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于元贞元年（1295）回到故乡浙江为好友 所作的纸本水墨设色 ，现藏于 。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带 ，画境清旷恬淡，表现出恬静而悠闲的田园风味。\n采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。\n《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。\n在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。\n画题就是由这两座山而起的。\n鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。\n画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。\n水边轻舟数叶，舟中渔叟正安静地工作。\n其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。\n然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n《鹊华秋色图》上存在收藏者的众多题跋和印鉴。\n用御笔将“鹊华秋色”四个字题写于引首，并且加有“神品”“乾隆御览之宝”“古稀天子”“太上皇帝”等多枚玺印，上面还有“嘉庆御览之宝”“宣统鉴赏”等玺章。\n整个画面上加盖大小、形状各异的印章五十七枚，画面之右侧前隔水处有印章十六枚，画面左侧后隔水处有印章九十五枚。\n其中有作者题款，拖尾有爱新觉罗·弘历、钱溥、 、范杼、 等人题跋。\n作者在画中题款：“公谨父，齐人也。\n余通守齐州，罢官来归，为公谨说齐之山川，独华不注最知名，见于左氏，而其状又峻峭特立，有足奇者，乃为作此图，其东则鹊山也。\n命之曰鹊华秋色云。\n元贞元年十有二月。\n吴兴赵孟頫制。\n” 爱新觉罗·弘历题跋：“此卷久贮内府，已载入《石渠宝笈》。\n” 钱溥录 跋并题云：“吴兴公蚤岁戏墨，深得物外山水笔意。\n虽一木一石，种种异于人者。\n且风尚古俊，脱去凡迹。\n政如王谢子弟，倒冠岸帻，与天下公子斗举止也。\n百世后，可为一代规式，士大夫当共宝秘之。\n” 杨载题跋：“羲之摩诘，千载书画之绝，独兰亭序、辋川图尤得意之笔。\n吴兴赵承旨以书画名当代，评者谓能兼美乎二公。\n兹观鹊华秋色一图，自识其上，种种臻妙，清思可人，一洗工气，谓非得意之笔可乎。\n诚羲之之兰亭，摩诘之辋川也。\n” 范杼题跋：“赵公子昂，书法晋，画师唐，为一代之冠。\n荣际于五朝，人得其片楮，亦夸以为荣者，非贵其名而以其实也。\n今观此卷，殊胜于别作。\n仲弘所谓公之得意者，信矣。\n” 董其昌录张南诗题云：“弁阳老人公谨父，周之孙子犹怀土。\n南来寄食弁山阳，梦作齐东野人语。\n济南别驾平原君，为貌家山入囊褚。\n鹊华秋色翠可食，耕稼陶渔在其下。\n吴侬白头不归去，不如掩卷听春雨。\n” 董其昌题跋：“文敏一生得意笔，不减伯时《莲社图》”。\n另有题跋云：“吴兴此图，右、北苑二家画法。\n有底人之致，去其纤，有北宋之雄，去其犷。\n故曰师法舍短，亦如书家，以肖似似古人不能变体为书奴也。\n万历三十三年，晤画武昌公席题。\n其昌。\n” 从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。\n这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。\n与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。\n作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者虽然受召于元朝，遭到众多宋氏遗臣的诟病，却终其一生都对隐而不仕的南宋遗臣表达出相当程度的理解和尊重。\n从这个意义上说，《鹊华秋色图》也是在向那些对南宋一朝忠心耿耿而隐居不仕的士人传达作者自己的真实意图。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。\n两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。\n在刚柔对比中，更显得华不注山的险峻奇突。\n图中中景、近景表现出一片辽阔苍茫的景象。\n平川洲渚，红树芦荻，房舍隐现。\n图中林木种类颇多，红绿相间，枯润相杂。\n树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。\n在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。\n用笔似乎旋转，线条往复重叠，增添了树干的质感。\n画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。\n鹊山用披麻，皴法较密。\n华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。\n侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。\n汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。\n房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。\n作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。\n其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。\n明 《泥古录》：山头皆着青绿，全学王右丞与董源。\n在《鹊华秋色图》中，作者以深湛的笔墨功力诠释了即达放逸的山水意境，不仅丰富了文人山水画的表现手段和内涵，更初步确立了元代山水画坛清远自然的整体风格和蕴藉典雅的审美格调，为后世的中国山水画奠定了基础。\n1989年1月5日，中国台湾以横四连形式印制发行了《鹊华秋色图》邮票。\n《鹊华秋色图》由作者赠给周密后，周密又转送给一个名为君锡的人。\n到明代又相继为文徴明、文彭父子收藏，后又转到明代书画收藏家 手中。\n项元汴之后，又为宜兴吴之矩收藏。\n据画上印章，可知此画落到山东胶州张若、张应甲父子手里，不过很快又为书画收藏家 所有；后又辗转为 所得，传给其子 ；从纳兰性德手里，又落入收藏家梁青标之手。\n康乾年间，皇室征集民间书画名迹，梁青标遂将此图献归御府收藏。\n1949年，国民党撤离南京，退选台湾，将故宫等地文物也运往台湾，其中就包括《鹊华秋色图》。\n《鹊华秋色图》被运到台湾后，收藏于台北故宫博物院，直到今日。\n赵孟頫（1254—122年），字子昂，号松雪道人、水精宫道人。\n湖州（今浙江吴兴）人。\n宋太祖十一世孙。\n宋末时为真州司户参军。\n宋亡入元后，授兵部郎中，又历任渐江等地学提举，后官至输林学士承旨。\n赵孟頫不但精于音律、诗文曲，也是元代画家、书法家，著有《 》。",[24,25,26,74,27,28,59,75,58,29,76,77,78,32,79,80,7,81],"设色","行书","山","树","房屋","小船","芦苇","平原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6c66c5e8289621fa42a98cbcd5da28.jpg","",[],666,12,{"id":88,"slug":89,"title":90,"dynasty":91,"author":92,"museum":48,"description":93,"tags":94,"thumbUrl":102,"material":103,"size":104,"collection":83,"collections":105,"showCount":106,"zanCount":107,"manualWeight":11,"mainColor":108},287715,"guan-shan-xing-lv-tu-guan-tong-287715","关山行旅图","五代十国","关仝","《关山行旅图》是一幅描绘北方深秋景色的山水画，不仅绘制了人物的行旅活动，又带有了一定的叙事性。既表现出了山川的雄奇，又反映了人们生活的艰辛",[95,24,25,96,27,28,29,97,57,98,99,100,101,7],"名画","立轴","山石","流水","楼阁","枯树","古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff32d97bddf63ebed468f0b1cdb92e70b.jpg","未知","Xcm*Xcm",[],641,6,"37474F",{"id":110,"slug":111,"title":112,"dynasty":91,"author":113,"museum":114,"description":115,"tags":116,"thumbUrl":126,"material":127,"size":128,"collection":36,"collections":129,"showCount":131,"zanCount":132,"manualWeight":11,"mainColor":66},221156,"long-su-jiao-min-tu-dong-yuan-221156","龙宿郊民图","董源","台北故宫博物院","该图中以两重大山为主体，向画面的纵深走去。左边则是浩渺长江，也向画面的纵深流去，使画面很有深远感。该图在色彩的运用上也别具特色，作者将墨与青绿巧妙地合为一体，墨色和青绿色相得益彰却不相碍。作者用墨笔勾勒渲染后，在坡面峰峦等处略敷青绿，颇有郁郁葱葱，草木繁茂之意。",[23,24,95,25,96,29,74,117,30,97,32,7,118,56,119,120,121,122,123,124,125,28],"披麻皴","人物","植被","溪流","民居","自然景观","传统技法","绢本设色","南派山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F488a9480f5fb0b143be257ea8e941809.jpg","绢","纵156厘米，横160厘米",[36,130],"水墨画精选",422,2,{"id":134,"slug":135,"title":136,"dynasty":137,"author":138,"museum":114,"description":139,"tags":140,"thumbUrl":144,"material":145,"size":146,"collection":36,"collections":147,"showCount":148,"zanCount":149,"manualWeight":11,"mainColor":41},220932,"fang-ni-zan-shan-yin-qiu-he-tu-zhou-dong-qi-chang-220932","仿倪瓒山阴丘壑图轴","明","董其昌","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。",[23,95,24,25,96,27,28,141,142,29,30,97,78,32,51,52,100,143,7],"临摹","文人画","松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d99d6768867f84e687ae3dcbbc87ba9.jpg","纸本墨笔","96.3 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Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[178,95,179,180,181,7,182,183],"油画","后印象派","星空","弯月","柏树","夜晚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41c530f2096a641e4fb1ab7b92a7191f.jpg","油画精选",[185],230,{"id":189,"slug":190,"title":191,"dynasty":46,"author":192,"museum":114,"description":193,"tags":194,"thumbUrl":203,"material":34,"size":204,"collection":63,"collections":205,"showCount":206,"zanCount":207,"manualWeight":11,"mainColor":66},221618,"qian-li-jiang-shan-tu-juan-jiang-can-221618","千里江山图卷","江参","该图用水墨写江南景色，群峰杂沓，山势绵亘。江水浩瀚，溪壑空远。草木葱茏，远树朦朦。阡陌纵横，农舍相属，咫尺千里，境界开阔。长卷中从始至终有一曲折的蛇形小道贯穿其中，图中山、水、桥、亭、村落、栈道、人物皆围绕这条山道而布置。故虽景物众多，连绵无尽，然皆循循可寻。该图采用了平远构图，意境开阔",[23,95,24,26,27,29,195,196,197,198,199,200,57,201,7,118,202],"群峰","江水","溪壑","草木","农舍","栈道","亭","平远构图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20c90cb29912f2c2c4d8f3b0431c5727.jpg","纵46.3厘米，横546.5厘米",[63,36,38],204,1,{"id":209,"slug":210,"title":211,"dynasty":137,"author":212,"museum":213,"description":214,"tags":215,"thumbUrl":221,"material":164,"size":222,"collection":166,"collections":223,"showCount":224,"zanCount":225,"manualWeight":11,"mainColor":66},220412,"feng-yu-gui-cun-tu-xie-shi-chen-220412","风雨归村图","谢时臣","美国克利夫兰艺术博物馆","《风雨归村图》是谢时臣比较有代表性的一幅画，描绘的是渔村风雨之景，图中风紧浪急，渔人纷纷结束劳作回家。各种景物由于受到风雨的影响，产生出了不同的应激反应。",[23,24,25,26,29,74,28,118,57,98,216,217,99,30,97,218,219,53,220,7],"孤舟","蓑笠","渔船","茅屋","风雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45cff486492d2e306434488295267ef7.jpg","40.3×425.4",[166,38],91,4,{"id":227,"slug":228,"title":229,"dynasty":154,"author":230,"museum":231,"description":232,"tags":233,"thumbUrl":239,"material":240,"size":241,"collection":83,"collections":242,"showCount":243,"zanCount":132,"manualWeight":11,"mainColor":41},233793,"heng-tang-ye-lv-tu-zhou-shi-tao-233793","横塘曳履图轴","石涛","北京故宫博物院","图绘疏林湖畔高士拽杖独行的情景。设景布势以“S”形湖堤为主线，通过对近景树石的具象描绘，烘托出远山平湖的虚空迷蒙，画面空间在景致的虚实互映中得“咫尺千里”之趣。画中的山石杂木以饱含水分的润墨表现，点染生动，显现出作者较强的笔墨驾驭能力。此图并非对实景写生，而是作者“搜尽奇峰打草稿”后的胸中丘壑的写照，面目独具，妙得自然。",[24,27,96,28,29,57,98,30,78,97,234,235,236,237,51,7,238,53],"飞鸟","孤石","垂柳","松","路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec35a9c7d7a205ee549cc4e63ce41cbd.jpg","纸本","纵131.4厘米，横44.2厘米",[],86,{"id":245,"slug":246,"title":247,"dynasty":154,"author":248,"museum":249,"description":250,"tags":251,"thumbUrl":257,"material":258,"size":259,"collection":36,"collections":260,"showCount":261,"zanCount":11,"manualWeight":11,"mainColor":66},217994,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217994","仿黄公望山水图","王原祁","香港艺术馆","图绘高山屹立之下，杂木丛生、洲渚房屋掩映的山光水色之景。山石的顶端多留有空白，虚处笔迹似有似无，表现出岚光浮动的清幽意境。全图笔墨苍润老辣，于粗放中物象毕现，率意中气韵盎然。王氏自言此图仿元代画家黄公望（即作者所谓“大痴”）笔意，实际上又融入了王蒙、倪瓒等人的笔法，应是作者融元人画格的贯通之作。",[23,24,25,96,27,28,29,76,77,237,57,98,78,53,97,252,7,120,253,254,255,256],"古木","层岩","苔点","干笔","淡墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02895e2fbe75d1aecf4043f9b33a3de1.jpg","纸本,设色","100.2x45.6cm",[36],79,{"id":263,"slug":264,"title":265,"dynasty":137,"author":138,"museum":266,"description":267,"tags":268,"thumbUrl":270,"material":271,"size":272,"collection":36,"collections":273,"showCount":274,"zanCount":11,"manualWeight":11,"mainColor":41},220955,"xiao-xiang-bai-yun-tu-dong-qi-chang-220955","潇湘白云图","辽宁省博物馆","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。",[23,24,25,26,27,75,28,76,269,30,78,7,120,51,53],"云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3151f35931331bfc154487fa44cd8cf8.jpg","长卷，纸本水墨","纵29.3厘米，横340.8厘米",[36,130],74,{"id":276,"slug":277,"title":278,"dynasty":154,"author":279,"museum":280,"description":281,"tags":282,"thumbUrl":284,"material":285,"size":83,"collection":36,"collections":286,"showCount":287,"zanCount":207,"manualWeight":11,"mainColor":41},219864,"qing-ren-fang-xi-shan-wu-jin-tu-yi-ming-219864","清人仿溪山无尽图","佚名","美国大都会艺术博物馆","整卷铺展千里丘壑，峰岭层叠攒簇，苔点皴擦尽显山石苍浑质感，烟岚轻笼幽谷溪川，晕染出空濛悠远的意境。村居田庐散缀林麓水湄，野桥横溪、茂林修竹，尽显山居幽寂之致，复刻全景山水的雄浑大气，又糅入文人画的静穆意趣。沉厚绢色晕开烟峦，笔墨带着追摹古贤的沉静韵味，将林泉高隐的诗意融于层叠山水间，让观览者随着溪山延展，步入烟霞丘壑，沉浸在清寂旷远的山水雅趣中。",[23,24,26,29,74,28,56,30,53,32,7,283],"亭榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae1062bdcf0ab3c5882ef217057ef7f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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！”",[23,24,25,26,27,28,29,76,380,30,78,7,381,51,312,53],"水","道路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6f69a3a1328ce4101011410906b76df.jpg","水墨绫本","347.4x29.2",[36,130],49,{"id":388,"slug":389,"title":390,"dynasty":137,"author":138,"museum":280,"description":391,"tags":392,"thumbUrl":394,"material":395,"size":396,"collection":397,"collections":398,"showCount":399,"zanCount":11,"manualWeight":11,"mainColor":41},220961,"jing-xi-zhao-yin-tu-juan-dong-qi-chang-220961","荆溪招隐图卷","《荆溪招隐图》，图上有题识：“荆溪招隐图。辛亥人日董玄宰写于宝鼎斋。”图后又附一篇长文题记：“此余辛亥岁为澈如光禄作也，今年予自田间被征，与澈如同一启事。予既已誓墓不出，而澈如亦意在鸿冥。余举赠友人诗，题此卷曰：我如远山云，君如朝日暾。出处各有宜，何必鹤与猿。惟容避世者，终老桃花源。澈如携此游江门，时以展之。去余不作红稚圭举止也。癸丑八月中秋后三日华亭年弟董其昌书于吴昌舟次。”",[23,24,25,26,27,29,28,142,58,75,59,56,30,55,57,98,53,7,308,97,393,219],"竹林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F430208679d199a4467c6e992ac417f39.jpg","手卷，纸本设色","纵26厘米，横92.6厘米","书法精选",[397],48,{"id":401,"slug":402,"title":403,"dynasty":137,"author":404,"museum":48,"description":405,"tags":406,"thumbUrl":409,"material":103,"size":104,"collection":83,"collections":410,"showCount":411,"zanCount":207,"manualWeight":11,"mainColor":41},290882,"hua-bai-cai-shen-zhou-290882","画白菜","沈周","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 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》《文会图》《鸟雀图》等。留传到现在的有《汉宫图》《阿阁图》《万松金阙图》等。",[95,24,25,96,74,335,29,57,98,216,442,7],"老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff56a88b1052bfbea871f84835d854fc0.jpg",[],45,{"id":447,"slug":448,"title":449,"dynasty":18,"author":450,"museum":114,"description":451,"tags":452,"thumbUrl":453,"material":164,"size":454,"collection":36,"collections":455,"showCount":456,"zanCount":207,"manualWeight":11,"mainColor":66},218167,"jing-xi-tu-chen-ru-yan-218167","荆溪图","陈汝言","《元陈汝言荆溪图》是一幅中国古画，作者是陈汝言，现为台北故宫博物院收藏。此图画是应当地望族王氏后人的请求而画。近景以平房为主体，全用直线，随意交错；远山近树及宽阔溪流的描绘，笔法工致细微。于古画中亦为奇格。",[23,24,25,29,27,28,74,76,380,77,143,57,98,201,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaa2acf84548c365b1717352065375a2.jpg","纵129厘米 横52.7厘米",[36],43,{"id":458,"slug":459,"title":460,"dynasty":154,"author":461,"museum":293,"description":462,"tags":463,"thumbUrl":464,"material":465,"size":466,"collection":36,"collections":467,"showCount":468,"zanCount":207,"manualWeight":11,"mainColor":83},220734,"xun-qin-tu-huang-xiang-jian-220734","寻亲图","黄向坚","此作用平远糅合高远之章法，左侧危崖突兀，青绿晕染出山峦温润秀雅之态，皴笔勾勒，尽显山石苍劲肌理。浩渺平湖铺陈开开阔景致，洲渚错落星罗，村居隐于葱郁林木间，渔舟泛于烟波之上，三两行人点缀水岸。\n\n远山以淡墨轻岚晕染，虚实相生，尽显江南水泽空濛诗意。笔意清隽柔和，设色淡雅妍丽，承唐宋青绿山水古雅意趣，又以细腻布景传递羁旅怀思，于秀逸湖山之间，暗合迢迢心绪，淡远悠长。",[24,25,26,74,29,28,56,32,216,30,7,118,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c6aa9dc2fa40177d86a07917e44bf59.jpg","水墨,设色,纸本,手卷","31.4 × 550.4厘米",[36],38,{"id":470,"slug":471,"title":472,"dynasty":137,"author":461,"museum":48,"description":473,"tags":474,"thumbUrl":492,"material":83,"size":83,"collection":83,"collections":493,"showCount":494,"zanCount":207,"manualWeight":11,"mainColor":66},228346,"wan-li-xun-qin-tu-juan-huang-xiang-jian-228346","万里寻亲图卷","《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）。",[23,24,26,432,323,475,28,476,477,478,479,480,481,482,7,483,484,101,485,486,51,487,488,489,490,491,31],"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","屋宇","危桥","白云","松杉","城镇","船舶","万里寻亲","忠孝情怀","丛林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff46e7e77fdb44845a43436b89bdad273.jpg",[],36,{"id":496,"slug":497,"title":498,"dynasty":18,"author":71,"museum":114,"description":499,"tags":500,"thumbUrl":506,"material":507,"size":508,"collection":36,"collections":509,"showCount":510,"zanCount":11,"manualWeight":11,"mainColor":66},220894,"que-hua-qiu-se-quan-juan-zhao-meng-fu-220894","鹊华秋色全卷","鹊华秋色图，元代画家赵孟頫于元贞元年（1295）回到故乡浙江为好友周密所作的纸本水墨设色山水画，现藏于台北故宫博物院。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带秋景，画境清旷恬淡，表现出恬静而悠闲的田园风味。采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。\n《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。画题就是由这两座山而起的。鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。水边轻舟数叶，舟中渔叟正安静地工作。其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者虽然受召于元朝，遭到众多宋氏遗臣的诟病，却终其一生都对隐而不仕的南宋遗臣表达出相当程度的理解和尊重。从这个意义上说，《鹊华秋色图》也是在向那些对南宋一朝忠心耿耿而隐居不仕的士人传达作者自己的真实意图。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。在刚柔对比中，更显得华不注山的险峻奇突。图中中景、近景表现出一片辽阔苍茫的景象。平川洲渚，红树芦荻，房舍隐现。图中林木种类颇多，红绿相间，枯润相杂。树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。用笔似乎旋转，线条往复重叠，增添了树干的质感。画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。鹊山用披麻，皴法较密。华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。\n明·陈继《泥古录》：山头皆着青绿，全学王右丞与董源。\n在《鹊华秋色图》中，作者以深湛的笔墨功力诠释了即达放逸的山水意境，不仅丰富了文人山水画的表现手段和内涵，更初步确立了元代山水画坛清远自然的整体风格和蕴藉典雅的审美格调，为后世的中国山水画奠定了基础。",[23,24,25,26,27,74,158,28,58,75,59,29,501,81,32,30,78,7,367,502,503,504,505],"孤山","近水","平野","远树","近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc6e45f6523596086c4e10a81385abb5.jpg","白纸本","纵：28.4厘米，横：90.2厘米",[36,38],35,{"id":512,"slug":513,"title":514,"dynasty":46,"author":439,"museum":48,"description":440,"tags":515,"thumbUrl":518,"material":103,"size":104,"collection":83,"collections":519,"showCount":520,"zanCount":11,"manualWeight":11,"mainColor":66},288545,"jiang-cun-qiu-xiao-tu-zhao-ling-rang-288545","江村秋晓图",[24,26,27,29,7,234,98,30,97,80,516,517],"秋晓","宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4bf7eee613995343f6bb7227076da9.jpg",[],34,{"id":522,"slug":523,"title":524,"dynasty":154,"author":525,"museum":231,"description":526,"tags":527,"thumbUrl":529,"material":530,"size":531,"collection":130,"collections":532,"showCount":533,"zanCount":11,"manualWeight":11,"mainColor":66},224537,"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。",[23,24,25,26,27,29,28,97,30,32,57,78,51,502,350,528,56,7],"舟楫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf39153e0532479eb770c1f64faf0a9.jpg","纸本，墨笔","纵26厘米，横205厘米",[130],33,{"id":535,"slug":536,"title":537,"dynasty":154,"author":538,"museum":48,"description":539,"tags":540,"thumbUrl":543,"material":83,"size":83,"collection":83,"collections":544,"showCount":545,"zanCount":207,"manualWeight":11,"mainColor":66},235561,"wan-shan-cang-cui-tu-zhou-gao-cen-235561","万山苍翠图轴","高岑","《万山苍翠图》是中国清代画家高岑的国画作品，又称《清高岑万山苍翠图》，是一幅描绘山水景色的水墨画，作品收藏于 。\n《万山苍翠图》是皇家手绘精品，万山苍翠逼寒空，细路迂回古木中，澹澹夕阳堪倚杖，霜枫几点上衣红。\n此款产品是一幅手绘山水图。\n山体层层叠叠，伸向远方，悬崖上的苍松巍然屹立，代表了高洁的志向和昂扬的斗志。\n寓意：意境高远，勇攀高峰。\n《万山苍翠图》笔墨严谨劲秀，披麻皴画山石，淡墨渲染。\n老树挺拔，树木繁多，密而不乱，树叶以夹叶、点叶并用。\n树石罩以淡花青赭石色。\n山川林木茂密，万山苍翠。\n古寺、楼阁、村舍、山泉、船艇，设景似是江南秀丽富饶之乡。\n老者策杖过桥，农者田间劳动，富有生活气息。\n笔墨秀峭，气势雄伟。\n自题：“万山苍翠逼寒空，细路纡回古木中，澹澹夕阳堪倚杖，霜枫几点上衣红。\n画并题呈学迂先生教正。\n石城高岑。\n” ，生卒年不详，清初画家。\n字善长，又字蔚生，浙江 人，居 （今江苏南京）。\n阜（宇康生）弟。\n好学中、晚唐诗，并学画。\n初师僧七处，后自出机杼。\n山水迹近蓝瑛，用笔精到，无粗犷气；写意花卉，清秀入神。\n与龚贤、樊圻、邹桔、吴宏、叶欣、胡糙、谢荪为金陵八家。\n传世作品有《秋山万木图》、《林荫评古图》、《凤台秋月图》、《 》。",[95,24,25,96,74,28,29,76,380,77,237,78,216,100,53,7,97,541,542],"林木","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a51013b654eb01b06e59743d39cf6f0.jpg",[],32,{"id":547,"slug":548,"title":549,"dynasty":154,"author":550,"museum":48,"description":551,"tags":552,"thumbUrl":554,"material":103,"size":104,"collection":83,"collections":555,"showCount":556,"zanCount":11,"manualWeight":11,"mainColor":41},290541,"fang-cao-zhi-bai-shui-cun-yu-le-yun-shou-ping-290541","倣曹知白水村渔乐","恽寿平","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。",[24,407,27,29,553,216,98,7,30,59,141],"渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c6edccc8494839cb82742043f1a9a07.jpg",[],31,{"id":558,"slug":559,"title":560,"dynasty":154,"author":561,"museum":48,"description":562,"tags":563,"thumbUrl":567,"material":83,"size":83,"collection":83,"collections":568,"showCount":556,"zanCount":11,"manualWeight":11,"mainColor":41},237585,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237585","王翚仿古山水册","王翚","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》。",[25,24,27,28,564,565,29,76,380,77,100,57,78,566,53,308,7],"册页","仿古","石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e1a7ac5676d946e121ae4810deb4f1.jpg",[],{"id":570,"slug":571,"title":572,"dynasty":154,"author":573,"museum":48,"description":574,"tags":575,"thumbUrl":578,"material":103,"size":104,"collection":83,"collections":579,"showCount":580,"zanCount":207,"manualWeight":11,"mainColor":41},287874,"xi-hu-shi-jing-tu-juan-dong-bang-da-287874","西湖十景图卷","董邦达","虽名为「十景」，画上却以隶书标注了西湖五十四处景点：断桥残雪、平湖秋月、曲院风荷、三潭印月、苏堤春晓、柳浪闻莺、双峰插云、花港观鱼、雷峰西照、南屏晓钟等等。\n乾隆皇帝在南巡前从未亲访江南。他对江南的所有印象与知识，皆构筑在相关图籍或他人的描述上。这件〈西湖十景〉卷，为南巡出发前夕，臣工提供给他各式江南旅游资讯的例子。此画为董邦达（1699-1769）所绘製，虽名为「十景」，画上却标出五十四个景点，将西湖可游处扩增五倍以上，实为「招游」之作。乾隆皇帝在南巡前一年（1750）的题跋，显示此图的确挑起游兴，让他打算于明春南巡时亲自感受久闻的西湖之美，印证实境与画境。诗句中流露出他对游览西湖的期待之情。\n康乾二帝每次南巡前后，都会有官绘本西湖图问世，或是为皇帝南巡作详导，或是总结皇帝南巡圣迹。故而，传世“西湖十景”图以清宫旧藏为主体。在这些清宫旧藏的“西湖十景”图中，董邦达为数最巨，有5件之多。",[23,95,24,25,26,323,74,29,576,56,53,30,57,55,99,577,7,234,216,58,59],"湖泊","古塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2ff4504c2d496d7a2e818e1566ebad.jpg",[],30,{"id":582,"slug":583,"title":584,"dynasty":18,"author":71,"museum":48,"description":585,"tags":586,"thumbUrl":589,"material":103,"size":104,"collection":83,"collections":590,"showCount":591,"zanCount":11,"manualWeight":11,"mainColor":66},290413,"shan-shui-tu-juan-wei-zhao-meng-fu-290413","山水图卷（伪）","赵孟頫[fǔ]（1254年10月20日－1322年7月30日），字子昂，汉族，号松雪道人，又号水晶宫道人（一说水精宫道人）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远。",[23,24,25,26,335,74,29,7,78,30,587,588],"农田","山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff568bd01744e2038c0a18a7d77628d07.jpg",[],29,{"id":593,"slug":594,"title":595,"dynasty":137,"author":596,"museum":114,"description":597,"tags":598,"thumbUrl":602,"material":164,"size":83,"collection":36,"collections":603,"showCount":591,"zanCount":11,"manualWeight":11,"mainColor":41},214617,"shui-cheng-tu-ce-tai-cang-qian-gu-214617","水程图册-太仓","钱谷","钱穀（1718-1778）是一位著名的中国古代地理学家和旅行家。他在明朝末期，著有著名的旅行记录作品《水程图册》。《水程图册》是一部珍贵的历史文献，记录了钱穀旅行时所见到的各种河流、港口、城市、商路等信息。其中，太仓章节是钱穀对太仓的描述。\n\n太仓是位于今天的江苏省的一座古城，历史悠久，是明朝时期的重要港口和商路要地。钱穀在《水程图册》中对太仓的描述非常详细，包括了太仓的地理位置、交通情况、港口设施、商业情况等。他提到，太仓港口设施完善，有多条航道，船只可以在港内停泊。太仓是一个重要的商路要地，有丰富的商品流通，包括铜器、茶叶、香料、木材等。太仓还有许多古迹和名胜古迹，例如著名的太仓大堤。\n\n《水程图册》是一部重要的古代地理学著作，其中的太仓章节是对太仓的珍贵记录，为我们了解明朝时期太仓的历史、地理、经济、文化等方面提供了宝贵的参考资料。",[24,25,407,27,74,57,98,216,78,30,29,59,7,599,600,79,51,601],"建筑","河岸","城墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc90d1740797b3391febe2b0c80bee24.jpg",[36],{"id":605,"slug":606,"title":607,"dynasty":154,"author":608,"museum":48,"description":609,"tags":610,"thumbUrl":613,"material":83,"size":83,"collection":36,"collections":614,"showCount":615,"zanCount":207,"manualWeight":11,"mainColor":41},238321,"wan-hu-sang-ma-tu-xiao-juan-dong-gao-238321","万户桑麻图小卷","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 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夏景、房舍、茅草屋、鸡、客舫、帆船、寺庙、店铺、骆驼、狗、骡．驴、马、回廊、孩童、侍从（侍女、童仆）、渔夫、船夫、百姓、行旅、官员（臣）、江河、湖海。\n石渠宝笈初编（重华宫），下册，785页；故宫书画录（卷八），第四册，78页；故宫书画图录，第十七册，21-22页。",[95,24,25,26,27,28,29,730,731,732,7,51,502,59],"江帆","山市","船只","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecc42d48136e2cb3cdf0a480af5efb4a.jpg",[],{"id":736,"slug":737,"title":738,"dynasty":137,"author":739,"museum":48,"description":740,"tags":741,"thumbUrl":744,"material":103,"size":104,"collection":83,"collections":745,"showCount":746,"zanCount":207,"manualWeight":11,"mainColor":41},289920,"sui-chao-cun-qing-tu-li-shi-da-289920","岁朝村庆图","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。",[23,24,96,74,118,99,57,98,442,7,742,743,59],"节庆","民俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56d27c8d01085a12f2d89f30e70b61a8.jpg",[],21,{"id":748,"slug":749,"title":750,"dynasty":154,"author":279,"museum":48,"description":751,"tags":752,"thumbUrl":754,"material":83,"size":83,"collection":83,"collections":755,"showCount":756,"zanCount":11,"manualWeight":11,"mainColor":41},223526,"wu-yi-shan-shi-ba-jing-tu-1-yi-ming-223526","武夷山十八景图1","图题《武夷山十八景图》系依其内容拟定；武夷山在福建建宁府「崇安县南30 里，……周围凡120 里，东抵崇溪，北为黄龙溪，西至将村里，南至蓝原。四面皆壑，不与外山连」（乾隆辛未《武夷山志》，卷四，〈形势〉）；全境「溪九曲，大峰三十六」（《武夷山志》，卷二，〈总志（中）〉）。图中以山水画笔触将武夷山一带的形胜细腻描绘；其中包括山岩、岩壑、溪流、渡桥、村舍、书院、道观、茶园、渡头、客舟及建宁府城、府属崇安县及江西广信府的铅山县城等城池，均一一入画；图中各项动、静态的描绘，流畅生动，全幅宛如一幅山水行舟图。全图描述各处地貌事物均注记文字标示名称。全图笔触甚为工整，惟不落作画题署，难以确切断其绘制年代。但图中若干寺观、津渡的存废，或可推断绘图的相对时代。图中「一曲」的「问津亭：宋名趋真亭，明名入隹亭，……岁久倾圯，康熙戊戌（57年，1718）崇令陆廷灿（生卒不详，字扶照，又字幔亭）又重建，今废」（《武夷山志》，卷五，〈一曲上．溪北〉）；图中问津亭尚存全貌。另「五曲」的「武夷精舍又名文公祠，隐屏峰下。宋淳熙十年（1183）朱文公（1130-1200）卜筑于此。……顺治16 年（1659）邑令韩士望（生卒不详，顺治九年（1652）进士）又修饰之。次年春，大风拔木，祠尽圯，仅存二门。……康熙26 年（1687），御赐「学达性天」额，因复创修，未能宏敞。……康熙56 年（1717）闽浙总督满公保（1673-1725）捐俸倡修轮奂一新」（《武夷山志》卷十，〈五曲上．溪北〉）；图中文公书院院落至为完善。因此，大致可断全图绘制年代为康熙57 年至乾隆16年间。",[23,24,25,27,74,29,28,564,97,30,32,79,78,56,53,119,120,7,753,481],"峰岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21063d6aea51b6cc6ec3c154448b4ff1.jpg",[],19,{"id":758,"slug":759,"title":760,"dynasty":137,"author":761,"museum":48,"description":762,"tags":763,"thumbUrl":766,"material":83,"size":83,"collection":83,"collections":767,"showCount":768,"zanCount":11,"manualWeight":11,"mainColor":66},228844,"yan-shui-sheng-ya-tu-juan-dai-jin-228844","烟水生涯图卷","戴进","此作以长卷铺展江南烟水之致，淡赭晕开汀洲烟波，墨色劲爽勾勒江岸山石，斧劈皴意苍劲利落。芦荻萧萧覆岸，林麓间茅舍错落，水面渔舟星列，渔人或垂纶放流，或泊舟炊煮，将渔家烟火日常尽纳卷中。\n\n画作兼融笔墨刚健与文人清雅意趣，以淡墨轻岚晕染空濛水汽，把江湖野逸的隐逸之思，和渔家乐的世俗生机相融。远山近渚虚实相生，苍郁林木与澹澹烟水相映，将江南水乡的静谧闲适，绘成世外烟霞，淡远空灵间满是鲜活的烟火意趣。",[23,24,26,27,28,158,29,98,216,217,118,234,30,201,553,80,764,765,218,665,7],"岸芷","汀草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2883f5aa258e7dba7014124bd5e0a60.jpg",[],18,{"id":770,"slug":771,"title":772,"dynasty":137,"author":773,"museum":48,"description":774,"tags":775,"thumbUrl":777,"material":103,"size":104,"collection":83,"collections":778,"showCount":779,"zanCount":11,"manualWeight":11,"mainColor":41},287358,"lin-wang-meng-tai-bai-shan-tu-du-qiong-287358","临王蒙太白山图","杜琼","杜琼（1396~1474年），字用嘉，号东原，五坞山人,延绿亭主人,私谥渊孝先生.人称东原先生，南直隶苏州府吴县（今江苏苏州市）人。明朝文学家，书画家、藏书家，史学家。\n杜琼出身于富贵之家，自幼勤学聪颖，以孝闻名乡里，后师从陈继，并承其业，教书授徒。之后被举荐参与过《太宗（朱棣）实录》《宣宗实录》《舆地志》的修撰，并参与《苏郡志》的校定，备受朝廷礼遇和乡里尊宠，享誉遐迩。1474年，杜琼逝世，享年79岁。\n杜琼虽受朝廷礼遇和乡宠，但是他淡泊功名而醉于谈诗论画的隐居生活。其精于翰墨书画，尤以画山水为著，集众家之长而直追董巨，画风秀逸，是吴门派早期代表画家。\n其传世画作有《南村别墅图》《为吴宽作山水图》《友松图卷》等，此外还著有《东原集》《耕馀杂录》《纪善录》等诗文作品。",[23,24,26,323,141,27,74,28,56,541,7,78,776,120,234,75,58,59],"亭阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0297dd5ace6aed29811f36a49e164bc.jpg",[],17,{"id":781,"slug":782,"title":783,"dynasty":154,"author":248,"museum":48,"description":784,"tags":785,"thumbUrl":786,"material":83,"size":83,"collection":83,"collections":787,"showCount":779,"zanCount":11,"manualWeight":11,"mainColor":41},229028,"fang-huang-zi-jiu-qing-luan-ji-cui-juan-wang-yuan-qi-229028","仿黄子久晴峦霁翠卷","此卷以浅绛绘江南丘壑，山峦延绵层叠，林木蓊郁苍秀，村居错落点缀水畔崖间，平远、深远兼具，铺展出清旷温润的山水胜境。\n笔墨承娄东家法，以干笔积墨反复皴擦，笔力苍劲老辣，墨色由淡及浓层层晕染，浑朴厚重中不失秀逸灵透，既谨守黄子久平淡天真的元人神韵，又融入自身沉雄苍密的风格特质。\n全作用笔绵密松灵，元气淋漓，咫尺长卷藏千里丘壑，融文人山水的笔墨意趣与林泉襟怀于一体，是摹古出新的精心佳构，尽显晚年炉火纯青的画艺造诣。",[23,24,25,26,74,29,28,141,59,75,58,76,380,30,78,99,57,201,120,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f1892f4002ef7bf98ec0b17eaf74171.jpg",[],{"id":789,"slug":790,"title":791,"dynasty":154,"author":792,"museum":689,"description":793,"tags":794,"thumbUrl":796,"material":83,"size":83,"collection":36,"collections":797,"showCount":779,"zanCount":11,"manualWeight":11,"mainColor":798},202190,"fang-wang-shi-min-xi-shan-qiu-xiao-tu-zhou-xi-gang-202190","仿王时敏溪山秋晓图轴","奚冈","画面层峦起伏，晨雾轻笼山间，似将晓未晓的秋意漫溢开来。林木疏密有致，或挺拔或萧散，尽显秋树的苍劲之态。山坳间隐约可见村落屋舍，与蜿蜒溪流相映，添了几分人间烟火气。笔墨上皴染相间，线条温润，墨色层次丰富，既得古雅神韵，又透出清逸笔致，整体意境悠远静谧，如临秋晓山涧，闻风过林梢之声。",[24,29,28,27,96,7,120,795,23],"雾气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb16f5dd80408d7c533e17e9b14ada30b.jpg",[36],"cec2b9",{"id":800,"slug":801,"title":802,"dynasty":18,"author":803,"museum":48,"description":804,"tags":805,"thumbUrl":807,"material":103,"size":104,"collection":83,"collections":808,"showCount":809,"zanCount":11,"manualWeight":11,"mainColor":41},290253,"shan-xi-yun-shu-tu-zhao-yuan-290253","剡溪云树图","赵原","画江浙一带溪山平远之境，丘陵蜿蜒，草木丰茸，云蒸霞蔚，笔墨圆厚华滋，淳雅文秀有书卷气，画法与元人马文璧同调。本幅及卷后有陆友、奂祖明、陈方、仇远、张天英等多人题跋，本幅更有乾隆御书七古长诗，以为乃写会稽山水，故有“剡溪云树”之标识。诗中有句云：“传神犹在烟霞外，肯让董源第一流?”推崇可谓备之。故《石渠宝笈•初编》定为上等，可见钟爱之深也。卷后有近人萱晖堂主程伯奋多次考识，以元人张伯英诗题“画山水歌题赵宜之卷”而定为金代赵元字宜之者。因赵元后来几乎失明，宜之画世无第二本，此或许是孤本了。",[23,24,26,323,27,28,56,30,53,98,7,57,78,75,59,806],"隐逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0afad2ea03fa3328ac2e549f14dc8804.jpg",[],16,{"id":811,"slug":812,"title":813,"dynasty":137,"author":279,"museum":48,"description":814,"tags":815,"thumbUrl":817,"material":103,"size":104,"collection":83,"collections":818,"showCount":809,"zanCount":11,"manualWeight":11,"mainColor":66},287835,"fang-xia-gui-qian-yan-jing-xiu-yi-ming-287835","仿夏圭千岩竞秀","此作以长卷铺展江天丘壑，取夏氏边角山水意趣。斧劈皴斫出崖嶂硬峭骨相，苍松杂树偃仰生姿，江岸逶迤，浅渚渔舟隐于烟岚淡墨之间，平远景致虚实相生，将江南山水的清旷空濛揉入简劲笔意。\n\n引首行书笔势跌宕，与山水萧散野逸相映成趣，书画合璧复刻宋韵雅逸，将千里烟景收揽尺幅，观之如乘舟泛江，岩岫秀色次第展开，幽寂旷远的林下风致扑面而来，尽得复古追宋的山水意趣。",[23,24,26,323,74,28,56,296,216,30,55,7,141,58,816],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff49d08c69238c36956940a1b8dc4a08d.jpg",[],{"id":820,"slug":821,"title":822,"dynasty":137,"author":823,"museum":231,"description":824,"tags":825,"thumbUrl":826,"material":827,"size":83,"collection":83,"collections":828,"showCount":809,"zanCount":11,"manualWeight":11,"mainColor":41},234238,"jiang-nan-sheng-gai-tu-juan-zhu-zong-ru-234238","江南胜概图卷","朱宗儒","朱宗儒如字忆云。秀水（今嘉兴）人。善画山水人物。为人放浪不羁，弃诸生而游江湖，同邑戴泾曾为之传。",[23,24,25,26,27,29,118,78,30,28,57,98,7,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95681a81d2439f3a780c79ee72315848.jpg","纸本，设色",[],{"id":830,"slug":831,"title":832,"dynasty":154,"author":833,"museum":689,"description":834,"tags":835,"thumbUrl":838,"material":258,"size":839,"collection":83,"collections":840,"showCount":841,"zanCount":11,"manualWeight":11,"mainColor":41},216981,"fang-song-yuan-shan-shui-ce-6-wang-jian-216981","仿宋元山水册-6","王鉴","王鉴（1598-1677），字玄照，后改字符照、圆照，号湘碧、染香庵主，江苏太仓人。王世贞曾孙。崇祯六年（1633）以荫授南京左府都事，约十一年（1638）至北京改任比部郎，十二年（1639）任廉州知府，仅两年即罢职归太仓，从此未入仕途。工画山水，得董其昌亲授，追踵董源、巨然，多拟仿宋元诸家。著有《染香庵跋画》。\n是册临宋元各家，淡墨层层积累、细腻丰富，水墨设色兼能、皴染兼长。在“四王”山水画中，王鉴的设色山水与其他三家有所差异。王鉴擅长青绿山水设色，用色只在青、绿、赭少数几种中选择，但色彩鲜明，特别是青绿两色的运用，清润高华。而仿陈惟允（陈汝言）一开可见其见识广博，陈汝言为元末明初人，后人临宋元山水鲜少涉及，这与他的个人收藏及交游圈不无关系。\n据其自跋：“予今岁偶来南翔（今属上海嘉定），谛交文庶社长，见其丰神超迈，雅善丹青，深得古人三昧，余因复临陈（陈廉）本赠之。”谓王时敏曾将所藏宋元各家真迹，嘱华亭陈明卿缩成一册，此册又临陈本。按，王时敏有缩临宋元各家山水册，董其昌为题“小中现大”者，为世所著称，此册除四页外，余俱与之相同，而所题各家名氏亦有异同。至所言王时敏一册出于陈明卿手，未见详细记述，或为另一册。\n陈廉（生卒年不详），字明卿，华亭（今上海松江）人。赵左弟子，年少时从赵左学习绘画，工巨幅山水，其笔墨清标，无烟火气，传世作品较少，上海博物馆藏《云间诸家书画散页》有其山水一开。王时敏《题陈明卿廉雪》卷云：“（陈廉）初以赵文度（赵左）为宗，既从余家纵观宋元真迹，多有悟入，所诣益深。为余摹诸名图，以寻丈巨轴，缩为方册，使能笔墨酷肖，毫发不遗，真画史之绝技。”又《题陈明卿仿黄子久》卷云：“明卿为赵文度高足弟子，初至娄时，尚守其师法，继为余临宋元诸名迹，缩小为本，因此大有悟入，画格遂为一变……”（《王奉常书画题跋》卷上）可与是册王鉴自跋相印证。",[23,24,323,74,28,141,407,56,30,98,57,201,53,836,430,120,119,837,350,7],"红叶","山谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc46f5271914a2b4ff894633cf7a7a1fc.jpg","纵55.4厘米，横36.0厘米",[],15,{"id":843,"slug":844,"title":845,"dynasty":154,"author":561,"museum":320,"description":846,"tags":847,"thumbUrl":849,"material":258,"size":83,"collection":83,"collections":850,"showCount":841,"zanCount":11,"manualWeight":11,"mainColor":41},214592,"fang-gu-shan-shui-ce-12-wang-hui-214592","仿古山水册-12","王翚（1768年－1849年）是清代著名的画家，他出生于江苏省南京市，是清代名门望族，他的祖父王恭是清代名将王莽的儿子。王翚早年曾在父亲的教导下学习书法和绘画，后来又师从著名画家黄庭坚学习。\n\n王翚擅长画山水，他的作品《仿古山水册》是他的代表作之一。这本册子包含了王翚的许多优秀作品，其中包括了他的山水画、人物画、花鸟画等，作品风格秀丽自然，富有感染力。《仿古山水册》被誉为王翚代表作之一，在当时颇受欢迎。\n\n王翚的画风受到了清代著名画家黄庭坚的影响，但他也在此基础上创造出了自己独特的画风。他善于运用墨色，擅长表现山水的秀美和雄伟，并融入了自己的个人特色。王翚的画作经常带有浓郁的文化气息，富有哲理性和艺术性。\n\n总的来说，王翚的《仿古山水册》是一部优秀的山水画集，值得一看。",[24,25,407,27,74,28,29,57,98,442,78,848,350,7],"山脉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16d618c998af2a6aa46e4bd9d82f6307.jpg",[],{"id":852,"slug":853,"title":854,"dynasty":154,"author":525,"museum":48,"description":855,"tags":856,"thumbUrl":857,"material":103,"size":104,"collection":83,"collections":858,"showCount":859,"zanCount":11,"manualWeight":11,"mainColor":41},288232,"jiang-shan-wo-you-tu-juan-di-jiu-shi-yi-juan-cheng-zheng-kui-288232","江山卧游图卷(第九十一卷)","程正揆（1604年－1676年），初名正葵，字端伯，号鞠陵，别号清谿道人、青谿老人、青谿旧史，湖廣孝感（今湖北省）人，明末清初画家、书法家，政治人物。",[23,24,26,27,25,29,56,30,7,57,97,58,59,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f6f45c6a6df6179257f192e7daa24b.jpg",[],14,{"id":861,"slug":862,"title":863,"dynasty":154,"author":864,"museum":231,"description":865,"tags":866,"thumbUrl":871,"material":240,"size":83,"collection":83,"collections":872,"showCount":859,"zanCount":11,"manualWeight":11,"mainColor":41},234162,"yan-zi-ji-mo-chou-hu-er-jing-tu-juan-wu-hong-234162","燕子矶莫愁湖二景图卷","吴宏","吴宏（1615 —1680），一作弘，字远度，号竹史、西江外史。江西金溪人，移居江宁（今南京）。\n吴宏自幼好绘事，自辟蹊径。顺治十年（1653）曾渡黄河，游雪苑，归而笔墨一变，纵横放逸。画作大多取材于自然景物及仰慕的桃花源仙境，构图疏密相间，气势雄阔。与龚贤、高岑、樊圻、邹喆、叶欣、胡慥、谢荪合称为“金陵八家”，在八家中画风最为粗放，浑融无际，任凭想象，景色细致苍郁，充满了生活气息。偶作竹石，亦有水墨淋漓之致。周亮工赠诗云：“幕外青霞自卷舒，依君只似住村虚，枯桐已碎犹为客，妙画通神独亦予”。\n传世作品有康熙五年（1666）作《山水》册页、《江山行旅图》卷，均藏北京故宫博物院；十一年（1672）作《松溪草堂图》轴、《竹石图》轴，藏南京博物院；《山村樵牧图》轴，藏天津市艺术博物馆。《国(清)朝画征录、读画录、桐阴论画、安雅堂集、江宁志、清画家诗史》",[23,95,24,26,27,323,56,867,7,868,121,55,297,869,870],"江景","帆船","苍郁","生活气息","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc2193f9b4953e0d1929de82ac13992b.jpg",[],{"id":874,"slug":875,"title":876,"dynasty":154,"author":877,"museum":48,"description":878,"tags":879,"thumbUrl":881,"material":103,"size":104,"collection":83,"collections":882,"showCount":883,"zanCount":11,"manualWeight":11,"mainColor":41},235612,"hong-ren-shan-shui-ce-hong-ren-235612","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”。",[24,25,27,28,29,75,58,31,30,78,7,97,880],"水墨画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48b314950d8ff3a520a30e7311eeaa3f.jpg",[],13,{"id":885,"slug":886,"title":887,"dynasty":137,"author":888,"museum":48,"description":889,"tags":890,"thumbUrl":896,"material":827,"size":83,"collection":83,"collections":897,"showCount":883,"zanCount":207,"manualWeight":11,"mainColor":41},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",[23,24,25,26,27,29,28,76,380,30,53,31,430,367,491,120,891,308,892,119,893,894,100,895,7,55],"丘壑","坡地","层峦叠嶂","烟霭","平畴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8a358cb8317b17bc86b3b68fad90017.jpg",[],{"id":899,"slug":900,"title":887,"dynasty":137,"author":279,"museum":689,"description":901,"tags":902,"thumbUrl":906,"material":83,"size":83,"collection":36,"collections":907,"showCount":883,"zanCount":11,"manualWeight":11,"mainColor":908},201738,"shan-shui-juan-yi-ming-201738","此卷山水烟波浩渺，层峦叠嶂间透着清逸之气。近看岩石皴法细密，纹理毕现；树木枝繁叶茂，姿态各异。中景水面开阔，几叶扁舟悠然泛波，岸边村落隐约，似有炊烟袅袅。远景山峦淡远，云雾缭绕，与天际相融。笔墨细腻温婉，线条流畅自然，于疏密有致的构图中，勾勒出一派宁静悠远的江南景致，尽显山水之灵秀，引人入胜。",[29,26,28,27,528,7,56,903,904,905,23],"烟水","古雅","江南","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ffe9d6db5e55aa3dfda1fab032340ae.jpg",[36],"000000",{"id":910,"slug":911,"title":912,"dynasty":154,"author":279,"museum":48,"description":913,"tags":914,"thumbUrl":919,"material":103,"size":104,"collection":83,"collections":920,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":66},272880,"zi-tan-mu-bian-hua-ni-jin-nong-qing-tu-gua-ping-yi-ming-272880","紫檀木边画泥金农庆图挂屏","深色地子托举泥金画卷，金泽温润沉古，将山乡丰年盛景缓缓铺展。层峦皴染厚重苍劲，漫山林木错落生姿，金粉晕染出秋意深浓。错落村舍隐于林泉之间，田垄水榭、乡居人家各得其所，处处浸着农庆时节的安闲祥和。\n\n泥金工艺精工细致，屋瓦纹路、枝干松针皆勾勒入微，将乡野升平的烟火气凝于金彩之中。紫檀边框沉稳雅致，与金碧画面相映成趣，融山水意趣与民俗风情于一体，把旧日田园的丰饶闲逸定格为传世的雅致风物。",[24,915,916,917,29,99,57,98,7,30,78,918],"挂屏","木质","泥金","农庆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49aa894d4acbe3f09ca44cf0d124c41c.jpg",[],{"id":922,"slug":923,"title":924,"dynasty":154,"author":248,"museum":231,"description":925,"tags":926,"thumbUrl":927,"material":432,"size":928,"collection":36,"collections":929,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":41},236745,"shan-shui-ce-zhuang-zhou-wang-yuan-qi-236745","山水册装轴","王原祁（1642—1715年），字茂京，号麓台、石狮道人，江苏太仓人，王时敏之孙。清康熙九年（1670年）进士。因画艺，被召供奉内廷，深受皇室青睐，地位显赫，任书画总裁和《万寿盛典》总裁，官至户部侍郎，故称“王司农”。他擅画山水，其绘画艺术承绪家学，自幼得到祖父王时敏的刻意指导，一生倾注于笔墨施运的营求中，自称笔端有“金刚杵”, 画风中年秀润，晚年苍浑。与王时敏、王鉴、王翬合称“清初四王”。\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。",[24,25,407,27,74,28,29,30,32,51,52,7,430],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4d98e5c615a051dce4e256c2ba540a7.jpg","纵29cm，横42.3cm",[36,130,397],{"id":931,"slug":932,"title":876,"dynasty":154,"author":877,"museum":48,"description":878,"tags":933,"thumbUrl":939,"material":103,"size":104,"collection":83,"collections":940,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":41},235614,"hong-ren-shan-shui-ce-hong-ren-235614",[95,24,25,564,27,934,256,28,935,936,29,76,937,77,78,308,938,7],"枯笔","简约","清冷","石","坡岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F786ec573adabfb43ca01bf811898821a.jpg",[],{"id":942,"slug":943,"title":944,"dynasty":154,"author":945,"museum":231,"description":946,"tags":947,"thumbUrl":948,"material":949,"size":950,"collection":83,"collections":951,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":41},234964,"wu-wai-tian-yuan-tu-ce-kun-can-234964","物外田园图册","髡残","引首二开清汪洪度行书“物外田园”四大字。画六开，各附长篇对题。末开款识：“余半年来弄此，樵者归：留此册，强余涂之。卧起点缀如此，云中鸡犬，僬者亦能亦点头否。石道人。”后钤“石谷”(白文)。余五开无款识，有钤印。\n据列题可知此册作于壬寅，即康熙元年(1662)，髡残时年五十一岁。其时他正隐居于南京牛首山。",[95,24,25,407,27,28,29,78,30,97,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e4e6b9ba91bd3e9308d797823b473d9.jpg","纸本 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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。",[23,24,95,323,27,74,28,56,541,308,7,78,216,55,32,969],"石桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a3af540c2cbca82873377916100e60.jpg","43x95厘米",[],{"id":974,"slug":975,"title":976,"dynasty":46,"author":279,"museum":48,"description":977,"tags":978,"thumbUrl":980,"material":83,"size":83,"collection":83,"collections":981,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":66},227885,"shui-cun-lou-ge-tu-ye-yi-ming-227885","水村楼阁图页","此作以平远之法铺陈水村之景，水墨晕染间漫开烟霭濛濛的空寂氛围。近岸浅滩林木错落，村阁隐于繁荫之中，扁舟系于汀渚，渔人偶见，野趣自生。远景山峦在淡墨晕染里渐隐于烟岚，虚实相生，尽显江南水乡湿润清润的暮色闲情。笔墨简淡松灵，不刻意雕琢细节，以氤氲水墨烘托出悠远超脱的隐逸意趣，将水村的静谧安闲融在烟水空濛之中，尽显山水小品尚简尚意的审美意趣，观之如身临水乡，忘却尘俗喧嚣。",[23,24,25,27,74,29,324,407,28,99,30,98,7,51,53,979],"平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed4a8c6f80550372908613f813f541d8.jpg",[],{"id":983,"slug":984,"title":985,"dynasty":46,"author":986,"museum":114,"description":987,"tags":988,"thumbUrl":992,"material":164,"size":993,"collection":36,"collections":994,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":41},218875,"shui-cun-qing-xia-tu-ma-kui-218875","水村清夏图","马逵","这幅画描绘了一个水边的渔村，田间的荷叶和丰富的芦苇，人们生活在宁静中，给人一种世外桃源的感觉。",[23,24,27,74,989,29,7,30,78,51,990,991,28],"扇面","水域","夏景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e2a199f17dc4e03d73f2a0ef2d0a8c1.jpg","24.5x26.2",[36],{"id":996,"slug":997,"title":687,"dynasty":154,"author":998,"museum":689,"description":999,"tags":1000,"thumbUrl":1001,"material":83,"size":83,"collection":36,"collections":1002,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":1003},202003,"shan-shui-tu-zhou-chen-lv-zu-202003","陈率祖","这幅画作笔墨清润雅致，山峦层叠起伏，以皴法皴擦出山石肌理，墨色浓淡交错间晕染出远近景深。林木疏密有致，或点染或勾勒，枝叶鲜活，掩映着几处村落屋舍，质朴恬淡，流露田园生趣。溪流蜿蜒穿绕画面，水面留白与墨色相映，添得空灵之韵。整体构图虚实相生，意境宁静悠远，于简淡笔墨中见深致，尽显文人山水画的闲适意趣，仿佛让人置身于清幽静谧的山水田园间。",[27,29,28,56,541,7,120,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae96bcacb38c031370748f51cfd3b01.jpg",[36],"b5a491",{"id":1005,"slug":1006,"title":1007,"dynasty":137,"author":1008,"museum":48,"description":1009,"tags":1010,"thumbUrl":1011,"material":103,"size":104,"collection":83,"collections":1012,"showCount":1013,"zanCount":11,"manualWeight":11,"mainColor":41},287974,"luo-bi-yan-yun-shan-shui-tu-juan-chen-chun-287974","落笔烟云山水图卷","陈淳","陈淳（1483年—1544年），字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲（今江苏苏州）人，明代绘画大师。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。",[23,95,24,26,27,29,216,234,97,30,7,98,28,58,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e33f1b7ecbe4267e336c150b7d478b7.jpg",[],11,{"id":1015,"slug":1016,"title":1017,"dynasty":154,"author":1018,"museum":689,"description":1019,"tags":1020,"thumbUrl":1021,"material":83,"size":83,"collection":36,"collections":1022,"showCount":1013,"zanCount":11,"manualWeight":11,"mainColor":1023},202236,"fang-da-chi-shan-shui-zhou-zhao-xiao-202236","仿大痴山水轴","赵晓","这幅山水取法黄公望，笔墨清润雅致。层叠山峦以皴法勾勒，纹理细腻；山间瀑布飞泻，溪流蜿蜒穿林而过，两岸林木葱茏，几处村落隐于树石间，尽显清幽恬淡之趣。淡设色晕染恰到好处，山石与树木的线条简洁有力，整体意境悠远，将文人山水的逸韵融于笔端，观之如入世外桃源，心凝神释。",[24,29,28,74,98,30,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa910d352a56fb17db658beee8b66d55a.jpg",[36],"bead98",{"id":1025,"slug":1026,"title":687,"dynasty":154,"author":688,"museum":689,"description":1027,"tags":1028,"thumbUrl":1030,"material":83,"size":83,"collection":36,"collections":1031,"showCount":1013,"zanCount":11,"manualWeight":11,"mainColor":695},202118,"shan-shui-tu-zhou-qian-shu-202118","此作笔墨苍劲沉厚，山峦以皴法写就，纹理交错间尽显石质坚凝。山间云雾轻飏，虚实相生，将远近景致自然分隔。近景枯树虬枝，姿态古拙，与嶙峋怪石相映成趣；中景村落隐于林麓，屋舍错落添几分烟火气；远景峰峦叠嶂，意境悠远。整体构图疏密有致，气韵流转生动，尽显传统山水画的空灵深远，传递出文人对自然的静谧观照与哲思。",[24,29,28,100,1029,53,7,27,74,23],"怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4096e56061498878b48f5c01ffe78262.jpg",[36],{"id":1033,"slug":1034,"title":1035,"dynasty":154,"author":1036,"museum":689,"description":1037,"tags":1038,"thumbUrl":1039,"material":83,"size":83,"collection":36,"collections":1040,"showCount":1013,"zanCount":11,"manualWeight":11,"mainColor":1041},201624,"cai-ling-tu-zhou-wang-hui-201624","采菱图轴","王翬","画面远山层叠，皴笔勾勒峰峦肌理，云雾轻笼山间，添空灵之致。近景柳丝低垂，枝干遒劲与杂树相映；村落隐于树后，小桥跨溪，流水潺潺，透着田园闲逸。水面数叶轻舟，采菱人影隐约，漾起渔乐之韵。笔墨细腻温润，设色淡雅清和，既承传统山水功底，又融生活场景鲜活气息，自然之美与人间烟火悄然融合。",[24,29,28,74,57,98,216,553,30,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe238d4fc5073b499650b68c17355907.jpg",[36],"c4b39e",{"id":1043,"slug":1044,"title":1045,"dynasty":174,"author":1046,"museum":48,"description":1047,"tags":1048,"thumbUrl":1051,"material":103,"size":104,"collection":83,"collections":1052,"showCount":1053,"zanCount":11,"manualWeight":11,"mainColor":41},231663,"shan-shui-shi-yi-tu-juan-ge-chuan-guang-zhong-231663","山水诗意图卷","歌川広重","远景富士山隐在烟霭之中，淡墨晕开水天，浅赭岸渚衔着空蒙烟波，扁舟孤悬，漾开幽远空寂。近湾村落黛瓦层叠，苍松与秋红林木错落相偎，暖调砂岸揉入冷色烟水，将乡居温软与湖山清旷相融。\n\n整体用色清润柔和，以淡彩晕开暮烟朦胧氛围，简淡线条精准勾勒山水层次，把幽玄意趣藏在平远构图中。将秋郊湖村的安闲与远山清寂揉为一处，将寻常乡野晕作一阙淡远秋歌，静穆里漫着松弛悠然的秋意。",[23,95,1049,26,74,323,29,143,78,7,990,51,1050,30,599],"浮世绘","岛屿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69334a00861007071920e53a54ebe83a.jpg",[],10,{"id":1055,"slug":1056,"title":1057,"dynasty":154,"author":279,"museum":48,"description":751,"tags":1058,"thumbUrl":1062,"material":83,"size":83,"collection":83,"collections":1063,"showCount":1053,"zanCount":11,"manualWeight":11,"mainColor":41},223528,"wu-yi-shan-shi-ba-jing-tu-3-yi-ming-223528","武夷山十八景图3",[23,24,25,407,27,74,28,29,1059,120,216,30,776,51,1060,78,98,57,52,652,1061,7],"山岩","近石","浅滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d03a27efeadb367d3380d727ec41cc7.jpg",[],{"id":1065,"slug":1066,"title":1067,"dynasty":154,"author":1068,"museum":320,"description":1069,"tags":1070,"thumbUrl":1071,"material":1072,"size":83,"collection":83,"collections":1073,"showCount":1053,"zanCount":11,"manualWeight":11,"mainColor":41},214495,"shui-mo-tu-ce-8-zheng-min-214495","水墨图册-8","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。",[23,24,25,407,27,75,28,29,76,30,7,599,32,51,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd7b6c70420fc5555a1206f12d623238.jpg","纸本,水墨",[],{"id":1075,"slug":1076,"title":29,"dynasty":154,"author":1077,"museum":48,"description":1078,"tags":1079,"thumbUrl":1080,"material":83,"size":83,"collection":83,"collections":1081,"showCount":169,"zanCount":11,"manualWeight":11,"mainColor":41},224435,"shan-shui-wang-yu-224435","王昱","此作用高远、平远章法铺展秋山胜景，左畔危崖陡立，以苍劲皴法写山石肌理，丹枫村居隐于崖麓，添几分暖意生机。近岸古松盘虬，坡石隐现于浅草间，流泉脉脉。江波浩渺，远山含黛晕染出空濛暮色。\n\n画面笔墨承袭娄东一脉，干笔淡墨皴擦，浅设色晕染清雅柔和。题诗与画境相映，糅合元人萧散意趣，铺就出幽寂闲淡的江秋林下之境，将文人山水的隐逸悠然藏于尺幅之间。",[23,24,25,29,96,74,27,28,97,30,78,51,502,143,7,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c3a78721187e680a816bc2f19330f5a.jpg",[],{"id":1083,"slug":1084,"title":1085,"dynasty":46,"author":279,"museum":48,"description":1086,"tags":1087,"thumbUrl":1088,"material":103,"size":104,"collection":83,"collections":1089,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":66},290109,"shui-cun-lou-ge-tu-yi-ming-290109","水村楼阁图","北宋时期，山水画大兴。这其中，李成和范宽是北宋初期山水画家的代表，他们上承荆浩以水墨为主的传统，以表现北方雄浑壮阔的自然山水为主，与五代的关仝一起，被认为是“三家鼎峙，百代标程”的大师，他们的创作具有划时代的意义。其后继者有王士元、王端、燕文贵、许道宁、高克明、郭熙、李宗成、丘纳、王诜等。除北方山水系统的山水画外，也有长于界画的郭忠恕，善于表现湖山小景的惠崇、赵令穰，继承唐代以来的青绿山水画法的王希孟、南派山水画的代表巨然，以及开创“米氏云山”的米芾等，都在中国山水画的发展过程中，有着各自的独特贡献。\n北宋山水画倾于自然，侧重“真”和“实”，提倡山水画的写实风格。多使用绢，不仅勾勒细致、刻画严谨，而且用墨对画面进行层层渲染，展现出一份凝重恬静之美。它展现的是前所未有的细腻、丰富、写实的画风。",[23,24,989,27,29,99,30,98,57,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5d6ccfac5c518af5d44f3f72c4f826.jpg",[],{"id":1091,"slug":1092,"title":1093,"dynasty":154,"author":230,"museum":48,"description":1094,"tags":1095,"thumbUrl":1096,"material":83,"size":83,"collection":83,"collections":1097,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":41},234653,"yuan-ji-jin-ling-shi-jing-tu-ce-shi-tao-234653","原济金陵十景图册","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。",[95,24,25,407,27,29,216,234,7,296,58,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9c273784c28f30a319aebee28df4fd0.jpg",[],{"id":1099,"slug":1100,"title":1101,"dynasty":137,"author":1102,"museum":689,"description":1103,"tags":1104,"thumbUrl":1106,"material":83,"size":83,"collection":36,"collections":1107,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":1108},203375,"jin-ling-shi-ba-jing-tu-ce-wen-bo-ren-203375","金陵十八景图册","文伯仁","笔墨清润秀雅，山峦以披麻皴皴染结合，勾勒金陵丘壑灵秀。近景林木葱茏，中景村落隐现烟霭间，远景江天浩渺，孤舟轻泛。构图疏密有致，意境悠远，既得自然野趣，又含文人书卷气，将金陵胜景的温婉与壮阔融于咫尺册页，尽显江南山水的诗意静谧。",[24,407,27,74,28,29,216,541,7,1105,23],"江天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7eac81cc328c61fbe1a2960154c70f5.jpg",[36],"d5cabd",{"id":1110,"slug":1111,"title":1112,"dynasty":154,"author":561,"museum":689,"description":1113,"tags":1114,"thumbUrl":1115,"material":83,"size":83,"collection":36,"collections":1116,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":1117},201688,"fu-wang-meng-jiang-shan-qian-li-tu-juan-wang-hui-201688","抚王蒙江山千里图卷","这幅长卷以细腻笔触铺展千里江山，山峦叠嶂间林木葱郁，江河烟波浩渺，舟楫点点穿梭水面，村落隐于山麓林麓间，尽显江南山水的灵秀与旷远。画家承袭王蒙笔意，以繁复而不失条理的皴法勾勒山石肌理，线条灵动且富有层次，墨色浓淡相宜，既再现原作苍莽气象，又融入自身对山水的体悟，营造出深远静谧的意境，堪称仿古山水的典范之作。",[29,26,28,141,541,296,528,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc68c2eba467ae572cd264bda564355.jpg",[36],"ad9168",{"id":1119,"slug":1120,"title":1121,"dynasty":137,"author":739,"museum":48,"description":740,"tags":1122,"thumbUrl":1123,"material":103,"size":104,"collection":83,"collections":1124,"showCount":1125,"zanCount":11,"manualWeight":11,"mainColor":41},287951,"shan-shi-qing-lan-tu-ye-li-shi-da-287951","山市晴岚图页",[23,95,24,25,407,27,74,29,705,30,78,7,101,75,59,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d0c6f4dea0a508712866a8b7f90be74.jpg",[],7,{"id":1127,"slug":1128,"title":1129,"dynasty":154,"author":1130,"museum":48,"description":1131,"tags":1132,"thumbUrl":1133,"material":103,"size":104,"collection":83,"collections":1134,"showCount":1125,"zanCount":11,"manualWeight":11,"mainColor":41},239537,"fang-gu-ji-you-tu-ce-huang-yi-239537","访古纪游图册","黄易","黄易（1744 年11月22日—1802年3月26日），字大易，号小松、秋盦，又号秋影庵主、散花滩人。浙江钱塘人，钱塘黄氏八世。兼擅篆刻，与丁敬并称丁黄，为“西泠八家”之一。",[24,27,366,407,29,7,51,53,59,642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec6732ab7dbed29550b6e9e7d243771.jpg",[],{"id":1136,"slug":1137,"title":1138,"dynasty":137,"author":377,"museum":48,"description":1139,"tags":1140,"thumbUrl":1141,"material":83,"size":83,"collection":83,"collections":1142,"showCount":1125,"zanCount":11,"manualWeight":11,"mainColor":41},235827,"shan-shui-ce-li-liu-fang-235827","山水册","此帧画面松枝虬劲苍郁，针叶攒簇如盖，笔法清逸松秀。淡赭晕染坡石村落，浅青轻笼远山层峦，空寂山居隐于松下，尽显悠远萧散的林下意趣。\n题跋自言取法前贤却自出机杼，笔墨脱略常格，将画理与文思相融，暗合晚明文人的审美意趣。整体以淡墨轻岚营造幽淡沉静的氛围，既有元人山水的简远疏朗，又藏着创作者幽隽沉静的文心，淡远空濛间，山居雅趣扑面而来。",[24,25,407,74,27,29,237,588,7,51,75,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24c929e9232e406ffa2b55e017c3ed19.jpg",[],{"id":1144,"slug":1145,"title":1146,"dynasty":46,"author":279,"museum":48,"description":1147,"tags":1148,"thumbUrl":1150,"material":103,"size":104,"collection":83,"collections":1151,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":41},289974,"shui-cun-yan-ai-tu-yi-ming-289974","水村烟霭图","此作用笔清润简淡，以水墨晕染铺就江南水村晓烟初笼之景。近岸苍松错落，篱舍隐于林侧，浅渚汀洲朦胧于薄雾间。远山以淡墨轻皴，杂木以浓墨点簇，和空濛烟霭相融，虚实相生间晕开悠远层次。留白水面晕染如烟，隐约见渔舟静卧波心，将水乡晨间的恬谧柔婉尽数铺陈。画作以小见大，把乡野幽居的悠然诗意藏在氤氲水汽中，虚淡的笔墨托衬出林泉寄兴的雅致意境，将江南水村的空寂宁和揉进朦胧烟色里，尽显山水小品含蓄悠远的雅致意趣。",[23,989,24,95,27,29,28,30,7,894,1149],"静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feda1c6700e9211b3673abb16a9c695b6.jpg",[],{"id":1153,"slug":1154,"title":1155,"dynasty":154,"author":1156,"museum":231,"description":1157,"tags":1158,"thumbUrl":1161,"material":1162,"size":1163,"collection":83,"collections":1164,"showCount":107,"zanCount":11,"manualWeight":11,"mainColor":41},234918,"xue-jing-gu-shi-ce-sun-hu-234918","雪景故事册","孙祜","孙祜的作品流传下来的大部分收藏于故宫博物院内，《雪景故实图》册即其中之一，该图册为绢本设色画，每页纵32.2厘米、横26厘米，分别画有与冬日雪景相关的历史故事，分别为“东郭履雪”、“苏卿啮雪”、“袁安卧雪”、“赤脚嚼雪”、“谢庭咏雪”、“王恭涉雪”、“谢庄点雪”、“孙康映雪”、“陶榖烹雪”和“程门立雪”等十个故事。\n这特套册页最后一页上有作者的署款：“孙祜恭画”，署款的姓名前没有加上“臣”字，说明此图册不是为皇帝所画的。图册每页上均有对题，由梁诗正书写尚为“宝亲王”弘历的诗，图册作于“雍正乙卯”，即雍正十三年（1735年）。说明在雍正时期，画家孙祜是在“宝亲王”王府内当过差，后来作为王府的人员转入皇宫继续供职的。\n这套册页中山水、人物、楼阁、树木具备，很显示画家的功力。画中的山石颇具唐岱的风貌，孙祜与唐岱在宫中共过事，而且唐岱年纪显然要大于孙祜，山水画的风格受其影响，也是意料中的事情；图册里楼阁界画又甚为工致，应当来自于与陈枚的交流，同样孙祜与陈枚也有过合作的经历。所以这套册页画充分展现了画家孙祜多方面的技艺。\n孙祜（公元18世纪）江苏人，生卒年不详。工人物、山水，宗法王原祁。乾隆（1736-1795）时供奉内廷，为宫廷画家。乾隆元年（1736）曾与陈枚、金昆、戴洪、程志道绘《清明上河图》卷进呈，得邀乾隆帝审题，五年（1740）与陈枚、金昆、程志道、丁观鹏合作《庆丰图》册，六年（1741）又与周鲲、丁观鹏合作《汉宫春晓图》卷。传世作品有《雪景故事》册共计十开，绢本，设色，现藏故宫博物院。",[24,25,407,74,158,408,118,78,30,1159,7,1160,59,75],"雪地","冬季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f466dcb732a693b1629daac77929f2e.jpg","绢本 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Milani--Hilly Landscape with Three Figures","以红粉笔晕开乡野意趣，前景虬曲古木占据左侧画面，苍劲枝干肆意舒展，叶片晕染出蓬松生机，深褐阴影稳稳锚定视觉重心。右侧坡地三两旅人暂作休憩，姿态松弛自然，为静谧山野晕开一抹烟火暖意。\n\n丘陵层叠向着远方漫延，错落村舍依山势铺陈，石砌屋宇与尖顶隐现于林木之间，光影顺着起伏山势缓缓铺展，将郊野的安闲松弛娓娓晕开。朴拙随性的笔触感揉合着山野的鲜活与悠然，把丘林乡野的松弛意态铺陈纸面，藏着独属于郊野的温柔闲静。",[1315,29,118,30,7,1476,74],"丘陵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbac8ac1049ce7cae64849dc0cc2e580.jpg",[],{"id":1480,"slug":1481,"title":1482,"dynasty":174,"author":279,"museum":48,"description":1483,"tags":1484,"thumbUrl":1487,"material":103,"size":104,"collection":83,"collections":1488,"showCount":207,"zanCount":11,"manualWeight":11,"mainColor":41},289281,"philip-van-den-bossche-rugged-wooded-river-landscape-yi-ming-289281","Philip van den Bossche--Rugged Wooded River 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