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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。",[44,45,77,78,59,46,79,24,80,81,82,83,7,84],"书画","扇面","设色","花卉","花枝","花叶","写意花鸟","题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77b227089b3a30105cdc5394e4006f97.jpg","纸本，泥金","纵18.6厘米横54.1厘米","",[],47,{"id":92,"slug":93,"title":94,"dynasty":39,"author":95,"museum":96,"description":97,"tags":98,"thumbUrl":119,"material":120,"size":121,"collection":30,"collections":122,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":34},219156,"xing-shu-ti-hong-ya-shan-fang-tu-shi-ye-hu-yan-219156","行书·题洪崖山房图诗页","胡俨","北京故宫博物院","洪崖山位于江西南昌城西山之中，峰峦秀拔，林壑深窅。胡俨自24岁领乡荐便宦游南北，至明永乐十四年（1416年）已达30年。“既衰且老，不能不慨然追念畴昔，望洪崖之山，悠然兴其倦归之思。”遂将所作数篇及后来阁僚为洪崖而作者合为一卷，请中书舍人画家陈宗渊绘《洪崖山房图》。此三首即为题画而作，表达了心灵对退隐洪崖、耕桑读书、为太平之民的渴望之情。第一首末两句“陈郎胸次如摩诘，丘壑能令画里传”是赞扬陈宗渊绘画技艺之高妙。\n此篇尺牍笔画粗壮而古朴，精神外露，具有俊爽雄放的风度，是胡俨56岁时的翰墨佳构。",[44,24,23,99,7,100,101,102,49,103,104,105,106,107,108,109,110,111,112,113,114,115,116,117,118],"题诗","章法","结体","山房","月","树","鹤","藤萝","苍松","雪","溪","舟","田舍","云","烟","风","雨","晓岚","飞翠","崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F255413cc6b058a16472e805f186f1c4d.jpg","纸本,水墨","纵27.3厘米，横45.5厘米",[30],42,{"id":125,"slug":126,"title":127,"dynasty":39,"author":128,"museum":96,"description":129,"tags":130,"thumbUrl":133,"material":28,"size":134,"collection":30,"collections":135,"showCount":123,"zanCount":11,"manualWeight":11,"mainColor":34},219148,"xing-shu-yu-zhong-du-zhuo-shi-xu-lin-219148","行书·雨中独酌诗","徐霖","此书为徐霖自作七言律诗一首，表露了老年人的一种伤感情怀。\n此帖书法用笔骨力遒劲，内含刚柔，结体流美秀丽，线条粗细均匀，无显著的波磔变化，仍保留着这些篆书的笔法。",[44,131,77,23,24,28,132,7],"名画","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54909960222c10b5660fd59f71e7cbad.jpg","纵23.7厘米，横36.7厘米",[30],{"id":137,"slug":138,"title":139,"dynasty":140,"author":141,"museum":142,"description":143,"tags":144,"thumbUrl":159,"material":120,"size":160,"collection":64,"collections":161,"showCount":162,"zanCount":68,"manualWeight":11,"mainColor":34},217901,"yun-lin-zhong-xiu-tu-fang-cong-yi-217901","云林钟秀图","元","方从义","费城艺术博物馆","云林钟秀图描绘的是一座位于云林县的庙宇，画面中的庙宇极其写实，细节丰富，富有层次感。画中的山水、建筑、树木等都栩栩如生，充分展现出了当时云林的美景。\n\n云林钟秀图被认为是方从义的杰作，因为它体现了方从义对写生图画的高超技艺，也因为它能够真实地反映当时云林的风貌。它被广泛收藏，并被认为是元朝时期写生图画的杰作之一。",[45,77,145,46,54,23,24,48,146,147,148,149,150,151,152,153,154,155,156,157,59,7,158,132],"长卷","山峦","云雾","树木","河流","小桥","亭台","岩石","植被","溪流","远山","近景","留白","题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F120f73ed8db53c5a080a857830f7ff35.jpg","24.8x108cm",[64],35,{"id":164,"slug":165,"title":166,"dynasty":167,"author":168,"museum":169,"description":170,"tags":171,"thumbUrl":177,"material":88,"size":88,"collection":88,"collections":178,"showCount":179,"zanCount":11,"manualWeight":11,"mainColor":180},202651,"qiu-shan-xiao-si-tu-juan-yi-ming-202651","秋山萧寺图卷","宋","佚名","上海博物馆","秋意浸染的山水长卷中，层峦叠嶂次第铺展。近山嶙峋，以细密皴法勾勒山石肌理，草木葱茏间隐现萧寺屋宇；远山含烟，墨色渐淡融入天际，与开阔河面相映成趣。河面如镜，几叶扁舟轻泛，岸边林木疏朗，秋意萧疏却不失生机。笔墨细腻处见严谨，雄浑间藏气韵，将秋日山水的清寂悠远与自然野趣完美融合，尽显宋画山水的雅致风骨与意境之美。",[45,48,54,145,172,173,174,175,176,7,44],"秋山","萧寺","扁舟","林木","层峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58eda14d30dd31cd65ccc33e29b11079.jpg",[],33,"000000",{"id":182,"slug":183,"title":184,"dynasty":185,"author":186,"museum":187,"description":188,"tags":189,"thumbUrl":203,"material":88,"size":88,"collection":64,"collections":204,"showCount":206,"zanCount":11,"manualWeight":11,"mainColor":34},239415,"fang-gu-shan-shui-ping-qin-zu-yong-239415","仿古山水屏","清","秦祖永","藏地不详","此作为浅绛山水，取高远、深远构图，层峦叠嶂渐次推展。山石以干笔皴擦，兼施淡赭花青晕染，松苍枫艳，满溢秋意。林麓间山居隐现，山道上行旅往来，山口茅亭有人闲坐，处处缀出悠然的山居烟火气。\n画作师法前贤，笔致松秀温润，设色清雅柔和，题诗呼应画意，将宋元山水的苍浑气象，揉入文人画的秀逸雅致中，尽显静穆淡远的林下雅趣，是晚清仿古山水中极具意韵的佳构。",[45,79,48,54,190,191,104,192,193,194,195,196,197,132,150,198,199,200,201,7,202,46,47],"仿古","山","亭","人物","路径","山石","松树","枫树","古道","房屋","行人","秋景","青绿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa922d4fea8744735b2bda1b5ca2a1160.jpg",[64,205],"设色画精选",31,{"id":208,"slug":209,"title":210,"dynasty":185,"author":211,"museum":96,"description":212,"tags":213,"thumbUrl":225,"material":226,"size":227,"collection":88,"collections":228,"showCount":206,"zanCount":11,"manualWeight":11,"mainColor":34},233677,"jiao-yin-pin-yan-tu-zhou-ren-yi-233677","蕉荫品砚图轴","任颐","砚，“文房四宝”之一，是古代文人书桌必备之物。用料讲究，造型精美的砚台兼具实用性和赏鉴把玩的特性，因此热衷收藏品赏砚台的文人雅士也大有人在，比如宋代大文人苏轼就是“嗜砚成癖”。\n任颐此图画一文士双手捧砚，神态专注，旁边的童子还在整理一摞石砚。虽然没有明确写画的是谁，但是从人物装扮来看，很可能表现的就是苏轼品砚的故事。画风清爽，线条顿挫曲折，极富表现力，人物形象很是传神。\n任颐（1840—1896年），初名润，字小楼，后字伯年，浙江绍兴人，后寓上海。“海派”代表画家。以卖画为生，擅长人物、肖像、花鸟、山水。其人物师法陈洪绶、费丹旭、任熊等人，花鸟画取法陈洪绶、陈淳、徐渭、朱耷，笔墨简逸放纵，设色明净，形成兼工带写、明快清新的格调。他的绘画发轫于民间，又继承传统，融汇诸家之长，还吸收了西画速写、设色诸法，从而形成丰姿多彩、新颖生动的独特画风，具有雅俗共赏的艺术趣味和鲜明的时代气息。任颐与任熊、任熏、任预有着师承关系，画风一脉相承，并称为“海上四任”。",[45,47,79,193,214,215,216,217,218,7,219,220,221,222,223,224],"芭蕉","砚台","文人","长袍","兼工带写","服饰","蕉叶","古代服饰","品砚场景","设色人物","传统笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F071954fcb7937f196c6fc0f481688551.jpg","纸本设色","155.5cm×43.5cm",[],{"id":230,"slug":231,"title":232,"dynasty":167,"author":233,"museum":74,"description":234,"tags":235,"thumbUrl":239,"material":240,"size":241,"collection":88,"collections":242,"showCount":243,"zanCount":11,"manualWeight":11,"mainColor":34},221200,"shu-qi-yan-lv-shi-zhao-gou-221200","书七言律诗","赵构","《宋赵构书七言律诗》是宋代时期宋高宗创作的书法作品。\n此幅墨迹是宋高宗以楷书书写 的七言律诗（即事），又名「暮春三月诗帖」。\n此一诗帖以中锋书写，通幅看来章法疏朗，字体匀称、圆润，墨色统一，令人看来赏心悦目。\n杜甫这首七律的意境如画，高宗笔墨洗鍊，二者可说是相得益彰。\n诗後原来还有元代赵孟頫为此诗作的图，可惜已被人裁去。\n高宗在绍兴三十二年（1162）晚年时退休，这段时期所作的楷书，多典雅圆融，端正停匀，有一种飘逸潇洒的趣味。\n这幅作品不仅接近这样的风格，因诗幅後还有高宗在位时的用印（御书之宝），因此推测它书写的时间应距退休时间不远。",[44,167,23,77,24,132,236,28,237,7,238],"墨迹","汉字","律诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920a2edf348ab63e87e4a67ff0261287.jpg","行楷书","27.1×48.7cm",[],28,{"id":245,"slug":246,"title":247,"dynasty":167,"author":248,"museum":169,"description":249,"tags":250,"thumbUrl":260,"material":120,"size":261,"collection":88,"collections":262,"showCount":263,"zanCount":11,"manualWeight":11,"mainColor":34},214266,"duo-jing-lou-shi-tie-17-mi-fei-214266","多景楼诗帖-17","米芾","笔锋扫过纸面，墨色如泼如注，米芾“刷字”神韵跃然纸上。粗笔似重锤落石，细画若银丝牵风，欹侧字形藏奇崛风骨——“知”右倾却重心稳，“上”竖画如剑指苍穹。飞白处显行笔迅疾，浓墨间见腕力沉雄，字间牵丝暗连，章法行云流水一气呵成。狂放中含精谨气度，似酒后挥毫的洒脱，又藏数十年笔墨功底。观之如临多景楼头，江风拂面豪情满怀，尽是宋人的笔墨风流。",[23,24,46,251,7,252,253,254,255,100,101,256,257,258,259],"字帖","笔势","飞白","中锋","侧锋","线条","墨韵","提按","顿挫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F755a32a37aeffaadd767d85a4fda28a7.jpg","31.2x538.1",[],26,{"id":265,"slug":266,"title":267,"dynasty":167,"author":168,"museum":74,"description":268,"tags":269,"thumbUrl":273,"material":274,"size":275,"collection":276,"collections":277,"showCount":278,"zanCount":11,"manualWeight":11,"mainColor":279},219625,"kan-shu-tu-yi-ming-219625","勘书图","庭园之中，几案纷列，髯者数人，有持扇、阅卷、脱帽、盥洗者。此图与本院所藏宋刘松年「十八学士图」长卷之一段构图近似，选取其中不同人物活动、家具陈设、花园点景而成，主题应为文会而非勘书。院中所摆置家具、器物种类繁多，有长案、方桌、方凳、环墩、靠背扶手椅、琴、书卷、酒器、香炉等。此图应为明代中晚期临本，画家对器物造型描写颇多，但在人物绘法上有些呆板。",[45,77,270,79,193,271,23,132,7,272],"工笔","典籍","纸砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff944d9925f9c8460e8e94c86c9ef945d.jpg","绢本,设色","50.7x42.2厘米","人物画精选",[276],25,"F48FB1",{"id":281,"slug":282,"title":283,"dynasty":39,"author":284,"museum":285,"description":286,"tags":287,"thumbUrl":289,"material":28,"size":290,"collection":30,"collections":291,"showCount":292,"zanCount":11,"manualWeight":11,"mainColor":34},222472,"yun-jiang-ji-zhu-yun-ming-222472","云江记","祝允明","天津博物馆","此卷写于弘治八年（1495年），祝允明35岁，是他早期的草书。末署“弘治八年秋日，长洲枝山祝允明书”，并钤“允明之印”和“希哲”二印。\n该卷写得劲健豪放，刚柔相济，点画狼藉，烟云变幻。可以看到他已经将二王、怀素、张旭、黄山谷融会贯通。但较其晚年狂草作品，则显出用笔稍轻，因而有人疑为伪。\n祝允明（1460—1527年），字希哲，因为他多生一指，又号枝指生，枝指山人，枝山等。祝允明的祖父祝颢、外祖父徐有贞都是进士，学问渊博，工诗善书。由于先天的禀赋和祖父外、外祖父的影响祝允明的才华很早就显露出来了。\n祝允明五岁能作径尺大字，读书一目数行，九岁即能作诗，而且出语惊人。当他晚年回忆童年学书时说：“所幸独蒙先人之教，自髫丱以来，绝其令学近人书，目所接皆晋、唐帖也。”由于先辈的教诲，他一开始学书，就取法乎上，打下很好的基础。\n祝允明的草书主要是受他外祖父徐有贞的影响，徐的草书学张旭、怀素，雄肆奔放，这对祝氏草书风格的形成起了决定的作用。祝允明书法风格从精楷到狂草，跨度之大令人惊异，一方面是受这二位前辈的启迪，另一方面则是他横溢的才华决定的。\n明弘治五年(1492年)，祝允明33岁，参加乡试中了举人。他的考卷很得主考王鏊的赏识。他踌躇满志，以为凭自己的才学，进京考试中进士，易如反掌。没想到后来七次会试都不见录。\n仕途的失意，大大改变了祝允明的人生态度，使他从发奋读书、追求功名的圣贤之徒，变成了游戏人生，放荡不羁的漫士。这一转变也带来他笔下的变化，他40岁前后很少作草书，50岁后所作草书就多了起来，而且越来越狂放。\n从不同时期的作品中，可以看出他这种风格的变化。",[44,23,288,24,145,7,132],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6ac6aa2b52b706efe936629884f10c6.jpg","纵26.6厘米，横265.5厘米",[30],23,{"id":294,"slug":295,"title":296,"dynasty":297,"author":298,"museum":169,"description":299,"tags":300,"thumbUrl":302,"material":88,"size":88,"collection":64,"collections":303,"showCount":304,"zanCount":11,"manualWeight":11,"mainColor":305},202798,"shan-shui-tu-zhou-huang-bin-hong-202798","山水图轴","近代","黄宾虹","画面层峦叠嶂，云雾氤氲其间，山石以苍劲皴法勾勒，墨色浓淡交错，尽显嶙峋肌理。崖畔青松虬劲，枯木疏朗，旁侧小屋隐于林麓，小桥横跨溪涧，流水潺潺似可闻。笔墨老辣浑厚，积墨破墨互用，于虚实间营造深远意境，尽显自然野逸之趣，藏着传统山水的深邃韵味与生机。",[45,48,46,54,301,195,150,147,47,7,44],"松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff70857e471c25b4c3def0032a35a4cfb.jpg",[64],22,"e1d9cb",{"id":307,"slug":308,"title":309,"dynasty":185,"author":310,"museum":96,"description":311,"tags":312,"thumbUrl":321,"material":322,"size":323,"collection":88,"collections":324,"showCount":325,"zanCount":68,"manualWeight":11,"mainColor":34},232971,"hua-niao-ce-lang-shi-ning-232971","花鸟册","郎世宁","此图册分别描绘了牡丹、兰花、罂粟、萱草、荷花、梅花等艳丽多姿的花卉和体态生动的蝶、鸟。构图上取法中国传统花鸟画的格局，以虚托实，注重对所绘物象的突出。在表现技法上，则充分发挥了欧洲绘画注重明暗及透视的特点，以工致细腻的笔触，刻画出花瓣、叶片以及鸟雀的羽毛质感和体积感，呈现出与传统的中国花鸟画迥然不同的艺术风貌。这种“中西合璧”的画风成为清代宫廷绘画艺术的一大特色，受到了清皇室的青睐。",[131,45,77,313,270,79,314,315,316,317,318,319,7,320],"册","中西合璧","兰","石","枝干","花鸟","写实","光影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f6041cf4527a2b11a1a31782ac66d2a.jpg","绢本，设色","纵32.6厘米，横28.6厘米",[],20,{"id":327,"slug":328,"title":329,"dynasty":185,"author":330,"museum":331,"description":332,"tags":333,"thumbUrl":341,"material":28,"size":342,"collection":30,"collections":343,"showCount":344,"zanCount":11,"manualWeight":11,"mainColor":34},241394,"qi-jue-zhou-zhao-zhi-chen-241394","七绝轴","赵之琛","南京博物院","赵之琛（1781-1852），钱塘（今浙江杭州）人。字次闲，号献父、献甫，又号宝月山人，斋号补罗迦室。蝶隐园书画杂缀作赵之瑛。清代著名的篆刻家和书画家，精心嗜古，邃金石之学，篆刻得其乡陈豫锺传，能尽各家所长。尝为阮元摹刊钟鼎款识，兼工隶法，善行楷。画山水师倪、黄，以萧疏幽澹为宗。花卉笔意潇洒，傅色清雅，大有华嵓神趣。间作草虫，随意点笔，各种体貌，无不逼肖。然丈尺之幅，腕力已薄，虽不能追踪古人，亦当抗衡奚冈、方薰、黄易。\n竹，是中国古代画家最为喜爱的绘画题材之一。由于竹有着挺拔、有节、虚心向上、耐寒不凋等习性特点，中国古代画家常常以之作为精神的写照和人格的象征，不论是梅、兰、竹、菊的“四君子”，还是松、竹、梅的“岁寒三友”，萧萧修篁都赫然位列其间。至于修竹与瘦石的结合，更是自宋元以降历代文人画家的拿手好戏，在中国古代的绘画史上，擅写竹石的画家俯拾皆是，不胜枚举。\n关于竹的画法，一般可分为两类：一类是双勾填色，一类是水墨写意（也有以色代墨者）。前者立足于画，致力于形态；后者立足于写，强调的是风神。赵孟頫所谓“石如飞白木如籀，写竹也应八法通；若也有人能会此，须知书画本来同”云云，即是以枯木竹石作为例证，来阐释中国画尤其是文人画的书法性原则的。不过，赵之琛的这幅《双勾竹石图》里竹子的画法却用的是双勾。画面下方的土坡上修篁三竿，亭亭玉立，直冲画外，竹叶繁茂，左右纷披，昂抑错落，姿态优美，尤其浅淡的汁绿渲染，更使得整个竹子显生机勃发，清气盎然。\n从总体上看，赵之琛对竹子竿、节、叶的形态皆能准确的把握，法度谨严，笔法工细，位置的穿插安排，自然合理，疏密有度，颇见功力与匠心。在竹子的前端，画家画有湖石一方，玲珑剔透，瘦峭崛立，此亦中国文人画的惯用手法，其作用一则为了与修竹相互映衬，另一则为了稳定画面。需要引起注意的是，赵之琛笔下的这块湖石形态独特，重心前倾，在构图上显得颇为奇险，而画家却能处险不惊，化险为夷，实属难能可贵。湖石的四周另有茅草随意点缀，益发有助于画面的和谐和自然。",[23,334,335,47,7,336,337,338,339,340],"隶书","篆书","寒景","清风","飞","泉","清景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1baaeaf7f25126adf970cbdc055a876.jpg","131.5×60.5cm",[30],19,{"id":346,"slug":347,"title":348,"dynasty":297,"author":349,"museum":169,"description":350,"tags":351,"thumbUrl":353,"material":88,"size":88,"collection":64,"collections":354,"showCount":344,"zanCount":68,"manualWeight":11,"mainColor":355},203120,"cai-ju-tu-zhou-xu-bei-hong-203120","采菊图轴","徐悲鸿","文士着蓝袍立于苍松之下，宽袖飘举间身形清癯。手中轻拈菊枝，仰头望松间虬枝，神态悠然似入遐思。松干以浓墨皴擦，纹理如老鳞般苍劲；松针层叠，墨色深浅相济显层次。背景山水晕染轻淡，远山如黛，近坡疏草，留白处漾出空灵之韵。人物衣纹线条兼具流畅与写实，面部神情超逸，尽显文人风骨。侧畔菊丛红黄点缀，为清寂画面添一抹生机。整幅画融传统笔墨意趣与西画造型技法，将田园逸致与高洁情怀凝于尺幅间。",[45,79,193,48,352,301,319,7,47,77,44],"菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5abbd949ee7b76e65e535d7f5068b262.jpg",[64],"c1b6a3",{"id":357,"slug":358,"title":359,"dynasty":39,"author":73,"museum":169,"description":360,"tags":361,"thumbUrl":363,"material":88,"size":88,"collection":364,"collections":365,"showCount":344,"zanCount":68,"manualWeight":11,"mainColor":366},201724,"hua-hui-juan-chen-chun-201724","花卉卷","水墨写就的长卷中，四时花卉次第铺展。兰草疏茎淡叶，姿态清雅；菊丛繁枝密蕊，野趣盎然；牡丹雍容绽放，墨色浓淡相宜；另有团簇花枝，叶片苍劲，花瓣柔润。笔墨简逸灵动，浓墨勾枝，淡墨晕瓣，干湿相生间尽显花木神韵。题跋与花卉错落相映，诗书一体，流露文人雅韵。不刻意求工，却神形兼备，气韵生动。",[45,145,46,318,315,352,362,132,77,7,44],"牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9773f2151bb2cfa144b27ecf3c52764.jpg","花鸟画精选",[364],"c6bdb7",{"id":368,"slug":369,"title":370,"dynasty":297,"author":371,"museum":169,"description":372,"tags":373,"thumbUrl":375,"material":88,"size":88,"collection":364,"collections":376,"showCount":377,"zanCount":68,"manualWeight":11,"mainColor":378},202811,"hong-mei-tu-zhou-chen-shi-ceng-202811","红梅图轴","陈师曾","墨枝如铁，虬劲盘折，尽显老干苍古之姿；胭脂点花，浓淡相宜，绽放红梅嫣然情态。笔力雄健洒脱，墨色层次丰富，枝干转折交叉皆见章法，花朵点缀疏密有致，于写意中见生动，于简淡中藏生机。留白得当，清雅韵致与傲然风骨尽显，是文人画中花鸟写意的佳构。",[45,46,79,318,374,59,7,44],"梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ec90339486a1ad246ae416b4554373e.jpg",[364],18,"e2ded4",{"id":380,"slug":381,"title":382,"dynasty":39,"author":383,"museum":384,"description":385,"tags":386,"thumbUrl":387,"material":28,"size":388,"collection":30,"collections":389,"showCount":390,"zanCount":391,"manualWeight":11,"mainColor":34},222528,"san-tan-shi-juan-wang-duo-222528","三潭诗卷","王铎","辽宁省博物馆","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。\n王铎工正、行、草书，得力于钟繇、王献之、颜真卿、米芾，笔力雄健，长于布局。 [6-7] 有北宋大家之风。当时书坛流行董其昌书风，王铎与黄道周、倪元璐、傅山等人提倡取法高古，于时风中另树一帜。\n在书法上王铎是一位各体皆能、风格多样的书法全才。无论是伟岸遒劲的大楷、高古朴厚的小楷书，还是他那飞腾跳踯的行草书，在晚明书坛上都应说是一流的。正书在王铎作品中不多见，源于唐人而能自出胸襟。\n王铎降清后八、九年时间，书风更趋成熟老辣，其狂草技法已臻化境。书法成了其“贰臣”的心理矛盾和落寞情怀的排遣，故作品已失去崇祯朝的扛鼎之力和奋发之气，而转为理性和孤冷。\n《洛州香山诗轴》，在结字上把米芾的倚侧发挥到了极致，再以涨墨法略去点画改变字形，确实有“破鬼胆”之怪；再以中锋强力掠扛，轻重对比强烈，真正有神龙飞腾的不测之力。\n《明资政大夫正治上卿兵部尚书节寰袁公偕配诰封夫人宋氏合葬墓志铭》是王铎于明崇祯十年（1637年）十二月二十七日为其恩师袁可立书丹，铭文近五千字，是不能多见的王铎长篇小楷。\n《壬午临柳公权帖轴》，行草，王铎用三行布白法，写出五行书来：起首在一行空白中挤出密密的两行小字，结尾以贴零的方法在边沿空隙中挤出一行小字。完全打破了传统的章法平衡美原则。\n《王维五言诗卷》，书于崇桢十六年（1643年），绫本，楷书、草书。此诗卷后半部分的行草在王铎作品中则不乏见，章法变化丰富，行笔能纵能敛，整体感强，结体欹正莫测，点画错综复杂，线条枯实互应，故其成就被人给予很高评价。\n《临王筠帖轴》为四行书，主题三行书如空中的柳条左右摇曵飞舞，没有一处是垂直平衡和安静的，最后一行书乃落款小字，更是从左上向右下摇荡，末了还在边空贴零挤上“王铎”二字穷款。邱振中曾用“轴线连缀”的方法分析王铎每行书的左右摇摆度，以感知这种章法的平面几何关系。这种翰札书、藁草书中很常见的章法布白，一下子在大幅立轴作品中产生了前所未有的惊险效果。这正是王铎平面视觉空间构筑上贯彻其所谓“幽险狰狞”的“魔鬼美学”原则，让人在视觉上如此强烈地感受到“劈山超海，飞沙走石，天旋地转，鞭雷电而骑雄龙”的意象。王铎在书法作品平面空间构成上的美学创造，已历四百年而无人居其右\n《赠张抱一行书诗卷》和《赠张抱一草书诗卷》是王铎五十岁在怀州所书作品，这二卷分别是王铎行书和草书的精品。王铎诗宗杜甫，此二卷十数首感事伤时的诗中发出了“百感中原事，魂魂向夜生”的悲鸣，乃是离乱战火中奔波有感于生灵涂炭的“诗史”品格，因此前卷行书尤显沉雄深厚，后卷草书乃感幽怨缠绵。黄道周评价王铎书法曾有“五十自化”之说 ，这是强调生活与人格历练对书法风格成熟的审美卓见。徐悲鸿曾有一诗，用“蟠、蛟、螭”这种极尽其变的“神龙”来比拟王铎草书所塑造的形象，并赞之曰：“有明书法推第一，屈指匹敌空坤维。”他甚至还发问说：“文安诗作猛虎吼，谁执王字相雌雄？”\n《奉龚孝升书卷》为酒后佳作，行笔刚毅，元气充盈，既是晚年颓废生活偶发牢骚的写照，也是悲剧情怀的痛苦表露，堪称行书代表作之一。\n王铎画山水宗荆浩、关仝，继承了五代荆浩和关仝的风格，王铎的作品丘壑峻伟，皴擦不多，以晕染作气，傅以淡色，沉沉丰蕴，意趣自别。。同时他也吸收董源和王维的画法，主要以水墨晕染为主，皴擦不多，略施淡色，山川显得厚实雄伟，生机勃勃。他的山水画景色比较写实，山石的造型方峻，勾皴相间。他的山水画是以元人的笔墨技法画出了宋人味道。王铎的人物画极少见，而且画法比较简略、写意。间作兰、竹、梅、石，洒然有物外趣。\n王铎能画，但作品流传不多。 他的山水画仿荆浩、关仝却无大山大水的气势，《山水册》中的平冈高松，林峦深壑，空薄烟雨，曲径茅屋倒有苍秀清新之气，引人人胜。王铎善以书法之笔描写花卉枯荣盛衰的姿态，从上海博物馆藏《花卉卷》里可窥一斑。此卷作竹、兰、菊、竹叶、菊瓣及兰叶皆以中锋出之，信手写来，洒脱中含有拙味，与他纵而能敛的书法特点相统一。着意神采，不求形似，洒然有象外之意，最能流露出他文人画的情致逸趣。清顺治三年（1646年）作《渔舟萧闲图》，收入《历代名贤画粹》；清顺治七年（1650年）作《雪景山水图》，收入日本《支那名画宝鉴》；清顺治八年（1651年）罢官归里，作《兰石图》卷、《山水卷》，分别收入《新版世界美术全集》《支那名画宝鉴》。王铎善于画山水和梅兰竹石，山东省济南市博物馆收藏的《雪景竹石图》是王铎为睢阳袁枢精心创作的一幅雪竹作品。",[44,23,145,334,132,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e76e495d10d9e265c6a85b332c96765.jpg","横261.2，纵27.3厘米",[30],17,2,{"id":393,"slug":394,"title":395,"dynasty":297,"author":298,"museum":169,"description":396,"tags":397,"thumbUrl":400,"material":88,"size":88,"collection":64,"collections":401,"showCount":390,"zanCount":11,"manualWeight":11,"mainColor":402},202956,"feng-xi-ji-you-tu-zhou-huang-bin-hong-202956","丰溪纪游图轴","画面层峦叠嶂，林木葱郁，山间楼阁隐现，溪畔小桥卧波，尽显江南山水的灵秀幽深。笔墨以水墨为底，皴擦点染交错，线条苍劲老辣，墨色浓淡相宜，浑厚华滋中见清逸之气。树木虬曲挺拔，与山石相映成趣，营造出静谧悠远的纪游意境，仿佛可闻溪声，可观林泉，尽显传统山水画的笔墨神韵与文人情怀。",[45,48,46,54,398,150,399,195,7,44],"楼阁","老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4813947f247d5f31488ee74d969522f7.jpg",[64],"cfc5b3",{"id":404,"slug":405,"title":406,"dynasty":39,"author":407,"museum":169,"description":408,"tags":409,"thumbUrl":411,"material":88,"size":88,"collection":64,"collections":412,"showCount":390,"zanCount":11,"manualWeight":11,"mainColor":180},202153,"shan-shui-juan-shen-hao-202153","山水卷","沈颢","画卷铺展，层峦起伏间云气氤氲，近岸林木萧疏，远峰隐现于烟霭。笔墨运用灵动，皴擦结合，线条挺秀而不失柔婉，墨色浓淡相宜，干湿互济，营造出悠远空灵的意境。山间亭榭、江上孤舟，虽为点景却意蕴绵长，流露文人寄怀林泉的情致。构图虚实相生，开合自然，尽显明末文人山水画的笔墨趣味与审美追求。",[46,48,145,54,410,192,7,44],"孤舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1999c1dc1291ed249139f9e1893457c6.jpg",[64],{"id":414,"slug":415,"title":416,"dynasty":185,"author":186,"museum":187,"description":417,"tags":418,"thumbUrl":422,"material":423,"size":424,"collection":64,"collections":425,"showCount":426,"zanCount":11,"manualWeight":11,"mainColor":34},237997,"shan-shui-ce-qin-zu-yong-237997","山水册","秦祖永，道光五年（1825年）生，光绪十年（1884 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与明初儒释道各家学术领袖都有不错的关系。 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、驴屋等，汉族，江西南昌人。明宁王朱权后裔。明亡后削发为僧，后改信道教，住南昌青云谱道院。擅书画，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。存世作品有《水木清华图》、《荷花水鸟图》等。\n八大山人的书法与他的绘画风格相似，极为简练，到晚年喜用秃笔，一变锐利的笔势而变成浑圆朴茂的风格。近人研究八大书法，追其师承渊源众说纷纭。或曰宗二王、宗董其昌、宗王宠等等，终如寻其书画师承，至今无一定论一样。据王方宇先生考证，最初，八大山人受欧阳询的影响很深，稍后学董其昌的行草，又转入黄庭坚的夸张开阔等，多方探索，再追寻魏晋人书法的气质，终于参用篆书笔法，形成自己独特的风格:中锋圆润，又婉约多姿且厚重浑成，富有晋人气度。他的书法的成就，主要是笔法的改变。\n朱耷是清代著名的书画家。他的简笔写意花鸟画，以独特的面貌，开一代新风。他的书法亦与他的绘画风格相似，极为简练，到晚年喜用秃笔，一变锐利的笔势而变成浑圆朴茂的风格。\n近人研究八大书法，追其师承渊源众说纷纭。或曰宗二王、宗董其昌、宗王宠等等，终如寻其书画师承，至今无一定论一样。据王方宇先生考证，最初，八大山人受欧阳询的影响很深，稍后学董其昌的行草，又转入黄庭坚的夸张开阔等，多方探索，再追寻魏晋人书法的气质，终于参用篆书笔法，形成自己独特的风格:中锋圆润，又婉约多姿且厚重浑成，富有晋人气度。他的书法的成就，主要是笔法的改变。\n八大山人在许多绘画作品上的款跋，相当精彩奇巧。如在绘画布局上发现有不足之处，有时用款书云补其意。八大山人也能诗，所以他的画即使画得不多，题上自己随兴发挥的诗，意境就充足了。\n此册集朱耷所书信札十三通装裱成册，故又称《十三札》册。每札均有作者题名“八大山人”，大部分钤有“八大山人”印，其中第四札钤“八还”印，第五札钤“十得”印，第十札钤“遥属”印。此十三札有六通上款“鹿村先生”，六通“西翁”，一通致“僧舍方丈”。实际上都是致好友方士管的，方氏为八大的书画资助人和代理商，故札中所述多为友人间往还之事，其中不乏奉画、饮宴之约，借钱、谢赠等事，从中可以窥见八大山人当时生活的一个侧面，具有重要的文献价值。从书法风格及落款形式分析，此十三札大致为朱耷晚年之作。末开附清李葆恂题识四则。钤“李文石”、“臣葆恂印”、“文石”、“葆恂”、“文石父”等印多方。又册中第四札裱边有游悔庐主人题诗一首。\n是册书法挥洒自如，行草相间，无拘滞之感，盖由于书者致书友人，全无拘束，缘纸走笔，纵横驰骋，了无挂碍，自能得其书法真趣。此册不仅具有一定的史料价值，而且在书法艺术方面也同样具有很高的艺术价值。",[551,24,23,77,45,461,46,132,216,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F239e52d7c98022240a611f05b935670a.jpg","纵24.6cm，横15.1cm",[],{"id":917,"slug":918,"title":919,"dynasty":185,"author":920,"museum":187,"description":921,"tags":922,"thumbUrl":926,"material":88,"size":88,"collection":88,"collections":927,"showCount":905,"zanCount":11,"manualWeight":11,"mainColor":34},235095,"zheng-min-shan-shui-ce-zheng-min-235095","郑旼山水册","郑旼","此作以淡墨写平林小景，枯木虬劲疏朗，枝桠错落伸展，崖畔茅舍孑然独立，远山以浅墨轻扫晕染，淡远朦胧。画面留白疏朗空寂，尽显萧散冷逸的林下之风。\n笔墨简淡松灵，不事浓艳雕琢，以极简笔意勾勒出荒寒清远的意境，深得倪瓒遗韵，尽显新安画派崇尚疏淡雅逸的意趣。搭配左侧行书题跋，笔致清劲秀雅，书画相得益彰，文气盎然，将山水的清冷澹泊与文人隐逸之思相融，悠悠然见林下高致。",[45,77,313,46,48,24,54,399,684,192,195,923,924,7,59,148,152,925,23,473],"枯树","小筑","水体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F550867f3e60c4cab630f75e34d2b8d86.jpg",[],{"id":929,"slug":930,"title":931,"dynasty":167,"author":932,"museum":96,"description":933,"tags":934,"thumbUrl":937,"material":28,"size":938,"collection":88,"collections":939,"showCount":905,"zanCount":11,"manualWeight":11,"mainColor":940},221567,"shu-da-gui-yi-zhong-tie-zhu-xi-221567","书大桂驿中帖","朱熹","此帖是《宋贤遗翰册》中一页。按朱熹《年谱》，宋绍熙五年五月知潭州，《宁宗本纪》言：“七月庚午，召秘阁修撰知潭州朱熹诣行在。”文中“辛苦三月，已不胜郡事”，即五月至八月，在任正好三个月。“告归未获”，指朱熹在六月曾“申乞放归田里”。文中所提及诸事多为绍熙五年事，故推算此帖为绍熙五年作品，朱熹时年65岁。\n《大桂驿中帖》书法纵逸不拘，醇古自然，意态畅达，如烟云舒卷，意在行文，有自得之趣。如詹景凤所言：“不以书名，固以学掩之。”\n《石渠宝笈·续编》著录。",[44,23,77,236,24,28,145,46,935,936,7,256,132],"宋代书法","文人书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbee75601295dc929695527313345c875.jpg","纵33.4厘米，横57.3厘米",[],"795548",{"id":942,"slug":943,"title":944,"dynasty":297,"author":646,"museum":169,"description":945,"tags":946,"thumbUrl":947,"material":88,"size":88,"collection":364,"collections":948,"showCount":905,"zanCount":11,"manualWeight":11,"mainColor":949},203234,"ju-jiu-tu-zhou-qi-bai-shi-203234","菊酒图轴","画面以疏朗之构铺陈，秋菊与酒具相映成趣。红菊艳而不妖，花瓣层叠间见笔墨的灵动；黄菊雅而有致，色泽明快却不失内敛。墨叶以泼墨法挥洒，浓淡交织中尽显笔力雄健，与设色花朵形成鲜明对比。下方酒器线条极简，瓶的修长与杯的小巧相呼应，朴素天真里藏着生活意趣。整作笔墨凝练，将文人赏菊饮酒的闲逸心境，融于写意的挥洒间，简淡中见真趣，质朴中含深情。",[45,79,318,352,615,46,59,7,44],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F842fb55f4826e6649ddd244fa1439a86.jpg",[364],"c8bdb1",{"id":951,"slug":952,"title":953,"dynasty":185,"author":954,"museum":169,"description":955,"tags":956,"thumbUrl":959,"material":88,"size":88,"collection":364,"collections":960,"showCount":905,"zanCount":11,"manualWeight":11,"mainColor":961},203107,"lu-yan-tu-ce-bian-shou-min-203107","芦雁图册","边寿民","两只芦雁亲昵相依，淡墨晕染的羽毛层次分明，朱红喙蹼点睛般鲜活。芦苇以泼墨写意挥就，线条苍劲灵动，随风摇曳的姿态衬出秋江清寂。笔墨简练却形神毕肖，浅淡水面与疏朗芦叶相映，尽显自然野趣与文人雅韵。",[45,46,79,318,957,958,59,7,132,44],"芦雁","芦苇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb43824eec90d70373d74d3dc4efd0cf0.jpg",[364],"c8b088",{"id":963,"slug":964,"title":965,"dynasty":39,"author":659,"museum":187,"description":966,"tags":967,"thumbUrl":972,"material":423,"size":424,"collection":88,"collections":973,"showCount":974,"zanCount":11,"manualWeight":11,"mainColor":34},283765,"jie-lu-sun-guo-ting-shu-pu-juan-dong-qi-chang-283765","节录孙过庭书谱卷","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”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[44,23,145,24,251,968,7,969,970,971],"书谱","清逸","笔畅","神融","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F622f0412fc8aa314d0414f26fece3f0c.jpg",[],3,{"id":976,"slug":977,"title":978,"dynasty":39,"author":979,"museum":96,"description":980,"tags":981,"thumbUrl":982,"material":28,"size":88,"collection":30,"collections":983,"showCount":974,"zanCount":11,"manualWei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