[{"data":1,"prerenderedAt":1729},["ShallowReactive",2],{"subject-fang-gu":3},{"subject":4,"artworks":13},{"id":5,"slug":6,"name":7,"title":8,"description":9,"coverUrl":10,"showCount":11,"artworkCount":12},243,"fang-gu","仿古","仿古画高清赏析","精选中国历代仿古题材作品，欣赏传统绘画中的笔墨与意境。","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94de63067bab6a9998745f155e5bfec8.jpg",0,186,[14,49,66,81,95,114,132,145,156,167,185,198,211,221,238,245,256,265,274,282,292,304,317,324,334,341,348,355,362,370,382,398,406,414,424,432,439,447,459,466,478,487,494,504,514,521,527,537,547,554,565,573,581,591,599,608,615,622,630,639,656,663,671,678,684,692,699,706,716,723,730,743,752,758,765,772,779,789,796,808,819,825,837,844,850,857,863,870,883,895,901,907,918,932,949,956,962,969,985,991,997,1006,1018,1027,1034,1042,1051,1059,1070,1080,1088,1094,1100,1106,1113,1123,1131,1139,1150,1161,1172,1178,1184,1190,1198,1204,1211,1221,1230,1238,1245,1254,1261,1272,1281,1293,1302,1314,1327,1336,1344,1351,1362,1369,1376,1387,1397,1404,1412,1420,1428,1439,1447,1455,1463,1471,1481,1488,1496,1502,1508,1516,1523,1534,1542,1552,1564,1572,1579,1588,1596,1605,1614,1622,1630,1638,1646,1654,1661,1667,1673,1681,1690,1699,1712,1720],{"id":15,"slug":16,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":22,"thumbUrl":40,"material":41,"size":42,"collection":43,"collections":44,"showCount":46,"zanCount":47,"manualWeight":11,"mainColor":48},220920,"fang-gu-shan-shui-tu-dong-qi-chang-220920","仿古山水图","明","董其昌","北京故宫博物院","《董其昌仿巨然山水轴》是明代画家董其昌创作的一幅水墨画。\n本幅自题：“岚影川光翠荡磨，春风江上听渔歌。",[23,24,25,26,27,28,29,30,7,31,32,33,34,35,36,37,38,39],"高清","国画","书画","名画","立轴","设色","山水","皴法","山","水","松树","小桥","溪流","岩石","树木","远山","云雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31b52edc5116cc2683a64ad29378bccd.jpg","纸本，墨笔","纵101.7厘米，横46.7厘米。","山水画精选",[43,45],"设色画精选",549,1,"BDBDBD",{"id":50,"slug":51,"title":52,"dynasty":53,"author":54,"museum":55,"description":56,"tags":57,"thumbUrl":60,"material":61,"size":62,"collection":63,"collections":64,"showCount":65,"zanCount":11,"manualWeight":11,"mainColor":48},290079,"fang-gu-zhu-zi-tu-wei-gen-lao-ren-290079","仿古竹子图","清","味根老人","藏地不详","此幅墨竹取斜出之势排布，数竿修竹错落揖让，气韵连贯。老干以重墨挥写，圆劲苍厚，尽显风霜沉凝的古意；新篁以淡墨勾皴，清润秀挺，带着稚拙生机。竹叶以大写意撇捺而就，聚散疏密暗藏章法，浓淡墨色铺陈出前后层次，虚实相映间，将劲节疏朗的君子风姿尽皆展现。画面留白宽绰，右侧题字与竹影相映成趣，笔致简淡却意韵悠长，尽显文人寄情于物的清雅襟怀，是颇见功底的水墨写意佳品。",[23,24,25,27,58,59,7],"水墨","竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98c6c0d8c8cc882f3d24cc4d9f64fbba.jpg","未知","Xcm*Xcm","",[],231,{"id":67,"slug":68,"title":69,"dynasty":53,"author":70,"museum":71,"description":72,"tags":73,"thumbUrl":77,"material":78,"size":63,"collection":43,"collections":79,"showCount":80,"zanCount":47,"manualWeight":11,"mainColor":48},215031,"fang-gu-shan-shui-ce-wang-jian-215031","仿古山水册","王鉴","私人收藏","王鉴（1669-1725）是清朝时期著名的画家，以其精湛的仿古山水画而闻名。王鉴出生于江苏省，自幼便对绘画有着浓厚的兴趣。他从小就开始学习绘画，后来在北京的私塾深造，并在考试中取得了优异的成绩。\n\n王鉴的仿古山水画以其精细的笔法和优美的构图而著称。他的画作经常使用细腻的线条和深浅不一的色彩来表现山水的美感。王鉴的作品常常充满了沉静、凝重的气氛，能够让人感受到中国古代山水画的韵味。\n\n王鉴的仿古山水画在当时广受欢迎，并且被广泛收藏和传承。他的画作经常被收录在仿古山水册中，并被视为中国古代山水画的经典之作。王鉴的画风对后代画家也产生了深远的影响，被认为是清朝时期仿古山水画的代表人物之一。",[24,58,7,30,74,29,37,75,35,76],"册","山石","亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f5870a1a3d56961655bf14bd82552d.jpg","纸本,设色",[43],158,{"id":82,"slug":83,"title":69,"dynasty":53,"author":84,"museum":71,"description":85,"tags":86,"thumbUrl":91,"material":78,"size":63,"collection":43,"collections":92,"showCount":93,"zanCount":11,"manualWeight":11,"mainColor":94},214603,"fang-gu-shan-shui-ce-wang-hui-214603","王翚","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。",[24,58,30,7,29,31,32,87,88,35,89,36,90,74],"树","枯树","瀑布","楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd97c1595d846d11221e221903e359a62.jpg",[43],155,"795548",{"id":96,"slug":97,"title":98,"dynasty":53,"author":84,"museum":99,"description":100,"tags":101,"thumbUrl":109,"material":110,"size":111,"collection":43,"collections":112,"showCount":113,"zanCount":11,"manualWeight":11,"mainColor":94},222812,"fang-gu-si-ji-shan-shui-tu-fang-xia-yu-yu-yu-zhuang-wang-hui-222812","仿古四季山水图-仿夏禹玉渔庄","辽宁省博物馆","王翚 （1632─1717），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。王翚的山水画宗旨：唐人的气韵、宋人的丘壑、元人的笔墨，也是王时敏、王鉴的绘画审美理想。所以，王鉴一见王翚便如获至宝的情形，就不难理解了。这种审美理想是建立在崇古、知古、学古的基础上的运用和化解古意、古法。王时敏认为：“廉州(王鉴)刻意摹古，所作卷轴一树一石必与宋元诸名家血战，力厚功深，久而与之俱化，不但笔墨位置咄咄逼真，而取神去粗，秀逸高华，骎骎殆将过之。”青林红树荫渔庄, 樯集江边艇子忙. 稍等风吹烟雾散, 千帆竞发沐秋阳. 他的仿古功力更深厚，渐次从“血战”中进入“过之”的目的。王翚的挚友恽寿平说王翚临黄公望的《富春山居图卷》，“前十年曾为半园唐氏摹长卷，时犹为古人法度所束，未得游行自在。最后为笪江上借唐氏本再摹，遂为弹丸脱手之势。",[23,24,7,30,28,29,37,102,103,104,105,106,107,108],"山峦","河流","渔舟","房屋","老树","坡地","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d4ce2d809c541ba55a4b9f30395ec5f.jpg","纸本设色","82cm × 51 cm",[43,45],131,{"id":115,"slug":116,"title":117,"dynasty":53,"author":84,"museum":99,"description":118,"tags":119,"thumbUrl":127,"material":128,"size":129,"collection":63,"collections":130,"showCount":131,"zanCount":11,"manualWeight":11,"mainColor":94},222815,"fang-gu-si-ji-shan-shui-tu-fang-xing-hua-chun-yu-jiang-nan-wang-hui-222815","仿古四季山水图-仿杏花春雨江南","王翬 （1632─1717），字石谷，號耕煙散人、劍門樵客、烏目山人、清暉老人等。江蘇常熟人。清代著名畫家。被稱為清初畫聖。王翬作畫喜好干筆、濕筆並用，而且多以細筆皴擦，畫面效果比較繁密。此圖是王翬《仿古四季山水圖》屏風組畫中的一幅，描繪的是江南春景。圖中山巒層疊，樹青草綠，村舍屋宇錯落，小橋流水人家，漁船泛波湖上，一派雨後春光明媚的江南山村景致。在構圖布局上，小徑、樹木、庭院，皆隨河流之勢分布，疏密得當，既不擁擠，也不顯孤單零落。近處、遠處的小橋流水，將整幅畫面巧妙地連結在一起；遠處山巒環繞於霧靄之中，若隱若現，山巒以墨點點染，藉以烘托初春萬物復甦之景。臨湖的道路兩旁，樹木繁茂，枝葉稀疏清朗，同樹幹的高大粗壯之勢相呼應。全圖中樹幹的畫法不盡相同，體現了作者深厚的功底：近處多為粗壯老乾，先勾勒其輪廓，再以墨色和赭石加以暈染，刻畫詳細；遠處則多以濃墨一氣呵成，枝葉多以濕墨排點式描繪，各種技法交相呼應，使得整幅畫面變化多端。",[23,24,25,7,28,30,29,34,120,121,106,122,105,102,123,124,125,126],"流水","孤舟","枯藤","杏花","春雨","路径","牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff876fdc542da2e5824bd38aedc647cc2.jpg","绢本设色","82.5x51.2",[],126,{"id":133,"slug":134,"title":135,"dynasty":53,"author":84,"museum":136,"description":137,"tags":138,"thumbUrl":141,"material":78,"size":142,"collection":43,"collections":143,"showCount":144,"zanCount":11,"manualWeight":11,"mainColor":48},217217,"fang-gu-shan-shui-shi-er-kai-wang-hui-217217","仿古山水十二开","大英博物馆","此册王翚仿古十二开",[24,25,74,58,30,7,29,37,75,120,38,139,140],"茅屋","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5d8cb08718af9c20fbb39bcf2df2b19.jpg","25x35.4cm",[43],123,{"id":146,"slug":147,"title":148,"dynasty":53,"author":84,"museum":99,"description":100,"tags":149,"thumbUrl":152,"material":153,"size":129,"collection":63,"collections":154,"showCount":155,"zanCount":47,"manualWeight":11,"mainColor":94},222813,"fang-gu-si-ji-shan-shui-tu-fang-ju-ran-xia-shan-shui-bi-fa-wang-hui-222813","仿古四季山水图-仿巨然夏山水笔法",[23,24,25,29,7,30,28,27,102,37,34,120,39,150,125,151,36],"亭台","人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3613234851021f90e99e4b46a734550f.jpg","纸本 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托名李唐之作，当是明人仿古之作。",[23,390,24,26,25,29,391,30,28,90,34,120,76,392,393,102,37,7],"长卷","四季","屋舍","舟船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90cf2282e5eee3e7a82bdfb99910e204.jpg","绢本墨笔","35.1X661.9",[43,219],{"id":399,"slug":400,"title":401,"dynasty":53,"author":84,"museum":71,"description":85,"tags":402,"thumbUrl":403,"material":78,"size":63,"collection":63,"collections":404,"showCount":405,"zanCount":11,"manualWeight":11,"mainColor":48},214595,"fang-gu-shan-shui-ce-9-wang-hui-214595","仿古山水册-9",[24,58,30,74,7,29,120,75,33,151,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3efa7cdc48efdef063636c7dcce22728.jpg",[],20,{"id":407,"slug":408,"title":409,"dynasty":53,"author":84,"museum":71,"description":85,"tags":410,"thumbUrl":412,"material":78,"size":63,"collection":63,"collections":413,"showCount":405,"zanCount":11,"manualWeight":11,"mainColor":48},214593,"fang-gu-shan-shui-ce-11-wang-hui-214593","仿古山水册-11",[26,24,25,74,28,58,29,30,7,76,34,120,151,87,411],"篱笆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8c1d131f029dfc768e60ded3c71e002.jpg",[],{"id":415,"slug":416,"title":417,"dynasty":53,"author":418,"museum":55,"description":419,"tags":420,"thumbUrl":421,"material":63,"size":63,"collection":63,"collections":422,"showCount":423,"zanCount":11,"manualWeight":11,"mainColor":48},230216,"fang-gu-shan-shui-ce-ye-8-kai-gu-kui-230216","仿古山水册页8开","顾逵","此作用淡墨晕染出烟雨江南的朦胧意趣，山峦以浅皴轻苔点出温润质感，如被薄雾轻笼。水面留白衔接着远天近岸，一叶扁舟随波缓行，载着晚归的闲散意趣。\n\n林间茅舍隐于枝叶之间，不见喧嚣，唯余清寂。简笔点染的林木不带繁饰，却将风雨初歇的湿润淋漓尽数藏于墨色层次里。通篇以水墨铺陈，无一处浓艳设色，把平和冲淡的林下之思晕在烟岚雾霭中，将人轻轻拉入这幅水墨长卷，静看波痕微动，坐听晚风穿林，尽得古典山水空灵澹远的禅意。",[24,58,74,30,7,29,121,120,231,37,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ab22a74172d9c0fa0f97e6463ea3e86.jpg",[],19,{"id":425,"slug":426,"title":259,"dynasty":53,"author":260,"museum":55,"description":261,"tags":427,"thumbUrl":429,"material":61,"size":62,"collection":63,"collections":430,"showCount":431,"zanCount":11,"manualWeight":11,"mainColor":48},235636,"fang-gu-shan-shui-ping-wu-li-235636",[24,27,28,30,7,29,38,37,106,75,428,105,163,35],"建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81881262d4f524260026edc90e0d8ec5.jpg",[],18,{"id":433,"slug":434,"title":435,"dynasty":53,"author":84,"museum":136,"description":137,"tags":436,"thumbUrl":437,"material":78,"size":142,"collection":63,"collections":438,"showCount":431,"zanCount":11,"manualWeight":11,"mainColor":48},217208,"fang-gu-shan-shui-shi-er-kai-shi-wang-hui-217208","仿古山水十二开(十)",[24,25,74,58,30,7,29,89,231,37,39,35,102],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac8621add47247ddd3b2459729362f6.jpg",[],{"id":440,"slug":441,"title":442,"dynasty":53,"author":84,"museum":136,"description":137,"tags":443,"thumbUrl":445,"material":78,"size":142,"collection":63,"collections":446,"showCount":431,"zanCount":11,"manualWeight":11,"mainColor":48},217207,"fang-gu-shan-shui-shi-er-kai-shi-yi-wang-hui-217207","仿古山水十二开(十一)",[24,58,7,30,74,329,121,106,76,37,444,75,108],"草坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F611e13e5922eacde75f3651ef7421915.jpg",[],{"id":448,"slug":449,"title":450,"dynasty":53,"author":451,"museum":55,"description":452,"tags":453,"thumbUrl":456,"material":63,"size":63,"collection":63,"collections":457,"showCount":458,"zanCount":11,"manualWeight":11,"mainColor":48},237879,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237879","杨晋仿古山水册","杨晋","杨晋 （1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。\n杨晋是清代宫廷画家，以画界画见长，他能恰到好处地发挥传统工笔界画的特长，把人工建筑的楼阁台榭及人物举止和天然山水景色紧密结合起来，在结构上作了极好的剪裁，满而不闷，画风细致明秀、娟丽清新，层次过渡非常自然。《石谷骑牛图》绘石谷悠然骑于牛背之上，神态安详平和，状写简逸传神。石谷即清代大画家王翚，也是杨晋的老师。",[24,28,29,7,30,74,121,234,120,38,454,37,455],"岸石","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9d62a312a70c8a4d5387a7961afd06.jpg",[],17,{"id":460,"slug":461,"title":135,"dynasty":53,"author":451,"museum":55,"description":462,"tags":463,"thumbUrl":464,"material":63,"size":63,"collection":63,"collections":465,"showCount":458,"zanCount":11,"manualWeight":11,"mainColor":94},230226,"fang-gu-shan-shui-shi-er-kai-yang-jin-230226","此作以淡彩晕染江南春岸晓景，堤岸垂柳柔丝拂水，水汽清润朦胧，晕开浅淡氤氲的晨雾。戴笠行旅骑牛缓行于田埂，为乡野添上鲜活意趣。远景山峦以淡墨轻扫，林麓含烟，归雁掠过长空，将平远山水的空阔疏朗铺陈开来。笔墨秀雅工致，设色明洁温润，把江南水乡的恬静诗意融于尺幅之中，尽显平淡天真的文人画韵致，将春日郊野的闲适悠然娓娓铺展，晕染出一派生机盎然的田园雅景。",[24,28,29,74,30,7,140,151,234,126,311,76,120,38,37,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F387a052644e1585c611187534130e0d3.jpg",[],{"id":467,"slug":468,"title":469,"dynasty":53,"author":470,"museum":471,"description":472,"tags":473,"thumbUrl":475,"material":63,"size":63,"collection":43,"collections":476,"showCount":458,"zanCount":11,"manualWeight":11,"mainColor":477},203017,"fang-gu-shan-tu-shui-ce-wang-shi-min-203017","仿古山图水册","王时敏","上海博物馆","画面以淡墨皴染山石，线条苍劲中藏温润；枯树疏枝与修竹相映，立于坡岸间添生趣。远山含烟叠嶂，近水留白映石，空灵意境跃然纸上。笔墨承袭宋元遗风，皴法细腻见功底，气韵沉厚显雅致，于咫尺册页间展山川丘壑之态，藏文人画的淡泊清寂情怀。",[29,58,74,30,88,474,75,38,7,23],"修竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8db172c6ed57b5a76350650657de85df.jpg",[43],"dcd2be",{"id":479,"slug":480,"title":69,"dynasty":53,"author":470,"museum":55,"description":481,"tags":482,"thumbUrl":484,"material":63,"size":63,"collection":63,"collections":485,"showCount":486,"zanCount":11,"manualWeight":11,"mainColor":48},230178,"fang-gu-shan-shui-ce-wang-shi-min-230178","水雾轻笼远岫，淡墨晕开江乡初夏的朦胧底色。柳丝垂曳拂过浅溪，田埂蜿蜒牵起篱舍人家，浓荫将村居温柔包裹。水渚间汀草错落，小巧板桥横卧溪上，连起幽僻乡路。\n\n浅绛设色调清润柔和，笔触松秀温婉，远山以虚笔淡墨晕染，留白铺就空濛水汽，将溽热化作悠悠闲意。近林点染疏密相宜，把江南村居的日常烟火，晕成了悠然冲淡的诗意，藏着文人归田园居的清梦，尽显江乡夏日的静穆安闲。",[24,25,7,28,29,30,105,37,120,75,483],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b30a7edaa0aac1a21f11cf6e484343d.jpg",[],16,{"id":488,"slug":489,"title":490,"dynasty":53,"author":84,"museum":71,"description":85,"tags":491,"thumbUrl":492,"material":78,"size":63,"collection":63,"collections":493,"showCount":486,"zanCount":11,"manualWeight":11,"mainColor":94},214600,"fang-gu-shan-shui-ce-5-wang-hui-214600","仿古山水册-5",[24,25,74,58,7,30,29,90,34,120,106,75,151,125,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d0f71d53f38e75d651baa858c567130.jpg",[],{"id":495,"slug":496,"title":69,"dynasty":53,"author":497,"museum":55,"description":498,"tags":499,"thumbUrl":501,"material":61,"size":62,"collection":43,"collections":502,"showCount":503,"zanCount":11,"manualWeight":11,"mainColor":48},235741,"fang-gu-shan-shui-ce-xue-xuan-235741","薛宣","薛宣（生卒年不详），字赣君，东海郡郯县（今山东省郯城县）人。西汉丞相，汉宣帝刘询的女婿。\n精通律法，起家廷尉书佐、都船狱吏，出任不其县丞、乐浪郡丞。举茂才出身，出任宛句县令，迁长安令，颇有政绩。汉成帝时期，历任御史中丞、临淮陈留二郡太守、左冯翊、少府卿、御史大夫，赏罚分明，威德并施，功劳卓著，迎娶敬武长公主。鸿嘉元年（前20年），出任御史大夫，代替张禹出任丞相，册封高阳侯。永始二年（前15年），办理邛成太后丧事不周，辞去丞相之职。\n汉哀帝时，免为庶人，最终在家中去世。",[24,58,74,30,7,29,31,87,500,36],"雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F136fc8aa37cb09e67e01143752c61481.jpg",[43],15,{"id":505,"slug":506,"title":507,"dynasty":53,"author":70,"museum":471,"description":508,"tags":509,"thumbUrl":511,"material":194,"size":512,"collection":63,"collections":513,"showCount":503,"zanCount":11,"manualWeight":11,"mainColor":48},216991,"fang-song-yuan-shan-shui-ce-2-wang-jian-216991","仿宋元山水册-2","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。",[23,24,7,58,30,173,29,37,105,75,108,510],"坡岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21b0f84dfc5f66b27890e723bb1ec1f3.jpg","纵55.4厘米，横36.0厘米",[],{"id":515,"slug":516,"title":517,"dynasty":53,"author":70,"museum":471,"description":508,"tags":518,"thumbUrl":519,"material":78,"size":512,"collection":63,"collections":520,"showCount":503,"zanCount":11,"manualWeight":11,"mainColor":48},216967,"fang-song-yuan-shan-shui-ce-11-wang-jian-216967","仿宋元山水册-11",[23,24,25,58,249,30,7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画名重于时，为吴门画派中高手。善绘山水、兰竹，意趣古淡，疏朗清新，风格近其师。工书法，笔力见功夫，挥洒自如，有屋漏之痕、折钗之势。传世作品有《虎丘前山图》轴、《求志图》，均藏北京故宫博物院；《苍山茅舍图》轴，藏上海博物馆。",[24,27,58,877,878,879,299,140,7,30],"芭蕉","奇石","兰草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe450eec9049547b3a3355bca990d45e6.jpg",[],5,{"id":884,"slug":885,"title":886,"dynasty":53,"author":386,"museum":55,"description":887,"tags":888,"thumbUrl":893,"material":61,"size":62,"collection":63,"collections":894,"showCount":882,"zanCount":11,"manualWeight":11,"mainColor":94},258510,"qian-long-fang-gu-kuan-fen-cai-ji-gang-bei-yi-ming-258510","乾隆仿古款粉彩鸡缸杯","唐孙位《高逸图》中，酒樽旁托盘内放置杯，侍者手中亦持有杯。可见，唐代杯亦为常见的饮酒器具。因其用于饮酒较之碗更加含蓄、优雅，故文人雅士较为推崇。杜甫诗云“潦倒新停浊酒杯”，杜甫饮用“浊酒”亦用酒杯。\n除普通筒形杯外，唐代较为流行的一种杯式为高足杯，其执拿姿势为用拇指与食指捏住高足杯的杯把。瓷质高足杯唐代以前较少使用，唐代应用明显广泛。唐代的许多中小型墓葬中亦出土瓷质高足杯。说明此杯类已逐渐演变为一种较为常见的日用器具。此种杯式的使用，可能与此时葡萄酒的饮用有关。\n宋代酒质较低时饮酒器具较大，酒质提高，其形制自然缩小。宋代饮酒器具以杯为主。主要的酒杯类型有：圆口杯、花口杯、带把杯、高足杯。\n高足杯为元代典型饮酒器具。其与游牧民族马上饮酒生活习俗相适应。元代高足杯形制多样，有喇叭形、竹节形等。很多资料记载高足杯为蒙古人饮用马奶酒的器具。\n高足杯为直口、深腹。其杯形制与唐宋时候盏类的承载量基本一致，故其用于饮马奶酒是合理的。但元代尚酒，饮酒需求量大，除用于饮用马奶酒之外，高足杯亦可用于蒸馏酒的饮用。\n明朝由于喝茶方式的改变，出现了小茶壶，导致喝茶的盏变得精致小巧，如今天我们所使用的杯子。饮茶的杯子与饮酒的杯子就变得傻傻分不清楚。\n虽然出现了饮茶的杯子，但杯子还是饮酒器的主流。明代杯类形制多样，造型装饰精巧，功能明确。如制作专门用于皇室贵族使用的鸡缸杯、压手杯。\n亦有符合士人情趣的高士杯、菊花杯等。此外，明代高足杯形制多样，此时高足杯形制较小，适合蒸馏酒的饮用。较于元代高足杯，明代高足杯足部外撇，足成长喇叭形，器具稳定性加强。\n明朝以前杯壁较浅，到了清朝，杯壁开始加深，容量增加，有的被已经茶酒共用。18世纪受国外文化影响，杯子已经发展成为今天我们所见到的样子。\n虽然我国饮酒时有温酒的习惯，但酒温不高，而且宋以后开始饮用蒸馏酒，常温就可饮用。杯作为主要的饮酒器，自然不用考虑温度的问题，均是手握酒杯饮用，所以大多没有把。",[53,889,890,7,151,891,892,28],"陶瓷","粉彩","鸡","花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd32568b854f12ef3e5b3dc7b8096b103.jpg",[],{"id":896,"slug":897,"title":170,"dynasty":53,"author":84,"museum":55,"description":171,"tags":898,"thumbUrl":899,"material":63,"size":63,"collection":63,"collections":900,"showCount":882,"zanCount":11,"manualWeight":11,"mainColor":48},237605,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237605",[24,25,74,58,28,29,106,75,122,299,587,140,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81bc2b94d2f235186ae2050f66d3ed24.jpg",[],{"id":902,"slug":903,"title":69,"dynasty":53,"author":84,"museum":55,"description":709,"tags":904,"thumbUrl":905,"material":597,"size":713,"collection":63,"collections":906,"showCount":882,"zanCount":11,"manualWeight":11,"mainColor":48},234715,"fang-gu-shan-shui-ce-wang-hui-234715",[24,25,26,74,58,30,7,29,88,75,151,39,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffca9f3af74811c30e2439f3313491490.jpg",[],{"id":908,"slug":909,"title":910,"dynasty":18,"author":911,"museum":912,"description":913,"tags":914,"thumbUrl":915,"material":78,"size":916,"collection":63,"collections":917,"showCount":882,"zanCount":11,"manualWeight":11,"mainColor":48},219671,"fang-gu-shan-shui-ce-7-yun-xiang-219671","仿古山水册-7","恽向","美国弗利尔美术馆","恽向（1586--1655）明代画家。原名本初，字道生、曙臣，号香山，武进（今属江苏）人。崇祯末举贤良方正，授内阁中书舍人。擅诗文工山水，早年学董源，巨然，以悬肘中锋作画，骨力圆劲，浓墨润湿，纵横淋漓，自成一派，晚年敛笔于倪瓒、黄公望的风格，惜墨如金，挥洒自如，妙合自然。由于他常往来于齐鲁之间，并登临泰山，故笔下山水自然雄浑之气。他曾为周亮公画山水，自题云：“逸品之画，笔似近而远愈甚，似元而有愈甚；其嫩处如金，秀处如铁，所以可贵，未易为俗人道也。”",[24,58,74,30,29,37,270,428,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08299ae7b1ea51be2ea17b8349e4c9a2.jpg","26x15.2",[],{"id":919,"slug":920,"title":921,"dynasty":18,"author":386,"museum":55,"description":922,"tags":923,"thumbUrl":928,"material":61,"size":62,"collection":929,"collections":930,"showCount":931,"zanCount":11,"manualWeight":11,"mainColor":48},256529,"yi-xing-yao-fang-gu-tong-wen-zun-yi-ming-256529","宜兴窑仿古铜纹尊","宜兴窑，在今江苏宜兴丁蜀镇，故名。烧瓷历史悠久，秦汉时宜兴地区陶窑密布；两晋时在均山烧青瓷，唐初在归径等地大量烧制，至晚唐、五代成为南方民间著名青瓷窑；宋、元时期，丁蜀与西渚一带大规模烧造日用陶和早期紫砂。明清时成为当时的烧陶中心。涧众村发现有唐代青瓷窑址。明代以紫砂器闻名于世，出现不少制紫砂壶名家，如供春；时大彬、李仲芳、陈仲美等，并仿烧宋代钧窑器物，因有"宜钧"之称。\n在今江苏宜兴市南部的丁蜀镇一带，故称为宜兴窑。宜兴窑从汉代始烧红陶、灰陶、和原始青瓷等等，其烧制陶瓷的历史一直延续到今天，有2000多年，故可称是最古老的窑口。宋代已开始烧造紫砂器，明代的紫砂器闻名于世，清代是其高峰。建国后，宜兴除传统的紫砂陶、均陶有很大发展外，还恢复了青瓷生产，新创了花釉陶和精陶等产品，是我国重点陶瓷产区之一。",[889,7,924,925,926,927],"雕刻","礼器","器","铜纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b945232f0366903a4f9837070242928.jpg","瓷器精选",[929],4,{"id":933,"slug":934,"title":935,"dynasty":18,"author":386,"museum":55,"description":936,"tags":937,"thumbUrl":946,"material":63,"size":63,"collection":947,"collections":948,"showCount":931,"zanCount":11,"manualWeight":11,"mainColor":94},244659,"fang-qian-yin-si-shou-mian-chan-wen-chao-tian-er-san-zu-ding-yi-ming-244659","仿嵌银丝兽面蝉纹朝天耳三足鼎","朝天耳刚劲挺立，稳稳衔接平折鼎沿，线条利落爽利。鼓腹圆融饱满，周身晕染着沉厚包浆，漫溢时光浸润的温润质感。器身以银丝嵌饰兽面与蝉纹，兽面纹威严凝练，带着上古礼器的庄重肃穆，蝉纹则清灵雅致，刚柔相济间尽显古韵匠心。\n\n三足修长高挺，与器身比例匀停，稳稳承托起整体器形，尽显端方沉稳的古韵气场。追摹商周鼎彝规制，又暗合内敛雅致的造器意趣，将古礼厚重与文房清趣相融，静立间诉说着悠悠古意，是仿古铜器中的精妙之作。",[938,7,939,924,940,941,925,942,943,944,945],"明代","嵌银丝","青铜器","铜制","三足鼎","朝天耳","兽面纹","蝉纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd19deb3df0c3b6d6fffae25976b2dcbd.jpg","青铜器精选",[947],{"id":950,"slug":951,"title":259,"dynasty":53,"author":307,"museum":55,"description":952,"tags":953,"thumbUrl":954,"material":63,"size":63,"collection":63,"collections":955,"showCount":931,"zanCount":11,"manualWeight":11,"mainColor":48},239413,"fang-gu-shan-shui-ping-qin-zu-yong-239413","此作用青绿浅绛晕染桃源春涧之景，层叠山峦以披麻皴勾勒，苔点错落晕出山峦苍润生机。山坳水畔村居错落排布，板桥飞泉萦纡林间，桃松杂木各含清姿，将世外山居的幽寂闲雅铺陈眼前。\n\n右上角题诗自叙追仿元人笔意，以笔墨复刻林泉雅趣，丘壑间既承古法意韵，又自含萧散出尘的静穆意境，尽显传统山水画里寄情山水的文人逸致。",[24,25,27,28,30,7,29,34,120,37,89,105,251,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd31d7174efa971295b9e6bc389b44049.jpg",[],{"id":957,"slug":958,"title":69,"dynasty":53,"author":373,"museum":20,"description":374,"tags":959,"thumbUrl":960,"material":379,"size":63,"collection":63,"collections":961,"showCount":931,"zanCount":11,"manualWeight":11,"mainColor":94},236829,"fang-gu-shan-shui-ce-zhao-cheng-236829",[24,25,74,28,30,7,29,75,89,37,151,120,33,310],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b389cdfb53c04fca4ff1a67cf9ba48.jpg",[],{"id":963,"slug":964,"title":170,"dynasty":53,"author":386,"museum":55,"description":965,"tags":966,"thumbUrl":967,"material":63,"size":63,"collection":63,"collections":968,"showCount":931,"zanCount":11,"manualWeight":11,"mainColor":48},236059,"wang-hui-fang-gu-shan-shui-ce-yi-ming-236059","此作用笔苍秀兼具，绢本设色清润温雅。近景怒涛翻涌，浪纹层层晕染尽显江海雄浑之势，岩崖之上虬松盘错，松荫掩映幽潭水榭，藏起山居清趣。远景山峦覆着浅青烟岚，山坳屋舍隐于林麓间，晕染出淡远空濛的氛围感。\n整画揉合宋院体的精工水法与元人山水的萧散意趣，咫尺尺幅铺展千里山水格局，将惊涛奔涌的动势与林居幽隐的静气相融，于古雅的仿古意韵里，尽显传统山水含蓄隽永的意境。",[24,25,74,28,29,30,7,38,75,87,76,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8351548791361bd014cfdddc96f5a74d.jpg",[],{"id":970,"slug":971,"title":69,"dynasty":18,"author":972,"museum":55,"description":973,"tags":974,"thumbUrl":983,"material":63,"size":63,"collection":63,"collections":984,"showCount":931,"zanCount":11,"manualWeight":11,"mainColor":48},235628,"fang-gu-shan-shui-ce-shen-hao-235628","沈颢","此作写就晚秋江村之境。近岸危石棱峭，枯木疏枝缀着残叶，一椽茅舍静立滩头，野水浅横，汀洲错落如星。隔江岩岫错落，村舍隐在寒林之间，远景峰峦晕染如黛，归雁掠过长空，将秋意拉得清寂辽远。\n\n笔触简劲枯淡，干笔皴擦山石见苍润意趣，淡墨晕开烟岚，以寥寥笔墨铺展出幽远空寂的林下之境，题款清隽与画面相映，尽现萧散淡远的文人襟怀，清寂里藏着悠然林下闲情。",[24,25,74,58,30,249,140,29,75,37,234,76,231,7,975,976,977,978,979,102,980,981,982,163,428],"山水景物","传统技法","文人画风格","写意","淡墨渲染","岩壁","荒草","远峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa33e6aa0cdae181fda2df10d0a65ae56.jpg",[],{"id":986,"slug":987,"title":782,"dynasty":53,"author":558,"museum":55,"description":783,"tags":988,"thumbUrl":989,"material":786,"size":787,"collection":63,"collections":990,"showCount":931,"zanCount":11,"manualWeight":11,"mainColor":48},234890,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234890",[24,25,7,58,30,140,29,75,37,34,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69dd6eef3b5d73e63187b417abe59c7d.jpg",[],{"id":992,"slug":993,"title":782,"dynasty":53,"author":558,"museum":55,"description":783,"tags":994,"thumbUrl":995,"material":786,"size":787,"collection":63,"collections":996,"showCount":931,"zanCount":11,"manualWeight":11,"mainColor":48},234880,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234880",[24,29,58,30,74,75,37,102,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3443ac24d1e2ba822be0a9af6598dcc7.jpg",[],{"id":998,"slug":999,"title":557,"dynasty":53,"author":1000,"museum":471,"description":1001,"tags":1002,"thumbUrl":10,"material":63,"size":63,"collection":43,"collections":1004,"showCount":931,"zanCount":11,"manualWeight":11,"mainColor":1005},203063,"fang-gu-shan-shui-tu-ce-cha-shi-biao-203063","查士标","云雾轻笼山峦，古雅楼阁依山而建，飞檐翘角尽显精巧。笔墨清润雅致，山石以皴法勾勒纹理，苍劲中透着灵动；楼阁界画技法细致，梁柱分明，与写意山水的疏朗形成巧妙呼应。近景林木扶疏，枝干盘曲，树下人影依稀，似有闲趣。整体意境清幽，古意盎然，既承传统山水的雄浑气象，又含文人画的空灵之韵，引人步入静谧古雅之境。",[24,29,90,1003,30,7,28,74,75,532,151,234,23],"界画",[43],"7f644e",{"id":1007,"slug":1008,"title":1009,"dynasty":53,"author":386,"museum":55,"description":1010,"tags":1011,"thumbUrl":1015,"material":61,"size":62,"collection":63,"collections":1016,"showCount":1017,"zanCount":11,"manualWeight":11,"mainColor":48},250484,"bai-yu-lou-diao-fang-gu-kui-long-pei-yi-ming-250484","白玉镂雕仿古夔龙佩","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。\n以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n玉器经历7000多年的发展，从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[1012,7,1013,1014],"玉石","镂雕","龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb65ec4194d569e6fd9849e4b796584f3.jpg",[],3,{"id":1019,"slug":1020,"title":1021,"dynasty":53,"author":1022,"museum":55,"desc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