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车辆有串车、太平车、平头车等诸种，再现了汴京城街市的繁荣景象。高大的城门楼名东角子门，位于汴京内城东南。\n全卷画面内容丰富生动，集中概括地再现了12世纪北宋全盛时期都城汴京的生活面貌。\n此画用笔兼工带写，设色淡雅，不同一般的界画，即所谓“别成家数”。构图采用鸟瞰式全景法，真实而又集中概括地描绘了当时汴京东南城角这一典型的区域。作者用传统的手卷形式，采取“散点透视法”组织画面。画面长而不冗，繁而不乱，严密紧凑，如一气呵成。画中所摄取的景物，大至寂静的原野，浩瀚的河流，高耸的城郭；小到舟车里的人物，摊贩上的陈设货物，市招上的文字，丝毫不失。在多达500余人物的画面中，穿插着各种情节，组织得有条不紊，同时又具有情趣。",[869,870,871,872,873,874,875,876,877,878,879,880,881,882,883,884,885,886,887,888,889,890,891,892,893,894,895,896],"高清","国画","书画","长卷","界画","工笔","设色","人物","楼阁","小桥","流水","船","马","牛","树木","街市","店铺","桥梁","城墙","车","河流","码头","货船","行人","商贩","房屋","道路","城门","绢本，淡设色","纵24.8厘米，横528厘米","宋画精选",[899,6],8462,106,0,"795548",{"id":13,"slug":906,"title":907,"dynasty":864,"author":908,"museum":909,"description":910,"tags":911,"thumbUrl":929,"material":930,"size":931,"collection":899,"collections":932,"showCount":934,"zanCount":935,"manualWeight":903,"mainColor":904},"xi-shan-xing-lv-tu-fan-kuan-221389","溪山行旅图","范宽","台北故宫博物院","该画作描绘的是典型的北国景色，树叶间有“范宽”二字题款。图上重山迭峰，雄深苍莽。山头茂林丛密，两峰相交处一白色飞瀑如银线飞流而下在严肃、静穆的气氛中增加了一分动意。近处怪石箕居，大石横卧于冈丘，其间杂树从生，亭台楼阁露于树颠，溪水奔腾着向远处流去，石径斜坡透迤于密林荫底。山阴道中，从右至左行来一队旅客，四头骡马载着货物正艰难地跋涉着。",[869,870,912,913,914,915,916,917,918,883,919,920,878,921,922,923,924,925,926,927,928],"水墨画","立轴","皴法","雨点皴","山水","山石","瀑布","行旅","溪流","云雾","山路","驮队","雾气","巨峰","丛林","涧水","栈道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a7fc9271bce677ed74b29dfb9421e4d.jpg","绢本","纵206.3厘米，横103.3厘米",[899,933,6],"山水画精选",2630,15,{"id":14,"slug":937,"title":938,"dynasty":864,"author":939,"museum":909,"description":940,"tags":941,"thumbUrl":948,"material":949,"size":950,"collection":899,"collections":951,"showCount":952,"zanCount":953,"manualWeight":903,"mainColor":904},"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。",[869,870,871,942,914,943,916,917,883,879,918,921,944,945,946,920,947],"水墨","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",[899,933,6],2376,17,{"id":15,"slug":955,"title":956,"dynasty":957,"author":958,"museum":909,"description":959,"tags":960,"thumbUrl":965,"material":930,"size":966,"collection":933,"collections":967,"showCount":968,"zanCount":969,"manualWeight":903,"mainColor":970},"fu-chun-shan-ju-tu-huang-gong-wang-220766","富春山居图","元","黄公望","《富春山居图》是元朝画家黄公望于1350年创作完成的纸本水墨画，被誉为“画中之兰亭”，是中国十大传世名画之一。\n该作品是黄公望为师弟郑樗（无用师）所绘，以浙江富春江为背景，全图用墨淡雅，山和水的布置疏密得当，墨色浓淡干湿并用，极富于变化。\n《富春山居图》，始画于至正七年(1347)，于至正十年完成。虽黄公望晚年定居今富阳市境内,但画卷内容对比宽敞平坦的富阳江和山峰峻奇峡谷雄伟的桐庐江,就可得知,富春山居图所画内容约80%在桐庐境内富春江的景色,20%为富阳的景色.，画面表现出秀润淡雅的风貌，气度不凡，以浙江富春江为背景，是黄公望的代表作。明朝末年富春山居图传到收藏家吴洪裕手中，吴洪裕极为喜爱此画，每天不思茶饭的观赏临摹。甚至在临死前下令将此画焚烧殉葬，幸被吴洪裕的侄子及时从火中抢救出，但此时画已被烧成一大一小两段，前段较小，称“剩山图”；后段画幅较长，称“无用师卷”。\n前半卷名称：《富春山居图·剩山图》黄公望《富春山居图·无用师卷》\n馆藏：浙江省博物馆尺幅：纵31.8厘米，横51.4厘米浙江博物馆《富春山居图》（《剩山图》）\n后半卷名称：《富春山居图·无用师卷》馆藏：台北故宫博物院尺幅：纵33厘米，横636.9厘米仿本名称：《富春山居图·子明卷》馆藏：台北故宫博物院名称：《富春山居图·沈周临摹本》馆藏：北京故宫博物院",[869,870,872,871,942,914,916,879,961,883,917,962,963,964],"孤舟","书法","行书","印章","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",[933,6],2315,28,"BDBDBD",{"id":16,"slug":972,"title":973,"dynasty":864,"author":974,"museum":909,"description":975,"tags":976,"thumbUrl":980,"material":981,"size":982,"collection":899,"collections":983,"showCount":984,"zanCount":985,"manualWeight":903,"mainColor":970},"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",[869,977,870,871,872,942,914,916,917,883,878,879,961,978,979,921,920,945],"名画","飞鸟","亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca0db5d5e4bc1b3d562f46fcf75cc07.jpg","白纸本","纵46.5厘米，横889.1厘米",[899,933,6],1772,19,{"id":17,"slug":987,"title":988,"dynasty":957,"author":989,"museum":990,"description":991,"tags":992,"thumbUrl":994,"material":995,"size":996,"collection":933,"collections":997,"showCount":998,"zanCount":999,"manualWeight":903,"mainColor":970},"qing-bian-yin-ju-tu-wang-meng-220824","青卞隐居图","王蒙","上海博物馆","《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。",[869,870,871,942,914,913,916,917,918,883,993,920,921,964,962,963],"茅屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff738956b75bf11ba249bc3609d336193.jpg","纸本","纵141厘米，横42.2厘米",[933,6],1622,16,{"id":18,"slug":1001,"title":1002,"dynasty":1003,"author":1004,"museum":909,"description":1005,"tags":1006,"thumbUrl":1010,"material":981,"size":1011,"collection":933,"collections":1012,"showCount":1013,"zanCount":1014,"manualWeight":903,"mainColor":904},"lu-shan-gao-tu-shen-zhou-222104","庐山高图","明","沈周","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。",[869,870,916,942,914,913,1007,918,879,1008,1009],"山","树","孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd61796c0c6453be4cd711d8316964db5.jpg","纵193.8 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张僧繇》记载：“张僧繇于金陵安乐寺画四龙于壁，不点睛。每曰：“点之即飞去。”人以为妄诞，固请点之。须臾，雷电破壁，二龙乘云腾去上天，二龙未点眼者皆在。\n可惜张僧繇并无任何作品流传下来，但在南宋，却有另一位画龙的天才与他的神品之作《九龙图》，惜世人知之甚少。\n陈容，这是位被历史埋没了的天才。\n关于他的生平只有寥寥数语，陈容（约1200年–1266年），字公储，号所翁，籍贯有福建长乐、福唐、临川（江西）三种记载。\n在他53岁知天命的年纪，方才考中进士，而后上任福建莆田担任太守，曾为国子监主薄、官至朝散大夫，即五品文官。目前流传下来的作品寥寥，现藏于广东省博物馆的《云龙图》，《五龙图卷》成为东京国立博物馆的镇馆之宝之一，而最为著名的《九龙图》，在民国时流失海外，藏于美国波士顿美术馆，可惜可叹。\n据传陈容的龙，大多是在酒醉的情况下创作而成，画至忘我时，泼墨做云，喷水做雾。然后摘下头上的头巾，沾上墨水信手涂抹，最后以渴笔描绘龙的身体。但这并不代表陈容仅仅是一个整天酒醉，两耳不闻窗外事的文人，在他的龙画中，寄托着他的家国情怀。",[869,977,870,871,872,942,962,964,1022,1023,1024,921,1025],"写意","渲染","龙","水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690403e9d9f173b397b5b84a1217ee89.jpg","纵46.3厘米，横1096.4厘米",[899,1029,6],"花鸟画精选",1532,20,{"id":20,"slug":1033,"title":1034,"dynasty":1003,"author":1004,"museum":1035,"description":1036,"tags":1037,"thumbUrl":1040,"material":1041,"size":1041,"collection":933,"collections":1042,"showCount":1043,"zanCount":1044,"manualWeight":903,"mainColor":970},"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。",[870,942,913,916,914,961,1038,883,944,879,945,1039],"蓑笠","垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82bbfa00972ccac2b880ca0da9cc7539.jpg","",[933,6],1229,4,{"id":21,"slug":1046,"title":1047,"dynasty":864,"author":1048,"museum":866,"description":1049,"tags":1050,"thumbUrl":1054,"material":1055,"size":1056,"collection":899,"collections":1057,"showCount":1058,"zanCount":1059,"manualWeight":903,"mainColor":904},"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。",[869,870,913,942,875,914,916,876,877,917,1051,979,920,1052,1053,883],"古道","枯藤","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d16dfc2892d6fc95087572ed5b7c014.jpg","绢本，设色","纵192.5厘米，横111厘米",[899,933,6],995,8,{"id":22,"slug":1061,"title":1062,"dynasty":957,"author":1063,"museum":909,"description":1064,"tags":1065,"thumbUrl":1067,"material":1068,"size":1069,"collection":933,"collections":1070,"showCount":1071,"zanCount":1044,"manualWeight":903,"mainColor":970},"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。",[869,870,871,942,916,914,918,879,945,1066,1009],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb857cc032888c84957bee595df2de89a.jpg","纸本,水墨","本幅 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58公分",[933,6],972,{"id":23,"slug":1073,"title":1074,"dynasty":1075,"author":1076,"museum":1077,"description":1078,"tags":1079,"thumbUrl":1082,"material":1068,"size":1041,"collection":6,"collections":1083,"showCount":1084,"zanCount":1085,"manualWeight":903,"mainColor":970},"han-mei-yi-zhi-hua-jin-nong-216223","寒梅一枝画","清","金农","私人收藏","金农（1862年－1930年）是清朝时期的画家，他以绘画寒梅花闻名。寒梅是一种以果实为名的花卉，它在冬季开花，而且十分耐寒，因此被称为寒梅。金农的画作中，寒梅通常是独自绽放的一朵花，或者是和其他花卉搭配使用。他的画风细腻，笔触细腻，很擅长描绘花卉的细微差别，并能真实地再现花朵的美丽和优雅。",[869,870,871,872,942,1080,1081,964,962,963],"梅","花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11daab6d07b3e27d2714aa4ecfc5eece.jpg",[6],963,10,{"id":24,"slug":1087,"title":1088,"dynasty":864,"author":1089,"museum":909,"description":1090,"tags":1091,"thumbUrl":1092,"material":930,"size":1093,"collection":899,"collections":1094,"showCount":1095,"zanCount":1085,"manualWeight":903,"mainColor":904},"wan-he-song-feng-tu-li-tang-221574","万壑松风图","李唐","这幅画采取近观的“高远”表现法。近景为苍松石岸；中景为岗峦郁盘，穿插流泉悬瀑；远景的主峰突兀高耸，峰顶丛树密集，这三段景沿着画面的中轴线，由下往上堆栈，形成“高远”。画家藉由扩大前景，使画中的景物逼近观者，再将远景的主峰满塞画面，如一堵巨大的屏障，形成封闭的空间，让观者面对深幽的山谷，如临真景。",[977,870,871,913,914,942,875,916,1066,917,918,883,945,920],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F048d34f5c9c56804fbd20be818ef50e4.jpg","188.7×139.8公分",[899,933,6],912,{"id":25,"slug":1097,"title":1098,"dynasty":1003,"author":1004,"museum":1099,"description":1100,"tags":1101,"thumbUrl":1104,"material":1105,"size":1106,"collection":933,"collections":1107,"showCount":1108,"zanCount":1109,"manualWeight":903,"mainColor":970},"su-shi-yan-jiang-die-zhang-tu-shen-zhou-222423","苏轼烟江叠嶂图","辽宁省博物馆","此幅图是根据赵孟頫的行书《苏轼题王诜烟江叠嶂诗》的诗意而作。图上山峦起伏，水天相连，云雾迷漫；近处山石屹立，树木成林，墨色浓重；人物三位，江中小舟一翁坐于舟尾垂钓，怡然自得。整幅图画笔老劲，构图简约，描绘了从远处观看山水美景的宏伟景象！",[869,870,942,872,914,916,961,883,921,917,918,1102,1103,876],"远山","近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb51c2b1ac770a01bb35e9d219451d74e.jpg","纸本，水墨","50*1165cm",[933,6],871,3,{"id":26,"slug":1111,"title":1112,"dynasty":1075,"author":1113,"museum":1035,"description":1114,"tags":1115,"thumbUrl":1120,"material":1121,"size":1122,"collection":6,"collections":1123,"showCount":1124,"zanCount":1109,"manualWeight":903,"mainColor":970},"ku-mu-zhu-shi-tu-juan-shi-tao-224526","枯木竹石图卷","石涛","石涛（1642一约1707），清代画家、中国画一代宗师。法名原济，一作元济。本姓朱，名若极。字石涛，又号苦瓜和尚、大涤子、清湘陈人等。广西全州人，晚年定居扬州。明靖江王后裔，幼年遭变后出家为僧，半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。",[869,870,871,872,942,914,1116,1117,1118,916,1119,962,963,964],"枯木","竹","石","松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e40f18081971367110555976691d9e.jpg","纸本墨笔","纵23.5厘米，横213.5厘米",[6],845,{"id":27,"slug":1126,"title":1127,"dynasty":864,"author":908,"museum":1128,"description":1129,"tags":1130,"thumbUrl":1133,"material":1134,"size":1135,"collection":899,"collections":1136,"showCount":1137,"zanCount":1138,"manualWeight":903,"mainColor":904},"xue-jing-han-lin-tu-fan-kuan-221395","雪景寒林图","天津博物馆","《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。",[869,870,871,916,914,942,913,1131,1132,917,883,1025,979],"雪","寒林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc63124132a59c2b69ad427d2058e8b.jpg","绢本 设色","纵193.5厘米 横160.3厘米",[899,933,6],800,7,{"id":28,"slug":1140,"title":1141,"dynasty":864,"author":1142,"museum":1143,"description":1144,"tags":1145,"thumbUrl":1147,"material":930,"size":1148,"collection":899,"collections":1149,"showCount":1150,"zanCount":1151,"manualWeight":903,"mainColor":904},"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。",[869,870,977,916,942,914,913,877,878,879,918,1146,917],"枯树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b577765ceab4bc36d1225e888c903d4.jpg","纵111.4厘米，横56厘米",[899,933,6],792,9,{"id":29,"slug":1153,"title":1154,"dynasty":1155,"author":1156,"museum":866,"description":1157,"tags":1158,"thumbUrl":1161,"material":930,"size":1162,"collection":933,"collections":1163,"showCount":1164,"zanCount":1165,"manualWeight":903,"mainColor":904},"xiao-xiang-tu-dong-yuan-221154","潇湘图","五代十国","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。",[869,870,871,872,916,942,875,1159,889,883,1160,961,876,921],"披麻皴","沙洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F308d33bc50ae0832cf73078880eca1a6.jpg","纵50厘米，横141.4厘米",[933,6],763,14,{"id":30,"slug":1167,"title":1168,"dynasty":1003,"author":1169,"museum":909,"description":1170,"tags":1171,"thumbUrl":1173,"material":930,"size":1174,"collection":933,"collections":1175,"showCount":1176,"zanCount":1177,"manualWeight":903,"mainColor":904},"chun-you-wan-gui-tu-dai-jin-222031","春游晚归图","戴进","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。",[869,870,871,913,875,916,876,877,878,879,1119,917,1008,1172,979],"路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f535fa828d9c60097457ceb913a5fff.jpg","167.9x83.1公分",[933,6],752,6,{"id":31,"slug":1179,"title":1180,"dynasty":957,"author":1181,"museum":866,"description":1182,"tags":1183,"thumbUrl":1184,"material":1185,"size":1186,"collection":6,"collections":1187,"showCount":1189,"zanCount":1190,"manualWeight":903,"mainColor":1191},"mo-zhu-po-shi-tu-wu-zhen-220780","墨竹坡石图","吴镇","此图绘平坡拳石，竹枝斜垂。图中平坡直以淡墨晕染，拳石则重墨勾画轮廓，复以浓淡相间的墨色加以皴染，笔墨浑厚苍润。画面上方几茎竹枝斜斜垂入画面，不仅得“意在画外”之趣，且其插入的角度与取倾侧之势的坡石相呼应，使画面趋于平衡。整体画面欹中寓平，稳中求变，表现出作者控制全局的高超技巧。\n全图取景简洁，意境清幽，正如时人孙大雅《墨竹记》中所云：“……其趣适常在山岩林薄之下，故其笔类有幽远闲放之情，殊乏贵游子弟之气……”正道出了此图意趣之所在。",[869,870,871,913,942,1117,1009,964,914],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F162c658d1d21976ed1ec52ed3d2446e9.jpg","纸本 墨笔","90cmx24cm",[6,1188],"竹石精选",747,5,"F48FB1",{"id":32,"slug":1193,"title":1194,"dynasty":1003,"author":1004,"museum":866,"description":1195,"tags":1196,"thumbUrl":1199,"material":1200,"size":1201,"collection":1202,"collections":1203,"showCount":1205,"zanCount":1190,"manualWeight":903,"mainColor":970},"shen-zhou-liu-yin-zuo-diao-tu-zhou-shen-zhou-236332","沈周柳荫坐钓图轴","本幅自题五绝诗：“树根容我坐，八座未云安。芸屦春泥湿，荷衣晓露干。沈周。”钤“寄傲”印、“启南”印。图中画岩崖危耸，春湖柳溪，湖边老翁垂纶，神态安逸。作品布景自然，用笔苍润，设色以浅绛、花青为主，清淡秀冶，兼得天趣与人意之美。此作表现了沈周晚年的典型面貌，根据本幅所钤“墨林山人”、“项叔子”、“项元汴印”等鉴藏印，可知作品曾经明末收藏家项元汴收藏。",[870,913,942,914,916,1197,876,1198,917,879],"柳树","坐钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc26e450d5af93a3a1c5b03a1c08feb02.jpg","绫本，设色","纵136.3厘米，横23.6厘米","人物画精选",[1202,6,1204],"书法精选",649,{"id":33,"slug":1207,"title":1208,"dynasty":1003,"author":1004,"museum":909,"description":1209,"tags":1210,"thumbUrl":1213,"material":1214,"size":1215,"collection":933,"collections":1216,"showCount":1217,"zanCount":1218,"manualWeight":903,"mainColor":904},"shan-shui-ce-shen-zhou-222101","山水册","沈周（1427-1509）明代杰出画家。字启南，号石田，又号白石翁、玉田生、有居竹居主人等。长洲（今江苏苏州）人。性情敦厚、博学多才，长于文学，亦工诗画，善画山水、花卉、鸟兽、虫鱼，皆极神妙。常草草点缀，即得意趣。亦常题诗词于画上，当时人称他为“二绝先生”。画宗黄大疾、吴镇，自成一家笔法。亦工墨笔花鸟，和他的学生文征明并称为“吴派”两大家。又与文征明、唐寅、仇英称“明四家”。他每画一画，落笔点苔，绝不苟且。他能从多方面摹习古人，又加自己的创造，更参以二米的笔趣，善用粗笔，圆润挺劲，厚重凝炼。出入于宋元名家，创作态度极为慎重。",[869,870,977,871,1211,942,914,916,1053,879,1038,1212,1009],"册","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ea739b96b4accbcb710a3fa945b91db.jpg","纸本设色","37.4x58.8",[933,6],623,1,{"id":34,"slug":1220,"title":1221,"dynasty":957,"author":1063,"museum":909,"description":1222,"tags":1223,"thumbUrl":1225,"material":1226,"size":1041,"collection":6,"collections":1227,"showCount":1228,"zanCount":1190,"manualWeight":903,"mainColor":970},"zhu-shi-tu-ni-zan-218759","竹石图","简淡笔墨勾勒出一方清寂天地。嶙峋顽石以折带皴写就，骨力暗藏；几竿瘦竹用中锋挥毫，风神毕现。坡岸以淡墨扫出，不着繁饰却有山野之旷；竹叶疏密交织，寥寥数笔便见雅趣之浓。留白处似含虚寂之气，引观者神思悠远；笔墨间尽是淡远之怀，映画家澄净本心。无喧嚣之扰，无艳色之惑，简而不薄，疏而有致，于极简中藏深致，于清寂中见真趣。尽显文人画的空灵韵致，亦为超脱尘俗的精神气象凝于纸上。",[869,870,977,871,913,942,1224,1009,1117,1146,964],"白描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87a185b2b68c761e19a18f984e0eb2ee.jpg","绢本,水墨",[6],561,{"id":35,"slug":1230,"title":1231,"dynasty":864,"author":939,"museum":866,"description":1232,"tags":1233,"thumbUrl":1234,"material":1235,"size":1236,"collection":899,"collections":1237,"showCount":1238,"zanCount":1190,"manualWeight":903,"mainColor":904},"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。",[869,870,977,871,872,942,914,916,1009,1146,917],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0556ced627d4bf0bc2eadd501a1dda33.jpg","绢本，墨笔","纵120.8厘米，横167.7厘米。",[899,933,6],555,{"id":36,"slug":1240,"title":1241,"dynasty":957,"author":989,"museum":866,"description":1242,"tags":1243,"thumbUrl":1244,"material":1245,"size":1246,"collection":933,"collections":1247,"showCount":1248,"zanCount":1249,"manualWeight":903,"mainColor":970},"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。",[869,870,871,913,942,914,916,883,917,879,921,894,964,963],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7df20d546f8bf06fcb8d01422c5ba829.jpg","纸本，墨笔","纵118.1厘米，横36.2厘米",[933,6],552,2,{"id":37,"slug":1251,"title":1252,"dynasty":1075,"author":1253,"museum":1254,"description":1255,"tags":1256,"thumbUrl":1258,"material":1259,"size":1041,"collection":1029,"collections":1260,"showCount":1261,"zanCount":1249,"manualWeight":903,"mainColor":970},"lan-zhu-tu-zheng-ban-qiao-223294","兰竹图","郑板桥","美国克利夫兰艺术博物馆","郑板桥（1693年－1766年），原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。清代书画家、文学家。\n康熙秀才，雍正十年举人，乾隆元年（1736年）进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为“扬州八怪”重要代表人物。\n郑板桥一生只画兰、竹、石，自称“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”。其诗书画，世称“三绝”，是清代比较有代表性的文人画家。代表作品有《修竹新篁图》《清光留照图》《兰竹芳馨图》《甘谷菊泉图》《丛兰荆棘图》等，著有《郑板桥集》。\n郑板桥书法，用隶体掺入行楷，自称“六分半书”，人称“板桥体”。其画，多以兰草竹石为主，兰竹几成其心灵的郑板桥的书法艺术，在中国书法史上是独树一帜的。\n由他23岁写的《小楷欧阳修《秋声赋》和30岁写的《小楷范质诗》推知，板桥早年学书从欧阳询人手。其字体工整秀劲，但略显拘谨：这与当时书坛盛行匀整秀媚的馆阁体，并以此作为科举取士的标准字体有关。对此，郑板桥曾说：“蝇头小楷太匀停，长恐工书损性灵。”在他40岁中进士以后就很少再写了。郑板桥书法最被称道的是“六分半书”，即以“汉八分”（隶书的一种）杂人楷、行、草而独创一格的“板桥体”。\n“六分半”书，是郑板桥对自己独创性书法的一种谐谑称谓。隶书中有一种笔画多波磔的“八分书”，所谓“六分半”，其意大体是隶书，但掺杂了楷，行、篆、草等别的书体。《行书曹操诗》轴（如同，现藏扬州博物馆）可视为“六分半”体的代表作。此件写曹操《观沧海》诗，幅面很大，平均每宇有10平方厘米以上，字体隶意颇浓，兼有篆和楷；形体扁长相间，宅势以方正为主而略有摆宕。拙朴扩悍，恰与曹诗雄伟阔大的风格相似。郑板桥曾在《赠潘桐冈》诗中称道自己的书法：“吾曹笔阵凌云烟，扫空氛翳铺青天。一行两行书数字，南箕北斗排星躔。”\n郑板桥书法作品的章法也很有特色，他能将大小、长短、方圆、肥瘦、疏密错落穿插，如“乱石铺街”，纵放中含着规矩。看似随笔挥洒，整体观之却产生跳跃灵动的节奏感。如作于乾隆二十七年的《行书论书》横幅，时已七十高龄，乃晚年佳作。大意是说苏东坡喜用宣城诸葛氏齐锋笔，写起来十分如意，后来改用别的笔，就手心不相应。板桥自己喜用泰州邓氏羊毫笔，写起来婉转飞动，无不如意。于是把泰州邓氏羊毫比作宣城诸葛齐锋，最后说：“予何敢妄拟东坡?而用笔作书皆爱肥不爱瘦，亦坡之意也。”整幅作品结字大大小小，笔划粗粗细细，态势欹欹斜斜，点画、提按、使转如乐行于耳，鸟飞于空，鱼游于水，在一种态情任意的节律中显露着骨力和神采：清人何绍基说他的字“间以兰竹意致，尤为别]趣”。从这件作晶的章法、结体和笔画，不准看出他“波磔奇古形翩翩”的兰竹娄神。\n郑板桥出身于书香门第，康熙末年中秀才，雍正十年中举人，乾隆元年中进士，五十岁起先后任山东范县、潍县知县计十二年。“得志加泽于民”的思想，使得他在仕途对连年灾荒的平民百姓采取了“开仓赈贷”“捐廉代输”等举措，这引起了贪官污吏、恶豪劣绅的不满，被贬官。之后，他靠卖画维持生活。郑板桥的一生，经历了坎坷，饱尝了酸甜苦辣，看透了世态炎凉，他敢于把这一切都糅进他的作品中。郑板桥的题画诗已摆脱传统单纯的以诗就画或以画就诗的窠臼，他每画必题以诗，有题必佳，达到“画状画之像”“诗发难画之意”，诗画映照，无限拓展画面的广度，郑板桥的题画诗是关注现实生活的，有着深刻的思想内容，他以如枪似剑的文字，针砭时弊，正如他在《兰竹石图》中云：“要有掀天揭地之文，震电惊雷之字，呵神骂鬼之谈，无古无今之画，固不在寻常蹊径中也。\n①瘦劲竹子画：郑板桥画竹，“神似坡公，多不乱，少不疏，脱尽时习，秀劲绝伦”。《清代学者像传》说他一生的三分之二岁月都在为竹传神写影，自己曾有诗写道：“四十年来画竹枝，日间挥写夜间思，冗繁削尽留清瘦，画到生时是熟时”。后来他说：“凡吾画竹，无所师承，多得于纸窗粉壁日光月影中耳”。他通过观察和艺术创作的实践，提炼出“眼中之竹”、“胸中之竹”、“手中之竹”的理论。“眼中之竹”是自然实景，是对自然的观察和从中体验画意；“胸中之竹”是艺术创作时的构思；“手中之竹”是艺术创作的实现。他把主观与客观、现象与想象、真实与艺术有机地融为一体，创造了师承自然，而又高于自然的境界。\n自然之竹是客观存在的，画家看到眼里的竹已经和自然之竹有所区别了，然后要进行加工、主观处理，形成胸中之竹，这就是所说的意在笔先，等落到纸上，转化为手中之竹，“手中之竹”说的是画家所创出的一个“第二自然”，胸中之竹和手中之竹都是眼中之竹的升华，概括说就是画家把眼睛看到的客观形象，经过大脑的意象处理，最终经过技术加工物化为典型的艺术形象，是艺术创作的过程。\n当郑板桥任山东潍县知县，曾作过一幅画《潍县署中画竹呈年伯包大中丞括》，画中的竹子不再是自然竹子的“再现”，这诗题，不再是无感而发的诗题，透过画和诗，使人们联想到了板桥的人品，他身为知县，从衙斋萧萧的竹声，联想到百姓困苦疾声，说明他心中装着百姓，情感链系在百姓身上。这时画中的竹叶有了形象的扩展，郑板桥开仓赈贷，救济灾民的场景一幕幕地浮现在人们脑海里，“凝固的瞬间”在观众的脑海里变成了无限延续的故事，好似极富感染力的小说、影片那样，扣人心弦，发人深思。寥寥几笔竹叶，简练几句诗题，让人倍感作品中蕴藏着的深刻的思想、浓浓的情意。再有几幅是郑板桥被贬官后离开潍县，三头毛驴一车书，两袖清风而去，临行前后作的画，其一画竹图题云：“乌纱掷去不为官，囊囊萧萧两袖寒，写取一枝清瘦竹，秋风江上竹渔竿”，借竹抒发了他弃官为民、淡泊名利、享受人生的平静心态，其二《竹石图》画幅上三两枝瘦劲的竹子，从石缝中挺然后立，坚韧不拔，遇风不倒，郑板桥借竹抒发了自己洒脱、豁达的胸臆，表达了勇敢面对现实，绝不屈服于挫折的人品，竹子被人格化了，此时，“诗是无形画，画是有形诗”。类似的还有《墨竹图》《竹图》，这几幅墨竹图，都是借竹子抒发他遭贬官后，越发洒脱。郑板桥所画竹子和题画诗，大多是借竹缘情，托物言志，抒发了“衙斋卧听萧萧竹，疑是民间疾苦声”的情怀，表现出“立根原在乱岩中，任尔东西南北风”的坚劲，表达出“写取一枝清瘦竹，乌纱掷去不为官”的气节和气概，凡竹子的高风亮节，坚贞正直，高雅豪迈等气韵，都被他表现得淋漓尽致。这正是郑板桥作品不同于传统花鸟画之处，不同于前人之处。传统的兰竹大多数表现为欣赏性的、娱乐性的主题，画面主要追求自然形象的真与美、绘画技能的高与低、笔墨运用的娴熟与雅俗，而到了郑板桥的笔下，除了达到这些技能技巧外，题画诗还赋予这题材新的思想内容和深邃意境，使花鸟画亦能产生思想性、抒情性，给人以深刻的感受。\n郑板桥画竹独特，画石亦如此。自然界再无情的石头在他笔下也活了，如《柱石图》中的石头，这也是前人画中常用题材，但很少把它作为主体形象来表现的。而郑板桥在画幅中央别具一格地画了一块孤立的峰石，却有直冲云霄的气概，四周皆空没有背景。画上四句七言诗：“谁与荒斋伴寂寥，一枝柱石上云霄，挺然直是陶元亮，五斗何能折我腰。”诗点破了画题，一下子将石头与人品结合到一块儿，可谓“画不足而题足之，画无声而诗声之。诗画互相为用，开后人无数法门。”板桥借挺然坚劲的石头，赞美陶渊明。板桥赞美他刚直不阿、品格高尚的人格，同时似乎也有吐露他自己同样遭遇及气度的意思。画中的石头代表了人物形象，蕴藏着刚直不阿、气宇轩昂的品质，使人感到，此处画石头比画人更有意味，更能揭示深刻含义。\n③兰花图：郑板桥还有很多以兰花为主题的画，也表现了一些新的内容，借题画诗发挥，寓意对各种各样事物的看法。如：有的借兰花特征，透溢出做人胜不骄、败不馁，持平常心态的胸臆，题画诗云：“兰花与竹本相关，总在青山绿水间，霜雪不凋春不艳，笑人红紫作客顽。”由兰花让人产生联想，做人要像兰花一样幽静、持久、清香，不浮不躁，不争艳。咫尺画幅，拓展无限之大，意境深邃。又如：有的借一丛丛兰花，夹着一些荆棘的自然现象，抒君子能宽容小人之大度的气质。《荆棘丛兰石图》题画诗云：“不容荆棘不成兰，外道天魔冷眼看，看到鱼龙都混杂，方知佛法浩漫漫。”另一幅《荆棘丛兰石图》题云：“满幅皆君子，其后以荆棘终之何也？盖君子能容纳小人，无小人亦不能成君子，故棘中之兰，其花更硕茂矣。”板桥匠心独运，兰花中穿插几枝荆棘，画兰花与荆棘共存，表达了遇有小人，虚怀若谷、和睦共处，“历经磨练，方成英雄”的宽宏大量之胸怀，读画者亦受益匪浅。越读越感简单的植物具有高深的意境，乐趣无穷。纵观郑板桥笔下所画的兰竹石，细品题画诗，我们不难看出，他喜画兰竹石的缘由，正如他所云：“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”，而“为四美也”。“有兰有竹有石，有节有香有骨”。在他眼中，兰竹石，能代表人坚贞不屈，正直无私，坚韧不拔，心地光明，品格高洁等品格，因而其题画诗的字字句句，托物言志，意境深远。\n④题画诗：题画诗在他笔下，除了在内容上有思想性，抒情性以外，在形式上还更具有艺术性、趣味性。题画诗能充分体现“书画同源”“用笔同法”的艺术趣味，而传统画家的题款跋文，大多题于画的空白处，与画面起平衡作用，但“扬州八怪”的题款已脱传统国画以及“文人画”题款、题诗的窠臼，特别是郑板桥将书法与画糅合在一起，还成了共同表现形象的特殊手法，彼此关系不分割。如《兰石图》，郑板桥别具匠心地将诗句用书法的形式，真草隶篆融为一体，大大小小，东倒西歪，犹如“乱石铺街”地题于石壁上，代替了画石所需的皴法，产生了节奏美、韵律美，又恰到好外地表现了石头的立体感、肌理美，比单纯用皴法表现立体感更具有意趣。这倒成了不可或缺的表现方法，既深刻揭示兰花特征，寓意高尚人品的意境美，又有书法艺术替代皴法的艺术美。让人在观画时既享受到画境、诗境的意境美，又能享受到书法艺术的形式美，沉浸在诗情画意中。另在许多兰竹石的画幅上，他题诗的形式变化多端，不守成规，不拘一格，自然成趣，达到书佳、行款得体，画亦随之增色。所谓行款得体，即是视画面的实际，进行构思，讲究构图的形式美，因而他将题画诗或长题于侧，或短题于上下，或纵题、或横题、或斜题、或贯穿于兰竹之间、藤叶之间，断断续续地题，观其形态，参差错落，疏密有致。是书也是题，是画也是诗，是诗也是画，欣赏每幅画中题画诗，既是绝妙的书法再现，也是将书画相映成趣的综合艺术，书题与画面有机地交融在一起，构成了统一的诗情画意，给人以综合的完美的艺术享受。\n郑板桥情系百姓，与民同忧。乾隆六年（1741年）春，因科举及第考中进士的郑板桥被派往山东范县任县令，开始了他长达12年的官宦生涯。他为官力求简肃，视排衙喝道之类的礼仪为桎梏。为察看民情、访问疾苦，他常不坐轿子，不许鸣锣开道，不许打“回避”“肃静”的牌子，身着便服，脚穿草鞋到乡下察访。即便夜间去查巡，也仅差一人提着写有“板桥”二字的灯笼引路。因为他常常微服“陇上闲眠看耦耕”，以致“几回大府来相问”，竟找不到他的人影子。\n对于百姓的疾苦，他时时刻刻都挂在心上。他一生善于画竹，尤其善于据竹写诗。在潍县任县令时，他的顶头上司、山东巡抚包括向他索求书画，他画了拿手的竹子，并在上面题诗一首：“衙斋卧听萧萧竹，疑是民间疾苦声。些小吾曹州县吏，一枝一叶总关情。”\n乾隆十一年（1746年），郑板桥调署潍县，在潍县任上七年，竟有五年发生旱蝗水灾，生民涂炭，哀鸿遍野。他一面向朝廷据实禀报灾情，请求赈济；一面以工代赈，兴修城池道路，招收远近饥民赴工就食，并责令邑中大户轮流在道边开厂煮粥，供妇孺耄耋充饥。同时，责令囤积居奇者迅速将积粟按通常价格卖给饥民。他自己也节衣缩食，为饥民捐出官俸。在最危急之时，他毅然决定打开官仓放粮。乾隆十七年（1752年），他愤然辞官，回到故乡江苏兴化定居",[870,871,913,942,1257,1117,1009],"兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F681d28d4f5f08cb75a05b07ab8eceef3.jpg","水墨纸本",[1029,6],547,{"id":38,"slug":1263,"title":1264,"dynasty":957,"author":1063,"museum":909,"description":1265,"tags":1266,"thumbUrl":1267,"material":1068,"size":1268,"collection":933,"collections":1269,"showCount":1270,"zanCount":1109,"manualWeight":903,"mainColor":970},"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。",[869,870,871,913,942,916,914,979,1146,1009,879,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a1262bf8374934f412458d8adc28d76.jpg","74.7 x 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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。",[869,870,871,872,942,1351,962,1352,1353,1354,1355,1356,1357,1358,1359,1360,1117],"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",[933,6],448,{"id":47,"slug":1366,"title":1367,"dynasty":957,"author":1181,"museum":866,"description":1368,"tags":1369,"thumbUrl":1370,"material":1235,"size":1371,"collection":1202,"collections":1372,"showCount":1373,"zanCount":1109,"manualWeight":903,"mainColor":970},"yu-fu-tu-wu-zhen-220778","渔父图","《渔父图》画远山丛树，流泉曲水，老树平坡。坡旁溪水一泓，小舟闲泊。一渔父头戴草笠，一手扶桨，一手执鱼竿，坐船中垂钓。笔法圆润，意境幽深。\n《渔父图》，皆天空水阔，几只渔舟活动于其间，随意点染，意境或开阔，或幽深颇多变化，既画出了“放歌荡漾芦花风”，又描绘出“一叶随风万里身”的意境，吴镇以此寄托隐逸之意。\n此幅作远山丛树，流泉曲水，平坡老树。坡旁水泽，小舟闲泊。一渔夫头戴草笠，一手扶浆，一手执竿，坐船垂钓。对岸群山远岫，岗峦起伏，树木茂盛，溪流人家。\n远景诸峰峭拔而立，绵延起伏；中景坡石渐缓，相拥而卧，老树从中斜逸而出，枝干虬曲，树叶繁茂，一道幽泉从远山处蜿蜒而来，流水潺谖，汇人江中；近景的江面上，一渔父泛舟其上，他手扶桨一手执鱼竿，怡然自得地坐在船沿上垂钓，渔船两边沙碛点点，木盛草美，随风飘荡。\n图上正中草书“渔父辞”一首：目断烟波青有无，霜凋枫叶锦模糊，千尺浪，四腮鲈，诗筒相对酒葫芦。并款署：“至元二年秋八月，梅花道人戏作《渔父》四幅并题。”",[869,870,871,942,914,916,961,1038,1008,879,917,1212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46b62bd0e9cbfbeeae4460213b63e1fd.jpg","纵84.7厘米，横29.7厘米",[1202,6],434,{"id":48,"slug":1375,"title":1376,"dynasty":957,"author":989,"museum":909,"description":1377,"tags":1378,"thumbUrl":1379,"material":995,"size":1380,"collection":933,"collections":1381,"showCount":1382,"zanCount":1218,"manualWeight":903,"mainColor":904},"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",[869,870,913,942,916,914,917,883,878,879,979,921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad77a15bec8b64335a9ac63c01ea4f87.jpg","该幅 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所绘制的一幅绢本白描长卷， 曾收藏于美国华人收藏家王季迁手中，在其去世后失窃下落不明。\n该画作描绘了五方帝君中的三个帝君，去往朝谒天上的最高统治者时的队仗行列。\n画家以流利的长线条描绘此图，画中人物栩栩如生，表情生动，描画出了不同的人物的不同的身份与形态特征，成功地表现出帝君的庄严、神将的威武和仙女的丰姿，是白描人物画的代表作。\n《朝元仙仗图》描绘的是五方帝君中的东华帝君、南极大帝、扶桑大帝，前往朝谒“主持天界之祖”——元始天尊的队仗行列。\n《朝元仙仗图》中的行列应该是由八十八位神仙组成，但是图中缺了最后一位神仙。\n八十七位神仙共分为四种类型：三位帝君，八名武装神，十名男神仙，六十七名女仙，这些女仙中有玉女，也有金童，但都着女装。\n众仙神态从容衣带随风飘舞，徐徐行进于蜿蜒的廊桥之上。\n队列左端最前由仗剑披甲的天神开路，最右端以甲卒、金刚、神王、力士等殿后，气象雄威；后面是仙官、侍从和乐队，高举旗幡伞盖，手捧美食佳肴，吹奏丝竹管弦；三位帝君，华服盛装，头衬圆光，神态庄重，前后左右是金童玉女，画中各神仙身旁还有长方格，内写该神仙的尊号。\n个个神情娴淑恬淡，沉稳慈祥，俊美动人，衣履装束和发髻头饰，各尽其态；队伍最后又是文武仙官，衣饰容貌也都各有特色，画幅上面云雾飘渺，下方丛生莲花、香蒲，所有神仙列成长队，过桥穿路，浩浩荡荡而来，热闹又庄重，仿佛能听到众神仙衣衫窸窣、环佩相碰之声。\n武宗元的活动时期正值宋真宗赵桓在位（公元997年5月8日－122年月2日）。\n宋真宗崇奉道教，大兴土木建筑道院，在汴京（开封）所建“玉清昭应宫”，凡二千六百一十楹，制度十分宏丽，屋宇稍有不合程式的，就拆掉重盖，夜以继日，七年才完工。\n又作“会灵观”，规模略如玉清昭应宫，以首相王但为“昭应宫使”，次相王曾为“会灵观使”。\n全国各地纷纷盖道观、立官职，把年老退职侍从大臣都授予道教的官衔，给以俸禄。\n在统治者这样如醉如狂地提倡道教的运动中，产生了许多以画道释人物著名的壁画家，专为装饰宫观，《朝元仙仗图》便是武宗元在此时期为玉清昭应宫创作寺观壁画所绘制的小样。\n《朝元仙仗图》中的线条勾勒看起来奔放有力，实则从构图、人物安排、物象聚合到线条组织都显示出“平”和“匀”的特点。\n以主像东华天帝君为例，图中的颈部线条为三根大致平行的圆弧线，距离匀称、平均、平稳，与衣领的关系模糊不清。\n通天冠顶部的一组珠饰的七颗宝珠形象相同，似乎为同一形象之复制，平均分布且排成一条僵硬的直线，图中插入头发中以固定头冠的玉簪导没有传达出物体互为垂直面的意义，而是画成一个含糊的多边形。\n整体画面强调照应，又适当注意变化，先是对于复杂重叠的衣褶采用了“铁线描”的手法勾勒，画中线条严谨、简练、流畅，有的线长达几米。\n线条长垂流畅，飘飘欲举，如有风吹拂，生动地表达队列进行中的动感；而人物的面部和头发的线条又变得柔和，纤柔曼妙，如同游丝，与衣纹的铁线形成对比，既表现了不同质感，又使画面具有丰富的线条美。\n面部表情能用各种不同的线来表现，眉眼特别有神，皱眉肌的变化，以及眼与其他各部的关系处理得准确巧妙，从而使同样严肃的面孔上显示出各种不同的个性。\n该画作整体画面色彩单纯明朗，以石青石绿为主，衣冠宝盖大量运用沥粉贴金，总体色调既灿烂又沉厚。\n该画作中共绘制了身份、等级各不同的八十七位神仙，其中东华帝君、南极大帝头带冕冠，脑后衬以圆光，轮廓丰腴，气质雍容，在队伍中尤其显眼。\n而同为五方帝君之一的扶桑大帝整体则显得较为朴素，但神情庄严、不怒自威。\n护卫的武装神或披甲仗剑，或长袍执戟，有的表情淡漠直视前方，有的怒目圆睁环视四周，形象鲜明。\n而对于人物动态一致、倾向一致，服饰大致相似的仙官，则通过微小的转侧和顾盼加以区分，得到相互之间的呼应。\n整幅作品人物安排参差有致，神采飞动，人物神情各异，构图整齐而不呆板，组织繁复而不杂乱。\n该画作中所塑造的诸神，是现实世界各种英勇、强健、崇高、恢宏、安详、美丽、静淑等人类最美的外形和性格的体现。\n从中可以发现作者在人物塑造上的卓越才能，他通过每一个人物的衣饰动作和表情，表现出各人不同的内在品质。\n再加以仪仗、供品、烟云、花草等的气氛渲染，就构成一个庄严华丽的神仙境界——当时人类想象中的美好境界。\n在构图上作者善于从统一中求其变化，在处理繁复的画面时又能做到协调而不杂乱。\n准确而生动的用笔，富于节奏感的线条，随心所欲地把作者想要表达的美感表达了出来。\n这都是这幅作品的成功所在。\n《朝元仙仗图》称得上是线条运用达到登峰造极的代表作之一 ，这样的白描作品一直是历代人物画家学习的范本，无论是线条勾勒的技法，人物的造型特征，衣纹穿插的规律还是人物组织构图的方法，无处不值得人们在自己的创作中借鉴应用。\n远至宋代白描大家李公麟、元代的赵孟頫、明代的陈洪绶、清代的任伯年等，在他们的作品中都能找到《朝元仙仗图》的痕迹，流传至今的元代永乐宫壁画更是对《朝元仙仗图》的直接传承。\n当代人物画家更是把该图作为学习传统人物画的必修课，诸多优秀的工笔画家如李少文、何家英、高云、戴敦邦等的作品以及画家李伯安的作品巨幅长卷《 》在创作时也深受《朝元仙仗图》的启发，特别是众多人物排列行进的场面与《朝元仙仗图》更是如出一辙。\n两宋之际，《朝元仙仗图》归翟妆文收藏。\n翟汝文之后《朝元仙仗图》归张氏收藏，张氏名字的最后一字很难释读，故其事迹不可知。\n元代时期，《朝元仙仗图》归张君锡收藏。\n张君锡之后，《朝元仙仗图》转归杭人崔氏。\n明清时代《朝元仙仗图》数百年流藏于广东境内，曾藏于广东顺德卢氏。\n民国时期，《朝元仙仗图》流入市肆，为“颍川飞凫人”所得。\n不久之后，《朝元仙仗图》归广东收藏家罗原觉收藏，之后罗原觉将此画卖给李尚铭。\n李氏又将其抵押他人，后来于七七事件之前流往日本。\n建国之后，2世纪5年代《朝元仙仗图》被美国人候时泰买去，之后归王季迁收藏。\n25年，《朝元仙仗图》被王季迁后人托管于上海一家银行的保险箱，29年发现其真迹已被人掉包，至今下落不明。\n武宗元（公元994年—15年），初名宗道，字总之，河南白坡（今河南孟津）人，北宋时期画家。\n他家世业儒，以荫得太庙斋郎，官至虞曹外郎，宋真宗景德年间，建玉清昭应宫，征全国画师三千多人，选中者百余人，武宗元名列第一。\n中选百人分二部，宗元为左部之长。\n擅画道释人物，17岁时画洛阳北邙山上清宫壁画，被世人评为“惊绝”，也曾为开封、洛阳各寺观作大量壁画，史称他的作品“神彩活动如草书”。\n其作品中仅有《朝元仙仗图》流传后世。",[869,977,870,871,872,1224,1453,876,877,964,962],"宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac7f35285bd62db636c782a85c5fb9d.jpg","纵44.3cm，横580cm",[1202,6],395,{"id":56,"slug":1459,"title":1460,"dynasty":864,"author":939,"museum":1461,"description":1462,"tags":1463,"thumbUrl":1464,"material":1465,"size":1466,"collection":899,"collections":1467,"showCount":1468,"zanCount":1177,"manualWeight":903,"mainColor":904},"shu-se-ping-yuan-tu-guo-xi-221289","树色平远图","美国大都会艺术博物馆","此画描绘了河流两岸树色平远的景色。画中点缀有拄杖的老人，携琴捧盒的仆夫，水面的小舟和飞翔的野凫，都渲染了浓郁的诗意。\n描绘的是一河流两岸树色平远的景色。 画中之景以河为界可分作前后两部分。前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n此图无款，卷后有元明诸家诗文题跋。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。\n《树色平远图》描绘的画面以平远布局，构景简洁，开阔而均衡，墨色浓淡变化丰富而微妙，所造之境具体真实。",[869,870,942,872,916,979,1146,1009,961,876,964,914],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cb64fc6272e7ddc0705cc497dea3417.jpg","绢本墨笔","纵32.4厘米，横104.8厘米",[899,933,6],387,{"id":57,"slug":1470,"title":1471,"dynasty":1003,"author":1004,"museum":1143,"description":1472,"tags":1473,"thumbUrl":1478,"material":995,"size":1479,"collection":933,"collections":1480,"showCount":1481,"zanCount":1218,"manualWeight":903,"mainColor":970},"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。",[869,870,942,916,877,917,1474,1475,876,1476,964,914,1477],"林木","白云","杖藜","登高","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4649d1d0c9eba3d025f8a50b75209cec.jpg","纵38厘米，横59厘米",[933,6],383,{"id":58,"slug":1483,"title":1484,"dynasty":1003,"author":1485,"museum":1035,"description":1486,"tags":1487,"thumbUrl":1489,"material":1041,"size":1041,"collection":933,"collections":1490,"showCount":1491,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[869,870,875,877,1051,916,1007,1025,1008,1488,886,942,1022,913,995],"房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6bd88c485b1bbe4124fde6a8ae986b8.jpg",[933,6],375,{"id":59,"slug":1493,"title":1494,"dynasty":864,"author":1018,"museum":1495,"description":1496,"tags":1497,"thumbUrl":1498,"material":995,"size":1499,"collection":899,"collections":1500,"showCount":1501,"zanCount":1218,"manualWeight":903,"mainColor":904},"wu-long-tu-juan-chen-rong-221458","五龙图卷","日本京都国立博物馆","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”。",[869,977,870,871,872,942,914,1024,917,918,921,1025],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b9fcadd53a3ef596d12b6f0dd8824f3.jpg","45.2×299.5",[899,933,6],374,{"id":60,"slug":1503,"title":1504,"dynasty":1155,"author":1156,"museum":1461,"description":1505,"tags":1506,"thumbUrl":1509,"material":930,"size":1510,"collection":933,"collections":1511,"showCount":1512,"zanCount":1218,"manualWeight":903,"mainColor":904},"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。",[869,870,871,916,914,1159,942,875,945,883,879,918,979,1102,1507,920,944,1397,1508],"近树","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdee3a8ea2ec5b0766e929d242272f70a.jpg","纵220.3厘米，横109.2厘米",[933,6],366,{"id":61,"slug":1514,"title":1515,"dynasty":1516,"author":1517,"museum":909,"description":1518,"tags":1519,"thumbUrl":1521,"material":949,"size":1522,"collection":1202,"collections":1523,"showCount":1524,"zanCount":1177,"manualWeight":903,"mainColor":904},"mu-ma-tu-han-gan-221075","牧马图","唐","韩干","描画了一位虬须戴巾、腰插马鞭的奚官准备出外放牧的情景。主题明瞭，情节简单，图中黑白双马，奚官虬髻戴头巾，手执缰缓行。此图线条纤细遒劲，勾出马的健壮体形，黑马身配朱地花纹锦鞍，更示出其神彩；人物衣纹疏密有致，结构严谨，用笔沉着，神采生动。",[869,870,977,871,874,875,876,881,1520,964],"兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8144ec5912ae9e8da1db7870cd9b68a.jpg","纵27.5cm，横34.1cm",[1202,6],362,{"id":62,"slug":1526,"title":1527,"dynasty":1003,"author":1485,"museum":866,"description":1528,"tags":1529,"thumbUrl":1530,"material":1245,"size":1531,"collection":6,"collections":1532,"showCount":1533,"zanCount":1109,"manualWeight":903,"mainColor":970},"mo-zhu-tu-wen-zheng-ming-221978","墨竹图","本幅绘坡石兰竹、荆棘溪流，无作者款识，钤“悟言室印”、“徵仲”、“徵仲父”、“惟庚寅吾以降”。接纸文徵明自题一段，款署：“徵明題於玉磬山房”。钤“文徵明印”、“衡山”及引首章“停云”。\n图中兰叶、兰花以淡墨描绘，墨色温润，行笔轻盈流利，行转有致。竹子则以浓墨出之，劲健潇洒。对衬景的描写，作者亦颇具匠心，如坡角土石皆以干笔勾画、皴擦，再以荆棘穿插其间，卷尾一段溪流淙淙，都显示出环境的荒率冷寂，从而愈发衬托出兰、竹高雅清芬、不从流俗的品格，突出了传统文人赋予兰竹的人格精神。作者在自题中言道:此图意在师法宋元时期善画兰竹的诸位文人画大师们的画法。观此图，作者直以行草书、“飞白”笔法入画，正是深得赵孟頫“石如飞白木如籀，写竹还于八法通”的艺术理论及创作实践的神髓。在如此鸿篇巨制中，作者尽情浑洒，充分表现出了笔墨的逸趣，是一幅典型的文人画佳作。\n清顾文彬《过云楼书画记》著录。",[869,870,871,913,942,1117,962,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec347ecd188da74ed1c680f3cb0f115.jpg","纵26.8厘米，横730厘米",[6,1188],352,{"id":63,"slug":1535,"title":1536,"dynasty":957,"author":958,"museum":909,"description":959,"tags":1537,"thumbUrl":1542,"material":930,"size":1543,"collection":933,"collections":1544,"showCount":1545,"zanCount":1249,"manualWeight":903,"mainColor":970},"fu-chun-shan-ju-tu-wu-yong-shi-juan-huang-gong-wang-220767","富春山居图-无用师卷",[869,870,871,872,942,914,916,961,879,883,1538,944,878,1539,1160,1009,993,921,1540,1541],"江","渔舟","岸滩","松竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbec3a49bb34d871d2edb2e4c8e3d2c45.jpg","横636.9公分，高33公分",[933,6],349,{"id":64,"slug":1547,"title":1548,"dynasty":1075,"author":1549,"museum":1035,"description":1550,"tags":1551,"thumbUrl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从他现存作品中即可见风格和用笔，既能放得开，又能收得住。在绘画史上，陈淳与徐渭并称为“白阳、青藤”， 陈淳的绘画当属文人隽雅一路的，即“白阳”一派画家。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。\n陈淳中年以后间作山水，技法学米友仁、高克恭，多以江南风景为题材，手法简练，极具文人生活情趣，文徵明曾微笑着说：“吾道复举业师耳，渠书、画自有门径，非吾徒也。”存世作品有《红梨诗画图》《山茶水仙图》《葵石图》《罨画图》等。其子陈括继承父风、擅花卉。\n陈淳绘山水，效法米友仁、高克恭，水墨淋漓，颇得氤氲之气。他的泼墨之功，往往见于画烟云之中。在写意花卉方面，陈淳独得玄门，笔法挥洒自如，富有疏朗轻健的风姿，用墨设色，则如徐沁所谓“浅色淡墨之痕俱化矣！”王世贞在《州续稿》中说：“胜国（元朝）以来，写花卉者无如吾吴郡，而吴郡自沈启南（周）后，无如陈道确，陆叔平（治）”。近代画家如蒲华、吴昌硕、齐白石等，在诗文题书画中，都对陈淳做出了极高的评价。明万历年间即有人曾评价过陈淳在花卉方面的造诣和声誉都超过了文征明，成为继沈周之后的吴门大家。明清以来画家，尤其在花鸟画方面，受他的影响很深。他与徐渭齐名，人称“青藤白阳”。现存的陈淳作品大部分均在博物馆收藏，民间甚少得见。",[869,870,871,913,942,1081,1080,1569],"水仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c4232f4f2ae738877a1f8edd9442b7c.jpg","72.8x35",[1029,6],345,{"id":67,"slug":1575,"title":1576,"dynasty":1155,"author":1156,"museum":1577,"description":1578,"tags":1579,"thumbUrl":1582,"material":1226,"size":1583,"collection":6,"collections":1584,"showCount":1585,"zanCount":1249,"manualWeight":903,"mainColor":1446},"han-lin-zhong-ting-tu-dong-yuan-219166","寒林重汀图","日本兵库县黑川文学院","此图皴笔粗,苔点则兼用渴笔、焦黑、乱锋为素的空处相掩映,黑白对比变化多端。垂柳分列面相之,而运笔迅疾,力量饱满。除长披麻外,复于岸之顾盼,村舍延,远景近景连成一片。此画技法高超,阴面以碎笔打点,或聚或散,不仅线、点的墨色和乃难得的绝世佳作。",[869,870,942,875,914,916,1132,1160,1580,883,894,878,1581],"水域","平地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06d474576e331ddcfa77cd48b6650a19.jpg","纵181.5、横116.5厘米",[6],343,{"id":68,"slug":1587,"title":1588,"dynasty":1003,"author":1347,"museum":866,"description":1589,"tags":1590,"thumbUrl":1592,"material":995,"size":1593,"collection":1202,"collections":1594,"showCount":1595,"zanCount":1109,"manualWeight":903,"mainColor":970},"huang-jia-tu-zhou-xu-wei-222239","黄甲图轴","该图绘肥阔的荷叶已开始凋零，一只螃蟹缓缓爬行，留出大片空白表现秋水。构图简洁洗练，布局清新奇巧。\n图绘肥阔的荷叶已开始凋零，一只螃蟹缓缓爬行，留出大片空白表现秋水。构图简洁洗练，布局清新奇巧。\n画上自题诗曰：“兀然有物气豪粗，莫问年来珠有无。养就孤标人不识，时来黄甲独传胪。”诗意幽默。这幅画也有在讽刺进士甲科的意味，是藉着螃蟹粗鲁横行的形象，来嘲讽那些胸无点墨、世人不耻，但却能依靠关系或金钱金榜题名的人。\n图中的水墨加入了适量的胶，以避免水墨渗散，恰是此图的特色所在。图中以墨色画荷叶，画蟹则寥寥数笔，看似草草为之，实则浓、淡、枯、湿、勾、抹、点多种笔法参用，形状虽夸张，却饶有笔情墨趣。徐渭用奔放的笔墨勾画出螃蟹爬行的姿态以及荷叶疏落的秋天气氛。螃蟹的造型虽然简单，但却是许多笔法一起用才画出来的，不管是形状、质感甚至神态都相当生动。",[869,977,870,871,913,942,1351,1081,1354,1591,964,962,963],"螃蟹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02ca3a19b3c408805bb700eca1b9e478.jpg","114.6cm 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29.7cm",[1202,6],336,{"id":69,"slug":1597,"title":1598,"dynasty":1075,"author":1599,"museum":1461,"description":1600,"tags":1601,"thumbUrl":1604,"material":1041,"size":1041,"collection":933,"collections":1605,"showCount":1606,"zanCount":1218,"manualWeight":903,"mainColor":970},"shui-mo-shan-shui-gong-xian-222627","水墨山水","龚贤","这组作品画风浑厚沉郁，秀气灵动。作者采用积墨法，用润墨一点点积累。墨色中留有空间，使画面极富层次感。独特的构图更是带给读者耳目一新的感觉。龚贤，明末清初著名画家，金陵八大家之一，早年曾参加复社活动，明末战乱时漂泊流离，生活清苦。他工诗文，善行草，著有《香草堂集》。",[869,977,870,871,942,916,1602,944,883,979,945,1603],"积墨法","层次感","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35053c93def9c553bcb519e4e19a558e.jpg",[933,6],335,{"id":70,"slug":1608,"title":1609,"dynasty":957,"author":1610,"museum":866,"description":1611,"tags":1612,"thumbUrl":1613,"material":1401,"size":1614,"collection":933,"collections":1615,"showCount":1616,"zanCount":1218,"manualWeight":903,"mainColor":904},"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。",[869,870,871,913,874,875,914,916,961,876,877,883,917,879],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8db66954c76bddaccd24a02539e4bf8.jpg","纵143厘米，横55.5厘米",[933,6],332,{"id":71,"slug":1618,"title":1619,"dynasty":957,"author":1063,"museum":866,"description":1620,"tags":1621,"thumbUrl":1624,"material":995,"size":1625,"collection":933,"collections":1626,"showCount":1627,"zanCount":1044,"manualWeight":903,"mainColor":970},"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。”",[869,870,912,1622,913,914,963,964,962,1008,979,1623,917,879],"山水画","竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fd8caa50f033dc8d0a2ed6d6f039610.jpg","纵：114cm，横：34.3cm",[933,6],329,{"id":72,"slug":1629,"title":1630,"dynasty":957,"author":1631,"museum":866,"description":1632,"tags":1633,"thumbUrl":1634,"material":995,"size":1635,"collection":6,"collections":1636,"showCount":1637,"zanCount":1138,"manualWeight":903,"mainColor":1191},"xiu-shi-shu-lin-tu-zhao-meng-fu-220865","秀石疏林图","赵孟頫","赵孟頫绘竹石，强调“以书法入画”，此幅绘古木新篁生于平坡秀石之间，以飞白法画石，以篆书法绘树，纯用水墨表现，是其“书画同源”之理论在绘画实践中的具体体现，也是元代文人画最有代表性的作品之一。\n尾纸自题七言绝句：“石如飞白木如籀，写竹还于八法通。若也有人能会此，方知书画本来同。” 这是赵孟頫关于绘画与书法笔墨相通之理论的名句，对后世文人画的影响至深。",[869,870,871,942,1009,1053,1117,914,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80a72737a59228d852dc208411a0e28d.jpg","纵27.5cm，横62.8cm",[6,1188],322,{"id":73,"slug":1639,"title":1640,"dynasty":1003,"author":1641,"museum":909,"description":1642,"tags":1643,"thumbUrl":1644,"material":981,"size":1645,"collection":933,"collections":1646,"showCount":1647,"zanCount":1249,"manualWeight":903,"mainColor":970},"lin-ni-zan-dong-gang-cao-tang-tu-zhou-dong-qi-chang-220923","临倪瓒东冈草堂图轴","董其昌","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。",[869,870,942,1309,913,916,1008,917,879,876,964,914,1146,979],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93a0364821d55f9583be7c7bb15bf0fc.jpg","87.4x65",[933,6],311,{"id":74,"slug":1649,"title":1650,"dynasty":1155,"author":1156,"museum":1099,"description":1651,"tags":1652,"thumbUrl":1653,"material":930,"size":1654,"collection":933,"collections":1655,"showCount":1656,"zanCount":903,"manualWeight":903,"mainColor":904},"xia-jing-shan-kou-dai-du-tu-juan-quan-juan-dong-yuan-221153","夏景山口待渡图卷全卷","《夏景山口待渡图》图中山势重叠，缓平绵长，植被丰茂，水汽若蒸，似江南夏日景色。起首处水面浩渺，扁舟隐现，中景山势重叠，林木疏朗挺直，竹丛杂处其间，茅屋隐约可见；卷末渡船未到，官客等待，点出主题。全图构思精细，设色雅淡，冈峦清润，林木秀密。技法上以披麻皴为主，多用苔点，色彩淡雅，为典型的江南山水",[869,870,977,871,872,916,879,961,883,1159,942,875],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1987f1d1f3d0d2e45e2314a9f565c70.jpg","纵50厘米，横320厘米",[933,6],309,{"id":75,"slug":1658,"title":1659,"dynasty":864,"author":908,"museum":909,"description":1660,"tags":1661,"thumbUrl":1662,"material":995,"size":1663,"collection":899,"collections":1664,"showCount":1665,"zanCount":1218,"manualWeight":903,"mainColor":904},"lin-liu-du-zuo-tu-zhou-fan-kuan-221383","临流独坐图轴","这幅画沿袭北宋雄伟山水的传统：主山位在画幅的中央上端，两侧罗列次要的山峰，以溪谷、河流、桥梁、云烟显示深而远的空间。临流独坐岸边的士人，点出画的主题，与巨大的山石相比，人物如此渺小而且不明显，表现了北宋传统的自然观。\n在范宽的《溪山行旅图》和郭熙的《早春图》中，看到的点景人物，都是市井小民，在写“真山水”的观念下，北宋山水画家很自然的将观察到的寻常百姓的生活描写入画。十一世纪后期，士大夫与文人成为政府与社会的中坚，领导文学艺术的发展，文人或隐士的理想开始在诗歌、书法与绘画中反映出来，陶渊明《归去来辞》的名句：“登东皋以舒啸，临清流而赋诗，聊乘化以归尽，乐夫天命复奚疑。”曾经是十一世纪末北宋画家喜爱的题材，或者也是这幅画的灵感来源。所以岸边简陋的茅草屋和水榭是这位归隐士人的居所，陪伴他的是深林巨嶂，孤舟木桥，一个远离尘嚣的自然世界。画幅上端十则明人的题诗，就是围绕着这个主题，描写这幅画带给他们的感受。",[869,870,871,977,913,916,879,876,883,945,914,942],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00ed1c3e18f130c28f61bb202a5396d3.jpg","156.1x106.3cm",[899,6],303,{"id":76,"slug":1667,"title":1668,"dynasty":957,"author":1669,"museum":1495,"description":1670,"tags":1671,"thumbUrl":1672,"material":930,"size":1673,"collection":1029,"collections":1674,"showCount":1675,"zanCount":1138,"manualWeight":903,"mainColor":970},"lan-tu-xue-chuang-221703","兰图","雪窗","简洁而秀逸的兰花，生于幽谷，遗世独立，清雅高洁。在历朝历代文人雅士的笔下，以兰花为表现对象的作品比比皆是。 画兰究竟始于何时已无法考证。《全唐诗》载有牟融《山寺律僧画兰竹》诗。查阅 唐宋绘画史专著，未见有关唐宋画家画兰的记载。史传宋杨补之画过兰花，但作品没有流传下来。有作品流传的画兰名家，当以徐禹功、赵孟坚、郑思肖为最早。其次如赵孟頫、赵雍、王英孙、释道隐、释明雪窗、李至规等亦擅画兰。\n释明雪窗 （？－约1352），元代僧人，画家，以画兰花闻名于世。俗姓曹，号雪窗，法号普明，通称明雪窗，松江（今属上海市）人，在平江出家。至元四年（1338）曾为平江虎丘云岩寺主持，后改为承天能仁主持。精于针灸，擅画兰。与释柏子庭齐名，时称“家家恕斋（班惟志）字，户户雪窗兰”。\n四海出家，同称释氏，中国佛教的出家人都姓释迦牟尼的“释”。在中国美术史上，都把这位元代画兰高僧称为“释明雪窗”，其实应该和石涛、髡残一样，把他称为“明雪窗”。雪窗和尚的画和他的名字一样，在今天鲜为人知，但在大师辈出的元代，雪窗和尚的兰花可谓是家喻户晓，我们无法想象“家家恕斋字，户户雪窗兰”所描述的是一种怎样的景象。\n元人孔齐撰《至正直记》（又名《静斋至正直记》、《静斋类稿》）是作者避兵四明时写的一部见闻杂记，内容包括当时政治、经济状况，器物制作情况，文学、艺术成就和当时的人文社会习俗，是一部很有资料价值的笔记。《至正直记》卷二有《画兰法》一文，记载了一位名叫郎玄隐的道士向孔齐传授明雪窗画兰技法，这些方法和今天画兰教科书里的方法并无二致。",[869,870,871,942,1081,1257,1009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41c046834cdc068347a37c68ff699feb.jpg","32.9 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此为题，绘制了这幅歌颂古代汉、藏民族友好交往的作品。画幅描绘的是唐太宗李世民在宫内接见松赞干布派来的吐蕃使臣禄东赞的情景。李世民端坐在由六名宫女抬着的坐榻（又称步辇，图画即以此为名）上，另有三个宫女分别在前后掌扇和持华盖。唐太宗面前站立三人：最右者，身穿大红袍，是这次仪式的引见官员；中间是吐蕃的使臣禄东赞，拱手而立，发型和服饰与中原地区不同；最左为一穿白袍的内官。按照画家阎立本当时的地位和身份，他完全可能是这次历史性会见的目击者，所以他笔下的人物非常真实、生动。唐太宗李世民的威严，使臣禄东赞的干练、谦和，引见官员和内侍的恭谨，年轻宫女的天真活泼，都各具特点，跃然绢上，禄东赞和唐太宗等人在民族气质上的差别也有所表现。\n全画以细劲的线条塑造人物形象，线条纯熟，富有变化和表现力；设色浓重、鲜艳，是一幅出色的工笔重彩人物画作品。图中的李世民、禄东赞等人应当带有肖像画特征。",[869,977,870,871,872,875,876,874,962,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F421c10940154a8e201509088f4822cf0.jpg","纵38.5厘米，横129厘米",[6,1204],262,{"id":84,"slug":1739,"title":1740,"dynasty":1003,"author":1347,"museum":866,"description":1741,"tags":1742,"thumbUrl":1745,"material":1746,"size":1747,"collection":1029,"collections":1748,"showCount":1749,"zanCount":903,"manualWeight":903,"mainColor":970},"ren-wu-hua-hui-ce-xu-wei-233464","人物花卉册","该册十八页，其中画十五页，分别作写意山水人物、写生花卉，内容有婴戏、对弈、牡丹、兰花、稻穗螃蟹等等。笔墨简括豪放，随意自然。选其二页，可窥真趣。",[870,871,977,1211,942,1022,1354,1743,1744],"荷叶","荷梗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F351e01471d4a02f5b5c49d72a35b166f.jpg","纸本水墨","纵26.9厘米 横38.3厘米",[1029,6],260,{"id":85,"slug":1751,"title":1752,"dynasty":864,"author":908,"museum":909,"description":1753,"tags":1754,"thumbUrl":1755,"material":930,"size":1756,"collection":899,"collections":1757,"showCount":1758,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[869,977,870,871,913,914,942,916,1007,1131,1146,877,917],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7226c085125b91e1b8bb9e54576706dd.jpg","纵182.4cm，横108cm",[899,933,6],259,{"id":86,"slug":1760,"title":1761,"dynasty":1075,"author":1762,"museum":1035,"description":1763,"tags":1764,"thumbUrl":1765,"material":1214,"size":1766,"collection":933,"collections":1767,"showCount":1768,"zanCount":903,"manualWeight":903,"mainColor":970},"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”。",[977,870,871,1309,875,914,916,918,1066,917,920,921,883],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F663115a6e324514c054ddfbcd72b999f.jpg","226×83.4厘米",[933,6],255,{"id":87,"slug":1770,"title":1771,"dynasty":1003,"author":1347,"museum":866,"description":1772,"tags":1773,"thumbUrl":1779,"material":1245,"size":1780,"collection":933,"collections":1781,"showCount":1782,"zanCount":1109,"manualWeight":903,"mainColor":970},"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。",[869,870,871,872,942,1351,1774,962,1081,1080,1257,1117,1690,1775,1009,1776,1777,1778,917],"题跋","荷","花卉","竹叶","藤蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e0e76186d34ba6f0466cc88cfd916f.jpg","纵46.6厘米，横625厘米",[933,6],253,{"id":88,"slug":1784,"title":1785,"dynasty":864,"author":1786,"museum":1461,"description":1787,"tags":1788,"thumbUrl":1790,"material":1401,"size":1791,"collection":899,"collections":1792,"showCount":1793,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[870,977,871,1789,875,914,916,1066,1053,979,964],"宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d7532cb2d0174426dfa5dc1b1abb0a.jpg","25.1×26cm",[899,933,6],252,{"id":89,"slug":1795,"title":1796,"dynasty":957,"author":958,"museum":866,"description":1797,"tags":1798,"thumbUrl":1802,"material":995,"size":1803,"collection":933,"collections":1804,"showCount":1805,"zanCount":903,"manualWeight":903,"mainColor":970},"kuai-xue-shi-qing-tu-huang-gong-wang-220768","快雪时晴图","《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》。",[869,870,871,872,942,916,914,962,964,1007,1131,1146,945,1799,1800,1801],"小屋","小径","夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bdf735b0eb4445f09c1a335d5bd745e.jpg","纵29.7厘米，横104.6厘米",[933,6],250,{"id":90,"slug":1807,"title":1808,"dynasty":1003,"author":1641,"museum":866,"description":1809,"tags":1810,"thumbUrl":1812,"material":1813,"size":1814,"collection":933,"collections":1815,"showCount":1816,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[869,977,870,871,1211,942,914,916,1007,1008,921,945,1811],"松林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc3082909ebf023228c05c4c870b6fad.jpg","纸本，水墨和设色","纵26.3厘米，横25.5厘米",[933,6],248,{"id":91,"slug":1818,"title":1819,"dynasty":1003,"author":1641,"museum":1820,"description":1821,"tags":1822,"thumbUrl":1824,"material":1068,"size":1825,"collection":933,"collections":1826,"showCount":1816,"zanCount":903,"manualWeight":903,"mainColor":970},"quan-shi-qing-song-tu-dong-qi-chang-219732","泉石青松图","大英博物馆","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。",[869,870,871,942,914,913,916,1007,1118,1119,1008,1823],"泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed6f3dc782262e9a048daaa49bede99f.jpg","纵95.2横41.1厘米",[933,6],{"id":92,"slug":1828,"title":1829,"dynasty":1003,"author":1641,"museum":909,"description":1830,"tags":1831,"thumbUrl":1833,"material":1121,"size":1834,"collection":933,"collections":1835,"showCount":1836,"zanCount":1109,"manualWeight":903,"mainColor":970},"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。",[869,977,870,871,913,942,914,1309,1832,916,883,917,894,889,1102,1507,1146,1066,1396],"文人画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d99d6768867f84e687ae3dcbbc87ba9.jpg","96.3 x 44.8cm",[933,6],246,{"id":93,"slug":1838,"title":1839,"dynasty":957,"author":1181,"museum":990,"description":1840,"tags":1841,"thumbUrl":1842,"material":942,"size":1041,"collection":6,"collections":1843,"showCount":1836,"zanCount":1109,"manualWeight":903,"mainColor":904},"zhu-pu-tu-wu-zhen-219738","竹谱图","此作用淡墨铺就底色，开篇幽草伴湖石，渐入修竹成林。竹竿劲挺如君子立世，以浓墨撇写竹叶，错落生姿，或迎风欹斜，或垂梢含露，墨色干湿浓淡交织，层次分明。后半段湖石渐耸，竹影疏密掩映，尽显野逸之趣。\n\n左侧题笔与画境相融，以书入画，笔墨老辣苍润，将隐逸林下的清寂意韵藏于一笔一划中，简淡之间尽是萧散出尘的林下风神，把竹之孤高与文人风骨晕染在卷幅里。",[869,870,942,872,1117,1118,914,962,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda3c704a7c558d314bd1858ec21db613.jpg",[6],{"id":94,"slug":1845,"title":1846,"dynasty":957,"author":958,"museum":866,"description":1847,"tags":1848,"thumbUrl":1850,"material":930,"size":1851,"collection":933,"collections":1852,"showCount":1853,"zanCount":1249,"manualWeight":903,"mainColor":904},"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。",[869,914,942,875,916,944,1849,1474,920,945,1008,979],"石壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1df5e8d7eaf93e6a6599ee59965a71b.jpg","纵139.4厘米，横57.3厘米",[933,6],237,{"id":95,"slug":1855,"title":1856,"dynasty":1075,"author":1253,"museum":1035,"description":1255,"tags":1857,"thumbUrl":1858,"material":981,"size":1041,"collection":1029,"collections":1859,"showCount":1860,"zanCount":1044,"manualWeight":903,"mainColor":970},"zhu-shi-tu-zhou-1-zheng-ban-qiao-223300","竹石图轴1",[869,870,871,913,942,1117,1118,1257,962,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a5e3849c804728833e287d5719d8957.jpg",[1029,6],236,{"id":96,"slug":1862,"title":1863,"dynasty":957,"author":1063,"museum":909,"description":1864,"tags":1865,"thumbUrl":1866,"material":1068,"size":1867,"collection":933,"collections":1868,"showCount":1860,"zanCount":1249,"manualWeight":903,"mainColor":970},"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。",[870,871,913,942,916,979,1008,1117,1118,914,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb42f2a048eafcf667755bea02ad618.jpg","94.7x43.7",[933,6],{"id":97,"slug":1870,"title":1871,"dynasty":1075,"author":1872,"museum":1128,"description":1873,"tags":1874,"thumbUrl":1876,"material":875,"size":1877,"collection":1029,"collections":1878,"showCount":1879,"zanCount":1109,"manualWeight":903,"mainColor":970},"ou-xiang-guan-xie-yi-ce-lu-xie-yun-shou-ping-220987","瓯香馆写意册-芦蟹","恽寿平","此套《瓯香馆写生册》共十幅，天津博物馆藏，描写了四时的花果，从春到夏分别是桃花、海棠、碧海珊瑚、牡丹、枇杷、卷丹、洛阳花、凤仙花、菊花、梅花。除了梅花一开，作者写明是学杨补之的水墨画法之外，其余各开全用没骨法，完全不用墨线勾勒，直接用颜色点厾出花朵、叶片、果实，只以色线勾勒叶茎。落色点花的没骨花，既不同于细线勾勒再层层渲染的工笔花卉，也不同于水墨淋漓的大写意花卉，它介于两者之间，也被称作“小写意”花卉。工笔求逼真，写意求意趣，恽氏没骨花所求正在“似与不似之间”。着色花卉自然比纯粹的水墨更逼真，但直接点染的“落色花”比起层层渲染的工笔花卉又有更大的随意性，不必被物象的细枝末节所羁绊，可以放手表现花的风骨。就气质而言，没骨花介于工笔与大写意之间，既不刻画，也不放逸，清新洒脱。",[869,977,870,871,1211,1022,942,1875,1591,964],"芦苇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a7632b42ef28d0c95b7691b56f54951.jpg","31.8x37.2厘米",[1029,6],233,{"id":98,"slug":1881,"title":1882,"dynasty":1075,"author":1883,"museum":909,"description":1884,"tags":1885,"thumbUrl":1887,"material":1068,"size":1041,"collection":6,"collections":1888,"showCount":1879,"zanCount":1218,"manualWeight":903,"mainColor":970},"fang-ni-zan-shan-shui-tu-wang-jian-219381","仿倪瓒山水图","王鉴","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。",[870,871,913,942,1309,964,914,916,1146,1009,1886,1102,1507],"水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4001801727356342fc3315fc815e7f6e.jpg",[6],{"id":99,"slug":1890,"title":1891,"dynasty":864,"author":1089,"museum":909,"description":1892,"tags":1893,"thumbUrl":1896,"material":930,"size":1897,"collection":899,"collections":1898,"showCount":1899,"zanCount":1249,"manualWeight":903,"mainColor":904},"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。",[869,870,977,872,916,914,875,917,883,1894,879,918,1895,1102,1103,1397],"渔船","舟楫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2428cca3b084dd38d455514e3b16a629.jpg","纵49.7厘米，横186.7厘米",[899,933,6],232,{"id":100,"slug":1901,"title":1902,"dynasty":1075,"author":1599,"museum":1035,"description":1903,"tags":1904,"thumbUrl":1905,"material":1245,"size":1906,"collection":933,"collections":1907,"showCount":1908,"zanCount":1249,"manualWeight":903,"mainColor":970},"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。",[869,977,870,871,872,942,914,916,1007,1118,1008,1328,918,920,979],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa47f0e3c3d0ffbbbc50ccb661ca0951c.jpg","纵28.8厘米，横404.1厘米",[933,6],229,{"id":101,"slug":1910,"title":1911,"dynasty":957,"author":1063,"museum":909,"description":1912,"tags":1913,"thumbUrl":1915,"material":995,"size":1916,"collection":933,"collections":1917,"showCount":1918,"zanCount":1249,"manualWeight":903,"mainColor":970},"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。”",[869,870,871,872,942,914,916,1053,1009,979,879,1914,964,962],"平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f5b8544aa4c8572b05c11e13372fd2.jpg","33×89.4cm",[933,6],225,{"id":102,"slug":1920,"title":1921,"dynasty":864,"author":1048,"museum":909,"description":1922,"tags":1923,"thumbUrl":1934,"material":1401,"size":1935,"collection":899,"collections":1936,"showCount":1937,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[869,870,871,874,942,1924,1925,963,964,1926,1927,1623,917,876,1928,1929,1102,1930,1931,1932,1933],"浅设色","边角构图","册页","明月","酒具","桌子","月夜","饮酒场景","文人聚会场景","宋代绘画风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e50aabe7cee1ca5997ec7a693d08c1d.jpg","纵25.5厘米，横25.7厘米",[899,933,6],220,{"id":103,"slug":1939,"title":1940,"dynasty":957,"author":1631,"museum":1461,"description":1941,"tags":1942,"thumbUrl":1943,"material":995,"size":1944,"collection":933,"collections":1945,"showCount":1937,"zanCount":1044,"manualWeight":903,"mainColor":970},"shuang-song-ping-yuan-tu-zhao-meng-fu-220837","双松平远图","双松的画法稍工，山石则以带有飞白松动笔触勾括，略皴而无染。虽略存李郭画风之形，但简括异常，实属新体。\n画法上更具书法笔趣和文人墨戏的意味。卷首自识「子昂戏作双松平远」，卷尾又识「仆自幼小学书之余，时时戏弄小笔，然于山水独不能工。盖自唐以来，如王右丞、大小李将军、郑广文诸公奇绝之迹，不能一二见。至五代荆、关、董、范辈出，皆与近世笔意辽绝。仪所作者，虽未敢与古人比，然视近世画手则自谓稍异耳。因野云求画，故书其末。《大观录》、《墨缘汇观》、《无益有益齐读画诗》等书著录\n图中近景画苍松立于怪石枯木之中，远景写平坡矮山。写山石空勾轮廓，不加皴染，间有飞白。画双松则用细笔双钩，简约古雅。画面右上署“子昂戏作双松平远”八字，卷末自题日：“仆自幼小学书之余，时时戏弄小笔，然于山水独不能工。盖自唐以来，如王右丞、大小李将军、郑广文诸公奇绝之迹不能一、二见。至五代荆、关、董、范辈出，皆与近世笔意辽绝。仆所作者虽末能与古人比，然视近世画手，则自谓少异耳。因野云求画，故书其末。孟烦。”于此可见，赵孟頫欲弃南宋院体画风而直追唐、五代诸大家。",[870,871,872,942,914,916,1119,917,961,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a66f53d1e4db114c3b3d0147d1368cb.jpg","纵26.7厘米、横107.3厘米",[933,6],{"id":104,"slug":1947,"title":1180,"dynasty":957,"author":1948,"museum":866,"description":1949,"tags":1950,"thumbUrl":1951,"material":1105,"size":1952,"collection":6,"collections":1953,"showCount":1954,"zanCount":1109,"manualWeight":903,"mainColor":904},"mo-zhu-po-shi-tu-gao-ke-gong-221692","高克恭","这是一幅典型的文人墨竹画，是元代画家高克恭的代表作。图绘秀石一块，竹二株生于石后，一浓一淡，笔法沉厚挺劲，墨气清润，结构谨严。竹叶自然下垂，生动地写出了竹子在烟雨中挺秀潇洒的姿态。\n本幅左下方高氏自识：“克恭为子敬作。”钤“彦敬”印。右侧钤“清父之印”、“顾氏珍玩”、“吴景旭印”、“仁山鉴定”等鉴藏印6方。\n“子敬”为元初著名学者、书法家龚璛。画面右侧中部有赵孟頫题诗一则：“高侯落笔有生意，玉立两竿烟雨中。天下几人能解此，萧萧寒碧起秋风。子昂题。”下钤“赵子昂氏”印。从题诗中可看出赵氏对高克恭的墨竹极为推崇，而高氏对自己的墨竹也自视颇高，尝自谓：“子昂写竹，神而不似；仲宾（李衎）写竹，似而不神，其神而似者，吾之两此君也。",[869,870,977,871,913,942,1117,1009,964,962],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce981bedac3fc255cca37a531f85e131.jpg","纵121.6厘米，横42.1厘米",[6,1188],219,{"id":105,"slug":1956,"title":1957,"dynasty":1075,"author":1958,"museum":1035,"description":1959,"tags":1960,"thumbUrl":1961,"material":1041,"size":1041,"collection":6,"collections":1962,"showCount":1963,"zanCount":903,"manualWeight":903,"mainColor":970},"mo-he-zhou-zhu-da-237886","墨荷轴","朱耷","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人。明末清初画家，中国画一代宗师。 明遗民。\n朱耷是明太祖朱元璋第十七子朱权的九世孙，明亡后削发为僧，后改信道教，住南昌青云谱道院。擅书画，早年书法取法黄庭坚 。花鸟以水墨写意为主，形象夸张奇特，笔墨凝炼沉毅，风格雄奇隽永；山水师法董其昌，笔致简洁，有静穆之趣，得疏旷之韵。擅书法，能诗文，用墨极少。\n八大山人由于他明朝宗室的特殊身世，和所处的时代背景，使他的画作不能像其它画家那样直抒胸臆，而是通过他那晦涩难解的题画诗和那种怪怪奇奇的变形画来表现。例如他所画的鱼和鸟，寥寥数笔，或拉长身子，或紧缩一团，倾是而非。特别是那对眼睛，有时是个椭圆形，都不是我们生活中所看的鱼、鸟的眼睛，生活中鱼、鸟的眼睛都是圆圆的，眼珠子在中央也不会转动。八大山人的鱼、鸟的眼珠子都能转动，有时还会翻白眼瞪人哩。他画的山石也不像平常画家画那个样子，浑浑圆圆，上大下小，头重脚轻，他想搁在哪里就在哪里，也不管它是不是稳当，立不立得住。他画的树，老干枯枝，仅仅几个杈椰，几片树叶，在森林中几万棵树也挑不出这样一颗树来。他画的风景、山、光秃秃的树，东倒西歪，荒荒凉凉，果真有这么个地方，我想谁也不肯到这里来安家落户。\n还有，他画上的题诗、签名和印章，也是怪怪的。例如他自号“八大山人”，解释的人很多，至今学者们还有不同争论。他有一方印章，印文刻作 ，有人说它是由“八大山人”四字组成，有的人则持慎重态度，称之为“屐形印”，因为它的形状像只木屐。至于他画上的题诗，许多句子更是令人难解。\n然而，八大山人明确地告诉我们：“横流乱世杈椰树，留得文林细揣摩”。又说：“想见时人解图画”。他是很希望人们能够理解他的画中之意的。因此许多学者经细心的研究，从他的画意和字里字间，探听出许多真消息。例如他有一个画押写作 ，很长时间人们一直称它为龟形画押，因为其形状特别像一只乌龟。后来才看出，原来是由“三月十九日”几个字变形组成，这恰好是明代最末一个皇帝崇祯自杀的日子，标志着明朝的灭亡。那么这个画押，也就表示对 亡国的纪念。\n康熙二十一年他曾经画了一幅《古梅图》，树的主干已空心，虬根露出，光秃的几枝杈椰，寥寥的点缀几个花朵，像是饱经风霜雷电劫后余生的样子。其上题了三首诗，第一首写道：“分付梅花吴道人，幽幽翟翟莫相亲。南山之南北山北，老得焚鱼扫虏尘。”“梅花吴道人”是指元代画家吴镇，自号“梅花道人”。方框内的字，显然是被当时或稍后的收藏者有意剜去，以避免文字狱灾祸。不难猜测，这个字不是“胡”，即是“虏”。清代统始者以满族入主中原，最忌讳的也是这两字。要在“南山之南北山北”扫除“胡尘”，朱耷非常明确地表达了他的反清复明思想。第二首诗写道：“得本还时末也非，曾无地瘦与天肥。梅花画里思思肖，和尚如何如采薇。”诗中用了两个典故，一是元初遗民画家郑思肖，在南宋灭亡之后隐居吴下，画兰花露根不画坡土，人问何故，他回答说：“土地都被人抢夺去了，你难道不知吗？”二是殷遗民伯夷、叔齐在周灭殷以后，耻不食周粟，隐居首阳山采薇而食，直至饿死。原来八大这幅《古梅图》虬根外露，也不画坡土，是仿照郑思肖画兰之意，暗含着国土被清人所抢夺，他这个明代宗室子孙，之所以成了和尚，正如伯夷、叔齐采薇首阳山那样，不肯臣服于新王朝。国破家亡，复国无望，这使他不能不“苦泪交千点”了。\n八大山人题画诗，是解开他画意的钥匙，然幽涩难解，如迷如雾，许多学者都下过一番功夫进行破释。例如康熙二十三年所作《甲子花鸟册》，其中第七页画一只八哥站在枯枝上，题诗曰：“衿翠鸟唤哥，吭圆哥换了。八哥语三虢，南飞鹧鸪少。”此诗之意，香港中文大学饶宗颐教授经过引经据典考释后结论说：“此诗画是讥‘虢’（指明）亡后，忠臣如鹧鸪之志切怀南，殊不多见。”这就是说，八大的作品，除了一般的国破家亡的情绪表达之外，有时还具体有所指。《瓜月图》亦是件有所指的作品，在题诗之后他记录说：“己巳润八月十五夜画所得”。面对着天上的圆月，和人间家家户户吃月饼，他的心被触动了，那么他“所得”是什么呢？画上题诗曰：“眼光饼子一面，月圆西瓜上时。个个指月饼子，驴年瓜熟为期。”有人根据吃月饼的风俗来源于反清义军传递起事暗号的民间故事，说八大在期盼着这一天到来。然而却要等到何年（驴年）呢？“驴年马月”是俗语，表示遥无定期。果真如此，则八大的心迹，就不只是徒有国亡余痛了。\n八大山人长于水墨写意，为其划时代的人物。 在水墨写意画中，又有专擅山水和专擅花鸟之别，八大山人则两者兼而善之。他的山水画，近师董其昌，远法董源、巨然、郭熙、米芾、黄公望、倪瓒诸家。例如康熙四十一年所作《书画册》（上海博物馆藏）共画了六幅山水小品，就可以看出深受董其昌的影响，其远笔的圆润则有着董、巨和黄公望的遗踪，墨法参照了米氏云山，而某些树石的组合形式，显然取自倪瓒。但是，我们在欣赏这些作品时，却又强烈地感觉到朱耷的个性，上述那些古人的法则，不过是他随手拈来为自己服务的。那些山、石、树、草，以及茅亭、房舍等，逸笔草草，看似漫不经心，随手拾掇，而干湿浓淡、疏密虚实、远近高低，笔笔无出法度之外，意境全在法度之中。这种无法而法的境界，是情感与技巧的高度结合，使艺术创作进入到一个自由王国。\n比起山水画来，八大山人的花鸟画创作，更具有他风格个性的典型性。顺治十六年所作《传綮写生册》（台北故宫博物院藏），和康熙五年作的《墨花卷》（北京故宫博物院藏），是八大早期作品，从中可以看到他的水墨写意花鸟画创作，深受沈周、陈淳、徐渭的影响，其用笔较方硬，题材、布局也未脱离前人窠臼，但是画中所表现出的兀傲之气，以及不拘一格的大胆剪裁，如不求物象的完整性，却已预示着他的未来的发展。\n八大山人花鸟画最突出特点是“少”，用他的话说是“廉”。少，一是描绘的对象少；二是塑造对象时用笔少。如康熙三十一年所作《花果鸟虫册》，其《涉事》一幅，只画一朵花瓣，总共不过七、八笔便成一幅画。在八大那里，每每一条鱼，一只鸟，一只雏鸡，一棵树，一朵花，一个果，甚至一笔不画，只盖一方印章，便都可以构成一幅完整的画面，可以说少到不可再少了的程度。前人所云“惜墨如金”，又说“以少少许胜多多许”，只有八大才真正做到了这点，可谓前无古人，后难继者。\n少，也许能有人作到，但是少而不薄，少而不贫，少而不单调，少而有味，少而有趣，透过少而给读者一个无限的思想空间，这是难有人作到的，八大山人却具备了如上的要求，这里大有文章。首先是他在用笔用墨上的功夫。他的用笔由方硬变圆润，饱和墨汁与运笔的方法相结合，一下笔就给人以浑厚丰富之感。他是第一个充分主动利用生宣纸特性以加强艺术表现力的画家。生宣纸的吸水能力强，容易使墨汁扩散（洇），这本来是缺点，而八大却把它变为优点，不但为水墨写意画开辟了一个广阔的前景，而且也创造了人们对水墨写意画的新观念，其功不朽。\n其次是形象的塑造。八大山人的花鸟造型，不是简单的变形，而是形与趣、与巧、与意的紧密结合，所以我们在欣赏时，就不会感到单薄和寂寞。再次是他的布局，特别讲究少许物象在二维空间中摆放的位置。其诀窍是充分利用空白，即前人所谓“计白当黑”。与此同时，并充分调动题跋、署款、印章在布局中的均衡、对称、疏密、虚实等的作用。他不像一般画家那样，先画好画，然后在恰当的位置题款和押印，而是有总体的规划设想，使每一点都在布局中起到举足轻重的作用，不多，不少，不奢侈，不节约。例如康熙三十三年所作《花鸟山水册》（上海博物馆藏），第一幅仅画一只雏鸡。小鸡置于画面中右偏下，这一位置的重心，将画面分割成四大块空间，每块空间的大小都不一样，平衡而有变化。由于小鸡头部方向朝左，故题诗在右第二大块空间中，使空荡的背景顿时活跃起来，视觉上起到突破平衡和内容丰富的作用。小鸡的刻画生动传神，动态像小孩刚学走路，蹒跚得十分可爱。瞪着大眼警惕着前方，特别是眼后加三撇，像电波一样，好似前方有什么声响传来，使小鸡心惊胆怯。这只小雏鸡我们可以理解为它刚出蛋壳，表示出对这个世界的惊异与警惕；也可以理解为走失了群体，找不到妈妈，感到孤独而害怕，如何理解，任人们驰骋想象的翅膀，所以有时候少画，反而思想的容量更大。\n少，不是目的而是手段，否则越少越好，艺术又会走入另一条邪径。少是相对的，例如康熙四十二年所作的《杨柳浴禽图》（北京故宫博物院藏），相对上述作品来说是“多”了，但比起一般画家处理同类题材的作品来，却少了许多许多。例如他对柳枝的处理，约有十二笔，就占住了整个画面上部的空间，不但表现出杨柳的老干新枝的质，也表现了枝条迎风的势。在春风料峭之中，八哥在洗刷自己的羽毛将振翅欲飞。这一生活小景，表现出无限的生意。康熙十六年所作的《河上花图》（天津艺术博物馆藏），是八大山人一生作品中仅见的长篇巨制，也是他笔墨最多、布局最复杂的一幅，但他仍然体现着少的原则。例如开卷的一丛荷花，总共超不出三十笔，笔减而意繁，一开卷便引人入胜。\n八大山人，前承古人，后启来者。白石老人曾有诗曰：“青藤（徐渭）雪个（八大山人）远凡胎，缶老（吴昌硕）当年别有才。我原九泉为走狗，三家门下转轮来。”其倾倒如此。今天随着东西方文化的交流，欣赏和理解他艺术的人越来越多。",[870,871,913,942,1022,1354,1775,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12afb4ee4d66f987d5bb2edff1946a7e.jpg",[6],214,{"id":106,"slug":1965,"title":1966,"dynasty":1003,"author":1641,"museum":909,"description":1967,"tags":1968,"thumbUrl":1970,"material":995,"size":1971,"collection":933,"collections":1972,"showCount":1973,"zanCount":903,"manualWeight":903,"mainColor":970},"fang-ni-zan-bi-yi-zhou-dong-qi-chang-220930","仿倪瓒笔意轴","董其昌题跋提到曾于苏州王禹声家中见过一幅倪瓒画山水，画上书宋僧法具四首绝句。此作不但追摹倪瓒风格，亦仿原画题诗其上，然依记忆仅抄录其中三首，或因此与原诗稍有出入。王禹声为名宦王鏊（1450-1524）曾孙，曾任承天知府，与董其昌为同榜进士。此作将倪瓒一河两岸式的构图，改为多重山体、水面向远方延伸的深远空间，并倾斜山根水脚所在平面，让画面呈现向左下倾斜的微妙动势；画中林木更见丰盛，山形亦多变而结实，然透过折带皴与带状绵延远山，仍流露出倪瓒画作雅澹的格调。",[869,977,870,871,913,942,916,1309,914,963,964,1009,883,1969,889,993],"远峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63bd10a4aa8afb51c75dc35585ca53cb.jpg","纵138.8cm，横47cm",[933,6],213,{"id":107,"slug":1975,"title":1976,"dynasty":864,"author":974,"museum":1461,"description":1977,"tags":1978,"thumbUrl":1987,"material":1226,"size":1988,"collection":899,"collections":1989,"showCount":1990,"zanCount":1218,"manualWeight":903,"mainColor":904},"shan-shi-qing-lan-tu-xia-gui-220420","山市晴岚图","昭山，位于湘潭，长沙交界处，离城20公里，突兀挺立在湘江东岸，是湘潭市的北大门。每逢雨后新晴，或是旭日破晓，万丈霞光撒在山间，雨气氤氲，色彩缤纷，美而壮观。北宋大书画家米芾将这一景观绘成《山市晴岚图》，列为潇湘八景之一，昭山自此声名大震.明代周九烟曾以《山市晴岚》为题，赋诗一首“蜃楼曾诧海门东，此处奇峰便不同。天宇诈收朝霞后，人家都在旭光中。金银气眩千岩丽，龙虎云凝七国雄。谁信湖南培 地，举头缈缈似瑶宫。”",[870,871,942,916,913,914,944,883,924,917,1979,1980,921,1981,1982,1983,1984,1985,1986],"小筑","峭壁","晴岚","杂树","坡岸","村舍","水墨渲染","南宋山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc36e5dcf9afd9b288e69532ac5390b9f.jpg","24.8×21.3cm",[899,6],212,{"id":108,"slug":1992,"title":1993,"dynasty":864,"author":1048,"museum":1495,"description":1994,"tags":1995,"thumbUrl":1996,"material":1997,"size":1998,"collection":899,"collections":1999,"showCount":2000,"zanCount":903,"manualWeight":903,"mainColor":904},"shan-shui-tu-ma-yuan-221521","山水图","马远擅长山水画，继承和发展了北派山水的画风，能自出新意，下笔遒劲严整，设色清润；用大斧劈皴描画方硬奇峭的山石；树木用笔简要多姿，树叶有夹笔，树干用焦墨，多横斜曲折之态；楼阁大都运用界尺，而加衬染；点景人物自然生动，用不同的线描表现不同条件下的各种水势，对自然观察详细，写实能力高超。\n他的画被当时评价为：“边角之景”，“峭峰直上而不见其顶，或绝壁直下而不见其脚，或近山参天而远山则低，或孤舟泛月而一人独坐”；人称“马一角”，后人也有认为这是南宋偏安的写照。他是南宋时期最重要的画家之一；他的画受到当时皇室的青睐，多有当时宋宁宗杨皇后的题字；与夏圭并称“马夏”、又谓“马一角、夏半边”。马远与李唐、刘松年、夏圭合称为“南宋四家”。",[869,870,871,942,875,914,916,1007,1025,1053,979,1172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e4962268301cf0bc93362fcc04d9949.jpg","绢本墨画淡彩","28.2×38.3cm",[899,933,6],208,{"id":109,"slug":2002,"title":2003,"dynasty":957,"author":1631,"museum":866,"description":2004,"tags":2005,"thumbUrl":2007,"material":1235,"size":2008,"collection":6,"collections":2009,"showCount":2010,"zanCount":1249,"manualWeight":903,"mainColor":904},"zhu-shi-tu-zhou-zhao-meng-fu-220869","竹石图轴","枯木竹石图是历代文人善画的题材,约始于唐代，至北宋文同、苏轼有较大的发展，南宋、金元间继有作者，至赵孟頫加以强调，形成一时风尚，终元一代盛行不衰。\n赵孟頫画枯木竹石，在继承文、苏的基础上，将书法的用笔融于绘画之中，他主张“书画同源”，即以书入画，其驰名古今画坛的名诗句“石如飞白木如籀，写竹还于八法通。”对后世画坛影响巨大，此图即体现了这一理论，用书法的“飞白”写出石及枯树干，章法简洁，笔法苍健洒脱，透出力度。竹以流畅的笔调，以“个”字或“介”字，一笔一笔撇捺，既有力又含蓄，富笔墨情趣，体现了文人画家的风雅韵致。\n从此图署款和绘画风格推断，当是赵孟頫晚年之作。",[869,870,871,913,942,914,1117,1009,2006],"草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46e366d2b4e02d71e45a12788491653e.jpg","纵108.2厘米，横48.8厘米",[6,1188],205,{"id":110,"slug":2012,"title":1154,"dynasty":1155,"author":1156,"museum":866,"description":1157,"tags":2013,"thumbUrl":2015,"material":930,"size":1162,"collection":933,"collections":2016,"showCount":2017,"zanCount":1249,"manualWeight":903,"mainColor":970},"xiao-xiang-tu-dong-yuan-221155",[869,870,872,871,1622,942,875,914,916,1160,2014,1539,876,921,1402],"苇渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70becfd35b6cdfbc2d291fa6d7b037e1.jpg",[933,6],204,{"id":111,"slug":2019,"title":2020,"dynasty":1075,"author":1253,"museum":1099,"description":2021,"tags":2022,"thumbUrl":2023,"material":2024,"size":2025,"collection":1029,"collections":2026,"showCount":2027,"zanCount":903,"manualWeight":903,"mainColor":970},"you-lan-tu-zheng-ban-qiao-223297","幽兰图","土坡相连，缝坎丛生绺绺兰草，几叶新竹点缀其间，纷披穿插，姿态如生。笔法灵活，挺秀劲丽，纵横涂抹，酣畅淋漓。画心作者行书七言律诗一首：“转过青山又一山，幽兰藏躲路回环。众香国里谁能到，容我书呆屋半间。 郑汴，字克柔，号板桥，江苏兴化人。以诗书画“三绝”著称于世，尤善兰竹，题竹诗多达一百余首。所作每画必题，常以诗跋补其意，款式光怪陆离，别具风致，画史少见。为扬州画派领袖。徐悲鸿先生评价其为“中国近三百年来最卓绝人物之一”。\n郑板桥（1693～1765）中国清代画家，书法家，文学家。字克柔，号板桥，江苏兴化人，生于1693年，卒于1765年，康熙秀才、雍正举人、乾隆进士。客居扬州，以卖画为生。为“扬州八怪”之一，其诗、书、画世称“三绝”，画擅兰竹。其一生经历丰富，风雨坎坷，关于其的许多故事被保存下来流传于世，至今为人们所津津乐道。其一直所坚持的民本刚直的思想也影响着后来者。",[869,870,942,1022,963,1257,1117,1009,964,962],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac1a241fb86617dacfcaeedfab80d448.jpg","纸本·墨色","纵91.3cm横51cm",[1029,6,1204],203,{"id":112,"slug":2029,"title":2030,"dynasty":1003,"author":1347,"museum":866,"description":2031,"tags":2032,"thumbUrl":2034,"material":995,"size":2035,"collection":1202,"collections":2036,"showCount":2027,"zanCount":1218,"manualWeight":903,"mainColor":904},"lv-bei-yin-shi-tu-zhou-xu-wei-222238","驴背吟诗图轴","作为明代花鸟画坛独领风骚、以大写意画法见称的徐渭，留下的人物画迹并不多见。他所画的人物有诗人，有隐士，有观音，有儿童，虽然笔墨简练，但形象生动，神韵自存。\n《驴背吟诗图》中并无徐渭自题或钤印，画幅上仅有清初书画鉴赏家笪重光、张孝思的两段鉴定文字，左上为“徐田水月驢背吟詩圖，笪在辛鑒定”，右下为“以書法作畫，古人中多見之。此畫雖無款識，爲徐文長先生筆意靡疑。懶逸張孝思鑒。”自此，此图被公认为徐氏真迹。\n图上树枝间所盘青藤纷披垂落，树下一老翁乘驴缓缓而过，仿佛正在吟哦诗句，悠然雅适。宋代孙光宪的《北梦琐言》（卷七）中记载，唐时有人询问诗人郑棨近来是否写有新诗，郑棨回答：“诗思在灞桥风雪中的驴子上，此处何以得之？”此后，表现诗人骑驴游山涉水寻诗觅句的题材逐渐为画家们所青睐。徐渭的这幅画当属此类绘画中以笔墨意趣取胜的佳作。他画人物多用“减笔”法绘出，且构图简略，往往只画前景，远景常几笔带过，有时甚至完全省略。《驴背吟诗图》上老翁和驴仅用寥寥数笔便形神俱备，尤其是对驴子的描绘，用解剖学的眼光看驴的造型并不准确，而它那踏着轻快步伐的神气却跃然纸上。背景树枝、藤蔓则笔点零乱，使人顿有秋色萧索之感。运用恰到好处的省略手法，徐渭营造了一个空而不虚、意境深远的艺术空间。以书法笔意入画是《驴背吟诗图》的又一特色。图中人、驴、树、藤的画法隐有真、行、草、隶之笔意，令人感觉其间有一股勃勃不息的活力，这正是徐渭之画能脱俗免尘、卓尔不群之处。明末清初的张岱对徐渭的书画艺术创作有过中肯的评价：“昔人谓摩诘之诗，诗中有画；摩诘之画，画中有诗。余亦谓青藤之书，书中有画；青藤之画，画中有书。”（《琅嬛文集·跋徐青藤小品画》）",[869,870,942,1022,913,876,2033,962,964],"驴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad70cb02cc5b283ac73c9e55c2df32ea.jpg","纵112.2厘米，横30厘米",[1202,6],{"id":113,"slug":2038,"title":2039,"dynasty":2040,"author":2041,"museum":2042,"description":2043,"tags":2044,"thumbUrl":2046,"material":1068,"size":1041,"collection":6,"collections":2047,"showCount":2027,"zanCount":903,"manualWeight":903,"mainColor":904},"fu-hu-luo-han-tu-yi-ming-218498","伏虎罗汉图","隋","佚名","纳尔逊·阿特金森艺术博物馆","松枝苍劲如铁，虬干盘曲间洒落清寂。罗汉衣袂简淡，手持念珠，眉目舒展，静定之气溢于笔端。猛虎伏身于侧，斑纹墨线勾勒得古朴生动，却无往日凶戾，似被禅意悄然驯服，尾梢轻卷，与罗汉相望成趣。画面以淡墨晕染，线条洗练，每一笔皆藏古雅之韵。禅者的澄明与猛兽的温顺在此交融，于简素构图中铺展一方物我相忘的天地，仿佛能闻松风低语，见禅心照彻，尽显传统水墨中“以静制动”的妙趣与哲思。",[870,871,942,1224,1453,876,2045,1520,1053,917,1116,964],"虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6874aa5c9ffd1e8999c79d811f94fa79.jpg",[6],{"id":114,"slug":2049,"title":2050,"dynasty":1075,"author":1253,"museum":990,"description":2051,"tags":2052,"thumbUrl":2053,"material":1105,"size":2054,"collection":1029,"collections":2055,"showCount":2056,"zanCount":903,"manualWeight":903,"mainColor":970},"san-qing-tu-li-zhou-zheng-ban-qiao-223290","三清图立轴","绘竹、兰、菊三君子，在画家眼里这三种更为清丽，全图皆水墨，竹的笔直修长，兰的清新幽香，菊的严霜开放，尽显君子谦谦之态。画作左侧有画家自题诗一首：兰梅竹菊四名家，但少春风第一花，寄于东君诸子弟，好将文事夺天葩。板桥郑燮。",[869,870,871,913,942,1081,1117,1690,1691,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe2339494716d7ccd299644411857aea.jpg","152×39cm",[1029,6],193,{"id":115,"slug":2058,"title":2059,"dynasty":957,"author":2060,"museum":909,"description":2061,"tags":2062,"thumbUrl":2063,"material":981,"size":2064,"collection":933,"collections":2065,"showCount":2056,"zanCount":1190,"manualWeight":903,"mainColor":904},"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。",[869,870,871,872,942,914,916,979,878,879,883,876,964,962],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b14feb1420536bbcb35a3eaba1a7c54.jpg","纵：27厘米，横：78厘米",[933,6],{"id":116,"slug":2067,"title":2068,"dynasty":864,"author":2069,"museum":990,"description":2070,"tags":2071,"thumbUrl":2073,"material":1401,"size":2074,"collection":899,"collections":2075,"showCount":2056,"zanCount":903,"manualWeight":903,"mainColor":904},"xi-shan-xing-lv-tu-ye-zhu-rui-221558","溪山行旅图页","朱锐","《溪山行旅图》又名《盘车图》。图中描绘在一座大山脚下的浅滩流水畔，岸边有一条小路蜿蜒伸向山坳。小路的转弯口已有一辆车子在上坡，坡度很陡峭，所以，车轮后一个仆人正在帮助往上推动。水边不远的小路上还有一个刚上岸的行人，头戴毡帽，身穿夹袄，伛偻着身子冒寒赶路。",[869,870,871,1926,942,875,914,916,1052,1053,2072,881,876,1051,1009,920,1007],"马车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff647a9e5ead2727a854a195017222b3d.jpg","纵26.2厘米，横27.3 厘米",[899,933,6],{"id":117,"slug":2077,"title":2078,"dynasty":957,"author":958,"museum":866,"description":2079,"tags":2080,"thumbUrl":2081,"material":2082,"size":2083,"collection":933,"collections":2084,"showCount":2085,"zanCount":1249,"manualWeight":903,"mainColor":970},"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。",[870,871,913,942,916,917,883,914,962,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d47a387eca670a16b7feb78d3aa3088.jpg","纸本，设色","纵101.3厘米，横43.8厘米",[933,6],191,{"id":118,"slug":2087,"title":2088,"dynasty":1075,"author":2089,"museum":909,"description":2090,"tags":2091,"thumbUrl":2092,"material":1041,"size":1041,"collection":1029,"collections":2093,"showCount":2094,"zanCount":903,"manualWeight":903,"mainColor":904},"song-shu-tu-qian-long-224119","松树图","乾隆","展现了松树形神。其岁逾千年，貌古形诡，苍皮斑驳，树干粗壮，虬枝盘结，瘿瘤凸起，树根部透朽空洞却卓立干云，拔地拏天。树冠部三两根大枝斜逸而出，如同鲲鹏展翅，枝头嫩叶婆娑，一派生机欣荣。",[869,870,871,942,964,962,963,1053,1066],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F803b229b3381cb122dae4322e059d18d.jpg",[1029,6],189,{"id":119,"slug":2096,"title":2097,"dynasty":864,"author":1430,"museum":2098,"description":2099,"tags":2100,"thumbUrl":2101,"material":1068,"size":2102,"collection":6,"collections":2103,"showCount":2094,"zanCount":1044,"manualWeight":903,"mainColor":970},"dong-ting-qiu-yue-tu-mu-xi-218647","洞庭秋月图","德川美术馆","据东京大学专门研究中国绘画史的小川裕中教授说，这幅《洞庭秋月》应该是潇湘八景中的第七幅。使用最简单的材料--水和墨，穆克希出色地捕捉到了潇湘地区的潮湿空气和朦胧的光线。",[869,870,942,916,961,1927,921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2680a913c7b3b674cc9769c96fa43ce.jpg","29.4x93.1",[6],{"id":120,"slug":2105,"title":2106,"dynasty":1003,"author":1641,"museum":909,"description":2107,"tags":2108,"thumbUrl":2109,"material":2110,"size":1041,"collection":933,"collections":2111,"showCount":2112,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[870,871,916,1309,914,942,1211,917,883,920,1102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2b378d6bc49a8e287d430b3213f127b.jpg","绢本与纸本",[933,6],187,{"id":121,"slug":2114,"title":2115,"dynasty":1075,"author":1958,"museum":1035,"description":2116,"tags":2117,"thumbUrl":2120,"material":1041,"size":1041,"collection":1029,"collections":2121,"showCount":2122,"zanCount":903,"manualWeight":903,"mainColor":970},"qi-niao-tu-ye-zhu-da-237958","棲鸟图页","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。",[870,942,1081,1211,1022,2118,2119],"鸟","树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F718ef12d519eafc2f08711a7fa23271f.jpg",[1029,6],186,{"id":122,"slug":2124,"title":2125,"dynasty":1075,"author":2126,"museum":1254,"description":2127,"tags":2128,"thumbUrl":2132,"material":1105,"size":2133,"collection":1029,"collections":2134,"showCount":2135,"zanCount":903,"manualWeight":903,"mainColor":970},"mu-dan-tu-li-zhou-gao-feng-han-222642","牡丹图立轴","高凤翰","此幅长卷有《梅花》和《牡丹》两幅合并而成，左侧《梅花》图绘梅枝从画上端斜入，细枝颇多，寒冬中梅花绽放出铮铮傲骨；《牡丹》图中二朵牡丹开放，花瓣层层叠叠，还有一朵藏于石后，含羞露出一半，一枝花枝从牡丹花后露出，姿态优美。",[869,870,871,913,875,1081,942,963,964,1352,2129,2130,2131,962],"花","枝干","叶子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aed756d0a5f52a061a356ddf8967852.jpg","20x317cm",[1029,6],184,{"id":123,"slug":2137,"title":1993,"dynasty":957,"author":2138,"museum":909,"description":2139,"tags":2140,"thumbUrl":2142,"material":1105,"size":2143,"collection":933,"collections":2144,"showCount":2135,"zanCount":1218,"manualWeight":903,"mainColor":904},"shan-shui-tu-cao-zhi-bai-221788","曹知白","《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。",[869,977,870,942,916,1066,944,2141,917,964,962],"江岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3665a4d5c8569bf27af312555ab7bab.jpg","纵86.1厘米横34.3厘米",[933,6],{"id":124,"slug":2146,"title":2147,"dynasty":864,"author":1698,"museum":909,"description":2148,"tags":2149,"thumbUrl":2151,"material":1068,"size":2152,"collection":899,"collections":2153,"showCount":2154,"zanCount":1249,"manualWeight":903,"mainColor":970},"xi-shan-qiu-se-tu-zhou-zhao-ji-221338","溪山秋色图轴","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。",[869,870,871,913,942,914,916,2150,883,920,961,921,964],"山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F730927eed7d948f9cfd62cda6491af50.jpg","纵97cm,横53cm",[899,933,6],183,{"id":125,"slug":2156,"title":2157,"dynasty":1003,"author":1347,"museum":866,"description":2158,"tags":2159,"t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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。",[869,870,977,872,942,914,916,944,945,883,918,921,961,1580,894],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ced805626c55f7b7026ef63267ca5df.jpg","纵27.8厘米，横980厘米",[933,6],179,{"id":127,"slug":2177,"title":2178,"dynasty":864,"author":2179,"museum":909,"description":2180,"tags":2181,"thumbUrl":2182,"material":981,"size":2183,"collection":899,"collections":2184,"showCount":2175,"zanCount":903,"manualWeight":903,"mainColor":904},"lin-wang-wei-wang-chuan-tu-guo-zhong-shu-221295","临王维辋川图","郭忠恕","郭忠恕(？-977)五代末期至宋代初期的画家，〔北宋〕字恕先，又字国宝，洛阳(今属河南)人 。\n兼精文字学、文学，善写篆、隶书和“八分体”，以楷书最为著名。 尤其“界画”为世人推重。“界画”是随着山水画发展而派生的一科，主要是画与山水画中有关的亭台楼阁、舟船车舆。《圣朝名画评》中评他的界画，为“一时之绝”，列为“神品” 。\n工书，诸体皆能。曾有人得鸟迹篆，忠恕一见辄诵如宿习。清刘熙载《艺概.书概》称：“忠恕以篆古之笔溢为分隶，独成高致。”传有《三体阴符经》、《汗简》、《佩觽》等书。其画风画技在当时和后世有较大影响。",[869,977,870,871,872,1309,873,874,875,916,877,878,879,961,979,883],"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",[899,933,6],{"id":128,"slug":2186,"title":2187,"dynasty":957,"author":2188,"museum":866,"description":2189,"tags":2190,"thumbUrl":2191,"material":1245,"size":2192,"collection":6,"collections":2193,"showCount":2194,"zanCount":1218,"manualWeight":903,"mainColor":970},"qing-bi-ge-mo-zhu-tu-zhou-ke-jiu-si-221834","清閟阁墨竹图轴","柯九思","本幅自识：“至元後戊寅十二月十三日，留清閟閣，因作此卷。丹丘生題。”钤“柯氏敬仲”。\n竹，由于被传统文人赋予了“虚心异众草，节劲逾凡木”的人格象征，因此，自宋代文同等人倡导始，到元代已成为极受欢迎的绘画题材。从技法上看，有勾勒填色的“画竹”与墨笔写意的“写竹”之分。此图即属于“写竹”一路画法。柯九思曾主张：“画竹写干用篆法，枝用草书法，写叶用八分或用鲁公撇笔法。”（《珊瑚网·画跋·卷八》）观此图画法，拳石皴法浑厚，实源于董巨一派，而墨竹则全法文同。作者以淡墨写干，用笔挺拔圆浑，宛如篆书，竹节两端再复垂墨，不勾节却连属自然。竹叶行笔沉着稳健，一如后人形容他的墨竹 “大叶长梢动冕旒”，以深墨为面，淡墨为背，正是源自文同。（米芾曾言：“……（画竹）以深墨为面，淡墨为背，自文同始。”）再加上劲健的小枝穿插其间，使丛竹于庄重、淳厚之中显示出活脱的生韵。",[869,870,871,942,913,1117,1009,964,962,1022],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82d0dc87b7672540a9fb1c0aaa1a8915.jpg","纵132.8cm，横58.5cm",[6,1188],177,{"id":129,"slug":2196,"title":2197,"dynasty":864,"author":2198,"museum":1495,"description":2199,"tags":2200,"thumbUrl":2202,"material":995,"size":2203,"collection":899,"collections":2204,"showCount":2194,"zanCount":1109,"manualWeight":903,"mainColor":970},"tai-bai-xing-yin-tu-liang-kai-221605","太白行吟图","梁楷","梁楷，南宋人，祖籍山东，南渡后流寓钱塘 ( 今杭州 ) 。他是名满中日的大书画家，曾于南宋宁宗担任画院待诏。他是一个行迳相当特异的画家，善画山水、佛道、鬼神，师法贾师古，而且青出于蓝。 在梁楷的人物画中，唐宋那种严谨写实的人物画高峰已经过去，从此图中，人物的大首部分还是唐宋之余波，细致工整，但下部的衣着却奔放写意，粗旷浪漫，有文人画的意味了。\n一个和尚的像对于观者的影响是什么样的，按照古人的：“成教化，助人伦”的主张，以僧人之像带给观者是对佛法的亲近，对禅悟的揭示，当然一句谒子同样可能使人开悟，一幅佛画，一幅有关佛的书法有同样的的功能，因人而起开悟之作用。\n布袋和尚是后来的弥勒佛，“布袋”其实是俗世的包袱，一种执着和迷朦。所以有“放下”一说：放下布袋，何等自在。人一生来就抓住什么，背着什么，儿时的抓周，一开始就是抓，抓住笔似乎是文曲星下凡，抓住铜钱或袁大头似乎是大商贾，抓住印章似乎是官运如何的好，所有一切背在身上，每个人都有一个无形的布袋，不到零落不放下。\n其实本来就不应该抓住，一切皆空吧。佛门的神秀写下四句偈云：“身是菩提树，心如明镜台。时时勤拂拭，莫使惹尘埃。”却未若不识字的的六祖惠能的四句偈高明：“菩提本无树，明镜亦非台。本来无一物，何处惹尘埃。”一个人过分的执着，背得太多，一旦大限来时，方知一切已晚，所求者其实是一场空梦。",[869,870,942,2201,1022,876,964],"减笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feceb68802f7eb8ed417349f2db1071bb.jpg","纵向81.2厘米，横向30.4厘米",[899,1202,6],{"id":130,"slug":2206,"title":2207,"dynasty":957,"author":1063,"museum":909,"description":2208,"tags":2209,"thumbUrl":2210,"material":981,"size":2211,"collection":933,"collections":2212,"showCount":2194,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[870,871,913,942,1622,914,1009,979,1117,1008,1102,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eb4dbc8f6b09feeea9d0d31f7abefaf.jpg","80.5x34.8",[933,6],{"id":131,"slug":2214,"title":2215,"dynasty":1075,"author":1958,"museum":1035,"description":2216,"tags":2217,"thumbUrl":2218,"material":2219,"size":2220,"collection":1029,"collections":2221,"showCount":2222,"zanCount":903,"manualWeight":903,"mainColor":970},"za-hua-ce-zhu-da-235500","杂画册","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[870,871,1211,942,1775,1354,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff29ff50245c3b93043a1ab132f67fec.jpg","未知","Xcm*Xcm",[1029,6],172,{"id":132,"slug":2224,"title":2003,"dynasty":1075,"author":1253,"museum":1035,"description":1255,"tags":2225,"thumbUrl":2226,"material":981,"size":1041,"collection":1029,"collections":2227,"showCount":2228,"zanCount":1218,"manualWeight":903,"mainColor":970},"zhu-shi-tu-zhou-zheng-ban-qiao-223302",[869,870,871,913,942,1117,1009,962,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f06ed11a80f23832798fc994366a211.jpg",[1029,6],171,{"id":133,"slug":2230,"title":2231,"dynasty":864,"author":2232,"museum":1495,"description":2233,"tags":2234,"thumbUrl":2235,"material":2236,"size":2237,"collection":899,"collections":2238,"showCount":2239,"zanCount":1249,"manualWeight":903,"mainColor":904},"wei-mo-ju-shi-xiang-li-gong-lin-221409","维摩居士像","李公麟","李公麟（149～116），北宋舒州人（今安徽桐城人），宋代杰出画家。\n字伯时,号龙眠居士，(149-116)享年五十七岁。\n熙宁三年(公元17年)进士。\n李龙眠即李公麟，字伯时，安徽桐城人，因桐城有一龙眠山，李公麟曾长居于山下，所以又自号龙眠居士或龙眠山人。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。\n长于诗文，行楷书有晋人风。\n与、、、为至交，系驸马之座上客。\n熙宁三年（17）中进士，为中书门下省删定官，后官至朝奉郎。\n元符三年（11）病痹告老，居家乡桐城龙眠山，号龙眠居士。\n一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。\n人物、道释深得旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。\n能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。\n李公麟做官三十年，也是他的艺术逐渐成熟，成为名画家的时期：这一时期也正是王安石变法失败，转入史称“朋党”之争的时期。\n李公麟和的关系很好，熙宁七年以后，王安石失势，退居，曾与李公麟同游，并赠诗四首，但同时，李公麟和反对王安石的等关系也很密切。\n李公麟和、、等人同是驸马家的座上客。\n他们在王诜家里的聚会曾被纪录在李公麟画的《》（现存各种摹本）中，米芾也为此写了一篇文章。\n他们十几个人在王诜家的花园中饮酒、作诗、写字画画、谈禅、论道等等。\n这是他们交游的第一个时期，是在苏轼被黜，离开汴梁去杭州作官以前。\n元丰二年（公元一○七九年）苏轼因作诗遭祸，陷入险境，王诜也被株连，据说李公麟在街上遇见苏家人，就以扇遮面，因而受到人们的讥笑。\n李公麟和等人第二次交游是在哲宗元祐年间，那时已经去世，正是旧党短期得势，而苏轼又恢复了自己的政治地位的时候，李公麟又画了第二幅《》。\n苏轼和的诗集中载多首赠诗和称赞他作品的诗。\n李公麟对于古代的美术修养极深。\n对古器物和古文字具有知识，曾摹绘古代的铜器并加以考订，他参加了整理皇家收藏的古器物的工作。\n他的父亲李虚一收藏古代画迹很多，他都进行临摹，并且也临摹了很多他人收藏的名迹。\n他保存了很多自己临摹前代名画的副本。\n他的绘画才能，首先表现 在他的题材的多样性上。\n他擅长鞍马、佛像、人物和。\n他在临摹古人名迹中掌握了绘画技法，而越出古人的技法。\n李公麟擅长画马和人物。\n他画的人物，据说能够从外貌上区别出“廊庙馆阁、山林、闾阎臧获、台舆皂隶”等社会各阶层人的特点，并能分别出地域和种族的具体特点，及动作表情的各种具体状态。\n他的艺术创造有生活现实性为基础，所以他敢于追求新的表现。\n他敢于突破前人的定式，画长带观音，飘带长过一身有半，还画过石上卧观音，这些都是他创造的新式样。\n他的创造性还表现 在他对题材的理解上，他画“观自在观音”，不是按照一般流行的坐相，他说“自在在心，不在相”，不必限制于某一固定的坐相，而是另创一种他认为能表现出心情自在的坐相。\n他画的“归去来辞”一诗把表现的重点放在正在思维中的神态上，不在一般化的描写田园松菊等自然风物，而注重描绘“临清流处”——发人深思的流水。\n李公麟画汉代的将军夺了胡人的马逃回来，在马上引弓瞄准追骑，箭锋所指，人马就应弦而倒。\n李公麟自己说，如果是旁人画就要画箭射中追骑了。\n可见李公麟很了解艺术的真实有别于生活的真实，表面上好象不合理，而能产生更强烈的艺术力量。\n他善画人物，尤工画马，称赞他：“龙眠胸中有千驷，不惟画肉兼画骨”。\n《》为其代表作。\n画中五匹大马，由五个人牵引，神采焕发，顾盼惊人。\n用笔简练，马的一举一动，极其细致生动地表现出骏马运动和性情的特征。\n他还发展了“”画法，创造出“扫支粉黛、淡毫清墨”，“不施，而光彩动人”。\n他的作品，保存下来的不多。\n除《》外，尚有《》《》《居士像》《十六小马图》《》《》《》《》《草堂图》《》《明皇演乐图》《农节图》《》《明皇醉归图》《》《汴桥会盟图》《白描罗汉图》《海会图》《》等。\n李公麟画了一幅六七个汉子围在桌旁赌博的《贤己图》，图中人物栩栩如生，其中有一个人伏在桌上，眼盯盆内的骰子，张嘴急呼，这时骰子转到“六”的位置上。\n元符三年（11）告老，居故乡桐城双溪，号龙眠居士。\n他好古博学，善鉴定。\n不仅能画人物鞍马、神仙佛道，也能画花鸟。\n他对传统绘画作过大量的临摹，同时重视写生，敢于独创。\n他的人物能从外貌上区别出身份、地域和性格特点。\n在画法上，他以著称。\n这种善用线描，多不设色的白描，造型准确，神态生动，这样就把传统的线描造型方法推进到一个新的水准。\n对其后代影响很大。\n他画的山水，亦有创格。\n工行、楷书，有晋、宋之风。\n后人论其作画“以立意在先，布置缘饰为次”。\n还长于考古。\n存世作品有《》《临苇偃牧放图》《九歌》《免胄图》《居士像》等图。\n《》，纸本浅设色，纵29.厘米，横22.5厘米。\n现为日本私人收藏。\n李公麟善于画马，“每欲画，必观群马，以尽其态”。\n《》就是李氏根据写生创作的。\n每匹马各有一人牵引。\n人、单线勾出比例准确，动作生动，清晰地表现出肌肉骨骼的结构，身体的重量感、软硬质感，乃至光泽印象，可代表他画的水准。\n尤见画中马匹、人物的生动神态，不愧为传世杰作。\n画后有跋。\n李公麟(149-116)，北宋著名画家。\n字伯时，号龙眠居士。\n神宗熙宁三年进士，历泗州录事参军，以陆佃荐，为中书门下后省删定官、御史检法 。\n李龙眠即李公麟，字伯时，祖籍舒州（今安徽桐城）， 桐城北乡龙眠山，李公麟归隐于山下，所以又自号龙眠居士或龙眠山人。\n神宗熙宁三年进士，历泗州录事参军，以陆佃荐，为中书门下后省删定官、御史检法。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。\n长于诗文，行楷书有晋人风。\n与、、米芾、为至交，系驸马之座上客。\n熙宁三年（17）中进士，为中书门下省删定官，后官至朝奉郎。\n居京师十年不游权贵之门，以访名园荫林为乐。\n元符三年（11）病痹告老，居家乡龙眠山，号龙眠居士。\n一生勤奋，作画无数，人物、史实、释道、士女、、鞍马、走兽、花鸟无所不能，无所不精。\n人物、道释深得旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得正传；着色山水追李思训心法；画马过。\n能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。\n传世作品有《》卷，现藏；《》卷、《维摩演教图》藏故宫博物院；《赤壁图》《蜀川胜概图》流往美国；《莲社图》轴（南宋摹本）藏南京博物院。\n李公麟是北宋时期一位颇具影响的名士，其绘画为当世第一。\n《》第七卷在评论他的作品时赞曰：“（龙眠）尤工人物，能分别状貌，使人望而知其为廊庙、馆阁、山林、、闾阎、臧荻、占舆、皂隶。\n至于动作态度、颦伸俯仰、大小善恶、与夫东西南北之人才分点画、尊卑贵贱、咸有区别，非若世俗画工混为一律。\n贵贱研丑止以肥红瘦黑分之。\n大抵公麟以立意为先，布置缘饰为次，其成染精致，俗工或可学焉，至率略简易处，则终不近也。\n”称“其神与万物交，智与百工通”。\n清初大家评李公麟：“自龙眠而后未有其匹，恐前世顾（恺之）、陆（探微）诸人亦所未及也。\n”而邓椿在他的《》里说：“画今古一人而已，以予观之，伯时既出，道玄（）讵容独步。\n”因此，李公麟笔下“扫去粉黛、淡毫轻墨、高雅超逸的画，被后人称为”天下绝艺矣”。\n在中国绘画技法中，线描是最有特色的技法之一，而纯用线条和浓淡墨色描绘实物的白描画法，可以说是线描技法发展的最高、最纯的阶段。\n而李公麟正是在这艺术浪尖上的弄潮儿，他使白描技法成为后人学画所遵从的样板典范，“犹如群龙之首”千百年来代代相传。\n北宋的人物画，其构形技法，到北宋后期为李公麟（149年-116年）发扬光大，线条健拔却有粗细浓淡，构图坚实稳秀而又灵动自然，画面简洁精练，但富有变化；题材广及人物、鞍马、、花鸟，既有真实感，又有文人情趣，而且所作皆不着色，被称作“大师”。\n《》和《》标志着单线勾勒的技法在中国绘画艺术中的巨大成就。\n单线勾勒的写实能力在于它有可能表现对象的形体、质感、量感、运动、空间。\n所以单线勾勒是一种效果明显而高度简洁的描绘技法。\n李公麟是一个卓 越的现实主义艺术的大师。\n他在绘画史上的地位尚有待更细致的分析，他创造了富于概括力的真实而鲜明的艺术形象，他掌握极优美的提炼形象的能力和表现技巧。\n但是他之选取非现实性的题材的倾向和追求一种与的生活密切联系的细腻的趣味，都说明他的艺术中蕴藏了一个危机。\n北宋的人物画，著名者有的《朝元仙仗图》，清秀娴丽，气度恢弘，而其构形技法，到北宋后期为李公麟发扬光大，线条健拔却有粗细浓淡。\n《五马图》为其传世佳作，纸本墨笔，纵29.厘米，横225厘 米，无名款。\n图以白描的手法画了五匹西域进贡给北宋朝廷的骏马，各由一名奚官牵引。\n每匹马后有宋黄庭坚题字，谓马之年龄、进贡时间、马名、收于何厩等，并 跋称为李伯时（公麟）所作。\n五匹马各具美名，令人遐想，依次为：凤头骢、锦膊骢、好头赤、照夜白、满川花，而五位奚官则前三人为西域装束，后两人为汉人。\n五匹马体格健壮，虽毛色不一，姿态各异，但显得驯养有素，极其温顺。\n五个奚官则因身份不同，或骄横，或气盛，或谨慎，或老成，举手投足，无不恰如其分。\n李龙眠画罗汉渡江，凡十有八人。\n一角漫灭，存十五人有半，及童子三人。\n一人值纸坏，仅见腰足。\n一人携杖，衣袂翩然，若将渡而无意者。\n一人凝立远望，开口自语。\n一人跽左足，蹲右足，以手捧膝作缠结状；双屦脱置足旁，回顾微哂。\n一人坐岸上，以手踞地，伸足入水，如测浅深者。\n者九人：一人以手揭衣，一人左手策杖，目皆下视，口呿不合。\n一人脱衣，双手捧之，而承以首。\n一人前其杖，回首视捧衣者。\n两童子首发鬅鬙，共舁一人以渡。\n所舁者，长眉覆颊，而怪伟如秋潭老蛟。\n一人仰面视长眉者。\n一人貌亦老苍，伛偻策杖，去岸无几，若幸其将至者。\n一人附童子背，童子瞪目闭口，以手反负之，若重不能胜者。\n一人貌老过於伛偻者，右足登岸，左足在水，若起未能。\n而已渡者一人，捉其右臂，作势起之。\n老者努其喙，缬纹皆见。\n又一人已渡者，双足尚跣，出其屦将纳之，而仰视石壁，以一指探鼻孔，轩渠自得。\n按：罗汉於佛氏为得道之称，後世所传高僧，犹云「锡飞」、「杯渡」。\n而为渡江，艰辛乃尔，殊可怪也。\n推画者之意，岂以佛氏之作止语默，皆与人同，而世之学佛者，徒求卓诡变幻、可喜可愕之迹，故为此图，以警发之与？昔人谓太清楼所藏吕真人画像，俨若孔、老，与他画师作轻扬状者不同，当即此意。\n的，性质上就是「看图作文」。\n作者体会到李龙眠人物画运笔传神，寓意含蓄的特点，对画面形象的记叙，也多攫住人物的自然神情。\n描写人物虽仅寥寥数语，却能得其精神。\n写方渡的罗汉，那种离岸涉水时敛神屏息的神情，及至中流时勉为其难的神情，去岸不远时庆幸欣喜的神情，描摹细腻，栩栩如生，并且凸显罗汉的不胜其苦。\n至于未渡的五个罗汉（其中一个，因纸坏仅见腰足），也极力描写他们各自不同的神态：一个是临渡而无意，一个是逡巡而观望，一个写出他决心初下的愉悦神情，一个描写入水将渡前的审慎心理。\n对这一组人物的刻意描写，也是为了衬托渡江的艰难。\n已渡者怡然自得的神态，实际上也是对渡江艰难的一种反衬。\n作者对於李龙眠画作「在心不在相」，著重人物内在精神的刻画，可谓深得其旨。\n从52岁辞官归故里之后就再也没有离开过家乡了，最后在故里去世，安葬在县城东南的磐石圩。\n李公麟（149～116），北宋舒州（今安徽桐城）人。\n有“独步中国画坛”、“宋画第一”等美誉。\n关于他的绘画，奇闻逸事颇多。\n传得最广的是他画马。\n公麟的马画得好是出了名的，为了画马，他常常去马厩中一呆就是一天，有一次皇宫御苑来了西域进贡的宝马，他来此画马，画成后，马却死了。\n人都说那马是被公麟摄了精魄去了。\n难怪他的马画得出神入幻。\n东坡有云：“龙眠胸中有千驷，不唯画肉兼画骨。\n”弄得后来管御马的小吏见了公麟就紧张，生怕他来画马，又把马给画死了。\n李公麟除了画画，还是个官员，他在政治上似乎没什么建树，在朝中似乎也是个没派别的人。\n在他做官的时候，正是苏东坡和王安石闹新旧党争的时候，但他既非新党又非旧党，他和苏、王二人都是朋友。\n这也许正是他艺术家气质的表现。\n不过，细数起来，他最要好的朋友还是苏东坡和黄庭坚。\n《苏轼诗选》里面就有《》和《》，这“戏书”和“画马试院”就可看出他们之间的友谊已经超出一般的官场交往，而是至交了。\n三个人都是考官，在科举考试的间隙李公麟画马，苏、黄二人题诗其上，岂不是忙里偷闲，情趣盎然。\n李公麟晚年因为身体不太好，回到了故里桐城龙眠山安度晚年，还建了一处大气的庄园叫做龙眠山庄。",[869,977,870,871,913,1453,1224,876],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53504efddd52e59c86dadee4e5abf751.jpg","绢本水墨","纵91 2厘米，横51 4厘米",[899,1202,6],170,{"id":134,"slug":2241,"title":2242,"dynasty":957,"author":1181,"museum":909,"description":2243,"tags":2244,"thumbUrl":2245,"material":995,"size":2246,"collection":6,"collections":2247,"showCount":2239,"zanCount":1218,"manualWeight":903,"mainColor":970},"mo-zhu-ce-wu-zhen-220770","墨竹册","《元吴镇墨竹册》是吴镇创作的水墨画，作品创作于元代，作品所画的是墨竹。页高403厘米，宽52厘米。现藏于台北故宫博物院。\n吴镇曾说的墨竹之法：“疏不至冷，繁不至乱，翻向正背，转侧低昂，雨打风翻，各有法度”。 吴镇的墨竹把文学意蕴融入到艺术表现手法中，开创了文人画重意蕴之风，使中国文人画得到了关键性的发展，加深了文人画的思想内涵和潜在表现力，起到了承前启后的重要作用。之后的姚绶、文征明、唐寅等名家均不同程度受到了他的影响。特别是清代后期的蒲华，在继承了吴镇墨竹飘逸高傲之气的同时，又在“形”、“韵”两方面下功夫，使以竹为题材的艺术创作和审美情趣在清末达到了又一个高峰。明代文学大家陈继儒在《梅花庵记》中写道：“先生书仿杨凝式，画出入荆关董巨，初虽无意于啖名，而品格既真，则身价自不能压之使下，画苑推元四大家必屈指先生”，充分说明了吴镇在画坛上的公认地位。\n吴镇生于南宋灭亡次年，当时抗元气氛仍很浓厚，再加上元朝知识分子地位的骤降，使得他只能通过艺术作品来抒发心中的强烈感触与不平。墨竹是文人画中的常见题材，吴镇的墨竹则是中国画史上的极品，其成就甚至超过他的山水画，为后人留下了诸多传世佳作以及丰富的理论论述。\n吴镇的墨竹理论大约可分为三个部分：一是对竹子人格化的认识，这是他创作的原动力；二是画竹者的心境；三是具体的技法。他认为，画竹不仅要展现竹子的外在形态，更要显现其内在风骨和精神，反映更高的旨趣。他将竹子作为自身人格的真实写照，赋予其虚心劲节、直竿凌云、高风亮节的深刻寓意；在用笔时不求工细，只讲究写意神似，重在抒发自己的主观情趣：譬如生长于绝处的竹子，彰显的是处劣境不改其节，居陋地不扰平淡之心的君子风范；空山野地之竹则如隐士巢父、许由般高洁脱俗，远离浊世。吴镇正是将这种种体会与感受，自然而又随意地融入到自己的作品中，展现出多姿多彩的墨竹神韵。\n吴镇笔下的诸般墨竹姿意潇洒，可谓极尽竹之生态与情意：春夏秋冬、晴雨风雪、俯仰横斜皆各不相同。他运用墨的浓淡粗细，将竹的干、节、枝、叶描绘得繁而不乱、疏密有致；特别是采用浓、淡、破、焦、湿等方法把墨分为七色，将竹子的萧瑟灵性、远近枯荣表现得淋漓尽致、层次无穷。除了强调总体法度之外，吴镇还对细微处的技巧颇有研究。他认为画墨竹要分为干、节、枝、叶四个方面：“而叠叶至难，于此不工则不得为佳画矣”；画竹时须“下笔要劲，节实按虚起，一抹便过，少迟留则必钝厚不銛利矣”，画叶时应竭力避免“精似桃叶，细如柳叶，孤生并立，如又如井，太长太短，蛇形鱼腹，手指蜻蜓”等“疏密偏轻，使人厌观”之病。",[977,870,871,942,1211,1022,1117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ed6606134c966f2275eb0bcfe36c8f6.jpg","纵40.3厘米，横52厘米",[6,1188],{"id":135,"slug":2249,"title":2250,"dynasty":1155,"author":2251,"museum":909,"description":2252,"tags":2253,"thumbUrl":2255,"material":949,"size":2256,"collection":933,"collections":2257,"showCount":2258,"zanCount":1218,"manualWeight":903,"mainColor":1446},"qiu-shan-wan-cui-tu-guan-tong-221158","秋山晚翠图","关仝","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。",[869,870,871,913,916,914,875,883,945,918,2254],"秋山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd04a2dbf4ef7b6f0a300b3f97262a33e.jpg","横57.3厘米，纵140.5厘米",[933,6],167,{"id":136,"slug":2260,"title":2261,"dynasty":1075,"author":1599,"museum":2262,"description":2263,"tags":2264,"thumbUrl":2266,"material":1068,"size":2267,"collection":6,"collections":2268,"showCount":2258,"zanCount":1218,"manualWeight":903,"mainColor":1191},"xi-shan-yin-ju-tu-gong-xian-220419","溪山隐居图","昆仑堂美术馆","画面为宁静秋山，疏林草堂，实中带虚，意境清旷，堪称晚年佳构。上有自题，下有当代名家朱屺瞻鉴藏印。",[869,870,871,913,942,914,916,1008,945,1799,2265],"溪水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd095417aca99ae94bd643be38542b71.jpg","11×42.5厘米",[6],{"id":137,"slug":2270,"title":2271,"dynasty":864,"author":1698,"museum":909,"description":2272,"tags":2273,"thumbUrl":2275,"material":981,"size":2276,"collection":899,"collections":2277,"showCount":2278,"zanCount":903,"manualWeight":903,"mainColor":904},"chi-tang-qiu-wan-tu-juan-quan-juan-zhao-ji-221337","池塘秋晚图卷全卷","该作品为粉笺本，粉笺新纸时，光洁亮丽，其上尚印有卷草纹图案，是极为珍贵的材质。纸面经过上粉处理，具有不吸水性，乍看之下，笔墨甚为质朴，斑剥古趣。徽宗款识：“天下一人”。",[869,870,871,872,874,1224,942,1081,978,1354,2274,1875,2162,1009,962,964],"莲蓬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e4573239b74f372ac19d707d1888ee0.jpg","全图33×237.8公分",[899,1029,6],164,{"id":138,"slug":2280,"title":2281,"dynasty":957,"author":989,"museum":909,"description":2282,"tags":2283,"thumbUrl":2284,"material":1068,"size":2285,"collection":6,"collections":2286,"showCount":2278,"zanCount":903,"manualWeight":903,"mainColor":970},"hua-xi-shu-wu-tu-wang-meng-218773","花溪书屋图","层峦叠嶂如卷舒展，林木葱茏间，溪流蜿蜒穿石而过，花溪的清浅便藏在这潺潺声里。山腰隐现书屋一角，竹窗半启，似有文人临窗对景，墨韵与山风悄然相融。王蒙以解索皴勾勒山石肌理，线条如藤蔓缠石，墨色浓淡相济，将山峦的厚重与草木的清润织成幽深之境。画面繁密却不失空灵，每一处皴擦点染皆见匠心——峰峦层叠、树木错落、书屋静谧，交织出元代文人避世栖居的诗意。山鸟啼鸣仿佛入耳，涧水清香似可轻嗅，尽显山水间的隐逸之趣与笔墨的精妙神韵。",[869,870,871,942,875,914,916,944,883,917,894,920,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe82e97f416bf5d962388fc7adab04d04.jpg","31.2x51.9",[6],{"id":139,"slug":2288,"title":2289,"dynasty":1075,"author":1113,"museum":1035,"description":2290,"tags":2291,"thumbUrl":2292,"material":1041,"size":1041,"collection":6,"collections":2293,"showCount":2294,"zanCount":1218,"manualWeight":903,"mainColor":970},"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。",[870,871,942,1211,914,916,1008,993,1623,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04027f2c689ff46da102ff937cdb3245.jpg",[6,933],163,{"id":140,"slug":2296,"title":2297,"dynasty":1075,"author":1113,"museum":1035,"description":2298,"tags":2299,"thumbUrl":2300,"material":1041,"size":1041,"collection":933,"collections":2301,"showCount":2302,"zanCount":1044,"manualWeight":903,"mainColor":970},"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。",[870,942,914,913,871,962,963,964,916,878,879,883,894,876,917,918,1009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfa72c6c88f5d950dcb00da4e61fa4c0.jpg",[933,6],162,{"id":1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。",[869,870,872,942,1622,914,916,2318,944,921,883,961,886,1298],"江河","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0eb0dc545b1ef144816ffc97adc20f8.jpg","纵45.1厘米，横992.5厘米",[899,933,6],{"id":143,"slug":2323,"title":2324,"dynasty":864,"author":974,"museum":866,"description":2325,"tags":2326,"thumbUrl":2328,"material":1214,"size":2329,"collection":899,"collections":2330,"showCount":2331,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[869,870,871,942,875,914,916,1131,2327,961,1146,917,889,883],"堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ddc3386f8dbe0c41f1f8a1fa90e3bf.jpg","纵28.2厘米，横29.5厘米",[899,933,6],160,{"id":144,"slug":2333,"title":2334,"dynasty":1003,"author":1004,"museum":1035,"description":2335,"tags":2336,"thumbUrl":2337,"material":995,"size":2338,"collection":933,"collections":2339,"showCount":2340,"zanCount":1249,"manualWeight":903,"mainColor":970},"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。”",[869,977,870,871,942,914,1009,1117,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36554dbfb6c71407859f93a0a9573279.jpg","60×48cm",[933,6],158,{"id":145,"slug":2342,"title":2343,"dynasty":957,"author":2060,"museum":1461,"description":2344,"tags":2345,"thumbUrl":2346,"material":1746,"size":2347,"collection":933,"collections":2348,"showCount":2349,"zanCount":1218,"manualWeight":903,"mainColor":970},"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。",[869,870,871,872,942,914,916,1117,1118,962,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70809230f2fb9e519270ac51b851cbf5.jpg","纵25.7厘米，横380厘米",[933,6],156,{"id":146,"slug":2351,"title":2352,"dynasty":957,"author":1181,"museum":2353,"description":2354,"tags":2355,"thumbUrl":2356,"material":995,"size":2357,"collection":6,"collections":2358,"showCount":2349,"zanCount":1218,"manualWeight":903,"mainColor":904},"ku-mu-zhu-shi-tu-wu-zhen-220777","枯木竹石图","浙江省博物馆","元吴镇所绘的《枯木竹石图》画的山中古木竹石， 藏巧于拙。近处古木枝桠遒劲，非常古雅清逸；石头尖峭如削。在构图上的确鬼斧神工,技高一筹。另外,此图在设色用笔上也足能代表吴镇的风格。枯木竹石图在好几个朝代都有画家的画作，也是中国山水画的常用名词。是作者以枯木（以物）抒情的一种表现手法，图中画的是扭曲干枯的枯树，挣扎着向外伸展，表现了作者坚硬顽强的性格，怪石与枯木皆用清淡、空灵、松散的笔墨似勾似擦，虽笔墨不多，却与其傲岸豪放的性格相一致，抒写了作者胸中的磊落不平。\n吴镇十八九岁开始学画，年轻时游历杭州，吴兴，饱览太湖风光。开眼界，长见识，大自然的真山真水，启迪了他创作灵感。其工诗文书法，绘画题材多为渔父、古木、竹石之类，善画山水、梅花。草书学巩光，山水师法董源、巨然而又独出机杼，以雄强笔法辅以丰富墨法，自有一种苍茫沉郁、古厚纯朴之气。精写竹，师李衎，晚年则专写墨竹。墨竹宗文同，为文同后又一大家。善于用墨，淋漓雄厚，为元人之冠。兼工墨花，亦能写真。同以竹掩其画，镇以画掩其竹。其画虽势不能夺，唯以佳纸笔投之，欣然就几，随所欲为，乃可得也。诗词风格简劲奇拔，感情真挚，常以比兴自吐胸臆，接近陶潜诗风，外示平淡而内实郁愤。书法能结合王羲之和怀素之长而自具面目。每作画往往题诗文于其上，或行或草，墨沈淋漓，诗、书、画相映成趣，时人号为“三绝”。其画风对明清山水画的发展，有较大影响。他与王蒙、黄公望、倪瓒齐名，并称为元四家。\n吴镇画山水喜用湿墨，其实吴镇未尝不善用干墨，在吴镇传世几十余幅墨竹中，几乎全是用干墨画的，均取得了良好的效果。之所以吴镇在山水画中多用湿墨，这与吴镇欲借山水画表达的境界有极大的关系。北宋山水画追求一种可游、可居之景，用笔用墨都服从于山水真实体感的表达；而元人则以山水为媒，追求一种有我之景，笔墨除用表现形体外，更是充作了情感流露的媒介。在元四家中吴、倪均以画水著称，倪喜用干墨，吴则喜用湿墨。倪用干墨草草点染，创造一种荒芜、澹泊之境；吴则用湿墨，渲染出一种凄清、静穆之境。细观吴镇每一幅山水画，都给人以“水墨淋漓幛犹湿”的感觉。无论是山、树、水，还是船、渔父、房屋，无论是近景，还是远景，均如淋浴在水中，从而更使远方景物有千里之遥，营造了一种凄清、幽旷、寂寥的艺术氛围。",[869,977,870,942,914,1022,1116,1117,1118,1257],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5797621a7b1b78697492ac6ae81f2540.jpg","纵103.3厘米 横33.3厘米",[6,1188],{"id":147,"slug":2360,"title":2361,"dynasty":1075,"author":2362,"museum":1077,"description":2363,"tags":2364,"thumbUrl":2373,"material":1068,"size":2374,"collection":933,"collections":2375,"showCount":2349,"zanCount":1218,"manualWeight":903,"mainColor":970},"hu-shan-qing-yi-tu-juan-shou-juan-hong-ren-220092","湖山清逸图卷手卷","弘仁","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。",[870,872,942,1622,914,2365,1159,2366,2367,2368,2369,1412,2370,2371,2372,962,963],"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",[933,6],{"id":148,"slug":2377,"title":2378,"dynasty":2379,"author":2380,"museum":1035,"description":2381,"tags":2382,"thumbUrl":2384,"material":1068,"size":1041,"collection":1202,"collections":2385,"showCount":2349,"zanCount":1109,"manualWeight":903,"mainColor":970},"da-qian-kuang-tu-ce-zhang-da-qian-218177","大千狂涂册","民国","张大千","张大千是中国著名的画家和书法家，他的作品被称为“大千狂涂册”。他出生于江苏省吴县，曾在上海、北京、香港和台湾等地工作和生活过。\n\n大千狂涂册是张大千的一组书法作品，其中包括了他的名字“大千”的书法，以及他的诗词和绘画作品。大千狂涂册的书法风格独特，带有浓厚的民国味道，反映了张大千对中国传统文化的热爱和尊重。\n\n张大千的书法作品不仅具有艺术价值，而且在学术界也有很高的价值。他的书法作品曾被收入多种学术出版物，并被世界各地的藏家和收藏家所收藏。\n\n此外，张大千还是一位著名的画家，他的画作曾被世界各地的美术馆和博物馆收藏。他的画作风格多样，涉及山水画、花鸟画、人物画等多个领域。他的画作不仅给人们带来视觉享受，而且还反映了他对中国传统文化的理解和探究。\n\n总的来说，张大千的书法作品和画作都是中国文化的瑰宝，值得人们去珍视和传承。",[870,871,1211,942,2383,963,876,1775,1022],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe98a1662c3c897bee9d6dc355c56fbf0.jpg",[1202,6],{"id":149,"slug":2387,"title":2388,"dynasty":1075,"author":1253,"museum":1035,"description":2389,"tags":2390,"thumbUrl":2391,"material":981,"size":2392,"collection":1029,"collections":2393,"showCount":2394,"zanCount":903,"manualWeight":903,"mainColor":970},"zhu-shi-tu-5-zheng-ban-qiao-223299","竹石图5","这幅《竹石图》，郑板桥将竹子画得艰瘦挺拔，节节屹立而上，直冲云天，每一片叶子都有着不同的表情，墨色水灵，逼真地表现竹的质感，而且竹的纤细清飒之美更衬托了石的另一番风情。在构图上又将竹与石的位置关系和题诗文字处理得十分协调，而且他的书法是越到晚年越是风神独具、挥洒自如、翰墨苍劲。“扬州八怪”之首的金农曾感叹：相较两人的画品，自己画的竹子终不如板桥有林下风度啊。\n郑板桥被后人誉为“诗、书、画”三绝的全才画家，且在三绝之中又有三真，特别强调要表现真性情、真意气、真趣味。\n郑板桥的绘画成就极高，尤擅画竹石，细枝粗叶，瘦劲孤高，格调超人。他画竹有“胸无成竹”的理论，并无师承，多得于纸窗粉壁日光月影，直接取法自然。他自称：“凡吾画竹，无所师承，多得于纸窗粉壁日光月影中耳。”针对苏东坡“胸有成竹”的说法，郑板桥强调的是胸中“莫知其然而然”的竹，要“胸中无竹”。这两个理论看似矛盾，实质却相通，同时强调构思与熟练技巧的高度结合，其创作体会鲜明地表露于一则题画中：“江馆清秋，晨起看竹，烟光、日影、露气皆浮动于浮枝密叶之间，胸中勃勃，遂有画意。其实胸中之竹，并不是眼中之竹也。因而磨墨展纸，落笔倏作变相，手中之竹，又不是胸中之竹也。”他笔下的竹注重“瘦与节”的结合，往往就是自己思想和人品的化身。据说，曾经有一大户大家请郑板桥画竹，酒过之后他便向这家墙壁上大盆洒墨，扔笔不画，晚上风雨大作把墙壁上的墨迹冲刷一遍，第二天一大早竟是一幅淋漓尽致的墨竹，还有几只麻雀以为来到了竹林撞昏在壁下。传说自然不可全信，但却可想见郑板桥作画的创造性。",[869,977,870,871,913,942,963,964,914,1117,1009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6751617696efb541b17a01c9ddade642.jpg","179.5×101cm",[1029,6],153,{"id":150,"slug":2396,"title":2397,"dynasty":864,"author":2232,"museum":1035,"description":2398,"tags":2399,"thumbUrl":2401,"material":1401,"size":2402,"collection":899,"collections":2403,"showCount":2394,"zanCount":903,"manualWeight":903,"mainColor":904},"bai-miao-shi-nv-tu-li-gong-lin-221404","白描仕女图","李公麟（1049～1106），舒州(今安徽桐城)人，宋代杰出画家。字伯时，号龙眠居士，享年五十七岁。熙宁三年（公元1070年）进士。李龙眠即李公麟，字伯时，安徽桐城人，因桐城县北有一龙眠山，李公麟曾长居于山下，所以又自号龙眠居士或龙眠山人。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[869,870,871,977,1224,876,2400,877,1080,964],"美人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f89ca0cf650498658e9f6d3c15a75dd.jpg","30x30厘米",[899,1202,6],{"id":151,"slug":2405,"title":2406,"dynasty":957,"author":1631,"museum":866,"description":2407,"tags":2408,"thumbUrl":2412,"material":1105,"size":2413,"collection":933,"collections":2414,"showCount":2415,"zanCount":1249,"manualWeight":903,"mainColor":970},"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。",[869,870,871,872,942,916,963,964,914,1007,1025,2409,883,889,2410,2411],"村庄","山丘","田野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc7d0809cc7c3659449e357f2fbf9e09.jpg","纵24.9厘米，横120.5厘米。",[933,6],149,{"id":152,"slug":2417,"title":2418,"dynasty":1003,"author":1004,"museum":909,"description":2419,"tags":2420,"thumbUrl":2421,"material":1287,"size":2422,"collection":933,"collections":2423,"showCount":2424,"zanCount":1218,"manualWeight":903,"mainColor":904},"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，侍童挑著书担尾随於後。全作的人物、山石、林木和屋舍，用笔疏放。在山巅处且以浓密的苔点增缀，表现春天草木滋发的意象。该作虽有沈周的款题，然笔法略显板滞柔弱，疑为后人伪托之作。",[869,870,913,942,914,916,876,881,979,878,879,883,1508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F405bbf6040c503cd558417b6c40a9a0b.jpg","278.6x95.7公分、全幅 122公分",[933,6],148,{"id":153,"slug":2426,"title":2427,"dynasty":1003,"author":1004,"museum":909,"description":2428,"tags":2429,"thumbUrl":2430,"material":1465,"size":2431,"collection":933,"collections":2432,"showCount":2433,"zanCount":1249,"manualWeight":903,"mainColor":904},"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。",[869,870,871,1622,942,914,1007,1328,1008,879,917,979,1052,1053,920,1397],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb54811e543fce13bf211196f60045fc.jpg","152 2x43 2cm",[933,6],147,{"id":154,"slug":2435,"title":2436,"dynasty":957,"author":1181,"museum":1128,"description":2437,"tags":2438,"thumbUrl":2439,"material":2440,"size":2441,"collection":6,"collections":2442,"showCount":2443,"zanCount":1109,"manualWeight":903,"mainColor":970},"duo-fu-tu-zhou-wu-zhen-220775","多福图轴","吴镇画墨竹自称是“戏写”，表现了他画竹时怡然自得的心境，这必须做到“心手两相忘，融化同造物”。他通过题画诗来使墨竹人格化，强调竹子的坚韧个性。他以“虚心抱节”来赞颂竹子既虚怀若谷、又坚守气节的人格化的植物特性。\n吴镇非常爱梅，家室四周遍植梅树，取斋名“梅花庵”。墨梅流派的发展，从释仲仁开始，在写实的形态上以清淡疏简为宗。至扬无咎，更把仲仁的点墨变为直率的带有飞白的用笔。《多福图》以墨笔绘树石丛竹，格调简率遒劲，信笔挥洒，墨色淋漓，布局错落有致。吴镇在画古梅的枝干时，显示了能放能收、力能扛鼎的沉郁超旷。此图表现老梅一枝，峭石一块，疏竹一丛，显得老辣沉浑。\n画面右上草书自题五言诗一首，“长忆古多福，三茎四茎曲。一叶动机舂，清风自然足。”署款“梅花道人戏墨”。",[869,977,870,871,913,942,1117,1009,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6205111b6eff3ed5d23ced59c90d8da.jpg","纸本,墨笔","96×28.5cm",[6,1188],146,{"id":155,"slug":2445,"title":2446,"dynasty":1075,"author":1253,"museum":2447,"description":2448,"tags":2449,"thumbUrl":2450,"material":1041,"size":1041,"collection":1029,"collections":2451,"showCount":2452,"zanCount":1249,"manualWeight":903,"mainColor":970},"zheng-xie-lan-shi-zhou-zheng-ban-qiao-237887","郑燮兰石轴","重庆中国三峡博物馆","此展品为清代的书画，此轴以水墨绘石上兰竹。笔墨洒脱，竹枝新发，兰草妙曼。山石以侧锋勾勒，微微点苔。布局疏密相间，别致雅趣。",[870,942,913,1257,1009,962,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7491c7eb56947056680423de9cd451ae.jpg",[1029,6],144,{"id":156,"slug":2454,"title":2455,"dynasty":864,"author":1142,"museum":1099,"description":2456,"tags":2457,"thumbUrl":2462,"material":897,"size":2463,"collection":899,"collections":2464,"showCount":2452,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[869,870,977,871,872,916,914,875,2458,1102,883,917,921,2459,930,2460,926,920,2461],"茂林","淡墨","层峦","亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ba9ba394d8f11186aaa0fc8c73d28ca.jpg","纵45.4厘米，横141.8厘米",[899,933,6],{"id":157,"slug":2466,"title":1460,"dynasty":864,"author":939,"museum":1461,"description":2467,"tags":2468,"thumbUrl":2470,"material":1465,"size":1466,"collection":899,"collections":2471,"showCount":2452,"zanCount":1249,"manualWeight":903,"mainColor":904},"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。",[869,870,871,872,942,914,2469,916,979,1052,1053,1009,879,961,964],"平远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a17b78710e3a953f6c2076e25d8f7b1.jpg",[899,933,6],{"id":158,"slug":2473,"title":2474,"dynasty":957,"author":1063,"museum":909,"description":2475,"tags":2476,"thumbUrl":2478,"material":1068,"size":2479,"collection":933,"collections":2480,"showCount":2452,"zanCount":1218,"manualWeight":903,"mainColor":970},"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。",[870,871,913,942,914,916,883,2477,1025,894,964],"石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08ea5b0016ae78ee46681955a92009ac.jpg","72.9x37.5",[933,6],{"id":159,"slug":2482,"title":2483,"dynasty":957,"author":1181,"museum":866,"description":2484,"tags":2485,"thumbUrl":2487,"material":930,"size":2488,"collection":933,"collections":2489,"showCount":2452,"zanCount":1218,"manualWeight":903,"mainColor":904},"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。",[869,870,871,2486,913,942,914,916,944,917,883,1066,879],"古画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b125a83a0553db70e8f576523b37fb5.jpg","纵160.5厘米，横73.4厘米",[933,6],{"id":160,"slug":2491,"title":2492,"dynasty":1075,"author":1253,"museum":866,"description":2493,"tags":2494,"thumbUrl":2495,"material":981,"size":1276,"collection":1029,"collections":2496,"showCount":2497,"zanCount":1218,"manualWeight":903,"mainColor":970},"mo-bi-zhu-shi-tu-zhou-zheng-ban-qiao-223296","墨笔竹石图轴","郑板桥画墨竹，多为写意之作。一气呵成．生活气息十分浓厚，一枝一叶．不论枯竹新篁，丛竹单枝，还是风中之竹。雨中之竹．都极富变化之妙．如竹之高低错落，浓淡枯荣．点染挥毫，无不精妙。画风清劲秀美，超尘脱俗，给人一种与众不同之感。他说：“文与可画竹，胸有成竹；郑板桥画竹，胸无成竹。与可之有成竹．所谓渭川千亩在胸中也；板桥之无成竹，如雷霆霹雳，草木怒生，有莫如其然而然者，盖大化之流行．其道如是，与可之有，板桥之无，是一是二解人会之。”实际上，板桥“胸无成竹”与文与可“胸有成竹”在根本上是不矛盾的，郑板桥注意的是在创作之前，构思要与熟练的技巧相结合，但这种写意画与文与可高度写实墨竹画在技法上又是有区别的，即有写意与写实、抽象与具象、神似与形似的不同。特别引人注目的是郑板桥画竹还讲究书与画的有机结合，“以草书之中竖长撇法运之”，他说：“书法有行款，竹更要有行款，书法有浓淡，竹更要有浓淡，书，去有疏密，竹更要有疏密。”为此，人们都能从他的字画中体味到。",[869,870,942,913,1117,1009,964,1022],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00450bf3ebc8d27f10d2ec819e60152f.jpg",[1029,6],143,{"id":161,"slug":2499,"title":2500,"dynasty":957,"author":2501,"museum":909,"description":2502,"tags":2503,"thumbUrl":2508,"material":981,"size":2509,"collection":1029,"collections":2510,"showCount":2497,"zanCount":1218,"manualWeight":903,"mainColor":970},"tao-zhu-jin-ji-tu-zhou-wang-yuan-221838","桃竹锦鸡图轴","王渊","该图上有王渊款：“至正已醜(1349年)王若水爲惠明作桃竹錦雞圖。”钤私印两方。是图将工整双勾的线条和细腻的水墨渲染合为一体，形成兼工带写的绘画技巧，以墨代色，脱胎于五代黄筌“黄家富贵”的工笔设色画风，反映了文人画重墨轻色的审美观。画家以水墨皴擦、晕染、粗细笔并用，行笔稳健而不乏洒脱，水墨层次变化丰富，颇有透明感，全图不着一色已俱见典雅端丽，画意蕴藉清润、幽静深秀。",[869,870,912,874,1081,913,2504,1117,2505,945,2506,2507],"桃","锦鸡","水墨设色","花鸟题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe14268d3dd72321107b543bb80edf552.jpg","纵102.3cm，横55.4cm",[1029,6],{"id":162,"slug":2512,"title":2513,"dynasty":957,"author":958,"museum":866,"description":2514,"tags":2515,"thumbUrl":2518,"material":1245,"size":2519,"collection":933,"collections":2520,"showCount":2497,"zanCount":1218,"manualWeight":903,"mainColor":904},"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。",[869,870,916,942,914,913,2150,1131,889,945,1146,2516,2517],"屋舍","雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff21dcb6d646fd85003b240e46bb59dd9.jpg","纵117厘米，横55.5厘米",[933,6],{"id":163,"slug":2522,"title":2523,"dynasty":864,"author":1048,"museum":1035,"description":2524,"tags":2525,"thumbUrl":2526,"material":1068,"size":2527,"collection":6,"collections":2528,"showCount":2497,"zanCount":1218,"manualWeight":903,"mainColor":970},"song-gao-zong-yu-zhi-xi-gong-yan-tu-ma-yuan-218564","宋高宗御制西宫宴图","马远绘侍宴图传世三件中的其中一幅",[870,977,871,913,873,942,916,877,1066,917,883,914],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2b00e67510889e575c54629198f5565.jpg","122.5x52.2",[6],{"id":164,"slug":2530,"title":2531,"dynasty":864,"author":1430,"museum":1035,"description":2532,"tags"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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。",[869,870,871,913,942,914,916,2677,917,883,894,921,879],"群峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9487e8a4d8fa6b005da87bf28588f31.jpg","横：48厘米 纵：171厘米",[933,6],{"id":181,"slug":2682,"title":2683,"dynasty":1075,"author":2362,"museum":866,"description":2684,"tags":2685,"thumbUrl":2686,"material":1041,"size":1041,"collection":933,"collections":2687,"showCount":2688,"zanCount":1218,"manualWeight":903,"mainColor":970},"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。",[977,870,871,913,942,914,916,1119,979,917,879],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f501a6cdbd204a645da4011e2ce7088.jpg",[933,6],131,{"id":182,"slug":2690,"title":2691,"dynasty":1003,"author":1283,"museum":909,"description":2692,"tags":2693,"thumbUrl":2695,"material":1068,"size":2696,"collection":6,"collections":2697,"showCount":2698,"zanCount":903,"manualWeight":903,"mainColor":970},"qin-he-tu-wen-zheng-ming-219519","琴鹤图","水墨晕染出淡远山居，苍松茂林环合小院。堂前二人对坐，似正横琴晤谈，院外童子携鹤缓步而来，将林泉雅趣揉进日常闲情里。\n\n笔致秀润温婉，枝叶晕染细腻，远山轻笼烟岚，留白里漾着闲澹松弛的意趣。题诗朱印与画面相融，把文人幽居自适、琴鹤相伴的林下风流，藏进每一缕墨色之中，淡而不寡，静中藏雅，尽显江南文人心底的归栖之乐。",[870,871,875,874,962,963,964,876,883,917,2608,2694,2516,1009],"琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0b62691d86abcd60a7be2a267ff0873.jpg","63.4x29.2",[6],130,{"id":183,"slug":2700,"title":2701,"dynasty":1075,"author":1958,"museum":1035,"description":2702,"tags":2703,"thumbUrl":2705,"material":1041,"size":2706,"collection":1029,"collections":2707,"showCount":2708,"zanCount":903,"manualWeight":903,"mainColor":970},"zhu-jiao-tu-zhou-zhu-da-236310","竹蕉图轴","朱耷（1626－1706），族名朱统筌，有雪个、个山、人屋、道朗、八大山人等别号。 “八大”二字，据人解释有“哭之”、“笑之”，哭笑不得的意思。南昌人。明末清初卓越的大画家。他是明太祖朱元璋第十六子朱权的九世孙。朱权封宁王于南昌，繁衍八支，朱耷属弋阳王支，袭封辅国中尉。他的父祖都善书画，因此朱耷从小就受到艺术陶冶。八岁能作诗，十一岁能画青绿山水，少时能悬腕写米家小楷。弱冠为诸生。明亡以后，他抱着对清王朝不满的态度，在奉新县耕香庵落发为僧，时年二十三岁。后隐居进贤县介冈及永丰县睦冈等地。顺治末年，当他三十六岁时潜回南昌，创建青云圃道院，花了六、七年时间，才使这坐道院初具规模，并在这里过着“一衲无余”与“吾侣徙耕田凿井”的劳动生活。他想把这里造成一块世外桃源，以求达到他向来“欲觅一个自在场头”的愿望。但这个“自在场头”毕竟是建立在清王朝统治之下，“门外不必来车马”是不可能的。因为常有清朝权贵来此骚扰，他常浪迹他方。\n康熙十七年他五十三岁时，临川县令胡亦堂闻其名，便延请他随其僧长饶宇朴等到临川官舍作客年余。这使他十分苦恼郁愤，遂佯为疯癫，撕裂僧服，独自走回南昌。一年多后，他又回到青云谱，并在这里度过“花甲华诞”。当他六十二岁时，不再做住持，便把道院交给他的道徒涂若愚主持。后又隐避在南昌附近的北兰寺、开元观等处。并常卖画度日。后来自筑陋室，名“寤歌草”堂。叶丹居章江有《过八大山人》一诗云：“一室寤歌处，萧萧满席尘蓬蒿藏户暗，诗画入禅真。遗世逃名老，残山剩水身。青门旧业在，零落种瓜人”。他是孤寂贫寒地在这个环堵萧然的草堂中度过了他的晚年。\n八大山人一生以主要的精力从事绘画，他襟怀浩落，慷慨啸歌。由于时代特点和身世遭遇，他抱着对清王朝誓不妥协的态度，把满腔悲愤发泄于书画之中。所以画中出现是鼓腹的鸟，瞪眼的鱼，甚至禽鸟一足着地，以示与清廷势不两立，眼珠向上，以状白眼向青天。他常常把“八大山人”四个字联缀起来草写，形似“哭之”、“笑之”字样。他还有很多隐晦艰涩的诗句跋语，表示对清廷极端的仇恨和蔑视。\n他的作品，表现了鲜明的爱和憎。如脍灸人口的《孔雀图》及其题诗：“孔雀名花雨竹屏，竹梢强半墨生成；如何了得论三耳，恰是逢春坐二更。”辛辣地讽刺了那班头戴三眼花翎乌纱帽的汉族大地主屈膝求荣、投降新主子的奴才丑态。有一幅山水册页题云：“郭家皴法云头小，董老麻皮树上多；想见时人解图画，一峰还写宋山河。”他称慕五代北宁间画家董源、郭熙，以其独特笔墨描绘没有受外族侵凌的宋朝江山，而激发起热爱故国的思想感情。《鹊石图轴》（现藏画家八大山人纪念馆），画中描绘着两只喜鹊立于大石之上，究其画意，具有鹊巢鸠占，翔集浣磐的含义。《诗.召南.鹊巢》云：“维鹊有巢，维鸠居之。”传云：“尸鸠不自为巢，居鹊之成巢。”八大山人作此喻以讽刺清贵不善自谋而强占别人地主。并着意表现双鹊集栖于磐石之上，这不是尸鸠可以占据和动摇得了的。他常画的莲荷松石、梅兰竹菊、芦雁凫鹤、鱼鸭鹰鹿等等，大都象征他性格的倔强与高风亮节。他一生坚不为清廷权贵画一花一大石，而一般农民、贫士、山僧、小儿却很容易得到他的作品，这种不屈于权势的精神，历来为人们赞赏与称颂。\n八大山人在艺术上有杰出的成就。他以绘画为中心，对于书法、诗跋、篆刻也都有很高的造诣。在绘画上他以大笔水墨写意画著称，并善于泼墨，尤以花鸟画称美于世。在创作上他取法自然，笔墨简炼，大气磅礴，独具新意，创造了高旷纵横的风格。三百年来，凡大笔写意画派都或多或少受了他的影响。清代张庚评他的画达到了“拙规矩于方圆，鄙精研于彩绘”的境界。他作画主张“省”，有时满幅大纸只画一鸟或一石，寥寥数笔，神情毕具。他的书法具有劲健秀畅的气格。篆刻形体古朴，独成格局。\n朱耷在形成自己风格的发展过程中，继承了前代的优良传统，又自辟蹊径。他的花鸟画，远宗五代徐熙的野逸画风和宋文人画家的兰竹墨梅，也受明林良、吕纪、陆治的技法影响，尤致意青藤白阳的粗放画风。他的山水画，远尚南朝宗炳，又师法董、巨、米芾、倪、黄以至董其昌等人的江南山水。在书法方面，他精研石鼓文，刻意临写汉、魏、晋、唐以来的诸家法帖，尤以王羲之的为多。\n朱耷绘画艺术的特点大致说来是以形写情，变形取神；着墨简淡，运笔奔放；布局疏朗，意境空旷；精力充沛，气势雄壮。他的形式和技法是他的真情实感的最好的一种表现。\n朱耷对艺术修养与功力铸锻，正如他自己所说的：“读书至万卷，此心乃无惑；如行路万里，转见大手笔。”他认为画事有如登高，“必频登而后可以无惧”，说明他对艺术不断磨炼的精神。清初画坛在革新与保守的对峙中，八大山人是革新派“四大画僧”中起了突出作用的一人。为了纪念这位大画家，解放后已在南昌市青云谱建立了“画家八大山人纪馆”。朱耷的艺术已经在东方尤其在日本以至世界画坛引起了很大的反映。八大山人的书画有少作品，已不复得见。如：《荷塘戏禽图卷》、《河上花并题图卷》、《鱼鸭图卷》、《鱼乐图卷》、《杂花图卷》以及《杨柳浴禽图轴》、《芙蓉芦雁图轴》、《大石游鱼图轴》、《双鹰图轴》、《古梅图轴》、《墨松图轴》、《秋荷图轴》、《芭蕉竹石图轴》、《椿鹿图轴》、《快雪时晴图轴》、《幽溪泛舟图轴》、《四帧绢本浅绛山水大屏》，以及许多条幅，册页中的花鸟鱼鸭，山水树石等。书法方面有《临兰亭序轴》、《临“临河叙”四屏》，以及各大家法帖和行草诗书轴册等，都在国内外的博物馆、院中珍藏。",[870,913,942,1117,2704,964],"蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd62eeee4764011b2c51b52909de9dad7.jpg","纵220.5厘米 横88厘米",[1029,6],129,{"id":184,"slug":2710,"title":2711,"dynasty":1003,"author":2712,"museum":866,"description":2713,"tags":2714,"thumbUrl":2718,"material":2719,"size":2720,"collection":1029,"collections":2721,"showCount":2708,"zanCount":1218,"manualWeight":903,"mainColor":904},"guan-mu-ji-qin-tu-juan-lin-liang-222447","灌木集禽图卷","林良","林良以画花鸟著称，主体多属富野逸之趣的禽鸟，如苍鹰、芦雁、寒鸦、麻雀、锦鸡、喜鹊等，也喜绘群鸟聚集景象，品类众多，情态各异，极富自然天趣。这幅长卷即为集禽图巨构。\n面画开道为三只麻雀，正展翅飞向丛林，迎面枝头有翠鸟、黄鹂啁啾，似示欢迎。步入林丛枝杈交错，白头翁在枝头成双鸣叫，山喜鹊与山鹧引颈对唱，小山雀则静歇枝上。密林深处展现阔叶灌木和粗劲竹丛，有寒鸦、鹡鸰、麻雀、白头翁、鹌鹑等，成双结对地和鸣、嬉玩，追逐其间。接着斜出几株老松，针叶茂密，成群斑鸠在此活动，一派家族欢聚气氛，然松林深处却有一只苍鹰在窥视，于平和中增添了一分杀气。结尾是荻岸水滨，一对鸬鹚在水面觅食，两只乌鸦涉水行进，另有翠鸟飞栖苇丛间，境界又变为空阔悠闲。\n作品布局采用平面散点的结构手法，移步换形，层层展开，疏密相间，动静结合。禽鸟动态逼真，情状各异，枝叶纵横交错，杂而不乱。古木老树、枯枝落叶已显现出萧索秋意，然群鸟骚动不拘的活泼天性，却使丛林依然充满蓬勃生机。\n此图画法以水墨为主，略施淡彩。禽鸟勾染相间，工写结合，洗练准确，笔简神完。灌木丛林用写意法，然也放而有度，不离规矩。全幅气势宏阔，景象万千，为林良存世的精品巨制。",[869,977,870,871,872,942,1022,1081,2715,2716,978,2717],"灌木","禽鸟","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba587401db7e2d99d630e876f2bb9c0b.jpg","纸本，淡设色","纵34厘米，横1211.2厘米",[1029,6],{"id":185,"slug":2723,"title":2724,"dynasty":864,"author":1048,"museum":909,"description":2725,"tags":2726,"thumbUrl":2732,"material":1401,"size":2733,"collection":899,"collections":2734,"showCount":2708,"zanCount":1218,"manualWeight":903,"mainColor":970},"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。",[869,977,870,1622,942,875,1925,2727,914,916,876,1197,978,1800,2728,883,920,1102,2729,2730,2731],"兼工带写","春景","童子","文人","枝条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca18e870932ac305bd5552c91834635.jpg","纵27.4厘米，横43.1厘米",[899,933,1202,6],{"id":186,"slug":2736,"title":2737,"dynasty":1075,"author":1872,"museum":866,"description":2738,"tags":2739,"thumbUrl":2741,"material":2082,"size":2742,"collection":6,"collections":2743,"showCount":2744,"zanCount":1218,"manualWeight":903,"mainColor":970},"song-zhu-tu-yun-shou-ping-220981","松竹图","《松竹图》轴，本幅右上自题五绝一首并款署：“徒倚白云外，盘桓陶径深。\n相看惟石友，同有岁寒心。\n瓯香馆制，白云溪外史寿平。\n此图所绘松、竹、石是文人画家惯写的题材。\n因恽氏晚年自号“白云溪外史”，题画诗中首句“徒倚白云外”当为实写。\n“盘桓陶径深”出自陶渊明《归去来辞》，表达了作者拟学陶渊明而归隐白云溪之意。\n所绘松竹苍劲秀丽，画面所呈现出的明洁秀逸正是画家晚居时悠然淡逸心境的写照。",[869,870,871,913,942,875,1119,1117,2740,914],"怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac69767522d422b20ffb0fe1c00fbcf.jpg","纵135.8cm，横61.3cm",[6,1188],128,{"id":187,"slug":2746,"title":2747,"dynasty":864,"author":908,"museum":1461,"description":2748,"tags":2749,"thumbUrl":2751,"material":1401,"size":2752,"collection":899,"collections":2753,"showCount":2754,"zanCount":1249,"manualWeight":903,"mainColor":904},"yan-lan-qiu-xiao-tu-fan-kuan-221391","烟岚秋晓图","范宽早年师从荆浩、李成，而能自出机杼。范宽的作品多取材于其家乡陕西关中一带的山岳，雄阔壮美，笔力浑厚。注意写生，多采用全景式高远构图，著名书画家米芾在其《画史》中说“范宽山水，显显如恒岱”。",[869,870,871,872,916,914,875,917,883,921,2750],"秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4500b9eb4cfa21cb904ea04c412212b.jpg","40x603.3cm",[899,933,6],126,{"id":188,"slug":2756,"title":1993,"dynasty":1075,"author":1599,"museum":1035,"description":2757,"tags":2758,"thumbUrl":2759,"material":1746,"size":2760,"collection":933,"collections":2761,"showCount":2762,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[869,870,942,914,913,916,917,883,1799,922],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F805b3fa5f0a2b4668436631477516806.jpg","纵110厘米，横50厘米",[933,6],124,{"id":189,"slug":2764,"title":2003,"dynasty":1075,"author":1958,"museum":1035,"description":2765,"tags":2766,"thumbUrl":2767,"material":1041,"size":1041,"collection":1029,"collections":2768,"showCount":2769,"zanCount":1218,"manualWeight":903,"mainColor":970},"zhu-shi-tu-zhou-zhu-da-236461","朱耷（1626—1705年），明宗室宁献王朱权后裔，封藩南昌，遂为江西南昌人，谱名统『0137』，小名耷。清顺治五年（1648年）落发为僧，法名传綮。一生字、号、别号甚多，有个山、驴屋驴、人屋等。康熙二十三年（1684年）始号八大山人。坎坷的命运影响着他的人生观及艺术思想，其绘画作品多寄托着对清王朝的痛恨，及对明王朝的眷恋之情。他的山水画在宗法元黄公望平淡天真和明董其昌润泽秀逸的基础上形成了自己古拙奇特、劲拔荒率的艺术风格。其花鸟画在参照明代沈周、徐渭等文人画法的同时，又融入自己强烈的主观意识，注重鱼、虫、禽等物象的人格化表现，以象征手法表达隐晦的寓意。借此表达自己作为明皇族后裔，百般无奈的感慨之情。他与同为明遗民画家的石涛、弘仁、髡残合称“清初四僧”。书法宗王献之、颜真卿，淳朴圆润，自成一格。朱耷中晚年，在书画作品款署中多使用“八大山人”。",[870,871,913,942,1022,1117,1118,964,962],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8f836ef9cd8492d7bd9c07df16cc664.jpg",[1029,6],123,{"id":190,"slug":2771,"title":2772,"dynasty":864,"author":974,"museum":909,"description":2773,"tags":2774,"thumbUrl":2779,"material":949,"size":2780,"collection":899,"collections":2781,"showCount":2769,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[869,977,870,942,913,916,1197,2775,2776,2777,2778,876,878,879,961,874],"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",[899,933,6],{"id":191,"slug":2783,"title":2784,"dynasty":864,"author":1142,"museum":909,"description":2785,"tags":2786,"thumbUrl":2789,"material":930,"size":2790,"collection":899,"collections":2791,"showCount":2769,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[870,871,913,942,914,916,1066,2787,2788,878,879,917,883],"泉水","磐石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab46279c4e10e9f75620f23fefae0de6.jpg","160.3x96.8cm",[899,933,6],{"id":192,"slug":2793,"title":2794,"dynasty":957,"author":989,"museum":909,"description":2795,"tags":2796,"thumbUrl":2799,"material":1287,"size":2800,"collection":933,"collections":2801,"showCount":2802,"zanCount":1218,"manualWeight":903,"mainColor":904},"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。",[869,870,871,913,942,916,914,2797,2798,878,879,883,917,876,894],"深林","叠嶂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04af7491da242fe3e6e5e4e5e92f4e9e.jpg","68.7x42.5",[933,6],122,{"id":193,"slug":2804,"title":2805,"dynasty":1003,"author":1004,"museum":866,"description":2806,"tags":2807,"thumbUrl":2809,"material":1245,"size":2810,"collection":933,"collections":2811,"showCount":2812,"zanCount":1218,"manualWeight":903,"mainColor":970},"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。",[869,870,871,872,942,916,914,962,964,921,883,1102,1507,2808],"平野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc79ab75a5ee8c8a6a86fe7bdb89e6409.jpg","纵25.2厘米，横105.8厘米",[933,6],121,{"id":194,"slug":2814,"title":2815,"dynasty":1003,"author":1641,"museum":909,"description":2816,"tags":2817,"thumbUrl":2819,"material":930,"size":1041,"collection":933,"collections":2820,"showCount":2812,"zanCount":903,"manualWeight":903,"mainColor":904},"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",[869,870,871,913,942,914,916,1007,1025,1008,1119,945,979,2818],"岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc897e2980b28ca1fb5a57c61fadbb250.jpg",[933,6],{"id":195,"slug":2822,"title":2823,"dynasty":864,"author":1048,"museum":1099,"description":2824,"tags":2825,"thumbUrl":2826,"material":875,"size":2827,"collection":899,"collections":2828,"showCount":2829,"zanCount":1218,"manualWeight":903,"mainColor":904},"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”。",[869,870,871,913,875,916,876,914,1066,917,2729,2730,1623,1053,1009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa6f346761d8847499876d6085320103.jpg","纵122厘米，横52.7厘米",[899,933,6],119,{"id":196,"slug":2831,"title":2832,"dynasty":957,"author":1181,"museum":990,"description":2833,"tags":2834,"thumbUrl":2835,"material":2440,"size":2836,"collection":6,"collections":2837,"showCount":2829,"zanCount":1218,"manualWeight":903,"mainColor":1191},"song-shi-tu-zhou-wu-zhen-220776","松石图轴","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。在创作思想上继承北宋末年文同、苏轼、米芾等人的文人画理论，提倡遗貌求神，以简逸为上，追求古意和士气，重视主观意兴的抒发。与宋代院体画的刻意求工、注重形似大相径庭，形成鲜明的时代风貌，也有力地推动了后世文人画的蓬勃发展。在元代短短90余年内，画坛名家辈出，其中以赵孟頫、钱选、高克恭、王渊等和号称元四家的黄公望、吴镇、倪瓒、王蒙最负盛名。\n《松石图》凸现在视野中心的只是一棵松树，然而他画的不是直立挺拔的苍松，而是一株干如弯弓，枝干倒长的怪松，它巍然挺立，雄视万物，表现出一种世俗难以羁绊、常人难以匹敌的气慨。它的孤傲、不同凡俗正是吴镇抗怀孤德个性的自喻。\n国家文物鉴定委员会委员、国家文物局文物鉴定资格审核委员、故宫博物院研究员杨臣彬，徐邦达先生入室大弟子,精擅古书画鉴定。上世纪八十年代在民间收藏中发现吴镇《松石图》。《松石图》名款为“梅花道人墨戏”，铃印“梅花庵”、“嘉兴吴镇仲圭书画记”，系清宫旧藏之物。一古松的枝杆横卧上方，松下有湖石水草，构图呈上下两段，留出大片空白，各自为阵且互有联系。用浓墨在树石上点苔，浓重厚密。树石用笔倔强刚劲而不张扬外露，多用中锋，沉着老到，得古松苍劲之质，古松虽老，但无枯涩之感，干淡的用笔不失腴润，墨法鲜活，鲜嫩的水草和斑驳粗重的古松形成鲜明对比。",[869,977,870,871,913,942,914,1119,1118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5441b5aa161a241633f08c79149ce2db.jpg","122.44x46cm",[6,1188],{"id":197,"slug":2839,"title":2840,"dynasty":1075,"author":2841,"museum":1077,"description":2842,"tags":2843,"thumbUrl":2844,"material":1068,"size":1041,"collection":933,"collections":2845,"showCount":2829,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[1211,942,963,962,916,1146,917,2130,964,914],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35a214c726747716788dfbbb381e5298.jpg",[933,6],{"id":198,"slug":2847,"title":2848,"dynasty":1003,"author":2649,"museum":866,"description":2849,"tags":2850,"thumbUrl":2851,"material":930,"size":2852,"collection":933,"collections":2853,"showCount":2854,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[869,870,942,914,916,913,883,917,876,879],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff633694d671ff94560b7fe877887ca21.jpg","纵159厘米，横84.3l厘米",[933,6],118,{"id":199,"slug":2856,"title":2857,"dynasty":864,"author":1048,"museum":909,"description":2858,"tags":2859,"thumbUrl":2861,"material":2862,"size":2863,"collection":899,"collections":2864,"showCount":2854,"zanCount":1249,"manualWeight":903,"mainColor":904},"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。",[869,870,977,871,942,875,914,876,2033,2860,1146,917,922,2517],"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",[899,933,6],{"id":200,"slug":2866,"title":2867,"dynasty":957,"author":1063,"museum":909,"description":2868,"tags":2869,"thumbUrl":2870,"material":995,"size":2871,"collection":6,"collections":2872,"showCount":2854,"zanCount":903,"manualWeight":903,"mainColor":904},"gu-mu-zhu-shi-tu-zhou-ni-zan-220792","古木竹石图轴","《古木竹石图轴》绘坡石间疏竹数丛，枯树两株，笔墨浓淡相间，富有层次感，境界清旷，意境简远，呈现出一片清静幽远的气象。画轴上方有元明余诠、唐肃、高巽志、于思缉、张简、吴卢充、王璲等七处题诗。",[869,870,871,913,942,914,1009,1117,1053,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F575c01e50d18d2d517bef35aebf5ff48.jpg","47x27.4",[6,1188],{"id":201,"slug":2874,"title":2875,"dynasty":1075,"author":2876,"museum":1035,"description":2877,"tags":2878,"thumbUrl":2879,"material":1041,"size":1041,"collection":1029,"collections":2880,"showCount":2881,"zanCount":1218,"manualWeight":903,"mainColor":970},"xu-gu-san-yu-tu-zhou-xu-gu-236537","虚谷三鱼图轴","虚谷","虚谷（1824—1896年），姓朱，名怀仁，出家为僧后以虚谷名，号紫阳山民、倦鹤等，祖籍安徽新安（今歙县），寓居扬州、苏州、上海等地，卖画为生。能诗擅画，工于书法，尤以善绘瓜果鱼蔬、人物、山水等为人称道。喜用枯笔焦墨，具有拙于外秀于内的笔墨特征。与任颐、胡公寿等交往密切，是晚清著名的海上名家。",[870,871,913,875,2161,2162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F322ba8e10765708da950451e20edb9d5.jpg",[1029,6],117,{"id":202,"slug":2883,"title":2884,"dynasty":1075,"author":1599,"museum":1128,"description":2885,"tags":2886,"thumbUrl":2888,"material":995,"size":2889,"collection":933,"collections":2890,"showCount":2881,"zanCount":1249,"manualWeight":903,"mainColor":904},"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。",[869,870,942,914,913,916,917,883,918,2887,979,879,878],"飞泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff27b66fa0f3b8cdccbe70dc2ab8e964d.jpg","纵273厘米，横99厘米",[933,6],{"id":203,"slug":2892,"title":2893,"dynasty":1075,"author":1549,"museum":866,"description":2894,"tags":2895,"thumbUrl":2896,"material":2897,"size":2898,"collection":1029,"collections":2899,"showCount":2900,"zanCount":1218,"manualWeight":903,"mainColor":970},"mu-dan-shui-xian-tu-zhou-wu-chang-shuo-236754","牡丹水仙图轴","图中牡丹以没骨积染法刻画，笔致潇洒飘逸，水与墨、色有机地交融，表现出牡丹旺盛的生命力和贵而不骄、艳而不俗的神韵。水仙以白描双勾法刻画，其不着一色的叶片与浓艳的牡丹相比具有洗尽铅华始见真的淡雅之美。生机勃发的牡丹和水仙营造出喜庆祥和的氛围，成功地表达了作者以此图祝福长辈健康长寿的主题，当属吴昌硕花卉画的代表作之一。",[870,913,942,1022,1352,1569,1009,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8e4f3d78148a5c14ce790f58f1d5d01.jpg","洒金，设色","纵174.7厘米，横47.5厘米",[1029,6],115,{"id":204,"slug":2902,"title":2903,"dynasty":957,"author":2188,"museum":990,"description":2904,"tags":2905,"thumbUrl":2906,"material":1245,"size":2907,"collection":6,"collections":2908,"showCount":2900,"zanCount":1249,"manualWeight":903,"mainColor":970},"mo-zhu-tu-juan-ke-jiu-si-221832","墨竹图卷","元代伯颜不花题记：予旧藏东坡枯木丛竹一小卷，每闲暇，于明窗净几间，时复展玩，不觉尘虑顿消，颇得佳趣耳。 一日，友人赠我文湖州墨竹一枝，与坡仙画枯木图高下一般，不差分毫， 喜曰：此天成配偶也！如张华之雄剑遇雷焕之雌剑， 遂合于延平之津，神物有对，终必合也，此卷亦然。遂粘为一卷， 名曰：二妙事岂偶然哉？至正十五年岁在乙未十月上浣，高昌伯颜不花苍岩谨识。济南邢侗子愿鉴定。",[869,870,871,872,942,1117,962,963,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc715dfe5b99d815d10e9ee48591023.jpg","纵23.4厘米，横87厘米",[6,1188],{"id":205,"slug":2910,"title":1993,"dynasty":864,"author":974,"museum":1495,"description":2911,"tags":2912,"thumbUrl":2913,"material":2914,"size":2915,"collection":899,"collections":2916,"showCount":2900,"zanCount":903,"manualWeight":903,"mainColor":904},"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",[869,870,942,916,914,883,917,979,1886,876],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ab5472f3ba598d3a5927e16ecc79efb.jpg","绢本 水墨","25.9×34.3厘米",[899,933,6],{"id":206,"slug":2918,"title":2919,"dynasty":864,"author":2920,"museum":909,"description":2921,"tags":2922,"thumbUrl":2924,"material":875,"size":2925,"collection":899,"collections":2926,"showCount":2900,"zanCount":903,"manualWeight":903,"mainColor":970},"hu-xiang-xue-bu-tu-juan-zhao-ling-rang-221227","湖乡雪捕图卷","赵令穰","此作用淡墨晕染出江南雪后的萧寒清寂，以留白衬出遍野积雪，坡岸沙洲覆着薄雪，汀渚逶迤向远，尽显平远小景的幽旷淡荡。\n枯木虬枝错落，竹丛清劲挺拔，林间茅舍隐现，不见村人渔事，只留空寂的雪色天地。笔法温婉秀雅，淡墨轻勾慢染，不着浓艳重彩，将冬日湖乡的静谧空濛晕染开来，不取雄奇壮阔之景，只以细碎小景铺就幽寂诗意，把江南雪后的雅致清寒娓娓铺展，尽显淡远萧散的文人逸趣，是小景山水里的绝佳逸品。",[869,977,870,872,942,875,916,2517,1146,1623,917,1979,914,2923,1508],"雪地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a702fe2585679e8059dde2bea057470.jpg","25.9x161.7",[899,933,6],{"id":207,"slug":2928,"title":2929,"dynasty":1003,"author":1641,"museum":866,"description":2930,"tags":2931,"thumbUrl":2932,"material":1068,"size":2933,"collection":933,"collections":2934,"showCount":2900,"zanCount":903,"manualWeight":903,"mainColor":970},"fang-ju-ran-shan-shui-tu-dong-qi-chang-220096","仿巨然山水图","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。\u2028　　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。",[869,870,916,942,914,1309,962,963,964,1007,1008,1066,993,1800,945,2517],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67492efb0d8fa7648850e9c9e7471a69.jpg","纵101.7厘米，横46.7厘米",[933,6],{"id":208,"slug":2936,"title":2937,"dynasty":864,"author":2198,"museum":2938,"description":2939,"tags":2940,"thumbUrl":2941,"material":1068,"size":2942,"collection":6,"collections":2943,"showCount":2900,"zanCount":1218,"manualWeight":903,"mainColor":970},"liu-zu-si-jing-tu-liang-kai-219188","六祖撕经图","三井纪念美术馆","画面上六祖慧能大师手拿撕坏的佛经， 疾步狂呼，张着脖子歇斯底里的模样。 画家把六祖藐视宗教旧传统时这种玩世不恭的狂态，用干枯的焦墨勾线表现得淋漓尽致。画面笔触方折细劲，僧衣用线简括削劲，松针、树枝用笔爽利干净，眉眼五官和经卷则以淡墨略作勾画，六祖慧能撕经时狂颠和玩世不恭的神态已跃然纸上。",[869,870,871,977,913,942,2201,876,1146,1453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8195d6c6a142b8cfd17fc7dbb04a9365.jpg","70x30.3厘米",[6],{"id":209,"slug":2945,"title":2946,"dynasty":957,"author":2947,"museum":909,"description":2948,"tags":2949,"thumbUrl":2951,"material":981,"size":2952,"collection":933,"collections":2953,"showCount":2954,"zanCount":1218,"manualWeight":903,"mainColor":970},"qiu-jiang-dai-du-tu-zhou-sheng-mao-221759","秋江待渡图轴","盛懋","《秋江待渡图》以两段式深远构图法画近树繁茂，远山起伏，中间澄江如练，芦雁惊飞，风吹树杪，一派清秋气氛。岸上一年老儒者携书童坐地待渡，江中一舟载客摇橹而来，意境清幽。画法略近董源，用笔疏简尖硬，是盛氏代表佳作。\n盛懋创作山水画大多采用深远法、或是高远法，画作清淡素雅，笔法笔墨却也显得较为圆熟。《秋江待渡图》以其浓淡交融的笔墨展现了极为幽静的远山近水景致，构图均衡，树木近景与远山远景形成了上下两段景致，看上去隔着成片留出“空白”的江水却也没有绝然分开的感觉。",[869,870,942,914,913,962,916,883,917,961,978,1886,1102,2950,1875,964],"岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa83624ed7642a9ada118ca442a0f4a1e.jpg","纵112.5厘米，横46.3厘米",[933,6],114,{"id":210,"slug":2956,"title":2957,"dynasty":864,"author":1048,"museum":1495,"description":2958,"tags":2959,"thumbUrl":2960,"material":1401,"size":2961,"collection":899,"collections":2962,"showCount":2954,"zanCount":903,"manualWeight":903,"mainColor":904},"lin-he-jing-mei-hua-tu-ma-yuan-221528","林和靖梅花图","孤山已无吟诗处，\n西湖仍有处处枝。\n疏影高士横卧看，\n红日半斜香风迟。",[869,870,871,942,875,874,914,876,916,1080,1927,1118,1117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcda8f28fa7dbe93178e2179ff242a9b.jpg","24.5×38.6cm",[899,1029,6],{"id":211,"slug":2964,"title":2965,"dynasty":1003,"author":2966,"museum":1035,"description":2967,"tags":2968,"thumbUrl":2976,"material":1055,"size":2977,"collection":1202,"collections":2978,"showCount":2979,"zanCount":1218,"manualWeight":903,"mainColor":904},"gu-dai-shi-nv-li-zhou-chou-ying-222199","古代仕女立轴","仇英","图绘后院内芭蕉高大粗壮，叶片宽大下垂，一叶叶尖和中部开裂真实自然，与湖石相依成景；两位仕女头梳高髻，手执团扇，低垂的眼睑，手托下巴，或为情所困，或他事烦恼。画右侧题“实父仇英制”和印章一枚。",[869,2969,870,871,913,874,875,2970,876,2971,2972,2973,2974,2975],"明代","仕女","芭蕉","庭院","石阶","栏杆","古装服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3009f0a28946d85c8a86a50a39f771cf.jpg","95×38cm",[1202,6],113,{"id":212,"slug":2981,"title":1993,"dynasty":1075,"author":1549,"museum":2262,"description":2982,"tags":2983,"thumbUrl":2984,"material":942,"size":1041,"collection":6,"collections":2985,"showCount":2979,"zanCount":903,"manualWeight":903,"mainColor":970},"shan-shui-tu-wu-chang-shuo-219104","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”",[869,870,942,914,916,917,883,1117,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0488d490bb0bcbb1636d1d5c2802d4f.jpg",[6],{"id":213,"slug":2987,"title":2988,"dynasty":957,"author":2989,"museum":866,"description":2990,"tags":2991,"thumbUrl":2996,"material":1245,"size":2997,"collection":933,"collections":2998,"showCount":2999,"zanCount":1109,"manualWeight":903,"mainColor":970},"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。",[869,870,871,872,942,914,964,916,1008,1053,961,1080,917,1886,1894,876,2992,2818,993,2130,2129,1066,1146,1540,2993,2994,2995,2717],"远岫","船只","山间","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ad6676a3f8f4d776bd2cf92396b87c9.jpg","纵30cm，横52.8cm",[933,6],111,{"id":214,"slug":3001,"title":3002,"dynasty":957,"author":3003,"museum":1128,"description":3004,"tags":3005,"thumbUrl":3007,"material":3008,"size":3009,"collection":1029,"collections":3010,"showCount":2999,"zanCount":903,"manualWeight":903,"mainColor":970},"hua-niao-tu-juan-qian-xuan-221715","花鸟图卷","钱选","第一段桃花翠鸟，画一枝春桃花繁叶茂，枝头站立一只通体羽毛幽蓝的翠鸟，小鸟身体直立，极目远眺，正是鸟儿振翅起飞前的瞬间写照。第二段牡丹，画一束绿叶中，盛开着两朵淡粉的牡丹，叶子向左下微垂，似有阵阵清风掠过。第三段干枝梅，画一棵梅枝垂挂而下，错节的大小梅枝上许多梅花盛开。钱选画花鸟善于捕捉实景中最生动自然的情形，形态逼真富有情趣，此卷正是钱选这一画风的充分体现。图画设色淡雅清丽，精巧传神，洋溢着隽秀清高之美，构图虽简，但更显画家的技法精湛。\n如此形象准确，神态生动，笔力遒劲的得意之作，钱选自然要赋诗题上。在每段画的后面，都有钱选自题的七言诗一首。第一段和第三段的题诗已漫漶不能全识，第二段题诗如下：头白相看春又残，折花聊助一时欢。东君命驾归何连，犹有余情在牡丹。题诗以行楷书写，含蓄内敛、平淡天真，严谨而朴拙，颇有钟繇遗风。画卷诗情画意相得益彰，为钱选花鸟画的至精之作。卷尾署“至元甲午画于太湖之滨并题，习懒翁钱选舜举”。可知这是钱选晚年所作，正值钱选诗书画印诸艺炉火纯青之时。",[869,870,871,872,875,874,1081,3006,1352,2118],"桃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38ccc0a162c10a33940263f3fc4a9708.jpg","纸本 设色","纵38厘米 横316.7厘米",[1029,6],{"id":215,"slug":3012,"title":3013,"dynasty":864,"author":1698,"museum":909,"description":3014,"tags":3015,"thumbUrl":3018,"material":1055,"size":3019,"collection":899,"collections":3020,"showCount":2999,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[869,872,874,914,942,875,963,3016,964,916,961,3017,883,917,1895],"楷书","江景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1036396b87433672d8f6f1cab8e3a99f.jpg","纵30.3厘米，横190.8厘米",[899,933,6],{"id":216,"slug":3022,"title":3023,"dynasty":1003,"author":3024,"museum":909,"description":3025,"tags":3026,"thumbUrl":3027,"material":1068,"size":3028,"collection":933,"collections":3029,"showCount":2999,"zanCount":1218,"manualWeight":903,"mainColor":970},"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。",[869,870,871,942,914,916,917,883,1800,1102,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a18ec46e445f532bd8e15851f452eb0.jpg","纵127．3厘米，横66．3厘米",[933,6],{"id":217,"slug":3031,"title":3032,"dynasty":1003,"author":1641,"museum":866,"description":3033,"tags":3034,"thumbUrl":3035,"material":1068,"size":3036,"collection":933,"collections":3037,"showCount":3038,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[869,870,871,872,942,1309,963,962,914,964,916,944,883,921,894],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ff6dd2e58bbe82d29a2c53847ed8eb.jpg","23.7x75.4cm",[933,6,1204],110,{"id":218,"slug":3040,"title":3041,"dynasty":1003,"author":2649,"museum":909,"description":3042,"tags":3043,"thumbUrl":3044,"material":981,"size":3045,"collection":1202,"collections":3046,"showCount":3047,"zanCount":1249,"manualWeight":903,"mainColor":970},"yin-he-tu-tang-yin-222366","饮鹤图","《六如居士饮鹤图》画中主人公山中给鹤饮水一事。右侧，有唐寅的题字，为唐寅传世不多的精品之作。历史上的唐伯虎尽管才华出众，有理想抱负，是位天才的画家，但他那愤世嫉俗的狂傲性格不容于这个社会。他一生坎坷，最后潦倒而死，年仅54岁。他临终时写的绝笔诗就表露了他刻骨铭心的留恋人间而又愤恨厌世的复杂心情：“生在阳间有散场，死归地府又何妨。阳间地府俱相似，只当飘流在异乡。”",[869,870,872,942,914,962,964,916,1066,876,2608,918,945],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5ec58d2f56c2e7c9e604b90f864ec56.jpg","30x210",[1202,6],109,{"id":219,"slug":3049,"title":3050,"dynasty":957,"author":1631,"museum":2541,"description":3051,"tags":3052,"thumbUrl":3053,"material":3054,"size":3055,"collection":1029,"collections":3056,"showCount":3047,"zanCount":903,"manualWeight":903,"mainColor":970},"er-yang-tu-zhao-meng-fu-220827","二羊图","图中画一羊低头吃草，一羊昂首瞻望，周围不着背景。构图空疏，应是受到唐、宋家的影响。此画为赵孟頫除马以外惟一绘有走兽的作品。\n图中画一羊低头吃草，一羊昂首瞻望，周围不着背景。右面的山羊张口睁目，尾巴上翘，身子向右而头部朝左，背部线条自然弯曲，羊毛轻软直长，描绘工细。左面的绵羊昂首而立，身躯朝左，头部右车毛卷而短。全图纯用水墨画出，却显色斑斓之状。构图空疏，应是受到唐、宋家的影响。此画为赵孟頫除马以外惟一绘有走兽的作品。\n右边是一只瘦劲的黑山羊，身躯朝右，头部向左，身上又长又直的羊毛画得非常工细，两旁的毛轻软地垂下来。背部线条自然弯曲，描绘工细。黑山羊尾巴上翘，低首蓄势，显得浑身是劲。\n左侧是一只肥硕的绵羊，身躯朝左，头部右转。身上覆着卷毛，以不同色调的墨画出。四条瘦小的腿支撑着身躯，其中三条腿直立，一条则微弯。绵羊昂首而立，从容自若地注视着旁边山羊。\n从画面来看，两羊体表特征差异最明显的是羊毛，山羊毛长而浓密，绵羊毛则短而稀疏。两羊站立的姿势相对，身躯相反。头部的回转呼应，使二者产生密切联系。山羊俯视，绵羊昂首，形成上下对应。山羊蓄势待发，有动感；绵羊神态安详，显得静穆，一动一静，意趣横生。\n此画所绘两羊特点突出、个性鲜明。山羊的毛质通过笔墨的干湿和浓淡加以区分，羊身体各部，如头、耳、眼、双角和四足，都用不同的笔法来强调。两羊的绘画手法，显示出画家熟练的传统画技巧。\n画中除两只羊外，没有任何背景衬托，构图与唐代韩滉《五牛图》颇为类似。赵孟頫或摄取《五牛图》的艺术手法，巧妙吸取了唐画的精致之处。",[869,870,871,872,942,1520,964,963],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F712ee4f1fd52c8bf9bf5e327740aaa14.jpg","纸本 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，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。",[869,870,871,942,914,963,964,913,916,883,878,879,917],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10860b979500f162ed912af1de7ff67.jpg","纵：154.4厘米，横：64.2厘米",[933,6],{"id":233,"slug":3180,"title":3181,"dynasty":957,"author":3182,"museum":1254,"description":3183,"tags":3184,"thumbUrl":3186,"material":1226,"size":3187,"collection":1202,"collections":3188,"showCount":3170,"zanCount":1218,"manualWeight":903,"mainColor":904},"zhong-kui-yue-ye-chu-you-tu-yan-hui-220366","钟馗月夜出游图","颜辉","颜辉，字秋月，庐陵(今江西吉安)人；—作江山(今浙江)人。擅人物、佛道，亦工鬼怪，兼能画猿。其造型奇特，用笔虽见刻露，却笔法怪异，有生动传神之趣。大德(1297-1307)间尝画辅I，匝宫壁。所作《李仙像》，绢本着色，衣纹粗笔勾染，鬓发细笔勾描，主线粗，副线细，笔势转折富于变化，开明初吴伟画法之先河。传世作品有《中山出猎图》轴，图录于《故宫书画集》，《钟馗月夜出游图》现藏美国克利夫兰美术馆。\n关于元代画家颜辉的生平，画史上记载很少，仅《图绘宝鉴》中略有提及他擅画道释人物。明代吴宽《匏翁家藏集》中谓其“画鬼尤工，笔法奇崛，有八面生动之意”。颜辉还兼擅山水，画风有李成、郭熙的遗韵。",[869,977,870,871,872,1224,942,876,1927,3185,1520],"兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbb1ea86b91ff3415a751ad1b0b59ac4.jpg","24.8X240.3",[1202,6],{"id":234,"slug":3190,"title":3191,"dynasty":864,"author":908,"museum":909,"description":3192,"tags":3193,"thumbUrl":3197,"material":930,"size":3198,"collection":899,"collections":3199,"showCount":3200,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[869,977,870,871,913,914,942,916,3194,3195,945,920,883,3196],"秋林","飞瀑","山林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1ab091b4703f6d101e17af7a9a05d6d.jpg","纵：181厘米，横：99.5厘米",[899,933,6],103,{"id":235,"slug":3202,"title":3203,"dynasty":957,"author":1063,"museum":1461,"description":3204,"tags":3205,"thumbUrl":3207,"material":930,"size":3208,"collection":933,"collections":3209,"showCount":3200,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[869,870,871,913,942,1622,914,1146,1053,1009,916,1102,3206],"江水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf5097983d71d8d65fc091e89e3fc840.jpg","259.7 x 56.5厘米",[933,6],{"id":236,"slug":3211,"title":3212,"dynasty":1075,"author":1958,"museum":1035,"description":2116,"tags":3213,"thumbUrl":3215,"material":1041,"size":1041,"collection":1029,"collections":3216,"showCount":3217,"zanCount":1218,"manualWeight":903,"mainColor":904},"jiao-lu-tu-zhou-zhu-da-237923","蕉鹿图轴",[870,913,942,1022,1520,3214,2704],"鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F232ee521beeb95700367cfecb5b3cbb7.jpg",[1029,6],102,{"id":237,"slug":3219,"title":3220,"dynasty":957,"author":1181,"museum":909,"description":3221,"tags":3222,"thumbUrl":3223,"material":981,"size":3224,"collection":6,"collections":3225,"showCount":3217,"zanCount":903,"manualWeight":903,"mainColor":904},"zhu-shi-tu-ye-wu-zhen-220781","竹石图页","吴镇师承方面，于董源、巨然所得最多。其实董源、巨然并不是文人画家，但由于他们生活在江南，表现江南山川，创造了平淡天真、苍茫浑厚的山水画风，恰到好处地表现了山川之气韵，这种气韵正是宋代以后文人画家所梦寐以求的。从米芾开始，董巨画风开始受到青睐，延及赵孟頫、元四家，董巨画风大受推崇，整个元代山水画坛大多以董巨为依归，力求韵外之致。吴镇对董巨是下过很深的功夫的，他自己说：“董源画《寒林重汀图》，笔法苍劲，世所罕见，因观其真迹，摹其万一。”",[869,977,870,942,914,1211,1117,1118,1009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefe30f4d3ae723c1fb823e512d8473ef.jpg","本幅 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61.3公分",[6,1188],{"id":238,"slug":3227,"title":3228,"dynasty":957,"author":1063,"museum":866,"description":3229,"tags":3230,"thumbUrl":3241,"material":1105,"size":3242,"collection":933,"collections":3243,"showCount":3244,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[869,870,942,916,1066,3231,3232,3233,878,917,914,2365,3234,3235,3236,3237,3238,3239,3240,962],"溪涧","幽谷","寒泉","渴笔","逸品","荒寒","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",[933,6],101,{"id":239,"slug":3246,"title":1376,"dynasty":1003,"author":1641,"museum":866,"description":3247,"tags":3248,"thumbUrl":3249,"material":1055,"size":3250,"collection":933,"collections":3251,"showCount":3252,"zanCount":1218,"manualWeight":903,"mainColor":970},"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。",[869,870,942,914,913,916,979,1146,918,917,920,894],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff039a744060007272b38d2af34273261.jpg","纵154.1cm，横64.3cm.",[933,6],98,{"id":240,"slug":3254,"title":3255,"dynasty":1003,"author":1283,"museum":1128,"description":3256,"tags":3257,"thumbUrl":3258,"material":1068,"size":1041,"collection":1204,"collections":3259,"showCount":3252,"zanCount":1109,"manualWeight":903,"mainColor":970},"song-li-yuan-gui-pan-gu-xu-wen-zheng-ming-219983","送李愿归盘谷序","此作为书画合璧的精品，八十四岁高龄所作小楷清劲秀丽，笔力沉实端雅，尽显晋唐小楷隽雅遗韵，文辞古朴高逸。\n\n山水取全景式构图铺展盘谷幽境，山峦层叠起伏，林木蓊郁苍秀，村居错落排布于河畔幽谷之间，笔墨温润雅致，将文中林泉隐逸的恬淡幽寂意境具象还原，尽显吴门画派清雅风神。书画相得益彰，将文章里的隐逸雅趣与文人林下襟怀尽数铺陈。",[869,870,871,872,3016,962,942,914,916,883,894,889,944,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47372cf13dcfe47c86dc4aa3bbc2f0d0.jpg",[1204,6],{"id":241,"slug":3261,"title":3262,"dynasty":1003,"author":3263,"museum":1820,"description":3264,"tags":3265,"thumbUrl":3266,"material":1068,"size":3267,"collection":1202,"collections":3268,"showCount":3252,"zanCount":903,"manualWeight":903,"mainColor":904},"liu-min-tu-wu-wei-219507","流民图","吴伟","“流民图”这个概念，可以追溯至文献中记载的北宋郑侠《流民图》，也即一种讽喻社会阴暗面的政治寓言。",[869,977,870,871,872,942,1224,876,916,883,917],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65ee54b264cb8fd4942f81dde5e61dca.jpg","纵38.5横546.5厘米",[1202,6],{"id":242,"slug":3270,"title":3271,"dynasty":864,"author":3272,"museum":2541,"description":3273,"tags":3274,"thumbUrl":3275,"material":930,"size":3276,"collection":899,"collections":3277,"showCount":3278,"zanCount":903,"manualWeight":903,"mainColor":904},"zhong-li-fang-dao-tu-li-zhou-jing-hao-226547","钟离访道图立轴","荆浩","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。",[869,870,871,913,916,942,914,944,883,918,921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbfeda2c3d81e5d88a5c1c4a715b747f.jpg","147×74.8厘米",[899,933,6],97,{"id":243,"slug":3280,"title":3281,"dynasty":957,"author":1063,"museum":866,"description":3282,"tags":3283,"thumbUrl":3284,"material":1245,"size":3285,"collection":6,"collections":3286,"showCount":3287,"zanCount":903,"manualWeight":903,"mainColor":904},"wu-zhu-xiu-shi-tu-ni-zan-220798","梧竹秀石图","《梧竹秀石图》绘湖石挺立，高梧疏竹映带左右。树干和秀石行笔匆匆急就，以阔笔湿墨描绘梧叶，虽是“逸笔草草，不求形似”之作，却颇得苍润淋漓之墨趣，别开生面。\n图中画梧桐一株，疏竹数竿，湖石平坡，间以涓涓细流。与以往画家惯用干淡松秀笔墨表现不同的是，全画用大胆的墨笔写成，颇具苍润淋漓之妙。梧叶用阔笔、湿墨侧抹而出，莽苍超忽，而清阴如覆；树干、秀石的表现亦以侧笔写成，湖石用浓墨皴出，其浑厚有北苑之意。这幅画为倪瓒画风成熟期少见的变体之作。画家通过对墨色浓淡、干湿的运用，使画面极富层次感。梧桐、竹石的表现与宋院体画讲究写真、追求形似相比已颇有变化，更突出了笔墨对自我性灵的抒发。正合《艺苑卮言》中云：“山水以气韵为主，形模寓乎其中。”草草点染而又不改物形的矛盾，倪瓒在此图中将其处理得恰到好处。",[869,977,870,942,913,1117,1355,1009,963,964,1022],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed2c141173efcc16d73f1e7f7f7cf9c1.jpg","纵96cm，横36.5cm",[6,1188],96,{"id":244,"slug":3289,"title":3290,"dynasty":957,"author":1181,"museum":1461,"description":3291,"tags":3292,"thumbUrl":3295,"material":995,"size":3296,"collection":933,"collections":3297,"showCount":3287,"zanCount":1109,"manualWeight":903,"mainColor":970},"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。",[869,870,871,942,914,1022,916,961,879,883,1875,3293,1038,3294,1886],"渔翁","滩涂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa87a6f1b399c367170da229c11d740f5.jpg","39x65",[933,6],{"id":245,"slug":3299,"title":3300,"dynasty":1003,"author":2649,"museum":866,"description":3301,"tags":3302,"thumbUrl":3303,"material":2719,"size":3304,"collection":933,"collections":3305,"showCount":3306,"zanCount":1249,"manualWeight":903,"mainColor":970},"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。",[869,870,871,913,942,914,963,1080,917,876,1146,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F709e091fe9b41a1555692ca92f23e3f6.jpg","纵108.6厘米，横34.5厘米。",[933,6],95,{"id":246,"slug":3308,"title":3309,"dynasty":864,"author":3310,"museum":1461,"description":3311,"tags":3312,"thumbUrl":3313,"material":875,"size":3314,"collection":899,"collections":3315,"showCount":3306,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[869,870,977,872,875,914,916,1066,979,881,876,1102,921,918],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc8f70601233fd8feaa8e2ebbb9c268.jpg","26.7×142.2 cm",[899,933,6],{"id":247,"slug":3317,"title":3318,"dynasty":1075,"author":2362,"museum":1035,"description":3319,"tags":3320,"thumbUrl":3322,"material":1041,"size":1041,"collection":933,"collections":3323,"showCount":3324,"zanCount":903,"manualWeight":903,"mainColor":970},"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》。",[870,871,942,914,1211,963,964,916,1009,3321,918,1007,1025,883],"悬崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcb1183d2ee5a491bd53c0b3d5ea7ad3.jpg",[933,6],94,{"id":248,"slug":3326,"title":3327,"dynasty":957,"author":989,"museum":909,"description":3328,"tags":3329,"thumbUrl":3331,"material":1287,"size":3332,"collection":933,"collections":3333,"showCount":3324,"zanCount":1218,"manualWeight":903,"mainColor":970},"dong-shan-cao-tang-tu-wang-meng-220806","东山草堂图","《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。",[869,870,942,875,914,916,883,1066,917,1508,920,944,894,3330,1474,1800],"崖壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18bd6ec16eba615a58d99aa211fdc5e2.jpg","纵111.4cm，横86.1cm",[933,6],{"id":249,"slug":3335,"title":3336,"dynasty":1155,"author":3337,"museum":1495,"description":3338,"tags":3339,"thumbUrl":3341,"material":995,"size":3342,"collection":1202,"collections":3343,"showCount":3344,"zanCount":1218,"manualWeight":903,"mainColor":970},"er-zu-diao-xin-tu-shi-ke-221178","二祖调心图","石恪","画面展现了两个禅定状态的高僧。其一，头枕屈臂，趴在一只睡虎身上，脸部的五官挤压在一起，呈现了睡眠的神态。其二，弯臂以手托腮，依在自己的右腿上，同样表现了睡眠的神态。但两者有所不同。前者全身依托于睡虎，可谓“沉睡入泥”，生动地表现了高僧达到了酣睡入梦、超脱一切的禅定境地。而后者的头躯则是依托于自身的支撑，入微地表现了高僧若有所思、静心似睡的禅定状态。简而言之，前者突出了一个“静”字，而后者则突出了一个“酣”字。\n《二祖调心图》在表现手法上“删繁就简”，“虚实相生”，“无画处皆成妙境”，正是道家精神的体现。",[869,977,870,871,942,1453,876,1520,1022,3340],"简笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a98bd3b86105555a71ed545d41d263.jpg","纵35.5厘米，横129厘米",[1202,6],93,{"id":250,"slug":3346,"title":3347,"dynasty":1075,"author":1599,"museum":990,"description":3348,"tags":3349,"thumbUrl":3351,"material":3352,"size":3353,"collection":933,"collections":3354,"showCount":3355,"zanCount":1218,"manualWeight":903,"mainColor":970},"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。",[869,870,942,914,1211,916,1146,993,921,3350,1102,964],"篱笆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F916def8a20ec4b554a2eb8de0cf5329f.jpg","纸","纵24.4 厘米 横49.7 厘米",[933,6],92,{"id":251,"slug":3357,"title":3358,"dynasty":864,"author":2232,"museum":866,"description":3359,"tags":3360,"thumbUrl":3361,"material":930,"size":3362,"collection":899,"collections":3363,"showCount":3355,"zanCount":1218,"manualWeight":903,"mainColor":904},"lin-wei-yan-mu-fang-tu-juan-quan-juan-li-gong-lin-221397","临韦偃牧放图卷全卷","这是一幅宋朝画家李公麟临摹唐朝画家韦偃的作品。画幅为长卷形式，从右自左展开。在高低不平的土坡和广阔的平原间，牧者驱赶着大群马匹蜂拥而来，马嘶人叫，热闹异常。画面中段以后，马群逐渐散开成组各自活动，有的低头觅食，有的追赶嬉闹，有的奔跑，有的就地翻滚，还有几匹马走向远处的小河去饮水。众多的马匹姿态各异，生动自然。放马的牧人，有的骑在马上，有的穿戴较为整齐，有的则敞胸露怀赤足，在树荫里休息的牧人为契丹族，其中似乎还有等级的差别。整个画面的构图，前半部拥塞、紧张，后半部疏散、松弛，富于节奏感。\n全图共画了人一百四十余口、马一千二百多匹，可谓洋洋大观。\n画中的马匹和人物均用墨线勾勒，线条挺拔有力，色泽较浓重，坡石墨色稍淡，略有皴擦，再用赭石色渲染，加强了画面的气氛。构图和笔墨的变化。使整个作品主次分明、生动活泼，避免了呆板、重复和混乱。如此庞大的构图，若没有长时间的经营和缜密的运思，即使是临摹，也是难以设想的。\n李公麟的大部分绘画作品是画在纸上的，并不施色彩，“惟临摹古画，用绢素着色”（元·汤垕《画鉴》）。这件作品为临摹本，用绢素作画并施淡彩，与画史的记载完全吻合。唐朝画家韦偃已无可靠的作品存世，通过李公麟的这个摹本，也可以领略其绘画的风采。",[869,977,870,871,872,1309,1224,881,1520],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc407cbff0db594e50f3614e4d2025047.jpg","纵46.2厘米，横429.8厘米。",[899,1202,6],{"id":252,"slug":3365,"title":1548,"dynasty":1075,"author":2876,"museum":1035,"description":2877,"tags":3366,"thumbUrl":3367,"material":1041,"size":1041,"collection":1029,"collections":3368,"showCount":3369,"zanCount":903,"manualWeight":903,"mainColor":970},"ju-hua-zhou-xu-gu-236536",[870,871,913,942,875,1081,1690,1022,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b132bc15cc8d2b8bf8215263d9b1c17.jpg",[1029,6],91,{"id":253,"slug":3371,"title":3372,"dynasty":864,"author":1048,"museum":909,"description":3373,"tags":3374,"thumbUrl":3375,"material":1401,"size":3376,"collection":899,"collections":3377,"showCount":3369,"zanCount":903,"manualWeight":903,"mainColor":904},"hua-deng-shi-yan-tu-juan-ben-ma-yuan-221514","华灯侍宴图绢本","描绘了杨次山父子在上元节侍宴的场面，记述了南宋宫廷的重大活动。该画以俯视的角度写华灯初上时分官员们随皇帝宴饮观舞的情景，并在全景山水的描写中，烘托出了室内的豪华与欢乐气氛。图中隐约可见几位官员属身随侍皇帝饮宴官殿之外，乐舞的宫女摇曳着身姿，大殿之外的树木，好似也随着音乐起舞，姿态横生。这些树林，由近面远，渐渐隐设于雾色之中，只见宫殿后盛立着几棵松树，和远处云雾中抹青山。中景的松树刻而很具特色，用笔瘦硬如屈铁，枝条长面斜向出。\n画中，远山眉黛，松枝逶迤，前庭梅树十余棵，数名宫女执灯起舞于梅林中，舞姿曼妙。殿宇华厦，灯火明亮，有几位大约是官员的人物，背向微躬，恭谨陪侍酒宴。内堂则幽深不可窥测。\n宋宁宗题一首御制诗，云：“朝回中使传宣命，父子同班侍宴荣。酒捧倪觞祈景福，乐闻汉殿动驩声。宝瓶梅蕊千枝绽，玉栅华灯万盏明。人道催诗须待雨，片云阁雨果诗成。”\n款署“臣马远”，钤有乾卦圆印、双龙圆印、御笔之宝。乾隆跋中点明：“盖当时作此图，以侈一时盛事”。\n对于该画的主题，不同学者提出不同观点，毕嘉珍提出画中描绘的是“奢侈的赏梅盛宴”。彭慧萍则从画师的视角出发，指出此图反映了“深夜禁中大内的当差场景”。高居翰的分析是“马远想出了一个富于诗意的构图”，将宴席隐藏在向后延伸的宫殿图像里，只以庭园中的演艺者和侍从来传达娱乐的场景。\n也有观点指出，这次宴会是宋宁宗为迎接签订“嘉定和议”的丞相史弥远而举办的，所谓“朝回中使传宣命”，并召马远及其子马麟陪侍，马远用绘画记录了这一重大时刻。\n构图:一座孤零零的殿宇，矗立在远山近林中。阶墀下方极少渲染。殿内的君臣侍从沉浸在一片歌舞之中。视线由梅树上顶之势领起，沿华堂左侧引上，由屋脊折而向右，绕出一个反S形，而到达松树与远山，然后下垂，落空于远方薄暮中。观者除了感受宴饮之乐，还可能被近景的梅树、中景的松树、远景的山及苍茫的夜空所吸引\n技法:此图以俯视的角度写华灯初上时分豪门达官酒宴的情景，但作者的兴趣并不是放在细写堂内宴席与众宾客的活动上，他的独特构思在于成功表现外部环境上，描写烘托出室内的豪华与欢乐气氛。图中表现松树很具特色，用笔瘦硬，如屈铁，枝条颀长，而斜向出，下笔严正，以雄奇简练的笔法，表现树枝的坚挺有力，有“拖枝马远”之称。",[869,870,871,913,875,873,874,916,877,876,1066,962,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea1753402e13e92e3ed1f1221ce3c99.jpg","纵125.6厘米，横46.7厘米",[899,933,6],{"id":254,"slug":3379,"title":3380,"dynasty":1003,"author":1566,"museum":866,"description":3381,"tags":3382,"thumbUrl":3383,"material":1068,"size":3384,"collection":933,"collections":3385,"showCount":3369,"zanCount":1249,"manualWeight":903,"mainColor":970},"mo-bi-shan-shui-tu-chen-chun-220110","墨笔山水图","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。",[869,870,871,913,942,914,916,1008,1066,878,879,876,917],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae7c7f71b3d4294315661e3a9f670632.jpg","纵107.8厘米，横67.8厘米",[933,6],{"id":255,"slug":3387,"title":3388,"dynasty":864,"author":1018,"museum":3389,"description":3390,"tags":3391,"thumbUrl":3393,"material":1465,"size":3394,"collection":899,"collections":3395,"showCount":3396,"zanCount":903,"manualWeight":903,"mainColor":904},"mo-long-juan-chen-rong-221459","墨龙卷","日本民间","此画绘墨龙一条，圆睁两眼，昂首腾空，遨游于云天之中。\n画面乌云密布，雷电交加，洪水汹涌，生动地表现了墨龙的雄奇和兴云作雨的本领。\n作者用泼墨和破墨画浓云，用墨线表现起伏的洪水，用笔劲健。",[869,870,942,872,1024,1328,1025,1022,3392],"泼墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd432ff264797bbb1461c11c9690c404d.jpg","185.8厘米×106.1厘米",[899,1029,6],90,{"id":256,"slug":3398,"title":3399,"dynasty":1075,"author":1872,"museum":866,"description":3400,"tags":3401,"thumbUrl":3402,"material":2082,"size":3403,"collection":933,"collections":3404,"showCount":3396,"zanCount":903,"manualWeight":903,"mainColor":970},"shan-shui-hua-niao-tu-ce-ye-yu-chu-ji-yun-shou-ping-220976","山水花鸟图册-夜雨初霁","每图各有恽寿平题识，分别钤“寿平”白朱文印、“正叔”朱文印、“寿平”白文印、“恽正叔”白文印、“寿平印”白文印等。每图各有乾隆皇帝题诗一首。鉴藏印有：“乾隆御赏之宝”、“淳化轩”、“石渠宝笈”、“臣庞元济恭藏”、“虚斋至精之品”等二十余方。\n本图册第三开、第十开分别署年款“乙卯秋”、“乙卯十月”。“乙卯”为清康熙十四年（1675年），此作应为恽寿平43岁时作品。\n此山水花卉图册分别描绘鹅群、荷花、山水、古木寒鸦、牡丹、乔柯急涧、夜雨初霁、菊花、兰花蝴蝶花、溪山行旅等。全册为作者临仿宋、元、明诸家。山水以宗董源、巨然、米芾、赵孟頫诸家为主，秀骨清幽，富有文人书卷之气。花鸟以宗徐崇嗣、赵昌、沈周诸家为主，重视写生，力求形似，如第五开的牡丹，技法灵活，宗法徐崇嗣的没骨法，同时又强调“与花传神”，力去华靡，追求“澹雅”，不刻意求工，唯求自然天趣，揭示出恽寿平一向所追求的平淡超逸的审美意趣。",[869,870,871,1211,942,875,916,877,878,961,978,883,917,921,879],"https:\u002F\u002Foss.chuangqi.store\u002Ft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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。",[869,870,871,913,942,914,964,961,1038,3418,978,916],"芦花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d33051a230060350c9af21019672658.jpg","纵83.3厘米，横27.8厘米",[933,6],{"id":259,"slug":3423,"title":3424,"dynasty":864,"author":1786,"museum":3425,"description":3426,"tags":3427,"thumbUrl":3428,"material":1226,"size":3429,"collection":899,"collections":3430,"showCount":3396,"zanCount":903,"manualWeight":903,"mainColor":904},"xi-yang-qiu-se-tu-ma-lin-220312","夕阳秋色图","根津美术馆","《夕阳秋色图》画面上的淡云浅山已经褪色，水流处一片苍茫。这种岁月的沧桑，在画墨的点线之中且隐且行，既刻录了时间的优雅，又释放出历史的气味。\n宋理宗赵昀在欣赏《夕阳秋色图》时忘乎所以，把一切朝中繁杂置之脑后，流连画中苍茫山水、江南秋色。在几只燕子嬉戏的场景里，忽然想起活泼可爱的周汉公主。在膝下无子的岁月里，这位掌上明珠得到理宗的万般宠爱。",[870,916,875,914,1801,1102,883,978,1886,2750],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcd624d868e1bf9f63b27d62406ca745.jpg","51.3X26.6厘米",[899,6],{"id":260,"slug":3432,"title":3433,"dynasty":1003,"author":1004,"museum":866,"description":3434,"tags":3435,"thumbUrl":3436,"material":2082,"size":3437,"collection":933,"collections":3438,"showCount":3439,"zanCount":1249,"manualWeight":903,"mainColor":970},"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。",[869,870,942,914,875,916,883,1623,3006,1799,879,945,876,962,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45ec07e216d6f6ba02a5d0deaeaae9e6.jpg","纵74cm，横31cm",[933,6],89,{"id":261,"slug":3441,"title":3442,"dynasty":957,"author":3075,"museum":909,"description":3443,"tags":3444,"thumbUrl":3445,"material":981,"size":3446,"collection":6,"collections":3447,"showCount":3439,"zanCount":1218,"manualWeight":903,"mainColor":904},"quan-shi-xin-huang-tu-gu-an-221762","拳石新篁图","《拳石新篁图》写新篁数竿，瘦削挺拔，立于石旁，竹叶参差错落，以浓淡显出不同层次，线条锋锐有力，笔墨细腻，生意盎然。",[869,870,912,913,962,963,964,1117,1009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1abfe83cffc1cff26cbc173920a8abd.jpg","纵76厘米，横40厘米",[6,1188],{"id":262,"slug":3449,"title":3450,"dynasty":864,"author":974,"museum":1461,"description":3451,"tags":3452,"thumbUrl":3453,"material":3054,"size":3454,"collection":899,"collections":3455,"showCount":3439,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[869,870,871,872,942,914,916,961,1538,1008,2150,921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69a2f6dbc10edb0bfb220d50ae3f71d2.jpg","29.3x376",[899,933,6],{"id":263,"slug":3457,"title":3458,"dynasty":957,"author":1631,"museum":1461,"description":3459,"tags":3460,"thumbUrl":3461,"material":995,"size":3462,"collection":1202,"collections":3463,"showCount":3439,"zanCount":1218,"manualWeight":903,"mainColor":904},"lan-ting-xiu-xi-zhao-meng-fu-220834","蘭亭修禊","兰亭修禊：修禊（xiūxì），源于周代的一种古老习俗，即农历三月上旬“巳日”这一天，（魏以后始固定为三月三日），到水边嬉游，以消除不祥，叫做“修褉”。人们相约到水边沐浴、洗濯，借以除灾去邪，古俗称之为：“祓禊”。后文人饮酒赋诗的集会，也称为修禊。春日踏青有“春禊”，秋日秋高气爽，文人怎能辜负这大好时光，自然会有“秋禊”，时间一般是在农历七月十四。历史上最为有名的修禊当数兰亭修禊和红桥修禊。王羲之《兰亭集序》：“暮春之初，会于会稽山阴之兰亭，修褉事也。”",[869,870,871,872,875,874,962,963,876,883,879],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d11be852e9ee5dd0f93e513e3b855e.jpg","纵:32.2cm 横:375.3cm",[1202,6],{"id":264,"slug":3465,"title":3466,"dynasty":1003,"author":1641,"museum":866,"description":3467,"tags":3468,"thumbUrl":3471,"material":2440,"size":3472,"collection":933,"collections":3473,"showCount":3474,"zanCount":1218,"manualWeight":903,"mainColor":970},"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。",[869,870,871,913,942,916,883,917,914,963,1774,1102,3469,1146,3470,944,962],"近坡","坡石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c9da1c4b4b98526a13f16aa2f526b92.jpg","纵89.5厘米，横51.6厘米",[933,6],88,{"id":265,"slug":3476,"title":3477,"dynasty":1516,"author":3478,"museum":909,"description":3479,"tags":3480,"thumbUrl":3481,"material":1068,"size":3482,"collection":6,"collections":3483,"showCount":3474,"zanCount":903,"manualWeight":903,"mainColor":970},"cao-tang-shi-zhi-tu-juan-lu-hong-219038","草堂十志图卷","卢鸿","卢鸿（生活在七世纪和八世纪之间）出生于幽州范阳（今河北大兴）。他隐居在嵩山，是一位博学的学者，也是一位优秀的书画家。玄宗时，他多次被召见，但仍不服气，只是得到了衣服和隐居的茅屋。整卷水墨画共由十幅画面组成，每幅画面由一节组成，每节前有褚、颜、柳等各种书法体书写的十条志令，中间有十幅画面。画的都是自然的园林景物，其配置是注重与周围自然环境的结合，画中的树木山石造型，显得古色古香，用笔方硬，笔墨渲染颇为工整。关于这幅画的科学观点各不相同，并不明确，但可以肯定的是，它并非源自唐代。",[869,870,871,872,942,914,962,963,964,916,1412,883,917,879,979,1009,878,978],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9dc166ed8a2c0a38afe4f307248b55e.jpg","29.4x600",[6],{"id":266,"slug":3485,"title":3486,"dynasty":864,"author":3487,"museum":866,"description":3488,"tags":3489,"thumbUrl":3492,"material":1245,"size":3493,"collection":899,"collections":3494,"showCount":3495,"zanCount":1218,"manualWeight":903,"mainColor":970},"yun-shan-mo-xi-tu-juan-mi-you-ren-221485","云山墨戏图卷","米友仁","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。",[869,870,871,872,942,1622,914,3490,963,964,1328,1007,883,1102,1507,3491],"米点皴","水体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea34772582302210ef47dd26bba6b9e.jpg","纵21.4厘米，横195.8厘米",[899,933,6],87,{"id":267,"slug":3497,"title":3498,"dynasty":1003,"author":3499,"museum":866,"description":3500,"tags":3501,"thumbUrl":3502,"material":1068,"size":3503,"collection":933,"collections":3504,"showCount":3495,"zanCount":903,"manualWeight":903,"mainColor":1191},"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。",[869,870,871,913,942,914,1066,917,1009,1053],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2546621a64c9e5e0abeb01db4b8a812.jpg","纵111cm，横54.5cm",[933,6],{"id":268,"slug":3506,"title":3507,"dynasty":1075,"author":1599,"museum":3508,"description":3509,"tags":3510,"thumbUrl":3512,"material":1068,"size":3513,"collection":6,"collections":3514,"showCount":3495,"zanCount":903,"manualWeight":903,"mainColor":1446},"song-lin-shu-wu-tu-gong-xian-219177","松林书屋图","旅顺博物馆","全图笔墨恣肆，气象氤氲，以竹林、书屋等景观构造了一个理想的隐逸世界。左上自题七言诗一首，末署“甲子初秋半亩龚贤并题”。钤“臣贤私印”、“半千”二印。甲子为康熙二十三年，公元1684年，作者时年86岁。",[869,870,942,914,913,916,1811,3511,917,918,883],"书屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09717ac0071d60023828679c622fb9e.jpg","纵274.5 横128.5厘米",[6],{"id":269,"slug":3516,"title":3517,"dynasty":864,"author":3518,"museum":909,"description":3519,"tags":3520,"thumbUrl":3522,"material":1226,"size":1041,"collection":6,"collections":3523,"showCount":3495,"zanCount":1218,"manualWeight":903,"mainColor":970},"qing-quan-ming-he-tu-ma-he-zhi-218687","清泉鸣鹤图","马和之","淡墨晕染的山峦在云雾中若隐若现，似远似近间透出空濛之趣。岸侧虬枝盘曲，老干新枝交织，墨色浓淡相衬，尽显草木生机。清泉自石间潺潺而下，漱玉之声仿佛可闻。几只仙鹤或立汀洲，或振翅轻翔，羽翅线条流畅如兰叶，姿态灵动逸脱。鹤鸣与泉声相和，在幽寂的山水间漾开清旷之韵。整幅画笔墨简淡却意韵深浓，山石皴法疏朗，构图疏密有致，将自然的静谧与生命的灵动融于一纸，尽显宋人对林泉之乐的诗意追寻，读之令人心向澄明。",[869,870,942,916,978,2608,3521,879,883,917,921,914,1789,871,872],"清泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F666423ffde0f0389cb0fa868b5cac17a.jpg",[6],{"id":270,"slug":3525,"title":3526,"dynasty":1075,"author":3527,"museum":909,"description":3528,"tags":3529,"thumbUrl":3530,"material":995,"size":1041,"collection":933,"collections":3531,"showCount":3532,"zanCount":903,"manualWeight":903,"mainColor":970},"shan-shui-zhu-shi-ce-wang-hui-237200","山水竹石册","王翚","王翚（1632-1717），子石谷，号耕烟散人，清晖主人等，江苏常熟人。幼即嗜画，年二十师事王鉴，复经王鉴引荐，师王时敏。王时敏尽出家藏，与之临摹，相与参究，他的摹古能力在清六家中首屈一指。除擅长山水之外，偶亦画花鸟竹石。王翚在艺术实践中能排除门户之见，综合南北之长，汲取诸家技法，冶为一炉，形成自家风格。他的作品章法变化多，墨笔和青绿皆精，山石树法清润秀雅，风格清逸秀丽。王翚60岁时奉康熙帝诏赴京师，任绘制《康熙南巡图》主笔。历经六年，完成了12卷总长达半华里的历史巨作。康熙帝赐“山水清晖”四字。遂自号“清晖主人”。从此“声名震海内”，追随者甚众，为“虞山派”之开山祖，有“画圣”之誉。",[870,871,1211,942,914,916,1117,1118,879,883,918],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62b1714e7de95ce32a4f24548178bde6.jpg",[933,6],86,{"id":271,"slug":3534,"title":3535,"dynasty":1075,"author":1883,"museum":866,"description":3536,"tags":3537,"thumbUrl":3538,"material":1746,"size":1041,"collection":933,"collections":3539,"showCount":3532,"zanCount":903,"manualWeight":903,"mainColor":970},"fang-dong-qi-chang-shan-shui-zhou-wang-jian-236909","仿董其昌山水轴","王鉴（1598年－1677年），明末清初画家，“四王”之一。字元照，一字圆照，号湘碧，又号香庵主，江南太仓人。王世贞曾孙，王士骐之孙。 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。",[977,870,871,913,942,914,1309,916,944,883,1066,945,894,879],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadf306104ba0c6a8ac6ec5a3d3c69cc3.jpg",[933,6],{"id":272,"slug":3541,"title":3542,"dynasty":1003,"author":3543,"museum":909,"description":3544,"tags":3545,"thumbUrl":3546,"material":1746,"size":3547,"collection":933,"collections":3548,"showCount":3532,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[869,870,871,913,942,1117,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83d9c2987b664b21c5009d24314eaec2.jpg","139.2x45.3厘米",[933,6],{"id":273,"slug":3550,"title":3551,"dynasty":1003,"author":1169,"museum":866,"description":3552,"tags":3553,"thumbUrl":3554,"material":2082,"size":3555,"collection":933,"collections":3556,"showCount":3532,"zanCount":1249,"manualWeight":903,"mainColor":3557},"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。",[869,870,942,914,916,878,879,1008,917,894,882,881,979,919,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4453bdb6ba4bd1601619ad7aac4456a4.jpg","纵61.8厘米，横29.7厘米",[933,6],"FFFFFF",{"id":274,"slug":3559,"title":2832,"dynasty":957,"author":2947,"museum":866,"description":3560,"tags":3561,"thumbUrl":3562,"material":1105,"size":3563,"collection":933,"collections":3564,"showCount":3532,"zanCount":1218,"manualWeight":903,"mainColor":904},"song-shi-tu-zhou-sheng-mao-221756","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。",[869,977,870,871,913,942,914,1066,2477,1009,1053,916],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F484705e5dcac0a31f081986fc89320e9.jpg","纵77.4厘米，横27.2厘米",[933,6],{"id":275,"slug":3566,"title":3567,"dynasty":864,"author":1048,"museum":909,"description":3568,"tags":3569,"thumbUrl":3570,"material":1055,"size":3571,"collection":899,"collections":3572,"showCount":3532,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[869,870,871,1622,913,942,914,875,1007,1118,1008,878,876,881,1051,1131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff64c80c128d68b8d7648d74f28226a8.jpg","纵99cm，横59.1cm",[899,933,6],{"id":276,"slug":3574,"title":3575,"dynasty":864,"author":3576,"museum":866,"description":3577,"tags":3578,"thumbUrl":3579,"material":875,"size":3580,"collection":899,"collections":3581,"showCount":3532,"zanCount":903,"manualWeight":903,"mainColor":904},"han-shan-fei-pu-yang-shi-xian-221439","寒山飞瀑","杨士贤","山水林木，劲挺可取。惟峰石水口，雄伟之笔则远不逮熙。",[869,870,871,977,916,914,942,875,917,918,883,894,879],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b0e832e12e265a435eb981c78c1e42.jpg","50X56",[899,933,6],{"id":277,"slug":3583,"title":3584,"dynasty":1516,"author":3585,"museum":1495,"description":3586,"tags":3587,"thumbUrl":3588,"material":3589,"size":3590,"collection":6,"collections":3591,"showCount":3532,"zanCount":1218,"manualWeight":903,"mainColor":970},"zhu-tu-rong-yang-221093","竹图","荣阳","晚唐时期的绘画，最可注意的就是花鸟画的兴起，中国绘画史上以题材而论，人物画发展最早，其次是山水，花鸟画居第三。花鸟图形用来作丝帛上的花纹和壁画上的装饰，自战国到汉唐都很普遍。但成为绘画的独立题材，是始于中唐而盛于晚唐。边鸾的“折枝”花卉，只画一枝花，无根无干，风格新颖，很受当时人的欢迎。他兼精翎毛，于是奠定了花鸟画的地位。刁光胤更将花鸟画发展到了完善的地步。",[869,870,942,1117,1009,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0a425482415215a9b6abe08555c3dcd.jpg","绢本，水墨","27.2*23.0cm",[6,1188],{"id":278,"slug":3593,"title":3594,"dynasty":1003,"author":1641,"museum":1128,"description":3595,"tags":3596,"thumbUrl":3598,"material":3599,"size":3600,"collection":933,"collections":3601,"showCount":3532,"zanCount":1218,"manualWeight":903,"mainColor":1191},"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。",[869,977,870,871,913,942,875,914,916,1146,917,1102,3469,883,2130,3597],"坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00897204c426cfaa8bef08fe4ba772cf.jpg","绢本 墨笔","123.7cmx46cm",[933,6],{"id":279,"slug":3603,"title":3604,"dynasty":1003,"author":2041,"museum":1254,"description":3605,"tags":3606,"thumbUrl":3607,"material":942,"size":1041,"collection":6,"collections":3608,"showCount":3532,"zanCount":903,"manualWeight":903,"mainColor":904},"qun-yu-xi-shui-tu-yi-ming-219245","群鱼戏水图","画面中四条游鱼摆尾摇鳍，姿态各异：或俯冲而下，或结伴游弋，或相互顾盼，似在清浅碧波中自在穿梭。鱼身以淡墨晕染出细腻鳞纹，线条简劲灵动，将鱼儿的鲜活质感勾勒得淋漓尽致。下方水藻疏朗写意，寥寥数笔点染出摇曳之姿，与游鱼相映成趣，暗喻水的澄澈空濛。背景素净，不着浓墨却尽显空寂中的生机，仿佛能听见水波轻漾之声。整幅作品笔墨简约却意韵悠长，以灵动鱼群与疏淡水藻，营造出悠然恬淡的自然之趣，传递出古人对生命本真的细腻观照与闲适心境。",[869,870,871,942,874,2161,2162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0776132fb25c9eb3a02af0d582f360a.jpg",[6],{"id":280,"slug":3610,"title":3611,"dynasty":1075,"author":1549,"museum":866,"description":3612,"tags":3613,"thumbUrl":3615,"material":995,"size":1041,"collection":1029,"collections":3616,"showCount":3617,"zanCount":1218,"manualWeight":903,"mainColor":970},"qiu-se-zhou-wu-chang-shuo-236981","秋色轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[870,871,913,875,942,963,964,1009,3614,3107,914],"枯枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc0e8896205933dd0727840cc37da2b.jpg",[1029,6],85,{"id":281,"slug":3619,"title":3620,"dynasty":1075,"author":1958,"museum":866,"description":3621,"tags":3622,"thumbUrl":3623,"material":995,"size":3624,"collection":6,"collections":3625,"showCount":3617,"zanCount":903,"manualWeight":903,"mainColor":970},"yu-shi-tu-zhou-zhu-da-236775","鱼石图轴","此画面十分简洁，仅以简练的笔画，画一鱼一石。一湖石座落在画幅的左侧中段，湖石造型奇特，取岌岌可危之势，石中用枯笔皴染又加重墨点，鱼一尾在宽阔河中游弋，把鱼在特定的环境中的动态和神气表现得活灵活现，其造型非常准确而传神。唯独鱼眼一圈一点，眼珠顶着眼圈，即眼珠点在眼眶的上方，一副白眼向天的神情，形象洗练，造型夸张，表情奇特，构图大胆、新奇。由于画面仅有的怪石、鱼，又画在左侧和下端，而右侧的空白处，作者以自题款署及清王澍题记加以补白，对使整幅作品起到了平衡的作用。\n王澍题记：“八大山人挟忠义激发之气形于翰墨，故其作画不求形似，但取其意于苍茫寂历之间，意画即心，此所谓神韵者也。”\n八大山人的画不少是没有记年，但从风格及款署的习惯，可以判断是那一个时期的作品。如此《鱼石图》轴，款署“八大山人”，据考证他59岁至80岁，用“八大山人”署名，是“八大期”。依据《鱼石图》的特点和署名写法可以判断为晚年时期的作品。",[870,871,942,913,1009,2161,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1465c1b39b489696b27be749224da061.jpg","纵58.3厘米，横48.6厘米",[6],{"id":282,"slug":3627,"title":3628,"dynasty":1003,"author":3263,"museum":866,"description":3629,"tags":3630,"thumbUrl":3632,"material":1055,"size":3633,"collection":1202,"collections":3634,"showCount":3617,"zanCount":903,"manualWeight":903,"mainColor":904},"shu-xia-du-shu-tu-zhou-hui-wu-wei-222404","树下读书图轴绘","画面内容表现的是传统的隐逸耕读题材，一位中年文士耕牧之余在树下休憩，展卷读书，自得其乐。明中期以后政治日益腐败，科举仕途之路充满了不确定性，因此不少文人产生了遁世思想，选择远离官场的闲适生活。吴伟一生两度出入宫廷，对官场和民间都有着深刻的体会，此类题材多次出现在他的笔下。此作用笔潇洒劲健，多以侧锋运笔，锋芒毕露。",[870,977,871,913,942,875,876,916,1008,1118,978,1886,3631,914,1117],"读书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55d957810554b12e18958dc85525c172.jpg","纵168厘米，横105厘米",[1202,6],{"id":283,"slug":3636,"title":3637,"dynasty":1003,"author":3638,"museum":1348,"description":3639,"tags":3640,"thumbUrl":3641,"material":1214,"size":3642,"collection":933,"collections":3643,"showCount":3617,"zanCount":903,"manualWeight":903,"mainColor":970},"fang-wang-meng-shan-shui-tu-xie-shi-chen-222076","仿王蒙山水图","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。",[869,870,1622,1309,914,942,917,883,877,878,879,928,979,876,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7bcb0d43ecbe7f8e987e7ae1d117aaa.jpg","58.5X31.2cm",[933,6],{"id":284,"slug":3645,"title":3646,"dynasty":957,"author":1948,"museum":909,"description":3647,"tags":3648,"thumbUrl":3650,"material":3651,"size":3652,"collection":933,"collections":3653,"showCount":3617,"zanCount":1218,"manualWeight":903,"mainColor":904},"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。",[869,870,1622,913,942,875,914,1328,1007,3649,883,920,917,921,926],"岭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57a3b151c29770cbb6ae78260a23de70.jpg","绢本，重设色","纵182.2厘米，横16.7厘米",[933,6],{"id":285,"slug":3655,"title":1208,"dynasty":1075,"author":1958,"museum":1035,"description":3656,"tags":3657,"thumbUrl":3658,"material":1041,"size":1041,"collection":933,"collections":3659,"showCount":3660,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[870,871,1211,942,914,916,1146,1009,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef34faa497c9e7d24e38b8640a268bb.jpg",[933,6],84,{"id":286,"slug":3662,"title":3663,"dynasty":1003,"author":3664,"museum":909,"description":3665,"tags":3666,"thumbUrl":3667,"material":1214,"size":3668,"collection":933,"collections":3669,"showCount":3660,"zanCount":1249,"manualWeight":903,"mainColor":904},"shan-ting-wen-hui-tu-wang-fu-222525","山亭文会图","王绂","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。",[870,871,913,942,914,916,979,876,883,917,879,921,1800,1508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe15b31f796803782232999124a14bbe4.jpg","纵219厘米，横87.6厘米",[933,6],{"id":287,"slug":3671,"title":3672,"dynasty":1003,"author":1485,"museum":909,"description":3673,"tags":3674,"thumbUrl":3675,"material":930,"size":3676,"collection":933,"collections":3677,"showCount":3660,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[869,870,913,942,914,1309,916,917,883,918,979,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd029fea8a32761fc2fa01e64733e96fa.jpg","全幅 57.2公分",[933,6],{"id":288,"slug":3679,"title":1993,"dynasty":864,"author":3680,"museum":2541,"description":3681,"tags":3682,"thumbUrl":3683,"material":942,"size":3684,"collection":899,"collections":3685,"showCount":3660,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[869,870,977,871,875,914,916,917,883,921,945,878,879],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F184450a2d438fd377bdc81ab7f969dee.jpg","24.6×26.0",[899,933,6],{"id":289,"slug":3687,"title":3688,"dynasty":1003,"author":3689,"museum":1035,"description":3690,"tags":3691,"thumbUrl":3692,"material":1041,"size":1041,"collection":6,"collections":3693,"showCount":3694,"zanCount":1218,"manualWeight":903,"mainColor":970},"fang-zhao-meng-fu-shui-cun-tu-wen-bo-ren-228852","仿赵孟頫水村图","文伯仁","此作用淡墨晕染平畴远汀，枯木疏林错落浅渚坡岸，村舍板桥隐现其间。远山以没骨轻绘，烟岚柔笼峰峦，将江南水村的清寂淡远缓缓铺展。全卷追摹元人简逸意趣，笔墨松秀温和，不作繁复皴擦，留白烘托出空濛水汽，尽显萧散闲雅。整幅画作幽淡闲远，将文人寄情丘山的隐逸意韵融于尺幅之间，把水乡静穆悠然之境尽数呈现，是师法前人的山水佳构。",[869,977,870,871,872,942,914,1309,916,1146,878,879,961,964,962],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d27638c4d92badd2d746d97e78c8638.jpg",[6],83,{"id":290,"slug":3696,"title":3697,"dynasty":864,"author":2041,"museum":909,"description":3698,"tags":3699,"thumbUrl":3701,"material":930,"size":3702,"collection":899,"collections":3703,"showCount":3694,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[869,870,871,913,875,916,914,1007,1131,3700,978,883,979,894,945,879],"溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00042d59364ebed0c21eb560489aef52.jpg","56x102",[899,933,6],{"id":291,"slug":3705,"title":3706,"dynasty":1003,"author":1641,"museum":909,"description":3707,"tags":3708,"thumbUrl":3709,"material":1746,"size":3710,"collection":933,"collections":3711,"showCount":3712,"zanCount":1218,"manualWeight":903,"mainColor":970},"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。",[869,870,871,913,942,916,914,878,879,883,917,1508,964,962,963],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1f7db1e78a7c60c962c6091b474fc3a.jpg","纵80厘米,横29.8厘米",[933,6],82,{"id":292,"slug":3714,"title":3715,"dynasty":957,"author":1631,"museum":990,"description":3716,"tags":3717,"thumbUrl":3720,"material":930,"size":3721,"collection":933,"collections":3722,"showCount":3712,"zanCount":1218,"manualWeight":903,"mainColor":970},"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。",[869,870,871,872,942,963,962,916,914,3718,2798,2150,879,3719,883,961,978,889,2993],"烟江","云气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc09865d188801b8adc163e953c06a614.jpg","49·8x413.9cm",[933,6],{"id":293,"slug":3724,"title":3725,"dynasty":1003,"author":2649,"museum":990,"description":3726,"tags":3727,"thumbUrl":3728,"material":1121,"size":3729,"collection":933,"collections":3730,"showCount":3731,"zanCount":1218,"manualWeight":903,"mainColor":970},"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。",[869,870,871,913,942,914,962,876,882,1066,917,1053,1778,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa190e60a0b5555ac9e73c97a4767161f.jpg","纵74.7，横42.7厘米",[933,6],80,{"id":294,"slug":3733,"title":3734,"dynasty":864,"author":3735,"museum":1035,"description":3736,"tags":3737,"thumbUrl":3738,"material":1259,"size":3739,"collection":899,"collections":3740,"showCount":3731,"zanCount":1249,"manualWeight":903,"mainColor":904},"pu-tao-tu-wen-ri-guan-221249","葡萄图","温日观","善草书，精画葡萄，自成一家。他于一笔中带有深浅不同之墨色画叶，并以深墨点染仍带湿润 之葡萄，表现出明暗和体积，颇显自然逼真，人称“温葡萄”，很得赵孟頫推崇。元至元二十七年（1290），温日观偶遇同乡士人曾遇，得知他即将赴京，欣然画葡萄两幅，一幅托他带给赵孟頫，另一幅赠给曾遇。次年，赵孟頫在葡萄卷上题跋：“日观老师作墨葡萄，初若不经意，而枝叶肯棨，细玩之纤悉皆具，殆非学所能至。俗人恳恳求之，靳不与一笔。遇佳士，虽不求，辄索纸笔挥洒无吝色，岂可谓道人胸中无泾渭耶。吾与师仅一再面，去冬曾君自吴来燕，辱以一纸见寄，相望数千里不遐遗乃尔。因想胜风，欲相从西湖山水间，何可得也。”\n温日观画葡萄率意而作，天真烂漫，吐露心声。《画禅》称他：“自成一家法，人不可测。”由于他擅长草书，葡萄的梗须枝叶都用草书笔法，收藏者以此鉴别真赝。陈继儒称他：“葡萄极得草书三昧法。”有一幅作于至元二十八年（1291）的《葡萄图》轴，上面题诗“香稻雨催熟，丹心老变灰。夕阳归路近，魂梦日徘徊”，后流入日本。《葡萄图》卷现藏美国高居翰先生景元斋。为人超逸绝尘，出言愤世骇俗。行书法杨凝式。据戴表元《宋温日观书心经》题跋，说他“放浪啸傲于西湖三竺间五十年”，享年当在六十岁以上。",[869,977,870,871,1081,942,1360,1778,1211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f93f7fe5ef5954868af2d6649c5e2f2.jpg","27×188.5cm",[899,1029,6],{"id":295,"slug":3742,"title":3743,"dynasty":957,"author":1063,"museum":909,"description":3744,"tags":3745,"thumbUrl":3746,"material":949,"size":3747,"collection":933,"collections":3748,"showCount":3731,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[869,870,871,913,942,914,916,979,1119,1008,1118,1117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F154da39d40c4ed54cede808d8b666499.jpg","276x74.5cm",[933,6],{"id":296,"slug":3750,"title":3751,"dynasty":1003,"author":1169,"museum":909,"description":3752,"tags":3753,"thumbUrl":3754,"material":942,"size":1041,"collection":6,"collections":3755,"showCount":3731,"zanCount":1218,"manualWeight":903,"mainColor":904},"fu-song-guan-pu-tu-dai-jin-219339","抚松观瀑图","虬松横斜如探身老者，枝桠间松针攒簇，墨色浓淡相济，尽显苍劲古拙之姿。飞瀑自崖壁垂落，线条如练，与朦胧山雾相融，添几分空濛悠远。松下二人或立或俯，似低语，又或凝听瀑声，神态悠然，将文人雅士闲适心境藏于山水间。左侧亭台半隐松荫，木质结构线条简洁，与自然景致浑然一体。山石皴擦刚健，草木点染灵动，笔墨兼具挺劲与秀逸。整幅画山水相映，人物点睛，传递出远离尘嚣、寄情林泉的淡泊之韵，仿佛能闻松涛与瀑声交织，引人沉醉于这份林泉雅趣中。",[870,871,913,916,914,875,1066,918,979,876,917,879,883],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff224b7dc4b4561098e04194164c63257.jpg",[6],{"id":297,"slug":3757,"title":3758,"dynasty":1075,"author":3759,"museum":3760,"description":3761,"tags":3762,"thumbUrl":3763,"material":3589,"size":3764,"collection":933,"collections":3765,"showCount":3766,"zanCount":1218,"manualWeight":903,"mainColor":904},"bai-long-tan-li-zhou-dai-ben-xiao-223283","白龙潭立轴","戴本孝","安徽省博物馆","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。",[869,870,942,913,916,914,1007,918,1008,1328,945,1119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb78e056810e1f7dd2565d481fd90d58f.jpg","54x188.6cm",[933,6],78,{"id":298,"slug":3768,"title":3769,"dynasty":1003,"author":3770,"museum":909,"description":3771,"tags":3772,"thumbUrl":3773,"material":875,"size":3774,"collection":1202,"collections":3775,"showCount":3766,"zanCount":903,"manualWeight":903,"mainColor":904},"fu-lu-shou-zhou-shang-xi-222156","福禄寿轴","商喜","商喜，字惟吉（一说恒吉），明朝人，生卒年月不详，宣德年间宫廷画家，善画人物、山水、花卉等。其作品有《关羽擒将图》、《岁朝图》、《明宣宗行乐图》及《四仙拱寿图》等。",[870,871,913,874,875,876,3214,1520],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc109f3513539842e3b9b3db723a0ee5.jpg","259.6x85",[1202,6],{"id":299,"slug":3777,"title":3778,"dynasty":957,"author":1063,"museum":866,"description":3779,"tags":3780,"thumbUrl":3781,"material":3782,"size":3783,"collection":933,"collections":3784,"showCount":3766,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[869,870,942,916,1146,979,1102,914],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a8750e9292710e5790e47df600dda4c.jpg","纸本，立轴","纵87.3厘米，横31.4厘米",[933,6],{"id":300,"slug":3786,"title":1376,"dynasty":1075,"author":2616,"museum":1035,"description":3787,"tags":3788,"thumbUrl":3789,"material":1041,"size":1041,"collection":933,"collections":3790,"showCount":3791,"zanCount":903,"manualWeight":903,"mainColor":970},"shan-shui-zhou-kun-can-239477","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、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。",[870,942,914,913,916,878,879,883,917,921,876,2516,3614,1172,1022],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59008fa5f9a110c1ebed1091d2f5520e.jpg",[933,6],77,{"id":301,"slug":3793,"title":3794,"dynasty":864,"author":3795,"museum":2541,"description":3796,"tags":3797,"thumbUrl":3800,"material":930,"size":3801,"collection":899,"collections":3802,"showCount":3791,"zanCount":903,"manualWeight":903,"mainColor":904},"dong-xue-shan-shui-tu-juan-yan-wen-gui-221418","冬雪山水图卷","燕文贵","景口郭卑天锡父题。长卷绘山连绵起伏，山顶云雾缭绕，山下河水平静，村落树木白雪覆盖，画面静谧空旷。",[869,977,870,871,872,875,914,916,3798,3799,889,883,917],"冬雪","山脉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F769365f4d6505b4b415e55c2a2bad217.jpg","34.7x354.5厘米",[899,933,6],{"id":302,"slug":3804,"title":3805,"dynasty":1003,"author":1641,"museum":866,"description":3806,"tags":3807,"thumbUrl":3808,"material":1245,"size":3809,"collection":933,"collections":3810,"showCount":3791,"zanCount":1218,"manualWeight":903,"mainColor":970},"she-shan-you-jing-tu-zhou-dong-qi-chang-220906","佘山游境图轴","《董其昌佘山游境图轴》是明代画家董其昌所创作的一幅纸本纸本墨笔画。",[869,977,870,871,913,942,914,916,917,883,1119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68466d3a79e9cb3ca5526c09f52f5482.jpg","纵98.4厘米，横41厘米",[933,6],{"id":303,"slug":3812,"title":3813,"dynasty":1003,"author":3814,"museum":866,"description":3815,"tags":3816,"thumbUrl":3819,"material":3589,"size":3820,"collection":1029,"collections":3821,"showCount":3822,"zanCount":903,"manualWeight":903,"mainColor":904},"can-he-ying-lu-tu-lv-ji-222400","残荷鹰鹭图","吕纪","画面描绘了秋日荷塘中惊心动魄的一幕，苍鹰俯冲搏击白鹭，白鹭冲进苇丛深处，希图逃脱。众鸟或纷纷躲避，或受惊鸣叫。劲风吹动芦苇残荷，更添肃杀之气。作者把握住禽鸟的自然特征，赋予了戏剧化的情节表现，使画面具有扣人心弦的感染力。画家用写意的笔法画出枯败的荷叶，效果逼真，体现出高超的水墨控制能力。",[869,870,871,913,1081,874,875,942,1775,3817,3818,1875],"鹰","鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10ae54932f80827cb6ce0d4337c4bf1.jpg","纵190厘米，横105.2厘米",[1029,6],76,{"id":304,"slug":3824,"title":3825,"dynasty":1003,"author":3543,"museum":866,"description":3826,"tags":3827,"thumbUrl":3828,"material":1245,"size":3829,"collection":6,"collections":3830,"showCount":3822,"zanCount":903,"manualWeight":903,"mainColor":904},"xiang-jiang-feng-yu-tu-juan-xia-chang-222168","湘江风雨图卷","画幅右上方自题图名《湘江风雨》，款“東吳夏昶仲昭筆”，钤“東吳夏昶仲昭書畫印”、“燕寢凝香”印二方。\n夏昶画竹，以其精深的功力和独树一帜的艺术风格名重一时。他一改前人画竹独幅数竿的表现形式，而用巨幅长卷描绘竹树的千竿万梢，同时还“延之以洲渚，加之以风雨”，更显浩浩荡荡，气势恢宏。他笔下的墨竹已不仅仅是简单的文人式的寄兴抒怀，，而且还于其自然的生长环境，在画中融入山水画的笔墨意境。此卷竹林随湘江两岸景致的变化而隐现，起自淡阔的沙洲，之后是平缓的坡陀，继而是坚硬的岩石，又入清冷的江水，再后是壁立的山崖，最后经急湍飞瀑、汩汩溪流而入山，竹树或整或零，或疏或密，老干新枝，各尽其态。画家充分利用了长卷的广度精心描绘出一种起伏张弛的流动性和情节性，实际上是传统墨竹与水墨长卷的结合。夏昶画竹，强调气韵，主张“一气呵成”，“画巨幅尤须如此”，此卷竹叶落墨即是，不见复笔，山石以斧劈皴法大笔侧锋挥扫而成，从首至尾，气脉通连飞动。\n卷后自跋中云此图作于“正統己巳（1449年）秋九月”，正值夏氏62岁出知瑞州之时，是其晚年墨竹长卷的代表作。",[869,870,871,872,942,914,916,1117,917,879,918,977],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8755393eede68b1ee573bab7500c298.jpg","纵35厘米，横1206厘米",[6,1188],{"id":305,"slug":3832,"title":3833,"dynasty":1075,"author":2126,"museum":3760,"description":3834,"tags":3835,"thumbUrl":3836,"material":995,"size":3837,"collection":933,"collections":3838,"showCount":3839,"zanCount":903,"manualWeight":903,"mainColor":970},"fu-gui-qing-gao-tu-gao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（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。",[869,977,870,871,872,875,942,1081,963,2383,964,1775,1352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2e34057c86c9d6e4d85db7601af0f57.jpg","567.8x21.1",[933,6],75,{"id":306,"slug":3841,"title":3842,"dynasty":1003,"author":1641,"museum":909,"description":3843,"tags":3844,"thumbUrl":3845,"material":1746,"size":3846,"collection":933,"collections":3847,"showCount":3839,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[869,870,871,913,942,914,962,963,916,1118,879,1066,883,1009,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fda8d74c54c52559b8ba3589a42552e.jpg","147.1×55.8cm",[933,6],{"id":307,"slug":3849,"title":3850,"dynasty":1003,"author":1641,"museum":909,"description":3851,"tags":3852,"thumbUrl":3854,"material":995,"size":3855,"collection":933,"collections":3856,"showCount":3839,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[869,870,871,913,942,914,962,964,916,3853,1475,883,894,917,889,921,1102],"奇峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e37fd90d7727b977ad5b9503509c64c.jpg","纵273厘米,横58.9厘米",[933,6],{"id":308,"slug":3858,"title":3859,"dynasty":1003,"author":1641,"museum":909,"description":2107,"tags":3860,"thumbUrl":3861,"material":2110,"size":1041,"collection":933,"collections":3862,"showCount":3839,"zanCount":903,"manualWeight":903,"mainColor":904},"fang-fan-kuan-xi-shan-xing-lv-tu-dong-qi-chang-220935","仿范宽谿山行旅图",[870,871,916,1309,914,942,875,917,944,883,1051,945,879],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6af289c5e3cc8977a1679c323cf75a.jpg",[933,6],{"id":309,"slug":3864,"title":3865,"dynasty":1003,"author":2712,"museum":866,"description":3866,"tags":3867,"thumbUrl":3869,"material":1235,"size":3870,"collection":1029,"collections":3871,"showCount":3872,"zanCount":903,"manualWeight":903,"mainColor":1191},"kong-que-tu-zhou-lin-liang-222444","孔雀图轴","图绘雌雄孔雀一双，立于石上，旁有修竹数竿。\n孔雀是自然界鸟类中羽毛色彩最为绚丽的一种，是生活在南方的禽鸟，古代在北方除去皇宫御苑几乎无人能够豢养，寻常百姓更是无缘得见，因此这一题材本身即透露出宫廷气息。\n与众多以工笔重彩表现孔雀的作品相比，林良此作纯用水墨，用笔粗简，仅在孔雀的头颈和尾羽处作精致的勾勒，充分发挥了“墨分五色”的丰富变化，使黑白的水墨也产生出缤纷绚丽的夺目效果。伴以竹石为背景，愈增添了清雅野逸的意趣。",[869,870,871,913,942,1022,1081,3868,1117,1118],"孔雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec841a14c5d417972a86639dc89581e2.jpg","纵155.3厘米，横78厘米",[1029,6],74,{"id":310,"slug":3874,"title":3875,"dynasty":864,"author":3876,"museum":2541,"description":3877,"tags":3878,"thumbUrl":3879,"material":1055,"size":3880,"collection":899,"collections":3881,"showCount":3872,"zanCount":1218,"manualWeight":903,"mainColor":904},"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。",[869,977,870,871,913,942,914,916,1119,1118,876,878],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93a9d7a7b39ad254c492ab8c13f18c80.jpg","163.6*107.2CM",[899,933,6],{"id":311,"slug":3883,"title":3336,"dynasty":1155,"author":3337,"museum":1495,"description":3338,"tags":3884,"thumbUrl":3886,"material":995,"size":3342,"collection":1202,"collections":3887,"showCount":3872,"zanCount":1218,"manualWeight":903,"mainColor":970},"er-zu-diao-xin-tu-shi-ke-221177",[869,977,870,942,876,1453,2045,3885],"禅定","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5231745a90758af093f0219512406582.jpg",[1202,6],{"id":312,"slug":3889,"title":3890,"dynasty":1003,"author":1641,"museum":1099,"description":3891,"tags":3892,"thumbUrl":3893,"material":3894,"size":3895,"collection":933,"collections":3896,"showCount":3872,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[869,870,871,872,942,963,914,1007,1328,883,894,1396,920,1102,921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3151f35931331bfc154487fa44cd8cf8.jpg","长卷，纸本水墨","纵29.3厘米，横340.8厘米",[933,6],{"id":313,"slug":3898,"title":3899,"dynasty":957,"author":989,"museum":866,"description":3900,"tags":3901,"thumbUrl":3902,"material":995,"size":3903,"collection":933,"collections":3904,"showCount":3872,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[870,942,875,914,916,1053,876,961,978,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedd459330bfb44d64cef6e2da24450ad.jpg","纵97cm ，横27.2cm",[933,6],{"id":314,"slug":3906,"title":3907,"dynasty":957,"author":989,"museum":909,"description":3908,"tags":3909,"thumbUrl":3910,"material":995,"size":3911,"collection":933,"collections":3912,"showCount":3872,"zanCount":1218,"manualWeight":903,"mainColor":904},"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。",[869,870,977,916,942,913,914,1007,1025,883,918,993,945],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379454c3f48628ae11d76f352c7e53a4.jpg","该幅 140.7x53.4公分；全幅 78公分",[933,6],{"id":315,"slug":3914,"title":3915,"dynasty":1003,"author":1004,"museum":909,"description":3916,"tags":3917,"thumbUrl":3918,"material":1068,"size":3919,"collection":6,"collections":3920,"showCount":3872,"zanCount":1218,"manualWeight":903,"mainColor":970},"guo-suo-tu-shen-zhou-219524","郭索图","该图是幅淡墨写意作品。“酒醉菊黄蟹正肥”，是雅俗共赏的著名的诗句。南方江浙一带的画家与市民每逢秋季无不饮酒食蟹。画家作此画的画意亦在于此。画幅的中间部位画清水大阐蟹一只，坚实如锯齿般的双螯，如钳子似的夹住稻穗，蟹壳尖楞突出，如一把把锐利尖刀，爬沙横行于水草之间。蟹爪过处，如闻郭索之声，故以此名命。此当为江南水乡深秋时节，这是稻谷、大豆已成熟，临近收割，这正是螃蟹最肥壮的时期“过雨黄花千蕊发，经霜紫蟹两螯肥”。正是“持螯赏菊”的良宵佳时。技法上，体黑，先用淡墨画蟹壳、蟹脚，勾勒而成，用焦墨画爪尖和蟹壳回凸，然后用浓墨渲染双蟹螯，形成体白，黑白相间，极有韵趣。其背景稻穗一根，用笔随意，草草点染，似不经意一挥而成。此画可谓为大画家沈周戏墨之作，随物赋形，但却形神兼备，可见他写生的功力之深厚。画幅上端有作者自题款:“郭郭索索，还用草缚。不敢横行，沙水夜落。沈周。”钤“石田”白文印。此图经清内府收藏。画幅右上端有乾隆题赞",[977,870,942,1022,871,964,1591,2162],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3862c7b20f88c912c2f1841c8d16126c.jpg","纵49.4 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(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。",[869,977,870,871,916,942,914,961,1053],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95425229909f712a7e6095adf133d631.jpg","245x59.2",[933,6],{"id":320,"slug":3956,"title":3957,"dynasty":1003,"author":3958,"museum":866,"description":3959,"tags":3960,"thumbUrl":3961,"material":3962,"size":3963,"collection":933,"collections":3964,"showCount":3965,"zanCount":1218,"manualWeight":903,"mainColor":970},"xie-qin-fang-you-tu-zhou-sun-zhi-236306","携琴访友图轴","孙枝","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",[870,942,914,913,916,878,879,876,979,883,917,918,978,2694],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa969847ed7cf030565acd834b399bb46.jpg","纸本 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。曹知白善画山水，师法李成、郭熙，从中演变成一种清疏简淡的风格。作品多以柔细之笔勾皴山石，极少渲染。早年笔墨较秀润，晚年变为 苍秀简逸。",[870,871,913,942,1622,4047,914,1146,917,1102,964],"平远构图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F486a1ae065d01421150a94b252022a7e.jpg","75.4x43公分",[6],{"id":330,"slug":4052,"title":4053,"dynasty":1003,"author":2649,"museum":866,"description":4054,"tags":4055,"thumbUrl":4056,"material":1068,"size":4057,"collection":933,"collections":4058,"showCount":4023,"zanCount":1218,"manualWeight":903,"mainColor":970},"gao-mu-ci-ya-tu-tang-yin-218339","高木慈鸦图","弧形扇面间，清寂之境徐徐铺展。枯树三五成丛，枝干虬曲如篆，焦墨勾勒处尽显苍劲老辣，墨色浓淡交错间藏着岁月痕迹。寒鸦数点，或栖于枝梢理羽，或振翅掠过天际，翅羽轻扬时添几分灵动生气。远山以淡墨晕染，云雾氤氲缭绕，与近树的沉郁形成虚实相映，层次悠远如幻。整幅画以简驭繁，笔墨洗练却意境深幽，文人画的雅致疏旷尽在其中——仿佛风过林间，鸦鸣隐约，方寸扇面竟藏得万千丘壑，引人沉湎于这份静谧与悠远。",[869,2598,870,871,942,914,978,883,3799,962],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc421b662148e119d639962a695dae4a6.jpg","纵16.5cm，横47.3cm",[933,6],{"id":331,"slug":4060,"title":4061,"dynasty":1075,"author":4062,"museum":866,"description":4063,"tags":4064,"thumbUrl":4065,"material":1041,"size":1041,"collection":1029,"collections":4066,"showCount":4067,"zanCount":1218,"manualWeight":903,"mainColor":970},"lan-mei-ce-wang-shi-shen-236579","兰梅册","汪士慎","汪士慎（1686—1759）清代著名画家，书法家。字近人，号巢林、溪东外史等，汉族，安徽休宁人，寓居扬州。\n工分隶，善画梅，神腴气清，墨淡趣足。暮年一目失明，仍能为人作书画，自刻一印云：“尚留一目看梅花”，后来，双目俱瞽，但仍挥写，署款“心观”二字。有《巢林集》。与罗聘、李方膺、李鱓、金农、黄慎、高翔和郑燮并称”扬州八怪“。",[870,871,1211,942,1081,1080,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a22d9903ebf77ab39f57a28f615460f.jpg",[1029,6],69,{"id":332,"slug":4069,"title":4070,"dynasty":957,"author":1063,"museum":4071,"description":4072,"tags":4073,"thumbUrl":4075,"material":1287,"size":4076,"collection":6,"collections":4077,"showCount":4067,"zanCount":903,"manualWeight":903,"mainColor":970},"shui-zhu-ju-tu-ni-zan-220800","水竹居图","中国国家博物馆","此图以青绿设色绘江南初秋景色。\n山势低平，山前溪水渚坡坡上杂树五株，树后茅屋丛篁。\n画中笔墨沉实，赋形具体，山色苍翠，画法谨严运笔圆滑苍劲，略有董、巨遗法。\n此图写一仙居景致，其中静水潺潺，间以坡石、水渚、小桥相错；近岸处坡石层累，其上疏木参差偃仰，虬枝繁叶；近岸平地，一茅舍院落掩映树间，若隐若现；栅外修竹环绕，浴风飒飒；远处群峦竞秀，青翠欲滴；山下岸处坡石簇簇，林木深深。\n图右上倪瓒自题：“至正三年，癸未岁八月望日，进道过余林下，为言僦居苏州城东有水竹之胜。",[869,870,942,1622,914,963,962,964,4074,1022,1025,1117,1008,917,1102,889],"干笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab7872a100371101d8e6bbd7f53608e4.jpg","80 X 53 CM",[6,1188],{"id":333,"slug":4079,"title":4080,"dynasty":864,"author":4081,"museum":866,"description":4082,"tags":4083,"thumbUrl":4084,"material":930,"size":4085,"collection":899,"collections":4086,"showCount":4087,"zanCount":903,"manualWeight":903,"mainColor":904},"guan-shan-ji-xue-tu-yan-su-221426","关山积雪图","燕肃","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。",[869,870,871,916,914,875,3162,1007,1008,878,879,979,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff61c590823c9480548dd523165486396.jpg","40×30cm",[899,933,6],68,{"id":334,"slug":4089,"title":4090,"dynasty":1075,"author":3527,"museum":866,"description":4091,"tags":4092,"thumbUrl":4093,"material":1068,"size":4094,"collection":6,"collections":4095,"showCount":4087,"zanCount":1218,"manualWeight":903,"mainColor":970},"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。",[869,870,871,913,916,875,914,944,883,921,920],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17d1a5c1fb9dc7984b460e2cfeed8b21.jpg","纵187厘米，横67.2厘米",[6,933],{"id":335,"slug":4097,"title":4098,"dynasty":1075,"author":4099,"museum":866,"description":4100,"tags":4101,"thumbUrl":4102,"material":4103,"size":4104,"collection":933,"collections":4105,"showCount":4106,"zanCount":1218,"manualWeight":903,"mainColor":904},"qiu-lan-fei-pu-tu-zhou-zhang-zong-cang-236108","秋岚飞瀑图轴","张宗苍","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。",[977,870,871,913,1622,942,875,914,917,3195,921,877,883,879,979],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa28583d2a38165b70ad546df9ff0faae.jpg","绢本 ，设色","纵184cm，横117.7cm",[933,6],67,{"id":336,"slug":4108,"title":4109,"dynasty":1003,"author":2712,"museum":1495,"description":4110,"tags":4111,"thumbUrl":4112,"material":995,"size":4113,"collection":1029,"collections":4114,"showCount":4106,"zanCount":903,"manualWeight":903,"mainColor":904},"mu-niao-tu-lin-liang-222446","木鸟图","林良（约公元1428-1494），字以善，广东广州府南海县扶南堡（今广东佛山市南海区大沥）人，明代著名画家，广东绘画史上第一个进入主流性行列的画家。\n史料记载“林良吕纪，天下无比”，他因善画而被荐入宫廷，授工部营缮所丞，后任锦衣卫指挥、镇抚，值仁智殿。绘画取材多为雄健壮阔或天趣盎然的自然物象，笔法简练而准确，写意而形具\n林良是明代院体花鸟画的代表人物，也是明代水墨写意画派的开创者，在明代院体画中独树一帜，对后世画坛，包括宫廷画家、职业画家、文人画家均产生重大的影响。\n明初洪武至弘治的百余年内， 占据画坛主位的是皇家画院的宫廷绘画。时代特色和风格成型主要体现在宣德、成化、弘治三朝。尤其是花鸟画， 突破“院体”程式，出现了工笔重彩、水墨写意、设色没骨等多种风格， 并有所创新。其中水墨写意的开派人物便是林良。\n他创作的“文人画化”的水墨写意花鸟画，使明代“院体”花鸟出现了新的生机。虽然在明之前也有水墨写意花鸟，但仍以勾染为主流形式，而且宋“院体”花鸟在元代仍保持着很大的影响力。\n明代的水墨写意花鸟画， 由林良开派， 以后耕耘其间者接踵而至， 如沈周、陈淳、徐渭等， 一步步将写意法推向臻境，并成为明代花鸟画最流行和最富成就的一种形式， 终汇就明清泱泱大观的写意花鸟画风。林良无疑起了先导作用。他在花鸟画的发展史上， 是不可或缺的重要人物。",[869,870,942,1022,1081,2118,2119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a952a0aa9c1a5088e4461d5982c15c7.jpg","30.3×31.3",[1029,6],{"id":337,"slug":4116,"title":4117,"dynasty":1003,"author":4118,"museum":909,"description":4119,"tags":4120,"thumbUrl":4123,"material":981,"size":4124,"collection":933,"collections":4125,"showCount":4106,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[869,870,871,913,1081,875,874,1117,4121,4009,4122,2477,1776],"鹌鹑","蝴蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F877ec000da3e80bb4d127ada41a2f4e7.jpg","111.7x29.7",[933,6],{"id":338,"slug":4127,"title":4128,"dynasty":1003,"author":4129,"museum":909,"description":4130,"tags":4131,"thumbUrl":4132,"material":4133,"size":4134,"collection":933,"collections":4135,"showCount":4106,"zanCount":1218,"manualWeight":903,"mainColor":970},"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》。",[869,870,871,913,875,914,916,1066,894,918,917,1800,876,879,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe91618ed8c738d3b3545416a0e57f159.jpg","纸本浅设色","122.4x51.5厘米",[933,6],{"id":339,"slug":4137,"title":4138,"dynasty":1075,"author":4062,"museum":866,"description":4139,"tags":4140,"thumbUrl":4141,"material":1245,"size":4142,"collection":1029,"collections":4143,"showCount":4144,"zanCount":1218,"manualWeight":903,"mainColor":970},"mei-hua-lan-shi-tu-zhou-wang-shi-shen-237637","梅花兰石图轴","款署：“庚戌仲秋近人慎写于寿萱堂中。”钤“士慎”白文印。鉴藏印有：“白门李氏珍藏”朱文印。\n“庚戌”为清雍正八年（1730年），作者时年45岁，正是其艺术日臻成熟期。\n图绘春风中兰叶翻飞、梅花初绽的景致。拳石、梅树和丛兰以豪放的笔墨一挥而就，淋漓酣畅的墨气与梅兰旺盛勃发的生命力相符相合。梅花以工细的线条勾勒，俏丽的花姿显现出梅树清幽典雅的风韵和“空里疏香”的诗意。",[870,871,913,942,1081,1080,1257,1009,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff48e794336aa1087c4c94cc1fc7e8274.jpg","纵138.4厘米，横44.4厘米",[1029,6],66,{"id":340,"slug":4146,"title":4147,"dynasty":957,"author":2947,"museum":1461,"description":4148,"tags":4149,"thumbUrl":4150,"material":2236,"size":4151,"collection":933,"collections":4152,"showCount":4144,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[869,870,977,872,942,914,916,878,879,961,883,1508,1212,978,880],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa1aeb0c302856d82e072cfb3e1d3015.jpg","30.8x475.3cm",[933,6],{"id":341,"slug":4154,"title":4155,"dynasty":957,"author":1181,"museum":909,"description":4156,"tags":4157,"thumbUrl":4160,"material":981,"size":4161,"collection":933,"collections":4162,"showCount":4144,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[869,870,871,872,942,916,914,963,4158,964,877,878,879,979,4159,883,894],"篆书","塔","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",[933,6],{"id":342,"slug":4164,"title":4165,"dynasty":1075,"author":3527,"museum":1035,"description":4166,"tags":4167,"thumbUrl":4169,"material":1041,"size":1041,"collection":933,"collections":4170,"showCount":4171,"zanCount":903,"manualWeight":903,"mainColor":970},"wang-hui-fang-gu-shan-shui-ce-wang-hui-237581","王翚仿古山水册","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》。",[870,871,977,942,4168,914,916,944,920,961,883,878,3293,945,921,2995,2461],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d7aa76d129529fa40fc7aa1a4898dc.jpg",[933,6],65,{"id":343,"slug":4173,"title":4174,"dynasty":1075,"author":1076,"museum":1035,"description":4175,"tags":4176,"thumbUrl":4177,"material":2082,"size":1041,"collection":6,"collections":4178,"showCount":4171,"zanCount":1218,"manualWeight":903,"mainColor":970},"long-ke-shu-xia-fo-xiang-zhou-jin-nong-236338","龙窠树下佛像轴","金农画佛像，有的点缀山石花木，奇柯异叶，有的则不画衬景，但不管有无点景，其佛像均画得安祥、庄严而生拙，他在《龙窠树下佛图》中云：“予画菩萨妙相，奇柯异叶，以状庄严，恍如佛光上下，隐见在方寸也。”他又说：“余年逾七十，世间一切妄念，种种不生，此身虽属秽浊，然治清斋，每当平旦，十指新沐，熏以妙香，执笔敬写，极尽庄严，尚不叛乎昔贤遗法。世多善男子，愿一一品之，永充供养云。”(以上见《冬心画佛题记》)，说明了他开始画佛的时间和原因。",[870,871,913,1453,942,875,876,1053,964,962,1224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0052263f278bc7b744665176bb988523.jpg",[6,1204],{"id":344,"slug":4180,"title":4181,"dynasty":1075,"author":2616,"museum":866,"description":4182,"tags":4183,"thumbUrl":4184,"material":1245,"size":4185,"collection":933,"collections":4186,"showCount":4171,"zanCount":1218,"manualWeight":903,"mainColor":970},"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。",[869,870,871,913,942,914,916,883,894,961,879,917,1800,1053,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03932682651547307896f5d9c08b293b.jpg","纵103厘米，横59.9厘米",[933,6],{"id":345,"slug":4188,"title":4189,"dynasty":957,"author":3924,"museum":866,"description":4190,"tags":4191,"thumbUrl":4192,"material":1235,"size":4193,"collection":933,"collections":4194,"showCount":4171,"zanCount":1218,"manualWeight":903,"mainColor":904},"yue-yang-lou-tu-xia-yong-221820","岳阳楼图","对开清代李佐贤题跋：“岳阳楼图，界画精巧，飞阁层檐，一丝不乱，楼中人物，纤悉具备，殆类鬼工。上题岳阳楼记，楷书如蝇头蚊脚，足使离娄失明，不知作者如何著笔。此等书画，乃宋人绝技，元明以后，已成《广陵散》矣。古今人不相及，即艺事可见。李佐贤识。”钤：“竹朋”印。\n岳阳楼位于今湖南省境内，相传最早为三国时东吴名将鲁肃训练水师的阅兵台，更因北宋著名文学家范仲淹脍炙人口的《岳阳楼记》而著称于世，其与滕王阁、黄鹤楼并称为我国古代“三大名楼”。\n此幅与故宫藏另一件《岳阳楼图》之构图、技法如出一辙，只是一为纨扇，一为册页。 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。",[869,870,873,2598,1224,875,877,916,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38a4943b845226bb520d7033519a172d.jpg","纵24.4厘米，横26.2厘米",[933,6],{"id":346,"slug":4196,"title":4197,"dynasty":957,"author":3075,"museum":866,"description":4198,"tags":4199,"thumbUrl":4200,"material":995,"size":4201,"collection":6,"collections":4202,"showCount":4171,"zanCount":1249,"manualWeight":903,"mainColor":970},"xin-huang-tu-zhou-gu-an-221698","新篁图轴","作品内容多描写风竹的新篁。运笔遒劲，法度严谨，墨色浓润而匀净，表现风竹的偃仰扶疏、或是新篁的挺健嫩秀，结构取势都恰到好处，具有生动之致，行笔谨严，遒劲挺秀，用墨润泽焕烂，画湖石带勾带染，得皱透之姿，在李衍、柯九思外，自有一股萧疏清逸之气，成为一格。",[869,870,977,913,942,1117,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b21a4dee0286730581dec54763556ab.jpg","91cm,33.1cm",[6,1188],{"id":347,"slug":4204,"title":4205,"dynasty":957,"author":1948,"museum":909,"description":4206,"tags":4207,"thumbUrl":4208,"material":3167,"size":4209,"collection":933,"collections":4210,"showCount":4171,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[869,870,913,942,875,914,916,1007,1328,1008,1066,879,945],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcbf1df459b73c36527176870aa88973.jpg","125.1 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```","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567a440bad362794ef3a58bd9280e8cc.jpg","120.4x74.7厘米",[899,933,6],{"id":359,"slug":4313,"title":4314,"dynasty":1003,"author":1641,"museum":1128,"description":4315,"tags":4316,"thumbUrl":4317,"material":1214,"size":1041,"collection":933,"collections":4318,"showCount":4286,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[869,870,871,913,942,914,916,2150,945,889,1146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25884801024ed867821988d30206d287.jpg",[933,6],{"id":360,"slug":4320,"title":4321,"dynasty":957,"author":1181,"museum":909,"description":4322,"tags":4323,"thumbUrl":4324,"material":930,"size":4325,"collection":6,"collections":4326,"showCount":4286,"zanCount":903,"manualWeight":903,"mainColor":904},"shuang-song-tu-zhou-wu-zhen-220771","双松图轴","画中双树擎天而立，树后有一条蜿蜒的溪流渐渐地向后推延，几户房舍坐落在岸边，空间深邃。虽然这件画轴的画题是「双松图」，可是从画上两棵树的枝干看来，吴镇画的应该是桧树才对。画中桧树的枝枒纠结，仍然保存了李成、郭熙画树的风貌。树皮以长披麻皴来表现，笔法又和董源、巨然相似。坡岸多作矾头，也是董巨山水画的重要特色。全作的笔力雄劲，墨气沈厚，有一种平淡天真的韵致。",[870,871,913,942,914,916,1119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddcec95a642bee2f102e970fa2af7cc8.jpg","纵155.5cm，横66cm",[6,1188],{"id":361,"slug":4328,"title":4329,"dynasty":1075,"author":4330,"museum":866,"description":4331,"tags":4332,"thumbUrl":4333,"material":1068,"size":4334,"collection":933,"collections":4335,"showCount":4286,"zanCount":903,"manualWeight":903,"mainColor":970},"liu-cun-qiu-si-tu-wu-li-220115","柳村秋思图","吴历","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。",[869,870,942,916,913,914,2609,1008,978,876,881,895,1007,1025],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb12ddaee3bf0639e8563322f28ebc8fb.jpg","纵67.7厘米，横26.5厘米",[933,6],{"id":362,"slug":4337,"title":1376,"dynasty":1075,"author":4338,"museum":866,"description":4339,"tags":4340,"thumbUrl":4342,"material":1245,"size":4343,"collection":933,"collections":4344,"showCount":4345,"zanCount":903,"manualWeight":903,"mainColor":970},"shan-shui-zhou-wang-shi-min-237575","王时敏","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。",[977,870,871,913,942,916,947,1474,920,878,2516,1159,4341],"点苔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a92818843ca4d2b1ca7bd64f115128.jpg","纵135厘米，横63厘米",[933,6],62,{"id":363,"slug":4347,"title":4348,"dynasty":1075,"author":2616,"museum":866,"description":4349,"tags":4350,"thumbUrl":4354,"material":3008,"size":1041,"collection":933,"collections":4355,"showCount":4345,"zanCount":903,"manualWeight":903,"mainColor":970},"qiu-shan-you-jing-tu-zhou-kun-can-236272","秋山幽静图轴","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”。",[870,1622,913,942,2254,879,961,878,877,4351,918,4352,4353],"古树","幽境","苍莽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca894ea502bfc800f010545c07b430e.jpg",[933,6],{"id":364,"slug":4357,"title":4358,"dynasty":1003,"author":4280,"museum":3508,"description":4359,"tags":4360,"thumbUrl":4361,"material":1746,"size":4362,"collection":933,"collections":4363,"showCount":4345,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[869,870,872,942,914,916,2254,2516,883,879,961,978,917,921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e087d6380ef6f745979fe23ff227fcc.jpg","26.3x246.5",[933,6],{"id":365,"slug":4365,"title":4366,"dynasty":1003,"author":2712,"museum":990,"description":4367,"tags":4368,"thumbUrl":4369,"material":875,"size":4370,"collection":1029,"collections":4371,"showCount":4345,"zanCount":1218,"manualWeight":903,"mainColor":970},"hua-niao-tu-zhou-lin-liang-222448","花鸟图轴","林良作花鸟画取材十分广泛。他最擅于画禽鸟，从江湖山野的苍鹰、小雀、鱼鸟、芦雁，到宫廷后苑的仙鹤、孔雀、凤凰等等，都一一入画。他对禽鸟作了细致入微的观察，将禽鸟的飞鸣食宿之态，跳攀争斗之势表现得十分准确、生动、传神。林良画的花木同样是生气勃勃：汀芦、灌木、翠枝、枯藤等植物呈现出含苞养秀、荣枯凋落等各种生态，充满野趣和生机。\n林良在花鸟画领域中，最具创造性的是他对水墨写意技法的运用。他把南宋马远、夏圭的水墨山水画技法引入花鸟画之中，打破了工笔与写意的界限，大大丰富了花鸟画的表现方法。而林良的写意，又只是在写实之中略为开放，既不背离形似，又不着意于酷似。他以水墨为主作画，黑白变化多端。萧镃于明景泰六年为林良的《九思图》题曰：“……宣庙间，边景昭五色翎毛称独步，近日林良用水墨，落笔往往皆天趣。”《明画录》则称林良“着色花果翎毛极精巧，取水墨为烟波出没，凫雁嚵唼容与之态，颇见清淡。树木遒劲如草书，人莫能及。”",[869,870,913,942,1022,1081,2118,2119,962,963],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a383be487dab662a8b62819082463dd.jpg","36X183cm",[1029,6],{"id":366,"slug":4373,"title":4374,"dynasty":957,"author":4375,"museum":909,"description":4376,"tags":4377,"thumbUrl":4379,"material":930,"size":4380,"collection":933,"collections":4381,"showCount":4345,"zanCount":903,"manualWeight":903,"mainColor":904},"long-chi-jing-du-tu-juan-wang-zhen-peng-221853","龙池竞渡图卷","王振鹏","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。",[869,977,870,871,872,873,1224,875,876,877,1024,880,1025,883,4378,964],"竞渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3870d12d0c453d52304f7bf589acbc8d.jpg","纵30.2厘米，横243.8厘米",[933,6],{"id":367,"slug":4383,"title":4384,"dynasty":1003,"author":1641,"museum":866,"description":4385,"tags":4386,"thumbUrl":4387,"material":4388,"size":4389,"collection":933,"collections":4390,"showCount":4345,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[870,871,1211,942,916,1146,917,879,1309,914],"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",[933,6],{"id":368,"slug":4392,"title":4393,"dynasty":957,"author":4394,"museum":1461,"description":4395,"tags":4396,"thumbUrl":4397,"material":1226,"size":4398,"collection":6,"collections":4399,"showCount":4345,"zanCount":1218,"manualWeight":903,"mainColor":904},"mo-ji-shi-yi-tu-tang-di-220369","摩诘诗意图","唐棣","《摩诘诗意图》毫无疑问是唐棣山水画的代表作。画面近景巨树磅礴有力，远景平野延展不绝，树木是典型的蟹爪枝，山石是典型的鬼面石，皴法是典型的卷云皴，真可谓得李郭“真传”。",[869,870,942,916,1053,917,914,913,1102,883],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14fd21367e223c6a2061d4a44ff001c3.jpg","71x46cm",[6],{"id":369,"slug":4401,"title":4402,"dynasty":1003,"author":4403,"museum":4404,"description":4405,"tags":4406,"thumbUrl":4407,"material":1068,"size":4408,"collection":6,"collections":4409,"showCount":4345,"zanCount":903,"manualWeight":903,"mainColor":904},"yue-xia-pu-tao-tu-wang-liang-chen-220357","月下葡萄图","王良臣","美国弗利尔美术馆","王良臣（ 生卒年不详），平生无可考。作花卉，意在沈周、徐渭之间，疑为明嘉、万历年间画家。",[870,871,913,942,1081,1360,1927,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3c5d497af84a9427a0bb325bf7c4c38.jpg","188.4x60.2",[6],{"id":370,"slug":4411,"title":4412,"dynasty":1003,"author":4413,"museum":1035,"description":4414,"tags":4415,"thumbUrl":4416,"material":2219,"size":2220,"collection":1029,"collections":4417,"showCount":4418,"zanCount":1218,"manualWeight":903,"mainColor":970},"mei-hua-dui-ti-tu-ce-chen-ji-ru-237537","梅花对题图册","陈继儒","陈继儒（1558年12月14日-1639年10月16日），字仲醇，号眉公、麋公，松江府华亭（今上海市松江区）人。明朝文学家、画家。\n诸生出身，二十九岁开始，隐居在小昆山，后居东佘山，关门著述，工诗善文，书法学习苏轼和米芾，兼能绘事，屡次皇诏征用，皆以疾辞。擅长墨梅、山水，画梅多册页小幅，自然随意，意态萧疏。论画倡导文人画，持南北宗论，重视画家修养，赞同书画同源，有《梅花册》《云山卷》等传世。著有《陈眉公全集》《小窗幽记》《吴葛将军墓碑》《妮古录》。",[870,871,1211,942,963,1080],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fe663b1fb3979ba9855c154842e6048.jpg",[1029,6],61,{"id":371,"slug":4420,"title":4421,"dynasty":1075,"author":1113,"museum":1035,"description":2298,"tags":4422,"thumbUrl":4423,"material":1041,"size":1041,"collection":933,"collections":4424,"showCount":4418,"zanCount":1218,"manualWeight":903,"mainColor":970},"yuan-ji-tao-shi-cai-ju-tu-zhou-shi-tao-237470","原济陶诗采菊图轴",[870,942,913,916,914,1007,1066,1146,945,993,946],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3235b3438219ed07d2bd0482e005116.jpg",[933,6],{"id":372,"slug":4426,"title":4427,"dynasty":1075,"author":4428,"museum":866,"description":4429,"tags":4430,"thumbUrl":4431,"material":1245,"size":4432,"collection":933,"collections":4433,"showCount":4418,"zanCount":903,"manualWeight":903,"mainColor":970},"xi-bei-shi-yi-tu-ce-cha-shi-biao-233870","西陂诗意图册","查士标","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》。",[870,942,916,914,1211,1008,894,1102,2562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a2da2721f9dffe79fcc1e72526d712f.jpg","纵32.8cm，横52.8cm",[933,6],{"id":373,"slug":4435,"title":4436,"dynasty":1075,"author":4437,"museum":990,"description":4438,"tags":4439,"thumbUrl":4440,"material":4245,"size":4441,"collection":933,"collections":4442,"showCount":4418,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[869,870,871,872,942,875,914,916,1007,1025,883,917,894,961,879,1053],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe635978855f747c8aa390e5a7b497820.jpg","26×455",[933,6],{"id":374,"slug":4444,"title":4445,"dynasty":1003,"author":4446,"museum":909,"description":4447,"tags":4448,"thumbUrl":4452,"material":2236,"size":4453,"collection":933,"collections":4454,"showCount":4418,"zanCount":1218,"manualWeight":903,"mainColor":904},"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。",[869,870,977,1622,942,4449,4450,944,918,878,961,4451,1307,919,877,883,946],"云头皴","蟹爪枝","客舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faea88dacaadab09ee87b38f46a96bc0e.jpg","109.1×188.8cm",[933,6],{"id":375,"slug":4456,"title":4457,"dynasty":957,"author":4458,"museum":909,"description":4459,"tags":4460,"thumbUrl":4462,"material":1401,"size":4463,"collection":6,"collections":4464,"showCount":4418,"zanCount":903,"manualWeight":903,"mainColor":904},"liu-yan-tu-sheng-chang-nian-221857","柳燕图","盛昌年","本幅无作者款识，右侧有“廷晖”残印半方及康有为、王季迁藏印。\n整幅画面构图繁密，洋溢着一派春和景明的气象。\n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。\n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 家。\n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。\n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。\n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。\n在色彩上两者都具有相似的绚丽色泽。\n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。",[869,870,942,913,1081,2609,4461,978,1022],"燕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F718470a984f0d650aff4498a17cee84d.jpg","75.9x25.5",[6,1188],{"id":376,"slug":4466,"title":1221,"dynasty":957,"author":4467,"museum":1099,"description":4468,"tags":4469,"thumbUrl":4470,"material":930,"size":4471,"collection":6,"collections":4472,"showCount":4418,"zanCount":1218,"manualWeight":903,"mainColor":904},"zhu-shi-tu-li-shi-xing-221805","李士行","水墨画坡石重叠，三竿晴竹顶天立地，旁傍拳石，丛篁荆棘掩映衬托。竹叶疏密偃仰有致，显出微风乍起有向上飘举之势。石皴圆润，存董、巨遗法。余图浓淡虚实，笔笔相应，同笔自然灵活稳健，墨色偏淡层次分明。画心左侧行书署：“蓟丘李士行遵道作”款。左下角钤梁清标、临圣斋收藏印证。李士行(1282—1328)，字遵道，号黄岩，河北蓟丘人是名画家李衔的长子。诗歌、书画除力承家学之外，又得赵孟頫和鲜于枢之指授，善画山水，以所画大明宫图入晃仁宗嘉奖其能。画竹石枝叶挺秀，得写生妙趣。此图墨竹画法纯出李衔，披石大披麻皴，有别于乃父之渴笔渲染。现藏辽宁省博物馆。",[869,870,942,913,1117,1118,914],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2ecc7ea8f565c5eebab3e747c307003.jpg","画心纵170、横92.3厘米",[6,1188],{"id":377,"slug":4474,"title":4475,"dynasty":957,"author":2138,"museum":866,"description":4476,"tags":4477,"thumbUrl":4478,"material":1226,"size":4479,"collection":933,"collections":4480,"showCount":4418,"zanCount":903,"manualWeight":903,"mainColor":1191},"han-lin-tu-cao-zhi-bai-221790","寒林图","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。",[869,870,871,916,942,914,1052,1053,1009,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d273f7f19185342efa1150df078a26.jpg","纵27.3厘米横26.2厘米",[933,6],{"id":378,"slug":4482,"title":4483,"dynasty":957,"author":1631,"museum":1035,"description":4484,"tags":4485,"thumbUrl":4486,"material":995,"size":4487,"collection":933,"collections":4488,"showCount":4418,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[869,870,871,873,874,942,877,2461,1066],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96226abc23ad0fb3649a6ae892730ae5.jpg","纵40.5cm、横37.3cm",[933,6],{"id":379,"slug":4490,"title":4491,"dynasty":864,"author":2041,"museum":909,"description":4492,"tags":4493,"thumbUrl":4495,"material":875,"size":4496,"collection":899,"collections":4497,"showCount":4498,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[869,870,977,913,916,914,942,1007,1131,883,920,4494,961,1799],"暮景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f6027549ff3ba9471ae648d9c8b2de.jpg","纵102.1厘米，横55.9厘米",[899,933,6],60,{"id":380,"slug":4500,"title":4501,"dynasty":1075,"author":4502,"museum":1461,"description":4503,"tags":4504,"thumbUrl":4505,"material":4506,"size":4507,"collection":933,"collections":4508,"showCount":4498,"zanCount":903,"manualWeight":903,"mainColor":904},"shan-shui-tu-juan-zhang-ci-ning-222849","山水图卷","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。",[869,870,871,872,942,875,916,914,1007,1025,889,961,1066,894,945,1102,1103],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F245cd1b249d8216f4f7f6e4b49950088.jpg","纸本 水墨 设色","41.3 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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。",[869,870,871,872,942,914,916,883,945,921,919,1007,1025,1009,1051,979,978,1052,1053],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb29e33ccd969cc6a691bf6ba1cee17d.jpg","38.42x417.83",[899,933,6],{"id":385,"slug":4544,"title":4545,"dynasty":1003,"author":1641,"museum":909,"description":4546,"tags":4547,"thumbUrl":4548,"material":981,"size":4549,"collection":933,"collections":4550,"showCount":4498,"zanCount":903,"manualWeight":903,"mainColor":970},"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。 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“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。",[869,977,870,871,913,942,4556,916,879,883,917,979],"积墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24def22080b1526b2fb90ee14de849af.jpg","纸本水墨画","画心纵79、横38.2厘米",[933,6],59,{"id":387,"slug":4563,"title":4564,"dynasty":1003,"author":3543,"museum":866,"description":4565,"tags":4566,"thumbUrl":4567,"material":4568,"size":4569,"collection":6,"collections":4570,"showCount":4561,"zanCount":903,"manualWeight":903,"mainColor":970},"qi-shui-qing-feng-tu-xia-chang-222167","淇水清风图","夏昶（1388至1470），字仲昭，号自在居士、玉峰，昆山人，后人誉其画竹高手。他初姓朱，名昶，后复姓夏，太宗为之更名昶，字仲昭。号自在居士，又号玉峯，昆山（今江苏昆山）人。昺弟。正统中官至太常寺卿直内阁。画墨竹师王绂，能得其妙，时推第一，名驰绝域，争以金购之。\n有“夏卿一个竹，西凉十锭金”之谣。所作竹枝烟姿雨色，偃值浓疎，动和榘度，盖行家也。昆山之人师之者更数辈，独屈约颇类之，而人所得，往往出其手。尤精楷法，永乐命书宫殿榜。卒年八十三。\n永乐十三年(公元1415年)中进士，为翰林院庶吉士。文皇十分赏识他的楷书，被推荐供事内省，授中书舍人。永乐命书宫殿榜。尝待从皇帝出巡于南、北二京。\n宣德(公元1426一1435年)中，转考工主事，仍供内直。正统(公元1436—1449年)中升太常卿。他为人坦率乐易，不拘小节，时常出入礼法间，人们也不怎么去责怪他。晚年回到故乡居住，以诗画宴乐自娱。\n夏昶，画竹学王绂兼学陈继，有自己的面目，声誉大大超过了他的老师。",[869,870,871,872,942,4158,962,964,1117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd1e1ca00868d871f0471a4a53755cd6.jpg","纸本设","纵27.6CM 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【收藏】 主题与关键字：松、云 石渠宝笈续编（乾清宫），第一册，页51 故宫书画录（卷五），第三册，页194 故宫书画图录，第五册，页1-14 巴颜布哈（生年不详，卒于公元一三五九年），元史列传作伯颜不花的斤。\n蒙古人，姓畏吾儿氏，高昌王的孙子。\n字苍巖，号苍崖。\n是元朝大书法家鲜于枢的外甥。\n作官至江东廉访副使。\n通晓音乐，以画龙出名。",[869,870,871,913,942,914,916,1119,1328,1118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6532dd4672785d8ba523288a0bcec6ec.jpg","122x42.2公分",[1029,6],{"id":393,"slug":4614,"title":4615,"dynasty":957,"author":3075,"museum":866,"description":4616,"tags":4617,"thumbUrl":4618,"material":1235,"size":4619,"collection":6,"collections":4620,"showCount":4603,"zanCount":903,"manualWeight":903,"mainColor":904},"you-huang-xiu-shi-tu-zhou-gu-an-221697","幽篁秀石图轴","署款“东淮安定之”。下钤“顾定之印”等印3方。画幅左侧有明代张绅题记。\n此图绘数竿青竹在清风晨露中绰约多姿的体态。顾安在创作上力求表现竹子“清且真”的物态风神。“清”是指竹子不卑不亢、清高脱俗的内在品性，它是元代文人画家所追求向往的君子品德；“真”是指竹子清瘦隽逸、披霜戴雪的外在形貌，强调竹画艺术的写实精神。图中所绘之竹以淡墨写竿，浓墨画叶，深浅墨色虚实互衬，加强了画面层次感，扩展了空间。竹叶的画法遵循赵孟頫所倡导的“写竹还须八法通”的原则，熟练地以书法的“捺”法起笔收笔，叶根及叶尖皆见笔锋，写出其错落参差、披离偃仰之态。图中的湖石以墨、色点染，具有玲珑剔透之美，也映衬出竹之秀润娴静。全图以简洁的笔墨营造出“无穷出清新”的清逸意境。\n此卷原藏清宫内府，宣统年流入民间，为徐石雪所收藏，解放后捐献给国家文物局。文物局于1957年4月27日将它拨交故宫博物院。",[869,870,913,942,874,914,1117,1118,1009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1e2953593c979f764e7fe4b77b7f4bc.jpg","纵184cm，横12cm",[6,1188],{"id":394,"slug":4622,"title":1376,"dynasty":864,"author":974,"museum":909,"description":4623,"tags":4624,"thumbUrl":4625,"material":875,"size":4626,"collection":933,"collections":4627,"showCount":4603,"zanCount":903,"manualWeight":903,"mainColor":970},"shan-shui-zhou-xia-gui-221225","诗塘 王铎题云。老干不事纤细小巧。骨格坚凝韶秀。有大家气。即此一画。雪色蒙晦。石寒铁色。噫。阴晴不可知。有天道寓于中。谓画者果无意欤。夏圭钱塘人。宁宗时擅名。师范宽李唐。宗有其俪。凡以觕粝冒圭者非其真也。丙戌三月时居燕。为二弟仲和题。王铎。钤印一。铎。",[869,870,1622,913,942,875,914,917,883,1980,944],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4da237f95d56b5840f04b1a93af93930.jpg","该幅47.6x32.5公分；诗塘28x32.6公分",[933,6],{"id":395,"slug":4629,"title":4630,"dynasty":1003,"author":1641,"museum":1128,"description":4631,"tags":4632,"thumbUrl":4634,"material":1121,"size":4635,"collection":933,"collections":4636,"showCount":4603,"zanCount":903,"manualWeight":903,"mainColor":970},"shu-lin-yuan-xiu-tu-dong-qi-chang-220956","疏林远岫图","董其昌为同年袁可立而作。\n此图为近景画，坡石错落，勾勒圆浑。坡上疏林，用笔虽简而各蕴姿态。\n中景水面空旷，一山耸峙，在平远的构图上颇见险势。整幅画简洁朴拙。",[869,870,871,913,942,914,916,4633,2992,945,883],"疏林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eb9762e8762c363347fa3b81bfaec84.jpg","纵98.7厘米，横38.6厘米",[933,6],{"id":396,"slug":4638,"title":4639,"dynasty":1003,"author":1641,"museum":909,"description":4640,"tags":4641,"thumbUrl":4644,"material":981,"size":4645,"collection":933,"collections":4646,"showCount":4603,"zanCount":903,"manualWeight":903,"mainColor":970},"yan-shu-mao-tang-zhou-dong-qi-chang-220941","烟树茆堂轴","董其昌流连于西湖一带，于寺院中绘成此轴。画上题诗原本是为好友陈继儒题画所书，后来亦常使用于其它画作上",[869,870,871,913,942,914,916,4642,4643,1007,1008,2477,879],"烟树","茆堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c95aa5cb46913f3d622bdcbc5a0246.jpg","107.6x37.4公分、全幅 61公分",[933,6],{"id":397,"slug":4648,"title":4649,"dynasty":1003,"author":4650,"museum":4651,"description":4652,"tags":4653,"thumbUrl":4654,"material":1068,"size":1041,"collection":933,"collections":4655,"showCount":4603,"zanCount":903,"manualWeight":903,"mainColor":970},"yun-shan-ping-yuan-tu-shao-mi-219705","云山平远图","邵弥","日本大阪市立美术馆","邵弥。字僧弥，后以字为名，号瓜畴、芬陀居士。性迂僻不谐俗，工诗文，善书法，尤长于绘画。擅画山水，亦能画水仙兰竹，其山水以元人为师承对象，略参以宋人笔意，笔墨疏简秀逸。名重一时，与董其昌、王时敏、王鉴、李流芳、杨文聪、张学曾、程嘉燧、卞文瑜合称画中九友。有《划开众皴图》、《云山平远图》、《贻鹤寄书图》等传出。草书受米芾、米友仁影响，楷书得锺繇法。",[869,870,942,872,914,916,1328,1007,1025,883,961,979,978,921,920],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb701b7323781fa85ef2c2443e2a86e.jpg",[933,6],{"id":398,"slug":4657,"title":4658,"dynasty":1075,"author":1883,"museum":1035,"description":4659,"tags":4660,"thumbUrl":4661,"material":995,"size":1041,"collection":933,"collections":4662,"showCount":4663,"zanCount":903,"manualWeight":903,"mainColor":904},"wang-jian-shan-shui-tu-zhou-wang-jian-238971","王鉴山水图轴","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。",[977,870,871,913,942,914,916,979,879,883,917,993,918],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc7418118584b0267cf220052b12893a.jpg",[933,6],57,{"id":399,"slug":4665,"title":4666,"dynasty":957,"author":2501,"museum":909,"description":4667,"tags":4668,"thumbUrl":4669,"material":995,"size":4670,"collection":1029,"collections":4671,"showCount":4663,"zanCount":903,"manualWeight":903,"mainColor":970},"ma-que-shan-qin-tu-li-zhou-wang-yuan-221841","麻雀山禽图立轴","王渊，元代画家，字若水，号澹轩，一号虎林逸士，生卒年不详。杭（杭州）人。幼习丹青，赵孟多指教之，故所画皆师古人，无一笔院体。山水师郭熙，花鸟画师承后蜀黄筌，先勾勒后皴染水墨，浓淡深浅，极有韵致，地写生之妙，时称“绝艺”。人物师唐人吴道子，一一精妙，注重线条勾勒，不讲究墨彩渲染，史称“有笔而无墨”，自成风韵。尤精墨花鸟竹石，当代绝艺。天机溢发，肖古而不泥古。",[869,977,870,871,913,942,874,1081,1117,3104,978,1009,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0258e250c8d399555994ef46f70fc70b.jpg","60x198cm",[1029,6],{"id":400,"slug":4673,"title":1993,"dynasty":864,"author":1048,"museum":4674,"description":4675,"tags":4676,"thumbUrl":4679,"material":4680,"size":4681,"collection":899,"collections":4682,"showCount":4663,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[869,977,870,942,2598,914,4677,916,1146,917,1102,4678,876],"斧劈皴","近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe25749570680d4776f70b7c2eecee4f5.jpg","绢本 淡设色","25.5X25.7",[899,933,6],{"id":401,"slug":4684,"title":4685,"dynasty":864,"author":1786,"museum":909,"description":4686,"tags":4687,"thumbUrl":4688,"material":930,"size":4689,"collection":933,"collections":4690,"showCount":4663,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[870,977,874,875,873,877,876,883,1927,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F578e2ffd01bb31fc19a9ed719b2041d1.jpg","24.8 x 25.2公分",[933,6],{"id":402,"slug":4692,"title":3890,"dynasty":1003,"author":1641,"museum":1099,"description":3891,"tags":4693,"thumbUrl":4695,"material":1746,"size":4696,"collection":933,"collections":4697,"showCount":4663,"zanCount":903,"manualWeight":903,"mainColor":970},"xiao-xiang-bai-yun-tu-dong-qi-chang-220954",[869,870,871,872,942,914,963,962,964,916,1328,883,894,1102,4694,920],"近山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21fdc195369ed63e4dec9e5360e472cd.jpg","卷纵29.3厘米横340.8厘米",[933,6],{"id":403,"slug":4699,"title":4700,"dynasty":1003,"author":2649,"museum":866,"description":4701,"tags":4702,"thumbUrl":4703,"material":1068,"size":4704,"collection":6,"collections":4705,"showCount":4663,"zanCount":1109,"manualWeight":903,"mainColor":970},"zhen-shou-tang-tu-juan-tang-yin-220132","贞寿堂图卷","图绘以平远、阔远之法，画青山秀水之畔，有堂屋两间筑于山坳回抱之处、松竹掩映，篱落曲折。堂内家人聚首，共叙天伦；堂侧隔桥一人正袖手而立，作静观之状。图中山石皴笔劲利，晕染轻淡；树法丰富，枝干俯仰有态，点叶、夹叶兼备，点景人物衣纹细劲，神态闲适。风格秀润，意境幽淡，为唐寅早期画作的佳制。",[869,870,871,872,942,875,914,963,962,916,877,1053,1009,878,879,979,876,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29da086db6e0222144fd39f45bbfb2d9.jpg","纵28.3厘米 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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。",[977,870,871,942,4807,1052,4808,962,964],"古松","松果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f287011696dffb4e0f719e2224fed22.jpg","73.9x51.2",[6],55,{"id":416,"slug":4814,"title":4815,"dynasty":1075,"author":3527,"museum":909,"description":4816,"tags":4817,"thumbUrl":4818,"material":930,"size":4819,"collection":933,"collections":4820,"showCount":4812,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[869,870,1622,1309,914,942,875,2860,917,1146,2516,913,2517],"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。",[869,870,871,872,874,875,1875,1131,961,978,4861,4862,916,964,963,962],"寒沙","江天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a58a63dfbbd8dca1f12f17d87a436e6.jpg","纵26.5厘米，横145.6厘米",[899,933,6],{"id":422,"slug":4867,"title":4868,"dynasty":1075,"author":4869,"museum":866,"description":4870,"tags":4871,"thumbUrl":4872,"material":1068,"size":4873,"collection":1029,"collections":4874,"showCount":4812,"zanCount":903,"manualWeight":903,"mainColor":970},"you-yu-tu-li-fang-ying-219298","游鱼图","李方膺","《游鱼图》是李方膺的代表作。画中春水方生，欢腾的鲤鱼争相穿越于河水间，它们或直冲入水底，或徜徉于水面，或摇头摆尾，或展鳍跳跃，在寒冷的冬天之后尽情享受着春天河水复苏带来的喜悦。画面生动传神而富有情趣。作者用笔洗练，虽无一笔背景，却使人透过温和的春水仿佛看到了江南明媚的春日景象，达到了意到笔不到、景在画外的艺术效果。\n根据画面的风格和题诗，可以推断此图是李方膺罢官（乾隆十三年，1748年）之后的作品。画中作者以游鱼自拟，隐喻他久困樊笼，终得返归自然，表现了作者向往自由生活的思想及其品格情操。明清文人常以“四君子”题材直抒胸臆，表现闲雅高洁的品行。李方膺也善画梅，而在晚年，他选择了游鱼为题材表达自己的思想感受，跳出了文人画的樊篱，立意新颖，扩大了文人画的表现领域和审美情趣，他的创新也正表现出“扬州八怪”对绘画的突出贡献。\n在画面位置经营上，此图也与众不同。5尾姿态不同的游鱼组成一条反“S”形曲线，鱼头、鱼尾相互呼应，既有形式上的美感，又渲染了腾跃而出的气氛。右边题诗一贯到底，字体浑厚雄肆，增强了画面的整体感，从而成为诗、书、画完美统一的佳构。",[869,870,942,913,1022,2161],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff613ec4e2d38e9fcb8dd2ed4789cd59.jpg","纵123.5厘米，横60厘米",[1029,6],{"id":423,"slug":4876,"title":4877,"dynasty":1003,"author":4878,"museum":3760,"description":4879,"tags":4880,"thumbUrl":4882,"material":995,"size":4883,"collection":933,"collections":4884,"showCount":4885,"zanCount":1218,"manualWeight":903,"mainColor":970},"song-bai-tu-fang-yi-zhi-222323","松柏图","方以智","图绘松柏两棵，一棵虬枝叶茂，另一棵上半段已残缺，仍坚强孤傲立于山石之上，树下隐约现长亭横顶，此处为观景纳凉之佳地；远处山色浓重，云蒸雾绕，透出孤寂冷清之意境。方以智，字密之，号曼公，明代哲学家、画家，明末清初出家为僧",[869,870,942,914,913,4881,916,1009,979,3321,917,883,1102],"松柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60d9e5554f54a559543073dca6744eb.jpg","47.3x125.6厘米",[933,6],54,{"id":424,"slug":4887,"title":4888,"dynasty":1003,"author":3689,"museum":4889,"description":4890,"tags":4891,"thumbUrl":4897,"material":1121,"size":4898,"collection":933,"collections":4899,"showCount":4885,"zanCount":1218,"manualWeight":903,"mainColor":970},"si-wan-shan-shui-tu-wan-gan-yan-yu-wen-bo-ren-222225","四万山水图-万竿烟雨","京都国立博物馆","明代中期吴派风格自形成以来盛极一时，他们的画法，上探北宋董巨，近追元代四家，与以往明代绘画所不同的是，吴派山水属于文人画体系，被称为“利家”画并为发展文人画做出了重大贡献，同时他们的画风为后世文人所推重直至今日。文伯仁，字德承，号五峰，作为吴派山水画家和文氏家族中重要的一员，“笔力清劲，布景奇兀，时以巧思发之能传家学，颇负出蓝之誉”，并善于学习古人，画功精湛，在他存世并不众多的作品中不难发觉元代王蒙与叔父文徵明的影子，而与此二人作品相较，比王蒙的山水少了高不可攀的险峻，比文徵明的山水多了鲜明的个人情趣。徐沁在名画录赞叹文伯仁的山水“横披大幅，层峦郁茂不在衡山之下。”\n《四万山水图》指的是四幅分别以“万壑松风”、“万竿烟雨”、“万顷晴波”、“万山飞雪”为题的画作的总称，是明代画家文伯仁为友人顾从义而画，作于文伯仁50岁时。各图上有明末艺苑的代表文人董其昌所题的画赞。文伯仁是明代苏州（江苏省吴县）文人画即吴派的中心人物文征明的外甥，据说其在文氏一门之中画技最为出色。文征明及其一门的画家喜爱描绘山泉林间闲游的文人，但文伯仁的山水画以清静、浅显、清楚的白描风格或淡彩为基调，以充满色彩感的画风为特色，为文人画开辟了新的境界。本图是嘉靖年间（1522～66年）吴派的代表作品之一。《四万山水图》描绘了文人的闲适，作品中大量使用了清劲的白描笔法，表现密度极高。",[869,870,942,913,916,1117,4892,879,4893,4894,914,1003,4895,1598,3107,1399,1022,4896,1023],"烟雨","石块","草丛","传统","笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2827fdbc7f7dd9a85fe05f339586423b.jpg","48X123cm",[933,6],{"id":425,"slug":4901,"title":4902,"dynasty":864,"author":1430,"museum":1495,"description":4903,"tags":4904,"thumbUrl":4905,"material":995,"size":4906,"collection":899,"collections":4907,"showCount":4885,"zanCount":903,"manualWeight":903,"mainColor":970},"yuan-pu-gui-fan-tu-mu-xi-221503","远浦归帆图","《远浦归帆图》为《潇湘八景图》之一。“潇湘”这一意象在中国画中具有特殊的地位。“潇湘山水”的出现，或许是与宏大的帝国山水对立的，它具有更强烈的私人属性，属于性灵的山水篇章。潇湘山水并非是指今天的“潇湘洞庭”，而是泛指一种江湖的情调与雅趣。牧溪和尚以“潇湘”为旨，融禅理于画，可谓画中有禅，禅中有画。今读《远浦归帆图》，只为见本心。",[869,870,942,916,872,961,883,978,1022],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23e1af47130223d09239906eae4799cb.jpg","32.5*112.7CM",[899,933,6],{"id":426,"slug":4909,"title":4910,"dynasty":864,"author":4911,"museum":1461,"description":4912,"tags":4913,"thumbUrl":4918,"material":930,"size":4919,"collection":899,"collections":4920,"showCount":4885,"zanCount":903,"manualWeight":903,"mainColor":904},"chun-jiao-mu-yang-tu-li-di-221501","春郊牧羊图","李迪","《春郊牧羊图》为扇面小品，大不盈尺，绘春郊野外，羊群于坡岸吃草放牧的情景，羊群刻画生动，奔走俯首等姿态栩栩如生，有母子舔犊情深、有结伴奔跑嬉戏、有独自悠闲觅食。荒草并不丰茂，但却充满生机，平稳均衡的画面布局又隐藏着山坡横向的动感和柳树上扬下垂的起伏变化，而正在攀爬柳树的牧童，更是给看似安静的画面增添了活眼",[869,870,977,2598,874,875,2609,4914,1520,876,4915,4916,4917],"羊","草地","山坡","郊野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a238f37fd4e936610467a8de5665e84.jpg","24.1×24.8cm",[899,1029,6],{"id":427,"slug":4922,"title":4923,"dynasty":864,"author":908,"museum":1461,"description":2748,"tags":4924,"thumbUrl":4925,"material":1401,"size":2752,"collection":899,"collections":4926,"showCount":4885,"zanCount":903,"manualWeight":903,"mainColor":904},"yan-lan-qiu-xiao-tu-shou-juan-fan-kuan-221392","烟岚秋晓图手卷",[869,870,871,872,916,914,875,917,883,921,2461,2750,920,1172,894],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e46fdf1ba9c7c72c2074be0b953a710.jpg",[899,933,6],{"id":428,"slug":4928,"title":4929,"dynasty":864,"author":4930,"museum":1035,"description":4931,"tags"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44.5公分",[933,6],51,{"id":450,"slug":5125,"title":5126,"dynasty":1003,"author":5127,"museum":1461,"description":5128,"tags":5129,"thumbUrl":5130,"material":5131,"size":5132,"collection":933,"collections":5133,"showCount":5123,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[869,870,871,872,942,914,962,963,916,1053,1146,917,1009,979,876,879],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92f9fcd5c11225b554a4e27bb19095e1.jpg","绫本水墨","27.9×320厘米",[933,6],{"id":451,"slug":5135,"title":5136,"dynasty":864,"author":5137,"museum":1495,"description":5138,"tags":5139,"thumbUrl":5141,"material":1997,"size":5142,"collection":899,"collections":5143,"showCount":5123,"zanCount":1218,"manualWeight":903,"mainColor":904},"long-gu-che-tu-li-song-221494","龙骨车图","李嵩","李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传至今日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》、《水殿招凉图》，《观潮图》、《西湖图》、《仙山瑶涛图》，《骷髅幻戏图》、《观灯图》、《柳塘聚禽图》、《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[869,870,874,875,873,5140,882,876,1691],"农事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a05840e2dc8620ab8a0852363b3faea.jpg","25.626.4cm",[899,1202,6],{"id":452,"slug":5145,"title":2867,"dynasty":957,"author":1631,"museum":866,"description":2004,"tags":5146,"thumbUrl":5147,"material":1235,"size":5148,"collection":6,"collections":5149,"showCount":5123,"zanCount":903,"manualWeight":903,"mainColor":904},"gu-mu-zhu-shi-tu-zhou-zhao-meng-fu-220839",[869,870,871,977,913,942,1224,1053,1117,1009,2006,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7888eb16c9309e34f9ae3a0c0744039a.jpg","纵108.2cm，横48.8cm",[6,1188],{"id":453,"slug":5151,"title":5152,"dynasty":1075,"author":2041,"museum":1035,"description":5153,"tags":5154,"thumbUrl":5156,"material":1041,"size":1041,"collection":6,"collections":5157,"showCount":5158,"zanCount":1218,"manualWeight":903,"mainColor":970},"yuan-ji-zhu-lan-tu-zhou-yi-ming-236420","原济竹兰图轴","石涛（1642年－1708年），清初画家，原姓朱，名若极，广西桂林人，祖籍安徽凤阳，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等。南明元宗朱亨嘉之子，与弘仁、髡残、朱耷合称“清初四僧”。石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》，《搜尽奇峰打草稿图》，《山水清音图》，《竹石图》等。著有《苦瓜和尚画语录》。名言有“”一画论‘、“搜尽奇峰打草稿”，‘笔墨当随时代’等。",[870,913,942,1117,1257,964,5155],"清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffbbf2516dddb2cd2d26eee2b4d6cb66.jpg",[6,1188],50,{"id":454,"slug":5160,"title":5161,"dynasty":864,"author":2232,"museum":1099,"description":5162,"tags":5163,"thumbUrl":5164,"material":995,"size":5165,"collection":1202,"collections":5166,"showCount":5158,"zanCount":1218,"manualWeight":903,"mainColor":904},"shang-shan-si-hao-hui-chang-jiu-lao-tu-li-gong-lin-223398","商山四皓会昌九老图","此图卷以白描手法分别画秦末高士东园公、甪里、绮里季、夏黄公四人避乱隐居中商山的故事和唐会昌五年三月二十四日九位退休老人白居易、胡杲、吉皎、郑据、刘真、卢真、张浑、李元爽、释如满等九位老人相聚洛阳履道坊白居易居所欢聚“尚齿”之会，既醉且欢之际赋诗画画的情景。",[869,870,871,872,1224,875,876,916,917,883,2461,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe46ace2e8df223b406f8896937f90bac.jpg","30.7，横：238厘米",[1202,6],{"id":455,"slug":5168,"title":5169,"dynasty":864,"author":2232,"museum":909,"description":5170,"tags":5171,"thumbUrl":5172,"material":1746,"size":5173,"collection":899,"collections":5174,"showCount":5158,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[869,977,870,871,1224,914,916,918,883,876,881],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb03915a38cf74d256514b6749816117.jpg","纵28.9厘米，横364.6厘米",[899,933,6],{"id":456,"slug":5176,"title":5177,"dynasty":1516,"author":5178,"museum":1495,"description":5179,"tags":5180,"thumbUrl":5181,"material":3589,"size":5182,"collection":1029,"collections":5183,"showCount":5158,"zanCount":1218,"manualWeight":903,"mainColor":904},"bi-geng-yuan-zhang-you-221133","笔耕园","张祐","张佑（祐）[唐]（公元？年至八五三年前后）（新唐书、全唐诗等书均作佑。此从唐诗纪事及唐才子传）字承吉，南阳人。（全唐诗作清河人。此从唐才子传）生年不详，卒于唐宣宗大中中。初寓姑苏，称处士。工诗，元和、长庆间，深为令狐楚所器。楚镇天平，自草表荐，并以诗三百首献于朝。上因召元稹问之，为稹所抑，遂失意而归。客淮南，与度支使杜牧善。牧赠以诗，有“何人得似张公子，千首诗轻万户侯”之句。每苦吟，妻子累呼不应，曰：“吾方口吻生花，岂恤汝辈乎”？性爱山水，多游江南名山。尝同崔涯谒李佑，自称钓鳌客，佑壮之。晚年，与白居易日相讌谑。爱丹阳曲阿地，遂筑室隐居以终。佑著有诗集一卷，（全唐诗作十卷。此从新唐书志及唐才子传）传于世。",[869,870,871,1081,1080,942,1224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F600ed0ac0f5ad6cee417f047a2764487.jpg","21.4×25cm",[1029,6],{"id":457,"slug":5185,"title":5186,"dynasty":1075,"author":1872,"museum":3760,"description":5187,"ta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(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！”",[869,870,871,872,942,914,916,1007,1025,883,894,1396,895,1102,4293,921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6f69a3a1328ce4101011410906b76df.jpg","水墨绫本","347.4x29.2",[933,6],49,{"id":461,"slug":5222,"title":5223,"dynasty":864,"author":3487,"museum":1035,"description":5224,"tags":5225,"thumbUrl":5226,"material":875,"size":5227,"collection":899,"collections":5228,"showCount":5220,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[869,977,870,871,872,942,914,962,964,916,1007,1328,1025,961,883],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29e394bfd90e74778f0999e18a35a29a.jpg","34x195.",[899,933,6],{"id":462,"slug":5230,"title":5231,"dynasty":864,"author":5232,"museum":1035,"description":5233,"tags":5234,"thumbUrl":5235,"material":930,"size":5236,"collection":899,"collections":5237,"showCount":5220,"zanCount":1218,"manualWeight":903,"mainColor":904},"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",[869,870,977,871,1211,942,914,916,1053,1052,3194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265c7ee4e15765a1f3229516a46ee0b3.jpg","36× 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。\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",[869,870,871,1211,942,914,916,878,879,1119,894,1102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F467d01d7652fdadb7ced0902e0c7e630.jpg","绢本水墨设色","20.5 X21.3厘米",[933,6],{"id":469,"slug":5290,"title":5291,"dynasty":1003,"author":5292,"museum":1035,"description":5293,"tags":5294,"thumbUrl":5295,"material":1041,"size":1041,"collection":1029,"collections":5296,"showCount":5279,"zanCount":903,"manualWeight":903,"mainColor":970},"fang-chen-dao-fu-hua-hui-juan-quan-juan-du-da-zhong-222405","仿陈道复花卉卷全卷","杜大中","陈道复也是明代极富名气的绘画大家之一。他在传统写意绘画的基础上，将草书笔意融入写意花卉画中，开创了大写意花卉画的新风貌，其作品价值亦不俗！该作同时融入了两大绘画艺术家的风格特色，可谓魅力非凡\n继承了陈道復清新隽雅的画法，作品具有典型的晚明时期花卉画风格。卷尾署款“万历戊戌夏日汝南周之冕写。” 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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。",[869,870,871,913,942,875,914,963,964,916,917,883,894,1102,1507,945],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da1148d2290dcb3cc11ce0563bf06a8.jpg","纵78.5厘米，横30.2厘米",[933,6],{"id":491,"slug":5484,"title":1221,"dynasty":1003,"author":5485,"museum":5486,"description":5487,"tags":5488,"thumbUrl":5489,"material":5490,"size":5491,"collection":1029,"collections":5492,"showCount":5493,"zanCount":903,"manualWeight":903,"mainColor":904},"zhu-shi-tu-zhu-yun-ming-222830","祝允明","河北省博物馆","竹石图轴，此图顽石突兀，修竹三竿，清雅宜人。构图简洁明晰，用墨浓淡适.",[869,870,871,913,942,1117,1118,914,962,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc92f7cc0839c81fbce897d7978e64e42.jpg","绫本，墨笔","纵163.5、横52厘米",[1029,6],44,{"id":492,"slug":5495,"title":5496,"dynasty":1003,"author":5497,"museum":1143,"description":5498,"tags":5499,"thumbUrl":5501,"material":2719,"size":5502,"collection":933,"collections":5503,"showCount":5493,"zanCount":903,"manualWeight":903,"mainColor":904},"bai-tan-tu-zhou-chen-222376","白谭图","周臣","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。",[869,977,870,916,876,875,914,917,5500,883,1453,2729],"潭水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a1c655c7e01bcf836590ca261bff341.jpg","38x73cm",[933,6],{"id":493,"slug":5505,"title":3584,"dynasty":1003,"author":3543,"museum":909,"description":5506,"tags":5507,"thumbUrl":5508,"material":995,"size":1041,"collection":6,"collections":5509,"showCount":5493,"zanCount":903,"manualWeight":903,"mainColor":904},"zhu-tu-xia-chang-222169","本幅画水滨修竹三竿，婷立於斜坡之上。竹杆落笔稳健，墨色润厚。竹叶、小草挺劲锋利，画石则笔法扭转灵动。夏氏妙於运笔使墨，极得飘洒清妍之趣。画竹往往能进入一种风梢舞空烟，露叶滴晴月，风竹潇洒婆娑，楚楚动人的境界。此作堪为例证。",[869,870,871,942,1117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c36b6a35df7db3b5f3468a574a84e0e.jpg",[6,1188],{"id":494,"slug":5511,"title":5512,"dynasty":1003,"author":5513,"museum":5514,"description":5515,"tags":5516,"thumbUrl":5517,"material":1226,"size":5518,"collection":6,"collections":5519,"showCount":5493,"zanCount":903,"manualWeight":903,"mainColor":904},"yue-mei-tu-liu-shi-ru-220402","月梅图","刘世儒","日本东京国立博物馆","刘世儒，字继相，号雪湖，山阴(（今浙江绍兴)）人，生卒不详，明代画家，传世作品有《雪梅双兔图》、《梅花图》长卷、《月梅图》、《先春报喜图》等。\n刘世儒，艺术活动主要于明代正德、嘉靖时期。\n少年时偶然得元人王冕的墨梅，废寝忘食地临摹学习。随后遍走山林，观察各种梅花习性，终成墨梅大师。刘世儒一生好梅，时人谓之年九十，而画梅八十。\n曾作《铁干回春图》赠送胡元瑞。《雪湖梅谱》是其一生画梅之心得。",[869,870,871,913,942,875,1080,1927,964,962,1776],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88375881b16d084f1d1d60260c6ab4e.jpg","136.4x71.8厘米",[6,1029],{"id":495,"slug":5521,"title":5522,"dynasty":1003,"author":5523,"museum":866,"description":5524,"tags":5525,"thumbUrl":5526,"material":995,"size":5527,"collection":1029,"collections":5528,"showCount":5529,"zanCount":903,"manualWeight":903,"mainColor":970},"mo-lan-tu-zhou-tian-qiu-236756","墨兰图","周天球","此图画墨兰一束，姿态婀娜，充满生意。兰叶潇洒舒展，穿插有致；花瓣随意点簇，淡雅秀美。行笔多转折，以中、侧笔锋互换，笔势一波三折，有挺有转，有断有续，有收有纵，清爽而秀雅，变化多端，生动地表现了兰草的质感和风韵，格调清新幽雅。",[870,871,942,1257,1009,1081,1224],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cf749fc13e7e1f98c4ffdd275619602.jpg","纵83cm，横33.5cm",[1029,6],43,{"id":496,"slug":5531,"title":5532,"dynasty":1075,"author":1883,"museum":866,"description":5533,"tags":5534,"thumbUrl":5535,"material":1105,"size":5536,"collection":933,"collections":5537,"showCount":5529,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[870,871,942,914,916,1007,1118,1008,894,920],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38a7957963c9eb5d48d2effbd1e72a07.jpg","纵56厘米，横35厘米",[933,6,1204],{"id":497,"slug":5539,"title":5540,"dynasty":1075,"author":2126,"museum":4071,"description":5541,"tags":5542,"thumbUrl":5543,"material":3589,"size":5544,"collection":933,"collections":5545,"showCount":5529,"zanCount":903,"manualWeight":903,"mainColor":904},"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 祝”。",[869,977,870,871,913,942,1066,917,914,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F108d7a22714402bfdc04e275079a27eb.jpg","105x34cm",[933,6],{"id":498,"slug":5547,"title":5548,"dynasty":1003,"author":3664,"museum":909,"description":5549,"tags":5550,"thumbUrl":5551,"material":1465,"size":1041,"collection":933,"collections":5552,"showCount":5529,"zanCount":903,"manualWeight":903,"mainColor":904},"mo-bi-shan-shui-zhou-wang-fu-222526","墨笔山水轴","明代画家王绂（1362-1416）为无锡人，号九龙山人、鳌叟。其画以墨竹最为知名，山水则承续元代文人画风，为吴派前驱。王绂密布层迭岩垒及林木，近景临岸渔船，一艘似正炊煮，一艘则在用餐，船上张挂着披晒的衣物；中景船只则正收拾风帆；右方山路行旅也疾疾赶路入城，一派日暮归人景致。\n乾隆皇帝于旅程中欣赏此图时，并非草草展阅山水大势，而是连小小的舟中生活都注意到了，并成为他吟咏的重心，由此可感受到他品画时的细腻与留心。",[870,912,913,914,916,883,1066,917,921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8f6a38fa5ce0f20cabdeca5c267ff32.jpg",[933,6],{"id":499,"slug":5554,"title":5555,"dynasty":1003,"author":5497,"museum":5556,"description":5557,"tags":5558,"thumbUrl":5560,"material":875,"size":5561,"collection":933,"collections":5562,"showCount":5529,"zanCount":903,"manualWeight":903,"mainColor":904},"mao-shi-tu-li-zhou-zhou-chen-222374","毛诗图立轴","美国普林斯顿大学美术馆","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》 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52.2公分",[933,6],{"id":511,"slug":5657,"title":5438,"dynasty":957,"author":5658,"museum":909,"description":5659,"tags":5660,"thumbUrl":5661,"material":1068,"size":5662,"collection":1029,"collections":5663,"showCount":5632,"zanCount":1218,"manualWeight":903,"mainColor":970},"mo-mei-zhou-chen-li-shan-221764","陈立善","款题：“白玉蟾善画梅，梅枝戍削几类荆棘，著花甚繁，寒葩冻萼不知有世上人。玉蟾本姓葛名长庚，出游海上，号海琼子，又号缤庵、武夷散人、神霄散吏、紫清真人，殆乎仙者也。昔年曾见其小幅题诗亦清绝，今擬之颇多合处。予初号两峰子，又号花之寺僧、金牛山人、蓼洲渔父、鹿裘生、人日生人，可谓遥遥相契于千载上矣。此帧为云峰先生作回溯厥画梅之源自若家始也。己亥孟冬罗聘记”。钤“两峰”白文印。“己亥”为乾隆四十四年（1779年），罗聘时年47岁。\n图绘傲风凌寒的梅花竞相绽放，一派生机勃勃的景致。图中花瓣或以仿元赵孟頫的“水墨”法墨晕，或以仿元王冕的“空圈”法线勾，无色晕染的花瓣于交叠辉映中，自得“不要人夸好颜色，只留清气满乾坤”的丽质，这种气质正是作者仿南宋葛长庚的梅画所要追求的清绝意韵。",[869,870,871,913,942,1080,964,962],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd340bc3b59e9c79c1a466dbf8d908424.jpg","纵125.5厘米，横42.5厘米",[1029,6],{"id":512,"slug":5665,"title":5666,"dynasty":864,"author":3518,"museum":1099,"description":5667,"tags":5668,"thumbUrl":5669,"material":1055,"size":5670,"collection":899,"collections":5671,"showCount":5632,"zanCount":903,"manualWeight":903,"mainColor":904},"zhou-song-qing-miao-zhi-shen-tu-quan-juan-ma-he-zhi-221450","周颂清庙之什图全卷","马和之《诗经·周颂·清庙之什图卷》取材《诗经·周颂》的内容，其内容是西周初年周王朝祭祀宗庙的舞曲歌辞，用典重的词章歌颂祖先的功德并祈求降福子孙。全图绘《清庙之什》十篇诗意，字画各十段，每段画前有《周颂》全文。右书左图，各幅相间，依次为《清庙》、《维天之命》、《维清》、《烈文》、《天作》、《昊天有成命》、《我将》、《时迈》、《执竞》、《思文》。",[869,977,870,871,872,875,874,1224,962,964,876,916,877],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc01c50754e74ad6bb6c4843682dac0cb.jpg","32.6*973cm",[899,933,6],{"id":513,"slug":5673,"title":5674,"dynasty":864,"author":5675,"museum":909,"description":5676,"tags":5677,"thumbUrl":5679,"material":5680,"size":5681,"collection":899,"collections":5682,"showCount":5632,"zanCount":903,"manualWeight":903,"mainColor":970},"yan-guan-gu-si-jia-shi-gu-221259","岩关古寺","贾师古","圖中夜幕將降，夕輝猶存，上半部完全空白，構圖學馬遠“一角”的形式。山石皴法，雜用短釘頭，長括鐵、小斧劈諸皴法，由於夕照偏西，山體黝黑，石塊畫得岐蹭堅凝。山端聳有幾棵羅漢青松和一批古杉，石骨披滿勁硬的山草，通幅上色，染以汁綠，山石的中央一段用赫石水亮出，遂覺森嚴氣氛中有了點媚柔態，這是作者創作部署獨具匠心處。",[869,977,870,871,1211,874,875,914,916,945,1066,5678,944,1102],"古寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54bd4bd45db684e8e12f58b035f0a870.jpg","絹本，設色","縱40.0×橫40.0公分",[899,933,6],{"id":514,"slug":5684,"title":5685,"dynasty":1075,"author":3527,"museum":1035,"description":4166,"tags":5686,"thumbUrl":5688,"material":1041,"size":1041,"collection":6,"collections":5689,"showCount":5690,"zanCount":903,"manualWeight":903,"mainColor":970},"san-jia-he-zuo-wu-qing-zhou-wang-hui-237493","三家合作五清轴",[977,870,871,913,942,875,1119,1117,1080,1927,962,964,874,914,5687],"水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3351e99781cdb65f9a423bfdf5e44492.jpg",[6,1204],41,{"id":515,"slug":5692,"title":5693,"dynasty":1075,"author":4099,"museum":866,"description":5694,"tags":5695,"thumbUrl":5696,"material":1121,"size":5697,"collection":933,"collections":5698,"showCount":5690,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[977,870,871,913,942,914,916,879,917,883,1508,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4cfa4cf9fbe519c088dfe3a6254fc08.jpg","162×93.5厘米",[933,6],{"id":516,"slug":5700,"title":5701,"dynasty":1075,"author":1883,"museum":5073,"description":5702,"tags":5703,"thumbUrl":5704,"material":930,"size":5705,"collection":933,"collections":5706,"showCount":5690,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[869,870,871,913,875,914,916,3799,883,877,878,879,979,917,2750,920,2516,1474,947,928,921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312f5a5f9f6caa2841fbb84103d97470.jpg","177x95厘米",[933,6],{"id":517,"slug":5708,"title":5709,"dynasty":1075,"author":5710,"museum":909,"description":5711,"tags":5712,"thumbUrl":5713,"material":1924,"size":5714,"collection":933,"collections":5715,"showCount":5690,"zanCount":903,"manualWeight":903,"mainColor":970},"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》",[869,870,871,916,1211,942,914,1007,1119,979,1118,1008,918,894],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bed544a1c100f42958631d8249c351.jpg","34.7x29厘米",[933,6],{"id":518,"slug":5717,"title":5718,"dynasty":1003,"author":4280,"museum":1128,"description":5719,"tags":5720,"thumbUrl":5726,"material":1105,"size":5727,"collection":933,"collections":5728,"showCount":5690,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[869,870,875,914,916,883,917,979,894,879,1508,920,1119,947,5721,1474,5722,1800,946,5723,5724,5725],"丘壑","山居","淡赭","山石皴染","树木勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2731e556314b70131bad67ebbce5091.jpg","74.1×161.7cm",[933,6],{"id":519,"slug":5730,"title":5731,"dynasty":1003,"author":5732,"museum":1099,"description":5733,"tags":5734,"thumbUrl":5736,"material":995,"size":5737,"collection":933,"collections":5738,"showCount":5690,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[869,870,871,872,942,916,914,883,917,879,921,964,2969,2750,5735,1397],"山谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c2dc1674f138f535644c5f04d9896db.jpg","纵27厘米、横448厘米",[933,6],{"id":520,"slug":5740,"title":2003,"dynasty":957,"author":5741,"museum":866,"description":5742,"tags":5743,"thumbUrl":5744,"material":5745,"size":5746,"collection":6,"collections":5747,"showCount":5690,"zanCount":903,"manualWeight":903,"mainColor":904},"zhu-shi-tu-zhou-xie-ting-zhi-221870","谢庭芝","图中绘坡草湖石，石后挺立疏竹数竿，枝叶下垂，似洒雨露。坡上小竹兰草丛生，三株新笋，两株高窜，一株破土而出，春意盎然。湖石连勾带皴，并以淡墨渲染，玲珑剔透，形态奇异。竹叶以率笔挥洒，浓淡相参，水墨淋漓，清新秀雅。此图为谢庭芝墨竹传世孤本。\n画面以淡墨勾勒画湖石，以砍剁皴和钉头皴相结合画出明暗再以淡墨渲染，使湖石具有质感，达到皱、漏、透、瘦之效果，玲珑剔透，造型奇特。\n湖石后疏竹玉立，竹叶下垂，浓淡相间，参差错落，疏密有致，颇显情趣，画左款暑：至元五年冬十月，仲和。",[869,870,942,913,1117,1118,1009,2006,914],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e0acf41e6dc1be49409c9c5df041b0e.jpg","绢本墨笔.","173.2cmx105.1cm",[6,1188],{"id":521,"slug":5749,"title":5750,"dynasty":957,"author":2501,"museum":909,"description":5751,"tags":5752,"thumbUrl":5754,"material":981,"size":5755,"collection":933,"collections":5756,"showCount":5690,"zanCount":903,"manualWeight":903,"mainColor":904},"han-jiang-lu-yan-zhou-wang-yuan-221836","寒江芦雁轴","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。",[869,870,871,913,874,875,942,5753,1875,1538,2477,2716,978],"芦雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcea1feefdf4bd8b3e2a362c9f20c1525.jpg","149.7x62.7公分、全幅 90公分",[933,6],{"id":522,"slug":5758,"title":5759,"dynasty":957,"author":2188,"museum":909,"description":5760,"tags":5761,"thumbUrl":5762,"material":1068,"size":5763,"collection":6,"collections":5764,"showCount":5690,"zanCount":903,"manualWeight":903,"mainColor":970},"wan-xiang-gao-jie-zhou-ke-jiu-si-221831","晚香高节轴","此图描述了“石如飞白木如籀，写竹应须八法通”，是元代画家赵孟頫为柯九思《墨竹图》题写的诗句的情景。画面的主要表现是精竹秀石，还有野菊花作点缀。 此图以菊花“晚香”之意，竹子节高，故有晚香高节之画意。\n此景物主要集中于下端：画幅下部画湖石，中间高出，两侧低矮，形成“山”字型。湖石为杂草点缀，右侧的杂草向右倾斜，左侧杂草向左倾斜。湖间有几簇修竹倚石生长，其中一株翠竹拔地而起，枝竿挺拔，竹节较长，枝叶茂密，顶天立地。另有野菊花倚石而长，花朵盛开于茎端。\n款识：五云阁吏为正臣作。\n虞集题：敬仲此幅，清楚出尘，真平日合作也。奎章阁侍书学士虞集题。\n弘历题：绿筠挺出苏卿节，黄菊喷来陶令香。何必其间论世代，忘年交合石渠藏。庚寅秋日御题。",[869,870,942,913,1117,1118,1690,2006,1022,914,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8549ad8c921d08b75438863fa146dd22.jpg","126.5厘米，横75.2厘米",[6,1188],{"id":523,"slug":5766,"title":5767,"dynasty":957,"author":3182,"museum":909,"description":5768,"tags":5769,"thumbUrl":5770,"material":1226,"size":5771,"collection":6,"collections":5772,"showCount":5690,"zanCount":903,"manualWeight":903,"mainColor":904},"yuan-an-wo-xue-tu-yan-hui-220389","袁安卧雪图","画面上天寒地冻，林木萧索，积雪封山。洛阳令乘坐牛车，带领仆从逶迤而来，在寒林掩映下的袁安屋舍前停下。一名随侍前行几步，手叩柴门。图中树石以墨染晕刷而成，人物衣纹则劲健多折，称得上是画中珍品。",[869,870,871,977,942,875,914,916,2517,1146,917,876,993],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4bd070e278c143edef678f3376f82a5.jpg","本幅 160.2x105.7公分、全幅 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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。",[869,870,913,942,916,914,917,1849,1474,1066],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5da1eec41de8c823ec9d4768363849cc.jpg","纵118厘米，横57厘米",[933,6],{"id":525,"slug":5782,"title":5783,"dynasty":864,"author":3518,"museum":909,"description":5784,"tags":5785,"thumbUrl":5786,"material":1068,"size":1041,"collection":6,"collections":5787,"showCount":5690,"zanCount":1218,"manualWeight":903,"mainColor":970},"gu-mu-liu-quan-tu-ma-he-zhi-218685","古木流泉图","画面构景极简，古木枝干如老龙盘空，墨色浓淡晕染出苍劲生机。流泉隐于林麓，清越似穿疏枝而来。右侧空濛处轻羽掠过，留白铺展天地空阔，暗合宋画“虚处藏神”之妙。用笔兼工带写，线条含篆籀圆劲与行书灵动，皴擦间古木肌理毕现。留白与实景相衬，营造清寂悠远的林下之趣。简淡中见深致，尽显宋画文人意趣，观者仿佛闻泉声穿林，听鸟啼落梢，沉浸于那份与世隔绝的静谧禅意里。",[869,870,871,942,1211,879,1052,1053,1009,978],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ceaf0fdf52528f3e4d2f5c2edbd8b9b.jpg",[6],{"id":526,"slug":5789,"title":5790,"dynasty":1075,"author":5791,"museum":1035,"description":5792,"tags":5793,"thumbUrl":5796,"material":995,"size":1041,"collection":933,"collections":5797,"showCount":5798,"zanCount":903,"manualWeight":903,"mainColor":970},"fang-huang-gong-wang-fu-chun-shan-zhou-wang-yuan-qi-238970","仿黄公望富春山轴","王原祁","黄公望的《富春山居图》被誉为中国十大传世名画之一。清初画家王原祁师法五代宋元名家，于黄公望用功尤深，一生痴迷，自言“所学者大痴（黄公望）也，所传者大痴也”。王原祁早期的绘画中，仿黄公望者尤多。《仿富春山居图轴》便是他52岁时仿效黄公望《富春山居图》的笔法而创作。",[870,871,913,942,914,1309,916,883,945,920,1102,4293,5794,5795],"中景","远景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cdce8d36036ddec2616f8760eb8e4ec.jpg",[933,6],40,{"id":527,"slug":5800,"title":5801,"dynasty":1075,"author":4428,"museum":1035,"description":5802,"tags":5803,"thumbUrl":5804,"material":1041,"size":1041,"collection":933,"collections":5805,"showCount":5798,"zanCount":903,"manualWeight":903,"mainColor":970},"gu-mu-zhu-shi-tu-ce-cha-shi-biao-237240","古木竹石图册","此作用笔松秀空灵，以枯淡墨色绘就溪畔垂柳，柔条袅袅垂落，尽显清灵舒展之态。远山以淡墨晕染，虚实交融，朦胧悠远，溪岸点缀丛竹顽石，意到即止。\n画面留白疏阔，以空衬实，尽显逸笔草草的文人意趣，笔简意足，以极简笔墨勾勒江南水畔的清寂春景。整幅画风淡穆萧散，将闲散淡远的林下之风融于毫端，观之如临幽寂水滨，心神随之沉静，尽显文人画简雅空疏的幽远意境。",[870,942,1211,914,916,1053,1009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e3c69b0bbe9a5fb1f7734c4a3221339.jpg",[933,6],{"id":528,"slug":5807,"title":5808,"dynasty":1003,"author":5266,"museum":866,"description":5809,"tags":5810,"thumbUrl":5811,"material":995,"size":1041,"collection":1029,"collections":5812,"showCount":5798,"zanCount":903,"manualWeight":903,"mainColor":970},"mo-zhu-tu-zhou-wang-duo-236980","墨竹图轴","王铎（1592—1652年），字觉斯（之），号十樵、嵩樵、痴庵、痴仙道人、烟潭渔叟，平阳府洪洞县（今山西省洪洞县）人。明末清初大臣、书画家，王本仁的儿子。正如李志敏所评价：“王铎的草书纵逸，放而不流，纵横郁勃，骨气深厚”。\n明朝万历二十年（1592年），生于河南孟津县。天启二年（1622年），考中进士，入选庶吉士，历任太子左谕德、太子右庶子、太子詹事、南京礼部尚书。弘光政权建立，出任东阁大学士。顺治元年（1644年），跟随钱谦益投降清朝，授礼部尚书、弘文院学士、太子少保。顺治九年（1652年），病逝，享年六十一岁，安葬于河南巩义县洛河边，谥号文安。\n善于书法，与董其昌齐名，有“南董北王”之称。书法作品有《拟山园帖》和《琅华馆帖》等。绘画作品有《雪景竹石图》等。",[870,942,913,1117,964,1022],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51936768834ede011f6ae5fbcc3fc68b.jpg",[1029,6],{"id":529,"slug":5814,"title":5815,"dynasty":1075,"author":5816,"museum":866,"description":5817,"tags":5818,"thumbUrl":5819,"material":1041,"size":1041,"collection":1029,"collections":5820,"showCount":5798,"zanCount":903,"manualWeight":903,"mainColor":970},"shu-shi-zhou-ren-yi-236932","树石轴","任颐","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。",[870,871,913,875,914,942,916,1008,1118,5638],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F247e360fb7e59b111c8c0d5ee3fec789.jpg",[1029,6],{"id":530,"slug":5822,"title":5823,"dynasty":1075,"author":1113,"museum":1035,"description":5824,"tags":5825,"thumbUrl":5826,"material":1041,"size":1041,"collection":6,"collections":5827,"showCount":5798,"zanCount":903,"manualWeight":903,"mainColor":970},"huang-xie-zhu-feng-tu-juan-shi-tao-224531","黄澥诸峰图卷","此作用水墨铺就群峰崔嵬，壁立危岩间奇松倒挂，烟云在幽谷间缓缓氤氲，将山川的苍莽灵秀晕染开来。干湿浓墨互衬，皴擦勾勒出山岩硬朗肌理，既铺展出峰峦雄奇气势，又晕出江南山水独有的空濛诗意。\n\n左侧题字笔势纵逸跌宕，笔墨酣畅淋漓，文气与山岚相融，将壮游山水的快意寄寓其中。诗画合璧，把天地山河之美与文人笔墨情志共生一处，尽显山水与文思交织的悠然意境。",[869,870,871,872,942,914,963,962,916,2150,945,883,1102,921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f153cf680d5f5ec448dd4e9ab6b5e63.jpg",[6],{"id":531,"slug":5829,"title":5830,"dynasty":1003,"author":1485,"museum":866,"description":5831,"tags":5832,"thumbUrl":5833,"material":1245,"size":5834,"collection":933,"collections":5835,"showCount":5798,"zanCount":903,"manualWeight":903,"mainColor":970},"xi-qiao-ce-zhang-tu-zhou-wen-zheng-ming-221998","溪桥策杖图轴","本幅行书自题七绝诗一首：“短策轻衫烂漫游，暮春时节水西头。日长深树青帏合，雨过遥山碧玉浮。”后钤“文徵明印”、“玉磬山房”印。右下角有“玉兰堂印”鉴藏印，画心有“世美堂印”、“马寒中印”等鉴藏印。裱边及外签有当代书画家狄葆贤（平子）题诗并记，钤藏印“平等阁主人”等。题记详述了此作原为其父于清同治末年购得，而他本人则在甲子年（1924年）夏六月重新装裱的递藏过程。\n画中描绘古木森郁，山谷幽静，溪上水波不兴，一人伫立桥头，策杖观流。作品明显地带有取法“元四大家”中倪瓒、吴镇的痕迹，作者很好地将倪瓒细笔疏皴的山石和吴镇粗笔浓墨的树木结合在一起，用笔沉稳雄健，韵致醇厚，加上近景的细致刻画和远景的虚化表现，突出了文人优游山林、怡然自得的精神状态。",[869,870,878,879,916,1007,1025,1008,886,942,1022,913,995],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe2362b6efd04d72a6c9344c9188f272.jpg","纵95.8厘米，横48.7厘米",[933,6],{"id":532,"slug":5837,"title":5838,"dynasty":957,"author":3924,"museum":866,"description":5839,"tags":5840,"thumbUrl":5841,"material":1235,"size":5842,"collection":933,"collections":5843,"showCount":5798,"zanCount":1218,"manualWeight":903,"mainColor":904},"feng-le-lou-tu-xia-yong-221819","丰乐楼图","作者采用对角构图法，用水墨界画殿阁山水，线条纤如毫发，背景远山平缓润泽，开阔的水面与依依杨柳恰到好处地交待出建筑处于江南的环境。展观其作品，方寸之间微入毫芒，画家再现了宏大建筑的整体和细部，技艺精湛超凡，令人叹服。\n此幅构图之用笔与故宫藏夏永另几幅界画作品如出一辙。丰乐楼为为南宋都城临安著名的大酒楼之一。地处涌金门外西湖岸边。作品所取材的“丰乐楼”早已不存，夏永极度写实的画风以及右上以“小如蚁目”的蝇头小楷题写的31行“十里挲平丰乐楼”长题，无疑成为今天了解这座在宋代杭州曾颇有声名的楼阁的重要史料。",[869,870,871,873,1224,916,877,883,942],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F844d7f5926052f741a315b41c30867db.jpg","纵25.8厘米，横25.8厘米",[933,6],{"id":533,"slug":5845,"title":5846,"dynasty":957,"author":4252,"museum":909,"description":5847,"tags":5848,"thumbUrl":5850,"material":1226,"size":5851,"collection":6,"collections":5852,"showCount":5798,"zanCount":903,"manualWeight":903,"mainColor":904},"si-ji-ping-an-tu-zhou-li-kan-221813","四季平安图轴","《四季平安图》此幅水墨绘修竹四竿，三浓一淡，两前两后，布置得宜，风姿卓然。李仲宾此幅全学文湖州，而加浓密之致，体现了其本人的艺术审美。 李衎（1245-1320年），字仲宾，号息斋道人，晚年号醉车先生，元朝蓟丘（今北京市）人。元仁宗皇庆元年（1312年）任吏部尚书，拜集贤殿大学士、荣禄大夫。李衎尤善画枯木竹石，善画墨竹，双钩竹尤佳，和赵孟頫、高克恭并称为元初画竹三大家，著有《竹谱详录》。",[869,977,870,871,913,942,1224,874,1117,1118,1009,914,5849],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f9156289c567b360733a596791d013b.jpg","131.4 x 51.1cm",[6,1188],{"id":534,"slug":5854,"title":5855,"dynasty":864,"author":4081,"museum":866,"description":5856,"tags":5857,"thumbUrl":5858,"material":1121,"size":5859,"collection":899,"collections":5860,"showCount":5798,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[869,870,871,872,942,875,916,878,879,1009,1053,979,978,914,962,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88542d532ea368288a52e16a96eaf191.jpg","纵47.3厘米，横115.6厘米",[899,933,6],{"id":535,"slug":5862,"title":5863,"dynasty":864,"author":2041,"museum":909,"description":5864,"tags":5865,"thumbUrl":5867,"material":4274,"size":5868,"collection":899,"collections":5869,"showCount":5798,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[869,870,977,913,1081,874,875,2118,2119,5866,964],"桐实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb521334d6a0b978dd8fa170f2109cdc2.jpg","纵103.4cm，横33cm",[899,933,6],{"id":536,"slug":5871,"title":5872,"dynasty":957,"author":1631,"museum":1254,"description":5873,"tags":5874,"thumbUrl":5876,"material":995,"size":1041,"collection":6,"collections":5877,"showCount":5798,"zanCount":903,"manualWeight":903,"mainColor":970},"zhu-shi-you-lan-tu-juan-zhao-meng-fu-220870","竹石幽兰图卷","首先，观察此幅赵孟頫《竹石幽兰图》卷，给人的感觉是绘画飘逸如风，笔墨挥洒自如，构图结构恰当。款识与落款，看似与赵孟頫书风大相径庭，疑似后添所为。经认真详查，款识与落款确为后添，墨气与绘画迥异，墨色也游离于绘画之外。其次，观察绘画作品，十足的赵孟頫笔触所为，用飞白勾画窠石轮廓，用撇捺笔划书写竹叶，用中锋逆笔迅疾书写兰花。正如赵孟頫所言：石如飞白木如籀，写竹还需八法通。若也有人能会此，方知书画本来同。　　 由于此幅作品断开，似有拼接痕迹，款识后添当为后人重新题写。“孟頫为善夫写”，推论是为顾善夫而画。展览方图录结论：据清代程祖庆《吴郡金石目》记载此幅作品赵孟頫题字：顾善夫以公至都，将南迁，用此纸求画，乃为作此图，子昂。新的研究结果已证实此卷并非《吴郡金石目》所著录的赵孟頫为顾信所画的那幅，两个题字亦不同。\n展览方认为，这幅赵孟頫《竹石幽兰图》卷，上面虞集题诗，与《道园学古录》卷二十九中虞集题赵孟頫《兰石图》四首之一，还原了此幅作品的原貌。\n笔者查阅几位老先生的访美读画笔记，结论如下：纸本水墨。左右各拚一条，下部再拚一窄长条，由四纸拚成，在名家作品中为仅见。老笔纵横，至精之品。后有韩性、西夏昂吉、赵奕、仇远、虞集、陈基、姚广孝等题。又张渥题，字学赵，与上博访戴图上款字少异。此必真。\n从绘画方面看，此幅《竹石幽兰图》卷，应属真迹无疑。但是，还要从文献上找到证据，展览方只从元末明初《道园学古录》虞集的诗集证实是赵孟頫《兰石图》。\n为进一步找到贴近赵孟頫的时代，要从韩性、仇远、张渥等元代名人查找。经查仇远在自己《山村遗集》明确记载题赵松雪《竹石幽兰图》，仇远与赵孟頫同属一个时代，当然是最可信的著录。元代名士顾瑛的《草堂雅集》卷十一记载于立题诗，《题子昂兰石》虽然名不相同，诗文完全一致，题兰石也就是竹石幽兰。在元代顾瑛《草堂雅集》卷七，记载张渥《题赵翰林墨兰》，诗文也是完全一致，此幅绘画是描绘竹石幽兰，题墨兰字义上也可以相通。　　 至此，将赵孟頫《竹石幽兰图》卷出处，历代著录记载情况基本搞清楚了，还原一幅赵孟頫精彩作品的真相。在判断一幅古人的作品时，不能为某些瑕疵蒙蔽，而是找出事实真相。此幅作品明显有被割断痕迹，上面题识、落款又是明显后添，那就要去伪存真找出真相，不能湮灭一件优秀的作品。",[869,977,870,871,872,942,963,914,1117,1118,5875,1009,964],"幽兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe687eff90f3c2bf5fb4687e73675735c.jpg",[6,1188],{"id":537,"slug":5879,"title":5880,"dynasty":957,"author":2041,"museum":909,"description":5881,"tags":5882,"thumbUrl":5883,"material":942,"size":5884,"collection":6,"collections":5885,"showCount":5798,"zanCount":903,"manualWeight":903,"mainColor":904},"chun-shan-tu-yi-ming-219961","春山图","皴山画树，笔法灵动天然，毫不雕饰，质朴中具冷逸幽趣。幅中山石大都呈圆弧状，以枯笔浓墨和遒劲挺捷的笔法勾勒，淡墨渲染不多或因纸质关系而年久微退去，故浓墨圆笔点苔及枯枝树则显得甚为突出，全幅散发出一股冷涩枯寂的美感。\n该幅无作者名款，有学者从画上杨维祯题诗之书法风格与画中山石的轮廓线条笔意相仿，认为款题与画作皆出于一人之手。",[869,870,942,914,962,964,916,1053,878,879,1009,979],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04333cd7272b341e82a959a4c32fe0f3.jpg","73.2x42.3公分",[6],{"id":538,"slug":5887,"title":5888,"dynasty":1075,"author":5889,"museum":866,"description":5890,"tags":5891,"thumbUrl":5892,"material":995,"size":1041,"collection":933,"collections":5893,"showCount":5894,"zanCount":1218,"manualWeight":903,"mainColor":904},"fei-quan-bi-liu-zhou-fu-shan-237451","飞泉壁流轴","傅山","傅山，初名鼎臣，字青竹，改字青主，又有浊翁、观化等别名，汉族， 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。",[977,870,871,913,942,914,916,2887,883,917,876],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa85371dd8be5ee5e07f223747997c78c.jpg",[933,6],39,{"id":539,"slug":5896,"title":1376,"dynasty":1075,"author":2616,"museum":1035,"description":5897,"tags":5898,"thumbUrl":5899,"material":1041,"size":1041,"collection":933,"collections":5900,"showCount":5894,"zanCount":903,"manualWeight":903,"mainColor":970},"shan-shui-zhou-kun-can-236915","髡 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。",[870,942,914,913,962,964,916,877,917,883,1800,993,1102,921,879],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfe511ee2e75e086c05f0dfcddd70af4.jpg",[933,6,1204],{"id":540,"slug":5902,"title":5903,"dynasty":1003,"author":2649,"museum":866,"description":5904,"tags":5905,"thumbUrl":5906,"material":1055,"size":5907,"collection":933,"collections":5908,"showCount":5894,"zanCount":903,"manualWeight":903,"mainColor":904},"qian-tang-jing-wu-tu-zhou-tang-yin-222362","钱塘景物图轴","自题七绝并署款：“钱塘景物似围屏，路寄山崖屋寄汀。杨柳坡平人马歇，鸬鹚船过水风腥。唐寅。”钤“□郡”（白文，残，应为“吴郡”二字）、“唐白虎”（朱文）、“学圃堂”（朱文）印。\n此作在流传过程中曾经遭受损坏，唐寅题诗的顶端部分“钱”、“寄”、“船”字均为后世所补全。本幅下方二藏印模糊不可辨。\n图画崇山栈道，游骑翩翩，草阁游人独坐，江中渔舟游弋。山石、树木取法南宋李唐、夏圭，用笔方硬细峭，刻画精到，点景人物形态自然，风格细秀，显示了作者早年规步南宋“院体”风格的绘画功底。",[869,870,913,916,914,875,1007,945,883,894,877,1025],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0060a0b4d927625dc12f0a07bf48c8c6.jpg","纵71.4厘米，横37.2厘米",[933,6],{"id":541,"slug":5910,"title":5911,"dynasty":1003,"author":2649,"museum":909,"description":5912,"tags":5913,"thumbUrl":5915,"material":981,"size":5916,"collection":933,"collections":5917,"showCount":5894,"zanCount":903,"manualWeight":903,"mainColor":970},"li-shi-cong-hui-tu-tang-yin-222353","立石丛卉图","此画描绘了立石之下，几丛草花盛开。整幅作品只用水墨以没骨法大笔写出。\n立石通过皴笔的染擦，并以留白的方式写出阴阳向背，突出山石的质感。草花的浓淡墨色运用恰到好处。构图简明，高低呼应，使画面呈现一种空灵润泽的感觉。画幅中自题：“杂卉烂春色，孤峰积雨痕。 譬若古贞士，终身伴菜根。”",[869,870,871,913,942,914,1009,5914],"丛卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8502ef94696876ba6fce97d697a6ca9.jpg","52.60x28.60cm",[933,6],{"id":542,"slug":5919,"title":5920,"dynasty":957,"author":5921,"museum":909,"description":5922,"tags":5923,"thumbUrl":5924,"material":1105,"size":5925,"collection":933,"collections":5926,"showCount":5894,"zanCount":1249,"manualWeight":903,"mainColor":970},"bai-zhang-quan-zhou-chen-ru-yan-221915","百丈泉轴","陈汝言","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》。",[869,870,871,913,942,914,916,918,883,1508,945,921,962,920],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd19fd1420cadccb20dbba9c3b3e304ca.jpg","115.2＊46.7cm",[933,6],{"id":543,"slug":5928,"title":5929,"dynasty":957,"author":4252,"museum":866,"description":5930,"tags":5931,"thumbUrl":5932,"material":1401,"size":5933,"collection":6,"collections":5934,"showCount":5894,"zanCount":903,"manualWeight":903,"mainColor":904},"mu-yu-tu-zhou-li-kan-221816","沐雨图轴","《沐雨图轴》是元代李衎所画的中国古画。\n此图描绘雨中竹子的形态，手法极其写实，强调雨中之竹的清姿，其画法与双勾竹图基本相同，竹叶因雨水而显得沉重，叶尖自然下垂，在表现雨中竹叶下垂之姿上，李衎用笔显得娴熟自如。\n《沐雨竹图》将主要景物集中于画幅左侧。\n在画幅左下端力坡石，坡上倚附山石长有四竿翠竹，中间两株高大，且相互交错，竹竿交错后向左右伸展，枝叶茂密，竹叶纷披。\n左侧一株掩映于二株高大的翠竹荫下，略向左弯斜；右侧一株小竹向右弯斜，叶子呈下垂状。\n这一株翠竹虽不怎么起眼，但却是妙笔，起到了填补画幅右下部分的空白，对整个画面起到了充实和平衡作用：除竹石外，在坡石间还有数株兰草，点缀其间。\n自宋以来，“梅，兰、竹、菊”被士大夫称为“四君子”，象征“清高”、“幽洁”、“虚心”、“隐逸”、“气节”等精神品格。\n当社会危机、民族危机之时，一些知识分子无力抗争，在孤十贲与失望之中，“适性寄意”于笔墨：人元后“四君子”画不但更为兴盛，而且在思想感情的表现上更加丰富和深刻。\n特别是墨竹，单纯简易、挥洒便利又最具书法性格，所以最能引起士大夫的兴趣。\n可是李衍身为大官，他与赵孟頫是元代汉族文人画家中官职最显著者， 他喜欢画松、竹，这说明“松”、“竹”并非都是文人用来自诩“名节”之物。\n他为了画竹，“行役万余里”，深入南方竹乡，对竹的“形色情状，牛聚枯荣”做了深入研究，成为享有盛名的写生墨竹专家。\n此《沐雨竹图》轴是他画墨竹的代表作之一，其作品中之“竹”并不带有什么政治色彩，仅作为绘画的一个题材而已。\n此画虽将景物集中于画幅左侧，但经画家的确当布局，使整幅画的构图 较工稳；造型准确，设色匀净，枝叶繁复而不乱，层次分明。\n作者由于有过对竹子的认真观察和研究，并掌握了画竹的造型规律。\n故他画出的竹竿、们‘枝的线条挺坚，用笔实在有力，竹竿、竹枝、竹叶均用双勾画出，即用线条描绘竹叶的轮廓，再用汁绿烘染，叶尖微染赭黄，且其阴阳向背等细节都刻画得十分准确、细腻。\n其背景石都用双勾，然后用粗笔水墨皴染，分出阴阳面。\n坡石间的几丛兰和小草的安排，更使画面充满勃勃生机。\n此画的主题沐雨，作者强调了雨中之竹。\n故在作者笔下将沾满了雨水的竹子，竹叶个个呈下垂的自然神态，突出了“沐雨”这一主题，使画幅具有很强的写实性。\n此画给人以充实秀美的感觉，实属精品。\n这幅作品中只有四竿修竹和一些小枝是用汁绿晕染，竹干的晕染基本是平涂，只在竹节两端略有晕染。\n竹叶的敷色较为精工，不但叶根部和叶尖部的色调有所变化，而且叶面和叶背也不相同，繁多的叶片中没有一片是染出边缘轮廓之外．也可见作者的细致程度。\n在水墨环境的映衬下．《沐雨竹图》中的修竹亭亭玉立，青翠悦目。\n即使秋风萧瑟，也是竹叶摩娑，别具一番“如鸣环翠”的风韵。\n在翠竹右侧一竿高耸直指，左侧一竿向左上伸展，最前的一竿指向右方，右侧竹叶相对密集，造成左高右低的形势。\n竹干、竹枝的线条挺坚，竹叶的线条则圆润；竹干、竹枝的用笔比较实在有力，而竹叶的用笔就显得轻细活泼。\n李衎（1244—12年），字仲宾，号息斋道人，元大都（今北京）人，仕至集贤殿学士。\n他平生擅长画竹，继承了金文同、王庭筠等画竹名家的成就，又曾深入江南竹乡深入观察，还出使过交趾（今越南），到各处观察竹子的生长情况和特点，深得竹之“理”，是一位既有深厚传统绘画功力，又师法自然的画家。\n他的画风严谨，传世作品有双勾着色的《双勾竹图》、《沐雨图》等，并著有《息斋竹谱》7卷，对竹的结构品类、生长规律及画法详加剖析，既重写意又重法度。",[869,870,871,913,874,942,1117,1118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6db8d493b70c64e938a16711c94486e2.jpg","纵111.5cm，横55cm",[6,1188],{"id":544,"slug":5936,"title":5937,"dynasty":864,"author":939,"museum":1461,"description":2467,"tags":5938,"thumbUrl":5939,"material":2236,"size":1466,"collection":899,"collections":5940,"showCount":5894,"zanCount":903,"manualWeight":903,"mainColor":970},"shu-se-ping-yuan-tu-quan-juan-guo-xi-221290","树色平远图全卷",[869,870,871,872,1622,942,875,914,874,962,963,964,916,1008,961,878,879,979],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F133bd0410f393e8330e8a86e03d40536.jpg",[899,933,6],{"id":545,"slug":5942,"title":5943,"dynasty":1075,"author":1872,"museum":1035,"description":5944,"tags":5945,"thumbUrl":5946,"material":995,"size":1041,"collection":933,"collections":5947,"showCount":5894,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[869,2598,942,914,916,1052,1053,1508,1009,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbbc2d65fab42a70cd08850963b499af.jpg",[933,6],{"id":546,"slug":5949,"title":5950,"dynasty":1003,"author":5951,"museum":1035,"description":5952,"tags":5953,"thumbUrl":5954,"material":1041,"size":5955,"collection":933,"collections":5956,"showCount":5957,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[870,942,872,916,914,878,879,961,979,883,945,1102,921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3f86bcf79245dd5c2e1d77c9916a7ed.jpg","纵16厘米，横48．3厘米",[933,6],38,{"id":547,"slug":5959,"title":5960,"dynasty":1075,"author":3527,"museum":866,"description":5961,"tags":5962,"thumbUrl":5963,"material":1041,"size":1041,"collection":933,"collections":5964,"showCount":5957,"zanCount":903,"manualWeight":903,"mainColor":970},"fang-ke-jiu-si-xiao-jing-zhou-wang-hui-236459","仿柯九思小景轴","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。",[870,913,942,914,1309,916,1066,1623,917,879,978,878,1009,1053],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91841eaba7f22bffc8d14d98e83c8bd9.jpg",[933,6,1204],{"id":548,"slug":5966,"title":5967,"dynasty":1075,"author":4338,"museum":1035,"description":5968,"tags":5969,"thumbUrl":5971,"material":1041,"size":1041,"collection":1202,"collections":5972,"showCount":5957,"zanCount":903,"manualWeight":903,"mainColor":970},"qing-chu-liu-da-jia-ji-ce-shan-shui-ye-wang-shi-min-235773","清初六大家集册-山水页","绢本水墨 纵112 横5.2厘米 清 代 绢本水墨 纵112 横5.2厘米 荡浮烟岚的峰峦冈岭，逶迤起伏连绵不断。\n山坳平坦处水榭、茅舍散落于林溪岸畔。\n近处的麓坡岸石，各种苍郁古茂的大树掩映着的草亭尤显幽静。\n上方题：“作画意在笔先，以得势为主….时康熙乙亥仲夏望后麓台祁”。\n王原祁（1642-1715年）字茂京，号麓台。\n江苏太仓人。\n王时敏之孙。\n擅山水，精鉴定，有“娄东派”之称。\n为清初六大家之一",[870,871,977,1211,942,914,916,944,883,894,5970,964],"小路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F711b08e8224858c05339fb7b788a52d4.jpg",[1202,6],{"id":549,"slug":5974,"title":1304,"dynasty":957,"author":2041,"museum":866,"description":5975,"tags":5976,"thumbUrl":5977,"material":1401,"size":5978,"collection":899,"collections":5979,"showCount":5957,"zanCount":903,"manualWeight":903,"mainColor":1446},"qiu-shan-xing-lv-tu-yi-ming-223604","全图结构图清晰，便于查看。如果从下到上，根据景物的类型和排列方式和画家的描绘，将图片分成两组显示，三个部分在一个小概览中查看。画面会发现，这幅画气势磅礴，动感十足，透视感极深。首先，这幅画有一个从下面看的视角。创作者应该在这样的山脚下作画，在这样的山脚下作画，给观者一种真实的感觉。其次，这幅画的画面感不是很强，因为它也有深度感。如果你仔细观察，你会捕捉到无数小场景，包括天坑。例如，树木进入若隐若现的亭台、台阶、围栏等，给观者一种未来的无限视觉体验。\n一开始的山间小路，路​​上的行人等等，这些照片的全图空间把辫子拉得很好，在画面的空间和空间上进行了借鉴，让画面变得生动和对透气性的向往。你看到的是它带来的良好的中间立场。简练却又很写实，如尖山亭，是对亭子的细致刻画，笔触细腻，顶景近楼勾勒。三种节奏，给画面带来强烈的节奏感，这也是大师的心声。\n最真实的秋天很轻松。通过分析图片，不难发现，这幅《山间游记》与西方的素描是一样的。对象有近、大、远、小、近、近、细、统一。光源从哪里来。画底的山石，墨色深沉，体量大，影重。像山和树一样，墨色淡，整体不大，但也画了一个简单的介绍，而不是看风景的内在特征和魅力。例如，在风景部分，山的稍左侧和受光面部分较远，可能是朝阳的一面，所以墨色会低于光面，数字污渍会相对少一些。\n这样，在远景中，山体被许多朴素的松树压缩，使山体的一部分具有想象性和结构性，从而在画面中产生特定的整体统一感，真实而不冲动的视觉效果。仔细观察，你会发现，这些松树虽然是画出来的，但也能描绘出来。在统一中，各有特色，做到内涵丰富、厚度小、特殊性强，值得观者细细品味。\n还有一件事值得学习。中间作画的方法和水墨的轻快关系到景物的画和轻快。例如，岩石的长度被薄片覆盖，厚厚的大岩石被卷云薄片覆盖。树的种类为浅墨色，用较重的墨色挤压浅墨画，打开空间和树木之间的杂乱空间，避免树木之间的杂乱群落。凭借精湛的包装，观众拥有精致的视觉体验。\n如果用诗词介绍来形容整幅画，“枯藤老树昏鸦，小桥流水一家”。 “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》。",[869,870,871,942,875,914,916,944,917,883,1146,961,2750,1172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1647631e1d4bc460e54daf2facef359.jpg","161*112厘米",[899,933,6],{"id":550,"slug":5981,"title":5982,"dynasty":1075,"author":5983,"museum":909,"description":5984,"tags":5985,"thumbUrl":5986,"material":981,"size":5987,"collection":933,"collections":5988,"showCount":5957,"zanCount":1218,"manualWeight":903,"mainColor":970},"zi-hua-xiang-hua-yan-223130","自画像","华嵒","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。",[869,870,871,913,942,1022,876,916,945,918,879],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F618e9659c8ac72917cca6831b14c9888.jpg","纵130.5厘米，横50.7厘米",[933,6],{"id":551,"slug":5990,"title":5991,"dynasty":1075,"author":5367,"museum":866,"description":5992,"tags":5993,"thumbUrl":5994,"material":981,"size":5995,"collection":933,"collections":5996,"showCount":5957,"zanCount":903,"manualWeight":903,"mainColor":904},"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",[869,870,871,916,942,914,917,883,918,979,1508,964,962],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01542a4359a4273ef1ba982d468592bb.jpg","纵201.5cm，横154cm",[933,6],{"id":552,"slug":5998,"title":5999,"dynasty":1075,"author":6000,"museum":1254,"description":6001,"tags":6002,"thumbUrl":6004,"material":3008,"size":6005,"collection":933,"collections":6006,"showCount":5957,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[869,870,872,942,914,1622,6003,883,917,889,894,1800,876,921,1102,1507,1983],"秋雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde1ab990d4547dd9e592713d2d3329f5.jpg","29.5x280cm",[933,6],{"id":553,"slug":6008,"title":6009,"dynasty":1003,"author":4843,"museum":1099,"description":6010,"tags":6011,"thumbUrl":6012,"material":1214,"size":6013,"collection":933,"collections":6014,"showCount":5957,"zanCount":1218,"manualWeight":903,"mainColor":1191},"han-shan-shi-de-tu-you-qiu-222084","寒山拾得图","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。",[869,870,942,1224,913,876,883,917],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e9b4eeb60e8f3530895eeb0a7701d9c.jpg","纵121厘米，横30 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51公分",[1202,6],{"id":587,"slug":6299,"title":6300,"dynasty":1075,"author":1883,"museum":866,"description":6301,"tags":6302,"thumbUrl":6303,"material":1245,"size":6304,"collection":933,"collections":6305,"showCount":6306,"zanCount":903,"manualWeight":903,"mainColor":970},"fu-shui-yan-tu-zhou-wang-jian-236364","拂水岩图轴","本幅图的右上有王鉴题字：「癸巳二月访牧斋宗伯于虞山，放舟拂水岩写所见。」因此知道这幅画是在描绘虞山。虽然本图没有细致的描绘实景，但却有突出拂水岩幽静偏远的特点，是王鉴中年时的佳作。",[870,1622,942,913,914,1007,1025,883,945,1508,921,2461,920,1397],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F799166788c5a371ed7ffb58f4be40b56.jpg","纵67.8厘米，横31.3厘米",[933,6,1204],34,{"id":588,"slug":6308,"title":1208,"dynasty":1075,"author":4330,"museum":866,"description":6309,"tags":6310,"thumbUrl":6311,"material":1245,"size":6312,"collection":933,"collections":6313,"showCount":6306,"zanCount":903,"manualWeight":903,"mainColor":970},"shan-shui-ce-wu-li-235015","此图册布局饱满，笔墨苍拙，文人画气息浓郁，具有作者所追求的“神逸”韵味。无年款，从书画笔法来看，应为吴氏晚年画作精品。\n第一开：自识：“月中疏处最秋多，叶叶斜斜映浅波。曾折长条赠行客，只今黄落未归何。予秋柳诗也，并书。墨井道人。”钤“延陵”、“墨井” 朱文印二方。\n第二开：自识：“远岫接烟光，斜阳在钓航。众渔归已尽，独自过横塘。东楼暑薄写此。墨井。”钤“渔山”朱文印二方。\n第三开：自识：“林鸠唤雨不成雨，山鹊呼晴亦未晴。尽日声声是何意，欲催泼墨米图成。梅雨乍霁。延陵历。”钤“吴历”朱文印、“吴历之印”白文印。\n第四开：自识：“春事已云莫，落花门外无。何为井上树，四月尚如枯。渔山子。”钤“渔山”、“墨井”朱文印二方。\n第五开：自识：“墨井道人雨窗拟古，竹醉日。”钤“延陵”、“墨井” 朱文印二方。\n第六开：自识：“萧萧踈踈，木落草枯。空山无人，夜吼於菟。墨井道人。”钤“吴历之印”白文印、“延陵”朱文印。\n第七开：自识：“写元人画，大抵要简澹趣多，曲折有韵。五月小尽日，墨井历。”钤“吴历”、“渔山” 朱文印二方。\n第八开：自识：“石激水流处，天寒松色间。墨井道人。”钤“渔山”、“墨井” 朱文印二方。\n第九开：自识：“前人草草涂抹，自然天真绚烂。小重阳后一日，渔山子。”钤“延陵”朱文印、“吴历之印”白文印。\n第十开：自识：“不是看山定画山，的应娱老不知还。商量水阔云多处，随意茆茨着两间。墨井道人从上洋归，写于东楼。”钤“吴历之印”白文印、“延陵”朱文印、“墨井”朱文印。\n鉴藏印有“虚斋审定”、“莱臣心赏”等17方。",[870,871,1211,942,875,916,878,979,1146,917,2517],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdea3efc5d206a3c127338aa7c9ce390b.jpg","23.2厘米，横28厘米",[933,6],{"id":589,"slug":6315,"title":6316,"dynasty":864,"author":2041,"museum":1035,"description":6317,"tags":6318,"thumbUrl":6319,"material":1055,"size":6320,"collection":899,"collections":6321,"showCount":6306,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[869,870,871,1622,875,874,914,1119,877,917,883,879,1102,921,1508,1980,1474],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc06f5b71e8e16df60afd252093360347.jpg","60x89.15cm",[899,933,6],{"id":590,"slug":6323,"title":6324,"dynasty":1075,"author":2841,"museum":1035,"description":6325,"tags":6326,"thumbUrl":6327,"material":1105,"size":1041,"collection":933,"collections":6328,"showCount":6306,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[869,870,871,916,913,942,914,1007,1008,1009,879,961],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d7d2495e8028e35e34df00482f874b8.jpg",[933,6],{"id":591,"slug":6330,"title":6331,"dynasty":1003,"author":6332,"museum":1035,"description":6333,"tags":6334,"thumbUrl":6335,"material":1055,"size":6336,"collection":933,"collections":6337,"showCount":6306,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[869,870,875,874,873,916,876,881,877,883,917,5638,1051],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e0f2a66c07d9c664105cdc11e6d8c1b.jpg","纵49cm，横67cm",[933,6],{"id":592,"slug":6339,"title":6340,"dynasty":957,"author":6341,"museum":909,"description":6342,"tags":6343,"thumbUrl":6344,"material":875,"size":6345,"collection":1029,"collections":6346,"showCount":6306,"zanCount":1218,"manualWeight":903,"mainColor":970},"tie-di-tu-zhou-yang-wei-zhen-221859","铁笛图轴","杨维桢","乾隆皇帝于苏州题咏时，引杨维祯〈冶师行〉的内容作题，认为舟上吹笛者为杨维祯，岸上听笛者是为其铸铁笛的冶师缑长弓。题诗内容展现他对杨维祯诗文、生平的认识，以及将文史知识连结到画面内容的欣赏角度",[977,870,871,913,942,876,1117,961,964,962],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff828bd52bc7e967b8fa17905c2fe1009.jpg","该幅 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72.3公分",[1029,6],{"id":593,"slug":6348,"title":6349,"dynasty":864,"author":5232,"museum":909,"description":6350,"tags":6351,"thumbUrl":6353,"material":1226,"size":6354,"collection":6,"collections":6355,"showCount":6356,"zanCount":903,"manualWeight":903,"mainColor":904},"qiao-mu-tu-xu-dao-ning-290300","乔木图","南宋一代的豪纵简硬之笔，虽主要脱胎于李唐，但多少也遥承许道宁的衣钵-《国绘宝鉴》说他：“早年所画俗恶，至中年脱去旧学，稍自检束，行笔简易，风度益著，峰头直皴而下，林木劲硬，自成一家体，至细微处，始人妙理。”《圣朝名画评》渭其画格“所长者二，一林木，二平远，二野水，皆造其妙。”识者以为得李成之气，实际上许道宁在李成基础上自有创造，文同称赞他：“许生虽学李营丘，墨路纵横多自出”。许氏以峰头直皴而下的笔道，画出山势的峭厉瘦硬；以轻灵之笔，画出枯竭的泉水及背后庄严的山脉，令人感受到了强烈的萧条之气。此图以寒林孤秀，树态严凝，展现出林木劲硬的风格。\n许道宁以卖药为主，不直接卖画，有人顾买他的药，必画树石以赠之。这幅可能是其中之一。请看这幅有点怪意的图中右侧的山石，近者显，远者隐。石形棱角突出，石质坚硬；左侧平缓的山坡上，长着几棵秃枝无叶乔木，树枝龙爪型。有两棵并肩相长，树干粗壮挺立，上部摆出动态枝头，扭曲着的躯干，尤如双龙在空中舒展身子，窜向苍茫昊天；中间那棵乔木弯腰弓背，伸展枝头，倾向右侧的岩石，似与远处的那棵乔木交叉重叠。秃枝无叶乔木和光秃无草的山石，这都是隆冬时节的象征。严冬里只有乔木挺立在山岗上，与山石作伴，在接受严冬的考验。这是一幅富有诗意的树石图。此图中乔木落叶而挺拔，山石坚硬而清利，多么像作者峭拔的性格，也是作者的豪放、简硬之笔，在图中得到了充分的体现。",[870,1622,942,914,1146,2740,913,6352],"萧瑟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa02d67bdf8e318cfcd5d74b0eee68b84.jpg","188.6x115",[6],33,{"id":594,"slug":6358,"title":1208,"dynasty":1075,"author":4428,"museum":1035,"description":5065,"tags":6359,"thumbUrl":6360,"material":1041,"size":1041,"collection":933,"collections":6361,"showCount":6356,"zanCount":903,"manualWeight":903,"mainColor":970},"shan-shui-ce-cha-shi-biao-236588",[870,942,914,1211,916,878,879,883,917],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9491df3cb3d8b92bf94c07c82473a2d9.jpg",[933,6],{"id":595,"slug":6363,"title":6364,"dynasty":1075,"author":3527,"museum":866,"description":5961,"tags":6365,"thumbUrl":6366,"material":6367,"size":6368,"collection":933,"collections":6369,"showCount":6356,"zanCount":903,"manualWeight":903,"mainColor":970},"xia-shan-gao-yin-zhou-wang-hui-236331","夏山高隐轴",[870,913,942,914,916,1007,918,883,894,920,945,1397,2461],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd81825753d68bef2ca34b30bd5f712c.jpg","纸本 ，设色","纵184.8cm，横79.4cm",[933,6],{"id":596,"slug":6371,"title":6372,"dynasty":1075,"author":6373,"museum":866,"description":6374,"tags":6375,"thumbUrl":6376,"material":1245,"size":6377,"collection":6,"collections":6378,"showCount":6356,"zanCount":903,"manualWeight":903,"mainColor":904},"jiang-shan-wo-you-tu-cheng-zheng-kui-224537","江山卧游图","程正揆","此卷是他晚年辞官之后所作。图绘连绵不断的山峦谷地，平台处，空亭独立，高士寻幽而至。其荒寒萧瑟的山水、高士落寞的行踪，正是画家晚年内心情感的写照。图中山石树木以酣畅的笔墨挥就而成，笔法朴拙、放逸，于简约中不失神采。在明末清初摹古风盛行的画坛下，其满怀激情的画作令人耳目一新。",[869,870,871,872,942,916,914,917,883,889,878,894,1102,4678,918,1895,944,1396],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf39153e0532479eb770c1f64faf0a9.jpg","纵26厘米，横205厘米",[6],{"id":597,"slug":6380,"title":6381,"dynasty":957,"author":5921,"museum":1254,"description":6382,"tags":6383,"thumbUrl":6384,"material":930,"size":6385,"collection":933,"collections":6386,"showCount":6356,"zanCount":1218,"manualWeight":903,"mainColor":970},"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。",[869,870,871,942,914,913,1007,918,920,945,883,879,917,944,1397],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F736082c81e3db2b9eeab62f1bc5401da.jpg","70x53.5",[933,6],{"id":598,"slug":6388,"title":6389,"dynasty":1075,"author":6390,"museum":1035,"description":6391,"tags":6392,"thumbUrl":6393,"material":1041,"size":1041,"collection":1029,"collections":6394,"showCount":6395,"zanCount":903,"manualWeight":903,"mainColor":904},"hua-niao-guo-ce-li-qi-236714","花鸟果册","李圻","此作以大写意绘荷塘小景，阔笔泼墨晕染荷叶，墨色苍润交融，浓淡层次尽显夏日池面的氤氲水汽，落笔尽显酣畅率意。两朵白莲以淡墨勾形，留白作瓣，素净雅致，与浓墨荷叶形成强烈的虚实对照，清雅之气扑面而来。荷茎以劲爽线条勾勒，挺拔柔韧，寥寥数笔便将莲茎风姿尽显。画面两侧题上行草，笔墨意趣与画境呼应，诗书画浑然一体。构图疏密相宜，简逸空灵，以极简笔墨传递出荷塘清寂淡远的幽谧意境，尽显写意功底与文人雅致襟怀。",[870,871,977,1211,942,1775,1354,1743,1081,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdca8a3f7e25a409507aba1c306024f12.jpg",[1029,6,1204],32,{"id":599,"slug":6397,"title":3535,"dynasty":1075,"author":5791,"museum":1035,"description":6398,"tags":6399,"thumbUrl":6400,"material":1041,"size":1041,"collection":933,"collections":6401,"showCount":6395,"zanCount":903,"manualWeight":903,"mainColor":970},"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》。",[870,871,913,942,914,1309,964,916,917,883,894,878,879],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28132a1aa86a2afd0d9dbcc643e59524.jpg",[933,6],{"id":600,"slug":6403,"title":6404,"dynasty":1075,"author":2089,"museum":909,"description":6405,"tags":6406,"thumbUrl":6407,"material":995,"size":6408,"collection":933,"collections":6409,"showCount":6395,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[869,870,913,875,874,1520,4914,1009,6031,964,962],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f4c9e77f35eea21414f4325ecb0cef4.jpg","127.7×63厘米",[933,6],{"id":601,"slug":6411,"title":6412,"dynasty":957,"author":2041,"museum":866,"description":6413,"tags":6414,"thumbUrl":6415,"material":1235,"size":6416,"collection":899,"collections":6417,"showCount":6395,"zanCount":903,"manualWeight":903,"mainColor":1446},"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。",[869,870,871,977,913,873,914,875,916,877,917,883,1886],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdadd7deefa1971227219d82aff1e53a.jpg","纵162厘米，横92.5厘米",[899,933,6],{"id":602,"slug":6419,"title":6420,"dynasty":1075,"author":6421,"museum":1035,"description":6422,"tags":6423,"thumbUrl":6425,"material":1105,"size":6426,"collection":1029,"collections":6427,"showCount":6395,"zanCount":903,"manualWeight":903,"mainColor":970},"xiao-xiang-yu-xue-pu-hua-223251","潇湘雨雪","蒲华","水墨绘雨雪之下，翠竹依然傲立的身姿，毫不畏缩，竹枝修长坚韧，竹叶翠绿繁茂\b。",[869,870,871,913,942,1022,1117,1009,6424],"雨雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F038ff4e425bdfc1d6ae7b7e36b4b5e42.jpg","117X48cm",[1029,6],{"id":603,"slug":6429,"title":6430,"dynasty":1075,"author":6431,"museum":909,"description":6432,"tags":6433,"thumbUrl":6434,"material":995,"size":6435,"collection":933,"collections":6436,"showCount":6395,"zanCount":903,"manualWeight":903,"mainColor":970},"han-lin-yu-xue-zhou-qian-wei-cheng-222692","寒林欲雪轴","钱维城","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。",[869,870,871,913,942,916,914,1007,1131,1146,878,879,978,894,917],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F953c5244342d2500e4e5d93df3d14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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。",[977,870,871,1211,875,914,963,916,1197,1580,2950,883],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e07ca6685ec8381313e4987a95af081.jpg","30.2x31.8厘米",[899,933,6],{"id":606,"slug":6455,"title":6456,"dynasty":1003,"author":2966,"museum":909,"description":6457,"tags":6458,"thumbUrl":6459,"material":1068,"size":6460,"collection":6,"collections":6461,"showCount":6462,"zanCount":903,"manualWeight":903,"mainColor":970},"liu-tang-yu-ting-zhou-chou-ying-290870","柳塘渔艇轴","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”。",[870,913,942,916,1212,961,1039,879,1038,978,964,963],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f02bdef353d8b20aa856b160f3841a4.jpg","102.9x47.2",[6],31,{"id":607,"slug":6464,"title":6465,"dynasty":1075,"author":6466,"museum":866,"description":6467,"tags":6468,"thumbUrl":6469,"material":1041,"size":1041,"collection":933,"collections":6470,"showCount":6462,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[870,871,913,942,914,916,917,883,876,1508,922,919,1116,1799,3321,1172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe459ba58587eb0fbdcff3afdad0c85b6.jpg",[933,6],{"id":608,"slug":6472,"title":1376,"dynasty":1075,"author":1883,"museum":866,"description":6473,"tags":6474,"thumbUrl":6475,"material":1245,"size":6476,"collection":933,"collections":6477,"showCount":6462,"zanCount":903,"manualWeight":903,"mainColor":970},"shan-shui-zhou-wang-jian-237610","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。",[870,942,914,913,916,917,883,878,879,894,2150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc811fcb2decec93770fba981f9fb35b6.jpg","纵155.3厘米，横86.9厘米",[933,6],{"id":609,"slug":6479,"title":6480,"dynasty":1075,"author":5816,"museum":866,"description":6481,"tags":6482,"thumbUrl":6484,"material":1245,"size":6485,"collection":1202,"collections":6486,"showCount":6462,"zanCount":903,"manualWeight":903,"mainColor":970},"gong-sun-da-niang-wu-jian-tu-zhou-ren-yi-236467","公孙大娘舞剑图轴","图绘著名教坊舞伎公孙大娘舞剑之情景。公孙大娘主要活动于唐代开元年间（713—741年），以擅长舞剑享有盛名。相传怀素、张旭观其舞剑曾启发了他们的草书创作，形成了狂草之笔风。\n是图线条劲健流畅，墨笔枯润浓淡自如，有明末陈洪绶笔法，但又具自家面貌，为任氏用意之作。",[870,871,977,913,1224,942,876,2400,6483,964,962],"剑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F289a3ce8d2d9ae38ee061b2d227a8155.jpg","纵41.9㎝，横28㎝",[1202,6],{"id":610,"slug":6488,"title":6489,"dynasty":1075,"author":2841,"museum":1035,"description":6490,"tags":6491,"thumbUrl":6492,"material":1041,"size":1041,"collection":933,"collections":6493,"showCount":6462,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[870,871,913,942,914,916,1007,1008,961,1025,945,1146,1969,1886,2818,880],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff8571e4fc1fdafcef4bca07b79e41e.jpg",[933,6],{"id":611,"slug":6495,"title":6496,"dynasty":1003,"author":4280,"museum":909,"description":5719,"tags":6497,"thumbUrl":6498,"material":1041,"size":6499,"collection":933,"collections":6500,"showCount":6462,"zanCount":903,"manualWeight":903,"mainColor":904},"fang-zhao-ling-rang-he-xiang-qing-xia-lan-ying-222585","仿赵令穰荷乡清夏",[869,870,871,1211,875,916,1309,914,1007,1008,1025,1775,1354],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c941eb7e0ba93f6e83eaf6dcf7cf0a3.jpg","72.6x60.8厘米",[933,6],{"id":612,"slug":6502,"title":6503,"dynasty":1003,"author":6504,"museum":1461,"description":6505,"tags":6506,"thumbUrl":6507,"material":995,"size":6508,"collection":933,"collections":6509,"showCount":6462,"zanCount":903,"manualWeight":903,"mainColor":970},"qiu-chuang-du-yi-tu-bian-wen-yu-222378","秋窗读易图","卞文瑜","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。",[869,870,871,872,942,914,916,1007,1025,883,894,962,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5425a26530b9662c58fbbc9ca2f31ae1.jpg","26×108",[933,6],{"id":613,"slug":6511,"title":6512,"dynasty":1003,"author":1169,"museum":909,"description":6513,"tags":6514,"thumbUrl":6515,"material":1226,"size":6516,"collection":933,"collections":6517,"showCount":6462,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[869,870,913,916,914,875,878,879,961,917,883,876,881,1053,979],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db05b40e690af672c8b38a93cb5face.jpg","137.5x63.1公分、全幅 90.2公分",[933,6],{"id":614,"slug":6519,"title":6520,"dynasty":957,"author":1948,"museum":909,"description":6521,"tags":6522,"thumbUrl":6524,"material":6525,"size":6526,"collection":933,"collections":6527,"showCount":6462,"zanCount":1218,"manualWeight":903,"mainColor":904},"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。",[869,977,870,871,913,942,914,916,6523,1475,883,878,879,1102,1507,921,917,1914,920,2995,5721,3719],"青山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff694344bfc27738a0a8d0c9d7b8d746c.jpg","轴绢本浅设色","188.3x110.5厘米",[933,6],{"id":615,"slug":6529,"title":6530,"dynasty":957,"author":5036,"museum":4651,"description":6531,"tags":6532,"thumbUrl":6533,"material":1068,"size":6534,"collection":6,"collections":6535,"showCount":6462,"zanCount":903,"manualWeight":903,"mainColor":970},"tai-bai-long-jiao-tu-fang-cong-yi-220263","太白泷湫图","此幅作品画陕西秦岭主峰太白山上的瀑布，与隐居其间的道士。此幅画构图，大致运用远、中、近景的三段式。近景平地松木和杂树丛生，树林背面有数间茅屋、水榭．楼阁，隐约可见。中景为空旷的水面，左侧的岸边长着数株林木，右侧的山径曲折，在半山腰中有数株树木，枝叶下垂。山腰间瀑布直泻，宛如一条白龙腾空而下。远景为龙脉高耸的山势，十分奇峭。",[869,870,942,913,916,914,1007,883,879,894,921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F178ff5a5c7e7663f1940e96e2b60d742.jpg","纵105.6厘米，横46.1厘米",[6],{"id":616,"slug":6537,"title":6538,"dynasty":1075,"author":6539,"museum":1035,"description":6540,"tags":6541,"thumbUrl":6542,"material":1041,"size":1041,"collection":1029,"collections":6543,"showCount":6544,"zanCount":903,"manualWeight":903,"mainColor":970},"fang-gu-ji-you-tu-ce-huang-yi-239530","访古纪游图册","黄易","此作以淡墨绘就水畔闲景，右侧疏木立异石，浅林掩映茅舍，远山含晕，留白铺就湖面，漾开空濛清寂。枯笔写木，皴擦刻画出湖石奇崛肌理，淡墨轻扫远山晕出水气。\n题跋与画作相映成趣，笔墨简淡秀润，将纪游幽怀寄于萧散景致里。整体意境澹泊静穆，尽显文人林下之风，把江南水畔的闲雅清居，揉进悠悠文心，淡而愈远，简中含情。",[870,871,1211,942,1224,916,1117,1009,894,883],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedfee47df568b62a35375d8d73831df5.jpg",[1029,6],30,{"id":617,"slug":6546,"title":6547,"dynasty":1003,"author":6548,"museum":1035,"description":6549,"tags":6550,"thumbUrl":6552,"material":1041,"size":1041,"collection":933,"collections":6553,"showCount":6544,"zanCount":1218,"manualWeight":903,"mainColor":904},"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。",[870,871,913,942,914,876,961,879,1197,917,1212,916,883,2993,6551],"饮酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd92163a7d1c8e15870bdf0cbe3eb3953.jpg",[933,6],{"id":618,"slug":6555,"title":6556,"dynasty":1075,"author":6557,"museum":1035,"description":6558,"tags":6559,"thumbUrl":6561,"material":2219,"size":2220,"collection":1202,"collections":6562,"showCount":6544,"zanCount":903,"manualWeight":903,"mainColor":970},"zhi-hua-luo-shen-fu-tu-ce-gao-qi-pei-238048","指画洛神赋图册","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。",[977,870,871,1211,6560,942,876,2400,962,964],"指画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc193fb3353f5ff44c34401634128615d.jpg",[1202,6],{"id":619,"slug":6564,"title":6565,"dynasty":1075,"author":3527,"museum":990,"description":6566,"tags":6567,"thumbUrl":6568,"material":6569,"size":6570,"collection":933,"collections":6571,"showCount":6544,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[870,913,942,914,916,878,879,979,918,883,2150,921],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aedd467187047bf2529e2a163cf58ec.jpg","绢本 ，墨笔","纵215.9cm，横113.8cm",[933,6],{"id":620,"slug":6573,"title":6574,"dynasty":1075,"author":6000,"museum":866,"description":6575,"tags":6576,"thumbUrl":6577,"material":1041,"size":1041,"collection":933,"collections":6578,"showCount":6544,"zanCount":903,"manualWeight":903,"mainColor":970},"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",[870,871,1211,942,914,916,1066,917,921,877,1800],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9508b3d511d77b3b1bf9fcd09d4a6ac.jpg",[933,6],{"id":621,"slug":6580,"title":6581,"dynasty":1075,"author":5816,"museum":866,"description":6582,"tags":6583,"thumbUrl":6586,"material":1055,"size":6587,"collection":1029,"collections":6588,"showCount":6544,"zanCount":903,"manualWeight":903,"mainColor":970},"liu-tang-lu-que-tu-zhou-ren-yi-236466","柳塘鹭雀图轴","此图是幅表现春风中群燕嬉戏的小品画，也是任颐运用以实托虚的手法成功地表现“风”的代表作。虚缈、抽象的风通过小燕振翅翻飞的动态和柳叶飘舞张扬的形状被表现得既具象又生动，不仅令“风”有了可视的形象，而且突出了作者“轻柳爱风斜”的创作主题。从构思到笔墨都反映了作者在绘画创作成熟期的精湛艺术水准。",[870,875,942,1022,1081,2609,3818,6584,1875,6585],"雀","塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4784f688b1766e12ccf68e7508976a4c.jpg","纵152.5厘米，横40厘米",[1029,6],{"id":622,"slug":6590,"title":6591,"dynasty":1075,"author":6592,"museum":3508,"description":6593,"tags":6594,"thumbUrl":6595,"material":1746,"size":6596,"collection":1029,"collections":6597,"showCount":6544,"zanCount":903,"manualWeight":903,"mainColor":904},"gu-mu-zhu-shi-tu-luo-mu-223304","古木竹石图","罗牧","图绘岸边一隅古木树叶凋零，枝杆苍劲；石块耸立，粗笔勾勒其轮廓，中部留白；四周翠竹环绕，繁茂苍翠，生机勃勃。",[869,870,942,913,1053,1052,1117,1009,914,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d0b8c417963c4bbe141ba7b938a3e34.jpg","纵127cm，横54cm",[1029,6],{"id":623,"slug":6599,"title":6600,"dynasty":1003,"author":4833,"museum":866,"description":6601,"tags":6602,"thumbUrl":6603,"material":1214,"size":6604,"collection":1202,"collections":6605,"showCount":6544,"zanCount":903,"manualWeight":903,"mainColor":970},"wu-hou-gao-wo-tu-juan-zhu-zhan-ji-222421","武侯高卧图卷","从款中“宣德戊申”可知，此幅作于明宣德三年（1428年），是宣德皇帝赐予陈瑄的御作。当时陈瑄已六十有余，宣宗赐画给他的目的是激励他效法前贤为国鞠躬尽瘁。\n作品描绘的是诸葛亮出茅庐辅助刘备之前隐居南阳的形象。修竹丛下，诸葛亮坦胸露怀，头枕书匣，躺卧于草地上，神态安逸。\n整幅构图饱满，人物用“钉头鼠尾” 法描绘，线条洗练流畅，背景画竹林一片，笔墨潇洒，显示出相当高的绘画技巧。",[869,870,871,872,942,1224,1117,876,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F819d2965a332e5986283ad45900d2c5f.jpg","纵27.7厘米，横40.5厘米",[1202,6],{"id":624,"slug":6607,"title":6608,"dynasty":1003,"author":5127,"museum":866,"description":6609,"tags":6610,"thumbUrl":6611,"material":1121,"size":6612,"collection":933,"collections":6613,"showCount":6544,"zanCount":1218,"manualWeight":903,"mainColor":970},"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》。",[869,870,871,913,942,916,1119,917,914,1131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F240a83fcfac08777dd0d323f10bb0e0e.jpg","纵136.3厘米，横43.3厘米",[933,6],{"id":625,"slug":6615,"title":6616,"dynasty":957,"author":5036,"museum":909,"description":6617,"tags":6618,"thumbUrl":6619,"material":981,"size":6620,"collection":933,"collections":6621,"showCount":6544,"zanCount":903,"manualWeight":903,"mainColor":970},"gao-ting-tu-fang-cong-yi-221729","高亭图","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。",[869,870,977,871,913,942,914,916,979,883,964,1009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F693e4c4c741ebf8c7d852d6aa0cb4a93.jpg","纵62.1cm，横27.9cm",[933,6],{"id":626,"slug":6623,"title":1993,"dynasty":864,"author":6624,"museum":1254,"description":6625,"tags":6626,"thumbUrl":6628,"material":2236,"size":6629,"collection":899,"collections":6630,"showCount":6544,"zanCount":903,"manualWeight":903,"mainColor":970},"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。”",[869,870,977,871,916,942,914,1053,1052,883,6627,1580],"孤树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F324e78d2ab5af18f329bc9f582365afc.jpg","33x34",[899,933,6],{"id":627,"slug":6632,"title":1376,"dynasty":1075,"author":6633,"museum":1035,"description":6634,"tags":6635,"thumbUrl":6636,"material":1041,"size":1041,"collection":933,"collections":6637,"showCount":6638,"zanCount":903,"manualWeight":903,"mainColor":970},"shan-shui-zhou-jiang-yun-237466","姜筠","姜筠（1847－1919），字颖生，别号大雄山民，安徽省怀宁人。光绪十七年（1891）举人，官礼部主事。1913年梁启超在北京雅集词人诗友于万牲园，举行癸丑上巳修禊，颖生曾作图纪念。\n姜筠工书画，书法学苏轼，兼善篆刻。山水专学王翚，笔墨浓重，苍润古秀，殊乏清疏之气，间作花卉。工写兼至，别有韵味。《深山白云图》画大山、坡岸、房屋、渔舟，一派生机勃勃的景象。山中白云飘浮，更衬托了远山的深远，山上密密杂树寓意着新的生命处在潜伏的酝酿 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",[870,913,916,942,914,979,918,917,883,892,871,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379f525512d15f8340c282baf34191bd.jpg",[933,6],29,{"id":628,"slug":6640,"title":6641,"dynasty":1075,"author":3527,"museum":866,"description":5961,"tags":6642,"thumbUrl":6643,"material":995,"size":1041,"collection":933,"collections":6644,"showCount":6638,"zanCount":903,"manualWeight":903,"mainColor":904},"wang-hui-kong-shan-fang-wu-zhou-wang-hui-236985","王翚空山方屋轴",[870,871,913,942,914,916,993,1146,978,917,2923,1102,1507,1800],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ff3172206d083c2c3a1a837744abfa4.jpg",[933,6],{"id":629,"slug":6646,"title":6647,"dynasty":1003,"author":1283,"museum":866,"description":6648,"tags":6649,"thumbUrl":6654,"material":1105,"size":6655,"collection":933,"collections":6656,"showCount":6638,"zanCount":903,"manualWeight":903,"mainColor":904},"yu-qing-ji-shi-tu-wen-zheng-ming-236617","雨晴纪事图","《明文征明幽谷清泉图》描绘了水边丛树，图中较好地表现出江南初雨后空气清新、草木富于生机的景物特征。\n图中绘水边丛树，本幅自识：“入春连月雨霖霪，一日雨晴春亦深。碧涧平添三尺水，绿榆新涨一庭阴。征明雨晴纪事。庚寅三月八日。”“文征明印”白文方印、“停云”朱文圆印。庚寅为明嘉靖九年，即公元1530年，作者时年六十一岁。\n“入春连月雨淋漓，一日雨晴春亦深。碧沼平添三尺水，绿榆新涨一池荫。”这件山水小景是画家在阴雨初晴之时所作，以纪事且记情。画中描绘了一雾气弥漫的平沼近岸，碎石散置，绿苔满布，细草丛生。数棵杂树相簇，绿叶枯枝，相互扶助。此作笔法宽厚，墨色浑润，浓淡变化，层次丰富。虽为小景，但亦显得境界开阔，气势厚重，有翠湿欲滴之意。",[870,942,916,1308,6650,6651,6652,924,6653,964,962],"平沼","碎石","绿草","雨后初晴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76002b37ca01ffa2c511c43609a5dafe.jpg","纵：130厘米，横：60.8厘米",[933,6],{"id":630,"slug":6658,"title":6659,"dynasty":1075,"author":1883,"museum":866,"description":6660,"tags":6661,"thumbUrl":6662,"material":1041,"size":1041,"collection":933,"collections":6663,"showCount":6638,"zanCount":903,"manualWeight":903,"mainColor":970},"fang-huang-gong-wang-shan-shui-tu-zhou-wang-jian-236460","仿黄公望山水图轴","王鉴（1609-1677，旧作1598-1677），字圆照（圆字一作元，或玄，或员），一作元炤，号湘碧，别号染香庵主，因官廉州(今广西合浦县)知府，世称王廉州，江苏太仓人，为明南京刑部尚书王世贞曾孙。康熙元年后，王鉴因避讳，将玄照改为圆照，往往又写作元照、员照或元炤。王鉴与王时敏同为董其昌弟子，三人同为“画中九友”。王鉴精通画理，摹古尤长，于董源、巨然尤为深诣，被称为“后学津梁”。有清秦祖永辑录的《染香庵跋画》传世。",[870,871,913,942,914,1309,916,1008,945,918,2150,920],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf2a8130da7b657943ce3313f4b98b7.jpg",[933,6],{"id":631,"slug":6665,"title":6666,"dynasty":1003,"author":6667,"museum":909,"description":6668,"tags":6669,"thumbUrl":6671,"material":949,"size":6672,"collection":933,"collections":6673,"showCount":6638,"zanCount":1218,"manualWeight":903,"mainColor":904},"shan-yu-yu-lai-tu-zhou-zhang-lu-222502","山雨欲来图轴","张路","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。",[869,870,942,913,914,916,917,883,921,1800,876,879,1009,6670],"淡设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dda3aeabd6bd882d906bf05d7ad4cc6.jpg","纵147厘米，横105厘米",[933,6],{"id":632,"slug":6675,"title":1376,"dynasty":1075,"author":5983,"museum":1035,"description":6676,"tags":6677,"thumbUrl":6678,"material":1041,"size":1041,"collection":933,"collections":6679,"showCount":969,"zanCount":903,"manualWeight":903,"mainColor":904},"shan-shui-zhou-hua-yan-237467","华岩（1682～1756），一写作华嵒，福建上杭白砂里人。字德嵩，更字秋岳，号新罗山人、白沙道人等，老年自喻“飘篷者”。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。",[870,875,914,916,883,917,879,979,876,1053,1052],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93002429d8052a89366938df98869cff.jpg",[933,6],{"id":633,"slug":6681,"title":6682,"dynasty":1003,"author":4736,"museum":866,"description":6683,"tags":6684,"thumbUrl":6685,"material":1214,"size":6686,"collection":933,"collections":6687,"showCount":969,"zanCount":1218,"manualWeight":903,"mainColor":1191},"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。",[869,870,913,1453,875,876,1009,942],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b8aa2bc689c8b52664da36963765e99.jpg","62.3x35.3",[933,6],{"id":634,"slug":6689,"title":6690,"dynasty":957,"author":6691,"museum":909,"description":6692,"tags":6693,"thumbUrl":6695,"material":875,"size":6696,"collection":933,"collections":6697,"showCount":969,"zanCount":1218,"manualWeight":903,"mainColor":904},"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。",[869,870,1622,913,942,914,3162,917,1146,877,2150,894,6694,961,1886],"寒树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb4fbd93c8effabe9b96d446d99996c5.jpg","该幅139.8x76.2公分&全幅 97公分",[933,6],{"id":635,"slug":6699,"title":6700,"dynasty":957,"author":2041,"museum":909,"description":6701,"tags":6702,"thumbUrl":6703,"material":1068,"size":6704,"collection":933,"collections":6705,"showCount":969,"zanCount":1218,"manualWeight":903,"mainColor":970},"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。",[869,870,871,913,942,914,916,1328,1008,1118,879,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d2bce35e6488169e35f98daeffd676d.jpg","103.8x35.4厘米",[933,6],{"id":636,"slug":6707,"title":6708,"dynasty":957,"author":1631,"museum":909,"description":6709,"tags":6710,"thumbUrl":6711,"material":981,"size":6712,"collection":1202,"collections":6713,"showCount":969,"zanCount":1218,"manualWeight":903,"mainColor":970},"diao-liang-tu-zhao-meng-fu-220832","调良图","画中仅绘一身形矫健、长鬃毛的马和一奚官，毫无背景。作者捕捉住了一阵风吹过时的瞬间来加以描绘——马儿低头避风，牵马者搭袖回望。马尾、马鬃、人须、衣襟随风飘动，作者通过细韧灵动的线条和纤毫毕现的白描手法将画面表现得栩栩如生。\n赵孟頫所画的人物画，虽然在后世盛名，但远不如他的山水、花鸟画。但对他的高超的造诣，不得不使人们所钦佩，他的画无所不精，皆造神品，尤其画马甚佳。董其昌谓其画“有唐人之致去其纤。有北宋人之雄去其犷。”他年轻时就勤于画马，并下过苦功。师法唐代曹霸、韩干，自称可以和李公麟媲美。他在继承前人传统的基础上，又亲自到实地观察，潜心琢磨，有时为了画好某种姿势的马，曾自己在床上学马的动态，此《调良图》册，就是他画马的精心之作。\n赵孟頫存世的作品中，时间最早的可能是《调良图》，中国艺术史学家李铸晋教授认为此画应属13世纪80年代的真本，当时赵孟頫只有26岁左右。\n此画为细致入微的高古游丝描，是典型的唐人风范。马的形象也是典型的唐人趣味，此马肥瘦得当，体格雄健，身披黑色毛，四肢健壮有力，在低头吃草，长长的尾巴拽在右后腿旁，尤其引人注目的马颈部根根竖立的马鬃，威风凛凛，经作者工笔细描。其人物也如此的工整细致。\n从图中可看到此画刻意学唐人，线条圆润，皴染简法，墨色浓丽，形象刻画，严谨认真，对马的形体质感，广阔田野，人物的侧立姿态，都认真的描绘，一丝不苟。\n从此画的布局来看，画面虽仅是一马一人，但给观赏者点出境外尚有无限的景物，画似尽而意犹未尽，既突出了主题，又给观赏者以回味的余地。\n北京故宫博物院研究员余辉：画家上承北宋李公麟的白描技法，渲染有度，特别是方折劲挺的铁线描形成的人物衣褶和圆活腴润的弧线勾划出的马体及风动如火焰的虬髯、马鬃、马尾显现了作者丰富精湛的表现力和藏抑不住的创作激情。\n中国美术史学家高居翰：赵孟頫的《调良图》会把人物和马匹孤立出来，衬着空荡荡的画底，这一点也和两位前辈的做法相同。虽然画中有一股强风吹过马尾、马鬃和马夫的衣服，看起来也只是在画幅之内回旋，使构图活泼了，但是基本上还是一个自成一体的世界。",[977,870,871,875,876,881,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a777345816f4cfc952a6c798a4d7af7.jpg","纵22.7厘米 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这幅画以水墨构想了一个冰冷、寂静、空旷的场景。",[869,870,913,942,875,1146,6741,5309,1132,1886,916,2923,978],"鸿雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b41179185b48a7ca59003ff3966b6b.jpg","125.9＊92.6cm",[1029,6],{"id":641,"slug":6746,"title":6747,"dynasty":1075,"author":5367,"museum":909,"description":5368,"tags":6748,"thumbUrl":6749,"material":875,"size":6750,"collection":933,"collections":6751,"showCount":6720,"zanCount":903,"manualWeight":903,"mainColor":970},"hua-du-fu-shi-yi-gao-zong-yu-ti-zhou-dong-bang-da-223116","画杜甫诗意高宗御题轴",[869,870,871,913,942,914,916,1007,1118,1328,979,883,920,962,964,947,1474,921,1774],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde04473deae771195c36214c7564a0f8.jpg","18.5x148.5cm",[933,6],{"id":642,"slug":6753,"title":2625,"dynasty":1003,"author":4280,"museum":909,"description":5719,"tags":6754,"thumbUrl":6755,"material":930,"size":1041,"collection":933,"collections":6756,"showCount":6720,"zanCount":903,"manualWeight":903,"mainColor":904},"hua-xue-jing-zhou-lan-ying-222592",[869,870,913,875,916,914,2517,878,879,961,979,1146,917,894,876,1119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d87a46b2ed28161debf873089c66eac.jpg",[933,6],{"id":643,"slug":6758,"title":6759,"dynasty":1003,"author":5213,"museum":1035,"description":6760,"tags":6761,"thumbUrl":6762,"material":942,"size":6763,"collection":933,"collections":6764,"showCount":6720,"zanCount":903,"manualWeight":903,"mainColor":1191},"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。",[869,870,872,942,914,916,1007,1008,894,921,1396,1969,2411],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79c2fd96e90502f2d98d5cc83b16fe4c.jpg","27x278",[933,6],{"id":644,"slug":6766,"title":6767,"dynasty":1003,"author":1485,"museum":909,"description":6768,"tags":6769,"thumbUrl":6770,"material":981,"size":6771,"collection":1029,"collections":6772,"showCount":6720,"zanCount":903,"manualWeight":903,"mainColor":970},"qiu-kui-zhe-zhi-tu-wen-zheng-ming-222004","秋葵折枝图","图绘折枝秋葵一枝，取其正面之势。花开粲然，叶呈多貌，浓墨淡墨穿插其间，神韵清俊舒朗。",[869,870,1081,1776,942,1022,913,995],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa792f16172d45ac3e5b4b10cf32a318e.jpg","纵65.4厘米，横30.3厘米",[1029,6],{"id":645,"slug":6774,"title":3300,"dynasty":1003,"author":5618,"museum":866,"description":6775,"tags":6776,"thumbUrl":6777,"material":1041,"size":1041,"collection":933,"collections":6778,"showCount":6779,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[870,871,913,942,874,914,916,1080,876,1053,1052,917,883,920],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef431a10e57a656e762c4ca85d7e8da6.jpg",[933,6],26,{"id":646,"slug":6781,"title":6782,"dynasty":864,"author":2041,"museum":909,"description":6783,"tags":6784,"thumbUrl":6785,"material":949,"size":6786,"collection":933,"collections":6787,"showCount":6779,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[869,870,873,875,874,916,877,1053,1052,917,978],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce11376d9ed52e44ecd59d7ed80b572b.jpg","纵145cm，横88cm",[933,6],{"id":647,"slug":6789,"title":6790,"dynasty":1075,"author":5367,"museum":909,"description":5368,"tags":6791,"thumbUrl":6793,"material":3008,"size":6794,"collection":933,"collections":6795,"showCount":6779,"zanCount":903,"manualWeight":903,"mainColor":970},"shuang-lin-xiao-si-tu-zhou-dong-bang-da-223122","霜林萧寺图轴",[869,870,913,875,914,916,917,883,6792,878,879,964],"寺庙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02e95f112757ec9a532d663ea2c1066f.jpg","79.1x36.8",[933,6],{"id":648,"slug":6797,"title":6798,"dynasty":1075,"author":5367,"museum":909,"description":5368,"tags":6799,"thumbUrl":6800,"material":6801,"size":6802,"collection":933,"collections":6803,"showCount":6779,"zanCount":903,"manualWeight":903,"mainColor":904},"hua-fan-zhao-gui-yun-tu-zhou-dong-bang-da-223117","画返照归云图轴",[869,870,871,977,913,1622,914,875,1007,1025,1328,1801,883,945,889],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e89609eb1517d1843f2e8924eba4cf4.jpg","淺設色","251.1x158.6",[933,6],{"id":649,"slug":6805,"title":6806,"dynasty":1075,"author":5367,"museum":909,"description":6807,"tags":6808,"thumbUrl":6809,"material":981,"size":6810,"collection":933,"collections":6811,"showCount":6779,"zanCount":903,"manualWeight":903,"mainColor":970},"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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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。",[869,977,870,871,872,942,875,914,916,2254,6792,883,917,921,944,1052,1053,1800,879,979],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb3bb3f7fd9c75615971c67aad3349df.jpg","32.5x321",[899,933,6],{"id":652,"slug":6831,"title":6832,"dynasty":1003,"author":6833,"museum":909,"description":6834,"tags":6835,"thumbUrl":6837,"material":1068,"size":1041,"collection":6,"collections":6838,"showCount":6779,"zanCount":903,"manualWeight":903,"mainColor":970},"chang-pu-tu-shen-zhen-ji-219521","菖蒲图","沈贞吉","沈贞吉（1400-1482年仍在）名沈贞，号陶庵、陶然老人（道人），江苏长洲（今苏州人），其弟沈恒，字恒吉，为“吴门画派”代表畫家沈周（1427-1509）之父。沈贞吉工诗，兼擅绘画，以山水见长。但因其“不肯轻为人作，故少存者”，现在所见传世之作极少书画鉴定家张珩在其《木雁斋书画鉴赏笔记》中著录沈贞吉的《溪山一览图》时说：“南斋为石田伯父，画迹传世，平生惟见此一小幅为真迹……已至为难得矣。”（“南斋”为沈贞吉别号）连寓目书画无数的张珩所见沈贞吉画迹仅一件，可见其流传于今的作品，确实不多见。",[870,942,913,962,964,6836,1009],"菖蒲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feda667cbc2a17f96eecd268417b52830.jpg",[6],{"id":653,"slug":6840,"title":6841,"dynasty":1075,"author":4428,"museum":1099,"description":6842,"tags":6843,"thumbUrl":6844,"material":5350,"size":6845,"collection":933,"collections":6846,"showCount":6847,"zanCount":903,"manualWeight":903,"mainColor":970},"shan-shui-tu-zhou-cha-shi-biao-237153","山水图轴","《山水图轴》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。\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。倪云林用笔枯淡静柔，查士标用笔疏散湿润。",[870,912,914,913,916,979,883,945,894,1009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b15f8c267c7e56aa7cb40b232377f45.jpg","纵90.1厘米，横36.7厘米",[933,6],25,{"id":654,"slug":6849,"title":6850,"dynasty":1075,"author":3527,"museum":866,"description":5961,"tags":6851,"thumbUrl":6852,"material":3962,"size":6853,"collection":933,"collections":6854,"showCount":6847,"zanCount":903,"manualWeight":903,"mainColor":1191},"cui-wei-qiu-se-zhou-wang-hui-236363","翠微秋色轴",[870,871,913,942,914,916,883,917,889,1102,1507,1172,944,1397],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fbeebb1e51bd250ab9609e911e94915.jpg","纵63.5cm，横36.3cm",[933,6,1204],{"id":655,"slug":6856,"title":6857,"dynasty":1075,"author":6858,"museum":866,"description":6859,"tags":6860,"thumbUrl":6861,"material":1105,"size":1041,"collection":933,"collections":6862,"showCount":6847,"zanCount":903,"manualWeight":903,"mainColor":904},"fang-yuan-ren-shan-shui-ce-he-yi-236140","仿元人山水册","赫奕","赫奕 [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。",[870,871,1211,1309,916,914,942,1008,879,917],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38fc6046312eb9e183e0137504ff4f40.jpg",[933,6],{"id":656,"slug":6864,"title":6865,"dynasty":1003,"author":6866,"museum":866,"description":6867,"tags":6868,"thumbUrl":6870,"material":1746,"size":6871,"collection":1029,"collections":6872,"showCount":6847,"zanCount":903,"manualWeight":903,"mainColor":970},"bai-zi-tu-zhou-xiang-yuan-bian-236129","柏子图轴","项元汴","图绘湖石及柏树、翠竹、荆棘等。柏树昂扬郁茂，有藤萝缠绕，翠竹挺拔玉立，荆棘屈曲虬劲，三者结合，高低自然，疏密得当，相互映衬，意味悠长。用笔粗细随类，墨色浓淡相宜，风格疏爽，清新静逸。",[870,871,913,942,914,6869,1623,1009,964],"柏树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff40827a5b89dd11e84e82d1b56e6a6ed.jpg","纵84.6厘米，横26.5厘米",[1029,6],{"id":657,"slug":6874,"title":6875,"dynasty":1075,"author":6724,"museum":866,"description":6725,"tags":6876,"thumbUrl":6877,"material":2082,"size":6728,"collection":933,"collections":6878,"showCount":6847,"zanCount":903,"manualWeight":903,"mainColor":970},"song-xi-shu-wu-tu-zhou-lu-zun-shu-236127","松溪书屋图轴",[870,871,913,942,916,914,1119,879,3511,917,883],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa366e0c0db1f68c15306c566b60c3904.jpg",[933,6],{"id":658,"slug":6880,"title":6881,"dynasty":1075,"author":4099,"museum":866,"description":6882,"tags":6883,"thumbUrl":6884,"material":2082,"size":6885,"collection":933,"collections":6886,"showCount":6847,"zanCount":1218,"manualWeight":903,"mainColor":970},"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。",[870,942,914,916,879,1053,1009,1102,921,883,945],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946aacb8352879e4db037849980e60c1.jpg","纵143厘米，横75.6厘米",[933,6],{"id":659,"slug":6888,"title":6889,"dynasty":1075,"author":2089,"museum":909,"description":6890,"tags":6891,"thumbUrl":6892,"material":981,"size":6893,"collection":1029,"collections":6894,"showCount":6847,"zanCount":903,"manualWeight":903,"mainColor":970},"kai-tai-shuo-bing-san-yang-kai-tai-tu-juan-qian-long-224117","开泰说并三阳开泰图卷","是清代乾隆弘历的亲笔图，该幅是摹仿收藏于台北故宫博物院明宣宗（1399－1435）与郎世宁（1688－1766）同名之作。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",[869,977,870,871,872,942,963,964,962,1520,4914],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0619277c0f73ea795b19279dee6e8c7f.jpg","27.7×63厘米",[1029,6],{"id":660,"slug":6896,"title":6897,"dynasty":864,"author":2041,"museum":866,"description":6898,"tags":6899,"thumbUrl":6901,"material":1055,"size":6902,"collection":899,"collections":6903,"showCount":6847,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[869,977,870,913,875,874,3194,883,6900,3597,964],"牛犊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27c9fbfac81e21e219709419b2fe821c.jpg","96.3＊53.2cm",[899,933,6],{"id":661,"slug":6905,"title":6906,"dynasty":1075,"author":6421,"museum":1077,"description":6907,"tags":6908,"thumbUrl":6909,"material":942,"size":6910,"collection":933,"collections":6911,"showCount":6847,"zanCount":903,"manualWeight":903,"mainColor":970},"ku-mu-han-ya-pu-hua-223250","枯木寒鸦","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。",[869,870,942,1022,914,1116,978,916,1009,993],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ac8fd8af8dbebd94497968fae5fd6bb.jpg","33×127cm",[933,6],{"id":662,"slug":6913,"title":6914,"dynasty":1003,"author":4512,"museum":909,"description":6915,"tags":6916,"thumbUrl":6918,"material":1105,"size":6919,"collection":933,"collections":6920,"showCount":6847,"zanCount":903,"manualWeight":903,"mainColor":970},"lin-quan-gao-yi-tu-xiang-sheng-mo-222675","林泉高逸图","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",[869,870,942,872,916,917,883,6917,1102,914,964],"湖泊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90f17316dac0c91e0c3ee608508eb723.jpg","33x126cm",[933,6],{"id":663,"slug":6922,"title":1376,"dynasty":1003,"author":5266,"museum":1461,"description":6923,"tags":6924,"thumbUrl":6925,"material":981,"size":6926,"collection":933,"collections":6927,"showCount":6847,"zanCount":903,"manualWeight":903,"mainColor":970},"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、",[869,870,871,913,942,916,1053,894,917,883,889,1022,914],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4efcbdf874c85333870a65dcf74128b.jpg","117.2 x 54.9 厘米",[933,6],{"id":664,"slug":6929,"title":6930,"dynasty":1003,"author":6931,"museum":866,"description":6932,"tags":6933,"thumbUrl":6934,"material":1068,"size":6935,"collection":933,"collections":6936,"showCount":6847,"zanCount":1249,"manualWeight":903,"mainColor":970},"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。",[869,870,871,872,942,875,916,874,914,963,962,964,944,889,894,883,878,978],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f656c3500b27f604686ec7a544e47c9.jpg","纵27.1厘米，横106.2厘米",[933,6],{"id":665,"slug":6938,"title":6939,"dynasty":1075,"author":6940,"museum":1035,"description":6941,"tags":6942,"thumbUrl":6943,"material":1041,"size":1041,"collection":6,"collections":6944,"showCount":6945,"zanCount":903,"manualWeight":903,"mainColor":970},"yan-yu-lou-tu-zhou-dong-gao-238319","烟雨楼图轴","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”。",[870,913,942,916,877,883,889,4892,962,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae96fa2834c3c09ba001a9aaec286bb.jpg",[6,1204],24,{"id":666,"slug":6947,"title":6948,"dynasty":1003,"author":6949,"museum":1035,"description":6950,"tags":6951,"thumbUrl":6952,"material":1041,"size":1041,"collection":1029,"collections":6953,"showCount":6945,"zanCount":903,"manualWeight":903,"mainColor":904},"shan-song-se-zhou-zhang-hong-237920","山松色轴","张宏","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。",[977,870,913,942,914,916,1066,917,879],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf66bb758d89c6cdfc0908d408a0d49c.jpg",[1029,6],{"id":667,"slug":6955,"title":6956,"dynasty":1003,"author":6957,"museum":1035,"description":6958,"tags":6959,"thumbUrl":6961,"material":2219,"size":2220,"collection":1029,"collections":6962,"showCount":6945,"zanCount":903,"manualWeight":903,"mainColor":970},"zhi-hua-ce-chen-dao-237274","指画册","陈道","陈道，字常经，生卒年不详。明代广东归善县铁炉湖人。正统八年（1443）贡监，授抚州府推官，代理全府之事务。有一年闹饥荒，陈提出发放仓库里的粮食赈灾。一些府官则说，必须按惯例向上级申请。陈说：“人们都快要饿死了，怎么还能等到申请获得批准？责任由我个人承担，决不连累你们。”仓库的粮食不够赈济，陈就将自己的薪金捐献出去。总共救济了几万灾民。不久上级认为陈专权，严厉责备他。陈不顾自己生活困难，毅然辞职归田。陈对子女管教得很严，规劝子女不要穿华丽的服饰。他的子孙后代，名声很好。",[870,871,1211,6560,942,6960,964],"兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfa92256e6d38e8d50e01978afc127fa.jpg",[1029,6],{"id":668,"slug":6964,"title":6965,"dynasty":1003,"author":6966,"museum":1035,"description":6967,"tags":6968,"thumbUrl":6970,"material":1041,"size":1041,"collection":1202,"collections":6971,"showCount":6945,"zanCount":1218,"manualWeight":903,"mainColor":904},"er-xian-zhou-peng-shun-xiang-236411","二仙轴","彭舜乡","画面以淡赭铺底，枯木虬枝缀着寒蕊，晕开清寂幽远的林下氛围。\n\n长仙峨冠长髯，宽袍曳地，持拂尘垂眸含笑，神色悠然和煦，似在静听童子言语。赤足短褐的童子仰首抬望，憨态里满是敬慕，灵动身形衬出稚拙意趣。\n\n画作以顿挫写意的墨线勾勒衣纹，笔力苍劲洒脱，将布料垂坠褶皱尽显，人物神态刻画入微。仙风道骨与童真稚趣相映成趣，以简驭繁的水墨写意间，氤氲出飘然出尘的世外仙气，把高人隐士的闲适清雅铺陈开来，尽显传统人物画的写意神韵。",[870,871,913,942,875,876,5594,6969,883,917,1224],"古代服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb06d168bc0594d94200701bd45eefb2.jpg",[1202,6],{"id":669,"slug":6973,"title":6974,"dynasty":1075,"author":3527,"museum":866,"description":6975,"tags":6976,"thumbUrl":6978,"material":1121,"size":6979,"collection":933,"collections":6980,"showCount":6945,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[870,871,913,942,914,916,917,883,979,6977,2798],"重林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53a0a8445ee5579556a829c666e132ec.jpg","纵129.7cm，横44.1cm",[933,6],{"id":670,"slug":6982,"title":6983,"dynasty":1075,"author":6984,"museum":1035,"description":6985,"tags":6986,"thumbUrl":6987,"material":2219,"size":2220,"collection":1202,"collections":6988,"showCount":6945,"zanCount":903,"manualWeight":903,"mainColor":970},"xi-xiang-tu-ce-ye-bu-235533","西廂图册","叶逋","《西厢记》故事，最早起源于唐代元稹的传奇小说《莺莺传》，叙述书生张珙与同时寓居在普救寺的已故相国之女崔莺莺相爱，在婢女红娘的帮助下，两人在西厢约会，莺莺终于以身相许。后来张珙赴京应试，得了高官，却抛弃了莺莺，酿成爱情悲剧。亦相传为元稹假借张生的自传体小说或故事。这个故事到宋金时代流传更广，一些文人、民间艺人纷纷改编成说唱和戏剧，王实甫编写的多本杂剧《西厢记》就是在这样丰富的艺术积累上进行加工创作而成的。",[870,875,874,873,876,877,883,962,963,1211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac80e914df48a93e0155599076982791.jpg",[1202,6],{"id":671,"slug":6990,"title":6991,"dynasty":1003,"author":6992,"museum":909,"description":6993,"tags":6994,"thumbUrl":6995,"material":981,"size":6996,"collection":933,"collections":6997,"showCount":6945,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[869,870,942,875,914,913,916,961,876,2517,883,1930,1146,880],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8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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。",[869,870,871,872,1309,942,914,916,1008,918,945,979,879,876,1009,878,1146,1051],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ea4dd01e44e803413f2814c10d58aa2.jpg","纵25.6cm，横711.6cm",[933,6],{"id":675,"slug":7023,"title":7024,"dynasty":1075,"author":1599,"museum":1035,"description":1903,"tags":7025,"thumbUrl":7026,"material":1245,"size":1906,"collection":933,"collections":7027,"showCount":7013,"zanCount":903,"manualWeight":903,"mainColor":970},"shan-shui-tu-juan-2-gong-xian-222621","山水图卷-2",[869,977,870,871,872,4556,914,942,916,883,917,921,962,963],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d02b1120bb03db2426b4f600768a89d.jpg",[933,6,1204],{"id":676,"slug":7029,"title":7030,"dynasty":1003,"author":4512,"museum":1035,"description":7031,"tags":7032,"thumbUrl":7033,"material":2219,"size":2220,"collection":6,"collections":7034,"showCount":7035,"zanCount":903,"manualWeight":903,"mainColor":970},"min-zhong-shan-shui-tu-juan-xiang-sheng-mo-287794","闽中山水图卷","项圣谟，初字逸，后字孔彰，号易庵，别号有胥山樵、存存居士、醉风人、大酉山人、莲塘居士、烟波钓徒、松涛散仙、逸叟、狂吟客、鸳湖钓叟、不夜楼中士等等，浙江嘉兴人。",[869,870,872,1622,875,914,917,889,961,2516,877,878,1474,1894,944],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff07fc17451bf883c857c7b540878e84e.jpg",[6],22,{"id":677,"slug":7037,"title":7038,"dynasty":1075,"author":5367,"museum":1035,"description":7039,"tags":7040,"thumbUrl":7041,"material":1041,"size":1041,"collection":1202,"collections":7042,"showCount":7035,"zanCount":903,"manualWeight":903,"mainColor":970},"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238736","画弘历拟古诗意图册","此作用淡墨绘就平远行旅之景，构图舒展清和。近岸浅渚错落，林木萧疏有致，行旅车马徐行于道，人物、车驾细节写实生动，带着悠然松弛的赶路意态。远景林峦澹澹，以简淡笔墨晕染出清寂开阔的郊野氛围。右侧题诗与画面呼应，将羁旅闲思融于山水间。\n\n全作笔墨秀润温婉，以极简皴染勾勒山水意态，无浓墨重彩，却将郊野清旷的氛围感烘托尽致，将日常行旅的寻常景致，化为充满文人雅韵的诗意图景，尽显平和萧散的文人意趣。",[870,871,1211,942,875,914,916,876,881,883,878,889,2072,963],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab9d62aa6c6de0d85df8a51bd8f7313e.jpg",[1202,6],{"id":678,"slug":7044,"title":7045,"dynasty":1003,"author":5523,"museum":866,"description":5524,"tags":7046,"thumbUrl":7047,"material":995,"size":5527,"collection":1029,"collections":7048,"showCount":7035,"zanCount":903,"manualWeight":903,"mainColor":970},"zhou-tian-qiu-mo-lan-tu-ce-zhou-tian-qiu-236757","周天球墨兰图册",[870,977,942,1211,1009,1257,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17204765c5f106a82d6e2d3873eaa755.jpg",[1029,6],{"id":679,"slug":7050,"title":7051,"dynasty":1075,"author":2841,"museum":1035,"description":7052,"tags":7053,"thumbUrl":7054,"material":2219,"size":2220,"collection":933,"collections":7055,"showCount":7035,"zanCount":903,"manualWeight":903,"mainColor":970},"zheng-min-shan-shui-ce-zheng-min-235092","郑旼山水册","郑旼 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。",[870,871,1211,942,914,963,916,1007,1008,945,1800],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb34c32d893f22e763f30d2b17213649.jpg",[933,6],{"id":680,"slug":7057,"title":1713,"dynasty":1075,"author":5983,"museum":1035,"description":7058,"tags":7059,"thumbUrl":7060,"material":1041,"size":1041,"collection":933,"collections":7061,"showCount":7035,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[870,871,1211,942,916,1146,1009,1025,962,914],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff58096078f671bcc61fca71c47b69df0.jpg",[933,6],{"id":681,"slug":7063,"title":5282,"dynasty":1003,"author":2041,"museum":1461,"description":7064,"tags":7065,"thumbUrl":7066,"material":930,"size":7067,"collection":933,"collections":7068,"showCount":7035,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[869,870,871,1211,942,875,914,916,2150,921,917,894,1800],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfa61be3e6ce1f76dc236feac0ec9224.jpg","38.1×40",[933,6],{"id":682,"slug":7070,"title":7071,"dynasty":1003,"author":2041,"museum":7072,"description":7073,"tags":7074,"thumbUrl":7076,"material":1465,"size":7077,"collection":933,"collections":7078,"showCount":7035,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[869,872,870,977,871,916,7075,914,875,877,878,879,979,2516,5312,944,883,4168],"四季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90cf2282e5eee3e7a82bdfb99910e204.jpg","35.1X661.9",[933,6],{"id":683,"slug":7080,"title":7081,"dynasty":1075,"author":5367,"museum":909,"description":5368,"tags":7082,"thumbUrl":7085,"material":995,"size":7086,"collection":933,"collections":7087,"showCount":7035,"zanCount":903,"manualWeight":903,"mainColor":970},"qiu-shu-yun-fan-zhou-dong-bang-da-223119","秋树云帆轴",[869,870,871,913,942,914,964,916,7083,7084,878,879,961,979,876,917,883],"秋树","云帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4681dcd6e0cf39452c603f9d6d6ece6e.jpg","121x59.8",[933,6],{"id":684,"slug":7089,"title":7090,"dynasty":1003,"author":3263,"museum":866,"description":7091,"tags":7092,"thumbUrl":7093,"material":1068,"size":7094,"collection":1202,"collections":7095,"showCount":7035,"zanCount":903,"manualWeight":903,"mainColor":970},"ge-wu-tu-wu-wei-220399","歌舞图","此图真实地反映了文士狎妓观舞的场景。狎客们与二女妓围坐一周，神态各异。狎客或侧首细品，或低头凝视，或举目静观，或捻须沉思。陪坐的女妓或机械地执板伴奏，或心不在焉地笼袖而坐，与狎客们专注的神情形成鲜明的对比。据画幅上唐寅墨款“吴门唐寅题李奴奴歌舞图，时弘治癸亥三月下旬，李奴奴十岁”可知，圈中翩翩起舞者是年方满10岁、但已为妓数载的李奴奴。明代是青楼业昌盛的时期，一方面资本主义萌芽逐渐兴起，都市经济日益壮大，商品市场迅速成长，为青楼业的生存和发展提供了广阔的空间；另一方面，腐败的明政府实行罚良为娼的政策，并在金陵(即南京)官办著名的十六楼(妓院)：南市、北市、鹤鸣、醉仙等，促使包括李奴奴在内的众多女子在遭遇各种生活的不幸后沦落青楼而成为玩物。鉴于青楼文化的兴盛，吴伟、唐寅等许多极富才情、仕途失意的画家纷纷饮酒狎妓，试图通过游妓来摆脱失意的郁闷和伦理的负担，获得心理的平衡与精神的松弛。他们对于自己的放浪行为并不加以掩示，唐寅自刻“江南第一风流才子”印章及吴伟所创作的此图，都意在表明自己以游妓为荣耀、玩世不恭的人生观。\n此图为吴伟45岁时所作。在表现技法上与《武陵春图》相近，属于细笔白描人物画。构图简约明了，主体人物突出，无繁复的景致烘托，仅通过人物生动的情态举止及其间的相互呼应抒发出富有生活情趣的诗意。",[869,870,871,2969,913,1224,876,5076,6038,1774,964,977],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb328ad9749d5d3efa719be4dbcbb7979.jpg","纵118.9厘米，横64.9厘米",[1202,6],{"id":685,"slug":7097,"title":7098,"dynasty":7099,"author":7100,"museum":990,"description":7101,"tags":7102,"thumbUrl":7108,"material":1041,"size":1041,"collection":6,"collections":7109,"showCount":7035,"zanCount":903,"manualWeight":903,"mainColor":7110},"yin-ma-tu-zhou-xu-bei-hong-202868","饮马图轴","近代","徐悲鸿","画面中骏马低头临溪饮水，身姿矫健而神态悠然。水墨写意的笔触下，浓墨劲扫鬃尾与蹄部，线条奔放洒脱；淡墨晕染马身，层次细腻，尽显肌肉的起伏张力。溪水以浅蓝灰调轻铺，波纹漾动，岸边赭色土地简约勾勒，与马的灵动形成呼应。整幅作品笔墨洗练，气韵生动，将马的自然之态与写意的酣畅完美融合，传递出鲜活的生命力与静谧的自然意趣。",[942,1022,881,7103,7104,7105,2265,7106,7107,2459,869],"线条","蹄","鬃毛","土地","赭色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F737e9cc9d557f305c51be114589b4abd.jpg",[6],"cac9bf",{"id":686,"slug":7112,"title":7113,"dynasty":1075,"author":7114,"museum":1035,"description":7115,"tags":7116,"thumbUrl":7117,"material":1041,"size":1041,"collection":933,"collections":7118,"showCount":7119,"zanCount":1218,"manualWeight":903,"mainColor":970},"hou-tu-zhou-zhu-chang-fu-239037","厚图轴","祝昌阜","此作以高远章法铺陈，主峰斜曳横贯，以斧劈皴利落勾勒石体质感，淡墨晕染出崖壁的苍莽雄浑，自带冷峭荒寒的山野意趣。\n\n崖畔孤松虬曲凌云，枝干舒展如展翼，松针攒簇见精神，扎根绝壁尽显傲骨。旁侧枯木寒枝错落，苔点墨色浓重，衬出山境的清寂寥落。画面留白疏朗，铺陈出天地空茫之意，笔墨简淡萧散，以写意笔法尽抒林下幽怀，将山水的荒寒之美与文人逸致相融，寥寥数笔便勾勒出清寂出尘的林泉意韵，淡远悠长。",[870,913,942,914,916,1066,917,1146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2151157b14216f4511adb2ab721e9afa.jpg",[933,6],21,{"id":687,"slug":7121,"title":7122,"dynasty":1003,"author":7123,"museum":1035,"description":7124,"tags":7125,"thumbUrl":7126,"material":1041,"size":1041,"collection":933,"collections":7127,"showCount":7119,"zanCount":903,"manualWeight":903,"mainColor":970},"ju-jie-shan-shui-zhou-ju-jie-239013","居节山水轴","居节","画史记载居节“尚气节，虽窭甚，惟以丹青自娱，不曳侯门裾” (《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。",[870,871,913,942,914,962,964,916,979,883,917,876,1172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae00f4c63d3c5de5bd06031dced56aac.jpg",[933,6,1204],{"id":688,"slug":7129,"title":7130,"dynasty":1075,"author":7131,"museum":1035,"description":7132,"tags":7133,"thumbUrl":7134,"material":1041,"size":1041,"collection":1202,"collections":7135,"showCount":7119,"zanCount":903,"manualWeight":903,"mainColor":970},"hua-guan-gui-yu-zhou-hua-guan-238940","华冠归渔轴","华冠","华冠 (公元18世纪)〔清〕原名庆冠，初名点，字庆吉，号吉崖，江苏无锡人，生卒年不详。官广西同知，工写照，擅长白描。\n原名庆冠，初名点，字庆吉，号吉崖，江苏无锡人，生卒年不详。官广西同知，工写照，擅长白描。乾隆帝南巡，写御容称赏，旋征召入都，供绘事，为藩邸所赏，声溢公卿，归里后求画者麇至。年七十余尝画邑庙径丈仙像壁画。兼工山水、木石、花卉。",[870,871,913,942,876,1038,1212,962,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faea2c454a335712a9a7ee2339f38b2fe.jpg",[1202,6],{"id":689,"slug":7137,"title":1208,"dynasty":1075,"author":7138,"museum":866,"description":7139,"tags":7140,"thumbUrl":7141,"material":1041,"size":1041,"collection":933,"collections":7142,"showCount":7119,"zanCount":903,"manualWeight":903,"mainColor":970},"shan-shui-ce-wen-dian-237551","文点","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》",[870,871,1211,942,914,916,1066,917,878,876,881],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9ad5700825cb73019c96712ef15dc32.jpg",[933,6],{"id":690,"slug":7144,"title":6841,"dynasty":1075,"author":7145,"museum":1035,"description":7146,"tags":7147,"thumbUrl":7148,"material":1041,"size":1041,"collection":933,"collections":7149,"showCount":7119,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[870,871,913,942,1022,916,993,883,876,2006,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66d739fa2aaf5310e49b14142a60cf5b.jpg",[933,6],{"id":691,"slug":7151,"title":6608,"dynasty":1003,"author":5127,"museum":866,"description":6609,"tags":7152,"thumbUrl":7153,"material":995,"size":1041,"collection":933,"collections":7154,"showCount":7119,"zanCount":903,"manualWeight":903,"mainColor":970},"qing-xue-zhang-song-tu-zhou-zhang-rui-tu-237452",[870,871,913,942,916,1066,917,2517,914,883,2130,4256],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0c986419dee5327b255f01afe2fab23.jpg",[933,6],{"id":692,"slug":7156,"title":7157,"dynasty":1075,"author":2041,"museum":866,"description":7158,"tags":7159,"thumbUrl":7160,"material":7161,"size":7162,"collection":933,"collections":7163,"showCount":7119,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[870,871,913,942,914,916,876,883,917],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11420027d975e42468ac799413d85192.jpg","纸本淡设色","纵135cm，横112.5cm",[933,6,1204],{"id":693,"slug":7165,"title":7122,"dynasty":1003,"author":7123,"museum":1035,"description":7124,"tags":7166,"thumbUrl":7167,"material":1041,"size":1041,"collection":933,"collections":7168,"showCount":7119,"zanCount":903,"manualWeight":903,"mainColor":970},"ju-jie-shan-shui-zhou-ju-jie-236923",[870,871,913,942,914,916,1008,918,917,920,979],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fe76918b84b330009e95a81e2db08f7.jpg",[933,6],{"id":694,"slug":7170,"title":7171,"dynasty":1003,"author":7172,"museum":1035,"description":7173,"tags":7174,"thumbUrl":7175,"material":2219,"size":2220,"collection":1029,"collections":7176,"showCount":1031,"zanCount":1218,"manualWeight":903,"mainColor":970},"shu-hua-tu-ce-cheng-min-239254","书画图册","程敏","此作以湖石为骨，双竹环衬成景。湖石以淡墨勾廓皴擦，寥寥数笔便尽显瘦透空灵之态，藏着文人赏石的雅趣。两侧墨竹笔法分野鲜明，一侧重墨点染叶片，笔力苍劲厚重，尽显疾风劲节；另一侧以淡墨轻描，竹叶疏朗清隽，自带幽柔之姿。\n虚实相映间，留白铺就幽寂氛围，将君子以竹石明志的寄寓藏于尺幅之中，简淡笔墨写尽文人写意的疏朗风神，于小幅册页晕开悠长意趣。",[870,942,1009,1117,964,1211,871],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40387eeee6771c441a9a036b6d6d64bf.jpg",[1029,6],{"id":695,"slug":7178,"title":7179,"dynasty":1075,"author":4745,"museum":866,"description":7180,"tags":7181,"thumbUrl":7182,"material":2082,"size":7183,"collection":933,"collections":7184,"showCount":1031,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[870,942,875,916,876,1066,917,3321,914],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc43829eb0e770be99167513bd0f2bbea.jpg","纵120.2厘米，横68.3厘米",[933,6],{"id":696,"slug":7186,"title":1376,"dynasty":1003,"author":5196,"museum":1035,"description":7187,"tags":7188,"thumbUrl":7189,"material":995,"size":1041,"collection":933,"collections":7190,"showCount":1031,"zanCount":903,"manualWeight":903,"mainColor":970},"shan-shui-zhou-wang-wen-237576","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。",[870,871,913,942,914,916,878,879,883,917,918,1799,876],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cefbf455b6e8d825dad7eb7a7b291de.jpg",[933,6],{"id":697,"slug":7192,"title":7193,"dynasty":1075,"author":7194,"museum":866,"description":7195,"tags":7196,"thumbUrl":7197,"material":2082,"size":7198,"collection":1202,"collections":7199,"showCount":1031,"zanCount":903,"manualWeight":903,"mainColor":970},"zhi-hua-sui-chao-tu-li-shi-zhuo-236751","指画岁朝图","李世倬","此画名为岁朝图。中国传统的农历春节为一年之始，故名“岁朝”。本幅通过童子将怀抱的花瓶进献给手持如意的老者的情景着新岁吉祥如意的开始。\n整幅作品全用手指沾墨绘就，别有一种苍茫古雅的趣味。",[870,871,913,6560,942,875,876,1080,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d88d01db1c3c131c37fbf3ed2b5343e.jpg","纵104.5厘米，横46.3厘米",[1202,6,1204],{"id":698,"slug":7201,"title":7202,"dynasty":1075,"author":7203,"museum":2353,"description":7204,"tags":7205,"thumbUrl":7209,"material":1105,"size":7210,"collection":933,"collections":7211,"showCount":1031,"zanCount":903,"manualWeight":903,"mainColor":970},"wang-zhi-rui-shan-shui-zhou-wang-zhi-rui-236655","汪之瑞山水轴","汪之瑞","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》。",[870,916,942,914,913,878,917,1053,883,7206,921,920,946,7207,964,7208,1022],"山崖","书法题跋","枯笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a96e75f994f79e3ac05eab026f1d56b.jpg","纵：136厘米，横：56.7厘米",[933,6],{"id":699,"slug":7213,"title":7214,"dynasty":1003,"author":7215,"museum":866,"description":7216,"tags":7217,"thumbUrl":7218,"material":995,"size":1041,"collection":1029,"collections":7219,"showCount":1031,"zanCount":903,"manualWeight":903,"mainColor":970},"jiang-shang-qi-shu-juan-yao-shou-236274","江上七树卷","姚绶","姚绶（1422—1495），明早中期画家。字公绶，号丹丘生，又号谷庵子、谷庵、仙痴、云东逸史，浙江嘉兴府嘉善县大云寺人。少有才名，专攻古文辞，诗赋茂畅。天顺中赐进士，官监察御史，奉命巡盐两淮，铲除积弊。因得罪权贵，谪永宁知府。以母老辞归，居大云，筑室名丹丘。又作沧江虹月舟，泛游吴越间。姚绶工行草书，初学宋克，后法魏晋钟繇、王羲之，劲婉咸妙。出入钟、王而别具拙朴风神，风格近张雨。擅画山水，宗吴镇，也取法赵孟、王蒙，好作沙坳水曲景色，墨色苍润；间写竹石，潇洒可爱，笔墨酷似吴镇。传世名作有《秋江渔隐图》轴（北京故宫博物院藏）、《山水图》册页（上海博物馆藏）、《竹石图》轴（辽宁省博物馆藏）。著有《谷庵集》、《云东集》、《天人合旨》、《姚御史诗文》。小景好作沙坳小曲，孤钓独吟，其阔幅重林远瀍，著四五渔船而已。图成或售于人，遂厚价返收之，其自重如此。与杜琼、刘珏、谢缙等明代早期文人画家，都承继了元四家衣钵，为明代中期吴门派的勃兴，起到了承前启后的作用，是吴门派的前期画家。\n姚绶得吴仲圭、盛子昭二家法，苍厚敦穆，简拙之中别具秀润，自是文人逸格。复参赵孟、王蒙笔意，皴染圆厚，书卷气极浓。姚绶曾画竹自云：“画竹如写字，枝叶皆从八法来，苦苦欲求形似者，清风安得扫尘埃”姚绶竹石题材的作品多以吴镇为宗。画竹一般以书入画，在竹子的处理上“叶叶着枝，枝枝着节”行笔轻灵劲健，竹叶已完全融入了他的书法用笔，姚绶早年书法宗宋克，中年后以张雨为宗，又致力于赵孟俯，黄庭坚，最终合张、黄、赵三家为一体，所以竹叶有其书法体态上的奇宕多姿，清逸而又雄迈的韵味。姚绶此类相近的竹石题材作品如：台北故宫藏《竹石图》，与北京故宫藏《竹石图》可窥其精华一二。",[977,870,871,872,942,914,883,1053,4916,2130,962,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F171927c81b7c87363f9a4fca9993c187.jpg",[1029,6,1204],{"id":700,"slug":7221,"title":7222,"dynasty":1075,"author":7223,"museum":909,"description":7224,"tags":7225,"thumbUrl":7226,"material":1105,"size":1041,"collection":6,"collections":7227,"showCount":1031,"zanCount":903,"manualWeight":903,"mainColor":970},"song-zhu-ming-qin-zhou-zhang-ruo-ai-236113","松竹鸣禽轴","张若霭","张若霭[清]（1713—1746）字晴岚（读画辑略作字景采，号晴岚），室名藕香书屋，安徽桐城人。张若霭有家学，祖父张英、父亲张廷玉均为雍正、乾隆朝大学士。雍正十一年（1733）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房，官至礼部尚书，袭伯爵。\n以书、画供奉内廷，一日太后出方寸之玉佩，命书心经一篇。竟日而就，因赐上方珍玩无算。善画山水、花鸟，得王糓祥、周之冕遗意。乾隆十一年（1746）随帝西巡，因病回京，不久卒，谥文僖。有《岁寒三友图》、《仿王元章疏影寒香图》传世。卒年三十四（按清代画史、清画家诗史均作三十二岁，中国画家人名大辞典作三十六岁）。著《晴岚诗存》。",[870,913,942,874,1119,1117,978,1009,964,1081],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3d9922684aec53b3958be0fa2735536.jpg",[6,1188],{"id":701,"slug":7229,"title":7230,"dynasty":1075,"author":4099,"museum":1035,"description":4100,"tags":7231,"thumbUrl":7232,"material":1041,"size":1041,"collection":933,"collections":7233,"showCount":1031,"zanCount":903,"manualWeight":903,"mainColor":970},"lin-xia-xie-qiong-zhou-zhang-zong-cang-236109","林下携笻轴",[870,875,914,913,916,883,945,918,894,1172,876],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10702bba88bf4e3f313034683d3f21bd.jpg",[933,6],{"id":702,"slug":7235,"title":7236,"dynasty":1003,"author":2041,"museum":1461,"description":7237,"tags":7238,"thumbUrl":7239,"material":930,"size":7240,"collection":933,"collections":7241,"showCount":1031,"zanCount":903,"manualWeight":903,"mainColor":904},"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。",[869,870,871,872,942,916,876,881,914,1051],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0120c1f854c45c250d407c1fb8a69f0e.jpg","30x498",[933,6],{"id":703,"slug":7243,"title":7244,"dynasty":957,"author":5036,"museum":909,"description":7245,"tags":7246,"thumbUrl":7250,"material":995,"size":7251,"collection":933,"collections":7252,"showCount":1031,"zanCount":1218,"manualWeight":903,"mainColor":970},"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？",[869,870,871,942,914,916,944,883,7247,921,1914,7248,7249,1022],"石径","树林","墨色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92196c9b18f889805fafd87dc1ac75a2.jpg","91.3x63.5厘米",[933,6],{"id":704,"slug":7254,"title":4035,"dynasty":1003,"author":7255,"museum":909,"description":7256,"tags":7257,"thumbUrl":7258,"material":1068,"size":7259,"collection":6,"collections":7260,"showCount":1031,"zanCount":903,"manualWeight":903,"mainColor":970},"mu-niu-tu-lv-kong-dao-ren-219384","屡空道人","墨书与绘事共构一卷田园清趣。卧牛以简淡墨痕晕染慵懒之态，双角弯翘憨态可掬；牧童侧坐其旁，眉眼间流露天真，一旁草帽斜倚，似是歇晌时的随性。笔墨洗练传神，寥寥数笔便勾勒出郊野间的悠然片刻。书法笔势流畅，与画面相映成趣，尽显文人画的雅致意韵。整卷如一缕清风，携着田园闲适与童趣，将平凡日常点染成诗意栖居，引人沉醉于这份静谧安然的时光里。",[977,870,871,913,942,963,964,876,882],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb78f17b37170f269d261e6ddbb3a2a0b.jpg","73.6x37.4",[6],{"id":705,"slug":7262,"title":7263,"dynasty":1003,"author":7264,"museum":1035,"description":7265,"tags":7266,"thumbUrl":7267,"material":995,"size":1041,"collection":933,"collections":7268,"showCount":985,"zanCount":903,"manualWeight":903,"mainColor":970},"yue-dai-shan-shui-tu-zhou-yue-dai-237649","岳岱山水图轴","岳岱","［明］字东伯，自称秦余山人，又号漳余子，先世以军功隶苏州衞，至其父，始好读书，辟草堂于阳山。性狷介，好游，历尽宇内名山。能诗，善画。嘉靖二十四年（一五四五）作寒林峻岭图。《苏州府志、列朝诗集小传、明画录》",[870,942,916,913,914,962,964,917,879,883,1102,1146],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F793aa582a24781c0232ca1da41efa8e7.jpg",[933,6,1204],{"id":706,"slug":7270,"title":1376,"dynasty":1075,"author":7271,"museum":866,"description":7272,"tags":7273,"thumbUrl":7274,"material":1041,"size":1041,"collection":933,"collections":7275,"showCount":985,"zanCount":903,"manualWeight":903,"mainColor":904},"shan-shui-zhou-mei-geng-236413","梅庚","清初著名画家、诗人梅庚（1640—1716），原名以庚，一字藕长、子长，号雪坪、雪坪子，又号听山翁。梅庚的曾祖父是大戏剧家、诗人、藏书家梅鼎祚。他的父亲梅朗中是复社名士，善于书画诗文，在当时被称为“三绝”，可惜36岁就英年早逝。\n梅庚（1640—1716），字子长，号雪坪，又号听山翁 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》。",[870,871,913,942,914,916,2150,918,883,894,979,945],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8715f76cda3e05968cada9cadfa0b11.jpg",[933,6],{"id":707,"slug":7277,"title":7278,"dynasty":1075,"author":1872,"museum":909,"description":7279,"tags":7280,"thumbUrl":7281,"material":1068,"size":7282,"collection":6,"collections":7283,"showCount":1014,"zanCount":903,"manualWeight":903,"mainColor":970},"yu-xue-gu-bai-zhou-yun-shou-ping-290533","禹穴古柏轴","恽南田（1633年—1690年），即恽寿平，原名格，字寿平，后以字行，改字正叔，号南田，别号云溪外史，晚居城东，号东园草衣，后迁居白云渡，号白云外史，明末清初著名书画家，常州画派的开山祖师，后来成为清六家之一。",[977,870,913,942,1053,1009,1117,962,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ceb3734c677f94eb46a0668d7eed830.jpg","109.7x51.8",[6],{"id":708,"slug":7285,"title":1208,"dynasty":1003,"author":7286,"museum":1035,"description":7287,"tags":7288,"thumbUrl":7289,"material":1041,"size":866,"collection":933,"collections":7290,"showCount":1014,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[870,871,1211,942,914,916,1066,917,878,879,883],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe8abcdf9bd8980b8e21497c06feca20.jpg",[933,6],{"id":709,"slug":7292,"title":1376,"dynasty":1075,"author":3527,"museum":1035,"description":5961,"tags":7293,"thumbUrl":7294,"material":1041,"size":1041,"collection":6,"collections":7295,"showCount":1014,"zanCount":903,"manualWeight":903,"mainColor":970},"shan-shui-zhou-wang-hui-236421",[870,871,913,942,914,962,916,883,917,1800,894],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41bf315cbaa420c5f5e1b33c83013106.jpg",[6,1204],{"id":710,"slug":7297,"title":7298,"dynasty":1003,"author":7299,"museum":866,"description":7300,"tags":7301,"thumbUrl":7303,"material":1121,"size":7304,"collection":6,"collections":7305,"showCount":1014,"zanCount":903,"manualWeight":903,"mainColor":970},"shu-yi-lan-shi-zhou-shu-yi-236415","叔伊兰石轴","叔伊","周天球题跋：“待雪香非浅，临风意自多。周天球题。”作者钤印：“句吴人”朱文圆印、“参军大夫”朱文方印。 鉴藏印：“周氏公瑕”白文方印、“竹垞审定”白文方印、“□望楼”朱文方印、“虞琴秘笈”朱文方印、“孔彰珍玩”白文方印。款识：自题：“叔伊笔。”",[870,871,913,942,1022,7302,2477,2006],"兰草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa171098b9edcd832689ba6c621bb8ba5.jpg","纵91cm，横42.3cm",[6],{"id":711,"slug":7307,"title":1376,"dynasty":1075,"author":7308,"museum":866,"description":7309,"tags":7310,"thumbUrl":7312,"material":1121,"size":7313,"collection":933,"collections":7314,"showCount":1014,"zanCount":903,"manualWeight":903,"mainColor":970},"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》。",[977,870,871,913,942,914,916,917,879,1146,883,945,7311],"河道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b0b59a3b52a3e78c6027049e7430e8c.jpg","纵102.7cm，横47.5cm",[933,6,1204],{"id":712,"slug":7316,"title":7317,"dynasty":1075,"author":6724,"museum":1035,"description":6725,"tags":7318,"thumbUrl":7319,"material":1041,"size":6871,"collection":933,"collections":7320,"showCount":1014,"zanCount":903,"manualWeight":903,"mainColor":970},"qiu-yan-jin-zhang-tu-zhou-lu-zun-shu-236128","秋岩锦嶂图轴",[977,870,871,913,875,914,916,917,883,5638,879,878,894,961,3321,1172],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29a9573c7805174b3ec58547f426b5d.jpg",[933,6],{"id":713,"slug":7322,"title":7323,"dynasty":1075,"author":6421,"museum":1035,"description":7324,"tags":7325,"thumbUrl":7326,"material":1041,"size":1041,"collection":933,"collections":7327,"showCount":1014,"zanCount":903,"manualWeight":903,"mainColor":970},"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”。",[869,870,871,913,942,875,914,916,1007,1008,1066,945,921,876,979],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c51f44fe7b66a6cb2fe829666045ef9.jpg",[933,6],{"id":714,"slug":7329,"title":7330,"dynasty":1003,"author":1485,"museum":909,"description":7331,"tags":7332,"thumbUrl":7333,"material":7334,"size":7335,"collection":933,"collections":7336,"showCount":1014,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[869,870,879,916,1007,1025,1008,1488,942,1022,872,995],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b650b4925f0f0747575859ea9d269c6.jpg","纸本长卷","纵15.8厘米，横129.7厘米",[933,6],{"id":715,"slug":7338,"title":1208,"dynasty":1075,"author":5367,"museum":1035,"description":7339,"tags":7340,"thumbUrl":7341,"material":2219,"size":2220,"collection":933,"collections":7342,"showCount":953,"zanCount":903,"manualWeight":903,"mainColor":970},"shan-shui-ce-dong-bang-da-238680","董邦达（1696－1769），清代官员、书画家。字孚存、争存，号东山、非闻，浙江富阳人。雍正十一年进士，乾隆二年授编修，官终礼部尚书，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、虞山派之间。与董源、董其昌并称“三董”。",[870,942,914,1211,916,917,883,1172,1508,879],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56b0a92e7f6b3453a847cb77a7dd14af.jpg",[933,6],{"id":716,"slug":7344,"title":7345,"dynasty":1075,"author":7346,"museum":1035,"description":7347,"tags":7348,"thumbUrl":7349,"material":1041,"size":1041,"collection":933,"collections":7350,"showCount":953,"zanCount":1218,"manualWeight":903,"mainColor":970},"song-lin-shu-wu-tu-ye-hu-yu-kun-237959","松林书屋图页","胡玉昆","山水有家法，用笔虚无缥缈，咫尺千里。兼长花卉、兰竹。为胡氏一门之杰，称逸品。康熙八年（一六六九）与会周亮工宴于南京，九年（一六七o）作碧梧依山图，十二年（一六七三）作金陵古迹册。有栗园集。《明画录、读画录、桐阴论画、墨香居画识、香祖笔记、赖古堂集、青溪遗稿、赖古堂书画跋、画传编韵、清画家诗史》",[870,871,1211,942,914,916,1811,3511,979,883,917,879,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe76a5642eaaf7d30e38cdbe0fb2a7f07.jpg",[933,6],{"id":717,"slug":7352,"title":6814,"dynasty":1075,"author":1883,"museum":1035,"description":7009,"tags":7353,"thumbUrl":7354,"material":1041,"size":1041,"collection":933,"collections":7355,"showCount":953,"zanCount":903,"manualWeight":903,"mainColor":970},"yun-shan-tu-zhou-wang-jian-237872",[870,871,913,942,914,916,1328,1007,1008,878,879,979,1508,917],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d4f86feecf65a9d018a086dddca5822.jpg",[933,6],{"id":718,"slug":7357,"title":7358,"dynasty":1003,"author":6084,"museum":1035,"description":7359,"tags":7360,"thumbUrl":7361,"material":2219,"size":2220,"collection":6,"collections":7362,"showCount":953,"zanCount":903,"manualWeight":903,"mainColor":970},"mo-mei-ce-shen-hao-237017","墨梅册","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》。",[870,871,1211,942,963,964,1080,1117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a0ca65ea98fd5f3298cad75afd81b2a.jpg",[6,1029],{"id":719,"slug":7364,"title":7365,"dynasty":1075,"author":3527,"museum":1035,"description":5961,"tags":7366,"thumbUrl":7367,"material":1041,"size":1041,"collection":933,"collections":7368,"showCount":953,"zanCount":903,"manualWeight":903,"mainColor":970},"ni-qian-ren-shi-yi-ce-wang-hui-236445","拟前人诗意册",[870,871,1211,942,914,916,883,921,917,879],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62006bed9cd38e5feced8176c057269c.jpg",[933,6],{"id":720,"slug":7370,"title":7371,"dynasty":1075,"author":7372,"museum":1035,"description":7373,"tags":7374,"thumbUrl":7376,"material":1041,"size":1041,"collection":933,"collections":7377,"showCount":953,"zanCount":903,"manualWeight":903,"mainColor":904},"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》。",[870,871,913,875,876,881,7375,978,1051,916,964,962,963],"骆驼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdef365da266c40d5b375e28de2dc4011.jpg",[933,6,1204],{"id":721,"slug":7379,"title":7380,"dynasty":1075,"author":6557,"museum":866,"description":7381,"tags":7382,"thumbUrl":7384,"material":1041,"size":1041,"collection":1029,"collections":7385,"showCount":953,"zanCount":903,"ma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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”。 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。",[870,871,913,942,914,1053,978,1081],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa98462ef39975b740790320e8961aa39.jpg",[6],{"id":737,"slug":7496,"title":1713,"dynasty":1003,"author":6949,"museum":1035,"description":7497,"tags":7498,"thumbUrl":7499,"material":1041,"size":1041,"collection":933,"collections":7500,"showCount":7501,"zanCount":903,"manualWeight":903,"mainColor":970},"shan-shui-tu-ce-zhang-hong-239314","此作用水墨晕染绘就烟林清景，以浓墨点簇成苍郁茂林，淡墨晕铺化作烟岚云水，虚实相映间，江南水畔空濛之境尽显眼前。林麓间茅舍隐现，愈发衬出丘山幽寂清宁。构图疏朗留白，以极简笔墨勾勒山野意趣，让观者沉浸于静穆淡远的林泉雅韵之中。墨色层次丰富多变，简淡中饱含苍润质感，寥寥数笔便将山水间空濛幽静的氛围感尽数铺展，尽显文人寄情山水的隐逸情怀，把写意山水以简驭繁的精妙发挥到极致。",[870,871,1211,942,916,883,921,914],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff569ed788259f34a3e9cd2987a162d4d.jpg",[933,6],13,{"id":738,"slug":7503,"title":7504,"dynasty":1075,"author":5367,"museum":909,"description":7505,"tags":7506,"thumbUrl":7507,"material":7508,"size":7509,"collection":933,"collections":7510,"showCount":7501,"zanCount":903,"manualWeight":903,"mainColor":970},"liu-lang-wen-ying-yu-ti-zhou-dong-bang-da-223113","柳浪闻莺御题轴","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。",[869,870,913,942,914,916,1197,2461,961,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04366245e18f5be234cafe05afce9032.jpg","轴 纸本 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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。",[870,871,1211,942,875,914,916,883,889,1102,1507,1396,945],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4d98e5c615a051dce4e256c2ba540a7.jpg","纵29cm，横42.3cm",[933,6,1204],{"id":744,"slug":7559,"title":1208,"dynasty":1003,"author":7286,"museum":1035,"description":7560,"tags":7561,"thumbUrl":7562,"material":1041,"size":866,"collection":933,"collections":7563,"showCount":1279,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[2969,870,871,942,914,1211,916,1007,1008,1118,1969],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee02916708781e551032b579ae9e6eae.jpg",[933,6],{"id":745,"slug":7565,"title":7566,"dynasty":1003,"author":2041,"museum":1035,"description":7567,"tags":7568,"thumbUrl":7569,"material":1041,"size":1041,"collection":933,"collections":7570,"showCount":1279,"zanCount":903,"manualWeight":903,"mainColor":970},"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。",[977,870,871,1211,942,914,916,1008,894,917,2517,879],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe695c61998a56f0f49ab8e14dab8f8f.jpg",[933,6],{"id":746,"slug":7572,"title":7573,"dynasty":1003,"author":7574,"museum":909,"description":7575,"tags":7576,"thumbUrl":7580,"material":1068,"size":7581,"collection":6,"collections":7582,"showCount":7583,"zanCount":903,"manualWeight":903,"mainColor":970},"xue-shan-xing-lv-tu-zhou-qian-gu-290945","雪山行旅图轴","钱毂","钱毂，吴（今苏州）人。字叔宝，号磬室。明代画家。少孤贫，失学，成年开始读书。从文征明学诗文、书画，学习刻苦，传说曾抄古籍几万卷. 画名重于时，为吴门画派中高手。善绘山水、兰竹，意趣古淡，疏朗清新，风格近其师。工书法，笔力见功夫，挥洒自如，有屋漏之痕、折钗之势。传世作品有《虎丘前山图》轴、《求志图》，均藏北京故宫博物院；《苍山茅舍图》轴，藏上海博物馆。",[870,913,1622,942,914,2517,2860,878,879,1146,7577,7578,881,5735,2516,7579],"苍松","行旅人物","冬日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda3c0d9a198fbba7297e3d5b3a912b68.jpg","288.2x56.1",[6],11,{"id":747,"slug":7585,"title":7586,"dynasty":1075,"author":6431,"museum":1035,"description":7587,"tags":7588,"thumbUrl":7589,"material":1041,"size":1041,"collection":933,"collections":7590,"showCount":7583,"zanCount":903,"manualWeight":903,"mainColor":904},"shan-shui-xiao-ce-qian-wei-cheng-238535","山水小册","以干淡笔墨皴擦山峦丘壑，浓淡墨色晕出层叠景深。林麓间村居错落依水而建，杂木苍秀萧疏，尽显山野幽居的闲逸散淡。淡紫轻晕云气，沿册页边角漫开，为咫尺画幅晕出空濛缥缈的意趣，将秋日山居的清寂安闲凝于尺幅间。\n\n笔墨清隽简雅，不着浓丽敷色，全以墨色层次区分山川肌理，简淡中暗含章法。萧散的文人意趣藏于每一处皴擦点染之间，观之如临林泉，静享田园闲静之致。",[870,871,1211,942,914,916,1007,1025,1008,1328,894,917,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd10b34553d9b8d1d07a3932b261aec8c.jpg",[933,6],{"id":748,"slug":7592,"title":7593,"dynasty":1003,"author":5618,"museum":1128,"description":7594,"tags":7595,"thumbUrl":7599,"material":995,"size":7600,"collection":933,"collections":7601,"showCount":7583,"zanCount":903,"manualWeight":903,"mainColor":904},"yi-shou-zun-zhe-xiang-ding-yun-peng-222382","益寿尊者像","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。”",[869,870,871,977,913,1224,874,942,876,1453,1066,1623,2477,3107,2729,7596,7597,7598],"尊者","念珠","长袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae92872a9b1d7917f96a1cd18188de0.jpg","52.8x117.8",[933,6],{"id":749,"slug":7603,"title":7604,"dynasty":1003,"author":1641,"museum":909,"description":7605,"tags":7606,"thumbUrl":7607,"material":995,"size":7608,"collection":933,"collections":7609,"showCount":7583,"zanCount":903,"manualWeight":903,"mainColor":970},"wu-yan-lv-shi-cheng-shan-dong-qi-chang-220943","五言律诗成扇","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。",[2598,870,871,942,914,962,964,916,883,917],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccc028be8c316980beb3080dd770e1f5.jpg","33.2x47.1",[933,6],{"id":750,"slug":7611,"title":7467,"dynasty":7099,"author":7100,"museum":990,"description":7612,"tags":7613,"thumbUrl":7614,"material":1041,"size":1041,"collection":6,"collections":7615,"showCount":7583,"zanCount":903,"manualWeight":903,"mainColor":7472},"ma-tu-zhou-xu-bei-hong-202940","这幅画里，骏马昂首伫立，鬃毛与长尾如飞瀑般扬起，尽显昂扬矫健之姿。画家以洒脱的水墨笔触勾勒马身轮廓，浓淡干湿的墨色层次细腻晕染肌肉起伏，线条刚劲中藏灵动，将马的雄健体魄与不羁精神刻画得入木三分。背景简淡空灵，更衬出主体的鲜活生命力，是写意动物画中的典范，传递出蓬勃向上的气韵。",[870,942,881,1022,913,871,869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b6a4641182099d7e3005aea08606474.jpg",[6],{"id":751,"slug":7617,"title":7618,"dynasty":7099,"author":7100,"museum":990,"description":7619,"tags":7620,"thumbUrl":7621,"material":1041,"size":1041,"collection":6,"collections":7622,"showCount":7583,"zanCount":903,"manualWeight":903,"mainColor":7623},"gu-bai-tu-zhou-xu-bei-hong-202925","古柏图轴","这幅古柏图以奔放洒脱的笔墨绘就苍劲古柏。主干粗壮扭曲，墨色浓淡干湿交织，纹理斑驳如岁月刻痕；枝桠虬曲伸展，墨叶浓聚淡散，层次丰富。地面野草以简练线条勾勒，与古柏的厚重形成虚实对比，更显其挺拔坚韧。整作兼具写实的精准与写意的豪情，笔墨老辣，气韵生动，将古柏不屈的生命力与精神风骨展现得淋漓尽致。",[870,942,1053,913,871,869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb08339ddd98153ad4d5b5ab8fe1dcc8.jpg",[6],"c1b9a7",{"id":752,"slug":7625,"title":1208,"dynasty":1003,"author":7626,"museum":1035,"description":7627,"tags":7628,"thumbUrl":7629,"material":995,"size":1041,"collection":933,"collections":7630,"showCount":1085,"zanCount":903,"manualWeight":903,"mainColor":970},"shan-shui-ce-li-hang-zhi-237035","李杭之","李杭之[明]（？―一六四四）字僧筏，流芳（一五七五―一六二九）子。\n年未四十，弃诸生放浪山水。好古彝器，然遇人困难辄赠之。诗文书画，酷似其父。有月泛图，张鸿磐题云：“小李风流继阿翁，萧疏笔墨见心胸。”崇祯十二年（一六三九）尝作山水扇，现藏故宫博物馆。《列朝诗集小传》、《小松圆阁书画跋》、《南翔志》",[870,942,1211,914,916,979,961,878,1008,917,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3097f408a41631fd3bca46b1d4443c15.jpg",[933,6],{"id":753,"slug":7632,"title":6389,"dynasty":1075,"author":6390,"museum":1035,"description":7633,"tags":7634,"thumbUrl":7635,"material":1041,"size":1041,"collection":1029,"collections":7636,"showCount":1085,"zanCount":903,"manualWeight":903,"mainColor":970},"hua-niao-guo-ce-li-qi-236715","此作用水墨写就枝间野趣，禽鸟栖于细枝之上，喙衔小虫，姿态灵动自若。以浓淡墨色晕染禽鸟羽毛，层次宛然，将绒羽蓬松质感尽数展现，鲜活如生。右侧枯枝苍劲，松针皴擦老辣枯涩，与禽鸟的细腻刻画形成鲜明反差，虚实相映。左侧题字笔力苍拙，书画相融，更添文人雅韵。整幅简淡疏朗，于写意间暗含写生之真趣，寥寥笔墨便将林间小景的野逸之态尽显，清雅生动，意韵悠长。",[870,871,1211,942,1081,2118,2119,2716,2130],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84c311ed68016fef5ab151c351fbaca3.jpg",[1029,6],{"id":754,"slug":7638,"title":1208,"dynasty":1003,"author":7286,"museum":1035,"description":7639,"tags":7640,"thumbUrl":7641,"material":1041,"size":866,"collection":933,"collections":7642,"showCount":1085,"zanCount":903,"manualWeight":903,"mainColor":970},"shan-shui-ce-ye-xiang-rong-236604","这幅山水以苍劲皴笔写就崖壁雄姿，浓墨点苔晕染出山石间的苍郁草木，古松虬曲舒展，扎根崖畔。山坳间村居隐于林麓，寥寥数笔便勾勒出幽寂山居之态。\n\n画面虚实相映，高远取景将山野层叠之趣铺展，笔法兼具朴拙与秀润，把林泉隐逸的静穆意趣藏于笔墨之间，尽显雅致出尘的文人山水意境，仿佛将观者带入了幽寂清宁的丘林佳处。",[870,942,914,1211,916,944,1066,894,883,917],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde6a8ea47578c4a2045a891560275a1f.jpg",[933,6],{"id":755,"slug":7644,"title":1208,"dynasty":1003,"author":7286,"museum":1035,"description":7645,"tags":7646,"thumbUrl":7647,"material":1041,"size":866,"collection":933,"collections":7648,"showCount":1085,"zanCount":903,"manualWeight":903,"mainColor":970},"shan-shui-ce-ye-xiang-rong-236601","此作以淡逸之笔绘秋江幽境。近岸枯木疏朗，虬枝苍劲间点缀青绿矮松，冷暖相映愈显清寂萧寒。滩渚矶石错落，浅墨晕染出水波微动。扁舟一叶，渔翁独坐垂纶，将幽居野逸的意趣藏于尺幅间。远景山峦以披麻皴轻扫，淡墨晕染空濛烟岚，与近景萧疏呼应，烘托出清远空寂的秋日氛围。笔墨简淡秀雅，以简驭繁，将文人寄情林泉、逍遥尘外的隐逸心境铺陈开来，于方寸间见丘壑，尽显山水小品以景抒情的雅致格调，余韵悠长。",[870,942,1926,916,961,883,879,876,917,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[1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[870,871,913,942,875,916,883,917,878,879,876,964,914,894],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ec58e07d94572dafafeadfb20222cb.jpg",[933,6],{"id":773,"slug":7780,"title":7781,"dynasty":7099,"author":7100,"museum":990,"description":7782,"tags":7783,"thumbUrl":7784,"material":1041,"size":1041,"collection":6,"collections":7785,"showCount":1059,"zanCount":903,"manualWeight":903,"mainColor":7786},"xiong-shi-tu-zhou-xu-bei-hong-203079","雄狮图轴","雄狮昂首踞于岩巅，鬃毛泼墨挥洒如飞瀑，怒张间裹挟风雷之势。四肢筋骨毕现，爪踏坚石，眼神锐利如电，似欲纵身一跃。山石以粗犷墨块皴擦，笔力雄健，与狮子的灵动气韵相映成趣。水墨淋漓间，融传统写意之韵与西画结构之精，将猛兽的威严与生命力量凝于一纸，尽显作者笔底豪情与对精神风骨的寄寓。",[870,942,1520,913,4896,869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F298d65e998343703b1e155459f8809b6.jpg",[6],"9d8f74",{"id":774,"slug":7788,"title":7789,"dynasty":1075,"author":7790,"museum":990,"description":7791,"tags":7792,"thumbUrl":7793,"material":1041,"size":1041,"collection":6,"collections":7794,"showCount":1059,"zanCount":903,"manualWeight":903,"mainColor":7795},"song-zhu-lan-shi-tu-zhou-qian-zai-202172","松竹兰石图轴","钱载","这幅水墨画作以松竹兰石为景，苍松老干虬劲，松针如戟般簇生；修竹墨叶纷披，姿态秀逸灵动；幽兰柔茎吐叶，隐于石侧舒展；顽石皴擦简练，与草木共生相映。笔墨简括却意韵悠长，墨色浓淡交错，线条洒脱自然，尽显文人画清雅高洁之致，传递出自然与心性交融的逸趣风骨。",[870,942,1119,1117,1257,1009,1022,869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2af5e40b2d10834556c472dc44ddbbff.jpg",[6],"b9ac9d",{"id":775,"slug":7797,"title":7798,"dynasty":1075,"author":7799,"museum":990,"description":7800,"tags":7801,"thumbUrl":7802,"material":1041,"size":1041,"collection":6,"collections":7803,"showCount":1059,"zanCount":903,"manualWeight":903,"mainColor":7804},"lian-gui-tu-zhou-ceng-yan-dong-202029","联贵图轴","曾衍东","这幅画作以水墨写意之法成篇，大鱼墨色浓淡相宜，体态丰腴，笔触豪放洒脱，泼墨与点染交织出鱼鳞的自然质感；下方小鱼灵动小巧，与大鱼相映成趣。构图简洁疏朗，留白处意蕴悠长，笔墨简练却精准捕捉鱼的鲜活姿态，质朴野趣中见真意，尽显画家对生活意趣的细腻感知与写意才情。",[870,942,1022,2161,913,3392,869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14d952c2fcfbe50ec9f47f363d2b4536.jpg",[6],"c3ae95",{"id":776,"slug":7806,"title":7807,"dynasty":1003,"author":1347,"museum":990,"description":7808,"tags":7809,"thumbUrl":7811,"material":1041,"size":1041,"collection":6,"collections":7812,"showCount":1059,"zanCount":903,"manualWeight":903,"mainColor":7813},"ni-yuan-tu-juan-xu-wei-201747","拟鸢图卷","笔墨狂放如天马行空，水墨交融间尽显性情。修竹夭矫，竹叶横斜如戟，墨色浓淡相破，苍劲中藏灵动。林间人物悠然自得，或卧或倚，与竹影相映成趣。书画共生，狂草题跋与画面交织，线条跌宕，如泣如诉，倾泻文人疏狂与超脱。每一笔皆含生命张力，竹影婆娑与笔墨挥洒共鸣，大写意之妙毕现。",[942,1351,1117,962,963,1774,1832,4896,7810,869],"修竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fa259a7a351678c0eb42fa8e1d85251.jpg",[6],"000000",{"id":777,"slug":7815,"title":7816,"dynasty":1003,"author":7817,"museum":990,"description":7818,"tags":7819,"thumbUrl":7820,"material":1041,"size":1041,"collection":6,"collections":7821,"showCount":1059,"zanCount":903,"manualWeight":903,"mainColor":7822},"lan-zhu-tu-juan-yang-wen-cong-201684","兰竹图卷","杨文骢","画面以水墨写意绘兰、竹、孤石，兰叶翩跹如带，墨线流畅中藏韵致；竹枝劲挺，竹叶错落，笔力刚健却含灵动之姿；山石泼墨晕染，辅以皴擦点染，苍朴厚重。三者疏密相生，相映成趣，于疏朗布局里透出文人清逸风骨与自然生机。笔墨洒脱随性，兼具写意之趣与笔墨之精，尽显作者对兰竹精神的体悟与艺术才情。",[870,872,942,1257,1117,1009,871,869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f55956cff9695a0c808f9a69a70da2c.jpg",[6],"b0a793",{"id":778,"slug":7824,"title":7825,"dynasty":1075,"author":7826,"museum":990,"description":7827,"tags":7828,"thumbUrl":7831,"material":1041,"size":1041,"collection":6,"collections":7832,"showCount":1059,"zanCount":903,"manualWeight":903,"mainColor":7833},"zhi-hua-qiu-tang-tu-zhou-yang-tai-ji-201585","指画秋塘图轴","杨泰基","这幅秋塘图以指为笔，墨色淋漓间铺展秋塘野趣。枯荣交织的荷叶，或浓墨泼洒，或淡墨晕染，尽显自然之态；塘中螃蟹横行，小鱼悠游，蜻蜓翩跹，动静相宜；残荷挺立，细草点缀，秋意萧瑟却暗藏生机。指画的独特肌理赋予景物质朴鲜活的质感，墨色浓淡干湿对比鲜明，营造出清寂雅致又灵动的秋塘意境，尽显文人写意的闲逸意趣。",[6560,942,1775,2161,1591,7829,1022,7830,869],"蜻蜓","秋塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F296a905e568fc74263cc9b540ec2857d.jpg",[6],"b4ac99",{"id":779,"slug":7835,"title":1208,"dynasty":1075,"author":5983,"museum":2541,"description":7444,"tags":7836,"thumbUrl":7837,"material":1041,"size":1041,"collection":933,"collections":7838,"showCount":1138,"zanCount":903,"manualWeight":903,"mainColor":970},"shan-shui-ce-hua-yan-236738",[870,871,1211,942,914,916,1009,883,963,964],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3471dccb41f6380abecbae7b7403b8e.jpg",[933,6],{"id":780,"slug":7840,"title":6389,"dynasty":1075,"author":6390,"museum":1035,"description":7841,"tags":7842,"thumbUrl":7844,"material":1041,"size":1041,"collection":1029,"collections":7845,"showCount":1138,"zanCount":903,"manualWeight":903,"mainColor":970},"hua-niao-guo-ce-li-qi-236718","此作为水墨写意小品，以淡墨晕染、焦墨勾勒绘就秋蔬野趣。萝卜憨态饱满，表皮晕染出自然的肌理起伏，菜叶以焦墨肆意挥写，笔力苍劲朴拙，尽显霜后老叶的舒展之姿。旁侧秋菊柔润舒展，花瓣层叠雅致，几朵香菇寥寥数笔便鲜活灵动。\n画面左侧题诗相伴，朱红印章点睛，诗画相映，文气雅致。整体笔墨简括却意趣盎然，将田园野蔬的恬淡之美尽数铺陈，尽显文人画的闲逸意韵，清淡疏朗间，把乡野小景的悠然生机表现得淋漓尽致，笔简意足，满是闲雅的文人情致。",[870,871,1211,942,1081,2569,3105,7843,964],"蘑菇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4cf417e08efacd74e2fe1bdf45affa9.jpg",[1029,6],{"id":781,"slug":7847,"title":1208,"dynasty":1003,"author":7286,"museum":1035,"description":7848,"tags":7849,"thumbUrl":7850,"material":1041,"size":866,"collection":933,"collections":7851,"showCount":1138,"zanCount":903,"manualWeight":903,"mainColor":970},"shan-shui-ce-ye-xiang-rong-236602","此作用笔清简秀逸，设色浅淡柔和。苍枯老木与青葱秀树错落生于坡岸，枯木骨力劲挺，皴擦间尽显风霜雕琢的苍古意态，秀木晕染温润，枝叶疏密有秩，将寒林萧寂又暗含生机的意趣娓娓道来。\n\n左侧大片留白以虚代实，暗喻空茫江天，以无胜有，烘托出林皋幽远清寂的氛围。整幅小品以简驭繁，淡而不寡，寥寥笔墨间晕染出文人淡逸闲静的襟怀，尽显小品山水的空灵悠长之美。",[977,870,871,875,916,1008,917,1983,1211,914],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03857f788d437618c0aa726193c3935c.jpg",[933,6],{"id":782,"slug":7853,"title":7854,"dynasty":7099,"author":7855,"museum":990,"description":7856,"tags":7857,"thumbUrl":7858,"material":1041,"size":1041,"collection":6,"collections":7859,"showCount":1138,"zanCount":903,"manualWeight":903,"mainColor":7860},"shuang-song-qiao-cui-tu-zhou-wu-hu-fan-203230","双松翘翠图轴","吴湖帆","双松并峙，意趣天成。前景古松以浓墨皴擦，干身虬曲斑驳，松针攒簇如戟，笔力老辣苍劲；后松则淡墨晕染，枝干清雅温润，与前松形成浓淡虚实的层次对比。笔墨间干湿互济，中锋侧锋交错，松针的细密挺劲与树干的粗砺质感相得益彰，尽显松之坚韧神韵。画面简约却气韵饱满，双松翘翠，既有古木的苍劲风骨，又含自然的生机盎然，是传统笔墨与文人意趣的完美契合。",[870,942,1119,914,913,871,869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b907178fc66b35e44b5433f99f5b818.jpg",[6],"c5bdaf",{"id":783,"slug":7862,"title":7863,"dynasty":7099,"author":7864,"museum":990,"description":7865,"tags":7866,"thumbUrl":7867,"material":1041,"size":1041,"collection":6,"collections":7868,"showCount":1138,"zanCount":903,"manualWeight":903,"mainColor":7869},"mo-xia-tu-zhou-qi-bai-shi-203229","墨虾图轴","齐白石","几只青虾于素宣间灵动铺陈：或弓身欲腾，或摆须缓游，或交须嬉戏，姿态鲜活如跃眼前。淡墨晕染虾身，层层递进显半透明质感；浓墨落为眼与虾脑，点睛醒神；虾须以细劲线条挥写，柔韧中藏飘逸，似随水波轻颤。白石老人以毕生观察入画，将虾之习性化为笔底生机，极简笔墨勾勒无穷意趣，尽显水墨写意“似与不似”之妙，于方寸间藏自然真味。",[870,942,913,964,962,2161,869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa83b5a15a7053449e4e613230bbdd58f.jpg",[6],"d0c8b7",{"id":784,"slug":7871,"title":7872,"dynasty":7099,"author":7864,"museum":990,"description":7873,"tags":7874,"thumbUrl":7875,"material":1041,"size":1041,"collection":6,"collections":7876,"showCount":1138,"zanCount":903,"manualWeight":903,"mainColor":7877},"xie-zao-tu-zhou-qi-bai-shi-202899","蟹藻图轴","画面中数只螃蟹姿态各异，或爬或踞，墨色浓淡相宜——甲壳以重墨块面写出，螯足用劲挺线条勾勒，尽显蟹之灵动鲜活。上方水草以疏朗笔触点缀，与下方蟹群形成虚实呼应，传递出自然生趣。齐白石以写意之法，将寻常水族描绘得形神兼备，笔墨间满是质朴天真的意趣。",[870,942,1022,2160,2162,869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19e9538cb0a71a4170467934204f350d.jpg",[6],"c7bfb5",{"id":785,"slug":7879,"title":7880,"dynasty":957,"author":1631,"museum":990,"description":7881,"tags":7882,"thumbUrl":7883,"material":1041,"size":1041,"collection":6,"collections":7884,"showCount":1138,"zanCount":903,"manualWeight":903,"mainColor":7885},"lan-zhu-tu-he-zhuang-juan-zhao-meng-fu-202030","兰竹图合装卷","画面以水墨写意绘兰、竹与拳石，兰叶舒卷如流云，墨色层次细腻，或浓墨起笔，或淡墨收尾，柔婉中藏劲健；竹枝挺拔，竹叶寥寥数笔却见风骨，与兰草的清逸相映成趣；拳石以皴擦勾勒，纹理古拙苍劲，石隙间细草点缀，更添生机。整体构图疏朗，笔墨简淡却意韵悠长，尽显元代文人画的雅致情趣，将兰竹的君子气节与石的坚韧品格融于一纸，观之令人心生静穆，仿佛能嗅到兰草的幽芳。",[870,942,1257,1117,1009,914,871,872,964,869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffecf13c89a8c4d346ac45f908a4110d3.jpg",[6],"9f9691",{"id":786,"slug":7887,"title":7888,"dynasty":1003,"author":7889,"museum":990,"description":7890,"tags":7891,"thumbUrl":7892,"material":1041,"size":1041,"collection":6,"collections":7893,"showCount":1138,"zanCount":903,"manualWeight":903,"mainColor":7813},"zhang-fu-lan-shi-tu-juan-su-xuan-201761","张复 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