[{"data":1,"prerenderedAt":496},["ShallowReactive",2],{"subject-an":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},505,"an","岸","岸画高清赏析","精选中国历代岸题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0953e476fed1e3f435f83c6204d581f0.jpg",0,33,[14,45,72,89,107,120,134,164,179,190,202,215,232,247,257,271,300,313,324,336,349,361,371,389,399,413,422,433,445,456,465,474,487],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":37,"material":38,"size":39,"collection":40,"collections":41,"showCount":42,"zanCount":43,"manualWeight":11,"mainColor":44},219733,"qing-jiang-you-ju-tu-shen-zhou-219733","清江幽居图","明","沈周","大英博物馆","此作用笔苍润秀雅，取景疏密得宜。近岸老松盘曲，浓荫覆着茅堂，幽人居于其中，静听山籁。江岸迂回，板桥跨溪，远山以淡墨晕染，烟岚轻笼，殿宇藏于翠微间。\n\n通幅干湿笔墨相生，墨色层次分明，将夜雨初歇的空濛山色晕染得淋漓尽致，江天寥廓间尽见清寂雅致的山居意趣，尽显寄情林泉、幽栖忘俗的隐逸情怀。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,7],"高清","国画","水墨","设色","皴法","立轴","山水","小桥","流水","亭","松","山石","楼阁","幽居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdbf8df9dd29c2dd40331e20cfa7ac27.jpg","绢本,设色","","山水画精选",[40],1176,12,"795548",{"id":46,"slug":47,"title":48,"dynasty":49,"author":50,"museum":51,"description":52,"tags":53,"thumbUrl":64,"material":38,"size":65,"collection":66,"collections":67,"showCount":70,"zanCount":71,"manualWeight":11,"mainColor":44},219276,"xue-an-yuan-yang-tu-ma-lin-219276","雪岸鸳鸯图","宋","马麟","耶鲁大学艺术博物馆","枯木虬枝横斜，皴擦间藏着岁月的肌理，寒梅疏花点点，似是雪夜里悄然绽放的星子。滩头双鸳相偎，绒羽层叠如软云，翅尖墨色晕染，静卧间漫出暖融的依偎。枝上雀鸟敛翅，瞳仁如豆，似在聆听风过梅梢的轻响。雪岸清寂，却因这几处生灵的动静相映，添了几分温润的生气。淡赭铺就的寒汀，与浓墨点染的枝干相衬，工致笔触里藏着写意的疏朗，宋人的雅致与对生命的细腻观照，尽在这方寸画卷里流转，每一处留白都似凝着冬日的清寒，却又裹着一丝不易察觉的暖。",[23,24,54,55,26,56,57,58,59,60,61,7,62,63],"名画","工笔","花鸟","鸳鸯","梅","树","鸟","雪","枯木","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a755de7d0ae42e6354319de9befc494.jpg","188.5cmx99.8cm","花鸟画精选",[66,68,69],"设色画精选","宋画精选",226,1,{"id":73,"slug":74,"title":75,"dynasty":49,"author":76,"museum":77,"description":78,"tags":79,"thumbUrl":84,"material":38,"size":85,"collection":40,"collections":86,"showCount":87,"zanCount":88,"manualWeight":11,"mainColor":44},218591,"yu-fu-tu-xia-gui-218591","渔父图","夏圭","藏地不详","苍劲古木虬枝横斜，墨色浓淡间晕染出岁月纹理。近岸水波轻漾，似有渔舟隐于荫下；远处山峦以淡墨点染，云雾缭绕中透着空濛。简括笔触删繁就简，将渔父隐逸之趣藏于边角留白——晚风拂过林梢，渔歌是否在烟霭里隐约？整幅画以“一角半边”之构，融自然清旷与文人幽思，水墨淋漓间尽是南宋山水的空灵悠远，引观者沉湎于那份与世无争的恬淡。",[54,24,80,28,25,26,27,29,59,81,7,82,83],"书画","孤舟","远山","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff03e35c72c989c0d7a10d5ee03dfc9.jpg","74.5x46",[40],201,2,{"id":90,"slug":91,"title":92,"dynasty":49,"author":93,"museum":94,"description":95,"tags":96,"thumbUrl":104,"material":38,"size":39,"collection":69,"collections":105,"showCount":106,"zanCount":71,"manualWeight":11,"mainColor":44},218832,"qiu-pu-ting-zhou-tu-yi-ming-218832","秋浦停舟图","佚名","台北故宫博物院","这幅画描绘了秋天开阔的河面，青山绿水，两个渔民坐在岸边的一棵老树下，高兴地拿着一壶酒互相问候。这幅画的风格是两岸，笔法、墨法和青绿颜色都可以归入盛懋画派的范畴。",[23,24,80,54,29,26,97,81,98,99,7,100,101,102,103],"册","人物","树木","水","秋景","孤石","坡岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2edb5d6704f3fcb03ac84af6ce8e6b23.jpg",[69,40],172,{"id":108,"slug":109,"title":110,"dynasty":49,"author":76,"museum":111,"description":112,"tags":113,"thumbUrl":116,"material":38,"size":39,"collection":69,"collections":117,"showCount":118,"zanCount":11,"manualWeight":11,"mainColor":119},219858,"mu-se-gui-yu-tu-xia-gui-219858","暮色归渔图","印第安纳波利斯艺术博物馆","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。",[23,24,25,27,29,81,83,63,114,115,7,100],"夕阳","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab3db900b82dc4e896d746b5cf1c4d8f.jpg",[69],137,"BDBDBD",{"id":121,"slug":122,"title":123,"dynasty":18,"author":124,"museum":94,"description":125,"tags":126,"thumbUrl":129,"material":130,"size":39,"collection":40,"collections":131,"showCount":133,"zanCount":11,"manualWeight":11,"mainColor":44},220919,"shan-shui-li-zhou-dong-qi-chang-220919","山水立轴","董其昌","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",[23,24,80,28,25,27,29,127,100,59,33,128,32,7],"山","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc897e2980b28ca1fb5a57c61fadbb250.jpg","绢本",[40,132],"水墨画精选",121,{"id":135,"slug":136,"title":137,"dynasty":138,"author":139,"museum":140,"description":141,"tags":142,"thumbUrl":158,"material":159,"size":160,"collection":40,"collections":161,"showCount":162,"zanCount":163,"manualWeight":11,"mainColor":119},221721,"wu-jia-he-hui-juan-zhao-yong-wang-mian-zhu-de-run-zhang-guan-fang-cong-yi-221721","五家合绘卷","元","赵雍 王冕 朱德润 张观 方从义","北京故宫博物院","《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。",[23,24,80,143,25,27,144,29,59,115,81,58,34,145,146,98,147,7,148,149,150,151,152,153,154,155,156,157],"长卷","印章","水面","渔船","远岫","茅屋","枝干","花","松树","枯树","岸滩","船只","山间","草木","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ad6676a3f8f4d776bd2cf92396b87c9.jpg","纸本，墨笔","纵30cm，横52.8cm",[40,132],111,3,{"id":165,"slug":166,"title":167,"dynasty":49,"author":168,"museum":94,"description":169,"tags":170,"thumbUrl":175,"material":38,"size":176,"collection":69,"collections":177,"showCount":178,"zanCount":11,"manualWeight":11,"mainColor":44},218946,"liu-ting-xing-lv-tu-zhao-ling-rang-218946","柳亭行旅图","赵令穰","虽然不像立轴和长卷那样令人印象深刻，但宋代的山水画往往相当宁静，充满异国情调，具有诗意。在当时的小景构图中，以平坦清晰的山水为多见，坡堤沙岛，遥对远山，烟波浩渺，仿佛自然界真有这样的风景，又仿佛处于一种诗意的境界，引人深思回味无穷。赵令郎是宋代宗室的儿子，在绘画史上以小品山水闻名。",[23,24,80,171,25,29,55,172,173,32,174,100,82,7,59,98],"扇面","淡设色","柳","小船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5910d4105b18023ce4324b9aa16013c.jpg","23.2x24.2",[69,40],100,{"id":180,"slug":181,"title":182,"dynasty":49,"author":183,"museum":184,"description":185,"tags":186,"thumbUrl":187,"material":38,"size":39,"collection":40,"collections":188,"showCount":189,"zanCount":71,"manualWeight":11,"mainColor":44},217999,"xue-an-guan-tiao-tu-ma-yuan-217999","雪岸观眺图","马远","私人收藏","马远是宋朝时期的一位著名画家，他的作品中有一幅名为“雪岸观眺图”的水墨画，被认为是宋朝画坛上的杰作之一。\n\n这幅画描绘了一段冬日的景象，画面中的山峦积雪，河水冰冻，极富冬日特色。在画中，可以看到许多游客在观眺这片壮丽的景色。画中还有许多树木，它们的枝条被白雪覆盖，显得格外的美丽。\n\n马远在这幅画中运用了许多水墨画的技巧，包括“写意”和“虚实”。“写意”指的是画家用自己的感受来描绘景象，而“虚实”则指画家在画面中运用虚实对比来表现深浅、空间感等效果。在“雪岸观眺图”中，马远巧妙地运用了这些技巧，使得画面充满了生动的气氛和浓郁的冬日气息。\n总的来说，“雪岸观眺图”是宋朝画坛上的一幅杰作，它不仅展现了宋朝时期画家对冬日景色的传统描绘方式，还体现了马远对水墨画艺术的精湛技艺",[23,54,24,80,28,26,55,27,29,32,59,61,98,128,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86c2a7d7b855598a8f3c175345fe606f.jpg",[40],96,{"id":191,"slug":192,"title":193,"dynasty":138,"author":194,"museum":94,"description":195,"tags":196,"thumbUrl":198,"material":130,"size":199,"collection":40,"collections":200,"showCount":201,"zanCount":11,"manualWeight":11,"mainColor":44},220849,"song-yin-wan-zhao-tu-zhou-zhao-meng-fu-220849","松阴晚棹图轴","赵孟頫","为学日益，为道日损：翩然世间的道家风格\n祸兮福之所倚，福兮祸之所伏：老子的智慧\n鲲鹏展翅，水击三千里：敞开自我的庄子境界\n朝三暮四，名实未亏而喜怒为用：庄子的寓言\n朴素而天下莫能与之争美：自然与本真的守护",[23,24,80,28,26,29,151,81,98,34,99,197,7,27],"湖面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde18f9b7e341d9b204fbc08d35aed1b4.jpg","152.6x79厘米",[40,68],82,{"id":203,"slug":204,"title":205,"dynasty":49,"author":206,"museum":94,"description":207,"tags":208,"thumbUrl":211,"material":38,"size":212,"collection":69,"collections":213,"showCount":214,"zanCount":71,"manualWeight":11,"mainColor":44},219300,"lu-yan-tu-huang-ju-cai-219300","芦雁图","黄居寀","画中三只芦雁从姿态与翎毛、口唇，可分出其雌雄与年龄大小，年幼者在父母之旁安然入睡，公雁者为首领独居图中，形象高大粗壮，具有长者地位，雌雁者既在幼雁旁有护驾之意，又张口切切私语，含情脉脉地望着对方，这种富有家庭意识的禽鸟之态，表现得淋漓之尽。作者对画中的芦雁画法精细，特别羽毛画笔工致，华润淋漓，神态生动逼真；芦苇枝叶双勾与晕染，阴阳背向分明。整个画面主题突出，构图严正，背景简洁明了，水面、沙滩及芦苇布置及画法恰到好处。居案的绘画从写生中出，在《东斋记事》中写着：“其家多养鹰鹘，观其神俊以模写之，故得其妙。”从此芦雁图中可知，长期的写生和临摹训练带给他真实生动地描绘禽鸟的功力，其准确度不亚于动物标本式的记录。",[23,24,54,80,55,26,56,209,210,60,100,7],"雁","芦苇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1f48e78c47390b027fe23bdb5ccc424.jpg","纵144.5厘米，横93.3厘米",[69,66,68],78,{"id":216,"slug":217,"title":218,"dynasty":49,"author":219,"museum":140,"description":220,"tags":221,"thumbUrl":227,"material":38,"size":228,"collection":229,"collections":230,"showCount":231,"zanCount":11,"manualWeight":11,"mainColor":119},221359,"xue-jiang-gui-zhao-tu-juan-ba-cai-jing-221359","雪江归棹图卷跋","蔡京","《跋赵佶雪江归棹图卷》蔡京长跋释文：\n“臣伏观御制雪江归棹，水远无波，天长一色。群山皎洁，行客萧条。鼓棹中流，片帆天际。雪江归棹之意尽矣。天地四时之气不同，万物生于天地间。随气所运，炎凉晦明。生息荣枯，飞走蠢动。变化无方，莫之能穷。 皇帝陛下以丹青妙笔，备四时之景色，究万物之情态于四图之内，盖神智与造化等也。大观庚寅季春朔日，太师楚国公致仕臣京谨识。”蔡京的此段题跋非常重要，一是说明《雪江归棹图卷》为徽宗御制；二是说明《雪江归棹图卷》是原来的春、夏、秋、冬四时图之一。三是说明此图卷约完成于大观庚寅四年（1110）之前，时宋徽宗二十九岁。所以后来许多的著录书籍、画史研究家和鉴定家均依此认定《雪江归棹图卷》为宋徽宗真迹。",[23,54,24,80,143,222,223,25,29,81,224,225,7,226],"行书","书法","雪景","江","天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf14a18de8e09672e19ddb10db39f910.jpg","纵30.3cm,横190.8cm","书法精选",[229],68,{"id":233,"slug":234,"title":235,"dynasty":236,"author":237,"museum":238,"description":239,"tags":240,"thumbUrl":243,"material":244,"size":39,"collection":40,"collections":245,"showCount":246,"zanCount":11,"manualWeight":11,"mainColor":119},219709,"fan-zhao-tu-cha-shi-biao-219709","泛棹图","清","查士标","美国大都会艺术博物馆","近岸苍松枯柳错落，枝桠虬曲疏朗，将江渚萧疏尽数铺展。扁舟之上幽人独坐，静看烟水微茫，远山以淡墨轻扫晕染，清润空濛，似笼着秋日薄雾。\n\n作画笔触简淡松秀，以干笔皴擦山石，墨色干湿浓淡相生，脱前人之形而得清逸神韵。通篇清远冷寂，将幽人寄情山水、物我两忘的心境融于空茫江色之间，淡墨晕染里藏着林下闲静之风，寥寥数笔便勾勒出超脱尘俗的空濛雅境，尽显文人画疏淡孤高的逸趣。",[24,25,29,81,241,59,82,145,7,242,27],"蓑笠","写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6896344e0526eaae4fe9dad4d459f05c.jpg","纸本,水墨",[40],55,{"id":248,"slug":249,"title":250,"dynasty":49,"author":93,"museum":94,"description":251,"tags":252,"thumbUrl":253,"material":38,"size":254,"collection":69,"collections":255,"showCount":256,"zanCount":11,"manualWeight":11,"mainColor":119},218850,"qiu-jiang-yu-ting-tu-yi-ming-218850","秋江渔艇图","画面上，秋日的两岸，渔舟唱晚，文人待渡，近岸松石，远山隐于云间，野桥飞泉，贵人和僮仆无比准备，可谓是 秋山如洗，清风如妆。近处的岩石很像李唐和刘松年的作品，而远处的山峰的笔法和环境则很像惠崇的作品。",[23,24,80,25,26,29,81,31,83,115,27,7,82,241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3efef7fae05066bc6df419889f6c421.jpg","23.4x23.8",[69,40],52,{"id":258,"slug":259,"title":260,"dynasty":18,"author":261,"museum":140,"description":262,"tags":263,"thumbUrl":267,"material":268,"size":39,"collection":39,"collections":269,"showCount":270,"zanCount":11,"manualWeight":11,"mainColor":119},234188,"xun-yang-pi-pa-xing-tu-juan-li-shi-da-234188","浔阳琵琶行图卷","李士达","李士达的生活年代大约是十六世纪中叶到十七世纪初。在万历二年（公元1574年）考中进士，泰昌元年（公元1620年）还画过一幅《关山风雨图》，活了八十多岁。\n[明]号仰槐，一作仰怀，陕西省三原县人。万历元年（一五七三）癸酉乡试中举 [1] ，入雁塔题名碑，万历二年（一五七四） [2] 进士。画人物、山水名世。万历间隐居新郭。尝论画有五美云：“苍、逸、奇、远、韵。”五恶云：“嫩、板、刻、生、痴。”人谓其深得画理。寿至八十外。泰昌元年（一六二o）尝作关山风雨图。《明画录》、《无声诗史》、《吴县志》、《故宫周刊》。主要作品《松阴搔背》、《松竹高士》、《坐听松风》、《蕉阴独酌》、《西园雅集》、《寒林钟馗》、《罗汉卷》、《仙山楼阁》、《三驼图》。",[23,24,80,143,26,55,25,29,98,81,31,99,264,7,265,115,32,266,114],"马","江水","古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbda0629b682f08ed426a8007477828c6.jpg","纸本，设色",[],51,{"id":272,"slug":273,"title":274,"dynasty":18,"author":275,"museum":94,"description":276,"tags":277,"thumbUrl":295,"material":296,"size":297,"collection":40,"collections":298,"showCount":299,"zanCount":71,"manualWeight":11,"mainColor":44},222241,"yu-le-tu-ding-yu-chuan-222241","渔乐图","丁玉川","这张画是一件无款作品，在过去的著录中，一直被当成宋人画。不过，很幸运地，在画幅的右上角，发现一颗“玉川”的印章，经过风格及印章的比对，证实画家的身份为明代中期浙派的丁玉川。\n这幅画采用元代典型的“一河两岸”横图，空阔的河面将画面切割成上下两段，前景是长满芦苇的坡岸，远景则为弥漫云雾的低矮山峦。岸边停泊一艘渔船，有文人在船上饮酒，一副悠闲自乐的模样。这幅画的横图和题材都令人想起吴镇《渔父图轴》（国立故宫博物院藏），由此可以看到他的绘画受到元人的影响。除此之外，本幅画也运用了“斧劈皴”的笔法来描绘山石，及藉助大量的水墨烘染云雾，这些技法则是延续南宋院体的风格。丁玉川的绘画吸收浙江画派在宋、元时代的源流，而他的题材也偏向抒情山水或文人田园生活，这些都让他的艺术拥有一种古典的美感。",[23,24,26,29,55,81,83,278,279,82,280,31,7,59,281,210,174,282,152,283,284,285,286,287,288,289,147,290,291,103,156,292,293,294],"竹","渔夫","云雾","草","岸石","汀渚","渔人","舟楫","烟波","浅滩","丛竹","近岸","霭气","水域","舟船","垂钓","渔家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3943b3f13349188ff3f7f565630f3e55.jpg","绢","纵270厘米、横174.4厘米",[40,132],48,{"id":301,"slug":302,"title":303,"dynasty":18,"author":124,"museum":304,"description":305,"tags":306,"thumbUrl":309,"material":310,"size":39,"collection":39,"collections":311,"showCount":312,"zanCount":11,"manualWeight":11,"mainColor":119},214649,"qiu-xing-ba-jing-tu-ce-8-dong-qi-chang-214649","秋兴八景图册-8","上海博物馆","此册描绘苏州到镇江一带的山水景色，或仿古，或写景，笔法虽然以师古人为主，但具有不少个性色彩。采取以颜色直接勾勒、渲染、皴擦等“没骨法”，又连用水墨，干湿兼施，层次分明。落笔细润清雅，色彩明亮秀丽。画笔较为谨严，从中可以品味出他学巨然、赵令穰、赵孟頫、黄公望等人的痕迹，但从整体来看，还是他独特画风的不同表现。\n款署“庚申（1620年）九月重九前一日书，是月写设色小景八幅，可当秋兴八首，玄宰”，为其66岁时的精心之作。",[24,80,97,26,307,222,223,27,29,81,35,99,63,31,34,308,7],"青绿","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42cbb4fb5fa1b201a43ea69f5624d486.jpg","纸本,设色",[],40,{"id":314,"slug":315,"title":316,"dynasty":236,"author":317,"museum":94,"description":318,"tags":319,"thumbUrl":321,"material":310,"size":39,"collection":40,"collections":322,"showCount":323,"zanCount":71,"manualWeight":11,"mainColor":119},214725,"shan-shui-ce-ye-hu-gui-214725","山水册页","胡桂","小册页，前后以木质装帧，木质封面刻「胡桂画山水」五隶字。卷内所绘淡青绿山水，大抵以水岸河景为主，随着视点的拉近或放远，绘写远山、楼阁、帆船点点与渔子靠岸歇息等，卷末则以群山覆雪之景作结。本卷与其他两件玉器同储于长方木盒中。",[24,29,26,97,127,99,320,154,63,145,7],"房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F804056f2501ac14a099ce287ab11f0cf.jpg",[40],39,{"id":325,"slug":326,"title":327,"dynasty":236,"author":328,"museum":77,"description":329,"tags":330,"thumbUrl":333,"material":39,"size":39,"collection":40,"collections":334,"showCount":335,"zanCount":11,"manualWeight":11,"mainColor":119},236455,"zheng-min-fang-huang-gong-wang-shan-shui-zhou-zheng-min-236455","郑旼仿黄公望山水轴","郑旼","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。",[24,80,28,25,27,29,127,59,81,100,128,152,331,145,7,332],"远峰","船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ff8571e4fc1fdafcef4bca07b79e41e.jpg",[40,132],31,{"id":337,"slug":338,"title":339,"dynasty":236,"author":340,"museum":77,"description":341,"tags":342,"thumbUrl":344,"material":345,"size":346,"collection":40,"collections":347,"showCount":348,"zanCount":11,"manualWeight":11,"mainColor":119},234713,"fang-gu-shan-shui-ce-wang-hui-234713","仿古山水册","王翚","《仿古山水册》共计十二页，其中设色二页，水墨十页。仿董源、巨然、米芾、赵大年、赵孟頫、吴镇、倪瓒、王蒙、黄公望、管道升、曹知白、陈汝言等而作。每幅均自题七律一首，末开款署“壬寅六月王翚”，册尾有顾复初题跋。前选一图，系仿曹云西山水，写柳汀板桥、芦荻孤舟，晓风残月，雁影徘徊。笔墨疏秀，意境苍莽迷蒙。\n王翚得名家传授，又博览古人佳作和游历真山实水，画艺日臻成熟，40岁时即名闻海内。王翚出生于绘画世家，他的曾祖王伯臣、祖父王载仕、父亲王云客都是画家，幼时即得到家学熏陶，初学画于同乡画家张珂。顺治年间王鉴游虞山时，见王翚画扇，极为赏识，赞其天资超人，收为弟子。后转师王时敏，得以临摹许多历代名家真迹，镕铸造南北画派于一炉，技艺大进。尝与王时敏遍游大江南北，广识著名收藏家，观摹宋、元真迹。其摹古功力极得王时敏赞赏：“（石谷）凡唐宋诸名家无不摹仿逼肖，偶一点染展卷即古色苍然，毋论位置溪径，宛然古人，而笔墨神韵一一夺真，且仿某家，则全是某家，不杂一他笔，使非题款，虽善鉴者，不能辨。”于是他在摹古仿古的基础上，综合诸家之长，晚年画风简练苍浑，有独到的艺术风格，在“四王”中，王翚的艺术成就最为显著，门生弟子很多，以杨晋较为著名，其山水画的影响极为深广。",[24,80,54,97,25,27,29,33,30,31,343,98,34,7],"屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb3597742ef1ee1687c0ec1892b236e.jpg","纸本，水墨","25.6厘米，横：20.5厘米",[40],29,{"id":350,"slug":351,"title":352,"dynasty":49,"author":93,"museum":94,"description":353,"tags":354,"thumbUrl":357,"material":38,"size":358,"collection":40,"collections":359,"showCount":360,"zanCount":11,"manualWeight":11,"mainColor":119},218815,"liu-an-he-tang-tu-yi-ming-218815","柳岸荷塘图","这幅画描绘了一个芦苇茂盛的荷塘，荷叶田田，五支老箭极为茂盛，说明这里是陶渊明的隐居之地，过了小桥就能看到南山。",[23,54,24,26,29,171,27,173,355,356,59,127,100,7],"荷","荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15878898e2639dfb24e355516ff4dd5f.jpg","25.4x26.4",[40],27,{"id":362,"slug":363,"title":364,"dynasty":18,"author":93,"museum":51,"description":365,"tags":366,"thumbUrl":368,"material":38,"size":369,"collection":40,"collections":370,"showCount":360,"zanCount":11,"manualWeight":11,"mainColor":44},217918,"liu-an-xue-yu-tu-yi-ming-217918","柳岸雪渔图","柳岸雪渔图是明朝时期的一幅绘画作品，作者不详。这幅画描绘了一个冬天的景象，一位渔夫正在雪地里钓鱼。画面中的柳树上积了厚厚的一层雪，而渔夫则穿着厚厚的衣服，站在寒冷的柳岸边。他手里拿着鱼竿，似乎正在等待鱼儿上钩。\n\n这幅画被认为是明朝时期绘画艺术的代表作之一，因为它体现了当时绘画艺术的特点：细致、精细、写实。画面中的每一个细节都被精心描绘，比如渔夫的衣服、柳树的枝叶、雪地的花纹。\n同时，这幅画还体现了明朝时期艺术家对自然界的热爱。画中的冬天景象并不寒冷而残酷，相反，它给人以温馨、宁静的感觉。渔夫手边的鱼缸里放着一条活鱼，这也许意味着他已经成功地钓到了鱼，并且生活充满希望。\n\n总的来说，柳岸雪渔图是一幅描绘冬天景象的优秀绘画作品，它展现了明朝时期艺术家的精湛画技和对自然界的热爱。",[24,25,26,171,29,367,7,61,83,241],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62f30799baed7df89bbb654c278069a2.jpg","26.5x30.5cm",[40],{"id":372,"slug":373,"title":374,"dynasty":236,"author":375,"museum":77,"description":376,"tags":377,"thumbUrl":384,"material":385,"size":386,"collection":39,"collections":387,"showCount":388,"zanCount":11,"manualWeight":11,"mainColor":119},235615,"hong-ren-shan-shui-ce-hong-ren-235615","弘仁山水册","弘仁","弘仁（1610—1663年），俗姓江，名韬，字六奇，出家后释名弘仁，号渐江学人，又号无智、梅花古衲，安徽歙县人。明亡后入武夷山为僧，云游各地后回歙县，住西郊太平兴国寺和五明寺，常往来于黄山、白岳之间。善画山水，早年从学于孙无修，中年师萧云从。其画取法元代倪瓒、黄公望，构图洗练简逸，笔墨苍劲整洁，善用折带皴和干笔渴墨。他重视师法自然，善画黄山、武夷山诸景，传达山川之美，意境伟峻秀逸，“得黄山之真性情”，与石涛、梅清同成为“黄山画派”的代表人物。在安徽与查士标、孙逸、汪之瑞并称“海阳四家”，形成“新安派”。同时，与石涛、八大、髡残合称“清初四僧”。",[54,24,80,378,379,380,27,29,81,367,32,7,98,381,82,289,382,383],"册页","干笔","淡墨","水波","小舟","垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c3182d660d161fc9f0b2b958a356bc8.jpg","未知","Xcm*Xcm",[],13,{"id":390,"slug":391,"title":392,"dynasty":236,"author":237,"museum":77,"description":393,"tags":394,"thumbUrl":397,"material":39,"size":39,"collection":39,"collections":398,"showCount":388,"zanCount":11,"manualWeight":11,"mainColor":119},234175,"xi-xi-cao-tang-tu-juan-cha-shi-biao-234175","西溪草堂图卷","查士标（1615年—1698年），字二瞻，号梅壑散人、懒老，新安（今安徽歙县、休宁）人，流寓江苏扬州，明末秀才，清初著名画家、书法家和诗人。家富收藏，故精鉴别，擅画山水。与孙逸、汪之瑞、弘仁等书画家一起被称为“新安四家”。\n查士标专事书画，家藏甚富，鼎彝及宋、元真迹皆有，遂精鉴赏。\n他的山水画，笔墨疏简，风神嫩散，气韵荒寒，晚年画风突变，直窥元人之奥。",[23,24,143,25,29,27,127,100,32,59,320,81,128,7,147,148,367,395,396,63],"峭壁","沙洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f1795bf78bf2ed221b26be8f6242dad.jpg",[],{"id":400,"slug":401,"title":402,"dynasty":18,"author":403,"museum":140,"description":404,"tags":405,"thumbUrl":408,"material":409,"size":410,"collection":39,"collections":411,"showCount":412,"zanCount":11,"manualWeight":11,"mainColor":119},233135,"ming-ren-xi-shan-sheng-jing-he-bi-ce-zi-wei-cun-ye-chen-chun-233135","明人西山胜景合壁册-紫薇村页","陈淳","此册又名《明人西山胜景书画合璧册》（见《故宫博物馆藏文物珍品大系：吴门绘画》），著录于《墨缘汇观》，合题跋共计十四页，依次为：刘钰《踞湖山图》、沈周《茶磨屿图》、《新郭图》（对页陈淳题诗一首）、唐寅《越来溪图》、《行春桥图》、《饶稼桥图》（对页自题诗一首）、文徵明《横塘图》、《石湖图》（对页自题诗一首）和陈淳《桃花坞图》、《紫薇村图》，后页徐朗白题。\n颇为吊诡的是这套册页似乎从未完整发表过，就目前所见，《中国古代书画目录》是分开著录，其中刘钰一页、唐寅《饶稼桥图》以及四页题诗都未著录，而《中国古代书画图目》则只选印了沈周和陈淳的四页。《文徵明精品集》发表了两画及一页题诗，《唐寅绘画集》也只发表了《越来溪图》、《行春桥图》两页，《故宫博物馆藏文物珍品大系：吴门绘画》刊印了沈周、文徵明、唐寅各两页，陈淳《桃花坞图》一页，略去了四页题跋。刘钰《踞湖山图》、唐寅《饶稼桥图》及另外三页题跋始终未见，其中或有伪作吧（文徵明的两页画曾于去年苏博特展展出，未见图录，不知是否有完整发表）。但学术乃天下之公器，国内许多博物馆的出版态度素来可恶，很多作品在各类出版物中情况不一，往往“有头无尾”，以致研究一件作品需“东拼西凑”。\n吴门诸家歌咏、描绘吴中名胜之风颇盛，与平日游踪所及和地域意识渐起有关，留存于世的风景名胜图极多，甚至祝寿、官员离任，也以吴中风景图册为赠。值得注意的是，此册中沈周、文徵明、唐寅、陈淳的作品都是早年笔，集三代才人妙墨，想来这套作品的收藏者花了不少心思。末页崇祯五年徐朗白题云：“我朝画法变宋化元，正嘉间吴中诸先进一时杰出、擅采争奇，直使静庵而下皆瞠乎其后矣，此十册俱西山胜景，首为完庵次石田次六如衡山白阳，景虽未尽，人已才难，不特片羽之吉光抑且狐裘之集腋也。什袭见珍，援毫见重。”并题一歌，语涉浮夸无足取。",[24,80,97,25,222,29,35,99,406,407,7,144],"石头","路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29457c5afef79185ae2c06064d9f37a5.jpg","纸本 ，设色","纵22.8cm，横33.2cm",[],9,{"id":414,"slug":415,"title":416,"dynasty":236,"author":417,"museum":184,"description":418,"tags":419,"thumbUrl":420,"material":310,"size":39,"collection":39,"collections":421,"showCount":412,"zanCount":11,"manualWeight":11,"mainColor":119},215021,"fang-gu-shan-shui-ce-9-wang-jian-215021","仿古山水册-9","王鉴","王鉴（1669-1725）是清朝时期著名的画家，以其精湛的仿古山水画而闻名。王鉴出生于江苏省，自幼便对绘画有着浓厚的兴趣。他从小就开始学习绘画，后来在北京的私塾深造，并在考试中取得了优异的成绩。\n\n王鉴的仿古山水画以其精细的笔法和优美的构图而著称。他的画作经常使用细腻的线条和深浅不一的色彩来表现山水的美感。王鉴的作品常常充满了沉静、凝重的气氛，能够让人感受到中国古代山水画的韵味。\n\n王鉴的仿古山水画在当时广受欢迎，并且被广泛收藏和传承。他的画作经常被收录在仿古山水册中，并被视为中国古代山水画的经典之作。王鉴的画风对后代画家也产生了深远的影响，被认为是清朝时期仿古山水画的代表人物之一。",[24,80,97,26,29,27,31,81,99,320,30,210,406,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01a24b1956f09fca82af136b3260eb23.jpg",[],{"id":423,"slug":424,"title":425,"dynasty":18,"author":93,"museum":77,"description":426,"tags":427,"thumbUrl":428,"material":429,"size":430,"collection":39,"collections":431,"showCount":432,"zanCount":11,"manualWeight":11,"mainColor":119},223403,"chui-hong-qiu-se-tu-yi-ming-223403","垂虹秋色图","此作用淡墨晕染出浩渺平湖，轻舟逐波缓行，汀渚之上嘉木葱茏，板桥村舍隐于烟树间，远山如黛逶迤连绵，将江南清秋的萧疏淡远尽数铺展，笔墨清润秀雅，尽显平淡天真的文人山水意趣。\n卷中题笔相生，擘窠大字雄劲苍古，行楷题跋秀逸雅致，将垂虹秋景的诗意与文人赏景的雅怀相融，实景山水与题咏情思交织，把江天寥廓的清秋意韵凝于尺幅，尽显书画合璧的文人雅韵。",[23,24,80,143,25,222,29,30,31,81,32,99,147,7,144,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa448dc5f9cb1836eab9d07f9b11fabf7.jpg","纸本","24.4x122.6",[],8,{"id":434,"slug":435,"title":436,"dynasty":18,"author":93,"museum":94,"description":437,"tags":438,"thumbUrl":440,"material":441,"size":442,"collection":39,"collections":443,"showCount":444,"zanCount":11,"manualWeight":11,"mainColor":119},223392,"ping-hu-xue-ji-yi-ming-223392","平湖雪霁","此水墨小品以暗绢托出雪意清寒。近岸枯木寒枝错落斜欹，茅舍隐于林渚间，三两渔舟泊在冰封浅滩，天地间凝着凛凛寒意。远景以淡墨轻晕远峦寒雾，留白作漫天寒雪，虚实相生间晕开空濛冷寂。\n\n未用浓墨重彩，仅以极简笔墨铺陈湖山冬日疏旷萧寒。霜风仿佛正掠过镜面平湖，冷意顺着绢面漫开，将江天雪后的岑寂澹远藏进方寸画幅，把追慕幽寂山水的雅趣融在素淡墨色里，叫人坠入这万籁俱静的清寒意境中。",[24,171,25,29,224,439,59,7,80,144],"湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35e5b81a7081e638b4129936f8fc4768.jpg","绢本设色","38.9x81",[],7,{"id":446,"slug":447,"title":448,"dynasty":236,"author":340,"museum":77,"description":449,"tags":450,"thumbUrl":453,"material":385,"size":386,"collection":39,"collections":454,"showCount":455,"zanCount":11,"manualWeight":11,"mainColor":119},235230,"fang-hui-chong-shan-shui-zhou-wang-hui-235230","仿惠崇山水轴","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[54,24,80,28,25,27,451,144,29,99,320,452,63,81,7,82],"临摹","河流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29747977d2442e5bcdd0e2cbd270fb52.jpg",[],6,{"id":457,"slug":458,"title":459,"dynasty":18,"author":93,"museum":77,"description":460,"tags":461,"thumbUrl":462,"material":385,"size":386,"collection":39,"collections":463,"showCount":464,"zanCount":11,"manualWeight":11,"mainColor":119},235835,"jiang-song-shan-shui-zhou-yi-ming-235835","蒋嵩山水轴","此作用留白铺就江天悠远意境，近岸枯木斜出，疏枝缀萼，垂条摇曳含着晚来秋意，坡岸蒹葭苍苍，野趣横生。中景扁舟一叶，渔翁俯身整理渔具，身形简括却神态安然，渔网静卧船头，漾出江上生计的闲散况味。远景汀洲以淡墨晕染，烟水空濛，将江天辽阔藏在留白之中。全作以水墨浓淡分出层次，笔意纵逸简淡，未作繁复皴染，寥寥笔墨写尽江乡清寂诗意，将江湖渔隐的安闲雅致融在烟水之间，观之如临清秋江渚，幽淡闲远的意境扑面而来。",[24,80,54,28,25,29,81,241,367,452,7,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75688a21c81c1a5d4b199bb00f6a0ed2.jpg",[],5,{"id":466,"slug":467,"title":468,"dynasty":236,"author":469,"museum":77,"description":470,"tags":471,"thumbUrl":472,"material":385,"size":386,"collection":39,"collections":473,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":119},237484,"shan-shui-tu-ce-yao-song-237484","山水图册","姚宋","姚宋（1648—1721），字雨金，一作雨京，号野梅。安徽新安（今安徽歙县）人。清代画家。\n姚宋寓居芜湖。擅长山水画，其初学弘仁，后期广学诸家，成为新安派画家之一。姚宋所画人物、花鸟、鱼虫、兰竹、无不工致。",[24,80,97,25,222,27,29,81,241,99,452,82,7,281],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec4bc78d7045ee7e17f24abd8173b8bf.jpg",[],{"id":475,"slug":476,"title":477,"dynasty":236,"author":478,"museum":304,"description":479,"tags":480,"thumbUrl":484,"material":39,"size":39,"collection":39,"collections":485,"showCount":88,"zanCount":11,"manualWeight":11,"mainColor":486},201642,"fu-rong-yuan-yang-tu-zhou-hu-fei-tao-201642","芙蓉鸳鸯图轴","胡飞涛","画面暖棕底色之上，芙蓉枝干虬曲，粉白花朵交映，花瓣晕染细腻；黄紫菊丛点缀其间，叶色浓淡相生。水面鸳鸯羽色斑斓，姿态灵动，与浮萍、岸石相映成趣。笔触工细入微，设色雅致温润，花鸟情态鲜活，尽显传统工笔花鸟的精致意韵与自然生机。",[55,26,56,481,57,482,483,7],"芙蓉","菊","浮萍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F694188f35937dea6c74dc93aeb710adc.jpg",[],"866a3b",{"id":488,"slug":489,"title":490,"dynasty":236,"author":491,"museum":77,"description":492,"tags":493,"thumbUrl":494,"material":39,"size":39,"collection":39,"collections":495,"showCount":71,"zanCount":11,"manualWeight":11,"mainColor":119},238015,"shan-shui-ce-lu-zun-shu-238015","山水册","陆遵书","以淡墨晕染铺就空濛夜色，江天相接处轻笔扫过，晕开清寂寥廓的氛围感。水岸村居错落排布，黛瓦茅舍依水偎依，三两舟楫静系埠头，似在等候晚归旅人。右侧林木疏朗，简笔勾勒枝桠便见生趣，浓淡墨色区分开前后层次，衬出水乡的安闲静谧。\n\n淡墨写意，不作繁复皴擦，只以晕染烘托出江南夜泊松弛淡远的况味。题字朱印作为点缀，晕开文人情致，整幅小品简而意足，把深夜水乡的清宁藏在每一笔淡墨之中，空濛悠远，尽显文人山水的空灵意趣。",[24,25,97,29,59,320,30,145,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5127db98ab08bd52c4c2fb2bac6bfa64.jpg",[],1777535713897]