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《石渠宝笈》收录了他的116幅作品，很多作品上都有乾隆皇帝的题诗。 初以主簿理河工事。善画，山水出黄鼎之门，用笔沈著，山石皴法多以乾笔积累，林木间亦用淡墨，乾擦凑合，神气颇觉葱蔚可观。乾隆十六年（一七五一）高宗南巡，以吴中十六景画册进呈，称旨。命入都祗候内廷。十九年（一七五四）授户部主事。年七十一卒於家。",[24,26,27,56,32,57,58,7,138,35,139,31,30,29],"塔","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa140c914ee1ce52abac214f62a6488a8.jpg","花鸟画精选",[141,41,143],"设色画精选",47,{"id":146,"slug":147,"title":148,"dynasty":50,"author":149,"museum":20,"description":150,"tags":151,"thumbUrl":153,"material":127,"size":154,"collection":41,"collections":155,"showCount":156,"zanCount":11,"manualWeight":11,"mainColor":45},231418,"ming-wen-bo-ren-fang-hu-tu-wen-bo-ren-231418","明文伯仁方壶图","文伯仁","《明文伯仁方壶图》描绘的是碧波万顷、祥云缭绕中，有仙岛浮现，道观数处隐于其间。依道教传说：仙山有五，方壶山即其一。即言：“渤海之东，不知几亿万里，有大壑焉。其中有五山焉:一曰岱舆，二曰员蟜，三曰方壶，四曰瀛洲，五曰蓬莱。”此画既取材于道教，所以在上方题名及下方款识处，也仿照了早期释道画加框榜题的习惯。此图无论在翻卷的波涛、飘动的云海或是尖拔的山峰、茂密的叶木，皆处处著笔繁谨，设彩明丽，呈现出家学的细笔画风。",[23,24,56,80,31,32,81,102,103,82,35,7,152],"桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25cb1e79d895645a041522290ad040b2.jpg","纵120.6公分、横31.8公分",[41],39,{"id":158,"slug":159,"title":160,"dynasty":97,"author":98,"museum":99,"description":161,"tags":162,"thumbUrl":164,"material":89,"size":89,"collection":89,"collections":165,"showCount":156,"zanCount":110,"manualWeight":11,"mainColor":92},227695,"chun-shan-tu-juan-zhao-bo-su-227695","春山图卷","赵伯骕（1124—1182），字希远，应天府（今河南商丘）人，南宋著名画家，宋朝宗室，著名画家赵伯驹之弟。兄弟皆妙于金碧山水。除山水、人物外，擅长花鸟，界画亦精。传世作品有《五金阙图》《番骑猎归图》等。",[23,25,24,26,27,55,56,32,80,29,36,35,59,106,163,62,84,83,7],"流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a9625dd9e8f64ae801ba0fad2190c8c.jpg",[],{"id":167,"slug":168,"title":169,"dynasty":115,"author":116,"museum":99,"description":170,"tags":171,"thumbUrl":173,"material":66,"size":89,"collection":41,"collections":174,"showCount":175,"zanCount":11,"manualWeight":11,"mainColor":45},215860,"fu-jian-sheng-hai-an-quan-tu-yi-ming-215860","福建省海岸全图","这幅长卷铺展闽海形胜，蜿蜒的海岸线串联起青绿山峦与星罗港湾。层叠的山体以墨线勾边、青绿敷色，既显地理轮廓之真，又含山水写意之韵。下方海水以细密波纹纹理铺陈，间缀白色浪花，灵动而富层次。沿岸聚落、关隘以朱墨小字标注，与自然景观相映成趣，兼具舆图实用与艺术雅致。整卷视野开阔，气韵连贯，将闽地山海浓缩于尺幅，既是地域风貌的忠实记录，亦是充满诗意的山水长卷，尽显古人对天地形胜的认知与审美。",[23,24,27,56,55,80,29,32,172,163,7],"海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb002132a002ca6ddd20e88ac2d7d0bdb.jpg",[41],38,{"id":177,"slug":178,"title":179,"dynasty":18,"author":180,"museum":99,"description":181,"tags":182,"thumbUrl":184,"material":185,"size":186,"collection":89,"collections":187,"showCount":188,"zanCount":110,"manualWeight":11,"mainColor":45},232905,"mo-wang-wei-jiang-shan-xue-ji-tu-juan-zhao-yuan-232905","摹王维江山雪霁图卷","赵原","大雪已过，而西安的雪却迟迟没有落下，这让人不仅怀念起昔日纷纷扬扬的大雪来，只能将这份念想寄托于中国山水画中。\n据中国美术史记载，在中国山水画史上，最早描绘雪景题材的是唐代画家、诗人王维。据《宣和画谱》记载，在宋代御府收藏王维画作的126件中，其中山水画目以雪景为多，共计20件，隐逸题材10余件，所以王维被尊为中国雪景山水画的“开山老祖”。而长久以来，一幅名为王维的《江山雪霁图》却一直饱受争议，这又是缘何呢？\n雪后初霁的世界一尘不染，而中国画又善于抒情达意，常将主观感情融于创作，又以象征手法描绘物象，而雪景入画正是随物赋形，将人心的细微转折处以蕴藉不露的方式表达出来，意境高远。王维（701年－761年），字摩诘，号摩诘居士，今山西运城人。王维性喜山水，诗画双绝，且精通音律和佛经，是唐朝著名的诗人和画家。苏轼评价其“诗中有画，画中有诗。”据说，安史之乱时王维被叛贼所俘，安史之乱平定后，唐肃宗不但没加罪还授官于他。王维便作雪景山水画，以表明自己身心如雪色洁白，如《雪中芭蕉》《雪溪图》等，都是其传世之作。\n王维画雪开创了中国山水画之先河，被明末著名书画家董其昌推崇为南宗山水画之祖。提出《江山雪霁图》的便是董其昌。董其昌自述从著名的鉴藏家、文学家冯梦祯（字开之，1548—1605）处，探得王维的《江山雪霁图》，并先后两次为其写跋文，引起一时轰动。近代，传出日本京都小川家收藏了《江山霁雪图》。图为一幅高28.4厘米、宽171.5厘米的水墨绢画，画法纯用勾勒，不加点苔，也无皴染。画中自右至左，在岩石、远峰、小山、浅屿之间，江流缭绕、水远天平，白头山上雪意茫茫。右下角岩石上有枯树六、七株，稍上双峰并峙，林木森森。中偏右矗立一巨大岩石，顶露平台，前护低栏、后倚竹树，茅舍三五散落其间；其左下方平出浅屿，有枯树八、九株，极见疏落之致。左半部一抹小山，略见起伏，山腰水际有小树隐匿其中；紧接浅屿，横扼中流，向左延伸，略近边缘，画面即止于此。",[23,25,24,26,27,183,28,29,32,102,83,163,35,57,7],"临摹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F518badd3338b17af5bff82dbcbb8d3c4.jpg","纸本","41x278.3厘米",[],36,{"id":190,"slug":191,"title":192,"dynasty":97,"author":193,"museum":99,"description":194,"tags":195,"thumbUrl":199,"material":89,"size":89,"collection":89,"collections":200,"showCount":201,"zanCount":110,"manualWeight":11,"mainColor":92},227764,"qian-shan-jing-xiu-tu-juan-jiang-cun-tu-juan-xia-gui-227764","千山竞秀图卷(江村图卷)","夏圭","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[25,24,26,27,28,29,32,196,57,35,34,197,7,198,60],"山峰","小船","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd06419bf5596dd1b67981bd77f2bdefa.jpg",[],35,{"id":203,"slug":204,"title":74,"dynasty":97,"author":205,"museum":99,"description":206,"tags":207,"thumbUrl":211,"material":212,"size":213,"collection":89,"collections":214,"showCount":215,"zanCount":11,"manualWeight":11,"mainColor":92},287813,"hai-tian-xu-ri-tu-juan-zhao-bo-ju-287813","赵伯驹","赵伯驹（生卒不详），宋代画家，字千里，宋宗室。主要活动在12世纪中前期。工山水、花果、翎毛、楼台，青绿山水尤善。他将水墨山水的趣味与技法融入唐代李思训、李昭道父子的大青绿画法中，形成了一种介于院体画和文人画之间的“精工之极，又有士气”的风格。",[23,25,24,26,27,55,56,32,208,30,209,210,7],"书法","海天","旭日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0cb79aa321968bf59f167e748dd9de4.jpg","未知","Xcm*Xcm",[],27,{"id":217,"slug":218,"title":74,"dynasty":97,"author":205,"museum":99,"description":206,"tags":219,"thumbUrl":222,"material":212,"size":213,"collection":89,"collections":223,"showCount":224,"zanCount":11,"manualWeight":11,"mainColor":92},283636,"hai-tian-xu-ri-tu-juan-zhao-bo-ju-283636",[23,24,25,27,55,56,32,7,220,221,104],"云气","山居","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27ff9b82a5d0dcd32cd304f2da2955de.jpg",[],26,{"id":226,"slug":227,"title":228,"dynasty":115,"author":116,"museum":99,"description":229,"tags":230,"thumbUrl":237,"material":127,"size":89,"collection":41,"collections":238,"showCount":239,"zanCount":11,"manualWeight":11,"mainColor":45},215858,"xi-yang-jian-wen-tu-hui-shan-shui-tu-juan-yi-ming-215858","西洋见闻图绘-山水图卷","画面铺展开阔海面与层叠山峦，淡彩晕染的峰峦间，岛屿错落。中式帆船与西式多桅舰船往来穿梭，尽显海上交通的繁盛。岸边西式建筑与传统山水笔墨相融，勾勒出中西交流的鲜活场景。淡雅的色调中，既有传统山水画的悠远意境，又藏着近代海上贸易的生动印记，是历史与艺术交织的珍贵遗存。",[23,24,27,56,32,123,36,7,231,232,233,234,235,236],"中式帆船","西式舰船","西式建筑","海上贸易","中西交流","淡彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F626e6ce52d48541cd4ba0b7c83faf208.jpg",[41],24,{"id":241,"slug":242,"title":243,"dynasty":115,"author":244,"museum":99,"description":245,"tags":246,"thumbUrl":251,"material":252,"size":253,"collection":41,"collections":254,"showCount":255,"zanCount":110,"manualWeight":11,"mainColor":45},223254,"yan-shan-ba-jing-tu-qiong-dao-chun-yin-zhang-ruo-cheng-223254","燕山八景图-琼岛春荫","张若澄","此册以北京城著名的“燕京八景”为题而画。燕京八景一说始自金《明昌遗事》，当时金章宗完颜璟将燕京的八处风光名胜选定为燕京八景，即“居庸叠翠”、“玉泉垂虹”、“太液秋风”、“琼岛春荫”、“蓟门飞雨”、“西山积雪”、“卢沟晓月”和“金台夕照”。“燕京八景”历金、元、明、清四代，又有称“燕台八景”、“燕山八景”、“京师八景”、“京畿八景”者，虽景点相同，八景的名称在不同时期则有所变化。乾隆十六年（1751年），乾隆曾御制《燕山八景诗》，将八景定名为“琼岛春荫”、“太液秋风”、“玉泉趵突”、“西山晴雪”、“蓟门烟树”、“卢沟晓月”、“金台夕照”、“居庸叠翠”，沿用至今。该画册中建筑的刻画不用界尺，但是对建筑的特征却描绘得生动准确，表现手法活泼而不失稳重，是画家对景写实的佳作。",[23,25,24,26,56,247,31,32,104,138,106,163,35,139,7,248,249,250],"界画","园林建筑","道路","栏杆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99e64bf8b756daf54e558d61066d3f36.jpg","绢本设色","34.7cm，横40.3cm",[41,143],18,{"id":257,"slug":258,"title":259,"dynasty":115,"author":260,"museum":99,"description":261,"tags":262,"thumbUrl":267,"material":66,"size":268,"collection":41,"collections":269,"showCount":255,"zanCount":44,"manualWeight":11,"mainColor":45},215147,"min-sheng-yan-chang-tu-juan-hua-xin-pu-sa-bao-215147","闽省盐场图卷-画芯","菩薩保","清朝时期的闽省盐场图卷-画芯是一件著名的文物。它是由清朝时期的画家所作，描绘了当时闽省的盐场景象。闽省盐场图卷-画芯因其精细的绘画技巧和对闽省盐场生产的精确描述而闻名。这件文物被认为是清朝时期艺术史上的重要作品，并被列为国家一级文物保护单位。",[23,24,27,56,80,247,32,57,7,263,264,265,122,82,124,266],"城池","山脉","水域","盐场","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2369b612c63db4d4809f238f9bdb851a.jpg","38x860",[41],{"id":271,"slug":272,"title":273,"dynasty":115,"author":274,"museum":99,"description":275,"tags":276,"thumbUrl":279,"material":89,"size":89,"collection":89,"collections":280,"showCount":281,"zanCount":11,"manualWeight":11,"mainColor":45},224401,"xi-hu-shi-jing-tu-juan-wang-yuan-qi-224401","西湖十景图卷","王原祁","此作以全景长卷铺陈湖山胜景，浅绛设色清润雅致。峰峦以干笔积墨皴擦勾勒，层叠苍秀，兼具浑厚古朴与秀润之气。湖面浩渺空阔，洲渚星罗，烟柳桃林、亭台梵塔错落点缀，渔舟轻泛波心，将西湖温婉灵韵尽数铺展。\n\n既承娄东画派笔墨法度，又以细腻写实还原十景雅致意境，将江南山水的旖旎柔媚与文人山水的书卷气相融。静穆苍劲的山峦与明秀澄澈的湖光交织，晕染出晴日西湖的通透明丽，于淡逸间藏深秀，是实景山水画中的上乘佳制。",[23,24,27,56,32,29,105,104,106,163,277,35,58,7,278],"飞鸟","湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F718e976d8d85dc8f898d2ea2d0f8eb5b.jpg",[],17,{"id":283,"slug":284,"title":285,"dynasty":50,"author":286,"museum":99,"description":287,"tags":288,"thumbUrl":291,"material":89,"size":89,"collection":89,"collections":292,"showCount":293,"zanCount":11,"manualWeight":11,"mainColor":45},235836,"tai-hu-tu-ye-wen-jia-235836","太湖图页","文嘉","此作淡设色绘就湖山胜景，烟波浩渺间群岛错落如星子散落湖面，近岸山峦清润秀雅，林木轻覆崖畔，湖面舟楫缓行，漾开闲澹悠然的江南意趣。左侧题书隽秀雅致，以文述太湖掌故，书画合璧，晕染出独有的温婉文气。\n画面用笔简淡写意，以清浅设色晕染水汽空濛，将太湖包纳万境的浩渺，化作文人笔下的澹泊空灵，把悠游湖山的隐逸意趣藏在湖光波色之间，尽显山水小品融景抒情的绝佳意韵。",[24,26,289,28,32,34,277,7,35,290,61,31,30],"册","远山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4688beca4b60516f1eb021c0a349bb4.jpg",[],14,{"id":295,"slug":296,"title":297,"dynasty":298,"author":299,"museum":99,"description":300,"tags":301,"thumbUrl":306,"material":212,"size":213,"collection":89,"collections":307,"showCount":308,"zanCount":11,"manualWeight":11,"mainColor":45},231730,"da-zheng-nian-chao-zhi-juan-jin-cun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Imamura，1880年（明治13年）12月16日－1916年12月16日（大正5年）2月28日）是横滨神奈川县人，出生于日本画家。他的真名是十三郎。他虽然享年35岁（按年算37岁），但他大胆而原创的作品给画家带来了新鲜的刺激，对后辈画家也产生了很大的影响。主要作品如“近江八景”系列（1912年，东京国立博物馆，重要文化财产），“笃之卷”（1914年，东京国立博物馆，重要文化财产）。",[23,24,26,27,56,80,32,172,302,7,303,304,34,305],"波浪","棕榈树","山丘","人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90e5f661c7377d7282ed7dd3a7183f6c.jpg",[],10,{"id":310,"slug":311,"title":312,"dynasty":298,"author":313,"museum":99,"description":314,"tags":315,"thumbUrl":320,"material":212,"size":213,"collection":89,"collections":321,"showCount":308,"zanCount":11,"manualWeight":11,"mainColor":45},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。",[23,25,316,27,56,317,32,318,84,319,265,290,7,35,82],"浮世绘","山水画","松树","村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69334a00861007071920e53a54ebe83a.jpg",[],{"id":323,"slug":324,"title":325,"dynasty":298,"author":116,"museum":99,"description":326,"tags":327,"thumbUrl":330,"material":89,"size":89,"collection":89,"collections":331,"showCount":308,"zanCount":11,"manualWeight":11,"mainColor":45},225304,"fu-shi-hui-30-yi-ming-225304","浮世绘30","这幅水乡绘卷以平远构图铺展清和景致，浅黄柔晕铺就天光水色，将暮晓时分的朦胧温柔晕染开来。黛色屋舍错落隐在深绿林木间，石砌水湾静泊扁舟，三两行人沿岸徐行，漫溢着松弛的市井闲趣。远景沙洲浅丘层叠延展，把水面切作温润色块，留白悠然悠远。\n整体用色雅致沉静，线条舒展柔和，将水乡村居的日常晕化为清寂温婉的诗意，把寻常烟火里的平和闲淡定格在纸面，尽显独有的恬淡意韵。",[316,328,56,32,163,34,84,35,7,329,197],"木刻","河岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05a933d83a2b6302429975b653fdfa31.jpg",[],{"id":333,"slug":334,"title":335,"dynasty":50,"author":116,"museum":99,"description":336,"tags":337,"thumbUrl":344,"material":212,"size":213,"collection":89,"collections":345,"showCount":346,"zanCount":11,"manualWeight":11,"mainColor":45},238568,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238568","明人升平翊赞图并书赞册","这幅画作以仙神征伐为主题，构图张弛有度。右侧崖岸列兵肃立，左侧神将踏浪突进，托塔仙神乘云俯瞰，动静交织。工笔细写之下，甲胄纹饰华美繁复，衣袂云气线条流转灵动，海浪层叠晕染铺陈出水势汹涌，设色古雅明丽，红金与石青、水色相映，既烘托出征伐场面的恢宏肃穆，又带着缥缈神幻色彩。细节处松枝苍劲、云霭舒卷皆刻画入微，将仙凡对阵的磅礴张力藏于细腻笔触间，尽显传统宗教叙事绘画的精湛功力。",[24,56,80,289,305,338,7,318,339,340,139,35,341,342,302,220,343],"海水","祥云","石塔","神仙","武将","神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2c2a6658496b3ebba9232867d0c7961.jpg",[],7,{"id":348,"slug":349,"title":350,"dynasty":50,"author":51,"museum":99,"description":351,"tags":352,"thumbUrl":353,"material":89,"size":89,"collection":89,"collections":354,"showCount":346,"zanCount":11,"manualWeight":11,"mainColor":45},234222,"shan-shui-juan-sun-zhi-234222","山水卷","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。\n传世作品有：嘉靖三十八年(1559)作《梅石水仙图》轴，款署“嘉靖己未冬月孙枝”、万历十五年(1587)作《五湖钓叟图》卷、十八年(1590)作《携琴访友图》轴，现藏故宫博物院；隆庆五年(1571)作《九龙山居图》卷、万历十六(1588)作《清溪放棹图》轴，藏北京市文物局；万历七年(1579)作《溪山秋意图》轴，款署“万历己卯秋日吴郡孙枝写”，藏上海博物馆；二十三年(1595)作《踏雪访友图》轴，款署“万历乙未九月吴郡孙枝写”，藏苏州市博物馆；三十五年(1607)作《山水图》扇页，著录于《中国书画家印鉴款识》。从艺活动约在嘉靖、万历间。款识:吴郡孙枝写。万历二十年（1601）尝作爱荆图卷。（《无声诗史》《明画录》《珊瑚网》《式古堂书画汇考》《榆园画志》）",[23,24,26,27,32,28,56,29,36,35,57,58,84,59,7,318,208,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d0ec691c5cc82f67c319d0c2ea7205c.jpg",[],{"id":356,"slug":357,"title":358,"dynasty":298,"author":116,"museum":99,"description":359,"tags":360,"thumbUrl":364,"material":89,"size":89,"collection":89,"collections":365,"showCount":346,"zanCount":11,"manualWeight":11,"mainColor":45},225307,"fu-shi-hui-36-yi-ming-225307","浮世绘36","平远构图铺展幽谧海国盛景，石桥跨海蜿蜒，旅人策杖徐行，将尘世烟火揉入静穆烟波。海面上古舟缓行，樯帆轻扬，漾开细碎水纹晕开闲淡意趣。远景岛岫含翠，古木疏朗，淡霭间隐见富士山，晕染出悠远空寂的氛围感。\n\n画面以清隽雅致的色彩铺陈，蓝白晕开辽阔海天，暖黄点染桥道与秋树，柔化山海的清冷。笔致朴拙温润，将远洋行旅的悠然意趣藏在平澹笔色间，侘寂淡柔的诗意漫溢其间，把山海间的松弛闲静凝为永恒帧景。",[316,328,56,32,106,163,34,361,362,7,363],"龙","老树","天空","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1179db3afe9ee8867dfe0295acbfb673.jpg",[],{"id":367,"slug":368,"title":369,"dynasty":115,"author":370,"museum":99,"description":371,"tags":372,"thumbUrl":378,"material":89,"size":89,"collection":89,"collections":379,"showCount":346,"zanCount":11,"manualWeight":11,"mainColor":92},224452,"xia-jing-shan-kou-dai-du-tu-wang-hui-224452","夏景山口待渡图","王翚","此作为平远构图，铺展江南夏日常卷。烟波浩渺的水网间洲渚连绵，山峦以披麻皴绘就，浑厚华滋，漫山林木蓊郁苍润，尽显盛夏蓬勃生机。水面渔舟泛波，洲头村舍错落，行人三两往来，将水乡悠然野趣融于淡远空濛的烟岚之中。\n画作师法董源笔意，以水墨晕染出氤氲水汽，山色与水色交融晕化，尽显北苑山水的平淡天真，又自具清润秀雅的格调，将江南夏日的湿润静美凝于长卷，把平阔辽远的江湖盛景和隐逸安然的村居日常揉合，尽显水墨山水的诗性韵味。",[23,24,27,56,32,29,80,373,35,197,374,7,375,376,377,277],"湖泊","茅屋","竹子","芦苇","渔船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3779511fff95c1183fe30a2ba31e63f2.jpg",[],{"id":381,"slug":382,"title":383,"dynasty":115,"author":384,"museum":99,"description":385,"tags":386,"thumbUrl":388,"material":89,"size":89,"collection":89,"collections":389,"showCount":390,"zanCount":11,"manualWeight":11,"mainColor":92},239010,"shan-shui-ce-li-dong-239010","山水册","李栋","康熙四十一年（一七o二）中顺天乡榜，授内阁中书。工诗文，善篆隶，兼画山水，尤工小李将军法，名震江、淮间。著自怡堂稿、楚游杂记。《图绘宝鉴续纂》、《高邮州志》、《兴化县志》。",[24,26,289,56,28,32,29,139,35,83,387,105,7],"瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264bea25ee2616400b5c6c32e7d5ca98.jpg",[],5,{"id":392,"slug":393,"title":394,"dynasty":298,"author":116,"museum":99,"description":395,"tags":396,"thumbUrl":397,"material":89,"size":89,"collection":89,"collections":398,"showCount":390,"zanCount":110,"manualWeight":11,"mainColor":45},231769,"xi-yang-jian-wen-tu-hui-2-shan-shui-xiang-gang-juan-yi-ming-231769","西洋见闻图绘-2-山水香港卷","此作为工写兼施的通景长卷，以淡赭花青晕染层叠峰峦，勾勒出山海相依的清润意境。画面右侧洋商埠地烟火稠密，公署高悬洋旗，尽显开埠后的异域风貌；海面之上中式艚船与西式夹板商船错落停泊，帆樯林立。\n\n整作将传统山水画的雅致笔墨，用于纪实描摹近代港埠盛景，既保留了传统山水的空蒙气韵，又细致还原了中西交汇的滨海日常，兼具审美价值与纪实史料意义，静然铺展出近代中外通商的鲜活图景。",[23,24,27,56,32,58,82,7,123,125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb12ba86048fff4f09195dafa84d05d1.jpg",[],{"id":400,"slug":401,"title":402,"dynasty":298,"author":403,"museum":99,"description":404,"tags":405,"thumbUrl":406,"material":212,"size":213,"collection":89,"collections":407,"showCount":390,"zanCount":11,"manualWeight":11,"mainColor":45},231744,"jiang-hu-shi-dai-gong-yu-tan-sheng-tu-juan-er-fen-duan-gu-wen-chao-231744","江户时代 公余探胜图卷-二分段","谷文晁","谷文晁（1763～1841），日本江户时代的著名画家。曾广泛学习狩野派、圆山派、南画（水墨画）及西洋画法，并将各画种的表现手法相互借鉴，从而形成自己的风格。其曾为《集古十种》图录做插图，还曾游历各地画出大量风景写生画。弟子中有田能村竹田、渡边华山、谷文一、谷文二。",[23,24,26,27,56,32,198,35,318,265,7,58,83,290,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f048beb44c9ac69d4eadd260d6c1a2c.jpg",[],{"id":409,"slug":410,"title":411,"dynasty":298,"author":403,"museum":99,"description":404,"tags":412,"thumbUrl":416,"material":212,"size":213,"collection":89,"collections":417,"showCount":390,"zanCount":11,"manualWeight":11,"mainColor":45},231743,"jiang-hu-shi-dai-gong-yu-tan-sheng-tu-juan-yi-fen-duan-gu-wen-chao-231743","江户时代 公余探胜图卷-一分段",[23,24,56,32,27,172,7,198,35,363,58,413,81,414,124,318,60,415,305,29],"沙滩","悬崖","远帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897e39219f17fa6a69eead11cab93a56.jpg",[],{"id":419,"slug":420,"title":421,"dynasty":298,"author":116,"museum":99,"description":422,"tags":423,"thumbUrl":425,"material":89,"size":89,"collection":89,"collections":426,"showCount":427,"zanCount":11,"manualWeight":11,"mainColor":92},225326,"fu-shi-hui-74-yi-ming-225326","浮世绘74","这幅以春樱湖山为景，石青铺就浩渺水天，柔粉樱花漫覆青绿丘峦，冷暖交织晕开清和春日。木桥山道串起村舍屋宇，山上游人比肩、岸边客聚成群，漾波舟船载着踏青之人，将江户时节的赏樱盛景铺陈眼前。明快雅致的配色晕染出松弛温婉的和风意趣，全景构图兼具开阔氛围感与细节鲜活度，把市井游春的闲逸日常融在湖樱盛景中，将春日舒展明媚的生机定格成诗意悠长的风物画卷。",[316,56,328,32,106,163,58,84,35,305,7,57,424],"岸滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd158e996809e261a9f0f984c1658ae84.jpg",[],3,{"id":429,"slug":430,"title":431,"dynasty":50,"author":116,"museum":99,"description":432,"tags":433,"thumbUrl":435,"material":89,"size":89,"collection":89,"collections":436,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":45},235849,"qian-gu-bao-shan-tu-ye-yi-ming-235849","钱榖宝山图页","此作为左文右图的合璧小品，淡墨轻皴绘就江岸形胜。峰峦间营寨烽堠依山排布，江岸错落停着航船，朴拙还原出当年海防要地的肃穆风貌。\n\n左侧行书笔意舒展，笔锋带着文人意趣，以文字注解实景，铺陈此地戍海过往。整作笔墨清润淡雅，不着浓艳色彩，将山海营垒的整肃与江天的开阔相融，带着纪实山水的真切质感，把宝山形胜与过往史迹娓娓道来，兼具地理纪实价值与书画审美意趣。",[24,26,434,28,32,30,208,36,58,35,125,329,7],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10ca521e9ef9ae40c8efe2cbb707f759.jpg",[],{"id":438,"slug":439,"title":440,"dynasty":298,"author":441,"museum":99,"description":442,"tags":443,"thumbUrl":444,"material":212,"size":213,"collection":89,"collections":445,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":45},231783,"xin-gui-shan-yuan-qi-hui-juan-3-niao-yu-seng-zheng-jue-you-231783","信贵山缘起绘卷-3","鸟羽僧正觉猷","觉猷（かくゆう、1053年－1140年10月27日）是平安时代后期的天台僧。一般称作鸟羽僧正，不仅是担任日本佛教界重职的高僧，也精通绘画，被认为是‘鸟兽人物戏画’（鸟兽戏画）、‘放屁合战’等画作的作者，也被视为漫画的始祖。",[23,26,27,56,28,32,7,35,277,208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc95963f964a4df718b94fa44e04db5f1.jpg",[],{"id":447,"slug":448,"title":449,"dynasty":298,"author":116,"museum":99,"description":450,"tags":451,"thumbUrl":467,"material":89,"size":89,"collection":89,"collections":468,"showCount":110,"zanCount":11,"manualWeight":11,"mainColor":45},225359,"fu-shi-hui-115-yi-ming-225359","浮世绘115","这幅版画以明媚春景入画，岛屿错落于澄澈水色间，漫山樱花如云似雪，苍松点缀翠色，晕染出融融春意。回环山径上踏青游人缓步徐行，渡头与岸畔人影攒动，乌篷船静泊水面，波痕轻漾晕开清浅蓝调。屋舍错落花林间，木桥勾连水岸，将春日郊野的鲜活烟火铺陈开来。\n\n用色明快柔婉，石青铺就水天，砂黄晕染坡岸，粉白樱枝与深松翠影相映成趣，带着日式版画独有的装饰意趣。构图疏密得宜，将踏青的闲雅盛景定格，把市井闲情与春日诗意揉为一处，尽显雅致悠然的和风美学。",[316,328,56,32,106,163,58,84,35,305,7,373,452,453,454,455,456,457,458,265,459,460,62,461,462,463,464,465,466],"路径","岸边","开花植物","海湾","行船","屋舍","步道","绿植","行人","堤岸","林间小路","水岸人家","花树","远岛","近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa89971454455ccd323ecef04635e7d4f.jpg",[],1777535714008]