者有子璋、子毗、胥山樵、胥樵、古胥山樵人、兔鸣叟、莲塘居士、松涛散仙、大酉山人、存存居士、烟波钓徒、狂吟客、鸳湖钓叟、逸叟、不夜楼中士、醉疯人、烟雨楼边钓鼇客等，浙江嘉兴人。祖父项元汴，为明末著名书画收藏家和画家。伯父项德新也善画。项圣谟自幼受家庭熏陶，精研古代书画名作，虽然曾由秀才举荐为国子监太学生，但不求仕进，而把兴趣投入到书画中，从而在绘画创作上，他很早就显现出了多方面的才能，山水、人物、花鸟无一不精，曾得到明末两位最为著名的鉴赏家，董其昌和李日华的高度评价。董其昌在他的画册上题跋，称“古人论画，以取物无疑为一合，非十三科全备，未能至此。范宽山水神品，犹借名手为人物，故知兼长之难。项孔彰此册，乃众美毕臻，树石屋宇，皆与宋人血战，就中山水，又兼元人气韵，虽其天骨自合，要亦工力至深，所谓士气、作家俱备。项子京有此文孙，不负好古鉴赏百年食报之胜事矣”，李日华称赞他的画风“英思神悟，超然独得”，是“崛起之豪”。",[2544,2496,2497,2577,2499,2501,2509,2593,2505,3839,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6d5cf14ad2087901e0d4f16e53aa4cf.jpg",[6],{"id":1707,"slug":17015,"title":17016,"dynasty":2632,"author":17017,"museum":2673,"description":17018,"tags":17019,"thumbUrl":17020,"material":2732,"size":2598,"collection":6,"collections":17021,"showCount":2745,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"hua-wang-zi-you-xue-ye-fang-dai-zhou-fei-dan-xu-236986","画王子猷雪夜访戴轴","费丹旭","费丹旭（1802年1月29日—1850年12月4日），清代画家。字子苕，号晓楼，别号环溪生、环渚生、三碑乡人、长房后裔，晚号偶翁，乌程（今浙江省湖州市吴兴区）人。\n费丹旭以画仕女闻名，与改琦并称“改费”。他笔下的仕女形象秀美，用线松秀，设色轻淡，别有一种风貌。代表作为藏于故宫博物院的《十二金钗图》册，亦长于肖像画，画《红楼梦》十二金钗肖像。后期所作《果园感旧图》卷，藏于浙江省博物馆，技巧更趋成熟。也能山水，取法王翚和恽寿平。他的画风对近代仕女画和民间年画都产生了很大的影响。",[2496,2497,2577,2500,2546,2549,2504,3155,2501,2510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F951170865af0aa8752ff873c504a89af.jpg",[6,2534],{"id":1708,"slug":17023,"title":2587,"dynasty":2490,"author":17024,"museum":2818,"description":17025,"tags":17026,"thumbUrl":17027,"material":2598,"size":2673,"collection":6,"collections":17028,"showCount":2745,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-ye-xiang-rong-236600","叶向荣","此作取景于幅面右侧，以奇崛山石为主体，细劲勾勒山石轮廓，淡墨皴擦晕染，尽显岩壁嶙峋质感。古松虬曲苍劲，枝干舒张如铁，松针层叠错落，饱经风霜之态跃然纸面。\n\n山谷间隐现村居茅舍，远景以淡墨轻施，留白晕染出朦胧空茫，将山野的幽寂悠远铺陈开来。笔墨简淡清逸，摒却繁复堆砌，以简驭繁，尽显清雅意趣，于方寸册页间，将林泉隐逸的恬淡山居诗意徐徐铺展，藏着寄情山水的幽远心境。",[2496,2497,2592,2499,2509,2501,2902,2507,2502,2503,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe8abcdf9bd8980b8e21497c06feca20.jpg",[6,2626],{"id":1709,"slug":17030,"title":3490,"dynasty":2632,"author":17031,"museum":2673,"description":17032,"tags":17033,"thumbUrl":17035,"material":4324,"size":17036,"collection":6,"collections":17037,"showCount":2745,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-zhou-weng-song-nian-236309","翁嵩年","翁嵩年（1648—1730年），字康饴，号萝轩,钱塘（今浙江杭州）人。清康熙年间进士，官户部主事，善画山水，气质古雅疏拙。著有《天香书屋稿》、《白云山房集》、《友石居集》。",[2544,2496,2497,2577,2499,2509,2501,2507,2503,3091,2506,2652,17034],"河道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b0b59a3b52a3e78c6027049e7430e8c.jpg","纵102.7cm，横47.5cm",[6,2626,6382],{"id":1710,"slug":17039,"title":17040,"dynasty":2632,"author":15252,"museum":2818,"description":15306,"tags":17041,"thumbUrl":17042,"material":2598,"size":17043,"collection":6,"collections":17044,"showCount":2745,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"qiu-yan-jin-zhang-tu-zhou-lu-zun-shu-236128","秋岩锦嶂图轴",[2544,2496,2497,2577,2500,2509,2501,2507,2506,3125,2503,2502,2508,2504,6810,3136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29a9573c7805174b3ec58547f426b5d.jpg","纵84.6厘米，横26.5厘米",[6,2626],{"id":1711,"slug":17046,"title":8973,"dynasty":2632,"author":3431,"museum":2818,"description":17047,"tags":17048,"thumbUrl":17049,"material":2598,"size":2598,"collection":6,"collections":17050,"showCount":2745,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"wang-hui-fang-gu-shan-shui-ce-yi-ming-236056","此作以水墨晕染铺就冬日丘林雪色，山峦皆素雪覆身，轮廓圆柔温润，尽数褪去嶙峋锐气，好似天地初敛锋芒的清寂时刻。枯木错落挺劲，枝桠疏朗，屋舍山居藏于林麓溪谷间，板桥跨溪，山道盘桓，将幽居烟火融于清寂雪景。\n\n浅皴轻擦勾勒山石肌理，以留白尽显雪意空濛，无繁复设色，只以水墨层次烘托萧寒清旷。冷寂的山野间藏着隐世悠然的栖居意趣，简淡笔墨里晕开悠长的文人山水情致，将冬日山林的幽宁静穆娓娓铺陈。",[2496,2497,2592,2500,2509,2676,2501,2714,2593,2502,2503,2508,2550],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad0c42948774d9c91db514caf3db0343.jpg",[6],{"id":1712,"slug":17052,"title":3119,"dynasty":2632,"author":17053,"museum":2818,"description":17054,"tags":17055,"thumbUrl":17056,"material":2598,"size":2598,"collection":6,"collections":17057,"showCount":2745,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"za-hua-ce-zhang-sheng-235866","章声","此作为左书右画的合璧佳构。画中危崖壁立，飞瀑直泻千尺，谷中云雾翻涌，将山林晕染如幻梦仙境。崖边古松虬枝斜曳，苍劲灵动，松荫石台上逸士凭栏观瀑，点出林泉高致的雅趣，笔致秀逸清润，以淡墨晕开云烟，铺展出山水空濛幽深之态。左侧行书题诗笔力清劲潇洒，诗画呼应，将观瀑遐思与山林幽寂融为一体，尽显文人画诗画相生的悠远意境，整体简淡空灵，藏着传统文人寄情山水的雅怀。",[2496,2497,2592,2500,2499,2511,2509,2501,2902,2507,2611,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2324cce7eaa003ae31ade295c1345c57.jpg",[6],{"id":1713,"slug":17059,"title":17060,"dynasty":2522,"author":3431,"museum":2563,"description":17061,"tags":17062,"thumbUrl":17063,"material":6940,"size":17064,"collection":6,"collections":17065,"showCount":2745,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"mu-meng-zhan-feng-tu-yi-ming-232263","牧梦占丰图","日已斜挂，远处重岭，烟岚迷濛，村居隐现。前景岸上有柳石环成一状似舞台之空间。一牧童正为牛系紖牛首偏倚，尾巴轻摆，温驯乖巧。另有三牛卧地休憩。一体大健硕，花白相杂；另二当为母子，双目相对，爱意无限。旁有一牧童以簑代席，枕膝而眠，面容祥悦，彷入好梦。身后却有同伴恶作剧而至。\n柳树干老槎枒，而枝嫩幼叶；远方桃林花开繁茂，点缀地通幅春意盎然。树石绘法与元意趣类明浙派风格，或为其先驱。",[2496,2497,2577,2500,2509,2501,2506,3617,2549,2913,2578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6c1f7ae0a2d7bf6eae0fc73297bbaa5.jpg","147.1x98.1厘米",[6],{"id":1714,"slug":17067,"title":17068,"dynasty":2632,"author":15298,"museum":2818,"description":17069,"tags":17070,"thumbUrl":17072,"material":3069,"size":17073,"collection":6,"collections":17074,"showCount":2745,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"yan-shan-ba-jing-tu-qiong-dao-chun-yin-zhang-ruo-cheng-223254","燕山八景图-琼岛春荫","此册以北京城著名的“燕京八景”为题而画。燕京八景一说始自金《明昌遗事》，当时金章宗完颜璟将燕京的八处风光名胜选定为燕京八景，即“居庸叠翠”、“玉泉垂虹”、“太液秋风”、“琼岛春荫”、“蓟门飞雨”、“西山积雪”、“卢沟晓月”和“金台夕照”。“燕京八景”历金、元、明、清四代，又有称“燕台八景”、“燕山八景”、“京师八景”、“京畿八景”者，虽景点相同，八景的名称在不同时期则有所变化。乾隆十六年（1751年），乾隆曾御制《燕山八景诗》，将八景定名为“琼岛春荫”、“太液秋风”、“玉泉趵突”、“西山晴雪”、“蓟门烟树”、“卢沟晓月”、“金台夕照”、“居庸叠翠”，沿用至今。该画册中建筑的刻画不用界尺，但是对建筑的特征却描绘得生动准确，表现手法活泼而不失稳重，是画家对景写实的佳作。",[2495,2544,2496,2497,2500,2790,2547,2501,2550,2856,2502,2503,2506,2507,5884,17071,5052,8060],"园林建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99e64bf8b756daf54e558d61066d3f36.jpg","34.7cm，横40.3cm",[6,2534],{"id":1715,"slug":17076,"title":17077,"dynasty":2632,"author":15698,"museum":2818,"description":17078,"tags":17079,"thumbUrl":17080,"material":2598,"size":2598,"collection":6,"collections":17081,"showCount":2745,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-1-pu-hua-223248","山水1","蒲华（1832—1911）字作英，亦作竹英、竹云，浙江嘉兴人。号胥山野史、胥山外史、种竹道人，斋名九琴十砚斋、九琴十研楼、芙蓉庵，夫蓉盦、剑胆琴心室等。晚清著名书画家，与虚谷、吴昌硕、任伯年合称“海派四杰”。\n早年科举，仅得秀才，遂绝念仕途，潜心书画，携笔砚出游四方，后寓居上海，卖画为生。善花卉、山水，尤擅画竹，有“蒲竹”之誉。书法淳厚多姿；其画燥润兼施，苍劲妩媚，风韵清健。\n晚清民国时期著名画家，与任伯年、吴昌硕、虚谷合称“海派四杰”。\n与海上名家广有交往， 同吴昌硕尤为密切。蒲华长吴昌硕十二岁，昌硕幼时便闻蒲华画名，关系在师友之间，互取所长，风貌因之相近。\n善用湿笔，水墨淋漓，光彩照人。善花卉、山水，尤擅画竹，有“蒲竹”之誉。\n吴昌硕作十二友诗，记蒲华曰：“蒲作英善草书、画竹，自云学天台傅啸生，仓莽驰骤、脱尽畦畛。家贫，鬻画自给，时或升斗不继，陶然自得。余赠诗云：蒲老竹叶大于掌，画壁古寺苍涯琏。墨汁翻衣吟犹着，天涯作客才可怜。朔风鲁酒助野哭，拔剑斫地歌当筵。柴门日午叩不响，鸡犬一屋同高眠”。\n吴昌硕为蒲华所作《芙蓉庵燹馀草》作序言：“作英蒲君为余五十年前之老友也，晨夕过从，风趣可挹。尝于夏月间，衣粗葛，橐笔两三枝，诣缶庐，汗背如雨，喘息未定，即搦管写竹，墨沈淋漓。竹叶如掌，萧萧飒飒，如疾风振林，听之有声，思之成咏。其襟怀磊落，逾恒人也如斯。”\n谢稚柳论言：“蒲华的画竹与李复堂、李方膺是同声相应的，吴昌硕的墨竹，其体制正是从蒲华而来”。\n蒲华中年尤勤书学，寝馈旭、素，斗墨千纸，数日而尽。至于元明各家书帖，也常把玩临摹。以书入画，酣畅恣肆。\n蒲华晚年，笔老墨精。其书法，淳厚多姿；其绘画，燥润兼施，苍劲妩媚。尤喜画大幅巨幛，莽莽苍苍，蔚为大观。所作山水大轴或册页，虽多为山居、读书等传统题材，但布局新颖，风韵清隽。\n蒲吴两家粗豪奔放的画风，使因袭纤巧之时风大为逊色，一新画派崛起于沪上画坛。\n癖好古琴，遇即购藏，视为心爱之物，名其居屋为“九琴十砚楼”。",[2495,2496,2497,2577,2499,2500,2509,2501,2714,2593,2902,2652,2614,2549,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c51f44fe7b66a6cb2fe829666045ef9.jpg",[6,2626],{"id":1716,"slug":17083,"title":17084,"dynasty":2632,"author":14143,"museum":2563,"description":14775,"tags":17085,"thumbUrl":17086,"material":2598,"size":17087,"collection":6,"collections":17088,"showCount":2745,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"wan-qing-qing-yin-hong-wu-222845","万顷清阴",[2495,2496,2500,2509,2592,2501,2505,2503,2506,2507,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6e86d17ce180690e506b45cdbf2ef30.jpg","32x38",[6,2534],{"id":1717,"slug":17090,"title":17091,"dynasty":2632,"author":14143,"museum":2563,"description":14775,"tags":17092,"thumbUrl":17095,"material":14147,"size":14148,"collection":6,"collections":17096,"showCount":2745,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"hua-wan-bang-sui-lv-tu-juan-hong-wu-222844","画万邦绥屡图卷",[2495,2496,2498,2500,2501,2509,2549,2960,14338,5082,2506,2552,2507,2961,17093,17094,3208],"牧童","牧民","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf84832b44c645958e870473163f5207.jpg",[6,2534],{"id":1718,"slug":17098,"title":17099,"dynasty":2490,"author":3647,"museum":2563,"description":17100,"tags":17101,"thumbUrl":17102,"material":17103,"size":17104,"collection":6,"collections":17105,"showCount":2745,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"pan-gu-xu-zhang-ruo-ai-tu-wen-zheng-ming-222003","盘谷叙（张若霭图）","张若霭[清]（1713—1746）字晴岚（读画辑略作字景采，号晴岚），室名藕香书屋，安徽桐城人。张若霭有家学，祖父张英、父亲张廷玉均为雍正、乾隆朝大学士。雍正十一年（1733）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房，官至礼部尚书，袭伯爵。",[2495,2496,2503,2501,2714,2715,2593,3650,2499,2637,2498,2732],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b650b4925f0f0747575859ea9d269c6.jpg","纸本长卷","纵15.8厘米，横129.7厘米",[6,2626],{"id":1719,"slug":17107,"title":17108,"dynasty":2522,"author":7089,"museum":3121,"description":17109,"tags":17110,"thumbUrl":17111,"material":3069,"size":17112,"collection":6,"collections":17113,"showCount":2745,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"gu-hu-heng-jiang-tu-zhao-yong-221864","孤隺横江图","赵雍（1289-1369），字仲穆，湖州人。赵孟頫之子，官至同知湖州路总管府事。书画继承家学，擅山水，尤精人物鞍马，亦作界画。书善正、行、草，亦长篆书。精鉴赏。",[2495,2496,2499,2500,5225,2509,2501,2504,2578,2549,4462,2595,2652,2552],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa61b15cb42e538616214b20fadc245b.jpg","26x25cm",[6,2534],{"id":1720,"slug":17115,"title":3183,"dynasty":2632,"author":14450,"museum":2589,"description":17116,"tags":17117,"thumbUrl":17118,"material":3157,"size":17119,"collection":6,"collections":17120,"showCount":2745,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-tu-zha-shi-biao-220066","查士标，字二瞻，号梅壑、懒老、梅壑散人，安徽休宁人。后寓扬州。工书画，精鉴别。用笔不多，惜墨如金。与弘仁、孙逸、汪之瑞称“新安四大家”。",[2496,2497,2577,2499,2509,2501,2502,2503,2505,2552,2506,2652,2779,2578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d0361e879716fd117dcac527202ca88.jpg","193×47.5cm",[6],{"id":1721,"slug":17122,"title":17123,"dynasty":2632,"author":16316,"museum":17124,"description":17125,"tags":17126,"thumbUrl":17127,"material":2732,"size":17128,"collection":6,"collections":17129,"showCount":2745,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"han-lin-guan-pu-tu-zhang-feng-219989","寒林观瀑图","上海人民美术出版社","清代画家张风画以山水称妙，人物、花草亦恬静闲适，神韵悠然，没有一丝一毫的妩媚习气，是一位绘画史上有影响的画家。据画史载可知康熙元年他曾与周亮工会于高座寺，并为之作画。张庚称张风为笔墨中之散仙，可谓信然。而且他工刻印，秀远如其人。近代大师张大千极为崇拜张风画艺，张氏特将自己的画室命名为“大风堂”，可见对其之崇拜。",[2495,2544,2496,2497,2499,2577,2501,3091,2611,2549,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fac23f513f76befb5d8664779f74162.jpg","57.5×37.5cm",[6],{"id":1722,"slug":17131,"title":17132,"dynasty":2605,"author":3431,"museum":2563,"description":17133,"tags":17134,"thumbUrl":17143,"material":2567,"size":17144,"collection":6,"collections":17145,"showCount":2745,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"hu-xi-san-xiao-tu-yi-ming-219616","虎溪三笑图","此图为横幅，绢本设色。构图饱满，刻画细腻，粗笔阔墨的坡石与细笔双勾的枝叶彼此映照。古拙的青石板桥下的溪流并无涓涓之态，而是浩荡冲决，远逝于云天相接处，似衬托“虎威”。老干如虬，红叶弥漫，一派肃穆高秋景致。画中央正是身着袈裟的慧远、儒服的陶渊明和道装的陆修静，三人举头朗笑，衣袂飘扬，情态鲜活，两侧三小童站立，画中人物风格似宋人笔意。这幅作品恰将儒、释、道合流的深邃神旨以“三笑”镜头的绘制形象地传达出来，爽朗、悠远的笑声仿佛与虎溪激越的水声、老枫呼啸的风声猝然交响，也穿越了千年的风烟，飘逸于画卷之外，令观画者心府泠然、似有所闻。细读这幅作品会发觉，在图像生成上，画家几乎绘制出了“虎溪三笑”这一故事的全部文献元素，包括人物、情节、环境等，可视为这一画题的最典型作品。",[2495,2496,2544,2531,2500,17135,17136,2833,8088,17137,17138,5658,3125,2613,6019,17139,17140,25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与空濛远景相映，留白处漾出清冷空寂的韵致。桥上行人、山间亭榭点缀其间，虽小却添生趣，却未破整体孤峭氛围。笔墨间藏遗世独立之思，意境幽远，尽显新安画派简净冷逸的特质。",[2501,2592,2499,2509,3091,2677,2505,2502,8432,3359,2495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F802c780960b3d87683bdffc7dbde11bd.jpg",[6],"d3cac0",{"id":1731,"slug":17208,"title":17209,"dynasty":13127,"author":13128,"museum":2492,"description":17210,"tags":17211,"thumbUrl":17212,"material":2598,"size":2598,"collection":6,"collections":17213,"showCount":2745,"zanCount":2517,"manualWeight":2517,"mainColor":17214},"ceng-luan-fei-pu-tu-zhou-huang-bin-hong-202802","层峦飞瀑图轴","层峦叠嶂间，飞瀑漱石溅玉，沿崖壁奔流而下，滋养谷底草木。山间屋舍错落隐于浓荫，小径蜿蜒向上，似引观者入幽境。笔墨苍劲老辣，皴擦点染结合，积墨与留白相映，山峦肌理浑厚，云雾缭绕处虚实相生。草木葱茏、山石嶙峋，既含自然野趣，又藏文人雅致，尽显山川灵秀与静谧生机，仿佛可闻泉声鸟语，可感林泉之乐。",[2496,2497,2577,2499,2509,2501,6039,2579,3736,2549,2495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3977ed45304cb2a20713c0d1536a341.jpg",[6],"969487",{"id":1732,"slug":17216,"title":7929,"dynasty":2632,"author":17217,"museum":2492,"description":17218,"tags":17219,"thumbUrl":17220,"material":2598,"size":2598,"collection":6,"collections":17221,"showCount":2745,"zanCount":2517,"manualWeight":2517,"mainColor":17222},"shan-shui-tu-zhou-zhang-dong-202089","张栋","画面近景，枯树枝干虬曲，与劲挺竹林相伴，石间溪流缓淌；水榭半隐于草木间，添得几分幽居之趣。中景湖面开阔，远山层叠，笔墨疏淡却见丘壑。整幅以水墨写就，线条灵动，皴法简练，意境清寂悠远，尽显文人山水的空灵雅致，似可闻林间风、涧中水，让人心生静谧之感。",[2496,2499,2501,2913,2578,3155,2505,2503,2509,2577,2495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe417d2bf247c5daeef5479ea731490f6.jpg",[6],"c7bda1",{"id":1733,"slug":17224,"title":17225,"dynasty":2632,"author":2762,"museum":2492,"description":17226,"tags":17227,"thumbUrl":17228,"material":2598,"size":2598,"collection":6,"collections":17229,"showCount":2745,"zanCount":2517,"manualWeight":2517,"mainColor":17230},"shi-bi-ming-qin-tu-zhou-shi-tao-202070","石壁鸣琴图轴","石壁嶙峋，流泉漱石，松枝盘曲横斜，竹影疏密交错。近岸二人，一坐一立，坐者凝眸听泉，似悟水声如琴韵；立者侧侍，神态闲淡。笔墨纵逸，皴染互济，山石以浓淡墨线勾皴肌理，草木用简劲笔触点染，尽显清幽雅致的文人意趣与自然生机。",[2496,2499,2501,2509,2549,3155,2503,2577,2495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeab9824aa4b59b6678548a5564ac158.jpg",[6],"90897f",{"id":1734,"slug":17232,"title":7929,"dynasty":2632,"author":17233,"museum":2492,"description":17234,"tags":17235,"thumbUrl":17236,"material":2598,"size":2598,"collection":6,"collections":17237,"showCount":2745,"zanCount":2517,"manualWeight":2517,"mainColor":17238},"shan-shui-tu-zhou-lu-dao-huai-202028","陆道淮","层峦叠嶂间，飞瀑倾泻而下，似银练垂空，溅起泠泠清响。山麓处古松虬劲，枝叶纷披，荫下小亭孑立，溪流蜿蜒穿石，意境清幽淡远。笔墨运用精妙，山石以皴法勾勒，纹理苍莽，树木姿态各异，墨色浓淡相宜，浅染设色更显雅致。整幅画作将自然之趣与文人情怀相契，尽显林泉隐逸之美。",[2496,2501,2499,2509,2902,2611,2505,2613,2577,2495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5fb3169f1d44732c9088e47ad47c4da.jpg",[6],"c8b9aa",{"id":1735,"slug":17240,"title":11057,"dynasty":2632,"author":17241,"museum":2492,"description":17242,"tags":17243,"thumbUrl":17244,"material":2598,"size":2598,"collection":6,"collections":17245,"showCount":2745,"zanCount":2517,"manualWeight":2517,"mainColor":17246},"fang-da-chi-shan-shui-tu-zhou-zhang-shao-zu-201978","张绍祖","山石层叠间，淡墨干笔皴擦出松秀线条，丘壑幽远之态毕现。近景林木疏朗，枝干挺劲，墨色浓淡交织，叶片点染有致，与山石清润质感相映成趣。山间云气隐现，溪流绕林麓蜿蜒，意境空灵静谧。笔墨承黄公望遗韵，简淡中含苍劲，朴拙里藏秀逸，融山水生机与文人清雅于一体，尽显传统山水画的笔墨意趣与精神内蕴。",[2496,2501,2499,2509,2676,2577,2506,2507,2613,2495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10ceed0aed385f6e4b5bfb5db14e7ef2.jpg",[6],"c1a582",{"id":1736,"slug":17248,"title":17249,"dynasty":2522,"author":3431,"museum":2563,"description":17250,"tags":17251,"thumbUrl":17252,"material":2597,"size":17253,"collection":6,"collections":17254,"showCount":2660,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"fang-mi-shi-yun-shan-zhou-yi-ming-290737","仿米氏云山轴","此幅画夏雨初过，山野溪畔水气弥漫，山脚林间云霭飘移，村屋、古寺掩映其间。山石以浓淡变化的“米点”层叠渲渍，再加色烘染，水份饱满。唯用笔构图板滞，应为明清之作。",[2496,2577,2499,2509,2501,2651,2614,2506,2502,2579,2547,2510,2676],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd455344f176e2280f3d2ea4362701fd1.jpg","57x35.3",[6],{"id":1737,"slug":17256,"title":17257,"dynasty":2490,"author":17258,"museum":2563,"description":17259,"tags":17260,"thumbUrl":17261,"material":2567,"size":17262,"collection":6,"collections":17263,"showCount":2660,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"chun-wu-cun-ju-tu-zhou-ma-shi-290355","春坞村居图轴","马轼","画幅上方的主峰，奇而不觉突兀，山石峭峰直上，远山笼罩在一片迷蒙的雾中，准确而又充分地表达了作者独特的感受，这正是师承郭熙的画山心法，不仅强调自然山水体貌结构的规律，而且还特别去发现和塑造山水优美的艺术形象。“山形面面看”，“山形步步移”，角度不同而呈现千姿百态，又有别于郭熙的画山之奇异画风。观马轼之山，笔力劲爽含蓄、灵活秀润，无雕琢刻画与粗莽恣肆之弊。从构图和立意上，画家着重墨色浓淡变化，笔锋细劲，设色淡雅。人物虽小，但真实具体，各尽其态。山水景物皆以尖劲利落的细笔勾出，山石用小斧劈皴法，坚凝沉着，棱角分明，以皴点加淡青绿色画出半明半暗的效果，很好的表现了峰峦的质感。树亦以小笔勾点而成，整幅作品呈现着烟云浩淼、葱郁深秀、意境优雅的韵味，形成了秀逸而不媚弱，清劲而不霸悍的风格。\n马轼在艺术表现上沁入较多自由清新的气息，如这幅画的山石皴法，固然还可看出传统画法“斧劈皴”的痕迹，但他并不拘泥于前人，而是带有更多的写实意味，用笔细腻沉着，苍秀挺峭，表现了山川苍劲之势和沉着浑厚之气，赋予作品浓郁的生活气息。整个画面的布局上，运用虚实相生的手法，远景山树迷茫，峰峦朦胧，与烟雾相交融，含蓄而更富有真实感。近景大石居中，林树细笔攒簇，柔韧坚挺，更突出了近山的耸拔气象。而茅舍间点缀了正在悠然耕作的人，左峰角小石间似湍湍流动的溪水，使画面的气氛更生动，又营造了画面恬静适淡的意境。马轼是一位宫廷画家，此画在一定程度上也暗示了作者对那种终日应酬、荣辱萦怀的世俗生活的厌倦。从这一个意义上看，《春坞村居图》不但以优美抒情的笔墨描绘了一个自然朴实的春日村居，同时，电是抒发了作者歆羡村居无忧无虑又简单惬意的田园生活及远离世俗的思想情怀。",[2496,2833,2577,2499,2509,2651,2506,3383,2614,2507,2502,2503,2508],"https:\u002F\u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评其为“画有南北宗，至石谷而合焉”。康熙三十年（1691年）由宋骏业之荐，上京主持《康熙南巡图》的一系列制作。南巡图绘毕，曾获当时皇太子胤礽接见，赐座、赐食，并赐“山水清晖”四字。归里之后，求画者甚众。所作多为仿古，功力较深，但有时过于圆熟或伤于刻露，而丘壑尤少变化，晚年于简练中求苍浑，为论者所重；偶写花卉，秀隽有致。平生艺论，多在《清晖赠言》。\n王翚从学弟子甚多，是“虞山派”的创始人。王翚与王时敏、王鉴、王原祁合称“四王”，又与吴历，恽寿平合称“四王吴恽”或“清六家”。",[2496,2497,2577,2499,2509,2501,3155,2578,2977,2508,3136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690627240bef20eafb2805e2c71c81c4.jpg","128.4x55.4公分",[6],{"id":1744,"slug":17303,"title":17304,"dynasty":2632,"author":5047,"museum":2563,"description":17305,"tags":17306,"thumbUrl":17307,"material":2732,"size":2598,"collection":6,"collections":17308,"showCount":2660,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-dong-shan-shui-ce-zhuang-zhou-wang-hui-237342","仿董山水册装轴","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王”，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n王翚 在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”\n王翚自幼嗜画，继承家学，又随学黄公望画法的同乡张珂学画，很早便表现出非凡的绘画才能。王翚师从王时敏、王鉴。但他所画山水不拘于一家，广采博揽，集唐宋以来诸家之大成，熔南北画派为一炉。王翚在王时敏、王鉴发展南宗画派的基础上，借鉴北宗的某些技法，比较全面地对山水画传统进行整理，形成具有综合概括性质的法则。王翚将黄公望、王蒙的书法性用笔与巨然、范宽的构图完美地结合起来，创造出一种华滋浑厚、气势勃发的山水画风格。因而他所画的江南小景往往生趣盎然，清幽灵动。王翚作画喜好干笔、湿笔并用，而且多以细笔皴擦，画面效果比较繁密。曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。他早期画风清丽工秀，晚期则倾向苍茫浑厚。章法富于变化，水墨与浅绛渲染得法。也有评者指出王翚用笔过于圆熟，某些画则显得刻露，墨法少有变化，构图略感壅塞。",[2496,2497,2592,2499,2676,2509,2547,2501,2505,2593,3091,2595,5071,3736,2508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc7bbd6a2fa761e8a9d5c62b9b73fbe.jpg",[6],{"id":1745,"slug":17310,"title":2587,"dynasty":2490,"author":17311,"museum":2818,"description":17312,"tags":17313,"thumbUrl":17314,"material":2598,"size":2598,"collection":6,"collections":17315,"showCount":2660,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-qin-mao-de-236924","秦懋德","此作以淡墨晕染出萧疏冬景，枯木虬枝临水旁逸，茅亭孤坐一人凭窗凝睇，远山隐在烟岚轻雾之中，留白铺就出空濛幽寂的氛围感。\n题诗与画境相得益彰，将重阳过后的闲淡幽怀寄于尺幅之间。笔法秀雅简淡，舍去繁复皴擦，以极简构图传递出静穆淡远的林下之风，尽显文人山水画以景抒情的意趣，将观览者带入清冷安闲的山居雅境，藏着文人寄情林泉的雅致襟怀。",[2496,2497,2592,2499,2500,2501,2505,2578,2502,2503,2677,2595,2506,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3230239299d828a4dafbc2c705611e63.jpg",[6],{"id":1746,"slug":17317,"title":2587,"dynasty":2632,"author":2996,"museum":5626,"description":10146,"tags":17318,"thumbUrl":17319,"material":2598,"size":2598,"collection":6,"collections":17320,"showCount":2660,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-hua-yan-236729",[2496,2497,2592,2500,2499,2501,2505,2976,2677,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F796e93be747b35bfd33272ec848edc2a.jpg",[6,2534],{"id":1747,"slug":17322,"title":2587,"dynasty":2632,"author":17323,"museum":2818,"description":17324,"tags":17325,"thumbUrl":17326,"material":2531,"size":2598,"collection":6,"collections":17327,"showCount":2660,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-cheng-ming-236496","程鸣","程鸣（1676-1745），字友声，号松门，安徽歙县人，占籍江苏仪征。黄宾虹在《黄山画苑论略》中云其为雍正年间诸生。山水学於石涛（道济）参以程邃，每以秃毫渴墨，运以中锋，纯以书法成之，不加渲染，自然沈郁苍浑。诗出王士祯之门，尝为士祯作古夫于亭图，与陈撰、方士庶、厉鹗为诗画友。",[2496,2497,2592,2499,2509,2501,2507,2506,3091,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c36e79a5f9b30c0ba5a08df138da30a.jpg",[6,2534],{"id":1748,"slug":17329,"title":17330,"dynasty":2632,"author":5047,"museum":2818,"description":11861,"tags":17331,"thumbUrl":17332,"material":2598,"size":2598,"collection":6,"collections":17333,"showCount":2660,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"ni-qian-ren-shi-yi-ce-wang-hui-236445","拟前人诗意册",[2496,2497,2592,2499,2509,2501,2506,2614,2507,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62006bed9cd38e5feced8176c057269c.jpg",[6,2626],{"id":1749,"slug":17335,"title":17336,"dynasty":2632,"author":17337,"museum":2818,"description":17338,"tags":17339,"thumbUrl":17340,"material":2598,"size":2598,"collection":6,"collections":17341,"showCount":2660,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"hua-lu-jian-ceng-chu-sai-xiang-gao-feng-han-bu-jing-zhou-zhang-hang-236426","画卢见曾出塞像高风翰补景轴","张珩","高凤翰（1683年～1749年）胶州大行高氏二股十一世，扬州八怪之一。清代画家、书法家、篆刻家。又名翰，字西园，号南村，又号南阜、云阜，别号因地、因时、因病等40多个，晚因病风痹，用左手作书画，又号尚左生。\n汉族，山东胶州三里河村（今山东青岛市胶州市）人。雍正初，以诸生荐得官，为歙县县丞，署绩溪知县，罢归。性豪迈不羁，精艺术，画山水花鸟俱工，工诗，尤嗜砚，藏砚千，皆自为铭词手镌之。有《砚史》《南阜集》。",[2496,2497,2577,2500,2549,2960,13376,2552,2800,2501,2547,2510,2511],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdef365da266c40d5b375e28de2dc4011.jpg",[6,2626,6382],{"id":1750,"slug":17343,"title":2761,"dynasty":2632,"author":17344,"museum":2818,"description":17345,"tags":17346,"thumbUrl":17347,"material":2598,"size":2598,"collection":6,"collections":17348,"showCount":2660,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-ce-guan-quan-235895","官铨","此作以干笔积墨绘山居小景，近岸乱石错落，平田晕着淡墨天光，茂林掩映间茅舍隐现，林叶以点簇堆叠，苍苍莽莽，尽显深幽林下的清寂意趣。\n\n笔墨沉厚朴拙，以密皴铺陈山石林木，墨色干湿互济，淡晕田块与浓墨林梢相映，糅合出温润苍润的质感。左侧题书笔意纵逸，与山水静穆形成动静相生的妙趣，文画呼应，将丘壑藏于尺幅间，暗合幽居忘世的林下襟怀，尽显以笔写心的文人雅逸品格。",[2496,2497,2592,2499,2509,2511,2501,2593,2507,2503,2502,3668],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24e9011e0c250b9fb2f2e0483defd6da.jpg",[6],{"id":1751,"slug":17350,"title":2587,"dynasty":2632,"author":3020,"museum":2818,"description":17351,"tags":17352,"thumbUrl":17353,"material":2598,"size":2598,"collection":6,"collections":17354,"showCount":2660,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-wang-yuan-qi-235104","此作用笔苍厚老辣，以干笔积墨反复皴擦，将山石的嶙峋质感晕染得浑厚苍润。远景峰峦以浅赭淡墨轻勾，烟岚留白晕出空濛山意，虚实间铺展悠远天际。近景茂林环拥山居，飞瀑穿林漱石，汇入平湖，鲜活灵动的水色消解了山林的沉郁。\n设色清淡雅致，浅施赭石敷色，一派江南山居的闲静气象。画中藏着文人胸中丘壑，将林泉高致凝于尺幅间，观之如临幽林，可听泉声、揽山云，沉浸式体味出世闲逸的林下雅趣。",[2496,2497,2592,2499,2500,2509,2501,2506,2507,2503,2508,2550],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1db070a5ca5283865350fec66c9915b.jpg",[6],{"id":1752,"slug":17356,"title":17357,"dynasty":2632,"author":6249,"museum":2818,"description":13545,"tags":17358,"thumbUrl":17359,"material":2732,"size":2598,"collection":6,"collections":17360,"showCount":2660,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年）卒，江苏梁溪(今无锡)人。字逸芬，又字撷芬，号桐阴、桐阴生、逸道人、楞烟、邻烟、邻烟外史等。",[2496,2497,2592,2499,2511,2547,2509,2501,2502,2503,2505,2506,2507,2611,2508,3736,6039,2651,2752,10631,2637],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6be8cda5b92f8e3e57d5d8504a2c9485.jpg",[6,2534],{"id":1781,"slug":17583,"title":17584,"dynasty":2490,"author":17585,"museum":2818,"description":17586,"tags":17587,"thumbUrl":17588,"material":2598,"size":2598,"collection":6,"collections":17589,"showCount":2724,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"mo-bi-zhu-shi-zhou-chen-gua-237694","墨笔竹石轴","陈栝","陈栝（生卒年不详），字子正，号沱江，苏州府长洲（今江苏苏州）人，明代画家陈淳之子，明代中期著名的绘画大师。\n陈栝自幼随父亲陈淳修习绘画，饮酒纵诞。陈栝善画花鸟山水，尤精绘画花鸟，笔似其父，将其父陈淳的笔迹放纵，不拘于象的写意画法发挥至极致。明朝嘉靖年间，尚属英年的陈栝先于其父病逝，时人多因他早逝而深感惋惜，尊称他为沱江子。\n陈栝是明代中期的杰出画家，他行笔放浪而有生趣，将诗意融汇进绘画中，进一步促进了我国古代绘画史写意画法的发展，有五代徐熙、黄筌遗意。",[2496,2497,2577,2499,3155,3839,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5e4485998ba7cfc245a08a6961acd7c.jpg",[6],{"id":1782,"slug":17591,"title":17592,"dynasty":2490,"author":12214,"museum":2818,"description":17593,"tags":17594,"thumbUrl":17595,"material":2598,"size":2598,"collection":6,"collections":17596,"showCount":2724,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"han-yan-fei-pu-zhou-ding-yun-peng-237548","寒岩飞瀑轴","其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”",[2496,2577,2499,2501,6934,6039,3091,2902,2652,2503,6935,2509,2546],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bfb54d7727b890b82438801fe3408aa.jpg",[6],{"id":1783,"slug":17598,"title":17599,"dynasty":2490,"author":17600,"museum":2818,"description":17601,"tags":17602,"thumbUrl":17603,"material":2732,"size":2598,"collection":6,"collections":17604,"showCount":2724,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"hua-hui-ren-wu-ce-mao-fu-guang-237049","花卉人物册","毛复光","此作用笔简淡枯疏，以披麻皴写远山，浓墨点染近树，层次分明。近岸老枝虬曲，浓荫裹着茅庐藏于幽隅，板桥之上，策杖缓行的幽人似在流连烟水。江波澹澹衔着远峰，留白处尽显空寂萧散。题跋小字清雅安闲，与画面浑融一体。整体以简淡笔墨勾勒出林下幽居、江湖独往的隐逸意趣，将文人寄情丘山、静享林泉的闲淡心绪藏于尺幅之间，素朴浅淡中见出清逸隽永的文人风骨。",[2496,2499,2592,2501,2502,2549,2593,2547,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa461e34847460aa5f0d31bc5c0284aa3.jpg",[6,2534],{"id":1784,"slug":17606,"title":17607,"dynasty":2632,"author":5047,"museum":2818,"description":8974,"tags":17608,"thumbUrl":17609,"material":5818,"size":5819,"collection":6,"collections":17610,"showCount":2724,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xue-jing-shan-shui-ce-wang-hui-236995","雪景山水册",[2496,2499,2509,2592,2501,3078,2714,2593,2715],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a2b80b1025f221dde693c4dd8c35221.jpg",[6],{"id":1785,"slug":17612,"title":17613,"dynasty":2632,"author":14720,"museum":2818,"description":14721,"tags":17614,"thumbUrl":17615,"material":5818,"size":5819,"collection":6,"collections":17616,"showCount":2724,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-he-ce-huang-yi-236417","山水合册",[2544,2496,2497,2501,2592,2509,2499,2677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccdec5f166d12a3538f49c644f7c0d9a.jpg",[6],{"id":1786,"slug":17618,"title":17619,"dynasty":2632,"author":5047,"museum":2673,"description":11861,"tags":17620,"thumbUrl":17621,"material":4324,"size":17622,"collection":6,"collections":17623,"showCount":2724,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shuang-ke-yuan-xiu-zhou-wang-hui-236392","霜柯远岫轴",[2496,2577,2499,2509,2501,2902,3735,2652,2595,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dfe4fa93bccb217c8fe4cc2f1d15155.jpg","纵74.3cm，横30.6cm",[6,2626],{"id":1787,"slug":17625,"title":2761,"dynasty":2632,"author":17626,"museum":2818,"description":17627,"tags":17628,"thumbUrl":17629,"material":2598,"size":2598,"collection":6,"collections":17630,"showCount":2724,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-ce-xiao-yi-yun-236341","萧一芸","萧一芸，清初安徽芜湖人，名画家萧云从之侄。山水参唐寅、沈周，用笔清逸。云从极宠爱之，故能得其真传。云从晚年画多其代笔，观者莫辨。此册八开，或作松屋听泉，或作孤村泛艇；或写山庄密雪，或写危岩夏寒……构境或平淡，或崇高，或险绝，或幽深。皆以枯笔细皴，渴墨密擦，清苍秀润，了无俗韵，是其极精之作。且保存如新，堪赏堪藏。\n萧云从(1596～1673) ，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初芜湖著名画家，姑熟画派创始人。幼而好学，笃志绘画、寒暑不废。明崇祯十一年(1638)与弟云倩加入复社，次年为副贡生。入清不仕，闭门读书赋诗作画，或遨游名山大川。善画山水格疏秀，兼工人物，与孙逸齐名。",[2496,2497,2592,2500,2501,2550,2504,2506,2507,2510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ddfa414b9c09b1f8ec44e4094725db.jpg",[6,2534,6382],{"id":1788,"slug":17632,"title":2587,"dynasty":2632,"author":16846,"museum":2818,"description":17633,"tags":17634,"thumbUrl":17635,"material":2598,"size":2598,"collection":6,"collections":17636,"showCount":2724,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-mei-geng-235374","此作为诗画合璧，上部行书题字笔墨清隽，文辞摹写山水幽境，与下方画作彼此呼应。画面以淡墨写就，虬劲枯松卓然挺立于崖岸，林下高士凭崖远眺飞瀑长川，远山以留白晕染出空濛幽深之意。整体笔墨简淡萧散，笔意松秀空灵，以极简的笔致勾勒出清远出尘的山水胜景，尽显文人画寄情林泉、澄怀观道的意趣，诗画相映间悠悠古意扑面而来，尽抒林下风流雅韵。",[2496,2497,2592,2499,2501,2509,2549,2507,2611,2578],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e6ec88fd071f9d84239a1723f17bcda.jpg",[6,6382],{"id":1789,"slug":17638,"title":17639,"dynasty":2632,"author":3431,"museum":2818,"description":17640,"tags":17641,"thumbUrl":17642,"material":2598,"size":2598,"collection":6,"collections":17643,"showCount":2724,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"yu-mu-shang-xin-ce-jiang-zhu-shan-shui-ce-ye-yi-ming-234551","娱目赏心册-江注山水册页","《娱目赏心册》收集了十三幅绘画作品，分别出自于十二位画家之手，尽管是不同画家的手笔，但整个册页非常统一，弥漫的是一股浓浓的文人气息",[2496,2497,2592,2499,2511,2547,8059],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd63b49a98dfed4752166cc9dfed195c5.jpg",[6,2870],{"id":1790,"slug":17645,"title":2587,"dynasty":2632,"author":17646,"museum":2673,"description":17647,"tags":17648,"thumbUrl":17649,"material":3044,"size":2598,"collection":6,"collections":17650,"showCount":2724,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-wang-jiu-234320","王玖","王翚一派，学者每失之甜，玖善用枯笔，故无此病。又尝作修篁拳石小品，深得恽寿平疏峭之致。偶仿沈周古桧。笔力圆健可与竹岭（王三锡）之松称双绝。与王昱、王宸、王愫合称“小四王”。传世作品有乾隆三十二年(1767年)作《仿元人山水册》、四十九年(1784年)作《红树秋山图》扇页、四十二年(1777年)作《纫香环翠图》卷（现藏故宫博物院）；《苍石蒲草图》轴（现藏沈阳故宫博物院）。\n王玖，字次峰，号二痴，又号逸泉主人、海隅山樵，江苏常熟人，晚年移家吴门（今江苏苏州），画室名曰“逸泉山房”。翚曾孙。山水远承家学，意气傲岸，自负为画世家。少尝游黄鼎门，亲受秘法。已而遍临古迹，益深造。其仿小米墨戏，峰峦石骨，苔点层叠，略为变通，惟林木串插，陂陀位置，仍不脱乃祖规制。",[2496,2497,2592,2499,2509,2511,2547,2501,2507,2506,3736,3166],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36895b3e70d3dcf8d4166e70543c7c44.jpg",[6,2534,6382],{"id":1791,"slug":17652,"title":17653,"dynasty":2490,"author":3431,"museum":3121,"description":17654,"tags":17655,"thumbUrl":17656,"material":2531,"size":17657,"collection":6,"collections":17658,"showCount":2724,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"hui-ji-shan-tu-shou-juan-quan-juan-yi-ming-223362","会稽山图手卷全卷","图绘绍兴会稽山景色。远处山峦起伏，满山苍翠；数条河流将群山隔开，河面修长平静，数只船只来往忙碌；近处数座房屋座落于山脚河岸边，背山面水，景色优美，为宜居胜地。技法上，以细皴绘山脉，线条柔和，层次清晰。",[2495,2496,2498,2544,2833,2499,2509,2651,2528,4702,2508,2506],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64c41ff2d27b892270217b7097c0f66a.jpg","49.2×712.2",[6],{"id":1792,"slug":17660,"title":17661,"dynasty":2490,"author":17662,"museum":3121,"description":17663,"tags":17664,"thumbUrl":17665,"material":2531,"size":17666,"collection":6,"collections":17667,"showCount":2724,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"ting-zhou-fang-mei-tu-zhao-zi-jun-222575","停舟访梅图","赵子俊","绘远山近水，河岸山石之上，松柏修长翠绿，梅花朵朵盛放，一人坐于梅下，抬头观望赏梅，梅下岸边河边船只停泊。另一边数座房屋呈现，房前屋后翠竹茂盛，梅花灼灼。画面疏密有致，意境辽阔清雅。",[2495,2496,2497,5225,2500,2501,4241,2504,2902,2730,2595,2593],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b03376e9df78efc27198473fd5577ce.jpg","40x50",[6],{"id":1793,"slug":17669,"title":17670,"dynasty":2605,"author":3431,"museum":2563,"description":17671,"tags":17672,"thumbUrl":17673,"material":2531,"size":2598,"collection":6,"collections":17674,"showCount":2724,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"yi-ting-kan-hong-tu-yi-ming-219640","倚艇看鸿图","此作以边角取景，斜出的古松虬曲苍劲，藤蔓盘绕松身，野趣横生。坡岸石矶错落，幽草杂木点缀其间，白衣幽人倚艇静坐，遥望远空。淡墨晕染的远山与湖面融于空濛烟霭，水天一色愈显清旷悠远。\n\n全作用笔简淡秀雅，以水墨皴擦点染，不见繁复刻画，却将江南水滨的萧散清寂晕染尽致。幽人观鸿的闲寂之态，暗合宋人林泉高致的雅趣，咫尺团扇之间，藏着江湖林下的阔远襟怀，尽显宋代山水小品以小见大、以简胜繁的意境之美。",[2495,2496,2497,5225,2499,2509,2501,2578,2677,2552,2504,2594,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6dabe5d6d95427c3f91f0cba98543ed.jpg",[6],{"id":1794,"slug":17676,"title":17677,"dynasty":2490,"author":7219,"museum":2673,"description":17678,"tags":17679,"thumbUrl":17680,"material":2567,"size":17681,"collection":6,"collections":17682,"showCount":2724,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"yun-yan-jia-sheng-tu-wen-bo-ren-219218","云岩佳胜图","该图描绘虎丘山云岩寺实景，从二山门、千人石、双吊桶、剑池、石桥直到山顶的佛阁和虎丘塔都一一收入画面。作品以写生为基础，捕捉住虎丘山的特征，表现出吴门画风。",[2495,2496,2497,2498,2501,2500,2499,2509,2511,2510,2547,2550,2507,2506,2505,2503,2502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5658b5730929f9dfde87aa2dd8229ce8.jpg","纵31.1cm，横63.6cm",[6],{"id":1795,"slug":17684,"title":17685,"dynasty":2605,"author":3431,"museum":2563,"description":17686,"tags":17687,"thumbUrl":17688,"material":2567,"size":17689,"collection":6,"collections":17690,"showCount":2724,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shu-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浓淡相宜，干湿互济，尽显自然灵秀与文人意趣，是画家晚年山水的典型风貌，于质朴中见深邃，于厚重中显清逸。",[2496,2501,2499,2509,9413,2505,2902,2507,2614,2495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd938673ed4b5cb9ebb8ccb397d562c68.jpg",[6],"b5af99",{"id":1804,"slug":17758,"title":17759,"dynasty":13127,"author":17760,"museum":2492,"description":17761,"tags":17762,"thumbUrl":17763,"material":2598,"size":2598,"collection":6,"collections":17764,"showCount":2724,"zanCount":2517,"manualWeight":2517,"mainColor":17765},"fang-mi-fei-yan-yu-tu-zhou-qi-bai-shi-202816","仿米芾烟雨图轴","齐白石","水墨晕染间，山峦如黛，烟霭轻笼，尽显米家山水的朦胧意趣。白石老人以大写意笔法破墨点染，浓墨积叠出苍劲树影与屋舍轮廓，淡墨晕化出山巅云雾，虚实相生间，烟雨空濛之态跃然纸上。近景林木葱郁，屋舍隐现；远景峰峦耸峙，层次分明却浑然一体，似将江南烟雨的湿润清旷凝于尺幅，既有古法韵致，又藏独有的朴拙生机。",[2496,2499,2501,2676,3454,2651,2506,2579,8193,2495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcece95bf31897daf8e001444db8f9b6d.jpg",[6],"aaa791",{"id":1805,"slug":17767,"title":17768,"dynasty":2490,"author":2491,"museum":2492,"description":17769,"tags":17770,"thumbUrl":17772,"material":2598,"size":2598,"collection":6,"collections":17773,"showCount":2724,"zanCount":3198,"manualWeight":2517,"mainColor":17774},"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。",[2501,2499,2509,2505,2578,2549,13976,17771,2495],"吴门画派","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f40c977d4b5396f4a3519ffe4b2ef81.jpg",[6],"b9b0ad",{"id":1806,"slug":17776,"title":17777,"dynasty":2632,"author":17778,"museum":2492,"description":17779,"tags":17780,"thumbUrl":17782,"material":2598,"size":2598,"collection":6,"collections":17783,"showCount":2724,"zanCount":2517,"manualWeight":2517,"mainColor":17784},"shan-cun-tu-zhou-yan-zai-201967","山村图轴","严载","画面中山峦层叠，以细腻皴法勾勒石质纹理，青绿设色晕染出淡雅气韵。近处坡岸之上，几株苍松姿态虬劲，旁侧村落屋舍错落，围栏半掩，似有隐逸之趣。水域开阔，与远山相映，虚实之间尽显江南山村的宁静悠远。整幅画作笔墨温婉，意境清幽，将自然山水与人文居所相融，传递出文人画特有的恬淡诗意与对田园生活的向往。",[2501,2500,2509,2902,17781,2546,2495],"山村","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1ea477bb6b05806d80e069fe85c8180.jpg",[6],"968368",{"id":1807,"slug":17786,"title":16440,"dynasty":2490,"author":16441,"museum":2818,"description":17787,"tags":17788,"thumbUrl":17789,"material":2598,"size":2598,"collection":6,"collections":17790,"showCount":2628,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"ju-jie-shan-shui-zhou-ju-jie-239225","居节(约1524-1585后)〔明〕字士贞，一作贞士，号商谷、西昌逸士，吴县(今江苏苏州)人。少时从文嘉学画，文徵明见其运笔，惊喜之余，遂授以法，为文徵明高足弟子。所作山水意象简远，有来人韵致，字与诗亦自师门来。尚气节，虽贫困只以丹青自娱，不屑仰事侯门。晚年因触犯织造太监孙隆，家破，在苏州虎丘南村僦屋数间，仍萧然自适。或绝粮，则旦起写《疏松远岫》一轴，令童子易米以炊，后竟以穷死。后人珍视其画，认为可与朱朗、侯懋功相颉颃。传世作品有隆庆二年(1568)作《品泉诗意图》，图录于《中国名画》；万历二年(1574)作《松荫观瀑图》轴、十一年(1583)作《云岚松色图》卷现藏故宫博物院；《万松小筑图》轴藏上海博物馆；嘉靖四十年(1561)作《潮满春江图》轴藏镇江市博物馆；万历九年(1581)作《松壑高闲图》轴藏香港虚白斋。能诗，著有《牧豕集》。《明画录》卷四谓其：“年六十，竞以穷死。”",[2544,2496,2497,2577,2499,2509,2501,2507,2506,3091,2508,3736,3993],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00f9bf572940e82f9e72b15c28a474de.jpg",[6],{"id":1808,"slug":17792,"title":17793,"dynasty":2632,"author":13330,"museum":2818,"description":17794,"tags":17795,"thumbUrl":17796,"material":2598,"size":2598,"collection":6,"collections":17797,"showCount":2628,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"san-da-ming-shan-shi-er-tu-ce-xu-fang-239194","三大名山十二图册","此帧以渴笔焦墨写就山林丘壑，奇崛峰峦以短皴勾勒，尽显山石嶙峋质感，溪岸林木错落生姿，幽谷间屋舍隐现，铺陈出荒寒清寂的山居雅境。左侧行书题跋笔意萧散灵动，书画合璧，以文释意。笔墨间寄寓着画家疏离尘俗、安贫守节的隐逸襟怀，将遗民文人静守林泉的淡泊心境融于尺幅之间，是文人山水画中以意驭笔、以画明志的佳作，尽显乱世之中文人的精神归处。",[2496,2497,2592,2499,2501,2506,2507,2902,2690,2509,2510,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4d3c923c0a1173967369105dfabce1a.jpg",[6,2534],{"id":1809,"slug":17799,"title":2587,"dynasty":2632,"author":17800,"museum":2818,"description":17801,"tags":17802,"thumbUrl":17803,"material":2598,"size":2598,"collection":6,"collections":17804,"showCount":2628,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-ce-li-dong-239005","李栋","康熙四十一年（一七o二）中顺天乡榜，授内阁中书。工诗文，善篆隶，兼画山水，尤工小李将军法，名震江、淮间。著自怡堂稿、楚游杂记。《图绘宝鉴续纂》、《高邮州志》、《兴化县志》。",[2496,2497,2592,2500,2499,2509,2501,2502,2503,2505,2506,2507,2549],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56aa001791b78be3d3dbb1d84c29775c.jpg",[6,2534],{"id":1810,"slug":17806,"title":17807,"dynasty":2632,"author":5047,"museum":2818,"description":17808,"tags":17809,"thumbUrl":17810,"material":2598,"size":2598,"collection":6,"collections":17811,"showCount":2628,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ye-wang-hui-238947","山水页","图绘万壑千岩、草木葱茏、瀑布高悬直泻的江南风光。王翚约16岁师从同邑张珂学画时，就以元黄公望（号井西道人）的笔墨为宗，刻苦摹学始终不怠。此图是他早年学黄氏画法的代表作。图中山石以赭色和绿色交替晕染，学黄氏用纵线的披麻皴皴擦石面，笔势潇洒而秀润。其石边缘上的苔点要比黄氏的更为繁密，排列整齐的苔点，给高崖峻壑增添了青绿之美，同时，它与以卧笔横点表现的树叶，形成点与点的呼应，全图在“点”的统一下，具有湿润华滋的艺术效果。",[2496,2497,2499,2500,2509,2592,2501,2506,2502,2503,2552,2507,10083],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f8241595b412879fd3462585f1b6fb1.jpg",[6,2534],{"id":1811,"slug":17813,"title":17814,"dynasty":2632,"author":11399,"museum":2818,"description":11400,"tags":17815,"thumbUrl":17816,"material":2598,"size":2598,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，字无逸，号疎林，亦号石禅，明朝末清朝初海阳（今安徽休宁）人，与萧云从齐名，合称孙萧，与弘仁、汪之瑞、查士标为新安派四大家；字仲举。\n山水得黄公望法，人以为文徵明后身。淡而神旺，简而意足。尝画歙山二十四图。亦工花卉。传世作品有崇祯十二年（1639）与李永昌、汪度、弘仁、刘上延为李生白联作《冈陵图》合卷，每人画一段依次相接，孙逸所画第四段，墨色变化层次分明，质朴洁静，萧疏清逸，现藏上海博物馆；十六年（1643）作《茅屋长松图》轴藏故宫博物院；《仿云林山水图》扇页，自题：“云林不是人间笔，胸次无尘腕下仙，摹得东冈草堂法，两三株树小亭边。旋吉词兄属涂并题，正。孙逸。”藏安徽省博物馆；顺治十一年（1654）作《秋山图》轴、十四年作《仿黄公望山水图》扇页、康熙十九年（1680）作《山水》册页著录于《中国书画家印鉴款识》。从艺活动约于康熙前期。",[2496,2497,2577,2499,2509,2501,2593,3155,2779,2508,2507,2502,2503,2595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08dd0626551da2c6ee84d50acbd958e6.jpg",[6],{"id":1814,"slug":17834,"title":17835,"dynasty":2490,"author":5775,"museum":2673,"description":17836,"tags":17837,"thumbUrl":17838,"material":2720,"size":17839,"collection":6,"collections":17840,"showCount":2628,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"luo-han-tu-zhou-wu-bin-237463","罗汉图轴","图中画三位佛教人物，其中身披红色袈裟者手持一钵正在降伏半空中的飞龙。佛教修行中的最高果位是佛，其次为菩萨，然后是罗汉。宋代以前流传十六罗汉，之后又衍生出两尊，即降龙和伏虎，于是成为十八罗汉。降龙罗汉位列十八罗汉的第十七位，根据古印度的传说，降龙罗汉最初的原形是庆友尊者。相传古印度那竭国有恶魔煽动国人杀害出家的佛弟子，尽毁佛殿佛塔，劫掠经书。当时海龙王发动洪水，淹没了那竭国，并将佛经收藏于龙宫之内，等待有法力的僧人取回，最终庆友尊者完成大任，因此他被称为降龙罗汉。本图中的人物形象古朴，线条细劲绵长，设色浓丽。《图绘宝鉴续纂》记载吴彬：“善人物，奇行怪状，迥异旧人，自立门户。”",[2496,2497,2577,8088,2500,2549,3434,2902,2546],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ae99e6225085f994b39be7e25626092.jpg","纵145.9厘米，横76.1厘米",[6],{"id":1815,"slug":17842,"title":2587,"dynasty":2632,"author":17843,"museum":2818,"description":17844,"tags":17845,"thumbUrl":17846,"material":2732,"size":2598,"collection":6,"collections":17847,"showCount":2628,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-chen-jia-le-237428","陈嘉乐","「画中十哲」即董邦达、高翔、高凤翰、李世倬、允禧、张鹏翀、李师中、王延格、陈嘉乐、张士英。\n十哲为娄东派，他们崇古保守的画风，与「虞山画派」相依托，即这10位娄东派的画家，亦兼写虞山画派，如李世倬。他们又受「四王」的影响甚大，其主要以临摹复古为主，但其中也有自出机杼、别故致新的画家，如高凤翰、高翔等。\n陈嘉乐，字子显，号东原，历城（今山东济南）人。善山水，学王原祁，奕譓招之京邸，从学画。为朱文震画中十哲歌「十哲」之一。性孤介，殁后家贫如洗。《历代画史汇传补编》、《墨林今话》、《画传编韵》、《八旗画录》、《画家知希录》、《山东通志》、《家言随记》、《清画家诗史》。",[2496,2592,2500,2509,2501,2506,2550],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc94b76754f2313b0c9f956f9fed64fb.jpg",[6],{"id":1816,"slug":17849,"title":17850,"dynasty":2632,"author":17851,"museum":2818,"description":17852,"tags":17853,"thumbUrl":17856,"material":2598,"size":2598,"collection":6,"collections":17857,"showCount":2628,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"tao-li-yuan-tu-zhou-wu-chao-237140","桃李园图轴","吴焯","吴焯（1676年--1733年），男，字尺凫，号绣谷，晚号绣谷老人，清钱塘（今杭州）人（一说安徽歙县人）。以家有古藤，花开时垂如璎珞，遂构亭名“绣谷”。\n仿晁公武、陈振孙书目体例，所辑《薰习录》（一作《绣谷亭薰习录》），是其专记所藏秘册、叙述原委、购书、读书记，与《读书敏求记》颇为相似，但篇幅较小，仅经部1卷，集部2卷。又有《瓶花斋书目》今已不传。精校勘，手自丹黄，每购一书，必兼数本，相互参比，如有考证心得，辄书诸卷首。小山堂赵昱回忆与吴焯的交往时曾说“绣谷藏书颇矜惜，不轻借人，独许予抄，予所藏多绣谷亭本。予偶得善册，先生见之亦必取以勘定。”乾隆三十八年（1773），诏开四库馆，采访天下遗书，次子吴玉墀以古书百余种进呈朝廷，与鲍廷博“知不足斋”、汪宪“振绮堂”、孙宗濂“寿松斋”、汪启淑“飞鸿堂”，各整比所藏，踊跃呈献，获赐《佩文韵府》1部及书数种。藏书印有“绣谷手典”、“疏雨薰习”、“流传勿污损”、“性命以之”等多枚。刻书甚富，达50余种，数千卷。与厉鹗、赵昱等往来极密，每得一秘本，彼此互相抄录，抄书用纸印墨格或绿格，版心刻有“绣谷亭”三字，有的左栏外刻有“西泠吴氏绣谷亭抄书”或“绣谷亭抄书”等字样。所藏书身后大多归于汪宪“振绮堂”、许宗彦“鉴止水斋”及马氏兄弟等家。藏书印有“绣谷所藏”、“绣谷薰习”、“尺凫”、“愿流传勿损污”等。著有《绣谷杂抄》、《药园诗稿》、《陆渚飞鸿集》、《玲珑帘词》、《经山游草》等。与厉鹗、赵昱合撰《南宋杂事诗》。",[2496,2497,2577,2500,2546,2509,2501,2549,2550,2502,2505,17854,17855,2506,2503],"桃","李","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F632fa63692d7afa3a89ed69ddf696e28.jpg",[6,6382],{"id":1817,"slug":17859,"title":8055,"dynasty":2632,"author":17860,"museum":2818,"description":17861,"tags":17862,"thumbUrl":17863,"material":2598,"size":2598,"collection":6,"collections":17864,"showCount":2628,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ren-wu-ce-shang-guan-zhou-237129","上官周","上官周（1665－1749后），福建长汀南山官坊人，原名世显，后改名周，字文佐，号竹庄，清代著名画家，终生布衣。1665年生于长汀南山官坊的一户农民家庭。山水和人物画造诣很高，门生有“扬州八怪”之一的黄慎。所著《晚笑堂画传》最为著名，成为后人临习人物画的范本，而其山水画谱长期流落民间，未见刊行。上官周自幼聪颖，治艺勤奋，学识渊博，擅长诗文、书法、篆刻，尤精于画。",[2496,2497,2592,3898,2499,2500,2549,2501,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d4cfaf6570d41d377a6f14d68bd8e89.jpg",[6,2968],{"id":1818,"slug":17866,"title":17867,"dynasty":2490,"author":17868,"museum":2673,"description":17869,"tags":17870,"thumbUrl":17871,"material":2732,"size":2598,"collection":6,"collections":17872,"showCount":2628,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xi-zhu-ce-zhu-ying-237013","西筑册","朱瑛","朱瑛《西筑》册（北京故宫博物院藏，蒙加斯列莫夫兄见告），号为十咏，止见其八，题曰“引泉”、“种竹”、 “负薪”、 “有客”、“坐石”、“步月”、“枕流”、“径行”（高景逸有《和西筑咏》八首，七题与同，无“径行”，而别有“卧雪”一题），迥然森秀，眼为一洗。\n《引泉》，高诗曰：“次第竹根来，相将得到家。鸟啼春雨后，流出满山华。”\n《负薪》，高诗曰：“采薪松岩下，日暮负盈肩。还思天际鹤，或恐避荼烟。”\n《径行》，高诗无之，另《卧雪》曰：“山上雪连屋，山僧拥褐眠。下方来往绝，身在几禅天。”\n《步月》，高诗曰：“独坐松堂下，参差静影来。西湖歌吹歇，推却小窗开。”\n《种竹》，高诗曰：“自将山竹种，岂望便成林。一竿明月里，聊尔步清阴。”\n《有客》，高诗曰：“偶随白云出，不掩白云扉。有客坐来久，山僧归未归。”\n《坐石》，高诗曰：“裴回涧边石，小憩一悠然。不知山月吐，已满竹窗前。”\n《枕流》，高诗曰：“春涧鸣幽鸟，春华欲满山。不知人世事，一枕石泉闲。”\n瑛姓名见汪玉水《珊瑚网》，玉水开檇李崇祯画社，戊辰（1628）广征诸家作《摩诘句图》，得百余帧，存录者廿七人，其三“清夜何悠悠，扣舷明月中。”署款“啸海朱瑛”，啸海其号也（《西筑》册钤印“山公”，当亦别号）。",[2496,2497,2592,2499,2500,2509,2506,2690,2507,3136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe81f0cd86aef5b2cadbeb5c25aee7d72.jpg",[6,2534],{"id":1819,"slug":17874,"title":17875,"dynasty":2632,"author":5047,"museum":2818,"description":11861,"tags":17876,"thumbUrl":17877,"material":2598,"size":2598,"collection":6,"collections":17878,"showCount":2628,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-gao-yan-jing-shan-shui-ce-zhuang-zhou-wang-hui-236746","仿高彦敬山水册装轴",[2496,2544,2501,2499,2510,2547,2509,2651,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea7015681639e90340b2a5d8af9be265.jpg",[6,2626,6382],{"id":1820,"slug":17880,"title":2587,"dynasty":2632,"author":2996,"museum":5626,"description":10146,"tags":17881,"thumbUrl":17882,"material":2598,"size":2598,"collection":6,"collections":17883,"showCount":2628,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-hua-yan-236737",[2496,2592,2499,2509,2510,2547,2501,2677,2504,4265,3091],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff620b1906b09e35a616d2a87598efa8e.jpg",[6,2626],{"id":1821,"slug":17885,"title":17886,"dynasty":2632,"author":17887,"museum":2673,"description":17888,"tags":17889,"thumbUrl":17890,"material":2598,"size":17891,"collection":6,"collections":17892,"showCount":2628,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"hui-mei-zhu-tu-kang-xi-di-lin-mi-fei-shu-zhe-shan-jiang-ting-xi-236195","绘梅竹图康熙帝临米芾书折扇","蒋廷锡","此扇一面为蒋廷锡绘梅竹图，蒋氏的作品大多呈两种面貌，一为墨笔、淡设色的小写意花鸟，一为工笔浓彩的细谨风格。此图即为后者，笔致精细，敷色冶艳，极富皇家华贵典雅的气韵。另一面为康熙帝临米芾书，所书内容出自李衢《都堂试贡士日庆春雪》，释文为：“锡瑞来丰岁，旌贤入贡辰。摇轻梅共笑，飞弱柳和春。绕砌封琼屑，依阶喷玉尘。蜉蝣吟更切，科斗映还新。鹤毳迷难辨，冰壶鉴易真。因歌大君德，率舞咏陶钧。临米芾元章。”",[2496,2497,5225,2499,2676,2511,4241,3155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4db7d8989ef35548b0c37927bc3b15ab.jpg","纵34厘米，横56厘米",[6,2534],{"id":1822,"slug":17894,"title":5287,"dynasty":2632,"author":16832,"museum":2818,"description":16833,"tags":17895,"thumbUrl":17896,"material":5818,"size":5819,"collection":6,"collections":17897,"showCount":2628,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-gu-shan-shui-ce-xue-xuan-235741",[2496,2499,2592,2509,3267,2501,2714,2593,3078,2652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F136fc8aa37cb09e67e01143752c61481.jpg",[6],{"id":1823,"slug":17899,"title":17900,"dynasty":2490,"author":17901,"museum":2563,"description":17902,"tags":17903,"thumbUrl":17904,"material":2512,"size":17905,"collection":6,"collections":17906,"showCount":2628,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"qiu-du-shu-le-tu-ju-mao-shi-232693","秋读书乐图","居懋时","居懋时［明］吴县（今江苏苏州）人。\n节子。亦善画。《苏州志》",[2495,2496,2497,2577,2499,2501,2509,2507,2611,2506,2508,2503,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc44755deef3b0cac993c0c25db5625a1.jpg","147.7x37.2厘米",[6],{"id":1824,"slug":17908,"title":3183,"dynasty":2632,"author":6249,"museum":2818,"description":17909,"tags":17910,"thumbUrl":17911,"material":2639,"size":15642,"collection":6,"collections":17912,"showCount":2628,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-cha-shi-biao-224254","图中景岸上一人牵驴待渡，挥手呼叫船夫；船夫撑着小船正缓缓地驶向岸边。远景山峦起伏，林木苍郁，云雾缭绕，若隐若现的景象。 作品的结构追仿倪云林画风，但形似倪云林画，内涵却不同。图中远山的笔墨好像师法米芾，但又不同于米芾，是查士标“风神懒散，气韵荒寒”（《国朝画征录》）的典型风格。\n画中景物疏密有致、层次分明。作品用笔干净利索：树木用笔以直勾为主，线条方折；舟船、人物刻画细微、用笔轻松，毫无刻板之意；河岸用阔笔、以赭褐色写出；树叶稍有皴染，但颜色较浅，几近于无。整幅画以暖色调为主，点缀以数片绿色。\n该作品笔墨疏简，风神闲散，意境荒寒。书法作品布白稀疏，线条粗细对比明显。运笔变化笔锋，粗笔凝重，细笔灵活。诗联色彩灿烂，氤氲虚幻，仿佛看到一幅幅画面。画家笔下的诗句视觉形象和线条造形尤其简朴闲散，不同米颠的八面书锋，风樯阵马，而是一种看到老树昏鸦的幽隐期约，使人浮想联翩，大隐于市、超然尘外的闲情逸致表现得淋漓尽致。",[2495,2496,2501,2499,2500,2891,2594,2549,3617,2595,2988],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8532cafb37db10142222cf2f0d4da91.jpg",[6],{"id":1825,"slug":17914,"title":17915,"dynasty":2632,"author":5172,"museum":2563,"description":11613,"tags":17916,"thumbUrl":17917,"material":2732,"size":17918,"collection":6,"collections":17919,"showCount":2628,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-shu-guan-kai-xuan-dong-bang-da-223115","山水册-墅馆开轩",[2495,2496,2499,2509,2592,2501,2502,2503,2507,2506,2611,2549,2550],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb15efb3959b20cf3fcc3197891f89009.jpg","16.4x23.1",[6,2626],{"id":1826,"slug":17921,"title":16658,"dynasty":2632,"author":2633,"museum":2673,"description":16659,"tags":17922,"thumbUrl":17923,"material":2867,"size":16662,"collection":6,"collections":17924,"showCount":2628,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shang-shan-si-hao-tu-huang-shen-222668",[2495,2496,2499,2500,2509,2501,2549,2902,6810,2611,2652,3736,2506,4657,2613],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2950074f1e7dcfc0fcd64cd290cf3c9f.jpg",[6,2626],{"id":1827,"slug":17926,"title":17927,"dynasty":2490,"author":11103,"museum":2563,"description":17928,"tags":17929,"thumbUrl":17932,"material":2703,"size":17933,"collection":6,"collections":17934,"showCount":2628,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shi-xie-shan-tu-zhou-zhang-hong-222409","石屑山图轴","冈峦挺立，层层起伏；溪涧湍急，林阴茂密。山径蜿蜒而上，将峻峰林木连成一气。点画竹林，笔墨浓淡乾湿相间，产生光影浮动的效果，表现出炎炎夏日的气氛。全图用笔工细，构景繁复。竹林的笔墨浓淡乾湿相间，产生光影浮动的效果，将炎炎夏日的气氛尽表无遗。画成于1613年（万历四十一年），时作者三十七岁。青壮之年，笔墨即甚为纯熟，其成就为时人所推崇。\n此图是画位在浙江省长兴县境的石屑山，出于实景观照，画家心领意会，取山川精华，以灵动的笔墨描绘图成。该幅画赠君俞先生，君俞姓唐，晋陵人（江苏武进），与董其昌也有交往，在1623年（天启三年）时，将自己珍藏的王蒙《谷口春耕》图（此图现藏本院），赠与董其昌。",[2495,2496,2577,2501,2546,2500,17930,7075,3900,11003,2502,2503,2550,3636,17931],"冈峦","夏日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2366fe87404a34b33bfe3b976ed33aeb.jpg","201.3x55.2公分；全幅 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彦宗,又字子述",[2496,2497,2592,2499,2501,2505,2891,2902],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c0cacaeb23cdf518d56ce5c74bd9e36.jpg",[6],{"id":1850,"slug":18102,"title":18103,"dynasty":2490,"author":18104,"museum":2563,"description":18105,"tags":18106,"thumbUrl":18107,"material":2732,"size":18108,"collection":6,"collections":18109,"showCount":2695,"zanCount":3198,"manualWeight":2517,"mainColor":2518},"bai-yue-tu-leng-qian-231414","白岳图","冷谦","此图近处是溪流、坡石、茅亭、古松；中间有丛树、竹林、板桥、人家；上部峰峦起伏，云霞映带。此图笔墨秀润，清丽萧疏，山石作披麻皴，皴擦并用，刚柔相济，不见奇峭之笔。画中景物的高低晕淡深浅，都很自然，树枝树叶，勾点结合，石上苔点恰到好处.\n此画可分为远景、中景、近景三段式。远景画面上层峦叠嶂，悬岩峭壁，古木衰草，幽深险绝；中景为崇山脚下，一片阔广平坦之地，左侧为林木丛生，密密麻麻的一片；右侧为翠竹林立，竹竿瘦劲挺拔，竹叶茂密，相互交错，互相映辉，在林木和翠竹荫下，坐落着几间屋宇茅舍，翠竹旁溪水潺潺流动，有一座高架的板桥接岸，近景为坡石堤岸，乱石横卧，山石奇特，山石间有几棵杂树，有的树干挺拔，有的盘根露土，有的枝干虬曲向左右弯斜。\n从此画题识看，该图是强余模写之作，作者对所熟悉的环境加以提炼、概括。 由自题可知，该图作元至正三年（1343年）。\n该图中，山头、山脊与怪石交织互抱，盘亘而上，变为一大平原，而从山腰到山顶，却有折搭、转换、穿插种种奇趣。凡此均非庸手所能。纯用于笔，浓墨淡墨兼施，轮廓与皴擦融为一体，尤其是善用空白，把山顶、山背、岩际、石尖，甚至山径，都表现出来。不加渲淡，不作苔点，更见笔墨凝重和骨力之美。在线条的组织与结构上，似乎十分紧密，然而石罅飞泉，山间停云，质实中还见虚灵。另一方面，作为全图的主峰却不嫌孤单，它的背后远岫罗列，它的腰际和云层里露出几个小山头，彼此之间如相揖让。这样的艺术想象、艺术构思与艺术手法，反映了大自然的节奏与生命，以及画家活泼泼的审美感情，而且和道家修养分不开。至于行笔坚硬朴实，则从传统中来。山石不以苔点修饰，乃唐人画法。明王铎题关仝《秋山晚翠》：“结撰深峭，骨苍力厚，婉转生发，又细又老，磅礴之气行于笔墨外，大家体度固如此。”冷谦此图庶几近之。而荆浩自许笔墨俱胜，米芾指出其山水特征在于“云中山顶，四面峻厚”，此图似乎兼而有之。",[2496,2497,2577,2499,2501,2509,2507,2506,2502,2503,2690,2547,2510],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99888b1ef6398d1704122c6248807861.jpg","纵84.4厘米，横41.4厘米",[6],{"id":1851,"slug":18111,"title":18112,"dynasty":2490,"author":18113,"museum":6092,"description":18114,"tags":18115,"thumbUrl":18116,"material":2597,"size":18117,"collection":6,"collections":18118,"showCount":2695,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"xia-shan-qing-liu-tu-gao-yan-219937","夏山清流图","高俨","高俨（1616年-1687年），清代画家，字望公，广东新会人，博学多艺，工诗书画，被称为三绝，有名于岭南。 与当时岭南文坛画苑的陈子壮、王邦畿、陈恭尹、张穆等交朋友。明朝亡，不愿“ 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-1767）字士撰。乌程（今浙江吴兴）人，其父金鸿亦为小有名声的画家，廷标能绍父艺，擅画白描人物，亦善写真（肖像），兼能花卉、山水、乾隆二十二年（1757），乾隆帝第二次南巡时，金廷标进献《白描罗汉图》，得乾隆“称旨”，遂得以入宫供职，成为当时的一名宫廷画家。\n金廷标所作画，极得乾隆欣赏，御题诗句甚多，赞美之意溢于言表，如题其《放鹤图》云：“是谓善写照，传神在阿堵。”题其《江村图》云：”七情写毕皆得神，顾陆以后今几人。”又在他《临唐寅琵琶行图》后如此题道：“内府藏弆唐寅画琵琶行于江边扁舟直写一女抱琵琶，廷标此图不画琵琶女，而画居易等属耳之情，便觉高出其上。此与宋人画‘踏花归去马蹄香’以数蝶随骑意同。向未题句，兹偶见之，因拈其妙，然画院中能作如此解者实少也。”对金廷标能高出当时的宫廷画家，给予肯定。\n金廷标死后，乾隆在翻阅他的画作时又一再叹息，有诗这样写道：“去年命写寻常事，今日谁知珍惜加。”“足称世画无双画，可惜斯人作古人。”对金廷标的去世，表示无限的惋惜。一个自命“古稀天子”的帝王，能对一名宫廷画师如此的眷顾，极为难能，于此亦可见金廷标画艺的超群。\n清代未见有“书院”之称，（文献记载仅见“书院处”一词），更不像宋代书画院中设有具体的“待诏”、“艺学”等明确的官职。清代宫廷中供职的画家，一般情况均需有人举荐，有的还需要经过考核。文献记述金廷标只是自己进献作品以自荐，即得乾隆帝的“称旨”，可见他的画艺不凡。从本文介绍的这件作品来看，他也可以称得是当时画院中具有代表性的人物画家。\n传世作品有《拜石图》，图录于《故宫书画集》；《碧桃图》《孟母移居图》《枫林晚坐图》《萱花寿石图》册页图录于《中国历代名画集》；《高贤遇隐图》轴图录于《中国绘画史图录》下册；《春元瑞兆图》轴藏日本大阪市立美术馆；乾隆二十六年(1761)作《观音大士像》轴现藏沈阳故宫博物院；《婕妤挡熊图》轴、《瞎子说唱图》轴、《罗汉图》轴、《莲塘纳凉图》轴等藏故宫博物院。",[3307,2496,2497,2592,2499,2500,2501,2504,2549,2960,2528],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93d5cfaaa35db34dd3fc8041a6cf3523.jpg",[6,2534],{"id":1886,"slug":18392,"title":14664,"dynasty":2632,"author":5172,"museum":2563,"description":18393,"tags":18394,"thumbUrl":18395,"material":18396,"size":18397,"collection":6,"collections":18398,"showCount":2601,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"liu-lang-wen-ying-yu-ti-zhou-dong-bang-da-223113","本幅为西湖十景之一「柳浪桥」景。该桥在清波门、涌金门外，宋时即沿堤植柳，以此得名。画中柳丝踠地，轻风摇扬，亭榭深深，如闻黄莺啼于绿荫中。笔调清秀苍润，表现出春湖景的谧静感。本轴画幅之上有乾隆皇帝题诗，下为多位文臣和诗。",[2495,2496,2577,2499,2509,2501,2891,3057,2504,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04366245e18f5be234cafe05afce9032.jpg","轴 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著有《五百四峰堂诗钞》《五百四峰堂续集》《药烟阁词钞》，戏曲《芙蓉亭》等。\n诗从学李贺、黄庭坚入手，刻意求新，极“峻拔清峭”（王昶《湖海诗传》）之致，能自树一格。张维屏《国朝诗人征略》称：“其诗由山谷（黄庭坚）入杜，而取炼于大谢（灵运），取劲于昌黎（韩愈），取幽于长吉（李贺），取艳于玉溪（李商隐），取瘦于东野（孟郊），取僻于阆仙（贾岛）。锤焉凿焉，雕焉琢焉，于是成为其二樵之诗”。他的记游、题赠之作较多。不少诗描绘了两广山水风光、名胜古迹，如《藤县》《白马角》《龙门滩》《邕州》《白鹤观登五龙潭上玉女峰》《冲虚观至朱明洞》《浴日亭》《江南岸蕉园歌》等。也有少数篇章，反映民间疾苦，如《田中歌》，反映少数民族的风习，如《歌节》《大排三十八韵》等。\n其书法，意志追晋人，中年兼学李北海，晚年写苏黄两家为多，隶书真追《礼器》《熹平石经》，传世书法作品甚丰，显示了他在书法上的不断追求。肇庆七星岩石室岩洞内有他的《南服陨石》刻石，隶书体，秀劲舒放，纵横跌宕，属黎书上品。\n黎简工山水，早年粗犷、率意的用笔，侧重写生的表现，则多属效法明末清初的广东先哲。中年临摹倪云林、石涛作品，几可达到与真迹无异的境地。由近及远地求索，融古汇今地创新，师自前人，不囿于前人，始终是黎简所遵循的山水画创作主线。在这种意识指导下，创作出来的作品，自然会有一种清新、活泼的感觉。而且，由于他是以绝无“甜赖”气的元人、“搜尽奇峰打草稿”的石涛的技法，作为其创法的基调，又兼具乾隆盛世艺术所惯有的平稳、温润，对曾被扬州八怪个性化花鸟画震撼过的人们来说，黎简这种挑战主流派的山水画，又是一次新的震撼。\n黎简的篆刻，虽然属他诗书画的“余事”，但他有深厚的传统文化基础，才思敏捷。他的篆刻，得汉人神髓，参以己意，作品淳厚苍雄，意格甚高，自成面目。自刻图章曰“小子狂简”，刀法峻傥。又能治铜印。1962年，麦华三等辑成《二樵山人篆刻佚存》1册。",[2496,2497,2577,2499,2500,2509,2501,2506,2902,2507,2614,2730,2549,3736,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682aee1e09b037e88fe4860d9478e6a0.jpg",[6,2534],{"id":1910,"slug":18589,"title":2761,"dynasty":2632,"author":9988,"museum":2818,"description":18590,"tags":18591,"thumbUrl":18592,"material":2598,"size":2598,"collection":6,"collections":18593,"showCount":2849,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-tu-ce-liu-yu-237946","此作用笔苍秀松灵，水墨晕染细腻柔和。近岸古木扶苏，枝桠虬曲，掩映草庐幽居，野意盎然。水面开阔澹澹，远山以淡墨轻勾慢染，云气留白氤氲萦绕，将山水融于空濛烟岚之中，尽显林泉高致。\n左侧题字笔意萧散俊朗，文辞雅致，书画相映，尽显文人画以境抒怀的意趣，藏着寄情丘壑、静享林泉的隐逸之思，整幅清和淡远，悠悠古韵漫溢其间。",[2496,2497,2592,2499,2509,2510,2547,2501,2506,2507,2503,2614,2505],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce52f527ef696f31244a5464d7952c1f.jpg",[6,2870],{"id":1911,"slug":18595,"title":14491,"dynasty":2490,"author":18596,"museum":2818,"description":18597,"tags":18598,"thumbUrl":18599,"material":2598,"size":2598,"collection":6,"collections":18600,"showCount":2849,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"zhu-jia-shan-shui-ce-shan-shui-ce-ye-wang-yun-jing-237784","王允京","字谦文，号秋岩，江宁（今南京）人。为和阳教谕。工写竹枝。《金陵琐事》",[2496,2497,2592,2499,2509,2501,2502,2549,2677,2506,2507],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd16133cce0fa9f391194a7d8bb3d8e77.jpg",[6,2534],{"id":1912,"slug":18602,"title":2761,"dynasty":2632,"author":12628,"museum":2818,"description":18603,"tags":18604,"thumbUrl":18605,"material":2598,"size":2598,"collection":6,"collections":18606,"showCount":2849,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-tu-ce-ye-xin-237773","此作以青绿晕染湖山，近岸花树沿陂陀错落，山坳幽居藏于林木间，空阔湖面一叶扁舟随波缓行，远岫含晕，漾起空濛淡荡之致。设色秀雅温润，笔致简净松灵，不事繁饰，将林泉幽居的闲散意绪尽数铺展。左侧题诗与画境相映成趣，诗画合璧，把文人耽恋泉石、寄迹烟水的雅怀融于尺幅间。观之如临江南水畔，可感湖风轻拂，坐忘于萧疏清寂的闲淡之中，尽显小品山水的隽雅意韵。",[2496,2497,2592,2500,2501,2504,2505,2506,2507,2503,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad576d6b1c3c42c220f6545a8771fde7.jpg",[6],{"id":1913,"slug":18608,"title":2587,"dynasty":2490,"author":13358,"museum":2818,"description":18609,"tags":18610,"thumbUrl":18611,"material":3257,"size":2598,"collection":6,"collections":18612,"showCount":2849,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-shen-hao-237628","沈颢（1586—1680后），字朗倩，号石天、朗道人，吴（今江苏苏州）人。补博士弟子员。沈颢风仪轩举，博雅多闻。\n早年薙发为僧，中年还俗。能诗歌，精古文辞及书法真行篆籀，更精绘事，深究画理，其论画源流与董其昌相同，著有名著“画尘”，与董其昌之“画眼”堪称伯仲，难分轩轾。作画主张师自然而法古人，提倡临摹古人不在形似而在神会，“似而不似，不似而似”是其创见。善写山水，笔墨秀润雅逸，立壑奇突，秀骨天发，高格清标。小景淡远清旷，画风近沈周，每自题句，多作韵语。晚年笔意挺秀，点染清妍。",[2496,2499,2592,2509,2501,2578,2677,2800,2595,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20073fbc7840edd200c6a8edfaff6335.jpg",[6],{"id":1914,"slug":18614,"title":2587,"dynasty":2632,"author":18615,"museum":2818,"description":18616,"tags":18617,"thumbUrl":18618,"material":5818,"size":5819,"collection":6,"collections":18619,"showCount":2849,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-zhang-xi-236989","张晞","画风豪放、磊落，所画山水景色构图大胆新颖，笔墨多变。",[2496,2497,2592,2500,2499,2509,2510,2511,2547,2501,2502,2503,2504,2552,2506,2507,2550],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a52e9365afa6a8bd693900aeb0cf10b.jpg",[6],{"id":1915,"slug":18621,"title":14744,"dynasty":2632,"author":3020,"museum":2673,"description":18622,"tags":18623,"thumbUrl":18624,"material":2639,"size":18625,"collection":6,"collections":18626,"showCount":2849,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-zhuang-zhou-wang-yuan-qi-236745","王原祁（1642—1715年），字茂京，号麓台、石狮道人，江苏太仓人，王时敏之孙。清康熙九年（1670年）进士。因画艺，被召供奉内廷，深受皇室青睐，地位显赫，任书画总裁和《万寿盛典》总裁，官至户部侍郎，故称“王司农”。他擅画山水，其绘画艺术承绪家学，自幼得到祖父王时敏的刻意指导，一生倾注于笔墨施运的营求中，自称笔端有“金刚杵”, 画风中年秀润，晚年苍浑。与王时敏、王鉴、王翬合称“清初四王”。\n做为“四王”中最年轻的一位画家，秉承家学，追摹古法，在不懈创作的同时，以同样方法再授弟子，对山水画的发展及“娄东派”的形成起到重要作用。其对绘画的影响一直延续到清中、后期“小四王”（王昱、王愫、王宸、王玫）、“后四王”（王三锡、王廷之、王廷国、王鸣韶）。“四王”的绘画创作继承明末董其昌的绘画理论和实践，力图集古人之大成，被确立为正统画派。追随的画家众多，形成“娄东派”，几乎独占了当时的画坛。著有《雨窗漫笔》、《扫花庵题跋》等。",[2496,2497,2592,2499,2500,2509,2501,2506,2528,2595,3055,2529,2652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4d98e5c615a051dce4e256c2ba540a7.jpg","纵29cm，横42.3cm",[6,2626,6382],{"id":1916,"slug":18628,"title":2587,"dynasty":2632,"author":2996,"museum":5626,"description":10146,"tags":18629,"thumbUrl":18630,"material":2598,"size":2598,"collection":6,"collections":18631,"showCount":2849,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-hua-yan-236730",[2496,2499,2500,2509,2592,2510,2547,2501,2507,2937,11448,2651],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F996fa25e4caf6ad41e71fda95c25e82d.jpg",[6,2534],{"id":1917,"slug":18633,"title":2587,"dynasty":2490,"author":17024,"museum":2818,"description":18634,"tags":18635,"thumbUrl":18636,"material":2598,"size":2673,"collection":6,"collections":18637,"showCount":2849,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-ye-xiang-rong-236603","此作用一角取景，主峰高拔奇崛，干笔皴擦勾勒山石肌理，苍朴厚重的质感尽显。山间苍木错落遒劲，茅舍隐于林麓之间，暗合幽居寄怀的雅趣。近岸汀渚星罗，浅波澹澹，留白铺就清远空寂的余韵。\n笔墨简淡松秀，以水墨晕染出山峦氤氲之态，将文人林泉高致寄于尺幅间，尽显平淡天真的意趣，晕开静谧清旷的隐逸氛围，藏着独属于传统山水的悠然禅意。",[12292,2496,2497,2499,2509,2592,2501,2714,2593,3839,2716],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee02916708781e551032b579ae9e6eae.jpg",[6,2626],{"id":1918,"slug":18639,"title":18640,"dynasty":2490,"author":3431,"museum":2818,"description":18641,"tags":18642,"thumbUrl":18643,"material":2598,"size":2598,"collection":6,"collections":18644,"showCount":2849,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shu-zhi-shan-shui-ce-yi-ming-236428","殳执山水册","此作以淡墨晕染萧寒冬日，留白铺陈天地素雪，远山如裹素衾，棱线隐在氤氲灰雾中，愈显清寂辽远。近岸双松孑然挺立，虬枝错落，虽针叶落尽，仍带着苍劲意气。溪石隐于薄雪之下，寒水曲折蜿蜒，牵起林麓间山居茅舍。屋舍隐在枯木之后，淡笔勾出檐角，似有幽居之人避世于此。左侧题字朱印点缀，添就文人情致。\n\n整幅用墨清润简淡，以虚带实，将冬日山野的空静萧疏尽数铺展，素白清冷间藏着淡远悠长的隐逸之趣，尽显传统山水的空灵意境。",[2544,2496,2497,2592,2499,2509,2501,2593,2508,2507,3166,2503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe695c61998a56f0f49ab8e14dab8f8f.jpg",[6,2626],{"id":1919,"slug":18646,"title":18647,"dynasty":2490,"author":18648,"museum":2818,"description":18649,"tags":18650,"thumbUrl":18651,"material":2598,"size":2598,"collection":6,"collections":18652,"showCount":2849,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shi-zhu-zhai-wu-se-jian-pu-ce-hu-ri-cong-233479","十竹斋五色笺谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[2496,2497,2592,3898,2499,2501,2506,2507,2502,2503,2677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e3ee77b6e06a944cb23362a403e4847.jpg",[6],{"id":1920,"slug":18654,"title":18655,"dynasty":26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d":2064,"slug":19772,"title":19773,"dynasty":2632,"author":3816,"museum":2492,"description":19774,"tags":19775,"thumbUrl":19776,"material":2598,"size":2598,"collection":6,"collections":19777,"showCount":2814,"zanCount":2517,"manualWeight":2517,"mainColor":19778},"lin-luo-gao-yi-tu-zhou-gong-xian-201533","林萝高逸图轴","层峦叠嶂间，林木苍劲幽深，瀑布如银练垂落，隐于林间的茅舍透着恬淡超然。画家以积墨之法层层皴染，山石纹理厚重而富有层次，墨色浓淡交织中尽显自然生机；树木枝干挺拔，笔触老辣，与幽深林麓相映成趣。整体意境静谧超脱，仿佛能闻流水潺潺，观之如入隐逸之境，尽显高逸情怀。",[9413,2509,2499,2577,2501,2506,2611,10083,2495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bcf74f5cfce21a396f85597fd5f770f.jpg",[6],"ccc6bc",{"id":2065,"slug":19780,"title":19781,"dynasty":2632,"author":18520,"museum":2492,"description":19782,"tags":19783,"thumbUrl":19784,"material":2598,"size":2598,"collection":6,"collections":19785,"showCount":2814,"zanCount":2517,"manualWeight":2517,"mainColor":19786},"qiu-jiang-fan-ying-tu-zhou-qian-wei-qiao-201532","秋江帆影图轴","此图绘秋江山水之景，远山连绵叠嶂，江波浩渺间孤舟泛波；近崖陡峭嶙峋，林木葱茏中点缀红叶，山间屋舍隐现，溪流穿石而过。笔墨细腻灵动，山石以皴法勾勒肌理，树木墨色浓淡相宜，设色淡雅却衬出秋意深浓。整体意境清旷悠远，融山水雄浑与秋景清寂于一体，尽显文人画的雅致情趣。",[2501,2499,2500,2504,2509,2503,2495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F976c08af81c9604e91c6142f9a2bf09a.jpg",[6],"9f9581",{"id":2066,"slug":19788,"title":19789,"dynasty":2490,"author":3120,"museum":2818,"description":19790,"tags":19791,"thumbUrl":19793,"material":2732,"size":19794,"collection":6,"collections":19795,"showCount":2918,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"wu-lv-shi-zhou-chen-hong-shou-240245","五律诗轴","释文：\n“剪落入城市，拙岁隐者伦。亲朋虽传舌，景物最伤神。老病锦官府，还山愧野人。往来轻似叶，幸不厌清员。洪绶似玄濬道盟兄正之，二十余年不见，重为作书乐甚。”\n款钤“陈洪绶印”、“章侯氏”印2方。\n本轴书五言律诗一首，从落款处称僧人玄濬为“道盟兄”，可知此诗是陈洪绶晚年为僧时所作。\n陈洪绶的书法与绘画均显现共同而鲜明的特色，即奇异、怪诞。此轴书法结构修长，字形呈欹峭之势，用笔紧密而细腻，简洁而质朴，姿态夸张，富于变化，线条潇洒俊健，颇有风姿，表现了作者独特的书风。",[2497,2577,2510,2511,2499,2547,2714,19792],"市","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd24d443d8c38b222178f604a0751cdec.jpg","纵141厘米，横57.5厘米",[6],{"id":2067,"slug":19797,"title":19798,"dynasty":2632,"author":17860,"museum":2818,"description":19799,"tags":19800,"thumbUrl":19801,"material":5818,"size":5819,"collection":6,"collections":19802,"showCount":2918,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-1-shang-guan-zhou-239488","山水册1","上官周（1665年—1752年），原名世显，后改名周，字文佐，号竹庄，福建长汀南山官坊人，清代著名画家，终生布衣。1665年生于长汀南山官坊的一户农民家庭。\n山水和人物画造诣很高，门生有“扬州八怪”之一的黄慎。《晚笑堂画传》最为著名，成为后人临习人物画的范本，而其山水画谱长期流落民间，未见刊行。",[2496,2497,2592,2499,2501,2549,2960,2506,2507,2547],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38fd742575828ecb404e7927cc21373c.jpg",[6],{"id":2068,"slug":19804,"title":19805,"dynasty":2632,"author":3431,"museum":2818,"description":19806,"tags":19807,"thumbUrl":19808,"material":2598,"size":2598,"collection":6,"collections":19809,"showCount":2918,"zanCount":2517,"manualWeight":2517,"mainColor":3447},"dong-gao-chun-hua-ji-qing-ce-yi-ming-238893","董诰春华集庆册","这是诗画合璧的雅致册页，上下两开各揽一境。上开绘庭院春景，亭台依着花木错落，嫩色初绽的枝桠探入闲庭，将春日闲居的恬然藏在方寸之间。下开写汀渚泛舟，柳丝蘸着春水漾开涟漪，扁舟悠游，尽揽江野春柔。\n\n设色清妍秀润，勾勒温婉细腻，工致中带着写意松弛。配书小楷隽秀端丽，诗书画意相融，将文人情思寄寓春日景致里。浅淡笔墨晕开江南春日元气，静赏间便能触摸清和雅致的春日意趣，余韵悠长。",[2496,2497,2592,2500,2546,2501,2505,2502,2503,3010,4241,2548,2550,2677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbc3ea22d6afddc092a8d36cd92c6dd4.jpg",[6,2626],{"id":2069,"slug":19811,"title":2587,"dynasty":2632,"author":5172,"museum":2818,"description":16989,"tags":19812,"thumbUrl":19813,"material":2598,"size":2598,"collection":6,"collections":19814,"showCount":2918,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-ce-dong-bang-da-238312",[2496,2499,2509,2592,2501,2502,2503,2504,2506,2508,2651,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F401a8f7deacb8e6ea14fd07f3dd0895c.jpg",[6,2626],{"id":2070,"slug":19816,"title":2587,"dynasty":2632,"author":17843,"museum":2818,"description":17844,"tags":19817,"thumbUrl":19818,"material":2732,"size":2598,"collection":6,"collections":19819,"showCount":2918,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-ce-chen-jia-le-237427",[2496,2497,2592,2499,2501,2593,2552,2550,3208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f0f6521ad43900a3d004ae0764515a3.jpg",[6],{"id":2071,"slug":19821,"title":3490,"dynasty":2490,"author":12214,"museum":2818,"description":19822,"tags":19823,"thumbUrl":19824,"material":2598,"size":2598,"collection":6,"collections":19825,"showCount":2918,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-zhou-ding-yun-peng-236390","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[2496,2497,2577,2499,2500,2501,2506,2507,2502,2503,2549,2547,2509,2508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ec58e07d94572dafafeadfb20222cb.jpg",[6,2626],{"id":2072,"slug":19827,"title":5287,"dynasty":2632,"author":19828,"museum":2818,"description":19829,"tags":19830,"thumbUrl":19831,"material":2598,"size":2598,"collection":6,"collections":19832,"showCount":2918,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"fang-gu-shan-shui-ce-hu-jie-236356","胡节","胡节，字竹君，号井农，娄东（江苏太仓）人。山水师王翚，笔墨超逸，骨格秀整，虽严守师规，一种超尘拔俗之趣，耕烟（王翚）不能不放其出一头地。兼长杂卉。",[2496,2497,2592,2499,2509,2676,2501,2677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f5e6c24fba7d0ae7b5b43ca45dbdb68.jpg",[6,2534],{"id":2073,"slug":19834,"title":19835,"dynasty":2490,"author":19836,"museum":2673,"description":19837,"tags":19838,"thumbUrl":19839,"material":2598,"size":2598,"collection":6,"collections":19840,"showCount":2918,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-ren-wu-shan-ye-zhou-han-236183","山水人物扇页","周翰","周翰，是清代画家，即周沈禄，字子章，号南山，工山水、人物。生卒年月不详，约活动于明弘治至嘉靖年间。\n著作：南屏烟雨图，珍藏于北京故宫绘画馆，嘉靖三十四年（一五五五）所画，绢本，此图绘群山如蘑菇般突起，山中乔松老树葱茏茂密，山下白雪滃起，似有[山雨欲来风满楼]之势。数座楼观殿阁和梵宇，或隐于绿阴云雾之中，或屹立于山巅之上。数条小路或盘山绕涧通入峰顶，或隐没于深山幽谷之中。图中山峦以浓淡色皴染出远近层次和凹凸，富有立体的质感。苍松、杂树用笔扎实，而飘浮不定的烟云用留白烘染法。故此图是考查周翰生平、艺绩的重要史料，难能可贵。",[5225,2496,2501,2549,2506,2547,3898,2500,2509],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae35662cfd206b419ab2d7864093d15a.jpg",[6],{"id":2074,"slug":19842,"title":2587,"dynasty":2632,"author":15997,"museum":2818,"description":19843,"tags":19844,"thumbUrl":19845,"material":2598,"size":2598,"collection":6,"collections":19846,"showCount":2918,"zanCount":2517,"manualWeight":2517,"mainColor":2559},"shan-shui-ce-qi-zhi-jia-235936","此作截取一隅丘壑绘就，危崖层叠错落，枯木虬曲盘桓，扎根顽石之上，枝叶疏朗有生趣。淡墨晕染的远山清润空蒙，留白代水，晕出幽寂萧疏的林下意境，笔法简淡却意趣悠长。\n\n左侧行书题跋笔墨舒展隽秀，书画相映，以文释画，尽显诗书画合一的文人雅趣。整幅以枯淡之笔写山水林泉，不做繁复皴染，于简淡苍劲间尽显古拙意韵，将林泉高致寄于尺幅，藏着画者寄情山水、脱略尘俗的襟怀。",[2496,2497,2592,2499,2501,2509,2510,2511,2507,2506,2677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5886999bb81b85f4ae8a784f64d3fa2e.jpg",[6],{"id":2075,"slug":19848,"title":19849,"dynasty":2490,"author":3431,"museum":2818,"description":19850,"tags":19851,"thumbUrl":19852,"material":2598,"size":2598,"collection":6,"collections":19853,"showCount":2918,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"chen-dan-zhong-shan-shui-ce-yi-ming-235138","陈丹衷山水册","此作为边角小景，淡墨简笔勾勒嶙峋崖石，枯槎附石而生，枝桠疏朗野趣横生。崖畔悬垂酒壶，暗合题诗中寂廖愁怀，尽显幽寂清狂之态。\n\n左侧行书题诗笔意清隽温雅，诗画互衬，将落寞怅惘的心绪融于萧疏景致之中，尽显文人以意驭笔的创作特质。整体空灵雅致，以极简笔墨勾勒出清冷孤高的林下襟怀，文气盎然，把失意寄情山水的心境藏于尺幅之间，淡远清幽的意境扑面而来。",[2496,2497,2592,2499,2501,2677,2509,2547,2511],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4d28227930da10022c0c57342c21e77.jpg",[6],{"id":2076,"slug":19855,"title":2587,"dynasty":2632,"author":12914,"museum":2673,"description":19856,"tags":19857,"thumbUrl":19858,"material":3069,"size":19859,"collection":2870,"collections":19860,"showCount":2918,"zanCount":2517,"manualWeight":2517,"mainColor":2518},"shan-shui-ce-fu-shan-233812","此册共计六开，每开有对题，分别为“文笔双峰”、“瓮泉难老”、“？（左“山”右“屋”）？（左“山”右“韦”）红叶”、“天门积雪”、“土堂怪柏”、“古郭夕照”。此画笔致超越，颇有古拙之风趣，正如清代张庚《国朝画征录》评价傅山“善画山水，皴擦不多，丘壑磊珂，以骨胜”，实应属傅山的精品之一。以“土堂怪柏”而言，远处为高山峭壁，近景是雄气敦厚之悬岩山石，有古柏相衬托，别具幽致。傅山笔下的树石造型十分引人注目，其中的柏树形象和一般文人画家所描绘的形象不同，这是因为柏树的形象比较适合傅山的用笔、用墨习惯。柏树的叶、干，既可用大笔粗写，表现厚重的感觉，又可用细笔碎点，使墨的干、湿、浓、淡得以充分展现。在粗写和细点之间，有很大的创作空间，这对于不守古法的傅山来说，柏树形象无疑是他传递内心情感的极好媒介。\n就体现时代精神而言，傅山的绘画虽然不及八大、石涛等人的作品醒目和逼真，表现技巧也显得有些业余，但蕴含于绘画中的笔墨和精神与其书法应是相通的。分析其绘画作品，无疑能加深对其书风转变的理解。从这一点说，傅山绘画自有其存在的艺术价值。",[2496,2497,2592,2511,2510,2499,2501,2856,2593,2595],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7207aa4714a6c40bb3a6c5365c536f07.jpg","纵36.5厘米，横37厘米",[2870,6],{"id":2077,"slug":19862,"title":5287,"dynasty":2490,"author":12852,"museum":2492,"description":19863,"tags":19864,"thumbUrl":19865,"material":2598,"size":2598,"collection":6,"collections":19866,"showCount":2918,"zanCount":2517,"manualWeight":2517,"mainColor":19867},"fang-gu-shan-shui-ce-yun-xiang-203465","这幅山水以水墨为基调，干笔皴擦与淡墨晕染交织，山峦层叠间见苍劲质感，皴法细密勾勒出山石纹理；林木疏密有致，墨色浓淡相间尽显葱茏意态，几间茅舍隐于林下，添清幽之趣却无喧嚣。仿古意趣浓厚，追摹宋元笔意却融入自身韵致，山石勾勒简练，墨色温润沉厚，整体画面静谧悠远，似能让人感受到山林间的清寂之风，尽显文人画的雅致与古拙。",[2495,2496,2497,2499,2509,2592,2510,2547,2501,2506,2902,2507,2613,2508,2595,2614],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F262c233ceace0d052277ef7c6007ee54.jpg",[6],"817666",{"id":2078,"slug":19869,"title":5287,"dynasty":2632,"author":19870,"museum":2492,"description":19871,"tags":19872,"thumbUrl":19874,"material":2598,"size":2598,"collection":6,"collections":19875,"showCount":2918,"zanCount":2517,"manualWeight":2517,"mainColor":19876},"fang-gu-shan-shui-ce-lan-meng-203458","蓝孟","画面以淡墨皴染铺陈冬日山水，山峦覆雪如银，枯树虬枝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幽深静谧，山林空寂中藏生机，尽显江南山水温润秀逸之态，仿佛能感林间清风、闻泉声潺潺，传递出超然隐逸的闲适之趣。",[2496,2501,2577,2509,2499,2505,2507,2506,2495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ae63c32ffec8d103c7cd8ace92e6db5.jpg",[6],"655439",{"id":2425,"slug":22600,"title":5287,"dynasty":2490,"author":3264,"museum":2492,"description":22601,"tags":22602,"thumbUrl":22603,"material":2598,"size":2598,"collection":6,"collections":22604,"showCount":2517,"zanCount":2517,"manualWeight":2517,"mainColor":18427},"fang-gu-shan-shui-ce-dong-qi-chang-203449","此帧山水取境疏阔，笔墨简淡却含韵致。山峦以干笔皴擦出苍劲纹理，近坡孤石错落，几株树木点染随意，得自然生趣。平远水面上隐现茅舍，添了几分幽居静谧。画风承袭北宋山水雄浑气象，却以秀逸笔墨诠释，仿古中融个人意趣，尽显文人画的清雅格调。",[2495,2496,2497,2592,2499,2509,2511,2547,2501,2714,2593,2508,2715,2652],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F190e1a059a1fdd2b311866ba7533fd21.jpg",[6],{"id":2426,"slug":22606,"title":2761,"dynasty":2490,"author":10239,"museum":2492,"description":22607,"tags":22608,"thumbUrl":22609,"material":2598,"size":2598,"collection":6,"collections":22610,"showCount":2517,"zanCount":2517,"manualWeight":2517,"mainColor":20188},"shan-shui-tu-ce-shao-mi-203215","淡墨晕染出悠远山水意境，枯树虬枝疏朗伸展，枝桠间飞鸟或栖或翔，动静相宜。近景山石以简练皴法勾勒，形态朴拙；远山含黛，平远水面漾着清寂，天地间漫着淡淡的幽远气息。笔墨清逸雅致，线条灵动中见沉稳，将文人疏淡心境融入自然之境，空寂淡远的氛围扑面而来，意蕴悠长，尽显文人画的清雅之趣。",[2496,2499,2501,3091,2552,2677,2509,2592,2495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2ed60d3038b3b6077e6b6404278d965.jpg",[6],{"id":2427,"slug":22612,"title":22613,"dynasty":13127,"author":20192,"museum":2492,"description":22614,"tags":22615,"thumbUrl":22616,"material":2598,"size":2598,"collection":6,"collections":22617,"showCount":2517,"zanCount":2517,"manualWeight":2517,"mainColor":17504},"chun-mu-jiao-xing-tu-juan-wu-hu-fan-203122","春暮郊行图卷","春暮郊行之景，远山含黛，近树葱茏，溪岸草色渐深，亭榭隐于林间，飞鸟掠空而过。笔墨细腻温润，皴法灵动自然，设色淡雅清新，既承传统山水的空灵意境，又蕴现代审美的雅致韵致。题跋行书隽秀流畅，与绘卷浑然一体，尽显郊野漫步的闲适生机，是文人意趣与自然景致交融的典范之作。",[2496,2498,2501,2500,2511,2546,2509,2505,2552,2495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31971daf86f32487510b8a6fdbd2557e.jpg",[6],{"id":2428,"slug":22619,"title":2761,"dynasty":2632,"author":5834,"museum":2492,"description":22620,"tags":22621,"thumbUrl":22622,"material":2598,"size":2598,"collection":6,"collections":22623,"showCount":2517,"zanCount":2517,"manualWeight":2517,"mainColor":21191},"shan-shui-tu-ce-yun-shou-ping-203059","这幅山水图册页笔墨清润秀逸，山峦叠嶂间以浅淡皴染勾勒，林木扶疏，茅舍错落溪边，溪流潺潺绕石而过，意境空灵悠远。题跋行书笔势流畅，与画面浑然一体，文气盎然。观者仿佛步入幽林深处，听泉观山，心随境宁，尽显文人山水的雅致与淡然。",[2501,2592,2499,2509,3636,2730,2613,2510,2511,2500,2495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff491261e35c367030ff47d3d9e690073.jpg",[6],{"id":2429,"slug":22625,"title":2761,"dynasty":2490,"author":9094,"museum":2492,"description":22626,"tags":22627,"thumbUrl":22628,"material":2598,"size":2598,"collection":6,"collections":22629,"showCount":2517,"zanCount":2517,"manualWeight":2517,"mainColor":20537},"shan-shui-tu-ce-xiang-sheng-mo-203024","笔墨清润雅致，意境淡远幽然。孤石造型奇崛，以线勾勒见骨力，皴擦间蕴朴拙之味；山水铺陈淡雅，树木错落生姿，水面静谧映林峦，偶现孤舟轻点，添得几分闲逸。设色浅绛交融水墨，工笔与写意相济，尽显文人画之抒情韵致，于册页间藏丘壑之美，传递出悠然旷达的心境。",[2496,2501,2677,2499,2500,2546,2509,2592,2495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a2f1d9beeab94f274c4cd68dcd5bbbd.jpg",[6],{"id":2430,"slug":22631,"title":22632,"dynasty":2632,"author":18273,"museum":2492,"description":22633,"tags":22634,"thumbUrl":22635,"material":2598,"size":2598,"collection":6,"collections":22636,"showCount":2517,"zanCount":2517,"manualWeight":2517,"mainColor":17504},"shu-jiang-shan-shui-er-duan-he-juan-fang-xun-201646","蜀江山水二段合卷","蜀江蜿蜒如练，缠裹着层峦叠嶂。淡墨晕染出远山含烟的朦胧，皴笔勾勒山石肌理，尽显丘壑幽深之态。近岸苔痕点点，汀洲上孤舟静泊，渔翁披蓑戴笠隐于光影间，似闻水声潺潺。林间亭台隐约，飞鸟掠过长空，意境空灵悠远。笔墨清润雅致，融诗意于山水，寄闲情于烟霞，观之如入清寂之境，心随江波缓流。",[2499,2509,2501,2504,2503,2505,2552,2498,2497,2496,2495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F204d901dc85f9677e3cf323baba03b62.jpg",[6],{"id":2431,"slug":22638,"title":22310,"dynasty":2632,"author":11058,"museum":2492,"description":22639,"tags":22640,"thumbUrl":22641,"material":2598,"size":2598,"collection":6,"collections":22642,"showCount":2517,"zanCount":2517,"manualWeight":2517,"mainColor":22643},"shan-shui-tu-shan-ji-yuan-pei-201515","扇面铺展，丘壑起伏间林木葱郁，小径蜿蜒穿林而过，丘顶亭榭隐约可见。墨色浓淡交织出深远层次，淡青浅绿点染草木山石，皴擦有致，笔触细腻中见灵动。整体画风清润雅致，尽显文人山水的静谧逸趣，仿佛能闻林间清风，观丘上云气，引人入胜。",[5225,2501,2500,2505,3636,2509,2499,2496,2495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ba5fd8687ba166ad1efa92f12d29264.jpg",[6],"cfc3b0",{"id":2432,"slug":22645,"title":22310,"dynasty":2632,"author":9568,"museum":2492,"description":22646,"tags":22647,"thumbUrl":22648,"material":2598,"size":2598,"collection":6,"collections":22649,"showCount":2517,"zanCount":2517,"manualWeight":2517,"mainColor":22650},"shan-shui-tu-shan-ji-huang-jun-201514","扇面弧度间，山水意境徐徐铺陈。层叠山石以皴笔勾勒，墨色浓淡交替，显其嶙峋肌理；远处峰峦轻晕淡染，云雾缭绕中见悠远之态。岩隙间隐现小屋，旁立苍树，似藏文人逸居之趣。笔墨兼具苍劲与秀润，皴擦与晕染相和，将丘壑之静、林泉之幽凝于咫尺扇面，尽显传统山水的空灵雅致。",[5225,2501,2509,2499,2507,2506,3668,2495],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23ceb3a2c4b48b2a0125b0170e5f5342.jpg",[6],"c9bfae",{"id":2433,"slug":22652,"title":22653,"dynasty":2632,"aut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