[{"data":1,"prerenderedAt":721},["ShallowReactive",2],{"subject-dan-mo":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},149,"dan-mo","淡墨","淡墨画高清赏析","精选中国历代淡墨题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b27a33f38cb838cb2c4c77e8e51efb0.jpg",0,49,[14,50,75,95,109,128,145,169,189,214,231,244,260,272,292,303,315,332,342,358,370,382,392,403,419,439,451,462,473,486,499,516,531,543,558,570,582,595,604,613,625,637,646,656,667,676,687,699,711],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":41,"material":42,"size":43,"collection":44,"collections":45,"showCount":48,"zanCount":11,"manualWeight":11,"mainColor":49},221414,"mao-lin-yuan-xiu-tu-li-cheng-221414","茂林远岫图","宋","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。",[23,24,25,26,27,28,29,30,31,32,33,34,35,7,36,37,38,39,40],"高清","国画","名画","书画","长卷","山水","皴法","设色","茂林","远山","树木","山石","云雾","绢本","层峦","丛林","溪流","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","宋画精选",[44,46,47],"山水画精选","水墨画精选",144,"795548",{"id":51,"slug":52,"title":53,"dynasty":54,"author":55,"museum":56,"description":57,"tags":58,"thumbUrl":67,"material":68,"size":69,"collection":70,"collections":71,"showCount":72,"zanCount":73,"manualWeight":11,"mainColor":74},290956,"jiang-an-wang-shan-tu-ni-zan-290956","江岸望山图","元","倪瓒","台北故宫博物院","由画上题诗，知为赠行而作，受赠者由水路去会稽，因而画舟中望两岸之景。款上称“并写江岸望山图奉送惟允友契之会稽”，惟允为陈汝言之字，但“惟允”二字，与其他题诗之字比较起来，笔迹不似，疑系后人妄改，藉以增加此画之身价。\n倪氏早年从董巨入手，五十几岁时，山石全用披麻长皴；至六十岁则渐入荆关，笔简气壮。晚年则是明显的折带皴法，呈现静穆萧疏的风格。该幅画高树空亭，隔岸望山，山上长皴，未成折带，利用苔点﹑深浅皴法及留白的运用，将山石立体实感呈现而出，气势雄壮，与其晚年渴笔皴擦之冷峻坚实的山石较不同。清吴升曾评此画：“皴法全用大披麻，得巨然神髓。迂翁画大抵平远山峰，不多作树；似此高崖峭壁，具太华削成之势；大小树点叶纷披，都非向来面目，乃知此翁绘妙中扫空蹊径，有如许大手笔也。”",[24,59,28,60,61,34,62,63,64,65,66,7],"水墨","亭","枯树","江岸","书法","印章","清寂","江景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ae1ca51152d8dd2051b65e995e59abd.jpg","纸本,水墨","Xcm*Xcm","",[],140,1,"BDBDBD",{"id":76,"slug":77,"title":78,"dynasty":18,"author":79,"museum":80,"description":81,"tags":82,"thumbUrl":89,"material":90,"size":91,"collection":92,"collections":93,"showCount":94,"zanCount":73,"manualWeight":11,"mainColor":74},221228,"hu-zhuang-qing-xia-tu-zhao-ling-rang-221228","湖庄清夏图","赵令穰","美国波士顿博物馆","《湖庄清夏图》描绘了夏季湖的平远景色。开卷是湖庄临岸，垂柳拂溪；接接着一座小桥横跨水上，湖中莲叶田田，群鸭游;岸上绿树成的，远处烟水迷蒙；路转溪头，又见绿树环抱中，数间村舍，屋后一片林木，在烟雾笼罩下，横向舒展，时隐时显，更增加悠然的灵动气氛，充满幻梦般的诗意。卷末近景描绘三株形态各异的大树，与卷首树木相呼应，左下角有明代早期收藏印。",[23,25,24,26,27,28,59,30,29,7,33,83,84,85,32,86,60,87,88],"湖水","小船","岸堤","草木","湖岸","平坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c6d42310b30e6d6aee565943dd6d4ff.jpg","绢本，设色","纵19.1厘米，横161.3厘米","书法精选",[92],139,{"id":96,"slug":97,"title":98,"dynasty":18,"author":99,"museum":100,"description":101,"tags":102,"thumbUrl":105,"material":68,"size":106,"collection":70,"collections":107,"showCount":108,"zanCount":11,"manualWeight":11,"mainColor":74},219189,"xiao-xiang-ba-jing-ping-sha-luo-yan-mu-xi-219189","潇湘八景-平沙落雁","牧溪","出光美术馆","烟霭轻笼的天地间，远山如黛晕染在薄纱般的雾色里，几抹淡影似云似烟，模糊了天与地的边界。近岸沙渚上，三两只雁影静立，羽翼的轮廓在朦胧中化开，仿佛刚落定的归客，与周遭的空寂融为一体。天际有雁阵掠过，纤细的墨线在虚白中牵起一缕灵动，不扰清宁，只添悠远禅意。\n\n极简笔墨勾勒出无尽空寂，淡墨晕染的层次藏着自然的呼吸，每一处留白都是心境的延伸。清旷之境里，喧嚣被滤去，唯有安宁漫上心尖，似与天地精神相往来，让人在静默中触摸到禅意的温度。",[23,24,25,59,28,103,35,104,27,7],"飞鸟","平沙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F192cedb0f91bed94851114d42cfc8076.jpg","33x109.9厘米",[],132,{"id":110,"slug":111,"title":112,"dynasty":18,"author":99,"museum":113,"description":114,"tags":115,"thumbUrl":124,"material":68,"size":125,"collection":70,"collections":126,"showCount":127,"zanCount":73,"manualWeight":11,"mainColor":74},220254,"xiao-xiang-ba-jing-tu-jiang-tian-mu-xue-mu-xi-220254","潇湘八景图·江天暮雪","藏地不详","此图淡墨轻岚，诗意优扬。其“江天暮雪”辽阔的水域占了书面的二分之一左右，近景的坡石和远方的山影仿佛都被广袤白雪所覆盖，画面正偏左有几株树叶凋落的乔木，树丛间隐约可见屋宇，顺着树枝垂下的方向看，一个渔翁正瑟缩着坐在船首。画面不以留白取胜，而将渔翁置于千山万径之间，以天地之山巅，冰雪之苍凉，衬托渔翁之微小。",[23,25,24,26,116,59,117,118,119,120,121,33,122,35,7,123],"宋画","写意","禅画","山水画","山","水","雪","自然景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbf34dc75ca426d42b380e45a89f2a94.jpg","29.5X94.4厘米",[],123,{"id":129,"slug":130,"title":131,"dynasty":18,"author":132,"museum":133,"description":134,"tags":135,"thumbUrl":141,"material":68,"size":142,"collection":46,"collections":143,"showCount":144,"zanCount":73,"manualWeight":11,"mainColor":74},220353,"qing-lu-heng-yun-tu-zhao-ji-220353","晴麓横云图","赵佶","日本大阪市立美术馆","此作景物结构近似宋徽宗 〈溪山秋色图〉，然画面集中下方，馀为空白。山形如云朵状，近似李郭风格，然用笔严谨，皴染亦细致，与李郭富强烈粗细变化的线条不同，有学者推测为金代继承李郭传统的作品。画右上方有瘦金书「晴麓橫雲」，书风略显柔弱，「御書之寳」亦存疑，推测为后人追摹。此幅现藏于大阪市立美术馆，纸本浅设色。",[23,24,26,136,59,29,28,34,35,61,32,137,138,139,7,140],"立轴","寒林","峰峦","雾气","渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6d05721ef7b3d98f4735e9d3ddf3873.jpg","154.5x61.2",[46,44],119,{"id":146,"slug":147,"title":148,"dynasty":149,"author":150,"museum":151,"description":152,"tags":153,"thumbUrl":164,"material":165,"size":166,"collection":46,"collections":167,"showCount":168,"zanCount":11,"manualWeight":11,"mainColor":49},217994,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217994","仿黄公望山水图","清","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。",[23,24,26,136,59,29,28,120,154,155,156,157,158,35,34,159,160,39,161,162,163,7],"树","松","小桥","流水","房屋","古木","村落","层岩","苔点","干笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02895e2fbe75d1aecf4043f9b33a3de1.jpg","纸本,设色","100.2x45.6cm",[46],79,{"id":170,"slug":171,"title":172,"dynasty":54,"author":55,"museum":56,"description":173,"tags":174,"thumbUrl":184,"material":185,"size":186,"collection":70,"collections":187,"showCount":188,"zanCount":73,"manualWeight":11,"mainColor":74},232254,"tong-lu-qing-qin-tu-ni-zan-232254","桐露清琴图","元代画家倪瓒喜爱梧桐，相传他每日令童子汲水清洗院中的桐树，“门前杨柳密藏鸦，春事到桐花。敲火试新茶。想月珮，云衣故家。苔生雨馆，尘凝锦瑟，寂寞听鸣蛙。芳草际天涯。蝶栩栩，春晖梦赊。”春日阶前桐花开，画家试新茶时想起故家，有如庄周梦蝶，已是芳草天涯。这首《太常引 伤逝》题在一幅画作中，可惜画作已不见。《桐露清琴图》中几株挺拔的桐树立于竹舍茅屋边，不知是不是就是画家心中的故园呢？\n“桐花快落春风老，梅子微酸晚雨晴。从此嬉游时节少，不须日日报诗成。”春风与桐花归去后，无须整日游春赋诗，不如在雨后夏夜多读几本书吧。",[24,59,28,29,175,64,120,154,176,158,177,178,179,180,7,181,182,39,183],"行书","竹子","孤石","平远构图","题款","枯笔","疏林","草堂","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fd543601d23d9eda41aecdc51d37c2e.jpg","纸本","90.1x30 厘米",[],63,{"id":190,"slug":191,"title":192,"dynasty":18,"author":193,"museum":56,"description":194,"tags":195,"thumbUrl":209,"material":210,"size":211,"collection":44,"collections":212,"showCount":213,"zanCount":11,"manualWeight":11,"mainColor":49},219014,"mu-niu-tu-yi-ming-219014","牧牛图","佚名","小河两岸溪流纵横，在树荫下草木茂盛，是放牧的好地方。牛群由六头牛组成，其中三头牛在争吵后相互厮打。而另外两个牧童则坐在牛背上，静静地交谈。笔力强劲，墨色厚重，画面没有标记，日期较晚。",[23,24,26,59,30,196,27,197,198,199,33,200,34,156,39,28,7,29,201,202,178,86,203,204,205,206,207,208],"工笔","牛","兽","牧童","草地","田园","野趣","坡岸","小径","幼兽","动态","静谧","自然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8dd986111c132cf50382a2bc3bf6d21.jpg","绢本,设色","68.2x140.3",[44],52,{"id":215,"slug":216,"title":217,"dynasty":54,"author":55,"museum":218,"description":219,"tags":220,"thumbUrl":226,"material":227,"size":228,"collection":70,"collections":229,"showCount":230,"zanCount":11,"manualWeight":11,"mainColor":49},233884,"lin-ting-yuan-xiu-tu-zhou-ni-zan-233884","林亭远岫图轴","北京故宫博物院","《林亭远岫图轴》为倪瓒“三段式”构图的典型之作，行笔施墨较简逸，绘坡地上有高树修竹，临江建草亭，远山起伏，隔江相望。“一水两岸”的“三段式”是指在近处画石坡和土岸，上面有几棵枯树，远景画的是平缓的山峦。远处的山与近处的树之间有很大面积的空白是水面，广阔的水面上基本上一个物体也没有，通常看不见人。“三段式”的构图方法到倪瓒达到了一个顶峰，至少是前无古人，后无来者，倪瓒把它发挥得淋漓尽致，运用得出神入化。我们可以这样说，是倪瓒铸就了“三段式”绘图方法的经典运用和不朽传奇，而“三段式”的构图方法成就了倪瓒在中国绘画史上不可替代的位置。",[24,26,136,59,28,221,222,7,223,224,61,158,34,157,225,175,177],"干笔皴擦","留白","远岫","林亭","题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3daac7b068ff6b3cd54bbe1eb7114c01.jpg","纸本水墨","纵87.3厘米，横31.4厘米",[],46,{"id":232,"slug":233,"title":234,"dynasty":18,"author":193,"museum":56,"description":235,"tags":236,"thumbUrl":240,"material":210,"size":241,"collection":44,"collections":242,"showCount":243,"zanCount":11,"manualWeight":11,"mainColor":74},218844,"zong-yin-xi-jing-tu-yi-ming-218844","棕荫习静图","这幅画描绘了一个高丘在棕榈树荫下的石凳上睡觉，旁边有蝴蝶在飞舞。这幅画中的人物是用减笔描写的，棕榈树和石凳也是用笔描写的，石夔和梁楷应该是学过的，但笔画太逼真，太露骨。这幅画的标题可以是：庄周梦蝶。",[23,24,59,237,238,33,239,117,7],"册","人物","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98ad217fdf5f3633a9235875c1c6e2cb.jpg","21x21.1",[44],41,{"id":245,"slug":246,"title":247,"dynasty":149,"author":248,"museum":113,"description":249,"tags":250,"thumbUrl":257,"material":70,"size":70,"collection":70,"collections":258,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":74},229040,"liu-an-chun-feng-tu-pu-ru-229040","柳岸春风图","溥儒","此作以淡墨写意铺陈春岸景致，近坡枯荣交织的岸柳虬枝柔条相映，苍朴坡石野趣自生。烟波空濛间渔舟错落，渔人或撑篙行舟，或泊船闲坐，自在悠然。远山以淡墨轻晕，帆影杳渺隐于烟岚之中，留白尽显江天寥廓的清远空寂。\n\n简淡秀雅的笔墨，未作繁复皴染，却将春岸风柔波暖的温煦，渔家乐的恬然意趣融于尺幅。把江南春日的闲逸野趣铺陈开来，寄寓了归心丘壑的雅逸襟怀，淡远萧疏间漫溢融融春意，悠悠古意扑面而来，尽显文人山水画寄情山水的悠然意境。",[23,24,59,251,30,28,252,253,157,238,34,254,33,255,256,7],"白描","柳树","孤舟","渔乐","河岸","渔船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9995c8d550395c6272b742eac90d75b7.jpg",[],29,{"id":261,"slug":262,"title":263,"dynasty":264,"author":193,"museum":265,"description":266,"tags":267,"thumbUrl":269,"material":210,"size":70,"collection":46,"collections":270,"showCount":271,"zanCount":11,"manualWeight":11,"mainColor":74},217983,"lin-liu-guan-qiu-tu-yi-ming-217983","临流观秋图","明","布里斯托尔博物馆","临流观秋图是明朝时期佚名所作的一幅著名图画。这幅图画描绘了一个秋天的景象，主要内容是一条清澈见底的河流，周围是绿树成荫的山坡。在河对岸，可以看到一座小山丘，上面建有一座庙宇。\n\n在河流中，可以看到许多游鱼，它们在水面上跃起，似乎在欢迎秋天的到来。此外，还可以看到许多水鸟在河上飞翔，整幅画面非常宁静而美丽。\n\n临流观秋图被认为是明朝时期中国绘画史上的杰作之一，其中融合了自然风景和人文景观，使得画面更加丰富多彩。该图画被认为是明朝绘画的一个典型代表，其中体现了明朝时期中国文人画的特点。",[24,59,30,28,157,60,61,177,103,29,268,32,7,117,33],"秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff11e058cdac214e74ff20a01c13c4c98.jpg",[46],23,{"id":273,"slug":274,"title":275,"dynasty":276,"author":277,"museum":278,"description":279,"tags":280,"thumbUrl":288,"material":70,"size":70,"collection":47,"collections":289,"showCount":290,"zanCount":11,"manualWeight":11,"mainColor":291},202868,"yin-ma-tu-zhou-xu-bei-hong-202868","饮马图轴","近代","徐悲鸿","上海博物馆","画面中骏马低头临溪饮水，身姿矫健而神态悠然。水墨写意的笔触下，浓墨劲扫鬃尾与蹄部，线条奔放洒脱；淡墨晕染马身，层次细腻，尽显肌肉的起伏张力。溪水以浅蓝灰调轻铺，波纹漾动，岸边赭色土地简约勾勒，与马的灵动形成呼应。整幅作品笔墨洗练，气韵生动，将马的自然之态与写意的酣畅完美融合，传递出鲜活的生命力与静谧的自然意趣。",[59,117,281,282,283,284,285,286,287,7,23],"马","线条","蹄","鬃毛","溪水","土地","赭色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F737e9cc9d557f305c51be114589b4abd.jpg",[47],22,"cac9bf",{"id":293,"slug":294,"title":295,"dynasty":149,"author":296,"museum":278,"description":297,"tags":298,"thumbUrl":10,"material":70,"size":70,"collection":46,"collections":300,"showCount":301,"zanCount":11,"manualWeight":11,"mainColor":302},203099,"gui-mao-shan-shui-tu-ce-ye-xin-203099","癸卯山水图册","叶欣","画面以淡墨轻彩晕染，左侧嶙峋山石用简洁皴法勾勒，肌理毕现；中部建筑屋顶覆淡红，灰白墙体衬出雅致，内中陈设隐约可辨；旁侧枯树枝桠疏朗，添几分清寂。远景山峦朦胧，水汽氤氲，层次悠远。笔墨清润雅致，构图虚实相生，简淡中藏深远意境，尽显文人山水的清幽之趣。",[24,28,237,30,29,34,299,61,7,26,23],"建筑",[46],14,"d0bb97",{"id":304,"slug":305,"title":306,"dynasty":264,"author":307,"museum":278,"description":308,"tags":309,"thumbUrl":312,"material":70,"size":70,"collection":46,"collections":313,"showCount":301,"zanCount":73,"manualWeight":11,"mainColor":314},202191,"bei-shan-he-chu-tu-zhou-dong-qi-chang-202191","北山荷锄图轴","董其昌","淡墨皴擦的山峦间，清逸线条勾勒出文人画的空灵。近景虬枝枯树倚着嶙峋山石，小亭隐于树后；远景主峰挺秀，烟云轻笼，夕阳余晖漫洒，意境清寂悠远。笔墨疏朗却含厚重，以书入画的笔意融于山水神韵，师法自然又寄寓主观情致，简淡中见天真，尽显文人山水的雅致气韵。",[24,28,29,7,61,34,60,310,311,136,23],"夕阳","文人画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F607cbdadd7c4984a5c2f9c3d479735ad.jpg",[46],"b1a080",{"id":316,"slug":317,"title":318,"dynasty":149,"author":319,"museum":113,"description":320,"tags":321,"thumbUrl":328,"material":329,"size":69,"collection":70,"collections":330,"showCount":331,"zanCount":11,"manualWeight":11,"mainColor":74},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”。",[25,24,26,322,163,7,29,28,253,252,60,323,238,324,32,325,326,327],"册页","岸","水波","近岸","小舟","垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c3182d660d161fc9f0b2b958a356bc8.jpg","未知",[],13,{"id":333,"slug":334,"title":318,"dynasty":149,"author":319,"museum":113,"description":320,"tags":335,"thumbUrl":339,"material":329,"size":69,"collection":70,"collections":340,"showCount":341,"zanCount":11,"manualWeight":11,"mainColor":74},235614,"hong-ren-shan-shui-ce-hong-ren-235614",[25,24,26,322,59,180,7,29,336,337,28,120,338,154,158,204,203,160],"简约","清冷","石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F786ec573adabfb43ca01bf811898821a.jpg",[],12,{"id":343,"slug":344,"title":345,"dynasty":54,"author":346,"museum":278,"description":347,"tags":348,"thumbUrl":354,"material":70,"size":70,"collection":46,"collections":355,"showCount":356,"zanCount":11,"manualWeight":11,"mainColor":357},201770,"shan-shui-tu-juan-lu-guang-201770","山水图卷","陆广","淡墨轻皴，烟峦隐现。卷中山石以披麻皴写就，肌理温润；林木葱郁，枝干劲挺，点叶错落有致。溪流蜿蜒穿岩过谷，近处茅舍依岸筑立，竹树环绕，尽显幽居之趣。画面虚实相生，留白处似有云气流动，意境清旷淡远，得元人山水萧散之致。笔墨取法黄公望的秀逸与王蒙的细密，皴染结合，层次丰富，于简淡中见深致。整体气息雅致，将文人对自然的眷恋融于尺幅，是元代文人山水画的典型风貌。",[28,59,29,349,311,39,350,351,352,7,353,23],"披麻皴","茅舍","林木","烟峦","元画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb16106c1eb300fe48c746a498f9cb72.jpg",[46],9,"c6b28d",{"id":359,"slug":360,"title":361,"dynasty":264,"author":307,"museum":278,"description":362,"tags":363,"thumbUrl":367,"material":70,"size":70,"collection":46,"collections":368,"showCount":356,"zanCount":11,"manualWeight":11,"mainColor":369},201734,"lu-he-zeng-bie-tu-zhou-dong-qi-chang-201734","潞河赠别图轴","这幅画以淡墨皴染营造清旷山水之境。近处苍松虬劲，山石以简练皴笔勾勒，间杂疏林；中景小桥横跨溪流，流水潺潺；远景山峦层叠，云雾轻笼，尽显江南景致的雅致。笔墨疏朗灵动，线条温润，既得自然野趣，又含文人画空灵韵味。赠别之情隐于山水间，含蓄深沉，不着一字却尽得风流。画面布局疏密有致，意境淡远，是文人画风格的典型体现，尽显笔墨功力与意境营造的极致追求。",[24,28,311,7,29,364,34,156,157,365,136,366,23],"松树","山峦","笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F020d9a6eb4e3829c2236b26a50a48160.jpg",[46],"d3c6a8",{"id":371,"slug":372,"title":373,"dynasty":276,"author":374,"museum":278,"description":375,"tags":376,"thumbUrl":378,"material":70,"size":70,"collection":46,"collections":379,"showCount":380,"zanCount":11,"manualWeight":11,"mainColor":381},203116,"dong-shan-qi-gui-tu-zhou-lu-xiao-man-203116","东山骑归图轴","陆小曼","笔墨清雅的山水景致中，坡岸逶迤延伸，枯木疏枝点缀其间，几株苍松姿态古拙，扎根于山石之上。山间小径隐约可见人影，似是骑归的行客，传递出悠然闲适的意趣。远山层叠，以淡墨晕染出朦胧质感，留白处尽显空灵；近景山石用简练皴法勾勒，线条温润，与疏朗的树木相映成趣。整体气息恬淡雅致，将自然之静谧与人文之闲情融于一纸，尽显文人画的韵致。",[24,28,30,29,155,32,204,7,377,23],"雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bf882bee33d56695450642b4c1546d4.jpg",[46],7,"d7cdbb",{"id":383,"slug":384,"title":385,"dynasty":149,"author":386,"museum":278,"description":387,"tags":388,"thumbUrl":389,"material":70,"size":70,"collection":46,"collections":390,"showCount":380,"zanCount":11,"manualWeight":11,"mainColor":391},203104,"su-tai-gao-yu-tu-ce-wen-dian-203104","苏台膏雨图册","文点","此作以淡墨晕染营造膏雨初歇的空濛氛围，山峦以简练线条勾勒轮廓，辅以皴擦表现石质肌理，林木疏朗挺劲，枝叶间似带湿润气息。近景坡石错落，细草点缀，远景烟波轻笼，隐现孤舟，意境悠远恬淡。笔墨清雅秀逸，尽显文人山水的空灵之趣，将江南雨景的温润雅致凝于册页之中，观之如临其境，心生清宁。",[24,28,59,237,29,351,365,253,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a859ccf7d9e69dbfa797a6ff9113a58.jpg",[46],"dad4cd",{"id":393,"slug":394,"title":395,"dynasty":54,"author":55,"museum":278,"description":396,"tags":397,"thumbUrl":400,"material":70,"size":70,"collection":47,"collections":401,"showCount":380,"zanCount":11,"manualWeight":11,"mainColor":402},201732,"qiu-kong-luo-ye-tu-zhou-ni-zan-201732","秋空落叶图轴","画面以疏简之笔铺陈，枯树虬枝倚孤石而立，旁伴修竹数竿，笔墨清劲萧散。枯树枝干以中锋勾勒，线条如铁线坚韧；孤石用折带皴法，简约间见古拙质感；细竹丛生，笔意灵动，与枯树孤石相映成趣。整幅以干笔淡墨为基调，不施浓彩，传递出空寂淡远的意境，尽显文人画“逸笔草草”的精髓。题跋与书画交融，笔墨间流淌着超脱尘俗的淡泊心境，于极简中藏无穷意蕴，仿佛引观者步入一片清寂的精神桃源。",[24,59,61,177,239,29,163,7,225,398,399,311,23],"萧散","空寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d5d2095a7384dd19afad4a082832798.jpg",[47],"8f827b",{"id":404,"slug":405,"title":406,"dynasty":54,"author":193,"museum":113,"description":407,"tags":408,"thumbUrl":416,"material":70,"size":70,"collection":70,"collections":417,"showCount":418,"zanCount":73,"manualWeight":11,"mainColor":49},228236,"xue-shan-yun-lv-tu-yi-ming-228236","雪山运驴图","整幅画作以萧寒冬日为底色，虬劲枯木扎根嶙峋坡石，枝干尽脱，带着凌冽的荒寒之气。淡墨晕染出山峦积雪，将冬日山野的厚重冷寂铺展开来，边角山石奇崛错落，勾勒出空阔辽远的天地。\n\n中景处的运驴队伍缓步而行，为清寂的雪野晕开一丝烟火暖意，动静相映，让冷肃山水多了几分行路意趣。笔墨苍简老辣，干笔勾勒山石肌理，淡墨铺陈积雪留白的空灵，将苍逸简淡的意趣融于其中，把冬日山野的空寂萧寒与行路的市井意趣相融，清冷中带着鲜活生气，尽显小品山水的精妙意韵，将冬日荒岭的清寒意境烘托得淋漓尽致。",[23,24,119,409,59,410,411,412,413,414,415,65,163,7],"小品画","雪山","枯木","坡石","驴","冬日","荒寒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F114c3794a49fbc91897e8c3e82f12c09.jpg",[],6,{"id":420,"slug":421,"title":422,"dynasty":149,"author":193,"museum":113,"description":423,"tags":424,"thumbUrl":435,"material":329,"size":69,"collection":436,"collections":437,"showCount":438,"zanCount":11,"manualWeight":11,"mainColor":74},238622,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-238622","平定台湾战图册","这幅作品以全景山水承载战事纪实，层峦叠嶂间铺展水乡战地风貌，将行军、驻营的战事情节散落排布，既有山水笔墨的章法意趣，亦还原战事的真实脉络。\n前景将校策马引兵穿行谷道，右上角城池严整列阵，细节处将军士阵列、行军队形刻画详实入微。左侧题诗与画面呼应，以图文合璧记录战事历程。以传统山水画皴染勾勒地貌，工整细致复刻战地实景，让征伐往事具象呈现，兼具历史档案价值与军事题材绘画的独特表现力。",[24,26,237,196,251,59,238,281,28,425,426,427,428,429,34,33,430,431,432,7,433,434],"楼阁","古道","兵器","军队","堡垒","路径","战场景象","线描","历史题材","清代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff52a8e49b30110e036d279dab688753f.jpg","人物画精选",[436],5,{"id":440,"slug":441,"title":442,"dynasty":149,"author":443,"museum":278,"description":444,"tags":445,"thumbUrl":448,"material":70,"size":70,"collection":46,"collections":449,"showCount":438,"zanCount":11,"manualWeight":11,"mainColor":450},201847,"xi-jing-qiu-xin-tu-zhou-wang-san-xi-201847","溪静秋新图轴","王三锡","秋光轻洒溪山，近岸树木错落，或枝叶疏朗，或垂丝摇曳，尽显秋意萧疏之态。山石以淡墨皴擦，纹理质朴，与坡地草痕相映。远处峰峦淡远，水面空濛，一派静谧悠远的秋景。笔墨简约却意韵悠长，线条勾勒与墨色晕染相融，将秋日溪山的清幽之美悄然铺展，似能感受林间风轻，水畔气清，引人沉醉于这份宁静雅致之中。",[59,28,268,29,33,34,207,7,446,447,23],"意境","清幽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2926ca566a8f0452fc34262e171fcc17.jpg",[46],"966f3c",{"id":452,"slug":453,"title":454,"dynasty":149,"author":455,"museum":278,"description":456,"tags":457,"thumbUrl":459,"material":70,"size":70,"collection":46,"collections":460,"showCount":438,"zanCount":11,"manualWeight":11,"mainColor":461},201723,"fang-ni-zan-shan-shui-juan-di-da-kun-201723","仿倪瓒山水卷","翟大坤","这幅山水取倪瓒笔意，以简约淡远的笔墨铺陈清寂景致。近处坡石用干笔皴擦，线条疏朗有致；几株树木挺拔错落，枝桠简练传神；远处山峦淡墨晕染，层次隐现，留白处烟水浩渺，尽显空灵之趣。题跋与朱印相映成趣，添文人雅韵。整体画面清逸绝尘，传递出超然物外的淡泊心境，宛如流动的诗意画卷，引人入胜。",[24,59,28,29,64,458,33,177,32,7,23],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27748032ceff446ae69efb08af9cd4c8.jpg",[46],"aea698",{"id":463,"slug":464,"title":465,"dynasty":149,"author":150,"museum":278,"description":466,"tags":467,"thumbUrl":469,"material":70,"size":70,"collection":46,"collections":470,"showCount":471,"zanCount":11,"manualWeight":11,"mainColor":472},201508,"xian-pu-shu-wu-tu-zhou-wang-yuan-qi-201508","闲圃书屋图轴","画面以淡墨铺陈，山峦层叠间云雾轻绕，近景松石挺劲，古松虬枝舒展，溪流潺潺绕石，掩映着几椽书屋，清幽雅致。用笔善用干笔皴擦，山石轮廓以中锋勾勒，皴法细密，层层积墨显山石质感；树木点染有致，古拙中含生机。整体气息清寂淡远，尽显文人山水之逸趣，似可闻林间风、涧中水，引人遐思。",[24,28,29,163,7,468,364,39,23],"书屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f7b7e15c14314784a9f952b9e2a7762.jpg",[46],4,"bbb097",{"id":474,"slug":475,"title":476,"dynasty":149,"author":477,"museum":278,"description":478,"tags":479,"thumbUrl":481,"material":70,"size":70,"collection":482,"collections":483,"showCount":484,"zanCount":11,"manualWeight":11,"mainColor":485},201909,"hong-feng-shou-dai-tu-zhou-xu-gu-201909","红枫绶带图轴","虚谷","画面中，禽鸟敛翅栖于枝间，羽毛以淡墨晕染，兼施干笔皴擦，虚实相生间尽显灵动之态；旁侧枝蔓以劲挺线条勾勒，红枫点缀其间，色彩淡逸雅致，与水墨的清润形成呼应。笔法简括却神形兼备，寥寥数笔便将禽鸟的慵懒与秋意的疏淡融于一体，尽显文人画的写意韵致，于简约中见深致，于留白处藏情味。",[24,480,59,30,103,117,7,311,23],"花鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd693708703e1862c4f62c40195f44714.jpg","花鸟画精选",[482],3,"a4a0a7",{"id":487,"slug":488,"title":489,"dynasty":264,"author":490,"museum":278,"description":491,"tags":492,"thumbUrl":496,"material":70,"size":70,"collection":46,"collections":497,"showCount":484,"zanCount":11,"manualWeight":11,"mainColor":498},201489,"shan-shui-shan-ye-chen-guan-201489","山水扇页","陈祼","枯木疏枝斜倚，草亭临流而筑，士人闲坐阶前，或观泉听风，或静思悟道。远山以淡墨晕染，近石用简皴勾勒，线条清劲中见秀逸。树木枝干虬曲，笔墨简练却含苍劲之态；屋宇结构疏朗，尽显文人居所的雅致。整幅画面以水墨为主，意境清寂淡远，传递出古代文人寄情山水、超然物外的闲适心境，于方寸扇面间，藏尽林泉之趣。",[493,59,28,61,494,495,29,7,311,23],"扇面","草亭","士人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e4858023557dbacf78ce69aece9e686.jpg",[46],"dbccb3",{"id":500,"slug":501,"title":502,"dynasty":503,"author":193,"museum":113,"description":504,"tags":505,"thumbUrl":513,"material":329,"size":69,"collection":70,"collections":514,"showCount":515,"zanCount":11,"manualWeight":11,"mainColor":74},289147,"guercino-fireworks-in-a-piazza-yi-ming-289147","Guercino--Fireworks in a Piazza","不详","这幅淡墨速写以洗练笔触铺陈出松弛的市井氛围，虚实相生的线条晕开广场开阔尺度。远景建筑轮廓笔意轻淡，将砖石楼宇的厚重融在柔化的笔韵中，晕染出朦胧天色。\n\n广场上的人群错落排布，寥寥数笔便勾勒出鲜活情态，驻足眺望与三两闲谈的身影带着随性松弛，把日常烟火揉进清冷笔调。留白与淡墨晕染呼应，无浓烈色彩却托举起松弛生动的市井氛围，将某个转瞬即逝的黄昏广场时刻，定格在即兴捕捉的鲜活笔触中。",[506,507,7,508,509,510,511,512],"素描","速写","广场","欧式建筑","人物群像","烟花","市井场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f650f5ee5687f1faf6cd2817a1fa0c7.jpg",[],2,{"id":517,"slug":518,"title":519,"dynasty":149,"author":520,"museum":278,"description":521,"tags":522,"thumbUrl":528,"material":70,"size":70,"collection":46,"collections":529,"showCount":515,"zanCount":11,"manualWeight":11,"mainColor":530},203369,"hua-shan-shi-er-jing-tu-ce-dai-ben-xiao-203369","华山十二景图册","戴本孝","峰峦奇崛，山石以简洁皴法勾勒肌理，淡墨晕染出空灵之境。笔墨苍劲中见秀逸，线条刚健却含蕴藉，将华山的险峻与清寂融为一体。山间亭台隐现，林木疏朗，题跋书法与画作相映成趣，尽显文人画诗画合一的韵味。每帧皆为独立景致，却气脉连贯，于咫尺间展现华山十二景的雄奇幽深，传递自然与人文交织的静谧之美。",[24,59,29,28,177,60,63,64,237,175,225,34,138,351,311,7,523,524,65,525,526,207,527,23],"勾勒","晕染","雄奇","幽深","诗画合一","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63cfa9e421d3d6cddafd3f1c8dd688c4.jpg",[46],"e3d8cf",{"id":532,"slug":533,"title":534,"dynasty":149,"author":535,"museum":278,"description":536,"tags":537,"thumbUrl":540,"material":70,"size":70,"collection":70,"collections":541,"showCount":515,"zanCount":11,"manualWeight":11,"mainColor":542},202277,"cang-shan-xing-yin-tu-zhou-cha-shi-biao-202277","苍山行吟图轴","查士标","画面以淡墨勾勒苍山轮廓，皴染结合的山峦间，林木疏朗错落，亭榭隐于幽径旁。山麓处溪流缓绕，一士人骑驴行于林间，似在吟哦，尽显文人雅士的闲适意趣。笔墨简淡空灵，线条清劲，意境萧散悠远，将山林的清幽与行旅的悠然融于一体，传递出文人画特有的疏淡雅致之韵。",[24,28,29,538,60,351,7,539],"行旅","文人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd02b9746fed8f1bba5fc28126ca8f286.jpg",[],"7b5928",{"id":544,"slug":545,"title":546,"dynasty":503,"author":193,"museum":113,"description":547,"tags":548,"thumbUrl":556,"material":329,"size":69,"collection":70,"collections":557,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":74},289464,"rembrandt-seated-man-wearing-a-flat-cap-yi-ming-289464","Rembrandt--Seated Man Wearing a Flat Cap","粗率灵动的笔触勾勒出叉坐的男子，墨色浓淡铺陈出明暗层次，暗部晕染烘托出墙角的幽沉氛围，亮纸留白衬出粗布衣衫的质朴质感。人物叉手落胯，神态松弛倦怠，带着市井小民的随性粗粝，寥寥几笔便将闲散慵懒的日常情态定格。背景花枝草草带过，将视线牢牢锚定在主体之上，以简驭繁尽显速写的鲜活灵动，把庸常小憩的瞬间赋予了质朴厚重的生命力，尽显素描捕捉刹那神态的动人魅力。",[506,507,549,550,551,552,553,554,7,555],"人物画","男子","扁帽","坐姿","门廊","植物","闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bde5745aca3afa33c2a170d7539cd62.jpg",[],{"id":559,"slug":560,"title":561,"dynasty":503,"author":193,"museum":113,"description":562,"tags":563,"thumbUrl":568,"material":329,"size":69,"collection":70,"collections":569,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":74},289317,"francesco-allegrini-unidentified-scene-figures-in-a-landscape-yi-ming-289317","Francesco Allegrini--Unidentified Scene Figures in a Landscape","以淡褐晕染铺就朦胧底色，狂放写意的线条将郊野乱斗的张力拉扯到极致。前景人物肢体夸张扭曲，或俯身蓄势，或振臂嘶吼，粗粝的笔触裹挟着原始野性与躁动，精准捕捉动作里迸发的情绪。远景人群与林木晕染成模糊块面，虚化的背景将视线牢牢锁在前景冲突之上，留白烘托出紧绷的临场感。没有精雕细琢的刻画，潦草的线条却让郊野争执充满真实的戏剧张力，仿佛能听见呼喝与缠斗的声响，将混乱瞬间定格为永恒的动态诗篇，尽显速写独有的随性表现力。",[549,507,564,565,7,566,567],"风景","群像","动态人物","户外场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27f2f4e098796cb5ff563644e68829a9.jpg",[],{"id":571,"slug":572,"title":573,"dynasty":503,"author":193,"museum":113,"description":574,"tags":575,"thumbUrl":580,"material":329,"size":69,"collection":70,"collections":581,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":74},289163,"goya-the-swing-yi-ming-289163","Goya--The Swing","纤细墨线牵起秋千摆荡的弧度，女子舒展双臂随绳飞扬，发丝衣袂猎猎张扬，仰头沉醉在失重的快意里。地面男子赤足惊呼，双手虚张满是无措，与秋千上的肆意形成鲜活反差。朦胧晕开的淡墨晕出集市人群的虚影，让这场游乐更显鲜活真实。作者以松弛随性的笔触捕捉下这一瞬悸动，寥寥数笔将市井嬉游的烟火气揉进画面，把嬉闹里的浪漫诙谐定格于纸面，仿佛能听见场间飘散的嬉笑喧嚣，将俗世里的鲜活欢愉封存在水墨之间。",[549,506,7,576,577,578,579],"秋千","男女","游乐","西洋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd59c37d8aff25aa34fabfb46723b8f1c.jpg",[],{"id":583,"slug":584,"title":585,"dynasty":503,"author":193,"museum":113,"description":586,"tags":587,"thumbUrl":593,"material":329,"size":69,"collection":70,"collections":594,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":74},288871,"giovanni-battista-tiepolo-scherzo-di-fantasia-seated-warrior-yi-ming-288871","Giovanni Battista Tiepolo--Scherzo di Fantasia Seated Warrior","乔凡尼·巴蒂斯塔·提埃坡罗，常被称为詹巴蒂斯塔（Giambattista），巴洛克及洛可可时期意大利著名画家，威尼斯画派最后的代表人物。\n提埃坡罗是著名的壁画家，属于早期的洛可可风格，他继承了巴洛克艺术的传统，开创了天顶画的开阔视野，他的天顶画透明，和边框有机的结合在一起，产生了水彩画的效果，他也是威尼斯共和国最后一位希腊神话画家。\n他的两个儿子继承他的风格，但没有他那么优秀和有创造性。",[579,507,549,588,589,590,427,591,7,592],"武士","孩童","盾牌","古典建筑","幻想题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3937a62b36594016a38d4a738591e73.jpg",[],{"id":596,"slug":597,"title":598,"dynasty":503,"author":193,"museum":113,"description":586,"tags":599,"thumbUrl":602,"material":329,"size":69,"collection":70,"collections":603,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":74},288865,"giovanni-battista-tiepolo-seated-satyr-holding-a-garland-yi-ming-288865","Giovanni Battista Tiepolo--Seated Satyr Holding a Garland",[549,506,7,507,600,601,555],"神话人物","兽类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a33b462771060b96c2b9915960ba98a.jpg",[],{"id":605,"slug":606,"title":607,"dynasty":503,"author":193,"museum":113,"description":586,"tags":608,"thumbUrl":611,"material":329,"size":69,"collection":70,"collections":612,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":74},288858,"giovanni-battista-tiepolo-the-holy-family-yi-ming-288858","Giovanni Battista Tiepolo--The Holy Family",[609,549,507,7,610],"宗教画","圣家族","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F557b94216136a9bd063efe0f2aba426d.jpg",[],{"id":614,"slug":615,"title":616,"dynasty":503,"author":193,"museum":113,"description":586,"tags":617,"thumbUrl":623,"material":329,"size":69,"collection":70,"collections":624,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":74},288857,"giovanni-battista-tiepolo-the-meeting-of-anthony-and-cleopatra-yi-ming-288857","Giovanni Battista Tiepolo--The Meeting of Anthony and Cleopatra",[549,618,506,7,619,620,621,622],"历史画","古典人物","侍从","酒器","历史事件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94b1d132e5db8f2b93cc6d2b16f05aab.jpg",[],{"id":626,"slug":627,"title":628,"dynasty":503,"author":193,"museum":113,"description":586,"tags":629,"thumbUrl":635,"material":329,"size":69,"collection":70,"collections":636,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":74},288853,"giovanni-battista-tiepolo-time-seated-clutching-a-putto-yi-ming-288853","Giovanni Battista Tiepolo--Time Seated, Clutching a Putto",[506,549,630,432,7,507,631,632,633,634],"神话画","时间神","小天使","镰刀","翅膀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d66642e8accab3c7874f941e6f1e67.jpg",[],{"id":638,"slug":639,"title":640,"dynasty":503,"author":193,"museum":113,"description":586,"tags":641,"thumbUrl":644,"material":329,"size":69,"collection":70,"collections":645,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":74},288851,"giovanni-battista-tiepolo-time-and-truth-yi-ming-288851","Giovanni Battista Tiepolo--Time and Truth",[549,506,600,642,507,7,643],"天使","神话题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff416f9f6cd446c089f442613d76442.jpg",[],{"id":647,"slug":648,"title":649,"dynasty":503,"author":193,"museum":113,"description":650,"tags":651,"thumbUrl":654,"material":329,"size":69,"collection":70,"collections":655,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":74},288806,"peter-paul-rubens-presentation-in-the-temple-yi-ming-288806","Peter Paul Rubens--Presentation in the Temple","彼得·保罗·鲁本斯（Peter Paul Rubens）（1577年6月28日—1640年5月30日），教名伯多禄·保禄·鲁宾斯，17世纪佛兰德斯画家，西班牙哈布斯堡王朝外交使节。鲁本斯是佛兰德斯画家，是巴洛克画派早期的代表人物。\n鲁本斯出生于德国锡根，在他的父亲去世后，12岁的鲁本斯跟随母亲回到了西班牙统治下的家乡安特卫普，并在那里接受了天主教洗礼。而宗教也成为鲁本斯画家生涯中十分重要的一个主题。",[609,549,506,507,7,652,653,510],"宗教人物","圣殿呈献","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F296a8be0b100f9a3a17169ab2594ac60.jpg",[],{"id":657,"slug":658,"title":659,"dynasty":503,"author":193,"museum":113,"description":660,"tags":661,"thumbUrl":665,"material":329,"size":69,"collection":70,"collections":666,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":74},288797,"pier-leone-ghezzi-abbe-jean-antoine-nollet-yi-ming-288797","Pier Leone Ghezzi--Abbé Jean-Antoine Nollet","这幅棕褐调速写以利落线条勾勒出侧身伫立的全身人像，精准刻画出长袍垂坠褶皱的柔和韵律，寥寥数笔便捕捉到人物悠然转头的瞬间。卷发、软帽的细节简约传神，尽显十八世纪学者温文儒雅的气度。\n\n地面排线清晰利落，晕染的阴影为画面铺陈出真实的空间实感，让人物仿佛正缓步穿行其中。画作摒弃繁复修饰，以极简的写实笔触定格人物沉稳从容的神态，将实验物理学家的知性雅致融于速写的灵动之中，尽显古典肖像速写的传神功力。",[549,662,506,663,664,7],"肖像画","男性人物","长袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cf7e520a50f1c5fb97cf900fab4d7df.jpg",[],{"id":668,"slug":669,"title":670,"dynasty":503,"author":193,"museum":113,"description":671,"tags":672,"thumbUrl":674,"material":329,"size":69,"collection":70,"collections":675,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":74},288662,"attributed-to-francesco-allegrini-enthroned-warrior-distributing-crowns-yi-ming-288662","attributed to Francesco Allegrini--Enthroned Warrior Distributing Crowns","以洗练的棕褐笔触铺陈群像，高台之上的授勋者抬手递出桂冠，成为视觉焦点。下方众人或躬身仰望满含敬慕，或托举承接满是郑重，动作里浸着仪式的张力。右侧留白处勾勒出备鞍骏马，暗合着军功的底色，烘托出肃穆庄重的氛围。\n线条灵动松弛，淡墨晕染晕开明暗层次，没有细碎的细节堆砌，却精准捕捉住人物的姿态与情绪，将这场荣誉礼赞的鲜活氛围跃然纸上。潦草却传神的手稿质感，留存下构思时的鲜活瞬间，让观者得以窥见这场古典仪式的生动侧影，尽显叙事速写的简约力量。",[251,7,238,281,588,673],"授冠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffad707525114ce8341755794b0322617.jpg",[],{"id":677,"slug":678,"title":679,"dynasty":503,"author":193,"museum":113,"description":680,"tags":681,"thumbUrl":685,"material":329,"size":69,"collection":70,"collections":686,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":74},288585,"attributed-to-francesco-allegrini-the-death-of-dido-yi-ming-288585","attributed to Francesco Allegrini--The Death of Dido","枯淡棕晕晕开幽沉的室内空间，拱门投下朦胧阴影，将悲剧张力凝在方寸纸面。濒死的女主人瘫卧石榻，手臂向着奔来的侍女无力伸展，残存的生机在她绷紧的肩颈里震颤。围拢的仆从掩面佝偻，潦草却精准的线条揉进了浓稠绝望。\n\n空中持剑俯冲的灵体携着狂暴动态，与榻畔凝滞的悲怆撞出尖锐戏剧冲突。整幅速写省去繁缛细节，写意晕染与迅疾短线交织，将死亡降临的错愕与恸哭悉数定格，以仓促又极具感染力的笔触，把史诗终章的破碎悲恸直抵观者心底。",[549,506,7,682,683,684],"拱门","狄多之死","悲怆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30c221c4cac49d30b6ece51d72ae9fb5.jpg",[],{"id":688,"slug":689,"title":690,"dynasty":503,"author":193,"museum":113,"description":691,"tags":692,"thumbUrl":697,"material":329,"size":69,"collection":70,"collections":698,"showCount":73,"zanCount":11,"manualWeight":11,"mainColor":74},288559,"carlo-galli-bibiena-design-for-a-stage-set-solomon-receiving-the-queen-yi-ming-288559","carlo Galli Bibiena--Design for a Stage Set Solomon Receiving the Queen","这幅舞台设计稿以棕褐淡墨铺陈，将巴洛克的浮夸恢弘与戏剧叙事感融为一体。左侧繁复的柱廊缠绕着浮雕与壁龛，利落的线条勾勒出华丽肌理，明暗晕染让雕塑仿若呼之欲出，尽显装饰的极致张力。\n右侧露台广场错落排布着人群，侍从簇拥仪仗队列，动态十足，仿佛正上演着庄重的会面。远景朦胧虚化，巧妙拉大舞台景深，将仪式的肃穆热烈暗藏在疏密有致的画面中，每一处细节都在为戏剧氛围铺垫，让纸面仿佛已成为即将启幕的戏剧现场，尽显古典舞台设计的精妙构思。",[693,238,506,694,7,509,695,696],"宗教","舞台设计","人群","圣经故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a9a33edac83f1289a3453bdd68f19ce.jpg",[],{"id":700,"slug":701,"title":702,"dynasty":149,"author":703,"museum":278,"description":704,"tags":705,"thumbUrl":708,"material":70,"size":70,"collection":70,"collections":709,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":710},203217,"shui-hui-yuan-jiu-zhi-shu-hua-ce-shen-fu-203217","水绘园旧址书画册","沈复","笔墨绘就的江南园林景致，林木葱茏间屋舍错落隐现，溪流潺潺绕岸而过，小桥横跨其上，尽显清幽雅致。淡墨皴法晕染山石草木，线条灵动勾勒枝叶屋宇，左侧行书笔意流畅自然，与右侧山水相映成趣。书画一体，将文人的闲适心境融入尺幅之中，于册页间传递出恬淡的生活意趣与细腻的艺术韵味。",[28,175,59,30,156,157,706,351,237,29,366,311,7,707],"屋舍","工","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0e684a9beb368d88d6741958653abba.jpg",[],"c4bcab",{"id":712,"slug":713,"title":714,"dynasty":149,"author":715,"museum":278,"description":716,"tags":717,"thumbUrl":718,"material":70,"size":70,"collection":70,"collections":719,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":720},202447,"dan-mo-xi-shan-tu-zhou-hua-yan-202447","淡墨溪山图轴","华嵒","淡墨晕染的山峦层叠起伏，云雾轻笼溪谷，山石以简洁皴法勾勒质感，树木枝干疏朗却含生机。溪流蜿蜒穿林而过，草木错落有致，画面清寂中透着灵动。笔墨洒脱自然，意境清幽淡远，尽显华喦对山水意境的独特把握，于简约间传递文人画的雅致与对自然的深情，是其山水小品中兼具笔墨意趣与诗意的佳作。",[24,28,7,29,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7558c62b452823e52dd6f700700f57da.jpg",[],"cbc0b3",1777535709591]