[{"data":1,"prerenderedAt":341},["ShallowReactive",2],{"subject-cong-lin":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},583,"cong-lin","丛林","丛林画高清赏析","精选中国历代丛林题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9bf50918130596ef3976dce92de417d.jpg",0,16,[14,53,75,94,122,142,173,195,210,223,238,256,276,290,310,323],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":43,"material":44,"size":45,"collection":46,"collections":47,"showCount":50,"zanCount":51,"manualWeight":11,"mainColor":52},221389,"xi-shan-xing-lv-tu-fan-kuan-221389","溪山行旅图","宋","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。",[23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,38,39,40,7,41,42],"高清","国画","水墨画","立轴","皴法","雨点皴","山水","山石","瀑布","树木","行旅","溪流","小桥","云雾","山路","驮队","雾气","巨峰","涧水","栈道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a7fc9271bce677ed74b29dfb9421e4d.jpg","绢本","纵206.3厘米，横103.3厘米","宋画精选",[46,48,49],"山水画精选","水墨画精选",2630,15,"795548",{"id":54,"slug":55,"title":56,"dynasty":18,"author":57,"museum":58,"description":59,"tags":60,"thumbUrl":70,"material":71,"size":72,"collection":46,"collections":73,"showCount":74,"zanCount":11,"manualWeight":11,"mainColor":52},221414,"mao-lin-yuan-xiu-tu-li-cheng-221414","茂林远岫图","李成","辽宁省博物馆","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。",[23,24,61,62,63,29,27,64,65,66,32,30,36,67,44,68,7,34,69],"名画","书画","长卷","设色","茂林","远山","淡墨","层峦","亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ba9ba394d8f11186aaa0fc8c73d28ca.jpg","绢本，淡设色","纵45.4厘米，横141.8厘米",[46,48,49],144,{"id":76,"slug":77,"title":78,"dynasty":79,"author":80,"museum":20,"description":81,"tags":82,"thumbUrl":88,"material":89,"size":90,"collection":48,"collections":91,"showCount":92,"zanCount":93,"manualWeight":11,"mainColor":52},221689,"yun-heng-xiu-ling-zhou-gao-ke-gong-221689","云横秀岭轴","元","高克恭","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。",[23,24,83,26,84,64,27,85,86,87,32,34,30,36,7],"山水画","水墨","云","山","岭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57a3b151c29770cbb6ae78260a23de70.jpg","绢本，重设色","纵182.2厘米，横16.7厘米",[48,49],85,1,{"id":95,"slug":96,"title":97,"dynasty":79,"author":98,"museum":20,"description":99,"tags":100,"thumbUrl":117,"material":118,"size":119,"collection":48,"collections":120,"showCount":121,"zanCount":93,"manualWeight":11,"mainColor":52},231383,"qing-jiang-chun-xiao-tu-wu-zhen-231383","清江春晓图","吴镇","图画清江两岸的美丽风光。江之左岸，高山耸立．巍峨壮观，笔直的山峰直插云天。远山采用水墨渲染，用淡墨勾勒出山之轮廓，隐约可见连绵起伏之势。主景画平缓的山坡，坡上的苍松翠梧只是用笔尖画出一些小点点，但山泉和因落差形成的瀑布倒挂于两山之间，却清晰可见。主景的高山，巨峰陡然耸立，占据了画面的二分之一强。山峰采用渴笔擦皴法，山峰壁削，山坡平缓都画得非常形象逼真。山巅之上，花草树木也是采用写意的画法，用笔尖墨点来表现。只有山角下、河岸边的松林方可见其真面目，树干、树叶等，一一画出。幽寂的山谷间，有亭台楼阁，有的画其全貌，有的只画楼之一角。山脚坳中有平房数间，掩映在松树林中。从左至右，平房所处的山石之间，有三座木桥相连。清江右岸江心岛上，也有平房数间，由坡岸到江心岛，由两座木桥相连。可谓小桥流水人家，一派世外桃源的平和景象。江中心一叶扁舟，顺流而下。船上四人，或高谈阔论，或尽情欣赏清江两岸的大好风光。这些舟桥，既以其小巧与大山相映成趣；又起到了将画面各处景物连贯为一个有机整体的作用，在构图上很见匠心。 ‘\n此图描绘清江两岸的美丽风光。此画可以分为远景、中景、近景三段式。远景即江之左岸，山峦叠嶂，山峰林立，山巅主峰耸立，直插云天，整体山势巍峨壮观，山坡左侧的山泉和落差形成的瀑布倒挂于两山之间，奔腾直泻，如一匹银白帛布在风中吹拂似的。山坳或山坡平坦处筑有庙宇亭台楼阁，有的仅露出一角，有的半露半隐，屋宇楼阁，用笔工整细致，近似界画。山脚下河岸旁，树木成林，排列齐整，在丛林荫下座落几间房舍，溪水两岸有一座板桥相连接。中景为宽阔的河水，河面平静如镜，无一丝波纹，唯有小扁舟在河面中心荡漾，小舟上坐有四五人，十分悠闲自然，或论经说道，或尽情地观赏清江两岸的山山水水。人物用笔极简练，寥寥数笔一挥而就，但各人的神情、姿态各异，生动逼真，可见作者有着极强的写实能力。近处即为此画的主景，在崎岖不平的丘陵上，山势较为平缓，平坡上长有苍松翠柏，江心岛上也有房舍数间，各江心岛皆架有木桥，用来接连坡岸。可谓小桥流水人家，一派世外桃源的平和景象。这些舟桥，虽比例较小，不曾起眼，但它们却以其小巧与大山相映成趣，又将整个画面各处景物连贯在一起，有机地组成一个和谐的整体，在构图上别具匠心。此画远山采用水墨渲染，用淡墨勾勒出山之轮廓，然后加以皴擦，坡上的苍松翠柏只是用笔尖勾画出一些小点点，以介字点树叶，山峰采用渴笔皴法，山巅上的花草树木采用写意的画法，用笔尖墨点来表现。",[24,83,84,101,102,103,27,104,66,31,105,106,107,108,109,110,111,7,112,113,114,115,116],"渴笔皴法","写意","界画","高山","山泉","亭台楼阁","房舍","木桥","清江","扁舟","松树","山谷","江心岛","人物","世外桃源","平和","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78c6ab37569f3f8b0024781bd1f59370.jpg","墨笔画","纵114．7厘米，横100．6厘米",[48],57,{"id":123,"slug":124,"title":125,"dynasty":126,"author":127,"museum":128,"description":129,"tags":130,"thumbUrl":135,"material":136,"size":137,"collection":138,"collections":139,"showCount":140,"zanCount":11,"manualWeight":11,"mainColor":141},233822,"qiu-shan-bai-yun-tu-zhou-wang-shi-min-233822","秋山白云图轴","清","王时敏","北京故宫博物院","图绘烟云浩渺、林木葱郁的雨后山景。据款题而知，此图是作者有感于“三伏生秋”之意于盛夏的雨后仿元人黄公望笔意所作的秋景图。王时敏自明崇祯五年（1632年）辞官归里后便潜心于对宋、元诸家绘画的研究，期间创作了大量摹仿黄公望的作品，此图便是其中一幅深得黄氏“浅绛”画风的力作。其笔法松秀灵动，色、墨富于变化而有层次，重叠交错的墨点更是将山形树貌有机地统一于高逸的境界中。\n款题：“己丑六月望，过西田村舍，毒热不异炮灼，僵卧挥汗，雠睨笔砚。适雨后稍凉，忆古人三伏生秋之句，戏作秋山白云图。虽曰摹仿大痴，实未得其脚汗气也，愧绝愧绝。王时敏识。”钤“王时敏印”白文印、“西田”朱文印。又题：“此余十年前所作，公瑕将以赠宿章道兄。复携见示，追忆挥汗舐笔时，宛然如昨。今年至力衰，百事慵懒，不复求旧管城公，诵少陵‘丹青不知老将至’之句，益深慨叹。辛丑子月时敏又题。”钤“烟客”、“儒斋”朱文印二方。“己丑”为清顺治六年（1649年），作者时年58岁。“辛丑”为清顺治十八年（1661年），作者时年70岁。",[24,62,26,84,64,29,27,131,132,32,30,34,133,66,7,134],"秋山","白云","茅屋","近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e0e8853100f701b1b8e23fd8d4e2ff.jpg","纸本，设色","纵96.7厘米，横41厘米","",[],38,"BDBDBD",{"id":143,"slug":144,"title":145,"dynasty":146,"author":147,"museum":148,"description":149,"tags":150,"thumbUrl":170,"material":138,"size":138,"collection":138,"collections":171,"showCount":172,"zanCount":93,"manualWeight":11,"mainColor":52},228346,"wan-li-xun-qin-tu-juan-huang-xiang-jian-228346","万里寻亲图卷","明","黄向坚","藏地不详","《寻亲图》是清代画家吴伟业创作的纸本设色画，现藏于 。\n该图画远山高耸，巉崖陡壁。\n笔法细腻，层次丰富。\n远山用没骨法淡淡渲染，山石以小笔皴擦。\n画面空蒙秀雅，构境奇险，景物有纪实风。\n画中巉崖陡起，群山峭拔，白云缭绕，下瞰山城、城外危桥上一人荷伞穿行，走向前方的城镇，应是黄向坚自写。\n其后层层坡岫，远峰矗立，苍苍茫茫。\n山溪急満穿插倒悬为飞瀑，奔腾直泻，村落屋宇在丛林中或隐或现。\n画面上作者长题识：“浪穹县城在崖危屿之下。\n途次松杉行列，葱翠蔚然。\n予度溪桥，旋陟山顶，白云片片如擘絮，辄致侵入，飘绕襟袂，且喜不迷古道，无劳一拨耳。\n噫！畴谓荒缴无佳境哉。\n黄向坚并志。\n”钤“向坚”（朱文）“端木”（白文）印各一。\n此图画作者万里寻父之所见所闻，并自作《纪行一编》，所写山水，皆其所历，吴人为作乐府传其事。\n黄向坚其父孔昭，明末在云南作官，因云南姚州（今姚安县）兵乱阻隔不得归，黄向坚于清顺治八年（1651）开始徒步前往找寻，历时两年，徒步万里，终于在白盐开县把父亲迎回家乡，沿途绘中山水。\n名曰《寻亲图》，点出了主题。\n画中虽以较大的片幅描写这里的崇山峻岭和奇险的景色，但主要集中于黄氏寻亲，尤其是突出黄氏荷伞穿越危桥的情景，点出了此画的主题。\n虽在画面上所占的比例很小，但却主题突出，起到画龙点睛效果。\n此画构景奇险，明显带有西南山川的特点。\n此图为纪游山水，有着浓郁的生活气息和地域特征，如画中村落的安排，瓦眷围墙的结构，具有西南边睡的特色。\n这有力地表达了他万里寻父的忠孝情怀。\n将作者此时此景的情怀跃然纸上。\n山石的点皴和渲染一气可成，画中焦墨干笔勾勒皴擦，用渴笔干皴，线条较多转折顿挫，大体用解索皴一路。\n笔势峭利刚劲，石骨感极强。\n表现大面积的巉崖石壁，如万仞插地，极具气势。\n画树木，主要表现中、远景中的树木的形态，故不作精心匀绘，均用枯墨草草点出，显得幽深苍茫，与险峻的巉崖陡壁浑成一体，两者相辅相成，达到了和谐完美的艺术境地。\n由于他万里徒步旅行的途中，饱览了西南山川的景色，对这里的山山水水有着切身的体验。\n黄向坚（169—167），明末清初画家。\n字端木，吴（今江苏苏州）人，孔昭子。\n善画山水，师法王蒙，结构严密，干笔苍秀。\n传世作品有《巉崖陡壁图》轴、《秋山听瀑图》、《寻亲图》轴、《万里寻亲图》册（十二册）。",[23,24,63,151,83,152,27,153,154,155,156,157,158,159,160,161,162,163,132,164,66,165,166,167,168,7,169],"纸本设色","纪游山水","渴笔干皴","解索皴","没骨法","崇山峻岭","巉崖陡壁","飞瀑","山溪","村落","屋宇","危桥","古道","松杉","城镇","船舶","万里寻亲","忠孝情怀","山峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff46e7e77fdb44845a43436b89bdad273.jpg",[],36,{"id":174,"slug":175,"title":176,"dynasty":126,"author":177,"museum":20,"description":178,"tags":179,"thumbUrl":190,"material":191,"size":192,"collection":48,"collections":193,"showCount":194,"zanCount":11,"manualWeight":11,"mainColor":141},223106,"yun-shan-tu-zhou-dong-bang-da-223106","云山图轴","董邦达","董邦达（1699－1769或1774）清代官员、书画家。字孚闻、非闻，号东山，浙江富阳人。雍正十一年进士，乾隆二年授编修，官礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虔山派之间。与董源、董其昌并列。",[23,24,29,84,64,27,26,180,32,31,181,34,36,182,183,7,184,185,186,66,187,188,102,189],"山峦","亭","房屋","岩石","谷地","小径","苔点","近景","留白","工笔结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1f80ea2a2132aff84f3f8c4cb7be04c.jpg","白纸本","180.2x71.9厘米",[48,49],26,{"id":196,"slug":197,"title":198,"dynasty":79,"author":199,"museum":148,"description":200,"tags":201,"thumbUrl":205,"material":206,"size":207,"collection":138,"collections":208,"showCount":209,"zanCount":11,"manualWeight":11,"mainColor":52},290398,"cong-lin-gao-ta-tu-fang-cong-yi-290398","丛林高塔图","方从义","方从义（约1302—1393），元末著名道士画家，江西贵溪人。字无隅，号方壶、又号上清羽士、不芒道人、金门羽客、鬼谷山人。早年入道，师从永嘉人金月岩修道家之学，为龙虎山上清宫正一派道士，金月岩去世后，他离开龙虎山游历全国各地，往来于大江南北，至正三年（1343）曾至大都（今北京），结交了不少文人、画家和达官贵人，名臣危素称他为“方外之交”，画家张彦辅曾为之绘《圣井山图》相赠，在当时很有名气，由于不喜谈论时事，独好画，不久即思南归，但这次北游使他大开眼界，对他的画有很大促进。",[61,24,84,29,7,202,203,30,36,204,27],"高塔","楼阁","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c37e8375a12f9fbb738dd2e5fc004e.jpg","未知","Xcm*Xcm",[],21,{"id":211,"slug":212,"title":213,"dynasty":146,"author":214,"museum":215,"description":216,"tags":217,"thumbUrl":220,"material":44,"size":221,"collection":138,"collections":222,"showCount":51,"zanCount":11,"manualWeight":11,"mainColor":141},232647,"wu-xie-shan-tu-chen-hong-shou-232647","五泄山图","陈洪绶","美国克利夫兰艺术博物馆","五泄山在浙江诸暨，浙江金华、杭州和绍兴之间，因有五潭之水，泛溢悬流，宛转五级，故日五泄。是陈洪绶的故乡。此图构图缜密，画面丰满，仅留右上角为天空。树林繁茂，山势高峭，清晰的山体轮廓线，干净利落的岩石断层，树木岩石以不同皴法表现，山石方硬以淡墨染之，富有层次，给人一种非常相似的远古的感觉，体现了陈洪绶一贯高古的格调。\n陈洪绶少年即喜画，10岁时就去杭州追随武林派的代表——山水画家蓝瑛习画。陈洪绶早年和壮年的山水画作品以及晚年部分人物画背景都可看出多了蓝瑛的影响。但陈画比蓝画更为清雅秀润，简洁古淡。翁万戈藏《陈洪绶早年画册》（1619年，时22岁）中《奇石小鸟》和《双松图》两副册页所画树石显然是师法元人。他早年的山水虽不成熟，但可看出他广师宋元诸家，集众所善，而尚显个性。美国克利夫兰艺术博物馆藏《五泄山图轴》很可能是他20至30岁期间之作。陈洪绶自幼至交周亮工提及，曾于1624至1625年间数度与陈洪绶同游五泄山。此画密不透风的构图，迂回盘旋的山势，强而有力的光影对比，体现画家在自然山水中的真实感受——阳光和阴影、压迫感十足的乱石、潺潺的流水、浓郁的树林。这是他早期山水画的杰出之作，之后作品再无此类手法的运用。\n陈洪绶是时代的代表，他的艺术同样根植于他所处的时代。尽管陈洪绶不属于高寿画家，但是他的艺术越趋晚年，越突出地彰显了中国传统艺术的精髓和民族风格。\n陈洪绶 (1598-1652），字章侯，幼名莲子，一名胥岸，号老莲，别号小净名、晚号老迟、悔迟，又号悔僧、云门僧。浙江诸暨枫桥人。明末富有革新精神和独创风格的画家。祖上为官宦世家，至其父家道中落。陈洪绶幼年早慧，诗文书法俱佳，曾随蓝瑛学画花鸟。成年后到绍兴蕺山师从著名学者刘宗周，深受其人品学识影响。崇祯三年（1630）应会试未中。崇祯十二年（1639）到北京宦游，与周亮工过从甚密。后以捐赀入国子监，召为舍人，奉命临摹历代帝王像，因而得观内府所藏古今名画，技艺益精，名扬京华，与崔子忠齐名，世称“南陈北崔”。明朝覆没后，清兵人浙东，陈洪绶避难绍兴云门寺，削发为僧，一年后还俗。晚年学佛参禅，在绍兴、杭州等地鬻画为业。陈洪绶生性怪僻，愤世妒俗，身历忧患之时，所交师友多为正义之士。陈洪绶是一位擅长人物、精工花鸟、兼能山水的绘画大师。当代国际学者推为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。著有《宝纶堂集》、《避乱草》等作品集。",[61,24,62,26,84,27,29,32,218,30,31,34,219,7],"枯树","峭壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe63046bcfa80469e93c5b952548b3d1.jpg","118.3×53.2cm",[],{"id":224,"slug":225,"title":226,"dynasty":146,"author":227,"museum":128,"description":228,"tags":229,"thumbUrl":233,"material":234,"size":235,"collection":138,"collections":236,"showCount":237,"zanCount":93,"manualWeight":11,"mainColor":52},234875,"yin-bao-jie-shan-tu-zhou-wang-wen-234875","隐宝界山图轴","王问","画中所绘当为宝界山实景。筑于半山的房舍中，王问侧坐，正对景读书，屋前渔舟泊于岸边，充满生活气息。画家以浓墨绘杂树参差，纵横交错，不拘成法，茅屋数间则以工细的淡墨写出。用笔浑厚老健，笔墨轻重、浓淡、动静的对比与衬托都恰到好处。王问之作传世不多，得此盛年鼎绝作品实为不易。\n此图原藏清宫，后流落民间，故宫博物院考古学家顾铁符先生（1908-1990年）于1949年购于广州。1994年顾先生的家属根据他的遗愿将此图捐赠故宫博物院。",[24,26,29,84,27,32,203,30,182,66,230,231,7,187,232],"近树","建筑","远景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9de3f53df33e51fc5b44308bff63eca.jpg","绢本，墨笔","纵116厘米，横62.5厘米",[],14,{"id":239,"slug":240,"title":241,"dynasty":146,"author":242,"museum":148,"description":243,"tags":244,"thumbUrl":253,"material":136,"size":138,"collection":138,"collections":254,"showCount":255,"zanCount":93,"manualWeight":11,"mainColor":141},234183,"shan-shui-juan-chen-lian-234183","山水卷","陈廉","陈廉（？－？），字威如，直隶大名府元城县人，民籍，明朝政治人物\n顺天府乡试第八十二名，万历十一年（1583年）癸未科会试第二百八名，登二甲第四十四名进士\n曾祖陈绶，曾任知府；祖父陈鸿雷，曾任镇抚；父陈秉忠，曾任王府审理正。母刘氏",[23,24,62,63,84,29,27,86,245,32,36,169,183,246,7,34,247,185,248,249,250,251,218,252,160,69],"水","远岫","丘壑","坡地","植被","层峦叠嶂","烟霭","平畴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8a358cb8317b17bc86b3b68fad90017.jpg",[],13,{"id":257,"slug":258,"title":259,"dynasty":126,"author":260,"museum":148,"description":261,"tags":262,"thumbUrl":273,"material":138,"size":138,"collection":138,"collections":274,"showCount":275,"zanCount":11,"manualWeight":11,"mainColor":141},224395,"cong-lin-lan-re-wang-yuan-qi-224395","丛林兰若","王原祁","此作用笔苍润老辣，以干笔积墨皴擦山峦，层岩叠嶂浑厚苍劲。溪涧蜿蜒穿流于蓊郁林木间，山径隐现幽林深处，铺展出清寂悠然的林下胜境。画面氤氲静谧古雅的禅意，将山野林泉的幽旷之美尽数铺陈。\n\n左侧题诗与画作相映成趣，诗画合璧，把山居雅逸的意趣烘托得淋漓尽致，仿若将观者引入这世外林泉，于山光水色里涤荡尘俗之心，尽显文人山水的悠然意境与沉静风骨。",[23,24,62,29,64,27,263,204,32,30,264,180,181,7,34,265,266,267,268,269,270,271,272],"书法","流水","山峦叠嶂","干笔皴擦","浅绛设色","山石勾勒","树木丛植","溪流蜿蜒","建筑掩映","题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f5a2de7daf042bb44ee28e52239a0d9.jpg",[],10,{"id":277,"slug":278,"title":279,"dynasty":126,"author":260,"museum":148,"description":280,"tags":281,"thumbUrl":287,"material":138,"size":138,"collection":138,"collections":288,"showCount":289,"zanCount":11,"manualWeight":11,"mainColor":141},224400,"ceng-yan-die-cui-wang-yuan-qi-224400","层岩叠翠","这幅山水以干笔积墨写就，山峦层叠开合，取深远章法铺陈丘壑。以干笔皴擦反复叠加墨色，从淡到浓层层积染，山石质感浑厚苍润，尽显沉雄静穆之气。\n山道蜿蜒藏露，溪涧顺势穿林而过，林木错落穿插其间，山居人家隐于深谷，暗合幽寂野趣。笔墨承元人遗韵又自出机杼，于细碎皴染间，将山川郁茂生机与沉静浑融的意蕴合为一体，尺幅之中带着大山大水的苍郁气象，尽显正统山水画的笔墨风骨。",[23,24,62,25,27,282,283,284,30,32,264,31,37,285,286,7,61],"干笔","积墨","册","屋舍","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a7750b4b0b146fdc1e4a74f70bc9e63.jpg",[],7,{"id":291,"slug":292,"title":293,"dynasty":146,"author":294,"museum":148,"description":295,"tags":296,"thumbUrl":307,"material":206,"size":207,"collection":138,"collections":308,"showCount":309,"zanCount":11,"manualWeight":11,"mainColor":52},238968,"cheng-shan-shui-shan-jin-si-238968","成山水扇","靳嗣","此作用半边绘苍茂丛林，坡岸间隐见柴扉，野意悠然。另一侧写层叠峰峦，清溪之上渔舟泛波，远山以淡墨晕染，渐次隐入烟岚，尽显秋山萧疏之致。笔墨干淡松秀，皴染相合，以简淡笔触勾勒出林泉幽寂之境，将寄情丘壑的雅趣融于尺幅之间。题款与画面相映成趣，墨色层次温婉柔和，整体意境清远闲静，尽显江南林泉的温润萧散，带着隐逸淡远的文人意韵。",[297,24,84,29,7,298,299,300,301,302,66,303,304,305,306],"扇面","坡岸","柴扉","峰峦","清溪","渔舟","烟岚","隐逸","林泉","皴染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49ed262024dbf9a4e3b04edc64d2cb82.jpg",[],6,{"id":311,"slug":312,"title":313,"dynasty":126,"author":314,"museum":148,"description":315,"tags":316,"thumbUrl":320,"material":138,"size":138,"collection":138,"collections":321,"showCount":322,"zanCount":11,"manualWeight":11,"mainColor":141},238217,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238217","仿王翬山水册","曹夔音","此作用浅绛设色绘秋山平远之景，云雾翻涌裹挟峰峦，虚实间晕染出空濛烟岚之态。近岸苍松错落，林麓村舍隐现，江水蜿蜒如练，载着清寂秋意缓缓铺展。\n笔墨追摹古法，皴擦温润苍秀，设色淡雅柔和，将暮秋山林的萧疏静谧晕染尽致。搭配题诗题跋，诗画合璧，尽显文人山水的雅致意趣，于尺幅间铺展出林泉幽寂之美，笔底藏着从容古韵，将悠然林下襟怀融于淡远氤氲之中。",[24,62,284,84,64,27,317,29,180,36,318,32,66,319,7],"临摹","河流","近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdc48bcb368250e04d6101e309e967d0.jpg",[],2,{"id":324,"slug":325,"title":326,"dynasty":126,"author":327,"museum":148,"description":328,"tags":329,"thumbUrl":339,"material":84,"size":138,"collection":138,"collections":340,"showCount":322,"zanCount":11,"manualWeight":11,"mainColor":141},216783,"zhan-zheng-tong-ban-hua-62-lang-shi-ning-216783","战争铜版画-62","郎世宁","这一系列铜质战争版画是由清朝乾隆皇帝旨令制作的，描绘了他在位期间在内陆省份和边疆的军事行动场景。这些版画主要由当时在宫廷服务的欧洲传教士绘制，如郎世宁、王志成、艾启蒙和安德烈。柏林国家图书馆的东亚部分拥有五个系列的64幅版画。",[330,331,332,29,32,114,333,334,335,183,318,180,7,336,337,338,231],"铜版画","写实","战争","马","堡垒","道路","军队","战马","地形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24fbbda1901a463b6beb4e00ff37d35a.jpg",[],1777535723609]